Part 1 - SYNAPES
Origins of the ODD
Learning ODD
Odd Meters and the Outside World
Writing Outside the Barlines
Counting
Composing "Composition"
Odd Time Obsessed Radio
Part 2 - WAITING FOR THE COLOR
Sources of Creativity
Listening to Now
Mystism of Music
Lindsey Boullt is a composer, guitarist and teacher who recently released his debut CD “Composition” and currently composing the film score to “Adopted: The New American Family” from Point Made Productions/NYC. The film was a finalist at the Tribeca All Access Film Festival 2007 and is set for release in 2008. Lindsey now lives, performs and teaches in San Francisco & Los Angeles and has been playing for about 27 yrs.
Last December (2007), while he was teaching at the Guitar Institute (GIT), I had the fortunate occasion to interview him. He is a cool guy and a rare artist. I have heard and witnessed many “shredders”, in my time and most of them unfortunately were quick to bore. But this is no so with Lindsey. He creatively incorporates severe chops with complex harmonic structures and meters and successfully executes it with his carefully chosen musicians. As a result, he leaves the guitarists and un-guitarists (us regular people) wanting to hear more. During our conversation, he offers his unique insights to odd meter use and the internal voice, what it can really mean in the outside world and shares with us his creative process.
BetZe: Why do you think you are drawn to playing, writing and listening to music in odd meters?
Lindsey: Well, my entire life, my family’s life, where we come from, what we’ve done and all of that, has been very ODD, so to speak. It was odd in a very intense way. The dichotomy of my background is a good place to start. My father’s family is French/Cajun and my mother’s family is originally west Texas Protestant. Both families endured, like a lot of people, the Great Depression. So hardship remained a way of life on both sides. But there was this duality of this very loose, wild Cajun family and this very strict, very dogmatic protestant family. Life could be very complex, very turbulent and with great hardship, really vicious in a lot of ways, very rude.
B: It sounds like an unusual combination.
L: Yeah, so that lead to a very… everything was different - concepts, society, materialism, goals, etc…and going forward things got worse, there was no money, the family unit disintegrated and times were very hard. I had initially gone to college for sports, and soon dropped out because it wasn’t happening, disillusioned. My older brother and I were so broke, it was very intense, there was no safety net, no backup - nothing. My brother stayed in school and graduated. I learned ‘persevering through hardship’ from him.
The cool thing was, that we listened to a lot of music, that’s all we really had and we were so INTO it! The music I really liked were the pieces that didn’t resolve the same as everything else and the harmonic background that was more unique, more intense – Mahavishnu Orchestra, Led Zeppelin, Yes, Jean-Luc Ponty, etc…
I started playing music when I was 21, started on guitar. By the way, my mother thought I was going to sit on a street corner and just strum a guitar and just beg for money, so she talked me into going back to college. She said if you really want to get good at something you’ve got to immerse yourself in the culture. And the only culture at the time where you could learn as fast as I wanted to learn - was college.
So I signed up, had no idea, and was really in a bad way. In fact, every other week, between dismal part-time job pay periods while attending school, I used to buy a pack of cigarettes, I don’t smoke, but I would smoke those and that would be my food intake for 3 days, until I got paid. I never wined about the circumstances though, and never backed down. I always had a middle finger sticking up and going for it.
I found myself competing with others who have been playing all of their life, like saxophonists playing Charlie Parker etc… On top of that, I was soon married and with a young son. So, life became even more serious than it already had been.
The tenacity and complexity of how I compose now, definitely come from living and enduring long stretches of hardship, that’s for sure.
B: Where did you go?
L: University of Texas, Arlington. They let me in there and I started sightreading a lot and I was into the jazz thing because of the school. I started doing that because that was the only game in town. I had to learn as fast as I could. I graduated in 3 ½ years with a music degree - I worked really hard. (A year later, my former wife and young son & I moved to LA and I attended GIT, graduated with honors) Ya know, in the beginning it was terrible, just someone with a vague idea of what’s going on, but I kept honing in on it, kept honing in on it. I’m still learning.
B: How did you learn what odd meters are and how to play them?
L: Early on, after I started jamming with others, I remember this one guy, Scott Malone, came over and played a Mahavishnu bass line with INTENSITY and it was in 9/8 and it just - freaked - me - out. And all of a sudden a light bulb went off, it was like ‘THAT’S – THE- MUSIC!’ And I was asking “you’ve gotta show me this thing”…
Because before that, if you are just starting out, you don’t know what odd-meter is, you don’t really know those terms. You are just jangling away on your instrument. But he started to show me, “Oh this is odd metered, this is what the phrase is doing, it’s using it like this…Oooooh,” Then I tied it back to the Mahavishnu, the Led Zeppelin odd-metered things, now it made sense. I just kept moving in that direction and I’ve always stayed in that direction, even though I wasn’t very good at it in the beginning. I just kept moving and knew that this was the music that I wanted to represent.
B: Did they teach you conducting in college?
L: Yeah, but I made some kind of half assed grade in it. But I didn’t have the capacity for that kind of knowledge yet.
B: So did they teach you how to conduct in odd meters?
L: No, I don’t think so. I don’t think at that particular school and at that particular time the teachers there even know what odd time was.
B: WHAT?
L: I mean they know what it is and they can count it and they can play it. But not from a “this is a really important skill”. Even at the Guitar Institute (of Technology, GIT Hollywood, CA), they will hit on odd meter but not as a teaching thing to get people through it. Because it is still a fringe kind of mentality I think. Not to me and everybody I know and love, but it is to a great number of people on the planet.
B: Why do you think the odd meter mentality is of the fringe kind?
L: Just because it forces people to deal with the internal voice, it forces you not to just sit there and tap your foot and zone out and not worry. It forces you to pay attention, to be in the moment.
B: I like how you said that, and yes it certainly does. Why do you think people don’t want to do that?
L: They don’t want to have to be jarred into true feeling, true listening, I think. That’s what I’m going for with this record Composition, not to glorify what I am doing here, but that’s what I am really trying to do. You must pay attention to that inner voice, the longer you stay away or ignore it, the more you attach to what is being dictated for you. But you must pay attention to that inner voice. Odd meter and complex structure forces you to deal with your inner voice and it forces you to become better. Its not like I am going to tear up the world or anything, it forces you to become better.
B: As a musician or…
L: As a person, it’s jarring you out of common mentality, its jarring you out of your common ability to rely on lyrics and those things and even phrase where you know where the resolution is going to be. If you don’t know where the resolution is going to be, you’ve got to really listen, that triggers something inside of you, now you’re listening to something else. You are here NOW. And that’s just the first door into really starting to listen to what you are trying to say to yourself.
B: Do certain meters make you go to certain directions?
L: I do gravitate, like many musicians, to 5 & 7 just because it’s a little more common. At least you know its cool, whatever. The interesting thing for me is to try and change up the 5 or 7, because it has become so common, in an odd meter sort of way, that I will interject that with an even time signature. For me, that idea comes from Led Zeppelin, then I realized that John McLaughlin did that very thing, and on and on.
B: Throw them off really.
L: Yeah, and try to really start to break it up. Let’s say you are getting kind of complex and you combine a bar of 5 and a bar of 6. Or If you have an 8 bar phrase in 5/8 and then you have an 8 bar phrase in 6/8, really what you have, in an over all structure is a long phrase of 11/8. Or if you combine those into one phrase (diminution) leading into the next one, it’s a bar of 11/8. And to the internal signal that’s going on to the body, it is still forcing these synapses to fire in a different direction, it’s still doing its job, the voice is being activated. Does that make sense?
B: Do you have a favorite meter?
L: I am becoming a big fan of 9 and that’s because of the Mahavishnu records. Actually with one of the tunes on Composition - I’m doing a little more elaborate things like in 11 and 13
, really combine measures together. That’s just because a lot of the music needs the freedom to move. For example, if you write the music without the boundaries of ‘okay I’ve gotta to come in on this one beat’- if you just analyze what you just did, its probably in an odd phrase, its in an odd bar. Many times the human mind doesn’t really think in 4/4, it thinks more free than that. I mean your thoughts are freer than that. For example, you’re driving down the road and you are thinking, your mind is not waiting for the next light to stop its thought, it goes well over the stop light with its thought. It’s just like a musical phrase. Its not waiting for 4/4, you are forcing it into 4/4. For some business reason or whatever, you’re so attached to 4/4, you can ONLY hear 4/4 as relevant… well alright. (laughs)
B: Like the Tuvan throat singers – they write in 10 and 7 they write what they hear in nature.
L: I think that is why the Middle East music appeals to me so much. They like to go phrasing way beyond 4/4. I’m aware that a lot of their music is historical also, with the Ragas and all, and they have their certain meters and everything. But it is coming from this human thing saying ‘na na na - no we’re still going here, ya know, making love, its still going – just because its 5:00 doesn’t mean we stop here (laughs)’. So I think that it’s similar to that. Not all of them, ya know, they’re just people too and have their own crap to deal with.
B: So you like to write in 9 – 9/4, 9/8, 9/16 ?
L: Yeah, anything 9, that’s my new favorite, that’s where I am going to head now. 5 and 7 - I always will default to there and back to that crossing-measures-with-a-common-meter-and-odd meter-type-of-thing. But 9 has a lot of movement. You have a lot of freedom with 9 because you have time to readjust the phrase as it recycles itself, whether it’s a bar or extended phrase.
B: Do you have certain patterns that you default to within the 9?
L: If there is a certain pattern, that pattern will go back to a Jimmy Page sort of thing; I know that that’s kind of vague. But it will have to groove at some point. It can’t just soullessly follow some weird meter, like some math exercise. Its gotta groove and have some sort of reoccurring thing where you can unlock these synapses-signals inside of your body.
B: Do you have a strategy for counting/deciphering meters?
L: I really try to hear a phrase. If I am purposefully trying to write a phrase and I know that the last thing I want to write is in 4. Then I will try to hear because…. me too I am so used to the country song ending in four bars and all of that. Really have the courage when you are hearing a musical phrase, to have the courage to hear what it is telling you it is, not what you’re telling it. If you are really listening, it will expand, and many times not go into a common area. It just won’t. Its just pulse and everything. Just listen.
So that’s what I try to do. If I get it and it’s a cool phrase (there are a lot of throw away things that just don’t work), then I will go back and figure out what the pulse of it is. And that pulse is where I start to map the time. And I start to count at that particular phrase. Sometimes I will go the opposite direction where I know that I want to write in the 9 and I have to force it into 9 or I have to force it into 7 or whatever. So I’ll massage it into that thing. That’s the starting inspiration is the meter, not necessarily the phrase. So you have to be open to the changing of it.
If the inspiration is the phrase, then there is no restriction on the meter, even 4/4. It is just what it is. If the inspiration is the meter then you have to be honest and say this is what it is, this is the doorway.
B: When you listen to music, do you try to figure out what meter it is in?
L: Oh ya, instantly. I’m a guitar geek just like you are. As soon as it comes on, I am counting. I go ‘oh no, you are not going to get away from me’ and I’m counting away. Oh yeah, it’s the geek. Like if people are into video games and stuff, for odd-meter musicians that’s the “geekdom”. Boy, somebody comes out with an interesting meter, you’re freaked out. You have to know. You can’t sleep at night because they are smarter than you or they are trickier that you or more clever. And you really want to stay up and that’s a good thing. That’s a good friendly competition to always possess.
B: Do you have a strategy for mapping out the meter structure of a piece of music?
L: I remember one time when I was playing with Stu Hamm and Stu phrased something that I thought he was phrasing it like a bar of five and a bar of three. And he goes “No, no, no its just two bars of four”. And to me it’s a bar of 5 and a bar of 3.
So I hear it as whatever the musical phrase is pulsing and that’s really where it sits with me. So if the line is going up and it resolves down and that feels like a pulse then that’s the count and I will go from there. And that’s how I will start to chart out measures.
B: So you come at it from the melody as opposed to the drums.
L: I will if I know that I need to be in 5. Then that common denominator is that drum beat. Are asking if I am listening to something on the record or the radio?
B: Yes, any music.
L: No, I will still go for the phrase. I will go for the melodic line, the pulse (which is often the bass movement). I wish I were more of the drumming aficionado. I’m teaching in the Reading Department at GIT and know intrinsically the division of a measure & time signatures and all of that. And if we’re reading, counting or charting things out, that knowledge is priceless and I definitely fall back on that level of understanding.
Composing “Composition”
B: Did you write out detailed drum parts for your album?
L: All of the pieces are completely mapped out and notated in their meters or phrasing - every measure. In fact, numerous times they were more complex and I had to cut it down because it got too complex. (laughs) Ya know, counting bars of 32 was a little too much…. 1 2 3 4 5 6 7 8 9 10 ….32! 1 2 3 4 5 6 7 8... so that was kind of nuts. But all of the structure was there, there was the freedom to phrase the way they interpreted the piece.
B: So you didn’t write out the part for every drum etc?
L: High hat, etc,,, naw, I knew that he was just a brilliant drummer (Atma Anur) and so was Jeremy (Colson). I knew they were brilliant drummers and I gave them the information. I have to also have the courage for them to bring themselves to the picture, bring it, bring it. Now if they screw up, then I will cut them right out of there.
Ya know, like if it’s suckin’, then ya know it’s not going to work. But if it’s at least an interpretation, then it’s working, but not necessarily my interpretation.
I think a composer has got to have the courage to go in that direction also. Again, it comes down to listening and getting your ego out of the way and what is ‘highest good’.
B: Did you have many rehearsals?
L: Well, Atma (Anur), Jon (Herrera) & I gigged a lot. Atma & I have played tons, so we knew the songs pretty much when we went into the studio, there was still a lot to be done in the studio though. But as far as the upper part of the songs like Derek (Sherinian), Jerry (Goodman) and Sukhawats’ (Ali Khan) parts, no, just have them record at later times. But everybody else, we were playing with in the studio.
B: Did you have to bring anything out of Jerry Goodman or did he just come in (and play like magic).
L: I didn’t have to bring anything out of him. He is a busy guy and he is who he is and I just needed to get him. And that’s what I told him, “I wrote these tunes for you, here’s the part and you just do your thing and whatever you give me back, you are Jerry Goodman.” And that is the way I left it.
B: He’s such a passionate player.
L: Yes, he is such a passionate player and he knows what’s going on. I don’t have to tell him, he tells me. So I laid it all out there, again, with all of the structure and all of the lines and everything else and whatever he chose to play, that is what he played and that’s what we took. What you hear with Jerry playing, is Jerry. And there was no editing other than putting it into the mix of the song. He has such esteem with me as a musician, ya know, its Jerry Goodman. For me, it’s like Mohammad Ali, like WOW. He can do whatever he wants. I am just thrilled to have him playing and know him and all of that. And he’s a cool dude, I mean, being that big I thought that he would be not so humble, but he really was. He is just a good guy. .
B: When you wrote the song “Groovin’ With Stu” for Stu (Hamm) did you write it before you went into the studio?
L: Before, I wrote it before.
B: Did you pick the meter because of him (4/4)?
L: Well, no I didn’t. The song was going to be a little more Shakti-ish as it started out. And Stu got in there and did his Stu thing and once again - I thought, “it’s an interpretation”. (laughs) And so I just went with that. If I was going to be more strict, then, I would have said, “no, no we need to go in more of a Shakti direction” and that would have meant a different structure of the bass. But I thought that it had the energy and it’s Stu Hamm and once again you have to have the courage - that you asked that particular artist to play, so, might as well step up to the plate and go in their direction a little bit.
B: In regards to your writing process, do you handwrite it out, in sheet music form or do you MIDI it out on a sequencing program or something similar before you bring in the musicians?
L: Different ways, probably the best example on one of your points is, that I try to not have the composition hinge on whatever that particular musician is going to bring to the table. Because I have no idea really, and neither does anybody else, what creativity they can bring. They could be the greatest improviser in the world and what they improvise over your shit is terrible. So I try to leave all of that guess work out of it and try to construct as much as possible – the piece, the arrangement. Then their window is their ability to interpret that part.
In my pieces, everybody has a solo or a couple of solo sections and that’s where they get to do their thing. But as far as the composition, I don’t want the composition to rely on somebody else interpreting major sections of the composition. That, I should do ahead of time and have that all worked out, that’s how I look at it.
The individual parts in the composition, I will write it in all different manners – notation, graphs, chord charts, pre-recordings, etc… anything to make it easier on the incoming musician.
Back to your question that you asked earlier, do I write first, the bass line or the meter first? The process will eventually boil down to the concept that the bass line is the most important thing.
B: (That’s Right!)
L: Yeah, is must be the underlining thing. Back to the mystical thing, it is the holder of all harmonic overtones. If that bass movement, structure underneath, like planetary movement is solid, then all harmonic complexity above it is, no matter how simple or complex, is going to make sense. But the bass line can’t just go from root root root root (sings a fifth up) root root root root root. Ya know it can’t do that. Free it up people.
B: Well maybe in some music.
L: Yes, well some music. God bless it (laughs) we are all God’s children. But ya know, the bass line is important and if you want real movement go back to there. Run it through the filter of the bass and I mean that in a business sense. Run it through that department and if it makes sense, if you have just done all this odd metered stuff cool melodies and everything then you go back to the bass and the bass is just laying there, its just going to lay there. It’s not going to move at all. It’s not going to do what you want it to do. You are going to think that it is going to do it, but you are ignoring the bass movement. Always run everything through that bass movement and if it makes sense through that bass movement then you have got a winner regardless of what your tune it. It doesn’t matter whether it’s pop, blues, fusion, classical, if that bass movement is happening then man you have got a tune
B: Do you usually like to write with people, do you find it more interesting than writing with yourself?
L: On my stuff, because I like to go on this whole Mahavishnu-meets-Shakti-meets-Pantera meets-Alan Holdsworth-meets-Led Zeppelin way, I trust myself to know what the initial direction is. I don’t really trust anyone to know that personal direction more intrinsically than I would.
With the odd tuning of the guitar as a harmonic backdrop and stuff like that, I don’t really think that another person has an instinct for it; I don’t actually trust that that person knows the vision more clearly. Now if we are just writing tunes, well, here’s my part and here’s your part, then whatever. If it is my composition and it has to represent me, artistically, then I don’t really think that that should be anybody else’s responsibility.
But, I am terribly open to, once we are in there and once I have a structure, to adjust the structure and literally delete parts if they are not working. And if someone comes up with something, that’s cool, I am all for that. But that initial, like, okay “What country are we going to?” Well that initial country, I want to pick that country that we are going to. Does that make sense?
B: Yes, so you didn’t have other writers on this album?
L: No, not other writers on this album, I composed all pieces, all parts, all lines. Atma & Derek had some great ideas during the recording process regarding certain arrangements of parts and I used some of the ideas. They were credited appropriately.
B: Do you teach odd time?
L: Yes, I do and many times it’s hard for people to pick up, at any level. If they are not used to listening to odd meter then it is hard for them. If they don’t like it, they will rush back to a 4/4.
B: Yes, to their comfort zone.
L: Comfort Zone – But I will always try to push it and I will always force people any chance I get – ‘Let’s play odd meter.’ It doesn’t matter the setting. Odd-metered music can be a higher level of understanding & sensitivity and it’s fun to play.
B: Yes, its fun to play and to count and to listen to and to obsess about.
L: So really and truly I have to commend you for carrying the banner for odd meter. Because it really is, it is this great spiritual awakening of the planet artistically - let’s move in a different direction.
B: Well I have to tell you, when I the idea came to me to start this station (Odd Time Obsessed) I laughed to myself and thought “no one is going to listen to it”. But I am truly obsessed and started it anyway. Now I have discovered others across the globe that has this obsession too.
L: It is important, what you are doing. I was thrilled when I came across your radio station, I couldn’t believe it! You are doing now what all artists will be called to do and that is to enlighten and connect to all people. Times are changing all over the world and the artists are having a great role in the direction that we take.
B: Wow, thank you and I like how you see that. It certainly has been an experience meeting other odd meterites as you say.
B: How do you access your source of creativity? Do you have a routine to trigger it, such as, meditating, exercising, journaling, musing, journeying or something of the sort?
L: As far as composing or getting hired for film composing, in a very strange way, I will wait for a message, something to say, “okay its time to go”. It’s not really like, “I’m listening for the message from the other side”, it’s not really that. There is a kind of coloring.
For instance, if someone were to say – ‘okay let’s think about snow in Wisconsin now’. Well you can get an image in your head of snow in Wisconsin. You can tell the color. You can imagine it’s snowing and people are all bundled up. Well, for me that’s kind of what it is. It’s a color. It’s a shading of a color. That shading of a color is in my head, not out in the world. I don’t look at the trees and they all have different coloring, it’s internal.
If there is no color, no message, then it’s not time to compose. I will literally go off and do other things; I will just go live my life. I will practice other things and just go to practicing. I won’t go to composition at all because it’s not time to write, there is nothing happening.
B: Really? That is pretty amazing. I have heard of one other example of this, but she was a painter.
L: Yah and it just starts to come up. When I stop my head a second and think, it becomes a color that I’m seeing. Once that color is there, regardless of the color, then I know this imagery is much different than what I was normally thinking. Then I know its time to get down, I am back to this artistic thing. And the messages are coming through because this color is there now. And when I start to compose, whether it’s the drum pattern or the bass pattern or whatever it is - I know that I’m in the world of this color. That’s how it starts to work.
B: So, the color comes in and assists with your creative flow and you have faith that it will come.
L: Yeah and it really does, and that is going back to that is that you just wait. And whatever that message is to you, like for me it’s a series of colors that appear or whatever, it could be a literary work for somebody else. And I will wait, I will literally just wait. I am real patient about that. And I will go off and do other things I will practice.
B: So you don’t get all stressed out, afraid that it is never going to come back again, or if you are on a deadline that you won’t make it in time?
L: No, if it’s not happening, I realize it’s like your computer has crashed, you just have to wait for it to sort things out and for it to come back online. And it will always come back online, its energy, impulse, it’s eternal. I will have to push it a little bit at times because there is a deadline for the film or whatever it is, but, I still know, I AM calling it, “come on.. I need color, this color”. So I will kind of summon it a little bit internally to make it start happening. ‘Magnetizing’ would probably be a better word.
I’ve learned that if the color doesn’t appear, it’s just a barren wasteland of me trying to write something that doesn’t have any meaning. I can write a 12-bar phrase, I can write a pop song with diatonic harmony, just like anybody else, but it’s lacking…soul, groove. Without the color, it doesn’t have any real meaning to it, it doesn’t have any movement. Over time, I have really honed it down to what IS the difference. When this color appears - it has meaning, when I start to write, everything seems to groove different, it seems to have a life to it.
B: Can you explain it a little more?
L: Its like if somebody gives you a memo, a department head gives you a memo and says okay we are going to create ornamental balls for the holiday season and gives you the diagram - it’s going to be this shape and that shape. It’s kind of like that. Once the memo is out you know what you’re constructing, it has guidelines. Does that make sense?
More precisely, if this color appears, then I have ‘diagram’ to work with. For instance, if I have a bass part and drum groove, now I need the harmonic backdrop. I will construct the harmonic backdrop to create the color /shade that fits the internal color scheme.
B: Do you do this with the film scoring too? Wait for the color?
L: Yes, I’ve done the same thing, yes, once I know. I can even describe the color for the film. The film is actually kind of red – like that (points to a red object), with a lot of orange in it. It’s like a sunset sort of. So when I know I start to see that color, “Okay…this will be like the film scoring stuff.” It will happen, for me it just comes in like that. But for someone else it might be different.
B: Did it start like this or has it evolved?
L: I think that it’s similar to the concept of knowledge, after you’ve gone through this hierarchy of learning, then knowledge is internal. And as I’ve evolved, I think my internal awareness has evolved and I’m more in tune with it.
B: It could be different for everybody.
L: Yes, I agree.
Listening to Now
B: What music do you listen to now?
L: I’m listening to other instruments – oud, shruti box & hang drum music, Indian music, etc… And at the same time, I’m working on pieces from guitar players – Allan Holdsworth, Mahavishnu Orchestra, Shakti, Shawn Lane, Laurence Juber, Derek Sherinians’ stuff also. And I work on the material from Jean-Marc Belkadi. I like listening to the radio for all kinds of input, Internet radio and satellite radio has been a lifesaver. I’m very open to all kinds of stuff, but I will always gravitate to the guitar players and guitar music.
B: Well thanks so much for taking the time and revealing your musical insights. Is there anything that you would like to add?
Can I go back to the beginning of our interview and my humble beginning in music for a moment? For me, music and being a musician was the greatest thing anyone could do and be. I never saw it as a way to be cool or get the girls or a rebellion thing; I viewed it as a great path, a gift. Very similar to the martial arts, where the student is a lifelong disciple and where mastery is never quite fully recognized. Music has been my religion, my spiritual path. Believe me, I have made a million mistakes and have been wrought with faults and the artistic discipline of music has always gotten me through.
The ancient mystics communicated that even at the beginning of time; the very first movement that created the universe was vibration. And that that vibration is sound, that sound is in all of us - the direct link to all things. For me, music is the direct link to all things. At some point, the art of music will demand your devotion. It will ask you to choose and it will not back down.
B: Oh, I know that point, I have tried to hide and run really fast and far from it. But now, it has too captured my complete devotion. Lindsey, thank you so much, you really are a musical gift and I can wait for your next compositions to reveal themselves to us. Keep it ODD!
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