Songwriter’s Monthly

Imelda May Leona Lewis

Smoldering Hot!
Jeremy Greene
Sept. ’09, #117b

Editor’s Notes
To be absolutely honest . . . I never, ever, ever thought I’d be writing one of these again. Back at the end of ’01, I burned out big time. We’re talking hospital stay. I think with all the stress and pressures, my body just gave out on itself. It was a wake up call and I said, “I’m done!” So in December of 2001 (after one hundred sixteen issues), I stopped. Cold turkey. My belief at that time was I would NEVER publish another issue of Songwriter’s Monthly again. Over the years, I had a chance to step back from the industry and watch the entire music world change. Songwriters and artists could record tracks and release their music directly to the internet and find a fanbase without ever leaving their bedroom. This was exciting! People were talking about their favorite bands and naming indie artists and major label artists in the same breath. And this was something I always tried to do. Suddenly (okay, more like eight years later), I was ready to start publishing again. But how? In print again? Too expensive . . . and not very “green.” As an email, blog, myspace, facebook, twitter? As hard as I tried to convince myself, eventually it became obvious that I just was not happy with the format of any of those methods. Then I stumbled upon! Not only could I publish in the old magazine format, but I could go full color and have hyperlinks to all kinds of nifty bonuses, that could add an extra dimension I never could achieve with just print. [Don’t miss the Imelda May’s bonus link!] So . . . Songwriter’s Monthly is really back! Tell your family, friends, fans and gosh, even tell some strangers, it’ll count as your good deed for the day : ) Allen


The first single from Leona Lewis’ upcoming album, Echo [J Records/ Sysco Music], is a rousing track entitled Happy. Happy begins quietly with dense strings, delicate piano and Leona’s confident yet subdued vocals. It is not long before the song erupts into a stirring declaration that showcases the raw power of Lewis’ refined voice. Happy is more organic than her previous singles [Bleeding Love and Better In Time] and it offers a picture of woman who, though still hurt and vulnerable, is both ready and willing to take a stand. There is a strength within this track which goes beyond the lyrics and the arrangement. Leona has elevated her music and her performance to a new level. One of the reasons this track works so well is quite possibly due to the fact that Leona is in a better place in her own career. “I’m actually more confident with this album than the last,” the artist noted, “I’ve taken more control this time, and I feel more at ease with everything.” Happy was penned by Leona Lewis, Ryan Tedder, and E. Kidd Bogart and was produced and arranged by Ryan Tedder. The single is currently available at iTunes. Echo was co-produced by Clive Davis and Simon Cowell and features such talent as Ne-Yo, Max Martin, John Shanks, Xenomania and Julian Bennetta. The album is set for release on November 17th.

Jeremy Greene

THE STORY BEHIND RAIN Singer/songwriter Jeremy Greene was tired of waiting: “I wanted to get my music out to the masses, I just couldn’t wait on people who made so many promises to deliver for me anymore.” So he took matters into his own hands by taking advantage of the hip-hop business model of utilizing mix-tape DJs, along with blog sites, and other social networks: “Doing this allowed me to drop one MP3 to a set of DJs who in turn filtered it out to their mix-tape blogs and websites and my fanbase started as a grassroots foundation from there.” Impressed by the number of hits

Jeremy was generating, MySpace Records offered him a recording d e a l . H i s s i n g l e , “ Ra i n ,” w a s p r o d u c e d by Wy s h m a s t e r a n d features Pitbull on both the recording and in the video.

INFLUENCES Jeremy’s influences are mostly R&BPop male vocalists such as Brian McKnight, Michael Jackson, Babyface and Prince. He described his album as a collective of Pop, R&B, Techno, and Rhythmic sounds. “I work extremely hard and love doing what I do. It's truly a blessing to have this opportunity. I'm here for the long haul. I'm not a gimmick or a flash in the pan artist.” MESSAGE TO FANS “Most of us have some kind of craziness in our lives, whether we talk about it or not. Everything I s a y, d o o r s i n g a b o u t a r e experiences I have personally gone through. I live through my music

h t t p : / / i n d e x . c f m ? fuseaction=vids.individ ual&VideoID=56289587

Click Here to watch “Rain.”

FIRST LYRICS “A family took me in off the streets because of my family's substance abuse problems. I had never really written a song before in my life . So that night I got on my hands and knees and prayed that I would become a songwriter.” “That night I woke up at 4 in the morning and wrote my first song...and it had to do with everything that the family that took me in had done for me.” Jeremy’s first lyrics were: "I do believe that love has the power/ a helpful hand from one to another/ yes you can change /when you have desire when you believe."

“Most of us have some kind of craziness in our lives . . .”
and hope my fans take away with them the fact that nothing is impossible and with a lot of hard work there is nothing that you can't achieve.”

For more information, visit:

Pop Tarts


W.C. Pope
W.C. Pope is one of S o n g w r i t e r ' s Monthly's regular artists. He draws everything . . . caricatures, portraits, cartoons and illustrations. He is also a whiz with programs like photoshop and poser. Check him out at:

LYRICS TO LIVE BY: “Don’t expect the stars to line up for you, they’ll shine right past you” from Elizabeth And The Catapult’s Momma’s Boy on TALLER CHILDREN

Imelda May
Riding the crest of her well-deserved notoriety from the BBC’s Later with Jools Holland, Imelda May made a brief stop in the United States for three shows. One of the gigs was at New York’s famed B.B. King Blues Club & Grill where she shared a bill with the legendary Chuck Berry. Songwriter’s Monthly caught up with Imelda the day after the gig. “I got to meet the man afterward,” May related in her lush Dublin accent, still sounding more than a bit giddy from the show. “I just popped my head in to say thank you and he let me come in.” BACKGROUND: Imelda grew up harmonizing with her sister’s folk band and singing along with Elvis [“My brother was a mad Elvis fan!”], but it was Billie Holiday who blew her mind. In fact, if you had to try and find a comparison to Imelda’s sultry vocal style, Holiday would be a great place to start. Imelda is the real deal. Her wardrobe is reportedly “stuffed with leopard-print cardigans and tight bad-girl jeans. Her album, LOVE T ATTOO , has a remarkable retro vibe which brings all sorts of delicious early Rock and Roll imagery to mind.

SONGWRITING: On stage Imelda sings and plays a bodhrán [an Irish drum], but she writes songs on a “little white [six-string] ukulele.” Imelda explained, “It’s just like a mini guitar, it’s handy to take around when we’re on tour.” Though each song has it’s own approach, in general, May will have an idea and work out the basic structure of the song [lyrics, melody and chords] to get it to a point where she can show it to the “fantastic” musicians she works with. “Once we have the structure of the song down, I want them [the musicians] to put their stamp on it. If someone comes up with a great intro, I’ll say ‘brilliant let’s go with that!’ The song takes on a life of it’s own. It’s good for musicians to create, it’s very important that everybody feels involved.” ORDER OF THE ALBUM: “I thought very much about what order I should place the songs. I played around with it for quite a while to decide what order they should go in.” “Wherever it feels like the song should live, that’s where I try and put it.” “It’s very important, same as the gigs. It’s like food, isn’t it? You’re not going to have your ice cream first and then your main course, it just wouldn’t seem right.”

Imelda’s Website:

“Johnny Got A Boom Boom” is the first single from LOVE TATTOO. It’s a raucous, fun tune that has stirred up a little bit of controversy due to some folks mistakenly thinking that “Boom Boom” refers to something off-color. “A lot of people seem to think that song is very rude and I just say if that’s they way your mind works . . . enjoy it,” Imelda responded with a charming laugh. As for the real inspiration behind the song, Imelda revealed: “I was going through a great patch for writing, writing songs like mad . . . I couldn’t write quick enough. I was at a sound check with a [former] band I was in and the bass player was sound checking and that’s what started getting into my head, just the rhythm, the feel, the sound of it. Then I kinda disappeared out the door and started to work on it.” ***

Another upbeat track on the album is “Smoker’s Song.” The lyrics are about a girl being “chatted up by a guy” who just doesn’t know when to stop. Imelda wrote the son g for some fans of hers. In particular, there was a woman who “was just telling me she couldn’t meet a decent guy. She just wanted a simple, normal guy.”

KNOCK 123:
“Knock 123” is a beautifully haunting love song, with a vibe that would make Van Morrison jealous. At first listen, the song could be about two people sharing a secret affair, but that’s not what Imelda was thinking when she wrote the song. “It could be about longing for a love . . . somebody not supposed to be lovin’ someone else and knocking on the wall and giving signals. What I actually had in my mind when I was writing was the thought of love going beyond life and death, someone who dies could still be in love with somebody who is alive. It’s the ghost of somebody wanting to be with somebody still alive.” BONUS MULTI-MEDIA EXPERIENCE Imelda worked in a nursing home and met a couple who were the true inspiration behind “Knock 123.” If you’d like to hear her tell the story in her own words, then simply click the link below and enjoy! HEAR IMELDA’S STORY v=xOTD4pJwM9w

MEET YOU AT THE MOON: “I wrote that song for my mother because when I was traveling a lot [Eventually Imelda moved to England.] she would miss me. She used to say look up at the moon — she still does — and I’d have to get at a window and we both look at the moon together. It pulls you close even though you are far apart.”

Imelda May’s LOVE TATTOO
L OVE T ATTOO is a duck down a dark alley and a step through a red door into a deliciously raucous rockabilly-themed speakeasy. Boom booming bass, twangy guitars, delightfully roguish keyboards, sharp rhythms and robust and sultry vocals all blend together magnificently to create a devilishly fun atmosphere. Imelda has forged a sizzling, breath-stealing album jammed with choice songs, exciting performances and truly sensual moments. May’s husky vocals are undeniably sexy with just enough grit to feel dangerous. The lyrics are filled with crisp imagery and prime cuts of language such as “When he sings in my ear he makes me shiver and leer” can be found in every song. Imelda displays dazzling vocal control with a focus on detail. She can twirl just the last breath of a line to leave the listener utterly captivated by her ability. There is an invigorating soul that permeates the entire album. Throughout the record, Imelda plays with a wide variety of styles and influences ranging from a smokey jazz version of Vince Guaraldi to the clean pop of The Beatles to the oh-so-cool vibe of Van Morrison . . . and she nails each and every one of them. Highly recommended.

PRIZE: $5,000 FOR THE BEST ORIGINAL CONCERT MUSIC SCORE REQUIRING CONDUCTOR ELIGIBILITY: All living concert composer members of ASCAP. Prior winners of this Prize are ineligible. SUBMISSION DEADLINE: Postmark no later than November 16, 2009. MATERIAL TO BE SUBMITTED: The bound score (copy, not original manuscript), of ONE published or unpublished original concert work (no arrangements) requiring a conductor, scored for full orchestra, chamber orchestra, or large wind/brass ensemble (with or without soloists and/or chorus) not previously premiered or scheduled for professional premiere at any future date. NOTE: In order to encourage the first professional performance of the prizewinning composition, ASCAP will make supplementary funds available to support costs of rehearsals to the ensemble scheduling the premiere. For full guidelines Download Application Materials (PDF). ADDRESS INQUIRIES AND/OR SUBMISSIONS TO: Frances Richard Vice President & Director of Concert Music The ASCAP Foundation/Rudolf Nissim Prize ASCAP Building - One Lincoln Plaza New York, New York 10023 212.621.6329 Email inquiries:

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