1 00:00:15,436 --> 00:00:22,916 Speaker 1: Pushkin. Hey, y'all's Justin Richmond. Today on the show, we're 2 00:00:22,916 --> 00:00:27,876 Speaker 1: talking to Grammy Award winning musician Adrian Quesada. He's best 3 00:00:27,916 --> 00:00:30,396 Speaker 1: known as one half of the Black Pumas with singer 4 00:00:30,556 --> 00:00:34,156 Speaker 1: Eric Burton, but since the pandemic started, he's been working 5 00:00:34,196 --> 00:00:39,036 Speaker 1: on a solo project called Balros Psychodelicos or Psychedelic Bleros. 6 00:00:39,676 --> 00:00:43,356 Speaker 1: Inspired by Adrian's longtime love of psychedelic music and Latin 7 00:00:43,356 --> 00:00:46,516 Speaker 1: American love songs of the sixties and seventies, he started 8 00:00:46,516 --> 00:00:50,636 Speaker 1: thinking about how he might recreate balros and balladas. The 9 00:00:50,676 --> 00:00:54,036 Speaker 1: album includes singers from all over Latin America, as well 10 00:00:54,076 --> 00:00:58,116 Speaker 1: as Tom Waite's guitarist Mark Ribot and Beastie Boy collaborator 11 00:00:58,276 --> 00:01:02,996 Speaker 1: Money Mark. Released in June, Balto Psychoedelicos reached number one 12 00:01:03,156 --> 00:01:07,156 Speaker 1: on the Billboard Latin Album Chart. On today's episode, Adrian 13 00:01:07,236 --> 00:01:09,596 Speaker 1: and a few of the singers featured on the album, 14 00:01:09,796 --> 00:01:13,676 Speaker 1: lay Angelica, Garcia, and Tita talk about how the new 15 00:01:13,716 --> 00:01:17,676 Speaker 1: album came together, the collaborative process, and how boleros and 16 00:01:17,716 --> 00:01:25,516 Speaker 1: bladas fit into Latin music today. This is broken record 17 00:01:25,876 --> 00:01:29,916 Speaker 1: liner notes for the digital Age. I'm Justin Richard. Here's 18 00:01:29,956 --> 00:01:34,316 Speaker 1: my conversation with Adrian Quesada and his collaborators lay Angelica 19 00:01:34,396 --> 00:01:38,916 Speaker 1: Garcia and Tita So. Adrian, last time I was talking 20 00:01:38,916 --> 00:01:42,156 Speaker 1: to you was for the Black Pumas record. You've been 21 00:01:42,236 --> 00:01:45,556 Speaker 1: riding like a wave of love and success on that record. 22 00:01:45,876 --> 00:01:49,836 Speaker 1: That was seemingly unexpected, i'd imagine. And your new project 23 00:01:50,316 --> 00:01:55,236 Speaker 1: is Ballero Psychedelicos and it's a Solowish project, a project 24 00:01:55,276 --> 00:01:58,516 Speaker 1: you did yourself, featuring a bunch of different singers. How 25 00:01:58,556 --> 00:02:01,596 Speaker 1: did this come together? So this was very much a 26 00:02:01,636 --> 00:02:04,316 Speaker 1: pandemic record, you know. And always wanted to do something 27 00:02:04,356 --> 00:02:06,596 Speaker 1: like this because I've just really been obsessed with this 28 00:02:06,676 --> 00:02:09,276 Speaker 1: kind of music for a long time. But when the 29 00:02:09,316 --> 00:02:11,156 Speaker 1: pandemic started, I was supposed to be on tour with 30 00:02:11,156 --> 00:02:14,156 Speaker 1: Black Puma's all of twenty twenty, like everybody else, you know, 31 00:02:14,236 --> 00:02:16,516 Speaker 1: like my ear just cleared out, and all of a sudden, 32 00:02:16,716 --> 00:02:19,476 Speaker 1: like I was home. I had nothing to do. You know. 33 00:02:19,516 --> 00:02:22,276 Speaker 1: Some people were like baking bread and stuff, getting hobbies 34 00:02:22,356 --> 00:02:25,116 Speaker 1: during the pandemic, but I just started making music. I 35 00:02:25,196 --> 00:02:27,796 Speaker 1: felt like that was what was keeping me from getting depressed. 36 00:02:28,036 --> 00:02:29,436 Speaker 1: I just finally had time to do this, So I 37 00:02:29,476 --> 00:02:31,396 Speaker 1: just started cranking out a ton of music, a ton 38 00:02:31,436 --> 00:02:34,596 Speaker 1: of instrumentals, and then just started reaching out to amazing 39 00:02:34,836 --> 00:02:39,956 Speaker 1: collaborators like Tita and Ela and they kind of brought 40 00:02:39,956 --> 00:02:43,116 Speaker 1: it all to life. When in the process of tinkering 41 00:02:43,316 --> 00:02:46,036 Speaker 1: and sort of just trying to distract yourself, did the 42 00:02:46,076 --> 00:02:48,836 Speaker 1: idea for this record come? I had a playlist that 43 00:02:48,836 --> 00:02:50,596 Speaker 1: I'd put together of a lot of songs in this 44 00:02:50,676 --> 00:02:53,036 Speaker 1: kind of style, and then it helps me finish things 45 00:02:53,036 --> 00:02:56,196 Speaker 1: if I have a concept, Otherwise I'll make a hundred 46 00:02:56,236 --> 00:02:58,796 Speaker 1: songs and never finish them, you know. So like that 47 00:02:58,876 --> 00:03:01,076 Speaker 1: helped me very much, just kind of make it cohesive. 48 00:03:01,396 --> 00:03:03,196 Speaker 1: What were some of those songs on your playlist? We 49 00:03:03,196 --> 00:03:06,476 Speaker 1: should play one? Yeah, one of the anchors was a 50 00:03:06,556 --> 00:03:10,396 Speaker 1: song by La Lupe called Boys Set to Them and 51 00:03:10,756 --> 00:03:13,756 Speaker 1: that song I had just been listening to a lot, 52 00:03:14,356 --> 00:03:16,116 Speaker 1: thought like, there are songs like that that you can't 53 00:03:16,156 --> 00:03:18,596 Speaker 1: I'm not going to top that song, you know, so 54 00:03:18,596 --> 00:03:21,316 Speaker 1: you might as well just cover it and get it 55 00:03:21,316 --> 00:03:23,396 Speaker 1: out of my system. But it was a good exercise 56 00:03:23,396 --> 00:03:26,476 Speaker 1: for me to like do that and recreate it. Sometimes 57 00:03:26,476 --> 00:03:28,796 Speaker 1: that's just a good exercise to do something like that. 58 00:03:28,876 --> 00:03:31,436 Speaker 1: And uh, actually one of the first people I called 59 00:03:31,516 --> 00:03:34,276 Speaker 1: was Gobby Moreno who sang that does Who's sitting next 60 00:03:34,316 --> 00:03:36,476 Speaker 1: to me? His sister and Gobby was all about it, 61 00:03:36,516 --> 00:03:38,236 Speaker 1: and that was one of the first songs that came together. 62 00:03:38,636 --> 00:03:39,996 Speaker 1: Do you mind a to be listening to the Loupe 63 00:03:40,156 --> 00:04:22,436 Speaker 1: version for a bit now, I'll go ahead, Yes, Where 64 00:04:22,436 --> 00:04:24,756 Speaker 1: did you hear that song? I don't even remember why 65 00:04:24,756 --> 00:04:26,356 Speaker 1: I heard that one, to tell you the truth, you know, 66 00:04:26,396 --> 00:04:28,476 Speaker 1: I just listening to a lot of music. I discovered 67 00:04:28,476 --> 00:04:30,516 Speaker 1: that one just recently, just a few years ago. But 68 00:04:30,556 --> 00:04:31,996 Speaker 1: when I hear a song that I like, like that, 69 00:04:32,036 --> 00:04:34,316 Speaker 1: I'll listen to it ten times a day and then 70 00:04:34,476 --> 00:04:37,556 Speaker 1: three times at night for like a month straight. So 71 00:04:37,596 --> 00:04:39,076 Speaker 1: that was just the only song I could listen to 72 00:04:39,196 --> 00:04:41,276 Speaker 1: for a little while. What stood out to you about it, 73 00:04:41,716 --> 00:04:44,196 Speaker 1: oh Man, so much? I mean, she's an incredible vocalist, 74 00:04:44,516 --> 00:04:46,836 Speaker 1: and just the love the arrangement, and I love the 75 00:04:47,076 --> 00:04:49,836 Speaker 1: drummer was nasty on it. The whole song was just 76 00:04:49,996 --> 00:04:51,836 Speaker 1: I don't know, I just I don't know. At the time, 77 00:04:51,876 --> 00:04:54,556 Speaker 1: it just all really spoke to me. I think that 78 00:04:54,676 --> 00:04:56,716 Speaker 1: the like the drama in the in these songs is 79 00:04:56,756 --> 00:04:58,756 Speaker 1: one of the things that, for whatever reason at the time, 80 00:04:58,836 --> 00:05:02,356 Speaker 1: was was really appealing. What genre would that be considered 81 00:05:02,396 --> 00:05:04,956 Speaker 1: if you could pin a genre on it, you know, 82 00:05:04,996 --> 00:05:10,116 Speaker 1: I don't really know. I mean maybe a fun yeah, well, 83 00:05:10,116 --> 00:05:11,916 Speaker 1: you know, because the song, if you like play the 84 00:05:11,956 --> 00:05:14,116 Speaker 1: song just like on a guitar and a singer, that's 85 00:05:14,196 --> 00:05:17,516 Speaker 1: a volero, you know, but the arrangement is different. What 86 00:05:17,676 --> 00:05:20,156 Speaker 1: makes a bolero? It's a ballad, I mean, I don't 87 00:05:20,156 --> 00:05:21,516 Speaker 1: know what how else you would you break down a 88 00:05:21,876 --> 00:05:25,356 Speaker 1: bolero like? It tends to be romantic. It can be 89 00:05:25,436 --> 00:05:31,556 Speaker 1: like a slow and very passionate with the songs and 90 00:05:31,596 --> 00:05:36,236 Speaker 1: the interpretation, but also very intimate maybe, and they can 91 00:05:36,316 --> 00:05:39,596 Speaker 1: be aboletto can be made with like a big arrangement, 92 00:05:39,676 --> 00:05:42,156 Speaker 1: or also can be just played with a guitar and 93 00:05:42,316 --> 00:05:45,876 Speaker 1: very bohemian ish. I don't know exactly the definition, but 94 00:05:46,836 --> 00:05:52,796 Speaker 1: something like that. So it's like a romantic song, story song. Yeah, 95 00:05:52,836 --> 00:05:56,636 Speaker 1: I think the lyrical content mostly love, you know, romance, heartbreak, 96 00:05:56,796 --> 00:06:00,636 Speaker 1: diary ish kind of like a ballad at its core, 97 00:06:00,756 --> 00:06:02,956 Speaker 1: you know, But there's a style to like the certain 98 00:06:02,996 --> 00:06:06,156 Speaker 1: chord progressions and things and that make it that you 99 00:06:06,196 --> 00:06:08,916 Speaker 1: can identify, you know, like in that song, is there 100 00:06:08,996 --> 00:06:11,676 Speaker 1: like an era or certain like that. I'm trying to 101 00:06:11,676 --> 00:06:14,236 Speaker 1: think of like equivalence that would have been like the 102 00:06:14,276 --> 00:06:16,276 Speaker 1: stack sound or the motown sound. Is there like an 103 00:06:16,316 --> 00:06:18,796 Speaker 1: equivalent for that? Would it have been through fana or 104 00:06:18,796 --> 00:06:20,796 Speaker 1: would there have been like a particular time or group 105 00:06:20,916 --> 00:06:23,716 Speaker 1: that would most identify some of the sounds. I guess 106 00:06:23,716 --> 00:06:26,316 Speaker 1: at least that inspired It's like La Loupe, for instance. 107 00:06:26,836 --> 00:06:30,036 Speaker 1: The genre of bolero I think goes from Cuba a 108 00:06:30,116 --> 00:06:33,996 Speaker 1: long time ago to very much like the vocal groups harmonizing, 109 00:06:34,036 --> 00:06:35,996 Speaker 1: and then in Mexico there was kind of its own 110 00:06:35,996 --> 00:06:39,956 Speaker 1: interpretation of it, and this particular album kind of references 111 00:06:40,036 --> 00:06:45,276 Speaker 1: the like late sixties, early seventies electric instruments, arrangements and 112 00:06:45,796 --> 00:06:47,996 Speaker 1: like Ela was saying, it very much kind of started 113 00:06:48,036 --> 00:06:51,636 Speaker 1: on a you know, a guitar, acoustic instruments and vocals. 114 00:06:51,676 --> 00:06:54,036 Speaker 1: But I think in the late sixties or early seventies 115 00:06:54,076 --> 00:06:57,716 Speaker 1: was when people started to you know, play with electric 116 00:06:57,756 --> 00:07:00,356 Speaker 1: instruments and the drummer would play kind of funky and 117 00:07:00,396 --> 00:07:02,516 Speaker 1: like there was certain things like that, and that's that's 118 00:07:02,556 --> 00:07:06,476 Speaker 1: that's very much the era that this album was inspired by. 119 00:07:06,916 --> 00:07:10,436 Speaker 1: So almost like what British Lose Acts and the sixties 120 00:07:10,476 --> 00:07:13,596 Speaker 1: did to like more traditional style blues like Spoonful started 121 00:07:13,596 --> 00:07:16,876 Speaker 1: as like an acoustic, more folky I guess song or whatever, 122 00:07:16,996 --> 00:07:18,796 Speaker 1: and then Cream gets it and makes it like this 123 00:07:18,836 --> 00:07:22,476 Speaker 1: like insane electric psychedelic version. Is that kind of what 124 00:07:22,516 --> 00:07:26,076 Speaker 1: happened to the Ballero at some point something like that? 125 00:07:26,116 --> 00:07:28,716 Speaker 1: Except it wasn't the British. It was like Latin America 126 00:07:28,796 --> 00:07:30,956 Speaker 1: continued to do you know what I mean? Like it 127 00:07:31,036 --> 00:07:33,076 Speaker 1: wasn't like it came to the US and then Latin 128 00:07:33,156 --> 00:07:35,756 Speaker 1: like these groups are from you know, Chile and mayhic 129 00:07:35,796 --> 00:07:38,436 Speaker 1: Go and still very much have was happening in Latin America, 130 00:07:38,516 --> 00:07:42,036 Speaker 1: Like but yeah, they basically electrified it. You know, did 131 00:07:42,076 --> 00:07:44,996 Speaker 1: you guys grow up with this? Like maybe everyone can 132 00:07:44,996 --> 00:07:47,236 Speaker 1: sort of speak to that, Like Adrian, you grew up 133 00:07:47,356 --> 00:07:50,436 Speaker 1: in Texas. Would this have been a sound that you 134 00:07:50,476 --> 00:07:53,956 Speaker 1: hear grown up? No? No, I probably grew up more 135 00:07:54,076 --> 00:07:58,116 Speaker 1: with like the more traditional little sponsors like things like 136 00:07:58,116 --> 00:08:00,036 Speaker 1: that from Mexico where it was very much just like 137 00:08:00,076 --> 00:08:02,316 Speaker 1: a vocal group, and and like I didn't know that 138 00:08:02,396 --> 00:08:06,436 Speaker 1: this electric psychedelic type stuff existed. I grew up in Guatemala, 139 00:08:06,556 --> 00:08:11,876 Speaker 1: but not in my house specifically, but maybe, like I 140 00:08:11,996 --> 00:08:16,716 Speaker 1: remember at parties or in school, maybe at one point, 141 00:08:17,236 --> 00:08:19,756 Speaker 1: it's very popular. All the songs are very popular in 142 00:08:19,836 --> 00:08:23,996 Speaker 1: Latin America, so obviously everyone knows them. So yeah, there 143 00:08:23,996 --> 00:08:26,876 Speaker 1: are songs that of course I know them, got It? 144 00:08:26,956 --> 00:08:32,956 Speaker 1: And Angelica. You're from La, right, yeah, I'm Salva mex American. 145 00:08:33,436 --> 00:08:36,436 Speaker 1: So I grew up in and around La and other 146 00:08:36,476 --> 00:08:39,356 Speaker 1: parts of the US. A lot of the stuff that 147 00:08:39,436 --> 00:08:42,796 Speaker 1: my family listened to was based in like ranchera music 148 00:08:43,036 --> 00:08:46,756 Speaker 1: and also like gumbia kind of a central So I 149 00:08:46,876 --> 00:08:51,916 Speaker 1: heard boletto sometimes, but it wasn't as played in my house. Ela, 150 00:08:51,956 --> 00:08:54,476 Speaker 1: where did you grow up in. I'm from Puerto Rico, 151 00:08:54,676 --> 00:08:58,436 Speaker 1: so yeah, I grew up listening to boleros a lot, 152 00:08:58,476 --> 00:09:01,996 Speaker 1: because in Puerto Rico you hear a lot of salsa, 153 00:09:02,156 --> 00:09:05,996 Speaker 1: and a lot of salsa singers also sang boleros, so 154 00:09:07,436 --> 00:09:09,956 Speaker 1: like at the same time you can answer salsa, but 155 00:09:10,036 --> 00:09:14,636 Speaker 1: then you can feel a bolero and and we still 156 00:09:14,676 --> 00:09:18,196 Speaker 1: do it. Like there's some like street karaokes in Puerto 157 00:09:18,276 --> 00:09:22,756 Speaker 1: Rico that some older people go and sing like classical 158 00:09:22,836 --> 00:09:26,796 Speaker 1: boleros or sometimes like with a guitar. It's like very 159 00:09:26,836 --> 00:09:29,156 Speaker 1: you know normal there to go to a place and 160 00:09:29,236 --> 00:09:32,636 Speaker 1: someone is just playing boleros with a guitar. So yeah, 161 00:09:32,636 --> 00:09:35,756 Speaker 1: I kind of grew up a lot with different types 162 00:09:35,796 --> 00:09:38,156 Speaker 1: of music, but bolero and salsa was one of the 163 00:09:38,236 --> 00:09:41,676 Speaker 1: main music that's interesting. So yeah, So like salsa music's 164 00:09:41,676 --> 00:09:44,716 Speaker 1: about dancing a salsa singer, then throwing a bolero and 165 00:09:44,756 --> 00:09:47,156 Speaker 1: a set would be like Michael Jackson just throwing a 166 00:09:47,156 --> 00:09:48,836 Speaker 1: ballad in a set or something. Right, it's just like 167 00:09:48,876 --> 00:09:52,476 Speaker 1: gonna We're gonna slow it down. Yeah, And with salsa, 168 00:09:52,556 --> 00:09:55,316 Speaker 1: the experimented a lot. I mean, salsa has a lot 169 00:09:55,356 --> 00:09:58,476 Speaker 1: of jazz and a lot of funk. So there are 170 00:09:58,556 --> 00:10:02,396 Speaker 1: some boletos that have like a funky but like a 171 00:10:02,476 --> 00:10:08,556 Speaker 1: slow funky style, especially like with Fannia singers that in 172 00:10:08,596 --> 00:10:10,996 Speaker 1: the seventh This Day explore with all that stuff. Some 173 00:10:11,036 --> 00:10:13,556 Speaker 1: of them were living in New York, so they like 174 00:10:13,676 --> 00:10:16,316 Speaker 1: explored a lot with music that was going on in 175 00:10:16,356 --> 00:10:19,196 Speaker 1: New York and with the salsa mix, so it was 176 00:10:19,316 --> 00:10:22,276 Speaker 1: very interesting. There's a lot of cool songs, so it 177 00:10:22,316 --> 00:10:24,356 Speaker 1: can be a slow burn, it can be a slow 178 00:10:24,396 --> 00:10:27,396 Speaker 1: funky number. Yeah. There's another cover song on here that 179 00:10:27,436 --> 00:10:32,836 Speaker 1: Tita You sang by Jeanette, Right, can we listen to 180 00:10:32,876 --> 00:10:35,676 Speaker 1: a bit of the original? Yeah? Sure, cool Now listen 181 00:10:35,716 --> 00:10:39,436 Speaker 1: to your version. Damn, it's a good song. I wish 182 00:10:39,436 --> 00:10:43,676 Speaker 1: I listen to your version of Triste. Let's just listen 183 00:10:43,676 --> 00:11:19,676 Speaker 1: to a bit of that, profu yo. It's a beautiful interpretation. 184 00:11:19,916 --> 00:11:21,836 Speaker 1: So imagine I must have started with you hearing that 185 00:11:21,916 --> 00:11:24,036 Speaker 1: and getting obsessed with it, Adrian, Is that true? Would 186 00:11:24,076 --> 00:11:26,996 Speaker 1: have started with you hearing it and getting obsessed. I 187 00:11:26,996 --> 00:11:29,716 Speaker 1: had never heard that song, and probably March twenty twenty, 188 00:11:29,756 --> 00:11:31,636 Speaker 1: like right when I started working on some of this music, 189 00:11:32,036 --> 00:11:34,636 Speaker 1: my daughter was playing it in the house in like 190 00:11:34,676 --> 00:11:38,876 Speaker 1: another room on her phone. How old is she? Sixteen? Oh? Man, 191 00:11:39,036 --> 00:11:41,156 Speaker 1: she's got great taste. She has an amazing taste. And 192 00:11:41,196 --> 00:11:43,796 Speaker 1: she was fourteen at the time, and uh wow. She 193 00:11:43,956 --> 00:11:45,996 Speaker 1: was playing it on her phone and I was in 194 00:11:46,076 --> 00:11:47,556 Speaker 1: my studio, but I had the door open because my 195 00:11:47,556 --> 00:11:49,916 Speaker 1: studio used to be at my house, and it was 196 00:11:49,956 --> 00:11:52,116 Speaker 1: like the Bugs Bunny cartoons like tune. I just like 197 00:11:52,116 --> 00:11:53,756 Speaker 1: took off running. I was like, what is that? And 198 00:11:53,876 --> 00:11:55,916 Speaker 1: she goes Jeannette, and I was like okay. I went 199 00:11:55,956 --> 00:11:58,196 Speaker 1: back and like the next day I laid down a 200 00:11:58,276 --> 00:12:00,676 Speaker 1: version of it and I changed the feel of it. 201 00:12:01,196 --> 00:12:03,076 Speaker 1: When you get inspired to recreate a song like that. 202 00:12:03,156 --> 00:12:04,876 Speaker 1: I'm sure it's different every time, so maybe we'll say 203 00:12:04,876 --> 00:12:07,236 Speaker 1: specifically this one, where do you start? Where did you 204 00:12:07,276 --> 00:12:10,436 Speaker 1: start on this one? That's funny. I actually, in my head, 205 00:12:10,516 --> 00:12:12,796 Speaker 1: I thought that I would send it to, you know, 206 00:12:12,836 --> 00:12:14,996 Speaker 1: the band Krunkben. I was like, I want to get that, 207 00:12:15,036 --> 00:12:16,956 Speaker 1: I want to get them to replay it. What made 208 00:12:16,956 --> 00:12:19,436 Speaker 1: you go to her to sing it? Adrian. One of 209 00:12:19,476 --> 00:12:21,276 Speaker 1: the first people I talked about with this project was 210 00:12:21,276 --> 00:12:24,036 Speaker 1: Gabby Moreno and she, you know, Gabby is Tita's sister, 211 00:12:24,076 --> 00:12:26,076 Speaker 1: and as soon as I mentioned this song, she was like, oh, 212 00:12:26,116 --> 00:12:27,956 Speaker 1: you have to reach out to my sister. She's like 213 00:12:28,076 --> 00:12:30,756 Speaker 1: she she knows the song, and uh, you know, getting 214 00:12:30,796 --> 00:12:33,156 Speaker 1: a co signed from Gabby was enough for me to 215 00:12:33,676 --> 00:12:36,476 Speaker 1: reach out to Tita. And it's perfect, you know, absolutely perfect. 216 00:12:36,716 --> 00:12:39,836 Speaker 1: It's really funny that when I started um making music, 217 00:12:40,156 --> 00:12:45,076 Speaker 1: everyone kept telling me that my music, my style, my 218 00:12:45,196 --> 00:12:49,676 Speaker 1: voice was like Janette's. They could see like the resemblance 219 00:12:49,716 --> 00:12:52,116 Speaker 1: from like in the style and everything, and of course 220 00:12:52,116 --> 00:12:55,956 Speaker 1: she's an inspiration, but I've never thought about it like that. 221 00:12:56,476 --> 00:12:59,996 Speaker 1: And then I kept listening to Janette's music and I 222 00:13:00,876 --> 00:13:05,036 Speaker 1: really love it. And so it's funny because Gabby told me, Oh, 223 00:13:05,076 --> 00:13:10,036 Speaker 1: like you always sing like really soft, you know, like, um, 224 00:13:10,196 --> 00:13:13,516 Speaker 1: you have this voice, like a delicate voice. Yeah, but 225 00:13:13,556 --> 00:13:17,076 Speaker 1: it's it's a contrast because my lyrics are like really 226 00:13:17,676 --> 00:13:22,756 Speaker 1: dark or about heartbreaks or it's never a happy lyrics. 227 00:13:22,756 --> 00:13:25,956 Speaker 1: You know, it's never a happy song. But with my voice, 228 00:13:26,276 --> 00:13:28,956 Speaker 1: it's like this song from Janette, Like the lyrics is 229 00:13:28,956 --> 00:13:32,956 Speaker 1: really sad, but you know it makes you want to dance. 230 00:13:33,396 --> 00:13:35,196 Speaker 1: Did you listen to it and try to emulate it? 231 00:13:35,236 --> 00:13:36,636 Speaker 1: Did you listen to it and try to find your 232 00:13:36,636 --> 00:13:38,556 Speaker 1: own voice in it? Or did you pull the lyrics 233 00:13:38,596 --> 00:13:41,156 Speaker 1: and then just try to sing along to Adrian's track? 234 00:13:41,236 --> 00:13:43,716 Speaker 1: Like how did you? You know? I didn't want to 235 00:13:43,756 --> 00:13:46,956 Speaker 1: listen to it a lot because then I was going 236 00:13:46,956 --> 00:13:50,596 Speaker 1: to sound like exactly like Jeanette, and I didn't want that, 237 00:13:51,076 --> 00:13:55,236 Speaker 1: so I rather just like keep listening to the version 238 00:13:55,316 --> 00:13:58,556 Speaker 1: that Adrians sent me, which I love, by the way, 239 00:13:58,596 --> 00:14:01,156 Speaker 1: and I love that it's a little a little faster, right, Yeah, 240 00:14:01,196 --> 00:14:03,796 Speaker 1: it's just a different feel, just to change the feel. 241 00:14:04,076 --> 00:14:07,716 Speaker 1: I felt really comfortable singing this because it's like my style. 242 00:14:08,036 --> 00:14:11,396 Speaker 1: It really came out really natural. Yeah, it's a cool 243 00:14:11,516 --> 00:14:13,516 Speaker 1: version of it. It's like the tumble might be faster, 244 00:14:13,596 --> 00:14:17,156 Speaker 1: I'm not sure, but it has laid back like groove 245 00:14:17,236 --> 00:14:19,076 Speaker 1: to it that makes it like a little different and 246 00:14:19,276 --> 00:14:22,996 Speaker 1: yeah interesting. Yeah. I actually sent um the vocal tracks 247 00:14:22,996 --> 00:14:26,236 Speaker 1: and a few other things to a producer mutual friend 248 00:14:26,276 --> 00:14:30,476 Speaker 1: with Elea from Puerto Rico named Pachman who's an amazing 249 00:14:30,556 --> 00:14:34,436 Speaker 1: dub producer and musician, and I sent the vocals and 250 00:14:34,476 --> 00:14:36,756 Speaker 1: a few separate things to him to he's kind of 251 00:14:36,796 --> 00:14:40,036 Speaker 1: a dub scientist, master guy, and to dub it out, 252 00:14:40,076 --> 00:14:41,436 Speaker 1: and he sent it back to me, and then I 253 00:14:41,476 --> 00:14:43,436 Speaker 1: snuck it into the track, so it has like light 254 00:14:44,196 --> 00:14:47,956 Speaker 1: flourishes of dub in there too. Who is Jeanette? She's 255 00:14:47,996 --> 00:14:51,516 Speaker 1: an inspiration to a lot of um modern musicians, like 256 00:14:53,556 --> 00:14:57,716 Speaker 1: a lot of you know, Mexican or Latin American female singers. 257 00:14:58,276 --> 00:15:02,116 Speaker 1: I don't know. Have you heard this song? It's another 258 00:15:02,316 --> 00:15:06,836 Speaker 1: hit by Janette? No? Should I play some if you want? 259 00:15:13,156 --> 00:15:40,796 Speaker 1: Stan CONTI no movie walk Okay, deep us usk that's amazing. 260 00:15:41,436 --> 00:15:44,236 Speaker 1: That's a great song. Yeah, yeah, Ela is the song 261 00:15:44,276 --> 00:15:48,796 Speaker 1: that you sang. Was it a cover? No? Yes, I 262 00:15:48,836 --> 00:15:52,756 Speaker 1: wrote the lyrics and Adrian did the whole music. Let's 263 00:15:52,756 --> 00:15:53,796 Speaker 1: listen to it a bit and then I want I 264 00:15:53,796 --> 00:16:06,436 Speaker 1: want to ask about that me baby see the kissing Yo. 265 00:16:06,556 --> 00:16:10,116 Speaker 1: That's beautiful and funky and like all at the same time. 266 00:16:10,196 --> 00:16:15,956 Speaker 1: That's crazy. Yeah, Conno, this is a much more traditional 267 00:16:16,036 --> 00:16:19,636 Speaker 1: song than I guess you would normally perform, right, Eli, 268 00:16:20,636 --> 00:16:23,596 Speaker 1: Maybe it's it's a part of me as well. I think, 269 00:16:24,116 --> 00:16:26,796 Speaker 1: did you have the lyrics already when Adrian approached you 270 00:16:26,796 --> 00:16:30,876 Speaker 1: to collaborate or did you write something specific to work together? 271 00:16:30,996 --> 00:16:33,596 Speaker 1: Not at all. It was it was crazy because obviously 272 00:16:33,596 --> 00:16:36,116 Speaker 1: it was all in the middle of the pandemic and 273 00:16:36,236 --> 00:16:40,956 Speaker 1: my mind was in another place. And then suddenly Adrian 274 00:16:40,996 --> 00:16:42,756 Speaker 1: asked me, like, do you want to do like a 275 00:16:42,756 --> 00:16:45,996 Speaker 1: cover song or an original song? And I said, let's 276 00:16:45,996 --> 00:16:48,836 Speaker 1: do an original song. I wanted to take the risk. 277 00:16:49,876 --> 00:16:53,116 Speaker 1: But it was very fun to work with Adrian because 278 00:16:53,636 --> 00:16:58,036 Speaker 1: I started analyzing, you know, his musical taste at first 279 00:16:58,276 --> 00:17:00,036 Speaker 1: to see if we were going to be on the 280 00:17:00,076 --> 00:17:03,756 Speaker 1: same page. He sent me some songs of boleros and 281 00:17:03,836 --> 00:17:07,836 Speaker 1: I connected immediately because like he liked a lot of 282 00:17:07,956 --> 00:17:10,836 Speaker 1: boleros that I also because blets, you know, they have 283 00:17:10,916 --> 00:17:14,516 Speaker 1: their own style, like Adrian said before, so like you 284 00:17:14,516 --> 00:17:16,636 Speaker 1: can like a voletto that maybe I don't connect with 285 00:17:16,796 --> 00:17:20,076 Speaker 1: as much and it's some other style. So it was 286 00:17:20,196 --> 00:17:22,836 Speaker 1: nice to see when he he sent me like some 287 00:17:22,956 --> 00:17:26,436 Speaker 1: cool boleto songs and and we started, you know, getting 288 00:17:26,436 --> 00:17:29,916 Speaker 1: into a particular vibe for this song. I like that 289 00:17:29,956 --> 00:17:37,596 Speaker 1: she was testing your Adrian, let me see what's going on. Yeah, 290 00:17:37,916 --> 00:17:40,716 Speaker 1: I mean I needed to, you know, because like blets, 291 00:17:40,756 --> 00:17:46,956 Speaker 1: so you know, I'm pleo open ended kind of like. Yeah, 292 00:17:47,036 --> 00:17:49,996 Speaker 1: and I also like, you know, these dark boleto songs 293 00:17:50,116 --> 00:17:53,476 Speaker 1: as well, because there's some wonderful like bright boletos that 294 00:17:53,556 --> 00:17:57,196 Speaker 1: are amazing. But I always like go dark, like even 295 00:17:57,236 --> 00:17:59,436 Speaker 1: if even when I don't want to go dark, like 296 00:17:59,596 --> 00:18:03,916 Speaker 1: darkness like wants me to go there, so I I 297 00:18:04,356 --> 00:18:06,756 Speaker 1: and I also enjoy let you should watch out for that, 298 00:18:06,796 --> 00:18:12,116 Speaker 1: by the way. Yeah, I try to manage it, but yeah. 299 00:18:11,916 --> 00:18:14,836 Speaker 1: And I also like, um, you know, there's some wonderful 300 00:18:14,876 --> 00:18:19,876 Speaker 1: singers and I love like great like fantastic, you know, 301 00:18:20,116 --> 00:18:25,116 Speaker 1: spectacular voices. But I also enjoy like like these attitude voices, 302 00:18:25,356 --> 00:18:27,276 Speaker 1: you know, if it's someone that you might know, like 303 00:18:27,356 --> 00:18:30,556 Speaker 1: Dina Washington. Oh yeah, she had an amazing voice, but 304 00:18:30,596 --> 00:18:32,516 Speaker 1: at the same time she was like talking to you 305 00:18:32,796 --> 00:18:36,276 Speaker 1: through her voice, so um in Boleros. There are some 306 00:18:36,316 --> 00:18:39,236 Speaker 1: other singers that have that style as well, Like they're 307 00:18:39,316 --> 00:18:43,316 Speaker 1: telling you something very directly, and that's something that I 308 00:18:43,316 --> 00:18:46,476 Speaker 1: wanted to do with the lyrics, you know, transmit that 309 00:18:46,556 --> 00:18:50,236 Speaker 1: attitude like in a more you know, direct way as 310 00:18:50,476 --> 00:18:53,676 Speaker 1: telling you something very important. What were you trying to 311 00:18:53,716 --> 00:18:57,956 Speaker 1: say with that song? When you suddenly feel that in 312 00:18:57,956 --> 00:19:02,116 Speaker 1: a relationship that you settle with something, but then suddenly 313 00:19:02,196 --> 00:19:06,956 Speaker 1: you realize that you're settling, settling like with abuse, you know, 314 00:19:07,156 --> 00:19:11,436 Speaker 1: because sometimes abuse can be small and difficult to perceive, 315 00:19:11,956 --> 00:19:14,636 Speaker 1: but it's still abuse. And sometimes I feel like we 316 00:19:14,716 --> 00:19:18,116 Speaker 1: get used to abusive patterns in a relationship, maybe because 317 00:19:18,116 --> 00:19:21,916 Speaker 1: we've seen it in our family members or so, but 318 00:19:21,956 --> 00:19:25,876 Speaker 1: we don't have to repeat things that always have been wrong, 319 00:19:25,956 --> 00:19:28,156 Speaker 1: or we don't have to tolerate anything that we don't 320 00:19:28,156 --> 00:19:32,076 Speaker 1: want to. So it's that moment when she realizes that 321 00:19:32,196 --> 00:19:34,316 Speaker 1: and she says, this is something that I don't like, 322 00:19:34,316 --> 00:19:36,396 Speaker 1: Like even if you bring me flowers of you try 323 00:19:36,396 --> 00:19:39,716 Speaker 1: to decorate it, like the chort's not working and it's 324 00:19:39,796 --> 00:19:42,636 Speaker 1: and it's hurtful and it's not a good relationship. So 325 00:19:43,076 --> 00:19:45,316 Speaker 1: she's just saying in the course, like She's not to 326 00:19:45,316 --> 00:19:49,716 Speaker 1: tolerate lies with Karino with affection. She don wants to 327 00:19:49,716 --> 00:19:55,436 Speaker 1: tolerate lies with affection. So it's very dramatic. I connected 328 00:19:55,476 --> 00:20:00,596 Speaker 1: with that era as well. With the music. Yeah, yeah, wow, 329 00:20:00,916 --> 00:20:02,676 Speaker 1: it almost to me almost sounds like a like a 330 00:20:02,756 --> 00:20:05,556 Speaker 1: Riza track, you know, like it's like there's this sinister 331 00:20:06,196 --> 00:20:08,156 Speaker 1: feel to it. I don't know why, but like there's 332 00:20:08,156 --> 00:20:11,636 Speaker 1: just like a dark, gritty feel. Oh well, yeah, like 333 00:20:11,836 --> 00:20:13,836 Speaker 1: Eli said, you know, she wanted it to be a 334 00:20:13,916 --> 00:20:16,556 Speaker 1: moody and set a tone, like, you know, especially with 335 00:20:16,596 --> 00:20:20,116 Speaker 1: some of the subject matter, to just feel like vibe 336 00:20:20,236 --> 00:20:22,156 Speaker 1: and kind of moody and not. You know, we weren't 337 00:20:22,156 --> 00:20:26,316 Speaker 1: making a particularly bright, cheery song, so it was definitely 338 00:20:26,396 --> 00:20:29,236 Speaker 1: setting that mood. But it also I think hip hop 339 00:20:29,276 --> 00:20:30,956 Speaker 1: was such a huge influence on me when I was 340 00:20:30,956 --> 00:20:33,836 Speaker 1: growing up. In my head, I wanted head bob like 341 00:20:33,876 --> 00:20:36,396 Speaker 1: I'm listening to a hip hop song. Like, going back 342 00:20:36,396 --> 00:20:38,356 Speaker 1: to the beginning of the production journey, did it start 343 00:20:38,396 --> 00:20:41,276 Speaker 1: with like hip hop production? Yeah? Actually, I mean I 344 00:20:41,316 --> 00:20:43,916 Speaker 1: started playing guitar when I was a teenager and played 345 00:20:44,396 --> 00:20:48,076 Speaker 1: Nirvana and Soundgarden and Pearl Jam and skate punk stuff 346 00:20:48,076 --> 00:20:51,396 Speaker 1: and whatever. Was really into guitar. But the first music 347 00:20:51,436 --> 00:20:55,716 Speaker 1: that I started to try to recreate and dissect was 348 00:20:55,836 --> 00:20:59,316 Speaker 1: a hip hop And then also my first actual like 349 00:20:59,436 --> 00:21:02,796 Speaker 1: trying to make my own music was with an MPC 350 00:21:02,916 --> 00:21:05,796 Speaker 1: two thousand, an NPC two thousand, Just so people know, 351 00:21:05,876 --> 00:21:09,596 Speaker 1: it's like a old sampler. Yeah, yeah, of hip hop 352 00:21:09,596 --> 00:21:12,716 Speaker 1: producers in the nineties uses those, And that was my 353 00:21:12,756 --> 00:21:18,236 Speaker 1: first introduction into like programming and sampling and production and whatnot. 354 00:21:18,516 --> 00:21:20,636 Speaker 1: What were you sampling at the time when I was 355 00:21:20,676 --> 00:21:22,356 Speaker 1: doing that. At the time, I mean, I had a 356 00:21:22,396 --> 00:21:24,116 Speaker 1: lot of records, and that was like kind of the 357 00:21:24,236 --> 00:21:26,796 Speaker 1: crate digging, like when there was compilations of cool samples 358 00:21:26,796 --> 00:21:29,316 Speaker 1: and stuff. But when I first got my MPC two thousand, 359 00:21:29,356 --> 00:21:31,276 Speaker 1: I was really into jazz and I was sampling like 360 00:21:31,636 --> 00:21:35,636 Speaker 1: just weird jazz, free jazz and all on guard jazz 361 00:21:35,636 --> 00:21:38,956 Speaker 1: and stuff like that. But just learning how to do that, 362 00:21:39,116 --> 00:21:40,956 Speaker 1: you know, because of the sound of the drums of 363 00:21:40,956 --> 00:21:43,276 Speaker 1: an MPC two thousand, that's how I want drums to 364 00:21:43,316 --> 00:21:45,156 Speaker 1: sound all the time. You know. As much as I 365 00:21:45,236 --> 00:21:47,796 Speaker 1: used to listen to guns and Roses when I was 366 00:21:47,836 --> 00:21:49,676 Speaker 1: a little kid, I don't I don't hear the drums 367 00:21:49,676 --> 00:21:52,196 Speaker 1: like that. I hear the drums like Pete Rock, you 368 00:21:52,236 --> 00:21:54,076 Speaker 1: don't hear the Paradise City drums. I mean, I could 369 00:21:54,076 --> 00:21:56,916 Speaker 1: play all those songs on guitar, but you know my drums, 370 00:21:56,916 --> 00:21:58,636 Speaker 1: I want him to sound like a hip hop drummer, 371 00:21:58,676 --> 00:22:00,836 Speaker 1: you know. So that production style kind of like has 372 00:22:00,876 --> 00:22:03,796 Speaker 1: stayed with you over the years. Just about everything I've 373 00:22:03,836 --> 00:22:05,916 Speaker 1: ever I can't I can't shake it. It It was just 374 00:22:05,956 --> 00:22:08,636 Speaker 1: too much part of who I am. How's it grown now? 375 00:22:08,636 --> 00:22:11,116 Speaker 1: Because you're not still using a sampler, right, I've tried 376 00:22:11,156 --> 00:22:13,276 Speaker 1: to bring three back to life that I have here 377 00:22:13,276 --> 00:22:15,756 Speaker 1: in the studio MPCs, but it's like having an old car. 378 00:22:16,116 --> 00:22:18,676 Speaker 1: It's a lot of upkeep and stuff, and it's just 379 00:22:19,156 --> 00:22:21,436 Speaker 1: way more convenient now to do stuff on the computer 380 00:22:21,556 --> 00:22:23,516 Speaker 1: and whatnot. But honestly, like a lot of these things 381 00:22:23,556 --> 00:22:26,476 Speaker 1: are just we do live drums. We have to take 382 00:22:26,476 --> 00:22:28,556 Speaker 1: a quick break, but we'll be right back with more 383 00:22:28,596 --> 00:22:36,676 Speaker 1: from Adrian, Angelica, Tita, and Ela. We're back with the 384 00:22:36,676 --> 00:22:40,596 Speaker 1: rest of my conversation with Adrian Quesada and his collaborators. 385 00:22:41,716 --> 00:22:45,476 Speaker 1: Like on this record, you played almost everything yourself, or 386 00:22:45,836 --> 00:22:48,276 Speaker 1: I started everything myself and then would send it to 387 00:22:48,356 --> 00:22:52,636 Speaker 1: people like that. One has a Jay Mumford on drums. 388 00:22:52,676 --> 00:22:55,116 Speaker 1: He used to be a hip hop producer and DJ rapper. 389 00:22:55,556 --> 00:22:58,036 Speaker 1: His storian from New York named Jay Zone. So a 390 00:22:58,036 --> 00:23:00,716 Speaker 1: lot of these I'm not like a great drummer. I 391 00:23:00,716 --> 00:23:02,196 Speaker 1: would just do what I had to do, and then 392 00:23:02,636 --> 00:23:03,956 Speaker 1: I would think, like it'd be a lot better if 393 00:23:03,996 --> 00:23:05,716 Speaker 1: somebody else just played these, So I sent them all 394 00:23:05,756 --> 00:23:08,716 Speaker 1: off in friends. A lot of friends replayed drums and 395 00:23:08,756 --> 00:23:10,556 Speaker 1: then boards and stuff like that, and then I kind 396 00:23:10,556 --> 00:23:13,076 Speaker 1: of did the rest, you know, besides other things I 397 00:23:13,116 --> 00:23:15,316 Speaker 1: can't do, like flutes and violins whatever you hear like 398 00:23:15,436 --> 00:23:18,316 Speaker 1: orchestral stuff that's not me at all. Did you arrange 399 00:23:18,316 --> 00:23:21,116 Speaker 1: it still a little bit? And then a lot of 400 00:23:21,116 --> 00:23:24,476 Speaker 1: that was just um actually shout out. Brian Donoho, who 401 00:23:24,516 --> 00:23:27,916 Speaker 1: does all the flutes on the album, was incredible with 402 00:23:27,956 --> 00:23:30,236 Speaker 1: his arrangements because he just understood where to fit in, 403 00:23:30,276 --> 00:23:32,396 Speaker 1: and you know, he would just send me tons of 404 00:23:32,436 --> 00:23:34,196 Speaker 1: ideas back and then I just kind of arrange that, 405 00:23:34,396 --> 00:23:36,036 Speaker 1: you know, and again that's where the sampling comes in. 406 00:23:36,076 --> 00:23:38,476 Speaker 1: I would just take little parts that I liked and 407 00:23:38,516 --> 00:23:40,236 Speaker 1: put one here and put one here, and like move 408 00:23:40,276 --> 00:23:43,156 Speaker 1: that around. But he did an amazing job. Again during 409 00:23:43,156 --> 00:23:45,236 Speaker 1: the pandemic. Like none of us were ever in the 410 00:23:45,236 --> 00:23:48,316 Speaker 1: same room, so it's a different yeah, yeah, yeah, nobody 411 00:23:48,356 --> 00:23:50,596 Speaker 1: ever came into the room. Were you looking in on 412 00:23:50,596 --> 00:23:53,316 Speaker 1: like the sessions, like when they sang now they just 413 00:23:53,356 --> 00:23:56,236 Speaker 1: send stuff over, just send stuff over? Would it be retakes? 414 00:23:56,276 --> 00:23:57,636 Speaker 1: I go back, try, maybe try it again, like a 415 00:23:57,676 --> 00:24:00,596 Speaker 1: couple of tries at it or not necessarily to tell 416 00:24:00,596 --> 00:24:02,996 Speaker 1: you the truth, it was more from a technical standpoint. 417 00:24:03,196 --> 00:24:05,356 Speaker 1: Some people were recording in a bedroom, then some people 418 00:24:05,396 --> 00:24:07,676 Speaker 1: would record in a professional studio and then you know, 419 00:24:07,956 --> 00:24:09,436 Speaker 1: so there was a little bit of back and forth 420 00:24:09,476 --> 00:24:12,236 Speaker 1: with with Mentitas, with Elia and I. We took us 421 00:24:12,276 --> 00:24:14,236 Speaker 1: a while to land on the chorus, and then when 422 00:24:14,276 --> 00:24:16,596 Speaker 1: we got it, it was like hit it. So we 423 00:24:16,636 --> 00:24:21,036 Speaker 1: should listen a little bit of Angelica's tracky dollars that cool? Yes, 424 00:24:22,556 --> 00:25:10,836 Speaker 1: this dancers looking us camels come wow, Wow, what happened there? Guys? 425 00:25:11,316 --> 00:25:14,796 Speaker 1: That was awesome. That's an original from me and Adrian 426 00:25:15,636 --> 00:25:18,716 Speaker 1: and so that that was super cool. Hard to believe 427 00:25:18,756 --> 00:25:21,836 Speaker 1: that was done remote. So you were in Texas, in Austin? 428 00:25:21,956 --> 00:25:25,316 Speaker 1: Where were you in Jelica? Adrian actually caught me at 429 00:25:25,356 --> 00:25:28,996 Speaker 1: a really big point of transition. I've been living in 430 00:25:29,076 --> 00:25:31,476 Speaker 1: Virginia and I was prepping to move back to LA 431 00:25:31,796 --> 00:25:35,516 Speaker 1: and I was really going through some things, and I 432 00:25:35,556 --> 00:25:38,556 Speaker 1: was listening to a lot of at the time. So 433 00:25:38,596 --> 00:25:43,436 Speaker 1: she's like Ranchetta music, right, Um, So it was kind 434 00:25:43,436 --> 00:25:46,076 Speaker 1: of the perfect time to actually ask me to write 435 00:25:46,156 --> 00:25:50,556 Speaker 1: Boletto's lyrics because I was very much in that head 436 00:25:50,676 --> 00:25:57,116 Speaker 1: space of like sadness and Ranchetta music like predominantly like 437 00:25:57,196 --> 00:26:02,396 Speaker 1: Mexican music, right, It's like a Mexican folk music pretty much. 438 00:26:02,676 --> 00:26:06,716 Speaker 1: I grew up in a family of singers, Like my 439 00:26:06,796 --> 00:26:10,556 Speaker 1: mom used to sing as a filed at rodeos like 440 00:26:10,916 --> 00:26:14,356 Speaker 1: and sing Granchetta music, and so I had like strong 441 00:26:14,516 --> 00:26:19,236 Speaker 1: voices from that style in my family. I could definitely 442 00:26:19,276 --> 00:26:22,516 Speaker 1: hear some of the similarities with Voletos music, Like I 443 00:26:22,556 --> 00:26:26,276 Speaker 1: don't know Voletos as much as like Lettus, but I 444 00:26:26,396 --> 00:26:31,036 Speaker 1: know that I like Grancetta super powerful, and it's very 445 00:26:31,196 --> 00:26:35,716 Speaker 1: like the lyrics are very important. So the styles are 446 00:26:35,716 --> 00:26:42,356 Speaker 1: similar as lyric driven, emotionally potent music, right, I guess, yeah, 447 00:26:42,396 --> 00:26:44,196 Speaker 1: And then how did you decide to do when original 448 00:26:44,276 --> 00:26:49,356 Speaker 1: verses find a cover? I personally really love lyrics. It's 449 00:26:49,436 --> 00:26:53,156 Speaker 1: one of my favorite ways to express myself. I like 450 00:26:53,276 --> 00:26:58,156 Speaker 1: the chance to be poetic with them too, and you know, 451 00:26:58,316 --> 00:27:01,236 Speaker 1: pop music doesn't always allow for that, but this was 452 00:27:01,276 --> 00:27:04,116 Speaker 1: just kind of like a perfect opportunity to really be 453 00:27:04,956 --> 00:27:08,316 Speaker 1: as poetic as I wanted to be. It's pop music 454 00:27:08,396 --> 00:27:12,556 Speaker 1: typically you kind of where you're working. I guess I 455 00:27:12,636 --> 00:27:14,916 Speaker 1: do kind of like alternative pop, and I mean I 456 00:27:14,956 --> 00:27:18,396 Speaker 1: still love my lyrics and stuff, like I still try 457 00:27:18,436 --> 00:27:21,236 Speaker 1: to prioritize them, but it was nice to lean into 458 00:27:21,276 --> 00:27:24,476 Speaker 1: the genre and the feel and know that I could 459 00:27:24,556 --> 00:27:28,076 Speaker 1: go there and it would have a solid foundation, like 460 00:27:28,076 --> 00:27:30,316 Speaker 1: I wouldn't have to convince people of it, if that 461 00:27:30,356 --> 00:27:33,356 Speaker 1: makes sense. Yeah, Like and pop there's a little more 462 00:27:33,396 --> 00:27:35,516 Speaker 1: like you got to make sure people are following you. 463 00:27:35,676 --> 00:27:37,996 Speaker 1: I guess, yeah, what are some of the lyrics to this? 464 00:27:38,356 --> 00:27:43,756 Speaker 1: I was just imagining this person's eyes, and like it's 465 00:27:43,836 --> 00:27:50,756 Speaker 1: kind of like in like in my turbulent hours, your 466 00:27:50,876 --> 00:27:58,156 Speaker 1: voice is the only thing that I hear, and I'm 467 00:27:58,196 --> 00:28:00,796 Speaker 1: like apologizing to everybody in the room because my Spanish 468 00:28:00,876 --> 00:28:05,236 Speaker 1: is like probably the worst ally, but um, it's like 469 00:28:06,876 --> 00:28:12,956 Speaker 1: bewitched by the potency that we have both felt, and 470 00:28:13,236 --> 00:28:17,876 Speaker 1: like your your shadow is so beautiful that it costs 471 00:28:17,956 --> 00:28:22,036 Speaker 1: me my free will to know it. I really went there. 472 00:28:23,156 --> 00:28:28,596 Speaker 1: Shout out to everybody for being moody a feel. Yeah, 473 00:28:28,676 --> 00:28:30,476 Speaker 1: what was it about where you were at that took 474 00:28:30,516 --> 00:28:35,156 Speaker 1: you there? Lyrically? I was in love with somebody, you know. 475 00:28:35,436 --> 00:28:39,836 Speaker 1: And also just like the big transition of like moving 476 00:28:40,356 --> 00:28:43,516 Speaker 1: in such a heavy time in my life and having 477 00:28:43,556 --> 00:28:46,276 Speaker 1: to say goodbye to so many people and not being 478 00:28:46,316 --> 00:28:48,796 Speaker 1: able to say goodbye in the way that you wanted to. 479 00:28:49,596 --> 00:28:51,916 Speaker 1: There was like definitely a particular person in my mind, 480 00:28:51,916 --> 00:28:54,796 Speaker 1: but you know, just the heaviness of not being able 481 00:28:54,836 --> 00:28:57,636 Speaker 1: to say what you want to say in the moment 482 00:28:57,676 --> 00:29:01,636 Speaker 1: because you can't. Yeah, well I gotta say too like that, Like, 483 00:29:01,956 --> 00:29:04,316 Speaker 1: did you end up moving back to La? Yeah? I did. 484 00:29:05,396 --> 00:29:08,516 Speaker 1: How did you get to Virginia? I mean, I can't 485 00:29:08,556 --> 00:29:13,316 Speaker 1: think of two places more dissimilar than La in Virginia 486 00:29:13,516 --> 00:29:15,876 Speaker 1: I moved when I was a teenager with my family. 487 00:29:16,276 --> 00:29:19,516 Speaker 1: But yeah, Richmond is awesome. There's so much school arts 488 00:29:19,636 --> 00:29:22,676 Speaker 1: and I think I recorded, like in my apartment for 489 00:29:22,716 --> 00:29:26,196 Speaker 1: the first draft on a garage band and Adrian's like, Nat, 490 00:29:26,436 --> 00:29:28,316 Speaker 1: let's get you to do it in a studio in La. 491 00:29:29,196 --> 00:29:34,236 Speaker 1: This garage band Mike sucks, But yeah, it was awesome. 492 00:29:34,396 --> 00:29:37,516 Speaker 1: I don't remember which friend I got to work with, 493 00:29:37,916 --> 00:29:40,916 Speaker 1: m Alberto Lopez who also played in La Right you 494 00:29:40,956 --> 00:29:45,196 Speaker 1: recorded him? Yeah, he also played percussion on Menthidas. Yeah, 495 00:29:45,196 --> 00:29:48,036 Speaker 1: he was also percussion on This is Incredible. We talked 496 00:29:48,036 --> 00:29:50,076 Speaker 1: a little bit about your voice too. Voice was incredible 497 00:29:50,116 --> 00:29:53,476 Speaker 1: on that. Thank you. When didn't you start singing as 498 00:29:53,476 --> 00:29:56,796 Speaker 1: a child, I guess I just I always had music 499 00:29:56,836 --> 00:29:59,316 Speaker 1: around me and I loved it. And I was taught 500 00:29:59,356 --> 00:30:03,116 Speaker 1: by my family basically like singing to the radio and 501 00:30:03,156 --> 00:30:06,956 Speaker 1: stuff until I was in high school and I went 502 00:30:06,996 --> 00:30:10,356 Speaker 1: to this It was like a public arts high school 503 00:30:10,356 --> 00:30:13,476 Speaker 1: in LA and I had an incredible like jazz voice 504 00:30:13,516 --> 00:30:19,676 Speaker 1: teacher named Pat Bass, And I think having that real education, 505 00:30:20,596 --> 00:30:24,436 Speaker 1: like I definitely had like a rootsie like home education, 506 00:30:24,756 --> 00:30:28,076 Speaker 1: and my mom would always be like, m do it again. 507 00:30:28,116 --> 00:30:30,876 Speaker 1: I don't believe you. Yes, it's not good. I don't 508 00:30:30,876 --> 00:30:34,636 Speaker 1: believe you. Like And I think Ranchetto was especially great 509 00:30:34,676 --> 00:30:37,316 Speaker 1: to learn first because it's so emotive, and she's like, 510 00:30:37,516 --> 00:30:39,276 Speaker 1: if I don't believe you, what's the point of view 511 00:30:39,316 --> 00:30:43,036 Speaker 1: singing like you're supposed to be full heart heartache right 512 00:30:43,076 --> 00:30:45,756 Speaker 1: now and you don't sound like it. You know, you 513 00:30:45,876 --> 00:30:49,036 Speaker 1: just sound like whatever, you know, and her mom did 514 00:30:49,076 --> 00:30:52,556 Speaker 1: her did your job for you. Yeah, she's just great 515 00:30:52,996 --> 00:30:56,876 Speaker 1: executive producer, yeah, I know. And so like by the 516 00:30:56,956 --> 00:30:59,756 Speaker 1: jazz teacher Pat Bass, she's incredible and she kind of 517 00:30:59,756 --> 00:31:01,956 Speaker 1: like helped me like fanesse it if that makes sense, 518 00:31:02,036 --> 00:31:05,276 Speaker 1: like just really clean it up and go with breath 519 00:31:05,276 --> 00:31:09,596 Speaker 1: and everything. And Adrian, so, how did you find music 520 00:31:09,676 --> 00:31:12,276 Speaker 1: for the lyrics to that that one? You know? So 521 00:31:12,356 --> 00:31:15,556 Speaker 1: I had this inspiration playlist that I would reference, you know, 522 00:31:15,556 --> 00:31:17,596 Speaker 1: when I started it, But honestly, at a certain point 523 00:31:18,316 --> 00:31:20,196 Speaker 1: into it, I kind of stopped listening to it. When 524 00:31:20,196 --> 00:31:23,476 Speaker 1: I was writing original music, I kind of stopped for 525 00:31:23,516 --> 00:31:25,116 Speaker 1: a while and was like, I don't want to like 526 00:31:25,196 --> 00:31:28,956 Speaker 1: just recreate songs. First, it was really important to dissect 527 00:31:28,956 --> 00:31:31,356 Speaker 1: the Genette song and dissect was a seither than me 528 00:31:31,396 --> 00:31:34,316 Speaker 1: and all that to really get those that like the 529 00:31:34,356 --> 00:31:36,516 Speaker 1: way that the chord progressions moving stuff in my head. 530 00:31:36,556 --> 00:31:38,156 Speaker 1: But then at some point I stopped and was like, 531 00:31:38,436 --> 00:31:40,596 Speaker 1: I need to do my own thing with it, or 532 00:31:40,636 --> 00:31:42,356 Speaker 1: I might as well just do all covers, you know. 533 00:31:42,396 --> 00:31:44,556 Speaker 1: So I think by that point, I honestly wasn't really 534 00:31:44,596 --> 00:31:47,676 Speaker 1: listening anymore. I was just off and playing stuff that 535 00:31:47,756 --> 00:31:50,396 Speaker 1: was at some point sort of loosely inspired, so that 536 00:31:50,436 --> 00:31:54,796 Speaker 1: one really didn't have that real traditional like anything boleto 537 00:31:55,116 --> 00:31:57,356 Speaker 1: The only thing it did have, and I love what 538 00:31:57,716 --> 00:31:59,596 Speaker 1: she did with it was you know, some of those 539 00:31:59,636 --> 00:32:02,876 Speaker 1: songs are like have this kind of brooding, kind of 540 00:32:02,956 --> 00:32:05,876 Speaker 1: dark thing, and then they go real happy. It's like 541 00:32:05,956 --> 00:32:08,436 Speaker 1: theater or something like it's like everything's real sad and 542 00:32:08,476 --> 00:32:12,156 Speaker 1: then everybody's super happy. That was very bipolar song, but one, 543 00:32:12,236 --> 00:32:14,356 Speaker 1: but then it comes back to just like yeah, we're 544 00:32:14,396 --> 00:32:16,316 Speaker 1: all happy and we're all in love, but like back 545 00:32:16,356 --> 00:32:19,116 Speaker 1: to like, no, everything's dark and everything's sad, and that's 546 00:32:19,116 --> 00:32:21,996 Speaker 1: how and sometimes they end on the up notes, sometimes 547 00:32:21,996 --> 00:32:24,036 Speaker 1: they don't. But that one that was the only thing 548 00:32:24,076 --> 00:32:26,636 Speaker 1: I threw in was like the like, oh everything's you know, 549 00:32:26,716 --> 00:32:29,876 Speaker 1: happy and everybody's in love and birds and flutes and 550 00:32:30,516 --> 00:32:33,556 Speaker 1: but then back to the darkness and and she wrote 551 00:32:33,556 --> 00:32:36,236 Speaker 1: it perfectly and this made it real theatrical. That's about 552 00:32:36,236 --> 00:32:38,636 Speaker 1: the only thing that had the influence of a Boletto 553 00:32:38,716 --> 00:32:40,436 Speaker 1: on that one. You know, is going to that real 554 00:32:40,556 --> 00:32:42,596 Speaker 1: major section. It's hard for me to do anything and 555 00:32:42,676 --> 00:32:45,676 Speaker 1: with major chords. It was just an impression of a 556 00:32:45,676 --> 00:32:49,436 Speaker 1: Boletto and he plans to take this on the road somehow, 557 00:32:49,556 --> 00:32:52,116 Speaker 1: or to take this further than just the record, or 558 00:32:52,676 --> 00:32:54,196 Speaker 1: I would love to do it if you all are done. 559 00:32:54,196 --> 00:32:55,756 Speaker 1: It would be very hard to take this on the road. 560 00:32:55,756 --> 00:32:58,036 Speaker 1: There's a lot of people. We only have three out 561 00:32:58,036 --> 00:33:01,596 Speaker 1: of like ten singers here. But uh, but yeah, I think, 562 00:33:01,716 --> 00:33:03,396 Speaker 1: you know, we're talking about a couple. You know, it 563 00:33:03,396 --> 00:33:06,276 Speaker 1: could be cool to do a couple of exclusive concerts 564 00:33:06,276 --> 00:33:08,916 Speaker 1: here and there, but you know, I think the logistically 565 00:33:09,116 --> 00:33:11,956 Speaker 1: it might be very hard to do anything. I want 566 00:33:11,956 --> 00:33:15,356 Speaker 1: to listen to one more track. It's instrumental and it's 567 00:33:15,356 --> 00:33:19,996 Speaker 1: worth college of knowledge. Es nolo, hey dicho yo. Hopefully 568 00:33:20,036 --> 00:34:03,036 Speaker 1: I said that right here we go. You know what 569 00:34:03,116 --> 00:34:06,076 Speaker 1: I love about this record is like you manage to 570 00:34:06,196 --> 00:34:10,556 Speaker 1: create a vibe. Everything has like a really incredible great 571 00:34:10,636 --> 00:34:12,956 Speaker 1: vibe to it and groove to it. But the songs 572 00:34:12,996 --> 00:34:14,756 Speaker 1: didn't sacrifice because of it. You know, It's not like 573 00:34:14,836 --> 00:34:16,636 Speaker 1: you didn't just like loop something and just create like 574 00:34:16,676 --> 00:34:18,796 Speaker 1: a simple groove that could just kind of get you 575 00:34:19,396 --> 00:34:22,516 Speaker 1: and like this sort of like meditative of space. It's 576 00:34:22,556 --> 00:34:25,396 Speaker 1: like these songs are so dramatic and move so much 577 00:34:25,436 --> 00:34:28,236 Speaker 1: like listening to that one, it was almost like, um, 578 00:34:28,476 --> 00:34:30,996 Speaker 1: like a John Barry like song or something like yeah, 579 00:34:31,036 --> 00:34:33,876 Speaker 1: like z Old James Bond like John Barry cuts like 580 00:34:34,316 --> 00:34:37,996 Speaker 1: Goldfinger or whatever. It's like it just moves everywhere, but 581 00:34:38,036 --> 00:34:40,236 Speaker 1: it still manages to just have like this really heavy 582 00:34:40,316 --> 00:34:43,636 Speaker 1: vibe and it's incredible, thank you because everything is so 583 00:34:43,716 --> 00:34:47,276 Speaker 1: heavy emotionally and lyrically. I imagine this kind of like 584 00:34:47,316 --> 00:34:50,116 Speaker 1: a movie or like a theater piece. And the reason 585 00:34:50,156 --> 00:34:52,076 Speaker 1: there's a couple of instrumentals is I thought those would 586 00:34:52,076 --> 00:34:54,196 Speaker 1: be like intermissions, you know, like give you a little 587 00:34:54,236 --> 00:34:59,156 Speaker 1: break from the like drama. You know, it's like go 588 00:34:59,156 --> 00:35:01,356 Speaker 1: go get your popcorn and your glass of wine and 589 00:35:01,476 --> 00:35:04,676 Speaker 1: come back after the intermission. And then to that point 590 00:35:04,916 --> 00:35:06,676 Speaker 1: that makes it so much like a movie score, like 591 00:35:06,716 --> 00:35:08,796 Speaker 1: they give it like the old like um, you know 592 00:35:08,836 --> 00:35:12,116 Speaker 1: black Flotation albums like Truck Turner or trouble Man right 593 00:35:12,116 --> 00:35:14,876 Speaker 1: where it'd be like you'd get those instrumental cuts. I 594 00:35:14,916 --> 00:35:18,156 Speaker 1: love that each song is really different from one another. Yeah, 595 00:35:18,076 --> 00:35:21,076 Speaker 1: each song is very different, and not just because the 596 00:35:21,276 --> 00:35:25,236 Speaker 1: featured singers different. It's like or the featured group is different. 597 00:35:25,276 --> 00:35:28,396 Speaker 1: It's like each song just has its own spirit, which 598 00:35:28,436 --> 00:35:31,236 Speaker 1: is super cool. That song is a cover. That was 599 00:35:31,276 --> 00:35:36,116 Speaker 1: something I was actually sending some ideas to a amazing 600 00:35:36,476 --> 00:35:39,876 Speaker 1: Cuban singer who Gabby worked with, and I was submitting 601 00:35:39,916 --> 00:35:42,476 Speaker 1: them some instrumentals and I started what I'd just do 602 00:35:42,596 --> 00:35:45,076 Speaker 1: is start like dissecting songs and redoing them just to 603 00:35:45,116 --> 00:35:47,716 Speaker 1: get in the mood. And by that point I was 604 00:35:47,756 --> 00:35:50,636 Speaker 1: almost finishing the album, and I was pretty hitting a 605 00:35:50,676 --> 00:35:52,316 Speaker 1: wall and just kind of like sick of it. It 606 00:35:52,356 --> 00:35:54,436 Speaker 1: just all or started sounding the same. And with that one, 607 00:35:54,636 --> 00:35:57,756 Speaker 1: I actually I sent it to College of Knowledge as 608 00:35:57,796 --> 00:36:01,476 Speaker 1: alias of a really dope group called a Surprise Chef. 609 00:36:01,956 --> 00:36:03,716 Speaker 1: At that point, I sent it to them and they 610 00:36:03,716 --> 00:36:04,836 Speaker 1: were like, what do you want to do. I was like, 611 00:36:04,876 --> 00:36:06,836 Speaker 1: just replay it all. I'm sick of it. I hate 612 00:36:06,876 --> 00:36:09,676 Speaker 1: this album, I hate my life, I hate this music. 613 00:36:09,716 --> 00:36:11,796 Speaker 1: I'm done. I don't know what else to do. I 614 00:36:11,836 --> 00:36:13,916 Speaker 1: just sent it to them and they completely replayed it 615 00:36:13,956 --> 00:36:16,156 Speaker 1: and they sent it back and I was like, there 616 00:36:16,156 --> 00:36:19,396 Speaker 1: it is. Every once in a while the producer gets 617 00:36:19,396 --> 00:36:21,196 Speaker 1: to do that, you know, you just call the right people. 618 00:36:21,276 --> 00:36:24,196 Speaker 1: And what a Pete did? He said, I don't write rhymes, 619 00:36:24,196 --> 00:36:26,836 Speaker 1: I write checks. So that one I was just like, man, 620 00:36:26,916 --> 00:36:28,956 Speaker 1: just replay it please, I can't do this anymore, and 621 00:36:29,036 --> 00:36:32,676 Speaker 1: like they, yeah, yeah, I just mixed it, and so 622 00:36:32,756 --> 00:36:34,876 Speaker 1: I can't take a lot of credit on that one. 623 00:36:35,316 --> 00:36:37,316 Speaker 1: So funny. So you said that one was intended for 624 00:36:37,396 --> 00:36:41,876 Speaker 1: Amata Petunda, Yeah I was. I was actually just recreating 625 00:36:41,876 --> 00:36:44,396 Speaker 1: a lot of her her older material just to kind 626 00:36:44,436 --> 00:36:46,236 Speaker 1: of get to start sending her some things. But that 627 00:36:46,236 --> 00:36:47,516 Speaker 1: one I just kind of set aside. I was like, 628 00:36:47,516 --> 00:36:49,316 Speaker 1: this is really cool and thought it would be a 629 00:36:49,316 --> 00:36:51,716 Speaker 1: good one addition to the album. Fantastic. I should just 630 00:36:51,756 --> 00:36:54,196 Speaker 1: say for people, I mean, like she's like famously from 631 00:36:54,276 --> 00:36:56,196 Speaker 1: like the Buena Vista Social Club. Is how you would 632 00:36:56,196 --> 00:37:00,516 Speaker 1: know her voice? Legend amazing, amazing, legendary Cuban singer. Were 633 00:37:00,756 --> 00:37:03,036 Speaker 1: still performance We're lucky to still have with us. You 634 00:37:03,076 --> 00:37:05,236 Speaker 1: should still send something over there. You gotta get her 635 00:37:05,236 --> 00:37:08,356 Speaker 1: on something. M Yeah. So this Arby is just like 636 00:37:08,436 --> 00:37:10,316 Speaker 1: kind of I guess in a way a one off 637 00:37:10,356 --> 00:37:14,236 Speaker 1: because pandemic boredom. But how much do you plan on 638 00:37:14,436 --> 00:37:18,396 Speaker 1: sort of being able to keep doing these projects like that, 639 00:37:18,436 --> 00:37:20,636 Speaker 1: Like you know, like when something inspires you to sort 640 00:37:20,676 --> 00:37:23,196 Speaker 1: of be able to just dive into a world for 641 00:37:23,236 --> 00:37:26,116 Speaker 1: an album or two. I mean, I love doing that. 642 00:37:26,196 --> 00:37:29,276 Speaker 1: It's hard to I kind of get obsessive about stuff 643 00:37:29,276 --> 00:37:33,556 Speaker 1: like that. You know. I try to have hobbies, you know, 644 00:37:33,676 --> 00:37:35,756 Speaker 1: like I try to ride my bike and play basketball. 645 00:37:35,796 --> 00:37:39,036 Speaker 1: But the hobbies just inspired, Like I get an idea 646 00:37:39,076 --> 00:37:40,516 Speaker 1: on a bike rider, I'm like, damn, I gonna get 647 00:37:40,516 --> 00:37:42,196 Speaker 1: to the studio and do something, you know, Like I 648 00:37:42,316 --> 00:37:43,916 Speaker 1: was saying, I could be healthy for me to not 649 00:37:43,956 --> 00:37:46,076 Speaker 1: be in the studio and not work on music. But 650 00:37:46,556 --> 00:37:49,076 Speaker 1: all the hobbies. If I think if I went fishing, 651 00:37:49,116 --> 00:37:52,356 Speaker 1: like I'd be like, have a song idea and they're like, oh, 652 00:37:52,476 --> 00:37:54,556 Speaker 1: I need to get back. So I don't know. As 653 00:37:54,956 --> 00:37:57,316 Speaker 1: time permits, you know, are you gonna still keep doing 654 00:37:57,396 --> 00:38:00,636 Speaker 1: Black Pumas? Yeah? Yeah, our touring schedule is still pretty heavy. 655 00:38:00,916 --> 00:38:03,836 Speaker 1: You know, we're still besides all the touring right now, 656 00:38:03,996 --> 00:38:07,276 Speaker 1: still made up dates from twenty twenty, you know, we 657 00:38:06,876 --> 00:38:09,516 Speaker 1: have we have so I'm leaving you know, in a 658 00:38:09,556 --> 00:38:12,236 Speaker 1: few days again tomorrow. Actually, are you guys gonna write 659 00:38:12,236 --> 00:38:13,996 Speaker 1: anything more too? Or Yeah? We have a lot of 660 00:38:13,996 --> 00:38:15,836 Speaker 1: new music in the works. Yeah, I have a lot 661 00:38:15,836 --> 00:38:17,996 Speaker 1: of a lot of stuff. Cool cool, can't wait to 662 00:38:17,996 --> 00:38:20,996 Speaker 1: hear that. Last time we spoke, I didn't realize that 663 00:38:21,036 --> 00:38:23,676 Speaker 1: you were involved in a quote The Soul Sounds. Yes, yes, 664 00:38:23,916 --> 00:38:26,516 Speaker 1: your CD Taurus M. I want to go out one 665 00:38:26,516 --> 00:38:29,996 Speaker 1: of those songs like soundtracked like every party I threw. Wow, 666 00:38:30,156 --> 00:38:32,996 Speaker 1: like maybe a year and a half, crazy man, awesome. 667 00:38:33,036 --> 00:38:35,556 Speaker 1: I didn't know that. Yeah. Yeah, that was a project 668 00:38:35,596 --> 00:38:38,956 Speaker 1: with my good friend Martin bad Enough from Anti Ballas 669 00:38:39,116 --> 00:38:42,996 Speaker 1: and he and I made four albums under a quote 670 00:38:42,916 --> 00:38:45,876 Speaker 1: The Soul Sounds and you know it's funny our our 671 00:38:45,916 --> 00:38:49,476 Speaker 1: debut album and Lino solo actually is uh. Next year 672 00:38:49,516 --> 00:38:52,276 Speaker 1: is the twenty year anniversary for it WI Yeah, time flies, 673 00:38:52,356 --> 00:38:55,236 Speaker 1: so we uh, we're looking to kind of rerelease some 674 00:38:55,276 --> 00:38:58,076 Speaker 1: of the stuff next year. But yeah, that was a 675 00:38:58,116 --> 00:39:01,036 Speaker 1: super fun project that we did. Um you know, started 676 00:39:01,036 --> 00:39:02,916 Speaker 1: as kind of a one off, turned into four albums. 677 00:39:02,916 --> 00:39:04,956 Speaker 1: We did a little bit of touring, but our individual 678 00:39:05,676 --> 00:39:08,236 Speaker 1: touring schedules and life and everything made it hard to 679 00:39:08,316 --> 00:39:10,596 Speaker 1: really do it. But yeah, that was that was one 680 00:39:10,596 --> 00:39:12,556 Speaker 1: of my favorite things, you know, to be involved in. 681 00:39:13,316 --> 00:39:14,476 Speaker 1: So good. I want to I want to play a 682 00:39:14,476 --> 00:39:16,036 Speaker 1: little bit of this song on the way out and 683 00:39:16,156 --> 00:39:21,036 Speaker 1: El Temblorder feature Chico Man, which is Marco Scarcia Yah 684 00:39:21,036 --> 00:39:24,476 Speaker 1: who happened to know from around Long Beach from antiballis uh. Yeah, 685 00:39:24,516 --> 00:39:26,836 Speaker 1: this is one of my favorite things ever done. Yeah, 686 00:39:26,836 --> 00:39:40,356 Speaker 1: that album one of the best things ever. Still so good. 687 00:39:40,636 --> 00:39:43,596 Speaker 1: Thank you man, Thank you still so good man. It's 688 00:39:43,596 --> 00:39:45,956 Speaker 1: hard to play that because I geeked out when I 689 00:39:45,956 --> 00:39:50,396 Speaker 1: realized that. Yo. Everyone, thank you so much for for 690 00:39:50,396 --> 00:39:53,076 Speaker 1: for for hanging out for a bit on Zoom. Appreciate it. 691 00:39:53,596 --> 00:39:55,436 Speaker 1: Thank you man. Get to see you again. Yeah, good 692 00:39:55,436 --> 00:40:02,196 Speaker 1: to see you too. Thanks to Adrian Cassada, Ela Angelica, 693 00:40:02,316 --> 00:40:06,396 Speaker 1: and Tita for walking us through their songs on Volero Psychedelicos. 694 00:40:06,876 --> 00:40:09,556 Speaker 1: Can hear the album and our favorite Adrian side up 695 00:40:09,556 --> 00:40:13,316 Speaker 1: produced songs. Check out the playlist at broken record podcast 696 00:40:13,476 --> 00:40:16,876 Speaker 1: dot com. Be sure to subscribe to our YouTube channel 697 00:40:16,956 --> 00:40:20,156 Speaker 1: at YouTube dot com slash broken record Podcast, where you 698 00:40:20,156 --> 00:40:23,076 Speaker 1: can find all of our new episodes. You can follow 699 00:40:23,156 --> 00:40:25,876 Speaker 1: us on Twitter at broken Record. Broken Record is produced 700 00:40:25,956 --> 00:40:30,836 Speaker 1: Helpful Lea Rose, Jason Cambrell, Venttaladay, Eric Sandler, and Jennifer Sanchez, 701 00:40:30,956 --> 00:40:34,636 Speaker 1: with engineering help from Nick Chasin. Our executive producer is 702 00:40:34,676 --> 00:40:38,836 Speaker 1: Mia Lobell. Broken Record is a production of Pushkin Industries. 703 00:40:39,076 --> 00:40:41,396 Speaker 1: If you like this show and others from Pushkin consider 704 00:40:41,476 --> 00:40:45,596 Speaker 1: subscribing to Pushkin Plus. Pushkin Plus is a podcast subscription 705 00:40:45,676 --> 00:40:49,116 Speaker 1: that offers bonus content an uninterrupted ad free listening for 706 00:40:49,116 --> 00:40:52,156 Speaker 1: four ninety nine a month. Look for Pushkin Plus on 707 00:40:52,196 --> 00:40:55,836 Speaker 1: Apple Podcasts subscriptions, and if you like the show, please 708 00:40:55,876 --> 00:40:58,356 Speaker 1: remember to share, wait and review us on your podcast 709 00:40:58,436 --> 00:41:01,676 Speaker 1: app Our theme musics by Kenny Beats. I'm justin Richmond.