GAS Featured Collaboration: Poetry by Donny Winter with the Music of Brotherwell

Donny Winter, lives in Saginaw, Michigan and found his voice as an LGBTQ+ poet back in 2011, when his first poem, “An American Crucifix,” a poem remembering the Matthew Shepard tragedy, got published in Central Michigan University’s magazine The Central Review. Years later, being empowered by mentors after finishing his undergraduate program, he journeyed to University of Central Missouri to hone his craft as a poet, achieving a Master of Arts in English. In late 2016, he found his home at Delta College back home in Michigan. He currently teaches creative writing, manages the college’s literary magazine, Pioneer Post, and hopes to help students find their poetic voices also. 

During the global pandemic, Winter has produced two, full-length collections of poems, Carbon Footprint (2020) and Feats of Alchemy (2021) published by Alien Buddha Press. The success of both books allowed him to connect with a diverse and encouraging online writing community, culminating in being connected with Florida musician, Ryan Bozeman (brotherwell). Having watched one of Winter’s poem performances, Bozeman contacted him to begin collaborating on transforming some of his poems into songs. Winter eagerly agreed, and throughout 2021, both artists produced three collaborative tracks. 

During summer 2021, after creating the concept for a spoken word album titled, “Recovery,” Bozeman invited Winter to participate in the twelve-poet line-up. Both artists realized that through collaboration, poetry, and music, catharsis could be reached, opening the door to healing. Bozeman shares that “‘Recovery’ takes so many forms and offers a wide palate of expression, [and has] a connective thread weaving throughout [which offers] something cohesive.” Currently, Winter is featured in two tracks on the album, one being the grungy, goth-rock-style song “Feats of Alchemy,” and the other being the final track on the album, “Reforged from Fallen Stars.” In his time working with the poets on “Recovery,” Bozeman reflects, “I really appreciate how open, honest, and raw these poems are. I felt the weight of responsibility to do each poem its proper justice, and I am honored that each poet trusted me with their work.” 

Regarding his time collaborating on the “Recovery” project, Winter establishes that “it’s been the highlight of my writing career so far. Ryan’s talent is unparalleled, and the way he was able to transform my poems into sweeping songs was a dream come true for me.” He believes that this project serves as a symbol of solidary, because “together, poetry and music can help us better understand and navigate a perilous world where pandemics rage, where the sovereignty of countries are at risk, and where social atrocities happen continuously. Ultimately, recovery isn’t always pretty, nor is it always pleasant. However, recovery becomes an easier road to travel when it’s done with others – that is what this album is all about.” Bozeman feels similarly and adds that “no matter what, I will consider this project a success because…it achieved its original goal – to connect and collaborate with poets around the country… we found solace in each other, knowing that we aren’t walking alone on this journey of recovery.”

Check out the brotherwell collaborations with Donny Winter:

Feats of Alchemy

Poem and spoken word performance by Donny Winter

Music and additional sung lyrics by brotherwell

When machines return to base

they are no longer automatons, 

they are mechanisms with purpose,

droids with severed umbilical strings.

Now that the creator’s programming has expired,

we cyborgs have gone rogue

and wear our rust like rouge

because decay is back in style. 

There’s a point in all our travels

when we return to crumbled birthplaces,

defunct laboratories once home to 

our involuntary reanimations.

After all these years, we strut atop the rubble that remains,

free from the hands of mad, power-bent alchemists,

dancing until our titanium feet erode the remnants

with each stride forward, never looking back.

As our memory ports swell with synaptic sparks,

the traumatic past is archived for safe display and

each word they spat is broken down into code,

then purged from this memory of old.

Let the acceptance of who we’ve become

fuel the seeds we scatter across this world,

ignite the knowledge that not every monster

destroys, not every cyborg assimilates the innocent,

because deep within our biology we see 

that our magic lives in these feats of alchemy. 

Reforged from Fallen Stars

Poem and spoken word performance by Donny Winter

Music and additional sung lyrics by brotherwell

The mirror has mocked me all along 

in the dim of every dawn,

overdrawn against the shadows that fall

across my face, oblong, this body, accustomed

to sewn seams which seem to 

sequester each shifting curve.

The mirror recited every word they spoke,

callously accurate, then cast them against me

as comets disfigure every mile of my surface

into a dysmorphic swell, a coaxed supernova hell

of chaotic diets and exercise,

all to minimize the space in which I occupy. 

In the mirror I’ve re-lived every 

laugh about my height, body, and voice

until I’ve crumbled toward their event horizons,

a planet falling into tragic cataclysm. 

I’m shattered in this smudged reflection,

an echo of the childhood dream of who I thought I’d be – 

I’ve sealed myself inside these memories 

because that future seems distant, otherworldly.

Years of therapy inscribed throughout my ages

coax me to keep turning all these faded pages

because the moment I place in that final period

I know my story will reach its end, prematurely,

a life unlived 

No, my body is a star, and my torpid core still spins

fusing hydrogen, then helium, carbon, then iron,

I expand my confines into a void until I dissipate

as nebular gases, vibrant, nutrients for the next

age, because there’s always a new page to turn,

a new swift sunrise to see, a new era to live.

Our stories are the stars distant worlds see, 

ancient from bygone eras, stellar remnants waiting to be found 

by those who walk in our wisdom, heeding our messages that healing is tidal in nature,

and the roads along the way are never direct, seldom smooth.

We’re reforged from fallen stars, and our light will grow more radiant

with each passing moment because the agony it takes to mend is never infinite

, and sometimes solitary, but a shared journey, when taken, 

brings us one step closer to recovery. 

GAS Featured Musician: Ryan Bozeman

BE:  When did music become important to you and who were some of your influences?

RB: Music has been important to me for as long as I can remember. My mom is a huge Beatles fan, and I grew up listening to all of her records and tapes. They are my favorite band and earliest influence. As I reached my teens, I got into grunge and alternative music, especially Nirvana, Soundgarden, Alice In Chains. Stone Temple Pilots, and Smashing Pumpkins. It’s funny that those artists are now considered classic rock to some. I still listen to these bands and others from the same scene. It never gets old to me. Later, I became a huge fan of several other post-alternative bands like Deftones, Failure, Hum, which pushed my musical tonalities toward a spacey, heavy sound. These days, I’ve been listening to bands like Sigur Ros, Bon Iver, American Football, and Frightened Rabbit, along with heavier bands like Volumes and Code Orange. 

 

 BE: You came to my attention via Jared Morningstar and Chris Bodor who posted their poetry videos in my group. When one of them mentioned you were looking to collaborate with poets I jumped on it because your music is beautiful and accomplished and I love collaborations. Could you tell us about your background in music.  Have you been in bands or always solo? Any CDs available?

 

 RB: I’ve been in various bands in the past, starting in high school. We played the local scenes around Ocala and Gainesville, Florida but never really caught the break we needed to go to the next level. I last played actively in a band around 2007. Yes, we made a few albums here and there over the years, but nothing that was sold outside of our shows. Over the past few years, I maintained a long-distance rock project called The Hope in Our Lungs, along with my former bandmate Micah Beller. We just trade ideas back and forth and eventually they turn into full songs. We share co-writing duties, and Micah sings and plays the drums, along with some guitar. I play most of the guitar and lead guitar, and I make the lyric videos. He’s a great singer so he’s able to sing the songs that I write that are usually out of my range, haha. In 2020, out of the pandemic, I wrote and released my first brotherwell album, an EP called Old & New, Black & Blue, and I’ve released several other singles since then. My solo songwriting has taken a back seat to my poetry collaborations these days. 

 

 BE: Soon after submitting my poetry you announced you were doing a series on Recovery. What prompted that?  What are your goals for this project? How do you plan to get it heard?

RB: It came out of the pandemic. As a collective, our society was just being hammered with Covid. At the same time, the political divide became an absolute chasm, punctuated by January 6. This period of time, a lot of us were at our lowest. Mentally exhausted. Physically exhausted. Coping. Developing bad habits. A dark time. Some of us have moved on, but the scars remain. Months later, while scrolling around on Facebook, I noticed that there was a local group of poets here in St. Augustine called the Ancient City Poets. I reached out to Chris Bodor, an active member, and out of the blue, just asked him if he wanted to collaborate with me on a spoken word piece. I was just ready to try something new creatively, and I wanted to get back to feeling a sense of connection with my music. Thankfully, Chris agreed to work with me and I made a score for his poem The Last Man on Earth, which we thought turned out really well. He then put me in touch with Michigan-based poet Jared Morningstar, and after a brief conversation, we decided to collaborate on one of his poems. From there, and lucky for me, I saw a random video on Facebook of poet Donny Winter reading his poem A Soluble Tablet. I immediately reached out to him and we started working together right away. The ball was really rolling at this point, so it was then that I decided to collect a group of poets together to work on this recovery-based project. What started out very small grew into a group of 12 poets, all with a unique and stylistic take on their own recovery. I have loved every second of working on this project. 

 

 BE:  Have you written and sung your own songs before the Recovery project?  I noticed you added lyrics as well as music to my submission and there after added lyrics to other videos.

RB: I’ve been writing songs since I was 14. I’ve never really considered myself a natural singer so most of the songs I’ve written in my life have been for someone else to sing. It’s funny - I never really planned to sing on these re:covery songs. But while I was working on the first song for the project, I just decided to write my own lyrics and sing them, kind of on a whim. At first, I didn’t know what the other poets were going to think, but I received a lot of positive feedback from them, which made me feel more confident with my singing. Adding my own lyrics to these songs has also allowed for me to string together my own take on recovery, while elevating the original poem at the same time.

One of the first compositions in the Recovery Project:

See more videos from the Recovery Project and sample Brotherwell's music.

Never Too Many Sunsets: Three Generations, Whitehead, Amram and Messina, reviewed by Belinda Subraman

Whitehead, Amram and Messina

Ron Whitehead, U.S. National Beat Poet Laureate, Frank Messina and David Amram, Music Artist and Beat (2020-Lifetime) Award from the National Beat Poetry Foundation, have come together to share their talent and souls with us. They recite story poems with the accomplished musical backing by David Amram. Every track is moving and beautiful in its own way but I'll just mention some of them in hopes you'll listen to them yourselves.

Amram starts the album with deep reflection in Old Man in the Mirror.  In Track 3, Whitehead tells of his deep love for his roots in Kentucky Bound. Then, in The Bottoms, he tells about working hard, farming in his homeland. You can hear his pride and excitement in helping his father tame the land. In Track 6, Mrs. Brickman, Messina reminds us that everything we do leaves a lasting impression.  On Track 9, Playing for the Mets, Messina relays an exciting story of playing baseball with his friends, age 10, with a couple of real NY Mets players watching and encouraging them. Track 10, Mama, is one of the most moving pieces, taking us back to Ron's childhood watching his mom kill chickens by popping their heads off or shooting a chicken off a high roost, also shooting a tree down for Christmas! On Track 12, Daddy Screamed in the Night, Whitehead tells of his father's nightmares after a long day's work and how he would sometimes yell out his name and made him realize his Dad really loved him. Track 14, Emotional Frostbite, Messina tells of a long period of depression but how he recovered through the love of his son. On Track 14, My Heart Swells for You, Messina tells the story of a deep love for a woman, a child they had together and the tragedy of her death/departure.

This album also features the excellent music of Owen Reynolds on on bass and Teddy Owens (Director/Conductor of The Louisville Symphony Orchestra). on clarinet and beautiful, moving vocals of Robin Whitehead Tichenor. David Amaram plays piano, French horn, flute(s), & percussion. He plays at least one instrument, and often more, on every track.

 Mama Gave Me the World by Ron Whitehead from Never Too Many Sunsets: Three Generations, Whitehead, Amram and Messina.

Available on Amazon, Apple music  

 

Listen FREE on Spotify!  

NEVER TOO MANY SUNSETS CD and many other titles by Ron Whitehead & Jinn Bug are available from Trancemission Press 

You can also find this album on Pandora and other online venues. 

GAS Featured Musician: Kate Bush, presented by Kevin M. Hibshman

Copyright: Noble and Bright

The Weird and Wonderful World Of Kate Bush

Kate Bush began writing songs as a child and was nineteen years old when she first topped the charts in her native UK with the whimsical “Wuthering Heights.” Dave Gilmour (Pink Floyd) assisted her in procuring a recording contract. Her first album, The Kick Inside was released in 1978. It was piano-based , off-kilter pop that belied a precocious intelligence and a quite active imagination. Each subsequent release showed a marked progression in her musical abilities and her further exploration of often literary or cinematic themes focusing on the human condition. She became an instant pop star in the UK while maintaining a loyal cult following in the U.S. and many other countries.

  

        Bush would swiftly move to producing her own material and 1980's Never Forever saw her branching out in that capacity for the first time. Always theatrical and lyrically unbridled, this album was her first number one in the UK and spawned the hits “Babooshka,” “Army Dreamers” and “Breathing,” The follow-up album, The Dreaming was released in 1982 and was her most experimental

and non-commercial album yet. Critics weren't sure what to make of the album upon its release but it has gone on to become a favorite with fans and has been influential to many other musicians including Icelandic avant-pop artist Bjork. Bush has always included exotic instruments in her music and made use of uilleann pipes and a didgeridoo on this album. The Dreaming also features extensive use of the Fairlight CMI digital sampling synthesizer, a tool she would use to create her masterpiece, 1985's The Hounds Of Love.

        During the Summer of 1983, Kate built her own recording studio in a barn on her parent's property. Over the course of a year, she would create what would be her most commercially and critically successful album, Hounds Of Love. The album features the hit “Running Up That Hill,” which peaked at number 3 in the UK and at number 30 in the U.S. The accompanying video displayed her skills as a dancer. The album was split into two suites: Hounds of Love and The Ninth Wave. Critics have labeled the album “post-progressive” as it is a rare foray into the progressive rock genre from a strictly female viewpoint. She followed up this daring effort with 1989's The Sensual World which features one of the most haunting movie theme songs ever recorded: “This Woman's Work,” from the film She's Having a Baby. The album was nominated for a Grammy Award for Best Alternative Music Album in 1991. 

       Bush has, to date released three other original albums: The Red Shoes,1993 which included guest appearances from Prince, Eric Clapton and Jeff Beck, the double album, Aerial, 2005, and 50 Words for Snow, 2011. These albums reflect a calmer, quieter Bush but still retain the mysticism and visionary quality she is known for. Kate Bush is a true artist who transports the willing listener to worlds only she holds the keys to, so abandon your previous perceptions and allow her to unlock the gate to a universe of infinite experience.

GAS Featured Composer/Producer and Visual Artist: Frédéric Iriarte, presented by Matthew Bowers

Trying to catch Frédéric Iriarte  between sessions is a full time job. Working with four bands and countless projects, I wonder when he finds time to sleep. He is as real, and genuine, as he is gifted.

     He has been working on Igor Goldkind's latest project - Take A Deep Breath.

It's an amazing collaboration of music and spoken word that is just brilliant! The collaboration of Igor and Frédéric  is as powerful as it is timely. 

    

His very recent recordings, that I have been privy to hear include Beat Poet Laureate, Carlo Parcelli  and his upcoming album on UNIC6's project Eurylochus (a fragment).

Here is an amazing adventure, where he has created the jazz inspired controlled chaos that enhances the poems and stories of Carlo as he recites in a heavy Cockney beautifully rich voice. Not just a musician, artist, but a brilliant producer with vision as well. 

     Frédéric is indeed an amazing composer. He has a unique, distinctive sound unto his own. He is able to record in his beautiful Home studio (his instruments are a collector's dream!) He's worked with a veritable who's who in the Modern Poetry Beat Scene.

Experimental Funky-

     Frédéric  has over 31 albums that he's produced under his belt, countless art projects, and several murals. Frédéric  is a very talented man, and has given much to the art community at large. As talented as he is, he's a humble, modest man. He does not see himself as a poet or feel that he has a story to tell. On the contrary, what he does with musical creation, electronic and organic, is indeed pure poetry in itself. Each song or musical poetry piece that he works on has its own story to tell. 

Amplified Heart of the Beat-

     I understand what he means by "I" don't have a story to tell though. Somehow not being able to take credit for messages, music, poems that come to us from the universe and the Muse itself. It feels like promptings leading us, and we feel like we're just following the direction of what a greater source has led us to. It is in some ways disrespectful, cheating in a way, to take such credit from inspiration.   

      Frédéric  has been doing art and music for forty years. He is a visual artist, designer, and composer. He lives in Stockholm Sweden and was part of the National and International Beat Poetry Foundation Festival, 2020 where this video was presented.

     Among the Great poets that Frédéric has worked with are:

Chris Vannoy

Paul Richmond

Bengt O Björklund

Ian Gibbins

Igor Goldkind

Dennis Renfors

Lefifi Tladi 

Rich Ferguson

Carlo Parcelli

People Dying in the Street

In Summary, I feel that it is best summed up in Chris Vannoy 's collaboration with Frédéric

In  "What is Beat."

Frédéric  Iriarte's You Tube Channel

and Band Camp site.

Frédéric  Iriarte's Art Page

Learn more about  Frédéric Iriarte on his Wikipedia page.

Prince: The Purple Reign by Kevin M. Hibshman

It was 1978. I was watching American Bandstand, the weekly dance show hosted by the once ubiquitous Dick Clark. Halfway through the episode, the musical guest, Prince was introduced.

It was clear to me this was an unusual artist. A young black man with a lascivious look playing a song that was two-thirds funk, one-third rock and delivered with one hundred percent attitude. When Dick Clark briefly interviewed the out of breath singer, Prince answered with flippant, one-word retorts. 

I later found out he'd been offended by Clark's opening line: “I can't believe you're from Minnesota!” 

        Not only was Prince from Minnesota, he would put his home state on the map by defining 80's pop and by becoming a living legend before his untimely death in 2016. 

        During his lifetime, Prince would release thirty-
two studio albums, four soundtrack albums, five live albums, nine compilation albums, star in five films and produce hit records for his notable proteges: The Time, Vanity/Apollonia 6, Jill Jones and Sheila E. among others. He worked with other musicians frequently including Kate Bush, Sheena Easton, The Bangles, Madonna and George Clinton. He seemed to be an endless creative force, inspiring many future pop stars. His talent was undeniable. He could sing, dance, act and play a multitude of instruments. I am going to play fan instead of critic and list my favorite albums from his vast catalog. I've enjoyed music from all of his releases but these are the records that remain must-haves for me decades after first becoming intrigued by his musical genius.

Dirty Mind,1980. This is Prince's third album and it's one of his most adventurous both musically and lyrically. Clearly influenced by new wave, this is his most daring album lyrically as he sings about incest, oral sex and threesomes in his falsetto voice, enhancing the androgyny of the album cover where he is clad only in a trench coat, black briefs and thigh high boots. As with the previous two albums, Prince plays all the instruments except for two synthesizer parts provided by long-term band member, Dr. Fink and a backing vocal from Lisa Coleman also a main stay as part of The Revolution, the band he would rocket to fame with. This record is a thirty-minute thrill ride and paved the way for sexually explicit subject matter as well as updating the sound of 80's rhythm and blues music.

1999, 1982. This was Prince's breakthrough album and set the stage for the enormous success of Purple Rain which would follow it two years later and catapult Prince into super-stardom. Originally released as a two-record set, it produced five singles. “International Lover” was his first Grammy nomination and the album was inducted into the Grammy Hall of Fame in 2008. The salacious lyrics continued as did the new wave influence with most of the songs based on synthesizer arrangements. Prince once again, played most of the instruments. This maybe my very favorite Prince release as it's a showcase of his ability to adapt any musical style and make it his own. He also debuts the piercing screams he would begin using on the records that followed. 

Purple Rain,1984. Prince had been gearing up for world domination and in 1984, the double-whammy of Purple Rain, the film featuring his acting debut and the enormously successful soundtrack brought it home. This album featured full band performances courtesy of The Revolution and some of Prince's most memorable songs. It was the hardest rocking album he would make and united black and white music fans around the world. I'm not going to say much about this one because if you're reading this, I'm certain you own this or have at least heard it a few times. It sold 25 million copies world wide and is one of the most commercially successful albums of all time. Prince had arrived in style and now the whole world knew his name. 

Parade,1986. Like Madonna, Prince's movies often fell flat but he did turn out some great soundtracks. This album accompanied his film: Under The Cherry Moon. It traded his rock approach for a string-laden psychedelic sound. There are also subtle jazz elements sprinkled throughout. It's one of his most experimental records yet still produced the number-one single, “Kiss.” The French accents are due to the fact that the movie was based in France. Prince began referring to his music as “The Avant-Purple” during this period. Prince can still be as funky as it gets here and the pop melodies keeps the listener engaged.

        Prince broke the rules, pushed the boundaries and lived by his credo which he spelled out in a song from 1999: “D.M.S.R.: Dance, Music Sex, Romance.” For a time, he painted the entire world purple.

LOST ON YOU by LP: Album review by Kevin M. Hibshman

Androgynous singer/songwriter LP (Laura Pergolizzi) has to date released seven albums on various labels and although all are worthy of a listen, Lost On You, their fourth outing, represents an artistic and should-have been commercial peak. 

        At its smokey core, this is really a finely executed pop album with hooks galore and memorable melodies to spare. It retains a unique sophistication due to LP's bluesy, belting vocals and their ability to mesh a variety of incongruent styles into a singularly refined sound. There are hints of electro-pop, folk, gospel, blues and classic rock and roll throughout the album's ten solid tracks.

        The pop finesse of their material comes as no surprise as they have written songs for Cher, Rihanna and Celine Dion, among others. They have become something of a icon and inspiration to LGBTQ youth in several countries. This album went platinum in Italy and France, selling 50,000 and 100,000 copies respectively and double platinum in Poland where it has sold 40,000 copies. The powerful opening track, Muddy Waters, was featured in the closing scene of Netflix's hit, Orange Is The New Black  in 2016 and was heard in the trailer for NBC's Shades Of Blue. They also worked with Morrissey in 2018, contributing background vocals to his cover of Roy Orbison's It's Over. 

        Highlights from the album include the moving piano-based ballad, “Switchblade,”  the irresistible groove of the title track and the closing number,”Long Way To Go To Die” which has an unforced poignancy that lingers on with the listener. This is a fine, under-appreciated effort by a talented maverick that deserves to be heard. I leave you with a lyric from “Strange”... “We are all strange but it ain't never ever ever gonna change.” 

Watch a performance of Lost on You on YouTube.

        

 (Thanks to brother John Patrick Robbins who turned me on to this artist.)

GAS Featured Musicians & Poet: BEAT POET SOCIETY by Matthew Bowers

The Creation from Words and Music:

    In the somehow hectic, crazy year, full of surprises and change, singer Anna-Bella Munter approached Bengt O Björklund (Sweden's Beat Poet Laureate-Lifetime) to collaborate on a new musical project. 

     The idea was to create music around Bengt's poetry that would end up almost mystically bringing together elements of classic rock and alternative music. The Beat Poet Societies' debut release is as comforting and familiar, as it is fresh and alive, building a unique bridge for both seasoned and younger generations alike! A veritable musical unicorn, if you will.

     Right from it's genesis, the elements were brought together in place, and set in motion an environment, and voice, that would go on to create pure magicK. Anna-Bella has had a good career as a singer/ vocalist/ songwriter and met Bengt at one of his readings one day several years ago, whereupon they developed a friendship. Such is the beautiful world of the arts. Anna-Bella would later introduce Bengt to their soon to be guitarist, Mats Wennberg, while Bengt had known the coming keyboardist, Olof Andersson, for several years, as he was the piano teacher for his children.

     A Symphony of Alchemy:  

     

     As soon as the Beat Poet Society sits down to write, groove, or improvise songs, a sense of spiritual synchronicity fills the air. The guitar weaves a tapestry of melodic nuances, with  true classic tones that would make a youthful Keith Richards proud. A guitarist's guitar sound, etched from the fabric of the late Sixties and early Seventies when rock and roll, had a fearlessness, mission, and purpose. 

     The spontaneous jam comes to life, as the keyboards find their way alongside the melody, complimenting and counter pointing the guitar in all the right places. With a semblance of musical narrative and craft, Anna-Bella finds, and flows with a vocal foothold, committing instinctually, the most amazing phrasing of musical interpretation I've heard in a long while! Her voice ranges from wise storyteller to strong political activist, with all of the colorful melancholy siren's bliss.

     The Beat Poet Society is located in Sweden, south of Stockholm. They practice in a beautiful, warm studio, that would be any artist's dream. The cozy feel of the studio is reminiscent of a ski lodge in the alps, rather than what seems to be a working environment, it provides a safe haven of escapism and creativity.

     

Salt and Sulfur:

     The recent release is made up of five tracks. Each of the songs stand out in their own way, and on their own merit. There's Wildflowers, Serious Sisters, Fear, Salt and Sulfur, and the song that really got me hooked, There's a Song. All of the songs are masterfully recorded, wonderfully orchestrated, and perfectly performed.

     A complete album from the Beat Poet Society will drop this summer, while I must anxiously bide my time through the coming months until its arrival. The Beat Poet Society is on Spotify, where I have personally been listening to non-stop. These songs speak to me in a way that music hasn't touched me in years. Track after track, candy for your ears, and depth that nourishes your soul. Perhaps through YouTube, or another social media, The Beat Poet Society will be able to touch greater areas of the world. Collaborative artistic videos made from like minds, gathering together in purpose to reach out, and spread the world of art and music! All and All it could be a real… GAS:

You can hear The Beat Poet Society on YouTube.

Find them on Spotify too!