The Way We Feel is a 9-song album of original children’s music designed to teach emotional intelligence, social awareness, and self-regulation—without being cloying, preachy, or disposable.

From identifying emotions and managing anger to learning empathy, resilience, and communication, each track offers kids (and the adults raising them) a tool for understanding feelings, naming them, and growing through them. With playful lyrics, simple metaphors, and clear messages, this album can help spark meaningful conversations in classrooms, families, and little brains everywhere.

Every song is developmentally appropriate, musically rich, and psychologically grounded. Think of it as an emotional toolbox disguised as a singalong.

Recommended for:
Ages 4–10, teachers, parents, caregivers, therapists, and anyone who wants a future generation that’s better at feelings than we are.

The Way We Feel

It Don't Hurt to Assert

Lyrics/License

That First Hot Breath (Male Post-Grunge)

Bell-Bottom Stride

Bell-Bottom Stride (Vintage Funk)

The Snooze Bar (Slowcore Trip-Hop)

A sharp, rhythm-driven exploration of cultural exchange, appropriation, and responsibility. Klezmer melodies collide with hip-hop delivery to argue for respectful synthesis over lazy borrowing — using humor, history, and discomfort as tools.

What's Appropriate?

What's Appropriate? (Klezmer/Rap)

A dancehall-inspired reggae track built around denial as performance. Upbeat grooves, defensive bravado, and a narrator who insists he’s innocent no matter how absurd the evidence gets. Catchy, uncomfortable, intentional.

It Wasn't Me

It Wasn't Me (Deshaun Watson parody)

A warm, vintage-soul track about inheritance, memory, and the things we learn by watching. Slow-cooked grooves, lived-in vocals, and a recipe that’s about more than food.

Pass the Peas

Pass the Peas (Vintage Soul)

A wry, jazz cabaret retelling of personal philosophy through detours, metaphors, and one cautionary tale about Uncle Steve and poorly chosen real estate. The Scenic Route is a warm, self-aware ode to nonlinear thinking, featuring rhythmic guitar, playful wisdom, and a final punchline that earns its laugh. For fans of poetic logic, slow revelations, and campfire sermons with a wink.

The Scenic Route

The Scenic Route (Cabaret Jazz)

Stripped-down acoustic blues built around fingerpicked guitar and a quiet vocal.

Not a song about spectacle or seduction — just presence, vulnerability, and the way intimacy feels when nothing’s being performed.

Recorded in a bare, late-night blues style that leaves space for breath, tone, and silence.

Beautiful Naked

Beautiful Naked (Acoustic Blues)

Deadpan post-punk about urban temptation and poor decision-making.

A discarded ottoman becomes a mystery, a bargain, and possibly a biohazard.

Delivered in an 80s post-punk / new wave style with minimalist groove and observational humor — closer to art-rock unease than punchline comedy.

For fans of anxious thrift finds, questionable furniture, and narrators who absolutely should know better.

The Ottoman

The Ottoman (80s Post-Punk)

A loud, sarcastic takedown of modern dating cowardice.

This isn’t a breakup song — it’s a comedy rant with distortion pedals.
Nobody owes anyone romance, but disappearing without a word? Say it with your chest.

Written as satire, performed with punk energy, and fueled entirely by disdain.

If you’ve ever been left on read after making plans — or if you are that person — this one’s for you.

🎸 Comedy Rock / Punk
⚠️ Explicit language, deliberate confrontation

Ghosting is for Pussies

Ghosting is for Pussies (Comedy Rock)

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See phrases.pub for lyrics, licensing, and a full, searchable catalog.

Phrases and Phases Publishing is a one-man label, archive, and reality-refraction field. Founded by J. Adam Walters - lawyer-turned lyricist, satirist, and architectural dropout from polite society - it's the home for songs that shouldn't exist, poems that go to far, and fictional universes with better paperwork than the Library of Congress. 

From folk elegies to parody rap to theocratic cartoon trauma epics, everything here is written by a human who uses AI as a collaborator and instrument rather than an outsourced brain, and finished only when it reaches a space where laughing hurts, or hurting laughs.