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Unsigned518 - Episode 178 - Ryan Clark · Unsigned518

• 0:01
  Speaker A: He was born on a Saturday in 73 he loves punk rock music fighting the 13 cabin in the dazzle Jazz on the beat Guitar with the short with radio back his motherfucking envy Scrolling look at motherfucker cuz here he comes.
• 0:22
  Speaker B: Andy Scrolling wearing his orange hats welcome to unsigned 518. I'm here with Ryan Clark. How's it going, man?
• 0:31
  Speaker C: Hello. Good. How are you?
• 0:33
  Speaker B: I'm doing. I'm doing very well. We just met, you know, a couple minutes ago while. Yeah, about 20 minutes ago or so. But I've. When you came on my radar or we first connect, it was like a couple months ago. I think it was like the. It was like fall of last year or winter. We had to talk to DM something.
• 0:54
  Speaker C: Yes and yes, I sent a message.
• 0:56
  Speaker B: Yeah. And then, you know, like everything, all the time, you know, it gets busy and whatever and it takes a little bit to come around. But like in that interim, I, you know, checked out your music because that's what I do. Like that's what I call my homework or my research. And I, you know, we were just talking before we got recording about like different styles and just be expressive and I think I found that in your music that it's not locked in to kind of one thing. So no, I guess I want to talk about like how that came to be, you know, because a lot of people when it's, you know, a very single genre or, you know, they're doing this kind of thing. So I guess what. What is your relationship with music? Kind of how it got to where we are right now.
• 1:44
  Speaker C: I mean, I think it all.
• 1:46
  Speaker B: It all started with a day by day account. If you could please.
• 1:50
  Speaker C: All right. On day one. It started with. Guitar was always a love of mine. When I started, you know, playing it when I was, I think 10 years old, I just. I remember literally never putting it down and falling in love with it. I was writing poems when I was young too, so that was like instantly songwriting kind of made sense to me with lyrics. And then the music kind of combined with that. Oh gosh. When you look at it from a longevity.
• 2:21
  Speaker B: Right, right.
• 2:22
  Speaker C: It's when you really. When you really zoom out a long time. You're like, that's a long time playing, playing guitar. And then. Yeah, I mean, just kept playing. I started, you know, working with friends of mine who were singers in like middle school and high school, playing guitar for them, doing like coffee houses in Albany because I was living in Albany at the time. And then high school came around and I was Playing. I was able to play shows. So I started skipping school to go play gigs and make money. I was like, yeah, I'm gonna go play music. Like, yeah, I love it. And I'm getting paid to do it. I'm not getting paid in school. Why would I stay there?
• 3:04
  Speaker B: There were gigs at like 1:30 in the afternoon.
• 3:07
  Speaker C: I had to go do them. I had to go do them, right? Like, cool.
• 3:11
  Speaker B: Fuck social studies. I'm going to play a gig at a coffee shop.
• 3:15
  Speaker C: Yeah. And then, and then I kept doing it. I just kept, you know, getting more gear, playing as much as I could, hanging out with friends, playing, went away to college, kept doing shows to like afford food and do the thing that was like my weekends were after school I'd go and pack up and go do a gig in town or I'd come back to this area to play. And then my summers were always playing a lot of shows and was it.
• 3:48
  Speaker B: Always kind of a. Just a, you know, because with the loop station and we'll get into like gear stuff and everything. Has it always kind of been like a you solo act or you know, did you have.
• 4:02
  Speaker C: I started out as a Nirvana cover band.
• 4:04
  Speaker B: Sick.
• 4:04
  Speaker C: All right. Yeah, we were, we were in, we were in my friend's like, you know, my parents garage and the whole thing like that's where we started was like a couple friends got together and we'd play Nirvana songs together and you know, bang our heads against the wall and play rock. It was awesome. It was so fun. Yeah, and we loved it. We loved it. We had so much fun chunking out four chord punk songs, rock songs.
• 4:27
  Speaker B: I mean I'm a 52 year old man that's still doing the exact same.
• 4:31
  Speaker C: It was so fun.
• 4:31
  Speaker B: I'm playing four chords in the garage that we're sitting in right now. Yeah, it was fucking fun.
• 4:38
  Speaker C: It was just fun. Like we just, we just enjoyed it. I couldn't wait to do rehearsals. It was tough. That's, I think where the solo part came was getting people together.
• 4:48
  Speaker B: Right.
• 4:48
  Speaker C: I was so excited and always so pumped to play. And then my drummer would be like, I can't today. Or he would bail and just not text me and I'd be like, flaky people stink. Like that's just not fun. I was, I was looking forward to playing music like you can't, you know, but again you look at it and like people have lives, people have things. So it's hard to know what's going on with people.
• 5:09
  Speaker B: And also people change. So like the, you know, especially as you know, you're coming out of high school, those people that are super committed to music.
• 5:17
  Speaker C: Yes.
• 5:18
  Speaker B: By the time the reality, the fucking real world starts kicking them around a little bit, they're like, but I have to put down the bass guitar for a minute and focus on, I don't know, surviving.
• 5:26
  Speaker C: Surviving, yeah. Eating. Yeah.
• 5:29
  Speaker B: So it gets tough. Like, one thing, though, is doing, like, the solo thing. You know, obviously, it's your own schedule. You can take gigs whenever it's good for you. You don't have to check with other people. But the one thing that would make me nervous about going solo, and I guess I want to kind of pick your brain on how you overcome this or if you overcome this, is the motivation when you're by yourself, like, being in an outfit, a band, like, you know, I have four other people to rely on.
• 5:59
  Speaker C: You can look around and go, there's people relatability.
• 6:04
  Speaker B: There's people to let down.
• 6:05
  Speaker C: You know what I mean?
• 6:06
  Speaker B: Everybody's going for something. And I feel like if it was just me, I might be like, yeah, you know, like, maybe I won't take that one gig. And, like, so how do you stay motivated? Because I saw your fucking schedule. You know, you're out there.
• 6:24
  Speaker C: I say I stay busy.
• 6:26
  Speaker B: Like, you're staying very busy. So how do you motivate yourself to stay that level of busy?
• 6:34
  Speaker C: I don't know. I've just. It's always what I've done, and it's like, I just like being out playing shows. Like, when I pick up a guitar, it feels like I'm in a different world. And every time I get to do that, I feel so grateful and thankful to be able to do that. So to continue to push and try to do that as much as I can is what I've always wanted to do. I guess I've always dreamed about playing shows as a kid and doing it when I was young. So now that I get to do it, I just like, okay, how do I keep the ball rolling? How do I keep going? How do I keep, you know, doubling down every year and trying to do more shows and make more relationships and, you know, find great musicians and just keep doing it as much as possible.
• 7:24
  Speaker B: Yeah. You know, So, I mean, you know, being grateful is a. Is definitely an answer, you know, like, I know the feeling of, you know, being on stage.
• 7:34
  Speaker C: Yeah. Or when you don't have stuff going on.
• 7:36
  Speaker B: Right.
• 7:36
  Speaker C: Oh, my gosh. All you want to do is be out of the walls that you're in. I want to play shows again.
• 7:42
  Speaker B: And it's funny because, like, we're in that right now. It just happens to be that the band doesn't have another set of gigs until September.
• 7:49
  Speaker C: Yep.
• 7:50
  Speaker B: So we've got, like, two months of no gigs. And so we're shooting potentially two music videos and we're doing, like, all this other stuff. Like, I'm doing a showcase with the unsigned 5 and 8 for, like, all these other bands. So it's like, when there's not things going on, other things happen. Like, it makes me understand side projects. I remember, like, being younger and like, you know, like one of your favorite bands, and like, all of a sudden you're like, wait, why is that guy doing a solo album? It's like, I get it, you know, when you have.
• 8:21
  Speaker C: When you have the art or, like, the music. I don't know. Thing inside you, when you don't have something going on for your. Like, again, like you said, personal thing, you can still love it. To work with other people doing and.
• 8:32
  Speaker B: Like, do other things. That's in the same.
• 8:35
  Speaker C: Oh, my gosh. Yeah.
• 8:36
  Speaker B: In the same vein.
• 8:37
  Speaker C: Yeah. It's like, just like, it's hard for someone or. Right. Produce for someone or help them film something. Who's never done it. And you're like, oh, you've never done that? Let me help you. Like, yeah, get excited about music.
• 8:47
  Speaker B: I mean, shit, we don't, you know, there's eight weeks of no gigs. So, like, I got to do something or I'm going to go fucking crazy summer. Like. But it's nice to have that network of people, like we were saying in this area where it doesn't matter. And I just think that this area, it's less clicks, it's less competition. I think even across different genres, people understand that we're not competing with each other. There's room for everybody. There's room for every style of music, which I love.
• 9:25
  Speaker C: Yeah.
• 9:26
  Speaker B: I think it's a. A great scene, certainly, to be a part of.
• 9:30
  Speaker C: Yes.
• 9:32
  Speaker B: So, you know, we're talking out of high school into college and. Do you write all. All your own stuff? Do you do covers? Do you do a melange of. Of the. Both?
• 9:43
  Speaker C: Yeah, I mean, I've always pushed super heavily for the original stuff. I've always been a writer. Yeah. I mean, I always wrote by myself because I didn't have anyone to write with. No one else. I didn't really. And it was always a very, like, I don't know, emotional or, like, I'm gonna be by myself and write kind of thing. Like, I need to express myself and express these songs that I have. And. And then I was like, okay, when I was playing shows, I was like, I need to learn other people's music so that when I play shows, people can listen to them and relate and, like, I can play those songs and still be myself through those songs. Right.
• 10:20
  Speaker B: Like, 100%. And those songs are literally almost like a gateway.
• 10:24
  Speaker C: It's an extension. Right. Yeah.
• 10:26
  Speaker B: It's like, hey, these songs I write came at least partially from these influences.
• 10:32
  Speaker C: Exactly. Yeah. Yeah. Cover music and songs are like. That is like your. Yeah. I don't know, inventory of. Of, like, knowledge, basically. Right. You learn all these songs and you. Oh, I remember this chord or, like, this progression. Let's change it up slightly.
• 10:49
  Speaker B: Yeah. Because nobody learns. And I've said it on this show two dozen times, like, nobody learns music in a vacuum. No, you know, like, yeah, you from.
• 10:57
  Speaker C: From influence influences.
• 10:58
  Speaker B: And it's okay to be like, oh, these are my influences. Yeah. But it is. It is weird with covers because, like, my band, we play covers every set. Like, we throw in a couple of covers. Like, you know, it's just, like, what we do. And, like, it's a good way for people that have never heard you before to, like you said, to understand. Even if, like, they don't listen to you again, they're gonna maybe remember, oh, like, they, you know, did whatever a, you know, Jimmy Eat World song, you know, whatever. And they might remember that.
• 11:31
  Speaker C: Yeah.
• 11:32
  Speaker B: And they might be like, oh, I remember that guy. And then it gets, you know. But it is kind of weird that you almost kind of have to play other people's music until your music stands out on you.
• 11:42
  Speaker C: Yeah, yeah.
• 11:43
  Speaker B: But sometimes your music, you know, like, it. It just works well with other stuff, and it's nice to sneak.
• 11:51
  Speaker C: Sneak it in and be able to play stuff and. Yeah. And, like, while you're building up your repertoire. Right. Of, like, recorded releases and, like, songs, you kind of have to. Because you don't have music to like. Right, right. I mean, it's taken me how many years to get X number of songs just out and recorded and released. Like, that's such a process to do all that work and playing a gig.
• 12:12
  Speaker B: Sometimes, you know, like, especially as a solo artist, a lot of the times, like, I mean, how long is your average gig? Like, a couple hours, two, three hours.
• 12:19
  Speaker C: Three hours? Yeah.
• 12:20
  Speaker B: Do you have three fucking hours of original. I mean, maybe now you do, but, like, you know, certainly when you're starting out, it's like.
• 12:27
  Speaker C: Yeah.
• 12:27
  Speaker B: I mean, even us, we were doing 40 minute sets. And for like the first year we were a band, we're like, we do not have 40 minutes of original music. Now we do, but, you know, it takes a while to get there.
• 12:41
  Speaker C: Yeah.
• 12:41
  Speaker B: So speaking of music, you know, you brought along your guitar and your looper pedal and we do want to hear a song, but I think I want to, I guess, pick your brain about what is happening on the pedal. Like, you know, you're doing the beats with the. Hitting the shell of the guitar, which will create beats. Like how long, like how long did it take you to build to where you're at now with all the pedals and stuff?
• 13:09
  Speaker C: Yeah, I remember I had a little blue loop station. That's the only way I can remember. I think it was a boss. Tell me you have one.
• 13:20
  Speaker B: I have the red boss. Yeah, looks like this, but it's red.
• 13:25
  Speaker C: It was a double pedal.
• 13:27
  Speaker B: That one. No, that's my pedal.
• 13:30
  Speaker C: Yeah, so that's. That's where I started with it. I was just like messing with that. And I'd try to like, you know, start it and then stop it right in the loop and get a really good like. And there would be so many times I'd mess it up and just like not get the right feel. Building the tempo in your brain basically, and then starting it. And then once I started getting like a good rhythm section, I would start doing like just beats in when I was practicing. Then I remember getting an octave pedal and I just remember hitting like single notes that were like low end bass lines basically. And you just like. I was like, oh, this is really cool. Like I can build a bass line and a beat and a rhythm and then I can do lead over top of that. This sounds like full now. This is really fun to jam.
• 14:14
  Speaker B: It is, yeah.
• 14:15
  Speaker C: And I'm like having fun doing this. So I mean, I just started practicing as much as I could. Some of the songs when I would write them, I would then like, as I was playing, I would just experiment. While I was, you know, touring and playing shows, I would just experiment with stuff and things would stick and I'd be like, oh, that was really cool. Let me see if I can remember to do that at these moments.
• 14:37
  Speaker B: And like, one thing that I think maybe some people may not understand is like, you know, the use of like digital technology and like looper pedals. Like, I mean, maybe musicians would understand, but maybe non musicians. Like, yeah, it isn't like leaning on technology to cheat in any way, shape or form. It is actually more difficult than just like Doing one thing. Because, like. Like you said, if you hit. You know, I used to do a drum machine with my foot and looper shit, and you hit one wrong thing, everything falls apart immediately. And, like, there's been so many times where I just learned to just. Just shut the song right down. You know, you'd hit something wrong and just be, like, over. Sorry about that, folks. Like, there was no coming back from that because. Oh, that had all these MIDI bass lines program. Like, I just. Up. So, like, how do you deal with, like, the. The stress of recreating the stuff that you're doing with this looper pedal in front of a live audience?
• 15:41
  Speaker C: Well, I think that's the fun of it for me is, like, every time it's different. Even though it is the same in my head, every time I play it, I still get the excitement of, like, oh, I get to do the beat now. Right? Okay, now we're doing the bass line. I don't know what I'm doing. I just know the root notes pretty much. And then from there, I, like, will try to walk the bass a little bit and move it down a half step or a whole step and do a little, like, walk at the end of the progression or something. But I try to just be. Be more experimental every time and just, like, let whatever's happening at that moment take over.
• 16:16
  Speaker B: So it, like, stays, like, relatively within a template, but is allowed to breathe.
• 16:21
  Speaker C: To breathe.
• 16:23
  Speaker B: That's really. That's really cool. Like, I do kind of miss doing. So it's been a long time since I've done solo stuff, but I do kind of miss that. Because you're, like, the excitement, especially when there would be payoff.
• 16:35
  Speaker C: Yeah. When you're like, that was cool.
• 16:37
  Speaker B: That was fucking fun.
• 16:38
  Speaker C: I didn't know I could do that. Right. That was fun.
• 16:41
  Speaker B: I dig that. All right, so you're gonna. We're gonna do a couple songs here, and you're actually gonna play one live here in the Dazzle Den right now, and then we'll hear a studio track later on. But what are you gonna play for us right now?
• 16:53
  Speaker C: This one's called Slow it down, and it's. It's my song about just slowing down the world a little bit and appreciating the moment that you're in.
• 17:04
  Speaker B: All right, cool. So let's check out Slow It Down, Ryan Clark here, live in the Dazzle Den, and then we'll be right back.
• 17:31
  Speaker A: I looked out my window to find a way to slow it down somehow maybe look back and take my time to feel things again?
• 17:50
  Speaker C: Yeah?
• 17:51
  Speaker A: I just wanna know how to hold on to right now? Cause it won't be long before it's gone? This life don't allow no turning back? It's moving fast? I want to slow it down? These pages just write themselves When I'm not even trying? I'd be lying if I said I had it figured out. Cause I don't have any superpowers? I just wanna know how to hold on to right now? Cause it won't be long before it's gone? This life don't allow no turning back? It's moving fast? I wanna slow it down.
• 19:14
  Speaker B: Sam.
• 19:40
  Speaker C: Sa.
• 21:44
  Speaker B: All right, that was Slow it Down. Ryan Clark live here in the Dazzle Den. And Ryan, we were talking a little bit earlier, you know, before we got recorded. Recording how? You know, you'd grown up in the Albany area, but there was a time when you had moved down to Nashville to pursue music and were down there for. You said six years?
• 22:03
  Speaker C: Yeah, five. Almost six years. Yeah.
• 22:05
  Speaker B: So tell us a little bit about that.
• 22:09
  Speaker C: Yeah, Nashville was incredible. I loved my time down there. I really wasn't planning on going. I had a friend message me who I was starting to, you know, sing with and do shows with, and she invited me to, you know, move down to Nashville to change it up. And I was like, I was ready for something new and different. And I just went. I just went. We got an Airbnb, split it, and moved down there for. For a while, and then I came back, was doing, you know, touring and shows, and I. I'd move back down there, and then I stayed down there. I was like, okay, this is it. This is cool.
• 22:52
  Speaker B: And so, like, playing show, you know, because obviously it's a music city, and, like, there's, you know, a fucking hundred different places playing music on any given night. Like, did you find that that was like, was it easy or. Not easy, but, like, I guess. How easy was it to start booking gigs down in Nashville to not already being embedded in the scene?
• 23:16
  Speaker C: Yeah, there was. I. Thankfully, social media was helpful. I messaged an artist named Austin Burke who was cool with grabbing coffee, and he just, like, literally told me everything about Nashville within over a coffee meeting. And I took notes and wrote down, and he was like, go to this showcase for original music. Avoid these places. Try to network these with these writers. And, like, just threw me in and just was so helpful. And then just being down there, experiencing things, I kind of learned quickly. You know, I like to get a vibe and go, okay, cool. This is. This is for Me, or this is not it and this is how I can make money and have to do it, or this is how I should avoid that place because they're not good to artists or whatever it might be.
• 24:08
  Speaker B: And that's really cool to like know, you know, even just tangentially, just like that. It's still about the people. It's still about the networking. That's how you do it. You start networking with people. You go to shows, you meet people, like, the right people are gonna be here. And, you know, and if you're cool and personable enough. Yeah, you know, which I obviously you are like, you meet the people, you're friendly, and then that's how shit happens. And obviously you have to have talent, you know.
• 24:36
  Speaker C: You know, be able to play music a little bit.
• 24:39
  Speaker B: You get to the show and you're like, oh, yeah, I totally forgot to learn how to play guitar. I'm very good at networking. So, yeah, obviously gotta have the talent.
• 24:49
  Speaker C: Stand up comedy instead tonight. All right, here we go, everybody.
• 24:52
  Speaker B: And like, do you think that, like through osmosis, like going to all these shows and going to all these showcases, like, how much did that affect your songwriting? Like, were there times when you would go to a showcase and then be like, fuck, I want to try something like that?
• 25:08
  Speaker C: Yeah, yeah. Or even just being like, if I don't know how to do that, that person is really good at that. So let's collaborate. And I might be like a guitar player that can bring that to the table. That might. That artist might not be like as good of a guitar player or whatever it is. You can like trade skills almost. And networking is definitely, you know, but yeah, and you watch some of the talent and the songs down there too, like some of the songwriting and people, you just get so inspired and like, it's. It's hard because again, you're around people who are just so good. So it's hard to go like, oh man, this is like, I don't feel good because there's so much talent, right?
• 25:54
  Speaker B: And I mean, that's like a double edged sword because, like, in a way, because he. Even when you first started saying that sentence towards the end, my thoughts on it shifted. Because at first I'm like, well, yeah, obviously you want to be around talented people because that's how you learn. But then I'm like, yeah, that's a bitch. To conquer your self consciousness when you're like, I'm around super talented people. And even if you are your brain, a lot of the times might not let you Know that you are like. My brain would be like, fuck you, Andy. What are you doing here? I'm trying, man. So I guess that's a double edged sword, being in that talent pool.
• 26:32
  Speaker C: Yeah.
• 26:33
  Speaker B: You know, clearly being there for five, six years, you were doing something right.
• 26:38
  Speaker C: It was fun. I mean, and just trying to meet people. Trying to. I think I always say this, but like, meeting the behind the scenes people was really the goal for me. Who are the people who are playing bass on the records? Who are the drummers on that? Like, who are the producers? Like, I want to meet those people who like their names. No one ever like, looks them up except people like me who care about. They're the ones who made that record or made that. That sound. The writers.
• 27:06
  Speaker B: Like, I was listening to, you know, we were listening to my wife and I this. Some music this morning, and Janice Joplin Take a Piece of My Heart came on and like, there's that like really cool, fuzzy, dirty ass guitar solo in that. And I was like, you know, I have no fucking idea who plays this. Like, who is that playing that guitar? This song has been a part of my life for 50 years, you know, my entire life, and I have no idea who plays that guitar solo and like, stuff like that. And it's probably some dude from Nashville, you know, like, because a lot. And a lot of those people too, you know, the luminaries in Nashville, don't they. Aren't there a lot of people that write songs for like national artists?
• 27:50
  Speaker C: Yeah, yeah, there's definitely. There's writers who are.
• 27:52
  Speaker B: But they themselves just play locally. But like, they. Their songwriting is good enough for the. Right. For some artists.
• 27:59
  Speaker C: Huge artists. Yeah. National touring groups.
• 28:01
  Speaker B: That's got to be a God, that's got to be a cool way to, you know, like, to have that kind of massive talent.
• 28:08
  Speaker C: Yeah.
• 28:09
  Speaker B: To be like, oh, I can just write songs and just give them to other people and that'll pay my bills for the rest of my life.
• 28:14
  Speaker C: Yeah, exactly.
• 28:15
  Speaker B: And then I can just hang out and do whatever I want because I wouldn't. I would never want to be.
• 28:21
  Speaker C: Yeah.
• 28:21
  Speaker B: A rock star or anything, you know, a national. But it'd be cool to have like the. The money.
• 28:27
  Speaker C: Yeah.
• 28:27
  Speaker B: And keep the anonymity, quietness of it.
• 28:30
  Speaker C: All. Right.
• 28:31
  Speaker B: God, that's just got it. That's the dream right there, man. Have your own studio, just pump out hits and then be like, nobody knows who I am. Yeah, I love it. So I guess, you know, you've been down in Nashville, you were, you know, playing shows down there, like, writing songs, continuing. And then you moved up here recently again or back. Back up this way? Recently?
• 28:55
  Speaker C: Yeah. About a year, year and a half ago, I saw a place that I wanted to turn into a recording studio, and that's been my project for the last year and a half. I've been a hermit working on that place pretty much.
• 29:10
  Speaker B: And was it weird or. Or how did it feel to, you know, grow up here to go, you know, succeed in Nashville, decide to come back up here? And then now you have to not reinvent yourself, but you have to reintroduce yourself.
• 29:25
  Speaker C: You have to really connect and be like, yeah, it's definitely a strange thing because I'm so used to the Nashville culture that it's like, oh, yeah, I'm in upstate New York. It's, like, cool. It's just different, but it's fun. I mean, I'm really enjoying the more, like, smaller feel of the town. And, like, everyone is like, I don't know. It's like, we can help. Everyone can help each other. Right. Like, it really is a. A place where it's just. Maybe I just look at it like it's a miniature Nashville. It's just a place where, you know, Nashville was the same thing. It's like, connecting with people, songwriters. There's a lot of art. I still have access to Nashville. Everything's digital these days. Right. Like, I can text my friends or some of the people I've worked with and asked them to play bass on records or drums and fly stuff over to me. Yeah.
• 30:21
  Speaker B: Yeah, that's cool.
• 30:22
  Speaker C: Yeah. And it's. It's a slower pace here, which is so nice.
• 30:26
  Speaker B: Yeah.
• 30:26
  Speaker C: Like.
• 30:27
  Speaker B: Especially, like, where we. Where we are sitting right now, like, we're. We are literally in horse and cow country.
• 30:33
  Speaker C: It is nice. I like this.
• 30:34
  Speaker B: I'm amongst dairy farms and horse. Horse farms. And I like it a lot because it sits close enough to the. To, you know, Albany and Saratoga and Lake George and Glens Falls. But it's. It's still hidden.
• 30:46
  Speaker C: It's still hidden. Yeah.
• 30:47
  Speaker B: I like the quietude. All right. So cool. So before we go, we were going to hear another song, and this time, rather than playing something live, we were going to hear a studio track. So what are we going to hear this time?
• 31:00
  Speaker C: Yeah, so this one is called My Way. It's a song that I wrote with two artists down in Nashville, and I asked a artist friend of mine, who. I just was, like, obsessed with her voice when I heard it. Her name is Jess Lee, to sing on it. And we cut it down in Nashville. One of my favorite tracks. I've heard it enough to where I don't ever want to hear it again. But, like, it's. It's one of my favorites. And I think people. You know, I hope people like it. It's. Yeah, it's a fun song. My way.
• 31:36
  Speaker B: All right, well, let's check out My Way with Ryan Clark and Jess Lee, and then we'll be right back to wrap it up.
• 31:54
  Speaker A: Try to read you a thousand times? But there's always something that I'm missing? You got me losing my mind? Cause your pages don't make sense?
• 32:06
  Speaker B: Ooh.
• 32:08
  Speaker A: Got me second guessing everything I'm saying? Everything you do pulls me in? But then you push me away? Don't wanna leave your driveway? Can't bring myself to end this girl tell me what should I say? Say to make you want me stay?
• 32:29
  Speaker D: I don't want to live without you the silence already kills me? Boy, if you could read my mind? You know what I've been going through? You never walk away? If I had it my way, my way, my way? If I had it my way, my way, my way? I don't even know where to start Half the time you're all in, baby? Messing with my head and my heart? Got me feeling a little bit crazy?
• 33:10
  Speaker C: O.
• 33:13
  Speaker D: Got me second guessing everything I'm saying Everything I do pulls you in my? Then I push you away?
• 33:22
  Speaker A: Don't want to leave your driveway? Can't bring myself and this girl? Tell me what should I say to make you want me to stay?
• 33:34
  Speaker D: I don't want to live without you? The silence already kills me? Boy, if you could read my mind? You know what I've been going through? You never walk away? If I had it my way, my way, my way? If I had it my way, my way, my way?
• 34:15
  Speaker A: No, I can't leave your driveway And.
• 34:18
  Speaker D: I can't live without you girl, tell.
• 34:21
  Speaker A: Me what should I say to make.
• 34:24
  Speaker D: You want me to stay?
• 34:27
  Speaker A: Don't wanna leave your driveway? Can't bring myself to end this girl tell me what should I say? To make you want me to stay?
• 34:38
  Speaker D: I don't wanna live without you? The silence already kills me? Boy, if you could read my mind, you won't What I've been going through you never walk away? If I had it my way, my way, my way, my way? If I had it my way, my way, my way? If I had it my way, my way, my way? If I had it my way, way, my way, my way.
• 35:20
  Speaker B: All right. That was my way Ryan Clark and Jess Lee. And, Ryan, I want to thank you so much for coming out and doing this. It was really cool and super cool to meet you. And likewise, before we go, I want to give you a chance to say your gratitude. So microphone is all yours.
• 35:34
  Speaker C: Hello, microphone. Thank you so much for having me. This was amazing. Such a cool studio space you have here.
• 35:40
  Speaker B: Thanks, man.
• 35:41
  Speaker C: I love the vibes here. This is awesome. Thank you for just supporting music for so long, too.
• 35:48
  Speaker B: Oh, yeah, that's right. Like, you heard me on the radio back in the early 2000s. Switch is fucking trippy. You're like, did I hear you when I was a kid? Holy shit. Yes, you did. You would have on EQX back in the early 2000s. That blew my fucking mind.
• 36:04
  Speaker C: Yeah.
• 36:04
  Speaker B: But I told my wife, like, you know, I stepped out, and I was like, he remembers me from when he was a kid. She's like, how old is he? I'm like, no, I'm old. You gotta remember that. I'm very old. All right, sorry. Go ahead and continue.
• 36:19
  Speaker C: I guess thank everybody. Yeah, I mean, I'd love to thank everybody who in this area supports live music, is involved with live music, the arts, everything. Like, people love the arts. People who are not involved in the arts love the arts. I don't even know everybody I've ever come in contact with, with music and producers, people who have made records, who, you know, friends of mine have met down in Nashville. Do you want me to be, like, specific about.
• 36:53
  Speaker B: Go for it. Get a specific.
• 36:55
  Speaker C: Yeah, I guess. Cool. Greg Collins, for making the record that I grew up listening to when I first heard the Goo Goo Dolls, you know, Dan for the drums that, you know, he recorded on some of the songs. Mark Hill, bass player I've worked with, inspired me so much when I heard his playing. Just people in the scene. Rich Ortiz, watching him play when I was, like, 16 years old. 17 years old. Yeah. Oh, my gosh. Like, just a great, great guy and great player. Patrick Decker. You know, there's a lot of great, great people who inspired me when I was growing up around here. The bar owners around here, too. The places that I've been able to play since I was a kid coming back here. Yeah, just music, all of it. Cool.
• 37:52
  Speaker B: All right, well, he is Ryan Clark. I am Andy scullin. This is unsigned 518. I'll see you on the road. Unsigned 518 is produced and hosted by me, Andy Scullin. New episodes are available every week wherever you stream podcasts, if you'd like to help support the show. Please like and subscribe wherever you are listening. Or you could buy me a coffee@buymeacoffee.com unsigned 518 if you would like to advertise on the show, send me an email at untimed518 and to be a guest on the show, reach out to me through Instagram at unsigned518. Take care of one another and I'll see you next week.
• 38:38
  Speaker A: And Scholar.