1 00:00:00,240 --> 00:00:02,920 Speaker 1: Welcome to five hundred Greatest Songs, a podcast based on 2 00:00:03,040 --> 00:00:07,600 Speaker 1: Rolling Stones hugely popular, influential, and sometimes controversial lists. 3 00:00:07,880 --> 00:00:09,160 Speaker 2: I'm Britney Spanis and. 4 00:00:09,119 --> 00:00:11,640 Speaker 3: I'm Rob Sheffield and we're here to shed light on 5 00:00:11,680 --> 00:00:14,880 Speaker 3: the greatest songs ever made and discover what makes them 6 00:00:14,920 --> 00:00:19,800 Speaker 3: so great. This week, we're diving into a classic international 7 00:00:19,840 --> 00:00:23,160 Speaker 3: player's anthem by UGK featuring the Outcast. 8 00:00:23,520 --> 00:00:26,720 Speaker 2: An absolute sanger of a song. Love the song so. 9 00:00:26,760 --> 00:00:29,760 Speaker 3: Much, personal favorite person obsession for both of us. 10 00:00:29,880 --> 00:00:31,960 Speaker 2: Yeah, so this song is. 11 00:00:32,200 --> 00:00:34,160 Speaker 1: It ranks at number ninety one on the Greatest Songs 12 00:00:34,159 --> 00:00:34,920 Speaker 1: of All Time list. 13 00:00:35,120 --> 00:00:37,559 Speaker 2: It is an absolute classic. 14 00:00:37,640 --> 00:00:40,800 Speaker 1: It's one of my favorite I think like maybe was 15 00:00:40,800 --> 00:00:43,200 Speaker 1: like the highest ranking, one of the highest ranking songs 16 00:00:43,240 --> 00:00:45,000 Speaker 1: on my ballot, Like it think it was like top 17 00:00:45,040 --> 00:00:47,120 Speaker 1: five or top ten. Yeah, same, Yeah, it had to be, 18 00:00:47,280 --> 00:00:49,000 Speaker 1: like honestly, might have been number two. 19 00:00:50,720 --> 00:00:53,800 Speaker 2: I would be shocked if it weren't unbelievable. 20 00:00:54,080 --> 00:00:57,960 Speaker 3: A song that gets more famous every year, A song 21 00:00:58,000 --> 00:01:02,000 Speaker 3: that was just instantly an attention getter when it came out. Yeah, 22 00:01:02,280 --> 00:01:04,200 Speaker 3: just to stop you in your tracks kind of song, 23 00:01:04,720 --> 00:01:07,160 Speaker 3: and that effect just never fades over time. 24 00:01:07,360 --> 00:01:07,560 Speaker 4: Yeah. 25 00:01:07,760 --> 00:01:11,240 Speaker 1: Yeah, I remember watching the video so vividly when it 26 00:01:11,280 --> 00:01:13,520 Speaker 1: came out, because that video is such a classic. 27 00:01:13,120 --> 00:01:15,160 Speaker 2: And I don't think I really became like fully. 28 00:01:14,840 --> 00:01:18,200 Speaker 1: Obsessed with the song until even later, kind of like 29 00:01:18,280 --> 00:01:21,479 Speaker 1: high school era, but just really love that song. 30 00:01:21,800 --> 00:01:25,119 Speaker 3: It's a song where you have so many hip hop 31 00:01:25,280 --> 00:01:29,319 Speaker 3: legends coming together to make something that's totally original, even 32 00:01:29,400 --> 00:01:32,120 Speaker 3: unlike the stuff that they've done before. I mean, it's 33 00:01:32,160 --> 00:01:33,960 Speaker 3: a perfect love song. It's one of the all time 34 00:01:33,959 --> 00:01:34,839 Speaker 3: perfect love songs. 35 00:01:34,959 --> 00:01:35,279 Speaker 4: Yeah. 36 00:01:35,319 --> 00:01:38,240 Speaker 1: So this song was originally well, the beat was at 37 00:01:38,280 --> 00:01:41,479 Speaker 1: least originally created for a song for a project Pat 38 00:01:41,520 --> 00:01:44,959 Speaker 1: called Chose You, and it was supposed to you know, 39 00:01:45,000 --> 00:01:48,320 Speaker 1: it was on his album It was you could hear 40 00:01:48,440 --> 00:01:51,200 Speaker 1: the song and it is the beat from this project 41 00:01:51,240 --> 00:01:55,720 Speaker 1: Pat song, and then was repurposed for International Players Anthem 42 00:01:55,720 --> 00:01:58,880 Speaker 1: by EUGK, who are of course one of the most 43 00:01:59,080 --> 00:02:02,520 Speaker 1: iconic rap groups of all time, iconic Texas Southern rap 44 00:02:02,600 --> 00:02:06,520 Speaker 1: duo of Pimpsey and bun Bee, and Pimpsey loved this 45 00:02:06,640 --> 00:02:09,000 Speaker 1: beat and wanted to want to. 46 00:02:09,240 --> 00:02:11,240 Speaker 2: Have it live its full life, its full. 47 00:02:11,040 --> 00:02:14,320 Speaker 1: Potential of being a hit, which he was completely correct 48 00:02:14,320 --> 00:02:16,520 Speaker 1: about the fact that the song was meant to be 49 00:02:16,560 --> 00:02:18,160 Speaker 1: a hit, and worked out. 50 00:02:18,080 --> 00:02:22,480 Speaker 3: Perfectly unbelievable and a great sort of summit in hip 51 00:02:22,520 --> 00:02:26,000 Speaker 3: hop that you have Basically you have Houston, Atlanta, and 52 00:02:26,080 --> 00:02:31,320 Speaker 3: Memphis coming together and all these legends who are making 53 00:02:31,320 --> 00:02:35,239 Speaker 3: their contributions and collaborating in the deepest sense. 54 00:02:35,560 --> 00:02:38,520 Speaker 1: Yeah, this was Outcast kind of post hey I speaker 55 00:02:38,560 --> 00:02:39,160 Speaker 1: box love. 56 00:02:39,080 --> 00:02:41,280 Speaker 2: Below blow up of that time. 57 00:02:41,440 --> 00:02:44,760 Speaker 1: One of the biggest acts in the entire world at 58 00:02:44,760 --> 00:02:47,639 Speaker 1: this moment, and here's the song. Separately, they're not recording 59 00:02:47,720 --> 00:02:50,360 Speaker 1: music at the time together and ends up finding a 60 00:02:50,360 --> 00:02:55,000 Speaker 1: way onto this and creates I think, honestly like two 61 00:02:55,080 --> 00:02:57,600 Speaker 1: of the best verses that Andrea or Big Boy have 62 00:02:57,960 --> 00:03:00,200 Speaker 1: ever done. And I'm a huge fan of Outcast and 63 00:03:00,720 --> 00:03:03,079 Speaker 1: love many of their songs, but I think that their 64 00:03:03,160 --> 00:03:04,880 Speaker 1: verses on the song are two of their finess that 65 00:03:04,880 --> 00:03:05,399 Speaker 1: they were done. 66 00:03:05,560 --> 00:03:09,880 Speaker 3: Yes, nuts, and they're both absolutely peaking in these verses 67 00:03:10,520 --> 00:03:13,799 Speaker 3: on their friend's record or even an Outcast record. 68 00:03:13,919 --> 00:03:16,320 Speaker 1: Yeah, And even like you know, Andre wasn't really rappy 69 00:03:16,360 --> 00:03:18,320 Speaker 1: at that time much. He was kind of you know, 70 00:03:18,360 --> 00:03:20,840 Speaker 1: doing more singing at the time and acting, and so 71 00:03:20,880 --> 00:03:23,760 Speaker 1: it was already kind of like rare at this particular 72 00:03:23,840 --> 00:03:27,480 Speaker 1: moment for Andre three thousand to hear this beat and 73 00:03:27,560 --> 00:03:30,200 Speaker 1: be so kind of inspired by it and want to 74 00:03:30,560 --> 00:03:32,800 Speaker 1: write a new rap verse for it, which was you know, 75 00:03:32,919 --> 00:03:35,920 Speaker 1: ended up working out super well opens the song and 76 00:03:36,440 --> 00:03:39,800 Speaker 1: is just I mean an instant classic of kind of 77 00:03:40,320 --> 00:03:41,200 Speaker 1: his entire canon. 78 00:03:41,480 --> 00:03:44,920 Speaker 3: Andrea's verse alone makes this song a classic before it's 79 00:03:44,960 --> 00:03:47,119 Speaker 3: a minute into a song that just keeps building from there. 80 00:03:47,200 --> 00:03:51,280 Speaker 1: Every single verse has some of my favorite lines in music. 81 00:03:51,720 --> 00:03:55,080 Speaker 1: It's kind of like pretty remarkable how loaded this entire 82 00:03:55,160 --> 00:03:58,960 Speaker 1: song is. But the Andre three thousand verse has, It's 83 00:03:59,000 --> 00:04:01,120 Speaker 1: just like I every time I hear that one is 84 00:04:01,160 --> 00:04:03,440 Speaker 1: just like an absolute, like a new line every single time. 85 00:04:03,560 --> 00:04:05,760 Speaker 1: Like like today it's been like I seee every girl 86 00:04:05,760 --> 00:04:07,880 Speaker 1: that I see see around town has been just kind 87 00:04:07,880 --> 00:04:10,360 Speaker 1: of like rattling in my brain every five seconds. And 88 00:04:10,400 --> 00:04:12,680 Speaker 1: I just absolutely incredible wordplay all throughout. 89 00:04:12,920 --> 00:04:17,239 Speaker 3: I'm such a pit I'm glad. It's nice. Yes, so good, 90 00:04:18,560 --> 00:04:21,160 Speaker 3: rarely come a quick with rear view mirrors. There's so 91 00:04:21,240 --> 00:04:24,560 Speaker 3: much Any line of this song is like somebody else's 92 00:04:24,920 --> 00:04:29,400 Speaker 3: entire song. Yeah, just in one line in this first yeah. 93 00:04:29,240 --> 00:04:31,800 Speaker 1: I mean, there's such like a great kind of I mean, 94 00:04:31,880 --> 00:04:34,880 Speaker 1: the framing of the song has outcasts. It starts with Andrea, 95 00:04:35,000 --> 00:04:37,159 Speaker 1: and then it kind of goes into UGK in the 96 00:04:37,160 --> 00:04:39,359 Speaker 1: center and then of course ending with Big Boy. But 97 00:04:39,760 --> 00:04:41,920 Speaker 1: you know, it's such a great sort of this. I 98 00:04:41,960 --> 00:04:44,960 Speaker 1: mean again like the meeting of these like Southern rap legends, 99 00:04:45,080 --> 00:04:47,680 Speaker 1: the kind of the kind of different energies that they're 100 00:04:47,680 --> 00:04:50,240 Speaker 1: all bringing to the song and kind of just like 101 00:04:50,480 --> 00:04:54,880 Speaker 1: showcasing them at their peaks, like showcasing what they sort 102 00:04:54,880 --> 00:04:57,440 Speaker 1: of inspired and the groundwork that they laid, just like 103 00:04:57,520 --> 00:05:01,719 Speaker 1: at their absolute peaks of their music creation and careers. 104 00:05:02,040 --> 00:05:06,560 Speaker 3: Yeah, exactly, totally peaking. And even though we're very used 105 00:05:06,560 --> 00:05:09,320 Speaker 3: to hearing these artists, I mean, they were all super 106 00:05:09,360 --> 00:05:12,480 Speaker 3: well known at the time, yet they're all doing something 107 00:05:12,520 --> 00:05:14,359 Speaker 3: that is outside their usual zone. 108 00:05:14,560 --> 00:05:17,320 Speaker 1: Yeah. And even just like the way that the production 109 00:05:17,400 --> 00:05:20,360 Speaker 1: of it works, kind of that the very like dynamic 110 00:05:20,480 --> 00:05:23,200 Speaker 1: way of the sample and the drums going in and out. 111 00:05:23,240 --> 00:05:25,360 Speaker 1: I mean, of course, like Andrea's kind of creates this 112 00:05:25,520 --> 00:05:29,400 Speaker 1: very romantic, very kind of like softness to the song 113 00:05:29,480 --> 00:05:31,719 Speaker 1: that it sort of promises at the beginning. You know, 114 00:05:31,920 --> 00:05:34,800 Speaker 1: just just hearing that Willly Hutch sample having him kind 115 00:05:34,800 --> 00:05:38,359 Speaker 1: of you know, be very kind of peak Andre three thousand, 116 00:05:38,480 --> 00:05:41,919 Speaker 1: romantic lead type of you know, like opening that we 117 00:05:41,960 --> 00:05:45,000 Speaker 1: get from this or I guess like troubled romantically. 118 00:05:44,839 --> 00:05:45,920 Speaker 2: Kind of opening for Andre. 119 00:05:46,600 --> 00:05:48,920 Speaker 1: And then just the way that the drums drop right 120 00:05:48,960 --> 00:05:53,200 Speaker 1: before Pimpsy's verse is just like, I mean, anytime I've 121 00:05:53,200 --> 00:05:56,600 Speaker 1: heard that at a party or anywhere, it's like been 122 00:05:56,720 --> 00:05:59,200 Speaker 1: like the best moment of that kind of like going 123 00:05:59,200 --> 00:06:01,000 Speaker 1: into Pimsy being like a bit of cheesy lover. 124 00:06:01,400 --> 00:06:03,800 Speaker 2: I think it just kind of goes into that amazing 125 00:06:03,920 --> 00:06:04,760 Speaker 2: one of the best drops. 126 00:06:04,880 --> 00:06:08,840 Speaker 3: Yeah, Andre's verse, it's I mean, it's so emotional, it's 127 00:06:08,839 --> 00:06:12,760 Speaker 3: so intense, it's beyond anything. It's just very different from 128 00:06:12,800 --> 00:06:13,960 Speaker 3: anything he'd tried before. 129 00:06:14,120 --> 00:06:16,000 Speaker 1: Yeah, yeah, I mean there's such a great narrative that's 130 00:06:16,040 --> 00:06:19,000 Speaker 1: happening through the song, and they play within the video 131 00:06:19,040 --> 00:06:21,400 Speaker 1: of course, but it's it's very much the premise is 132 00:06:21,440 --> 00:06:23,560 Speaker 1: set out by Andre's versu of like he's met the 133 00:06:23,560 --> 00:06:25,760 Speaker 1: love of his life and his friends are kind of 134 00:06:25,839 --> 00:06:29,560 Speaker 1: are giving him the friend warning of you know, are 135 00:06:29,600 --> 00:06:32,120 Speaker 1: you sure is this the right person? Is this going 136 00:06:32,120 --> 00:06:34,320 Speaker 1: to work out? Like if it doesn't work out, you know, 137 00:06:34,400 --> 00:06:36,000 Speaker 1: you're really really screwed. 138 00:06:35,680 --> 00:06:36,240 Speaker 4: If it doesn't. 139 00:06:36,360 --> 00:06:37,960 Speaker 1: And then just a bunch of kind of you know, 140 00:06:38,040 --> 00:06:40,800 Speaker 1: the worst and best case scenarios play out over the 141 00:06:40,839 --> 00:06:44,560 Speaker 1: next three verses, which I just love that bactone to it. 142 00:06:44,960 --> 00:06:50,040 Speaker 3: Yeah. This was my teenage nephew's first tattoo. Yeah, and 143 00:06:50,839 --> 00:06:53,440 Speaker 3: it's just really beautiful. His first tattoo was just the 144 00:06:53,440 --> 00:06:56,760 Speaker 3: line keep your heart stacks, keep your heart. Yeah, such 145 00:06:56,760 --> 00:06:59,880 Speaker 3: a powerful line, such an amazing to me. It's a 146 00:07:00,120 --> 00:07:02,240 Speaker 3: super inspiring tattoo. I think it's the only song on 147 00:07:02,279 --> 00:07:05,240 Speaker 3: the entire five hundred songs list that one of my 148 00:07:05,279 --> 00:07:07,680 Speaker 3: family members has tattooed onto their body. 149 00:07:07,839 --> 00:07:08,839 Speaker 1: And what better one to have. 150 00:07:09,200 --> 00:07:13,320 Speaker 3: Yeah, it's but it's that kind of song where lines 151 00:07:13,400 --> 00:07:16,480 Speaker 3: like that, just as you said, that verse builds and 152 00:07:16,720 --> 00:07:20,040 Speaker 3: reaches the part where there's the emotional urge and the 153 00:07:20,080 --> 00:07:23,640 Speaker 3: warning to pull back from that urge. Yeah, both so powerful. 154 00:07:23,720 --> 00:07:26,960 Speaker 1: And then of course going into Pimp and Bunbee's verses, 155 00:07:27,000 --> 00:07:30,040 Speaker 1: which are just so I mean like like so fun, 156 00:07:30,160 --> 00:07:32,720 Speaker 1: so high energy, I mean, kind of peak EUGK. Kind 157 00:07:32,760 --> 00:07:35,080 Speaker 1: of what you want from EGK is like right in 158 00:07:35,120 --> 00:07:37,600 Speaker 1: the smack dab in the heart of this entire song 159 00:07:37,720 --> 00:07:39,880 Speaker 1: of them just kind of having the most like lyrical fun. 160 00:07:40,200 --> 00:07:41,920 Speaker 1: What do you think it is that has kind of 161 00:07:42,000 --> 00:07:45,400 Speaker 1: kept this song kind of growing beyond its era. I mean, 162 00:07:45,440 --> 00:07:48,680 Speaker 1: I think it's one of the you know, this percentage 163 00:07:48,720 --> 00:07:51,080 Speaker 1: of songs from that time that has just like kind 164 00:07:51,120 --> 00:07:53,080 Speaker 1: of it feels like, continues to get more popular and 165 00:07:53,120 --> 00:07:56,280 Speaker 1: continues to kind of find, you know, a huge and 166 00:07:56,400 --> 00:07:57,600 Speaker 1: much larger fan base. 167 00:07:57,960 --> 00:08:00,400 Speaker 3: Yeah, it's a song I think because it reaches such 168 00:08:00,480 --> 00:08:04,720 Speaker 3: emotional extremes in all different directions. Andrea's versus very romantic, 169 00:08:04,720 --> 00:08:07,480 Speaker 3: also very sad, Yeah, and then it gets into the 170 00:08:07,520 --> 00:08:11,560 Speaker 3: hardcore parts and it covers all those emotional extremes but 171 00:08:11,600 --> 00:08:14,560 Speaker 3: also the musical extremes of like we get this super 172 00:08:14,680 --> 00:08:18,920 Speaker 3: sweet you know, seventy soul sample with just the strings, 173 00:08:18,760 --> 00:08:22,800 Speaker 3: it's so beautiful on its own. With the totally hardcore drums, yeah, 174 00:08:22,880 --> 00:08:25,280 Speaker 3: it's a different thing. And then just the drums by themselves, 175 00:08:25,280 --> 00:08:27,720 Speaker 3: it's like the sweetness is just a memory. Yeah. So 176 00:08:28,160 --> 00:08:31,160 Speaker 3: there's so many extremes in one song, but it flows 177 00:08:31,160 --> 00:08:31,840 Speaker 3: so beautifully. 178 00:08:31,920 --> 00:08:34,480 Speaker 1: Yeah. I've always been surprised that, like, especially because there's 179 00:08:34,520 --> 00:08:38,480 Speaker 1: been so much pop nostalgia for this particular kind of 180 00:08:38,520 --> 00:08:42,280 Speaker 1: like decade in pop and rap music where there's you 181 00:08:42,280 --> 00:08:44,959 Speaker 1: know a lot of these like famous samples or kind 182 00:08:44,960 --> 00:08:47,439 Speaker 1: of original beats are repurposed so much. I've kind of 183 00:08:47,440 --> 00:08:49,800 Speaker 1: been surprised that no one's touched this, Like I feel 184 00:08:49,840 --> 00:08:51,800 Speaker 1: like it's you know, I feel I've gotten like multiple 185 00:08:51,840 --> 00:08:54,720 Speaker 1: songs of samples like freakaly, you know, like I'm like 186 00:08:55,000 --> 00:08:57,560 Speaker 1: shock that this song hasn't like kind of unless I've 187 00:08:57,600 --> 00:08:59,480 Speaker 1: missed something like there. I feel like I've always shocked 188 00:08:59,480 --> 00:09:02,080 Speaker 1: that this song has come back in a new format. 189 00:09:03,040 --> 00:09:05,120 Speaker 3: I guess it's one of those untouchable songs. 190 00:09:05,200 --> 00:09:07,440 Speaker 1: Yeah, tight of heart, I mean, because even it's like, 191 00:09:07,480 --> 00:09:11,240 Speaker 1: not only is the original version has existed, of course, 192 00:09:11,320 --> 00:09:13,640 Speaker 1: the you know the UGK and three six Mafia that 193 00:09:13,720 --> 00:09:15,439 Speaker 1: version has been released, which is also. 194 00:09:15,679 --> 00:09:19,760 Speaker 3: Excellent one of the great Oscar moments of all time. Hyeah, 195 00:09:20,120 --> 00:09:23,720 Speaker 3: it's the presentation for Best Song in Queen Latifa's opening 196 00:09:23,800 --> 00:09:26,240 Speaker 3: the envelope and she just goes, it's hard out here 197 00:09:26,280 --> 00:09:29,560 Speaker 3: for a pimp. Just unbelievably beautiful. 198 00:09:30,320 --> 00:09:32,680 Speaker 1: And I remember watching that Oscars Live but I was 199 00:09:32,720 --> 00:09:34,400 Speaker 1: I hadn't even seen that movie, and I was so excited, 200 00:09:34,440 --> 00:09:35,040 Speaker 1: Like I was just. 201 00:09:35,000 --> 00:09:36,880 Speaker 2: Like, I was like, this is so exciting. I love 202 00:09:36,920 --> 00:09:37,720 Speaker 2: three six Mafia. 203 00:09:37,960 --> 00:09:40,760 Speaker 3: Yes, John Stewart said, if you're keeping score, at home 204 00:09:40,800 --> 00:09:47,280 Speaker 3: for Oscars tonight, Martin Scorsese zero three six Mafia. I 205 00:09:47,320 --> 00:09:49,320 Speaker 3: think it just got easier out here for a pimp. 206 00:09:49,679 --> 00:09:52,600 Speaker 3: It was just a really beautiful moment. I always remember 207 00:09:52,640 --> 00:09:57,360 Speaker 3: specifically Dolly Parton was also nominated that year, and she 208 00:09:57,559 --> 00:09:59,680 Speaker 3: was in the audience and just her excitement when they 209 00:09:59,679 --> 00:10:02,120 Speaker 3: announ three six Mafia's name, and she was so happy 210 00:10:02,160 --> 00:10:05,800 Speaker 3: to cheer for you know, other Tennessee legends. Yeah, and 211 00:10:05,880 --> 00:10:08,800 Speaker 3: it was just like really beautiful music celebration moment. 212 00:10:09,000 --> 00:10:09,360 Speaker 4: Yeah. 213 00:10:09,600 --> 00:10:13,280 Speaker 1: I mean, I mean this specific era within especially with 214 00:10:13,440 --> 00:10:15,760 Speaker 1: Southern rap at this time, I mean, being such like 215 00:10:16,280 --> 00:10:19,160 Speaker 1: the dominant force in pop music. I mean it was 216 00:10:19,160 --> 00:10:21,400 Speaker 1: like pretty remarkable to kind of have again, like all 217 00:10:21,400 --> 00:10:24,120 Speaker 1: these artists come together. But also I mean this was 218 00:10:24,200 --> 00:10:26,840 Speaker 1: this was like the sound of radio at this time. 219 00:10:26,880 --> 00:10:30,480 Speaker 1: This was what was overtaking everything. Were these artists were 220 00:10:30,520 --> 00:10:35,160 Speaker 1: these specific rap communities, you know, Atlanta and Houston and Tennessee, 221 00:10:35,200 --> 00:10:37,160 Speaker 1: like all these like artists are like Memphis, like they're 222 00:10:37,200 --> 00:10:40,440 Speaker 1: all kind of like this was what was the most 223 00:10:40,480 --> 00:10:43,680 Speaker 1: popular and dominant genres in cities at that time. I 224 00:10:43,720 --> 00:10:46,480 Speaker 1: feel like and kind of again makes a song even 225 00:10:46,760 --> 00:10:48,360 Speaker 1: larger than life and more special. 226 00:10:48,640 --> 00:10:51,640 Speaker 3: Yeah, and this is also like during a period, like 227 00:10:51,679 --> 00:10:54,440 Speaker 3: you said, like these these Southern rappers, this is the 228 00:10:54,440 --> 00:10:57,640 Speaker 3: most dominant force in pop music at the time, and 229 00:10:57,679 --> 00:11:01,600 Speaker 3: everything happening in New Orleans as well, which is so key. 230 00:11:01,880 --> 00:11:06,080 Speaker 3: The idea that all these Southern rap capitals that had 231 00:11:06,080 --> 00:11:09,839 Speaker 3: their own thriving scenes that they were interacting like this 232 00:11:10,320 --> 00:11:12,560 Speaker 3: was really kind of amazing. I mean, this was, you know, 233 00:11:12,720 --> 00:11:16,200 Speaker 3: an era where everything happening in New Orleans was about 234 00:11:16,240 --> 00:11:18,000 Speaker 3: to blow up on an even bigger level. 235 00:11:18,200 --> 00:11:20,960 Speaker 1: Yeah, and what do you think about the legacy of 236 00:11:21,160 --> 00:11:24,480 Speaker 1: UGK specifically and kind of like how that was being 237 00:11:24,600 --> 00:11:27,280 Speaker 1: established already then but kind of has grown over over 238 00:11:27,280 --> 00:11:27,720 Speaker 1: the years. 239 00:11:28,040 --> 00:11:30,679 Speaker 3: I mean they just their legend just grows over the years. 240 00:11:30,720 --> 00:11:32,480 Speaker 3: I mean, part of that is just it's just so 241 00:11:32,600 --> 00:11:37,000 Speaker 3: sad and tragic that we lost Pimpsey died in two 242 00:11:37,080 --> 00:11:40,120 Speaker 3: thousand and seven. Yeah, really soon after this song came out, 243 00:11:40,520 --> 00:11:44,120 Speaker 3: just really shocking, and Bunbee has really sort of beautifully 244 00:11:44,120 --> 00:11:45,240 Speaker 3: carried the torch since then. 245 00:11:45,360 --> 00:11:45,520 Speaker 5: Yeah. 246 00:11:45,520 --> 00:11:48,000 Speaker 1: Of course this was the last video that he had 247 00:11:48,040 --> 00:11:51,240 Speaker 1: made with Bunbee and for EGK, and you know, I mean, 248 00:11:51,280 --> 00:11:53,560 Speaker 1: like a what a great sort of like kind of 249 00:11:53,720 --> 00:11:56,040 Speaker 1: cap on a legacy that honestly should have continued going 250 00:11:56,080 --> 00:11:57,920 Speaker 1: on much longer, but much longer. 251 00:11:58,000 --> 00:12:00,760 Speaker 3: Yeah, and this record was taking them to another level 252 00:12:00,880 --> 00:12:04,719 Speaker 3: of fame after yours of being the Underground Kings, and 253 00:12:05,320 --> 00:12:08,000 Speaker 3: so it seemed like they were about to get another 254 00:12:08,120 --> 00:12:11,520 Speaker 3: sort of breakthrough that never got to follow up. 255 00:12:11,559 --> 00:12:13,640 Speaker 1: Yeah, and it just felt like kind of a new 256 00:12:13,679 --> 00:12:15,840 Speaker 1: beginning was starting with Yeah. 257 00:12:16,160 --> 00:12:19,280 Speaker 3: Yeah, really kind of amazing to see a song like 258 00:12:19,280 --> 00:12:22,320 Speaker 3: this become, as you said, a wedding song, Yeah, just 259 00:12:22,320 --> 00:12:26,400 Speaker 3: because it has that real opening fanfare, which is really 260 00:12:26,480 --> 00:12:28,360 Speaker 3: kind of different from what's going on in the lyrics, 261 00:12:28,400 --> 00:12:31,960 Speaker 3: but it's got that sweet fanfare, and then it's very 262 00:12:32,000 --> 00:12:35,280 Speaker 3: like dance floor friendly. Yeah, even though there's a lot 263 00:12:35,320 --> 00:12:37,000 Speaker 3: going on in the song emotionally. 264 00:12:37,480 --> 00:12:39,480 Speaker 1: I consider it a really great love song, even though 265 00:12:39,520 --> 00:12:41,479 Speaker 1: if you listen very closely to the lyrics. 266 00:12:41,440 --> 00:12:43,840 Speaker 2: It's not technically a love song, but it kind of is. 267 00:12:43,880 --> 00:12:45,280 Speaker 1: There is so much work. I mean, I think it's 268 00:12:45,280 --> 00:12:48,280 Speaker 1: also really that really huch sample. I mean, there's so 269 00:12:48,400 --> 00:12:51,240 Speaker 1: much of that, like the passion in the I Choose 270 00:12:51,280 --> 00:12:53,880 Speaker 1: You and like the vocal runs of it just kind 271 00:12:53,880 --> 00:12:56,360 Speaker 1: of really there's so much romance and like you know, 272 00:12:56,600 --> 00:13:01,080 Speaker 1: passion in saying I choose you Amidstone being like, you know, 273 00:13:01,200 --> 00:13:03,920 Speaker 1: like you're gonna like be left of the kid and 274 00:13:04,000 --> 00:13:05,000 Speaker 1: wear a condom and. 275 00:13:05,160 --> 00:13:07,360 Speaker 2: Like like all of that. 276 00:13:07,559 --> 00:13:10,480 Speaker 1: So, you know, but it's it's hard to not count 277 00:13:10,520 --> 00:13:12,440 Speaker 1: it as a as a wedding song. 278 00:13:12,480 --> 00:13:14,880 Speaker 2: Of course, the video is a wedding theme video. 279 00:13:15,120 --> 00:13:17,280 Speaker 1: Andrew three thousand is at the altar and sort of 280 00:13:17,320 --> 00:13:19,880 Speaker 1: like you know, big Boy and Pimpsy and Bundy are 281 00:13:19,960 --> 00:13:21,960 Speaker 1: kind of playing all these kind of you know, characters 282 00:13:21,960 --> 00:13:24,080 Speaker 1: within the video that sort of are engaged with all 283 00:13:24,080 --> 00:13:26,280 Speaker 1: these hydrinks and things that go wrong on the wedding day. 284 00:13:26,360 --> 00:13:28,640 Speaker 2: But you know, also has. 285 00:13:28,040 --> 00:13:30,520 Speaker 1: Just a lot of really great cameos within the video, 286 00:13:30,720 --> 00:13:33,160 Speaker 1: Millionaires in there and Tea pain and of course Lucas 287 00:13:33,200 --> 00:13:35,080 Speaker 1: Haas is always at the scene of the crime. And 288 00:13:35,640 --> 00:13:37,920 Speaker 1: you know, it's like it's just a really kind of 289 00:13:38,440 --> 00:13:40,880 Speaker 1: fun sort of wedding theme video that kind of made 290 00:13:40,880 --> 00:13:44,240 Speaker 1: it much more of that very millennial kind of wedding song, 291 00:13:44,600 --> 00:13:48,400 Speaker 1: said it is. When you listen to it now, it's 292 00:13:48,480 --> 00:13:50,800 Speaker 1: just like there's nothing like it, Like there's nothing that 293 00:13:50,920 --> 00:13:53,680 Speaker 1: like feels like as weird, which is again why so 294 00:13:53,679 --> 00:13:56,959 Speaker 1: so many people are sampling songs constantly, like you're hearing 295 00:13:56,960 --> 00:14:00,400 Speaker 1: like those like those beats kind of like again because 296 00:14:00,440 --> 00:14:02,839 Speaker 1: they were just like so strange and unique and fun 297 00:14:02,880 --> 00:14:03,960 Speaker 1: and over the top. 298 00:14:04,160 --> 00:14:07,000 Speaker 2: But yeah, it's such a it's such a perfect song. 299 00:14:07,240 --> 00:14:11,160 Speaker 3: A perfect song. Well, and it's not a kid's song emotionally, Yeah, 300 00:14:11,200 --> 00:14:13,800 Speaker 3: it's especially compared to a lot of what was huge 301 00:14:13,800 --> 00:14:17,200 Speaker 3: at the time. It's it's very adult. There's a lot 302 00:14:17,240 --> 00:14:18,320 Speaker 3: of adult regret in it. 303 00:14:18,480 --> 00:14:21,320 Speaker 1: Yeah, I mean again, like technically not a love song, 304 00:14:21,480 --> 00:14:22,680 Speaker 1: but kind of. 305 00:14:23,040 --> 00:14:25,480 Speaker 3: Well, there is love song going on in it. 306 00:14:25,560 --> 00:14:26,240 Speaker 2: There's love in there. 307 00:14:26,280 --> 00:14:28,840 Speaker 1: You know, he, like Andre is, he is choosing her 308 00:14:29,240 --> 00:14:30,840 Speaker 1: at the end of the day. You know, he is 309 00:14:31,040 --> 00:14:33,800 Speaker 1: cec every girl I see around town to let them know, 310 00:14:34,040 --> 00:14:37,880 Speaker 1: Like even as people say, don't do it, reconsider, he's 311 00:14:37,880 --> 00:14:38,680 Speaker 1: still choosing her. 312 00:14:39,840 --> 00:14:41,160 Speaker 3: Were all trying to get chose. 313 00:14:42,280 --> 00:14:44,640 Speaker 1: I mean, it is the player's anthem, you know, it 314 00:14:44,680 --> 00:14:47,200 Speaker 1: is every Every player settles down at some point. 315 00:14:48,520 --> 00:14:49,360 Speaker 2: At least of this song. 316 00:14:49,600 --> 00:14:53,800 Speaker 3: Absolutely, And now we are honored to speak to the 317 00:14:53,840 --> 00:14:55,760 Speaker 3: great bun Bee of UGK. 318 00:14:57,640 --> 00:15:01,600 Speaker 1: We are joined now by the legend Bunbe of UGK. 319 00:15:01,800 --> 00:15:04,200 Speaker 1: Thank you so much again for being on our podcast 320 00:15:04,280 --> 00:15:05,960 Speaker 1: and talking about this wonderful. 321 00:15:05,600 --> 00:15:07,720 Speaker 5: Song, no problem, thank you for having me, thank you 322 00:15:07,760 --> 00:15:08,480 Speaker 5: for having the song. 323 00:15:08,600 --> 00:15:11,960 Speaker 3: Yeah, as Brittany said, we're both obsessed with this song. 324 00:15:12,240 --> 00:15:14,480 Speaker 3: It's one of the greatest songs ever. We both had 325 00:15:14,520 --> 00:15:18,040 Speaker 3: it on our lists for this just a perfect, phenomenal 326 00:15:18,440 --> 00:15:19,480 Speaker 3: song that never stops. 327 00:15:19,640 --> 00:15:22,800 Speaker 1: Yeah, what do you remember a little bit about recording 328 00:15:22,800 --> 00:15:24,840 Speaker 1: this song? I mean, like, did it was it something 329 00:15:24,880 --> 00:15:28,240 Speaker 1: that was coming together super easy when when you and 330 00:15:28,280 --> 00:15:30,000 Speaker 1: Pimp were working on it, or was it something that 331 00:15:30,080 --> 00:15:32,040 Speaker 1: kind of it took a while for you to kind 332 00:15:32,040 --> 00:15:32,480 Speaker 1: of get right. 333 00:15:32,760 --> 00:15:36,400 Speaker 5: The story starts, I'm gonna guess around two thousand and four, 334 00:15:36,400 --> 00:15:39,400 Speaker 5: two thousand and five this season, Carson rated Project Pat 335 00:15:39,400 --> 00:15:42,080 Speaker 5: releases an album and it has a song on it 336 00:15:42,120 --> 00:15:45,320 Speaker 5: call I Choose You. While Pimp is flocked up in prison, 337 00:15:45,360 --> 00:15:48,080 Speaker 5: he gets the album. Here's the song. It's his favorite 338 00:15:48,080 --> 00:15:50,560 Speaker 5: song on the album. He just really loves how the 339 00:15:50,600 --> 00:15:54,480 Speaker 5: song was put together. He comes home. We Reunited YOUGK. 340 00:15:54,600 --> 00:15:57,440 Speaker 5: We're getting ready to record our album and we've we've 341 00:15:57,480 --> 00:15:59,840 Speaker 5: done a couple of songs already, and so one of 342 00:15:59,880 --> 00:16:01,520 Speaker 5: the the thing that we wanted to do was definitely 343 00:16:01,520 --> 00:16:04,120 Speaker 5: go out and connect with three six Mafia, good friends 344 00:16:04,120 --> 00:16:07,800 Speaker 5: of ours, Choosing and Pad and Google, rest In Piece 345 00:16:08,360 --> 00:16:11,520 Speaker 5: and Infamous Resting Piece. If they're all really good friends 346 00:16:11,520 --> 00:16:13,520 Speaker 5: of ours, so we really wanted to do some more 347 00:16:13,640 --> 00:16:16,680 Speaker 5: music with them, you know, before Pimpa gone to prison, 348 00:16:16,840 --> 00:16:20,360 Speaker 5: UGK and three six Mafia were actually in them in 349 00:16:20,440 --> 00:16:25,920 Speaker 5: the beginning stages of forming a super group called Underground Mafia. 350 00:16:26,080 --> 00:16:28,840 Speaker 5: There were two songs recorded for that album. One of 351 00:16:28,840 --> 00:16:31,160 Speaker 5: them is sip It on Scissor, which went on three 352 00:16:31,240 --> 00:16:33,480 Speaker 5: six Mafia's album, and the other one was called like 353 00:16:33,560 --> 00:16:36,160 Speaker 5: a Pimp, which went on ugks I want to say 354 00:16:36,160 --> 00:16:39,520 Speaker 5: Dirty Money album. So fast forward, we're in Los Angeles 355 00:16:40,000 --> 00:16:44,080 Speaker 5: with the guys and we're in the studio and they're like, so, 356 00:16:44,160 --> 00:16:44,600 Speaker 5: what kind of. 357 00:16:44,520 --> 00:16:45,320 Speaker 4: Song y'all want to do? 358 00:16:45,360 --> 00:16:47,880 Speaker 5: And Chad was like, well, I'm gonna be honest, man, 359 00:16:47,920 --> 00:16:49,640 Speaker 5: before we even get started, and I need to tell 360 00:16:49,680 --> 00:16:52,080 Speaker 5: y'all that I choose you record that y'all. 361 00:16:51,840 --> 00:16:54,440 Speaker 4: Did for pro Ja Pee. That's the hit record. 362 00:16:54,680 --> 00:16:56,480 Speaker 5: Y'all need to y'all need to figure out how to 363 00:16:56,480 --> 00:16:59,000 Speaker 5: put that album back out, put that single back. 364 00:16:58,840 --> 00:17:01,000 Speaker 4: Out because that's a hit record. 365 00:17:01,560 --> 00:17:04,560 Speaker 5: And they're like, oh man, that that album, that album's 366 00:17:04,560 --> 00:17:07,240 Speaker 5: gone you know, well he's already working on new music 367 00:17:07,440 --> 00:17:09,240 Speaker 5: and you know, we kind of passed that pimpo. 368 00:17:09,359 --> 00:17:10,960 Speaker 4: He's like, no, I man, I'm telling you that was 369 00:17:10,960 --> 00:17:11,639 Speaker 4: a hit record. 370 00:17:11,640 --> 00:17:13,720 Speaker 5: That was the best album, best song on that album, 371 00:17:13,720 --> 00:17:16,240 Speaker 5: but literally one of the best best records I've heard 372 00:17:16,320 --> 00:17:18,199 Speaker 5: a long time. That's the hit rerecord. Y'all need to 373 00:17:18,200 --> 00:17:20,320 Speaker 5: put it out again. And they were like, no, we're 374 00:17:20,320 --> 00:17:22,200 Speaker 5: not doing that. We're not gonna put that out again. 375 00:17:22,280 --> 00:17:23,080 Speaker 4: We appreciate. 376 00:17:23,320 --> 00:17:26,440 Speaker 5: Chad was like, take you what, give me the track, 377 00:17:26,560 --> 00:17:27,800 Speaker 5: and they were like, what do you mean. He was like, 378 00:17:27,920 --> 00:17:30,040 Speaker 5: give me the track, give me the music for that song. 379 00:17:30,640 --> 00:17:32,600 Speaker 5: I'm I'm gonna show you that that's a hit record. 380 00:17:32,960 --> 00:17:36,000 Speaker 5: They're like, Chad, we we can make you a million beats. 381 00:17:36,000 --> 00:17:38,480 Speaker 5: We can make you, you know, a million beats that 382 00:17:38,560 --> 00:17:39,160 Speaker 5: sound like that. 383 00:17:39,160 --> 00:17:40,720 Speaker 4: That's not a problem. We can do that, you know. 384 00:17:40,800 --> 00:17:42,880 Speaker 5: And I was sleep and he was like, no, no, 385 00:17:42,920 --> 00:17:45,720 Speaker 5: I'll tell you that one right there, just like it's produced. 386 00:17:45,760 --> 00:17:48,320 Speaker 5: Give me that, give me that record right there. So 387 00:17:48,359 --> 00:17:50,800 Speaker 5: we record an entire song and it and you know, 388 00:17:51,400 --> 00:17:54,479 Speaker 5: the background to the music players anthem mins I choose you, 389 00:17:54,560 --> 00:17:58,600 Speaker 5: which is it's exactly the same beat from project Pat's album. 390 00:17:59,040 --> 00:18:02,399 Speaker 5: So we record the album. We finished the album, Ji 391 00:18:02,560 --> 00:18:06,840 Speaker 5: puts together a sampler. The sampler goes out during the 392 00:18:06,920 --> 00:18:11,200 Speaker 5: All Star weekend in Los Angeles. Somehow Big Boy and 393 00:18:11,200 --> 00:18:14,359 Speaker 5: Andre separately because they're not recording at the time. Andre 394 00:18:14,520 --> 00:18:17,840 Speaker 5: is doing more acting at the time, right, so they 395 00:18:17,880 --> 00:18:20,639 Speaker 5: both get their hands on the sampler. I get a 396 00:18:20,640 --> 00:18:24,560 Speaker 5: call from hey man, I listened to the sample. I 397 00:18:24,880 --> 00:18:27,600 Speaker 5: love what y'all doing. Is this album to finish? Like? No, 398 00:18:27,720 --> 00:18:30,080 Speaker 5: this album, I'll finish it off great. I would love 399 00:18:30,119 --> 00:18:31,719 Speaker 5: to get on the I choose you record. 400 00:18:31,960 --> 00:18:32,159 Speaker 4: You know. 401 00:18:32,440 --> 00:18:36,120 Speaker 5: We be like, okay, no problem, but I just want 402 00:18:36,119 --> 00:18:37,720 Speaker 5: to wrap to the sample. I don't want to wrap 403 00:18:37,760 --> 00:18:40,919 Speaker 5: to the drums. Okay, no problem. If you hear on 404 00:18:40,960 --> 00:18:44,000 Speaker 5: the record, that's what he's wrapping to. We also get 405 00:18:44,000 --> 00:18:47,040 Speaker 5: a call at the same time from Big Boy, hey man, 406 00:18:47,640 --> 00:18:48,520 Speaker 5: listen to this sample. 407 00:18:48,560 --> 00:18:50,840 Speaker 4: I love this. Are y'all done with the album? No? 408 00:18:51,320 --> 00:18:54,680 Speaker 5: Not necessarily? What are you thinking, man? I really love 409 00:18:54,760 --> 00:18:57,480 Speaker 5: that I choose you record, Man, I think it's amazing. 410 00:18:57,880 --> 00:18:59,800 Speaker 5: I would love to wrap on it. Is it anyway 411 00:19:00,000 --> 00:19:02,480 Speaker 5: I could like redo the drums and just wrap over 412 00:19:02,560 --> 00:19:03,920 Speaker 5: some drums on it. 413 00:19:04,480 --> 00:19:05,520 Speaker 4: We were like, well, I. 414 00:19:05,520 --> 00:19:07,480 Speaker 5: Don't know about redoing the drum, because you've got to 415 00:19:07,480 --> 00:19:09,800 Speaker 5: talk to Jucy and Paul about that. But for if 416 00:19:09,800 --> 00:19:11,600 Speaker 5: you just want to rap over the drums, that's fine, 417 00:19:11,640 --> 00:19:14,119 Speaker 5: and you listen to the finished product, the beginning of 418 00:19:14,240 --> 00:19:17,480 Speaker 5: his versus him rapping just over the drums, and this 419 00:19:17,960 --> 00:19:20,800 Speaker 5: I think really speaks to the yin and yang combination 420 00:19:21,040 --> 00:19:24,199 Speaker 5: that is outcast. Right now, while all of this is 421 00:19:24,240 --> 00:19:27,520 Speaker 5: going on, the album is finished being recorded. Three six 422 00:19:27,560 --> 00:19:31,879 Speaker 5: Mafia wins the Oscar for as Hard out Here for 423 00:19:31,960 --> 00:19:35,520 Speaker 5: a pimp. Like most Oscar winners, the notion is that 424 00:19:35,560 --> 00:19:38,240 Speaker 5: if you win an Oscar, your rate goes up. Right, 425 00:19:38,320 --> 00:19:41,520 Speaker 5: everyone that wins an Oscar an Academy award, their rate 426 00:19:41,600 --> 00:19:44,560 Speaker 5: goes up. Three six Mafia assumes the same thing. So 427 00:19:44,600 --> 00:19:46,919 Speaker 5: they go into their record company, which I believe was 428 00:19:46,920 --> 00:19:50,800 Speaker 5: Sony at the time, and try to renegotiate because their 429 00:19:50,960 --> 00:19:53,800 Speaker 5: Academy award wins, and they're like, yeah, from what I 430 00:19:53,800 --> 00:19:56,480 Speaker 5: remember the guy tell him, it was kind of more like, yeah, well, 431 00:19:56,680 --> 00:19:59,679 Speaker 5: it's not really y'all record, right, it's actually the guy 432 00:19:59,800 --> 00:20:01,840 Speaker 5: from and the movie is rapping the record. You guys 433 00:20:01,880 --> 00:20:04,160 Speaker 5: were just the writers and the producers. But It's not 434 00:20:04,200 --> 00:20:08,000 Speaker 5: like you a three six Mafia recorded record, right, something 435 00:20:08,040 --> 00:20:10,600 Speaker 5: that would have gotten you know, radio play and been 436 00:20:10,720 --> 00:20:13,960 Speaker 5: much more monetized by the record company as opposed to 437 00:20:14,280 --> 00:20:16,560 Speaker 5: the film company and the soundtracks. They got into this 438 00:20:16,600 --> 00:20:19,240 Speaker 5: big thing with the record company because of it, and 439 00:20:19,280 --> 00:20:21,520 Speaker 5: they ended up basically being put to the side. 440 00:20:21,680 --> 00:20:23,720 Speaker 4: So they weren't clearing three. 441 00:20:23,560 --> 00:20:27,480 Speaker 5: Six Mafia as a rap group for any song called collaboration, 442 00:20:27,720 --> 00:20:31,760 Speaker 5: but their production deal is separate from their artists did 443 00:20:31,960 --> 00:20:35,320 Speaker 5: so while they're not able to no longer be rappers 444 00:20:35,359 --> 00:20:38,520 Speaker 5: on this song, the beats still stage. That's why the 445 00:20:38,560 --> 00:20:41,600 Speaker 5: original version of International Players Apple was just UGK three 446 00:20:41,640 --> 00:20:45,200 Speaker 5: six Mathias and there's a version of that out there 447 00:20:45,280 --> 00:20:48,800 Speaker 5: that exists. So now we have this outcast version of 448 00:20:48,800 --> 00:20:51,760 Speaker 5: this record right now. Outcasts and I are both under 449 00:20:51,760 --> 00:20:56,120 Speaker 5: the same publishing umbrella, which was Ample Music, So theoretically 450 00:20:56,240 --> 00:20:59,399 Speaker 5: we didn't have to clear Outcasts as a group, but 451 00:20:59,640 --> 00:21:02,920 Speaker 5: we had and told either artists that. 452 00:21:02,960 --> 00:21:04,240 Speaker 4: The other was on the song. 453 00:21:04,600 --> 00:21:06,639 Speaker 5: So then it became this whole thing of trying to 454 00:21:06,680 --> 00:21:09,440 Speaker 5: figure out how to have that conversation. 455 00:21:09,119 --> 00:21:09,879 Speaker 4: You know what I'm saying. 456 00:21:09,960 --> 00:21:12,280 Speaker 5: So we go to Andre first because we figured, you know, 457 00:21:12,359 --> 00:21:15,280 Speaker 5: Andresa furtherest removed from the recorded process. 458 00:21:15,320 --> 00:21:17,320 Speaker 4: We go to Andrea, let it know, Hey. 459 00:21:17,119 --> 00:21:18,840 Speaker 5: This is what the song's going to be, like, you know, 460 00:21:18,920 --> 00:21:20,879 Speaker 5: this is what we're thinking they're doing, like and we 461 00:21:20,920 --> 00:21:22,840 Speaker 5: don't really have to clear good y'all under the same 462 00:21:22,920 --> 00:21:25,280 Speaker 5: unbella with us. Andre was like, cool, no problem, I 463 00:21:25,320 --> 00:21:27,159 Speaker 5: got no problem with that. But just how y'all know 464 00:21:27,200 --> 00:21:29,080 Speaker 5: I'm not doing a video. I'm not doing a video. 465 00:21:29,119 --> 00:21:30,720 Speaker 5: I'm not doing that right now. I don't have a 466 00:21:30,760 --> 00:21:32,400 Speaker 5: problem being on the song. I have a probably being 467 00:21:32,400 --> 00:21:34,879 Speaker 5: on the song were big, We're just not doing no video. 468 00:21:34,960 --> 00:21:36,840 Speaker 5: I was like, okay, we'll across that bridge when we 469 00:21:36,840 --> 00:21:37,159 Speaker 5: get there. 470 00:21:37,280 --> 00:21:37,480 Speaker 4: Right. 471 00:21:37,920 --> 00:21:40,440 Speaker 5: So now we have the guys that approved that good 472 00:21:40,440 --> 00:21:42,240 Speaker 5: to go on the song. But of course the wret 473 00:21:42,280 --> 00:21:43,960 Speaker 5: the companies like we got to get a video for this, 474 00:21:44,240 --> 00:21:47,520 Speaker 5: and so I was like, okay, let's call Brian. Brian 475 00:21:47,560 --> 00:21:50,000 Speaker 5: I'm speaking of with Brian Barber, who was their longtime 476 00:21:50,520 --> 00:21:53,840 Speaker 5: video collaborator directed a lot of their fourth winning videos 477 00:21:53,840 --> 00:21:56,080 Speaker 5: to Put to Miss Jackson, which was an award winning 478 00:21:56,160 --> 00:21:58,760 Speaker 5: video as well in its own right, and I believe 479 00:21:58,760 --> 00:22:01,120 Speaker 5: he was the director of Idle. If I'm not mistaken, 480 00:22:01,200 --> 00:22:04,600 Speaker 5: If I go to Brian, I said, look, I really need. 481 00:22:04,440 --> 00:22:06,600 Speaker 4: Andre to do a video for this song. 482 00:22:06,800 --> 00:22:09,200 Speaker 5: I was like, we're going to hire you as director 483 00:22:09,600 --> 00:22:12,879 Speaker 5: and give him full creative control for the video. Do 484 00:22:12,920 --> 00:22:15,040 Speaker 5: you think you yourself? He's like, I'm about to take 485 00:22:15,080 --> 00:22:17,960 Speaker 5: it to him. He bit came up with the idea 486 00:22:18,000 --> 00:22:21,159 Speaker 5: for the video that we have with the wedding and 487 00:22:21,160 --> 00:22:25,000 Speaker 5: the whole theme of having a wedding, got the record recorded. 488 00:22:25,080 --> 00:22:28,879 Speaker 5: The record ended up replacing the original version with UGK 489 00:22:29,000 --> 00:22:31,800 Speaker 5: and three six Mafia, but the music video featured everybody, 490 00:22:32,080 --> 00:22:35,359 Speaker 5: and as they say, the rest is now rolling stone history. 491 00:22:37,320 --> 00:22:40,600 Speaker 1: I love that story so much, especially the video part 492 00:22:40,640 --> 00:22:43,119 Speaker 1: whers and now why do the video and ended up 493 00:22:43,160 --> 00:22:44,119 Speaker 1: being the star of. 494 00:22:46,920 --> 00:22:49,760 Speaker 3: Of course, right, but amazing that all these stories come 495 00:22:49,880 --> 00:22:51,880 Speaker 3: together for this one song. 496 00:22:52,119 --> 00:22:54,080 Speaker 5: I think it's one of the greatest Southern hip hop 497 00:22:54,160 --> 00:22:57,000 Speaker 5: moments of all time, right, even without three six Mafia 498 00:22:57,119 --> 00:23:00,320 Speaker 5: being lyrically featured on the song. It's a collaboration with 499 00:23:00,560 --> 00:23:04,600 Speaker 5: UGK and Outcasts, produced by three six Mafia, three of 500 00:23:04,680 --> 00:23:08,000 Speaker 5: the you know leading forces in Southern hip hop, if 501 00:23:08,080 --> 00:23:10,560 Speaker 5: not mainstream hip hop culture. All of us have had 502 00:23:10,680 --> 00:23:13,679 Speaker 5: you know top, you know top releasing albums and songs 503 00:23:13,760 --> 00:23:15,520 Speaker 5: and whatnot and highly regarded, you. 504 00:23:15,560 --> 00:23:16,440 Speaker 4: Know, respectively. 505 00:23:16,880 --> 00:23:20,000 Speaker 5: And there is actually, if you, if you search deep enough, 506 00:23:20,440 --> 00:23:24,440 Speaker 5: somewhere in the internet's recipes Dallas Pen there is a 507 00:23:24,800 --> 00:23:28,480 Speaker 5: version of UGK Outcasts and three. 508 00:23:28,359 --> 00:23:31,720 Speaker 4: Six Mafia to this song. It's pretty long, but it's 509 00:23:31,760 --> 00:23:32,120 Speaker 4: out there. 510 00:23:33,800 --> 00:23:36,760 Speaker 1: And I want to go back to, you know, recognizing 511 00:23:37,320 --> 00:23:40,680 Speaker 1: that that particular beat was the foundation of a really 512 00:23:40,800 --> 00:23:42,720 Speaker 1: great I mean, you know, it was already the foundation 513 00:23:42,840 --> 00:23:45,280 Speaker 1: of one really great song, but you know, had this 514 00:23:45,400 --> 00:23:47,919 Speaker 1: potential to be a hit. What what was it about 515 00:23:48,080 --> 00:23:51,400 Speaker 1: that really hutch sample and those drums that really stuck 516 00:23:51,440 --> 00:23:54,760 Speaker 1: out to you and felt so particularly special and inspiring 517 00:23:54,800 --> 00:23:55,000 Speaker 1: to you. 518 00:23:55,040 --> 00:23:56,760 Speaker 4: In that moment. Look, I'll be very honest. This is 519 00:23:56,800 --> 00:23:57,000 Speaker 4: not me. 520 00:23:57,119 --> 00:23:59,800 Speaker 5: This is PIMC scene. This is Pimc's clarity. And this 521 00:23:59,880 --> 00:24:01,639 Speaker 5: is not the first time that he had done this. 522 00:24:01,760 --> 00:24:04,200 Speaker 5: We had done this before with the song one Day. 523 00:24:04,359 --> 00:24:07,040 Speaker 5: One Day was originally a song that was a closing 524 00:24:07,119 --> 00:24:10,359 Speaker 5: song on an artist name three to two Rest in Pieces, 525 00:24:10,600 --> 00:24:11,800 Speaker 5: his first solo project. 526 00:24:12,040 --> 00:24:13,560 Speaker 4: He had played us the entire album. 527 00:24:14,320 --> 00:24:16,679 Speaker 5: We thought the album was great, but Pimp was like, hey, 528 00:24:16,720 --> 00:24:18,600 Speaker 5: the one Day record, that's your hit record. That's the 529 00:24:18,640 --> 00:24:21,400 Speaker 5: best record. Got like, no, it's too slow, is depressing. 530 00:24:22,000 --> 00:24:23,520 Speaker 5: I don't think it's going to fit on the album. 531 00:24:23,520 --> 00:24:25,360 Speaker 5: He's like, you're crazy, that's the best record you made. 532 00:24:25,720 --> 00:24:28,960 Speaker 4: He wasn't really feeling it. Pemp said, say give it 533 00:24:29,080 --> 00:24:30,800 Speaker 4: to me, Give it to me. 534 00:24:31,400 --> 00:24:34,240 Speaker 5: So that's why he's actually on the first verse of 535 00:24:34,400 --> 00:24:37,960 Speaker 5: One Day, which is on our seminal album, Ryan Dirty, 536 00:24:38,119 --> 00:24:41,359 Speaker 5: and one of our most highly regarded recordings is the 537 00:24:41,440 --> 00:24:43,960 Speaker 5: One Day record. So Pimp just had I tell people 538 00:24:43,960 --> 00:24:45,840 Speaker 5: all the time, probably had one of the best ears 539 00:24:45,880 --> 00:24:48,840 Speaker 5: for music I've ever seen. And when Pimp says it's 540 00:24:48,880 --> 00:24:51,480 Speaker 5: a hit, I think if Pimpse tells you what you've 541 00:24:51,520 --> 00:24:54,119 Speaker 5: got in front of you is a hit record, you 542 00:24:54,240 --> 00:24:56,480 Speaker 5: either you need to listen to him or just. 543 00:24:56,480 --> 00:24:58,040 Speaker 4: Give it to him and let him show you. And 544 00:24:58,240 --> 00:24:58,960 Speaker 4: that's what happened. 545 00:24:59,640 --> 00:25:02,960 Speaker 5: It was it was beautifully sampled. I think, you know, 546 00:25:03,200 --> 00:25:07,040 Speaker 5: they're really good drum programmers as well, right. I think 547 00:25:07,080 --> 00:25:10,639 Speaker 5: that's one thing that three six Mafia production is highly 548 00:25:10,760 --> 00:25:14,520 Speaker 5: regarded for is their drum instrumentation, and I think this 549 00:25:14,680 --> 00:25:17,159 Speaker 5: record was was no different. I think it was a 550 00:25:17,240 --> 00:25:21,399 Speaker 5: perfectly paced drums pasted this sample because you know, you 551 00:25:21,480 --> 00:25:22,560 Speaker 5: could do this sample. 552 00:25:22,680 --> 00:25:24,240 Speaker 4: It's a very laid back record. 553 00:25:24,320 --> 00:25:26,119 Speaker 5: Three six Mafia is known for being more of an 554 00:25:26,200 --> 00:25:30,359 Speaker 5: energetic group, so having those double time drums allows people 555 00:25:30,400 --> 00:25:32,840 Speaker 5: who are laid back, like an Andre, who wanted to 556 00:25:32,880 --> 00:25:34,040 Speaker 5: do something more laid back. 557 00:25:34,280 --> 00:25:37,320 Speaker 4: So that's why he asks for the drums to be removed, right, 558 00:25:37,440 --> 00:25:38,320 Speaker 4: because the drums. 559 00:25:38,119 --> 00:25:40,399 Speaker 5: Would have been a little bit too off pace to 560 00:25:40,520 --> 00:25:43,440 Speaker 5: really let him set the tone for the record in 561 00:25:43,600 --> 00:25:45,800 Speaker 5: that way. And then, of course, I mean you hear 562 00:25:45,880 --> 00:25:48,119 Speaker 5: him rap like that, and then once those drums actually 563 00:25:48,280 --> 00:25:50,920 Speaker 5: kick in and PIPSI starts going, Now we're in a 564 00:25:51,000 --> 00:25:52,600 Speaker 5: whole other space with this record. 565 00:25:53,040 --> 00:25:53,720 Speaker 4: You know what I'm saying. 566 00:25:53,800 --> 00:25:57,440 Speaker 5: It's just a beautifully crafted production that I think plays 567 00:25:57,520 --> 00:26:01,720 Speaker 5: to almost everyone's sensitivity. Is because like all great producers, 568 00:26:01,760 --> 00:26:04,320 Speaker 5: they take they're not willing to just force music down 569 00:26:04,400 --> 00:26:05,080 Speaker 5: people's throats. 570 00:26:05,080 --> 00:26:07,680 Speaker 4: They're willing to take notes. They took Andre's notes. 571 00:26:07,760 --> 00:26:10,280 Speaker 5: They took first, they took Pimp's notes to actually go 572 00:26:10,440 --> 00:26:13,720 Speaker 5: give us that record, right, They took Andre's notes, the 573 00:26:13,840 --> 00:26:16,560 Speaker 5: musical cues that he wanted to rat to the same 574 00:26:16,640 --> 00:26:19,440 Speaker 5: thing with Big Boy, and it just becomes a perfect combination. 575 00:26:19,800 --> 00:26:21,800 Speaker 5: And that just really speaks to the give and tape 576 00:26:22,160 --> 00:26:25,680 Speaker 5: that true producers are, true artist size in shape should say, 577 00:26:26,000 --> 00:26:29,720 Speaker 5: really come to when they look at full collaboration. Right, 578 00:26:29,840 --> 00:26:31,600 Speaker 5: But you know these guys are willing to listen to 579 00:26:32,200 --> 00:26:35,399 Speaker 5: you know, Andrea and big voice, respective artistic interpretation of 580 00:26:35,480 --> 00:26:37,520 Speaker 5: what they produced, and I think it just makes for 581 00:26:37,600 --> 00:26:38,920 Speaker 5: a full fucking record. 582 00:26:39,200 --> 00:26:43,040 Speaker 3: Well, then all these artists on this record, who we 583 00:26:43,119 --> 00:26:45,600 Speaker 3: all knew well at the time, We all knew the voices, 584 00:26:45,720 --> 00:26:49,800 Speaker 3: we all knew the beats. But everybody is at peak strength. 585 00:26:50,400 --> 00:26:52,720 Speaker 3: Never nobody's doing anything they ever did before. 586 00:26:53,359 --> 00:26:55,040 Speaker 4: This is fair, No, this is fair. I mean three 587 00:26:55,080 --> 00:26:57,840 Speaker 4: SIG Mafia as a group are at a very high level. 588 00:26:57,920 --> 00:27:00,600 Speaker 5: Outcasts of course, one of the biggest groups in the world, 589 00:27:00,880 --> 00:27:04,520 Speaker 5: UGK having this ton of momentum with PIMC being home 590 00:27:04,840 --> 00:27:05,399 Speaker 5: from prison. 591 00:27:05,560 --> 00:27:07,640 Speaker 4: I just think the stars aligned perfectly. 592 00:27:07,920 --> 00:27:10,119 Speaker 5: And keep in mind, all of us, all three of 593 00:27:10,200 --> 00:27:13,159 Speaker 5: these groups were great friends, right, not just people with 594 00:27:13,400 --> 00:27:16,959 Speaker 5: mutual respect for each other, not just acquaintances student music industry. 595 00:27:17,160 --> 00:27:21,000 Speaker 5: We're all really really good friends, just never really had 596 00:27:21,040 --> 00:27:24,560 Speaker 5: the positioning of where, you know, everyone was in a 597 00:27:24,640 --> 00:27:26,760 Speaker 5: space to be able to do something like this at 598 00:27:26,840 --> 00:27:29,520 Speaker 5: the same time, and Again, this was not even supposed 599 00:27:29,520 --> 00:27:30,800 Speaker 5: to be the record. 600 00:27:31,200 --> 00:27:31,360 Speaker 4: Right. 601 00:27:31,520 --> 00:27:34,040 Speaker 5: Had three six Mafia been cleared, this would have been 602 00:27:34,080 --> 00:27:37,520 Speaker 5: a remix, right. Could you imagine that this outcast person 603 00:27:37,680 --> 00:27:38,720 Speaker 5: would have been a remix? 604 00:27:38,800 --> 00:27:40,280 Speaker 4: It would have come later, right. 605 00:27:41,080 --> 00:27:43,520 Speaker 5: But I think everything happens for a reason. And look, 606 00:27:43,640 --> 00:27:45,920 Speaker 5: you talk to V six Mafia, they don't feel like 607 00:27:45,960 --> 00:27:47,000 Speaker 5: they lost on this record. 608 00:27:47,040 --> 00:27:48,720 Speaker 4: They're still the soundtrack to this record. 609 00:27:48,920 --> 00:27:51,600 Speaker 5: This record doesn't hit like it does if they don't 610 00:27:51,600 --> 00:27:55,040 Speaker 5: program those drums and chop that loop sample in the 611 00:27:55,080 --> 00:27:56,920 Speaker 5: way that they do. You know what I'm saying, it's 612 00:27:57,000 --> 00:28:00,000 Speaker 5: just as much their record, if not more, because they're producer. 613 00:28:00,119 --> 00:28:03,240 Speaker 5: Is they're half responsible for this record just to those 614 00:28:03,280 --> 00:28:05,359 Speaker 5: two guys, and the other four guys are over split 615 00:28:05,440 --> 00:28:07,280 Speaker 5: in the other half, you know what I'm saying. But 616 00:28:09,320 --> 00:28:12,800 Speaker 5: it's a perfect match, maybe, headbitch, And I think you're right. 617 00:28:12,880 --> 00:28:15,600 Speaker 5: I think everyone's in a perfect place for this record 618 00:28:15,680 --> 00:28:19,040 Speaker 5: to really be fully received by so many different people 619 00:28:19,119 --> 00:28:23,600 Speaker 5: because UGK three six Mafia, while having their own very broad, 620 00:28:23,680 --> 00:28:27,280 Speaker 5: respective audiences, do have that great point of overlap, right, 621 00:28:27,320 --> 00:28:30,159 Speaker 5: And I think that's the that's the backbone of this 622 00:28:30,320 --> 00:28:33,160 Speaker 5: record becoming a hit. And as it spreads out through 623 00:28:33,280 --> 00:28:37,880 Speaker 5: our respective audience, through three six Mafias respective audience and outcast. 624 00:28:37,600 --> 00:28:40,120 Speaker 4: Audience as well. It just starts to reach more and 625 00:28:40,240 --> 00:28:40,840 Speaker 4: more people. 626 00:28:41,240 --> 00:28:44,200 Speaker 5: But it's fulfilling, just as fulfilling for a UGK fan, 627 00:28:44,600 --> 00:28:46,280 Speaker 5: I think as it is for a three six Mafia 628 00:28:46,360 --> 00:28:48,880 Speaker 5: fan and for an outcast fan, because we're all doing 629 00:28:48,960 --> 00:28:51,200 Speaker 5: what we're already highly regarded and respected for. 630 00:28:51,760 --> 00:28:54,400 Speaker 1: Yeah, yeah, you know with the song especially, it's so 631 00:28:55,080 --> 00:28:57,120 Speaker 1: you know, you could really hear how much fun and 632 00:28:57,240 --> 00:28:59,959 Speaker 1: how inspired each of you are with each of your are. 633 00:29:00,320 --> 00:29:03,320 Speaker 1: And I mean there's such incredible wordplay and eat like 634 00:29:03,520 --> 00:29:05,840 Speaker 1: such an amazing like one or two liners on this 635 00:29:05,960 --> 00:29:08,080 Speaker 1: song that I feel like every time I listen to it, 636 00:29:08,200 --> 00:29:10,320 Speaker 1: a new one kind of becomes my favorite immediately on 637 00:29:10,400 --> 00:29:13,040 Speaker 1: that listen. I'm curious, what are some of your favorite 638 00:29:13,160 --> 00:29:14,880 Speaker 1: lines or moments on the song? 639 00:29:15,200 --> 00:29:18,080 Speaker 4: Oh it's a gotta be don't do it? Reconsider read 640 00:29:18,160 --> 00:29:21,640 Speaker 4: some litter We could all I'm sure go on and 641 00:29:21,800 --> 00:29:22,520 Speaker 4: on for days. 642 00:29:22,600 --> 00:29:25,920 Speaker 5: It's just about how beautiful of a writer, deeply thoughtful 643 00:29:26,000 --> 00:29:27,440 Speaker 5: of a writer Andre is. 644 00:29:27,640 --> 00:29:30,400 Speaker 4: This versus is no exception. By taking the drums out, 645 00:29:30,560 --> 00:29:32,320 Speaker 4: it brings a totally. 646 00:29:32,080 --> 00:29:35,120 Speaker 5: Different type of aura to this record, like it starts 647 00:29:35,160 --> 00:29:37,840 Speaker 5: as a totally different record than what it becomes, and 648 00:29:37,960 --> 00:29:40,000 Speaker 5: that's that's a gift of laundres Is, Like, I know 649 00:29:40,080 --> 00:29:41,600 Speaker 5: what this record is going to sound like. I can 650 00:29:41,680 --> 00:29:43,680 Speaker 5: hear it with everybody, wrap it to this drums and 651 00:29:43,720 --> 00:29:45,640 Speaker 5: it's it's that kind of record, and I'm good with that, 652 00:29:45,880 --> 00:29:48,480 Speaker 5: and I think my contribution might be different. So let's 653 00:29:48,560 --> 00:29:51,040 Speaker 5: make sure that it's separate from what the rest of 654 00:29:51,080 --> 00:29:53,720 Speaker 5: the record is tone wise, so that I don't take 655 00:29:53,760 --> 00:29:56,400 Speaker 5: away from what everyone else is doing, and what they're 656 00:29:56,440 --> 00:29:58,560 Speaker 5: doing doesn't really get in the way of what I'm 657 00:29:58,640 --> 00:30:01,960 Speaker 5: trying to present. Every nobody's giving this way more deep 658 00:30:02,040 --> 00:30:06,000 Speaker 5: of a thought than people really give this record consideration. 659 00:30:06,360 --> 00:30:08,760 Speaker 5: For big boys just taking in the same way, this 660 00:30:08,840 --> 00:30:10,960 Speaker 5: record's going to be going at this pace, in this tempo. 661 00:30:11,280 --> 00:30:12,960 Speaker 5: Let me try to break it down, cut through the 662 00:30:13,040 --> 00:30:15,520 Speaker 5: monotony a little bit, try to put my little swag 663 00:30:15,640 --> 00:30:17,680 Speaker 5: and swear on it, you know what I'm saying. And 664 00:30:17,760 --> 00:30:19,440 Speaker 5: then Pimph and I are just doing what we do 665 00:30:19,640 --> 00:30:22,120 Speaker 5: right because we set the initial tone and we're just 666 00:30:22,200 --> 00:30:24,000 Speaker 5: going off of the chorus and going off of the 667 00:30:24,080 --> 00:30:26,560 Speaker 5: history of this record, you know, it drawing from the 668 00:30:26,640 --> 00:30:29,280 Speaker 5: mac soundtrack and all of that, you know, just the 669 00:30:29,400 --> 00:30:32,640 Speaker 5: reputation that really hutches music and this amazing soundtrack that 670 00:30:32,720 --> 00:30:35,120 Speaker 5: you put together already exists on so we don't want 671 00:30:35,120 --> 00:30:37,800 Speaker 5: it the way of this record. And that's again speaking 672 00:30:37,840 --> 00:30:40,720 Speaker 5: to the beautiful production by three six Mafia. They create 673 00:30:40,800 --> 00:30:43,520 Speaker 5: a song that has its own energy but also allows 674 00:30:43,600 --> 00:30:46,040 Speaker 5: you entry points without getting in the way of what 675 00:30:46,160 --> 00:30:47,360 Speaker 5: the artists are trying to present. 676 00:30:47,680 --> 00:30:50,680 Speaker 4: It's really a well done piece of work by amazing arts. 677 00:30:51,080 --> 00:30:54,200 Speaker 3: Yeah, is it ever a surprise to you that this 678 00:30:55,040 --> 00:30:57,680 Speaker 3: song had the impact it had and has the long 679 00:30:57,800 --> 00:30:58,600 Speaker 3: life that it has. 680 00:30:58,880 --> 00:30:59,680 Speaker 4: Here's what's crazy. 681 00:31:00,040 --> 00:31:02,719 Speaker 5: I don't know if Andre doesn't do a wedding theme video, 682 00:31:03,000 --> 00:31:06,160 Speaker 5: if this is like this wedding song, because I'm not 683 00:31:06,200 --> 00:31:07,960 Speaker 5: sure if you're aware of this, but this is a 684 00:31:08,280 --> 00:31:10,960 Speaker 5: huge wedding song now in the world. 685 00:31:12,040 --> 00:31:12,400 Speaker 4: Yeah. Right. 686 00:31:12,760 --> 00:31:14,360 Speaker 5: So many people have come up to me and said, 687 00:31:14,400 --> 00:31:17,560 Speaker 5: we walked out to this record. It was our second dance, right. 688 00:31:17,920 --> 00:31:20,680 Speaker 5: I came out with my grooms man, you know, me 689 00:31:20,760 --> 00:31:23,560 Speaker 5: and my bridesman. So many different aspects of weddings have 690 00:31:23,720 --> 00:31:27,640 Speaker 5: utilized this record, right, And again I know that that's 691 00:31:27,760 --> 00:31:30,080 Speaker 5: part of what the verse is in the beginning of 692 00:31:30,120 --> 00:31:33,920 Speaker 5: the song, but just the visual compliment of that setting 693 00:31:33,960 --> 00:31:37,040 Speaker 5: the tone for the record, which still allows me to 694 00:31:37,160 --> 00:31:40,400 Speaker 5: be the mac, allows Pimpsy to be the pimp, allows 695 00:31:40,440 --> 00:31:42,600 Speaker 5: the big boy to be the player, while still having 696 00:31:42,680 --> 00:31:45,600 Speaker 5: Andre in this very honest, sincere moment that he's having 697 00:31:45,840 --> 00:31:46,920 Speaker 5: with his closest friends. 698 00:31:47,040 --> 00:31:49,440 Speaker 4: Right. It just really they. 699 00:31:49,160 --> 00:31:55,160 Speaker 5: Encapsulated everyone's personality, everyone's character while tying in the overall 700 00:31:55,240 --> 00:31:56,080 Speaker 5: theme of the record. 701 00:31:56,400 --> 00:31:58,680 Speaker 2: Yeah, thank you so much, fun VI, this was awesome. 702 00:31:58,760 --> 00:32:00,080 Speaker 2: Thank you so much for for doing. 703 00:32:00,520 --> 00:32:02,000 Speaker 3: Thank you and honor to speak to you. 704 00:32:02,200 --> 00:32:05,040 Speaker 5: I'm so happy, I'm very seldom I'm a forward the 705 00:32:05,080 --> 00:32:07,400 Speaker 5: opportunity to tell this story at full length. 706 00:32:07,720 --> 00:32:09,320 Speaker 2: Yeah, we love that. 707 00:32:09,600 --> 00:32:10,960 Speaker 3: Yeah, we could go on all day. 708 00:32:11,040 --> 00:32:11,240 Speaker 4: Yeah. 709 00:32:12,200 --> 00:32:14,680 Speaker 5: Typically these things go chronologically and by the time we 710 00:32:14,760 --> 00:32:17,680 Speaker 5: get to that record, we're probably going into the fourth 711 00:32:17,760 --> 00:32:20,560 Speaker 5: quarter and then I know that time get to do 712 00:32:20,680 --> 00:32:23,360 Speaker 5: a deep dive, so it's always truncated. But I figured 713 00:32:23,400 --> 00:32:26,040 Speaker 5: for Rolling Stone, if anybody should get the full story, 714 00:32:26,120 --> 00:32:26,920 Speaker 5: why not you guys. 715 00:32:27,280 --> 00:32:30,760 Speaker 2: Yeah, and we wholeheartedly appreciate that. This is again we 716 00:32:31,080 --> 00:32:31,560 Speaker 2: love the song. 717 00:32:31,760 --> 00:32:33,880 Speaker 3: Yeah, what a story, And I love how you talk 718 00:32:33,960 --> 00:32:37,640 Speaker 3: about all the how everybody was so creative in it 719 00:32:37,720 --> 00:32:40,160 Speaker 3: and such big fans of each other, and you definitely 720 00:32:40,200 --> 00:32:40,440 Speaker 3: hear that. 721 00:32:40,800 --> 00:32:42,640 Speaker 5: You hear it in the finished work, right, A bunch 722 00:32:42,680 --> 00:32:44,520 Speaker 5: of people who are really great at what they do, 723 00:32:44,880 --> 00:32:46,720 Speaker 5: having a great time with the people. They're doing it 724 00:32:46,800 --> 00:32:52,040 Speaker 5: with that energy that you get from the record, its 725 00:32:52,240 --> 00:32:55,920 Speaker 5: reflective of the energy that we had record. 726 00:32:56,320 --> 00:32:58,960 Speaker 3: Thank you for this song and thanks for talking about 727 00:32:59,040 --> 00:32:59,800 Speaker 3: it with us today. 728 00:33:00,000 --> 00:33:01,280 Speaker 2: I hope you get to leave them all soon. 729 00:33:01,600 --> 00:33:04,760 Speaker 4: Yeah, no problem. I'm holding up the Findy dressing room 730 00:33:04,840 --> 00:33:05,120 Speaker 4: right now. 731 00:33:06,520 --> 00:33:12,640 Speaker 3: Thank you, guys, Thank you, Thank you so much, No problem. 732 00:33:12,880 --> 00:33:15,400 Speaker 3: Thanks so much for listening to Rolling Stone's five hundred 733 00:33:15,440 --> 00:33:18,600 Speaker 3: Greatest Songs. This podcast is brought to you by Rolling 734 00:33:18,640 --> 00:33:22,880 Speaker 3: Stone and iHeartMedia. Written and hosted by me, Rob Sheffield 735 00:33:23,120 --> 00:33:28,040 Speaker 3: and Britney Spanos, Executive produced by Gus Winner, Jason Fine, 736 00:33:28,360 --> 00:33:32,080 Speaker 3: Alex Dale and Christian Horde, and produced by Jesse Cannon, 737 00:33:32,120 --> 00:33:35,160 Speaker 3: with music supervision by Eric Zeiler. Thanks for listening.