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INTERVIEW

JH: The easy ones are first. Who are your 3 favorite songwriters of all time?

TD: Joni Mitchell, Paul Simon, Bob Dylan and Richard Thompson (had to make it 4)

JH: How would you describe your creative process or songwriting technique? What I’m getting at is do you have a specific writing process and schedule or is it more like when lighting strikes or the ever wonderful moments of clarity or better put; would you say your writing is more from within, inspiration and talent than it is about the craft?

TD: My technique used to be, wait until the muse comes. I don't recommend this for anyone who wants to write lots of songs, unless they plan on living a very long time. Over the last 6 or 7 years I have been co-writing with a good friend and lyricist George Wardwell. The way we work is, he e-mails me lyrics and if they strike me, I immediately sit down and try and write the song. There have been a few instances when I thumbed through older lyrics that I had for whatever reason passed on and found that I liked them and wound up writing a song with them.

I have found that going to see great songwriters perform live always inspires me to write. I'm not sure why but it usually works for me.

JH: You told me recently that you joined Taxi and it has opened some doors. Would you recommend their services to other songwriters?

TD: I would recommend it to writers who really want to improve the craft aspect of their writing. Your music is screened by people that Taxi hires. Most of these people are in some aspect of the music business. They are looking for commercial appeal most of the time. It has to get past them first before your song has a chance of getting into the hands of the person or company that may use it. I have had quite a few songs forwarded to the next level and recently signed a publishing agreement with a company that specializes in background music for daytime TV shows. All My Children on ABC just used Escape And On You Go from my last CD.

JH: You recently completed your second solo CD, how has your solo work differed from that of your writing and recording with Devonsquare, for Atlantic right?

TD: My work with Devonsquare and Atlantic Records was a great songwriting and learning experience. I learned how to co-write, arrange and accept honest criticisms. Our technique was for the most part, putting ourselves in a room somewhere for 3 or 4 hours and trying to come up with an idea that we could build on. I was the only chordal instrument in the band so I would just start playing anything that came to my head. There were times when one of us would come to songwriting day with an idea that we would then try and finish. It was always a relief when this would happen as it took the pressure off of making something out of nothing and sometimes just staring at each other for hours.

Writing songs for my first solo project was a very rewarding experience as it turns out. I initially started writing on my own but realized this was going too slow. I then started working with my friend and lyricist George Wardwell who writes brilliant lyrics. I had never before started songs with just lyrics but found that I really liked the process. I wrote more songs in a 6 month period than I had written in the last 6 years. The years of collaborating with Devonsquare made it easy for me to work with George as I was used to the give and take. There is a purity to my solo project songs that I couldn't always capture with Devonsquare.

JH: We’ve also talked in the past about how your label really loved Devonsquare but did not know really “what to do” with you because the band really didn’t fall into any specific categories and you ended up being thrown on tour with the totally wrong kinds of acts. Can you tell us a bit about that – or even your favorite crazy story? I love the Peter Frampton and Steve Howe ones you’ve told me.

TD: Working with a record company that likes you but doesn't know where to market you is a bit of a waste of time. After all, you're with that company to sell records. This is why they signed you. If they don't know who they're going to sell those records to it's almost impossible to be successful.

As far as being put on tour with the wrong acts, we spent a large part of our careers doing just that. We toured with Peter Frampton in 1992 for a month of one nighters. He basically ignored us for the first 2 weeks and hardly even said hello every day at sound check. His manager wouldn't let us stay in our dressing rooms right after our show because Peter would come in to the venue 15 minutes before he played his show and warm up his voice. I guess he didn't want anyone to hear that. One night in Philadelphia his road manager forgot to kick us out of our dressing room and Peter started singing in the next room his big hit song "Show Me The Way". Well, being the harmony freaks that we are, we couldn't help but to sing along with him on the chorus. When he heard us he stopped singing. We thought we were off the tour at this point. He stuck his head into our dressing room and stared at us for about 10 seconds and then said "do that again". He brought his guitar into the room and sang the chorus with us and stopped and said "be on stage for the 5th song and sing those harmonies with me" We sang that song and a few others with him every night for the rest of the tour. He even had a few drinks with us in our room on occasion.

JH: You work now as not only a Singer/Songwriter but also a producer and have quickly earned the reputation of being one of the best in New England. Do you enjoy one over the other?

TD: No, I like them both equally. They're both very rewarding and require different yet similar skills.

JH: We’ve talked in the past about the “assembly line” or “cookie cutter” approach so many songwriters are taking these days hoping to get a cut. I know you’ve tried (after being invited to do so) working with other writers in this fashion, do you think putting commerce first undermines a songwriter’s natural creativity or boxes them in so to speak? Do you think it endangers a writer’s natural gift or talent?

TD: If you have a gift for songwriting I don't think this will hurt or endanger your talent. If anything, it will let you know right away whether you're cut out for this sort of thing or not. Songwriters who try and write hits and are great at it can make a ton of money. The ones I have met who fall in this category also enjoy this kind of writing. There has to by real joy involved to create anything worth creating. You can't fake real joy and enthusiasm.

JH: You’ve helped me to finish a few songs I was stuck on and turned what was a mess into something. Do you enjoy co-writing and helping other writers?

TD: To me co-writing is like going on a blind date. If it clicks then it's a blast and very exciting. If it doesn't, well it's a long night. I enjoy writing with people I respect musically and feel comfortable with. As far as helping other writers, I have been asked often to help finish a song or maybe write a bridge to a song. This can be fun.

JH: What’s your take on the whole commerce and art issue; does it ever enter your mind at all when you’re writing? Like say you’ve got some great lyrics and you think “wow that could be a hit” do you ever then intentionally try to write a commercial sounding song?

TD: Never. I made that mistake a long time ago and nothing good ever came of it. I believe you have to let a song become a song on it's own terms. If it becomes a commercial success that terrific. Some of my favorite all time songs were never commercial successes.

JH: You have always been an inspiration to me personally, as a songwriter and performer and of course golfer and person. Rather than asking what advise you might have for aspiring songwriters, I’d like to know what wisdom you would offer to musicians just beginning to perform in public – whether it’s covers or originals. As my Mom says to me “how can you stand there playing and singing when nobody claps or seems the slightest bit interested?” I’m sure this happens to me more than you; it’s a tough hurdle anyone gigging needs to cross and I’ve known several who never made it.

TD: To perform live you must develop a toughness tempered with self-honesty. Sometimes they'll love you for all the wrong reasons and the other way around. You must believe in what you do or you're screwed before you start. There is a book that I would recommend to anyone who performs in public, whether it be a songwriter or someone giving a speech. The book is called "The Art Of The Solo Performer" by Steve Rapson.

JH: The one that always gets asked; what song do you really wish you had written?

TD: For monetary reasons "White Christmas" For artistic reasons "A Case Of You" by Joni Mitchell