$ongwri%r&'

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Abby Parks,
Jason Castro,
Local Natives,
Craig Kallman:
Atlantic Records CEO,
& Much, Much More
Featuring:

Arika Kane
http://www.scribd.com/SongwritersMonthly Jan. ’10, #121
 Editor’s Notes
Welcome to the January 2010 issue of Songwriter’s Monthly. We have two
important items to cover this month:

#1 Writer’s Wanted!
I’ve been thinking about the phrase “written by songwriters for songwriters.”
A lot! So what I’m asking is for songwriters, artists, producers, managers,
publicists, lawyers, etc. to start sending in your brief anecdotes (200-300-ish
words) from REAL first-hand experiences. It can be about anything from
how you got that tattoo of your first band — you know, the one you thought
was going to be together forever — to what you look for in a co-writer. Just
about anything goes. Since Songwriter’s Monthly is a labor of love, as a
“thank you” for your involvement, we’ll post a link or a blurb at the end of
your piece. Sound good? Great, then send those first-person accounts to
a1foster@aol.com and lets all cringe, learn and laugh from each other’s
experiences.

#2 Help Spread The Word!

Believe it or not, I’m kind of a quiet guy. I get all awkward when it comes
to promoting something I’ve personally worked on. So, I’m wondering if
anyone out there would like to help promote Songwriter’s Monthly. In fact,
we’re officially holding a contest this month, whoever can show the love
and round up the most readers by midnight of Feb. 14, 2010 will win a
nifty black t-shirt (we only have adult medium, large and extra large
available) that proudly declares . . . Nah, I think you’ll have to win one to
find out what it says. Tell your friends and fans and family to sign up at any
of the following locations:
scribd - http://www.scribd.com/SongwritersMonthly
myspace - http://www.myspace.com/songwritersmonthly
facebook - http://www.facebook.com/pages/Feasterville-PA/Songwriters-
Monthly/73222402684
twitter - http://twitter.com/SongwritersMont
yahoo - http://groups.yahoo.com/group/SongwritersMonthlySubscribers

Don’t forget, whoever you get to sign up at one of the locations has to
send in a note stating who got them to subscribe/friend or you won’t get
credit . . . and multiple sign-ups count - if the same person signs up at
twitter and scribd, that counts as TWO!

Thanks for being involved . . . and thanks for reading!

Allen
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Leona Lewis
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“I SEE YOU”
(THEME FROM AVATAR)

The Hollywood Foreign Press

has honored the stirring “I
See You” from AVATAR with
a Golden Globe nomination
for Best Original Song –
Motion Picture. Multi-
platinum recording artist and
three-time Grammy® Award
nominee Leona Lewis [Leona
Lewis Review - Sept. ’09]
was hand-picked by the
film’s composer, James Cameron to record the song.

“I See You” was produced by James Horner and Simon Franglen [“My
Heart Will Go On”] and appears on AVATAR: MUSIC FROM THE MOTION
PICTURE, Atlantic Records' official score album companion to the film.
http://click.linksynergy.com/fs-bin/stat?

The song “expresses the idea

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of ‘seeing,’ when a person

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understands with their heart

and spirit, not just with their
mind.” The track starts as a
quiet vocal chant reminiscent
of Enya or Imogen Heap and
gradually swells allowing Lewis
to tap into her full potential
and carry the song to a rousing
climax. Finally, the energy
dissipates, leaving the listener
in a gently swirling sparkle of
tones.

[To hear clips from the soundtrack or

Lewis’ latest album entitledECHO, simply
click on the iTunes button.]
Abby Parks
The
Homeplace

“I’m not that

interested in
making
someone
dance, I want
the listener to
think.”
Abby Parks second CD, THE
HOMEPLACE, is a warm, artistic album
with a rich folk flavor. The tracks “Music is a
display a deft mastery of craft, Parks
seems to be in absolute control of each
language, and I
and every detail of her creativity. can’t help but
Undoubtably, that is due to her
extensive formal education. Abby not believe it is
only has a Bachelor’s degree in Music
Performance, but in English, as well. important to
The artist has studied guitar, piano, understand the
voice and creative writing. Over the
years she has also picked up bass, language you are
mandolin and banjo.
trying to ‘speak.’”
The Story Behind
“Music is a language, and I can’t help
“The Homeplace” but believe it is important to
understand the language you are
“The Homeplace” means a lot to
trying to ‘speak,’” Abby began. “I am a
me. It started as a poem I wrote in
music theory geek.”
a college class. It was a memory
snatched from my childhood when
Parks went on to note, that being a
our family — my parents and
“music theory geek” isn’t for everyone,
brother, grandmother and her
but it has really helped her with her
sisters on my mother’s side, and
writing.
cousins we didn’t see often — all
walked down to the old Homeplace
“It helped me understand harmony. I
to do a little treasure hunting. The
learned to use chords other than I-IV-V
story is retold in the poem. I was
to surprise or challenge the ear. I can
told I should seek to get the poem
come up with an unusual chord
published, but at that point I was
progression and understand what I am
focusing on my music more and
doing at the same time, and I think
more as a full-time career path. I
that is important if you are a
altered some of the words, came
musician.”
up with a chorus, and through that
I decided to write some other
Some writers might stray from learning
songs about my background/
theory, but Abby uses her knowledge
heritage. “Wild Dogs” and “Lambert
to stay fresh and inventive.
Road” are two other examples. It
makes me happy to know that
“I strive to make creativity a priority in
through songwriting my family
my songwriting. I like to think outside
stories can be immortalized.
the box and break the ‘rules,’” she
declared.
One thing she doesn’t like is to force
her writing, it has to be a natural
process.

“I tend to write from inspiration,”

she noted. “I may get an idea for a
song and it may sit in my head for a
long time before I even try to write
it down or sing it. I let it simmer and
go on about my business until it one
day surfaces and I feel that it’s
‘ready.’ Or an idea may pop into my
head already ripe. I’ve written songs
in a day, in an hour, in minutes,
while some have simmered in my
head for up to a year. That’s the fun
side of writing from inspiration — the
mystery of not knowing where it’s
coming from or how it will come, or
when for that matter.”

Abby considers herself a storyteller,

but she does not neglect the melody
or underlying music.

“In my own opinion,” she informed,

“a great song contains a marriage
between lyrics and the music that
underlies it. My songs happen to
have more of a folk slant in that I do
tell stories, but the music and the
lyrics are equally important.”

Sometimes Abby will write the music

first and come up with something
“lyrically to match it.” She detailed
the way she wrote a song called
“Lorelei” [from her first album,
MOVING ON]. “I had created this
guitar part and it sounded very old
and distinct, like it could be a song
about pirate ships or water — the
music was very atmospheric. So I
brainstormed and remembered a
 “Melody lines come naturally to me,”
Parks confessed. “It probably stems
from my fascination with Joni Mitchell’s
“I love words. I music. She had some pretty unusual
like using melody lines for that period in music.
And she was also wordy. A songwriting
unusual words. rule-breaker for sure. She got
philosophical, too, like in her album
It’s a fetish, I HEIJIRA. I just loved her songwriting
guess.” style so much that I used it as a
model.”

Parks went on, “If some of my words

sound like they belong in a novel, well,
tale of a legendary German siren technically I am a novelist. I’ve also
named Lorelei. So I retold the tale and written short stories and poetry. My
the music fit perfectly.” songs ‘Wild Dogs,’ ‘The Homeplace,’ and
‘Caves’ were all poems first before I
At other times, Parks uses music to converted them to song lyrics. I love
enrich a story she has already written. words. I like using unusual words. It’s a
“Take a song like ‘Lambert Road,’” she fetish, I guess.”
offered, “I already knew I wanted to tell
this story about my grandma in song, Getting back to the strength of her
had already started on the lyrics. I
married the music to it, seeking to
reinforce the emotions involved —
The Story Behind
hope, loss, heartbreak. The guitar solo
in the middle — I picture her walking “Your Chantilly”
down Lambert Road, mourning her lost
love and remembering what could have On the surface the song is a story
been.” similar to the plot of the old movie
THE PICNIC. A drifter comes to
“I always seek to set a mood with my town, romances a woman living
music because the story and the words there, and asks her to run away
are important to me and I want them to with him. It’s one of my favorite
be heard and understood. I’m not that old, romantic movies. On a deeper
interested in making someone dance, I level, the story is a figurative
want the listener to think.” retelling of a relationship I had,
one which I felt in the end I had to
But don’t think Abby’s music lacks walk away from. The choice was
emotion. Her sweetly sonorous voice an agonizing one, and telling the
and startlingly fresh melodies allow her story in that way helped me gain
to deliver her songs with a deeply perspective.
passionate performance.
 Production: “Wild Dogs” and “Caves”
My producer got inspired with the
song “Wild Dogs” and came up with
ideas that he worked out with Dave
Anderson, the studio musician/co-
producer who played on many of the
songs. They developed a percussion
part which was different than what I
heard in my head, but as I listened
to it more, I decided I really liked it.
Their ideas just added to the song,
w h i c h a l r e a d y wa s o n e o f my
favorites.
Doug [Jansen Smith, producer] got
creative with some special effects as
a type of foreshadowing, like the
sucking, vacuum-type sound right
before I sing, “Just one stray bullet
spat from tube of steel. . .” It made
the climax of the story a little more
climactic. And in the second chorus
he got in the sound booth and
panted into the microphone. He
called it “subliminal breathing.” If you
listen closely you can imagine dogs
running together in a pack. It gave it
voice, Abby offered, “I probably
developed the vocal ‘power’ from
singing in gospel choirs in a few of the
churches my family attended in the
past. While the songs I write are
generally folky, I love loud, jazzy
gospel music, even R&B music. In the
particular choirs I was in, the motto
was ‘belt it.’ In other words, sing at the
top of your lungs unless instructed
otherwise. I imitated the singers
around me who had such powerful,
charismatic voices. It helped me
develop a dramatic edge in my voice,
a “texture,” as he put it. Really cool
idea.
In the song “Caves” I told him I
heard primal percussion in my head.
I also had certain mental images in
my head like barren tundra, forests
where creatures lurked, etc. Doug
and Dave got creative, adding in
sounds like jungle bugs, wind (that
one at my request), moans and
screeches produced on bass guitar
and dobro, as well as the primitive
rhythm section. The finished product
was a background track that puts
you back in a Neolithic time period.
Perfect for the story I was telling.
You might ask how I’d perform a
song like “Caves” live? Well, I’d need
a pretty creative back-up band to
reproduce what was done in the
studio. Since I perform mostly solo,
it is just me and my guitar. And to
me, the guitar part in itself works
pretty well.
although I try to practice more control
over whether I use it or not.”
Speaking of church, some of the songs
o n T H E H O M E P L A C E h ave d e f i n i t e
Christian overtones. It is important to
note, however, that the church was part
of Abby’s upbringing and though she
draws from her experiences to create
good stories, she doesn’t preach.
“I was raised in church and Christian
music is a large part of my musical
background. But I was also raised on
 On Teaching Music
Teaching music is a wonderful thing
“My faith is
for me because it allows me to share simply a part of
what I have learned with others. It
also inspires me to learn more. who I am.”
Since most of my students are pre-
teen or teen boys with a desire to
play rock music, it has pushed me to
learn a style I didn’t seek to master images to paint a picture with words.
naturally when I was younger. My There is no opinion, no preaching
goal was to finger-pick, play involved — merely the story. While it
classical guitar, be the next Joni. Ha. may make some uncomfortable to
But teaching has widened my hear, it is a story that has been told
horizons and made me a more well- and retold for generations.”
rounded guitarist. My songwriting is
still going in a certain direction, THE HOMEPLACE is a marvelous gem, each
though. I don’t see myself pursuing song a facet that sparkles brilliantly on its
rock music seriously although I love own, but as a whole Abby has created
listening to it. something of great value. For more
information on Abby and her music, visit:

radio and have always loved http://www.abbyparks.com

popular music. So I write songs
in both styles and I like to
incorporate one or more of my
Christian songs in my projects.
It’s not necessarily popular to
blend the two, but other artists
do it. Most of Emmylou Harris’s
albums, for example, contain a
Christian-themed song or two.
Fo r m e , m y g o a l i s s e l f-
expression more than
‘conversion.’ My faith is simply
a part of who I am.”

One of the most affecting

moments on the album is a
beautifully tender track
entitled, “He’s Risen.” Abby
stated, “The song retells the
crucifixion as accounted in the http://click.linksynergy.com/fs-bin/stat?
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Bible. I use strong, short

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 JASON CASTRO
Jason Castro’s Atlantic Records debut
is a five track EP entitled THE LOVE
UNCOMPROMISED. The songs are crisp,
uplifting and sincere and Castro
performs each with an inviting warmth
and impressive depth.
“I'm actually a pretty serious guy, and
that's the side people didn’t see on
the show,” Castro noted. In case
you’re uncertain of which “show”
Jason is talking about, it’s AMERICAN
IDOL. The young Texan was third-
place runner-up when he competed.
Jason was the guy with the dreads,
the guitar and the quirky appeal.
“These songs represent that other side
of my personality,” he continued, “the
more reflective, thoughtful side.”
For example, “Sweet Medicine” is a
tender track that beckons you near as
Jason soulfully bares his innermost
desires. You can truly feel the intense
yearning as his words hang on the
edge of cracking beneath the weight
of his longing.
“I don't think there's a limit in art on
how much of yourself you put into it,”
Castro expressed. “That's the purpose
and the magic of it — sharing
something so deep that it can impact
somebody else. When it moves you to
hear about someone else’s experience,
“I don't think there's
a limit in art on how
much of yourself you
honest and upbeat, offering two
winning choices for singles.
Ro u n d i n g o u t t h e a l b u m , i s t h e
impressive title track. “Love
Uncompromised” is a touching song
about reaching out to someone and
simply offering them love without
compromise. The theme to this song
also happens to be the common thread
laced throughout the music on the EP:
“Loving somebody and accepting them
for who they are."

put into it.” THE LOVE UNCOMPROMISED is a vision

that's what songwriting is truly all
about: translating your feelings and
passions to create meaning for others.
That's what I try to do every time I
write a song or sing one on stage.”
from an artist uncompromised. Jason
Castro flexes both the muscles of his
vocal cords and the muscles of his heart
to offer a truly rewarding debut.
For more information on Jason, visit:

“You Can Always Come Home” (featuring http://www.jasoncastromusic.com

Serena Ryder) is another one of those
magical moments. Right from the first Bonus: To see Serena Ryder performing
line, “I don’t think he deserves you,” “What I Wanna Know,” click HERE.
Jason taps into a powerful sentiment
that everyone has experienced at http://click.linksynergy.com/fs-bin/stat?
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some point in their lives. The song

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swells, however not with volume, but

with emotion, as Serena embraces
Ja son’s m e l o dy l i n e w i t h i n her
passionate harmonies.

“Some people come off of Idol and

sing what's given to them, which is
cool,” Castro observed, “but I sing
because it's an outlet for me to
express the things I want to say.”

On the other end of the emotional

spectrum, Jason offers the
infectiously fun “If I Were You” and
the irresistibly charming “Let’s Just
Fall In Love Again.” Both tracks are
D I CAN DO
THIS.
R
I
V
E
N
A!ka Kane
Arika Kane is a chic, elegant young school she had more training, “but
woman who is as alluring as she is nothing that was really stable.” Her
driven. Her music is warm, tender and impressive tone, color and control
soulful with a touch of old school R&B. mostly came from a lot of listening to
Her self-titled other music and
debut album from her parents.
(which includes
the single “Bcuz I But her parents’
Luv U”) is influence did not
currently available stop at singing.
online and will be “My father is a
in stores on songwriter,” Arika
February 23. declared proudly.
“He definitely
Arika grew up played a big role
surrounded by as far as
music. “My mother influencing me
and all of her because every
friends were in a night — even till
church choir and now — he’ll be up
they developed until 1 or 2 in the
into a group later morning, sitting in
on. There was the living room
always three or with his guitar
four part har- writing a song.
monies and all He’s been writing
these beautiful music since he
sounds.” was young. He
writes country and
“I learned a lot rock and roll.”
from my mom and
her friends,” Arika continued, “but as Arika’s father did some work in
far as another influence from an Nashville, but he never had the
artist . . . Mariah Carey was definitely success she felt he deserved, so one of
the first artist who really intrigued me Kane’s career goals is to eventually
— I wanted to do what she was doing. I help her father’s songs get heard.
didn’t know if it was possible because I
was so young, but then I was like, ‘Wait As far as her own songwriting goes,
a minute, I can do this, too’ type of Arika revealed, “I have a very creative
thing. That’s when I was first starting side to me that I found out about four
to discover my whole singing ability.” years ago.” For her debut album, she
wrote lyrics and melody to tracks
Kane took a series of classes with composed by Big Score
various vocal teachers and she was in Entertainment’s Louis Humphrey and
the choir throughout school. After Jazz-O Joyner.
“They’ll put some ideas together and
then they’ll give them to me and I’ll
pick through those songs,” Arika
explained. “The track has to be
something that really, really hits me
somewhere because, even if I’m not
going through a particular situation,
the music makes me feel a certain way
and puts me in a certain atmosphere,
in a certain place, and I can go from
there.”
the-go. It ’s wonderful!” she
exclaimed. “A few years ago I was
having a hard time recording my
songs because I’d drive across the
state to recording studios and I’d
make these plans and people would
either take my money and run or they
wouldn’t show up at the studio. I had
a friend who learned how to record
and produce his own music and he

“I’ve always felt that I’m

able to put myself in
“I strive for
everybody’s shoes, in
everybody’s situation, so much,
I want
like I’m able to really feel
another person’s feelings.
Music is a great way to
express that ability.” to do it
A case in point might be
Arika’s current single,
all.”
“Bcuz I Luv U.” The track
is a silky smooth groove
where Kane reassures
her guy that he has
nothing to worry about
because she’ll never hurt
him, she’ll always treat
him right because she
loves him. Traditionally,
this might be a sentiment
that a guy expresses to
his girl, but if feels
perfectly natural coming
from Arika’s lips.

As if being a gifted writer

and a natural vocalist
weren’t enough, Arika
Kane also enjoys the
recording aspect of
creating a song. “I have
my own little studio on-
 About a year ago, Arika signed with
Big Score Entertainment. Lillian Smith
“It’s hard . . . (whose credits include The Donahue
Show) came onto the label just after
it’s really hard, that. Arika is very happy with her
but we’re not team, “They are awesome, they are
fighters, they are very determined and
quitting, we’re all they are very excited about being an
independent label. It’s hard . . . it’s
very hungry.” really hard, but we’re not quitting,
we’re all very hungry.”

said it was easy to do if you have the Arika is currently gearing up for her
money and you have the time. I didn’t February release and a promotional
have the money, but I had the time, tour. For more information on this
so he taught me how to do everything dynamic artist, visit:
from a computer. From then on is
when I really, really was so excited Arika on Facebook
about my songwriting because I could
just put my ideas down right then. I Arika on Twitter
wrote my whole album on it and I
take it with me everywhere.” [Ed.
BSE Recordings
note: Arika records on Cubase]

“I want to learn ProTools,”

Kane added, “because that’s
the software that everybody
uses and I want to be able to
have a larger role when I’m in
the mixing sessions, as well.”
Arika reflected for a moment,
then continued, “I strive for so
much, I want to do it all.”

Arika is also currently taking

piano lessons and has
aspirations for learning guitar
and possibly drums. “Being
heavily involved in your music
is really important for the
longevity of your career. Also
it’ll help my songwriting in
major ways, so I definitely
want to strive to be more and http://click.linksynergy.com/fs-bin/stat?
id=hyTjEIK1pMo&offerid=146261&type=3&subid=0&tmpid
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more involved.”
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Local Natives
“Song By Song”
Lush Southern California styled
Americana, drenched is glorious
harmonies set in wildly creative
textures amidst nearly tribal drums and
built upon a rich, warm bass tone. That
description only approximates the
magic of Local Natives [Kelcey Ayer on
keyboards, Ryan Hahn and Taylor Rice
on guitars, Matt Frazier on drums, and
Andy Hamm on bass]. Songwriter’s
Monthly recently caught up with Andy
Hamm to talk about the group’s
upcoming release, GORILLA MANOR, and
to try and find out just what makes this
group of individuals so darn special.
First and foremost, the guys in the
band really enjoy being together, they
genuinely like each other and know how should try to take this really seriously
to have fun. and see what happens.’”
“I hope so!” Andy responded to the
observation, laughing. “If you’re going
to do it — try to be in a touring band —
you have to! I guess we’re lucky, we’ve
known each other for a bit. Local
Natives has only been around for a little
over a year, but as far as us being
friends and making music together, it’s
been more like three years.”
“We’ve had a couple of years where we
weren’t a band full-time, it was more of
a thing that we did as a side project
while people were going to school and
working,” Hamm continued. “We were
able to become friends first while
learning each other’s music styles and
then, about a little over a year ago, we
sort of formed a lot of the songs that
ended up on the album. We felt so good
about them: ‘Alright this feels good, we
Fun Fact About:
GORILLA MANOR
Once upon a time, the Local
Natives lived in Orange County in a
place affectionately known as
‘Gorilla Manor.’ “It was insanely
messy and there were always
friends over knocking around on
guitars or our thrift store piano,”
guitarist Ryan Hahn recalled. “It
was an incredible experience and
I’ll never forget that time.” Gorilla
Manor had such an impact on the
band that they paid tribute to the
house by naming their debut album
in its honor.
“We were able to
become friends first
while learning each
other’s music
styles.”
The tracks on GORILLA MANOR are fresh
and often dense in arrangements with
many parts effortlessly weaving in and
out to create an amazingly complex
soundscape, though somehow each
song maintains an impressive
spaciousness that is miraculously lighter
than the sum of its parts. How do they
do it?
“It would be a lie if I said we’re all
professional trained musicians,” Andy
remarked. “None of us are, it’s all done
by ear. I think it just comes from growing
up and loving music. We’ve all been in
different bands — I lived in my band’s
studio for a year straight a long time ago
when I couldn’t afford rent or anything
and I would just play the drums all day. I
taught myself. And Kelcey was a
drummer first and foremost, then he sort
of dabbled a little bit on guitar and his
family had a piano inside and he ended
up teaching himself piano which is
primarily what he plays now. I think
everybody loves to just experiment.”
As far as the songwriting goes, “It’s
really song by song, there’s no one
songwriter in the band.” Hamm
explained. “There might be one track
where Kelcey will come in and say, ‘I
have the main chord progression and
the lyrics done, I need help with a little
bit of the melody.’ Then there will be
other songs where we’ll just be
jamming in the practice studio and I’ll
say, ‘I’ve had this riff that I’ve always
wanted to turn into a song and we’ll just
play off of each other. It’s really a song
by song process, but there’s definitely
not a single track on the album that was
put together all by one person, we sort
of feed off of each other and turn every
song into something that everybody in
the band can really stand behind and be
happy with.”
The only exception to Local Native’s
wholly collaborative process is the lyric
writing.
“It’s a little bit different with the lyrics,”
Andy admitted. “There are a few songs
that are collaborative to an extent, but
for the most part all the songs come
from one source. It needs to be
honest. If one person is trying to sing
the lead on it, it needs to sound like it’s
coming from him. We try to be a little
bit more hands off with writing lyrics.”
With all the inventive arrangements and
creative orchestration, there needs to be
something that holds the band together,
keeps them sounding like the same band
from track to track. A good bit of that glue
comes from Hamm’s bass. His warm tone
and solid lines do a great job of
maintaining a common thread throughout
the music.
The Story Behind:
“Stranger Things”
“The idea of ‘Stranger Things’ was
that I was on a vacation with my
girlfriend and I couldn’t sleep and I
was getting anxiety about how
many things I had to do back home
— I was still working full-time and I
was super low on money and I was
trying to do this band thing. I felt
like I was almost cheating on my
real life, that I had run away down
on this vacation for two or three
days. I was down here to relax, but
it was doing the exact opposite to
me, ‘Ahh, I shouldn’t have taken
this time off I have so much to get
done!’ That was sort of the root. I
started to come up with this story
line about the guilt that you feel
when you’re away from something
— even if it’s something you
wanted to get away from.
Sometimes you can’t help but feel
this overwhelming sense of anxiety
that sort of overtakes you. By the
end of the song, it branches into
just letting everything go and
finally escaping. It’s nice, every
once in a while, to act like there’s
nothing else going on in your life
except for where you’re at.
“I’ve always played with a warmer tone,
even when I was in different style
bands. I think my ear just gets drawn to
it,” Andy expressed. “In the studio we’d
“If we ever
come up with a
formula, I’ll
probably quit
the band.”
experiment, but in general we try to
keep a lot of the guitars pretty treble-y
— especially on the distorted parts —
and we like how the bass lays in the
back. You might not be able to hear
every single little note in the bass line,
but you can feel the rhythm and the
groove, it sort of fills in the holes on all
the drums.”
The collaborative process is once again
evident in the figuring out of parts.
“Again, it was a song by song process,”
Hamm noted. “There are a few tracks on
there where Kelcey came up with a bass
line and I came up with the guitar line or
drum part. I wish we had a formula,
‘Alright here’s what we do!’ but everybody
just sort of goes into a room and plays
around until everybody looks around at
each other and we’re like, ‘Yeah.’”
After a moment’s consideration, Andy
changed his mind, “You know, if we ever
http://www.youtube.com/user/localnativesband#p/u/4/od4ES6yMIgg
http://www.youtube.com/user/localnativesband#p/u/4/od4ES6yMIgg
http://www.youtube.com/user/localnativesband#p/u/4/od4ES6yMIgg
http://www.youtube.com/user/localnativesband#p/u/4/od4ES6yMIgg
http://www.youtube.com/user/localnativesband#p/u/4/od4ES6yMIgg
http://www.youtube.com/user/localnativesband#p/u/4/od4ES6yMIgg
http://www.youtube.com/user/localnativesband#p/u/4/od4ES6yMIgg
http://www.youtube.com/user/localnativesband#p/u/4/od4ES6yMIgg
http://www.youtube.com/user/localnativesband#p/u/4/od4ES6yMIgg
http://www.youtube.com/user/localnativesband#p/u/4/od4ES6yMIgg
http://www.youtube.com/user/localnativesband#p/u/4/od4ES6yMIgg
http://www.youtube.com/user/localnativesband#p/u/4/od4ES6yMIgg
http://www.youtube.com/user/localnativesband#p/u/4/od4ES6yMIgg
http://www.youtube.com/user/localnativesband#p/u/4/od4ES6yMIgg
http://www.youtube.com/user/localnativesband#p/u/4/od4ES6yMIgg
http://www.youtube.com/user/localnativesband#p/u/4/od4ES6yMIgg
http://www.youtube.com/user/localnativesband#p/u/4/od4ES6yMIgg
http://www.youtube.com/user/localnativesband#p/u/4/od4ES6yMIgg
“Local Natives cover Talking Heads’ “Warning Sign.” Performed from the
rafters of the 120 year old Secrest Octogonal Barn in West Liberty, Iowa
during Daytrotter's first Barnstormer tour.”

The Story Behind: The Rafters Video

“There’s a blog in the states called
Daytrotter that we’re great friends
with. They’ve been really supportive
of us on our very first tour through
Illinois. The guy who runs
Daytrotter [Sean Moeller] put
together this tour [the Daytrotter
Barnstormer] in middle America
through farm towns. We literally
would play in people’s really old
farms, in their barns, and all the
locals would drive in and it was just
this really unique, super special
little tour that we did. We were still
jazzed from a really good show
when I walked past this little
abandoned . . . it was a smaller
barn, probably a feed house or
something. I always have my
camera on me — we like filming odd
and weird stuff — and I was like
‘Dude, we’re going to do a song up
in the rafters!’ I think everyone was
jazzed but Kelcey, he was a little
afraid, ‘We don’t know how old this
building is, we could die just so you
can get some stupid footage.’ Still,
everybody sort of crawled up there
and we did this video on the fly. It
looks really cool and the guys were
happy with it so we just posted it.”
[Note:To view the video, click the
photo above.]
 Andy’s Artwork
Besides playing bass, singing and
writing, Andy Hamm also is
responsible for much of the artwork
for Local Natives.
“I’ve always loved drawing and just
doing artsy stuff,” Andy stated.
“When the band started needing
cover art and posters, I had an
opportunity where I could actually
focus on something, so I started.”
“I’m on Photoshop way too much!”
he admitted. “I learned Photoshop
because it’s on my computer. It’s
easily accessible so I just sit on it
and mess around until I find
something that I think is really cool.
Then I send it around and get
everybody’s opinion.”
Hamm said he tried to make the
artwork reflect the music, but he
wasn’t certain that aspect was
obvious to everyone. “When I do
something, I try to make it correlate
with the subject at hand, however,
it’s not always in a straightforward
manner,” he explained. “I do take
into account what the project is for,
is it to represent a song or to
represent a show or for an album or
an event? But sometimes I’ll have an
idea that I just always wanted to do
and I’ll see if I can’t try and tie it
into the project.”

come up with a formula, I’ll

probably quit the band. We
put a lot of thought and
time into the music and it’s
an honest thing. We hope
that people listen to the
music and take it from
there. We’re just excited to
get something out and see
what type of people get
attracted to it.”

GORILLA MANOR is currently

available in the UK and will
be available on Frenchkiss
Records in the states on
February 16th. For more
information visit the band at:

MySpace

iTunes
http://click.linksynergy.com/fs-bin/stat?

id=hyTjEIK1pMo&offerid=146261&type=3&subid=0&t
mpid=1826&RD_PARM1=http%253A%252F

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%252Fsun-hands%252Fid348075063%253Fi

%253D348075080%2526uo%253D6%2526partnerId
%253D30
 CD Reviews by David Fiorenza

Tom Gillam
Had Enough
Lone Star Music (Austin, TX)

Tom Gillam along with his band,

Tractor Pull, continues to ignite
the Texas music scene with this
11 song CD of Americana, roots
oriented music. H AD E NOUGH
could easily be played on AAA
stations and country oriented
stations in the US and Europe.

Recommended if you like:

Wilco, Son Volt, The Jayhawks.

www.tomgillam.com
http://click.linksynergy.com/fs-bin/stat?
id=hyTjEIK1pMo&offerid=146261&type=3&subid=0&tm
pid=1826&RD_PARM1=http%253A%252F
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%252Freal-thing%252Fid331672515%253Fi
%253D331672642%2526uo%253D6%2526partnerId
%253D30

Cliff Hillis
The Long Now
Tallboy Records (Los Angeles)

This second release from the

suburban Philadelphia hit movie
soundtrack writer is filled with
stylish pop songs, memorable
choruses and catchy melodies.

Recommended if you like:

Squeeze, Nick Lowe, John Wesley
Harding.

www.cliffhillis.com
http://click.linksynergy.com/fs-bin/stat?
id=hyTjEIK1pMo&offerid=146261&type=3&subid=0&tm
pid=1826&RD_PARM1=http%253A%252F
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%252Felevator%252Fid293886855%253Fi
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 Nik Everett
Summers Gone
This is the fourth release from this
diverse singer/songwriter who regularly
frequents the music scene in
Philadelphia and Delaware. Some of
the highlights of this 13 song CD are
the title track, “Excellent Night” and
“Every Time You Build Me Up.” The CD
builds upon folk, acoustic, rock and pop
sounds that will leave you wanting
more from Nik.

Recommended if you like: Marshall

Crenshaw, soundtrack to the movie
That thing you Do, Matthew Sweet.
http://click.linksynergy.com/fs-bin/stat?
id=hyTjEIK1pMo&offerid=146261&type=3&subid=0&t
mpid=1826&RD_PARM1=http%253A%252F
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% 2 5 2 F i d 2 9 8 4 1 2 6 6 % 2 5 3 F i
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www.nikeverett.com

IKE
Tie The Knot
With All That You Got
The long awaited release from this 4
piece Philadelphia power pop band will
ignite any dying embers you have for
pure alternative pop sounds that are
missing in your CD collection. Ike will
fill your needs for funky grooves and
pure pop melodies that sing in your
head for days.

Recommended if you like: The

Romantics, The Smithereens, The
Pursuit of Happiness, Scot Sax and
Wanderlust.

http://www.ikeonline.net

David Fiorenza is part of the duo Fiorenza-Dowlin. For more information on David,
visit http://www.myspace.com/fiorenzadowlin
Atlantic
Records
#1
“What is most
significant is that we
have achieved this with
a smaller roster and
fewer releases.”

— CEO Craig Kallman

For the second year in a row, Atlantic Records ranks

as the #1 label in the music industry – with the
biggest U.S. total album market share of 2009. As
reported by Nielsen SoundScan (for calendar year
ending January 3), Atlantic wrapped up the year
with an 8.23% Year-To-Date current album market
share, and a 7.33% Year-To-Date total album
market share (current and catalog combined).
Atlantic is also far and away the leader in current
digital album market share for 2009, at 8.45%.
“To have reached the #1 spot in Atlantic Records posted 19 albums in
2008 was hugely gratifying; to have the Top Twenty on the Billboard 200
done it again in in the course of
2009 is thrilling 2009, including 11
confirmation that “We have shifted Top Ten debuts. In
we are on course
with our long-term
our mission from Billboard magazine’s
year-end charts, five
strategy,” Atlantic being a out of the top
Chairman/CEO twenty Artists of the
Craig Kallman traditional record Year were part of
expressed. the Atlantic family –
company to an including T.I. (Grand
“Atlantic has just
wrapped up our
A&R-driven music Hustle/Atlantic), Flo
Rida (Poe Boy/
most successful content company Atlantic), Jason
two-year period in Mraz (Atlantic), Zac
more than two where focused, Brown Band (Home
decades,” Kallman
continued. “What
deep, and long- Grown/Big Picture/
Atlantic), and
is most significant term artist R o a d r u n n e r
is that we have Records’ Nickelback.
achieved this with development is
a smaller roster
and fewer re- king.” “We live for our
artists, and it is our
leases, as we have belief in them that
shifted our mission from being a f u e l s o u r p a s s i o n a n d o u r
traditional record company to an determination. In these challenging
A&R-driven music content company times, music is a more dynamic and
where focused, deep, and long-term vital force than ever,” Greenwald
artist development is king.” concluded.

Atlantic Chairman/COO Julie The extraordinary history of Atlantic

Greenwald added, “When we began
rearchitecting the new model
Atlantic in 2004, our goal was to live
everywhere the consumer lives, to
find innovative and compelling ways
to offer music from a diversity of
artists at every stage of their
careers. We’ve come a long way in
the past five years, building a
company that is breaking new
ground, seizing every opportunity,
and exploring every platform to get
our music heard.”
Records is celebrated in the just-released
ATLANTIC RECORDS: TIME CAPSULE,
a boxed set celebrating the label’s past
and present through music, images,
words, and memorabilia. The most
comprehensive project ever devoted to
the Atlantic story, this numbered, limited
edition 10-disc CD/DVD collection spans
the label’s entire history, from its
inception in 1947 to the present day. For
more details, please visit:
http://atlantictimecapsule.com
 NMPA LATE FEE SETTLEMENT PROVIDES
$285M FOR PUBLISHERS AND
SONGWRITERS TO CLAIM AND DIVIDE

The stage is set for a brutal tug- Wallace Collins

of-war among major and
independent publishers and
individual songwriters over
millions of dollars that just
became available. The National
Music Publishers Association
(NMPA) recently reached a
settlement agreement with the
Recording Industry Association
of America (RIAA) on behalf of
the four major record
companies. The result of the
settlement is that a $285 million
fund is being established which
can then be claimed by and

A $285 million
fund is being
However, major and independent
established which publishers as well as songwriters should
can then be know that this is an “opt in”
arrangement such that if you want your
claimed by and share you must make a claim within the
next few months, or face the prospect
divided among of losing it. No doubt, there will be a
feeding frenzy among the various
music publishers parties vying for a piece of the pie.
and songwriters. The genesis of this $285 million
settlement dates back to the Copyright
divided among music publishers and Royalty Board (CRB) ruling of October
songwriters. The settlement fund will be 2, 2008. At that time the CRN ruled
administered by an independent entity that the base mechanical royalty rate
to be supervised by the current Obama would be 9.1 cents for physical
administration “pay czar,” Ken Feinberg. recording music products such as CDs
as well as for permanent downloads
such as those from iTunes. The CRB
judges established for the first time a
rate of 24 cents for each ringtone
subject to the Section 115 mechanical
license. The CRB also incorporated the
industry settlement establishing rates
If you want your
share you must
make a claim
within the next few
months, or face
the prospect of
losing it.
and terms for interactive streams and
limited downloads. Furthermore, music
publishers were granted a 1.5 percent
late fee, calculated monthly, for
untimely payment of royalties. That late
fee works out to 18% when calculated
annually and would be a substantial
penalty for record companies to pay on
delinquent accounts. After the decision
was released, the Recording Industry
Association of America (RIAA) appealed
the late fee provision and the ring tone
rate to the D.C. Court of Appeals,
requesting a rehearing from the CRB.
On July 15, 2009, the CRB denied the
RIAA's Motion for Rehearing.
Shortly thereafter, rather than engage in
a protracted battle over unpaid funds with
the prospect of the 18% annual CRB late
fee being applied, the RIAA disclosed that
the major record companies were holding
some $285 million in what are known as
“pending and unmatched accounts” for
the years 2000 through 2006. The RIAA
offered to turn over those funds in order
to preemptively settle any claims
concerning the amounts and the late fees
applicable thereto. Most of these monies
were from unresolved or over-claimed
mechanical licenses where the record
companies had never finalized contractual
arrangements with the songwriters and
publishers and, therefore, held the funds
in these designated accounts (possibly
never to be paid out).
Although the full details of the
settlement agreement are beyond the
scope of this article, the fundamental
premise is that the $285 million will be
allocated among the music publishers
(major and independent) based on
market share. The NMPA website
(http://nmpalatefeesettlement.com) is
where publishers and self-published
songwriters can complete the
paperwork to apply for their respective
share of the settlement. A
A determination
will be made as to
the amount due
each claimant.
determination will be made as to the
amount due each claimant and, if the
respective claimant accepts the amount
offered, then that publisher is precluded
from pursuing the record companies
separately on the delinquent payments
and applicable CRB late fees. If a
publisher refuses to accept its
designated share, then it can elect to
pursue litigation.
There are many potential pitfalls of
which all sides need to be aware. As
just one example, it appears the
majority of the unresolved mechanical
licenses from which these millions
resulted were in the urban music area
where there is often a multitude of
writers and publishers claiming not
only for artist/
writers and
producer/writers but The best alternative
for “samples” used,
as well. Such song
for most songwriters
credit disputes are is to contact their
much less common
in the pop and publishers now and
country music fields
where one or two let them know they
writers usually
compose the song.
are aware of this
Urban artists and NMPA late settlement
publishers will need
to be vigilant to deal.
assure that they get
their fair share of the settlement
monies. Another problem is that if the
$285 million is simply allocated
according to market share then many
who were paid may be paid twice
while others will be shortchanged or
receive nothing at all.
As for the songwriters getting their
respective share from their
publishers, it is problematic. Each
songwriter will need to pursue its
publisher for a share of what the
publisher collects from the NMPA late
fee settlement. Otherwise, there is a
strong likelihood that the publishers
will simply hold the monies they
collect in their “pending and
unmatched accounts” indefinitely just
as the record companies did
previousl y. If after pursui ng its
publisher the songwriter is not
satisfied with what the publisher
offers, the songwriter is not precluded
from pursuing the record company
though such a process for most
songwriters would prove
overwhelmingly costly and time-
consuming. The best alternative for
most songwriters is
to contact their
publishers now and
let them know they
are aware of this
NMPA late settle-
ment deal so that
the publishers will
be motivated to
calculate and pay
the songwriters
their fair share.
The NMPA Late Fee
Settlement is not a
perfect arrange-
ment by any means, but it does make
available $285 million for songwriters
and publishers which was not
available before. Songwriters are
going to need to be vigilant to make
sure they get their fair share of the
pie as the feeding frenzy begins, the
results of which remain to be seen.
Wallace Collins is a New York
lawyer specializing in
entertainment, copyright,
trademark and internet law. He
was a recording artist for Epic
Records before attending Fordham
Law School.
T:(212)661-3656
www.wallacecollins.com
 12 Reasons
Why People Buy Songs
(Excerpted from The MONSTER SONGWRITER’S MANUAL
by Winston Gay)

1. They like the chorus or melody: “I just couldn’t

get the chorus out of my head.”
2. They can identify with or relate to what you
write: “It’s like she was right there when it happened.”
3. They like the rhythm and the beat: “That song
made me dance all night.”
4. They like the emotional intensity/performance
of the vocalist: “Man, that lead singer is awesome.”
5. They like the cover artwork: “Wow, did you see
that cover?”
6. They like the artist as a person: “Her music
doesn’t really move me, but she has such a sweet
personality . . . Yes sir, I’d like to order ten more copies.”
7. The song reminds them of a special person or
place in time: “That song really takes me back.”
8. They are pre-committed to support the artist on every level:“No matter
what they record, I’ll buy it automatically.”
9. Something about the song has healing or restorative properties:“His
songs lifted me to a new place, the pain is gone.”
10. They feel that your music sets the perfect mood:“All six of our children
were conceived to your music.”
11. They don’t have a clue why they are
‘mystically’ drawn to it: “I can’t explain it, I
just buy it.”
12. All of the above.

Sound interesting? For more information go to:

Xlibris
Barnes & Noble
Amazon
 ITEMS OF INTEREST
Op en in g Ac t Co nte st
For musicians interested in opening for Paris-Mann
at the concert at The Winchester Woodfire Grill in
Canton, GA on Sunday, February 21st, 2010,
Serge Entertainment Group is sponsoring a contest
for the opening act at this show. Singer/songwriter
soloists, duos and trios are invited to apply for this
opportunity which will expose musicians and their
music to an upscale audience in the Canton/
Woodstock, GA area. To apply and for more
information, please visit the link at http://
www.serge.org/parismanncontest.php. Deadline
for applications is February 1st and the winner
will be announced on February 8th, 2010.

S o ng w r it er s' W orkshop
Join a friendly group of Songwriters in the Round, be inspired
and turn your works in progress into polished gems. If you're
an experienced writer or have just always wanted to write a
song, come share the craft of songwriting. Hosted by Steve
Walker. Godfrey Daniels is a not-for-profit member supported
listening room located in Bethlehem, PA.

A Message From Beru Revue

“Please allow me to thank everyone who was able to
attend and/or donate to The 14th Beru Revue
Christmas Benefit at The Note in West Chester. Thanks
to you we were able to present SAFE HARBOR with a
check for $7,000!”

“Special thanks to our special friends who did such a

great job: Kenn Kweder, Joe Conklin and The
Brandywine Christmas Minstrels.”

“Another awesome job by you!”

— Bob
 ITEMS OF INTEREST
USA Songwriting Competition Winners!
Teen phenom Sarah Lonsert won the Overall Grand Prize of
the 14th Annual USA Songwriting Competition along with co-
writers Jonathan George and Jami Templeton. Her winning
song “Dancing Through Life” will be on the USA Songwriting
Competition's compilation CD this year. Sarah is only 17
years old and she not only broke the first prize record of
being the youngest winner but also the overall grand prize
winner of being the youngest winner ever. Sarah also won
first prize in the Dance/Electronica category, making her the
first from that category to ever win the overall grand prize.
Sarah Lonsert will be releasing a full length CD earlier next
year.

Eric Colville (Ipswich, MA) won

the overall second prize.

Anne Simoni (Brazil) won the

overall third prize.

This year also marks the first time that USA Songwriting Competition had two
winners from Spain. Ariel Queupumil from Guadalajara, Spain won the first prize
in the Latin Category while Eduardo de la Iglesia Nieto from Madrid, Spain won
the First Prize in the instrumental category. Nicole Morier and Fabien Waltman
from Los Angeles won the first prize in the Pop category.

THE 2010 COMPETITION BEGINS

Entries are currently being accepted for the 2010 15th Annual USA Songwriting
Competition. Winning songs will receive airplay on the nationally syndicated radio
program “Acoustic Café” as well as Sirius XM Satellite Radio. Entrants stand to win
a grand prize of over $50,000 (US) in cash and music gear from sponsors such as
Sony, D’Addario Strings, Ibanez Guitars, Audio-Technica, IK Multimedia, and more,
making this the largest prize package for any annual songwriting competition.
Songs may be entered in 15 different categories including Pop, Rock/Alternative,
R&B and Country. Entries are accepted from now through May 28, 2010. For more
information, visit: http://www.songwriting.net
 Previously . . .
http://www.scribd.com/doc/21725699/SM-Oct-09-118
For those who missed earlier issues of Songwriter’s Monthly,
just click on the cover of your choice pictured below.
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www.scribd.com/doc/19506104/SM-
http://blogs.myspace.com/songwritersmonthly Sept. ’09, #117a
Sept-09-117aTawny-Heath
Sept. ’09 Special Edition:
Fe a t u r i n g : C o u n t r y / Po p
artist Tawny Heath.
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