The story behind the song – 40 Emails and 4 Skype Sessions

Every song’s creation is a story, particularly when there is collaboration involved.  Here is another “story behind” blog by Rosanne Baker Thornley whose participation in last year’s S.A.C. Songwriting & Blogging challenge resulted in the song “A Little Too Late to Pray” written with Scott MacKay.

by Rosanne Baker Thornley

During the 2014 Songwriting Challenge I discovered Scott MacKay, originally from PEI, and currently residing in Calgary. An emerging singer / songwriter, I was extremely impressed with his tender, stirring and dark songs. And his voice – undeniably Scott, buttery, gravelly, smoky – I was quick to dub him “Bublé of the Bayou”. And like North Easton, Scott’s was a voice I was inspired to write for.

We had messaged each other during the Challenge expressing an interest in each others work, discussing a plan to collaborate on a song after the challenge. And so, a few months after the challenge ended, a message appeared on my phone “interested in writing a song?”.

Scott sent me a list of possible song ideas and a note that he liked songs that are clear / clever – that his goal was to write songs that are real speak so listeners are quick to understand – but at the same time songs that carried a highly original concept. Hank Williams, Loudan Wainwright the third, and Johnny Cash were examples he sited.

After perusing Scott’s titles and one-line descriptors – I emailed back that I had quickly gravitated to a few ideas, but in particular, his concept “Hearse. A humorous account of a hearse bringing someone to the grave. Tire goes flat, they run out of gas, etc.”. And as with anyone I’m writing with / for, I immersed myself in whatever music of his I could to get a better feel for his delivery and a deeper insight into his songwriting.

With Scott in Calgary and me in Toronto, distance meant that email and Skype would enable our collaboration. I do find this a bit of a cold aspect to long distance co-writing as I much prefer that once into the nose-to-nose work that my co-writers, their heartbeat and their energy, are right in the room with me. But given some my previous experience with North, I was better acclimatized to working via Skype.

I can’t emphasize how important it is to just take time to talk to each other. Not about the song or the work – just things – life. Learning about each other is so crucial to working together. This is especially important when you’re on the other side of a monitor and a mouse.

Scott sent me some rough lyric thoughts to get the process moving along. Entitled “Long Road to My Grave / Scenic Route to the Grave” – Scott’s lyric rough was written from the deceased’s perspective and the trials and tribulations of getting to the graveyard. My question to Scott after receiving his lyric was – “Yes, but WHO is in the coffin?” Percolating on the idea, I rolled it over and over in my head – until the idea of a less than perfect preacher came to me. Yes! I responded to Scott with – Possible Title : “A little late to Pray”, with a first round of lyric and a note setting the scene – “A good looking, über friendly preacher, clearly popular (particularly with the women, but not overtly so in public), has died. There seems to be a challenge in getting him to his grave. Gee that’s odd. He’s a preacher. He was so young and healthy. How did he die? Ah yes, that is the question.”

Sometimes lyrics are a line-by-line soul wrenching process – and then other times they land easy. Once I had the image of where I wanted to go and a chorus I felt was at the heart of the song, I just flew. So quickly in fact that Scott was quite taken back by how fast and how finessed my first version was. Scott was extremely enthused and inspired with the storyline and the lyric. Excited I searched online for backwoods banjo music and played it over and over in the background as I transported myself into the scene – onto the road with the hearse, the driver and the preacher. Hand off to Scott to start the music. When I’m writing lyrics I almost always have an idea of how the music will sit, which is how I build the lyric and structure of the song. However, I didn’t share the music I had with Scott, as we had determined that Scott would drive the music with the intention of him singing. So I wanted him to reach in and find what worked for him. Ironically, when Scott played me the song for the first time – it was pretty much the same melody I had been working with – which we were both a bit dumbfounded by.

There were about 40 emails back and forth and about 4 Skype sessions to finesse and complete the song. The chorus stayed much the same from the first version throughout our finessing the lyric together. We decided to eliminate portions of the song that delved too much into the preacher’s story and decidedly simplified and focused on the ride to the gravesite. In the end this served the song better. We spent time discussing the music structure as in “did we really need a bridge or would an instrumental and two lyric lines out to the final chorus do the trick”? I have a producer / engineer that I work with in Toronto (Ted Onyszczak), so it made sense to have Ted produce / engineer the song. With the beauty and convenience of technology, Scott laid down vocal and banjo tracks in Calgary and emailed them to Ted. Ted provided a rough concept, which included proposed instrumentation based on music / mood/ style examples Scott and I had provided him with. With the three of us in agreement on the direction, final tracks were coordinated and recorded. Mark Kelso (drums) having his own studio, provided and emailed tracks and Pat Rush (slide dobro, bass) came into the studio. Mixed and mastered, 3:52 minutes grown out of an inspired collaboration.

Rather an odd irony is the Preacher image I sourced to support the song on my website. Coincidently entitled “Preacher”, the existing image was shot by photographer Steven Ferguson, from Ireland. I was initially informed that there could be a 6-week delay in obtaining the rights to the image due to a requirement to have a signed model release before the agency could release the image. However, only days later I was informed that the shot was available to use, and that a release was not necessary. This, due to the fact that the subject in the image was, recently deceased.

It was a great experience working with Scott and we’re both truly happy with the outcome of this collaboration. Scott’s open demeanor and enthusiasm were key to the success of this song. And so we’re now moving onto our next song collaboration. The song at the middle, we will continue to learn more about each other and perfect our songwriting process. All good.

Click Here to visit Rosanne Baker Thornley‘s Songwriters Profile.
Click Here to visit Scott MacKay‘s Songwriters Profile.

Tips on DIY Music Videos

Angela Saini

by Angela Saini

Making music videos has become a necessity for the indie musician. Music is consumed much differently in the online age, and most often people will come across your music first on a platform such as YouTube. Increasingly people are “hearing with their eyes” so you want to make sure there is a visual medium to enjoy your music readily available. That being said, you don’t need to have label-backing or be a big artist with a huge budget in order to make a music video.

I’ve done several music videos, all DIY (do-it-yourself, ie. Without a grant or third party funding) and there are many ways to go about it. As with every aspect of an indie artist’s career, you can start with people that you know who already support you in your craft. Maybe you have a friend who has a camera and/or knows how to use editing software. . I know an artist that shot an entire video by herself on an iPhone: for no cost. If you have the skills or know someone who does, you can do a lot yourself.

Another option is to find people in film school who need to create a film reel or final project. My video for “Stay Here with Me” was done entirely by a small group of people who were doing a final project for a film program. You might find a young director who is hungry for experience, and is willing to do a video for free or a reduced rate. It doesn’t have to be crazy expensive to make a video if you know how to plan and utilize your resources. Regardless of budget, the planning and production of a video is the same general process.

The first major consideration for a video is the director. Who is going to create and execute the “concept” of the video? A director should be the one who presents a “treatment,” which is a general outline of how the video will flow, from start to end. It doesn’t have to be an exact shot list, but should entail how the video is going to start and generally progress, within a concept. A lot to consider in terms of style: Is the singer going to sing to the camera for some shots? Are there actors? What about location? What kind of wardrobe? Is there a live performance scene? Will there be an audience? How many days do you need to shoot? Your costs are going to reflect the duration of filming. The director may charge a per day fee and you might need a crew for lights, additional cameras etc. and you need to feed them. Renting gear might be a reality for your shoot, and that can add up fast; all the more reason to try to utilize your resources and do as much as you can with little or no cost. I have been able to pull strings and get locations to film in for free for all my videos. Start with who you know, and don’t be afraid to go “guerilla-style” in shooting scenes in public spaces. A side note on this: technically you need a permit to film on streets in Toronto, and probably most cities. The moment a tripod hits the pavement you can be asked for one (apparently handheld cameras don’t break the rules.) I am not advocating doing anything illegal, but permits and fines can get expensive so you might want to get creative.

Here is where planning is the most important factor in shooting your video. I have had whole projects fail because of a lack of planning. “Doing it as you go” is going to cost everyone time, money, mental sanity and will probably add days to your shoot. Have a shot list and make sure your director/director of photography knows what is being shot, where, and how long it should take, BEFORE you start. They might make a “Story Board” which will visually show each scene in order, although you might not shoot it in chronological order. Include set up time and meals in your planning, and remember things always take longer than you think! Having extras is always more difficult than you think it will be, at least in numbers. You might love to have a crowd of screaming fans in front, but the day of only 3 people show up. Have a back-up plan for shooting and be flexible when depending on other people, especially if you aren’t hiring professional actors.

My most successful shoots considering time and money have been small scale; maybe a handful of “actors,” and a small film crew, or just me and the Director and that’s it. Making a video doesn’t have to be a huge daunting project that costs you a small fortune. If you have a clear vision and plan everything ahead of time, you will save time and money. Factor in the time it will take to edit the video, and don’t be afraid to ask for a rough cut to make sure you and the editor/director are on the same page. Editing is just as important as shooting, so don’t rush the process just to get it done. I always make sure before I commit to a project that it’s clear that I will be part of the process. Make sure you are proud of your product because you want to share it with the world for years to come. Right?

The sky is the limit. We are creative people and it is exciting that a visual representation of our music is attainable as indie artists. Happy Shooting!

Angela Saini

Click Here Angela’s Songwriters’ Profile.

Here is Angela’s video for her song “U-Turn,” recently featured on the S.A.C. website: