Siddhartha Khosla

In season one, the Memphis episode comes up. Golly. And Dan calls me, Dan, Glenn, and John, direct that episode, one of the best episodes, series. I still think it's just incredible filmmaking to this day in that episode. And Dan says, can you write, or Glenn and John actually call me that, can you write a Stax Records B-side series like a soul tune, Otis Redding-esque thing for us.

And it was probably because I know there must have been other people they were thinking of because we had not touched original songs yet for the show. And I think at one point there might have been a conversation of John Legend possibly coming in and writing the song or people like that they wanted to reach out to who were probably the right people to write the song.

And it was probably because I know there must have been other people they were thinking of because we had not touched original songs yet for the show. And I think at one point there might have been a conversation of John Legend possibly coming in and writing the song or people like that they wanted to reach out to who were probably the right people to write the song.

And it was probably because I know there must have been other people they were thinking of because we had not touched original songs yet for the show. And I think at one point there might have been a conversation of John Legend possibly coming in and writing the song or people like that they wanted to reach out to who were probably the right people to write the song.

because they're incredible songwriters and would understand soul in a different way.

because they're incredible songwriters and would understand soul in a different way.

because they're incredible songwriters and would understand soul in a different way.

It's all about authenticity. I remember the call to me. I was just like, I can't write a Stax Records beat. This is not my wheelhouse. But I knew that I could find I knew I could write a melody, and I knew I could get some ideas across. And I remember just putting myself in that place of like, doors are closed in my studio. And I'm just like, you know. We can always come back to this.

It's all about authenticity. I remember the call to me. I was just like, I can't write a Stax Records beat. This is not my wheelhouse. But I knew that I could find I knew I could write a melody, and I knew I could get some ideas across. And I remember just putting myself in that place of like, doors are closed in my studio. And I'm just like, you know. We can always come back to this.

It's all about authenticity. I remember the call to me. I was just like, I can't write a Stax Records beat. This is not my wheelhouse. But I knew that I could find I knew I could write a melody, and I knew I could get some ideas across. And I remember just putting myself in that place of like, doors are closed in my studio. And I'm just like, you know. We can always come back to this.

I started doing stuff like that in my studio, just by myself. Yeah. Embarrassingly. Yes. Thinking of this idea of me pretending I was some soul singer and going that place. And it sounded terrible, like it probably just did. And it wasn't right. And then I called my friend Chris Pearce. who is an incredible singer-songwriter. I mean, the guy sounds like Otis Redding. Okay. And did you meet?

I started doing stuff like that in my studio, just by myself. Yeah. Embarrassingly. Yes. Thinking of this idea of me pretending I was some soul singer and going that place. And it sounded terrible, like it probably just did. And it wasn't right. And then I called my friend Chris Pearce. who is an incredible singer-songwriter. I mean, the guy sounds like Otis Redding. Okay. And did you meet?

I started doing stuff like that in my studio, just by myself. Yeah. Embarrassingly. Yes. Thinking of this idea of me pretending I was some soul singer and going that place. And it sounded terrible, like it probably just did. And it wasn't right. And then I called my friend Chris Pearce. who is an incredible singer-songwriter. I mean, the guy sounds like Otis Redding. Okay. And did you meet?

You must have met Chris in that process. Big guy, right? Because Chris filmed.

You must have met Chris in that process. Big guy, right? Because Chris filmed.

You must have met Chris in that process. Big guy, right? Because Chris filmed.

He's on stage. So Chris and I got together, and I said, Chris, I have this idea. And the basic idea was like, Mother, don't you cry.

He's on stage. So Chris and I got together, and I said, Chris, I have this idea. And the basic idea was like, Mother, don't you cry.

He's on stage. So Chris and I got together, and I said, Chris, I have this idea. And the basic idea was like, Mother, don't you cry.

we're gonna be all right when you get there tonight you're not alone i'm always here with you with just a little line melody and then chris and i sat together and within like an hour we just mapped out the song and chris sang it and when he sang it it was like i mean he sounds like otis redding when he sings i mean like it was just gorgeous