Original subtitles

‐ What time is it?

‐ Uh, it's Usher 30.

‐ It's Usher 30. ‐ Usher 30.

Usher is a absolute legend.

He has a magnetism about his personality

that is infectious,

and he knows what a hit is.

He's had more than I can count.

‐ I'm such a serious, crazy fan.

‐ Yeah. He's a mega star. ‐ Yeah.

‐ Eight Grammys, 12 top‐ten number‐one hits,

R&B pop master.

It's huge to get Usher on "Songland."

I love him so much because he gave me my opportunity

at songwriting,

and as an artist, he's keeping his music quality.

‐ I'm ecstatic. I think we should bring him out.

‐ ♪ 'Cause, baby, tonight ♪

‐ Oh, my God. ‐ Usher in the house.

‐ It's Usher! It's Usher! ‐ What's up, y'all?

‐ I will‐‐you can throw me in his arms anytime you want to.

‐ This show is a necessity.

Like, people really don't understand

what we have to go through in creating a song,

and I love that it teaches people

that there's a process.

‐ Yeah, bro. ‐ So at last we made it happen,

right? ‐ Yes.

What do I typically look for in a song?

I think versatility makes a great song.

I think you have to take people on a journey.

‐ Obviously we're very familiar

with a lot of your discography, but moving into 2020,

what kind of stuff might you be looking for?

‐ You got to leave space for the magic to happen.

It sometimes can be through a beat.

It could be through, you know, a guitar to find the melodies.

But that process is what I enjoy more than anything.

And there's not too many shows

where three different perspectives come together

but all for a common goal‐‐ to create something

that people will be able to grow from,

feel something from, and get better,

and having each and every one of you

to kind of go through this process‐‐

I'm really, really excited about it.

‐ Well, we are, too. Let's do it.

[upbeat music]

‐ My name is Miranda Glory, and I'm from New York City.

I'm the youngest of three, and I have two older sisters

who were always my role models.

Originally they did sports, so I did sports

and then they wrote songs, so I was like, "Cool.

I'll write a song," and then I just ended up loving it.

And I just try to be honest

and try to say what is true to my life,

and hopefully people can relate to that

and feel a little bit less alone.

♪ ♪

The name of my song is "Salty."

♪ ♪

"Salty" is about the feeling of freedom that you get

right after you get over somebody

and they come back wanting more.

And you're just like, "Nope, I'm good.

You're salty that you missed out."

It means everything that I get to pitch my song to Usher

and he's going to be able to tell me what he thinks.

Like, I'm literally getting flustered,

like, thinking about it...

[laughs] Just out of excitement.

Hello. ‐ Hello.

‐ How are you? ‐ Hi.

‐ And you see this handsome man to the right‐‐

not Shane, no‐‐ ‐ Nice to meet you.

‐ Usher Raymond has came to bless us on "Songland."

‐ Yes, thank you for being here.

‐ And what song did you bring us?

‐ So the song is called "Salty,"

and it's about an ex, and we ended the relationship.

Well, he ended it.

And then, of course, I hear he wants it back,

that type of thing, and I was like,

"You had your chance. You missed it."

‐ And now I'm salty. ‐ Now you're salty.

‐ Oh, he's salty. ‐ Yeah.

‐ Oh, okay. ‐ Yeah.

‐ Let's hear it.

♪ ♪

‐ ♪ I heard you're having a hard time ♪

♪ Regret the way you wasted mine ♪

♪ But, baby, it would be a lie ♪

♪ If I said I cared ♪

♪ Mm, that smile that you hide behind ♪

♪ Is just another weak disguise ♪

♪ 'Cause you're low‐key missing me inside ♪

♪ But life ain't fair ♪

♪ Mm ♪

♪ You're the one that told me that you want to take a break ♪

♪ Guess you didn't like it ♪

♪ When you finally got your space ♪

♪ You're telling all your friends and family ♪

♪ Everything's okay ♪

♪ But I can see it on your face ♪

♪ That you're as salty as the tears ♪

♪ That I would cry when you were here ♪

♪ Guess we traded places, hey ♪

♪ And it feels amazing ♪ ‐ ♪ Amazing ♪

‐ ♪ Now you're as salty as the sea ♪

♪ 'Cause you know you messed it up with me ♪

♪ And don't ever say, eh ♪

♪ But I know you taste it ♪

♪ Look who's the salty one now ♪

♪ Mm‐hmm ♪

♪ Look who's the salty one now ♪

‐ Mm. ‐ Nice.

‐ Very cool. ‐ Thank you.

‐ So I'm gonna say what the elephant is in the room.

‐ Yes. ‐ This is a girl song.

This is a guy. ‐ Yeah.

‐ And girls speak differently. ‐ Yeah.

‐ Yes. I think it's a bit hard

to approach any conversation like that.

‐ Yep. ‐ Look who's the salty one now.

I don't know if I would say that.

‐ Yeah. ‐ What‐‐could you imagine

some of these melodies or pieces kind of reworked?

‐ Don't be so salty. "Look who's laughing now" or either,

"Don't be so salty." ‐ Mm.

‐ The whole first half of your song, I was, like, in

on the melody and on the lyric. ‐ Mm.

‐ I would keep the entire first half of the record.

‐ Mm‐hmm. ‐ And then I would write

a completely new hook. ‐ New hook, yeah.

But we would have to rework the track.

Yeah. [song playing]

‐ Oh my Lord, Ester. [laughter]

‐ ♪ Heard you had a‐‐ ♪ ‐ Hey.

[clears throat]

Pardon me. ‐ Do it.

‐ He just want to be over here by my beat machine.

[music playing] ‐ One, two, three, four.

‐ ♪ Heard you had a real good time ♪

all: ♪ Regret the way you wasted mine ♪

♪ But, baby, it would be a lie ♪

♪ If I said I cared ♪

♪ It don't really bother me ♪ ‐ Come on, now.

‐ [vocalizing] ♪ I can see ♪

♪ Not really where I want to be ♪

‐ ♪ Keep on livin' in your fantasy ♪

‐ Like I'm low‐key missing you.

‐ [vocalizing]

♪ Low‐key ♪ ‐ Right, right.

both: ♪ 'Cause I don't care ♪

‐ Okay, okay‐‐do we go‐‐ you say all of this‐‐

just say, "But low‐key, I'm missing you."

‐ "I'm missing you." Right! ‐ Yeah.

‐ That's the line. ‐ Mm. Totally.

‐ I think that that sends it in a different direction.

‐ That has to be‐‐ ‐ That was killer.

‐ That has to be the direction. ‐ You're welcome

for using my beat machine.

Use your cowbell. ‐ Whoa!

‐ Hey! ‐ Love it.

‐ By the way, you got over the relationship,

or are you‐‐ ‐ Over it, yeah.

‐ Over it? ‐ Yeah.

‐ But low‐key, it was a moment in your life

that was a bit complicated. ‐ Yeah.

‐ So talk about that. That piece of it

is what makes it magical. ‐ Yeah.

‐ Oh, that's nice. ‐ That's a perfect note.

‐ Yeah. ‐ Thank you.

‐ Thank you, guys. ‐ Great job.

‐ [tapping cowbell] ‐ Aww.

‐ I think it was really cool

how they thought of that idea, "low‐key, I miss you,"

because it still has a similar vibe,

but it's just more of a male perspective,

It would be life‐changing for me

if Usher were to record this song.

Hopefully they see the potential in it.

‐ Man, that was pretty special, actually.

‐ Yeah. ‐ That felt kind of crazy.

‐ Yeah.

[upbeat music]

‐ Before I understood songwriting,

I was the one consuming the music from people like

Alicia Keys and Beyoncé, and I just wanted to understand

how they were connecting with me.

I sat down on the piano and was mimicking them,

and that's what really sparked my interest

in creating original songs.

♪ ♪

The name of the song that I wrote is "Staying Over."

I wrote the song about a relationship that I had,

but she was on her way to California,

and I was in Greece at the time.

The song is kind of me doing one last Hail Mary,

to see if something will work.

Being able to pitch my first song

that I'm ever pitching to any artist to Usher

is crazy. [laughs]

♪ ♪

‐ Hey. ‐ What's up, dude?

‐ What's going on, guys? ‐ You're nice and handsome.

‐ [laughs] ‐ What's your name?

‐ Ryan. ‐ Ryan, this is Usher.

‐ Hey, Ryan, how you doing man? ‐ What's going on?

‐ Where you from? ‐ I'm from Virginia,

I just moved to New York about a week ago, though.

‐ Did you move for music? ‐ Yeah, I've been

creating original music for about three years,

but I've always, always loved music,

I started with musicals when my mom was directing

back in, like, elementary school

and then choir through that. ‐ Cool.

‐ So what song did you bring us today?

‐ My song's called "Staying Over."

‐ Let's hear it ‐ Yeah, man. Do your thing.

♪ ♪

‐ Yeah.

♪ Girl, you understand me ♪

♪ When most don't ♪

♪ And you hear me out ♪

♪ Hallelujah ♪

♪ How's the view from California? ♪

♪ 'Cause I might come and join ya ♪

♪ Over there, uh, yeah ♪

♪ Top down, hair going crazy ♪

‐ [vocalizing] ‐ ♪ Got your shades on ♪

♪ Tint blonde girl in her black Mercedes ♪

♪ Yeah, I'd drop my plans for ya ♪

♪ The girl hot like Arizona ♪

♪ Oh, yeah, uh ♪

♪ Listen, I'll stay with you when it's dark out ♪

♪ And you don't need me there ♪

♪ But I like staying over at your house ♪

♪ Yeah, I'll go anywhere for ya ♪

♪ ♪

♪ I need you like I need water ♪

♪ Yeah, yeah, yeah ♪

♪ Oh, whoa, oh, oh ♪

♪ Ohh, ohh ♪

♪ Girl, yeah, girl, yeah ♪

♪ Stay with you when it's dark out ♪

♪ And you don't need me there ♪

♪ But I like staying over at your house ♪

♪ Yeah, I'll go anywhere for ya ♪

♪ I need you like I need water ♪

♪ Oh, water's what I need ♪

‐ Yes. [vocalizing]

I love the "oh, oh, oh" part.

‐ That's the catchiest part. ‐ Yeah, it is.

But he wrote this specifically with someone in mind.

‐ Right, you had a conversation.

‐ Yeah. ‐ Now we got to make it

Usher's conversation. ‐ Yeah.

‐ Where's the hook at?

‐ It's "I'll stay with you when it's dark out."

There is a critical issue in that the chorus itself,

to me, didn't feel like the chorus.

‐ Yeah. ‐ Start with the strongest

thing that you have, right?

‐ You know, in this generation, things are more visual.

You can be in a vibe and create an entire world

of an experience around a line

because you know visually I'm going to connect the dots.

‐ Right, yeah. ‐ So the lyric,

"Girl you understand me when most don't"

felt so out of context. ‐ Yeah.

‐ You want that to all feel like "how's the view

from California?" ‐ Right.

‐ That can be halfway around the world.

‐ Yeah. ‐ She's back in California,

I really wish I could go be with her.

Yeah, I do. ‐ How do we make this song

rappy, rap‐singy?

Can I hear that "oh, oh," thing part really quick?

‐ Yeah. ♪ Ooh, whoa, oh, oh ♪

‐ [vocalizing]

‐ ♪ Girl I, girl I ♪

‐ ♪ You're in California ♪

♪ Top down, you got it like want to ♪

♪ I'ma see you ♪ [vocalizing]

♪ I need you ♪ [vocalizing]

‐ Then he can go, ♪ How's the view from California? ♪

‐ ♪ And I like it when it ♪ [vocalizing]

♪ Spending pesos ♪ [vocalizing]

‐ ♪ Spending pesos ♪

‐ But you see how it takes us to beat up the song

to get it right for Usher.

‐ Yeah. ‐ This guy is global.

‐ Yes. ‐ Yeah, you need swag‐‐

swag capital S. ‐ Yeah.

Thank you so much for letting us play with you.

‐ Yes. ‐ Of course, thanks, Ryan.

‐ Well, thank you guys so much. ‐ See you later.

‐ Yes.

♪ ♪

‐ That was a lot of fun

They offered some really good ideas

on how to basically make the song more dynamic.

If Usher were actually to choose this record,

it would be life changing.

To have Usher be my first artist

that releases my song would be just crazy.

‐ The fact that you guys have such a diverse process.

‐ Yeah. ‐ That's really

what I'm hoping that I'll be able to benefit

from being here. ‐ That always happens.

You pick up where the other one leaves off so often.

‐ I've never seen anybody do what you do.

And he's a freak over there in every way.

It's been such an awesome process.

‐ Yeah.

‐ ♪ One time, and she went to class ♪

♪ One time, and she came up from Cali ♪

‐ [vocalizing]

You got to flip it. ‐ I love it.

This is club sexy, and we don't have that right now.

‐ Come on, now. ‐ ♪ You're the one ♪

‐ Instead of going up, go, ♪ You're the one ♪

‐ Ooh! ‐ Oh, my God.

[high‐pitched voice] ♪ Save me from you ♪

‐ Yeah. ‐ Right.

‐ I'm so excited to just be a part of the process with Usher.

He's seen me with no hits,

no songs, trying to figure out how to get here.

‐ Ester Dean, I've actually had success with.

She's a really dear friend of mine.

‐ He is a true superstar.

It was an honor to work with him then,

and it's a true honor

because you're supporting in a totally different way.

‐ It's beautiful that you say that, right?

Because you weren't just broke, you were broken in that time.

‐ Mm‐hmm. ‐ And that's when

you create the best,

when you feel like you're at your lowest.

To be able to see her as a mentor

and also, too, as an inspiration to so many people,

I'm proud of her, man.

♪ ♪

‐ My name is David Wade.

I'm 33, and I'm from Newark, New Jersey.

I grew up in foster care,

which can seem like something bad,

but if it wasn't for that,

I would've never met the stepbrother

in this foster home.

He was a Caribbean DJ. His father was a Caribbean DJ.

So it would be a lot of great energy in the house,

jamming out, practicing a whole set.

And music literally saved my life,

so I think it was a gift.

♪ ♪

The name of the song that I wrote is called

"Horse 'n Carriage."

"Horse 'n Carriage" is basically a love song.

♪ ♪

This song represents the sunny emotions

that you feel in the beginning of a relationship.

I wanted to embody a feeling we're all after.

We all want to find that special person.

I love Usher.

He really has done a great job

at putting endless hits into the world

that just, you know, really touch your heart.

And what can we say? It's Usher. [laughs]

♪ ♪

‐ Hey. ‐ Hi.

‐ Welcome. What's your name?

‐ David Wade. ‐ Nice to meet you, David.

‐ This is Usher Raymond. ‐ Usher Raymond.

Good to see you. ‐ Good to have you here, man.

‐ So what'd you bring today? ‐ Today I brought a song

called "Horse 'n Carriage." ‐ Let's hear it.

‐ All right, let's get it.

♪ ♪

♪ Yeah, yeah, yeah ♪

♪ Top down with the radio blastin' ♪

♪ Cruisin' down the ave with a baddie ♪

♪ One time, and she went to a class ♪

♪ One time, and she came up from Cali ♪

♪ Uh, and you know she way above average ♪

♪ Make you want to throw away the cabbage ♪

♪ One time for the horse and the carriage ♪

♪ One time, got me talking about marriage ♪

♪ Personal, got me takin' it personal ♪

♪ Girl, you makin' it hard to go ♪

♪ Oh, no ♪

♪ Girl, I just want to hold you ♪

♪ Put my arms all around you ♪

♪ Girl, you give me the type of love ♪

♪ I've been missing in my life, my life ♪

♪ Say, I just want to be the one that you run to ♪

♪ Send that late‐night text, tell me come through ♪

♪ I come through and make a mess like a monsoon ♪

♪ You ain't gotta second‐guess, girl, I want you ♪

♪ Personal, got me takin' it personal ♪

♪ Girl, you makin' it hard to go ♪

♪ Oh, no ♪

♪ Girl, I just want to hold you ♪

♪ Put my arms all around you ♪

♪ Girl, you give me the type of love I've been missin' ♪

♪ In my life, my life, yeah ♪

‐ Yes. ‐ All right, cool.

‐ Oh, my God. Can I dive in?

‐ Yes. ‐ Do it.

‐ 'Cause I want to know what the words are sayin',

'cause you said "cabbage," now.

Ain't got no cabbage song for no Usher, now.

‐ I just need to know what that means.

‐ Cabbage is money. ‐ Right.

‐ It's a part of conversation and culture, right?

‐ Is that right now? ‐ But it's not right now.

‐ The way to throw up the carats.

‐ Spend the cabbage‐‐ if you gonna do that‐‐

you know what I'm sayin'? ‐ And y'all can do

a whole garden. ‐ But that's what he's sayin'.

[laughter]

‐ Yeah, yeah, yeah. ‐ The truth is,

it sounds like a song that would bigger than just R&B,

that would‐‐it has‐‐ ‐ It's a world‐type record.

‐ It's so infectious, so you have to also

speak to the dummies like me... ‐ Dummy?

‐ Who don't know all those lyrics.

No, what I'm saying is it needs to be a little more universal.

‐ You can simplify some of it, right?

‐ Mm‐hmm. ‐ Go in that direction with it,

as opposed to making it too wordy,

'cause I felt like when we got to the personal part,

there was something in there that was cookie catchy enough

for me to get it. ‐ Okay.

‐ It feels like it's dancehall to me.

So give me that dancehall right there.

‐ I'm sittin' here going, ♪ Personal, personal ♪

♪ Got me feelin' personal, personal ♪

Like, there's a way to take that and repeat it

and make that the hook. ‐ Yes.

‐ And he‐‐Usher‐‐ has an incredible range,

so you can go up. ‐ Up.

‐ Yep. ‐ Can we just hear this

without a lot of production?

Just, like, so we can hear the tone of this song.

‐ ♪ Personal, got me takin' it personal ♪

♪ Girl, you makin' it hard to go ♪

‐ [vocalizing]

♪ ♪

You got to flip it just a little bit.

‐ Yeah, you got to flip. I like that‐‐

♪ One time ♪

I just need you, girl... ‐ ♪ One time ♪

‐ [squeals] ‐ [vocalizing] ♪ One time ♪

Yeah. ‐ I love it.

This is club, sexy, dancin'

feelin' good, like, we don't have that right now.

‐ Come on, now. ‐ You are awesome‐‐

your energy, your light. ‐ Thank you, thank you.

‐ Yes. ‐ My guy. Good job, man.

‐ Thank you. ‐ Yes.

‐ My song being in the presence of Usher,

it now has the opportunity to be taken

to places that I may have never even imagined.

Man, just a dream come true.

‐ Hey. [song playing]

[vocalizing] ‐ I love it.

‐ ♪ One time ♪

‐ I am Fatherdude. I'm from New York City.

My song is called "Billions."

♪ ♪

The song is about probability.

There's about 7.7 billion people in the world,

and the relationships we have are kind of improbable

when you find somebody that you connect with,

and it's a pretty special thing.

I think the song would work for Usher

because it's a powerful, soulful song

with a very wide message.

I hope he hears it and says, you know,

"Well, I can do that, and I can do it better."

‐ Hello. ‐ Hello.

‐ Hey. ‐ Welcome. What's your name?

‐ I'm Fatherdude from New York City.

‐ What's Fatherdude? ‐ It's from one

of my favorite TV shows, "Mystery Science Theater 3000."

‐ That's cool. ‐ So what is the song

you brought us today?

‐ The song I'm singing is "Billions."

‐ Mm‐hmm. ‐ Well, let's hear this song.

‐ Let's hear it. "Billions." ‐ "Billions."

♪ ♪

‐ ♪ This game is gettin' old ♪

♪ Waiting for your hand to hold ♪

♪ I don't know ♪

♪ ♪

♪ I don't know if you want to be alone ♪

♪ Maybe I could change your mind ♪

♪ If you see yourself with my eyes ♪

♪ Then you would know, ooh ♪

♪ You would know ♪

♪ Well, here it goes ♪

♪ Don't save me from you ♪

♪ Don't stand in the way of love ♪

‐ That's the part. ‐ ♪ 'Cause there's one ♪

♪ In a world of many ♪

♪ Billions and billions ♪

♪ Billions and billions ♪

♪ Billions, yes, you're the one ♪

♪ Hoo, you're the one, two, three, four ♪

‐ There it is. ‐ ♪ Five, six, seven, baby ♪

♪ One, two, three, four, five, six, seven, baby ♪

[music ends]

‐ Yes. [laughs] ‐ Wow.

‐ Come on, Fatherdude. ‐ Wow.

I thought that was awesome.

‐ It's a witty concept. ‐ Thank you.

‐ The D'Angelo falsetto thing that you did‐‐

‐ That's the sweet spot. ‐ I want to hear that again.

‐ Yeah. ‐ That last thing,

when you went into that‐‐ "one, two, three,"

all of a sudden, I can't stop moving.

And so I would want to hear that sooner.

Maybe right after the, ♪ Don't save me from you ♪

‐ I agree. ‐ I feel like they're

two kind of genres.

It started off like a pop record,

and then it went R&B.

I'm like, "Oh, there it is." ‐ Yeah.

‐ And it went to this really, really, cool,

"one, two, three, four,"

but then it was just like, okay, now that's it,

that's all of it. ‐ That's everything.

‐ To me, that's the part that felt this is R&B and pop.

‐ Can we try something?

Let's start with that chorus,

but then when you go, "'cause in the world full of many,

billions and billions"‐‐ ‐ [vocalizing]

‐ Instead of going up, go, ♪ You're the one, two, three ♪

‐ Oh, my God.

♪ 'Cause in a world full of many ♪

‐ Yes. ‐ ♪ If I miss some ♪

♪ Would you tell me? ♪

[high‐pitched voice] ♪ Don't save me from you ♪

‐ Yeah. ‐ Right.

‐ ♪ Don't stand in the way of love ♪

‐ And do it again. ‐ Right?

‐ ♪ 'Cause in a world full of many ♪

‐ Right. [all vocalizing]

‐ Yes, yeah. both: ♪ You're the one, two ♪

‐ [vocalizing] ‐ Now that you're

doing it twice, you can go right into the bounce.

‐ Okay, let's see.

‐ ♪ Don't save me from you ♪ ‐ Yep.

‐ ♪ Don't stand in the way of love ♪

♪ 'Cause in this world full of many ♪

[all vocalizing]

♪ You're the one ♪ ‐ ♪ Two, three, four ♪

‐ Yeah. The numbers might be a Bee Gee.

♪ One, two, three, four, five, six, seven ♪

‐ Here's the thing, you've got the verse.

‐ Yeah. ‐ That's the verse.

‐ That's the verse, okay. ‐ Yeah.

‐ Thank you, Fatherdude. ‐ Fatherdude, thank you, man.

‐ Thank you very much. Really appreciate it.

‐ See ya. [clapping]

‐ To be able to sing a song

that I wrote a year and a half ago for Usher

and hearing him do a couple little lines,

I was like, "Oh, yeah, this is gonna sound really good.

I hope he picks it."

‐ Songwriters, they just don't know where they belong.

They don't really want the light.

They just want to be accepted.

‐ I'm all about new ideas, new concepts, collaboration.

And really great to have

these three incredible minds working together.

I'm really hopeful, man,

that some really incredible work comes out of it.

‐ Hey, Miranda. ‐ Hey.

‐ I really do believe that a lot of

what has been shared with you

is only gonna contribute to what it takes

to write for other artists. ‐ Totally.

‐ With that said, one of the three

of these incredible producers

are gonna assist you on a song for me.

‐ Oh, my goodness. Thank you so much.

‐ Miranda, I really felt hopeful for the record.

It had enough texture

to allow it to become what it's gonna be.

Hey, Ryan, how are you, man? ‐ What's going on, guys?

The thing that stands the test of time

is authenticity and clarity.

And that is what I felt in a lot of what I heard from you.

So congratulations, Ryan,

you'll be making a song

with one of these incredible producers.

‐ Thank you so much. Really.

Thank you so much. ‐ Good job.

‐ Sometimes a minimalist approach is probably better

and could turn out to be

something that more people love

than a record that is more complicated

and very, very specific.

‐ Hello, Fatherdude.

‐ The record that you wrote, "Billions,"

I don't think it necessarily fits

where I'm headed right now.

But, man, I'm proud of you.

Never be afraid to fail because it only gives you

an opportunity to go up.

‐ Thanks, guys. Appreciate it. [clapping]

‐ Fatherdude, he could have a career

as an artist to go even further,

and this might potentially catapult that conversation.

‐ Hello, David. ‐ Family members.

‐ If I were to tell you that your investment

as a writer and a creator was a waste of time,

I'd be lying, and I just wanted to say congratulations.

‐ Wow. Thank you. ‐ Yes.

Thank you, brother. ‐ "Horse 'n Carriage"

felt like it could potentially be a world record.

It felt like it could be an R&B record,

It felt like it could be a pop record,

and I'm really excited to see what happens next.

That was fun. ‐ That was fun.

‐ That was good. ‐ All right. Nice meeting you.

[laughter]

‐ Go strong, 'cause that's what we need.

‐ We're chasing goose bumps, we're chasing goose bumps, man.

♪ Tick tock in the morning ♪

♪ That's when we gunning ♪

♪ That's when we‐‐ ♪ [vocalizing]

both: ♪ Personal, got me takin' it personal ♪

[both vocalizing]

‐ Ooh, yeah, I got to get up. ‐ [vocalizing]

‐ Turn it up.

both: ♪ Wish you was on my time ♪

♪ Wish you was by my side ♪

Hey!

[smooth music]

‐ Your melodies were fire. ‐ Thank you.

‐ There's just so much of this stuff that was so good,

but we can't just pretend, oh, "Salty's" gonna work for Usher.

'Cause it's not ‐ Yeah.

‐ And he knows that and you know that.

‐ Mm‐hmm, totally. ‐ The whole song was written

from a female perspective,

so we just have to reapproach the lyrics,

and flip the track to feel more like

something Usher would do.

"That smile that you hide behind

"is just another weak disguise

'cause you're low‐key missing me."

A lot of this is flipping it to I'm.

‐ To I, yeah. ‐ "'Cause I'm low‐key

missin' you inside."

Usher liked some of her lines, like "I'm low‐key missin' you,"

which sent us off this path of maybe the whole song

is about, like, "I went and found somebody new,

but I'm low‐key missin' you."

Because that's a very relatable topic.

All right, "I heard you're having a hard time,

"regret the way you wasted mine

but, baby, it would be a lie if I said I cared."

‐ I think the last two lines kind of need to change

'cause he does care. ‐ Yeah. He does care.

He's Usher. ‐ Yeah. [laughs]

‐ How are you? ‐ I'm okay.

How you guys doin'? ‐ I'm feelin' good, man.

Feelin' good. ‐ The song is so sexy.

‐ It's got a sexiness to it that you got to capture,

and I think that it's got a worldwide vibe.

‐ Right. ‐ But don't feel like

we need to go too dancehall,

'cause the song just has that kind of nature.

‐ I'm thinking we lean into the personal thing.

‐ Yeah. ‐ There was a thing you did

the original‐‐

♪ One time ♪ [vocalizing]

♪ One time ♪ And then you jumped the octave.

And it was‐‐ ‐ ♪ One time ♪

‐ Taking it to that falsetto, it was just perfect.

‐ There is no doubt about it.

You feel instantly entranced by the song.

So we're gonna edit and take the best parts

and Usher was singing melodies up in his falsetto,

and I'm like, "That's a hook."

So we got to give him something to sing.

‐ I'm excited, and I can't wait to hear it.

‐ I can't wait to show you. ‐ All right, y'all.

‐ Talk soon. Bye‐bye. ‐ Yeah, man.

[both laugh]

‐ What's goin' on? ‐ What's goin' on, y'all?

‐ Are you rehearsing? ‐ Yeah.

‐ Well, thank you for taking time.

Okay, so what do you think about making the hook,

"how's the view in California?"

‐ That sounds good. ‐ And then talk

about somebody who you like that's just not where you live,

and you just checking in, makin' sure she okay.

‐ Okay, I like that. ‐ Yeah, yeah.

"How's the view from California?"

was just a line in the verse.

You know?

But it was the right line with the right melody.

But the other lyrics need to be refined,

so I got to work on lyrics, story structure,

and the production to make it more rooted

in R&B and hip‐hop.

Any melody that you wish you heard?

‐ I don't think we have a lot going on.

You know what I'm sayin'? both: Okay.

‐ Keep it, like, cool and relaxed.

‐ [laughs] ‐ All right.

‐ Okay, thank you. ‐ All right.

‐ Bye.

‐ So let's just play the track for a second.

♪ ♪

We're doing a lot of surgery on the production.

The verse melody will be different,

and the chorus is different.

But the feel is actually the same.

Like, the same vibe‐‐the chords she had were super dope.

♪ Tick tock in the mornin', that's when we gunnin' ♪

‐ The biggest takeaway from working with Ryan

is the way that he looks at writing a song

for another artist. ‐ That's the B of the hook,

and then it goes back to that original melody.

A‐B‐A. ‐ Yeah. Sick.

He's looking at it like, we don't want a great melody,

we want a melody that's great for Usher.

‐ Good morning. How are you, dog?

‐ I'm great. Doin' great. ‐ Hey.

‐ So we're jumpin' in. Lyrically, we're gonna stick

with, "I'm still missin' you" ‐ The concept.

‐ That's the concept that we're gonna chase.

‐ Yeah. ‐ Oh, okay. That's cool.

‐ If you have any direction sonically and production‐wise‐‐

‐ Um, I wish that we started the record

simple, sparse, you know what I'm sayin'?

‐ Okay, done. ‐ And then you brought in

that ambient sound over the guitars‐‐blum‐‐

‐ Yep, I got you. ‐ So that it

just kind of crescendos.

Goose bumps, that's what we need, man.

‐ We're chasing goose bumps. We're chasing goose bumps, man.

All right, I appreciate it. ‐ Thank you, bye.

‐ See ya, man.

‐ So my thing is you got‐‐ ‐ Got a carriage‐‐

‐ For the horse and the carriage,

and you got‐‐talkin' about marriage.

Like, either choose "horse and carriage"

or "got me talking about marriage,"

I think "marriage" is cooler... ‐ Yeah.

‐ Because you're in this sexy vibe.

‐ Right. ‐ And you still got to

get to a chorus, which, to me,

the chorus will be that octave jump.

You just need a few things that the listener can repeat

and dance to, so I think

if we hear that falsetto a couple of times,

it'll feel like we have a real chorus.

I'm gonna play you some stuff.

It is dancehall‐y, but it could be really cool

if we used it lightly. ‐ Right, right.

Just a couple of elements here and there.

‐ Right. ‐ A few spices.

‐ Exactly. Let's just see what you think of this.

♪ ♪

‐ The song, originally, it was a little bit more urban

with a crossover concept.

Usher wanted something that was more of a worldwide hit.

He wants it to feel international.

both: ♪ Personal, got me takin' it personal ♪

‐ Shane coming in and blessing us with his magical ways,

it is now something that is a crossover record.

It will reach everyone everywhere.

‐ [vocalizing] ‐ Ooh.

Now I got to get up.

♪ One time ♪ [both vocalizing]

Oh, my gosh, Rich. Can't you dance, man?

‐ Okay, so have you worked out some new lyrics?

‐ Yeah, I was putting some new stuff together.

‐ Okay.

‐ ♪ Wish you was on my time ♪

♪ Wish you were by my side ♪

♪ But can you forgive me? ♪ ‐ Okay.

‐ ♪ I'm in between cities ♪ ‐ Mm‐hmm.

‐ And then... ‐ ♪ How's the view ♪

♪ From California? ♪ ‐ Yeah.

‐ I think that's super dope.

So you see how that flows so well?

‐ Yeah. ‐ 'Cause you really, really

good at melody, but you have to dig

and beat your lyrics. ‐ Right.

‐ Right? You want to make yours, like, bulletproof.

‐ When I write songs, it's easy for me

to get caught in just finding good melodies,

but lyrics are the backbone of a track,

so I have to take time with the lyrics to get 'em right.

‐ Let me play you the new track.

♪ ♪

Right? 808 in it. ‐ Yeah, yeah, yeah.

‐ Turn it up some.

So the new sound of the track,

we took Ryan's song and put urban drums on it,

put some hi‐hats on it.

And I even think we can, you know, make some drops in it.

‐ Yeah. ‐ You know, to just make it

feel like Usher.

I think I would take the song. The song is awesome.

Turn it up.

♪ ♪

both: ♪ Wish you was on my time ♪

♪ Wish you was by my side ♪ ‐ Hey!

‐ ♪ We'd be getting' lit right now ♪

♪ Sippin' on a fifth right now ♪

‐ ♪ How's the view from California? ♪

♪ How's the view from California? ♪

‐ Whoo! ‐ Wow.

‐ ♪ One time ♪

♪ How you gonna give it to me? One time ♪

‐ Dope, man. Yo, bro.

‐ Yes. ‐ Thank you.

both: ♪ You don't get I've been fadin' ♪

♪ Trying to replace you ♪

♪ Knowin' damn well that I'm missin' you ♪

‐ I'm so happy I did this show.

‐ I'm so happy you did, too. ‐ Thank you.

[light pop music]

‐ We've obviously worked together.

‐ Yes, yes. ‐ And we've worked together.

And now we have the chance to.

‐ ♪ And I have your phone number ♪

‐ [laughs] Stalker! ‐ But I'm really excited

to hear what you guys worked on, man.

♪ ♪

‐ Shane wanted us to just really go back into the song

and piece by piece by piece and adjusting it

for Usher specifically.

So the song is just full of light now.

It's big, it's worldwide to me,

and I'm excited about it, I love it.

I hope he loves it as much as I do.

‐ What's going on, David? How are you, man?

‐ Hello. ‐ I had the extreme privilege

of working with this genius.

And I haven't had hits in urban music,

and I was glad to be along for the ride,

and I hope you love it. ‐ Aww.

♪ ♪

‐ ♪ Yeah, yeah, yeah ♪

♪ Top down, Malibu in the Aston ♪

♪ Cruisin' down the ave with a baddie ♪

♪ One time, and she way too classy ♪

♪ One time, and she came up from Cali ♪

♪ And you know she way above average ♪

♪ Independent with a body like a savage ♪

♪ One time, and you know I got to have it ♪

♪ One time, got me talking about marriage ♪

♪ I just want to be the one that you run to ♪

♪ Send that late‐night text, tell me come through ♪

♪ In your late‐night dress with your pumps, too ♪

♪ You ain't gotta second‐guess, girl, I want you ♪

♪ Personal, got me takin' it personal ♪

♪ One time ♪

♪ How you gonna give it to me one time? ♪

♪ Girl, you know I need it more than one time ♪

♪ You keep me up, and I like it ♪

♪ I like it ♪

♪ One time ♪

♪ Keep me up, and I like it ♪ ‐ [squeals]

♪ I like it ♪

♪ Personal, you got me takin' it personal ♪

♪ One, one, one ♪

♪ One time ♪ ‐ Hey!

‐ ♪ How you gonna give it to me one time? ♪

♪ Girl, you know I need it more than one time ♪

♪ You get me up, and I like it ♪

♪ I like it ♪

♪ One time ♪

♪ Ain't enough, girl, I need it more than one time ♪

♪ Make love and repeat it more than one time ♪

♪ You keep me up, and I like it, I like it ♪

♪ Personal, got me takin' it personal ♪

‐ [laughs] ‐ Yeah!

‐ Yay! [clapping]

Wow, bro. ‐ That was awesome.

‐ I feel all of the improvements

and the liberty that you took

in changing things that made it

more significant to who I am, and dope, man.

Shane, yo, bro. ‐ Yes.

‐ Thank you. ‐ Thank you, David.

‐ Thank you so much. ‐ Thank you for that.

[clapping] ‐ Yes!

♪ One time ♪ [vocalizing]

♪ ♪

‐ The original song was

more of a female perspective,

and we went through each line

and made sure it was really something

that we felt like he would say.

I really admire Usher as an artist,

and I think it would be so exciting

to have him sing something that I worked on and I wrote.

‐ I'm gonna join Miranda onstage.

I haven't done it once this season.

‐ I brought my panties to throw.

‐ Okay, great. ‐ Oh, my God.

‐ Without further ado... ‐ Ryan Tedder!

‐ Miranda Glory. [laughter]

"No Cap (Missing You)."

‐ I didn't get all dressed up for nothin'.

[laughter]

♪ ♪

‐ ♪ Don't want to say it, but my back against the wall ♪

♪ You been wylin', you been silent ♪

♪ Ain't been calling ♪

♪ I've been waiting, irritated since you missing in action ♪

♪ Yeah, yeah ♪

♪ Thought I went and washed you out of my sheets in the bed ♪

♪ Even when I'm sleeping, you pop into my head ♪

♪ Dreaming, I've been dreaming about what we could've been ♪

♪ Oh, girl, how you do me like that? Oh ♪

both: ♪ No cap, I've been faded ♪

♪ Trying to replace you ♪

♪ Knowing damn well that I'm missing you ♪

♪ Fall back, I've been trying ♪

♪ Fakin' and smilin' ♪

♪ Knowing damn well that I'm missin' ♪

♪ You, you, you, you ♪

♪ You, you, you, you ♪

♪ No cap, I've been trippin' ♪

♪ You caught me slippin' ♪

♪ Damn, girl, you know that I'm missing you ♪

‐ ♪ I'm missing you ♪ ‐ ♪ I'm missing you ♪

‐ ♪ I'm missing you ♪ ‐ ♪ Missing ♪

‐ ♪ Dreaming, I've been dreaming ♪

♪ About what we could've been ♪

♪ Oh, girl, how you do me like that? ♪

‐ ♪ Oh, yeah, yeah ♪

both: ♪ No cap, I've been faded ♪

♪ Trying to replace you ♪

♪ Knowing damn well that I'm missing you ♪

♪ Fall back, I've been trying ♪

♪ Fakin' and smilin' ♪

♪ Knowing damn well that I'm missing you ♪

♪ You, you, you, you ♪

♪ You, you, you, you ♪

♪ No cap, I've been trippin' ♪

♪ You caught me slippin' ♪

♪ Damn, girl, you know that I'm missing you ♪

‐ Yeah. ‐ ♪ Know that I'm missing you ♪

‐ Nice. ‐ Yeah.

‐ Thank you so much. ‐ Thank you.

‐ Straight to the club. ‐ Great job, Miranda.

‐ Thank you.

‐ You guys really did take the time to find a way

to make this song significant

to who and how I am as an artist.

‐ Yeah. ‐ Right? And how often

do you get the opportunity to be that happy

while hearing a sad song? ‐ Yeah.

I'm really happy to hear it, and that's no cap.

‐ Aw. ‐ Thank you, thank you.

‐ And that's no cap. ‐ Miranda, thank you so much.

‐ Yes, thank you. ‐ Thank you guys so much.

All right. Bye. ‐ See you.

‐ ♪ You ♪ ‐ I love it.

‐ ♪ No cap ♪ That's cool.

‐ ♪ You got me slippin' ♪

♪ Damn, girl, you know that I'm missing you ♪

♪ ♪

‐ Since working with Ester,

a lot more structure has come into the song.

‐ Hello. ‐ What's up, guys?

‐ We took the line, "How's the view from California?"

And we decided to write some new lyrics around that.

The chord progressions are still the same,

but it's taken on this new form

that I think will fit Usher really well.

‐ In the studio, we had a dance party to the song.

Like, his swag came in. We love this song.

‐ All right. ‐ Come on, band.

♪ ♪

‐ ♪ It's been a while now, hope you don't hate me ♪

‐ Okay. ‐ ♪ I been on beast mode ♪

♪ I been in the wild, wild west going crazy ♪

♪ Ain't been dropping pins like I used to ♪

♪ Flying out your friends like I used to ♪

‐ Hey. ‐ ♪ Ain't been checking in ♪

♪ Like I used to lately ♪

♪ ♪

♪ Wish you was on my time, I wish you were by my side ♪

♪ We'd be getting lit right now ♪

♪ Sipping on a fifth right now ♪

♪ But can you forgive me? ♪

♪ I'm in between cities ♪

♪ I wish you were my guest right now ♪

♪ 'Cause we'd be in the bed ♪

♪ How's the view from California? ♪

‐ Whoo! ‐ [laughs]

‐ ♪ Set the stage, set the scene ♪

♪ Let me come and join ya ♪

♪ Stretched out at the Hotel California ♪

♪ Where you want to meet? I'ma pull up on ya ♪

♪ How's the view from California? ♪

‐ Hey, hey ‐ ♪ Set the stage ♪

♪ Set the scene, let me come and join ya ♪

♪ Stretched out at the Hotel California ♪

‐ Okay.

‐ ♪ Where you want to meet? I'ma pull up on ya ♪

♪ ♪

♪ Can you forgive me? ♪

♪ I'm in between cities ♪

♪ I wish you were my guest right now ♪

♪ 'Cause we'd be in the bed by now ♪

‐ [laughs] ‐ Oh, no.

Oh, no, Ester! ‐ Yes!

‐ Wow. ‐ Swagged out.

‐ The song feels relevant.

It feels like it's on the radio right now.

And it feels super cool.

‐ Thank you. ‐ I'm very proud of you.

‐ I'm very proud of you both.

‐ Thank you, Ryan. ‐ Good job.

‐ Thank you very much, for real.

[clapping]

‐ I'm so happy I did this show.

‐ I'm so happy you did, too. ‐ Thank you.

‐ It's important for people to understand

how important this art is.

This is necessary. ‐ To Usher!

‐ Yes, absolutely. ‐ Yes, yes.

‐ Cheering for "Songland," man.

♪ ♪

‐ Listen to NBC's "Songland" podcast

on the iHeartRadio app to dive deeper into the show.

‐ Look at 'em. ‐ Hello.

‐ The great part about what happens here,

you guys can say, "I've obviously made it this far,

"so that means I'm on the track to success,

"and the world knows who I am, and I've become better here

as a result of understanding that collaboration is key."

This is what music making is about,

and this is what creativity is about, right?

Every time I've ever done anything,

I always say, "Let's make history."

So I get to pick one record, one song to record.

And the song that I'm going to pick is...

[dramatic music]

"California"

‐ Yes! ‐ Wow.

‐ ♪ How's the view from California? ♪

‐ We won! We won! ‐ That's crazy, man.

‐ ♪ Set the stage, set the scene ♪

♪ Let me come and join ya ♪

Great job, man.

‐ How's the view from California, Ryan?

‐ We did it, we did it, we did it. Yeah.

‐ Congratulations, man. ‐ Thank you so much. For real.

‐ I'm lookin' forward to it, man.

‐ Yeah, me too. Me too.

If I had gone back and told myself three years ago

when I had just started making music

that Usher would be cutting my track right now,

I have no idea what I would say.

I'm incredibly honored,

and it's a crazy accomplishment.

I try to just absorb and, like, be in that moment.

‐ When I heard "California,"

it was so sparse.

And that works in this time,

because vibe is every bit of what R&B is.

‐ I won. ‐ Oh, God, she won.

‐ I won. ‐ Wait a minute.

‐ And Ester, her pop sensibility

was able to sprinkle the right seasoning over it

to liven it up and give it rhythm,

which made it a song that kind of gave it

an entire body for me.

Thank you, man. ‐ Of course.

‐ And also, too, the treat of being able to have a record

that is instantly branded for the world to see‐‐

man, I'm just really happy that I chose it.

‐ ♪ How's the view from California? ♪

‐ ♪ How's the view from California? ♪

♪ I'm on my way to come and join ya ♪

♪ Stretched out at the Hotel California ♪

♪ Been trying to see me, I'm gonna pull up on ya ♪

♪ Yeah ♪

‐ ♪ Hey, I'm gonna drop my top and pop the trunk ♪

♪ Pop it, got to watch for the pops on Poplar ♪

♪ Since you in a Rolls‐Royce, I got the truck ♪

♪ I'm the man, in my city, they show me love ♪

♪ Let me speed things up and bliss you up ♪

♪ When you see me with my shorty, don't interrupt ♪

♪ Palm trees in the back, that's for good luck ♪

♪ Late to the sunset, you turn it up ♪

♪ Got a question, can I make you mine? ♪

♪ Can I take you courtside to see LeBron? ♪

♪ Can I put you in a condo in the sky? ♪

♪ Can I put your neck glisten when the time... ♪

♪ Man, I got a lot riding on my line ♪

♪ And I got a lot of money on my mind ♪

♪ Maybe we can go for, fly you from the South for ♪

♪ When they open up, I'm gonna show you ♪

‐ ♪ How they doing in California ♪

‐ Yeah.

‐ ♪ I want to change the scene, let me come and join ya ♪

♪ Stretched out at the Hotel California ♪