Select SONG LYRICS: Dancing in Chaos
Take A Chance With You
I've heard your side before
But still I'm not so sure
How we could even try
- Take a chance with you
I'm getting used to you
If we stood up and flew
Would we stay in the sky
-Take a chance with you
Every time I get this far
I tend to run away
Love is lost in modern times
I'm sorry I can't stay
You say-
Don't walk your road alone
Love’s here to help you grow
Hearts deeply want to be known
(Repeat)
- Take a chance with you
- Take a chance with you
You've got me listening
Your eyes are shimmering
My thoughts are cascading
- Take a chance with you
Late nights and whispering
Bedroom adventuring
Emotion balancing
- Take a chance with you
Every time I get this far
I tend to run away
Love is lost in modern times
I'm sorry I can't stay
You say-
Don't walk your road alone
Love’s here to help you grow
Hearts deeply want to be known
(Repeat)
- Take a chance with you
- Take a chance with you
So mysterious
This misty moon
No I'm serious
There's werewolves coming soon
So mysterious
This misty moon
Bae I'm serious
There's werewolves coming soon
Don't walk your road alone
Loves here to help you grow
Hearts deeply want to be known
(Repeat 3x)
I'm getting use to you
If we stood up and flew
Would we stay in the sky
- Take a chance with you
Ruby
I can't explain the world,
But I know you can.
I look up and see the sky
And it's in your hands.
So fly Ruby fly
There's no such thing as goodbye.
You live forever
In moments you love,
You live forever
In moments you love-
I can't face freedom,
But I know you can.
The more you do, the more I'll see
Help me understand.
And fly Ruby fly
There's no such thing as goodbye.
You live forever
In moments you love,
You live forever
In moments you love-
Bridge
You live forever
In moments you love,
You live forever
In moments you love-
So fly Ruby fly -
There's no such thing as goodbye.
Kissed By An Angel
Ooh girl your my angel
Girl your my angel
Yes you are
I know you can see, girl
Look and see, girl
I've come so far
A child crying out loud,
A father too proud,
A mother who vowed, to love…
She's said: sweet child of mine, no need to cry,
You’re beautiful, the sun will shine
Your hands are small, but they will grow-
Aaahhhh…
I was kissed by Angel
I was kissed by Angel
And she said
Your so loved
Your so loved
Your so loved
Your so loved
Your so loved
I stand a naked man
No judgment in hand
Here's all that I am, I am
‘Cause I was on my knees out in the cold
Begging for a truth be told
There I was my darkest night-
Aaahhhh…
I was kissed by an Angel
I was kissed by an Angel
And she said
Your so loved
Your so loved
Your so loved
Your so loved
Your so loved
Just keep on going on
Just keep on going on
Your almost there
Your almost there
Just keep on going on
Just keep on going on
Your almost there
Your almost there, yeah…
Bridge
I was kissed by an Angel
I was kissed by an Angel
I was kissed by an Angel
Your beautiful
your wonderful
just the way you are-
I was kissed by Angel
Your beautiful
your wonderful
just the way you are-
And she said
Your so loved
Your so loved
Your so loved
Your so loved
Your so loved
(Repeat 2x)
I was kissed by an Angel…
Hey everyone!
Welcome to my grand experiment, where I'm trying to blend my love for music with my core belief that within us we have all the tools necessary to live in a balanced and hopeful world. We may be inheriting a breaking Planet, but I choose to believe in our amazing ability to solve the problems we’ve created.
I'm constantly reminded how magical life is. What a treasure it is to walk in the woods, laugh with your friends, and push past your limits. It’s all good if we want it to be. It’s funny, but even some of the worst parts of the journey, the hardest struggles, I remember the fondest. I’m a lucky soul dancing in chaos, and music has been my guide. For me, music is the easiest way to clearly see the spirit of the time.
My wish is that you are able to find your right song at the right moment, share your world, and experience someone else’s. Take a bite of the past, nibble on the present, and take a sip of the future. You’ll live forever in the moments you love. It’s all you need.
Mine to you – thanks for listening, Benza
I Am Benza
I started playing the piano before I was even tall enough to see the keys. I performed concerts with my father around the world, occasionally playing original piano compositions I wrote myself. I studied Classical & Jazz piano during that time, and recorded my first CD of original Jazz compositions, Traverser Le Temps, at 14.
My earliest years were spent in Europe, mostly France. When I was 8, we moved to Boulder Colorado. My father was a Jazz guitarist, my mother a classical pianist.
I was always embarrassed by the fact I played the piano. I always wished I played the guitar instead. I kicked around in several bands in Boulder, but it wasn't until my junior year in high school that I really fell in love with music. Before that it was just something I did; something that was a part of daily life at home.
My friends and I got into Trip Hop, early Dubstep and electronic music before it became known as EDM. We went to shows religiously. I loved feeling like I was a part of something. We downloaded any free music production software we could find and were sure we would be the "next big thing" in EDM. I became so crazed and obsessed about music, I declined admission to the University of Colorado and, with my trusty laptop, just up and moved to Los Angeles. Hustling gigs as a DJ, I became a part of the low-end Theory scene of electronic artists in the city.
It was around then I stumbled across the Beatles “Yesterday” and I started questioning what kind of artist I wanted to be. If you actually take the time to really listen, it is such a cool song. No nonsense. It is so simple, yet it gave me everything I needed. I wanted to write songs that could do that; songs that were more than just a groove.
I had no money, no job, and no real prospects. Living with four others in a one bedroom flat, I picked up a guitar for the first time and started finding some chords to sing with. I rediscovered my love for the piano and enrolled in every music theory class I could find. Unaware of it at the time, it was then I started working on the songs that would become the album, Dancing in Chaos.
It is strange how the world works, and what shows up when the stars start to align. I was broke and on my own. I wasn’t sure where my songwriting efforts would take me but I never gave up. I kept at it. Because no one cared, I was free. I didn’t know anyone in the music industry, yet within a few months someone did show up. I was introduced to Max, the man who would become my producer & manager; a man who – can you believe it - had worked closely with Sir George Martin, and with Paul and Ringo. He was willing to suspend disbelief in the face of a crazy kid with a head full of dreams. We threw my songs in the back seat, and he sent me on a journey through Motown and Memphis; Beale Street, Stax, and Sun Studios-
Finally landing in Nashville Tennessee, we recorded the album Dancing in Chaos. I traded in most of my laptop samples for real musicians. What I learned along the way was that there is a difference between sound and music, and all the digital technology in the world is nothing more than just that. Music is something else. Something more. We need it to be. It is for me; a lucky soul dancing in chaos….
In the Studio
Dancing in Chaos: CD Liner Notes
“The only responsible advice you can give a 23 year old who wants to be a recording artist is go do anything else. You have a better chance of being struck by lightening on a cloudless day than making a living as a pop artist.
My first introduction to Benza was a phone call from a friend asking me if I would be interested in working with an unsigned kid who wanted to make a record. My response was a firm no. There was nothing I wanted to do less than take on a young musician with delusions of grandeur in a music industry in free fall. If his music was like the stuff at the top of the charts today, I definitely wasn’t interested. And, if it wasn’t, he didn’t stand a chance, so why bother.
After some persistence, I did agree to meet Benza for a quick hello. What struck me at our first meeting was his genuineness. He had a kind of natural humility you don’t often see in young people. The song he played for me was adequate at best – just enough for me to politely bow out with a few stories and comments. He handed me a CD and asked me to have a listen. I liked Benza. I knew nothing about him, but I liked him so, sure, I’d have a quick listen in my car on the way home and that would be that.
Driving down the Pacific Coast highway as the ocean waves slowly folded onto the endless beaches, I was reminded of the story Sir George Martin had told me years earlier:
“Brian Epstein brought along a tape of a group called the Beatles – and it was not very good. In fact, it was awful. I said if you want me to judge them on this, I would have to say no... They were just young hopefuls desperate for someone to recognize their talent. What they had, was a sort of blind faith that belongs to the young… When we started working together there was no obvious indication there was anything special about them. But I liked them. They were charming. So I gave them some time. Very quickly It became clear the seeds of their talent were always there. I just needed to give them a little water. And with that, I was astonished by how quickly their genius flowered.”
My early experience with Benza bears a remarkable similarity to the story George told me, and it was his perspective that served as a guide for me.
Long Time Comin’ was the first song up. It conjured echoes of both Michael Jackson and, yes, the Beatles. The recording was professional, the arrangements solid, and the musical parts and lead vocal quite good. I kept wondering who produced the song… Who were the musicians … Who wrote it? It could be released as it was. Anyone who could do this certainly didn’t need my help.
What I heard that day is pretty much what you hear on the record. Benza wrote it, sang it, played all the instruments, arranged, recorded, engineered and mixed it on his laptop. Really? I kept asking myself, Could Paul McCartney or Stevie Wonder have done this by themselves at 20?
Whatever Benza was doing, he was defying the trend of todays’ top selling artists. Many of the songs at the top of the charts are made with a virtual army of producers, arrangers, and outside songwriters – often without the participation of any real musicians. Benza was the exception, not the rule. For all the digital toys at his disposal, his approach was old school. His natural talent and unusual command of music craft made that possible.
But I still wasn’t sure what his niche was. The demos Benza gave me were all over the place. I couldn’t easily pigeon hole him. It worried me. Was he going to be R&B Pop or give me the Max Martin sampling stuff? Did he have any Blues or Rock in his veins… Was I looking at a piano player or guitarist.. Was that EDM I heard or Elton John? I wasn’t sure if I was looking at an introspective singer-songwriter or a dance groove master. Where did Benza see himself – because it all showed up in his demos.
George told me when he first listened to the Beatles early tapes, he kept trying to figure out who would be the lead guy. He was looking to fit the Beatles into an established mold. Who would be the “Elvis” or “Cliff Richard”. Then it struck him, why not take them as they were; just let them be them. This was the model I would apply to Benza’s songs. If they were good songs why did they have to be anything; just take them as they were – Risky perhaps if you want to succeed in today’s hyper conservative music industry, but necessary given his unusual originality and range.
It became clear early on in our sessions together that Benza’s musical sensibilities harkened back to the much less conservative times of the mid 60’s and ‘70’s. As trendy as he might be, he did not fit today’s pop music model. Standing on the shoulders of the music giants before him defined his music.
A Formally trained pianist, he is also a skilled guitarist. His roots are Jazz & Classical, and he knows his way around a piece of written music with the same ease as he is with Pro-Tools. The boundaries of Country, R&B, Rock, Blues, EDM, Pop, Jazz, Hip-Hop, Folk - even Classical, matter less to him. Traditional formats and genres are not so important to this young songwriter. Benza’s songwriting calculations don’t extend beyond the integrity of the song itself. What he might be is the future.
Benza’s a storyteller; a keen observer of life with lyrics that very much reflect his personality. “I want to live before I die…” and “I’m a lucky soul dancing in chaos…” come from the track, Before I Die. “You live forever in the moments you love…” anchor the song Ruby. The blistering social satire of Cool Kids repeats the line; “Your likes are equal to your value…”, while Zuma offers classic Benza perspective; “Paradise is a state of mind…”
The recipe for good music is quite simple. The three ingredients are melody, harmony, and rhythm. Every song you have ever heard, or will ever hear, comes from just that. If you are a songwriter you have to come up with a wholly original song that has never been heard before using the 12 notes we have. That’s all there is!
Sir George Martin always said a great song is about the melody. If you can hum it, or the tune keeps rattling around in your head, you might have a hit. Musically, it’s that simple. Unless you can write a good melody, you haven’t got much. What Benza has is a remarkable knack for tuneful melodies.
The difference between good music and bad music is not just a matter of opinion. There is a recipe. Good music can be marketed and promoted, but successful marketing and promotion doesn’t mean the music is good. Adding to that, the music business today is not so much in the business of making music anymore.
Format, genre, and era aside, what Bob Dylan, Louis Armstrong, Caruso, George Gershwin, Leadbelly, Frank Sinatra, Bessie Smith, Elton John, Miles Davis, Joni Mitchell, Brian Wilson, and Johnny Cash have in common is their musicianship. They were all gifted musicians. You can’t say that about most of the biggest pop stars today. They are, as likely as not, mostly entertainers and merchandisers.
Political correctness suggests times have changed and therefore what music is has changed and, if your not on board, your out of touch. But great music is always about more than entertainment. It is, after all, the only common thread and universal language that binds us together regardless of race, nationality, age or income. It is a craft. Sometimes it can be art.
Sure, a culture of hype and money has always been there, but today it is a business as much about hedge funds, clothing lines, magazine covers, vodka, twitter, TV talent shows, dancing cardboard sharks at the Superbowl, as anything else. Measured almost exclusively by what’s hip, what we’re too often left with is little more than banal posturing posing as music talent. It’s worrisome because there has never been so much music talent out there. Much of today’s pop music is formulaic and programmed. Musicians have been replaced by computer generated digital “samples” and effects. Lacking much humanity, it becomes dispensable - even the music we like. Ironically, we may be right.
Are we really to believe there are no iconic music artists with the potential for cross generational appeal to be found anymore, just today’s entertainers and media stars ? Or, perhaps, have we just forgotten how to find and support them? In the litter of such a landscape where does that leave a new artist like Benza? Where does that leave us?
These are the thoughts I had to weigh before I could commit to working with Benza. While Long Time Comin’ hinted at great possibilities, I still didn’t know what Benza could do.
Most kids can’t read or write music. Some are great on computers but don’t know anything about the world of musicians. Some can’t sing. Some can only sing. How would he respond to the studio experience? Can he play his computer concoctions on an acoustic guitar or piano?
I decided to follow the approach George had used with the Beatles by having Benza play his songs for me with just an acoustic guitar or keyboard. Sometimes he would show up with ideas fleshed out on his laptop. He had a few good songs. One or two were very good. All of them needed work. What was most encouraging to me was that he was a skilled musician. He could jump between the guitar and keyboards fluidly. He had mastered the technology and had a good musical grasp of song structure and harmony. Grounded in both Jazz and classical music, he also spoke the language of EDM. What I didn’t know was if he was teachable. Was this it, or was I looking at a seed that just needed some water.
Your first studio experience can be quite intimidating. It is certainly an alien world fraught with creative tension, exhilaration and boredom. Artists with little experience in the studio, more often than not, are passive; leaving it to the session players and producer to direct them. You can get the job done, but at the end of the day the artist often has little to do with the creative or production process.
Hidden in the back of an old building on a Nashville side street we set to work at Direct Image Studios with Kenny Royster our co-producer & engineer. I imagined we might come away with a few demos. I wanted to throw Benza into the deep end of the pool to see if he would sink or swim.
Benza’s hopes and dreams exploded in those dark rooms. He took the lead and built his songs with complex harmonic sensibilities reminiscent of Brian Wilson.Under the tutelage of Kenny, one of Nashville’s best vocal coaches, his vocal performances were top notch. We fiddled a little with arrangements and words.
Whatever parts Benza himself didn’t play were picked up by Nick Buda on drums, Pat Buchanan, John Conley, Bobby Terry, and James Mitchell on guitars, Mike Rojas and Chris Nole on keyboards, Steve Mackey, Dave Coleman, and Tim Marks on bass. These Players we know from the recordings of Don Henley, Lionel Ritchie, Taylor Swift, Vince Gill, John Denver, Sheryl Crow, Hall & Oates, Bobby Brown, John Prine, Willie Nelson, John Fogerty, Stevie Nicks, Lynyrd Skynyrd, Hank Williams, Dolly Parton and more - artists who have collectively sold more than half a billion records!
What the studio experienced revealed about Benza was his willingness to trust the process. He gave himself over to something that was bigger than himself, and a collaborative space where things he might not have imagined could show up. That’s the way he is.
Given the state of affairs in the music industry today, I don’t know how successful Dancing in Chaos will be. I do know it is good. The musical references in the songs affirm for me Benza will be a link in the chain.
It is harder today than it was for the Beatles. George once commented to me that he didn’t think the Beatles would make it today. In the end, what Benza has most in common with the Beatles is his uncompromising commitment to his craft. You can’t find that with much assurance in the pop music landscape today.
If luck is where opportunity and perseverance collide, Benza has been very lucky. For him, it shows up as inspiration and gratitude. What George taught me, I’ve tried to pass on to him. It’s amazing what can happen if you take the time to plant the seed and sprinkle it with a little water. Nature does the rest.
I know there will be more to come from Benza and, as long as it does, there is hope today’s popular music can still be worth making.
Let’s see if anyone is listening….
Maxim Langstaff
February 13, 2022
Notes from the studio: A conversation with the Artist and Producer
Take A Chance with You
BENZA:
The best Crafted song I had written at the time and, perhaps, the song I am most proud of. I wrote the melody in 10 minutes, and the production flew together faster than I could figure out what was happening. I had lost faith in the idea of "love". I questioned whether romantic love was actually possible in our modern age, or if it was just a story from the past. I collected the words with the help of several sorry souls who had to put up with my investigation. I think love is here to help you grow. Also, its important to be deeply known by another spirit, and that seems to me like love too. Both can be found through friendship or family, but that’s a new song…
MAX:
Take A Chance With You reflected a confident songwriter; more complex parts and a very original arrangement. Benza came up with of all the parts on his own. We mapped out the arrangement and samples together in California before we arrived at the studio in Nashville. As clear as we were regarding the strength of the song, we weren’t sure how the musicians would tackle it. What would it sound like? We were excited to try lots of different things. Essentially, playing live behind Nick’s very musical drum parts, the whole thing came together in little more than one take- 5 minutes! Benza barely had time to finish his morning coffee and the session wrapped. If there was ever an example of the magic and alchemy of great musicians playing a great song together, and what they bring to the table that no sample can match, this is it. Sometimes real musicians can do things easier, faster, and better, than all the technology in the world. The session was as mesmerizing as it was fast. For a great pop song, at the end of the day, it is about the singer. Benza delivered what may be his best vocal performance; pure pop charisma.
Ruby
BENZA:
My best friend’s cousin was diagnosed with a rare and aggressive form of cancer at 16. She was a wonderful creative spirit. My friend asked me to write a song for her so I did. I grew close to Ruby through osmosis and the stories my friends told. The beaming ray of light that she was came through to me, and I sat down at the piano to write a song for her. The song flew out in one sitting, and I recorded it in my apartment the next day. As her conditioned worsened she only grew more at peace. She accepted the process with a grace unimaginable for some one facing the difficulties she faced. My friends and I made a music video for her and sent it to her.She was able to watch the video before she passed away.A year later I re-worked the song a little. I had grandiose visions of horns and a big angelic sound, but in the end we landed on a more intimate arrangement I think Ruby would have liked.
MAX:
Benza had this song kicking around for some time. For me, Ruby was like an uncut diamond. The challenge was getting Benza to let me guide him to a musical place outside his comfort zone; a real test for him. His lyrics were good, but hadn’t found a sharp enough expression. We simplified his ideas to an essence. The words are a bit more focused now but still hold powerful ideas. Ruby is a singer’s song. The vocal performance would have to be very strong to carry the story. My question was: could Benza sing it? So we went into a studio in Los Angeles to see what he could do. While the takes we got were not very good, it showed me what we needed to do. Benza is a very gifted piano player. Doodling in the studio you’re as likely to get a classical music concert as anything else. His command of Jazz structure is equally remarkable. But Ruby was different. It was a classic rock ballad; more Chuck Leavell than Debussy. In many ways it was a new world for Benza. After some effort we put the song aside.
I wasn’t sure Benza hadn’t written a song he couldn’t do. But I was haunted by Ruby. The song was a really good one and the simple lyrics quite powerful. One day I was going through songs in the car and it struck me. What Benza needed were world class musicians for whom the natural genre of the song was second nature. The pressure of familiarizing himself with a new style, and then playing it and singing it without a strong supporting cast would not work. More than any other song, Ruby – or perhaps Ruby, took us in a direction that led to this entire collection of recorded songs.
I called an old friend, Chris Nole, John Denver’s arranger and keyboard player, to help us find the right phrasing and arrangement. Chris would be able to help us find the authentic poignancy the song needed and could help Benza with some vocal phrasing. Chris knew this musical space. We spent a day exploring possibilities at his studio in Nashville before heading across town to record. I had spoken to Kenny Royster our engineer and co-producer about the challenge and he had booked some of Nashville’s finest players to support Benza. We worked out the final charts and let the band run with it. I set up an arrangement for the bridge which was longer than typical pop songs in order to open the song up and give it some of the magisterial picture we were looking for. I kept thinking of the Beatles Let it Be. John Conley’s soaring guitar solo pushes the song right through the roof. Well beyond his engineering skills, Kenny is one of the best vocal coaches in the business. He and Benza set to work and between us we were able to fill Ruby’s sails. The journey of this song was, for me, most gratifying. It could never have been realized without the extraordinary talents and contribution of everyone. Benza brought a willingness and humility to the process that was critical to our, and his, success. Vocally, I think it is one of his best performances. He reached for and arrived at a new level with this song. I have no doubt Ruby’s inspiration helped guide us.
Hurricane
BENZA:
This song came from my DJ days. I use to be a trip hop nut and I loved atmospheric grooves with stormy pads. This was a quick jolt of inspiration; the earliest piece of music that made it onto the album.
MAX:
Benza has enough great music bits loosely filed away on his laptop one could create a box set! Astonishing really. One day we were going through his old stuff and we stumbled upon Hurricane. He had forgotten about it. I was blown away by this little piece. For me, it was a whole new side of Benza I had not known. Hurricane, for all it’s modernity, hints at classical form. Great songcraft. I think, early on, I came to appreciate Benza’s compositional gifts most from this song. I really wanted people to hear it and pushed him to include it on our record. It may have been an old piece for him- for us, all brand new.
Kissed By an Angel
BENZA:
I sat down and tried not to think, not to write, just let the music come through. I wrote from my troubled teenage years, I let the angels that have shown up in life, speak, I wrote for the heartache people close to me were going through. “…kissed by an angel…”, that line came to me in a dream the night before. I woke up at 4:30 in the morning with the feeling I was being hugged by someone I couldn’t see. I had never felt so loved in my life.
MAX:
This is a wonderful composition and, by far, Benza’s best to that time. It has all the ingredients necessary to be a classic. I’m not sure Elton John wouldn’t have minded writing this. We tinkered with the lyrics and re-wrote words right up until Benza recorded his lead vocal. What didn’t change was the searing vulnerability of his story as conveyed by one of his best vocal performances. The band laid down their parts in an hour, providing a kind of glue and direction that lifted the song to another level. Nick Buda’s outstanding drum parts go places most drummers cannot imagine. We included the Pat Buchanan Hendrix inspired guitar bits and Mike Rojas’ Hammond organ to give the song it’s classic feel. And, just when we thought the song was done, Benza showed up with some brilliant pop harmonies that essentially created a hook within a hook that is impossible to resist. In the end, Kissed By An Angel very much came together of it’s own volition. It was one of the easiest songs to record. Among Benza’s peers, there is little in the pop music landscape today that can match this kind of substance. It is who he is.
Kenny Royster: Thoughts from behind the mixing board
Benza’s record was going to be a challenge because I knew we needed to fundamentally marry organic and electronic elements together in a way that would be unique and commercially competitive. Usually, you go in one direction or the other. Benza is unusual in that he straddles both worlds easily which helped ensure our success.
Benza was a songwriting singer that I wanted to try to help turn into a singer- songwriter. He has a very natural ,clear voice with considerable range. Our challenge was to open his mind to the possibilities new vocal techniques might offer in helping him magnify the emotion he wanted to capture in these recordings. We did it! For all of us, making this record was, and still is, a great adventure!
Even though I'm a heathen in transition I always thank God, first and foremost. To my wife Kim, thank you for the long hours you allowed me to be away. And to Max and Benza - so many thanks for such an awesome ride and a very special production.
MUSIC CREDITS: Dancing in Chaos
Executive Producer: Maxim Langstaff
All Songs Written By: Benza Maman
Except “Girlfriend” Benza Maman , Kenny Royster
Song Arrangements: Benza Maman , Maxim Langstaff
Except “Midnight Glow”, “Ruby”
“When I Had The Chance” Benza Maman , Kenny Royster, Maxim Langstaff
Producers Benza Maman , Maxim Langstaff
Mixing & Engineering: Kenny Royster
Except “Long Time Comin’” * Kenny Royster & Jon Mattox *
Recorded at: Direct Image Studios
Nashville TN.
Bright Orange Studios *
Reseda CA.
Digital Platform: Pro-Tools Black Lion XB, Modified HDX, Ableton 9, Logic X
Mastering: Bob Ludwig
Gateway Sound, Portland, ME.
The Band
Lead vocals: Benza
Harmony Vocals: Benza, Maxim Langstaff, Kenny Royster
Ghost Vocals: Benza
Acoustic Guitars: Benza, John Conley, Bobby Terry
Electric Guitars:
Benza, Pat Buchanan, John Conley, James Mitchell, . Kenny Royster, Bobby Terry
Piano: Benza, Chris Nole, Mike Rojas
Keyboards: Benza, Dave Coleman, Mike Rojas
Harpsichord, Organ,
Synthesizers
Bass: Benza, Dave Coleman, Steve Mackey, Tim Marks
Drums: Benza, Nick Buda.
Percussion: Benza, Nick Buda.
Music Programming: Benza, Dave Coleman, Daniel Simmons
TAKE A CHANCE WITH YOU 3:42
© 2021 ASCAP
Written by: Benza Maman
Arranged by: Maxim Langstaff, Benza Maman
Lead and Harmony vocals Benza
Electric guitars Pat Buchanan
Piano Mike Rojas
Keyboards, Benza
Bass Steve Mackey
Drums Nick Buda
Percussion Benza
Music Programming Benza Maman
RUBY 3:57
© 2021 ASCAP
Written by: Benza Maman
Arranged by: Maxim Langstaff, Benza Maman,
Kenny Royster
Lead and Harmony vocals Benza
Electric & Acoustic guitars John Conley
Piano Chris Nole
Bass Tim Marks
Drums Nick Buda
HURRICANE 2:35
© 2016 ASCAP
Written & Arranged by: Benza Maman
All Instruments & Music programming Benza
KISSED BY AN ANGEL 4:56
© 2021 ASCAP
Written by: Benza Maman
Arranged by Maxim Langstaff, Benza Maman
Lead and Harmony vocals Benza
Electric guitars Pat Buchanan
Piano & Organ (Hammond B3) Mike Rojas
Bass Steve Mackey
Drums Nick Buda
Thoughts and Comments
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