The Questlove Show - Questlove & Open Mike Eagle Talk About Soundtracks

Episode Date: July 31, 2026

In this mini-episode, Questlove and Open Mike Eagle dig into the real economics behind movie soundtracks and sync licensing. Sparked by a listener question about Saturday Night Fever and Rick Dees’ “Disco Duck,” they break down how fees, royalties, and leverage have shifted from the compilation-album era to today’s catalog-buyout climate. Along the way, the two also revisit the quietly stacked High School High Soundtrack, The Roots’ role in it, and a fateful night linking D’Angelo, Erykah Badu, The Fugees, and Marvin Gaye’s storied studio. Ahmir and Mike also reflect on overloaded summers, vanishing time, and how the right song in the right scene can rewrite music history.See omnystudio.com/listener for privacy information.

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The Dream of the 90s is alive in podcast form. We're launching Podlandia, AEO rewatch, our brand new podcast where we revisit every episode of Portlandia together. breaking down sketches, going deep on our iconic characters, and pulling back the curtain on how it all got made. And we'll also be joined by the people who helped bring it all to life. Guest stars, collaborators, and friends, including director Jonathan Chrysall, the mayor himself, Kyle McLaughlin, legendary musician Amy Mann, and many more. Kyle is going for it here.

You fully improvised, not just words, but a song about it. Well, I thought you were all going to write a song. I remember you thinking that. Listen to Podlandia. A.O. Rewatch on the IHaw. Heart Radio app, Apple Podcasts, or wherever you get your podcasts. What's up, fam? I'm sports

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Brother Mayor, how you doing? Ooh, like that? There's a mighty exhale, my brother, a mighty exhale. You know, I think I'm having what they would call first world problems. But problems are still problems. They are. They're not easy just because their first world don't make them easy.

Yeah. I mean, it's just, it's the ongoing, be careful for what you ask for Olympics with me. This is probably the most packed summer I've had in the history of my existence. Like, I think an average person has like one or two major projects to do a year. And, you know, what happens is oftentimes I'm pitched to do stuff usually a year and a half. at advance, you know, there are people pitching me projects and ideas now for like 2028, top of 2029. So, of course, I'm going to say, yeah, of course. No problem. I was done by then. And then it turns into, you know, bitch better have my

movie. You know what I mean? Like, I don't realize studios talk to you like that, but that's good to know. No, boy, they, it's the way they remind you the dead. lines coming up so you know so am here you know that uh orchestral project we talked about uh you know for uh september of 2026 and i'm like yeah you know how's it going you know what i mean it's not that specifically but you get my point i do how's your summer been it's been a different it's been busy but a different kind of busy like i feel like so everything's different like it's not just me well i similarly have a bunch of different from plates spinning. I feel like the plates I have spinning are a little closer to my body,

though, so I can reach them. You know what I'm saying? Like, I feel like yours, you got to stand on all type of ladders and cranes and stuff to keep your plates spinning. So I don't envy that, but I do understand how quickly these days go by and how these mountains of work pile up when you have a lot you're trying to do. Is this summer going by fast for you? Quick, like it's Zoom. Like, it's the middle of July already. That's nuts. Yeah, it was like April yesterday, right? It's nuts. Like, I definitely put up my Marvin Gay, rest in peace post

like back in April. And now, like, I almost feel like we might as well just say it's August. Yeah, pretty much. We're in the second half of July. It's going by. It's almost done. We're going to be in the fall. But it's the fourth of July, like a week, like maybe five days ago, right?

There's no such thing as time. It no longer exists. It no longer exists. You know what? It's funny you say that. I'm still in post earthwood and fire research syndrome. And I'm still going down the book list of like Maurice White Books I should read. And I'm right now on David Nevins. And he speaks a lot about like time really doesn't exist. It's all relative.

Time is only slow when shit's fucked up. When you can't wait for whatever you end to be over. to be over. Speaking it's... I guess we're having fun if shit is moving quick. Moving quickly. Speaking of time, notice is a mini episode. So we got a mailbag question that I think could lead to a real cool, quick conversation.

It was submitted by Mario, who asked a question for the mailbag, heard a minute of an interview with director John Baddam of Saturday Night Fever. He was introduced with the comment about the same. Saturday Night favorite soundtrack being the biggest soundtrack of all time. I've heard the story of how DJ Rick Dees declined having his novelty hit disco duck included on the soundtrack would cost him a lot of money. This is making the question or wonder, how does it work to get your song on the soundtrack? Do you get paid a set fee as an artist? And in the old days of pure album sales, do you get a royalty base?

So basically asking about the economics of how soundtrack works, especially back in the day because I feel like I came up in a golden age of movie soundtracks and there was some root songs on some very important ones, best man, high school high. Okay, it's funny you say that because

right now I just happen to start binge watching this series on Apple TV that's gotten like a lot of nominations for the Emmys, I think

They have 19 nominations, and of course, I'm stalling because... Can't remember the name of it? I just right. So, oh, Widows Bay. Oh, okay, I was thinking it might be Widows, but I didn't know that it got nominated for Emmys because it's so new, but it's a fantastic show. I think it has more than Pluribus.

Pluribus was supposed to be like the bell, the ball, but Widows Bay has 19 Emmy nominations. And one of the most humorous observations I noticed about that show, Yo, man, like quality control by the Jurassic 5 to me has to be one of the most licensed songs of all time. Okay, so here's the deal. And I was thinking about this question,

basically like probably like three days ago, one of the very first records that I received as a gift was a compilation album, Soul Train and it's like fourth season released like in a they would have party albums you know like now somebody will put a bunch of songs together and stream it and play it at the house party

so that the party can keep going records weren't like that mostly in the 50s and 60s people would listen to comedy records like Red Fox Records was known as a party album right right at a party which is weird like you're like talking but you're also like listening to Red Fox And then of course, like every DJ that we admire would say that, like, they grew up in the 60s and 70s as the record player person. Like, get a bunch of 45s and it's your job to keep the music on.

And, you know, once in a Blue Moon, they would make these party records, which is basically just like the first version of now that's what I call music. So Soul Train had the same thing. They would have like a 20-song compilation on this album called Soul Train Super Tracks. And it was like, it's literally 20 songs on a single album. So already the grooves are like minuscule. And, you know, they would license these songs. Like, there are companies that you and I are probably familiar with that maybe they wouldn't know today. Like, K-Tel, like there would be labeled specifically whose job it was.

To have these licensing agreements with these. Yeah, to license songs. And, you know, it was just, it was super cheap. somewhere I'm trying to figure out when did the tables turn and I almost feel like when I started

getting into the game of licensing songs very briefly when I thought I had a career as a music score for films and people would hire me to not only score of music but also to like play songs

like around 2008 2007-2008 I always would say that for the most part people were honored to be included on a soundtrack so they wouldn't go all in they wouldn't say hey i'm a list such and such they wouldn't want to arm and i want yeah i want two million for it it's almost like oh promotion like this in a movie so like a good example of the last days of that glory period would be like the eight mile south track fomo of course you want to be on the m&m soundtrack thing i'm a jigger so

So pretty much, I'll say like around 2010, especially when I started working in terms of like working for television shows in which, you know, good side money for me was always like whatever series is on HBO. I don't mean like entourage. I forget the names of the shows that I was a part of, but I would easily be called in just so that I could share my playlist. And hopefully I could recommend something that was cheap. So this is what I mean.

If you are familiar with the film called Made, Vince, Vince Vaughn and John Favro. What's his name? John Favro. Their follow-up film. There were swingers and there was made. It's almost like the same movie. And there's a scene where they have to go up to Harlem to meet Diddy at a nightclub.

He's like a gangster type. Meet him at a nightclub. and for one thing, Grandmaster Flash is spinning at this nightclub. And what does he spend? He spends quality control by the Jurassic Five. I'm sitting there watching Diddy in the club like in his bottle service glory moment.

And I'm like, there's no way in the world you would tell me that Diddy would be in the nightclub listening to the Jurassic Five. Right, with Grandmaster Flash spin it. We're Grandmaster Flash spinning. This is pretty much how, like, I mean, we've licensed, the roots have licensed the fire, and here I come to at least 10 to 20 of those things. We come in, you come in low in the name of we want to promote. I mean, it's a fair cash cow.

I would say now low balling would be anywhere between $10,000 and $15,000 to license. But then on the other hand, if you want to license, say, song that's been iconic like Crazy in Love or umbrella, you know, especially if you watch a show like Maya Rudolph's, her television show, which is notorious, like, they at least use 10 to 20 songs. Those shits are expensive, you know what I mean? And it just depends. Even shit, even with my own movies, like, do you know how weird it is to be asked by a

company to do a documentary about, their artists so that they could sell records and they're still charging me for using their music. Yeah, see, I get it, but that's almost disappointing to hear, even though I get it. The amount of letters I had to write to say, look, it's really crucial that we include this song. Like, normally when you start with a project, they give you just enough money to maybe clear 20 songs. And hopefully, you're working. Now, in the case of Earth, when I'm fire, a big part of the The reason why I was able to get 25 to 30 songs cleared is because they wrote a majority of their songs. So they have more control.

Yeah, somewhat. I'm Ruby Carr, the host of the podcast, Encore. Check out our brand new episodes featuring music from the show that everyone is reheating as we speak. Heated rivalry. Join me as I go behind the songs that brought Shane and Elia together. I'll tell you the stories of Fice, My Moon, My Man, Wolf Parades, I'll believe it. anything and tattoos all the things she said and how they all became a part of this global phenomenon.

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Tony and Candice, Nina and Lance, Spike, and yes, the chicken. We've played a lot of iconic characters over the years, but today we're showing up as ourselves to tell you about Podlandia, AEO, rewatch, our brand new podcast. Each week we'll revisit an episode of Portlandia from the very beginning, breaking down the sketches, exploring the backstories of our most iconic characters, revisiting the Portland locations you know and love, and opening up about our creative process. How did any of this get made? Why do we think that was a good idea? We're ready to talk about it.

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One of the snags I had was there's a scene where when he starts working for chess records, I use Marlina Shaw's California Soul because I want to hip-hop. Hopheads. Recognizing break. Yeah. Right. However, that wasn't my first choice. My first choice was the drum break that we would know as leader of the new school's case of the PTA.

It's like a famous drum break that Maurice White did. However, that song is a Mighty Quinn, which is written by Bob Dylan. Now, if you remember during the pandemic, Dillan's people made an announcement that he sold his entire catalog. So that's what's happening now. He sold his entire catalog to this company for $300 million. So they're not in the benevolent for history's sake business. They're in the fuck you pay me, bitch, but I'm at my money.

We got to get this 300 mil back. Right. And I'm basically like, look, I just want to use the drum break 13 seconds. Do you mind cut me a break? And, you know, I even went to the point as far as saying, like, my future films, I'll use more more music from your requirements if you want me to. But they want it full rate for it. And it wasn't worth four times the price. Like, they're trying to recoup their 300 million bet.

So that's kind of what's happening now. Now, in the case of, I think in the case of Rick D's and Saturday Night Fever, which, you know, Saturday Night Fever. which, you know, Saturday Night Fever, in my opinion, is the gold standard of the mega record. Like, that's the album that Michael Jackson was watching when he said, I want to sell more records. Matter of fact, matter of fact, on the demo of Shake Your Body Down to the Ground.

You literally hear Randy and Michael working on the song that's before Shake Your Body Down to the Ground, which is things I do for you on their Destiny album. And towards the end of it, Randy, changes the key and Mike's like, ooh, what's that? And they're doing what we will eventually know as shake your body down to the ground. So they're just like

riffing and stuff. And at the very end of that riff for like a minute, you're Jackie Jackson say, man, I can't wait for the BGs to hear this shit. So that goes to show you how

major that soundtrack was you know, that could move and in one album of the year. So as a result, you know, cooling the gang was almost on the way out. And yet that was enough to sustain them for a little two years before they got to their 80s phase.

I don't know why. I'm actually glad it didn't make the soundtrack, even though I had that 45 when I was in first grade. But I think it would have, that was an incredible disco album. Yeah, it was, you know what I mean? It was the only one I have. personally. I know, you know,

not to be dismissive of the error at all, but that to me was like, oh, this is... No, it was actually a credible disco album. I got it in second grade as a gift. Listen to it over, you know what I mean? Like, it was required in every household. Matter of fact, I've never seen the movie until...

I don't see the movie. I don't think I've never seen the movie. Dude, the most depressing movie ever. You wouldn't expect that based on that soundtrack. You wouldn't expect that. No, like it's, you know what? You know what's weird? So I think I've seen that movie.

I've definitely seen it when I started working at the Tonight Show. It must have been one of them times when, like, John Travolta came on the show and I realized, yo, I've seen Greece. I've seen Pulp Fiction. I've seen all John Travolta's films except for the one film that made him a star, and I watched it. And I was like, wait a minute, this soundtrack would lead you to believe that this was like. non-stop party. Right. And it wasn't. And that's when I realized that

as much as we love and reminisce about the 70s and the 80s and even the 90s, those were the worst of times. It's just that the sound, the music soundtrack was our escapism for such a harsh period.

That's my. So as we, you know, bring this particular conversation to a close, I did want to focus on one of these soundtracks that I heard Roots, like Roots music on. High school high specifically. I hate you, man. Why you got to be deep cut smirk?

I mean, look, I'm telling you, to me, right, this is a deep cut because this is like, it's not a movie people think about at all, but like in the height of my got to have it all going to the record store every week, this is a soundtrack I bought. and like I was just endlessly entertained by the music on this soundtrack. It was parapet. Yeah, I mean. It was power packed. DeAngelo and Erica Badu on here,

Woolware, the Carmen Renaissance. Yeah, yeah. De La Soas Can't call it. So much. I mean. I think tribes on there. I think, yeah, yeah, peace of prosperity and paper. Yeah.

Dude, like, what do you remember about this, like this, putting this together? Okay. Right. So I told you the story of how I met DeAngelo at the House of Blues. Right. At this. In Los Angeles, I thought his date had a very unusual head wrap on her head, only to find out C's Ericabad. And I'm also meeting them on March 30th. And they're telling me that they're going to what we will know as Marvin's room. Damn.

I forgot Marvin's room burnt down in the in the Palisades fire. No more Marvin Gaye's studio. But they went to Marvin Gaye's studio, which was famous for kind of being in a time portal that never moved. The way that he had that studio in 1978 when he last used it for, Here My Dear, is the same condition that it's been in until that Palisade Fire. They never changed the thing, not the interior, nothing. So they recorded a Marvin Gay, Tammy Terrell song at Marvin Gaye Studio the next day after I met them at the House of Blues, which essentially is like the summit meeting of all of us meeting. He just met Erica eight hours before, and I'm meeting him and Erica eight hours later as they come to see the roots and the Fugis and Goody Mob at the House of Blues.

and it just so happens that Kadar Massenberg was within earshot. So then he comes and says, hey, she wants to work with y'all next. And so we will eventually start working on the other side of the game and stuff and stuff with Erica in about a month. And then he introduces us to, I forget who the sound, I think maybe Reef, somebody that used to work at the source that then got an A&R gig, was sort of spearheading the sound of the high school high soundtrack. We did that song at Dallas Austin Studio on a day off.

The Fugis were next door working on what I believe was going to, I believe they were working on what will eventually become the sweetest thing. And we were working on that high school high soundtrack song in Dallas Austin studio. And the guy that does all the, uh, the reggae chanting, thing. That was like, it was like Fraswell's cousin or something. He like hanging with us. I don't know if it was for the weed or whatever. But,

you know, it was like a kind of a happy summit meeting between the roots and the Fugis at the Dallas Austin studio in Atlanta, Georgia. So that's pretty much what I remember. Well, as always, our conversations can unfold a hundred different ways and we can talk

for hours. So, I mean, I look forward to maybe picking that up sometime in the future, too. Yes, sir. But good to connect on this one and talk to you again shortly. The Questlove shows and production of IHeart Radio. On Raiders of the Lost podcast, we explore cinema like no one else, including huge interviews with stars like Ryan Gosling on Project Hail Mary. It was like the Josh Shark.

Didn't always work, came with its own problems. That's what made it great. The cast of Obsession. On set, there was so much magic happening with each scene we were putting together. Deep dives. into classics like 2001 a Space Odyssey or Fight Club, plus weekly episodes on all industry news. Listen to Raiders of the Lost podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. And for more, follow at Raiders of the Lost podcast and at TikTok podcast network on TikTok.

Hey, Portlandia fans. Carrie Brownstein and Fred Armisen here. The Dream of the 90s is alive in podcast form. We're launching Podlandia, A.O. rewatch, our brand. brand new podcast where we revisit every episode of Portlandia together, breaking down sketches, going deep on our iconic characters, and pulling back the curtain on how it all got made. And we'll also be joined by the people who helped bring it all to life.

Guest stars, collaborators and friends, including director Jonathan Chrysler, the mayor himself, Kyle McLaughlin, legendary musician Amy Mann, and many more. Kyle is going for it here. You fully improvised, not just words, but a song. Well, I thought you were all going to write a song. I remember you thinking that. Listen to Podlandia, AEO rewatch on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. What's up, fam? I'm sports journalist Ari Chambers.

Hey, what's up, y'all? It's your girl, Sam J. And we're the host of everyone watches women's sports, a new podcast from Together and IHeart women's sports. We're breaking down the biggest headlines. Naomi Osaka, showing out. Shout out to you, Naomi. The viral moments. I've been obsessed with Kashan Rock's boxing journey. She looks good.

Her combos are swift. And the stories everyone's talking about. across women's sports. Because everyone watches women's sports. Listen to everyone watches women's sports on the IHeart radio app, Apple Podcasts, or wherever you get your podcast. This is Chelsea Handler from Dear Chelsea. Every week, the news gets worse.

The world gets crazier, and Yamanika is here to tell whoever's responsible, you're the problem. Do you know I just found out who Sidney Sweeney was? If he got a bunch of women, then I should have a bunch of men. Do better or do less, so I don't have to do so much. I'm Yamanika, and I'm out. Listen to You're the problem with Yamanika on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. This is an IHeart podcast.

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