The Sound of Gold with guest Christopher Maloney

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0:51 Hi, welcome to the Sound of Gold. It's good to have you back, and I'm excited to be here. As always, Welcome to the Sound of Goals. Our focus is on music, musicians, music teachers, music schools, music venues, and anything that has to do with music. I'm here in my home studio at my piano, and we are in the second season of The Sound of Gold, and in the season I probably will mention this other shows. Stay tuned towards the end of the show. I have a little bit of a surprise of playing a little bit more for you than I have in the first season. So I'm excited about that. But even more so, I am so excited about having the guests that I have to welcome today.

1:41 And not only is this person a dear friend, a fabulous musician, and gosh, there's so many there's I believe we are each a tree with many branches. And this guest that I've invited to join with us today is not only did in one or two ways, but he is this tree with many branches. And I would like to welcome my dear friend, Christopher Maloney. Oh my gosh, what am I doing here? Hi, Christopher? I was having lunch with some friends. And how long here on the screen? What happened? I feel like Mike TV from Holy WALKA.

2:26 Welcome, welcome, it's been I was trying. I was thinking of it before our call today. And we have to know each other over ten years. I don't even know how long we know each other. I think it was fifty years we served together in the Ford administration. Those were some while times, you know, seventy six to eighty. I remember, Well, it's yep, it's definitely been a while. Yes, it has been, and I have I don't know if you can see I know from my viewers, my audience viewers, you can see us. And then for my listeners, I have my cat sitting on my bench and she's the grandma of my group, and so she's just shedding everywhere, So it's like floating in the air here.

3:12 But you know that the term shedding is kind of interesting with the music show because shedding is, as you know, a term for a period of intense practicing. So if I'm like, all bad, I've been shedding on this song for like two weeks. So your cat is just continuing on with the whole music thing. Oh yeah, she's all about it, all about it. So Christopher, I know. I remember Absolute Music Studios in Jupiter, Florida. You and your wife were the presidents of that school and such a huge influence here in Jupiter and Florida and all southern Florida. And you were in Florida out you're in Portugal. And not only did you make an impact here and influence so many students, so many performers, even to the point of getting or or supporting them on the Voice. We have some friends in common that have been on the Voice. Not only have you made your impact here, you're making an impact in Portugal. And you are not only a musician, a singer, songwriter, was or studio owner. I mean, I can keep going on and on. I did some more research. You were you were backstage pass you. You know, you have albums, you've recorded,

4:42 You've just recorded a new album. Do you I have a question, do you ever get to sleep at all? Yeah? Usually when I'm driving, really great, really great opportunity to catch up on some z's. You know, I have a couple of meals. Fortunately I don't drive anymore, uh, because I don't need to hear. But yeah, I spent my time between between my old and Jupiter and kind a place here in Portugal. And yeah, it's a blessing and curse because there's a lot of great things to do. There's a lot of fun things to do. There's a lot of things I really want to do. Pardon me, I have a little tickle my throat which is not going away, No worries, Sorry about that, radio viewers. But but the curses, you know, when when do you have time to do it all?

5:31 True? True, you've done so much you just well, let's start with now. You've just recently finished an album called Lost and Found. And for those of you that want to listen to Christopher's recent work, it's on YouTube Boston Found Christopher Maloney. Yeah, we we, we did. There's eleven songs on the record, so every song got its own music video that we recorded, and there was a couple there were more performance based, so we actually also released performance only versions of those where I'm playing all the instruments and yep. So the music videos are on YouTube and then my three solo albums.

6:18 You can find them wherever wherever people's stream music. Okay, now I have a question for you. I got to review some of your I mean, I know you, but I re reviewed some of your work and I watched some of the videos listen to a lot of the lyrics, and I don't know, maybe you can elaborate on this. Loston found. I got the sense from some of the lyrics. And again I'm not there with you, and I'm not a part of the lyrics, but I'm what I'm understanding is that the lyrics are really telling me you've gone through this transformation, this transformation and it as a writer, I'm gonna kind of go zig As a writer, I've written work before, songs or books, and you know, it's really very healthy to take this like introverted route tom speaking for myself for healing, and I know, like some of the books I've written has really helped me in that way. So with that being said, going back to you and your album Lost and Found, what can you tell us what transpired, like what inspired you to share what you did and why.

7:31 That's a great question. I appreciate you asking it. I mean, the first two solo albums I did, and they were, you know, twenty years ago. They were very transformational periods of my life, very challenging periods, and I thought there were very therapeutic albums, and people who listened to it found a lot of emotional depths in those. But in all honesty, Lost and Found had been written over about a ten year period in time where I really wasn't creating a lot of new music, and although a lot of the lyrics did come come later, as they usually do with me, but I will say that the album, because the first two albums are are definitely conceptual albums.

8:15 They literally tell a story or there is a an intentional common thread, and I was kind of bumm that lyrically this album wasn't going to do it. But as the song's progressed and as the subject matter came, and as I was putting the lyrics together, I did absolutely notice the common thread. And you're absolutely right it's transformational. Every song has some sort of of either transformation or a recognition of grace, you know, either seeing someone else's grace and wanting to aspire to that, or you know, being in the middle. You know, I'm not the man I used to be. I'm not the man I'm gonna be, So I just sit here in the middle, lost and found.

8:58 You know. That's like and every song, as I looked at it after the fact, was about some form of grace, appreciating some place you want to be, giving yourself forgiveness, wanting to extend grace to people you don't really want to give it to. So it was all there. But it was interesting. It was never unlike the first two records. It was not intentional at all. So it was kind of a cool like byproduct of compiling. Maybe it was just the fact that the lyric writing did come together in a shorter period of time than the music did because I had you know, a lot of these songs were sort of like if you listen to the record, a lot of the musical bits were recorded six years ago, seven years ago, but the vocals obviously were all recorded just last year. And then of course there were a couple of songs where the lyrics weren't done, you know, so it was like I wait to the last minute, and so yeah, I think that it could have been that sort of similar mind space. But yeah, I am glad that looking back, it's like, yeah, it's there. Is that that proponent of grace And I appreciate you you recognizing that. It's always cool when someone creates something for someone else to recognize and you're like.

10:16 All right, right now, you had mentioned I read some of your posts today as well, not that I haven't seen him before, but it really hit home. You were sitting at a bar, you're in Portugal, you're having a beer, You're hearing this song, and then you're like, oh, wait a minute, I wrote that song. That's yeah, that was that was that was yeah, that was That was surreal. That was really strange. And it wasn't a song that was a single. It was a very deep album track. And it's funny. I didn't hear the song up until the bridge. So the bridge is an instrumental. It's kind of a progressive rock thing, and so I didn't hear the first two verses, first two yeah We're my or I'm singing but so that was the weird part of it too, Like, wait a minute, I don't know how many beers I am, but I think it was just the first one. So I can't believe it on that. But that was a very cool thing, and it did. It did bring me back to you know again your your great point about lyrics and writing and trying to heal yourself and transformation. You know, that album came out in two thousand and two. It was written around two thousand and one, very challenging time. If the two thousand and two me saw the twenty twenty sixth well at the time of twenty twenty five me, I think he would have been like, Okay, we got through this. I think we got through this. If the twenty twenty five met saw the guy a quarter of a century ago, guy would have put his arm right. Look, man,

11:49 he got more to go through. But here we are. We got through it. We get through everything, and let's just let's just again just try to extend that race. Sure, sure, thank you so, Christopher. A lot of my listeners are maybe into music, or thinking about getting involved in music, or maybe afraid to take that step or that skip with that in mind, I've come to terms. Maybe maybe it's an age thing. I don't know, but value is not about how much money you have in the bank. Value is about what you invest in yourself and how you how you bring that forward and be creative.

12:33 You are one of the most successful people I know. You are one of the most valued friends. Well you're my friend anyway. But you put so much time and energy into your talent and into your your craft. Can you give our listeners, whether they're watching or listening, you could you share with us kind of what your journey's been like up to now, and there's so much maybe you could just kind of ate us through it. Oh, well said, Well said Lisa, And I'm gonna I'm gonna have to hire you as my is my hype man. And for that, that's very kind words of you for you to say. You know, basically, I just played because I wanted to place thirteen years old MTV. You know, it was big at the time. I got to see people playing Oh bass. Bass is my primary instrument, it always will be, and and I just got excited about it.

13:27 And I already i'd already quit two instruments. You know, I tried to recorder and I quit. I tried the drums and I quit, And so there was no blueprint about me, you know, doing this ever, And it was just I found the instrument that spoke to me. It's a strange instrument bass guitar. You know, it's on pianos, not singing, it's not guitar. It's not even drums, you know. Ooh, you know fun with this. You know, it's bass. It's weird. It's like playing the bassoon, you know, like what is this thing? And uh, but it just spoke to me. And I think that's lesson. Number one for your viewers is that if you did not have success with learning music at one point, you may have chosen the wrong instrument.

14:12 It's probably good to try a few others. Second thing is that maybe it wasn't the right time for you. You know, I quit twice. My parents wouldn't even buy me a bass guitar. I had to buy my own two of them, the first two in my own paper root money. So you know, I have a lot of adult students, and I've talked to a lot of adults, and they always lament, God, I wish I did this sooner. Oh. I quit when I was this, and I always tell them the same thing. Your time is not so whenever you come to your instrument, whenever you find it, whenever you decide to work hard on it and commit to it, that's the perfect time. And I appreciate you talking about talent, but I don't have talent. I don't. It was really just making a decision of I'm gonna work hard at this.

15:09 And when I decided to move to LA and not be in a band but to be a session musician, I knew I had to be able to do anything anyone asked, and so I really committed myself to building, you know, my skills as high as I could. And then as I started learning other instruments, guitar and piano and starting to sing, oh, I was horrible at all of that, and I didn't start that stuff till my twenties. But I had the success of building up my bas skills. And so when I sucked at guitar, when I sucked at piano, when I sucked at saying, it was like no you, yeah you do. You're not good, but you weren't good at base and now you are at a very high level, so you're not good at this. You're not good at that, so just apply yourself and be patients, practice, persist patience. Those are the three things and that's always really important to remember.

16:09 That's awesome and it's a great discipline, and the discipline as a music teacher myself and a performer, and I mean this is music is my life. I mean I have family too, but you know, music is in my veins as as it is with you, and it's it's a consistency, and you know, I think, I don't know, maybe you can relate to this. When I was growing up, I always thought, oh, you know, let's like like a child, we we do something, really we get bored, we go on to something else. But I found that the more you're consistent with something and grow on that, you you nurture, the the education you nurture, the the commitment you nurture, the the focus, and it helps you in so many different areas of your life.

16:59 And said, I think I think success breeds success. And you know this as well as anyone. You know. It's like I always when when I teach lessons, I took a four year break from doing it because after Absolute Music and we started Practice Warriors, I needed a break. I had been teaching in some capacity for like thirty five years, and so it's nice to take that time off and I'm actually getting back into it. And I always tell people, you know, just think about something that you were not good at, but fishing, skating, public speaking, building a house, you know, whatever. But we all have our own skills, accounting, I mean, whatever it is, and just just look back at what you how you were then and how you are now in the incremental steps and then thats apply that grace to you and be gentle with yourself during this process. And remember or that every great musician that you hear has gone through exactly what you're going through. Now. Nobody rolled out of bed and could shred on the guitar, you know. And even the great singers, they they all train. One of my good buddies, Ken Stacy. Ken's a great singer. He's singing.

18:22 He's the lead singer of Ambrosia for about ten years. He was Michael Jackson's backup singer when he you know, for this is in tour when he when he died, and you know, he's worked with Elton John all these people. Well, Ken has been Kenny Logan's vocal coach for the last five year. Kenny Logins like this guy since nineteen seventy he's got one of the best voices in pop and he's still taking lessons to this day. So just I'm like, wow, okay, I just sort of thought, you know, you just had a gift. But even the best folks are always looking to grow, develop, and sometimes maintain well, you know, especially when it comes to voice. So just just realize that.

19:10 Just throw away the word talent and just go all right, Like you said, I want to apply myself and I've been successful in one thing, so I will just be patient with this other thing. And you know, try to try to measure growth in long periods of time. So if you take like three or four lessons, that's a fool's errand commit yourself to a minimum of like three to six months. Yeah, and that's where as you you know, that's where you're going to start to see big, big growth. And it's huge to be patient with yourself. And even I tell my students and I personally still take lessons after forty five years of playing, I still take lessons because there's always as a musician, there's always something more to learn. There's always a different respective, there's always maybe that these are a little bit metaphors for life in general.

20:05 You know, there's there's always something to be better at. There's always something. I had Avery Summers on my show last week and I was saying, you know, it's almost like we are our own greatest competition. It's always like we got to up up the ante, like we have to up the last show, the last performance, and it's really not so much for the audience, but it's for ourselves because the more we have to give, the greater. It's not success, it's the greater I would say accomplishment. But I feel like the greater we can give to our audience, the greater, the greater we can share our gifts with the audience. Yeah. I think that's a great way to put Lisa. I mean, it's it's really you just you just want to do what you want to do. You know, you want to have the facility to to write the way you want to write, and to play the way you want to play, and to to share it with people. And and you you mentioned something earlier that I thought was really really cool that you know, when you when you can apply yourself and build skills musically, you do start to think like if I could do that, what else can I do?

21:19 What else can I apply myself towards? If I can make a stick with some strings sound good, or a box with some keys, you know, like sound good? That isn't can I really kind of do anything? I mean, all I gotta do is practice and be consistent with it, and persist in my practicing and be patient and so yeah, I mean I've done all you mentioned backstage past, which is yeah, that's a dip into the past. That was a TV pilot I shot and my friend Glenn Hughes, the former bass player and singer with a deep purple was was my guest. And you know, I I saw it inside their studio thought it was a great show, right, And I thought, why do we have anything like this for musicians? And I thought, okay, well, I teach at this school. I've got these camera facilities. It was there in Hollywood, California. I know these people, and so we shot that pilot. I had no knowledge of video editor, I had no idea how to do any of it.

22:24 I just had the idea and I just did it. And I remember when we shot, I think we had like three cameras. I had like a janky camera of my own, getting like the audience shots, and so then I got like all this footage and I didn't know how to edit it. So I took a lesson and I hired a UCLA film student or something, and we got together for like two hours and I said, show me how to put this together, and he did, and then I and there you go. And so then after I did that, I'm like, well, geez, I'm in one of these bands. I think we can do a concert DVD. So more skills, we think that thing. We sell it all over the world. So it's like you get these ideas in your mind, you just go, well, I wanted I want to do it. So whether it's I want to play this kind of a song, but I'm not good enough to do it, well, let me build those skills.

23:21 Oh I have an idea to write a book. You've written two books for what I know, so like, oh, well, let me see how to do it. So it's it's again coming back to what you said. Life is all about learning and life is all about growing. And I think people who say you know, well kind of figured it all out it's a it's a drug because you're kind of missing out in some good things. Yes, you have to mention to our audience Practice Warriors. You have some great interviews on there presently and some great lessons to really to really get involved with and follow along with. I haven't. I still get emails. I think I do, or I did for a while. I get I get so many emails now. But yes, so for our listeners, Practice Warriors, yeah, you just there.

24:13 Practice Warriors came about because it was one of these things of like dealing with so many students, and I had always dealt with professional students, like like folks who were in like a top music school they were going to go on to play with. Uh you know some of my students thirty seconds to Mars Jay z Rihanna litz Fair. Those guys are motivating, they're ready to rock. But then when I started working with hobbyists and people who just wanted to do it for fun, I noticed a similarity in their what we've been talking about this great conversation, their lack of motivation, inspiration, you know, their negative associations with what they were able to do. So I basically created a class to teach people how to practice, how do you actually practice, what do you practice? Worry do you practice? Why do you practice? How long should you practice? And so yeah, I developed a masterclass at practice warriors dot com. And then to make it a little more interesting, I interviewed all these different musicians and people who have music careers and basically just said, what did you do when you were upset about your planning?

25:27 What did you do when you felt like you weren't getting better? So I think it's a nice little place for musicians to come learn great practice strategies, get inspired. And yeah, it was a really great thing to put together. Now I want to ask you. I don't know, we're probably going to have to have another show, but for you, okay, you record, you just recorded another album. You perform. I don't know what Porsch feels like. I haven't been there, but you have performed on stage, You've been to LA, You've you've gotten in that arena. How what can you share with their audience to say how. Do you do that?

26:07 Like? How do you do you just show up and be like hey, I'm I'm you know, going to sing and play here? I mean, can you give us an in on how we go about doing that. Oh that's a great question. I guess it just depends on what you do. You know, when I was younger, I was a bass player, and so I basically needed a band. So I would, you know, find bands through high school connections. My private teachers knew, you know, their students. When I went to college, there was a whole plethora of people to play with. But then when I decided, Okay, I'm going to be a musician full time, I moved to Los Angeles and I decided and I went to music school there, Musicians Institute, and so for there it was a lot of networking, meeting people, letting people know I was available. People would hire me to play in their bands. I had some projects, but I was really like a gun for hire. That's what I wanted to do.

27:07 So I did that. I when I was in LA for almost twenty years, and yeah, SO did that and taught as well. You know what I what at that time, maybe seven years into it, I wanted to put out my own records and sing and sing, and so what I did is I I had a little pa. So I went to a local bar that like a a total dive bar, and I said, what's your worst night? They said, Monday night is terrible. I go, great, I'm gonna come in and sing every Monday night for two hours. And I did. I did that for for three months, and that really helped get my my uh my skills together.

27:50 And then I just going around to all these open mic nights to do like, oh I could warm up doing two hours, but how do I sound if I just have one song and I have a crap pa or you know whatever. So you know, for that instance, I almost had to go back words because I had already you know, tour to play with all these people, and now I'm doing like open mics. But I recognize that that was like training. I was like going back for training. And so you know, when I when I you know, when I come here to Portugal, it's you know, I got to meet some local jazz musicians. Those are the ones I met first, and I played jazz for for many years, and so they're like, well, come and play with us and do this and that. So right now I don't do a lot of life playing. I just finished this record and now I'm doing some uh some music for Discovery Network. Some of the shows there so it's really great. It's very, very challenging, but it's it.

28:53 But it's lonely too, you know. It's it's always important to try to get out, play with people, play for people. So it is a good balance. I'm not altogether sure I answered your question is the way the way you attended, but I hope it helps. So look, if whatever you do, you just got to find avenues to do it. If you want to sing songs, there's open mic nights, jam nights. If you play drugs or bass or any other rhythm section instrument, you got to find a band. You know, you just got to get out there. Talk to local music teachers, private music teachers. They're a great source. Yes, I agree, And just get out there. And the only person that limits us is ourselves. So you know as well as I do. We've had students that, oh, yeah, I'd like to play piano, but I gave it up when I was a kid. Yeah I can't do that.

29:42 Yes you can. It's just a matter of making the commitment, sticking to it, and having the discipline to practice and put the time in. And you know what there is I've learned, and I also teach this with practicing. It can be very frustrating when we don't know live in this microwave society, this Amazon dot com. I want it like in the middle of the night, you know. Package. The greatest gift being a musician, I'll speak for myself, is that the more focus and the more time I put into playing a piece I'm playing a piece actually that's not my own, it really helps me focus and makes me. It branches off, as I said earlier, branches off into different areas of my life because I'm more direct.

30:30 I'm more like on on key so and then playing my own stuff. Then it's uh, you know this too. When you're a musician, you have grown in your craft. You get in the zone. And when you're in the zone, that's not really something you can explain. You just go there and you play, and it's almost a gift you give yourself. But you have to start with the foundations. Yeah, and I think you know you've You've been alluding to this a few times. Is you gotta have the faith that your effort's gonna equal reward. I think that's the biggest challenge. If people could only see themselves six months in advance and where they would be and what they would be able to do. You know, they would be like, Oh, that's how good I'm gonna be. Shoot, I'm gonna you know, I'm gonna practice twice as hard.

31:23 It's that disc It's like, you know, you're three weeks into it and your fingers are still not independent on the keyboard, or you're blowing into the horn you sound like a suicidal duck, or your fingers are still earning the guitar, you know, and it's like you just you just never think it's gonna work for you. And then you start saying all that bs about oh I don't have talent. Oh it's not for me. I'm not skilled. I got a tenier, I have sausage fingers, you know, all these things about your deficiencies. It's like, no, you will get better. I know you don't see it now, but you will. And then as soon as you do it, six months goes by. Then, like you're saying, then you get in the zone and you're like, holy cow, because this happens a lot. Someone will be playing something and they'll be doing a good job, and I'll go, you know, like a month ago, you couldn't play that. You thought that was hard and they go, well, no, it's not hard, it's easy. I'm like, well, a month ago it was hard, and now you're saying it's easy. So is it EASi or hard? And they're like, well, I thought it was hard, but I guess it's easy. And I go, well, how about the fact that it wasn't hard or easy because it didn't change. All that it was is that it was unfamiliar. You worked on it, it became more familiar, so you thought it was hard. And so basically, anything that you think is hard is just something you need to be more familiar with. When you get more familiar with it,

32:54 then you can do it. Absolutely, absolutely and the greatest gift that any musician can give themselves. And if you are thinking about starting to play an instrument, you are considered a musician. So when you apply yourself, remember we're human beings. Our greatest I guess well, I don't know how to say, I don't know what would be the right word for this, but limitation, judgment, expectations, put them in like, dispose of them, get rid of them, because those are the three that will stop you from progressing. It's not fair to say, oh, I'm going to know this song in three months, and give yourself that limitation, you know, when you sit and you practice. I've heard and I do this too. Go in with a childlike mine, like, don't expect yourself, like be open to the magic of what you can create because being a musician, as I tell my young students, you're also a magician because the more you connect with the instrument, you'll be amazed at what you're able to create.

34:04 Yeah, one hundred percent. And I'm definitely trademarking the term musician. And uh no, you didn't say it, but you would have owed me a quarter if you did. But you're absolutely right, and there is there is a great balance between goal setting because that is important, you know, and you say, I'm going to get this done in three weeks. But if you don't, then why didn't you? So maybe that was an unrealistic expectation. Maybe you understand you thought you underestimated the challenge of it, or you just didn't apply yourself or things came up. So I think again, extending that grace. You know, Okay, here's here's my goal.

34:47 I didn't achieve it. Why didn't I achieve it? Okay, then let's adjust it, and then let's start to build realistic goals that will that will push us in a positive way, but noth you know, make us feel bad about, you know, what we're doing. We always just want to try to stay as positive as possible because practicing and self improvement, whether it's physical you know, like physical exercise or mental well being or anything, it requires work and effort. So you want to try to make there's no getting your own deck, you know, so you want to just make it as joyful or as pleasant of an experience as possible.

35:30 Absolutely, absolutely, And on that note, and we're getting close to our closing up for today. But I've recently used this with my older students and I said, okay, like give me an idea, like what what recently had to be fixed in your house. And they'll say, okay, the shower. Okay, So you hire some people that come in, they say, all right, yeah, my taking it six weeks to get it done, But then it ends up taking two months because you just stuff, stuff comes up, or stuff is realized or or you know, parts need to be ordered. So look at like practicing music as if like you're working on parts that need to be fixed and that's kind of like the practicing of it and not it doesn't always have to be a performance. The fun is is the practice.

36:17 Well, if you can, if you can do that, like if you can, if you can make practicing fun, if you can you know, joyfully struggle. You know all I've played this twelve times. I have to play it twenty thousand more. You know what I mean. But if you can be joyful about it. And again, a lot of it has to do with faith that if I put in this time, it will it will happen for me. And I think that if you again, I just wish we had a time machine. And that's why I'm sure you do this with your students. You know, they say this is kicking my butt, I'm motivated, and you go, yeah, but this other thing kicked your butt and you achieved it, so you you already know how to be successful at this.

37:02 This is just your new challenge. And so you know, if you fix the shower at eight weeks it took eight weeks, If it took four, great, all right, we're at a schedule. But you know it takes what it takes and just let it happen. Awesome, awesome, Well, thank you so much, Christopher for being on our show today. Christopher Maloney music educator on Facebook and we can also find you on YouTube and practice Warriors And in closing you mentioned it. You brought it up behind the after studio with mister Lipton. One of the questions that I always loved was when you get to the pearly gates at the end of your life, what would what would what would you say?

37:48 What would I say? Well? What would I say? Or what do I think he's going to say to me? Well? Well, okay, what what do you want to go with? I'm good with what you want to go with? What do you think he would say to you? I would hope that I would be told what is it like? Five words? Right? I think it would be you did it right? Kid? Nice? Right? Kid? Yeah, I think that would be I think that'd be good. I'd be happy with that. Okay, that's great. Well, Christopher, thank you so much for being on our show today. I'd love to have you back another time. There's so much more that we could share and inspire our audience with when it comes to music and education, and in the meantime, be safe, be well, and rock on.

38:36 That sounds great, Lisa, this was awesome and of course it's always great to see you, so thanks so much for having me on, and I hope hope the listeners enjoyed it as well. I'll look look forward to hearing your play too. Thank you, thank you. So we'll sit back and enjoy for my audiences. Whether you're watching TV or listening. If you're driving, do not close your eyes. But if you're in a space and a place at home or wherever, in a place where it's safe and you can relax, close your eyes. It's a Monday evening here in Florida, it's a later Monday evening in Portugal, and wherever you are in the world, doesn't really matter what time of day it is. Just relax and I'm going to play a little bit for you all. M If you're just

41:47 logging on, we have a few minutes left. I am composing in the moment. They called me the instinct composer thanks to Gary frost Uh and I am playing energy that I feel and wherever I go and I get to do this, I get to pick up energy that I feel in the room, and so it's never the same and that's kind of cool. Well, I hope you tune in next week to find out who our guests will be. I'm not telling, but today I've had an amazing guests, mister Christopher Maloney ugure.

43:48 But thank you, thank you, thank you nice, thank you, and. Thank you again Christopher for being here. Any last minute words you'd like to share with our listeners. I think that was pretty balding of you to sit there and improvise live on the spot. That is for those viewers there, that is not for the faint of heart, sit there and literally spontaneously compose, and that was great.

44:33 I was actually going to ask you if that was because I know you do. You do this a lot live. Uh. I was gonna ask you, like, those are really cool chords you had going on there, so I was wondering if it was a prepared piece. So so kudos to you. As far as last minute things, I don't know. I think the most important thing for your for your listeners is you know anyone can can make music, and anyone can make music hard of their lives. You don't need tailing, you don't need any special skills, you don't need a magic formula. If there was a potion, I would have made it I would have had it take a lot of money. So uh, you know, it's just just have the desire to do it, find a good teacher like Lisa, and just move move forward. Anyone can do it.

45:23 Yes, thank you, thank you, so true true. And to answer your question, I compose in the moment. Like I said, Gary Frost caused me the instat composer, So I just kind of go into that zone and I play. I play what I feel and and the more I do it I could. I played for like three years straight. I was playing for audiences around the world, and it just goes where it goes. Well, I will I will now publicly profess my love for Gary Frost is a true bit about town. And uh, it doesn't surprise me. He gave me, he gave you such a clever moniker as the as as that.

46:06 So well done, well, thank you, and he worked with you, and so he's a branch from your tree, a fallen branch, great guy, Yes, yes he is so well. Thanks again, Christopher. We're just about out of time for real, and uh and I will see you on the other side, but we're not there yet. But yeah, yeah, no, we've got it.