Watch Closely: Daniel Crawford

Most great artists have a “signature” something – a feel, a look, a flow, a sound- a special thing you sometimes can’t describe, but almost always recognize. Sometimes it’s just a “gift” they’ve been blessed with, but often in concert with that “gift” the signature has been developed through committed practice and time honed experience. Examples of this are all over the artistic landscape – throughout all its disciplines.

In the role of music producer, particularly in R&B, Soul and Hip-Hop over the years, that “signature” sound has become one of the most sought after commodities in the music game. Think Kashif, Teddy Riley, Babyface, Terry Lewis and Jimmy Jam, Raphael Saadiq, Pharrell/Neptunes or J Dilla to name only a few. Daniel Crawford, a fast rising and crazy talented producer, songwriter and keyboard extraordinaire, is one of those with that special quality that has his name on it – always a splendid concoction of infectious grooves, funkiness, lush climatic arrangements, infused with the sounds of his musical influences including Soul, Jazz, R&B, and Hip-Hip – beautifully and dexterously crafted.

Like the aforementioned producers, his palette is eclectic – his experience vast and ability, is off the charts. But there is also one other key element Crawford shares with those elite as well as others he grew up listening to and admires today – musicality. “No matter what type of vibe that you’re going for or what kind of genre that it might be, the musicality of it is the thing that has always caught my attention. Even from being a kid and hearing certain things and not even fully understanding what it was catching me,” says Crawford. “But then the older I got and listening back, the common thing is just the musicality of it.”

It’s undoubtedly what many have heard from the LA native in the mixtape and remix jewels he’s dropped over the years including his fantastic J Dilla tribute series as well as in the few full-length projects imagehe’s released, Red Pill and The Awakening. Amongst those many captured enthusiasts are the artists and musicians who are increasingly tapping Crawford for use of his obvious talent and sound. Artists like Amp Fiddler, Aloe Blacc, Vikter Duplaix, Osunlade, Raphael Saadiq, and many more. He even had an opportunity to work with the imagelegendary Maurice White, architect of one of the greatest bands in the history of music, Earth, Wind and Fire. “That was a surreal thing as far as being able to pick his brain about the way they use to record stuff and what were some of their influences. That was one pretty surreal moment,” says Crawford

That list also includes acclaimed, and uber-talented, singer/songwriter, Eric Roberson who’s beautiful, just released EP, EARTH, showcases Crawford on production duty. Crawford also supplied one of the many standout tracks, “Something” on the duet record Tigallerro from Roberson and A-list rapper/singer imageof both hip-hop clique, Little Brother and eclectic soul group, The Foreign Exchange, Phonte. And then there is his work with the highly venerated producer and turntable whiz DJ Jazzy Jeff who enlisted him to be amongst a hand-picked squad of top-notch musicians, producers, and vocalists (including Roberson) brought together as the PLAYlist collective to create the phenomenal project, Chasing Goosebumps that was unbelievably produced in a week. “That experience was life changing,” says Crawford of the project. “And this is something I can very often imagesay whenever I do something that Jeff puts together or is involved with. It’s crazy. We were there, but also, it was sort of like an out of body experience type of thing. Because once everything’s was actually done, and the album was streamed on [Jazzy Jeff’s Facebook] page, and we started listening and we saw the pictures, that’s when everything just started to sink in. Like wow! We really just did this!” He then humbly admits, “Even now when I listen to the album, and I’ve spoken to others involved with the project, you listen to album and its almost as if you didn’t have anything to do with it. Like completely being able to listen to it as a fan, that didn’t even help create it. Because of just how everything happened. It was like a spiritual moment, man!”

Crawford has been doing this for a minute, professionally since thirteen in fact. His father, himself a multi-instrumentalist who played professionally with a Gospel group for years and even now plays in a band the younger Crawford has had for twenty years called the Wylde Bunch, was certainly a major influence. Between Crawford listening to his dad play, having a spot designated as the “music room” in the house that was filled with instruments at he and his siblings disposal, and the vast soundtrack of artists being played throughout Crawford’s young years, he was bound to at very least adopt an appreciation for music. But it was recognized quite early that he had possessed more than an appreciation – He had a natural born gift.

“I started playing when I was around five or six years old and I played by ear starting out,” recalls Crawford. That realization came when on what he fondly remembers was a blue and yellow Fisher Price keyboard he received for Christmas, he worked out the parts of a song his father wrote that was played at church for the children’s choir to march in on. “One morning I was in the [music room], I was sitting Indian- style and I had the keyboard on my lap. So then I started figuring out how to play the song by myself. My parents got up and started saying, who’s that in there playing? And then they walk in and I’m in there on the ground, playing the song.”

From that point on his talent was obvious, so much so that he recalls when just in elementary school the music teacher saw enough in him to not only hone that talent and furnish him with great encouragement, but to also make quite a prophetic statement. “His name was Mr. Marshall and he said, ‘You need to take care of your hands because your hands are how you’re going to make your money.’” That predication was indeed something he could literally take to the bank.

Even though Crawford is firmly in place as a sought after producer, songwriter and musician he is savvy enough to know that growth and development is ongoing. It’s in part what’s key to solidifying that signature sound. Other things that are key to that continued growth? “Being surrounded by like-minded individuals that you can learn from and keep you humble,” he declares. “Also, everything that I do whether it’s playing or producing, I base everything on feel. Feel is the most important thing for me because it has to feel good. And if it doesn’t feel good, then we’re not doing it right or I’m not doing it right.”

Needless to say, he is indeed doing everything right.

Bert Caldwell



Look out for a new project from Daniel Crawford coming soon, but in the meantime go here to check out his popular remixes, mix tapes and projects.


Video Interview: Vocalist/Guitarist Raul Midón

Often the words used to describe singer, songwriter and guitarist, Raul Midón are likely along the lines of amazing, phenomenal, incredible or just plain “ridiculous.” That is to say, of course, you’re not just rendered speechless after hearing his music or especially witnessing his artistic wizardry and virtuosity live. However, for his many ardent fans those superlatives still may not seem to be enough.

Well, there is now a description that may best sum up the marvel Midón is or at very least be added as an apt “go to” on the list – “Bad Ass. It’s half the title of his brand new release. The other half is a fact that may possibly get lost in the midst of taking in his brilliance – and Blind. The moniker is perfect because both parts are simply fact and cannot be denied.

Blind since birth, Midón is confident in his abilities and proud of his accomplishments, as well he should be. Bad Ass and Blind, his ninth project, is a proclamation he was comfortable making and believed was the right time.

We caught up with Raul Midón to talk about the new project, his influences and why he thought that title could be important for others as well. Check out our interview below bc:


Click here to check out and purchase Raul Midon’s Bad Ass and Blind

And to find out when Raul Midón will be performing near you and more go to



Video Interview: Vocalist/Guitarist Tomás Doncker shows us “The Mess We Made”

“Don’t push me/cause I’m close to the edge . . .”

Many will recognize those as the lyrics to the iconic Rap classic, “The Message”, from Hip Hop pioneers Grandmaster Flash and the Furious Five. Emcee Melle Mel earnestly gives the warning because, as he eloquently goes on to proclaim in the hook, “It’s like a jungle sometimes/It makes me wonder/How I keep from going under”describing the troublesome times, traps, and conditions facing a young black man living in New York City. That track was released in 1982. Fast forward to 2017 and for as many ways that we’ve advanced and come a long way, sadly, many of the same traps, biases, frustrations, inequity and volatility of the time that underscores “The Message” and even years before still exist today.

Something “pushed” multi-talented singer, songwriter, guitarist, and producer, imageTomás Doncker past that “edge” on June 17, 2015. The event took a huge emotional toll on the accomplished New York bred, musician and artist who in addition to his own acclaimed projects, has performed and worked with artists such as Madonna, Meshell Ndegeocello, Ivan Neville, Cory Glover, and James Chance and the Contortions as well as being at the helm of the label True Groove Records.

But to “keep from going under” this always busy, man on the run, stopped and cancelled everything. And as a way to just heal, he shunned the world- played his guitar and wrote. What came from that, quite without intention, was the framework for his new release, The Mess We Made, an incredibly impressive, provocative, no holds barred, scolding of our country – of our society- but not without a few suggestions of things we can do to get right. At the same time, Doncker masterfully manages to entertain with a stirring soundtrack of soul, blues and funk he calls Global Soul.

ISPYSOUL caught up with Tomás Doncker to talk about the The Mess We Made and what drove him to let us know. Check out our interview above and others on the the I SPY SOUL YouTube Channel.

Click here to check out and purchase The Mess We Made

And to learn more about Tomás Doncker and True Groove Records go to Tomás


Video Interview: Expressionist Artist Tom Christopher

It is quite possible, perhaps even likely, that you’ve seen or come across the work of highly -accomplished, venerated artist, Tom Christopher, even if you’re not an art enthusiast.

Over the years you may have seen the music posters and covers he created for CBS, Verve, or RCA records. If you’re into cars you might have seen his work in Motor Trend magazine. Read the Wall Street Journal or New York Times? Yeah, his work’s been there too. How about those very cool ads for Absolut vodka? Yep, he’s done some of those as well that not only graced the pages of magazines, but also graced billboards and are now housed in a museum. And, there’s much, much more, you know like, paintings that have wound up in private collections and galleries around the world and stuff.

But if you’re a New Yorker or visited New York City, what Christopher might be most known for is what you’ve likely seen and marveled at and didn’t know he was responsible for. It’s his amazing Expressionistic renderings of the “city that never sleeps” in all its rambunctious, hip, cool, gritty and magnificent glory – In subway cars and stations around the city – on the cover of the official tourist guides that steer excited visitors all around town- on huge murals in places like Rockerfeller Center and on the side of the Roseland Ballroom.

The Hollywood, CA born, but long time New York resident has been tapped to represent NYC frequently, no doubt because of the way he masterfully captures the swag, the attitude, the organized confusion and yes, the heart and soul of the city, so well you can darn near hear taxis blowing in the background. But again, there’s so much more. We caught up with Tom Christopher at his studio in NY to find out more about his journey, his process and his objective as an artist. His insights are like his paintings- intriguing and genuine. BC 

Check out the interview above and others on the I SPY SOUL Youtube Channel

For more on Artist Tom Christopher go to


Video Interview: Robin & Gil Small welcome you to Groove City!

Dynamic vocalist and songwriter, Robin Small and producer, songwriter and multi-instrumentalist, Gil Small are music industry vets – accomplished, classically trained, and incredibly talented. Between the two of them they have done work and performed with artists such as Earth Wind and Fire, Stevie Wonder, Bobby Jones, Chris Jasper of Isley Jasper Isley, Hezekiah Walker, De La Soul, Lalah Hathaway, Freddie Jackson, Cassandra Wilson, Usher, Ronny Jordan, and Angela Johnson to name a few.

They are also husband and wife. Since meeting in college, at the prestigious Berklee College of Music – graduating and ultimately getting married – they have had continuous discussions about a “home” for the brand of music they knew they wanted to create. A “home” that would allow them to realize their full creative vision – One built on a sturdy, spiritual foundation – with integrity and plenty of soul.

As time went on and their vast experiences in the industry made them privy to the limitations and pitfalls in the “home market,” it became clear, they were going to have to “build” the musical home they desired. So that’s what they set out to do. But while in the process, they ran into other like-minded artists – talented vocalists, songwriters, producers, and musicians and just as importantly, good-hearted folks, who were looking for homes much like the one Robin and Gil, dreamed of – Artists such as brothers, Laurone and Antonio McClendon, Serina G, Issac Clemon, William Finley and Charlene Michael-Imobioh. Needless to say, the Smalls’ talent and experience enamored these artists, but they were also moved by their sincerity and strong faith. So Robin and Gil got to thinking that perhaps they needed to go one step further and not just build a home, but also build a “city” – A place for them all, where the sounds of the “streets” would ring with Gospel, R&B, Jazz, Funk and Soul. A place where your heart would not only be moved by the spiritual messages, but your body would be moved by the infectious grooves. And what to call this city? Well, Groove City, of course.

And so about three years ago, the blueprints were drawn up and the work got started. Upon completion, they did what most would do, excited about their new place – a place that took hard work, long hours, sacrifice and a great deal of faith to create – they invited folks to come and celebrate. The impressive musical “invitations” were released to all who would enjoy top-notch production, dexterous vocals, and a sound that ranged from faith-filled, uplifting joy to silky smooth seduction. And they read, WELCOME 2 GROOVE CITY, Volume 1.

Check out above on the I SPY SOUL YouTube Channel our conversation with the “King and Queen” of Groove City, Robin and Gil Small.

Filmed at La Maison d’Art in Harlem, NY- Special thanks to Stephanie Calla

Check out the first single from Welcome 2 Groove City, Vol. 1– FREE!

For more about Robin & Gil Small, Groove City and the other talented artists on Welcome 2 Groove City, Volume 1, go to

Marlon Saunders: Dancing again!


It’s been several years since singer/songwriter Marlon Saunders was featured here on ISPYSOUL, first as part of the soulful, eclectic clique, JAZZHOLE and upon the release of his acclaimed and successful solo debut project, Enter My Mind. As solo artist and as part of Jazzhole he was a solid contributor to the then burgeoning and vibrant independent soul movement. By that time Saunders had also already become an established session and touring vocalist with an equally impressive resume that boasted the likes of Michael Jackson, Billy Joel, Sting, Barry White, and Lauryn Hill to name a few. Add to that being tabbed to be a part of the imaginative vocal ensemble Voicestra created by the phenomenal vocal genius, Bobby McFerrin and it was clear Marlon Saunders was becoming a fixture on the music scene one way or another.

So flash to present day and imagine the delight when wind and then the eventual release of a new song and video from Saunders called The People Are Ready To Dance Again emergedThe funky, soulful, joy-inducing jewel is an ironic, and timely assertion in the aftermath of one of the most contentious, volatile, pivotal and downright craziest presidential elections in our country’s history. As Saunders explains at the top of the video, the song was already inspired by the challenging times many face around the world – The recognition of the “hate, anger and fear” that lives amongst us and the need for something to “shift our thinking, shift our minds, shift our spirits and lift us up.” But Saunders himself didn’t know it would serve as an even greater clarion call to many once the results were in.

“It’s funny,” says Saunders, “because when I was going back and forth with the team about when to release The People Are Ready To Dance Again. In my mind, I wanted to release it on November 1st and Adolfus Amissah, who did the video, had to go out of town and he said ‘you know brother Marlon, I’m not going to be able to get it back to you by the 1st’ and I was mmm, I really want it on this date,” Saunders laughs. “So he said, what about the 6th and I said nah, it’s too close to the election. People aren’t going to be paying attention to something then, you know? And then I just kind of backed away and meditated on it and thought and it kind of came through and the spirit was like, the 10th, and I called up the people and I said, it’s gotta come out on the 10th because either way we’re going to need to dance! You know the spirit just had its way in the end.” Needless to say, as daunting as the future may seem to many, the song, video and Saunders’ performance in it will, if only for a few minutes, make a great case for you dancing the angst away. And by the response he’s received it’s doing just that. “I have to tell you, from the very first day, even up until now, the emails, the texts, the phone calls, the responses and the sharing of it online has blown my mind,” says Saunders. “People saying ‘I was in despair, someone shared the song with me. It lifted me up, thank you so much.’ That’s a blessing in itself.”

The release of The People Are Ready to Dance Again may seem like a return to the scene for many familiar with Marlon Saunders, but in the immortal words of hip-hop legend LL Cool J, “Don’t call it a comeback” because he has indeed been doing impressive things on the scene over the years. His voice has and continues to be heard on stage, the small and big screens as he continues to get steady session and touring calls from an array of top shelf artists and media entities. Saunders also appears in the hit Disney film, Enchanted singing opposite actress Amy Adams the Academy Award-nominated song, “That’s How You Know.”

His emergence as an experienced and successful vocal contractor and conductor no doubt bolstered by his work with Voicestra, as co-founder of soul/jazz vocal ensemble Sepia, and being a veteran vocal instructor, have lead to major looks with artists like vocalist Sam Smith and the dream opportunity for many artists, touring with the incomparable Stevie Wonder for his recent legendary, Songs In the Key of Life tour, an experience he simply and aptly calls “the icing on the cake.”

There were chance encounters with the renowned artist over the years – a time while Saunders was working with Sting and Wonder showed up at the session – and a time in passing when he was part of a tribute to Wonder some years later. But he had no idea he’d later, actually have the chance to work with him by way of a referral from a colleague and the key, preparation. “I was originally called just to contract for the New York gig,” recalls Saunders. “We got up there [in sound check] and Greg Phillinganes, the musical director was like, ‘You need us to go over the parts?’ and I said no we got em, because before we went I made sure we rehearsed and had everything together. And he [Phillinganes] goes. ‘You don’t need us to go over it?’ And I said, nope. ‘What about the lyrics, you’ve got that?’ No we’re good, I said. And so we started and the moment we started Stevie raises his hands and goes ‘Okay, that’s great.’ So then I got the call the next day and they invited me to join the tour.” Says Saunders of the opportunity, “You kind of just look up and say God, God, God, thank you. It was just a blessing. You know one of those things that just, everything works out as it’s supposed to work out. And working with him and having him trust me, was just phenomenal. Just to be able to spend time with him and to be able to reach back and help young artists that are coming in as well as some of my peers, being able to pull them into the gig and to tour and to share that time and to create a family from that. That’s a blessing. That’s really, really a blessing.” And he adds, almost needless to say, “And to watch the master at work.”

That experience as much as all the others throughout his career are the kind that have enabled him to do something he always desires, which is to not only grow at his craft, but to also mentor and share his experience with young artists coming on the scene. “If it’s space in the place that may be new, where I feel that I can learn from that opportunity that’s always a good thing,” says Saunders. “When I got the call to work with Sam Smith that was an amazing opportunity for me to contract it, but what it did was it allowed me to hire young singers that were coming into New York and allowed them to be a part of something that just kind of started from the ground up when he [Smith] came into New York and watch him take off. Then they were connected to that and from that be able to get into the music business and then move, which is a great thing to be a part of. And to be mentoring them the same way that Tawatha Agee, Fonzi Thorton, and Darryl Tookes, all of them mentored me when I came into the industry. Now it’s time for me to do the same.”

And creatively, the approach has stayed the same over the years. “When I’m working on something, particularly when it’s for me, I just have to be motivated from the things that kind of resonate with me. And for me, that sits within that soul context. That soul context for me is just kind of there. You know, I love the music, I love the references, I love being able to interweave that with some jazz influences and of course, gospel influences. Then on top of that I always want to be able to or I try to at least, give the lyrics some type of message of hope or some type of message of an experience.” He continues, “I love the idea of being an artist. And being able to celebrate that experience without any other reason except that it’s an experience that’s beautiful and wonderful and needs to be celebrated.”

When asking Saunders of a moment in his impressive career that stands out thus far he points to one that caught him quite off guard while at the same time revealing a desire had unknowingly been achieved. “A lot of times you’re putting the music out and you’re trying to hustle and your hope is it’s reaching people,” says Saunders. “I remember I was actually in New York and a girl came up to me and said, ‘You know what? I listened to “Inspiration” [from Enter My Mind] and it saved my life’ and I just thought, wow. Wow. It stopped me and made me think, like wow, people really do listen and people are paying attention and people are connecting and that was really just magical.”

Now that’s he’s got the solo artist hat back on Saunders will be following up The People are Ready To Dance Again with another song he’s planning to release in the new year that celebrates soul music and will, he hopes work toward convincing folks that “soul music and black music is not dead. Is not gone. It’s still here.” And as for this past election and the times ahead? Saunders believes it will and should awaken all people, but artists in particular. “What I’m hoping is this will be the impetus that will allow us to really, really, really create music that speaks for what we’re seeing, what we’re being a part of. This is a great time for us to really have some social meaning and bring about messages so people can have hope.” Marlon Saunders is indeed dancing again. Are you ready to join him?

Bert Caldwell

copyright ISPYSOUL 2016

For find out more about Marlon Saunders, his music and the other projects he’s a part of go to Marlon

Heston: Mind, Body and so much Soul


My first interview with Atlanta-based singer, songwriter, artist, Heston Francis, commonly known as Heston, was in 2004, around the time of his self-title EP, which made quite a splash on the independent soul/R&B scene featuring jewels such as fanheston2 favorite, “IF”, “Angel” and “Radio”, to name a few. The project was an introduction to a soul singer in the truest sense of the word – a voice infused with passion, sincerity, empathy and life experience – adeptly employed and immensely engaging. Heston himself in that interview affirmed, “My emotions are on my sleeves and nothing that I write or nothing that I sing is meaningless. Everything that I say out of my mouth and every word that I write is through expstorytellererience. It’s heartfelt. It’s my life. It’s my release.”

On every subsequent and acclaimed project since (three including his full-length debut smash Storyteller) happily really nothing has changed in that regard. It’s no doubt the reason for the success and loyal fans he’s garnered, with a healthy touring and performance schedule around the world as a by product. But even at a time now when use of the word soul often seems more like a popular promotional catch phrase than a real strand in the music or artist its employed to describe, Heston is savvy enough to embrace the recognition of the qualities without need for necessarily adopting the label, soul singer. “I’ve not really given myself that label, but yeah, if you are to take the true meaning of the word, I would have to agree,” says Heston. “Because it’s [his music] heartfelt, it’s not phony, it’s not made up, its just what it is.” He goes on to explain, “Because for me, the people that I’ve always loved are like your Otis Redding, or your Beres Hammond or Marvin Gaye and you can tell that they bleed music and I know for me, behind the scenes, behind the curtains, I bleed music. Like it’s some kind of curse and a blessing for me because I love it so much.”

Needless to say, when searching for what name to give to his new project, now days imageaway from its U.S. release, the genuineness in his music that everyone has come to love is what inspired it being aptly titled, Transparency. “When I speak to people even if its just a friend or family member, a music lover, a music writer or someone conducting an interview, I’ve just always continued to hear through the years that there’s an honesty to the music, there’s a sincerity in the music, there’s true passion, there’s honesty in your performance. If there’s a review for a live show, it’s always saying the reason why people connect is because it seems sincere, so I think it was just appropriate for me to name the album Transparency because it’s just an honest interpretation of my experiences through music.”

Indeed Transparency, which will be released in conjunction with the highly regarded Purpose Music Group/Nia Distributionis all that, with Heston’s cleverly poetic take on life and love amidst a musical backdrop that blends soul, R&B and hints of Caribbean flavor on some tracks, which is not a stretch for the native of Dominica. On the project are the ebbs and flows in relationships as with the intensely moving “Every Time I Look Around Here” and the additively, up tempo, “Contradiction” in which he ironically proclaims “You’re my contradiction/with you/ I lose/even when I’m with winning.” There’s also the impassioned romantic desire displayed on tracks like the seductively persuasive, “Stay,” one of the several tracks sure to serve as a soundtrack for intimate opportunities.

hestonbw“Mind, Body and Soul,” the official first single from the release, and another fuelled by his own personal revelation, scores a journey many of us make. “I think I’ve gotten to a stage in my life where I’m definitely able to value relationships much better than I used to some years ago” says Heston. “Same thing with “When A Man Knows” [another track from the project], it’s just that I’ve gotten to realize – you have to pick someone- you have to make a choice – that there’s a women out there [for you]. You turn around and you look and you can find someone and when you do, you have to put all of yourself into that relationship if you want to make it work.”

And then there is “Dear God,” which Heston reveals was actually released as a kind of song to test the waters and prep the fan base, but might likely speak most to the title of the project. “It probably is the most transparently honest song on the album, says Heston. He then goes on to describe a moment one might call magical or perhaps in this case and more appropriately, spiritual. After sharing some interesting background of his family’s heritage and visit back home on a reservation in his native Dominica, Heston recalls that time. “I went to sleep in a very, very small wooden house, I wouldn’t even call it a house, it’s just boarded it up with wood, floor, ceiling, no kitchen, no nothing and I must have woken up at three o’clock in the morning, pouring rain and this song just literally came right out, and the moment I was done the rain stopped. But I was just honestly; I was just crying and crying. I don’t know where it came from or what the purpose of it was, but the moment that the song was complete, the rain just completely stopped. What was even crazier, by the time I woke up the next morning the ground outside was completely dry.”

The fact is, true to Heston’s assertion and the title of the project, personal back-stories, his thoughts, desires and beliefs make up Transparency. It’s really the only way he knows how to do it. And what he hopes to accomplish each time out is still now what it was in 2004 – Make quality, entertaining music, that stands the test of time and is a true representation of himself. “For me, it’s just about making sure that the integrity of my music last and it’s consistent and so far I can honestly say that’s been the case,” he maintains. “Anything that I’ve put out, I’ve honestly been proud of. Obviously, I always want to grow as an artist. I always want to grow as a writer. I always want to grow as a singer. But the quality of the music that I leave, and you know, the story has never changed. It’s always been about the integrity of the music for me.”

I think it’s fair to say Heston’s all in with mind, body, and so much soul.

Bert Caldwell

copyright ISPYSOUL 2016


TRANSPARENCY is available now on iTunes! Just click here

And to learn more about Heston go to his website