One Year After New Album

Looking at my site, I realized that I haven’t posted anything selfish in awhile.  Always working to network is showing by my lack of self attention.  [Insert strength and laughing face emojis.]  Since December of 2016, I’ve been approaching music with the whole focus on meeting monthly goals.

Review Goals

As with any goal setting, you have to look at your goals and see if they remain relevant, have been met, or need revision.  When reflecting, I realized that one goal was the driving force and included the other goals.  The simple idea of “each month, I want to earn $X with music” has guided me to find gigs both paying and non, network, and work smart.

When you revisit your goals and experience epiphany moments, you need to remember that music, and all artistic entrepreneurial endeavors, are fickle.  (Oh, bonus points to any music friends that can work either of those assonant examples into lyrics…before I do.)  Think about how you got to now and think about where you are going.  Ask if the goals at hand are the guiding factor.  If not, revise.  Keep things simple.

Having a simple directive has made a world of difference.  Now before I come across as Mr. he-who-sets-goals-gets-success, let me clarify.  I set a modest monetary goal.  Something doable with he amount of time I have available.  Four months into the year, I raised that goal because I met it every month.  The goal remains modest.

Examples Applying Goals

When setting up shows, I ask myself does this meet my goal in any way.  Remember that my goal has three arms hanging off of it: gigs, networking, being smart.  Let these examples demonstrate the thought process.

For a paying gig, part of a summer concert series in the community, I thought about each goal part.  The gig pays enough to meet my monthly goal, so gig check.  Since that main goal is met, other things like advertising is bonus.  For networking, making the contact in the community is good but there’s the potential in the community to gain more opportunity, so networking kinda checked.  Note that having a system that makes sense to you if you meet a goal or not is useful.  Not every goal is binary.  Usually, a kinda meets or kinda doesn’t meet split up the gray area well.  For being smart, I look at travel and set up times versus performance time, is the show of value, if I am not breaking even then what is the justification, and does the show meet my goal.  Because of the gig check and networking kinda check, this gig rated well on the smart scale.  This one gig meets my main goal, is close to home, and has value in presenting other opportunities so the a resounded check on the smart scale is made.

For a free gig, a venue that caters to original music, I again considered each goal part.  The gig is free but includes a meal and advertising, a kinda or kinda doesn’t gig check.  I looked at the rest of the month and already met my main goal.  That makes it a kinda gig check.  For networking, playing a new place always has the opportunity to meet new people but based on factors like location, opportunity is tougher to guess, so kinda doesn’t networking check.  For being smart, I’m looking at being at a new place and having fun with originals only.  The performance times are great–which to older or day-job musicians means early.  The distance is reasonable.  This goal part seems to be a kinda smart check.  So, to play or not?  With two kinda checks, I reiterate that my main goal has been met and that weighs in favor of doing the gig.  I’ll get the answers to questions about the gig’s value and will have more information to use to base booking again at the same place.  As most musicians will say, I’ve done more for less before.

Here’s another example, meeting with a venue manager to set up a free gig that may lead to paying gigs.  I can feel your spidey senses responding to this one.  For those starting out, this is a common ploy for free entertainment.  Looking at their site and social media, they haven’t advertised any music event in 10 months.  So, my process changes a bit with this situation.  Meeting with the manager, in about 90 minutes as of this typing actually, I want to ask what’s the metric for moving from free performer to paid performer and how often performers move from free to paid gigs.  That information will help evaluate the rest.  Now, based on the free gig example, I’m leaning toward playing for free.  I think of it being similar to an open mic that may lead to a gig.  Also, a venue that had been one of my main bread and butter gigs is changing who handles their booking and is considering their live music budget–information that typically means you probably won’t be playing there anymore.  They have a juke box and I always wonder how they justify the expense of live music, so I understand their decision.  I mention that information to show that since I lost a paying gig and this situation may replace that, I’m very interested.  The times for a free gig will likely not interfere with a paying gig the same day.  Always consider logistics and things like that.  Doing two gigs in one day in the winter or cold season would be something to avoid.  But, during summer time, I’d rather do a couple weeks of work in one day and have thirteen days to enjoy myself…planning more gigs.  [insert smiley emoji.]

Be Natural

Yes, you see what I did there…

When deciding that a goal is irrelevant, it’s often a matter of some activity taking precedence over the goal.  The process is natural.  I started the year wanting to do monthly video streaming.  As it turned out, streaming would take a long time to develop into a gig replacement and I had better results with getting gigs.  Less work with more results equals the smart choice.

The streaming idea has morphed into a different goal idea.  I’ve been working to organize a songwriter showcase.  The showcase idea combines gigs and networking.  I’d like to grow the event beyond a house concert type thing to something public.  To add value, streaming is a natural component.

Think Ahead

In the goal post from December, I (over)used the phrase “thinking ahead.”  The idea is think about what else, next, other.  You don’t have to think of what more.  If you do that, raise your goal.  Mentioning that loosing a paying gig shouldn’t lead to frustration and self doubt.  Those thoughts typically exists anyway.  We are artists after all.  But, use that energy to keep on your path and move forward.  The day of that news, I generated responses from four new venues.  The day after, I progressed talks with a tour manager.  Even if those actions bear no results, I’m making actions.  All the time.  I’m thinking about actions I can repeat and ones that I can initiate.  All the time.

You don’t need to make my same actions or follow my process.  My intent is to show what I do so maybe someone will make some progress too.  Or, maybe contact me and share some ideas as well.  Learn your whole life.  That’s how we find, gain, and reflect value.

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Jordan Indiana Gonzalez “Starship”

The Wolf in Ballwin, MO has led me to more music friends than an other place.  Jordan Indiana Gonzalez is a regular there and, if my memory is correct, we first spoke after I did a trivia question there and gave him a draft of my songbook for knowing the answer.  Since then we’d occasionally talk, share a table, and do music stuff.  Jordan possesses a well versed musicianship and has a specific vision for his songwriting.  If you get the chance to hang, it’s fun on so many levels.  To get a glimpse into Jordan Indiana Gonzalez’s process, click play on Jordan’s song “Starship” and read about his song below.  You can catch his streaming shows on Facebook and Twitch.tv.

The story behind Starship

“Starship” is about wanting to leave the troubles of this world behind and escape with that special someone into the stars. The music for the song came about when I was toying with a chord progression based on keeping the upper voice of the chords the same but just changing the root (i.e. the power chord in the intro keeping the fifth and root of the I chord when the bass changes to the IV of the key). I liked the feeling of simplicity, and so I started coming up with some words and sang “I’m writing you a simple melody,” which ended up being the first line of the song. The rest of the song came about through comparing the beauty of a loved one with the beauty of the universe.
Jordan Indiana Gonzalez

Jordan Indiana Gonzalez

Jordan Indiana Gonzalez Links

Jordan Indiana Gonzalez Bio

Jordan Indiana Gonzalez is a singer/songwriter based out of St. Louis, MO. He has released two EPs and is now working on his first full-length album. You can catch him live-streaming his music on his Facebook page every Tuesday for #TuesdayTunesday and on his Twitch page every Friday for his weekly Serenade.
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Mac Connelly “I Didn’t Run”

For songwriters, having a local place like The Wolf in Ballwin, MO, is a great place to meet others.  Mac Connelly is new to the St. Louis area by way of Wisconsin.  After a few months of seeing Mac play, we finally introduced ourselves and you’re reading the product of that meeting.  Click play on “I Didn’t Run” and read about Mac Connelly’s process.

Story Behind “I Didn’t Run”

About recording:

I’ve recorded and released three CD’s Butterflies (2010), The Master (2011), Treacherous Waters (2016).

About inspiration and the writing process:

Songwriting is more hard work than inspiration for me. I’ll start with a chord progression and build from there. The feel of the song will drive the lyrical content, and in my opinion the best songs have a lyrical “payoff.”

Mac Connelly

Mac Connelly

About performing and audience reaction:

I performed in public a lot in college and in my 20’s, but then life got busy with family and jobs. I still played my guitar every day (it was my stress reliever!), but I rarely performed in public and I stopped songwriting entirely. I’d lost my muse until I found her back in 2008 when I started gigging again after too many years. I discovered that I could still turn people on with a song, young or old, and grab their attention when they least expected it. When people started approaching me after a show asking if I had any CDs, it was time to start recording. As the 19th century author George Eliot once said, “It’s never too late to be who you might have been.”

Mac Connelly Links

Mac says “I Didn’t Run” is the most played and downloaded song he has on these two sites.  You may also download his entire catalog for free.

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The Zoo Girls “Black Lodge”

I met The Zoo Girls through Twitter. After finding the song “Black Lodge” I contacted them and had a cool conversation about their home, Memphis, and music. Click the live video for “Black Lodge” below and you’ll get a taste of their awesome sound.  Try to guess some of their influences from their music and read about the song and their bio to see if you’re right.

The Story Behind “Black Lodge”

While working on the song “Millerwood,” a melancholy ballad about the untimely deaths of two friends, a line popped into Molly’s head: “You love yourself so much/How could I love you more?” Molly jotted it down quickly, and we continued on with the song at hand. Later, Molly brought it to the attention of then-bandmate Lauren, and Lauren started to play a bluesy tune on her guitar to accompany it. Molly encouraged Lauren to continue playing while the remainder of the lyrics flowed out quickly. Lauren & Molly played the new tune for Beth, who worked her magic on it, tightening up the lyrics and making it flow more easily. It’s a song about a former lover of Molly’s, a narcissist who thought highly of himself despite a lack of evidence that he should.

The Zoo Girls

The Zoo Girls

We utilized Lauren’s (and now current band member Katie’s) deep, throaty vocals on the verses while Molly wails Robert Plant-style on the chorus, and Beth keeps the rhythm with a striking, lively, blues-oriented piano melody. Because it starts out softly, the song tends to quiet an audience, who quickly pick up on and sing along with the original, catchy lyric that inspired the song, “You love yourself so much/How could I love you more?” along with the de-masculating line that follows: “You’re so damn amazing, mama/It’s you you’re living for.”

The Zoo Girls Bio

The Zoo Girls are comprised of local musicians Molly Okeon, Beth Okeon, Katie Clark and, previously, Lauren Taylor. The group performs regularly at area venues including Imagine Vegan Cafe, the Memphis Farmers Market, the High Point Pub and Otherlands Coffee Bar. Friends for years, the girls enjoy writing music and lyrics that are relatable, honest and resonate with situations every human encounters from love to heartbreak and everything in between. Musical influences that have shaped their writing include Counting Crows, R.E.M. and Lucinda Williams, to name a few. In 2014, the Zoo Girls were awarded the Peer Award from the Memphis Songwriters Showcase.

The Zoo Girls Links

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Gracious Me “The Part Of Me”

Through Twitter, I’m always looking for real people behind the accounts. That led me to find Gracious Me a singer-songwriter based in Washington DC.  When I hear the opening riff, I totally fell for the song.  Click play and see if you feel the same way. Read below to get the story behind the song.

Story Behind “The Part Of Me”

I’m Gracious Me, and I write and sing Americana songs. My song “The Part of Me” originated with an Emily Dickinson poem that I once had memorized, Hope is the Thing with Feathers (314).

I heard a snippet of that poem some time later and my songwriting wheels started turning, imagining in the first verse the human impulse of longing as a bird that would fly away to the beloved if not kept caged. The bird image ties in to Dickinson’s depiction of hope as an emotion that soars and sings enduringly, but in “The Part of Me” the chorus dwells on hope lost and the barrenness of living without hope. The second verse focuses on the embodiment of ways that we protect or guard our emotions and guard ourselves from them — images of skin as a protector and a receptor, and armor as a protector but also as a block or a barrier. In the third verse, the imagery is of the heart as the bodily center of our feelings. The ghost of a lost love is felt and lives on, haunting the singer’s memory.

Gracious Me

Gracious Me

Listeners seem to appreciate the poetic feel of this song, as I’ve had several ask me about the origins of it or comment on the dreamlike mood it creates. Thanks for reading about this song, and please come over to my website at www.graciousmemusic.com and sign up for my mailing list to get occasional updates and insights into my journey as a songwriter!

Gracious Me Links

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Ross Seddon “Coming Home”

I met Australian artist Ross Seddon through Twitter. Looking for artists to connect with I listened to his music. The swampy vibe of “Coming Home” grabbed me.  Click to play and read on.  Ross supplied some wonderful details about the song.

Story Behind “Coming Home”

Inspiration

The song examines a relationship off the rails and its reemergence as the relationship reforms. This reasonably common occurrence both in love relationships plus also could be family and friend relationships was the goal of the song.

The subject of the song, and could be male or female, reflecting both on the good and back while showing the emotions of wanting what they had via phrase “I’m coming home. The song suggests he or she has overcome what split them apart by returning whilst unable to fully understand why and what is the cause of the separation. This song explores that ability to throw aside things that previously caused a reaction and “settle up with things.”

The song set to blues rock feel sort of swampy in genre to match the cloud separating past to present and future. While the final chorus reviews the willingness to forget, rejoices in the return, whilst allowing and sub-conscious to return in “you take me down” being a glimpse into the past.

Song features simple structure featuring harmonica with strong power chords mixed slide guitar with a keyboard rhythm overlay. All this anchored by acoustic guitar underpinning the more featured instruments. The harmonic was used for both feature sections as well as to act as a push instrument in various area’s especially choruses.

The vocals are back by a soulful approach to background singers. The two-pitch technical to main vocal with the course to suggest the conscious and sub-conscious input by the person of the story.

Writing Process

Arguably the most asked question of a songwriter and without doubt a process that if healthy is rightfully subject to change. “Coming Home” musically started out as a pure inspiration. With form and vocal coming together almost immediately.  

The process on this track relied came from underlying acoustic guitar using a simple verse / chorus formation.

The main rhythm using acoustic guitar phrases hammered on and off with a drone open string holding rhythm together. Guitar also uses with small hook riffs to move the song back through its verse structures. The writing process stemmed from identifying the verse and chorus structure needed to provide the openness the vocal. Whilst not truly unusual the main structure is not tied to a chord formation rather a riff/drone combination. This allows the singing to move up and down in intensity generally starting with reflective openings in verses leading to the more demanding nature of the chorus section.

Words for me generally flow from a “light bulb thought” often during the initial inspiration process this song no different. Rarely do I depart to a completely different subject. Generally, I like to write then review later. This is because I generally feel high attachment to inspiration at time of writing, which I consider fundamental to process, but through review process I like to see if musically it can survive solo (stand-up) willing to provide more arrangement as required. I review lyrically the substance and structure to allow the listen to without promptly immerse themselves. All these matters can flow continuously through to final take of a song.

Ross Seddon

Ross Seddon

Performing and Audience

Coming Home has only has three performances to date as song was part of a new album and kept under wraps awaiting launch. Two concerts where full solo acoustic. One was in Thailand December 016 the other in Myanmar Dec’2016) and one full band at launch of album “You’re the Reason” in March 2017.

In performing, I have used this song to open. Whether it’s acoustic or a full band song I’ve developed alternative intros for live performance. This ability to establish a groove I like as a way of settling the nerves and creating time to communicate with audience and band.

Acoustic Performance: I focus on the drone and riff patterns to set the mood and as song is willing to drop back vocally in verses provide great light and shade.

Full Band Performance: the focus is on slide intro and drum feel with underlying electric guitar fulfilling the previous acoustic guitar workload. This song allows band and audience to slide into the groove of song and performance.

Recording

Only my recent album I employed stages of developing song to the studio recording.

  1. Initial iphone video – for me to review
  2. Garage band reworks – see experiment with sounds
  3. Serious demo (solo) – for arrangement progression and guide track

Recording Sessions

Coming home song was undertaken as a layered session approach. Each musician would come and play sometimes 1 – 5 tracks over a day, coming home might be one of those. After discussing of what feel flavor, tempo, arrangement I wanted session would progress. “Coming Home started with working with drummer on feel and emphasis that I pictured. I tried to ensure musicians own creative feel and style was also allowed to breath. This concept was used throughout each layer that was introduced. My job as producer and director was to mould my picture for the song through its segments – intro, verse, chorus, solo’s, out-tro building on the creativity and performance of the musician in that session. Hardest is always my own parts to review and scrutinize but that’s kinda normal.

Musicians For Coming Home

  • Drums – Chris Farace
  • Bass Guitar – Patrick Petein
  • Guitars – Mark Smith & Ross Seddon
  • Keyboards – Ben Stanford & Robert Dixon

Ross Seddon Links

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Mattias Granbom “En I Taget”

For songwriters today, you have to treat music as a community.  That’s How I connected with Mattias Granbom.  Through the Song A Week 2017 group, I heard Mattias’ music and enjoyed the ethereal sound.  Click play and read on, see if you take a little journey through Mattias Granbom’s music.   The lyrics are in Swedish, there’s a partial translation below.

Story Behind “En I Taget”

I was walking home after seeing a friend, it was late, pretty cold and some snowflakes were falling down silently. Often my head feels like a tangled ball of yarn and all the thoughts in my head are fighting for space. But this evening I was in a good place and it felt like the thoughts were allowing each other to take their time. Since the song is in Swedish I tried to translate a short bit of it:

’’Snön den föll så sakta den kvällen
Och landade mjukt
Tankarna kom en i taget den kvällen
Dom som brukar trängas och bitas
Gav plats åt varann’’

’’The snow fell slowly that night
And hit the ground softly
The thoughts came one at a time that night
Those who usually jostle and bite
Gave each other space’’

Mattias Granbom

Mattias Granbom

I thought to myself that the snow flakes and my thoughts were very similar: the snow flakes came one by one, slowly, just like my thoughts did this very night. I stopped for a moment and wrote down a couple of sentences in the memo-app in my phone, and the morning after I finished the song and put chords and a melody to my lyrics.

The recording process was simple, and made in one take. I used two mics; a Shure SM58 on for the vocals and a Studio Projects B1 directly into an interface. A small amount of EQ and compression and a large hall reverb on an aux-send for ambience on the vocals.

Mattias Granbom Links

Mattias Granbom Bio

Growing up in the capital of Sweden Mattias began playing music as a teenager when he started playing the guitar. In the following years he played in various bands, started recording music at home and desperately tried to figure out which part of music-making he enjoyed the most: playing, writing, recording or producing. Inspired by Jens Lekman, at the start of 2017 he decided to start a new project: to write, record and post a new song every week on Soundcloud. When Mattias is not playing music he works in a kindergarten and bakes a lot of fresh baguettes.

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Joe Bizelli “We’re On A Float Trip”

In St. Louis music circles, the name Joe “The Biz” Bizelli is one you’ll quickly encounter. Dedication to the songwriting craft shines with Joe Bizelli. He currently has a song in the Show Me Real Country Music‘s Facebook page and could use our support.  When I saw his song in the contest and read the details, a virtual introductory handshake led to this post.  So, ready your ears and follow this call to action. Give Joe a play and visit the Show Me page above, like them, and comment with the letter “A.”  Music is all about community and support. Watch the performance and read about the song.

Story Behind “We’re On A Float Trip”

I went on a float trip with my buddies and had a blast as usual. On the way home I couldn’t fall asleep so I figured I might as well try to write a song. It practically wrote itself, all I did was explain what we did the day before. It needed very few tweaks or rewrites. I plan on having it demoed in Nashville soon and shooting a really fun video.

With “We’re On A Float Trip,” the current goal is to get people to vote for me to play in an upcoming songwriter showcase.

Joe Bizelli

Joe Bizelli

Some other accolades are recently placing a song in the final 11 of a nationwide song contest put on by CMT called “Next Generation.”  The song is a country song about country music.  Joe Bizelli currently has two songs on the Nashville based MusicCityTop40.com.

Joe Bizelli Links

Joe Bizelli Bio

What I’m trying to do: Write a million-dollar country song so I don’t have to have a day job.

About 2 years ago I went to The Bluebird in Nashville and got to see some heavy-hitter songwriters play. These guys all had multiple hits on the radio. They were just normal guys, laughing and making fun of each other while playing their amazing songs. While they played, no one made a sound. They were completely and totally focused on their songs. That day I realized that’s exactly what I want, and I’ll do whatever I have to to make that happen. So I started reading songwriting books, watching songwriter interviews on YouTube, listening to the great songwriters of the past, etc. I also started co-writing with the best writers I could find and dedicated a lot of time to my songs.

Joe Bizelli was born in New Melle, MO.  Music was always a part of life.  When I was a baby, my mom had a radio playing in my room on low volume 24/7 so music has literally been in my head my whole life. Joe’s been performing for over 10 years.  There is no doubt in my mind that this (songwriting) is what I’m supposed to be doing with my life and I’m really proud of what I’ve done so far.

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Headlight Basin “Ventriloquist”

The world-wide aspect of Twitter is exciting. Like meeting Headlight Basin, the connection started with a simple message about music swapping. This seemed like a real message so I replied. Led to me checking out the music of this Barcelona, Spain based artist. This is raw, folky stuff.  I was just talking to a musical friend about some of the sounds of St. Louis and Headlight Basin seems to have transported a pinch of those sounds and put an edge to them.  Click this video and when you’re not marveling at the planking Telecaster, read about the song below.

Story Behind Ventriloquist

Ventriloquist is a song that came to me more or less formed and finished in half an hour. It’s strange how I can spend hours of time and not find anything good, and then when you are tuned to the right frequency something good flies straight into your head. This was that. The lyrics were subconscious as most of my stuff is. I don’t like to analyse it too much, but you could definitely say it’s anti-commercial and something of a complaint about soulless music.

The video definitely follows suit. I had the idea to lie down in random places as a way of saying ‘If you like my music, fantastic, but if you don’t, I’m not going to work my arse off to try and get you to’. This is kind of how I feel regarding my music. It’s not for everyone, in fact it’s not for most people. But there is a definite group of specific tastes, and straight up weirdos, who will like it. So I make it for them.

Headlight Basin

Headlight Basin

I also thought about the video for ‘Just’ by Radiohead. When the dude is lying on the ground and people get curious and ask him why. When he gives in and tells them, they are all lying on the ground. We made this video, my friend Alex and I, on a budget of zero. Hope you like it.

Headlight Basin Links

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Cristhopper Armenta “Love On A Train”

To start this blog, I’m trying to think of a more creative way to sum up a friend of a friend of a friend type story. So, I met Cristhopper Armenta through a song-a-week group.  The group drips with inspiring talent.  One of the songs Cristhopper posted really grabbed me and I mentioned the blog. So, give this New York based, by way of Culiacán, Sinaloa, Mexico, artist a listen and read the story behind the song below.  Cristhoppers songs have a really cool charm to them–link to more of his music below the story.

Story Behind “Love On A Train”

The first thing I noticed when I rode the subway in NYC for the first time was that it’s full of creative potential. It is absolutely one of the best places for people watching. It is probably the only place where all these incredibly different people meet.

Love on a train is based on a personal story. I had seen many beautiful women on the subway but never really didn’t know what to do with that. One time I find myself looking at an attractive girl talking to her girlfriend on an L train. I had been living in the city for a few months and I was still quite oblivious of the subway etiquette. So after a few stops I come up with a plan and write my name and phone number on a piece of paper, but when I finally decide to act, the girl kisses her friend goodbye and gets off the train.

Cristhopper Armenta

Cristhopper Armenta

So I sit down next to her friend and tell her how dazzled I am by her friend’s beauty as I hand over the piece of paper. She smiles amused as I make my way off the train. Then, as I walk home, I realize how much of a creep I had been and decided to write a song about it. I wanted it to portrait how naiveness can be perceived as creepiness both in the lyrics and the musical arrangement. The melody had been in my head for a while before my train story, but the song didn’t come together until I pushed myself to spit the lyrics out.

Cristhopper Armenta Links

Cristhopper Armenta Bio

Born and raised in the west coast of Mexico, Cristhopper spent most of my teens playing the organ in local churches in his hometown. He started writing original songs in middle school but it wasn’t until University that he started arranging and participating in original music local contests. After a few years of inactivity, he moved to the US and picked up songwriting again. He currently lives and works as a Mobile Developer in New York City and writes as much as his day job allows. Every night and then, he still dreams of being a rockstar.

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