Stacy Parrish: Press

found them on pandora

author: Brett

Found them on Pandora while searching for music similar to "Pinback". Don't really have much money to be buying CDs but this was worth it!!



first cd ive bought in a while- worth it

author: mike

certainly a smart move to be on pandora.com. wouldnt have found them any other way.



Very satisfying.

author: Whitman Rinaldo

I heard --End of a String-- on Pandora.com and googled the song to find out who these guys were. Cool groove, very satisfying.

I am a musician myself, with a CD on CD Baby already, so I know the difficulty of rising to top.

Congratulations. Good Job.



A clever way to make music.

author: Emilio Valencia

Great CD from a great band. The concept talks itself. Simple chords, arranged in a way that you do not expect which one will come next... music breaks as the seconds go on and on and on. The band tends sometimes to use a previous set of song structure but it does not mean they are conventional. The singer is a star, but not a typical one. A great effort and a great result. Those Sundays and The Ocean Blue fans will be rewarded with a nice and rich CD.

Modern pop/rock melodicism is a double-edged sword. On the one hand, it is deep, artistic, well-thought-out and musically pristine. On the other hand it plays up to mass appeal, can be drowned out by like musicians and rarely breaks new ground. To play both sides of the sword can prove to be quite difficult and risky. And simple. gracefully tiptoes across this blade in its debut recording by creating airy and grandiose compositions that are both accessible and artistically intriguing. The production work on "In Perfect Disarray," provided by vocalist and rhythm guitarist Stacy Parrish and his bandmates is downright impeccable. So much so that it's difficult to believe that's not a bed of strings on songs like "Forgive Me" or "As If We Care." The standout track, "Ballad of the Beauty Queen," is a rolling, melodic portrait of skin-deep beauty that is unfortunately shorter than three minutes (radio friendly, but not audiophile friendly). From beginning to end, the record maintains a level of quiet intensity, marked by a titanium-strength rhythm section that pushes this group to a level that has already been reached by some of the more memorable pop rock groups of the past 10 years, though simple. arrived there in a much more expedient fashion. To be sure, it pushes nary an envelope. However, it is a strong enough record to make even the staunchest indie rockers lift an eyebrow, if not their chain wallets. Folks who believe there's no local music talent would do well in picking up a copy of "Disarray." If they were from England, they would be a poster on your wall.

Stacy Parrish: 25 Years of Music

Thursday, 07 January 2010
Image
Photo by Wes Naman
By Michael Henningsen
For long-time, music-minded residents of Albuquerque, the name Stacy Parrish should more than ring a few bells. As the mastermind behind such renowned local bands as The Rudiments, January’s Little Joke, Drowning Sailors Lullaby, Typewriter and simple., Parrish left an indelible mark on the local scene as one of its most prolific, brilliant songwriters and one of its most underrated guitarists. As a producer, Parrish was the ear behind many of the best local rock records released between the late-’80s and mid-’90s, before going on to win six Grammies and a host of other awards for his studio and production work.

And though Parrish’s schedule over the past few years has kept him away from home, he says he has a newfound interest in the local music scene. “What I really want to do is to get my studio (Water), which has been known in the past for pumping out really great sounding stuff, to just crank it up again,” Parrish said.

Currently based in Sweden, Parrish will make a brief pass through his former stomping ground, where he will present what promises to be one of the most deliciously interesting shows of the New Year: a Stacy Parrish retrospective. Featuring performances by the aforementioned bands, the show will reunite Parrish with numerous special guests and former bandmates. Fans of Parrish’s two-plus decades of inspiring rock music will also have the opportunity to take some of it home in the form of a compilation CD and other releases Parrish will be making available at the show.

The engineers, sound mixers, producers and other audio production professionals behind Robert Plant and Alison Krauss' "Raising Sand" were among the many winners at the 24th annual Technical Excellence & Creativity Awards held Friday evening, October 3 at San Francisco's Westin St. Francis Hotel.

In addition to 26 awards for Technical and Creative Achievement, a sold-out house including many of the industry's finest creative talents witnessed two riveting presentations: the induction of musician and producer T Bone Burnett into the TEC Awards Hall of Fame and the presentation of the prestigious Les Paul Award, sponsored by the Gibson Foundation, to "King of Western Swing," musical artist Ray Benson.

Twenty-one-time Grammy winner Alison Krauss and rock legend Robert Plant presented the Hall of Fame award to Burnett - together delivering a poetic appreciation of his knowledge of American musical history and dedication to the craft of recording. Both returned to the stage later in the evening with Burnett and his production team when their collaborative project, "Raising Sand", won the TEC Award for Record Production/Album.

(CNN) -- The unlikely alchemy of a hard-rock legend and a bluegrass superstar created Grammy gold Sunday night, as Robert Plant and Alison Krauss picked up five awards -- including album and record of the year -- for their work, "Raising Sand."
Alison Krauss and Robert Plant's song "Please Read the Letter" won record of the year.

Alison Krauss and Robert Plant's song "Please Read the Letter" won record of the year.
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"Sand" won album of the year honor, while a song from the set, "Please Read the Letter," won record of the year.

"I'm bewildered. In the old days we would have called this selling out. But it's a good way to spend a Sunday," said Plant, the legendary Led Zeppelin front man.

"Raising Sand" was produced by T Bone Burnett, whose production and oversight of the "O Brother, Where Art Thou" soundtrack won three awards -- including album of the year -- in 2002.

For "Sand," Burnett selected several songs, mostly obscurities such as Gene Clark's "Polly Come Home" and Sam Phillips' "Sister Rosetta Goes Before Us," and let Plant and Krauss mix it up in stark, often subdued fashion.

The result was widely praised and reached No. 2 on the album charts. Video Watch Plant and Krauss talk about their win »

The win adds to Krauss' eye-popping Grammy total of 26 awards -- more than any female artist in history and third only to conductor Sir Georg Solti (31) and producer-arranger-mogul Quincy Jones (27).

Feb 4 2009 8:00 AM EST
Robert Plant And Alison Krauss' Raising Sand Was Made For The Grammys
Album of the Year nominee has everything the Academy loves ... but will it win?

By James Montgomery

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If it were possible to create the perfect Grammy album, there's a good chance Robert Plant and Alison Krauss' Raising Sand could be it. Take two well-worn, respected veterans. Add one critically lauded producer. Throw in some sandpaper-and-velvet vocals and a baker's dozen of time-tested standards. Mix with some artful black-and-white photography. Shake well. Serve on ice. Reap rewards.

The only difference is, unlike some Grammy albums, Raising Sand is actually good.

You're probably familiar with Robert Plant from his Led Zeppelin days, and you might be aware of producer T-Bone Burnett's work on the "O Brother, Where Art Thou?" soundtrack (it won the Grammy for Album of the Year in 2002). But chances are, you don't know who Alison Krauss is, despite the fact that she possesses a haunting set of pipes and is one of the meanest fiddle players in the world. Oh, and she's won 21 Grammys, more than any other female artist and the seventh-most in history.

Really, she's the key to Sand's success, and not just because of her voice (or her fiddle playing). She and Plant first met in 2004, at a Rock and Roll Hall of Fame tribute to legendary bluesman Leadbelly, and the former Zeppelin man was amazed by her knowledge of American Roots Music — so much so that they began kicking around the idea of recording an album together. Three years later, Sand was released.

And while Plant possesses the more famous voice, the album's finest moments radiate from Krauss. Whether she's getting bluesy on Little Milton's "Let Your Loss Be Your Lesson" or entwining with Plant's husky voice on songs like "Please Read the Letter" (which is nominated for Record of the Year at Sunday's Grammys) and Roly Salley's winsome "Killing the Blues," she more than carries her end of the bargain.

And perhaps that's also due to producer Burnett, who handpicked the 13 songs the duo cover on Sand. His arrangements are sparse — giving the two voices ample room to breathe — yet dense, warm and crackling at the same time. It's a testament to his work that he's often given just as much billing as Plant and Krauss on the project ... and it's certainly justified.

To date, Sand has sold more than 1 million copies, heaped tons of acclaim and actually earned a Grammy last year — "Gone Gone Gone (Done Moved On)" took home the award for Best Pop Collaboration With Vocals. And it's nominated for five awards at this year's ceremony, too. So when you combine the album's backstory with its success, you'd be hard-pressed to find a better favorite to take home tons of trophies on Sunday, something odds-makers are well aware of.

"At first, the album seemed like a vanity project. ... Two names, clearly a one-off record, didn't have to be any good, you know?" New York Times music critic Jon Caramanica said. "Led Zeppelin fans would buy it because of Robert Plant, Alison Krauss would get a check. But it actually turned out to be a really thoughtful, really good record. So when you combine all that with the fact that the Grammys love to lionize one of their own, I could really see it taking home some awards. It's probably the sleeper pick for Album of the Year."

Grammys on key, but also a bit offbeat
On an unusual night, the unlikely tandem of Robert Plant and Alison Krauss lead the trophy parade. Lil Wayne and Coldplay are also big winners.
By Geoff Boucher
February 9, 2009

Award shows typically manufacture their "anything can happen" aura, but on Sunday night the 51st annual Grammy Awards delivered the real thing with canceled performances, a star nominee in police custody, a lingering song-theft controversy and the unforgettable sight of British-born star M.I.A., a nine-months-pregnant single mom-to-be, prancing across the stage on her due date.

Oh, and there were some trophies handed out. A leading total of five of those went to the unlikely tandem of classic rock demi-god Robert Plant and country angel Alison Krauss, who paired for "Raising Sand," a mystic-minded journey through American roots music. "Raising Sand" won for album of the year and the evocative track "Please Read the Letter" claimed the prestigious record of the year honor.

Krauss, who came into the night as the leading female winner in the history of the Grammys, brought her career total to 26.

The other top winners were the British band Coldplay and New Orleans rapper Lil Wayne, two of the bestselling artists of 2008. But the fact that the best album trophy went to veterans playing tradition-bound music over younger, edgier artists fits the recent pattern of the Recording Academy voters.

The Grammys have given the album prize to Herbie Hancock and to the "O Brother Where Art Thou" soundtrack in recent years. ("O Brother" was produced by T Bone Burnett, who also was the studio architect of "Raising Sand.")

The award for best new artist, one of the most coveted honors in the music industry, went to 20-year-old Adele, the British singer who made her mark with the hit "Chasing Pavements."

The voters might play safe, but the show this year seemed to be walking a tightrope. There was a mad scramble by producers in the hours before the telecast when they got the jolting news that two nominees with key scheduled performances, Chris Brown and Rihanna, would not be coming. The reason for their absence -- an apparent early-morning incident between the romantically linked stars -- became a sizzling topic on the red carpet and during commercial breaks, although for viewers watching the CBS broadcast the cancellation was not mentioned.

In a dramatic twist, Brown, the handsome young hitmaker named the 2008 music artist of the year by Billboard magazine, ended up turning himself in to Los Angeles police instead of attending the Staples Center gala, where he was nominated for two awards. He was booked Sunday night at LAPD's Wilshire Station on suspicion of making felony criminal threats. He was released on $50,000 bail. There was no public word on the whereabouts of R&B singer Rihanna, a three-time nominee herself.

There were other bumpy off-camera subplots. The song of the year award went to Coldplay, known for its earnest, arcing music, and the strings-backed hit "Viva La Vida." Coldplay, which won two other awards, has become a model of steady success in an ailing rock sector, but even that band had some turbulence at this reality-show version of the Grammys; there had been a threat that they would be served with court papers on the red carpet.

That didn't happen, but the quartet must still deal with the claim by guitarist Joe Satriani that "La Vida" plagiarized his 2004 track "If I Could Fly."

Some of the night's surprises did make it into the broadcast. Actor Dwayne Johnson made a crack about Kid Rock earning "community service hours" for appearing on the show, a reference to the country-fried rapper nearly missing the broadcast because of some legal entanglements of his own. The three members of the Southern California pop-punk band Blink-182 announced they are getting back together, big news considering their 2005 breakup ended a run of platinum-selling albums.

The Staples audience greeted the Blink announcement with puzzled silence, but perhaps they just didn't recognize the trio -- the music scene changes faster than ever these days and the fans want stars of the moment. Which explains why Grammy producers embraced a youth movement this year by giving its stage to Miley Cyrus, Taylor Swift and the Jonas Brothers.

There also were more hip-hop performances on the show, including a notable "Rap Pack" teaming of rhyme stars Jay-Z, Kanye West, Lil Wayne and T.I. They were joined by M.I.A., wearing a black-and-white mesh outfit with carefully placed polka dots that was made all the more jolting by her huge pregnant belly.

Grammy nominee Estelle was stunned and impressed by the due-date bravado of M.I.A., whose "Paper Planes" was nominated for record of the year: "I was like 'Oh, god, she's going to break any minute now!' I have so much respect . . . I love people like that."

The producers of the Grammys had high hopes that, after an intense marketing blitz and two prime-time specials, the franchise could bounce back from poor ratings in recent years. This year featured almost two dozen musical numbers, among them a tribute to the Four Tops and a foot-stamping celebration of New Orleans music.

Such familiar faces as Paul McCartney, Neil Diamond and Stevie Wonder played, while Radiohead, the British band that had declined Grammy invitations through the years, flew in for a performance with the USC marching band.

Jonny Greenwood, the guitarist in the band, said the show's big tent was something to behold, a dizzying exercise in "surrealism." He also wasn't sure if that was a good thing. "Everything I know about pop culture I know from 'The Simpsons,' and they say the Grammys aren't very good."

5.0 out of 5 stars January' Little Joke is every month's little pleasure, 14 Feb 2004
By Hunter Richards - See all my reviews
This review is from: January's Little Joke (Audio CD)
January's Little Joke is (was) a band from Albuquerque, NM USA. I know because I used to watch them live every chance I could get. But that was back in the mid 90s when I used to live there and for such a small city, man, there was a great music scene - JLJ, Naomi, Ant Farmers, Giant Steps, Scared of Chaka, etc. - good times. The band is now no more. As far as I know they released only two albums, the self titled one in 1993 and "God Calls Him Sane" in 1995. The members are all very talented musicians: Steve Chavez (bass, piccolo bass) and Robbie Dunn (piccolo bass, bass, guitar) shine on Chinese Garden, Brushes, Proposal Day, and Mask; Chuck Martin (drums and percussion) is extraordinary on Chinese Garden and Brushes and Stacy Parish's skills (guitars, vocals, keyboard) as a singer/songwriter/guitarist/etc. is apparent on every track. Fortunately Parish's voice is fronting the new Albuquerque band Simple (comprised of veteran ABQ musicians from equally good bands).
Their two cds are still two of my favorites. Buy them if you can find them. Or if you just can't find them I can send you a copy. It's a shame more people don't have access to this great band. The awesome thing is that they mature greatly on "God Calls Him Sane" resulting in, I think, a superior sophomore effort!

The tracks on this album are:

1. Mission
2. Cold/Birth Chapter
3. A Chinese Garden
4. Punishment of Saint Marshall
5. Charlie's Head
6. Brushes
7. Confusion Song
8. Proposal Day
9. Taxman
10. Mask

The Shins aren't the only great band to hail from this high desert mountain city!

Stacy Parrish: 25 Years of Music
Thursday, 07 January 2010

Photo by Wes Naman
By Michael Henningsen
For long-time, music-minded residents of Albuquerque, the name Stacy Parrish should more than ring a few bells. As the mastermind behind such renowned local bands as The Rudiments, January’s Little Joke, Drowning Sailors Lullaby, Typewriter and simple., Parrish left an indelible mark on the local scene as one of its most prolific, brilliant songwriters and one of its most underrated guitarists. As a producer, Parrish was the ear behind many of the best local rock records released between the late-’80s and mid-’90s, before going on to win six Grammies and a host of other awards for his studio and production work.

And though Parrish’s schedule over the past few years has kept him away from home, he says he has a newfound interest in the local music scene. “What I really want to do is to get my studio (Water), which has been known in the past for pumping out really great sounding stuff, to just crank it up again,” Parrish said.

Currently based in Sweden, Parrish will make a brief pass through his former stomping ground, where he will present what promises to be one of the most deliciously interesting shows of the New Year: a Stacy Parrish retrospective. Featuring performances by the aforementioned bands, the show will reunite Parrish with numerous special guests and former bandmates. Fans of Parrish’s two-plus decades of inspiring rock music will also have the opportunity to take some of it home in the form of a compilation CD and other releases Parrish will be making available at the show.

Stacy Parrish & Steve Cordova - Drowning Sailor's Lullaby

The Open Sea

Sorry Anne
Saviour
Odysseus
Former Republic Of Us
Fear Of Love
The Storm

The Lonely Days
Book
Pilot Pilot
Death

Drowning Sailors Lullaby
Up On The Shore
Home

Home
Better Than This
Sigh Of The Lord
Perfect Dream
Lost
Label: Windows Records
Production: Stacy Parrish & Steve Cordova
Year: 1998

Total Playing Time: 66:26 m:s

Review date: August 1998

The sounds of the sea and waves introduce this album. The first track, Sorry Anne, floats into the foreground and you realise that the album has started. A gentle tune that immediately has me thinking about Marillion and their Brave album. The majority of the album is filled with similarly mellow and atmospheric tunes. The first time I listened to this I just didn't get it at all. If you listen to a diet of AOR or Melodic Hard Rock most of the time, you're expecting songs to leap out and grab your attention. With this album, you've got to sit down relax and immerse yourself in the music. Only then do you start to appreciate the subtle differences between the songs and what was once a bland landscape takes on some colour.

The Open Sea builds up to the Former Republic Of Us, which is the first song to display a sense of urgency. This is followed by another slow number, Fear Of Love, which has some good vocal harmonies. The Storm's second song, Book, features some late night jazz. Pilot Pilot reminds me of bedsit-land favourites The Smiths. Both tracks in Death are mellow and feature a mixture of Marillion and the prog merchants from last month's reviews Tale. The ending of Home fades into those sea sounds that started the album. I think that marks the end of the Drowning Sailors Lullaby. The remaining tracks are from a bonus EP that is included on the CD. There is a change of mood for these tracks. Better Than This has a more commercial feeling than what has gone before and Perfect Dream features some upbeat semi-jazz swing. The CD finishes off with the most rock orientated track, Lost.

A different listening experience for me & I would of liked more time to listen to this before writing this review. I'm a bit undecided about this one. It hasn't quite clicked with me yet. In fairness, I should say that Marillion's Brave never did click and the number of times I've played it is probably still in single figures.

The production work on "In Perfect Disarray," provided by vocalist and rhythm guitarist Stacy Parrish and his bandmates is downright impeccable. So much so that it's difficult to believe that's not a bed of strings on songs like "Forgive Me" or "As If We Care." The standout track, "Ballad of the Beauty Queen," is a rolling, melodic portrait of skin-deep beauty that is unfortunately shorter than three minutes (radio friendly, but not audiophile friendly).

by Sam Beresky

Daily Lobo


Local band Simple has the whole musician thing down pat.

The band has mastered using quality equipment, writing superior lyrics and displaying all-around excellent musicianship by being an older, wiser version of the typical local band.

Comprised of former members of Albuquerque's most popular bands- Naomi, Starsky and January's Little Joke - Simple is poised to head in a different direction than its predecessors. With influences like Coldplay, Radiohead, Jeff Buckley, Interpol, Ride and even the Church, the band seems ready and capable of adding another chapter to the American Brit-Pop genre that seems to be everywhere these days. According to lead vocalist/guitarist Stacy Parrish, the band has a good idea how to start that chapter.

"We've had a personal audience with the president of Borders Books and Music and have established a great relationship with the company," Parrish said. "We are in the process of establishing an exclusive relationship that will have our music available only at Borders in conjunction with in-store appearances."

When asked if the deal will limit the band's options, Parrish responded with a resounding no.

"Borders is the second largest music retailer in the world and are a great company to work with," he said.

Along with Parrish, Simple includes Joe Anderson on bass, guitarist Daniel Prevett, and drummer Jeff "J-Ro" Romaniuk. All members are veterans of the local scene and are also over 30 years old.

On Jan. 17 Simple performed at the Launchpad for their eighth performance in Albuquerque since forming a little over a year ago. Beers were tossed back, a few laughs were had among the members and philosophies on local stardom were discussed.

The room was empty at the beginning of the first song but by the time the emotional power of Parrish's voice ended the tune, the room was full. The second song, "Ballad of the Beauty Queen," was a dramatic haunting number that could give a person chills and would make any Train or Matchbox 20 song sound like wilting teen pop.

The next song, "End of the String," was along the lines of the first few songs but superbly showcased the tightness of the four-piece and the power of Parrish's vocals to move the crowd.

Simple does not play music that makes people dance; they play very dramatic, dreamy Brit-Pop that builds emotions inside the listener. The songs could hold their own on heavy rotation with the likes of Coldplay, early Radiohead, and even - if only for a moment - revive the ghosts of almost forgotten '80s tearjerkers Echo and the Bunnymen. With a simple plan for success and straightforward dramatic rock 'n' roll, Simple is a local band with true promise.

simple.
Posted by michaelbrown on July 24th, 2007 in michael8rown | No Comments »
Some of you already know that I was in a band in the late 80s, early 90s called The Rudiments (or Arena or Virtu, depending on which phase you want to look at). Keyboardist/vocalist Stacy Parrish is the only one of us from the original Rudiments lineup who has gone on to make his living in the music industry. Not only has he worked with such legends as T-Bone Burnett and Robert Plant, but his own band, simple., has recently penetrated the virtually impenetrable shell that is i-Tunes. Their current release on Windows Records is called In Perfect Disarray, and I encourage you, nay, I demand that you give it a listen. (If you don’t have i-Tunes, you can find it on CDBaby, too.)

A couple comments about this album: It’s big. Not physically, of course, but aurally. Stacy’s trademark, from the early days of The Rudiments and up through January’s Little Joke, has always been polyphonic enormity, or the auditory impression that you and I are not trapped in a tiny little closet together, but rather we are microscopic vessels floating in the symphonic vastness of outer space. In other words, it’s fat, full, rich, and if you sank your teeth into it, its ripe nectar would flood over you and sweep you away. Okay, okay, I’m getting cheesy here, but you get my drift: the sound that comes out of simple. is everything but.

There are two songs on this album that continue to blow me away, End of a String and Ballad of the Beauty Queen. To quote a fan who left a message in Stacy’s guestbook, “[I]t is the type of song every musician wishes they had penned.” And it’s true, the hook of the chorus is what many songwriters hope to find and never do. As for Ballad of the Beauty Queen, I wrote the following note to Stacy after about my third listen: “[It] could be twice as long … that rhythm, the chords, the melody never get old and could easily be six minutes total and I’d be happier than a pig in shit.” Not terribly eloquent, I know, but honest. We all have a select few songs in our lives that we wish would last forever, and that’s one of mine.

I won’t go into detail about any of the other songs right now; I’ll let you listen and decide for yourself. But I will say this about the mood of the album: there’s a deep sadness here, almost a desperation to understand what’s happening outside the self, to understand why things are happening the way they are. Is it lost love? Maybe. That’s certainly what I hear in it. But ultimately, there is a sense of peace in this chaos. It’s a realization that life is in utter, yet perfect disarray, which is startlingly okay.

A clever way to make music.
Reviewer: Emilio Valencia
Great CD from a great band. The concept talks itself. Simple chords, arranged in a way that you do not expect which one will come next... music breaks as the seconds go on and on and on. The band tends sometimes to use a previous set of song structure but it does not mean they are conventional. The singer is a star, but not a typical one. A great effort and a great result. Those Sundays and The Ocean Blue fans will be rewarded with a nice and rich CD.

Simple / In Perfect Disarray
Album: In Perfect Disarray Collection: General
Artist: Simple Added: 08/2004
Label: Self Release

Album Review
Guest DJ Account
Reviewed 2004-11-16
Simple is the perfect U2 ripoff. 'nuff said, as far as I'm concerned. They do a great job, from the formulaic guitar and percussion instruments to the vocals to imitating that band, and all mimicking aside, they do a pretty damn good job making music. Their stuff is mostly soft rock with the usual percussion and guitar instruments. Occasionally, they spice things up with a synth or two or move into some heavier rock with darker undertones. Good stuff. Check out 3, 7, or 10.

1. Acoustic opening with percussion. Very uplifting. Male vocals. Very formulaic.
2. Faster percussion and electric guitar opening. Male vocals open from :36 from mini climax.
3. *Light guitar opening to a lighter rhythmic rift and male vocals. Chorus has a catchy melody with the vocals. Excellent overall.
4. Immediate vocals with darker guitar rift with faster precussion and electric guitar. More of a move to rock than traditional soft rock.
5. Percussion heavy track with usual vocals Minor guitar climaxes here and there
6. Light soft rock track again. With vocals and electric guitar. Nothing special here.
7. *Low guitar rift with ?delic guitar rifts interspersed. Definitely darker with vocals at :50.
8. Hard rock opening with some synth, a fast-moving track that covers lots of ground. Lots of synth use.
9. Smooth opening with electric guitar and vocals. A lower keyed track with a bit more mellow take on the soft rock stance.
10. *Trendy uplifting soft rock piece

Eric 'The' Ford