December 19, 2024 • 28 mins
Ever wondered how a white MacBook and GarageBand could spark a musical journey? Meet Malia DelaCruz of CIAO MALZ, a talented musician from Brooklyn, who takes us through her captivating origin story. From her childhood fascination with instruments like the piano and clarinet, to those early days of crafting songs with the hum of background TV and basketball games, Malia reveals how he discovered his unique creative process. Her story is a testament to the power of embracing distractions and letting go of overthinking to allow musical ideas to flow with ease.
Malia's narrative unfolds as we explore her evolution from band member to solo artist. Listen as she recounts the serendipitous encounter with the band Frog and the label Audio Antihero, which opened doors to dream collaborations. Transitioning from collaborative projects to solo endeavors, Malia shares the liberating yet challenging experience of finding her voice and style. Her heartfelt EP Safe Then Sorry, showcases her growth as an artist and her commitment to creating richer musical textures.
Navigating the world of music production and performance, Malia offers insights into the balance between technical skills and songwriting. From opening gigs for bigger bands to receiving uplifting feedback from peers, her journey is filled with motivational moments that inspire aspiring musicians. Emphasizing the importance of consistency, discipline, and seizing opportunities while maintaining one's unique charm amidst a world of repetitive patterns. Join us for this lyrical journey, celebrating individuality and the allure of CIAO MALZ's irresistible presence in the music scene.
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Speaker 1 (00:17):
Music.
Listen all the three-pointers,think about it, stay, find new
ways to dance the morning.
Always one thing after another.
Here we are.
So another episode of BureauPodcast.
(00:40):
We're into season four here.
Beautiful weekend we have overhere, and I have Chal Miles
coming in.
Malia De La Cruz World Podcast.
We're into season four here.
Beautiful weekend we have overhere, and I have Chal Miles
coming in.
Malia De La Cruz is the mainwriter contributor, it's you
right.
Speaker 2 (00:57):
That's your moniker, that's me, all those things.
Speaker 1 (01:00):
And where are you coming in from today?
Speaker 2 (01:04):
Coming in from Brooklyn, New York.
It's also a very nice day.
Where are you coming from?
Speaker 1 (01:09):
I'm just north of you , so I'm just a little bit south
of Montreal in Canada.
Oh wow, yeah, so I think we'reseeing the same beautiful, clear
blue skies.
That's cool.
Yeah, we got the same one, guys, that's cool.
Speaker 2 (01:22):
Yeah, we got the same one.
Speaker 1 (01:23):
That's it.
That's it so kind of to getstarted.
I like kind of rewinding time abit and talking about your
origin story of music and whenit started to really click for
you as an individual in thisworld.
When was music starting toreally become something that was
(01:45):
necessary for you?
Speaker 2 (01:48):
I always played.
When I was really little Iwould play piano.
I was not, I never had lessons,but I always could see it in my
head and it made sense.
And when I finally end up pianoat home, so whenever I saw,
when it was super exciting.
So I always kind of had likethis innate ability and like
this want to do it.
I played band instruments inschool, like viola and clarinet,
but like it was never cool tome, I never practiced.
(02:09):
Like the clarinet got reallygross.
But then, like in high school II started like well, middle
school I started like recordingmusic on like garage band and I
had like this really long audiocable like attached to an
adapter, like it wasn't real butit worked, and so I would use
that and I would just startmaking songs and I could layer
it and none of them were in time.
It was all latency.
(02:29):
I had no idea what anything was, but I loved it.
So I just kept working on that.
I was like, how do they make itsound like a real song?
And so I've just been workingon that for the past few years.
But I I need like I just feellike if I don't do it, I don't
feel good.
I feel like I'm like sick orsomething.
It's very strange, but I lovemaking it.
Speaker 1 (02:49):
And yeah, I read that story too, that you started
with the one of those whiteMacBooks and garage band and
starting to like put stuff intoit.
Um, what, what was yourinspiration for those early
recordings that you started todo by yourself?
Where were you drawing thatinspiration from?
Speaker 2 (03:08):
I my uncle played like electric guitar so I only
knew like a few licks.
It was really hard to form afull song, but when I had like
an acoustic guitar, I can justkeep doing like the same thing.
It was hard to get like anarrangement of songs, so I tried
to use it for that, to try tolike transform a verse into a
chorus, like how do you make itgo all the way.
So I feel like that wassomething that really like drove
me to like keep recording, noteven about the songwriting, but
(03:31):
just like the technical processof it right, right.
Speaker 1 (03:35):
So were those first kind of like introductions into
your garage band and layeringmore about figuring out the
production end of things ratherthan, um you know, focusing on
the songwriting and establishingsongs that you were building
upon?
Speaker 2 (03:49):
yeah, 100.
I don't think any of the firstsongs I written were ever played
like on a guitar in full beforethey were recorded, which is
not a great way to do it but itwas just like what can we do
without any con, like any deepercontext, like what can just be
fun?
Speaker 1 (04:05):
so right, right.
And what's your songwritingprocess like?
How do you, how do you go froman idea to you know, thinking,
okay, this, this could be asingle, or I could put this on
the ep, or how do you what's?
Speaker 2 (04:18):
that process like for you I try not to think like
that, because if I'm trying towrite something and I'm thinking
this is going to be big or thisis going to be a song or like
this is going to be something,there's like too much pressure
and I kind of just lose it.
Like the second I startthinking outside of the song.
So I like to kind of distractmyself.
Lately I've been watching a lotof TV or like basketball games
or something and just playing,and then if my mind somewhere
(04:39):
else, it kind of comes out justso naturally.
It's like phantom writing orsomething.
Like you just say somethingthat makes hopefully it makes
sense, then you just go with it.
So that's kind of how I've beendoing it lately, trying not to
be trying not so hard.
If I get something that doesn'tmake any sense or like I hate
it, I'm like that was reallylike embarrassing to say, like
I'll change it later, but I justtry to keep going before I
(05:01):
start catching myself andoverthinking.
Speaker 1 (05:03):
Right, right.
No, it's interesting too.
I was reading some of the stuffthat's out there online about
your music writing and how didyou originally start forming the
relationship with AudioAntihero?
Like I heard that you covered asong by by frog and then it
(05:24):
kind of snowballed from there.
Can you kind of fill in thosegaps a little bit?
Speaker 2 (05:29):
Yeah.
So I found frog a few years agoon the count Bateman AP and I
was like this is so good and Ifelt so attached to it more than
I've ever felt attached to likeany other music before, and I
can't explain why.
It's very strange, it's a weirdrelationship.
I had to it but I just feltlike I had like known it before
and I can't explain why it'svery strange, it's a weird
relationship.
I had to it but I just feltlike I'd like known it already
and I was like obsessed withlike the tape recording and just
(05:51):
the crazy lyrics and whatever.
So I loved it so much.
And then I made a cover onYouTube when I went on vacation.
I just like had limited gearand I was like I'll just do a
cover or something.
So I did that and I posted it.
And then Jamie reached out fromAudio Antihero and I was like
no way, like that's Frog's label, like it was so cool to me,
like Frog was the biggest dealin the world, like the most
(06:13):
famous band to me, and I waslike that's cool and it like
made my whole like month.
And then later down the road Ihad finished the CP and my
friends were like are are yougoing to get a label?
What are you going to do?
And I didn't know.
But I remember I had spokenwith Jamie before and I reached
out to them and I said I'll takea listen.
(06:34):
And then they loved it I thinkso, and they were like we can
work together on this, and itwas a dream ever since.
Speaker 1 (06:41):
Amazing, amazing.
And what was the first songthat you really like wrote on
your own, produced on your own,where you felt that you were
capturing, you know what was inyour mind was actually making it
down on tape, like, do youremember that first song, that
that that you had penned, thatwas an idea.
(07:01):
And then it really like kind ofstarted to launch this idea
that you could be a band on yourown yeah, I think it was when I
was in high school, so it's asong.
Speaker 2 (07:09):
I don't even know if I have saved my computer anymore
, but I sent it to a few of myfriends and it was very cool.
I had a course that was catchy.
Probably not as cool to me now,but it was the first time I
wrote something that I heard myfriends were sending to other
people because they liked it,and that felt like something for
the first time and it was likereally impressive to finish
something and be like I couldnever do that again.
(07:29):
But I can do it again.
So that's right, you sure havePretty cool.
Speaker 1 (07:35):
That's great.
That's great.
And like, what was thedifference?
I heard that you collaboratedwith the band sister.
Speaker 2 (07:41):
Yeah.
Speaker 1 (07:42):
Before you had started writing, kind of
creating your own kind of band,your name and your style.
What do you find the biggestdifferences was between the
collaboration when you had othermembers to kind of venturing
off on your own and kind ofdoing it all yourself.
Speaker 2 (07:58):
Yeah, yeah, I had played with members of sister
even earlier than sister wasborn.
Okay, so pre-sister days I feellike when you're collaborating
it's a little bit different.
There's a little bit.
I feel like there's a lot lesspressure on you, so you tend to
like have stranger ideas or justlike bring something that
someone's already building,which is like a lot easier for
(08:19):
me because I like working withpeople.
Working by yourself likerequires some some amount of
self-awareness and trust,because you could just go crazy
with it.
And especially when you'reworking on the whole thing by
yourself, you're listening to itso much you almost get so used
to it that when someone elsecomes along and is like, hey,
you could fix that base, that ishurting.
(08:39):
I'm like, oh, I've just beenlistening to it for so long that
I made everything around itkind of like shape around that
craziness, or it's like youdon't catch things as fast as
you do when you're collaborating.
Speaker 1 (08:49):
Right, right and do you like having that autonomy
over everything?
Or does it also help when youkind of get other opinions
floating in that kind of?
Does it inform you and does ittransform things for you?
Yeah, floating in that?
Speaker 2 (09:04):
kind of does it inform you and does it transform
things for you?
Yeah, I mean, I like to havethe autonomy because I just like
to have days where I can justdo everything and I feel like
I'm in control.
If I want something, I canbring that in.
If I want to play over there, Ican do it.
But working with this record,there was an amazing drummer, my
friend felix, and they did likea much better job on drums that
I could ever play, that I couldever program, and it brought so
much like feel to it that was atotally different like texture
(09:27):
that I ever could have done.
And I think that's like whythis one is so much better than
my old songs, cause like peoplereally gave it their all and
came in and like really went tobat for it.
Speaker 1 (09:38):
Amazing.
And how do you think your songshave transformed over time?
You know, from those earlybeginnings of your garage band
to you know, you have an EPcoming out in December.
I mean it's great for trackLike.
It's a really great littleintroduction.
How have they transformed overtime from your singles?
(10:00):
Well, you had an EP that youlaunched, first right, and then
you had a couple of singles andthen you have this new yeah,
yeah, yeah.
Speaker 2 (10:06):
So this feels like the real one.
I feel like this had like a lotmore heart and a lot more feel.
I really cared about what wasgoing on to it and I mean that
in every way, like I, everyguitar that was played, I feel
like I it felt different playingit.
It wasn't just to record, itwas just to play, and whatever
we got, that was like how it,how it ended up being.
So it's like a lot lesspolished, I think, than some of
(10:28):
the older stuff, but because ofthat it just feels more real to
me.
And then, just like thesongwriting on it, I feel like
it came from a more honest place.
It came from like a moreauthentic place, whereas the old
songs were just like let's justsee, let's just get a chorus
and a verse, and like they don'treally have to be related.
And this time I was like, nah,they should, they should be
related, like this should belike a cohesive piece of
(10:49):
information to a listener.
I just feel like there was alot more care yeah, yeah.
Speaker 1 (10:55):
And what informed you on this?
This record, like what themes,what inspired you from the world
around you to to pen thesesongs?
Like where, where was the seedthat that started to grow out of
these, these four tracks thatyou're going to release?
Speaker 2 (11:11):
yeah, I feel like listening to frog a lot helped
me, because frog is like verynon-serious, but those songs are
just about what you'reobserving around you and it's
true, one of my favorite songswas like the rip to the empire
state fle Market, which is justgiven directions to where the
flea market is, what's insidethe flea market, what kind of
conversations you like, it'sthat kind of thing.
(11:31):
It's like really simple, butit's.
It's like a real experiencethat you've had, rather than
just like the same old stuff.
Speaker 1 (11:39):
Yeah, yeah, and I read too.
Your work was was a source aswell.
Um inspired some of yoursongwriting, um.
Do you mind if I ask you whatyou do for work?
Speaker 2 (11:51):
Yeah, so I work in finance and it's funny because
like we work in this likebeautiful building and like I'm
over looking like the whole cityall day and it's like glass and
gorgeous, and then as soon asit ends, I like go to the studio
.
It's like underground, it'slike under the sidewalk, and
then it's it's.
It's just like such a differentvibe to go from there to like
(12:12):
in this basement with no windows, but I feel like that's, that's
like such a shock to the systemand I really do think about
like work after it because it'sjust like right after and I'm
thinking about the day and evenif I'm not like trying to write
about it, I feel like it doeskind of seep into, seep into
like the work in the studio.
Speaker 1 (12:32):
Right right, that's really cool.
And what do you think aboutthese four songs that you
assembled that you know you'rekind of on the eve of
introducing it to the world?
Um, what are your impressionsof what you created with the new
EP and let me get the name ofit Safe, then Sorry, ep coming
out December 2024.
(12:52):
That's her.
How do you see this collectionnow?
Kind of like having a bit ofdistance from it and kind of
like the production's done Nowit's just like releasing it into
the world.
What's your impression of whatyou've created?
I think it's just likereleasing it into the world.
What's your impression, um, ofwhat you, what you've created?
Speaker 2 (13:08):
I think it's really cool.
I do feel like a little bitfurther away from it now,
because it was a lot of it wasdone over the summer and now
it's all packaged and ready togo.
But I think it's cool.
I think it's a little weird.
I think it's like veryauthentic.
I feel like you can really hearlike the diy-ness of it, like
that still exists inside ofthere.
I think the mixing was likereally creative.
(13:28):
I worked on that with my friendJames and then he kind of took
it to the end and I think thecontext is interesting too.
I mean, there's like stuffabout, like, basketball.
There's stuff about MaryShelley.
It's very random, right, right,mary.
Speaker 1 (13:42):
Shelley, it's very random, right right.
I saw some of the themes thatwere being pulled out was being
kind of in this stagnant worldand unsettled world and trying
to navigate your way throughsome of those issues.
Does that ring true in thesongs that you were putting out?
Speaker 2 (14:04):
Yeah, I feel like just the name safe and sorry is
like really what I've beenthinking about.
Like I have a nice, very likecomfortable life, but sometimes
I'm like what if I like wentharder into like music when I
was younger, like I probablywould be like less money
successful, but like would I belike what would be, what would
happen?
So it's interesting to likereally put that into perspective
, like towards the end of your20s versus the beginning.
(14:25):
This is like my 10th year innew york, so I feel like 10
years here feels like so muchlonger, but it's like just
interesting.
It's like putting everything ina perspective in a way about
like just my last couple yearsright, right.
Speaker 1 (14:38):
And what's your?
What's your impression overthose last few years of of of
creation?
Has it inspired you to say thisis something I know I need to
do now like was it an awakeningof that musical mindset that's
been inside you, that that isfinally kind of the doors kicked
open?
Speaker 2 (14:59):
yeah, I would say that I feel like it's a true
passion of mine, like somethingI think about all the time.
I'm always trying to get betterand especially when it comes to
, like, the production side ofmusic and the engineering, I
feel like I've become sohopelessly obsessed with trying
to make it better and trying tolike do new things and like just
working out of it, like workingat it like a little bit every
(15:20):
day and it's it's a lot,definitely, and I think there's
so many like engineers andthere's so much of it going on.
It's definitely oversaturated,but a lot of it is like this
goal to sound the same, and Ilike being able to control those
aspects because, like, if youcan make it a little different
and it still sounds good, likethat's your own style, and
(15:41):
that's always impressive to mewhen I'm listening to something
new.
Speaker 1 (15:44):
Yeah.
Speaker 2 (15:44):
Yeah.
Speaker 1 (15:45):
Have you ever produced other people's music or
has it only ever been justyours that you've produced?
Speaker 2 (15:51):
and like the engineering side of things, yeah
, I recently just engineered alittle bit of like additional
recording for my friend Avery'srecord and that was really fun
to to just be in the room movingthings around, watching it
happen and like hearing a songlive.
But being recorded for thealbum is like such a cool
(16:13):
feeling.
The song sounds like totallydifferent.
There's like so much emotion init.
It's an awesome process.
Speaker 1 (16:19):
That's amazing.
Speaker 2 (16:20):
I felt very alive.
Speaker 1 (16:22):
Yeah, like, how does your mindset have to shift from,
like, the creative well, I'mnot going to say create, but the
songwriting part to theproduction part?
Like, how do you have toseparate those two so that you
can look at the production, andor do you have to merge the two?
Like, like, what's your balancethat you do when you know from
production?
Speaker 2 (16:42):
to songwriting from.
I always kind of try to keep uma creative aspect to the
production part, especially whenwe're like mixing stuff and I
feel like that's something likenot everybody thinks about
because it is very technical andit's a very, a lot like very
black and white.
If that's bad, fix it.
If it's good, leave it.
(17:02):
But it's nice to think of it ina creative way, like where are
the effects?
What words in the song can Ilike put effects on that really
make it really stand out, likereally pop, like what's
something that like makes mefeel like boom, I'm in the song
again, like if it starts to getlike slow, it's like that's like
the interesting part of it tome.
Speaker 1 (17:23):
Wow yeah, that's interesting.
I never thought of it that waytoo.
It's similar to like I meanpretty much any kind of visual
as well, and and and audio,where you're adding effects
where it's needed to, just youknow yeah, slow things down,
speed things up, transitionthings, it's like yeah
everything's there for a reasonyeah, and there's a lot of
(17:45):
automation on this record thatare very sneaky, like you don't
even know it's there, especiallywith like compression and stuff
like that.
Speaker 2 (17:51):
So like we really tried to experiment on this one
that's amazing and tell me alittle bit about like.
Speaker 1 (18:00):
So you've been doing this for for some time now.
Um, yeah, what have been somemarkers along the way where it's
motivated you to keep going?
Are there situations orexperiences that you've had in
music that was kind of like thatchanged your trajectory a
little bit?
Speaker 2 (18:19):
yeah, I, every so often there'll be something that
happens, someone who will reachout.
That I think is really cool.
And they're like hey, I heardthis, this is cool.
That makes me keep going.
Um, but also just a while back,like I was playing a show and
like this band was like reallygetting a bigger, a bigger like
social following and they hadlike sold out this place and
they're like do you want to open?
Like small things like that arejust like really exciting.
(18:42):
I feel like the opportunitiesare the thing I'm in it for the
long term.
On like stuff is always goingto happen and it's like cool to
get your stuff out there.
If you don't do it, like no onewill know and no one will ever
want to work with you.
So like this is just kind ofpart of that.
Speaker 1 (18:54):
Right, Right.
That's a good advice too, tostarting up artists as well.
Is that persistence and andkeeping your eye on the prize?
What kinds of advice do youoffer up to somebody that might
be at the start of their musicaljourney to keep going and to
pursue it and to take itseriously?
(19:16):
What would you say to thosebeginning artists?
Speaker 2 (19:21):
I don't think just staying consistent and being
disciplined, because you'llnaturally get better over time,
but if you do stop and come back, like I have a few times, like
it's really hard to get it backto where it was, like all these
little things, when you'remaking music, they, they really
grow if you nurture them and itgoes for everything, like if
your music gets better than likeyour opportunities get better,
(19:42):
and that's how it should be, atleast, but like it makes it.
It's a lot easier if you stayconsistent.
It's a lot harder if you don't.
Speaker 1 (19:50):
Right, yeah, interesting Wise words for sure.
And what do you think successwould be?
What would success feel likefor you?
You know, once the CP comes out, I imagine you're going to be
doing shows and stuff that willaccompany yeah yeah yeah, I'll
be doing shows the next yearokay, cool and like what.
What do you, what would youhope like, what would be seen as
(20:12):
successful in your eyes withthe launch of this new ep in
december?
What, what do you hope for it?
Speaker 2 (20:19):
a billion dollars um if not a billion, maybe a few
million yeah, yeah, a fewmillion would be really cool.
Um, I think it's in terms ofnumbers.
It's hard.
I don't really try to think somuch in there.
I mean, they obviously matterand it's great to have them, so
(20:39):
it's nice to hopefully there'llbe some numbers in there later.
But it's also just like the,the reach out from like people
that have been listening for awhile.
They're like hey, this is onall day, like this is great.
Like I just had a radio stationthat I really love play the
song yesterday.
Like those little things arelike success to me, like people
actually listening to it andcaring is huge.
And having like making aneffort to reach out, I think
(21:03):
like I'm also just like hope it,someone likes it and like wants
to work with me like on acollab in the future, something
cool like that.
Like I just love doing this andit's cool to like watch it grow
and I hope it like resonateswith people.
That's success to me absolutelywell said I.
Speaker 1 (21:18):
It resonates with me.
I mean I was fortunate jamiesent me me an advanced listen
and it's really great.
I mean I really love theordering of them.
Like the sequencing works superwell.
Speaker 2 (21:31):
Thank you.
Speaker 1 (21:32):
The delivery is really sensational.
It's such a like.
Every song has its like, itsown child.
You know it's its own little.
Speaker 2 (21:39):
Yeah, but they all work together.
Yeah, they're very different.
There was never a time when Iwas going through them, when I
was like had to stop in themiddle of something and didn't
know exactly what it was afterlike a second, which is cool.
Speaker 1 (21:52):
Amazing, Amazing.
And what's a live show like?
Like, how are you going to goabout planning your your live
shows with, with, with thismusic?
Speaker 2 (22:01):
Yeah, I'm trying to put a band together.
I'm trying to get some of theoriginal musicians especially
James, who played guitar forthis to help out.
But I think it's going to beinteresting translating it into
a live fan.
I think some songs will beeasier than others.
But, like, we did a lot oflayering with guitars and stuff
like that and I don't think it'sever cool to have five guitars
(22:22):
on a stage.
So it's never cool, it's who is?
Speaker 1 (22:25):
more than enough.
Speaker 2 (22:29):
It's so scary when you go to a show and you see
five guys come up with guitars,you're like this is going to be
loud, yeah, yeah.
This is going to be tough, butyeah, so I just have to figure
that out before the show hashappened.
I put a lot of effort intohaving rehearsals and working it
all out.
It'd be nice to get sometransitions going in there.
I think that's always reallybig.
(22:50):
I always notice that when smallmusicians have transitions,
it's so cool.
It feels like a full show.
Speaker 1 (22:57):
Yeah, I love too you're mentioning musicians
changing instruments and movingaround it's this organic
creation process going on, it'syeah special.
Speaker 2 (23:11):
It's awesome to like see a band that really, like,
knows each other and is justplaying to have fun, rather than
being like oh, like I used tobe sometimes.
Speaker 1 (23:27):
I'm like I hope I'm playing the right thing next, or
I'm like thinking about thenext chord while I'm singing and
I'm gonna screw up.
It's like such a, it's such alearning process to play live
for sure, and are you, are youexcited about, about the live
aspect, or does it kind of freakyou out?
Speaker 2 (23:38):
it kind of freaks me out a little bit.
Um, I haven't done it in alittle while, which is bad.
You're supposed to stayconsistent for this reason, but
I think it'll be great, like I'mreally excited for it.
I want to make sure like, whenit is done, it's done like
correctly and in a way that Ifeel like proud of amazing.
Speaker 1 (23:57):
So tell us a little bit about what, what, what the
future holds here, like what?
So you have your ep coming outyou have four tour dates that
are that are that are booked.
Speaker 2 (24:06):
What else can we look ?
Speaker 1 (24:07):
forward to, is the song process still advancing and
you're looking to the next, andcan you fill us in on whatever
you can about, about the future?
Speaker 2 (24:17):
Yeah, I don't think I'm ever going to stop doing it,
so I think I'm hoping it getsbetter.
I'd like to like keep workingon on the engineering side of it
and making these newinteresting songs and just
testing out new guitar pedals,get some new textures in there
and really make sure everythingmeshes On my next project.
That's something I'm reallyfocusing on.
(24:39):
And then the song writing.
It's about getting the songbefore you start recording for
me.
Um, I gotta stop doing that.
So that's, that's a big oneright, great.
Speaker 1 (24:49):
Well, that's cool.
Well, this has been a lot of uh, a lot of fun.
I mean, these are short, um,but full of information and
ideas, so I really appreciateyou taking a bit of time to talk
to us.
Your journey is reallyfascinating.
Great new EP coming out.
People in December Safe thensorry, and then catch a show and
(25:11):
please support.
Ciao, mouths.
Did I say that, right?
Ciao?
Speaker 2 (25:18):
That was perfect.
Ciao, mouths.
Speaker 1 (25:20):
I got it.
I got it Well.
Thanks so much and all the best, and as you release more stuff,
we'll speak again.
Speaker 2 (25:28):
Thank you for having me Something in your walk.
Don't even gotta talk.
You get whatever you want.
(25:56):
In a fever or a flood, thealmighty God above Comes and
tells you heads up.
Speaker 1 (26:12):
Like the cold run.
Speaker 2 (26:20):
How you?
Speaker 1 (26:21):
lost us, and you know what Made a good love.
Speaker 2 (26:32):
Make up Horse winning all the races.
Hair never out of placement.
Speaker 1 (26:43):
Fashion, then you brush it off.
Know the names of your brothers.
Speaker 2 (26:51):
Marky Ricky Danny Tucker, laughing, cause you know
that they're not.
Know the names of your brothers, marky Ricky Danny Tucker,
laughing, cause you know thatthey're not.
And it's straight for tapping,but they won't even stop them.
And women, they all know yourname Like the gold rush.
Speaker 1 (27:19):
How you lost us and you know what Made you good Love
Baby.
Good luck.
Speaker 2 (27:49):
Got no temptation.
Speaker 1 (27:52):
To sit around and have the same conversation.
Speaker 2 (28:00):
Going circles, going berserk.
Speaker 1 (28:03):
There's nothing that I have not heard guitar solo
(28:34):
Thank you.
Music.
Listen all the three-pointers,think about it, stay, find new
ways to dance the morning.
Always one thing after another.
Here we are.
So another episode of BureauPodcast.
(00:40):
We're into season four here.
Beautiful weekend we have overhere, and I have Chal Miles
coming in.
Malia De La Cruz World Podcast.
We're into season four here.
Beautiful weekend we have overhere, and I have Chal Miles
coming in.
Malia De La Cruz is the mainwriter contributor, it's you
right.
Speaker 2 (00:57):
That's your moniker, that's me, all those things.
Speaker 1 (01:00):
And where are you coming in from today?
Speaker 2 (01:04):
Coming in from Brooklyn, New York.
It's also a very nice day.
Where are you coming from?
Speaker 1 (01:09):
I'm just north of you , so I'm just a little bit south
of Montreal in Canada.
Oh wow, yeah, so I think we'reseeing the same beautiful, clear
blue skies.
That's cool.
Yeah, we got the same one, guys, that's cool.
Speaker 2 (01:22):
Yeah, we got the same one.
Speaker 1 (01:23):
That's it.
That's it so kind of to getstarted.
I like kind of rewinding time abit and talking about your
origin story of music and whenit started to really click for
you as an individual in thisworld.
When was music starting toreally become something that was
(01:45):
necessary for you?
Speaker 2 (01:48):
I always played.
When I was really little Iwould play piano.
I was not, I never had lessons,but I always could see it in my
head and it made sense.
And when I finally end up pianoat home, so whenever I saw,
when it was super exciting.
So I always kind of had likethis innate ability and like
this want to do it.
I played band instruments inschool, like viola and clarinet,
but like it was never cool tome, I never practiced.
(02:09):
Like the clarinet got reallygross.
But then, like in high school II started like well, middle
school I started like recordingmusic on like garage band and I
had like this really long audiocable like attached to an
adapter, like it wasn't real butit worked, and so I would use
that and I would just startmaking songs and I could layer
it and none of them were in time.
It was all latency.
(02:29):
I had no idea what anything was, but I loved it.
So I just kept working on that.
I was like, how do they make itsound like a real song?
And so I've just been workingon that for the past few years.
But I I need like I just feellike if I don't do it, I don't
feel good.
I feel like I'm like sick orsomething.
It's very strange, but I lovemaking it.
Speaker 1 (02:49):
And yeah, I read that story too, that you started
with the one of those whiteMacBooks and garage band and
starting to like put stuff intoit.
Um, what, what was yourinspiration for those early
recordings that you started todo by yourself?
Where were you drawing thatinspiration from?
Speaker 2 (03:08):
I my uncle played like electric guitar so I only
knew like a few licks.
It was really hard to form afull song, but when I had like
an acoustic guitar, I can justkeep doing like the same thing.
It was hard to get like anarrangement of songs, so I tried
to use it for that, to try tolike transform a verse into a
chorus, like how do you make itgo all the way.
So I feel like that wassomething that really like drove
me to like keep recording, noteven about the songwriting, but
(03:31):
just like the technical processof it right, right.
Speaker 1 (03:35):
So were those first kind of like introductions into
your garage band and layeringmore about figuring out the
production end of things ratherthan, um you know, focusing on
the songwriting and establishingsongs that you were building
upon?
Speaker 2 (03:49):
yeah, 100.
I don't think any of the firstsongs I written were ever played
like on a guitar in full beforethey were recorded, which is
not a great way to do it but itwas just like what can we do
without any con, like any deepercontext, like what can just be
fun?
Speaker 1 (04:05):
so right, right.
And what's your songwritingprocess like?
How do you, how do you go froman idea to you know, thinking,
okay, this, this could be asingle, or I could put this on
the ep, or how do you what's?
Speaker 2 (04:18):
that process like for you I try not to think like
that, because if I'm trying towrite something and I'm thinking
this is going to be big or thisis going to be a song or like
this is going to be something,there's like too much pressure
and I kind of just lose it.
Like the second I startthinking outside of the song.
So I like to kind of distractmyself.
Lately I've been watching a lotof TV or like basketball games
or something and just playing,and then if my mind somewhere
(04:39):
else, it kind of comes out justso naturally.
It's like phantom writing orsomething.
Like you just say somethingthat makes hopefully it makes
sense, then you just go with it.
So that's kind of how I've beendoing it lately, trying not to
be trying not so hard.
If I get something that doesn'tmake any sense or like I hate
it, I'm like that was reallylike embarrassing to say, like
I'll change it later, but I justtry to keep going before I
(05:01):
start catching myself andoverthinking.
Speaker 1 (05:03):
Right, right.
No, it's interesting too.
I was reading some of the stuffthat's out there online about
your music writing and how didyou originally start forming the
relationship with AudioAntihero?
Like I heard that you covered asong by by frog and then it
(05:24):
kind of snowballed from there.
Can you kind of fill in thosegaps a little bit?
Speaker 2 (05:29):
Yeah.
So I found frog a few years agoon the count Bateman AP and I
was like this is so good and Ifelt so attached to it more than
I've ever felt attached to likeany other music before, and I
can't explain why.
It's very strange, it's a weirdrelationship.
I had to it but I just feltlike I had like known it before
and I can't explain why it'svery strange, it's a weird
relationship.
I had to it but I just feltlike I'd like known it already
and I was like obsessed withlike the tape recording and just
(05:51):
the crazy lyrics and whatever.
So I loved it so much.
And then I made a cover onYouTube when I went on vacation.
I just like had limited gearand I was like I'll just do a
cover or something.
So I did that and I posted it.
And then Jamie reached out fromAudio Antihero and I was like
no way, like that's Frog's label, like it was so cool to me,
like Frog was the biggest dealin the world, like the most
(06:13):
famous band to me, and I waslike that's cool and it like
made my whole like month.
And then later down the road Ihad finished the CP and my
friends were like are are yougoing to get a label?
What are you going to do?
And I didn't know.
But I remember I had spokenwith Jamie before and I reached
out to them and I said I'll takea listen.
(06:34):
And then they loved it I thinkso, and they were like we can
work together on this, and itwas a dream ever since.
Speaker 1 (06:41):
Amazing, amazing.
And what was the first songthat you really like wrote on
your own, produced on your own,where you felt that you were
capturing, you know what was inyour mind was actually making it
down on tape, like, do youremember that first song, that
that that you had penned, thatwas an idea.
(07:01):
And then it really like kind ofstarted to launch this idea
that you could be a band on yourown yeah, I think it was when I
was in high school, so it's asong.
Speaker 2 (07:09):
I don't even know if I have saved my computer anymore
, but I sent it to a few of myfriends and it was very cool.
I had a course that was catchy.
Probably not as cool to me now,but it was the first time I
wrote something that I heard myfriends were sending to other
people because they liked it,and that felt like something for
the first time and it was likereally impressive to finish
something and be like I couldnever do that again.
(07:29):
But I can do it again.
So that's right, you sure havePretty cool.
Speaker 1 (07:35):
That's great.
That's great.
And like, what was thedifference?
I heard that you collaboratedwith the band sister.
Speaker 2 (07:41):
Yeah.
Speaker 1 (07:42):
Before you had started writing, kind of
creating your own kind of band,your name and your style.
What do you find the biggestdifferences was between the
collaboration when you had othermembers to kind of venturing
off on your own and kind ofdoing it all yourself.
Speaker 2 (07:58):
Yeah, yeah, I had played with members of sister
even earlier than sister wasborn.
Okay, so pre-sister days I feellike when you're collaborating
it's a little bit different.
There's a little bit.
I feel like there's a lot lesspressure on you, so you tend to
like have stranger ideas or justlike bring something that
someone's already building,which is like a lot easier for
(08:19):
me because I like working withpeople.
Working by yourself likerequires some some amount of
self-awareness and trust,because you could just go crazy
with it.
And especially when you'reworking on the whole thing by
yourself, you're listening to itso much you almost get so used
to it that when someone elsecomes along and is like, hey,
you could fix that base, that ishurting.
(08:39):
I'm like, oh, I've just beenlistening to it for so long that
I made everything around itkind of like shape around that
craziness, or it's like youdon't catch things as fast as
you do when you're collaborating.
Speaker 1 (08:49):
Right, right and do you like having that autonomy
over everything?
Or does it also help when youkind of get other opinions
floating in that kind of?
Does it inform you and does ittransform things for you?
Yeah, floating in that?
Speaker 2 (09:04):
kind of does it inform you and does it transform
things for you?
Yeah, I mean, I like to havethe autonomy because I just like
to have days where I can justdo everything and I feel like
I'm in control.
If I want something, I canbring that in.
If I want to play over there, Ican do it.
But working with this record,there was an amazing drummer, my
friend felix, and they did likea much better job on drums that
I could ever play, that I couldever program, and it brought so
much like feel to it that was atotally different like texture
(09:27):
that I ever could have done.
And I think that's like whythis one is so much better than
my old songs, cause like peoplereally gave it their all and
came in and like really went tobat for it.
Speaker 1 (09:38):
Amazing.
And how do you think your songshave transformed over time?
You know, from those earlybeginnings of your garage band
to you know, you have an EPcoming out in December.
I mean it's great for trackLike.
It's a really great littleintroduction.
How have they transformed overtime from your singles?
(10:00):
Well, you had an EP that youlaunched, first right, and then
you had a couple of singles andthen you have this new yeah,
yeah, yeah.
Speaker 2 (10:06):
So this feels like the real one.
I feel like this had like a lotmore heart and a lot more feel.
I really cared about what wasgoing on to it and I mean that
in every way, like I, everyguitar that was played, I feel
like I it felt different playingit.
It wasn't just to record, itwas just to play, and whatever
we got, that was like how it,how it ended up being.
So it's like a lot lesspolished, I think, than some of
(10:28):
the older stuff, but because ofthat it just feels more real to
me.
And then, just like thesongwriting on it, I feel like
it came from a more honest place.
It came from like a moreauthentic place, whereas the old
songs were just like let's justsee, let's just get a chorus
and a verse, and like they don'treally have to be related.
And this time I was like, nah,they should, they should be
related, like this should belike a cohesive piece of
(10:49):
information to a listener.
I just feel like there was alot more care yeah, yeah.
Speaker 1 (10:55):
And what informed you on this?
This record, like what themes,what inspired you from the world
around you to to pen thesesongs?
Like where, where was the seedthat that started to grow out of
these, these four tracks thatyou're going to release?
Speaker 2 (11:11):
yeah, I feel like listening to frog a lot helped
me, because frog is like verynon-serious, but those songs are
just about what you'reobserving around you and it's
true, one of my favorite songswas like the rip to the empire
state fle Market, which is justgiven directions to where the
flea market is, what's insidethe flea market, what kind of
conversations you like, it'sthat kind of thing.
(11:31):
It's like really simple, butit's.
It's like a real experiencethat you've had, rather than
just like the same old stuff.
Speaker 1 (11:39):
Yeah, yeah, and I read too.
Your work was was a source aswell.
Um inspired some of yoursongwriting, um.
Do you mind if I ask you whatyou do for work?
Speaker 2 (11:51):
Yeah, so I work in finance and it's funny because
like we work in this likebeautiful building and like I'm
over looking like the whole cityall day and it's like glass and
gorgeous, and then as soon asit ends, I like go to the studio
.
It's like underground, it'slike under the sidewalk, and
then it's it's.
It's just like such a differentvibe to go from there to like
(12:12):
in this basement with no windows, but I feel like that's, that's
like such a shock to the systemand I really do think about
like work after it because it'sjust like right after and I'm
thinking about the day and evenif I'm not like trying to write
about it, I feel like it doeskind of seep into, seep into
like the work in the studio.
Speaker 1 (12:32):
Right right, that's really cool.
And what do you think aboutthese four songs that you
assembled that you know you'rekind of on the eve of
introducing it to the world?
Um, what are your impressionsof what you created with the new
EP and let me get the name ofit Safe, then Sorry, ep coming
out December 2024.
(12:52):
That's her.
How do you see this collectionnow?
Kind of like having a bit ofdistance from it and kind of
like the production's done Nowit's just like releasing it into
the world.
What's your impression of whatyou've created?
I think it's just likereleasing it into the world.
What's your impression, um, ofwhat you, what you've created?
Speaker 2 (13:08):
I think it's really cool.
I do feel like a little bitfurther away from it now,
because it was a lot of it wasdone over the summer and now
it's all packaged and ready togo.
But I think it's cool.
I think it's a little weird.
I think it's like veryauthentic.
I feel like you can really hearlike the diy-ness of it, like
that still exists inside ofthere.
I think the mixing was likereally creative.
(13:28):
I worked on that with my friendJames and then he kind of took
it to the end and I think thecontext is interesting too.
I mean, there's like stuffabout, like, basketball.
There's stuff about MaryShelley.
It's very random, right, right,mary.
Speaker 1 (13:42):
Shelley, it's very random, right right.
I saw some of the themes thatwere being pulled out was being
kind of in this stagnant worldand unsettled world and trying
to navigate your way throughsome of those issues.
Does that ring true in thesongs that you were putting out?
Speaker 2 (14:04):
Yeah, I feel like just the name safe and sorry is
like really what I've beenthinking about.
Like I have a nice, very likecomfortable life, but sometimes
I'm like what if I like wentharder into like music when I
was younger, like I probablywould be like less money
successful, but like would I belike what would be, what would
happen?
So it's interesting to likereally put that into perspective
, like towards the end of your20s versus the beginning.
(14:25):
This is like my 10th year innew york, so I feel like 10
years here feels like so muchlonger, but it's like just
interesting.
It's like putting everything ina perspective in a way about
like just my last couple yearsright, right.
Speaker 1 (14:38):
And what's your?
What's your impression overthose last few years of of of
creation?
Has it inspired you to say thisis something I know I need to
do now like was it an awakeningof that musical mindset that's
been inside you, that that isfinally kind of the doors kicked
open?
Speaker 2 (14:59):
yeah, I would say that I feel like it's a true
passion of mine, like somethingI think about all the time.
I'm always trying to get betterand especially when it comes to
, like, the production side ofmusic and the engineering, I
feel like I've become sohopelessly obsessed with trying
to make it better and trying tolike do new things and like just
working out of it, like workingat it like a little bit every
(15:20):
day and it's it's a lot,definitely, and I think there's
so many like engineers andthere's so much of it going on.
It's definitely oversaturated,but a lot of it is like this
goal to sound the same, and Ilike being able to control those
aspects because, like, if youcan make it a little different
and it still sounds good, likethat's your own style, and
(15:41):
that's always impressive to mewhen I'm listening to something
new.
Speaker 1 (15:44):
Yeah.
Speaker 2 (15:44):
Yeah.
Speaker 1 (15:45):
Have you ever produced other people's music or
has it only ever been justyours that you've produced?
Speaker 2 (15:51):
and like the engineering side of things, yeah
, I recently just engineered alittle bit of like additional
recording for my friend Avery'srecord and that was really fun
to to just be in the room movingthings around, watching it
happen and like hearing a songlive.
But being recorded for thealbum is like such a cool
(16:13):
feeling.
The song sounds like totallydifferent.
There's like so much emotion init.
It's an awesome process.
Speaker 1 (16:19):
That's amazing.
Speaker 2 (16:20):
I felt very alive.
Speaker 1 (16:22):
Yeah, like, how does your mindset have to shift from,
like, the creative well, I'mnot going to say create, but the
songwriting part to theproduction part?
Like, how do you have toseparate those two so that you
can look at the production, andor do you have to merge the two?
Like, like, what's your balancethat you do when you know from
production?
Speaker 2 (16:42):
to songwriting from.
I always kind of try to keep uma creative aspect to the
production part, especially whenwe're like mixing stuff and I
feel like that's something likenot everybody thinks about
because it is very technical andit's a very, a lot like very
black and white.
If that's bad, fix it.
If it's good, leave it.
(17:02):
But it's nice to think of it ina creative way, like where are
the effects?
What words in the song can Ilike put effects on that really
make it really stand out, likereally pop, like what's
something that like makes mefeel like boom, I'm in the song
again, like if it starts to getlike slow, it's like that's like
the interesting part of it tome.
Speaker 1 (17:23):
Wow yeah, that's interesting.
I never thought of it that waytoo.
It's similar to like I meanpretty much any kind of visual
as well, and and and audio,where you're adding effects
where it's needed to, just youknow yeah, slow things down,
speed things up, transitionthings, it's like yeah
everything's there for a reasonyeah, and there's a lot of
(17:45):
automation on this record thatare very sneaky, like you don't
even know it's there, especiallywith like compression and stuff
like that.
Speaker 2 (17:51):
So like we really tried to experiment on this one
that's amazing and tell me alittle bit about like.
Speaker 1 (18:00):
So you've been doing this for for some time now.
Um, yeah, what have been somemarkers along the way where it's
motivated you to keep going?
Are there situations orexperiences that you've had in
music that was kind of like thatchanged your trajectory a
little bit?
Speaker 2 (18:19):
yeah, I, every so often there'll be something that
happens, someone who will reachout.
That I think is really cool.
And they're like hey, I heardthis, this is cool.
That makes me keep going.
Um, but also just a while back,like I was playing a show and
like this band was like reallygetting a bigger, a bigger like
social following and they hadlike sold out this place and
they're like do you want to open?
Like small things like that arejust like really exciting.
(18:42):
I feel like the opportunitiesare the thing I'm in it for the
long term.
On like stuff is always goingto happen and it's like cool to
get your stuff out there.
If you don't do it, like no onewill know and no one will ever
want to work with you.
So like this is just kind ofpart of that.
Speaker 1 (18:54):
Right, Right.
That's a good advice too, tostarting up artists as well.
Is that persistence and andkeeping your eye on the prize?
What kinds of advice do youoffer up to somebody that might
be at the start of their musicaljourney to keep going and to
pursue it and to take itseriously?
(19:16):
What would you say to thosebeginning artists?
Speaker 2 (19:21):
I don't think just staying consistent and being
disciplined, because you'llnaturally get better over time,
but if you do stop and come back, like I have a few times, like
it's really hard to get it backto where it was, like all these
little things, when you'remaking music, they, they really
grow if you nurture them and itgoes for everything, like if
your music gets better than likeyour opportunities get better,
(19:42):
and that's how it should be, atleast, but like it makes it.
It's a lot easier if you stayconsistent.
It's a lot harder if you don't.
Speaker 1 (19:50):
Right, yeah, interesting Wise words for sure.
And what do you think successwould be?
What would success feel likefor you?
You know, once the CP comes out, I imagine you're going to be
doing shows and stuff that willaccompany yeah yeah yeah, I'll
be doing shows the next yearokay, cool and like what.
What do you, what would youhope like, what would be seen as
(20:12):
successful in your eyes withthe launch of this new ep in
december?
What, what do you hope for it?
Speaker 2 (20:19):
a billion dollars um if not a billion, maybe a few
million yeah, yeah, a fewmillion would be really cool.
Um, I think it's in terms ofnumbers.
It's hard.
I don't really try to think somuch in there.
I mean, they obviously matterand it's great to have them, so
(20:39):
it's nice to hopefully there'llbe some numbers in there later.
But it's also just like the,the reach out from like people
that have been listening for awhile.
They're like hey, this is onall day, like this is great.
Like I just had a radio stationthat I really love play the
song yesterday.
Like those little things arelike success to me, like people
actually listening to it andcaring is huge.
And having like making aneffort to reach out, I think
(21:03):
like I'm also just like hope it,someone likes it and like wants
to work with me like on acollab in the future, something
cool like that.
Like I just love doing this andit's cool to like watch it grow
and I hope it like resonateswith people.
That's success to me absolutelywell said I.
Speaker 1 (21:18):
It resonates with me.
I mean I was fortunate jamiesent me me an advanced listen
and it's really great.
I mean I really love theordering of them.
Like the sequencing works superwell.
Speaker 2 (21:31):
Thank you.
Speaker 1 (21:32):
The delivery is really sensational.
It's such a like.
Every song has its like, itsown child.
You know it's its own little.
Speaker 2 (21:39):
Yeah, but they all work together.
Yeah, they're very different.
There was never a time when Iwas going through them, when I
was like had to stop in themiddle of something and didn't
know exactly what it was afterlike a second, which is cool.
Speaker 1 (21:52):
Amazing, Amazing.
And what's a live show like?
Like, how are you going to goabout planning your your live
shows with, with, with thismusic?
Speaker 2 (22:01):
Yeah, I'm trying to put a band together.
I'm trying to get some of theoriginal musicians especially
James, who played guitar forthis to help out.
But I think it's going to beinteresting translating it into
a live fan.
I think some songs will beeasier than others.
But, like, we did a lot oflayering with guitars and stuff
like that and I don't think it'sever cool to have five guitars
(22:22):
on a stage.
So it's never cool, it's who is?
Speaker 1 (22:25):
more than enough.
Speaker 2 (22:29):
It's so scary when you go to a show and you see
five guys come up with guitars,you're like this is going to be
loud, yeah, yeah.
This is going to be tough, butyeah, so I just have to figure
that out before the show hashappened.
I put a lot of effort intohaving rehearsals and working it
all out.
It'd be nice to get sometransitions going in there.
I think that's always reallybig.
(22:50):
I always notice that when smallmusicians have transitions,
it's so cool.
It feels like a full show.
Speaker 1 (22:57):
Yeah, I love too you're mentioning musicians
changing instruments and movingaround it's this organic
creation process going on, it'syeah special.
Speaker 2 (23:11):
It's awesome to like see a band that really, like,
knows each other and is justplaying to have fun, rather than
being like oh, like I used tobe sometimes.
Speaker 1 (23:27):
I'm like I hope I'm playing the right thing next, or
I'm like thinking about thenext chord while I'm singing and
I'm gonna screw up.
It's like such a, it's such alearning process to play live
for sure, and are you, are youexcited about, about the live
aspect, or does it kind of freakyou out?
Speaker 2 (23:38):
it kind of freaks me out a little bit.
Um, I haven't done it in alittle while, which is bad.
You're supposed to stayconsistent for this reason, but
I think it'll be great, like I'mreally excited for it.
I want to make sure like, whenit is done, it's done like
correctly and in a way that Ifeel like proud of amazing.
Speaker 1 (23:57):
So tell us a little bit about what, what, what the
future holds here, like what?
So you have your ep coming outyou have four tour dates that
are that are that are booked.
Speaker 2 (24:06):
What else can we look ?
Speaker 1 (24:07):
forward to, is the song process still advancing and
you're looking to the next, andcan you fill us in on whatever
you can about, about the future?
Speaker 2 (24:17):
Yeah, I don't think I'm ever going to stop doing it,
so I think I'm hoping it getsbetter.
I'd like to like keep workingon on the engineering side of it
and making these newinteresting songs and just
testing out new guitar pedals,get some new textures in there
and really make sure everythingmeshes On my next project.
That's something I'm reallyfocusing on.
(24:39):
And then the song writing.
It's about getting the songbefore you start recording for
me.
Um, I gotta stop doing that.
So that's, that's a big oneright, great.
Speaker 1 (24:49):
Well, that's cool.
Well, this has been a lot of uh, a lot of fun.
I mean, these are short, um,but full of information and
ideas, so I really appreciateyou taking a bit of time to talk
to us.
Your journey is reallyfascinating.
Great new EP coming out.
People in December Safe thensorry, and then catch a show and
(25:11):
please support.
Ciao, mouths.
Did I say that, right?
Ciao?
Speaker 2 (25:18):
That was perfect.
Ciao, mouths.
Speaker 1 (25:20):
I got it.
I got it Well.
Thanks so much and all the best, and as you release more stuff,
we'll speak again.
Speaker 2 (25:28):
Thank you for having me Something in your walk.
Don't even gotta talk.
You get whatever you want.
(25:56):
In a fever or a flood, thealmighty God above Comes and
tells you heads up.
Speaker 1 (26:12):
Like the cold run.
Speaker 2 (26:20):
How you?
Speaker 1 (26:21):
lost us, and you know what Made a good love.
Speaker 2 (26:32):
Make up Horse winning all the races.
Hair never out of placement.
Speaker 1 (26:43):
Fashion, then you brush it off.
Know the names of your brothers.
Speaker 2 (26:51):
Marky Ricky Danny Tucker, laughing, cause you know
that they're not.
Know the names of your brothers, marky Ricky Danny Tucker,
laughing, cause you know thatthey're not.
And it's straight for tapping,but they won't even stop them.
And women, they all know yourname Like the gold rush.
Speaker 1 (27:19):
How you lost us and you know what Made you good Love
Baby.
Good luck.
Speaker 2 (27:49):
Got no temptation.
Speaker 1 (27:52):
To sit around and have the same conversation.
Speaker 2 (28:00):
Going circles, going berserk.
Speaker 1 (28:03):
There's nothing that I have not heard guitar solo
(28:34):
Thank you.
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