WR983: Jordie Ouellet

[00:00:02] Speaker A: If you're like me, you probably have a closet full of local band merch. Whether you know it or not, a lot of that band merch is probably made by Divine Shirt Company right here in Winnipeg. Divine Shirt Company has made all of the great witch police merch, from our hoodies to our toques to our T shirts. And if you're looking to get anything done, like screen printing, embroidery, graphic design, digital printing, go to see Divine Shirt Company at DivineShirtCompany CA and tell them which Police Radio sent you. One of our colleagues, Sam Thompson, who, if you saw him, you'd sort of right away assume he was a hippie. All right, welcome to Rich Place Radio. I'm here with someone who is new to the podcast, but I don't think you're very new to the local music scene. I've definitely heard your name around and then, you know, looking through your social media and stuff, I've seen some of some of the other projects you've been involved with over the years. So I think the best way to start this off, I mean, I know we're going to be talking about new music, but maybe if you want to introduce yourself and give a bit of background about what you do as an artist. [00:01:23] Speaker B: Yeah. My name is Jordy Willette. I've been a trumpet player in the city for about 3, 4 years. Ish. Started playing with the Sun Runner, played with Jace Bodner. Played with people like the Delicious hounds, Apollo Suns, Dr. Henry, Sam Singer. Yeah, whoever is needed a trumpet player and wanted one. [00:01:45] Speaker A: Yeah, cool. [00:01:45] Speaker B: I've just been there. [00:01:46] Speaker A: Yeah, that's a pretty good resume. I mean, like, all of those artists are doing really cool stuff and it's a pretty wide variety of stuff too. Like, what is your, what is your background as a trumpet player? [00:01:55] Speaker B: So, like, I grew up in Montreal and my dad was a bass player, so he got me listening to, like, the Chili Peppers and like, a lot of, like, Tower of Power and stuff like that. So started off, like, listening to funk, then as a trumpet player, I was studying jazz, like, all throughout school. Did a little bit of time in the. At the U of M doing jazz studies, but I was having, like a jazz performance degree and then I started performing. So I was like, why am I paying money? You know, so. [00:02:21] Speaker A: Sure, sure. Yeah, that makes sense. [00:02:23] Speaker B: Yeah. [00:02:24] Speaker A: So you, you have also have your own music. I mean, you've, you've been a sideman for all these different groups over the past few years. And sort of the reason we're talking now is because you have Your own stuff coming out and you're. You're not just a trumpet player. You. You do other things as well. So I guess, like, where are you right now as far as your own project? What. What does that look? What does that look like? What does it sound like? [00:02:42] Speaker B: So right now I have, in the past 6ish months, I've rounded up a group of fantastic musicians. I got a Tyrion playing keys, got any playing bass, Josh drums. Like I'll name them off at some point, but want to give a shout out to those guys. They have been making this super great. Yeah, I've been writing music since like 2022. Ish. I put out a solo album in 2024 that was just me playing all the instruments and doing that. But yeah, I've been working with the guys. You know, we had our first show at side stage in February, recorded a live album at Control Space just like last week. [00:03:27] Speaker A: Oh, cool. [00:03:28] Speaker B: Yeah, we've been. Yeah, we've been putting some work in. Yeah. [00:03:32] Speaker A: So is funk still sort of at the forefront of what you're doing or is this. I mean, it's a hard question, right, because everyone has subgenres of subgenres of subgenres and everything is something, you know. The iPhone 8 did this and that. Like, do you have a sort of a Coles notes way to describe it? Is, is it rooted really heavily in funk or are there other things happening as well? [00:03:49] Speaker B: That is a great question. And I mean, it sucks. [00:03:52] Speaker A: No one likes answering that question. [00:03:53] Speaker B: I honestly have no idea how to answer that. Like I've. I've put as like the main description. I have like sort of like four genres that kind of like are like most like prevalent in the music. It's like a mix of like funko, a mix, sometimes hip hop, sometimes like folk and like indie, sometimes more jazz and sometimes rock actually. But yeah, so it kind of just like ties into like all the inspiration that I've had playing with people in the city. Like. [00:04:23] Speaker A: Yeah, that makes. Makes a lot of sense. And those genres are very disparate too. I mean, there's definitely connection between all of them. But yeah, is that sort of on a song by song basis? Like, are some songs maybe more in the funk section? You know, funk category? Some songs have jazz, jazz leanings or folk leanings or rock. [00:04:37] Speaker B: Yeah, yeah. I feel like the main sort of like through line between all those songs is like more of the lyrical stuff because, like, sure, I'll have one song that's like this really slow, like, like folky tune that like, doesn't really have any horns with it. And then I'll switch to more like a sort of like samba feeling tune, you know? And like, that has like, it's like freaking like all horns there, but it also has some like rap in that part. So, yeah, it's really a tune by tune basis. But yeah, the throughline is just like the lyrics and like the content of that. [00:05:05] Speaker A: Cool. And obviously you've been like, you said you've been writing music for a few years now as a trumpet player. I mean, you said you have lyrics, you have vocals, you have. It's a little bit of a different instrument, I guess, than playing trumpet. Right. So how do you approach that? I mean, is it a different part of your brain you're using to sort of contextualize, like, writing lyrics and singing versus just playing trumpet? No, not the trumpet is a gist, but you know what I mean. [00:05:28] Speaker B: No, no, no, that. That's. That's very fair. Like, yeah, I've been in writing lyrics. It's. It's like its own separate thing. It's like it has like a little. Just like its own thing. But I've been having to try to learn how to actually sing because, like, up until this point, like, up until like couple, like months ago, like, I didn't actually learn how to sing. [00:05:49] Speaker A: Okay. [00:05:50] Speaker B: So, yeah, doing that has been really humbling. But yeah, it's. It's actually like finding the connections between, like, singing and playing trumpet is, like, pretty interesting. Yeah. [00:06:01] Speaker A: I mean, you're using your mouth for both. It's a very different context. [00:06:05] Speaker B: Yeah. And it's just like taking the vibrations that I would be doing with, like, my mouth up here and then just putting it down in my larynx, you know, where my vocals are. Yeah. Just like trying to do that, watching the YouTube videos, you know, classic. But. [00:06:17] Speaker A: Oh, yeah, it's a resource. Right. It's there to use. Yeah. [00:06:21] Speaker B: Yeah. [00:06:21] Speaker A: So you mentioned, you know, a few minutes ago that just this album, you have this recorded live, is that sort of the vibe that you're going for with this project, that. That sort of live off the floor feel? [00:06:30] Speaker B: Yeah, 100%. Yeah. Like, I have a. A real thing with. And that comes from my jazz, like, background. Like, I think that listening and to records and like hearing like the mistakes that are in those, I think adds like a sort of charm to them. Like, I was listening to this fellow Cootie tune. It's like, what a Minogat Enemy. [00:06:56] Speaker A: I know. That's a great song. Yeah, yeah. [00:06:57] Speaker B: It's A. It's a fantastic tune. And like, it's honestly like I, I listen to it whenever I'm getting like too, too much in like the perfectionist thing because like off rip. Like they have this super epic intro and then it goes into the sax solo and off rip. He just plays like a wrong note. [00:07:14] Speaker A: Yeah. [00:07:14] Speaker B: You know, it's in a minor key. Plays the major third, like, you know, but it's like the rest of his soul is just fantastic and he just owns it. And I'm like, yo, that's. I, I think it's like one of the. It's the thing that makes music magical. [00:07:27] Speaker A: I love that because I, I agree with you for sure. I mean, this is a different genre completely. But one of my favorite, I, I guess performances on a record is there's a Steve Earl song where he's playing harmonica and the way it's recorded is you can hear the breathing really prominently. Like he's taking these big inhales and normally they'd cut that out. Like a lot of, A lot of people would just sort of in the studio, remove that because it sounds. It's a little off putting, but it makes it sound so much more natural. And the same with mistakes if someone's slightly off. Slightly off key or the singing is a bit rough or the voice cracks or whatever. I mean, I think that gives it more feeling and more soul, regardless of what style of music it is. [00:08:01] Speaker B: Yeah. And like, I, I feel like in the studio you can like take away a lot of like the energy that happens or that would have been happening on stage. Like, you don't, you don't. Like, it's a, it's a different sort of like in, in jazz stuff. And in my music there are a lot of like, solos that happen. [00:08:16] Speaker A: Yeah. [00:08:17] Speaker B: And different instruments and it's like you're not going to get the same solo as when you're playing in front of people. And it's the performance and like all the pressure's on you and you gotta like, you know, you gotta put out, you know. So, yeah, there's like, yeah, seriously, like, yeah, there's. It. It's just where the magic happens. And I wanted to capture that for like the first glance at this album to be like, yeah, this is exactly what we're about. [00:08:37] Speaker A: Yeah. Oh, that's cool. That's cool. It's always nice to hear that where something, something live is gonna. Like you said, it'll be different necessarily, but it's gonna have that same, that same feel. Do you, you know, having that jazz background and like you said with the solos and this is being recorded live, how much. How dictated are the songs? There are a lot of room for improvisation with you and the other members here or are they fairly, you know, strictly sorted out, you know, in terms of this happens here, this person plays this long kind of thing. [00:09:04] Speaker B: I would say that, like, I'm kind of like a. I'm not going to say that I'm like a bad like, band director, but in rehearsals I'll be with like, Parker's playing guitar and I'll be like, hey, you know what? Like, if this song was like, you know, like. Like a hot chicken sandwich that you pick up from like Popeyes or something, you need to be the pickles on this song, you know, like, and just like, like there. Parker's like a fantastic guitar player, so I know that he's gonna, like, know what to do. It's just like I have to kind of say like, yeah, you know, like on this stuff, like, make it a little bit more shimmery, like, kind of like ease off a little bit. Like there are different, like, components in the song that need to be more heard. But, like. Yeah, the most that I'll get into it is with like the horn lines, because those are like, ones that I've like actually written, but the rest of them, like, I'm not going to tell my. My drummer how to play drums because I. He's way better at drums than me. And same goes for like, all the guys. [00:10:07] Speaker A: That makes a lot of sense. Yeah. Yeah. [00:10:26] Speaker C: She likes the way I feel so let it down Take it slow I don't know when it's real so wake me up before you go well, I'll be here Signed and sealed in wasted time Years ago It's just the way it is I tell myself this I know But I'll see you when I'm in my mind. [00:11:22] Speaker B: I'll see you. [00:11:25] Speaker C: When I feel alright Just not tonight Tell me I'm losing face well, I don't care what they see I can't go and move it, Grace after all the things I thought we'd be and this is my big mistake the apples fall from the tree Some things can't be replaced Just turn your eyes and let it be But I'll see you when I'm in my mind I'll see you when I feel alright I'll see you when I tell you something I see. [00:13:13] Speaker A: You. [00:13:16] Speaker C: When I feel all right Just not to. [00:13:24] Speaker A: So, I mean, I guess how does that. That sort of giving up Some of that power change from, like you said, the previous one was recorded with you playing everything and you obviously had a lot more control there. Now this one, you're relying on the other players. And like you said, they're obviously like very talented at what they do. But does it. Do you feel like you have to relinquish a little bit of control over the songs to sort of let them participate in the creation of it? [00:13:46] Speaker B: Yeah, yeah, I'd say that, like, I. I guess that like what I hold on to is like the core of the tune, like the skeleton of the tune. Since I'm still writing the lyrics and for the most part I have like the sort of like standard like progression of the song, like chordal wise. But even then, like, if one of the band members has a better idea than me, I'm. I'm not gonna like forsake the music for my own ego. Like, sure, I'm going to let them. Like. Like there's this one tune I have that I had just like. It was this four minute tune. It was kind of a somber tune, you know, and the guitar player came in with like this cool chord progression that he was like thinking of like changing a certain part of the song and then that just became like a four minute outro for the song. [00:14:29] Speaker A: Oh, cool. [00:14:30] Speaker B: And it's just like this like huge thing and it's super epic. And it's like. Yeah, like, I personally love that. Like it brings more community to the, to the band, you know, I feel like it helps us build some chemistry with each other. Like with people bringing their different ideas. They get to know what kind of musician everybody is. [00:14:48] Speaker A: For sure. For sure. And then you, over the course of playing together, you develop that kind of like, you know, silent language between each other of knowing who's gonna do what where. [00:14:55] Speaker B: So. [00:14:56] Speaker A: So when you bring a song to this project, then how stripped down is it? Is it really, really basic? Just, just lyrics and sort of general corporation. [00:15:02] Speaker B: Yeah. Like I, I have a home studio here, so I, I can't play guitar, so I just like strum out some chords on bass and write a bass line. But you know, baseline is like whatever. [00:15:14] Speaker A: Yeah. [00:15:15] Speaker B: Lay down a rough sketch on drums, sing the part, add it to the Google Drive, say, hey, we're gonna run this. Give them a quick rundown once we get to rehearsal and kind of just let them fly. [00:15:26] Speaker A: Cool. [00:15:26] Speaker B: Like, the only kind of like things I'll say if is if it's like, hey, we missed this part that I want to hit, you know, or like hey, you know, bloody blah. But I got so much trust in those guys, like they could, they could do anything to my tunes and more likely than not, I'd be like, sick. [00:15:43] Speaker A: That's a good position to be in, I think. Yeah. Having that having. [00:15:45] Speaker B: Yeah. I'm so blessed to have them. Yeah. [00:15:48] Speaker A: Well, I know, I know this is like, you know, this, this project as being. Your project is relatively new. Where, where does this fit in the local music scene? And I mean, I know there's a lot of bands that have kind of come up and started and ended over the years playing funk related stuff, funk heavy stuff. A lot of horn sections. A lot of them are sort of leaning more towards soul covers and things like that. There's obviously people doing original music as well. Have you sort of found your people, I guess, in the local music scene as far as where this project would fit? [00:16:14] Speaker B: I honestly have not put a whole lot of thought into that, like. [00:16:21] Speaker A: Just in terms of like, are there other artists that you think that whether you played with them already or not, that you think would be a good sort of combination for what you do? [00:16:29] Speaker B: Oh, yeah, I, I met and saw Irvin Miller play and while I was doing some sound at the Toad. [00:16:37] Speaker A: Yeah. [00:16:37] Speaker B: And I think that his vibe and listening to some of his original stuff and seeing what he's doing and like just his vibe on stage, I, I feel like that's a, that, that's a dude who I'd like to link up with at some point, you know. [00:16:49] Speaker A: Yeah, I've been on my show recently and Yeah, I can see that. I can see the, the connection for sure. [00:16:55] Speaker B: Yeah. Like, we had a talk outside, outside the Toad and he was asking me about like my, my trumpet inspirations and I mentioned Tower of Power and he's like, oh yeah. Their self titled album was like amazing. I was like, someone actually knows what. Yeah, it was a, it was a cool moment. [00:17:11] Speaker A: Cool, cool. So then I guess with this, with this record coming out, first of all, when is it, when is it coming out? I mean, people will probably hear this before the, the album is actually released. [00:17:18] Speaker B: Yeah, this is hopefully gonna be coming out mid May. [00:17:24] Speaker A: Okay. [00:17:24] Speaker B: Maybe June. We'll see. It depends how. Depends how fast this thing goes. [00:17:29] Speaker A: Of course. [00:17:29] Speaker B: Yeah, it's all already recorded. It just needs to be mixed. [00:17:32] Speaker A: Cool, cool. And then are you doing any kind of show or anything to sort of launch into the world? How is this being released? [00:17:39] Speaker B: It's. I'm planning on just like sort of releasing it. Like we have the breakout at a Blue Note park on 28 June that we're going to be playing. [00:17:50] Speaker A: Oh, cool. [00:17:50] Speaker B: And we also have show May 15 with Irvin on the. On the bill there at the Taphouse. So it could be with one of those. But I'd had a videographer come in and like, record the whole thing. So I think I'm just gonna, like, you know, do some, like, online sort of thing with that. [00:18:08] Speaker A: Yeah. [00:18:08] Speaker B: Kind of keep it. Keep it, like low key, you know. [00:18:12] Speaker A: But, yeah, it makes sense. I mean, there's so many different ways to release stuff now too. And the way music is consumed is there's not like a set way anymore. Right. People go to various streaming services. Whether you use physical or whatever. [00:18:21] Speaker C: The stars are on their br. Cuz they need it the world's a heavy weight so they take their mind so who are we to see say what they feel like when we're smoking through the day Just to keep our heads up high but you'll know when you see it as you pass them. [00:19:10] Speaker A: By. [00:19:16] Speaker C: Yeah, you'll know when you see it as you pass them by the moon's the sweetest gift from where you call home Once it leaves without a trace when you're truly alone I know to hide my face When I start to cry yeah, I'm smoking when it's late yeah, it's a good way to start to die But I know I can't see it as I pass them by yeah, I know I can feel it when the stars start to shine. [00:20:54] Speaker A: Sam, how much of this, you know, like. Like you just said, you had a videographer. There's a whole part of this sort of being an independent artist thing that is not just making music now. You have to be on social media. You have to be promoting yourself. You have to be your own manager, publicist and all this other shit. Like, how is that part of it been for you? Because you've played with a lot of other people's projects as a trumpet player, but now you're sort of the, you know, you're the guy at the forefront. [00:21:55] Speaker B: Yeah, yeah, it sucks. I don't like. I don't like. Well, like, a part of it is kind of fun where, like, I. I like, back in my younger years, I wanted to be like a YouTuber, you know, and, like, wanted to make funny videos like that. So, like, for the side stage show, I had made, like, a couple, like a couple, like, funny videos to promote it. And I had some fun with that. But, like, the rest of it is, like, it's work. [00:22:22] Speaker A: Yeah, sure. But it's got, it's got, you got to do it right. It's the way people sort of discover things and I guess. So a follow up question to that then is, is how do you. And maybe you don't have an answer to this yet, but how do you get your stuff heard? I mean there's so many people playing music. There's so many people with the ability now to, to have home studios, to record in their bedrooms, to record wherever, you know, and just release it within seconds on the Internet. Do you have sort of an idea of how you can get your stuff heard by the people who. Yeah, you want to hear it? [00:22:49] Speaker B: Yeah, like there, there are a lot of like radio stations that'll do like live performances and stuff like that and like sending in some of the songs to like different like applications for radio stuff is like a general one. But I think that the, with this project specifically it's like I've, I've had this feeling within like the music scene that like people are kind of leaning towards more like raw sounding music and like a lot of these sort of like. And I'm no diss on pop, big fan of pop, it's cool, it's awesome. But like the sort of like cut and dry kind of sound. Yeah, people have heard it before, you know, like they're not gonna hear the solo that my sax player played, you know, like they're not gonna hear like, you know, just like the sort of like free sort of sound that'll come out of that album. And I think that promoting it with that in mind and kind of like having that being like the, the way that it's presented will hopefully do some like help that out and getting it heard. [00:23:52] Speaker A: And you're not necessarily able to promote it the same way as pop anyway because your songs are going to be longer with all these solos and, and it's not necessarily a style that, I mean just sort of a throwback style. A lot of these things you're doing that maybe isn't, isn't what, you know, some 15 year old is listening to now yet, but obviously you want to try and get those people on board, right? [00:24:08] Speaker B: Yeah, yeah. I mean like a part of a part of me wants to like I've written a couple songs that are like pretty radio friendly but like a part of me listens to like those, Those old like 70s like soul tunes and it's like halfway through it's like this eight minute tune and you got this guy just like talking to his girl on the record, you know. And he's like, hey, baby. You know, just like that kind of. And like, I kind of want to, like, bring that back, but it's super corny. But part of me is like, man, that's kind of. That's kind of cool. [00:24:36] Speaker A: Especially because no one does it anymore, too. Right. Like, if you did that now, people would be like, what the hell is this? It would probably get an effect. [00:24:41] Speaker B: Yeah, yeah, yeah, it'd be a cool thing. But, yeah, it'd be a pretty wild artistic Choice. [00:24:47] Speaker A: Yeah. In 2025. Yeah, for sure. So. So how do people hear this? I mean, the good thing about this being a podcast is someone could hear it, you know, when we release it prior to the album coming out, or they could hear it a year from now, at which point your records out, you might be doing a bunch of shows, maybe you have more music on the way you're already released. What's the best way to sort of find you online and follow what you're doing? [00:25:06] Speaker B: Yeah, it's just my. My first and last name on Instagram. Same thing on Spotify, just Jordy Willette. Yeah, that's about it. Yeah. [00:25:16] Speaker A: And I assume that you'll probably be posting shows and stuff on Instagram is the best way to find you. [00:25:21] Speaker B: Yeah, I'm. I'm pretty active on there. Like, whoever I'm playing a show with, you know, they're going to post, I'm posting my things. It's. [00:25:27] Speaker A: Yeah, the whole. [00:25:28] Speaker B: The whole band management life, for sure. [00:25:31] Speaker A: For sure. Well, and I guess that brings up another question too, is, is. I assume you're still playing trumpet for other people while you're doing this project as well? Who are you playing with now? Like, are you pretty actively out there? [00:25:41] Speaker B: Yeah, right now I am playing in the. Just coming up, I'm going to be playing in the John Green Swing Project. I'm also going to be doing a musical show for the Little Mermaid with the Winnipeg Youth Chorus. [00:25:58] Speaker A: Okay. [00:25:59] Speaker B: I am still doing some shows with the Apollo Suns. I'm actually going to be playing bass for a dude named Simon Burns. That dude. That dude is really cool. Who else am I playing with? Yeah, and then just like, you know, the. The regular people I play with, like, shows with the Sun Runner, shows with, like, Dr. Henry, sometimes shows with, like, pounds, you know, whenever they need. So, yeah, that's about. [00:26:24] Speaker A: That's a really wide range of stuff. I mean, the Youth Chorus and then going to, you know, some of these other things. Like, so you're not. You're. You're literally just sort Of a guy for hire at this point, right? Playing trumpet. [00:26:35] Speaker B: Yeah, whoever. Whoever's got cool music. Like, like, my. My favorite project that I've ever. Like that. I can say that. Like, yo, like, I. I did. This is Ryan Whiskey's project. [00:26:45] Speaker A: Okay. Yeah, sure, sure. [00:26:46] Speaker B: Like, I. I just, like. And I've played shows with him. Great dude, you know, like. Yeah, just like, rocking out on a trumpet, like. Yeah. And then just like, next day, go and play, like, a soft, like, lounge gig, you know? [00:26:58] Speaker A: Yeah. Yeah, that's cool. [00:26:59] Speaker B: It's fun. Keeps me on my toes. [00:27:01] Speaker A: How does that affect sort of your. Your songwriting? I mean, like, just. Just having exposure to all this different stuff. It's got to help, right? [00:27:07] Speaker B: Yeah, it's awesome. Like, yeah, like, yeah, whoever, like, comes to me, like, with tunes or I'm learning tunes. I'm like. My guitar player came in the studio to record some of his tunes, and I was like, you know, mixing his tunes. I was like, yo, I'm not gonna lie. Like, I'm. I'm gonna steal some of your flow right now. Like, that's you. You did something really cool here. Like. Yeah. Parker Beasley, by the way, also really talented guy. [00:27:31] Speaker A: Cool. [00:27:31] Speaker B: Sorry, I'm just. No shouting. [00:27:32] Speaker A: Yeah, might as well do the shout. [00:27:40] Speaker B: Sa. [00:28:18] Speaker C: Tell me what you came here for Just trying to waste my time, girl I know you don't like to be ignored but I can't let you inside you only call me when it's worth your while it'd be smart to break free but I'm not that wise. [00:28:47] Speaker B: And. [00:28:48] Speaker C: Now we're back in the same position tell myself just a little more what I got from you it's a strange condition loving you feeling like a chore when we talk you don't hear my feelings we both got our problems, girl that's for sure so don't play me when I'm the one thinking about you this love ain't fair it's blinding and oh so oh, I see you changing and it hurts my very calm if you see that you don't care while I'm out the door now this love and fan is blinding and hosting. [00:31:17] Speaker B: So. [00:31:19] Speaker C: Now I see you changing and it hurts my very car if you say that you don't. [00:31:45] Speaker A: I guess, like, with this project and then with the. The sort of live nature of it, do you feel like these songs are future songs and future recording efforts with this project? Is that sort of the goal going forward is to maintain that live sound? Or do you see some of these maybe getting more studio fied? In the future or, you know, other songs from this project. [00:32:04] Speaker B: Honestly, I'm not 100% sure. Like, I'm actually having a meeting with a buddy who is finishing up his like a degree at Mid Ocean for his like, schooling to become an audio engineer. So I'm going to be recording a studio song with him at some point and I guess I'll figure it out when the time comes. Like, yeah, most. Most of my albums have just been like. Like the first album I did was like, the vibe was like, you know, bass chords and kind of like really like, like slow and like. I don't have the word to describe it, but whatever the word to describe it is, it is. [00:32:42] Speaker A: Sure. [00:32:42] Speaker B: But yeah, this one was the live sound. Next one might be. Might be something else. Who knows? [00:32:50] Speaker A: For people who have heard the first one, I mean, how much of a departure is this new one sonically from that? I mean, obviously the setting is different, right? [00:32:57] Speaker B: It's crazy. Yeah, yeah, it's a lot different. The quality is going to be so much better. My writing has progressed a little bit. A little bit less down in the dumps. I'm a little bit more out of the dumps from my last one, so a little bit different than that. I'm actually. I have one of the songs from the. From the first one in this one, but I think that the version that we're putting on this one is like way cooler. So. Yeah, I think that. I think that this one is going to blow that last one out of the water. [00:33:33] Speaker A: Is that sort of not being down in the Dumps thing anymore? I imagine that has something to do with sort of the overall sound of what instruments you're using and things like that as well, right? [00:33:41] Speaker B: Oh, yeah, yeah. Like, especially with like mixing like bass, like as like the chordal instrument. [00:33:48] Speaker A: Yeah. [00:33:49] Speaker B: And sort of the riff thing. It's like. And having a bass line on top of that. It's just like a super heavy mix. And for the vibe of it, I think it's great. You know, you can't listen to it on your phone, however. But hey, you know, neither here nor there. But yeah, like this one, this one is. Is. Yeah, yeah. It's just. It's integrated with more people, so I think that just brings way more life to it. [00:34:17] Speaker A: Awesome. [00:34:37] Speaker C: Back and forth we go back and forth all through night yeah Back and forth Swinging back and forth Just you now yeah Back and forth we go back and forth all through nothing yeah Back and forth Swinging back and forth Just you and I now oh, girl, you got Me running left last in your eyes I know it's your plan the same game going over and over and I just want to rem so sit back and let me work Things I do could make you float and cur your toes and make you want go really doing the most the way you look at you want me to know but you too scared to show down well ain't that the. So take your time girl we can go slow now I've been through this a be the past hurt slow baby I but in my mind you're worth it penny and d so in time they that change will make us rich in our lives I've been lost driving circuit you shined your light you are the piece of my puzzle that I've been trying to find. Yeah, back and forth we go back and forth all through the night. Yeah, back and forth, swinging back and forth Just you and I. [00:36:05] Speaker B: Yeah, back. [00:36:06] Speaker C: And forth we go back and forth all through the night. Hey. Back and forth, swinging back and forth Just you and I. Tell you how I feel you say we shouldn't rush it. Okay, keep playing cool but girl, I see you blushing I'm all in the whole job. I see your body slush I turn you over the river flow. Girl, let's sing it up. Ain't no time to keep your walls up. You need love, that's why I call me I'm the first on your mind? You know my name's in your phone like I'm ICD and when you with me once ain't enough go for two or three let's switch it up Gonna make you see, don't it feel right? Now I know you don't like the face so I'll be true? Just tell me where I start. But still we go back and forth. [00:36:59] Speaker A: It it's. [00:38:07] Speaker C: Back and forth we go back and forth all the night. Yeah, back and forth, swinging back and forth. Just you do not. Yeah, back and forth we go back and forth. I'll do nothing. Yeah, back and forth, swinging back and forth all through the night. Yeah, we go back and forth we go back and forth we go back and forth we go back and forth.