Marshall puts herself into new recording

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Amanda Marshall is no stranger to Canada's rock fans. Her self-titled debut disc saw to that. In this country, the '96 recording yielded seven singles in the top 10 while chalking up sales of more than 800,000. In the U.S., it sold more than 300,000 copies, establishing her as a female artist with pop-rock potential as big as her voice.

Even members of rock's royalty, like Elton John, sang her praises.

Yet the private Amanda behind her high-profile persona was a stranger to one and all, even herself.

In interviews, she talked about music solely in industry terms. Music, to her, seemed more about product than passion.

Marshall's got more of a handle on her heart these days and it's reflected in her music.

Previously a fledgling songwriter at best, the Toronto-based artist had a hand in writing her entire new album, Tuesday's Child, which hits stores Tuesday.

She's emerged from the years of constant touring -- "it was a lot like signing up to join the circus" -- far more aware of her feelings as well as of expressing them more in her music . . . and conversation.

"It turns your life upside down," says Marshall. She felt more detached from family and friends. As is often the case with life on the road, Marshall found people passed quickly in and out of her life.

"It's a rollercoaster ride," she says, but one that ultimately made her "more reflective."

From that introspection emerged something that caught even her by surprise -- songwriting.

Marshall had never considered herself a real songwriter. She says she wrote one of the hits on her first CD -- Sitting on Top of the World -- in 10 minutes. Another, Dark Horse, came to her half finished.

She began to think more about songwriting when she noticed that, in concert, "the songs eliciting the strongest reactions from people, the songs people really seemed to connect with, were the ones I had written.

"So I got a notebook and started writing everything down . . . the thing is that when you're 19 or 20 and start making your first record, often times you don't really have a lot to say. I'm 26 now. A good chunk of my experiences have happened since the first record."

Marshall's confidence as a songwriter, and as a person, has resulted in her co-writing most of Tuesday's Child with Eric Bazilian (one of the disc's producers, along with Don Was and Kevin Shirley).

She also co-wrote Right Here All Along, with Carole King, famous for such hits as Will You Still Love Me Tomorrow and Up on the Roof.

Marshall considers Tuesday's Child "a musical left turn," but one that picks up where her debut disc left off. Fans shouldn't have any trouble making the jump from Amanda then to Amanda now.

There are still plenty of catchy pop-rock melodies and up-tempo power ballads that should place her in the same vocal company someday as Celine Dion.

Another positive development is the emotionally confident and more powerful way Marshall delivers her lyrics concerning love, love and love -- the result of writing them herself.

Some work well, conveying some of the personal insights she's picked up over the course of an eight-year relationship. Some are still too plain, even trite. Still, Marshall's first steps as a songwriter find her moving in the right direction.

"I passed off writing and playing as things I just thought I couldn't do. I think the best discovery you can make, and the earlier the better, is to discover the things you haven't done are just the things you haven't gotten to yet.

"They're not out of your reach. You just have to get off of your ass and try. That's when you discover new strengths about yourself."

- Amanda Marshall's sophomore recording, Tuesday's Child (Epic-Sony), is in stores Tuesday, May 25.

- Marshall performs June 24 at the Jubilee Auditorium. Tickets are on sale for $35 (not including service charges) at TicketMaster.


	Marshall put herself into new recording James Muretich, Calgary Herald --------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Amanda Marshall is no stranger to Canada's rock fans. Her self-titled debut disc saw to that. In this country, the '96 recording yielded seven singles in the top 10 while chalking up sales of more than 800,000. In the U.S., it sold more than 300,000 copies, establishing her as a female artist with pop-rock potential as big as her voice. Even members of rock's royalty, like Elton John, sang her praises. Yet the private Amanda behind her high-profile persona was a stranger to one and all, even herself. In interviews, she talked about music solely in industry terms. Music, to her, seemed more about product than passion. That's no longer the case. Marshall's got more of a handle on her heart these days and it's reflected in her music. Previously a fledgling songwriter at best, the Toronto-based artist had a hand in writing her entire new album, Tuesday's Child, which hits stores Tuesday. She's emerged from the years of constant touring -- "it was a lot like signing up to join the circus" -- far more aware of her feelings as well as of expressing them more in her music . . . and conversation. "It turns your life upside down," says Marshall. She felt more detached from family and friends. As is often the case with life on the road, Marshall found people passed quickly in and out of her life. "It's a rollercoaster ride," she says, but one that ultimately made her "more reflective." From that introspection emerged something that caught even her by surprise -- songwriting. Marshall had never considered herself a real songwriter. She says she wrote one of the hits on her first CD -- Sitting on Top of the World -- in 10 minutes. Another, Dark Horse, came to her half finished. She began to think more about songwriting when she noticed that, in concert, "the songs eliciting the strongest reactions from people, the songs people really seemed to connect with, were the ones I had written. "So I got a notebook and started writing everything down . . . the thing is that when you're 19 or 20 and start making your first record, often times you don't really have a lot to say. I'm 26 now. A good chunk of my experiences have happened since the first record." Marshall's confidence as a songwriter, and as a person, has resulted in her co-writing most of Tuesday's Child with Eric Bazilian (one of the disc's producers, along with Don Was and Kevin Shirley). She also co-wrote Right Here All Along, with Carole King, famous for such hits as Will You Still Love Me Tomorrow and Up on the Roof. Marshall considers Tuesday's Child "a musical left turn," but one that picks up where her debut disc left off. Fans shouldn't have any trouble making the jump from Amanda then to Amanda now. There are still plenty of catchy pop-rock melodies and up-tempo power ballads that should place her in the same vocal company someday as Celine Dion. Another positive development is the emotionally confident and more powerful way Marshall delivers her lyrics concerning love, love and love -- the result of writing them herself. Some work well, conveying some of the personal insights she's picked up over the course of an eight-year relationship. Some are still too plain, even trite. Still, Marshall's first steps as a songwriter find her moving in the right direction. "I passed off writing and playing as things I just thought I couldn't do. I think the best discovery you can make, and the earlier the better, is to discover the things you haven't done are just the things you haven't gotten to yet. "They're not out of your reach. You just have to get off of your ass and try. That's when you discover new strengths about yourself." - Amanda Marshall's sophomore recording, Tuesday's Child (Epic-Sony), is in stores Tuesday, May 25. - Marshall performs June 24 at the Jubilee Auditorium. Tickets are on sale for $35 (not including service charges) at TicketMaster.