Page 74 of The Lyrics of Love

They played the new song together for the first time, and then he asked for their input. Wills suggested after the bridge that they take it up one key for the last chorus. No one else had any other ideas.

“Let’s try it Wills’ way,” he told the group.

After that second run-through, he nodded. “You were right, Wills. It’s just the punch the song needed.”

The keyboardist smiled. “A tiny contribution to a powerhouse ballad, Nash. I can’t believe you’re cranking these out so fast. Of course, it probably helps to have Jarrod providing the lyrics for you.”

Nash kept quiet, not ready to share Rylie’s role in the song. He glanced at the glass where the sound team worked, and his eyes met Jarrod’s. Nash shook his head subtly, warning the young lyricist not to say anything. Jarrod gave an imperceptible nod in return.

“All right, let’s rehearse a few more. I’d like to keep rehearsing before lunch and get the songs perfected. We can record later this afternoon or tomorrow.”

They worked steadily for a couple of hours and then broke for lunch. He texted Rylie, who texted back that the dress had been perfect, and she had also found clothes for him and Pops to wear to the ceremony. She was at lunch with Ainsley, who would drop her at the studio, allowing her to ride back to the Cove with Nash once today’s session ended.

He grabbed a sandwich and did a radio interview with a popular national disc jockey, talking about cutting his new album and why today he had released A Mistake I Can’t Take Back early before the album dropped, thankful Lars and the engineering team had been able to complete their work on it and drop it the previous Friday. The DJ pointed out how Mistake was flying up the charts.

“That’s good news because it will mean more donations from me to Make-A-Wish.”

He ended the interview and spent the next half-hour with Jarrod and Chuck, talking about how the album could be marketed.

“We also need to start thinking about a tour to support the new album,” Chuck pointed out.

Nash decided to jump the gun and said, “Rylie and I are getting married on Saturday. Touring is going to have to look different with a wife.”

Both men congratulated him, and Nash added, “I’ll be telling the others once Rylie arrives at the studio.”

He then elaborated on his idea of a jam-packed mini-tour of two months, with a long break in between. He also tossed out the idea of weekends only for the tour.

“I’ll have to wrap my head around this,” Chuck said. “By weekends, I think if you would be flexible and make those Thursdays through Sundays, that would work better. It would be four nights of concerts.”

He already didn’t like the idea, thinking it would tie up four days of the week. Actually five, because they most likely wouldn’t leave the city they played in on Sunday night until Monday morning. Cutting into Mondays meant he would only have Tuesdays and Wednesdays free with Rylie before the whole process would start over with flying out on Thursday mornings.

“I’m not sure, Chuck. I’ll have to give that some thought. Whatever we decide, I want Rylie’s input. What I’m looking for is a more normal life. Yes, I want to tour. Performing is in my blood. I also know that a constant life on the road is hell on a marriage, even a good one. I’m not going to jeopardize my relationship with Rylie.”

He returned first to the control booth and gave Lars a few notes, based upon the numbers they had rehearsed today. His producer agreed with him on all but one.

Rose said, “I have to say that The Love in Your Eyes is going to become my favorite Nash Edwards song. The lyrics are so poignant, and the music accompanying them absolutely perfect. It will definitely have crossover potential to the pop charts, Nash. I don’t know if that’s the direction you’re heading or not.”

“I’ve never really liked categorizing my music,” he told the engineer. “I just want to make good music and have people enjoy it. Dance to it. Sing to it. Even cry to it.”

He looked up and saw Rylie entering the studio and hurried to join her. Billy and Dart came in and went to their instruments, while Wills stopped and spoke to Rylie before situating himself behind the keyboards.

“I think we’re ready to cut The Love in Your Eyes,” he told the band. “I want Rylie to hear what we’ve done with it.” Nash looked to the glass. “Lars, you ready to record?”

“Affirmative,” the producer replied. “Whenever you’re ready.”

Rylie started toward the door, and Nash caught her elbow.

“Stay,” he urged. “You can sit in the corner. I’d like you in the room for this one.”

He went to his guitar, catching Dart rolling his eyes. Nash frowned at his bass guitarist. Dart ignored him.

Nash counted them down and they played the love ballad. He knew from the emotion in his voice that this would be the take he would want to release. When the song ended, he looked to Rylie for approval. She smiled and blew him a kiss.

“That was amazing,” Lars praised. “We won’t get a better take. Tim and Rose can run with this. Do you want to record anymore, Nash? Or keep rehearsing?”

He named a song they had worked on before their lunch break, and Lars said to give them about five minutes to get ready for it.

“Before you get distracted, Lars, I have something to share with you and everyone else.” Nash paused and then said, “Rylie and I are getting married this coming Saturday. The wedding is small, but we’re having a big party afterward in Maple Cove, about an hour from here. You’re all invited.”

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