October 18, 2022 • 18 mins
As an alternative R&B/pop singer, songwriter and music producer, Krista's music displays jazz, blues and hints of Middle Eastern soul - the music she grew up with. Listen carefully as she eloquently talks about the heart of her music, how she crafts her sound - from first inspiration to finished product.
Discover Krista's music on her Website
Discover Krista's music on Spotify
Visit www.livingcrazybrave.com for more information
Visit Barnes and Noble to purchase Lisa's book "THE CRAZYBRAVE SONGWRITER"
OR purchase a SIGNED COPY of Lisa's book from Lisa's website
+
Host: Lisa M Arreguin @ LivingCrazybrave.com
Recorded @ LoveandLaughterMusicGroup.com
Podcast Music: Joey Arreguin
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
You are listening to the Crazy Brave Songwriter
Podcast.
This is a podcast about themagic of making music one song
at a time.
My name is Lisa m gui.
I'm happy to be your host fortoday.
Christ Marina is a musical forceto be reckoned with as a
multi-talented singersongwriter, music producer and
(00:22):
instrumentalist.
In this episode, Christa shareshow she creates and produces
music that represents herdistinctive personal style.
Listen closely with all ears asshe shares lots of information
on style, creating songs fromthe ground up and how she
navigates the craft.
She talks about two songs inthis episode, the song on this
(00:45):
wave, and the song clinking.
Both tunes lyrically remind usof the value of human
connection.
Now, it's important to note thatsince we've cut this show,
Krista's music is notsurprisingly soaring on various
music platforms.
You'll want to check out theshow links in this episode to
keep up on this rising star
Speaker 2 (01:09):
Check one, two, check one, two, testing, testing
Speaker 3 (01:15):
On this way.
Speaker 4 (01:25):
My introduction to music was Armenian music growing
up, always hearing it in thehousehold, and I think that
really shaped how I view music,how I listen, because it's so
intricate and so detailed, andthere are so many different
layers.
And I started really taking itseriously in high school.
I auditioned and joined this, Icall it school of rock, but in
(01:48):
real life, essentially iswhat it was.
It was called music media andEntertainment Technology.
And it was foundational inmaking me realize that I could
do this, you know, really pursuethis seriously and make it, you
know, my dream, my living.
And that was reallytransformative for me because I
was presented with the tools andthe tips and the teachings of
(02:11):
how to make that happen.
I think for a while I resistedthe urge to let that Armenian
influence show up in my music,because along my journey there
(02:32):
were people that told me, Youhave to pick a lane.
And that lane had to look likeone thing and one thing only.
Like, let's say it was popmusic.
And so, you know, in thebeginning there were people that
told me it's, it's gotta be pop,so everything has to fit this
mold.
And as I found my own voice asan artist, I started to realize
that when they say, you know,try to find that one thing and
(02:54):
that one lane, that doesn't meanpicking one genre.
It means finding that one, onething that is you and magnifying
that.
And because being Armenianlistening to Armenian music is
and always has been such a bigpart of my life, that it started
to feel not genuine, to notinclude that influence in my
music.
And so as I started getting moreconfident in my own production
(03:18):
as well, um, was at the sametime where I started involving
more of those elements into mymusic, into my writing.
And I feel that I've, I'vestruck this balance now that
really powerfully represents whoI am within my music.
You know, both the AmericanWestern r and influences as well
(03:39):
as the, the subtle MiddleEastern and Armen influences,
and finding that combination.
I grew up also performing a lotof Armenian music.
I was in choir, et cetera, and Imissed it.
I missed performing Armeniansongs.
And the second part was that Ifelt a little bit of imposter
syndrome trying to be thisarchetype pop artist.
(04:01):
It didn't feel genuine to me.
It felt like something wasmissing.
And I soon realized it was thatArmenian element, that cultural
element that is so embedded inme that wasn't showing up in, in
the music, that that made itfeel like something was missing.
And it, it was the perfect sortof peace to, to complete the
sound
Speaker 3 (04:23):
Point.
If I'm the only one feeling thisway, tell me I'm not the only
one on this way, on this way.
Speaker 4 (04:33):
I've been lucky to work with a lot of producers
over the years.
I remember in the beginning too,I was very driven to find that
producer that like one personthat understood the sound and
would help me craft it over timeand sort of be that, that
production partner.
But over time I felt that therewas this sound that I heard in
my head that I had troublearticulating.
(04:55):
And the producers that I workedwith are all so talented in, in
their own right, but I hadtrouble sort of nailing the
sound that I heard in my headfor my music.
And I think part of that was thecultural element that I was
raised with, and that was hardto articulate for other people.
And so what I started doing wasI started producing my own demos
(05:17):
to try to sort of get thoseideas out of my head and into
something tangible, to somethingpeople could listen to.
And over time I realized that Istarted to feel more connected
to my own demos.
I loved that production withother people.
I love that process.
I love collaborating, and Ialways will continue to do that.
But in terms of finding thestuff that was truly my sound,
(05:40):
it was in my demos, that littlepiece of magic that I felt like
this is, this is me and mymusic, and I just kept working
on that craft.
Until fast forward to today, Ifeel comfortable producing my
own music.
It's also made me feel moreconfident as a female being in
the studio setting to articulatewhat I wanna hear and, um,
(06:00):
really have it be a team effort.
If I'm working with anotherengineer or another producer or
another artist, it also makes mefeel more empowered to be part
of every step of the process.
When people ask me about myprocess, I wish I had a pretty
clean answer, but I don'tbecause my process isn't pretty
or clean.
(06:21):
, it really varies interms of what comes first, the
lyrics, the melody, the rhythm,the harmonies.
But that's what makes itexciting because I'm, I'm never
sure which of those pieces isgoing to inspire the full song
first.
Sometimes it's one line, and Iknow that I want that to be the
tagline of the chorus.
And so I build everything aroundthat.
Other times it's a melody, andthen I pick the key and then we
(06:44):
go from there.
Other times it's, it's therhythm first.
Um, I play them bec or MiddleEastern drum, ibec, the, and
sometimes it's inspired by abeat I hear on that instrument
first, and then it, you know,building from there.
When I wrote on this wave, I wasout with friends in 2019, in the
(07:06):
summer of 2019, I was in Armeniafor six weeks volunteering, um,
in the villages, running daycamps for the children, teaching
them hygiene, uh, tips and, youknow, English and things like
that.
Um, and just bonding with them.
Um, and there was one nightwhere all of us were, um, went
out, uh, went out dancing andhanging out, and we were in a
(07:30):
very crowded, super, supercrowded, um, room.
And I became overwhelmed withthis feeling of feeling out of
place.
And I remember I sat down in thecorner of this bar and I started
writing the lyrics to on thiswave.
And so with this song, it wasthe lyrics that came first.
(07:52):
And I felt like I loved seeingeveryone have such a beautiful
time, but I felt like I was on adifferent wave where I was just
sitting and absorbing it asopposed to being immersed in it.
I felt like I was looking fromthe outside in and so on.
This wave is really aboutfeeling a little out of place
(08:13):
and sort of finding empowermentin that and finding comfort in
that, and that that's okay.
And most of the lyrics are mequestioning, you know, does
anyone else feel this way?
And so I wrote the lyrics downand that's what inspired the
intro of, On This Wave, becauseyou hear a bunch of people
talking and you hear really loudbass, um, but just the low end
as if you're like right outside.
(08:36):
And I, the tricky part was I wastrying to record a voice memo in
this super loud like baressentially, and you can barely
hear like the little melody thatcame with it that came next.
And the melody was thatbaseline.
The, the did.
I like the climbing baselinethat runs through the whole
(08:56):
song.
And as soon as we got back fromArmenia, as soon as I got back
to the states, I immediatelyproduced it started with that
bass loop drum, Super simple,and then that piano loop.
Um, and that was it.
And that was on this wave.
And that's how the song cameabout.
And I actually have yet toperform on this wave live, but
I'm hoping we get too soon
Speaker 3 (09:20):
Here I am surrounded by the everyone's from one, I
only one with a d I'm the onlyone feeling this way.
(09:44):
Tell me I'm not the only one onthis way, found this way.
Tell me, I
Speaker 4 (09:53):
I think the best things in life happen when you
are so present that you get toolost in the moment to where
you're not worried abouttracking time.
And that's the same withcreating.
I feel that the best creationscome from completely getting
lost in it, where you, you know,lose where you are, how
(10:14):
much time you're taking up,everything you get.
You're so immersed in theprocess that nothing else
matters for that hour or forthat two hours or for that
session.
And honestly, those moments, youknow, whether it's when you're
playing live and you get lost inthe performance and you're, you
forget where you are, but in themost beautiful way because
you're taken to this whole new dimension.
(10:37):
It's those moments that made mewant to do this.
But I, I'm writing constantly interms of writing a full song.
Last year I did a song a monthand that was really fulfilling
because I started a song fromstart to finish each month.
And that was a super rewardingprocess.
But I would say I write everyday, um, in terms of a full
(11:00):
song, maybe once a week or onceevery couple weeks in terms of
full production, fully producinga song, I would say once a
month.
But I think it's those momentswhere you get pulled to do it
that are the most sort oforganic and powerful and
rewarding clink in came to mindat the peak of quarantine on a
Saturday night where I missedbeing with friends.
(11:22):
I missed, ironically, being inthis similar environment,
of where on this wave waswritten, where I fell out of
place.
Being in that environment whereyou're with friends, you're
celebrating your dancing,celebrating life together, the
idea of clinging came to mindbecause I remember feeling I
missed the sound of two cupshitting each other.
I miss that sound because thatsound is so, um, symbolic of
(11:45):
something bigger, right?
Of this thing that as humans, weall need, which is each other,
which is being with each other,which is laughing together.
And, um, sharing thoseexperiences together.
And that's where the idea ofClinton came from.
And so I built it all aroundthat.
And it was a Saturday night.
I was alone in my room,,and I was just sort of fiddling
(12:07):
on the guitar, just sort of, youknow, just jamming, practicing
really.
And I went back and forthbetween these two chords and um,
suddenly I found this littlepocket that I was playing.
And so with this song, it wasthe guitar, the little guitar,
um, I mean it was, it wasrhythmic so we can call it like
(12:29):
a guitar rhythm that came first.
And, and then I heard the beat.
So I made that next.
And I, I wanted to add a cajoncause I wanted it to feel raw.
Um, and so I had the Cajon andthen I had the Clavos, the, And
then I had my friend Lance fromUCLA come in and record some
sacks cause I knew I needed tohear some, some sacks or some
(12:50):
trumpet on there.
And then my friend Trey cameinto play that baseline on a
live bass.
And that was it.
With, with those with both onthe Wave and Clinton, the songs
really came together veryrapidly, very easily.
Sometimes I feel like when I'mbuilding a song, I black out for
an hour and then I come back toreality and there's a song in
(13:12):
front of me.
.
If I were to give advice toother artists and writers out
there, I mean, I'm stilllearning every day, but one sort
of overarching thing I'velearned in being an artist and
in life is remembering why youdo it.
Because it's easy to get lost inthe pursuit and the chase and
forgetting why you startedchasing this in the first place.
(13:34):
And that's because it'ssomething that you love, that
it's because it's something thatmakes you feel understood.
That it's because it's somethingthat's been there as a healing,
um, factor for all of us,whether we're on the creating or
the listening side.
And let that be your drivingforce.
Don't let comparison with othersbe a driving force.
(13:56):
Don't let numbers be a drivingforce because then you start to
sort of lose that fulfillment ifyou're worried about arbitrary
results instead of the why.
And I feel that by focusing onthe why and by focusing on the
craft, the rest will comeanyway.
Speaker 1 (14:13):
Now for your listening pleasure.
The song Clinking played in itsentirety
Speaker 3 (14:29):
On your mind the same way you think about, Oh, that's
fine, but I don't think that Ibelieve you.
What's those?
Speaker 5 (14:53):
When
Speaker 3 (14:53):
You hear, hear my name, does it catch your way?
I've what you drinking's fillyour cup bottoms up, feel the I
(15:33):
keep you up your mind insomnia.
But I wonder how do you do it?
Cause you always get secret yourmind though, the same way you
walk all over, all across the Isee you and walk, Right?
(16:07):
What's mess?
Yes.
So fill bottoms up, Feel the,I've been thinking what you
(17:02):
drinking?
Let's get this mess.
Speaker 5 (17:08):
So
Speaker 3 (17:08):
Fill your cup, bottoms up.
Feel I don't see about the rest.
Don't think about the rest.
Speaker 1 (17:24):
This is Lisa again and I wanna take this moment to
applaud the team at Love andlaughter music group.com, a safe
and knowledgeable spot formusicians who wish to learn more
about writing songs andrecording great music.
This episode is a product ofliving Crazy brave.com, another
hub where musicians cancultivate new awareness about
(17:44):
what it takes to honor thesacred art of making honest
music.
I have been writing songs forand with artists for years now,
and it's so refreshing to findan artist that keeps the
pressure on and keeps lovingwhat they do.
If that sounds like you, andyou've been at this for a time,
don't be discouraged.
(18:05):
You might never hear from theguy on the east coast who heard
your music and cried because itsaid all the things that he felt
after a life altering change inhis life.
Or the teenage girl in Denmarkwho feels like you are talking
directly to her.
And because of your song, shenow has a new perspective.
You are making an impact eventhough you may not know it.
(18:26):
So keep up the good work andmake every song better than the
next.
And like Krista, love what youdo and strive to do it well.
You are listening to the Crazy Brave Songwriter
Podcast.
This is a podcast about themagic of making music one song
at a time.
My name is Lisa m gui.
I'm happy to be your host fortoday.
Christ Marina is a musical forceto be reckoned with as a
multi-talented singersongwriter, music producer and
(00:22):
instrumentalist.
In this episode, Christa shareshow she creates and produces
music that represents herdistinctive personal style.
Listen closely with all ears asshe shares lots of information
on style, creating songs fromthe ground up and how she
navigates the craft.
She talks about two songs inthis episode, the song on this
(00:45):
wave, and the song clinking.
Both tunes lyrically remind usof the value of human
connection.
Now, it's important to note thatsince we've cut this show,
Krista's music is notsurprisingly soaring on various
music platforms.
You'll want to check out theshow links in this episode to
keep up on this rising star
Speaker 2 (01:09):
Check one, two, check one, two, testing, testing
Speaker 3 (01:15):
On this way.
Speaker 4 (01:25):
My introduction to music was Armenian music growing
up, always hearing it in thehousehold, and I think that
really shaped how I view music,how I listen, because it's so
intricate and so detailed, andthere are so many different
layers.
And I started really taking itseriously in high school.
I auditioned and joined this, Icall it school of rock, but in
(01:48):
real life,
It was called music media andEntertainment Technology.
And it was foundational inmaking me realize that I could
do this, you know, really pursuethis seriously and make it, you
know, my dream, my living.
And that was reallytransformative for me because I
was presented with the tools andthe tips and the teachings of
(02:11):
how to make that happen.
I think for a while I resistedthe urge to let that Armenian
influence show up in my music,because along my journey there
(02:32):
were people that told me, Youhave to pick a lane.
And that lane had to look likeone thing and one thing only.
Like, let's say it was popmusic.
And so, you know, in thebeginning there were people that
told me it's, it's gotta be pop,so everything has to fit this
mold.
And as I found my own voice asan artist, I started to realize
that when they say, you know,try to find that one thing and
(02:54):
that one lane, that doesn't meanpicking one genre.
It means finding that one, onething that is you and magnifying
that.
And because being Armenianlistening to Armenian music is
and always has been such a bigpart of my life, that it started
to feel not genuine, to notinclude that influence in my
music.
And so as I started getting moreconfident in my own production
(03:18):
as well, um, was at the sametime where I started involving
more of those elements into mymusic, into my writing.
And I feel that I've, I'vestruck this balance now that
really powerfully represents whoI am within my music.
You know, both the AmericanWestern r and influences as well
(03:39):
as the, the subtle MiddleEastern and Armen influences,
and finding that combination.
I grew up also performing a lotof Armenian music.
I was in choir, et cetera, and Imissed it.
I missed performing Armeniansongs.
And the second part was that Ifelt a little bit of imposter
syndrome trying to be thisarchetype pop artist.
(04:01):
It didn't feel genuine to me.
It felt like something wasmissing.
And I soon realized it was thatArmenian element, that cultural
element that is so embedded inme that wasn't showing up in, in
the music, that that made itfeel like something was missing.
And it, it was the perfect sortof peace to, to complete the
sound
Speaker 3 (04:23):
Point.
If I'm the only one feeling thisway, tell me I'm not the only
one on this way, on this way.
Speaker 4 (04:33):
I've been lucky to work with a lot of producers
over the years.
I remember in the beginning too,I was very driven to find that
producer that like one personthat understood the sound and
would help me craft it over timeand sort of be that, that
production partner.
But over time I felt that therewas this sound that I heard in
my head that I had troublearticulating.
(04:55):
And the producers that I workedwith are all so talented in, in
their own right, but I hadtrouble sort of nailing the
sound that I heard in my headfor my music.
And I think part of that was thecultural element that I was
raised with, and that was hardto articulate for other people.
And so what I started doing wasI started producing my own demos
(05:17):
to try to sort of get thoseideas out of my head and into
something tangible, to somethingpeople could listen to.
And over time I realized that Istarted to feel more connected
to my own demos.
I loved that production withother people.
I love that process.
I love collaborating, and Ialways will continue to do that.
But in terms of finding thestuff that was truly my sound,
(05:40):
it was in my demos, that littlepiece of magic that I felt like
this is, this is me and mymusic, and I just kept working
on that craft.
Until fast forward to today, Ifeel comfortable producing my
own music.
It's also made me feel moreconfident as a female being in
the studio setting to articulatewhat I wanna hear and, um,
(06:00):
really have it be a team effort.
If I'm working with anotherengineer or another producer or
another artist, it also makes mefeel more empowered to be part
of every step of the process.
When people ask me about myprocess, I wish I had a pretty
clean answer, but I don'tbecause my process isn't pretty
or clean.
(06:21):
lyrics, the melody, the rhythm,the harmonies.
But that's what makes itexciting because I'm, I'm never
sure which of those pieces isgoing to inspire the full song
first.
Sometimes it's one line, and Iknow that I want that to be the
tagline of the chorus.
And so I build everything aroundthat.
Other times it's a melody, andthen I pick the key and then we
(06:44):
go from there.
Other times it's, it's therhythm first.
Um, I play them bec or MiddleEastern drum, ibec, the, and
sometimes it's inspired by abeat I hear on that instrument
first, and then it, you know,building from there.
When I wrote on this wave, I wasout with friends in 2019, in the
(07:06):
summer of 2019, I was in Armeniafor six weeks volunteering, um,
in the villages, running daycamps for the children, teaching
them hygiene, uh, tips and, youknow, English and things like
that.
Um, and just bonding with them.
Um, and there was one nightwhere all of us were, um, went
out, uh, went out dancing andhanging out, and we were in a
(07:30):
very crowded, super, supercrowded, um, room.
And I became overwhelmed withthis feeling of feeling out of
place.
And I remember I sat down in thecorner of this bar and I started
writing the lyrics to on thiswave.
And so with this song, it wasthe lyrics that came first.
(07:52):
And I felt like I loved seeingeveryone have such a beautiful
time, but I felt like I was on adifferent wave where I was just
sitting and absorbing it asopposed to being immersed in it.
I felt like I was looking fromthe outside in and so on.
This wave is really aboutfeeling a little out of place
(08:13):
and sort of finding empowermentin that and finding comfort in
that, and that that's okay.
And most of the lyrics are mequestioning, you know, does
anyone else feel this way?
And so I wrote the lyrics downand that's what inspired the
intro of, On This Wave, becauseyou hear a bunch of people
talking and you hear really loudbass, um, but just the low end
as if you're like right outside.
(08:36):
And I, the tricky part was I wastrying to record a voice memo in
this super loud like baressentially, and you can barely
hear like the little melody thatcame with it that came next.
And the melody was thatbaseline.
The, the did.
I like the climbing baselinethat runs through the whole
(08:56):
song.
And as soon as we got back fromArmenia, as soon as I got back
to the states, I immediatelyproduced it started with that
bass loop drum, Super simple,and then that piano loop.
Um, and that was it.
And that was on this wave.
And that's how the song cameabout.
And I actually have yet toperform on this wave live, but
I'm hoping we get too soon
Speaker 3 (09:20):
Here I am surrounded by the everyone's from one, I
only one with a d I'm the onlyone feeling this way.
(09:44):
Tell me I'm not the only one onthis way, found this way.
Tell me, I
Speaker 4 (09:53):
I think the best things in life happen when you
are so present that you get toolost in the moment to where
you're not worried abouttracking time.
And that's the same withcreating.
I feel that the best creationscome from completely getting
lost in it, where you, you know,lose where you are
(10:14):
much time you're taking up,everything you get.
You're so immersed in theprocess that nothing else
matters for that hour or forthat two hours or for that
session.
And honestly, those moments, youknow, whether it's when you're
playing live and you get lost inthe performance and you're, you
forget where you are, but in themost beautiful way because
you're taken to this whole new
(10:37):
It's those moments that made mewant to do this.
But I, I'm writing constantly interms of writing a full song.
Last year I did a song a monthand that was really fulfilling
because I started a song fromstart to finish each month.
And that was a super rewardingprocess.
But I would say I write everyday, um, in terms of a full
(11:00):
song, maybe once a week or onceevery couple weeks in terms of
full production, fully producinga song, I would say once a
month.
But I think it's those momentswhere you get pulled to do it
that are the most sort oforganic and powerful and
rewarding clink in came to mindat the peak of quarantine on a
Saturday night where I missedbeing with friends.
(11:22):
I missed, ironically, being inthis similar environment,
of where on this wave waswritten, where I fell out of
place.
Being in that environment whereyou're with friends, you're
celebrating your dancing,celebrating life together, the
idea of clinging came to mindbecause I remember feeling I
missed the sound of two cupshitting each other.
I miss that sound because thatsound is so, um, symbolic of
(11:45):
something bigger, right?
Of this thing that as humans, weall need, which is each other,
which is being with each other,which is laughing together.
And, um, sharing thoseexperiences together.
And that's where the idea ofClinton came from.
And so I built it all aroundthat.
And it was a Saturday night.
I was alone in my room,
(12:07):
on the guitar, just sort of, youknow, just jamming, practicing
really.
And I went back and forthbetween these two chords and um,
suddenly I found this littlepocket that I was playing.
And so with this song, it wasthe guitar, the little guitar,
um, I mean it was, it wasrhythmic so we can call it like
(12:29):
a guitar rhythm that came first.
And, and then I heard the beat.
So I made that next.
And I, I wanted to add a cajoncause I wanted it to feel raw.
Um, and so I had the Cajon andthen I had the Clavos, the, And
then I had my friend Lance fromUCLA come in and record some
sacks cause I knew I needed tohear some, some sacks or some
(12:50):
trumpet on there.
And then my friend Trey cameinto play that baseline on a
live bass.
And that was it.
With, with those with both onthe Wave and Clinton, the songs
really came together veryrapidly, very easily.
Sometimes I feel like when I'mbuilding a song, I black out for
an hour and then I come back toreality and there's a song in
(13:12):
front of me.
If I were to give advice toother artists and writers out
there, I mean, I'm stilllearning every day, but one sort
of overarching thing I'velearned in being an artist and
in life is remembering why youdo it.
Because it's easy to get lost inthe pursuit and the chase and
forgetting why you startedchasing this in the first place.
(13:34):
And that's because it'ssomething that you love, that
it's because it's something thatmakes you feel understood.
That it's because it's somethingthat's been there as a healing,
um, factor for all of us,whether we're on the creating or
the listening side.
And let that be your drivingforce.
Don't let comparison with othersbe a driving force.
(13:56):
Don't let numbers be a drivingforce because then you start to
sort of lose that fulfillment ifyou're worried about arbitrary
results instead of the why.
And I feel that by focusing onthe why and by focusing on the
craft, the rest will comeanyway.
Speaker 1 (14:13):
Now for your listening pleasure.
The song Clinking played in itsentirety
Speaker 3 (14:29):
On your mind the same way you think about, Oh, that's
fine, but I don't think that Ibelieve you.
What's those?
Speaker 5 (14:53):
When
Speaker 3 (14:53):
You hear, hear my name, does it catch your way?
I've what you drinking's fillyour cup bottoms up, feel the I
(15:33):
keep you up your mind insomnia.
But I wonder how do you do it?
Cause you always get secret yourmind though, the same way you
walk all over, all across the Isee you and walk, Right?
(16:07):
What's mess?
Yes.
So fill bottoms up, Feel the,I've been thinking what you
(17:02):
drinking?
Let's get this mess.
Speaker 5 (17:08):
So
Speaker 3 (17:08):
Fill your cup, bottoms up.
Feel I don't see about the rest.
Don't think about the rest.
Speaker 1 (17:24):
This is Lisa again and I wanna take this moment to
applaud the team at Love andlaughter music group.com, a safe
and knowledgeable spot formusicians who wish to learn more
about writing songs andrecording great music.
This episode is a product ofliving Crazy brave.com, another
hub where musicians cancultivate new awareness about
(17:44):
what it takes to honor thesacred art of making honest
music.
I have been writing songs forand with artists for years now,
and it's so refreshing to findan artist that keeps the
pressure on and keeps lovingwhat they do.
If that sounds like you, andyou've been at this for a time,
don't be discouraged.
(18:05):
You might never hear from theguy on the east coast who heard
your music and cried because itsaid all the things that he felt
after a life altering change inhis life.
Or the teenage girl in Denmarkwho feels like you are talking
directly to her.
And because of your song, shenow has a new perspective.
You are making an impact eventhough you may not know it.
(18:26):
So keep up the good work andmake every song better than the
next.
And like Krista, love what youdo and strive to do it well.
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