God & Music
This Is Adrianne Archie
A Few More Minutes With Adrianne Archie
Priest: I didn’t realize you were in seminary. I’m half-jealous. The
other half being cynical about seminary training not having a whole lot
of relevance in real, boots-on-the-ground ministry work. I believe
Christians have messed up ministry—a lot. We have to reinvent the wheel
to a large extent, de-mystifying the Gospel and presenting ourselves as
normal, flawed people rather than these mummified church folk.
AD: We are similar in our thinking. My seminary experience was probably
different than the people I studied with. Many of them had no experience
in ministry while I was working full-time in ministry when I began
school. I am appreciative of the opportunity and the tools and
principles that I have learned. Overall, it made me more passionate
about the PEOPLE! I think that’s where many Christians and pastors have
failed. Especially in the black church. I want to be a part of the
solution—de-mystifying the Gospel and showing love to those who are not
shown the real love we teach and preach about because that’s what
matters most.
Priest: is pastoring a goal of yours?
AD: No. I have been called to minister through teaching and singing.
Priest: Can you paint a picture of Adrianne’s ministry—forward-looking,
goals. What’s unique about it, why is it different, how does it stand
out?
AD: If I had to paint a picture of the message I share (I don’t like
calling it “my ministry”—but I’m a little nutty) I would say that,
forward looking, my goals are to share the gospel with others outside of
my race, outside of my city, outside of this nation in a way that has
never been done before: by focusing on healthy/balanced living. I teach
and share Luke 10:27 the greatest commandment now. I desire to encourage
believers and non-believers alike to have more balance in their lives.
We are so BUSY! We are too busy!! Musically I would like to have the
opportunity to expand the genre and style of music that I sing and write
to in order to reach an even more broad range of people in and outside
of the country. I enjoy soul but was raised on Contemporary Christian
Music. I love it and that is the direction I am headed.
I believe God’s message and my story stands out because of several
reasons. I have a sound that no other gospel artist presents either live
or recorded. I will address issues such health, weight, balance and
their relation to Luke 10:27—I will address and challenge the gospel
community and gospel singers head-on in love. The “examples” or “role
models” are some of the most unhealthy unbalanced people on the planet
and it shows (that may be a slight stretch but not that much in my
opinion). We ate the pink elephant in the room. Something has to change.
Finally, I believe this will stand out because it is authentic. People
want authenticity and I can’t help but be any other way.
Priest: Ok, what’s this pop stuff?!? Black Eyed Peas Meet Dr. Dre. Joni
Mitchell all over the place.
AD: Just a little experimenting is all. It’s a artist thing.
Priest: Nothing For Something, which more or less transitions the album
from neosoul to pop, seems, to me, like the tip of a sword. It sounds
transformational for you artistically, a stretch into CCM, but then the
rap and techno stuff plus Roberta Flack backgrounds with a splash of
Joni Mitchell creates a rich tapestry that is risky in the sense the
song’s artistic risk requires an appreciation for a broad range of
styles. You sound, ultimately, emancipated, the song a kind of
declaration, AD Escapes The Box.
AD: You’ve got it!! Now all I have to do is make a video to portray
everything you just said. But yes, you are correct. I am more than a
genre of music and I wanted to be able to freely express the same
message in any style possible. It’s a big world and there are billions
of people that God created that listen to all types of music. I wanted
to experience it as much as possible. If I could have screamed a little
heavy metal, I would have but I have not learned to do that properly.
LOL! You know, it takes skill!
Priest: The trend among urban Gospel artists seems to be to move to the
center. J. Moss’ Just James, for instance, was pretty much a CCM album.
Moss is a fantastic writer, but an audience is tough to hold. We go to
Bruce Willis movies expecting things to blow up. Whenever Willis moves
outside that box, his numbers drop.
My friends speculate the trend of black artists moving toward CCM is
economic: Kurt Carr, Israel Haughton and others have found greater
commercial success by broadening their sound. Is that what’s happening
with HSMS?
AD: Now, I was raised on CCM and grew up singing songs from 88.5 WJIE
Where Jesus Is Exalted, so when I began singing soul it was a transition
for me. My friends would not ride in my car as a teen if I were
listening to that station so I would change it to try to fit in. I have
written CCM songs from over 15 years ago that I had to tuck away
because, I was a “black girl” and that’s not was expected of me singing
in Gospel stage plays and especially not on a Sunday morning in a black
church. I have never been a huge fan of “choir” music and I don’t do
enough runs, riffs and screams to sing in a traditional style of Gospel.
I am making a move toward a more universal music. God’s world is so
humongous and beautiful and I can’t stay in a lane because of the color
of my skin. I am making a move to what God gave me originally and I am
excited about how freeing it is. Much of gospel is not as universal as
it could be and is somewhat unfocused.
I am thinking maybe I am not more known because I have still sort of
remained in a lane that is me but is not all of who I am in God. I am
more than a funky soul beat with deep thoughtful lyrics for people to
bop their heads to. I can’t wait to share songs I wrote when I was 12
that are more universal than lets say, “What a Fellowship.” I can’t wait
to share, man.
Priest: I really hate it when people don’t do what I want them to do… do
HTHAELHH again, only different, but the same.
AD: Ha! Well. Don’t hate me long. In life we go through changes.
Priest: I miss the vignettes. I know, I’m whining now, and you’ve worked
very hard on HSMS. I think the album is brilliant, but I miss the
intimacy all that yakking and giggling gave HTHAE. HSMS sounds like an
album. HTHAE sounded like an FBI surveillance tape.
AD: I see. Well I think you have something to look forward to in the
next album. It’s going to one of the most exciting things God has ever
allowed me to be a part of. Lots of people enjoyed that about HTHAELHH
because Gospel artists don’t typically do that on their albums. Every
run has to be perfect, background singer on point and choir well
rehearsed. I just wanted to have fun while sharing what I believe and
was thinking. Hope I don’t disappoint.
Priest: I don’t have the credits in front of me: is this all you and
Joel, or are there other producers here?
AD: Joel and I again:-) I am blessed to work with him.
Priest: I love how the album flows. Most projects I hear these days
really aren’t albums—they’re a bunch of songs hoping for a hit. All
three of your releases have been albums—you just hit play and let it
run. It has a nice flow, telling stories, weaving a tapestry. The switch
from South Central (Strong) To Greenwich, Connecticut (Go Pop) is pretty
seamless. Almost to the point where I don’t mind it.
AD: Thanks so much for that!
Priest: See, I’m a musician (sort of), so I like everything. I really
do. Yes, even Country-Western. But most people I’ve ever met have a real
narrow palette: they like vanilla or chocolate. You’ve got a real Ben &
Jerry’s going on here. Isn’t that a risk?
AD: It’s a risk depending on who you are trying to please/impact. I just
write and sing what I hear and don’t really think about what someone
thinks about what I have put on record. What I am saying is, God is like
a real Ben & Jerry. I mean, he made the WORLD! The UNIVERSE, the
GALAXY!! He made all that! I am his creation so I can do it too! Country
Western, here I come! LOL! Plus we are our own label so we don’t have
anyone over our necks telling us what we can and can’t do unless we hold
up a mirror and say, “Hey, you can’t do that!”
Priest: Stuff like Slow Down frightens me because I’m old. It’s taken me
a long time to get old, and I’m really enjoying this stage of my life
(way in my 40’s now). All that jumping around reminds me of my incessant
roller skating back in the 80’s. It reminds me of business I left behind
years ago. There’s an odd mix of nostalgia and regret that reminds me of
how much time I wasted.
Your whole vibe, including stuff in your videos, marks a divide between
the urban youth culture you’re plugged into and the rocking chair I’m
building for myself. It has a kind of violence to it, it’s a bit
threatening and intimidating to me, which puts me on the fringe of your
audience.
Can you describe Adrianne Archie’s audience?
AD: First off, use that song for the gym!! That’s the purpose of it!
Even in your 40’s you gotta work out. I believe my audiences are people
who are tired of being lied too in every area of life. My audience
always says “Finally!” when they hear the music we present and minister
to them with. When I am just being myself on stage, off stage, on a
record or after a concert, they are like you are so coo, you are so much
fun, you are so inspiring. They are in their late teens on up and they
want variety because they have been exposed to the world around them.
They know more than “hand clappin’ foot stompin,’ tongue talking
church’s of the living God.” They have traveled, they have white, brown
and yellow friends, they have access to education and they can’t be lied
to. They can see right through posers. They are hungry for truth!
Priest: Much like Warm Weather and HTHAE, a warm sensuality runs through
HSMS. Is that deliberate, or am I just being inappropriate? You have
this warm, sultry voice, but an almost childlike insouciance. No starch
in the drawers—you seem real happy to be alive and make no apologies for
being a woman. I’m probably not explaining this right: a lot of female
Gospel singers tend to lean toward an odd masculinity or, worse,
androgyny, in a perhaps misguided effort to keep their audience from
vibing off them romantically.
Women are—and please write this down someplace—supposed to be beautiful.
Are supposed to be desirable. Sensuality and spirituality need not
necessarily be exclusive of each other. Is it okay for us to appreciate
your musicality while celebrating your femininity at the same time?
My-heart-is-on-fire-for-ya-fire-for-ya. Is any of that deliberate on
your part—are you making any kind of feminist statement, here?
AD: I would say it’s somewhat deliberate because of the soul and R&B
genres I experiment in and somewhat natural because I don’t have to
retry it to “sound” one way or another. I am a woman and I think it just
comes through. I am a passionate woman, so in songs that you hear that
in I am moreso trying to get the message of that particular song across
than making a feminist statement. I am just being me. I teach that way
in Sunday School also, people- both male and female really enjoy my
teaching style. I had never really thought about that until you
mentioned it so, I guess, just praise God for the femininity and
sensuality that comes across in the music. He created me that way!
(shrugs shoulders, smiles, leans head to the right).
Priest: Do church folk give you grief about it—the sensual aspect of
your work, or am I the only one even bringing it up?
AD: I never really cared what church folk think. You brought it up
because you are musical and you noticed where as in general people just
enjoy music because it’s music. We as musicians hear things that others
don’t when we listen to a song. I am glad you brought it up! …Might
explain a few things!
No Feminist Statements: Just praise God for the femininity and sensuality that comes across
in the music. He created me that way.
Sadness and Joy
Priest: With so long a wait between projects, do you worry about losing
your audience?
AD: When management brings it to my attention I worry and I’ll work on
something else to bring ease to their minds. Otherwise, my audience can
talk to me on any and all of the social networks that exist. Technology
is something awesome. Brandy sings in the bathroom on YouTube and Erykah
Badu tweets all night. They are one message away from responding to
their audience and fans. My audience and I are, like, friends. Just
because they have to wait a few months doesn’t mean we are no longer
friends.
Priest: There’s a remarkable lack of whining on the album. What I mean
is, a lot of artists use their art to vent frustration. To whine and
complain. I don’t hear a lot of “woe is me” or finger-pointing here.
Which makes you a little scary.
AD: HSMS was written for the sole purpose of lifting up the hearts of
its listeners and challenging them to live a more healthy holistic life.
It wasn’t totally about what I went through or struggles but rather it
was more about hope, the future, second chances, overcoming, living a
full life, being your best and having joy!!
Priest: When I’m writing, I try and cut as close to the bone as I can,
because that’s where the bundles of raw nerves are. Then I’m a little
terrified of people reading it or, in the case of music, performing it.
They likely won’t know the specifics of what the work is referring to,
but it’s so close to something important in my life, I always feel like
I’m risking exposure. Was anything here almost too painful to record?
AD: Sad was hard but I recorded it one time and just kept it the way it
was. Even now I believe it’s best not to go into specific detail but
what’s most important is that I am making it through!!
Priest: HSMS is a very forward-looking album. The whole image system
with the Mustang, the genre transitions, the themes of academia (Extra
Credit, Three Things), all seem to almost suggest a change of direction
or even tying up loose ends. We won’t know what the next Adrianne Archie
project will sound like or when it will be.
AD: Well, you sort of will but you won’t but people will probably say,
“That’s who?” “She does that too.” The message will be what will cause
them to not mind the transition. I don’t think it (the transition) has
been too abrupt so, I look forward to it.
Priest: What motivates Adrianne Archie? When you wake up in the morning,
what are you excited about? If money wasn’t an issue, what would you do
all day?
AD: Doing what is right motivates me. I know that I have been gifted to
write, sing and perform so if I didn’t do those things, it wouldn’t be
right. I wouldn’t be responsible. I am excited about the gift God has
given me to be able to express life in music in ways that listeners can
relate to and, because of the music, can have their lives changed. I am
always motivated and excited by a challenge. Challenges bring growth. If
money were not an issue…I’d teach and write all day long, play guitar
and take 15 minute naps!! (LOL!)
Priest: Sad seems to be talking about depression. Lots of people, myself
included, struggle with it. Very few will admit to it. Depression has a
stigma to it. I’m not sure why, it’s a human condition, like many other
human conditions. Can you talk about the inspiration for that song?
AD: Huh….I can’t get away from this aye. In summary, I was doing what I
knew was right which I thought was a good thing. Come to find out,
everyone was not excited about that and I got hurt in the process.
Deeply. I love God and his people and I thought others felt the same
way. Not so much. (Lol!) My eyes were opened to many things I wish I had
never heard or seen in a church and it changed me and my outlook. I have
to intentionally remember the big picture in life, forgive and move
forward trusting that God has known, knows, and will always know what’s
going on. He’s never surprised. Sad was written in the midst of all of
that. I choose to Rejoice in the Lord because if I don’t I’d go nuts or
I’d be depressed. I choose to be glad! Phil 4:4-9. And that’s what’s
real!
Priest: What’s next? What should we be looking for? (Please include tour
dates, etc.)
AD: Tour dates are all posted on adriannearchie.com. We will be touring
all summer through the fall. Mainly southern states and east coast but
few west coast dates are on the list. I hope to write with many other
artists from the U.S. and other nations. I’ve been doing a few
collaborations and look forward to many more. I look to partner with
companies interested in healthy holistic living and see how we can help
support positive community efforts in that regard. Then, I’ll finish up
the next album.
Priest: What didn’t I ask you that you wish I had?
AD: Maybe, a few family questions or about where I have come from
(Louisville). But, I’m glad we end here.:-) You covered quite a bit!
[Editor’s Note: we did ask her those questions in our previous
interview. Check it out.]
LOVE YOU!!!!!
Priest: Yes. I thought so.
Generations: Joel Goodwin and legendary CCM guitarist Phil Keaggy.
It's All About The Prince Claps
Priest: Three years ago, I thought you were a short, bald Jewish man. Do
you get that a lot, or is it just me being an idiot? It’s okay, you can
tell me.
Joel Goodwin: I actually get more mis-pronunciations of my name than
anything. People calling me Jowoll or Jewell or Goodman or things like
that. Actually, when I saw your name being Christopher Priest, I thought
about the famed comic book writer especially known for writing Black
Panther stories. Do you get that question any?
Priest: More than you can imagine. I’m hearing everything and everybody
in HSMS. I don’t know where to start. So, interview over. Good-bye.
Goodwin: That's HILARIOUS! Now how's THAT for keeping it short??!
Priest: I keep mentioning Stevie Wonder’s Songs In The Key Of Life. This
is mainly because I’m old. And because that landmark recording came
about because Wonder became strong enough as an artist to not only take
complete control of his career but to break out of Berry Gordy’s
disciplined corporate structure. The result was a pop album of classic
stature, an album that likely would not have been made were Stevie not
at superstar status and threatening to walk.
Adrianne Archie and Joel Goodwin have either opted to bypass the whole
label thing or have yet to be discovered by one. I’m not sure, these
days, what advantages being signed bring you—beyond marketing help (if
they feel like it), and earning eight cents of every dollar your work
generates.
Am I correct, therefore, in assuming, absent the big financial gain,
which is by no means guaranteed, there’s not much more incentive to
giving up your creative freedom, strapping on the straitjacket and being
with a label?
Goodwin: You are correct. Creative freedom to me is everything! I think
that the songs God gives me are not the standard pop songs or whatever,
so labels would hate me for the most part. It would be extremely
difficult for me to have a years-long exclusive contract with a label to
do songs that I can't even relate to But, being a diverse person, as
long as I could express myself with other artistic outlets (by not being
exclusive to a specific label), then I would consider doing label for
financial gain.
Priest: I’m going to skip the stupid questions, “Who are your
influences?”
Goodwin: Hands down, Stevie Wonder, Take 6, Dilla, and
Metallica) because anybody who can smell the cooking can guess the
recipe. I’m going to guess you listen to either everybody or almost
everybody.
Priest: The other stupid question is, “With all these strong
influences, what does Joel Goodwin sound like?”
Goodwin: The music production process this time around was so different
for HSMS and it happened in a span of 5 years so in that time, my
writing really incorporated styles from a little bit of everywhere,
often abandoning the standard and neo soul sound that was so evident on
HTHAELHH.
Priest: Once upon a time I had a Prophet V, a Minimoog and a set of
razor blades. Three grown men sitting in a studio cutting two-inch tape
apart and hanging strips from a peg board to remind us where the bridge
was. That was producing.
HTHAE sounded so live and so acoustic, you really kind of stunned me
telling me most of that was programmed. You have an incredible ear for
not only how real instruments sound but how real instruments sound when
they are played by real people. People who sneeze mid-take, or whose
legs cramp up after while.
HSMS sounds programmed. Therefore I am going to assume that’s what you
wanted. Which suggests you’re in such a different place. A kind of
Timbaland-Darkchild place. Realizing this project stretched out over
four or more years, does that account for the varying sounds, or was
this the plan all along?
Goodwin: Most of the poppier songs were programmed in a 2-3 weeks while
I only listened to a lot of Industrial music. Industrial Music, in
simple terms, is an amalgamation of house/techno music and hard
rock/heavy metal. The leading bands/artists of the genre, who I was
listening to, are Circle of Dust/Celldweller, Nine Inch Nails, Rob
Zombie, and Marilyn Manson. I studied their music and basically made
some of that kind of music without the guitars, the million-dollar 150
track productions, and the screaming. I did it that way so that the
general audience that listened to HSMS wouldn't point out songs and say,
"you stole that straight from The Perfect Drug by NIN" or something. And
it worked because it's poppier, just not like the usual Urban Pop that's
out right now!
Priest: I spent four years recording an album with my (now former) wife.
I can’t begin to describe how much I loved her, yet how much I hated
being in the same room with her while we were recording. It was just,
for me, unpleasant almost all of the time. I hardly expect you to say
something negative about Adrianne, and you two seem to still be
speaking, but you must know passionate creative people can end up having
a rough go of it. Were there times you wanted to choke her (or vice
versa)? Can you talk a little about the process, what took so long, the
collaborative process?
Goodwin: We actually did kill each other, God just resurrected us later!
LOL! I think that the process was a little easier this time because I
primarily focused on music production and she focused on vocals and
vocal production. HSMS is definitely the most "individual" recording
that we have done together.
Priest: Nothing For Something, like dark chocolate, is, for me, an
acquired taste. It’s way over there in terms of what I’d been waiting
for from you two. I assume you realize that, that moving toward pop and
exploring those other genres would present some risk.
Goodwin: Paraphrasing Gene Simmons of KISS, we welcome the term
"sell-out" because it indicates that we'll be selling out stadiums while
everyone else performs in holes in the wall. Not that there's anything
wrong with that, but as I indicated earlier, we are trying to do this
for a living! Being diverse musically also affords way more ministry
opportunities because different people relate to different types of
music. How dope would it be to have songs on the Gospel, Urban, Country,
Metal, and Jazz charts at the same time?
Priest: Nothing For Something sounds like a tour of a very large car
dealership. Here, let me show you a Ford. Now, over on row 112, we have
a fleet of Subarus. Here, have some Prince Claps. Where did this song
come from?
Goodwin: It's all about the Prince claps! That's exactly the feel that
we were shooting for. Of course, this was two separate songs at first,
Adrianne had the melodies already in her head and I decided to musically
write the music to the songs as pop songs, and do them in the same key
and tempo so that they could flow right into each other. That's how they
became one.
Priest: In four to five years, I’m going to assume you and Adrianne
recorded a lot more than seventeen tracks. Did you consider going the
Tonéx route and hitting us with a double disc set?
Goodwin: Interesting that you mention this, and Tonéx. HSMS was going to
be a double disc, with categories for all the different genres sort of
like Tonéx's “Pronounced Toe-Nay.” Due to time and budget restraints, it
ended up only being one.
Priest: this is mostly an aside, but in so many ways you remind me of my
little brother (well, not so little anymore) Bari, in Atlanta. Another
wunderkind who can play his fingers off, and who has a chameleon-like
production style. You can hear his remix of Christina Aguilera here.
Goodwin: I love that remix, it brings to mind the music in the clubs of
England. Very jazzy, soul, and dance at the same time. He's cold on the
Rhodes!
Priest: On HTHAE, the creative approach seemed more like The Captain And
Tennille, where the production was almost the co-star. On HSMS, you seem
to bracket Adrianne, punching holes through the production Adrianne
fills in. On HTHAE, the project came across much more like a larger
ensemble, while HSMS feels more like a solo project. “Produced by Joel
Goodwin.” I think the major difference was all that so-and-so going on,
the little outtakes stuff, Adrianne hollering at you and so forth. I’m
sure you have hard drives full of that stuff, but it does not appear on
HSMS. How much of that choice was simply organic and how much of it was
a calculated creative decision?
Goodwin: The solo element that you hear on this album most definitely
came from Adrianne recording a lot the vocals on HSMS by herself, no
yelling at me or me yelling at her. I'll never forget the times where I
would come in the studio trying to correct EVERYTHING and sometimes I
did! That may happen again in the future, but this particular process
helped her to have a voice of her own and also be self reliant, I mean
God-reliant while recording.
Priest: Last time, you told me HTHAE was done mostly with a Motif and a
ham sandwich. Has the budget increased on HSMS? Can you talk about the
gear a little, and whether or not HSMS was as much a minor miracle—in
terms of budget vs. how the thing ultimately sounded—as HTHAE?
Goodwin: No pork this time around! Actually, I actually used the exact
same instruments on HSMS as I did on HTHAELHH. HTHAELHH utilized the
Roland XP-80 more, plus the Motif. The new album was split almost evenly
between the boards. The "soulful" tracks were done on the XP-80 (Also,
HSMS, Strong, 3 Things, etc). The poppier/dance tracks were done on the
Motif because I wanted a really modern sound for them (Nothing For
Something, GOPOP, Slow Down, etc).
Priest: Adrianne obviously talks about her beliefs through her music,
while not being constrained specifically by the bubble of religion. In
the context of her daily challenges and issues facing young persons, she
gives God weight and breadth and depth by not reducing Him to a simple
slogan and by not cocooning herself inside simplistic praise songs that
may edify her but do not serve God in any practical sense. I’m pretty
sure I asked you before, but do you share her beliefs?
Goodwin: I really do. I am most definitely a Christian and I believe
that Adrianne and I agree more on religion and ideas about it than most
or even all artists that I have ever worked with.
Priest: If so, what are your challenges in terms of working in a
creative field where guns and hoochies are the standard, and where many
if not most potential urban acts will bring along a lot of negatives
because that’s what they see and hear all day in popular music?
Goodwin: I think that the for me challenge lies more in presenting
myself to the world in a way that is not offensive to Christians. I am
especially speaking of people that I know in the black church. My music
has always been in complete contradiction to anything going on in the
Gospel music genre because it can be just that, a genre. I totally
believe in presenting myself and my music to the world at large as what
God made me, and that doesn't fit comfortably into a particular genre.
It also means that I won't be talking about guns and drugs and hoochies
except in cases where I reprove that whole mentality. I will, however,
discuss things such as conformity, religious beliefs including atheism
and satanism, sexual temptation, the truth about cursing vs "curse
words", war, preachers that try to be God, and other subjects that can
probably make Christians uncomfortable.
Goodwin: Of course, being a team for so long, I most likely have to make
sure that our fan base isn't too offended by my other outlets, but I
don't know if I will ever fully be able to help that. I will say that a
lot of the music that I make will be so different that people into
neo-soul and pop wouldn't "get it" anyway. I will probably address some
of the more uncomfortable issues under an alias! Just kidding. Who
knows, I just plan to keep praying, writing, and recording. I ultimately
hope that people appreciate my honesty and individuality.
Priest: What else are you working on? Who else should we be listening
to?
Goodwin: I am currently doing all kinds of stuff. First and foremost I
am wrapping up my first solo jazz project called ITSPTO (Introducing to
Some, Presenting to Others). It features several genres of jazz and
gospel and also some other styles of music, like metal, with
progressive, classical, and jazz influences. I am also working on a few
jazz projects with friends in Nashville. A lot of people have been
asking me to produce some music for them, so I am always open to that
and willing to do it! Last but not least, I have an extreme metal
project called Your gods Lie Destroyed. Because some members have been
in and out, the group has been somewhat inactive. We'll resurrect in
time for festival season. I want to record with them this year and if
that doesn't work, I have another metal group that I have been
practicing keyboards and vocals with. Stay tuned!
Priest: What didn’t I ask you that you wish I had?
Goodwin: Why Marilyn Manson, when the mere mention of his name offends
Christians???! LOL. I'll have an answer for that one next time. :-) God
bless you man!
Christopher J. Priest
4 April 2010
editor@praisenet.org
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