♪ David: Good evening and welcome.

It's KVC arts: arts and entertainment in our region, as well as the people and places providing it.

I'm David Fleming.

Tonight, we have music and conversation with Eyerie Zenlele, a spoken work and rap/hip hop artist.

Her most recent disc is with her brother, Hermanos Eyerie.

Though, she used to perform with a couple of all-female groups including the Guerrilla Queenz.

More on that just ahead.

Although, my first exposure to her was through a non-music documentary.

(speaks Spanish) Eyerie: Like in the States, it's open racism.

You can be an open racist.

In Mexico, it's like 'shhh'.

David: Now in essence also, this conversation is not so much me speaking with someone that I've known about forever and that I've wanted to hear about and talk to.

I just found out about you.

But, there are a lot of sides to you, and now I am anxious to hear about this.

But, very recently here at the campus of Valley College, there is a screening of "Nana Dijo: Gramma Said"- Eyerie: Mm hm.

David: with Bocafloja.

You weren't here for that but you're in the documentary "Nana Dijo."

Eyerie: Yeah.

David: Tell me about your involvement with this and what it was for you, how you became a part of it.

Eyerie: Well, I've known Bocafloja for years.

He's a good friend of mine.

We both do poetry and hip-hop, and we both publish.

So, we had actually toured together years ago.

He brought Guerrilla Queenz on one of those tours in Mexico, so we visited Modalia, Mexico City.

Because I was a spoken word artist, when I did a song- I did a part of a song on one of his albums and he brought us along that year when he dropped as Guerrilla Queenz.

David: Ok, way cool.

And, what was your part of the documentary?

Eyerie: This was a personal interview, you know?

David: Okay.

Eyerie: Documenting my experience.

David: Gotcha.

Okay.

Eyerie: As afrodescendiente .

So, just 'what happened to me as I was growing up in these two different worlds.'

David: Let's touch on this.

This is not- this is more of an arts and entertainment interview; less of a sociological (she chuckles) cultural studies thing.

But, just address that term for a second: Afro-Latina/Afro-Latino.

Crystal clear for a lot of people but I suppose a lot of people might not- Eyerie: Mm hm.

David: get this meaning?

Eyerie: We go far.

We go even further.

We say Afro-Indigenous.

David: Oh, yes.

Yes, yes.

Eyerie: Because the Spanish blood is more recent than anything else.

But in Mexico, they just recognized the African descendants as a third root that creates Mexicans.

Because there's a large population of us down there, and for a while it was kind of, like, brushed under the rug.

David: Mm hm.

Eyerie: Nobody would talk about this African root.

The Afro descendants that have- they're very prominent.

You can go to Mexico- three different parts of Mexico currently host a lot of Afro descendants there.

Eyerie: Mexicans look like this ...everywhere, you know?

The first time I went to Costa Chica, I felt like I found my family.

I looked around and everyone looked like me, and I was like 'wow, you're black with curly hair!'

Apparently, this is where I belong.

You know, I felt good because for the first time, everyone had the same thing that I had.

Eyerie: For me, it was important to just talk about my experience.

Because that's something that- we are, as artists we are the current news carriers.

David: Mm hm.

Eyerie: The people who tell these experiences who are able to talk about these things that happen to us.

For me being from, like I said, these two cultures- David: Right.

Eyerie: that kind of meshed together secretly.

But now, it's more open.

Now, it's kind of popular to be Afro-Latino and- David: Sure.

Eyerie: and there's people like Zoe Saldana, and musicians and artists that are very proud of it.

But it was- I mean, we were around forever!

I feel like the fact of the matter is our experience is now documented.

That's the only difference.

David: Right, right.

Eyerie: In the past, it was like so many cultural crossings, you know?

Indigenous people met up with so many different cultures.

David: Yeah, yeah.

Eyerie: So, that's why you have Mexicans.

That's why there is things like "La Raza Cósmica" which was book written, or was a story written about us, about how we are this cosmic race.

A lot of people have- David: About the Afro-Indigenous?

Eyerie: Yeah, yeah.

And a lot of people have controversial things to say with the way we are labeled as far as why we needed to be recognized in the census in Mexico.

But I feel like identity and culture, all those things are super important when you want to reclaim and decolonize.

So, that's why I participated in that documentary.

It kind of was, like, Boca just asked me to speak about my experience.

I didn't know what he was going to make with it.

David: Okay.

Eyerie: It became something so beautiful!

(Eyerie speaks Spanish) Eyerie: Too black for the Mexicans, sand too Mexican for the black.

Man: My black friends didn't know how- they didn't accept me the way I am.

It was just like 'okay, cool.

You're black', and that's all they was thinking about.

'How you know how to speak Spanish?'

Martinez: Crazy.

Same thing for me!

I grew up in Compton so it was really crazy.

Man: Yeah.

Martinez: My last name is Martinez.

So, when my friends come to my house, they hear my mom playing salsa, or merengue.

Or we're having a party and it's just nothin' but Spanish music.

They go back and they're like 'why is it all these black people over here?

Y'all black Mexicans, or something?'

♪ Eyerie: Such a short documentary but it speaks directly to our experience.

David: And, you were talking about this cross cultural- (chuckles) I swear we'll get to arts and entertainment at some point!

(she chuckles) But this is a thing that he addresses and you grew up with: "too black to be Mexican, too Mexican to be black."

Eyerie: Right.

David: And, this is one glaring example of why this, quote, "third group" should be recognized.

Eyerie: Yeah.

My parents, so my parents- my story is really interesting because my grandmother was actually born in California- David: Ok. Eyerie: in 1930.

But then, her parents obviously emigrated here from Mexico during the time of- I think it was one of the presidents who banned Christianity and Catholicism and any practices in Mexico.

So, my grandparents were Cristeros and they fled up north, which is California.

My grandmother was born here in 1930.

When she was about 4 or 5 years old, the recession hits heavily.

They ship all the Mexicans back to Mexico.

My grandmother was a toddler, and then she comes back to the States for a little while.

She works here.

She tries to fix my mother's paperwork.

By this time she already had my mother, but my mother was born in Mexico.

Long story short, my mother comes to the U.S. and I'm born here.

David: Okay.

Eyerie: And then when, once again, we were forced to relocate for financial/economic reasons, we go back to Mexico and I'm raised in Mexico, from the time I was one until I was five right before my little sister was born.

So I spoke Spanish, solely Spanish, my first five years of life.

David: Okay.

Eyerie: But my experience is of two different worlds.

It really is literally two different worlds.

While I was raised in Mexico, there was no major difference.

I just was one of the kids that was raised- David: Sure.

Eyerie: in the same households, you know?

But then, I come to the U.S. and I don't speak English very well- David: Yeah.

Eyerie: and I'm not very fluent in their schooling system.

So, it was difficult to adjust and to literally assimilate without knowing English.

That was the first barrier.

♪ Group (sings): You se que Quieren saber, quieren saber ♪ ♪ Caules son líderes, cuales tienen el poder ♪ ♪ Rebels run these streets, rebels run these streets.

♪ David: For you, early bands include Cihuatl-Tonali.

Eyerie: Yes.

David: And, that was from 2000-2007.

We'll get into the differentiation here in a little bit.

And then also, Guerrilla Queenz- Eyerie: Yeah.

David: 2007 up to 2011.

Now both of these, all female lineups- Eyerie: Yeah.

David: and both very political.

Eyerie: Yeah.

David: And- I wanted to write down 'girl group' but that's not gonna cut it with a strong feminist!

(laughter) Eyerie: No, it doesn't!

You're right.

David: So in talking about these bands, let's backtrack just a bit.

You are also a spoken word artist.

You are a published poet, I'm glad to hear.

And, I'd like to hear from you, before we go too much further even in the music, talk about spoken word versus poetry.

This is not the time nor place to go into the Harlem renaissance and- Eyerie: Right.

David: Langston Hughes and all that, and jazz poetry.

But, I'd love to hear for you: Maybe this is today's definition?

Or-?

Eyerie: I feel like poetry is something that comes...from your psyche.

Like, you have these things, these words that chain up together.

And then when you speak it, it's like the song- because the spoken part of it, to come up with that poem and put it into words and write it down is one thing.

But then to memorize it, to give it life, to breathe energy into it and to express it to other people, that becomes art.

That becomes- not that poetry isn't art but spoken word is like a kinetic art, you know?

It's like something that we can interact with.

I create reactions from the words that I speak and the way that I vibrate them.

So- David: Mm hm.

Eyerie: spoken word is more like a shakeup of poetry.

Like, I'm shaking you up with it.

David: Mm hm!

Eyerie: I want to make sure that you're rattling in there.

You read it; it's okay.

I'm reading it; I'm absorbing it.

But then when I'm speaking it to you and I'm showing you this is the emotion that I create with it, that's a whole other vibration, and it's a different frequency.

David: Sounds like almost a guerrilla theater approach to it- Eyerie: Yeah.

David: where 'I'm coming in, shocking you, moving on.'

Eyerie: Yeah.

David: 'Hope you got the message.'

Eyerie: Exactly, exactly.

And, I think for me when I first wrote- I wrote poetry since I was really young.

When I came back to the States later on, I actually started writing poetry because that was the way that I kind of dealt with the two different things that I was going through, you know?

David: Sure.

Eyerie: Just being bilingual, looking like I look, having the afro and the very non-Mexican traditional look- David: Right.

Eyerie: in a Mexican community.

So, I dealt with that with my poems and one day, I remember, my sixth grade teacher told me that I should be a writer.

David: Oh?

Eyerie: I should be a poet, and it stuck with me.

That wasn't something that I thought about, but it stuck with me.

And then as I got older, I wanted to perform those poems.

So, I started memorizing them and doing open-mic things, and going to places like Project Bload or The Good Life, which there's documentaries on these places now.

David: Ok. Eyerie: Actually, the writer of "Selma", the movie, she was part of this Good Life-?

David: Really?

Oh!

Eyerie: "This is the Life" documentary.

She's the director of that documentary- David: Okay!

Eyerie: which includes a lot of people that I know personally from the music scene, from the underground hip-hop thing.

Anyway, those were the platforms.

They allowed me to express myself, talk about certain things.

The Good Life was a cool place because you weren't allowed to cuss.

So, you really had to be very creative- David: Ahhh!

Eyerie: when you rapped, or you did your poems and stuff like that.

So, you had to be very creative and use larger vocabulary than normal.

So, I did- I took Shakespeare in high school so I did really well in English, after not having it as my first language.

But I think when I became part of Cihuatl-Tonali, it was kind of like- think because we were all on that same page.

[music/vocals] We all were, like, trying to express ourselves as young women of color, and it's just kind of finding identity through the poetry of the spoken word that we made.

And then, we added drums and music and instruments that were natural, indigenous, to it just to give it a little bit more flare.

Like, fill it up and that's exactly how it happened.

One of the girls from Cihuatl-Tonali saw me do a poem, and she invited me.

She's like 'don't you think it'd be cool to have drums behind it and fill it up?'

And, I was like 'yeah!

That sounds cool.'

So, she invited me to a rehearsal and that was the beginning.

That was the beginning of Cihuatl-Tonali.

♪ [group sings Nahuatl language] David: You did nothing but indigenous instruments, right?

Eyerie: All indigenous, all natural.

No electric.

David: You're not bringing in a Fender guitar?

Eyerie: Nope!

(he chuckles) Not at all.

No, it was all indigenous instruments.

David: Okay.

Alright.

Well then, I don't know if this is a transition then?

You made a reference earlier in conversation about stripping away the instruments and then, we got Guerrilla- uh?

Eyerie: Guerrilla, yeah.

David: Queenz.

Yeah.

It's- I'm trying to not say it as- (chuckles) Eyerie (rolls 'R'): Guerrilla!

Guerrilla Queenz!

David: Guerrilla Queenz, yes!

Eyerie: That happened because one of the girls that I was a part of Cihuatl-Tonali with, she and I were always really close and we wanted to do more hip-hop things.

David: Okay.

Eyerie: We were very influenced by the whole Project Bload, Good Life, all that.

So, we were like 'let's do raps.

Let's do...let's see what we could write over these beats.

See how these songs come up.'

And sure enough, we did.

Our first song that we wrote was 'Le Veracion'- David: Okay.

Eyerie: which is a reggae hip-hop track, and it was live instruments that my friend had played.

He gave me beats so we wrote a couple songs to his beats.

That song 'Le Veracion' just talks about liberation, and how we escape Babylon in our mind.

David: Oh, nice.

Eyerie: Not necessarily a physical place, because we do live in a very, you know-?

David: That's a reference to Isaiah, by the way!

Eyerie: Yeah!

(he chuckles) So, we do live in a very- capitalistic environment, very patriarchal environment.

David: Absolutely.

Eyerie: Society, and what-not.

But if you liberate your mind like Bob Marley says.

If you liberate your mind, that's free.

That's freedom.

You're free from mental slavery.

Free yourself from mental slavery.

[music plays] David: Yeah, here it is.

Eyerie: So, that was what the song called- and I spelled it: le vera, like, to free; Zion: Z-i-o-n. David: Oh!

Okay, okay!

Eyerie: Yeah, because I wanted people to connect to their Zion.

I feel like Zion not only is a physical place but it's your own liberation, your freedom from your own mental slavery.

♪ Group (sings): Cuando llegaremos a el monte Zion.

♪ ♪ (when will we arrive at Mount Zion).

♪ ♪ Trabajando todos juntos como una nación.

♪ ♪ (All working together as one nation).

♪ ♪ Levantando nuestras harmas para liberacion.

♪ ♪ (Raising our arms for liberation).

♪ ♪ Deborando a Babilon como un Rey Leon.

♪ ♪ (Devouring Babillon like a Lion King).

♪ David: So, can a person track this tune down?

Is it out there?

Eyerie: Yeah.

It's on SoundCloud and Bandcamp.

David: Okay.

Eyerie: It's actually on Bandcamp under Mistress Eyerie.

David: Okay, okay.

Eyerie: Le Vera Zion.

David: Cool.

Wonderful.

Eyerie: It's on Guerrilla Queenz as well- David: Ah, great!

Eyerie: You can find it on Guerrilla Queenz.

David: So, these groups then- well, I guess Cihuatl-Tonali... folded?

Eyerie: Yeah, we just kind of went our own way.

Everybody did their own thing.

Some women became moms and wives, and decided to dedicate their life to that- David: Sure.

Eyerie: And then, some of us became professionals.

Did our professional- you know, there's so many different journeys that group went through and took on.

So, the two women that I worked with on Guerrilla Queenz wanted to continue making music, and wanted to just be part of this other movement.

Like I said, which was very hip-hop influenced.

David: Okay, okay.

♪ [with vocals] David: Alright.

Now, let's see here?

But there are recordings of- Eyerie: All that?

Yeah.

David: all of these groups that a person can find?

Eyerie: Cihuatl-Tonali dropped an album under Chicana Records and Film in 2007.

We did our CD release party- David: Okay.

Eyerie: and the album was a really long title.

David: I saw the video for that.

Eyerie: Yeah, and it was Cihuatlampa.

Cihuatlampa is the West.

David: Okay.

Eyerie: So, when you talk about- we were, first of all, Cihuatl-Tonali?

The name is an indigenous name.

It's a Nahuatl name.

It means "female energy."

Cihuatl is female.

David: Nice!

Eyerie: Tonali is energy.

So, Cihuatl-Tonali comes from Nahuatl which is our indigenous Mexica, or what people call the Aztec's languages.

In Nahuatl languages, you'll find a lot of them in Chiapas.

The Mayans also speak a Nahuatl language.

So in that language, we use cihuatlampa to represent the West.

And, it means land of the women because it was believed that the women- we believe the women are the ones who pushed the sun to the sea.

David: Okay.

Eyerie: So, that it dies and it's reborn again.

And a lot of times, we associated as indigenous people, women that died in birth at the same level as warriors that would die in battle.

David: Oh!

Eyerie: So, cihuatlampa is the region of the women.

It's the West Coast.

So when you do native traditional ways, we have north, east, south, west.

So, west was cithuatlampa.

We are cihuatl, so we're female.

So we named it "Cihuatlampa no necesitamos pedir permiso"- David (translates): No necesita?

"Not necessary to"-?

Eyerie: Not- yeah!

(he chuckles) "We don't need to ask permission."

David (Spanish): En Español, dispasio por favor!

(chuckles) Eyerie (enunciates): "No necesitamos pedir permiso para ser libre."

David: Gracias!

Ok!

Eyerie: So, that's the title of it.

And, it was long but it fit to what we did.

It was about 14-15 songs, and it was like all the songs relating to women, energy, raising children, political views like the way we stand as far as decolonizing ourselves.

David: Yeah.

Eyerie: Why we're named Cihuatl-Tonali, why we used this indigenous calling and name, and how we used those instruments!

Because those instruments are part of our culture.

David: It's a connection.

Eyerie: Part of our roots.

David: Yeah, nice.

Eyerie: And then, the album I dropped was only one set of copies.

A thousand copies were made and that was it, but after that we- as Guerrilla Queenz, we never dropped an album but we were part of multiple mixed tapes.

Something called the Queenz of the Mic, Hip-hop in its Purest Form.

We did this called Mama's Hip-hop Kitchen from Brooklyn- from Bronx!

And, we did a lot of stuff that kind of circulated in the hip-hop community as Guerrilla Queenz.

David: Okay, way cool.

So, some of this can be found as well- Eyerie: Yeah!

David: At least on YouTube, if not anything else.

But...I'm gonna jump severely- Eyerie: Mm hm?

David: to another time in your life.

The way I heard it, this is from an old interview of yours.

Eyerie: Yeah.

David: You were stuck in hula skirts?

Eyerie: Five years old!

David: Five!

You remember!

Eyerie: I was five years old.

Yeah.

David: So, you were a dancer at this time but what really caught your attention was- it was the boys serving as MC's.

Did I hear that right?

Eyerie: They were B-boys.

David: B-boy?

Oh!

There's another term!

Okay!

(chuckles) Eyerie: Yeah.

I was in kindergarten and we were doing the performances for the whole school.

I guess every class, every grade, had to do something and mine was- ours was a hula hoop dance.

So, I was in the hula skirt.

And then, the second grade boys had asked their teacher to let them bring cardboard and a boom box to do break dancing!

David: Ahhh!

Nice.

Eyerie: And, that was like the first time I ever fell in love with hip-hop and music.

David: Wow!

Eyerie: I remember that day so clearly!

It was like I couldn't keep my eyes off of it.

I just knew that I had to do- I had to connect myself to that.

Whatever they were doing, I needed to know more.

David: This was early enough where "Breakin' 2: Electric Boogaloo"- Eyerie: Yes!

David: was still- nobody knew it was a bad movie just yet!

(laughter) Eyerie: Yeah!

(he chuckles) David: But you were wanting to do the MC...MC'ing?

The hip-hop stuff.

Eyerie: Yeah, it started with break dancing.

I saw them break dancing and I didn't know that I was going to be an MC, then.

I knew that I just needed to be- like that movement, hip-hop movement to me- David: That culture?

Eyerie: I wanted that.

I wanted that culture.

I wanted to be in that culture.

David: Okay.

Well, Hermanos Eyerie?

Eyerie: Yes.

David: And, this is I guess the most current- Eyerie: Yeah!

David: incarnation, I'll say it again!

(chuckles) Eyerie: Right.

David: Some of the tracks on here: "Deja View" is the first one.

Eyerie: Mm hm.

David: There's a lot of wordplay in here, and I'm upset that I don't know my Spanish enough (she laughs) to have caught all of the wonderful wordplay; some of the things that we were discussing earlier.

But "Deja View", the line that just really caught me and I have no other questions about this other than this: "This is the life no one chose."

Eyerie: Yeah.

♪ (singing): This is the life that no one chose.

♪ ♪ Not a single soul knows what the future beholds.

♪ David: Would you go into the lyrics of that- Eyerie: My brother wrote that chorus!

David: Okay.

Eyerie: He's really- I'm all about metaphors and double entendres- David: Yeah?

Eyerie: triple entendres!

I love playing with words.

It's like- I took semantics in college because it just really- and linguistics is a big thing.

I was gonna actually do my minor in it.

David: Hm?

Eyerie: But anyway- David: I'm very much a word geek, myself!

Eyerie: Yeah.

I feel like he meant we're all born here and we don't know our destiny until we really speak it into existence.

You know, you choose the things that you choose as you're growing up because they're part of what you're attracted to- David: Mm hm.

Eyerie: and your passion.

Like, I didn't know I was going to become an MC, you know?

David: Yeah.

Eyerie: And then, now using the music with it.

I was born in a time where hip-hop was brand new, fresh new- David: Right.

Eyerie: and everybody was just getting to understand how powerful it's going to be.

David: Okay.

Eyerie: It was very crucial for me to grasp on that at a young age, I feel like.

Because I got to experience the purest parts of it.

Now, it's in so many different genres and they use it for advertisements- David: Yeah!

Eyerie: and commercials, and corporations are buying into it.

Crazy!

When I was first introduced to it, it was still just music.

David: Somebody would hand you a cassette that they heard- Eyerie: Exactly.

David: maybe a seventh generation (chuckles) dub!

Eyerie: Yeah.

I remember- there's a big part of my first introduction into MC'ing was when I was just recording off the radio?

David: Oh, yeah!

Eyerie: Pushing record- 'oh!

That's my song!

Let me record it!'

And then, playing it back and remembering all the verses- David: Wow, right.

Eyerie: and spitting it all back to me.

So, there was a guy- his name is Mellow Man Ace who is also part of Bachimama.

Anyway, he did a song called "Mentirosa."

David: Okay.

Eyerie: And, he sampled Carlos Santana.

(sings) Ain't got nobody!

David: Nice, yeah!

Eyerie: My dad walked in on the song and he's like 'oh, that's Carlos- that's not Carlos Santana'!

(David laughs) And, I was like 'yeah, it's Mentirosa'.

And, he wrote that song in Spanglish.

David: Oh, good.

Eyerie: That's the first time you get...Spanish and English in one rap song- David: Really?

Eyerie: on radio.

Yeah!

I was, like, floored!

I was recording it as many times as I could because I wanted to memorize that song, you know?

20 years later, however many years later, that song comes out and all these different things, and I meet Mellow Man Ace at one of these events.

David: Wow!

Eyerie: And I get to do it with him, live.

David: Oh, wow!

Eyerie: And, I told him when I was a little girl, I memorized your song and I told myself I would be rapping with you one day, and here I am rapping this song with you!

Because he was there at one of our shows and he's like- I opened up for him, and he was like 'anybody know this song?

Wanna come help me?'

And, I was like- my friends all pushed me!

(David chuckles) Like 'she knows it really well!'

But anyway, so Mellow Man Ace was a big influence on my first- David: Wow.

Eyerie: introduction to Spanglish rapping.

David: Wow.

Eyerie: And, he's Afro-Cubano and he's very proud of his roots too, so we- David: Cool.

Eyerie: have a very tight connection.

I call him my padrino , my godfather.

David: Okay.

Eyerie: Because, literally, if I had a godfather of rapping, he would be it.

David: This is, again, you're glowing a little bit right now (she chuckles) just talking about this wonderful memory of something you always wanted.

That's really cool!

Want to talk about another track from Hermanos Eyerie and that is "Love Buzz."

Eyerie: Yes.

David: This one features Klassy, spelled with a "K." Eyerie: Yeah.

David: It starts with a song and a rap with you- Eyerie: Mm hm.

David: first of all, and then Klassy comes in.

But before we get to the track, tell me of your association with Klassy.

Because, first, a bunch of people listening will know who she is and a bunch of people won't.

Eyerie: Yeah, yeah.

David: So, who is she?

Eyerie: Klassy is this young MC, Filipina MC, and she's just amazing.

She's a young mother, too.

She just happens to have that flare that I like in the new generation that does music and that's real honest.

They call it Boom Bap Rap because- David: Boom Bap?

Eyerie: it's so true to hip-hop.

I just like her flow and I liked, you know, the fact of the matter was that's she was very fresh.

She had a new face and a new flavor, you know?

David: Yeah.

Eyerie: The song came from a friend of hers who produced this beat called Prozac Morris.

Shout-out to Prozac!

I heard the beat and as soon as I heard the beat, I was like 'I got something', and I wrote a chorus.

And then, when we produced the album, I said to Hermanos Eyerie, my brother was like 'hey, it's the only track that I'm not producing.

Do you think it's a good idea to remix it?'

David: Hmm?

Eyerie: And, I was like 'yeah!'

And he's like 'but I don't want to remix it 'into hip-hop.

I want to remix it into a punk rock song.'

David: Hm?

Oh!

Eyerie: And, I was like 'what?'

I was like 'okay, let's see what you did.'

He showed me what he had made and I was like 'wow!

Yeah, let's do it!'

So when you get a copy of the album I gave you- David: Mm hm?

Eyerie: you get the tracks, and at the end of the last track, it's a hidden track.

You get the full punk rock version of "Love Buzz!"

David: Oh, cool!

I'm excited about this hidden track and you've really got me excited too about this punk rock version of- this is going to be one of the first things I do when we get to (laughter) first checking that out!

Eyerie: Yeah!

David: Probably play it in the background!

Eyerie: I didn't know what he was going to do!

He was like 'I wanna make this track Love Buzz different.'

I was like 'do what you want'.

The album?

You can't label it hip-hop, by itself.

David: Right!

Eyerie: You can't label it reggae, by itself.

David: Right!

Eyerie: But it has a good mélange.

♪ ♪ Group (sings): She don't want no love from you, no.

♪ ♪ She don't want no love (yeah, yeah).

♪ ♪ She just wants to think she's free.

♪ ♪ She just wants to be Eyerie.

♪ ♪ Free like the bird flyin through- ♪