Soraia
Interview conducted on Feb. 22, 2022
By Dan Locke
Philadelphia rock band Soraia has released a new cover of The Knack’s “My Sharona”, the follow up to their 2021 single “Tight-Lipped” which cracked the Billboard charts all the way up to #23 and gained support from commercial Active Rock stations around the country, including WMMR (Philadelphia), WRIF (Detroit), WRAT (New Jersey), WDHA (New Jersey), KCAL (Southern California), KFMA (Tucson, AZ), WWSK (Long Island, NY) and SiriusXM’s Underground Garage channel, among others.
ZouZou Mansour – Lead Vocals, Tambourine
Travis Smith – Bass Guitar, Backing Vocals
Mike Dudolevitch – Lead and Rhythm Guitars, Backing Vocals
Brianna Sig – Drums, Backing Vocals
John Hildenbrand – Keys
You are from Philly. What is your upbringing?
ZouZou Mansour: Well, I grew up with two parents who grew up in Belgium and Egypt and then moved here as adults, so I have some cultural diversity in my background for which I am extremely grateful. I’ve visited both countries and spent a great deal of time in Egypt, which has opened my eyes to differences and similarities in both culture and people.
Growing up in Philadelphia means you root for The Eagles whether you’re a football fan or not. It is the way.
There comes great pride and responsibility with growing up in the Philadelphia area! Plus, let’s not forget, a great history of music and musical achievement, too.
How did you discover music?
When I was very little, I remember wanting to sing in front of my school–so I finally did when I was in 2nd grade. My parents turned me on to all types of music before that, believe me.
Very early on in life, music spoke to me on a deep level. It’s always been that way, so I can’t even imagine it any differently now.
How did you start to write music?
I just got the idea in my head that I should write a song around 7 or 8 years old. Just an inner nudge, so I did. There wasn’t a lot of deliberating–I just got to it.
It was called “Push It”.
How did your band form?
I always envisioned myself singing as part of a group. Even when I sang on stage in 2nd grade, I brought a friend up to sing with me. It was never something I saw myself doing alone. You have to trust those things when they come to me.
So, I put ads out to fins musicians until I finally found the right ones, and we started playing shows. But I began with just my voice and an acoustic guitar–which–thank God I did. I would’ve never learned to sing in key, otherwise.
How did you get your band’s name?
Actually, the first time I submitted songs for a gig was to a place called “Grape Street Pub” in Manayunk, PA. I had to give them a tape of three songs, so I just put my full name on the tape (“Soraia” is my first name) like it was a homework assignment or something–and it just took.
Describe your music.
That’s a difficult thing to do. I’d just say it’s a lot of pure, raw, human energy played through instruments.
We are at our core a rock n’ roll band if I had to define it. We came up by doing shows live, so that has really molded us.
What was your first performance like?
Terrifying. I don’t think I stopped shaking once. I was highly aware of who and where I was, and how many people were looking at me – which was incredibly uncomfortable.
That was 2nd grade, and yet, I couldn’t wait to do it again.
Royalties never appear like magic. Royalties are only sent to you through work undertaken by a PRO to ensure that their members are getting paid. If you’re not yet signed up to a Performing Right Organization like ASCAP, BMI or SESAC, you may not be receiving all the royalties you deserve.
Do you belong to any to songwriters’ organizations like the International singer-songwriter association, SESAC, BMI or ASCAP ?
Yes, I belong to BMI for my songwriter’s and publishing, and I also belong to a few other organizations to make sure we are seeing our performance royalties and copyright holder royalties. And there are a few more I’ve added over the years.
What makes a good songwriter?
Just believing you are.
There was a point early on in my singing when I knew I had to really focus on songwriting. Mainly, I wanted to go from expressing myself to really feeling like what I was doing was connecting with people – whether they be listening to the song recorded or experiencing it live.
So, I had asked that question to Billy Falcon when I was really studying the craft, and he said he knew he was a songwriter because he believed he was. What a great thing to really know. I took that in and started believing this is what I was meant to do, so I did it like that. Funny how action really follows a firm decision like that. There were a few years (2010-2013) where all I did was write songs with other people. It was really lifechanging for me.
What was the title of your first original song? Did you record it?
“Push It”, and I don’t think I ever did. I just wrote it and edited it and sang it to myself. I remember feeling really excited about it, though!
What is the process of writing your music?
I usually sit with my main collaborator, Travis Smith, after he sends me a musical idea and I’ve written a melody and lyrics to it. We bang out ideas together, then try arrangements–we tend to write most of our bridges together, I notice. But it usually takes 2-3 sit downs to really get the song ready for the band to hear and add their thing to.
You have co-written with the likes of Jon Bon Jovi and Steven Van Zendt. How was it working with people like these?
It was liberating. Once you know you can trust a fellow writer in how they write, and that they aren’t going to do it like you do, then you’re ok. Everyone I’ve written with has taught me something about writing and life, really. The experience is always more than just the song that comes from it. There’s definitely been moments where I’m hyper-aware of myself and forget that no one expects me to have all the answers. I’ve come to realize that the more you stay out of the way and let the magic happen, the better off the song will be. And you become transformed from the experience, too. These guys know what they’re doing, and it’s easy to feel like a non-entity at first. But that’s never been the case. Ultimately, it’s two voices and ideas clashing and collaborating on one theme–I’m really lucky I’ve had the opportunities I’ve had, but at the same time, I know there will be so many more that I’m excited for what’s next.
Have you had the chance to eat at Jon’s restaurant?
Absolutely. It’s a wonderful experience and I hope everyone goes to eat and contribute in some way! You know your part of something bigger and better at work there.
How was it to open for Joan Jett on her birthday in New Jersey?
Phenomenal. We are all big, big fans of Joan Jett and The Blackhearts. I gave her a Hot Wheels truck I had with her band’s name on it for her birthday and told her it got me through some tough times in my career thus far. She loved it!
Funny thing, I got another one a few weeks later from a fan. Things find their way back to you!
Tell me about “My Sharona”?
Well, I knew we had planned on recording a song written by a Swedish songwriter/producer (Sören Karlsson) when we were touring Sweden for the first time, and we decided we should also record a cover, like a legitimate A/B side, vinyl-style recording. We had just finished recording our upcoming album that week before we flew to Sweden, so I had no time to figure it out. I was driving to get some groceries and heard the original ‘My Sharona’ by The Knack on a playlist I had been listening to, started singing, and VOILA! I had so much fun singing it, I asked the band if they were down to record it. All said yes. So, we recorded it at The Dustward in Stockholm, Sweden, in November 2021. Easiest decision I’ve made this far!
What is your favorite track on your album?
Since the album doesn’t release until October 2022, I’d say my favorite right now is our first single from it (which is already out there in the ether): “Tight-Lipped”.
There are so many reasons why I love that song—but suffice to say, that song is near and dear to my heart. The second one is ‘I Seek Fire’ (not yet released) because I love what it’s about.
What are your feelings about streaming music?
It isn’t going to have the warmth or personal connection that listening to a song on vinyl does. In fact, I prefer hearing songs on vinyl first before streaming, but it doesn’t usually happen that way . Either way–the important thing is you hear a song, and you connect with it, that’s what matters to me at the heart of any new music. I just appreciate the sound quality of vinyl way more, as well as the personal experience that comes with holding thee record and reading the credits. It’s a really gratifying thing.
But I’m all good with streaming, too. Especially in the car, I love streaming while I drive.
The symbol # is known as the number sign, hash, pound sign and a sharp sign in music. The symbol has historically been used for a wide range of purposes Since 2007, widespread usage of the symbol to introduce metadata tags on social media platforms has led to such tags being known as “hashtags”, and from that, the symbol itself is sometimes called a hashtag.
Are people forgetting that the # is a part of music?
I don’t think so. Anyone who plays piano, stringed instrument, or anything where you have to read music for notes or key signatures knows what that symbol is. It’s the first thing I think when I see a # symbol.
Digital vs. vinyl?
DEFINITELY VINYL
What song from the past is in your mind right now? Moreover, what is the meaning that song means to you?
‘This Time I Know It’s For Real’ by Donna Summer. It just makes me happy–I don’t even remember where I first heard it….
If “Video Killed the Radio Star” do you think that the Covid-19 virus has killed live music? Do you feel the Covid-19 virus going to affect the music business in the future?
I don’t think it’s killed the music business, no. Nothing can. Music is life. Period.
I do think it’s changed it a bit. I think the fact more artists livestreamed and connected that way with their fans when there wasn’t another option allowed us to access one another in both a more personal way, and a new way. Something attainable maybe only by artists with access to expensive video cameras and teams became something we had to all figure out (on different scales) as artists who want to communicate and connect. I think it’s ultimately a good thing. Staying connected is what it’s all about.
Do you think that Covid-19 has been a plus to an artist career?
I think it showed all of us both what we were capable of, and where our weaknesses lie. So, yes, I think ultimately it allowed us room to really see what we needed and what we were capable of, aside from what we missed the most: our musical communities.
What have you been doing with your self-quarantine?
I watched a TON of television and movies I hadn’t had the time to see — and I both learned and wrote songs. I went on long hikes and started running and discovering new things that have both continued and been short-lived.
I also went through times of hopelessness. It was a myriad of feelings and experiences over a year plus period.
How do you stay healthy during the lockdown?
I worked out and kept moving when I didn’t want to, I ate the best I could, and stayed connected with others. Staying connected was the most important because once my emotional and mental health goes, the rest goes with it.
Have you discovered or rediscovered any new hobbies?
Definitely running and biking. Both of those are things I never really did much before quarantine.
Recently the virus has come back with the Delta outbreak, then Omicron, which has caused many people in the industry to worry about the future of live music.
How would you like live shows to be held and still keep you and fans safe?
There’s never going to be a perfect way to do that. We are all doing the best we can with what new information we receive, and at some point, we are all taking on some risk in rehearsing, playing, and interacting, but at the same time, I feel it’s inevitable if we are to return to any form of normalcy. Keeping an attitude of keeping others safe motivates my decisions more than what I feel like doing–because those changes very often.
Is pay to play still a thing? Now pay to play also means thinks like playlist on the internet and opening slots for a major band on tour.
I’m guessing as long as there are bands in the world, there will be promoters who want to capitalize on that. Wherever and whenever they can. I’ve found there’s some real good people in the world, too. Joan Jett paid us out of her pocket once to open for her when she found out what the venue was paying us.
How was Egypt. I see you hold Eleanor the cat in the studio?
Egypt was PHENOMENAL! As always–I grew up in the summers there, so it’s my 2nd home.
And Eleanor is one of the most beautiful creatures I have ever met.
Are you ready to tour Sweden?
Always.
The show Star Trek introduced people to the holodeck: an immersive, realistic 3D holographic projection of a complete environment that you could interact with.
Today holograms are already being used in a variety of way, such as medical systems, education, art, security and defense
Performers like Tupac, Michael Jackson, Roy Orbison, Frank Zappa, Elvis Presley, Amy Winehouse, Buddy Holly, Ronnie James Dio, Marylin Monroe, and Whitney Houston have done it already. The band ABBA just announced that they will be doing a comeback together after nearly 40 years as holograms on their next tour. With ABBA it was with the help of George Lucas .
If the cost was down to the point you could do it also, would you be willing to do Holographic concerts in our living room?
HELL YEAH! Anything that’s fun and not hurting anyone and helping people works for me. I don’t think there’s a danger to the human element of music and the real connection that happens face-to-face and just being in the moment with real people in a real concert. I know nothing can take its place. At least not at a rock show, in my opinion.
But to me, it’s invigorating that there are all these other ways people can interact with their favorite songs or artists. Maybe I should rebel against anything non-human, but I don’t know. I like to keep an open mind. I imagine if there wasn’t a demand for it in some way, it wouldn’t exist. And I’m a believer in the idea that real things with truth and honesty will always last–even if they disappear for a minute.
In the past if a musician stop doing music they find a new career. For example David Lee Roth from Van Halen became a licensed EMT in NY for 6 years, San Spitz (guitarist for Anthrax) became a master watchmaker, Dee Snider (Twister Sister) voice over work for SpongeBob SquarePants.. If you can’t do music what would you like to be doing?
I’d be teaching literature because the written word has my heart. Words are extremely powerful tools and keeping stories, literature, and poetry alive from one generation to the next is really important to me. It’s what inspired me to write lyrics: A poetry class–really — a poetry exercise. So, it’s important.
What is your happy place?
Sitting with my cats on a Sunday listening to a record, or meditating, or reading a book of poetry. Simple things. Hanging with a good friend. Seeing a movie. A great art museum visit. Even just a jog at the park makes me happy. And of course–being on stage and hearing people sing lyrics back to me! That’s a REALLY HAPPY place to be!
Red Hot Chili Peppers are about to sell their entire song catalog for $140 Million. In the past year a lot of musicians such as Stevie Nicks ($100 Million) , Bob Dylan (over $400 Million), Taylor Swift, Journey, Def Leppard, K.T. Tunstall, John Legend, ZZ Top and Shakira have sold their catalog right. Bob Dylan sold his entire catalog for a reported $300 million. Neil Young sold 50 percent of his worldwide copyright and income interest in his 1,180 song catalogue to Hipnosis Songs Fund limited . Once you get to the age of about 70. Publishing is far more lucrative than the mechanical royalties paid to artists based on sales, airplay and streams. A good example of this is Michael Jackson bought the rights to the Beatles catalog in 1985. And in the late 80’s the Beatles Revolution appeared in a Nike commercial.
The lump sums being offering by publishing firms are more tax friendly concerning estate planning.
On January 19, 2021 Hipgnosis Song Management acquired 80% of Kenny Chesney’s recorded music royalties, covering the country superstar’s discography from his 1994 debut In My Wildest Dreams through 2017’s Live in No Shoes Nation.
Someone who was totally against selling his rights was David Crosby. He did not want to sell his publishing rights. In addition, it was not an easy thing for him to do. However, by making a deal with Irving Azoff’s Iconic Artists Group, it took a big weight off his shoulders. He could pay off his house and cover other bills. Now he does not have to work for a living. It should be noted that David is battling tendinitis in his hands, which hurts his ability to play guitar.
Do you think you would be willing to sale your back catalog if someone like Universal is will to buy everything, such as all the rights to all your songs?
I think it would depend on when and what was happening at the time. Also, I would want to know what the band wanted to do. My co-writers. As in everything, there’s a time and place, so for me to say “absolutely not – no way” could be untrue a few years from now. I know right now I wouldn’t –but there’s so much to do with it still, and I love having the ultimate decisions with what to do with the music. The possibilities are endless. But if the right partner came along and wanted to help our music get into things we couldn’t and wanted to–then of course we would be into doing that.
