1 00:00:08,200 --> 00:00:13,960 Speaker 1: Pushkin. This song Yonkers is the track that put Tyler 2 00:00:14,000 --> 00:00:17,160 Speaker 1: the Creator on the Map in two and eleven. It's 3 00:00:17,200 --> 00:00:20,040 Speaker 1: the second single from Goblin, his first solo album. The 4 00:00:20,120 --> 00:00:22,840 Speaker 1: song is stark, a sparse beat with a strange staccato 5 00:00:22,920 --> 00:00:26,079 Speaker 1: sound similar to the shrieking Strings and Psycho. The song's 6 00:00:26,160 --> 00:00:30,720 Speaker 1: lyrics are outrageous. The black and white video was equally controversial. 7 00:00:30,760 --> 00:00:32,720 Speaker 1: It opens with Tyler sitting on a stool in front 8 00:00:32,720 --> 00:00:35,440 Speaker 1: of a blank background, a cockroach passing between his hands. 9 00:00:35,840 --> 00:00:37,519 Speaker 1: It ends with him standing on the same stool. He 10 00:00:37,560 --> 00:00:41,360 Speaker 1: opens a video with hanging himself. A week after releasing 11 00:00:41,360 --> 00:00:43,839 Speaker 1: the video, Tyler and his Odd Future crew were performing 12 00:00:43,880 --> 00:00:47,919 Speaker 1: on Jimmy Fallon with the Roots wearing ski masks. It's 13 00:00:47,960 --> 00:00:50,960 Speaker 1: still exciting to watch today, especially if you're into youthful 14 00:00:50,960 --> 00:00:53,720 Speaker 1: displays of rebellion like I am. It's hard to believe 15 00:00:53,800 --> 00:00:57,520 Speaker 1: something like this was actually on network television. Eight years, 16 00:00:57,560 --> 00:01:00,920 Speaker 1: four albums, two TV shows, and one successful clothing line later, 17 00:01:01,080 --> 00:01:05,040 Speaker 1: Tyler's spirit is still rebellious, only it's showing in new 18 00:01:05,160 --> 00:01:09,360 Speaker 1: and highly creative ways. His new album Igor isn't controversial, 19 00:01:09,400 --> 00:01:12,319 Speaker 1: but it's an anomaly and rap. Like most of his output, 20 00:01:12,440 --> 00:01:15,280 Speaker 1: It's entirely self produced, but unlike the other records, there's 21 00:01:15,319 --> 00:01:18,959 Speaker 1: hardly any rapping. Instead, Tyler sings a lot, and he 22 00:01:19,000 --> 00:01:21,800 Speaker 1: opens this record with a mostly instrumental track that starts 23 00:01:21,840 --> 00:01:25,000 Speaker 1: with a thirty second synth note. Igor dresses in bright 24 00:01:25,040 --> 00:01:27,560 Speaker 1: and beautifully tailored suits and like Anna win tour as 25 00:01:27,560 --> 00:01:30,440 Speaker 1: a blonde bowl cut and dark sunglasses. I really wasn't 26 00:01:30,440 --> 00:01:32,680 Speaker 1: prepared for the sound of this record, even after the 27 00:01:32,760 --> 00:01:34,920 Speaker 1: last one, flower Boy, which was also pretty ambitious when 28 00:01:34,959 --> 00:01:37,240 Speaker 1: it first came out. But this might just be the 29 00:01:37,319 --> 00:01:44,160 Speaker 1: strangest and most beautiful Tyler the Creator record yet. This 30 00:01:44,240 --> 00:01:47,600 Speaker 1: is Broken Record Season three Liner notes for the Digital Age. 31 00:01:47,960 --> 00:01:54,760 Speaker 1: I'm justin Richmond. Rick Rubin spent three days in Italy 32 00:01:54,800 --> 00:01:57,080 Speaker 1: this summer with Tyler. At the end of the trip, 33 00:01:57,120 --> 00:01:59,040 Speaker 1: they sat down a Rick's living room and listened to 34 00:01:59,120 --> 00:02:02,200 Speaker 1: a few songs off the new album, analyzing each one. 35 00:02:02,920 --> 00:02:05,880 Speaker 1: They started with Eager Steam instrumental opener you heard earlier, 36 00:02:05,920 --> 00:02:09,240 Speaker 1: But first they talked about the heat temperatures across Europe. 37 00:02:09,280 --> 00:02:14,600 Speaker 1: We're an all time high. I finally got a human 38 00:02:15,320 --> 00:02:20,080 Speaker 1: level of sleep. I was dying. The night before was 39 00:02:20,120 --> 00:02:23,359 Speaker 1: a hot night. It was I was dripping wet at 40 00:02:23,400 --> 00:02:29,520 Speaker 1: three am, staring at a mosquito, kept whispering I'm gonna 41 00:02:29,560 --> 00:02:33,880 Speaker 1: get you. I know him. We're cool now, this is crazy. 42 00:02:35,280 --> 00:02:38,280 Speaker 1: You like it. We're in the woods. For those that 43 00:02:38,320 --> 00:02:43,680 Speaker 1: don't know, we're in the middle of nowhere. It is 44 00:02:43,720 --> 00:02:48,560 Speaker 1: no uber, it is no taxi. I have not seen 45 00:02:48,680 --> 00:02:53,200 Speaker 1: another person aside from the people in this house. No TV. 46 00:02:53,240 --> 00:02:57,520 Speaker 1: Three days, no TV. I think it's one downstairs. Don't 47 00:02:57,520 --> 00:03:02,800 Speaker 1: think it's ever been turned on. It's no AC. But 48 00:03:03,000 --> 00:03:09,760 Speaker 1: I kind of like that in this weird fetish way 49 00:03:11,560 --> 00:03:14,160 Speaker 1: that said I really like being here. I don't know, 50 00:03:14,520 --> 00:03:18,600 Speaker 1: it's for me. It's like a very good energy. Yeah, 51 00:03:18,760 --> 00:03:22,640 Speaker 1: it's not much to worry about. No, like it's crazy. 52 00:03:22,720 --> 00:03:26,000 Speaker 1: The first night I was like, oh, oh, what the 53 00:03:26,080 --> 00:03:30,280 Speaker 1: fuck did I get into? Rick is crazy? What the 54 00:03:31,760 --> 00:03:35,200 Speaker 1: And then I got some cookies and that fan and 55 00:03:35,400 --> 00:03:40,480 Speaker 1: everything was okay. Talking about music, when you were at 56 00:03:40,480 --> 00:03:43,600 Speaker 1: Shango La at the end of the project, you were 57 00:03:43,680 --> 00:03:46,600 Speaker 1: kind of putting it together the final stages. I remember 58 00:03:46,600 --> 00:03:48,600 Speaker 1: you telling me that the first song was gonna be 59 00:03:48,640 --> 00:03:53,080 Speaker 1: an instrumental, and you had always had it as an instrumental, 60 00:03:53,200 --> 00:03:55,600 Speaker 1: and then you kind of came up with a hook 61 00:03:55,840 --> 00:04:02,360 Speaker 1: last minute fell this one? And how did the hook 62 00:04:02,360 --> 00:04:06,120 Speaker 1: come about? I was with Uzy little USI very was 63 00:04:06,160 --> 00:04:09,560 Speaker 1: just at the studio hanging. I'm working on this and 64 00:04:10,000 --> 00:04:14,280 Speaker 1: I couldn't come up with words, but I had this melody. 65 00:04:14,280 --> 00:04:16,480 Speaker 1: So I'm in there playing on the piano the melody 66 00:04:17,360 --> 00:04:22,960 Speaker 1: and then he takes that melody. It just adds words 67 00:04:22,960 --> 00:04:25,240 Speaker 1: and sings it right, and I'm like, just add it 68 00:04:25,279 --> 00:04:27,600 Speaker 1: real quick, just lay that rough down for me, because 69 00:04:27,600 --> 00:04:30,719 Speaker 1: your voice sounds good doing it. And that's the song. 70 00:04:31,279 --> 00:04:34,760 Speaker 1: It's nothing deep, so cool. I think that's literally what 71 00:04:34,800 --> 00:04:36,680 Speaker 1: it was. And I was like, that's all I need. 72 00:04:36,680 --> 00:04:40,880 Speaker 1: Thank you. I didn't even know that was gonna make it. 73 00:04:40,880 --> 00:04:45,200 Speaker 1: It just worked out so perfectly, you know what I mean? Absolutely? 74 00:04:45,200 --> 00:04:52,000 Speaker 1: How important of the words? I like beat first, then melody, 75 00:04:52,120 --> 00:04:55,480 Speaker 1: and then lyrics. It's Amy Winehouse songs, No Lie. She 76 00:04:55,560 --> 00:04:59,120 Speaker 1: has a song called wake Up Alone, and man, I 77 00:04:59,160 --> 00:05:02,240 Speaker 1: love that song for years. My cousin bought that album 78 00:05:02,240 --> 00:05:05,960 Speaker 1: when it came out, and it wasn't up until maybe 79 00:05:07,560 --> 00:05:10,400 Speaker 1: two years ago, twenty seventeen, where I realized what the 80 00:05:10,480 --> 00:05:14,919 Speaker 1: lyrics were saying. Because I love the beat, love the chords, 81 00:05:14,960 --> 00:05:18,040 Speaker 1: and I just love the melody and what she was doing, 82 00:05:18,040 --> 00:05:21,040 Speaker 1: but I never paid attention to the lyrics. Yeah, I 83 00:05:21,080 --> 00:05:24,159 Speaker 1: think everyone listens to different things. First, I noticed earlier 84 00:05:24,200 --> 00:05:27,960 Speaker 1: downstairs when we were playing the disco stuff a song 85 00:05:28,080 --> 00:05:31,120 Speaker 1: came in and he was like ooh, and it was 86 00:05:31,200 --> 00:05:35,240 Speaker 1: just drums. It wasn't no chords, not a baseline, nothing, 87 00:05:35,279 --> 00:05:38,080 Speaker 1: And I was like, oh, he listens to Grew first. 88 00:05:38,560 --> 00:05:40,480 Speaker 1: He listens to drums and grew first. And I just 89 00:05:40,960 --> 00:05:43,000 Speaker 1: something I picked up on and thought that was interesting. 90 00:05:43,040 --> 00:05:48,719 Speaker 1: And me, I love good chords. Just it's songs I 91 00:05:48,800 --> 00:05:53,520 Speaker 1: have that are horrible lyrically, like really bad, but I 92 00:05:53,640 --> 00:05:55,880 Speaker 1: just like the notes in the background. So I listened 93 00:05:55,880 --> 00:06:00,479 Speaker 1: to him and I love it. And and this beat 94 00:06:00,600 --> 00:06:02,800 Speaker 1: is hard, these drums and this based on its great 95 00:06:02,800 --> 00:06:05,920 Speaker 1: they messed together. And then I listened to the flow 96 00:06:06,600 --> 00:06:10,760 Speaker 1: or the melody and the runs. Second, that's what really 97 00:06:10,800 --> 00:06:14,640 Speaker 1: makes me mel Then I care about it's all based 98 00:06:14,680 --> 00:06:19,520 Speaker 1: on the sound. That everything before you get to any 99 00:06:19,800 --> 00:06:24,200 Speaker 1: sound is way before it's for me personally, that energy, 100 00:06:24,320 --> 00:06:28,120 Speaker 1: that feeling, that sound, that's that's who you say. The 101 00:06:28,320 --> 00:06:31,560 Speaker 1: sound of the lyrics mean more to you than what 102 00:06:31,640 --> 00:06:36,400 Speaker 1: it's actually saying. Yeah, like jay Z for example, he 103 00:06:36,480 --> 00:06:38,920 Speaker 1: knows how to rap on a beat. He knows how 104 00:06:38,920 --> 00:06:41,840 Speaker 1: to hear a beat and say I shouldn't yell on this, 105 00:06:42,440 --> 00:06:44,880 Speaker 1: or I shouldn't wrap like this on it. The way 106 00:06:44,880 --> 00:06:48,080 Speaker 1: that this feels. This is how my vocal instrument could 107 00:06:48,200 --> 00:06:53,760 Speaker 1: mesh on this perfectly. Where it's some people who hear 108 00:06:53,800 --> 00:06:56,200 Speaker 1: a smooth beating like I'm gonna fucking yell on it. 109 00:06:56,200 --> 00:06:58,440 Speaker 1: I'm gonna do this. I'm gonna because they're just more 110 00:06:58,560 --> 00:07:02,200 Speaker 1: thinking of saying and cool shit rather than making a 111 00:07:02,240 --> 00:07:09,280 Speaker 1: good song. And that's how that's kind of me. I 112 00:07:09,400 --> 00:07:12,960 Speaker 1: kind of focus on making a good song with cool 113 00:07:13,040 --> 00:07:18,840 Speaker 1: structure rather than like, oh that verse was so even 114 00:07:18,840 --> 00:07:20,600 Speaker 1: though I don't get me wrong, I don't want to 115 00:07:20,600 --> 00:07:23,600 Speaker 1: seem like i'nna be a dismissive like care about lyrics 116 00:07:23,600 --> 00:07:25,679 Speaker 1: and word blah blah blah. But it's just number three. 117 00:07:25,720 --> 00:07:30,120 Speaker 1: It's just number three. Is there any music or artists 118 00:07:30,120 --> 00:07:33,080 Speaker 1: you could think of that you've heard or listened to 119 00:07:33,680 --> 00:07:39,520 Speaker 1: because of the lyrics? Yeah, you got people like Eminem, 120 00:07:39,560 --> 00:07:43,960 Speaker 1: like Cassidy the rapper that stuff that I'm like, I 121 00:07:44,040 --> 00:07:47,680 Speaker 1: wonder what pockets they're gonna wrap this in and what 122 00:07:47,720 --> 00:07:50,160 Speaker 1: they're gonna say, and the punchlines and things like that, 123 00:07:50,880 --> 00:07:55,280 Speaker 1: because Eminem was he picked some of the worst beats ever, 124 00:07:57,160 --> 00:08:02,240 Speaker 1: even Ludicrous sometimes picked shitty beats, but their energy and 125 00:08:02,280 --> 00:08:06,960 Speaker 1: their cool, witty lines is what made the songs cool. 126 00:08:07,320 --> 00:08:11,320 Speaker 1: So they're an exception, you know, so where jay Z 127 00:08:11,440 --> 00:08:14,680 Speaker 1: picked great beats. So that's what drew me in. And 128 00:08:14,720 --> 00:08:17,880 Speaker 1: then like, oh his voice sounds tied over this. Oh 129 00:08:17,920 --> 00:08:22,640 Speaker 1: that's what he's saying, you know. So okay, next one 130 00:08:23,040 --> 00:08:28,760 Speaker 1: I'll play and then we talk about it after. Incredible. 131 00:08:29,840 --> 00:08:34,000 Speaker 1: That shit is so good, it's incredible. My favorite part 132 00:08:34,360 --> 00:08:38,040 Speaker 1: is happens once. It's when the harmony vocals do the 133 00:08:38,080 --> 00:08:44,840 Speaker 1: different It's so beautiful, and the restraint in that being 134 00:08:44,880 --> 00:08:47,240 Speaker 1: the best part and deciding I'm only gonna have it 135 00:08:47,320 --> 00:08:49,560 Speaker 1: that one time. Well, this album is full of that 136 00:08:49,640 --> 00:08:54,440 Speaker 1: because I just made each song has those moments. Oh 137 00:08:54,480 --> 00:08:56,120 Speaker 1: that's my favorite part, and I'm like, yeah, it only 138 00:08:56,120 --> 00:08:59,360 Speaker 1: comes once, but right after that is and someone else's 139 00:08:59,760 --> 00:09:05,680 Speaker 1: a moment face. Even even on the intro, the I 140 00:09:05,800 --> 00:09:10,280 Speaker 1: only have the choir come in once behind him, and like, 141 00:09:10,360 --> 00:09:12,320 Speaker 1: it's a lot of stuff and I like shit like that. 142 00:09:12,360 --> 00:09:15,920 Speaker 1: It's little details that gets me off and a lot 143 00:09:15,920 --> 00:09:19,120 Speaker 1: of people don't listen to that stuff. A lot of people. Man, 144 00:09:19,160 --> 00:09:21,080 Speaker 1: if you don't got the if you don't got the 145 00:09:21,080 --> 00:09:23,360 Speaker 1: eight await the catchy hook, they're off it. But it's 146 00:09:23,400 --> 00:09:27,640 Speaker 1: so much magic throughout the whole. I think even if 147 00:09:27,640 --> 00:09:33,839 Speaker 1: people don't hear it subconsciously, it's something like something happens 148 00:09:33,160 --> 00:09:36,400 Speaker 1: and I tell I tell fans like, hey, if you 149 00:09:36,520 --> 00:09:39,720 Speaker 1: like it, and you see me in person and you know, 150 00:09:39,760 --> 00:09:42,360 Speaker 1: I got a minute to say hi or whatever. I 151 00:09:42,400 --> 00:09:46,440 Speaker 1: want you to articulate what you like about it. Don't 152 00:09:46,480 --> 00:09:49,240 Speaker 1: just say I like it, No, hone in on what 153 00:09:49,280 --> 00:09:52,440 Speaker 1: you like about it, because if you figure out specifically 154 00:09:52,440 --> 00:09:55,840 Speaker 1: what you like about something, that'll help you understand other 155 00:09:55,920 --> 00:09:58,720 Speaker 1: shit that you like and then weed out the shit 156 00:09:58,840 --> 00:10:02,640 Speaker 1: you don't help you find other shit like that. Absolutely, 157 00:10:03,679 --> 00:10:06,200 Speaker 1: you remember how that one came about, Like how did 158 00:10:06,240 --> 00:10:08,000 Speaker 1: it work out? That diverse drops kind of in the 159 00:10:08,040 --> 00:10:12,000 Speaker 1: middle of the song and breaks down like that. I 160 00:10:12,160 --> 00:10:15,400 Speaker 1: remember right before I finish, and I was like, I 161 00:10:15,480 --> 00:10:22,679 Speaker 1: need something to happen chord wise, I'm gonna keep saying 162 00:10:22,720 --> 00:10:27,200 Speaker 1: I'd say chords so much it's annoying, But that's the 163 00:10:27,320 --> 00:10:32,840 Speaker 1: shit that makes me lit. Oxygen water and chord progressions. 164 00:10:32,920 --> 00:10:37,120 Speaker 1: It's fucking annoying. But I was like, I need something 165 00:10:37,160 --> 00:10:40,640 Speaker 1: to take me there because the song didn't have a bridge, 166 00:10:42,160 --> 00:10:44,120 Speaker 1: so I was like, I need to put something in 167 00:10:44,160 --> 00:10:48,439 Speaker 1: the middle somewhere that just goes there. And I was like, fuck, 168 00:10:48,480 --> 00:10:51,880 Speaker 1: the structure is already perfect. Maybe I could take one 169 00:10:51,880 --> 00:10:55,000 Speaker 1: of those leaves and just fuck it up real quick. 170 00:10:55,679 --> 00:10:59,520 Speaker 1: And that's literally what I did, and I yeah, that's 171 00:10:59,679 --> 00:11:02,400 Speaker 1: how it happened. It's the song on the piano is easy. 172 00:11:02,440 --> 00:11:04,760 Speaker 1: But I was just like, I'm gonna have four chords 173 00:11:04,760 --> 00:11:07,880 Speaker 1: that just feels like a waterfall and then ramp it 174 00:11:08,000 --> 00:11:12,199 Speaker 1: back to the original progression. So those chords are only 175 00:11:13,040 --> 00:11:17,520 Speaker 1: moving around in the middle of one of the notes, 176 00:11:18,559 --> 00:11:21,000 Speaker 1: if that makes sense. Yeah, you're gonna show me on 177 00:11:21,040 --> 00:11:35,480 Speaker 1: the piano, so why are you there? I feel right there. 178 00:11:44,880 --> 00:12:02,480 Speaker 1: That's regular. And then I went and it only happens once. Wow, 179 00:12:02,640 --> 00:12:06,480 Speaker 1: And that's why it feels so whoa. It's so dramatic 180 00:12:06,920 --> 00:12:10,559 Speaker 1: because most of the it's mostly like this, it's mostly 181 00:12:10,600 --> 00:12:15,120 Speaker 1: just like regular line. So it's mostly just regular line. 182 00:12:15,120 --> 00:12:17,760 Speaker 1: So me bringing that out of nowhere, it just makes 183 00:12:17,760 --> 00:12:21,640 Speaker 1: you say, oh, I came. And then everything after that's 184 00:12:21,720 --> 00:12:24,880 Speaker 1: just icing on the cage. Yeah, we'll be back with 185 00:12:24,920 --> 00:12:31,839 Speaker 1: more Tyler the Creator after the break. We're back with 186 00:12:31,880 --> 00:12:36,160 Speaker 1: more Tyler the Creator. Lyrics came last. Yeah, I made 187 00:12:36,160 --> 00:12:40,000 Speaker 1: the skeleton of the beat, and while I let it play, 188 00:12:40,040 --> 00:12:41,520 Speaker 1: I paced in my room and kind of came up 189 00:12:41,559 --> 00:12:43,520 Speaker 1: with that. And I was like, damn, that's all I'm 190 00:12:43,520 --> 00:12:46,600 Speaker 1: gonna say is you make my earthquation. Don't leave, it's 191 00:12:46,600 --> 00:12:48,680 Speaker 1: my fault. That was it. And then in the middle 192 00:12:48,720 --> 00:12:51,439 Speaker 1: it was a piano solo. But then I added Cardi 193 00:12:51,520 --> 00:12:54,320 Speaker 1: on it because I just love his voice. And yeah, 194 00:12:55,080 --> 00:12:57,440 Speaker 1: it was the lyric related something that was just going 195 00:12:57,440 --> 00:13:01,480 Speaker 1: on in that moment. Or it was earthquake. Oh really 196 00:13:01,559 --> 00:13:04,160 Speaker 1: corny enough. It was an earthquake, and I was like, damn, 197 00:13:04,720 --> 00:13:07,360 Speaker 1: I like earthquake, earthquake. And I was like, oh, I 198 00:13:07,480 --> 00:13:09,920 Speaker 1: say that with an F and a queue instead of 199 00:13:09,960 --> 00:13:13,840 Speaker 1: the thh and the queue instead of earthquake, I say earthquake. 200 00:13:14,440 --> 00:13:17,160 Speaker 1: So I was like, huh, And then I just started 201 00:13:17,320 --> 00:13:23,280 Speaker 1: singing that and you make my earthquake, don't leave, it's 202 00:13:23,320 --> 00:13:27,000 Speaker 1: my fault because of the fault line that earthquakes are on. Ah. 203 00:13:27,000 --> 00:13:30,440 Speaker 1: So yeah, and like you shake me up, you be 204 00:13:31,320 --> 00:13:36,400 Speaker 1: making me nervous because when everything is fucked up, I'm 205 00:13:36,440 --> 00:13:39,240 Speaker 1: gonna need you when everything comes crumbling or whatever whatever. 206 00:13:39,440 --> 00:13:47,080 Speaker 1: So cool, just simple, but yeah, so cool. It started 207 00:13:47,120 --> 00:13:51,400 Speaker 1: with the chords. You wrote the chords first, and then 208 00:13:51,400 --> 00:13:55,320 Speaker 1: the beat came after. Yeah, yeah, I just had those. 209 00:13:55,840 --> 00:13:59,640 Speaker 1: It's super simple, super simple. It's a it's just it's 210 00:13:59,679 --> 00:14:03,960 Speaker 1: just so that I interpolated where the guys like, I 211 00:14:04,040 --> 00:14:05,800 Speaker 1: think I'm falling in love this time of thing. It's 212 00:14:05,840 --> 00:14:07,319 Speaker 1: for real. And I was like, man, these chords are 213 00:14:07,960 --> 00:14:11,280 Speaker 1: He made these really bullshit pop chords that I will 214 00:14:11,440 --> 00:14:14,280 Speaker 1: usually hate. Yeah, sound cool. So I always had that 215 00:14:14,320 --> 00:14:16,559 Speaker 1: in the back on my head. And then I found 216 00:14:16,559 --> 00:14:19,840 Speaker 1: this drum loop. I was like, this is tight. It 217 00:14:19,920 --> 00:14:22,160 Speaker 1: was only a second, so I kind of fucked with 218 00:14:22,200 --> 00:14:24,800 Speaker 1: that to make it a full thing. And then I 219 00:14:24,840 --> 00:14:30,000 Speaker 1: was like, oooh that one melody that guy did. Those 220 00:14:30,080 --> 00:14:33,000 Speaker 1: chords were sick. So I figured those chords and added them, 221 00:14:33,040 --> 00:14:34,560 Speaker 1: and I was like, man, I also like his melody. 222 00:14:34,560 --> 00:14:37,040 Speaker 1: Fuck it. I'll just add it there just as a placement. 223 00:14:37,440 --> 00:14:40,480 Speaker 1: And then the full song came and just was like, 224 00:14:40,520 --> 00:14:43,040 Speaker 1: I'll just keep amazing. So did the did you have 225 00:14:43,120 --> 00:14:47,640 Speaker 1: the vocal? The first vocal phrasing hook before you ever 226 00:14:47,680 --> 00:14:52,360 Speaker 1: had the beat. It came with the piano pianos I had, 227 00:14:53,000 --> 00:14:55,600 Speaker 1: so I had the song that I interpolated with the 228 00:14:55,680 --> 00:14:59,200 Speaker 1: chords in that hook phrasing. It was just a song 229 00:14:59,320 --> 00:15:01,560 Speaker 1: guy just already had and I liked it and I 230 00:15:01,600 --> 00:15:03,640 Speaker 1: was like, this is cool. Then when I looped these 231 00:15:03,720 --> 00:15:05,440 Speaker 1: drums and I was working on a beat and I 232 00:15:05,480 --> 00:15:06,760 Speaker 1: was adding chords, I was like, oh, you know it 233 00:15:06,800 --> 00:15:09,480 Speaker 1: will be tight the stuff from that one song. So 234 00:15:09,560 --> 00:15:12,520 Speaker 1: then that's when I see that. So I see and 235 00:15:12,520 --> 00:15:15,200 Speaker 1: they just want hand in hand and so cool. When 236 00:15:15,240 --> 00:15:18,040 Speaker 1: that happens, it's cool. I just wanted to dance. My 237 00:15:18,080 --> 00:15:19,760 Speaker 1: favorite part is to break down in the middle. That 238 00:15:19,840 --> 00:15:25,000 Speaker 1: bridge is so sane, so good. That bridge is insane, 239 00:15:25,320 --> 00:15:30,800 Speaker 1: so beautiful, so beautiful, and that's like number seven. That's 240 00:15:30,880 --> 00:15:33,720 Speaker 1: bridge seven. Bro. I have six other versions because I 241 00:15:33,760 --> 00:15:35,920 Speaker 1: was like, I need to perfect this bridge. It's two 242 00:15:35,920 --> 00:15:38,480 Speaker 1: other bridges with salons on it and he singing back 243 00:15:38,520 --> 00:15:40,800 Speaker 1: and forth and stuff. But I was like it's not perfect, 244 00:15:41,240 --> 00:15:44,600 Speaker 1: And I was like, what do I want to do again? 245 00:15:44,840 --> 00:15:48,480 Speaker 1: What world is this? Where is this living? Yes? I 246 00:15:48,520 --> 00:15:52,320 Speaker 1: want to be in studio fifty four dancing of this, Yes, 247 00:15:52,640 --> 00:15:55,120 Speaker 1: and I just want to hear these chords. Oh, I 248 00:15:55,160 --> 00:15:57,640 Speaker 1: just want to hear these chords. I don't want to 249 00:15:57,640 --> 00:16:02,040 Speaker 1: hear vocal, so I stripped it. That's why you have that, 250 00:16:02,720 --> 00:16:06,479 Speaker 1: and it lets you breathe. Yeah, it really. It's spectacular 251 00:16:06,520 --> 00:16:13,160 Speaker 1: when it comes in. Feel so good. The next one's 252 00:16:13,200 --> 00:16:20,200 Speaker 1: like my favorite, like my fucking favorite. I love that 253 00:16:20,280 --> 00:16:28,280 Speaker 1: so good. My favorite part is the again, the breakdown 254 00:16:28,480 --> 00:16:32,440 Speaker 1: with the little hook and the loud snaps and then 255 00:16:32,440 --> 00:16:35,720 Speaker 1: the beat, the new beat dropping after it. It's just 256 00:16:35,840 --> 00:16:41,360 Speaker 1: like living and pretending. I breathe a lot on this album, Yeah, 257 00:16:41,480 --> 00:16:44,440 Speaker 1: because of my like recording it, Like my asthma flares 258 00:16:44,480 --> 00:16:48,360 Speaker 1: up randomly, so a lot of the things like I 259 00:16:48,400 --> 00:16:51,440 Speaker 1: would actually breathe on, and then at some point I 260 00:16:51,480 --> 00:16:54,560 Speaker 1: was like fuck it, I'm gonna just breathe on a lot. 261 00:16:54,600 --> 00:16:59,040 Speaker 1: So igor steam. I think this one, I breathe on 262 00:16:59,720 --> 00:17:02,120 Speaker 1: New Magic wand the end of What's Good like I 263 00:17:02,200 --> 00:17:06,639 Speaker 1: just made it a thing. But that song, it's like 264 00:17:06,720 --> 00:17:12,040 Speaker 1: the epitome of like uh I was in the mask 265 00:17:12,080 --> 00:17:15,680 Speaker 1: off section is incredible with the rat but it still 266 00:17:15,760 --> 00:17:21,320 Speaker 1: has the harmonies under it. That's my favorite. It's so 267 00:17:22,040 --> 00:17:25,400 Speaker 1: and I'm oh gosh, it's so and it also feels 268 00:17:25,480 --> 00:17:29,600 Speaker 1: like a vulnerable lyric in the context of this a 269 00:17:29,720 --> 00:17:32,280 Speaker 1: song that doesn't feel like that at all. Yeah, it's 270 00:17:32,320 --> 00:17:35,600 Speaker 1: just really like gets like real, like it feels like 271 00:17:36,000 --> 00:17:40,160 Speaker 1: because a song feels like running out, it's like it's 272 00:17:39,960 --> 00:17:42,200 Speaker 1: it's just some pop song, like it doesn't have me 273 00:17:42,359 --> 00:17:44,639 Speaker 1: until that part. It's like, oh no, this song is 274 00:17:44,680 --> 00:17:50,800 Speaker 1: about something like it's it's like you're spine and it 275 00:17:50,800 --> 00:17:55,879 Speaker 1: gets emotional. Yeah, and it's un completely unexpected and I 276 00:17:55,920 --> 00:17:59,800 Speaker 1: put the I reput the vocals from the first part 277 00:18:00,160 --> 00:18:04,560 Speaker 1: under that just so oh those vocals have meaning to 278 00:18:04,640 --> 00:18:09,960 Speaker 1: them too. It's yeah, all related. How do you decide 279 00:18:10,000 --> 00:18:12,040 Speaker 1: to do the fake out ending like the stop and 280 00:18:12,080 --> 00:18:15,639 Speaker 1: then the little breakdown extra piece? Uh, it just needed 281 00:18:15,680 --> 00:18:18,919 Speaker 1: I just wanted some movement. I just wanted some movement, 282 00:18:19,040 --> 00:18:22,600 Speaker 1: and I wanted to just have the roads just by 283 00:18:22,640 --> 00:18:26,760 Speaker 1: itself so good, and I was like, I'll just bring 284 00:18:26,760 --> 00:18:29,560 Speaker 1: the snaps here and then because I wanted it to 285 00:18:29,640 --> 00:18:32,199 Speaker 1: die before those drums came in, and then drums so 286 00:18:32,280 --> 00:18:36,720 Speaker 1: fucking hard, really interesting arrangement, like just the order of 287 00:18:36,760 --> 00:18:40,000 Speaker 1: events that happened in the song or bro it's magic. 288 00:18:40,280 --> 00:18:43,440 Speaker 1: Every five that it's something new, even the car sound 289 00:18:44,480 --> 00:18:46,600 Speaker 1: that just goes through it here and there. It's like, 290 00:18:47,240 --> 00:18:49,800 Speaker 1: I don't know, just a little little kinks that I like. 291 00:18:50,560 --> 00:18:52,640 Speaker 1: We'll be back with more of Rix Conversation with Tyler 292 00:18:52,680 --> 00:18:59,200 Speaker 1: the Creator after the break. We're back with more of 293 00:18:59,280 --> 00:19:02,880 Speaker 1: Rix Conversation with Tyler the Creator in the current live 294 00:19:02,920 --> 00:19:07,040 Speaker 1: show do you play? Do you mixing old songs with 295 00:19:07,080 --> 00:19:10,040 Speaker 1: the new songs? Start with the majority of this album 296 00:19:10,320 --> 00:19:13,159 Speaker 1: and that outfit wig and the suit and stuff, and 297 00:19:13,160 --> 00:19:17,720 Speaker 1: then I switched in there like regular clothes for older stuff, 298 00:19:17,760 --> 00:19:21,120 Speaker 1: which is like flower Boy, Cherry, Bob Wolf stuff, and 299 00:19:21,160 --> 00:19:25,000 Speaker 1: then I do like two or other songs from this 300 00:19:25,040 --> 00:19:29,480 Speaker 1: album at the end. It's a weird. It's figure outable, 301 00:19:29,520 --> 00:19:31,679 Speaker 1: but I don't. I haven't figured out yet how to 302 00:19:31,800 --> 00:19:34,840 Speaker 1: perfect how to do both, because I don't want to 303 00:19:34,840 --> 00:19:37,160 Speaker 1: wear a wig and a suit when I'm doing Ship 304 00:19:37,320 --> 00:19:41,560 Speaker 1: from three albums ago, you know, unless you also don't 305 00:19:41,560 --> 00:19:45,359 Speaker 1: want to do only the new album yea, unless you 306 00:19:45,520 --> 00:19:48,080 Speaker 1: change the way you do the old material to suit 307 00:19:48,200 --> 00:19:51,239 Speaker 1: the new style. Yeah, And I've thought of that, and 308 00:19:51,320 --> 00:19:56,160 Speaker 1: I'm like, but this world that I've built with this 309 00:19:56,320 --> 00:20:01,960 Speaker 1: character that don't want to say the music doesn't match 310 00:20:02,960 --> 00:20:06,679 Speaker 1: the shoes I'm wearing. Yeah. Yeah, so I was like, all, whatever, 311 00:20:06,720 --> 00:20:11,320 Speaker 1: I'll just change it. But how would the character cover 312 00:20:11,440 --> 00:20:13,920 Speaker 1: those songs if he was an artist and he wanted 313 00:20:13,960 --> 00:20:16,280 Speaker 1: to do it, would take it would take away from 314 00:20:16,280 --> 00:20:19,040 Speaker 1: those songs. That's the thing I don't want to hate 315 00:20:19,040 --> 00:20:21,879 Speaker 1: going to shows where it's like, oh, they're kind of 316 00:20:21,960 --> 00:20:25,240 Speaker 1: performing the song I love, but they want to be 317 00:20:25,320 --> 00:20:28,800 Speaker 1: too creative, so oh, they're singing it a cappella with 318 00:20:28,840 --> 00:20:34,560 Speaker 1: a cowbell and one guitar note. It's really fun listening 319 00:20:34,560 --> 00:20:38,760 Speaker 1: to this. I love this album. It's good. It's fucking good. 320 00:20:39,760 --> 00:20:42,720 Speaker 1: It's also the first album where I'm like really like 321 00:20:42,760 --> 00:20:45,560 Speaker 1: when people were like, hey, the album's great, I know 322 00:20:46,119 --> 00:20:51,560 Speaker 1: and thank you, and it's not an ego thing. It's like, 323 00:20:51,680 --> 00:20:54,879 Speaker 1: I'm so proud of it. Yes, I put in so 324 00:20:55,000 --> 00:20:57,560 Speaker 1: much effort and I love it and I know that 325 00:20:57,600 --> 00:21:00,360 Speaker 1: it's good. You didn't have the same relation and trip 326 00:21:00,400 --> 00:21:04,480 Speaker 1: to flower Boy. No. I think flower Boy is good 327 00:21:04,520 --> 00:21:08,720 Speaker 1: and it's my best work thus far, just because it's 328 00:21:08,720 --> 00:21:12,520 Speaker 1: an easy listen but it's so it's not born. It's 329 00:21:12,560 --> 00:21:17,679 Speaker 1: just kind of tame to me and too good. Yeah, 330 00:21:17,720 --> 00:21:21,600 Speaker 1: it's like of course you're gonna like it. It's nothing abrasive, 331 00:21:21,680 --> 00:21:25,280 Speaker 1: it's nothing too weird about it. It's good songs and stuff. 332 00:21:25,320 --> 00:21:28,280 Speaker 1: But I still feel like some of that stuff is 333 00:21:28,320 --> 00:21:31,960 Speaker 1: a little niche, a little bit just did you feel 334 00:21:31,960 --> 00:21:34,320 Speaker 1: it at the time or not at the time, a 335 00:21:34,320 --> 00:21:37,719 Speaker 1: little bit, Like I was happy people loved it and stuff, 336 00:21:37,760 --> 00:21:42,800 Speaker 1: but it was missing a lot of little things, Like 337 00:21:42,880 --> 00:21:47,159 Speaker 1: it was mixed too clean and not in a bad way. 338 00:21:47,440 --> 00:21:50,359 Speaker 1: It's supposed that I'm supposed to sound crisp and clean, 339 00:21:50,480 --> 00:21:55,240 Speaker 1: but like it was missing my little tinks that I'm 340 00:21:55,280 --> 00:21:58,200 Speaker 1: like itching to do. And I had to pull back 341 00:21:58,240 --> 00:22:02,440 Speaker 1: and restrain myself because this is what the album was 342 00:22:02,480 --> 00:22:05,440 Speaker 1: supposed to be. I love cinnamon, but you can't put 343 00:22:05,480 --> 00:22:09,640 Speaker 1: it on your spaghetti. Yes, you know. So I made that, 344 00:22:10,160 --> 00:22:12,600 Speaker 1: And because of that, I think that's why I made IGOR, 345 00:22:12,800 --> 00:22:18,040 Speaker 1: because I was itching for I need this, I need 346 00:22:18,040 --> 00:22:22,639 Speaker 1: distortion and an annoying bass and pitching fucking this is 347 00:22:22,680 --> 00:22:25,359 Speaker 1: gonna come out of nowhere and all fucking change. Put 348 00:22:25,359 --> 00:22:28,399 Speaker 1: eighteen Bridges on one song like I needed that, but 349 00:22:28,640 --> 00:22:34,080 Speaker 1: still has some of the musical growth that we first 350 00:22:34,119 --> 00:22:37,119 Speaker 1: saw on flower Boy. Yeah. Yeah, it's because you don't 351 00:22:37,680 --> 00:22:42,000 Speaker 1: you don't go to you don't leave LA and go 352 00:22:42,040 --> 00:22:45,600 Speaker 1: to New York and go back to LA with no knowledge. No, 353 00:22:45,600 --> 00:22:48,000 Speaker 1: now you know how to wear a jacket because it 354 00:22:48,040 --> 00:22:50,919 Speaker 1: was cold as fuck out there, And now you apply 355 00:22:51,119 --> 00:22:54,880 Speaker 1: that whenever you gotta go jacket shopping, because you went 356 00:22:54,920 --> 00:22:57,359 Speaker 1: to New York and know how to wear a fucking jacket. Now. Yes, 357 00:22:58,119 --> 00:23:02,719 Speaker 1: So just because you know, just because I you know, 358 00:23:03,119 --> 00:23:06,719 Speaker 1: flowerboys super clean, doesn't mean that I can't get dirty 359 00:23:06,720 --> 00:23:09,679 Speaker 1: and crash a car into a fucking building. It's just 360 00:23:09,760 --> 00:23:12,000 Speaker 1: that now I kind of know which car I could 361 00:23:12,000 --> 00:23:15,160 Speaker 1: crash into a building, so I don't die. Yeah. Great, 362 00:23:17,440 --> 00:23:21,760 Speaker 1: it's so funny here in the juxtaposition of the beautiful, 363 00:23:22,680 --> 00:23:28,080 Speaker 1: melodious piano lines and the lyrics and the please don't 364 00:23:28,119 --> 00:23:31,320 Speaker 1: shoot me down in the gunshots. Yeah, such a good 365 00:23:31,520 --> 00:23:37,199 Speaker 1: buoye base combination. I love again. I love the hard 366 00:23:38,040 --> 00:23:42,080 Speaker 1: shit pause, and I love the pretty shit. Now we're 367 00:23:42,119 --> 00:23:44,280 Speaker 1: just trying to mix it together, just make it so 368 00:23:44,359 --> 00:23:47,240 Speaker 1: much more interesting. Yeah, because you don't know what side 369 00:23:47,240 --> 00:23:50,880 Speaker 1: you're on. Yeah, So the meshes like uh that one 370 00:23:50,920 --> 00:23:58,160 Speaker 1: also is the most traditional rap structure where it's got 371 00:23:58,200 --> 00:23:59,680 Speaker 1: a lot of verseus. You know, it's got a lot 372 00:23:59,720 --> 00:24:03,560 Speaker 1: of verse words. Yes, this is the it's in the 373 00:24:03,600 --> 00:24:06,760 Speaker 1: middle too, So it's like the that's the rapper one, 374 00:24:06,840 --> 00:24:11,400 Speaker 1: that's the that's the listen to what I'm saying one. 375 00:24:12,720 --> 00:24:15,800 Speaker 1: I'm I'm saying words on there and it's all specific 376 00:24:15,960 --> 00:24:18,240 Speaker 1: and it's so that's why I so laid back, because 377 00:24:18,240 --> 00:24:22,680 Speaker 1: it's like I'm more just talking, like observing that that one, 378 00:24:22,760 --> 00:24:27,240 Speaker 1: I'm just looking like it sounds really also personal and 379 00:24:27,400 --> 00:24:31,240 Speaker 1: intimate and real. Yeah, no, it doesn't sound like a performance. 380 00:24:31,440 --> 00:24:36,560 Speaker 1: No the uh oh you're faking your man oh, take 381 00:24:36,640 --> 00:24:39,120 Speaker 1: your hoodie off? Like it's every time I hear this song, 382 00:24:39,160 --> 00:24:43,440 Speaker 1: I think of the specific moments of why I'm saying that. 383 00:24:43,640 --> 00:24:46,800 Speaker 1: So it's and that's why it's not a performance. It's 384 00:24:46,840 --> 00:24:51,760 Speaker 1: just just talking and I think it's it's good. That's 385 00:24:51,760 --> 00:24:53,679 Speaker 1: a good song. How did that one come about? What 386 00:24:53,720 --> 00:24:55,919 Speaker 1: do you do you remember about the process? That was first? 387 00:24:56,040 --> 00:24:59,119 Speaker 1: So that's it was a song. I was listening to 388 00:25:00,800 --> 00:25:03,800 Speaker 1: the song that I've kind of dealt with before, and 389 00:25:03,840 --> 00:25:06,320 Speaker 1: I was like, man, I would do this differently. I 390 00:25:06,320 --> 00:25:08,359 Speaker 1: would loop this part because this is a sweet spot. 391 00:25:08,800 --> 00:25:13,520 Speaker 1: So I just looped it and came just made my 392 00:25:13,560 --> 00:25:17,000 Speaker 1: own new song structure out of this other song that 393 00:25:17,040 --> 00:25:20,760 Speaker 1: I sampled from and kind of built around it. Were 394 00:25:20,800 --> 00:25:23,120 Speaker 1: you sampling a song of your own or it's this 395 00:25:23,160 --> 00:25:29,720 Speaker 1: other song called Bound that I sampled it from that 396 00:25:29,840 --> 00:25:35,000 Speaker 1: I like, I just had added the rough you some 397 00:25:35,040 --> 00:25:38,320 Speaker 1: other fucking dangerous but that was part of a verse 398 00:25:38,359 --> 00:25:40,720 Speaker 1: and then I kind of just kept repeating that and 399 00:25:40,800 --> 00:25:45,000 Speaker 1: made it into the hook. Yeah, when did you decide 400 00:25:45,000 --> 00:25:46,600 Speaker 1: that this was going to be the one that was 401 00:25:46,640 --> 00:25:49,639 Speaker 1: going to have that this was gonna be tell the 402 00:25:50,040 --> 00:25:53,600 Speaker 1: rap story, have something to say. Oh, well, it wasn't deliberate. 403 00:25:53,640 --> 00:25:55,320 Speaker 1: It's just that when I made the beat I just 404 00:25:56,240 --> 00:25:58,239 Speaker 1: end up rapping on it like that because that's what 405 00:25:58,480 --> 00:26:02,680 Speaker 1: vocally felt right understood. And then the melodies and stuff 406 00:26:04,040 --> 00:26:06,040 Speaker 1: where they are now is where I was like, this 407 00:26:06,080 --> 00:26:09,560 Speaker 1: is where it feels right. Don't shoot me Dan. The 408 00:26:09,680 --> 00:26:13,960 Speaker 1: boys a good like and I kind of kept it 409 00:26:14,000 --> 00:26:15,600 Speaker 1: at that. They didn't want to add anymore. I was like, 410 00:26:15,640 --> 00:26:18,800 Speaker 1: this is perfect, and it was asking to rap on 411 00:26:19,800 --> 00:26:24,160 Speaker 1: like that song was asking for a verse. Yeah, and 412 00:26:24,240 --> 00:26:26,920 Speaker 1: it I think it has so much more power because 413 00:26:27,720 --> 00:26:29,800 Speaker 1: because it's the we're in the middle of the album 414 00:26:29,880 --> 00:26:34,400 Speaker 1: and it's the first time we're hearing this many words, 415 00:26:35,240 --> 00:26:38,239 Speaker 1: it really changes the way you hear it. You know, 416 00:26:38,280 --> 00:26:42,520 Speaker 1: if this was if this was the sixth song of 417 00:26:42,720 --> 00:26:47,679 Speaker 1: six rap songs, yeah, it wouldn't It wouldn't have much power. Yeah, No, 418 00:26:47,880 --> 00:26:53,520 Speaker 1: it's even and like this album, like on I think 419 00:26:53,600 --> 00:26:58,120 Speaker 1: I'm doing this rap but it's cool, and then I'll 420 00:26:58,240 --> 00:27:01,000 Speaker 1: rap in the middle of Running of Time sort of, 421 00:27:01,480 --> 00:27:04,439 Speaker 1: and then the real rap verse doesn't come until the 422 00:27:04,560 --> 00:27:06,720 Speaker 1: end of New Magic One. It's a rap song, but 423 00:27:06,760 --> 00:27:09,720 Speaker 1: the rap verse doesn't come till the end. So when 424 00:27:09,760 --> 00:27:12,040 Speaker 1: you finally get to number seven and you get this 425 00:27:12,320 --> 00:27:19,000 Speaker 1: full rap performance, not like perform like a real just 426 00:27:19,359 --> 00:27:24,600 Speaker 1: rap song, like base level core hip hop, yea, it's like, oh, 427 00:27:24,640 --> 00:27:27,080 Speaker 1: this is nice, but it's still in tune with the 428 00:27:27,200 --> 00:27:31,520 Speaker 1: six songs before. It's sonically absolutely, it feels like it's 429 00:27:32,080 --> 00:27:34,880 Speaker 1: when it comes up in the project. There's no feeling 430 00:27:35,160 --> 00:27:40,960 Speaker 1: of what's this. It feels completely intertwined with the rest, 431 00:27:41,160 --> 00:27:43,639 Speaker 1: and it's you get to you get to breathe a 432 00:27:43,640 --> 00:27:46,439 Speaker 1: bit and just nod your head and like, yeah, I 433 00:27:46,480 --> 00:27:50,760 Speaker 1: like it. Yeah, me too. It's really interesting to me 434 00:27:50,840 --> 00:27:54,640 Speaker 1: that that you've been making music as long as you have, 435 00:27:55,520 --> 00:27:59,240 Speaker 1: and it feels like it keeps getting better and it's 436 00:27:59,680 --> 00:28:05,000 Speaker 1: very rare. Feels like so many artists best work is 437 00:28:05,000 --> 00:28:10,359 Speaker 1: their first or first or second, and then more often 438 00:28:10,359 --> 00:28:14,200 Speaker 1: than not, there's a decline and it feels like listening 439 00:28:14,200 --> 00:28:17,760 Speaker 1: to your work, it's the opposite. And any idea how 440 00:28:17,920 --> 00:28:20,960 Speaker 1: or why that is the case because I don't get stuck. 441 00:28:22,440 --> 00:28:26,880 Speaker 1: I like new shit. I get inspired by stuff, and 442 00:28:27,359 --> 00:28:29,760 Speaker 1: I hate the word inspire, but I get in this 443 00:28:29,840 --> 00:28:33,719 Speaker 1: ship and I dive head first into it like I 444 00:28:33,800 --> 00:28:38,920 Speaker 1: am if I had that cupcakeg Magnolia bro and I 445 00:28:39,000 --> 00:28:42,920 Speaker 1: went back every like. I fall in love with shit, 446 00:28:43,240 --> 00:28:46,920 Speaker 1: whether it's a color palette and a step like, I 447 00:28:47,080 --> 00:28:50,120 Speaker 1: get into it. And I think, because me being so 448 00:28:50,200 --> 00:28:53,640 Speaker 1: potent in something that's so different from the last, that's 449 00:28:53,680 --> 00:28:58,080 Speaker 1: why you could differentiate my albums or errors or the 450 00:28:58,120 --> 00:29:02,560 Speaker 1: way I was dressing at the time, or the approach 451 00:29:02,680 --> 00:29:07,280 Speaker 1: to music. And I want to get better. Some people 452 00:29:07,480 --> 00:29:09,840 Speaker 1: think they know it all. I want to get better. 453 00:29:11,200 --> 00:29:16,840 Speaker 1: I've yet to make my great rap album like rap, 454 00:29:16,920 --> 00:29:19,120 Speaker 1: I'm still like, I got to relearn how to rap. 455 00:29:19,240 --> 00:29:21,600 Speaker 1: I'm teaching myself how to rap again, because I don't 456 00:29:21,600 --> 00:29:24,840 Speaker 1: think I'm that good at it. That's not my favorite. 457 00:29:25,000 --> 00:29:27,800 Speaker 1: What was the first record that you sang on? The 458 00:29:27,840 --> 00:29:34,480 Speaker 1: first thing I sung on was Wolf the intro. The 459 00:29:34,600 --> 00:29:37,240 Speaker 1: intro for Wolf was the first time. I do you 460 00:29:37,240 --> 00:29:43,120 Speaker 1: remember feeling either like it felt dangerous because you hadn't 461 00:29:43,120 --> 00:29:47,560 Speaker 1: done it before, or that you were particularly excited about 462 00:29:47,600 --> 00:29:50,720 Speaker 1: it or particularly inspired by something to make you do it. Well, 463 00:29:50,720 --> 00:29:55,080 Speaker 1: I've always wanted to sing, but my voice doesn't allow 464 00:29:55,120 --> 00:29:59,080 Speaker 1: me to sing the way I want. And everyone's like, oh, 465 00:29:59,240 --> 00:30:02,360 Speaker 1: deep voice, like you pitch it up as an excuse, 466 00:30:03,120 --> 00:30:05,360 Speaker 1: but I don't want to sing like Barry White or 467 00:30:05,680 --> 00:30:08,560 Speaker 1: fucking Johnny Cash or whoever else had a deep voice. 468 00:30:08,600 --> 00:30:11,080 Speaker 1: I don't want to sound like that. That's not the 469 00:30:11,120 --> 00:30:13,680 Speaker 1: tone of voice that I want to put on the 470 00:30:13,800 --> 00:30:18,240 Speaker 1: music bad that I'm laying for it. So it's something 471 00:30:18,240 --> 00:30:19,920 Speaker 1: I always wanted to do, but I just never went 472 00:30:19,960 --> 00:30:24,480 Speaker 1: for it until I needed vocals on songs. So I 473 00:30:24,480 --> 00:30:28,760 Speaker 1: would laid out refs for people, and when they wouldn't 474 00:30:29,360 --> 00:30:31,719 Speaker 1: sing it or didn't work out, I would be like, 475 00:30:31,760 --> 00:30:34,840 Speaker 1: I like this idea so much that I'm okay with 476 00:30:34,920 --> 00:30:38,680 Speaker 1: putting it out like this. I perfect it as much 477 00:30:38,720 --> 00:30:40,880 Speaker 1: as I can, but I want this out in the world. 478 00:30:42,000 --> 00:30:47,400 Speaker 1: So the intro to Wolf answer off Wolf, that's number 479 00:30:47,440 --> 00:30:57,560 Speaker 1: six forty eight. I sung a bit campfire things like that, 480 00:30:58,240 --> 00:31:01,640 Speaker 1: like and it felt great. It was cool ideas, and 481 00:31:01,720 --> 00:31:04,280 Speaker 1: I just kept doing it and kept doing it because 482 00:31:04,280 --> 00:31:06,840 Speaker 1: I loved it. I would trade to be able to 483 00:31:06,880 --> 00:31:10,600 Speaker 1: sing well over wrapping any day. So good, thank you 484 00:31:10,680 --> 00:31:14,000 Speaker 1: for this, thank you for the music, thank you for 485 00:31:14,080 --> 00:31:19,320 Speaker 1: making great music. Thank you, and you're welcome. It's good. 486 00:31:19,600 --> 00:31:22,760 Speaker 1: I'm happy that I can put something out like this 487 00:31:23,560 --> 00:31:27,440 Speaker 1: in the climate right now and people are responsive to 488 00:31:27,480 --> 00:31:31,400 Speaker 1: it in a positive way, and I love it. I 489 00:31:31,440 --> 00:31:35,280 Speaker 1: absolutely adore this album. So when people are like, hey, 490 00:31:35,280 --> 00:31:38,560 Speaker 1: what do you do? I will give them this first. Yeah. 491 00:31:39,280 --> 00:31:41,760 Speaker 1: If I couldn't just say hey, I make stuff, they're like, no, 492 00:31:41,800 --> 00:31:49,000 Speaker 1: I need specifics, I would give them this. Beautiful Thanks 493 00:31:49,000 --> 00:31:50,840 Speaker 1: to Tyler the Creator for hanging out with Rick in 494 00:31:50,880 --> 00:31:53,000 Speaker 1: Italy for a few days to talk about the album. 495 00:31:53,120 --> 00:31:57,120 Speaker 1: Also special thanks to Leonardo Beccafici aka Fresco for engineering. 496 00:31:57,640 --> 00:31:59,880 Speaker 1: On the next episode, Bruce had them talks with Yola 497 00:32:00,000 --> 00:32:02,520 Speaker 1: about her new album walk Through Fire and being produced 498 00:32:02,560 --> 00:32:06,520 Speaker 1: by Dan Arbach of The Black Keys. Broken record is 499 00:32:06,520 --> 00:32:08,840 Speaker 1: produced with help from Jason Gambrell and Mel Lavelle for 500 00:32:08,920 --> 00:32:12,960 Speaker 1: Pushkin Industries. Visit Broken Record podcast dot com for playlists 501 00:32:13,000 --> 00:32:15,840 Speaker 1: from every episode, and follow us on Instagram at The 502 00:32:15,920 --> 00:32:19,120 Speaker 1: Broken Record pod Our theme music is by Kenny Beats. 503 00:32:19,320 --> 00:32:20,280 Speaker 1: I'm Justin Richard.