The Frequency That Changes Everything

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Now, let's get into today's discussion.

Hello everybody, welcome to another episode of Ancient Mysteries on Earth, I'm your host

Chris Noble.

Today we have a really special guest, a phenomenal musician and sound healer.

His name is Stephen Helper.

You've probably heard of Stephen Helper and if you've dabbled at all into the sound

healing realm of life.

But if you're not familiar with Stephen, Stephen is a Grammy-nominated multi-platinum recording

artist and one of the original pioneers of sound healing and therapeutic music, absolutely

one of the OGs in this area.

So of course, as you know, I love this stuff.

This is going to be a really fascinating episode, but a little bit more about Stephen.

So for nearly five decades, Stephen has explored how tone, frequency and resonance affect consciousness,

drawing from both modern science and ancient wisdom traditions that understood sound as

a tool for healing and awakening as we talk about a lot on the show here.

So through extensive research into brain waves and human energy fields and many, many other

avenues, his work has helped bridge ancient and vibrational knowledge with contemporary

science, neuroscience and things of that nature.

Now as a composer and an author and an educator, Stephen's legacy has profoundly shaped meditation

practices, holistic medicine and the global understanding of sound as medicine.

So I'm sure you can all imagine how excited I am to talk to Stephen today.

So Stephen, welcome to Ancient Mysteries on Earth.

How are you today?

I'm good.

And what a beautiful introduction.

Thank you.

My pleasure.

If you added some things to what I'd probably sent you, and that was great.

Well, we'd like to spice it up a little bit here.

I'm sure as someone like yourself, you get your bio read a lot, a lot, a lot over and

over.

So we try to make it a little more interesting.

Myself as a musician, I know we're on stage and at a festival and someone's reading

at your bio, it starts to just become this thing over and over.

I always like when people spice it up.

So for yourself, Stephen, you know, we're going to get into a lot of really fascinating

topics today, but I love to start off the show with the origin stories.

So how did you, I know you're a very accomplished musician and you didn't start off this way.

So what shifted for you?

What was that moment where you started to see that music's not just entertainment.

There's something a lot more sophisticated and profound going on.

What was that like for you?

Well, music has always been fundamental to my existence and sound.

I've always been very sensitive to sound.

My hearing is beyond what most people hear, which has astounded some of the audiologists

that have tested me.

But when I first got into music was through the public school system, they gave out, you

know, instruments in fourth grade and third grade, I chose trumpet because it looks simple.

But trumpet became my early vehicle to experience not just the language of music, but starting

to study about how chords and melody and notes fit together.

Coming up through jazz improvisation was still learning the rules.

What really started waking me up on multiple levels was an experience in 1965, my first

year at the University of Buffalo, when I was invited out of the audience to sit in with

a jazz band playing music like John Coltrane and McCoy Tyna.

And as I joined them in that high energy vortex, I started playing some of the scales and

riffs that were impressive.

In other words, things I had practiced and that always went over well and showed that I

knew what I was doing.

But then all of a sudden, I was caught up in the energy and the music started playing

itself.

My trumpet started playing itself and I was not in control.

Literally, the trumpet was weightless on my lips and I knew something was different

but I didn't know exactly what until I was finished and my friends said, when did you get

so good?

You didn't play that yesterday.

Well, it was in the presence of these other high energy musicians that I tapped into

another level of where the music is and had the music play through me.

One of those musicians was a professor named Jack Clark who was a local guru figure, poet,

researcher, mythologist, et cetera.

And I became one of his students and experienced an awakening through that and then would be

studying the ancient origins of music.

From the first time I heard about Edgar Casey, talking about ancient healing temples

in Egypt and of course in Greece where the musicians and artists et cetera would work

to connect with their muse.

So early on from my freshman year on, that became part of my intention setting.

If this is how the ancient artists did it, I'd like to be greater, wouldn't it be greater

if I could connect with my muse, I didn't think that could happen but I set that intention.

And over the years, there would be a couple of other experiences but I'm playing in the

jazz, rock, itting, I'm playing trumpet, I'm playing guitar, had some situations where

on stage or whatever, me vanished and just music was being played through me.

I became the instrument of the instrument.

What I understand now is that that prepared my nervous system in a sense to be ready

to hear and then to play a new form of music that came through on keyboard, much less

energetic than playing trumpet where you have to be fully aware of your diaphragm

support and you have to use your breath.

You could just sit quietly at a piano as I do and move my fingers a little bit, stay

in a meditation state.

But how that all happened was during a spontaneous meditation in a redwood grove outside of Santa

Cruz where I was taken by some wonderful hippies when I was hitching from San Francisco

to the University of Santa Cruz to see the William Blake exhibit and was mistaken for

a guy who had applied for a staff position at this sister organization of Esselin Institute,

Human Potential Institute.

And when I showed up, instead of the other guy, he says, oh, well, are you looking for

a job?

I said, no, but if you're offering, I'll take it.

Well, then come back in a couple of hours, meet the staff, you could hang out down the

road.

So I just walked down the road, found the meditation area and there was deep into a spontaneous

meditation in which I started hearing a different kind of music than I ever heard before.

And I also heard essentially what became my mission, that this is the music that you've

been praying for, to connect with your muse, that this would be the healing music for

the 20th century, that no one else was doing.

People were playing yoga music, things that had been done, but no one was playing something

new in composing something new.

Now this music doesn't work on trumpet.

So after the meditation, over I walked back to the Bridge Mountain Foundation and I

go to the wrong building, there's a piano.

I sit down, go into trance and start playing this beautiful music that I'm not even

hearing, because I'm in an altered state, natural, no artificial plant medicines, et cetera.

And about 10 minutes later, I hear somebody call, if I look around, the staff had walked

in, they were all meditating and lying down and doing yoga and say, who are you, where

did you learn to play like that?

Well, that became my intro to something is happening, what is going on?

How did I learn to play like that?

And very quickly I started getting answers from psychics and also when I wound up never

going back to the University of Buffalo, I started to experience things where I would

be shown things and one of these happened in a used record store where Rosemary Brown's

album, a musical say-ons, was there in the classical music session, which I never would

go into because I was trying to replace my jazz and jazz rock record collection.

And she talks about how some of the famous classical composers who are dead are still alive

in another dimension and are channeling music through her, sometimes they dictate and

then just like I explained to these other people, they move my fingers and I don't even

hear the music, but the music is being played.

And I remember almost falling down in the used record store saying, wow, that was what

was happening to me.

And that's when I started taking this seriously.

Well, where I'm now hired became the weekend retreat and weekend workshop center for many

the leaders of the human potential movement.

One of them was Dr. John Lilly, who was famous for his research with dolphins and then

ketamine and other consciousness expanding drugs and the isolation tank.

He heard the music and said, wonderful, but if this is really something special, you

need to do research.

And I'm going, I'm a musician.

I don't know how to do research, left it at that three weeks later, Dr. Stanley Krippner

is doing a weekend workshop, says the same thing.

If you want to be taken seriously, you need to do biofeedback research for objective

data, not just people saying, this is the most relaxing music we've ever heard.

I feel so healed.

And I'm going, I don't know how to do statistics.

I'm not scientifically trained.

I have no access to biofeedback equipment.

And he says, if you sign up for this new program that he is the co-director of, we have

the best biofeedback equipment in Northern California.

As a student, you could use it for free.

We will give you free students to use as research subjects, because you're part of the graduate

program.

And I started working in my dissertation about a new contemporary psychology of music.

But it's still very left brain.

And working with the professors that I had to answer to, it was kept pretty much left

brain, but a requirement for the degree was that I did indeed conduct the biofeedback research.

And they hooked Dr. Krippner, hooked me up with some wonderful graduate students and

scientists who had developed one of the first two aura video and aura photograph devices

called Curly and Photography in United States.

So in addition to using brainwave analysis and GSR analysis for biofeedback, we used aura

photography.

And the results were so dramatically different than the most relaxing classical music, which

is what I was comparing my new music to, that one of the research associates said, this

is no longer just your research program.

This is your life.

You need to take, tell the world about this new music.

And I'm going, great, how do I do that?

I know nothing about business, nothing about marketing.

As an independent, I can't even record my own album because there were no studios that

would let you record unless you were signed to a label.

So that was 1973, but that was the week in March that began my second half of my life,

where suddenly I'm dealing with music that produces effects that are different than what

any other music that they had tested and that we had tested was available.

And then two years later, the first studio available to independent artists in the San Francisco

Bay area opened, met him at a Christmas party.

I was in his studio January 4th, 1975, and recorded my first album that weekend.

I didn't know that you're not supposed to record a whole album in a weekend.

I had been playing my version of the Chakra Suite already in meditation groups and private

concerts, and everybody said, where can I get an album?

And it became clear that my job was not just to play the music in concerts or private

meditations, but to record it and get it out to the world.

And that was the beginning of learning a whole new set of skills, making a lot of mistakes.

Nobody had done this, they had never been an independent new age meditation label that

was taking the music nationally, and a lot of mistakes were made.

Now, since we had very low budget, they said, how do you make an album?

Well, you need something for the cover, and you could buy a cover for $500 or a thousand.

And I said, why don't we use a curly photograph of the leaf that was part of the research?

So I said, fine, we'll do that.

Turned out this was a ridiculous choice of a cover, because people didn't understand

it.

They thought I had done it for plants and up people.

There's a, well, this is psychedelic lettering, and I'll take responsibility for choosing

that font with the artist, but very quickly stores, interestingly, if you turn this album

this way, they said, this is actually a pornographic

album.

It's a, it's a obscene cover because it looks like a female genitalia.

So very quickly, I had to change to another cover, which was for Spectrum Suite, we're

again, we're looking at the tones of the seven major tones of the scale with the seven

major colors and the seven shockers that all correlate.

And this was a system that I didn't invent, but it'd been around for hundreds of years.

I'm the first person that really put a soundtrack together with it and marketed it, and just

because shockers, these etheric energy centers resonate to sound and color.

When you listen to the music, your shockers would resonate and come into their perfect

pattern of resonance, and when I would do live presentations, I would also show slides

of the colors.

And some of these are up on my website on my YouTube channel, and people could experience

some of that.

But in concert, in workshops and conferences, this was part of how I presented the most important

part of the early teachings, which was that when you balance and tune the shockers, wonderful

things happen to your consciousness.

And over the years, fairly soon after that, because of that research, I became in the

leading musician, the only musician, to be invited to science and consciousness conferences

where I would present and learn many other things about brainwave and training and access

to a whole other level of information that when I would talk about, Chris, when I would

talk about brainwave and training early on, people said, brainwaves, what are they?

Do I have one?

Said a woman to me early on, shockers went on a radio or TV show in 1975 or 1976.

The host would say, chocolate, what flavor, milk chocolate, dark chocolate, no, chakras.

That was before yoga went mainstream, and people didn't understand what they were.

But one of the other research associates that I connected with, because of the people

that I hired to do the research, was it sucked bent off.

The legendary scientist and inventor who wrote the book, stalking the wild pendulum.

And when he experienced the chakra, sweet music, he said, we need to take this nationally,

because when you align the chakras, it creates a situation where the music of the blood

supply going out of the heart up into the brain, instead of being random, like it usually

is, becomes a tuned oscillating system and pulses the brain in a way that the brain likes

to be pulsed. And it sets up your brainwaves naturally shift into an eight cycle per second

deep alpha state. And in that state, according to Bentoff's early research, which is why his

book was so extraordinary, you resonate and entrain to the dominant electromagnetic frequency

of the planet, which, not surprisingly, is eight cycles per second, is known as the

shuman resonance, 7.8 to 8, 7.8 to 8 cycles per second. That's what the atmosphere vibrates

at. That's what the earth vibrates at. And that became part of the reason that people felt

so good when they listened, without knowing it, their bodies would naturally shift into

a higher order of coherence. Not only that, but not just their bodies and the blood supply

pulsing up into the brain, but the fact that your brainwaves and your left and right hemisphere

operate usually differently. Let me give you an example. If I sing a very familiar pattern

of ascending notes, which most people will recognize as a scale, watch what happens at

the end. So I will sing the Doremi Fasolati. And how many of you are hearing that final

note in your head before I sang it? How many of you are holding your breath, waiting

for the other shoe to drop, waiting for the final note? We are so culturally conditioned

to anticipate where the music is going. That number one, we're always out of balance and

always leaning towards the future, rather than in the mindful state of being here now,

as Ramdhavs was teaching us. Being here now, but what happens when we're analyzing that

scale pattern, that predictable pattern of music, because all the music that we've heard

has predictable patterns, our left brain is more active. Our left brain is analyzing and

predicting. Well, that's the big factor. And the right brain is not doing much. What

my music does is synchronize and balance both hemispheres and shift the brain into a higher

order of coherence. So I first started learning that in 1973, when I was in London in 1977 for

the first body, mind and spirit festival, the leading brain wave biofeedback scientists,

Dr. Maxwell Cade and Dr. And his associates, Jeffrey Blondell, invited me to their lab. They

checked out my music. They put the electrodes on my head. And they said, we must have done something

wrong because we've only seen this level of coherence with the leading British psychic healer,

Rose Gladden, and a 75 year old Tibetan monk. How could you be doing this? We'll have to reset

and they put the electrodes back on. And when the same results happen, they looked at me and said,

who are you and how do you do that? And I go, I don't know, I'm just doing what I do. And that's

that was part of the change and realize that this is not just a figment of my imagination. I have

world-class scientists telling me that something different is going on when I am in the state

to replay and record the music. And more importantly, when people are listening to the music,

they go into that state. It doesn't hit you over the head like heavy metal rock or something,

but very gently, as Bentoff would write, if you were to ask the body, how would you like to be

resonated in a train? Would you like to be hit over the head with heavy drums and big rhythms,

or would you like to be caressed into a higher order of coherence? Well, certainly my body

wants to be caressed. And happily over the years, millions of people have wanted music that helps

them feel more like themselves. People say it feels like home. I feel like myself when I'm listening

to this music. And that was how the shift happened. All the problems are out, you know, launching

an independent record company, licensing in 1985 to a major label, getting ripped off,

going back as an independent. A lot of the same stories that many musicians have gone through. But

because I was an independent artist, I had more control about what I wanted to say on the album

jackets. And again, I'm always trying to speak about healing the individual, healing the planet.

And music of the balance, the individual, music the balance, the planet,

correlating colors in sounds in the trackers. The title became the spectrum suite because I'm

coming up through the spectrum of colors and the seven tones of the major octave and the seven

trackers. But it wasn't until I found an artist that could create the image like this that is now

on my chakra suite and chakra balancing albums where you can see the seven colors going up to

seven chakras from the base of the Spain, spying to the crown chakra over a bed of the shri yantra.

You asked how I also first got into this. I first saw the shri yantra in a mandala book

that Carl Jung had written. And I was fascinated by it and reading the description.

This was a psychmatic image of sand sprinkled on a resonating disc into which the scientists

had chanted Ohm and the Ohm created a series of interlacing triangles as a function of the diminishing

harmonics. And I said, wow, sound can do that. So I was the first, pretty much the first American

to start talking about psychematics, working with the work of Dr. Hans Yeni and then Dr. Peter

Manners and brought this information back to America, brought it into my imagery on the albums

in my workshops, in my writings and started educating my audience and a lot of people and through

the media, the fact that sound has effects much more than just making your heart beat, match the speed

of the music. This is, you know, entrainment. But the entrainment of the heartbeat is not as subtle

as the entrainment of the brain waves. This became my mission to spread this information and

not just as a scientist, but as a musician to spread the resources and the tools that could help people

experience that. So it was left brain, right brain, whole brain, whole body balancing the aura.

And that's how I got into it and I've been doing that ever since.

Thank you, Steve, and wow. Long answer, but there it is.

But it's a, it's a necessary answer, I think, because there's just so much to your story. And I,

I loved it and I appreciate that. I know everyone watching and listening. It's, it's really amazing

because now it is mainstream in a lot of ways. So it's so common, which I'm grateful for that

it's finally become the mainstream. I was laughing when you're talking about how people used to think

the chakra system was chocolate systemers, you know, and so that just shows obviously how much of

an evolution we've gone through. Now before we get into some more of the fascinating science that

you've been able to uncover here. And there's just so much because I, I love to nerd out on that as

well. I, I would love to still talk about your connection to the ancient past and these ancient

modalities that not only have influenced your work and your research, but I would love for you

to talk to me as well about the experiments that you've done at some ancient sites like my favorite

of the great pyramid. So how is that influenced your work, Stephen? One of the first experiences I had

with what I learned later on was past life recall and awakening some past life memories

was sticking out into my high school auditorium when the band wasn't there playing my trumpet,

playing a long note and hearing and feeling deep reverb for the first time without all the notes

of everybody else cluttering the space. When I heard the reverb and echo inside the great pyramid,

I flash back to that early experience and was part of my cellular memory experiencing sound

in sacred spaces like the great pyramid, like some of the underground temples in Malta and

around the world. And now there's research on resonance about standing waves in Stonehenge

and so many of the other sacred temples. Well, when we got permission and found out who to

pay the boxheesh to in 1981, 1980 was part of a tour with Pat Flan again and some other people

but there were eight people in the King's Chamber at the same time. Our bodies absorbed a lot of

reverb and I said, if I have a good chance to come back, I want to record inside the pyramid by myself.

And the next year they were doing the tour again, they invited me and I was mentioning this

in my studio engineer and he says, Egypt, I'll be your recording, I'll carry the you know

the recording equipment, take me, just you know, I'll work for free, just pay my plane fare and

that was how we got inside the pyramid. I admit some of the people that you had to grease the

palms because that's how things typically were working back in 1980 and 81 and we got some time

to be alone inside the great pyramid and when they would turn off the lights and it was totally dark,

it was fantastic. I started hearing things but there was nobody around to be making any sounds.

Then I started doing some ohms and chanting to see which tones would resonate the halls,

the walls of the King's Chamber. I also start my initiation CD by striking the corner of the

King's sarcophagus with my fist and you will hear that sound on the recording that that's a bone

and tuned my voice to that which turned out to be an A438 Hertz frequency, not even a 432, at

least not for us, but when we also took that sound and I connected with the, let's see,

talking his name for a second, the American who developed his own simatic devices,

the images that came from my voice inside the great pyramid were different than what

I'll call young and those simatic images were and he said, my gosh, I've never seen anything like

that. So there were mysteries that showed that the pyramid energies were alive and changes

depending on who's inside, who's chanting, etc. So that was an amazing bit of research

and the album of course has no basic words so it didn't make sense to sell it in most stores.

I sold it through my direct mail order company and many people forgot about it because it came

out on cassette so there was always tape hiss but when digital technology allowed us to remove

the tape hiss, I put it out on CD in 2005 and when I've presented at pyramid conferences like

global pyramid in Chicago and having another conference in the fall, the 300 people in the room

about 220 of whom had been in Egypt all had out-of-body experiences. They were back in Egypt,

they had past life experiences. It's the best recording made inside the great pyramid because we

had studio quality portable recording equipment, a great engineer and I also record pyramid silence

so that in 1980 with 81 when the album came out first, people said, there's something

matter with this tape. There's music missing for 10 minutes on side too. I said, no, it's not missing.

You know, that's the silence. You're supposed to meditate. Put your headphones on, close your

eyes and you'll feel like you're inside the pyramid because we're using PZEP pressure sensitive

microphones. Well, that was part of the research and now with streaming and online a lot of my

early albums that were tapping into my own past life experiences where music would play through

me not always and just in the meditative modality but in some more trans-inducing aspects like

my album here to eternity which features Moroccan flute and some trans drumming from Morocco which

was one of the things that I was studying. I was going to be I was accepted and developed a

graduate program that I was going to pursue at the University of Buffalo studying ethno musicology

and sound healing from indigenous cultures around the world. Varieties of musical,

meditative healing experiences but instead of just studying it I got to experience it and that was

what I started bringing up but all most all that music was basically rhythm based because when you

have a strong hypnotic rhythm your brain waves and your heartbeat will change you go into trans.

I mean that's what people were doing for thousands of years around the campfire in the caves

of Spain and early cavemen. We know there were beating on skins and logs and you know things to

make sound and obviously not playing fancy drumbeats but when you play certain rhythms as is known

with Michael Hanna and trans induction that's the easiest way to get people into altered states

through sound. The rise of disco and EDM and rave music isn't a contemporary example of that

but even rock music starting when rock really got loud in 1968 and 69 with Hendrix and Cream

people like William S. Burrows the beat poet and writer who had gone to Morocco to do research and

to get into trance with the master musicians of jazooka and the pipes of pan with the Brian Jones

also got into he said this is a contemporary manifestation of the ancient use of sound and now

we're doing it in football stadiums for 30 40 50 thousand people at a time so this is like a revival

of that early use of sound because many people had altered their consciousness with drugs as well

but the volume of the sound itself could do that and the repetitive rhythms would do that and

my early studies in undergraduate in the sociology of music and the psychology of music

I understood the the history and the the the purpose and the function of music

was not just for entertainment was not just for intellectual stimulation not just for emotional

release but could take us into higher levels of consciousness and as the field of brainwave

and treatment has continued to percolate out and people understand more about why brainwaves

are important and with and unfortunately it's much more fortunately and unfortunately it's

much more prevalent on YouTube there's a lot of websites and YouTube videos about there that

are shall we say not well done and that I find completely unlicensed because it's very easy

to do a bad in training album because how for me how I tell if I hear or click on a video and I

have ba ba ba ba ba ba ba yes that kind of sound will entrain your heartbeat and train your brain

but it gives me a stomach ache and many people find it is like audio x-lacks so maybe there's a

subset of the population that's constipated and for them that kind of sound works as as an

entrainment or resonance but I'm interested in higher functions and higher coherence and the

the healing and meditative aspects of that and that's how the research has continued and as I get

feedback from other people and at conferences where 1,000 or 2,000 people in the audience at once

are going into the same brainwave state when I'm playing the music or live or on recordings

years later when I met Rupert Sheldrake the brilliant scientist who wrote the

the new nature of well talked about how biology works and how our bodies shift when one person's

brain shifts into higher levels of balance and entrainment it radiates those frequencies out into

the world and makes it easier for other people whether in the room or out in the world

not close to this person for them to shift gears he causes morphic resonance and that is I believe

a very powerful aspect of what can happen the potential for healing and coherence that I would bet

most of the streaming websites and platforms did not intend for some of their music that they're

streaming like Chakraswi which I've experienced differently when I hear it coming back from Pandora

or Spotify then when it's played just in the room for myself because so many people are simultaneously

shifting into higher levels of consciousness without realizing it because it doesn't hit you

over the head it doesn't you know get you so spaced out it's subtle but it's real and that's

that's part of the ongoing research that I've been part of and writing now more about

the aspect of beyond just brainwave entrainment by getting into brainwave synchronization

and when you synchronize and balance both hemisias of the brain you create a higher meditation

experience it helps individuals tap into their own innate intelligence they're able to

reprogram their old DNA as scientists like and medical experts like Dr. Deepak Chopra and Bruce

Lipton talk about you can in in the higher coherent states of meditation that is the most

effective and productive state to be in if you want to instruct your genes your DNA to

express for healing and higher consciousness now that still is not known by a lot of people but

Chopra and Lipton have been talking about this for years they are two of the leaders and when I

first met Bruce and somewhere around 2002 or something Bruce Lipton and I said well how do you

instruct your brain to and your genes to express for a higher consciousness and I remember he looked

at me and kind of smiled I said you could talk to them in English you could just set the intention

with your mind I said how could it be that simple is it I don't know how but it is and you

concerned about how or the fact that it works and I'm a practical guy I said I want something

that works and that's been the basis of still being in business after 50 years my music has worked

for millions of people to help them get into a state whether they could identify a name it or not

but where they feel more like themselves where they feel at one with the with the earth at one with

the world and with the universe because some of these frequencies as the ancient yogis and mystics

when you tune into the own frequency that is a sound that even modern astrophysics to say and quantum

physicists is the sound of hydrogen atoms many levels raised but that's their resonant frequencies so

you are now vibrationally able to resonate and train with higher dimensional frequencies so

whether you're interested in meditation contacting angels your spirit guides your own higher

intelligence your higher power whatever the names that you feel most comfortable in using sound

and music can be a vehicle to get you there but if the music is so interesting that you're paying

attention to the music and go oh I know where the music is going a la la la la I love this melody

that takes you out of the meditation state and that was something that I learned early on so when

I'm in the studio composing I'm not thinking in fact sometimes I don't even hear the music

until playback when I go back with the engineer into the control room out of the studio where I'm

recording on the keyboard and I go wow I don't remember playing that and for me that's one of

the most fascinating things again because I came up as a very left-brain musician we were trained

in the jazz vernacular to know every note of some famous solos to be identified which musician

is playing and to really understand the theory so to suddenly not be in that space at all

was phenomenal and it was also great a relief because it took some of the responsibility

of my shoulders and I realized early on from some of the other experiences that I've had

that I work with other composers over the years I've had people come and say well you know

I mean in fact one of the albums that I came out with in the early 90s called Higher Ground has

an album that began in fact with one of the videographers from the Egypt trip to 1980 who said I

remember me yes you know you were married at the time of course I remember that and she says

well now I am a channel for the Pleiadians and they have a message for you and I go well what she's

said well they want to do another recording with you and I go what do you mean another recording

how do I know you know what you're saying is for real we'll send you a photograph of where you were

in the redwoods when you heard the music in 1969 and this is before I was talking publicly about that

is before I showed anybody a picture they sent me a photograph and I said whoa okay I'll talk with

you and we did an interesting session where again music would come through that I realized that

what I play is not always just me but I work with a band of angels a band of co-composes you'll

find many of my albums I thank my co-composers I don't name them because I was told that would

you know take people's attention away from the beauty and the healing powers of the music itself

so in my memoir I will share some more of those stories but it's also been part of my own

quest to find out who I'm working with how this happens when I met again through the initial research

Dr. J. J. Hurtack he was the first to say you are channeling and working with higher dimensional

frequencies higher dimensional beings I said but I don't see him they don't talk to me I don't

know who they are it doesn't matter in fact some of them said we don't give you names because we

don't want you to get a hung up on the name we don't want other people to get hung up on the name

have the experience be in the moment and that that's been my guiding star ever since and

to this day when I'm working on albums I will listen at night as I'm falling asleep I will listen

in a meditation state and many times I will hear additional levels of music in my head I will hear

you need to change these notes and bring this in and I'm given instructions which I remember

in the next time I'm in the studio I tell the engineer we need to move this phrase over here and

take this over there and he says how do you know how to do that this is I heard it and he knows not

the question that anymore and he said well you can't do that so I really heard it on the inner

planes so I know it can be done that's what the music tells me it wants to be just like authors and

writers often say the characters in their books or plays speak to them and give them dialogue

the music speaks to me but not verbally but I would hear and then I follow because my job

is to be the instrument of the of the instrument of the music to bring it through and

that's that's been the way I've worked since since day one and and continue to do so I love it

Stephen this has been really affirming for me too your process is similar to mine and

when I'm writing especially the meditation music it's just I don't know what's happening I'm

meditating in the process and I play piano like to do that because piano is the lightest in that

way to stay meditative and I grew up playing trumpet as well I only did two years I had braces

at the time and it was just not a good situation but I remember that I love that instrument but it's

very it's physical and it would take you out of that meditation state so I completely understand

that but it's just wild what kind of trans states we can go into and then what people do call

channeling comes through I never spoke to other beings or had visions like all these other

channels do but every other channeler I've talked to when they see me doing my music like I'm

sure when they see you with your music they're like well you're channeling too obviously you're

just going through an instrument and and the music is the language but of course music is a universal

language right I just love that I my question my next question for you is looking back on your

incredible illustrious career and you've done so much amazing research and we've really just

scratched the surface of all the stuff of course we can't in just one episode but for our lovely

audience got to check out Steven's memoir that'll be coming out where there's going to be a lot of

creative information looking back at all your research what have you found are some of the most

interesting aspects that have come through as an example so in my research I I'm Canadian

I live up here in Vancouver and much like yourself traveling the world at the time but there's

a Canadian university here University of Toronto that did some research on 40 Hertz about seven

eight years ago and the 40 Hertz therapy was really good for Alzheimer's dementia and at least

halting and stopping the deterioration of neurological disorders so I incorporated that into my

music and have since had really incredible responses from people on the 40 Hertz side of things I'm

really curious on your end what have you come across outside of by neural beats of course brain

and training and other certain frequencies you've come across that have really had a profound

impact on you what what's jumped out to you that you've really been pretty surprised about from

well of course when I started seriously researching the effect and the difference between alpha

and theta I made a basically a five minute recording and since I own the rights I

added the entrainment of the alpha frequencies 12 11 10 9 8 and meditated with

those and then did another series in theta 7 6 5 4 and they all sounded the same because of the

entrainment I don't have it loud like blah blah blah blah so it's very subtle it's built into the

drone so I mask it so it's comfortable and artistically done but when up until that point I would

add the entrainment after I had done the recording so in other words I went and naked as it were

and had my own brain waves but then added brain entrainment afterwards where I could dial in

what I wanted in 2011 that was the first time I started playing with headphones and the entrainment

in my head as I'm playing and particularly when I got down to eight cycles and you know the

shuban resonance and then moved down from seven to six to five that was still fun I was

enjoying myself when I got to four hertz the deepest out of theta I suddenly heard the music in my

head before I played it and that was fascinating and I looked at my engineer and said I'm staying in

four hertz for the rest of today and for you know a lot of the rest of my career because that was at

least for me a frequency that got me into my highest clearest meditation state with the music

flowed more freely so that was interesting and continues to be so on ancient aliens the TV series

they talk about not just four hertz and that's fascinating because I don't know how you put the

frequencies in but that's just I would assume well like but you can't really hear the beats per se

and maybe we'll talk about it off so you don't give away your secrets but there was also

in the temples and the underground temples in Malta where they did resonance research they said

there's 110 hertz frequency that would be activated by the male voices but the female priests couldn't

activate it so that's why they focus on the male priest at that point but when you double

the frequencies of 110 which they said this is the frequency that they were used for channeling

and for healing you get 220 and you double that it's 440 and everybody is saying 440 is a deadly

frequency well maybe not so deadly because that was in the healing temple in Malta the Iberberium

but whereas at 432 we know as a biological basis and early on I was one of the first people to

start talking about that but I was also pointing out that if you play bad music at 432 hertz

it is not better than good music played at 440 hertz so even some of the rules about 440 being

anti-healing again when you look at some of the ancient structures not necessarily so

when you chant I don't know when you were in Egypt chanting in the other two big pyramids

there was very little resonance and reverberation the king's chamber was better than the queen's

when I got to the temple of ISIS on the island of Phile there was basically not any reverb because

it's outside but the birds when I started chanting it would all come around and I had some of the worst

tourist affairs revenge that morning could barely get out of bed I laid down on the

on a platform at the temple of ISIS the birds came they sang are they were to get up do the

recording play the flute until a bunch of soldiers came by and stopped the recording with guns

pointed at me and my engineer and we were on our way to jail until my engine is at general put

these headphones on listen to what we just have done and we got uninterested un you know and

were able to get back on the tour and continue with our life but a lot of magic went on there's

so many secrets in Egypt and so many other places around the world that it's always fascinating

to tune into that and the fact that we could recreate some of that in the studio has been a

wonderful boon and with even decent headphones you could create that audio space many people now of

course listen to music just as oral wallpaper there's AURAL as background they're not paying

attention they hear but they don't listen or they listen but they don't really hear they don't

pay attention early on I learned to be paying attention and meditating with the music and going

into the space is another key aspect the space between the notes with a lot of my music the critics

hated it he said well he leaves so much empty space between his phrases well if you listen carefully

you will hear that my music sustains with the reverb and the echo so it's not pure silence but

that's where I hear into the quantum field and I play as I tune into that field but most people are

so jacked up and conditioned to playing with a strict beat as a musician most musicians as I was

are taught to play with a strict beat and are unable to break free of that training for whatever

it reasons I was able to break free of that I could still do that I've played Konga drums with

with bands back in San Francisco and Buffalo and I've been on stage with older tungees and great

African drummers that I studied African music my rhythm sense was great but the new music

leaves all that aside and I go into that space one of the key phrase I would mention is that

because of the state that I get into and you you might have experienced this also it's not just

the notes that we play that people experience but it's our own state of consciousness is our own

vibratory reality what I learned from the first science and consciousness conference I was invited

to in 1976 Dr. William Teller a brilliant scientist said that he talked about every atom

molecule selling land as a characteristic frequency which it vibrates anything that vibrates

radiates frequencies out into the world at that frequency but also

responds and resonates to frequency at that at that same frequency right so that's why when I

played the basic frequency of a chakra it'll work for everybody's chakra now some people's

chakras are sharp or flat or out of tune but this music the chakra suite will help it

get back in tune and the other part of that consciousness is that music

is a carrier wave for consciousness and this ties in with physics and quantum physics in other words

when I am in a meditative state and playing music the same notes played by somebody else who's

copying me and I've heard examples of this so I've proved them in my own life you could play

the notes but if your consciousness is not elevated and in that space the notes have no spirit

the notes don't produce the same effect as as the whole field of consciousness with the tones

and the music the the consciousness rides on the music and our grains and our bodies our orals

our energetic electromagnetic energy field resonates with that and that is part of the magic of

music certainly part of the magic of my music and why it continues to work because these things

are no matter what the male female old young whatever nationality whatever race

seem to be true if you're a chakra you're going to be vibrating at a particular frequency if

you're in a human body and your brain waves are not random if you're in an alpha state your alpha

state that tunes into the fundamental frequency of the planet is going to be about eight cycles per

second as I mentioned before let me just just circle back around to that when you get into the

balanced state whether it was tuning the chakras or through listening to an album like Deep Alpha

or Deep Theta that sets up because your brain is now pulsing and vibrating at eight cycles per

second that sets up an associated electromagnetic field around the skull around your head that then

resonates in entrains to the dominant electromagnetic field of the planet itself this is physics this

is not and it's also metaphysics but it's not woo woo but I've been thrown off of some TV and radio

shows for even mentioning that and then other ones say come back and tell us more about that you

mean it happens automatically yes if you're alive it happens automatically this is a function of

being human all life forms on earth other scientists have said resonate to the basic shuman

resonance about eight cycles per second well well life form is not surprising that that is fundamental

to our being and you know we if we build that into the music we can make it more healing more

beneficial and if we bring in some of these other factors and again that's why I learned early

musician heal thyself musician tune thyself before I record in the early days I would take an entire

album a entire album I would tell the engineer take take an hour off I need to meditate because in

a great studio with the complete silence of an anechoic chamber with this completely soundproofed

I would have great meditations and then when I start to play I'm in that zone and they say we don't

understand what he does we love to have an hour off we don't have to do any work and he pays us for

that but then when he starts playing he doesn't make mistakes how does he do that well I became a

little bit of a legend at the music addicts we don't know what he's doing but it sure works for

him so we let him do it we're happy to take you know an hour off and then I got it down to a half

hour and five and then I'm able to do it within a minute and when I recorded with Paul Horn in 1984

we went into that state together and we started playing and sometimes we heard the same music Paul

Horn the great flute player whose early album inside the Taj Mahal was one of the first great

new age albums was never supposed to even be released but again the reverb and echo in that album

when I first heard that took me right there and that was before

the our albums inside the great pyramid some of the only places you could really

experience the beauty of one note hanging in the air with the reverberation of many seconds

and just focus on the pure tone doesn't have to go anywhere doesn't have to do fancy scales or

fancy compositions it's pure tone and that's why people love crystal balls or the

Tibetan singing balls not a lot of melody not a lot of you know a variety but as Alan Watts taught

when you listen to it's a bed and ball which might be long long long it was some of the reverb

or a crystal ball when it's singing there's no melody there's no structure it's pure tone and

many people go into an automatic meditation state because the tone shifts their consciousness

without them even being aware of it and they say oh I like it whereas other people don't

and they resist and don't want to go into that state and say oh the crystal balls give me a headache

or that you know I'm bored listening to it Tibetan ball and there was a time when I was one

of those people okay the ball I've listened for a minute what's next and one of those times was

a lecture by Alan Watts in 1972 in our graduate auditorium and he was able to see me and said

some people in this room apparently do not know how to listen to a Japanese temple ball

listen to the and he looked right at me so I was busted and in my head I'm going okay Alan Watts

you know you're great but you know do something else you know what's up no you focus on the

furthest away sound and I bring that into my recordings and that's where the space between the

notes is so important the gap and the space between songs on a CD I return to the rhythm of a deep

breath you lose that with streaming music because one song follows another and sometimes

one song cuts off the song before so it doesn't even end and in concerts in orchestras

you know people often begin to clap before the final notes of a composition of an orchestra piece

die away they're clapping and they break the mood and it for me it always was so painful

it was like a punch in the gut just let the music fade out and then you could clap but just

dwell in that vibratory beauty and that bath of pure vibration for a little longer and a lot of

people don't want to go there or they want to say hey I want to be part of the performance so I'll

be the first person to begin to clap so there's a high an entire psychiatric worker of that the

Dr. John Diamond wrote about back in the 1970s and 80s and we were saying some of the same things

but he was the psychiatrist and a doctor so people believed him more than me and me back in the

70s I was like you're you're you know a little strange why don't you clap well because I'm still

with the music there's plenty of time to clap I wanted to be uplifted by the beauty of this

classical piece so that's that's a listening listening for for today that's all that's to you

and you know I'm glad you touched on the 440 440 Hertz music there's a lot of the conspiracies

out there with why it's bad for us quote-unquote and I completely and I've always so I actually

tuned my music to 4302 Hertz because for me I do notice that it it it affects and I've done a

lot of AB testing just in my own workshops and concerts and like every time the 432 tuning of

the exact same thing seems to have a more let's say relaxing like compassionate sort of vibration

it's a warm it's a it's a little warmer now the new tune you give a gram acoustic piano or

electric piano well electric for practicality right because you could tune that when I

talked to my piano tuner you know early on I said I we when I came back from Egypt I tuned my

gram in my Yamaha C3 gram piano which was great to form the 38 from the period but of course

that doesn't really grow that's just a little bit I said I'd like to tune it to 432 he says

well you'll have to see me once every three months for three years because if you do it right away

the instrument will explode and it'll destroy and and we can't do it you have to take it down

its stages I said well I will keep it where it is and you know that's it but electronically

easy to do I haven't noticed a huge difference in my own creative process for

composing differently in 432 as opposed to 440 I'm able to work in both yeah or what I what I noticed

because at first I was listening to a piece in 440 and then I listened to like chocolate street at 432

and or one track right after another and I have a couple of videos on my youtube channel where

you can listen to examples the problem is it's like drinking wine but it's more difficult you

don't have a palate cleanser so listen to whatever you listen to first sounds right whatever you

listen to next sounds wrong so what I started doing is I would listen to the 440 version for a

week take a couple days off and listen to the 432 version and then it sounded perfect my engineer

at first said well it sounds duller I said no it sounds warmer and then he got it and then we're

fine in you know working with that but that was how I recommend listening to music on a steady

diet of that and like if you're working on that that's the way to proceed and and then

in the field there was a guy named Brian T. Collins if you've run into that name

he was in I believe the Vancouver area or my friends in Vancouver it turned me on to him

and just a shout out to Canada Simon Fraser University was up around there and then of course

Dr. Murray Schaefer wrote a book called The Tuning of the World which I was turned on to in 1976

at the huge conference in Vancouver the world's imposing on humanity

which was legendary of scientists people don't know him but he invented the word soundscapes

that I would have turned bring into the music industry that nobody knows everybody uses it

I was the first album to talk about ambient soundscapes and the reference of The Tuning of the

World was Dr. Schaefer's book but the more that this information gets out there and people experience it

the better and 100 percent you know and then there's other people that say well 520

music should be tuned to 528 you probably heard that also and when Len Howard and I met some

of the scientists who were first working with that and I said well when you say tuning if

orcasters to additionally tune the A note to 440 hertz and we're talking about tuning the A note

to 432 what note are you tuning in the system of 528 and these people would look at me like you're

from Mars we don't know I said well find out pretty important question right because if you're

saying 528 is the most healing frequency and that doesn't relate to any note in the traditional

tuning frame of Western instruments what note are you you know tuning the A2 so I would ask Dr.

Howard's that at a conference in LA the next year is Dr. Howard's you haven't answered my question

what note are you tuning and the second year is that well I asked my engineers are we're tuning

A to 444 now what's so interesting if that's higher than 440 so 440 is bad because it's

higher than 432 how well I know as a guitarist or a pianist if you try to tune a piano to 444

you will definitely kill the piano it'll just freak out the sound bottle fracture strings

up and going everywhere and you could die because you could get in pain yeah yeah I'm not going near

that so that was the end of that obviously there's there's realities for the 528 there's

realities from many things but in terms of music it seems that the more music is at 432

and I and there were some rock people and rock bands as a mother with them recording with this

but it's not as big a thing it but on the internet and in YouTube there's a lot of people but

there's a lot of people that don't play an hour of you know a robot playing a couple of songs

or whatever and say this is healing music it's at 432 it's at 528 or whatever and for many people

it's unlistenable well you said you said so well Steven before in the in our podcast here today

which is that if it's beautiful music at 440 hertz then it's going to be beautiful music at 432

hertz and I mean we've all experienced all of us I know have experienced amazing healing and just

profound experiences with music that's absolutely at 440 because it's the standard tuning yeah right

and so it doesn't take away from that at all and for me it's like well I happen I feel I resonate

with that frequency I've been testing it for the last nine years now and it really feels profound for

me but that's me and I always I say that to my my audience when I'm performing I'm like hey nothing

against the 440 thing though because ultimately what I want for people is just to start looking at

music as something more than entertainment which was what exactly about and that's why my career

has pissed off so many reviewers and critics because I consciously chose not to focus on entertainment

now in concert I learned because my early concerts I just sat there closed my eyes didn't pay attention

to the eyes went into state and when I started doing some of the things I picked up from

Victor Borger Liberacci it might be just one little thing but playing an arpeggio would then

off the end of the keyboard I could have gone further but there wasn't enough notes

you get the audience and you shift that energy and then you could take them deeper

so there was that aspect and from my days on the bandstand playing guitar and trumpet I knew

how to walk on stage and you know do some of the stuff that when I'm being a public speaker

and a keynote speaker I knew how to walk with a microphone and do things that would entrain

the audience with my hands or whatever they didn't know I was doing that but I was the most all the

other speakers were pretty much stand by the podium and I was wondering the stage of really engaging

and outmated more in training even with the band we resisted because we were jazz rock band

doing the steps but every once in a while just you know if I'm sitting in with a rock band or

something else as a trumpet player if there's a sax player we'll spontaneously go into the steps

that a horn section would do because we all know him but we do him for like a minute or two people

love it and it's not because I was a tradition in the R&B world and I myself and some

my friends were usually the only white guys at the Harlem the Apollo Theater in Harlem in New

York and got to see all those bands and learned a lot about entertainment and some of what goes on

and I'll tell you that many of the many of the artists and also gospel artists admit and some of

them have spoken publicly like Patty Lebel that they go into trance on stage particularly gospel

and when they start hopping around that's part of the signal that they transmit to the audience that

I am now in an alter state and the spirit is coming through they describe it a little differently

but the signs are there and I remember when I first read Patty Lebel talking about that I knew it

I thought that's why what was happening and she was one of the first you know to talk about

yeah when we're doing some of that we're having a good time on stage too oh and you can feel it I

mean I love gospel and there's some bands now that I really like who do gospel dance music you know

so it's just like that epic church gospel choir but then with a thump and beat behind it I mean if

that doesn't get you going on a Sunday afternoon I don't know what will just a note I think something

was just on TV was I either I think was Stephen Cobair but it might have been on a talent but

I'm probably sure of Stephen Cobair the war and treaty they had a which is a great kind of gospel

going they've been doing a gospel rock with a horn section couple of guitar players which they

didn't have the last time I saw them at the Grammys or something what incredible stuff and even

going back to American Idol when Fantasia was on talking about entrainment when she won and you

know she's singing and then the screen opens and they have the gospel choir well what's happening

when the whole gospel choir with their robes are doing the motion they are visually entraining the

audience and I wrote in my little podcast was it was just a newsletter back then 40 million

Americans just when well how many people are watching 20 million just went into trance and didn't

know it because that's what happens you can't tell your body do not go into trance when you have

this happen you can't tell your heartbeat do not entrain to that rhythm it happens naturally it's

a physiological function and I'm they're going whoa that's the first time that's ever been on mass

major level public brought you know public TV station whatever the channel CBS or whatever the

channel was that had never been that public before and a lot of people didn't get it but I wrote

some things and because some of my education I'll just share this before we go came from the book

and written by Morton Marked M-A-R-K-S who studied trance induction in the fact that African

religions were all trans-based religions it came through the R&B tradition and goes into the

current gospel tradition also I you know I was turned on to his work in 1973 by a ceremonial

Afro-Cuban ritual drummer who said if you are interested in this kind of thing you need to check

this out he got me a copy of his manuscript the book finally came out it's available in different

places and Morton Marks I said if you're still alive contact me I had no idea that that he would

be you know searching me on the internet or following something he said hi I'm Morton Marks I'm

still alive we need to talk and that became when he became you know that book opened my brain and

my my my body and my soul up to the fact that this is not accidental these people have

orchestrated bodies and minds and brains and spirits for hundreds of years and they know it works

but they don't talk about it scientifically with well this is a brainwave frequency and so

but I remember being in when the earliest when it was still legal a psychedelic trip where the guide

would be doing the shamanic drumming I'm there with a piece of paper writing down okay here's the

rhythm he's playing and you know here's the beat and his and it was like no man put that yeah just

get into and then the masculine kicked in and the sound started switching around we don't need to

you know it's not about the left brain how many beats from second he's playing it's about the

experience that was life changing and that was 1968 and then things became illegal and now we do

it naturally with sound yeah and they just some of those just got legalized again like a psilocybin

and you know I have it on my website where there's a ton of finally they've been allowed to do

research again with them and what are they what are they fine with psychedelic is the therapies

is one of the quintessential parts of the therapy music yes yes and part of the reason I did my most

recent album called music from microdosing which because when I listened to the soundtracks that

they were recommending and not having a chance to do the research myself yet because you have to

have the right therapist to work with I listen I looked at the soundtracks and go Katie Perry

I don't want to be in an all-to-state listening to that I know that I put it be my own album so

when I get a chance to do you know back on a research I'll have something safe and uplifting

to listen to and I put the album out and I understand it was a hit at the recent psychedelic

conference in Denver in this past June but it scared off a lot of other people if you're not in that

world just when you see Marco do you have to be stoned to listen to this music no the music

take you there by itself but for marketing purposes so I will be putting out a follow-up album

that does not use the word microdosing I won't be confusing people but the music will get you

into the all-to-state and we're allowed to talk about that because this is science yeah no

and it absolutely is and it's it's it's reshaping therapy right now for us I mean I'm so grateful for

all that Stephen I I could talk to you for weeks on end so clearly and I am absolutely adoring

our conversation here but I think I know we need to wrap it up here I would love to get your final

thoughts before we tell people about where they can reach you and all that great what are your

final thoughts on right now currently we're recording in this the beginning of 2026 and the world

is well the world right now it's a little chaotic to say the very least but in all this chaos I

still have a sense of hope for us and I was curious what you sense just an overall few point that

you when you look at things right now what do you think people need to hear not just musically but

also just from your words of wisdom what are what are we moving into do you think as a species where

are we where we headed in any words of wisdom for our audience well there's there's two things

happening at the same time there's more negative stuff and more people are awakeing I get I'm on a

lot of different illness I read things from the great spiritual leader and teacher Marion Williamson

who has such an optimistic aspect optimistic outlook on what's going on but

and I just saw something on CNN last night where regular people who have not been

conscious in many ways are saying you know this is so bad I mean the people who have been shot

that karma like like George Floyd are awakening people that this is so wrong that people have

never paid attention before are going we have to turn this around and that's that's where my hope

is that suddenly people who have not been at the protest and I can't imagine being out there in

zero degree weather and doing well that I couldn't do that but I will you know certainly I support

but the fact that so many people are and I think that gives us hope because there's obviously as we

saw with the election last year the project 2025 there are so many people who have been planning

to make things so much worse for us and you know without coming in into details I think as more

people awaken and in our country we'll know with the elections at the end of this year whether

there's enough of those who go you know things have gotten so much worse we need to turn this around

and that's it's not going to be the small group of protesters or demonstrators it's going to be

all those people who voted or a lot of the people who voted for Trump and a lot of people who

never voted at all so you know I need to get off my ass I need to be part of the solution

rather than just saying oh I'm too spiritual or I can't get involved you know we all know

friends who said I can't get involved I'm not into but if you're living on the planet you're involved

your vibrational being is impacted by all that's going on whether you're aware of it or not

it's like a lead blanket on your head in terms of meditation that it'll be better for all of us

when we make it better for all of us so that's how I stayed positive and it's why I continue to

put up music it will continue to talk about what we can do for ourselves to keep ourselves in tune

to raise our own consciousness and how we can use sound and music to raise our consciousness

because the key phrase there is what we feed the field the electromagnetic field

matters and we feed the field because as I mentioned before when every atom molecule

selling land radiates when we radiate frequencies of peace and well-being and mindfulness

that the planet appreciates it people who we've never met pick up on some of that

Rupert Sheldrakes book tells us how people are affected even if they're now aware of being

affected and that's why I choose to be part of that optimistic aspect and don't give up all hope

because if we do that we're definitely going to go down the wrong path and we may not be having

this conversation a couple years so that's how I stay positive and keep doing what I do

thank you so much Stephen I thousand percent feel you on that and I know our audience definitely

can resonate with that as well so thank you and thank you for all the work that you do you know it is

it is so important and it's it is an amazing way to impact people I I think that's been something

in my intuition my whole life with music is that what a great vehicle we have as musicians to be

able to positively affect the planet in such a literal vibrational you know wave kind of way where

literally will ripple out and and shift the consciousness of people so that we can help ourselves

and each other exactly that's what musicians are doing in ancient Greece in Egypt and so many

other cultures when I was a hot shot jazz trumpet player and I played a great solo and people said

man that was a great solo with such a trip I went to such great places no one ever said man

that was so healing you healed you know I listened to your album and I feel healed and then they

have medical things that show that they were healed no one ever said that from a trumpet playing

guitar playing or from you know typically jazz but that's the shift and beyond entertainment there's

enlightenment there's entrainment beyond it and I have articles beyond entertainment there is

entrainment and that's that's where we're going I love it so for our audience Stephen can you tell

them where they can get in touch with you where they can see your work of course as our audience

knows you can see of Stephen Helperen's beautiful music and experience it on all your streaming

platforms of course but where can they get in contact with you and do you have anything this year

coming up you want to tell us about well yes so the first answer is my new website is still in beta

testing but it's already up Stephen Helper music and there's a little choice of the top

former website so you can see what it's looked like for the last ten years where a lot of my

articles that still have been transferred are there all my albums are there some albums that are

not streaming it but you could also read the line of notes I have no idea how many people read

line notes but I spend so much time writing them to inform and educate my audience but the new

website is much more contemporary and that will be more of what I'm working with this year my YouTube

channel is youtube.com slash Stephen Helperen music and there are menus that you could look at my

workshops my concert footage and videos with great visuals for deep alpha deep theta so many

albums the pyramid album inside the great pyramid albums that were the early trans music like

here to eternity and ancient echoes where you will see a mystical dancer with a channeled voice

that was coming through during the recording of the album that became in ancient echoes with

Georgia Kelly on harp and a dancer that I met that when we met in LA we recognized that we shared

a past life together and we wound up doing some concerts together based around our Egyptian

connections so that's on some of the some of the videos and the next album will be one that

again relates to the positive aspects of higher consciousness and balancing the brain without

mentioning some of the other plant medicine and that whole context as well as the next album that's

on its way out now it's called own zone 432 herds with which features my voice chanting

Sylvia Nakat a great chant master and some other people who it's I've looked at it originally a

spiritual karaoke I you know chanting alone at home is kind of boring you know home sitting on

my meditation pillow in a yoga class at the end of class we chant own but I'd wanted

some chances so I said I'm not as well you know created by own soundtrack and that's how that

album began 25 years ago and it's what I would do in concert and have the audience own and get

people to use their voice a little bit as well and you know it's not a tricky mantra it's a one

syllable mantra you don't have to memorize a whole bunch of words so we'll be doing more work with

that this year also and you can find all these on on those two main main channels and of course

most of my music is streaming but I had to transition to a new digital distributor so not everything

is back up online yet but and streaming but most will be and if you can't find it online you might

find some on YouTube and you can find everything always on my website 100 percent thank you Steven

and I was just perusing it before recording today and for audience you can also purchase

individual tracks of Stevens as well on his website so it's just a fantastic way to dive more

into his work I look forward to adding even more of your albums to my Spotify playlist and of course

supporting you on the the website too one more thing if I just add at least I am part of a small

group that will be marketing very soon my music combined with quantum scale of frequencies

and there'll be a link on my website but this more than 432 is one of the amazing new developments

there's a number of sites that are working with now the light system energy enhancing system

but they don't have the music and they don't have the right music the difference

I've listened to one of the demos of some of my music with the scale of frequencies and without

I got to tell you I could feel the difference you can feel the difference and that will be

available soon and you could access that from the new website from the old website and that's

something to be looking for because it's a quantum leap involving new technology that is again

beyond entertainment and the funny thing is the the streaming site said well you mentioned this

other person is she a vocalist you know what did she say what are the words no she radiates frequencies

she's not a vocalist she's not an artist you know or so it's funny because the the streaming world

if you're not a musician or not an instrument they have no place to put you you know it's

inaudible frequency subliminal affirmations they don't know what those are so there's no way to

to talk about it but on my website you'll be able to find out everything I love it well thank

you so much for joining us today Steven it was an absolute joy and a pleasure and I know for myself

in our audience just thank you for everything you've done and continue to do for us thank you thank you

thank you bye bye everybody all right you take care now wow what an episode I am so grateful to

have asked even on today as of course you know you lovely people watching and listening know

my musical nerds side was very very tickled today and this this conversation that was so

fascinating I got a lot of things I got to think about now and being corporate into my music so

thank you Steven very much for our beautiful audience watching and listening of course you can

find all of Steven's information in the show notes below so don't worry about that and be sure

to follow up with them listen to his music check it out it is incredibly soothing and relaxing

I've been meditating to it for years in fact I think after this episode I'm gonna take a nice bath

and go through his shock or series you know I'm just have a nice return so check it out Steven's

fantastic beautiful soul thank you for being on the show and as always kind of appropriate I guess

for today's show that our sponsor which is the therapeutic music library that's going to be

in the show notes below if you are a practitioner or a therapist or someone wanting to use therapeutic

music in your practice so that you have the license and everything's all good to go professionally

that's a great resource for you to check out as well as if you want to join us to our secret site

tour this year which is in Egypt we just talked about the great pyramid of course in the king's

chamber we'll we'll have private access to that where we can chant and we can do some really

incredible sound activations as Steven also talked about the oaming inside there which I was

fortunate enough to do back in 2019 change my life and I know it'll change yours for the better

as well if you want to come join us all in the show notes below check it out as for that that is

concluding our episode today thank you so much everybody for tuning in to this episode of ancient

mysteries on earth sending you so much love and we will see you in the next episode until next time

thank you for tuning into portal to ascension radio be sure to check out all the amazing gatherings

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