The Perfect Song Challenge ft. Este Haim

- This is the hardest task I've ever been tasked with. - I'm gonna give you a song that is funky as fuck. - Teddy Pendergrass just did. - Absolutely cooking. - I think that what Prince achieves-- - He's in a different stratus from school. - No, he is the university. - Fuck, okay, I think I have great picks. - And I picked that one for you. - I mean, Tina Wayman, the reason I play bass guitar. But with Brittany, I think she can turn it on. - If I had to desert Island, one of them would be baby one more time. - See, my desert Island would be ooze, of course. - That's right, that's where we're at. - Yeah, yeah, yeah, that's where we're getting in. (upbeat music) - We're starting for real, are you ready? - Yes. - Before we start the music, introduce yourself. - Hi, my name is SD Heim, and I'm here with Jack, and I'm very excited to be here. - I'm very excited that you're here. Someone, someone was like, last time you were on the show, you lost your voice, and so this is now you need to come back. But it seems like you lost your voice. - It's still, well, 'cause I went to the game last night, y'all, I was screaming. - I was thinking about that when I saw you on TV, screaming. - Like, no more vocal cords. - So episode three coming soon. - Yes, post, node removal, I'm gonna get a surgery, take off these nodes, and then I'll have a brand new voice. Episode three. - The idea for today's episode six perfect songs. - Great. - I have three, you have three. - This is the hardest, this is the hardest task I've ever been tasked with. - Three? - There are a lot of perfect songs out there. There are a lot of amazing songs. And I was just like, well, you know, let's spend like a couple minutes thinking about it, and pick just three. - A couple minutes. - Pick three that are like, yes. But this is, it doesn't have to be, this is not a forever thing. - Okay. - These are not the only three perfect songs. - Okay, okay. - So you're just three that you think are perfect. - For today. - For this moment. - For this moment. - For this moment. - In me in this moment. - You'll be judged forever and ever. - I know the internet is forever, the internet is in Sharpie. But for today, these are the songs I like. - The pressure's on me too. - I know, I'm totally judging. - 'Cause I have to choose something that's good. I'll play something, I'll hand you the phone. (upbeat music) ♪ What you gonna do when you get out of jail ♪ ♪ I'm gonna have some fun ♪ ♪ What do you consider fun ♪ ♪ Fun, natural fun ♪ - By the way, this is a game and one of us wins. We have to decide together who wins. Who pick the more perfect three? I'm kinda coming up with this on the fly. - Okay, okay fine. I've played this game before and I have won. Okay, fuck. Okay, I think I have great picks. - Of course, I mean, do you know why, man? - Come on. - My, the reason I play bass guitar. - Really? - Are you talking to, are you talking to me? - You can talk to Henry too, if you want. - I'm talking to the class, everyone here. Yes, do you know where I'm at? Is the reason that I play bass. I told you my story about how I came, okay, so my mother plays guitar. She's a very, like acoustic, like loves joining Mitchell and Joan Baez and I grew up hearing my mom singin' play guitar. So when I was eight and Danielle was five, my mom started to teach me how to play guitar. When I tell you, Danielle, like flew past me when it came to like technical skill, musicality. Like I, as an eight year old was like, my fucking five year old sister is better than me. I could talk, like she's five. How is this even possible? She was like a savant. - Yeah. - And my dad saw this and was like, my daughter is depressed, he heard that it's her new name. I was like walking around, moping around, like I don't know how many talent, like what is my place in the world at eight, at eight years old, existential crisis. So my dad was like, I got an idea. I think as he should try to play bass, another stringed instrument, four strings though, obviously easier, not true, by the way. - Yeah, well, the bass was that. - What do you mean? Was it like an electric bass or like a standup bass? - Yeah, he was like, usually electric bass. Like standup bass for an eight year old is a little intense. So I, my dad was like, should play bass and I was like, I don't even know what the bass is. Like when you're eight, it's not like guitar or drums. It's like the thing that's like in the front. Guitar, drums, like lead singer, like bass is like, you know, if you listen to pretty, like you have to kind of have like a, I don't know, an involved ear, if you will, to really hear what's going on with the bass guitar. So I was like, I don't even know what that is. I don't wanna do that, that sounds lame. And then my dad was like, okay. I know what's gonna change your mind. SD loves Nintendo, loves Mario, loves Princess Peach. I'm gonna show her, stop making sense, and she's gonna see this magical, beautiful lady playing bass with her blonde hair. And she's literally like the most ferocious, like she's having the most fun. They're all having the most fun in that movie. So my dad takes me to Blockbuster, gets the movie, puts it on, and I was literally like transfixed. I was like, I get it now, I get it. This is for me, this is what I wanna do. I wanna be Tina Waymith. And that's the start of my love and fair with bass. So my dad was very smart in that way. Not in the way that was like bass is easier than guitar. Dad, that was incorrect, not true. In the way that he was like, you need to kind of see it to be it. That was the correct way to go. And then from start making sense, then I started researching all the other music that she was involved in, Tom Tom Club being one of them. And yeah, she's so cool. It's such a good bass player and so tasteful. And again, the way that she, I love the way she performs, she's having the best time. - Bass is, it's like this hidden thing. It's like, once you start to learn about music, you discover so much about music through that instrument. - True. - It's just not like flashy and out in front or something. And I guess it's just like a hearing thing. Maybe it's the way that our ears work. That it's like subtle at first. - Yes. - And then once you understand it better. - Yes, then you can't unhear it. Then you're like, because all I hear now is bass. - Yeah. - When I listen to a song, that's the first thing that I listen for. - Why? Do you like thinking, are you actively thinking about that? How would I play this? How is this play? - What's going on? What are they doing? What are their choices with the bass? What notes are they playing? What notes are they choosing not to play? What are they holding back? What's the restraint? And what are their note choices? Because really, that's the fun thing about basses. You get to play with rhythm and melody. You are both. And yeah, and now I love it. And I can't imagine my life without playing bass. So thanks to Tom Tom Club. - Great out-of-the-gate choice. - I. - Amazing album cover too. - Amazing album cover. - The cartoon. - Yes, amazing. Insane. - This is something that you would see as like an eight-year-old girl to me like, this is so cool. - This is really cool. - Yeah, and it's still cool. I mean, I think, first of all, that documentary in general, the rock, that rock doc is one of the best of all time. And the music, and I recognize the music too, but I didn't realize that that was the talking heads. Do you know what I mean? I knew all those songs, even as an eight-year-old, because my parents loved the talking heads, but I didn't realize that that was that band. - Yeah, and then it kind of started my love affair with, you know, like, you know, music from the '80s, '80s new wave, '80s punk. Anyway, so are we going tit for tat? Or are we going-- - No, it's its collective score. - Okay. - So now it's my turn. - No, it's your turn. - Okay. - Okay, this is also like a challenge to your song. That is a great party song. That genius of love is a great party song. It starts, you know, starts the shoulders moving a little bit, you know? - There's a reason that it's been in so many, it's sampled so many times in hip-hop. One of the most sampled ever, 'cause it's funky. It's funky as fuck. - Yeah. - I'm going to give you a song that also is funky as fuck. - Okay. (upbeat music) - That bass line. - That's Sorpentine Fire by Earthland and Fire. - So, Earthland and Fire. - Yeah. - One of the most iconic important bands in history. - Yes. - And one of those bands were there. Hits kind of get in the way of all their other tracks. Like their biggest hits are like a distraction almost from everything else that they did. - Yes, and like also like the things that you hear like weddings and like bar mitzvahs. And I think that sometimes that overshadow's like, they're genius, but Verdean White is like one of my favorite bass players. - Is there anyone who's cooler looking to the hair? - I mean. - His teeth and his hair. - No. - And like the thing like the performance is where he's getting he's hanging from like strings and like. - How? - Flipped us out there. - Couldn't be me. Can't do that. I wish I could. - Is there like just. - Do you know that song though? - Yeah. - So good. - There's a documentary that just came out of me. - Yes, Quest Love. - And in the documentary he has a line from Barack Obama where he's like, I saw that tour. - Yeah. in 1978 or so. whatever. And that I saw what they were doing. And I said, what else is possible? Come on. And it's like, he basically is like, I became president because of what I saw on stage where they come down in these tubes. And there's like magic, David Copperfield did all the work down all the magic stuff that was happening at their shows, the biggest show. I wish I could have seen that. So also what happened to me with Tina Wame is happened with Barack Obama and Earthen and Fire. Yes. Great. We have that in common. The other thing that Questlove said to me and I don't want to, I don't want to do it. Like what's your name? He basically said Earthwind and Fire is Harvard. And P funk is Howard. Interesting. So like the level of, I guess it's just, there's this, you know, there's so much going on. It's like super sophisticated. But at the same time, it's this music, it's just reach is just, I have to think about that comparison. But I mean, I trust Quest, like with my life. But I mean, I have to really have to think about that. Sure. I think that that's true, actually. So that's, that's in me seems like, well, how did you get into Earthwind and Fire? So through the base, through the base. And also my parents were obsessed with Earthwind and Fire. They were both avid, like disco diehard dancers and they would literally go to clubs and like, like, practice their spins to Earthwind and Fire. They would do the hustle on the Latin hustle to Earthwind Fire songs. So I grew up hearing them in the house. But then it wasn't until I was older that I really realized the genius of their music. And again, like, it's so joyous. And the voices are so beautiful. And the songs and the lyrics, like, the lyrics, the love songs, like, I just became obsessed. And the way the record sounded too, like they were so, like, sonically, they were so sick. And with Verdean White, you know, how crystal clear and clean that sound is. And it's like, how much they do everything. You're everything. Yes. To just bring this huge band that has so, it's almost like what's not being played is so important. It's the restraint. Like the juxtaposition of like the jewel, like, especially in that song, like the joy in the celebration, also, like, how they're like, they're really making us work for it. They're really, and also I love how many hooks there are. It's all hooks. It's like 10 different hooks. So yeah, Maurice White, when he was seven years old, got sort of, like, discovered, like, transcendental meditation himself. And he would sit and, like, this and imagine that he was going to start this band and just, like, take a look at the world. You just had visions from when he was, when you were picking up the base, he was just in Memphis, like, like, Cross like thinking about this. I mean, I think that's like, that's really, I think that's like a universal truth for most. You have to see it. You have exactly. You have to see it to be it. I truly believe that. When did you guys see it? I think we're still looking. No, no, but definitely like, at a young age, you, the three of you were like, let's fucking go. Well, I think the three of us always, you know, we loved music. So, I mean, and plan specifically, I mean, love listening to music, but we loved playing music. And, you know, we had a band with our mom and dad for like 20 years. So it was kind of like, I think we all of us knew that we wanted to be performers. What that vehicle was going to be, I think we, when we were kids, we didn't really understand. I think all of us loved theater. And, you know, I think we were just like, yeah, we loved getting on stage and performing. But I think once I got into high school and Dingell was at freshman when I was a senior. And we started writing songs together. And we like brought a lot of in. It was me, Dingell, a lot of just sitting in a room in our living room and writing, you know, really, really awful songs that will never see the light of day that are in a vault that is locked. And I have swallowed the key. But even that, like, I think, even understanding that we had the ability to do so, because we had been singing covers with our parents for 20 years. So I think once we finished a song, we were like, okay, so like we, we can do this. Like, this is possible. But yeah, I think once that happened, we weren't high school. And I was like, I don't really want to go to college. And I was like, I don't really want to go to college either. And Alana was like, I'm not even in high school yet. What are you guys talking about? And we just kind of all made a collective decision. We were just going to really focus on, like, making our dream come true. And we did. I wasn't doing TM. But you can see it, though, because you're, you guys are in LA. There's a lot of stuff around like you see that it's possible. Yes, but I can I say something though? I'm from the Valley. Shout out shout out. I'm from the Valley. It always felt like Hollywood and the biz was actually a lit like just out of arms reach. And I don't know if it was because people made me feel that way or because literally in proximity, like, Hollywood was over a hill. I just, I also wasn't really around people in the business. I didn't like lived near the Picarros. Like, they were in my neighborhood. But that was like, that was, that was it. And like, I could hear them like playing drums in a studio, which might, me and my dad would just literally stand outside and listen to them play. But yeah, that was kind of it. It wasn't really until I got my license. And I could drive to venues to see music where I was like, I was like, this is where I want to be. I want to be an in this in LA music scene. I was 16. And where would you drive to? Oh, I mean, I went into the Roxie, the Tribador. I did the Silverlake lounge. I did. I did. Satellite. Where else? Oh, the echo. Yeah, those were kind of the hits. Like, I went to all of them. I would even drive out to like, Anaheim and like, go to chain reaction, you know, and like, were your friends like in your grade also deep into music? Or was it more of the family? Yeah, my friends were too. I mean, I was a theater major at my high school. I went to an art school called Blox. But my girlfriends and I would go see, you know, we saw Elliot Smith before he may hear us in peace before he passed away. We saw, we went to go see radio head at, we snuck into radio head at the Greek theater in like 2001. We saw Rylo Kylie all the time. Like, Rylo Kylie was a really big one for us. Yeah. Like me and my girlfriends were genuinely less like super fans. She was life changing for me. She was the coolest. And, you know, we would go see when the strokes were in town, we'd go see the strokes. And, but mostly like the LA bands, like, yeah, Elliot Smith, Rylo Kylie, who else? Yeah. Those are the two that are coming to mind right now. I'm also running on fumes last night. It was super routine fire. Yes. I think that's, I think you're kind of in the lead right now. Thank you. I went, I went a little too basic, you know, but, but, and I'm kind of thinking about going basic again because, okay. Because, because why? Why not? Is it two-parter? That's something wasn't right here. That's part one. Okay, I think I did it again. Okay, both those songs. It's kind of one song. It's two parts of one song. They're both, they're just, they're the yin and the gang of, are they, are they not? Are they, like, musicly? What's happening? This universe that's being built? Well, okay. I mean, and, and thematically, it's, it's like, it's like, okay, we did it. Now let's do it one more time, but bigger and crazier. So when she was saying, hit me, baby, one more time, she meant, I'm going to make another hit one more time. First came, baby, first came, baby, one more time, baby, one more time. I'm going to give you another hit one more time and it's called oops, I did it again. Oops, I did it again. That's okay. I'm, I'm, I'm with you. And the way, like, the instrumentation, the crazy, like, piano. Oh, that's Max Martin. That's like quintessential Max. Yeah. It's quintessential, but these, it's, this is in its purest highest form. Yes. If you were going to do a trifecta, I would add toxic toxic is different toxic. I, let's, let's just do a whole trinity toxic is, is incredible. And her biggest song, that bass. It's very different. Do you know what you think? No, no, no, I'm saying, like, I'm saying in the holy trinity, those are three of the greatest songs ever made. Yes. And that's, and that is this competition. So perfect songs. All three perfect songs. I do think those all three are perfect songs. I, so I love Britney Spears. I love her though. I remember where I was when I saw the music video for a baby one more time. I actually didn't see it on MTV. I saw it on the box. Do you remember the box? or you could like request song that you paid to and I mean, I didn't see the video. I stole my parents credit card so that I could watch that multiple times. Sorry, mom and dad. - Worth it. - But worth it. - Pay it off. - That video, I mean, life changing. I remember being in my living room in the valley and just being like, what, who is this magical girl? Like dancing her ass off, singing her ass off, catching a song ever and then going to MTV and seeing her on TRL and like realizing who she was and then she just blew up. Yeah, baby one more time is classic. - When did you become aware of not just as a fan of Britney Spears and being like, I love this song. When did you start to understand it more musically and sort of like learn about Max Martin in that production process? - Well, I think as an artist, I mean, I talk about world building, like she, along with Max Martin, like all the songs that they made together, like our pop perfection. And I mean, I started becoming aware of Max Martin once it was kind of again a holy trifecta of Backstreet Boys, Britney Spears and Sink. And I was like, oh, this guy is responsible for producing all of this music and writing it too. And I was like, oh, this Swedish genius, Span is a football genius. And then I discovered that he did all of Robbins early stuff and I was like, oh, who, how? And then the stuff with Taylor, I mean, he's just fully a genius. But with Britney, I think, you know, it's not the thing I love about her is it's not just the songs, it's her dancing, it's her personality, like she is just such an icon. She was like, I don't know, inspiring to my sisters and I would make my kids for sure. - Shot out of a fucking cannon. - Dude, but makes so much sense. - It's perfect. - 'Cause she's so talented. - Yeah. - My party trick is I know all the choreography to oops, I did it again. That is my full-blown party trick. I can do the whole thing back to front, front to back. And I will not do it right now. I've seen videos. - You've seen me do it. Okay. - The amazing thing is at that age, when you watch the videos, the control that she has of the camera and just what she's, it's like Michael Jackson level. - Oh, she can turn it on. - How much she's in control of the thing. - Yes, well there's an amazing video of her doing oops, I did it again. And it starts with her singing the end of the course and then it goes into the bridge. And it's just a close-up of her. And she knows that this part of the song is gonna be something different. So she's just mucking for the camera and making funny faces. And then when it goes oops, she just locks the fuck in. - It's gonna make you fucking work, bitch. She's an icon, amazing. I mean, there's not enough things to say about Britney Spears. - Do you think about that when you guys are producing an album from a production standpoint? Like, can we push this? Can we make the drums? - Oh yeah, are you kidding me? - Are you kidding me? - Bigger, make the bass hit hard or like. - Dingo Hayam is relentless. Shout out to my sister. She is relentless when it comes to drums. I mean, we will spend, like, this is not hyperbole. We will spend a week on a snare sound. A week in the studio on a snare sound. - Okay. (laughing) Okay, all right. So since you did an artist that builds a world, I'm also going to pick an artist that builds a world. And since you got to pick two, I might pick two. I might pick two. - I think it's baby, yeah, you should pick two. Baby one more time is probably, I was thinking about it for a long time this morning, like, which one of those songs? 'Cause they're both so good. - No, there are incredible songs. - But maybe if I had to desert Island one of them, it would be baby one more time. - See, my desert island would be ooze. - Of course, that's where we're at. - That's where we're at. - That's where we're at, yeah, yeah, yeah. That's where we're at, yeah, yeah, yeah. - Okay, then I will do two songs by this artist that I think are both brilliant, but for different, not even for different reasons, or just both great. Okay, we're going to start with this one and then I'm going to go to the other one. (upbeat music) Where's the news? (upbeat music) - We talked about this a little bit last time, about Prince, yeah. - He's not only an insane performer. Like, that should be enough. - Yeah. - It should be enough that you're just like the most virtuosic guitar player, drummer, keyboardist, singer. And then you're an amazing dancer on top of it. Okay, fine, fine, I'll give you that. Then you're the most incredible songwriter, genre melting, genre, we don't care about genre. If we're for Prince, we don't give a shit about genre. We're everything. We're new wave, we're rock, we're funk. We're R&B, like, okay, fine. Then I'm also the best producer. - Wait, give me the other one, give me the other one. ♪ Baby, come back, come back ♪ ♪ Maybe too much too fast ♪ ♪ Be the red COVID ♪ - So what stands out to me, obviously, the two songs that I played back to back are very similar. And the two songs that you played are very different. - Yes. - And I think that speaks to the difference between a little bit, to the difference between the artists is like, he's so multi-dimensional, and capable of so many different things. It can make songs and so many styles. And he's pushing the envelope. Whereas the songs that I chose are this singular thing. So in terms of, if we're looking for six perfect songs, I think that what Brittany achieves is a certain type of perfection, and almost what Prince achieves is a purposeful sort of imperfection. - I hear you, but is he perfectly imperfect? - Yes, yes, yes. - You know what I mean? - Yes. Yes, there's no one else. I mean, the difference is like, Bernie Spears is amazing, but there's other stuff that's in that same universe, right? There's Backstreet Boys songs that are delivering and hitting on that same, you know? - Yes, it was, it's like, what's the test? Okay, that's 100 on the test. Whereas this is like a different, he's not even in class trying different school. No, he is the university. Like we're just sitting in a classroom. He makes up the entirety of the school. Like he is the school, you know? So, I don't know, listen, it's hard to top prince. It's really tough to top prince. And that was like also picking a prince song is utterly impossible. That was really tough for me. I mean, Erotic City is one of my favorite songs of all time. Little Red Corvette for me is just, I think is painfully beautiful and the chord changes and the imagery, his voice. - His voice, that's what stands out to be the vocal performance on this song. - Yes, his performance, you can hear, like, it feels like he's, like, it's a movie. Like, it's an acting performance. Like, I don't know. I just, I can't say enough nice things about him. And especially when we were talking about world building, that was, that really came to mind for me because, you know, yes, there's the musical stuff but then also like the way he dressed and the androgyny of it all. And how like, at the time, all these like, quote unquote rock stars were these like, mochismo, like, you know, like, arena rock, like, which is great. It has its place. But then he decided to like wear like lace and like heels and like, really played with gender and gender roles. And like, what does it mean to be a man? What does it mean to be a woman? Like, he was really, he was like there, you can, it's undefinable. Like, he was undefined. - It's the same, the way, it's the same thing with music, the way that he treated sex and sexuality in gender was the same way he treated music and interpretation and everything else. - It is, it is a spectrum. It, like, it is fluid. - I've watched so many times in the last couple weeks, the rock and roll Hall of Fame guitar solo thing where he's playing with the George Harrison tribute. - Yes. - And out of nowhere. - And then he just comes out. - Rips. - And just end the way that he-- - Ends everyone. - Just like Rex, but he's also like dancing kind of with the instrument. - Yes. - Like, playing perfectly and doing it in a way that's like, whereas, you know, the other guys are like, cool. It's great. You're in guitar, but you're not doing, he's just like fucking-- - Ripping. Doing splits. - Which is that-- - We are doing guitar solos. - You're doing that for your rock star. You're supposed to like, come on. - No, it's otherworldly. And that's the thing about him is like, he really, it was, I saw, I had the honor of seeing him probably 20 times before he died. I mean, I'm a diehard fan. And seeing him perform was probably one of the reasons that I decided to take music seriously as a career. - There's a through line. You know, he was greatly inspired by Earth, Wind, and Fire. - There you have it guys. Do you have a guy's? She's a beautiful guy. She's a beautiful girl. Do you have a guy's genius? - You're gonna test your whole life. - Ooh, what a thunk it. - You've been studying your test the whole life. - We're down and we each have one more. - Okay. - Before we get into the next song, you have a movie coming up. - I do. - Voice mails for Isabel, what's that? - I mean, I did the music for it. I'm not in it. - You didn't direct it, you didn't write it. - I didn't direct it, I didn't write it. - We didn't work on the music. - Yes. - With a man in Yamante. - Yes. - Who you worked with before a couple times. - They are so fucking talented. I can't say enough things about, enough nice things about Amanda. They are so just like musically, like musical savante. They're like understanding of harmony and sound and manipulating sound. They're the most fun to work with. I mean, I also work, my friend Christopher Stracy, I also work with who I love dearly too. I love both of them equally, but Amanda is just, it's just so nice to be in the studio with them. It feels like home. You guys make original music, but also do you choose the songs that are in there? - No, that's different. - No, that's, on voice-mouse for Isabelle, that was my friend's season Kent chose all the Neil Drop songs. But no, like all of the, the score, just the music without the lyrics was Amanda and I. - Did you ever think you were gonna do that? - No. - Or that was like a by-product of becoming a rock star first and becoming a musician first. - No, I think I've always loved score, but again, like I didn't understand that that could be like a career until I met Ludwig Gorenzen, who produced our first EP. - Do you know that? - No. - So little, in fact, the Forever EP was produced by Oscar, multi Oscar. - Maybe five times. - And it's gonna win another one for the Odyssey, like it's happening again. He produced our first EP. We would go into his studio in Outwater Village after he was finished composing the music for this TV show called Community with Donald Glover. And I would see him, like we would be working on a song and all of a sudden he'd get an email from the showrunner that was like, we need to fix this cue. So I would see in real time, he'd have to pause our session and just be like, guys, I have to, you know, do this. It was gonna take me like 10 minutes and worry about it. And he would literally just like take a guitar off the wall and like, did we do Bob? And then like, skill you do Bob some drums and like do some magic in the box. So like, I was actively seeing him compose for TV. And I remember being really inspired by that. And just being like, oh, wow, like this is a, what a sick career, Ludwig, like it never really, I knew that I loved, I could love John Williams and like Henry Mancini, like I loved all of these composers, but like I didn't understand that like that was even something that was possible for me. Cause I was like, like you got to get the music onto the, onto the screen. And then you like, I didn't understand the schematics of it. I was like, this feels very complicated. And it is, but you know, over the last five years, I've had the privilege of being able to contribute to this, you know, career and this genre and this art form. And I feel really lucky that I'm able to do that. And it's been really fun. And it's really nice to not have to worry about lyrics. - It's a totally different thing. And not just lyrics, but the whole, like you're not building something from scratch the same way. You're basing it off of an idea that you're seeing. - No, I'm serving, I'm serving something. - You're reflecting. - Yes. - You're not, I said this the other day, someone like you're not generating the emotion yourself. You're like enhancing the emotion that's already been written. - Yes. And then the dance is like, do I, I don't want to tell people how to feel? - Much, yeah. - But I also want, yeah. But I also want them to understand like this is sad. But I don't want to like play Kate, my audience. Cause they're not stupid. They know what's going on, you know? So that dance has also been something that I'm kind of like learning on the job as well. And I'm lucky that I have someone like Amanda to bounce ideas off of, but yeah, they're the best. And this was, for example, for Isabelle was so, - It's movie about sisters. - Exactly. - It's a movie about losing your sister. - Yes. - Heavy fucking shit. - Yeah, your girl went to Costco and just bought Kleenex multiple, multiple times. I was, it made me very emotional. And there were definitely times where I had to like, leave this studio and like collect myself. It is a rom-com though, but it's like out the gate. Have you seen it yet? - No. - Out the gate, it's pretty, it's pretty emotional. And when I saw the first cut of it, immediately I was like, oh, I definitely want to do this. But I also recognize that like this is going to be really difficult for me to do, because of the subject matter. Because it is so close to home. And like for multiple reasons, like I have all these, you know, ailments, these diseases. And I just kept thinking like, am I putting my family through this too? Like, and seeing it on screen, I was like, I don't want them to have to take the energy and worry about me. So seeing it on screen in that way and seeing a family kind of rallying around, you know, a younger sister and like, but still like living their life, I don't know, sorry. - No, okay. - It's good. - Okay, I just, you know. - I appreciate it. I mean, it's, it was really, I guess what I'm trying to say is like, I felt very connected to the subject matter when you're dealing with chronic illness in a family dynamic, it can be really training and it can be really worrisome. And there's, you know, Alana has my blood sugar numbers on her phone and, you know, I, again, I don't want to get emotional. But there's times when my blood sugar gets low and it can get really scary, you can get dangerous, the low in the middle of the night. And, you know, Alana thinks I'm gonna die and then she'll get in her car and she'll come to my house and I'll go to my door to make sure I'm okay. So, you know, stuff like that, we're like, "I just don't want them to have to worry about me "and it can get really scary." And so, yeah, this movie and like how close these sisters aren't, how much they love each other, it was just, it really, it's so close to home for me. Anyway, sorry, I didn't think-- - And watch it with them. - No, they haven't seen it yet. They're gonna come to the premiere. But I told them about it and, you know, we wrote "Hallelujah" about it too, you know. They're like my angels, they take care of me, they take such good care of me. And I love them more than anything. So, yeah, this movie was just, it really like, it was, there were, again, this was me, a lot of days in the studio. But yeah, you know, life is really precious and you really have to let the people that you know, that you'd love, that you'd love them and enjoy the time you have with them. Anyway. - Watch Voicemails for Isabel, it's great. How often, how often on the other side do you have these pinch me moments that you get to do this, that you get to live this life with them? Like that's like, it's really, you know, it's really special, it's not lost on me, how lucky I am that I have them, you know. - Yeah, Leah McKintrick, who directed the movie, when I watched it with her, I was like, I'm sorry, I'm crying so much that she was like, (laughing) Are you okay, are you good? And I was like, no, I'm like, it makes it so, it's so, it's so good. Yeah, anyway, sorry to have therapy. - No, please, that's why, that's why I'm here. That's why I'm into this show. It's helped me decide, I wasn't sure which direction to go next. - You play a sad song about sister, if you play hall, like, hall, okay. - I'm hollowly, it's a perfect song. - I'm gonna do a random one, I'm gonna do a random one. ♪ I know what you're going ♪ - It's like, more, more, more. - But that's disco, that's the whole basis of disco is building, build it. ♪ I will never, no, I'll never ♪ ♪ No, I'll never ♪ - This song keeps going, keeps going. - And that's what makes disco so great. Would you call this disco? I think this is disco. - This is, this is like, definitely early pre-cursor disco. This is like, what kind of kicked it off? - This is Harold Melvin, the blue notes. Teddy, Pendergrass, just do it. - Absolutely cool. - Cornering, mirroring, mirroring, mirroring. Wait, the guys come in and then he just comes in with that. ♪ I can remember playing ♪ - Yeah, that opening, phrasing. It's so sick and so tasty and so funky. I love that pick. But what made you pivot there? - I don't know. I mean, I think, I think we've been going, I've been going down this like, a little bit more pop oriented production path. And I was like, let's throw something out that has like real soul to it. You were going down this more soulful path. I wanted to kind of combat you over there. And then, I don't know, at song, I just, every time I hear it, I'm like, geez. Dude, a banger. And again, like, yes, like, to me, it's like disco in the sense that, like, that is the disco playbook. It's like, it starts with just a high-hat. Yeah. And then the bass comes in. Let's hit the dance floor. And then the guitar comes in. And then maybe a keyboard comes in. And then maybe the vocals come in. I had to step up my game. And then the horns come in. 'Cause you were stepping up your game. Okay. This is for you going for the win right now. Okay. Okay. I guess because going off of what I was saying and thinking about, you know, appreciating life and appreciating the people around us and really trying to understand our own mortality, I guess. Yeah. This song is one of my favorites of all time by one of my favorite artists of all time. But I didn't really realize the brilliance of this entire album, probably until I was in high school. ♪ A friend of mine, she cries at night, and she calls me on the phone ♪ You're seeing a theme. I mean, yeah. I think that it's coming from what we're talking about. Yes. The bass. The bass. Well, that's Don was, my guy. And the drums, the rhythm section, at the foreground of the stuff. And the prodigy. Who's Don was? Don was is the producer of Nick of Time, incredible producer, one of my favorites. Just again, you could hear everything so beautifully. You can hear every single intricacy of every instrument. What did you say before you? You got deeper into. Oh. Well, I knew this song and this album. Like the other song that's big on this album, it's Nick of Time is the name of the album and then the song is called Nick of Time. And then the album has, thing called love, six songs. Have a heart. Put on. Put on. Have a heart. Come on. ♪ Hey ♪ ♪ Shut up ♪ Hey, shut up. ♪ Don't lie to me ♪ ♪ Never heart me ♪ What is that? Who thinks of that harmonically? Where did she get that? What are we doing, Bonnie? Great. I mean, I just, I love Bonnie Raids so much. I mean, the other one that I love is, um. ♪ I was in a days, moving in the wrong direction, feeling that I'd always be the lonely one ♪ Bon Bon. And Sam. Bon Bon. I like so the Nick of Time one was that it has less of the country sort of like guitar. Yeah. The word thing to it and more has that 80s, like kind of like leans into that. It's still like still guitars, still has guitars, still has sick drums, bass, it's not like there's like synths. No, I don't know, but it's less like. Yeah, yeah, yeah, yeah, yeah. It's definitely the last country. Bonnie Raid, I'm thinking about like blues guitar, bluesy, yeah, slide, like bottleneck. And that's not that, it's not that forward in the same way. It's an interesting pick. So the winner of this episode is up to you guys who are watching. Oh, it's up to. It's up to them. I was going to say we should decide, but they should decide. Six perfect songs. Who won? Let us know. Let us know. I think. Be nice. Just be nice guys. Either way. It was amazing. Good job. We had great. By our powers combined? Should we DJ together? We should. That would be. I'm trying to think of our. I'm thinking about it. What are. DJ. Justy? Yeah. DJ, Justy. DJ, Justy. DJ, Justy. Coming to a club. Who are you? Who's got a wedding. Coming up. Beats. We're around. Beats radio. Apple music radio show. We're here. We're launching next week. We're here. We're coming for you. See you all there. Um, no. And all seriousness, thank you for coming. This was so fun. Dude, you're the best. You're the best. I love you too. I love you guys. Thank you Spotify for the extra support this week. It means the world to us. If you aren't already watching on Spotify, you should. Because Spotify is awesome. All right. See you next time. Peace. The Trackstar Podcast is a presentation of public opinion created by me, Jack Coyne, Kieran Coyne and Henry Cornaros, produced by Haley Sobel, edited by Haley Sobel, theme and original composition by Kieran Coyne, mixing by Devin Klein. Our agent is Joanne Orland at UTA. Thanks for listening. listening. See you next Wednesday.