Mark Leslie is a writer, editor and bookseller who lives in Southern Ontario. In 2005, Mark joined the blogging bandwagon and started posting random thoughts and musings on writing, bookselling and being a father.
Liz and I enjoyed making a pandemic parody medley in the guise of the old K-Tel style television commercials back in the spring.
We kicked around the idea of putting together a similar one but with a bit of a Christmas theme.
So I started to work on some lyrics. The cool thing about writing a "medley" album spoof is that you don't need to do the whole song; just small bits of it.
We never ended up getting to do the work on recording the songs or the video. Stuff happens.
But on Christmas Day, after spending far too long trying to get a picture of us with the fur family (the only family we saw over the holidays due to pandemic lockdown)...
Then we started goofing around and took a few pics of us drinking Corona in front of our book Christmas tree.
One of the images looked perfect for the album cover of the parody we never recorded. So I used it to make a fake album.
Here are some of the planned lyrics in the album that never happened.
[EDIT: Like an itch I HAD to scratch, these songs wouldn't let me go, so I quickly slapped a parody commercial together....and mocked the fact it came out AFTER Christmas]
This Year Blows
(To the tune of "Let It Snow")
Oh these pandemic times are frightening And my pants, they just keep tightening Stuck inside with no place to go This year blow, this year blows, this year blows
Rusty the Noseman
(To the tune of "Frosty the Snowman")
Rusty the Noseman wears his mask below his nose With both nostrils out for the world to see And his eyes all glazed and stoned
Rusty the Noseman is a miracle they say And he moves about with a protruding snout As he goes about his day
He must think there is magic in That cloth across his gums He wears it on just half the face That’s connected to his lungs
Oh Rusty the Noseman, is as stunned as one can be Even children say, it don’t work that way He’s a risk for you and me
Heck Those Malls
(To the tune of "Deck the Halls")
Heck those malls are filled with folly Fa la la la la la la la la Shoppers crammed and no one’s jolly Fa la la la la la la la la Don we now our plague apparel Fa la la la la la la la la Troll the maskless, yell and quarrel Fa la la la la la la la la
It's Beginning To Look A Lot Like F*ck This
(To the tune of "It's Beginning to Look a Lot Like Christmas)
It’s beginning to look a lot like f*ck this Yes, this whole year blows
I received a neat look at my YouTube stats for 2020.
Nope,
I am not any sort of YouTube sensation but I'm enjoying putting out creative
content and some folks are resonating with it. (A pretty strong
parallel to the books and stories I publish - hanging out in that broad
mid-list realm)
Of course the most popular new video this year
was early on during the first wave of Covid-19, when Liz and I performed Stuck in this House Here with You, a Stealers Wheel parody of "Stuck in
the Middle with You"
I think we did even better on the less popular K-Tel spoof commercial - a medley of pandemic-inspired parodies. Still Stuck, Still with You, Still in this House
I was so thrilled to create a CHEERS parody (that I'm curious to try to do more episodes of throughout the winter), when I put out Mark's Tavern (because I so MISSED hanging out in bars)
Ever since someone pointed it out to me, it has really bothered me that The Monster Mash is a song about a song that you never get to actually hear.
Before you start to argue, yes, I understand the the Monster Mash is a dance move. But it's also a song.
Check out this set of lyrics from the 1962 song by Bobby "Boris" Pickett (written by Bobby Pickett and Leonard L. Capizzi)
The scene was rockin', all were digging the sounds Igor on chains, backed by his baying hounds The coffin-bangers were about to arrive With their vocal group, 'The Crypt-Kicker Five'
They played the mash, they played the monster mash The monster mash, it was a graveyard smash They played the mash, it caught on in a flash They played the mash, they played the monster mash
The song, which was the number one single on the Billboard Hot 100 chart for Oct 20th through the 27th that year has been a perennial Halloween favorite ever since.
But you never do hear the actual song that is referred to.
Just sayin'. Or, perhaps I should say, "Just singin'."
One of my favorite all-time duets is "Islands in the Stream" written by the Bee Gees but made famous by Kenny Rogers and Dolly Parton.
We toyed with the lyrics, wanting to tell the tale of a couple that learns how to share their home workspace, and their often struggling home internet connection.
It was, to us, a nice parallel to the previous parody we'd done "Stuck in This House With You" where a couple comes to terms with being isolated together. Whereas that one was about personal relationships, this new parody would be about discovering that same respect for the other person's new "work from home" life.
We recorded it a few weekends ago, but we couldn't get over the fact that there were parts of the song that, no matter how many times we tried to re-record it (and trust me, we re-recorded it dozens and dozens of times), we just couldn't get it.
I tried to do some audio enhancement to adjust the lyrical tracks, to at least try to slightly mask my off-key caterwauling, but not even auto-tune programs could resurrect this "The Singing Dead."
Liz wanted to scrap the entire project.
She is a perfectionist. I take more of a "it's good enough, let's throw it out there and see if it sticks" kind of guy.
We clashed creatively. As we do. I relented.
I was frustrated; because I felt the song was pretty good. (And by that, I meant, the parody lyrics were pretty good. The singing - well, it was my singing after all, it almost approached what one might say "not too nauseating.")
But then Liz came up with an idea. A brilliant idea.
She said that there were parts of the main chorus that weren't that bad. She wondered if we could use that, and also create a few other songs and present them together in a medley format.
As we brainstormed further, the idea of doing a K-Tel spoof commercial arose. We must have watched about twenty minutes of those hokey commercials from the 1970s and 1980s.
Then we set about recording the different tracks, and Liz began scripting out how the corresponding video would work.
It's something that turned out not that bad, in my humble opinion.
I suppose the lesson in this creative exercise is that I had initially been wasting energy being frustrated with the broken egg yolks I had when I'd planned on preparing a dish of over easy fried eggs. It was difficult for me to see past that, until Liz, looking at those eggs, looked around the kitchen for a few other things to throw into the dish, to turn it into a marvelous omelette.
Hope that you enjoy this omelette, and also that the lesson inspires you to think to look around your own kitchen for how you might be able to do the same thing with your own creative projects.
(Oh, and the original title for this used the term "broken egg yokes" because I was trying to layer in a play on words. Yoke as in an alternative term for a joke. But then I changed it because I was worried the mis-spelling might be too confusing.)
She looked at me like I had just suggested we create a video tape of an intimate moment between us and upload it to Pornhub. That's because I'm the one in our relationship who is "all out there." Humiliating myself publicly is par for the course. Liz prefers to be the creative force "behind the camera."
But less than twelve hours later, she mentioned that she had some ideas for visuals that could go with the song.
You see, for years, she has been producing these amazing videos. Mostly in relation to her work. And the majority of the time she stays out of view of the camera.
Lately, however, she has had a bit more exposure, collaborating with a co-worker on producing a "morning show" style live show as a way of doing a combination of team-building, information sharing, and humorous distraction for her staff. It's a private show, meant for this specific team. But I've watched a number of episodes and, like so many of the things Liz does, I think it's fantastic.
So we started talking about how the video might look.
After relaxing one evening after watching a few episodes of the first season of Cheers, we did a dry run-through of a revised version of the parody lyrics to a karaoke version of the song.
Then yesterday morning, we went into our studio (okay, my home office where I record my podcast and do other video/audio related things as an author and book industry guy), and we did a number of takes, collaboratively revising the lyrics, then laying down the track.
We used the Ameritz Karaoke version of the song for the background track. Then we shot the video using an iPad, which Liz edited and produced right on the iPad using iMovie. After she finished, I imported the video into Camtasia 2019 to add the titles and annotations.
It was an awesome collaborative project. Yes, it was work, but for the first time in days, neither of us was spinning and spending the whole day either working or thinking and worrying about work stuff.
And perhaps also, more importantly, for the first time in days, we finally got a song stuck in our heads that has replaced the hilarious parody created by Brock Tyler of our Prime Minister using the words "speaking moistly." (Fun fact, BTW, the original lyrics of the song included a nod to that:)
"...and outside, the germs are crawling so moistly in the air - we say.....Please....."
It's enriching to collaborate on something creative and fun with the person you love. When you realize that there's nobody you'd rather be stuck in isolation with.
Here's hoping that the song inspires at least one much needed smile or laugh for you.
I recently added an extra episode to my normally weekly podcast.
It was a Thanks for the Inspiration episode. These are an attempt to acknowledge and say thanks to the people, places, and things that have helped to either feed the muse, or perhaps just to feed the very soul and makeup of the writer behind that writing.
In this bonus episode of the podcast, I thanked the creative spirits who have produced musical parodies about Covid-19 and the current global situation. Because laughter is important.
As I said in the episode . . .
Yes, these are dark times, but laughter is important.
It connects people. And laughter has been shown to actually stimulate positive activity in a person's immune system.
I know we're all scared, we're uncertain, we aren't sure what's coming, for us, and for those we know and love. Things seem to be spinning out of control. But we can always control where we focus and how we respond.
I choose love, compassion, and humor.
And I choose to thank all of these amazing creative people who took the time to spread their own passion, through humor, to help others find smiles and laughs in these trying times.
You can click here to check out the show notes, with the audio as well as links to the original YouTube videos, or you can listen to the episode using the built-in media player above.
Below are the original YouTube videos
Covid-19 - The Taylor's - Parody of "Come On, Eileen" by Dexys Midnight Runners
JJ Mason Taylor (The Taylor Family)
My Corona - Parody of "My Sharona by The Knac
Kevin Brandow, Lyrics by Chelsea Brandow
Quarantine - Parody of "Let It Be" by The Beatles
Joe Cron
Supercalifragilisticexpialidocious (with new lyrics!) Parody of "Supercalifragilisticexpialidocious" by Julie Andrews and Dick Van Dyke from the movie Mary Poppins
Daniel Matarazzo
One Week of COVID 19 - Parody of "One Week" by Barenaked Ladies
Pepper Coyote, Adapted original lyrics by @daniAwesome
My Corona Home - Parody of "Kokomo" by The Beach Boys from the movie Cocktail
Jon Pumper
Coronavirus Rhapsody - Parody of "Bohemian Rhapsody by Quee
I have always loved musical parodies, and I am grateful for the fact that these awesome folks, and so many others, are continuing to create brilliant parodies to help us with smiling and laughing in these most challenging and trying times.
Click the image above to see the original Tweet and Video. Or below to see it on YouTube.
It starts off with a woman sitting quietly in a living room and reading.
Less than a second in, a younger woman, her daughter, comes stomping into the room to the music of I'm Gonna Be (500 Miles) by The Proclaimers.
A montage then begins of the young woman dancing, following, and invading the personal space of her mother. The tension builds as the persistent dancing becomes annoying as the matriarch tries to continue going about reading or other household chores while her daughter dances up a storm.
It's funny, and, at one point you suspect it might become one of those occasional Saturday Night Live sketches that starts off funny, and then gets less funny as it goes on, and you regret losing those 2 or 3 minutes of your life to it, or how that sketch made the weekly cut.
But instead, it gets better.
Because of the confrontation that happens.
And the resolution.
As Twitter user lonliness points out, the "infliction point" or the "inflection point" - basically where the conflict happens, or there is a moment of dramatic change, the mother has two choices. (Writers take note of this critical element that happens in a story)
The mother makes the decision that turns this video from cute and amusing to brilliant.
And it's also a story about the beautiful infectious nature of smiling, laughing, and dancing together.
To a great song that immediately inspires dance.
And we all need a little bit of that sort of infectious fun.
-Neil Peart, Afterimage, Grace Under Pressure (RUSH)
Earlier this week the world lost legendary drummer and author Neil Peart. Peart, who was born on Sept 12, 1952 in Hamilton, Ontario died in Santa Monica on Jan 7, 2020. RUSH and Peart's family made the announcement late on Friday Jan 10th.
“It is with broken hearts and the deepest sadness that we must share the
terrible news that on Tuesday our friend, soul brother and band mate of
over 45 years, Neil, has lost his incredibly brave three and a half
year battle with brain cancer,” began a statement from Rush. He was 67.
I first learned about Peart when my dear friend Pete Mihajic insisted that I listen to the 1984 album, Grace Under Pressure.
I had been spending a lot of time thinking and reading about anxieties over potential nuclear war and gotten involved in some nuclear disarmament groups. Pete said that this RUSH album had themes that were reminiscent. Certainly, the album's first track "Distant Early Warning" brought that to mind, as did many of the other tracks, such as "The Enemy Within" and "Red Sector A" - although I later learned of Peart's inspiration for the song of a prison camp being inspired by fellow bandmate Geddy Lee's mother's accounts of surviving the holocaust.
I listened to Grace Under Pressure over and over and over on the cassette tape that Pete recorded for me. Then I went out and bought the album. Then the cassette.
I fell in love with the thoughtful and pensive lyrics, the musical styling, everything about this band.
As an interesting aside, earlier this month an anthology of science fiction stories, Galaxia was published which includes a short story called "Grace Under Pressure" which I'd originally wrote to try to sell to Kevin J. Anderson for an anthology he was editing. Because I knew he was a huge RUSH fan I titled it that as a nod to our favorite band. ;) I didn't sell the story to Kevin, but was able to get it into this other anthology.
Then I bought the album Signals which also resonated with me with songs such as "Subdivisions" and "The Analog Kid" which were stark reminders of growing up as a nerd who never felt like he fit in. I wrote articles for the high school newspaper about how the songs resonated with me.
RUSH became a centerpiece for my friendship with Pete and Steve Gaydos and John Ellis.
I actually can't count the number of RUSH concerts that we saw together over the years. And I would never be able to count the number of hours we listened to their music and talked about the meaning of the songs. We loved that the guys of RUSH seemed to be more like us (nerds) than they were larger than life rock stars. They were three best friends who thought of one another like brothers and enjoyed making music and playing together for forty years.
But I got a little ahead of myself there. After discovering how much I loved Grace Under Pressure and Signals I moved on to get more backlist albums like Fly By Night and their first album, Rush. That first album did not include Peart, and so many of the lyrics weren't as philosophical and pensive. But John and I used to play many tracks from it before heading to high school dances, in particular the song "In The Mood" because it was, as the song lyrics go, roughly "a quarter to eight" when we were listening to it and getting ready to head to the dance.
The title track off of "Fly By Night" has been a song that has been with me through virtually every single significant change in my life over the decades. I first showed up to play it for Steve when he moved away to college, then it became my "acknowledge" change song for so many things.
I, of course, worked my way through all of their albums, and so many of their songs have been the backdrop to the soundtrack of my life in so many ways.
"Hold your fire Keep it burning bright Hold the flame 'Til the dream ignites A spirit with a vision Is a dream with a mission
I hear their passionate music Read the words That touch my heart I gaze at their feverish pictures The secrets that set them apart
When I feel the powerful visions Their fire has made alive I wish I had that instinct I wish I had that drive"
Neil Peart, Misson, Hold Your Fire (RUSH)
It's rare for me to get into any sort of meaningful conversation about something without likely bringing up something from a RUSH song lyric that pertains to the topic. From songs like "Entre Nous" or "Spirit of Radio" or "Cinderalla Man" or "Circumstances" or "Madrigal" or "Limelight" or "Marathon" or "Mystic Rhythms" or "Dreamline" or "Far Cry" or "Caravan" - oh, who am I kidding? There are too many songs so meaningful to me to mention.
RUSH's music has been an integral part of my life. And it will continue to be.
"Listen to my music
And hear what it can do
There's something here as strong as life
I know that it will reach you."
- Neil Peart, Presentation, 2112 (RUSH)
I met Liz in 2014, just as RUSH was beginning to near retirement. And, as I do, I shared many of the songs and meaning of the band, it's music, and it's trio of amazing people with her. We listened to plenty of their albums together, we watched Beyond the Lighted Stage together. Seeing the back story of this band helped her understand the depth of the importance they had to me. And we attended their final tour, the R40 tour, together, which was really special.
When I found out that Neil Peart also wrote fiction and non-fiction, I was beside myself with joy, gobbling up everything he wrote, from his first co-authored short story to his first non-fiction travel memoir, and all the way through his writing career.
I have loved all of his books, but if I had to pick a favorite, it might be Traveling Music: The Soundtrack to my Life and Times. One of my favorite pictures of me and my son when he was a baby, was of the two of us having an afternoon nap. On the nightstand there is a copy of Neil's book, which I was mid-way through reading at the time.
While I never had the pleasure of knowing Neil personally, I am good friends with Kevin J. Anderson, who has long been a close friend of Neil. Considering how private a person Peart was, and the fact that he enjoyed working hard as a drummer, lyricist and writer, but was never comfortable in the role of celebrity and the way that fans fawn over and place them on pedestals, I was perfectly fine never trying to push through that veil. Why make someone uncomfortable for no good reason. I could admire and respect the man and his phenomenal work without having to gush in person to him about the incredibly powerful and positive inspiration he had on my life.
"Living in a fisheye lens Caught in the camera eye I have no heart to lie I can't pretend a stranger Is a long awaited friend."
- Neil Peart, Limelight, Moving Pictures (RUSH)
The closest I suppose I ever got to him was when I re-published a short story that Neil Peart and Kevin J. Anderson wrote called "Drumbeats" in the 2012 anthology I edited, Tesseracts Sixteen: Parnassus Unbound. Tesseracts was an anthology to spotlight Canadian authors, and Anderson is the only American to make it into the series, because his co-author, Peart, was Canadian.
When my buddy Kevin was in town to launch the novel Clockwork Angels, he stayed at my place in Hamilton, and at the celebratory dinner of the book launch with Peart and ECW, Kevin brought a copy of the anthology so that Neil could sign a copy for me.
It was an honour to bring back into print a story that I have long adored. And, earlier this week, I had the privilege of bringing it to more readers, as I have included "Drumbeats" in the guest editor issue of Pulphouse magazine that I just turned in to Dean Wesley Smith and WMG Publishing. It'll be out later this year.
Several years back, Kevin and I were enjoying craft beers on a patio at The Winking Judge in Hamilton when he invited me to submit a story to an anthology he was co-editing that was going to be called 2113 and feature stories inspired by the music of RUSH. The title story would be written by Kevin J. Anderson, and be a sequel to the story told in the RUSH album 2112. He told me to pick a song that hadn't already been spoken for, and to send him something.
I chose one of my absolute favorite RUSH songs, "Losing It" and wrote a story entitled "Some Are Born to Save the World." The beautiful and haunting song, "Losing It" explores the lives of a writer who can no longer create, and a dancer who can no longer dance as they age and their mind and body begin to fail them.
"Some are born to move the world
To live their fantasies
Most of us just dream about
The things we'd like to be
Sadder still to watch it die
Than never to have known it
For you the blind who once could see
The bell tolls for thee"
- Neil Peart, Losing It, Signals, RUSH
My story was about a superhero who could no longer save people as he reaches old age and his own body and powers begin to fail him.
It was a significant honor to re-publish a story co-authored by Anderson and Peart. But it was another truly unique honor to be able to write a story inspired by one of my favorite RUSH songs of all time.
The book cover features the "Starman" from the album cover for 2112 standing up to his knees in water and facing away from the viewer. I can ALWAYS tell a RUSH fan when I have the book at a comic con or other show where I have an author table, because they recognize the font and styling of the cover as matching 2112 from across the room and often stop, turn, then make a bee-line to the table to pick up the book as if it were some magical oracle.
I know that look, because it's likely the look I get on my face every time a RUSH song starts to play.
Because I know I'm about to be transported into some special place.
"As the years went by, we drifted apart When I heard that you were gone I felt a shadow cross my heart"
- Neil Peart, Nobody's Hero, Counterparts
I have written and spoken about Neil Peart countless times over the years. The words and music and example that he set continue to inspire me, and will continue to inspire me.
Thank you, Neil Peart, for the amazing gifts that you shared with the world, for the inspiration in all of the truly remarkable work that you left behind.
You will be missed. But you will be remembered and honored.
[EDIT - On Jan 14 I recorded a special Thanks for the Inspiration: Neil Peart episode of my Stark Reflections on Writing and Publishing Podcast, which includes a bit of this same info]
Ten years ago I had been asked to make a prediction about something that I didn't think would be around a decade later.
Frustrated with the slow manner by which publishers were reacting to the opportunities that the digital world presented, I speculated (in a wishful-thinking sort of way) that territorial publishing rights might not be a thing.
Turns out it still IS a thing.
For legacy or traditional publishing, that is.
It's not as much of a thing for indie or self-published authors.
In the latest episode of my Stark Reflections podcast, I reflect on an article I had published in the summer of 2009 as well as offering a bit of a background on why and how territorial publishing rights exist.
How they are based on securing the rights to and producing a book within a country, or shipping that book to another country where it can be warehoused for bookstore distribution.
Things that still exist, but aren't much of a concern for indie authors whose world is 95% digital.
Because it was episode 69, and because the reflection was about the summer of 2009, my lyric-infested mind went immediately to the Bryan Adams song "The Summer of '69."
A little Mark Leslie Adams anyone?
You can read the accompanying podcast episode shownotes here. You can also listen to or subscribe to the podcast there too.
Or you can listen to it online here.
Just be warned, there might be a tiny bit of me singing a parody version of the classic awesome Bryan Adams hit song.
I have long been a fan of Alicia Witt's music. Many people know her as an actor; but it's her music that I am fascinated with. And yes, she started her acting career in 1984 as a child actress in the movie Dune. Her television and movie credits are almost too numerous to mention with some of the TV spots alone including Friday Night Lights, Cybill, Twin Peaks and The Walking Dead.
The first time in more recent memory that I recall paying attention to Alicia was when she appeared, on perhaps half a dozen episodes of Law and Order as Detective Nola Falacci, the temporary partner of Mike Logan (played by Chris Noth) in the mid aughts.
It was a couple of years after that, I think, that I somehow stumbled upon her cover version of Paul Simon's You Can Call Me Al. Simon's Graceland is among my all-time favourite albums, and Witt's piano-forward stylistic rendition of the song made me sit up and take notice. I wanted to know who that was; and when I saw, I recognized her from Law & Order.
Alicia Witt in a still from her "Anyway" music video
At that point, I started to check out the self-titled album the song came from, bought it on iTunes and fell in love with the powerful song Anyway. (Her talent as an actress helps with the dramatic presentation of that video as well)
Since then I have been following along and purchasing all of her music. She is a fave of so many of the indie musicians that I adore.
Her song "I'm Not Ready for Christmas" which she wrote to accompany a Hallmark Christmas Romantic Comedy of the same name that she starred in, is among my favourite Christmas songs. (And not just because of lines such as "I don't give a sh*t how many shopping days are left" and "I need a f*cking holiday" - BTW, here's the "radio safe" version of that song if the explicit version is too much for your sensitive ears)
And not all that long ago, when I saw she was launching a Kickstarter for her 15,000 Days EP project, I knew I wanted to be among the fans who contributed to helping make it happen. (15,000 Days was a reference to her age at the time of initially planning and recording the album)
It has been exciting watching Witt in the lead up, the process and the forthcoming EP release, particularly since, as a Kickstarter supporter, I've had the pleasure of regular updates on how it was working. It was so fun to get a behind-the-scenes look.
A few weeks ago, the first single, "Younger" was released. And just yesterday, the official music video was released.
The song itself is a beautiful one and alludes to the incredible power, adventurousness and spirit of youth. Something that we all either lose, or allow ourselves to let go as we embrace the restrictions and cages and chains that apparently come with maturity. I have listened to it multiple times and I do quite love the song.
And then the video was released. And the video, directed by Paula Kay Hornick, adds in a heart-warming lifelong love story visual that brings out a unique flavour to the song. It opens with the brilliant magic of imagination and youth, which, on its own is pure and delightful, but then, as the video moves along, you see these children who have grown up, have married, had children, and have lost that magic they once had.
As the song and the story ends, I will admit to shedding a tear of happiness at the beautiful story, and I marveled at how, though I had already thought the world of the song, that the video could allow me to re-appreciate it on a whole new level.
Compilation of images from video for "Younger"
The song, written by Alicia Witt, Catt Gravitt and Tofer Brown includes these following amazing lyrics . . .
let's be honest it's not too late to fade away and disappear into the stars above the noise and rise the silence like a wave you have the choice to reveal the quiet that you're hiding in your voice
let's take the world and discover all we used to know.... I wanna find a way to the wonder, like when we were younger
It is a great look at the importance of so many of the things that make our youth so magical, which include open-ness, acceptance, imagination and all that comes with that. Perhaps the reason I write speculative fiction is my desire to want to continue to capture and share that sense of wonder I first experienced when reading that type of fiction in my youth.
Of course, part of the brilliance in this song isn't that it's "when we were young" but "when we were younger" - meaning it's never too late (which the song also says) for us to use any of our previous experiences, and not just the earliest ones, to learn and grow and reflect. After all, we always have that choice no matter how old we grow.
With these introspective lyrics that make one reflect back on the power and magic of our own pasts, with the beautiful accompanying music and the powerfully produced video, I have to say Kudos to the amazing collaboration of talent that made that happen.
And I can't wait for the rest of the EP's release and to enjoy more of Alicia Witt's incredible music.
