CREDITS

IOO% MADE BY HUMANS

CHAPTERS

All songs written and produced by Michael P. Rovatsos
Gurnudo Music (BMI), 2026

Mastered by Chris Hobson

Co-written songs noted individually.

Chapter II – Hop, Skip and Jump (Around the Corner)

Co-written with Billy Mira, self-published

Billy Mira- Lead Vocals

Featured Guest: Billy Vera- Lead, Background Vocals

Michael P. Rovatsos- Background Vocals, Electric Guitars, Bass, Piano, Organ, Horn Arranger

Chris Hobson- Background Vocals

Stevie Adams- Guitar Solo

Jorgen Ingmar- Drums

Jeff Dalrymple- Percussion

Mario Jativa- Saxophones

Andy Geib- Trombone, Trumpet

Matt Silver- Whistling

Mixed by Chuck Lewis and Chris Hobson

At a Glance

Mood: Big-band swagger meets neighborhood storytelling.

Ingredients: Horns, smoke, smiles and enough charm to get you into trouble.

Full Story

Every songwriter gets the urge to write a song that belongs in a room filled with cigarette smoke, clinking glasses and people pretending not to watch each other.

This was ours.

Billy and I wanted something with old-school swagger. Something Sinatra might've nodded at before ordering another drink. But we also wanted it to tell a story. A little movie… with brass.

Then my friend and mentor Billy Vera stepped in.

Grammy® winner. Great songwriter. Great singer.

He didn't just sing on it.

He acted as well. Figuratively and literally.

That's what the best singers do.

So pull up a chair in that imaginary nightclub. Make everything black and white. Let the band count it off.

And don't trust the guy doing all the talking.

Chapter III – Waiting

Co-written with Billy Mira, self-published

Billy Mira- Lead Vocals

Michael P. Rovatsos- Background Vocals, Acoustic and Electric Guitars, Synthesizer, Organ, Tambourine

Chris Hobson- Background Vocals

Samuel Donovan- Background Vocals 

Jorgen Ingmar- Drums

Ben Bocardo- Bass

Mixed by Chris Hobson

At a Glance

Mood: Big choruses. Bigger heart.

Ingredients: Power pop, windows-down guitars and enough hooks to make your radio smile.

Full Story

Some songs spend years trying to become catchy.

This one walked in that way. Billy’s (big) contribution? The title. That word, that hook. So I wrote and even re-wrote the words and melody around it until it was right.

It reminds me of records I grew up loving—songs that made you sing along before you even knew the words. Those giant choruses. The ringing guitars. The bridge that politely asks you to turn the volume knob a little farther to the right.

The story itself is simple.

Love has hit the pause button.

Our guy doesn't panic.

He waits.

Sometimes that's the hardest thing to do.

Billy always knew exactly how much emotion to give this one. Never too much. Never too little.

I still dare people not to sing along.

Nobody has won yet.

Chapter IV – Prelude / If You Could See

Billy Mira- Lead Vocals

Michael P. Rovatsos- Piano, Background Vocals

Chris Demcak- Guitars, Bass, Drum Programming

Sasha Weiss- Background Vocals

Matthew Smith- Trombone

David Skelley- Theremin

Cody Walker- Tap Dancing, Whistling

Mixed by Chuck Lewis, Co-Produced by Chris Demcak

At a Glance

Mood: Theater rock with a flashlight under its chin.

Ingredients: Homemade sound effects, beautiful madness and one very unreliable narrator.

Full Story

Every story needs a character who makes you just a little uncomfortable.

Congratulations.

You found him.

Billy likes to call this "Theater Rock," and he's probably right. The prelude opens the curtain and introduces a man who's convinced he's the darkest (and smartest) person in every room. He's charming enough to fool people...including himself.

Love has been wearing different masks through these first four chapters.

Here it wears control.

And obsession.

It's a fitting ending to Billy's four-song run.

We started with hope.

We passed through romance.

We waited.

And now we've wandered into the darker corners of the story.

Time to close that book...

...and open another.

Chapter V – Galaxy Baby

Co-written with Joel Crisp, self-published

Joel Crisp- All Vocals

Michael P. Rovatsos- Acoustic and Electric Guitars, Bass

Chuck Lewis- Spacey Guitar, Electric Guitar

Ben Bocardo- Fretless Bass

Mixed by Chuck Lewis

At a Glance

Mood: Windows down. Summer up.

Ingredients: Sunshine, horsepower, young love and just enough stardust to make the drive feel endless.

Full Story

After the shadows of Prelude/If You Could See, I knew the record needed to throw open a window.

Galaxy Baby is that fresh air.

Joel Crisp and I always seemed to meet somewhere in the middle. I'd bring a musical idea, he'd bring his unmistakable voice and writing instincts, and together we'd discover where the song really wanted to go. This one never tried to be anything more complicated than it needed to be.

It's a love song.

Not the kind that asks a hundred questions.

The kind that grabs your hand, tosses you the keys and says, "Let's get out of here."

Maybe that's why it drifts into outer space every now and then. Sometimes the quickest way to escape this world is to imagine another one.

Joel's vocal has that effortless confidence that makes difficult things sound easy, and that's exactly what this song needed.

The universe is a pretty big place.

If you're lucky enough to find your person, go take the ride.

Chapter VI – This New Math

Shawn Brady- Lead Vocals

Michael P. Rovatsos- Background Vocals, Electric Guitars, Bass, Organ, Tambourine, Shaker

Alan Mackelburg- Lead Guitar

Steve Judd- Drums

Mixed by Chuck Lewis

At a Glance

Mood: Thoughtful power pop with a raised eyebrow.

Ingredients: McCartney-inspired bass lines, clever metaphors and one guy who's convinced the world stopped making sense.

Full Story

Every songwriter has a handful of heroes they accidentally chase from time to time.

For me, Sir Paul McCartney has always been one of those giants.

I wasn't trying to write a Beatles song, but I'd be lying if I said Sir Paul's fingerprints weren't somewhere in the approach and even on the bass guitar. Sometimes your influences sneak in through the back door while you're busy writing.

This song follows a guy who's reached that point in life where everything seems unnecessarily complicated. Technology changes. Language changes. The rules keep changing. And, what exactly is “woke” anyway?!?

He's trying his best.

He's just not buying the “new math.”

We've all met someone like him.

On certain days...

We've all been him.

Shawn Brady brought exactly the right balance of frustration and humanity to the vocal. Underneath all the sarcasm is a man, a good man, who's really just trying to understand the world again.

So, keep your pencil sharp.

Chapter VII – Full Out

Co-written with Joel Crisp, self-published

Joel Crisp- Lead Vocals

Michael P. Rovatsos- Background Vocals, Electric Guitar

Ben Bocardo- Bass

Karel Ruzicka- Saxophone

Chris Johnson- Organ

Mixed by Chris Hobson

At a Glance

Mood: Funk with a smile.

Ingredients: Saxophone, hammond organ, fat bass lines and absolutely no sitting still.

Full Story

Sometimes a song begins with a melody. Sometimes it begins with a groove.

This one began with an expression.

My wife is a professional dancer and choreographer, and around our house there's a phrase that gets used a lot…

"Go full out!"

No holding back. No saving anything for later.

I handed Joel that concept, and before long it had become the heartbeat of the song.

Musically, I wanted my own version of Pick Up the Pieces. That's a pretty ambitious target, but if you're going to miss, you might as well miss swinging.

Fortunately, I wasn't surrounded by ordinary musicians.

Karel Ruzicka spread joy all over the saxophone.

Ben Bocardo's bass practically dances by itself.

Chris Johnson's Hammond organ shines gloriously.

Everybody showed up. And went, full out!

Chapter VIII – Dusk to Dawn

Instrumental

Michael P. Rovatsos- All Guitars

Ben Bocardo- Fretless Bass

Karel Ruzicka- Flute

Co-Produced and Mixed by Ben Bocardo

At a Glance

Mood: The sky changing colors.

Ingredients: Acoustic twilight, jazz flute, fretless bass and the quiet between yesterday and tomorrow.

Full Story

Not every story needs words.

Sometimes music says exactly what language keeps getting wrong.

Dusk to Dawn is really two pieces pretending to be one.

First comes the evening. Acoustic transcendence.

Then comes the morning.

The space in between belongs to you.

Karel returns here with one of my favorite performances on the entire record. His improvised flute on Dawn feels less like somebody playing notes and more like somebody watching the sun come up.

Ben Bocardo's fretless bass deserves its own standing ovation. It doesn't just support the music.

It floats.

If there was ever a chapter meant to let you breathe before the story turns again...

This is it.

Chapter IX – Start Anew

co-written with Joe Hier (Lyrics and melody), self-published

Joe Hier- Lead Vocals

Michael P. Rovatsos- Acoustic Guitars, Bass, Synthesizer, Fender Rhodes, Percussion, String Arranger 

Andy Tirpak- Drums

Mixed by Chris Hobson

At a Glance

Mood: Hope wrapped in vulnerability.

Ingredients: Waltz time, Acoustic honesty, Realignment

Full Story

Some songs arrive in twenty minutes.

Some take twenty years to finish.

This one managed to do both.

I wrote the music not long after moving to San Diego. It was one of the first significant pieces I completed there and it also happened to be one of the first pieces my wife ever heard me play. I can still remember her dancing across the floor to it. A memory, gladly, burnt into my brain.

The music came easily.

Everything after that didn't.

I tried writing melodies.

Other people tried writing melodies.

Those beautiful shifting waltz time signatures were also stubborn as a mule.

Then Joe Hier walked into the story.

Joe is one of those rare writers who understands that the best melody doesn't call attention to itself—it simply feels like it was always supposed to be there. A true craftsman.

He brought lyrics.

He brought melody.

Most importantly, he brought completion.

Listening to this now, I honestly can't imagine it any other way.

I remember telling myself (and Joe) that I wanted the vocals to have a feeling to be somewhere in the neighborhood of U2's Promenade—not to copy it, but to capture that quiet sense of wonder. And, if you didn’t know, Joe is more than qualified (see his bio).

Joe simply wrote the song this music had been waiting for all along.

Chapter X – Thinking

Scott Spick- Lead Vocals

Michael P. Rovatsos- Background Vocals, Electric Guitars, Bass, Organ, Clavichord

Chuck Lewis- Steel Guitar

Steve Judd- Drums

Mixed by Chuck Lewis

At a Glance

Mood: Catchy enough to hum. Honest enough to linger.

Ingredients: Thoughtful pop, smooth vocals and a melody that refuses to leave.

Full Story

Every songwriter goes through dry spells.

Mine lasted about four years.

After I wrote the music for what would turn out to be Start Anew, the well just stopped. Whether life got in the way or the songs simply decided to take a vacation, I don't know. I just remember wondering if another one would ever show up.

After much overthinking, Thinking arrived.

Sometimes all it takes is one song to remind you that you haven't forgotten how to write—you were just waiting for the next knock at the door.

Scott Spick was there from the beginning. He recorded the original demo years ago and when it came time to finally make Chapters, there was never any question who should sing it. Some voices simply belong to certain songs.

Scott has one of those voices.

Warm. Honest. Understated.

The kind that doesn't have to shout because it already has your attention.

Go ahead...Think about it.

Chapter XI – 817

Instrumental

Michael P. Rovatsos- Guitar

Piatt Pund- Violin

Mixed by Chris Hobson

At a Glance

Mood: A memory you can hear.

Ingredients: Strings, gratitude and one perfect August afternoon.

Full Story

Some pieces of music eventually become something bigger than the day you wrote them.

This one became my wedding.

On August 17, 2014, this music accompanied my wife as she walked down the aisle. We were fortunate enough to hear improvised violin playing alongside it that day and that memory has stayed with me ever since.

When I decided to include it on Chapters, I didn't want to simply recreate the arrangement.

I wanted to recreate the feeling.

That's a much harder thing to record.

Enter Piatt Pund.

My wife and I have both had the privilege of working with Piatt over the years, and I honestly couldn't imagine anyone else playing this new violin part that I wrote. His violin doesn't simply play the melody. It remembers it.

Every album needs a quiet place where the listener can simply breathe.

For me, this is that place.

Chapter XII – Sometime

Samuel Donovan and Kathleen Delaney- Vocals

Michael P. Rovatsos- Acoustic Guitar

Ben Bocardo- Fretless Bass

Chris Johnson- Cello

Mixed by Chris Hobson

At a Glance

Mood: Bittersweet in all the right ways.

Ingredients: Ocean air, cello, two beautiful voices and a California red sunset that never quite faded.

Full Story

Long before San Diego became home, it became inspiration.

I wrote Sometime while visiting here years before I packed up my life and moved west. I was sitting on the balcony of the Surfer Beach Hotel in Pacific Beach watching the red sun disappear into the Pacific.

Funny how certain places refuse to let go of you.

Even now, whenever I walk or jog past that hotel, I still glance up at that same balcony.

The song is still sitting there.

As far as voices go, Samuel Donovan makes his first appearance on Chapters, while Kathleen Delaney takes a lead spot as well. It’s only fitting as she helped shape my musical confidence decades ago back in Brooklyn.

Those kinds of people never really leave your story.

When Sam and Kathleen sing together, it feels less like a duet and more like two old friends finishing each other's sentences.

Chris Johnson returns, this time trading Hammond organ for a beautifully expressive cello performance. I warned you earlier...I have some incredibly talented friends.

Some songs take you someplace.

This one always takes me home. Both homes- Brooklyn and San Diego.

Chapter XIII – You're Better Than That

Samuel Donovan- Lead Vocals

Michael P. Rovatsos- Background Vocals, Electric Guitar, Bass

Chris Demcak- Lead and Rhythm Electric Guitar, Drum Programming

Mixed by Chris Hobson

At a Glance

Mood: Tough love with the volume turned up.

Ingredients: Rock guitars, a needed kick-in-the-pants mantra.

Full Story

This song had another life.

Honestly...

It wasn't a very good one.

The arrangement was strong. The musicians sounded great. But the song itself never found its heartbeat. Every time I listened, I kept thinking, "There's something here..."

I just didn't know what.

Then my wife unknowingly wrote the hook.

Or at least the title.

One of her favorite expressions inside (and outside) our house is simply,

"You're better than that."

We've all needed to hear those words. Usually from someone who loves us enough to say them.

Suddenly, the entire song made sense. So, I wiped the blackboard clear and came up with a new melody and lyrics.

It became less about pointing fingers and more about looking in the mirror. Or, showing people the mirror. Or both.

As I watched people walking through life staring into little glowing rectangles, the lyrics practically wrote themselves.

Sometimes the best songs aren't written. They’re rewritten.

Chapter XIV – Still I Want More

Samuel Donovan and Michele Lundeen - Lead Vocals

Michael P. Rovatsos- Electric Guitars, Bass, Horn Arranger

Jorgen Ingmar- Drums

Doug Kvandal- Hammond B3

Mario Jativa- Saxophones

Andy Geib- Trombone, Trumpet

Steve Judd- More Cowbell

Mixed by Chuck Lewis

At a Glance

Mood: Go-big-or-go-home blues.

Ingredients: Towering horns, a killer solo, dangerous chemistry and just enough bad decisions to make for good music.

Full Story

I honestly have no idea where this song came from.

Sometimes writers like to pretend they know.

I don't.

The subject matter walked into the room one day, sat down and refused to leave.

It's a twisted little love story about two masochistic, enabling people who somehow find happiness inside a relationship that probably shouldn't work...but somehow does.

At least for them.

The more she pushes him away...

The more he comes back asking for another round.

It's probably unhealthy.

Samuel Donovan once again proves he can sing just about anything, but this time he meets his match.

Michele Lundeen doesn't simply sing this song. She owns it.

The ‘Queen of Steam’ lets it all out on this one.

Writing the horn arrangements for this tune and for Hop, Skip and Jump, was both exciting and terrifying. Thankfully, educator and saxophonist Mario Jativa encouraged me every step of the way, then laid down a killer solo to boot.

Chuck Lewis deserves more credit than he'll probably ever ask for. His mixing helped pull this entire record together and Still I Want More may be the best example of that.

When I first imagined this tune, I kept hearing the swagger of Paul Shaffer and the old Late Night with David Letterman band in the back of my head.

Did I get there?

Maybe.

Maybe I got somewhere else entirely.

Either way...I'm glad I took the trip.

Chapter XV – Sunshine of My Day Bonus

Michael P. Rovatsos- Lead Vocals, Acoustic Guitar

A&Z- Background Vocals

Scott Spick- Trumpet, Piano

Mixed by Chris Hobson

At a Glance

Mood: Pure joy.

Ingredients: Family, birds, finger snaps, acappella harmonies and absolutely no pretending to be somebody else.

Full Story

Well...

You made it.

If you've been wondering whether I was ever going to sing on my own record...

Here's your answer.

Let's just say I never had any illusions about becoming the lead singer.

That's why I surrounded myself with people who could.

But this song was different.

I couldn't ask someone else to sing about my family.

Not when the song belonged to them.

So, I stepped up to the microphone, took a deep breath and did the only thing I could do.

I sang it.

Half of it is even acappella, which probably says something about either courage or questionable judgment.

I'll let you decide.

The birds you hear aren't sound effects.

They're the real birds outside our home.

Scott Spick makes one final appearance, this time playing muted trumpet and piano with the same taste and grace he brought earlier in the record.

And those little voices singing in the choruses?

Those belong to my kids A&Z. My heart and soul.

No session singers.

No tricks.

Just family.

Which seems like the only way this story could possibly end.

THANK YOU

If you've read this far, you already know something.

Nobody makes a record alone.

You might write the songs alone. You might stare at the ceiling alone. You might spend entirely too much time wondering whether the snare drum should be two decibels louder.

But albums?

Albums are villages with guitar cases.

So, here's mine.

First, my wife, Jill.

You started this journey married to a guy who thought he was making four or five songs. Somewhere along the way those songs multiplied like rabbits while our twins grew from seven-year-olds into young adolescents. Through every rewrite, every late night, every "just one more mix," you somehow managed to remain patient with a man who occasionally confused obsession with productivity.

You have always known the difference.

Thank you for loving me anyway.

Speaking of villages...

Every village has that one person who somehow keeps the lights on without asking for credit.

Ours is Rose.

Thank you for always showing up, always encouraging, always believing there was another chapter worth writing.

To A & Z...

You are, and always will be, the sunshine in my day. Thanks for the music, the laughs, the harmonies, and for reminding me why any of this matters in the first place. I want you to always follow your heart and your dreams.

To my extended family and friends...

Thanks for understanding the weirdness. Or at least pretending to. To my sisters, who always let me raid their stereo and record collection and took me to my first concerts. To my parents, who always paid for music lessons (that they couldn’t afford) and let me set up my Ludwig drum set anywhere I wanted. My brother-in-laws (Joe, Jack and Tommy) who got me driving (Chevy Malibu, baby), got me playing that acoustic and got me some great advice whenever I need(ed) it. Also, thanks to my nieces and nephews who always listened to my music, even when the songs weren’t about them.

To my childhood (and to this day) great friends- Jesse, Dave, Matt, Heath, Bryan, Scott, Evan, Elliot and Paul (and many others). Thanks for all of the support.

All of you never asked me to stop chasing songs that sometimes took decades to catch. I thank you.

Now...

Back to the other village.

The one with cables everywhere.

To my co-writers—Billy, Joel, and Joe.

Every song we wrote together became something better than I imagined when it first wandered into the room or passed through the interweb. Thanks for showing up full of ideas and leaving nothing in the tank.

Speaking of "full out"...

There isn't a version of this album that exists without Chuck Lewis.

Need a guitar part?

Chuck.

Need somebody willing to translate hand gestures and half-finished sentences into actual music?

Still Chuck.

When I began this project, I honestly believed I was making a short EP.

Chuck quietly, and sometimes not-so-quietly, watched it become fifteen songs.

That's the patience of a saint...

...or somebody who didn't realize what he'd signed up for.

Thank you, my friend. Your playing and mixes are superb.

Chris Hobson has been riding shotgun on my musical adventures for a long, long time. Whether it was a band, a solo record, or another one of my bright ideas, Chris always knew which knobs to turn and which ones to leave alone.

He mixed nearly half this record.

Then he mastered all of it.

The man performs audio magic without wearing a cape.

Alan Goodman entered the story about a year into this adventure and somehow became one of those people who was always willing to help.

Thanks for every favor, every conversation and every generous moment.

Gil Ruiz...

Always ready.

Always talented.

Always making Billy and me look far cooler than we actually are.

Thanks for years of guidance, creativity and friendship.

To my friend Lev...

There are moments when one word says everything.

"Privet."

He'll understand.

Now...

THE PLAYERS

First and foremost, my dear friend and bandmate Steve Judd.

Steve didn't just play drums on This New Math and Thinking.

He climbed into the trenches with me over the past three years.

He believed in these songs.

Sometimes before I did.

Love you, Steve-O.

Speaking of drums...

Jorgen Ingmar laid down four incredible performances and built grooves sturdy enough to carry these songs wherever they wanted to go.

Every house needs a foundation.

Steve and Jorgen poured the concrete.

Writing horn charts terrified me.

Honestly.

I could hear every line in my head.

Getting them onto paper was another story.

Thankfully Mario Jativa reminded me to stop worrying about dots and start trusting my ears.

He transformed my guitar licks into real arrangements (for Hop and Still).

Thank you, Mario.

Samuel Donovan White

likes to claim he isn't really a lead singer. I'm happy to report he's completely wrong.

Thank you for every lead vocal, every background part, every ounce of heart you brought into these songs. It was a joy producing you.

Long before Chapters became Chapters, many of these performances were recorded back in New York.

They've been patiently waiting for their (re)turn.

Huge thanks to Ben Bocardo, whose bass playing is woven throughout this record and who helped produce and capture so many of those early sessions. Wherever you are now Ben I wish you nothing but the best, you deserve it.

To Karel Ruzicka...

A remarkable jazz musician and a great friend.

His saxophone and flute didn't simply decorate these songs.

They became part of their DNA.

And Chris Johnson...

Wherever life has taken you, thank you.

Your Hammond organ lifted Full Out.

Your cello gave Sometime its heartbeat.

Some performances never age.

Those are two of them.

Speaking of Sometime...

That beautiful voice alongside Sam belongs to Kathleen Delaney.

Long before there was a Chapters Kathleen helped convince a young guy from Brooklyn that maybe he should keep writing songs.

I'm grateful she finally gets her moment here.

Back in San Diego...

My old bandmate Chris Demcak deserves enormous thanks for helping shape If You Could See.

Those wonderfully odd homemade sound effects? And, almost everything else on that track except for the piano.

Also, that ripping guitar solo in You're Better Than That?

Chris again.

Thanks also goes to Sasha Weiss for those glorious ‘Andrews Sisters’ harmonies, Matthew Smith for the terrific trombone, and Cody Walker...

Who tap danced.

Then whistled.

That's called range.

Speaking of old friends...

Thanks to Andy Tirpak

for returning to Start Anew and once again sitting behind the drum kit—even though guitar and bass are really his first languages.

And thanks for introducing me to Chuck.

That turned out to be a pretty important introduction. Sorry Chuck. Lol.

My (older) brother from another mother, Jeff Dalrymple.

Always there.

Musically.

Personally.

Thanks for bringing the percussion and the friendship.

Alan Mackelburg, thank you for the beautiful guitar work on This New Math.

Wonderful player.

Wonderful guitar builder.

To Shawn Brady and Scott Spick...

Thank you both for lending your incredible voices wherever they were needed.

Scott, those trumpet and piano touches on Sunshine of My Day?

Perfect.

Exactly enough icing.

Piatt Pund,

thank you for the gorgeous violin on 817.

Knowing it was you playing my melody means more to Jill and me than I can properly put into words.

And David Skelley...

Thanks for letting me "borrow" your theremin.

I didn't know you had it in you.

Apparently I didn't know that I did either.

Finally...

My dear friend and mentor, Billy Vera.

When I was a kid hearing your songs on the radio, never—not once—did I imagine we'd someday become friends.

Life occasionally writes better stories than songwriters.

Thank you for your encouragement, your wisdom, and your incredible vocal on Hop, and for believing in me.

What a ride, pallie!

To my U2 family...

Ruben, thanks for making the drums happen on Math.

Jon Bullock, Bart, and Patrick, thank you for every conversation and every piece of advice.

Stevie Adams, thank you for your mentorship and for one terrific guitar solo (on Hop).

And Chas...

The most loyal bandmate a guy could ask for.

Also, the first one to remind me when I'm getting too full of myself.

Usually around baseball season.

To my Jazz family...

My boss, Ken Poston, thank you for always answering the questions that somehow just hit me out of nowhere. The blessing and curse of working at a jazz radio station.

 And, to all my colleagues (past and present), who listened, encouraged, supported and occasionally even whistled...

Thank you.

Finally...

Thank you, Chuck Granata.

For being the mensch that you are. For lending your words to this record by writing the foreword for these chapters before the music ever gets the chance.

Every record eventually finds its way into someone else's hands.

That's the whole point.

These songs may have started with me...

...but they belong to every person who helped carry them here.

If you've listened from beginning to end you've traveled through more than twenty-five years of songs, friendships, mistakes, second chances, late nights, early mornings, and more memories than I ever imagined would fit onto one record.

Records eventually end.

Stories don't.

In terms of feedback…

It may sound indignant (yes, I looked it up)…

But, this project was meant for me and for me only.

If you want to say something nice, great. Please share.

If not, well…lol.

Some of you may ask…

So, what are you going to do now?

Will you play these tunes live?

At This Moment ;), No.

Whatever happens now is up for the universe to decide.

I’d love it if one (or more) of these babies moves on in some way, shape or form. For sure.

For me, the future is bright. I’m gonna put on my shades.

Thank you for listening. And, for turning these “sonic pages” for Chapters.

Rovatsos