WEBVTT - Questlove & Open Mike Eagle Talk About Soundtracks

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<v Speaker 1>The Quest Left Show is a production of iHeart Radio,

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<v Speaker 1>brother Me.

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<v Speaker 2>How you doing like that? It's a mighty exhale.

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<v Speaker 3>You know. I think I'm having what they would call

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<v Speaker 3>first world problems, but problems are still they're not.

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<v Speaker 4>Easy just because their first world don't make them easy.

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<v Speaker 3>Yeah, I mean, it's just it's the ongoing be careful

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<v Speaker 3>for what you ask for Olympics. With me, this is

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<v Speaker 3>probably the most packed summer I've had in the history

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<v Speaker 3>of my existence. Like I think, I think an average

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<v Speaker 3>person has like one or two two major projects to

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<v Speaker 3>do a year, and you know what happens is oftentimes

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<v Speaker 3>I'm pitched to do stuff, usually a year and a

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<v Speaker 3>half in advance. You know, they're people pitching me projects

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<v Speaker 3>and ideas now for like twenty twenty eight, top of

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<v Speaker 3>twenty twenty nine, So of course I'm gonna say, of course,

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<v Speaker 3>no problem. I'll been done by then. And then it

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<v Speaker 3>turns into, you know, bitch, better have my movie, you

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<v Speaker 3>know what I mean.

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<v Speaker 5>Like, so, I didn't realize studios talk to you like that,

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<v Speaker 5>but that's good to know.

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<v Speaker 2>Nah boy.

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<v Speaker 3>They it's the way they remind you the deadline's coming up,

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<v Speaker 3>so you know, so Meir you know that orchestral project

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<v Speaker 3>we talked about, you know, for September of twenty twenty six,

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<v Speaker 3>and I'm like, yeah, you know, how's it going?

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<v Speaker 2>You know what I mean? It's not that specifically, but

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<v Speaker 2>you get my point. How's your summer?

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<v Speaker 5>It's been a different It's been busy, but a different

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<v Speaker 5>kind of busy. Like I feel like.

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<v Speaker 2>So everything's different, Like it's not just me.

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<v Speaker 5>Well, I similarly have a bunch of different plates spinning.

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<v Speaker 5>I feel like the places I have spinning are a

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<v Speaker 5>little closer to my body though, so I can reach them,

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<v Speaker 5>you know what I'm.

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<v Speaker 4>Saying, Like I feel like yours.

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<v Speaker 5>You got to stand on all type of ladders and

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<v Speaker 5>cranes and stuff to keep your plates spinning. So yeah,

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<v Speaker 5>I don't envy that, but I do understand how quickly

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<v Speaker 5>these days go by and how these mountains of work

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<v Speaker 5>pile up when you have a lot you're trying to do.

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<v Speaker 5>Is this summer going by fast for you quickly? Like

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<v Speaker 5>it's it's zoom, Like it's the middle of July already.

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<v Speaker 5>That's nuts.

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<v Speaker 2>Yeah, it was like April yesterday, right, It's nuts.

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<v Speaker 3>Like I definitely put up my Marvin Gaye rest in

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<v Speaker 3>peace post like, oh my god, back in April and

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<v Speaker 3>now like I almost feel like we might as well

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<v Speaker 3>just say it's August.

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<v Speaker 5>Yeah, pretty much, win a second half of July. It's

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<v Speaker 5>going by, it's almost done.

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<v Speaker 2>We're gonna be in the.

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<v Speaker 1>Foot the fourth of July like a week, like maybe

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<v Speaker 1>five days ago.

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<v Speaker 4>Thing, it's time no longer exists.

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<v Speaker 2>It no longer exists. You know what, It's funny you

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<v Speaker 2>say that. I'm I'm still in.

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<v Speaker 3>Post earth wind and fire research syndrome, and I'm still

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<v Speaker 3>going down the book list of like Maurice White books

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<v Speaker 3>I should read, and I'm right now in David Evans,

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<v Speaker 3>and he speaks a lot about like time really doesn't exist.

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<v Speaker 4>It's all relative.

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<v Speaker 2>Time is only slow when shit's fucked up.

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<v Speaker 4>When you can't wait for whatever you're in to be

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<v Speaker 4>over to be over.

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<v Speaker 3>So, speaking of I guess we're having fun if is

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<v Speaker 3>moving quick, moving quickly.

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<v Speaker 4>Speaking of time. Note, this is a mini episode.

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<v Speaker 5>So we got a mail bag question that I think

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<v Speaker 5>could lead to a real cool, quick conversation. It's been

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<v Speaker 5>submitted by Mario, who asks a question for the mail bag.

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<v Speaker 5>Heard a minute of an interview with director on Batam

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<v Speaker 5>of Saturday Night Fever. He was introduced with the comment

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<v Speaker 5>about the Saturday Night Fever soundtrack being the biggest soundtrack

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<v Speaker 5>of all time. I've heard the story of how DJ

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<v Speaker 5>Rick Dee's declined having his novelty hit Disco Duck included

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<v Speaker 5>on the soundtrack will cost him a lot of money,

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<v Speaker 5>which makes God, this is making the question or wonder,

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<v Speaker 5>how does it work to get your song on the soundtrack?

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<v Speaker 5>Do you get paid to set fee as an artist?

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<v Speaker 5>And in the old days of pure album sales, do

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<v Speaker 5>you get a royalty base? So basically asking about the

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<v Speaker 5>economics of how soundtrack works, especially back in the day,

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<v Speaker 5>because I feel like I came up in a golden

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<v Speaker 5>age of movie soundtracks and there were some root songs

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<v Speaker 5>on some very important best Man High School high.

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<v Speaker 3>Okay, it's funny you say that, because right now I'm

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<v Speaker 3>I just happened to start binge watching this series on

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<v Speaker 3>our TV that's gotten like a lot of nominations for

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<v Speaker 3>the Emmys. I think they have nineteen nominations, And of

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<v Speaker 3>course I'm stalling because I just writ.

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<v Speaker 5>So Okay, I was thinking it might be Widows, but

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<v Speaker 5>I don't know that it got nominated for Emmis because

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<v Speaker 5>it's so new, but it's a fantastic show.

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<v Speaker 3>I think it has more than yeah, it has one

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<v Speaker 3>more than plural Us. Plural Us was supposed to be

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<v Speaker 3>like the Bell of the Ball, but Widow's Bay has

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<v Speaker 3>nineteen Emmy nominations and one of the most humorous observations

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<v Speaker 3>I knowed about that show, Yo Man like quality controlled

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<v Speaker 3>by the Jurassic Five to me, has to be one

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<v Speaker 3>of the most licensed songs of all time. Okay, so

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<v Speaker 3>here's the deal. And I was thinking about this question basically,

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<v Speaker 3>like probably like three days ago. One of the very

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<v Speaker 3>first records that I received as a gift was a

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<v Speaker 3>compilation album, Soul Train, and it's like fourth season released

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<v Speaker 3>like an a. They would have party albums, you know,

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<v Speaker 3>like now somebody will put a bunch of songs together

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<v Speaker 3>and streaming and play it at the house party so

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<v Speaker 3>that the party can keep going.

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<v Speaker 2>Records weren't like that.

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<v Speaker 3>Mostly in the fifties and sixties, people would listen to

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<v Speaker 3>comedy records like Red Fox Records was known as a

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<v Speaker 3>party album right at a party, which is weird, like

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<v Speaker 3>you're like talking, but you're also like listening to Red Fox.

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<v Speaker 3>And then of course like every DJ that we admire

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<v Speaker 3>would say that, like they grew up in the sixties

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<v Speaker 3>and seventies as the record player person, like get a

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<v Speaker 3>bunch of forty fives, and it's your job to keep

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<v Speaker 3>the music going. And you know, once in a blue moon,

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<v Speaker 3>they would make these party records, which is basically just

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<v Speaker 3>like the first version of Now that's what I call music.

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<v Speaker 2>So Soul Training had the same thing.

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<v Speaker 3>They would have like a twenty song compilation on this

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<v Speaker 3>album called Soul Trained Super Tracks, and it was like

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<v Speaker 3>it's literally twenty songs on a single album.

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<v Speaker 2>So already the grooves are like minuscule.

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<v Speaker 3>And you know, they would license these songs, like there

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<v Speaker 3>are companies that you and I are probably familiar with

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<v Speaker 3>that maybe they wouldn't know today, like k Tel, Like

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<v Speaker 3>there would be labeled specifically whose job it was.

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<v Speaker 4>To have these linsing agreements with these.

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<v Speaker 3>Yeah, to license songs, and you know, it was just

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<v Speaker 3>it was super cheap. Somewhere, I'm trying to figure out

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<v Speaker 3>when did the tables turn?

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<v Speaker 2>And I almost feel like.

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<v Speaker 3>When I started getting into the game of licensing songs

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<v Speaker 3>very briefly, when I thought I had a career as

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<v Speaker 3>a music scorer, for films, and people would hire me

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<v Speaker 3>to not only score of music but also to like

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<v Speaker 3>play songs, like around two thousand and eight, two thousand

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<v Speaker 3>and seven, two thousand and eight. I would say that

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<v Speaker 3>for the most part, people were honored to be included

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<v Speaker 3>on a soundtrack, so they wouldn't go all in. They

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<v Speaker 3>wouldn't say, hey, i'm a list such and such, yeah,

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<v Speaker 3>I want two million for it. It's almost like, oh,

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<v Speaker 3>promotion like this in a movie. So like a good

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<v Speaker 3>example of the last days of that glory period would

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<v Speaker 3>be like the eight Miles soundtrack. Fomo, of course you

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<v Speaker 3>want to be on the eminem soundtrack.

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<v Speaker 2>Thing of a jiggot.

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<v Speaker 3>So pretty much, I'll say, like around twenty ten, especially

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<v Speaker 3>when I started working in terms of like working for

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<v Speaker 3>television shows in which you know, good side money for

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<v Speaker 3>me was always like whatever series is on HBO. I

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<v Speaker 3>don't mean like answer rise. I forget the names of

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<v Speaker 3>the shows that I was a part of, but I

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<v Speaker 3>would easily be called in just so that I could

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<v Speaker 3>share my playlist and hopefully I could recommend something that

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<v Speaker 3>was cheap.

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<v Speaker 2>So this is what I mean.

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<v Speaker 3>If you are familiar with the film called Made Vince

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<v Speaker 3>Vince Vaughn and uh, what's his name?

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<v Speaker 2>Yeah, John Favreau.

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<v Speaker 3>Their follow up film, There Were Swingers and There was

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<v Speaker 3>Me same it's almost like the same movie. And there's

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<v Speaker 3>a scene where they have to go up to Harlem

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<v Speaker 3>to meet Diddy at a nightclub. He's like a gangster type,

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<v Speaker 3>meet him at a nightclub and for one thing, Grandmaster

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<v Speaker 3>Flashes spinning at this night club. And what does he

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<v Speaker 3>spend He spends quality controlled by the Jurassic Float. I'm

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<v Speaker 3>sitting there watching Ditty in the club like in his

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<v Speaker 3>bottle service glory moment, and I'm like, there's no way

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<v Speaker 3>in the world you would tell me that Diddy would

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<v Speaker 3>be in a nightclub listening to the Jurassic Fly all

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<v Speaker 3>right with Grandmaster Grandmaster Flash spinning. This is pretty much

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<v Speaker 3>how like I mean, we've licensed the roots, have licensed

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<v Speaker 3>the f and here I come to at least ten

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<v Speaker 3>to twenty of those things you come in low in

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<v Speaker 3>the name of we want to promote.

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<v Speaker 2>I mean, it's a fair cash cow.

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<v Speaker 3>I would say, now low balling would be anywhere between

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<v Speaker 3>ten and fifteen thousand dollars to license. But then on

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<v Speaker 3>the other hand, if you want to license, say a song,

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<v Speaker 3>that's been iconic, like Crazy in Love or Umbrella. You know,

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<v Speaker 3>especially if you watch a show like Maya Rudolph's her

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<v Speaker 3>television show, which.

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<v Speaker 2>Is notory, like they at least.

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<v Speaker 3>Use ten to twenty songs. Those shits are expensive, you

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<v Speaker 3>know what I mean? And it just depends even shit

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<v Speaker 3>even with my own movies, Like do you know how

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<v Speaker 3>weird it is to be asked by a company to

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<v Speaker 3>do a documentary about their artists so that they could

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<v Speaker 3>sell records, and they're still charging me for using their music.

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<v Speaker 2>Yes see, Like.

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<v Speaker 5>I get it, but that's that's almost disappointing to hear.

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<v Speaker 4>Even though I get it.

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<v Speaker 3>The amount of letters I had to write to say, look,

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<v Speaker 3>it's really crucial that we include this song. Like normally,

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<v Speaker 3>when you start with a project, they give you just

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<v Speaker 3>enough money to maybe clear twenty songs and hopefully you're

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<v Speaker 3>working now. In the case of Earth when in Fire,

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<v Speaker 3>a big part of the reason why I was able

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<v Speaker 3>to get twenty five to thirty songs cleared is because

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<v Speaker 3>they wrote a majority of their.

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<v Speaker 4>Songs, so they have more control.

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<v Speaker 2>Yeah, somewhat.

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<v Speaker 3>One of the snags I had was there's scene where

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<v Speaker 3>when he starts working for Chess Records. I use Marlena

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<v Speaker 3>Shaw's California Soul because I wanted hip hop heads rather

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<v Speaker 3>familiar with gangster right. However, that wasn't my first choice.

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<v Speaker 3>My first choice was the drum break that we would

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<v Speaker 3>know as leader of the New School's case of the PTA.

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<v Speaker 3>It's like a famous drum break that Maurice White did. However,

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<v Speaker 3>that song is a mighty Quinn, which is written by

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<v Speaker 3>Bob Dylan. Now, if you remember, during the pandemic, Bob

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<v Speaker 3>Dylan's people made an announcement that he sold his entire catalog.

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<v Speaker 2>So that's what's happening now.

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<v Speaker 3>He sold his entire catalog to this company for three

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<v Speaker 3>hundred million dollars. So they're not in the benevolent for

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<v Speaker 3>History's sake business.

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<v Speaker 2>They're in the fuck you pay me bit.

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<v Speaker 4>Better money we got, we gotta get this three hundred

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<v Speaker 4>mil back, right.

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<v Speaker 3>And I'm basically like, look, I just want to use

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<v Speaker 3>the drum break thirteen seconds?

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<v Speaker 2>Do you mind cut me a break?

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<v Speaker 3>And you know, I even went to the point as

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<v Speaker 3>far as saying, like my future films, I'll use more

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<v Speaker 3>more music from your acquirements if you want me to.

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<v Speaker 3>But they want it full rate for it, and it

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<v Speaker 3>wasn't worth four times the price, Like they're trying to

0:13:15.960 --> 0:13:19.000
<v Speaker 3>recoup their three hundred million back. So that's kind of

0:13:19.000 --> 0:13:22.000
<v Speaker 3>what's happening now now in the case of I think

0:13:22.000 --> 0:13:24.240
<v Speaker 3>in the case of Rick D's and Saturday Night Fever,

0:13:24.320 --> 0:13:29.360
<v Speaker 3>which you know, Saturday Night Fever, in my opinion, is

0:13:29.400 --> 0:13:32.200
<v Speaker 3>the gold standard of the mega record, Like that's the

0:13:32.360 --> 0:13:36.600
<v Speaker 3>album that Michael Jackson was watching when he said I

0:13:36.640 --> 0:13:39.000
<v Speaker 3>want to sell more records than matter of Fact.

0:13:39.240 --> 0:13:42.280
<v Speaker 2>Matter of Fact. On the demo of Shake your Body

0:13:42.320 --> 0:13:42.760
<v Speaker 2>Down to.

0:13:42.679 --> 0:13:47.199
<v Speaker 3>The Ground, you literally hear Randy and Michael working on

0:13:47.280 --> 0:13:49.360
<v Speaker 3>the song that's before shake your Body Down to the Ground,

0:13:49.360 --> 0:13:52.240
<v Speaker 3>which is Things I Do for You on their Destiny album,

0:13:52.520 --> 0:13:55.000
<v Speaker 3>And towards the end of it, Randy changes the key

0:13:55.960 --> 0:13:58.440
<v Speaker 3>and Mike's like, oh, what's that and they're doing what

0:13:58.480 --> 0:14:00.520
<v Speaker 3>we will eventually known as shake you right down to

0:14:00.600 --> 0:14:01.000
<v Speaker 3>the ground.

0:14:01.320 --> 0:14:03.320
<v Speaker 2>So they're just like riffing and stuff.

0:14:03.800 --> 0:14:06.480
<v Speaker 3>And at the very end of that riff, for like

0:14:06.520 --> 0:14:11.320
<v Speaker 3>a minute, you're Jackie Jackson say, man, I can't.

0:14:11.080 --> 0:14:16.520
<v Speaker 2>Wait for the begs to hear this. So that goes

0:14:16.559 --> 0:14:18.240
<v Speaker 2>to show you how.

0:14:19.760 --> 0:14:24.160
<v Speaker 3>Major that soundtrack was, you know, that could move me

0:14:24.480 --> 0:14:27.080
<v Speaker 3>and in one album of the year. So as a result,

0:14:27.280 --> 0:14:30.000
<v Speaker 3>you know, cooling, the gang was almost on the way out,

0:14:30.240 --> 0:14:32.680
<v Speaker 3>and yet that was enough to say them for a

0:14:32.680 --> 0:14:35.160
<v Speaker 3>little two years before they got to their eighties phase.

0:14:35.720 --> 0:14:37.080
<v Speaker 2>I don't know why.

0:14:37.520 --> 0:14:41.960
<v Speaker 3>I'm actually glad it didn't make the soundtrack, even though

0:14:42.160 --> 0:14:44.920
<v Speaker 3>I had that forty five when I was in first grade.

0:14:44.960 --> 0:14:50.160
<v Speaker 2>But I think it would have. That was a credible

0:14:50.280 --> 0:14:51.440
<v Speaker 2>disco album.

0:14:51.760 --> 0:14:52.920
<v Speaker 5>Yeah, it was, you know what I mean, It was

0:14:52.960 --> 0:14:56.040
<v Speaker 5>the only one I have personally. I know, you know,

0:14:56.240 --> 0:14:58.920
<v Speaker 5>not to not to be dismissive of the era at all,

0:14:59.040 --> 0:15:01.080
<v Speaker 5>but that to me was like, oh, this is no.

0:15:01.280 --> 0:15:05.280
<v Speaker 3>It was actually a credible disco album. I got it

0:15:05.320 --> 0:15:08.880
<v Speaker 3>in second grade as a gift. Listen to it over,

0:15:09.000 --> 0:15:12.120
<v Speaker 3>you know what I mean, Like it was required in

0:15:12.160 --> 0:15:14.520
<v Speaker 3>every household. As matter of fact, I've never seen the movie.

0:15:14.600 --> 0:15:18.840
<v Speaker 3>Until I see the movie. I seen the movie, dude,

0:15:18.960 --> 0:15:20.880
<v Speaker 3>the most depressing movie ever.

0:15:21.000 --> 0:15:24.240
<v Speaker 5>Wouldn't expect that based on that soundtrack. You wouldn't expect it.

0:15:24.320 --> 0:15:27.680
<v Speaker 3>No, Like it's you know what, you know, it's weird.

0:15:28.320 --> 0:15:30.440
<v Speaker 3>So I think I seen that movie. I've definitely seen it.

0:15:30.480 --> 0:15:32.920
<v Speaker 3>When I started working at the Tonight Show. It must

0:15:32.960 --> 0:15:35.000
<v Speaker 3>have been one of them times when like John Travolta

0:15:35.960 --> 0:15:38.600
<v Speaker 3>came on the show and I realized, Yo, I've seen Greece,

0:15:38.720 --> 0:15:41.600
<v Speaker 3>I've seen paulp Fiction, I've seen get I've seen all

0:15:41.720 --> 0:15:44.280
<v Speaker 3>John Travolta's films except for the one film that made

0:15:44.360 --> 0:15:49.560
<v Speaker 3>him a star. And I watched it and I was like,

0:15:49.600 --> 0:15:51.800
<v Speaker 3>wait a minute, this soundtrack would lead you to believe

0:15:51.800 --> 0:15:52.600
<v Speaker 3>that this was like.

0:15:53.320 --> 0:15:56.440
<v Speaker 2>NonStop party and amaze, right, and it wasn't.

0:15:56.480 --> 0:15:59.720
<v Speaker 3>And that's when I realized that as much as we

0:16:01.120 --> 0:16:04.480
<v Speaker 3>like love and reminisce about the seventies and the eighties

0:16:04.520 --> 0:16:08.400
<v Speaker 3>and even in the nineties, those are the worst of times.

0:16:08.480 --> 0:16:11.440
<v Speaker 3>It's just at the sound the music soundtrack was our

0:16:11.600 --> 0:16:16.120
<v Speaker 3>escapism for such a harsh Sperioit that's mine.

0:16:16.480 --> 0:16:20.360
<v Speaker 5>So so as we, you know, bring this particular conversation

0:16:20.480 --> 0:16:23.080
<v Speaker 5>to a close, I did want to focus on one

0:16:23.120 --> 0:16:26.600
<v Speaker 5>of these soundtracks that I heard Roots, like Root's music on.

0:16:28.720 --> 0:16:29.160
<v Speaker 2>High School.

0:16:29.400 --> 0:16:32.200
<v Speaker 5>High School has specifically I hate you man, why you

0:16:32.200 --> 0:16:34.880
<v Speaker 5>gotta be cut? Gotta be deep cut Smurphy. I mean, look,

0:16:35.200 --> 0:16:38.480
<v Speaker 5>I'm telling you to me right, this is a deep

0:16:38.520 --> 0:16:41.320
<v Speaker 5>cut because this is like, it's not a movie people

0:16:41.360 --> 0:16:44.800
<v Speaker 5>think about at all, but like in the height of

0:16:44.880 --> 0:16:47.680
<v Speaker 5>my gotta have it all going to the record store

0:16:47.760 --> 0:16:48.440
<v Speaker 5>every week.

0:16:48.760 --> 0:16:51.440
<v Speaker 4>This is a soundtrack I bought and like, I was.

0:16:51.480 --> 0:16:56.360
<v Speaker 5>Just endlessly entertained by the music on this soundtrack.

0:16:56.800 --> 0:17:00.400
<v Speaker 2>It was parapacked. Yeah, I mean it was parapacked. Angelo

0:17:00.480 --> 0:17:01.520
<v Speaker 2>and Erica Baidu.

0:17:01.320 --> 0:17:06.760
<v Speaker 4>On here wool Wear the garment Renaissance. Yeah, Alas, can't

0:17:06.800 --> 0:17:08.800
<v Speaker 4>call it so much.

0:17:09.520 --> 0:17:12.040
<v Speaker 5>I mean I think tribes on there, I think, yeah, yeah,

0:17:12.080 --> 0:17:13.399
<v Speaker 5>peace of prosperity of paper.

0:17:14.680 --> 0:17:17.760
<v Speaker 4>Dude, Like, what do you remember about this? Like this

0:17:17.920 --> 0:17:18.800
<v Speaker 4>putting this together?

0:17:18.880 --> 0:17:21.919
<v Speaker 3>Okay, So I told you the story of how I

0:17:21.960 --> 0:17:25.600
<v Speaker 3>met D'Angelo at the House of Blues show and in

0:17:25.640 --> 0:17:30.920
<v Speaker 3>Los Angeles. I thought his date had a very unusual

0:17:30.960 --> 0:17:34.040
<v Speaker 3>head wrap on our head, only to find out he's

0:17:34.119 --> 0:17:42.159
<v Speaker 3>Erica Badud. And I'm also meeting them on March thirtieth,

0:17:42.280 --> 0:17:45.760
<v Speaker 3>and they're telling me that they're going to what we

0:17:45.800 --> 0:17:51.000
<v Speaker 3>will know as Marvin's Room. H damn, rest in peace.

0:17:51.040 --> 0:17:54.040
<v Speaker 3>I forgot Marvin's room burnt down in the in the

0:17:54.080 --> 0:17:58.800
<v Speaker 3>Palis States fire. No more Marvin Gaye's studio. But they

0:17:58.920 --> 0:18:03.400
<v Speaker 3>want to Arvin gay Studio, which was famous for kind

0:18:03.400 --> 0:18:06.800
<v Speaker 3>of being in a time portal that never moved the

0:18:06.840 --> 0:18:09.720
<v Speaker 3>way that he had that studio in nineteen seventy eight

0:18:09.760 --> 0:18:13.359
<v Speaker 3>when he last used it for Here My Dear is

0:18:13.400 --> 0:18:17.480
<v Speaker 3>the same condition that it's been in until that Palisade fire.

0:18:17.560 --> 0:18:20.560
<v Speaker 2>They never changed the thing, not the interior, nothing.

0:18:20.920 --> 0:18:24.800
<v Speaker 3>So they recorded a Marvin Gaye Tammy Terell song at

0:18:24.800 --> 0:18:28.160
<v Speaker 3>Marvin Gay's studio the next day after I met them

0:18:28.640 --> 0:18:31.159
<v Speaker 3>at the House of Blues, which essentially is like the

0:18:31.200 --> 0:18:35.120
<v Speaker 3>summit meeting of all of us meeting he just met

0:18:35.240 --> 0:18:39.120
<v Speaker 3>Erica eight hours before, and I'm meeting him and Erica

0:18:39.720 --> 0:18:41.960
<v Speaker 3>eight hours later as they come to see the Roots

0:18:42.000 --> 0:18:44.800
<v Speaker 3>and the fujis and goodie mob at the House of Blues,

0:18:45.320 --> 0:18:51.719
<v Speaker 3>and it just so happens that Kadar Massenberg was within earshot.

0:18:51.800 --> 0:18:54.199
<v Speaker 2>So then he comes and says, Hey, she wants to

0:18:54.200 --> 0:18:55.240
<v Speaker 2>work with y'all next.

0:18:55.280 --> 0:18:59.320
<v Speaker 3>And so we will eventually start working on the other

0:18:59.320 --> 0:19:01.359
<v Speaker 3>side of the game and stuff and stuff with Erica

0:19:01.440 --> 0:19:04.639
<v Speaker 3>in about a month. And then he introduces us to

0:19:05.960 --> 0:19:09.879
<v Speaker 3>I forget who the sound. I think I think maybe Reef,

0:19:10.240 --> 0:19:12.960
<v Speaker 3>somebody that used to work at the Source that then

0:19:13.440 --> 0:19:17.479
<v Speaker 3>got an an r gig was sort of spearheading the

0:19:17.520 --> 0:19:20.320
<v Speaker 3>sound of the High School High soundtrack. We did that

0:19:20.440 --> 0:19:24.560
<v Speaker 3>song at Dallas Austin Studio on a day off. The

0:19:24.560 --> 0:19:29.359
<v Speaker 3>fujis were next door working on what I believe was

0:19:29.400 --> 0:19:32.000
<v Speaker 3>going to I believe they were working on what will

0:19:32.040 --> 0:19:33.360
<v Speaker 3>eventually become.

0:19:33.080 --> 0:19:33.880
<v Speaker 2>The sweetest thing.

0:19:35.760 --> 0:19:39.280
<v Speaker 3>And we were working on that High School Highest soundtrack

0:19:39.400 --> 0:19:43.200
<v Speaker 3>song in Dallas Austin studio. And the guy that does

0:19:43.240 --> 0:19:46.000
<v Speaker 3>all the the reggae chanting thing that was like it

0:19:46.040 --> 0:19:47.800
<v Speaker 3>was like Proswell's cousin or something like.

0:19:47.840 --> 0:19:49.560
<v Speaker 2>He he like hanging with us.

0:19:49.840 --> 0:19:51.840
<v Speaker 3>I don't know if it's for the weed or whatever like,

0:19:52.520 --> 0:19:55.679
<v Speaker 3>but you know, it was like a kind of a

0:19:55.760 --> 0:19:59.800
<v Speaker 3>happy summit meeting between the roots and the fujis at

0:19:59.840 --> 0:20:02.680
<v Speaker 3>the Dallas Austin Studio in Atlanta, Georgia.

0:20:02.800 --> 0:20:05.040
<v Speaker 2>So that's pretty much what I remember well.

0:20:05.640 --> 0:20:09.800
<v Speaker 5>As always, our conversations can unfold a hundred different ways

0:20:09.840 --> 0:20:11.520
<v Speaker 5>and we can talk for hours. So I mean, I

0:20:11.520 --> 0:20:14.040
<v Speaker 5>look forward to maybe picking that up sometime in the

0:20:14.080 --> 0:20:16.639
<v Speaker 5>future too, Yes, sir, But good to connect on this

0:20:16.680 --> 0:20:18.600
<v Speaker 5>one and talk to you again, surely.

0:20:33.200 --> 0:20:33.520
<v Speaker 2>Of course.

0:20:33.600 --> 0:20:35.840
<v Speaker 1>Love Show is a production of iHeart Radio