Bootlegs, minimalism, and a songwriting legacy: A Place in Heaven (Prince)
Prince’s “A Place in Heaven” stands out as a hidden gem in his vast catalog. This episode dives deep into its unique musical structure, production history, and the artist’s experimental genius. We unpack the song’s waltz-like 3/4 time signature, unexpected chord changes, and minimalist instrumentation, discussing how Prince’s prolific creativity led to a vault of unreleased tracks. We also analyze the song’s lyrical themes, exploring motifs of longing, innocence, and social commentary rooted in the 1980s, and discuss how Prince’s vocal delivery and compositional choices reflect both vulnerability and innovation.
In the mailbag section, we discuss the importance of kindness, collaboration, and relationship-building in the music industry, drawing from audience messages and personal experience.
Listen to the song
- YouTube - https://www.youtube.com/watch?v=IG6MSmPbX2Y
- Spotify - https://open.spotify.com/track/4aJNQt6O0cYHFJU7aDAhRi?si=09e55632804a4f4f
- Apple Music - https://music.apple.com/us/song/a-place-in-heaven-prince-vocal-2020-remaster/1544308811
- Amazon - https://music.amazon.com/albums/B08Q8SDHRJ?marketplaceId=ATVPDKIKX0DER&musicTerritory=US&ref=dm_sh_pOy6j4aLaKcic7q220Hewt8V4&trackAsin=B08QB1MNPY
Other links
- Wikipedia article on Wendy & Lisa: https://en.wikipedia.org/wiki/Wendy_%26_Lisa
- Lisa version of “A Place in Heaven”: https://youtu.be/vz9DMBoCTVc
- Playlist of the songs we’ve reviewed
- YouTube - https://www.youtube.com/playlist?list=PL5bn23baJ4xQ1t0TMqukELY5W95HwuMoT
- Spotify - https://open.spotify.com/playlist/7gCOF5M0zYS1fBvXgT5ccI?si=7F3yVdEDRRWa_gAArK3AYg
- Apple Music - https://music.apple.com/us/playlist/songs-reviewed-on-the-musicians-loupe/pl.u-V9D7maah06JNo
- Amazon Music - https://music.amazon.com/user-playlists/3b47be4937b7490982f4a872db32ec8dsune?ref=dm_sh_AEFZY8KhvSsz1TGoRmasg6zHZ
About us
Trist Curless is a Los Angeles-based vocalist, educator, and sound engineer. As a performer, Trist has toured worldwide as a co-founder of the pop-jazz vocal group m-pact and a 10 year member of the Grammy-award winning The Manhattan Transfer. In addition to these two vocal powerhouse groups, he’s also performed with Take 6, Bobby McFerrin, New York Voices, Vox Audio, Naturally 7, and The Swingle Singers. His latest venture, The LHR Project, is a new vocal group collective celebrating legendary jazz vocal group Lambert, Hendricks, and Ross.
As an audio engineer, Trist has toured nationally with several vocal groups and bands in a large variety of venues, working for Grammy award winners Pentatonix and Take 6, as well as prominent a cappella vocal groups Straight No Chaser, VoicePlay, and Accent.
Elaine Chao, M.Ed is a San Francisco Bay Area-based vocalist, multi-instrumentalist, vocal percussionist, and songwriter whose career spans a cappella, contemporary worship, and classical music. She has leveraged her training in classical and choral music over the course of her contemporary performance, including in orchestras for musical theatre and in sacred spaces. In addition to music, she also is a martial artist and published author. She currently leads a product management team at a major software company dedicated to creative expression. All statements in this podcast are her own and do not reflect the opinions of her employer.
Transcript
Elaine: Hey, Trist, what do we have this week?
Speaker:Trist: Elaine. Elaine. Elaine.
Speaker:Trist: It's finally happened.
Speaker:Trist: if we do this right, this will come out the week of or right
Speaker:Trist: around my favorite artists ever.
Speaker:Trist: Prince.
Speaker:Trist: His birthday
Speaker:Elaine: Okay.
Speaker:Trist: would have been about the time that this one comes out if we
Speaker:Trist: timed this correctly.
Speaker:Trist: Unfortunately for you listeners
Speaker:Trist: now, I've waited this long
Speaker:Trist: because now that I've chosen a
Speaker:Trist: Prince song, the next two years
Speaker:Trist: of podcasts will only be Prince
Speaker:Trist: songs.
Speaker:Trist: Okay, that's not true, but that's why I feel like why I
Speaker:Trist: haven't chosen one, because I'm such a fan and there's so much
Speaker:Trist: music that you could talk about.
Speaker:Trist: but for one, there's a lot more
Speaker:Trist: other music out there we'll get
Speaker:Trist: to.
Speaker:Trist: Two, Elaine's not as big a Prince fan as me.
Speaker:Trist: And three, there's a lot of
Speaker:Trist: lyrics to Prince songs that we
Speaker:Trist: just frankly wouldn't talk about
Speaker:Trist: here on this family friendly
Speaker:Trist: forum.
Speaker:Trist: However, we do indeed have, for the first time, a Prince song on
Speaker:Trist: this, and I chose what up until about 2020 was a bootleg.
Speaker:Elaine: Oh!
Speaker:Trist: So it has finally had an official release and we'll talk
Speaker:Trist: about that a bit.
Speaker:Trist: This song is "A Place in Heaven."
Speaker:Elaine: Okay. Well, before we pause and listen to the song, can you
Speaker:Elaine: remind us how we should be listening to music as a part of
Speaker:Elaine: the Musician's Loupe community?
Speaker:Trist: Yeah. We here at the Musician's
Speaker:Trist: Loupe strongly encourage you to
Speaker:Trist: improve your listening
Speaker:Trist: situation.
Speaker:Trist: If you are able to, get the nice
Speaker:Trist: headphones, get the good
Speaker:Trist: speakers, go into the quiet room
Speaker:Trist: where you can just listen for a
Speaker:Trist: minute.
Speaker:Trist: Do yourself that treat.
Speaker:Trist: If you can't do that, we are
Speaker:Trist: thrilled to have you listen no
Speaker:Trist: matter what.
Speaker:Trist: So thank you for being here.
Speaker:Trist: We just like to add that.
Speaker:Trist: We don't take enough time in our lives to just listen to the best
Speaker:Trist: quality that we can.
Speaker:Trist: So we just encourage that.
Speaker:Elaine: All right, so we are going to leave the links to the song in
Speaker:Elaine: the show notes.
Speaker:Elaine: Feel free to pause this, listen to the song a couple of times,
Speaker:Elaine: and then come right back.
Speaker:Elaine: And we are back.
Speaker:Elaine: Okay. That was not what I expected.
Speaker:Elaine: I think what I was expecting was much more of his typical funk
Speaker:Elaine: rock, what Prince is really known for on the airwaves,
Speaker:Elaine: "Kiss" and "Raspberry Beret," you know, those types of songs.
Speaker:Trist: Mhm.
Speaker:Elaine: And this was something that was very, very different.
Speaker:Elaine: Can you tell us a
Speaker:Trist: Well,
Speaker:Elaine: little bit about it?
Speaker:Trist: yeah, that's one of the things.
Speaker:Trist: I often say, being such a big
Speaker:Trist: fan, if you want me to make a
Speaker:Trist: playlist for someone of Prince
Speaker:Trist: music.
Speaker:Trist: First, I need to know if the playlist is supposed to make
Speaker:Trist: them love Prince or hate Prince, because I can make a playlist
Speaker:Trist: that'll probably do either.
Speaker:Trist: Because there's so much music.
Speaker:Trist: Even being such a big fan, I can
Speaker:Trist: make a playlist of music that I
Speaker:Trist: would probably never listen to
Speaker:Trist: because it would just be like my
Speaker:Trist: not favorites.
Speaker:Trist: but to me, that's just a sign of a prolific artist and an artist
Speaker:Trist: that, wow, you take a lot of big swings, do a lot of stuff.
Speaker:Trist: And then when you narrow it down, you get all the really
Speaker:Trist: brilliant things, but you got to try a lot.
Speaker:Trist: So this was the case.
Speaker:Trist: And as I mentioned, who knows?
Speaker:Trist: It's tough to say now that he's passed, people try to talk
Speaker:Trist: about, what he would have wanted, fans like, oh, he didn't
Speaker:Trist: want these songs to come out.
Speaker:Trist: No, he wanted to come out
Speaker:Trist: eventually, now that he owned
Speaker:Trist: all of the rights to his own
Speaker:Trist: songs.
Speaker:Trist: And there's like all these different narratives about the
Speaker:Trist: vault of music that he recorded because he was so prolific.
Speaker:Trist: And then there are interviews with engineers who are like,
Speaker:Trist: well, no, I recorded a song one day with him.
Speaker:Trist: We spent the entire day making this song.
Speaker:Trist: And it was one of my favorites that we had done in years.
Speaker:Trist: And he asked me to erase it.
Speaker:Trist: And I said, no, no, no, maybe
Speaker:Trist: you should think about it, and
Speaker:Trist: maybe come back tomorrow and
Speaker:Trist: listen.
Speaker:Trist: And he's like, hey, if you don't erase this, I'm gonna erase it
Speaker:Trist: when you leave.
Speaker:Trist: So that to me and this engineer said that, that eliminates the
Speaker:Trist: thought in my head of like, oh, if it's in the vault but they
Speaker:Trist: never released it, he doesn't really want anybody to hear it,
Speaker:Trist: or he would have put it out.
Speaker:Trist: Susan Rogers, his long time recording engineer, she
Speaker:Trist: mentioned that in a pod I heard.
Speaker:Trist: She says, oh, you know, I was a part of some songs that he
Speaker:Trist: really didn't want people to hear because he deleted them.
Speaker:Trist: He erased them from existence.
Speaker:Trist: Sometimes against my better wishes.
Speaker:Trist: But that's why he was the boss and I was just working.
Speaker:Trist: So anyway, to come back around to what you're talking about.
Speaker:Trist: There's so much music that it's very easy to play songs from
Speaker:Trist: Prince that don't necessarily sound like what you might think
Speaker:Trist: they sound like.
Speaker:Elaine: Well, let me start out by giving some of my first impressions.
Speaker:Elaine: First of all, this is a song in three four.
Speaker:Elaine: It sounded very music boxy, you
Speaker:Trist: Mhm.
Speaker:Elaine: know, in terms of a very, waltzy kind of thing.
Speaker:Elaine: Very simple in terms of instrumentation, simple drums,
Speaker:Elaine: simple pianos, a little harpsichord sound that came in.
Speaker:Elaine: One of the previous songs that
Speaker:Elaine: we had reviewed was a Stevie
Speaker:Elaine: Wonder song where the chords
Speaker:Elaine: change in kind of unusual ways,
Speaker:Elaine: and it felt like it moved with
Speaker:Elaine: the music.
Speaker:Trist: Mhm.
Speaker:Elaine: And in this case, I felt like the anchor moved multiple times.
Speaker:Elaine: Like the key seemed to move.
Speaker:Elaine: And the second time I listened to it, I was like, it didn't
Speaker:Elaine: seem to move as much.
Speaker:Elaine: So maybe I got used to it, but there was just something in
Speaker:Elaine: there where it seemed like maybe he was playing around with
Speaker:Elaine: something where he was changing keys to go with the melody.
Speaker:Elaine: And, in some places it worked really well.
Speaker:Elaine: And some places I was like, I
Speaker:Elaine: don't know where you were going
Speaker:Elaine: with that.
Speaker:Elaine: But I think that there was just this sense of freedom in playing
Speaker:Elaine: in that kind of thing.
Speaker:Elaine: What did you hear in terms of the key changes?
Speaker:Trist: Yeah. On first listen, there are some chord changes in places
Speaker:Trist: that you don't expect them that lead places you don't expect.
Speaker:Trist: So then since you've now heard it, when you listen to it again,
Speaker:Trist: it's not as much of a surprise.
Speaker:Trist: So that's why it doesn't seem as odd the next time.
Speaker:Trist: But the very first time, it's
Speaker:Trist: like, especially since it's set
Speaker:Trist: up, like you said, it's like a
Speaker:Trist: very music box, very
Speaker:Trist: predictable.
Speaker:Trist: The 3/4 seems predictable.
Speaker:Trist: The chords.
Speaker:Trist: Okay, I know where this is going, even through the verse.
Speaker:Trist: And then there's a little segueway.
Speaker:Trist: I can't even remember the spot
Speaker:Trist: that it's in, but this little
Speaker:Trist: connecting where the harmonies
Speaker:Trist: of the vocals are weird and the
Speaker:Trist: chord underneath it is kind of
Speaker:Trist: weird.
Speaker:Trist: And I don't remember exactly what it is, but I love that.
Speaker:Trist: Just because I love surprises in music.
Speaker:Trist: And that is definitely a place that it does it.
Speaker:Trist: It still catches me even though I know it's coming.
Speaker:Trist: The music geek in me should have taken it to my music theory
Speaker:Trist: class and we could have picked it apart what it really is.
Speaker:Trist: But he wasn't married to that.
Speaker:Trist: He wasn't like, oh, well, let's see, is this the secondary
Speaker:Trist: dominant of this?
Speaker:Trist: If I actually change keys or am I just in a relative key?
Speaker:Trist: Or am I- He doesn't think like that at all.
Speaker:Trist: He just does the sounds that he likes and what he wants to do.
Speaker:Trist: And while there's not a lot of
Speaker:Trist: that, there are few places in
Speaker:Trist: his music where there's a chord
Speaker:Trist: or a little progression that
Speaker:Trist: just surprises you as it is not
Speaker:Trist: typical.
Speaker:Trist: And it's usually in that case, it's not a bunch of that.
Speaker:Trist: It's usually everything is set
Speaker:Trist: up and everything sounds very
Speaker:Trist: standard.
Speaker:Trist: Like you can almost predict where the chords are going.
Speaker:Trist: And then something just out of left field happens.
Speaker:Trist: So that part is not new for him.
Speaker:Trist: He does that
Speaker:Elaine: Yeah,
Speaker:Trist: here
Speaker:Elaine: it definitely
Speaker:Trist: and there.
Speaker:Elaine: sounded a lot more avant garde than I expected out of Prince.
Speaker:Elaine: But I guess, given how prolific he was, I felt like he explored
Speaker:Elaine: a lot in a lot
Speaker:Trist: Mhm.
Speaker:Elaine: of his different pieces.
Speaker:Elaine: After he passed away, a bunch of
Speaker:Elaine: clips went viral of him just
Speaker:Elaine: noodling as he was doing a sound
Speaker:Elaine: check.
Speaker:Trist: Mhm.
Speaker:Elaine: And I think it wasn't until that point in time that I realized
Speaker:Elaine: just how brilliant he was.
Speaker:Elaine: He was just able to noodle and really play around on those keys
Speaker:Elaine: and vocals, in
Speaker:Trist: Mhm.
Speaker:Elaine: a way that I was really impressed by.
Speaker:Elaine: It was just coming off the cuff for him.
Speaker:Trist: And then you're talking about the vault.
Speaker:Trist: The reason there is a vault of music, because he would just
Speaker:Trist: write all the time.
Speaker:Trist: And record.
Speaker:Trist: He had a recording studio before he built Paisley Park, his
Speaker:Trist: eventual home and studio.
Speaker:Trist: His normal home, just a regular house in the neighborhood had a
Speaker:Trist: studio in it, where they would do this stuff.
Speaker:Trist: And actually that's where this was recorded.
Speaker:Trist: This originally comes from 1986.
Speaker:Trist: There's also a version of it
Speaker:Trist: with Lisa, you know, Wendy &
Speaker:Trist: Lisa that were in the
Speaker:Trist: Revolution.
Speaker:Trist: There's another version of the song with her singing the lead
Speaker:Trist: vocal as well.
Speaker:Trist: But if we're going to do a
Speaker:Trist: Prince track, finally, I chose
Speaker:Trist: the version that had him singing
Speaker:Trist: it.
Speaker:Trist: Although if you hear his voice, it's very much in his kind of
Speaker:Trist: female voice sounding thing.
Speaker:Trist: It's like he's almost doing a demo intending that it's going
Speaker:Trist: to be Lisa singing it, as he would do a lot of times.
Speaker:Trist: If he's doing them something for Sheila E or when he did Manic
Speaker:Trist: Monday, or any of the songs that he wrote for other people, a lot
Speaker:Trist: of times it was either because either he intentionally was
Speaker:Trist: writing it for them.
Speaker:Trist: And so he put it up in that
Speaker:Trist: register and he could sing it
Speaker:Trist: there so he could demo it for
Speaker:Trist: them.
Speaker:Trist: or it's just where it landed.
Speaker:Trist: And then it lent itself to the female lead.
Speaker:Trist: So I think that's probably the case.
Speaker:Trist: So yeah, 1986 is when it was recorded.
Speaker:Trist: and then not until 2020, on "The
Speaker:Trist: Sign 'O' the Times," Super
Speaker:Trist: Deluxe edition.
Speaker:Trist: So what the Prince trust has been doing is when they
Speaker:Trist: rerelease these albums, very much in a marketable kind of
Speaker:Trist: way, they go through the albums that we've already bought and
Speaker:Trist: remaster them and clean them up and reissue them, but then
Speaker:Trist: they'll do these extras where there's a regular version and
Speaker:Trist: then maybe a two disc with some extra songs, and then there's
Speaker:Trist: like this massive collection.
Speaker:Trist: And this was one of those.
Speaker:Trist: "Sign 'O' the Times," Super Deluxe edition.
Speaker:Trist: The original album is already a double album, so when you buy
Speaker:Trist: the Super Deluxe edition, it comes with a lot of music from
Speaker:Trist: the same time period as the music on that album.
Speaker:Trist: So that's kind of how they're slowly disseminating and making
Speaker:Trist: as much as they can out of instead of just, okay, well,
Speaker:Trist: here's all the music that's ever been in the vault.
Speaker:Trist: You can all check it out now.
Speaker:Trist: You know, no good business would do it that way.
Speaker:Trist: There's like two full CDs worth of just stuff from the vault
Speaker:Trist: that never did get released.
Speaker:Elaine: Going back to what you were saying before, I loved what you
Speaker:Elaine: were saying about where it was placed in his voice because it
Speaker:Elaine: was in kind of a scratchy place in his voice.
Speaker:Elaine: It was very high in his range,
Speaker:Elaine: and certainly from a vocalist's
Speaker:Elaine: perspective, he just has a huge,
Speaker:Elaine: huge range.
Speaker:Elaine: I personally,
Speaker:Trist: Right.
Speaker:Elaine: I think like the lower part of his range a little bit more.
Speaker:Elaine: And you heard
Speaker:Trist: Mhm.
Speaker:Elaine: that in the harmonies because you had that in there as well.
Speaker:Elaine: and certainly lots of his popular pieces do have him going
Speaker:Elaine: up into that high range as well.
Speaker:Elaine: So I just thought it was interesting to listen to this
Speaker:Elaine: and listen to some places also where his words were maybe a
Speaker:Elaine: little bit swallowed or garbled.
Speaker:Elaine: when you were saying it sounded
Speaker:Elaine: like a demo, I was like, oh,
Speaker:Elaine: actually, that makes a lot of
Speaker:Elaine: sense.
Speaker:Elaine: that being said, I feel like the
Speaker:Elaine: instrumentation was very
Speaker:Elaine: intentional.
Speaker:Elaine: It was very tender.
Speaker:Elaine: And as I got into the lyrics, I really was like, oh, it is a
Speaker:Elaine: very tender piece, from a lyrics perspective as well.
Speaker:Elaine: So I kind of understand maybe
Speaker:Elaine: where he was going from that
Speaker:Elaine: perspective.
Speaker:Trist: a lot of those tunes in the vault, it's kind of like that
Speaker:Trist: was an idea.
Speaker:Trist: Sometimes he would pull
Speaker:Trist: something out and just add
Speaker:Trist: another thing to it that maybe
Speaker:Trist: was missing.
Speaker:Trist: And then it fit on a new album that he was working on, or it
Speaker:Trist: would just sit there like this.
Speaker:Trist: I think there was an album it
Speaker:Trist: was probably intended for at
Speaker:Trist: some point.
Speaker:Trist: There were several albums that got abandoned.
Speaker:Trist: So I think it may have been part
Speaker:Trist: of a project that ended up not
Speaker:Trist: coming out.
Speaker:Elaine: Interesting.
Speaker:Elaine: Well, let's switch and talk about the lyrics because
Speaker:Trist: Mhm.
Speaker:Elaine: there was a lot to talk about there, and even just you telling
Speaker:Elaine: me about it being originally from the mid 1980s, even gives a
Speaker:Elaine: little bit more shading to the lyrics and the analysis of it.
Speaker:Elaine: I'm really interested in hearing what you think of the lyrics,
Speaker:Elaine: because I certainly did a breakdown from my perspective
Speaker:Elaine: and would love to hear what you would have to say first.
Speaker:Trist: Well, for two weeks in a row.
Speaker:Trist: I'm turning it around on you.
Speaker:Trist: I definitely want to know what
Speaker:Trist: you think of first, because of
Speaker:Trist: course, I've heard this one a
Speaker:Trist: lot and have a lot of different
Speaker:Trist: ideas, and probably read more
Speaker:Trist: about this song than I can even
Speaker:Trist: remember to see different
Speaker:Trist: people's interpretations.
Speaker:Trist: So your first listen like this,
Speaker:Trist: I definitely want to hear from
Speaker:Trist: you first.
Speaker:Elaine: Okay, so I'm up for this challenge here.
Speaker:Trist: Mhm.
Speaker:Elaine: So as I was taking a look at this, one of the things that I
Speaker:Elaine: look for, especially in poetry is what are repeated phrases or
Speaker:Elaine: what are repeated words in it
Speaker:Trist: Mhm.
Speaker:Elaine: and certainly "in heaven."
Speaker:Trist: Mhm.
Speaker:Elaine: And as I took a look at it,
Speaker:Elaine: there was a very interesting
Speaker:Elaine: parallelism in there where there
Speaker:Elaine: are four different subjects, all
Speaker:Elaine: having to do something with "in
Speaker:Elaine: heaven."
Speaker:Elaine: So it starts out with "she wants a place in heaven."
Speaker:Elaine: So describing
Speaker:Trist: Mhm.
Speaker:Elaine: a character, "you
Speaker:Trist: Mhm.
Speaker:Elaine: want a place in heaven."
Speaker:Elaine: So talking specifically to the audience.
Speaker:Elaine: So breaking that third wall,
Speaker:Elaine: "there must be children in
Speaker:Elaine: heaven."
Speaker:Elaine: So talking
Speaker:Trist: Mhm.
Speaker:Elaine: about these hypothetical children.
Speaker:Elaine: And then the fourth one is "we all want a place in heaven."
Speaker:Elaine: And
Speaker:Trist: Mhm.
Speaker:Elaine: so there's this relationship
Speaker:Elaine: with these four different groups
Speaker:Elaine: of people with a concept of
Speaker:Elaine: heaven.
Speaker:Elaine: And each one of them is
Speaker:Elaine: described in a slightly
Speaker:Elaine: different way.
Speaker:Elaine: So starting with "she," that one was the most, I'd say brutal.
Speaker:Elaine: It was like, we're talking about nooses.
Speaker:Elaine: We're talking about death.
Speaker:Elaine: It was just like, oh my goodness.
Speaker:Elaine: I felt like it was brutal because it was really kind of
Speaker:Elaine: like this rope of self pity only
Speaker:Trist: Mhm.
Speaker:Elaine: requires a noose.
Speaker:Elaine: It really is confrontational with the sense of how this woman
Speaker:Elaine: feels about her relationship with heaven and how she really
Speaker:Elaine: wants to go there.
Speaker:Elaine: And he makes this observation that heaven and hell are pretty
Speaker:Elaine: much the same in this case.
Speaker:Elaine: And so I'm like, oh, that's deep, man.
Speaker:Elaine: That's really deep.
Speaker:Elaine: So the second one is "you."
Speaker:Elaine: And the you is that there's a sense of like whining that I
Speaker:Elaine: get, he's calling
Speaker:Trist: Mhm.
Speaker:Elaine: the, you like the audience out on whining because "life is what
Speaker:Elaine: you make of it" is what he says
Speaker:Trist: Mhm.
Speaker:Elaine: in the lyrics.
Speaker:Elaine: "Love comes to those who care."
Speaker:Elaine: And so it just seems like he
Speaker:Elaine: doesn't have any pity for the
Speaker:Elaine: people who are complaining about
Speaker:Elaine: it.
Speaker:Elaine: So the third one is children.
Speaker:Elaine: He's talking about these young children who have passed away,
Speaker:Elaine: they should just run heaven.
Speaker:Elaine: And so there is this sense of utopia with the innocence.
Speaker:Elaine: And so he has that observation there.
Speaker:Elaine: He spends a lot of time on that.
Speaker:Elaine: And then the last little piece that it wraps up is we all want
Speaker:Elaine: a place in heaven.
Speaker:Elaine: And so there's a little bit of a
Speaker:Elaine: call to action here, in talking
Speaker:Elaine: about, our core fundamental
Speaker:Elaine: desire to be a part of this
Speaker:Elaine: heavenly environment.
Speaker:Elaine: But it was interesting because everything that he talked about
Speaker:Elaine: was kind of hotel ish.
Speaker:Elaine: Like he's talking about suites.
Speaker:Elaine: He's talking about room service.
Speaker:Elaine: But he does say that this is not a full service location.
Speaker:Elaine: Like don't be lazy.
Speaker:Elaine: And so there's an exhortation
Speaker:Trist: Right.
Speaker:Elaine: in there.
Speaker:Elaine: And so if I were to summarize,
Speaker:Elaine: it was like fear, sloth,
Speaker:Elaine: innocence, and
Speaker:Trist: MM.
Speaker:Elaine: a call to action.
Speaker:Trist: MM.
Speaker:Elaine: And I just thought it was just an interesting parallel of all
Speaker:Elaine: four of these pieces.
Speaker:Elaine: But there was so much room for
Speaker:Elaine: interpretation that you could
Speaker:Elaine: practically drive
Speaker:Trist: MM.
Speaker:Elaine: a truck through it.
Speaker:Elaine: And so I could see where there
Speaker:Elaine: would be a lot of other
Speaker:Elaine: interpretations.
Speaker:Elaine: I'm just taking a look at these
Speaker:Elaine: phrases and see where they're
Speaker:Elaine: repeated and maybe that's
Speaker:Elaine: pointing us in this direction
Speaker:Elaine: and that sense of structural
Speaker:Elaine: repetition, gives me the sense
Speaker:Elaine: of, okay, these are all
Speaker:Elaine: parallels.
Speaker:Trist: Right?
Speaker:Elaine: But then I put it in the anchor in the context of time.
Speaker:Elaine: And you were talking about the
Speaker:Elaine: mid 1980s and I was like, AIDS
Speaker:Elaine: epidemic.
Speaker:Elaine: I was thinking about young children dying in Africa.
Speaker:Elaine: I was thinking about starvation.
Speaker:Elaine: I'm thinking about, food insecurity, famine that was
Speaker:Elaine: happening in the 80s.
Speaker:Elaine: And so much of this happening in the context of what was
Speaker:Elaine: happening in the world.
Speaker:Elaine: And I could understand, especially thinking about
Speaker:Elaine: children dying, which
Speaker:Trist: Mhm.
Speaker:Elaine: is that third section there that he was talking about.
Speaker:Elaine: In some ways, I feel like it might be commentary on apathy.
Speaker:Elaine: It might be commentary on our desires to be close to heaven
Speaker:Elaine: and that taking work.
Speaker:Elaine: And so I don't exactly know, like this is just a guess.
Speaker:Elaine: But there is something about that mid 1980s that is very
Speaker:Elaine: indicative of where he might have been going with this song.
Speaker:Trist: I like those last two things you talked about.
Speaker:Trist: I love the there must be
Speaker:Trist: children in heaven, ones who
Speaker:Trist: know nothing from hate, kind of
Speaker:Trist: pointing out the kind of the
Speaker:Trist: thing we all know, you're not
Speaker:Trist: born hating.
Speaker:Trist: You have to learn
Speaker:Elaine: I
Speaker:Trist: it. You
Speaker:Elaine: mean,
Speaker:Trist: learn
Speaker:Elaine: that
Speaker:Trist: it
Speaker:Elaine: also
Speaker:Trist: from others.
Speaker:Elaine: brings up racism and apartheid.
Speaker:Elaine: Like
Speaker:Trist: Right.
Speaker:Elaine: both of which have come up before.
Speaker:Elaine: And I know that we've talked
Speaker:Elaine: about the concept of apartheid
Speaker:Elaine: in the Paul Simon song that we
Speaker:Elaine: did, "Diamonds
Speaker:Trist: Mhm.
Speaker:Elaine: on the Soles of Her Shoes."
Speaker:Elaine: So I think all of that fitting into the same kind of time
Speaker:Elaine: frame, really begins to cement it in my head.
Speaker:Trist: Yeah.
Speaker:Elaine: Like we're talking about love, we're talking about hate.
Speaker:Elaine: We're talking about young people dying.
Speaker:Elaine: We're talking about babies of all colors.
Speaker:Elaine: There's a lot of stuff in there that hints maybe at racism,
Speaker:Elaine: apartheid and all the stuff that was going on in the 1980s.
Speaker:Trist: And like what I was getting at
Speaker:Trist: there, "ones who know nothing
Speaker:Trist: from hate.
Speaker:Trist: three year old leaders of all colors.
Speaker:Trist: I feel safer with them in control."
Speaker:Trist: That hasn't really changed since the 80s.
Speaker:Trist: Like remembering we don't come out hating.
Speaker:Trist: We learn it.
Speaker:Trist: It's part of the environment.
Speaker:Trist: It's taught to us.
Speaker:Trist: This is not something that's natural.
Speaker:Trist: he's kind of getting at there.
Speaker:Trist: And like you said, we all want a place in heaven.
Speaker:Trist: Suites of that level are few.
Speaker:Trist: So you're not always going to get the suite.
Speaker:Trist: You have to work.
Speaker:Trist: There's no room service.
Speaker:Trist: if you want to get to there, you have to work on it here.
Speaker:Trist: And the transition I was remembering, when you were going
Speaker:Trist: through the lyrics, when we talked about the chord changes
Speaker:Trist: that had the weird shift.
Speaker:Trist: It happens on the lyrics.
Speaker:Trist: "Why are the ones so afraid to live / much more afraid to die?"
Speaker:Elaine: Oh, yeah.
Speaker:Trist: That's where the unevenness of of the chords happen also.
Speaker:Trist: And the weird harmony happens on that line.
Speaker:Trist: "It's as easy to imagine
Speaker:Trist: laughing / when you really hear
Speaker:Trist: a cry."
Speaker:Elaine: Yeah.
Speaker:Trist: So all that unsettled harmonic
Speaker:Trist: stuff happens right there with
Speaker:Trist: the
Speaker:Elaine: Right.
Speaker:Trist: lyrics.
Speaker:Trist: So whether it's super purposeful or not or just a happenstance,
Speaker:Trist: it's a good spot.
Speaker:Elaine: Well, this is one where we could spend a lot of time thinking
Speaker:Trist: Mhm.
Speaker:Elaine: about it and, really picking
Speaker:Trist: Mhm.
Speaker:Elaine: it apart.
Speaker:Elaine: But we're limited on time.
Speaker:Elaine: And so is there anything else that you wanted to say about the
Speaker:Elaine: song before we move on?
Speaker:Trist: Oh that's it.
Speaker:Trist: I think when we do the links, we
Speaker:Trist: can go ahead and link the other
Speaker:Trist: version.
Speaker:Trist: I don't know the story about
Speaker:Trist: this, there's also a version
Speaker:Trist: where I think the song just
Speaker:Trist: plays backwards.
Speaker:Trist: And on bootlegs that I would see, it literally would have the
Speaker:Trist: title all spelled backwards, with the last letters being
Speaker:Trist: capitalized and everything.
Speaker:Trist: so I don't know exactly if it was going to be on another album
Speaker:Trist: that he didn't use it on, but eventually snuck through there
Speaker:Trist: from some different people.
Speaker:Trist: There's always rumors that he
Speaker:Trist: was the one that would let them
Speaker:Trist: go.
Speaker:Trist: That's just fun to talk about.
Speaker:Trist: Whether he leaked his own songs or not.
Speaker:Trist: Basically,
Speaker:Elaine: The Prince conspiracy theories are coming out
Speaker:Trist: yeah,
Speaker:Elaine: right now.
Speaker:Trist: basically getting him out there.
Speaker:Trist: But there was a bootleg market for sure.
Speaker:Trist: The Prince Black Album is probably one of the most sought
Speaker:Trist: after bootleg albums ever.
Speaker:Trist: Anyway, that's very much a part of his lore as the bootlegs
Speaker:Trist: because he had so much material that just sitting there that at
Speaker:Trist: some point people went, I'm gonna make a little recording
Speaker:Trist: and give this to my friend, and then things would just get out.
Speaker:Trist: But anyway, we'll put other
Speaker:Trist: versions in the comments and,
Speaker:Trist: y'all can let us know what you
Speaker:Trist: think.
Speaker:Elaine: Awesome.
Speaker:Elaine: So let's move on to our next segment, which is.
Speaker:Trist: 🎶 Mailbag, mailbag. 🎶
Speaker:Elaine: That's right.
Speaker:Elaine: The mailbag.
Speaker:Elaine: And if you'd like to get a hold
Speaker:Elaine: of us, you can email us at
Speaker:Elaine: themusiciansloupe@gmail.com,
Speaker:Elaine: that's L o u p e. Or you can
Speaker:Elaine: contact us via Instagram or
Speaker:Elaine: Threads @themusiciansloupe.
Speaker:Trist: That's a great place you can let us know some songs you think we
Speaker:Trist: should maybe check out, or maybe tell us your favorite Prince
Speaker:Trist: bootleg or lesser known song.
Speaker:Trist: Or any other facts, with the
Speaker:Trist: Prince stuff, there's so much
Speaker:Trist: out there.
Speaker:Trist: So if you have any other info about this song that maybe we
Speaker:Trist: didn't cover, let us know.
Speaker:Trist: That's a good place to do it.
Speaker:Elaine: Okay, so this week's mailbag comes from Threads.
Speaker:Elaine: It's a conversation between a
Speaker:Elaine: couple of people from January of
Speaker:Elaine: 2026, Cameron Mizell and Mila
Speaker:Elaine: Rusecka.
Speaker:Elaine: So Cameron writes, "The greatest musicians I've been around who
Speaker:Elaine: are at the top of the game and make music that will outlive all
Speaker:Elaine: of us, are also incredibly kind and generous people.
Speaker:Elaine: I think it's good for the rest
Speaker:Elaine: of us to remember that the music
Speaker:Elaine: comes first.
Speaker:Elaine: Egos just get in the way.
Speaker:Elaine: Show your fellow musicians some grace.
Speaker:Elaine: Try to elevate the music.
Speaker:Elaine: Maybe make the world a tiny bit better in the process."
Speaker:Elaine: And Mila replies, "Exactly.
Speaker:Elaine: Talent isn't measured by how
Speaker:Elaine: loud you are or how many eyes
Speaker:Elaine: follow you.
Speaker:Elaine: It's measured by what you let
Speaker:Elaine: live in the world and how you
Speaker:Elaine: treat the people carrying it
Speaker:Elaine: with you.
Speaker:Elaine: Grace doesn't make the music smaller, it makes it last."
Speaker:Elaine: And so I think that where I'd
Speaker:Elaine: really like to talk about is
Speaker:Elaine: what is the nature of
Speaker:Elaine: relationship and what is the
Speaker:Elaine: importance of relationship in
Speaker:Elaine: making music and especially in a
Speaker:Elaine: music career?
Speaker:Trist: Oh man, it's so incredibly important.
Speaker:Trist: But I think, as is often the time I when you kind of talk
Speaker:Trist: about generalities about music, music business, musicians, so
Speaker:Trist: many of the the basic principles don't necessarily have anything
Speaker:Trist: to do with being exclusively of the music industry.
Speaker:Trist: Like that's any industry, the
Speaker:Trist: greatest blank I've ever been
Speaker:Trist: around or who are at the top of
Speaker:Trist: the game and make blank that
Speaker:Trist: will outlive us all are also
Speaker:Trist: incredibly kind and generous
Speaker:Trist: people.
Speaker:Trist: Sure, there are outliers.
Speaker:Trist: "Remember that one incredible
Speaker:Trist: whoever that was just a total
Speaker:Trist: jerk?
Speaker:Trist: They were still really incredible, even though they
Speaker:Trist: were a terrible person."
Speaker:Trist: I guess that still can happen in the world, that you can be this
Speaker:Trist: amazing artist and somehow have this other side of you.
Speaker:Trist: But in general, I would say this is true of most, of like
Speaker:Trist: business leaders, some of the best leaders of organizations,
Speaker:Trist: of teams of musicians, artists.
Speaker:Trist: I notice, in my world of not necessarily being a musician,
Speaker:Trist: but as a sound engineer, as I travel the world and meet other
Speaker:Trist: sound engineers, usually the best engineers I've ever met,
Speaker:Trist: especially because the sound I'm doing is usually for a lot of
Speaker:Trist: vocals, an a cappella group or a big vocal thing.
Speaker:Trist: And there are some very specific things that you do that maybe
Speaker:Trist: you could have mixed for bands and toured with them for dozens
Speaker:Trist: and dozens of years.
Speaker:Trist: But this eighty percent of the job is a lot of the same.
Speaker:Trist: But there's this other little percentage of stuff that's just
Speaker:Trist: a little different.
Speaker:Trist: And even in this community, the sound engineers I've met, the
Speaker:Trist: ones that are really good at what they do.
Speaker:Trist: but almost just kind of, "Oh, I've done this a long time.
Speaker:Trist: I really have no interest in
Speaker:Trist: what you do because it's a
Speaker:Trist: smaller genre and it's not as
Speaker:Trist: big as the things that I've done
Speaker:Trist: before.
Speaker:Trist: And I've done this longer than you.
Speaker:Trist: So what could I possibly learn from you?" Is sometimes the
Speaker:Trist: feeling that I will get.
Speaker:Trist: Maybe after hearing the show and seeing some things, I'll get.
Speaker:Trist: "Oh, that was cool how you did that.
Speaker:Trist: I didn't even think that that was a thing.
Speaker:Trist: How did you do that with that one voice or whatever."
Speaker:Trist: So sometimes that'll get asked, but usually the best ones, the
Speaker:Trist: ones that I think, oh, this is world class touring engineer
Speaker:Trist: almost right away.
Speaker:Trist: Oh, you mix for this group.
Speaker:Trist: How do you do that?
Speaker:Trist: What are the-" Right away, it's inquisitive.
Speaker:Trist: What is it you do that makes them-" you know, they're trying
Speaker:Trist: to get better just in case they come across that.
Speaker:Trist: So they're always trying to learn.
Speaker:Trist: I would think that same thing would apply to athletes, some of
Speaker:Trist: the greatest athletes.
Speaker:Trist: It's like, hey, what else can I learn?
Speaker:Trist: What's your training regimen?
Speaker:Trist: What do you do?
Speaker:Trist: Um,
Speaker:Elaine: Yeah, that sense of curiosity.
Speaker:Trist: yeah.
Speaker:Elaine: Right?
Speaker:Elaine: And just like genuine sense of connection.
Speaker:Trist: Yeah. There's always like the balance in all of these things.
Speaker:Trist: We always joke that, well, the
Speaker:Trist: balance has to be your
Speaker:Trist: personality.
Speaker:Trist: How nice of a person you are a balanced with the talent.
Speaker:Trist: So some jobs, they don't really need your talent to be amazing.
Speaker:Trist: It just needs to be solid enough to fulfill the job.
Speaker:Trist: And it's almost just as
Speaker:Trist: important that you're a good
Speaker:Trist: person and you're fun to hang
Speaker:Trist: out with.
Speaker:Trist: And then there are some
Speaker:Trist: particular musical things that,
Speaker:Trist: man, we need to find somebody
Speaker:Trist: that can do this special,
Speaker:Trist: exemplary thing.
Speaker:Trist: And if they really are good at that thing that's really rare
Speaker:Trist: that we can't find.
Speaker:Trist: we'd prefer them to be a great person, but even if they're not
Speaker:Trist: really that great and they're kind of a bummer to hang out
Speaker:Trist: with, sometimes we really need them because they're the only
Speaker:Trist: ones that can do this thing.
Speaker:Trist: So there's a balance sometimes.
Speaker:Trist: You can get away with not being the most bright, sunshiny person
Speaker:Trist: to be around if you're really good at this thing that you're
Speaker:Trist: needed for, but most of the time you need a balance.
Speaker:Elaine: I like what you're saying about that.
Speaker:Elaine: And I'm trying to apply it to other areas of- certainly,
Speaker:Elaine: working in the corporate world.
Speaker:Elaine: You do get a sense of who are
Speaker:Elaine: the people that you want to be
Speaker:Elaine: working with?
Speaker:Elaine: And who are the people that you want to be working for?
Speaker:Elaine: I have to say, I don't speak on behalf of my company.
Speaker:Elaine: But I have been at my company for over twenty years and people
Speaker:Elaine: ask me why I've stayed.
Speaker:Elaine: And it's this unique combination of the best and the brightest in
Speaker:Elaine: the industry, but everyone's really, really nice.
Speaker:Elaine: Like the number of jerks that
Speaker:Elaine: you find at my company is very
Speaker:Elaine: low.
Speaker:Elaine: And I think that that is actually something that I
Speaker:Elaine: really, really enjoy.
Speaker:Elaine: Because the second thing that I firmly believe in is that you're
Speaker:Elaine: a sum of the people that you hang around with.
Speaker:Elaine: Like you are so influenced by the people that you spend the
Speaker:Elaine: most amount of time with.
Speaker:Elaine: And so certainly that impacts
Speaker:Trist: To talk
Speaker:Elaine: you
Speaker:Trist: to
Speaker:Elaine: with
Speaker:Trist: you.
Speaker:Elaine: like, okay, how do you choose your friends?
Speaker:Elaine: But I think the other thing is
Speaker:Elaine: what kind of energy are you
Speaker:Elaine: surrounded by when you are
Speaker:Elaine: actually working?
Speaker:Elaine: And I don't know about you, but I spend more time at work than I
Speaker:Elaine: do with my friends because I'm at work all the time
Speaker:Trist: Mhm.
Speaker:Elaine: and I spend time with my friends when I can.
Speaker:Elaine: But I think that that is something that I really do think
Speaker:Elaine: about and I'm a lot more conscious about, especially the
Speaker:Elaine: older I get.
Speaker:Elaine: Like, how am I influenced and how am I influencing others?
Speaker:Elaine: How am I making space for them
Speaker:Elaine: to be the best people that they
Speaker:Elaine: can be?
Speaker:Elaine: And I think the more people who have that kind of attitude, the
Speaker:Elaine: better the collaboration can be.
Speaker:Elaine: And no matter what, whether it's in music or whether it's in
Speaker:Elaine: corporate world, in business world, in tech or whatnot.
Speaker:Elaine: And so I hundred percent agree with you there.
Speaker:Elaine: I think that there's a sense of
Speaker:Elaine: not only collegiality, but also
Speaker:Elaine: authenticity that
Speaker:Trist: Mhm.
Speaker:Elaine: can really lead to that sense of, okay, this is a person who I
Speaker:Elaine: want to work with, and hopefully I'm a person that they want to
Speaker:Elaine: work with because I bring the same kind of energy.
Speaker:Trist: Absolutely.
Speaker:Trist: you want to work with people.
Speaker:Trist: you have to be around them all the time.
Speaker:Trist: It's a big reality of the music touring world.
Speaker:Trist: if there's people that are going to be in the band with you that
Speaker:Trist: maybe aren't a part of the actual creative team for your
Speaker:Trist: music, but you need other people to go on the road, whether it's
Speaker:Trist: sound engineers, other crew, other people that will be
Speaker:Trist: working closely with you, your tour manager, all of those
Speaker:Trist: people, you are going to be with them all the time, 24/7 for
Speaker:Trist: whatever amount of time it is.
Speaker:Trist: It's usually, hey, this isn't rocket science.
Speaker:Trist: There's a lot of people that can do this.
Speaker:Trist: And if there's a lot of people
Speaker:Trist: that can do this that are nice
Speaker:Trist: people, we're going to hire them
Speaker:Trist: before you.
Speaker:Elaine: Yeah, I definitely have some
Speaker:Elaine: experiences with that going on
Speaker:Elaine: vacation with my family and
Speaker:Elaine: especially what?
Speaker:Elaine: Okay,
Speaker:Trist: You can't
Speaker:Elaine: so.
Speaker:Trist: trade them out, though.
Speaker:Elaine: No, no, no, I'm actually, I love my family.
Speaker:Elaine: Especially traveling with my parents on bus tours that
Speaker:Trist: Mhm.
Speaker:Elaine: cater to an older demographic.
Speaker:Elaine: And so
Speaker:Trist: Mhm.
Speaker:Elaine: I find myself as like one of the
Speaker:Elaine: youngest people on this bus
Speaker:Elaine: tour.
Speaker:Trist: Mhm.
Speaker:Elaine: And I will say that being crammed on a bus with a bunch of
Speaker:Elaine: strangers, every single little irritation just seems to magnify
Speaker:Elaine: the longer that you are in proximity to them.
Speaker:Elaine: And
Speaker:Trist: Right.
Speaker:Elaine: so the people who you really
Speaker:Elaine: enjoy, you really enjoy being
Speaker:Elaine: around, and
Speaker:Trist: Mhm.
Speaker:Elaine: the people who are annoying turn
Speaker:Trist: Mhm.
Speaker:Elaine: out to be so much more annoying after six
Speaker:Trist: Mhm.
Speaker:Elaine: days
Speaker:Trist: Yep.
Speaker:Elaine: of being in close proximity with them.
Speaker:Elaine: And so I agree with you.
Speaker:Elaine: I can understand, that
Speaker:Elaine: especially if you're on tour for
Speaker:Elaine: weeks on end, you really want to
Speaker:Elaine: make sure that it is going to be
Speaker:Elaine: survivable.
Speaker:Elaine: And hopefully enjoyable!
Speaker:Elaine: It's not necessarily a situation
Speaker:Elaine: where you're going to loathe
Speaker:Elaine: your entire existence after two
Speaker:Elaine: weeks.
Speaker:Trist: That's the best thing about tour
Speaker:Trist: is just having fun, it's like,
Speaker:Trist: wow, we get to go make music and
Speaker:Trist: travel around and there's so
Speaker:Trist: many positives.
Speaker:Trist: and you hear story after story of that band, on their fifth
Speaker:Trist: album or their seventh album when it's like, okay, all the
Speaker:Trist: newness has worn off and it's not as exciting anymore.
Speaker:Trist: So you always hear from bands like, yeah, after all these
Speaker:Trist: years, we still have a blast.
Speaker:Trist: I mean, it's like regular relationships.
Speaker:Trist: Hey, twenty one years in, we still actually like each other,
Speaker:Trist: and we're still married, and we still find a way to keep happy
Speaker:Trist: and get in each other's way and get out of each other's way in
Speaker:Trist: the right times.
Speaker:Trist: And it's like that.
Speaker:Trist: With your relationship, it's just you and one other person,
Speaker:Trist: with like your tour and band, it's like a whole bunch of
Speaker:Trist: people, so it's like five, six, ten way marriage.
Speaker:Trist: Yeah.
Speaker:Elaine: So I guess it's just a call to
Speaker:Elaine: all of us to be the type of
Speaker:Elaine: people who you would love to
Speaker:Elaine: work with.
Speaker:Trist: Absolutely.
Speaker:Elaine: And this is a challenge and an encouragement, I think, for
Speaker:Elaine: those of us that you don't necessarily have to be the best.
Speaker:Elaine: Sometimes it is being the best friend, you know,
Speaker:Trist: Mhm.
Speaker:Elaine: and being able to hang out with
Speaker:Elaine: people and doing a great job,
Speaker:Elaine: but not
Speaker:Trist: Mhm.
Speaker:Elaine: necessarily having to be the best and seeking that kind of
Speaker:Elaine: perfection that I think all of us have in our heads.
Speaker:Elaine: It's like, oh, we should be this big thing to be worthy.
Speaker:Elaine: But I think what I'm hearing here is that there's a lot more.
Speaker:Elaine: You're bringing your entire self when
Speaker:Trist: Mhm.
Speaker:Elaine: you're going on tour, you're bringing your entire self when
Speaker:Elaine: you're on stage.
Speaker:Elaine: And so those are important parts, too.
Speaker:Trist: Yeah. I mean, "Life's what you
Speaker:Trist: make it / Stop whining / Love
Speaker:Trist: comes to those who care," is
Speaker:Trist: what Prince would say about
Speaker:Trist: that.
Speaker:Elaine: Okay, so let's go ahead and wrap it up.
Speaker:Elaine: And one of the things that we would love for you all to do as
Speaker:Elaine: listeners of the Musicians Loupe is to please share an episode.
Speaker:Elaine: If this is an episode that you liked.
Speaker:Elaine: If this isn't one that you liked
Speaker:Elaine: and you like a previous one, we
Speaker:Elaine: encourage you to share that with
Speaker:Elaine: a friend.
Speaker:Elaine: We would love to get more people
Speaker:Elaine: engaging with us because we
Speaker:Elaine: think that listening to music is
Speaker:Elaine: fun.
Speaker:Elaine: It's a connecting thing.
Speaker:Trist: And if maybe you think right
Speaker:Trist: away someone that you know
Speaker:Trist: wouldn't jump right into a
Speaker:Trist: podcast, just share one of the
Speaker:Trist: playlists on all the places the
Speaker:Trist: podcasts are available and all
Speaker:Trist: the streams that we provide in
Speaker:Trist: the show notes for the listening
Speaker:Trist: examples.
Speaker:Trist: There are playlists of the
Speaker:Trist: songs, so just share the
Speaker:Trist: playlist.
Speaker:Trist: And then maybe if someone digs one of the songs, they will jump
Speaker:Trist: in and listen to us squawk about it for a while.
Speaker:Trist: Maybe learn a little something.
Speaker:Elaine: All right.
Speaker:Elaine: So with that, we're going to wrap up for this week and we
Speaker:Elaine: will see you next time.
Speaker:Trist: See you next time.
Speaker:Trist: Okay, bye.
Speaker:Trist: I'm going to Denmark.
Speaker:Elaine: My first time listening to it, I was like, what was that?!
Speaker:Trist: lyrics we can actually talk about.
Speaker:Elaine: Yeah. And still retain our G rating.
Speaker:Trist: why can't I think of the name of it?
