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Speaker 1: Pushkin. I'm excited to bring you our episode today with

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Speaker 1: Justin Timberlake. JT is a massive talent. Anytime Michael Jackson

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Speaker 1: was asked about his successors in pop stardom over the

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Speaker 1: last decade of his life, he'd mentioned two people he

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Speaker 1: was proud of that he felt carried the mantle the

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Speaker 1: way he wanted to see it carried. Those two people

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Speaker 1: were Usher and our guest Justin Timberlake. Justin has had

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Speaker 1: a career as a singer on some levels since nineteen

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Speaker 1: ninety two, whereas he puts it on his new album

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Speaker 1: Everything I Thought It Was, he's been making first impressions

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Speaker 1: since he was barely eleven, and for nearly all of

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Speaker 1: those thirty two years. He's had a really charmed career.

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Speaker 1: Cast member of the relaunched Mickey Mouse Club back in

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Speaker 1: ninety three, where he was co stars with Ryan Gosling

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Speaker 1: and other now luminaries, then as a member of n SYNC, which,

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Speaker 1: along with The Backs Boys, were one of the defining

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Speaker 1: elements of late nineties and early odds pop culture. And

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Speaker 1: if that one enough, he launched an incredibly successful solo

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Speaker 1: career where he found a musical soulmate in Timbaland, who

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Speaker 1: he's worked with in some capacity on all six of

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Speaker 1: his solo releases. So with all of that harder and

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Speaker 1: success behind him, it's been interesting to see the online

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Speaker 1: drubbing he's been taken in the last couple of years,

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Speaker 1: and I was really curious how he might respond musically.

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Speaker 1: Turns out, what he did was make an album that

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Speaker 1: feels like a return to form. Everything I thought it

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Speaker 1: was is everything you'd hope to hear from JT, including

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Speaker 1: a surprise in sync reunion. On today's episode, I talked

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Speaker 1: through Justin Timberlake's new album with him as he dissects

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Speaker 1: key tracks from it. He also recalls how Michael Jackson

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Speaker 1: helped inspire his solo career, breaks down the motivation behind

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Speaker 1: each one of his solo albums, and talks about why

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Speaker 1: he felt now was the right time to reunite with

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Speaker 1: his boy band brothers and then Sync. This is broken

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Speaker 1: record notes, it's got the digital age. I'm Justin Mitchman.

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Speaker 1: Here's my conversation with Justin Timberlake, recorded at Amazon Studios

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Speaker 1: one twenty six. We kicked things off by talking about

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Speaker 1: the last song on his new album, Conditions.

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Speaker 2: I love that that's the first song you picked.

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Speaker 1: It's gorgeous, thanks man, and you know what, it was

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Speaker 1: a pleasant surprise. One of the things I always loved

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Speaker 1: to about the first two albums is you ended with

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Speaker 1: like these really just really in your R and B bag,

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Speaker 1: you know, never again another song.

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Speaker 2: Yeah, shout out to Rick Rubin.

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Speaker 1: Shout out to Rick who under bigger, better things and

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Speaker 1: now conditions. When did you realize you wanted to start

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Speaker 1: making an album or put out an album.

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Speaker 2: I had another kid and UH needed to pay the bills. No,

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Speaker 2: I'm kidding, I'm joking. I'm joking. So making this album

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Speaker 2: was different for me than any their album, you know,

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Speaker 2: to kind of go back to give you references, you know,

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Speaker 2: Justified was you know, me stepping outside of a massive

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Speaker 2: machine of pop music because I really felt inspired to

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Speaker 2: make music that I felt was more true to me right.

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Speaker 2: And I was also I think it's important and we

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Speaker 2: can get to it, because that's been part of making

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Speaker 2: this album is realizing that I really grew up in

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Speaker 2: the industry. You know, I spent my high school years

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Speaker 2: in the industry, my college years in the industry, and

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Speaker 2: with Justified, it was this overwhelming feeling, you know, I'll

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Speaker 2: never forget being inside a stadium at soundcheck and it

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Speaker 2: just it was this overwhelming feeling, right and the last

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Speaker 2: album that I did with the group within sync, like

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Speaker 2: I was really getting into really really I think, gaining

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Speaker 2: more self confiden into my songwriting and feeling like I

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Speaker 2: had a voice in that way.

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Speaker 1: Y'all wrote like, yeah, we did the bulk of the

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Speaker 1: album right, and you know, Gone in particular was a

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Speaker 1: song that I had written for Michael and Jackson.

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Speaker 2: Sorry, I don't know if you're gonna flex the flex

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Speaker 2: all the way, No, I'm kidding, And he had never

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Speaker 2: heard it, and so I ended up taking it to

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Speaker 2: the A and R meeting for that album and everybody

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Speaker 2: just freaked out over the song in a great way,

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Speaker 2: which is, you know, very gratifying. And later on, after

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Speaker 2: the song had come out, I guess Michael had heard

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Speaker 2: the song. He called me and he said, I want

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Speaker 2: to do the song and I want to do it

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Speaker 2: with you, and I said, well, it's it's out. It's

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Speaker 2: already out, you know, so maybe we can do like

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Speaker 2: acause I think you know, he was working on it

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Speaker 2: was I think it was the Invincible album at that point,

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Speaker 2: and he had he had, you know, brought in all

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Speaker 2: these songwriters pitch songs, and I remember the conversation was, well,

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Speaker 2: you know the records out, the song's out, maybe we

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Speaker 2: can make it like a in Sync featuring Michael for

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Speaker 2: maybe like a reissue of our album, and then it

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Speaker 2: can be Michael featuring n Sync for your album. I

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Speaker 2: was trying to figure out how.

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Speaker 1: You had Stevie on that record too, so I could.

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Speaker 2: Have been, yeah, oh you did you really do this

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Speaker 2: that that was a good pool. That's another story I

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Speaker 2: could tell you about, but we'll get to that. Yeah,

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Speaker 2: but he said, no, I want to do it with you.

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Speaker 2: But for whatever reason, what was in the air for

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Speaker 2: me and feeling like I really wanted to express myself

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Speaker 2: in a different way, and then along with that conversation

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Speaker 2: and a few other things that were just in the

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Speaker 2: ether at the time, it led me down this path

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Speaker 2: of saying I've got to do it. I've got to

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Speaker 2: do it. It's this overwhelming need to do it. So

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Speaker 2: fast forward to Future Sex Love Sounds, and again it

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Speaker 2: was just like it hit me where I said, I

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Speaker 2: had this overwhelming need to do it. And at that time,

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Speaker 2: you know, Timberland and I had had conversations about like

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Speaker 2: sort of the absence of interesting dance music and how

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Speaker 2: could we flip that on its head, How could we

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Speaker 2: do what we've done before but really create a sound

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Speaker 2: and something that feels futuristic. And that's sort of what

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Speaker 2: led me down the path of the album title, right,

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Speaker 2: and with twenty twenty experience fast forward to that. That

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Speaker 2: was one of the craziest experiences of making an album

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Speaker 2: because it ended up being called the twenty twenty experience

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Speaker 2: because we spent twenty days. I said, let's just work

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Speaker 2: for a month. I'm not even I just want to

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Speaker 2: go in and make music. Let's work for a month.

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Speaker 2: I said, We're going to take weekends off like regular people.

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Speaker 2: We're not going to be in the studio till, you know,

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Speaker 2: six am every day. And we wrote twenty songs in

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Speaker 2: twenty days. Wow, you know, And you know, we brought

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Speaker 2: in other players and producers and people that I was

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Speaker 2: excited about, you know, and then Man of the Woods too.

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Speaker 2: It was it was the same thing. It was just

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Speaker 2: like this overwhelming feeling to make this album. And my

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Speaker 2: wife and I had our first son and we named

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Speaker 2: him Silas, which means Men of the Forest, you know,

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Speaker 2: which I said, Oh, Man of the Woods, that's an

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Speaker 2: amazing thing. So, like, you know, it was really more like, uh,

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Speaker 2: that's what gave me the idea for that album as well.

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Speaker 2: But okay, fast forward to this album. This album was

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Speaker 2: different because I was ready to get back in the studio,

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Speaker 2: but I didn't really have a specific direction on where

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Speaker 2: I wanted to go. I just wanted to explore again, right,

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Speaker 2: which I think is a healthy place to start. And

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Speaker 2: at the same time, I was enjoying my wife and

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Speaker 2: I had our second son, and I was enjoying the

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Speaker 2: time that I was getting with them so much. And

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Speaker 2: I remember someone saying to me, like it that it

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Speaker 2: goes so fast, you know, don't just keep working so

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Speaker 2: that you miss out on those like golden years with

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Speaker 2: your children. So I thought to myself, well, I'll just

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Speaker 2: go in the studio for kind of two weeks at

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Speaker 2: a time, no real sort of end in sight. And

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Speaker 2: I was also excited at this point to work with

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Speaker 2: new songwriters and collaborate with them, work with some new producers,

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Speaker 2: collaborate with them, along with working with you know, Tim again.

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Speaker 2: And yeah, it just became this process of like two three,

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Speaker 2: four years even.

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Speaker 1: Of just going in like two weeks at a time,

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Speaker 1: yeh or three.

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Speaker 2: Weeks at a time, or even if you had a

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Speaker 2: week blocked out, I will say two weeks, just to

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Speaker 2: sort of give you an approximation, right, And so I

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Speaker 2: sort of had this moment where I stopped and I

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Speaker 2: was like, how many songs do we have? It was

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Speaker 2: summer between ninety and one hundred, you know, looking at

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Speaker 2: one hundred songs, and so.

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Speaker 1: At what point is this?

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Speaker 2: This is this was probably a year ago, and so

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Speaker 2: then I said, Okay, which songs feel the most special?

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Speaker 2: And not with any rhyme or reason, but just give

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Speaker 2: me the best feeling. Right.

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Speaker 1: That's a big task, though, man, you know eighty ninety songs.

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Speaker 2: Yeah, it was. It was. It was right around one hundred,

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Speaker 2: right around one hundred songs, and it kind of got

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Speaker 2: to that point to where some of them started feeling

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Speaker 2: like connective tissue, They started feeling like symbiotic in a way.

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Speaker 2: And so then I just started narrowing them down and

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Speaker 2: perfecting those ones that I was really zoning in on.

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Speaker 2: And that's the eighteen that you that you have on everything.

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Speaker 1: I thought it was, is that the feeling you had

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Speaker 1: when you finally got to the eighteen, like these eighteen

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Speaker 1: out of the dozens, this is what I was looking for.

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Speaker 2: Yeah, I think I took a lot of stock into

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Speaker 2: about twelve to fifteen of them, and then kind of

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Speaker 2: regrouped and said, Okay, what do I feel like for me?

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Speaker 2: What am I missing? You know? What color the in

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Speaker 2: the crayon box? Do I feel like I can add

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Speaker 2: to this? And always have this rule too when you

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Speaker 2: think you're done with the album, like write one more

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Speaker 2: song because something happens. I think when you feel like

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Speaker 2: you're done with an album that you kind of release

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Speaker 2: any sort of subconscious pressure to live up to your

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Speaker 2: own standards, that you take a breath, really like a

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Speaker 2: figurative breath, and then you write something crazy wow, right

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Speaker 2: and so funny enough that you started with conditions. That

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Speaker 2: was one later on in the process. Really, yeah, that

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Speaker 2: was one later on in the process. And yeah, I'm

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Speaker 2: I don't know, I guess maybe every artist says this,

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Speaker 2: but I'm just so incredibly proud of this album as

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Speaker 2: a whole, because I really think collectively it's my most

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Speaker 2: complete work from start to finish.

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Speaker 1: That's amazing that you can end up with it being

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Speaker 1: feeling like your most complete work when you're the starting

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Speaker 1: point was no mission statement, not sure, you know, and

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Speaker 1: the other ones you've seemed like you had that right.

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Speaker 1: It's just wild to me that you can have created

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Speaker 1: something that feels the most complete to you from this

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Speaker 1: unknown place, starting at this unknown place, right.

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Speaker 2: Well, I think the other thing that happens as you

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Speaker 2: get a little bit older and you gain a little

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Speaker 2: more experience even in life, is you have this ability

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Speaker 2: to be able to step back and you're able to

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Speaker 2: look at it as a whole. And I think taking

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Speaker 2: time with it because I was also doing writer camps

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Speaker 2: where I was you know, we go in and write

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Speaker 2: a song, and I would say, look, this is not

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Speaker 2: for me specifically. Let's just write a song that we

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Speaker 2: think is great wow, you know, and if I feel

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Speaker 2: like I can put my thing on it, then I

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Speaker 2: will go in and make my own. So I think

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Speaker 2: having that time to digest a lot of the music

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Speaker 2: it helped me with each song, where in comparison, making

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Speaker 2: something like twenty twenty experience that felt so quick. We

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Speaker 2: definitely sat with it for a while because we went

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Speaker 2: back in Tim and I and tinkered with all the interludes,

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Speaker 2: and all the kind of transitions. But I think I

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Speaker 2: also in having the experience of being able to work

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Speaker 2: in the studio at the level that I felt was

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Speaker 2: my best and having time to live my life. As

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Speaker 2: you go through life, you realize how important patience is.

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Speaker 2: And if I did have any keyword that was part

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Speaker 2: of a mission statement, like you said, then patience was

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Speaker 2: that because I would go back in and tinker with

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Speaker 2: each song so much until I felt like, okay, we

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Speaker 2: can take that part out, because tinkering sometimes is not

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Speaker 2: adding right, you know, Arranging your song sometimes is almost

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Speaker 2: like omitting a piece that you feel like maybe doesn't

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Speaker 2: make sense to you within that composition.

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Speaker 1: Yeah, right, when you're listening with that ear towards arrangement.

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Speaker 1: Do you think you've listened differently now than you did

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Speaker 1: when you were younger, maybe ten, fifteen, twenty years ago.

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Speaker 2: I think you become more adept at being able to understand.

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Speaker 2: But I think just through experience understand Oh, let's try

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Speaker 2: horns on this. Yeah, for instance, Oh, this this section

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Speaker 2: would be nice if we add an acoustic guitzar. And

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Speaker 2: then even like I said before, no, no, no, take

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Speaker 2: take the synth out right there, Like let the track

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Speaker 2: breathe while I'm saying this part over the song, and

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Speaker 2: so yeah, it's been an amazing process, really the most

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Speaker 2: gratifying process that I've had making an album, because I

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Speaker 2: really took this bull by the horns and was out

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Speaker 2: front producing everything. And I think also too, just gaining

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Speaker 2: more confidence and gaining more confidence because working with such

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Speaker 2: great producers throughout my career you pick up so much,

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Speaker 2: you know, you become a sponge in the studio, and

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Speaker 2: I've been lucky to work with producers that are humble

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Speaker 2: as well. They want to hear the artist's ideas, they

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Speaker 2: want to collaborate, and I've always been that way. I

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Speaker 2: enjoy collaborations so much, so I think, yeah, it led

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Speaker 2: us down this path and it's dense like all of

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Speaker 2: my albums. But I also feel like, I mean, I've

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Speaker 2: been in this industry since I was ten years old,

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Speaker 2: which seems crazy to say, but I don't think I've

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Speaker 2: ever taken a moment to really just stop and look

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Speaker 2: around and appreciate all of it collectively. You know, I

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Speaker 2: would reference certain moments and say, oh, that was amazing,

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Speaker 2: that was amazing, But I don't think I've ever set

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Speaker 2: back and looked at the whole of it to say,

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Speaker 2: look at how blessed I've been and lucky I've been

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Speaker 2: to have all these opportunities and to continue to work

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Speaker 2: not just in music but in film and in television,

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Speaker 2: and so it's been such an amazing ride. I think

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Speaker 2: this is the first time I really just stopped and said,

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Speaker 2: this is really something just to be gratified by.

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Speaker 1: Was it having kids that allowed you to maybe have

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Speaker 1: that perspective.

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Speaker 2: I don't think it hurt, you know. I think having

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Speaker 2: children will teach you a lot about yourself. You know,

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Speaker 2: before I had children, I heard people say things like, oh, yeah,

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Speaker 2: they pick us. Like when I heard people say that,

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Speaker 2: I was like someone burning incense. Yeah, it felt a

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Speaker 2: little guru e yeah. But what I do believe is

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Speaker 2: that they really show you who you are. And I

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Speaker 2: just like I said, I think I just I stopped

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Speaker 2: for the first time and looked at all the places

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Speaker 2: that I've been and all the things that I feel

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Speaker 2: like I've accomplished, and that energy got put into this album.

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Speaker 2: And that's really the title. Everything I thought it was,

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Speaker 2: you know, with every color of the rainbow of this

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Speaker 2: life so far and my passion being music, first to

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Speaker 2: be able to have lived a life as a creator.

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Speaker 2: I mean, it's just a really special thing. It's something

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Speaker 2: that when you gain some sort of success and it

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Speaker 2: starts to feel like, oh, let's keep this rolling, let's

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Speaker 2: keep this rolling. I think that can be sort of

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Speaker 2: a creative death trap that urged too, Like I got

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Speaker 2: a well two pret do something to create something on

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Speaker 2: a timer, you know, to have this pressure on yourself

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Speaker 2: to do that. And I don't think it's any mystery

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Speaker 2: that I take so much time in between albums because

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Speaker 2: I really enjoy living my life and it feeds me.

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Speaker 2: It feeds me as a creator, as a songwriter and

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Speaker 2: a producer, and as an artist. It's fed how I

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Speaker 2: even characterize my vocals on this record. How I sing

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Speaker 2: on this record?

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Speaker 3: Wow?

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Speaker 1: How do you mean?

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Speaker 2: I just think that there's songs on this album that

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Speaker 2: because of the way that I wrote them and because

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Speaker 2: they were coming these ideas and feelings were coming out

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Speaker 2: of me. I mean, we can continue to use conditions

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Speaker 2: as an example. When I go in to record the vocal,

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Speaker 2: it's almost like it's so ingrained in you that all

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Speaker 2: you have to do is speak the lyrics in the

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Speaker 2: melody that you've written because you know that the tone

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Speaker 2: will come across in such an honest.

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Speaker 1: Way that emotion was really Yeah.

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Speaker 2: To simplify it, I didn't have to find it.

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Speaker 1: Yeah.

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Speaker 2: You know some singers who are not songwriters, and even

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Speaker 2: songwriters that are singers as well. I've found two they

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Speaker 2: didn't get. In conversations with them sometimes they say, oh, yeah,

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Speaker 2: I didn't. I didn't feel it vocally that day, yeah,

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Speaker 2: you know, and I never I never had a moment

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Speaker 2: like that on this album. Everything felt like I call

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Speaker 2: it the carbonation where if if it's bubbling up for you,

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Speaker 2: then it's the thing to follow. It's like if anxiety

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Speaker 2: could be like a good thing. It's like, you know,

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Speaker 2: and all of these songs just when I went back

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Speaker 2: to sort of review them, because I've had I had

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Speaker 2: different iterations of this album, you know, with some of

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Speaker 2: the songs, and then I would write another song because

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Speaker 2: I was just like, well, let's write another one. Let's

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Speaker 2: see what happens. And I don't know if you ever

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Speaker 2: get to a point to where you're like, this is it.

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Speaker 2: It's done. But I think you get to a point

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Speaker 2: to where you can say, okay, I can put that

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Speaker 2: out in the world and let it live.

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Speaker 1: And feel good and feel good about it and it

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Speaker 1: feels honest. Yeah, after this quick break, we're coming back

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Speaker 1: with more from justin Timberlake. We're back with JT. You know,

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Speaker 1: I had it really considered it until you were expressing

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Speaker 1: that so much of this album the vocal was just there,

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Speaker 1: like the performance, the take was just there. Well, you

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Speaker 1: have to find your voice on it. To degree, do

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Speaker 1: you think acting and honing that craft has helped the

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Speaker 1: way you sing?

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Speaker 2: Absolutely? I mean I've sort of talked about that my

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Speaker 2: whole career because I get the question a lot, like well,

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Speaker 2: which one do you like better? And I was like, well,

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Speaker 2: you know, we're talking apples and oranges. I like them both. Yeah,

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Speaker 2: And I think what happens is I think we have

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Speaker 2: this nature as humans to be divisive, and I want

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Speaker 2: to be clear about not even in a negative way.

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Speaker 2: I mean, we can be divisive in a negative We've

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Speaker 2: all done it right, But I think we have to

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Speaker 2: find the sliver or category for why something is the

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Speaker 2: way that it is. And when I think about music

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Speaker 2: and film, to me, they feed each other so much.

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Speaker 2: I've been such a centophile since I was young and

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Speaker 2: I've been such a big fan of music since I

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Speaker 2: was young, and yeah, I could sort of we could

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Speaker 2: go back and talk about songs from my past, and

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Speaker 2: I could give you sort of a character because future

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Speaker 2: sex love sounds to me. When I was trying to

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Speaker 2: describe to people what it was, and I find myself

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Speaker 2: using film references. I said, it's like if James Bond

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Speaker 2: found himself in a Kubrick movie, or like he was

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Speaker 2: in Yeah, Eyes Wide Shut or two thousand and one,

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Speaker 2: you know, with how futuristic it sounded. So I don't know.

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Speaker 2: I find that each one feeds the other.

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Speaker 1: What was the reference on this one, or like if

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Speaker 1: you if you had one film.

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Speaker 2: Refer Oh, man, I shouldn't have done that, because now

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Speaker 2: you put me on the spot. No, no, no, I

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Speaker 2: honestly this album is the most me that I've ever been.

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Speaker 2: And at this point too, I've heard people say to me,

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Speaker 2: you don't you don't need to make an album?

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Speaker 1: Really people say that to you.

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Speaker 2: Yeah, yeah, they say, like, you know, you don't need

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Speaker 2: to do it, look at what you've done and you know,

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Speaker 2: and I'm just like, but I need to make music.

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Speaker 2: That's something that on a cellular level is a part

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Speaker 2: of me, and I think that energy went into this.

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Speaker 2: I think being a father and a husband that energy

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Speaker 2: went into this. But I think also having that moment

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Speaker 2: that I talked about before where you really sit back

380
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Speaker 2: and you're like, let me take stock and like, what

381
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Speaker 2: does this all mean at this point in my life?

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Speaker 2: What do I want to do and who do I

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Speaker 2: want to be? And I was just having those moments

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Speaker 2: about my life and they affected who I wanted to

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Speaker 2: be and what I wanted to say as an artist.

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Speaker 2: And I found myself weirdly enough when I would play

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Speaker 2: the album for close friends or people that I really respect,

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Speaker 2: like I would get a comment like, Oh, this sounds

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Speaker 2: like all of your albums before this in one album,

390
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Speaker 2: but new and fresh. And then I'd get comments like, oh,

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Speaker 2: this sounds like everything I thought I would want you

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Speaker 2: to make. And so it also led me to the

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Speaker 2: album title everything I thought it was.

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Speaker 1: It's sort of true, like there are moments throughout the

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Speaker 1: course of the eighteen songs that definitely feel like in emotion,

396
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Speaker 1: just feel like they reference other projects that you've done.

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Speaker 1: It's incredible.

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Speaker 2: It wasn't like this incredibly forefront conscious thing.

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Speaker 1: YEA, like Babe Ruth calling it hit and I'm gonna do.

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Speaker 2: Well to be honest with you, that to me is

401
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Speaker 2: another death trap. Yeah. Like I said, I think the

402
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Speaker 2: healthiest place to be is like I don't know absolutely.

403
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Speaker 2: I think I think that's the most important thing you

404
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Speaker 2: can learn in this life as and as an artist

405
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Speaker 2: or whatever your career is is to be able to

406
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Speaker 2: say I don't I don't know, which leads you to

407
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Speaker 2: the path of going, well, let me figure out what

408
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Speaker 2: it means to me.

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Speaker 1: Have you had moments where you've caught yourself feeling like

410
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Speaker 1: maybe I'm acting as if I know too much here?

411
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Speaker 2: Yeah, that's uh. That has to be where fuck around

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Speaker 2: and find out phrase is the most relative you know

413
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Speaker 2: what I mean? Because yeah, I think you get to

414
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Speaker 2: this point where you realize, oh, there's a lot that

415
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Speaker 2: there's a lot of experience I have and there's things

416
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Speaker 2: that I do know that I can always go back

417
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Speaker 2: to as north stars in creating. But that's the beauty

418
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Speaker 2: of making music is discovering something about yourself about the

419
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Speaker 2: music itself every time. And I think that for me,

420
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Speaker 2: that's why I never want to make exactly what I

421
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Speaker 2: did before. You always want to find new mountains to

422
00:24:31,716 --> 00:24:34,236
Speaker 2: climb or new landscapes to explore, and.

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Speaker 1: You definitely did some of that on here as well.

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Speaker 1: There's definitely stuff on here that sounds like it's a

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00:24:39,316 --> 00:24:41,836
Speaker 1: new color palette, even as there's other things that sound

426
00:24:41,916 --> 00:24:44,796
Speaker 1: reminiscent of things you've done. There's some a bit about

427
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Speaker 1: it that reminds me of like Man in the Woods.

428
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Speaker 1: Some of it reminds me like twenty twenty, but also

429
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Speaker 1: just feels like different. And there's another one of the

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Speaker 1: songs I was just struck by when it came on.

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Speaker 2: This is really fun for me, by the way, because

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Speaker 2: now that people are hearing the music, it's interesting to

433
00:24:59,996 --> 00:25:05,876
Speaker 2: me if they're fans of my music to hear I'm

434
00:25:05,916 --> 00:25:07,996
Speaker 2: gonna let you play it. I don't want to. I

435
00:25:08,076 --> 00:25:09,676
Speaker 2: want to tee this up too much, but it's just

436
00:25:09,796 --> 00:25:12,836
Speaker 2: cool for me to hear what that means to them.

437
00:25:13,036 --> 00:25:14,436
Speaker 1: Yeah, this was one of the first times in a

438
00:25:14,436 --> 00:25:17,156
Speaker 1: long time where I had a new album and I

439
00:25:17,236 --> 00:25:20,156
Speaker 1: listened to it, and I found myself really being surprised

440
00:25:20,196 --> 00:25:21,796
Speaker 1: with my reaction to certain things.

441
00:25:21,796 --> 00:25:24,796
Speaker 2: Oh wow, amazing, so and thank you. But I think

442
00:25:24,876 --> 00:25:28,076
Speaker 2: it also speaks to something else that I've discovered is

443
00:25:28,116 --> 00:25:32,876
Speaker 2: that when you make music, the success of it, the

444
00:25:32,916 --> 00:25:36,956
Speaker 2: biggest success of it is that you finished it, because

445
00:25:36,996 --> 00:25:38,476
Speaker 2: it was somewhere inside of you.

446
00:25:38,676 --> 00:25:39,396
Speaker 3: Yeah.

447
00:25:39,436 --> 00:25:41,836
Speaker 2: And I always think about the eight year old me that,

448
00:25:42,396 --> 00:25:45,596
Speaker 2: you know, in big shout out to my mother. She

449
00:25:45,916 --> 00:25:49,796
Speaker 2: played me so many different types of music growing up,

450
00:25:50,356 --> 00:25:51,836
Speaker 2: you know, on the way to school, on the way

451
00:25:51,836 --> 00:25:54,476
Speaker 2: home from school, on the way to the dentist, on

452
00:25:54,556 --> 00:25:57,836
Speaker 2: the way to the you know, wherever. You know, if

453
00:25:57,836 --> 00:26:00,236
Speaker 2: I was to try to pick a playlist, for instance,

454
00:26:00,316 --> 00:26:02,796
Speaker 2: or make a playlist from the time I was eight

455
00:26:02,836 --> 00:26:06,996
Speaker 2: years old until I was like fourteen, it's so incredibly diverse.

456
00:26:07,076 --> 00:26:09,356
Speaker 2: And that's because I just grew up in a really

457
00:26:09,436 --> 00:26:13,236
Speaker 2: musical family and my mother was such a big fan

458
00:26:13,436 --> 00:26:16,596
Speaker 2: of all these different styles of music that she would

459
00:26:16,636 --> 00:26:20,716
Speaker 2: play me so many different things. And I think about

460
00:26:20,716 --> 00:26:23,676
Speaker 2: it a lot these days because and probably because I

461
00:26:23,756 --> 00:26:27,316
Speaker 2: have children as well, and I see how their influence

462
00:26:27,516 --> 00:26:29,236
Speaker 2: or they're just pick things that they like.

463
00:26:29,516 --> 00:26:31,116
Speaker 1: Yeah, what are your kids like?

464
00:26:31,556 --> 00:26:35,156
Speaker 2: They like everything? You know. My three year old's favorite

465
00:26:35,156 --> 00:26:38,876
Speaker 2: song at the moment, careless whisper and knows every word.

466
00:26:39,156 --> 00:26:41,676
Speaker 1: What, Yeah, did you play it for?

467
00:26:42,116 --> 00:26:42,516
Speaker 2: No?

468
00:26:42,516 --> 00:26:42,716
Speaker 4: No?

469
00:26:42,836 --> 00:26:46,596
Speaker 2: He I think my nanny when she was putting him

470
00:26:46,636 --> 00:26:49,556
Speaker 2: down for a nap because I sing songs for them.

471
00:26:49,636 --> 00:26:52,236
Speaker 2: You know. Smile is a big one for Silas my

472
00:26:52,356 --> 00:26:56,116
Speaker 2: oldest and Fineas my youngest. You know, Smiles a big

473
00:26:56,156 --> 00:26:59,276
Speaker 2: one for bedtime. In nap time, I would sing Ribbon

474
00:26:59,276 --> 00:27:02,756
Speaker 2: in the Sky. We would obviously go to things like

475
00:27:02,876 --> 00:27:06,116
Speaker 2: Somewhere over the Rainbow or things like that, but I

476
00:27:06,116 --> 00:27:10,796
Speaker 2: would sing a song for you, Donnie Hathaway version. Yeah,

477
00:27:10,836 --> 00:27:13,996
Speaker 2: it's been interesting. My eight year old is now at

478
00:27:13,996 --> 00:27:16,196
Speaker 2: a place with like his friends in school where he's

479
00:27:16,276 --> 00:27:19,476
Speaker 2: really gotten turned onto my music. So it's cool to

480
00:27:19,516 --> 00:27:24,276
Speaker 2: see him. He was for two weeks he was like

481
00:27:24,716 --> 00:27:27,516
Speaker 2: crime River, crimea River. He just loved that song. And

482
00:27:27,556 --> 00:27:30,236
Speaker 2: then two weeks after that he was like chop me

483
00:27:30,356 --> 00:27:33,236
Speaker 2: up from Future Sex Love Sounds, And I was like,

484
00:27:33,796 --> 00:27:37,916
Speaker 2: you have such you know, like it's cool to see

485
00:27:38,156 --> 00:27:41,796
Speaker 2: them experience all this work that you've put into before

486
00:27:41,796 --> 00:27:45,556
Speaker 2: they got here. Yeah, you know, and yeah, he's he's

487
00:27:45,636 --> 00:27:46,116
Speaker 2: into it.

488
00:27:46,196 --> 00:27:48,356
Speaker 1: So that's kind of bugged them ount too that It's

489
00:27:48,436 --> 00:27:51,076
Speaker 1: like because again, like their experience of you is like

490
00:27:51,116 --> 00:27:54,356
Speaker 1: their three years or their eight years of existence. Sure,

491
00:27:54,436 --> 00:27:58,036
Speaker 1: and then you've had this whole incredible life prior to them,

492
00:27:58,036 --> 00:28:00,476
Speaker 1: and I think that really boggles kids' minds.

493
00:28:00,516 --> 00:28:03,716
Speaker 2: You know, yeah, it'll be it'll be interesting to have

494
00:28:03,796 --> 00:28:06,836
Speaker 2: conversations with them when they get older, yeah, to kind

495
00:28:06,836 --> 00:28:09,036
Speaker 2: of walk them through what it was, what it's all

496
00:28:09,236 --> 00:28:10,956
Speaker 2: been like up until this point. I mean, don't get

497
00:28:10,996 --> 00:28:13,116
Speaker 2: me wrong, I'm not I don't want to stop, you

498
00:28:13,156 --> 00:28:15,996
Speaker 2: know what I mean. But but I was. I was

499
00:28:15,996 --> 00:28:18,956
Speaker 2: getting to a point of when you were saying, you know,

500
00:28:19,236 --> 00:28:21,276
Speaker 2: whatever you're about to play reminded you of something from

501
00:28:21,276 --> 00:28:23,996
Speaker 2: Man of the Woods and twenty twenty experience, because I

502
00:28:24,036 --> 00:28:25,876
Speaker 2: was having this conversation the other day too, and I

503
00:28:25,916 --> 00:28:28,876
Speaker 2: think funny enough, I think Rick Rubin touches on this

504
00:28:28,916 --> 00:28:31,676
Speaker 2: where it's like, once the song's finished and it's out

505
00:28:31,716 --> 00:28:35,196
Speaker 2: in the world, your your work is done. I remember

506
00:28:35,236 --> 00:28:37,236
Speaker 2: when I put out Justified, and I was like, I

507
00:28:37,316 --> 00:28:40,396
Speaker 2: was so happy that that I felt like I made

508
00:28:40,396 --> 00:28:43,276
Speaker 2: an R and B album, And then like the first

509
00:28:43,276 --> 00:28:45,396
Speaker 2: week of reviews. You know, I'm twenty one, twenty two

510
00:28:45,476 --> 00:28:48,876
Speaker 2: at the time, first week of reviews its categorized in

511
00:28:48,916 --> 00:28:53,316
Speaker 2: the pop albums and I was like, what you know

512
00:28:54,076 --> 00:28:58,916
Speaker 2: and stop, oh thanks, I mean it's also a pop album,

513
00:28:59,036 --> 00:29:02,036
Speaker 2: you know what I mean, well at this point too,

514
00:29:02,116 --> 00:29:05,876
Speaker 2: like why are we even talking about genres? Like why why?

515
00:29:05,956 --> 00:29:10,236
Speaker 2: And also too like why are we again? This goes

516
00:29:10,276 --> 00:29:13,596
Speaker 2: to maybe like our divisive nature as humans, why are

517
00:29:13,596 --> 00:29:16,996
Speaker 2: we so quick to say that it doesn't make sense

518
00:29:17,036 --> 00:29:19,796
Speaker 2: for an artist to try something new, to put on

519
00:29:19,876 --> 00:29:25,836
Speaker 2: a different whole outfit and experience that for themselves, you

520
00:29:25,876 --> 00:29:29,196
Speaker 2: may get something unbelievable. It's like when Dylan went from

521
00:29:29,236 --> 00:29:32,196
Speaker 2: acoustic to electric and it was like, you know, he

522
00:29:32,236 --> 00:29:34,476
Speaker 2: would have thought he said something crazy, like you know,

523
00:29:34,636 --> 00:29:37,356
Speaker 2: his fans specifically, I mean, how even.

524
00:29:37,156 --> 00:29:40,396
Speaker 1: He goes into a gospel and people like deride them

525
00:29:40,436 --> 00:29:42,556
Speaker 1: for a lot. I mean, now people love those.

526
00:29:42,396 --> 00:29:46,596
Speaker 2: Records totally, totally. So that's been a real lesson throughout

527
00:29:46,596 --> 00:29:52,036
Speaker 2: my career as well, to say, once you finish the

528
00:29:52,076 --> 00:29:54,916
Speaker 2: song and the album and you put it out in

529
00:29:54,956 --> 00:29:57,916
Speaker 2: the world, that's the beauty of it. That's to me,

530
00:29:58,116 --> 00:30:01,156
Speaker 2: one of the most beautiful parts about art is that

531
00:30:01,196 --> 00:30:03,756
Speaker 2: we take it and we put it into our system

532
00:30:03,796 --> 00:30:06,236
Speaker 2: and our life and we make it our own, and

533
00:30:06,276 --> 00:30:09,276
Speaker 2: that is naturally going to make it something different. You know,

534
00:30:09,356 --> 00:30:11,996
Speaker 2: you think back to there's certain songs that if you

535
00:30:12,116 --> 00:30:17,276
Speaker 2: heard out of nowhere, might trigger Uh. Oh, I remember

536
00:30:17,316 --> 00:30:19,836
Speaker 2: this summer when this song came out and all of

537
00:30:19,836 --> 00:30:22,796
Speaker 2: a sudden, your senses go back to that place.

538
00:30:23,596 --> 00:30:26,036
Speaker 1: Dude, I'll be real with you. When when I was

539
00:30:26,236 --> 00:30:29,276
Speaker 1: doing a lot of listening for this mayor Christmas Happy

540
00:30:29,316 --> 00:30:32,756
Speaker 1: Holidays came up and I was like, yo, I didn't

541
00:30:32,756 --> 00:30:35,396
Speaker 1: thought about this in a minute, and it instantly just

542
00:30:35,516 --> 00:30:36,236
Speaker 1: put me in a time.

543
00:30:36,476 --> 00:30:38,516
Speaker 2: You write where they were when you heard it.

544
00:30:38,396 --> 00:30:39,836
Speaker 1: And it was a beautiful experience.

545
00:30:41,116 --> 00:30:45,756
Speaker 2: Yeah, you like you smelled the cinnamon from the egg nod.

546
00:30:46,676 --> 00:30:49,436
Speaker 1: Christmas was like you know, I was responsible for nothing.

547
00:30:49,436 --> 00:30:52,476
Speaker 2: It was pure joy, was exactly you were. Just you

548
00:30:52,516 --> 00:30:56,436
Speaker 2: couldn't wait to open up those presents. Yeah. Yeah, but

549
00:30:56,436 --> 00:31:00,156
Speaker 2: but I think it's been fun to see the reaction

550
00:31:00,276 --> 00:31:01,676
Speaker 2: to people even closest to me.

551
00:31:02,956 --> 00:31:05,836
Speaker 1: How's your wife process this stuff, like your music, your

552
00:31:05,876 --> 00:31:06,396
Speaker 1: new record?

553
00:31:07,596 --> 00:31:11,956
Speaker 2: Oh well, she loves it, thank god. Now would she

554
00:31:12,036 --> 00:31:14,636
Speaker 2: be honest with me. There's actually a couple of songs

555
00:31:14,636 --> 00:31:16,516
Speaker 2: that I wasn't going to put on the album that

556
00:31:16,556 --> 00:31:21,996
Speaker 2: she was insistent that I put on the album alone.

557
00:31:23,276 --> 00:31:27,356
Speaker 1: Almost do you listen with her?

558
00:31:27,396 --> 00:31:30,716
Speaker 2: Yeah, she comes, she comes to the studio and yeah,

559
00:31:30,836 --> 00:31:33,516
Speaker 2: I can always tell when my friends and family come

560
00:31:33,596 --> 00:31:36,076
Speaker 2: to the studio. If it's a song with tempo and

561
00:31:36,076 --> 00:31:39,516
Speaker 2: we're getting the heads or bobbin and people are moving,

562
00:31:40,436 --> 00:31:44,636
Speaker 2: then we're onto something for other songs too, Like you

563
00:31:44,676 --> 00:31:47,436
Speaker 2: can tell if you're getting a reaction by the people

564
00:31:47,476 --> 00:31:50,916
Speaker 2: closest to you, who know you the best. But it

565
00:31:50,956 --> 00:31:55,356
Speaker 2: really made me realize again and I was able to

566
00:31:55,396 --> 00:31:59,876
Speaker 2: metabolize it this time for myself that once you do

567
00:31:59,956 --> 00:32:04,956
Speaker 2: finish that thing, you know everybody's going to interpret it

568
00:32:04,996 --> 00:32:07,756
Speaker 2: the way that they do. That's a beautiful thing, you know,

569
00:32:07,836 --> 00:32:09,876
Speaker 2: That's what that's what it's for. That's what I used

570
00:32:09,876 --> 00:32:12,156
Speaker 2: to do when I was a kid, you know. I mean,

571
00:32:12,636 --> 00:32:15,196
Speaker 2: you go to an art gallery and five people could

572
00:32:15,236 --> 00:32:16,716
Speaker 2: be standing in front of a painting and they're all

573
00:32:16,716 --> 00:32:17,916
Speaker 2: going to get something different from it.

574
00:32:18,276 --> 00:32:20,756
Speaker 1: Some people love it, so people think it's shit. Some

575
00:32:20,836 --> 00:32:23,116
Speaker 1: people think that I could do that. Some people can.

576
00:32:23,116 --> 00:32:25,396
Speaker 2: And by the way, and by the way, those reactions

577
00:32:25,436 --> 00:32:27,876
Speaker 2: could be literally based on what happened to them fifteen

578
00:32:27,876 --> 00:32:31,276
Speaker 2: minutes ago. Yeah, but that's the beauty of art is

579
00:32:31,316 --> 00:32:32,916
Speaker 2: we put it in our lives. I mean, how many

580
00:32:32,956 --> 00:32:36,276
Speaker 2: times have I gone to a movie Because before I

581
00:32:36,276 --> 00:32:37,876
Speaker 2: had children, I used to love to go to the

582
00:32:37,916 --> 00:32:40,916
Speaker 2: movies by myself. I was sneaking to theaters and go

583
00:32:40,956 --> 00:32:43,596
Speaker 2: to the movies by myself, sit in the back best.

584
00:32:43,916 --> 00:32:45,556
Speaker 2: It's like the best two hour checkout.

585
00:32:45,636 --> 00:32:45,716
Speaker 4: Right.

586
00:32:45,756 --> 00:32:48,396
Speaker 2: Oh wait till that comes back and you think you're

587
00:32:48,396 --> 00:32:50,956
Speaker 2: going there to escape, But the first thing you do

588
00:32:51,076 --> 00:32:54,116
Speaker 2: is you go, oh, I've done that. Oh yeah that's me,

589
00:32:54,276 --> 00:32:57,076
Speaker 2: or oh yep, that reminds me of my dad.

590
00:32:57,316 --> 00:33:00,236
Speaker 1: Yeah you know, yeah, you think that's It's gate you engage, you.

591
00:33:00,196 --> 00:33:03,796
Speaker 2: Start to relate, you start to connect, and you connect

592
00:33:03,836 --> 00:33:07,556
Speaker 2: based on your own life experiences. And that's been a

593
00:33:07,596 --> 00:33:11,836
Speaker 2: really freeing thing for me to really bring to myself

594
00:33:11,956 --> 00:33:13,556
Speaker 2: because I feel like it was always there, but I

595
00:33:13,596 --> 00:33:16,876
Speaker 2: really couldn't. You know, maybe when you're younger and you

596
00:33:16,876 --> 00:33:20,196
Speaker 2: you have this healthy ego, you want people to understand

597
00:33:20,276 --> 00:33:25,876
Speaker 2: who you are more than anything, right, definitely, but they don't,

598
00:33:26,396 --> 00:33:28,996
Speaker 2: you know, not fully. Only you can do that. And

599
00:33:29,356 --> 00:33:31,596
Speaker 2: that's also a beautiful place to arrive too, because I

600
00:33:31,596 --> 00:33:34,076
Speaker 2: think it gives you gives you a layer of self

601
00:33:34,116 --> 00:33:38,236
Speaker 2: love that you didn't have before. So anyways, I'm rambling on,

602
00:33:38,276 --> 00:33:40,116
Speaker 2: but I want to hear what song reminded you of

603
00:33:40,116 --> 00:33:40,956
Speaker 2: those two albums.

604
00:33:41,036 --> 00:33:58,436
Speaker 1: Okay, let's listen to some sanctified Okay.

605
00:33:51,956 --> 00:33:52,276
Speaker 3: You know.

606
00:33:53,716 --> 00:33:56,516
Speaker 2: I don't want to know how then not get out

607
00:33:56,516 --> 00:33:57,036
Speaker 2: of control?

608
00:33:57,556 --> 00:33:58,996
Speaker 3: The bringing me down?

609
00:33:59,916 --> 00:34:05,836
Speaker 2: Yeah, you know I'm walking this amazing.

610
00:34:07,436 --> 00:34:13,076
Speaker 1: I know you a good one. That's crazy track.

611
00:34:13,276 --> 00:34:13,836
Speaker 2: Thanks man.

612
00:34:14,196 --> 00:34:17,236
Speaker 1: What was the initial spark for that song?

613
00:34:17,996 --> 00:34:22,276
Speaker 2: Well, my co producers Rob Knox and Danger along with

614
00:34:22,316 --> 00:34:26,756
Speaker 2: my guitarists. I think the discussion came up like can

615
00:34:26,836 --> 00:34:30,716
Speaker 2: you make trap swing? And so that's why the drum

616
00:34:30,756 --> 00:34:32,596
Speaker 2: sounds in the verses are the way they are. It's

617
00:34:32,636 --> 00:34:37,316
Speaker 2: tight sonically, it's very tight. And then you know, there's

618
00:34:38,156 --> 00:34:43,196
Speaker 2: there's blues, there's gospel, there's R and B, there's hip hop,

619
00:34:43,476 --> 00:34:48,436
Speaker 2: there's rock and roll, all within this this one song. Yeah,

620
00:34:48,476 --> 00:34:51,356
Speaker 2: And it was a little bit of a blackout making

621
00:34:51,396 --> 00:34:53,236
Speaker 2: that song. But I remember when we were done, we

622
00:34:53,276 --> 00:34:54,996
Speaker 2: just all looked at each other like what did we

623
00:34:55,116 --> 00:34:59,116
Speaker 2: just do? Yeah, that's a special one. I love that song.

624
00:34:59,156 --> 00:35:00,756
Speaker 2: I can't wait to perform that song on tour.

625
00:35:01,276 --> 00:35:03,276
Speaker 1: Song is gonna go crazy, you know, And we.

626
00:35:03,196 --> 00:35:05,916
Speaker 2: Did SNL and having Toby on it as well.

627
00:35:06,396 --> 00:35:08,916
Speaker 1: Toby's on it. When did you get Toby on?

628
00:35:09,196 --> 00:35:12,356
Speaker 2: I just got turned on to him. Like I stumbled

629
00:35:12,436 --> 00:35:16,196
Speaker 2: upon his music and I just went into a rabbit

630
00:35:16,236 --> 00:35:18,356
Speaker 2: hole of the stuff he had done up until that point,

631
00:35:18,876 --> 00:35:24,156
Speaker 2: and I was like, man, this guy is incredible. And

632
00:35:24,196 --> 00:35:26,156
Speaker 2: you ask him who his favorite rappers are, He's like

633
00:35:26,716 --> 00:35:30,836
Speaker 2: three thousand, Lauren Hill. I don't know who his top

634
00:35:30,876 --> 00:35:32,596
Speaker 2: five is, but I know those were in his top

635
00:35:32,596 --> 00:35:34,796
Speaker 2: five because we talked about it, and You're like, it

636
00:35:34,876 --> 00:35:39,236
Speaker 2: makes sense. He's just really, really special. And there was

637
00:35:39,276 --> 00:35:43,316
Speaker 2: something about the gravel of his voice. He sounds like

638
00:35:43,316 --> 00:35:46,716
Speaker 2: a preacher and I was like, that's it. That guy

639
00:35:46,956 --> 00:35:49,436
Speaker 2: on this song. I just want to see what he

640
00:35:49,436 --> 00:35:53,476
Speaker 2: would do. And so it's funny. I set up like

641
00:35:54,076 --> 00:35:56,476
Speaker 2: a face time with him. He was like, I didn't

642
00:35:56,476 --> 00:35:58,196
Speaker 2: even know you knew any of my music, and I

643
00:35:58,276 --> 00:36:00,796
Speaker 2: was like, I'd love to collaborate with you, and I

644
00:36:00,836 --> 00:36:04,116
Speaker 2: think I have something that I just hear your voice on.

645
00:36:04,756 --> 00:36:07,836
Speaker 2: And he came and met me. I was working in

646
00:36:07,876 --> 00:36:10,196
Speaker 2: Miami at the time. This is one of those like

647
00:36:10,236 --> 00:36:12,916
Speaker 2: two week writer trips. I was at Dangers Studio in

648
00:36:13,036 --> 00:36:16,676
Speaker 2: Miami and I played it for him and he was like,

649
00:36:18,156 --> 00:36:21,636
Speaker 2: it was like you saw this spark go off and

650
00:36:21,676 --> 00:36:25,036
Speaker 2: he was like, Okay, that's it. I'm getting on this song.

651
00:36:25,436 --> 00:36:27,476
Speaker 2: It was like he claimed it, and that's when I

652
00:36:27,516 --> 00:36:29,596
Speaker 2: knew it was gonna end up being special in his verses,

653
00:36:29,756 --> 00:36:34,836
Speaker 2: insane insane, And he went into another room for like,

654
00:36:35,116 --> 00:36:38,196
Speaker 2: I don't know, a couple of hours and like really

655
00:36:38,236 --> 00:36:40,636
Speaker 2: perfected what he wanted to say on the record and

656
00:36:40,716 --> 00:36:43,596
Speaker 2: listen to my lyrics because I had had the song

657
00:36:43,676 --> 00:36:46,676
Speaker 2: done up until that point. Once I met with him,

658
00:36:46,796 --> 00:36:51,316
Speaker 2: and once once we actually got together in the studio,

659
00:36:51,836 --> 00:36:56,996
Speaker 2: it was just like another kindred spirit. Yeah, man, he's special,

660
00:36:57,196 --> 00:36:57,916
Speaker 2: special artist.

661
00:36:58,316 --> 00:36:59,676
Speaker 1: I want to play another one.

662
00:37:00,156 --> 00:37:06,516
Speaker 2: Okay, we'll play a bit of play m. I've been

663
00:37:06,596 --> 00:37:10,876
Speaker 2: making first impressions since I was Bally and levin Stead

664
00:37:10,956 --> 00:37:13,156
Speaker 2: come around, you give a lesson.

665
00:37:14,516 --> 00:37:17,716
Speaker 1: Aday. There's so much weird shit in that song, but

666
00:37:17,756 --> 00:37:19,836
Speaker 1: it sounds like a club hit. It's like what is

667
00:37:19,876 --> 00:37:20,436
Speaker 1: going on?

668
00:37:20,676 --> 00:37:24,836
Speaker 2: Like yeah, that's I mean, that started with a groove. Actually,

669
00:37:24,876 --> 00:37:28,036
Speaker 2: Ryan Tedter sent sent me the idea for that, and

670
00:37:28,076 --> 00:37:30,996
Speaker 2: he was like, he goes, I did something that You're

671
00:37:30,996 --> 00:37:33,356
Speaker 2: the only human in the world who will understand it.

672
00:37:33,556 --> 00:37:35,316
Speaker 2: And he pitched that to me the same way I

673
00:37:35,436 --> 00:37:37,316
Speaker 2: pitched Sanctified to Toby's, Like I just want to hear

674
00:37:37,316 --> 00:37:40,156
Speaker 2: what you would do with this. I was also in

675
00:37:40,196 --> 00:37:44,156
Speaker 2: the studio with Danger at the time, and we both

676
00:37:44,196 --> 00:37:46,876
Speaker 2: both got the idea and we just started beefing it up,

677
00:37:47,356 --> 00:37:49,236
Speaker 2: you know, just beefing up the track because Ryan had

678
00:37:49,236 --> 00:37:52,916
Speaker 2: sent me just like a scale idea, right, and he

679
00:37:52,996 --> 00:37:58,476
Speaker 2: had like a verse and a chorus idea, and which

680
00:37:58,516 --> 00:38:00,636
Speaker 2: is not far off where we landed at the end

681
00:38:00,676 --> 00:38:03,556
Speaker 2: of the song, at the end of creating a song. Yeah,

682
00:38:03,596 --> 00:38:05,236
Speaker 2: it just it's a it's a libe.

683
00:38:05,316 --> 00:38:09,476
Speaker 1: We didn't have that. That was or I don't want

684
00:38:09,516 --> 00:38:10,636
Speaker 1: to sing you to you and I know.

685
00:38:11,116 --> 00:38:16,716
Speaker 2: No, no, no, go ahead, I'm not going. I always

686
00:38:16,716 --> 00:38:18,516
Speaker 2: do that to Timberland in the studio and he's like, man,

687
00:38:18,556 --> 00:38:22,356
Speaker 2: when you sang the if I wrote you and then

688
00:38:22,396 --> 00:38:24,196
Speaker 2: he won't go up and I'm like, no, keep going,

689
00:38:24,276 --> 00:38:30,436
Speaker 2: keep going. That's my brother, man. Yeah, it had that

690
00:38:30,516 --> 00:38:35,316
Speaker 2: sort of walk down at first in the in the verse.

691
00:38:35,396 --> 00:38:37,516
Speaker 2: That was kind of an idea that I think Ryan

692
00:38:37,596 --> 00:38:40,756
Speaker 2: had and and the co writer who wrote with me,

693
00:38:40,836 --> 00:38:45,476
Speaker 2: Michael Pollock, great songwriter as well, and yeah, it just

694
00:38:45,556 --> 00:38:49,636
Speaker 2: needed the heel on the floor, so to speak. Dude.

695
00:38:49,676 --> 00:38:53,036
Speaker 1: It has that feel of like like parliament, you know

696
00:38:53,076 --> 00:38:56,436
Speaker 1: what I mean where it's yeah.

697
00:38:57,876 --> 00:39:00,716
Speaker 2: Yeah. Another shout out to Adam Blackstone, who played the

698
00:39:00,756 --> 00:39:04,396
Speaker 2: bass on that. It's interesting too, like there's a synth

699
00:39:04,516 --> 00:39:06,396
Speaker 2: that there's a low scent that comes in on the

700
00:39:06,436 --> 00:39:09,916
Speaker 2: bridge on that song that I don't know. For whatever reason,

701
00:39:09,956 --> 00:39:13,236
Speaker 2: it reminded me of DJ quick and I can't I

702
00:39:13,316 --> 00:39:15,836
Speaker 2: don't know why, but I think if you like it's

703
00:39:15,836 --> 00:39:18,876
Speaker 2: interesting you said Parliament, because I think if you, if

704
00:39:18,876 --> 00:39:20,636
Speaker 2: you go back and listen to a lot of quicks

705
00:39:21,236 --> 00:39:25,916
Speaker 2: records as well, like it's got that saying whoom. Yeah,

706
00:39:25,956 --> 00:39:27,396
Speaker 2: you know he's got a lot of that.

707
00:39:27,436 --> 00:39:29,236
Speaker 1: I mean, I love that Quicks of reference for you.

708
00:39:29,516 --> 00:39:34,076
Speaker 2: Oh dude, I mean one of the goats. Yeah, but underrated,

709
00:39:34,156 --> 00:39:38,556
Speaker 2: criminally underrated. Yes, justice for DJ quick Man. Come on.

710
00:39:38,756 --> 00:39:40,716
Speaker 2: I think he's doing fine. He seems happy.

711
00:39:40,756 --> 00:39:41,436
Speaker 1: I'm sure he's great.

712
00:39:41,636 --> 00:39:46,156
Speaker 2: Yeah, I don't know him personally. Actually, my favorite part

713
00:39:46,196 --> 00:39:49,316
Speaker 2: of the song is is the little outro part where

714
00:39:49,316 --> 00:39:51,556
Speaker 2: you think the song's ended, just like go until we

715
00:39:51,596 --> 00:39:52,356
Speaker 2: bring the horns in.

716
00:39:52,436 --> 00:39:54,596
Speaker 1: There's a lot of tricky stuff to me, like technicol

717
00:39:54,596 --> 00:39:56,596
Speaker 1: it like it switches like halfway through.

718
00:39:56,556 --> 00:39:58,436
Speaker 2: Like well, that's my favorite song currently.

719
00:39:58,516 --> 00:40:01,396
Speaker 1: That's my favorite let's talk about it.

720
00:40:01,436 --> 00:40:05,476
Speaker 2: And originally those two parts had nothing to do with

721
00:40:05,516 --> 00:40:09,756
Speaker 2: each other. Separate song, just totally separate songs. And the

722
00:40:09,916 --> 00:40:14,116
Speaker 2: interlude at the beginning, which I called never Get Enough interlude,

723
00:40:14,836 --> 00:40:17,916
Speaker 2: that's what we were calling it before, and I think

724
00:40:17,956 --> 00:40:23,676
Speaker 2: it was like originally a full step higher than Technicolor,

725
00:40:23,716 --> 00:40:27,116
Speaker 2: and we were just working on that. Originally, Technicolor started

726
00:40:27,116 --> 00:40:29,596
Speaker 2: with that reverse guitar that comes in as this what

727
00:40:29,756 --> 00:40:33,116
Speaker 2: feels like the second part of the song, right, and

728
00:40:33,716 --> 00:40:37,676
Speaker 2: that would have been enough, I'm sure, But for some reason,

729
00:40:37,676 --> 00:40:41,316
Speaker 2: we were working on that on the interlude, and I said, wait,

730
00:40:41,436 --> 00:40:44,836
Speaker 2: let's drop this to the same key as what we're

731
00:40:44,876 --> 00:40:49,116
Speaker 2: working on with Technicolor. And for whatever reason, like all

732
00:40:49,116 --> 00:40:50,676
Speaker 2: of a sudden, it just started making sense to me

733
00:40:50,716 --> 00:40:55,396
Speaker 2: that this is just one piece of music, because actually,

734
00:40:55,836 --> 00:40:58,556
Speaker 2: when I played the album first, when I played it

735
00:40:58,596 --> 00:41:01,676
Speaker 2: for my team, originally those two parts were broken up,

736
00:41:01,876 --> 00:41:03,716
Speaker 2: really yeah, they were broken up, and it was called

737
00:41:03,716 --> 00:41:06,596
Speaker 2: and never Get Enough interlude into.

738
00:41:06,116 --> 00:41:08,796
Speaker 1: So you already had it like a version of the album,

739
00:41:08,836 --> 00:41:10,396
Speaker 1: really had it separate.

740
00:41:10,236 --> 00:41:12,356
Speaker 2: Oh yeah, wow. And then I said, you know what

741
00:41:12,516 --> 00:41:14,796
Speaker 2: this is just to me, this is one piece of music.

742
00:41:15,316 --> 00:41:18,436
Speaker 2: The first two minutes of it, which I guess to

743
00:41:18,556 --> 00:41:21,996
Speaker 2: me are the interlude to the song. I don't know.

744
00:41:21,996 --> 00:41:23,996
Speaker 2: I feel like they set you up for what it is.

745
00:41:24,036 --> 00:41:25,996
Speaker 2: It just to me, all of a sudden, it was like, no,

746
00:41:26,116 --> 00:41:28,796
Speaker 2: this is one composition, this is one piece of music.

747
00:41:28,996 --> 00:41:34,636
Speaker 1: You're really not afraid to mash things together, merge them together,

748
00:41:35,436 --> 00:41:40,476
Speaker 1: make songs longer than other people would would dare make

749
00:41:40,516 --> 00:41:43,636
Speaker 1: a song? And is it something you're listening to coming

750
00:41:43,716 --> 00:41:46,356
Speaker 1: up or what is that that allows you to feel

751
00:41:46,396 --> 00:41:49,076
Speaker 1: that freedom to not be confined to like just a

752
00:41:49,276 --> 00:41:51,236
Speaker 1: typical pop song structure.

753
00:41:51,556 --> 00:41:54,196
Speaker 2: What's interesting you have that book right there because that

754
00:41:54,796 --> 00:41:57,716
Speaker 2: a night at the opera. Queen. Yeah, you got a

755
00:41:57,836 --> 00:42:00,356
Speaker 2: Queen Coffee table book right here for those of you listening,

756
00:42:00,716 --> 00:42:04,836
Speaker 2: there's a Queen Coffee table book. When my parents divorced

757
00:42:05,516 --> 00:42:07,636
Speaker 2: and I would go, you know, like the weekends with

758
00:42:07,716 --> 00:42:10,236
Speaker 2: my father, he had a record player and he had

759
00:42:10,276 --> 00:42:12,996
Speaker 2: a night at the opera that was probably about nine

760
00:42:13,076 --> 00:42:16,436
Speaker 2: or ten years old, and I remember seeing the album cover,

761
00:42:17,196 --> 00:42:22,276
Speaker 2: you know, this like sort of psychedelic art, and I

762
00:42:22,316 --> 00:42:24,716
Speaker 2: was like, I want to know what that music sounds like.

763
00:42:24,716 --> 00:42:28,596
Speaker 2: And I remember I got to Bohemian Rhapsody right. And

764
00:42:28,676 --> 00:42:31,476
Speaker 2: obviously that song's been referenced in so many different ways,

765
00:42:31,476 --> 00:42:34,796
Speaker 2: like you always think of like Wayne's World. But I

766
00:42:34,836 --> 00:42:39,676
Speaker 2: remember thinking, like whatever they were doing in comparison to

767
00:42:39,716 --> 00:42:42,116
Speaker 2: the songs I'm hearing on the radio that are three

768
00:42:42,156 --> 00:42:45,556
Speaker 2: minutes at a time, there's no rules for these guys.

769
00:42:46,196 --> 00:42:49,356
Speaker 2: Whoever this is, there's no rules for these guys. And

770
00:42:49,396 --> 00:42:52,116
Speaker 2: look at what it turns into. It's like it's an

771
00:42:52,116 --> 00:42:57,076
Speaker 2: opera within itself. And I remember also, and these are

772
00:42:57,076 --> 00:42:58,996
Speaker 2: things that are just coming to me right now. So

773
00:42:59,596 --> 00:43:04,836
Speaker 2: I remember also hearing the not faded out version of

774
00:43:04,876 --> 00:43:07,716
Speaker 2: God to Give It Up by Marvin Gay, and you

775
00:43:07,756 --> 00:43:09,716
Speaker 2: know it's like, oh, yeah, they used to cut song

776
00:43:09,796 --> 00:43:14,356
Speaker 2: short because vinyls only had so much space. Yeah, so

777
00:43:14,516 --> 00:43:17,236
Speaker 2: you just would fade out. Yeah, that's why fades were

778
00:43:17,236 --> 00:43:21,396
Speaker 2: a thing, right, Not that that's like the reason to

779
00:43:21,516 --> 00:43:24,396
Speaker 2: do it now that we have all any available space

780
00:43:24,436 --> 00:43:26,516
Speaker 2: you want to make a song. Yeah, I don't know.

781
00:43:26,556 --> 00:43:28,836
Speaker 2: It's just it's a feeling because like your reference play,

782
00:43:28,836 --> 00:43:30,956
Speaker 2: I mean, I think that song is like under three minutes.

783
00:43:31,396 --> 00:43:34,316
Speaker 2: I think I could be wrong, though, Well I'm proving

784
00:43:34,356 --> 00:43:36,196
Speaker 2: your point clearly that I don't pay attention to how

785
00:43:36,236 --> 00:43:38,316
Speaker 2: long or short songs are because I don't even know

786
00:43:38,356 --> 00:43:41,236
Speaker 2: what the time code is. Three and a half three

787
00:43:41,276 --> 00:43:43,756
Speaker 2: and a half, okay, well without the outro and maybe

788
00:43:43,756 --> 00:43:46,356
Speaker 2: it's I don't know exactly, but yeah, I don't know.

789
00:43:46,556 --> 00:43:49,716
Speaker 2: Sometimes songs should be short, yeah, sometimes not.

790
00:43:51,196 --> 00:43:53,116
Speaker 1: After this last break, we'll be back with the rest

791
00:43:53,116 --> 00:44:00,676
Speaker 1: of my interview with Justin Timberlake. We're back with the

792
00:44:00,716 --> 00:44:03,916
Speaker 1: rest of Justin Timberlake. I want to go back to

793
00:44:03,916 --> 00:44:05,796
Speaker 1: that Stevie store. You said you had a Stevie store.

794
00:44:06,236 --> 00:44:08,836
Speaker 2: That's still in your mind. No, that was just having

795
00:44:08,916 --> 00:44:11,756
Speaker 2: him come in play Harmonica.

796
00:44:12,996 --> 00:44:15,956
Speaker 1: I was body, get Stevie. Wonder if lehrmant he doesn't

797
00:44:15,956 --> 00:44:16,436
Speaker 1: do anything?

798
00:44:16,596 --> 00:44:19,036
Speaker 2: You know, the answer is not to every question. You

799
00:44:19,076 --> 00:44:23,596
Speaker 2: don't ask, I guess and I just asked him and

800
00:44:23,636 --> 00:44:25,836
Speaker 2: he said yes, and he showed up at the studio.

801
00:44:25,956 --> 00:44:30,236
Speaker 2: And I remember it was the NBA Finals, was the

802
00:44:30,316 --> 00:44:33,996
Speaker 2: Lakers versus the Sixers. It was the AI days when

803
00:44:33,996 --> 00:44:36,996
Speaker 2: they finally made it to the playoffs. And obviously Stevie

804
00:44:36,996 --> 00:44:40,796
Speaker 2: being from Philly and me living, you know, starting to

805
00:44:40,796 --> 00:44:42,516
Speaker 2: live in LA at the time, there was a lot

806
00:44:42,556 --> 00:44:45,476
Speaker 2: of trash talking going on. They were just about to

807
00:44:45,476 --> 00:44:48,036
Speaker 2: start They had just both made it to the finals,

808
00:44:48,036 --> 00:44:50,836
Speaker 2: and he was like, nah, man, I think he said

809
00:44:50,876 --> 00:44:56,396
Speaker 2: something like Philly in five and I was like, what

810
00:44:57,356 --> 00:44:59,956
Speaker 2: I said, you do know who Kobe Bryant is, right,

811
00:45:00,196 --> 00:45:02,356
Speaker 2: you know? And so it was like we were just

812
00:45:02,396 --> 00:45:04,076
Speaker 2: having fun with it, and he was like, I'll bet

813
00:45:04,116 --> 00:45:08,476
Speaker 2: you dinner at mister Chows and he's still never taking

814
00:45:08,516 --> 00:45:11,076
Speaker 2: me to dinner. So I just want to make that

815
00:45:11,116 --> 00:45:14,356
Speaker 2: public knowledge in case he hears this that Stevie, you

816
00:45:14,356 --> 00:45:21,556
Speaker 2: still owe me dinner at mister Chase Squoch. But yet,

817
00:45:21,876 --> 00:45:25,116
Speaker 2: like I just remember he finished one take on the

818
00:45:25,116 --> 00:45:28,956
Speaker 2: harmonica and there were a couple of notes that were

819
00:45:29,396 --> 00:45:33,276
Speaker 2: slightly out. I remember being in the in the control room,

820
00:45:33,356 --> 00:45:36,276
Speaker 2: and you have to have to set this scene for you,

821
00:45:36,316 --> 00:45:40,116
Speaker 2: like Stevie wonders in the booth playing harmonica. I'm at

822
00:45:40,156 --> 00:45:46,036
Speaker 2: the board and I'm twenty maybe at the time, and

823
00:45:46,076 --> 00:45:48,756
Speaker 2: then it's like some of the notes. I was like, ah,

824
00:45:49,356 --> 00:45:51,716
Speaker 2: I wonder if he bent it like that on purpose

825
00:45:51,996 --> 00:45:54,436
Speaker 2: or like was that a stylistic choice? And like even

826
00:45:54,476 --> 00:45:56,276
Speaker 2: if I asked that question, is he going to be

827
00:45:56,356 --> 00:45:58,556
Speaker 2: like what the did you just say to me? You know,

828
00:45:58,636 --> 00:46:00,836
Speaker 2: like you don't know it is your first time working

829
00:46:00,836 --> 00:46:03,476
Speaker 2: with one of your heroes. To me, one of the

830
00:46:03,476 --> 00:46:06,876
Speaker 2: greatest songwriters of all time and one of the greatest

831
00:46:06,956 --> 00:46:10,876
Speaker 2: voices of all time. Just like just like when you

832
00:46:10,956 --> 00:46:13,996
Speaker 2: when you when you think about people who are here

833
00:46:14,036 --> 00:46:18,196
Speaker 2: to do something you could put Stevie likes he from

834
00:46:18,236 --> 00:46:20,676
Speaker 2: a very young age. He knew what he was here

835
00:46:20,716 --> 00:46:26,156
Speaker 2: to do. You know, Yeah, that mission was on him,

836
00:46:26,196 --> 00:46:31,196
Speaker 2: you know what I mean. Like, and he goes, uh, so,

837
00:46:31,236 --> 00:46:33,556
Speaker 2: what do you think? And before I could even I

838
00:46:33,596 --> 00:46:35,036
Speaker 2: was like, I looked everybody else in the stair. I

839
00:46:35,116 --> 00:46:36,716
Speaker 2: was like, what do we say? What do I say?

840
00:46:36,916 --> 00:46:39,196
Speaker 2: And he goes, you know the key of this song.

841
00:46:39,476 --> 00:46:43,036
Speaker 2: It's the only only harmonica I didn't bring for the

842
00:46:43,116 --> 00:46:45,956
Speaker 2: key of this song. I have like four harmonicas he goes,

843
00:46:46,436 --> 00:46:49,436
Speaker 2: and I referenced it off of songs that are normally

844
00:46:49,436 --> 00:46:51,596
Speaker 2: in the key that you sing. He goes, but he

845
00:46:51,596 --> 00:46:53,316
Speaker 2: threw me for a loop. He goes, just give me

846
00:46:53,356 --> 00:46:56,236
Speaker 2: a minute. He took one of his and forgive me,

847
00:46:56,356 --> 00:46:58,356
Speaker 2: Like I don't. I don't even remember the key of

848
00:46:58,636 --> 00:47:01,196
Speaker 2: that that song's in or what he had, but he

849
00:47:01,236 --> 00:47:05,236
Speaker 2: took a harmonica that was, you know, tuned to be

850
00:47:05,316 --> 00:47:10,716
Speaker 2: in a different key. And came back and played it perfectly,

851
00:47:11,796 --> 00:47:13,436
Speaker 2: and then he was like, yeah, yeah, yeah, that's it,

852
00:47:13,516 --> 00:47:15,436
Speaker 2: and I was like, I mean he did, like god,

853
00:47:15,636 --> 00:47:18,516
Speaker 2: he did like three passes at it. And that's when

854
00:47:18,516 --> 00:47:22,356
Speaker 2: you realize, like, I'm in the presence of the goat. Yeah,

855
00:47:22,436 --> 00:47:26,156
Speaker 2: you know, like those are the experiences when I talk

856
00:47:26,236 --> 00:47:32,316
Speaker 2: about taking stock and all the incredible moments I've had

857
00:47:32,396 --> 00:47:36,156
Speaker 2: with my heroes and where I feel like I'm at

858
00:47:36,236 --> 00:47:39,516
Speaker 2: in my life right now. That's why it felt good

859
00:47:39,756 --> 00:47:42,636
Speaker 2: to put this album out, you know, because I think

860
00:47:42,676 --> 00:47:45,716
Speaker 2: back to those types of experiences and I don't know,

861
00:47:45,756 --> 00:47:49,836
Speaker 2: they just I'm like giggling at how it's all gone down.

862
00:47:50,156 --> 00:47:52,916
Speaker 1: You know, that's a crazy situation to find yourself. And

863
00:47:52,956 --> 00:47:56,156
Speaker 1: at twenty years old, you've got Stevie Wonder coming to

864
00:47:56,236 --> 00:47:58,636
Speaker 1: play track and you're trying to figure out how do

865
00:47:58,716 --> 00:48:00,156
Speaker 1: I can I tell him?

866
00:48:00,396 --> 00:48:01,956
Speaker 2: I mean, if you put me on stage with the

867
00:48:02,956 --> 00:48:05,636
Speaker 2: guitar that was out of tune, it would probably take

868
00:48:05,676 --> 00:48:08,076
Speaker 2: me a good five minutes to figure out what to

869
00:48:08,116 --> 00:48:11,276
Speaker 2: play for, you, you know, and this guy was just

870
00:48:11,356 --> 00:48:13,996
Speaker 2: like that's when you realize, like that that guy is

871
00:48:13,996 --> 00:48:15,236
Speaker 2: here to do this.

872
00:48:15,476 --> 00:48:18,036
Speaker 1: It's insane. Yeah, did it feel good at getting in

873
00:48:18,036 --> 00:48:20,636
Speaker 1: sync back on this record. Getting I mean, you guys did.

874
00:48:20,516 --> 00:48:24,716
Speaker 2: The troll soundtrack as well. The troll soundtrack was fun,

875
00:48:24,836 --> 00:48:28,836
Speaker 2: but it was a bit of a specialty item, you know,

876
00:48:28,916 --> 00:48:31,196
Speaker 2: with the plot of the film and and and sort

877
00:48:31,236 --> 00:48:33,396
Speaker 2: of the humor we were taking from it.

878
00:48:33,236 --> 00:48:36,276
Speaker 1: It was a bit like when Kurb did the The

879
00:48:36,316 --> 00:48:38,396
Speaker 1: Seinfeld season. It's kind of felt like.

880
00:48:38,356 --> 00:48:43,196
Speaker 2: That, totally totally, but this one funny enough. This is

881
00:48:43,316 --> 00:48:46,956
Speaker 2: actually Paradise is the first song that we got back

882
00:48:46,996 --> 00:48:50,356
Speaker 2: together to the Red Yeah, so we did that one first,

883
00:48:51,356 --> 00:48:55,076
Speaker 2: and then you know, we did the Trolls record. Some

884
00:48:55,156 --> 00:48:57,716
Speaker 2: of the guys did their vocals on the same day

885
00:48:57,996 --> 00:49:03,076
Speaker 2: on both songs. But I have finished writing it and

886
00:49:03,156 --> 00:49:07,556
Speaker 2: I recorded my own version of it, obviously with less harmonies,

887
00:49:08,596 --> 00:49:11,876
Speaker 2: you know, less stacked vocals. But as I was listening

888
00:49:11,916 --> 00:49:14,036
Speaker 2: back to it, there was something in the ether. Again,

889
00:49:14,316 --> 00:49:18,276
Speaker 2: I don't know. Sometimes these decisions get made and you

890
00:49:18,316 --> 00:49:21,236
Speaker 2: feel like there's like somebody tapping you on the shoulder

891
00:49:21,836 --> 00:49:24,196
Speaker 2: to say, like, what if you did this? And I

892
00:49:24,196 --> 00:49:29,156
Speaker 2: feel like, when it's so loud, it's a moment where

893
00:49:29,156 --> 00:49:33,956
Speaker 2: we say what if we did? And I felt incredibly

894
00:49:34,316 --> 00:49:36,676
Speaker 2: gratified that my instincts were right about that, because I

895
00:49:36,676 --> 00:49:40,996
Speaker 2: think I really think we sound amazing great on this song.

896
00:49:41,196 --> 00:49:43,836
Speaker 2: And when you break down some of the lyrics too,

897
00:49:44,396 --> 00:49:47,836
Speaker 2: there's some of it that I think could be interpreted

898
00:49:47,996 --> 00:49:53,076
Speaker 2: as how we feel about the fan base that supported

899
00:49:53,156 --> 00:49:56,116
Speaker 2: us from the beginning and even up until now, how

900
00:49:56,156 --> 00:49:58,516
Speaker 2: we feel about each other. You know, we've been down

901
00:49:58,556 --> 00:50:00,356
Speaker 2: a long, long road. Now look at where we are.

902
00:50:01,076 --> 00:50:02,996
Speaker 2: We were chasing after hopes and dreams and we're still

903
00:50:03,076 --> 00:50:07,636
Speaker 2: under the stars. Like Kenyon Dixon, Big Shout Out Co

904
00:50:07,756 --> 00:50:09,996
Speaker 2: wrote ten songs on this album with wrote that song

905
00:50:10,036 --> 00:50:15,036
Speaker 2: with me, And when that lyric came together, sitting back

906
00:50:15,076 --> 00:50:17,236
Speaker 2: listening to it, for some reason, I felt like I

907
00:50:17,276 --> 00:50:20,076
Speaker 2: was having a conversation with my four brothers from and

908
00:50:20,156 --> 00:50:24,476
Speaker 2: Sink and I was like, we gotta try, you know,

909
00:50:24,756 --> 00:50:26,756
Speaker 2: I gotta send them this song. I gotta play it

910
00:50:26,756 --> 00:50:29,196
Speaker 2: for him. And jac was the first one I reached

911
00:50:29,196 --> 00:50:32,476
Speaker 2: out to because obviously we share a lot of the leads.

912
00:50:33,436 --> 00:50:35,796
Speaker 2: And he came in and heard it and I said,

913
00:50:35,796 --> 00:50:37,356
Speaker 2: what do you think we would sound like together on

914
00:50:37,396 --> 00:50:40,836
Speaker 2: this and he was like, let's find out. We went

915
00:50:40,916 --> 00:50:43,036
Speaker 2: right in the booth and it was just like it

916
00:50:43,196 --> 00:50:47,076
Speaker 2: was crazy because we looked older to each other. But

917
00:50:47,156 --> 00:50:49,596
Speaker 2: it was like no time it passed, you know, and

918
00:50:49,676 --> 00:50:53,196
Speaker 2: we were back having fun together and recording the song.

919
00:50:53,276 --> 00:50:56,916
Speaker 2: And he sounds amazing on it as well, another one

920
00:50:56,916 --> 00:51:02,836
Speaker 2: of my favorite singers. Yeah, and so do the other guys.

921
00:51:02,836 --> 00:51:05,236
Speaker 2: I mean, just came in and it just felt like

922
00:51:05,316 --> 00:51:10,756
Speaker 2: this amazing homecoming for us, and like it's an amazing reunion.

923
00:51:10,796 --> 00:51:16,036
Speaker 2: I'm excited for fans of us as a group, fans

924
00:51:16,076 --> 00:51:20,196
Speaker 2: who might discover us from this song to kind of

925
00:51:20,316 --> 00:51:26,636
Speaker 2: understand what we accomplished in that era. Yeah, really really

926
00:51:26,676 --> 00:51:31,876
Speaker 2: special and I'm excited, honestly. It's it was one of

927
00:51:31,876 --> 00:51:35,356
Speaker 2: the moments that got me really emotional in making this album,

928
00:51:35,396 --> 00:51:38,956
Speaker 2: because you know, you have so much shared history and

929
00:51:40,076 --> 00:51:43,996
Speaker 2: to have kind of, you know, gone our separates and

930
00:51:44,596 --> 00:51:49,756
Speaker 2: achieved things individually and to come back together for it

931
00:51:49,836 --> 00:51:52,316
Speaker 2: to sound the way that it does, it's like a

932
00:51:52,356 --> 00:51:56,756
Speaker 2: perfect representation of how we should sound now in my opinion,

933
00:51:57,156 --> 00:51:59,356
Speaker 2: and that's why I pitched it to them, But also

934
00:51:59,516 --> 00:52:03,436
Speaker 2: even deeper than that, to have another moment with them

935
00:52:03,796 --> 00:52:07,756
Speaker 2: that who knows, I mean, you know, who knows what

936
00:52:07,756 --> 00:52:10,956
Speaker 2: what that all means. But because I don't think you

937
00:52:10,956 --> 00:52:13,876
Speaker 2: you know, you can't look too far forecast. You can't

938
00:52:14,076 --> 00:52:16,836
Speaker 2: look too far in the forecast because the weather changes, right,

939
00:52:17,396 --> 00:52:20,116
Speaker 2: and everybody's got their own lives and things they want

940
00:52:20,156 --> 00:52:20,356
Speaker 2: to do.

941
00:52:20,636 --> 00:52:22,156
Speaker 1: Well, I had to feel good, I mean, because it's like,

942
00:52:22,196 --> 00:52:24,196
Speaker 1: you know, it's all I feel like they're over the years,

943
00:52:24,276 --> 00:52:26,716
Speaker 1: y'all ever gonna get back together, y'all ever gonna do something.

944
00:52:26,756 --> 00:52:28,916
Speaker 1: It's kind of like, you know, it's kind of like

945
00:52:28,956 --> 00:52:30,636
Speaker 1: being able to be like kind of like must have

946
00:52:30,716 --> 00:52:33,156
Speaker 1: relieved some pressure to where now if you want to

947
00:52:33,476 --> 00:52:36,076
Speaker 1: you can or not, it's not going to be this big.

948
00:52:36,356 --> 00:52:38,636
Speaker 2: I think that's the way it feels for us. Well,

949
00:52:38,796 --> 00:52:41,996
Speaker 2: I think what you're talking about is like that can

950
00:52:42,076 --> 00:52:45,516
Speaker 2: happen a little bit with the with the whole game

951
00:52:45,556 --> 00:52:49,236
Speaker 2: of it, Yeah, where a question gets floated out there

952
00:52:49,276 --> 00:52:52,036
Speaker 2: and then it's like the whole thing becomes like your

953
00:52:52,036 --> 00:52:56,356
Speaker 2: mother a little bit, where like the stereotypical joke you

954
00:52:56,396 --> 00:52:59,316
Speaker 2: could make about a mom where it's like, oh, she's

955
00:52:59,316 --> 00:53:01,076
Speaker 2: a nice girl when you're gonna get married, and then

956
00:53:01,116 --> 00:53:02,876
Speaker 2: you get married, it's like, hey, mom, we got married.

957
00:53:03,076 --> 00:53:05,036
Speaker 2: When you're gonna have a child, you know, it's like, okay,

958
00:53:05,076 --> 00:53:06,956
Speaker 2: mommy had a child, We're gonna have another child. You know,

959
00:53:07,436 --> 00:53:09,396
Speaker 2: it can turn into that a little bit. But I

960
00:53:09,436 --> 00:53:12,316
Speaker 2: think for I think for the five of us, I

961
00:53:12,316 --> 00:53:15,716
Speaker 2: think we feel like this has to be on our terms.

962
00:53:16,396 --> 00:53:19,516
Speaker 2: And I think it also speaks to what I was

963
00:53:19,516 --> 00:53:22,756
Speaker 2: talking about before. For myself with this album, is really

964
00:53:22,836 --> 00:53:26,676
Speaker 2: enjoying this moment and you know, savoring all of it.

965
00:53:27,436 --> 00:53:30,116
Speaker 2: And I think that's that's what it has to be

966
00:53:30,196 --> 00:53:32,196
Speaker 2: for us, if there was ever going to be anything,

967
00:53:32,596 --> 00:53:36,076
Speaker 2: you know, But I will say that I think when

968
00:53:36,076 --> 00:53:39,716
Speaker 2: people hear the song and us on it, it's an

969
00:53:39,716 --> 00:53:40,836
Speaker 2: emotional experience.

970
00:53:40,956 --> 00:53:43,756
Speaker 1: Yeah, man, just like what a blessing to have, like

971
00:53:44,116 --> 00:53:46,716
Speaker 1: all of the people you've been fortunate enough to collaborate

972
00:53:46,756 --> 00:53:49,476
Speaker 1: with over the span of your career and just to

973
00:53:49,676 --> 00:53:54,356
Speaker 1: have them there when it feels right for a song

974
00:53:54,516 --> 00:53:56,716
Speaker 1: or it feels right for a project to be able

975
00:53:56,716 --> 00:53:58,916
Speaker 1: to pull and harness all like you know what I mean,

976
00:53:58,996 --> 00:53:59,916
Speaker 1: Like wow, Like.

977
00:54:00,116 --> 00:54:02,956
Speaker 2: Well and it's not again like this wasn't something that

978
00:54:03,516 --> 00:54:07,076
Speaker 2: was a completely conscious thing. But now that I look

979
00:54:07,116 --> 00:54:10,276
Speaker 2: at the whole album, if you're calling an album everything

980
00:54:10,316 --> 00:54:15,196
Speaker 2: I thought it was, to have that portion included in

981
00:54:15,236 --> 00:54:18,556
Speaker 2: a way that to me is so spectacular. Yeah, and

982
00:54:18,596 --> 00:54:23,236
Speaker 2: again the song itself, everybody's performance on it. We sound

983
00:54:23,316 --> 00:54:25,956
Speaker 2: like us, but we sound like us now we sound

984
00:54:25,996 --> 00:54:27,996
Speaker 2: like the future of us. But also just to have

985
00:54:28,036 --> 00:54:30,676
Speaker 2: the experience with them, it means a lot to me.

986
00:54:31,076 --> 00:54:32,916
Speaker 1: Before we wrap up, can I play Can I play

987
00:54:32,956 --> 00:54:36,476
Speaker 1: something from welling? From another?

988
00:54:36,516 --> 00:54:38,356
Speaker 2: We can go over if there's something you if there's

989
00:54:38,436 --> 00:54:41,036
Speaker 2: records you really want to talk about. I'm so excited

990
00:54:41,036 --> 00:54:42,156
Speaker 2: to actually talk about the album.

991
00:54:42,156 --> 00:54:42,636
Speaker 3: You have no.

992
00:54:42,596 --> 00:54:47,876
Speaker 1: Idea we could talk well, Infinity Sex is great and

993
00:54:47,876 --> 00:54:49,836
Speaker 1: it's not what I was thinking from the title let's

994
00:54:49,836 --> 00:54:50,476
Speaker 1: play little.

995
00:54:50,236 --> 00:54:54,196
Speaker 2: What were you expecting like some like Joe Tosy or Yeah.

996
00:54:54,276 --> 00:54:55,836
Speaker 1: That's what I think it was, because you know something

997
00:54:55,996 --> 00:54:58,076
Speaker 1: first get out like kind of scan the time, you

998
00:54:58,156 --> 00:55:00,036
Speaker 1: kind of like, Okay, I feel like it's gonna this

999
00:55:00,116 --> 00:55:01,556
Speaker 1: is gonna be the.

1000
00:55:00,996 --> 00:55:02,916
Speaker 2: The first person to say that. By the way, you're

1001
00:55:02,956 --> 00:55:05,756
Speaker 2: in good comforty with the people who said they're like, oh,

1002
00:55:06,276 --> 00:55:07,596
Speaker 2: oh this is what this is.

1003
00:55:07,956 --> 00:55:20,836
Speaker 3: Yeah, let's hear it one another.

1004
00:55:24,476 --> 00:55:27,596
Speaker 1: I love that features a mess.

1005
00:55:29,996 --> 00:55:33,796
Speaker 2: Thanks uh so that that song was originally an idea

1006
00:55:33,836 --> 00:55:37,156
Speaker 2: that Calvin Harris sent to me, just like baseline groove

1007
00:55:37,316 --> 00:55:40,556
Speaker 2: type thing, and it was a little bit faster than

1008
00:55:40,636 --> 00:55:42,396
Speaker 2: that too. It was on some like real off the

1009
00:55:42,436 --> 00:55:45,676
Speaker 2: wall vibes. But then Timberland and I got a hold

1010
00:55:45,716 --> 00:55:49,556
Speaker 2: of it, and Tim made this really sort of wise

1011
00:55:49,596 --> 00:55:52,436
Speaker 2: decision on all the stuff that we worked together on.

1012
00:55:53,076 --> 00:55:55,996
Speaker 2: He had started this this thing called Beat Club that

1013
00:55:56,036 --> 00:55:59,556
Speaker 2: he brought me in on, right, and he just really

1014
00:55:59,556 --> 00:56:02,876
Speaker 2: wanted to find new producers and and he was just

1015
00:56:03,036 --> 00:56:08,676
Speaker 2: racking up all these like this amazing talent and he

1016
00:56:08,756 --> 00:56:11,956
Speaker 2: brought some guys in that that he was like, I'm

1017
00:56:11,996 --> 00:56:14,876
Speaker 2: gonna bring these guys in. These guys, You're gonna you're

1018
00:56:14,876 --> 00:56:18,236
Speaker 2: gonna vibe with these guys. It was. It was Fetti

1019
00:56:18,276 --> 00:56:22,436
Speaker 2: and Angel and we also had Lawrence from fifteen hundred

1020
00:56:22,436 --> 00:56:26,596
Speaker 2: in the studio. We have this James, Yeah, yep, James

1021
00:56:26,596 --> 00:56:27,636
Speaker 2: and I wrote that together.

1022
00:56:27,876 --> 00:56:30,436
Speaker 1: Great, and there's nothing but amazing things to say about you.

1023
00:56:30,476 --> 00:56:33,636
Speaker 1: But oh really he has no qualms.

1024
00:56:33,636 --> 00:56:36,116
Speaker 2: It seems Oh no, he doesn't care. Yeah, you don't

1025
00:56:36,116 --> 00:56:38,556
Speaker 2: give a fuck. He is extremely honest. One of my

1026
00:56:38,596 --> 00:56:42,756
Speaker 2: favorite things about him. He's also hilarious human, very funny person.

1027
00:56:42,836 --> 00:56:46,236
Speaker 2: Like I was like, you could host a hilarious podcast yourself,

1028
00:56:46,956 --> 00:56:49,876
Speaker 2: But yeah, Lawrence adopts him from fifteen hundred as well,

1029
00:56:50,716 --> 00:56:55,796
Speaker 2: Like that's a perfect sort of scene to set for you.

1030
00:56:55,836 --> 00:56:57,676
Speaker 2: For how this album was made, it was like bring

1031
00:56:57,756 --> 00:57:01,516
Speaker 2: them in, bring them in. The more the merrier. You know,

1032
00:57:01,716 --> 00:57:03,996
Speaker 2: I'm not precious with this. Let's just let's have a

1033
00:57:04,036 --> 00:57:06,836
Speaker 2: good time. Let's make great songs. Like I said, let's

1034
00:57:06,836 --> 00:57:09,356
Speaker 2: have a blast doing this, and that energy will come through.

1035
00:57:09,956 --> 00:57:13,476
Speaker 2: And so we took what Calvin had sent, slowed it

1036
00:57:13,516 --> 00:57:17,316
Speaker 2: down a little bit and started doing our thing to it.

1037
00:57:17,396 --> 00:57:20,636
Speaker 2: And then of course as that song, I'm excited for

1038
00:57:20,956 --> 00:57:25,676
Speaker 2: my fans specifically to hear that song because it really

1039
00:57:25,756 --> 00:57:28,356
Speaker 2: is like Tim and I in our bag along with

1040
00:57:28,396 --> 00:57:30,396
Speaker 2: these this other talent that he brought in that are

1041
00:57:30,436 --> 00:57:33,396
Speaker 2: basically like you know, have listened to a lot of

1042
00:57:33,396 --> 00:57:34,916
Speaker 2: our music together previously.

1043
00:57:35,476 --> 00:57:37,436
Speaker 1: Well, you guys are the archetype in a lot of ways.

1044
00:57:37,476 --> 00:57:39,636
Speaker 1: For like what those a good amount of people that

1045
00:57:39,636 --> 00:57:41,996
Speaker 1: are like they looked at what y'all did together in

1046
00:57:42,116 --> 00:57:44,716
Speaker 1: terms of what they want to make. So it's no shock.

1047
00:57:45,076 --> 00:57:47,676
Speaker 2: I'll tell them you said that. But you know, like

1048
00:57:47,716 --> 00:57:49,476
Speaker 2: as that song gets to the end, there's that whole

1049
00:57:49,476 --> 00:57:52,036
Speaker 2: internet at the end right where it's like, oh, okay,

1050
00:57:52,196 --> 00:57:56,276
Speaker 2: this is definitely you feel that sort of future sex

1051
00:57:56,316 --> 00:57:59,156
Speaker 2: love sounds vibe of how it kind of turns into

1052
00:57:59,356 --> 00:58:00,756
Speaker 2: a whole completely different song.

1053
00:58:00,916 --> 00:58:03,876
Speaker 1: Yeah, have you tried working with Pharrella or the Neptunes

1054
00:58:03,956 --> 00:58:05,436
Speaker 1: more generally like Chat and Pharrell.

1055
00:58:05,636 --> 00:58:07,396
Speaker 2: I have done some stuff with Farrell those that is

1056
00:58:07,396 --> 00:58:09,236
Speaker 2: in the vault recently that might see the like to

1057
00:58:09,316 --> 00:58:13,756
Speaker 2: day soon in the future somewhere. Future is a mess man.

1058
00:58:14,156 --> 00:58:17,316
Speaker 1: Future, future is a mess man.

1059
00:58:18,716 --> 00:58:20,756
Speaker 2: We need it now that I said, I told you

1060
00:58:20,756 --> 00:58:22,596
Speaker 2: I had one hundred songs and then narrowed it down

1061
00:58:22,596 --> 00:58:25,396
Speaker 2: at eighteen. So yeah, these are the songs that all

1062
00:58:25,436 --> 00:58:28,356
Speaker 2: felt like the book. These are the chapters of this book.

1063
00:58:28,556 --> 00:58:32,476
Speaker 2: But make no mistake, like Frell and I have still

1064
00:58:32,516 --> 00:58:35,276
Speaker 2: have great synergy, and we have some music that we've

1065
00:58:35,316 --> 00:58:38,716
Speaker 2: made that I know will come out. So I'm excited

1066
00:58:38,716 --> 00:58:39,436
Speaker 2: about that too.

1067
00:58:40,076 --> 00:58:40,916
Speaker 1: I'd love to hear that.

1068
00:58:40,956 --> 00:58:43,836
Speaker 2: I'd love to hear that. All in due time, All

1069
00:58:43,876 --> 00:58:44,596
Speaker 2: in due time.

1070
00:58:45,116 --> 00:58:48,756
Speaker 1: Speaking of the future, future is a mess I was

1071
00:58:48,796 --> 00:58:51,676
Speaker 1: reading the Usher said he's been on you about doing.

1072
00:58:51,476 --> 00:58:55,876
Speaker 2: A collaborative album, not recently, not recently, said that he

1073
00:58:55,956 --> 00:58:57,636
Speaker 2: has been very busy recently.

1074
00:58:57,756 --> 00:59:06,116
Speaker 1: Well he's been Yeah, well, yes, an incredible residency Usher's icon.

1075
00:59:06,236 --> 00:59:09,796
Speaker 2: Man, that's a bad man. Would you do a m

1076
00:59:09,916 --> 00:59:11,596
Speaker 2: of course, I think it just has to be the

1077
00:59:11,636 --> 00:59:14,356
Speaker 2: right one. We've actually we we actually went in the

1078
00:59:14,396 --> 00:59:17,516
Speaker 2: studio originally. I think I think it was one of

1079
00:59:17,556 --> 00:59:19,156
Speaker 2: those things where I was maybe gonna go in the

1080
00:59:19,156 --> 00:59:22,476
Speaker 2: studio and write something for one of his upcoming albums,

1081
00:59:22,556 --> 00:59:26,276
Speaker 2: just mess around. I just don't think we I don't

1082
00:59:26,316 --> 00:59:29,156
Speaker 2: think we ever found it got it. Maybe we also

1083
00:59:29,236 --> 00:59:31,156
Speaker 2: just didn't make enough time. I don't know, you know,

1084
00:59:31,196 --> 00:59:31,596
Speaker 2: it's like.

1085
00:59:31,636 --> 00:59:32,956
Speaker 1: Go into that patience mind.

1086
00:59:33,236 --> 00:59:35,756
Speaker 2: I know, I know, I know. Yeah, well we should

1087
00:59:35,756 --> 00:59:37,916
Speaker 2: get in the studio anyway. I mean that that would

1088
00:59:37,916 --> 00:59:38,876
Speaker 2: be a lot of fun.

1089
00:59:39,236 --> 00:59:39,996
Speaker 1: That was the man.

1090
00:59:40,356 --> 00:59:41,996
Speaker 2: Yeah, let's do one more.

1091
00:59:42,516 --> 00:59:44,636
Speaker 1: I want to talk about Memphis. Let's display Memphis.

1092
00:59:44,676 --> 01:00:11,116
Speaker 4: Okay, that's why it's really hard to cut off.

1093
01:00:12,716 --> 01:00:15,276
Speaker 2: That's the whole. Yeah, that from start to finish as

1094
01:00:15,276 --> 01:00:19,556
Speaker 2: a whole message for sure. So it feels almost like

1095
01:00:19,596 --> 01:00:21,556
Speaker 2: a diary excerpts.

1096
01:00:21,636 --> 01:00:23,676
Speaker 1: That's what That's the way it feels to me. Man,

1097
01:00:24,036 --> 01:00:27,396
Speaker 1: you know, I mean, I don't know you, but you've

1098
01:00:27,436 --> 01:00:29,676
Speaker 1: been in my life how long? And I can only

1099
01:00:29,756 --> 01:00:34,116
Speaker 1: imagine like the pressure and the craziness of your career.

1100
01:00:34,156 --> 01:00:36,676
Speaker 1: I mean, I can only imagine what it's been.

1101
01:00:36,796 --> 01:00:39,796
Speaker 2: You know, you started with Conditions, and then you want

1102
01:00:39,836 --> 01:00:41,676
Speaker 2: to play one more and you play Memphis. And I

1103
01:00:41,756 --> 01:00:45,916
Speaker 2: don't find that there's much irony to that, because when

1104
01:00:45,956 --> 01:00:48,876
Speaker 2: I finished those two songs, I said, these have to

1105
01:00:48,876 --> 01:00:52,556
Speaker 2: be the book ends of the album. And you know,

1106
01:00:52,676 --> 01:00:59,236
Speaker 2: Memphis is an extremely personal song. But I think it

1107
01:00:59,316 --> 01:01:01,556
Speaker 2: was important to me the way that it sounded like

1108
01:01:01,596 --> 01:01:04,716
Speaker 2: you said, the way that it felt. There's no moment

1109
01:01:05,636 --> 01:01:11,716
Speaker 2: for me where I've been ungrateful about how challenging it

1110
01:01:11,756 --> 01:01:15,716
Speaker 2: can be. This is not like a I'm not saying

1111
01:01:15,756 --> 01:01:17,796
Speaker 2: this in some sort of braggy type of way. I

1112
01:01:17,796 --> 01:01:20,476
Speaker 2: have a rare, unique life where I've grown up in

1113
01:01:20,516 --> 01:01:25,316
Speaker 2: this industry from a very young age, and I think

1114
01:01:25,556 --> 01:01:28,436
Speaker 2: you go through life and you learn things about yourself,

1115
01:01:29,236 --> 01:01:31,916
Speaker 2: and you go through bad experiences, you go through highs

1116
01:01:31,916 --> 01:01:35,756
Speaker 2: and lows. And that's why that visual in my mind,

1117
01:01:35,916 --> 01:01:39,836
Speaker 2: like being in the clouds, you know, and people seeing

1118
01:01:39,916 --> 01:01:44,316
Speaker 2: you up there that the first thing you hear people

1119
01:01:44,356 --> 01:01:47,756
Speaker 2: say that you can't be crying from up there, you know.

1120
01:01:48,036 --> 01:01:52,396
Speaker 2: And I'm not necessarily saying that I am where that

1121
01:01:52,556 --> 01:01:55,116
Speaker 2: song where that song sort of where I started to

1122
01:01:55,116 --> 01:01:59,636
Speaker 2: find an inspiration for it again. I found myself remembering

1123
01:02:00,476 --> 01:02:05,236
Speaker 2: when I was first moving out of Memphis, And it's

1124
01:02:05,316 --> 01:02:07,276
Speaker 2: kind of funny now that I'm thinking about it now.

1125
01:02:07,356 --> 01:02:11,676
Speaker 2: I remember when I got chosen for like Star Search,

1126
01:02:12,676 --> 01:02:14,836
Speaker 2: which if you're young and you're listening to this right now,

1127
01:02:14,876 --> 01:02:17,836
Speaker 2: it was the original American idol, you know what I mean,

1128
01:02:19,476 --> 01:02:25,436
Speaker 2: By the way, like it was the biggest thing on television. Yeah,

1129
01:02:25,476 --> 01:02:28,996
Speaker 2: And I remember when I got chosen to go be

1130
01:02:29,236 --> 01:02:31,996
Speaker 2: on the show, like the kids from my school that

1131
01:02:32,036 --> 01:02:34,676
Speaker 2: were my friends, like came and met me at the

1132
01:02:34,756 --> 01:02:38,556
Speaker 2: airport with signs saying good luck justin you know what

1133
01:02:38,596 --> 01:02:42,236
Speaker 2: I mean. And I think back to those moments with

1134
01:02:42,316 --> 01:02:48,636
Speaker 2: such fondness, but also like that ten year old feeling

1135
01:02:48,676 --> 01:02:54,876
Speaker 2: that pressure to be great, and you know, at times,

1136
01:02:55,636 --> 01:03:00,156
Speaker 2: being an artist who achieves a certain amount of success

1137
01:03:00,676 --> 01:03:05,996
Speaker 2: can lead to, weirdly enough, like an incredible feeling of isolation.

1138
01:03:07,836 --> 01:03:10,916
Speaker 2: And I think that that's when you have to you

1139
01:03:11,036 --> 01:03:13,556
Speaker 2: have to take us a second to say who am

1140
01:03:13,636 --> 01:03:17,676
Speaker 2: I right now and how of these experiences affected me

1141
01:03:17,796 --> 01:03:20,236
Speaker 2: all up until this moment, Because that's really the best

1142
01:03:20,236 --> 01:03:23,156
Speaker 2: way to move forward, right in your own sort of

1143
01:03:23,196 --> 01:03:27,316
Speaker 2: personal constitution, and sometimes I've had lows with it, and

1144
01:03:27,356 --> 01:03:30,036
Speaker 2: sometimes I've had extreme highs with it. And I think

1145
01:03:30,756 --> 01:03:33,276
Speaker 2: when you get older and you're able to metabolize that.

1146
01:03:33,316 --> 01:03:36,996
Speaker 2: I couldn't have written that song before now, you know,

1147
01:03:37,036 --> 01:03:41,556
Speaker 2: because I wasn't able to see how something that I

1148
01:03:41,596 --> 01:03:45,716
Speaker 2: didn't pay any attention to affected me in so many ways.

1149
01:03:45,796 --> 01:03:48,556
Speaker 2: Like I said, good and bad, But like I said

1150
01:03:48,796 --> 01:03:51,076
Speaker 2: in that song, with everything you thought I was, I'm

1151
01:03:51,116 --> 01:03:53,156
Speaker 2: everything I thought I was. It was everything I thought

1152
01:03:53,156 --> 01:03:56,596
Speaker 2: it was. And that's really wrapped around these ideas that

1153
01:03:57,236 --> 01:03:59,236
Speaker 2: once you finish a piece of art and you put

1154
01:03:59,236 --> 01:04:02,076
Speaker 2: it out there, it's going to be everything to somebody

1155
01:04:02,676 --> 01:04:05,276
Speaker 2: and something else to somebody else, and something else to

1156
01:04:05,476 --> 01:04:09,076
Speaker 2: the next person. And I guess I just felt like

1157
01:04:09,236 --> 01:04:10,716
Speaker 2: it was my turn to say this is what it

1158
01:04:10,796 --> 01:04:13,396
Speaker 2: is to me. And so that's why it's important that

1159
01:04:13,396 --> 01:04:17,636
Speaker 2: it's the first song on the album. Originally I wasn't

1160
01:04:17,636 --> 01:04:22,236
Speaker 2: gonna call it Memphis, but my best friend, you know,

1161
01:04:22,356 --> 01:04:24,596
Speaker 2: sitting next to me, he said, you should call this

1162
01:04:24,676 --> 01:04:27,516
Speaker 2: Memphis because it really reminds me of like you coming

1163
01:04:27,596 --> 01:04:31,676
Speaker 2: out of Memphis and all of us like being so

1164
01:04:32,876 --> 01:04:38,796
Speaker 2: proud of you to go out and dare to dream, right,

1165
01:04:39,356 --> 01:04:42,076
Speaker 2: But I don't know. I think it's I think it's

1166
01:04:42,116 --> 01:04:46,716
Speaker 2: important to important to see every sliver of the whole

1167
01:04:46,756 --> 01:04:49,916
Speaker 2: picture and be able to put them in their place

1168
01:04:49,956 --> 01:04:53,516
Speaker 2: for yourself. Yeah, that's what that song is.

1169
01:04:54,556 --> 01:04:59,476
Speaker 1: That kind of kind of like deeply personal song writing.

1170
01:05:00,276 --> 01:05:01,276
Speaker 1: Does it feel comfortable?

1171
01:05:02,436 --> 01:05:05,636
Speaker 2: It felt comfortable on this song. All songs, even though

1172
01:05:05,636 --> 01:05:08,316
Speaker 2: you might just be writing them because you want to

1173
01:05:08,356 --> 01:05:13,036
Speaker 2: trying to achieve even the sort of entendres of the

1174
01:05:13,076 --> 01:05:16,236
Speaker 2: concept of the song, or you could be you know,

1175
01:05:16,996 --> 01:05:20,436
Speaker 2: connecting the dots for the narrative of the song. They're

1176
01:05:20,476 --> 01:05:24,516
Speaker 2: all going to subconsciously come from a deeply personal place.

1177
01:05:24,636 --> 01:05:27,556
Speaker 2: I think, like I guess, like I said, I think

1178
01:05:27,596 --> 01:05:30,236
Speaker 2: being able to put them in their place and once

1179
01:05:30,276 --> 01:05:34,236
Speaker 2: it's done, you know, it's like whoof Yeah, you know,

1180
01:05:34,716 --> 01:05:36,796
Speaker 2: if they are deeply personal, or if they're a song

1181
01:05:36,956 --> 01:05:41,116
Speaker 2: like No Angels, where it's like, you know, let me

1182
01:05:41,156 --> 01:05:45,676
Speaker 2: explore all the ideas of what no Angels means. Or

1183
01:05:45,716 --> 01:05:48,036
Speaker 2: you know what if we put them on the dance floor.

1184
01:05:48,076 --> 01:05:51,476
Speaker 2: Oh yeah, there's no Angels on the dance floor every

1185
01:05:51,516 --> 01:05:53,876
Speaker 2: you know what I mean? Like, that's that's a concept

1186
01:05:53,916 --> 01:05:57,516
Speaker 2: we can all understand right and have fun with. Yeah,

1187
01:05:58,036 --> 01:06:01,076
Speaker 2: I think whether a song is deeply personal or not,

1188
01:06:02,076 --> 01:06:04,636
Speaker 2: as an artist, you're always putting your heart on your sleeve,

1189
01:06:05,076 --> 01:06:08,236
Speaker 2: you know, and and sometimes that can be a very

1190
01:06:08,276 --> 01:06:14,276
Speaker 2: isolating place, a very anxious experience. But the more I've

1191
01:06:14,356 --> 01:06:17,876
Speaker 2: understood that again, I remember hearing Rick Rubin say this

1192
01:06:18,716 --> 01:06:23,876
Speaker 2: that people's reaction to a piece of art says everything

1193
01:06:23,996 --> 01:06:27,356
Speaker 2: about them, good or bad. And I don't know, I

1194
01:06:27,356 --> 01:06:30,196
Speaker 2: guess that thinking about that concept really frees me up.

1195
01:06:31,196 --> 01:06:36,396
Speaker 2: They're going to be personal for the listener too. I

1196
01:06:36,436 --> 01:06:38,836
Speaker 2: think that's an amazing thing. That's the connection.

1197
01:06:40,076 --> 01:06:41,836
Speaker 1: Have you thought about playing this record live yet?

1198
01:06:43,676 --> 01:06:46,116
Speaker 2: Yeah, it's been interesting right now because we're going on

1199
01:06:46,196 --> 01:06:51,556
Speaker 2: tour really soon, so it's been interesting to try to

1200
01:06:51,596 --> 01:06:56,356
Speaker 2: think about what songs I'm going to play live. I

1201
01:06:56,396 --> 01:07:00,316
Speaker 2: think once the album's out and it's living in the world,

1202
01:07:00,996 --> 01:07:03,956
Speaker 2: I think I'll quickly have a feel not just based

1203
01:07:03,996 --> 01:07:08,436
Speaker 2: on what people are responding to, but more so myself,

1204
01:07:09,316 --> 01:07:11,996
Speaker 2: you know, like how I feel about it being out

1205
01:07:12,076 --> 01:07:12,556
Speaker 2: in the world.

1206
01:07:12,676 --> 01:07:15,756
Speaker 1: Yeah, there really is a difference when you release something

1207
01:07:15,876 --> 01:07:18,316
Speaker 1: versus when it's not, you know, even though it's like

1208
01:07:18,356 --> 01:07:21,796
Speaker 1: people some people have heard and you've gotten feedback.

1209
01:07:21,996 --> 01:07:26,596
Speaker 2: Sure, and especially to think about you work on and

1210
01:07:26,636 --> 01:07:30,396
Speaker 2: off for three or four years on a project. I

1211
01:07:30,396 --> 01:07:33,876
Speaker 2: think the difference is for me now, before it was

1212
01:07:33,916 --> 01:07:37,356
Speaker 2: like oh god, you know, which I think a lot

1213
01:07:37,396 --> 01:07:40,196
Speaker 2: of us go through as artists. Sure, I think the

1214
01:07:40,236 --> 01:07:43,316
Speaker 2: difference is now for me it's like wow, you know,

1215
01:07:43,556 --> 01:07:46,916
Speaker 2: like what a blessing you know. And I don't know,

1216
01:07:46,916 --> 01:07:50,476
Speaker 2: I just feel really grateful in this moment. There's so

1217
01:07:50,556 --> 01:07:53,916
Speaker 2: many We've talked about, so many people, and they've all

1218
01:07:53,956 --> 01:07:58,836
Speaker 2: conspired to my story, yeah, and to be part of

1219
01:07:59,636 --> 01:08:04,916
Speaker 2: my journey. And I'm so grateful for all of them,

1220
01:08:05,316 --> 01:08:07,716
Speaker 2: the ones that I know personally and the ones that

1221
01:08:07,756 --> 01:08:11,756
Speaker 2: I don't even know at all. Yeah, personally that I

1222
01:08:11,756 --> 01:08:14,476
Speaker 2: think I can really see the value in that at

1223
01:08:14,476 --> 01:08:18,556
Speaker 2: this point in my life. And I think that's why

1224
01:08:18,596 --> 01:08:21,956
Speaker 2: this album feels the way that it feels for me.

1225
01:08:22,836 --> 01:08:25,196
Speaker 1: That's beautiful, man, that's really beautiful. Thank you, I mean,

1226
01:08:25,276 --> 01:08:28,876
Speaker 1: thank you for the record. Thank you for making the time.

1227
01:08:28,716 --> 01:08:31,796
Speaker 4: To speak about the record or putting together It's really beautiful.

1228
01:08:32,156 --> 01:08:35,356
Speaker 2: And U can wait to see you on the road, man, Yeah,

1229
01:08:35,436 --> 01:08:38,676
Speaker 2: come see us. Absolutely, We'll make it. Do as Ray

1230
01:08:38,716 --> 01:08:39,596
Speaker 2: Charles said.

1231
01:08:39,796 --> 01:08:46,476
Speaker 1: I'll make it do, What'll Do. Thanks Justin Timberlake for

1232
01:08:46,516 --> 01:08:48,636
Speaker 1: chopping it up about his new album Everything I Thought

1233
01:08:48,636 --> 01:08:50,796
Speaker 1: It Was. You can hear it along with our favorite

1234
01:08:50,796 --> 01:08:54,116
Speaker 1: songs featuring JT on a playlist at broken record podcast

1235
01:08:54,196 --> 01:08:57,476
Speaker 1: dot com. Subscribe to our YouTube channel at YouTube dot

1236
01:08:57,516 --> 01:09:00,276
Speaker 1: com slash Broken Record Podcast, where you can find all

1237
01:09:00,316 --> 01:09:03,436
Speaker 1: of our new episodes. You can follow us on Twitter

1238
01:09:03,556 --> 01:09:07,156
Speaker 1: at broken Record. Broken Record is produced and edited by

1239
01:09:07,236 --> 01:09:10,676
Speaker 1: Leah Rose, with marketing help from Marri Sandler and Jordan McMillan.

1240
01:09:10,956 --> 01:09:14,676
Speaker 1: Our engineer is Ben Tolliger. Broken Record is the production

1241
01:09:14,796 --> 01:09:18,156
Speaker 1: of Pushkin Industries. If you love this show and others

1242
01:09:18,236 --> 01:09:22,636
Speaker 1: from Pushkin, consider subscribing to Pushkin Plus. Pushkin Plus is

1243
01:09:22,636 --> 01:09:25,716
Speaker 1: a podcast subscription that offers bonus content and ad free

1244
01:09:25,756 --> 01:09:29,276
Speaker 1: listening for four ninety nine a month. Look for Pushkin

1245
01:09:29,276 --> 01:09:33,236
Speaker 1: Plus on Apple podcast subscriptions. And if you like this show,

1246
01:09:33,356 --> 01:09:35,876
Speaker 1: please remember to share, rate, and review us on your

1247
01:09:35,876 --> 01:09:39,756
Speaker 1: podcast app. Our theme music's by Kenny Beats. I'm justin Richmond.