パワサカあきやま。 【KONAMI】実況パワフルサッカー456【パワサカ】

【パワサカ】名護盾平(なごじゅんぺい)の評価とイベント【パワフルサッカー】

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レベル ボーナス Lv. 5 初期評価 25 SR ,30 PSR Lv. 15 初期評価 30 SR ,35 PSR コツレベルボーナス 2 Lv. 20 初期評価 40 SR ,45 PSR Lv. 30 精神ボーナス 4 Lv. 37 初期評価 45 Lv. 42 精神ボーナス 6 Lv. 44 精神ボーナス 8 Lv. 46 精神ボーナス 10 Lv. 48 得意練習出現頻度UP1 Lv. 下位コツも自身で入手可能。 GK以外では金特入手不可 GK以外では金特を入手できず、実質GK育成専用キャラとなっている。 フィールドプレイヤー育成には他のキャラを使おう。 得意練習がGK育成に噛み合わない 得意練習がスピード・メンタルと、どちらもGK育成の主流となっている得意練習ではない。 複数タッグではなくその他の要素で経験点を稼ぐ高校向けキャラ。 海皇山高校で強力 の哲学マップ上に出現し、テンションUP状態でのタッグで大量の経験点が稼げる。 メンタルタッグで回復しつつ、哲学マップを進めることでシナリオを有利に進めることができる。 パワサカその他の記事 エリアの騎士コラボ新キャラ パワサカ杯報酬 最新イベント情報.

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【KONAMI】実況パワフルサッカー443【パワサカ 】! google…. mo…. php NG推奨IP 153. 186. 128. 235 静岡 125. 215. 114. 36 四国地方 150. 249. 181. 32 アメリカ合衆国 60. 140. 208. 140 やわらか銀行 125. 145. 153 dion軍 153. 165. 200. 5ch. 5ch. 97 70連してピックアップは太刀川、香川 PSR香川。 48 コンサート無料と思ってチケット購入進んだら12000円とか出てきてスマホぶんなげたは 誰がいくねんコレ 引用元:.

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【パワサカ】千里眼の査定・効果とコツを入手できるイベキャラ【パワフルサッカー】

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storefronts. editorial. groupings. extend. editorialartwork. 2cartisturl. include. 5balbums. artists. en-us. name. music. platform. mzstatic. 1523531064? apple. mzstatic. mzstatic. 1524073229? mzstatic. apple. abe8ba42278f4ef490e3a9fc5ec8e8c5? mzstatic. apple. mzstatic. mzstatic. mzstatic. Give it a listen, along with the latest from artists like Pop Smoke, Juice WRLD, and Gunna. Rap Life is updated often, so check back regularly, and if you hear something you like, add it to your library. mzstatic. apple. apple. mzstatic. mzstatic. Bush and the invasion of Iraq controversial opinions at the time, especially for their conservative fanbase. So it was coincidental in a way, but I think those things are cyclical. I was definitely impressed with him right off the bat. He would start playing and singing that word, and then having us record it. When we went to record it, it took like five minutes. I learned about that in therapy. We never thought of any other title for the album, because it really is a buzzword now because of President Trump. It just seemed like the perfect word and captured this time that we're in. She just has an interesting way of scoring melodies. We'd just go through a tape, and just let her go. She'll go for like half an hour just vamping. It's literally the smallest closet. We just wanted to get her groove back. It still hasn't happened yet, but maybe that song will bring that energy. It was written with Ariel Rechtshaid and Sarah Aarons. We were with writers in this room, in this very dark, dingy studio, and I remember just feeling really drained. It was just so tired and gloomy. He had this booth built for Bubbles, with a little window. You could just imagine this chimp looking out the window. Sarah was hilarious, just so self-deprecating. And once she gets going, it's like a lyric train that you can't stop and you don't want to stop. By the time we left that session, we had loads of options, and we kept a lot of her lyrics but changed some as well, just so we could have a part in the song. Sarah Aarons did not need us. Not many people can keep up with Natalie's voice and have the same type of inflections. She's a very soulful singer. It would be interesting to go back and listen to those original recordings, because she made a lot of soul in her voice and her phrasing and I definitely stole some of that. , with our kids. It was so impactful for me. That's the first time I've ever been in a march that large. And we weren't there as performers, we were just in the crowds, with my little girls on my shoulders. We took a lot from that, the energy of it. We didn't want it to be about one particular march, so on the verses we talk about different things that are important to us. So it was coincidental in a way, but I do think those things are cyclical. They might be the newest news story, but they've always been there. We wanted to empower people who stand up for what they believe. Unless you believe in racism, then sit down. [laughs] Know what's right, act on it, speak out, be an army of one; you don't need to be a follower or go along with a group if you feel strongly about what's right. ' That one's definitely got a lot of personal truths in it. There are three songs—'My Best Friend's Weddings' was one of them—that we consider the Hawaii songs, that we wrote in mostly Kauai. We spent three weeks in Hawaii all together making this record. We'd go from the studio to my house, and it was a family vacation for everybody as well. It was a lot of fun, and there's songs with ukulele, and if you have headphones, you can hear birds chirping and waves, and a rooster. Unbeknownst to her, Natalie went home and rewrote all the verses to make them about our closest family, our nieces and our cousins. But Nat flipped it on its head to make it a song about advice to our girls and our nieces. But I'm going to keep the chorus and rework it. ' We kind of tricked her out of it. apple. mzstatic. mzstatic. mzstatic. mzstatic. bf088642bb954ddd8f38faf218dfe9d5? mzstatic. apple. mzstatic. mzstatic. Each has more hits than you can remember—you can re-familiarize yourself with their very distinct but enduring catalogs by way of the official Snoop Dogg and DMX Cheat Sheet playlist, as curated by Apple Music host Lowkey. 1524011330? mzstatic. apple. mzstatic. 1523690125? mzstatic. apple. mzstatic. rgb. apple. apple. mzstatic. mzstatic. Instead, they go to her. apple. mzstatic. mfwtjprs. mzstatic. mzstatic. rgb. apple. apple. mzstatic. mzstatic. This is not what I wanted to do. Such themes might not be quite what you expect from a singer who, in 2019, got married to art dealer Caspar Jopling. There was so much unraveling for me to do over the last 10 years that I have a real backlog of things to talk about. I'd start all my festivals with that song. On this album, I was conscious that I wanted to start with something that was still hypnotic, but which didn't quite give away what the album was going to be. I got serpentwithfeet on the track because I wanted there to be a kind of beautiful disruption and I just had this instinct that I wanted him on the first track. I think I always end up associating things back to a person. Maybe it's a figment of my imagination. Something that holds me back or something that pulls me forward. It's just about an enigmatic thing. There was something about it. I did so many different bits and pieces with [English songwriter and producer] Jamie Scott. We did folk songs. We did ballads. We did dance records. Then it ended up just being this strange, disjointed track that was very synth-heavy. It has this really big chorus that's almost celebrating something that, ultimately, is pretty depressing. Just kind of being sick of this superficiality of everything, which I think has been driven by things like Instagram—I think it's a real thing. I suppose I also like the idea of a woman feeling empowered while singing this song, even though the lyrics suggest that she's been weakened by this unknown guy. It's a sexual thing as well. I just wouldn't. But at the same time, I feel like so many women need to be empowered with things like that, and need to understand not to settle for someone just because you need someone. I'm with this guy for the wrong reasons, and actually he just makes me feel like shit. I guess all along, it was because I wasn't actually feeling real love. I was just trying to make something more than what it was, and give it more substance. I was really inspired by the fact that she could create such a powerful song with just her voice. I'm trying to summarize why I think the way I do and everything that's made me who I am. That was a very honest moment there. I think I've always found it easy to be very honest and open about my feelings. Not necessarily in person talking to people, but I've always been able to write things down well. What I'm trying to sing about is that I don't think I've always treated people right, and I think that there's been some times in my life where I've been troubled and it's affected the way that I treat people, and the love I give people. I was destructive, and I think it was based on coping mechanisms of trying to pretend to be this person who was the most resilient about what was going on, and that the personality and the love, everything that I gave with that, wasn't right. All I know for me is that it affected my job—I was performing well, and I was selling records, and I was doing all that stuff, but as an artist I felt like I wasn't really giving my purest self. Or trying to rid yourself of sin. Vindication. Absolution. Those are the words I associate with this song. I feel like I've redeemed myself now, and it's time to move on. I was by myself, and I just came up with these piano chords. The song feels like a waltz. But to me it felt like a waltz where you're just dancing by yourself. It feels like a resolution. Like you've really found this amazing peace. This is one of my favorite songs on the album. Who knew that life could be so great by yourself? I've always taken up quite a lot of my album space for singing about other people. But I also made sure that the production didn't take away from the song in any way. It was the most simple way that I could really describe coming into womanhood. Naturally, that bothers me, and I think that instinctively, for all female artists, they feel like they've always had to try that bit harder or go that bit further, when in a fairer world that wouldn't have to be the case. I think people are finally waking up and there's a lot of change happening. And then just talking about my time in New York and telling this fairy-tale story about meeting this person. I want to go against the tide. I want to be with you even if it means sacrificing something. I was listening to The Blaze, and they have such empty lyrics, but at the same time, they're so meaningful. They just sing random lines that you would probably find in old pop songs, like ABBA songs. And then they would just put it over this really simple beat with a really euphoric sense. I love that idea. I've had quite a few people tell me that this is their favorite song on this record. It's me just talking, and it reminds me of when I've been drinking wine and I just roll out thoughts. That's usually how I end up with lyrics. I just say what I think. I remember just reflecting on feeling like there was something missing and I finally discovered it. You feel like you have to literally erase that person to not think about them. Obviously I don't feel like that now, but I still think about exes. And I'm really open with my husband about this. I wrote this song in LA, and there were a lot of these kinds of songs on the radio. I think I got it from that. To me, it's quite indulgent, because it's absolutely not good for you to do this. But songs like this are great to sing along to and great to indulge in grief and sadness and your ex and all that kind of stuff. So I suppose I used that license a little bit to write this. There are these textures and layers in classic music, and it's so beautiful. I had this guy called Ola Gjeilo, who is a Norwegian composer, play at my wedding. And he just makes such like beautiful music—stuff that really hits the soul. I don't know, it kind of appeals to the human in you. I was also conscious when I was writing this album that we were doomed and something was happening and the world was changing. I think a lot about the natural world and about how much we've destroyed it. For this song, I envisaged things connected with nature and flowers and all the beautiful things we associate the outdoors with. It was like a utopia—kind of like reaching this place of incredible enlightenment. Like my greatest revelation was like the fact that I've reached this point of ultimate independence. It's so crucial and it really is a recurring theme of the album. And I was in such a good place that I think that it was like a hyper kind of happiness. apple. mzstatic. mzstatic. mzstatic. mzstatic. mzstatic. mzstatic. apple. mzstatic. cttxtdtc. mzstatic. mzstatic. mzstatic. mzstatic. apple. mzstatic. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. f4d106fed2bd41149aaacabb233eb5eb? mzstatic. apple. mzstatic. mzstatic. mzstatic. mzstatic. mzstatic. The euphoric single surges with irresistible and triumphant electricity, with each singer showing off both their stunning vocal ranges and their flair for the theatrical. 2b0e6e332fdf4b7a91164da3162127b5? mzstatic. apple. mzstatic. mzstatic. mzstatic. Listen to the single now and add New Music Daily to your library to stay up on the latest and greatest new songs. abe8ba42278f4ef490e3a9fc5ec8e8c5? mzstatic. apple. mzstatic. mzstatic. mzstatic. Give it a listen, along with the latest from artists like Pop Smoke, Juice WRLD, and Gunna. Rap Life is updated often, so check back regularly, and if you hear something you like, add it to your library. 6bf4415b83ce4f3789614ac4c3675740? mzstatic. apple. mzstatic. mzstatic. mzstatic. mzstatic. I had a rough idea one night that I felt would be perfect for him, so I sent it over, and fortunately he was into it. He came to the studio a couple of days later to add his magic. 4b364b8b182f4115acbf6deb83bd5222? mzstatic. apple. mzstatic. mzstatic. mzstatic. This playlist is updated often, so if you hear something you like, add it to your library. 0e91490f3310408eb1186fc9befb3d11? mzstatic. apple. mzstatic. mzstatic. Songs and sounds of the moment, if not the next. 5ee8333dbe944d9f9151e97d92d1ead9? mzstatic. apple. mzstatic. mzstatic. mzstatic. mzstatic. Add A-List Pop to your library to stay up on the latest and greatest pop music. 28926c578a80475c904026ea97646ad5? mzstatic. apple. mzstatic. mzstatic. Every day new bands are taking shape and plugging in. These are the few that are destined for greatness. Formerly The A-List: Rock, this playlist is updated regularly, so if you like a song, add it to your library. 87bb5b36a9bd49db8c975607452bfa2b? mzstatic. apple. mzstatic. mzstatic. mzstatic. mzstatic. mzstatic. Allen and Nelly wrote the latter tune, full of references to small-town truck culture and affably easygoing swagger, with Zach Kale. Check back here early and often, and if you hear something you like, add it to your library. b7ae3e0a28e84c5c96c4284b6a6c70af? mzstatic. apple. mzstatic. mzstatic. The song—which arrives on the new deluxe edition of Chilombo and builds on what was once an interlude—captures the way romance can be the salve that carries us through. 0b593f1142b84a50a2c1e7088b3fb683? mzstatic. apple. mzstatic. mzstatic. So check back often, and if you hear something you like, add it to your library. fecfa8a26ea44ad581d4fe501892c8ff? mzstatic. apple. mzstatic. mzstatic. In other words, certain types of pop music can speak to the heart in ways that make you feel grateful just to be alive. From soaring ballads to surging dance anthems with touches of electronic and indie rock, here are the biggest tracks inspiring us today: the sound of good news. Our editors update these tracks regularly. If you hear something you like, add it to your library. 5cb9c0f3ca9d4fc1bccbaf67ca6201e7? mzstatic. apple. mzstatic. mzstatic. We'll update this playlist often, so if you hear something you like, add it to your library. 51c1d571cc7b484eb1dead1939811f2d? mzstatic. apple. mzstatic. mzstatic. Fortunately, heavy music's new class keeps plenty of huge riffs and rage-worthy choruses coming every week—and we've collected the best and most brutal of 'em here. Our editors regularly update this playlist. If you hear a track you like, add it to your library. 3a85cc83130443b68415718f19372cf4? mzstatic. apple. mzstatic. mzstatic. Lean back, relax, and enjoy. Our editors update these songs regularly. If you like something, add it to your library. 58c2477d86ea46db997048afd159d01d? mzstatic. apple. mzstatic. mzstatic. Our editors update these tracks every week. If you find a new favorite to crank, add it to your library. f820ed7063f9447f8751abf885525698? mzstatic. apple. mzstatic. mzstatic. mzstatic. We regularly update these tunes. If you hear something you like, add it to your library. 07405f59596b402385451fa14695eec4? mzstatic. apple. mzstatic. mzstatic. mzstatic. mzstatic. Rhythmically daring and emotionally intense, today's jazz is an art that perpetually surprises and evolves. Our editors regularly refresh this playlist. If you like a track, add it to your library. 5e76f64aca8d497ba86ad87f836f5894? mzstatic. apple. c3bb6e64c59a469dbf63ef893b57cfd2? mzstatic. apple. mzstatic. mzstatic. apple. apple. mzstatic. mzstatic. Bush and the invasion of Iraq controversial opinions at the time, especially for their conservative fanbase. So it was coincidental in a way, but I think those things are cyclical. I was definitely impressed with him right off the bat. He would start playing and singing that word, and then having us record it. When we went to record it, it took like five minutes. I learned about that in therapy. We never thought of any other title for the album, because it really is a buzzword now because of President Trump. It just seemed like the perfect word and captured this time that we're in. She just has an interesting way of scoring melodies. We'd just go through a tape, and just let her go. She'll go for like half an hour just vamping. It's literally the smallest closet. We just wanted to get her groove back. It still hasn't happened yet, but maybe that song will bring that energy. It was written with Ariel Rechtshaid and Sarah Aarons. We were with writers in this room, in this very dark, dingy studio, and I remember just feeling really drained. It was just so tired and gloomy. He had this booth built for Bubbles, with a little window. You could just imagine this chimp looking out the window. Sarah was hilarious, just so self-deprecating. And once she gets going, it's like a lyric train that you can't stop and you don't want to stop. By the time we left that session, we had loads of options, and we kept a lot of her lyrics but changed some as well, just so we could have a part in the song. Sarah Aarons did not need us. Not many people can keep up with Natalie's voice and have the same type of inflections. She's a very soulful singer. It would be interesting to go back and listen to those original recordings, because she made a lot of soul in her voice and her phrasing and I definitely stole some of that. , with our kids. It was so impactful for me. That's the first time I've ever been in a march that large. And we weren't there as performers, we were just in the crowds, with my little girls on my shoulders. We took a lot from that, the energy of it. We didn't want it to be about one particular march, so on the verses we talk about different things that are important to us. So it was coincidental in a way, but I do think those things are cyclical. They might be the newest news story, but they've always been there. We wanted to empower people who stand up for what they believe. Unless you believe in racism, then sit down. [laughs] Know what's right, act on it, speak out, be an army of one; you don't need to be a follower or go along with a group if you feel strongly about what's right. ' That one's definitely got a lot of personal truths in it. There are three songs—'My Best Friend's Weddings' was one of them—that we consider the Hawaii songs, that we wrote in mostly Kauai. We spent three weeks in Hawaii all together making this record. We'd go from the studio to my house, and it was a family vacation for everybody as well. It was a lot of fun, and there's songs with ukulele, and if you have headphones, you can hear birds chirping and waves, and a rooster. Unbeknownst to her, Natalie went home and rewrote all the verses to make them about our closest family, our nieces and our cousins. But Nat flipped it on its head to make it a song about advice to our girls and our nieces. But I'm going to keep the chorus and rework it. ' We kind of tricked her out of it. apple. mzstatic. mzstatic. mzstatic. mzstatic. mzstatic. rgb. apple. apple. mzstatic. mzstatic. This is not what I wanted to do. Such themes might not be quite what you expect from a singer who, in 2019, got married to art dealer Caspar Jopling. There was so much unraveling for me to do over the last 10 years that I have a real backlog of things to talk about. I'd start all my festivals with that song. On this album, I was conscious that I wanted to start with something that was still hypnotic, but which didn't quite give away what the album was going to be. I got serpentwithfeet on the track because I wanted there to be a kind of beautiful disruption and I just had this instinct that I wanted him on the first track. I think I always end up associating things back to a person. Maybe it's a figment of my imagination. Something that holds me back or something that pulls me forward. It's just about an enigmatic thing. There was something about it. I did so many different bits and pieces with [English songwriter and producer] Jamie Scott. We did folk songs. We did ballads. We did dance records. Then it ended up just being this strange, disjointed track that was very synth-heavy. It has this really big chorus that's almost celebrating something that, ultimately, is pretty depressing. Just kind of being sick of this superficiality of everything, which I think has been driven by things like Instagram—I think it's a real thing. I suppose I also like the idea of a woman feeling empowered while singing this song, even though the lyrics suggest that she's been weakened by this unknown guy. It's a sexual thing as well. I just wouldn't. But at the same time, I feel like so many women need to be empowered with things like that, and need to understand not to settle for someone just because you need someone. I'm with this guy for the wrong reasons, and actually he just makes me feel like shit. I guess all along, it was because I wasn't actually feeling real love. I was just trying to make something more than what it was, and give it more substance. I was really inspired by the fact that she could create such a powerful song with just her voice. I'm trying to summarize why I think the way I do and everything that's made me who I am. That was a very honest moment there. I think I've always found it easy to be very honest and open about my feelings. Not necessarily in person talking to people, but I've always been able to write things down well. What I'm trying to sing about is that I don't think I've always treated people right, and I think that there's been some times in my life where I've been troubled and it's affected the way that I treat people, and the love I give people. I was destructive, and I think it was based on coping mechanisms of trying to pretend to be this person who was the most resilient about what was going on, and that the personality and the love, everything that I gave with that, wasn't right. All I know for me is that it affected my job—I was performing well, and I was selling records, and I was doing all that stuff, but as an artist I felt like I wasn't really giving my purest self. Or trying to rid yourself of sin. Vindication. Absolution. Those are the words I associate with this song. I feel like I've redeemed myself now, and it's time to move on. I was by myself, and I just came up with these piano chords. The song feels like a waltz. But to me it felt like a waltz where you're just dancing by yourself. It feels like a resolution. Like you've really found this amazing peace. This is one of my favorite songs on the album. Who knew that life could be so great by yourself? I've always taken up quite a lot of my album space for singing about other people. But I also made sure that the production didn't take away from the song in any way. It was the most simple way that I could really describe coming into womanhood. Naturally, that bothers me, and I think that instinctively, for all female artists, they feel like they've always had to try that bit harder or go that bit further, when in a fairer world that wouldn't have to be the case. I think people are finally waking up and there's a lot of change happening. And then just talking about my time in New York and telling this fairy-tale story about meeting this person. I want to go against the tide. I want to be with you even if it means sacrificing something. I was listening to The Blaze, and they have such empty lyrics, but at the same time, they're so meaningful. They just sing random lines that you would probably find in old pop songs, like ABBA songs. And then they would just put it over this really simple beat with a really euphoric sense. I love that idea. I've had quite a few people tell me that this is their favorite song on this record. It's me just talking, and it reminds me of when I've been drinking wine and I just roll out thoughts. That's usually how I end up with lyrics. I just say what I think. I remember just reflecting on feeling like there was something missing and I finally discovered it. You feel like you have to literally erase that person to not think about them. Obviously I don't feel like that now, but I still think about exes. And I'm really open with my husband about this. I wrote this song in LA, and there were a lot of these kinds of songs on the radio. I think I got it from that. To me, it's quite indulgent, because it's absolutely not good for you to do this. But songs like this are great to sing along to and great to indulge in grief and sadness and your ex and all that kind of stuff. So I suppose I used that license a little bit to write this. There are these textures and layers in classic music, and it's so beautiful. I had this guy called Ola Gjeilo, who is a Norwegian composer, play at my wedding. And he just makes such like beautiful music—stuff that really hits the soul. I don't know, it kind of appeals to the human in you. I was also conscious when I was writing this album that we were doomed and something was happening and the world was changing. I think a lot about the natural world and about how much we've destroyed it. For this song, I envisaged things connected with nature and flowers and all the beautiful things we associate the outdoors with. It was like a utopia—kind of like reaching this place of incredible enlightenment. Like my greatest revelation was like the fact that I've reached this point of ultimate independence. It's so crucial and it really is a recurring theme of the album. And I was in such a good place that I think that it was like a hyper kind of happiness. apple. mzstatic. mzstatic. mzstatic. mzstatic. mzstatic. mzstatic. mzstatic. apple. apple. mzstatic. mzstatic. Looking for a silver lining amid the subsequent pandemic, Tovar spent his days recording with the group in the studio and his nights writing new songs in a hotel room. As a result, their planned short EP release turned into a full 14-song project, heavily laden with modern love songs but representing wider influences that range from classic boleros to indie pop. When we were supposed to record in the studio, I did not have it completed. I just had a little piece and I needed to finish it. And this was actually like the second to last song that we recorded. I prayed to God so he can help me to write. I was at the hotel and like in 30 minutes I finished the song. And we really put it together. The instruments sound amazing. It's really unique. People may think it's a breakup song just because of how they hear it. They can hear it both ways. It just has a deeper meaning to it. It was a story that I personally experienced with a girl at a party. Things happened, and I wrote, like, not all of it, but some parts about her. The thing is just a love song, but more like a love-affection song. They both love so bad that they would do whatever. There's this part where it says, basically, we can do it anywhere—on the beach, in the car, and in a room; anywhere you want. I started with corridos. This song is basically for a guy or a girl saying maybe. It's just a what-if song. One of my favorite artists hopefully one day I can do a collab with is Cuco. I really love his music. I'm really inspired with what he does and how he has Spanglish lyrics. So I was going to do something different. These lyrics are really depressed. It's just really cool. To bring a whole different genre like alternative to regional Mexicano and have the Spanish lyrics, for me that's amazing. I just had this inspiration there because it was right next to the port, on the water. I liked the vibe. It's a really nice song. It's basically a song to dedicate to someone. The first line says, 'I did this song for you, my love. ' Honestly, I still to this day don't know why I write love songs. I don't see myself in it. I'm not in love; I'm not a guy that's romantic. You guys should put out some corridos. I didn't put it out. I went live on Instagram and I demonstrated a little piece to the people and they liked it. It's about the lifestyle in Cali, about all those people in trucks, just having a good time, vibing out, partying, drinking, all the stuff young people do in Cali. Los Panchos, Los Tres Ases, all those trios that played the songs of bolero. Back in the old days, they had trios that would use classic guitars to play these songs, and three voices—there would be primera, segunda, and tercera. It just sounds so good. I was trying to give this song almost that same touch as a bolero, the same rhythm. And I was trying to point at both elderly people and young people. Boleros, they're kind of dying out. People are still into them, but not young people. So I really put the song on for the young people as well as their parents and grandparents that might know boleros. I'm just trying to bring something back. At the end of the song, it's really cool because we, like how boleros do, put three voices at a little part at the end. It just sounds really, really, really, really good. I have friends that are married, and I have friends that have girlfriends or they're engaged. Not like psychedelic, but more like full of feeling for those young people who do their things, how people smoke and people drink. They don't know or care where they are. It's just a song for them. I wrote this song on one of the last days that I was at the hotel. The album was complete already, ready to be submitted everywhere. I had a little piece and I was at the hotel with my brother. I just caught inspiration, I don't know from where. It was crazy, man. I finished this the same night when I wrote the little piece. ' has the same vibe. They used to be in love, they used to have this connection. But towards the end, it shows how she left him for another guy. I have this one line that says, 'I drove back with no control. ' And from there, everything, like, my heart just collapsed. ' I wrote the song specifically for those people who drive trucks and who go to truck meets, all those things about trucks. They can listen to it and relate to it. They're free to do whatever they want. And it's just a love bond of a young couple, doing the things that they do, like go around town, to the movies or to the beach, wherever they wind up. It's just about young love. It has that feeling of almost like a bolero. Not necessarily as a bolero, but it has the feeling and vibe to it. I wrote the song for all people who are in love who I know, people who have been in a relationship for years. It could be dedicated to anyone. apple. mzstatic. mzstatic. rgb. apple. apple. mzstatic. mzstatic. Instead, they go to her. apple. mzstatic. mfwtjprs. mzstatic. mzstatic. apple. apple. mzstatic. mzstatic. under exclusive license to Atlantic Recording Corporation for the US and WEA International Inc. But at the end of the day, the 17-year-old me put 'see you when I'm famous,' and I made it. I made it happen. All the feelings that I'm talking about are in that track. That's the first time I expressed them, and there's no other way to start the album. Everything that's said on 'Bouncin' is something I needed to say, and I just feel like I wanted to use a song that was a little more cinematic and also that was exciting and had all the bars in it and just get everything off my chest. I loved it immediately. And then when I cut it, I sent it to Tyga, who I was expecting to take months and months and months to do it, but Tyga is such a professional, he just did it the same day. I was never used to that. Everybody I send songs to, it takes like three or four months to get it back, and Tyga just boom, that same night, got it done. She is a DJ, and she really puts me on everybody. She's the person who showed me Lil Yachty. She showed me Rico Nasty, and me and her have been big Rico Nasty fans for going on like two years now, and she also gave me the idea of flipping the Beastie Boys song because it has KYLE energy to it. And when we got it—because 'Girls,' the initial Beastie Boys one, is such a song for the homies, for the bros—we wanted to switch up the energy and add a female rapper to it. It just made perfect sense to add my favorite female rapper, and she killed it too. I went to the studio with her, and she just went in there and did her thing. I collaborated with a very special artist named The Drums—almost every song on this album, he had some part in. He either produced it or helped produce it or played something or sang background vocals—he's all over it. I wanted to make this album an ode to my past and an ode to Ventura, where I'm from, and Ventura is really a surf town. So I wanted to bring you there by sampling a bunch of surf rock stuff, so that's where the initial happy vibe came from. And then I had this beat for hella long and didn't know what to do with it, and one night, I'm in the studio and K CAMP gets in there. I'm trying to play K CAMP just a bunch of regular trap beats—he doesn't like any of them. And then I played that one, and I was like, 'I got this really weird one. I don't know if you're going to like it. ' And he was all like, 'Oh man, that's it, that's fire. ' And he just led the journey on that. It was tight—I felt like I had my big brother with me almost teaching me how to rap in a sense. And then I sent it to Rich The Kid, and he was a professional about it too, did it and got it done right away. Jonny from The Drums, who collaborated on everything, sent me 'Forget. ' At first it was just his hook, and it was the beat, and we flipped it into a trap song. That song is really special to me because I feel like it really embodies more of the pain of the project. Being famous is awesome, but it also means you have to leave people behind, and you have to forget in a sense. I really love the fact that I got to introduce Trippie Redd to The Drums' music and introduce Jonny to Trippie Redd, because Trippie Redd loves rock music but hadn't heard of him, and Jonny loves Trippie Redd now. It was just tight to make a really unique collaboration, and Trippie killed it—he was perfect on the hook. And then iann dior, who is also super awesome, I met him one night at Rolling Loud, and he was perfect for it too. That one was like butter, literally came together and it's perfect. I feel like the music gods are really happy about that song. That is the trajectory we're on. And then the other side of being famous comes with all these emotions of leaving people behind, them feeling attached to you, and then you essentially feeling resentment. I think that's what 'Over It' talks about—me and my relationships that I had to leave behind in my hometown and those people being mad at me and then me just being completely over it when they're trying to rekindle those relationships. That's the emotional story behind it. But musically, it was made by this dude named Happy Perez and my homie Naz, who also produced pretty much every song on this project. He had a hand in almost everything. They just killed it. Happy Perez played me that guitar loop and I was like, 'Bro, this is it. You don't have to do anything, just send me this. ' That song doesn't have any drums on it, it's just the loop. That's one of my favorites. I think a part of growing up is learning how to have something not work out the way you wanted and being able to live with it and accept it for what it is. I feel like it really sums up me as an artist really well. Produced by Mick Schultz, the god. I go to his studio, and he starts asking me what do I want to do. And I was like, 'I want to make surf music, like beach music, and I want to figure out a way to trap it out. ' And he was like, 'Man, that's cool, I like that. Matter of fact, you know who you remind me of? James Taylor—you sing like James Taylor. ' And I didn't even know who James Taylor was—I look him up and James Taylor's just like some old white guy. And I was like, 'Okay, I don't know what to do with that, but I feel you. ' And then he was like, 'And on the surf vibes, you know what we need to make music like? Jack Johnson. ' He's Raphael Saadiq, so obviously he knows what he's talking about, and I can't question him on it. So I went home, listened to some Jack Johnson, came to the studio two days later and was fully committed. And then Raphael just starts playing the guitar and playing the keys and playing the bass and just starts creating the prettiest song I've ever heard. It all clicked and started to make sense. I was like, 'Whoa, we're really about to make a pretty song. I get the whole Jack Johnson campfire vibes now. Now I get what he was talking about. ' I think it's the prettiest song I've ever made. And then Bryson—I thought, damn, I have this beautiful song. I can't just let anybody get on this. And there's no better songwriter in the game than Bryson Tiller. But that right there is the problem with the youth and the OGs not collaborating enough. You know what I'm saying? Because I should know about James Taylor, and if I kicked it with people like Raphael Saadiq more, then I would. And so that's one of my favorite things to always do and something I always try to focus on is bringing the OGs with the youth—putting Bryson Tiller and Raphael Saadiq on the same song. It's really like I miss who I was back then, and that was something that was important to me when making this album was getting back to who I am. And I think the me in high school was so undefeatable. That's where the Super Duper Kyle was born, that 17-year-old that just knew he could do anything. Before I could take any more steps forward in my life, I felt like I needed to go back and find what was in him and take a little bit of that and bring it with me. Because it's inevitable that your life is going to change and you're going to go to different places, but you've got to keep your core with you, and this song really gave me a chance to express that the right way. I miss my mom, I miss sneaking into her house, I miss my friend Mr. Man, who is my best friend and my rapping partner my whole YouTube era. I missed a lot of people, I missed my family, and most importantly, I missed that youthful version of myself. I live in Hollywood, I'm in movies, I go on tour and go around the world, and I'm so removed from my center that I just wanted to talk to all the people from my past and ask them what they thought about what was going on or just get their view on things. And Mr. Man, who is my best friend from childhood, gave me the best advice of everybody. And when he said it, I was like, 'This is what I needed to hear,' because you struggle with confidence and shit when you forget yourself and you forget who you are. And he was telling me, 'Bro, with this album, you've gotta just have fun and just feel it. You gotta take it back to when you were just doing it for fun, because you've always been raw, it's never left you. Don't ever question if you're awesome and start trying to do the extras. Just have fun and it's going to be fire. ' And when he told me that, I damn near cried, because I had forgotten that. You start taking shit so serious that you forget the point, and yeah—'A Message From Mr. Man' is the most vital track on the project. I loved Big L and Jadakiss and The Lox. Jadakiss and Styles P going back and forth is my favorite part about hip-hop in general. And me and Mr. Man used to do that all the time. And I think how the journey [of the album] goes is he has this idea of being famous. He starts off super broke in 'Bouncin,' then he gets there in 'Money Now. ' He finally has all the girls and feels like 'Yes, I have everything. ' He has to forget his relationships and move on. There was a quarrel with that, and then he finally accepts it in 'What It Is. ' Sorry—I think about my albums and shit as a chronological movie. 'The Sun,' it's like he makes up for it and just wants to get back to a place where he loves those people. 'Bye' is like he finally realizes the person that he needed to heal was himself and really expresses all the things that he went wrong on. I think 'A Message From Mr. Man' is where it clicks, and then 'Mr. Man and K. D' is me at peace. It's me being the 17-year-old version of myself again, just having fun with my friend. And I think that's just the perfect way to end the album, because it's like he made it. He was going on a journey trying to reconnect with himself, and he got there. It definitely represents the album—it's called 'See You When I'm Famous'—but it was a song I fell in love with and I had to put on here. AzChike happens to be one of my favorite rappers—my girl actually showed me AzChike. So once we had the AzChike song, it was just me and him at first, it made sense—like, let's connect him with one of his idols. Let's bring him to somebody he loves. I made it happen. apple. mzstatic. qksjskue. mzstatic. mzstatic. mzstatic. apple. apple. mzstatic. mzstatic. The 27-year-old alt-pop-rock eccentric fancies himself a visual artist who just so happens to make music as joyful and strange as his signature look: JNCO jeans, a bowl cut, and a face so expressive it reads like a meme come to life. This song, to me, is about how I'd rather say some stupid things in my life than say nothing at all. At this point, I'm currently working on learning how to filter my thoughts so that I can be a little more fine-tuned with it, but ultimately, I'd rather say something than nothing. It can be a bit much, but it does make for very honest reactions. I don't really listen to music. The only real artist who I fuck with at this point is Little Ricky ZR3. This dude is totally in his own world. I sincerely feel in the next few years, he's going to be the biggest artist on the planet. The song is really about growing up. I spent my whole life falling on my face, but I never let that stop me. I was given the name Oliver Tree at my birth. I was born in 1993, but it somehow took me 27 years, until I finished this album, until I realized who I was. That and my backpack fits my entire life. If you think you need money or material objects to be happy, then I honestly think there's something wrong with you and you are sick in your head. We waste the best years of our lives chasing after money so that we can buy all these things we don't need. It's absurd. I had to cancel [my album release] due to COVID-19. I couldn't share this without the proper visual support. And so ultimately that song is really an apology to my fans. I let a lot of people down when I had to cancel the album. I lost 150,000 Instagram followers over the course of a few days. I let people down, and I wrote the song to ask for forgiveness. Ultimately, if they forgive me or not, I don't give a fuck. They can do whatever they want. It's not my problem, but it was just a nice memento. You got to go out there, you got to get your hands dirty, you got to fall on your face. If you want to do it, you got to follow my three-simple-step formula: One, wake the fuck up; two, get your ass off the couch; and three, go do that shit. This comes down to one experience I had in elementary school. This kid at my school, his sister was drowning. His name was Danny Stromboli and his sister was in the lake and she couldn't swim. She's out there by herself, she's screaming, and there was no lifeguards, nothing. So I run out there, jump into the water, I reach her, I bring her back into shore. And I realized, what if someone just prayed for her to come back? It's like, am I going to wait here hoping someone's going to come save this poor little girl or am I going to go and save her myself? I thought I had overdosed and I was convinced I had died. I watched my whole funeral take place. I ended up running naked through the desert for about six hours and I nearly died that night. I went through a period of dealing with drug issues, and that was my rock bottom. After that experience, I realized that was not the way to live my life. Instead of being consumed by drugs, I became consumed by music. The trouble with getting off drugs or changing your lifestyle is that you don't have something to fill that void. I was very fortunate that music was there. The human experience is extremely strange. Most of us feel like aliens at some point. We feel like an outcast, but at the end of the day, who wants to be normal? This song is really about embracing our true selves and really letting your true self shine. I've seen the way people treat you for looking different, for being a little 'outside the box. ' I've seen the toxic energy that exists in the way that people project their own insecurities and their own unhappiness on others. I'm able to accept myself. Flaws make me beautiful. They make me me. Our patterns tend to repeat themselves, some for better, some for worse. If we don't learn from the mistakes, we will repeat them over and over again. But the human brain is so powerful that it can pick out whatever these negative patterns are and it can actually start new and improved patterns. We have the capability to re-hardwire the brain. You can go from a drug addict to being completely sober. Nothing happens overnight, but it starts with recognizing an issue. He did a violin, viola, and then he also doubled it with the cello, which was incredible. As far as the song goes, time is the most precious, coveted thing in existence. There really isn't enough hours in the day to do what we need to do. One thing I will say is do everything you want to do. Your time here is extremely short, and that needs to be taken with great understanding. I made it there with him and my engineer. But as far as the song explanation goes, I think we've all met a jerk or two. We all know people that we hope we'll never see again, but it's important to understand that we've all probably been jerks at some point in our lives, as well. I did that for a couple of years. During a semifinal run, I was going down this 25-foot roll, at 35, 40 miles an hour. I was going balls to the wall, and out of nowhere, this little fucking pebble shows up. I hit this thing. I go flying roughly 12, 13 feet. I put both my hands out to break the fall, and sure enough, I break my left wrist, I break my right wrist, I break the joint that connects my thumb to my hand. I had a concussion. There were some minor abrasions. My right hand was less usable, but my left still had some good fingers, so I started learning how to produce. I spent the entire scooter season—five months—locked up in a bedroom, just writing music. Sometimes we have things we want to keep to ourselves, things we don't want to share with others. Sometimes we just don't have the right words. Sometimes those words don't exist. Sometimes we make assumptions. Sometimes we, in our head, make up a million scenarios, and it's not the best way to go about things. Don't overthink it. Don't try to spend too much time trying to think about how it's going to go wrong. Just put your bootstraps on, buckle up, buddy, and go in there, do it. This is the first and last Oliver Tree album. It was fun while it lasted, but this industry is too much for me and this is not what I want to spend my life doing. I don't want to be a 60-year-old guy with a bowl cut dancing around onstage. I can't do this anymore. I'm going to be segueing on to the next portion and moving out of music. At this point, I have no interest to make album after album for these snotty-ass fans and people who literally talk shit and make my life miserable for this art that I've dedicated my whole life making for them. I'm fucking done. I am out. It was fun while it lasted. apple. mzstatic. cxpossjq. mzstatic. apple. apple. mzstatic. mzstatic. apple. mzstatic. mzstatic. apple. apple. mzstatic. mzstatic. The back half takes a slight pivot to offer a bridge between his two worlds: adorned acoustic arrangements that feel at once fleshed out and delicately dreamy. His are the kind of love songs that feel familiar and aspirational, retaining a certain doe-eyed innocence—free of hubris and complication. apple. mzstatic. hlnklmxc. mzstatic. mzstatic. apple. apple. mzstatic. mzstatic. And I think you'll hear that with upcoming releases more. 'Daydream' felt like that perfect feel-good track to return back to. I think The Aces always try to start and end everything with a good vibe and something that's going to make everybody happy. So we were really conscious of making that the first track that our fans hear off the new record. It has that quintessential Aces fun, even deeper explored. We wanted to keep that one very funky. I remember we were sitting in the studio and how something like leaving it left unread can wreck your mood for a few hours if not your day. If that person that you like switches up that energy on you and they don't respond to your text or something, it's easy to get caught up. We're on our phones all the time, and we're almost tracking each other in a weird way. We have read notifications, or you can look on Instagram to see if they're online. It's so crazy how that affects our relationships with each other—and how that brings on a lot of anxiety for a lot of people. It's definitely been something that at times has made me want to rip my hair out completely and be like, 'Ah, I want to be present. I want to live my life. This stuff isn't important. ' So it kind of felt like we were channeling that frustration into a song. The story is painted out there for you as to what happens. There's not many metaphors in that song, which I love about it. You don't have to guess, we're just giving you a journal entry—a situation that happened. It feels very, very vulnerable. Also, it feels kind of Santana-influenced with that guitar solo that comes in—and it feels very beachy. I know it's stuck in my head all the time, and I love that we were able to even push the types of stories we are telling. They're more honest than ever, and that makes them more relatable. I think everyone's had a Kelly in their life. Like, 'This is who I am, being very confident and verging on cocky. ' I think that you don't see women do that enough. It's this exploration of owning yourself as a sexual being and not being apologetic for that. And that felt really important for us as adult people to explore that side of ourselves, and to be more mature on this record. This is the first experience I've had where Cristal brought back a song that I wasn't a part of. The first time I heard it, I was absolutely in love with it. It had this desperation to it, and this honesty that felt like a knife in the heart. You can hear the emotion on it, the betrayal that she's feeling on the track. Those kinds of relationships that just put you through the ringer and they leave you feeling dazed and confused. What even happened? Also, that's the first song where there's kind of this apathy, but also a lot of pain underneath it too, of just, 'Did it even mean anything, that relationship? ' I loved exploring that. That was one of the most therapeutic songs for me, personally, to write on the record, to get all of that out and process. Because a lot of things about Utah that we come from, our lifestyles and who we are as people, really decide the culture here. The setting for it when we were writing the lyrics was this gay club that's in the middle of Salt Lake City, which is a very religious town. I remember the first time I ever went to that gay club with all my friends, and it's so interesting to see all of these kids that went to the same high school as me and that I grew up with in the rural-based community, that is very religious, breaking away from that and accepting ourselves and people. We've seen kids that I went to high school with that were out as gay now, and I didn't know they were gay. And people that I knew that were transgender, all in the same place celebrating that uniqueness within the middle of this city coming from this place that's always told us that was wrong, but us defying that. I remember we played it for a couple of friends of ours, and they're like, 'Oh my gosh, I feel that so much. ' And they were not from Utah, they were from all over the world. They think this song is about owning your uniqueness and not apologizing for it, regardless of who tells you otherwise. Just being like, 'These games, they're not even hurting me anymore. They're boring. I'm literally bored of this nonsense. So I'm just as valuable, I'm just as sought out. I can break your heart, too. Don't think you're special. ' It's also about how a confident person handles fuckery, or handles someone trying to diss them. It's like, 'Okay, you're going to act like that to me? Well, I can act that way right back. Just imagine yourself in the summertime driving with your friends. We wrote this song when we didn't live there yet. We were traveling back and forth almost every other week to write music, starting to experience what it was like to be in LA regularly before eventually moving. I think a lot of people, when they move out of their own town and go to a new big city, are trying to figure out who they are and are trying to create and navigating growing up. It can be really easy, especially in a city like LA, to feel swallowed up and have these experiences that paint the city for you. I remember I went through a pretty bad heartbreak when I was in New York for a while, and I remember hating New York for a few months. I wanted to get out of there. But now I love New York. So it's so interesting how our experiences taint cities. Alisa and I wanted to explore the tortured relationship that we were having with LA at the time, of not feeling like we were fitting in and being able to get our footing at that time. Sometimes in life, relationships don't line up and it's not enough for whatever reason—that sentiment is so heartbreaking. The feeling of it was inspired by Selena. We grew up listening to a lot of her music and feeling, like, 'Bidi Bidi Bom Bom' and all those songs that were on as kids all the time. So we wanted to use a little bit of that inspiration as well. This is one of the songs I'm the most excited for the world to hear. Just get it out. Whether or not we use the song or not, don't think about it. Just pour your heart out into this and voice how you're feeling. ' I was having a hard time being creative because I was so sad about the situation and this person. I felt charged up from that, and Alisa and I sat down and out came 'Cruel. ' When I listen to that song, that's probably one of the closest songs to my heart on the whole record, because I let go of so much through that song. Then when you hear the song for the first time, you feel that so clearly. You can almost feel that moment being put down on paper. And it's one of those songs I feel like that just hits your soul. You can feel it so deeply. I'm still thinking and dreaming of this person who will be good for me. ' It has this doo-wop kind of swing to it that adds a fresh flavor to the record. Alisa and I always laugh because there's a couple of songs we always say they're blackout songs, where we go in the studio, we write them, we leave, and then we get a demo back and we're like, 'Wait, we wrote that? I don't remember writing that, that's amazing. ' You kind of have this creative blackout and then you go back and listen. I think we always want to keep our fans on their toes, surprised and hearing new things from us. It's a total love letter to that person in your life, specifically for me, my girlfriend. It felt like a safe space to be able to go there and really pour your heart out onto the track. We don't do love songs very often. I think that we, as artists, our motto is, 'We always want to do things that you don't expect us to do. ' We always want to push things and we always want to keep ourselves excited, as well as coming back with songs that people might be like, 'Oh shoot, they're using different kinds of sounds. That's a total different sound for them. It feels like a song that you want to end on, and it feels like a celebration. The type of music that everyone kind of needs right now. We wanted to bring it back down to having family around you; friends and someone you love dearly is way more important than any of that. I feel like they would explore topics like that all the time. It's very classic-sounding. apple. mzstatic. mzstatic. apple. apple. mzstatic. mzstatic. Two years later, she was still drawing a blank. Once I knew what to do, the process was quick. Get to the last song on this album and you will know that I am totally fine! With each song, I realized that I could do it—that I could finish something I was proud of. As for the repetition of lyrics in this song: I really like poetry, and I was influenced by some of the poetry I was reading at the time and the idea of repeating a word to give it this whole different meaning. I wanted it to be reminiscent of that—like a night out where you meet someone and there's this hazy, wondrous, excited feeling that you can't quite describe. I worked with [British songwriter and producer] Bruno Major on this. He's just the most amazing guitarist, and when I heard the music, it just made me feel like I was on a date.

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