ifitbeyourwill Podcast
“ifitbeyourwill" Podcasts is on a mission to talk to amazing indie artists from around the world! Join us for cozy, conversational episodes where you'll hear from talented and charismatic singer-songwriters, bands from all walks of life talk about their musical process & journey. Let's celebrate being music lovers!
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ifitbeyourwill Podcast
ifitbeyourwill S05E21 • Hallelujah The Hills
What happens when a band decides to record not just one album, but a complete 52-song deck of cards? Ryan Walsh of Hallelujah the Hills takes us deep into his most ambitious creative undertaking yet.
"DECK" represents what Walsh calls "revenge creativity" – a defiant response to the pandemic that halted their momentum following their acclaimed 2019 album "I'm You." Rather than producing a standard follow-up, Walsh finally brought to life an idea he'd contemplated for two decades: creating a complete musical deck of cards with four distinct "suits" (albums) each containing thirteen songs.
The concept is brilliantly executed – Diamonds features polished, radio-friendly tracks; Clubs delivers faster, punkier "bangers"; Hearts showcases emotionally vulnerable material; while Spades explores experimental territory. Beyond the musical organization, Walsh designed custom artwork for each song, available as an actual playable card deck that fans can purchase alongside the music.
Most fascinating is how the project reimagines listener engagement in the streaming era. Walsh encourages fans to "shuffle the deck" by randomly selecting 13 songs to create unique playlists that statistically no one else will ever duplicate. This transforms passive consumption into something participatory and personal, giving listeners agency in how they experience this massive body of work.
The album features notable collaborations including Cassie Berman (Silver Jews) and Jeremy Gaudet (Kiwi Jr), reflecting Walsh's collaborative songwriting approach. As Hallelujah the Hills celebrates its 20th anniversary in November 2025, "DECK" stands as both an artistic milestone and a defiant statement against disposable music culture: "You work on something for two years. It gets attention for 48 hours and then everyone's on the next thing... we made this in defiance of that idea."
Listen to "DECK" when it releases this June and catch Hallelujah the Hills on tour across the Northeast as they share this extraordinary musical achievement with the world.
I'm alone.
Speaker 2:I'm in love. I can barely keep up. I thought I overdid it, but I guess I didn't do it enough welcome back everyone to another episode of viewer podcast.
Speaker 3:what a treat, people. What a treat. I am reaching down to denim, massachusetts, denim, from and I'm coming in from Dunham, quebec, from Dunham to Denham Bingo, I mean you can't get much better than that, Ryan.
Speaker 4:I'm about 500 yards from Denham. I'm technically in Boston, but Denham is. I can see it. I can see it.
Speaker 3:Then we're counting it because it matches up too nicely. That's where I grew up.
Speaker 4:Did you grow up in Dunham?
Speaker 3:Yes, I did, matches up too nice. That's where I grew up. Did you grow up in dunham? Yes, I did, I sure did. I mean I've moved since, but um, yeah, totally. It's a sleepy little beautiful country town. Um, love it. I love country life, but I love the city as well. Um, so I like to go back and forth from city to country, city to country, never too long at any one, because then, well, it just gets dull. So Ryan Walsh, from Massachusetts, is coming in Hallelujah to Hills, previous of the stairs singer-songwriter, author, filmmaker, just a creative individual who's going to come and shed some of that creativity all over us as we wrap up this week of some would say drudgery. Others would say let's just not talk about it and onward we move. So, ryan, thanks so much for hopping on here and joining me today. Thanks for having having me, chris.
Speaker 4:I really appreciate it.
Speaker 3:Oh, it's been such a pleasure. I've been listening to your music for a long time, starting with the Stairs, and some of your solo stuff too, Like some of those singles that you'd put out solo-wise are just great. And now Howlouya the Hills has been around for a long time. Your catalog is tremendous and we're going to get into this new record that's coming out in June called Deck. But before we start that, Ryan, I'd love to poke your brain a little bit about what were some of your tipping points in your career. Where things change suddenly. Where things change suddenly, you know, when we have these chance encounters or you know, something happens. It kind of changes our direction a little bit. Can you share any of those with us about your music and like where it kind of like started to be like hey, this is something I might like to do.
Speaker 2:Hmm.
Speaker 4:It's interesting. In hindsight you can always put those moments, you can identify those moments, but in reality it's just like endless long periods of drudgery where you suck and suck, and suck and then you suck a little less and then you're getting a little less sucky than that, but I mean some. Um, you know, one thing that I've been thinking about a lot is, you know, when we started the hills it's what we now think of as like the blog explosion where there was so much writing about music and some of these blogs were being weighted as heavily as like rolling stone or pitch. You know, you've got some write-ups on these music blogs, as we did, and it led to like four label offers, and so I was thinking about how unique that period was and interesting, and so that was definitely a turning point, because to start a new band and instantly have a little bit of a leg up and people interested was super exciting for us.
Speaker 3:Yeah, what was that leg up like? What was that interest coming in? What did they offer? That was like holy shit. Money Like money and studio time, I imagine, and time for you to record.
Speaker 4:Yeah, money and studio time, I imagine, and like well, I mean for you to record, and yeah, I mean it's always been about money for uh production costs or travel costs. Really, I mean, you know, um, it's so difficult to uh turn any creative endeavor into your living. One thing I think that has led to the longevity of this band is we said let's not worry about that and we'll take it seriously, we'll work very hard on it, but, um, let's, let's put most of what we earn into making more cool stuff. So that's kind of always been our policy and so, you know, I remember getting that um check from miz records and turning around and buying a tour band, because I think Corey Brown literally said what do you need? To be more of a real band? And I said a tour band. And so that was a good moment.
Speaker 3:That's cool. And what was it that sparked that initial connection with the label? Because it's hard to get, I mean, I imagine nowadays even more so, but I mean, even back then it was, it wasn't not every band was getting offered a label, um contract, like how did how did that come to be, that that connection, that collaboration you had?
Speaker 4:I don't, you know it's. It's kind of a mystery to me. You start putting stuff out and you call yourself a name and then you get some write-ups and if enough of that happens, it's either people reacting purely to the music, which I think is pretty rare, or it's a combination of reacting to the music and perceiving there's some kind of excitement around your band or your songs or whatever.
Speaker 3:So in that moment, um, I don't know, people uh were interested and and it's a better question for the people who offered us a record I think I guess you can't read their minds but your sense of it, like so the stairs kind of ended and then did the hill start up right away, or is there a transition period where you were putting out your own stuff, I think under your name, or was it right into?
Speaker 4:the hills, it was pretty right into the hills. I remember we played the last stair show in New York in like July, played the last air show in new york in like july, and on the drive home me and the drummer, who were the ones staying, said how can we, let's, let's figure this out. Uh, what's the next band? And by august we were rehearsing. So you know, the the releases under my name or other names were scattered in there and weren't related to that small gap. But, um, you know, the stairs toiled in complete obscurity until like the last six months and then people took notice of us and that was fun and and that got eric and I thinking like let's try to build on this momentum and and just reform with a different name as soon as we can.
Speaker 3:So absolutely and did you? Did you guys want to have a different personality than the stairs? I mean, I imagine when you're starting up something new, you want it to feel new. Yeah Well, what in your songwriting did things change in your mindset of how you were going to approach a hallelujah the Hills?
Speaker 4:I think so I mean, I think I'm always changing is like most humans are, especially if you're interested in in changing or like growing and um, but also it was you know it was suddenly going to be. I was the primary songwriter, which I had never had that position. So, um, I I just felt I had control of the narrative in a way, like the the thing thing with the stairs, evan and I, evan Sikoranza and I, you know kind of 50, 50 with Rob and Lee, or popping in with one or two here and there, and then so, and then you know just a different lineup and and, uh, yeah, I wanted it to be different and it just naturally was. It was different people and I had a little more confidence, I think.
Speaker 3:Right, and what was your initial approach to songwriting with the Hills? Like, did your process change much from how you were writing songs prior to that, or did it morph a little bit? Or did you want to approach it in a different way, like your process of putting songs together? Was there a lot of shifting that went on in between that transition?
Speaker 4:I don't think so, because I remember there was one batch of demos that could have been stair songs but then ended up as hill song. So, okay, as far as like how I wrote, I think that stayed pretty similar. But as soon as we started rehearsing, I thought, oh, let me, you know, I'm thinking like, oh, there's trumpet and cello, now let me, maybe we write. Uh, thinking of that in in mind, but, um, you know, I can't remember if I made this up after the fact or if it was real, but you, the original lineup of the band was every instrument on strawberry fields forever, which is one of my favorite songs of all time, but you got the cello, the trumpet, the synthesizer, the. You know, I think that was a hook I made up after the fact. Though, who are the nice people we know in Boston who played instruments, who would be cool to be in a band with?
Speaker 3:Amazing. And was that, too, like the idea that you wanted a variety of instrumentation involved, like it wasn't going to be just, you know, your standard guitar, bass, drum, vocal. Like you wanted more stuff in there.
Speaker 4:Yeah, I thought that would. That would be A be an interesting thing to try and B would instantly set it apart for better or worse. And you know there were. Sometimes I wonder you know, what would it have been like if I had done a power tree or something. But you know, who knows? I'm glad we did it this way. I'm glad we did it this way. But a funny thing is that you know we'll get to it in a bit, but On Deck features almost all of the stairs as guests and all of the primary singers in the stairs sing their own song on deck. So in a beautiful way it was kind of full circle and working with all those old friends again and it was a very nice thing.
Speaker 3:That's cool. So I imagine that your collaboration I mean always was a part of how you wanted to go about creating songs and making records. Is that having people come in and the participation kind of this open idea where you would want lots of different thoughts and ideas in. Um, I guess I'm trying to get at, is, when you brought a song in, did you have an idea of what you wanted the sound to be or were you very here's what I have. What do you guys think try stuff out like? How was your approach when you were bringing these songs to your collaborators?
Speaker 4:Oh, it's always the latter, it's. It's always I'm more interested in what they are going to think and think to bring to it, because it's always surprising to me and it's it's like the, the arranging that we all do together is like another layer of writing. I think of it and it's. Songs, I think are going to be slow, end up real fast and fast. Songs end up slow or sparser, or dancer, um, that's, that's one of my favorite parts is bringing in new songs to see what the rest of the band will do with it, because, um, so much happens right then and you, um, and there are times when it's a slog and it's like, yeah, we're trying this, we're trying that, but there's when it's working for everybody and everyone really latches onto the song right away. Those like 30 minutes, initial 30 minutes, are magic well, that's cool we're like oh my god, I like that.
Speaker 3:Oh, that's good, do that a bit like, pull that out a bit more. Oh yeah, yeah exactly.
Speaker 4:But you know, I yeah, I try to be very open-minded and democratic. I'm the opposite of brian wilson, you know I was. I always admire that, but I just I, a, I couldn't do it, and b, um, b, it's more interesting the other way, but then again, yeah, but then again, um well, we'll get into it later, but that, that changed a little bit on deck, I guess right, right, um, and like, how do you know when a song is there, like when it's ready to come into the, to the shared space and for you to show it or let others listen to it and have their input?
Speaker 3:What's the feeling you have, or that you get, that this is something that I will push forward, rather than, you know, tossing it aside and saying I'll just shelve that for a later date? What's the feel that you get from your songs when you know you're onto something?
Speaker 4:I think it's when I when I want to listen to the demo over and over that's a great sign and when I feel good about it. If I feel, well, I used to wonder if I feel embarrassed about this song, that means it's bad. But then I threw that idea out. I was like that's probably wrong. You know, that might be the better songs, because I'm you know, I feel like I'm exposing something or risking something. So it's just a. It's just a song by song basis and I can tell if the band likes it pretty quickly. They're so polite and they will try things for a while, but I know you everyone I think can tell pretty quickly whether it's going to work or not.
Speaker 3:Like it comes together pretty quickly like the idea is.
Speaker 4:There's a plethora of ideas.
Speaker 3:Yeah yeah, great, that's wicked. So do you ever get into a state where you're like I don't know what to write anymore? Like I just think about the mass amounts that you've written and your book? Throw that in there too? You know Astral Weeks, A Secret History of 1968.
Speaker 3:I mean, you're prolific in your writing of songs and of literary Like what happens when you kind of hit that wall of like I'm done, I'm empty, I got nothing, like do you ever get to that state where it's like a struggle for you to to sit down and and try to write a song? And if that's the case, what do you do to kind of contour that, to deal with it?
Speaker 4:there are times when, uh, I was told, like you have to make room for inspiration and and so, like I try to sit down even if I don't feel like it. But you know, sometimes there's stuff where nothing comes or nothing interesting comes, but I never think of that as a failure. I don't know, I've never. You know, one of my heroes is bob pollard, so I was raised up believing that I think. What does he say? Writers block those for pussies or something. I would put her a little nicer, but, uh, I don't know that I'm.
Speaker 4:I've come to learn that maybe one of my big assets in life is that I'm endlessly curious and I really want to know how people work and how institutions work and how things work and cultures and scenes, and so if you keep your curiosity cooking, I do think there's no bottom of the well of what you can write about. So, and then, with this project especially, you know, setting out to write 52 songs, I thought if I brought one in a week I couldn't lose. You know, that would keep me on pace. And then, once I told myself and the world that we were doing this, suddenly the flood goats just opened more than usual, and at the end. I almost couldn't stop it. I was right. You know we cut songs.
Speaker 3:Yeah, because it was like you put out. I'm you in 2019, yes, and we're here, 2025. Now, like, how long has dex been kind of in the works? How long have you been, um, you know, dabbling around in it to it coming out in june?
Speaker 4:well, the weird thing is I, I think I've had this idea for 20 years, I think, during the stairs, I would, you know, probably after a few beers, and it should be like a dead car. You know, I had the big idea and every couple of years I would blather about it. But you know, after COVID they talked about something called revenge spending. Did you hear that term? Revenge spending, where people were like going on vacations because they lost all this time.
Speaker 3:Okay, right.
Speaker 4:Okay, and I feel like Dec is our expression of revenge, creativity, where it's like we did Because I'm you, was so well received and the tour was just starting in March of 2020. And all these good things were happening and we were sidelined, and I was sad, but so was the world, and so, you know, we were all sidelined but, um, something about, uh, yeah it. Just when we came out of it, I said, well, why don't I put my money where my mouth is, and that idea I've been talking about for 20 years, let's actually do do it. And I thought maybe the band would say, yeah, maybe not. And they were like, yes, so then I had no more excuses and then we were off to the races.
Speaker 3:So that's how it went, the concept album. I love the idea that it's a deck of cards and each of the records represents one of the icons of a deck of cards clubs, diamonds, spades, etc. Um are, are the? Are the records um themed like, yeah, is it a theme for? And can you expand on that a bit like what's the difference between the four records? That well, the four songs. Uh, not four songs, but four themes. I guess that embody the 52 songs.
Speaker 4:Well, there's the four suits of the deck of cards, yep, and they each have their own sort of signature sound and themes on those records. But also we built it so that it could also be shuffled, because we want people to pull random 13 songs, make that playlist and that's kind of theirs. Statistically speaking, you're the only person to ever pull that order ever. So we thought that was pretty appealing. But you know, diamonds is sort of like you know what we thought was like the most polished follow-up to I'm you like the real well, diamonds I mean, I'm right, it's going to get pretty thought was like the most polished follow-up to I'm you like the real vault diamonds I mean, I'm, it's gonna get pretty cheesy here in a second see what I'm doing and and so that was sort of like the marquee songs we felt we had. That would have been just the follow-up to I'm you if we just did that.
Speaker 4:But then clubs became this kind of thing where it was like the faster, punkier, anthemic bangers and the kind of songs we would play in clubs. Tell me when you've got it. And then we actually the studio was a club that we recorded basics for that, a club, uh, that we recorded basics for that. And then hearts um is this is sparser, um, and you know more emotional, bare, uh, heart on the sleeve kind of thing, and some of those are really sparse. You know, um, it's hearts wouldn't exist if we were just making one record. You know, that's what was interesting to me about, about this process.
Speaker 4:it forced us to make these things we never would have made right and then having those themes in your head, like sticking true to the the soup exactly, yeah, so we, you know we're writing, we're on that might be end up in spades, and you know. And then spades, the final one is sort of you know, spades is a shovel and so we're digging and uh, it's kind of experiments and the weirder ones and also sort of like tying up a lot of loose ends that we've introduced through the other ones into, hopefully, some kind of satisfying conclusion Interesting, and you threw a couple of jokers in there as well.
Speaker 3:There were two jokers, yes, and I imagine those are singles.
Speaker 4:Well.
Speaker 1:I mean it's an.
Speaker 4:EP of two songs.
Speaker 3:We'll find out sooner enough.
Speaker 4:actually we will. Yeah, we'll all find out sooner enough. Amazing amazing. Actually we will. Yeah, we'll all find out sooner or not. Amazing, amazing.
Speaker 3:And what is your? What is your feel now? Kind of looking back over these 52 songs, like I'm sure you've just been inundated with listening to them over and over, and the minutiae that happens when you're putting a record out, putting a record out, how do you kind of like, if you kind of pull back a little bit, how do you feel about this creative process that you've gone through and this new record that you're about to share with the world?
Speaker 4:oh, I, um I feel a lot of big emotions and complex, uh, but just really kind of grateful and psyched. I mean psyched that we did it, grateful that just all these incredible people are in my life, that we all work together to make this thing. Um, you know, diamonds was the first one finished. I've never sat on a record this long. That was finished a couple years ago. This whole process was about two and a half years ago. I've never sat on a finished record and not released it for this long. So that's a wild feeling. By the time I'm improving Masters for Spades, diamond sounded like old news to me, but no one's even heard it at all. So that was a strange feeling. It'll come to me Well, so that was a strange feeling.
Speaker 3:Yeah, yeah. Well, I mean it. Just just the idea too, that having these records ready to go and like wanting to I imagine you want to like when you put all that effort and energy in the journey and like you want it out there in the ether so that people you know react to it and listen to it.
Speaker 4:You know it's hard to. It's hard to get anyone to blink an eye at you about anything you make in the current culture, and so you know one aspect of this was well, people will have to. I assume people might slow down because this is so crazy.
Speaker 4:Someone would do this or so audacious, or whatever you want to say. It was that. And then there's also the thing where I wanted to uh approximate or prove, you know, like back in the 70s in the in the label system, you know, you make two records that sold nothing and then the label would be like, well, do you want the philharmonic string section on your next record? Like you would get a bigger budget, like there was artist development and there was money to make these big, ambitious things. And my question was this is could I approximate that ambition and that grandness just by, you know, with the small little cult band we are, but just giving it this obsessive attention and the hardcore fans helping us pay for it all with the patreon? And just I was just trying to figure out, could it be done? And um, and I think we did it, you know it's, it's here.
Speaker 3:I see it on bandcamp, that's for sure. I mean it it's. I love the design of it too, like do you do most of your album work? Uh, ryan, is that I do? Really love the design of it too. Do you do most of your album work, ryan? Is that I do? I really love the aesthetic of your record.
Speaker 4:I love design and collage. The last one, 2019's I'm you, is a very old painting, so that one, no, but the other one's yes. And not only did I do the cover art, you know, I designed 52 cards, because each song has a card that you know ties to the actual song. I'm going to share something with you. Wow, that's so cool. I love it.
Speaker 3:So you know 52 covers of your own making. They all seem different too, like similar aesthetic Little collages. All seem different too.
Speaker 4:Like similar aesthetic, or drawings or artwork.
Speaker 3:Amazing.
Speaker 4:And so you'll one of the formats. You can buy an actual deck of cards. That are those cards.
Speaker 3:Amazing, Cool, and I know that you collaborated a lot and one of the collaborations, Cassie Berman, was popped out at me and great song fake flowers at sunset. Great song Fake Flowers at Sunset. How did that collaboration begin between you and Cassie?
Speaker 4:if you don't mind me asking Sure Well, founding co-founding member, joe Merritt, bass player. Briefly, other instruments, but mostly bass. His sister is Cassie, okay, but mostly bass. Uh, his sister is cassie okay. And when joe and I first met I didn't know that and I had weirdly already started this kind of pen pal friendship with david berman, and so when that we all learned that everyone went what? Oh, wow, wow, anyways. Uh, you know, they're uh, cassie's just the best. And you know we toured with the Silver Jews back in the 00s and on our second album, colonial Drones, she sang a duet with me.
Speaker 3:It's called Classic Tapes and so so this is the first collaboration that you've done. You've worked together before she sang on.
Speaker 4:Yeah, she sang on one other song of ours a long time ago. But she sang on. Yeah, she sang on one other song of ours a long time ago. Um, but she sings on two here on diamonds both of them are in diamonds and um, yeah, I just love her voice yeah, what a.
Speaker 3:What a chance connection too, like, wow, like, plus with the stairs, I don't you know for listeners out there. Um, ryan and the stairs put out the unnatural bridge, which was the cover of natural bridge from start to finish, which is such a great I mean, I don't know how many times I've listened to that record, but really oh god, I love it like wow. I mean that was one of my favorite silver jews. Record that their second real full record, studio record.
Speaker 3:Just I think I burnt that cd out just from overplaying, and then yours opened up all these new doors which I just so good you know, in hindsight I think I probably made it to impress david, where he would be friends with me, and it worked.
Speaker 4:What a great idea, though, I handed it to him at a poetry reading in Amherst Massachusetts and he signed my copy of actual air Jesus Christ. I can't believe it, cause he was. He was astounded, anyone?
Speaker 3:would do this. You know, right, right, I mean, what an endeavor. And that was kind of your last with the stairs, your last full release that you guys put out, or were there others that came out after that that?
Speaker 4:was definitely before. Yeah, the final thing is on sleep lab, which is the kind of the second full-length album that came out no five amazing.
Speaker 3:Well so, ryan, as we kind of wrap up here again, thanks so much for this. Um, I've so enjoyed talking with you Um, great stories, great storyteller, um which I've heard that you are, and obviously, if you're writing so prolifically, you're great at storytelling. What, what can we look forward to in 2025? So the record comes out in June and are you, do you hit the road after the record hits, hits the ground, or what? What can we look forward to in 2025 from Hallelujah the Hills?
Speaker 4:Well, yeah, as much live shows as we can, as we can do, I mean, the week after it comes out. We're in Providence, rhode Island and, of course, boston mass for the hometown release show, and then we'll do New York, ph Island, and, of course, boston Mass for the hometown release show, and then we'll do New York, philly, baltimore in July, and we'll just kind of keep getting out when we can to cities nearby that are drivable. We'd love to go wider, but we'll see. Some of it depends on all these variables you can't predict at this point. But in November it depends on all these variables you can't predict at this point, but in november it'll be 20 years of this band and so, uh, which is astounding, and um, we'll probably we'll play, we'll certainly play a show to commemorate that and uh, you know, just hopefully I've I'd love to make a bunch of videos for all these songs and um, and, and talk to people about it and have fun with it.
Speaker 4:You know, it's me, it's, it's meant to be a thing you play with or get messy with, and and I tried, we tried to make something that's just like not disposable or not. You know, this world is crazy. You work on something for two years. It gets attention for 48 hours a week and then just everyone's on the next thing and that is likely what will happen here. I get it, but we made it in defiance of that idea being, uh, the definite outcome. So, um, you know, I was so honored and touched about how people reacted to I'm you and still do, they say you know the most touching crazy stuff about it and it just means the world to me and the band and it just gave us all this confidence to go bigger. And here we are.
Speaker 3:It's amazing. I love, love, too, what you said about that getting getting the listener involved in the process to an extent because they can create. I love that idea of creating your own playlist, like yeah, wow, you know, well, you know, I love that everyone, all musicians, complain about streaming, including me, because there's so much to complain about.
Speaker 4:A lot of it's garbage. But I was trying to think what is the? What is the benefit, what is the good thing? That that I could not complain about, and it is the easy, endless playlist capabilities. So the fact you know leverage, leveraging that to say, you know, make every day you could make a different version of deck, pull 13 cards, make that playlist, and so you know, trying to turn these negatives into working to your advantage just a little bit. Yeah, absolutely One thing we strive for.
Speaker 3:I love it. I love it. Well, I wish you all the best. With deck, I mean so far, with the four songs that are out that we're able to listen to. It's just. I can't wait. The three that you have that are on, let me get it right, I don't on Diamonds, wow, yes, like those three singles are so good and I like the banger too on Diamonds. On Clubs I mean what a banging song that is.
Speaker 4:It's so fun Now now, chris, do you know who else is on clubs? I gotta bring it back to yep janitor. Here jeremy gadet from kiwi junior sings lead on a song called I'm your palindrome on clubs cool.
Speaker 3:Well, I love kiwi junior, they're great. Yes, so good, awesome. Well, I I hope that you come find your way back up here north. I mean, we're just a spit across the border from you, ish, and we'll let you go back to the states too. We won't try to like send you to a gulag or anything.
Speaker 4:I just got to know we're joking, truly too. So we don't cry because it is. It's just unbelievable Sometimes. It's going on right now.
Speaker 3:Disgusting, but your music is a great cure and remedy for all this chaos because it does bring such joy. So thank you for putting this, these, these records out, your music, out your books, your films just such a creative person. I just I'm in awe of you really, Ryan, and I appreciate so much you taking time and sharing some of your stories and your journey with us today.
Speaker 4:Chris, truly Thanks a million. That was very, very kind, thank you.
Speaker 3:Real pleasure, thank you guitar solo.
Speaker 2:I love you like a human being does. I love you beyond repair. I love you inside out and falling. So, daughters, please beware. I wonder where all of the time goes Looking. It's not there. We waste our time keeping track of time. We know that time don't care. We know that time don't care. Fake flowers at sunset cause earthquakes, don't apologize. Rivers never tell. The lies, wind, it never stops and cries. But I do, thank you. I'm going to go get some food. Four, three, two, one, all right, all right, all right. Take flowers at sunset because earthquakes don't apologize and rivers never tell the lies, the wind.
Speaker 1:It never stops and cries, but I do ¶¶.
Speaker 2:So I love you like a human being does.
Speaker 1:I love you beyond repair. I love you inside out and far away. So, goddess, please beware, so goddess, please beware, so, goddess, please beware. So Dallas, please beware, so Dallas, please beware, so Dallas, please beware.
