1 00:00:15,476 --> 00:00:24,556 Speaker 1: Pushkin. Natalia la Forcade is a force as well here 2 00:00:24,596 --> 00:00:27,516 Speaker 1: when she sings during our conversation today. She has a 3 00:00:27,636 --> 00:00:31,396 Speaker 1: gorgeous voice, but she's also a deaft songwriter who's able 4 00:00:31,436 --> 00:00:34,596 Speaker 1: to weave together traditions that feel both modern and old 5 00:00:34,716 --> 00:00:39,676 Speaker 1: at once. And she's also a beautiful interpreter of song. Take, 6 00:00:39,716 --> 00:00:42,356 Speaker 1: for instance, the phenomenon that was the song remember Me 7 00:00:42,436 --> 00:00:46,396 Speaker 1: from Pixar's film Coco, or take the many instances where 8 00:00:46,436 --> 00:00:49,676 Speaker 1: she's recorded some of the classic songs from across Latin America, 9 00:00:50,156 --> 00:00:53,716 Speaker 1: performing songs by greats like Violet Tapada from Chile and 10 00:00:53,916 --> 00:00:57,876 Speaker 1: Augustine Lata from Natalia's home state of Vera Cruz, Mexico. 11 00:00:58,756 --> 00:01:02,276 Speaker 1: After spending the last seven years interpreting those masters, Natalia 12 00:01:02,276 --> 00:01:05,636 Speaker 1: has released De TOAs Las Flores, her first album of 13 00:01:05,676 --> 00:01:09,996 Speaker 1: originals since twenty fifteen. The songs are very much inspired 14 00:01:09,996 --> 00:01:12,276 Speaker 1: by where she's at in life now, but you can 15 00:01:12,316 --> 00:01:15,036 Speaker 1: hear her reverence for the classics still in these songs. 16 00:01:15,916 --> 00:01:18,316 Speaker 1: When Italia came by leda Snag a Grammy a couple 17 00:01:18,356 --> 00:01:20,436 Speaker 1: of months ago for her new album, I made a 18 00:01:20,516 --> 00:01:23,156 Speaker 1: point of stopping by her label offices that Sony to 19 00:01:23,196 --> 00:01:25,676 Speaker 1: have a chat with her. We discussed evolution of her 20 00:01:25,756 --> 00:01:28,676 Speaker 1: artistry over the last twenty five years, the time a 21 00:01:28,796 --> 00:01:31,676 Speaker 1: Hummingbird inspired her to move past the creative rut, and 22 00:01:31,756 --> 00:01:34,596 Speaker 1: how the logistical challenges of recording her latest album to 23 00:01:34,676 --> 00:01:38,476 Speaker 1: tape wound up creating an urgency that ultimately fueled the 24 00:01:38,516 --> 00:01:44,676 Speaker 1: creative process. This is broken record liner notes for the 25 00:01:44,676 --> 00:01:48,716 Speaker 1: digital Age. I'm Justin Ritchman. In continuation of our month 26 00:01:48,756 --> 00:01:52,396 Speaker 1: long celebration of Women's History Month, here's my conversation with 27 00:01:52,636 --> 00:01:56,156 Speaker 1: Natalia La Fricade. When did you start playing guitar? 28 00:01:57,036 --> 00:02:02,116 Speaker 2: I started playing when I was fourteen years old, probably 29 00:02:02,996 --> 00:02:07,276 Speaker 2: around that, very very little. I was very very little. 30 00:02:07,396 --> 00:02:12,756 Speaker 1: Fourteen is actually when I you started playing? Yes, okay? 31 00:02:12,956 --> 00:02:14,116 Speaker 2: And how come I. 32 00:02:14,236 --> 00:02:17,036 Speaker 1: Wanted to join a band? Yeah? 33 00:02:17,116 --> 00:02:19,476 Speaker 2: I didn't want to join a band. I didn't think 34 00:02:19,476 --> 00:02:19,916 Speaker 2: about it. 35 00:02:19,996 --> 00:02:20,196 Speaker 3: You know. 36 00:02:20,516 --> 00:02:24,116 Speaker 2: My mother and I moved in to another apartment that 37 00:02:24,276 --> 00:02:28,276 Speaker 2: was my aunt, and in the closet there was this 38 00:02:28,436 --> 00:02:32,956 Speaker 2: guitar like with only three strings, and I took it. 39 00:02:33,796 --> 00:02:36,436 Speaker 2: I didn't know how to play, but I took it, 40 00:02:37,036 --> 00:02:41,036 Speaker 2: and then I started writing songs with three strings. With 41 00:02:41,276 --> 00:02:44,116 Speaker 2: strings I to remember, I think it was. 42 00:02:45,996 --> 00:02:47,436 Speaker 1: Okay, the three top strings. 43 00:02:48,436 --> 00:02:55,636 Speaker 2: Yeah, yeah. So I started writing songs that I don't 44 00:02:56,116 --> 00:03:00,356 Speaker 2: remember obviously, and then one day I told I said 45 00:03:00,396 --> 00:03:04,796 Speaker 2: to my mother, I want to learn guitar. So I 46 00:03:04,916 --> 00:03:08,716 Speaker 2: was having somebody helping me with the rest of the strings. 47 00:03:09,516 --> 00:03:13,076 Speaker 2: And I had this boyfriend that was playing a lot 48 00:03:13,076 --> 00:03:17,436 Speaker 2: of you Doo song. OK, so he was giving me 49 00:03:17,836 --> 00:03:21,596 Speaker 2: those three chords of that are in many of the 50 00:03:21,716 --> 00:03:25,236 Speaker 2: music and the songs, and that's how I started. Then 51 00:03:25,276 --> 00:03:30,316 Speaker 2: I had my first guitar that was jammaha, very very 52 00:03:30,356 --> 00:03:34,956 Speaker 2: hard to play it. It was metal strings for me 53 00:03:35,036 --> 00:03:38,996 Speaker 2: that was really really hard. And then when I was sixteen, 54 00:03:39,556 --> 00:03:41,556 Speaker 2: I went into the school and I said like, okay, 55 00:03:41,596 --> 00:03:45,876 Speaker 2: I'm gonna take real classes. So I was trying. Then 56 00:03:45,956 --> 00:03:50,916 Speaker 2: I got something you know when you ah yeah, So 57 00:03:51,236 --> 00:03:55,076 Speaker 2: I have to operate it. And it took a long 58 00:03:55,156 --> 00:03:57,116 Speaker 2: time to go back to the guitar, and I was 59 00:03:57,236 --> 00:04:00,316 Speaker 2: just learning myself by myself, you know, with my friends. 60 00:04:01,196 --> 00:04:04,356 Speaker 2: I didn't have a teacher really in guitar. It was 61 00:04:04,716 --> 00:04:08,396 Speaker 2: my friends telling me chords and ways. 62 00:04:08,596 --> 00:04:11,676 Speaker 1: When you're guitar, did you have songs in your head 63 00:04:11,676 --> 00:04:14,156 Speaker 1: that you wanted to sound like or artists that you 64 00:04:14,196 --> 00:04:14,996 Speaker 1: wanted to sound like? 65 00:04:16,196 --> 00:04:22,636 Speaker 2: Yeah, of course, like I had those references of Brazilian 66 00:04:22,716 --> 00:04:27,156 Speaker 2: music most of the time. You know. There was a 67 00:04:27,276 --> 00:04:30,556 Speaker 2: friend in school that I remember, that's the first person 68 00:04:30,716 --> 00:04:34,116 Speaker 2: I asked. I said, like, I'm trying to learn the 69 00:04:34,196 --> 00:04:38,076 Speaker 2: chords of the guitar, but they're doing the whole finger 70 00:04:38,316 --> 00:04:40,356 Speaker 2: for me is just too hard. I don't have the 71 00:04:40,436 --> 00:04:43,916 Speaker 2: force my fingers are. They don't get used to this. 72 00:04:44,796 --> 00:04:48,076 Speaker 2: Do you have any chords? It's a lot of from 73 00:04:48,076 --> 00:04:52,076 Speaker 2: the intuition the way I play guitar. But I was 74 00:04:52,116 --> 00:04:55,916 Speaker 2: asking this friend, do you have any chords that is 75 00:04:56,156 --> 00:05:01,316 Speaker 2: easy to do? And it sounds very fancy, like very 76 00:05:02,156 --> 00:05:06,316 Speaker 2: like wow, she knows very well what she's doing. So 77 00:05:06,396 --> 00:05:09,116 Speaker 2: I want to I want to write songs, I said, 78 00:05:09,836 --> 00:05:13,836 Speaker 2: But I don't want to go just to the those 79 00:05:13,956 --> 00:05:17,716 Speaker 2: course that everyone uses, like just the minor on the 80 00:05:17,756 --> 00:05:21,316 Speaker 2: major court. No, no, no, I want aha. I want this 81 00:05:21,476 --> 00:05:26,036 Speaker 2: to sound like more interesting. So he was saying like, 82 00:05:26,556 --> 00:05:28,996 Speaker 2: I'm going to give you some Brazilian course like from 83 00:05:29,036 --> 00:05:34,676 Speaker 2: Bosanova and that music, so you can go and play this. 84 00:05:35,156 --> 00:05:39,556 Speaker 2: It's going to be simple for you. And then he 85 00:05:39,756 --> 00:05:43,796 Speaker 2: was showing me music Alyssis on my Little Regina Kaetanvelo 86 00:05:44,036 --> 00:05:52,356 Speaker 2: so Gio Gilberto, those kind of musicians that I fall 87 00:05:52,436 --> 00:05:57,076 Speaker 2: in love a lot of Brazilian music. So it became 88 00:05:57,636 --> 00:06:02,916 Speaker 2: because of this, in a way, does Bosanova way or 89 00:06:03,076 --> 00:06:08,556 Speaker 2: Brazilian way of playing became a very strong way for 90 00:06:08,676 --> 00:06:16,796 Speaker 2: me to fine songs and music. He was giving me discords, 91 00:06:17,756 --> 00:06:21,196 Speaker 2: you know, so he was saying like, if you play this, 92 00:06:21,356 --> 00:06:26,276 Speaker 2: it's really easy and you can go. You can go 93 00:06:26,396 --> 00:06:30,036 Speaker 2: from everywhere like in the guitar, and it's gonna be 94 00:06:30,036 --> 00:06:33,716 Speaker 2: easy for your fingers. And then he was giving me 95 00:06:33,836 --> 00:06:44,116 Speaker 2: like the So that was my first approach to writing songs. 96 00:06:44,196 --> 00:06:47,396 Speaker 2: So I was writing like a song which is called Elephants, 97 00:06:47,556 --> 00:07:00,276 Speaker 2: Elephants and ketto goos card conao los elephanto sab cato 98 00:07:00,476 --> 00:07:11,716 Speaker 2: coming in Sabados. Isn't the laden Now that's possible. So 99 00:07:11,876 --> 00:07:14,556 Speaker 2: that was really easy for me to do. But it 100 00:07:14,636 --> 00:07:18,356 Speaker 2: sounded like wow. I remember the label saying like, oh, 101 00:07:19,116 --> 00:07:22,116 Speaker 2: that song is really beautiful. But for me it was simple, 102 00:07:22,716 --> 00:07:26,916 Speaker 2: more simple with my fingers and my strength. 103 00:07:27,476 --> 00:07:30,276 Speaker 1: That was on your first record, right, yeah, yeah, right, yeah. 104 00:07:30,356 --> 00:07:32,236 Speaker 1: It did seem like there was a lot of those 105 00:07:32,396 --> 00:07:37,556 Speaker 1: Basonova rhythms, like you would hear them every so often 106 00:07:37,596 --> 00:07:39,836 Speaker 1: in the first I don't know, like and actually a 107 00:07:39,916 --> 00:07:41,716 Speaker 1: lot of your music still. 108 00:07:41,956 --> 00:07:47,916 Speaker 2: Still still even the last album going through very I mean, 109 00:07:48,076 --> 00:07:52,356 Speaker 2: for me, folk music from Latino America has become a 110 00:07:52,516 --> 00:07:57,076 Speaker 2: very important part of my inspiration and the way I 111 00:07:57,116 --> 00:08:01,396 Speaker 2: write songs to find my own voice like that, that 112 00:08:01,476 --> 00:08:05,516 Speaker 2: has been very important for me. But the Brazilian way, 113 00:08:05,596 --> 00:08:09,196 Speaker 2: I don't know why. It keeps going through the songs 114 00:08:09,236 --> 00:08:11,396 Speaker 2: in a way that I don't even know why, but 115 00:08:11,676 --> 00:08:14,796 Speaker 2: it is there, like their songs in the last album 116 00:08:14,836 --> 00:08:22,436 Speaker 2: that have that it's antio and I'm sorry, but but 117 00:08:22,676 --> 00:08:26,436 Speaker 2: I have I have those two ways. I don't know, 118 00:08:26,596 --> 00:08:27,876 Speaker 2: it's still there. 119 00:08:28,356 --> 00:08:31,236 Speaker 1: That's amazing. Yeah, and you got to work with Gilberto 120 00:08:31,356 --> 00:08:33,476 Speaker 1: Jill right yeah. 121 00:08:33,436 --> 00:08:37,796 Speaker 2: But long long ago, you know that was for that 122 00:08:37,916 --> 00:08:44,116 Speaker 2: wasna like singing those beautiful songs by Augustina la Farolito. 123 00:08:45,236 --> 00:08:49,036 Speaker 2: It's beautiful and also like I was singing, I don't 124 00:08:49,076 --> 00:08:53,876 Speaker 2: remember the song that I that I interpreted in the 125 00:08:53,916 --> 00:08:56,956 Speaker 2: person when he was Person of the Year at Latin 126 00:08:56,996 --> 00:09:01,076 Speaker 2: Grammy long ago, like twenty years ago or something like that. 127 00:09:01,636 --> 00:09:02,836 Speaker 2: I was very little. 128 00:09:02,956 --> 00:09:04,756 Speaker 1: You performed the song of Latin Grammy. 129 00:09:04,916 --> 00:09:06,916 Speaker 2: Yeah, yeah, yeah, it was for him, like he was 130 00:09:06,916 --> 00:09:10,996 Speaker 2: there for me. It was like dream because I admire 131 00:09:11,076 --> 00:09:14,116 Speaker 2: him so much, and then they were asking me to 132 00:09:14,156 --> 00:09:18,476 Speaker 2: go there and play for him, so it was really beautiful. 133 00:09:18,916 --> 00:09:20,756 Speaker 1: How did you get to get him on your record? 134 00:09:21,796 --> 00:09:26,636 Speaker 2: And then for Moher Divina, we got in touch with 135 00:09:26,756 --> 00:09:30,676 Speaker 2: his team and he was open to do that. He 136 00:09:30,756 --> 00:09:34,276 Speaker 2: knew about me. I was impressed by that because obviously 137 00:09:34,516 --> 00:09:37,836 Speaker 2: I thought, of course he's not gonna remember, and that's 138 00:09:37,876 --> 00:09:41,956 Speaker 2: fine because he's Jilbert to Jill. But there was this 139 00:09:42,036 --> 00:09:44,596 Speaker 2: concert in Mexico City and I went there with my 140 00:09:44,716 --> 00:09:47,916 Speaker 2: friend Queso, which is also one of the persons that 141 00:09:48,156 --> 00:09:51,676 Speaker 2: was teaching me a lot of Brasilian music, and we 142 00:09:51,716 --> 00:09:54,316 Speaker 2: went to this concert and then I get to say 143 00:09:54,476 --> 00:09:56,836 Speaker 2: hello to Gilbert and he was like, hey, you know, 144 00:09:58,156 --> 00:10:02,956 Speaker 2: how are you. I can't believe he remains my name. 145 00:10:03,036 --> 00:10:07,036 Speaker 2: He knows my name. And then years after that, he 146 00:10:07,116 --> 00:10:10,676 Speaker 2: was willing to do the song with me. 147 00:10:11,316 --> 00:10:13,076 Speaker 1: Were you in the studio with them or did you know? 148 00:10:13,516 --> 00:10:16,596 Speaker 2: Really that was ah, that was in the distance. I 149 00:10:16,636 --> 00:10:20,156 Speaker 2: hope it was like that. Yeah, yeah, m m man. 150 00:10:20,196 --> 00:10:21,716 Speaker 1: I was hoping you got to be in the studio 151 00:10:21,756 --> 00:10:22,076 Speaker 1: with them. 152 00:10:22,676 --> 00:10:25,756 Speaker 2: Imagine that. Yeah, And then years later I got to 153 00:10:26,036 --> 00:10:28,676 Speaker 2: do the same Person of the Year and sing for 154 00:10:28,796 --> 00:10:33,956 Speaker 2: Kaetano Veloso. So that was also for me, like I can. 155 00:10:34,196 --> 00:10:37,396 Speaker 2: It was librous and yeah, I was able to sing 156 00:10:37,436 --> 00:10:41,476 Speaker 2: to him as well. I think they both are a 157 00:10:41,556 --> 00:10:44,196 Speaker 2: dream for me, you know, like to get to to 158 00:10:44,236 --> 00:10:46,756 Speaker 2: play together. It might be possible. 159 00:10:47,076 --> 00:10:52,116 Speaker 1: Who knows, I would love that it. So Brazilian music 160 00:10:52,556 --> 00:10:55,476 Speaker 1: was like kind of the first maybe besides pop music. 161 00:10:55,756 --> 00:10:57,996 Speaker 1: It was the first like music that you really dove 162 00:10:58,036 --> 00:10:59,316 Speaker 1: into many. 163 00:10:59,396 --> 00:11:04,036 Speaker 2: Many different changes and types of music. Really, you know. 164 00:11:04,156 --> 00:11:07,436 Speaker 2: I remember the first album that I bought with my 165 00:11:07,596 --> 00:11:13,716 Speaker 2: money was the debut album by Bjork and Those Mama's 166 00:11:13,756 --> 00:11:18,876 Speaker 2: Gone by Erica Vadu, Jammy Kwuai with Traveling Without Moving, 167 00:11:19,276 --> 00:11:23,796 Speaker 2: those kind of albums. That was the music I listened. 168 00:11:23,916 --> 00:11:28,156 Speaker 2: And I was young and starting to have my own 169 00:11:28,356 --> 00:11:32,116 Speaker 2: taste in music, you know, like when you're like I 170 00:11:32,156 --> 00:11:34,596 Speaker 2: am listening to this and my headphones and I like it, 171 00:11:34,636 --> 00:11:37,316 Speaker 2: and I don't care if nobody else is liking this music. 172 00:11:37,476 --> 00:11:40,716 Speaker 2: I feel connected to do this for some reason because 173 00:11:40,756 --> 00:11:44,996 Speaker 2: I didn't understand the words and the lyrics on those songs. 174 00:11:45,116 --> 00:11:49,436 Speaker 2: I was just a music connection to those musics. My 175 00:11:49,596 --> 00:11:52,996 Speaker 2: parents are musicians and the music I was listening at 176 00:11:52,996 --> 00:11:58,316 Speaker 2: home with mainly classical music, sometimes poletros that my mother 177 00:11:58,516 --> 00:12:02,636 Speaker 2: liked a lot, many different changes of music, jo Letta Bara, 178 00:12:02,956 --> 00:12:06,316 Speaker 2: those kinds of music. So then I started listening to 179 00:12:07,236 --> 00:12:10,916 Speaker 2: new things in the school. I remember the first time 180 00:12:10,956 --> 00:12:14,636 Speaker 2: I heard Billie Holiday and I was like, wow, this 181 00:12:14,756 --> 00:12:18,116 Speaker 2: is totally another thing, like I love this, And then 182 00:12:18,156 --> 00:12:22,276 Speaker 2: I went through Elaficierro, Nina Simon. I was listening to 183 00:12:22,396 --> 00:12:26,276 Speaker 2: Johnny Mitchell. I remember, like that cassette of Blue that 184 00:12:26,396 --> 00:12:29,556 Speaker 2: my friend gave me, and I was like, oh, I 185 00:12:29,596 --> 00:12:32,876 Speaker 2: can't believe this. This is really Tori Amos, PG Harvey, 186 00:12:33,196 --> 00:12:36,116 Speaker 2: you know Apple. I was getting into those kind of 187 00:12:36,156 --> 00:12:41,276 Speaker 2: things by my friends showing me that music because that 188 00:12:41,436 --> 00:12:46,796 Speaker 2: wasn't in my background from my childhood or nowhere really 189 00:12:47,356 --> 00:12:49,716 Speaker 2: radio Head, I don't know, I was listening to that. 190 00:12:50,956 --> 00:12:54,556 Speaker 2: It has been changing. Then I was more curious about like, 191 00:12:55,476 --> 00:12:58,436 Speaker 2: wait a minute, I want to hear what's in Mexico, 192 00:12:58,516 --> 00:12:59,516 Speaker 2: what's in my country? 193 00:12:59,676 --> 00:13:01,756 Speaker 1: When did that happen? Because it seems at some point 194 00:13:02,076 --> 00:13:06,596 Speaker 1: and maybe around Moorhead, that that's when that happened. 195 00:13:06,796 --> 00:13:09,716 Speaker 2: Yeah, you know, I was left in that for one 196 00:13:09,796 --> 00:13:13,676 Speaker 2: year almost and I was very close to say I'm 197 00:13:13,676 --> 00:13:16,396 Speaker 2: not going back to Mexico. And it was the time 198 00:13:16,476 --> 00:13:20,396 Speaker 2: I was not having a good moment in terms of 199 00:13:21,116 --> 00:13:24,916 Speaker 2: my career, like I didn't know what I really wanted 200 00:13:24,996 --> 00:13:27,436 Speaker 2: to do. For a moment, I was like, I don't 201 00:13:27,436 --> 00:13:29,396 Speaker 2: want to do this anymore. This is not for me. 202 00:13:29,636 --> 00:13:31,996 Speaker 2: What caused that, I think it was that I was 203 00:13:32,116 --> 00:13:37,036 Speaker 2: very young. I was eighteen when I released my first album, 204 00:13:37,596 --> 00:13:42,196 Speaker 2: and then everything happened fast, and for me, it was 205 00:13:42,356 --> 00:13:45,876 Speaker 2: just too much information. And then I decided to have 206 00:13:45,916 --> 00:13:49,916 Speaker 2: a band, and that was for me a lot, you know, 207 00:13:50,036 --> 00:13:53,636 Speaker 2: because I had so many things that I wanted to 208 00:13:54,116 --> 00:14:00,516 Speaker 2: explore in music. But then it seemed that everything was 209 00:14:00,556 --> 00:14:04,996 Speaker 2: already taken by everyone around me. You know, it wasn't 210 00:14:05,756 --> 00:14:09,556 Speaker 2: my decisions or it wasn't the way I wanted to be. 211 00:14:10,356 --> 00:14:12,676 Speaker 2: But I was doing that for so long that I 212 00:14:12,756 --> 00:14:16,636 Speaker 2: got very far, you know, from knowing what I wanted 213 00:14:16,996 --> 00:14:21,076 Speaker 2: and how I wanted the music to sound. Like for me, 214 00:14:21,116 --> 00:14:23,956 Speaker 2: it was like I need to go far, far from home, 215 00:14:23,996 --> 00:14:27,356 Speaker 2: and I need to go to a place where nobody 216 00:14:27,396 --> 00:14:30,836 Speaker 2: will know my name and I don't know how to 217 00:14:30,916 --> 00:14:34,356 Speaker 2: speak that language, and I will need to learn and 218 00:14:34,396 --> 00:14:38,196 Speaker 2: I will be free. It will be my time and 219 00:14:38,716 --> 00:14:41,676 Speaker 2: no more music. But I ended up because of my 220 00:14:41,756 --> 00:14:44,876 Speaker 2: friends in the house full of musicians and they were 221 00:14:44,916 --> 00:14:46,636 Speaker 2: playing a lot of blues. 222 00:14:47,156 --> 00:14:48,036 Speaker 1: This is in Canada. 223 00:14:48,156 --> 00:14:51,956 Speaker 2: This is in Canada. So I got to listen to 224 00:14:52,036 --> 00:14:55,876 Speaker 2: all the genes in music and to be surrendered by 225 00:14:56,156 --> 00:15:01,236 Speaker 2: that vibe, you know, of a lot of musicians around me, 226 00:15:01,396 --> 00:15:04,756 Speaker 2: and that was beautiful for me. It helped me to 227 00:15:04,876 --> 00:15:10,116 Speaker 2: go back into music. And then I was writing. Yeah, yeah, 228 00:15:10,156 --> 00:15:13,156 Speaker 2: but I stopped the music for like three months or 229 00:15:13,156 --> 00:15:18,556 Speaker 2: something like that. I wasn't playing anything. There was piano, guitars, 230 00:15:18,716 --> 00:15:23,916 Speaker 2: any instrument, drums, anything, and I didn't touch anything. I 231 00:15:23,956 --> 00:15:27,396 Speaker 2: was just like trying to recover my soul. I think 232 00:15:27,436 --> 00:15:29,516 Speaker 2: it was the thing of the soul and the heart. 233 00:15:30,676 --> 00:15:32,756 Speaker 2: And then there was one day I sat on the 234 00:15:32,756 --> 00:15:37,596 Speaker 2: piano and I started playing this instrumental album which is 235 00:15:37,636 --> 00:15:41,476 Speaker 2: called The Four Seasons of Love that it isn't even 236 00:15:41,516 --> 00:15:45,156 Speaker 2: in Spotify. It was just for a period of time there, 237 00:15:45,276 --> 00:15:48,556 Speaker 2: I'm gonna put it there. But that was the music 238 00:15:48,596 --> 00:15:52,596 Speaker 2: that was coming. Has not lyrics but alwa, it's just music. 239 00:15:53,276 --> 00:15:57,036 Speaker 2: So that was yes, I did, but it was the 240 00:15:57,116 --> 00:16:00,596 Speaker 2: only album that I own my master But I was 241 00:16:00,596 --> 00:16:04,036 Speaker 2: telling the label in Mexico because they, of course imagine 242 00:16:04,676 --> 00:16:08,316 Speaker 2: I was solo artists. But then I say like, I 243 00:16:08,396 --> 00:16:11,116 Speaker 2: want a band, and they were like, but how a 244 00:16:11,196 --> 00:16:13,676 Speaker 2: band like your solo artist? No, no, no, I want 245 00:16:13,676 --> 00:16:15,276 Speaker 2: my band. And then I said like, no, I don't 246 00:16:15,316 --> 00:16:18,036 Speaker 2: want anything. I'm going to Canada. And then I go 247 00:16:18,116 --> 00:16:19,876 Speaker 2: back to Mexico and I'm like, okay, I'm going to 248 00:16:19,956 --> 00:16:22,956 Speaker 2: release an album, but there's no voice in the album. 249 00:16:23,036 --> 00:16:26,476 Speaker 2: So the label is like, what what do you expect 250 00:16:26,596 --> 00:16:29,156 Speaker 2: us to do with an album that doesn't have your voice? 251 00:16:29,196 --> 00:16:31,236 Speaker 2: So I was like, I don't know, but I'm going 252 00:16:31,316 --> 00:16:34,636 Speaker 2: to release those music. So for them it was like, okay, 253 00:16:34,676 --> 00:16:37,236 Speaker 2: you do it and it's yours. You can do whatever 254 00:16:37,276 --> 00:16:39,956 Speaker 2: you want with that music. And then I was doing 255 00:16:40,076 --> 00:16:44,716 Speaker 2: my album back with my songs, so that was really 256 00:16:44,796 --> 00:16:48,556 Speaker 2: good for me to go back to the songwriting. But 257 00:16:48,756 --> 00:16:52,516 Speaker 2: at that moment, I realized that there was something missing 258 00:16:52,756 --> 00:16:56,436 Speaker 2: to connect to people. I was connecting in a way, 259 00:16:57,156 --> 00:16:59,796 Speaker 2: but not the way I wanted to connect. You know, 260 00:16:59,876 --> 00:17:02,916 Speaker 2: I want to tell you I just wanted to have 261 00:17:03,036 --> 00:17:08,836 Speaker 2: something more how would you say it? To very simple 262 00:17:09,156 --> 00:17:17,116 Speaker 2: language through music that connects to people's feelings and. 263 00:17:17,196 --> 00:17:21,796 Speaker 1: Make it release plain and simple note not complicated, because 264 00:17:21,796 --> 00:17:24,676 Speaker 1: you have some lyrics that I mean, you know, almost 265 00:17:24,716 --> 00:17:26,316 Speaker 1: like I want to compare to like it's all right 266 00:17:26,396 --> 00:17:28,356 Speaker 1: mom only bleeding Bob Dylan, where it's like, you know, 267 00:17:28,356 --> 00:17:30,996 Speaker 1: it's fast and like the words are quick. Yeah, a 268 00:17:31,036 --> 00:17:31,396 Speaker 1: lot of. 269 00:17:31,396 --> 00:17:34,036 Speaker 2: Verses yeah ahah, that's right, and. 270 00:17:33,996 --> 00:17:36,156 Speaker 1: A lot of references sometimes to pop culture. 271 00:17:36,676 --> 00:17:40,796 Speaker 2: Yeah. And I really wanted to make it pretty but 272 00:17:41,116 --> 00:17:49,276 Speaker 2: simple quotio like just everyday language but poetry and something beautiful. 273 00:17:49,396 --> 00:17:53,076 Speaker 2: But I felt like I need to learn I need 274 00:17:53,076 --> 00:17:57,436 Speaker 2: to learn more about songwriting. So I was still louder. 275 00:17:57,516 --> 00:18:02,156 Speaker 2: For me, it was like, Okay, this guy really has 276 00:18:02,956 --> 00:18:08,156 Speaker 2: amazing music. It sounded so like Mexico, so like Vera Gruz. 277 00:18:09,476 --> 00:18:11,636 Speaker 2: I don't know, I just fell in love so much 278 00:18:11,716 --> 00:18:12,476 Speaker 2: with his music. 279 00:18:12,596 --> 00:18:14,916 Speaker 1: Had you really listened to it before? I bet you 280 00:18:15,116 --> 00:18:15,836 Speaker 1: heard it, but. 281 00:18:16,156 --> 00:18:20,556 Speaker 2: Yes, because it's very famous songs from Augustine Lada, but 282 00:18:20,636 --> 00:18:24,116 Speaker 2: not consciously about it, you know, like not really paying 283 00:18:24,156 --> 00:18:28,676 Speaker 2: attention to the chords to music the way he moved 284 00:18:28,716 --> 00:18:29,876 Speaker 2: through the music. 285 00:18:29,636 --> 00:18:29,876 Speaker 3: You know. 286 00:18:30,996 --> 00:18:33,516 Speaker 2: And I was trying to learn that on my guitar 287 00:18:33,556 --> 00:18:36,836 Speaker 2: and I was like, wow, this is really a hard thing, 288 00:18:37,236 --> 00:18:40,676 Speaker 2: Like it wasn't easy, you know, for me, but I 289 00:18:40,796 --> 00:18:44,316 Speaker 2: learned a lot from his music, and then I was like, okay, 290 00:18:44,436 --> 00:18:48,276 Speaker 2: I got to listen to Tonya la negra, you know, 291 00:18:48,436 --> 00:18:53,636 Speaker 2: singing better, a tropical singing asul, those songs that for 292 00:18:53,756 --> 00:18:59,116 Speaker 2: me sounded like listening to Eta James or like those 293 00:18:59,556 --> 00:19:03,916 Speaker 2: beautiful music and standards that I heard in English before. 294 00:19:04,676 --> 00:19:07,356 Speaker 2: But it was Spanish, and it was boletos and it 295 00:19:07,476 --> 00:19:10,836 Speaker 2: was tango, and there was many dangers there that I 296 00:19:10,876 --> 00:19:14,396 Speaker 2: would live. I can do this in Spanish. And then 297 00:19:14,436 --> 00:19:19,636 Speaker 2: I just started like searching for more composers, great music 298 00:19:19,716 --> 00:19:20,476 Speaker 2: and Spanish. 299 00:19:20,916 --> 00:19:22,556 Speaker 1: Could you do a little bit of your version of 300 00:19:22,876 --> 00:19:26,556 Speaker 1: Vera Cruz Acristinados. I think it's credited to his sister, but. 301 00:19:30,996 --> 00:19:43,996 Speaker 2: You know, I see Colologne platu, you see pirata Nacio rumba, 302 00:19:47,156 --> 00:20:01,636 Speaker 2: Vera's in vera Cruz, something like that, Vera Cruz ring 303 00:20:01,836 --> 00:20:10,436 Speaker 2: consito dias and suniola soulas the it's a little loud 304 00:20:11,916 --> 00:20:20,356 Speaker 2: Vera Cruz spellasi to the bartria kesavi so fri conta 305 00:20:23,116 --> 00:20:31,596 Speaker 2: vera Cruz so to s notches Elu you're the straight Yes, 306 00:20:32,396 --> 00:20:47,676 Speaker 2: PALMERI mo vera Cruz. Mm hmm, all Wanda tattoos, players 307 00:20:47,796 --> 00:20:55,636 Speaker 2: like Hanna Standrekable something like that. It's beautiful, it's very passionate. 308 00:20:56,196 --> 00:21:06,236 Speaker 2: That to you a s colon Plata. So it's more like, 309 00:21:06,636 --> 00:21:10,076 Speaker 2: but I don't know, it's it's so the way we 310 00:21:10,156 --> 00:21:11,516 Speaker 2: are in Mexico. 311 00:21:11,836 --> 00:21:15,276 Speaker 1: So ah like that, right, especially maybe even more so 312 00:21:15,316 --> 00:21:16,756 Speaker 1: in Vera Cruz right now. 313 00:21:16,876 --> 00:21:19,396 Speaker 2: Yeah, yeah, yeah, yeah, And I don't know, Like I 314 00:21:20,916 --> 00:21:24,076 Speaker 2: really felt like I want to learn to do this. 315 00:21:24,836 --> 00:21:29,116 Speaker 2: I want to learn to sing this music and and 316 00:21:29,276 --> 00:21:33,676 Speaker 2: write this way in my way, in my universe and 317 00:21:33,716 --> 00:21:38,236 Speaker 2: my approach, my own approach. I got really inspired by 318 00:21:38,276 --> 00:21:41,596 Speaker 2: that music. And then I was able to listen to 319 00:21:41,836 --> 00:21:45,756 Speaker 2: other composers that really affect me in a way, Like 320 00:21:45,836 --> 00:21:49,796 Speaker 2: I was able to go back to Bile, go back 321 00:21:49,836 --> 00:21:54,756 Speaker 2: to Simon DIA's like this, great composers from Venezuela. It 322 00:21:54,876 --> 00:21:57,436 Speaker 2: helped me a lot to find my own way. 323 00:21:58,876 --> 00:22:00,396 Speaker 1: We have to take a quick break and then we'll 324 00:22:00,396 --> 00:22:03,716 Speaker 1: be back with more from a conversation with Natalia la Fricade. 325 00:22:08,116 --> 00:22:11,996 Speaker 1: We're back with Nata Alla. Could I ask you also 326 00:22:11,996 --> 00:22:13,996 Speaker 1: because Fioletta part is one of my favorite and one 327 00:22:13,996 --> 00:22:15,796 Speaker 1: of my favorite songs from her. You did a version 328 00:22:15,836 --> 00:22:18,676 Speaker 1: of always been one of my favorites is Kado. 329 00:22:20,676 --> 00:22:32,276 Speaker 4: Let's see if you can remember the most beautiful lyrics. 330 00:22:28,716 --> 00:22:43,596 Speaker 2: H Okay, that's somethime case coll okayllos those made almost 331 00:22:43,636 --> 00:22:51,876 Speaker 2: who to your your cause, cola, no many of your 332 00:22:56,396 --> 00:23:03,316 Speaker 2: dumbellows in the mood or something like that, call a 333 00:23:03,476 --> 00:23:12,796 Speaker 2: comb Colando your came your to and estimoon your your 334 00:23:16,196 --> 00:23:32,956 Speaker 2: Oh you case your yr Yo, plan amuson and bot 335 00:23:33,076 --> 00:23:39,796 Speaker 2: your your your world? Look up plan your yard, your 336 00:23:39,956 --> 00:23:54,396 Speaker 2: rodos are you or a Telenoto cas. 337 00:23:53,436 --> 00:23:54,036 Speaker 1: Your your. 338 00:23:58,836 --> 00:24:01,876 Speaker 2: Something like that. I don't remember the lyrics instead of 339 00:24:01,916 --> 00:24:03,316 Speaker 2: gonna and chile. 340 00:24:05,476 --> 00:24:07,836 Speaker 1: Everyone listening, I feel I should look up the lyrics 341 00:24:07,956 --> 00:24:11,036 Speaker 1: that it's the most beautiful song maybe ever know, one 342 00:24:11,076 --> 00:24:11,676 Speaker 1: of the greatest. 343 00:24:12,316 --> 00:24:16,596 Speaker 2: She has so many, but yeah, for me, I don't know. 344 00:24:16,956 --> 00:24:20,636 Speaker 2: It was really beautiful to have this approach to those 345 00:24:20,716 --> 00:24:24,316 Speaker 2: musics and not so easy, not so easy to sing. 346 00:24:24,396 --> 00:24:26,396 Speaker 2: But I'm still learning. 347 00:24:26,956 --> 00:24:30,036 Speaker 1: So going back and listening to that music and learning 348 00:24:30,036 --> 00:24:31,876 Speaker 1: to play it and learning to sing it, it seems like 349 00:24:31,916 --> 00:24:35,556 Speaker 1: that also it changed your songwriting. 350 00:24:35,676 --> 00:24:40,756 Speaker 2: Maybe yeah, of course I realized that when I listened 351 00:24:40,756 --> 00:24:44,436 Speaker 2: to the last album that I made, and it's probably 352 00:24:44,436 --> 00:24:49,196 Speaker 2: the most personal album that I have, and I think 353 00:24:49,236 --> 00:24:53,956 Speaker 2: in every song there is very clear the influences that 354 00:24:54,196 --> 00:24:58,436 Speaker 2: I have been able to explore through the years. There 355 00:24:58,476 --> 00:25:02,996 Speaker 2: is this incredible composer from Venezuela. I love his music 356 00:25:03,196 --> 00:25:07,596 Speaker 2: as his name is Simondas. Maybe you know him. When 357 00:25:07,596 --> 00:25:11,716 Speaker 2: I heard him the first time, I would like, this 358 00:25:12,196 --> 00:25:17,876 Speaker 2: is incredible music, so magic and the metaphors through the lyrics, 359 00:25:17,916 --> 00:25:21,836 Speaker 2: and he uses a lot nature as an inspiration and 360 00:25:21,876 --> 00:25:26,196 Speaker 2: for me, I felt so connected because the place I live, 361 00:25:26,596 --> 00:25:29,476 Speaker 2: which is better Cruise, I love it so much because 362 00:25:29,516 --> 00:25:33,756 Speaker 2: of the weather and the nature around the earth. So 363 00:25:33,836 --> 00:25:37,076 Speaker 2: I was learning the very very first song that I 364 00:25:37,156 --> 00:25:46,836 Speaker 2: learned by him, This is your video commadres Yes Samoa 365 00:25:47,796 --> 00:25:59,676 Speaker 2: two kaso me video alone only combationdreos Yes commos as 366 00:25:59,796 --> 00:26:07,436 Speaker 2: us Commo Samoa to Korazon conning meo too koa zoono 367 00:26:08,556 --> 00:26:13,436 Speaker 2: so so beautiful. Yeah, and I can see how music 368 00:26:14,396 --> 00:26:18,876 Speaker 2: has impact. Then maybe a song like Parto, which is 369 00:26:19,196 --> 00:26:25,796 Speaker 2: the song from my favorite you like Pararido You know 370 00:26:26,116 --> 00:26:37,516 Speaker 2: things me om Cagas, Beertos, Bara surfle Is, Condo sce 371 00:26:37,636 --> 00:26:44,156 Speaker 2: and skin Finitor Moon Siri Salas. Then through the to 372 00:26:44,316 --> 00:26:58,556 Speaker 2: Beru Pardos Elelientola Gabola. It's in the SETI casin Sindelf 373 00:26:59,796 --> 00:27:04,156 Speaker 2: and two movie Me and to Be the Universo and 374 00:27:04,636 --> 00:27:22,156 Speaker 2: two certain told Serbian gianno Sarbian? 375 00:27:25,916 --> 00:27:26,276 Speaker 3: Do you. 376 00:27:28,916 --> 00:27:34,356 Speaker 2: Baraself? Philly? So it reminds me to those musics. 377 00:27:34,716 --> 00:27:38,396 Speaker 1: How did you start that song humming Bird in English? 378 00:27:38,636 --> 00:27:43,116 Speaker 2: The Huming Bird? I was in this beautiful place that 379 00:27:43,596 --> 00:27:48,316 Speaker 2: my friend Gail has in Bera Gruz was her mother's 380 00:27:48,556 --> 00:27:53,036 Speaker 2: farm and Rossillo. I actually have a song that I 381 00:27:53,156 --> 00:27:58,796 Speaker 2: wrote for Rossio, the Tolos campus. And this friend, she's 382 00:27:58,916 --> 00:28:02,956 Speaker 2: not physically anymore here, but she's part of my life 383 00:28:03,036 --> 00:28:07,796 Speaker 2: and she's a very important person for what I do. 384 00:28:08,196 --> 00:28:12,996 Speaker 2: Like she was in credible artist, and in this place, 385 00:28:13,196 --> 00:28:16,716 Speaker 2: I was recovering myself for something. I don't know what 386 00:28:16,996 --> 00:28:21,076 Speaker 2: that was. I think we all have moments when you 387 00:28:21,236 --> 00:28:25,396 Speaker 2: just feel like your heart is broken for things that 388 00:28:25,596 --> 00:28:29,356 Speaker 2: happen in life. But then everything goes so fast and 389 00:28:29,516 --> 00:28:32,516 Speaker 2: you don't get to really like connect to when you 390 00:28:33,076 --> 00:28:36,996 Speaker 2: feel there's pain that you need to see and pay 391 00:28:37,036 --> 00:28:41,796 Speaker 2: attention to, you know. So I was recovering myself from that, 392 00:28:42,156 --> 00:28:44,956 Speaker 2: and I decided to go there for a month. I 393 00:28:45,036 --> 00:28:48,956 Speaker 2: went there with my friend Alan, and we were trying 394 00:28:49,036 --> 00:28:52,396 Speaker 2: to see if there was music coming or not. That 395 00:28:52,596 --> 00:28:55,476 Speaker 2: was for another project that I was working on. But 396 00:28:55,636 --> 00:28:59,836 Speaker 2: he said like, don't worry, I'll be around. You don't 397 00:28:59,876 --> 00:29:02,356 Speaker 2: feel any pressure, Like I'll be around and you feel 398 00:29:02,396 --> 00:29:04,596 Speaker 2: like you want to come and record, will do it. 399 00:29:05,316 --> 00:29:08,036 Speaker 2: If not, don't worry. And then I was in the 400 00:29:08,156 --> 00:29:11,516 Speaker 2: room one day and I remember that I was inside 401 00:29:11,556 --> 00:29:15,396 Speaker 2: the room for many days, not being able to do much, 402 00:29:15,796 --> 00:29:20,956 Speaker 2: just sleep or read or just be there. And I 403 00:29:21,036 --> 00:29:23,556 Speaker 2: remember there was this coming bird coming every day like 404 00:29:23,716 --> 00:29:29,276 Speaker 2: doing thus and the window, and I was like, how 405 00:29:29,396 --> 00:29:32,076 Speaker 2: come a homing bird could come to a window go 406 00:29:32,196 --> 00:29:34,436 Speaker 2: to a tree, like, don't come to the window or 407 00:29:34,556 --> 00:29:39,276 Speaker 2: the door, like there's nothing here. But symbolically, I felt 408 00:29:39,356 --> 00:29:42,516 Speaker 2: like this bird was calling to me and it made 409 00:29:42,596 --> 00:29:46,876 Speaker 2: me feel like it was the spirit of Rossillo saying 410 00:29:47,036 --> 00:29:51,676 Speaker 2: like come on, go outside, go for a walk, or 411 00:29:52,356 --> 00:29:55,476 Speaker 2: come on, there's life out there, like you're in the bed, 412 00:29:55,796 --> 00:29:58,436 Speaker 2: please like come out. So there was a day I 413 00:29:58,596 --> 00:30:00,596 Speaker 2: was just like, Okay, I think I'm gonna go for 414 00:30:00,676 --> 00:30:04,476 Speaker 2: a walk, and then I started like having mourning walks 415 00:30:04,836 --> 00:30:08,836 Speaker 2: into the forest and then I just this melody came 416 00:30:08,876 --> 00:30:17,796 Speaker 2: to my mind, like I was singing this, and then 417 00:30:17,796 --> 00:30:20,236 Speaker 2: I went to the room and I only had a harana, 418 00:30:20,636 --> 00:30:25,236 Speaker 2: which is this instrument for so and I was playing 419 00:30:25,316 --> 00:30:28,276 Speaker 2: on that instrument the melody and it came like that. 420 00:30:29,196 --> 00:30:32,876 Speaker 2: But I didn't pay so much attention to this song, 421 00:30:33,036 --> 00:30:35,836 Speaker 2: you know, maybe because the way I was feeling for 422 00:30:35,956 --> 00:30:42,996 Speaker 2: me was just a basic lyric, everything is gonna be fine, Humimbert. 423 00:30:43,836 --> 00:30:46,196 Speaker 2: I had that Homemembert in my mind and my heart, 424 00:30:46,396 --> 00:30:49,036 Speaker 2: so I didn't pay so much attention to the song 425 00:30:49,316 --> 00:30:53,036 Speaker 2: until I was working with the producer of the album 426 00:30:53,076 --> 00:30:56,436 Speaker 2: and I show him this song and he said like, 427 00:30:56,516 --> 00:30:58,716 Speaker 2: do you like this one? And I was like not 428 00:30:58,916 --> 00:31:02,556 Speaker 2: really so much as normal, I said like, we need 429 00:31:02,676 --> 00:31:05,636 Speaker 2: to record that song in the album. So that's why 430 00:31:05,716 --> 00:31:10,196 Speaker 2: I love producers because they help. So that's how it came. 431 00:31:10,356 --> 00:31:13,476 Speaker 1: And the producer on your newest record, the last Florist, 432 00:31:13,996 --> 00:31:17,876 Speaker 1: is Adan Horoski. That's right, his son. 433 00:31:18,156 --> 00:31:18,356 Speaker 2: Yeah. 434 00:31:19,156 --> 00:31:20,916 Speaker 1: How did you become friends with him? 435 00:31:21,356 --> 00:31:26,356 Speaker 2: When I was working the tribute to Augustine Larra years ago, 436 00:31:26,836 --> 00:31:29,476 Speaker 2: I was asking Nadan to come and sing one of 437 00:31:29,556 --> 00:31:33,396 Speaker 2: the songs on the album, and then we became friends, 438 00:31:33,796 --> 00:31:37,436 Speaker 2: very close, very close to each other. We love each 439 00:31:37,476 --> 00:31:40,276 Speaker 2: other a lot, and then for many years we were 440 00:31:40,316 --> 00:31:45,276 Speaker 2: saying like, let's collaborate, let's do something together. And twenty 441 00:31:45,356 --> 00:31:48,076 Speaker 2: twenty I realized I really needed to go into the 442 00:31:48,156 --> 00:31:52,276 Speaker 2: studio and record my music. And I was asking him 443 00:31:52,436 --> 00:31:55,076 Speaker 2: would you be okay to be the producer? 444 00:31:55,156 --> 00:31:56,716 Speaker 1: And he was like, of course, what made you think 445 00:31:56,756 --> 00:31:58,156 Speaker 1: he was the one for this record? 446 00:31:58,436 --> 00:32:00,996 Speaker 2: You know? It was just a feeling in my belly. 447 00:32:01,476 --> 00:32:05,316 Speaker 2: I don't know. Sometimes I moved from my belly feelings. 448 00:32:06,436 --> 00:32:07,516 Speaker 1: From your belly to your mouth. 449 00:32:08,276 --> 00:32:11,996 Speaker 2: Yeah, So I just felt that because actually my managers 450 00:32:12,036 --> 00:32:16,356 Speaker 2: were saying like why Adan, and I was like, I mean, 451 00:32:16,636 --> 00:32:20,516 Speaker 2: he's my friend. I had other albums that we were 452 00:32:20,636 --> 00:32:27,036 Speaker 2: working on, Canto Mexico, Mussas. Those were albums that made 453 00:32:27,076 --> 00:32:29,916 Speaker 2: me connect a lot with traditional music from Mexico and 454 00:32:30,236 --> 00:32:34,156 Speaker 2: Latin America. There were many people around those and it 455 00:32:34,316 --> 00:32:39,356 Speaker 2: was good and I really enjoyed the process of those records. 456 00:32:39,436 --> 00:32:42,636 Speaker 2: But I felt like I just went to stay with 457 00:32:42,796 --> 00:32:46,596 Speaker 2: my friend and hang out with him and used to 458 00:32:46,716 --> 00:32:51,476 Speaker 2: be silenced in the studio. Nobody else. I asked everyone 459 00:32:51,596 --> 00:32:54,596 Speaker 2: not to come like the label, my husband, my managers, 460 00:32:55,076 --> 00:32:58,116 Speaker 2: I was with Rossio only the two of us and 461 00:32:58,316 --> 00:33:02,476 Speaker 2: the band with the producer Adan and also the beautiful 462 00:33:02,556 --> 00:33:04,716 Speaker 2: band that I that I had this brand. 463 00:33:04,756 --> 00:33:09,236 Speaker 1: It's incredible Mark Rebow with everyone including Tom Waite, and 464 00:33:09,356 --> 00:33:10,236 Speaker 1: just incredible. 465 00:33:10,676 --> 00:33:14,636 Speaker 2: We love him, yeah or huge fans, right, amazing, especially 466 00:33:14,756 --> 00:33:15,636 Speaker 2: if we play guitar. 467 00:33:16,236 --> 00:33:19,756 Speaker 1: Yeah, especially we play I mean guitarist. 468 00:33:20,156 --> 00:33:22,196 Speaker 2: Just he's He's crazy. 469 00:33:22,516 --> 00:33:24,196 Speaker 1: What was it like meeting him and playing with him? 470 00:33:24,916 --> 00:33:27,876 Speaker 2: It was amazing. I mean I just want my life 471 00:33:27,916 --> 00:33:29,436 Speaker 2: to be like that all the time. 472 00:33:29,716 --> 00:33:32,116 Speaker 1: Like you guys look in Texas too, write like some 473 00:33:32,436 --> 00:33:32,876 Speaker 1: where were you. 474 00:33:33,556 --> 00:33:37,836 Speaker 2: In Sonic Ranch which is in the middle of the 475 00:33:37,956 --> 00:33:43,276 Speaker 2: desert and Ranch of the Nest. It's beautiful there and 476 00:33:43,716 --> 00:33:49,116 Speaker 2: Tony Ranch has this amazing studio, many studios, sir. And 477 00:33:49,236 --> 00:33:53,516 Speaker 2: then the producer was listening to the songs. It was 478 00:33:53,716 --> 00:33:57,036 Speaker 2: one year and also because of the pandemic, we were 479 00:33:57,116 --> 00:34:01,556 Speaker 2: taking it very slow, no pressure, and I was sending 480 00:34:01,636 --> 00:34:04,116 Speaker 2: the music and the one day he was like, I 481 00:34:04,316 --> 00:34:08,556 Speaker 2: think Mark, we would come and record on your album. 482 00:34:08,596 --> 00:34:12,996 Speaker 2: And I was like, that's really far from us, Like 483 00:34:13,516 --> 00:34:16,476 Speaker 2: how how are we going to make this true? But 484 00:34:16,716 --> 00:34:21,556 Speaker 2: Adan is really magic. He's like, let's call him. Let's 485 00:34:21,756 --> 00:34:22,556 Speaker 2: just give a call. 486 00:34:22,796 --> 00:34:24,916 Speaker 1: I can only imagine what a dance like based on 487 00:34:25,036 --> 00:34:27,236 Speaker 1: his dad's films, you know, like I can only imagine 488 00:34:27,276 --> 00:34:27,956 Speaker 1: that lineage. 489 00:34:28,276 --> 00:34:31,556 Speaker 2: Yeah, yeah, people, I know you know when I was 490 00:34:31,836 --> 00:34:35,156 Speaker 2: I was mixing the album in parties with Adan. Then 491 00:34:35,196 --> 00:34:38,996 Speaker 2: he invited me to Alejandro's house to just have a coffee. 492 00:34:39,076 --> 00:34:43,756 Speaker 2: And I didn't want to ask for anything else but that, 493 00:34:44,356 --> 00:34:47,716 Speaker 2: you know, like it was your normal Sunday, just let's 494 00:34:47,756 --> 00:34:50,756 Speaker 2: have a coffee and cookies and talk. But then he 495 00:34:50,956 --> 00:34:53,716 Speaker 2: was telling me like I'm going to read you tat 496 00:34:54,196 --> 00:34:57,276 Speaker 2: to you and like okay, okay. 497 00:34:58,756 --> 00:35:01,116 Speaker 1: So it was so he's got to be out of control. 498 00:35:00,916 --> 00:35:04,476 Speaker 2: Right, yes, and the best way they they are the best. 499 00:35:04,596 --> 00:35:08,756 Speaker 2: It's really inspiring to be close to them. And there 500 00:35:08,956 --> 00:35:10,996 Speaker 2: was the reason I also wanted to work with that, 501 00:35:11,356 --> 00:35:14,356 Speaker 2: you know. I wanted to be close to him and 502 00:35:14,796 --> 00:35:18,276 Speaker 2: his magic and mystic I wanted. 503 00:35:18,036 --> 00:35:18,476 Speaker 1: To have that. 504 00:35:19,116 --> 00:35:22,196 Speaker 2: And then we have beautiful people in the band, like Mark, 505 00:35:22,396 --> 00:35:25,756 Speaker 2: not just Mark Ribbot, I mean Cyril on the drums, 506 00:35:26,596 --> 00:35:28,716 Speaker 2: Sebastian on the base. 507 00:35:30,916 --> 00:35:33,636 Speaker 1: From your it was like your dad's piano student or 508 00:35:33,716 --> 00:35:34,956 Speaker 1: harpsichord student. 509 00:35:35,436 --> 00:35:40,756 Speaker 2: Yeah, not really like that close. They became friends. Really. 510 00:35:40,996 --> 00:35:45,196 Speaker 2: The funniest thing is that. Emiliano Dorantez is my neighbor. Right, 511 00:35:45,876 --> 00:35:48,956 Speaker 2: he lives very close from where I live, but I 512 00:35:49,036 --> 00:35:54,036 Speaker 2: mean in the middle of nowhere. And then during the pandemic, 513 00:35:54,196 --> 00:35:58,356 Speaker 2: there was a moment we oh everywhere right, like place 514 00:35:58,396 --> 00:36:02,196 Speaker 2: I want to see another human being. And we were 515 00:36:02,276 --> 00:36:07,276 Speaker 2: doing this Wednesday of the week movies in the forest 516 00:36:07,396 --> 00:36:10,676 Speaker 2: in the jungle, you know, in the Yeah, so we 517 00:36:10,796 --> 00:36:13,356 Speaker 2: put like a blanket or something like that, and we 518 00:36:13,436 --> 00:36:17,396 Speaker 2: were doing the movie theater there and then Emiliana was 519 00:36:17,476 --> 00:36:20,676 Speaker 2: coming and we became friends because of that because we 520 00:36:20,756 --> 00:36:22,516 Speaker 2: were chatting. And then I was like, hey, would you 521 00:36:22,596 --> 00:36:25,756 Speaker 2: come to the house and give me some piano lessons 522 00:36:25,876 --> 00:36:29,476 Speaker 2: maybe because I am free, I have time, And then 523 00:36:29,596 --> 00:36:32,396 Speaker 2: he was coming, and then one day I was showing 524 00:36:32,516 --> 00:36:34,916 Speaker 2: him some of the songs that I was writing, and 525 00:36:34,996 --> 00:36:37,476 Speaker 2: then he was trying to play those and on the 526 00:36:37,556 --> 00:36:43,356 Speaker 2: piano he plays so beautiful, incredible, He's genius and he's 527 00:36:43,436 --> 00:36:51,276 Speaker 2: just sensitive. Yeah, it's really amazing and yeah, so he 528 00:36:51,716 --> 00:36:55,036 Speaker 2: ended up recording the music and on the album. And 529 00:36:55,116 --> 00:36:58,236 Speaker 2: I remember Mark Rieb was the first day they had 530 00:36:58,356 --> 00:37:01,956 Speaker 2: like this moment of musicians, you know, like make was 531 00:37:02,116 --> 00:37:06,396 Speaker 2: saying like, oh, you're playing those classical, beautiful piece and that, 532 00:37:06,796 --> 00:37:11,996 Speaker 2: and then Emiliana was saying like, no, I'm just writing 533 00:37:12,076 --> 00:37:15,116 Speaker 2: this at the moment, I'm just playing this. I am improvising. 534 00:37:15,436 --> 00:37:19,676 Speaker 2: And Mark was like everyone were like, wow, this kid 535 00:37:20,196 --> 00:37:23,076 Speaker 2: has something special. And then he's like, give me a 536 00:37:23,196 --> 00:37:24,996 Speaker 2: note and I'm going to play a card and then 537 00:37:25,356 --> 00:37:27,916 Speaker 2: you give me another note. And they were just giving 538 00:37:28,116 --> 00:37:32,516 Speaker 2: crazy notes that will crash between each other so to 539 00:37:32,636 --> 00:37:35,596 Speaker 2: make it really difficult for him. But then he was 540 00:37:35,716 --> 00:37:38,196 Speaker 2: doing like a whole area or something like that, like 541 00:37:38,356 --> 00:37:42,796 Speaker 2: peace out of that. He was playing ten minutes non 542 00:37:43,316 --> 00:37:47,436 Speaker 2: stop from what the notes that they were giving to him. 543 00:37:47,556 --> 00:37:51,596 Speaker 2: So then Mark Rivet and Sebastian they were just like, Okay, 544 00:37:51,716 --> 00:37:54,156 Speaker 2: we're ready to go. Like there's not gonna be any 545 00:37:54,236 --> 00:37:57,396 Speaker 2: problems with this kid because he's like twenty right or 546 00:37:57,436 --> 00:38:00,756 Speaker 2: something one right now. I think, Yeah, there's a lot 547 00:38:00,836 --> 00:38:04,516 Speaker 2: of like those magic moments in the process of the album, 548 00:38:04,716 --> 00:38:07,836 Speaker 2: which I love. I think it's important to have that 549 00:38:08,516 --> 00:38:09,676 Speaker 2: kind of connections. 550 00:38:10,796 --> 00:38:13,236 Speaker 1: It's beautiful that you cut it to tape too and 551 00:38:13,356 --> 00:38:13,916 Speaker 1: not digital. 552 00:38:14,276 --> 00:38:18,196 Speaker 2: Yeah, and also Adan came with that idea. I always 553 00:38:18,276 --> 00:38:22,036 Speaker 2: wanted to record that way. Then I found out that 554 00:38:22,356 --> 00:38:26,956 Speaker 2: for producers or engineers. Sometimes it was like, Okay, this 555 00:38:27,116 --> 00:38:30,516 Speaker 2: is going to be more difficult, and then I just 556 00:38:30,876 --> 00:38:36,036 Speaker 2: didn't dream about it anymore. But with that Dan were like, yes, 557 00:38:36,196 --> 00:38:37,636 Speaker 2: let's do it, let's try. 558 00:38:37,996 --> 00:38:42,116 Speaker 1: Yeah, and no metronomes too, write like no click, no metronome. 559 00:38:41,996 --> 00:38:46,236 Speaker 2: No metronomo, no click, no bait. But the hardbat It 560 00:38:46,396 --> 00:38:48,596 Speaker 2: was the first time I was doing it this way. 561 00:38:49,196 --> 00:38:53,396 Speaker 2: It was beautiful because Adan didn't want us to rehearsal 562 00:38:53,876 --> 00:38:57,636 Speaker 2: that much the music. Actually, he asked me not to 563 00:38:57,996 --> 00:39:02,676 Speaker 2: prepare any demo, which I didn't. I did like three 564 00:39:02,996 --> 00:39:06,196 Speaker 2: four demos of the songs. I wanted to have the 565 00:39:06,316 --> 00:39:09,956 Speaker 2: brass section because I just went to see it would 566 00:39:10,756 --> 00:39:15,196 Speaker 2: work or not. But the other songs, he was playing 567 00:39:15,276 --> 00:39:18,116 Speaker 2: that music from the message on my phone, which was 568 00:39:18,836 --> 00:39:21,596 Speaker 2: right the moment what I wrote the song, and then 569 00:39:21,756 --> 00:39:25,276 Speaker 2: from that we were saying like, okay, this could be 570 00:39:25,836 --> 00:39:29,796 Speaker 2: an intro, so you, Emiliana, can improvise something here that 571 00:39:29,876 --> 00:39:33,956 Speaker 2: would be like close to this, And then hear you 572 00:39:34,236 --> 00:39:36,196 Speaker 2: mark you're going to start here, and then. 573 00:39:36,556 --> 00:39:37,036 Speaker 1: We were. 574 00:39:38,436 --> 00:39:43,396 Speaker 2: Ill say, like making the construction of the arrangement at 575 00:39:43,436 --> 00:39:46,076 Speaker 2: the moment while listening only my boys and the guitar, 576 00:39:46,436 --> 00:39:50,036 Speaker 2: trying to grab the feelings, you know. So there were 577 00:39:50,156 --> 00:39:54,196 Speaker 2: moments when we were really connecting, and there were moments 578 00:39:54,276 --> 00:39:57,236 Speaker 2: that were more like a mess, like no, this is 579 00:39:57,556 --> 00:40:00,716 Speaker 2: not the right way, no, no, no, please take that 580 00:40:00,956 --> 00:40:04,076 Speaker 2: distortion out of the guitar, we're saying to Margaret. But 581 00:40:04,156 --> 00:40:08,316 Speaker 2: they were like, wow, I like this. But then Alaan 582 00:40:08,516 --> 00:40:10,556 Speaker 2: was like, no, no, this is not the song for this. 583 00:40:11,476 --> 00:40:14,916 Speaker 2: And then you were like, okay, I'm gonna change. I mean, 584 00:40:14,956 --> 00:40:18,836 Speaker 2: he has so many instruments around and I don't know. 585 00:40:18,956 --> 00:40:22,596 Speaker 2: We were just trying things and playing. I love to 586 00:40:22,676 --> 00:40:26,716 Speaker 2: do that, and yeah, the songs and the music started 587 00:40:26,756 --> 00:40:33,036 Speaker 2: to come to show its own spirit and we were like, okay, 588 00:40:33,236 --> 00:40:35,956 Speaker 2: this was really beautiful, Like let's leave it like this. 589 00:40:36,356 --> 00:40:39,476 Speaker 2: And the good thing was that Emiliano has a really 590 00:40:39,516 --> 00:40:42,996 Speaker 2: good memory. He was the only one maybe that really 591 00:40:43,116 --> 00:40:46,156 Speaker 2: know the chords and the harmonies of the song. So 592 00:40:46,276 --> 00:40:49,556 Speaker 2: he was ready to be there for the other ones 593 00:40:50,436 --> 00:40:52,676 Speaker 2: saying like no, it's not this cord, it's just one, 594 00:40:52,876 --> 00:40:55,276 Speaker 2: or let's go from this place to this place. But 595 00:40:55,436 --> 00:40:58,516 Speaker 2: he was the guy in the room that had all 596 00:40:58,596 --> 00:41:04,396 Speaker 2: that information because we were already playing the music in Bacruz. 597 00:41:05,036 --> 00:41:08,876 Speaker 1: So he was more like a bit more. Yeah, all 598 00:41:08,916 --> 00:41:11,236 Speaker 1: those elements I think add up the record is so 599 00:41:11,436 --> 00:41:15,316 Speaker 1: it sounds like so free and beautiful, and it just 600 00:41:15,396 --> 00:41:19,236 Speaker 1: goes so many different directions. There's just some beautiful arrangements 601 00:41:19,276 --> 00:41:20,276 Speaker 1: and beautiful songs. 602 00:41:20,356 --> 00:41:22,836 Speaker 2: Thank you, Thank you, really appreciate it. 603 00:41:22,996 --> 00:41:26,196 Speaker 1: Yeah, we have to pause for one last quick break 604 00:41:26,356 --> 00:41:29,436 Speaker 1: and then we'll be back with more from Natalia la Forcade. 605 00:41:34,036 --> 00:41:37,156 Speaker 1: We're back with the rest of my conversation with Natalia 606 00:41:37,396 --> 00:41:41,796 Speaker 1: la Forcade. There's not a lot of artists that if 607 00:41:41,836 --> 00:41:44,596 Speaker 1: you listen to the first record through the most recent 608 00:41:44,676 --> 00:41:48,516 Speaker 1: record and been doing it twenty four years about they 609 00:41:48,556 --> 00:41:50,956 Speaker 1: all get better, you know, and to where like this 610 00:41:51,076 --> 00:41:54,836 Speaker 1: one's like the best one. That's just an incredible feat. 611 00:41:55,156 --> 00:41:59,076 Speaker 2: Yeah. I think it's really hard to reinvent. I don't 612 00:41:59,116 --> 00:42:03,956 Speaker 2: know if that's what exists in English, to explore what 613 00:42:04,196 --> 00:42:13,036 Speaker 2: is new for your universe some musician, songwriter or artists human. 614 00:42:13,836 --> 00:42:17,316 Speaker 2: I mean, it's a lot of search and for me, 615 00:42:17,556 --> 00:42:22,956 Speaker 2: this album is a master Like it has taught me 616 00:42:23,236 --> 00:42:27,276 Speaker 2: so many important things that I want to keep close, 617 00:42:27,476 --> 00:42:30,996 Speaker 2: you know, even ten years in the future, twenty years, 618 00:42:31,116 --> 00:42:34,196 Speaker 2: Like I don't want to forget the things that I've 619 00:42:34,316 --> 00:42:38,436 Speaker 2: learned through this process because I think it's very important 620 00:42:38,516 --> 00:42:40,756 Speaker 2: to keep trying to do this work. You know, like 621 00:42:41,316 --> 00:42:47,156 Speaker 2: this album made me sit down even on the stage, 622 00:42:47,476 --> 00:42:49,876 Speaker 2: Like I felt like this album was saying, I don't 623 00:42:49,916 --> 00:42:53,836 Speaker 2: want you to move during the concert. I just want 624 00:42:53,916 --> 00:42:57,356 Speaker 2: you to play and sing and you will sit down 625 00:42:57,796 --> 00:43:03,796 Speaker 2: andrics No, just bring it all from that point and 626 00:43:03,996 --> 00:43:07,916 Speaker 2: be very calm and everything. I was actually thinking about 627 00:43:07,956 --> 00:43:11,036 Speaker 2: this interview right now. I think like this could have 628 00:43:11,156 --> 00:43:13,716 Speaker 2: happened like one youg or two when I was releasing 629 00:43:13,796 --> 00:43:18,076 Speaker 2: the album, right, but things like this moment has happened, 630 00:43:18,516 --> 00:43:22,796 Speaker 2: Like this album has given to me beautiful moments. But 631 00:43:22,916 --> 00:43:26,636 Speaker 2: it's like in the time of this album, not the 632 00:43:26,796 --> 00:43:29,156 Speaker 2: time that I want your time, Yeah, not my time. 633 00:43:29,356 --> 00:43:33,756 Speaker 2: And I found that beautiful because I've learned that not 634 00:43:33,996 --> 00:43:37,516 Speaker 2: always you might have the control of what you're doing 635 00:43:37,676 --> 00:43:40,236 Speaker 2: and the music and the way it flows. 636 00:43:41,196 --> 00:43:42,956 Speaker 1: I'm so glad, thank you so much for the for 637 00:43:43,076 --> 00:43:45,276 Speaker 1: the album. It's beautiful, all the music. And I'm glad 638 00:43:45,276 --> 00:43:47,636 Speaker 1: also it's been recognized. I mean, you're here because you're 639 00:43:48,516 --> 00:43:53,076 Speaker 1: for a Grammy Award. Yeah, it's beautiful that it's getting 640 00:43:53,196 --> 00:43:54,316 Speaker 1: the credit it deserves. 641 00:43:54,556 --> 00:43:57,316 Speaker 2: Yeah. Yeah, I feel happy. I feel happy for that, 642 00:43:57,476 --> 00:44:01,556 Speaker 2: you know. I mean, you're not thinking about this recognition 643 00:44:02,236 --> 00:44:05,676 Speaker 2: while you're doing the thing, you know. But it was 644 00:44:06,676 --> 00:44:09,196 Speaker 2: hard moments when we took the machine to better a 645 00:44:09,316 --> 00:44:13,116 Speaker 2: cruise that was crazy, you know. We took the machine 646 00:44:13,196 --> 00:44:16,356 Speaker 2: to my studio once and then I got COVID. They 647 00:44:16,436 --> 00:44:19,796 Speaker 2: had to take it back to Mexico City and then 648 00:44:20,316 --> 00:44:25,796 Speaker 2: bring it back again to my studio. Yeah, tap machine machine. Yeah, 649 00:44:25,956 --> 00:44:31,636 Speaker 2: they were taking the machine to my house and everyone 650 00:44:32,356 --> 00:44:37,636 Speaker 2: were there, the cordo strings, everyone, but the machine wasn't good. 651 00:44:38,476 --> 00:44:41,396 Speaker 2: It was damaged for a reason. And then it was 652 00:44:41,516 --> 00:44:45,636 Speaker 2: two days of like, let's find those little piece that 653 00:44:45,796 --> 00:44:48,996 Speaker 2: we needed to fix it. And I don't know, like 654 00:44:49,076 --> 00:44:54,436 Speaker 2: there were funny moments like that, and the recording process 655 00:44:55,036 --> 00:44:58,956 Speaker 2: of the album, it's very unknown secum cities in English 656 00:45:01,076 --> 00:45:05,236 Speaker 2: handmade when you try to record like that. I mean, 657 00:45:05,316 --> 00:45:07,716 Speaker 2: I am not like the Beatles. They had so much 658 00:45:07,796 --> 00:45:12,996 Speaker 2: money they could buy seventy tapes or even more to 659 00:45:13,196 --> 00:45:15,556 Speaker 2: record an album, but for us it was just like 660 00:45:16,396 --> 00:45:20,716 Speaker 2: fifteen or maybe less, just twenty minutes for every track, 661 00:45:20,996 --> 00:45:22,036 Speaker 2: twenty four tracks? 662 00:45:22,196 --> 00:45:23,556 Speaker 1: Would you record like this again? 663 00:45:23,916 --> 00:45:28,876 Speaker 2: Of course that's the way I want to record the most. Yeah, 664 00:45:28,876 --> 00:45:32,676 Speaker 2: I mean it's okay. It depends on the project, I think, 665 00:45:32,996 --> 00:45:34,436 Speaker 2: but I really loved it. 666 00:45:35,476 --> 00:45:36,956 Speaker 1: Are you writing always? 667 00:45:38,796 --> 00:45:42,356 Speaker 2: Not always? Recently I've been writing. Last week I was 668 00:45:42,876 --> 00:45:46,956 Speaker 2: doing some music for a TV show that somebody asked, 669 00:45:47,196 --> 00:45:51,276 Speaker 2: and I was writing a song that is called cancer. 670 00:45:52,356 --> 00:45:55,676 Speaker 2: But not always, you know, for I am not very 671 00:45:55,756 --> 00:45:57,276 Speaker 2: disciplined as a writer. 672 00:45:57,716 --> 00:46:04,396 Speaker 1: Do you find myself say? I mean, I like you 673 00:46:04,516 --> 00:46:06,956 Speaker 1: take your time? No, you know. 674 00:46:07,676 --> 00:46:12,436 Speaker 2: There's moments, yeah, months and I do nothing, and then 675 00:46:12,596 --> 00:46:15,916 Speaker 2: there's one day and I got inspired. I think this 676 00:46:16,276 --> 00:46:20,556 Speaker 2: moment in my life, I feel very inspired. But that 677 00:46:20,716 --> 00:46:22,276 Speaker 2: doesn't happen always for me. 678 00:46:22,596 --> 00:46:24,876 Speaker 1: I hope we get more music than soon. 679 00:46:26,076 --> 00:46:28,676 Speaker 2: Oh yeah, me too, me too, me too. I ask 680 00:46:28,836 --> 00:46:31,756 Speaker 2: for that. I asked the music it's too good. 681 00:46:32,596 --> 00:46:33,716 Speaker 1: Could you play one more song? 682 00:46:33,956 --> 00:46:34,196 Speaker 2: Yeah? 683 00:46:34,596 --> 00:46:36,276 Speaker 1: Yeah, maybe? 684 00:46:36,436 --> 00:46:51,956 Speaker 2: Uh ah, okay, pause and lusias phusy open sound paso 685 00:46:53,156 --> 00:47:12,316 Speaker 2: melo brand stand up, so canstrom no off sent barasernos 686 00:47:13,236 --> 00:47:31,316 Speaker 2: ris basar la vida is silu bensanzuke daniamostovo, Parasernos, dantovin 687 00:47:34,396 --> 00:47:50,236 Speaker 2: kela this, Daciano, the Street Kills, Basi construi Le lucio, 688 00:47:53,356 --> 00:48:03,676 Speaker 2: the e man comgupara traspinal the sta mundo dam basil 689 00:48:05,716 --> 00:48:15,356 Speaker 2: me on the agla Allen God talk Allen contain treloso 690 00:48:17,396 --> 00:48:43,556 Speaker 2: telosup plico no lolvives fo Pazlosias is sigop and Sandu 691 00:48:43,636 --> 00:49:03,436 Speaker 2: and thing baslasonas nomlges Brandistan of Suru, Machina nustromo no 692 00:49:03,756 --> 00:49:18,836 Speaker 2: sufficient the parasernus tgri Santasalavia is sigupen santo ke Dan 693 00:49:19,036 --> 00:49:30,516 Speaker 2: almost all the parasstantovin gelais dance Yeah, no podriya the 694 00:49:30,836 --> 00:49:44,116 Speaker 2: street a girl sparso comes true even lush so locate cat. 695 00:49:45,796 --> 00:49:50,356 Speaker 2: You're soo look over a sa and you see who 696 00:49:50,556 --> 00:49:58,636 Speaker 2: Neiverso Loco Mirarte, Kriser yellows Dancia Marte so lo keero 697 00:49:58,916 --> 00:50:10,236 Speaker 2: get You're so Luke Obrasteste Universo Loco Mirarte crasser je 698 00:50:10,396 --> 00:50:19,636 Speaker 2: laddistance your man so lokro GeTe you're aso Loker obrasad 699 00:50:21,476 --> 00:50:30,756 Speaker 2: and stiverso local Mirrarte crass Jeerladistancia Marty so look ok. 700 00:50:33,196 --> 00:50:40,076 Speaker 2: You're also look obra side and stay woo versal Loco 701 00:50:40,796 --> 00:50:56,116 Speaker 2: Mirart crac jealis dancer am ahama and ladis Stancia. 702 00:50:57,676 --> 00:51:08,876 Speaker 3: Amte I play it in a different tone. It's not. 703 00:51:10,356 --> 00:51:11,196 Speaker 1: It was gorgeous. 704 00:51:11,476 --> 00:51:12,356 Speaker 3: It was gorgeous. 705 00:51:12,876 --> 00:51:16,236 Speaker 1: It was gorgeous, beautiful where it goes. 706 00:51:17,076 --> 00:51:19,956 Speaker 2: Thank you so much, appreciate taking the time, Thank you, 707 00:51:20,116 --> 00:51:22,636 Speaker 2: thank you so much. It's my pleasure. Thank you for 708 00:51:22,756 --> 00:51:23,116 Speaker 2: having me. 709 00:51:23,236 --> 00:51:25,396 Speaker 1: Of course, hope we do it again, maybe in Mexico. 710 00:51:25,796 --> 00:51:27,916 Speaker 2: Yes, please, Imberra Gruz. 711 00:51:30,916 --> 00:51:33,916 Speaker 1: Thanks to Natalia la Fricade for playing and singing for us. 712 00:51:34,116 --> 00:51:36,196 Speaker 1: You can hear her latest album They Told Us Us 713 00:51:36,196 --> 00:51:38,916 Speaker 1: Floored Us and all of our favorite songs from Natalia, 714 00:51:39,116 --> 00:51:42,076 Speaker 1: along with some of these songs mentioned in this conversation 715 00:51:42,436 --> 00:51:46,476 Speaker 1: on a playlist at broken Record podcast dot com. Subscribe 716 00:51:46,516 --> 00:51:49,316 Speaker 1: to our YouTube channel at YouTube dot com slash broken 717 00:51:49,356 --> 00:51:52,276 Speaker 1: Record Podcast, where you can find all of our new episodes. 718 00:51:53,156 --> 00:51:56,316 Speaker 1: You can follow us on Twitter at broken Record. Broken 719 00:51:56,356 --> 00:51:59,396 Speaker 1: Record is produced and edited by Leah Rose, with marketing 720 00:51:59,476 --> 00:52:02,716 Speaker 1: help from Eric Sandler and Jordan McMillan. Our engineer is 721 00:52:02,796 --> 00:52:07,036 Speaker 1: Ben Tolliney. Broken Record is a production of Pushkin Industries. 722 00:52:07,436 --> 00:52:10,236 Speaker 1: If you love this show and others from Pushkin, consider 723 00:52:10,276 --> 00:52:14,596 Speaker 1: subscribing to Pushkin Plus. Pushkin Plus is a podcast subscription 724 00:52:14,716 --> 00:52:17,916 Speaker 1: that offers bonus content and adflete listening for four ninety 725 00:52:18,036 --> 00:52:22,236 Speaker 1: nine a month. Look for Pushkin Plus on Apple podcast subscriptions, 726 00:52:23,036 --> 00:52:25,636 Speaker 1: and if you like this show, please remember to share, rate, 727 00:52:25,716 --> 00:52:28,516 Speaker 1: and review us on your podcast app Our theme music's 728 00:52:28,556 --> 00:52:30,556 Speaker 1: by Kenny Beats. I'm justin Richmond.