Sarah Spencer

It's great to hear what our featured songwriters have been up to since we last spoke with them. This month we reached out to Sarah Spencer who’s been with Frettie since the very beginning. She gave us some great insight on how Frettie has helped her and how she incorporates Frettie into her writing process. She also filled us in on a new project she’s working on called SongFancy and we think everyone will find that useful as well. Q: Can you believe it has been over a year since we last interviewed you? What have you been up? I know, right? Things are good! I'm still writing a lot, and doing a lot more co-writing. I found a group of friends that I really love writing with, and we've got some killer songs. I’ve also been playing out more and more - Played at the Bluebird, and did my first house show. I think I've also gotten a cut since we last spoke, so that's pretty cool. These days I’m also putting a lot of energy into a new blog called SongFancy.com. I started SongFancy as a place for other writers to go for inspiration. I’ve had fun taking photos, writing and planning out the content. Q: How have things changed for you since the last time we talked? Honestly, I feel like I was sprinting for a while, and now I've started to slow down! Certainly this is not in a bad way. I've taken a little more time for myself. I’ve been focussing on figuring out how I want to shape my career. I've started putting a lot more emphasis on playing, connecting with people, and writing for myself. More artist-type stuff. Q: What have been some struggles this past year that you think other songwriters could relate to or would find interesting? How have you learned from them? Funny you should ask! This past year has forced me to learn a lot of hard, but reassuring truths about being a songwriter. The main struggle I keep running into is, everyone has an opinion! There's a rule for everything! That drives me crazy. I really do appreciate guidelines, advice, and other people's expertise. However, this year, it's been all about finding my own voice in the mess of "proper commercial songwriting". It's so easy to get caught up in workshops and feedback. One person wants the chorus to lift more. The next person thinks your verses are too long and that the song needs to be more conversational and blah blah. It can be hard to inject your own artistic vision into a piece when all you're thinking about is, "Will this song tick off someone who could potentially get it heard?" I'm learning that there's a happy medium between "commercial" and "innovative". I'm constantly writing to that. Q: What have been some of your wins our proudest moments this past year? Playing the Bluebird was pretty cool. And I'm playing it again on December 14th at 8pm, if any of y'all Frettier's are in town! Q: How has Frettie or the Frettie community contributed to any of the successes you’ve had this year? I've absolutely forgotten how helpful it was to have Frettie as a part of my songwriting process. I've posted a few new tunes this month, and I've already gotten some great feedback from the community. Not only that, but the addition of the new Frettie Facebook group has integrated itself into my social media life! I'm on Facebook more than anywhere else online, and it's nice to have the Frettie community right there for conversation and collaboration. Q: Have you adapted Frettie into your songwriting process? I have! It's so simple to just toss up a worktape when I first write a tune. I literally 1. write the song, 2. play it into my phone, then 3. upload the worktape and lyrics to Frettie. I get to ask specific questions about points in the song I could use some input on. Usually after the first round of writing a song, I'm full, and don't go back to it till later. So during that time, I'm sharing it with Frettiers and gaining valuable feedback to take into the rewrite. Frettie is perfect for my process. Q: What is your next goal as a songwriter? To always improve and write better. Ultimately, I'd love to be a staff writer at a publisher with a bunch of friends. Q: What new projects are you working on? Well, I just had my first online streaming show and I had a blast. I hope to do more of those steaming shows in the future, but this first one was a test run! Along with that, I've also started a songwriting inspiration blog called SongFancy.com. I write about my experiences as a writer, some things I've learned along the way, and really focus on getting people amped for their writing. Q: Thanks for your Sarah, how can the songwriting world connect with you? You can find me on Frettie. I’m also on Twitter and Facebook! I play pretty frequently around Nashville at various writer’s nights, so if you’re in the area, come on out and say hey! - See more at: http://frettie.com/blog/blog_detail/spotlight-a-follow-up-interview-with-sarah-spencer#sthash.H8kMwUjd.dpuf - Frettie.com

Our latest Interview is with singer & songwriter Sarah Spencer. In this interview Sarah talks about how not wanting to practice the piano steered her into becoming a songwriter and that by committing to writing for at least 30 minutes she stays creative and inspired.

Q: Where do you call home?
Nashville, Tennessee

Q: Where did you grow up?
Ocala, Florida

Q: What is your ideal setup for writing music?
We have a dedicated studio/writing room that’s set up to be kind of a place of zen for making music. I love bringing friends over and writing in there. Having that one spot that’s completely dedicated to music really helps me get geared up to write. And natural light. Lots of sunlight! I hate writing in a cave, it makes me want cry and fall asleep.

Q: How did you get started with Songwriting?
I think I really started writing when I was taking piano lessons in elementary school. I loved the piano, but hated practicing. So instead of learning someone else’s music, I wrote my own. And thank God for my teacher, she was amazing and let me play my original music at recitals. She was a saint for putting up with me.

Q: What books are you currently reading?
David Hooper’s “6 Figure Musician”, and Jon Acuff’s “Quitter”. Those two books have been incredibly encouraging, informative, and validating. I’d recommend them both to any creative person who knows that the regular 9-5 just isn’t for them.

Q: What album are you currently listening to?
Oh, lots. It’s always “today’s country” on my radio in the car, and I love listening to what the other writers and artist in Nashville are up to. I love cruising around Frettie for that very reason.

Q: When it gets tough, how do you stay inspired?
Just keep writing. If I don’t write for a couple of days, I start to get really depressed, and the creativity dissapears. But as soon as I sit down and focus, even for like, 30 minutes, it jump starts my creativity and it comes right back. That’s why I think it’s sooo important that we keep writing as part of our daily routine. Keep those gears greased.

Q: As a Songwriter, what is your biggest challenge?
Scheduling! Self discipline! Calendars! Timing! Phone calls. Basically anything it takes to stay organized and run your own business. I’m sooo not a business person. I’m basically a recovering shy, anxious person.

Q: What time of day do you prefer to write your music and where?
Saturday mornings, in our studio room, with the window open, sunlight streaming in, a hot cup of coffee and the sweet smell of my guitar.

Q: To date, what has been your favorite memory as a Songwriter?
There are many. One that stands out is the time I went to a workshop through NSAI, Woody Bomar was teaching, and out of nowhere, he brings in Tom Douglas to play some songs for us. There were like, 20 of us, and we all gathered around the piano and threw out requests, and he played them for us. Hearing “Little Rock” like that was amazing, I wanted to cry.

Q: How do you maintain your professional growth?
I just try to write a lot, meet a lot of good people, make friends, and not be a jerk, I guess? If I’m a jerk, please tell me!

Q: What is your Songwriting process?
I sit down with my guitar/keyboard, my laptop and notebook, and just kinda go. I almost always write music and lyrics together. I try and focus on really getting a solid hook or concept first thing, because that will lay out the direction for the entire song. Especially in country music, the hook is so important. I have a running hook list saved in Wunderlist that I usually reference.

Q: What advice would you tell up and coming Songwriters?
Don’t stop writing, going to workshops, mixers, meeting people, shows, playing rounds, just don’t stop doing it. Believe in yourself, be positive, and surround yourself with other friends who are in the same place you are. Don’t get discouraged. Love everyone and every moment of it!

Q: What are some of your accomplishments to date?
I’m so proud to be able to say that I put out a full length album right after high school with guitarist and friend, Steve Morse. We’ve toured in Florida and California, and it was a blast. Making the move to Nashville was incredible. And just yesterday I got some amazing news that makes another milestone in my career, I just can’t share what it is, yet.

Q: How do you think Frettie will benefit the Songwriting Community?
I’ve been WAITING for something like Frettie to happen! A social network for songwriters to connect. A place where you can upload a work-tape or rough version of a song in progress and get feedback. I can’t tell you how many times I’m writing by myself and I’m stuck or not sure if something really works or not, and I just wish there was a group I could test it with. Frettie provides that.

Q: What online tools do you use today for songwriting?
I love Frettie! Frettie is definitely integrating into my writing workflow. I also can’t live without Wunderlist. I have a running list of hooks, lists of websites and other great resources, things I need to do and songs I need to demo. And it all syncs with my phone. Also, Google Calendar. I would die without it. WikiRhymer for rhymes. A Google Chrome extension called Quick Note, for those notes I wanna write down real quick when inspiration strikes while I’m at work. The Muse has a bunch of great inspiration tools like random and interesting words, which are really fun to explore.

Q: So what’s next for Sarah Spencer and where can readers find you online?
A whole lot of writing, a whole lot of playing, and hopefully, a whole lot of amazing artists to work with.

You can find me at my official website. I’m always on Twitter and Facebook! I play pretty frequently around Nashville at various writer’s nights, so if you’re in the area, come on out and say hey! You can also find me on Frettie!

Thanks Sarah for taking the time to answer these questions. We appreciate all of your support and looking forward to connecting with you more on Frettie. - See more at: http://frettie.com/blog/blog_detail/showcase-nashville-songwriter-sarah-spencer#sthash.iU5g9yZg.dpuf - Frettie.com

Angelfire: Angelfire
AOR/Melodic Rock
4.5/5.0
Radiant Records
www.myspace.com/angelfiremusic
www.angelfiremusic.com
Review: Craig Hartranft, 07.12.2010

Angelfire is the debut of a collaboration between two virtuosos, vocalist Sarah Spencer and guitarist Steve Morse (Dixie Dregs, Deep Purple, Kansas, et al), and I'm a bit out of my league here. Female-fronted soft melodic rock has never been my thing, even though I grew up hearing many of the greats from Joan Baez to Carole King to Carly Simon, among others. Ms. Spencer seems more in the tradition of Sarah McLachlan and others of the modern era. Her voice is incredible, just beautiful. Of course, reader with the same affinities of mine towards melodic hard rock and metal will instantly recognize Steve Morse, the excellent Grammy-nominated guitar player.
This collaboration developed when Spencer's father give Morse her demos and asked to give advice to Sarah about a music career. Morse was both overwhelmed and impressed with the purity of Sarah Spencer's voice. I am too, and I think you will be too. Spencer's range is broad, her control amazing. When she sings she's equally soothing and stirring as she moves from song to song. For Morse's part, his only goal was to write music that allowed Spencer's voice to be heard. He accomplished his goal. Certainly, his work is inspiring (listen to his solo within Terrible Things to Lose, for instance), but every movement in every arrangement of every song allows Spencer's voice to soar. Think Sarah McLachlan meets John McLaughlin. Ultimately, two stars shine here.
A few final notes on the music. This work is pure melodic soft rock with a range of design: the near hymn-like Omnis Morse Aequat, the airy and sublime of Far Gone Now, and the more upbeat pop sound of Here Today, Terrible Things to Lose, and Take It or Leave It. (The last one will most likely appeal to my melodic rock readers who like something a bit stronger and a stirring electric solo.) The mixture of motifs offers both Spencer and Morse many opportunities to prove their incredible range and depth of talent. It's impressive stuff, and I can hear and feel what Morse felt when he heard Sarah Spencer's voice. Brilliant. Strongly recommended! - Danger Dog Music Reviews

Angelfire: Angelfire
AOR/Melodic Rock
4.5/5.0
Radiant Records
www.myspace.com/angelfiremusic
www.angelfiremusic.com
Review: Craig Hartranft, 07.12.2010

Angelfire is the debut of a collaboration between two virtuosos, vocalist Sarah Spencer and guitarist Steve Morse (Dixie Dregs, Deep Purple, Kansas, et al), and I'm a bit out of my league here. Female-fronted soft melodic rock has never been my thing, even though I grew up hearing many of the greats from Joan Baez to Carole King to Carly Simon, among others. Ms. Spencer seems more in the tradition of Sarah McLachlan and others of the modern era. Her voice is incredible, just beautiful. Of course, reader with the same affinities of mine towards melodic hard rock and metal will instantly recognize Steve Morse, the excellent Grammy-nominated guitar player.
This collaboration developed when Spencer's father give Morse her demos and asked to give advice to Sarah about a music career. Morse was both overwhelmed and impressed with the purity of Sarah Spencer's voice. I am too, and I think you will be too. Spencer's range is broad, her control amazing. When she sings she's equally soothing and stirring as she moves from song to song. For Morse's part, his only goal was to write music that allowed Spencer's voice to be heard. He accomplished his goal. Certainly, his work is inspiring (listen to his solo within Terrible Things to Lose, for instance), but every movement in every arrangement of every song allows Spencer's voice to soar. Think Sarah McLachlan meets John McLaughlin. Ultimately, two stars shine here.
A few final notes on the music. This work is pure melodic soft rock with a range of design: the near hymn-like Omnis Morse Aequat, the airy and sublime of Far Gone Now, and the more upbeat pop sound of Here Today, Terrible Things to Lose, and Take It or Leave It. (The last one will most likely appeal to my melodic rock readers who like something a bit stronger and a stirring electric solo.) The mixture of motifs offers both Spencer and Morse many opportunities to prove their incredible range and depth of talent. It's impressive stuff, and I can hear and feel what Morse felt when he heard Sarah Spencer's voice. Brilliant. Strongly recommended! - Danger Dog Music Reviews

In a career that spans 30 plus years, Steve Morse has never put his name on a cover of a vocal album.

Oh, sure…he plays guitar for Deep Purple, and there’s loads of vocals there. And who can forget his two albums with Kansas (well, a lot of people, sadly…and I mean that, cos there’s some great material on Power and In the Spirit of Things)? But those were Deep Purple and Kansas albums, not Steve Morse albums.

This summer sees the release of Angelfire, a collaboration with the now 22-year old Sarah Spencer, a young lady with an incredibly pure, almost innocent voice. Together she and Morse have laid down 11 tracks of lush, intelligent pop music with aspirations to something more. On Angelfire, Morse and Spencer are joined by a pair of musicians that should be quite familiar to Morse fans and proggers in general. Bassist Dave La Rue has worked with Morse on countless albums through the years. Van Romaine, likewise, has been a long time collaborator with Morse on drums and percussion, and these years of service have allowed these musicians to play varying styles of music with almost telepathic skill. One might be tempted to say that they’re almost under-utilised on this material, but their ability to lay back and play for the songs is in fine form here.

But the spotlight here, really, is on Sarah Spencer. She started music lessons at age 6, was cast for a VH-1 reality program at 14 (which was ultimately cancelled). She met Morse at 16, brought together by her father, who had hoped Morse could offer advice on a career in music. Morse was likewise taken by the clarity and pureness of her voice, and agreed to work with her on a series of demos and writing sessions that would eventually result in Angelfire. Morse compares her voice and his first exposure to it as being like hearing Sarah McLachlan’s ‘Arms of an Angel’ for the first time, and I suppose I can see that. She’s got an amazing delivery, very crisp and clean, and this remains so through the full range of her voice.

Angelfire opens strongly with ‘Far Gone Now,’ a wonderful if melancholy tune with subtle percussion, lyrical guitar playing, and surprisingly deep lyrics. I almost feel bad saying that, because there’s nothing anywhere saying a 20-year old can’t feel things as deeply and keenly as someone twice their age. But that still doesn’t mean that I can’t be affected by lines like:

Now there’s a change I see
Love has no room for me
There was a chance to be
But it’s far gone now

Now I can clearly see
There is no love for me
There is a history
But it’s far gone now.

It’s a shame that I knew those words far too well in the past.

Spencer’s voice is double tracked through the bridges, and her harmonies are exquisite and beautiful. Morse plays mostly acoustic guitar throughout, tho he does let loose with a tasteful (and tasty) electric solo on the ride out. I wish he’d done more of this, as it would have contrasted nicely from time to time, but I understand this is more of a collaborative album than a Morse solo showcase.

I’m not as enamoured of her attempts at a bluesier voice on ‘Get Away,’ even though I love her singing on the choruses, and absolutely am hooked by the rest of the ensemble playing. I’d rather hear Spencer singing in her clear, crystal-like soprano, than attempting the blues-based melisma that seems so en vogue for younger singers these days. Thankfully this is the only track she uses this style on, and I’ll excuse it (as if I had a choice, right?).

Having said that, I will say that my absolute, bar none, stone cold favourite track here is ‘Omnis Morse Aequat,’ three and a half minutes of neoclassical material with almost sacred leanings. The music for this piece is subtle and almost baroque, and the layers upon layers of Spencer vocals are so lush that they become almost orchestral. I could listen to this song for hours…and I’m sure there have been some nights I have…listening as I fall asleep, only to wake up the next morning with the same song playing. And if that sounds like I’m saying the song’s boring and somnolent, then I’ve failed in describing it. It is peaceful, beautiful, and a definite highlight for Angelfire.

I should also call out ‘Terrible Thing to Lose,’ a dreamy little number with some nice chorused electric from Morse as well as a great acoustic solo, and ‘Take It Or Leave It,’ which almost aspires to stadium rock pomp. I actually rather wish they’d gone for it; while the song might not have fit in with the rest of the album, the chorus screams for that kind of pomp and bombast.

I have to be honest here…it’s likely I’d never have listened to this album had Steve Morse not been on it. It’s not the kind of thing I’d typically be reviewing here. And more’s the pity for me, because I would have missed out on something very special. Put your prejudices against major key signatures, straight time and more traditional song-based structures aside and listen…I think you’ll probably find the - Bill's Prog Blog

In a career that spans 30 plus years, Steve Morse has never put his name on a cover of a vocal album.

Oh, sure…he plays guitar for Deep Purple, and there’s loads of vocals there. And who can forget his two albums with Kansas (well, a lot of people, sadly…and I mean that, cos there’s some great material on Power and In the Spirit of Things)? But those were Deep Purple and Kansas albums, not Steve Morse albums.

This summer sees the release of Angelfire, a collaboration with the now 22-year old Sarah Spencer, a young lady with an incredibly pure, almost innocent voice. Together she and Morse have laid down 11 tracks of lush, intelligent pop music with aspirations to something more. On Angelfire, Morse and Spencer are joined by a pair of musicians that should be quite familiar to Morse fans and proggers in general. Bassist Dave La Rue has worked with Morse on countless albums through the years. Van Romaine, likewise, has been a long time collaborator with Morse on drums and percussion, and these years of service have allowed these musicians to play varying styles of music with almost telepathic skill. One might be tempted to say that they’re almost under-utilised on this material, but their ability to lay back and play for the songs is in fine form here.

But the spotlight here, really, is on Sarah Spencer. She started music lessons at age 6, was cast for a VH-1 reality program at 14 (which was ultimately cancelled). She met Morse at 16, brought together by her father, who had hoped Morse could offer advice on a career in music. Morse was likewise taken by the clarity and pureness of her voice, and agreed to work with her on a series of demos and writing sessions that would eventually result in Angelfire. Morse compares her voice and his first exposure to it as being like hearing Sarah McLachlan’s ‘Arms of an Angel’ for the first time, and I suppose I can see that. She’s got an amazing delivery, very crisp and clean, and this remains so through the full range of her voice.

Angelfire opens strongly with ‘Far Gone Now,’ a wonderful if melancholy tune with subtle percussion, lyrical guitar playing, and surprisingly deep lyrics. I almost feel bad saying that, because there’s nothing anywhere saying a 20-year old can’t feel things as deeply and keenly as someone twice their age. But that still doesn’t mean that I can’t be affected by lines like:

Now there’s a change I see
Love has no room for me
There was a chance to be
But it’s far gone now

Now I can clearly see
There is no love for me
There is a history
But it’s far gone now.

It’s a shame that I knew those words far too well in the past.

Spencer’s voice is double tracked through the bridges, and her harmonies are exquisite and beautiful. Morse plays mostly acoustic guitar throughout, tho he does let loose with a tasteful (and tasty) electric solo on the ride out. I wish he’d done more of this, as it would have contrasted nicely from time to time, but I understand this is more of a collaborative album than a Morse solo showcase.

I’m not as enamoured of her attempts at a bluesier voice on ‘Get Away,’ even though I love her singing on the choruses, and absolutely am hooked by the rest of the ensemble playing. I’d rather hear Spencer singing in her clear, crystal-like soprano, than attempting the blues-based melisma that seems so en vogue for younger singers these days. Thankfully this is the only track she uses this style on, and I’ll excuse it (as if I had a choice, right?).

Having said that, I will say that my absolute, bar none, stone cold favourite track here is ‘Omnis Morse Aequat,’ three and a half minutes of neoclassical material with almost sacred leanings. The music for this piece is subtle and almost baroque, and the layers upon layers of Spencer vocals are so lush that they become almost orchestral. I could listen to this song for hours…and I’m sure there have been some nights I have…listening as I fall asleep, only to wake up the next morning with the same song playing. And if that sounds like I’m saying the song’s boring and somnolent, then I’ve failed in describing it. It is peaceful, beautiful, and a definite highlight for Angelfire.

I should also call out ‘Terrible Thing to Lose,’ a dreamy little number with some nice chorused electric from Morse as well as a great acoustic solo, and ‘Take It Or Leave It,’ which almost aspires to stadium rock pomp. I actually rather wish they’d gone for it; while the song might not have fit in with the rest of the album, the chorus screams for that kind of pomp and bombast.

I have to be honest here…it’s likely I’d never have listened to this album had Steve Morse not been on it. It’s not the kind of thing I’d typically be reviewing here. And more’s the pity for me, because I would have missed out on something very special. Put your prejudices against major key signatures, straight time and more traditional song-based structures aside and listen…I think you’ll probably find the - Bill's Prog Blog

Throughout Steve Morse’s memorable career he has written music that draws on hard rock, country, British fusion and baroque classical. Angelfire, the debut album from his latest project of the same name, finds Morse applying his gifts to yet another genre: acoustic vocal music.

Morse and his partner in Angelfire, the talented Sarah Spencer, share a powerful musical chemistry. Drawing on his experience with instrumental music, Morse creates compelling progressions for songs like ‘What Made You Think?’ that bring Spencer’s strong melodies to life. For her part, Spencer’s flowing delivery drives reflective songs like the excellent opener ‘Far Gone Now’ and adds a gentle insistence to groovier songs like ‘Terrible Thing To Lose.’

While a classical influence dominates the mesmerizing ‘Omnis Morse Aequat,’ and the album closer ‘Urban Decay’ draws on acoustic pop, most songs fuse the two styles with quiet elegance. Even in ‘Omnis Morse Aequat,’ which recalls the calmer compositions that often appear on Morse’s solo albums, the addition of Spencer’s harmonies allows the piece to become something ethereal. Likewise, the simplicity of ‘Urban Decay’ is supported by Morse’s skillful use of harmony – he keeps things interesting, but never so complicated as to become distracting.

Although Morse favors dynamic arpeggios over searing leads throughout the album, he does take tasteful acoustic solos during the affecting ‘Here Today’ and ‘Terrible Thing To Lose.’ Morse even breaks out the electric for a restrained but blazing outro solo during the prog-influenced ‘Take It Or Leave It.’

Angelfire’s production, handled by Morse himself, handles the balance between guitar and vocals nicely. Through layering and the judicious use of reverb, Morse and Spencer expand on the space created by Morse regulars Dave LaRue and Van Romaine on bass and drums. Aside from a few odd choices, such as the abrupt ending of ‘Everything To Live For,’ the airy production helps to create the soft atmosphere that the duo’s music suggests.

Angelfire is a soothing record, and an excellent companion for a quiet night alone. The album reveals satisfying depth upon repeat listens – in the beautifully balanced songwriting, the strong performances and the pleasant production. For Sarah Spencer, Angelfire is the promising debut of a talented young artist, and for Steve Morse, it is one more victory in a career built on personal and musical integrity. - Guitar Messenger

Throughout Steve Morse’s memorable career he has written music that draws on hard rock, country, British fusion and baroque classical. Angelfire, the debut album from his latest project of the same name, finds Morse applying his gifts to yet another genre: acoustic vocal music.

Morse and his partner in Angelfire, the talented Sarah Spencer, share a powerful musical chemistry. Drawing on his experience with instrumental music, Morse creates compelling progressions for songs like ‘What Made You Think?’ that bring Spencer’s strong melodies to life. For her part, Spencer’s flowing delivery drives reflective songs like the excellent opener ‘Far Gone Now’ and adds a gentle insistence to groovier songs like ‘Terrible Thing To Lose.’

While a classical influence dominates the mesmerizing ‘Omnis Morse Aequat,’ and the album closer ‘Urban Decay’ draws on acoustic pop, most songs fuse the two styles with quiet elegance. Even in ‘Omnis Morse Aequat,’ which recalls the calmer compositions that often appear on Morse’s solo albums, the addition of Spencer’s harmonies allows the piece to become something ethereal. Likewise, the simplicity of ‘Urban Decay’ is supported by Morse’s skillful use of harmony – he keeps things interesting, but never so complicated as to become distracting.

Although Morse favors dynamic arpeggios over searing leads throughout the album, he does take tasteful acoustic solos during the affecting ‘Here Today’ and ‘Terrible Thing To Lose.’ Morse even breaks out the electric for a restrained but blazing outro solo during the prog-influenced ‘Take It Or Leave It.’

Angelfire’s production, handled by Morse himself, handles the balance between guitar and vocals nicely. Through layering and the judicious use of reverb, Morse and Spencer expand on the space created by Morse regulars Dave LaRue and Van Romaine on bass and drums. Aside from a few odd choices, such as the abrupt ending of ‘Everything To Live For,’ the airy production helps to create the soft atmosphere that the duo’s music suggests.

Angelfire is a soothing record, and an excellent companion for a quiet night alone. The album reveals satisfying depth upon repeat listens – in the beautifully balanced songwriting, the strong performances and the pleasant production. For Sarah Spencer, Angelfire is the promising debut of a talented young artist, and for Steve Morse, it is one more victory in a career built on personal and musical integrity. - Guitar Messenger

Angelfire (Steve Morse & Sarah Spencer): Angelfire
When guitarist Steve Morse was approached by the father of a young female singer and asked to offer her some advice regarding the music industry, he was at first a little reluctant to get overly involved. That all changed however when he heard the voice of the young lady in question, Sarah Spencer and so enchanted by her clear, pure voice was he, that he began writing music to compliment it. Over the period of the next two years, Morse and Spencer pieced together the eleven songs that have become the self titled debut album from Angelfire. Currently the guitarist in Deep Purple, Morse is known for his contributions to quite an eclectic mix of bands, with his CV also including Dixie Dregs and Kansas, as well as a solo career. Anglefire however adds yet another string to his bow, as it features an almost exclusively acoustic performance in order to accompany Spencer's sweet tones, without ever over powering them. His playing is, as expected, nothing short of excellent, however what's more impressive is the space he leaves his counterpart to shine and in truth this is an album dedicated to vocals rather than guitar.

It's easy to hear why Morse became so captivated by Sarah's voice, as the clarity and tone she possesses is mightily impressive, although her Patty Smyth meets Sarah McLachlan with more than a hint of Enya delivery can become slightly one dimensional at times. That said the beautiful relaxing acoustic sounds Morse creates is the perfect setting to show this young lady at her best. The likes of "Here Today" and "Feelings Are Overrated" are wonderfully laid back acoustic ballads and if that description sounds interesting to you, then I doubt you will find a better album this year. For many though, the whole concept of this disc will be just too tame and with so much focus on the vocals throughout this album, those hoping to hear Morse at his dextrous best may well be slightly disappointed. That is not to suggest that his playing in Angelfire is anything short of fantastic and I'm sure he has achieved exactly what he set out to with this project, it's just that some fans of his work would possibly prefer more Morse for their money.
Personally I find this to be an album that when the mood for some less taxing tones grabs me, hits the spot perfectly and while I will admit that it is definitely not a disc for all occasions, it is still a beautiful, beguiling collection of songs. It is impossible to deny that Spencer has an impeccable voice, which shines especially brightly on the Enya like "Omnis Morse Aequat" and more upbeat "Take It Or Leave It" (which should have opened the album) and if you are looking for something to kick back and relax to through the late summer days, then this could well be the album with which to do it.

Track Listing
1. Far Gone Now
2. Everything To Live For
3. Feelings Are Overrated
4. What Made You Think?
5. Here Today
6. Get Away
7. Pleasant Surprise
8. Terrible Thing To Lose
9. Omnis Morse Aequat
10. Take It Or Leave It
11. Urban Decay
- SeaofTranquility.com

Angelfire (Steve Morse & Sarah Spencer): Angelfire
When guitarist Steve Morse was approached by the father of a young female singer and asked to offer her some advice regarding the music industry, he was at first a little reluctant to get overly involved. That all changed however when he heard the voice of the young lady in question, Sarah Spencer and so enchanted by her clear, pure voice was he, that he began writing music to compliment it. Over the period of the next two years, Morse and Spencer pieced together the eleven songs that have become the self titled debut album from Angelfire. Currently the guitarist in Deep Purple, Morse is known for his contributions to quite an eclectic mix of bands, with his CV also including Dixie Dregs and Kansas, as well as a solo career. Anglefire however adds yet another string to his bow, as it features an almost exclusively acoustic performance in order to accompany Spencer's sweet tones, without ever over powering them. His playing is, as expected, nothing short of excellent, however what's more impressive is the space he leaves his counterpart to shine and in truth this is an album dedicated to vocals rather than guitar.

It's easy to hear why Morse became so captivated by Sarah's voice, as the clarity and tone she possesses is mightily impressive, although her Patty Smyth meets Sarah McLachlan with more than a hint of Enya delivery can become slightly one dimensional at times. That said the beautiful relaxing acoustic sounds Morse creates is the perfect setting to show this young lady at her best. The likes of "Here Today" and "Feelings Are Overrated" are wonderfully laid back acoustic ballads and if that description sounds interesting to you, then I doubt you will find a better album this year. For many though, the whole concept of this disc will be just too tame and with so much focus on the vocals throughout this album, those hoping to hear Morse at his dextrous best may well be slightly disappointed. That is not to suggest that his playing in Angelfire is anything short of fantastic and I'm sure he has achieved exactly what he set out to with this project, it's just that some fans of his work would possibly prefer more Morse for their money.
Personally I find this to be an album that when the mood for some less taxing tones grabs me, hits the spot perfectly and while I will admit that it is definitely not a disc for all occasions, it is still a beautiful, beguiling collection of songs. It is impossible to deny that Spencer has an impeccable voice, which shines especially brightly on the Enya like "Omnis Morse Aequat" and more upbeat "Take It Or Leave It" (which should have opened the album) and if you are looking for something to kick back and relax to through the late summer days, then this could well be the album with which to do it.

Track Listing
1. Far Gone Now
2. Everything To Live For
3. Feelings Are Overrated
4. What Made You Think?
5. Here Today
6. Get Away
7. Pleasant Surprise
8. Terrible Thing To Lose
9. Omnis Morse Aequat
10. Take It Or Leave It
11. Urban Decay
- SeaofTranquility.com

(01 August 2010) Angelfire (Radiant Records (USA) 2010) is the name of this tremendous new album certain to appeal to female music lovers and also the name of the new project featuring Steve Morse and Sarah Spencer. The duo have been working together the past six years. Angelfire is the first fruit of their collaboration. In addition to his role as the primary engineer, Morse also contributes guitars and is the mastermind behind the instrumental and vocal arrangements. Sarah contributes the majority of the lyrics and her voice shines across the album's eleven pop-accented tracks.

Sarah says that she doesn't remember a time in her life without music. Born in the Ocala, Florida countryside, her family noticed her musical inclination and enrolled her in piano lessons at the age of six. She soon began writing original music and discovered a love of singing. Her experimentation with recording began at eleven. She became excited by the possibilities of simultaneous musical parts, and experimented with different genres, including orchestral music. This new direction was encouraged by lessons with classical vocal trainer, Shannon Riley.

Over the next two years, Sarah was on stage and in the studio with increasing frequency. She collaborated with other musicians from around the world, singing and co-writing with established artists such as Nigel Jenkins ("Baker’s Street"), David Ricard ("Zoom Zoom") and regular collaborator, Paul Weston ("We Are the Future", "My Desire", "Shine").

At fourteen, Sarah caught the attention of vocal coach Louise Ryan (Charlotte Church) who began collaborating with her on vocal arrangements. Later that year, she recorded "Father’s Song" for Cinderella, The Movie with songwriter/producer Al Steele. Sarah also began appearing in local magazines, television shows and amongst the winners of state competitions. The media focus led to her being cast in a VH1 reality show following the lives of musical teen prodigies.

Sarah's next professional leap came at age sixteen. Legendary guitarist/composer Steve Morse (Deep Purple, Dixie Dregs) was well known as an instrumentalist, but not as a collaborator with vocalists. All this changed when the two artists met. Sarah and Steve took Angelfire to the stage in January of 2010, with a preview edition of the album available for concert-goers. Sarah is also writing and recording her solo material with producer Bill Evans. This year, audiences will be introduced to several sides of Sarah's music. Read more about Sarah Spencer in our exclusive interview.

The eleven tracks comprising Angelfire have an incredible consistency. Acoustic guitar gives the material a folky edge while the gentle rhythm section of Dave LaRue (bass) and Van Romaine (drums and percussion) contribute to the accessibility of the collection. The album is foremost a female vocals album with Sarah's lead often backed with many layers of harmony. We appreciated Morse's electric guitar work which initially appears at the conclusion of "Far Gone Now." Sarah's solo lead is crystalline and contrasts the backing harmonies delightfully in "Everything To Live For." A recurring acoustic guitar theme runs through the album often emerging during instrumental breaks and during introductions. Listen for the theme in "Pleasant Surprise" beneath Sarah's crystalline lead vocal.

The album's two standouts are "Omnis Morse Aequat" and "Take It Or Leave It." The former is an Enya-esque style track that opens with a delecate acoustic guitar melody that builds with additional layers joining Sarah's lovely crystalline choir with parts sung at the upper end of her range. The interplay between the vocal and acoustic guitar has been extremely well produced and delivered on this recording. "Take It Or Leave It" is the rockingest number on the Angelfire album. Sarah's vocal layers are extremely reminscent of Yes harmonies, and the whole track has a Going For The One-era sound. The robust arrangement, especially in the vocal bridge and electric guitar solo during the latter half of the song, provides insight into the exciting place that this project could go.

The album is also graced with a variety of singer-songwriter pop-styled ballads such as "Feelings are Overrated," the very gentle "What Made You Think?" and the subtle closing tune "Urban Decay." Upbeat song-verse styled numbers include electric guitar-based arrangements and are intoxicating. "Here Today" is a delightful example certain to please a wide range of audiences. And "Terrible Thing To Lose," while less upbeat, is a tremdous mix of electric and acoustic guitar backing Sarah's soaring vocal work. The bluesy "Get Away" illustrates yet another dimension of the duo's work together. Listen for the rich guitar- - MusicalDiscoveries.com

(01 August 2010) Angelfire (Radiant Records (USA) 2010) is the name of this tremendous new album certain to appeal to female music lovers and also the name of the new project featuring Steve Morse and Sarah Spencer. The duo have been working together the past six years. Angelfire is the first fruit of their collaboration. In addition to his role as the primary engineer, Morse also contributes guitars and is the mastermind behind the instrumental and vocal arrangements. Sarah contributes the majority of the lyrics and her voice shines across the album's eleven pop-accented tracks.

Sarah says that she doesn't remember a time in her life without music. Born in the Ocala, Florida countryside, her family noticed her musical inclination and enrolled her in piano lessons at the age of six. She soon began writing original music and discovered a love of singing. Her experimentation with recording began at eleven. She became excited by the possibilities of simultaneous musical parts, and experimented with different genres, including orchestral music. This new direction was encouraged by lessons with classical vocal trainer, Shannon Riley.

Over the next two years, Sarah was on stage and in the studio with increasing frequency. She collaborated with other musicians from around the world, singing and co-writing with established artists such as Nigel Jenkins ("Baker’s Street"), David Ricard ("Zoom Zoom") and regular collaborator, Paul Weston ("We Are the Future", "My Desire", "Shine").

At fourteen, Sarah caught the attention of vocal coach Louise Ryan (Charlotte Church) who began collaborating with her on vocal arrangements. Later that year, she recorded "Father’s Song" for Cinderella, The Movie with songwriter/producer Al Steele. Sarah also began appearing in local magazines, television shows and amongst the winners of state competitions. The media focus led to her being cast in a VH1 reality show following the lives of musical teen prodigies.

Sarah's next professional leap came at age sixteen. Legendary guitarist/composer Steve Morse (Deep Purple, Dixie Dregs) was well known as an instrumentalist, but not as a collaborator with vocalists. All this changed when the two artists met. Sarah and Steve took Angelfire to the stage in January of 2010, with a preview edition of the album available for concert-goers. Sarah is also writing and recording her solo material with producer Bill Evans. This year, audiences will be introduced to several sides of Sarah's music. Read more about Sarah Spencer in our exclusive interview.

The eleven tracks comprising Angelfire have an incredible consistency. Acoustic guitar gives the material a folky edge while the gentle rhythm section of Dave LaRue (bass) and Van Romaine (drums and percussion) contribute to the accessibility of the collection. The album is foremost a female vocals album with Sarah's lead often backed with many layers of harmony. We appreciated Morse's electric guitar work which initially appears at the conclusion of "Far Gone Now." Sarah's solo lead is crystalline and contrasts the backing harmonies delightfully in "Everything To Live For." A recurring acoustic guitar theme runs through the album often emerging during instrumental breaks and during introductions. Listen for the theme in "Pleasant Surprise" beneath Sarah's crystalline lead vocal.

The album's two standouts are "Omnis Morse Aequat" and "Take It Or Leave It." The former is an Enya-esque style track that opens with a delecate acoustic guitar melody that builds with additional layers joining Sarah's lovely crystalline choir with parts sung at the upper end of her range. The interplay between the vocal and acoustic guitar has been extremely well produced and delivered on this recording. "Take It Or Leave It" is the rockingest number on the Angelfire album. Sarah's vocal layers are extremely reminscent of Yes harmonies, and the whole track has a Going For The One-era sound. The robust arrangement, especially in the vocal bridge and electric guitar solo during the latter half of the song, provides insight into the exciting place that this project could go.

The album is also graced with a variety of singer-songwriter pop-styled ballads such as "Feelings are Overrated," the very gentle "What Made You Think?" and the subtle closing tune "Urban Decay." Upbeat song-verse styled numbers include electric guitar-based arrangements and are intoxicating. "Here Today" is a delightful example certain to please a wide range of audiences. And "Terrible Thing To Lose," while less upbeat, is a tremdous mix of electric and acoustic guitar backing Sarah's soaring vocal work. The bluesy "Get Away" illustrates yet another dimension of the duo's work together. Listen for the rich guitar- - MusicalDiscoveries.com

(25 August 2013) Sarah Spencer has embarked on a solo career and is now based in Nashville. Readers will be well familiar with her work with Steve Morse on the 2010 Angelfire (review) album. In addition to an ongoing series of live performances on her own and with other artists, Sarah has recorded several demos and has made them available for listeners her SoundCloud site. Learn more about Sarah's recent work in our exclusive interview.

At the time of our first interview with Sarah in 2010 she had recorded several gorgeous songs she wrote with other artists. Titles include: "One Day" written at age fourteen and arranged by Al Steel, "Father’s Song," and four further songs with Paul Weston, "My Desire","One More Goodbye," "All of You," and "Shine."

Sarah's new songs on SoundCloud include a collection of five pop folk tracks, although her latest post there is a pop punk version of "Crash and Burn" done with Kyle Tesalona. Links in our recent interview point to three very different hip-hop style tracks with Sarah on backing vocals. Our review follows the "My Desire" article below by Paul Weston.

"My Desire" (Paul Weston). "In the summer of 2003 I was working with Louise Ryan, vocal coach and arranger for Charlotte Church, listening to new artist demos when I mentioned to Louise I had written a new song. I played Louise "My Desire" on my guitar, which was at that time, a four minute song. Louise went quiet. "Oh dear." I thought, fearing the worst.

"That was amazing. So passionate and emotional." said Louise. This was the beginning of the "My Desire." project. Later in summer 2003, Louise recorded her version of the song as a fundraiser for her favorite charity. In April 2004 Serbian composer Arthur Primac, heard the song asked permission to translate the song into the Russian language. Arthur lives in St Petersburg Russia, and considered the song would transpose well into the Russian language.

Arthur worked with some of his musician friends from the London Symphony Orchestra and invited Moldovan singer Olia Tira to perform the vocals in the Russian language. Olia has represented Moldova on two occasions performing at the Eurovision Song Contest. The ESC is Europe's biggest music festival and is watched by 125 million people on television.

Arthur then submitted "Ljubov Kotoroj Bolse" (My Desire) as a song entry for the Russian ESC heats in Moscow. The song was performed at the regional heats in Russia but did not make the final selection. Olia's version of the song had made an impression with the judging panel and she was asked to perform the song at the "Golden Stag (International) Song Festival" held every year in Romania, with a TV audience of many millions across Europe and Asia.

Olia decided to perform "My Desire" in the English language to broaden the song's European opportunities. In 2005, encouraged by progress so far, Al Steele (Australian producer) and myself, got together to discuss finishing the "My Desire" project by composing a contemporary / orchestral music score, which we envisaged would be about twelve minutes long. This would include a full orchestra and rock band and would be arranged around the song.

Between 2006 to 2008 we arranged to meet, when possible, in Al's UK studio in Cardiff Wales, to work together on composition for the overture. By May 2009 we had written the music and had to decide on the right singer for the project. That decision took as approximately five seconds when we both spontaneously said the name "Sarah Spencer."

Al and myself had worked with Florida singer songwriter Sarah Spencer on a number of song projects and Sarah is our favorite singer on planet Earth and beyond! Sarah recorded the vocals in Ocala, Florida and we were both amazed at the wonder of her vocal performance.

The next big job was to record all of the orchestral instruments which were completed in sections between 2010 and 2012. On a beautiful day in June 2013 everything came together ,Al and myself finally completed the master mix of the "My Desire" project. "My Desire" had developed from a song for guitar and voice in 2003, and evolved through projects in the United Kingdom, Australia, Serbia, Russia, Moldova, Romania, and the USA. It was now a twelve minute contemporary/orchestral overture.

The initial response has been most encouraging and so far we have received messages of congratulations and support from artists including Patti Boulaye, K.V.Bala Krishnan, Tony James, Marcella Puppini, Sue Cook, and Nina Kristofferson. "My Desire." will have its commercial release in the Autumn 2013 and Musical Discoveries will have an exclusive and detailed updates, at this time. "My Desire" is a Global project showing that music is a u - MusicalDiscoveries.com

(25 August 2013) Sarah Spencer has embarked on a solo career and is now based in Nashville. Readers will be well familiar with her work with Steve Morse on the 2010 Angelfire (review) album. In addition to an ongoing series of live performances on her own and with other artists, Sarah has recorded several demos and has made them available for listeners her SoundCloud site. Learn more about Sarah's recent work in our exclusive interview.

At the time of our first interview with Sarah in 2010 she had recorded several gorgeous songs she wrote with other artists. Titles include: "One Day" written at age fourteen and arranged by Al Steel, "Father’s Song," and four further songs with Paul Weston, "My Desire","One More Goodbye," "All of You," and "Shine."

Sarah's new songs on SoundCloud include a collection of five pop folk tracks, although her latest post there is a pop punk version of "Crash and Burn" done with Kyle Tesalona. Links in our recent interview point to three very different hip-hop style tracks with Sarah on backing vocals. Our review follows the "My Desire" article below by Paul Weston.

"My Desire" (Paul Weston). "In the summer of 2003 I was working with Louise Ryan, vocal coach and arranger for Charlotte Church, listening to new artist demos when I mentioned to Louise I had written a new song. I played Louise "My Desire" on my guitar, which was at that time, a four minute song. Louise went quiet. "Oh dear." I thought, fearing the worst.

"That was amazing. So passionate and emotional." said Louise. This was the beginning of the "My Desire." project. Later in summer 2003, Louise recorded her version of the song as a fundraiser for her favorite charity. In April 2004 Serbian composer Arthur Primac, heard the song asked permission to translate the song into the Russian language. Arthur lives in St Petersburg Russia, and considered the song would transpose well into the Russian language.

Arthur worked with some of his musician friends from the London Symphony Orchestra and invited Moldovan singer Olia Tira to perform the vocals in the Russian language. Olia has represented Moldova on two occasions performing at the Eurovision Song Contest. The ESC is Europe's biggest music festival and is watched by 125 million people on television.

Arthur then submitted "Ljubov Kotoroj Bolse" (My Desire) as a song entry for the Russian ESC heats in Moscow. The song was performed at the regional heats in Russia but did not make the final selection. Olia's version of the song had made an impression with the judging panel and she was asked to perform the song at the "Golden Stag (International) Song Festival" held every year in Romania, with a TV audience of many millions across Europe and Asia.

Olia decided to perform "My Desire" in the English language to broaden the song's European opportunities. In 2005, encouraged by progress so far, Al Steele (Australian producer) and myself, got together to discuss finishing the "My Desire" project by composing a contemporary / orchestral music score, which we envisaged would be about twelve minutes long. This would include a full orchestra and rock band and would be arranged around the song.

Between 2006 to 2008 we arranged to meet, when possible, in Al's UK studio in Cardiff Wales, to work together on composition for the overture. By May 2009 we had written the music and had to decide on the right singer for the project. That decision took as approximately five seconds when we both spontaneously said the name "Sarah Spencer."

Al and myself had worked with Florida singer songwriter Sarah Spencer on a number of song projects and Sarah is our favorite singer on planet Earth and beyond! Sarah recorded the vocals in Ocala, Florida and we were both amazed at the wonder of her vocal performance.

The next big job was to record all of the orchestral instruments which were completed in sections between 2010 and 2012. On a beautiful day in June 2013 everything came together ,Al and myself finally completed the master mix of the "My Desire" project. "My Desire" had developed from a song for guitar and voice in 2003, and evolved through projects in the United Kingdom, Australia, Serbia, Russia, Moldova, Romania, and the USA. It was now a twelve minute contemporary/orchestral overture.

The initial response has been most encouraging and so far we have received messages of congratulations and support from artists including Patti Boulaye, K.V.Bala Krishnan, Tony James, Marcella Puppini, Sue Cook, and Nina Kristofferson. "My Desire." will have its commercial release in the Autumn 2013 and Musical Discoveries will have an exclusive and detailed updates, at this time. "My Desire" is a Global project showing that music is a u - MusicalDiscoveries.com

Sarah is one of my first Facebook group connections turned friend IRL! Her passion for songwriting shines through in everything that she does, so today I want to put the spotlight on her for the first ever Designing the Row Bestie Feature. I hope you enjoy Sarah's interview below... and make sure to also check out her blog and Instagram for more songwriting inspiration.
Sarah Spencer
tell us about yourself! what do you do and what has your journey been like getting to this point?

Hi! I'm an Americana singer/songwriter, and a Country-Pop songwriter. I moved to Nashville in 2012 to pursue a career in songwriting. I got my BFA in Graphic Design from FSU (go Noles!) with the intention of having a Plan B should I wind up a homeless musician. That's turned out to be a good decision! I work during the day as the Creative Director for a boutique marketing agency serving the music and entertainment industries. Learned a LOT.

I've released a couple albums, had a handful of songs cut by indie artists, play frequently at The Bluebird, and have a handful of festival shows coming up that I'm super stoked about. My big picture goals include writing on staff at a pub house, having commercial success as a songwriter (hits!), putting out meaningful music that I love, and tour in the North Florida/southeast region.

By night, I write, play, and pitch songs to other artists. It's what gets me out of bed in the morning. Songwriting is my life blood, and I feel really lucky to get to do that inside of the incredible writer community of Nashville.

what’s a usual day-in-the-life look like for you?

During the week I work at the agency. So I get up, go to the office, and work with my amazing team helping to market other musicians and small businesses. At night, I come home and either have dinner with my hubby, write, go to a co-write, or work on my blog, SongFancy.com. It's where I write about songwriting, life as a creative, and offer beginning songwriters advice that I hope gives them the skills and encouragement to write their best!

Thursdays are co-write days! I usually have at least one co-write booked every Thursday, sometimes two. It works well with my work schedule, I'm lucky my boss is awesome and allows me to be flexible with one day a week. :)

does community play a role in your career? how so?

Absolutely! The whole music industry runs on relationships. Meaningful relationships makes life so much richer. And when a bunch of friends can come together with another bunch of friends, and another and another, the "music industry" starts to feel a lot less anonymous and closed off and a lot more like... a bunch of friends!

The friends that I have made through music are some of my closest, most precious friends. I don't know what I'd do without them!
“There’s no real place like the Nashville songwriter scene. Everyone is for everyone. Everyone is open and honest. We all know we’re in the same boat together and we have the same passion for writing and it’s just a blast being a part of that.”
what’s your favorite part about the music industry?

The music. But that's the smartass answer, isn't it?

I really love Nashville's music industry. I've spent limited amounts of time in Orlando and LA and there's no real place like the Nashville songwriter scene. Everyone is for everyone. Everyone is open and honest. We all know we're in the same boat together and we have the same passion for writing and it's just a blast being a part of that.

knowing what you know now, if you could go back 5 years and give yourself one piece of advice, what would that be?

Oh man. "Calm down. It's ok. You're going to make mistakes. But mistakes are the best way to become better. Don't worry so much what other people think about you. Just be yourself. Focus on finding who she is. Deep breaths. Write your truth."

I was such an anxious kid! I didn't really learn who I was until my mid-late 20's. I'm still learning. Maybe I always will be. But I feel like I missed out on a lot of life because I was always "playing it safe" and trying to be the person I thought everyone wanted me to be.

teach us something! (related to your expertise or something random just for fun)

Hmmm... Did you know that Tom Douglas came to Nashville in his 20's, didn't get anywhere with his songwriting, moved to Texas, worked in real estate, had a family, came back to Nashville in his middle age, and had his first hit when he was 43? That's inspiring to me. I hope that's inspiring to you, as well! - Designing The Row