Write Away Magazine - June Issue

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The Lyric writers magazine


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<strong>Issue</strong> No:6<br />

The Lyric <strong>Write</strong>rs <strong>Magazine</strong><br />


‘Mercedes Benz’<br />


Introducing - Bill Halloran<br />

Lyrical Do Not - Daryn Wright<br />

Song Lyrics - Trevor Dimoff<br />

Lyricslinger - Simon Wright<br />


In This <strong>Issue</strong>...<br />

Chris<br />

Tavener<br />

Pages 20 - 23<br />

Features<br />

10 Mark Townley<br />

14 Ann Kenney<br />

18 Nick Briggs<br />

26 U2-360<br />

28 Cranberry Merchants<br />

30 Jim Plunkett<br />

32 Charlotte Elizabeth<br />

34 Chris Tavener<br />

Regulars<br />

04 Lyrics Doctor<br />

06 Daryn Wright<br />

08 Trevor Dimoff<br />

12 Bill Holloran<br />

16 Simon Wright<br />

24 Paul Sykes<br />

36 Matchmakers<br />

34<br />

02<br />


T jÉÜw YÜÉÅ g{x Xw|àÉÜAAA<br />

Welcome to <strong>Issue</strong> 6 of <strong>Write</strong> <strong>Away</strong> <strong>Magazine</strong>. The only<br />

lyric writers magazine you’ll ever want to read, bringing<br />

you a new host of talented artists from around the world.<br />

I’d urge you all please to take a moment and check out the<br />

links included with each article to respective websites and<br />

music. Some amazing talent not to be missed.<br />

A warm welcome to my new regular writer Bill Holloran.<br />

You can find Bill’s first article on page 12 in this issue.<br />

Bill is a blues player from The Wildcat O'Halloran Band....<br />

Find out more about Bill from his website<br />

www.wildcatohalloran.com<br />

A big thank you to all of my regular contributors too. Your<br />

input is what makes <strong>Write</strong> <strong>Away</strong> <strong>Magazine</strong> so special.<br />

And a huge thank you to Mark Townley for the third and<br />

final installment of SPLAQ - Please do take a moment to<br />

check out Mark’s music, you won’t be disappointed.<br />

I’m always looking for exciting new articles and regular<br />

features on lyrics. If you’ve something for consideration<br />

in a future issue please drop me an email...<br />

jane@writeawaymagazine.co.uk<br />

Jane xx<br />




www.writeawaymagazine.co.uk<br />


The Lyri<br />

Jeff Hanke from<br />

Minnesota asks how to<br />

write a compelling and<br />

engaging first line, and Ann<br />

Kenney from London wants<br />

tips on writing a second<br />

verse. On some level, these<br />

are really the same question,<br />

and the short answer is,<br />

“Know what your song is<br />

about.” It seems like the most<br />

basic thing possible, but you'd<br />

be surprised how often people<br />

write without really knowing<br />

what they want to say. In<br />

my day job as a magazine editor,<br />

I sometimes get 900-word<br />

stories from reporters, and<br />

when I ask them, “What is this<br />

about?” they don't have much<br />

of a response. Once you figure<br />

out what your song or article<br />

is about, it will almost<br />

write itself. You simply have<br />

to ensure that every line--even<br />

every word--works to support<br />

your idea.<br />

When writing songs, I typically<br />

start from a lyrical hook,<br />

which is sometimes the title,<br />

sometimes the first line,<br />

sometimes the refrain (and<br />

sometimes all three). These<br />

can be fairly obvious:<br />

“Heartbreak Diet“ (a song<br />

about how your stomach can<br />

suffer along with your heart)<br />

or “My Girlfriend's Got a<br />

Chainsaw“ (about a poor sod<br />

who's cheating on his lumberjack<br />

girlfriend... big mistake!).<br />

Others are less evident. A<br />

few years ago, my sister-inlaw<br />

was wearing a T-shirt with<br />

a simple map of a place<br />

called Block Island (off the<br />

coast of the U.S. state of<br />

Rhode Island), but to me it<br />

looked like a porkchop. I said,<br />

“Why are you wearing a T-<br />

shirt with a porkchop on it?”<br />

And she said, “Most people<br />

say it looks like a teardrop.”<br />

My response, of course, was:<br />

“Porkchops and Teardrops...<br />

I'm sure there's a country<br />

song in there somewhere!”<br />

So I had what I thought was a<br />

cool lyrical hook, but no idea<br />

what the song might be about.<br />

I soon realized it had to<br />

describe the nexus between<br />

food and heartache (do you<br />

see a pattern here?!). I wrote<br />

a line about a woman who<br />

“thought it was smart/to feed<br />

his heart/by stuffing his belly.”<br />

But I wanted to set the scene<br />

of a traditional family man,<br />

and create something of a<br />

humorous tone. Hence the<br />

first line: ”He was a man who<br />

brought home the bacon/And<br />

the ice cream too/A great<br />

provider of celery and<br />

cider/And plenty of beef for<br />

the stew.”<br />

In the pre-chorus, he skips out<br />

on dinner: “Said he'd found<br />

someone new, a perfect soul<br />

mate/Who don't smell like<br />

onions and make him put on<br />

weight.” That sets up the<br />

chorus, “All she was left with<br />

was porkchops and<br />

teardrops...”<br />

For the second verse, I wanted<br />

to spin the narrative forward,<br />

portraying the woman<br />

as the heroine and giving the<br />

man the comeuppance he<br />

deserved. So I introduced his<br />

new paramour, who fed him<br />

nothing but natural foods, and<br />

“pretty soon he withered<br />

away/Could bring home the<br />

bacon no more.” The first<br />

woman, meanwhile, “She<br />

cried and she cried/Then she<br />

baked and then she fried/Then<br />

she found someone new, a<br />

perfect soul mate/Who loved<br />

smelling onions and putting<br />

on weight/She forgot about<br />

them porkchops and<br />

teardrops...”<br />

Until I figured out what the<br />

song was about, it would have<br />

been impossible to construct<br />

the narrative. But once I had<br />

an image of my characters in<br />

mind, it was easy to craft a<br />

story around these two, with<br />

each line supporting the plot.<br />

Think back on some of the<br />

best songs of the past halfcentury,<br />

and you'll find that<br />

their first lines grab the listener<br />

and set the tone for story.<br />

Dylan starts Like a Rolling<br />

Stone with the line “Once<br />

upon a time you dressed so<br />

04 www.writeawaymagazine.co.uk

cs Doctor<br />

fine/You threw the bums a dime in your<br />

prime, didn't you?” That introduces the plot<br />

and the protagonist of the story, a woman<br />

who has misstepped in some way, with double<br />

internal rhymes. ”Please allow me to<br />

introduce myself/I'm a man of wealth and<br />

taste” takes you straight to the heart of<br />

Sympathy for the Devil, in which Lucifer portrays<br />

himself as a victim of God's perfidious<br />

scheming. And Patti Smith eases into Gloria<br />

by singing “Jesus died for somebody’s sins,<br />

but not mine,” a song about the bravado and<br />

bluster of youth (at least that's my interpretation).<br />

If you deconstruct the rest of those songs<br />

(and countless others), you'll find that the<br />

lyrics propel the narrative forward, sometimes<br />

with an unexpected wrinkle introduced<br />

in the second or third verse, and sometimes<br />

taking a relatively straight path to the end.<br />

But in most great songs, the writer knows<br />

what he or she is trying to say (even if it's<br />

not always entirely clear to the listener), and<br />

each verse, chorus, and bridge underpins<br />

that idea.<br />

Happy SongwR x iting<br />

The Lyrics Doctor<br />

Note from the editor...<br />

If you have a lyrics - related<br />

question you’d like answered<br />

please email it to me and I’ll forward<br />

to The Lyrics Doctor.<br />

jane@writeawaymagazine.co.uk<br />

www.writeawaymagazine.co.uk<br />


Lyrical Do Not # 4<br />

Have you ever heard the word<br />

hippopotomonstrosesquipedaliophobia?<br />

What does it mean, and why is it important<br />

to lyrics?<br />

Everyone has a fear of something, be it<br />

internal or external. For some people,<br />

they have a legitimate fear of long<br />

words. Words that intimidate your<br />

listener are not always a good<br />

approach. Few listeners want to be<br />

bothered with finding the definition of<br />

words in your lyrics. You could,<br />

however, help the listener by also<br />

including the definition in your lyric,<br />

such as found in<br />

Supercalifragilisticexpialidocious.<br />

Large words, uncommon words, and<br />

words that are difficult to understand<br />

should be avoided because they tend to<br />

distract the listener. If the distraction<br />

is too great, it can take away the<br />

effects of your hook.<br />

Keep your lyrics in common language<br />

conversation and try to avoid making<br />

your listener feel inferior<br />


It is important to paint a good picture in<br />

your lyric so your listener can imagine<br />

a scene while listening to your music.<br />

There are eight important senses to<br />

know and understand, and they fall in<br />

two groups.<br />

SENSE 1 – Hearing. Anything that<br />

speaks about sound will fit this, such as<br />

the breeze whistling through the trees.<br />

SENSE 2 – Smelling. Anything that has<br />

a scent, odor, or smell. Maybe you can<br />

smell the rain, a fresh baked apple pie,<br />

or mildew in a weathered shack.<br />

SENSE 3 – Tasting. Nothing is better<br />

than mama’s cooking. Mentioning a<br />

common food will automatically tease<br />

the taste sense, such as mint chocolate<br />

cookies.<br />

SENSE 4 – Seeing. This is any visual<br />

object. Red solo cup, a bottle of wine,<br />

a pink dress, or yellow roses are great<br />

examples of this sense.<br />

SENSE 5 – Touch. Anything that<br />

involves physical contact, such as<br />

touching my skin. Mentioning how<br />

something feels to the touch such as<br />

soft, rough, or delicate is a touch<br />

sense.<br />

SENSE 6 – Sixth. I know what your<br />

thinking. Here you are reading this<br />

article, wondering how in the world you<br />

can write a sixth sense into your lyric. I<br />

know you can do it. Using this example,<br />

or stating you are finishing someone’s<br />

sentence before they get the<br />

words out is a fine example of sixth<br />

sense.<br />

SENSE 7 – Organic or self. This is what<br />

you are feeling inside of you, such as a<br />

heartbeat, muscle cramps, broken<br />

bones, a head ache, or feeling cold.<br />

SENSE 8 – Kinesthetics. This is the<br />

abnormal feelings you can get, such as<br />

feeling dizzy, butterflies, feeling of<br />

06<br />


Daryn Wright<br />

falling, anxiety, or similar.<br />

GROUP 1 – Visual image<br />

group. This group consists of<br />

the first five senses, smell,<br />

sight, hear, touch, and taste.<br />

It uses simple language that<br />

easily gets the imagination of<br />

the listener with little effort.<br />

GROUP 2 – Self awareness<br />

image group. This group<br />

utilizes expressions that dictate<br />

how you feel. This group<br />

requires the listener to relate<br />

to the lyric words.<br />

When selecting the use of a<br />

self awareness image, you<br />

should make it a well known<br />

term, or couple it with a visual<br />

image, such as IT GAVE<br />

ME GOOSEBUMPS. What the<br />

lyric does not say, can be<br />

done with the vocals and<br />

vocal melody. Have you ever<br />

heard someone sing that<br />

gave you goosebumps? That<br />

is how it works. It can be<br />

intentional. When writing<br />

more modern type lyrics,<br />

practice using a combination<br />

of all 8 of these senses to<br />

paint a clear picture of what<br />

is happening in your lyric.<br />

Written by Daryn Wright<br />

https://www.darynwright.com<br />

https://www.reverbnation.co<br />

m/darynwright<br />

www.writeawaymagazine.co.uk<br />


How To <strong>Write</strong> A<br />

Finished Song Lyric<br />

By Trevor Dimoff,<br />

epicsongwriting.com<br />

To complete your song lyrics, you have to put your<br />

song sections, the chorus, verses and the optional<br />

pre-chorusand bridge, into a song structure.<br />

Understanding the functions of each song section<br />

helps you put them in the best order to finish a song<br />

that creates an emotional impact on your listeners.<br />

Your audience has expectations from your popular<br />

song because of the countless popular songs they<br />

have listened to and loved. When you don’t fulfill<br />

these expectations, they won’t relate to your song.<br />

Basic Principles of Song Structure<br />

The chorus is the main point of your song.<br />

The verses contain the plot, the beginning, middle<br />

and end of the story you tell through your song.<br />

The optional pre-chorus serves to connect the end<br />

of each verse to the chorus.<br />

The optionalbridge is a relief from the rest of the<br />

song, it provides a different perspective on the story<br />

of your song and often contains the resolution of the<br />

story in your song.<br />

Listen to songs you love in the genre you’re writing,<br />

If they have a pre-chorus &/or a bridge, use them in<br />

your songs.<br />

Shorthand<br />

I=introduction<br />

V=verse<br />

PC=pre-chorus<br />

C=chorus<br />

B=bridge<br />

O=outro (ending)<br />

The fundamental structure in a song is an alternation<br />

between V and C, so two verses = V C V C<br />

A Pre-chorus connects the end of the verse to a<br />

chorus, so with a pre-chorus = V PC C is a building<br />

block.<br />

A bridge is usually framed with a chorus before and<br />

after it, so C B C is a building block.<br />

A song with 2 verses, a pre-chorus and a bridge is<br />

usually V PC C V PC C B C<br />

Occasionally a PC is inserted after the bridge:<br />

V PC C V PC C B PC C<br />

Add a musical introduction and/or an ending to complete<br />

your song!<br />

Musical Examples:<br />

These are the six songs that I referenced in previous<br />

<strong>Write</strong> <strong>Away</strong> articles:<br />

How to <strong>Write</strong> a Bridge<br />

(March 2019) and<br />

How to <strong>Write</strong> a Pre-Chorus<br />

(May 2019).<br />

Pick at least two of your favourites songs and follow<br />

along while you listen to them. Don’t just read this<br />

section… listen....<br />

Shape of You, Ed Sheeran<br />

I V PC C V PC C B C<br />

I=4 bars of music from the verse<br />

One More Night, Maroon 5<br />

I V PC C V PC C B C C<br />

I=4 bars of music from the verse<br />

Rolling in the Deep, Adele<br />

I V V PC C V PC C C B PC C<br />

I=2 bars<br />

Delicate, Taylor Swift<br />

I V PC C V PC C B C C<br />

I=8 bars of music from the verse<br />

C is 8 bars with 4 bars of extra that is omitted for the<br />

last 2 choruses.<br />

Numb, Linkin Park<br />

I V PC C V PC C B C C O<br />

I=8 bars of music from the verse<br />

08 www.writeawaymagazine.co.uk

Trevor Dimoff<br />

O=4 bars of music from the verse<br />

All of Me, John Legend<br />

I V PC C V PC C B C O<br />

I=8 bars of music from the verse<br />

O= 8 bars added to the last C<br />

Conclusions<br />

Song structure formula is relatively simple in popular<br />

songs. Followthe typical song structure, instead of trying<br />

to invent something new. Instead of trying to be<br />

“creative” with the song structure, focus your creativity<br />

on lyrics, story and message in the song. Despite the<br />

different genres and styles in these examples, all of the<br />

example songs use the same song structure with only<br />

minor variations:<br />

I V PC C V PC C B C<br />

Next Month…<br />

Songwriting Reference Tracks:<br />

How to improve your lyric writing by studying songs you<br />

love!<br />

Trevor Dimoff is a songwriter, songwriting teacher and<br />

the founder of<br />

epicsongwriting.com<br />

You can read more about writing lyrics and music for<br />

song sections…<br />

https://epicsongwriting.com/popular-song-parts/<br />

Songwriting Credits<br />

All of Me - written by John Stephens / Tobias Gad<br />

Delicate - written by Taylor Swift / Max Martin / Karl<br />

Johan Schuster<br />

Numb - written by Brad Delson, Chester Charles<br />

Bennington, Dave Farrell, Joseph Hahn, Mike Shinoda,<br />

Robert G. Bourdon.<br />

One More Night - written by Adam Noah Levine, Johan<br />

Karl Schuster, Max Martin, Savan Harish Kotecha.<br />

Rolling the the Deep - written by Adele Adkins, Paul<br />

Richard Epworth.<br />

Shape of You - written by John McDaid / Steve Mac /<br />

Edward Christopher Sheeran / Kandi L. Burruss / Kevin<br />

Jerome Briggs / Tameka D. Cottle<br />

www.writeawaymagazine.co.uk<br />


5 Essential Elements<br />

for Successful<br />

Songwriting - I Call<br />

it S.P.L.A.Q! (Part 3)<br />

By: Mark (Markus T)<br />

Townley (c) 2016<br />

ARTIST(S)<br />

Lets now focus our attention to<br />

who is actually going to sing,<br />

record and perform your song.<br />

If you are singer / songwriter then<br />

you have this covered. But then<br />

there is always the possibility that<br />

another music artist could do something<br />

different and amazing with your<br />

song or even just your words or<br />

lyrics. Its going to be a matter of<br />

choice and preference on promoting<br />

yourself also as a songwriter vs performing<br />

artist. Some do this really<br />

well, most in my experience as they<br />

progress tend to get into more collaboration<br />

with songwriters to give<br />

some more options and variety as to<br />

what they are going to record and<br />

perform.<br />

In addition to the feature artist (be<br />

that vocal soloist or even instrumentalist)<br />

do also then consider the quality,<br />

skills and talents of the lyric writers<br />

and musicians that will make up<br />

the backbone of your song. This will<br />

depend on the style and genre and<br />

purpose of the song, whether it is to<br />

be a simple guitar or piano tune or a<br />

more full band production. Every<br />

person who contributes to a song is<br />

an artist in their own right, by mindful<br />

and respectful of each and every<br />

part and person on your song - they<br />

will all make a difference (and without<br />

getting too philosophical, the collaborative<br />

output will be much<br />

greater than the sum of the individual<br />

parts - such is the magic of<br />

music). It is rare that someone can<br />

be great at everything required for a<br />

hit song today but is of course going<br />

to be a balance of budget and<br />

resources also. They key point is to<br />

think about how you can achieve the<br />

best contributions within your means<br />

to put your song production together.<br />

This also comes back to my point on<br />

Purpose on whether you are open to<br />

simply your words, lyrics or music<br />

being picked up by any musician /<br />

artist to interpret and produce into a<br />

new song of whether you have and<br />

want specific ideas regarding your<br />

song. It is important as a song writer<br />

that you be clear and comfortable on<br />

this. This also becomes important for<br />

song copyright management and royalties<br />

(which again is another separate<br />

article topic) and I wont go into<br />

all of that here. Please do take the<br />

time to discuss this (and ideally<br />

agree in writing) with any proposed<br />

performance artist(s) and producers<br />

of your songs in terms of co-writing,<br />

recording and/or performance royalties.<br />

The other key point about Artist(s) of<br />

your songs is that they will strongly<br />

set the tone and personality of your<br />

music and the association of your<br />

songs will sit strongly with the feature<br />

performing artist. Their role is<br />

equally to input their personality into<br />

you song and improve the appeal to<br />

listeners.<br />

Again as a songwriter you may not<br />

have (or want to have) the complete<br />

choice in who might record and perform<br />

your songs and bring them to<br />

life but I encourage you to consider<br />

this and do some research on the<br />

proposed recording / performance<br />

artist for your songs and be comfortable<br />

with the association and relationship<br />

that this will mean for you.<br />

A bad performance of great song is<br />

equal to a great performance of a<br />

bad song! Think about the performing<br />

artist as the amplifier of the story<br />

and message you always wanted to<br />

tell with your song. A discussion<br />

with the performing artist on Style,<br />

Purpose and target audience<br />

(Listeners) would also be a good<br />

thing!<br />

If you are the writer and artist then I<br />

encourage you to think about both<br />

elements; is this a great song to be<br />

recording and/or performing and<br />

separately for the performance<br />

artist, how can you really make the<br />

words and music appeal to the listeners.<br />


And finally, last and by no means<br />

least lets talk about songwriting and<br />

also song production quality. How<br />

can I say this politely? Cheesy cliche<br />

lyrics, out of pitch instruments and<br />

vocals or bad audio recording will<br />

very likely reduce your immediate listening<br />

audience by at least 80%! If<br />

you think of people scrolling through<br />

typical Facebook feeds and reading<br />

and listening to say the first 10 seconds<br />

of a post (as an unknown writer<br />

/ artist to them) then listeners and<br />

likes are going to be based on this<br />

first 10 seconds which will then<br />

determine if they continue on listening.<br />

As a passionate supporter of indie<br />

music and new writers and artist I<br />

find myself scrolling though these<br />

pages and sites very often and doing<br />

the quick 10 - 20 second listen to<br />

many different songs. I am then<br />

sometimes caught in a bit of personal<br />

dilemma (particularly when people<br />

ask for honest feedback) because<br />

sometimes my initial reaction is not<br />

good but then I think of the devastation<br />

and outrage if I was to actually<br />

to post back a comment saying “this<br />

is rubbish!” Whilst the music industry<br />

can be a confronting and brutal<br />

business, I am always mindful of<br />

where people are at on their own<br />

writing and learning journey but at<br />

the same time I think that reasonable<br />

intelligent people should also be<br />

aware of what is being posted and<br />

reflection of their own song posts<br />

and publishing for their personal<br />

brand. Of course everyone is also<br />

entitled to their own opinion and perspective<br />

however I believe I (and<br />

most others) also have a good understanding<br />

or relative songwriting quality<br />

across genres.<br />

My comments and reactions on the<br />

songs I hear are also based on what I<br />

read about where the writers and<br />

artists are at personally. If you are<br />

15 and posting your first song, having<br />

learned guitar for the last year<br />

(and the Purpose of your song and<br />

post is for constructive feedback)<br />

then you have set the scene well. If<br />

you just post or publish a song, with<br />

no context, as a more experienced<br />

artist and songwriter (and it is badly<br />

recorded, out of tune with cliche<br />

lyrics) then you have opened yourself<br />

up more widely to quality criticism<br />

and have potentially not set yourself<br />

up for success (and remembering<br />

that the most polite way for people<br />

not to comment is “not to<br />

comment”at all). Let people know a<br />

bit about you and where you are at.<br />

I also understand and accept that<br />

there are different online forums and<br />

sites for all types of writers and<br />

artists, from beginners to experienced<br />

professionals so I think the<br />

key point is to mindful of what and<br />

10 www.writeawaymagazine.co.uk

Mark Townley<br />

where you post your songs and<br />

importantly to give the readers and<br />

listeners some context on why you<br />

are posting or publishing your song.<br />

Finally on the point of songwriting<br />

and song production quality (mainly<br />

aimed at the music producers and<br />

artists) the new digital age has<br />

meant that a good home studio can<br />

be set up now for few hundred dollars<br />

capable of putting out very good<br />

quality song production. There are<br />

many great songs being put out there<br />

now on a USB microphone and<br />

Garage Band. For a few bucks more<br />

you can get into some better music<br />

production software, audio interface<br />

and better microphone (for less than<br />

a day in a professional recording studio).<br />

Considering also the quality of<br />

the headphones and speakers that<br />

many people will be listening to your<br />

songs on. They will be much less<br />

interested in how many milliseconds<br />

of reverb you have on the snare drum<br />

or delay on your guitars and much<br />

more interested in how the song<br />

sounds overall from a melody, lyric<br />

and structure perspective and an<br />

interesting (in tune) vocal!<br />

Let me also say that for a professional<br />

commercial song production that<br />

the role, quality and experience of a<br />

professional recording studio and<br />

engineer cannot be matched in a<br />

home set-up. My point is that for new<br />

writers and artists (with limited budget)<br />

the difference in investing a little<br />

bit to get a much better initial quality<br />

song production product is very<br />

much worthwhile and could accelerate<br />

your chances of getting the listeners<br />

and likes to take you to the<br />

professional studio.<br />

So whether it be your words/lyrics,<br />

melody, chords, instruments, vocals<br />

or overall sound recording, please do<br />

pay attention to the best quality you<br />

can achieve within your immediate<br />

means. As the saying goes, first<br />

impressions do count, so if you can<br />

take a little more time or a few more<br />

dollars invested in the production,<br />

then I suggest that will be very worthwhile<br />

to really give your songs the<br />

best chance at initial success. Find<br />

people who can and will give you<br />

some “honest” constructive feedback<br />

and take that on board (especially<br />

the common themes and messages<br />

in the feedback rather than any one<br />

person) remembering that ultimately<br />

it is your song, your music, your message<br />

and story that you want to get<br />

out there in your own style also<br />

.<br />

Conclusion (Outro)<br />

So there you have it, the S.P.L.A.Q.<br />

guide to songwriting (think Style,<br />

Purpose, Listeners, Artists and<br />

Quality) and you should be well set<br />

up for some success, relative to<br />

where you are at with your own goals<br />

for your songwriting journey!<br />

I trust this has provided some food<br />

for thought and useful information to<br />

apply to your current songwriting<br />

(and some inspiration to continue to<br />

improve your skills).<br />

The good thing about songwriting, is<br />

that if you get stuck or are not happy<br />

with the progress, you can always<br />

just put it on hold and start another<br />

one! And remember, you don’t have<br />

to go it alone, there are always people<br />

ready and willing to help and collaborate<br />

- because they understand<br />

the journey you are on also!<br />

I look forward to listening to your<br />

new songs soon!<br />

Best wishes,<br />

@MarkusTMusic<br />

https://open.spotify.com/artist/4Zti12<br />

t0EPObqkqcU1PeX9?si=FPpXt06BSg<br />

mDsKms5x1ZrQ<br />

www.musindie.com<br />

Note from the editor.... I’d like to offer a huge thank you to Mark Townley for allowing me to<br />

include this fantastic songwriting guide in my magazine. It’s sure to help many people as they<br />

continue on their own songwriting journeys. I’d urge you to check out his music on the links. x<br />

Mark Townley<br />

Founder & Executive<br />

Director at<br />

Ideas2outcomes,<br />

Founder & Executive<br />

Director at<br />

CircleSource & CEO<br />

& Co-Founder at<br />

Musindie.<br />

Studied at Montash<br />

University<br />

Lives in Melbourne,<br />

Victoria, Australia<br />

www.writeawaymagazine.co.uk<br />


Songwriting - Is There A W<br />

If you ask a sculptor what<br />

their latest work "means",<br />

the traditional art wisdom<br />

says you'll be deeply dissatisfied<br />

with the answer. After<br />

all, that particular artist has<br />

clearly chosen to express<br />

whatever unique insight and<br />

whatever private pain they<br />

have....in clay. If they wanted<br />

to work in words, they<br />

would have been a writer.<br />

Logically then, we would<br />

expect a more satisfying<br />

answer when posing the<br />

same question to our friendly<br />

neighborhood songwriter.<br />

After all, that person works<br />

in words, and actually<br />

spends hours trying to succinctly<br />

distill complex experiences<br />

into short, yet powerful,<br />

verbal snapshots. That<br />

are, for lack of a better term:<br />

"catchy". With some kind of<br />

musical notes glued on for<br />

the ride. With, as in any<br />

other art form, the ability to<br />

at once seem completely<br />

familiar and natural--while<br />

also fresh....even revolutionary.<br />

And, as in any other<br />

field of human excellence,<br />

the ability to inspire admiration,<br />

even awe, the "Wow!<br />

Can a human being actually<br />

do THAT!!" response. Uhoh,<br />

dear reader....as the<br />

semaphore flags on my parents'<br />

cocktail glasses used<br />

to spell out: "You are standing<br />

into danger"--this may be<br />

harder than we thought.<br />

Harder than we thought<br />

indeed, because, analogous<br />

to our first case, if the songwriter<br />

felt the need (and ability)<br />

to express his or her personal<br />

reality in straightforward<br />

prose, they surely<br />

would have worked in prose!<br />

Not rhyming jingles! And<br />

they CERTAINLY wouldn't<br />

have dragged that old emotional<br />

button-pusher MUSIC<br />

into the equation. Having<br />

embarked on this attempt to<br />

analyze this odd human<br />

activity, we are, in one<br />

sense, immediately defeated....one<br />

central truth of the<br />

matter is this: no one really<br />

knows where these artistic<br />

impulses originate. Having<br />

admitted defeat, however,<br />

we can attempt to describe<br />

the part of the elephant we<br />

can detect in our part of the<br />

room. So we soldier on.<br />

People inquiring about songwriting<br />

often start with this<br />

question: Music first? Or<br />

lyrics first, music built to<br />

match afterward? For me,<br />

it's almost always lyrics first.<br />

The rhythm of the phrases<br />

will usually suggest a rhythm<br />

for the accompaniment, and<br />

eventually, some chord<br />

changes and such will suggest<br />

themselves. Not quite<br />

as simple as "You see, Sally,<br />

major keys are for HAPPY<br />

songs, and minor keys are<br />

SAD" ( in fact, somewhere<br />

on my website there's a rant<br />

12<br />


Bill Halloran<br />

iring Diagram For That?<br />

about the whole twisted<br />

world of blues, based on the<br />

possibly racist (certainly<br />

Eurocentric) assumption<br />

that the flat third and seventh<br />

must mean that the<br />

Africans are sad.....but i<br />

digress).....sorry, I'm back<br />

now....ANYHOW, some<br />

chords suggest themselves,<br />

and we're off! In fact, tearing<br />

the daunting task of<br />

attempting to write a song<br />

down to a manageable trick:<br />

I'm looking for a title. Just a<br />

title. If the title is powerful<br />

enough to suggest one brilliant<br />

insight into the human<br />

condition (or just a fun<br />

insight!), the goddamn thing<br />

writes itself! And one<br />

insight is about the correct,<br />

pointed amount of wisdom<br />

that can conveniently fit into<br />

a 3 minute pop song.<br />

Don't make me drag<br />

Aristotle and his unity of<br />

time, place and action into<br />

this article, 'cause you know<br />

I'll do it, you know I'll do it!<br />

But old Ari could turn a<br />

phrase or two, depending on<br />

whatever vintage he and<br />

Plato were throwing back.<br />

Check these titles, submitted<br />

for your approval: "I Second<br />

That Emotion"........"I Feel<br />

Like Breaking up<br />

Somebody's Home" ...."I<br />

Hope the Russians Love<br />

Their Children Too" (ok, I<br />

cheated on that one...title<br />

shortened to<br />

"Russians"....for good measure,<br />

I'll throw in my own "If<br />

You Ever Need A Friend, Buy<br />

A Dog", and perhaps " If<br />

God Can Make That, No<br />

Wonder He's In Charge".<br />

Each of those sets a scene<br />

vividly enough that, as songwriters,<br />

we're OFF! Filling in<br />

the blanks....a thrust here, a<br />

riposte there....hell, pull out<br />

the rhyming dictionary and<br />

we'll polish this up in 15 minutes!<br />

Songwriting articles often<br />

extol the benefits of co-writing.....careful<br />

with your feelings<br />

there. There are "pros"<br />

who write with other pros<br />

they've just met....insert joke<br />

of your choice about the<br />

pornography industry, but if<br />

you're the sensitive type,<br />

choose someone gentle to<br />

co-write with. I used to cowrite<br />

with a friend, and we<br />

kind of unofficially started<br />

using "well, maybe it needs<br />

a bridge" instead of "that<br />

song sucks"....a bridge IS a<br />

contrasting counter-melody,<br />

right? Anyhow, your friend<br />

may have an idea but no<br />

place to go with it (not a frequent<br />

occurrence) but will<br />

more often be a brilliant help<br />

polishing what you've got...<br />

www.wildcatohalloran.com<br />

To be continued next month..<br />

www.writeawaymagazine.co.uk 13

I’ve been writing songs for 10 years<br />

off and on with bands, and in a duo<br />

for several years for performance,<br />

but more recently have applied myself<br />

to writing lyrics professionally aimed at<br />

commercial collaborations for synch (TV<br />

& movie) work and for artists.<br />

\ÇáÑ|Ütà|ÉÇ? Xwâvt<br />

Growing up in our house we were surrounded<br />

by music with a vast collection<br />

of vinyls from my parents, older siblings<br />

and myself an avid collector of singles<br />

in those days. Subsequently musical<br />

inspiration came from Dolly Parton,<br />

Jonny Cash, Gladys Night, Bob Marley,<br />

Debbie Harry and Annie Lennox to name<br />

but a few. I’ve always been attracted to<br />

a great lyric, and every song that<br />

becomes a favourite will have that line I<br />

can point to that hooked me in first.<br />

I am inspired by moments, phrases and<br />

people watching. I like the process of<br />

writing by hand. I aspire to tell timeless<br />

stories through song like my inspirations<br />

above.<br />

Songwriting courses abound, and<br />

attending one or two immersive bootcamps<br />

is great, but my advice is shop<br />

around. Retreats are great for focused<br />

songwriting if you are not able to write<br />

regularly. Songwriting magazines and<br />

YouTube deconstructions of hit singles<br />

can give you different insights into<br />

different techniques. I’ve had loads of<br />

great advice and peer reviews from<br />

online lyricist/songwriting groups and<br />

singer-songwriter circles. Being open to<br />

14<br />


Ann Kenney<br />

à|ÉÇ? cxÜáÑ|Ütà|ÉÇ<br />

learning something new everyday helps<br />

to write better songs.<br />

Without question, the most repeated<br />

phrase I have heard and read is that<br />

“great songs aren’t written – they are rewritten”.<br />

Crafting the song so that it’s the best<br />

lyric, evocative and original is the difference<br />

between a good song and a great<br />

song. This takes time, grit and bags of<br />

imagination.<br />

Getting your great song out there<br />

requires access to great musicians, producers<br />

and artists, so networking is a<br />

must. Professional memberships can<br />

help with this, and online networking<br />

works too, but there is still room for face<br />

to face networking and making real<br />

friendships that will stand the test of<br />

time.<br />

Great musical content is still needed by<br />

an ever-expanding music and media<br />

industry, and great songs will be found.<br />

So the best advice I’ve heard so far has<br />

been do your best work, get your best<br />

work out there.<br />

www.annkenneysongs.com<br />

https://www.facebook.com/annkenneysongs/<br />

https://twitter.com/annkenneysongs<br />

www.writeawaymagazine.co.uk<br />


Finding Inspiration From<br />

Live Gigs<br />

Lyric writers love playing with words, and<br />

the holy grail can be to create a lyric<br />

dripping in literary sophistication. There’s<br />

a danger though that what looks great on<br />

paper won’t easily translate into a<br />

coherent impactful song.<br />

A good testing ground for whether songs<br />

work is to play them live. And for lyricists,<br />

it’s good to get to gigs to soak in the<br />

atmosphere and feel and hear what types<br />

of songs triumph in that live environment.<br />

Getting to music concerts<br />

It’s been ages since I attended any concerts.<br />

Life’s been busy, but I made a resolution<br />

to get to some shows. The first was<br />

American band Enuff Z’nuff, and the second<br />

was Swedish band the Electric Boys.<br />

Both were rock bands I’d loved from the<br />

1990s and I was thrilled to see that they<br />

were playing a local venue, Bannermans,<br />

in Edinburgh. As chance would have it,<br />

both bands were supported by an excellent<br />

UK-based band, Last Great Dreamers.<br />

I immediately realised what I’d been<br />

missing out on. The excited buzz from the<br />

crowd, the camaraderie that exists<br />

amongst rock fans, and the thrill of hearing<br />

loud live music! It also brought home<br />

aspects of songwriting that sometimes<br />

are overlooked.<br />

So here are some observations and tips:<br />

1. The crowd aren’t judging songs on<br />

every single word<br />

Lyric writers often go through Hell figuring<br />

out what word to use at a particular part<br />

of a lyric. Or they are aghast at the<br />

thought of rhyming the same word at the<br />

end of two lines. Many of us probably<br />

have work-in-progress lyrics that are<br />

stuck because we can’t resolve these<br />

conundrums!<br />

But in that live context the audience can’t<br />

hear every word. And they aren’t<br />

bothered about a stray word here or there<br />

as long as the song sounds good. The<br />

lyric is still very important but it supports<br />

the music, not the other way around.<br />

Learning: Do strive for fantastic lyrics but<br />

don’t let the quest for perfection prevent a<br />

song from being created.<br />

2. A catchy chorus or strong hook steals<br />

the show<br />

Coming out of my recent concerts there<br />

were certain songs that got stuck in my<br />

head. nOr, to be more precise, specific<br />

parts of certain songs. nFor example, I<br />

had the chorus to the Electric Boys’ song<br />

‘Mary in the Mystery World’ stuck in my<br />

head for days.<br />

‘Mary in the mystery world / She sets my<br />

soul on fire / Mary’s such a mystery girl /<br />

And no-one takes me higher / Mary’s my<br />

desire’<br />

Those kinds of earworms are a great<br />

gauge of the success of a song. And<br />

they’re often built upon a volume of<br />

repetitions that lyric writers may not think<br />

to include. A good example is the Bruce<br />

Springsteen hit ‘Born in the USA’, which<br />

has a chorus of:<br />

‘Born in the USA /I was born in the USA / I<br />

was born in the USA / Born in the USA’<br />

I suspect if Bruce had posted that lyric on<br />

a <strong>Write</strong>rs’ critique forum he would have<br />

got an avalanche of criticism, but as a<br />

song it works … and has made lots of<br />

money for him!<br />

Learning: Sing your lyric, don’t just read<br />

16<br />


Simon Wright<br />

it, and consider whether it has that ‘stuck<br />

in head’ quality. Don’t be afraid of repetition.<br />

3. Song structure is important<br />

Beginner lyric writers often focus on the<br />

words and the story they are telling<br />

without thinking about how songs are<br />

constructed musically. The verse sections<br />

they create may differ distinctly in terms<br />

of number of lines, length, syllable count,<br />

and in the way they sound when sung.<br />

Collaborating with musicians helped me<br />

understand that songs need to have<br />

structure and the words must be capable<br />

of being sung to a repeating musical pattern.<br />

(You’ll hear the term prosody used,<br />

normally where a musician is commenting<br />

why your lyric isn’t capable of being<br />

sung!)<br />

And this lesson is further hammered home<br />

when you listen to songs being played live.<br />

You may be listening to a song that you’ve<br />

never heard before but if the band (and<br />

song) is good you will be anticipating the<br />

next repetition of the chorus or of the<br />

music that underpins each verse.<br />

die based on the band members’ ability to<br />

perform them in a more raw state.<br />

So if you have got as far as being involved<br />

in the creation of songs, then seek out<br />

opportunities to hear them performed live.<br />

It will help you to refine the lyrics and the<br />

music as you observe how they fare in that<br />

setting.<br />

And, as a final comment, keep going to<br />

gigs as they will further ignite your passion<br />

for lyric writing. I certainly came<br />

away from the Enuff Z’nuff and Electric<br />

Boys gigs absolutely buzzing and eager to<br />

write lots more rock lyrics!<br />

About Simon Wright<br />

Simon is an Irish lyric writer who lives in<br />

Scotland. He collaborates with musicians<br />

across the world to turn his lyrics into<br />

songs. Check out his website<br />

LyricSlinger.co.uk<br />

and follow @TheLyricSlinger on Twitter<br />

Learning: Make sure you are clear on the<br />

song structure for every lyric that you<br />

create. And that each repeating section<br />

(e.g. verses, chorus) is consistent. Doing<br />

so will make it much more likely that<br />

musicians will want to work with your<br />

lyrics.<br />

Why hearing a song live is a true reflection<br />

of its quality<br />

When we listen to a song on the radio, the<br />

chances are that a lot of time and money<br />

have gone into making sure that it sounds<br />

as perfect as it possibly can. There will be<br />

lush production values, layered vocals<br />

from the singer, maybe boosted by autotune.<br />

But when a song is played live the<br />

same luxuries don’t apply. Songs live or<br />

www.writeawaymagazine.co.uk<br />



The Piece Man<br />

By Nick Briggs<br />

Alone in your room. Your'e silent as the<br />

night<br />

Never saying much, you've learned not to<br />

fight<br />

They’re saying. it's good you are at home<br />

Tell me what's good In a heart of stone<br />

Chorus<br />

And you've Learned not to Scream<br />

Holding tightly to a dream<br />

And you know what to do to survive<br />

And you call yourself the pieceman<br />

You give everyone a piece man<br />

It's breaking my heart and,<br />

That's the way it is<br />

Yes, and you call yourself the piece man<br />

It's breaking my heart and<br />

We’re so far apart, but that's the way it is<br />

We've scrapped all our photos. And<br />

Turned them into dust<br />

Fired all your fears, painted your metal<br />

with our rust<br />

Tore up all our maps, stole the keys to your<br />

door<br />

Put you on a boat, and cast you far from<br />

shore<br />

Chorus<br />

So hold on to your all values, to what you<br />

believe<br />

Life is a magician with good things up its<br />

sleeve<br />

When you make a journey, be sure to<br />

enjoy the view<br />

The total strength within you, comes from<br />

being true<br />

Athistle. Bare feet. Three years old<br />

and crying. That is my earliest<br />

childhood memory. And then came<br />

the pneumonia. I remember that too.<br />

It seems to me that our earliest memories<br />

are often painful ones. And I guess that’s<br />

the way survival works.<br />

Perhaps it is that way with songwriting too.<br />

I became a songwriter by accident. After<br />

almost 20 years of marriage, everything<br />

was broken. Daily life was painful. I was<br />

no longer living with my children.<br />

One day my eleven year old son said to<br />

me, “Dad, I call myself the pieceman.” He<br />

explained that it wasn’t “peace “ it was<br />

“piece” because, as he said, “I try to give<br />

a piece of myself to everyone.”<br />

That phrase went round and round in my<br />

head. He was hardly a man yet. It cut me<br />

through and burned.<br />

One day I picked up the acoustic six<br />

string, struck a C chord and I began<br />

singing and changing chords as I went.<br />

Although I had a poor sense of timing and<br />

rhythm, the words spilled out of me. The<br />

melody came instantly. It was unplanned,<br />

effortless, a pure expression of what I felt<br />

at that very time.<br />

I scribbled down the words and chords. I<br />

thought “Wow, that’s exactly how I feel.<br />

And then I realised I had written the first<br />

verse of a song. The rest followed in similar<br />

fashion. The hook came from my son’s<br />

imagination, not my own, “I call myself the<br />

Pieceman”<br />

18 www.writeawaymagazine.co.uk

Nick Briggs<br />

With a few tweaks, the song was written.<br />

I played it through, tears streaming<br />

down my cheeks. I was not<br />

singing about my son, I was singing<br />

to my son. It was written from the<br />

heart. I could hardly believe it.<br />

Somehow, I felt better after I had belted<br />

it out a few times.<br />

It was my first song. Emotional. It<br />

was real. I didn’t foresee that anyone<br />

else would be likely to hear it.<br />

Equally, I was sure that it was a one<br />

off and that I would never write<br />

another.<br />

That did not turn out to be the case,<br />

but it would be a while before another<br />

song would come so quickly.<br />

https://soundcloud.com/user-<br />

148909283<br />

www.writeawaymagazine.co.uk<br />


Lord, Won’t You Buy<br />

Me A Mercedez Benz<br />

Mercedes Benz<br />

Janis Joplin<br />

Oh Lord, won't you buy me a Mercedes Benz<br />

My friends all drive Porches I must make<br />

amends<br />

Worked hard all my lifetime no help from<br />

my friends<br />

So oh Lord, won't you buy me a Mercedes<br />

Benz<br />

Oh Lord, won't you buy me a color T.V.<br />

Dialing for dollars is trying to find me<br />

I wait for delivery each day until three<br />

Oh Lord, won't you buy me a color T.V.<br />

Lord won't you buy me a night on the town<br />

I'm counting on you Lord please don't let<br />

me down<br />

Prove that you love me and buy the next<br />

round<br />

Oh Lord, won't you buy me a night on the<br />

town<br />

Songwriters: BOB NEUWIRTH,<br />



1970<br />

It’s Thursday, Oct. 1, at the Sunset Sound<br />

recording studio in Los Angeles. Janis Joplin<br />

asks producer Paul Rothchild to roll tape.<br />

She has a song she’d like to sing.<br />

The services of backing band Full Tilt Boogie,<br />

present and ready for action, will not be necessary.<br />

Joplin steps to the microphone and<br />

makes a declaration. “I’d like to do a song of<br />

great social and political import,” she says, a<br />

twinkle in her eye. “It goes like this.” Then she<br />

begins to sing, exercising soulful control over<br />

her enormous, whiskey-soaked voice: “Oh<br />

Lord, won’t you buy me a Mercedes-Benz? /<br />

My friends all drive Porsches, I must make<br />

amends …”<br />

“Mercedes Benz” is a lonely blues tune about<br />

the illusory happiness promised (but rarely<br />

delivered) by the pursuit of worldly goods, a<br />

hippie-era rejection of the consumerist ideals<br />

that Joplin saw growing up as a self-described<br />

“middle-class white chick” in Port Arthur,<br />

Texas. She had come to California in the early<br />

’60s and quickly earned a place as one of the<br />

leading musical lights in a generation that<br />

shared her utopian anti-materialism. When<br />

Joplin sang, in the second and third verses of<br />

“Mercedes Benz,” for “a color TV” and “a night<br />

on the town,” she knew all too well that neither<br />

would bring her peace. “It’s the want of<br />

something that gives you the blues,” she once<br />

said. “It’s not what isn’t, it’s what you wish<br />

was that makes unhappiness.”<br />

20 www.writeawaymagazine.co.uk

Janis Joplin<br />

https://youtu.be/i-4AheUl6ls<br />

www.writeawaymagazine.co.uk<br />


Janis Joplin<br />

19/01/43-04/10/70<br />

22 www.writeawaymagazine.co.uk

Janis Joplin<br />

She began finding the words to express that<br />

complex impulse while on tour on the opposite<br />

side of the country: in New York City, during a<br />

game of pool with friends Rip Torn and Emmett<br />

Grogan. The two were singing a memory-mangled<br />

version of a song by poet Michael<br />

McClure. Mostly what they remembered was<br />

the first line: “Oh Lord, won’t you buy me a<br />

Mercedes-Benz?” Joplin loved it and began<br />

singing along herself.<br />

Once back in California, Joplin and friend Bob<br />

Neuwirth took the fragment of McClure’s lyric<br />

and fleshed it out into a full song. Joplin<br />

called McClure at his home in San Francisco’s<br />

Haight-Ashbury district, seeking his approval.<br />

“Would you sing me your version?” he said.<br />

She did. “Well, I prefer my version,” he<br />

responded, and proceeded to sing his original<br />

through the telephone line (accompanying himself<br />

on autoharp). “I prefer my version!” she<br />

informed him with a cackle. It was settled:<br />

The two renditions would coexist in peace.<br />

When Joplin set about preparing to record a<br />

new album in late summer 1970, the stakes<br />

were high. She had made her name as the firebrand<br />

frontwoman of San Francisco’s Big<br />

Brother and the Holding Company from 1966<br />

through late 1968, but her subsequent solo<br />

career had not been as well received. She now<br />

entrusted her fate to Doors producer<br />

Rothchild, who began by insisting that she<br />

record at Sunset Sound—not at her record label<br />

CBS’s own studio, as was required of its artists<br />

at the time. CBS president Clive Davis reluctantly<br />

allowed the rule to be transgressed.<br />

In the following weeks, Joplin and Full Tilt<br />

Boogie powered through the recording of<br />

strong new songs like her own “Move Over”<br />

and Kris Kristofferson’s country-flavored “Me<br />

and Bobby McGee.” By Oct. 1, 1970, the<br />

album was practically in the bag—in addition to<br />

“Mercedes Benz,” the only other recording<br />

Joplin bothered with that day was an ersatzcocktail<br />

rendition of “Happy Trails” intended as<br />

a present for John Lennon’s 30th birthday<br />

eight days later.<br />

“It wasn’t a sad and tragic time,” Rothchild<br />

recalled in 1992 (three years before his death).<br />

“Fun was the underlying thing.” But the jovial<br />

atmosphere in the studio hid a secret: After a<br />

period of abstinence, Joplin had resumed the<br />

heroin habit that had dogged her throughout<br />

much of 1969. She explained to a friend that<br />

she was only using it to keep from drinking so<br />

much during the making of the album; alcohol<br />

hangovers hindered her performance in the<br />

studio.<br />

On Oct. 3, Full Tilt Boogie laid down a backing<br />

track for the Nick Gravenites tune “Buried<br />

Alive in the Blues”; Joplin was set to lay down<br />

her vocal the following day. Work finished at<br />

around 11 p.m., and the star returned to her<br />

room at the Landmark Motor Hotel. There she<br />

passed away from a heroin overdose during the<br />

night. She was 27. Rothchild and company<br />

fought through their shock and grief to spend<br />

the next two weeks applying the remaining<br />

overdubs needed to complete the album. The<br />

result was dubbed Pearl, after a nickname she<br />

had lately adopted.<br />

Outside the hotel on the night of her death sat<br />

Joplin’s car: not a Mercedes, but a Porsche she<br />

had bought in 1968 and paid friend Dave<br />

Richards $500 to paint in psychedelic colors.<br />

The hippie icon who sang, “My friends all drive<br />

Porsches,” was herself well aware of the real—<br />

if fleeting—pleasures to be found behind the<br />

wheel.<br />

“She’d go against traffic on blind curves, with<br />

the top down,” Rothchild recalled, “laughing,<br />

‘Nothing can knock me down!’<br />

By Chris Neal<br />

Published with permission<br />

From Performing Songwriter<br />

<strong>Issue</strong> 116<br />

March/April 2009<br />

Category: Behind The Song<br />

www.PerformingSongwriter.com<br />

www.writeawaymagazine.co.uk<br />




When we think of dominating, powerful rock<br />

voices in the 60’s, a few names stand out<br />

and have stood the test of time. Amongst<br />

these is Janice Joplin. I’ve always thought of her<br />

as the female Robert Plant (Please don’t kill me for<br />

that). Raw, powerful and her voice helped define<br />

a whole generation.<br />

To this day, she is regarded as one of the all time<br />

great singers and even years after her passing,<br />

new singers these days are occasionally compared<br />

to her. Such is the status she attained within<br />

the industry.<br />

From a coaching point of view, she’s not one I’d<br />

instantly go to as an example of technique …. And<br />

that’s the exact point of this article.<br />

One of the things aspiring singers (and many<br />

polarized coaches) do is try to arm wrestle someone’s<br />

voice into a particular sound. You know? -<br />

the ‘proper’ way to sing. Whilst the singer may<br />

now be technically proficient, unless performance<br />

AND emotion is created, they may end up soulless<br />

in the process.<br />

There are a number of basic rules of singing<br />

tuition. Firstly, do no harm. Any technique that<br />

leaves a singer hoarse or sore is poor technique,<br />

because the vocal folds are being stressed. The<br />

most powerful of excellent voices don’t do this.<br />

Secondly, no artistic bias. The diversity of successful<br />

voices out there is virtually infinite. So<br />

long as the singer is singing safely, and it sounds<br />

cool, it’s appropriate. Did Janice hurt her voice<br />

while she was singing? We will never know. But<br />

there’s one thing she did and this is my third<br />

point…<br />

Behind every lyric is an emotion and behind every<br />

emotion is the intent of the writer.<br />

When a singer sounds technically great but<br />

doesn’t captivate the audience, guaranteed they<br />

don’t understand the song or they don’t know how<br />

to emote correctly. Nearly 100% of the time when<br />

I ask an aspiring singer what the song they are<br />

performing is about, they have no idea. When we<br />

get to the source of the writer and discover the<br />

emotion that’s appropriate for the song, they<br />

instantly know what to shoot for when they’re performing.<br />

Vulnerability is the path to this. The singer that<br />

stays emotionally reserved will never be able to<br />

generate truly amazing performances.<br />

The primary purpose of any artform is to cause an<br />

emotional reaction. Said another way, I don’t want<br />

your head to intrigue my head, I want your heart<br />

to touch my heart. Whether it’s looking at a photo,<br />

walking into a beautiful building, reading a book or<br />

listening to a song, win our hearts and you’ve won<br />

the game. And this is exactly what Janice Joplin<br />

did.<br />

http://vocalprocourses.com/<br />

https://www.facebook.com/vocalpro.com.au<br />

Instagram.com/vocalpro.com.au<br />

She knew how to tell the story. Every, Single,<br />

Time. As writers, you’re very aware of the blank<br />

sheet of paper that stares back at you when you<br />

decide to write a song. Slowly, you get a concept<br />

that turns into ideas, that turns into words, that<br />

turn into verses, choruses and rewrites as the<br />

song takes form and gets closer to your intended<br />

message.<br />

24 www.writeawaymagazine.co.uk

One of my favorite songs<br />

is the first song I ever<br />

wrote called “how did<br />

we end up this way” . I had just<br />

gotten out of a long marriage<br />

and it was the first time I was<br />

living alone , and it was hard.<br />

As I was reminiscing, looking at<br />

pictures of the past, my feelings<br />

were so overwhelming that<br />

the lyrics just came to me. Like<br />

some relationships, as in this<br />

case, we just started drifting<br />

apart.<br />

The opening line says "How did<br />

we end up this way, When we<br />

been together forever" We had<br />

created a family and life, which<br />

seemed like what was suppose<br />

to happen, but our true love for<br />

each other was really missing.<br />

Another line says "I thought<br />

you were my everything, I realized<br />

it's just a dream" which<br />

says a lot about how different<br />

we both really interpreted our<br />

relationship. This is a true relationship's<br />

kind of song that I<br />

feel a lot of people can relate to<br />

and understand.<br />

https://itunes.apple.com/album/i<br />

d1448423269?ls=1&app=itunes<br />

www.brauninger.net<br />

Twitter- @bronzie9<br />

Instagram- bronzie_girl<br />

Facebook- https://www.facebook.com/brauningermusicfanpage/<br />

www.writeawaymagazine.co.uk 21

Bullet The Blue Sky<br />

In the howling wind comes a stinging rain<br />

See it driving nails<br />

Into the souls on the tree of pain<br />

From the firefly, a red orange glow<br />

See the face of fear<br />

Running scared in the valley below<br />

The sky<br />

The sky<br />

Bullet the blue sky<br />

Bullet the blue sky<br />

Bullet the blue<br />

Bullet the blue<br />

In the locust wind comes a rattle and<br />

hum<br />

Jacob wrestled the angel<br />

And the angel was overcome<br />

You plant a demon seed<br />

You raise a flower of fire<br />

See them burning crosses<br />

See the flames higher and higher<br />

The sky<br />

The sky<br />

Bullet the blue sky<br />

Bullet the blue sky<br />

Bullet the blue<br />

Bullet the blue<br />

Yeah, alright, hold you<br />

Bono also describes creating a character<br />

who, as he saw it at the time, was<br />

paying for the war, with the lyrics:<br />

See, this guy comes up to me<br />

His face red like a rose on a thorn bush<br />

Like all the colours of a royal flush<br />

And he's peeling off those dollar bills<br />

Lapping them down one hundred, two<br />

hundred<br />

And I can see those fighter<br />

planes<br />

I can see those fighter<br />

planes<br />

Across the mud huts where<br />

the children sleep<br />

Through the valleys and the<br />

quiet city streets<br />

We take the staircase to the<br />

first floor<br />

We take the key and slowly<br />

unlock the door<br />

A man breathes into a saxophone<br />

Through the walls we hear the city groan<br />

Outside it's America, outside it's America<br />

So I'm back in my hotel room<br />

With John Coltrane and a love supreme<br />

And in the next room I hear a woman<br />

scream out<br />

Her lover's turning off, turning on the television<br />

And I can't tell the difference between<br />

ABC News<br />

Hillstreet Blues and a preacher on the<br />

Old Time Gospel Hour<br />

Stealing money from the sick and the old<br />

Well, the God I believe in isn't short of<br />

cash, mister<br />

I feel a long way from the hills of San<br />

Salvador<br />

Where the sky is ripped open and the<br />

rain pours<br />

Through a gaping wound, pelting the<br />

women and children<br />

Pelting the women and children<br />

Run, run in to the arms of America<br />

Songwriters: Adam Clayton / Dave Evans<br />

/ Larry Mullen / Paul David Hewson<br />

Bullet the Blue Sky lyrics © Universal<br />

Music Publishing Group<br />

26 www.writeawaymagazine.co.uk

U2-360<br />

U2 - Bullet The Blue<br />

Sky Article by John<br />

Brown of U2-360 The<br />

Ultimate U2<br />

Experience Tribute<br />

Band<br />

Bullet The Blue Sky was the<br />

fourth track on U2’s fifth studio<br />

album The Joshua Tree<br />

released in 1987 which was<br />

awarded the RIAA’s highest certification,<br />

Diamond, with 10 million units sold.<br />

I grew up listening to U2 from the age of<br />

around 13. I remember hearing ‘Bullet the<br />

Blue Sky’ and ‘Where The Streets Have No<br />

Name’ and just falling in love with U2’s<br />

music and lyrics. The Joshua Tree had<br />

many great U2 songs such as ‘Where The<br />

Streets Have No Name’, ‘With Or Without<br />

You’ and ‘I Still Haven’t Found What I’m<br />

Looking For’, all of which we perform live in<br />

U2-360.<br />

Bullet The Blue Sky was written after u2’s<br />

singer Bono spent time in El Salvador at the<br />

time of War within the country. While with<br />

an American movement who were offering<br />

solace to refugees, Bono witnessed the firebombing<br />

of villages in the distance which<br />

deeply upset him, knowing lives were being<br />

lost and being someone who read the religious<br />

scriptures Bono felt affected. These<br />

brutal actions were being sanctioned by<br />

religious people and so he used the language<br />

of the scriptures to describe the situation.<br />

Website: www.U2-360.com<br />

Facebook:<br />

https://www.facebook.com/TheU2Tribute/<br />

Email: info@U2-360.com<br />

www.writeawaymagazine.co.uk<br />


The Black Maria<br />

.<br />

The Band:<br />

The Cranberry Merchants<br />

are Steve and Dianne<br />

Moore, a husband & wife<br />

rock duo from Atlanta, GA.<br />

The Song: The Black Maria<br />

Making Rock & Roll…<br />

History!<br />

In 1893, Thomas A. Edison<br />

set up the world’s first<br />

movie studio at his laboratory<br />

complex in West<br />

Orange, NJ in a makeshift,<br />

tar paper covered building<br />

nicknamed “The Black<br />

Maria.” The earliest motion<br />

pictures on the new film<br />

medium via his kinetograph<br />

were shot inside of this<br />

building, with talent ranging<br />

from vaudeville acts to<br />

boxing cats. This song celebrates<br />

the history of The<br />

Black Maria and the first<br />

eclectic mix of movie stars<br />

to take the stage.<br />

Links:<br />

Music Video:<br />

https://youtu.be/V1XPIS2oE<br />

5Q<br />

Band Website: www.cranberrymerchants.com<br />

The lyrics:<br />

“The first motion picture<br />

studio ever set up in the<br />

world was in the yard of my<br />

laboratory of West Orange.<br />

The building revolved to<br />

follow the sun. We dubbed<br />

it The Black Maria.”<br />

Roll ‘em!<br />

Decades back in a tar<br />

paper shack<br />

Edison animates the photograph<br />

Tin Pan Alley and technology<br />

meet<br />

Renaissance, freak shows,<br />

and everything between<br />

In The Black Maria...<br />

In The Black Maria...<br />

Chiaroscuro world 1893<br />

Blacksmith demonstrating<br />

history<br />

Can-can, to Corbett, contortionist<br />

acts<br />

Kinetoscope lab rats for 20<br />

seconds flat<br />

Bears from Hungary reluctantly<br />

danced<br />

Strong man strikes audacious<br />

stance<br />

A West Orange lot is where<br />

it begun<br />

In a building that turned to<br />

follow the sun<br />

Round and round and<br />

round she goes<br />

Where she stops, nobody<br />

knows!<br />

Shooters, and speakers,<br />

and bar room brawls<br />

All answered to the first<br />

casting calls<br />

Human subjects of superfluidity<br />

From the genteel to utter<br />

stupidity<br />

Romance, violence, even<br />

burlesque<br />

Porter wanted none but the<br />

best<br />

You gotta hand it to the<br />

gent so inspired<br />

To book cat boxing in The<br />

Black Maria<br />

In The Black Maria...<br />

Take a knee, kiddo, here’s<br />

Al with the skinny....<br />

“in these late 80’s, I invented<br />

the motion picture camera.<br />

The recording camera<br />

is what made motion pictures<br />

a success.”<br />

Ah, we’re cooking with gas<br />

now!<br />

The price of production,<br />

they spared no expense<br />

Six hundred thirty seven<br />

and sixty seven cents<br />

The world of motion pictures<br />

And all its pretention<br />

Has been brought to you by<br />

The father of invention<br />

The kinetoscope does for<br />

the eyes what the phonograph<br />

did for the ears!<br />

“Mary had a little lamb, its<br />

fleece was white as snow,<br />

and everywhere that Mary<br />

went, the lamb was sure to<br />

go.”<br />

Nothing to sneeze at!<br />

28 www.writeawaymagazine.co.uk

The Cranberry Merchants<br />

www.writeawaymagazine.co.uk<br />



Are we forgotten<br />

Forgotten<br />

Dim lights conceal the madness within<br />

Long endless hallways of torture and sin<br />

Prescriptions take hold igniting the rage<br />

Of the forgotten locked up in a cage<br />

Are these walls these walls of despair<br />

For their good does anyone care<br />

What the hell what the hells going on<br />

To the forgotten hopes fading hopes gone<br />

Pills and needles break up the silence<br />

Dysphoric souls revolt with violence<br />

As toxic poisons rush thru their veins<br />

In this place where insanity reigns<br />

Insanity reigns<br />

Forgotten forgotten<br />

Abused and condemned<br />

Forgotten forgotten<br />

Until the end<br />

Forgotten<br />

Interns led by deranged physicians<br />

Administer lethal narcotic munitions<br />

Inside these walls where evil presides<br />

Inside these walls all innocents dies<br />

All innocents dies<br />

Pills and needles break up the silence<br />

Dysphoric souls revolt with violence<br />

As toxic poisons rush thru their veins<br />

In this place where insanity reigns<br />

Insanity reigns<br />

Forgotten forgotten<br />

Abused and condemned<br />

Forgotten forgotten<br />

Until the end<br />

Forgotten forgotten<br />

Abused and condemned<br />

Forgotten forgotten<br />

Until the end<br />

Forgotten forgotten<br />

Abused and condemned<br />

Forgotten forgotten<br />

Until the end<br />

Until the end<br />

Until the end<br />

All are forgotten<br />

All are forgotten<br />

Until the end<br />


Every day, the question still circulates in my<br />

mind. Do I have what it takes to be considered<br />

a lyricist? Ten years ago, I sat down<br />

with a pen and paper, and the idea for my<br />

song “Forgotten” was conceived. At a small<br />

desk in a hotel room, I started the process<br />

with a specific sound in mind. It had to be<br />

dark, gripping, and contain powerful vocals.<br />

From there, I penned the first line. As I recited<br />

the line over and over in my head, I kept<br />

writing other ideas down as fast as I could.<br />

It was exhilarating! This was my first<br />

attempt at writing lyrics, and I was having<br />

the time of my life! As the hours and days<br />

passed by, the storyline became clear to<br />

me. The theme and setting would be: Life<br />

inside the walls of a fictional insane asylum.<br />

Spending every moment of free time over<br />

the next few months, I researched rhyming<br />

words and synonyms for previously selected<br />

words th<br />

the comp<br />

away. Th<br />

dust. Wh<br />

connect<br />

kept telli<br />

of this ye<br />

ing arou<br />

song sam<br />

EXACT s<br />

so many<br />

Rocka St<br />

Steve, an<br />

he review<br />

together<br />

JP23Lyr<br />

Jim Plun<br />

JP23Lyr<br />

https://yo<br />

30 www.writeawaymagazine.co.uk

JP23Lyrics<br />

at would best fit the flow. When<br />

osition was completed, I tucked it<br />

ere it sat for ten years gathering<br />

ere would I go with it? “I have no<br />

ons within the music industry” I<br />

ng myself. Fast forward, to January<br />

ar (2019). I was aimlessly searchd<br />

on the internet and discovered a<br />

ple. I was stunned! This was the<br />

ound I had envisioned for my lyrics<br />

years ago. It was Steve Dillon of<br />

udio. I quickly reached out to<br />

d we began corresponding. After<br />

ed my lyrics, we decided to work<br />

completing my ten year journey.<br />

cs<br />

kett<br />

cs@Gmail.com<br />

utu.be/zaSMKHYnFzw<br />

www.writeawaymagazine.co.uk<br />



Verse 1<br />

How did we get this far<br />

How did we not recognise<br />

All those unreachable miles<br />

All that’s between us now<br />

Is the laughing of this clown<br />

Not enough words<br />

Too many fights<br />

Chorus<br />

Take you aim<br />

Pull the trigger<br />

Fire and watch me fall<br />

See the tears roll down my<br />

face<br />

But know this ain’t my curtain<br />

call<br />

You know that this won’t<br />

last<br />

I will rise again<br />

Pull the bullet from my heart<br />

Watch me turn my back<br />

As you Shatter Like Glass<br />

Verse 2<br />

Silent Days and dreamless<br />

night<br />

Shadows fall around us now<br />

Living with hope for tomorrow<br />

Look into each others souls<br />

searching for the answers<br />

now<br />

Rising anger makes us lose<br />

control<br />

Chorus<br />

Take your aim<br />

Pull the trigger<br />

Fire and watch me fall<br />

See the tears roll down my<br />

face<br />

But know this ain’t my curtain<br />

call<br />

Know that this won’t last<br />

I will rise again<br />

Pull the bullet from my heart<br />

Watch me turn my back<br />

As you Shatter Like Glass<br />

Extended Chorus<br />

Take your aim<br />

Pull the trigger<br />

Fire and watch me fall<br />

See the tears roll down my<br />

face<br />

But know this ain’t my curtain<br />

call<br />

Know that this won’t last<br />

I will rise again<br />

Pull the bullet from my heart<br />

Watch me turn my back<br />

As you Shatter Like Glass<br />

Shatter Like Glass<br />

Watch you Shatter Like<br />

Glass<br />

Written by Charlotte<br />

Elizabeth & Stuart Landon<br />

Performed by: Stuart<br />

Landon<br />

Charlotte Elizabeth is a<br />

33 year old songwriter,<br />

artist manager<br />

and event planner from<br />

Staffordshire, UK.<br />

Music has always been a<br />

huge part of her life with<br />

country music being a particular<br />

love. However, like<br />

most stories you hear,<br />

Charlotte wasn’t raised on<br />

country music but instead<br />

spent her weekends listening<br />

to her parents choice of<br />

music. Those sounds came<br />

from The Carpenters,<br />

Foreigner, The Beatles and<br />

REO Speedwagon amongst<br />

others.<br />

Charlotte admits that a<br />

career into music was<br />

something she accidentally<br />

stumbled across.<br />

“I was at a country music<br />

gig writing a review for a<br />

magazine when I got talking<br />

to the band after the show.<br />

They told me that they didn’t<br />

have management and that<br />

they weren’t really sure how<br />

to progress. I jokingly said I<br />

would do it and I suppose<br />

the rest is history!<br />

I didn’t have the first clue<br />

about music management<br />

but I have always been<br />

interested in music, in learning<br />

and developing new<br />

skills so I worked hard to<br />

learn the industry. I could<br />

see what other people were<br />

doing and I could see what<br />

was and wasn’t working so<br />

tailored my approach that<br />

way”<br />

After working with this band<br />

for a while, Charlotte was<br />

inspired to try her hand at<br />

songwriting. Again, it was<br />

the usual conventional<br />

approach...<br />

“I was first diagnosed with<br />

cancer at the age of 16 and<br />

whilst it was such a hard<br />

time and had a huge impact<br />

on my life, I really tried to<br />

turn it into a positive experience.<br />

I wanted to put that<br />

experience into words and<br />

release a charity single for<br />

our local hospice. Working<br />

in the music industry, I<br />

already knew a lot of artists<br />

who I considered asking to<br />

help me.<br />

One of my friends told me<br />

‘you can’t do that’ and ‘you<br />

aren’t a singer so you will<br />

never release a song’ but<br />

true to my stubborn nature I<br />

found a way.<br />

Once I started writing<br />

though I couldn’t stop. A<br />

single was written and<br />

record and then another<br />

32 www.writeawaymagazine.co.uk

Charlotte Elizabeth<br />

and by the time I had finished,<br />

I had an EP on my<br />

hands. My EP ‘Survive’ was<br />

released in February 2017<br />

and debuted at number 4 on<br />

the iTunes country chart.<br />

I held a sold out launch<br />

party and donated all the<br />

money to our local cancer<br />

hospice Douglas Macmillan.<br />

From this EP, was my very<br />

first co-write with someone<br />

who is now essential to my<br />

story.<br />

Back in 2016, I met an artist<br />

called Stuart Landon and<br />

his band Angels With Dirty<br />

Faces when they were supporting<br />

a group that I managed<br />

at the time.<br />

We only got to say hello that<br />

night but watching Stuart’s<br />

set was amazing. The musicianship<br />

of the band, his<br />

vocal and his songwriting<br />

just hit me. He won me over<br />

straight away.<br />

We were friends on<br />

Facebook, and a couple of<br />

weeks later, he saw that I<br />

was looking for another<br />

artist to work with and he<br />

sent me a message. I had<br />

just finished writing some<br />

lyrics but I was worried<br />

about sending it over to<br />

him. I mean, he was majorly<br />

talented and I was this<br />

unknown songwriter. I told<br />

him if he didn’t like it we<br />

could just scrap the idea.<br />

Later that very same night,<br />

he came back with a demo<br />

and I knew in that instant it<br />

was the single we had to<br />

release.<br />

Shatter Like Glass was<br />

born.<br />

The song is about being in a<br />

damaging relationship but<br />

finally finding the strength<br />

to walk away from it. It’s<br />

that idea that you can go<br />

through every day emotionally<br />

hurting each other but<br />

then one<br />

day you walk away. You<br />

remove that barrier that is<br />

stopping you from leaving<br />

and you walk and break<br />

free.<br />

We released the single on<br />

14th October 2016 and it<br />

was straight into the country<br />

charts at number 4. The<br />

day we released ended up<br />

being the same day The<br />

Shires, Ward Thomas and<br />

‘Forever Country’ which<br />

was the CMA 50th anniversary<br />

song was released.<br />

We later learnt that if we<br />

had released the week prior<br />

we would have hit number<br />

1. So of course I was slightly<br />

disappointed as I have<br />

such an ambitious and<br />

determined streak in me!!<br />

However, I was so happy to<br />

have this song out and the<br />

feedback was amazing. The<br />

song went on to receive<br />

Semi Finalist position in the<br />

UK Songwriting<br />

Competition.<br />

The other amazing thing<br />

that happened was that I<br />

became manager to Stuart<br />

Landon.<br />

We have now worked<br />

together for 3 years this<br />

years and we just keep<br />

going from strength to<br />

strength. We have had some<br />

amazing experiences and<br />

there is so much more to<br />

come.<br />

He is genuinely one of the<br />

most incredible artists<br />

around and we have a great<br />

bond and trust which is<br />

hard to come by in the<br />

music industry.<br />

We released his debut solo<br />

single ‘I Can’t Take It<br />

Anymore’ last September<br />

and it hit number 1 in both<br />

the UK Country iTunes and<br />

Amazon charts.<br />

He then went on to release<br />

his EP ‘Outmanned, Never<br />

Outgunned’ in December<br />

2018. This EP still remains<br />

on this day in the All-Time<br />

Best Sellers iTunes country<br />

chart.<br />

I have had some great experiences<br />

as both a songwriter<br />

and as a manager and<br />

last year, I flew to LA and I<br />

was lucky enough to talk to<br />

Colin Lester who is the<br />

manager to Craig David and<br />

he gave me a lot of advice<br />

and guidance.<br />

The music industry is one of<br />

the most difficult, cut throat<br />

industries to be in but I<br />

believe if you work hard,<br />

are passionate about what<br />

you do and have the commitment<br />

to learn your trade<br />

whilst remaining flexible to<br />

the changes that are always<br />

happening, there is no reason<br />

that you can’t achieve it<br />

all.<br />

www.charlotteelizabethsongwriter.com<br />

www.stuartlandon.co.uk<br />

Shatter Like Glass:<br />

https://open.spotify.com/tra<br />

ck/0mZF8WXn4rNxvSF9mG<br />

ayQP?si=QcdeqzchT9aHVV<br />

ucMlaCNA<br />

www.writeawaymagazine.co.uk 33

Bottle It Up<br />

As a child I was a cryer<br />

On a Moaning Myrtle scale<br />

Mufasa's death was a downer<br />

Free Willy made me wail<br />

My daddy was my hero then<br />

He'd light my way<br />

He'd dry my baby eyes and then he'd say<br />

You've got to bottle it up son<br />

You've got to bottle it up son<br />

Don't ever show you're hurt or scared<br />

Shut up kid, no-one cares<br />

You've got to bottle it up son<br />

If you carry on like this son<br />

You'll be disowned, you'll die alone<br />

Move on, be strong<br />

Man up<br />

(Aww what a guy)<br />

That mantra manifested<br />

In the manner of a man<br />

With all the sugar sweetness<br />

Of a dried up bowl of Bran<br />

When life would throw a punch at me<br />

I'd punch it back<br />

Whenever I'd feel weak's<br />

When I'd attack<br />

As<br />

a<br />

Don't ask what's wrong, just sing along<br />

Move on, be strong<br />

Man up<br />

Move on, be strong<br />

Man up<br />

Hi, I’m Chris Tavener, a satirical singer-songwriter,<br />

originally from Northwich in Cheshire. I’m best<br />

known for my witty lyrics with folk and rock inspired<br />

music. Think Bob Dylan meets Tim Minchin or Paul<br />

Simon meets Monty Python.<br />

I’m also a prolific live performer who performs up to<br />

300 gigs a year. My unique voice and guitarplaying<br />

style has seen me garner attention from<br />

BBC 6 Music, BBC Introducing, Jamie Lawson, Carl<br />

Barat of The Libertines and many fans across the<br />

country. Manchester Academy selected me to<br />

perform a huge support show for Peep Show's<br />

Super Hans and I played The Lowry Lyric Theatre<br />

for Children In Need in December 2018.<br />

Also in 2018, I took on a 3-week European tour to<br />

The Netherlands, Germany and France,<br />

playing songs at 15 headline shows. That was quickly<br />

followed by a UK Tour, visiting 14 different<br />

cities to perform ticketed headline shows, right<br />

across the UK. The response was overwhelming<br />

and I’m now writing material for a feature film documentary,<br />

the social media giant Viral Thread<br />

and for Great Ormond Street Hospital.<br />

Bottle It Up<br />

Because I bottle it up jack<br />

It's all water off a duck's back<br />

You'll never find out how I feel<br />

This duck is made of steel<br />

Because I bottle it up jack<br />

You'll find that a hard nut won't crack<br />

I feel alright, now I scream inside<br />

Move on, be strong<br />

Man up<br />

What's the matter? (Nothing's the matter)<br />

What's the matter? (I said nothing's the matter)<br />

What's the matter? (Why does something have to be<br />

the matter, I don't understand)<br />

What's the matter? (Will you stop asking me that<br />

question?)<br />

What's the matter? (Nothing is the matter! Just<br />

leave me alone! Leave me alone!)<br />

'Cause I bottle it up man<br />

'Cause I bottle it up man<br />

You'll never find me in a slump<br />

I'm as happy as Melania Trump<br />

Because I bottle it up man<br />

Yeah I bottle it up man<br />

As a songwriter, I've never been interested in writing<br />

about myself. Although many find that their<br />

best songs come from distilling a personal emotion;<br />

I've always been more keen on depicting a<br />

character or a story. In line with the Jim Croce,<br />

Randy Newman, Ray Davies and Tom Lehrer school<br />

of writing; I'm interested by the quirks and foibles in<br />

people's personalities.<br />

I approached things the same way when I was<br />

asked to write a song for a new documentary<br />

focusing on men's mental health.<br />

'Bottle It Up' is the story of a man in denial. I wrote<br />

the song from the perspective of someone<br />

indoctrinated into a masculine, stiff-upper-lip attitude<br />

towards life that encourages him to cover<br />

up any emotional sensitivity. It's an unnatural state<br />

for him to be in, since as a child, he wasn't<br />

afraid to show people the way he was feeling.<br />

Eventually, the wearing of his invisible mental<br />

disguise begins to take a visible toll on his life.<br />

He boasts about his impenetrable emotional armour<br />

“You've got to bottle it up jack/it's all water off a<br />

34<br />


Chris Tavener<br />

duck's back<br />

“You'll never find out how I feel/this duck is made<br />

of steel”<br />

All the while there are signs that he might be kidding<br />

himself:<br />

Like over-using the prefix – “man”.<br />

“That mantra manifested in the manner of a man”<br />

Or when we get a look inside his methodology:<br />

“Whenever I feel weak's when I attack”<br />

Then eventually cracks start to form:<br />

“I feel alright, now I scream inside/Move on, be<br />

strong, man up”<br />

The bridge section of this song deals with the people<br />

around him. As he continues to conceal problems<br />

with his mental health, it begins to affect<br />

those closest to him. Backing vocals on the studio<br />

version sing the question “What’s the matter?” To<br />

answer would be to compromise his whole outlook<br />

on life, to shatter his protective bubble. Instead he<br />

tries to divert the conversation away from himself.<br />

Eventually the incessant questioning becomes too<br />

much and our troubled man tries to shout them<br />

down with one more chorus. In this story there is<br />

no happy ending. He carries on running away from<br />

his problems and the people that might offer him<br />

salvation from his unhealthy way of thinking.<br />

While comedy and satire are my chief devices for<br />

telling this story, I like to think that the lyrics will<br />

have an impact on the way people think about their<br />

mental health. Men in particular are encouraged<br />

not to let their feelings and emotions show.<br />

I feel this song is a small part of that growing<br />

movement to get men to open up.<br />

https://www.youtube.com/watch?v=0bgY5GNtvjQ<br />

www.christavener.co.uk<br />

www.facebook.com/christavener<br />

www.youtube.com/christavener<br />

www.writeawaymagazine.co.uk<br />



Lyricist Christopher looking to work with<br />

musicians, singers and producers. Will<br />

tackle most genres, pop, folk, country,<br />

r&b, rock, electronic, jazz and a combination<br />

of these. Ambition to produce<br />

commercial music and hopefully enjoy<br />

the ride.<br />

Experienced lyricist, Hampshire area<br />

UK. I’m looking for someone who can<br />

take my lyrics and work them into a finished<br />

song.<br />

rbortkiewicz@hotmail.com<br />

Cc060369@aol.com<br />

I am a lyricist/top liner looking to collaborate<br />

with artists/musicians/producers for<br />

songwriting. Based in London/South East.<br />

I can meet and work together, or take an<br />

instrumental, develop a lyric and top line<br />

melody for it, or looking for musicians who<br />

want to develop the instrumental for lyrics<br />

or lyrics with a top line. I can write for different<br />

styles but enjoy folk/country/pop ballad<br />

mostly.<br />

adkenney@gmail.com<br />

Looking for a lyricist collaborator for<br />

song writing. I write and produce<br />

songs in many styles (country, ballabs,<br />

soft rock, and electronic loop based<br />

compositions). Find me on Soundcloud<br />

under EXPATJAT. Happy to work on half<br />

completed songs or with lyrics.<br />

Contact me<br />

atitcombe@gmail.com<br />

Experienced lyricist (able to play some<br />

instruments and do midi-fi production)<br />

seeks collaboration with a female vocalist.<br />

Style singer/song writer, r&b, country,<br />

folk, pop.<br />

Coolparadigm@gmail.com<br />

Lyrics Doctor - I’m a writer, editor, songwriter,<br />

musician who can help you tell the<br />

stories you really want to tell. Song structure,<br />

imagery, rhyme, alliteration and<br />

more. to ensure that every word does<br />

everthing it’s meant to do in the song.<br />

Mostly alt country and rock, but all genres<br />

considered. To contact me title your<br />

email Lyrics Doctor and email Jane the<br />

editor.<br />

jane@writeawaymagazine.co.uk<br />

36 www.writeawaymagazine.co.uk

My skill set: strong, conceptual lyrics;<br />

melodies; slinky, hypnotic grooves;<br />

fresh music with pop accessibility, and<br />

yet, has substance. I'm a producer and<br />

audio/acoustic design engineer. I'm<br />

building a songwriting and film score<br />

recording studio as we speak.<br />

My major failing: chords/progressions.<br />

If you are a lexicon of styles and have<br />

the talent to compose strong, catchy<br />

stuff--then I'd like to hear from you.<br />

What collaboration could look like: the<br />

chords/progression box must be<br />

checked, but if a partner can write,<br />

sing, play instruments, produce, engineer--the<br />

better. This not a territorial<br />

contest but a partnership that produces<br />

outstanding results. Synergy. One project,<br />

multiple projects or an eventual<br />

partnership. I have the talent to recognize<br />

hits and get stellar performances<br />

out of people.<br />

David Sutherland, musician, based in<br />

the UK. Happy to work remotely. All<br />

rounder with lots of musical ideas<br />

and lyrical starts, looking to<br />

exchange ideas. Comfort zone is<br />

acoustic/Americana but happy to<br />

explore beyond that. Facilities to create<br />

basic demo recordings.<br />

https://soundcloud.com/davethebass/sets/americana<br />

davesuth@blueyonder.co.uk<br />

I live in Duluth, MN USA;<br />

jzpowers1@yahoo.com<br />

I am a songwriter from Kankakee, IL<br />

(USA), looking for<br />

singers/musicians/producers to write for<br />

and collaborate with. I can best reached<br />

at<br />

dakjmis@gmail.com<br />

If you’d like to appear on these pages<br />

please email me<br />

jane@writeawaymagazine.co.uk<br />

www.writeawaymagazine.co.uk<br />


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