R E C O R D I N G S     &     B O O T L E G S :

        From  the  very  first  song  he  wrote  and  recorded  at  18  ("Sing Along")  ...
to  the  later  duets  he  would  loop  his  voice  into  by  means  of  a  $49 DVD/Karaoke-player  in  his  own  living-room  with  artists  like  Olivia  Newton-John,  Kim  Carnes,  Samantha  Fox,  and  Ann  Hampton  Callaway  ...
these  are  the  only  recordings  by  Joshua  Crawford  which  are  known  to  exist  so  far.
        Many  of  them  have  never  been  released  to  the  public  (as  Crawford  has  no  record-label  supporting  him  to  market  such  releases);  thus  from  time  to  time,  they  have  crept  up  as  "bootlegs"  from  one  Crawford  fan  to  another.
        It  is  now  estimated  that  500  original  Crawford  compositions exist  ...  but  remain  unrecorded,  due  to  his  poverty  stricken  lifestyle,  and  of  course,  no  label  taking  a  chance  on  him,  with  only  3  of  his  original  songs  (the  3   that  make  up  the  PLAY  ME  DEMO)  having  been  recorded.  Some  of  the  following  songs  listed,  even  though  Crawford  did  not  write  the  music  for  them,  he  did  write  original  LYRICS  for  them  ("THE  PRICE  TO  FAME"  for  example,  consists  of  lyrics  written  entirely  by  him),  and  often  additional  MELODIES  to  work  harmony  into  them,  and  these  songs  will  state  so.
 

" THIS  CHRISTMAS "  ~  2009

Joshua Crawford & Ann Hampton Callaway

        During the winter season of 2009, Crawford, while listening to his Christmas-music channel on cable television, heard this gem that was originally recorded in 1998 by Callaway, but never issued as a single. Crawford, feeling that the song needed a duet, plugged his mic into his $49 DVD/Karaoke-player, and presto! This is his latest BOOTLEG so far that went out to friends and family for the Christmas season of 2009. (His 2nd ever Christmas carol recorded.)
            It is not known yet whether Callaway, herself (mostly known to the mainstream for singing the theme to the 1990s TV-show "The Nanny ", but very well known in New York as a smooth cabaret singer) has heard the song yet, but as always, Crawford is somehow able to make the listener feel as if the two are not only singing together in perfect synchronization, but also TO each other with this nice little cabaret-style piano jazzy number that talks about the true meaning of Christmas; LOVE.
            The song is a bit historical to Crawford fans for being the first vocal he recorded after the death of Michael Jackson, given that Crawford's book, "Signature Place", coined the word "ThrillerBaby" to represent Crawford's generation born 1965-1980; the "ThrillerBabies."
Not bad for a $49-dollar recording .
 

" LET  IT  SNOW "  ~  2007

Joshua Crawford & Herb Alpert with the Tijuana Brass

            After a long battle with severe pain (he was hit by a car in October of 2003), Crawford found himself finally surviving the surgery he so desperately needed in order to put a 5 year bout with pain behind him. After visiting about 20 doctors over the course of 4 years, each telling him a different diagnosis than the other, he had finally settled on the Texas Back Institute in Plano, Texas, to perform the then relatively-new "artificial disc replacement". (His L-4 disc in his spine had so slowly degenerated over the course of 4 long years, that his pain level had placed him on suicide-watch by those that he allowed to get close to him.) He chose September 11th, 2007, as the day to have the surgery; Crawford, always a revolutionist to turn something horrific, and give it hope.
            The surgery, a bit chancy considering his heart-condition, was a success as far as implantation goes, and to celebrate, the singer plugged in the old microphone to his often talked about $49 DVD/Karaoke player; this time, to one of the oldest songs he'd ever loop his voice into; a 1968 instrumental for "Let It Snow" that Jazz legend Herb Alpert had done for a popular-selling Christmas album in the late 1960s. (Herb would later start A&M Records.) This was the first time Crawford had recorded his voice in over 3 years, due to his pain. But one could never tell it, by listening to the vocals, knowing that he was just days out of surgery. And to think it all started when Crawford, a man who has always made compilation CDs for friends and family, couldn't think of a Christmas gift that year, and thus resorted to making Christmas compilation CDs for his desired roster of contacts. By the time the CD was nearly completed, there was room for just one more song. But which one was he to pick? He then came up with the idea to merely compose one himself!
            He felt because the song already had a polished production, much in the way that Harry Connick Jr.'s recordings are currently produced with a classy-like retro 1940s sound to them, all that was needed, was a good vocal, to turn Alpert's 39 year old song, into a modern ageless version of the often sung one. But no one's ever come close to singing it like the way CRAWFORD does….
            Listen, and you'll see Crawford has changed around just a few minor lyrics, to make the weathery carol, sound more like a plead to make love: Again, another Crawford trademark when it comes to revisiting old classics and making them fresh and new again for future generations. Whereas the OLD version of the song once spoke the verse “oh the weather outside is frightful, but the fire is so delightful”… right from the start, Crawford starts playing with words, and simply declares, “oh the weather outside is frightful, but my dear, it’s so DELIGHTFUL!”; giving the listener a hint that Crawford’s take on the song holds a bit more than meets the eye. With another of the older lyrics chanting, “if you really hold me tight, all the way home I'll be warm," Crawford's most significant change in the song, is simply breathing, "if you really hold me tight, I won't have to go at ALL!" But like with Crawford’s Play Me, the sexual undertones go way over the head of the average young listener; appealing to many ages who love carols in any generation. And after hearing it a few times, one doesn't even realize the lyrics to the original carol have been slighty modified with a bit of wit:

           "I just wanted a carol to quit sounding so outdated for a change, and just add a little lust in it the way the original writers probably never could, because of the political-correctness of their day. The way Herb plays it, and the pace he keeps it at, is far different already than the countless versions that came before his. So I took what Herb did with it, and just completed what probably should’ve been a more completed piece. Granted, as an instrumental, it’s pretty. But it’s missing the extension of that prettiness of the human soul. And when you merge those two together, well, let’s just say, that I was more than impressed with the results. After hearing it the first time, I didn’t mean to leave out the FIRE lyric on the opener, it just sort of happened. And truly, I didn’t even think about “all the way home I’ll be warm” getting left out either. All I kept thinking when I was doing the first take and learning the appropriate volume level to sing in for a song so softly produced over 39 years earlier, was if this was written in today’s age, the guy just won’t be GOING home. He’d be staying the NIGHT! And I went with it that way. The song was never officially about Christ anyway, it was about the cool weather we associate Christmas with. So I didn’t feel I was being sacrilegious in any way. I just wanted to put my own curious stamp on it, as an experiment in a way, just to see what could happen.
            Even though I had already written many of my own original Christmas carols which have never been recorded, this truly was, and will always be, the very first one I ever lent my vocals to. And I was more than surprised with how good the playback sounded. I truly sound like I’m “in heat” a little more than I intended to sound. But hey; it had indeed been 3 whole years since I had recorded anything, due to all that back-pain and doctor shopping, and I guess I had built up quite a bit of repression. What can I say? It worked perfectly for a song such as this one that already worked as a seductive instrumental. Herb always seemed like he was the kinda guy who serenaded his women with his trumpet-playing. I do the same with my piano and voice. And truly, I usually hate working with brass, because it just always seems to overpower a song of this pace. But Herb is just a master at brass, and enough people have heard the song now, to think we literally recorded it together, not even knowing that the recording I lent my voice to, was already 39 years old. So The Ageless Award truly goes to Herb. If I contributed anything to the song, it was just a hint of more motivation on the storyteller’s part of wanting more than just “snow.” He want’s to use the winter as a means to consummate something. That’s how I saw it, so that’s how I sang it. Granted, I do sound a bit naked on it, but most people truly don’t get how different my version is from other versions, until they play mine back a couple of times. Then they smile, and the next question I usually get, is are those MY kisses you hear in the song? The answer is YES. But they were a little difficult to do; considering I had to do the kisses, and the vocals, all in one take. To me, it really doesn’t sound 4 decades old. I think it will still sound fresh 4 decades from NOW. I really do.
            It's never been made known to me yet if Herb has ever heard it, but if he somehow has, I sure hope I made him proud. It's a great piece, and the wonder of technology has allowed 39 years to become new again, allowing US ... to finally work together! He truly is the best trumpet-player ever born. And while singing it, my mere job was to accomidate that other vocal the song already had; his TRUMPET. Too much volume on my end, and I would've overpowered his brass. To LITTLE volume on my end, and his brass could've easily overpowered me. I think I achieved the perfect balance for both of us. My ultimate dream would be to hear it on radio, because I think it would take this old carol that everybody knows, and perhaps become the most definitive version out there for a while. Up until I recorded this, the most known version of the song to MY generation, the ThrillerBabies, was the one played at the tail-end of the 1988 Bruce Willis movie DIE HARD, sung by Vaughn Monroe. And I'll admit, that one was good, and more ballroomish, but this one's the one that you truly want to hear when you're lighting a fire.
            I took very little breaths in this song, meaning that I 'held the note' on several sections for long periods of time, while at the same time, turning that note into several words all at once. I look back now, and don't understand how I was able to do that. But that's inspiration for you. Don't analyze it, just do it and think later! I was caught up in the moment while recording it, and it sounds it. I don't think I could repeat that 'moment' if I tried. I believe it was the 20th take, but again, it was recorded all in one single take; meaning that, one wrong move on my end, and I'd have to start over from scratch. The scar on my stomach from where the doctors had to open me up and implant the fake disc into my back was still wrapped in gauze at the time I was recording this. I truly thought it would be one of the more weaker recordings I would ever do because so. But I was proven wrong. Sometimes, in life, when you just do something, thinking you'll be at your worst, it turns out to be better than you could've ever imagined. That's my spirit you hear when you're listening to that song. That spirit was so relieved just to be singing again after fighting roughly 5 years to get operated on ... and after fighting against the decision to take my own life. I'd love to know what Herb was thinking about when he was recording this in the 1960s. Supposedly, it was recorded in July. But just look what it did for ME, 39 years later. Music is amazing that way. The rhythm of the song literally sounds as if it's snowing!"

" HEART  OF  LOVE ( from  The  Heavenly  Kid )  ~  2004

Joshua  Crawford  &  Jamie  Bond

        In 1986 Joshua Crawford (at the age of 11)  saw a film air on HBO one night entitled " The Heavenly Kid." Though the movie was small and comical, the soundtrack fit each scene precisely, and "HEART  OF  LOVE", recorded by the obscure Jamie Bond, was the subtle ballad that played just once in the film. Crawford always liked the song, feeling it had a certain timeless and ageless quality about it, so in 2004, he plugged in his mic to his $49 DVD/Karaoke-player in his Section-8-housing living-room, & looped himself anothor BOOTLEG to try to entice record labels into signing him ... if only for his  incredible diversity as a singer.
        The 1985 song (never released to CD) was digitally remastered for Crawford by one of his fans, and again, here we have an ageless production, decades ahead of its time, that still sounds fresh and new, despite being recorded in 1985. Bond's original solo version was never released as a single (which is a shame because it so easily could've been), and not surprisingly, neither was Crawford's. But perhaps someday ... if Crawford ... the most rejected artist of his generation ... can ever get signed. (?)
            The song is also unique to Crawford fans in that it was the last he would record for a while, due to a massive back injury brought on by a carwreck (in which he was not at fault) that eventually placed him in so much physical pain, he fell into a suicidal state for several years until he was finally able to get the proper surgery. (Notice the difference in years with THIS song, and the song above it.) And it's interesting to note that the title of the movie the song was from, somewhat marries Crawford's affiliations with death itself. He had, afterall, been pronounced dead 'twice' by the age of 18; coincidentally the very age he would visit Spielberg's office with plans to direct movies, only to return home and write his very first song instead. The fact that his often talked about chest x-ray from the age of 14, which beholds a 'cross' within it, leaves open the door for even more speculation to the listener.

" LIVIN'  IN  THE  END-TIMES "
( from  Midnight  Express )  ~  2003


Joshua  Crawford  &  Giorgio  Moroder

      With a screenplay written by a relatively young Oliver Stone, and precise direction by Alan Parker (who would later direct the original FAME and put Madonna into EVITA), 1978’s MIDNIGHT EXPRESS shocked and engaged audiences upon first being released with its revelations about the based-on-fact events of Billy Hayes’ 1970 account of being caught trying to smuggle drugs out of the country of Turkey, which resulted in imprisonment that was initially meant to last only weeks, but turned into a life-sentence … to which Hayes eventually escaped from, and wrote the best-selling book about which the film was loosely based on. Though both Stone, and Hayes, would later regret the film’s overly-brutal depiction of Turkish-prison extremism, what the well-loved film DID do, was yield quite a suspenseful heart-pounding tale of one man’s struggle … to survive unjust prison-life in a foreign country, reflected in the enormous acting skills of Brad Davis; with Davis, himself, in real life, plagued by substance-abuse and the ramifications of his childhood to which he claimed he suffered severe abuse by both of his parents before becoming an actor. (He died at the age of only 41, thirteen years after doing this film, from assisted suicide, due to the pain of AIDS-related ramifications. He allegedly caught the disease by way of drug-abuse, not sexual, and Hollywood was quick to single this out when he first died; bringing to light at the time, that not all celebrity AIDS-deaths were same-sex related; a notion that was heavily implied when the AIDS virus first caught the world by storm in the mid 1980s, to which people like Ryan White, a pre-teen hemophiliac boy who caught AIDS from a routine transfusion, suffered enormous amounts of public scrutiny. The Michael Jackson song, "Gone Too Soon", was written about him.) 
            Another element that made the film so ‘in touch’ with hippy-babyboomers at the time of its release (other than its drug-trafficking elements), was its unusual-at-the-time high-wattage soundtrack, scored by German-synth genius Giorgio Moroder, who helped turn Donna Summer’s “Love To Love You Baby” in the early 1970s … into a new music sensation called “disco.” 
            By the time the LATE '70s rolled around, however, disco was beginning to fade, and new-wave synthesizers were starting to take over; yielding the soon-to-be 2nd British Invasion that Mtv (which came into existence 3 years later in 1981) would accidentally usher in. Moroder, whom Crawford has always been a fan of, would later train Harold Faltermeyer (who not only is literally playing the KEYS on this, but would later also score Beverly Hills Cop, Thief Of Hearts, Fletch, and Top Gun), with Moroder, himself, going on to score Flashdance (which Crawford also has another bootleg from), and the American version of 1984’s minor-classic; The Never-Ending Story.
            But it's MIDNIGHT EXPRESS that serves as a history-101 music lesson into the beginning stages of electronically generated synth music, which would later dominate the 1980s with acts like Phil Collins, The Eurythmics, and The Human League.
            Human League's lead-singer, Phil Oakey, would even team with Moroder, to generate the soundtrack-song to the 1984 cult-movie ELECTRIC DREAMS; a song that plays a huge and significant role in Crawford’s very own “Signature Place” epic novel. And though Moroder can be credited for ushering in disco, and though his synth-driven style of production would faze out by the early 1990s, time itself has allowed his post-disco SYNTH work, to hold up rather well, when one looks back at it; with Midnight Express being one of his proudest and most pioneering achievements in the eyes of those like Crawford’s.
            Incredibly unusual-at-the-time, an instrumental track off the soundtrack album entitled “The Chase” … even found its way into dance-clubs during a time in which disco was dying, and faster-paced club-music was starting to take-over with the likes of what would later be acts like the Pet Shop Boys, New Order, and Erasure.
            But it’s the undercurrent main THEME to the movie, that took Crawford by storm upon first viewing the film in the early 1990s as a teenager before ever attempting to document his entire generation with Signature Place, much less, the 1980s. And when the Iraq War broke out shortly after the turn of the 21st century, a war instigated by terrorism in the middle-east, and one which was engaged upon by a President from Crawford’s very own city (Midland, Texas), Crawford remembered this main THEME from years earlier, and felt its “middle-eastern-sounding” VIBE … was perfectly suited for the “fear of terrorism” vibe that America now felt, in the new post 9-11 century. So he actually wrote original lyrics to the theme, and presto; the ingredients ended up being “LIVIN’ IN THE END-TIMES.” Though Crawford’s take on the song was a bit ahead-of-its-time upon first hitting the underground as a bootleg in 2003 (the year the Iraq War broke into a full blown event), over the years, the song has developed quite a following for being so ageless in not only sound (keep in mind that its original production was in 1978), but also in Crawford’s choice of lyrics that play upon the woes and concerns of the modern doomsdayers, who feel the world, and the terror within it, has caused many to feel as though the end of mankind is near:

            “I don’t like to go too much into detail about this one, even though I will, because I think the lyrics I came up with, help make it self-explanatory enough for anybody who understands English to understand it. And those who don’t, most likely find Moroder’s timeless production of it understandable anyway. But I will say that some of the lyrics were very autobiographical without quite intending to be. Such as “I’ve slept on all the floors of all the ones who tried to beat me down each day” and “I found the strength to love them and to leave them.” I was trying to really take my own heartache at the time, and turn it into HOPE for all of those who were fighting for freedom, despite the fact that it seems both sides of the fences each felt they were fighting for the same freedom.
            Doom and gloom often dominated the many babyboomers who raised my generation, thanks much in part to the resubmergence of the charismatic movement in the 1970s, brought on by films like The Omen and Rosemary’s Baby, which resulted in a spike of Bible-sells. And it wasn’t always easy to apply Michael Jackson’s peace teachings of “take a look at yourself and make that change” … all while our parents kept telling us “the world was going to end, but to keep waking up each day, thinking we could change it.”
            Yes, the song is about the duality of these two tug-of-war ideologies, but I wanted to emphasize “HOPE” by the end of it, despite not quite knowing how to obtain that hope myself. Maybe the next generation could obtain it FOR me, long after I was already gone; that is what I was thinking when I laid down the vocals. The TV-screens at the time were telling us all to buy duck-tape and water, and close ourselves in from even our own neighbors. Yet the artist within me wanted to unite the world with music, so that we could all start having barbeques again like we did in the ‘80s. Those were interesting, and isolating days. To some extent, they still are.
            I remember it was unusually liberating for me to be able to exaggerate the vibrato in my voice for the song, because it ironically 'worked' for it; giving it that 'Abba/BeeGees' kinda feel to it. So it sounds a bit different than my other works, but then again, so does the production of the song itself; so it worked perfectly. And it's probably the most overtracking work I've done for a single piece since Cryin' Party. I was using nearly all of my 3 or 4 octaves here, so it was a bit tiring after I put it all together. But hey, it made it sound unlike anything I've ever done, and that's what I was going for; just as that 'war' ... was unlike any other. 
           Looking back, I see that it’s one of my more darker-toned pieces, but also one of my most proudest. I was tapping into the fears not only of the thrillerbabies, but the same ones that most of the world has in ANY generation; the end of the world. Yet I was telling it from the point of view that it seems life has always placed me in; that of being a man on the sidelines of what is currently accepted as the social “NORM” … trying to deliver his own destiny before he dies, all while trying his hardest to keep an eye on the young “outside my broken window” who every time they see a cloud, they don’t quite metaphorically realize that it’s not really a cloud. God bless them for that. That innocence, is what will perhaps give them hope to make the world a better place long after I have left it.
            I knew no-one in Midland or even Texas would dare air this on radio at the time, it was just too different. But I did hope that somewhere overseas, it was secretly becoming an anthem of hope for our troops, and the many lives that they were attempting to preserve. I’ve never been one to have “light dreams”, even since I was a little boy. But I certainly would never wish to have the dreams of a soldier who has returned home from witnessing all of that. I truly wrote this one for “all my mother’s children” … meaning “the entire planet’s.” And though it was already 23 years old by the time I looped my vocals and lyrics into it, it still sounds pretty fresh to me, even years after I already placed my stamp on it. It really kinda does achieve its purpose; it takes you into battle right away. What’s weird for me now, is to watch the actual film it was originally written for. I can’t help but wonder if “that stamp” of mine would’ve been a hit, had it actually been on the soundtrack in 1978. It truly doesn’t sound that old to me. Nor does it sound new. It just kinda sounds like it lives in a time all its own. And for that, I tip my hat to Moroder. He composed quite a good piece that works on MANY levels, and not just one. And it truly has outlived many of his other pieces that were so popular at the time in which he wrote this one.
            One has to remember that I was doing this piece 5 entire years before the film Slumdog Millionaire would later help introduce music like this, to the rest of the world. So I feel privileged for having a life that has always been a bit on the cutting-edge. But the price one pays for that, is that they never quite get to see their work achieve any appreciation upon its first-release. Perhaps a wounded troop will come up to me one day and hug me for writing this. That would be nice. It would’ve been worth it all, just to bring one single troop some much-needed peace-of-mind. I remember having so much faith in it at the time I did it, that I tried to get it to Moroder without much luck. He’s a hard man to get ahold of. But I hope he someday realizes what his little theme for a 23-year-old Turkish-prison movie did for me. It gave me a broader spectrum of the world, other than just my own life. Life is much bigger than me. And listening to this, always reminds me of that. It can make me feel pretty small. But one should never forget, no matter how small they feel, that they play a great significance into life. Each and every person is very important to the pattern of the universes. Everyone deserves a tombstone, even if they’re cremated; if only to prove to the future that they once actually existed, and survived this sweet-and-sour planet in which we call earth.
            It would be nice to know what actor Brad Davis, who portrayed Billy Hayes on screen in this movie and won a Golden Globe for it, thought of my little song here. But ironically, he died roughly 13 years before I would record it, and 13 years after Moroder composed it.”

" R E A C H "  ( from  TWO  OF  A  KIND ) ~  2002

Joshua  Crawford  &  David  Foster

            The 1983 John Travolta/Olivia Newton-John film, Two Of Kind, didn’t quite fare well with critics upon its initial release to theaters, but that didn’t stop it from becoming something of a cult-classic to the millions of thrillerbabies who grew up watching it on HBO syndication and early VHS-rentals in mid 80s, if merely to pretend the original GREASE (from 1978) could indeed have a sequel for its two leading mega-stars. Granted, that job went to the more known Grease 2, one year earlier in 1982 with Michelle Pfeiffer, but Crawford, being somewhat gifted for predating '80s cult films before they ever graduated to that status (1983’s the Pirate Movie and The Last American Virgin, and 1984’s Night Of The Comet, and Blame It On Rio, each play prominent roles in his Signature Place novel … at least in the musical sense). But he saw early on somehow, that the SOUNDTRACK for Two Of Kind, was one of the best collaborations any producer ever made; the same one who years later, who discovered Josh Groban & Michael Buble; a producer named one David Foster. And yes, that OTHER Josh (CRAWFORD) had always been a Foster fan as well, ever since discovering he helped contribute to Chicago’s Hard To Say I’m Sorry and After The Love Has Gone for Earth Wind & Fire. He’d even co-wroter Love Look What You’ve Done To Me from that OTHER Travolta picture that Crawford interjected into Signature Place (Urban Cowboy). But though the Two Of A Kind soundtrack album yielded some pretty fine crafted songs that charted quite well, it’s the LAST song on the album, an instrumental by Foster, originally titled NIGHT MUSIC … that Crawford had only discovered while listening to the soundtrack record in the late 1980s. And yes, he was completely shocked that Foster hadn’t spun more mileage out of it, given the fact that it was one of the prettiest pieces off the entire album. 
            Flash forward about 14 years later, Crawford’s (now 26) is now sleeping on the floors of family members after having to leave his apartment, due to suffering a near-fatal heart-relapse. He had quit his heard meds shortly after finishing authoring Signature Place over the course of several years, and quitting the meds turned out to be one of the biggest mistakes of his life. He had been fileing for Disability for nearly 7 years, and had even finally found an attorney who would take his case to court for him, but he was literally living with only the shirt on his back, and at the mercy of family members until he eventually got into Section-8 Housing:

            “I believe I even sent Foster a rough-demo of the song with me just singing it into a little recorder as a dry riff, before I ever truly looped my voice into the master music, but never heard anything; which I was used to, given that no one would represent me as an agent or a manager. But I thought it was worth a try, because I was sleeping on my father’s tiny-apartment floor at the time, which was not going too well, and my grandmother, who had been helping me afford the heart-medications until my long-awaited trial came to pass (which it hadn't yet), had written me, telling me that she just couldn’t afford it anymore. I was scared out of my wits, I was in the illest health I’ve probably ever been in since the heart was first diagnosed in Houston of ’89, and I was desperately sad. But I just started to learn the Internet from my father’s computer, and had discovered that there was a CD-release for the TWO OF A KIND soundtrack in ‘98, which was already starting to go out of print. So I bought one for like $10 bucks (it now goes for nearly $100 on Amazon these days), and it had arrived in the mail. I placed it in the stereo that night, and remembered this melody David had wrote for it called “Night Music.” And I just kept thinking, ‘Gosh! This melody is so sad and beautiful at the same time, it’s singing MY LIFE right now!’ And in my mind, I began to write my original lyrics for it. It needed to be a song about sadness and loss (because the melody is so sad), but it needed to have HOPE at the end. I was thinking a lot of my own life and what life held for my future, and I just envisioned this disabled guy like me, who has perhaps finally met the love of his life. (Someone who has been disabled too!) But each party is of a great depth of sadness; so they’re going to be forced to try to “reach” out to the other (due to having lived the majority of their lives so sad, for so long), if they’re ever going to consummate the relationship and begin the healing process!
            A few months passed, before finally I got my hearing to be declared officially DISABLED before a Federal Judge, and finally got into Section-8. And wasn’t sleeping on the floors. Granted I had already begun to use my $49 DVD/Karaoke-player to serve as an overtrack-device to be able to loop my voice into some forgotten songs that should’ve been hits, and had even already done a song with Olivia and Foster called “Shakin’ You,” from the very same movie! But “Night Music” was kinda my own secret little favorite, because I felt so close to it. So DARK when I wrote those lyrics. It was a dream-song I guess, a fantasy that I so one day wished I could have; find someone else out there like me, to share my pain with. The pain of my childhood. I sure thought that I was going to be able to pop NIGHT MUSIC in, and add my REACH lyrics to it like it was a simple piece of cake, but I found that I would get mid-way through the song … and just start crying; with due reason. The music may have been written by Foster for a film that barely even displayed the song within the movie itself! But those lyrics are mine, and it’s almost like Foster was handing it to me, going, “What do you think you could do with this?” I mean it’s SUCH a GREAT INSTRUMENTAL! I can’t believe it wasn’t released as single itself! And that’s the story of how I turned “Night Music” ... into “REACH.”
            I do remember sending it to Foster, because I had heard he was starting his own label at the time,143 records, at Warner, and I enclosed a copy of the infamous Play Me demo with it, hoping (and praying!) I would hear something back. I had never attempted to serve as a lyricist to another’s nearly-20-year-old track, but hey, I’m Joshua Crawford; it was a worth a shot. 
What did I hear from him?
Nothing.
I added another ‘rejection’-notch to my ultra-long belt, and thought “oh well. Guess he didn’t like it.”
            But to me, it really could be released as a single, and I truly feel it could go all the way to #1. The production is timeless, especially now with Alicia Keys bringing back in, that 80’s-like production to her songs with 2007's mega-selling, As I Am, and I just think it’s one of the prettiest songs ever written, on BOTH our end. But it’s very special to me, because I kinda wrote it as a wedding-song … for all us disabled folks. I’ll be interested to see what becomes of “REACH” as time moves on. Stranger thing shave happened (like “When I’m With You” by the group SHERIFF, took roughly 7 years to become released properly, where it went to #1 in 1989, despite being released in 1983!. ) Many fans who have heard REACH, think it’s the ultimate wedding-song. I have to say! I AGREE with them!”

More stories behind Crawford's recordings and bootlegs will be coming in the near future !
Please check back soon !