Sarah Jarosz

28:21We would drive up from Texas, a festival called Rocky Grass, and another one called Telluride, Telluride Bluegrass Festival. And I just became very, those festivals were very important to me as well in terms of meeting other people my own age and just realizing that there was more music life outside of my little Texas hill country home. home. And so because of the time that I had spent going to camps there, I wound up getting the, I got my own set at the Telluride Bluegrass Festival in the summer of 2007. So I was 16. And that is where Gary Pachosa heard me for the first time. And he was with, at the time it was Sugar Hill Records.

29:07And he had engineered and produced a lot of my favorite music, you know, Alison Krauss and Nickel Creek. And so I knew who he was and he invited me to come to Nashville and make some demos. And that was how I wound up signing with Sugar Hill at 16 and started working on my first album my senior year of high school. I would just fly back and forth to Nashville in my winter break and spring break. And it came out a few weeks after I graduated high school. Wow. That's really intense. It was, yes. But there must have been people, speaking of choosing Elaine, who said, you should go to New England Conservatory or you should record more albums.

29:52What made you do, well, you could do both. You showed that. But what made you want to go to the conservatory? Well, it was a couple of things. I was musically just very curious. And I had this feeling like there was more to explore before I really committed to being out on the road. and then also a lot of the friends that I had made at music camps in high school were all going to Boston whether it was NEC or Berkeley so this friend group that I sort of had I was I was following that a bit and then also you know I mentioned my parents were teachers so it was really important to them that I go to college and have that experience and I'm so grateful for it if I had gone straight out, been a road dog at 18, I don't know if I'd have burned out.

30:43Or I think it did kind of serve as a little barrier to then being ready to... I say that, and I was touring and making records all through college. So it was very intense, and there was never a moment off. It wasn't a typical undergraduate experience. No, no. But I really missed very, very little school. I think I missed one, the most I ever missed was one week. I went and did this show called the Transatlantic Sessions. I flew to Scotland and taped that. And yeah, so it was hard work, but it really, I think it set me up in a good way to just had those four years in Boston. Well, so you were a prodigy and life can be very hard for prodigies.

31:34There's lots of prodigies who don't get better, don't get better, don't round out their experience and keep doing the thing that made them successful very, very young. It sounds like you consciously tried to change what you were doing. yeah or or just surround I was consciously trying to surround myself with other people that were doing it at a very high level you know that were my age you know because a lot of my musical experience early on was me playing with people that were much older than me so I think it was healthy coming from a small town of 2 ,000 people yes there was a lot of energy focused on on me and And this cool thing that I was, this cool music thing that I was doing.

32:19And it was good for me to get to Boston and be like, oh, I'm not the only one that's good at this. These people that I'm around are incredible. And they're going to lift me up and kind of keep raising the bar. And I just wanted to follow that. You talked about how your earlier experiences were so generous and forgiving. Did you find the competition at music school daunting? or did you not find it a competitive place? I didn't find it a competitive place, but I do think even my experience at NEC was unique because almost all of my friends were at Berkeley. So my social life was kind of, except for a few people, my social life was kind of removed from NEC because I had this whole scene of people that we would have jams like every night in someone's apartment.

33:17And there was a lot of music being made in this. It felt like a continuation of the fun part of it, where music was connected to fun and not this competitive thing. So I think because I had that simultaneously alongside the school conservatory part of it, that kept it not feeling competitive to me. And now you probably get a lot of mail from them asking for donations. Yes. Well, you're a famous alumni now. You and Coretta Scott King. That's right. People forget that, that she was a music, she was a singer. Yes. So you mentioned you studied some harmony as well. your new album is very much more in a kind of

34:14anything I say is going to sound I don't mean any of this to sound pejorative but it's much closer to that kind of three chords and the truth ideal of country music so tell me a bit about how you how you ended up doing this album yeah I think Well, you know, it feels very related to my move to Nashville. I moved, I was, so after Boston, I moved here to New York and lived here for seven years. Had the best time. And when the pandemic came, I, my now husband had moved to Nashville ahead of me. We met here in New York and. He's a musician as well. Yes, he plays bass on the new album. And so, you know, when the pandemic, the first week of the pandemic, he was already in Nashville.

35:12I thought, I'm just going to get out of the city and, you know, ride this out thinking, you know, it's going to be three weeks maybe at the most. And then, you know, fast forward, never left. and that's all very much captured in the song Columbus in 89th on the album kind of realizing in the rear view that that was like turning the page to full-on adulthood and my youth felt very connected to living here in New York and then it was just all of a sudden I was living in Nashville and so I think the beginnings of this record were me wanting to just really feel a part of, kind of explore the parts of the Nashville community that I kind of hadn't.

36:06And, you know, I made my first four records there. So I've spent a ton of time there, but it's different when you actually live in a place, you know? And so I was curious, there was just a handful of writers that I really wanted to get together with. And I think there was also some stagnation that was happening, you know, at the end of, you know, a year and a half into the pandemic of feeling like I'm kind of tired of my own thoughts and I want to get in a room with someone else and just make music and feel that creative excitement with someone else and kind of see where it goes. So I think that was the initial feeling of starting to put some co-writing sessions together with folks around Nashville.

36:47And so I very much, this was different than a lot of my previous records. I wasn't even thinking about the recording part of it. I was just focused on writing and collecting songs and not being in a rush about it at all. and I think you know because all of my other records were made you know fitting them into my school schedule it always felt like I had very little time to sort of assemble the songs and I would just say okay these are the 10 to 12 songs that I have now let's record them and I've heard people say oh I went in with 40 songs and whittled it down to the best ones I was like I want to do that but just felt like I never had time And so this time around, I was like, I'm going to really focus on the songwriting and then figure out how it should be recorded.

37:34And so. You had tried co-writing sessions before. It's a big part of the Nashville music scene. You get two people in a room that don't know each other. I think Natalie Hemby said that she'd tried to write with you once before. Yes. What made this different? Well, you know, so when I signed my first record deal, there was a lot of outside, you know, pressure, maybe isn't the right word, but it kind of was pressure to set up co-writing sessions. You know, I think people see a young artist and they say, all right, we got to get them cranking out music, you know. But and so I that was one one of the sessions that got set up for me was with Natalie Hemby.

38:25And I mean, she was so gracious. And we wound up writing a song together that we've never cut. But I just wasn't ready. I felt very closed off from wanting to do that because I was like, why would I involve someone else when I'm still trying to figure out what I want to say on my own? And when I'm still trying to figure out what is my sound? And I thought that if I did too much of that co-writing thing too soon, that my voice would get sort of lost in the mix and I would sort of lose myself in the process. So fast forward to this record, I feel like I have a much better sense of my musical identity and what I can sort of bring to the table and what I want to say.

39:13And so I felt like, whereas before I felt like there was something to lose, I felt like there's nothing to lose from sitting down and just being creative with someone else and seeing what happens, seeing where it goes. How were you able to resist that pressure on your first few records? So I just always had a strong internal compass. And I think I had enough because I had gotten this instrument, the Octomandelion at 16. I had enough of my own songs that I had written on my own that I had the confidence in those songs that could sort of keep me grounded and say, I'm not ready for that other thing.

40:00I want to keep following this and seeing where it goes. And I think it was, nobody does anything alone. So it was that in combination with a couple of key people who, when I said, I don't want to do that, they listened. And, you know, and there was a lot of trust and, you know, Gary Pichosa being one of them, a few people in those early days of record making who allowed me to, who trusted me and allowed me to follow my own arrow, so to speak. You have very complex lyrics. Where does that come from? What are your influences lyrically? I'm almost wondering if they come from outside music because they seem very novelistic at times initially my lyrics felt more confessional almost more as when people start writing in their teens you're almost writing a song like it's a diary entry and almost like it's a poem in a way Um, and I think, you know, I've always just been, yeah, I have taken a lot of influence lyrically, I think hugely from Paul Simon, um, a lot of Joni Mitchell, uh, and a lot of James McMurtry, who is, you say novelistic.

41:29He's like the first person that comes to mind when I think of a songwriter who writes, you could almost just read the lyrics on their own and it would be rich, a rich experience without the music, you know? And so I'm just, you know, I'm just kind of, I'm so inspired by that. And I try to take little bits of that and see how it sprinkles into my own music. And you have so many beautiful images in your music, in songs like Build Me Up and Orange and Blue, which is a big favorite of mine. You know, really so much in the world album, but Gone Too Soon and Early Morning Light on previous albums. Are you the sort of person who just walks around with a notebook and like writes that down and says, yeah, someday that's going to work into a song?

42:22Yeah. I mean, I actually utilize the Notes app on my phone a lot. I don't always have a physical notebook with me, but very much so. I mean, a song like Build Me Up from Bones is a perfect example of that, where I was living in Boston when I wrote that song. And I remember walking down the sidewalk and seeing the fingernail moon in the sky and having the line, the thought of the line, the moon's a fingernail scratching on the back of the night. And I just wrote that down. And then, you know, went about my day. And then, you know, maybe a few days later, a week later, was going back through and saw that.

42:59And I was like, oh, there's something to that. And then had the...

43:08That lick. And yes, so I think sometimes for me, the lyrics and the music come separately, not always. And that was an interesting thing with the co-writing experience on this new record is that they're often coming at the same time. But I think when I'm writing on my own, it's a lot of collecting just lines or a paragraph or just thoughts and snapshots and then having a recording of just the music part separately as well and kind of seeing what works together after the fact. You've also done some great cover versions. You've done Radiohead. I think you've done U2. You've done Nirvana? I haven't done Nirvana yet, but Crowded House.

44:00I mean, gosh, I'm doing a massive attack cover on my current tour. Does it help your own songwriting doing those? Does it help your touring? What does that bring to the table? Very much so. I think, well, that's actually, my relationship to cover songs feels connected to this record, to the new record in a way, in the sense of, you know, I've always loved learning songs that I love and that I want to play and that are fun to play. And I think with this record, I had this feeling of I want to try to write songs that are fun to play and that are satisfying to play and that maybe are simpler in nature and in melodic nature and chordal nature.

44:49But, you know, it also does feel connected to the pandemic of not being able to perform for so long, of imagining being on stage and what's going to be just so satisfying and fun to play live. And that's how a song like Runaway Train came about. You know, just instead of having to turn to a cover to have that energy or that spark in the set, what if I just tried to write it myself? They feel big. Yeah. They feel like big songs. Yeah. I mean, and that's what I wanted. That's what I was going for. But to the cover question, I think that has, you know, up until this record, I've turned to covers in my live show to kind of create some of those bigger moments.

45:37Because I think my own songs have felt more intimate and more moody, if you will, or melancholy. And I love that. And I never want to lose that part of my songwriting heart. But there's also the element of examining a lot of the music that I love to listen to and kind of how to strike that balance between a song that is very musically satisfying, but maybe that somebody can just grab onto and understand in a more instantaneous way, if that makes sense. After this quick break, we'll be back with the rest of Bruce Hedlum's conversation with Sarah Jarosz. In today's super competitive business environment, the edge goes to those who push harder, move faster, and level up every tool in their arsenal.

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49:19Machines that make you feel more human. because a car that doesn't make you feel something is a car that stops short of amazing. Experience amazing at your Lexus dealer. We're back with the rest of Sarah Jarosz. You wrote Runaway Train with John Randall. Tell me about writing that song. Yeah, so that was the first song that he and I wrote together. I went over, he and I have known each other for a long time just kind of through making my early records in Nashville. And he's just always someone that I felt like I didn't know well, but whenever I saw him, I felt very at ease. And I think because of our Texas roots and connection, he almost, when I feel, when I'm with him, it feels like I'm with my uncle or like, you know, that I'm with family.

50:11And so I think because I felt comfortable in that way, I always had this feeling like I would love to write with him. And thankfully, he was willing and open. And so I went over. He has a little studio at his house. And he just had the first little...

50:43Just that little riff. And it got me so excited because I went into that writing session feeling, to what we were discussing before, feeling like, I want to try to write a song that will just be satisfying and fun to play. and almost purposefully not take a lot of musical focus in terms of playing a difficult line or a difficult part so that I can be more present in the moment with the song and how it connects to an audience. And so he played that, and I was like, this is it. This is the magic. This is the spark. And it just kind of rolled from there. And that was very much a song where it felt like the lyrics and the music was sort of coming at once.

51:32And that we were just going for, it felt just like a spark and a magic and a joy to it that I think comes through in the song. It's interesting you say that because particularly with your more bluegrass inflected music, often that can seem very maybe churchy. People handing solos back and forth, Not that the audience isn't excited, but it doesn't bring them in in the same way as something like this, which is like your band, four people facing the audience, just kind of letting it rip. Yeah, 100%. I mean, I think, and that's what I was really sort of almost studying in a way. And that I've always been aware of, but I think I was paying attention to that musician audience connection in a way that I hadn't really spent time thinking about before where, I don't know, John Prine keeps coming to mind where, you know, There's just so much space and simplicity in the song that invites the audience in, and they feel like they're a part of it.

52:53And it's not heady or above. It's not trying to go over anyone's heads or with being impressed by something. It's trying to create the space so that the artist and the audience can have the moment together because it takes both to create that. And so I think I was just trying to figure out how can I feel like this is my own voice, but I'm trying something new and creating this space for that. And how does it feel when you play it live? It feels amazing. I think that goal was accomplished. It's I've been having more fun playing this playing live on this tour than ever before. I really just feel like these songs ground me in a way on stage that I I'm just paying more attention to the audience than ever before.

53:52I think before, when I was younger, I was so concerned with everything being perfect and not messing up and just kind of looking inward the whole time, closing my eyes, not looking out at people. and there's just something about these songs that really allows me to just look out and and and and have that be have the song be the bridge to to each other and um and then the other awesome thing that I wasn't sure of going in to these live shows on this tour was how would my older songs fit alongside these new songs um and that's that's been such a joyful realization is that it feels totally seamless and they all feel like me and they all feel like they belong alongside each other.

54:51Interesting. This is a total aside, but of all the people I've seen, I was never a big Springsteen fan. I don't know if you've ever seen him live. I have never seen him live. I would love to. I mean, I've seen lots of great groups. I've never seen anybody establish that audience connection better than him it's unbelievable there's no kind of joking well there are joking asides with this band but there's so much energy focused out it's kind of overwhelming and i saw him years ago with like sting and peter gabriel and tracy shapp and all these great people but then he comes out and it's just a different i'd never seen anything like it.

55:31You can understand why people get sort of addicted to it. And he just has, I don't know. I mean, people love the songs. There's lots to love about him, but it is kind of that thing you're describing. It's overwhelming with him. If you ever get a chance to see him, you should. Oh, for sure. I'm going to try to figure out a way. Just to get that kind of whatever it is, whatever you're talking about. It's kind of amazing. I also have a theory that it's all his pre-choruses. If you listen to his songs. Yeah. Like particularly on Darkness on the Edge of Town. Yes. It's more the pre-choruses are unbelievable.

56:12And the time you get to the chorus, he could be giving you his laundry list. Right. It's sort of like I've never noticed that before with other artists. But I'm like, oh, my God. It's like the way he winds people up before the setup. His setups are like unbelievable. Anyway, that's completely beside the point. No, I love that. Can I ask you, I think you wrote this one with John Randall as well, which is a lovely song, Don't Break Down On Me. Tell me about that. Oh, I love that you asked. Nobody's asked about this song yet, and it almost feels like the deep cut of the album. Oh, I love that. It's very direct, like Runaway Train, that you know what the central image is, but it's really complicated.

57:00So tell me about it. I'm hoping there's a bad car experience. There's not. It really feels more like we were bringing in our sort of Texas hill country imagery to it. I mean, Ranch Road. So the first line, what am I supposed to do on Ranch Road 12 at half past two? Ranch Road 12 is the road that runs through Wimberley, Texas, where I grew up. And John knew the road, you know. And then actually also in Runaway Train, I say, no lazy river. What's the lyric? No lazy river, no Sunday drive, no waiting in a Blanco stream. The Blanco River is the river that runs through Wimberley. So we kind of injected that imagery in there.

57:46This one just felt, it was almost like the opposite, whereas Runaway Train is this joyful, like the beginning of a relation kind of the chaotic fun beginning of a relationship or an experience with with another person this is the flips the 180 of you've been with someone and it's this this feeling of do not give up like don't give up on me we've been we've been through so much don't give up now and I think yeah there there was just something about thinking about the hill country at night that that landscape that that felt like that feeling um or that evoked that feeling and i couldn't have written it with anybody who didn't understand the landscape of of the hill country and i just feel like that's injected in this song and and then i i have to say at the end when it kind of it lifts out of the chorus and i'm i'm really belting don't break down on me high at the end I have to give Daniel Tashin credit for that arrangement idea because he when we were in the studio cutting the song he was like I just feel like you need to you want to cry out at this point you know and and I think John when John and I wrote it we had a more kind of traditional ending where we just tagged it and it kind of ended softly and And Daniel was like, no, it's got to explode out of this because these feelings are so raw and real.

59:26We need to hear that in your voice. Amazing. We haven't talked about Daniel Tashin, who we've had on the show when he did an album with Burt Bacharach. Yes. We've talked to all your producers. Tell me about meeting with him and what writing was like with him. It was amazing. I think when I first, so Daniel was the very, he was number one on my list of writers that I wanted to write with. Why was that? I was just so curious about the process. And I had heard, he's just, he's almost like Nashville. He's like a Nashville institution. He's just been, he grew up there. His parents are musicians, you know.

1:00:12And so many of the friends that I did have in Nashville, his name just would always come up. I loved his work with Casey Musgraves. I loved a lot of, I loved the Silver Seas records that I heard. I was just very curious about what it would be like to sit down with him. And he wound up being the first person. And I kind of had basically what happened is I set aside this week in March of 2022, where I said, I'm going to set up five co-writes Monday through Friday. Every single day, I'll get together with a different person and just see how it goes. And he was the first one. And it was just, initially it was funny because I felt like he was like the John Leventhal of the South, where his setup was very similar to John's, like in his home studio, where everything was just kind of plugged in and ready to go so that you could just, as you were writing, you were also simultaneously demoing and both were happening at the same time.

1:01:16And I loved that process with John when we made our record together. So that was exciting to me because I felt like, okay, I know this way of doing it now, but it's with a different person and kind of some new energy. And so the first song that we wrote was Take the High Road. And I left the right that day with a demo that we had kind of made over the course of the right. And I remember playing it in my car on the way home. And that was the moment. That was the aha moment of the song showing me what the album wanted to be. and kind of laying the groundwork for what I knew I wanted to try to do.

1:02:01And that song really does feel like almost the thesis statement for the album. You know, I'm tired of being quiet, time to face up to the fear. Feels like this, I'm going to jump into the pool of making this bigger record. And Daniel paved the way for that for me in many ways. And yeah, so because that experience went so well, he and I wound up writing a ton over the course of that year. And he was so generous. I wound up, while all the other co-writes happened in Nashville, he was like, my family and I are going on vacation to Mont Eagle in Tennessee, which is like an hour and a half outside of Mont.

1:02:42He was like, I always try to get people to come write with me there. No one will ever come. He was like, do you want to come up for a day or two? and I was like sure you know why not see what happens and that's when we wrote jealous moon and a few months later he was like we're going to the gulf coast of Alabama to have a family vacation why don't you come down and you know so it's kind of funny that I was because I barely knew him and and his family his wife and his three daughters and they were just so open and warm and welcoming and I kind of tagged along and and then and then on that last trip we wrote Columbus in 89th and Days Can Turn Around and another song that actually is I hopefully going to come out this year as a bonus track but yeah so it was just he he has a way of creating this flow um it just felt like he opens a portal or something to to having stuff that you didn't even know you needed to write about, you're suddenly writing about it.

1:03:43I wanted to ask you about Days Will Turn Around. Tell me about how that came about. Their setup there was a condo kind of overlooking the Gulf Coast, which I've never spent time on the Gulf Coast of Alabama. I grew up going to the Gulf Coast of Texas every summer with my family. And that's what inspired my album Blue Heron Suite. So there was something kind of grounding about looking out and seeing the Gulf. And we felt like we wanted to write something that could lift people up, a hopeful number. I think we're just aware of just what a slog life can feel like just in general and wanting to kind of create this hopeful feeling within a song and using a mother's wisdom as the way into that.

1:04:35So the first verse being, you know, my mama always said, water your garden and make your bed. These simple little images that anybody could relate to and sort of grab onto and connect to their own lives. And that one was actually really special in having his family around because they were so responsive to it. As we were writing it and kind of singing it in the living room, his wife was like, what is that one? And, you know, I remember her kind of honing in and it was nice to have another ear around to, as a, you know, just to kind of bounce ideas off of. And, yeah. When I first heard it, my wife was away this week.

1:05:20And I immediately sent that one to her. Because she just finished her second novel and wondering what to do next, feeling a little lost. And I thought, well, so it really works. Oh, thank you. One more I want to ask you about, which is a lovely song, Good at What I Do. Well, this is coming back to Natalie Hemby. It was a very full circle experience writing this song with her because we had that experience of writing together when I was 18. And it was, you know, there's really nothing, there was nothing bad about that experience. I just wasn't, my heart wasn't in it. I wanted to find my own thing before doing that.

1:06:03So there was a lot of... She's incredible in terms of the way she opens up the space and makes you feel supported as her fellow songwriter. And I have to say this song, whereas every other song on the album really started with either an idea that I came in with, a start that I came in with, or was written fully in the moment together with the other person. Good at what I do, she very much came in with that idea. She had the first verse and it was almost like she had been saving it for me. Um, and it just, it really was one of those magical days where she sang that first verse to me and it resonated so much and it felt, it felt so right for this record because I, I felt like I was really trying something different with this album.

1:07:05And, and with that comes some self doubt and wondering if you're doing the right thing, wondering if just that very human emotion of, am I good at what I do? Am I on the right track? And does my partner feel loved by me? Am I doing everything right? And she just has such a way of saying things so simply and straight to the point. And I think she kind of unlocked that for me to, And then, you know, we wrote the chorus, we wrote the rest of the verses together. And it kind of took on this almost, I feel like, Lucinda Williams-y, Tom Petty vibe in the studio that felt right for the song in terms of just like the rawness behind the meaning and the message.

1:08:00Okay, I'll put you on the spot. Who is the writer you want to co-write with now? No disrespect to any of the people you wrote with. Is there a wish list? Well, I actually do honestly want to write with all the people that I wrote on this album again.

1:08:22I mean, the first person that comes to mind, or just even, I don't know if it's writing or just having a musical moment with, is Bonnie Raitt. Yeah. I just, she is someone that I've always looked to as her, the connection between her voice and her instrument and the way that she puts those out into the world has always just seemed like magic to me. and I've just very, I've always looked up to her and I've gotten to meet her and she's so lovely. So I would, but to actually share a musical moment with her, I think would be, she's the first person that comes to mind. And she just won a Grammy for songwriting.

1:09:10I know, I know, it was absolutely incredible. I know, well, and you've got, how many Grammys do you have? Four. That's a lot of Grammys. Okay, it's Beyonce, then you. Would you play us something? Anything you like? Absolutely, absolutely. Maybe I'll play, since we've talked so much about the octave mandolin, I feel like I want to play something on this. It's cool to be able to have the opportunity to try to play these alone because I haven't really done much of that. These songs were written with others, and so they've always sort of lived in this place where there's been multiple instruments happening.

1:09:54And even the arrangements for the record, it's very band-oriented. So unlike a lot of my songs, which just start with me and always sort of had their moment living in the world as just me and the instrument, these feel a little different from that. This is your unplugged session. Yeah, yeah. But this one, like I said, I'll play the way it is now because it feels like it feels connected to build me up from bones in this way that I love. And I wrote this with Sarah Buxton.

1:10:30And it makes me, I remember when we recorded it, this one and Columbus in 89th, it was the first time that I had a visceral, emotional reaction to my own song, where I was actually kind of tearing up in the vocal booth as it was going down. and I think it was just because these lyrics felt so connected to something I feel all the time which is the you know life is just can be so overwhelming and it can be very hard to remember to just be present in the moment and even the pressures of social media and feeling like you have to just create, create, create content all the time. I talk about this with a lot of my musical friends.

1:11:22It's, you know, it's top of mind for us, you know, wanting to not lose sight of what's important and not lose sight of the music and staying on the path and not getting distracted from that. And so, yeah, this song just really kind of encapsulates.

1:11:49guitar solo

1:12:15In my stories, heart so heavy I forget to breathe Determining the future Like anyone who knows what's around the bend I can stand still, I can change like the wind This is the way it is now Even with the darkness Steppin' at my heels The goodness is still Dancing me around This is the way it ends Now It's a hard time But it's our time And someday we'll be Looking back Missing the way it is now guitar solo

1:13:44Loving me through phases Even the ones I want to leave behind Long walks and sunshine To warm up my blood when I'm down and out Watching thoughts like clouds in my mind This is the way it is now Even with the darkness Stepping at my heels The goodness is still dancing me around This is the way it is now It's a hard time But it's our time And someday we'll be looking back Missing the way it is now Missing the way it is now

1:14:58Long walks, sunshine Clouds in my mind

1:15:12Clouds in my mind

1:16:08We'll see you next time. podcast subscriptions. And if you like this show, please remember to share, rate, and review us on your podcast app. Our theme music's by Kenny Beats. I'm Justin Richmond.

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