Gary Powell “The Producer’s Workshop 2010”

Sam Houston State University

Daniel Cloud

What if we lived in a world of “no wrong notes?” Before finding our own creative identity, we can either feel completely free or maybe even horribly oppressed. Either mindset can be a great motivator for substantive contribution to self and then to a larger audience and ultimately community. Beyond developing talent, this is what I aim to release in singers.

Enter thirteen singers, all students at Sam Houston State University in Huntsville, Texas. Without much knowledge of what they were getting themselves into, each auditioned and won a spot to participate in “The Producer’s Workshop.” This workshop is designed to identify talent and train singers to perform within the skill-set required to be a professional recording studio-session singer. Within that discipline almost every style of singing is demanded. This workshop is not for the shy or timid. This takes great courage, as most of the singing is improvised and the ear gets as much a work-out as the voice. Here’s the deal: after twelve hours of training, I choose one singer to travel to my Austin recording studio to record one song written and produced to compliment the singer. This year that recipient is Daniel Cloud, an accounting major, who when asked during our show where he was from quipped, “my mother’s womb?” Daniel was also given a $300 cash prize from the “Friends of Music” at Sam Houston State University.

Stewart

Pictured Above from Left to Right:
Stewart Gaiton, Cliff Randle, Ben Montes, Daniel Cloud, Gary Powell, Julia Green, Brandi Barger, Brooke Swanson,
Hannah Miscisin, Kiersten Ortiz, Vicki Villarreal, Tara Shackelford, Jenny Thayer. (Linky Dickson, not pictured)

The brave singers, all students at Sam Houston State University, came from different schools across the campus, although most were from the Musical Theatre Department and School of Music. Thank you to Dr. James M. Bankhead, Director of the School of Music and host for this workshop. Daniel Cloud’s upcoming recording will be available in early Spring, 2011.

Daniel Cloud

What if we lived in a world of “no wrong notes?” Before finding our own creative identity, we can either feel completely free or maybe even horribly oppressed. Either mindset can be a great motivator for substantive contribution to self and then to a larger audience and ultimately community. Beyond developing talent, this is what I aim to release in singers.

Enter thirteen singers, all students at Sam Houston State University in Huntsville, Texas. Without much knowledge of what they were getting themselves into, each auditioned and won a spot to participate in “The Producer’s Workshop.” This workshop is designed to identify talent and train singers to perform within the skill-set required to be a professional recording studio-session singer. Within that discipline almost every style of singing is demanded. This workshop is not for the shy or timid. This takes great courage, as most of the singing is improvised and the ear gets as much a work-out as the voice. Here’s the deal: after twelve hours of training, I choose one singer to travel to my Austin recording studio to record one song written and produced to compliment the singer. This year that recipient is Daniel Cloud, an accounting major, who when asked during our show where he was from quipped, “my mother’s womb?” Daniel was also given a $300 cash prize from the “Friends of Music” at Sam Houston State University.

Stewart

Pictured Above from Left to Right:
Stewart Gaiton, Cliff Randle, Ben Montes, Daniel Cloud, Gary Powell, Julia Green, Brandi Barger, Brooke Swanson,
Hannah Miscisin, Kiersten Ortiz, Vicki Villarreal, Tara Shackelford, Jenny Thayer. (Linky Dickson, not pictured)

The brave singers, all students at Sam Houston State University, came from different schools across the campus, although most were from the Musical Theatre Department and School of Music. Thank you to Dr. James M. Bankhead, Director of the School of Music and host for this workshop. Daniel Cloud’s upcoming recording will be available in early Spring, 2011.

Gary Powell “The Producer’s Workshop 2009”


Sam Houston State University

by Gary Powell

Nurturing cooperative relationships with university music schools is important to me. Without these schools the musical landscape will continue to flatten. The student musician brings a diversity of musical interests to their classical training with genuine relevance to them both personally and generationally. The popular and commercial musical arts have largely been viewed as outside the purview of ivory-tower conservatories. In October, 2009, I tried to make a bridge between these two camps in a four day vocal workshop hosted by Sam Houston State University. The workshop is designed to introduce to student singers the skills needed to work as a session singer in a professional recording studio. Nic Alaggio, Bree Derbecker

Monday afternoon, the auditions were scarcely attended. Three hours later as the word got out, there were a dozen or more singers waiting outside the audition room. I chose thirteen singers who worked with me twelve hours over the next three nights. I do not teach a one-way path to singing correctly. The popular arts are too diverse for that kind of judgment. I do teach the idea that singing itself is a discipline regardless of style. Within that discipline are songwriting and production skills; not to mention vocal arranging chops which often fall to session singers. The evening of day four we presented a demonstration recital of our three-day experience together to a warmly receptive audience.

Dr. James Bankhead, Director of the SHSU School of Music, agreed to pay a cash prize with the added opportunity to travel to Austin and record a featured song with me producing. Although we all audition for musical opportunities, I do not believe that the words contest and music should be uttered in the same sentence, especially on television. Add in all the U.I.L. learn-by-rote silliness and the N.A.R.A.S Grammy circus; these vested institutions have done far better for themselves than for any individual or in their supposed role of supporting music as an art form and profession.

THE AUDITIONS

Gary Powell Producer's Workshop SHSU

Bree Derberker, with a sparkling young face and long blond hair, harkening back to the sixties, caught my ear with a beautifully sung “B” natural (in the staff) with a tightly focused sound dead-solid in-tune. That perfect note is now on iTunes. Linky Dickson, a tall woman who blew into the audition as a handsomely thin whisp of cleverness, delivered her own penned songs like your favorite pair of old house shoes. Cliff Randal walked in with a canyon-wide Texas smile who became my immediate ally in the cause. Maria Roos delivered a beautiful soprano tone that was natural, in-tune and with no signs of being artificially re-sized for contests. Daniel Cloud; undeniable good looks and a quirky sense of humor sounded as close to Josh Groban as I’ve heard, but with a brighter tone and a penchant for R&B and barbershop quartet singing. Go figure! In our demonstration recital, Hannah Miscisin sang the song “Guilty” by Sara Bareilles which I had never heard or played before. During the performance, the sultry tempo naturally slowed – sometimes to a grand pause as I tried to get my ears around the next unpredictable chord change at the piano. Hannah sat in the stillness of this new version of the song as if it were always meant to be performed that way. Hubert Jones, Jr., a devastatingly handsome man with a rich baritone voice immediately disclosed ATO Records as his record company accompanied by his ambitious professional intentions after graduation. Rebecca Castillo said she wanted to better understand popular singing styles in order to relate to her students better as a music teacher when she graduates. Kiersten Ortiz and one-name “Desmond” allowed me to remember the passion of my youth when I wanted something so badly that the risks I took were worth it. I can assure both Kiersten and Desmond that their reaching out for this experience was seen and hopefully rewarded. Justin Finch, with a sculpted face and tightly focused tone built for musical theatre, was capable in every style I threw at him. Songwriter, and at the piano was Emily Elizabeth, who had more than the composer Palestrina on her mind. David Smith, the soul-man of the group, was fearless in his improvisations accompanied by his infectious personality. According to a recent profile article on the SHSU site, Jennifer Gauntt writes, “SHSU senior Nic Alaggio is a self-proclaimed band nerd.” He is even more than that in excelling as a jazz and classical trumpet player who confidently walked into these vocal auditions with a beautiful Taylor acoustic guitar. He played a song he had written, “Go World Go,” with a lyric delivering a personified Earth crying out to its oppressors. Nic’s naturally rhythmic and earthy voice delivered this lyric of indictment with a punch impossible to ignore.

Dr. Bankhead and I decided that this vocal workshop experience would be best for all concerned if all the students came to Austin for the recording sessions in my studio; Powell Studio Productions. As Paul McCartney said, “Let It Be.”

The sessions happened over a long weekend in early May, 2010. The song we chose was a mash-up of Bree Derbecker’s heart-felt song and Nic Alaggio’s earthly protest. Fortunately, they were both in the key of “G” major, and with Bree picking up her tempo and Nic slowing his down, the two songs were a perfect fit. All of the tightly-voiced background vocal parts were scored and some were simply head-charts. The parallel group male part sung under the lead vocal in verses two and three were all written and learned on the spot. Guitars were played by my long-time associate Larry Seyer and trumpeter Nic Alaggio. Again, go figure.

“Go World Go” written by Bree Derbecker and Nic Alaggio featuring the singers from Sam Houston State University is now available on the Miramuse Label on iTunes and Amazon.

Gary Powell “The Producer’s Workshop” begins again with auditions on October 4, 2010 at Sam Houston State University.

Under the Influence of Music Business Mentors

by Gary Powell

cap and gownUpon leaving academia, every career path in the music and media businesses immediately becomes unique. Successful individuals have each created their story, unless they came into their professional life as a legacy which is a whole ‘nother topic. Our unique stories is why global advice is so easy to get and so hard to follow; and is advice seldom effective in its practical application. Worse than that is the fact that the eduction we did get can be misleading or even harmful under the stress-test of a real-world artistic career. If you find that your cap and gown has left you disrobed or simply had nothing to do with who you are as an artist or how you earn money as an artist, then read on for the good news.

Whether the graduation robe was relevant or not, you will still have to create the success you desire….. yourself.

After working in the music business full-time since 1976, I still struggle to find time and money to produce what I consider to be the truest and best expression of my life and capabilities. Certainly, aspirations can fuel the search for perfect artistic and financially rewarding expressions. Also, maybe we have identified a mission for our music of some particular choosing. When aspirations are not enough or the poetic mission-statement fails, it might be time to take our dreams to the gym in the form of education; either formal or not. Figuring out what kind of education is right is the next challenge on the path to our unique selves. Oh, I forgot. You may already consider yourself educated. If so, continue reading.

We artists did not choose to study finance, accounting or business, so more than likely we will have to forge this new career path ourselves. Where were the courses in Entrepreneurship in the Arts when we were being educated the first time? Even in the height of my career, I continue to seek out mentors to discern some sage advice which might be applicable to my own psychology, circumstances and talent; all things which are in constant flux.

Other careers may have offered stability with dutiful profits and financial security. We didn’t choose that, did we? So, seek out music mentors, accounting and investment mentors and business mentors; seek out those who have walked a mile in the shoes you want to wear but haven’t even picked-out yet. Regardless the size of a mentor’s career, most successful people are surprisingly willing to help other aspiring individuals. Understand that their advice is not necessarily to be followed, but it is there to be integrated within your own circumstances. I’m still learning. I hope you will too. Whether the graduation robe was relevant or not, you will still have to create the success you desire… yourself.

All Content of Gary Powell’s Site is Licensed Under a
Creative Commons Attribution-NonCommercial-NoDerivs 2.5 License

.

by Gary Powell

cap and gownUpon leaving academia, every career path in the music and media businesses immediately becomes unique. Successful individuals have each created their story, unless they came into their professional life as a legacy which is a whole ‘nother topic. Our unique stories is why global advice is so easy to get and so hard to follow; and is advice seldom effective in its practical application. Worse than that is the fact that the eduction we did get can be misleading or even harmful under the stress-test of a real-world artistic career. If you find that your cap and gown has left you disrobed or simply had nothing to do with who you are as an artist or how you earn money as an artist, then read on for the good news.

Whether the graduation robe was relevant or not, you will still have to create the success you desire….. yourself.

After working in the music business full-time since 1976, I still struggle to find time and money to produce what I consider to be the truest and best expression of my life and capabilities. Certainly, aspirations can fuel the search for perfect artistic and financially rewarding expressions. Also, maybe we have identified a mission for our music of some particular choosing. When aspirations are not enough or the poetic mission-statement fails, it might be time to take our dreams to the gym in the form of education; either formal or not. Figuring out what kind of education is right is the next challenge on the path to our unique selves. Oh, I forgot. You may already consider yourself educated. If so, continue reading.

We artists did not choose to study finance, accounting or business, so more than likely we will have to forge this new career path ourselves. Where were the courses in Entrepreneurship in the Arts when we were being educated the first time? Even in the height of my career, I continue to seek out mentors to discern some sage advice which might be applicable to my own psychology, circumstances and talent; all things which are in constant flux.

Other careers may have offered stability with dutiful profits and financial security. We didn’t choose that, did we? So, seek out music mentors, accounting and investment mentors and business mentors; seek out those who have walked a mile in the shoes you want to wear but haven’t even picked-out yet. Regardless the size of a mentor’s career, most successful people are surprisingly willing to help other aspiring individuals. Understand that their advice is not necessarily to be followed, but it is there to be integrated within your own circumstances. I’m still learning. I hope you will too. Whether the graduation robe was relevant or not, you will still have to create the success you desire… yourself.

All Content of Gary Powell’s Site is Licensed Under a
Creative Commons Attribution-NonCommercial-NoDerivs 2.5 License

.

Career Path for the Performer

(and how to outwit the present)

by Gary Powell

Gary Powell-Jesus Christ Superstar 1980There is a point in the development of your performing career at which your own vision of self must become disordered. This is a time and place where your prevailing reality is challenged. For me it came at age twenty-seven in Los Angeles.

Let’s say you are a pre-teen who loves to perform. Maybe you are even talented in doing your literal and proverbial tap dance. Even the most jaded audience enjoy watching your youthful energy. You will soon be asked to perform for many talent shows, Rotary Clubs, weddings and funerals. You have sung the National Anthem dozens of times at sporting events. Yes, it feels great to be in such demand. Continuing on to high school and college, your fan club increases. By now, you have already successfully adjusted to having competition for the lead role in the school musical or ballet. You have usually won these auditions and the infrequent loss of a role doesn’t freak you out….BUT the “shift” still hasn’t happened yet.

During college your talent may be discovered by a summer camp director for boys or girls where you become the song leader, art director or dance coach. No doubt, several churches are offering you high praise to bring your talent into the fold. All this feels inspiring and motivating as now you are beginning to win scholarships and stipends. The next year you perform in a summer-stock theater. Yes, you are on a roll and are now chanting the “I’m being paid to do what I love!” mantra.

In the past, the seemingly harmless career seductions probably did not feel like seductions at all. Now they do! – Gary Powell

At this point you’ve come to terms in juggling auditions, competition from other performers, money issues, and holding a job along side your obscenely long rehearsal hours. But now comes the “shift”. At every step of your development you, the performer, thought that each of the opportunities you’ve experienced was about you. Each circumstance was earned by you and you proved your talent again and again, but now as you have matured you have noticed opportunities thinning out. Some opportunities expire expectantly like graduating from college. Other opportunities expire not from just loosing out to the competition, but loosing in a thousand other ways you had never even considered and in other ways that had nothing to do with you whatsoever. Other professional opportunities expire because you yourself have outgrown them. In the past, the seemingly harmless career seductions probably did not feel like seductions at all. Now they do! They were, at most, a major part of your continuing education and each of your performances was a mini-equivalent to your own record deal.

This is the shift. It is a simple yet broader understanding of yourself and your talent within a larger context; a context which can and must be continually negotiated for the rest of your life. Now you finally know that each of your shows and appearances were about what the show needed rather than about what you needed. As a young performer, the negotiations with yourself were processed internally and silently. Later these negotiations will be voiced and leveraged from all sides. Welcome to the magnificent world of the adult artist who learns to live and prosper through and beyond our losses, our betrayals, our self-doubt, our limitations and our competitors. When you arrive at this point, hopefully before age 27, you will stand in the spotlight you mindfully created and the mastery of your earlier professional life will light your way toward a prosperous future.

Helpful or Interesting? Then Copy, Paste and Tweet It:
Producer Gary Powell offers insight to negotiating your performing career path.
http://tinyurl.com/cvssjm

All Content of Gary Powell’s Site is Licensed Under a
Creative Commons Attribution-NonCommercial-NoDerivs 2.5 License

.

by Gary Powell

Gary Powell-Jesus Christ Superstar 1980There is a point in the development of your performing career at which your own vision of self must become disordered. This is a time and place where your prevailing reality is challenged. For me it came at age twenty-seven in Los Angeles.

Let’s say you are a pre-teen who loves to perform. Maybe you are even talented in doing your literal and proverbial tap dance. Even the most jaded audience enjoy watching your youthful energy. You will soon be asked to perform for many talent shows, Rotary Clubs, weddings and funerals. You have sung the National Anthem dozens of times at sporting events. Yes, it feels great to be in such demand. Continuing on to high school and college, your fan club increases. By now, you have already successfully adjusted to having competition for the lead role in the school musical or ballet. You have usually won these auditions and the infrequent loss of a role doesn’t freak you out….BUT the “shift” still hasn’t happened yet.

During college your talent may be discovered by a summer camp director for boys or girls where you become the song leader, art director or dance coach. No doubt, several churches are offering you high praise to bring your talent into the fold. All this feels inspiring and motivating as now you are beginning to win scholarships and stipends. The next year you perform in a summer-stock theater. Yes, you are on a roll and are now chanting the “I’m being paid to do what I love!” mantra.

In the past, the seemingly harmless career seductions probably did not feel like seductions at all. Now they do! – Gary Powell

At this point you’ve come to terms in juggling auditions, competition from other performers, money issues, and holding a job along side your obscenely long rehearsal hours. But now comes the “shift”. At every step of your development you, the performer, thought that each of the opportunities you’ve experienced was about you. Each circumstance was earned by you and you proved your talent again and again, but now as you have matured you have noticed opportunities thinning out. Some opportunities expire expectantly like graduating from college. Other opportunities expire not from just loosing out to the competition, but loosing in a thousand other ways you had never even considered and in other ways that had nothing to do with you whatsoever. Other professional opportunities expire because you yourself have outgrown them. In the past, the seemingly harmless career seductions probably did not feel like seductions at all. Now they do! They were, at most, a major part of your continuing education and each of your performances was a mini-equivalent to your own record deal.

This is the shift. It is a simple yet broader understanding of yourself and your talent within a larger context; a context which can and must be continually negotiated for the rest of your life. Now you finally know that each of your shows and appearances were about what the show needed rather than about what you needed. As a young performer, the negotiations with yourself were processed internally and silently. Later these negotiations will be voiced and leveraged from all sides. Welcome to the magnificent world of the adult artist who learns to live and prosper through and beyond our losses, our betrayals, our self-doubt, our limitations and our competitors. When you arrive at this point, hopefully before age 27, you will stand in the spotlight you mindfully created and the mastery of your earlier professional life will light your way toward a prosperous future.

Helpful or Interesting? Then Copy, Paste and Tweet It:
Producer Gary Powell offers insight to negotiating your performing career path.
http://tinyurl.com/cvssjm

All Content of Gary Powell’s Site is Licensed Under a
Creative Commons Attribution-NonCommercial-NoDerivs 2.5 License

.

Infrastructure for Connecting

(Beyond Our Lizard-Brains)

by Gary Powell

Okay, nearly everyone has chimed in with a positive response to my suggestion of learning how we can help each other online in a more direct and meaningful way. There is nothing new about this strategy for any of us. Making it spring forth into computer code, that doesn’t just flirt with its self-serving image in the mirror, is the real question. We can become so focused on our own outreach that these efforts for our friends can eventually be overlooked or forgotten. I would like to see us all support and point our audiences to the people of our choosing. No record company needed. No art galleries needed; no telephone, satellite TV or newspapers needed to tell us who’s who while taking not only their clients’ money but our money too. Do we really need this kind of help in deciding who we really are. Thanks, but no! We’ll take it from here.

I’m assuming social-media guru, Tom Parish is the one of us with the most experience in managing any online presence. He’s the one who actually makes his living teaching people about leveraging social media toward specific goals. That said, I’m proposing that social media is just one of many strategies we should be using. Somewhere between the smokey back-room deals, the two-martini lunches, the Wednesday-night church suppers, the untoward affairs of the politically afflicted, or even just good friends who hold each other in high regard, that this is where real connections and deals are made. FACT: I have NEVER secured a job that I applied for. However, when I was referred by someone or I was found simply by chance and given the opportunity to present myself, I have never NOT been offered the job. (Sorry for the double negative, Emma. I just liked the way it sounded.)

“The other dancers will only look at themselves in the mirror. They’ll never even see us.” – Mitch Pileggi, actor

In year 1980 Mitch Pileggi, X-Files’ Agent Skinner, dragged me to a modern dance class as part of his training to be an actor. I said, “Shit, Mitch, I can’t dance. I’ve never taken a dance class in my life and all those real dancers are going to be starring at us. “You’ve got to be f’n kidding me” he barked, “Gary, shut up. The other dancers only look at themselves in the mirror. They’ll never even see us.” We went. Mitch was right.

“Blog, post video and photos, but quit looking in the mirror long enough to give a little support the people you would like to see win. We can no longer choose to sit idle while we wait for our big break. That paradigm is over. We are our big break.” – Gary Powell

Maybe we should hold a small seminar for ourselves and stir this around and see what happens. I’m not much for clubs, or joining things, or meetings for that matter. But, I don’t want to miss an opportunity for us all to get really smart and effective at helping the people of our own choosing. We have already hired Tom Parish as a moderator for us once before. He’s been so helpful to me in the past and is great at wakening our individual spirit. But we too easily slip back into old patterns.

After blogging now for five years straight, I’ve noticed that there is an obstacle to our successfully joining forces in supporting one another in our artistic or business interests. We’ve all been groomed throughout our lives to believe that talent and product is presented to us only through proper channels like universities, television, newspapers, magazines or movies. Our lizard brains have been too institutionalized to even conceive of promoting and helping the people of our choice. So, most of us go the promotional route alone with the same results as before; wasted time and money. Well, it’s time to wake up and understand that Louis Prima (Big Night) is not coming to dinner and we should have never waited for Godot. Not one minute. Let’s help one another open our lemonade stands. It’s so easy to do now that we have the technology and we all win.

Join me on my Facebook Fan Page.

For further reading: Christine Herron has spent her career finding new applications for infrastructure technologies.

All Content of Gary Powell’s Site is Licensed Under a
Creative Commons Attribution-NonCommercial-NoDerivs 2.5 License

.

by Gary Powell

Okay, nearly everyone has chimed in with a positive response to my suggestion of learning how we can help each other online in a more direct and meaningful way. There is nothing new about this strategy for any of us. Making it spring forth into computer code, that doesn’t just flirt with its self-serving image in the mirror, is the real question. We can become so focused on our own outreach that these efforts for our friends can eventually be overlooked or forgotten. I would like to see us all support and point our audiences to the people of our choosing. No record company needed. No art galleries needed; no telephone, satellite TV or newspapers needed to tell us who’s who while taking not only their clients’ money but our money too. Do we really need this kind of help in deciding who we really are. Thanks, but no! We’ll take it from here.

I’m assuming social-media guru, Tom Parish is the one of us with the most experience in managing any online presence. He’s the one who actually makes his living teaching people about leveraging social media toward specific goals. That said, I’m proposing that social media is just one of many strategies we should be using. Somewhere between the smokey back-room deals, the two-martini lunches, the Wednesday-night church suppers, the untoward affairs of the politically afflicted, or even just good friends who hold each other in high regard, that this is where real connections and deals are made. FACT: I have NEVER secured a job that I applied for. However, when I was referred by someone or I was found simply by chance and given the opportunity to present myself, I have never NOT been offered the job. (Sorry for the double negative, Emma. I just liked the way it sounded.)

“The other dancers will only look at themselves in the mirror. They’ll never even see us.” – Mitch Pileggi, actor

In year 1980 Mitch Pileggi, X-Files’ Agent Skinner, dragged me to a modern dance class as part of his training to be an actor. I said, “Shit, Mitch, I can’t dance. I’ve never taken a dance class in my life and all those real dancers are going to be starring at us. “You’ve got to be f’n kidding me” he barked, “Gary, shut up. The other dancers only look at themselves in the mirror. They’ll never even see us.” We went. Mitch was right.

“Blog, post video and photos, but quit looking in the mirror long enough to give a little support the people you would like to see win. We can no longer choose to sit idle while we wait for our big break. That paradigm is over. We are our big break.” – Gary Powell

Maybe we should hold a small seminar for ourselves and stir this around and see what happens. I’m not much for clubs, or joining things, or meetings for that matter. But, I don’t want to miss an opportunity for us all to get really smart and effective at helping the people of our own choosing. We have already hired Tom Parish as a moderator for us once before. He’s been so helpful to me in the past and is great at wakening our individual spirit. But we too easily slip back into old patterns.

After blogging now for five years straight, I’ve noticed that there is an obstacle to our successfully joining forces in supporting one another in our artistic or business interests. We’ve all been groomed throughout our lives to believe that talent and product is presented to us only through proper channels like universities, television, newspapers, magazines or movies. Our lizard brains have been too institutionalized to even conceive of promoting and helping the people of our choice. So, most of us go the promotional route alone with the same results as before; wasted time and money. Well, it’s time to wake up and understand that Louis Prima (Big Night) is not coming to dinner and we should have never waited for Godot. Not one minute. Let’s help one another open our lemonade stands. It’s so easy to do now that we have the technology and we all win.

Join me on my Facebook Fan Page.

For further reading: Christine Herron has spent her career finding new applications for infrastructure technologies.

All Content of Gary Powell’s Site is Licensed Under a
Creative Commons Attribution-NonCommercial-NoDerivs 2.5 License

.

“Obscura la Noche” Signed to Jesmax Music, BMI

Guity Movie Poster

The Gary Powell song, “Obscura la Noche, Obscuro el Dia” (Dark the Night, Dark the Day) was signed by Powell’s Austin music publisher Jesmax Music, BMI for placement in the Gabriel Folse film, “Guilty.” The song is performed by Los Angeles singer, Sara Traina, who was referred to the song’s producer Gary Powell by Hank Olguin, who also translated the English lyric to Spanish.

 

 


Obscura la Noche
(Obscuro el Dia)

Music and Lyrics by Gary Powell
(Spanish Translation by Hank Olguin)

Verses 1 & 2
Cuando el día se va
La noche vendra
Y la obscuridad
Invita la maldad

La noche es dolor
Matando el calor
Y como el puñal
Evoca todo mal

Chorus 1
Obscura la noche
Obscuro el día
Y en mis sueños busco
los recuerdos de amor
y otra realidad

Verses 3 & 4
A donde puedo ir
Para sobrevivir
Pues sin la luz del sol
No vencere el crisol

El tiempo borrará
Y confundira
No solo la verdad
Tambien la claridad

(CHORUS 2)

Verse 5
Y Cuando el día se va
La noche vendra
Y la obscuridad
Invita a la maldad

(CHORUS 3x’s with Tag)

Copyright 2006 Jesmax Music, BMI

All Content of Gary Powell’s Site is Licensed Under a
Creative Commons Attribution-NonCommercial-NoDerivs 2.5 License

.

Guity Movie Poster

The Gary Powell song, “Obscura la Noche, Obscuro el Dia” (Dark the Night, Dark the Day) was signed by Powell’s Austin music publisher Jesmax Music, BMI for placement in the Gabriel Folse film, “Guilty.” The song is performed by Los Angeles singer, Sara Traina, who was referred to the song’s producer Gary Powell by Hank Olguin, who also translated the English lyric to Spanish.

 

 


Obscura la Noche
(Obscuro el Dia)

Music and Lyrics by Gary Powell
(Spanish Translation by Hank Olguin)

Verses 1 & 2
Cuando el día se va
La noche vendra
Y la obscuridad
Invita la maldad

La noche es dolor
Matando el calor
Y como el puñal
Evoca todo mal

Chorus 1
Obscura la noche
Obscuro el día
Y en mis sueños busco
los recuerdos de amor
y otra realidad

Verses 3 & 4
A donde puedo ir
Para sobrevivir
Pues sin la luz del sol
No vencere el crisol

El tiempo borrará
Y confundira
No solo la verdad
Tambien la claridad

(CHORUS 2)

Verse 5
Y Cuando el día se va
La noche vendra
Y la obscuridad
Invita a la maldad

(CHORUS 3x’s with Tag)

Copyright 2006 Jesmax Music, BMI

All Content of Gary Powell’s Site is Licensed Under a
Creative Commons Attribution-NonCommercial-NoDerivs 2.5 License

.