Ten Records That Changed My Life… REALLY changed my life.

Ten records that changed my life

Yesterday (8th Jan, 2014) a Facebook friend of mine, Bill Mallonee, posed the following question:

10 life changing records. (I know! It’s impossible!)
Take a deep breath & list ’em in less than 3 minutes.
Don’t over think it.

Well, you know what? I did over-think it. It’s pretty easy to reel off some of your favourite records, like I did here and here, but (being a pedantic git) I felt that if you’re going to describe something as life-changing it had better be something that really did have some particular concrete effect on your existence. So it took me longer than 3 minutes, but not much longer. Here’s a slightly edited and expanded version:

Ten Life Changing Records

Life changing? Life. Changing. Life changing. Records that really, really truly changed my life. Hmm. Not necessarily albums. Nor my favourite, nor the best, nor the coolest records.

1: Johnny Cash‘s first gospel LP (Hymns by Johnny Cash) – My parents had it it and it was probably the first record that felt blissful to me – that showed me how powerful music could be, even before I really became a “music fan”

2: Elton John‘s Crocodile Rock. For some strange reason hearing it on Top Of The Pops was a revelation to me that stupid, freakish, long-haired, ungodly, noisy rock’n’roll music was actually really great. [I know Crocodile Rock, while great, is not exactly the pinnacle of the form, but for me it was the key that unlocked the door.] It was the first record I ever bought and it instantly made me into a “music fan”.Ø

3-5: Larry Norman‘s three albums Upon This Rock, Only Visiting This Planet and Bootleg – My sister borrowed them and they taught me that rock’n’roll wasn’t evil and you could be funny, clever and talk about whatever you wanted [The Ku Klux Klan, Paul McCartney’s Hofner bass, venereal disease, Jesus]

6 – Neil Young‘s Zuma – I heard John Peel play the track Looking For A Love on the little transistor radio under my pillow one night in 1976. I’d never heard Neil Young before but I fell for the sound immediately. I went out and bought the album and it’s still, in my mind, the definitive “perfect electric guitar sound” that I basically strive for in my playing [much of the time, anyway].

7-9: Jonathan Richman & The Modern LoversRock’n’Roll With The Modern Lovers, Patrik Fitzgerald‘s Safety Pin Stuck In My Heart E.P.* & Wild Man Fischer‘s Wildmania!§ – the fact that Marjorie owned these three records that I also loved was a major factor in bringing us together at school in 1977, and we’re still married.

10 – Crowded House‘s Woodface – I’d gradually grown fond of them on the radio (They played Better Be Home Soon, Don’t Dream It’s Over, Fall At Your Feet, Sister Madly quite often on CFMI) when we lived in Vancouver, and finally bought the CD. Marjorie and I felt it was immediately fell for the album in a very, very deep way, particularly the first half, which seemed to representative another kind of perfect sound which we felt we’d been looking for all our lives. Marjorie loved them so much that (to cut a long story

11 – Some other Johnny Cash record – I was listening to him one day at work in the lab about ten years ago [I can’t remember which song but I think it was from his Sun years]


Ø I subsequently bought the Daniel and Goodbye Yellow Brick Road 45s and was settling in for a lifetime of brilliant Elton John releases, but I wasn’t so sure about Saturday Night’s Alright For Fighting (it was OK, but I could think of better things to spend my 45p on)  and never again bought another Elton John single, or, for that matter, a post-1973 album of his. This was my first lesson in pop disappointment.

* Patrik was the first “folk-punk” guy (to release a record) in the original UK punk scene of 1976-78. I’ve always thought that Marjorie and I don’t have an “our song” in the way that Americans talk about it, but I guess Patrik’s Safety Pin Stuck In My Heart was Our Song!

§ Wild Man’s first, and most famous album, was the double album An Evening With Wild Man Fischer, about eight years before Wildmania!. This was his “comeback album”. John Peel played a track every night and I taped the whole album. I used to go round school singing the songs from it (and to think I say I only became a singer about ten years ago!) and some of the songs became quite popular among my friends. (“My name is Larry, I have a canary”, “I went to a disco in San Francisco” – you can see why).

One day Marjorie told me she’d got the album. I actually thought she was only joking as it wasn’t the kind of thing you’d find in the records shops in Portadown. And I think she was disappointed but didn’t really impress the fact on me. But some time later, when we were closer friends, I found it in her record collection and nearly died! It turned out she’d ordered it from “overseas” (i.e. England) out of an ad in the NME.

I spent years wondering how I could get the first album and I eventually found it in a shop in London. But despite it being, by far, the most famous and well-regarded, it’s nowhere near as good as Wildmania!, which, in my opinion, is where his art all came together in its most cohesive and beautiful form; in short, his masterpiece.

Music is taming that “savage beast” again.

Marjorie had the occasion to spend a little time in hospital over this past week and she posted this status update on Facebook about something she heard on the TV:

When you’re hepped up on goofballs (or painkillers in my case) and you think you heard Carlos Santana say: “music was given to tame the beast, as they say in the Bible. You know, entertain the beast means to quiet fear and anger. Music is to glorify the light in you” on the respected PBS Newshour, you have good reason to think you’re hallucinating. However, it turns out he actually did.

Here is the transcript on the PBS website, and I’ve attached a transcript.

Carlos Santana on PBS News hour-2-text

Carlos Santana on PBS News hour-1

How Social Networking Has Been A Game Changer For Musicians

DC Cardwell with Aria FA71 guitarDC Cardwell is a singer-songwriter, originally from Northern Ireland, now based in Melbourne, Australia. This part-universal, part-personal post was prompted by a question from a friend on “how social media has helped musicians”.

I believe that social networking has had the most profound impact on the relationship between musician and listener since the twin-pronged technological advances of recording and broadcasting in the early 20th century.

Both of those inventions allowed musicians to reach the listener without having to be in the same physical place and time. Before they came along, almost the only ways for an artist to propagate their music were by printed sheet music or by the folk process of memorization and repetition.

But the entire game has been changed again with the advent of social networking (and its close relative social media)

Unrecorded: How it used to be.

Old Graphophone (Gramophone, Phonograph) with horn

This record player is even older than me.

The value of social networking for music-makers is perhaps most starkly illustrated when we’re talking about a particular class of artists, of which I am one.

I’m referring to that large set of creative musicians who have learned to play music in their youth, been incredibly passionate about it, but never done it seriously or professionally. Instead, they’ve put the bulk of their resources and energies into other careers, marriage, raising children, other non-musical pursuits, or less creative musical occupations.

I found myself firmly entrenched in this position during the  “noughties”. Any chance of a music career had slipped away many years previously. I’d married young and my children were already well on their way towards adulthood. I’d had a perfectly good career in pathology for many years, but, for me, it had simply been a way of putting food on the table.

However, during those years just after the new millenium began, I acquired some computer recording software and a few microphones and started to make the kind of music that I’d been developing in my head over the years. Primarily a guitarist, I even learned to sing a bit, just to make things more interesting, and I began writing songs that I thought were reasonably OK.

Screenshot from DC Cardwell's Adobe Audition session for his song Birthday Present

My multitrack session for “Birthday Present”

I was astounded to find that I could record tracks that were of near-studio quality. Due to digital technology and decreasing costs, I could make music that, twenty years previously, would have required the finances and resources of a large record company and an expensive recording studio.

But who was going to hear this music? Sure, I could burn a few CDs and pass them around to friends. I could do some gigs around town, but it was far-fetched for a middle-aged family man with a mortgage to pack his gear into a van and hit the road, widening his audience by traveling the length and breadth of the country playing to whomever would listen.

It was also a long-shot to expect any record company to be interested in a distinctly unglamorous looking forty-something.

Tom Is Everybody’s Friend: MySpace changes everything!

WARNING: stuff about me for a while here!

But around 2004-05 I started hearing about MySpace. I was fortunate to be one of the computer-literate people who was already very comfortable with the Internet, and had even had some experience of primitive social networking. For example, by playing an online word-game I’d found that I could easily make friends with people from around the world. MySpace amplified this ability a hundredfold, also adding images and music to the mix.

I uploaded one or two of my songs to that pioneering network, and to my surprise and considerable delight, discovered that some people actually quite

DC Cardwell's Tom Song in Myspace player - screenshot

My Tom Song in the old Myspace player (screenshot)

liked my songs and even my hitherto unknown singing voice.

I even wrote a song about the network’s founder, “MySpace Tom” Anderson – not a joke song, but a wry 60s/70s-style pop song which answered a question I was often asked by newcomers: “Who is this Tom guy on my friend list?”

My song was called Tom Is Everybody’s Friend and, for a few days after it got mentioned on Tom’s own page, it went viral (or, at, least semi-viral) before the term was even known. I watched my friend count shoot up rapidly and had to field a huge amount of comments and messages. Suddenly I could really see the power of this new social network to get my music out to people all over the world. It was pretty amazing!

Meet The Author: How has social networking helped my music career?

That was the real birth of my new career. Since then I haven’t been one of those lucky enough to make large amounts of money from my music, but I’ve released my first album, Some Hope, recorded some songs in Los Angeles for a film, won a song contest, played a fair number of live shows in my own city of Melbourne, and, above all, developed a faithful, far-flung following of fans all over the world!

I’ve even gone one step further and quit my lifelong career in pathology to do music full-time.

(I’ve been very fortunate in that my wife, Marjorie Cardwell (now there’s a singer!) began a new career after several years of study, and now she supports me as I previously did her. With my new-found skills I was also able to record an album for her, release it and do the bulk of the necessary social networking required to build a fan base for her.)

Most of my middle-aged peers don’t reach that stage of being able to quite their day job, but the point remains – they can still find (and be found by) fans and distribute their music to the four corners of the earth, largely by means of social networking.

Of course, other ancillary online tools, such as blogs, Tunecore, CD Baby, iTunes, FanBridge, Internet radio etc. are also important, but social networking is the human factor of the Internet by which the independent artist connects with existing and new fans.

And, as we all know, the scene doesn’t remain static. We’ve talked about MySpace, and that was the beginning for many of us slightly older folk. But MySpace suddenly lost ground to Facebook and Twitter.

YouTube has of course, become a major platform for people to find and listen to music, and I did go through a phase of serious networking on it, despite its inadequate social interface. However, a while back my YouTube channels were suddenly shut down, I lost all my followers and view counts, and I had to start all over again so that was a bit of a setback from which I haven’t yet recovered! Google has been making improvements to the YouTube interface but in my opinion it’s still, unfortunately, too clunky to be taken very seriously as a social network. Speaking as a video creator, I do hope that it improves in that regard. But I suspect most video consumers aren’t particularly hungry for a better social experience on YouTube. At present, Youtube’s main role is as a repository for our “product”. 

Similarly, Reverbnation and Soundcloud have bubbled along as perhaps the best frees platform for uploading pure music to be shared on Facebook, although, for me, their social value has been much less significant.

Right now (late 2013) my main social platform of choice is Instagram, which may surprise some. For some reason Twitter never quite clicked with me in a sustainable way, but the addition of photographs and removal of the 140 character limit just happens to sit well with my personality.

Way With Words: How does social networking work for musicians?

Social networking is, of course, mainly a verbal medium. Photographs, sounds and videos can be a part of it, but the glue that holds it together is words.

Screenshot of a comment on DC Cardwell's MySpace page

A comment on my MySpace page from the classic mid-noughties era (thanks Jess!)

I remember how, as a young music fan, I was hungry for any information about my musical heroes. I used to collect interviews and articles – physically cut them out of magazines (I can hear some of you young kids sniggering down at the back) – and file them away. You couldn’t just look stuff up. Articles and photographs came in a trickle and you had to be alert in case you missed anything.

If I ever got the chance to say one or two words to an artist I loved it was just unbelievable good fortune! Can you imagine how unlikely that was back in those days?

But that human factor is much more readily available these days, if the artist is savvy enough to use the social networks. I’ve had conversations online with many of my favourite artists. And I’ve also found myself chatting with people I didn’t know and only later discovering that they are brilliant singers, songwriters or musicians. It’s quite nice when friendship comes first and fanship comes afterwards.

Very often people get to know me, and I get to know them, and it’s quite some time before they even find out that I make music. I’ve always been very careful not to be mercenary or cynical in my approach. I really, genuinely, do make friends with the people I meet online! People are smart and, by and large, they know if you’re being disingenuous.

However, I suspect that even if you’re not that good at chatting with people online, you can still make good use of social networking to advance your music career. It isn’t all about lengthy heart-to-heart conversations. here are other ways of using your natural characteristics to attract friends/followers/fans online. If you’re blessed with pithy wit I’m sure you can use that to gather followers. (I suspect that kind of person is even more likely to find their true home on Twitter.) You might be very knowledgeable about some subject – perhaps your favourite band or music style. You might be very beautiful (or at least buff up really well for photographs.)

Social networking is a reflection of life so there is no set way to make things work for you or for me. If it’s not an organic, dynamic process it’s probably doomed to failure. And I know that some artists will just never get it – will never be able to sit at a computer, or stare at their smartphone and see it as a portal to real, living, breathing people. You have to admire people like that, you really do! And just hope that they find another way of getting their music noticed.

In A Thousand Years: What does the future hold for social networking?

It’s hard to imagine social networking going away. Like the post office or telephone they are simply a part of life now. Many websites and platforms that aren’t primarily social still have a social networking element to them. In a way, it’s simply another string to the technological bow. But in my opinion it’s a game changer (I know, we all hate that cliché!) for musicians, and for anyone who is creative and wishes to make their art findable.

We’ve all read about how some extremely famous artists (if I mention Justin Bieber will it put this post up the rankings?) have made their careers solely by virtue of social networking platforms. And sometimes it’s even true. But for every megastar who has shot meteorically to worldwide fame, there are a thousand creative musicians who have slowly and steadily gathered many friends and fans who are hungry for good music.

And the good news is that, unlike major record companies, unlike the press, unlike radio and TV, these social networks are available to all!

Of course, none of this applies solely to people who had previously considered themselves “past their use-by date”. It’s just as important for most younger musicians. But I feel that examples such as mine are illustrative of the power in social networking.

Social networking is (or can be) important for almost every artist today! And even more so for every one who doesn’t have a record company, agent, publisher or other corporate entity to spread their music for them.

But for the non-touring, day-job-working, family-raising, or just stay-at-home artist, it’s absolutely essential and it makes possible what was previously impossible.

Twenty years ago almost every truly independent artist was severely restricted in their reach. Yes, there were a few early pioneers who kicked down doors and walls through sheer force of will. But with the advent of social networking the world became smaller – a lot smaller – for those of us who want our music to be heard beyond our own four walls.

Know Me: True fulfillment as a musician.

DC Cardwell's Some Hope CD

It still blows me away that (at my age)  I have become a singer-songwriter who releases albums!

That connection with the listener, and therefore the realization that my music is being enjoyed and appreciated, is the single most important thing for me as an artist. It’s worth more than money, by far. It’s what tells me what I’m doing is worthwhile!

Yes – I’m enough of an artist that self-expression is absolutely essential to me. And my motivation is, as I often say, “to make the kind of music that I want to hear.”

But beyond the actual act of making music, the most gratifying moment for me is when someone says to me, “Your song means a lot to me!” Or “Those words made me cry because I can relate to what you’re saying.” Or, “I can’t get that riff of yours out of my head!”  

Or, perhaps best of all, that most profound of inarticulate phrases, “Your music rocks!”

And the true beauty of social networks to me is that I get this kind of affirmation almost every day!

Now THAT is a result!

DC Cardwell

Listen to DC’s music here










Five Days High: Drug-free musician experiences Ketamine for the first time – will DC Cardwell’s next album be a psychedelic trip-out?

I’ve never talked publicly about my problems with a peculiar kind of back pain. I didn’t want to be known as “the guy with the back trouble”, as I’m actually pretty normal and if you see me I’m really pretty agile and not at all weak or dottery or ill-looking! I don’t usually walk around with a stoop or a limp and I can still lift a guitar amp if I need to. (Although I’m happy if I can get someone else to do it for me as it just might “put my back out.”) And I’m not depressed or even unhappy – not in the slightest.

But I do suffer a lot of pain, and when I stand up for a while it really gets out of control. It’s restricts my day-to-day life quite badly and there are a lot of things I can’t do because of it. I don’t, for example, do

three-hour Bruce Springsteen-style marathon sets, leaping around off monitor speakers and stuff like that. Not usually anyway.

And just so you know, I’m going into hospital tomorrow (18th Sept, 2013) for a major drug trip. It’s a Five-Day Ketamine Infusion and, well, it should be interesting, to say the least. Ketamine (AKA “Special-K”) is becoming increasingly well-known as a recreational drug, but it has been used as for medical purposes since the 1960s, as treatment for very strong pain and as a general anaesthetic on the battlefield. My pain specialist was telling me that they used it in Vietnam as one anaesthetist could look after up to a dozen patients at one time while they were undergoing surgery.

It’s my first time as an in-patient since I had kidney cancer (Wilms’ Tumour) as a small child and that freaks me out a little as I don’t generally like to be restricted or confined. Even at home I rarely sit down and watch TV for hours or anything like that. I have to be up and about and doing something. And I can’t lie down for long periods without a lot of pain. I almost never sleep through the night – I wake up many times and have to get up and walk around a bit.

My back pain is a complicated thing but it’s almost certainly a result of my childhood surgery and treatment. My pain specialist thinks I might have “Complex Regional Pain Syndrome” brought on by the trauma of the surgery (“They would have cut through a lot of nerves!”, was what he said) and the radiation therapy afterwards, which was pretty coarse back in those days.

Complex Regional Pain Syndrome (or CRPS) is usually accompanied by weird skin changes and I don’t have that. But it’s now believed that it can happen inside the body as well as on the surface, so maybe that’s what I’ve got. Who knows what I look like in there! (Actually, I have a bit of an idea.)

This “ketamine infusion” lark is supposed to bring significant relief to up to 80% of chronic pain sufferers, so there’s a fairly good chance it will help a bit. And the risk is supposedly quite low. It’s not like ketamine coma therapy which is a bit more controversial and only carried out, as far as I know, in Mexico and Germany.

My doctor tells me I may experience hallucinations for most of the time, but that they’re usually not bad, scary hallucinations, but “good hallucinations” (Sunlit meadows covered in wildflowers? Beautiful women? The latest iPhone? Fancy pre-amps? Doughnuts?) I’ll be disappointed if I don’t get, at the very least, one Sgt Pepper out of it.

I’m also hoping that the ketamine will make me not care about the restrictions of hospitalization. If I can lie down for five days without discomfort it will be doing its job in the short term at least. I might beg them not to send me home!

Watch this space for news about how it goes. If you pray, my main request is that the treatment does indeed help me. And of course, I’d like there to be no bad side-effects. But I’m really not worried about it. It’s not like I have a life threatening illness or I’m going for some major surgery.

I don’t think I’ll be online during the procedure but to tell you the truth, I’m not sure exactly how spaced out I will be. And I’m told that my vision will be seriously impaired after the first 24 hours or so. I probably won’t be allowed, or able, to go online at all. Or who knows, I might be fairly alert and normal and able to use my phone or laptop to communicate with the outside world, like Marjorie did after her brain surgery last year. If it’s somewhere in between, you might see some very strange posts on Facebook and Twitter over the next five days, so just disregard them. The doctor said that a patient once escaped and was found walking down the road with no clothes on. If you see me, please take me back to the hospital.

~ DC Cardwell, 17th September, 2013


Marjorie Cardwell creates beautiful animated iPad music video for her song “Hole In My Head”

There’s a brand new video for Marjorie‘s beautiful song “Hole In My Head!”

iPad Animation

And she’s made the most gorgeous animation on her iPad to illustrate the song.

Some of you will know that the song was inspired by her experience last year of being diagnosed with a brain tumour. (Don’t worry – she’s fine now. The tumour was benign and even though she had very major brain surgery she has recovered very well.) She actually wrote most of the song while she was in the MRI machine getting her pre-op scan. We recorded it quickly right before her operation and I (almost) finished it off with some overdubs.

But I couldn’t figure out a good solo to put over the instrumental section. In the car one day, on the way to one of her appointments, I asked Marjorie for ideas. She said, “How about a euphonium?”

And, to our everlasting delight, one of our musical heroes, Don McGlashan (of legendary New Zealand band The Mutton Birds) agreed to play a sublime euphonium solo on it, as only he can do! (I think Marjorie secretly had this in mind.) He recorded the solo in the boatshed on the New Zealand coast that he uses to write his own songs, and sent it to us by email. It’s everything we hoped for and more.

If you enjoy it, please leave a comment underneath the video on Youtube (or here!) and PLEASE share with your friends on Facebook, Twitter etc. 🙂


Richard Briers (1934 – 2013) / Bob Godfrey (1921 – 2013)

I was saddened to hear that the very wonderful Richard Briers passed away on 17th February 2013.

This is him in one of his greatest roles, as Roobarb The Dog:

I guess it’s a toss-up between that or his perfectly-cast role as Tom Good in The Good Life (AKA “Good Neighbours”). I loved both shows when they were first shown in the 70s (and ever since), but I’d have to say that Roobarb & Custard has had the most direct influence on my own philosophy, musical development and way of life.

I first came across Roobarb & Custard and its maker Bob Godfrey on the brilliant “Do It Yourself Film And Animation Show”, a TV series about, well, making animations. I was never actually going to do any of this because I never had a camera of any kind at that age and couldn’t even conceive of getting one. In the intervening years I’ve slowly forgotten how compelling and entertaining this series was, but I’ve just found episodes on Youtube and I’ve fallen in love with it all over again! You don’t have to be an actual or potential animator to enjoy it – there’s plenty of humour along with really illuminating insights into the world of animation and even film-making in general.

And, hey –  now I have more than enough technology to make animations – cameras, computers, lights! Even pencils and pens… if I can find them.

Pity I can’t draw.

Rather strangely, I wrote this blog on 22nd February 2013 and felt a little silly for including Bob Godfrey in what was supposed to be a tribute to Richard Briers. I even checked Wikipedia to see if Mr. Godfrey was still alive and found that it said he was. But today (23rd Feb) I was looking at the Facebook page for Roobarb and discovered that he had also died – on 21st February, just four days after Briers. A strange coincidence and very sad to hear.

So I’m now editing this post slightly to reflect the fact that it really has become a double obituary to both of these great men.

The Good Life, with Briers cast as the “back-to-nature” suburbanite Tom Good alongside his (usually) equal-partner, wife Barbara (played by Felicity Kendal) may seem very gentle to young modern people and hipsters, but it really did deserve its massive popularity and acclaim. It was one of those “perfect” sitcoms, like Dad’s Army or Fawlty Towers where each cast member is flawless in their role and there’s not a flat joke or wasted beat.


After a lengthy TV career, Briers also appeared in a number of Kenneth Branagh‘s stage and film adaptations of Shakespeare.

Not surprisingly, for anyone familiar with his roles, Briers appears to have been unfailingly likeable in real life. According to critic Michael Coveney, writing in The Guardian, Briers was “always the most modest and self-deprecating of actors, and the sweetest of men… Although he excelled in the plays of Alan Ayckbourn, and became a national figure in his television sitcoms of the 1970s and 80s, notably The Good Life, he could mine hidden depths on stage, giving notable performances in Ibsen, Chekhov and, for Kenneth Branagh’s Renaissance company, Shakespeare.”

Richard Briers as Tom Good from the Good Life
Richard Briers as Tom Good from the Good Life

Catapult Song Contest 2012 is now open for entries!

ATTENTION AUSTRALIAN SONGWRITERS – It’s time to enter your best song into the Catapult Song Contest!

I still haven’t quite got over the fact that my song ‘I Am Still The Same‘ won two of the top prizes in last year’s Catapult Song Contest, and I’m still reaping the benefit of my prizes, but already the 2012 contest has opened for entries!

I can’t put a song in this year as I’ve been asked to be one of the judges, which is an honour I was glad to accept. You can see the judges’ profiles here.

For winning two prizes, I received (among other things) two CD replication packages, and I used the first one for Marjorie’s album ‘In Another World’.  I’m busy recording my next album which will also be manufactured for free by the kind people at Replicat! Nice

They’ve been really good to work with, with great communication, good feedback, a very well laid-out website, and a beautiful end-product, so if you’re looking for top quality CD duplication/replication at very competitive prices, go to the Replicat website at www.replicat.com.au or visit their showroom in Richmond (Melbourne). And no, I don’t get commission, I’ll just be eternally grateful for the valuable prizes they donated!

It’s Replicat who run the competition and, while last year’s was very well organised, they’ve made a lot of further improvements to the way it’s set up this year. As they put it on their website:

“We’ve listened closely to your feedback and there’s a long list of new features: new rules for voting and judging, super-fast cloud servers, great search functions, amazing artist pages, direct links for your fans to vote easily and a beautiful new Catapult application works equally well on mobile phones, Facebook, desktop browsers and everything else.”

As they mention, every entrant will have their own Artist Page, and even though I can’t enter, I have my own which you can see (with last year’s song) here (and there’s also a screenshot below.)

So if you’re an Australian songwriter, go to www.catapultsongcontest.com.au now, check out the different ways to enter and to win, and get your best song in there. Last year I didn’t think I had any chance and yet I came out on top, so this year it might be you!

Good luck! ~ DC

DC's artist page at the Catapult Song contest website.