Tank And The Bangas' Grammy Award-Winning Spoken Word Collection

Summary

All Of It Podcast Episode Summary
Episode: Tank And The Bangas' Grammy Award-Winning Spoken Word Collection
Host: Alison Stewart | Release Date: February 6, 2025 | Produced by WNYC

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Introduction: Celebrating Grammy Achievements

In this standout episode of All Of It, host Alison Stewart delves into the recent Grammys, highlighting significant changes and memorable moments. The 2019 expansion of the Grammy Academy brought thousands of new members, including 3,000 women and 38% people of color, fostering a more inclusive voting body. This shift led to a Grammys that "made sense," as per Alison, where deserving artists received recognition, and impactful messages resonated through acceptance speeches.

Notable Highlights:

• Doja Cat emphasized the importance of representation for young Black girls.
• Chapel Roan, after winning Best Rap Album and Best New Artist, advocated for livable wages and healthcare for artists.
• Lady Gaga addressed the visibility of trans people in her Best Pop Duo acceptance speech.
• Beyoncé triumphed in winning Album of the Year, solidifying her legacy.

Guest Spotlight: Tank and the Bangas

The episode spotlights the Grammy-winning New Orleans band, Tank and the Bangas, winners of Best Spoken Word Album for their three-part collection: Heart, Mind, and Soul. Formed in 2011, the band gained widespread acclaim with their 2017 NPR Tiny Desk Concert, amassing over 14 million views. Their collaborative spirit includes working with notable artists like Robert Glasper and Big Freeda, culminating in their latest spoken word collection.

Live Performance: "Enjoy the Ride"

Tank and the Bangas returned to the studio for a live performance of their track "Enjoy the Ride", featuring members Tank Ball and **guitarist/composer Norman Spence. The performance showcases their seamless blend of spoken word and musicality.

Performance Excerpt: “I can't deny I surely enjoy the ride, man I can't deny I surely enjoy the ride.”
[04:20] - Norman Spence

In-Depth Conversation: Crafting Spoken Word and Music

Alison Stewart engages Tank Ball and Norm Spence in a deep conversation about their creative processes, the intersection of poetry and music, and the inspiration behind their latest album.

Poetry as First Love

Tank Ball describes poetry as her "first love," driven by intense emotion and vulnerability.

“Feeling curious, being lost, finding yourself being incredibly vulnerable? Very honest.”
[07:06]

She contrasts poetry with songwriting, noting that sometimes her poems naturally transition into songs based on an internal whisper guiding her approach.

“My poems can be my songs and my songs can be my poems.”
[07:42]

Collaborative Creation

Norm Spence discusses the dynamic of integrating poetry with instrumental arrangements, emphasizing the importance of balancing Tank's artistic vision with the band's collective synergy.

“Sometimes you just gotta feel a vibe... and it all comes together.”
[08:18]

Album Structure: Heart, Mind, and Soul

The trio explores the conceptualization of their album's three parts. Tank Ball explains the division based on her relationships with her mind, body, and soul, aiming to create a listening experience that encourages deep engagement rather than quick consumption.

“I want you to really soak this in. It's important.”
[09:08]

Collaborations with Esteemed Producers

They reflect on working with James Poyser, whose influence brought a Philly soul vibe to their music, and Iman Omari, whose creative prowess inspired them to push their artistic boundaries.

“It was an honor to work with such a hero.”
[11:49]

Another Live Performance: "Ghetto Earth"

The band presents "Ghetto Earth", a track from their acclaimed collection, interwoven with intricate poetic narratives and vibrant instrumentation.

Performance Excerpt: “Ghetto Earth get a worth From a million worlds away.”
[13:28] - Terriana Tank Ball

Exploring New Orleans’ Influence

Tank Ball elaborates on how their New Orleans spirit permeates their music. While they incorporate elements like bounce music and brass instruments, they also diverge from traditional sounds to create a unique, genre-blending experience.

“It's just spirit wise, for sure. Definitely not in sound because the sound is a bit unusual.”
[16:45]

Personal Journeys and Musical Roots

Norm Spence shares his background growing up in a church environment in Baltimore, influenced by his pianist father. This upbringing instilled in him a love for melody and rhythm, which he seamlessly integrates into Tank and the Bangas' sound.

“Watching my dad play for churches... anything I picked up there is what I brought there.”
[17:33]

Creative Synergy: Duo Dynamics

Participating as a duo, Tank Ball and Norm Spence discuss the balance of maintaining individual creativity while fostering a collaborative environment. They prioritize solo brainstorming before integrating ideas into the larger group's framework.

“I need you and you need me.”
[18:43]

The Art of Improvisation and Preparation

They delve into their approach to performance, balancing structured practice with the freedom to improvise. Tank Ball emphasizes that while improvisation is key, Norm ensures the spontaneity aligns with their artistic vision.

“You make your balance and be prepared to ride the wave in whatever way it goes.”
[20:22]

Final Performance: "Little Things"

The episode concludes with a poignant rendition of "Little Things", a track addressing the fragility of life and the societal issues affecting Black communities. The song intertwines personal reflections with broader social commentary.

Performance Excerpt: “Love him, show him. And baby, don't you worry about those little things they turn to bigger things over time.”
[23:34] - Terriana Tank Ball

Closing Thoughts: Embracing Art and Community

Alison Stewart wraps up the episode by celebrating Tank and the Bangas' artistic contributions and their commitment to fostering a deeper appreciation for spoken word and music within the community.

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Key Takeaways

• Inclusivity in Music Awards: The Grammys' expansion led to a more diverse and representative recognition of artists.
• Spoken Word and Music Fusion: Tank and the Bangas exemplify the powerful blend of poetry and music, creating immersive and meaningful art.
• Creative Collaboration: Working with esteemed producers like James Poyser and Iman Omari enriches their musical landscape.
• Cultural Roots: Their New Orleans heritage profoundly influences their innovative sound, balancing tradition with modernity.
• Artistic Integrity: Emphasizing depth over fleeting consumption, they advocate for listeners to engage deeply with their work.

Quotes for Reflection

“You gotta live in. It's just a little bit more for me. I need you to do that.”
[10:19] - Tank Ball

“Music is the glue.”
[22:39] - Norman Spence

“If you wanna make God laugh, show him your plans.”
[20:46] - Tank Ball

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Supporting WNYC

To support WNYC during our centennial year, consider donating your used car at wnyc.org/car.

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This episode of All Of It offers an intimate exploration of Tank and the Bangas' artistry, celebrating their Grammy triumph while delving into the cultural and personal narratives that shape their music. Whether you're a long-time fan or new to their work, this conversation provides valuable insights into the powerful synergy of poetry and music.

Transcript

[Alison Stewart]

All of it is supported by Progressive Insurance. You chose to hit play on this podcast today. Smart Choice make another smart choice with Auto Quote Explorer to compare rates for multiple car insurance companies all at once. Try [e-mail] Progressive Casualty Insurance Company and affiliates not available in all states or situations. Prices vary based on how you buy.

[Norman Spence]

Listener Supported WNYC Studios.

[Alison Stewart]

This is all of It. I'm Alison Stewart. The Grammys saw a lot of love this week and it wasn't by accident. In 2019, the academy expanded. According to the organization, thousands of new members joined, including 3,000 women and 38% of voters were people of color. The New York Times reported that some inactive members were moved to non voting status. The result was a Grammys that made sense. Some of the biggest names in music this year received well deserved recognition from their peers and there were also quite a few thoughtful speeches. Doji talked about the importance of showing young black girls anything is possible. After becoming the third woman to win Best Rap Album, Best New Artist, Chapel Roan celebrated her win by demanding a livable wage and health care for artists. And during her acceptance speech for Best Pop Duo, Lady Gaga said trans people are not invisible and Beyonce finally won Album of the Year. We were lucky enough to have a few Grammy winners on all of it. We had five time Grammy winning jazz vocalist Samara Joy, drummer and composer Dan Pugach and jazz vocalist Nicole Zaritis and the genre bending New Orleans band Ten Tank and the Bengas won their very first Grammy for Best Spoken Word Album. Formed in 2011, they were the winners of the 2017 NPR Tiny Desk Concert series. Their performance on Tiny Desk racked up more than 14 million views. After releasing two studio albums and collaborating with some big names like Robert Glasper and Big Freeda, Tank and the Bengas released their Grammy winning three part spoken word collection. It's titled the Heart, the Mind and the Soul. Two members of Tank and the Bangas, vocalist Terriana, Tank Ball and guitarist and pianist Norm Spence joined us back in August for a special live in studio performance. I began our conversation asking about the song they performed. Enjoy the Ride. Let's take a listen.

[Tank Ball]

Enjoy the Ride is basically about kind of the in between guy and it's actually about two guys if people are really paying attention because it's about two guys that I had moments with and this is just me talking about how even though it was crazy, I sure enjoy the ride.

[Alison Stewart]

Here's Tank of the Bangus.

[Terriana Tank Ball]

Better when we were friends Heaven sinned had me back.

[Norman Spence]

I barely like you it's really the.

[Tank Ball]

Memories that hold me hostage.

[Norman Spence]

My mind make me watch replay it.

[Tank Ball]

Over and over again.

[Norman Spence]

Being close to him, smelling his skin, sucking his lips, tasting his chin. My mind replays it like over again. Taking out the bad parts of how.

[Tank Ball]

You weren't there for me.

[Norman Spence]

Remixing all the moments you couldn't look out for Tia didn't listen. Or when you lack vision no mission, no goals, no plans, no freaking ambition.

[Tank Ball]

Or wanted me to possibly take care.

[Norman Spence]

Of you and me or wanted me to guide the ship boy, I ain't Captain T, I ain't Mr. D he who has the should not rely on.

[Tank Ball]

Me Mama's boys will play with toys but you will not play with me.

[Norman Spence]

Boy, Toys R Us is closed and.

[Tank Ball]

You will not play for free so.

[Norman Spence]

Why I feel so played, girl, look, never mind no nickels, no dimes New car, spit shine Spend time, lay up, makeup Just get your bed up so.

[Tank Ball]

You can be mine but why would he change if I let the stuff slide? Why would he change if I didn't.

[Terriana Tank Ball]

Mind better when we were friends Heaven sinned had me been Knowing this loving.

[Norman Spence]

Him was never meant so evident Yo, I can't deny I surely enjoy the ride, man I can't deny I surely enjoy the ride, man I can't deny I surely enjoy the ride I enjoy the ride I enjoy the ride Bigger than elephants in a room with no air we mess up the vibes Cause eagles don't like to share Eagles like elephants? Elephants like eagles Wish I had a.

[Tank Ball]

Giraffe nectar See around it though it.

[Norman Spence]

Was see through they that I can see that was never sexy to me A toxic relationship with music notes and poetry not the sort of bed I.

[Tank Ball]

Wanted to lay in or stay in.

[Norman Spence]

But I'm laid up after every argument Here comes the good Here comes the good love who cares about the drama if we end on a good note? I mean good night Nah, take not like that she write poems and she reads with love But I'm a black woman with trauma I want my relationship.

[Tank Ball]

To work but you know I messed.

[Terriana Tank Ball]

Up better when we were friends Having sinned had me bend Knowing this loving him was never so evident that I win we were friends, heaven sent had me bent Knowing this loving him was.

[Tank Ball]

Never meant so evident Look, I can't.

[Norman Spence]

Deny I surely enjoy the record I can't deny I surely enjoyed the ride, man I can't deny I surely enjoyed the ride I enjoy the ride I enjoy the ride, man I can't deny you know I enjoy the ride I can't deny you know I enjoyed the ride, man I can't deny you know I enjoyed the ride I enjoyed the ride. Even though he had no goals, no ambition, no mission, no prison no goals, no ambition, no plan, no vision no goals, no vision, no plan, no mission. Wanted me to sit around while he.

[Tank Ball]

Watched the television he had no goals.

[Norman Spence]

No plans, no vision, no mission no goals, no plans, no vision, no mission no goals, no plans, no no mission, no vision Girl, if you don't wake up and pay attention.

[Terriana Tank Ball]

Better. When we were friends Heaven sinned had me f Knowing this loving him was never meant so every day.

[Alison Stewart]

Oh, yes Enjoy the Ride by Tank and the Bangas. Tank, you've described poetry as a sort of a first love.

[Tank Ball]

Oh, definitely.

[Alison Stewart]

Yeah. And first love brings intense emotion. It can bring heartache, it can bring infatuation.

[Tank Ball]

Yes.

[Alison Stewart]

What about poetry brings that first love.

[Tank Ball]

Feeling curious, being lost, finding yourself being incredibly vulnerable? Very honest. I think that first love. You are just no bars. You are just so honest about everything you're feeling, and you're very emotional, and you're very passionate about it. And because you've had no past lessons to teach you or mold you into what you think is right or presentable, you present yourself in the most messiest and most awesome in horrific and most beautiful ways.

[Alison Stewart]

How does that differ from when you're writing lyrics for a song?

[Tank Ball]

Hmm. They both have their own one line of relationship. Because my poems can be my songs and my songs can be my poems. It just depends on that little voice that whispers in my ear and say, you should speak it like this now, or you should sing it like this. But, yeah, because I write everything, and then later on, I decide what it's going to be when I'm in a session with the guys.

[Alison Stewart]

Norman, can you grab the mic? Can you talk to us? There you go.

Absolutely.

All right. Once the poetry is presented to you and the rest of the band, when do you start figuring out what the instrumentation should be?

[Norman Spence]

Wow. Well, it's interesting sometimes. You know, a lot of her elements have melody attached, you know, so there may be some hint sometimes of a melody that should be present, but sometimes you just gotta feel a vibe, and sometimes the vibe you feel might not be the vibe she feels. So you get familiar with what she's aspiring for. You ask questions, and, you know, sometimes the wave just shows itself, you know, and it all comes together. This particular song we just performed was a beat I made prior, and it worked.

[Alison Stewart]

Mm.

[Norman Spence]

And it came out beautiful. And we had the privilege of working with Mr. James Poiser on this one and the next one we're gonna do for you guys. But it's always just. It varies.

[Alison Stewart]

It varies. So, Tank, when did you decide that you were gonna split this into three parts? The heart, the mind and the soul?

[Tank Ball]

I think I was on a train. I don't know exactly where we were, but I was just thinking about the different relationship that I had with my mind and my body and my soul and how those things, of course they come together, but they're very separate. And I also thought about just how the attention span of the new listener is so short. And I thought of something that could be more of a slow and really keep them on their toes and excited to hear the next thing. Because it really hurts me that we can sit forever and make these projects and go through a million different arrangements and producers and have this moment where somebody just. With a flick of a thumb, it's over. I want you to really soak this in. It's important.

[Alison Stewart]

Why is it important?

[Tank Ball]

It's important because we put a lot of work into it. A lot of love and a lot of money. We flew a lot of planes. You know what I'm saying? We just didn't create a New Orleans to create with people and sit up in a room and spend hours making this recipe just so you could truly savor it. I can't live with you just having it being over with the flick of your thumb and you on to the next thing. What's the word I'm looking for?

[Norman Spence]

Get a dopamine release.

[Tank Ball]

Yeah. I just can't. You gotta live in. It's just a little bit more for me. I need you to do that.

[Norman Spence]

We all need to do that with everything. We overlook so much. We just need to take some time and soak it in sometimes. There's a lot of great art, great relevant things that heal and we should just take the time to, you know, forget the microwave, use the oven.

[Alison Stewart]

Norman Spank and Tank Ball, we're talking about. Excuse me, Norman Spence.

[Tank Ball]

I'm just gonna call it. You Norman Spank. So funny.

[Alison Stewart]

The album is called the Heart, the Mind and the Soul. You've worked with a whole bunch of people on this project. Which one? Well, I'll say which one. Which one was the one where you had Tank, you had to dig the deepest.

[Tank Ball]

Oh, I think I had to dig the deepest, maybe with Robert Glasper, because he's a very free form artist in a certain type of way. So when you go in there, and I'm the same Way, like, just let the musicians play and let's just do our thing. So that means that if we're just playing and just having fun, that means that I'm also creating right on the spot. And that means I have to go through my poetry and I have to make it make sense. And so I had to. You know, it wasn't. The sessions with Robert weren't premeditated. It was like, let's go with the flow. It was very natural. So even when it's natural, you still have to dig because I have to make it make sense. And I had to make it make sense later on in the studio.

[Alison Stewart]

Norman, tell me about the other two producers on the projects.

[Norman Spence]

Oh, man, it was an honor to work with James Poyser, teenage hero. You know, he made so much of the music that raised us in the 99, 2000s and so on. Even prior and after, you know, the Erykah Badu's, the Common, Like Water for Chocolate, Joe Scott, it was just banger after banger after banger. And to be able to work with such a hero, to go for a specific type of sound, that Philly soul vibe, and to be able to get some of those elements on our record, it was an honor. Iman on the other side of the world. Tank knew Aman and we got out there. I mean, I got the energy and the vibe over the phone, but this great guy, great mind, you know, on the fly, you know, excellence. And it was an honor.

[Alison Stewart]

Your next song you're gonna play for us is Ghetto Earth. This is from the heart, Poison. Norman Spence. You wanna tell me a little bit about it?

[Norman Spence]

Oh, yeah. Another James Poyser off the cuff. Beautiful. Oh, Chris Davis is actually playing drums on here. The key bass. Well, the bass is James Poison, key bass. I'm on ashy guitar, first take. No, no, I mean, all jokes, but we just. Another beautiful one. Enjoy.

[Alison Stewart]

All right, this is Tank and the Bangers.

[Terriana Tank Ball]

Get a worth Get a worth I see a worth From a million worlds away Get a worth get to Earth they asked me to leave and I had to stay they built me an ark to float away and I could not leave my baby that way Tiny.

[Norman Spence]

Balloons halfway to the moon Passing up the dunes Bending spoons in the world of green balloons Happy birthday I mean Earth day Baby girl has come so far Moving cars and plastic jars Got my liquor straight from Mars Listening to Stevie Wishing he would kiss me Wishing he would leave me, leave me like Minnie left me like diamond Fishing for my dreamies I got lost in the shouts I found moss on the planet. White glove like a Jackson. White jacket like Jamie. How you feeling? I'm feeling fantastic. Borderline manic. When you watching all the mad too long, you end up making magic. If it were plane, I would have landed it. Are we in airplane mode? Since we planning or playing? I'm saying I'm floating, I'm thinking, wake me up with chocolate covered nuts. I'm hydroplaning, I'm daydreaming like Exodus. Cause Marley made it. Listen, I don't know where I might go.

[Terriana Tank Ball]

I don't know what I might see.

[Tank Ball]

Rolling in the deep.

[Norman Spence]

I might get chased by a tree. I might get swallowed by the sea. I might get stung by a bee. Shoot, I might get chased by me.

[Terriana Tank Ball]

Ghetto Earth get a wor. I see your worth From a million worlds away. Get a word, get to work. They asked me to leave and I had to stay. Had to stay. They built me an oak to float away. But I could not leave my baby that way. Gotta work, get her work. I have to leave, I cannot stay.

[Norman Spence]

My crowded bar.

[Terriana Tank Ball]

My colored star, My hidden world. I know what you are.

[Norman Spence]

Earth is ghetto, ghetto, ghetto, ghetto, ghetto, ghetto. You shouldn't go to Earth. It's ghetto, ghetto, ghetto.

[Alison Stewart]

That's Tank and the Bangers. When you think about music, how do you bring your New Orleans ness to your music?

[Tank Ball]

Just spirit wise, for sure. Definitely not in sound because the sound is a bit unusual. It's not traditional New Orleans, but it has its elements. Sometime a bounce, I feel like, come on, come on. You know, we do our bounce music every now and then. Of course, it get a little jazzy. Of course we have to bring in our brass instruments like the saxophone and the trumpet. But as far as the traditional sound, it kind of steers away from that because we molded this sound with people that were from New Orleans and not from New Orleans as well. And just the open mic scene, where freedom was just. Just so free and we could do anything we wanted. And I love that about it.

[Alison Stewart]

Honestly, Norman, you grew up in the church in Baltimore. When your dad was a pianist who played in a church growing up, what did you bring from that to this performance?

[Norman Spence]

Who told you about my daddy? No, we're joking. But seriously, growing up in Baltimore, watching my dad play for churches, the drummer didn't show up when I was 8. One time he threw me on the drums. And then, you know, I was always. The pastor's son was a drummer. So I was always looking at some other thing to do, you know, the keyboard. My dad Would help me. Yeah, you know, just make me play the bass line while he was playing the rest of it. But anything. All those little influences and then sneaking and listening to everything but gospel. It's just kind of like, okay, I want to do this sound, this Philly sound. It was like the roots. The whole soul crying thing was like, yeah, let me attach myself to that vibe. And that was inspiring. And made me chase bass and, like, Pino bass and keys. D'Angelo and all the Kamal and James boys and blah, blah, blah. So when I moved to Louisiana when I was, like, 25, so whatever I picked up there is what I brought there.

[Alison Stewart]

You, obviously, the Tank and the Bangas is a much bigger group, but you're here as a duo. What do you like Tank being part of a duo? What do you get creatively out of just the two of you playing?

[Tank Ball]

Well, Norman always been there from the beginning, from my creation, when I first actually made a studio album with the guys. And he just was really instrumental in just really allowing the spirit to flow and allowing me to be free and not trying to really change who I was and change my sound. Now, one thing he definitely wanted me to do was make sense. Cause he loves to make sense. And I don't always make sense. And I like not making sense. But that's men, you know, Illogical. He was like, well, what you mean? What's a bird tree? It's a bird tree. Cause I said, it's a bird tree. But just we. And he could go anywhere I want. And he also has his own vibe that I can't touch. I tell them these days a lot. I say, I need you and you need me. So before we ever bring our ideas back to the group, we always get alone together first, and then we bring them back to everybody else.

[Alison Stewart]

When you present the songs, there's a certain amount of. I think it's improvised. And I thought, wait a minute, she knows what she's doing. This has all been practiced before. Which way does it go? Does it go improvisation? Or is it all planned?

All your vocals, all your tics.

I'm just curious.

[Tank Ball]

Is definitely the ticks of that. You know how I say that? Something whispers in my ear and tells me what to do. That's like the little moments like that. But to me, you can't have the spontaneity unless you, like, literally practice first. We're not just going up there just winging it. We practice first, and then once you practice enough, to me, that leaves room for creativity to go off the cuff. And Come right on back home. You can't just go out exploring the neighborhood. You need to know where your house at first. You know?

[Norman Spence]

You know what, that's real. And I tell you too, I'm no surfer at all. But this was popping in my head. I was like, you could practice surfing on your carpet at the house, stand on that surfboard and keep your balance, but you cannot predict the way the wave is gonna go when you get out there. So it's like you get your balance and be prepared to ride the wave in whatever way it goes. Somebody made a saying like, you make your plans and God ball them up and show your head or something like that.

[Tank Ball]

They said, if you wanna make God laugh, show him your plans.

[Norman Spence]

Yeah, there you go. So we come up here without planning, in a wave, be like, yeah, let's go ahead, right?

[Tank Ball]

Definitely.

[Alison Stewart]

What do you enjoy about performing the spoken word elements of your. Of your act live? What do you like about that?

[Tank Ball]

What I love about that I just could take my time. I feel like I'm being who I really am. I feel like I'm being Terianna. I feel like I'm the girl that read my sister's poetry notebook at 12, which I had no business doing and learning all her poems by heart. And my cousin giving me that first poem by Adrienne Hardesty, a great somebody, and memorizing it to do it at my grandparents 50th wedding anniversary, messing it up. And my grandmother making me do it before my grandfather would speak. So I would get it just right till I became a confident speaker. And I just remember the first thing that loved me back, I couldn't always. My tone wasn't always amazing in singing. I couldn't always riff like my older sisters. But this poetry came to me so easy and it loved me back and it didn't judge me. And I just feel just like myself. And I always wanted to lead with it, but a mentor of mine told me, I think you should do the music first and let the poetry accompany it. Because people tend to love music more than poetry.

[Alison Stewart]

What can we get people? How do we get people to love poetry more?

[Tank Ball]

Listen to this album and keep putting.

[Norman Spence]

Music behind it, you know, Shoot, look at Jo Scott's first album and the fact she said I'm a poet first. And she certainly is, but the melody is what drew us. Just like a musician. I think the reverse happens when you are a musician. Like you mentioned Robert Glass, but he had albums before Black Radio. Only musicians and jazz heads knew about their albums like that. It was the Roy Hargrove formula in my mind. But, you know, once you put all the artists on there, like RH Factor, it was full of artists like Carmen, Erykah Badu, so many other greats. And it was like, all right, now we can listen to this jazz album. You know what I mean? It's the same with the poetry world, you know, shout out to, like, J. Ivey and all.

[Alison Stewart]

Oh, yeah, he's good.

[Norman Spence]

Absolutely. Absolutely. But music is the glue.

[Alison Stewart]

Let's talk about the last song, Little Things. Tell us a little bit about it.

[Tank Ball]

Little Things is doing its thing right now on the charts, and I didn't think it was gonna do all that, so it's very exciting. Exciting. I just was talking. Iman Omari helped us produce this one. I've always wanted to work with Iman. I think he's just so gifted and so cool. And I love the way he puts sounds together. He makes me want to write. So this is a dream collab to sit down and write three songs with him. And just about being in the studio. And I just remember a bug was flying by and he just smacked it and killed. I went, damn. And for some reason, it made me think about the way that. That people are killed, especially little black boys, so quickly, without a second thought. And a lot of people may not know what I'm talking about, but I'm letting you know. Little Fly is about our boys, Tank and the Bangers.

[Alison Stewart]

Let's hear it.

[Terriana Tank Ball]

Super Glue. Tape broke, broken. Fix it, Fix him, Appreciate him, love him, show him. And baby, don't you worry about those little things they turn to bigger things over time and, baby, don't you hurry to get those bigger things Everything is everything and it all comes around, around Little fly, little fly little fly, fly.

[Norman Spence]

Passing by, passing by, passing by I wonder where you going Were you flying to an ocean? Just happen to stop by when I was chilling outside Are you looking for fruit? Buzzing like gluten Musical annoyance and buoyants I'm amused by your pursuit well, I catch you, I kill you, I smash you, I end you no big deal. You was buzzing past my earlobe no.

[Terriana Tank Ball]

Thoughts, I go on with my day.

[Norman Spence]

Listening to Jigga and Dilla I'm no killer I was chilling, you was buzzing.

[Terriana Tank Ball]

Now you so gone, so gone so gone so gone so gone, so gone.

[Norman Spence]

Second line the trumpet blares footwork the boat sales streetcar, casket trail T shirts, city fair, Dallas store, liquor store, corner store Pouring out the liquor now the.

[Terriana Tank Ball]

Liquor poured missing what was missing? It was here before Knock knock knock knocking at the door Knock knock knock knocking at the door Knock knock.

[Norman Spence]

Super.

[Terriana Tank Ball]

Glue tape broke, broken, fix it, fix him, appreciate him, love him holding him simple glue tape broken fix it, fix him, appreciate him, love him, hold him, you gotta show him, love him, teach him everything in this world Love him, teach him everything in this world Baby don't you worry about those little things they turn a bigger thing yeah over time over time y'all and baby don't you Everything is everything and it all comes around Appreciate over time around.

[Alison Stewart]

That was Tank and the Bangus performing from their Grammy winning three part spoken word collection, the Heart, the mind and the Soul.

Here's a way you can support WNYC in our centennial year. Donate your used car. We'll turn your old car into the news and conversation that we've been serving to the community for over 100 years. Many listeners have already donated their cars to WNYC. It's an easy way to support the station and you'll get a tax deduction. Learn [e-mail] car.

[Norman Spence]

Just in and so good. Thousands of spring finds up to 70% off are at Nordstrom Rack stores now. And that means thousands of fresh reasons to rac.

[Tank Ball]

How did I not know RAC has Adidas?

[Norman Spence]

Why do we rack for the hottest deals? Save on Madewell, Vince, Kate Spade, New York, Sam Edelman, Joe's and more. Great brands, great prices. That's why you rack.