IAMA Winner Meghan Trainor Hits #1 on Billboard


Breaking News: IAMA Winner Meghan Trainor Hits #1 on Billboard

#1 on Billboard Charts is a huge accomplishment, especially for a young 20 year old girl. IAMA winner hits the charts yet again. The song is also #8 on the Billboard Hot 100 charts, Meghan Trainor is no longer an indie artist, she has gone huge mainstream. 


IAMA Winner Meghan Trainor Hits #1 on Billboard Charts

IAMA Winner Meghan Trainor Hits #1 on Billboard Charts

Meghan Trainor was discovered by IAMA (International Acoustic Music Awards) and she won Best Female Artist in the 6th Annual IAMA (International Accoustic Music Awards) in 2010 when she was just 16 years old with her songs performed in acoustic format.


After sneaking up to #2 last week, Meghan Trainor’s love-your-body anthem, “All About That Bass,” will take the top spot on the Billboard Digital Songs chart this week thanks to sales of 197,000. Her video has over 14 million views on YouTube. The song is also #8 on the Billboard Hot 100 charts this week.

At just 20 years old, this is a huge accomplishment for a young girl. “All About That Bass” is a Pop doo-wop blue-eyed soul song, with a fun retro 60’s “Hairspray” feel.

From Nantucket, Massachusetts, She wrote “All About That Bass” this year with Hit Grammy Award-nominated songwriter and producer Kevin Kadish. Her publishing company told her that many artists might be interested in recording the song. Music mogul L.A. Reid heard Trainor’s demo of the song and signed her to Epic Records, where she was able to release the song as a solo artist.

Berklee College of Music trained Kevin Kadish has written and produced for the biigest names in today’s pop music such as: Jason Mraz, Miley Cyrus, Michelle Branch, O.A.R. and many more. Trainor is also a successful songwriter and has had songwriting cuts with Rascal Flatts, Sabrina Carpenter and Macy Kate.


ABOUT IAMA (International Acoustic Music Awards)

IAMA (International Acoustic Music Awards) promotes the art and artistry of acoustic music performance and artistry. In it’s 11 year, IAMA has a proven track record of winners going on to hit the Billboard Charts. 2nd Annual IAMA winner Zane Williams winning song was recorded by country music star Jason Michael Carroll, that song hit #14 on Billboard Country Charts and #99 on Billboard Hot 100 Charts. Jeff Gutt, finalist at the 9th Annual IAMA was a runner-up on X-Factor USA. For more information on 11th Annual IAMA (International Acoustic Music Awards), go to: http://www.inacoustic.com


10 Music Rehearsal Tips


by Jeannie Deva

10 Music Rehearsal Tips

10 Music Rehearsal Tips

Your audience may think it’s magic, but anyone who achieves outstanding performances has worked hard to do so. What is the key to this success? Through my own development as a veteran performer, as well as by helping countless singers and bands achieve success on stage and in the studio, I’ve been able to develop these tips to help your rehearsals result in “Wow” performances.

1. Envision your message. Sometimes referred to as “the whole package” or “branding,” the overall image, sound and message of a band or solo performer should be established early on. The better you can define your general message and image the more focused your activities will be. This vision of your “product” acts as the criteria for every detail of your music, arrangements, set list, staging, outfits, etc. This is your musical presentation, persona and unique identity. As your career develops, so may your vision and everything realigns to harmonize with it.

2. Keep rehearsals focused. It’s very easy to squander valuable rehearsal time if you don’t predetermine what you will be practicing. Make a “to-do list” of what you’ll cover during rehearsal—and stick to it. Don’t make the list unrealistically long and don’t veer off it. If something comes up mid-rehearsal, such as certain players need more practice of their own parts, skip that song and go onto the next item on your list. Keeping rehearsals productive keeps morale high. 

3. Call “vocals only” rehearsals. Many details go into blending good sounding vocals, so coordination of lead and harmony vocals deserve separate rehearsals. From the audience’s perspective, vocals are the most important instrument in a performance or recording (no offense to instrumentalists). A cappella or quiet guitar/piano accompaniments allow you to really hear the vocal quality and blend. Record your sessions to identify what needs to be tightened up. 

4.Set lists that work. Open the set with a song that grabs your audience’s attention and captures their interest. End the set with a song that has a strong hook that they’ll walk out singing. Plan the intervening songs based on set length and use of contrasting keys, tempos and emotional transitions to build audience interest and response. To increase interest, pick a song sequence that varies your singer’s range.

5.Practice performance skills too. After any musical trouble spots are smoothed out, such as wrong notes or chords and sloppy rhythms, don’t neglect practicing performance skills such as movement on stage, microphone handling, etc. Spend some time practicing as though you’re ON stage and singing TO the audience. Use video recordings of rehearsals to evaluate and improve.

6. Practice Tops and Tails. Top is the beginning of a song and tail is the end. Going from the tail of one song to the top of the next allows you to get familiar with emotional and physical transitions including changing guitars, moving from one instrument to another and for singers, any change of vocal approach. This will also confirm if your set list works or needs rearrangement.

7. Practice your full set list. Practicing your full set is like a gymnast practicing their routine. You develop your mental as well as physical transitions while you navigate through each song in order of actual performance. This also helps you develop physical and mental performance stamina. This includes:

Entrances and exits: Consider entrances and exits as a visual part of your show. This should include things like deciding if the lead singer will enter after the band begins playing and how you will end the show and exit the stage. 

Your gear: Avoid clumsiness on stage by practicing any necessary guitar changes; effects pedal settings, etc. during rehearsals of the full set. Practice smoothly taking the mic on and off the stand or making setting changes on vocal effects pedals such as TC-Helicon’s VoiceLive series. Using quick change Hercules mic stands eliminates awkward adjustments on stage.

Band interaction: Your performance is both visual and audio how you move and look to the audience will either complement or distract from their emotional experience. Performance energy is enhanced when a group works in unison and plays off each other musically and visually.

Talking to your audience: Audience connection can be enhanced with short verbal interchange between some songs. It takes practice to say something appropriate to the audience to fill a few moments of downtime while a player changes a guitar or the singer moves to a piano for the next song. Practice this during your full set rehearsal so you get comfortable doing it without rambling on.

8. Practice in different rooms. Room acoustics and stage sizes may influence the audio and visual aspects of your performance. Change your rehearsal location whenever feasible to become familiar with adapting your show to different venues. (For more, see my July 2013 MC article: “Different Room Acoustics.”)

9. Practice on camera. To prepare for TV appearances and videos, practice performing to your video camera as though it is a live audience. Different emotional messages from song to song will have varied musical tone and should also LOOK appropriately different. During playback you will see whether your movements and expressions are emotionally consistent with the song. For compact affordable stereo sound and video recording, I like the Zoom Q4.

10. Don’t skimp on preproduction. When prepping for studio recording, spend adequate rehearsal time in preproduction. Rushing into the studio unprepared wastes valuable recording time and money and increases frustration and stress. Enhance your vocal recording by having your singers practice with a rough mix of the instrumental tracks prior to going into the studio. Incorporate all the above tips into recording prep so you emulate a live performance in the studio. A good headphone set mix is vital in the studio, so I recommend Sennheiser’s HD 280 for fantastic sound at a great price.

[Reprinted by permission from Music Connection magazine]

JEANNIE DEVA is a celebrity voice and performance coach, recording studio vocal specialist and member of the Grammys. Endorsed by engineers and producers of Aerosmith, Elton John and the Rolling Stones, she is the author of The Contemporary Vocalist book and CD series, The Deva Method Vocal Warm-Up CD and the eBook: Singer’s Guide to Powerful Performances available for all digital readers. She teaches in her Los Angeles studio and internationally via Skype as well as through her online video exchange school. Visit http://JeannieDeva.com.

For more information on the 11th Annual IAMA (International Acoustic Music Awards), go to:http://www.inacoustic.com



Expert Musician Advice: KNOW YOUR OWN STRENGTHS



by Ralph Murphy


Ralph Murphy, hit songwriter

Ralph Murphy, hit songwriter

One of the top ten questions I get asked by newcomers to the industry is, “How do I get heard in the music business?” Before I can answer that, I have to know exactly what they want to be “heard.” When I ask them about their goals — whether they want to be songwriters or recording artists — the most common response is, “Both.”


Listen to the truth

The unfortunate truth of the matter is that, while many of thenewcomers I counsel may be gifted as songwriters or as singers, very, very few are equally blessed with both talents. While one ability may come rather naturally, the other often needs significant honing.


The problem is, not everyone wants to hear the truth. Some great singers (who are average songwriters) can make the really average songs they’ve written shine through the sheer power of their vocal ability. They make the phrase “I love you” sound so good that you almost believe they invented it. In equal numbers come the great songwriters (who are average singers) who have been told by family, friends, lovers, and late-night adoring coffeehouse/honky-tonk buffoons that, despite the fact that their tempo, pitch and teeth are bad, they have star quality. And no matter how badly they sing, their songs are still strong enough to survive a mediocre vocal performance and sound like hits. (This is the only reason karaokemanufacturers are not hunted for sport!)


Check your ego at the door

The bottom line is: lose your ego. It’s called “absenting of self.” The person most likely to come between you and your career goal is you. Don’t make the best of your talent a donkey for the least of your talent. Get some unbiased feedback from industry pros (available through a variety of NSAI programs), and if you are indeed weaker in one area, focus on your strength.


If you’re a great singer — but an average writer — don’t be upset if someone loves your voice but wants you to sing someone else’s songs. Go find those great songs while you learn to become a better writer. By the same token, if you’re a great songwriter — but an average singer — don’t be upset if someone wants to record your songs but passes on you as an artist. Remember, this is called the music “business,” and the business end of our industry knows that the majority of the G.A.P. (Great American Public) just wants to hear great records. They don’t lie awake nights wondering who wrote and/or sang the songs they like on the radio.


Be smart

If you have a sneaking suspicion that the preceding law even remotely applies to you, then do yourself this favor: picture the music industry as a large building with an entrance for singers on one side, and an entrance for songwriters on the other. Maybe you can’t go through both doors at the same time, but you can concentrate on getting inside through the door that opens the most easily for you. Who knows? Once you’re inside, you can end up just about anywhere.


Ralph Murphy, hit songwriter and expert, has been successful for five decades. He wrote huge hit songs such as Crystal Gayle’s “Talking in Your Sleep” and “Half the Way”. Consistently charting songs in an ever-changing musical environment makes him a member of that very small group of professionals who make a living ding what they love to do. Add to that the platinum records as a producer, his success as the publisher and co-owner of the extremely successful Picalic Group of Companies and you see a pattern of achievement based on more than luck. Achieving “hit writer” status has always been a formidable goal for any songwriter. Never more so however than in the 21st century. Catching the ear of the monumentally distracted, fragmented listener has never been more difficult. Getting their attention, inviting them in to your song and keeping them there for long enough for your song to become “their song” requires more than being just a “good” songwriter.

Murphy's Law of Songwriting

Murphy’s Law of Songwriting

*His new book Murphy’s Laws of Songwriting “The Book” arms the songwriter for success by demystifying the process and opening the door to serious professional songwriting. Hall of fame songwriter Paul Williams said in his review of the book “If there was a hit songwriters secret handshake “Da Murphy” would probably have included it.” To get the book, enter 3 or more songs at the 11th Annual IAMA and receive this exclusive book for FREE» 


Judith Owen On The Ebb & Flow of Old-School Songwriting


by Jon Regen


Judith Owen, hit songwriter

Judith Owen, hit songwriter

“It’s never been enough for me to just be a musician singing at the piano introducing my songs,” British singer-songwriter Judith Owen tells me via Skype from a tour stop overseas. “I always wanted to be an entertainer who was gifted at connecting with an audience. It’s taken me a long time to hone every possible aspect of my art. And on this record, everything just came together


That record is her latest release, “Ebb & Flow”, which finds the multi-faceted artist in the company of legendary sidemen like bassist Lee Sklar, drummer Russ Kunkel, and guitarist Waddy Wachtel. On a set of introspective originals and convincing covers (including the James Taylor classic “Hey Mister”) Owen proves she has honed her craft wisely. And while the album pays fitting tribute to forbears like Taylor, Jackson Browne, and Carole King, it auspiciously announces Owen’s arrival onto the A list of singers and songwriters everywhere.


Tell us about the genesis of your new album, which seems like a salute to the heyday of the singer-songwriter.

Ever since I was a kid, I’ve been a massive fan of 1970s “American troubadour” music. That’s what I grew up listening to, and what my family played in the car on holiday trips. We’d all be singing along to songs by James Taylor and Carole King. It was a very influential time for me, listening to artists like Joni Mitchell and Elton John, who made music that was interior, emotional, and breathtakingly beautiful.

In 2012, I’d been living in Britain for a couple of years because my father had been terribly ill with cancer. After he died, I asked myself, “What is it that I want to do the most?” I wanted to do something special that celebrated his life, but also something that connected me to that kid in the car singing her lungs out to those songs. I thought of how I had spent years emulating the sound of those classic records, wanting to work with the musicians who played on them. So I said to myself, “Why don’t I just go out and ask them?” I set out to make the record I always wanted to make, because I was finally ready to make it.


Did you have all the songs written before heading into the studio?

Oh, I had everything. I’d been writing the whole time my father was ill. A couple of them came to me right after he died, that’s for sure. But I write all the time and I write about what I know. Within a couple months of him dying, I was in the studio in Los Angeles with these amazing musicians, trying some of the new songs out. And it was just remarkable. It was the most effortless, “hand in glove” musical experience I ever had in my life.




Hearing you in the company of Lee Sklar, Russ Kunkel, and Waddy Wachtel made me realize why the albums they played on sounded so good.

Exactly. These guys had a huge part in making those classic songs and records by James Taylor, Carole King, and countless other artists sound the way they did. Do not underestimate how much they contributed to them! So I went into the studio thinking, “Worst case scenario is, I tried.” I was prepared for that. But what actually happened is that their eyes lit up, because what they heard in my songs was the music they cut their teeth on years ago. It was music they’d grown up playing, and the kind of music they rarely get the chance to play anymore.


On “I Would Give Anything” the silence seems as important as the music itself. There’s a spot at the end of the chorus where a chord doesn’t resolve to the tonic. It just hangs on what sounds like a sus chord.

Right, there’s no resolution. It’s like the experience I talk about in the song itself. So it was a thrill to work with people who understand that not playing is part of the art, as opposed to filling up every single second. All of us who write know how precious silence is in music. It’s the jewel, and you don’t just fill it up for the sake of doing so. For me, it’s about putting emotional intelligence behind every note that you play.


Ebb & Flow sounds great production-wise, as well. How was it recorded?

I went so “old school” it was ridiculous. It was exciting, because these musicians hadn’t all been together in a studio for 15 to 20 years. I co-produced it along with David Z., who has done a lot of work with Prince. I wanted someone who wasn’t into bells and whistles—someone who recorded with flat EQ and didn’t want to work any “wizardry” on any of the tracks. We booked Sunset Sound in Los Angeles, where so many of those revered records were made. And we played together in the round—I would play a song for them and they’d all make little notations and ideas. Russ would be thinking about rhythms, Lee would be charting it out, and Waddy would be working out how to play inversions within each of my chords. All three of them were constantly thinking about making the song shine. So we’d go through each song, and then record it completely live in one or two takes.


Did you record to tape?

No, I didn’t, actually. I usually do record to tape. We messed around with it at Sunset Sound, but we ended up recording to Pro Tools. It sounds like it was recorded to tape because we mixed it with David Biancho, who’s another old-school kind of guy. He mixed the record through all of his analog gear. Then, Bernie Grundman mastered the record, and of course, he mastered every single album I grew up loving.


The only way you could be more period correct is if you offered the album on eight track tape!

Well, I can tell you that it’s now available on vinyl, and I’m thrilled about that. From the artwork that I did myself to the way the album was recorded, everything on this project was about being authentic and honoring that time, because it was the time I wished I’d been in.


What was it about covering James Taylor’s “Hey Mister” that intrigued you?

It’s funny. When I told Russ Kunkel, who played with James Taylor, that I wanted to cover one of Taylor’s songs, Russ immediately said, “It’s got to be ‘Hey Mister,’ because you know about depression.” That’s been my war, and the fight I had before I had to fight with the bloody music industry. It was a fight with myself. I’ve been as ill as a person can be with it, and that’s been my battle. I’m thrilled to say it’s no longer an ongoing battle. I came to America because I wanted to be well more than anything in this world. So here I am, after getting better over the years and doing a show on London’s west end about depression, and then I get to make this record with this amazing bunch of musicians. So when Russ told me I had to cover “Hey Mister,” it was because James wrote that song at the height of his success—but when he couldn’t feel a damned thing because he was so depressed. I rewrote it from the point of view of someone who isn’t depressed anymore and wants to live. So what you hear in it now is defiance and determination.


Who played Hammond organ on “Hey Mister”?

That’s Jeffrey Young. His playing is gorgeous, and he played organ on every single song except “About Love,” which features Chris Caswell.


What piano players were you listening to when you were coming up?

Early Elton John—God knows, that man dug in like no one else. The guys in my band tell me that when the heard Elton play with his trio at the Troubadour in Los Angeles in the early 1970s, they said, “it sounded like a f***ing orchestra!” His playing is still humongous to this day.


What other piano players have inspired you over the years?

When I grew up, my Dad was an opera singer, but in our house jazz was king. So we were listening to Art Tatum, Erroll Garner, and Oscar Peterson. The piano to me was profound right from the get-go. But when I heard early Elton John, with all of his Americana influences like Leon Russell, I was knocked out. Then I heard Randy Newman with all the inversions he uses in his playing, and it was so good it broke my heart.


Do you plan to tour the album with this band?

It was hard to get all of them together for a tour, because Russ is out with Lyle Lovett and Waddy plays with Stevie Nicks. So many of the shows will be just Lee and myself, with some special guests. But that’s okay with me, because this whole project really came about because I got to do a show with Lee Sklar a while back. It was just the two of us, and it was spectacular. Playing my songs duo with Lee imparts a sense of intimacy that you just don’t get with a full band. The next time out, I’ll play with the full band.


What advice do you have for singers and songwriters who hope to have a career like yours?

It’s very hard to hear this when you’re young, but it’s the truth and something that’s encapsulated in my song “One in a Million,” which is, this is not a race. You can’t go through life comparing or judging yourself based upon how other people are doing. Sometimes life is hard and it isn’t always fair, and music is certainly one of the toughest industries you could ever be in. But if you get to do what you love most as your occupation in life, you are indeed the most fortunate human being in the world.


[Reprinted with permission by Keyboard magazine]

Judith Owen is a Welsh singer-songwriter. Her first North American album, Emotions on a Postcard, was released in 1996, and has since been followed by five additional releases. She is co-founder of Courgette Records with her husband, Harry Shearer, and her manager, Bambi Moe. Her 10th studio release, “Ebb & Flow”, evokes the spirit of the halcyon days of the great 1970s troubadours. This new opus, released on April 7, 2014 (UK) and May 6, 2014 (USA & Canada), features an amazing trio (became known as “The Section” in the 70′s): Leland Sklar on bass, Russ Kunkel on drums and Waddy Wachtel on guitar. She is currently touring in U.S. with this first-class band.

For more information on the 11th Annual IAMA (International Acoustic Music Awards), go to: http://www.inacoustic.com


5 Things I’ve Learned About Songwriting


By Dan Wilson

Dan Wilson, songwriter

Dan Wilson, songwriter

When I was a very litle kid my parents too k me to swim lessons. On my first day, standing at the end of the diving board, waiting to jump in, I froze with fear. I couldn’t climb down. I couldn’t jump. What happened next was terrible but also helpful. My big, blonde, Norwegian-American swim teacher strode up onto the diving board, wrapped me in her arms, and jumped int o the pool with me. My eyes were open as we went under, and I can still remember rising through the blue and popping up to the surface with her. I was fine! There was nothing to be afraid of. I enjoyed the water ever after. So many musicians I know spend their careers standing at the top of the diving board, waiting to jump in. I wish I could wrap them all up in my arms and jump in with them. Songwriters, here are some good ways to get yourself into the pool.

1. Work on Your Music Every Day, Inspired or Not
Once during my time as an art student, I complained to my instructor, Tina Stack, that I wasn’t inspired to work that day, so I was going to knock off early. She said something that surprised me and that has helped me ever since: “You’re better off staying and working, whether you’re inspired or not. The muse doesn’t always visit. But when she does, you need to be in your studio, working. If the muse visits your studio when you’re at the bar, she can’t do you any good.” There was something so liberating about the idea that I didn’t need to be inspired every minute of the day to be a real artist— that I could get meaningful work done whether I felt inspired or not. And even though I wasn’t inspired at that moment, inspiration would eventually come. This turned out to be completely true. Over time, I have learned that most great painters paint everyday, most novelists write every day, and most great musicians make music every day, whether or not they’re “feeling it.”
2. Have an Artistic Practice
Prince has a great song called “There Is Joy in Repetition.” Is there something about your artistic practice that you can do every day? At the same time every day, even? It’s challenging to arrange your life so that you can have an artistic practice, but it’s not impossible, and it’s worth the effort. Every weekday morning, after getting the kids off to school, I try to play the piano for half an hour. I play Broadway standards and jazz hits from the middle of the last century: Duke Ellington, Harold Arlen, Richard Rodgers, Cole Porter, Wayne Shorter, Charles Mingus, and Leonard Bernstein. It’s a joy for me, partly because I like the sense of a simple routine, partly because reading music is an interesting challenge, and partly because I know I’m loading up my imagination with great melodies. After I’m done with the greats, I start working on my own music. The excitement of Ellington carries me through, even when my own song might not be quite figured out.

Experimenting with new artistic practices can be a fun game in itself. Among the most fruitful songwriting times I’ve ever had were two stretches when I wrote a song a day, every day, for a month. The first time I did it was when I was writing material for Semisonic’s Feeling Strangely Fine album. I got the song-a-day idea from a fellow songwriter, and it seemed interesting. The rules were that you had to finish the song, from beginning to end, every note of melody and every word of lyrics, by the end of that day. Importantly, it didn’t have to be good; it just had to be done. Then the next day, you would start a new one. For the first two weeks, it felt weird and artificial. The stuff I was writing all seemed a little forced. I nearly gave up the experiment. But then suddenly I turned a corner, and writing a song became really easy. I found myself continuously transforming small moments from everyday life into metaphors, stealing remarks my friends made
3 Let Your Audience Teach You
The best thing you can do to improve your songs is to play them for people, even if you don’t feel like they are “finished” or “good enough” or “original enough.” Don’t wait for some magical “readiness” to descend upon you. You are ready now. Open mic. Church talent show. A party or gathering with friends. When you play your song for people, you get the amazing feedback effect of an audience. It’s like a magical kind of critique that needs no words. You will learn from the audience’s reaction which songs are good and which need work. You will learn which of your “tricks” are worth using over and over (of course you’ll use the same tricks over and over—we all do) and which “trick” isn’t really a trick at all. And you’ll start to get yourself hooked on playing your songs for people, which is the biggest trick of all. Another great hidden benefit of getting in front of audiences is that you’re way more likely to meet other musicians that way. Musicians are always the first group of people to discover a new songwriter or player. So you might find that during your first year of shows, most of the people who show up are other musicians. This is a good thing, because not only are other musicians good cheerleaders for great music, but they’re also going to be crucial to your own musical efforts. When I’m at an impasse in the studio, when I can’t figure out a great next verse for a song, when I want to make a gig more interesting and entertaining, I find the most effective trick is getting another musician involved.
4. Hang Out With Musicians, Be a Friend, and Help Somebody
This is a life you’re trying to create here, an artist’s life. It’s not a windfall, or a payday, or a brand. Your biggest and most complex creative project is the creation of an artist’s life. And one thing that makes an artist’s life worth living is the wonderful company of other artists. Musicians are the funniest, silliest, most generous, spontaneous, and overly dramatic tribe of people in the world. By being a musician, you already have earned the amazing right to hang out and have a beer with them, to help them move house, to date them, and to bail them out when they’re in trouble. Don’t forget about these things, because they’re almost the best part. A teacher of mine, Ron Jones, says: “Work a lot, yes; work six days and nights a week, but save one day or night to hang out with musicians.”
5. Working on Music You
Love Is a Long-Term Investment. Working on Music You Hate is a Short-Term Hedge. Go for the Long Haul. Artist Tom Sachs says, “The only reward for work, is more work.” It’s hard to overemphasize how true this is. Nobody in this gig wants to retire at age 35; I don’t care what you say. If you’re a real musician, you’ll be stuck with this inconvenient obsession for the rest of your life. Which means most of your time will be spent working, and very little time will be left for relaxing on the yacht that you buy with your royalties. If you succeed, the world will flood you with requests for more of whatever music has brought you the most success. So if you’re doing music you love, in a style and a direction that you love, your reward will eventually be this: the chance to do more music that you love. If you’re doing music that you despise, just for the money, your reward will be to do more of the same music you despise. I have friends who study the Top 10 and try to cop the sounds and styles of the Top 10. These friends don’t even enjoy the sounds and styles of the Top 10; they just think that by studying this music, they’ll find their own paths to success. What a nightmare! I say, study greatness! What music do you love most deeply? What really moves you? Study that with great passion, and try to follow that music. Then one day the world will be asking you to make more of what you love.
(Reprinted with permission from Keyboard Magazine)

Acclaimed singer and songwriter Dan Wilson wrote Adele’s #1 song “Someone Like You” and Co-wrote the song “Not Ready to Make Nice”, the 2007 Grammy Award for Song of the Year for the Dixie Chicks. He has been a frequent presence atop the pop charts since his 1998 song with Semisonic “Closing Time” rocketed to number one. Wilson has written songs with artists including Adele, Pink, Nas, Taylor Swift, John Legend and others. His new solo album, Love Without Fear, is out now. Find out more at danwilsonmusic.com

For more information on the 11th Annual IAMA (International Acoustic Music Awards), go to: http://www.inacoustic.com



« Previous Entries

©2013 www.InAcoustic.com | 2881 E. Oakland Park Blvd, Suite 414, Ft Lauderdale, FL 33306, USA - info@inacoustic.com