Latest / Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond / Natalia Lafourcade

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Natalia Lafourcade · Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond

• 0:15
  Speaker 1: Pushkin. Natalia la Forcade is a force as well here
• 0:24
  Speaker 1: when she sings during our conversation today. She has a
• 0:27
  Speaker 1: gorgeous voice, but she's also a deaft songwriter who's able
• 0:31
  Speaker 1: to weave together traditions that feel both modern and old
• 0:34
  Speaker 1: at once. And she's also a beautiful interpreter of song. Take,
• 0:39
  Speaker 1: for instance, the phenomenon that was the song remember Me
• 0:42
  Speaker 1: from Pixar's film Coco, or take the many instances where
• 0:46
  Speaker 1: she's recorded some of the classic songs from across Latin America,
• 0:50
  Speaker 1: performing songs by greats like Violet Tapada from Chile and
• 0:53
  Speaker 1: Augustine Lata from Natalia's home state of Vera Cruz, Mexico.
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  Speaker 1: After spending the last seven years interpreting those masters, Natalia
• 1:02
  Speaker 1: has released De TOAs Las Flores, her first album of
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  Speaker 1: originals since twenty fifteen. The songs are very much inspired
• 1:09
  Speaker 1: by where she's at in life now, but you can
• 1:12
  Speaker 1: hear her reverence for the classics still in these songs.
• 1:15
  Speaker 1: When Italia came by leda Snag a Grammy a couple
• 1:18
  Speaker 1: of months ago for her new album, I made a
• 1:20
  Speaker 1: point of stopping by her label offices that Sony to
• 1:23
  Speaker 1: have a chat with her. We discussed evolution of her
• 1:25
  Speaker 1: artistry over the last twenty five years, the time a
• 1:28
  Speaker 1: Hummingbird inspired her to move past the creative rut, and
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  Speaker 1: how the logistical challenges of recording her latest album to
• 1:34
  Speaker 1: tape wound up creating an urgency that ultimately fueled the
• 1:38
  Speaker 1: creative process. This is broken record liner notes for the
• 1:44
  Speaker 1: digital Age. I'm Justin Ritchman. In continuation of our month
• 1:48
  Speaker 1: long celebration of Women's History Month, here's my conversation with
• 1:52
  Speaker 1: Natalia La Fricade. When did you start playing guitar?
• 1:57
  Speaker 2: I started playing when I was fourteen years old, probably
• 2:02
  Speaker 2: around that, very very little. I was very very little.
• 2:07
  Speaker 1: Fourteen is actually when I you started playing? Yes, okay?
• 2:12
  Speaker 2: And how come I.
• 2:14
  Speaker 1: Wanted to join a band? Yeah?
• 2:17
  Speaker 2: I didn't want to join a band. I didn't think
• 2:19
  Speaker 2: about it.
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  Speaker 3: You know.
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  Speaker 2: My mother and I moved in to another apartment that
• 2:24
  Speaker 2: was my aunt, and in the closet there was this
• 2:28
  Speaker 2: guitar like with only three strings, and I took it.
• 2:33
  Speaker 2: I didn't know how to play, but I took it,
• 2:37
  Speaker 2: and then I started writing songs with three strings. With
• 2:41
  Speaker 2: strings I to remember, I think it was.
• 2:45
  Speaker 1: Okay, the three top strings.
• 2:48
  Speaker 2: Yeah, yeah. So I started writing songs that I don't
• 2:56
  Speaker 2: remember obviously, and then one day I told I said
• 3:00
  Speaker 2: to my mother, I want to learn guitar. So I
• 3:04
  Speaker 2: was having somebody helping me with the rest of the strings.
• 3:09
  Speaker 2: And I had this boyfriend that was playing a lot
• 3:13
  Speaker 2: of you Doo song. OK, so he was giving me
• 3:17
  Speaker 2: those three chords of that are in many of the
• 3:21
  Speaker 2: music and the songs, and that's how I started. Then
• 3:25
  Speaker 2: I had my first guitar that was jammaha, very very
• 3:30
  Speaker 2: hard to play it. It was metal strings for me
• 3:35
  Speaker 2: that was really really hard. And then when I was sixteen,
• 3:39
  Speaker 2: I went into the school and I said like, okay,
• 3:41
  Speaker 2: I'm gonna take real classes. So I was trying. Then
• 3:45
  Speaker 2: I got something you know when you ah yeah, So
• 3:51
  Speaker 2: I have to operate it. And it took a long
• 3:55
  Speaker 2: time to go back to the guitar, and I was
• 3:57
  Speaker 2: just learning myself by myself, you know, with my friends.
• 4:01
  Speaker 2: I didn't have a teacher really in guitar. It was
• 4:04
  Speaker 2: my friends telling me chords and ways.
• 4:08
  Speaker 1: When you're guitar, did you have songs in your head
• 4:11
  Speaker 1: that you wanted to sound like or artists that you
• 4:14
  Speaker 1: wanted to sound like?
• 4:16
  Speaker 2: Yeah, of course, like I had those references of Brazilian
• 4:22
  Speaker 2: music most of the time. You know. There was a
• 4:27
  Speaker 2: friend in school that I remember, that's the first person
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  Speaker 2: I asked. I said, like, I'm trying to learn the
• 4:34
  Speaker 2: chords of the guitar, but they're doing the whole finger
• 4:38
  Speaker 2: for me is just too hard. I don't have the
• 4:40
  Speaker 2: force my fingers are. They don't get used to this.
• 4:44
  Speaker 2: Do you have any chords? It's a lot of from
• 4:48
  Speaker 2: the intuition the way I play guitar. But I was
• 4:52
  Speaker 2: asking this friend, do you have any chords that is
• 4:56
  Speaker 2: easy to do? And it sounds very fancy, like very
• 5:02
  Speaker 2: like wow, she knows very well what she's doing. So
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  Speaker 2: I want to I want to write songs, I said,
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  Speaker 2: But I don't want to go just to the those
• 5:13
  Speaker 2: course that everyone uses, like just the minor on the
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  Speaker 2: major court. No, no, no, I want aha. I want this
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  Speaker 2: to sound like more interesting. So he was saying like,
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  Speaker 2: I'm going to give you some Brazilian course like from
• 5:29
  Speaker 2: Bosanova and that music, so you can go and play this.
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  Speaker 2: It's going to be simple for you. And then he
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  Speaker 2: was showing me music Alyssis on my Little Regina Kaetanvelo
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  Speaker 2: so Gio Gilberto, those kind of musicians that I fall
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  Speaker 2: in love a lot of Brazilian music. So it became
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  Speaker 2: because of this, in a way, does Bosanova way or
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  Speaker 2: Brazilian way of playing became a very strong way for
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  Speaker 2: me to fine songs and music. He was giving me discords,
• 6:17
  Speaker 2: you know, so he was saying like, if you play this,
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  Speaker 2: it's really easy and you can go. You can go
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  Speaker 2: from everywhere like in the guitar, and it's gonna be
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  Speaker 2: easy for your fingers. And then he was giving me
• 6:33
  Speaker 2: like the So that was my first approach to writing songs.
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  Speaker 2: So I was writing like a song which is called Elephants,
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  Speaker 2: Elephants and ketto goos card conao los elephanto sab cato
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  Speaker 2: coming in Sabados. Isn't the laden Now that's possible. So
• 7:11
  Speaker 2: that was really easy for me to do. But it
• 7:14
  Speaker 2: sounded like wow. I remember the label saying like, oh,
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  Speaker 2: that song is really beautiful. But for me it was simple,
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  Speaker 2: more simple with my fingers and my strength.
• 7:27
  Speaker 1: That was on your first record, right, yeah, yeah, right, yeah.
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  Speaker 1: It did seem like there was a lot of those
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  Speaker 1: Basonova rhythms, like you would hear them every so often
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  Speaker 1: in the first I don't know, like and actually a
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  Speaker 1: lot of your music still.
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  Speaker 2: Still still even the last album going through very I mean,
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  Speaker 2: for me, folk music from Latino America has become a
• 7:52
  Speaker 2: very important part of my inspiration and the way I
• 7:57
  Speaker 2: write songs to find my own voice like that, that
• 8:01
  Speaker 2: has been very important for me. But the Brazilian way,
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  Speaker 2: I don't know why. It keeps going through the songs
• 8:09
  Speaker 2: in a way that I don't even know why, but
• 8:11
  Speaker 2: it is there, like their songs in the last album
• 8:14
  Speaker 2: that have that it's antio and I'm sorry, but but
• 8:22
  Speaker 2: I have I have those two ways. I don't know,
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  Speaker 2: it's still there.
• 8:28
  Speaker 1: That's amazing. Yeah, and you got to work with Gilberto
• 8:31
  Speaker 1: Jill right yeah.
• 8:33
  Speaker 2: But long long ago, you know that was for that
• 8:37
  Speaker 2: wasna like singing those beautiful songs by Augustina la Farolito.
• 8:45
  Speaker 2: It's beautiful and also like I was singing, I don't
• 8:49
  Speaker 2: remember the song that I that I interpreted in the
• 8:53
  Speaker 2: person when he was Person of the Year at Latin
• 8:56
  Speaker 2: Grammy long ago, like twenty years ago or something like that.
• 9:01
  Speaker 2: I was very little.
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  Speaker 1: You performed the song of Latin Grammy.
• 9:04
  Speaker 2: Yeah, yeah, yeah, it was for him, like he was
• 9:06
  Speaker 2: there for me. It was like dream because I admire
• 9:11
  Speaker 2: him so much, and then they were asking me to
• 9:14
  Speaker 2: go there and play for him, so it was really beautiful.
• 9:18
  Speaker 1: How did you get to get him on your record?
• 9:21
  Speaker 2: And then for Moher Divina, we got in touch with
• 9:26
  Speaker 2: his team and he was open to do that. He
• 9:30
  Speaker 2: knew about me. I was impressed by that because obviously
• 9:34
  Speaker 2: I thought, of course he's not gonna remember, and that's
• 9:37
  Speaker 2: fine because he's Jilbert to Jill. But there was this
• 9:42
  Speaker 2: concert in Mexico City and I went there with my
• 9:44
  Speaker 2: friend Queso, which is also one of the persons that
• 9:48
  Speaker 2: was teaching me a lot of Brasilian music, and we
• 9:51
  Speaker 2: went to this concert and then I get to say
• 9:54
  Speaker 2: hello to Gilbert and he was like, hey, you know,
• 9:58
  Speaker 2: how are you. I can't believe he remains my name.
• 10:03
  Speaker 2: He knows my name. And then years after that, he
• 10:07
  Speaker 2: was willing to do the song with me.
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  Speaker 1: Were you in the studio with them or did you know?
• 10:13
  Speaker 2: Really that was ah, that was in the distance. I
• 10:16
  Speaker 2: hope it was like that. Yeah, yeah, m m man.
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  Speaker 1: I was hoping you got to be in the studio
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  Speaker 1: with them.
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  Speaker 2: Imagine that. Yeah, And then years later I got to
• 10:26
  Speaker 2: do the same Person of the Year and sing for
• 10:28
  Speaker 2: Kaetano Veloso. So that was also for me, like I can.
• 10:34
  Speaker 2: It was librous and yeah, I was able to sing
• 10:37
  Speaker 2: to him as well. I think they both are a
• 10:41
  Speaker 2: dream for me, you know, like to get to to
• 10:44
  Speaker 2: play together. It might be possible.
• 10:47
  Speaker 1: Who knows, I would love that it. So Brazilian music
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  Speaker 1: was like kind of the first maybe besides pop music.
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  Speaker 1: It was the first like music that you really dove
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  Speaker 1: into many.
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  Speaker 2: Many different changes and types of music. Really, you know.
• 11:04
  Speaker 2: I remember the first album that I bought with my
• 11:07
  Speaker 2: money was the debut album by Bjork and Those Mama's
• 11:13
  Speaker 2: Gone by Erica Vadu, Jammy Kwuai with Traveling Without Moving,
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  Speaker 2: those kind of albums. That was the music I listened.
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  Speaker 2: And I was young and starting to have my own
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  Speaker 2: taste in music, you know, like when you're like I
• 11:32
  Speaker 2: am listening to this and my headphones and I like it,
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  Speaker 2: and I don't care if nobody else is liking this music.
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  Speaker 2: I feel connected to do this for some reason because
• 11:40
  Speaker 2: I didn't understand the words and the lyrics on those songs.
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  Speaker 2: I was just a music connection to those musics. My
• 11:49
  Speaker 2: parents are musicians and the music I was listening at
• 11:52
  Speaker 2: home with mainly classical music, sometimes poletros that my mother
• 11:58
  Speaker 2: liked a lot, many different changes of music, jo Letta Bara,
• 12:02
  Speaker 2: those kinds of music. So then I started listening to
• 12:07
  Speaker 2: new things in the school. I remember the first time
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  Speaker 2: I heard Billie Holiday and I was like, wow, this
• 12:14
  Speaker 2: is totally another thing, like I love this, And then
• 12:18
  Speaker 2: I went through Elaficierro, Nina Simon. I was listening to
• 12:22
  Speaker 2: Johnny Mitchell. I remember, like that cassette of Blue that
• 12:26
  Speaker 2: my friend gave me, and I was like, oh, I
• 12:29
  Speaker 2: can't believe this. This is really Tori Amos, PG Harvey,
• 12:33
  Speaker 2: you know Apple. I was getting into those kind of
• 12:36
  Speaker 2: things by my friends showing me that music because that
• 12:41
  Speaker 2: wasn't in my background from my childhood or nowhere really
• 12:47
  Speaker 2: radio Head, I don't know, I was listening to that.
• 12:50
  Speaker 2: It has been changing. Then I was more curious about like,
• 12:55
  Speaker 2: wait a minute, I want to hear what's in Mexico,
• 12:58
  Speaker 2: what's in my country?
• 12:59
  Speaker 1: When did that happen? Because it seems at some point
• 13:02
  Speaker 1: and maybe around Moorhead, that that's when that happened.
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  Speaker 2: Yeah, you know, I was left in that for one
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  Speaker 2: year almost and I was very close to say I'm
• 13:13
  Speaker 2: not going back to Mexico. And it was the time
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  Speaker 2: I was not having a good moment in terms of
• 13:21
  Speaker 2: my career, like I didn't know what I really wanted
• 13:24
  Speaker 2: to do. For a moment, I was like, I don't
• 13:27
  Speaker 2: want to do this anymore. This is not for me.
• 13:29
  Speaker 2: What caused that, I think it was that I was
• 13:32
  Speaker 2: very young. I was eighteen when I released my first album,
• 13:37
  Speaker 2: and then everything happened fast, and for me, it was
• 13:42
  Speaker 2: just too much information. And then I decided to have
• 13:45
  Speaker 2: a band, and that was for me a lot, you know,
• 13:50
  Speaker 2: because I had so many things that I wanted to
• 13:54
  Speaker 2: explore in music. But then it seemed that everything was
• 14:00
  Speaker 2: already taken by everyone around me. You know, it wasn't
• 14:05
  Speaker 2: my decisions or it wasn't the way I wanted to be.
• 14:10
  Speaker 2: But I was doing that for so long that I
• 14:12
  Speaker 2: got very far, you know, from knowing what I wanted
• 14:16
  Speaker 2: and how I wanted the music to sound. Like for me,
• 14:21
  Speaker 2: it was like I need to go far, far from home,
• 14:23
  Speaker 2: and I need to go to a place where nobody
• 14:27
  Speaker 2: will know my name and I don't know how to
• 14:30
  Speaker 2: speak that language, and I will need to learn and
• 14:34
  Speaker 2: I will be free. It will be my time and
• 14:38
  Speaker 2: no more music. But I ended up because of my
• 14:41
  Speaker 2: friends in the house full of musicians and they were
• 14:44
  Speaker 2: playing a lot of blues.
• 14:47
  Speaker 1: This is in Canada.
• 14:48
  Speaker 2: This is in Canada. So I got to listen to
• 14:52
  Speaker 2: all the genes in music and to be surrendered by
• 14:56
  Speaker 2: that vibe, you know, of a lot of musicians around me,
• 15:01
  Speaker 2: and that was beautiful for me. It helped me to
• 15:04
  Speaker 2: go back into music. And then I was writing. Yeah, yeah,
• 15:10
  Speaker 2: but I stopped the music for like three months or
• 15:13
  Speaker 2: something like that. I wasn't playing anything. There was piano, guitars,
• 15:18
  Speaker 2: any instrument, drums, anything, and I didn't touch anything. I
• 15:23
  Speaker 2: was just like trying to recover my soul. I think
• 15:27
  Speaker 2: it was the thing of the soul and the heart.
• 15:30
  Speaker 2: And then there was one day I sat on the
• 15:32
  Speaker 2: piano and I started playing this instrumental album which is
• 15:37
  Speaker 2: called The Four Seasons of Love that it isn't even
• 15:41
  Speaker 2: in Spotify. It was just for a period of time there,
• 15:45
  Speaker 2: I'm gonna put it there. But that was the music
• 15:48
  Speaker 2: that was coming. Has not lyrics but alwa, it's just music.
• 15:53
  Speaker 2: So that was yes, I did, but it was the
• 15:57
  Speaker 2: only album that I own my master But I was
• 16:00
  Speaker 2: telling the label in Mexico because they, of course imagine
• 16:04
  Speaker 2: I was solo artists. But then I say like, I
• 16:08
  Speaker 2: want a band, and they were like, but how a
• 16:11
  Speaker 2: band like your solo artist? No, no, no, I want
• 16:13
  Speaker 2: my band. And then I said like, no, I don't
• 16:15
  Speaker 2: want anything. I'm going to Canada. And then I go
• 16:18
  Speaker 2: back to Mexico and I'm like, okay, I'm going to
• 16:19
  Speaker 2: release an album, but there's no voice in the album.
• 16:23
  Speaker 2: So the label is like, what what do you expect
• 16:26
  Speaker 2: us to do with an album that doesn't have your voice?
• 16:29
  Speaker 2: So I was like, I don't know, but I'm going
• 16:31
  Speaker 2: to release those music. So for them it was like, okay,
• 16:34
  Speaker 2: you do it and it's yours. You can do whatever
• 16:37
  Speaker 2: you want with that music. And then I was doing
• 16:40
  Speaker 2: my album back with my songs, so that was really
• 16:44
  Speaker 2: good for me to go back to the songwriting. But
• 16:48
  Speaker 2: at that moment, I realized that there was something missing
• 16:52
  Speaker 2: to connect to people. I was connecting in a way,
• 16:57
  Speaker 2: but not the way I wanted to connect. You know,
• 16:59
  Speaker 2: I want to tell you I just wanted to have
• 17:03
  Speaker 2: something more how would you say it? To very simple
• 17:09
  Speaker 2: language through music that connects to people's feelings and.
• 17:17
  Speaker 1: Make it release plain and simple note not complicated, because
• 17:21
  Speaker 1: you have some lyrics that I mean, you know, almost
• 17:24
  Speaker 1: like I want to compare to like it's all right
• 17:26
  Speaker 1: mom only bleeding Bob Dylan, where it's like, you know,
• 17:28
  Speaker 1: it's fast and like the words are quick. Yeah, a
• 17:31
  Speaker 1: lot of.
• 17:31
  Speaker 2: Verses yeah ahah, that's right, and.
• 17:33
  Speaker 1: A lot of references sometimes to pop culture.
• 17:36
  Speaker 2: Yeah. And I really wanted to make it pretty but
• 17:41
  Speaker 2: simple quotio like just everyday language but poetry and something beautiful.
• 17:49
  Speaker 2: But I felt like I need to learn I need
• 17:53
  Speaker 2: to learn more about songwriting. So I was still louder.
• 17:57
  Speaker 2: For me, it was like, Okay, this guy really has
• 18:02
  Speaker 2: amazing music. It sounded so like Mexico, so like Vera Gruz.
• 18:09
  Speaker 2: I don't know, I just fell in love so much
• 18:11
  Speaker 2: with his music.
• 18:12
  Speaker 1: Had you really listened to it before? I bet you
• 18:15
  Speaker 1: heard it, but.
• 18:16
  Speaker 2: Yes, because it's very famous songs from Augustine Lada, but
• 18:20
  Speaker 2: not consciously about it, you know, like not really paying
• 18:24
  Speaker 2: attention to the chords to music the way he moved
• 18:28
  Speaker 2: through the music.
• 18:29
  Speaker 3: You know.
• 18:30
  Speaker 2: And I was trying to learn that on my guitar
• 18:33
  Speaker 2: and I was like, wow, this is really a hard thing,
• 18:37
  Speaker 2: Like it wasn't easy, you know, for me, but I
• 18:40
  Speaker 2: learned a lot from his music, and then I was like, okay,
• 18:44
  Speaker 2: I got to listen to Tonya la negra, you know,
• 18:48
  Speaker 2: singing better, a tropical singing asul, those songs that for
• 18:53
  Speaker 2: me sounded like listening to Eta James or like those
• 18:59
  Speaker 2: beautiful music and standards that I heard in English before.
• 19:04
  Speaker 2: But it was Spanish, and it was boletos and it
• 19:07
  Speaker 2: was tango, and there was many dangers there that I
• 19:10
  Speaker 2: would live. I can do this in Spanish. And then
• 19:14
  Speaker 2: I just started like searching for more composers, great music
• 19:19
  Speaker 2: and Spanish.
• 19:20
  Speaker 1: Could you do a little bit of your version of
• 19:22
  Speaker 1: Vera Cruz Acristinados. I think it's credited to his sister, but.
• 19:30
  Speaker 2: You know, I see Colologne platu, you see pirata Nacio rumba,
• 19:47
  Speaker 2: Vera's in vera Cruz, something like that, Vera Cruz ring
• 20:01
  Speaker 2: consito dias and suniola soulas the it's a little loud
• 20:11
  Speaker 2: Vera Cruz spellasi to the bartria kesavi so fri conta
• 20:23
  Speaker 2: vera Cruz so to s notches Elu you're the straight Yes,
• 20:32
  Speaker 2: PALMERI mo vera Cruz. Mm hmm, all Wanda tattoos, players
• 20:47
  Speaker 2: like Hanna Standrekable something like that. It's beautiful, it's very passionate.
• 20:56
  Speaker 2: That to you a s colon Plata. So it's more like,
• 21:06
  Speaker 2: but I don't know, it's it's so the way we
• 21:10
  Speaker 2: are in Mexico.
• 21:11
  Speaker 1: So ah like that, right, especially maybe even more so
• 21:15
  Speaker 1: in Vera Cruz right now.
• 21:16
  Speaker 2: Yeah, yeah, yeah, yeah, And I don't know, Like I
• 21:20
  Speaker 2: really felt like I want to learn to do this.
• 21:24
  Speaker 2: I want to learn to sing this music and and
• 21:29
  Speaker 2: write this way in my way, in my universe and
• 21:33
  Speaker 2: my approach, my own approach. I got really inspired by
• 21:38
  Speaker 2: that music. And then I was able to listen to
• 21:41
  Speaker 2: other composers that really affect me in a way, Like
• 21:45
  Speaker 2: I was able to go back to Bile, go back
• 21:49
  Speaker 2: to Simon DIA's like this, great composers from Venezuela. It
• 21:54
  Speaker 2: helped me a lot to find my own way.
• 21:58
  Speaker 1: We have to take a quick break and then we'll
• 22:00
  Speaker 1: be back with more from a conversation with Natalia la Fricade.
• 22:08
  Speaker 1: We're back with Nata Alla. Could I ask you also
• 22:11
  Speaker 1: because Fioletta part is one of my favorite and one
• 22:13
  Speaker 1: of my favorite songs from her. You did a version
• 22:15
  Speaker 1: of always been one of my favorites is Kado.
• 22:20
  Speaker 4: Let's see if you can remember the most beautiful lyrics.
• 22:28
  Speaker 2: H Okay, that's somethime case coll okayllos those made almost
• 22:43
  Speaker 2: who to your your cause, cola, no many of your
• 22:56
  Speaker 2: dumbellows in the mood or something like that, call a
• 23:03
  Speaker 2: comb Colando your came your to and estimoon your your
• 23:16
  Speaker 2: Oh you case your yr Yo, plan amuson and bot
• 23:33
  Speaker 2: your your your world? Look up plan your yard, your
• 23:39
  Speaker 2: rodos are you or a Telenoto cas.
• 23:53
  Speaker 1: Your your.
• 23:58
  Speaker 2: Something like that. I don't remember the lyrics instead of
• 24:01
  Speaker 2: gonna and chile.
• 24:05
  Speaker 1: Everyone listening, I feel I should look up the lyrics
• 24:07
  Speaker 1: that it's the most beautiful song maybe ever know, one
• 24:11
  Speaker 1: of the greatest.
• 24:12
  Speaker 2: She has so many, but yeah, for me, I don't know.
• 24:16
  Speaker 2: It was really beautiful to have this approach to those
• 24:20
  Speaker 2: musics and not so easy, not so easy to sing.
• 24:24
  Speaker 2: But I'm still learning.
• 24:26
  Speaker 1: So going back and listening to that music and learning
• 24:30
  Speaker 1: to play it and learning to sing it, it seems like
• 24:31
  Speaker 1: that also it changed your songwriting.
• 24:35
  Speaker 2: Maybe yeah, of course I realized that when I listened
• 24:40
  Speaker 2: to the last album that I made, and it's probably
• 24:44
  Speaker 2: the most personal album that I have, and I think
• 24:49
  Speaker 2: in every song there is very clear the influences that
• 24:54
  Speaker 2: I have been able to explore through the years. There
• 24:58
  Speaker 2: is this incredible composer from Venezuela. I love his music
• 25:03
  Speaker 2: as his name is Simondas. Maybe you know him. When
• 25:07
  Speaker 2: I heard him the first time, I would like, this
• 25:12
  Speaker 2: is incredible music, so magic and the metaphors through the lyrics,
• 25:17
  Speaker 2: and he uses a lot nature as an inspiration and
• 25:21
  Speaker 2: for me, I felt so connected because the place I live,
• 25:26
  Speaker 2: which is better Cruise, I love it so much because
• 25:29
  Speaker 2: of the weather and the nature around the earth. So
• 25:33
  Speaker 2: I was learning the very very first song that I
• 25:37
  Speaker 2: learned by him, This is your video commadres Yes Samoa
• 25:47
  Speaker 2: two kaso me video alone only combationdreos Yes commos as
• 25:59
  Speaker 2: us Commo Samoa to Korazon conning meo too koa zoono
• 26:08
  Speaker 2: so so beautiful. Yeah, and I can see how music
• 26:14
  Speaker 2: has impact. Then maybe a song like Parto, which is
• 26:19
  Speaker 2: the song from my favorite you like Pararido You know
• 26:26
  Speaker 2: things me om Cagas, Beertos, Bara surfle Is, Condo sce
• 26:37
  Speaker 2: and skin Finitor Moon Siri Salas. Then through the to
• 26:44
  Speaker 2: Beru Pardos Elelientola Gabola. It's in the SETI casin Sindelf
• 26:59
  Speaker 2: and two movie Me and to Be the Universo and
• 27:04
  Speaker 2: two certain told Serbian gianno Sarbian?
• 27:25
  Speaker 3: Do you.
• 27:28
  Speaker 2: Baraself? Philly? So it reminds me to those musics.
• 27:34
  Speaker 1: How did you start that song humming Bird in English?
• 27:38
  Speaker 2: The Huming Bird? I was in this beautiful place that
• 27:43
  Speaker 2: my friend Gail has in Bera Gruz was her mother's
• 27:48
  Speaker 2: farm and Rossillo. I actually have a song that I
• 27:53
  Speaker 2: wrote for Rossio, the Tolos campus. And this friend, she's
• 27:58
  Speaker 2: not physically anymore here, but she's part of my life
• 28:03
  Speaker 2: and she's a very important person for what I do.
• 28:08
  Speaker 2: Like she was in credible artist, and in this place,
• 28:13
  Speaker 2: I was recovering myself for something. I don't know what
• 28:16
  Speaker 2: that was. I think we all have moments when you
• 28:21
  Speaker 2: just feel like your heart is broken for things that
• 28:25
  Speaker 2: happen in life. But then everything goes so fast and
• 28:29
  Speaker 2: you don't get to really like connect to when you
• 28:33
  Speaker 2: feel there's pain that you need to see and pay
• 28:37
  Speaker 2: attention to, you know. So I was recovering myself from that,
• 28:42
  Speaker 2: and I decided to go there for a month. I
• 28:45
  Speaker 2: went there with my friend Alan, and we were trying
• 28:49
  Speaker 2: to see if there was music coming or not. That
• 28:52
  Speaker 2: was for another project that I was working on. But
• 28:55
  Speaker 2: he said like, don't worry, I'll be around. You don't
• 28:59
  Speaker 2: feel any pressure, Like I'll be around and you feel
• 29:02
  Speaker 2: like you want to come and record, will do it.
• 29:05
  Speaker 2: If not, don't worry. And then I was in the
• 29:08
  Speaker 2: room one day and I remember that I was inside
• 29:11
  Speaker 2: the room for many days, not being able to do much,
• 29:15
  Speaker 2: just sleep or read or just be there. And I
• 29:21
  Speaker 2: remember there was this coming bird coming every day like
• 29:23
  Speaker 2: doing thus and the window, and I was like, how
• 29:29
  Speaker 2: come a homing bird could come to a window go
• 29:32
  Speaker 2: to a tree, like, don't come to the window or
• 29:34
  Speaker 2: the door, like there's nothing here. But symbolically, I felt
• 29:39
  Speaker 2: like this bird was calling to me and it made
• 29:42
  Speaker 2: me feel like it was the spirit of Rossillo saying
• 29:47
  Speaker 2: like come on, go outside, go for a walk, or
• 29:52
  Speaker 2: come on, there's life out there, like you're in the bed,
• 29:55
  Speaker 2: please like come out. So there was a day I
• 29:58
  Speaker 2: was just like, Okay, I think I'm gonna go for
• 30:00
  Speaker 2: a walk, and then I started like having mourning walks
• 30:04
  Speaker 2: into the forest and then I just this melody came
• 30:08
  Speaker 2: to my mind, like I was singing this, and then
• 30:17
  Speaker 2: I went to the room and I only had a harana,
• 30:20
  Speaker 2: which is this instrument for so and I was playing
• 30:25
  Speaker 2: on that instrument the melody and it came like that.
• 30:29
  Speaker 2: But I didn't pay so much attention to this song,
• 30:33
  Speaker 2: you know, maybe because the way I was feeling for
• 30:35
  Speaker 2: me was just a basic lyric, everything is gonna be fine, Humimbert.
• 30:43
  Speaker 2: I had that Homemembert in my mind and my heart,
• 30:46
  Speaker 2: so I didn't pay so much attention to the song
• 30:49
  Speaker 2: until I was working with the producer of the album
• 30:53
  Speaker 2: and I show him this song and he said like,
• 30:56
  Speaker 2: do you like this one? And I was like not
• 30:58
  Speaker 2: really so much as normal, I said like, we need
• 31:02
  Speaker 2: to record that song in the album. So that's why
• 31:05
  Speaker 2: I love producers because they help. So that's how it came.
• 31:10
  Speaker 1: And the producer on your newest record, the last Florist,
• 31:13
  Speaker 1: is Adan Horoski. That's right, his son.
• 31:18
  Speaker 2: Yeah.
• 31:19
  Speaker 1: How did you become friends with him?
• 31:21
  Speaker 2: When I was working the tribute to Augustine Larra years ago,
• 31:26
  Speaker 2: I was asking Nadan to come and sing one of
• 31:29
  Speaker 2: the songs on the album, and then we became friends,
• 31:33
  Speaker 2: very close, very close to each other. We love each
• 31:37
  Speaker 2: other a lot, and then for many years we were
• 31:40
  Speaker 2: saying like, let's collaborate, let's do something together. And twenty
• 31:45
  Speaker 2: twenty I realized I really needed to go into the
• 31:48
  Speaker 2: studio and record my music. And I was asking him
• 31:52
  Speaker 2: would you be okay to be the producer?
• 31:55
  Speaker 1: And he was like, of course, what made you think
• 31:56
  Speaker 1: he was the one for this record?
• 31:58
  Speaker 2: You know? It was just a feeling in my belly.
• 32:01
  Speaker 2: I don't know. Sometimes I moved from my belly feelings.
• 32:06
  Speaker 1: From your belly to your mouth.
• 32:08
  Speaker 2: Yeah, So I just felt that because actually my managers
• 32:12
  Speaker 2: were saying like why Adan, and I was like, I mean,
• 32:16
  Speaker 2: he's my friend. I had other albums that we were
• 32:20
  Speaker 2: working on, Canto Mexico, Mussas. Those were albums that made
• 32:27
  Speaker 2: me connect a lot with traditional music from Mexico and
• 32:30
  Speaker 2: Latin America. There were many people around those and it
• 32:34
  Speaker 2: was good and I really enjoyed the process of those records.
• 32:39
  Speaker 2: But I felt like I just went to stay with
• 32:42
  Speaker 2: my friend and hang out with him and used to
• 32:46
  Speaker 2: be silenced in the studio. Nobody else. I asked everyone
• 32:51
  Speaker 2: not to come like the label, my husband, my managers,
• 32:55
  Speaker 2: I was with Rossio only the two of us and
• 32:58
  Speaker 2: the band with the producer Adan and also the beautiful
• 33:02
  Speaker 2: band that I that I had this brand.
• 33:04
  Speaker 1: It's incredible Mark Rebow with everyone including Tom Waite, and
• 33:09
  Speaker 1: just incredible.
• 33:10
  Speaker 2: We love him, yeah or huge fans, right, amazing, especially
• 33:14
  Speaker 2: if we play guitar.
• 33:16
  Speaker 1: Yeah, especially we play I mean guitarist.
• 33:20
  Speaker 2: Just he's He's crazy.
• 33:22
  Speaker 1: What was it like meeting him and playing with him?
• 33:24
  Speaker 2: It was amazing. I mean I just want my life
• 33:27
  Speaker 2: to be like that all the time.
• 33:29
  Speaker 1: Like you guys look in Texas too, write like some
• 33:32
  Speaker 1: where were you.
• 33:33
  Speaker 2: In Sonic Ranch which is in the middle of the
• 33:37
  Speaker 2: desert and Ranch of the Nest. It's beautiful there and
• 33:43
  Speaker 2: Tony Ranch has this amazing studio, many studios, sir. And
• 33:49
  Speaker 2: then the producer was listening to the songs. It was
• 33:53
  Speaker 2: one year and also because of the pandemic, we were
• 33:57
  Speaker 2: taking it very slow, no pressure, and I was sending
• 34:01
  Speaker 2: the music and the one day he was like, I
• 34:04
  Speaker 2: think Mark, we would come and record on your album.
• 34:08
  Speaker 2: And I was like, that's really far from us, Like
• 34:13
  Speaker 2: how how are we going to make this true? But
• 34:16
  Speaker 2: Adan is really magic. He's like, let's call him. Let's
• 34:21
  Speaker 2: just give a call.
• 34:22
  Speaker 1: I can only imagine what a dance like based on
• 34:25
  Speaker 1: his dad's films, you know, like I can only imagine
• 34:27
  Speaker 1: that lineage.
• 34:28
  Speaker 2: Yeah, yeah, people, I know you know when I was
• 34:31
  Speaker 2: I was mixing the album in parties with Adan. Then
• 34:35
  Speaker 2: he invited me to Alejandro's house to just have a coffee.
• 34:39
  Speaker 2: And I didn't want to ask for anything else but that,
• 34:44
  Speaker 2: you know, like it was your normal Sunday, just let's
• 34:47
  Speaker 2: have a coffee and cookies and talk. But then he
• 34:50
  Speaker 2: was telling me like I'm going to read you tat
• 34:54
  Speaker 2: to you and like okay, okay.
• 34:58
  Speaker 1: So it was so he's got to be out of control.
• 35:00
  Speaker 2: Right, yes, and the best way they they are the best.
• 35:04
  Speaker 2: It's really inspiring to be close to them. And there
• 35:08
  Speaker 2: was the reason I also wanted to work with that,
• 35:11
  Speaker 2: you know. I wanted to be close to him and
• 35:14
  Speaker 2: his magic and mystic I wanted.
• 35:18
  Speaker 1: To have that.
• 35:19
  Speaker 2: And then we have beautiful people in the band, like Mark,
• 35:22
  Speaker 2: not just Mark Ribbot, I mean Cyril on the drums,
• 35:26
  Speaker 2: Sebastian on the base.
• 35:30
  Speaker 1: From your it was like your dad's piano student or
• 35:33
  Speaker 1: harpsichord student.
• 35:35
  Speaker 2: Yeah, not really like that close. They became friends. Really.
• 35:40
  Speaker 2: The funniest thing is that. Emiliano Dorantez is my neighbor. Right,
• 35:45
  Speaker 2: he lives very close from where I live, but I
• 35:49
  Speaker 2: mean in the middle of nowhere. And then during the pandemic,
• 35:54
  Speaker 2: there was a moment we oh everywhere right, like place
• 35:58
  Speaker 2: I want to see another human being. And we were
• 36:02
  Speaker 2: doing this Wednesday of the week movies in the forest
• 36:07
  Speaker 2: in the jungle, you know, in the Yeah, so we
• 36:10
  Speaker 2: put like a blanket or something like that, and we
• 36:13
  Speaker 2: were doing the movie theater there and then Emiliana was
• 36:17
  Speaker 2: coming and we became friends because of that because we
• 36:20
  Speaker 2: were chatting. And then I was like, hey, would you
• 36:22
  Speaker 2: come to the house and give me some piano lessons
• 36:25
  Speaker 2: maybe because I am free, I have time, And then
• 36:29
  Speaker 2: he was coming, and then one day I was showing
• 36:32
  Speaker 2: him some of the songs that I was writing, and
• 36:34
  Speaker 2: then he was trying to play those and on the
• 36:37
  Speaker 2: piano he plays so beautiful, incredible, He's genius and he's
• 36:43
  Speaker 2: just sensitive. Yeah, it's really amazing and yeah, so he
• 36:51
  Speaker 2: ended up recording the music and on the album. And
• 36:55
  Speaker 2: I remember Mark Rieb was the first day they had
• 36:58
  Speaker 2: like this moment of musicians, you know, like make was
• 37:02
  Speaker 2: saying like, oh, you're playing those classical, beautiful piece and that,
• 37:06
  Speaker 2: and then Emiliana was saying like, no, I'm just writing
• 37:12
  Speaker 2: this at the moment, I'm just playing this. I am improvising.
• 37:15
  Speaker 2: And Mark was like everyone were like, wow, this kid
• 37:20
  Speaker 2: has something special. And then he's like, give me a
• 37:23
  Speaker 2: note and I'm going to play a card and then
• 37:25
  Speaker 2: you give me another note. And they were just giving
• 37:28
  Speaker 2: crazy notes that will crash between each other so to
• 37:32
  Speaker 2: make it really difficult for him. But then he was
• 37:35
  Speaker 2: doing like a whole area or something like that, like
• 37:38
  Speaker 2: peace out of that. He was playing ten minutes non
• 37:43
  Speaker 2: stop from what the notes that they were giving to him.
• 37:47
  Speaker 2: So then Mark Rivet and Sebastian they were just like, Okay,
• 37:51
  Speaker 2: we're ready to go. Like there's not gonna be any
• 37:54
  Speaker 2: problems with this kid because he's like twenty right or
• 37:57
  Speaker 2: something one right now. I think, Yeah, there's a lot
• 38:00
  Speaker 2: of like those magic moments in the process of the album,
• 38:04
  Speaker 2: which I love. I think it's important to have that
• 38:08
  Speaker 2: kind of connections.
• 38:10
  Speaker 1: It's beautiful that you cut it to tape too and
• 38:13
  Speaker 1: not digital.
• 38:14
  Speaker 2: Yeah, and also Adan came with that idea. I always
• 38:18
  Speaker 2: wanted to record that way. Then I found out that
• 38:22
  Speaker 2: for producers or engineers. Sometimes it was like, Okay, this
• 38:27
  Speaker 2: is going to be more difficult, and then I just
• 38:30
  Speaker 2: didn't dream about it anymore. But with that Dan were like, yes,
• 38:36
  Speaker 2: let's do it, let's try.
• 38:37
  Speaker 1: Yeah, and no metronomes too, write like no click, no metronome.
• 38:41
  Speaker 2: No metronomo, no click, no bait. But the hardbat It
• 38:46
  Speaker 2: was the first time I was doing it this way.
• 38:49
  Speaker 2: It was beautiful because Adan didn't want us to rehearsal
• 38:53
  Speaker 2: that much the music. Actually, he asked me not to
• 38:57
  Speaker 2: prepare any demo, which I didn't. I did like three
• 39:02
  Speaker 2: four demos of the songs. I wanted to have the
• 39:06
  Speaker 2: brass section because I just went to see it would
• 39:10
  Speaker 2: work or not. But the other songs, he was playing
• 39:15
  Speaker 2: that music from the message on my phone, which was
• 39:18
  Speaker 2: right the moment what I wrote the song, and then
• 39:21
  Speaker 2: from that we were saying like, okay, this could be
• 39:25
  Speaker 2: an intro, so you, Emiliana, can improvise something here that
• 39:29
  Speaker 2: would be like close to this, And then hear you
• 39:34
  Speaker 2: mark you're going to start here, and then.
• 39:36
  Speaker 1: We were.
• 39:38
  Speaker 2: Ill say, like making the construction of the arrangement at
• 39:43
  Speaker 2: the moment while listening only my boys and the guitar,
• 39:46
  Speaker 2: trying to grab the feelings, you know. So there were
• 39:50
  Speaker 2: moments when we were really connecting, and there were moments
• 39:54
  Speaker 2: that were more like a mess, like no, this is
• 39:57
  Speaker 2: not the right way, no, no, no, please take that
• 40:00
  Speaker 2: distortion out of the guitar, we're saying to Margaret. But
• 40:04
  Speaker 2: they were like, wow, I like this. But then Alaan
• 40:08
  Speaker 2: was like, no, no, this is not the song for this.
• 40:11
  Speaker 2: And then you were like, okay, I'm gonna change. I mean,
• 40:14
  Speaker 2: he has so many instruments around and I don't know.
• 40:18
  Speaker 2: We were just trying things and playing. I love to
• 40:22
  Speaker 2: do that, and yeah, the songs and the music started
• 40:26
  Speaker 2: to come to show its own spirit and we were like, okay,
• 40:33
  Speaker 2: this was really beautiful, Like let's leave it like this.
• 40:36
  Speaker 2: And the good thing was that Emiliano has a really
• 40:39
  Speaker 2: good memory. He was the only one maybe that really
• 40:43
  Speaker 2: know the chords and the harmonies of the song. So
• 40:46
  Speaker 2: he was ready to be there for the other ones
• 40:50
  Speaker 2: saying like no, it's not this cord, it's just one,
• 40:52
  Speaker 2: or let's go from this place to this place. But
• 40:55
  Speaker 2: he was the guy in the room that had all
• 40:58
  Speaker 2: that information because we were already playing the music in Bacruz.
• 41:05
  Speaker 1: So he was more like a bit more. Yeah, all
• 41:08
  Speaker 1: those elements I think add up the record is so
• 41:11
  Speaker 1: it sounds like so free and beautiful, and it just
• 41:15
  Speaker 1: goes so many different directions. There's just some beautiful arrangements
• 41:19
  Speaker 1: and beautiful songs.
• 41:20
  Speaker 2: Thank you, Thank you, really appreciate it.
• 41:22
  Speaker 1: Yeah, we have to pause for one last quick break
• 41:26
  Speaker 1: and then we'll be back with more from Natalia la Forcade.
• 41:34
  Speaker 1: We're back with the rest of my conversation with Natalia
• 41:37
  Speaker 1: la Forcade. There's not a lot of artists that if
• 41:41
  Speaker 1: you listen to the first record through the most recent
• 41:44
  Speaker 1: record and been doing it twenty four years about they
• 41:48
  Speaker 1: all get better, you know, and to where like this
• 41:51
  Speaker 1: one's like the best one. That's just an incredible feat.
• 41:55
  Speaker 2: Yeah. I think it's really hard to reinvent. I don't
• 41:59
  Speaker 2: know if that's what exists in English, to explore what
• 42:04
  Speaker 2: is new for your universe some musician, songwriter or artists human.
• 42:13
  Speaker 2: I mean, it's a lot of search and for me,
• 42:17
  Speaker 2: this album is a master Like it has taught me
• 42:23
  Speaker 2: so many important things that I want to keep close,
• 42:27
  Speaker 2: you know, even ten years in the future, twenty years,
• 42:31
  Speaker 2: Like I don't want to forget the things that I've
• 42:34
  Speaker 2: learned through this process because I think it's very important
• 42:38
  Speaker 2: to keep trying to do this work. You know, like
• 42:41
  Speaker 2: this album made me sit down even on the stage,
• 42:47
  Speaker 2: Like I felt like this album was saying, I don't
• 42:49
  Speaker 2: want you to move during the concert. I just want
• 42:53
  Speaker 2: you to play and sing and you will sit down
• 42:57
  Speaker 2: andrics No, just bring it all from that point and
• 43:03
  Speaker 2: be very calm and everything. I was actually thinking about
• 43:07
  Speaker 2: this interview right now. I think like this could have
• 43:11
  Speaker 2: happened like one youg or two when I was releasing
• 43:13
  Speaker 2: the album, right, but things like this moment has happened,
• 43:18
  Speaker 2: Like this album has given to me beautiful moments. But
• 43:22
  Speaker 2: it's like in the time of this album, not the
• 43:26
  Speaker 2: time that I want your time, Yeah, not my time.
• 43:29
  Speaker 2: And I found that beautiful because I've learned that not
• 43:33
  Speaker 2: always you might have the control of what you're doing
• 43:37
  Speaker 2: and the music and the way it flows.
• 43:41
  Speaker 1: I'm so glad, thank you so much for the for
• 43:43
  Speaker 1: the album. It's beautiful, all the music. And I'm glad
• 43:45
  Speaker 1: also it's been recognized. I mean, you're here because you're
• 43:48
  Speaker 1: for a Grammy Award. Yeah, it's beautiful that it's getting
• 43:53
  Speaker 1: the credit it deserves.
• 43:54
  Speaker 2: Yeah. Yeah, I feel happy. I feel happy for that,
• 43:57
  Speaker 2: you know. I mean, you're not thinking about this recognition
• 44:02
  Speaker 2: while you're doing the thing, you know. But it was
• 44:06
  Speaker 2: hard moments when we took the machine to better a
• 44:09
  Speaker 2: cruise that was crazy, you know. We took the machine
• 44:13
  Speaker 2: to my studio once and then I got COVID. They
• 44:16
  Speaker 2: had to take it back to Mexico City and then
• 44:20
  Speaker 2: bring it back again to my studio. Yeah, tap machine machine. Yeah,
• 44:25
  Speaker 2: they were taking the machine to my house and everyone
• 44:32
  Speaker 2: were there, the cordo strings, everyone, but the machine wasn't good.
• 44:38
  Speaker 2: It was damaged for a reason. And then it was
• 44:41
  Speaker 2: two days of like, let's find those little piece that
• 44:45
  Speaker 2: we needed to fix it. And I don't know, like
• 44:49
  Speaker 2: there were funny moments like that, and the recording process
• 44:55
  Speaker 2: of the album, it's very unknown secum cities in English
• 45:01
  Speaker 2: handmade when you try to record like that. I mean,
• 45:05
  Speaker 2: I am not like the Beatles. They had so much
• 45:07
  Speaker 2: money they could buy seventy tapes or even more to
• 45:13
  Speaker 2: record an album, but for us it was just like
• 45:16
  Speaker 2: fifteen or maybe less, just twenty minutes for every track,
• 45:20
  Speaker 2: twenty four tracks?
• 45:22
  Speaker 1: Would you record like this again?
• 45:23
  Speaker 2: Of course that's the way I want to record the most. Yeah,
• 45:28
  Speaker 2: I mean it's okay. It depends on the project, I think,
• 45:32
  Speaker 2: but I really loved it.
• 45:35
  Speaker 1: Are you writing always?
• 45:38
  Speaker 2: Not always? Recently I've been writing. Last week I was
• 45:42
  Speaker 2: doing some music for a TV show that somebody asked,
• 45:47
  Speaker 2: and I was writing a song that is called cancer.
• 45:52
  Speaker 2: But not always, you know, for I am not very
• 45:55
  Speaker 2: disciplined as a writer.
• 45:57
  Speaker 1: Do you find myself say? I mean, I like you
• 46:04
  Speaker 1: take your time? No, you know.
• 46:07
  Speaker 2: There's moments, yeah, months and I do nothing, and then
• 46:12
  Speaker 2: there's one day and I got inspired. I think this
• 46:16
  Speaker 2: moment in my life, I feel very inspired. But that
• 46:20
  Speaker 2: doesn't happen always for me.
• 46:22
  Speaker 1: I hope we get more music than soon.
• 46:26
  Speaker 2: Oh yeah, me too, me too, me too. I ask
• 46:28
  Speaker 2: for that. I asked the music it's too good.
• 46:32
  Speaker 1: Could you play one more song?
• 46:33
  Speaker 2: Yeah?
• 46:34
  Speaker 1: Yeah, maybe?
• 46:36
  Speaker 2: Uh ah, okay, pause and lusias phusy open sound paso
• 46:53
  Speaker 2: melo brand stand up, so canstrom no off sent barasernos
• 47:13
  Speaker 2: ris basar la vida is silu bensanzuke daniamostovo, Parasernos, dantovin
• 47:34
  Speaker 2: kela this, Daciano, the Street Kills, Basi construi Le lucio,
• 47:53
  Speaker 2: the e man comgupara traspinal the sta mundo dam basil
• 48:05
  Speaker 2: me on the agla Allen God talk Allen contain treloso
• 48:17
  Speaker 2: telosup plico no lolvives fo Pazlosias is sigop and Sandu
• 48:43
  Speaker 2: and thing baslasonas nomlges Brandistan of Suru, Machina nustromo no
• 49:03
  Speaker 2: sufficient the parasernus tgri Santasalavia is sigupen santo ke Dan
• 49:19
  Speaker 2: almost all the parasstantovin gelais dance Yeah, no podriya the
• 49:30
  Speaker 2: street a girl sparso comes true even lush so locate cat.
• 49:45
  Speaker 2: You're soo look over a sa and you see who
• 49:50
  Speaker 2: Neiverso Loco Mirarte, Kriser yellows Dancia Marte so lo keero
• 49:58
  Speaker 2: get You're so Luke Obrasteste Universo Loco Mirarte crasser je
• 50:10
  Speaker 2: laddistance your man so lokro GeTe you're aso Loker obrasad
• 50:21
  Speaker 2: and stiverso local Mirrarte crass Jeerladistancia Marty so look ok.
• 50:33
  Speaker 2: You're also look obra side and stay woo versal Loco
• 50:40
  Speaker 2: Mirart crac jealis dancer am ahama and ladis Stancia.
• 50:57
  Speaker 3: Amte I play it in a different tone. It's not.
• 51:10
  Speaker 1: It was gorgeous.
• 51:11
  Speaker 3: It was gorgeous.
• 51:12
  Speaker 1: It was gorgeous, beautiful where it goes.
• 51:17
  Speaker 2: Thank you so much, appreciate taking the time, Thank you,
• 51:20
  Speaker 2: thank you so much. It's my pleasure. Thank you for
• 51:22
  Speaker 2: having me.
• 51:23
  Speaker 1: Of course, hope we do it again, maybe in Mexico.
• 51:25
  Speaker 2: Yes, please, Imberra Gruz.
• 51:30
  Speaker 1: Thanks to Natalia la Fricade for playing and singing for us.
• 51:34
  Speaker 1: You can hear her latest album They Told Us Us
• 51:36
  Speaker 1: Floored Us and all of our favorite songs from Natalia,
• 51:39
  Speaker 1: along with some of these songs mentioned in this conversation
• 51:42
  Speaker 1: on a playlist at broken Record podcast dot com. Subscribe
• 51:46
  Speaker 1: to our YouTube channel at YouTube dot com slash broken
• 51:49
  Speaker 1: Record Podcast, where you can find all of our new episodes.
• 51:53
  Speaker 1: You can follow us on Twitter at broken Record. Broken
• 51:56
  Speaker 1: Record is produced and edited by Leah Rose, with marketing
• 51:59
  Speaker 1: help from Eric Sandler and Jordan McMillan. Our engineer is
• 52:02
  Speaker 1: Ben Tolliney. Broken Record is a production of Pushkin Industries.
• 52:07
  Speaker 1: If you love this show and others from Pushkin, consider
• 52:10
  Speaker 1: subscribing to Pushkin Plus. Pushkin Plus is a podcast subscription
• 52:14
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• 52:18
  Speaker 1: nine a month. Look for Pushkin Plus on Apple podcast subscriptions,
• 52:23
  Speaker 1: and if you like this show, please remember to share, rate,
• 52:25
  Speaker 1: and review us on your podcast app Our theme music's
• 52:28
  Speaker 1: by Kenny Beats. I'm justin Richmond.