Adrian Quesada

00:00:15Speaker 1: Pushkin. Hey, y'all's Justin Richmond. Today on the show, we're talking to Grammy Award winning musician Adrian Quesada. He's best known as one half of the Black Pumas with singer Eric Burton, but since the pandemic started, he's been working on a solo project called Balros Psychodelicos or Psychedelic Bleros. Inspired by Adrian's longtime love of psychedelic music and Latin American love songs of the sixties and seventies, he started thinking about how he might recreate balros and balladas. The album includes singers from all over Latin America, as well as Tom Waite's guitarist Mark Ribot and Beastie Boy collaborator Money Mark. Released in June, Balto Psychoedelicos reached number one on the Billboard Latin Album Chart. On today's episode, Adrian and a few of the singers featured on the album, lay Angelica, Garcia, and Tita talk about how the new album came together, the collaborative process, and how boleros and bladas fit into Latin music today. This is broken record liner notes for the digital Age. I'm Justin Richard. Here's my conversation with Adrian Quesada and his collaborators lay Angelica Garcia and Tita So. Adrian, last time I was talking to you was for the Black Pumas record. You've been riding like a wave of love and success on that record. That was seemingly unexpected, i'd imagine. And your new project is Ballero Psychedelicos and it's a Solowish project, a project you did yourself, featuring a bunch of different singers. How did this come together? So this was very much a pandemic record, you know. And always wanted to do something like this because I've just really been obsessed with this kind of music for a long time. But when the pandemic started, I was supposed to be on tour with Black Puma's all of twenty twenty, like everybody else, you know, like my ear just cleared out, and all of a sudden, like I was home. I had nothing to do. You know. Some people were like baking bread and stuff, getting hobbies during the pandemic, but I just started making music. I felt like that was what was keeping me from getting depressed. I just finally had time to do this, So I just started cranking out a ton of music, a ton of instrumentals, and then just started reaching out to amazing collaborators like Tita and Ela and they kind of brought it all to life. When in the process of tinkering and sort of just trying to distract yourself, did the idea for this record come? I had a playlist that I'd put together of a lot of songs in this kind of style, and then it helps me finish things if I have a concept, Otherwise I'll make a hundred songs and never finish them, you know. So like that helped me very much, just kind of make it cohesive. What were some of those songs on your playlist? We should play one? Yeah, one of the anchors was a song by La Lupe called Boys Set to Them and that song I had just been listening to a lot, thought like, there are songs like that that you can't I'm not going to top that song, you know, so you might as well just cover it and get it out of my system. But it was a good exercise for me to like do that and recreate it. Sometimes that's just a good exercise to do something like that. And uh, actually one of the first people I called was Gobby Moreno who sang that does Who's sitting next to me? His sister and Gobby was all about it, and that was one of the first songs that came together. Do you mind a to be listening to the Loupe version for a bit now, I'll go ahead, Yes, Where did you hear that song? I don't even remember why I heard that one, to tell you the truth, you know, I just listening to a lot of music. I discovered that one just recently, just a few years ago. But when I hear a song that I like, like that, I'll listen to it ten times a day and then three times at night for like a month straight. So that was just the only song I could listen to for a little while. What stood out to you about it, oh Man, so much? I mean, she's an incredible vocalist, and just the love the arrangement, and I love the drummer was nasty on it. The whole song was just I don't know, I just I don't know. At the time, it just all really spoke to me. I think that the like the drama in the in these songs is one of the things that, for whatever reason at the time, was was really appealing. What genre would that be considered if you could pin a genre on it, you know, I don't really know. I mean maybe a fun yeah, well, you know, because the song, if you like play the song just like on a guitar and a singer, that's a volero, you know, but the arrangement is different. What makes a bolero? It's a ballad, I mean, I don't know what how else you would you break down a bolero like? It tends to be romantic. It can be like a slow and very passionate with the songs and the interpretation, but also very intimate maybe, and they can be aboletto can be made with like a big arrangement, or also can be just played with a guitar and very bohemian ish. I don't know exactly the definition, but something like that. So it's like a romantic song, story song. Yeah, I think the lyrical content mostly love, you know, romance, heartbreak, diary ish kind of like a ballad at its core, you know, But there's a style to like the certain chord progressions and things and that make it that you can identify, you know, like in that song, is there like an era or certain like that. I'm trying to think of like equivalence that would have been like the stack sound or the motown sound. Is there like an equivalent for that? Would it have been through fana or would there have been like a particular time or group that would most identify some of the sounds. I guess at least that inspired It's like La Loupe, for instance. The genre of bolero I think goes from Cuba a long time ago to very much like the vocal groups harmonizing, and then in Mexico there was kind of its own interpretation of it, and this particular album kind of references the like late sixties, early seventies electric instruments, arrangements and like Ela was saying, it very much kind of started on a you know, a guitar, acoustic instruments and vocals. But I think in the late sixties or early seventies was when people started to you know, play with electric instruments and the drummer would play kind of funky and like there was certain things like that, and that's that's that's very much the era that this album was inspired by. So almost like what British Lose Acts and the sixties did to like more traditional style blues like Spoonful started as like an acoustic, more folky I guess song or whatever, and then Cream gets it and makes it like this like insane electric psychedelic version. Is that kind of what happened to the Ballero at some point something like that? Except it wasn't the British. It was like Latin America continued to do you know what I mean? Like it wasn't like it came to the US and then Latin like these groups are from you know, Chile and mayhic Go and still very much have was happening in Latin America, Like but yeah, they basically electrified it. You know, did you guys grow up with this? Like maybe everyone can sort of speak to that, Like Adrian, you grew up in Texas. Would this have been a sound that you hear grown up? No? No, I probably grew up more with like the more traditional little sponsors like things like that from Mexico where it was very much just like a vocal group, and and like I didn't know that this electric psychedelic type stuff existed. I grew up in Guatemala, but not in my house specifically, but maybe, like I remember at parties or in school, maybe at one point, it's very popular. All the songs are very popular in Latin America, so obviously everyone knows them. So yeah, there are songs that of course I know them, got It? And Angelica. You're from La, right, yeah, I'm Salva mex American. So I grew up in and around La and other parts of the US. A lot of the stuff that my family listened to was based in like ranchera music and also like gumbia kind of a central So I heard boletto sometimes, but it wasn't as played in my house. Ela, where did you grow up in. I'm from Puerto Rico, so yeah, I grew up listening to boleros a lot, because in Puerto Rico you hear a lot of salsa, and a lot of salsa singers also sang boleros, so like at the same time you can answer salsa, but then you can feel a bolero and and we still do it. Like there's some like street karaokes in Puerto Rico that some older people go and sing like classical boleros or sometimes like with a guitar. It's like very you know normal there to go to a place and someone is just playing boleros with a guitar. So yeah, I kind of grew up a lot with different types of music, but bolero and salsa was one of the main music that's interesting. So yeah, So like salsa music's about dancing a salsa singer, then throwing a bolero and a set would be like Michael Jackson just throwing a ballad in a set or something. Right, it's just like gonna We're gonna slow it down. Yeah, And with salsa, the experimented a lot. I mean, salsa has a lot of jazz and a lot of funk. So there are some boletos that have like a funky but like a slow funky style, especially like with Fannia singers that in the seventh This Day explore with all that stuff. Some of them were living in New York, so they like explored a lot with music that was going on in New York and with the salsa mix, so it was very interesting. There's a lot of cool songs, so it can be a slow burn, it can be a slow funky number. Yeah. There's another cover song on here that Tita You sang by Jeanette, Right, can we listen to a bit of the original? Yeah? Sure, cool Now listen to your version. Damn, it's a good song. I wish I listen to your version of Triste. Let's just listen to a bit of that, profu yo. It's a beautiful interpretation. So imagine I must have started with you hearing that and getting obsessed with it, Adrian, Is that true? Would have started with you hearing it and getting obsessed. I had never heard that song, and probably March twenty twenty, like right when I started working on some of this music, my daughter was playing it in the house in like another room on her phone. How old is she? Sixteen? Oh? Man, she's got great taste. She has an amazing taste. And she was fourteen at the time, and uh wow. She was playing it on her phone and I was in my studio, but I had the door open because my studio used to be at my house, and it was like the Bugs Bunny cartoons like tune. I just like took off running. I was like, what is that? And she goes Jeannette, and I was like okay. I went back and like the next day I laid down a version of it and I changed the feel of it. When you get inspired to recreate a song like that. I'm sure it's different every time, so maybe we'll say specifically this one, where do you start? Where did you start on this one? That's funny. I actually, in my head, I thought that I would send it to, you know, the band Krunkben. I was like, I want to get that, I want to get them to replay it. What made you go to her to sing it? Adrian. One of the first people I talked about with this project was Gabby Moreno and she, you know, Gabby is Tita's sister, and as soon as I mentioned this song, she was like, oh, you have to reach out to my sister. She's like she she knows the song, and uh, you know, getting a co signed from Gabby was enough for me to reach out to Tita. And it's perfect, you know, absolutely perfect. It's really funny that when I started um making music, everyone kept telling me that my music, my style, my voice was like Janette's. They could see like the resemblance from like in the style and everything, and of course she's an inspiration, but I've never thought about it like that. And then I kept listening to Janette's music and I really love it. And so it's funny because Gabby told me, Oh, like you always sing like really soft, you know, like, um, you have this voice, like a delicate voice. Yeah, but it's it's a contrast because my lyrics are like really dark or about heartbreaks or it's never a happy lyrics. You know, it's never a happy song. But with my voice, it's like this song from Janette, Like the lyrics is really sad, but you know it makes you want to dance. Did you listen to it and try to emulate it? Did you listen to it and try to find your own voice in it? Or did you pull the lyrics and then just try to sing along to Adrian's track? Like how did you? You know? I didn't want to listen to it a lot because then I was going to sound like exactly like Jeanette, and I didn't want that, so I rather just like keep listening to the version that Adrians sent me, which I love, by the way, and I love that it's a little a little faster, right, Yeah, it's just a different feel, just to change the feel. I felt really comfortable singing this because it's like my style. It really came out really natural. Yeah, it's a cool version of it. It's like the tumble might be faster, I'm not sure, but it has laid back like groove to it that makes it like a little different and yeah interesting. Yeah. I actually sent um the vocal tracks and a few other things to a producer mutual friend with Elea from Puerto Rico named Pachman who's an amazing dub producer and musician, and I sent the vocals and a few separate things to him to he's kind of a dub scientist, master guy, and to dub it out, and he sent it back to me, and then I snuck it into the track, so it has like light flourishes of dub in there too. Who is Jeanette? She's an inspiration to a lot of um modern musicians, like a lot of you know, Mexican or Latin American female singers. I don't know. Have you heard this song? It's another hit by Janette? No? Should I play some if you want? Stan CONTI no movie walk Okay, deep us usk that's amazing. That's a great song. Yeah, yeah, Ela is the song that you sang. Was it a cover? No? Yes, I wrote the lyrics and Adrian did the whole music. Let's listen to it a bit and then I want I want to ask about that me baby see the kissing Yo. That's beautiful and funky and like all at the same time. That's crazy. Yeah, Conno, this is a much more traditional song than I guess you would normally perform, right, Eli, Maybe it's it's a part of me as well. I think, did you have the lyrics already when Adrian approached you to collaborate or did you write something specific to work together? Not at all. It was it was crazy because obviously it was all in the middle of the pandemic and my mind was in another place. And then suddenly Adrian asked me, like, do you want to do like a cover song or an original song? And I said, let's do an original song. I wanted to take the risk. But it was very fun to work with Adrian because I started analyzing, you know, his musical taste at first to see if we were going to be on the same page. He sent me some songs of boleros and I connected immediately because like he liked a lot of boleros that I also because blets, you know, they have their own style, like Adrian said before, so like you can like a voletto that maybe I don't connect with as much and it's some other style. So it was nice to see when he he sent me like some cool boleto songs and and we started, you know, getting into a particular vibe for this song. I like that she was testing your Adrian, let me see what's going on. Yeah, I mean I needed to, you know, because like blets, so you know, I'm pleo open ended kind of like. Yeah, and I also like, you know, these dark boleto songs as well, because there's some wonderful like bright boletos that are amazing. But I always like go dark, like even if even when I don't want to go dark, like darkness like wants me to go there, so I I and I also enjoy let you should watch out for that, by the way. Yeah, I try to manage it, but yeah. And I also like, um, you know, there's some wonderful singers and I love like great like fantastic, you know, spectacular voices. But I also enjoy like like these attitude voices, you know, if it's someone that you might know, like Dina Washington. Oh yeah, she had an amazing voice, but at the same time she was like talking to you through her voice, so um in Boleros. There are some other singers that have that style as well, Like they're telling you something very directly, and that's something that I wanted to do with the lyrics, you know, transmit that attitude like in a more you know, direct way as telling you something very important. What were you trying to say with that song? When you suddenly feel that in a relationship that you settle with something, but then suddenly you realize that you're settling, settling like with abuse, you know, because sometimes abuse can be small and difficult to perceive, but it's still abuse. And sometimes I feel like we get used to abusive patterns in a relationship, maybe because we've seen it in our family members or so, but we don't have to repeat things that always have been wrong, or we don't have to tolerate anything that we don't want to. So it's that moment when she realizes that and she says, this is something that I don't like, Like even if you bring me flowers of you try to decorate it, like the chort's not working and it's and it's hurtful and it's not a good relationship. So she's just saying in the course, like She's not to tolerate lies with Karino with affection. She don wants to tolerate lies with affection. So it's very dramatic. I connected with that era as well. With the music. Yeah, yeah, wow, it almost to me almost sounds like a like a Riza track, you know, like it's like there's this sinister feel to it. I don't know why, but like there's just like a dark, gritty feel. Oh well, yeah, like Eli said, you know, she wanted it to be a moody and set a tone, like, you know, especially with some of the subject matter, to just feel like vibe and kind of moody and not. You know, we weren't making a particularly bright, cheery song, so it was definitely setting that mood. But it also I think hip hop was such a huge influence on me when I was growing up. In my head, I wanted head bob like I'm listening to a hip hop song. Like, going back to the beginning of the production journey, did it start with like hip hop production? Yeah? Actually, I mean I started playing guitar when I was a teenager and played Nirvana and Soundgarden and Pearl Jam and skate punk stuff and whatever. Was really into guitar. But the first music that I started to try to recreate and dissect was a hip hop And then also my first actual like trying to make my own music was with an MPC two thousand, an NPC two thousand, Just so people know, it's like a old sampler. Yeah, yeah, of hip hop producers in the nineties uses those, And that was my first introduction into like programming and sampling and production and whatnot. What were you sampling at the time when I was doing that. At the time, I mean, I had a lot of records, and that was like kind of the crate digging, like when there was compilations of cool samples and stuff. But when I first got my MPC two thousand, I was really into jazz and I was sampling like just weird jazz, free jazz and all on guard jazz and stuff like that. But just learning how to do that, you know, because of the sound of the drums of an MPC two thousand, that's how I want drums to sound all the time. You know. As much as I used to listen to guns and Roses when I was a little kid, I don't I don't hear the drums like that. I hear the drums like Pete Rock, you don't hear the Paradise City drums. I mean, I could play all those songs on guitar, but you know my drums, I want him to sound like a hip hop drummer, you know. So that production style kind of like has stayed with you over the years. Just about everything I've ever I can't I can't shake it. It It was just too much part of who I am. How's it grown now? Because you're not still using a sampler, right, I've tried to bring three back to life that I have here in the studio MPCs, but it's like having an old car. It's a lot of upkeep and stuff, and it's just way more convenient now to do stuff on the computer and whatnot. But honestly, like a lot of these things are just we do live drums. We have to take a quick break, but we'll be right back with more from Adrian, Angelica, Tita, and Ela. We're back with the rest of my conversation with Adrian Quesada and his collaborators. Like on this record, you played almost everything yourself, or I started everything myself and then would send it to people like that. One has a Jay Mumford on drums. He used to be a hip hop producer and DJ rapper. His storian from New York named Jay Zone. So a lot of these I'm not like a great drummer. I would just do what I had to do, and then I would think, like it'd be a lot better if somebody else just played these, So I sent them all off in friends. A lot of friends replayed drums and then boards and stuff like that, and then I kind of did the rest, you know, besides other things I can't do, like flutes and violins whatever you hear like orchestral stuff that's not me at all. Did you arrange it still a little bit? And then a lot of that was just um actually shout out. Brian Donoho, who does all the flutes on the album, was incredible with his arrangements because he just understood where to fit in, and you know, he would just send me tons of ideas back and then I just kind of arrange that, you know, and again that's where the sampling comes in. I would just take little parts that I liked and put one here and put one here, and like move that around. But he did an amazing job. Again during the pandemic. Like none of us were ever in the same room, so it's a different yeah, yeah, yeah, nobody ever came into the room. Were you looking in on like the sessions, like when they sang now they just send stuff over, just send stuff over? Would it be retakes? I go back, try, maybe try it again, like a couple of tries at it or not necessarily to tell you the truth, it was more from a technical standpoint. Some people were recording in a bedroom, then some people would record in a professional studio and then you know, so there was a little bit of back and forth with with Mentitas, with Elia and I. We took us a while to land on the chorus, and then when we got it, it was like hit it. So we should listen a little bit of Angelica's tracky dollars that cool? Yes, this dancers looking us camels come wow, Wow, what happened there? Guys? That was awesome. That's an original from me and Adrian and so that that was super cool. Hard to believe that was done remote. So you were in Texas, in Austin? Where were you in Jelica? Adrian actually caught me at a really big point of transition. I've been living in Virginia and I was prepping to move back to LA and I was really going through some things, and I was listening to a lot of at the time. So she's like Ranchetta music, right, Um, So it was kind of the perfect time to actually ask me to write Boletto's lyrics because I was very much in that head space of like sadness and Ranchetta music like predominantly like Mexican music, right, It's like a Mexican folk music pretty much. I grew up in a family of singers, Like my mom used to sing as a filed at rodeos like and sing Granchetta music, and so I had like strong voices from that style in my family. I could definitely hear some of the similarities with Voletos music, Like I don't know Voletos as much as like Lettus, but I know that I like Grancetta super powerful, and it's very like the lyrics are very important. So the styles are similar as lyric driven, emotionally potent music, right, I guess, yeah, And then how did you decide to do when original verses find a cover? I personally really love lyrics. It's one of my favorite ways to express myself. I like the chance to be poetic with them too, and you know, pop music doesn't always allow for that, but this was just kind of like a perfect opportunity to really be as poetic as I wanted to be. It's pop music typically you kind of where you're working. I guess I do kind of like alternative pop, and I mean I still love my lyrics and stuff, like I still try to prioritize them, but it was nice to lean into the genre and the feel and know that I could go there and it would have a solid foundation, like I wouldn't have to convince people of it, if that makes sense. Yeah, Like and pop there's a little more like you got to make sure people are following you. I guess, yeah, what are some of the lyrics to this? I was just imagining this person's eyes, and like it's kind of like in like in my turbulent hours, your voice is the only thing that I hear, and I'm like apologizing to everybody in the room because my Spanish is like probably the worst ally, but um, it's like bewitched by the potency that we have both felt, and like your your shadow is so beautiful that it costs me my free will to know it. I really went there. Shout out to everybody for being moody a feel. Yeah, what was it about where you were at that took you there? Lyrically? I was in love with somebody, you know. And also just like the big transition of like moving in such a heavy time in my life and having to say goodbye to so many people and not being able to say goodbye in the way that you wanted to. There was like definitely a particular person in my mind, but you know, just the heaviness of not being able to say what you want to say in the moment because you can't. Yeah, well I gotta say too like that, Like, did you end up moving back to La? Yeah? I did. How did you get to Virginia? I mean, I can't think of two places more dissimilar than La in Virginia I moved when I was a teenager with my family. But yeah, Richmond is awesome. There's so much school arts and I think I recorded, like in my apartment for the first draft on a garage band and Adrian's like, Nat, let's get you to do it in a studio in La. This garage band Mike sucks, But yeah, it was awesome. I don't remember which friend I got to work with, m Alberto Lopez who also played in La Right you recorded him? Yeah, he also played percussion on Menthidas. Yeah, he was also percussion on This is Incredible. We talked a little bit about your voice too. Voice was incredible on that. Thank you. When didn't you start singing as a child, I guess I just I always had music around me and I loved it. And I was taught by my family basically like singing to the radio and stuff until I was in high school and I went to this It was like a public arts high school in LA and I had an incredible like jazz voice teacher named Pat Bass, And I think having that real education, like I definitely had like a rootsie like home education, and my mom would always be like, m do it again. I don't believe you. Yes, it's not good. I don't believe you. Like And I think Ranchetto was especially great to learn first because it's so emotive, and she's like, if I don't believe you, what's the point of view singing like you're supposed to be full heart heartache right now and you don't sound like it. You know, you just sound like whatever, you know, and her mom did her did your job for you. Yeah, she's just great executive producer, yeah, I know. And so like by the jazz teacher Pat Bass, she's incredible and she kind of like helped me like fanesse it if that makes sense, like just really clean it up and go with breath and everything. And Adrian, so, how did you find music for the lyrics to that that one? You know? So I had this inspiration playlist that I would reference, you know, when I started it, But honestly, at a certain point into it, I kind of stopped listening to it. When I was writing original music, I kind of stopped for a while and was like, I don't want to like just recreate songs. First, it was really important to dissect the Genette song and dissect was a seither than me and all that to really get those that like the way that the chord progressions moving stuff in my head. But then at some point I stopped and was like, I need to do my own thing with it, or I might as well just do all covers, you know. So I think by that point, I honestly wasn't really listening anymore. I was just off and playing stuff that was at some point sort of loosely inspired, so that one really didn't have that real traditional like anything boleto The only thing it did have, and I love what she did with it was you know, some of those songs are like have this kind of brooding, kind of dark thing, and then they go real happy. It's like theater or something like it's like everything's real sad and then everybody's super happy. That was very bipolar song, but one, but then it comes back to just like yeah, we're all happy and we're all in love, but like back to like, no, everything's dark and everything's sad, and that's how and sometimes they end on the up notes, sometimes they don't. But that one that was the only thing I threw in was like the like, oh everything's you know, happy and everybody's in love and birds and flutes and but then back to the darkness and and she wrote it perfectly and this made it real theatrical. That's about the only thing that had the influence of a Boletto on that one. You know, is going to that real major section. It's hard for me to do anything and with major chords. It was just an impression of a Boletto and he plans to take this on the road somehow, or to take this further than just the record, or I would love to do it if you all are done. It would be very hard to take this on the road. There's a lot of people. We only have three out of like ten singers here. But uh, but yeah, I think, you know, we're talking about a couple. You know, it could be cool to do a couple of exclusive concerts here and there, but you know, I think the logistically it might be very hard to do anything. I want to listen to one more track. It's instrumental and it's worth college of knowledge. Es nolo, hey dicho yo. Hopefully I said that right here we go. You know what I love about this record is like you manage to create a vibe. Everything has like a really incredible great vibe to it and groove to it. But the songs didn't sacrifice because of it. You know, It's not like you didn't just like loop something and just create like a simple groove that could just kind of get you and like this sort of like meditative of space. It's like these songs are so dramatic and move so much like listening to that one, it was almost like, um, like a John Barry like song or something like yeah, like z Old James Bond like John Barry cuts like Goldfinger or whatever. It's like it just moves everywhere, but it still manages to just have like this really heavy vibe and it's incredible, thank you because everything is so heavy emotionally and lyrically. I imagine this kind of like a movie or like a theater piece. And the reason there's a couple of instrumentals is I thought those would be like intermissions, you know, like give you a little break from the like drama. You know, it's like go go get your popcorn and your glass of wine and come back after the intermission. And then to that point that makes it so much like a movie score, like they give it like the old like um, you know black Flotation albums like Truck Turner or trouble Man right where it'd be like you'd get those instrumental cuts. I love that each song is really different from one another. Yeah, each song is very different, and not just because the featured singers different. It's like or the featured group is different. It's like each song just has its own spirit, which is super cool. That song is a cover. That was something I was actually sending some ideas to a amazing Cuban singer who Gabby worked with, and I was submitting them some instrumentals and I started what I'd just do is start like dissecting songs and redoing them just to get in the mood. And by that point I was almost finishing the album, and I was pretty hitting a wall and just kind of like sick of it. It just all or started sounding the same. And with that one, I actually I sent it to College of Knowledge as alias of a really dope group called a Surprise Chef. At that point, I sent it to them and they were like, what do you want to do. I was like, just replay it all. I'm sick of it. I hate this album, I hate my life, I hate this music. I'm done. I don't know what else to do. I just sent it to them and they completely replayed it and they sent it back and I was like, there it is. Every once in a while the producer gets to do that, you know, you just call the right people. And what a Pete did? He said, I don't write rhymes, I write checks. So that one I was just like, man, just replay it please, I can't do this anymore, and like they, yeah, yeah, I just mixed it, and so I can't take a lot of credit on that one. So funny. So you said that one was intended for Amata Petunda, Yeah I was. I was actually just recreating a lot of her her older material just to kind of get to start sending her some things. But that one I just kind of set aside. I was like, this is really cool and thought it would be a good one addition to the album. Fantastic. I should just say for people, I mean, like she's like famously from like the Buena Vista Social Club. Is how you would know her voice? Legend amazing, amazing, legendary Cuban singer. Were still performance We're lucky to still have with us. You should still send something over there. You gotta get her on something. M Yeah. So this Arby is just like kind of I guess in a way a one off because pandemic boredom. But how much do you plan on sort of being able to keep doing these projects like that, Like you know, like when something inspires you to sort of be able to just dive into a world for an album or two. I mean, I love doing that. It's hard to I kind of get obsessive about stuff like that. You know. I try to have hobbies, you know, like I try to ride my bike and play basketball. But the hobbies just inspired, Like I get an idea on a bike rider, I'm like, damn, I gonna get to the studio and do something, you know, Like I was saying, I could be healthy for me to not be in the studio and not work on music. But all the hobbies. If I think if I went fishing, like I'd be like, have a song idea and they're like, oh, I need to get back. So I don't know. As time permits, you know, are you gonna still keep doing Black Pumas? Yeah? Yeah, our touring schedule is still pretty heavy. You know, we're still besides all the touring right now, still made up dates from twenty twenty, you know, we have we have so I'm leaving you know, in a few days again tomorrow. Actually, are you guys gonna write anything more too? Or Yeah? We have a lot of new music in the works. Yeah, I have a lot of a lot of stuff. Cool cool, can't wait to hear that. Last time we spoke, I didn't realize that you were involved in a quote The Soul Sounds. Yes, yes, your CD Taurus M. I want to go out one of those songs like soundtracked like every party I threw. Wow, like maybe a year and a half, crazy man, awesome. I didn't know that. Yeah. Yeah, that was a project with my good friend Martin bad Enough from Anti Ballas and he and I made four albums under a quote The Soul Sounds and you know it's funny our our debut album and Lino solo actually is uh. Next year is the twenty year anniversary for it WI Yeah, time flies, so we uh, we're looking to kind of rerelease some of the stuff next year. But yeah, that was a super fun project that we did. Um you know, started as kind of a one off, turned into four albums. We did a little bit of touring, but our individual touring schedules and life and everything made it hard to really do it. But yeah, that was that was one of my favorite things, you know, to be involved in. So good. I want to I want to play a little bit of this song on the way out and El Temblorder feature Chico Man, which is Marco Scarcia Yah who happened to know from around Long Beach from antiballis uh. Yeah, this is one of my favorite things ever done. Yeah, that album one of the best things ever. Still so good. Thank you man, Thank you still so good man. It's hard to play that because I geeked out when I realized that. Yo. Everyone, thank you so much for for for for hanging out for a bit on Zoom. Appreciate it. Thank you man. Get to see you again. Yeah, good to see you too. Thanks to Adrian Cassada, Ela Angelica, and Tita for walking us through their songs on Volero Psychedelicos. Can hear the album and our favorite Adrian side up produced songs. Check out the playlist at broken record podcast dot com. Be sure to subscribe to our YouTube channel at YouTube dot com slash broken record Podcast, where you can find all of our new episodes. You can follow us on Twitter at broken Record. Broken Record is produced Helpful Lea Rose, Jason Cambrell, Venttaladay, Eric Sandler, and Jennifer Sanchez, with engineering help from Nick Chasin. Our executive producer is Mia Lobell. Broken Record is a production of Pushkin Industries. If you like this show and others from Pushkin consider subscribing to Pushkin Plus. Pushkin Plus is a podcast subscription that offers bonus content an uninterrupted ad free listening for four ninety nine a month. Look for Pushkin Plus on Apple Podcasts subscriptions, and if you like the show, please remember to share, wait and review us on your podcast app Our theme musics by Kenny Beats. I'm justin Richmond.