One Song - Daft Punk, Part Two: "Get Lucky"

Episode Date: March 21, 2024

It’s time: The peak of the pyramid! On this episode of One Song, Diallo and LUXXURY explore what is, arguably, Daft Punk’s creative and commercial zenith: Get Lucky. Together with generational defining acts, Pharrell and Nile Rodgers, Daft Punk craft a song that became an instant classic. Luxxury, of course, has the stems. And is ready to take you inside this infectious slice of funk. Learn more about your ad choices. Visit megaphone.fm/adchoices

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Free of charge. BetMGM operates pursuant to an operating agreement with Eye Gaming Ontario. Hello, One Song Nation. Diyala Riddle here. A quick reminder that this is the second part of our daft punk special. If you haven't already heard part one, I suggest you go back and listen before you enjoy this monumental episode and bathe in the glory of some now Rogers isolated guitar stems, Farrell's vocals, and our favorite, favorite daft punk samples of all time. This is One Song. Welcome back to One Song, luxury.

Tell us the story of how Get Lucky got composed. Story begins in New York, where Nile Rogers meets up with the boys from Daft Punk, with Toma and Guyman, who are now men, I suppose. This is a little bit later. This is 2008. They had met before 10 years earlier at a record release party. Nile Rogers was already a fan. He loved that first track to Funk, that first, one of the first singles from Homework. In any case, he meets up with Daft Punk, they talk about working together. And one of the themes for the album that the boys had been discussing,

Les Gars, if you will, with my Francais. wanted to make an album as though the internet never existed. That was the mission statement. So they had started with, and they already had a demo, and it sounded a little bit like this. I think it's interesting to hear pre-Nile Rogers. You can hear everything but guitar and vocals on this early take. And this is actually on Spotify.

It's called GL Early Take. So it's interesting about that is that it's more complicated, right? They have this B section. There's no B section in the song. No. Get Lucky is a four-cord loop the entire time. And here they were trying to make maybe be a little more clever and creative and perhaps channeling this 70s yacht rock thing where maybe the Doobie brothers might throw in or the Beach Boys might throw in some fancy

chords, Bert Backerack style. And that shows up here in this earlier demo of it. So I thought that was interesting. That is interesting. It's almost like I'm glad I'm glad that they made it more danceier. And simplified it. You know, my only criticism of random access is that there are times where it just doesn't, it doesn't feel like you're hanging out with the group that you know. Yeah. You know. It's a different listening. It's more of a listening record than a dancing and DJing record. Listen, this album has great moments, but I'm happy that they made it more chic and a little less... No, I meant the band Sheik.

I wish I was... I thought that was a pun. They made it chic by making it more like... Well, you can talk about the pristine sonic qualities make it feel chic. It does feel like an object for your home. Look, we're not dissing the song. We adore this band. You know that.

But this record Random Access Memories is so different from the others. And you've heard us talking about our adoration. for the music. As DJs, as producers, like we've, this music is in our bones. This record is a little bit more of a like aesthetic experience to me. It's a different kind of album. Yeah. There are songs on this album that I absolutely love. I'm happy that they made Good Lucky a little bit more dancing. So Nile took what we just heard that demo and he took it apart and rewrote it essentially and came up with his now iconic guitar parts. And he also wrote a couple other tracks, Lose Yourself to Dance and he was part of Give Life Back to Music. But essentially the song- I love losing. I love Lose.

yourself to dance. Oh yeah. What about that track do you like? I just love it. I remember that actually the first time I heard someone else listening to it. Yeah. I was in traffic and I was driving and I was in traffic driving and I look over to my right and there's like a car full of people younger than me but they were all like just like grooving to it like really hard. And I was like and and we talk about repetition like that song is repetitious. Oh my God. And you know come on come on come on come on come on like but there's just something really groovy about it. While we're talking about the album writ large, I think my favorite

song on the album, surprisingly, I think I'm going to surprise some people with this. My favorite song on that album is doing it right featuring Panda Bear. Here's just a second of that. But yeah, I love that. I mean, I think, you know, yeah, that that song does it for me. I mean, if we're talking favorite songs, then I got to give my by Julianson love. Okay. Oh, interesting. Go for it.

A huge strokes fan. Huge to have punk pan, as we've been discussing. I love that they have the kind of vocal on him. I think on every song the robots have a little part like the vocal. They have a little bit to sing. Daft punk as an artist

on this record's appearance is mostly in their modular sense and their vocoder. They show up in almost every song. And they usually show up in the second half of the song, which is interesting. Put a little part in there. But I love this one.

The one part that makes me laugh, though, as a person, as a songwriter myself, is whenever I hear the chorus, it reminds me of what you're doing in the vocal booth when you don't have lyrics written yet and you have a melody and you just sort of say whatever comes in your head, I'll just play it and maybe that'll make sense.

You see any lyrics? That's kind of my point. There's like one line where he's like, and I never really know what to say. I do that all the time. I'll be in the studio. I'll be like in my home studio, like working on something like,

I don't really know what comes to here, but I'm going to have a lyric at some point. What was the Marvin Gaye lyric? It was something sanctified. Right. Marvin, why don't you do something sanctified? Something like sanctified. Something like sanctified.

Yeah, exactly. Something like sanctified. I love that. I love that. Let's get back to get lucky. We have the stems, folks. So let's start with the drums. What do you want to play for us? Let's start with the drums. This is famous drummer Omar Hakeem, who's been in Weather Report. He's played with, he was on Let's Dance, David Bowie.

Foo Fighters, Sting, Madonna, Kate Bush, Miles Davis, you name it. He's been on this record and he's on Get Lucky. And then, so that drum beat, that really simple, four to the floor, drumbeat, 1-16 BPM, goes through the whole tune. And there's one part at the end when the vocoder comes in where it's layered with a drum machine. and you can hear them both playing at the same time. It's the 16th notes in the hi-hat. You'll hear that just in a moment.

What's wild is it almost sounds like Jimmy Jam and Terry Lewis like, you know, Janet Jackson a little bit. The drum machine is probably, could be a Lynn, is probably something from that era. Yeah. It would literally be the same high hats here. You can hear the era poking through. Yeah.

Let's move on to Nathan East on bass. One of the most recorded bass players in history, by the way. Who has he worked with? He has worked with Michael Jackson. host people including MJ, Stevie Wonder, Hermie Hancock, and he's also, fun fact, a co-writer of the two Phil's, I should say, right? Phil Bailey and who's the other Phil? Phil Collins.

Easy lover. Apparently, I saw this fact the other day, Phil Collins had more top 40 hits in the 1980s, if you count as work with Genesis, than any other artists. Is that true? Yeah, apparently. I would have never guessed that until you're like, oh yeah, Phil Collins is like that forgotten dude from the 80s who like,

Everybody knows Michael, Prince, Madonna. But Phil was there too. He was there the whole time. He may not always have number one, but he's got 37 on lock. He's got 28 on lock. And like, you know, Easy Lover is quietly one of my favorite songs of all times. That's a great tune. It's a goofy thing to admit.

But let's keep going. Nathan was there that day. Nathan East was there that day and he was there this day. Wow, those notes don't land where I would think they would land. But that sounds really cool. Let's play it for you in the mix with the drums. At the context, as we call it. Like, I gotta say...

It's super syncopated. Yeah, super syncopated. If you notice it, it doesn't it sound, it's lower than you would expect a bass guitar because he's playing, he's either got a five or a six stream. That's a low, he's playing the low B. You know, a lot of times when we hear these stems, I'm like, oh, I hear another potential song in there. You know what I mean?

Like, you're like, oh, wait, you could go another direction. And he's just... And he's just... And he's just dancing around that the whole time. And he's just dancing around that the whole time. This is a performed part. There's no loops in this track. And it's really fun to listen to.

the isolated parts because he never plays the same thing twice. It's not even close. He's always finding kind of a new way to hit the note or to go down an octave or up the octave. What is his name again? This is Nathan East. Nathan East man, killed it. So do that's what 1,49 other people thought when they also recorded him

on his way to having all these recordings. I'm just learning sometimes. You recall on the demo it was very, it was drums, bass and Worley, really. Obviously the Worley is still in the mix. The guitar though became the hero when Nile Rogers came into the picture. but there's also a piano and there's a whirley

and let's play those for you now there's just something about an isolated piano if you like the song and then you isolate the piano part there's something that gets inside of you it's so simple too when you hear just the isolated piano you don't need to be fancy about it those chords these aren't syncopated

funky mela these are the actual chords and they're looping the whole time on the one on the downbeat chord core two three four one chord per bar If you, again, if you like the song, you're going to love the piano. Fills up all the space and leaves room for the other instruments, especially our next guy, whose name is Nile Rogers. You've heard his name.

Who is that? 15 times on this episode already. He's very important part of this story. And he comes in and lays down this part. There's actually three different parts going in the song. Yeah, I never noticed that before. Here's the second one. And I'm going to play all the instruments together.

And you can hear how they come together. So Nile Rogers, as we mentioned, he came up with those three guitar. parts. Or he says he came up with three guitar parts. He also apparently is on this track with Paul Jackson Jr., who's also on Beat It and P-Y-T and Dirty Diana. So between the two of them, all the guitar you just heard is created and made. There's a quote that I found where Nile Rogers refers to him coming up with the rhythm that Farrell used for the hook. And I think it's that ba-p-p-b-b-b-b-b-b-b-b-b- I'll play it again. So you can kind of hear there. There's a little mirroring between what Phil's singing and the hook. You can.

I can tell that, Farrell, listen to that, and that clearly inspired his phrasing, the rhythm for his hook. I mean, you've got three different eras of some of the coolest songmakers of all time in the studio. Right. It's no wonder why it's such a big hit. Yeah. Exactly. Well, that brings us right to Farrell. Farrell's in Paris and is told that Daft Punk wants to meet with him. So they get together. Not what happened when I went to Paris. No, it's not what happened to me. It's like, hey, Dat Punk wants to meet with you. That's not a very common experience. Passport, but that was about it. It's not a very common experience. No, it's true. When they met up, Farrell mentioned that he was listening to a lot of Sheik and Nile Rogers, and that was the mood he was in. And Daft Punk was like, you've got to be kidding me. We just happened to have these tracks. We just recorded with him. Uh-huh. So the kismet of it all, right? The cosmickness of like, wow, came together in that moment where they played in the tracks. Farrel records them. But what's interesting is that he didn't realize that what he was writing and recording because he wrote the melody, he wrote the lyrics, and he recorded his vocal. it was a guide for some other singer.

So he didn't realize that he was going to be on the final version. Apparently, it all happens in an hour at Staph Punk, so it's very secretive. He's not even given a work tape to listen to. So an hour later, he leaves the studio and gradually forgets that he, what the song was. So a year later, when he listens back to it, and there's this great radio footage on YouTube of this moment, he hears the song, and it's like completely fresh to him. They'd completely forgotten everything he'd done that day. and he had no idea that he would be on it.

So it's pretty incredible. Just going to play the vocal. Like the legend of the phoenix or ends with beginnings. What keeps the planet spinning? Uh, the force from the beginning. I love that. I love that they kept that in, just this little really,

like kind of a little Michael Jackson thing. Like, huh, look. They left that. That wasn't muted. Well, let's talk about hook number two. The We've Come So Far, Hook. Here's Farrell, with several Farrells behind him. We've come too far to give up.

So let's raise the bar and our calls to the stars. So beautiful. Ferell talks about how perfectionist they were in the studio with him and how that wasn't his regular way. I think normally he would, especially because he thought he was writing for someone else. So the need for perfection in his mind was like, why are we doing this so many times? I guess that funk were like, we're using Farrell.

Listen to that. This is incredible, right? And then they present them with a gift after a year. I love to think of these three entities, we'll say, because it's four guys. But these entities coming together to create such a great song. And I do believe that the vocals, the lyrics, I should say, you know, they're, open interpretation, obviously there's the whole get lucky in terms of like

having sex, I think Farrell has said you know, to him the song is about when you meet somebody for the first time and it immediately clicks and then you get to go home with them. Yeah. That's something that apparently happens in Farrell's life. Not often for the rest of us. But his psyche must have also a little bit been thinking how lucky

that I've met Daft Punk and they mentioned now Rogers and I'm in a Nile mood. I wonder if that wasn't a little part of it too. Well, I'll take it a step further. I think subconsciously, I when I hear these lyrics, when I hear like the legend of the Phoenix all ends with beginnings. Oh, wow. I see Dapunk coming towards the end of their career and the beginning of something else.

But Ferald couldn't have known that at the time. No, I don't think he could have, but you know, and by the way, Farrell always talks about like he thinks that the phoenix is, the story of the Phoenix anyway, is like his sort of like creative load star. Like he's like, you can't hold on to past glory. You always have to burn it all down. and then the embers is the egg of a new phoenix that's such a great creative philosophy and i know he brings that

with him into the studio i think i know that he's very in touch with being present and not sort of attempting to like have an agenda just like where is this music taking me and not trying to go towards the neptune's down of 2002 you know i mean he's not trying to control the muse is what i mean by the way i also love the uh the present has no ribbon is that that's that's the verse too the present has no ribbon which to me says like you may not get your flowers right now.

I really had to think about that. That is so much deeper than I noticed that first. Obviously, a present comes with a bow and a ribbon. Just getting that right now. Nice. Love it. Again, I mean, like Farrell said, this song is about hook it up with somebody about the same day.

It's also about these deeper things. I like to think it's about some of these deeper things too. You know what? Next time I'm in Paris, I'm going to reach out to Farrell too and be like, Diallo wants to meet you. No, I'm still turning over. The present has no rhythm.

Excuse me. No ribum. Ribum? Okay, I can't say this word. I'm also turning over. The president has no rhythm. The president has no rhythm. It's famous lyrics.

Some could argue. But the president has no ribbon. It's fun. The president has no ribbon is great. That's a wonderful, wonderful lyric. I also love the line, we've come too far to give up who we are, and I think that goes back to dapp punk as well.

It's like, we've come so far, but we're not going to stop being daap punk. And we're going to challenge you. We're going to let go. Huh? We are giving up who we are. Is the irony of this. we've come too far to give up who we are.

Yeah. Does that make sense? No, you're right. But at the same time, because this is their last record, maybe they didn't know that at the time. I don't think they're giving up who they are. I'm exploring this with you. I don't think they're giving up who they are. They're not giving up who they are.

They may be giving up their sonic direction, right? Because this is completely due. But that's not the core of who they are. Let's talk about that. That's a very Zen. That's a very Buddhist thing. Exactly. I love that.

Okay. Let me make a case. Yeah. When they first burst onto the scene, one thing that one reason why the name punk is in their name was that you know it wasn't that they yeah sometimes they dress like rock stars but their their idea and this is where hip hop has always been kind of punk to be their idea was like there's nothing we can't do if we want to do it right right so if we want to make music that nobody else is making that's that's that's one of the things that um punk rock man DIY that i think it was called jockey slut was the magazine that interviewed them first they're like these are guys who aren't playing by anybody else's rules not the dance rules definitely not by any indie rock rules. And I think that this album, which sounds nothing like any other dadpunk album, is another way of them saying, we've come too far to give up who we are. Are you coming to random access memories with us? Are you going to go down this path of these songs and this

era that influenced us, everything from Paul Williams to the strokes to Farrell. All that's true. Yeah. But also remember, Farrell Williams wrote those lyrics and sang them. That's another connection to him being tapped into something that was maybe in the room or in the conversation, or maybe they had alluded to it. I don't think they had. I don't know that when they were making this record, they knew that it would be the end. Maybe they did. Maybe they were French speaking. But the magic of songwriting and the magic of art is that somehow that is true of daft punk. And yet, I will say this is one of those things. I'm going to put on the hat of, I'm the audience. I'm the receiver of the art. Yeah. The way the music sounds, the way,

that the lyrics sort of relate back to the path that Daft Punk spent on even though they did not write them to me all came together as a person who was absorbing this art as like making a very cohesive statement about you know not giving up you know your artistic identity again across the board they just they always protected themselves whether it was the image of their actual face to their album art, to the sound that they brought on every single album. We didn't talk that much about Human After All, but Human After All was sort of a dark, aggressive album compared to the two albums before it.

It's not their best record by any means. It might be their... It's my least favorite, I'll say. That's interesting. Yeah. I don't know. I don't know that it's my least favorite. Really? Because there are some songs on that album that I think are just absolutely...

I always said I wanted to start off my DJ set. If I ever get the chance to do Coachella or some major music festival, the song that I'm going to start off with. I've made this promise to myself. It is off of human after all. Which one? I'll play a set, but,

and it is a song that I've loved from the first time I heard it. This is Steam Machine. I always thought it would be the most epic start to any DJ set I ever get to do in front of a lot of people. Here we go. I just can't take that. Like, I can't even listen in the room. That record came out.

I had one listen the whole way through. and that was it for me. I got to say, no shade. We love this band. We love this band. We're allowed to not love bits and pieces of the band. I love that you love that song. And there's one more hook. Arguably the most important. I don't know. Yeah. How do you pick best hooks?

She's up all night to the sun. I'm up all night to get some. She's up all night for good fun. I'm up all night to get lucky. I love that. It's a great chorus. Can you play for us when the robots come in? Oh, I'm glad you asked. We're up all night to get.

That's when we get back to the repetitious robot voice that's saying around the world. One more time, like, you know, it's that repetition that we love so much. I'd love to hear them saying, we're up all night to get. There is no doubt that this is the best part of the song, so you know I'm going to give it to you. We're up all nights again, lucky. We're up all nights again, donkey. We're up all nights again. That's the best part.

That part is so good. Which just proves that I'm an OG daft punk thing. I remember the first time I heard harder, better, faster, stronger. I was already loving the album. Yeah. But when they get into the Roger, Zab and Roger part of that song, like, it didn't surprise me when Kanye sampled it. That to me was like, oh, my God, it's so good.

Everyone loves to talk box slash vocoder. The line is thin in this track. I got to tell you. I hear vocoters, but I also hear stuff you can do with the talk box. Not really sure. I know that they have a lot. I'm pretty sure it's vocoder. But to our listeners, it's very talk box.

It's not, guys, it's not autotune. And one of these days, we're going to do a segment called BoCoder, TalkBox, Autotune, and we're going to lay it out why you can tell the difference. I mean, there's so much you can talk about here. But, like, if you think about this song as sort of being the bookend of Daft Punk's career, all ends with beginnings. Right. But then you also think about, like, the legend of the Phoenix, well, they were in a band called Darling

with a guy who went off and founded a group called Phoenix. I mean, like, there's a lot of stuff. There's no way. That's so crazy. from darling to get lucky this idea of like the Phoenix and I do think the that DaVunk think that they're lucky

because I think that they're talented. But the fact that Ferrell is the one who wrote those lyrics. I know. And it maps to their story. Yeah. Pretty incredible. I think you're right with that analysis. You know, maybe they're just,

maybe they just know. But like... That's just how art works too. But sometimes, yeah. So in touch, he's so in touch with the muse. He's so in touch with... He's one of my idols creatively. So many of our idols creatively.

And it seems very possible that he was just in touch with something very special. It gives me chills because I do think of this as the swan song of DaBunk. If they ever get back together and do something, we know Tomah is doing or released a classical album and who knows what Guiman might do in the future. But to real Daapunk fans,

get lucky is sort of like, you know, it is the end of a beginning. And we'll have to see what comes after that. Can I play you a part off the remix that? A lot of people don't know that Daft Punk did a remix to get lucky. It's about 12 minutes long. And there's a part that comes in where they sort of

vary it up in a way that I don't think anybody saw coming. I've never heard another DJ spend this. Even I have probably only spent it twice in my entire time DJing. But I just want to play it while I have your attention. Here's a flip of the song that I think is really special. Check this out.

I just love how they flip that part. It's so basic. They just like kind of they dropped one chord and reversed three of So it's re-harmonized, and so the chord changes are surprising. And then they sort of like rearrange. It's coming in a different time pattern. Like it's not where that part comes in naturally on the song. It's almost like one of those things that might have been a mistake at some point.

But they're like, oh, and they kind of loop that part for about like three or four minutes. But like... And then the whole thing is 10 and a half minutes long. It's like I just love that part. And it's like a part that didn't make the cut on the original song. It's a crazy remix though that it's like just flipping the chords backwards and dropping one of them. and extending it for 10.5 minutes like that. For those who want to check it out,

it's the Daapunk remix of Get Lucky. Like I says, about an 11-minute song, but this part only begins around 8 minutes and 23 seconds. So you kind of have to be listening to the song to even get to it. But when it comes in, it's a wonderfully, why don't I keep thinking about Caravell? It's a sugary sweet section of the song that you may not know is there. Go find it.

My man is hungry. So Dad Punk have been sampled many times, many, times. And they've also sampled many, many times. I just want to pause for a minute so we can talk about their sampling techniques. Luxury. Ram does not have a lot of sampling on it. Yeah, I mean, it's kind of funny to talk about a daft punk song without there being any samples. There are no samples or interpolations in this song. In fact, this entire album only has a single song that has two samples on it. There's just one song with samples on it. It's the last song on their last ever album. I'll play it for you now. The song is called Contact. And that comes from a

song by the Sherbs, an Australian band. From 1982, the song is called We Ride Tonight. So that's just straight up. It's from the song. It's in the same key. Nothing's altered about it. There's also a pretty cool sample. They got the rights from NASA to use some of the communications from the Apollo 17 final moon mission. So Captain Eugene Sernan is also on the track. The last man to leave the surface of the moon, perhaps symbolically as Daftunk leaves the rest of us to go into their next orbit. Absolutely. So that's the one sample on their final record. In fact, technically speaking, they hadn't used any samples other than contact since 2005. But they are some of my favorite samplers of all time in the sense that like I put them right up there with Della,

DJ Premier, you know, I just feel like some people elevate the art of sampling to such a degree and they are absolutely in that category. I couldn't agree more. And so we're going to talk a little bit about some samples on some earlier records. And these are some of the more famous samples. Now, it must be said that there are 10 gazillion sample breakdown videos all over the internet on Instagram. We don't want to recreate the real too much, but we are going to do something special.

We are going to recreate something. We're going to recreate something. We're going to recreate how these samples got made. So one just quick thing to talk about is when we listen, you're going to hear some samples where it is pretty much what was used in the daft punk song will sound

dramatically similar to the original song. Part of what makes them creative, though, is not simply the choice of track to sample. That's part of the art of sampling. It's also how they combine full loops, sometimes two or four-bar loops of the song, with these little borderline micro-samples, I'd call them. And that's going to lead us... I like to call them chops. Column chops, column chops, which leads, we're going to play a couple of those first, and then we'll lead to the ultimate micro-sample, world champion micro-sampling song of all time. But we'll get to that in a minute. First, let's start with harder, better, faster, stronger from

2001 and the sample is from Edwin Birdsong's 1979 track cola bottle baby first I'll play a little bit of that so here's how they chopped it up that little bit right there and also this full loop you said that little bit that I said it was a little bit so those two little bits are used kind of as a setup. Their repetition is used before we get that big four-bar loop. So here's how daft punk did it. It's interesting how they use these little fragments to kind of give it the repetition that actually makes it very modern sounding, first of all. It's not just the wholesale loop of an entire bar. No. And then you really feel like there's a DJ kind of factor going into it. You're really hearing the computer doing its job. Yeah.

It's super satisfying. What's interesting too is that Those are, so you have a half bar, a half bar, one, one, two, one, two, one, one, one. Yeah. That was very innovative use of sampling. It is innovative, but it's also a little bit like how we were saying how when you bring in, like, the filter that the DJs use. I mean, like, as a DJ, I know that the second we figured out what cue points were. Right. You start to do that, don't you?

You start doing that. And you hope that the audience doesn't get annoyed with you if you do it too much. I want to play a song similarly sampled. This is I Love You More by George Duke. I think you'll figure out what song they use for this. Totally different song. I would argue that they made that song better. No offense to George Duke fans.

No offense to George Duke. But to your point, they find a little section of it, which maybe isn't even the core of the song. This is something, I don't think I've ever read this anywhere, but I think we're all sort of thinking it. The way that they sample this stuff, and I think it's because of the visual of these robots, it sounds robotic, but then when you hear the original song, you're like, oh, those are actually a bunch of

black funk musicians. Like, it doesn't necessarily sound at all robotic. But the way that they sample it and loop it, all of a sudden, you're like, that sounds like a robot. They give it a robot twist. And they're balancing the analog, the digital and the analog, the vinyl, like sample itself, the sample source with the computer that's chopping it up. Yeah. It's a balancing act.

It is. Human and robot. To me, it's always like, if you actually hear the song, like they haven't changed that much. And yet when they use it, it sounds robotic. And when you hear the original, it doesn't sound like. It's really weird. Let's do the next one. I'm excited to hear because there are some times when I feel like they barely change the song at all. I know exactly what you're talking about. This one's kind of funny because aside from this intro, you're mostly just getting a big old loop.

So here's what Daft Punk did. So first off, Sick Tune. Great song. The song that's Rock that opens the-Roebaugh-Rogic. It was very repetitious. It was very repetitious we heard it, but we did like it. We did like it. Probably my favorite song on Human Nats.

after all. But when you hear Breakwaters release the Beast, let me know if you hear anything familiar. Where's that song again? Now, of course, Daft Punk added the rock robot. So it's not without changes. No. But they are minimal.

But I think, you know, once we all discovered released the beast by Breakwater, I will say this is no to the robots. I do prefer Breakwaters because there's that wonderful funk breakdown towards the end, which goes like this. Like that is next level. funk right there. It's so good. The original

is incredible. And here's how they did it. So now that you've heard both, I'll start with that drum fill, which they chopped up and just repeated eight times in a row. Whoops. And this is why you're not in daft punk. No, no, no. That's cool, though. And then they took that guitar. There's two guitar hits and they pitched one up, and

they just repeated one and went to the next one. And then they go into the loop. Yeah, yeah, yeah. It's a pretty simple chop, but it's a, it does something important to it. Which is fun to play. I will say, I usually will rag on groups for not changing songs enough. But I can't rag on them because I'm like,

I would have never heard of some of these songs. The same thing they did there, they did with the song called Can You Imagine by Little Anthony and the Imperials. Check this song out. This might be the one time I don't think Daft punk actually improved the song because I think the original song, once I heard it, I was like,

that is fucking cool. Now, check this out. The song, Dad Punk sampled that for is called Crescent Dolls. I think all of us thought they were saying, Crescent Dolls, but they're actually singing Imperials because the name of the group

is Little Anthony and the Imperials. Does that make sense? So they say Imperials. But it's just like how we were talking about Taua Tay and how Fife Dog changed the lyric to suit the purposes. The fact that we thought that they were saying crescent dolls, but they were saying Imperiales is really cool. You've got to check out that song.

Little Anthony and the Imperals, can you imagine? It's a really cool song. All right. I think we're going to do one more of these sampling techniques. Let's do one more. This is one more time from 2001, which if you recall, sounds like this. And I'll play for you where that comes from. And now I will show you how they chopped it. And then it just goes right into one more time. Yeah, rest in peace, Roman Anthony. Great singer. And we would be remiss if we didn't talk about Daupunk's sampling techniques and not mentioned face-to-face. One of the all-time grades. The, if you're ever-

see it visually represented how they chop this up. It's still barely makes sense. That's right. There are 20, no fewer than I should say. There are no fewer than 20 samples. This is a track that they collaborated with Todd Edwards, the great Todd the God, as they call him. One of the greats, a pioneer of mycosampling him and M.K., and among others, were seven of the earliest to use this idea of taking these. Not French. From New Jersey, I believe. Todd Edwards is from New Jersey. That's right. I believe it was in LA. I've met him a few times. I've DJed with him a couple times. really sweet guy and he is a big part of the daft punk journey he's on face to face it's his voice

he worked with Toma to come up with all the samples they both had 70 apparently 140 total samples that they ended up with about 20 for the final version and he's also on the record random access memories he's the one singing and co-writing the song Fragments of Time yeah oh cool so this song is called

face to face it's from Discovery 2001 insane song no few fewer than 20 samples, this is not the time or place to go through all 20, but I'll play one or two of my favorites. First off, here's the song Face to Face. So what you just heard is, remember all the little micro, half bar, quarter bar, all those things that together came, became harder, better, faster, stronger, robot rock, et cetera. That's happening times five or so because there's about a half dozen, maybe eight, just that little chunk, 20 across the song. Here's one of them, see if you can hear it. This is from Evil Woman by Electric Light, Orich. orchestra. It's a fragment that's part of that larger thing you just heard. That's one of the

easiest to hear. You know what's funny about this song? There's so many samples that we could go into on this song. I always thought it was an interpolation or a sample or something. I want to be your lover by Prince. The two songs, if you put them together, they sound so much alike. But it's like, oh yeah, do it sometime. In your free time, put these two songs together. As a DJ, I would often have, I would take all the bass out of the Prince song, leave in his vocal, and then take all the vocal out of this song and leave in the music, so I'm nice. They mixed together. I was always sure there was a Prince connection when I finally saw the songs that they sampled and realized that they'd put together this song. It was kind of insane.

Well, there's more to this song. Go online. There's a lot of wonderful breakdowns, but that's face-to-face. One of my favorite daft punk songs all together. Since you've named your favorite daft punk song of all time, I will say that my favorite, I think at the end of the day, maybe played at my funeral. Voyager. Voyager by Daft Punk. It's just a perfect That's a beautiful song. Also from Discovery. That's my favorite record. That's the best Dapunk record. Let's face it. But we love Get Lucky and we love

random access memories. Before we leave this subject alone, I do want to play one song that is you know, like hip-hop has always tried to sample Dap Punk. It has rarely been successful in my point of view. I did like touch it by Busta Rhymes. I thought

that was one of the best uses. That song used to go so hard in the club sample Technologic. Obviously, harder, better. I didn't love it as much as everybody It became stronger by Kanye Didn't like it as much as the original

But just liked that it was on his radar But to me the best sampling Of Dapunk by hip-hop Was one of the very first It is Raise It Up by Slum Village I'm actually going to start with the song That You know I'm going to start with the sampling song

Raise It Up produced by Dilla And then I'm going to play the Dat Punk song That it's sampled because a lot of people don't know it So this raise it up a little quick snippet Turn it up To SV Raise it up Raise it up

Raise it up Raise it up Raise it up Raise it up And here is the song It's samples It's actually a Tomah Bang Alter song

Called Extra Dry From his roule label Check this out So at some point Dilla heard that song It was like Oh yeah I fucked with that

That was sick That was sick We could do a whole episode On just the hip-hop songs that sampled, you know, DaV Punk, but we are pretty much out of time. Luxury, this has been an absolute joy. Help me in this thing.

All right. Well, I'm producer, DJ, and songwriter and I'm actor, writer, and happily robot DJ Dialla Riddle. And this has been one song. We will see you next week. Don't forget to give us five stars on your favorite podcast platform and leave us a nice review and tell all your friends. We'll see you next time.

We'll see you next time. You can find us on Instagram at Diallo, DIA, LLO for me. And I'm at luxury, L-U-X-X-U-R-Y. And on TikTok, I'm at Dialla Riddle. And at TikTok, I'm at Luxury X-X. I like that you got both. Yeah.

All right. Thanks so much, guys.