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/

DSA ANNOUNCES SONG AND SONGWRITER OF THE YEAR 2012 by Buck Morgan

The Dallas Songwriters Association has named James Pappas winner of the 2012 Vern Dailey Songwriter of the Year Award. This makes James winner for the second year in a row.

YOU WON’T FIND STRAIGHT-AND-NARROW TRAILS IN JAMESS PAPPAS’ SONGS
By Buck Morgan

James Pappas, the 2011 DSA Songwriter of the Year, is the working man’s songwriter. On 2nd Tuesdays, he’ll slip in a little late. He’s just had time to come home, clean up, grab a bite, and head out. He sits near the back, and you might not notice him until he speaks up.

After most meetings, James is one of the last to leave. He has clean-up detail, and he makes sure that the ladies at the Center for Community Cooperation give the Dallas Songwriters a check mark each month. Then, after the chairs are straightened, the trash cans just so, the coffee, tea and water cart cleaned and in their spot, James hangs out with the other hangers on, people like Roger, Lisa, Joe, Casey, Alex, Tom, me and sometimes a first timer, people who like to talk about songwriting and about the songs they heard that night. Some nights James sets a time and a place to meet with someone to work on or record a song.

You all know James. He’s the barrel-chested guy wearing the pony tail and the vest, the guy with the huge, rough hands who sits in the back and often has a suggestion or comment on a song during Critiques.

He’s been a DSA member since 2000. In other words, forever. Only Barbe McMillen, Vern Dailey and Nancy Rynders have been members longer. The first time I met James was at a song swap about four years ago, back when we just had one. I was feeling out the group, trying to figure out what the DSA had to offer, and I found myself across the table from James and a friend of his named Lefty, or at least that’s how I remember him, because he had a right-handed guitar strung lefty. Bob Paterno was there that night, too. (Ironically, Bob is a left-handed guy who plays righty.)

James is unorthodox. I learned that straight away. He didn’t bring an instrument or lyric sheets. He brought a CD player with a 4-way splitter and four headphones, and he wanted us to hear a song he had done to entertain his kids when they were little. It was a cute song, but there were headphone problems that night.

Afterward, out behind the White Rock Coffee Shop, I stood and talked to James and Lefty. We talked and we talked. I rolled a cigarette. I think I may have rolled another. To look at James and Lefty, you’d think they might have a cigarette, too. But James doesn’t smoke. Seems like I suggested getting a beer, but James doesn’t drink, either. Of course, he used to do both, but he quit.

There’ve been a few turns in James’ life. He was born in Mobile, AL, but seasoned from age 12 in Kansas City. He’s lived and worked all over. James is always cooking up something, which comes naturally to a former chef. He worked as a hotel chef for 25 years: for the Fountainebleau in Miami Beach, for Westin Hotels in three cities, for Hilton Hotels in three cities, and for Adam’s Mark hotels in three cities. One of those stops was at the Anatole Hotel in Dallas, where he met his wife, Amelia.

Leave it to James to fall in love with a woman who didn’t speak English. Of course, he didn’t speak Spanish. He says it couldn’t be helped. They were in love, and they would figure out the rest later. So far they’ve managed 28 years, four grown children and seven grandchildren.

Today, James only cooks on keyboards, guitar and control board. For the last 10 years he’s run a successful business, Dallas Ice Sculptures. You may have admired some of his work at our Christmas parties. To see more, visit http://dallasicesculptures.com/ .

CARY COOPER ANNOUNCED THE SONG OF THE YEAR AWARD AT THE MARCH 12TH MEETING

The 2012 Song of the Year is “Thank God He Broke Your Heart,” written by Brook Malouf. Brooke has a BA from Uva and and an MBA from the University of Dallas. Several of her songs have been nominated Best of Song U in Nashville and recommended for the NSAI’s music publisher’s luncheon. She co-writes with writers from all across the country, and travels to Nashville to write all throughout the year. Check out her songs at: http://www.myspace.com/brookeelizabethmalouf#!

Each month at the DSA’s Second Tuesday program, members anonymously submit recordings of their songs for comments and feedback. A panel, usually composed of the evening’s guest speaker and a DSA Board member, listens to the songs and comments and scores the songs according to six categories: hook, melody, lyric, structure, originality and truth. Audience members also score the songs and write comments on lyric sheets. At the end of the year, the top two songs of each month go before independent judges, who choose the annual Song of the Year.

This year’s judge was Cary Cooper. Coming in second was “The Good War” by Casey Graham and placing third was “Carribean Moon” by Roger Russell and James Pappas. 

For More information about the Best Songs of The Meeting visit: http://bestsongsofthemeeting.blogspot.com/

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