S.F. BASED CONFESSIONAL SINGER/SONGWRITER
WHIPS UP A HEARTFELT, INCISIVE AND BITTERSWEET ‘COTTON-POLY BLEND’
OF ROCK, BLUES, GOSPEL AND POP ON HER INDIE DEBUT
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Showcasing The Diverse Songwriting Skills of Van Spall and Keyboardist Ian Hisert
The Album’s 12 Tracks Were Produced By Veteran Rock Drummer Atma Anur (Journey, Third Eye Blind, David Bowie)
* * *
Van Spall’s Kickoff Single “Save Me” has been on the top 10 on the FMQB AC Radio Charts 5 weeks in a row!
Everyone knows that California’s Bay Area is full of brilliant “techie geeks” and incredible indie musicians, but we rarely think of these two different worlds colliding. That’s about to change with the emergence of Vanessa Van Spall, a powerful confessional singer-songwriter who deferred her lifelong goal of making music to enter the lucrative (and far less risky) world of information technology.
While working in corporate project management, she won the attention of a colleague, Ian Hisert, by showing him some database tricks. By night, Hisert was a keyboardist in a popular local 80s band, and he inspired Van Spall to stop being afraid of her dreams and get working on her first album.
The two began performing together at Bay Area hotspots like San Francisco’s Blondie’s Bar & No Grill, Starry Plough in Berkeley and The Bistro in Hayward. The compelling result of their eventual songwriting collaboration is Van Spall’s stylistically diverse debut Cotton-Poly Blend, whose 12 tracks draw from her love for rock, blues, gospel and pop, as well as a cool mix of Hisert’s lighter side with her unique dark and brooding vibe.
“Save Me,” the infectious, Fiona Apple-flavored first single, recently spent 5 weeks on the top 10 of FMQB’s AC radio charts. FMQB tracks Secondary and Tertiary Hot AC Radio stations across the country.
Cotton-Poly Blend was produced by veteran rock drummer Atma Anur, whose extensive resume boasts workwith everyone from Journey and Third Eye Blind to Richie Kotzen and David Bowie. True to the spirit of eclecticism that the album title promises, Anur adds exotic elements of Indian Bangra music to the mix.
“I originally met Atma when I was 16 and was on the path of having a musical career that I always should have been on,” says Van Spall, whose early musical memories include harmonizing with her friend at church at age 12. “He encouraged me to sing back then and meant a lot in my life, but we lost touch for a long time after that. I went to college, got a degree in history from San Francisco State and got married while he moved to L.A. I didn’t see him for ten years and then ran into him just as our careers were moving in similar directions. It was a great experience to work with him after all that time.”
While the singer attributes her edgy, brooding side to “typical artistic temperament,” there is an ultimate optimism in her lyrics that gives Cotton Poly-Blend an overall feeling of optimism after a series of struggles. The title of the forward thinking, easy rocking “Hopeful” captures that sentiment beautifully, as does “Follow Me,” in which she sings eloquently about that point in her life when she was struggling with the dilemma of finally pursuing or giving up her dreams. Her lyrics provide heartfelt, bittersweet and piercingly incisive reflections on the ups and downs she has been through. Musically, it’s just like the title implies, capturing multiple moods and styles—from unplugged acoustic numbers to more synthesized ‘80s influenced songs.
“This album represents the culmination of a few years worth of work, spanning a number of seasons in my life,” she says. “A lot of the songs were written right after my divorce. In fact, a lot of them came from a period where I was in the middle of that, while at the same time moving residences and being laid off from work. I think that all of the life experiences have made me a kinder person overall. I remember being very critical when I was younger, but time and these hard experiences mellowed me out and gave me a deeper understanding about other people.
“Maybe I never should have run from my dreams,” she adds, “but my songs reflect a broader life experience than I had starting out at 16. I hope people can relate to that and appreciate it. This music is for anyone who’s ever made mistakes, been afraid or just taken the long way to get there.”
That long road was paved with a great deal of musical ambition from the get-go. The daughter of a church music minister, Van Spall—who moved back to her hometown San Francisco during high school after four years in Chicago--began performing for live audiences at age 5, started piano lessons at 6 and won her first statewide songwriting competition in second grade. While she performed in musical theatre in high school, the lifelong choir singer grew disenchanted with this type of performing “since I didn’t like the acting part and felt it was more important to express my own voice. That’s where songwriting came in.”
At 16, she recorded her first demo, which was “picked up” by an industry person. But somewhere between getting her drivers license and finishing college, her detour began. Afraid of failure or success or who-knows-what, she started on an alternate path of seemingly sensible choices, like getting married, finishing a degree in History, working office and corporate jobs, substitute teaching (not easy), etc. During these years, she slowly came to the realization that she wouldn’t find the fulfillment she was looking for in anything other than music.
“I feel like everything is falling into place for me now, and it finally feels like I’m all connected,” she says. “Before I was putting my heart into my music career, I felt like I was at odds with myself and knew I was in the wrong place. The most gratifying thing is that I haven’t been able to pinpoint my specific audience. People come to see me who are 70 years old, and I have fans as young as four! Right now, the goal is to get my music out there to as many people who will appreciate it as possible. In a way, following my dreams is harder than avoiding them, because every day is like a moment of truth. That isn’t easy, but it’s great to feel like things are coming together and my days of being fragmented are over.”
For more information on VANESSA VAN SPALL go to:
www.VanessaVanSpall.com or www.myspace.com/VanessaVanSpall
Vanessa Van Spall: Vocals, Percussion
Ian Hisert: Piano, Keyboards
Joe Hickey: Vocals, Guitar, Bass, Beatbox, Flute
Cotton Poly Blend (2007)
Time Converged (2002)
How Can I Miss You?
Save Me [Single Version]
Palm of Your Hand
Chasing The Weekend
Merry Christmas Song
What to Do This Weekend
[+ Show ]
Since there's no football this weekend, there's no good excuse for not going out to hear a band that...Since there's no football this weekend, there's no good excuse for not going out to hear a band that's been described as a mix of the Ben Folds Five, Tori Amos and Ella Fitzgerald. In my book, that's two-thirds of a really intriguing mix -- I'll let you guess how my math breaks down."
Cotton-Poly Blend is a great in its telling of life stories...
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Vanessa Van Spall has been everywhere in life, and she makes it known on her debut album, Cotton-Pol...Vanessa Van Spall has been everywhere in life, and she makes it known on her debut album, Cotton-Poly Blend. Bouncing in between making music and living life over the years, she has inevitably meshed the two in order to bring you her own heartfelt message in an effort to tell you her story, in hopes that you've been through some things, too.
Based in San Francisco, CA, Van Spall is quick to establish a cold morning in the city by the Bay with the rousing "Hopeful," and with it comes her inspiration. There are elements of Pop, Rock, Blues, and even Gospel that come alive on this album, notably on "Palm Of Your Hand," and "Rapture." She gets a little Fiona Apple-ish during "Not Sorry" and especially "Save Me" because of a bit of dark, albeit menacing piano brigade that marches along. But instead of raspy vocals, she belts mostly in falsetto that calls to mind Lilith Fair-esque Paula Cole and Sarah McLachlan. Both have an earthiness, and all the while reel you in with amazing melodies and lyrics of stories untold, much like Van Spall does.
And though the songs are mostly singer/songwriter quips with its wax poetics about life, she and co-writer Ian Hisert somehow make you want to dance. Most of the time you're thinking you're in for ballads with songs that begin slow and steady, but Cotton Poly-Blend catches you off guard with toe tapping, shoulder shifting grooves by the next minute. And let's be honest: there can be a sleepiness sometimes when it comes to singer/songwriters ... like they've never heard of anything but an acoustic guitar.
The title Cotton-Poly Blend is another wonder, and one can only make the connection with the kind of music that Van Spall and company have created. The blend of genres and influences is soft, manageable, and would probably stand the test of time without any heavy wear and tear. Who knows if the reference was intended, or just a love for fabrics. But all of that aside, Cotton-Poly Blend is a great in its telling of life stories and is a wonderful debut of music that will only get better as life goes on.
Written By: Caroline Leonardo
FMQB, AC Pick
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Weaving a clever balance of Pop, Rock and Blues, Van Spall and company deliver a refreshing debut wi...Weaving a clever balance of Pop, Rock and Blues, Van Spall and company deliver a refreshing debut with “Save Me.” The emotional and heartfelt lyrics are offered expertly and are supported by a stellar rhythm section, hooky melody and tasteful viola work. From her new album, Cotton-Poly Blend.
Awaken to a beautiful voice and brilliant lyrics
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VANESSA VAN SPALL ‘COTTON-POLY BLEND' Awaken to a beautiful voice and brilliant lyrics. Venture ...VANESSA VAN SPALL
Awaken to a beautiful voice
and brilliant lyrics.
Venture into a mix of music,
sung with passion, by
a gifted vocalist.
Experience the extraordinary music
VANESSA VAN SPALL
Review of "Hopeful"
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“An hour past the sunrise in a San Francisco morning mist driving down Van Ness toward the shoreline...“An hour past the sunrise in a San Francisco morning mist driving down Van Ness toward the shoreline.” Sounds like a novel, or an on-the spot reporter. Notice the lack of traditional rhyme. No prob, add a voice and some background music and we move far beyond anything we want to consider “traditional”. In all reality I feel like I’m floating above the mist looking down on the scene as she sings. The narration tells us this is the first time driving this street, but doesn’t tell us what causes the despair that’s being felt. Turns out to be okay because the song looks forward, not back. “And I sure feel hopeful. Hopeful that today will be beautiful and chase despair away.” As I float ever higher, I can admit this song has accomplished that for me. The morning fog images of San Francisco brings back many good memories, however the song transcends place and works just as well 2000 miles away.
Interview: Take the Long Way Home
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Singer-songwriter VANESSA VAN SPALL didn't simply happen upon music. It was something that was alway...Singer-songwriter VANESSA VAN SPALL didn't simply happen upon music. It was something that was always with her. At the age of 16, VAN SPALL recorded a demo that actually ended up in the right hands. A deal was in the works, but life had otehr plans for VANESSA. You see, the deal was never signed. This was no mere oversight by an administrative assistant at some record company. VANESSA simply walked away. "I think was a lot of things; fear of success and fear of failure, and a fear of confronting your dream." says VAN SPALL. "It's like you set this goal for yourself and then suddenly, the possibility of failure is right in front of you. Maybe, I wasn't ready to face that yet at that age. I also kind of felt that my life was pulling me in other directions as well."
Not being the person to get lost in regrets, VANESSA threw herself into marriage, college, and a string of careers (including database management and substitute teaching) that all lead back to her questioning if such paths were ever going to make her happy. Eventually, she met up with pianist/keyboardist IAN HISERT and started singing and composing again. Along the way, they recruited ERIC GOLUB on viola and cello, DEREK YERGLER on bass, and ATMA ANUR on drums to round out the sound. "The four of us have a distinctive contribution that makes it really unique." says VAN SPALL " I view all four of us as non-replaceable."
Her curiously titled CD COTTON-POLY BLEND is a provocative listen. In an age where the right wing-waged Culture War has divided the country socially and politically, VAN SPALL sings of humility, redemption, and praise so honestly and hauntingly,the listener can actually believe that the woman is singing about the real thing and not trying to sway anyone at the ballot box. "I am a Christian and I write from my perspective but I don't try to make the music be one thing or another." says VAN SPALL. "I personally not aiming to sing in churches alot and I'm not aiming for a Christian audience. I'm just open to whoever likes it. If I tried to make it not sound religious that would be contrived and if I tried to go the other route that wuold be contrived and annoying."
The material on COTTON-POLY BLEND eases back and forth seamlessly from electronic to acoustic, to earthbound to spiritual. No matter what end of the political/religious spectrum you are on, COTTON-POLY BLEND has that thing that all of the great pop albums great - substance. Save a space for this CD somewhere in between CAROLE KING's TAPESTRY and ANNIE LENNOX's DIVA.
VANESSA VAN SPALL spoke with ROCKWIRED over the phone. Here is how it went.
RW: After looking at your website, it looks as if you guys are hitting the internet radio route with a vengeance.
VS: Yes. We're really excited because we've now also hired a regular radio promoter and he's been doing well for us also.
RW: What the first single?
VS: The first single is SAVE ME, which is at the end of the CD.
RW: I'm surprised that that one is the single.
VS: Really? I guess we were surprised to or else we wouldn't have made it track eleven on the CD. The midwest is a different world than what we're on in the coast. What song would you have picked?
RW: PALM OF YOUR HAND.
VS: Thanks. It doesn't mean that it won't be a single somewher down the line.
RW: COTTON-POLY BLEND isn't your first CD, is it?
VS: It's not my first CD ever in life, but it is with this band. It's a CD that I'm 100% proud of. I did do some prior CDs and they did limited runs and they were good, because just having the experience was awesome, and one of them was a CD that my dad and I actually did together. It was a great experience for us. We had a rough patch in our relationship and that was sort of the "getting back together" type of experience. COTTON-POLY BLEND is the first CD that I'm ready to put out there for a mass audience.
RW: Is it safe to assume that VANESSA VAN SPALL is more of a group effort as opposed to a solo artist?
VS: It's totally safe to assume that. We couldn't think of a band name and we sat on it for a year and a half . Four of us couldn't agree, six of us couldn't agree and finally after playing out under the name VANESSA VAN SPALL for so long we got advise not to change it becuase we would have to start all over again with people not knowing who we were. I kind of felt like I was standing in this band then got pushed out to the front. It appears to be about me but the four of us are really tight. It's definitely more like ALISON KRAUSE AND UNION STATION as opposed to SHANIA TWAIN who just assembles musicians when she needs them.
RW: So your saying it's not a machine.
VS: No, it's not. The four of us have a distinctive contribution that makes it really unique. I view all four of us as non- replaceable.
RW: You grew up in a house full of music.
VS: Yes. My dad is very musical. It's funny, through the internet where I'm running into all of these people witht he last name VAN SPALL in England and Holland and they are all musicians or they are in the music business. Very bizarre.
RW: In you bio, your father is described as being a music minister. Forgive me my ignorance and my Episcopal upbringing, but what does that mean?
VS: A music pastor. I grew up in more in the Pentecostal Churches - the crazy Churches. Evangelical Churches. The music in those Churches tends to be modern. My dad had some choirs but then gradually through the years it was like rock bands playing in church. That's the musical background that lead me into music.
RW: Like TORI AMOS.
VS: Yeah, I've heard that.
RW: So when you started performing at the age of five, you performed for church audiences.
VS: Yeah. Church and a little bit in school.
RW: In the second grade, you won a songwriters competition? What was the song?
VS: The song was called SPACE AGE ELEPHANT. It was a purely a piano piece.
RW: I was about to ask what a second grader had to write about.
VS: Yeah, no lyrics on that one.
RW: Growing up, what artists had an influence over you?
VS: I would say BONNIE RAITT and also SINEAD O'CONNOR. SINEAD O'CONNOR is huge. She's an influence because there is no disconnect between what she's singing and whats going on in her heart. That emotional tie to SINEAD O'CONNOR just had an emotional influence on me. I still strive to be that raw and that honest. BONNIE RAITT, I just love her music. Her career is just the ideal career because she's had so much control over what she does. Those are two that come to mind immediately.
RW: After hearing the CD, I would've thought ANNIE LENNOX would've been an influence.
VS: Definitely. Her DIVA album and her MEDUSA album both got played to death.
RW: You recorded a demo at the age of 16, which fell into the right hands. A deal was in the works and you walked away and did all of the things that a parent wants their children to do; go to college and get married. Yet, you walked away from music. What happened?
VS: I think I got scared of the whole thing.
RW: How so?
VS: I think was a lot of things; fear of success and fear of failure, and a fear of confronting your dream. It's like you set this goal for yourself and then suddenly, the possibility of failure is right in front of you. Maybe, I wasn't ready to face that yet at that age. I also kind fo felt that my life was pulling me in other directions as well. In the end, I don't regret that. I think it kind of made me who I am and it gave me a pretty broad breadth of experience in terms of life. It's just interesting how things work out. Now, musically, I think I have a lot more opportunity, just in terms of the internet. There are so many more musicians that are able to make a living doing what they are doing than there were about ten years ago where you had to be signed to a label and get roped into what they wanted you to do creatively. The industry has changed alot and maybe it was good that I didn't start out then. You can't live with regrets.
RW: With that demo, what sort of sound were you going for?
VS: It really wasn't that different. By the time a I recorded that demo, BONNIE RAITT's LUCK OF THE DRAW came out and I was in love with that album. She's kind of folky and - I don't know. Do you think she could almost border on country.
RW: I'd say more roots rock than country.
VS: The style of that demo was more in that vein.
RW: What brought you back to wanting to make music again?
VS: I tried a whole bunch of other avenues, and even though I had mild interest in the other career choices, they just were not fulfilling.
RW: What were some of these other career choices?
VS: I worked in offices, I've done database work, and substitute teaching.
RW: What was that like?
VS: It was so hard. Substitute teaching in the public schools definitely toughened me up.
RW: What year?
VS: Elementary school and one time as a friend I did junior high.
RW: Other than jobs scaring you away, was there anyone going "Come on Vanessa, you need to get back into music".
VS: There was a band that asked me to be their singer, so that helped. I played with them for a while.
RW: Was that SANCTUARY?
VS: Yes. Are they in the bio?
RW: They're hardly mentioned, which made it hard trying to find things out about you.
VS: Yeah, I really don't want to advertise the two CD's I did in terms of sale. They were good in terms of experience. The CD I did with SANCTUARY quality wise turned out really well, but when I listened to it, I realised that I had a long way to go as a songwriter.
RW: You wrote for them as well?
VS: I did sing and we had three or four writers in that band so there was never a lack of material. It was actually a really good creative environment but in the end it just came down to the fact that creatively, we were going in different directions.
RW: What kind of band was it?
VS: I was the second to the youngest, so there were like two of us who were fairly young, in our twenties and everyone else was in their forties and fifties. So, there was this interesting age gap. The sound was like STEELY DAN meets U2. It was definitely an older sound.
RW: Then there was a band called TESSERACT.
VS: TESSERACT was the original formation of IAN HISERT and I. We were a duo. The CD we recorded was the one I had originally started recording with my Dad. It was kind of like my Dad and I started it and then IAN came in and contributed some material.
RW: What was the rift between you and your father?
VS: In a nutshell, it started when I was married at nineteen and he wasn't happy about the person that I was marrying.
We weren't totally estranged but there was definitely something there. Towards the end of that marriage was when I worked on this project with my dad and it was very healing for us.
RW: How did you and IAN HISERT meet and decide that the two of you had this musical connection?
VS: We met working at accounts payable at GAP CORPORATE. He was playing for a cover band at the time and they were looking for a lead singer. He was asking one of my co-workers if she was interested and she refered him to me. I never auditioned for this cover band but that was how we found out that we were both musical. We'd see each other in the office and everyday and found that we had a lot of other things in common. We're actually partners in music as well as in life.
RW: I could tell. Have you ever collaborated with anyone as a songwriter before?
VS: I have in the sense that they've written music and I've written lyrics. I've never actually tried to sit in a room with someone and do something entirely from scratch.
RW: Is it easier on your own or with someone else in terms of songwriting?
VS: It depends on the other person. If there is a chemistry, you feed off of it. The flip side is that if you don't have a chemistry, It's kind of like being in a conversation that you have a lot in common with versus a conversation with a person where there is no common ground and you want to go get a beverage.
RW: What are you trying to say VANESSA?
VS: Unlike our conversation right now.
RW: Between you and IAN, how does the process work?
VS: It's definitely gone both ways. A lot of the songs, he's come up with the music and I'll feel inspired by it and other times, I've come up with lyrics and we'll sit down together. Ussually, if I come up with lyrics, I have a melody that goes with them, but not always and then we'll put some music behind it. Since the CD release, I've been so busy with the promotion and playing out, and I need to get back into the songwriting. It's the soul of the process for me.
RW: COTTON-POLY BLEND - What does the title mean?
VS: It's a reference to fact that there is a pretty big range of music. For example, PALM OF YOUR HAND has this super organic sound, very unplugged and spontaneuos, versus I COULDN'T CRY which is very synthy and has a very electronic thing going on. It refers to the musical aspects of the CD.
RW: As a songwriter, how much does Christianity have over the music? Would you consider COTTON-POLY BLEND to be a Christian recording or a secular one?
VS: I am a Christian and I write from my perspective but I don't try to make the music be one thing or another. I personally not aiming to sing in churches alot and I'm not aiming for a Christian audience. I'm just open to whoever likes it. If I tried to make it not sound religious that would be contrived and if I tried to go the other route that wuold be contrived and annoying.
RW: Do you think being labeled Christian would positively or negatively effect how th emusic is listened to?
VS: My experience has been in terms of getting a lot of people listening to it, it is definitely negative. It tough because songs like NOT SORRY really rub Christians the wrong way. One of my relatives heard it and she's really sweet but somewhat conservative. After she heard that song, she called my mom and she's like 'Is everything okay with VANESSA?' My goal is not to pull people one way or another. This my experience and this is what has happened. I really don't know what's going to happen. I've had people tell me that if you're writing to a secular audience, they don't want to hear about God or the J-word, but as an artist, I just can't filter. I have to write what I feel. That's a tough question. I think about it alot. I wonder if I've blacked us out of certain markets because I've said the workd God. I can't be an artist and think about the market side of it at the same time.
RW: I'm going to name some songs from the CD and I'd like for you to talk about them. PALM OF YOUR HAND.
VS: That song was definitely a love song about me and God. For people who can't relate to that, I just tell them that it's a love song between two people that have loved each other for a really long time. If you listen to the song and have lived a little you know that you just don't find that with people. It's not humanly possibly. Going through my divorce was a total crisis of faith for me. In the second verse where it says, 'Your still writing on the sand where I'm standing my accusers can't be found' , It's like my relationship with the Lord has outlasted even me doing things that He wouldn't like. I can't try to go for a Christian market and I can't try not to. He's got his mark on me and I can't take that away.
RW: FOLLOW ME.
VS: FOLLOW ME is about a point in my life where I was trying to figure out whether I should pursue my dreams or not. Should I let this thing go, or should I go after it?
RW: FOOLISH BRIDE
VS: It's very much related to the divorce I went through. One day I found this key to a bike chain. My ex-husband and I bought these bikes one day. When your going through a divorce you're just trying to clear away all of the memories and just get rid of stuff. I was just trying to undo it by getting rid of stuff and I came upon this object that brought back this flood of memories. What I realized was that I was trying to love him all of this time and he wouldn't let me. I tried to help him but he couldn't be helped. I just came to realize that some people need more than what can be found in a marriage or a relationship.
RW: IVORY LADY
VS: Have you heard of a book called THE HIDING PLACE?
RW: I don't think so.
VS: That inspired the song. In the book, the writer is very close to her sister. These two sisters and their father are hiding Jews during World War II in Holland. Eventually, they get found out and the two sisters are sent to a concentration camp. While they're in the camp, the sister has all of these visions and dreams of what they can do after they get out. The sister dies while they're still at the camp, so she never gets to see all of these dreams come true but the writer carries them out when she is set free. The story is actaully about the moment when the one sister realizes that the other has passed on. I'm very close to my sister in real life, so I could totally relate.
RW: This band of yours is an interesting group of musicians. Who are they and what do you think each of them sort of brings to the table?
VS: IAN HISERT is the other driving force of this band. He co-writes with me and I feel that betweeen the two of us, he is the young spirit, and I'm the old spirit and between the two of us, we're able to come to the middle ground. He is a pianist and a keyboard player. He's not a jazz musician but he kind of leans in that direction. He improvises solos on the fly that are just amazing. He's written alot fo the music that we do. ERIC GOLUB is our viola player and we like to refer to him as our secret weapon. He's just super-talented and is definitely from a jazz background. I've never heard anything quite like him because it's not quite fiddle like a country player and it's definitely not classical. It is jazz viola. He brings talent and a definite unique sound. DEREK YERGLER is our bass player and above everything else, he has a real sensitivity to the music. On the CD, ATMA ANUR played drums and he also produced it. He's brilliant in many ways. We learned so much from working with him. He's actaully in England now. He did a lot of arrranging as well as producing. He's just a phenomenal musician and he's just got this energy level that eclipses the four of us put tohether.
RW: How long did it take to record the CD?
VS: From start to finish interms of pre record at home all the way up until the end, I would say nine months.
RW: As long as it takes for a human to come together. Interesting.
RW: What in you opinion makes a good album.
VS: Strong songwriting, great performances and good arrangements.
RW: Why is COTTON-POLY BLEND a good album?
VS: Oh no!
RW:Ah hah! Saved the hard one for last!
VS: I'll say, because it's from the heart. Everyone contributed pieces of their soul on this one. They didn't just come into the studio, lay it down and leave. I also think that the variety of it lends to it's strength.
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"There's a hint of Fiona Apple in the way Grace Woods modulates her voice from high to low and sing ..."There's a hint of Fiona Apple in the way Grace Woods modulates her voice from high to low and sing to speak"
Original music with a few covers.
Up to three 45 minute sets.
There are no upcoming dates at this time.