Executive Director’s Message

EDITOR Nick Krewen Setting S.A.C. Sights on Sites, MANAGING EDITOR Beverly Hardy LAYOUT Lori Veljkovic Sounds and Songposium COPY EDITOR Leah Erbe

s fall fades into winter, I'm extremely itally is an advantage for those who want to ensure Canadian Publications Mail Agreement pleased to announce that a number of dif- their music is “out there” for the world to hear. No. 40014605 ferent S.A.C. programs will be warming up The S.A.C. was also present at a number of Canada Post Account No. 02600951 A ISSN 1481-3661 ©2002 as we head into the colder months -- important conferences. The first, Copycamp, some familiar, some new and all of them an involved a three-day session in Songwriters Association of Canada opportunity to encourage your creativity and September 28-30 that exposed all types of Subscriptions: Canada $16/year plus sharpen your business acumen. creators to various copyright challenges and GST; USA/Foreign $22 options facing the world today. First, I'm very pleased to announce that Songwriters Magazine is a publication of the Songposium 2.0 is taking place in five cities across The other was the Future of Music Policy Songwriters Association of Canada (S.A.C.) the country, targeting the urban, country and pop Summit, held in during the POP and is published four times a year. Members music fields. Montreal festival October 5-7. Both events offered of S.A.C. receive Songwriters Magazine as Featuring some amazing industry professionals excellent information on directions the music part of their membership. Songwriters including , Steve Wilkinson, Derek industry is taking and are events that anyone seri- Magazine welcomes editorial comment. Brin, John Capek and our own Haydain Neale ous about their craft should try to attend. I rec- Opinions expressed in Songwriters Magazine among others, Songposium 2.0 will be visiting the ommend checking out websites for information do not necessarily represent the opinions of Holiday Inn on King in Toronto on November 25- on these past events (www.copycamp.ca and the S.A.C. Address submissions, inquiries 26; the Metropolitan Hotel in on www.thefutureofmusic.org ) and changes of address to: December 2-3; the Fairmont Palliser Hotel in I was also fortunate to attend the January 13-14, 2007; the Holiday Inn in Council Of Folk Festivals (OCFF) conference in 26 Soho Street Guelph on January 20-21 and the Delta from October 12-15. The S.A.C. spon- Suite 340 Barrington Hotel in Halifax on February 3-4. sored three events, with Blair Packham hosting a Toronto, Ontario Bluebird North will also be visiting five cities fantastic demo critique panel called "Hey Big Canada M5T 1Z7 Ears!" Blair also did a fine job of lining up the including on January 19; Ottawa on Phone: (416) 961-1588 talent for the post-midnight show- January 27; Halifax on February 2; St. John's on or: 1-866-456-7664 case at the notorious S.A.C. Pajama Party. February 9-10 and Whitehorse on February 16. Fax: (416) 961-2040 Thanks to those of you who came decked out Look for announcements for these great pro- E-mail: [email protected] in your best PJs. grams on our www.songwriters.ca website and Web: www.songwriters.ca plan to attend. Better yet, bring a friend! It's also my great pleasure to announce a brand PJam All rights reserved. No part of this publica- new program called Bluebird In The Schools -- an Session: tion may be reproduced, stored in a retrieval opportunity for young people to get exposed to Executive system or transmitted in any form or by any great Canadian songwriters. Director Don means without the prior written permission We hope that Bluebird In The Schools will Quarles and of the Songwriters Association of Canada. offer a window into the School Alliance of OCFF Songs Student Songwriters program that is already From The Heart STAFF in many schools across the country contest winner Executive Director Don Quarles (www.sasscanada.net). Ana Miura com- Manager of Operations Beverly Hardy On a personal note, I'd like to thank those of pare fashions at you who called to welcome me in my new post. I the S.A.C. BOARD OF DIRECTORS have spent recent months getting to know some Pajama Party. of you either by phone or in person at events or President Haydain Neale here at our Toronto head office. I have also spent First Vice-President Shari Ulrich time meeting with music industry folks, getting The third event was the Estelle Klein Award Second Vice-President Eddie Schwartz accustomed to the lay of the land and learning interview with this year's recipient Richard Secretary Christopher Ward more about the Songwriters Association of Flohil, conducted by songwriter / media per- Treasurer Sean Hosein Canada's goals and future plans. sonality / S.A.C. Board member Christopher Past President Stan Meissner Ward. In early September, S.A.C. president Haydain Directors Erin Benjamin, John Capek, Neale and I were in Ottawa and met with several On a final note, some of you have been help- Lisa Dalbello, Lennie Gallant, officials from Heritage Canada, including those ing to beta-test our website and we appreciate responsible for developing copyright policy. As the extra effort in helping us work through the Bill Henderson, Marc Jordan, you may be aware, the Federal government is in kinks. If you haven’t yet done so, please visit Dan Kershaw the process of reviewing copyright law and is hop- www.songwriters.ca and have a look around! ing to table new legislation soon. We are working on a Members Community ADVISORY BOARD Jann Arden, Randy As a creator-driven group, our hope is to have page called SongPage that will allow you to Bachman, Tommy Banks, Liona Boyd, our voice heard and clear in terms of speak- upload MP3 files of your songs, copies of your Tom Cochrane, Richard Dodson, Rik ing for songwriters on the important issues. In lyrics, and also encourage you to interact with Emmett, Micky Erbe, Roy Forbes, David speaking to songwriters, the common interest is other songwriters. Foster, Alan Frew, , Paul to encourage digital distribution, as it is a fantas- This will enable them to know about your Hoffert, Paul Janz, Ron Hynes, Ron tic means of distributing music. strengths as a writer and inform them of your Irving, Arnold Lanni, Geddy Lee, Mike The caveat here is that most writers would pre- current successes (CD releases, song cuts, demos Levine, Colin Linden, Rita MacNeil, fer to find a way to monetize the system so that or events.) This promises to be a great co-writ- they can be compensated fairly for downloads of ing and collaborative meeting place. We're Sarah McLachlan, Murray McLauchlan, their music. The manner in which the world lis- anxiously awaiting its launch! Dean McTaggart, , Ben tens to music has evolved and both the industry I look forward to seeing you at S.A.C. events Mink, Adam Mitchell, Gerald O’Brien, and the legislation need to keep up with the this coming year and hope that you will take Gary O’Connor, Declan O’Doherty, Blair times. advantage of our member benefits! Packham, Dave Pickell, Raffi, Cyril Having a strong volume of music available dig- Don Quarles Rawson, Sam Reid, Tyler J. Smith, Ian Thomas, David Tyson, Sylvia Tyson, 2 Songwriters Magazine WINTER 2007 Valdy, Jim Vallance, Nancy White Contents WINTER 2007 Volume 9 Number 3 COVER PHOTO: JEREMY R. JANSEN Features PHOTO: DUSTIN RABIN 13

4 CANADIAN SONGWRITING HALL OF FAME INDUCTEES , Jean-Paul Ferland and Wilf Carter Make The Grade

5 DRAWING FROM THE CREATIVE WELLS Talented Brothers Make International Impact By Kerry Doole

8 A PUBLISHING PRIMER Legal Beagle Gives Songwriters The Skinny By Paul Sanderson

9 ROSSI REIGNS SUPREME A Publisher’s Rock Star: Supernova Diary By Keith Carman

11 HEATS IT UP! The Only Band Ever Breaks Down The Creative Process By Karen Bliss

13 MUSICAL EXPLORER k-os Plays It By Ear By Nick Krewen

17 IMMACULATE CONCEPTION , Neverending White Lights and Meligrove Band Go Topical By Shallima Maharaj and Nick Krewen

18 WORKSHOP TESTIMONIAL Sharing Ideas Is A Good Thing By L.C. DiMarco 19 BLUEBIRD NORTH 4

PHOTO: GREG PLANTE 17

CSHF AWARD PHOTO USED BY PERMISSION OF THE ESTATE OF ELIZABETH WYN WOOD.

PHOTO: PIERRE MILLETTE 19 CSHF INDUCTS MITCHELL, FERLAND, CARTER AND "SPINNING WHEEL" Montana Slim is in! map. A first-class yodeler who was intro- Whiting) is also a Pioneer Inductee; as is So is the most influ- duced to Canadians through Calgary radio the 1842 Acadian anthem "Un Canadien ential female singer station CFCN in 1929, and found audiences Errant," written by Antoine Gerin-Lajoie. and songwriter of in the U.S. -- where he was known as The 2007 Canadian Music Publisher the 20th and 21st Montana Slim -- and . Association (CMPA) Legacy Award recipi- centuries; a prolific A Canadian Hall Of Famer, ent is St. Stephen, New Brunswick native French-Canadian icon "The Father Of Canadian Country Music" Henry Burr, who recorded under a dozen PHOTO: COURTESY and a song that's been will be inducted into the CSHF along with pseudonyms, co-writing "Stand Up and CSHF covered by over 400 his songs "My Old Canadian Home," "My Sing for Your Father" and "Old-time Tune." artists ranging from Swiss Moonlight Lullaby" and "There's a Between 1903 and 1922, Burr recorded 16 and Peggy Lee to NRBQ Love Knot in My Lariat." No. 1 hits including "In The Shade of The and Oscar Peterson. Born in Surrey, England and raised in Old Apple Tree" and one of the first Joni Mitchell, Jean-Pierre Ferland, the late Willowdale, Ontario, David Clayton- recordings of "When You And I Were Wilf "Montana Slim" Carter and the Blood, Thomas was lead singer of Blood, Sweat and Young, Maggie," co-written by Canadian Sweat and Tears classic "Spinning Wheel" Tears when he penned "Spinning Wheel," George W. Johnson. are among the 31 announced inductees to which topped the Billboard Adult Meanwhile, Sam Gesser is the recipient of the 2007 Canadian Songwriters Hall Of Contemporary charts and peaked at No. 2 the Prix Du Patrimoine Frank Davies 2007. Fame (CSHF) gala ceremony, co-sponsored on the Pop charts, helping sell A Montreal-based folk music impresario by the Songwriters Association Of Canada over 10 million of its self-titled who has produced more than 100 records and scheduled for January 28 at the debut worldwide and earning a Grammy by Canadian artists, Gesser, 76, a Member Toronto Convention Centre. Award for Best Arrangement Accompanying of the Order Of Canada and active concert The show, to be co-hosted by Andrew Young Vocals. Written, according to Clayton- promoter, is also responsible for recording and Sophie duRocher, is an annual bilin- Thomas, in 15 minutes, "Spinning Wheel" thousands of singers for Allied/Folkways gual celebration of Canadian songs and was the first self-penned hit of many for Records. songwriters who have had a resonating cul- Blood, Sweat and Tears. Though performers are still to be tural impact both at home and abroad. Other inducted pieces of Canadian gold announced, tickets for the 4th Annual Gala There's no argument regarding the include Sylvia Tyson's "You Were On My at the John Bassett Theatre range from $50 resounding weight of Fort MacLeod, Mind," -- the first song she ever wrote -- to $175 and are available through the CSHF Alberta's Joni Mitchell on the world of pop- "Dans nos vieilles maisons" by Muriel website at www.cansong.ca. ular music. As an innovative singer, poet, Millard; "How About You?" by Ralph Freed Founded in 1998 by noted music publisher guitarist and painter whose phrasing, and Burton Lane; Marc Hamilton's Frank Davies, the CSHF is a national, bilin- imagery and sense of arrangement is as "Comme J'ai Toujours Envie D'Aimer;" "Des gual and apolitical non-profit unique as it is life-altering, it would be tough croissants de soleil" by Jean Robitaille and organization dedicated to to find someone who hasn't been influ- Lee Gagnon; "Je ne suis qu'une chan- preserving Canada's rich enced by Mitchell, 63. son" by Diane Juster; Georges songwriting heritage. Langford's "Le Frigidaire;" and A Companion of The Order of Canada and The CSHF held its first "Paquetville" by Lise Aubut and Édith a Rock 'N Roll Hall Of Fame member among annual gala in 2003, and Butler. her many accolades, Joni Mitchell will be with the upcoming cere- inducted along with a handful of popular Broadway and Hollywood movie lyri- mony, will have induct- songs from her canon: "Big Yellow Taxi," cist Raymond B. Egan, who co-wrote ed 78 songs, 22 song- "Both Sides Now," "Help Me," "Woodstock" song inductees "Ain't We Got writers and 10 Legacy and "You Turn Me On, I'm A Radio." Fun?" (written with Gus Award recipients. Khan and Richard Montreal-born Jean-Pierre Ferland, 73, has Whiting) and "Sleepy PHOTO: COURTESY had his songs covered by Ginette Reno, Time Gal" (written WARNER MUSIC Céline Dion, Nathalie Simard and Claude CANADA with Joseph R. Dubois among others, but his own hit "Je Alden, Ange reviens chez nous" and his 1970 Lorenzo and Jaune helped change the course of the Richard Quebec music scene. Along with his Grand prix du festival du disque-winning "Je reviens chez nous," Ferland's "Le Petit Roi" (written with Michel Robidoux), "T'es mon amour, t'es ma maîtresse" (written with Jean-Pierre Lauzon), "Ton Visage" (written with Paul De Magerie) and "Un peu plus haut, un peu plus loin" will accompany him into the CSHF. Along with Bob Nolan and Hank Snow, Port Hilford, 's Wilf Carter (1904- 1996) put Canadian country music on the

4 Songwriters Magazine WINTER 2007 It’s all about connection… In this series of articles, we will talk to some successful Canadian songwriters who make a living at their craft, to hear their behind-the-scenes stories about how their songs first came to the attention of some big artists, as well as what they've observed about the business of songwriting. In this issue, Kerry Doole talks with Greg Wells and his brother Rob, a rare Canadian fraternal success story whose combined credits include Céline Dion, , Nick Lachey, Backstreet Boys. Melissa O'Neil, Natasha Bedingfield, Lindsay Lohan, and Ms. "That's Hot" herself, Paris Hilton. Greg Wells 2003 with "What Went On" by The first day on that trip I met Carole Born and raised in Peterborough, Vancouver's Hip Joint featuring Craig King. We were put in a room with Mark Ontario, the Wells brothers Greg and Smart. The real momentum began when Hudson to write a song. We wrote a song Rob -- sons of a United Church minister Rob participated in numerous Canadian called "The Reason;" Céline Dion ended -- have followed very different paths to Idol songwriting camps, co-authoring up recording it. I spoke to her producer attain their individual achievements. "Alive" and "Let It Go" for Calgary's George Martin on the telephone, and all Melissa O'Neil. he wanted to do was thank me for help- Greg, 37, left the family home at 17 to ing write the song! attend Toronto's Humber College to In February 2005, Rob signed with Sony study music. He played keyboards for Kim ATV Music Publishing Canada. Since The truth behind that song was that both Mitchell and secured a Canada Council then he's written and produced three Mark and I had cuts on Aerosmith's Nine grant to study with composer and songs on Nick Lachey's What's Left Of Me, Lives album. Mark said they were looking arranger in Los Angeles. including the singer's current single "I for a big power ballad. After writing it, Once in L.A., impresario Miles Copeland Can't Hate You Anymore," and will be we cut the demo as if Aerosmith was discovered and commissioned Greg to contributing two songs to the next rocking out. It couldn't have sounded record his first and only album under the Backstreet Boys album. further removed from something you'd pseudonym Silas Loder. Copeland also “The Reason” — Céline Dion imagine Céline would consider, or so we thought. Although Steven Tyler appar- invited Greg to attend his annual song- Greg: I am forever indebted to Miles ently loved it, Aerosmith passed on it. writing retreat at his 14th century castle, Copeland. I initially came to LA to get a However, Céline liked the aggressive Chateau Marouate in southern France, record deal and a cassette tape of the where Wells teamed up with aspect of it and at the end of the demo Carole King and Mark Hudson Mark is doing these high to write "The Reason," covered Steven Tyler nuances that she by Céline Dion on her album actually does on her version. It Let's Talk About Love and selling was a Top Five single through- over 31 million copies world- out Europe, though never a wide. Another year at the same single in . event, he met King's daughter, like winning the songwriters’ , and the now mar- GREG WELLS lottery: Hardly anyone ever ried pair have two children sells 31 million records! together. I've been to the castle seven Initially signed to Rondor Music times, and my third time back, on the strength of an Aerosmith Carole brought her daughter cover ("Fall Together" -- available Louise. She’s now my wife. We on the Japanese edition of Nine have two boys and Carole is Lives), Greg has been part of the my mother-in-law, so personal- EMI Music Publishing roster the ly it has been huge. past three years. ROB WELLS I’ve learned so much from watching guys like Paul Rob Wells first few songs I ever wrote wound up in Brady, Desmond Child, Mark Hudson - Miles’ hands. We made the Silas Loder Rob, 34, is a late bloomer on the song- - I’ve met Peter Murphy from Bauhaus, record really fast for I.R.S. Records. Miles writing scene. He initially learned Belinda Carlisle, Hanson, The neglected to mention that it was going through osmosis as Greg and his mother Buzzcocks' Pete Shelley: there is some- bankrupt at the time, so a few thousand Judy were constantly tickling the ivories. thing magical about being there. Rob took a year of lessons from Mom, copies were released before EMI put a but learned mostly by ear, joining large padlock on the door. The record “Let It Go” — Melissa O’Neil numerous bands and eventually tanked, but Miles started inviting me to Rob: Our dad passed away from a serious enrolling in Toronto's Etobicoke School his songwriting retreat at this castle he illness in August last year, which was really for the Arts, which exposed him to a owns in the southwest of France. heavy on our family. The two of us used recording studio for the first time. When I went for the first time, I didn’t to talk late at night at the hospital: we'd Employed for three summers as a per- really consider myself a songwriter. I felt talk about his family and how he had a former at Canada's Wonderland theme a bit lost there and I had to be convinced disagreement with one of his sisters park, Rob got married at 21 and decided to go back the next year. That's when where they never really came to terms. to temporarily forego music as a profes- things really kicked in: I had a blast. I Dad got quite depressed and vowed, "I’m sion in favour of computer animation. met so many kindred spirits and really felt going to write her a letter to tell her how He kept his hand at songwriting, and that songwriting was what I was supposed much I love her," but he lost the strength scored his first Canadian Top 10 hit in to be doing. to do that. Soon he passed away with all

WINTER 2007 Songwriters Magazine 5 of this inside him. in tears by the end. I hope some parents that was a real personal issue for me that I wrote "Let It Go" with Rupert Gayle and watched that video and thought twice I wanted to get out. That one came real- Alonzo. We'd all shared similar personal about acting out in front of their kids. ly easily, but I do prefer to sit back and let those who do it really well do it. experiences, and we wanted to write a “Resolution,” “I Can’t Hate song with the message, "Don't sweat the small stuff." You Anymore,” “Everywhere On creative brotherly love Greg: Whenever we finish a song, we There are parts in the opening verse But Here” — Nick Lachey MP3 it to each other and ask for criti- where it's like I’m talking to my dad and Rob: Greg has been working with artists cism, good or bad. We always reach out telling him to be positive. We also want- of this stature for quite a while now, but ed to write a song that was stylistically like it was one of my first ventures working on to see what the other thinks. There's the Foo Fighters' "Everlong" or Billy Idol's a big American record. Greg sent an e- occasional bruised ego, but you'll know "Rebel Yell" that would help fuel that mail to Teresa LaBarbara Whites -- A&R you'll get a candid answer from your own lyrical fire within us. Alonzo came in with for Jive/Zomba -- saying "Here’s my sibling. Once Greg compared one of my the name of the song and it exploded brother. I’d like to introduce you." She songs to a Dave Koz track... from there: I don't usually write lyrics immediately wrote me back, and we started Greg: No, I didn't compare -- I just joked unless I have to, but on that song it came an e-mail conversation that progressed that you wanted Dave Koz to play sax on it. flowing from all three of us. We were all into me actually flying down to L.A. and I have a perverse fascination with pop cul- on the same page. working with Nick Lachey. Teresa was ture, whereas Rob's musical taste — which already a huge fan of "Alive" but Greg's has served him very well — has always Initially, we wrote it with in e-mail got the ball rolling. mind, but it went to Melissa. been considerably more mainstream. I spent four days in January with Nick Rob: The very first record I bought was by It's always interesting to hear something and two other really good writers down Sha Na Na. For some reason I really gravi- that is so personal to you on the radio in L.A. that I work with all the time — tated towards ‘50s pop songs and classic and sung to the masses. It's also crazy Lindy Robbins and Jess Cates. We were chord structures -- and that eventually watching 1000 screaming fans singing locked up in the studio with him for four "Let It Go" along with Melissa and know- blossomed into '80s and '90s Top 40 radio. days. There was a very interesting Greg: Rob has a real innate understand- ing that it means something to every one moment when, for nearly two hours, he ing of the architecture of what makes a of them. sat down with us and talked to us about pop song. For me it is more of a struggle the whole situation of his breakup with “Confessions Of A Broken to get to that place. Jessica Simpson, the separation, and his Heart (Daughter To Father)” relationship with the whole Simpson Rob: The great thing about Greg is that — Lindsay Lohan family, and that helped us write both "I he can go in any particular musical direc- Greg: I'm proud of Lindsay Lohan's song Can't Hate You Anymore" and tion he wants because he's so well versed. "Confessions of a Broken Heart "Resolution." We basically went from that Greg: It’s only in the last 18 months that (Daughter to Father)" that I produced room right into the studio where the I’ve been considered for any pop and co-wrote with Kara DioGuardi and piano was, and just started coming up records. I was doing artier stuff like Lindsay. I know a lot of girls resonated with the song. It came pretty quickly, Rufus Wainwright and Otep - things I am with the heartbreak in the lyric, and as thanks to that conversation." really proud of but that didn’t necessari- we know, Lindsay's troubled story with Editor's note: Greg also placed a tune on ly sell a lot of records. her dad is all too public. Kara was execu- What's Left Of Me that he produced: tive-producing Lindsay’s record and we About work/life balance "Ghosts," co-written with and Greg: I used to work all the time, but had blocked out some time to write. Kara DioGuardi. Lindsay had sent her some poetry and we becoming a Dad made me realize that started going through it. There were On writing lyrics although music, art and expression are some particularly moving lines about her Greg: I don’t really have the gene of amazing, life is way more amazing -- the father and that started us on the song. I great lyrics. That one bypassed me. I’m good and the bad. As corny as this knew we had something when I came definitely driving musically when I’m in a sounds, the more life you let in, the home, played the initial demo for my co-writing situation. However, having more you have to talk about and the bet- wife Louise and developed over the years a confidence ter your music becomes. she was about what a good or bad lyric is, I'm a good editor and I often jump in. Rob: When I was first starting out, I was But that is more like producing grabbing at anything and everything that the lyric rather than rolling was coming along. With a new family of my sleeves up and putting two young boys, I'm trying to maximize pen to paper. I’m really my time at home while trying to secure good at writing bad good projects that are musically satisfy- lyrics! ing. So I am being very selective. I also Rob: I'm sort of in the get a lot of inspiration being with my same boat, though family and spending time with them gen- there have been a cou- erates tons of great ideas. Many of my life ple of times where I experiences tend to play a part in the have written a lot of the songwriting process, so it's great being lyric if it is personal. I find able to have time with my family and that if it is really personal, it really enjoy what life is all about. flows a lot easier. There is a Kerry Doole is a veteran Toronto-based G S song Melissa O’Neil had on the freelance music writer who prefers the RE LL G W WE ELLS ROB radio up here called ‘Let It Go,’ and music of Joe Ely to the music of J-Lo.

6 Songwriters Magazine WINTER 2007 BURT HARRIS Copyright Advocate Succumbs to Cancer

he creative "That was just one of his many contributions to our culture." community Born in Drumheller, Alberta, Harris, who was 48, worked as a Tlost a good professional drummer for 15 years in the Western provinces friend on November before pursuing the bar and counseling artists on copyright 2 when Vancouver law, artist rights and music-related contracts. music and entertain- He co-authored the 1994 Report of the B.C. Advisory ment lawyer Burt Harris passed away Committee on the Status of the Artist and prepared a 1996 following a long battle position paper for the Vancouver Musicians' Association on with cancer. the amendments to the Copyright Act. "Songwriters, musicians Harris also contributed to the lobbying efforts of the Artists' and recording artists all Rights Coalition, focusing on copyright law from the per- owe Burt a debt of gratitude," former's perspective. says Bill Henderson, songwriter, A founding board member of Music BC (The Pacific Music recording artist, S.A.C. director, and Industry Association), Harris was with the national law firm of founder of The Collectors, Chilliwack, UHF and the Artist Heenan Blaikie from 1997-2000 before establishing his own Rights Coalition along with Harris and Marc LaFrance. practice in Vancouver. According to Henderson, Harris is one of the primary reasons An advocate for musician rights, he tirelessly promoted the that the Copyright Act amendments recognizing and estab- artist's position in intellectual property, labour relations and lishing Neighbouring Rights and Private Copying actually occupational health and safety. Harris was recognized for his benefit creators and artists. efforts in 2001 with a Volunteer Spirit West Coast Music Award. "Burt and I and Marc LaFrance spent a few years trying to "He was a great guy and it's very sad that he's gone at such an influence amendments to the Copyright Act that were being early age," said Bill Henderson. made in the mid-to-late '90s so that they would be supportive, "His spirit will live on in his friends, family and in the com- in a real way, of musicians, recording artists and songwriters. munity of creative people that he so passionately and selflessly "As a result, a clause in the amended Copyright Act gave artists supported." and songwriters an opportunity to own the new rights being In honour of his memory, the B.C. Foundation for Music granted to them -- Neighbouring Rights and Private Copying Assistance is starting up the Burt Harris Memorial being the major ones -- instead of having the rights scooped up Scholarship Fund. Tax-deductible donations will be gratefully by record companies and publishers through nasty catch-all clauses that are generally found in their contracts. accepted at: "Without Burt's legal expertise, his ability to think and articu- BC Foundation for Music Assistance late with great precision and his incredible passion for mak- 501-425 Carrall St., Vancouver, BC V6B 6E3 ing a fairer working environment for musicians, this would For more information phone (604) 873-1914 or email never have happened. [email protected]

First Echo: PHOTO: WARNER MUSIC CANADA punk rockers Propaghandi are $5000 richer after winning the inaugural indie-driven, SOCAN-sponsored ECHO Songwriting Prize for the song “A Speculative Fiction.” Celebrating L-R are: SOCAN representative Rodney Murphy with Propagandhi members , Dave Guillas, Chris Hannah, Jordan Samolesky and SOCAN representative Dan Kershaw.

WINTER 2007 Songwriters Magazine 7 Written A Song? Want To Publish It? Here Are Some Tips.

By PAUL SANDERSON

What is a music publishing company? Some would say music publishing is “a phone, a computer and some copyrights”. It can be more fully described as the “admin- istration, promotion, exploitation and protection of all the musical copyrights which one owns or controls.” The perform- ing rights (i.e., the rights to perform the work in public), which are part of musical copyrights, are a limited exception to the above definition. The performing rights society (SOCAN) so-called “standard” songwriter’s publishing agreement are as obtains these rights, by an assignment agreement. See follows: www.socan.ca for more information. a) 50/50 of net income from performing, synchronization and What is music publishing? mechanical rights; Under the Copyright Act publishing is the “issue of copies” of b) 50/50 net income from unspecified uses (includes synchro- a work to the public. The issue of copies to the public implies nization income); tangible copies such as printed sheet music, rather than the c) 10.5% to 12.5% of retail (or wholesale) for print royalties. licensing of intangible copyrights. Note: There are many other types of publishing agreements In practice, music publishing is the licensing and exploitation and divisions in net income that may be applicable. One of musical copyrights, which are intangible. This could be done should obtain skilled business and legal advice before signing by the songwriter, whether or not they have formed a publish- any agreement. ing company. What are the functions of a music publisher? What are some of the other relevant and Creative, promotional, business affairs and administration of specific terms of music publishing agreements? musical copyrights. i) Net income should be defined. ii) Foreign income which is subject to collection fees: Should a composer or songwriter have his/her e.g. 15-25% of gross income in given territory. own publishing company? iii) ‘Reserve’ against returns – usually to protect the record The answer is probably yes, the cost is nominal: See film and company and not really applicable in a publishing agree- television rights below. If you have a catalogue of a number of ment unless print copies are made. musical copyrights, you might enter into a co-publishing or iv) The use of songwriter’s name and likeness. administration agreement and receive the benefit of advances against royalties and a music publisher’s expertise. v) An accounting and audit clause. vi) Reversion of rights: e.g. for failure to exploit copyright or What rights are required when using music in failure to account and/or allow audit. film and television? vii) Advances payable against royalties. For example, an i) A synchronization licence to synchronize visual images advance could be based on performance obligations such with music. This licence is granted by a publisher, or by the as album releases and sales plateaus. CMRRA (Canadian Musical Reproduction Rights Agency), which is a non-exclusive agent for publisher Conclusion members. See www.cmrra.ca for more information. This is a complex legal area and ii) If using an original recording you need a “master use” songwriters should get special- licence. This is distinct from the synchronization and ized professional help. The mechanical licence usually held by a record company that above information is general is required to make a contrivance (e.g. a record). only and in a specific situation iii) Also to be considered are AFM musicians’ reuse fees, and skilled advice should be pension and trust fund payments which are relevant to the obtained. above-noted licences, and whether the writer’s moral rights are to be waived. Paul Sanderson is an entertainment lawyer who entered private practice What royalties are payable pursuant to after having spent several years as a professional musician. He has practi- Songwriter / Publisher agreements? cal experience as a songwriter, gui- It depends, based on the type of agreement entered into, for tarist, keyboard player, and is a pub- example, a co-publishing, sub-publishing or administration lisher and writer member of SOCAN. agreement. He is also the author of Musicians and the Law In Canada, now in its The songwriter’s and publisher’s share of net income in a third revised edition. © Paul Sanderson 2006

8 Songwriters Magazine WINTER 2007 By KEITH CARMAN

Lukas Rossi is a household name. "Kelly Clarkson has successfully made the transition Across the country, discussions about our newest star are from TV celebrity to credible artist and there is no taking place around water coolers, in classrooms, at the local reason why Lukas can’t do so as well. He has the serious gym, and in bank line-ups. Six months ago you didn't know music talent and drive, and all the other members of the who he was. But after spending three nights a week with him band really see this as the next long-term chapter in their for the entire summer, we know him, we love him and we want careers.” to see him when he hits the road for a world tour early 2007. He just needed the exposure. Funding Rossi’s travel However, one question comes to mind: Where did Rossi expenses out of her own pocket on faith alone, Barb Sedun’s come from? gamble confirmed another win for EMI Music Publishing Rossi is now celebrating his glorious victory, successively Canada’s foresight concerning independent talent. defeating 25,000 worldwide competitors to become winner of Rossi is not alone in receiving the strong hand of EMI CBS reality TV show Rock Star: Supernova. Now comes the Music Publishing Canada assistance: , Alexisonfire, whirlwind career of writing, recording and touring the world , , Moist, Gavin Brown, Len, with fellow band mates Matthew Good, and a long list of others who you will be surely (Motley Crue), Jason (, Voivod) and Gilby hearing about very soon have all benefited from the compa- Clarke (Guns ‘N’ Roses) with the release of their eponymous ny's expanded role in their careers. debut album -- although ex-Black Crowes bassist With an inherent belief in their self-contained artist is filling in for the shoulder-injured Newsted on the road. writers, McCarty and Sedun work behind the scenes to Yet this is not the first time Rossi was handpicked from ensure their artists have the tools at hand to succeed at their the throngs of universal talent. How did it come about that a craft, especially in an environment where record labels are virtual unknown took centre stage investing less in gradual career in the world of rock? development. Thank his music publishing In fact, the realm of EMI company. Working closely with Music Canada Publishing invest- Rossi since 2003, EMI Music ment runs the gamut from con- Publishing Canada has diligently stant songwriting sessions in their nurtured this grassroots talent, downtown Toronto office (“in the incorporating their own raw mate- spirit of where talent rials of time, funds and other pro- would breed talent, friendships fessionals in order to ensure his forged and great songs written,” songwriting ability and prime set of McCarty notes) to group field trips vocal chords did not go unnoticed. for writers and artists -- to even Championed by EMI Music financing tattoos and rehab costs, Publishing Canada president if it helps realize a career of song Michael McCarty and Barbara generation. Sedun, (vice-president, Creative), “We are partners in the own- Rossi seemed a perfect fit in their ership of the rights to songs, as eyes for Rock Star: Supernova. opposed to recordings," says “We really felt that he was a McCarty. "Our job is to help make potential superstar, and all he things happen for the songwriters NOVA HEART: EMI’s Barb Sedun and Mike McCarty sandwich needed was the right vehicle to plug TV champ and their songs, and then we try to into," says McCarty. "This show maximize their earning potential. seemed like that vehicle to us." "We license intellectual property of the songs to record Yet Rossi himself didn’t believe his place was on the real- companies, radio, video games, movies, ringtones, online ity TV program. downloads -- anywhere to anybody who wants to use the “Barb booked an audition for him in Toronto but he was songs.” very reluctant to go and missed it,” notes McCarty. The track record of EMI Music Publishing Canada-spon- “Eventually we got him to agree to go to the Vancouver audi- sored acts speaks for itself: sales of 12 million albums in the tion. It was a great opportunity. past 13 years, generating $100 million in wholesale record "Reality-based music TV shows don't get the respect they label revenue. deserve. Where else have you heard and seen on a weekly The final word goes to Rossi himself, who co-wrote five basis such smoking live on primetime television? songs on the new Rock Star Supernova album. "They are the new paradigm – your career starts off with “I have a lot to thank EMI Publishing for. Before they a giant worldwide audience, and it is up to the artist to then signed me my band had broken up and I was practically take advantage of that platform by making great music." homeless. Now I’m recording an album with my , staying Some artists, McCarty notes, have transcended their at Tommy Lee’s place and preparing for a world tour. association with American Idol-type reality shows. "I love these guys!”

WINTER 2007 Songwriters Magazine 9 SONGPOSIUM 2.0 -- STRAIGHT TALK, NO ADDITIVES ou can always build a better mousetrap. his introductory remarks. "It's great," says Thane St. Andrew, a YThe same rings true for the craft of song- "The important thing to me is to broaden songwriter who arrived in Toronto a few writing, with one major difference: hopeful- the songwriter," said the S.A.C.'s Neale. years ago from Calgary and was at Toronto's ly, you'll avoid using an excessive amount of "We want to be teaching the up and Songposium 2.0. cheese as bait. comers how they fit in. Our job is to keep "You can get pointers on what works and The art of saying things a little different- you on the path so you don't have to bang what doesn't because these people are in the ly was just one of the useful pieces of advice your head against the wall creatively." industry. Your friends and family can tell you offered to aspiring tunesmiths during Patrons who attended Songposium 2.0 got they love your songs, but it only goes so far. Songposium 2.0, held November 25-26 at the best of both worlds. "The first day was one These people know the industry." Toronto's Holiday Inn. of public seminars; the second was spent in One of the emphasized components of The Toronto event presented a number smaller groups with mentors -- like the phe- Songposium 2.0 is the Internet, an ever- of Canadian music industry experts -- nomenal singer and songwriter Jully Black -- increasing presence in our lives and an excit- Songwriters Association Of Canada presi- who provided valuable input concerning song ing frontier and to market your music. dent and jacksoul principal Haydain Neale; arrangements, inspiration and answers to In her informative and entertaining esteemed rapper and hip-hop producer inquiries about music industry procedures. presentation, Universal Music Canada's Janis ; Universal Music Canada New "The addition of a second day to Nixon identified digital and mobile plat- Media marketing guru Janis Nixon and Songposium, where everyone gets to spend forms as being chief areas of growth beside producer and engineer Byram Joseph, a.k.a., time in smaller groups with these mentors, the Web, outlining relatively inexpensive Slakah The Beatchild -- doling out valuable has been a huge success!" notes S.A.C. ways of branding yourself and building your insight, analysis and insider experience to executive director Don Quarles. community through websites, cell phones those interested in gaining a foothold both As Quarles observes, however, you don't and services like Puretracks. creatively and professionally. have to be urban or pop to glean useful infor- Songposium 2.0 participants, also include But Songposium 2.0 isn't just about mation that can be applied to your own career. Derek Brin, Metty Merchant, cramming in words to fit your melodic "Even though Songposium 2.0 has been Kyprios, Vince Degiorgio, John Capek, Lennie phrase or having your music dissected by an focusing on genre-specific music, all partici- Gallant, Steve Wilkinson and Chad Mitchell, accomplished group of your peers: Nixon's pants have been benefiting from the insights and many of them will make repeat appear- presence allowed songwriters to discover the of these great industry pros," he remarks. ances through the remaining dates (Calgary, avenues of Internet marketing, while Slakah Networking is also an invaluable aspect Jan. 13-14; Guelph, Jan. 20-21 and Halifax, offered the 411 on some of the latest com- of Songposium 2.0: Not only do you estab- Feb. 03-04.) position-assisting studio gear and software lish connections with self-contained artists Whether it's a demo evaluation or pro- programs out on the street. who have already navigated the obstacle viding guidance, Songposium 2.0 panelists After all, these days it's almost as much course that is the music industry, but you're are at your disposal to share their wealth of about getting the word out as it is about cre- also meeting potential collaborators and knowledge. ating the words, as Haydain Neale noted in business contacts. In other words, they are there for you.

PHOTO: IRV KOCHMAN - SYSTEM 4 PRODUCTIONS

DISTINGUISHED PANEL: At Songposium 2.0, Haydain Neale, Janis Nixon, Choclair and Byram Joseph field demo evaluations.

Check for January and February Songposium 2.0 dates, details and locations at www.songwriters.ca

10 Songwriters Magazine WINTER 2007 By KAREN BLISS PHOTO: MATT BARNES

“It’s a five-person process.” finally on board for Crisis, he hasn’t heard any negative Green, singer/guitarist of St. Catharines post-hard- feedback from long-time fans that have followed the band core band Alexisonfire approaches his songwriting meticu- since its inception in 2001. lously, but says democracy rules when it comes to final “I think in a lot of ways this album is maybe less palatable approval. and a lot heavier than Watch Out!” says Pettit. “It’s definitely “The songs go through the wringer before they come out. gotten very hooky. I think we’ve gotten better at writing We play them and play them and play them until everyone songs, but at the same time, I’m doing a lot more singing on is satisfied with what they’re doing.” this record.” Green is rarely satisfied with what he does. For a guy Pettit is the rip-your-throat-out screamer in the group whose solo side project City And Colour has gone gold usually heard in the more “chaotic” parts and Green is the with its first full-length, Sometimes, it is surprising melodic singer who usually handles the choruses and “pret- but true. tier” parts; MacNeil has a rougher singing voice and can be “I struggle with writing a song in heard on a few songs. general because I don’t have a lot of When a vocalist writes lyrics, usually he or she has the faith in myself,” Green admits. “I melody and hook in mind, so how does a screamer always think what I’m doing sucks.” approach songwriting? It doesn’t make a difference that all “I just know when I write lyrics that I’m going to have to three Alexisonfire albums have done well. yell ‘em,” says Pettit. The band — known for its dual “Sometimes when I write lyrics, if singing-screaming vocals — went I’m writing a pattern, I’ll put on a gold with barely any radio play at song that has the pattern. For all for its 2002 self-titled full- instance, the ‘Charlie Sheen vs. length album. The 2004 follow- Henry Rollins’ song (on The up Watch Out! scanned 75,000 Switcheroo Series: Alexisonfire Vs. units according to Nielsen EP), those lyrics for the Soundscan Canada, and the chorus that I wrote, they fit with brand new Crisis was certified gold a song called ‘State Trooper’ by in a matter of weeks. That Bruce Springsteen. should be validation enough. “You can read the lyrics to “It’s just my personal opinion that song the same way he on everything that I write,” says sings them. It’s like borrowing Green, who says he has "mil- a rhythm from another really lions" of half-finished songs great writer, and then changing and would keep working on the lyrics obviously. But some- them all if he could. times that helps me get a basic “A lot of it has to do with tempo for the song.” me listening to lots of music Pettit writes pages worth of lyrics and thinking that everything is and will change them several times, L-R Jordan, George, Chris, better than mine. Why should I even Wade. Seated: Dallas before Green and MacNeil make bother when this guy’s saying exactly what I their own contributions. want to say?” “Most of the time we’ll pick a topic. I’ll be like, ‘Yo, Dallas, Luckily for Green, he has four bandmates to go to for I’m writing a song about burning mailboxes,’ or he’ll be feedback and approval — co-vocalist , gui- like, ‘Yo, I’ve got this song that’s kind of about St. tarist/vocalist Wade MacNeil, bassist Chris Steele and drum- Catharines, about how downtown is going down,’” Pettit mer Jordan “Ratbeard” Hastings. says, referring to the Crisis songs “Mailbox Arson” and “This “It usually goes through a huge process for me to even get Could Be Anywhere In The World.” to that point. Once I decide what I’m going to sing and I “Then we’ll write our own bits and then when we come show the guys, I have usually come to terms that it’s okay,” together as songwriters, we’ll change it again to make it fit. Green says. Most of the time we sing our own parts, but a lot of times “Once you start believing that you’re awesome or that we’ll collaborate on things or someone will make a good you’re the shit, your music will probably start to sound suggestion and we’ll change stuff from start to finish.” like shit.” MacNeil — who contributes vocals and lyrics to “Drunks, Pettit is neither self-deprecating nor cocky when it comes Lovers, Sinners And Saints,” “Keep It On Wax” and “Boiled to talking about Alexisonfire’s songs. Even with rock radio Frogs” on Crisis — says their sound has definitely developed

WINTER 2007 Songwriters Magazine 11 PHOTOS: CINDY FREY George one putting their own stamp on it,” says MacNeil. “Steele’s not happy with things that are really simplistic, so he’s always forcing us to look at parts. Even if it’s subtle, like we’re changing up the timing for one part or lengthening certain parts or shortening them, he’s not interested in having things having things be all fours.” Dallas Hastings, who joined Alexis last sum- over the past four years. mer, wasn’t on Watch Out! but made his lot of style and it really comes out on “Our first album has a lot of all-over- mark on Crisis. the new CD. the-place vocals, but there’s a lot more “With our last drummer, we’d be “‘Rough Hands,’ the last song, the all-over-the-place ideas in the songs. like, ‘Do you want to try this on the drumming is relatively simplistic, but There’s not cohesive singing, which we drums? Do this for this part,’” says it’s just brilliant the way it’s done and tried to do a lot more on the last MacNeil. "Whereas with Jordan we ‘Mailbox Arson,’ the opening fill defi- album and definitely a lot with this. would make suggestions and he would nitely gives people an idea of how pow- “The three of us would sit down and do something completely different erful the drummer is.” talk through the lyrics and figure out that would blow us away. He’s not a Adds Green: “Jordan really helped what we wanted to say and work all show-off kind of drummer but he has a make our songs more song-oriented, three voices into it, or just work it out as opposed to just parts. He came from lyrically so it’s telling one story, as Wade a band (Jersey) and background with opposed to two songs going on at the choruses. He would be like, ‘We need same time.” to do a chorus here,’ or ‘We need to The fierce rhythm section is particu- put a bridge here to go into the best larly important in Alexisonfire. In fact, chorus.’ I think the power and solidity bassist Steele came up with the initial that he brings to the sound really idea for the single, “This Could Be helped with the songwriting. Anywhere In The World.” "It feels like we have a backbone “I think that’s very important, every- now.”

Classifieds

Each S.A.C. member is entitled to one free classified per year. Additional ads may be purchased for $25 per 25 words. Contact us at 1-866-456-7664 or [email protected]

Published songwriter has extensive catalog of good coun- try material for your next CD project. Songs professionally recorded. Full production backing tracks available. Germain Brunet www.songu.com/members/germain E-mail:[email protected].

Kate Ashby-Craft's newest CD Love Is All There Is is now available. This CD is a concept album. Lyrically, all twelve songs explore a different dimension of love. Musically this CD ventures into the genre of AC/Soft Pop with a Latin/country/folk flavour. For more information please visit www.kateashbycraft.com

Lyricist looking to collaborate, genre is Pop/Rock but not limited to. Contact Kim@[email protected]

Songwriter and producer has CD consisting of eight songs. Good mix of music. If you are in need of a song for a upcoming recording session please contact me at [email protected] so I can mail you my CD. Serious replies only please.

12 Songwriters Magazine WINTER 2007 DISCOVERING ATLANTIS k-os EXPLORES HIS OPTIONS By NICK KREWEN

act or fiction: The existence of the of Nova Scotia you see a Flost continent of Atlantis has been city rise. What would the debated since the days of Plato. people be like? What The quandary, of course, is would be their culture? whether the island, reportedly located What if their culture was somewhere in the Atlantic Ocean and so different that it made first mentioned by the prominent everything that you per- Greek philosopher during his lifetime ceived about those peo- circa 400 B.C., did indeed sink during ple different? a volcanic catastrophe with its "And that's what advanced civilization some 9000 years Atlantis is about. It's not before he lived, or whether it was a about a city sinking. It's figment of Plato's vivid imagination. about a city rising." Attempts to turn up evidence of its As listeners of his whereabouts have been fruitless, with two previous albums, theories concerning its sunken ruins 2000's Exit and 2004's ranging everywhere from China's , will Southern Seas to the Caribbean. attest, the Whitby, Even if it exists, it may never be Ontario-born Brereton found, but the symbolism and hope of has stretched the idiom what it represents -- the potential of of hip-hop so far beyond possibility -- weighs heavily within the its parameters that some

framework of Atlantis: Hymns For have questioned his PHOTO: DUSTIN RABIN , the third innovative album from credentials. hip-hop visionary Kheaven Brereton, Written and recorded Trinidadian descent as some sort of a.k.a. k-os. in Toronto, Vancouver and Halifax, urban scapegoat untrue to his muse "I've always loved mythology," Atlantis: Hymns For Disco, is comparable seems unmerited. notes Brereton, hunched over a table to his other efforts in its abundance of In response to his critics, Brereton at a Toronto cafe one late afternoon, flavours. The straightforward lexicon of champions the philosophy of influen- dreads hanging over his brow, between "ELEctrik HeaT - the seekwiLL" is tial New York MC Kris Parker, a.k.a. sips of his caffeine-free beverage. immediately contradicted by the orches- KRS-One, and says he's simply "I think it was my escapism trated piano balladry of "The Rain," expressing his culture. as a kid: African mythology, arguably k-os' tribute to 's "KRS-One used to talk about Egyptian mythology, reli- "It's A Man's Man's Man's World." something called 'edutainment,' "FlyPaper" segues from comedy to where you could entertain people and gions, why things happen; rock 'n roll anthem; "mirror in the educate them at the same time," k-os things to explain why things Sky" anchors itself on a reggae rhythm explains. happen -- and I loved this and accelerates to a Russ Klyne ska "Not educate them with your jar- whole idea that Atlantis was a guitar line for "born to Run." gon, but your experience. "Valhalla," which features a guest "That was also a common theme in city that sank, but it's some- cameo by Sam Roberts, finds k-os hip-hop at the time: How do you make where there still. spewing Dylanspeak phrasing and these really fun songs but not make "And then a friend of mine, Saul imagery, while "highway 7" keeps it them about partying all the time? Williams, who is a great poet and song- bare and minimal, a strummed guitar "So he was the first guy from the writer, was telling me that he had a at its epicenter. streets who had this idea of making movie script where a city suddenly Brereton both sings and raps -- hip-hop that kids could listen to, but springs up one day, and the album's again, attributes he displayed both would still have a boombastic beat and kind of based on that story. during Exit and Joyful Rebellion -- so maybe a rebellious attitude towards "Imagine that one day on the coast to portray the Canadian of saying something.

WINTER 2007 Songwriters Magazine 13 "He also kept saying, 'Hip-hop is "The first thing that "The song is kind of built on a an attitude. Rap is something you comes out of me, I record," scat," k-os explains. "I write songs do.'" with scat words, and then write lyrics For k-os, Atlantis: Hymns For Disco he states. "Whether it's a to the onomatopoeia -- the rhythm of is a personal platform to forward piano lick, a guitar lick, a it. You get the rhythm that sounds that assertion. lyric or -- (Paul) McCartney best over the song and then you write "I think this record, more than had this thing where he lyrics to that rhythm." anything, gives me a great plateau to Co-producer Greg O'Shea also say that," confirms Brereton, who wrote down titles before he helps him fill in the sonic blanks. recorded over 30 songs for the proj- even had songs, and "Greg can get any sound," ect before settling on the 14 that 'Valhalla' was a song title Brereton asserts. "So I play him made the cut. before I even knew what it something, he gets the sound and "Hip-hop is an attitude -- like was going to become then we start building. Once I've got , or Andy Warhol, or any- a drum sound going -- again from the body with an attitude who expresses because it means 'Viking hip-hop mentality, the drum is the it through their art. heaven' and I liked the soil -- and I think, 'Okay, now you've "My attitude will always be hip- word -- I've tried all those got to make big trees. Now you've got hop because it was the music that types of things. to make cumulus clouds. Now you've schooled me. You see elements of got to make flowers.' graffiti in here and I boom back to all "Then I start to pick the other the beats, even if it's a rock beat -- it's sounds -- I haven't really heard a har- kind of got these kicks and snares monica with this type of hip-hop beat and is sort of heavy. -- and then you can start messing with "So those are the sensibilities of things because you're approaching it hip-hop, but it's not rap. I'm not rap- from the ground up." ping that much on the record. Maybe Brereton admits that he has no I'm living in a dream world, but I qualms about calling in the cavalry hope that people see that you can whenever he requires. take that attitude and do anything." "I know some people just write In fact, you won't find anyone songs on guitar, but me, I don't have practicing this principle more overtly those skills," he reveals. "I can give than Brereton himself. The sophisti- you a couple chords, but then I'll get cation of material delivered on Exit, another guitar player to come in and Joyful Rebellion and now Atlantis: do it better than me or we'll play it Hymns For Disco, is all the more together. But for me, it all starts with impressive considering k-os, signed some kind of layered reality, just let- to Universal Music Publishing ting the thing build. Canada, has no formal training and "Sometimes, I'll just start hearing can't read a note of music. things in my head and take it from So when it comes time to create, there." k-os takes his cues by listening to Brereton says his arrangements others. PHOTO: JEREMY R. JANSEN are tantamount to solving puzzles. "First thing I do is I start getting "Anyway, recording is the first "In something like 'Sunday my ass kicked by listening to the thing I do." Morning,' the whole song is really greatest songs," says Brereton, who, A favourite instrumental tool of based on the acoustic breakdown in as demonstrated by such hits as Brereton's is the Ensoniq ASR-10 sam- the song. "," "Crucial" and "Dirty pling keyboard. "But what I find starting happen- Water," has a refined ear for melodic "That, the guitar, a microphone and ing to me -- and I'm putting this out hooks. a four-track, that's what I brought on my there for other non-trained musicians " - boom, you get last tour. That's where I wrote 'Valhalla, ' who will do it by ear -- things just start slain! McCartney-Lennon, you get black ice' and 'FlyPaper.' fitting together," he explains. slain! , you get killed! "I like to sample things, play guitar "You play this guitar motif and Then I hear more current stuff like over it and also use my four-track to put then you start playing these chords , some of the Joe down the scat ideas." on keyboards on top of it. I don't Strummer/The Clash stuff, really The "scat ideas" k-os employs -- a know what key it's in, but maybe classic songs." method of wordless singing most often that's the key that I play in all the Then he plugs into his four-track employed by singers -- allows him to time. Then I start singing and it's my recorder. get a general lyrical feel for his songs. register.

14 Songwriters Magazine WINTER 2007 "I think subconsciously, you just Moe Koffman," k-os recalls. "I'd find though when I tell everyone I'm over start figuring out what your voice these Jose Feliciano records, all these it, I'm not. sounds best with and your hands just people from every culture. I think "Or the fact that everyone's talk- naturally go to these places. It's a real- that's why I can never judge music, ing about ghetto this and ghetto that, ly weird thing, because a guitar player because my Dad's record collection or rich this and rich that. You know will ask me, 'Oh, what chord are you was like the United Nations." what? The world is a ghetto. And playing there? A B-minor? And then After a lifetime of singing, that's how 'Valhalla' came to me." you went to that?' And I'm like, 'I Brereton, 34, says he fell into rap at Brereton also possesses another don't know what I did. I just did it.' the age of 18 when the bland R&B compositional ace up his sleeve: that "I think the untrained ear and eye scene at the time disenchanted him. eight-bar shift known as the bridge, or in art don't stop to go, 'Is this going to "I basically switched my vocal "middle eight." fit?' 'Is this harmonically correct?' instrument to rap and then singing "Music is all about the change, all "You just try it until you find played the background. I think it's about the middle eight," he explains. something that fits." funny, because the success of that "Nobody's really doing this anymore -- Brereton says he heeds the words character of k-os has happened it's kind of a lost art. of late jazz pioneer Miles Davis to because he's singing on his chorus "If you know where it's going to reassure his artistry. and hooks. change and go back into the song -- it "The greatest thing that any musi- "People in the hip-hop world doesn't have to be chordal, it could cian ever said that I've read was Miles says, 'He's not a real rapper because just be a breakdown, or as in Davis, who said he learned everything he sings.' I don't mind that, because I 'Crabbuckit' and 'Crucial,' it could be to forget it. know I started singing first. I'm okay a little section -- then the chorus can "So that gives a guy like me hope," with letting people hear that vulnera- be informed by that." he laughs. "Because I don't know any- bility in me." It's a method that has worked thing. So maybe I'm starting where he Of course, of paramount impor- wonders for Brereton's career, with ended." tance to hip-hop is the lyrical Joyful Rebellion scoring a double-plat- Brereton recalls that his musical content -- and k-os says Atlantis: inum record in Canada, seeing him onset happened innocently enough. Hymns For Disco picks up where Joyful headline summer amphitheatre con- The first instrument that intrigued Rebellion leaves off, displaying a him to the point of action belonged to more personal side. his grandmother. "I knew that with all the "It was a Yamaha Melodica that songs on this record, I could you blow through to play," he remem- bers. "I thought it was mystical. I'd no longer talk about the wait until she was gone and then I'd state of hip-hop or whatever open it. I must have been 10 or 11; everyone else is doing," one day she was standing at the door Brereton explains. listening and she said, 'Yeah, boy! Play it! Play!'” "'Crabbuckit' is about the crabs in Brereton experimented and the bucket, you know? The songs that admits his first songs did little more spoke to me most about my own expe- than amuse his family. rience were 'The ' "That's when I decided I really and 'Crucial.' wanted to write songs, although instru- "Those two songs were really a ments were things that I didn't want to man talking about his own experi- learn about from a book," he recalls. ence. All the other songs were really about what the world is at or what the

"I just wanted to beat on them and PHOTO: DUSTIN RABIN play on them. I still think I do the same world is doing to me, with kind of a thing today." victim mentality. certs and international releases in the Calling himself "a pretty insecure, "So with Atlantis, it was about U.K. and the U.S. weird species of a hip-hop guy," whatever's really pissing me off or Now with Atlantis: Hymns For Disco Brereton's influences came from all really making me so happy. Like the poised to continue the momentum of over the musical map: Siouxsie And song 'CatDieseL,' where I just met this k-os rising, Brereton is only looking in The Banshees, Kid Creole And The girl and I was so happy because a cou- one direction: forward. Coconuts, Grandmaster Flash, KRS- ple of girls before her weren't paying "I'm going to keep it going, love One, punk, new wave, jazz -- and his me any attention. life and trying to get better at this father's albums. "What's pissing me off? My first craft of songwriting,' he vows. "Linda Ronstadt right up to girlfriend that broke my heart -- I "Because it is a craft - that's for ABBA, right down to Deep Purple and want to write about that, still, even sure."

WINTER 2007 Songwriters Magazine 15 Welcome New Members! The S.A.C. welcomes the following new members who have joined since August 11, 2006

AB Rhonda Berger NB Brad White ON Sarah Herburger ON Steven Rane AB Ronnie Gaffar NF Christina Clouter ON Andrea Higgins ON Joseph Ress AB Jean Greer McCarthy NL Larry Brenton ON Ron Hobman ON John Riopelle AB Ross Harper NS Garth Bennett ON Keith Holding ON Santino Rotiroti AB Murray Hayward NS Reeves Matheson ON David Houghton ON Mike Rouleau AB Randy Howell ON Choclair ON Rhowan James ON Duane Rutter AB Ron McNeill ON Frank Anderson ON Cheryl James ON Grainne Ryan AB Angela Nurse ON Sue Battle ON Veronica Johnny ON Wendy Samulski AB Michael Pittonet ON Ty Baynton ON Wayne Johnson ON Judy Seabrook AB Patricia Poriz ON Michael Bebis ON Aurora Jon ON Helen Shannon AB Charlie Scott ON Jason Blackwood ON Levon Kalalian ON Eejune Sim BC Loyd Bishop ON Vicky Bolduc ON Courtney King ON Rayna Slobodian BC Dane DeViller ON Kimberly Boyce ON Max Layton ON Philip Sohan BC Kevin Gardner ON Shae Calhoun ON Mile Lazarevski ON Chris Staig BC Ginette Genereux ON Kira Callahan ON Bob Livingston ON Dani Strong BC Renee Geronimo ON Jason Chapman ON Dave MacLean ON Chris Tait BC Carol Gurr ON Stephen Cogan ON Kimberley MacLean ON Sarah-Jean Villa BC Bonar Harris ON John Collins ON Bernie Maisonneuve ON Joanne Wasylishen BC Ray Lasell ON Karen Cooper ON Justin Manuel ON Ashley Weinhandl BC Joe Mock ON Aduron De Ronov ON Michael Maracewicz ON Wendy Wile BC Stan Morris ON James Delaney ON Salvatore Marcello ON Kimberley Williams BC Gail Noonan ON Cristian Di Rocco ON Donna Matthieu ON Alton Willis BC Mark Plimley ON Dian Doyle ON Francis McCain ON Tom Savage BC Lester Quitzau ON Emmanuel Erskine ON Antonio Moniz QC Martha Cortez BC Ronald Rau ON John Farragher ON Alden Anthony Morgan QC Paul David BC Pernell Reichert ON James Fernandes ON Joshua Morin QC Alasdair Gillis BC Bernadette Saquibal ON David Folkerth ON Sue Nguyen QC Reagan Hicock BC Mike Twining ON Stephen Ford ON Hedda Nicol QC Rachelle Mantha BC Andrew Warren ON James Gadon ON Katie O’Halloran QC Mark Sheppard BC Murray Wilde ON Madeline Gauthier ON Arlene Payne QC Lori Singer BC Marie Willson ON Godfrey George ON Pablo Petrucci QC Trever Trudeau BC Jimmy Zee ON Michael Gibbons ON Lorenzo Policelli SK Kimberly Hall NB Rick MacIntyre ON Sarah Gropp ON Vojin Radenovic SK Ovide Pilon NB Jordan McElhinney ON Stanley Hammond ON Kavitha Ramachandran SHARING IDEAS: THE WORKSHOP COMMUNITY By L.C. DI MARCO Warmth. Fireplace. Hot water. Jalapeno pepper. Fire. It’s not about money: It's about connection.

I can feel the warmth of your skin as I lie next to you It comes down to community. If the purpose of writing is to by the fireplace. communicate, then our material needs to be universal, which, of course, is often the challenge. At this point, shar- I said the wrong thing and now I’m in hot water. ing our music with others may help the creative process. My tongue is on fire but the jalapeno peppers are What better way to know if our song is reaching others worth the painful quench. than by actually performing it for an audience? I feel the warmth of the sunrays on my skin as I Performing for an audience can be intimidating for folks remember your sweet kiss. who are exclusively songwriters. I remember your sweet kiss as I bathe in the warmth of This is where the workshop format becomes useful. It is in the sunrays. a group of peers that we can obtain honest feedback and advice. If the purpose of writing a particular song is to Writing a song is like poetry in motion. It’s more than ‘build trust,’ then how do we proceed? Most importantly, lyrics and music: We all have something to say, but we're has our choice of words conveyed its point? not always able to express ourselves to others. Quite often, without even recognizing it, there is a song Many great writers use fictional characters to convey their lingering in our minds. Our thoughts, feelings, experiences, thoughts. Visual artists awaken emotions with specific all follow us in our musings. colours and brush strokes. Poets choose verse styles. We could be sitting on the bus and daydream a memory as Songwriters choose eclectic lingo. we look out the window. A woman could cross our paths, The eclecticism of style and presentation of a song her perfume reminding us of our grandmother. A stranger’s depends on the purpose of writing it in the first place. cologne could serve as a memory of a bygone Christmas. cont’d on page 18 16 Songwriters Magazine WINTER 2007 THEMATIC ALBUMS: WHAT A CONCEPT By Shallima Maharaj and Nick Krewen

ome have argued it was ; others say it was The "It was certainly designed to be my Dark Side Of The SPretty Things. Moon." Whichever act truly pioneered the concept project -- where In adapting the material to music, both Parsons and the song cycle comprising an album is thematic, with each Woolfson delved into the Poe library and tried to adapt source composition staying true to its chosen subject matter -- has material both familiar and obscure. certainly been responsible for some of the most beloved, "We both re-read a large slice of the body of Poe's work enduring and commercially successful albums in contemporary and we made discoveries during the actual album recording," times: Sgt. Pepper's Lonely Hearts Club Band, Tommy, Parsons recalls. "We discovered 'To One In Paradise' and 'A Quadrophenia, The Wall, 2112, The Lamb Lies Down On Dream Within A Dream,' so we just didn't go with the Poe Broadway, Operation: Mindcrime...and the list keeps growing. "hits" as it were, like 'The Telltale Heart' and 'The Cask Of Canadian artists have also taken topical music to heart: in Amontillado.' this past year alone, Neverending White Lights and Meligrove "To re-read works it was like, 'Oh, that will work really Band are a few whose albums sport running themes. well as an ending song' or 'that would work really well as a Where to begin? poem.'" As concept specialist Alan Parsons, whom the Songwriters For the Neverending White Lights opus Act 1: Goodbye Association Of Canada presented earlier this year at Canadian Friends of Heavenly Bodies, sole static member Daniel Victor Music Week in Toronto, points out, having a premise in mind relied on his University of Windsor minor studies in World can instill a project with purpose. Views to inspire the ethereal, synth-infused soundscape that "If you know what to write songs about, it makes it easier to thematically revolves around mortality and rebirth. pluck ideas out of the air that much more easily than with a “I found myself already graduated and still seeking out completely blank sheet of paper and not really knowing what information in books about world views and and kind of song you're looking to write," explains Parsons, who spirituality,” Victor recalls. teamed up with session keyboardist and songwriter Eric “It was more about the interest of something that no one Woolfson to launch his studio-bound Alan Parsons Project with knows anything about, but that humanity created these sorts 1975's The Tales Of Mystery And Imagination Of Edgar Allan Poe. of and rules along the way based on past teachings Motivated by his own engineering contributions to Pink and ideals and we follow them, but they’re still limited to the Floyd's Atom Heart Mother -- and in particular, the phenomenal human mistake.” Dark Side Of The Moon, still going strong with an estimated In the case of Meligrove Band's epic Planets Conspire, 40 million copies sold, 1535 weeks on the Billboard Pop songs like "Isle Of Yew" and "Our Love Will Make The World Go Catalog charts and counting -- Parsons partnered with Round," suggest tunesmith Jason Nunes' romantic obsession Woolfson to set American writer Poe's works to music. was the fodder of this seemingly thematic Valentine. "It seemed that Edgar Allan Poe was a good plan," allows But the singer/songwriter, who originally intended Parsons. "His work had been always successful in cinema. It Planets Conspire to be a shorter EP called Headphones For Hard seemed like a perfect vehicle for what we had in mind - a pro- Times, says instead that it stems from artistic restlessness: a gressive rock concept album. career crossroads that found him contemplating whether he should continue creating with Meligrove drummer Darcy Rego, bassist Michael and multi-instrumentalist Andrew Scott. “I had all these heavy, heavy ideas at the time and I kind of thought I was wasting a lot of my time just being in a band,” explains Nunes, whose Planets Conspire is Meligrove Band's third album. “I really thought I had to work on myself and my home and my family and a whole bunch of things that were a lot more heavy than playing songs that were on Let It Grow and Stars and Guitars that really had no substance. “So I just told Darcy and Mike, ‘You know guys, I can’t really do this right now. I’ve got to do other things.’ "It was weird because right when I was saying that, I was still writing and what I was writing, Mike and Darcy heard and they were really into it. "It just made sense to keep going.” The 10-track introspective, full of pop rock splendour, engaging harmonies, booming classical instrumentation and a heart-on-sleeve account of life from the dismal lows to the victorious highs, served as sonic therapy to Nunes, harnessing his curiosities, fears and experience. In order to reach from within, Nunes had to step outside his musical composition comfort zone and trade his usual gui- tar for his parents' piano. “I think the guitar became so familiar to me that I became cont’d on page 18 WINTER 2007 Songwriters Magazine 17 cont’d from page 17 L-R Jay, Darcy, Mike, Andrew too conscious of what I interest by always having different singers on each song." was doing," reasons Victor, whose 16-song self-written, produced and engi- Nunes. "When I sat at neered Act 1: Goodbye Friends of Heavenly Bodies includes the piano, I could be appearances by ’s , 311's Nick hitting the same notes Hexum, Finger Eleven's Scott Anderson, Creeper Lagoon's and I wouldn’t even Sharky Laguna -- and, on the hit single "The Grace," Dallas know it. And I was Green, both of Alexisonfire and City And Colour -- settled for a inventing all these more organic method. new chords for myself “It was half me going through my entire record collection and I ended up teaching and essentially making a wish list of who I would like to see myself how to replay step out of their band and do something interesting," Victor the guitar through the reveals. "The other half of it was a vocalist that came to mind piano. as I was writing a song.” “You have to kind The album unfolds in novel-like fashion with its own chap- of step out of every- ter divisions, broken into three sections. thing otherwise you’re “To me, 79 minutes of music is a lot for somebody to take too critical and too in," he explains. "The songs are very long, you have different self-conscious." vocalists coming in and out, you have a lot of different instru-

PHOTO: DAVID NEMEROFF PHOTO: DAVID Rather than deliver mentation and it just seemed like a lot to interpret.” their music in Nunes' manner with a single voice, both Alan Commercially, the multi-singer approach has served Alan Parsons and Neverending White Lights' Daniel Victor opted for Parsons well, enabling him to score hit songs like "Games multiple musical guests. People Play," "Time" and "Eye In The Sky," and sell more than "It was a variety angle," says Parsons concerning the turn- 45 million combined copies of such popular titles as Tales Of stile approach that employed Mystery And Imagination Of Edgar Allan singers ranging from ' Poe, I Robot, The Turn Of A Friendly Card , Arthur Brown and Eye In The Sky before he and Eric (remember the 1968 hit "Fire"?) Woolfson split in the early '90s. and to , But when it comes to creating concept , and projects, Parsons says only one thing co-creator Woolfson. really matters: your audience. "I think a lot of people stum- "Choosing concepts wasn't the chal- ble because they essentially have lenge so much as coming up with the same sound from the begin- good material and structuring them in ning of an album to the end of an a way that we felt was going to album. We managed to hold the PHOTO: GREG PLANTE please the listener."

SHARING IDEAS... cont’d from page 16 How do we express such pleasantries and/or even sad- workshop have helped me to become more prolific with ness in a song? my writing." There are various exercises to help the process. It involves Popcycle, a Mississauga-based duo consisting of Fabiola more than the movement of our pens. It involves us actu- Vettese and David Franco, say their combined interest in ally getting up and leaving the comfort of our homes. S.A.C. workshops "is to fine-tune our lyrical and general Working through exercises such as starting with words songwriting and performance technique." that convey particular emotion and build free thoughts is Randle Timmins from Williams Lake, , something that can be focused on in a workshop. By set- appreciates the networking opportunities. ting up a motivational atmosphere, our musings are more Some come for the camaraderie and others come ready likely to exfoliate. with a newly completed song or one in progress. All of us The individual singer-songwriter generally writes alone, come to share our stories, practice some writing exercises but collaboration is a growing trend. But how do you meet and discuss business challenges. like-minded others? Over the next few months, S.A.C. will be working hard to The Songwriters Association of Canada has run work- improve the formats of these workshops. The Regional Writers shops, demo evaluation nights, seminars and other song- Group Workshops are free to S.A.C. members. The Weston/ writing business-related events over the years. Of partic- Etobicoke chapter meets the first Saturday of every month. ular value are the Regional Writers’ Groups. Check out www.songwriters.ca for details. As the co-ordinator of the Weston/Etobicoke Writers If you are interested in becoming a Regional Writers’ Group, I’ve seen and felt the firsthand benefits of working Group coordinator, please contact Executive Director, Don with other peers. Amateur songwriters profit from those Quarles at 1-866-456-SONG. who are published and more experienced in the industry. L.C. Di Marco is LiANA, a Toronto-based singer-song- There are other reasons why creators value the workshop writer with three independent CDs to her credit. Check environment. out her latest effort I See No Rain at www.liana.biz and Paul Travydas finds that the "deadlines imposed by the www.indie-music-toronto.ca.

18 Songwriters Magazine WINTER 2007 SPOTLIGHT

BBN No. 60 , September 19, HUGH’S ROOM, TORONTO PHOTOS: PIERRE MILLETTE

Coco Love Alcorn Peter Verity Lindy Greg Wyard

Emm Gryner Alcorn, Lindy, Gryner, Dale Nikkel & Selena Martin Wyard

With TOUR 2007 Blair Packham Barney Bentall Melanie Doane Jeremy Fisher Jian Ghomeshi Selina Martin Danny Michel Justin Rutledge Jenny Whiteley and more

Jan. 19 EDMONTON Jan. 20 CALGARY Jan. 27 OTTAWA Feb. 2 HALIFAX Feb. 9/10 ST. JOHN'S Feb. 16 WHITEHORSE Where Writers Sing & Tell Visit www.songwriters.ca for Produced by Shari Ulrich for the Songwriters Association of Canada. more info or call 1 877 456-7664

WINTER 2007 Songwriters Magazine 19 DANIEL POWTER – Award Winning Songwriter GRAND PRIZE The national winner will receive a prize package of: n $10,000.00 in cash (first runner up receives $2500.00 cash) n TASCAM 2488 24-track Digital Portastudio n NEUMANN TLM 49 Professional Studio Microphone n 30 hours of mixing and mastering time from METALWORKS, Canada’s #1 Recording Studio n $2,500.00 National Radio Promotion Package from dB PROMOTIONS & PUBLICITY INC. n One Free Digital Radio Station Upload to any format of choice by RDR MUSIC GROUP in conjunction with DMDS n Complete Website Design, One Year Web Hosting & Customized Enhanced CD Package from J.E.T. MEDIA AND DESIGN REGIONAL PRIZES Each regional winner will receive a prize package of: n GARRISON AG-500-CE Acoustic/Electric Cutaway Guitar with Solid Spruce Top & 4 Band EQ n SENNHEISER Studio/Live package including: E 865 condenser vocal microphone, stand, cable, and HD 280 professional headphones n 2 1/2" Carving Leather Guitar Strap with foam padding and garment leather backing from LEVY’S LEATHERS LIMITED n An all-expense paid weekend at the FAIRMONT ROYAL YORK HOTEL TORONTO – March 8-10, 2007 n Delegate passes to CANADIAN MUSIC WEEK CONFERENCE & FESTIVAL n A private seminar with some of Canada’s most successful songwriters n Opportunity to perform at the SONGWRITERS’ FESTIVAL - March 9, 2007 in Toronto n All entrants receive a one-year subscription to CANADIAN MUSICIAN MAGAZINE WHO CAN ENTER Aspiring or proficient songwriters – self-published or unpublished – who are looking for a chance to get their material recorded and/or published. HOW TO ENTER n Send a CD with a minimum of 1 song up to a maximum of 3 songs, along with a typed lyric sheet, your name, address, telephone number, and email address to the closest participating radio station in your area. (Please write your name and telephone number on CD). n The song must be original and not published or distributed prior to competition. n All entries must be received no later than December 22, 2006. For complete contest details visit www.radiostar.ca or pick up an entry form at participating radio stations and music stores nationwide.