Spirit Speaks: Message From God

A very interesting conversation with master composer and arranger, Stephen Melillo, about his beautiful and inspiring piece, Deceduto. We also talk about the Golden mean,and how it works in music. The pieces are on teh album In teh Hands of God. I include the piece of music at the end.

Transcript

A big aloha and welcome.

I'm Cindy Palos here today with a man who I just adore,

Who was such an important part of In the Hands of God.

Actually was a lot of the inspiration that carried the soul of In the Hands of God and that's Stephen Malillo.

Maestro,

Maestro from Stormworks Studio.

How are you,

Stephen?

Good.

How are you?

Good to see your studio there.

I just love the energy you have there.

You,

If people haven't known about you,

I mean you just love creating.

You've done over a thousand,

I think 1,

200 pieces that you've created.

As of today,

1,

268.

1,

268.

I mean I think that is a part,

I think it's in your whole system,

In your blood.

You just seem to thrive on creating,

Which is a major blessing for me.

Because when I turn to you to do the orchestrations for the pieces that Father Corral and Eden did,

You understood them beautifully.

We kind of had started with the song In the Hands of God and then you had created this amazing instrumental that really,

Really,

Really rang true in my soul to me,

Which was called Deshedudo.

And I found it,

You sent it to me and I listened and I listened.

I must have listened to that piece in one week,

Probably about 50 times.

And I still listen on a regular basis to Deshedudo.

And what I captured in that feeling of that song was that there was a mystery.

There was this descending of the Spirit,

The Holy Spirit in a way,

And it was calling.

And in a way when it was calling,

It was calling me to let something open up.

Something like the doors to heaven to open up.

And what happens when you're right at that launch point.

So that song was very,

Very,

Very important to me.

And I know it's been part of a larger group of haikus.

You've been doing,

I'd never heard of the term of a musical haiku before I met you,

Stephen.

So maybe you can explain where the idea of these musical haikus came from and a little bit about Deshedudo.

So,

Well,

For me,

A musical haiku is just a short piece,

But because I've always been involved in like Oriental culture.

Like one of,

So my first year of college,

I was a physics major,

But I was an Oriental philosophy minor.

And I've always been connected to through the martial art,

You know,

The philosophy like the Tao Te Ching and so on and so forth.

So the musical haiku to me was just a short expression,

Like a normal word that a musician would use would be the word prelude.

It's sort of,

It's their sort of preludes,

But for me,

They were more poetic in the intended message of them.

And so I said,

Well,

They're like a haiku except they're musical.

So they're musical haikus.

So that's really where that term came from.

That goes all the way back to maybe 1976 or 77 when I started doing these things.

So another aspect of the musical haiku is that they're almost,

They're rhapsodic in some way.

Like for instance,

I wrote a piece called Pilot's Question.

So this is the question that Too Bad Father wasn't on right now.

This is the question that Punch's Pilot asked Jesus,

What is truth?

So what I did for this musical haiku,

And again,

This is going way back.

So this is like,

You know,

In the 80s when,

You know,

They just started with MIDI and they just started with,

You know,

Synthesized keyboards and that sort of thing.

And my goal was to turn on a clock and to give myself a predetermined amount of time,

Which in that piece was five minutes.

And essentially in a rhapsodic sort of way,

Improvised this piece called Pilot's Question.

So if,

And I had like instruments set up in advance,

So if I needed to make a change,

I would hit a sustain pedal and then make a patch change and then come back and play again.

So that I had between the strings and a gong and maybe like a Middle Eastern type of instrument,

I had everything that I wanted orchestration wise and then I would create these pieces.

So then from there that evolved to,

Basically I was always aiming at 333.

So if a piece was 333,

It was going to be a musical haiku.

Of course,

You know,

Of course they can go longer and they can be shorter.

So,

Deciduto,

Which is the Italian word for deceased,

Was a musical haiku.

I'm looking at,

Believe it or not,

33 songs in this one album that I just finished,

Deciduto is part of it.

It's two hours and 11 minutes of music,

And there's 33 pieces in there.

So let's see if you can hear a little bit in the background as I'm speaking.

You know,

I had forgotten that you had told me Deciduto is deceased.

Yeah,

When I do this,

Can you hear the piece playing in the background?

Yeah,

I can hear it,

Yeah.

Okay,

So I can score myself.

I'll just lower it though a little bit.

Drops of notes just kind of coming in there to that,

Again,

That rhapsodic,

And I love that term rhapsodic,

That rhapsodic music that you created.

And again,

Prelude,

That's a prelude as well,

Right?

That sound is a prelude.

Yeah,

Well some composers might call it a prelude.

You know,

It all depends on the composer,

The time period of course.

But,

You know,

For me they were always,

Well,

Like this.

It's like,

It's a musical haiku,

I don't know how else to say it.

It's a little expression of connecting in a poetic way to the universe.

You know,

And I know it sounds a little bit corny.

Exactly,

You couldn't describe it better.

That is exactly the feeling I get when I listen to this connecting to the universe.

It's almost like a little tap,

Tap,

Tap on your shoulder in the beginning.

Like,

Hello,

The bird will call you in the morning.

And someone's tapping on your window.

And there's this like this energy and then,

Then talk about rhapsodic,

Then you bring in the strings.

And I have to say in a way those strings remind me of what happens when you listen to that beautiful theme song from Out of Africa,

When they were flying over the Farihos,

That little plane.

You know that scene where they look down and the flamingo?

No,

But that's good.

I like to be compared to John Barry.

I'll take it.

Thank you.

And he has that same sound when he brings in that,

Almost that same key when you bring in the violins,

Da da,

And his notes on flying over that is just what he uses.

And you have to go listen to the soundtrack for Out of Africa.

Yeah,

It's cool.

Because again,

There you're taking off,

You know,

And then it sings to me so beautifully.

And even as you take off in this beautiful song,

You feel like something's opening,

But then you take it to the end of the musical haiku.

And you still feel like then that's another jumping off place to something else magical happening.

But you don't know quite what.

And that's why it's beautiful that you call it deceased because I think in a way,

You might be really capturing what happens when you leave your body,

Soar off into heaven,

And then what,

Right?

Right.

I think that's a part of the idea of the title,

Right?

Because a lot of people will think of deceased as terminated.

It's over.

You know,

I also wrote another piece called Descent into Heaven.

Now,

Normally we think of ascent into heaven,

Right?

I wrote a piece called Descent into Heaven.

And sometimes you have to fall into this,

The question.

That's another piece on my CD,

By the way,

The question.

So you fall into these things and you listen and you respond.

What is it that needs to be expressed?

You know,

For me,

When I get a message,

What am I supposed to share?

It's always hope.

Share hope.

Share something that's good.

Because the world's already filled with enough darkness.

See,

It's all connected.

That even leads back to my Fourth Symphony.

The title of the Fourth Symphony,

Which was premiered in Canton,

Ohio,

With the Canton,

Ohio Orchestra,

Is Light Fall.

And I explained to the audience,

You know,

I said,

You know,

We think of nightfall.

We always think of,

When we think of these things,

We always think of darkness,

You know,

Falling upon us.

But this is light falling upon us.

Light fall.

So these are the kind of things that are all over these 1268 pieces.

Well,

I'm so glad there's going to be 30 in this new one,

Two hours worth of music just about.

I mean,

Are you going to do it as a double?

Are you going to put it on a CD at all?

Yeah.

So this is,

So I did the gray.

And see,

What is the gray?

Well,

The gray is when you look up at the sky and you can't see the stars and you can't see the moon and you can't see the sunrise and you can't see the sunset.

Because there's clouds in front of this,

Right?

But the reality is there are stars and there is a sunrise and there is these things.

We are just,

We are in an illusion.

We are seeing a veil,

A kind of an illusion.

And so that's the gray.

So now there's going to be the gray two and three combined.

Because like I said,

It's two hours and 11 minutes and it's all pieces,

You know,

After the fall.

Deshedudo,

Even before I met you,

Gethsemane,

Oh see,

Father would love being on,

I dreamed of love.

In the blessing of smoke,

A question,

The learned astronomer.

This is like Walt Whitman's poem.

A lullaby,

A dad sings to his child.

A father is singing or a parent is singing to his child who's at war.

And he's using the Brahms lullaby,

It's my arrangement of it.

I can't help but thinking there also when you say a father singing to his child,

We want to reflect the father in God singing also to his children,

Us.

Oh,

That's all the time.

That's all the time.

Yeah,

Right,

That's all the time.

And when I listen to your music,

I get transported to those really heavenly places where you do that.

And it was interesting at a young age,

I had this enlightenment experience where I left my body,

And I left the planet.

And when I look down on the planet from a higher state,

Found a union with God,

I could see the whole planet in that gray,

I could see the whole planet surrounded with that gray and couldn't help but think if light could come in,

If light could break away that illusion,

And people could see the beauty of the love and the light that's present.

What a wonderful thing and thinking that again this is the grand design to understand that God is that light and that love that breaks through the gray so your music holds a huge huge huge impact.

And I resonate so well with it I just love it and we made an unusual decision,

Because the rest of the pieces on in the hands of God or pieces that father wrote,

Father corrupt event even.

And with your beautiful orchestrations but I really did make an exception,

Ask you if we could include on they should do though,

In this because it did feel like it was a starting off point for a lot of what I was trying to express and it carried.

And at one point,

I asked if I could put words to it and you said,

No,

I prefer not.

And I'm glad you said that and I honored that because again,

Here we are trying to describe it sometimes music says so much and listening to music,

I have written many words and and they should do though does have so much impact it carries even without words that you can go beyond the words to hear this.

And I think this is a very interesting story,

Which was,

And it was like you went,

Oh,

I don't know,

It was message from God.

And it was so interesting because this was not like the other pieces in fact you know it's funny father wrote some of these pieces to my words and I didn't really get to hear them.

But I heard the pieces I never heard until you did the orchestration of it Stephen.

I really had no idea until I heard your orchestration what was written with this.

So it was a major surprise is like,

Wow,

This is totally different than what the other pieces were like it's rather rapid it's up it's joyful and it wasn't what I expected at all,

Because the rest of pieces are,

You know,

Not necessarily rhapsodic but they're introverted in a way,

Or almost like hymns.

The other pieces that father wrote are more like hymns.

And this was like,

Sort of like the contemporary Christian thing like,

Like,

Okay so okay this is a confession time so when I go to church right and,

And they do the,

They do the kind of songs and the tambourine things going on in them and everything like that.

I basically shut down.

Yeah,

You know,

Because I sort of grew up with,

You know,

Like the traditional hymns,

You know with the Oregon,

And so on so forth that you hear,

And all of the father's like that.

But this one piece was like,

It was,

It was different.

And so what's interesting would be if people could have heard the first version.

And then what a transmogrified into right so no words we kept some of that,

You know,

Boom,

Boom,

Boom,

Boom,

Boom,

Let me sort of kept that whole little thing.

Yeah,

Right.

But then it then it totally changes,

And then it becomes something completely different.

And that,

And you know that's because you gave me that license and you said,

Because I said,

Can we can we try something different.

And,

And I think it's better,

Because it's not as repetitive,

And it's suddenly it literally it just takes you to a place you didn't think you were going to go.

And then you're there.

And that's the message of God.

So the words go and message from God,

This is what I gave father before I knew what the music was going to say is call upon your faith and believe that it's time to gather up your strength.

Join the servants of the Lord divine shine the light to show the love that you truly are long has been the road that has brought you here.

So lay down all your burdens and your fears.

You're now for I am always here,

Bringing in the I am that I am.

I am in the breath of the spirit,

And the breaking of the done,

I am here with you as promised.

I'd be with you when this journey had begun.

I am always here,

I am always here to help you to forgive hope to lead you,

And to fulfill the ancient promise given to you when you pray,

So that God's will can be done today forever more forever more.

And,

And,

And again,

Is so interesting because when I first heard I went well why did you expect it to be like that.

But then when we talked.

I had.

There was a little bit of instrumentation and orchestration you put in there that that.

Wow,

This could be the elbow like in in your martinis.

The elbow in the mission,

You know,

Because I always love that right so there's this kind of oval that's like the soul that you put in that comes in and and and it's and it's like this other voice in between those words that are actually this that I feel like it's the soul speaking.

And it's coming in from a higher source and goes more and more like,

Okay,

I am here you know you get your tongue,

I am here.

And that then becomes the voice of God,

Which I wrote as a separate piece and I,

I wanted to get in there but we weren't sure how we would do that so it was an interesting morphing of just the instrumentation of this other entire.

I wonder what you call them,

The more lyrical voice that you put between the rather da da da da da da and message.

But there was another line of music you created,

Which leads up to the end,

What would you call that other lyrical line,

A counterpoint.

Yes.

To be technical.

They see what's interesting and do with very interesting about what you just did.

So,

Let's say you lined up three composers.

Right.

And you did just what you did there,

Which I have never heard,

By the way,

Until just now on this session.

And you got a little frozen there for a second.

It can happen we can get frozen.

I think you'll come back but I'm going to read the words that I wrote for you while you unfreeze hopefully.

The interweave that I wrote for you was,

I'm here beside you,

Living in the presence.

Had I been the composer,

It would have been completely different musically for instance,

When you read that.

When you read that you accented the word ancient.

You were talking about an ancient voice.

Well,

That one adjective would have triggered an entire different kind of an orchestration for me,

I would have,

I would have created something that sounded like it was coming way from the past.

So,

And then what I would have asked you to do,

Because I wouldn't ever.

Again,

This is all personal and subjective.

I wouldn't have that be a song.

I would say,

Cindy just say these words,

The way you want to say them.

And we'll make that a voice.

And now the orchestra becomes the counterpoint to that speaking.

So it's sort of like a film score in a way where you speaking the words is the given,

That's the film.

And then the scoring of the,

Of that.

Right.

And it would be you see you,

You would find me writing music more like deta doo doo,

Maybe,

Except orchestrated differently with so that it would sound primal,

It would sound like it was coming from the past.

So that's what's interesting,

Right?

You know,

You took you could talk about inspiration and,

You know,

The vibes that you get and so on and so forth.

There,

There are an interesting combination of subjective and eternal,

Right?

I mean,

There's like,

There's certain,

Like a composer who's really,

Really writing and is void of,

You know,

All these considerations like ego market,

Just get rid of all that stuff and a composer is really responding to things is a combination of very subjective,

Right?

Because that's like a prayer.

I mean,

You're the one saying the prayer,

But it's also very objective because,

Because you're listening to what you're asked to write.

And so that,

That sort of yin and yang,

Right?

That that becomes the piece.

Well,

And I'm so glad you brought that up because there's a cross right?

And you once told me about something I'd never heard of before,

Steven,

I'm very grateful because I learned so much from you.

But in your music,

You do create this feeling a lot of times with your horns because you are a horn player.

And you create this kind of the horns as a way of like hot that fast point of going to understanding that cross where you get free sometimes I hear it in dish a doodle and many of your pieces where you're going to bring in the horns just before you're about to turn into the next thing it hurls you use your horns to herald something coming,

And you often understand that that struggle of spirit and form by that point,

You told me about this thing that was I'd never heard of before,

Which is part of the starts of that,

What to start,

F I L that point there,

They're in between with this essential core of a song is often described as that,

And you told me that is an interesting point that's achieved in certain songs.

And I'm,

I'm struggling here because I can't remember the term that is are we talking about the are we talking about the golden mean or.

Yes.

Yes.

Okay.

And I have never known about that but you seem to understand how to use that beautifully in your music and and it's expressed in everything like burns and lots of paintings and.

And what do you again call that.

Well,

The golden mean and the Fibonacci series are related so Bach wrote everything in the Fibonacci series,

And all of the storm works music that I compose is in the Fibonacci series so in other words,

Just,

You know,

To make a very very simple point of it.

If you have an eight bar phrase.

Right.

Most people will write foreign for.

I mean that's what you hear like in pop music and so on and so forth.

So Bach and me too,

Will not go for for it will go three and five,

Because three and five are numbers in the Fibonacci series now it still goes to eight,

But we're doing it in this different way.

And these relationships,

Create golden means like if you went five to three to get to the eight,

You'd have,

You'd have an arch that took you to a certain point.

And you'd have to give you the golden mean,

Roughly two thirds of a piece.

Now,

Who did this to,

You know,

Beethoven model or Mozart,

I mean,

Everybody that you can think of,

Who was aware of this mathematical order in things.

Sometimes like musicians they'll hear the word math and they'll instantly shut off and they don't realize the music is mathematics,

It is its frequency.

So you know you're talking about well,

In your words so we describe this a duty so you know that high frequency thing and,

And so on and so forth but really it's sort of a,

It's sort of numerical,

And I'm not taken away from it when I use that I'm just describing something in a different way.

Because as listeners,

We're feeling these sympathetic vibrations.

So,

The composer is doing things like at one side being completely aware of the physical side of things to engage this,

The parameters of physics,

Right.

And then on the other side completely spiritual,

So that there,

See that's what music really is music,

Music is like this,

This paradoxical,

But yet perfectly that's why you didn't get so good,

But perfectly blended paradox between the mind and the heart and the soul.

That's what music is,

You can't escape one or the other.

If one is,

If you just try to be emotional,

Right,

Well we won't listen to that music 250 years from now.

If Beethoven went on the,

Into a stage and screamed at the top of his lungs,

Look at the emotion that I have,

Right,

Would we listen to that piece 250 years from now,

But take that exact same scream and put it into the architecture of the Ninth Symphony,

And suddenly that scream lasts for eternity.

Wow,

Okay.

That's real music.

That's so powerful,

But my father was a structural engineer.

He built a lot of amazing homes and but he knew the structure because he wasn't just a man.

He was a designer but he was a structural engineer.

That is huge.

Higher calculus and he loved playing with that but then see when I went into that point beyond my body I went to a stage where there was nothing but geometrics and higher calculus and symbols.

That there's a level actually of,

There is a dimension of geometrics,

Which is very very very key.

And how beautiful that we can combine in music,

Those higher geometrics with the music of the spheres,

With what we have here with our emotions and feeling on earth.

And I think you really do this Stephen in a beautiful way like no one else I know.

I mean maybe Ennio,

Ennio Morcini and a few others,

You know,

But,

But it's so nice that you are and I have to circle around back to something you said,

Because I love this music so much I asked you to do in the hands of God as an instrumental that I could do a spoken word piece that I was going to say goodbye to my sister because this piece was dedicated to my sister who had passed away July 29.

And I wanted to have it in time for her birthday,

April 18,

Which magically it was done thank you God because there were some challenges,

The CD baby etc.

But the thing in this was when you did the instrumental version.

It brought me to tears it was so,

So beautiful and we have the song in the hands of God but you switched it up as the instrumental,

Because energy there that I didn't expect.

And it opened up another realm so fast forward to right after us getting in the hands of God out.

I said,

You know,

I really would like to see this done.

Just instrumentally as well because it touched me so much when I heard you do that version of in the hands of God instrumentally.

And I've been listening and listening and listening we have that done.

What happens now is there's only really like because I'm not including dish doo doo there's only like five or six songs.

It's very short and not long enough for an album so I've been thinking and thinking and meditating what to do.

And I said,

You know what,

I really would like to create some spoken word pieces that go with it.

And you just opened the door to that again saying if I were to do this with words you'd create pieces that would be in it in a different way which was always been my dream to have that happen.

But usually I do a spoken word piece and then I put it over some music.

So,

Yes.

Yeah,

That's that's actually going backwards.

See,

So,

So let me quickly tell you about Kurtwood Smith.

I asked him if he would read the soliloquy all of the lines from Moby Dick that Ahab speaks,

Because I had set them to music.

Now when I went to Los Angeles to record Kurtwood,

I didn't play the music that I had written.

It's 26 minutes of music.

I didn't play this music at all.

All I said to Kurtwood was,

Kurtwood,

Read these lines,

The way you would say them as an actor who is trying to make us feel what Ahab went through.

And there was a moment,

It was just him and me in that booth together,

And he did this one thing and he went 40 years ago.

And I was weeping when I was just a boy,

A harpineer.

And I was like,

Oh my God,

This guy with his voice took about an instrument.

He had the ability to make me cry just by the way he was choosing the words and accenting words and elongating words.

Now I went to Germany with him and I conducted that music to him speaking.

That's what's got to happen with Cindy Paulus.

Cindy Paulus has to,

Just like you did before,

You have to speak those words the way you hear them with those accents,

With those feelings,

And then let a composer interpret or score or create a background.

I mean,

There's a million options to what it means to say those words.

Well,

As you know,

I write every day after I meditate and I meditate every day and I probably have,

I don't know,

20,

000 things I've written,

But well half of them were before computers so they're gone.

But now I put them in my notes in my phone after I do them.

And then they get,

Sometimes get chosen,

You know,

Because they,

Some pieces as you well know,

Will yell at you a little louder than others.

Some will tell you,

Hey,

I want to be heard.

Will you do something with me please?

Some are just kind of little things I'm sure you write that are thoughts,

But some want to be birthed,

Right?

So sometimes I do that and get something and then it can be hatched,

Because it wants to be hatched enough,

Right,

But with fertile ground,

You know,

With fertile and being recognized,

You know,

And you have to,

You know,

Have to listen enough to hear when it's screaming at you too.

Sometimes it'll knock you over the head if you don't,

But you know when that happens,

You know,

And if you listen,

You'll get more and it'll grow if you don't listen.

I found that's why I write every day this morning.

I had no idea.

I really was,

I was just down this morning.

I was just like,

Oh my God,

What am I going to write?

I mean,

Sometimes that happens,

You know,

I guess some people call it writer's block,

But I don't.

So I've learned enough after doing this every day of my life and I'm just still start,

You just start and sometimes things will come through that are amazing,

Even if your mind and your feelings are going,

I don't,

I don't feel anything today.

I don't know what to write.

And they do,

You know,

I found that out,

You know,

So you trust the process and you trust like what's happening now when magic happens,

Like what you just said,

You know,

I mean,

There's nothing more that I would love than to be able to do some of these words and have music created with them as well.

So that's going to be the evolution where this is going to go with the instrumentations that we did and wherever it grows into for the next one,

Which will be out,

You know,

Later this year,

I'm sure because I'll start and you'll start and we'll,

We'll create and,

And,

And I,

I feel,

I can't even put into words how grateful I feel to you,

Stephen,

Because when you really are only like half of able to really create music.

I can do the words I can do make single notes but it's always been frustrating because I know sometimes songs want to come and I don't have that ability.

And even though I can do single notes on my piano,

Bam,

Bam,

Bam,

Bam,

You know when I see what you provide it's like,

Wow,

What a gift.

And,

And not only can you do the music you do music that lifts and elevates everything around it and brings people to tears within the hands of God.

When I heard it I was just like this is better than I ever can imagine but I never would have guessed when that was done,

That I would indeed experience these other challenging like threatening situations where they came for it.

When I was in an outside the ER because you can't go in because of COVID,

And my significant other was very well he had died 15 minutes dead,

But he brought him back to life,

But very you know not knowing you know yeah miraculous because I think one or 2% of people can come back from that.

But I had this amazing chaplain that again I just took my phone I said,

I've got to play this song in the hands of God.

I had it in my phone.

I played it she listened,

I listened outside there I started crying into my mask,

She started crying into her mask.

I had one of the CDs that had just coming out and I gave it to her.

And she listened she says she listens to it every day now before she goes in as a chaplain because it's not only a chaplain.

All the patients but to the doctors and nurses as well.

And she says when she listens to that music.

It gives her the strength to know what she can do.

And she's,

I mean it's,

You know,

I mean,

How could we have guessed when we did this,

That it would touch,

I've always said if I can touch one person with the music you know,

And with her.

Not only did I touch her but now she's touching other people with what she's getting from that music so what more can you ask for in a piece of music.

We were in Italy one time I was with with this Italian band,

And we went on early in the morning I guess it was some kind of competition it was in Switzerland.

I had traveled with them,

And we got there was early in the morning.

And the audience was not packed right I mean there's only a couple people in the audience and I heard the people,

The Italian band members saying,

Oh,

You know,

We came all this distance we did all you know and there's so few people.

And I said,

Do you believe that every person is infinite.

And this girl.

Girls said,

Well yeah,

You know,

I said,

Then we're playing for an infinite audience.

And that's,

You always have to think that way,

If you know my grandfather.

Oh,

Here's another quick.

So the very first piece that I wrote only for now,

Which had its anniversary on May 3 I think I included you in that email.

They played it in MIT.

That was the first big piece,

I mean it was first piece I wrote period it but it was big it was a 90 minute piece.

But in movements,

And my grandfather was there.

And that was the last concert my grandfather saw.

And so for the rest of the rest of my teaching career.

I used to tell the kids,

Because you know like you know when,

When there were kids and they get stage fright and so on and so forth and they said,

You know what guys here's what will end your stage fright right now.

In that audience in every audience that you're ever going to play for.

There's a person who has never heard a concert before could be a baby could be someone,

And there's someone else in that audience for whom that concert will be the last thing that they hear.

Just play for those two people.

And I'll tell you,

I used to have stage fright but not,

Not after that.

No.

Beautiful,

Beautiful advice.

You know I really do know that the dedication that drives you is truly from spirit and from God and because you couldn't do what you're doing Stephen.

You couldn't reach the heights of where you're coming from without that,

You know,

You do have that creative genius in you and of course in the books and all the other things you're doing and now the gray which I can't wait to hear.

I don't know.

The thing is how do you finish something that are you done with the gray Are you going to have that out,

Are you going to find the most,

Most of the gray is done.

I'm waiting on live viola recordings live harp recordings.

Everything else is is done.

I mean I can send you some stuff if you want to hear it.

Are you kidding Oh yeah,

Absolutely.

Are you kidding I always love,

Always love.

I'm going to finish with today with that part that I asked you to speak.

And if I'd send it to you in advance I would have had you speak it but it is on I will play this at the end of our talk here the version.

But this was the interview we did on message from God.

I am here beside you living in the presence.

Listen to the word speaking of my love.

I can hear your heart bleeding and prayers that are sent to me in every breath.

Believe.

Hello him.

The Living God.

Listen to the whispers of the Holy Spirit.

Let it lift you to the light.

No.

Hello he means language of the soul.

And then you end with,

I am here with you,

And that merges also with Darlene.

I think she's also singing them out,

I am here with you,

Right,

And,

And that that heavenly feeling of like,

Okay,

No more need for words I'm here with you.

You know,

We are present and joined as one in Elohim.

The living language of the,

Of the one,

The one God.

Which I looked up also by the way and that is in used in Aramaic Aramaic is,

Um,

I do some Aramaic prayers the Lord's prayer learned in Aramaic,

But Elohim is used to describe God,

And the son,

And the father in in Aramaic so it's such a pleasure to talk to you and see you.

I really can't wait till our next adventure together in music and words which will be starting,

And we'll create the next amazing piece which,

Who knows it's in God's hands.

You know there are times in this last year,

So many times it's in the hands of God people can go to in the hands of God.

Com and find out more about you and you have Stormworks,

But you have a lot but what's the best site for you for people to find out more about.

It's stormworld.

Com.

Stormworld.

Com.

Stormworks is the name of the self publishing entity but the website is stormworld.

And and there's a wealth of music if people want to go to the streaming sites that you have I found you,

And many streaming sites in many places but I found you in Amazon music and they can listen to the haikus that they put in haiku as well they can be led to some of those haikus we were talking about with more to emerge soon right.

A lot more.

Yeah.

God willing.

Well,

God bless you maestro.

I always learn when I talk to you.

And I always get inspired and new things blossom so thank you.

Thank you and thank you God.

Thank you.

Aloha.

Aloha.