Dianne Joy’s arrangements and performances of songs written by other artists are drawn from many genres, eras and musical styles.

DJ's Original Songs

“Breathe” is a love song written by Stephanie Bentley and Holly Lamar. Faith Hill released it in 1999 on her album of the same name, which received Grammys in 2000 for Best Country Album and Best Country Female Performance. It was among the first crossover hits, topping Billboard’s Hot Country chart as well as several Billboard pop charts. It was named the #1 single of 2000 on Billboard’s year-end countdown.

"A Place in the Sun" was written by Brian Wells and Ronald Miller. It was first recorded by Stevie Wonder in 1966 at age 16. He later recorded a version in Italian, in the song titled "Il Sole è di Tutti" (The Sun is for Everyone). In 1968, it was a hit for Glen Campbell, and that year was also recorded by the Four Tops, The Staple Singers, and Diana Ross and The Supremes joined by The Temptations.

Sometimes songs seem like they were written to go together. For me, that’s the case with the Patsy Cline hit, “I Fall to Pieces” and “For the First Time” by Jessi Colter. The styles of the songs are very different. Cline’s has the lush sound of 1961 Nashville, backed by The Jordanaires quartet. Colter’s is pared down with an old-time barroom feel, reflecting her status as one of the few female members of the 1970s outlaw country movement. But the chords, rhythm and words of the songs flow seamlessly, telling the story of heartbreak, turning into optimism and walking in sunshine.

John Prine's songs speak of the simple joys, absurdities and heartbreaks of everyday life. I love his sweet song, "I Just Want to Dance With You," which he wrote with Roger Cook and recorded on his 1986 album, "German Afternoons." The most widely known version is by George Strait on his 1998 album, "One Step at a Time."

In 1962, Ian Tyson wrote his first song, “Four Strong Winds.” He says Bob Dylan had just played him a new song, probably Blowing in the Wind, and Ian thought, “I can do that.” The next day he took his guitar to his manager’s apartment, and strummed some ideas and in 20 minutes, he wrote the song. In 2005, CBC radio listeners chose it as the greatest Canadian song of all time on the program, 50 Tracks: The Canadian Version. Some folks consider it the unofficial anthem of Alberta.

In 1958, Roy Orbison was writing songs for other artists, but still didn’t have a hit of his own. Roy, his wife Claudette, and baby son Roy DeWayne were living in a small apartment, and those surroundings weren’t conducive to creative thought. So, Roy began sitting in his car with his guitar to write songs. One day, an acquaintance, Joe Melson, tapped on the window and suggested they collaborate. That partnership lasted for many years and produced some of the greatest songs of all time including Roy’s first hit in 1960, “Only the Lonely.”

I’m joined by my friend, Jude, in a duet of “Ripple” by the Grateful Dead, originally released on their 1970 album, “American Beauty.” The recurring line, “ripple in still water” draws on a Zen phrase about an occurrence with no explanation. Throughout the song, the lyrics reflect the seeming contradictions around us. Robert Hunter said the favourite line he wrote ever, is "There is a fountain that was not made by the hands of man." Gerry Garcia was inspired to compose the music when he saw a far-off sunrise while travelling in Canada on the Festival Express train in 1970.

Roy Orbison’s songs don't follow the standard structure of radio pop songs: verse-chorus-verse-chorus-bridge-verse-chorus. Roy said this was because he never learned how to write songs. “Being blessed with not knowing what was wrong or what was right, I went my own way. … So the structure sometimes has the chorus at the end of the song, and sometimes there is no chorus ... it sounds natural and in sequence to me.” An impressive example of this is his song, “In Dreams,” which builds to a crescendo with every section a different structure.

“I’ll Be Seeing You” was written in 1938 by Irving Kahal, with music by Sammy Fain. It was a major hit for Bing Crosby, as well as Frank Sinatra with Tommy Dorsey and his Orchestra. In the 1950s, it was the theme for Liberace’s TV show. The soundtrack to the “The Notebook” has two iconic versions of the song - opening with Billie Holliday and the Jimmy Durante rendition at the end.