May 2010 - San Diego Songwriters Guild

SongWritersNotes
28 Years Supporting San Diego Songwriters
The San Diego
Songwriters Guild
SDSongwriters.org
SDSongwriters@hotmail.com
858 270 7169 (Sandi Shaner)
3368 Governor Drive
Suite F-326, SD, CA 92122
2010 SDSG Board of Directors
President
Sandi Shaner
Vice President
Eddie Jason Coven
Treasurer
Richard Widney
Secretary
Annie Rettic
Webmaster
John Pape
Member
Sean Reilly
Kevin Thomas
Advisors
Bridget Brigitte
Mark Charles Hattersley
Photographer
Steve Covault
Volume XXIV • May 2010
San Diego Songwriters Guild Presents
Entertainment Law
and the Songwriter
A Legal Seminar
with attorneys
Valerie Ann Nemeth
Michael Hoisington
Paul Mirowski
Jeff Mach
In this edition...
Music Law Seminar
May 12 - Page One
Venue View: Gallagher's
Annie Rettic - Page Two
2010 Showcase Review
Covering a variety of topics relating to legal issues
pertinent to musicians, bands, and songwriters.
Winners Announced - Page Three
Songwriting on Guitar
Kevin Thomas - Page Four
Cervantes Guitars
Classical Acoustics - Page Five
Reverend Stickman
SDSG Member Interview - Page Six
May 15 at Humphrey's
Backstage - Page Eight
Art & the 12-String
Bridget Brigitte - Page Nine
Diane Waters
SD's Country Sunshine- Page Ten
Wednesday, May 12, 2010 7 PM
Swedenborg Hall
1531 Tyler Avenue
San Diego, CA 92103
Free to SDSG Members
Public Welcome -Admission $15.00
Music Icons Join SDSG
Eddie Jason Coven - Page Fourteen
Rodeo Drive
Eddie Jason Coven - Page Sixteen
Songwriters' Community
The Gig Page - Page Eighteen
SDSG Sponsors - Page Nineteen
SDSG Memberships available at
SDSongwriters.org or at the Door.
From the Songwriter’s Desk
T
here's so much going on in the spring... nature is pushing life out at a frantic pace, and we feel compelled to follow suit, scheduling festivals and concerts galore so as to take advantage of the amazing
energy in the air, not to mention the deliciously lengthening days.
In 2010, SDSG continues the rebuilding we started last year, and we've got many fantastic educational
and promotional opportunities on calendar, starting with our Legal Seminar on May 12, where attendees
will be able to hear from and ask questions of a top-notch panel of attorneys specializing in entertainment
law. The seminar is free to SDSG members. Memberships (at our SDSG Stimulus Package rates of $25)
will be available at the door. A few days later on May 15, SDSG will be back at Humphey's Backstage
with an amazing show, and we've got much more in store. If you'd like to perform in one of our showcases,
please contact SDSG President Sandi Shaner at 858 270 7169 or SDSongwriters@hotmail.com.
In this issue of Songwriters Notes, we focus on the guitar and what songwriters do with it. We've got
a tutorial by Kevin Thomas, some sweet insights into the 12-String from Bridget Brigitte, and interviews
with two favorite San Diego writer/performers who coax amazing things from their guitars, Diane Waters and Reverend
Stickman. Eddie Jason Coven writes about some local guitar-playing legends who have recently joined SDSG, and
about a young band whose sound is surprisingly polished. There's much more inside this edition... enjoy!
Mark Charles Hattersley SDSG Advisor
Mark@RagingBohemian.com
Venue Review Gallagher’s Irish Pub
by Annie Rettic
Nestled in the heart of OB at 5046 Newport Avenue is little corner of
Ireland called Gallagher’s. Here you’ll find 24 beers on tap,and a dozen varieties in
bottles, to tickle your taste buds. The decor is distinctly Irish, the walls are lined with plaques
displaying the history of all the great family names, along with their crests. The owner, Clare
Mc Kevitt, is Irish and hosts the best St. Patrick’s Day Festival in San Diego. But there are
many other reasons to visit this fine establishment.
On Monday nights there is an Open Mic, hosted by Jody Wood. Signup is at 9, and it gets underway around 10. Attendance varies; the night I was there, the crowd was small, but enthusiastic. The sound, run by Jeff Dewine, is excellent. I
chose to play my Dulcimer, and he patiently worked
with the settings until it sounded superb. The atmosphere is friendly and laid back, which led to some
impromptu jamming. The sound man is also a great
guitarist. If the number of musicians is small, you’ll
probably get to play 3 or 4 songs instead of the usual
2. This Open Mic is definitely worth checking out.
On other nights there are different genres of
live music. Lady Dottie and the Diamonds play on
Wednesdays, Thursday is Reggae Night, and Friday
6-9 Jason Ott plays your acoustic requests. On Friday and Saturday nights, some of San Diego’s finest
Celtic bands often play here. On a lazy afternoon you
can sit in the front just a stone’s throw from the ocean
and enjoy your favorite beverage. Now that the hot
weather is returning, you’d be hard pressed to find a
more enjoyable place to relax than Gallagher’s.
SongWriters Notes • Page Two
Diane Waters Wins
2010 SDSG Performers Showcase
The Fourth Annual San Diego Songwriters Guild PerPerforming in the LIVE Finals at Humphrey’s Backforming Songwriters Showcase took place on two instage Shelter Island, on the evening of Saturday, April
spiring nights in San Diego. In a listening session at the
3, 2010 were Baja Boys, Charlie Recksieck, Diane
Country Inns & Suites on March 9, an all-star panel of
Waters, Vanity Affair, Rob Mehl, and Bar Elejudges including writer/
ments.
performer Allegra Barley (last year’s ShowOur second panel of
case winner), Chris
judges cast their votes
Adams from Clear
in the finals. Producer
Channel, Bart MenChuck Schiele, Guidoza (see Eddie Jason
tarist/Vocalist James
Coven’s article about
Steele, SDSG VP EdBart in this issue), and
die Jason Coven, and
SDSG President Sandi
Bandleader Will FaeShaner auditioned enber dedicated their
trants’ recorded work,
evening to grading the
picking the top six acts
finalists, giving the nod
to perform in the finals
to Diane Waters who
Finals at Humphrey's: Left to Right, Erik Ferentinos,
at Humphrey’s Backtook home the top prize
Contest Winner Diane Waters, and SDSG's Sandi Shaner
stage on April 3. Enwith a powerful perfortrants were shooting to
mance, accompanied
win a rich prize package including Six Hour Recordby Erik Ferentinos on guitar. See our interview with
ing Session at Chuck Schiele’s StudiOB92107, KPRI
Diane in this edition of Songwriters Notes, starting on
Homegrown Hour Radio Airplay sponsored by Listenpage ten.
LocalSD.com, a 30 Minute set at Humphrey's Showcase or House of Blues from Black Cherry Group,
Second place went to the Baja Blues Boys and Third
a Bag of Schwag from Moze Guitars, plus a Guitar
Place was taken by Vanity Affair. Turn to page thirSet-Up, an acoustic guitar from local custom luthier
teen for more photos of our finalists. All of the perforCervantes Guitars (see photo), and $250 in Cash
mances were deserving of the spotlight, proof positive
from SDSG.
that SDSG members are among the best at their craft
in San Diego.
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Special thanks go to our hard-working panels of judges
and to our SDSG volunteers in the trenches: Annie
Rettic, Richard and Susan Widney, and our MC
and DJ for the listening session, SDSG Advisor Mark
Charles Hattersley.
Please remember our sponsors (contact info is on
page 19) without whom the event would have been far
less stimulating. Finally, let’s not forget Country Inns
& Suites and Humphrey's Backstage for allowing us
to host the Showcase in their fine establishments.
Check out page thirteen for more finalist photos.
SongWriters Notes • Page Three
Songwriting
on the Guitar
by Kevin Thomas
In most styles of modern music, the guitar is primarily used as either a rhythm section instrument, playing
chords in time with the drums and bass, or as a lead
instrument, playing solos while the rhythm section maintains the groove and outlines the harmony. Songwriting,
however, is usually thought of as the melody and lyric,
while everything the rhythm section is playing is considered the arrangement of the song. This is due to the
fact that when you keep a melody of a song the same
but change chords or rhythms, it can still be heard as
the same song; but if you keep the chords and rhythms
the same while changing the melody, it will clearly be
a different song. The melody and lyric define the song.
mostly stepwise motion.
• Stay within about a one octave range in pitch.
Next, incorporate some dynamics and articulation to bring out your melody with the unique
sound of the guitar. Dynamics refer to changing the loudness from one part of the melody
to the next. This can add quite a bit of expressiveness
to your melody. Articulation can add a tremendous
amount of emotion to your playing, and the guitar has
some very distinct and unique options for articulating notes. Below is a list of some of the possibilities.
• Hammer-Ons
• Pull-Offs
• Staccato notes (short)
• Bends a) half-step, whole-step, or larger, b) with or
without vibrato
• Reverse Bends (half-step, whole-step, or larger)
• Vibrato a) wide or narrow b) 8th notes, triplets,
16ths, etc.
• Mixing open string notes with fretted notes
• Slides a) as grace notes b) as melody note c) halfstep, whole-step, or larger d) ascending/descending
This places guitarists at an awkward position when
aspiring to become songwriters. Many guitar players
get around this whole issue by learning to sing and write
A riff is a distinct type of melody, and it is usumelodies vocally, while playing chords on the guitar to
ally a very identifiable component of a song. It is a
accompany their voice. But in such a scenario, are you
repeated melody, which
really writing songs on
is most often played on
When using the guitar to construct
the guitar, or have you
the lower guitar strings,
become a singer-songmelodies, it is a good idea to think like
although it occasionally
writer? There is nothing
a vocalist, rather than a soloist
employs high notes. Riffs
wrong with converting
follow the same general
from guitar player to singer-songwriter, but if your
guidelines
as
melodies,
but
due to the fact that they
goal is to learn how to write songs on the guitar, you
are
repeated
in
time,
they
will
often be very rhythwill need to learn to play more than just chords and
mic.
Riffs
will
tend
to
outline
certain chords, and
solos. You will have to write melodies on the guitar.
commonly only one chord for a whole song section.
When using the guitar to construct melodies, it is a
Chords can be added after a melody or riff is written,
good idea to think like a vocalist, rather than a solobut many songwriters tend to write the chords and melist. Memorable melodies will always be those that
ody simultaneously. On the piano, or as a singer-guitarare easy to sing. If you are a lead guitarist, the first
ist, this is fairly easy to do, but on the guitar by itself
thing you will need to do is slow down, and pause
it can be challenging. Therefore, when arranging the
between phrases, just like a singer who can only fit
chords for your melody, either as a background to write
in a certain amount of notes, and then needs to pause
melodies against, or by adding chords after a melody
for breathing. Here is a good way to get started: begin
has been written, it is a good idea to have a recording
with any scale you are familiar with, start developdevice on hand. This way you can record the chords,
ing some short melodies, and incorporate the followand then focus on developing the melody by itself.
ing four components of good melody construction.
Simultaneous chord-melody writing or playing is a fair• Keep your phrases short, and pause between them.
ly advanced topic; it is heard quite a bit in jazz music.
• Don’t use too many notes or it will sound like a
solo, not a melody.
Your finished guitar melody can either remain part of
• Limit the number of leaps in pitch and use
SongWriters Notes • Page Four
continues on page seventeen
At 12 years old, Alejandro Cervantes was no
stranger to guitars, as he had been playing them since
the age of eight. And it was no surprise when his father
(also a talented luthier) began teaching his son the art of
handmade classical guitar making. Alejandro recalls,
“My father made guitars and also had a small guitar
factory. He wanted his children to make guitars, so I
made my first guitar at age 12 - but I was more eager to
play guitars than to make them.”
Alejandro spent many years performing and writing
his own compositions on the guitar. This made his love
for the instrument really grow. Alejandro continued the
tradition while he studied at the National Conservatory
of Music in Mexico City, Brazil, and in the US. Moving to the United States over 20 years ago, Alejandro
currently resides in San Diego.
15 years ago, Alejandro established Cervantes Guitars,
augmenting his luthier's knowledge with a deep understanding of classical guitar technique. These skills have
combined to allow Alejandro Cervantes to build guitars
with a unique understanding of what a player demands
from a guitar. Focused on making high-quality guitars
for classical and flamenco players, Alejandro started a
line of his own design in 2002. Cervantes Guitars has
been the honored recipient of excellent reviews by critics in nationwide guitar magazines, and by dealers, and
players alike. Here are some samples from the Alejandro Cervantes Concert Series:
Cervantes Rodriguez Concert
List Price - $1980
Based on the design of Miguel Rodriguez.
Finish: Lacquer
Sound board: Cedar
Back & sides: Indian Rosewood
Neck: Mahogany
Fingerboard: Ebony
Bridge: Indian Rosewood
String length: 650mm
Tuners: Gotoh
Options: Brazilian Rosewood back & sides
French Polish available for additional cost.
Having much success in higher end guitars sales, Cervantes has now made his wonderful guitars available
to everyone by releasing his first affordable model.
Cervantes Guitars sponsored SDSG's 2010 Performing
Songwriters Showcase. Our very own Diane Waters
was the proud winner and is really enjoying this beautiful guitar.
Another model that delivers an outstanding recorded
and live sound is:
Ajandro Cervantes Crossover-1
List Price: $2200 (Cedar Top Model)
The Crossover-1 is a soft cut-away nylon
string guitar with a narrow neck similar to
a steel-string guitar. The neck measures
48mm at the nut. This is a great sounding hybrid guitar with very nice sustain
similar to that which you would find on a
high end classical guitar.
Sound board: Englemann Spruce
Back & sides: Indian Rosewood
Neck: Mahogany
Fingerboard: Ebony
Finish: Lacquer
Tuners: A variety of choices available
Schatten pick-up optional
Seeing nice pictures is one thing. But actually feeling
the smooth fret board and taking in the quality sound
of a Cervantes guitar is completely another. Songwriters can make music with sticks striking a pan, or
a child’s wind instrument, or even just an acapella
melody. But once you have that complete song idea, it
is time to give your song it’s own life. You want your
studio production to radiate the feeling that you first
have when you gave birth to your precious song. That
is when you will need to pick up a great sounding guitar to lay down some tracks that will do justice to your
creative masterpiece, and when you should consider
a Cervantes Guitar. CervantesGuitars.com or Email
info@cervantesguitars.com.
Sandi Shaner
President, SDSG
SongWriters Notes • Page Five
SDSG Featured Artist
Reverend Stickman
by Sandi Shaner
This issue of Songwriters Notes, we spend a little time
with a songwriter who in good spirit helps everyone
else become better at what they do. The Reverend
Stickman has been a friend and a positive force in the
San Diego Music community for years. Accompanied
by Jenene Lambert at every live show, The Reverend
delivers timeless music that is appealing to all ages.
What makes Reverend Stickman so unique to the
San Diego Music Community?
Being influenced by so many
different genres of music has
made me a sort of jack-of-alltrades on the guitar, performing around town and around the
country with acts such as Gypsy
Nights, Cathryn Beeks Ordeal,
Charlie Imes, Sequoia Neptune,
Happy Ron, Bob Bartosik and
many more. From gypsy jazz
fusion to folk to rock/blues to
beach music, a little country and
even Kirtan meditation music, I
bring all of these styles together
in my approach to performing
and songwriting, always striving to make each song different
from the last.
How did you form the dynamic relationship with your other
band mates? When I first met Jenene Lambert, I
knew immediately that she was a positive upbeat person. I have since learned that she is a very talented
singer and hard worker as well, and that is the kind
of musician that makes for a dynamic relationship.. I
was lucky to find someone with whom I work so well
that believes in my music. By the same token, Bahman Sarram, Michael “Mrod” Rodriguez, and Chris
“Halestorm” Hale are amazing musicians who helped
in the spirit of friendship to create what I believe is
my best work yet. We all already knew each other
through various projects we had been involved in, so
the band’s chemistry came together naturally.
SongWriters Notes • Page Six
What is the name and origin of your next CD? How
is it different than previous recordings? This CD
is titled Half Alive – Stories From Under The Black
Hat because most of the songs tell a story from a time
and place in my life, and because it was actually recorded ‘half alive’ in the studio. We set up and recorded the guitar, bass, and drums live in the studio and
then added vocals and a small amount of production
in order to preserve the edgy quality that we produce
at our live shows. This will be my first full-length
full band CD with an official
release date of Thursday, June
24th 7PM at Swedenborg Hall
in North Park.
Tell us about the San Diego
Music Award Nominations.
My first trip to the music
awards was in 2008 when Bob
Bartosik’s album Double Triple was nominated in the best
new jazz category. The truth is
I only recorded a little guitar
feedback while standing in a
closet in his studio, which was
heard on one song. But I was
excited to have a reason to be
there, and really had fun even
though we didn’t win. My
second trip in 2009 was due to
performances on Happy Ron
Hill’s CD, Terribly Happy, released to critical acclaim
and also with the Cathryn Beeks Ordeal for her CD
titled Mood Swings nominated in the best new Americana category.
As a songwriter, you include a lot of riffs, pull offs,
creative picking techniques, and unique rhythms.
When you write a song, how do you start? Do you
write lyrics then jam to it? Do you write and jam,
then sing to it? Enlighten us, dear Reverend!
I almost always start with a lyric idea, usually with
some kind of natural poetic rhythm that the words
seem to follow, and then I try to get the guitar to cre-
Stickman!
ate the needed music for the groove and the melody that I’m feeling. Sometimes I get the music first and it just inspires a
melody that seems to find its own words, but rarely. Either way, my best songs in my opinion are the ones that just fall out
on the paper and flow easily into the guitar, almost as if someone else were telling me what to write. I believe very strongly
in the concept of the artist’s muse.
Do you think you music is timeless, like some of the greats such as the
Beatles and Led Zeppelin? How is writing timeless music accomplished?
I do think that some of my songs might be considered timeless. I hope so. I
think that simply telling an honest, human story in a song is enough to make
it stand the test of time. That and possibly not including too many specifics,
such as dates, popular trends, etc. could be a good idea. Trends fade and
leave some songs totally lifeless.
Tell us about your CD release party. Reverend Stickman presents “The
Reverending Story” theatre show, concert, and official CD release on June
24th, 7PM at Swedenborg Hall in North Park. Not your standard CD release
party, this performance will
feature
skits,
multi-media
presentation,
history, a fantastic live band
performing music from the CD,
a choir and some
surprises too. In addition, everyone in attendance will receive
a memento of their special evening with the Reverend. Tickets
are $20 in advance, $25 at the door and there are a few advance
VIP ticket packages which include 2 early-entry passes (pick
your seat) and a copy of the new CD. Tickets available now at
all shows or online at reverendstickman.com
reverendstickman.com
reverendstickman@cox.net
619-957-4053 myspace.com/reverendstickman iTunes
Reverend Stickman Live
May 6- Press Box Sports Bar 8-11 PM (Rancho San Diego)
May 7- Anthology Live on KPRI 9 PM w/Cathryn Beeks and
the Ordeal (gaslamp)
May 8- Stage Saloon 7-8 PM (gaslamp)
May 15- Stage Saloon 7-8 PM (gaslamp)
May 15- Cheers and Beers 9-10 PM (Lakeside)
May 22- La Costa with Bviolin and the Gypsy Nights
(North County)
May 29- Cheers and Beers 9-10 PM (Lakeside)
opening for Verge of Distortion
June 24- CD Release Party Extravaganza featuring
Jenene Lambert and the Electric Stickband.
SongWriters Notes • Page Seven
SongWriters Notes • Page Eight
Songwriters and Guitars
Art and the Twelve String
S
T
by Bridget Brigitte
he logical companion to finding the most beautiometimes challenges are appealing just because
ful sound from a guitar is finding the most beautiful
they are challenges. Why did the adventurer climb
artwork to go with it. Guitars have been decorated in
the mountain? Because it was there. When it comes to
almost every way possible. One trip to the NAMM (Inguitars, challenge is the fiber of having a guitar. Not
ternational Music Products Asociation - new name, old
only does a musician challenge herself to compose ever
acronym) show in Anaheim reveals guitars in almost
more innovative songs, but there is the constant lure
every color, shape and size. Skulls and barbed wire
and reward of developing as a songwriter and musician
aside, some guitars emanate angels.
as one chord leads to another, one diminished seventh
Using my imagination, I got to thinking about
turns into a suspended fourth, and one progression diswhat the most beautiful designs in the world are. Trelsolves into a single, ultimate note.
lis leaves, swirling ivy, Celtic motifs, Indian...henna.
It is important to overcome the challenges of pain,
When some Indian women marry, they get elaborate
to develop callouses so that the guitar is comfortable
artwork temporarily tattooed on their hands and feet by
for hours, instead of minutes. During a visit in Paris,
artists who paint with henna (mehendi). Mehendi has
when I was performing in a blues club (there were not a
been used as a cosmetic for over 5000 years by women
lot of singer/songwriter spots), some friends introduced
and men and in 17th century India, it was used on womme to blues legend Luther Alison who had just released
en regardless of social
Blue Streak. As everyone
swapped songs (mostly
The effect is that the number of notes in a class or marital status.
Subhamoy Das writes:
listening to Luther), it
song can be cut in half and sound just as big “A bride’s wedding dewas impossible to not
signs usually includes a
check out his fingers:
hidden inscription of the groom’s name on her palm.
“This is some serious protection!” I noted. He smiled
It’s believed, if the groom fails to find his name within
and continued to walk his fingers up and down the neck
the intricate patterns, the bride will be more dominant
creating long buttery melodic lines. His callouses felt
in conjugal life. Sometimes the wedding night is not
like uncooked peas.
allowed to commence until the groom has found the
Guitarists who are used to nylon, or even steel
names. This is also seen as a subterfuge to let the groom
strings, are accustomed to playing six string guitars. The
touch the bride’s hands in order to find his name, thus
sight of a twelve string can be at first confusing (what
initiating a physical relationship.”
do all those strings do?), then invites curiosity (how is
I located a Mehendi artist in San Diego, Carmen
it played?). Twelve strings can be daunting - one kneeWrentmore, who welcomed me into her home. To my
jerk reaction is to vow to stick with six strings, why
delight, she adorned my hands and even painted my
bother with more? Until the first try. As elementary as
head. When asked if she would consider painting a guithis sounds, twelve strings are six strings times two.
tar, she seemed surprised, then a little nervous, but fiEach string is doubled, one octave apart, except for two
nally decided she would accept the challenge. The result
stings which are the same string simply doubled up.
was an exquisite design that brought my dreams to life. I
The effect is that the number of notes in a song can
continue to thank Carmen because, on the morning that
be cut in half and sound just as big. In other words, a
she painted my Taylor, she greeted me with teary eyes;
simple song can be made to sound complicated, or a flat
her husband had been deployed on a mission that day. I
song sound rich. For someone who writes simple spare
told her that we could work together another time, but
slow songs, a twelve string can be perfect. It is also the
she said “please stay.” Art ended up serving its age-old
guitar of choice for many other types of performers too.
therapeutic purpose of soothing the artist, and most peoWhen a twelve string is unfamiliar, it is a magnificent
ple who see Carmen’s intricate work are amazed.
challenge that keeps giving back. There is the opportunity to add harmonic interest by slightly staggering
Bridget Brigitte is a recording artist who has writthe tuning of strings so that they are almost perfectly
ten original songs on guitar since she was nine. For
tuned, but not quite. Two strings are made larger and
more about Bridget and links to her songs, please visit
thicker if they do not sound exactly the same. Classics
BridgetMusic.com
like “Blackbird” take on a whole new color.
SongWriters Notes • Page Nine
Diane Waters
Country Sunshine via San Diego
by Mark Charles Hattersley
Diane Waters is well known to SDSG, having been a
member of the organization and participant in Guild
events for many years. A gifted songwriter and performer, Diane has immersed herself in both the art and
the craft of the tunesmith. Her writing is characterized
by storytelling that gets inside your head and makes you
feel she has a secret track on something important about
life. I sat down with Ms. Waters to talk about her approach to song, the successes she has enjoyed to date, including winning SDSG's 2010 Performing Songwriter's
Showcase, and her plans for the future.
I first heard your writing and vocals years ago at an
SDSG meeting. My ears perked right up when they
were exposed to your music... your talent shined
through! You were performing on piano then, but
now focus on acoustic guitar. Please tell us a little bit
about your musical journey. How did you get started
writing and performing, and what prompted your
move from the piano to the guitar? I remember going to those SDSG meetings when they were over at the
Doubletree near Hazard Center, but my musical journey
started long before that, back when I was about 10 years
old. My parents found an ad in the paper that said something like ‘Free piano: if you can haul it, you can have
it.’ That fit in with our budget, so Dad got some of his
buddies to load that big old heavy upright piano onto a
pickup truck and move it into our house. Mom showed
me how to play a tune she knew, and then I just started
playing around on the thing, making little songs and melodies up just as a way to have fun on the piano. I made
up words for those songs too. Eventually I realized I was
going to forget the songs if I didn’t make some kind of
recording, so I used a little cassette recorder to archive
the songs. I would play for company when they came
over and whoever would listen including the cat. I eventually took a few piano lessons but was never as studious
about the homework as I was about the latest song I was
writing. My piano teacher was always encouraging my
creativity, which was just what I needed. I performed in
school concerts and even wrote a song for eighth grade
graduation which the whole class sang. I guess when
people ask me how I can write, my answer is that I don’t
know how not to write. It’s just in me. It’s the way I connect and the way I express myself.
SongWriters Notes • Page Ten
Now I actually still play the piano and have been getting back into it more and more again lately, but to answer your question about moving to the guitar: I was given a guitar on loaner and just started seeing what kind of
sounds I could make with it. I started writing on it soon
after that. I still favored the piano more at that time, but
in the past few years I’ve found keyboards don’t usually
fit that well in the overhead compartment on an airplane!
So all my trips to
Nashville had a big
influence on me
playing the guitar. It
is the most common
instrument to write
on for most Nashville songwriters.
So portable, so fun
to write the more
Diane Waters at SDSG's 2008 Song
rockin tunes on!
Contest with Mark Charles Hattersley
You have won a
number of awards, from top honors in SDSG’s 2008
Song Contest, to “Write With a Hit Songwriter Contest” at the 2008 Durango Songwriters Expo, to your
recent win at Humphrey’s Backstage in the 2010
SDSG Performing Songwriters Showcase. What is
behind your successes? I love songwriting and performing, so even when you’re working really hard, it’s
still so much fun! Every time I write a new song I still
get all excited about it and can’t wait to share it with
people. I love the challenge of writing better songs and
especially touching people emotionally with them. I
have been fortunate to have been mentored by a number
of wonderfully talented people along the way who have
encouraged me, shared their knowledge and experience
and helped me sharpen my skills as well as inspire me.
I don’t give up easily either. I’ve done a lot of writing
and rewriting and I’m always interested in learning and
growing in my songwriting and performing.
Country music has some fairly strict conventions that
writers disregard at their peril. How do you respond
emotionally when writing a song to fit within stylistic
constraints? If you own an ice cream shop you are
probably going to have requests for ice cream cones
right? You can have a lot of different flavors of ice cream
to choose from, but it shouldn’t surprise you that a lot of
people still like it in a cone or maybe a cup. That’s just
the container that holds the ice cream. Well, song structure is like that. You serve up the song in various ways,
but if you want to have your songs appeal to a broad
group of the public, then don’t be afraid of learning some
song structure and paying attention to what’s going on in
the genre you’re writing in.
So “commercial” and “accessible” aren’t really dirty
words after all? No, not necessarily. It just means that
someone besides yourself, your best friend and your mom
and dad… actually understands and relates emotionally to
what your song is about. It also means that it’s fresh enough
lyrically, melodically etc…. to stand out in the sea of other
songs out there.
How do you make that connection with your listeners?
A combination of inspiration and perspiration! When I’m
performing, I like to be in the moment - that moment that I
share with the audience goes by so quickly, but sometimes
it can feel like you’re suspended in time. When it comes to
writing, I let the creativity flow and see where it goes. I try
to write about things that make me really feel something.
Then I go back and see what’s working and what’s not.
Sometime’s it happens really fast and other times I come
back days/weeks/months later and make changes.
You mean you actually edit and rework your songs? They don’t emanate
from your mind perfectly-formed?
We all live for that song that occasionally comes out in a flood and still holds
water when we’re finished! But many
of the great published writers attest to
the fact that they are no stranger to rewriting. Sometimes you have a song
with great potential if you can get rid of
what you don’t need; i.e. you can carve
a beautiful clipper ship out of a block
of wood if you simply whittle away the
wood that doesn’t belong until the ship
is revealed. Not always the easiest task, but with time you
can get better and better at it, and instead of a pile of sawdust you end up with a brimming journal and, hopefully, a
song that touches people.
I’ve had the pleasure of doing a some writing with you
and am intrigued with your ability to pull spontaneous
ideas seemingly from thin air. But that’s not what really
impresses me... it’s your uncanny way of melding spontaneity with structure. How do you do it? Well, I have to
say that going to what I call the “Music school of Nashville”
has done a lot to help me hone the craft of songwriting. It’s
a town full of amazing writers that are doing it almost every
day! Getting to meet and work with publishers and writers
that are at the top of their field and also with fresh new tal-
ented writers and artists has made me a much better writer.
Also, writing a LOT makes a difference. As far as keeping
the spontaneity in my writing, that’s how it all started in the
beginning before I knew anything about “structure” or the
music business or anything else. I wrote what I felt… and
spent quite a bit of time doing that before getting into the
nuts and bolts of writing skills. I did listen to the radio when
I was a kid, so I think you do absorb structure somewhat
that way. I have always been inspired by the amazing and
moving songs of other writers and performers as well.
You’ve had several co-writes with hit country writers.
How is it you’ve managed to make a name for yourself
in Nashville? I’ve had the opportunity to write with hit
writers Walt Aldridge, Gary Baker, Tim Johnson, Sandy
Ramos, Richard Harris, and more. I’ve met a number of
people through NSAI (Nashville Songwriters Association),
and many through songwriting events like the Durango
Songwriters Expo. Over time, I’ve built relationships and
eventually through persistence, patience and the giving
spirit of many a mentor, opportunities have arisen. I also
always try to always bring something to the table creatively,
and to be someone they can
enjoy writing with. In Nashville, you can’t just show up
once and expect everyone to
take you seriously. That takes
time.
You performed at the famous
Bluebird Cafe in Nashville.
It must have been a memorable evening. It sure was!
I was invited into a “writer’s
round” (three or more writers
take turns playing an original
song one after the other) by a writer friend of mine from
Alabama, Teresa Wright. We had four of us in the round
and the little place was packed! They had us in the center
of the room in a kind of circle (hence the name “writers
round”). It is really intimate that way... it feels like your
playing in the middle of someone’s living room! Anyway,
many famous writers and performers have gotten their start
at the Bluebird and gone on to make their way in the music
world! There’s so much history there! It was a great night
and I hope to play there again soon.
How do you approach teaching songwriting and what
goals do you ask students to set for themselves?
I enjoy songwriting coaching on an individual level and
have also done a songwriting clinic at the North County
continues on page seventeen
SongWriters Notes • Page Eleven
San Diego Songwriting Seminars
by Kevin Thomas
I remember when I first started writing songs. I would play chords on
the guitar, sing melodies, make up
lyrics, and jot down any good ideas
that emerged with a pencil and paper.
I kept notebooks full of lyrics and
chord symbols, and would usually just
remember the melodies in my head.
Some songs came out okay, but most
of them were pretty boring; every section in my songs would often sound
like every other section, the lyrics were
too abstract, and there were no strong
hooks. I found myself accumulating
more questions than answers when it
came to writing good songs. How do
melodies and chords fit together? What
scales or keys should I use? How do I
combine riffs and melodies? How long
should each verse be? What makes
some lyrics more poetic and colorful
than others? How were my favorite
songs created, and why don’t mine
sound as good? Does a person have to
be born with the songwriting gift, or
can it be learned? I didn’t really get it
at first, but I really wanted to because I
felt so passionate about creativity and
songwriting.
My search for answers led me through
quite a bit of despair. The only information I could find about songwriting
was books about writing lyrics, with
virtually no information about writing
the music component of songs. My
music teachers had all been great players and singers, but none of them knew
much about writing, except to supply
me with some cursory knowledge of
music theory, with no practical information on how it relates to writing.
My big breakthrough came when I discovered that Berklee college of music
was the only music school in the world
SongWriters Notes • Page Twelve
where you could actually major in
songwriting. I already had a college
degree, in addition to being a graduate
of Musicians Institute, and had no real
interest in going back to school, not to
mention that I thought getting accepted
would probably be very competitive.
But I was obsessed with the prospect
of finding my answers, and becoming
a great songwriter, so I applied thinking I might just take a semester or two
and then move on.
Well, as it turned out the program was
amazing. At Berklee, I was completely
immersed in writing music the entire
time I was there, and had the best teachers in the world helping me to hone my
craft and develop my inner voice as a
writer. I finished the whole degree program, and went on to receive a Masters
degree in Music Composition. I had
great mentors, got all my questions
answered, and more. I participated in
s o n g w r i t - continues on next page
2010 SDSG Performers' Showcase
SD Songwriting Seminars
continued from previous page
Finalist Photos
ing workshops in Nashville while
in school, and personally worked
with some of the best songwriters
in the world. It might have taken
me twenty years of trial and error
attempting to figure all this stuff
out on my own, if at all. I went
on to record CDs, gain national
and international radio airplay, and
unleash the great writer within.
Now we are going to show you how
to unleash your inner writer, and
shortcut years of struggling; and we
are going to do it all in one weekend. The San Diego Songwriter
Seminar is for experienced or
beginner songwriters alike. Here
you will learn every trick in the
book for writing great songs. Every
aspect of Melody, Harmony, Lyrics,
Song Form, Hooks, Recording and
Marketing your songs, and even
How to Get Signed, will be covered in one amazing weekend this
summer. And let’s not forget how
important networking is in the
music business. This seminar will
be a great place to make some new
connections that could take your
career to the next level. Thanks for
listening to my story. I look forward to seeing you all at The San
Diego Songwriter Seminar.
Above: Baja Boys
Left: Rob Mehl
Below: Vanity Affair
Kevin Thomas graduated from
Musicians Institute, Berklee
College of Music, and has a Masters
Degree in Music Composition.
Kevin teaches songwriting, voice,
guitar, and all aspects of music
privately in the San Diego area.
For lessons call 619-730-5422
kevinthomasmusic@yahoo.com
SongWriters Notes • Page Thirteen
Music Icons Young and
Old Join The Guild
by Eddie Jason Coven
The San Diego Songwriter’s Guild is here to serve a purpose: to promote, support, and foster our singer/songwriters and musicians in Southern California. Our members are from all levels and backgrounds. Recently I had
the privilege of receiving two of San Diego’s noted music
icons into our organization.
A LOT ON LEYVA. It was the spring of 2008. I was
knee deep in the ListenLocal circuit. When Cathryn
Beeks had a show, I either played it, or went to it to check
out the other artists and make friends and acquaintances.
This was when I was still wet behind the ears and didn’t
know that this was called “networking”. But thinking
now… I’m still a little wet behind my ears. But it was
a chance meeting at The Brick by Brick that would help
to wipe some of that moisture away, and ultimately take
my music career up a notch, if not a couple, from where
it was.
It was an Acoustic Alliance showcase (of which, I have
yet to play- nudge!), and I came to hear my friend The
Reverend Stickman, also Allegra, and I’m sure Harry &
Nancy from Folding Mr. Lincoln were also there performing. All within the first to rounds of performers. I
wasn’t planning on staying for the third round, but by
that time, I had a buzz going and didn’t feel like driving
just yet. So I decided to wait off my high and listen to
some more tunes. The third set brought a man who defiSongWriters Notes • Page Fourteen
nitely helped out my career, although I couldn’t have told
you then what I can tell you now about the songwriting
troubadour known as Chris Leyva.
I went up to Leyva after his set and bought his CD and
chatted with him. I mentioned I was a keyboardist by
trade and was looking to do session work, if not join a
band. He handed me tickets to a Revolution 89 show
coming up that week. That led to a string of both Revolution 89 and Blizzard shows I attended during the spring
and summer of 2008 with former bandmates Anthony
Plourd and Turtle Sanders from JD Romance, and my
bass player/photographer friend, Salvador Viesca. One
thing Anthony, Turtle, and Sal always said when we
went to the shows was that we like the music and the
stage presence, and that we needed to do that, we needed
to be on stage at House of Blues. In the fall of 2008 I
found myself opening for Leyva at his weekly residency
at Bare Back Grill downtown, which led to me being his
keyboardist for his both his solo material and
for Blizzard. Thanks to him, I’ve played great
venues such as House of Blues, both as a solo
artist and with a few bands. I learned a lot about
promoting and running shows from him.
Chris is a native of Mexico City and came to
the United States in the 1990s with his father,
Emilio, and is now a citizen of our United States
of America. Music has always been a part of his
life, playing guitar during his teenaged years.
About his guitar playing, Leyva commented "I
started late, I’d say around the age of 14. I wanted to learn Beatle songs! Mo me ‘mum’ got me
one! And I worked all summer for an electric one"
But it was the latter 90’s that proved to pave the
way for this San Diego music icon. Playing open
mics at such coffee houses as Twiggs, Leyva eventually
formed the rock band Blizzard, releasing more than 8 albums and 2 eps, and also 2 unreleased full albums, one
of which is a double album entitled “Merchant of Souls”,
which completes the trilogy of “Root of All Evil” and
“Curve of Evolution”. “It is actually] the second volume
of the, and it’s completely psychedelic by far the weirdest Blizzard record” says Leyva. The other unreleased
record is “The Night Is Young” which is more modern
mainstream rock.
As a solo artist, as Leyva has released 2 full length albums, which include “Singled Out” and “27”, and will
release a third called “Black and Gold” this year. With
side project Revolution ’89, Leyva has released one EP
entitled “Pursuit of Happiness” and have a follow up
EP called “Till Death Do Us Appart” which is yet to be released.
However, I’m still a few years away from achieving what
Joey Harris has with his strat.”
Leyva will be in Chicago, New York, and London this year to
support his music, but you can catch him promoting shows
at House of Blues, The Luecadian, JT’s Pub, Radio Room,
Ruby Room, and others. Leyva also heads up the A&R Dept
and a whole lot more over at Black Cherry Music Group, a
local San Diego Indie Record Label, which has sponsored
the Guild’s last two songwriting competitions.
Mendoza’s first band was Starjammer, named after a character in the X-men comic book, in 1976. Their first show was
for an event held at Mary Star of The Sea Catholic Church in
La Jolla. While Mendoza considers himself more of a collaborator, his first solo performance was a Christmas show
in Los Angeles with Stew and the Wondermints in 1994.
“I went up with a friend right after work and fell asleep in
the car, woken up by the car door opening and the words,
‘You’re on man.’ It was probably 12 steps from car door to
stage microphone, so I was still sort of waking up as I was
playing this brand new song” Bart remembers. Other than
this event, he had a two week jaunt around Spain in 1999
alongside Francisco “Paco” Poza of Los Impossibles playing solo.
MAKING MUSIC WITH MENDOZA. As many of you
know, you can’t go too many places around San Diego without running into someone, or listening to music from someone Bart Mendoza went to High School with. And generally,
you can’t pick up a copy of the San Diego Reader without reading something Bart has written. Since the latter
1970’s, Bart Mendoza has been a part
of our rich music
scene in one way or
another.
I met Bart through
Chris Leyva in the
fall of 2008, and have
managed to run into
him at various gigs
and events, including
the San Diego Music
Awards among others. I got to judge Black Cherry Group’s
first ever Acoustic Singer/Songwriter Competition. He also
judged the first half of our Performing Songwriter’s Competition this past month.
“I’ve been playing since I was around 15, a student at Muirlands Junior High School” says Mendonza. “On a family
vacation in Mexico I picked up a “Play like the Beatles” guitar magazine at a newsstand for about 80cents and spent the
summer teaching myself a variation of guitar, using chords
and other guitar sounds.” When asked about the different
axes he’s wielded over the years, he said: “I still own most
of the guitars I’ve ever had and still play my main guitar that
I bought in 1981, the blue Squier Strat. I've owned a few
guitars like a Voxx 12-string and a Rickenbacker, but they
weren’t used much so they were passed on. How valuable
is the blue fender guitar to me? On tour, in certain cases, I
have slept with the guitar in it’s softcase next to me, with the
strap wrapped around my leg:-) I firmly believe that guitars
have their own personalities, I’m proud of every little nick
and scratch in the paint. After more than a quarter century
you can instantly tell my preferred chords on the fretboard.
When I asked Bart about growing up in the La Jolla area in
the 70’s and 80’s, there must be some other musicians we
know that you “grew up with”. He said “That's a tough one
to answer. Since I saw my first concert at age six, started
playing live music by 16, have been heavily involved in the
music scene since 1982 and am now 47 - the answer is kind
of everybody. I’ve seen kids grow into talented adults and
seeds of potential in new performers yield multi-platinum
rewards years later:. That said, La Jolla High (right across
the street from Muirlands) was a hotbed of music in the late
seventies and early eighties, according to my memory of
things, just about everybody had a band. I can’t credit the
music department enough - Mr. Smith was fantastic at encouraging us. Notable students in that time include guitarists
Warren DiMartini and Robbin Crosby (Ratt), 4/5 of Manual Scan (or 1/2 of the Shambles if you will, drummer Paul
Brewin (Uncle Joe’s Big Ole Driver, Drip Tank), bassist
Rolle Love (The Beat Farmers), banjo player Alison Brown
(Alison Krauss and Union Station), DJ Tim Pyles, film composer/guitarist Mike Andrews (Greyboy All Stars, The Origin, Elgin Park, Donnie Darko soundtrack including #1 UK
hit “Mad World”), bassist Todd Hoffman (Lions & Ghosts,
worked with The Cult, Steve Jones/The Sex Pistols), drummer Chris Bailey (soul/blues band Phast Phreddie & Thee
Precisions/ The Little Kings), bassist Bernard Yin (El Vez,
Pansy Division) and many others. Notable non musicians in
he same time frame at La Jolla High include producer Gor
Verbinski (Pirates of the Carribean etc) and John Nee (DC
Comics publisher). Meanwhile singer-songwriter Gary Jules
was a few blocks up the street at Bishop’s. Good times.”
Bart Mendoza currently heads up Blindspot Records, a local indie label he founded back in 1991 with Chuck Shiele,
works with the San Diego Music Foundation, and writes for
The San Diego Reader. You can catch him around town supporting bandmate Wendy Bailey in True Stories.
“I Didn't Know Rodeo Drive was in Tijuana”
Custodian of Records
by Eddie Jason Coven
It was this time last year that I was last in the
greater Los Angeles area. Although it’s not as new
to me anymore, I still find myself pointing out the street
names such as Vine, Sunset, Santa Monica, and Sepulveda.
And while I have passed Rodeo Drive a few times, I have
never really got out and taken in the sites and sounds of
Beverly Hills. Quite frankly, I don’t know if this country
boy could handle it. Don’t get me wrong, I love the city
life. But you don’t see me in La Jolla, Rancho Santa Fe, let
alone Beverly Hills, that often.
Nine months later on a Saturday night, I pull up to the side
gate of the patio bar at JT’s Pub on Mission Gorge Road
for a show I’m playing with Chris Leyva. When getting
out of my car, I noticed a group of young guys all huddled
together. My first thought was they were high school boys
trying to score a cigarette from one of the bar patrons. As
I started pulling out my gear, they were all looking over at
me with curiosity. I thought to myself, “they do kind of
look familiar, maybe I know them from somewhere”. I’ve
met a lot of people in the music scene since 2005, and I’m
always bad with names, and at some points, too intoxicated
to remember any other details. So I continued to unload
my gear as Bo Winterburn, the bar-back opened the side
gate for me.
While the show was fun, as dive bar shows are often fun,
seeing who’d show up and be the band members and who’d
be the audience, while I was enthusiastically competing
with Leyva for solo time during the last set, I noticed the
young guys bringing in their gear. They were the band who
was closing out the night. As we finished the set, I started
packing up my gear when one of the guys of the next band
said he was the bass player, and if he could use my amp for
their set. I had no problem since many a bass player has
used my transistor keyboard amp for that mellow low and
crisp mid tone that is Peavey amplification. So I packed up
the rest of my gear, and loaded up. And I sure got one hell
of a surprise when I got back in the bar.
Drums pounding. Bass thumping. A lead singer holds the
microphone waiting. Feedback starts coming from both
guitars as they turn away from the amps and all stand lined
up together, left foot propped up on the monitor as if this
was all choreographed. A rim shot, a moment of silence,
then the first song began. And as the set continued on, these
SongWriters Notes • Page Sixteen
“young guys” took on
the persona of rock
stars as twin lead guitars wailed like something out of the 1980’s
metal scene, and the
singer belted out the
words- half in Spanish,
half in English. Their
stage volume was flawless- it was unexpected with two
guitarists- the singer wasn’t struggling to be heard over the
rest of the band, and you could hear everyone perfectly. It
was amazing to see these “kids” play their modern fusion
of glam rock and metal, and every time I heard those twin
lead guitars play solos together, my first thought was, “hey,
who's playing guitar hero?”
So later that night, I go do what I usually do if a band
wows me- I add them on myspace. I poked around on
their page, found out they were playing the Whiskey in
Hollywood, and also playing a show at House of Blues
that I was actually going to be at working the floor. I also
took a look at the pictures- one photo album called “90’s”
which was pictures of the previous band members together,
circa 1997, all glammed out, looking like the classic band
story of boys who grew up playing together, not football,
or riding bikes, but playing rock n roll. That completely
explained the choreography of jumping on stage together,
the tightness of their sound, and their crafty songwriting
with melody and guitar riffs. And although they didn’t act
like it while I was unloading my gear, this wasn’t their first
rodeo, cowboy.
Recently, my friend Salvador and I went to one of their
shows at O’Connell’s. They handed me a copy of their EP.
I tell you- I must have listened to this record non-stop for a
week; I just didn’t want to take it out of my car. Although
five songs are all that’s on it, it’s produced very well, and
you can’t get the songs out of your head- all that said, and
the entire EP is sung in Spanish. The cd was recorded at
SCM Recordings in Santee, CA, was produced by Rodeo
Drive themselves and Brian Grider, and the current lineup
off the band has been together for exactly 2 years and 8
months with the exception of the recent replacement of the
drummer. They have only been playing gigs in California
for the last 3 months. They are influenced by a lot of 70’s,
80’s and modern bands, such as Aerosmith, Metallica, Iron
Maiden, Motley Crue, Poison, Led continues on next page
Custodian of Records
"Rodeo Drive" continued from preceding page
Zeppellin, The Allman Brother Band, Lynyrd Skynyrd,
to name a few. Songs that really stood out for me were
Impulso (Impulse), Venus Decide Morir (Venus Decides
to Die), and Si El Cielo Se Cae (If the Sky Falls). The
overall melody of each song and vocal abilities of all the
members are something to be had. But I went ahead with
the help of my friend Salvador, and attempted to translate the lyrics as closely possible, without damaging the
original meaning. Impulse spells out a one sided conversation between lovers: “You want the sun, never have
you seen it rise. What a mistake, it’s a pleasure feeling it
close. If you lose control, I swear that nothing will happen to you, and your stare asks for happiness, what will
you do, what will I do.”
Enough with this article. Do yourself a favor and check
these guys out. www.myspace.com/rodeodrivemusic
Eddie Jason Coven, Vice President SDSG
eddiejasoncoven@hotmail.com
Writing on Guitar
Continued from Page 4
an instrumental piece, or it can be given to a vocalist to
sing, or lyricist to create words, meanings, and stories.
You can of course do both of these yourself. Keep in
mind, however, that if someone else is going to sing
your melody, you may need to change the key to better suit their voice, so beware of melodies that employ
open strings, which can be tricky to transpose while
still maintaining the same qualities of articulation.
Diane Waters
continued from page eleven
Academy of Music. On the individual level, I try to adapt
to the needs and skill level of each student. Helping them
find their strengths and work on the weak spots is important. Sometimes I help them hone their lyric writing skills
or go over song structure or hook and title importance
etc…. I like the students to get used to journaling and also
learning from the great work of others. I’m coming from a
place where I’ve been learning from other songwriters and
people in the business instead of just textbook only. I like
it to be a mix of hard work and fun… hopefully it already
is… it's such a miracle to be able to make music!
What’s on the horizon Diane?
I’ve got a publishing contract on one of my songs, so
we’re hoping that we’ll find an artist to cut it on their
next album. That would be wonderful! Recently I’ve
paired up with guitarist/writer Erik Ferentinos and we
are doing quite a bit of writing and performing together.
I’ve also put together a band recently and we’re entered
into the San Diego Palooza at the State Fair.
Upcoming local shows for Diane Waters:
Tuesday, May 11 9:30 pm Genghis Cohen
740 North Fairfax, L.A.
Wednesday, May 26 8:30pm Cat Club
8911 Sunset Boulevard, Hollywood
Creating songs on your guitar can be lots of fun. The melodies that you create in this manner will often be uniquely
different than ones created by singers, or on other instruments. Learning to write melodies and riffs with the
guitar, in addition to chords and solos, when combined
with good song form construction and chord-melody
relationships, will make you a true guitarist-songwriter,
which is both a rare and beautiful musical persona.
Kevin Thomas graduated from Musicians Institute,
Berklee College of Music, and has a Masters Degree
in Music Composition. Kevin teaches songwriting, voice, guitar, and all aspects of music privately in the San Diego area. For lessons call
619-730-5422
kevinthomasmusic@yahoo.com
©2010 Mark & Marshall Hattersley
SongWriters Notes • Page Seventeen
The Gig Page
SDSG Members Performing in and around San Diego
Steven Ybarra
Full Band for Each of These Dates!
Sunday May 30 1:00
Spirit West Coast
Del Mar Fairgrounds
Friday June 11 6:30
Del Mar Fair - Paddock Stage
Tuesday June 15
Opening for Jeremy Camp
Del Mar Main Stage
Wednesday June 23 3:30
Del Mar - O'Brien Stage
Thursday June 24 5:30
Del Mar - Plaza Stage
Friday July 2 6:00
Del Mar - Plaza Stage
Bridget Brigitte
Watch for Bridget performing a French song
this summer on Channel
4’s Shades of San Diego,
an interview program exploring ideas and cultures in
our diverse community.
Eddie Jason Coven
May 15 at Humphrey's
If you are an SDSG Member and
would like a listing, please email gig
notices to us at
SDSongwriters@hotmail.com
SongWriters Notes • Page Eighteen
Diane Waters
See Page Seventeen
Reverend Stickman
See Page Seven
Annie Rettic
Friday, May 7 7:00 with Chelsea Flor
Java Jones Coffeehouse
631 9th Ave., San Diego 92101
Saturday, May 8 6:30
My new trio: Black Bottom Pie
Cozy Cottage House Concerts
1772 Ebers St., Ocean Beach 92107
Seating is limited-call Brenda 858 829 6037
Sunday, May 9 10:00 PM
Neck & Neck (with JT Moring)
La Jolla Open Aire Market
On Girard Ave. by La Jolla Elementary School
Wednesday, May 19 9:45
W.O.W. (With Sweet Joyce Ann)
Portugalia Restaurant
4839 Newport Ave., Ocean Beach 92107
Saturday, June 26 6:30
Neck & Neck
Cozy Cottage House Concerts
Call Brenda 858 829 6037 Limited Seating
and don't forget...
SDSG Legal Seminar
May 12
SDSG at
Humphrey's Back Stage
May 15
SDSG Sponsors
Beach City Graphics
Paul@BeachCityGraphics.com 760 415 8900
Black Cherry Music Group
501 west Broadway, Plaza A, #242, San Diego, 92101
blackcherrygroup.com
Bionic Sisters Productions
bionicsisters.com
Cervantes Guitars
www.cervantesguitars.com
CD Rollout
CDRollout.com
800 811 7478
Country Inn and Suites
5975 Lusk Boulevard, San Diego 92121 858 558 1818
Mark Charles Hattersley Music Production
Mark@RagingBohemian.com 619 823 3917
The KPRi Homegrown Hour & www.ListenLocalSD.com
Every Saturday Night at 9PM on 102.1 FM
Steve Covault Professional Music Photography
stevecovault.com sgc@san.rr.com
StudiOB92107.com 858 663 9612
Chuck Schiele / Producer
Rancho Bohemia
studios
Sven-Eric Seaholm 619-287-1955
www.svensongs.com
Taylor Guitars
taylorguitars.com
Producer-Keyboardist-Engineer
Mark Charles Hattersley
Mark@RagingBohemian.com
619 823 3917
SongWriters Notes • Page Nineteen
San Diego
Songwriters Guild
Legal Seminar
May 12
Humphrey's Backstage
May 15
2010 Contest Winners
Tips from Pro Writers
Writer Interviews
and Much More!
SDSongwriters.org
SDSongwriters@hotmail.com
SongWritersNotes
The San Diego Songwriters Guild
3368 Governor Drive, Suite F-326
San Diego, CA 92122
Address Correction Requested
Legal Seminar for Songwriters
Weds, May 12... See Page One