2014 Jan News.indd - San Diego Songwriters Guild

SongWritersNotes
32 Years Supporting San Diego Songwriters
The San Diego
Songwriters Guild
SDSongwriters.org
[email protected]
3952 Clairemont Mesa Blvd, D413
San Diego, CA 92117
2014 SDSG Board of Directors
Acting President
Diane Waters
Director of Technology John Pape
Secretary
Al Torres
Advisors
Tim Mudd
Mark Charles Hattersley
Photographer
Steve Covault
In this edition...
Jim Attebury
Durango Song Expo
Page 1
From the President
Diane Waters Page 2
Aurally Yours
SDSG Advisor Tim Mudd Page 3
SDSG/NSAI Steve Bloch
Joint Pitch Sesion Review Page 3
SDSG 2013
Song Contest Results
Sierra West Wins! Page 4
Song Contest Judges
A Great Group Page 5
Volume XXIV • January 2014
Jim Attebery of Durango Songwriters Expo
LISTENING SESSION
Joint SDSG/NSAI Session at Studio West!
SDSG begins our 32nd year with a chance to meet with and have your songs
heard and critiqued by Jim Attebery, the co-founder and President of The
Durango Songwriter’s Expo, a premier national singer-songwriter event since
it was founded in 1996. The meeting will be held at one of San Diego’s finest
recording facilities, Studio West, thanks to the studio’s support for SDSG.
The Durango Expo occurs twice a year, once in Santa Ynez Wine Country,
(this year's west coast event is February 27 - March 1) and again in October
in Boulder, Colorado. With over 40 music industry pros and hit songwriters
present and registration limited to 200 attendees, the Expo offers an unparalleled networking opportunity. The Expo is one of the few songwriters' events
where participants get their music heard extensively by established industry vets. Jim is a very well-connected songwriter, producer, and studio owner who has worked with a variety
of bands and artists and has written music for film and
TV for many years. He will be joined during the session
by SDSG Acting President Diane Waters, the winner
of many songwriting awards including Country Grand
Prize Winner from the 2010 Durango Songwriters Expo and, with co-writer
Mark Charles Hattersley, runner-up in the Pop category in 2013. Jim and Diane will offer critiques on submissions, and attendees will, we're sure, find the
meeting informative and enjoyable.
In addition to offering his insights about your music, Jim will be selecting
two songs for free entry in Durango Songwriters Expo’s 2014 West Coast
“Write With A Hit-Maker” Song Contest. Please mark your song pitches as
either “Pop/Rock”, “Country” or “Film and TV.” Film and TV category submissions should be broadcast quality.
Defaulting to Cliché
For more info about Durango and the Write With A Hit-Maker Song Contest ,
visit www.durango-songwriters-expo.com
2014 Grammy Bound?
We look forward to seeing you at Studio West StudioWest.com
11021 Via Frontera, Suite A, San Diego, CA 92127 858 592 9497
Songwriting Tips
Monday, January 13, 2014
Harriet Schock on Page 6
Elizabeth Axford on Page 7
Tracey & Vance Marino Page 8
SDSG Events Roundup
Page 10
SDSG 2014 Sponsors
Page 11
Registration Opens at 6:00 PM
Session Begins at 7:00 PM
Pitch fee is $10 per song, two song maximum per writer or writing team.
Admission is free to SDSG and NSAI Members, $10 for non-members.
SDSG Memberships available at SDSongwriters.org or at the door.
From the President’s Desk
SDSG President Diane Waters [email protected]
We are looking forward to our first event of 2014 with Jim Attebery of Durangosong Expo. I hope you will join us at Studio West for this event. I’d also
like to give a shout out to Studio West and its owner, Peter Dyson, who will be
partnering with SDSG to bring you some fantastic events in 2014. Thank you
Studio West and Mr. Dyson!
As we move into the 32nd year of the San Diego Songwriters Guild, I get excited when think of what we’ve been able to accomplish in the two years Tim
Mudd served at the Guild’s helm. Although I’m sad to see this chapter in SDSG’s long history come to a close,
I am thrilled to be able to confirm that Tim has offered to stay on as an Adviser to the Board. We at SDSG look
forward to continuing to work with Tim and to bring you more opportunities for your music to be heard and
for your personal growth.
During these past couple of years, Tim has made a difference in so many ways, including offering important organizational guidance, helping us find prize sponsors for our Songwriting Contest, or serving as guest
speaker for the Songwriter’s Cyber
Workshop this past fall. There are too
Singer-songwriter Diane Waters has written with Walt Almany instances to recount here, but
dridge, Gary Baker, Tim Johnson, Matt Evans, Sandy Ramos,
suffice it to say, Tim has done much
Liz Hengber, Richard Harris and many other talented writers
to improve the Guild and we are glad
in Nashville, Los Angeles and San Diego. She has recently colhe will continue to work with us in the
laborated with San Diego based artist Clay Colton; she has two
years ahead. Thank you Tim!
songs credits on his 2013 release as well as with Steven Ybarra,
co-writing four of the songs on his latest album “Best Days.”
Thanks, too, to all who have served on
A judge at SDSG’s 2013 Song Contest, Diane also offers vocal
the SDSG board. As a team we’ve been
and songwriting coaching and production consulting services.
able to overcome obstacles, bring new
opportunities to our members, learn
and laugh together, and be the creative songwriters and musicians we are. The whole is greater than the sum of it’s parts... that’s certainly been
my experience here!
Please take a moment to renew your membership and enjoy being a part of the San Diego Songwriters Guild,
whether this will be your first time with us or you are continuing a long tradition of support. Thanks to all who
have volunteered in the past and all those who are doing so now. There is a volunteer section in the dropdown menu on the “about us” tab on http://www.sdsongwriters.org The more volunteers we have, the more
we can grow and do exciting things, so please consider taking an active role with SDSG leadership!
I look forward to seeing you on January 13 with Jim Attebery.
Many Thanks,
Diane
P.S.
If you aren’t receiving our emails or newsletter ,please request to be added to the mailing list by
contacting us at [email protected]. Keep in the loop so you hear about what’s going on!
Aurally
Yours
SDSG Advisor & Former
President, Tim Mudd
[email protected]
As with all strong leadership
within an organization, and
in the interest of forward momentum, its time for me to
hand the gloves over as Diane Waters closes the Prime
Minister’s door and steps into the Presidential palace to
regain control of the San Diego Songwriter’s Guild for
America (as it should be)! Diane is one of our most experienced members in the field of professional songwriting
and I am excited to see where this experience, mixed with
her vision, will lead us. She’s certainly been an invaluable
member of the team during my term.
For me personally, it’s been a fantastic experience leading the San Diego Songwriter’s Guild charge over the last
two years. I’ve thoroughly enjoyed getting to know many
members and, in some cases, creating what I’m sure will
become life-long friendships. I will be moving into the
hallowed ranks of Advisor to the Board, currently occupied by the in-venerable Mark Hattersley; another experienced member whose thinking has been critical to our
upward momentum.
We’ve taken care of a lot of business to ensure the continued success of SDSG and I would be remiss if I didn’t
also cite John Pape and Al Torres as vital components to
the technological, legal and accounting stewardship that
has guaranteed our future strength.
With that, I bid you “Adieu” and look forward to seeing
you at future San Diego Songwriter’s Guild events. Here’s
wishing you a happy and prosperous 2014. There’s a lot
to look forward to and even more music to make!
Aurally Yours,
Tim
Tim Mudd is a singer, guitarist and songwriter from the southeast of England. Having moved to southern California in his early
twenties, he spent the following decade honing his craft between
his formative band and solo ventures that found him touring
through North America and Europe. During this time he also solidified his reputation as a seasoned open mic host, competition
judge and in 2010 was Arbitron rated #1 at night as an on-air personality for KyXy 96.5FM. Besides his musical work, Tim is also an
accomplished writer, designer, voice-over artist and journalist.
Pitch Session Review
In collaboration with SDSG, NSAI hosted
a country music pitch session with Publisher and A&R Rep Steve Bloch on Sunday, November 24, 2013. As thoughts
of forthcoming turkey dinners and family gatherings were
occupying
the
minds of most San
Diegans, a group
of dedicated songwriters and artists
spent a very entertaining and educational evening with
Steve, a man whose career within the
music industry, and Music City in particular, spans decades.
Looking for material for Doug Johnson’s Black River Entertainment,
whose artists include Craig Morgan,
Kellie Pickler, Sarah Darling, and Glen
Templeton., Steve gave generously of
his time and listened to submissions that
covered a broad range of styles and approaches. He was able to offer constructive comments to many who submitted,
and was particularly impressed with a
song presented by young Nashville artist
Aubryn Stevens. Aubryn’s compelling
vocal presence undoubtedly helped perk
up Steve’s ears, but her tune “One Step
Forward,” co-written with Adam James,
had everyone in the group wanting to
hear more. Steve also took a song titled
“Just Plain Ol’ People” penned by NSAI
and SDSG long-time friend and member
Janet Snare for further listening.
Before and after the Pitch Session,
Steve conducted private mentoring sessions where he helped several motivated
writers chart their courses toward songwriting success.
Congrats Aubryn and Janet, and thank
you Steve for sharing your thoughts and
experience with us in San Diego. As Steve
says, “You never know where you’ll find
the magic.” May you find yours in 2014!
Sierra West Wins
2013 SDSG Song Contest
Sierra West
With her rare knack for composing simple, unforgettable melodies and
marrying them to intelligent lyrics, singer/songwriter Sierra West took
home top honors at SDSG’s 22nd annual Song Contest.
Sierra’s passion for messages of truth, compassion, and spiritual
growth makes her a musical force to be reckoned with, and there is no
doubt our panel of judges heard her loud and clear... they awarded Ms.
West not only the Platinum Award for first place, but also presented
her with the Bronze Award for fourth. Congratulations Sierra!
Strong submissions from Savannah Philyaw and Marshall William
Hattersley earned them the Gold and Silver Awards respectively. We
look forward to hearing more from these talented young writers and
performers in the future.
The 22nd annual SDSG Song Contest contest was held Monday, November 4, 2013 at the Country Inn &
Suites in Sorrento Valley. A popular tradition for San Diego writers, the event offered a unique opportunity
to hear a tremendous cross section of work by San Diego songwriters in one very exciting evening. Beginning at about 7PM, song entries were played for judges and audience to hear. After all entrants’ songs had
been listened to, scores were tabulated, winners announced, and prizes awarded... in one jam-packed night,
with a few drawings for special prizes thrown in for good measure, too!
Thanks to everyone who participated in the contest, the SDSG Board, our judges and, of course, our sponsors (see our sponsor page in this newsletter for contact information)... the vibe was great, and the music
amazing. We now have only 10 months to prepare for the 2014 event... let’s get to work!
2013 Top Award Winners
Platinum
Sierra West – It’s About Time
Five Hour Recording Session at Studio West
Feature Article with the San Diego Troubadour
Live Broadcast Interview on KX 93.5
Gold
Savannah Philyaw – Daddy’s In The Navy
Lighting System from Warehouse Sound & Lights
Signature Sound Studios On-Line Training
Silver
Marshall William Hattersley – Hymn to Still Waters
Baby Taylor Guitar from Rancho Bohemia Studios and Taylor Guitars
Signature Sound Studios On-Line Training
Music Industry Books by Josquin Des Pres from SDSG
Bronze
Sierra West – Split the Sky
2013 Honorable Mentions
Rex Hermogino – The Fountain Of Youth
Josh Damigo – Alright
Brian Darnell – Lookin’ Like Rain
Chris Venti – Where Do We Go
Bob “Sully” Sullivan – All In This Time
Avalon Young – The Surface
Brian Darnell – The River
Savannah Philyaw – Unfinished Song
Josh Damigo – Just Let Me Love You
Chris Carpenter - Up All Night
2013 SDSG
Song Contest Judges
Josquin des Pres
Josquin des Pres is a prolific songwriter, composer, producer and author who has
gained and maintained the respect of his peers through decades in the music industry. Over his 30 year career, Josquin has co-written dozens of songs with Elton John’s legendary lyricist Bernie Taupin, and collaborated with hit songwriters
such as Winston Sela & Andy Goldmark. Long-time owner of Track Star Studios in
La Mesa, Josquin has recorded multi-platinum artists ranging from Jack Johnson
to The Gipsy Kings. Josquin also runs his own publishing company, Track Star
Entertainment, Inc.
Marc “Mookie” Kaczor
Marc “Mookie” Kaczor has been a voice indie artists in
Southern California as an on-air personality and host of
many new music shows. Mookie is currently music director and afternoon jock on listener-supported KX93.5 in
Laguna Beach, weekend talker on FM 94/9 in San Diego
and host of the Unsigned Sunday radio show Sunday
nights on The Independent FM based out of Los Angeles.
Gregory Page
This unique English born Irish/Armenian musician creates oddly
compelling songs that are full of cinematic melodies. A songwriter, crooner & astronaut Gregory Page creates a dreamy
atmosphere of 1920’s jazz, French romanticism, blues and
folk music. His nostalgia-drenched melodies, vintage vocals
and dusty blues rhymes take you back to simpler times. Since
Gregory’s first solo album in 1990, he has released over 20
more. He released another 8 albums as a member of the Rugburns or the Hatchet Brothers, and he’s produced music for over
two dozen artists, including Jason Mraz and Tom Brosseau.
Peter Dyson
A native of England, Peter came to San Diego from the musical town of Austin, Texas in
October of 2004. The third owner in Studio West’s forty year history, Peter spearheaded
the studio expansion and remodeling project in 2005, determined to bring to fruition
his vision of a world-class, fully integrated San Diego-based recording studio, comparable to the top facilities in Los Angeles. His thirteen years of professional expertise in
strategic business planning, leadership training and human resources for Motorola’s
Semiconductor Group in Austin and his passion for music have uniquely equipped Peter to assemble a top notch team of engineers and producers at Studio West, and to
identify and develop services to better meet the needs of clients. As a drummer, Peter
has played and recorded with bands in both England and Austin, and has a musical
taste that is as diverse as the artists who have recorded at Studio West over the years.
SDSG President Diane Waters also served as a judge for the 2013 Song Contest
Defaulting
to the Nearest Cliché
By Harriet Schock
Computer
language is
replete with
analogies. For
instance, I think
metaphors are like icons which can be dragged
across the screen containing loads of information under them. And I think when we give in to
using cliches, it’s like we’re using a default setting in our creative psyches.
Cliches can be musical or lyrical. They can be patterns created by our predecessors or patterns we
have set, ourselves. I had a student recently who had
written the phrase “tenderly kiss” and I asked him
why he needed the “tenderly.” He said he’d heard it
in about 30 songs and thought it should be in his.
Eventually he saw that as the reason why it should
not be in his. But like the old pair of shoes that’s ruining our feet, cliches are so comfortable. They slide
on so easily. But they generally look worn-out.
cated “January.” I often marvel that 80-year-old Roman Catholic Priests can have said the same service
every week for over half a century and still understand what the words mean. Overuse robs individual words and word groups of their meaning. So
what do we do to avoid them?
One way around cliches is to be as specific as possible. The pictures you pull out to tell your story
with are the real tools of your lyric writing. And the
more specific those pictures are, the more unique
to your experience, the less likely they are to be cliches. No one else has had the exact experience you
have, so if you describe it in detail, it will be uniquely
yours. These details can be visual, aural, tactile and
olfactory; I just use the word “picture” to cover all
the senses.
So far we’ve been talking about lyric cliches, and
those which were created by our predecessors, but
what about musical ones and ones we create, ourselves?
Leaving the play, Julius Caesar, I overheard an audience member complain that Shakespeare was riddled with cliches. I had to laugh. I suppose it never
occurred to this person that the lines became famous after he wrote them. We could all hope for
that. But for the most part, the cliches in songwriting are just things we default to when we’re lazy or
temporarily forgetful. It takes constant vigilance to
avoid them.
Often we create our own musical cliches by defaulting to comfortable chord changes and melodic patterns. It’s good to have a recognizable style, but not
to the point that all your songs sound alike. One way
to get away from this type of cliché is to write away
from the instrument you write on. Your ear may not
go to those patterns your hands are slaves to. So if
you write as long as you can away from the instrument, you can sometimes break through those musical default cliches.
What’s so bad about cliches? The world is full of
them, right? In my opinion, the danger of cliches
is that they allow the listener to escape. As long
as you’re communicating with impact, the listener
will be there, interested. But have you ever said a
word over and over and over and suddenly it has no
meaning? As a child, did you ever say “January, January, January, January…” until you started laughing
because it sounded so odd? It no longer communi-
Another way to avoid them is by playing in a key
that’s unfamiliar. Sometimes you’ll hit a chord, not
knowing what you’re playing and it’ll be great. It’s
like the old joke: What does a jazzer do when he
plays a wrong note? He plays it again. Carlos Olmeda
wrote a song called “Dear Ana” which I love. There’s
one particular chord I wait for with great anticipation. One night I asked him how he got that chord
and he admitted it was a mistake that he loved
continues on next page
Defaulting...
when he heard it so he kept it.
It’s so unsuspected. It’s thrilling
when it happens that way.
A few years ago, once Bobby
Brown used that unexpected diminished chord in “My Prerogative,” everyone began using it.
It’s delightful to find something
original, musically, because the
pull to default to the nearest cliché in chord progressions is as
strong as gravity. Melody also
falls victim to it as people color
within the lines by avoiding
those non-chordal tones which
can create such nice tension and
interest.
Stephen King talks about writing to one imaginary reader.
The next time you write a song,
maybe you could write it for an
imaginary listener. And when
you do, and you feel like defaulting to the nearest cliché, ask
yourself if your imaginary listener would still be listening. If not,
then try one of the solutions I’ve
mentioned above. Or make up
one of your own! And if it works,
let me know what it is.
Harriet Schock wrote the words
and music to the Grammy-nominated #1 hit for Helen Reddy, “Ain’t
No Way To Treat A Lady” plus
many, many songs for other artists, TV shows and films. In 2007,
L.A. Women In Music honored
Harriet with a Career Achievement
and Industry Contribution award.
For her performance schedule, list
of credits and samples of her work,
information on her book, Becoming Remarkable, for Songwriters and Those Who Love Songs,
her online songwriting courses
and consultation, go to
www.harrietschock.com.
c Harriet Schock, all rights reserved
Grammy Bound?
By Elizabeth C. Axford
In 1999, I received a letter from John Braheny at the National Academy of
Songwriters (NAS) in Los Angeles. NAS was soon to be closing its doors.
John suggested that members join the National Academy of Recording
Arts and Sciences (NARAS) aka The Recording Academy, the organization
responsible for the Grammys.
My perception of the Grammys was that it was a high end, exclusive
event intended only for major label artists, mega-hit producers, and songwriters with platinum records. It never occurred to me that I myself could
become a member. I inquired about joining NARAS and, much to my surprise, discovered I was eligible for a voting membership as well as being
invited to the Grammys live telecast ceremony and other NARAS events.
Because I had recently recorded my Merry Christmas Happy Hanukkah
CD the summer of 1999 with producer/engineer Kris Stone, including 32
tracks on which I was
the performer, arranger, and/or songwriter, and I had physical distribution, I was
eligible.
From my many trips
to Los Angeles and
Nashville as the original San Diego NSAI
Workshop CoordinaLiz and Bridget at the Grammys
tor from 1992-2011
and the Miami NSAI
Workshop Coordinator from 1990-1992, I had learned about independent
record label distribution through Amazon.com, CDBaby.com, and TheOrchard.com. Back in 1999, the eligibility requirement was to have at least
6 physical tracks on recordings commercially released in the U.S. through
physical distribution outlets. With the coming of digital music distribution, the eligibility requirement came to include 12 qualifying physical or
digital tracks released online only.
Since joining NARAS in 1999, I have voted on 15 Grammys and have
attended 10 Grammy Awards Ceremonies at the Staples Center in Los Angeles. I will be attending for the 11th time this coming January 26, 2014
joined by former SDSG President Bridget Brigitte McDonald.
To learn more about the levels of membership offered by The Recording
Academy, visit www.grammy365.com/join/membership-types You might
be surprised to find out you, too, are eligible to vote on and attend the
Grammys!
Elizabeth C. Axford, M.A. is the owner of Piano Press Studio in Del Mar, CA.
She is a published author with Scarecrow Press, Inc. and has had hundreds of
placements in new media, film, and TV, including the feature film The Chosen
One staring Rob Schneider and Steve Buscemi, The Today Show, The Tonight
Show with Jay Leno, Late Night with Jimmy Fallon, Entertainment Tonight,
Project Runway, The Young and the Restless, The Voice, The Ellen DeGeneres
Show, Access Hollywood, TMZ, and many more.
The 10 Best Pieces
of
Songwriting
Advice
By Tracey & Vance Marino
It’s amazing how fast a year goes by. And what do we have to show for it? Hopefully, there are several more
songs in our catalog to play, pitch, or to earn income from. But, for many of us, another year goes by, and we’ve
done, well, nothing musically. What happened? Sometimes, we just need a little motivation. So, here is a list
of the 10 best pieces of songwriting advice we’ve received over the years.
1) “Do Something To Help Your Songwriting Career Every Day.” We originally heard this advice from Songwriting Teacher/Author Jai Josefs. It sounded overwhelming at first, but when we decided to devote just 5 to 15
minutes every day to songwriting, it soon became automatic. We don’t have to write an entire song. But in 5 to
15 minutes, we can: write down titles or ideas; record a melody; read an article in a songwriting newsletter (or
magazine like “Music Connection” or do an exercise from a songwriting book like Robin Frederick’s “Shortcuts To Hit
Songwriting”); listen to the top 3 songs on the Billboard charts; research upcoming music industry events; watch a
YouTube video about recording, etc.
2) “Decide If Songwriting Is Your Hobby Or Your Career.” Michael Laskow runs “Taxi,” which is an A&R company
for songwriters and composers. Every two weeks, Taxi sends a list of opportunities to help you to get your music
placed. When we were starting out, Michael told us, “If you treat your songwriting like a hobby, that’s what it will
be: a hobby. But, if you treat it as a profession and as a way to make your living, you will be a professional songwriter.”
3) “Immerse Yourself In The Music Business.” A Music Supervisor gave us this advice in 2008 and it completely
changed our lives. He encouraged us to “attend every panel, workshop, networking event, convention, lunch, and
holiday party where we could meet music industry people.” He added, “And be sure to join all the different songwriting organizations out there because that’s where you’ll find co-writers and collaborators. You won’t regret it.”
His advice got us over our shyness and helped us to really understand the music business. We quickly learned that
it’s not just about making great music; it’s also about building relationships.
4) “No Excuses.” We heard this sage advice from BMI Film & TV Rep Doreen Ringer Ross and adopted it as our mantra because it works for us. We songwriters are notorious for procrastinating, getting sidetracked, or coming up
with any reason why we can’t sit down and write a song. Doreen told a story about an A-list composer who missed
a crucial deadline for a major film and he never worked again. “No one wants to hear excuses why something didn’t
get done,” she said.
5) “Never Leave A Song Unfinished.” A frustrated Publisher vented on a panel, “What on earth can I do with a
half-finished song? Nothing! Finish it, for crying out loud! Don’t just give me lyrics. Don’t give me one verse and
a chorus. Don’t give me a song you wrote in 10 minutes and ‘recorded’ – badly – on your iPhone. Have respect for
the craft of songwriting. Finish your songs and make them as good as they can possibly be!” This advice hit home
for us. We had dozens of old, partially done songs gathering virtual dust. We’d gone through the “Second Verse
Curse.” We had times when we couldn’t come up with a bridge to save our lives. We experienced running out of
fresh, original ideas after the first few lines. But his advice made us realize we can always go back and edit or make
changes once the song is completed. If a song is worth starting, it’s worth finishing.
6) “Don’t WAIT For Success – PREPARE For Success.” This is our favorite piece of advice from Hit Producer/Songwriter Jimmy Jam. We used to write a song, submit it to a publisher or production music library, then sit around
waiting to hear back. And wait around we did. A lot. But, after hearing Jimmy’s advice, we now “write, submit,
forget, repeat.”
continues on next page
Best Songwriting Advice
continued
7) “This Is The Business Of “NO...N-O...NO. Get Used To It. But Don’t Take It Personally.” This harsh advice
was from a Music Supervisor who said rejection is “part of the game.” It’s no fun, but we all have to deal with it. It
weeds out a lot of wannabe songwriters, she explained. When we started hearing similar stories of famous songwriters and composers who went through years, sometimes decades, of rejection over and over again, it made it
a little easier to accept. This Music Supervisor also said to “never, ever give up” and offered her “Q-TIP,” which she
said stands for “Quit Taking It Personally!”
8) “Don’t Be So Precious With Your Music.” The late, great Songwriting/Author John Braheny gave us this advice, and as much as we hate to admit it, it was very tough to take at first. In fact, his words really ticked us off!
We used to spend weeks, sometimes months, laboring over one song or instrumental track. He explained, “This
is not to be confused with being sloppy or careless. Just don’t get so caught up in every little detail of a song.
Crank it out and go on to the next one.” It sounded counter-intuitive, but we discovered John was right, and now
we’re able to do a complete song (or two) in a day if needed. The more we flexed our composing and songwriting
muscles, the faster and more efficient we got. And by not being so precious, it was easier to co-write with other
songwriters.
9) “Be Nice To Everybody.” This advice is obvious, but Composer Jan Stevens said it’s what got him a job writing
music for the show “Scrubs.” While working on a show prior to “Scrubs,” he was always courteous to everyone,
including a stressed out young fellow who was in charge of running errands for the impatient, thankless crew on
the set. The man never forgot Jan’s kindness, so when he eventually worked his way up to the top, becoming an
executive producer, Jan was the one who got the call to work on his new shows.
10) “You Have The Most Freedom When You Have Boundaries.” We love this quote by Producer/Record Company Executive Quincy Jones who swears by having musical limitations. It’s easy to get overwhelmed by all of the
resources we have at our fingertips, so when we set boundaries, it’s actually freeing. Sometimes, he said, the less
we have to work with, “the more creative we’ll be.” How’s that for inspiration?
We hope these words of advice help you as much as they’ve helped us.
Have a successful 2014, keep on writing, and enjoy the journey!
Tracey and Vance Marino are
film/TV composers and songwriters with placements in TV shows
“The Voice,” “New Girl,” “The
Tonight Show with Jay Leno,”
“Oprah Winfrey,” “Dr. Oz,” “Access
Hollywood,” “Happy Endings,”
“Pawn Stars,” “Duck Dynasty,”
among many others. Their song
“Carnival Lights” was placed in
the Disney film “The Last Song”
starring Miley Cyrus, and their
song “No Snow In Mexico” was
placed in the Sundance film
“Goats” starring Ty Burrell, David Duchovny, and Keri Russell.
They are the Coordinators for the
Nashville Songwriters Association International (NSAI) San Diego Chapter. NSAI owns and operates The Bluebird Café, which is
featured on the ABC TV hit show
“Nashville.”
2013 SDSG Events Roundup
It was a very good year... and here’s looking to a productive 2014!
January 14
Pitch Session with Durango Song Expo’s Jim Attebery
March 18
Song Evaluations with Michael Laskow of TAXI.
May 10
Work In Progress Seminar
with Diane Waters & Mark Charles Hattersley
June 29
SDSG’s Summer
Jam
September 9
Cyber Workshop with Tim Mudd
November 4
22nd Annual Song Contest
November 24
Joint SDSG/NSAI
at Rancho Bohemia
Country Pitch with Steve Bloch
SDSG welcomes volunteers... this organization is run entirely by unpaid volunteers, and your help
in making us stronger and better will be greatly appreciated. Please feel free to approach a Board
Member anytime, or contact us via our website, sdsongwriters.org, if you would like to become
involved in the Guild operations.
Remember: Membership dues allow the Guild to conduct these meetings...
please keep your membership current.
StudioWest
Recording in San Diego
since 1971
SDSG Sponsors
Our 8,000 square-foot facility features three
world-class recording studios that complement each other in form and function, allowing our clients the freedom to take a project from inception to completion in a cost effective and
efficient manner within an environment that provides total support for the creative process.
For more about StudioWest contact us at 858 592 9497 or via email [email protected]
The San Diego Troubadour
sandiegotroubadour.com
Rancho Bohemia
studios
Warehouse Sound & Lights
8430 Production Ave, San Diego 92121
warehousesoundandlights.com 858-578-5245
Studio West studiowest.com
[email protected]
858 592 9497
Signature Sound Studios signaturesound.com
[email protected]
858 268 0134
Producer-Keyboardist-Engineer
Mark Charles Hattersley - Rancho Bohemia Studios
[email protected]
619 823 3917
[email protected]
619 823 3917
Taylor Guitars
taylorguitars.com
Mark Charles Hattersley
San Diego
Songwriters Guild
Jim Attebury Durango
Register in Now On-Line!
Monday, January 13
Sierra West Wins for 2013!
SDSG Song Contest Review
Steve Bloch Pitch Review
SDSG/NSAI Joint Session
Top Ten Songwriters’ Tips
Tracey & Vance Marino
Defaulting to Cliché
by Harriet Schock
Grammy Bound?
Elizabeth Axford
SDSongwriters.org
[email protected]
SongWritersNotes
The San Diego Songwriters Guild
3952 Clairemont Mesa Blvd Suite D413
San Diego, CA 92117
Address Correction Requested