Singer/Songwriter Bruce Sudano Gives a Master Class on Songwriting from Dolly Parton to Donna Summer to His New Single featuring Valerie Simpson

Singer/Songwriter Bruce Sudano has over 400 cuts of his songs from Dolly Parton, to Reba McEntire, to Michael Jackson, to his iconic hits with his late wife, Donna Summer. This legendary wordsmith is certainly bound for the Songwriters Hall of Fame. Sudano recently completed a demanding UK Tour, playing 13 shows in just three weeks. As he returned to life off the road, he sat down with us to discuss his illustrious career. We cover a lot of ground, including his songwriting process, his latest single with Valerie Simpson, “Two Bleeding Hearts,” and his upcoming album coming this fall, Talkin’ Ugly Truth, Tellin’ Pretty Lies. From discovering a passion for songwriting to navigating the ups and downs of the creative process, Sudano is candid with his insights and the lessons he has learned along the way.

Q: When did you start songwriting? How old were you? Did you train, or did it come naturally to you?

I started writing when I got into high school. I would be bored in science classes, and I began writing poetry. Soon after, I started putting bands together in my Brooklyn, NY, neighborhood and began writing songs for them. I was in love with the idea of being a songwriter. I just thought that it would be the coolest profession to have. Luckily it did come to me naturally. My father had a jukebox business, and he was constantly changing out the records in the jukebox. So I had access to all these 45s and became intrigued by the songwriters’ names listed on the labels underneath the song title in parentheses. I learned song structure, chord progressions, rhyming patterns, concepts and perspectives by listening. I learned the idea of storytelling. Since then, it’s been the ongoing evolution and striving to get better and to more and more refine the craft.

Q: Which instruments do you play/compose on?

I generally write on acoustic guitar or piano.

Q: Where do you write?

If I’m alone in the house, I’ll sit on the couch in the living room, or otherwise, I have a room set aside to be a studio.

Q: Has the location changed?

Generally, the location doesn’t matter that much as long as I have an instrument and a space where I feel alone enough to daydream and vibe. I’m not necessarily somebody who needs a title to start writing. Frequently I work through a stream of consciousness to see what surfaces. Then, once I stumble onto a bit of inspiration, I shift into craft mode, determining what I’m trying to say, and what’s the most effective way to say it and sing it.

Q: Do you keep a journal of ideas saved for later, or is writing more stream-of-consciousness for you?

I don’t keep a journal anymore these days. If I have a thought or some lines that come into my mind, I’ll simply type them into my phone.

Q: What is your writing schedule? Are you super disciplined in writing at certain times every day or more when inspired? Mornings or nights?

When I get into the songwriting groove, typically, I’ll start in the morning just by picking up the guitar and seeing if I stumble onto anything. If nothing new happens, I’ll just practice singing some songs that I’ve already written that I usually perform at shows just to keep that fresh and strong and then come back around to the songwriting to see if there’s anything. Once I find an idea that I find inspirational, the following days will just be a refinement of that idea until the song is finished. So let’s say I come up with an idea on Monday; usually, by Friday the song will be done, at least in my mind. Sometimes it can be quicker, but I feel that is a good time frame for starting and finishing a song. It gives me a chance to flush out the subtleties of what I’m trying to say, the best way to say it, and how well does it sing. Often I ask myself, “ Is there a more poetic way to say it?”

Q: How has your songwriting process evolved over the years?

I think the biggest evolution of my songwriting over the years has been in terms of simplicity. When I was first starting, I tended to overwrite too many parts, an unrealistic story, writing about things I knew nothing about. I was working too hard to conjure things up. Now I tend to work from a real-life, real-emotion, direct kind of way. I want the audience to not only understand but also feel what I’m writing.

Q: Do you write by yourself or co-write?

Over the last decade, I’ve almost exclusively written alone. Co-writing is something that I’ve done from the very beginning of my career, and you could say my most successful songs have been co-written, but at this point in my life, I want to get to the bottom of how good I can be on my own. I enjoy the challenge of exploring my soul, to see what I think and feel, and how well I can translate that into a song.

Q: If you co-write, do you have any fun or favorite stories for a magical songwriting session?

I enjoy co-writing, but too often, I found myself frustrated by having to make compromises that I didn’t feel were best for the song. My opinion is not necessarily any better than someone else’s; these things are subjective, but I can be someone who will too easily acquiesce to someone else’s idea in those situations.

Q: Any advice for up-and-coming songwriters? Is there one lesson you wished you had learned sooner?

Maybe it’s not to stress when there is nothing there. I think stressing about that is counterproductive, but over time you learn to just relax and know from experience that, at some point, the muse will show up again.

Q: Do you have moments when an idea for a song does not work out?

Sure, but usually if I lock onto something, it won’t leave me until it’s finished. The song stays with me regardless of what I’m doing; there’s an inner dialogue going on inside me, even if I’m at the supermarket.

Q: How do you deal with letting go of that idea, etc?

If it doesn’t come, I’ll put it down, go do something else and then sneak back up on it.

Q: Has there been a moment where a song just poured out fully formed? Can you tell us about it?

Yes, it happens, but I frequently tell one story about a song called “I’m a Rainbow.” It is one of those songs that just poured out in one sitting. I don’t know where it came from, and it doesn’t seem to be a song I would typically write.

Q: You have had your songs cut over 400 times. How do you pitch your songs to other artists?

I must admit that I am not very good at pitching. I never really learned to do that well. The things that I’ve got cut have generally happened by serendipity. I don’t recommend that method, because I know others who are very proactive in pitching their songs and have succeeded with it. I think Irving Berlin is the master example of that.

Q: Do you write with a particular artist in mind, or are you writing for yourself?

As I think about it, I’d have to say I’m always writing for myself, speaking from the lyric side of things. It’s my fault; it’s my emotion. It’s my point of view and, hopefully, something that artists can relate to when it comes to the melody. That’s where you have to be, a little more artist specific. In that, I’ve had the great gift of being able to write for some great singers, so in any melodic sense, there were more things I could do than when I’m just writing for myself.

Q: Let’s turn to your new music now. How did the single with Valerie Simpson come about?

I wrote this song, “Two Bleeding Hearts,” and when I finished it, it struck me that it would work well as a duet. I had no idea who the duet partner would be, but for some reason, Valerie popped into my mind. I sent her the song, and she agreed to sing and play on it. It was just that easy. It’s a beautiful record, and I’m flattered that she agreed to do it with me. She’s a living legend. A songwriter, super talented, and very generous.

Q: What is your favorite Valerie Simpson song?

I’m not sure which is my favorite, but the one I sing the most is probably “Ain’t Nothing Like The Real Thing.”

Q: Did you know Ashford & Simpson, or is this your first time working with her?

It’s the first time we’ve ever done anything together. I met Valerie, I think it was back in the 90s when I lived in Connecticut.

Q: What do you enjoy most in your creative process — writing, recording, or performing live?

For me, if I had to put it in order, I would say that I enjoy writing the most, second would be performing live, and last would be recording, although I thoroughly enjoy every aspect of the process.

Q: Who is the producer you are working with now?

I’ve been working with Ken Lewis on the new album. It’s our first time working together, and it’s been a good experience. He understands what we’re trying to accomplish and finds ways of doing it that I wouldn’t necessarily expect, and I like that.

Q: Do you like a producer who takes charge or a producer who is more of a creative partner?

One who is a creative partner. When I write a song, I certainly have an imagination and expectation of what I want it to be and how I want to hear it, so working with someone who understands the vision and brings their sense of imagination to that is a great asset.

Q: Do you play on your albums, or do you prefer to hire studio musicians? Combo of both?

I almost always play acoustic guitar on my records. Typically it’s the foundation of the song II wrote, and I like to build from there.

Q: What is next for you? More singles an album?

A new album coming this fall. It’s called Talkin’ Ugly Truth, Tellin’ Pretty Lies.

Q: In three words, what would be your mantra?

Keep showing up…