The year is 2000, and Hunnypot launches the last of America's deep music probes. In a freak mishap, its pilot, Hot Tub Johnnie, puts the party music trajectory into an orbit which unleashes hot dance music and moves, to Earth, 427 shows later. Last night Hunnypot Live got us all ready for the future. Hot Tub perfectly landed a ship full of hot trax. Michael Frick came by to tell us about his international music supervision career and history and brought a great party set of music. Hunnypot veterans, Velvet Starlings, came back to rock the nations, WYO showed up with Rocky Mountain rock music. Mystical Joyride got us dancing and vibing on the trip. Roet is a one person pop music factory and Hot Tub cleaned up with another historical dance music party. 10/14/2019
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Christian Gisborne is an independent singer/songwriter, multi-instrumentalist, producer and founder and lead singer, guitarist and keyboardist of Velvet Starlings. Gisborne is known for a powerful 60s era Eric Burdon influenced vocal style and a commanding and dynamic stage presence inviting media & industry insider comparisons to Jack White and Ty Segall. Early musical influences include artists such as The Beatles, The Who & The Doors.
Gisborne’s debut self-titled EP, Velvet Starlings was a collaboration with British producer/writer Roger Gisborne (leader of 90s Brit Rock band,Plastiscene) for Sound x 3 / Rock N Rolla Records which was released in late 2018 and supported by dates at the Live At Heart Music Festival and SXSW ME in Sweden, where Gisborne’s performances resulted in performance opportunities at Summerfest, Canadian Music Week, The Great Escape and other international festivals.
The single, "Sold Down The River” showcases Dylan-esque lyrics, a soulful Hammond B3 organ, gritty guitars and raw blues inspired vocals. The track caught the attention of KROQ and reached #1 (twice) on Kat Corbett’s “Locals Only” show. The official video released in May, 2019 features the mural work of Shepard Fairey, world-renowned American contemporary street artist, activist and founder of Obey.
2019 kicked off with a sold-out show supporting Barns Courtney in Los Angeles. In May, 2019 Sound x 3 / Rock N Rolla Records released the much anticipated follow up mini-album, “Love Everything, Love Everyone” produced and written by Christian Gisborne and Roger Gisborne in Los Angeles, with engineering and mixing by Josiah Mazzaschi (Smashing Pumpkins, The Kills, Jesus & Mary Chain and Deep Valley) and mastering by Brian Lucy (Cage The Elephant, Black Keys, Beck, Arctic Monkeys) who also mastered the self-titled EP.
The mini-album adopts a slightly heavier sound, mirroring the dynamic live performance and is lyrically and sonically the next step in the evolution of the Velvet Starlings’ sound. The first single “Kids in Droves” released in Summer, 2019 speaks to an era where “everyone spends all of their time on devices ‘liking’ and ‘loving’ everything says, Christian Gisborne. “Kids in Droves” also received favorable reviews and airplay in the USA (including influential stations such as KROQ, Sirius XM, 91x and KCSN) as well as BBC Radio in the UK. Legendary BBC Scotland DJ Billy Sloan has been a massive supporter of Gisborne. Other supporters include Shepard Fairey, Dave Davies (The Kinks), Kevin Bronson (KCSN DJ, BuzzbandsLA & former LA Times Music Editor) and legendary tastemakers, DJ Rodney Bingenheimer and DJ/curator Tim Pyles. Both releases charted on FMQB reaching #5 on the Album Chart and #8 on the Singles Chart.
In support of the 2nd release, Velvet Starlings toured across the pond twice with its first full UK tour in May, 2019 followed by a US tour sponsored by Acura/Honda, anchored by an emerging artist slot on Summerfest (where Velvet Starlings won best emerging artist competition $5,000 worth of gear) and PBS’s Woodsongs in Lexington Kentucky, along with dates in Nashville at The Basement and the Cubby Bear in Chicago.
Velvet Starlings returned to Europe a second time for a very successful Scandinavian tour, which included many sold out dates and key performances at the Live At Heart Music Festival, along with a headline slot at King Tut’s in Glasgow and several dates in England, which included a live radio performance at the BBC and shows at The Dublin Castle and Camden Assembly, where new songs off of Velvet Starling’s third record was debuted.
Velvet Starlings was also invited to showcase at Indie Week in Toronto and will be performing select dates in Brooklyn and New Jersey in November, 2019. In 2020, Velvet Starlings will perform at The Great Escape festival and conference in Brighton for Impressive PR’s stage at the request of Mel Brown (Cold Play, Muse). Velvet Starlings will soon be releasing two videos for “Bitter Pill” and “Karmic Lemonade” produced by French director Joseph Calhoun (Lauren Ruth Ward) in support of the mini-album. Christian Gisborne has plans to record his third work in early 2020.
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Los Angeles' WYO makes cinematic music inspired by frontman Andy Sorge's home state of Jackson, Wyoming. Taking inspiration from the imposing landscapes and majestic mountains he grew up around, singer-songwriter Andy Sorge utilizes an organic instrument palette to create the soundscape that is WYO.
After attending film school in New York, Andy met multi-instrumentalist, Scott McKay Gibson, and the two retreated to Wyoming and began delving into Andy’s original songs that would soon become their debut album, Untamed. Released in early 2018, WYO teamed up with veteran Los Angeles-based producer, Brad Wood (Smashing Pumpkins, Pete Yorn, Ben Lee), to provide a fresh ear to finalize the LP.
After a successful debut release, WYO released their sophomore album Changes on May 31, 2019, which further explores their panoramic sound. A sound that has led to sharing the stage with Robert Earl Keen, Avi Buffalo, The Fruit Bats, and WhiteHorse, headlining School Night, and playing venues like The Belly Up, Peppermint Club, House of Blues, Viper Room, State fairs in San Diego and Wyoming, as well as SXSW in Austin and Genius Loci Festival in Mexico.
In addition to performing as WYO, Andy and Scott frequently compose music for documentaries, commercials, and short films together. Perhaps this explains the reason that WYO’s music has a way of evoking such striking visuals that stir the imagination. WYO embodies the search for a place that’s alive and wild. It’s an endeavor that deals with love, loss, and constant exploration. It’s a tale of reconciling city life with the unyielding need to retreat to nature’s gravitational pull.
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Mystical Joyride is an LA based hubby and wifey "cosmic duo", Leah (the existentially inspired vocal nymph) and Joel (the multi-instrumental wizard) making Psychedelic World Pop music to shake your hips and ride the mystery to. With eclectic beats and a unique style, their name could not be more fitting for their musical journey.
Fresh off of performing at California Worldfest and their debut full-length album "Conducto" release, Mystical Joyride is ready for high vibes and dancefloors.
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Zach Alwin, creatively known as Roet continues to deliver striking music to the forefront of emerging alternative electronic talent. Drawing influence from a tapestry of musicians by the likes of Van Morrison, Death Cab for Cutie, Jeremy Zucker, and Porter Robinson, Roet’s signature sound is a righteous blend of mellow dance music and indie vocals. A full circle creator, Roet is the mastermind behind his entire catalog, producing his own beats and tracking his crystal cool vocals to parallel. His unique approach to songwriting stands as one of the most vital pillars of his craft. His initial writing approach begins with classical instrumentation and flow of consciousness, only later translated into the electronic gems that fans hear today.
Outside of Roet, Alwin is a songwriter for various musicians across the nation with anywhere from 500k to 1M streams, and has even composed for commercial advertisements. Despite being a relatively new face to the electronic music industry, Roet produces luxurious sounds that are far from novice. His distinct voice led him to ink a deal singing backup vocals for MAX and Gnash’s orchestral version of “Lights Down Low.“ With 100,000 streams on “F*ckin Love” and support from tastemakers like Cloudkid, it comes as no surprise that EP 1 will come to fruition as a teeming a triumph. “Love You/Love Me” is the lead single to the forthcoming project. This breezy composition is a an indie-electro triumph with an introspective thesis. “Love You/Love Me” explores self-love, self-admiration, and self-embrace through lush soundscapes and extraordinary lyricism.
New band, new video, who's this? It's Crisis Couture with "Take Back The Power". Hunnypot Alumni, Brendan McKian (Young Beautiful in a Hurry), fronts a new exciting hard rock band. It's progressive, it's funky, it's heavy, it's often dance-able and it's loud.
Check out the video for "Take Back The Power" and head bob to the winks and nods.
We all knew what we were in for as the line started to grow outside the historic Hawthorne Theatre in SouthEast Portland. References to Nakatomi Plaza and Nintendo blended in seamlessly with the dragons on the shirts of the audience eagerly awaiting for the doors to open. Tonight, being a self-described geek would be a strength.
Everyone's favorite, over-the-top, guitar-driven, nostalgic trip through memory lane, Dragonforce were amidst a tour to promote their latest album, Extreme Power Metal. Along for the 90's flashback; Horror-themed, Dark Synthwave masters, Dance with the Dead were also out promoting their latest release, Loved to Death as well as the brutal Chicago-based, Metal amalgamation, Starkill currently touring their latest album, Gravity, as well.
Starkill, a band who were a brutal concoction formed of equal parts Melodic Death, Symphonic, and Power Metal didn't waste any time making a name for themselves to their fans in the audience. The quintet was certainly not one to skip on the thematic either; adorning themselves in black paint and music just as merciless as a fight to the death in the Thunderdome. Founding member and guitarist/vocalist, Parker Jameson and the newest inclusion to the band, Sarah Lynn Collier played off each other's vocals with an equal amount of intensity and raw power perfectly complimenting the force of their instrumental counterparts.
By the look on the confused faces around the venue, who were primed for a night of fret wizardry and 90's nostalgia, no one was expecting the next act who, based on their early albums lived somewhere between synth-infused Electronica and a neon-lit, industrial dance party. Dance with the Dead, one of the prominent leaders of the newly established, Electronic-based genre, Synthwave had arrived and were here to make a bold statement.
Two guitar-wielding silhouettes appeared out of the neon smoke. Justin Pointer and Tony Kim stood on opposite sides of the stage with two ominous towering stacks of electronic audio equipment behind them. A pounding drum beat had the walls reverberating inside the sold out venue. Pointer and Kim smashed riffs on their guitars and violently banged their heads along with the intensity of the music that played behind them, creating a far more abrasive sound than any of their studio albums led us to believe. Dance with the Dead have grown more aggressive on their most recent albums and played tracks off of their latest release, Loved to Death; their iconic 90's horror-influenced, masterpiece, The Shape and even a few of their more ferocious, Industrial tracks off their B-Sides: Vol. 1. Toward the second half of their set they set their guitars to the side and manned the keyboards, thrashing uncontrollably to the violent dance music they performed live. Dance with the Dead drilled a hole straight through the skulls of the stunned audience sending even the most hardened metal fan into a frenzied madness.
The lights dimmed and suddenly I was 10 years old all over again; walking into an arcade with a pocket full of loose change and only the flickering of neon lights and the beeps of a wall of arcade games to comfort me. An orchestrated laser light show began to dance in unison to the intro of "Highway to Oblivion" the first track off of Dragonforce's latest album, Extreme Power Metal and we knew it was time to go full-geek. Marc Hudson, the aviator-wearing, frontman let out a soaring scream channeling the greats of Operatic Metal that came before him. Herman Li and Sam Totman, the band's founders, led a otherworldly, twin guitar attack and after seven studio albums, haven't lost any of their gusto or precision since the last time seeing them perform over a decade ago. Hudson asked with a show of hands, who were fans of RPG's (role playing Fantasy games), specifically Skyrim die-hards, before introducing the song, "The Last Dragonborn" off of their latest release.
During the break before their encore, guitarist Herman Li, ever the performer, snuck into the audience behind me until the spotlight was on the two of us. Li told the remaining band on the stage, "I wanted to join the party!" He shook my hand, grabbed his Ibanez, and climbed onto Starkill's merch table and hopped across each table, shredding a cover of Celine Dion's Titanic-hit, "My Heart Will Go On." They ended the night with a laugh, announcing their encore as "that damn song that won't die from a game that shall remain nameless." Confetti exploded in front of the audience and Dragonforce pounded through their most celebrated hit, "Through the Fire and Flames", off the album, Inhuman Rampage.
Grab your Powerglove, pull that battered copy of Nintendo Power out of storage and get yourself on board to experience a night of Extreme Power Metal with Dragonforce, Dance with the Dead and Starkill before you miss your chance to merge your childhood with the proud Metal geek you've become today.
Tove Lo performs her new single, "Sweettalk my Heart", live and stripped down (instrumentally). It's a Hunnypot do!
The Shocker is an American punk rock band, featuring L7 bassist Jennifer Finch (aka Jennifer Precious Finch) performing vocals. The band also includes lead and rhythm guitarists, drums, and bass.
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The first official cannabis cafe in the United States opened up in West Hollywood this week. Hunnypot isn't the type to wait around for permissions. It was just another new year last night and we celebrate HIGH holidays every other week. Last night we did like we always have. Hot Tub Johnnie keefed it real and lit up the night with a starting DJ set. Adèle Ho jumped in the hot tub for her origin story interview and ripped a playlist of party tunes. Sarah Rogo returned with her loaded blues and rhythm voodoo. Peter More performed dank melodies and harmonies. Sugi Dakks left everyone satisfied with high energy raucous funk, pop & rock. The Singularity brought us higher conscience electro rock and Hot Tub blazed a dance party set for a new wave of fans. 09/30/2019
Recently Adèle Ho has joined the team at Supergroup Sonic Branding, a full music supervision company based in Toronto and LA working in film, TV, ads and branding. Adèle relocated to Los Angeles from her native Canada to pursue music supervision. She completed the Music Business program at UCLA Extension and then began her music supervision career by interning at Neophonic, Inc. before spending the last few years working with Joel C. High at creative control.
Prior to music supervision, Adèle worked in politics with stints on Parliament Hill in Canada, Washington, D.C. and Asia. She then decided to pursue her dream of working in music and worked on the programming and production for major festivals in Canada working with artists like Broken Social Scene, Bon Iver, Frank Turner, Calexico, Ramblin' Jack Elliott, Timber Timbre and a Tribe Called Red to name a few.
Credits Include: Yellow Rose, JT LeRoy, G-Funk, Tyler Perry's Acrimony, 1999- Wish You Were Here, Honey: Rise Up And Dance, Dean and more.
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SARAH ROGOSarah Rogo has been refining her craft and leaving a long-lasting impression on audiences of all ages and musical backgrounds with her energetic and soulful performances. Claiming the title as 'Soulful Roots,' she blends old blues, soul, and folk styles with a youthful twist. Sarah captivates audiences with her haunting slide guitar work and unique genre-defying style. Authentic and soulful, she paints vivid pictures through sound and song. A captivating dance between grit, beauty, and skill.
Sarah Rogo is a young, and gifted artist and it’s all reflected in her infectious live performances, where her energy is contagious. Steeped in the eclectic mixes of traditional music like blues, jazz, ragtime, klezmer, and classical, Rogo finds new ways to express timeless emotions and feels.
Rogo's full studio album with co-writes and production by notable producer David Ricketts (David and David, Toni Childs, Sheryl Crow, Meredith Brooks) is slated to be released in 2020.
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Over the years, Peter More and his bandmates have called many places home. Originally from Fort Worth, Texas, More joined forces with Spanish flamenco guitarist José Juan Poyatos, Mexican bassist Diego Noyola, and French-American drummer Adrien Faunce in San Miguel de Allende, the colonial arts haven three hours north of Mexico City. There, the band began to record with prolific drummer Rick Shlosser (who played on many Van Morrison and James Taylor classics, among hundreds of other credits).
A chance encounter with Steely Dan's Donald Fagen, who happened to be visiting San Miguel, led to Fagen producing More's debut album, "Beautiful Disrepair," and his follow-up EP entitled "Shoulder." Best described by Donald Fagen as music with "a smart savvy edge...its an American dish served with hot sauce." More's layered stories naturally have evolved with the band’s continual movement through recording sessions beyond San Miguel that took place in Fort Worth, New York City, and Woodstock.
Wanderlust underscores More's music, weaving the many influences and intersections from the songwriter's unconventional journey. The road just seems to strengthen the bond between the band-mates and the power of More's heartfelt songs.
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Sugi Dakks is the brainchild of LA based Kyle Donald, a Jazz Piano Performance major, his dual interests in poetry and music merged into the pop/soul/jazz/hip hop sound that is Sugi Dakks. His blend of rap, singing, jazz piano is largely self-produced and draws inspiration from Kendrick Lamar, Anderson Paak, Stevie Wonder and Miles Davis.
As a writer/producer he has upcoming cuts with Wale, DWY and Raina Rich. His early artist singles have reached over millions of plays, #1 on Hype Machine, spun on BBC Radio and supported widely by tastemakers. In 2018 his debut mixtape ‘The Business’ was recognized widely by key industry figures followed by a much touted debut EP – ‘Black Coffee’.
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What if Bowie, Prince and the Cure had a baby?
Blog and radio attention has been universal using lots of superlatives like: “Genius, Massive, Perfection, Brilliant, Great, Outstanding, Exquisite, Remarkable, Pure Beauty, Excellent, Impressive, Inspiring” and seem to feature the words “I Love” a lot. The most important people are the fans. They are lovely people who genuinely seem to love it!
Like a swarm of locusts converging to feed, a horde of blackened shirts and tattered denim emerged from the darkness and congregated to Hawthorne Theatre in Southeast Portland for an unforgettable night of cosmic destruction.
A new state, a new city and a journey across an ocean led me to witness two of the most forward-thinking, prominent names in Progressive Metal. Revocation, present-day, virtuosic heroes of modern Death Metal, co-headlined the night alongside long-time Canadian legends, Voivod.
The night began with a marathon of opening bands. Armed for Apocalypse got the show off to a energetic start with a no-nonsense, ferocity as only this hardened sludge-metal crossover could do. The impressive, genre-bending, UK-based quartet, Conjurer kept the energy at an all time high. Skeletal Remains created an atmosphere of old school death metal and performed in a amorphous reddish haze. And to top it all off, Australian technical death metal band, Psycroptic got everyone's neck warmed up for what was to come.
An eerie dissonance consumed the stage and the walls began to reverberate as Voivod’s bassist, Dominic “Rocky” Laroche, launched the band into their first song with a crawling bass riff off their EP, Post Society. Denis “Snake” Bélanger, Voivod’s dynamic frontman in his spike-emblazoned battle jacket snatched the mic and wailed with that gritty vocal aggression that sets him above all others.
Throughout the show, guitarist Daniel “Chewy” Mongrain and founding drummer, Michel “Away” Langevin established the dissonant landscape that Voivod has always been known for. They played songs from their iconic albums of the late 90’s, Dimension Hatröss & NothingFace and circled back to the present with “Obsolete Beings,” a song off their latest release, The Wake. Before introducing the new song “The End of Dormancy,” Snake told us all to imagine this song as a soundtrack to an epic movie that we could create ourselves.
Towards the end of their set, Voivod asked us to raise our voices and sing Happy Birthday in remembrance of their late guitarist and founding member, Denis “Piggy” D’Amour who would’ve turned 60 years to the day before breaking into their namesake, the self-titled, “Voivod” off their inaugural release, War and Pain. Throughout the night, the Canadian metal veterans lead us through a Voivod-ian mythos of winding, dystopic wastelands and catapulted us into the cosmos as only they can.
After a brief intermission, the silence was broken by a roaring orchestra and Gustav Holst’s epic, "Planets: Mars, The Bringer of War" played on the speakers overhead. The Boston metal ensemble, Revocation emerged on stage and joined in with their own instruments as a symbolic prelude to the odyssey we were about to begin. They would be playing their latest Lovecraft inspired offering, The Outer Ones, in its entirety.
The Outer Ones is a journey into the fathomless beyond, infusing pummeling death metal riffs, complex textures and a brooding atmosphere that if it wasn’t for Hawthorne Theatre’s impressive light show, I imagine would have swallowed the venue whole. Seamlessly flowing from one song to the next, the band played as if they were making a demonic offering to The Crawling Chaos, itself. Dave Davidson, Revocation’s Jackson-wielding frontman and vocalist, lead an impressive sonic assault with needle-sharp precision with every note and even shared vocals duties with guitarist, Dan Gargiulo.
This tour was certainly conceived in a starless darkness, a place void of light with only the sound of dissonance to comfort you. And with band’s from both sides of the cosmic spectrum as your guide, Revocation & Voivod is a combination you do not want to miss.
Classic. Merriam Webster defines the word as: Serving as a standard of excellence, of recognized value. Or traditional, authentic. I can think of a goodly number of things that are deserving of this distinction. The classic suit and tie, burger and fries, the black dress, apple pie, or even Classic Coke. Mostly though when one thinks of all things classic today, the first two that come to mind are Classic Rock and Classic Cars. Both came together in Ontario California last weekend at the Route 66 Cruisin’ Reunion.
The annual Classic Car show is a massive 2-day event which boasts some of the most beautiful cars from all decades from the 20’s to the 70’s. Convertibles, cruisers, pick-ups, and of course hot rods of all varieties graced the streets of downtown Ontario, CA leading all in attendance to reminisce about the glory days. On Saturday evening, the focus shifted from cars to music. Foghat, the boogie-woogie, blues-rock band known for their prominent slide-guitar, took the stage at the Ontario Town square. This one was going to be special.
Since their inception in 1971, this multi-platinum selling band has been pumping out the grooves in workman-like fashion to audiences all over the world. Saturday night was no exception. Founding member Roger Earl (drums), Charlie Huhn (vocals, guitar), Bryan Bassett (lead guitar, slide guitar master) and Rodney O’Quinn (bass) jumped into their set with the appropriate “Driving Wheel” and “Road Fever”. The receptive crowd of all ages seemingly all got caught up in the moment and spontaneously began dancing as if on cue. The band then ripped into “Stone Blue” and “Chateau Lafitte '59 Boogie”, and by this time the lawn chairs and beach towels had no chance. The place turned into one of the largest dance parties you’ll ever see, and it didn’t stop here. Foghat executed their iconic “Fool for the City”, “I Just Want to Make Love to You” and of course “Slow Ride” to keep the folks movin’ and groovin’. It truly was something to behold.
Although there have been some personnel changes over the years, the current lineup has been together for many years themselves. Earl and O’Quinn can keep the beat going all night if need be, and Huhn brought his years of experience with Ted Nugent, Humble Pie, and Gary Moore with him and navigated through the set with precision and poise. Bassett, most well-known for his work in Molly Hatchet, and his hit “Play that Funky Music” with Wild Cherry way back when, was just in another world. His hypnotic slide guitar skills were on point as he expertly played the Foghat staples to dropped jaws all over the beautifully manicured amphitheater.
On this day, the combination of perfect Southern California weather, miles and miles of the coolest cars you’ll ever see, and a high-octane performance by one of the most enduring blues-rock bands of all time could only be described in one way.
Classic.
Dearly Beloved,
I invite you to join me in a viewing of a rather non-traditional burial. Whom (or what), you might ask, is the dearly departed?
Love.
That sweet tasting, bad for your health type of love. That blinding, ecstatic, act-a-fool type of love. To that type of toxic, all-consuming fantasy, Little Coyote bids a not-so-fond farewell.
Intimate relationships are an infinitely complex whirlwind of euphoric highs and sickening lows. To quote “Dig Up My Grave”, the newest single/music video from Little Coyote, such relationships can often plague us with this compulsion to “give [our] last breath—give…all that [we] have left.” Lead singer/songwriter Teagan Johnston goes on to punctuate this sobering contemplation with a rhetorical, tongue-in-cheek follow-up: “…because that’s what love is—isn’t it?”
So much subtext to unpack, but first, a bit about the song.
Dig Up Your Grave is an aesthetically minimalist, yet emotionally visceral, visual expression of the struggle to find peace and empowerment amongst the throws of loss and heartbreak. The feeling of momentum that pervades the entire journey of the song is dizzying—dizzying in precisely the same way as the trials and heartache that comprise the lyrical content.
This emotional rollercoaster is only heightened by the visual accompaniment, arranged and choreographed by Aria Evans and Teagan herself. When asked about the underlying narrative behind this heavily symbolic piece, Teagan elaborates by stating that,
“[the] bareness of the setting…is meant to allow the focus to be on the movement of the dancers and the dirt. The dirt was used as a [grave-related] prop for something that…we could use as an outlet to express ourselves. The choices each dancer is making in their movement were chosen by them as ways [they] could represent emotions they could connect with [in regard to] moving on from a relationship.”
The intentionally independent choreography of the dancers does a superb job of reflecting the vast expanse—the chaotic territory that is extreme emotions expressed through the filters of passion, aggression, and rejection. When it comes to vulnerability within the context of romantic—hell, ALL relationships, those feelings can come and go like bolts of lightning in a desert. Such is the same for the visual movement within the video—lightning fast, and sky-high to dirt-low.
The subtext? Don't let such things "bury [you] alive." Instead, confront them. Own them. Choose to use them for your will and you will thrive.
For all these facets, I was happy to have the opportunity to give my thoughts on this video. Life is not always a party. Life has peaks and life has valleys. Embrace both with open arms, and you will know the joy of experiencing a life fully lived.
SYNCHRONIZATION LICENSING (Composition and Sound Recording) AVAILABLE FROM HUNNYPOT PUBLISHING.