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| Kara DioGuardi composes a song with Dave Allan (r.) in Los Angeles. Gerard Burkart/Special to The Christian Science Monitor |
The go-to song guru
As a songwriter for hire, Kara DioGuardi is on speed dial for Gwen Stefani, Avril Lavigne, and, most recently, Britney Spears.
By Judy Coleman | Correspondent of The Christian Science Monitorfrom the October 26, 2007 edition
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Los Angeles - It takes a village to make a Top 40 hit, and, today, there's a town meeting at the Chalice Studios in West Hollywood. The songwriter in chief is Kara DioGuardi, the project is a British soul singer named Lemar, and the goal is clear: write an American pop hit, from scratch, before the day is out.
This is a typical day for Ms. DioGuardi, the brains behind the blondes, brunettes, and boy bands who populate today's music charts. At 36, writing songs for artists half her age, DioGuardi is the Diane Warren of the US Weekly generation. Most recently, she wrote and coproduced two tracks on Britney Spears's new album, "Blackout" – songs that may well save the flailing starlet's career.
Since she scored her first hit with Kylie Minogue's "Spinning Around" in 2000, DioGuardi has developed a diverse clientele and a staggering portfolio of hits, including Christina Aguilera's "Ain't No Other Man" and Gwen Stefani's "Rich Girl." With over 60 songs on her résumé, she was named 2007's Pop Songwriter of the Year by Broadcast Music Inc., the industry's performing-rights organization.
"I go to Kara with every record I make, and it was no different with Britney," says Teresa LaBarbera-Whites, vice president of A&R for Jive Records, which releases "Blackout" on Tuesday. She's very much about keeping it believable and real for the singer. I knew Kara would be a great creative force around [Britney], and she was."
Today, DioGuardi is figuring out what, exactly, Lemar wants to sing. He brought in one of his own songs, "Mayday," which DioGuardi asks the engineer to blast from the speakers every time a new person stops by the room. "I listen to it in the car over and over," she gushes, "I'm going to try to get it on 'Grey's Anatomy.' "
DioGuardi's enthusiasm for her clients is sincere, and, accordingly, she feels free to tell them when a song doesn't work. Sitting on the floor of the tiny mixing room, legs splayed, playing with her pet chihuahua, she bobs her head as she evaluates some sample tracks Lemar has brought with him. "I don't hear this for you," she says, shaking her head at a synth-heavy, Timbaland-type track. Another song seems promising, but DioGuardi looks puzzled. "These chords aren't resolving properly," she concludes.
Dressed in winter boots, black leggings, and a long, grey sweater, DioGuardi is petite but easily commands the room with her magnetism. Everyone, including the chihuahua, follows her to a studio room across the hall to get to work. She's decided to make a song out of thin air.
"There's a trend going on right now – the street is taking over pop," DioGuardi says in an interview at her Hollywood Hills home earlier in the day. Today's hits, she explains, come from "sitting in a room, having a producer pull up a beat and just vibing it out, in the realest, most in-the-moment way." As an example, she cites Rihanna's hit, "Umbrella," which was produced by Christopher "Tricky" Stewart and Terius "The-Dream" Nash.
"The days of [saying], 'Conceptually, we should write a song called 'Umbrella,' and it'll go like this,' are over. Kids are too hip to that game," she explains. "You'd better be real or you'll get tossed out."
DioGuardi might seem an unlikely candidate for taking the temperature of the "street." Born and raised in Westchester, N.Y., she earned her degree in political science at Duke University before flying to Los Angeles to take a job at Billboard. A singer since age 2, she used her Hollywood network to get her songs into the hands of label executives. Though her own recording deal later fell through, the songs had a life of their own.
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