Guild Tidings
The official publication of
The International Songwriters Guild
December 2022
Volume 27, No. 12
Live meetings are Cancelled due to CoronaVirus.
However, we will be having on-line Zoom meetings.
The next zoom feedback session will be December 4th.
We will send details under a separate e-mail,
and an announcement on the Facebook group page.
If you want the zoom meeting details,
please e-mail us at isgorlando@gmail.com
Hopefully we will soon be meeting in person again.
Please stay tuned for more info.
Any Details not in this newsletter are at:
If you wish to join our Facebook group, please check us out at
https://www.facebook.com/groups/831814850193553/
WebChatter
by CyberToad
Here's a blog link from Andrea Stolpe:
https://www.andreastolpe.com/articles/5-ways-to-stop-writing-cryptic-lyrics?utm_source=MailingList
We are asking members to renew their dues for 2022. It costs only $5 per year,
and it helps us to defray costs for the zoom meetings.
We have 2 methods of payment. Either paypal to our treasurer Asli Goncer's
paypal account. The paypal access is at aslivision@gmail.com
or you can mail a $5 check to
Asli Goncer
2849 Babylon Court
Oviedo, FL 32765
Either way, we appreciate your continued support.
Song Craft
by Jackie Mason
I was searching for ideas and came across this informative interview. It was recorded for Taxi Television on 09/26/2016. Michael Laskow interviews Marty Dodson. The video is titled “Country Songwriting Techniques with Marty Dodson”
https://www.youtube.com/watch?v=4F9cMGsCmkw&t=2s
I was vaguely aware of Marty Dodson’s name. It was probably at a Taxi Convention where I first heard his name.
Michael Laskow immediately went through Marty Dodson’s credits and achievements. You may find a list of his biggest cuts at Marty’s web page martydodson.com and an entertaining, small autobiography. His credits are impressive. He’s had songs recorded by Kenny Chesney, Billie Currington, Carrie Underwood, George Strait and The Oak Ridge Boys. He’s had 6 #1 singles. He’s also at ease stepping outside of his comfort zone. With songs recorded by Plain White T’s and winning The Asian Song of the Year. That would be “Bounce” recorded by Cho Yong Pil. It went to No1 in the K-Pop 100. This song does indeed bounce. It’s very well written and catchy. He’s also produced for the band Saving Jane. He says his best songs have not been written.
Michael was very prepared for this interview and said he wanted to see if he could apply Nashville Country Songwriting Rules to other genres. Marty went to college and got a degree in Psychology. He worked for ten years. At 32 years of age he quit the relative safety of a steady paycheck and pursued his dreams of being a successful songwriter. For the next two years he really applied himself to songwriting but he made no money from his music. After that he got a 5 year songwriting deal as a staff writer making $866.00 a month. His publisher was Kim Williams who wrote Papa Loved Mama with Garth Brooks. It was a foot in the door. It took four years before he got a cut. So it took him 6 years to get that first cut. I think Kim Williams was a mentor to Marty. Marty learned a lot about song craft from Kim.
I’m not familiar with how Nashville works. I am learning about it as I research the topic. I was thinking that the last two articles that I wrote were set in Memphis, Tennessee and I am still in Tennessee. Only I am in Nashville this month. What I have learned is there is a lot of co-writing happening there. Writers are put together with more experienced writers. It’s all team work. Marty is a lyricist. I am, also, learning about how seriously they approach song craft in Nashville. For example, I didn’t know about Music Row. I will know more for next month’s article.
Marty tells us that he spent a lot of time at concerts studying the audience. To see what energized them. It seems obvious but four slow numbers, in a row, will put an audience to sleep. He was asked by Billy Covington to watch Kenny Chesney’s show and then tell Billy what he’d noticed. The answer is obvious and that is up tempo songs moved the audience. Not just up tempo but strategic use of tempo. Billy Covington was aware that he had a reputation as a ballad singer. It’s an easy trap to fall into. I know because I’ve fallen into that trap. Billy knew he needed up tempo songs. Kenny Chesney knows how to work a crowd. He knows when to insert a party song into his performance, he senses when an audience needs a song to get them dancing. Marty used this knowledge and incorporated it into his own songs. He was learning by watching the audience and listening to what songs were on the radio. It’s an important lesson for all of us to take to heart.
I’ll be back next month with more about this video. I am still prowling the streets and looking for a room at the Song Motel. Stay safe everyone.
ISG Bulletin Board
Meeting space graciously provided by Central Florida Musicians Association,
Local 389. You are invited to join the largest union in the world, representing the
interests of the professional musician. Visit their website at afm389.org for more
information. You may reach them by phone at: 407-894-8666.
Why isn't your gig or live stream announced here? Members in good standing call SusieCool
with your appearance schedule! 407-760-2153 or e-mail her the details at isgorlando@gmail.com
If you are interested in open mics in the Central Florida area, SusieCool has compiled a list.
Steve Hodak hosts several newly listed open mics on the East coast.
https://sites.google.com/site/susiecoolsongs/Home/open-mic-directory-central-florida
SusieCool is the admin for a Facebook group called "Orlando Creative Music Network"
where we give out info on songwriter meetings, playing circles, open mics, workshops and concerts.
We have a Facebook page for this group if you want to join.
https://www.facebook.com/groups/274152179716552/
No Critique scores for November, since no live meeting.
New members and guests are always welcome!
© 2022 ISG