Tag Archives: Phonte

Zo! Interview on NewsObserver.com (July 22, 2013)

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Indie-R&B musician Zo! to return to Triangle

Even though he lives in Silver Springs, Md., Lorenzo Ferguson never stays away from the Triangle for very long.

The Detroit-born, indie-R&B musician and producer certainly didn’t stay away when he was composing his latest album, “ManMade,” which he will be playing (with Raleigh experimental jazz trio The Hot at Nights backing him up) at Casbah in Durham on Thursday night. While Zo! – that’s his performing name – worked on music for the album, he usually hollered at friend and collaborator Phonte Coleman in Raleigh about lyrics and about which vocalists would be perfect for which songs. Of course, the acclaimed rapper/singer provides vocals of his own on the album, doing lead and/or background vocals on many tracks, as well as the odd rap verse.

“He (Coleman) had a huge hand in ‘ManMade,’ ” Ferguson, 34, said on the phone from Silver Springs.

For nearly a decade, Ferguson and Coleman have had a continually fruitful working relationship. It started when they worked on an EP of ’80s covers, “Zo! and Tigallo Love the ’80s.” Ferguson also did production on “Leave It All Behind,” the second album from the Foreign Exchange, the R&B group Coleman fronts with producer Nicolay Rook. Ferguson would also go on the road with the Exchange whenever they toured.

 READ FULL ARTICLE HERE

“Count To Five” in One Small Seed

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#BOTTOMRIGHTCORNER: THE CONTRIBUTOR EDITION

Source: One Small Seed
Author: Kelly Frazier

Every week we compile a selection of music to sing you into the weekend and list them in a post called#bottomrightcorner. Sometimes new tunes, sometimes themed tunes and sometimes we ask a music aficionado to choose the tunes for us. This week, we hand over the selection process to our unofficial Detroit contributor, Mr Kelly ‘K-Fresh’ Frazier. Kelly has been sort of a ‘jack-of-all-trades’ in the Detroit hip-hop scene for the past decade. As the years have gone by, his focus has been that of a tastemaker for not only the hip-hop scene in Detroit, but of the whole music scene. Here’s five of his recent favourite tracks – enjoy and stay posted for upcoming interviews by Kelly over the next few weeks!

READ FULL ARTICLE HERE

Studio Campfire Stories: ‘ManMade’ Edition – “Show Me The Way” (feat. Anthony David and Carmen Rodgers)

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I have to start this story off correctly. A few folks know, most don’t…. But uhhh, Carmen Rodgers threatened me via text message on some Suge Knight shit almost a year to the DAY that I’m writing this. …Well, not quite to that extreme, but I did fear for my life…. Ok, well… I kinda didn’t. ALL I’m saying is, don’t let her innocent looks fool you… She’ll cut’cho ass for an album credit!! The exchange went something like this… AND it was completely outta the blue.

Carmen: “Oohhh. If I’m not on your record… ooooohhhhhh!!!!!! lol”

Me: “I’m getting feature threats?!!?!! LMAO …Don’t worry, We’re working to find something that is right for YOU.”

Carmen: “Hahaha!! Feature Threats!! Thanks for thinking of me… I’d love to be a part of your work…anytime YOU’RE ready.”

Scary, right?…angry ass Carmen. Gonna threaten me, laugh about it, and then be all sweet just ONE text later? As I said, I feared for my life, man…….. kinda. As a result of this exchange, we got her in the studio ASAP. Hahahaha (Now I’ll probably start receiving ‘threatening’ texts from others in order to be on a next project… Lawd.) Carmen got in the studio with Phonte in North Carolina in December and recorded the hook for “Show Me The Way”… This was definitely one of those joints that when I heard just her part, I said to myself… “Oh, we’ve got one on our hands.” Everything about it just WORKED. From the catchiness of “Tell me what am I to dooooo, when it feels like I am looooosing yoooooooou…”, to when she brought the harmonies in on, “show me the way back baaaaaby…” I still let out an enthusiastic “Whoooooo!!!!!!!” about every third time I hear those harmonies too, just for the record. Good shit Suge Rodgers!!

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Now, after hearing the way that Anthony David got up on the …just visiting three album and absolutely BODIED the “Playing Your Game, Baby” joint by channeling Barry White in every way possible, it was pretty much automatic… I HAD to have him feature on the new album whenever it was time to get in the studio with it. When creating the instrumental for the song, I was definitely pulling influences from some of that early/mid 70’s “Motown Sound” (see also: “Greatest Weapon Of All-Time”). When studying that sound as a whole and the producers who were putting that music together, to me it was usually comprised of many simplistic layers of instrumentation that usually formed one beautiful piece of music. It was fun, driving, upbeat, and easy for masses of people to digest once written to. That was my main inspiration behind incorporating the heavy snare drum and the wah-wah guitar lick throughout the majority of the song. I updated it some by utilizing my trusty Moog Minitaur synth bassline on it rather than recording a bass guitar line – I figured that the synth would add a nice contrast to it stylistically.

Phonte got a hold of the instrumental and let it sit for a minute until Carmen arrived in NC to record. He then wrote the hook for her and got with my homeboy from the D, Scorpion of Windimoto (some of y’all may remember him for his jive talking abilities at the beginning and ending of “This Could Be The Night”) to complete the writing for the rest of the song. He then recorded a reference to send over to Anthony David to check out. The way that A.D. completely made this joint his own was DOPE to hear. I can remember sitting at my desktop with the volume almost all the way up (I was still critiquing so TOO loud meant I may miss something) and hearing Ant go in from the first note!! As soon as you hear him sing, “Myyyy, myyyyyyy, mah, myyyyyyyyy, myyyyyyyyyyyy” you know EXACTLY who it is. Even if you don’t, he was sure to place his stamp throughout the duration of the song. For example, the staccato feel of the vocals at the top of the second verse, “..That. Won. Ders. If. I’ll. Everrrrrrr” or the accents placed on “OUrrrrLOveWOntEVer be saaaaaaaaa…” during the second pre-hook. It always feels good as a producer when the vocalist not only brings their A-game to your material, but also allows their total character to shine on the song. To me, it’s a sign that they enjoy and more importantly trust your music enough to be themselves on it. The way that Anthony and Carmen bounced off of each other and truly complemented one another just added another beautiful layering to the music that cannot be written or manipulated in a Pro Tools session. Now let’s see if I can get the two of them on stage to perform it live while on tour… Atlanta perhaps? *rubs chin*

Purchase ManMade HERE • Or on iTunes

“Making Time” in the Washington City Paper

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Listen: D.C.’s Summer Jams

Source: Washington City Paper
Author: Marcus J. Moore, Julian Kimble & Ally Schweltzer

Look, summer jams are a thing. A stupid thing, maybe; a “bullshit media construct,” as Esquire (rightly) put it last year. But summer is also a construct. It’s a state of mind—a drunken one fed by U Street Tacos and lowbrow bangers. People do dumb things in the summer, like wear brown flip-flops and set off fireworks at 2 p.m. on July 5. So open your arms to D.C.’s very own supply of summer songs. Not all of them are mindless truck-rattlers, of course; several of the best tracks are soothing, like aloe vera for a sunburn. But the dumb ones aren’t harming anything, except maybe our brains, and you don’t need one of those to love a summer jam.

READ FULL ARTICLE HERE

Zo! Interview in HuffPost Detroit!

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Source: HuffPost Detroit
Author: Kelly Frazier

Zo! Brings His ManMade Soul Music Back To His Hometown of Detroit This Saturday

The music of the Detroit born and raised multi-instrumentalist/producer Lorenzo Ferguson, known to all us as Zo!, brings back the deep soul music from generations past. Currently residing in Maryland, Zo! has been releasing his own projects for over a decade now and is currently a member of The Foreign Exchange collective started by Phonte Coleman (formerly of the hip-hop group Little Brother) and Dutch hip-hop/soul producer Nicolay. Recently, Zo! released the newest chapter in his vast discography with ManMade, a voyage into depths of real soul music, and he’s coming back to his hometown this Saturday, June 29th at the Elizabeth Theatre in downtown Detroit to present the album live in concert. I asked Zo! about the new album and his feelings about living a life in music.

How would you describe the progression of your projects from the early works to ManMade?

I think there’s a greater quality of musicianship from album to album because of the time that I get to put in on my instruments. Experience has played a huge part in being able to develop a sound that I feel is my own as well as just being able to apply music making in the studio to more of a live experience because I’ve been on the road more often lately and it’s been easier to pick up on what a crowd responds to. To me, live presentation and interaction with your listeners is just as important as your studio release. If you’re able to make the two work hand-in-hand, you have a much better shot at connecting with your people musically.

Why did you name your album ManMade? What’s the principle theme behind it?

ManMade describes the work ethic needed as a completely independent musician/artist. We’re booking our own shows, building relationships with our listeners, making the music, etc. — it is very much blue-collar work and you can’t be afraid to get your hands dirty in order to accomplish long-term goals. Even the cover art is a depiction of me walking to work, where “work” is in this dilapidated building that represents our music industry. I’m basically representing the “last of a dying breed” group of artists who has no management, plays 95 percent of the instruments on the album, helps to distribute the music while touring… and I’m walking into this broken down building/industry to shine my light on it as much as I possibly can.

READ FULL ARTICLE HERE

Zo! Interview on SoulTrain.com

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Source: SoulTrain.com
Author: Chuck Nunley

Q&A: Zo!- Keys Open Doors

Ever since Henry Ford opened up shop in 1903, Detroit, Michigan has been associated with the motto, “Building from the ground up.” This means perfecting your craft as a “labor of love” at a perfectionist level, then taking your work to the people one by one to create loyal supporters. As a native of The D, Lorenzo Ferguson, better known as Zo!, embodies this motto. As a member of The Foreign Exchange Music family, a collective who represents “from the ground up” to the core, Zo!’s musicianship as been a vital piece of the +FE Music sound on record as well as on stage, while serving as the band’s musical director on tour. Now with the release of his sophomore album, appropriately titled ManMade, Zo! sat down with SoulTrain.com during a tour stop in Los Angeles to discuss bringing his latest labor of love to the people.

SouTrain.com: In your bio, it said as a kid, you aspired to be a Major League Baseball player and despised taking piano lessons. What was the moment that changed that and music became your passion?

Zo!:  I think it changed almost overnight when I learned how to play by ear. Once I learned how to play by ear, then I was able to learn songs I wanted to learn rather than only classical pieces. I could turn on the radio, pick out songs and play them for other people. When you’re a kid, it’s important to you to be able to kind of show off and get your little praise. Once I was able to do that I thought, “Oh this could be something.” But at that point in my life, it had yet to trump baseball yet.  It was there, but I never knew I would be making a living off it.

SoulTrain.com: For a number of years, while progressing in your career, you were a music teacher. Talk about the importance of music and other arts programs in schools, and how your experience as a teacher shaped you as a musician.

Zo!: . It helps you tremendously as a musician because you’re practicing all the time to teach your students. I think when you teach, you have to be on top of your game. This was especially [true] with the environment I was working in, which was kids with special needs that were also in and out of jail. They’ll come to my class, look at me like and go, “What do you know? What can you teach me?” And If I play on the piano and suck, then they’re really looking at me like, “Aw you’re garbage, now I don’t have to listen to you on any level, period.” So when you are on top of your game and answering all of their questions the way they need to be answered, then they are looking at you like, “he cares enough to answer these questions and is looking out for us.” The same applies with music education as a whole. If you are able to, for example, decipher different notes and signs while reading music, you’re able to unlock other types of reasoning that applies to other subjects and basic problem solving. Music and arts can be applied to math, English and science.   When states get to cutting budgets, they look at arts as a hobby. I see it as a life changer; I’ve seen it save lives first hand.

READ FULL ARTICLE HERE

Zo! – ‘ManMade’ (2013) FULL Album Credits

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ManMade

Zo!
ManMade
PURCHASE ALBUM
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-Listed at #3 on CentricTV’s Best R&B Albums of 2013-
“…the album maintains an easy elegance and never derails.” -AllMusic.com

01. The Train featuring Sy Smith
Produced by Zo! for Chapter 3hree, Verse 5ive Music (BMI)
Written by Sy Smith for Sybersong Publishing (ASCAP)
Vocals Recorded and Mixed by Grant “G-Nick” Nicholas
All Vocals by Sy Smith
All Instruments by Zo!
Recorded at East Wing Studios, Silver Spring, MD and Rumbo Studios, Winnetka, CA

02. Count To Five featuring Gwen Bunn
Produced by Zo! & Phonte for Chapter 3hree, Verse 5ive Music, LLC/The Foreign Exchange Music, LLC
Written by Phonte Coleman for Daddy’s New Bowtie (ASCAP)
Lead Vocals by Gwen Bunn
Background Vocals by Phonte and Gwen Bunn
All Instruments by Zo!
Recorded at East Wing Studios, Silver Spring, MD and The Peanut Gallery, Raleigh, NC

03. New In Town (Happy) featuring 1-O.A.K. and Carlitta Durand
Produced by Zo! & Phonte for Chapter 3hree, Verse 5ive Music, LLC/The Foreign Exchange Music, LLC
Written by Phonte Coleman for Daddy’s New Bowtie (ASCAP) and Carlitta Durand for Durand Music Group (ASCAP)
Lead and Background Vocals by 1-O.A.K. and Carlitta Durand
Additional Background Vocals by Phonte
All Instruments by Zo!
Recorded at East Wing Studios, Silver Spring, MD and The Peanut Gallery, Raleigh, NC

04. Making Time featuring Phonte and Choklate
Produced by Zo! & Phonte for Chapter 3hree, Verse 5ive Music, LLC/The Foreign Exchange Music, LLC
Written by Phonte Coleman for Daddy’s New Bowtie (ASCAP) and Choklate for Chokolesta Music (ASCAP)
Lead Vocals by Phonte
Background Vocals by Choklate and Phonte
Trumpet by Al Strong IV
Trombone by Andrew Kleindienst
All Other Instruments by Zo!
Recorded at East Wing Studios, Silver Spring, MD and The Peanut Gallery, Raleigh, NC

05. Tell Me Something New featuring Jeanne Jolly
Produced by Zo! & Phonte for Chapter 3hree, Verse 5ive Music, LLC/The Foreign Exchange Music, LLC
Written by Phonte Coleman for Daddy’s New Bowtie (ASCAP)
All Vocals by Jeanne Jolly
All Instruments by Zo!
Recorded at East Wing Studios, Silver Spring, MD and The Peanut Gallery, Raleigh, NC

06. ManMade featuring Phonte
Produced by Zo! & Phonte for Chapter 3hree, Verse 5ive Music, LLC/The Foreign Exchange Music, LLC
Written by Phonte Coleman for Daddy’s New Bowtie (ASCAP)
All Vocals by Phonte
All Instruments by Zo!
Recorded at East Wing Studios, Silver Spring, MD and The Peanut Gallery, Raleigh, NC

07. We Are On The Move featuring Eric Roberson
Produced by Zo! & Phonte for Chapter 3hree, Verse 5ive Music, LLC/The Foreign Exchange Music, LLC
Written by Phonte Coleman for Daddy’s New Bowtie (ASCAP)
Lead Vocals by Eric Roberson
Background Vocals by Gwen Bunn, Phonte and Sy Smith
Congas, Timbales and Other Percussion by Brevan Hampden
All Other Instruments by Zo!
Recorded at East Wing Studios, Silver Spring, MD and The Peanut Gallery, Raleigh, NC

08. Show Me The Way featuring Anthony David and Carmen Rodgers
Produced by Zo! & Phonte for Chapter 3hree, Verse 5ive Music, LLC/The Foreign Exchange Music, LLC
Written by Phonte Coleman for Daddy’s New Bowtie (ASCAP) and Walter Baker for Songs For The Rebel (ASCAP)
Lead Vocals by Anthony David
Background Vocals by Carmen Rodgers
Additional Background Vocals by Phonte
All Instruments by Zo!
Recorded at East Wing Studios, Silver Spring, MD and The Peanut Gallery, Raleigh, NC

09. For Tina
Produced by Zo! & Phonte for Chapter 3hree, Verse 5ive Music, LLC/The Foreign Exchange Music, LLC
Written by Phonte Coleman for Daddy’s New Bowtie (ASCAP)
All Vocals by Sy Smith
Flute by Claudia Hayden
All Instruments by Zo!
Recorded at East Wing Studios, Silver Spring, MD and The Peanut Gallery, Raleigh, NC

10. Out In The World featuring Choklate
Produced by Zo! & Phonte for Chapter 3hree, Verse 5ive Music, LLC/The Foreign Exchange Music, LLC
Written by Choklate for Chokolesta Music (ASCAP) and Phonte Coleman for Daddy’s New Bowtie (ASCAP)
Lead Vocals by Choklate
Additional Background Vocals and Rap by Phonte
All Instruments by Zo!
Recorded at East Wing Studios, Silver Spring, MD and The Peanut Gallery, Raleigh, NC

11. Body Rock featuring Sy Smith
Produced by Zo! & Phonte for Chapter 3hree, Verse 5ive Music, LLC/The Foreign Exchange Music, LLC
Written by Phonte Coleman for Daddy’s New Bowtie (ASCAP)
Lead Vocals by Sy Smith
Background Vocals by Sy Smith and Phonte
Flute by Tim Smith
All Other Instruments by Zo!
Recorded at East Wing Studios, Silver Spring, MD and The Peanut Gallery, Raleigh, NC

Mixed and Mastered by Chris Boerner at The Burlap Palace, Raleigh, NC

© 2013 The Foreign Exchange Music, LLC
P.O. Box 12208
Wilmington, NC 28405

Studio Campfire Stories: ‘ManMade’ Edition – “ManMade” (feat. Phonte)

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A.M. hours in the studio with Phonte in NC – 04.17.11

“Ayo man, I think I’ve got an idea for the title track… I’ll record it on my phone and send it to you” © Phonte

The title track began with a simple idea for what was to become the hook sent to me in voice memo form from Phonte in late June 2012. The .mp4 file was simply him singing, “ManMaaaaaaade…. MaaanMaaaaade…. MaaaanMaaaaaaaade” repeated twice. We had already started discussing plans to get up as soon as possible to sit down at the keyboard and compose the full song. From the 16 second voice memo, I was able to come up with a chord progression that worked with the vocals so that once we DID sit down to work, we would have a foundation to work from.

Two months later on August 29, 2012 while at Phonte’s spot in NC… Myself at the keyboard and he at his desk at 2am, we started constructing the title track for ManMade. We had done this same thing once before in my studio three years prior. ……The end result was, “If I Could Tell You No” from the SunStorm album (I still have that original demo). For “ManMade”, we started working from the hook because that was the part that was already worked out vocally and musically. From there we worked out the verse parts and a pre-hook, which found me experimenting with different chord changes + voicings and Phonte humming and mumbling through the melodies – keeping what worked and scrapping what didn’t. Once we finally had everything together, we ran through it a few times all the way through just to practice and then see how it sounded together as a piece.. Finally, our phones came out and ‘record’ was hit on the voice memo buttons in order to capture a very rough reference. Three minutes and 46 seconds later… “ManMade” was officially documented and I had what I needed in order to make the music once I hit the studio …and I couldn’t WAIT because I knew we were sitting on something DOPE.

When I took this one to the studio, I remember completing the entire composition in less than an hour… In a 3/4 time signature, I programmed the drums first and utilized a double hi-hat technique that I’ve heard used on songs like Boz Scaggs’ “Lowdown”. First, I recorded myself playing an open hi-hat pattern and panned it to one side, then recorded myself playing a closed hi-hat pattern and panned to the other. This was how I heard the pattern even while in NC after recording the voice memo reference with Phonte. I can even remember explaining the pattern to him when he asked, “What you hearing for the drums?” Next came the keys, live bass and other layers to complete the production work. Musically, “ManMade” is probably the least complex song on the album and I’m glad I left it that way because once I sent it through to Phonte and he recorded his vocals on it… I was like, “YOOOOOOOOOOO!!!!!” Very powerful lyrics. I had never heard him write like that before… This was the joint that showed me that Phonte was continuing to grow as a songwriter and vocalist. When you’ve worked with a kat for several years and you’re still able to see creative growth?! …That’s a helluva thing, man.

“If God is love and I’m truly forgiven, how do I know?
If I was really made in His image then, where does it show?
‘Cause you are everything that’s good and perfect and I fall short
‘Cause all we do is merely….
ManMade”

Come on, now… These are things we have all wondered or have asked at one time or another. So I felt this, not only as a collaborator and a fellow artist, but as a human being – and I’m not even big on picking up on lyrics like that at all. Relatable topics over music that you can nod your head or just zone out to. This joint was a special one because it became such a personal piece thus becoming exactly what I wanted to bring forth to the listener as a title track, which is always important when producing your album. The reason why there won’t be another “Zo! & Tigallo Love…” cover album? …Because we have a lot more of this kind of original material to bring to the table…

Purchase ManMade HERE • Or on iTunes

Studio Campfire Stories: ‘ManMade’ Edition – “Tell Me Something New” (feat. Jeanne Jolly)

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010613JeanneJolly3

In December 2012, I was sitting fairly comfortably with the album….. But the perfectionist in me still felt a bit uneasy. To me, the album as whole was cool… but I needed at LEAST two more joints to make it RIGHT. Not too long after making this declaration to Phonte in a phone conversation one day, I had a drum pattern enter my head seemingly out of nowhere… and the time signature was in 7/4. Hmm, interesting… But I was proud to realize that the patterns and compositions that were starting to pop up in my head weren’t always tied to a 4/4 count (see: “Count To Five“). Creative expansion and growth in that studio is one of the greatest feelings in the world. Another great feeling is recording a drum pattern and having it sound EXACTLY the way it did when you ran it a million times over in your head – accents, fills and ALL. I can remember playing just the recorded drums over and over for about a half hour before I even put my hands on the keyboard to figure in a chord progression. The open hi-hat that I played in the pattern gave it a “smoky” feel to me and the colors I saw for the music were various shades of blue… So, I had the setting and atmosphere already, all that was left was to sit down at the keyboard and play with a progression that matched not only what I was feeling, but also visualizing. I can remember messing around on the keys for about five or ten minutes and coming up with this progression where the bassline seemed to ‘walk up’ the board to accompany the chords being played (this part ended up becoming the intro and hook). Once I demoed it and got an idea of what direction it was going in, that’s when I began re-recording all of the parts separately. The keys were recorded first followed by the bassline. I EQ’d the bass guitar and adjusted the tone on the preamp so that if you listen closely on a few parts in the song, you can actually hear my fingertips on the bass strings… That’s EXACTLY how I wanted it to come through. Maintain the beauty of the music itself, but still keep some of it raw as hell. Hearing fingertips plucking bass strings is always reminiscent of funk players like Bootsy and Larry Graham playing… To hear that on a ‘pretty’ record was just the contrast and texture that I wanted for the song.

Once I added the changes, completed the instrumental, and titled it “Seven Eight Enough”… I hit Phonte with a typical, “Check that gmail” …or a more exaggerated “G muhfuckin MAIL” text, because I KNEW we had something crazy on our hands. He called me back within about 20 minutes and when I picked up, he quoted the great Negro Poet and Philosopher…………………….. Gucci Mane…

Phonte: “mmYAAAAAAAAAAHHHHHH!!!!!!!!!” 

Me: “IssssssGuuuuuuuucci!!!!!!”

*Heavy Laughter*

Me: “Looks like I just need ONE more joint now!”

And guess who happened to be in the studio with Phonte when I sent the instrumental over to him? …None other than the one and only, Jeanne “If you don’t want the executive producer….. ALL IN THE VIDEOS… DANCIN’… COME TO DEATH ROW” Jolly!!! The two of them were already recording for something unrelated to the album. Before this joint was sent, we were talking about putting Jeanne on the instrumental for what ended up becoming “New In Town (Happy)” (the instrumental was actually titled “Lifaudit”) BUT!!!!….. Since Jeanne was already there, a song was written for her to the brand new music. I mean, why not? …The excitement was completely there and dammit, so was the vocalist. And to be honest, this was one of the greatest examples of “right place in the right time” I have ever witnessed because Jeanne got in that studio and CLOWNED on this track. Phonte sent that joint back to me a couple days later with her vocals and what bugged me out the most was how the tone of her voice MATCHED those same colors I saw a couple days earlier when I ran the drums over and over again. It was like I made the song specifically for her without knowing it in advance. To this day we refer to this joint as her “one hitta quitta” track… She simply came in, took no prisoners for about three and a half minutes …then rolled the hell out. The dope part about it was that she really loved the results. The next time I saw her was at soundcheck for our New Year’s show in Durham with The Foreign Exchange and she was raving about the song, “I looooove the new song! Phonte really wrote some beautiful stuff for it!!” Truth. I am happy with the fact that the song allowed her to show off that vocal ability…

“…This…. is…. my… heeeeeaaaaaarrrr-eraaaaaaaaaaaaaaarrrrrrrrrt!!!” *fades out*

I’ve heard this song literally over 300 times and that part STILL gives me goosebumps… Very well done, Jeanne.

Purchase ManMade HERE • Or on iTunes