EDITOR Beverly HardyMANAGING EDITOR Don QuarlesLAYOUT Lori VeljkovicCOPY EDITOR Leah ErbeCONTRIBUTORS Don Quarles, Nick Krewen, Kerry Doole, Leah Erbe,Dale Leung, Pierre Millette,

Canadian Publications Mail AgreementNo. 40014605Canada Post Account No. 02600951ISSN 1481-3661 ©2002Songwriters Association of CanadaSubscriptions: Canada $16/year plusGST; USA/Foreign $22

Songwriters Magazine is a publication of theSongwriters Association of Canada (S.A.C.)and is published four times a year. Membersof S.A.C. receive Songwriters Magazine aspart of their membership. SongwritersMagazine welcomes editorial comment.Opinions expressed in Songwriters Magazinedo not necessarily represent the opinions ofthe S.A.C. Address submissions, inquiriesand changes of address to:

26 Soho StreetSuite 340Toronto, OntarioCanada M5T 1Z7

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

All rights reserved. No part of this publica-tion may be reproduced, stored in a retrievalsystem or transmitted in any form or by anymeans without the prior written permissionof the Songwriters Association of Canada.

BOARD OF DIRECTORSPresident Haydain NealeVice-President Bill HendersonVice-President Eddie SchwartzTreasurer Erin BenjaminSecretary Greg JohnstonPast President Stan MeissnerDirectors Joan Besen, Lennie Gallant,Sean Hosein, Marc Jordan, Dan Kershaw, Lynn Miles, Christopher Ward

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

Executive Director’s Message

Wow – where did the summer go?The S.A.C. has been actively promoting the Association at

several events over the last few months as wellas preparing for the upcoming season: Wewere at the SCMAs (Saskatchewan CountryMusic Awards) in Saskatoon, where LennieGallant participated in several songwritingpanels and showcases; S.A.C. BoardPresident Haydain Neale made his way up toSault Ste Marie to lead a songwriting workshop co-sponsored by Music and Film inMotion (MFM); Pat Pattison wowed anothergroup of songwriters at a weekend workshopat Metalworks Institute; and in June we had agreat bluebird North showcase inVancouver featuring Heidi McCurdy, AaronGrant, Ryan McMahon, Hayley Sales, PaulaToledo and of course, Shari Ulrich.

In June, we held our Annual GeneralMeeting in Toronto which featured a greatperformance from new S.A.C. board member Lynn Miles; Christopher Ward andRob Wells helped judge a song contest andattended a Gala student songwriters recital inWhitby for SASS (School Alliance of StudentSongwriters); and the S.A.C. also co-sponsored Toronto Harbourfront’s“Generations – Songwriters in the Round”concert featuring Dean McTaggart, BrentTitcomb, Lindsay Broughton and LiamTitcomb.

The summer ended with our attending theannual MIAC (Music Industry Association ofCanada) trade show in Toronto where we hada chance to connect with many industry folks.Thanks to those of you who stopped by theS.A.C. booth to say hello.

We’ve been busy planning for the coming year’s activities and you’ll bepleased to hear that Songposium will be coming to Halifax, Ottawa and Winnipeg inNovember. The day-long workshop will feature sessions such as: Anatomy of a Hit,Radio Programming, Plugging your songswith a Pro, and a Demo evaluation panel.Bluebird North will be in those same citiesoffering audiences another round of dynamicshowcases of Canadian songwriters. The web-site will be updated as information becomesavailable. Be sure to buy your tickets early.

The Bluebird North showcases will continue with their usual schedule inVancouver in the fall under the productionguidance of Shari Ulrich. The Toronto showcase will be taking a well-deserved breakso that some of the other initiatives and specialpanel presentations can be taken to thestreets. A special thank you to BlairPackham and Shari Ulrich for helping to makethe Bluebird North brand what it is today!

If you bump intothem, thank themagain!

We are excitedabout a new show-case opportunityinvolving a part-nership with thefolks at SecondCup Canada.Thanks to LauraMingail and Karen Gold (both from SecondCup Marketing), an initiative is in full swingto help promote Canadian songwriters intheir coffee houses across the country. Withan initial launch in September and Octoberof this year, songwriters from coast to coastwill have opportunities to perform their original Canadian songs for a warm, caffeine-loving audience! For more information, seethe article by Kerry Doole in this issue.

This past year, members of our advocacy committee have been workinghard to ensure that songwriters have a voicein the discussion of the monetization of digital music. We plan on sponsoring several seminar / panels to discuss the monetization of peer-to-peer filesharing anddigital distribution of music. The events willbe announced soon and promise to bedynamic open forums, bringing some ofCanada’s foremost songwriters and industryexperts together to discuss the issues and theproposed solutions. These events will takeplace in Toronto, Montreal and Vancouver,and we hope to have them available to hearonline for those unable to attend. Check thesongwriters.ca website for details on locationsand times for these and other events.

Be sure to check the website for information on the Toronto Date with aDemo nights. This popular event will now beheld on the first Wednesday evening of eachmonth at the Royal Conservatory of Music inToronto. Check the website for current timesand panelists.

I want to take a moment to thank LeahErbe for her hard work and dedication overthe last year and a half in her role as MemberServices Rep. Leah has decided to focus herenergies on her music career and althoughshe will be missed at the Soho office, we wishher all the success in her new endeavours.We’ll miss you Leah!

At the same time, I’d like to welcomeAnia Ziemirska to the position of MemberServices Representative, who has jumped inwith enthusiasm. Welcome Ania!

Don QuarlesExecutive Director

Busy, Busy, Busy!

2 Songwriters Magazine FALL 2007

DON QUARLES

ED – Special Note: At the press time, we learned that S.A.C. Board President HaydainNeale, singer/songwriter, jacksoul frontman, CSHF Board member, was recovering in hospital after a motor vehicle accident on August 3rd, 2007. Our positive energy andthoughts are with Haydain and his entire family. Haydain, we wish you a speedy recovery!

WRITING FOR KIDS? IT’S NOT CHILD’S PLAY Exploring the science of crafting children’s music.By Nick Krewen

12

SUMMER CAMP FOR SONGWRITERSThe tradition is growing at the Humber SongwritingSummer Workshop. By Leah Erbe

15

UNCOVERING THE SECRETS OF THE NEW PORNOGRAPHERSChallengers, The Vancouver band’s fourth album, maybe the defining momentin the band’s history. By Nick Krewen

16

RWG UPDATESA look at S.A.C.’s Etobicoke, Halifax, Montreal, and Kippins, NL RegionalWriter Group Programs.

19

BLUEBIRD NORTH TAKES FLIGHT IN VANCOUVERBBN Nos 54 and 55 at the Roundhouse in Vancouver. Photos by Dale Leung

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CAFFEINE AND COMPOSITIONThe launch of Second Cup’s new café music series.By Kerry Doole

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9 P2P DOWNLOADING: HURTING SONGWRITERS’BANK ACCOUNTSMusic fans have made it clear they’d be happy to pay creatorsfor their work. S.A.C. proposes a way to do just that. By Nick Krewen

Contents FALL 2007 Volume 10 Number 2

16 COVER & INSIDE PHOTO: MARTINA CHAVEZ

Features

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FALL 2007 Songwriters Magazine 5

SongWorks is a program that brings songwriterstogether to create project-specific songs. Teams of writersare brought together for an intensive three days of song-writing and recording with the objective being to have songscreated for specific artist projects. Last spring, nine song-writers were brought to the Mysthaven Retreat north ofToronto to do exactly that. The group was led by songwriterEddie Schwartz and comprised of Jenna Andrews, PeteLesperance, Dean McTaggart, Fergus Hambleton, BrentBodrug, Lindsay Broughton, Greg Kavanagh and JamilAljabri. The songwriters co-wrote and recorded a total of ninesongs in three days for upcoming projects.

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Participants at the Toronto Songworks (from left to right): EddieSchwartz, Jenna Andrews, Pete Lesperance, Dean McTaggart, FergusHambleton, Brent Bodrug, Lindsay Broughton, Greg Kavanagh and Jamil Aljabri.

PHOTO: COURTESY OF S.A.C.

Leblanc leaves Billboard Magazine

Larry Leblanc, the long time Canadian bureau chief forBillboard magazine, is stepping down from his post effective immediately. Leblanc has been associated withthe US-based music trade publication since 1991. Prior tohis work with Billboard, he was co-founder of and writerfor The Record for 10 years, and the Canadian editor forU.S. trade magazine Record World. His byline hasappeared in publications such as Rolling Stone, GuitarPlayer and Macleans.

A veteran writer, Leblanc has been a supporter ofCanadian songwriters and artists and has had the opportunity to interview some of Canada’s greatest musiccreators, such as Celine Dion, Avril Lavigne, BarenakedLadies, Broken Social Scene, Luc Plamandon, AlanisMorrisette and more. Leblanc will continue to runBrycemore Music with his wife, publicist Anya Wilson,handling artist management and publishing for artistssuch as Dave Gunning, Joel Kroeker, Alana Levandoskiand the Brothers Chaffey.

“It’s time to move on,” Leblanc said from his home inToronto. “I’m proud of my coverage of Canada for thepublication. I certainly feel I’ve helped bring Canadianmusic to global markets”. Toronto-based journalistRobert Thompson, who writes a golf blog commentingon golf issues, will replace Leblanc.

SAC President StableAfter SufferingSerious Injury

Jacksoul singer and songwriterHaydain Neale, who also servesas President of the SongwritersAssociation Of Canada, is recu-perating in hospital after being

critically injured in a traffic accident.On Friday, August 3, Neale was riding his scooter home

from a songwriting session in Scarborough when he wasstruck by an automobile. The extent of his injuries areunknown, although spokesman Daniel Mekinda saysNeale's condition is stable.For the time being, the family is not releasing any furtherdetails and requesting privacy regarding this matter. In the meantime, S.A.C. Vice President Eddie Schwartz --who has assumed the role of Acting President until Nealehas sufficiently recovered to resume his duties -- issuedthe following statement: "All of us at the S.A.C. cherish Haydain as a dear friend,

a supportive colleague, a great talent, and an inspiredleader, and we are more deeply distressed by this terribleaccident than words can express. We are with him, hiswife Michaela, and his entire family in the hope and beliefhe is on the road to full recovery."Well-wishers can e-mail Haydain messages of support,encouragement and healing to

getwellhaydain@gmail.com.

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6 Songwriters Magazine FALL 2007

The Coffee house -a songwriter’s second home

By KERRY DOOLE

Given that coffee is the chosen creative fuel of a veryhigh proportion of songwriters, it makes perfectsense that a coffeehouse setting would be a very

attractive performance venue for them.That is just one of the premises behind a new partnership

between Second Cup Ltd. and the SongwritersAssociation of Canada (S.A.C.). This fall, they arejoining forces in Second Cup’s Café Music series.Some of Canada’s most acclaimed singer/songwriters will perform in 14 Second Cuplocations in eight Canadian cities (Vancouver,Edmonton, Calgary, Winnipeg, Toronto,Ottawa, Montreal, and Halifax).

“I am really excited about this partnership,” says S.A.C. ExecutiveDirector Don Quarles. “When we startedtalking to Second Cup, we realized weboth shared the same passion of wanting to promote Canadian songwriters. It is going tohelp raise the profile of Canadian songwriters in the public’seye, and that’s really important. There’s a lot of great Canadianmusic out there, so this is a wonderful opportunity forsinger/songwriters to have an audience to hear their work.”

Karen Gold, Second Cup’s Vice President of Marketing, isa genuinely enthusiastic booster of Canadian musical talent.“It’s a tough gig being in the Canadian musicindustry, especially now. Our program offersa great opportunity to showcase and profilethese fine artists.”

The initiative dovetails nicely with SecondCup’s own business model. It is the only majorspecialty café chain that is Canadian-owned,and Gold notes that “as a franchise organization,we’re a locally-owned business, with owner/operators from the community. We want toprofile local performers in conjunction withour local business people. We are Canadian,so let’s play Canadian music.”

Second Cup inaugurated this series last fall,with RonSexsmith asthe featureartist, play-ing eightconcerts in four cities. It wasgreeted with real publicexcitement and extensivemedia coverage, and thenew series ups the ante considerably.

S i n g e r / s o n g w r i t e r sconfirmed for appearancesinclude an impressivelydiverse group of artists suchas Jimmy Rankin, SuzieMcNeil, Melissa McClelland,

Matthew Good, and Jill Barber. At each performance, theartist’s CDs will be available for purchase (and for signing),while their music will be played in the café that day.

Second Cup will also provide opportunities for up andcoming songwriters to showcase their material. “We have 360

cafés, so we offer a lot of outlets for artists to play,”says Gold. “After the kickoff with these name

artists we’re hoping to promote a surge ofmore local yet lesser known talent, so theycan pick up a mic on a Friday night. We’llhave a program that can be booked

through the local franchise partner,so an artist can approach them.We’ve also pre-screened a lot oflocal artists and put them on ourwebsite. Anyone wanting to bookone of these artists can go onto thesite and check out their calendar.”

Don Quarles reports “S.A.C. members are ecstaticabout this initiative. I’ve already had a few songwriters sayingthey are lined up to play at some locations. They love the factthere’s another possible venue for them to share their original songs.”

Back in the ‘60s and early ‘70s, the coffeehouse environmentwas of crucial importance in developing the careers of

Canadian singer/songwriters on their way tointernational success. Neil Young, JoniMitchell, Leonard Cohen, Gordon Lightfoot,Bruce Cockburn, Murray McLauchlan, TomCochrane, and many more all honed theirperformance and songwriting skills throughgigs at such coffeehouse venues as Toronto’sRiverboat, Ottawa’s Café Le Hibou, andMontreal’s Yellow Door.

The Riverboat in particular has earnedmythical status in Canadian music history.Situated in a basement in a house in theYorkville district, it was opened by BernieFiedler (later one of Canada’s p r e m i e rmusic man-agers) in1964, andhosted live

music until closing in 1978.According to legend, suchfolk classics as JoniMitchell’s “Both SidesNow” (from the famousClouds album) and PhilOchs’ “Changes” were written in the club’s upstairsbackroom.

Veteran Toronto musicpublicist and promoterJane Harbury worked at Jimmy RankinMelissa McLelland

Colin James

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The Riverboat from 1969to 1974 and recalls it as aperfect environment forsinger/songwriters. “Peoplewould come for the artists.Generally speaking, therewas no need for anyone tohave to say "sshhh" sincethey had paid to come inand there was no alcohol toloosen tongues.”

This intimate and attentiveenvironment is one thatSecond Cup is taking greatpains to recreate, as Goldexplains. “With many ofour café renovations, we’restressing a

home-style environment, with fireplacesand comfortable chairs. We want our customers to feel comfortable in our caféhome while listening to great music. Wewant them to have an experience beyondsomething really superficial. The coffee-house environment in the ‘60s and ‘70s wasa great place to discuss culture, politics,and philosophy. Here, we do have a philosophical approach, and we have chosen artists we really do feel have integrity. We want music that has meaningand that makes you feel good.”

The coffeehouse environment is already

proving a creatively stimu-lating one for songwriters,as the synergy between caffeine and compositionis a well-established one.The fellow in the cornerquietly sipping his latteand scribbling a few notesmay just be working on anew composition. “I knowthat Ron Sexsmith does alot of writing in cafes,”notes Karen Gold. “Hemeets a lot of other artiststhere too, to help themwith their writing.”

This new program is an excitingand important new initiative for Canadiansongwriters. States Quarles “I hope this isthe beginning of a long-standing relation-ship. I see it as an obvious fit, as we bothshare the same passion for supportingCanadian talent.”

For more information on this initiative,check out the songwriters.ca or secondcup.com websites.

Kerry Doole is a freelance music journalistwith a passion for both coffee andsinger/songwriters. He can be reached atkerrydoole@yahoo.ca

WilJill Barber

Michael Kaeshammer

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The School Alliance of Student Songwriters provides a free, safe

environment for young people to express themselves through songs. S.A.S.S. invests in youth and promotes a grass roots Renaissance-of-the-Arts. In this well-organized program, grade 6-12 students enjoy;

• Weekly songwriting club meetings at their schools• Monthly free mentoring from professional songwriters• Participation in free songwriting contests• Free songwriting workshops• Interschool recitals• Free recording sessions, retaining their

own publishing rights.

School Alliance ofStudent Songwriters

Supportsthe School Allianceof Student SongwritersGiving Youth a Voice

For more information, Email: sass@sasscanada.net or call: (905) 259-9540

www.sasscanada.net

8 Songwriters Magazine FALL 2007

Young Songwriters Show Their Stuff at Year-End Gala Recital

Whitby , ON - May 30th marked the date of the 4th annual School Alliance of Student Songwriters (SASS) Gala recital.SASS is a program led by teacher/songwriter Artemis Chartier and producer/guitarist/songwriter Dale Russelland is designed to bring songwriting into Canadian schools. The event took place at Donald A. Wilson S.S. in

Whitby and saw over 15 student performances and several special guest appearances by the likes of songwritersChristopher Ward, Rob Wells, and Rapartist Duane Gibson “DO”, for an audienceof over 250 eager parents, teachers andSASS supporters. Many of the performerswere finalists in an environmental songcontest sponsored by many supportersincluding: MIAC, Microsoft, Korg,Hagstrom, Sennheiser, Washburn, Levy'sLeathers, Swiss Chalet and many privatedonors. First place went to 13-year-oldJehvon Grant for his song “Listen”.

SASS offers programs in Ontario and B.C.schools and has taught the craft of song-writing free of charge to an estimated 4000students over the last four years. SASS,whose mission is “Giving Youth A Voice”,encourages students to support each otherand to make a positive difference withtheir music, but, above all, strives to listen to what young people really have tosay. For more information about SASSand its initiatives, go to their website atwww.sasscanada.net

Sarah Nadeau’s song “Ready to Give“ won her second place in the SASS song contest and anEpiphone guitar and amp, which was donated by S.A.C.’s Christopher Ward (L) and Rob Wells.

PHOTO: COURTESY OF S.A.C.

FALL 2007 Songwriters Magazine 9

With computer-manufacturer Applerecently announcing the sale of its three-billionth download through iTunes, thenotion that the monetization of digitalmusic is a future concern no longerholds water.

The truth is, monetization is an imme-diate issue. While recent inroads havebeen made for compensating Canadiansongwriters for ringtones and onlinemusic services (6 percent of the purchaseprice with a $.06 minimum per ringtonethrough 2005, while 2005-2007 online

music services paycopyright owners8.8 percent of theconsumer price ofthe download, whileonline subscriptionservices offeringlimited downloadspay 5.9 percent oftheir monthly subscription revenue andthose services solely dedicated to offeringon-demand music streaming pay 4.6 percent of that revenue), the matter ofmonetizing peer-to-peer (P2P) Internetmusic services still remains unaddressed.

As long as the issue remains unad-dressed, it's hurting songwriters where itcounts the most – their bank accounts.

"Songwriters and artists earn their living - they put food on the table and aroof over their heads – based on moneti-zation of their rights and their music,"states Eddie Schwartz, Vice President ofthe Songwriters Association Of Canada(S.A.C.). "We're in this terrible situationwhere, by some estimates, 97% of themusic that's being downloaded on theInternet is being shared on P2P networks. Artists and songwriters arebeing paid zero for that massive activity.

"Between the U.S. and Canada, literallybillions of songs are being shared everyyear. So while music is arguably morepopular and more listened to than ever,songwriters are having a harder timeearning a living.

"It's ironic that while there's such an

incredible use of music, the people whocreate music are really struggling to survive. And we feel very strongly thatthere's a disconnect there that has to beaddressed."

The S.A.C. is looking to rectify that situation with a proposal that the organization suggests is a logical movein ensuring compensation for not onlyCanadian music creators, but artists, publishers and record labels: theformation of a music collective.

"We're trying to monetize P2P," statesS.A.C. President Haydain Neale.

"We're living in a new reality. One dayI'm singing into a microphone and thenext I'm singing into a laptop. The worldhas changed."

And in that changing world, saysS.A.C. Vice President Bill Henderson, it'stime to find a solution.

“This situation with peer-to-peer file-sharing hasbeen going on for over 10years, and not a lot ofprogress has been made,"notes Henderson.

"Music fans have made itvery clear that digital down-loading is the way they wantto access our music, and inmany surveys, fans havestated that they'd be happyto pay the artists and

writers for their work. "So all we're saying is, 'Let's set up a

system where that can happen.'"Henderson says the S.A.C.-proposed

arrangement would involve establishinga collective that functions similarly to theperforming rights organization SOCAN(The Society of Composers, Authors andMusic Publishers Of Canada).

"It's not that complicated an idea: a

modest monthly fee – kind of like a sub-scription fee – that everyone that has acomputer and access to the Internet or awireless device would pay," Hendersonexplains. "That fee would go to an organization – a collective – that wouldrepresent the writers, artists, record com-panies and publishers."

Henderson says that the proposed collective would be responsible for

tracking the use of music on the Internetand wireless devices such as cell phonesand personal digital assistants.

"There are companies that track thisstuff now,” says Henderson. In exchangefor the fee, the collective would grant ablanket license, similar to measuresSOCAN applies to the collection of radioperformance royalties.

"When radio came along, it wasimpossible for them to clear the rights toeach song with each publisher, not tomention record company," saysHenderson.

"It was also impossible for each rightsholder to go to all the radio stations andmake sure that whatever of their songsthey played they got paid for.

"So what came about was the collec-tive, which is the obvious way to handleit. The collective grants a blanket license-- so you take any song you want and youcan play it, download it, communicate itor stream it.

"You can do this as many times as youwant, whenever you want, for a set com-pulsory license fee -- it's very, very simple."

Although the figure is not set in stone,the S.A.C. is currently advocating a collective subscription fee of $5 permonth per Internet access point.

How did they reach that number?"We got an idea of how many people in

Canada access broadband Internet andan idea of the number of songs beingtraded and shared on a monthly andannual basis," explains Eddie Schwartz."Most people have bundled services; theyget Internet, TV, phone and sometimeseven cell phone from the same carrier.So given the fact that people's bills are$150-$160 a month – certainly over $100for many people – the $5 figure seemeda very reasonable addition to what

people were paying already."When you take the pool of money

that the $5 fee creates and divide itby the number of songs that are downloaded by file-sharing, we felt thenumber we came up with was going tocompensate the industry – and particularly creators – fairly.

"So if it's fair to the consumer at $.16

By NICK KREWEN

Bill Henderson

Eddie Schwartz

cont’d next page

It’s Time to Monetize P2PPH

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As long as the issue remains unaddressed,it’s hurting songwriters where it countsthe most – their bank accounts.

10 Songwriters Magazine FALL 2007

a day to be able to access 79 million tracks, that kind of expenditure puts enough money back into the industry tocompensate all the people who have been making music. Itseems like a reasonable number."

However, both Henderson and Schwartz caution that the $5figure could change once the S.A.C. consults with an economist.

"That's the suggestion now: maybe there are other factorswe're not considering," Schwartz admits. "That's why we wantto talk to an economist and make sure that what seems reasonable can be justified in a more rigid and scientificapproach, and really make sure that $5 is the right number.

"So we're not locked in, but it's a target that we're playingaround with."

This proposal is only the beginning: the next steps are to getthe rest of the music industry on board and lobby for government legislation to approve the collective.

"We hope that we will be able to get the support of the entiremusic industry in Canada," says Henderson. "We already havethe support of all the creators’ groups in Canada and the majorcreators’ groups in the United States and in the UnitedKingdom. There are a lot of people who feel this should happen.

"We're talking to publishers and we have many individualand very influential publishers who are very much on our side.They want to see this happen, too."

"We have talked to the independent record companies inCanada and things are moving along there accordingly,"Henderson reports.

"We're bringing people in all the time and we're continuingto fine-tune our proposal. There's a lot of work to be done."

There is one other important group that S.A.C. presidentHaydain Neale wants to consult: the customer.

"We have to educate the consumer," Neale notes. "The fanhas been left out of the loop and doesn't understand how thingswork. They've never understood publishing, and many probablythink Rihanna writes her own songs. But what if she actually hasa team of guys behind her that writes those songs?

"I think if we just talk turkey like that, it'll make a lot of senseto them and bring them on board."

In the meantime, Eddie Schwartz invites S.A.C. members toshow their support by sending e-mails to advocacy@songwriters.caas well as by donation, noting that the Songwriters Association

of Canada is a charitable organization and will issue tax receiptsfor any contributions involving its advocacy.

"The more support we can get, the better," says Schwartz. "Ifyou could put your name as a songwriter, artist– or even as aconsumer– on a document that supports this initiative, we'd bevery grateful.

"Then that would make it all the more powerful, the morepeople we can get to sign off on this idea.

"After all, we're not asking anyone to change their behaviour.This model we're presenting just monetizes existing behaviour.

"The people who make the music should get paid."

It’s Time to Monetize P2P cont’d from page 9

FALL 2007 Songwriters Magazine 11

“I’m dying.”

Half of what you see is what you hear.

Learn how to prevent hearing loss.

“I’m pregnant.”

www.hearingfoundation.ca

PUB_07721_PUB_M_07_721 1 8/2/07 3:36:28 PM

They have names like "Slimy The Slug,""Veggie Dip Doo Wah" and "UnderpantsIn Hawaii," cover topics that are far

removed from the hit parade, and appeal to amilk-and-cookie crowd that enjoys its dailyafternoon nap.

Yet no matter how much fun or silly or serious or entertaining a kids' song can be, writing children's music is serious business.

In fact, those who specialize in music forthe pre-kindergarten-to-grade-school-set, viewit as something of a science.

"Children are very sophisticated listeners,"notes Jack Grunsky, the Toronto-based veteran children's entertainer and 2007 JunoAward Children's Album of the Year recipientfor My Beautiful World.

"Children are very direct and honest inresponding to music. It is quite a challenge to write songs that mean somethingto children and can move them or inspirethem."

Richmond, B.C.'s Charlotte Diamond -- whorecorded her debut Juno-winning album 10Carrot Diamond in 1985, introducing youngones to such favourite ditties as "Four Hugs ADay" and "I Am A Pizza" -- says you won't find amore imaginative, attentive or interactivecrowd.

"Children are a most dynamic audience towork with," says Diamond, a former junior highschool teacher who tours around the world andrecords songs in English, French and Spanish.

"So many times, I'm flipping from one language to another, and it's absolutely amazing how flexible children are and howthey will come along with me.

"A carefully crafted song that gets the audience engaged really makes them anexceedingly wonderful audience to work withbecause they will readily sing along when youget them going."

And therein lies the challenge: How do youproperly craft a children's song?

Canada in particular has been blessed withits share of innovative and gifted children'srecording artist-performers, starting in 1976with Raffi and his groundbreaking SingableSongs For The Very Young and Sharon, Lois &Bram's One Elephant, Deux Elephants to FredPenner's The Cat Came Back.

The tradition continues on today withCarmen Campagne and the trio Songwriters hasengaged to offer pointers on writing for the 2-to-10-year-old demographic.

Charlotte Diamond recently released Todoel Mundo Come Banana!, her first Spanish-language kids' album -- and 13th overall -- atwww.charlottediamond.com.

Casablanca Records artist and four-timeJuno winner Jack Grunsky a 25-year veteran,offers his dozen albums through www.jackgrunsky.com.

John Differ, who performs under the name"Jake," is a relative newbie in children's entertainment. This father of two released TakeA Little Ride With Me in 2004 and is currentlyrecording his third album, Ziggy Zaggy Road,which will be available through www.musicby-jake.com later this summer.

Between the three of them -- all of whomtransitioned from folk singers, by the way --there's over 525 dog years worth of experience.

So here's the skinnamarink on 10 pointersfor writing for a mark that offers both rhymeand reason...

1) Know Your Audience"You have to be able to relate to and under-

stand children," notes Grunsky, a father of two."You have to be around them enough to seetheir world and see it through their eyes. If youcan do that, then you're speaking their language and you can't go wrong.

"You have to be totally honest in yourapproach with them because children can pickup right away if something is real or not."

2) Pick A Topic - Any TopicYou can be a silly billy and write about

wacky, wild and far-out adventures in the landof the Tiki-Tiki, but don't be afraid to keepyour material grounded.

Mother-of-two Charlotte Diamond says thatcontrary to popular belief, kids are receptive to sober social messages.

"You can sometimes do something very seri-ous with a comical twist and then kids will listento it," Diamond explains. "If there's a message

worked in there, then the message gets carriedalong by the flow of the song."

Jack Grunsky says the well of potential topics never runs dry.

"The beauty of being a children's performer and songwriter is that there is suchan abundance of themes and topics that onecan write about for children," allows Grunsky,who captured his first Juno in 1992 for WavesOf Wonder, which also earned him a Parents'Choice Gold Award.

"You just have to tap into the world of thechild. There's never a shortage of ideas of whatto write about, because you have to be perceptive and keep your eyes open and yourears open to and observe children, or thinkabout your own childhood experiences."

3) Be EclecticThat appreciation for variety also extends to

melodies, rhythms, styles and musical arrange-ments.

"One thing I love about writing for kids Ifeel like the field is wide open," notes JakeDiffer, who wrote the theme song to Olympicgold medalist Silken Laumann's 2006 bookChild's Play.

"I have eclectic tastes in music, so I get towrite a reggae tune, a big band swing tune anda country tune, and put them all in a row,because children are so open to different typesof music, it's really liberating to write for kids.

"And if you're messing with them, theyknow instantly, because they just walk away," helaughs.

4) Use Your Family For Inspiration"I was talking with my daughter about how

penguins looked like they're in tuxedos andthat they're on their way somewhere reallyimportant," Differ recalls. "So she startedlaughing about it and I started writing this littlejazz tune that ending up being 'AntarcticSoirée.'

"There are just certain ideas that mightflicker something in their imagination or some-thing that really makes them laugh.

"And the fact that it's a jazz ballad, hopefully will help them develop an open attitude towards all types of music."

5) Think "Interactive"Because interplay is such a crucial

component in children's music -- indeliblyintertwining the professions of entertainer andsongwriter into one duality -- you might want toconsider making much or your music singableand danceable.

"I want them to be engaged," says Charlotte

KIDDING AROUNDWriting Children's Music Is Actually....

Serious Business By NICK KREWEN

PHOTO: COURTESY OFCHARLOTTE DIAMOND

12 Songwriters Magazine FALL 2007

Charlotte Diamond

Diamond. "I want them to be totally fascinatedby what I'm doing on stage. So therefore I makemy stage shows very interesting with lots of different things going on - dancing, movementand sign language."

Diamond says her multilingual approachalso appeals to older kids, too.

"I've found that when I started introducingthe different languages and the sign language,where a lot of people are only working at thepre-school level, the older kids really seem tolike my stuff, too," she notes.

6) Add Unexpected TwistsHere's something to remember: the sounds

you inject into your songs don't have to bemusical. Use your imagination when you're inthe studio.

"Probably my most famous song that I'vewritten is called 'Octopus,'" states Diamond.

"It's about the food chain, from the slipperyfish right up to the humongous whale at theend.

"The reason the song works is that we havea huge whale-size burp."

7) Don't "Dumb Down" The Music "I never sing down to kids," says Diamond, who

offers a Hug Bug Club for kids on her website.'"If anything, I get them to leap up to maybe

a higher level of thinking of a higher level ofinvolvement."

Diamond also says that kids are also veryreceptive to profound themes.

"You would think that all the up-tempothings that I've written like "Four Hugs A Day"would be the all-time favourites -- and they arethe ones that kids sing -- but I will get lettersand the kids will say, "I really like the song'Spider's Web'," notes Diamond.

"It's in a minor key, and it's very mysticaland very thoughtful. Even the song, 'May ThereAlways Be Sunshine,' is a very deep thought.

"If the idea is good, children will accept it."Jack Grunsky says it's important not to stand

from a soapbox."There are songs that tell a story; songs that

have a global message or environmentalthemes that teach in a subtle way," Grunskyexplains. "When I do write songs like that, I trynot to sound preachy but create the lyric insuch a way that it's engaging and one that achild can relate to quickly and easily.

"There's a song of mine called 'TheMediterranean Sea' that's more of a poem,

almost a folk song. I have a granddaughterthat's six years old - that's one song she likes themost. It's an adult song, so it shows that children are very sophisticated listeners."

8) Avoid Pitfalls"Stay away from using clichés or expressions

that you don't really mean," Grunsky advises."That's a trap - to use language that one maythink a child will relate to, but in fact is talkingdown to children. That big pitfall must really beavoided."

Grunsky also says there's something to besaid for keeping emotions honest.

"It should be true to the heart," he states.Charlotte Diamond says consistency is key."Avoid jumping around too much," says

Diamond. "Make what you do predictable sothat the kids will be able to follow. Having agood chorus is like home base: You can goeverywhere in between, but then you have tocome back to home base.

"So avoid being too obscure, and avoidvocabulary that's too cutesy. Kids need to learnwords. We want them to be good readers.Remember, songs are one of the first placesthat they encounter words strung together cre-atively and rhyming."

9) Keep It BriefHey, attention spans are at a premium these

days -- and we all know that children can getbored quickly and easily.

"There's a magic number, and I think it'sabout two minutes and thirty seconds," statesCharlotte Diamond in terms of songendurance.

"The really long songs -- if it's a story, youcan get away with it and if it's an engaging story,then you're fine -- but the really long involvedsongs tend to lose them."

Diamond extends that rule of thumb to liveperformance.

"Sometimes with songs that I've recordedthat were longer, I will truncate it when I do itin performance. I'll pick the most accessibleverses and maybe just leave one out.

"When you're listening to something that'srecorded, you can often absorb more. But in

performance, it's always good to aim for thattwo-and-a-half minutes, maybe a little bitmore."

Jake Differ also tries to keep it under thethree-minute mark.

"I'm a lyric-oriented guy, and if I end upwriting a six-minute song, I have to start editing lyrics within a shorter timeframebecause I don't want kids to get bored," saysDiffer, a father of two.

"I'll also try to insert three or four songs ona record that are maybe a minute or 90 seconds, just to shake things up a bit."

10) Test It LiveSo is your song any good? There's only one

way to find out: play it in front of family andfriends.

"Whatever I write or how I perform is acommuniqué with children on their level," saysJack Grunsky. "I can sense from my perform-ance where I've got their attention just by theirreactions. And I can tell if my performance isweak or if it's strong, or if the song is getting tothem. If it's not, it goes back to the drawingboard and I rework it."

Don't worry about butterflies, advisesCharlotte Diamond

"Don't be afraid - just get out there and doit," says Diamond. "Ask friends over and sing totheir kids if you're not that much of a per-former and more of a writer, and see what theydo and how they react."

Aside from these 10 tips, there are plenty ofother things to consider when writing chil-dren's songs: from Jake's additional predilec-tion for natural instruments over MIDI andJack Grunsky's advice to tickle the funny boneto Charlotte Diamond's insistence for keepingthe keys within a reasonable range.

It's clear these three writers wouldn't tradetheir profession for anything.

"You're helping people to define whatmusic will be in their life when they're very, veryyoung and play a positive role in it," declaresJake Differ

"It's the most rewarding thing I've everdone musically."

Serving Your Multilingual AudienceJuno-winner Charlotte Diamond is one of

the rare children's entertainers who appeals toEnglish, French and Spanish-speaking kidsaround the world.

But writing in different languages can be achallenge.

"When you're going into Spanish or French,there's a lot more words to deal with to coverwhat you say in English," Diamond explains.

"So I work with a great translating assistantin Spanish who is from Costa Rica and then awonderful Ottawa gal who helps me with myFrench. I translate it so far and they give me amore fine-tuned translation. Then I sing thesong and start dropping what I need to, in orderto make it work."

What if the foreign language syntax doesn'tfit the framework of the original song?

"You just abort," she laughs. "You abort andthen you look for the concept. And also, things

are said differently in different languages. Forexample, I have a song translated that's writtenby another artist called 'Lucky Streak.'

"There was no way that would come outreally easily, so I had to call it 'Que BuenaSuerte,' which means, 'What Good Luck.'

"You have to be ready to be flexible."Diamond says she engages her audience in

performance through dancing, movement and"echo" and is amazed at children's versatility andadaptability.

"I'll do 'I'm A Pizza' in English, then do it inFrench -- 'Je Suis Un Pizza' and in Spanish -- 'SoyUna Pizza' - and the kids echo back and forthwith the words.

"It doesn't matter what language or whereI am -- whether it's the States, Europe orCanada.

"Because it's an echo song, children pick upthe language."

FALL 2007 Songwriters Magazine 13

Jake Differ

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Harbourfront – “Generations – Songwriters in the Round”June 30th, 2007 - Toronto -Harbourfront was the locationfor a fantastic line-up of song-writing talent that includedDean McTaggart, Liam andBrent Titcomb, and LindsayBroughton. The Canada Day“Generations” event, sponsoredby the S.A.C. along with theHarbourfront Centre, providedthe opportunity for each artist totalk about songwriting and playsome of their most popular hitsongs as well as their latest tunesin front of a packed audience.

PHOTO: COURTESY OF S.A.C.

Sweet Summer Music Sizzles at Honey JamToronto – A stellar lineup of performers hit the stage at the Mod Club this August foranother Honey Jam. This all-female showcase is produced by PhemPhat Productionsand was hosted by MuchMusic’s Matte Babel and Degrassi’s Andrea Lewis. It featuredindependent artists Sunshine State, Cali, Denosh and Jenna, all of whom are on HoneyJam’s 2007 CD. Past Honey Jam alumni have included Nelly Furtado, Jully Black, GraphNobel, Melanie Durrant, Toya Alexis, current Canadian Idol sensation Martha Joy, andmany more.

Sponsored by Sony/BMG, Flow 93.5FM, MuchVibe, Yamaha Canada, UMAC, PeaceMagazine, and NOW Magazine, Honey Jam proceeds go to YWCA Toronto’s women’sand girls’ programs. The Honey Jams 2007 CD is in store now and available onmaplemusic.com. For more information about upcoming Honey Jams, check out honeyjam.com, myspace.com/honeyjam, and myspace.com/honeyjamsCD.Sunshine State’s Aleza and James Bryan

PHOTO: NADIA MOLLINARI

As Dean McTaggart (far right) plays one of his original songs, Lindsay Broughton, Brent Titcomb and Liam Titcomb(L to R) give him musical support at Toronto Harbourfront’s “Generations – Songwriters in the Round” on June 30th.

FALL 2007 Songwriters Magazine 15

This year’s Humber SummerSongwriting Workshop proved thatthe intensive week of songwriting

workshops, guest speakers, and onstagepractice opportunities has a lot to offerboth to accomplished songwriters andthose with less experience under their belts.

The week started with an introductorydemo evaluation session, during whichthe students got to know the differenttastes and personalities of all the facultymembers. That night, the faculty performedtheir original songs for the students andguests in a truly unforgettable concert.

During the mornings, students heardfrom a host of speakers that representeda variety of perspectiveson the craft and businessof songwriting. Somepanelists representedparts of the music busi-ness that are difficult toaccess– guests includedalbum art designerMichael Wrycraft; hitsongwriter and one ofMuchMusic’s first VJs,Christopher Ward; andthe drummer, singer,and “punk rock lawyer”David Quinton-Steinberg.Morning panels also

featured some of Canada’s big namesand hidden gems as MurrayMacLauchlan and Dean McTaggartshared their stories and played the songsthat got them to where they are today.Some lower-profile songwriters, likeEmber Swift and Mia Sheard, played songsand gave their thoughts on making a livingas a songwriter.

In the afternoon, faculty members ledin-depth workshops in small groups of six

to eight. Students had the opportunity towork with several different faculty members of their choice over the courseof the week. The eight faculty members,including co-directors Rik Emmett andBlair Packham, were the backbone of theworkshop– many were returning membersfrom previous years, which goes to showthat this workshop is as much fun for thefaculty as it is for the students.

Rik’s experience with Triumph andwith his own solo work means he has asharp ear for the structure and messageof a song, be it a straight-ahead rocker ora power ballad. Blair’s amazing guitarplaying and musical knowledge never

gets in his way of demanding honesty andclarity, in his own lyrics and in his students’ as well.

Damhnait Doyle is known both for hersolo work and for her work with thegroup Shaye, and supplied friendlyadvice along with an unending well ofsupport and irresistible cheer. Justin Grayhas worked with many high-profile artistsas a songwriter and producer, and alwayshad a candid opinion on a song’s place inthe current world of recording, produc-ing and publishing. Haydain Neale,President of the S.A.C. and frontman ofR&B band jacksoul, brought a laid-backgood humour to his straight-up opinions,and was just as likely to get into brain-storming for a new lyric as he was to staylate answering questions about S.A.C.Advocacy initiatives.

Several new faculty members joined usthis year. Danny Michel has garneredboth critical and popular acclaim as asinger/songwriter, guitarist, and producer.He approached the workshop with energy, patience, and an open mind, willingto learn from his students as much as they

learned from him. JulesShear is known as a“songwriter’s songwriter”.Jules’ songs have beenrecorded by CyndiLauper, the Bangles,and the Band, and hedidn’t hesitate to getinto the meat and potatoes of the craftwith his classes. ShariUlrich is a Juno-winningsongwriter and per-

former, both solo and with acts includingPied Pumkin and UHF. She was able todraw from many different places to connect with each student over theirwork. Shari and her daughter Julia wereconstantly smiling and friendly faces inthe workshops and the dorms.

Throughout the day and night, two faculty assistants, Allister Bradley and BillMcKetrick, were available to help studentsrecord demos of their material. Both former students and seasoned songwriters, Allister and Bill lent theirextensive technical knowledge and current recording setups to the studentsof the workshop. This new feature alsoenabled students to write songs in themorning, record them that night, andbring the CD in the next day to play forothers.

Humber Summer Songwriting Workshop 2007;Good Ideas Grow Into Traditions

PHOTO: PIERRE MILLETTE

PHOTO: PIERRE MILLETTE

Shari Ulrich andJulia Graff

Leah Erbe and Haydain Neale

PHOTO: ADAM KRAWESKY

cont’d on page 22

By LEAH ERBE

HSSW Students and Faculty

16 Songwriters Magazine FALL 2007

There's a transitional momentin a songwriter's career – andby extension, in a musician

and recording artist's as well – where thetide changes and a new level of artisticmaturity is attained.

Sometimes it's a slight adjustment intechnique and experience, a slow andsilent osmosis that creeps up on you andinfiltrates your work. And when it comesto your own objectivity, others recognizewhat may be personally perceived asminimal progress as a substantial leapforward instead.

Challengers, the fourth album byVancouver-born collective The NewPornographers, definitely possesses theaura of a defining moment in a band'shistory.

Abandoning the feverish intensity ofits two earliest albums, 2000's MassRomantic and 2003's Electric Version, theNew Pornographers has incorporatedsome of the more significant sonicexperiments they engineered on 2005'sTwin Cinema and transferred them toChallengers.

Moodier, more spacious, and contain-ing several shimmering moments wheremelody and lyric meet arrangement inperfect harmony, Challengers' twelvetunes – nine written by singer, guitaristand founder Carl Newman and threecontributed by Dan "Destroyer" Bejar –are intoxicating and imaginative, a blue-print for future creations.

Main songwriter Newman also envi-sions Challengers as a springboard; butthen again, he's felt that each NewPornographers album has been a stepabove the one before.

"I really like it," says the newlywedNewman, reached at his Brooklyn apart-ment nine days after his happy nuptials.

"I know I have no objectivity, but I'vealways been under the delusion thateach record is better than the last. Ialways feel like making music is such aprocess of growing and learning how to

make music."I never felt like I was a person who

came out of the gate really great. I feelit's been something I've learned how todo through the years.

'I look forward to the next record andI think our next record will be the bestrecord."

Newman, 29, is willing to concedethat Challengers is perhaps the truest rep-resentation of his band's sonic inten-tions thus far.

"On this one, we definitely weren'tafraid to make it mellower," Newmanadmits.

"We never meant to be a really upbeatband. It just turns out that those werethe records that we made. I never want-ed to be the band that was known forthat certain peppy beat.

I think that we definitely wanted toexplore more of the quieter music thatI've loved in my life and I'd like to make.

"It's a little more difficult makingquiet music. You've got fewer crutches."

Certainly, it doesn't hurt to have asupport team like the one Newman hasassembled. Sprung from the ashes ofnumerous respected "alternative" indiebands – Zumpano, the Evaporators,Destroyer, cub, Limblifter, and, initially,Superconductor – back in 1997, theNew Pornographers boasts an enviablechemistry that could only be derivedfrom the participation of singer and guitarist Newman, singer and guitaristBejar, resonant vocalist Neko Case, key-board player Blaine Thurier, bassist(and producer and engineer) JohnCollins, drummer Kurt Dahle, ElectricVersion recruit Todd Fancey on guitar

and Immaculate Machines singer andpianist Kathryn Calder, an addition forTwin Cinema.

"Everybody pitches in creatively, but Iultimately have a lot of the final deci-sions," states Newman. "Not many thingsget past me in the mix that I dislike.

"When this band started, I had come

out of my last band, Zumpano, a little frus-trated with the internal band politicsabout how we arrived at decisions. Sowhen The New Pornographers started, ofcourse none of us had any real ambitions.None of us thought we were going to getas far as we got. We didn't even think wewere going to get close to this far.

"But I remember thinking about TheNew Pornographers and thinking I wasgoing to make this record and it wasgoing to be … made the way I wanted tobe made, where I didn't compromiseand I didn't go, 'Oh, I let this slide bybecause the guitar player and the drum-mer wanted it.'

"I thought, 'If this record fails, it willbe my fault. And if it succeeds, I will takeresponsibility for it, too.'

"I know I'm not the best singer or thebest player by any means, but I'm theleader - jack-of-all-trades, master-of-none guy."

In fact, Newman suggests that the twoof the reasons Challengers sounds so dif-ferent and so much more textured thanprevious New Pornographers efforts aretempo and clarity.

"Slowing things down a lot and put-ting space into our music to the pointwhere all of a sudden you can hearthings," he explains. "I think our earlierrecords had a lot of textures, but it wasso dense it was hard to tell what the tex-tures were – you had to really listen hardand listen intently to the wall of sound."

Challengers – the group's first albumon Last Gang Records, following threereleases on Mint (all U.S. NewPornographers releases are on Matador)– certainly offers plenty of diversity: "MyRights Versus Yours" starts things offserenely with flute, acoustic guitar andvocal before picking up the pace andbuilding to a powerful crescendo;"Challengers" lovingly wraps itselfaround Neko Case's ringing, expressivealto, which is shadowed by what CarlNewman calls "the Glen Campbell gui-tar" and lacy mandolin passages; "MyriadHarbour" happily mixes a semi-spokenKathryn Calder lead vocal with a DanBejar singing lead, an unusual call-and-response rhythm leading to a boisterousclimax; "Go Places" offers a mesmerizing

Vancouver Band Reaches A New Milestone With Fourth Album By Nick Krewen

“...It's a tricky game, but that's kind ofthe fun part of making music.”

FALL 2007 Songwriters Magazine 17

12/8 rhythm over a sweet Case-warbledmelody; and "Mutiny, I Promise You"delivers a straight-up rockin' romp withhumming chorus and an uplifting conclusion.

Of course, Newman's initial influences– Brian Wilson, Burt Bacharach andJimmy Webb – also echo throughoutChallengers. But in "My Rights VersusYours" and "The Old Showstoppers," anew one is introduced: ElectricLight Orchestra principal JeffLynne.

"Everybody loves Jeff Lynne,"says Newman. "I don't think hegets enough credit in rock histo-ry somehow. But he's amazing.Obviously what he did owed agreat debt to The Beatles, butELO kind of carried the torchfor The Beatles in a lot of ways. Itwas amazing music.

"He invented a productionstyle that some people mightreally hate, but I love that(Traveling) Wilburys sound withthe really loud kick in the snareand the loud, driving acousticguitar. It's such a simple recipebut Jeff Lynne has really, reallynailed it."

Still, with such touchstones asWilson, Bacharach and Webb asNewman's formative songwritingheroes, there's a certain qualityto the New Pornographerssound that seems both modernand a throwback – or maybe asalute – to the classic sound of the '60s,an era uninhibited by pre-programmedand restrictive, advertiser-targeted radioplaylists.

"All those writers have becomeunconscious influences on me," saysNewman. "I never sit down and think, 'Iwant to do something that sounds likethis.' Maybe at one point I did - but Ithink everything those writers havedone is kind of a part of me now and Icouldn't get rid of it if I tried.

"And whenever we're laying down aton of vocals, it's hard not to be in debtto Brian Wilson and The Beach Boys,because they just nailed the vocalizing like nobody before them.

"Where else can you go after 'God

Only Knows'? It's just one of the most beautiful vocal performances with anarrangement that's both so beautifuland so strange, it's hard not hard to tipyour hat to it and go, 'I acknowledgeyour superiority, but yes, I will continueto make music.'"

As for the '60s connection?"Recently I was thinking about and lis-

tening to a lot of music from the late'60s – basically from the psychedelic era

– and I started thinking abouthow that was the last era

where people were justpushing music as far

as they could

push it," Newman states."Jimmy Webb was doing that. If you

listen to the record that 'MacArthurPark' is on, A Tramp Shining, or the nextone, The Yard Went On Forever - those arecrazy records.

"It's like this weird psychedelic easy-listening music. There aren't that manypeople on Earth that I think could reallyget into it - it was just so out on its own.And initially, I thought it was kind of bad,but then I started listening to it more andthought it was really cool, you know?

"Or someone like Bacharach - I loved how people dismissed him as an easy-lis-tening artist, but you take those songsapart and try to play them and it's prettycrazy music.

"The fact that he could write music likethat and make it so palatable for themasses, I think, is incredibly impres-sive. It's very challenging.

"I'm a big fan of the arrangements.It's a tricky game, but that's kind of thefun part of making music. You write thesongs and then you try to figure out howto present them."

When it comes to NewPornographers’ arrangements, Newmanacknowledges they're workshopped inthe studio with a strong helping of spontaneity.

"There's not really a lot of pre-meditation,"

Newman explains. "Sometimes I have afew ideas for a song, like a vague moodfor a song, but usually we just go in thereand start recording, and try and figureout what works and what doesn't work.

"Sometimes you throw a lot of stuff on asong, and then you'll listen to it, and thinkit's not right. Then you'll pull everythingaway until it's just a piano and a vocal, andyou'll go, 'That sounds right to me.'

"But you have to throw the kitchensink at it sometimes to realize that youdon't need very much on a song."

It's clear that Newman enjoys talkingabout music, although one gets the sensehe'd rather be making it. However, hefrankly admits he's surprised he's even ina position to make records; it certainly

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wasn't a career aspiration, at least in thebeginning.

"In my teens, I was just a crazy musicfan," he says. "I didn't pick up a guitar orlearn my first chord until I was eighteen.I always thought of music as this magicalthing that I couldn't do, and I kind offell into it.

"So I started jamming with friends. Westarted this kind of joke band calledSuperconductor that soon stopped beinga joke; we inadvertently became a realband.

"Nobody else wanted to sing, so I said,'Sure, I'll sing.'

"Nobody else was really writing songs,per se, so I thought, 'I'll take a crack atwriting songs.' I just went from there. Theminute I played my first gig, I really, really liked it. It really stuck with me andI just never left it.

"It's always been something that I can'tstop myself from doing.

"Like now we've finishedthis record, it's not like I'vestopped and done some-thing else. I'm always writ-ing songs. I began writingthe next record before weeven finished overdubbingor mixing Challengers. It'sjust something that's anongoing process."

Newman describes writ-ing melodies as a type ofmalady.

"It's an illness in a way,"he explains. "It's an illnessbecause I have a hard timefinishing the songs. I alwayshave about thirty half-finished songs going on. Iwish I was one of those people who couldgo, 'I wrote this complete song in the lasttwo days. Now let me play it for you.' Ialways have a ton of things unfinished.

"So when people ask me if I have a lotof songs written for the next record, myanswer is, 'I either have zero written or Ihave fifty.'"

Yet having so many incomplete ideassuits Newman when it comes to record-ing the album: it allows him to experi-ment with lyrics and shuffle words backand forth.

"I'm kind of lazy with the words," headmits. "For me, the words are ever-changing. I rarely sit down and write asong and go, 'These words are perfect.

This is everything I wanted to say for thissong.'

"I'll usually go, 'Okay, these are justtraining words. I'll just use these for thetime being.' Sometimes they stick, but alot of times I'll rewrite them.

"I also realize that, at least for us,being in the studio is part of the song-

writing process. So I could spend a lot oftime finishing the lyrics before we gointo the studio, but I know the songwould evolve and then I would probablydump whatever melodies and lyrics I hadand change it around, because songschange in the studio.

"So it makes life a little easier, becauseit means I can go into the studio withsongs that aren't completely finished,but have some faith in our instincts thatthe creative process will just show uswhere to go with them."

He also admits that although his lyrics

seem metaphorical, they're often literal."On this record, there are some songs

that, although they still come off asmetaphorical, to me were very literalstories about my life at a certain point --like "Go Places," "Challengers," and"Unguided."

"Sometimes I try to be more literalthan lyrical, but they don't sound rightto me. I think it comes from wanting towrite songs that have kind of this dreamlogic to them, where they have sometruth to me, but they might sound likenonsense to other people; but I guessthat's poetry for the most part."

When he's not in front of the boardor in a microphone booth, Newman

plants his ideas and inspirationalmoments on his trusty PDA.

"It's actually a Blackberry Pearl," hereveals. "That's my demo machine - I justsing and play into it when I have any ideas.

"I'm really not much of a tech guy. Idon't have a lot of room in my apartmentfor one thing, but I find the technicalpart of demoing sometimes really frustrating. When all you want to dowith an idea is get it down immediately,you don't want to be sitting there going,'Why am I not getting output on thismicrophone?'

"I've always tried to keep it simple. Ihad a digital 8-track that I bought in1999, but it's a little outdated. Thesedays I'll sing into my Blackberry andsend this little voice-note to myself onmy computer.

"I've got about 50 voice-notes on myiTunes folder, which are song ideas orvocal ideas. I also have many notebooksgoing where I scrawl lyrics and chords.I'm still kind of a Luddite that way."

Luddite or not, Newman saysChallengers still falls short of his ultimatedream album.

"When I think of therecord that I really want tomake, I don't think I'vemade it yet," says Newman."But I really want to make arecord where stuff unfoldslike a dream unfolds ... adream goes off in theseweird tangents where all ofa sudden you're in oneplace, but then that placeturns into another place. Itall seems natural, but it'svery surreal and strange.

"I think that's what Ialways want to put into analbum and I think some ofmy favourite records havethat quality to them. It's atough thing to shoot for."

Newman's advice for songwriterslooking to hone their own vision: perseverance and consistency.

"Just hack away and do it and try to dosomething interesting," he advises. "Andkeep going. Who is it that said that 90percent of success is just showing up? Ikind of feel that way.

"When I think of all the times I've playedmusic, I feel like I've never really changedmy plan. I've just kept playing musicbecause I want to play music. Even when Ihad a day job, I still continued to playmusic and eventually that strategy worked.

"If you want to write songs, just writesongs. Keep writing them until you getbetter."

“I really want to make a record wherestuff unfolds like a dream unfolds”

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Kippens, NL - This Newfoundland RWG concluded its inauguralyear in June and will start up again in September. The groupbegan the year at the Silver Dollar Lounge in Kippens and concluded at the Dreamcatcher Lounge in Stephenville. Thegroup currently has 5 members and plans to expand in the fall.Volunteer coordinatorSmokin' Joe Wisemanreleased his first CD, AField By The Sea, inMarch of this year; theCD features 10 ofWiseman’s originalsongs. Wiseman alsoattended the HumberSummer SongwritingWorkshop in Toronto inJuly and was honoured to perform at Hugh's Room in Toronto atthe week's finale. For more info, contact Smokin' Joe Wiseman atcards@warp.nfld.net

Halifax, NS - Since the inception of the Halifax Writers’ Group inApril 2006, the group has been growing in numbers and creativity by leaps and bounds. On average, 15-20 members gather at 7:00 PM on the second Monday of each month at theLion’s Head Tavern, on the corner of Robie & Yonge Street inHalifax. The group has been working from John Capek’s book

“How To Write a Hit Song Without Really Trying”, and enjoyedco-writing exercises modeled after the Jully Black workshopattended by hosts Lisa Birt & Joanna Butler during the FebruaryECMAs. S.A.C. Director Lennie Gallant stopped by in May andtreated the group to some great advice and a few acoustic numbers. Paul Lamb (from the award-winning duo Crush) isscheduled to appear in September. For more information, contact Lisa Birt at lisa_genge@hotmail.com or Alan P. MacLeodat abadalan@gmail.com.

Montreal, QC - The Montreal Writers’ Group was launched inDecember 2006, and is the first RWG in Quebec sponsored bythe S.A.C. The group is still evolving and attracting new members, meeting once a month with enthusiasm. In May, special guest Mary Catherine Harris from Third Side Music gavean information session on publishing and copyrights, andanswered many of the members’ questions. The group willreconvene for regular monthly meetings in August, and hasanother special guest planned for the fall. For more information,contact Micheline Emond at micheliem@videotron.ca

Etobicoke, ON – “Do you think that by working just a few hours aweek, you can become a hit songwriter? Daily exercise keeps anathlete fit and we, as songwriters, need to be active. We need tokeep our love of music andsongwriting part of our dailyactivity,” says Liana DiMarco,host of one of S.A.C.’s longest-running RWGs in the GreaterToronto Area. The EtobicokeWriters’ Group meets the firstSaturday of each month atMichelle’s Restaurant, 1828Weston Rd., Etobicoke, andthere a gathering of songwritersinterested in sharing their loveof songwriting and improvingtheir craft meet to share stories,learn from exercises, and performtheir songs. Lorenzo P., an active participant in the group, notes,

“I know that being in the group andhearing others describe their writingprocesses has helped me becomemore conscious of something thatI've done without thinking in thepast... it's making me see this as acraft instead of a hobby.” This pastspring, Lynn Harrison spoke to thegroup about her songwritingprocess, and this fall Eve Goldbergwill share her skills. For more information contact Liana DiMarcoat GuitarBabe@hotmail.com

If you have stories from the RegionalWriters’ Group meetings you attend, pleasesend them to sac@songwriters.ca. If you’dlike to host a Regional Writers’ Group inyour area, please contact Don Quarles atdon@songwriters.ca.

FALL 2007 Songwriters Magazine 19

Smokin’ Joe

Lynn Harrison

Regional Writers’ Group UpdatesA look at what’s happening at some S.A.C. RWGs

L-R Lisa Birt, Alan P. MacLeod, Joanne Butler

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AB Jason BrazeauAB Troy KokolAB Neil MacdonaldAB Quentin McNamaraAB Brandi MorinAB Stephanie MortensonAB Cyndy PickersgillAB Melinda TarconAB Terrence R TaylorAB Peter Zrymiak-KissaneBC Monalisa AmirsetiaBC Justin ChanBC Nathan ClackBC Jesse DayBC Cynthia HamarBC Cliff HowardBC Sarah JaysmithBC Mel JohnstonBC Mandeep KhairaBC Peter LalondeBC Graham MacPhersonBC Diane MastersBC Don McDermidBC Megan McNeilBC Eamonn MorrisBC Norman MorrisonBC Darhl PaleyBC John PalmerBC Kelly I Parton

BC Matthew PhoenixBC Adri-Anne RalphBC Preston Anthony SawyerBC Morgan SchramBC Gerald SorokaBC Arthur "Chad" ThorpBC Marlee WalchukBC Mike WebbBC Glenn WoottonBC James WrightBC Gord H YelichMB Brent DegryseMB Kathy KennedyMB Jason MalloyMB Richard MckayMB Dominique ReynoldsMB Robert ZirkNB Bob BarclayNS Paul McNeillON Pete AasenON Ciara AdamsON Zainab AlhiwairisON Diane BessetteON Glenn BrownON Denis ChadbournON Wayne ChisholmON Danielle CookON Roger DaviesON Sandra DiRezze

ON Linda DoyleON Mark EvenchickON Keith FordON Steven GazoON David GreenON Lynn HarrisonON Waqaas HashmiON Orville HeynON Valentine HohnON Lawrie InglesON James JonesON Kaitlin KozeljON Deena KruzicON Alex KruzicON Arie LevitON Barry LittleON Nelly Michelle LopezON Mackenzie MacBride EllsON Frank MacLeodON Nicola ManetoON Anthony MarcelloON Stephanie MartinON Carolyn McCormackON Tim McCurryON Ricky McLeanON Raymond MelanaON Danielle MorrisonON Elora MulliganON Troy Nantais

ON Donna PahutaON Lee PalmerON Stephen PessahON Keisha PrinceON Mario PronovostON Maurizio RossettoON Kathleen SalvadorON Amanda ScottON Holly SedgwickON Joanna ShawON Paula ShearON Shemira SheriffON Tammy Joy ShortON Sandy TrebellON Linda WrightON Jeff YoungON Tyler-Rose ZidenbergON Ania ZiemirskaQC Andre AlloreQC Prita ChhabraQC Glen EthierQC Audrey GourdjiQC John HewerQC Mazen KereknawiQC Michael PetritsisQC Betty PietteSK Darren ForbesSK Suzanne Paschall

Welcome New Members!The S.A.C. welcomes the following new members who have joined since May, 2007

20 Songwriters Magazine FALL 2007

FALL 2007 Songwriters Magazine 21

Sean Hlookoff Robert Wilson

Coco LoveAlcorn

Bruce Millerand Brent Shindell

Edith Wallace

Aaron Grant HayleySales

HeidiMcCurdy

Paula Toledo RyanMcMahon

Shari Ulrich

BBN No. 55 , June 19, 2007

BBN No. 54 ,April 17, 2007

PHOTOS: DALE LEUNG

SSPPOOTTLLIIGGHHTT:: TThhee RRoouunnddhhoouusseeVVAANNCCOOUUVVEERR

22 Songwriters Magazine FALL 2007

Humber Summer Songwriting Workshopcont’d from page 15

ClassifiedsEach S.A.C. member is entitled to one free classified per year.Additional ads may be purchased for $25 per 30 words. Contact us at 1-866-456-7664 or sac@songwriters.ca

New Indie-pendent, self funded Canadian Blues/Jazz CD“Money Talks” Featuring SAC member Mario Panacci, TerryBlankley & the B3 band. Listen to tracks, read reviews andBuy @: www.cdbaby.com/terryb2.

Toronto-based hip hop producer looking for collaborator towrite urban R&B-pop records (ala Nelly Furtado, JustinTimberlake, Kelis). Please contact illistic@gmail.com if youare interested.

In the evenings, students tried out new or reworked mate-rial or simply enjoyed a uniquely appreciative audience atopen mic nights. Faculty members often dropped by, most-ly to watch and support, and sometimes to treat students toa performance. Jules Shear brought his entire class to oneopen mic, to perform the song they had written as a classthat afternoon. On another night, performers were accom-panied by Rik Emmett and Danny Michel on guitar! Theperformance opportunities also included a showcase of stu-dents at Hugh’s Room in Toronto, where students playedwith a stellar backup band comprising Rik Emmett on gui-tar, Allister Bradley on keys, Derek Downham on drums,and Maury LaFoy on bass.

As always, the workshop became a close-knit community.This year, many returning students had made huge stridesin their writing and performing. The workshop offers aweek of total immersion in music, and an opportunity tofocus on songwriting in a totally supportive and open environment. It also brings together unlikely collaborators,and many students keep in touch, sharing news or songs, oreven playing shows together. The high standard of quality,incredible work ethic and warm, inviting atmosphere madethe workshop an unforgettable week for everyone involved.For more information on how you can attend next year’sworkshop, check out Humber College’s website athttp://creativeandperformingarts.humber.ca/

Leah Erbe recently released an EP produced byHaydain Neale, whom she first met at the HumberSongwriting Workshop in 2005.

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