Category: Dallas Songwriters Association


Chocolate Eclairs, Apple Fritters, and Weird Times at DSA Showcase

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July 25, 2016

Chocolate Eclair and Apple Fritter

To take it in order – besides, it’s the first picture – Chocolate Eclairs and Apple Fritters is a song of mine. I call it my pastry song. I always play it when I play at Angela’s because they’re known for their tasty pastries. As I was waiting for the showcase to get started, Bayliss Laramore, a friend and fellow songwriter, brought me a box from Dunkin Donuts. In it – as you see in the picture- was a chocolate eclair and apple fritter with a candle in each one.

With apologies to the Bills for interrupting the song, I busted out laughing. Thanks to Bayliss for the gift, it was perfect. I’m sorry he couldn’t hang around to play, but it was getting late and the crowd was beginning to thin. If you get a chance to hear Bayliss’ music, you’ll enjoy it.

The Dallas Songwriters Association 4th Saturday Showcase at Angela’s at the Crosswalk began with Bill Sibley and Bill Hudson. Their set started off well except for some red-headed guy laughing his ass off. Bill Sibley’s down to earth songs relate hard knocks, lost loves, and motorcycle rides. His voice sounds like the result of those experiences. If I were to make a voice comparison, I would say Kris Kristofferson. A voice that relays hardships and experience. Thanks to Harry Hewlett, you can see his set here.

Loralee Pearman’s songs and voice, in contrast to Bill Sibley, evoked a youthful spirit and the hope in what lies ahead. Her lyrics show a maturity beyond her youthful looks. Loralee is a ball of energy and cute as a button. See her set here.

It was during my set that things began to get weird. You probably saw that coming – I didn’t. But it’s good in a way, because it gives me a chance to talk about my set since I can’t review myself. Well I could, but that would be pompous and silly.

A few songs into my set, my back up band arrived outside. Two fire trucks and an EMT truck pulled up on the street outside with lights and sirens going full tilt. The sirens were turned off before very long. But the lights kept flashing for quite some time. Which made quite a backdrop for my songs. You can see some of the songs from my set here and another one here.

Harry Hewlett closed the show with a few songs after I finished. As they say – a good time was had by all.

Peace be with you.

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Open Mic Tales – When an Open Mic Feels Like a Second Home Pt. 2

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July 19, 2016
Me playing at Poor David's Pub open mic

Me playing at Poor David’s Pub open mic

To recap (or see part 1), the first two qualities of an open mic that feels like a second home are – variety of performers (age, talent, and experience), and performers who lack egos and are willing to support those less experienced than themselves. It should be mentioned, however, that there will always be that visiting performer who thinks he’s all that and a bag of chips and wonders why everyone’s not telling him how good he played.

While I’m using the Poor David’s Pub open mic as an example, there are a number of open mics that have these qualities in varying degrees. The Dallas Songwriters Association (DSA) open mics and song swaps are welcoming and supportive. I’m hoping other open mic hosts will chime in with comments on their open mic. I’ve also tried to show that open mics have a hard time getting started. It takes the performing community to support it. Some members of DSA and their friends play at open mics several nights a week.

In fact, the third quality of an open mic that feels like a second home is a sense of community – like a weekly reunion as I mentioned in part one. An atmosphere of friendship and camaraderie. The fourth quality is friendly hosts, bartenders, and staff. Mr. Troll (host), Samantha Sanders, and Kevin Hale at PDP are excellent examples. The fifth quality – last, but no way in hell least – is a good sound man. Carlos Sanchez, in particular, is past good.

So there are the basic qualities of an open mic that feels like a second home. Yet for the first quality, variety of performers, something is missing. And that is you. Go to an open mic near you, or near where you are going to be. Sing your songs, sing covers, read your poems, do comedy, spoken word, whatever. Or just go and listen – performers need listeners, too.

Then spread the word. Open mics are places where young talent hones their performing and writing skills. They learn, not only from playing, but from watching more seasoned performers. Open mics are where songwriters go to try out new songs. When word gets out, people come to perform and bring their friends. People come to listen because of the combination of qualities I discussed. So play an open mic tonight or go and listen. Maybe I’ll see you there.

Peace be with you.

 

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Open Mic Tales – When an Open Mic is Like a Second Home – Part One

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July 15, 2016
Mr. Troll - Host of Poor David's Pub Open Mic

Mr. Troll – Host of Poor David’s Pub Open Mic

Okay, I don’t mean you can spend the night. Or even raid the refrigerator. More like a weekly family reunion with people you are comfortable being with. Granted, there are always weird cousins or funky aunts and uncles – but it wouldn’t be the same without them.

There are a number of open mics that fit the criteria I’m going to relate. Among them are the Dallas Songwriters Association open mics – and, indeed, the organization as a whole. Those who lead an open mic that fits the category, please weigh in with a comment. Welcome to the world of open mics….

I’m using the Poor David’s Pub open mic hosted by Mr. Troll on Mondays as my example. As can be found in the Dallas Area Open Mics group on Facebook (Troll is administrator of the group), there are a number of open mics on every day of the week. As Troll says, call ahead to check the details before going to an open mic.

Bar, club, or restaurant owners, as a general rule, are notoriously impatient about getting results. Some have been known to cancel an open mic after only a couple of weeks. And sometimes, they’ve cancelled them at any time for any reason. Again, check before going to an open mic. Even poor David has had schedule conflicts and needed to postpone the open mic. But he usually tells Troll so people know in advance.

But the first criteria for a successful open mic is a good variety of talent. Some who have only been writing songs for a short time. Some who wish they were songwriters and just like to play and sing – they usually play covers. A variety of ages, as well. It’s a musically nurturing community with everyone being supportive of all performers and giving advice to those who are younger and just getting started.

Actually, that was two criteria – variety of talent, and performers without egos who support fellow singer-songwriters – rather than view them as competitors. Which means if you’re going to an open mic for the first time, be respectful and supportive of the other performers. If you’re experienced, use that experience to pass along advice and tell others how well they did. (Give them credit for potential.)

Stay tuned for part two. I don’t want to take too much of your time at once. I appreciate you being here.

Peace be with you.

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Open Mic Tales – A Host’s Nightmare

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June 1, 2016

DSC06834When you take on the “job” of hosting an open mic, you know it’s going to be an uphill climb. You create an event on Facebook, send out emails, post updates, and hope for the best. Each week you hope enough people show up to satisfy the owner or manager of the venue. You live with the fact that it can be canceled at any moment.

You also know that there will be a night when no one shows up. Hopefully, again, the owner/manager will overlook it for now. Then there is that nightmare open mic. I know, because it happened to me this past month. I am the Showcase Director for the Dallas Songwriters Association. I was at Sons of Hermann Hall for the third Tuesday open mic.

The month before was less than well attended. This past third Tuesday, there was a meeting of the Dallas Historical Society from 6 – 8 p.m. in the bar, and the open mic was to start in the bowling alley ballroom at 7:30. I sat in the ballroom, eating a sandwich, tuning my guitar, and having conversations with myself in my head. The nightmare had begun.

No one showed up. Every so often someone in the DHS meeting would wander into the bowling alley seeking a quiet place to talk on their phone. They would look at me and turn around and go back toward the bar area. I played a few songs for practice. After an hour and a half, I packed up. I talked to the manager of the hall and we agreed to meet and brainstorm new ideas.

I put my stuff in the car. As I was loading my guitar, a guy walked out of the hall and came toward me.

“Do you need any help loading anything? I was coming back to play with you.”

My heart sank. I sat alone for an hour and a half wishing someone would show up and when I hung it up and packed up, someone shows up. We could have gone back in, but the Hall was winding down and would not be open much longer. And I was packed.

“I’m sorry. I sat there for an hour and a half and nobody came.”

“No worries. Are there other open mics around?”

“There are two other open mics in Deep Ellum on Tuesday. I’m not exactly sure where but they should still be going on for a while.”

I handed him my card and apologized again. As I went around to the driver’s side, I watched him turn right out of the gate and head down the street.

We’ll work things out, make some changes, and try again – or something else. But that doesn’t clear the memory of my host’s nightmare open mic.

Peace be with you.

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More Old Friends on the Sack Summer Hunger Tour

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May 31, 2016

Okay, so it’s not really a tour. But since I wrote a song for Sack Summer Hunger, I have played it at every show and talked about SSH to increase awareness and support – both volunteers and donations – before the program begins on June 11. So it is, in a way, a tour. Several of the “shows” consisted of playing “What the Lord Intends” for congregations of churches. Which included the congregation of The Norkirk Presbyterian Church Sunday morning. The tour ends this coming Sunday, June 5th, with the Sack Summer Hunger Concert.
[The video is of my show at Angela’s during the DSA Showcase. The SSH song is third.]

The Norkirk is a very friendly church. I felt welcome right away. I was looking forward to seeing Nancy Pratt, who is the Christian Education Director. Nancy and I went to high school together. I wrote for the school paper and Nancy was my first in a long line of editors throughout the years.

I wrote a music review column for the paper. I reviewed albums, books, concerts, and so forth. Since it was for school, my parents paid for most of the concerts. I saw a lot of concerts. I would write my column in the style of Hunter S. Thompson or Tom Wolfe – as a participant rather than an observer.

I never knew how much space was available in the next issue. So I would write until the column was finished. Usually on deadline day, or rather deadline hour. The newspaper office had a manual typewriter. After an hour or more of frantic typing, my fingers were sore, but I had a finished column. She would tell me she had room for 250 words. I would hand her the final copy.

“Here’s 400. You choose the 250.”

I actually think I said that to her once. I hope it was only once, but I doubt it. I wasn’t really trying to be pompous. I had written it as a complete piece and would have a hard time cutting it down. Mainly because I was covering a lot of events, depending on the month. I don’t know that she even remembers, but I will apologize when I get a chance.

I walked into the church to smiles and hellos. I set my guitar down when I spotted the restroom. On my way, Rev. Bill Parr approached me.

“You must be here for our minute for mission.”

“I am.”

“Bill Parr,” he said as he shook my hand. “ We’re glad you’re here.”

After I did what was necessary, I picked my guitar up and went into the sanctuary. I didn’t know what to do, so I set my guitar down at the rear of the sanctuary. I looked up and there was Charlotte and Bruce Gibson. I went over and hugged Charlotte and shook Bruce’s hand.

I was in a band with Bruce’s dad and Charlotte’s ex, Bruce, and Joel Nichols, named Southern Plains. Joel and I were a duo for twenty-five years, with Bruce joining in when we played in Dallas and he was able. Joel and I had a band when we made enough money to pay them. Joel died in 1999. Bruce and I played at his funeral.

I went up in the front of the sanctuary and set my guitar case down out of the way. I pulled out my guitar and quickly tuned it. Several people greeted me and thanked me for being there. Then Nancy came up and gave me a hug. She introduced other members that had gone to W.T. White.

The service was an experience in fellowship. John Reas gave me a very nice introduction. I played What the Lord Intends (Sack Summer Hunger) and the congregation appreciated it, judging from the applause.

I appreciate all of the old friends I meet, and I hope I continue to run into old friends. As well as meet new friends who will become old friends. Far too many old friends are no longer with us.

Peace be with you.

 

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Wildflower Festival, Old Friends, Good Music, and Sack Summer Hunger

Filed under: Communications, Current events, Dallas Songwriters Association, Food, Music, Songwriting, Sound, writing — Leave a comment
May 27, 2016

Dan at WildflowerI was running late for the Wildflower Arts and Music Festival last Sunday. My scheduled time at the DSA booth by the Courtyard Stage was 4 – 6 p.m. I was to play at 5:30. At 2 p.m., I had to set up the sound for Cat McGee at Mercy Wine Bar where she would play a show at 7 p.m. Then I had to take my son to work. A friend, Raquel Lindemann, said she would cover for me at the booth until I got there. I finally found the yellow tag parking lot. It was in the blue parking garage – go figure.

I entered the festival and proceeded to look for the Courtyard Stage. It is easy to become disoriented in a sea of white booths. I was standing in an intersection of lines of white booths, deciding in which direction I should turn. Suddenly, a big bearded man grabbed me by the shoulders.

“Are you Dan Roark?”

“Yes,” I nodded, searching his face to figure out who he was.

“I’m John Welch. Do you remember me?”

“John, of course I do,” I replied, putting my guitar down to shake his hand. I recognized him from what little I could of his face around his eyes. There’s more than one reason I look people in the eyes when I talk to them.

To cut a rambling conversation short, he asked how we knew each other. It didn’t take but a minute to remember our mutual friend Jim Salerno, who played bongos with me for a few years. I told him I was playing at 5:30 and had to leave. He was still amazed we’d run into each other. We hadn’t seen each other for about thirty-five years. I still wasn’t where I was supposed to be. And it was getting later by the second.

I finally got good directions from someone. I was turning the corner to my left when someone grabbed my left arm. My mind was reeling at this point.

“Dan Roark?”

“Yes,” I nodded. It was getting to be a habit.

“Randy Box, remember me?”

“Absolutely, Randy, how are you doing?” I had recognized him instantly. We talked for just a minute. I told him I was playing at 5:30 and he also said he would try to come listen to me. We hadn’t seen each other in forty-two years.

I finally made it to the booth. I thanked Raquel, and took my place at the booth. Mr. Troll who

Mr. Troll

Mr. Troll

was scheduled to play at 5, started a little early because there was a lull in the lineup. I followed Troll and closed out the stage for 2016. The videos that Harry Hewlett – who also ran sound for the weekend – took of my show can be found on my youtube channel.

After I finished my set, Troll and I walked to the parking garage. I loaded up my guitar and bag and headed for Mercy Wine Bar. Cat’s show was great. The sound was better for her second set. It had been a long day and for some reason, I had trouble with her vocals. I reset everything between sets and it worked out okay. I say all that because, despite any problems I may have had with the sound, Cat’s performance was relatively flawless.

Cat McGee

Cat McGee

You can hear Cat and myself, along with John Mason, at the Sack Summer Hunger Concert on June 5th from 5-6:30 p.m. at Christ United Methodist Church in Farmers Branch. Tickets are $20 with $12 going directly to Metrocrest Social Services and the Sack Summer Hunger program. The SSH program distributes food to children who receive free or reduced lunches during the school year, but don’t get anything during the summer.

Peace be with you.

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Open Mic Tales – The Dreaded Opening Spot

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February 24, 2016
Mr. Troll - Host of Poor David's Pub Open Mic

Mr. Troll – Host of Poor David’s Pub Open Mic

As I mentioned in the last – and other – post(s), at open mics, the opening spot is, as Mr. Troll likes to say, the dreaded opening spot. I’m not sure dreaded is the term. Maybe, avoided like the plague. But there are actually reasons for both why it is a dreaded spot, and why the host opens the show. But one thing at a time.

The most obvious reason for the first slot not being filled is that there are not that many people in the venue at starting time. And there is no time to read the crowd. On the other hand, there are times when someone needs to leave early so they want to play first. As well as those who want to go first while they still have the nerve.

Of course, a lot of people just “don’t want to go first.” I’m sure there’s a chapter in some psychology book on the subject. I sit in the category of “I’d rather not go first.” I don’t mind going first if necessary. But that brings into play the fact that if you do something and do it well, people will want you to do it all the time. Be that as it may, I’m thinking most of us have had an experience growing up when going first simply did not go well.

But the reason the host of an open mic or showcase will open the show is not just because it is the dreaded spot. But it does have a connection to not wanting to go first. If people have not arrived yet, and there’s only a handful of people in the venue, the host can delay the start of the open mic. If there hasn’t been a major influx of people, it would not change the number of songs the performers play.

However, with a showcase, the host’s set would be cut short so that his or her set is the only one affected by the delay of the starting time. As showcase director for the Dallas Songwriters Association, when I plan the showcases that I host, I expect my set to be cut short. There are numerous reasons why a show may be delayed. And there only needs to be one.

So those are my thoughts on the “dreaded opening spot.” I’d be interested to hear your thoughts if you would leave them in the comments.

Peace be with you.

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Open Mic Tales – Jeff Hopson and Charlotta Clutter

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February 11, 2016
Jeff Hopson

Jeff Hopson

The Poor David’s Pub open mic on Monday (the 8th if you were napping) began the way most of them do – with Mr. Troll in the “dreaded opening spot” (look for an upcoming post on that). Mike Donahue played a mixture of originals and cover songs on the keyboard. I followed Mike with three of my songs, ending with Chocolate Eclairs and Apple Fritters. Since we started late, the featured artist, Jeff Hopson, followed me.

Jeff Hopson has a strong grip, a twinkle in his eye, and his presence commands a second look. He appears to be a cross between Charlie Daniels, David Allan Coe, and Hank Williams Jr. And yet – while there are similiarities – he actually doesn’t really look like any of them. He looks like Jeff Hopson and carries it with character. His songwriting talent is on par with any of the songwriters he appears to resemble.

Hopson doesn’t take himself too seriously. Which is clearly evident in Jeff’s Jeff Hopson 3songs. Particularly a song such as If Jesus was a Texan. When he asked if anyone knew who Jack Kerouac was, and nearly everyone raised their hand, Hopson commented that it was the most people at any one show that had responded positively. Then he played his introspective song, Kerouac On the Run.

Jeff’s set also included Novel Sort of Man. Which is the type of country song with some depth and clever word play. No obligatory mention of trains, trucks, or Texas destinations. The only name he dropped was Clark Gable – and he would have appreciated the reference.

You can hear Jeff Hopson and the Heretics on Tuesday nights at the open mic at Tavern on Main Street in Richardson. The music begins at 8 p.m. He is an attentive and appreciative host. And they have good food and drinks as well.

Charlotta Clutter

Charlotta Clutter

John Mason and Brad Eubanks, respectively, followed Jeff Hopson. You can hear John Mason on February 16 at the Dallas Songwriters Association third Tuesday showcase at Sons of Hermann Hall. After Brad Eubanks played, Troll introduced Charlotta Clutter.

Charlotta Clutter is a young woman from New Hampshire. When I met Charlotta, she made me think of beatniks – not the totality of the reality, but simply the sense of non-conformity. Her eyes revealed an innocence belying the things to come. Combined with self-reliance for what is known and acceptance of – and openness to – what is to come. A readiness to turn any new lessons learned into a song and move on to the next lesson. An introverted extrovert. (I’ll wait for you to either look them up, or, more likely, say “I can relate.”)

Charlotta has a casual stage presence that reminded me of women folk singers in the sixties and seventies. An intentional reliance on the song itself to make the point and the confidence that it would. And she’s also funny as hell.                                                                                   Charlotta Clutter 2

“Do you go to the dump here?” Of course everyone laughed. When we say the dump, we mean the furniture store. “Back home we go to the dump once a week to see what everyone is throwing away and socialize.”

I’m not exactly sure what the name of the song is, other than possibly, The Dump. But it tells about a woman going to the dump and discovering that her ex had thrown away their dirty secrets in a clear plastic bag, for everyone to see. Causing humorous reactions.

Charlotta’s other two songs were Playing Second Fiddle to a Fiddle and Alphabet of Regrets. All three songs have interesting word play and twists. You can hear her yourself at the DSA Tuesday Showcase/Open mic mentioned earlier. Dean Harlem, also from New Hampshire, opened his set with a Townes Van Zandt tune. He will be at the open mic as well.

Flight School Nurses, a DJ, took the evening’s music in a whole new direction, with colorful lights. The inimitable Tin Man Travis followed him. Then David Lavinette took the stage. If I’m not mistaken, the evening ended with a jam that included Carlos Sanchez, Tin Man Travis, who knows who all, and Troll on his new conga drums.

Peace be with you.

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Inaugural DSA Third Tuesday Showcase/Open Mic at Sons of Hermann Hall

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January 24, 2016

Dan Roark 2If you weren’t at the inaugural DSA Third Tuesday Showcase/Open Mic, you really missed out – seriously. You missed out a great show. You missed out on playing the open mic. And you missed out on hearing music in Sons of Hermann Hall, a historic building with a history preceding Elm St./Deep Ellum and even country music (obviously not Elm St. the street, but the Elm St. of the blues). The acoustics in the Old Bowling Alley Ballroom need to be experienced. And, yes, it used to be a bowling alley.

Host Dan Roark played an abbreviated set due to circumstances. He included the Hitchhiking Song which is about an actual occurrence. Dan ended with River That Flows, one of his signature songs that he co-wrote with Tim Duggins.

Cat McGee

Cat McGee

Cat McGee (don’t you love that name) played next and presented an excellent set of songs and stories. The soft-spoken nature of her speaking voice belies the power in her singing voice. She talked of the fellow worker who was pregnant and shared her experiences with Cat. Nine months later, she had a baby, and Cat had a song. You can hear her music and find out more on her website and her Facebook page.

Terry Bloss mentioned how lucky he was to be there. Sunday night he had no voice at all. But thanks to the tag team of God and his doctor, he was ready to sing. He did not play a full set, electing to ere on the side of caution. Terry did, however, perform some of his best songs. Which included a new song

Terry Bloss

Terry Bloss

entitled I’m Being Terrorized.

John Mason was the only singer/songwriter who signed up for the open mic. Which is a shame because there was a small, but enthusiastic crowd who enjoyed the songs and the music. John has a hypnotic voice and writes very good songs. He commented that he was there for the acoustics.

Those who didn’t come out missed the chance to play for that enthusiastic crowd and with the good acoustics. But never fear, you will have another chance on Tuesday, February 16th at the next Third Tuesday Showcase/Open Mic. The showcase performers will be announced later, but put it on your calendar so you can plan to join us for the showcase and play in the open mic.

John Mason

John Mason

 

Peace be with you.

 

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DSA Song Contest Awards

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December 24, 2015
Dan Roark and Roy Elkins

Dan Roark and Roy Elkins

People began to arrive at Sons of Hermann Hall at 6:30 on Tuesday, December 8 for the Dallas Songwriters Association (DSA) Song Contest Award Ceremony and Christmas party. Board members Barbe McMillen, Bobby Montgomery, Ken Duren, and Dan Roark, with member and SOHH employee, Lisa Byrn, David Lewis (SOHH), and the sound man, Logan Hughes, had arrived early to set up the hall. Master of Ceremonies for the evening, Roy Elkins, CEO of Broadjam.com, pitched in to help Bobby set up the food tables. Board member, James Pappas, owner of Dallas Ice Sculptures, supplied the Christmas tree sculpture for the table.
Christmas Tree Ice Sculpture
The ceremony began promptly at 7 p.m. with a welcome from Barbe McMillen, DSA Founding President Emeritus and an explanation of the song contest process and breakdown of prizes. She then introduced MC Roy Elkins. As mentioned earlier, Roy is founder and ceo of Broadjam.com. He came down from Wisconsin a day early to present a free workshop the night before at Tone Shop Guitars in Addison. The workshop was called Your Music and Your Business. Elkins shared from his experiences in the music business and Broadjam, as well as information from music contacts. More information about the workshop can be found here.

AudienceAfter a few opening comments, Roy introduced Dickey Johnson. Dickey, along with Mary Guthrie and Mary Hestand (Sugar Daddy and the M&Ms), played his winning critique song, Alone with Alone. Then Elkins introduced Dan Roark, Showcase, Workshop, and Lyric Contest Director. Dan gave a short bio of the Americana judge, Kendra Terry, booking manager at Uncle Calvin’s Coffee House. He read the list of semifinalists and announced the winners.

Roark then introduced Katie Riley, with her mother and sister. They played both of Katie’s Dan Roarksemfinal songs, I Believe (Christian), and Dry Bones (Pop/rock). After which, Dan gave a short bio of the Christian/Inspirational judge, Scott Dicken, currently music director at Christ United Methodist Church in Farmers Branch. He then read the semifinalists and announced the winners, before introducing Rio King. Rio played his four winning critique songs, Sweet Rolls and Cream, Boogie Woogie Rhythm, Boomer Boogie, and The Old Wrecked Vet.

Roy Elkins stepped back up and introduced Bobby Montgomery, DSA Executive Vice President, and 2014 Songwriter of the year. Bobby gave a short bio of Larry Beaird, owner of Beaird Music Group, and judge of the country category. After reading the semifinalists and announcing the country winners, Montgomery introduced M’Lynn Musgrove. M’Lynn played her two semifinalist songs, Healed, and Preaching to the Choir, both in the singer-songwriter category.

M'Lynn Musgrove

M’Lynn Musgrove

Elkins then introduced Michael Brandenberger, DSA President. Michael gave a bio of the Instrumental judge, Tony Hakim, owner of jazz venue, Kitchen Café, and a positive force in the Dallas-Ft. Worth jazz scene for over 25 years. After reading the semifinalists and announcing the winners, Brandenberger introduced Dori Weavers, who played her winning critique song, Waiting to Breathe. He then read the Love Songs/Easy Listening semi-finalists and announced the winners.

Barbe McMillen came back to the podium to give a bio of the Children’s/Novelty judge, Monty Harper, who has been on the Oklahoma Arts Council Touring Roster since 1995. Barbe read the semifinalists and announced the winners. She then introduced, Jon Storm. Jon played his semifinalist song in the Pop/Rock category, Love Me Now.

Roy Elkins returned to the podium and introduced Harry Hewlett, co-director of the song

Warren Hanson

Warren Hanson

contest this year and director next year. Harry gave a short bio of Pop/Rock judge Kathy Forste, who has worked in television and radio for the past 30 years in various capacities. He read the semifinalists and announced the winners. Then he introduced Warren Hanson, who performed his semifinalist song in the singer-songwriter category, Just Lucky I Guess.

Roy Elkins returned to introduce Michael Waid. Michael performed his singer-songwriter semifinal song, Lost and Found. Roy then introduced Jennifer Marler, who, joined with her husband, Justin, played her semifinalist song, Memories Don’t Burn. Then Elkins called Barbe McMillen back to the podium.

Harry Hewlett, Dori Weaver, and Michael Brandenberger

Harry Hewlett, Dori Weaver, and Michael Brandenberger

Barbe gave a brief bio of singer-songwriter judge, David Card, owner of Poor David’s Pub, one of Dallas’ best listening rooms. David also founded the BW Stevenson Memorial Singer-Songwriter Competition. Then Barbe read the semifinalists and announced the winners. She then announced the winner of the iPod for which each contest entrant received an entry. The winner was Samuel Miller from Chico, California. Miller’s song, Can’t Get Enough, was a semifinalist song in the singer-songwriter category.

McMillen explained the judging process – which can be found on the DSA website – and introduced grand prize judge, Roy Elkins. Roy talked about the song entries and announced the Grand Prize winner. He then introduced Buck Morgan, who played his winning critique song, Jimmy Loves Jesus. Elkins then introduced Bobby Montgomery, who played his winning critique song, Give ‘Em Time, Lord.

Harry Hewlett, Rio King,Barbe McMillen

Harry Hewlett, Rio King,Barbe McMillen

Roy brought Harry Hewlett back to the podium. Harry explained the process for song of the year. Then he gave a short bio of the song of the year judge, Ian Dickson, a singer-songwriter having performed for a number of years. Then Harry announced the Song of the Year winner. Harry made some closing remarks and then Michael Brandenberger started the open mic. A list of semifinalists can be found here and the a list of winners can be found here.

Although time and space did not allow me to elaborate more, all the performances were wonderful and the evening was a huge success.

Keep writing the songs that are in your heart.

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