Winners of the SONGBIRD Awards 2023 plus some DSA Community Awards.

 On Saturday February 17, DSA gathered on Zoom for the Best Songs of the Meeting Awards Program. Barbara McMillen hosted the show along with presenters Michael Brandenberger, Bobby Montgomery, Bill Martin, Seth Ginsberg and Keith Dodson and our director Harry Hewlett.

Thanks to our performers Steve Ledford, Bill Martin, Wayne Willingham, Michael RJ Roth, Harri Wolf, Seth Ginsberg, Don Wall, Troy Inslee, Alexis Tapp, Keith Dodson, and Wayne Gathright the show was full of 21 wonderful songs between the awards given. 

DSA President Michael Brandenberger informed us of the new this year trophies to be given out for song and songwriter of the year will be called the SONGBIRD AWARD. 

Our sponsor JeriAlice of River Sounds Recording Resort was our judge and she presented the SONGBIRD AWARDS. 

Community Awards were given to Guitars and Growlers by Bill Martin, and Guitars For Vets Dallas by Bobby Montgomery.

WINNER OF THE VERN DAILY SONGWRITER OF THE YEAR AWARD

Vern Daily Songwriter of the Year - Wayne Gathright

Wayne Gathright written and recorded over 150 songs and garnered awards from Austin Songwriters, becoming ‘Songwriter of the Year’ in 2019. Wayne also won 3rd place in the Dallas Songwriting Competition, and has several ‘Publisher Picks’ in the Texas Songwriter’s Symposiums. Wayne is from Austin but has been an active DSA Member for the past two years.

WINNER OF THE SONG OF THE YEAR AWARD

Song of the Year -  Rattlesnake Rita by Keith Dodson

  

Keith Dodson retired from Raytheon as an engineer about 14 months ago to devote his time to songwriting. Besides being a DSA member and Director he is also involved in Acoustic Fridays in Lewisville where once a month they write a song with a prompt. Also he attends the Carrollton Bluegrass group once a monthly.

1st runner up I Hate Jazz by Wayne Gathright
                     Boxcar Lullaby by Steve Ledford
2nd runner up  There’s Always a Train by Steve Ledford
                        Bit By Bit by Wayne Gathright

2023 SEMIFINALISTS

Memorial Day by Eric Ramsey and Michael Roth
A Little More Time by Wayne Willingham
Rattlesnake Rita by Keith Dodson
Jonah Chapter 4 by Keith Dodson
There’s Always a Train by Steve Ledford
Boxcar Lullaby by Steve Ledford
I Hate Jazz by Wayne Gathright
Bit By Bit by Wayne Gathright
 Coming Home by Wayne  Gathright   
Country USA  by Wayne  Gathright    

SELF-EFFACING HUMORIST WALTZES AWAY WITH SONGWRITER OF THE YEAR HONORS by Buck Morgan

John Wayne had it. So did Clint Eastwood. That solid feeling that let’s you know you can count on them.

While Bobby Montgomery, the recently named Dallas Songwriter of the year, may not have Hollywood girth and brawn, he makes up for it in character.

He more than fills the Duke’s boots when you need someone you can count on.

When Bobby found the Dallas Songwriters, he found a home.  He knew there was something valuable here, and things of value need to be cared for.

It wasn’t long before Bobby became a caregiver, someone who volunteered to sit at a table at a guitar show or mall or outdoor festival and tell others about an organization and a group of people that meant a lot to him.

Most first heard Bobby’s music at 2nd Tuesday Critiques. I remember a judge smiling and closing his eyes as he listened to Bobby’s first song.

“Oh good, a waltz. I love waltzes,” he said.

People listen to Bobby’s songs that way. We smile. We close our eyes, and we nod toward familiar memories that many of Bobby’s songs conjure, some bittersweet. 

At other times, we’re caught off guard by his outrageous humor.

This past year has seen Bobby take top honors in Best of Meeting song critiques with tunes you can dance to as well as with songs that are knee-slappers. 

Typical of Bobby’s humor, he finds himself, over the course of a song, in an awkward situation, not completely of his own making. Disregarding listeners’ expectations, the main character swallows societal objections and joins in. A good time is had by all.

And the audience is left howling. Imagine how good it must feel to see people rock and bend over in laughter from the humor in your song.

Bobby has always loved music, and he’s always loved to make people laugh.  His father, Johnny Montgomery, was a touring country singer, and his mother, Lillie Montgomery, was a poet and a songwriter.

His parents owned the Alamo Bar in South Dallas, where his dad played on weekends and where, at age 5, Bobby also sang a few songs.

After his parents split, Bobby started writing songs with his mother. After he got a guitar she warned him to enjoy the instrument but to ‘never join a band,’ and he never did.

It was a hard promise to keep, because his musician friends were getting paying gigs during high school. Even though he may have sat in from time to time, he was able to skirt his promise to Mom by playing under the name “Bobby Dallas.”

“With Mother’s help I started writing songs in my teens,” Bobby said. “Today I have probably written close to 150 songs. Most of them are hardly noteworthy, so many of them found their way into oblivion.

“I don’t throw away such songs any longer. They go into my ‘recycle bin, and I cherry pick bits and pieces for new songs.

“My roots are in Classic Country, Jim Reeves Ray Price, etc. However, I noticed in the 1970s that country music had progressed into contemporary country music, and my 32-bar form--three verses and a chorus--was outdated.”

Bobby didn’t want his music to stay in the early 60s, so he worked with dedication for decades and now feels ready to burst onto the 1970s scene. “I relish the success of slow but steady progress,” he said, suppressing a sly grin.

Bobby’s favorite DSA activity is the 2nd Tuesday Program. Since joining, he’s among the first to arrive and last to leave.

“Our guest speakers have always been insightful. I have made many friendships with songwriters that range from ‘good to gifted,’” he said.

“I have also been fortunate to have found a couple of mentors that have stretched me. My strengths have been in melody lines and lyrics.

“My weakness was structure. I have learned from recommended research, asking questions, and just listening and taking notes.”

The newer tunes that won Bobby DSA Songwriter of the Year 2014 were produced in 2013 at DSA member Joe Milton’s studio.

“One thing I’m sure of is five years ago I could not have dreamed of the doors that would open up to me as a result of joining DSA,” he said. “My advice to songwriters is the next step is joining the DSA.”  

2013 CRITIQUE WINNERS ANNOUNCED AT MARCH MEETING

Interviews by Buck Morgan
Roger had numerous songs selected as Best of Meeting during monthly 2nd Tuesday programs in 2013. Roger has been an avid supporter of the Dallas Songwriters and is a past-president and former DSA board member, as well as a frequent and sought-after sound engineer. Lately, Roger has been breaking the ReverbNation top 10 local charts for Americana. Keep up the good work, Roger.

The award is named after the late Vern Dailey. Though well known among Dallas Songwriters as the all-time record holder for Songwriter of the Year and as a fantastic lyricist and world class curmudgeon, Vern is probably best remembered as the puppeteer partner of the long-running Dallas children's program from the 70s to the 90s, Peppermint Place. He was Muffin the Bear and many other characters who supported the late Jerry Haynes, better known as Mr. Peppermint. We miss you every day, Vern, you rascal.

In an interview with DSA, Roger shared some songwriting wisdom.

 1Q: Who is your favorite songwriter? What is it about these songwriters that attracts you?

I grew up listening to classic country every morning before school.  Charley Pride always stood out from the crowd.  Then, the Beatles invasion and Elvis Presley were larger than life.  I also include Neil Diamond and Bobby Goldsboro in my list along with Tommy James.  As times changed I added Carole King, James Taylor, and Carly Simon.  And of course there was Jimi Hendrix and Jim Morrison.

2Q: When is a good time for you to write songs?  When happy? Sad?

I write good sad songs when I am between relationships.  A good breakup song or You Done Me Wrong song can usually emerge from a breakup.  I am an observer of people.  I write about things I see and things people do, but I also sometimes get inspired listening to others musicians play and write something that I heard as part of a song.  I explore a topic another songwriter has opened.  If I hear music without words, I sometimes feel words in the music and write those to fit the music.

3Q: Are your songs typically personal and from your own experience?

Again, I am an observer of life and people.  Some of my songs are personal but edited for public consumption, but often, my songs are observations that lead me down a path.  Sometimes, my imagination takes me down a “what if” path.  I may see a couple, for example, and think, what if they just met and they are exploring a relationship, and I build a scenario to fit where my mind takes me, but with a dose of reality.

4Q: You have much experience with co-writers. What makes a good co-write?

The biggest things that I look for in co-writers is that they have skills that compliment mine and that they are open to ideas.  I don’t fancy myself as a performer, so I look for people that like to perform and sing and play well.  Co-writes take many avenues.  I am not always in the room with my co-writers.  We may connect via email or Skype, for example.

5Q: Is there someone at the DSA you’d like to co-write with?

I am open to co-write with many people.  I constantly come up with hooks and ideas that may fit one persons writing style better than another.  I use my observation skills to try and understand a co-writer’s, or potential co-writer’s, style and influence.

6Q: What is the hardest part of songwriting? What is the easiest part?

Words come to me easily.  Opening up my mind and letting the words flow through me feels natural.  Editing and giving a song an interesting story line and powerful lyrical message are more difficult.  The most difficult is putting the words to music.  I have to find a way to communicate the musical production and riffs I hear in my head to players to help them understand what my take is on the arrangement and production.

 7Q: When did you know that you wanted to write songs? What prepared you to write songs?

I have written songs and poems for most of my life.  I did not fully take advantage of songwriting until after my divorce.  I had the means and the time to write, so I submersed myself into music and songwriting.  I have done sound production and recording for years, but often times people don’t think of the sound guy as a songwriter.  As a sound guy, I have things that I have to pay attention to in a mix, which I think sometimes helps me in arrangement and production.  I can hear different instruments fall back into a mix and emerge.  Sound engineers and recording engineers need to know how to balance instruments so that all of the instruments are not competing for limited bandwidth.  In that I am primarily a lyricist, I find words to use and instrumental mixes that support the lyrics rather than bury them behind a wall of music.  Sometimes the lyrics are the important part of the song, and sometimes the musical hook is what needs to be prominent.

 8Q: If you could give advice to someone in the DSA who wanted to become a better songwriter, what would it be?

People who want to be great songwriters need to expose themselves to other songwriters.  Take advantage of opportunities to network with other songwriters and make use of workshops and development exercises.  Read and listen and observe.

The late Vern Dailey was named Dallas Songwriter a record four times, maybe more, who knows. He was short, shy, vain, funny, poetic—in short, a real stinker, and we miss him every 2nd Tuesday of the month.

BROOKE MALOUF, ERIC ROBERTS WIN SONG OF YEAR 2013

Dallas producer and musician Pete Miller has weighed the evidence and judged "'Til Love Comes Back" as Dallas Songwriters Song of the Year.   DSA had a chance to find out what makes this winning songwriter stand out in this interview with
 Brooke Malouf. 

1Q: Who are your favorite songwriters? 

I have many.  Two of my favorites are Allen Shamblin and Tom Douglas.

                       

What makes these songwriters special to you?

They write from the heart.

2Q: What inspired “’Til Love Comes Back”?

I love the idea that anything, no matter how hard, can be reconciled.

Is it a personal song?

It’s a song that most people can relate to.

           

Typically, are your songs personal?

Sometimes yes, but ideas come from everywhere.

           

 3Q: Do you always write with a co-writer?

 Almost always

           

What makes for a good co-write?

Leaving the ego at the door and forgetting it for a while, and enjoying the moment.

           

What do you avoid in a co-writer?

 I'm not sure, but what works for me is collaboration.

           

What advice would you give to someone who wants to co-write?

Find someone you really connect with, and wait ‘til you find that right match.  Also, you won't always be able to write with everyone you meet, and that's okay, too. Hopefully, you’ll find the handful of writers you love writing with.

4Q: Was there something different or unusual about writing “’Til Love Comes Back”?

This was the second song Eric and I had written together. 

           

What are you most proud of in this song?

I wrote this with a great writer, Eric Roberts.  I think we would both agree that we are proud of the fact that this song feels real to both of us.

           

Is it a sad song or optimistic?

Both.  It’s about a rough time, but it’s also about the idea that almost anything can be reconciled. 

5Q: Past or present, are there Dallas Songwriters you admire?

Tom Douglas, Scott Sean White, Bob Paterno, Ed Williams and a lot of the writers I have met at the DSA.

DALLAS SONGWRITERS SONG OF THE YEAR

‘TIL LOVE COMES BACK

© Brooke Malouf and Eric Roberts

I heard the click of the door, and I know what it meant

‘Cause walking out sounds so different than trying again

An earthquake of memories comes rushing back at me

An ocean of hurt so deep, I just can’t swim

CHORUS

But just when you think it’s the end, well

That’s where the road begins again, and

These twists will turn until we laugh

‘Cause these things meant to cut us down can

Change and turn our hearts right around and

It can happen just like that

So baby look back, ‘cause I’m waving my white flag

‘Til love comes back

They say one day at a time, but I say breath by breath

‘Cause you’ve been my one since the day we met

The sun drops in front of me, and I feel half of what I use to be

Standing on the front porch with my regrets

CHORUS

BRIDGE

Can’t we give us another try?

I never meant us to say goodbye

And our forever’s not over yet

No, our forever’s not over yet

CHORUS

It'll come back

We will come back

We will come back

At the March meeting, Pete brought the results of the Best of Meeting competition--the winner among the winners of our monthly member critique sessions--giving the award to the song co-written by Brooke Malouf and Eric Roberts. Below are the winners and Pete's comments. Soon we'll provide a link so that you can hear the songs on our web site.

1st Place Winner and Dallas Songwriters Song of the Year--
'"Til Love Comes Back" by Brooke Malouf and Eric Roberts
This song just comes across like it didn’t take much effort – flowed honestly from a feeling and not forced or contrived. The lyric has emotional and visual elements. The form is near perfect – maybe it could be shortened just a bit without compromising anything.

Runner Up: "What You Got" by Andy Schrumpf
This is a very relevant contemporary country song. Really strong hook even though it repeats quite a bit, it still holds up. The lyrics, and how they tell the story are very clever – the perspective also allows for repeating. Musically, I especially like that the verses have some good fire in them. I do think there is room for a quick bridge in between the last two choruses – a couple of trick lines that could solidify the story even more.

3. "Wait For Tomorrow" by Barbe McMillen & Laurie Windham
I interpret this as an obvious musical theater piece. The form is appropriate for that genre. I visualize performers on the stage singing and dancing supporting the lead, but the song is also listenable without the stage presentation. I might suggest a change of the fifth line of the chorus to make it less repetitive of the second line, just to vary it some. The melody sits nicely on top of the rocking rhythm and chord changes. Very jubilant.

4. "Here I Am" by Mary Guthrie
This song has a great “prayerful” feeling with beautiful visuals to help create that feeling. The message is simple but very explicit. The form flows real well for this tune, though I might suggest the instrumental vary somewhat from the intro. The melody floats above the moving, well voiced, chord changes. The hook is not perceived as original but it is very fitting.

5. "Sunset In September" by Alex Gorodiscas, Roger Russell, Robin Willis and Kevin Moore
Nice emotional and very visual song. Good lyrics and hook. The melody is also nice, supported by solid chord progressions. I would prefer a quick turnaround after the first chorus to set up the second verse. That said, with the running time a little long, I would suggest shortening the bridge. I think you could accomplish the reveal – message – of that bridge in three lines rather than six, and it could make it even more powerful.


For more of Pete's comments on Song of the Year, click here: http://bestsongsofthemeeting.blogspot.com/