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1
00:00:04,755 --> 00:00:05,621
‐ What time is it?
2
00:00:05,839 --> 00:00:07,299
‐ Uh, it's Usher 30.
3
00:00:07,299 --> 00:00:09,009
‐ It's Usher 30.
‐ Usher 30.
4
00:00:09,009 --> 00:00:12,513
Usher is a absolute legend.
5
00:00:12,513 --> 00:00:15,307
He has a magnetism
about his personality
6
00:00:15,307 --> 00:00:16,683
that is infectious,
7
00:00:16,683 --> 00:00:18,685
and he knows what a hit is.
8
00:00:18,685 --> 00:00:20,354
He's had more than I can count.
9
00:00:20,354 --> 00:00:23,190
‐ I'm such a serious,
crazy fan.
10
00:00:23,190 --> 00:00:24,691
‐ Yeah. He's a mega star.
‐ Yeah.
11
00:00:24,691 --> 00:00:27,486
‐ Eight Grammys,
12 top‐ten number‐one hits,
12
00:00:27,486 --> 00:00:29,363
R&B pop master.
13
00:00:29,363 --> 00:00:31,531
It's huge to get Usher
on "Songland."
14
00:00:31,531 --> 00:00:34,660
I love him so much because
he gave me my opportunity
15
00:00:34,660 --> 00:00:36,036
at songwriting,
16
00:00:36,036 --> 00:00:38,747
and as an artist,
he's keeping his music quality.
17
00:00:38,747 --> 00:00:40,916
‐ I'm ecstatic. I think we
should bring him out.
18
00:00:40,916 --> 00:00:42,376
‐ ♪ 'Cause, baby, tonight ♪
19
00:00:42,376 --> 00:00:45,045
‐ Oh, my God.
‐ Usher in the house.
20
00:00:45,045 --> 00:00:48,882
‐ It's Usher! It's Usher!
‐ What's up, y'all?
21
00:00:48,882 --> 00:00:51,677
‐ I will‐‐you can throw me in
his arms anytime you want to.
22
00:00:51,677 --> 00:00:53,553
‐ This show is a necessity.
23
00:00:53,553 --> 00:00:55,889
Like, people really
don't understand
24
00:00:55,889 --> 00:00:57,891
what we have to go through
in creating a song,
25
00:00:57,891 --> 00:01:01,311
and I love
that it teaches people
26
00:01:01,311 --> 00:01:02,312
that there's a process.
27
00:01:02,312 --> 00:01:04,231
‐ Yeah, bro.
‐ So at last we made it happen,
28
00:01:04,231 --> 00:01:05,566
right?
‐ Yes.
29
00:01:05,566 --> 00:01:08,527
What do I typically look for
in a song?
30
00:01:08,527 --> 00:01:10,571
I think versatility
makes a great song.
31
00:01:10,571 --> 00:01:12,990
I think you have to take people
on a journey.
32
00:01:12,990 --> 00:01:14,658
‐ Obviously we're
very familiar
33
00:01:14,658 --> 00:01:18,078
with a lot of your discography,
but moving into 2020,
34
00:01:18,078 --> 00:01:20,455
what kind of stuff
might you be looking for?
35
00:01:20,455 --> 00:01:23,292
‐ You got to leave space
for the magic to happen.
36
00:01:23,292 --> 00:01:25,419
It sometimes can be
through a beat.
37
00:01:25,419 --> 00:01:28,547
It could be through, you know,
a guitar to find the melodies.
38
00:01:28,547 --> 00:01:31,717
But that process is what
I enjoy more than anything.
39
00:01:31,717 --> 00:01:33,677
And there's not
too many shows
40
00:01:33,677 --> 00:01:36,263
where three different
perspectives come together
41
00:01:36,263 --> 00:01:39,016
but all for a common goal‐‐
to create something
42
00:01:39,016 --> 00:01:41,435
that people will be able
to grow from,
43
00:01:41,435 --> 00:01:43,562
feel something from,
and get better,
44
00:01:43,562 --> 00:01:45,939
and having each and every
one of you
45
00:01:45,939 --> 00:01:47,941
to kind of go through
this process‐‐
46
00:01:47,941 --> 00:01:49,067
I'm really, really
excited about it.
47
00:01:49,067 --> 00:01:50,944
‐ Well, we are, too.
Let's do it.
48
00:01:50,944 --> 00:01:54,906
[upbeat music]
49
00:01:54,906 --> 00:01:58,452
‐ My name is Miranda Glory,
and I'm from New York City.
50
00:01:58,452 --> 00:02:01,913
I'm the youngest of three,
and I have two older sisters
51
00:02:01,913 --> 00:02:03,957
who were always my role models.
52
00:02:03,957 --> 00:02:05,959
Originally they did sports,
so I did sports
53
00:02:05,959 --> 00:02:07,627
and then they wrote songs,
so I was like, "Cool.
54
00:02:07,627 --> 00:02:09,880
I'll write a song," and then
I just ended up loving it.
55
00:02:09,880 --> 00:02:11,381
And I just try to be honest
56
00:02:11,381 --> 00:02:13,300
and try to say what is true
to my life,
57
00:02:13,300 --> 00:02:15,469
and hopefully
people can relate to that
58
00:02:15,469 --> 00:02:17,638
and feel a little bit
less alone.
59
00:02:17,638 --> 00:02:21,266
♪ ♪
60
00:02:21,266 --> 00:02:23,644
The name of my song
is "Salty."
61
00:02:23,644 --> 00:02:30,901
♪ ♪
62
00:02:31,818 --> 00:02:34,655
"Salty" is about the feeling
of freedom that you get
63
00:02:34,655 --> 00:02:36,448
right after
you get over somebody
64
00:02:36,448 --> 00:02:37,658
and they come back
wanting more.
65
00:02:37,658 --> 00:02:40,410
And you're just like,
"Nope, I'm good.
66
00:02:40,410 --> 00:02:42,829
You're salty
that you missed out."
67
00:02:42,829 --> 00:02:45,874
It means everything that I
get to pitch my song to Usher
68
00:02:45,874 --> 00:02:49,336
and he's going to be able to
tell me what he thinks.
69
00:02:49,336 --> 00:02:50,420
Like, I'm literally
getting flustered,
70
00:02:50,420 --> 00:02:51,463
like, thinking about it...
71
00:02:51,463 --> 00:02:53,757
[laughs]
Just out of excitement.
72
00:02:53,757 --> 00:02:55,842
Hello.
‐ Hello.
73
00:02:55,842 --> 00:02:56,843
‐ How are you?
‐ Hi.
74
00:02:56,843 --> 00:02:57,719
‐ And you see this handsome man
to the right‐‐
75
00:02:57,719 --> 00:03:00,430
not Shane, no‐‐
‐ Nice to meet you.
76
00:03:00,430 --> 00:03:03,642
‐ Usher Raymond has came to
bless us on "Songland."
77
00:03:03,642 --> 00:03:05,477
‐ Yes, thank you
for being here.
78
00:03:05,477 --> 00:03:07,020
‐ And what song
did you bring us?
79
00:03:07,020 --> 00:03:08,146
‐ So the song
is called "Salty,"
80
00:03:08,146 --> 00:03:12,275
and it's about an ex,
and we ended the relationship.
81
00:03:12,275 --> 00:03:13,694
Well, he ended it.
82
00:03:13,694 --> 00:03:15,654
And then, of course,
I hear he wants it back,
83
00:03:15,654 --> 00:03:17,698
that type of thing,
and I was like,
84
00:03:17,698 --> 00:03:19,783
"You had your chance.
You missed it."
85
00:03:19,783 --> 00:03:21,368
‐ And now I'm salty.
‐ Now you're salty.
86
00:03:21,368 --> 00:03:22,869
‐ Oh, he's salty.
‐ Yeah.
87
00:03:22,869 --> 00:03:24,037
‐ Oh, okay.
‐ Yeah.
88
00:03:24,037 --> 00:03:25,914
‐ Let's hear it.
89
00:03:25,914 --> 00:03:31,461
♪ ♪
90
00:03:31,461 --> 00:03:34,548
‐ ♪ I heard you're having
a hard time ♪
91
00:03:34,548 --> 00:03:38,176
♪ Regret the way
you wasted mine ♪
92
00:03:38,176 --> 00:03:41,138
♪ But, baby,
it would be a lie ♪
93
00:03:41,138 --> 00:03:43,473
♪ If I said I cared ♪
94
00:03:43,473 --> 00:03:47,811
♪ Mm, that smile
that you hide behind ♪
95
00:03:47,811 --> 00:03:50,897
♪ Is just another
weak disguise ♪
96
00:03:50,897 --> 00:03:54,401
♪ 'Cause you're low‐key
missing me inside ♪
97
00:03:54,401 --> 00:03:56,570
♪ But life ain't fair ♪
98
00:03:56,570 --> 00:03:58,738
♪ Mm ♪
99
00:03:58,738 --> 00:04:02,075
♪ You're the one that told me
that you want to take a break ♪
100
00:04:02,075 --> 00:04:03,243
♪ Guess you didn't like it ♪
101
00:04:03,243 --> 00:04:05,412
♪ When you finally got
your space ♪
102
00:04:05,412 --> 00:04:07,122
♪ You're telling
all your friends and family ♪
103
00:04:07,122 --> 00:04:08,373
♪ Everything's okay ♪
104
00:04:08,373 --> 00:04:10,750
♪ But I can see it
on your face ♪
105
00:04:10,750 --> 00:04:14,254
♪ That you're as salty
as the tears ♪
106
00:04:14,254 --> 00:04:17,591
♪ That I would cry
when you were here ♪
107
00:04:17,591 --> 00:04:20,760
♪ Guess we traded places, hey ♪
108
00:04:20,760 --> 00:04:24,264
♪ And it feels amazing ♪
‐ ♪ Amazing ♪
109
00:04:24,264 --> 00:04:27,017
‐ ♪ Now you're as salty
as the sea ♪
110
00:04:27,017 --> 00:04:30,604
♪ 'Cause you know
you messed it up with me ♪
111
00:04:30,604 --> 00:04:34,024
♪ And don't ever say, eh ♪
112
00:04:34,024 --> 00:04:36,443
♪ But I know you taste it ♪
113
00:04:36,443 --> 00:04:39,112
♪ Look who's
the salty one now ♪
114
00:04:39,112 --> 00:04:40,614
♪ Mm‐hmm ♪
115
00:04:40,614 --> 00:04:46,119
♪ Look who's
the salty one now ♪
116
00:04:46,119 --> 00:04:47,120
‐ Mm.
‐ Nice.
117
00:04:47,120 --> 00:04:48,830
‐ Very cool.
‐ Thank you.
118
00:04:48,830 --> 00:04:51,666
‐ So I'm gonna say what
the elephant is in the room.
119
00:04:51,666 --> 00:04:53,627
‐ Yes.
‐ This is a girl song.
120
00:04:53,627 --> 00:04:55,212
This is a guy.
‐ Yeah.
121
00:04:55,212 --> 00:04:57,380
‐ And girls speak differently.
‐ Yeah.
122
00:04:57,380 --> 00:04:59,382
‐ Yes. I think
it's a bit hard
123
00:04:59,382 --> 00:05:02,636
to approach
any conversation like that.
124
00:05:02,636 --> 00:05:05,263
‐ Yep.
‐ Look who's the salty one now.
125
00:05:05,263 --> 00:05:06,473
I don't know
if I would say that.
126
00:05:06,473 --> 00:05:08,433
‐ Yeah.
‐ What‐‐could you imagine
127
00:05:08,433 --> 00:05:10,644
some of these melodies
or pieces kind of reworked?
128
00:05:10,644 --> 00:05:13,104
‐ Don't be so salty. "Look
who's laughing now" or either,
129
00:05:13,104 --> 00:05:14,981
"Don't be so salty."
‐ Mm.
130
00:05:14,981 --> 00:05:17,609
‐ The whole first half
of your song, I was, like, in
131
00:05:17,609 --> 00:05:19,444
on the melody and on the lyric.
‐ Mm.
132
00:05:19,444 --> 00:05:21,154
‐ I would keep the entire
first half of the record.
133
00:05:21,154 --> 00:05:22,656
‐ Mm‐hmm.
‐ And then I would write
134
00:05:22,656 --> 00:05:25,242
a completely new hook.
‐ New hook, yeah.
135
00:05:25,242 --> 00:05:27,118
But we would have to
rework the track.
136
00:05:27,118 --> 00:05:28,662
Yeah.
[song playing]
137
00:05:28,662 --> 00:05:30,539
‐ Oh my Lord, Ester.
[laughter]
138
00:05:30,539 --> 00:05:32,374
‐ ♪ Heard you had a‐‐ ♪
‐ Hey.
139
00:05:32,374 --> 00:05:33,500
[clears throat]
140
00:05:33,500 --> 00:05:35,627
Pardon me.
‐ Do it.
141
00:05:35,627 --> 00:05:37,796
‐ He just want to be
over here by my beat machine.
142
00:05:37,796 --> 00:05:40,257
[music playing]
‐ One, two, three, four.
143
00:05:40,257 --> 00:05:42,676
‐ ♪ Heard you had
a real good time ♪
144
00:05:42,676 --> 00:05:45,846
all: ♪ Regret the way
you wasted mine ♪
145
00:05:45,846 --> 00:05:49,140
♪ But, baby,
it would be a lie ♪
146
00:05:49,140 --> 00:05:52,519
♪ If I said I cared ♪
147
00:05:52,519 --> 00:05:55,605
♪ It don't really bother me ♪
‐ Come on, now.
148
00:05:55,605 --> 00:05:58,859
‐ [vocalizing]
♪ I can see ♪
149
00:05:58,859 --> 00:06:00,944
♪ Not really where
I want to be ♪
150
00:06:00,944 --> 00:06:03,196
‐ ♪ Keep on livin'
in your fantasy ♪
151
00:06:03,196 --> 00:06:04,489
‐ Like I'm low‐key missing you.
152
00:06:04,489 --> 00:06:05,782
‐ [vocalizing]
153
00:06:05,782 --> 00:06:07,701
♪ Low‐key ♪
‐ Right, right.
154
00:06:07,701 --> 00:06:09,035
both: ♪ 'Cause I don't care ♪
155
00:06:09,035 --> 00:06:10,954
‐ Okay, okay‐‐do we go‐‐
you say all of this‐‐
156
00:06:10,954 --> 00:06:13,415
just say, "But low‐key,
I'm missing you."
157
00:06:13,415 --> 00:06:14,249
‐ "I'm missing you." Right!
‐ Yeah.
158
00:06:14,249 --> 00:06:16,543
‐ That's the line.
‐ Mm. Totally.
159
00:06:16,543 --> 00:06:17,961
‐ I think that that sends it
in a different direction.
160
00:06:17,961 --> 00:06:19,629
‐ That has to be‐‐
‐ That was killer.
161
00:06:19,629 --> 00:06:21,381
‐ That has to be the direction.
‐ You're welcome
162
00:06:21,381 --> 00:06:22,507
for using my beat machine.
163
00:06:22,507 --> 00:06:24,885
Use your cowbell.
‐ Whoa!
164
00:06:24,885 --> 00:06:26,553
‐ Hey!
‐ Love it.
165
00:06:26,553 --> 00:06:28,221
‐ By the way, you got
over the relationship,
166
00:06:28,221 --> 00:06:30,557
or are you‐‐
‐ Over it, yeah.
167
00:06:30,557 --> 00:06:31,433
‐ Over it?
‐ Yeah.
168
00:06:31,433 --> 00:06:33,518
‐ But low‐key,
it was a moment in your life
169
00:06:33,518 --> 00:06:34,853
that was a bit complicated.
‐ Yeah.
170
00:06:34,853 --> 00:06:36,897
‐ So talk about that.
That piece of it
171
00:06:36,897 --> 00:06:39,065
is what makes it magical.
‐ Yeah.
172
00:06:39,065 --> 00:06:40,734
‐ Oh, that's nice.
‐ That's a perfect note.
173
00:06:40,734 --> 00:06:41,818
‐ Yeah.
‐ Thank you.
174
00:06:41,818 --> 00:06:43,862
‐ Thank you, guys.
‐ Great job.
175
00:06:43,862 --> 00:06:47,741
‐ [tapping cowbell]
‐ Aww.
176
00:06:47,741 --> 00:06:48,909
‐ I think it was really cool
177
00:06:48,909 --> 00:06:51,328
how they thought of that idea,
"low‐key, I miss you,"
178
00:06:51,328 --> 00:06:53,580
because it still has
a similar vibe,
179
00:06:53,580 --> 00:06:56,416
but it's just more
of a male perspective,
180
00:06:56,416 --> 00:06:58,001
It would be
life‐changing for me
181
00:06:58,001 --> 00:06:59,753
if Usher were
to record this song.
182
00:06:59,753 --> 00:07:02,380
Hopefully they see
the potential in it.
183
00:07:02,380 --> 00:07:04,424
‐ Man, that was
pretty special, actually.
184
00:07:04,424 --> 00:07:05,759
‐ Yeah.
‐ That felt kind of crazy.
185
00:07:05,759 --> 00:07:06,926
‐ Yeah.
186
00:07:06,926 --> 00:07:09,095
[upbeat music]
187
00:07:09,095 --> 00:07:11,264
‐ Before I understood
songwriting,
188
00:07:11,264 --> 00:07:13,767
I was the one consuming
the music from people like
189
00:07:13,767 --> 00:07:16,853
Alicia Keys and Beyoncé,
and I just wanted to understand
190
00:07:16,853 --> 00:07:18,855
how they
were connecting with me.
191
00:07:18,855 --> 00:07:21,608
I sat down on the piano
and was mimicking them,
192
00:07:21,608 --> 00:07:24,069
and that's what
really sparked my interest
193
00:07:24,069 --> 00:07:26,112
in creating original songs.
194
00:07:26,112 --> 00:07:33,078
♪ ♪
195
00:07:35,413 --> 00:07:37,916
The name of the song that
I wrote is "Staying Over."
196
00:07:37,916 --> 00:07:41,127
I wrote the song about
a relationship that I had,
197
00:07:41,127 --> 00:07:44,464
but she was on her way
to California,
198
00:07:44,464 --> 00:07:45,882
and I was in Greece
at the time.
199
00:07:45,882 --> 00:07:49,386
The song is kind of me
doing one last Hail Mary,
200
00:07:49,386 --> 00:07:52,097
to see if something will work.
201
00:07:52,097 --> 00:07:54,099
Being able to pitch
my first song
202
00:07:54,099 --> 00:07:56,893
that I'm ever pitching
to any artist to Usher
203
00:07:56,893 --> 00:07:58,895
is crazy.
[laughs]
204
00:07:58,895 --> 00:08:00,647
♪ ♪
205
00:08:00,647 --> 00:08:01,773
‐ Hey.
‐ What's up, dude?
206
00:08:01,773 --> 00:08:04,317
‐ What's going on, guys?
‐ You're nice and handsome.
207
00:08:04,317 --> 00:08:06,319
‐ [laughs]
‐ What's your name?
208
00:08:06,319 --> 00:08:08,154
‐ Ryan.
‐ Ryan, this is Usher.
209
00:08:08,154 --> 00:08:09,989
‐ Hey, Ryan, how you doing man?
‐ What's going on?
210
00:08:09,989 --> 00:08:11,991
‐ Where you from?
‐ I'm from Virginia,
211
00:08:11,991 --> 00:08:13,827
I just moved to New York
about a week ago, though.
212
00:08:13,827 --> 00:08:16,287
‐ Did you move for music?
‐ Yeah, I've been
213
00:08:16,287 --> 00:08:18,540
creating original music
for about three years,
214
00:08:18,540 --> 00:08:20,166
but I've always,
always loved music,
215
00:08:20,166 --> 00:08:22,836
I started with musicals
when my mom was directing
216
00:08:22,836 --> 00:08:24,629
back in, like,
elementary school
217
00:08:24,629 --> 00:08:26,673
and then choir through that.
‐ Cool.
218
00:08:26,673 --> 00:08:28,341
‐ So what song did
you bring us today?
219
00:08:28,341 --> 00:08:29,342
‐ My song's called
"Staying Over."
220
00:08:29,342 --> 00:08:32,095
‐ Let's hear it
‐ Yeah, man. Do your thing.
221
00:08:32,095 --> 00:08:35,807
♪ ♪
222
00:08:35,807 --> 00:08:36,808
‐ Yeah.
223
00:08:36,808 --> 00:08:39,519
♪ Girl, you understand me ♪
224
00:08:39,519 --> 00:08:41,855
♪ When most don't ♪
225
00:08:41,855 --> 00:08:44,607
♪ And you hear me out ♪
226
00:08:44,607 --> 00:08:45,859
♪ Hallelujah ♪
227
00:08:45,859 --> 00:08:50,864
♪ How's the view
from California? ♪
228
00:08:50,864 --> 00:08:54,159
♪ 'Cause I might come
and join ya ♪
229
00:08:54,159 --> 00:08:57,037
♪ Over there, uh, yeah ♪
230
00:08:57,037 --> 00:08:59,581
♪ Top down,
hair going crazy ♪
231
00:08:59,581 --> 00:09:01,374
‐ [vocalizing]
‐ ♪ Got your shades on ♪
232
00:09:01,374 --> 00:09:04,878
♪ Tint blonde girl
in her black Mercedes ♪
233
00:09:04,878 --> 00:09:10,008
♪ Yeah, I'd drop my plans
for ya ♪
234
00:09:10,008 --> 00:09:14,387
♪ The girl hot like Arizona ♪
235
00:09:14,387 --> 00:09:17,015
♪ Oh, yeah, uh ♪
236
00:09:17,015 --> 00:09:19,976
♪ Listen, I'll stay with you
when it's dark out ♪
237
00:09:19,976 --> 00:09:21,728
♪ And you don't need me there ♪
238
00:09:21,728 --> 00:09:25,065
♪ But I like staying over
at your house ♪
239
00:09:25,065 --> 00:09:28,568
♪ Yeah, I'll go anywhere
for ya ♪
240
00:09:28,568 --> 00:09:30,070
♪ ♪
241
00:09:30,070 --> 00:09:33,740
♪ I need you
like I need water ♪
242
00:09:33,740 --> 00:09:36,201
♪ Yeah, yeah, yeah ♪
243
00:09:36,201 --> 00:09:41,122
♪ Oh, whoa, oh, oh ♪
244
00:09:41,122 --> 00:09:43,958
♪ Ohh, ohh ♪
245
00:09:43,958 --> 00:09:46,836
♪ Girl, yeah, girl, yeah ♪
246
00:09:46,836 --> 00:09:49,756
♪ Stay with you
when it's dark out ♪
247
00:09:49,756 --> 00:09:51,257
♪ And you don't need me there ♪
248
00:09:51,257 --> 00:09:54,761
♪ But I like staying over
at your house ♪
249
00:09:54,761 --> 00:09:59,766
♪ Yeah, I'll go anywhere
for ya ♪
250
00:09:59,766 --> 00:10:02,894
♪ I need you
like I need water ♪
251
00:10:02,894 --> 00:10:07,857
♪ Oh, water's what I need ♪
252
00:10:07,857 --> 00:10:10,276
‐ Yes.
[vocalizing]
253
00:10:10,276 --> 00:10:11,945
I love the "oh, oh, oh" part.
254
00:10:11,945 --> 00:10:13,071
‐ That's the catchiest part.
‐ Yeah, it is.
255
00:10:13,071 --> 00:10:15,949
But he wrote this specifically
with someone in mind.
256
00:10:15,949 --> 00:10:18,451
‐ Right, you had
a conversation.
257
00:10:18,451 --> 00:10:19,244
‐ Yeah.
‐ Now we got to make it
258
00:10:19,244 --> 00:10:21,121
Usher's conversation.
‐ Yeah.
259
00:10:21,121 --> 00:10:22,163
‐ Where's the hook at?
260
00:10:22,163 --> 00:10:23,998
‐ It's "I'll stay with you
when it's dark out."
261
00:10:23,998 --> 00:10:26,543
There is a critical issue
in that the chorus itself,
262
00:10:26,543 --> 00:10:27,710
to me, didn't feel like
the chorus.
263
00:10:27,710 --> 00:10:28,962
‐ Yeah.
‐ Start with the strongest
264
00:10:28,962 --> 00:10:30,130
thing that you have, right?
265
00:10:30,130 --> 00:10:32,257
‐ You know, in this generation,
things are more visual.
266
00:10:32,257 --> 00:10:34,801
You can be in a vibe and
create an entire world
267
00:10:34,801 --> 00:10:36,803
of an experience
around a line
268
00:10:36,803 --> 00:10:39,472
because you know visually
I'm going to connect the dots.
269
00:10:39,472 --> 00:10:40,348
‐ Right, yeah.
‐ So the lyric,
270
00:10:40,348 --> 00:10:41,766
"Girl you understand me
when most don't"
271
00:10:41,766 --> 00:10:43,977
felt so out of context.
‐ Yeah.
272
00:10:43,977 --> 00:10:46,229
‐ You want that to all feel
like "how's the view
273
00:10:46,229 --> 00:10:47,147
from California?"
‐ Right.
274
00:10:47,147 --> 00:10:48,648
‐ That can be
halfway around the world.
275
00:10:48,648 --> 00:10:50,150
‐ Yeah.
‐ She's back in California,
276
00:10:50,150 --> 00:10:51,776
I really wish I could
go be with her.
277
00:10:51,776 --> 00:10:54,154
Yeah, I do.
‐ How do we make this song
278
00:10:54,154 --> 00:10:55,655
rappy, rap‐singy?
279
00:10:55,655 --> 00:10:57,991
Can I hear that "oh, oh,"
thing part really quick?
280
00:10:57,991 --> 00:11:01,161
‐ Yeah.
♪ Ooh, whoa, oh, oh ♪
281
00:11:01,161 --> 00:11:02,829
‐ [vocalizing]
282
00:11:02,829 --> 00:11:04,122
‐ ♪ Girl I, girl I ♪
283
00:11:04,122 --> 00:11:05,874
‐ ♪ You're in California ♪
284
00:11:05,874 --> 00:11:08,501
♪ Top down,
you got it like want to ♪
285
00:11:08,501 --> 00:11:10,837
♪ I'ma see you ♪
[vocalizing]
286
00:11:10,837 --> 00:11:13,173
♪ I need you ♪
[vocalizing]
287
00:11:13,173 --> 00:11:16,176
‐ Then he can go, ♪ How's the
view from California? ♪
288
00:11:16,176 --> 00:11:20,013
‐ ♪ And I like it when it ♪
[vocalizing]
289
00:11:20,013 --> 00:11:23,266
♪ Spending pesos ♪
[vocalizing]
290
00:11:23,266 --> 00:11:24,350
‐ ♪ Spending pesos ♪
291
00:11:24,350 --> 00:11:27,353
‐ But you see how it takes us
to beat up the song
292
00:11:27,353 --> 00:11:29,189
to get it right for Usher.
293
00:11:29,189 --> 00:11:31,858
‐ Yeah.
‐ This guy is global.
294
00:11:31,858 --> 00:11:33,526
‐ Yes.
‐ Yeah, you need swag‐‐
295
00:11:33,526 --> 00:11:35,278
swag capital S.
‐ Yeah.
296
00:11:35,278 --> 00:11:37,655
Thank you so much for letting
us play with you.
297
00:11:37,655 --> 00:11:38,698
‐ Yes.
‐ Of course, thanks, Ryan.
298
00:11:38,698 --> 00:11:40,158
‐ Well, thank you guys so much.
‐ See you later.
299
00:11:40,158 --> 00:11:41,201
‐ Yes.
300
00:11:41,201 --> 00:11:42,619
♪ ♪
301
00:11:42,619 --> 00:11:43,870
‐ That was a lot of fun
302
00:11:43,870 --> 00:11:46,164
They offered some
really good ideas
303
00:11:46,164 --> 00:11:48,333
on how to basically make
the song more dynamic.
304
00:11:48,333 --> 00:11:50,460
If Usher were actually
to choose this record,
305
00:11:50,460 --> 00:11:51,502
it would be life changing.
306
00:11:51,502 --> 00:11:54,047
To have Usher be
my first artist
307
00:11:54,047 --> 00:11:56,716
that releases my song
would be just crazy.
308
00:11:56,716 --> 00:12:00,178
‐ The fact that you guys
have such a diverse process.
309
00:12:00,178 --> 00:12:01,554
‐ Yeah.
‐ That's really
310
00:12:01,554 --> 00:12:02,972
what I'm hoping
that I'll be able to benefit
311
00:12:02,972 --> 00:12:04,557
from being here.
‐ That always happens.
312
00:12:04,557 --> 00:12:07,227
You pick up where the other one
leaves off so often.
313
00:12:07,227 --> 00:12:09,312
‐ I've never seen anybody
do what you do.
314
00:12:09,312 --> 00:12:11,397
And he's a freak over there
in every way.
315
00:12:11,397 --> 00:12:13,399
It's been
such an awesome process.
316
00:12:13,399 --> 00:12:14,734
‐ Yeah.
317
00:12:14,734 --> 00:12:16,903
‐ ♪ One time, and she
went to class ♪
318
00:12:16,903 --> 00:12:19,572
♪ One time, and she
came up from Cali ♪
319
00:12:19,572 --> 00:12:22,784
‐ [vocalizing]
320
00:12:24,077 --> 00:12:25,245
You got to flip it.
‐ I love it.
321
00:12:25,245 --> 00:12:29,123
This is club sexy, and we don't
have that right now.
322
00:12:29,123 --> 00:12:33,920
‐ Come on, now.
‐ ♪ You're the one ♪
323
00:12:33,920 --> 00:12:37,048
‐ Instead of going up, go,
♪ You're the one ♪
324
00:12:37,048 --> 00:12:38,883
‐ Ooh!
‐ Oh, my God.
325
00:12:38,883 --> 00:12:40,760
[high‐pitched voice]
♪ Save me from you ♪
326
00:12:40,760 --> 00:12:42,178
‐ Yeah.
‐ Right.
327
00:12:51,104 --> 00:12:53,809
‐ I'm so excited to just be a
part of the process with Usher.
328
00:12:53,940 --> 00:12:55,858
He's seen me with no hits,
329
00:12:55,858 --> 00:12:58,278
no songs, trying to figure out
how to get here.
330
00:12:58,278 --> 00:13:00,738
‐ Ester Dean,
I've actually had success with.
331
00:13:00,738 --> 00:13:02,532
She's a really dear friend
of mine.
332
00:13:02,532 --> 00:13:04,117
‐ He is a true superstar.
333
00:13:04,117 --> 00:13:05,618
It was an honor to work
with him then,
334
00:13:05,618 --> 00:13:06,786
and it's a true honor
335
00:13:06,786 --> 00:13:09,247
because you're supporting
in a totally different way.
336
00:13:09,247 --> 00:13:10,498
‐ It's beautiful
that you say that, right?
337
00:13:10,498 --> 00:13:13,793
Because you weren't just broke,
you were broken in that time.
338
00:13:13,793 --> 00:13:14,794
‐ Mm‐hmm.
‐ And that's when
339
00:13:14,794 --> 00:13:15,962
you create the best,
340
00:13:15,962 --> 00:13:17,797
when you feel like
you're at your lowest.
341
00:13:17,797 --> 00:13:21,134
To be able to see her
as a mentor
342
00:13:21,134 --> 00:13:23,803
and also, too, as an
inspiration to so many people,
343
00:13:23,803 --> 00:13:25,263
I'm proud of her, man.
344
00:13:25,263 --> 00:13:26,931
♪ ♪
345
00:13:26,931 --> 00:13:28,308
‐ My name is David Wade.
346
00:13:28,308 --> 00:13:31,311
I'm 33, and I'm from
Newark, New Jersey.
347
00:13:31,311 --> 00:13:32,812
I grew up in foster care,
348
00:13:32,812 --> 00:13:35,481
which can seem
like something bad,
349
00:13:35,481 --> 00:13:37,275
but if it wasn't for that,
350
00:13:37,275 --> 00:13:38,985
I would've never met the
stepbrother
351
00:13:38,985 --> 00:13:40,486
in this foster home.
352
00:13:40,486 --> 00:13:43,322
He was a Caribbean DJ.
His father was a Caribbean DJ.
353
00:13:43,322 --> 00:13:46,325
So it would be a lot of great
energy in the house,
354
00:13:46,325 --> 00:13:48,286
jamming out,
practicing a whole set.
355
00:13:48,286 --> 00:13:50,705
And music
literally saved my life,
356
00:13:50,705 --> 00:13:52,290
so I think it was a gift.
357
00:13:53,541 --> 00:13:56,335
♪ ♪
358
00:13:56,335 --> 00:13:58,004
The name of the song that I
wrote is called
359
00:13:58,004 --> 00:13:59,797
"Horse 'n Carriage."
360
00:13:59,797 --> 00:14:01,924
"Horse 'n Carriage"
is basically a love song.
361
00:14:01,924 --> 00:14:07,305
♪ ♪
362
00:14:07,305 --> 00:14:10,183
This song represents
the sunny emotions
363
00:14:10,183 --> 00:14:13,019
that you feel in the beginning
of a relationship.
364
00:14:13,019 --> 00:14:16,022
I wanted to embody a feeling
we're all after.
365
00:14:16,022 --> 00:14:18,691
We all want to find
that special person.
366
00:14:18,691 --> 00:14:19,859
I love Usher.
367
00:14:19,859 --> 00:14:21,527
He really has done a great job
368
00:14:21,527 --> 00:14:24,989
at putting endless hits
into the world
369
00:14:24,989 --> 00:14:27,450
that just, you know, really
touch your heart.
370
00:14:27,450 --> 00:14:30,536
And what can we say?
It's Usher. [laughs]
371
00:14:30,536 --> 00:14:32,747
♪ ♪
372
00:14:32,747 --> 00:14:33,748
‐ Hey.
‐ Hi.
373
00:14:33,748 --> 00:14:35,374
‐ Welcome. What's your name?
374
00:14:35,374 --> 00:14:37,210
‐ David Wade.
‐ Nice to meet you, David.
375
00:14:37,210 --> 00:14:39,879
‐ This is Usher Raymond.
‐ Usher Raymond.
376
00:14:39,879 --> 00:14:41,631
Good to see you.
‐ Good to have you here, man.
377
00:14:41,631 --> 00:14:43,883
‐ So what'd you bring today?
‐ Today I brought a song
378
00:14:43,883 --> 00:14:46,052
called "Horse 'n Carriage."
‐ Let's hear it.
379
00:14:46,052 --> 00:14:47,220
‐ All right, let's get it.
380
00:14:47,220 --> 00:14:48,888
♪ ♪
381
00:14:48,888 --> 00:14:50,223
♪ Yeah, yeah, yeah ♪
382
00:14:50,223 --> 00:14:52,892
♪ Top down
with the radio blastin' ♪
383
00:14:52,892 --> 00:14:55,061
♪ Cruisin' down the ave
with a baddie ♪
384
00:14:55,061 --> 00:14:57,897
♪ One time, and she
went to a class ♪
385
00:14:57,897 --> 00:15:00,233
♪ One time, and she came up
from Cali ♪
386
00:15:00,233 --> 00:15:03,236
♪ Uh, and you know
she way above average ♪
387
00:15:03,236 --> 00:15:05,530
♪ Make you want to
throw away the cabbage ♪
388
00:15:05,530 --> 00:15:08,199
♪ One time for the horse
and the carriage ♪
389
00:15:08,199 --> 00:15:10,660
♪ One time, got me talking
about marriage ♪
390
00:15:10,660 --> 00:15:14,455
♪ Personal,
got me takin' it personal ♪
391
00:15:14,455 --> 00:15:18,376
♪ Girl, you makin' it
hard to go ♪
392
00:15:18,376 --> 00:15:19,836
♪ Oh, no ♪
393
00:15:19,836 --> 00:15:22,380
♪ Girl, I just want
to hold you ♪
394
00:15:22,380 --> 00:15:25,091
♪ Put my arms all around you ♪
395
00:15:25,091 --> 00:15:27,343
♪ Girl, you give me
the type of love ♪
396
00:15:27,343 --> 00:15:31,347
♪ I've been missing
in my life, my life ♪
397
00:15:31,347 --> 00:15:34,517
♪ Say, I just want to
be the one that you run to ♪
398
00:15:34,517 --> 00:15:37,353
♪ Send that late‐night text,
tell me come through ♪
399
00:15:37,353 --> 00:15:39,772
♪ I come through and make
a mess like a monsoon ♪
400
00:15:39,772 --> 00:15:42,275
♪ You ain't gotta second‐guess,
girl, I want you ♪
401
00:15:42,275 --> 00:15:46,070
♪ Personal,
got me takin' it personal ♪
402
00:15:46,070 --> 00:15:49,365
♪ Girl, you makin' it
hard to go ♪
403
00:15:49,365 --> 00:15:51,200
♪ Oh, no ♪
404
00:15:51,200 --> 00:15:53,744
♪ Girl, I just want
to hold you ♪
405
00:15:53,744 --> 00:15:56,455
♪ Put my arms all around you ♪
406
00:15:56,455 --> 00:15:59,834
♪ Girl, you give me the type
of love I've been missin' ♪
407
00:15:59,834 --> 00:16:03,212
♪ In my life, my life, yeah ♪
408
00:16:03,212 --> 00:16:05,298
‐ Yes.
‐ All right, cool.
409
00:16:05,298 --> 00:16:06,799
‐ Oh, my God.
Can I dive in?
410
00:16:06,799 --> 00:16:08,301
‐ Yes.
‐ Do it.
411
00:16:08,301 --> 00:16:09,802
‐ 'Cause I want to know
what the words are sayin',
412
00:16:09,802 --> 00:16:10,803
'cause you said "cabbage," now.
413
00:16:10,803 --> 00:16:13,306
Ain't got no cabbage song
for no Usher, now.
414
00:16:13,306 --> 00:16:14,974
‐ I just need to know
what that means.
415
00:16:14,974 --> 00:16:16,475
‐ Cabbage is money.
‐ Right.
416
00:16:16,475 --> 00:16:18,311
‐ It's a part of conversation
and culture, right?
417
00:16:18,311 --> 00:16:19,812
‐ Is that right now?
‐ But it's not right now.
418
00:16:19,812 --> 00:16:21,230
‐ The way to throw up
the carats.
419
00:16:21,230 --> 00:16:23,482
‐ Spend the cabbage‐‐
if you gonna do that‐‐
420
00:16:23,482 --> 00:16:24,525
you know what I'm sayin'?
‐ And y'all can do
421
00:16:24,525 --> 00:16:26,652
a whole garden.
‐ But that's what he's sayin'.
422
00:16:26,652 --> 00:16:27,904
[laughter]
423
00:16:27,904 --> 00:16:29,488
‐ Yeah, yeah, yeah.
‐ The truth is,
424
00:16:29,488 --> 00:16:33,492
it sounds like a song that
would bigger than just R&B,
425
00:16:33,492 --> 00:16:35,161
that would‐‐it has‐‐
‐ It's a world‐type record.
426
00:16:35,161 --> 00:16:38,122
‐ It's so infectious,
so you have to also
427
00:16:38,122 --> 00:16:40,208
speak to the dummies like me...
‐ Dummy?
428
00:16:40,208 --> 00:16:41,500
‐ Who don't know
all those lyrics.
429
00:16:41,500 --> 00:16:44,086
No, what I'm saying is it needs
to be a little more universal.
430
00:16:44,086 --> 00:16:45,963
‐ You can simplify
some of it, right?
431
00:16:45,963 --> 00:16:47,465
‐ Mm‐hmm.
‐ Go in that direction with it,
432
00:16:47,465 --> 00:16:48,591
as opposed to making it
too wordy,
433
00:16:48,591 --> 00:16:51,010
'cause I felt like when we got
to the personal part,
434
00:16:51,010 --> 00:16:54,347
there was something in there
that was cookie catchy enough
435
00:16:54,347 --> 00:16:55,848
for me to get it.
‐ Okay.
436
00:16:55,848 --> 00:16:57,808
‐ It feels like
it's dancehall to me.
437
00:16:57,808 --> 00:17:00,102
So give me that dancehall
right there.
438
00:17:00,102 --> 00:17:02,605
‐ I'm sittin' here going,
♪ Personal, personal ♪
439
00:17:02,605 --> 00:17:05,358
♪ Got me feelin'
personal, personal ♪
440
00:17:05,358 --> 00:17:08,027
Like, there's a way
to take that and repeat it
441
00:17:08,027 --> 00:17:09,987
and make that the hook.
‐ Yes.
442
00:17:09,987 --> 00:17:12,698
‐ And he‐‐Usher‐‐
has an incredible range,
443
00:17:12,698 --> 00:17:14,200
so you can go up.
‐ Up.
444
00:17:14,200 --> 00:17:15,952
‐ Yep.
‐ Can we just hear this
445
00:17:15,952 --> 00:17:18,454
without a lot of production?
446
00:17:18,454 --> 00:17:21,707
Just, like, so we can
hear the tone of this song.
447
00:17:21,707 --> 00:17:26,170
‐ ♪ Personal,
got me takin' it personal ♪
448
00:17:26,170 --> 00:17:29,799
♪ Girl, you makin' it
hard to go ♪
449
00:17:29,799 --> 00:17:32,843
‐ [vocalizing]
450
00:17:32,843 --> 00:17:37,974
♪ ♪
451
00:17:37,974 --> 00:17:39,392
You got to flip it
just a little bit.
452
00:17:39,392 --> 00:17:40,560
‐ Yeah, you got to flip.
I like that‐‐
453
00:17:40,560 --> 00:17:41,435
♪ One time ♪
454
00:17:41,435 --> 00:17:43,479
I just need you, girl...
‐ ♪ One time ♪
455
00:17:43,479 --> 00:17:45,731
‐ [squeals]
‐ [vocalizing] ♪ One time ♪
456
00:17:45,731 --> 00:17:46,732
Yeah.
‐ I love it.
457
00:17:46,732 --> 00:17:49,193
This is club, sexy, dancin'
458
00:17:49,193 --> 00:17:52,238
feelin' good, like,
we don't have that right now.
459
00:17:52,238 --> 00:17:53,281
‐ Come on, now.
‐ You are awesome‐‐
460
00:17:53,281 --> 00:17:56,075
your energy, your light.
‐ Thank you, thank you.
461
00:17:56,075 --> 00:17:57,743
‐ Yes.
‐ My guy. Good job, man.
462
00:17:57,743 --> 00:17:59,412
‐ Thank you.
‐ Yes.
463
00:17:59,412 --> 00:18:01,622
‐ My song being in the presence
of Usher,
464
00:18:01,622 --> 00:18:04,875
it now has the opportunity
to be taken
465
00:18:04,875 --> 00:18:07,253
to places that I may have never
even imagined.
466
00:18:07,253 --> 00:18:09,213
Man, just a dream come true.
467
00:18:09,213 --> 00:18:11,090
‐ Hey.
[song playing]
468
00:18:11,090 --> 00:18:15,011
[vocalizing]
‐ I love it.
469
00:18:15,011 --> 00:18:16,387
‐ ♪ One time ♪
470
00:18:28,065 --> 00:18:30,382
‐ I am Fatherdude.
I'm from New York City.
471
00:18:30,901 --> 00:18:33,237
My song is called "Billions."
472
00:18:33,237 --> 00:18:35,948
♪ ♪
473
00:18:35,948 --> 00:18:38,784
The song is about probability.
474
00:18:38,784 --> 00:18:40,953
There's about 7.7 billion
people in the world,
475
00:18:40,953 --> 00:18:44,999
and the relationships we have
are kind of improbable
476
00:18:44,999 --> 00:18:47,793
when you find somebody
that you connect with,
477
00:18:47,793 --> 00:18:51,047
and it's
a pretty special thing.
478
00:18:51,047 --> 00:18:52,882
I think the song would work
for Usher
479
00:18:52,882 --> 00:18:54,967
because it's a powerful,
soulful song
480
00:18:54,967 --> 00:18:56,969
with a very wide message.
481
00:18:56,969 --> 00:18:58,888
I hope he hears it and says,
you know,
482
00:18:58,888 --> 00:19:02,224
"Well, I can do that,
and I can do it better."
483
00:19:02,224 --> 00:19:03,976
‐ Hello.
‐ Hello.
484
00:19:03,976 --> 00:19:06,145
‐ Hey.
‐ Welcome. What's your name?
485
00:19:06,145 --> 00:19:08,230
‐ I'm Fatherdude
from New York City.
486
00:19:08,230 --> 00:19:10,107
‐ What's Fatherdude?
‐ It's from one
487
00:19:10,107 --> 00:19:12,568
of my favorite TV shows,
"Mystery Science Theater 3000."
488
00:19:12,568 --> 00:19:14,153
‐ That's cool.
‐ So what is the song
489
00:19:14,153 --> 00:19:15,029
you brought us today?
490
00:19:15,029 --> 00:19:16,906
‐ The song I'm singing
is "Billions."
491
00:19:16,906 --> 00:19:18,324
‐ Mm‐hmm.
‐ Well, let's hear this song.
492
00:19:18,324 --> 00:19:21,952
‐ Let's hear it. "Billions."
‐ "Billions."
493
00:19:21,952 --> 00:19:23,829
♪ ♪
494
00:19:23,829 --> 00:19:27,792
‐ ♪ This game is gettin' old ♪
495
00:19:27,792 --> 00:19:31,295
♪ Waiting for
your hand to hold ♪
496
00:19:31,295 --> 00:19:32,505
♪ I don't know ♪
497
00:19:32,505 --> 00:19:35,174
♪ ♪
498
00:19:35,174 --> 00:19:39,595
♪ I don't know
if you want to be alone ♪
499
00:19:39,595 --> 00:19:43,182
♪ Maybe I could
change your mind ♪
500
00:19:43,182 --> 00:19:46,811
♪ If you see yourself
with my eyes ♪
501
00:19:46,811 --> 00:19:50,523
♪ Then you would know, ooh ♪
502
00:19:50,523 --> 00:19:53,693
♪ You would know ♪
503
00:19:53,693 --> 00:19:54,819
♪ Well, here it goes ♪
504
00:19:54,819 --> 00:19:58,698
♪ Don't save me from you ♪
505
00:19:58,698 --> 00:20:03,369
♪ Don't stand
in the way of love ♪
506
00:20:03,369 --> 00:20:06,038
‐ That's the part.
‐ ♪ 'Cause there's one ♪
507
00:20:06,038 --> 00:20:07,915
♪ In a world of many ♪
508
00:20:07,915 --> 00:20:11,001
♪ Billions and billions ♪
509
00:20:11,001 --> 00:20:13,671
♪ Billions
and billions ♪
510
00:20:13,671 --> 00:20:18,050
♪ Billions, yes,
you're the one ♪
511
00:20:18,050 --> 00:20:20,886
♪ Hoo, you're the one,
two, three, four ♪
512
00:20:20,886 --> 00:20:22,847
‐ There it is.
‐ ♪ Five, six, seven, baby ♪
513
00:20:22,847 --> 00:20:26,642
♪ One, two, three, four,
five, six, seven, baby ♪
514
00:20:26,642 --> 00:20:28,352
[music ends]
515
00:20:28,352 --> 00:20:29,895
‐ Yes. [laughs]
‐ Wow.
516
00:20:29,895 --> 00:20:32,398
‐ Come on, Fatherdude.
‐ Wow.
517
00:20:32,398 --> 00:20:34,191
I thought that was awesome.
518
00:20:34,191 --> 00:20:35,818
‐ It's a witty concept.
‐ Thank you.
519
00:20:35,818 --> 00:20:37,903
‐ The D'Angelo falsetto
thing that you did‐‐
520
00:20:37,903 --> 00:20:39,864
‐ That's the sweet spot.
‐ I want to hear that again.
521
00:20:39,864 --> 00:20:41,657
‐ Yeah.
‐ That last thing,
522
00:20:41,657 --> 00:20:44,034
when you went into that‐‐
"one, two, three,"
523
00:20:44,034 --> 00:20:46,746
all of a sudden,
I can't stop moving.
524
00:20:46,746 --> 00:20:48,456
And so I would want to
hear that sooner.
525
00:20:48,456 --> 00:20:51,625
Maybe right after the,
♪ Don't save me from you ♪
526
00:20:51,625 --> 00:20:52,585
‐ I agree.
‐ I feel like they're
527
00:20:52,585 --> 00:20:54,420
two kind of genres.
528
00:20:54,420 --> 00:20:56,172
It started off
like a pop record,
529
00:20:56,172 --> 00:20:57,339
and then it went R&B.
530
00:20:57,339 --> 00:20:58,758
I'm like, "Oh, there it is."
‐ Yeah.
531
00:20:58,758 --> 00:21:00,509
‐ And it went to this
really, really, cool,
532
00:21:00,509 --> 00:21:01,927
"one, two, three, four,"
533
00:21:01,927 --> 00:21:03,095
but then it was just like,
okay, now that's it,
534
00:21:03,095 --> 00:21:04,221
that's all of it.
‐ That's everything.
535
00:21:04,221 --> 00:21:07,433
‐ To me, that's the part
that felt this is R&B and pop.
536
00:21:07,433 --> 00:21:08,768
‐ Can we try something?
537
00:21:08,768 --> 00:21:09,977
Let's start with that chorus,
538
00:21:09,977 --> 00:21:12,855
but then when you go, "'cause
in the world full of many,
539
00:21:12,855 --> 00:21:14,440
billions and billions"‐‐
‐ [vocalizing]
540
00:21:14,440 --> 00:21:18,194
‐ Instead of going up, go,
♪ You're the one, two, three ♪
541
00:21:18,194 --> 00:21:19,779
‐ Oh, my God.
542
00:21:19,779 --> 00:21:21,697
♪ 'Cause in a world
full of many ♪
543
00:21:21,697 --> 00:21:23,115
‐ Yes.
‐ ♪ If I miss some ♪
544
00:21:23,115 --> 00:21:24,533
♪ Would you tell me? ♪
545
00:21:24,533 --> 00:21:26,619
[high‐pitched voice]
♪ Don't save me from you ♪
546
00:21:26,619 --> 00:21:27,912
‐ Yeah.
‐ Right.
547
00:21:27,912 --> 00:21:29,455
‐ ♪ Don't stand
in the way of love ♪
548
00:21:29,455 --> 00:21:30,331
‐ And do it again.
‐ Right?
549
00:21:30,331 --> 00:21:32,082
‐ ♪ 'Cause in a world
full of many ♪
550
00:21:32,082 --> 00:21:35,544
‐ Right.
[all vocalizing]
551
00:21:35,544 --> 00:21:37,129
‐ Yes, yeah.
both: ♪ You're the one, two ♪
552
00:21:37,129 --> 00:21:38,172
‐ [vocalizing]
‐ Now that you're
553
00:21:38,172 --> 00:21:40,466
doing it twice, you can go
right into the bounce.
554
00:21:40,466 --> 00:21:42,134
‐ Okay, let's see.
555
00:21:42,134 --> 00:21:45,137
‐ ♪ Don't save me from you ♪
‐ Yep.
556
00:21:45,137 --> 00:21:49,975
‐ ♪ Don't stand
in the way of love ♪
557
00:21:49,975 --> 00:21:53,771
♪ 'Cause in this world
full of many ♪
558
00:21:53,771 --> 00:21:56,565
[all vocalizing]
559
00:21:56,565 --> 00:21:58,275
♪ You're the one ♪
‐ ♪ Two, three, four ♪
560
00:21:58,275 --> 00:22:00,945
‐ Yeah. The numbers might be
a Bee Gee.
561
00:22:00,945 --> 00:22:03,781
♪ One, two, three, four,
five, six, seven ♪
562
00:22:03,781 --> 00:22:04,824
‐ Here's the thing,
you've got the verse.
563
00:22:04,824 --> 00:22:05,658
‐ Yeah.
‐ That's the verse.
564
00:22:05,658 --> 00:22:06,784
‐ That's the verse, okay.
‐ Yeah.
565
00:22:06,784 --> 00:22:07,785
‐ Thank you, Fatherdude.
‐ Fatherdude, thank you, man.
566
00:22:07,785 --> 00:22:09,829
‐ Thank you very much.
Really appreciate it.
567
00:22:09,829 --> 00:22:11,539
‐ See ya.
[clapping]
568
00:22:11,539 --> 00:22:13,123
‐ To be able to sing a song
569
00:22:13,123 --> 00:22:14,959
that I wrote a year
and a half ago for Usher
570
00:22:14,959 --> 00:22:16,669
and hearing him
do a couple little lines,
571
00:22:16,669 --> 00:22:19,004
I was like, "Oh, yeah, this is
gonna sound really good.
572
00:22:19,004 --> 00:22:20,589
I hope he picks it."
573
00:22:20,589 --> 00:22:23,175
‐ Songwriters, they just
don't know where they belong.
574
00:22:23,175 --> 00:22:24,844
They don't really
want the light.
575
00:22:24,844 --> 00:22:26,512
They just want to be accepted.
576
00:22:26,512 --> 00:22:29,974
‐ I'm all about new ideas,
new concepts, collaboration.
577
00:22:29,974 --> 00:22:30,975
And really great to have
578
00:22:30,975 --> 00:22:33,602
these three incredible minds
working together.
579
00:22:33,602 --> 00:22:35,145
I'm really hopeful, man,
580
00:22:35,145 --> 00:22:37,857
that some really incredible
work comes out of it.
581
00:22:37,857 --> 00:22:39,859
‐ Hey, Miranda.
‐ Hey.
582
00:22:39,859 --> 00:22:41,986
‐ I really do believe
that a lot of
583
00:22:41,986 --> 00:22:44,363
what has been shared with you
584
00:22:44,363 --> 00:22:46,365
is only gonna contribute
to what it takes
585
00:22:46,365 --> 00:22:49,201
to write for other artists.
‐ Totally.
586
00:22:49,201 --> 00:22:50,703
‐ With that said,
one of the three
587
00:22:50,703 --> 00:22:52,872
of these incredible producers
588
00:22:52,872 --> 00:22:54,999
are gonna assist you
on a song for me.
589
00:22:54,999 --> 00:22:57,126
‐ Oh, my goodness.
Thank you so much.
590
00:22:57,126 --> 00:22:59,628
‐ Miranda, I really felt
hopeful for the record.
591
00:22:59,628 --> 00:23:01,046
It had enough texture
592
00:23:01,046 --> 00:23:03,799
to allow it to become
what it's gonna be.
593
00:23:03,799 --> 00:23:05,968
Hey, Ryan, how are you, man?
‐ What's going on, guys?
594
00:23:05,968 --> 00:23:08,012
The thing that stands
the test of time
595
00:23:08,012 --> 00:23:10,389
is authenticity and clarity.
596
00:23:10,389 --> 00:23:14,727
And that is what I felt in a
lot of what I heard from you.
597
00:23:14,727 --> 00:23:16,645
So congratulations, Ryan,
598
00:23:16,645 --> 00:23:18,230
you'll be making a song
599
00:23:18,230 --> 00:23:20,065
with one of these
incredible producers.
600
00:23:20,065 --> 00:23:21,734
‐ Thank you so much. Really.
601
00:23:21,734 --> 00:23:22,860
Thank you so much.
‐ Good job.
602
00:23:22,860 --> 00:23:26,655
‐ Sometimes a minimalist
approach is probably better
603
00:23:26,655 --> 00:23:28,365
and could turn out to be
604
00:23:28,365 --> 00:23:29,575
something
that more people love
605
00:23:29,575 --> 00:23:31,410
than a record that is
more complicated
606
00:23:31,410 --> 00:23:33,579
and very, very specific.
607
00:23:33,579 --> 00:23:35,956
‐ Hello, Fatherdude.
608
00:23:35,956 --> 00:23:37,416
‐ The record that you wrote,
"Billions,"
609
00:23:37,416 --> 00:23:39,084
I don't think
it necessarily fits
610
00:23:39,084 --> 00:23:40,753
where I'm headed right now.
611
00:23:40,753 --> 00:23:41,837
But, man, I'm proud of you.
612
00:23:41,837 --> 00:23:44,089
Never be afraid to fail
because it only gives you
613
00:23:44,089 --> 00:23:45,549
an opportunity to go up.
614
00:23:45,549 --> 00:23:48,260
‐ Thanks, guys. Appreciate it.
[clapping]
615
00:23:48,260 --> 00:23:50,262
‐ Fatherdude,
he could have a career
616
00:23:50,262 --> 00:23:51,430
as an artist
to go even further,
617
00:23:51,430 --> 00:23:55,017
and this might potentially
catapult that conversation.
618
00:23:55,017 --> 00:23:57,436
‐ Hello, David.
‐ Family members.
619
00:23:57,436 --> 00:23:59,897
‐ If I were to tell you
that your investment
620
00:23:59,897 --> 00:24:02,441
as a writer and a creator
was a waste of time,
621
00:24:02,441 --> 00:24:05,027
I'd be lying, and I just wanted
to say congratulations.
622
00:24:05,027 --> 00:24:06,612
‐ Wow. Thank you.
‐ Yes.
623
00:24:06,612 --> 00:24:08,364
Thank you, brother.
‐ "Horse 'n Carriage"
624
00:24:08,364 --> 00:24:10,115
felt like it could potentially
be a world record.
625
00:24:10,115 --> 00:24:11,909
It felt like it could be
an R&B record,
626
00:24:11,909 --> 00:24:12,952
It felt like it could be
a pop record,
627
00:24:12,952 --> 00:24:15,120
and I'm really excited
to see what happens next.
628
00:24:15,120 --> 00:24:17,164
That was fun.
‐ That was fun.
629
00:24:17,164 --> 00:24:18,666
‐ That was good.
‐ All right. Nice meeting you.
630
00:24:18,666 --> 00:24:21,085
[laughter]
631
00:24:21,085 --> 00:24:22,336
‐ Go strong,
'cause that's what we need.
632
00:24:22,336 --> 00:24:24,254
‐ We're chasing goose bumps,
we're chasing goose bumps, man.
633
00:24:24,254 --> 00:24:26,131
♪ Tick tock in the morning ♪
634
00:24:26,131 --> 00:24:27,967
♪ That's when we gunning ♪
635
00:24:27,967 --> 00:24:30,761
♪ That's when we‐‐ ♪
[vocalizing]
636
00:24:30,761 --> 00:24:34,390
both: ♪ Personal,
got me takin' it personal ♪
637
00:24:34,390 --> 00:24:37,142
[both vocalizing]
638
00:24:37,142 --> 00:24:39,395
‐ Ooh, yeah, I got to get up.
‐ [vocalizing]
639
00:24:39,395 --> 00:24:41,146
‐ Turn it up.
640
00:24:41,146 --> 00:24:42,982
both:
♪ Wish you was on my time ♪
641
00:24:42,982 --> 00:24:44,942
♪ Wish you was by my side ♪
642
00:24:44,942 --> 00:24:46,485
Hey!
643
00:24:54,618 --> 00:24:55,905
[smooth music]
644
00:24:57,329 --> 00:24:59,456
‐ Your melodies were fire.
‐ Thank you.
645
00:24:59,456 --> 00:25:01,208
‐ There's just so much of this
stuff that was so good,
646
00:25:01,208 --> 00:25:03,836
but we can't just pretend, oh,
"Salty's" gonna work for Usher.
647
00:25:03,836 --> 00:25:04,753
'Cause it's not
‐ Yeah.
648
00:25:04,753 --> 00:25:05,796
‐ And he knows
that and you know that.
649
00:25:05,796 --> 00:25:07,840
‐ Mm‐hmm, totally.
‐ The whole song was written
650
00:25:07,840 --> 00:25:09,174
from a female perspective,
651
00:25:09,174 --> 00:25:11,010
so we just have to
reapproach the lyrics,
652
00:25:11,010 --> 00:25:12,594
and flip the track to feel
more like
653
00:25:12,594 --> 00:25:13,846
something Usher would do.
654
00:25:13,846 --> 00:25:14,847
"That smile that you hide
behind
655
00:25:14,847 --> 00:25:15,931
"is just another weak disguise
656
00:25:15,931 --> 00:25:16,807
'cause you're
low‐key missing me."
657
00:25:16,807 --> 00:25:18,934
A lot of this
is flipping it to I'm.
658
00:25:18,934 --> 00:25:20,352
‐ To I, yeah.
‐ "'Cause I'm low‐key
659
00:25:20,352 --> 00:25:21,687
missin' you inside."
660
00:25:21,687 --> 00:25:24,148
Usher liked some of her lines,
like "I'm low‐key missin' you,"
661
00:25:24,148 --> 00:25:27,109
which sent us off this path
of maybe the whole song
662
00:25:27,109 --> 00:25:29,611
is about, like, "I went
and found somebody new,
663
00:25:29,611 --> 00:25:30,821
but I'm low‐key missin' you."
664
00:25:30,821 --> 00:25:33,365
Because that's
a very relatable topic.
665
00:25:33,365 --> 00:25:34,867
All right, "I heard you're
having a hard time,
666
00:25:34,867 --> 00:25:35,909
"regret the way you wasted mine
667
00:25:35,909 --> 00:25:37,536
but, baby, it would be a lie
if I said I cared."
668
00:25:37,536 --> 00:25:40,080
‐ I think the last two lines
kind of need to change
669
00:25:40,080 --> 00:25:42,249
'cause he does care.
‐ Yeah. He does care.
670
00:25:42,249 --> 00:25:44,376
He's Usher.
‐ Yeah. [laughs]
671
00:25:44,376 --> 00:25:45,419
‐ How are you?
‐ I'm okay.
672
00:25:45,419 --> 00:25:47,463
How you guys doin'?
‐ I'm feelin' good, man.
673
00:25:47,463 --> 00:25:49,798
Feelin' good.
‐ The song is so sexy.
674
00:25:49,798 --> 00:25:51,633
‐ It's got a sexiness to it
that you got to capture,
675
00:25:51,633 --> 00:25:54,344
and I think that
it's got a worldwide vibe.
676
00:25:54,344 --> 00:25:56,221
‐ Right.
‐ But don't feel like
677
00:25:56,221 --> 00:25:57,389
we need to go too dancehall,
678
00:25:57,389 --> 00:25:59,391
'cause the song just has
that kind of nature.
679
00:25:59,391 --> 00:26:02,352
‐ I'm thinking we lean
into the personal thing.
680
00:26:02,352 --> 00:26:04,021
‐ Yeah.
‐ There was a thing you did
681
00:26:04,021 --> 00:26:05,064
the original‐‐
682
00:26:05,064 --> 00:26:07,983
♪ One time ♪
[vocalizing]
683
00:26:07,983 --> 00:26:10,527
♪ One time ♪
And then you jumped the octave.
684
00:26:10,527 --> 00:26:12,404
And it was‐‐
‐ ♪ One time ♪
685
00:26:12,404 --> 00:26:14,740
‐ Taking it to that falsetto,
it was just perfect.
686
00:26:14,740 --> 00:26:16,033
‐ There is no doubt about it.
687
00:26:16,033 --> 00:26:19,244
You feel instantly entranced
by the song.
688
00:26:19,244 --> 00:26:21,789
So we're gonna edit
and take the best parts
689
00:26:21,789 --> 00:26:24,958
and Usher was singing melodies
up in his falsetto,
690
00:26:24,958 --> 00:26:26,710
and I'm like, "That's a hook."
691
00:26:26,710 --> 00:26:28,712
So we got to give him
something to sing.
692
00:26:28,712 --> 00:26:31,215
‐ I'm excited,
and I can't wait to hear it.
693
00:26:31,215 --> 00:26:32,132
‐ I can't wait to show you.
‐ All right, y'all.
694
00:26:32,132 --> 00:26:33,926
‐ Talk soon. Bye‐bye.
‐ Yeah, man.
695
00:26:33,926 --> 00:26:35,552
[both laugh]
696
00:26:35,552 --> 00:26:36,720
‐ What's goin' on?
‐ What's goin' on, y'all?
697
00:26:36,720 --> 00:26:38,722
‐ Are you rehearsing?
‐ Yeah.
698
00:26:38,722 --> 00:26:40,265
‐ Well, thank you
for taking time.
699
00:26:40,265 --> 00:26:43,727
Okay, so what do you think
about making the hook,
700
00:26:43,727 --> 00:26:45,270
"how's the view in California?"
701
00:26:45,270 --> 00:26:47,606
‐ That sounds good.
‐ And then talk
702
00:26:47,606 --> 00:26:50,275
about somebody who you like
that's just not where you live,
703
00:26:50,275 --> 00:26:52,945
and you just checking in,
makin' sure she okay.
704
00:26:52,945 --> 00:26:54,446
‐ Okay, I like that.
‐ Yeah, yeah.
705
00:26:54,446 --> 00:26:55,948
"How's the view
from California?"
706
00:26:55,948 --> 00:26:58,617
was just a line in the verse.
707
00:26:58,617 --> 00:27:00,035
You know?
708
00:27:00,035 --> 00:27:02,287
But it was the right line
with the right melody.
709
00:27:02,287 --> 00:27:05,165
But the other lyrics
need to be refined,
710
00:27:05,165 --> 00:27:07,960
so I got to work on lyrics,
story structure,
711
00:27:07,960 --> 00:27:10,462
and the production
to make it more rooted
712
00:27:10,462 --> 00:27:12,047
in R&B and hip‐hop.
713
00:27:12,047 --> 00:27:14,633
Any melody
that you wish you heard?
714
00:27:14,633 --> 00:27:16,135
‐ I don't think
we have a lot going on.
715
00:27:16,135 --> 00:27:17,302
You know what I'm sayin'?
both: Okay.
716
00:27:17,302 --> 00:27:19,805
‐ Keep it, like,
cool and relaxed.
717
00:27:19,805 --> 00:27:20,973
‐ [laughs]
‐ All right.
718
00:27:20,973 --> 00:27:22,933
‐ Okay, thank you.
‐ All right.
719
00:27:22,933 --> 00:27:24,226
‐ Bye.
720
00:27:24,226 --> 00:27:25,727
‐ So let's just play
the track for a second.
721
00:27:25,727 --> 00:27:27,437
♪ ♪
722
00:27:27,437 --> 00:27:29,147
We're doing a lot of surgery
on the production.
723
00:27:29,147 --> 00:27:30,732
The verse melody
will be different,
724
00:27:30,732 --> 00:27:31,984
and the chorus is different.
725
00:27:31,984 --> 00:27:33,735
But the feel
is actually the same.
726
00:27:33,735 --> 00:27:37,739
Like, the same vibe‐‐the chords
she had were super dope.
727
00:27:37,739 --> 00:27:41,660
♪ Tick tock in the mornin',
that's when we gunnin' ♪
728
00:27:41,660 --> 00:27:44,162
‐ The biggest takeaway
from working with Ryan
729
00:27:44,162 --> 00:27:46,540
is the way that
he looks at writing a song
730
00:27:46,540 --> 00:27:48,542
for another artist.
‐ That's the B of the hook,
731
00:27:48,542 --> 00:27:50,836
and then it goes back to
that original melody.
732
00:27:50,836 --> 00:27:52,004
A‐B‐A.
‐ Yeah. Sick.
733
00:27:52,004 --> 00:27:55,465
He's looking at it like,
we don't want a great melody,
734
00:27:55,465 --> 00:27:58,468
we want a melody
that's great for Usher.
735
00:27:58,468 --> 00:28:00,178
‐ Good morning.
How are you, dog?
736
00:28:00,178 --> 00:28:02,347
‐ I'm great. Doin' great.
‐ Hey.
737
00:28:02,347 --> 00:28:04,516
‐ So we're jumpin' in.
Lyrically, we're gonna stick
738
00:28:04,516 --> 00:28:06,184
with, "I'm still missin' you"
‐ The concept.
739
00:28:06,184 --> 00:28:07,644
‐ That's the concept
that we're gonna chase.
740
00:28:07,644 --> 00:28:09,313
‐ Yeah.
‐ Oh, okay. That's cool.
741
00:28:09,313 --> 00:28:11,523
‐ If you have any direction
sonically and production‐wise‐‐
742
00:28:11,523 --> 00:28:14,359
‐ Um, I wish that we started
the record
743
00:28:14,359 --> 00:28:16,194
simple, sparse,
you know what I'm sayin'?
744
00:28:16,194 --> 00:28:17,321
‐ Okay, done.
‐ And then you brought in
745
00:28:17,321 --> 00:28:19,197
that ambient sound
over the guitars‐‐blum‐‐
746
00:28:19,197 --> 00:28:20,532
‐ Yep, I got you.
‐ So that it
747
00:28:20,532 --> 00:28:21,658
just kind of crescendos.
748
00:28:21,658 --> 00:28:22,868
Goose bumps,
that's what we need, man.
749
00:28:22,868 --> 00:28:25,037
‐ We're chasing goose bumps.
We're chasing goose bumps, man.
750
00:28:25,037 --> 00:28:26,496
All right, I appreciate it.
‐ Thank you, bye.
751
00:28:26,496 --> 00:28:27,497
‐ See ya, man.
752
00:28:27,497 --> 00:28:29,499
‐ So my thing is you got‐‐
‐ Got a carriage‐‐
753
00:28:29,499 --> 00:28:30,334
‐ For the horse
and the carriage,
754
00:28:30,334 --> 00:28:31,960
and you got‐‐talkin'
about marriage.
755
00:28:31,960 --> 00:28:33,378
Like, either choose
"horse and carriage"
756
00:28:33,378 --> 00:28:34,338
or "got me talking
about marriage,"
757
00:28:34,338 --> 00:28:36,381
I think "marriage" is cooler...
‐ Yeah.
758
00:28:36,381 --> 00:28:39,343
‐ Because you're in
this sexy vibe.
759
00:28:39,343 --> 00:28:40,802
‐ Right.
‐ And you still got to
760
00:28:40,802 --> 00:28:42,220
get to a chorus,
which, to me,
761
00:28:42,220 --> 00:28:44,306
the chorus will be
that octave jump.
762
00:28:44,306 --> 00:28:47,392
You just need a few things
that the listener can repeat
763
00:28:47,392 --> 00:28:49,186
and dance to,
so I think
764
00:28:49,186 --> 00:28:51,980
if we hear that falsetto
a couple of times,
765
00:28:51,980 --> 00:28:53,899
it'll feel like we have
a real chorus.
766
00:28:53,899 --> 00:28:55,359
I'm gonna play you some stuff.
767
00:28:55,359 --> 00:28:57,569
It is dancehall‐y,
but it could be really cool
768
00:28:57,569 --> 00:28:58,445
if we used it lightly.
‐ Right, right.
769
00:28:58,445 --> 00:29:00,364
Just a couple of elements
here and there.
770
00:29:00,364 --> 00:29:01,448
‐ Right.
‐ A few spices.
771
00:29:01,448 --> 00:29:04,534
‐ Exactly. Let's just see
what you think of this.
772
00:29:04,534 --> 00:29:06,328
♪ ♪
773
00:29:06,328 --> 00:29:09,957
‐ The song, originally,
it was a little bit more urban
774
00:29:09,957 --> 00:29:11,792
with a crossover concept.
775
00:29:11,792 --> 00:29:14,586
Usher wanted something that was
more of a worldwide hit.
776
00:29:14,586 --> 00:29:16,838
He wants it
to feel international.
777
00:29:16,838 --> 00:29:20,175
both: ♪ Personal,
got me takin' it personal ♪
778
00:29:20,175 --> 00:29:24,262
‐ Shane coming in and blessing
us with his magical ways,
779
00:29:24,262 --> 00:29:27,057
it is now something
that is a crossover record.
780
00:29:27,057 --> 00:29:29,101
It will reach everyone
everywhere.
781
00:29:29,101 --> 00:29:30,560
‐ [vocalizing]
‐ Ooh.
782
00:29:30,560 --> 00:29:32,270
Now I got to get up.
783
00:29:32,270 --> 00:29:34,606
♪ One time ♪
[both vocalizing]
784
00:29:34,606 --> 00:29:37,734
Oh, my gosh, Rich.
Can't you dance, man?
785
00:29:37,734 --> 00:29:40,112
‐ Okay, so have you worked out
some new lyrics?
786
00:29:40,112 --> 00:29:41,780
‐ Yeah, I was putting
some new stuff together.
787
00:29:41,780 --> 00:29:42,906
‐ Okay.
788
00:29:42,906 --> 00:29:44,408
‐ ♪ Wish you was on my time ♪
789
00:29:44,408 --> 00:29:46,576
♪ Wish you were by my side ♪
790
00:29:46,576 --> 00:29:49,204
♪ But can you forgive me? ♪
‐ Okay.
791
00:29:49,204 --> 00:29:52,124
‐ ♪ I'm in between cities ♪
‐ Mm‐hmm.
792
00:29:52,124 --> 00:29:53,500
‐ And then...
‐ ♪ How's the view ♪
793
00:29:53,500 --> 00:29:55,711
♪ From California? ♪
‐ Yeah.
794
00:29:55,711 --> 00:29:56,962
‐ I think that's super dope.
795
00:29:56,962 --> 00:29:58,463
So you see
how that flows so well?
796
00:29:58,463 --> 00:29:59,715
‐ Yeah.
‐ 'Cause you really, really
797
00:29:59,715 --> 00:30:02,300
good at melody,
but you have to dig
798
00:30:02,300 --> 00:30:04,469
and beat your lyrics.
‐ Right.
799
00:30:04,469 --> 00:30:07,597
‐ Right? You want to make
yours, like, bulletproof.
800
00:30:07,597 --> 00:30:10,142
‐ When I write songs,
it's easy for me
801
00:30:10,142 --> 00:30:12,310
to get caught in just finding
good melodies,
802
00:30:12,310 --> 00:30:13,979
but lyrics are the backbone
of a track,
803
00:30:13,979 --> 00:30:16,940
so I have to take time with
the lyrics to get 'em right.
804
00:30:16,940 --> 00:30:18,483
‐ Let me play you
the new track.
805
00:30:18,483 --> 00:30:19,651
♪ ♪
806
00:30:19,651 --> 00:30:21,653
Right? 808 in it.
‐ Yeah, yeah, yeah.
807
00:30:21,653 --> 00:30:22,904
‐ Turn it up some.
808
00:30:22,904 --> 00:30:24,614
So the new sound of the track,
809
00:30:24,614 --> 00:30:27,909
we took Ryan's song
and put urban drums on it,
810
00:30:27,909 --> 00:30:29,494
put some hi‐hats on it.
811
00:30:29,494 --> 00:30:32,122
And I even think we can, you
know, make some drops in it.
812
00:30:32,122 --> 00:30:33,790
‐ Yeah.
‐ You know, to just make it
813
00:30:33,790 --> 00:30:35,709
feel like Usher.
814
00:30:35,709 --> 00:30:38,128
I think I would take the song.
The song is awesome.
815
00:30:38,128 --> 00:30:39,171
Turn it up.
816
00:30:39,171 --> 00:30:40,505
♪ ♪
817
00:30:40,505 --> 00:30:41,798
both:
♪ Wish you was on my time ♪
818
00:30:41,798 --> 00:30:45,093
♪ Wish you was by my side ♪
‐ Hey!
819
00:30:45,093 --> 00:30:46,678
‐ ♪ We'd be getting' lit
right now ♪
820
00:30:46,678 --> 00:30:48,263
♪ Sippin' on a fifth
right now ♪
821
00:30:48,263 --> 00:30:50,515
‐ ♪ How's the view
from California? ♪
822
00:30:50,515 --> 00:30:53,018
♪ How's the view
from California? ♪
823
00:30:53,018 --> 00:30:56,354
‐ Whoo!
‐ Wow.
824
00:30:56,354 --> 00:30:57,689
‐ ♪ One time ♪
825
00:30:57,689 --> 00:31:00,192
♪ How you gonna give it to me?
One time ♪
826
00:31:00,192 --> 00:31:02,778
‐ Dope, man.
Yo, bro.
827
00:31:02,778 --> 00:31:03,737
‐ Yes.
‐ Thank you.
828
00:31:03,737 --> 00:31:06,114
both: ♪ You don't get
I've been fadin' ♪
829
00:31:06,114 --> 00:31:08,033
♪ Trying to replace you ♪
830
00:31:08,033 --> 00:31:10,827
♪ Knowin' damn well
that I'm missin' you ♪
831
00:31:10,827 --> 00:31:12,454
‐ I'm so happy I did this show.
832
00:31:12,454 --> 00:31:14,539
‐ I'm so happy you did, too.
‐ Thank you.
833
00:31:23,882 --> 00:31:25,327
[light pop music]
834
00:31:27,719 --> 00:31:29,221
‐ We've obviously
worked together.
835
00:31:29,221 --> 00:31:30,889
‐ Yes, yes.
‐ And we've worked together.
836
00:31:30,889 --> 00:31:32,057
And now we have the chance to.
837
00:31:32,057 --> 00:31:34,017
‐ ♪ And I have
your phone number ♪
838
00:31:34,017 --> 00:31:36,561
‐ [laughs] Stalker!
‐ But I'm really excited
839
00:31:36,561 --> 00:31:39,064
to hear what
you guys worked on, man.
840
00:31:39,064 --> 00:31:41,024
♪ ♪
841
00:31:41,024 --> 00:31:44,194
‐ Shane wanted us to just
really go back into the song
842
00:31:44,194 --> 00:31:46,530
and piece by piece
by piece and adjusting it
843
00:31:46,530 --> 00:31:48,073
for Usher specifically.
844
00:31:48,073 --> 00:31:50,242
So the song is just
full of light now.
845
00:31:50,242 --> 00:31:52,536
It's big,
it's worldwide to me,
846
00:31:52,536 --> 00:31:54,412
and I'm excited about it,
I love it.
847
00:31:54,412 --> 00:31:56,248
I hope he loves it
as much as I do.
848
00:31:56,248 --> 00:31:58,625
‐ What's going on, David?
How are you, man?
849
00:31:58,625 --> 00:32:00,877
‐ Hello.
‐ I had the extreme privilege
850
00:32:00,877 --> 00:32:02,254
of working with this genius.
851
00:32:02,254 --> 00:32:04,881
And I haven't had hits
in urban music,
852
00:32:04,881 --> 00:32:06,716
and I was glad
to be along for the ride,
853
00:32:06,716 --> 00:32:08,385
and I hope you love it.
‐ Aww.
854
00:32:08,385 --> 00:32:10,053
♪ ♪
855
00:32:10,053 --> 00:32:11,263
‐ ♪ Yeah, yeah, yeah ♪
856
00:32:11,263 --> 00:32:14,057
♪ Top down, Malibu
in the Aston ♪
857
00:32:14,057 --> 00:32:16,101
♪ Cruisin' down the ave
with a baddie ♪
858
00:32:16,101 --> 00:32:18,770
♪ One time,
and she way too classy ♪
859
00:32:18,770 --> 00:32:21,773
♪ One time,
and she came up from Cali ♪
860
00:32:21,773 --> 00:32:23,942
♪ And you know
she way above average ♪
861
00:32:23,942 --> 00:32:26,236
♪ Independent
with a body like a savage ♪
862
00:32:26,236 --> 00:32:28,780
♪ One time,
and you know I got to have it ♪
863
00:32:28,780 --> 00:32:31,449
♪ One time,
got me talking about marriage ♪
864
00:32:31,449 --> 00:32:34,077
♪ I just want to be the one
that you run to ♪
865
00:32:34,077 --> 00:32:36,454
♪ Send that late‐night text,
tell me come through ♪
866
00:32:36,454 --> 00:32:39,124
♪ In your late‐night dress
with your pumps, too ♪
867
00:32:39,124 --> 00:32:41,126
♪ You ain't gotta second‐guess,
girl, I want you ♪
868
00:32:41,126 --> 00:32:46,423
♪ Personal, got me takin' it
personal ♪
869
00:32:46,423 --> 00:32:47,799
♪ One time ♪
870
00:32:47,799 --> 00:32:50,135
♪ How you gonna give it to me
one time? ♪
871
00:32:50,135 --> 00:32:52,262
♪ Girl, you know I need it
more than one time ♪
872
00:32:52,262 --> 00:32:54,806
♪ You keep me up,
and I like it ♪
873
00:32:54,806 --> 00:32:56,474
♪ I like it ♪
874
00:32:56,474 --> 00:32:57,809
♪ One time ♪
875
00:32:57,809 --> 00:32:59,936
♪ Keep me up, and I like it ♪
‐ [squeals]
876
00:32:59,936 --> 00:33:01,479
♪ I like it ♪
877
00:33:01,479 --> 00:33:05,442
♪ Personal,
you got me takin' it personal ♪
878
00:33:05,442 --> 00:33:06,610
♪ One, one, one ♪
879
00:33:06,610 --> 00:33:08,111
♪ One time ♪
‐ Hey!
880
00:33:08,111 --> 00:33:10,447
‐ ♪ How you gonna give it to me
one time? ♪
881
00:33:10,447 --> 00:33:12,782
♪ Girl, you know I need it
more than one time ♪
882
00:33:12,782 --> 00:33:15,285
♪ You get me up,
and I like it ♪
883
00:33:15,285 --> 00:33:16,786
♪ I like it ♪
884
00:33:16,786 --> 00:33:18,371
♪ One time ♪
885
00:33:18,371 --> 00:33:20,373
♪ Ain't enough, girl,
I need it more than one time ♪
886
00:33:20,373 --> 00:33:23,001
♪ Make love and repeat it more
than one time ♪
887
00:33:23,001 --> 00:33:27,005
♪ You keep me up,
and I like it, I like it ♪
888
00:33:27,005 --> 00:33:30,967
♪ Personal, got me takin' it
personal ♪
889
00:33:30,967 --> 00:33:32,802
‐ [laughs]
‐ Yeah!
890
00:33:32,802 --> 00:33:35,180
‐ Yay!
[clapping]
891
00:33:35,180 --> 00:33:37,182
Wow, bro.
‐ That was awesome.
892
00:33:37,182 --> 00:33:38,975
‐ I feel all
of the improvements
893
00:33:38,975 --> 00:33:40,518
and the liberty that you took
894
00:33:40,518 --> 00:33:41,478
in changing things
that made it
895
00:33:41,478 --> 00:33:44,689
more significant
to who I am, and dope, man.
896
00:33:44,689 --> 00:33:46,816
Shane, yo, bro.
‐ Yes.
897
00:33:46,816 --> 00:33:48,193
‐ Thank you.
‐ Thank you, David.
898
00:33:48,193 --> 00:33:49,694
‐ Thank you so much.
‐ Thank you for that.
899
00:33:49,694 --> 00:33:51,821
[clapping]
‐ Yes!
900
00:33:51,821 --> 00:33:54,658
♪ One time ♪
[vocalizing]
901
00:33:54,658 --> 00:33:55,700
♪ ♪
902
00:33:55,700 --> 00:33:57,202
‐ The original song was
903
00:33:57,202 --> 00:33:58,662
more of a female perspective,
904
00:33:58,662 --> 00:34:00,372
and we went through each line
905
00:34:00,372 --> 00:34:02,374
and made sure it was
really something
906
00:34:02,374 --> 00:34:03,416
that we felt like
he would say.
907
00:34:03,416 --> 00:34:05,710
I really admire Usher
as an artist,
908
00:34:05,710 --> 00:34:07,212
and I think it would be
so exciting
909
00:34:07,212 --> 00:34:10,215
to have him sing something that
I worked on and I wrote.
910
00:34:10,215 --> 00:34:11,841
‐ I'm gonna
join Miranda onstage.
911
00:34:11,841 --> 00:34:13,176
I haven't done it
once this season.
912
00:34:13,176 --> 00:34:14,719
‐ I brought my panties
to throw.
913
00:34:14,719 --> 00:34:16,554
‐ Okay, great.
‐ Oh, my God.
914
00:34:16,554 --> 00:34:18,515
‐ Without further ado...
‐ Ryan Tedder!
915
00:34:18,515 --> 00:34:20,058
‐ Miranda Glory.
[laughter]
916
00:34:20,058 --> 00:34:22,060
"No Cap (Missing You)."
917
00:34:22,060 --> 00:34:23,687
‐ I didn't get all dressed up
for nothin'.
918
00:34:23,687 --> 00:34:25,355
[laughter]
919
00:34:25,355 --> 00:34:31,736
♪ ♪
920
00:34:31,736 --> 00:34:35,407
‐ ♪ Don't want to say it,
but my back against the wall ♪
921
00:34:35,407 --> 00:34:37,409
♪ You been wylin',
you been silent ♪
922
00:34:37,409 --> 00:34:39,202
♪ Ain't been calling ♪
923
00:34:39,202 --> 00:34:43,581
♪ I've been waiting, irritated
since you missing in action ♪
924
00:34:43,581 --> 00:34:45,292
♪ Yeah, yeah ♪
925
00:34:45,292 --> 00:34:48,378
♪ Thought I went and washed you
out of my sheets in the bed ♪
926
00:34:48,378 --> 00:34:51,756
♪ Even when I'm sleeping,
you pop into my head ♪
927
00:34:51,756 --> 00:34:54,592
♪ Dreaming, I've been dreaming
about what we could've been ♪
928
00:34:54,592 --> 00:34:58,430
♪ Oh, girl,
how you do me like that? Oh ♪
929
00:34:58,430 --> 00:35:00,724
both:
♪ No cap, I've been faded ♪
930
00:35:00,724 --> 00:35:02,392
♪ Trying to replace you ♪
931
00:35:02,392 --> 00:35:05,103
♪ Knowing damn well
that I'm missing you ♪
932
00:35:05,103 --> 00:35:07,105
♪ Fall back,
I've been trying ♪
933
00:35:07,105 --> 00:35:08,940
♪ Fakin' and smilin' ♪
934
00:35:08,940 --> 00:35:11,443
♪ Knowing damn well
that I'm missin' ♪
935
00:35:11,443 --> 00:35:14,738
♪ You, you, you, you ♪
936
00:35:14,738 --> 00:35:18,408
♪ You,
you, you, you ♪
937
00:35:18,408 --> 00:35:20,577
♪ No cap,
I've been trippin' ♪
938
00:35:20,577 --> 00:35:22,120
♪ You caught me slippin' ♪
939
00:35:22,120 --> 00:35:25,457
♪ Damn, girl,
you know that I'm missing you ♪
940
00:35:25,457 --> 00:35:28,251
‐ ♪ I'm missing you ♪
‐ ♪ I'm missing you ♪
941
00:35:28,251 --> 00:35:31,254
‐ ♪ I'm missing you ♪
‐ ♪ Missing ♪
942
00:35:31,254 --> 00:35:32,631
‐ ♪ Dreaming,
I've been dreaming ♪
943
00:35:32,631 --> 00:35:34,299
♪ About what we could've been ♪
944
00:35:34,299 --> 00:35:36,760
♪ Oh, girl,
how you do me like that? ♪
945
00:35:36,760 --> 00:35:37,969
‐ ♪ Oh, yeah, yeah ♪
946
00:35:37,969 --> 00:35:39,929
both:
♪ No cap, I've been faded ♪
947
00:35:39,929 --> 00:35:41,640
♪ Trying to replace you ♪
948
00:35:41,640 --> 00:35:44,309
♪ Knowing damn well
that I'm missing you ♪
949
00:35:44,309 --> 00:35:46,645
♪ Fall back,
I've been trying ♪
950
00:35:46,645 --> 00:35:48,271
♪ Fakin' and smilin' ♪
951
00:35:48,271 --> 00:35:50,815
♪ Knowing damn well
that I'm missing you ♪
952
00:35:50,815 --> 00:35:53,943
♪ You, you, you, you ♪
953
00:35:53,943 --> 00:35:57,822
♪ You,
you, you, you ♪
954
00:35:57,822 --> 00:35:59,824
♪ No cap,
I've been trippin' ♪
955
00:35:59,824 --> 00:36:01,451
♪ You caught me slippin' ♪
956
00:36:01,451 --> 00:36:05,330
♪ Damn, girl,
you know that I'm missing you ♪
957
00:36:05,330 --> 00:36:08,208
‐ Yeah.
‐ ♪ Know that I'm missing you ♪
958
00:36:08,208 --> 00:36:09,292
‐ Nice.
‐ Yeah.
959
00:36:09,292 --> 00:36:10,335
‐ Thank you so much.
‐ Thank you.
960
00:36:10,335 --> 00:36:12,462
‐ Straight to the club.
‐ Great job, Miranda.
961
00:36:12,462 --> 00:36:13,546
‐ Thank you.
962
00:36:13,546 --> 00:36:16,174
‐ You guys really did
take the time to find a way
963
00:36:16,174 --> 00:36:18,843
to make this song significant
964
00:36:18,843 --> 00:36:20,679
to who and how I am
as an artist.
965
00:36:20,679 --> 00:36:22,305
‐ Yeah.
‐ Right? And how often
966
00:36:22,305 --> 00:36:26,184
do you get the opportunity
to be that happy
967
00:36:26,184 --> 00:36:28,353
while hearing a sad song?
‐ Yeah.
968
00:36:28,353 --> 00:36:30,689
I'm really happy to hear it,
and that's no cap.
969
00:36:30,689 --> 00:36:31,815
‐ Aw.
‐ Thank you, thank you.
970
00:36:31,815 --> 00:36:34,150
‐ And that's no cap.
‐ Miranda, thank you so much.
971
00:36:34,150 --> 00:36:35,652
‐ Yes, thank you.
‐ Thank you guys so much.
972
00:36:35,652 --> 00:36:37,195
All right. Bye.
‐ See you.
973
00:36:37,195 --> 00:36:40,990
‐ ♪ You ♪
‐ I love it.
974
00:36:40,990 --> 00:36:43,034
‐ ♪ No cap ♪
That's cool.
975
00:36:43,034 --> 00:36:44,828
‐ ♪ You got me slippin' ♪
976
00:36:44,828 --> 00:36:47,914
♪ Damn, girl, you know
that I'm missing you ♪
977
00:36:47,914 --> 00:36:50,041
♪ ♪
978
00:36:50,041 --> 00:36:51,376
‐ Since working with Ester,
979
00:36:51,376 --> 00:36:53,211
a lot more structure
has come into the song.
980
00:36:53,211 --> 00:36:55,380
‐ Hello.
‐ What's up, guys?
981
00:36:55,380 --> 00:36:58,174
‐ We took the line, "How's the
view from California?"
982
00:36:58,174 --> 00:37:01,386
And we decided to write
some new lyrics around that.
983
00:37:01,386 --> 00:37:03,179
The chord progressions
are still the same,
984
00:37:03,179 --> 00:37:04,556
but it's taken on
this new form
985
00:37:04,556 --> 00:37:07,225
that I think
will fit Usher really well.
986
00:37:07,225 --> 00:37:10,562
‐ In the studio, we had
a dance party to the song.
987
00:37:10,562 --> 00:37:13,064
Like, his swag came in.
We love this song.
988
00:37:13,064 --> 00:37:15,400
‐ All right.
‐ Come on, band.
989
00:37:15,400 --> 00:37:17,402
♪ ♪
990
00:37:17,402 --> 00:37:20,071
‐ ♪ It's been a while now,
hope you don't hate me ♪
991
00:37:20,071 --> 00:37:22,365
‐ Okay.
‐ ♪ I been on beast mode ♪
992
00:37:22,365 --> 00:37:26,578
♪ I been in the wild, wild west
going crazy ♪
993
00:37:26,578 --> 00:37:29,080
♪ Ain't been dropping
pins like I used to ♪
994
00:37:29,080 --> 00:37:31,124
♪ Flying out your friends
like I used to ♪
995
00:37:31,124 --> 00:37:32,625
‐ Hey.
‐ ♪ Ain't been checking in ♪
996
00:37:32,625 --> 00:37:34,043
♪ Like I used to lately ♪
997
00:37:34,043 --> 00:37:38,381
♪ ♪
998
00:37:38,381 --> 00:37:43,386
♪ Wish you was on my time,
I wish you were by my side ♪
999
00:37:43,386 --> 00:37:45,096
♪ We'd be getting lit
right now ♪
1000
00:37:45,096 --> 00:37:46,890
♪ Sipping on a fifth
right now ♪
1001
00:37:46,890 --> 00:37:49,225
♪ But can you forgive me? ♪
1002
00:37:49,225 --> 00:37:53,104
♪ I'm in between cities ♪
1003
00:37:53,104 --> 00:37:54,773
♪ I wish you were my guest
right now ♪
1004
00:37:54,773 --> 00:37:56,065
♪ 'Cause we'd be in the bed ♪
1005
00:37:56,065 --> 00:37:58,276
♪ How's the view
from California? ♪
1006
00:37:58,276 --> 00:38:00,278
‐ Whoo!
‐ [laughs]
1007
00:38:00,278 --> 00:38:01,446
‐ ♪ Set the stage,
set the scene ♪
1008
00:38:01,446 --> 00:38:05,241
♪ Let me come and join ya ♪
1009
00:38:05,241 --> 00:38:10,497
♪ Stretched out
at the Hotel California ♪
1010
00:38:10,497 --> 00:38:15,627
♪ Where you want to meet?
I'ma pull up on ya ♪
1011
00:38:15,627 --> 00:38:18,963
♪ How's the view
from California? ♪
1012
00:38:18,963 --> 00:38:20,632
‐ Hey, hey
‐ ♪ Set the stage ♪
1013
00:38:20,632 --> 00:38:24,969
♪ Set the scene,
let me come and join ya ♪
1014
00:38:24,969 --> 00:38:28,431
♪ Stretched out
at the Hotel California ♪
1015
00:38:28,431 --> 00:38:30,266
‐ Okay.
1016
00:38:30,266 --> 00:38:34,604
‐ ♪ Where you want to meet?
I'ma pull up on ya ♪
1017
00:38:34,604 --> 00:38:36,314
♪ ♪
1018
00:38:36,314 --> 00:38:38,942
♪ Can you forgive me? ♪
1019
00:38:38,942 --> 00:38:41,820
♪ I'm in between cities ♪
1020
00:38:41,820 --> 00:38:44,280
♪ I wish you were my guest
right now ♪
1021
00:38:44,280 --> 00:38:46,157
♪ 'Cause we'd be
in the bed by now ♪
1022
00:38:46,157 --> 00:38:48,660
‐ [laughs]
‐ Oh, no.
1023
00:38:48,660 --> 00:38:51,287
Oh, no, Ester!
‐ Yes!
1024
00:38:51,287 --> 00:38:54,707
‐ Wow.
‐ Swagged out.
1025
00:38:54,707 --> 00:38:56,334
‐ The song feels relevant.
1026
00:38:56,334 --> 00:38:59,170
It feels like
it's on the radio right now.
1027
00:38:59,170 --> 00:39:02,507
And it feels super cool.
1028
00:39:02,507 --> 00:39:04,968
‐ Thank you.
‐ I'm very proud of you.
1029
00:39:04,968 --> 00:39:06,135
‐ I'm very proud of you both.
1030
00:39:06,135 --> 00:39:07,512
‐ Thank you, Ryan.
‐ Good job.
1031
00:39:07,512 --> 00:39:08,847
‐ Thank you very much,
for real.
1032
00:39:08,847 --> 00:39:11,182
[clapping]
1033
00:39:11,182 --> 00:39:13,017
‐ I'm so happy
I did this show.
1034
00:39:13,017 --> 00:39:14,310
‐ I'm so happy you did, too.
‐ Thank you.
1035
00:39:14,310 --> 00:39:15,812
‐ It's important for people
to understand
1036
00:39:15,812 --> 00:39:18,189
how important this art is.
1037
00:39:18,189 --> 00:39:21,150
This is necessary.
‐ To Usher!
1038
00:39:21,150 --> 00:39:22,360
‐ Yes, absolutely.
‐ Yes, yes.
1039
00:39:22,360 --> 00:39:23,820
‐ Cheering for "Songland," man.
1040
00:39:23,820 --> 00:39:26,364
♪ ♪
1041
00:39:26,364 --> 00:39:28,700
‐ Listen to NBC's
"Songland" podcast
1042
00:39:28,700 --> 00:39:32,328
on the iHeartRadio app
to dive deeper into the show.
1043
00:39:41,629 --> 00:39:43,637
‐ Look at 'em.
‐ Hello.
1044
00:39:44,048 --> 00:39:46,801
‐ The great part
about what happens here,
1045
00:39:46,801 --> 00:39:49,554
you guys can say, "I've
obviously made it this far,
1046
00:39:49,554 --> 00:39:52,640
"so that means
I'm on the track to success,
1047
00:39:52,640 --> 00:39:57,312
"and the world knows who I am,
and I've become better here
1048
00:39:57,312 --> 00:40:00,398
as a result of understanding
that collaboration is key."
1049
00:40:00,398 --> 00:40:02,191
This is what
music making is about,
1050
00:40:02,191 --> 00:40:04,861
and this is what
creativity is about, right?
1051
00:40:04,861 --> 00:40:06,321
Every time
I've ever done anything,
1052
00:40:06,321 --> 00:40:08,740
I always say,
"Let's make history."
1053
00:40:08,740 --> 00:40:13,745
So I get to pick one record,
one song to record.
1054
00:40:13,745 --> 00:40:17,874
And the song
that I'm going to pick is...
1055
00:40:17,874 --> 00:40:20,418
[dramatic music]
1056
00:40:20,418 --> 00:40:21,336
"California"
1057
00:40:21,336 --> 00:40:22,754
‐ Yes!
‐ Wow.
1058
00:40:22,754 --> 00:40:24,005
‐ ♪ How's the view
from California? ♪
1059
00:40:24,005 --> 00:40:26,257
‐ We won! We won!
‐ That's crazy, man.
1060
00:40:26,257 --> 00:40:27,342
‐ ♪ Set the stage,
set the scene ♪
1061
00:40:27,342 --> 00:40:30,011
♪ Let me come and join ya ♪
1062
00:40:30,011 --> 00:40:31,554
Great job, man.
1063
00:40:31,554 --> 00:40:34,724
‐ How's the view
from California, Ryan?
1064
00:40:34,724 --> 00:40:37,602
‐ We did it, we did it,
we did it. Yeah.
1065
00:40:37,602 --> 00:40:39,729
‐ Congratulations, man.
‐ Thank you so much. For real.
1066
00:40:39,729 --> 00:40:40,855
‐ I'm lookin' forward
to it, man.
1067
00:40:40,855 --> 00:40:42,273
‐ Yeah, me too. Me too.
1068
00:40:42,273 --> 00:40:44,359
If I had gone back
and told myself three years ago
1069
00:40:44,359 --> 00:40:45,777
when I had just started
making music
1070
00:40:45,777 --> 00:40:48,363
that Usher would be
cutting my track right now,
1071
00:40:48,363 --> 00:40:49,739
I have no idea
what I would say.
1072
00:40:49,739 --> 00:40:51,115
I'm incredibly honored,
1073
00:40:51,115 --> 00:40:53,242
and it's a crazy
accomplishment.
1074
00:40:53,242 --> 00:40:57,622
I try to just absorb
and, like, be in that moment.
1075
00:40:57,622 --> 00:40:59,123
‐ When I heard "California,"
1076
00:40:59,123 --> 00:41:00,416
it was so sparse.
1077
00:41:00,416 --> 00:41:01,292
And that works in this time,
1078
00:41:01,292 --> 00:41:04,545
because vibe is every bit
of what R&B is.
1079
00:41:04,545 --> 00:41:06,214
‐ I won.
‐ Oh, God, she won.
1080
00:41:06,214 --> 00:41:07,465
‐ I won.
‐ Wait a minute.
1081
00:41:07,465 --> 00:41:09,717
‐ And Ester,
her pop sensibility
1082
00:41:09,717 --> 00:41:12,595
was able to sprinkle
the right seasoning over it
1083
00:41:12,595 --> 00:41:14,639
to liven it up
and give it rhythm,
1084
00:41:14,639 --> 00:41:16,432
which made it a song
that kind of gave it
1085
00:41:16,432 --> 00:41:18,101
an entire body for me.
1086
00:41:18,101 --> 00:41:19,727
Thank you, man.
‐ Of course.
1087
00:41:19,727 --> 00:41:21,938
‐ And also, too, the treat
of being able to have a record
1088
00:41:21,938 --> 00:41:24,816
that is instantly branded
for the world to see‐‐
1089
00:41:24,816 --> 00:41:26,943
man, I'm just really happy
that I chose it.
1090
00:41:26,943 --> 00:41:31,614
‐ ♪ How's the view
from California? ♪
1091
00:41:31,614 --> 00:41:35,618
‐ ♪ How's the view
from California? ♪
1092
00:41:35,618 --> 00:41:38,830
♪ I'm on my way
to come and join ya ♪
1093
00:41:38,830 --> 00:41:43,626
♪ Stretched out
at the Hotel California ♪
1094
00:41:43,626 --> 00:41:46,254
♪ Been trying to see me,
I'm gonna pull up on ya ♪
1095
00:41:46,254 --> 00:41:48,423
♪ Yeah ♪
1096
00:41:48,423 --> 00:41:50,508
‐ ♪ Hey, I'm gonna drop my top
and pop the trunk ♪
1097
00:41:50,508 --> 00:41:52,593
♪ Pop it, got to watch
for the pops on Poplar ♪
1098
00:41:52,593 --> 00:41:54,846
♪ Since you in a Rolls‐Royce,
I got the truck ♪
1099
00:41:54,846 --> 00:41:56,639
♪ I'm the man, in my city,
they show me love ♪
1100
00:41:56,639 --> 00:41:58,766
♪ Let me speed things up
and bliss you up ♪
1101
00:41:58,766 --> 00:42:00,435
♪ When you see me with my
shorty, don't interrupt ♪
1102
00:42:00,435 --> 00:42:02,311
♪ Palm trees in the back,
that's for good luck ♪
1103
00:42:02,311 --> 00:42:04,480
♪ Late to the sunset,
you turn it up ♪
1104
00:42:04,480 --> 00:42:06,441
♪ Got a question,
can I make you mine? ♪
1105
00:42:06,441 --> 00:42:08,526
♪ Can I take you courtside
to see LeBron? ♪
1106
00:42:08,526 --> 00:42:10,153
♪ Can I put you in a condo
in the sky? ♪
1107
00:42:10,153 --> 00:42:12,530
♪ Can I put your neck glisten
when the time... ♪
1108
00:42:12,530 --> 00:42:14,490
♪ Man, I got a lot riding
on my line ♪
1109
00:42:14,490 --> 00:42:16,159
♪ And I got a lot of money
on my mind ♪
1110
00:42:16,159 --> 00:42:18,703
♪ Maybe we can go for,
fly you from the South for ♪
1111
00:42:18,703 --> 00:42:20,163
♪ When they open up,
I'm gonna show you ♪
1112
00:42:20,163 --> 00:42:22,248
‐ ♪ How they doing
in California ♪
1113
00:42:22,248 --> 00:42:23,833
‐ Yeah.
1114
00:42:23,833 --> 00:42:26,836
‐ ♪ I want to change the scene,
let me come and join ya ♪
1115
00:42:26,836 --> 00:42:31,340
♪ Stretched out
at the Hotel California ♪
86682
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