A Conversation with Saigon
Mike Ragogna: Hey, Saigon.
Saigon: Hey, what's up man? How's it going?
MR: It's going okay. What's up with you?
S: You know, I'm just out here trying to sell some CDs, trying to push this music to the people, you know what I'm saying? It's a beautiful time for me. I've waited a long time for this.
MR: Right, you had a deal with a major label, and then I guess you felt that it was time to take your career in your own hands, and you've put this out. This is a really fine record.
S: Thank you, man. It's doing exceptionally well for an indie. Like you said, I took my career in my own hands because I had something to say. I still have some artistic value and artistic integrity, and I think at the major labels, they just care about the buck, the money, and that's all they care about. So, you know, it wasn't a good fit for me. Now, I'm out here doing it on my own, and I'm doing it very successfully so far. God is good, man. Everything is blessings.
MR: There's a video that you just recently released, right?
S: Yeah, I put out a lot of videos. I've put like four or five videos out. I'm just going on a viral campaign, putting out a lot of viral videos. There's one for "Greatest Story Never Told," there's one that's called "You Make Me Sick," there's a bunch of them. I'm just trying to keep my presence up because I have a tendency to disappear, so I'm putting a lot of visuals out there.
MR: Very cool. Now, you got your name from a very particular thing--a novel or book that you were reading.
S: Yeah, it wasn't really a novel, just a book with excerpts from journals of Vietnam soldiers and things of that nature. So yeah, I got my name from a book by Wallace Terry called Bloods. It's a good book. If you're looking at this article, go out there and read it.
MR: You heard the man. Saigon, having been exposed on Entourage as a budding new artist, you must have experienced a lot of fuss over you. What was it like during that period?
S: The thing with Entourage is that it happened at a time when we weren't ready. It would have been beautiful if we'd had the material ready to strike when Entourage was going on, but we were still in the process of creating an album. Everybody felt like that was my window of opportunity, and it closed, but how is that when I'm not an actor? That was just a plus for me, but my career wasn't based around Entourage. So, it was more of a gift than a curse, but the downside was that everybody felt like I should have become big because the show was so hot. I just look at it like that's just extra stuff for the music. Perception becomes reality sometimes, and people's perception was that I had missed my opportunity. Nobody knew that Entourage was going to be what it was. We did seasons two and three, and we taped it before it even started to air.
MR: The other thing about Entourage is that you were a developing artist at the time, right?
S: I was going through, in real life, what was actually going on in the show. I was looking for a deal, and I had just got a deal, so my album was nowhere near ready to come out. People thought that it should have dropped on that Sunday when my episodes started airing.
MR: Well, now you've got your new album, The Greatest Story Never Told. What has been going on in your life just over the last few years?
S: I just became a father--I had a little girl. I lost my mom, so my personal life has had a lot of ups and downs. That kind of took my focus away from the music, but I've got my focus back, and I just went in there and polished up the album. This album has been done for four years, so to get the critical acclaim that it's getting says a lot, you know what I'm saying? I'm happy, I'm blessed, and God is good. God works.
MR: You have some great producers on this album in a addition to some great guest artists. You've got Jay-Z, and one of his producers, Just Blaze.
S: He comes from that camp, yeah, Just Blaze. That's where he got his start at, really. He got a lot of notoriety from doing a lot of Jay-Z stuff.
MR: What was it like in the studio?
S: It was amazing, man. The guy is a perfectionist--it was like being in there with Quincy Jones. I'm blessed as an artist to have such a phenomenal, talented person work with me, see my vision, and make it come to life. I can tell my grandkids about this--I did a whole album with Just Blaze, you know? It's going to go down in history.
MR: When Jay-Z was laying down his stuff, were you in the studio?
S: Yeah. Actually, Jay-Z works so quick that the day he was in the studio, I ran to the store and came back really quick, but he was gone.
MR: (laughs) What about Q-Tip?
S: Yeah, I was in there with Tip.
MR: What was it like when he put down his part?
S: It was dope because he was in there trying to shout out a bunch of jails, but Q-Tip isn't really a jail-cat. So, what I did was write down all the jails I know, and we talked about the details of that. It was kind of fun. He's a great guy.
MR: You start with "Station Identification," featuring Fatman Scoop, which sets up a theme through the record that sounds like you're listening to a radio station.
S: He brings me an alarm clock when I'm in prison. So, it's like I'm listening to this alarm clock and the whole album is a dream, actually. You even hear me do a live song on the album with Bun B, like I'm at an awards show, and then I wake up and this whole album was really a dream.
MR: And there were radio station changing effects on in a couple of songs.
S: Yeah. It's kind of a two-part concept. It's like the radio is on, but I'm dreaming like it's me on the radio, and I'm doing every song.
MR: You've also got Faith Evans on here.
S: Yes.
MR: She's on "Clap," where did she record that?
S: She actually did her part in California, just went out there to get her verse. I know she brought her energy to it, and she made it an amazing record. I don't think anybody could have captured what I was looking for better than she did.
MR: MR: By the way, I've got to tell you that my favorite song on this new album is "Too Long."
S: "Too Long" is your favorite song on the whole album?
MR: It is.
S: The producer of that song is DJ Corbett. We flew him in from Cincinnati, actually. He's an awesome, talented producer, and he also co-produced "Bring Me Down" with Just Blaze. He just flew into New York for the first time, so I'm showing him around. He's actually right here right now.
MR: Nice. It's a beautiful track with Black Thought. What was it like in the studio prepping that track?
S: Oh, it was awesome to be in the studio with Black Thought. To just sit there and watch one of my idols in hip-hop go in and rap on the track. I gave him the idea of what it's about, and he went in there and killed it. He really did his thing on it. That's another excellent dude. He's a real, real true guy, and I've got mad love for that cat.
S: "Too Long" featuring Black Thought of The Roots, was produced by my man DJ Corbett. I've been here for too long. Have you been somewhere for too long and you need to make a change? This needs to be your theme song right here, you hear?
MR: You've been described as a street poet. What is your take on what is going on in the street right now, from your perspective?
S: The street is in a free-fall, man. I've never seen such disorganization in my whole life--since I've been alive. There are no more morals, no more integrity in kids. I feel really sorry for the next generation. With information being so accessible, it's like we're overloaded, there's too much information. These kids growing up don't read anymore, they don't even teach handwriting to these kids in school anymore--everything is on the computer. The world is haywire from my perspective, and I feel sorry for the next generation because we dropped the ball as adults as far as setting examples because I see these kids growing up now and they don't have integrity, they don't have morals, they don't have respect for their elders, and a lot of things that we learned growing up, they don't have. I don't know who is to blame, but it's bad. It's a shame.
MR: It's like everybody is raising themselves.
S: Yeah, it's like every man for themselves--that's the way our community is right now, and it's sad to see it fall apart.
MR: But you're not one of those people who are sitting back, watching it fall apart.
S: See, I felt a sense of responsibility with my music. If you're going to give me a chance to talk to the world, I'm not going to say, "I'm a drug lord, I'm a drug kingpin," or, "drink some champagne and go party at the strip club." I'm going to say something that's going to be potentially beneficial and resourceful for somebody. Especially being black in America, there are people that sacrificed their life for us to live better, you know what I'm saying? We still have to honor those people by living in that vein. These people knew that they were probably going to die by taking a stand for the next generation, and it's like we're so complacent and now we're just content. We don't breed heroes and warriors anymore, we breed sheep. It's just a bunch of sheep and no shepherds.
MR: That's the best line--you're not a sheep, you're a leader. Here's proof. You live in New York, right?
S: Yeah.
MR: And you tried to make a difference by helping out with the Bowery homeless shelter. Tell us about that.
S: New York was very, very cold this one day, and I was watching the news and saw that this one lady had actually frozen to death, you know? That's sad, man. So, what I did was--my friend has a manufacturing company with an excess amount of blankets. We just went around giving them out to homeless people. We actually gave out around six-hundred blankets in total.
MR: That's beautiful.
S: Who knows, man. The people seemed very, very grateful, and I could tell that they could use the blankets. I don't do it for accolades or praise--I do it because I've been in a messed up situation before, where I wished that somebody would help me. So, if I'm in a position where I can help, and all it takes is a little bit of my time, effort and energy, then I'm all for it.
MR: That's great. It seems that over the last few years, there is more of a consciousness about the homeless.
S: I can't really tell.
MR: Well, Giuliani used to ship them to New Jersey, there's an improvement right there.
S: Giuliani just wanted to lock everybody up. Everything was jail--"No schools, we need more jails. Build more jails." That was Giuliani's answer to everything. The one thing about Bloomberg is that he's a money guy, so what he's trying to do is all about the money. We had a lot of snow storms, so now what they're doing--since they lost so much money because they had to go to alternate street side parking--now they're just giving out tickets over nothing. You go five miles over the speed limit and it's like, "Here's a ticket." They're trying to make up the quota, you know what I'm saying?
MR: Man. Where do you see your writing, as far as how you're saying things versus how other artists are saying things?
S: I just come from an honest place. My music comes from an honest place, and I think that people can tell sometimes, you know? People can tell, so they embrace it. That's the thing that I have that works for me. I'm not trying to be machismo and act like I'm somebody I'm not, and I'm not trying to glorify the crimes I committed in my life before. My whole things is that I'm just trying to do positive, do right, and do some good things.
MR: Very nice. What are the major differences between Saigon as a kid and Saigon now?
S: Oh wow. Sense of direction--I have a sense of direction. As a kid, I had no sense of direction. I didn't know whether I was coming or going, and that's why I was easily influenced by negative people who weren't the best influences, and it cost me a lot of pain and hardship. Saigon, as an adult, has a sense of direction. I know how to be a leader instead of a follower, you know? I'm more thoughtful of other people than I've ever been in my life. I respect people--I have a higher respect for everybody. When I was younger, I didn't really respect anybody because it was all about me, me, me, and I was selfish. So, that's a very big difference between now and then.
MR: Looking forward, what do you see for yourself from here on out?
S: I'm probably doing one more album, and then I'm probably going into speaking. I have a message, and right now, I'm still using the music to pull people in like a drum. I want to take away the drum so that people can really focus on what I'm saying.
MR: One last question about your stint on Entourage. Do you still have any relations to this day with those guys, particularly Jerry Ferrara, who played Turtle, your manager, on the show?
S: Yeah, Jerry just did a cool blog for me to help promote my album. You can look it up. He did a little video that's floating around the internet where he's helping me promote the album. He's doing well, and he's a great guy, man. I loved all of those guys. Jerry and I are very cool, and Mark, Stephen Levinson, and Doug Ellin really gave me a shot. I love those guys.
MR: I think Entourage is one of the best groups that I've ever scene assembled on camera.
S: Those guys have a synergy that works really, really well.
MR: What advice do you have for new artists?
S: Don't put all your eggs in this music basket. Make this be your Plan B or C, and I would stick with plan C because it's fickle. The music business changes too much for you to take it serious. Today, whatever's hot could be cold tomorrow. It's a fickle business, and it's falling every day. So, if you're trying to do it, do it as a hobby, and if it works for you, cool. But go to school and set tangible goals that you can achieve with hard work. I'm a testament to the fact that you can be talented, work very hard at this game, and still not get a break. I'd really set a goal where I can control whether it happens or not, and then I'd go from there.
MR: Saigon, you are the best, and I appreciate your time.
S: Peace and love, y'all. Thank you.
Tracks:
1. Station Identification / Intro - with Fatman Scoop
2. The Invitation - with Q Tip & Fatman Scoop
3. Come On Baby - with Jay Z & Swizz Beatz
4. War
5. Bring Me Down Pt. 2
6. Enemies
7. Friends
8. The Greatest Story Never Told
9. Clap - with Faith Evans
10. Preacher
11. It's Alright - with Marsha Ambrosius
12. Believe It
13. Give It To Me - with Raheem DeVaughn
14. What The Lovers Do - with Devin The Dude
15. Better Way - with Layzie Bone
16. Oh Yeah (Our Babies)
17. And the Winner Is - with Bun B
18. Too Long - with Black Thought
(transcribed by Ryan Gaffney)
A Conversation with Graham Stookey
Mike Ragogna: Graham Stookey, you're inspired by Lenny Kravitz, right?
Graham Stookey: Yeah, I love Lenny Kravitz.
MR: I hear you're finishing up your last year of high school?
GS: Yes, in Littleton, Colorado.
MR: So, you're a singer/songwriter who's also pretty good on guitar, and you posted a video on YouTube called "If Justin Bieber Can Be Famous Why Can't I?"
GS: Yes, my friend posted it. It was a typical Sunday night on October 26th, 2010. I was just sitting in my basement with a buddy and playing a song that I had been messing with and writing. He said, "Can I just film that? It's cool and we will put it on Youtube." At first, I was hesitant and then, finally, I allowed him to film it. He put it on Youtube, didn't think anything of it, and a week later, the video went viral. I'm sitting in chemistry class at high school and my buddy texted me and said, "Do you know what your Youtube video is doing?" I said that the last I checked, it was 10,000 views which I thought was incredible. He goes on to say, "Now, it's at 25,000 views!" So, I freak out and run home. When I got home, it was at 50,000 views and then, by that night, it hit a hundred thousand. After that, it was pretty much chaos.
MR: What's it at right now?
GS: At first, I was freaking out about how many views it had, but lately I've been so busy I haven't really checked. Last time I checked it was a couple days ago and I think it was three hundred and ten thousand.
MR: Which led to you're being deiscovered by Ryan Seacrest, kind of. Can you take us through that story?
GS: Yeah I will walk you through it. It's not a very long story because it has only been four months since the video blew up. First, when the video went viral, I got a few interest from labels, like CBS reached out. Honestly, I was a bit overwhelmed because I am a suburban kid, I have no experience in Hollywood world or anything like that. I definitely needed help, so I got contacted by this guy named Ben. He was offering me free advice at first and just kind of kept helping me. He gave me good advice like registering my domain name for a URL for a website and other great advice. I really latched on to him because he was giving me great advice and I needed a lot of it because I was getting talked to by labels and other stuff. Anyway, he and his business partner Brian flew out the next day and offered me a management deal because I was so new to the whole thing. So, I had these managers that came from film and TV. They had connections with the Seacrest people. Then, we flew out to LA a few times, we met with some labels, met with some publishing firms--logistical kind of meetings. That's when Ryan Seacrest invited me to go play in his green room. So, I played a couple of songs and I was super-nervous because I'm playing for the CEO of Ryan Seacrest Productions and it's pretty nerve wracking. I got kind of cold and clammy for that performances, but I ended up doing it and it was great. I flew out a couple of times, and we are still in the beginning stages of it. Looking back at a couple of months ago, I see how early in the game it was just because I had nothing. I kept writing music and I've been writing still. One thing lead to another and we realized we needed to release some songs because of the demand on Youtube, but we didn't have a label. So, we decided to self produce an EP that's available on iTunes right now. It's called The Basement Tracks EP. We met with a producer out of LA and payed with it out of our own pockets for the EP. Yeah, I was out there for a week recording a three track EP...it's actually four because there are two versions of "Jonah." One is the full version and one is the radio edit. That was great, I had never been in a studio before, so that experience was just educational as well as entertaining and fun.
MR: How did you assemble the band for this?
GS: They were studio musicians that were so amazing. We hired the musicians, the producer, and the mixing team straight out of pocket. So, honestly, I've been using mommy and daddy's money up until this point.
MR: Okay, here's where we introduce the concept of IndieGoGo.
GS: I was about to bring that in. I'm trying to stand on my own two feet, I'm eighteen, and a second semester student in high school...I kind of want to get out of my basement, so we have the IndieGogo.com campaign happening. Pretty much in a nutshell, it's a campaign where fans can go there and I can communicate with them directly. But also, they can donate a certain amount of money, and depending on how much you donate, you get a certain perk associated with it. If you donate $15, you get a signed copy of the EP sent to you in the mail. It goes all the way too. If you donate a certain amount of money, you get to be in a music video, eventually. So, the goal was $15,000 which we raised, so that will cover my EP cost and it's going to help fund a sick music video. Also, we're trying to go farther then the $15,000 so I can go out to New York to meet with labels. I just need money so I can fly to these places and I need the money to eat (laughs). Every little bit helps.
MR: Fess up. You're skipping class to do this interview.
GS: Actually yeah, I'm playing hooky right now. (laughs) I'm unfortunately skipping, right?
MR: Well, it's for a good cause.
GS: It is for a good cause, I'm not complaining.
MR: Can you tell us about your Oprah performance?
GS: With the Oprah thing, I was at school again and I get a text from my mom, which is surprising because she is so technologically dysfunctional, it's ridiculous. She texts me and says, "You'll never guess who just called me." I call her as soon as I get out of class and she said, "A producer from Oprah just called the house," so I ran home and called him back. He interviews me on the phone and, at first, it was very general, just trying to get the story going because what I ended up learning was they were doing a show on youthful talent, the show was titled "The Worlds Most Talented Kids." So, I talked to him back and forth, and we communicated for weeks. The problem was I was too old. The kids on the show were nine and ten, so it was a throw up whether I was going to even get on the show or not because I was too old. Ultimately, they decided to let me on the show, which I was eternally grateful for. We fly out to Chicago--one day of rehearsal and the second day was filming. I go out and do my thing, I was nervous, and the first few notes I played were a little shaky, but I eased into it. I get done and Oprah and Willow Smith were there, she was co-hosting it with Oprah. They come out and start asking me questions, as rehearsed, and the way it was rehearsed, they told me that I was going to play electric guitar out to break. Oprah would say something like, "Oh we hear you play electric guitar too, would you like to play us out to break?" Then, I would pick up the guitar and jam out till they went out to commercial. But she brings up Lenny Kravitz and I immediately get caught off guard because it wasn't a part of the script. Then it hits me and I'm thinking, "No way is she going to pull an Oprah and bring Lenny Kravitz out." Sure enough she brings Lenny Kravitz out in all of his rockstar glory, with his sunglasses and the v-neck and the boots. I nearly passed out.
MR: But you did get to jam with him though right?
GS: Oh, I did for a good two minutes or something. It was the greatest two minutes of my life.
MR: You're also a Stevie Ray Vaughan and Jimi Hendrix fan am I wrong?
GS: Of course, all of the great dead guitar players, right?
MR: So, you reportedly, went to a concert and it inspired you to be a guitar player.
GS: Totally, yeah. To give you a little bit of a musical background on myself, my dad is a musician and he plays the saxophone and the piano. I just grew up around music. He loved jazz, so I grew up listening to Louis Armstrong and Ella Fitzgerald. I just have a very versatile musical background. My dad started me off on piano lessons when I was 7. I was classically trained in piano until I was 16, but when I was 13, I picked up the electric guitar and I took lessons throughout junior high. I got really into shred death metal, which is kind of embarrassing now because I have pictures of my long hair. I was a total metal head and shredded and went to all of the metal shows. I was really into the electric guitar, so I sat in my basement and played my electric guitar all the day. I learned the riffs of Stevie Ray and Eddie Van Halen and all of these metal bands and stuff.
MR: Were you a skaterboy too?
GS: I tried my hand in skateboarding, but I was never really athletically inclined. I was more the musician type than the athlete.
MR: And you'd have to protect your hands too.
GS: (laughs) That's right. Anyway, I get into high school and I realized my chances of kissing a girl was non-existent with my long hair. I cut my hair and picked up an acoustic guitar and started jamming out on an acoustic guitar. That concert you brought up was a Phil Keaggy concert. That was my first concert I ever went to, my dad took me, and it blew my mind. Then I saw John Mayer at the Red Rock Amphitheater, it's the greatest venue of all time. I was a metal head at the time and for a metal head to be at a John Mayer concert was a big no-no. I was kind of skeptical, and I only got to go because it was free because my dad got free tickets to the concert. I'm watching him play a song called "Neon" and I'm watching his fingers, and he is only using his thumb and his index finger--like how is he doing that? So, I got interested in the acoustic guitar, picked it up, cut the hair and I actually started listening to the lyrics of songs, and the lyrical part of music hit me. Suddenly, oh my gosh, there is a whole other side of music than just guitar playing, there is a lyrical side. Then, I just started writing music and then started doodling in my basement some more and posted the video.
MR: John Mayer is very influential, he is almost the godfather of the singer-songwriter revival.
GS: I kind of agree. He was my greatest inspiration as a singer songwriter and then Jason Mraz is huge for me as well as Jack Johnson. There all of these great singer/songwriters, James Taylor is huge.
MR: Do you think listening to older artists led to more of a depth when it comes to your musical approach?
GS: Oh, I would have to say yes. It leads to a way deeper level of musical integrity. I think it comes from the discipline of learning the licks of Stevie Ray Vaughan or the licks of Jimi Hendrix. It really comes down to discipline--you learn the trade, you learn the licks, and in that discipline, you have to be analytical about it. You have to put the time into it, and you actually fall in love with it as a result. You have to devote your entire self to doing so, and I think that's a byproduct of all of that.
MR: What about depth when it comes to your creativity?
GS: I'm a super analytical guy, I analyze everything. I'm over-analytical, it screws me with chicks. So, everything I do and every day of my life, I analyze everything, from what someone says to what I'm saying. I think that's where the depth of my thinking comes in. I also read a lot of books, so I'm constantly working my mind out along with working my fingers on the fretboard.
MR: If you get the mind going, you get the heart going with that.
GS: Exactly, for sure. I'm the kind of kid that wears his heart on his sleeve and gets screwed over by girls all the time. So, my heart is definitely on the line and contributes to my music. Not only am I thinking and getting the intellectual part of it, I feel a lot. I'm a lover, not a fighter.
MR: Thank you MJ.
GS: (laughs) I wouldn't compare myself to MJ.
MR: Were you a Michael Jackson fan?
GS: Are you kidding? He was the king?
MR: What other influences do you have? Were you also a Stevie Wonder fan?
GS: I love him, that whole Motown movement. That whole thing that happened back then, I eat it up. My parents introduced me to that. The Temptations, that kind of thing. Motown is one of my favorite eras of musical history ever.
MR: Did anybody turn you on to the Atlantic era of music? Like Sam & Dave and The Drifters.
GS: Yeah, I've listened to some of The Drifters.
MR: What about the Stax roster?
GS: Yes, a lot of that. I definitely also had a southern rock phase for a while, like there's the Atlanta Rhythm Section who I love.
MR: This is the first time I have heard somebody bring up the Atlanta Rhythm Section in a long time.
GS: They are so good. "Spooky" is one of my favorite songs of all time.
MR: Is that what you sing for your chicks?
GS: I don't think I've ever played "Spooky" for a girl.
MR: What are some of your favorite songs?
GS: I had to decide that earlier this year. It's "I'm Crazy 'Bout My Baby (And She's Crazy About Me)" for the simple fact that it makes you feel so damn good. No matter what mood I'm in, I listen to that song, and it just lifts you up. It's one of those songs that you just close your eyes and tilt your head back and snap your fingers.
MR: Do you think that's a mission of music, to make people feel good?
GS: For sure, that's like half the battle. Music is supposed to bring something out of you. Sure, it's an outlet for expressing feelings of dismay at times, but it's also supposed to lift you up and make you feel great, and that's what that song does.
MR: Did your father try to lay some music on you that you didn't really like?
GS: You know what? Me and my dad have very similar musical tastes, so rarely does he come to me with something that I don't like. He just has great taste--like he just gave me a Gene Harris CD. He is a smooth jazz piano player and I've been eating it up. He's got a version of "Black And Blue" on there, it's just beautiful. Rarely, my dad and I butt heads musically.
MR: I have to turn you onto Dianne Reeves.
GS: I have her on my iTunes, but I never listened to it.
MR: What does the future bring for Graham Stookey?
GS: I hope it's bright. I hope things pan out the way I'm hoping. I just say we are trying to be smart about it. We are shopping for labels, we are doing everything big and small trying to find the right fit.
MR: We leave anything out?
GS: I think I pretty much covered everything. I just want to make music is the thing. I want to play live for people. I found out, coming out of the basement, the little bit that I have, that I absolutely love playing for people. I thrive off of the audience. Even that Lenny Kravitz thing on Oprah. It was only to 300 people in the studio audience, but I loved it.
MR: Being a new artist, do you have any advice for new artists?
GS: Wow. What advice would I give myself? I would say stamina. In the four months that I'm kind of getting into this, it's 95% business and 5% playing my guitar. It takes a lot of stamina and a lot of perseverance, and you have to put in a lot of work that has nothing to do with your song or writing music, and everything to do with the business side of it. So, you really have to be willing to go through all of those motions so someday, you can play on stage for people. That's what keeps me going. Sometimes, I think it's stupid and it's not what I signed up for, but my advice is stick with it. Man up, take it, keep your eye on the bright side, and look at the goal.
MR: I like that. Now, get back to class.
GS: (laughs) I'm in JFK right now waiting for my airplane, so I've got a few hours before I have to go home and deal with reality.
MR: It sounds like you're having a great time. I really wish you the best and have a lot of fun with it.
GS: I feel blessed that this whole thing has happened and that I'm surrounded by such great people.
MR: Seriously, I wish all of the best for you.
GS: Thanks I appreciate it.
Tracks:
1. Illusion
2. Jonah
3. Impostor
4. Jonah - long version
For the Graham Stookey EP: www.indiegogo.com/stookey
For the Graham Stookey EP: itunes.apple.com/us/album/the-basement-tracks-ep/id422895700
(transcribed by Theo Shier)