Victoria Banks

Victoria Banks - social Media

Victoria Banks has been nominated for 11 Canadian Country Music Association (CCMA) Awards and was named CCMA Female Artist of the Year and Songwriter of the Year in 2010. She has been labeled “one of the best songwriters in the business” by Nashville’s MusicRow magazine.

In addition to releasing three albums and touring with artists from Reba to Wynonna, Banks – who hails from Muskoka, Ontario – has written ASCAP, SOCAN, CCMA and Covenant-award-winning songs for more than 50 artists.

Her cuts include Jessica Simpson’s Billboard record- breaking single “Come On Over,” Sara Evans’ solo-written hit “Saints & Angels” and duet “Can’t Stop Loving You” (featuring Isaac Slade of The Fray), Lauren Alaina’s “Queen of Hearts,” Johnny Reid’s CCMA Song of the Year “Dance With Me”, Doc Walker’s chart-topping “I’m Gonna Make You Love Me”, One More Girl’s BCCMA Song of the Year “When it Ain’t Raining”, and many more. In 2016, Banks performed with the Nashville Ballet as part of their Attitude program, for which several of her songs were choreographed including the program’s title song, “City of Dreams.”

“This is an artist you absolutely need to pay attention to. Recommended without reservation.” – Robert Oermann, MusicRow
“A powerful singer…a very impressive songwriter…definitely a name to look out for.” – Maverick Magazine (UK)

 

  • How did you get your start as a creator in the industry?

I’ve been a staff songwriter based in Nashville for over twenty years now. I moved south in 1997 after finishing a degree in Zoology at University of Toronto, and after performing at a ton of writers nights around town, was connected with my ASCAP rep, Ralph Murphy. Ralph set me up with some publisher meetings, and from those I was offered my first deal writing for Rick Hall at Fame Music’s Nashville office (affiliated with Fame Studios in Muscle Shoals). Since then I’ve signed with several other companies and have always maintained a writing deal over the years, even when I was touring heavily to support my Canadian record deals.

  • How did you learn your craft – was it a “formal” or “informal” music education?

I studied classical voice and piano until I graduated high school, but pursued science in university. As a teenager I picked up a guitar and taught myself how to play and write contemporary music, but I never had any formal training in songwriting. I just read books on the subject, listened to a zillion songs, and tried to figure out how the writers crafted them to affect the listener the way they do.

  • Have you faced any major economic, social or political hurdles as a music creator?

I feel a bit like a survivor who is holding on somehow despite the odds. When I signed my first deal in 1998, royalty streams were alive and well. I have seen the decline of record sales and the rise of streaming basically obliterate all other income streams except radio play for commercial songwriters. There are now only 400 people doing what I do professionally in Nashville when there were 4000 twenty years ago. I’ve also had to deal with the lack of radio play for female artists in the country genre. Even though I naturally gravitate toward writing from a female perspective, I have had to learn to focus primarily on writing with and for male artists in order to stay marketable.

 

#ThePROSofSAC #CreatorsCount #MusicCreatorsUnite

Songwriters Association of Canada posts songwriter related news and events as a resource to members. Publishing these posts does not imply that the S.A.C. endorses the teacher, product, service, or company.

KARLI

KARLI INTRO

It’s with her magnetic voice that singer, songwriter KARLI captures the attention of everyone around her. The 24 year old Hamiltonian who grew up surrounded by many musical influences, began to show an interest in writing and performing very early on. “Writing songs for me, is like my personal form of therapy” she explains. In the fall of 2017, KARLI released her very first feature with DJ Miss Shelton titled “When the Lights go Out” which made it straight to Canadian radio and onto Stingray Music. Close behind was her duet with TOITO, produced by East Coast’s Famba, “Space” generating over 2M streams collectively. KARLI debuted her very first single, “Needy” in August of 2018, followed by “Enough” with Los Angeles producer Oscar Olivo in May of this year. She has since been writing and collaborating with a number of artists and producers including Montreal’s Midsplit in their latest release “I Do”. KARLI has been working on the development of her E.P. and looks forward to release her next single in the fall of 2019.

  • Do you have a process to songwriting or when creating music?

Not really. And I don’t think there is a right or wrong way to the songwriting process. Sometimes you can start with a hook or lyrics or maybe just an idea, but then it goes from there. I think it has a lot to do with feeling and what feels right. What show off your emotions the best. I just love songwriting and i’ve been writing since i was 16 but it was hard to get my music out there.

One new approach to the songwriting process that i took recently was going to SAC’s songwriter workshops. It was a huge challenge for me because i was in a room with people that i didn’t know and i had to co-write with them. Although, being put out of my comfort zone co-writing witth these amazing songwriters and professionals really
helped me find out my true capabilities and being surrounded by these professionals who you can bounce ideas off of and who really understand you, where you're coming from and the process was very valuable. It was the best experience i’ve ever had and I would recommend it to any songwriter.

  • How has your music evolved since you first became a recording/performing artists?

My music has definitely evolved a lot since i started. I come from a very musical family as my dads in a rock band and my mom is a singer. So, growing up, i used to be very poppy and a lot more girly. As i mentioned, i was like 16 and writing songs about boys, you know? Even my first single was pretty poppy. But now, I really want to use my music as an outlet to say things that can help people by giving them something to relate to.

For example, I wrote my song Vicious Circle about a close friend of mine who was in an abusive relationship. Abuse of any kind is not okay and that’s what that song talks about.
Songs like that touch a lot of people and it doesn’t have to be that exact situation they are experience but there is a connection mentally and physically and I want to bring that to the forefront of my music.

Also, i wanna try to explore more genres moving forward. I’m definitely opening up to co-writing with different artist who bring a different vibe and contribute to the song in that case.

  • Do you have any advice for upcoming songwriters and creators who are looking to break further into the creative scene?

Definitely make connections. social media is such a huge part of our lives now and huge amongst the music world so defiantly using that to your advantage. Reach out to those people that you admire or are interested in because even though you may think they will never reach back, they usually do and the result is amazing. I worked with a producer from LA for my last single, someone i never physically met btw, and that lead to me having a billboard on times square.

You never really know what can happen and its important to take a chance.
I mean also yes, have your guard up to a point but theres a lot of people out there that are great and are on the same page as you and if you can find those people – the reward is magical. Try to self-manage yourself too if you can. When i started taking things into my own hands, it was the best thing for my career.

AND JOIN SAC! Seriously! I’m a huge advocate of what you guys do. I think Greg Johnston is absolutely great and the team that’s been put together and the vision behind the organisation means a lot – especially as a songwriter. I would recommend it to any up and coming songwriter to join SAC and truly take advantage of all the services and
events you put on.

#ThePROSofSAC #CreatorsCount #MusicCreatorsUnite

Songwriters Association of Canada posts songwriter related news and events as a resource to members. Publishing these posts does not imply that the S.A.C. endorses the teacher, product, service, or company.

Damhnait Doyle

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“Liquor Store Flowers” is the first solo oeuvre from Newfoundlander Damhnait Doyle in 11 years; Doyle was working with The Heartbroken, doing film work, and participating on Boards of the Songwriters Hall of Fame, the Songwriters Association of Canada, and SOCAN. At a music industry conference in Mexico City earlier this year, she spoke on gender equity in music.

Damhnait Doyle was born December 9, 1975, in Labrador City and grew up in St. John’s, Newfoundland. 17 years later, she found herself recording in Toronto, fresh out of high school and on her way to  multiple awards from SOCAN, the ECMAs as well as a couple of JUNO nominations. Having grown up singing and playing guitar and clarinet, Doyle released her first album in 1996, called “Shadows Wake Me”. The debut included “A List Of Things” which was nominated for a JUNO.

Her 2000 follow up, “Hyperdramatic” garnered a couple of East Coast Music Awards. In 2003 she released “Davnet” (the phonetic spelling of Doyle’s first name) and began releasing albums as part of the band Shaye, starting with “The Bride” that same year.   

As a shy young performer, Doyle found drinking helped ease performing jitters, and joined the legions of musicians who like a drink or three. Playing alcohol-selling venues like bars and clubs made it seem more natural to drink on the job, as it were. Liquor-free for eight months now, Doyle says many of her fellow musicians have quit drinking, and she wants to support their initiative by linking them with like-minded performers who still work mostly in bars.

Over the course of a few drinks and decades, Doyle has released eight albums, including with the award-winning Shaye, and, starting in 2009, The Heartbroken. Their single “A List of Things,” cracked the Canadian Top 10.

While touring the country she has shared stages with Steve Earle, Willie Nelson, and Serena Ryder, recruited for a guest spot on Doyle’s new release. “Liquor Store Flowers” has a couple of accompanying videos online, for the title track and for “That’s What You Get.”  Doyle will be opening for Serena Ryder this summer as well as playing other dates.

Blog post by Erik Twight

Erik Twight is, at present, a Freelance Writer, maintaining a web presence specializing in current affairs, history, photography and music and producing a weekly podcast/radio show arranged thematically and with commentary for fun. Click here to read more.

Don’t forget to check out these Damhnait Doyle songs as part of our new Spotify playlist episode  – https://spoti.fi/2wzTB5b

Spotify Ep. 10 - S.A.C. Board, Past & Present.png

1. Liquor Store Flowers
Performed and written by: Damhnait Doyle
Produced by: John Dinsmore
Album: Liquor Store Flowers
Source: Sheri Jones Entertainment

2. A List Of Things
Performed by: Damhnait Doyle
Written by: Damhnait Doyle, Tim Welch
Produced by: Ken Myhr
Album: Shadows Wake Me
Source: EMI Music Canada

3. Never Too Late
Performed by: Damhnait Doyle
Written by: Creighton Doane, Damhnait Doyle
Produced by: Dave Hodge
Album: Hyperdramatic
Source: EMI Music Canada

4. That’s What You Get
Performed by: Damhnait Doyle
Written by: Damhnait Doyle, Emily Reid, Robyn Dell’Unto
Produced by: Damhnait Doyle, John Dinsmore
Album: Liquor Store Flowers
Source: Sheri Jones Entertainment

5. Tattooed
Performed by: Damhnait Doyle
Written by: Christopher Ward, Damhnait Doyle
Produced by: David Hodge
Album: Hyperdramatic
Source: EMI Music Canada

Songwriters Association of Canada posts songwriter related news and events as a resource to members. Publishing these posts does not imply that the S.A.C. endorses the teacher, product, service, or company.

Shari Ulrich

Shari Ulrich 2019 w violin v2 Sm

Long before her induction to the British Columbia Entertainment Hall of Fame, Californian-Canadian Shari Ulrich entered the world in San Rafael, California on October 17, 1951.

At the age of 19 she “ran away” to British Columbia up the coast. It was 1969, and the coffeehouse singer-songwriter scene was still going strong. She was just re-acquainting herself with her grade school violin skills when she joined forces with Rick Scott and Joe Mock. The group they formed was Pied Pumkin, in 1973.

In the early days of the Canadian music business, the arrival of major labels’ regional offices had many a performer optimistic about their music possibly getting heard beyond their immediate stomping grounds in our vast country.

Of course, the major labels didn’t regard Canada as a major country, as Americans sold more records to the Japanese and British than they moved north of their border. When there was a multitude of Canadian record labels, some artists could carve out decent careers, but it was a hard slog.  

Others, feeling left out of the party they’d supposedly been invited to when they first signed a record contract, realized they could release their music independently. Perth County Conspiracy, who released two albums on Columbia, ended up self-releasing their music. Of course, those albums are hard to find now, but they weren’t the only Canadian band that figured keeping the money from a few sales wouldn’t be worse than receiving a pittance and feeling controlled by a huge record label.

Out west, there was the afore-mentioned Pied Pumkin. Forming their own “pumkin” related label, Squash Records; the band managed to sell some 30 thousand copies of their first two records. Their first album, ”The Pied Pumkin String Ensemble” came out in 1974. The album was recorded at Simon Fraser University from a truck outside. Ulrich played dulcimer, saxophone, flute, mandolin, and violin.

Pied Pumkin records were financed by charging fans 5 bucks each- before the record was made. Crowd funding before the Internet, or even touch tone telephones. The band played out west, mostly in B.C. and Alberta with some treks to Ontario.

Ulrich left Pied Pumkin to back fellow west coast singer Valdy in The Hometown Band in 1976. Valdy toured more expansively and Ulrich found herself on stages across the country. In Toronto over the years, she has played stages from living rooms to Massey Hall to Maple Leaf Gardens. Ulrich signed with 2 major labels before reverting to controlling her music independently. She appears on “The Pear of Pied Pumkin,” recorded by the “Pear” – the remaining two members of Pied Pumkin, courtesy of A&M Records. This is almost certainly the first Canadian record with a song questioning the wisdom of Canada hosting the Olympics.

The Hometown Band won a Juno in 1978 for Most Promising Group of the Year. Nonetheless, they folded soon after their second album was released, when A&M cancelled their the Ontario leg of their US tour hours before their Juno award win for Most Promising New Group in another up and down moment with a big record label.

Ulrich recorded two solo l.p’s of original songs for A&M, “Long Nights” and “One Step Ahead.” Unfortunately, a deal involving MCA in the U.S. and a purge at therein found her newly recorded third solo album, “Talk Around Town,” lost in the shuffle on the eve of it’s US release. While lacking any American distribution, Ulrich won the Most Promising Female Vocalist Juno Award in 1981.

Ulrich moved to Bowen Island in 1993 with her then-husband David Graff to raise their 3 year old daughter Julia. Ulrich and Graff are no longer married, but, always a lover of nature, she remains on Bowen Island. Reflecting on divorce, she comments in-concert, while introducing “You Know I Would,” that a divorce is indicative of a successful marriage that ran it’s course, rather than as a failed effort.

Always fond of collaboration, Shari joined forces with Bill Henderson and Roy Forbes (UHF) in 1989; with Barney Bentall & Tom Taylor (BTU) in 2008, and in 2010, Ulrich joined the bluegrass band The High Bar Gang with Bentall and Colin Nairne.

In the intervening years, Ulrich has continued to release music independently, and make songwriting her focus and now has some 25 solo and group records to her credit and  2014 CFMA for English Songwriter of the Year. Pied Pumkin has played sporadic reunions since 1999, and in 2016 The Hometown Band reunited and toured with Valdy.

Away from microphones and instruments, Ulrich has taught at Humber, UBC, the VSO School of Music and continues to host the Songwriters Association of Canada SongBird North Series in Vancouver as she has for 23 years. Ulrich is now releasing her ninth solo album, her second back with a record label – Borealis. Her daughter, now a busy sound engineer, producer and music editor in film & television has engineered  and co-produced her last 3 albums and tours with Shari regularly as a multi-instrumentalist. She will be releasing “Back to Shore” on June 18 at the Centennial Theatre in North Vancouver, but will be coming to Ontario and the Maritmes later in the summer.

  • July 20-21 Perth
  • August 6 Toronto
  • August 7 Halifax

http://www.shariulrich.com

 

Blog post by Erik Twight

Erik Twight is, at present, a Freelance Writer, maintaining a web presence specializing in current affairs, history, photography and music and producing a weekly podcast/radio show arranged thematically and with commentary for fun. Click here to read more.

Don’t forget to check out these Shari Ulrich songs as part of our new Spotify playlist episode  – https://spoti.fi/2wzTB5b

Spotify Ep. 10 - S.A.C. Board, Past & Present.png

1. Everywhere I Go
Album: Everywhere I Go
Performed by: Shari Ulrich
Written by: Shari Ulrich
Source: Discogs

2. One Sky
Album: Everywhere I Go
Performed by: Shari Ulrich
Written by: Shari Ulrich
Source: Discogs

3. Find Our Way
Album: Find Our Way
Performed by: Shari Ulrich
Written by: Shari Ulrich
Source: Discogs

4. Life Goes On
Album: Find Our Way
Performed by: Shari Ulrich
Written by: Shari Ulrich
Source: Discogs

Songwriters Association of Canada posts songwriter related news and events as a resource to members. Publishing these posts does not imply that the S.A.C. endorses the teacher, product, service, or company.

Patrick Ballantyne

Patrick Ballantyne
Photo by: Ian Albert

Patrick Ballantyne is a busy man. The singer-songwriter’s other occupations include C.E.O. of the Registered Insurance Brokers of Ontario, as well as Board Chair at the Songwriters Association of Canada.

Raised in Windsor on a steady sonic diet of legendary AM station CKLW, Patrick the kid picked up a guitar and started teaching himself in his teens before joining forces with his friend Gordie Johnson to write songs together. Ballantyne cites prog sounds in general and The Beatles in particular as lifelong influences.

Ballantyne and Johnson went their separate ways before Big Sugar happened, with Johnson pursuing music as a career  and Ballantyne becoming a lawyer. The pair still continued to write songs together over the years. Patrick’s connection to music and background in law brings both the tenacity and a heartfelt interest in seeing songwriters get their due.

When  Ballantyne’s family life and career allowed, he wrote with Wide Mouth Mason, ECMA Award winner Tim Chaisson (“Beat This Heart”), The Trews, and other Canadian songwriters.

In 2008, Ballantyne’s self titled debut album was released. “Days of Rain” came a few years later in 2014. Ballantyne regularly tinkers in his home studio, developing new songs. 2014 also saw him win Now Magazine’s Readers’ Choice Awards for Songwriter of the Year. “I’m not sure how NOT to make music!” is how he explained it to the S.A.C.

Ballantyne’s process, he explained, is basically riffing on his acoustic guitar until a melody comes to him, and then, once the music is laid out, he’ll “scramble for words that fit.”

When asked about writing for specific genres of popular music, Ballantyne, ever the home studio guy, maintains “I write what I feel… the rest is production.”

In 2016, Ballantyne accelerated this method to compose and record a song a month. This yielded the album “Calendar,” the following year.

His new album, “Sky’” mixes both older and newer songs, and the instrumentation branches out across different styles. Still, the songs work together to create an album, rather than a collection of new-to-one’s-audience songs. “The album was very much conceived as a single unit, to be digested in a single listening,” he explains.

Advocating for songwriters’ royalties and rights, Ballantyne believes the music industry, as a whole, should, “whenever possible, speak with a unified voice.”

With respect to the Songwriters Association of Canada, Ballantyne is ready to “fight to ensure we are fairly compensated for the obvious and significant value of our songs.”

“Sky,” Ballantyne’s fourth release, launches tonight at The Moonshine Café in Oakville, Ontario.

Blog post by Erik Twight

Erik Twight is, at present, a Freelance Writer, maintaining a web presence specializing in current affairs, history, photography and music and producing a weekly podcast/radio show arranged thematically and with commentary for fun. Click here to read more.

Don’t forget to check out these Patrick Ballantyne songs as part of our new Spotify playlist episode  – https://spoti.fi/2wzTB5b

Spotify Ep. 10 - S.A.C. Board, Past & Present.png

1. My Favourite Way to Turn You On
Album: Calendar
Performed by: Patrick Ballantyne
Written by: Patrick Ballantyne
Source: Northwood Records

2. The Look of You Gone
Album: Calendar
Performed by: Patrick Ballantyne
Written by: Patrick Ballantyne
Source: Northwood Records

3. Someone You Should Know
Album: Calendar
Performed by: Patrick Ballantyne
Written by: Patrick Ballantyne
Source: Northwood Records

4. What’s a Girl to Do
Album: Calendar
Performed by: Patrick Ballantyne
Written by: Patrick Ballantyne
Source: Northwood Records

Songwriters Association of Canada posts songwriter related news and events as a resource to members. Publishing these posts does not imply that the S.A.C. endorses the teacher, product, service, or company.

Lorraine Klaasen: A Precious and Rare South African Musical Artist in Canada

Lorraine Klaasen

 

S.A.C. Celebrates Canadian Music Week Spotlight On South Africa: Musical Performance By Special Guest, Lorraine Klaasen 7PM May 8

40 square miles of misery. With a few cold water taps shared by thousands of people, Soweto, with its tiny shanties on scrublands, had some of the worst living conditions in South Africa, the richest country on the continent in 1976.

In 1963, the series of townships in Johannesburg’s south west were finally, officially named Soweto. Originally meant to warehouse black migrant workers for Johannesburg’s white population, plans for the South Western Township had been afoot since the dawn of apartheid in the early twentieth century. Before the system was codified in the 1940’s, South African officials visited Canada to study our Indian Act and the reserve system. Indigenous Canadians needed a white government agent to allow them a pass to leave their reserve. Segregation may have been an American term, but it certainly occurred here, and white South Africans were eager to legitimize their institutional racism, Canadian style.

In mid June, 1976, student demonstrations against teaching only in Afrikaans, the language of the hated Boers, quickly turned deadly, beginning a protracted struggle between Soweto’s inhabitants and the South African regime. It wasn’t until 1983 that Soweto would gain a measure of autonomy within the apartheid system. This is the chaotic, hate filled atmosphere Lorraine Klaasen left to pursue a musical career. The journey brought her to Canada, and later to international success as a singer. Staying in Soweto would result in multiple Klaasen family members’ deaths.

Lorraine Klaasen was born and raised in Soweto, the daughter of one of South Africa’s favourite singers, Thandie Klaasen. The senior Klaasen has been described as the Ella Fitzgerald of South Africa, and a favourite singer of Nelson Mandela. Her house filled with visiting musicians, young Lorraine sang locally as well, until landing a gig touring Israel when she was 19. There, she learned Hebrew and later in Greece, Klaasen would learn enough of that language to sing it. Klaasen has also recorded in Tsonga, Sotho, isiZulu and Xhosa (the clicking one), as well as our two official Canadian languages.

By the time Klaasen got here in 1979, she was just in time for a Canadian winter, with “no family. No friends. My husband was working.” Still, the determined singer landed a gig at Le Bijoux in Old Montreal in 1980, where she played a mostly jazz repertoire until 1986.

That year, Klaasen produced her show “African Broadway” and incorporated more sounds of South Africa into her music. She was also invited to the African Mama festival in Holland, with lifelong friend Miriam Makeba and other African luminaries like Manu Dibango. She would record her first album. “Soweto Groove,” and the album’s title would become the name of her band.

From making a big splash at the giant Montreal Jazz Festival, Klaasen has since hit most Canadian jazz festival coast to coast. She has also performed in the Caribbean, U.S. and in Europe, along with the motherland, in Africa. In between, she released more music on CBC and on local labels such as Justin Time in Montreal.

She has described occasional visits to Soweto as having her “batteries recharged.” In 2013, her c.d. “A Tribute to Miriam Makeba,” won her a Juno award for World Music album of the year. She had grown up calling Makeba “Auntie” and played her songs regularly from a young age so recording a tribute to the legendary singer and activist came naturally.

In addition to regular performances and recording albums, Klaasen has been visiting grade schools, mentoring and educating youth with spoken word presentations and workshops.

Klaasen released a c.d. in 2016 on Montreal’s Justin Time label, called “Nouvelle Journee” featuring songs in several languages, from Greek to several indigenous South African languages (not Afrikaans!). More recently, she recorded a c.d. in South Africa using local talent to help out. “African Connexion” intersperses covers like “Pata Pata” (which Klaasen also recorded for her debut l.p. in 1989) with mostly self-penned songs. Klaasen has performed at Afrofest, Canada’s largest live African music festival held in Toronto early in the summer. In recent years, she re-located from Montreal to London, Ontario.

In 2014 Klaasen performed with her mother in Montreal, one last time after a few false alarms. The last show together saw Lorraine’s daughters Jessica and Lydia Lomumba join the two senior Klaasen ladies.

Blog post by Erik Twight

Erik Twight is, at present, a Freelance Writer, maintaining a web presence specializing in current affairs, history, photography and music and producing a weekly podcast/radio show arranged thematically and with commentary for fun. Click here to read more.

Spotify Ep. 9 - CMW

Don’t forget to check out these Lorraine Klaasen songs as part of our new Spotify playlist episode  – https://spoti.fi/2ZWk8an

1. Africa Calling
Album: Africa Calling
Performed by: Lorraine Klaasen
Written by: Lorraine Klaasen, Mongezi Chris Ntaka, Yves Jeans
Source: Justin Time / Fontana North

2. Mina Nawe
Album: Africa Calling
Performed by: Lorraine Klaasen
Written by: Lorraine Klaasen, Mongezi Chris Ntaka
Source: Justin Time / Fontana North

3. Where To Now
Album: Nouvelle Journee
Performed by: Lorraine Klaasen
Written by: Lorraine Klaasen
Source: Justin Time / Fontana North

4. Imbizo
Album: Africa Calling
Performed by: Lorraine Klaasen
Written by: Lorraine Klaasen, Mongezi Chris Ntaka
Source: Justin Time / Fontana North

OFFICIAL BIO

Lorraine Klaasen, the daughter of the late legendary South African Jazz singer Thandie Klaasen, is one of the few South African artists who have preserved the classic sound of ‘Township Music’, which continues to be the most distinctive sound to come out of South Africa. Born and raised in Soweto and now based in London, Ontario, Lorraine has electrified audiences worldwide with her dynamic stage presence and showmanship

In 2008, Lorraine released the highly charged album ‘Africa Calling’.  Through working with South African record producer Mongezi Chris Ntaka, and featuring bassist Bakhiti Khumalo (who also memorably performed on Paul Simon’s landmark album, Graceland), Lorraine accomplished her childhood dreams of taking Township music to the rest of the globe and making a truly African record that touches every heart & soul that beats the world over.

Her CD ‘A Tribute To Miriam Makeba’ won Lorraine the 2013 Juno Award for World Music Album of the Year and was nominated for an APCMA Award in the Best International Indigenous Artist category.  It is a tribute to the legendary songstress, who remains the most important female vocalist to emerge out of South Africa.

Lorraine’s latest and most ambitious CD the 2017 Juno Award nominated ‘Nouvelle Journée’ showcases some of the musical styles that Lorraine has not yet recorded in her long musical career.  On this album she sings in the Tsonga, Sotho, isiZulu and Xhosa languages of South Africa as well as English and French.   The repertoire is thought provoking – the importance of family, empathy, love and hope make up ‘Nouvelle Journée.’ It’s an optimistic, danceable record but also a lucid, sincere and engaging work.  Recent performance highlights include the prestigious Festival International de Jazz de Montréal, Festival International  Nuits D’Afrique,  Music of the Rainbow Nation and Hommage à Miriam Makeba in Toronto – as well as a very successful month long US tour.  Lorraine’s life on the road continues – with performances in South Africa, the United States, Barbados and at festivals in Ontario and Quebec.

Songwriters Association of Canada posts songwriter related news and events as a resource to members. Publishing these posts does not imply that the S.A.C. endorses the teacher, product, service, or company.

Pro Member Interview – Karen Kosowski

Karen Kosowki - SM
http://songwriters.ca/member/KarenKosowski

Producer and songwriter Karen Kosowski has one foot in the pop world and the other foot in the country world. She has produced a US Pop Radio Top 40 (Tryon’s “Somebody To Love Me”), a Billboard AC Radio #4 (Emma-Lee’s “It Won’t Be Christmas”) and a Canadian Country Radio Top 10 (Madeline Merlo’s “Motel Flamingo”) – for which she received a nomination for Producer Of The Year at the 2018 CMAO Awards. As an active songwriter, she has contributed to numerous pop and country hits for Canadian and American artists including most recently Brett Kissel’s Top 10 single “Anthem”. Recent releases include producing/co- writing both albums “Fantasies: Volume I” and “Fantasies: Volume II” from Emma-Lee, and co-writing“What A Song Should Do” and “The Worst Kind feat. Lindsay Ell” from Tim Hicks’s latest record “New Tattoo”.

Having written and produced the music for the 2015 Pan Am/Parapan Am Games medal ceremonies, Karen has also landed numerous tv/film placements both on television networks such as HBO Canada, CBS, FX Network, Lifetime Network, TLC, YTV, MuchMusic, NickTeen, Space, and the CW, and in feature films including the award-winning thriller “The Scarehouse” and Wangofilms’ action movie “88” (starring Christopher Lloyd), which garnered her a 2016 Canadian Screen Awards nomination in the category of Achievement in Music – Best Original Song. She also received Producer of the Year nominations at both the 2018 CMAO Awards and in the 2015 NOW Magazine ‘Best of Toronto’ poll.

Karen is currently based out of her own private studio in the exclusive music mecca neighborhood of Berry Hill in Nashville, working with new talent from Liz Rose Music Publishing, Big Deal Music Publishing, BMG Publishing and more.

________________________________________________________

For more information please visit karenkosowski.com

Contact: karen@karenkosowski.com

 

  • How did you get your start as a creator in the industry 

    I’ve been a professional songwriter and record producer for over a decade, but prior to that I actually spent many years as a solo artist. When I first started out writing songs as a teenager, there was a big emphasis in the music industry on singer-songwriter artists who performed their own material (this was the mid-nineties), so I started going out and performing my own songs, and renting gear and producing my own albums, very DIY. But 12 years and several albums later, I realized my true passion was the actual writing and producing, and not the other aspects of being an artist like touring, etc.  I’m grateful for everything I learned from the many years I spent as a solo artist, but I’m much happier helping other artists realize their vision!

  • Do you tend to write for one genre, or do you find your music crosses genre lines? 

    I grew up playing acoustic instruments but then got pretty heavily into programming, so I love experimenting with a hybrid of electronic and organic elements, which lands pretty naturally in the pop-country genre… but i sometimes swing full-on pop, or the opposite, to more rootsy country.  It depends on who I’m writing with and what they’re feeling in the mood to do!

  • Do you ever compose for film/tv/video games? What’s that like? 

    I had the opportunity to write a song for the WangoFilms feature film “88” (with my co-writer Peter Katz) starring Christopher Lloyd.  It was a fascinating and emotional way to write, because we were seeing the picture on the screen as we worked out the music.  Technically it was really different too, because the scene required a really fluid piece, with dramatic pauses… we were writing to highlight the emotion of the scene at every moment.  I got to try out some new things in Logic, and made a lot of use of tempo mapping!