Episode Summary
This week we’re talking about some of our favorite movie soundtracks. The ones we liked, the ones we loved and the ones that were better than the movies that they were made for. Soundtracks used to be a real companion piece to new movie releases. New artists were launched, established artists dropped some of their best songs, and big name producers gave us their best work, not just a bunch of leftover tracks. The best soundtracks could stand on their own, they lived on much longer than the movie that it was attached to did. Especially if it was BETTER than the movie.
Transcript
Miguel: Welcome back to They Reminisce Over You, a podcast that takes a nostalgic look back at the best in music, movies and TV from the 80s, 90s and early 2000s. I'm Miguel.
Christina: And I'm Christina. And this week, we're gonna talk about some of our favorite movie soundtracks. Some of the ones that we liked, some of the ones that we loved, and even the ones that were better than the movies that they were made for.
Miguel: There's a few of those. So, do you wanna just get into it?
Christina: Let's do it.
Miguel: So, back in the day, soundtracks used to be a companion piece to new movie releases. We would get new artists that we had never heard of. The artists we did hear of would drop some new songs that were actually good or better than some of the things on their albums. You get producers like Babyface who would orchestrate the entire soundtrack, like Waiting To Exhale and Boomerang and all that stuff. And most of the times the soundtracks lived on a lot longer than the movie.
Christina: True, true.
Miguel: Especially if it was better than the movie, which like I said, we're going to get into a little bit later.
Christina: Well, I have an example of a soundtrack that launched a big career.
Miguel: Okay.
Christina: Little known lady, Toni Braxton.
Miguel: Yes.
Christina: So for Boomerang, “Love Shoulda Brought You Home Brought You Home” was actually written for Anita Baker.
Miguel: Yeah, I saw that.
Christina: Yes, but she was pregnant at the time.
Miguel: Yeah.
Christina: She was like, I'm busy.
Miguel: Exactly.
Christina: And well, I didn't know this, but you told me I didn't realize that Toni had started off with The Braxtons. I thought that was something she brought in after trying to, you know, put her sisters on.
Miguel: No, they actually had a deal before, put songs out.
Christina: It was a song out. And that's how she got on the radar. And LA Reid and Babyface was like. the little one, come here.
Miguel: Yeah, we want that one.
Christina: Come sing this song for us.
Miguel: Exactly.
Christina: And then she also ended up recording “Give You My Heart.” And yeah, “Love Shoulda Brought You Home Brought You Home” was a big hit. And she immediately started working on her album, her self-titled album. And we know how that went.
Miguel: Right.
Christina: Which also ended up winning like, three Grammy Awards, among other things. So talk about launching a career.
Miguel: Yes.
Christina: Yeah, so that's a good example of how important soundtracks were back then or how the possibilities of being on a soundtrack.
Miguel: Yeah, they launched a few careers, which we're going to get into later as well.
Christina: Well, in addition to promoting artists by putting them on the soundtrack, the movie was often promoted in the music videos as well.
Miguel: Yes, you would see clips and sometimes you would actually get actors from the movies in the videos, too.
Christina: Yeah, a lot of times they would just do things like project the scenes onto like, a wall or TV screen or something like that, or they'll just like, splice the movie scenes throughout the video.[1] But I was watching the video for "Can I Get A..." for the Rush Hour soundtrack, and I didn't know the guy's name, so I had to look him up.
Christina: His name is Chris Penn.
Miguel: Sean Penn's brother.
Christina: Oh, you know what? Now that you say that, I see the resemblance. I was just like, I know who this dude is, but I don't know his name. But now I know two things about him, his name and that he's Sean Penn's brother. But yeah, he was like, the goofy bartender in the video while everyone else is dancing and stuff.
Miguel: Yeah, I don't remember what the song was, but I watched the Method Man and Redman video.[2] And of course, they're in costume as well, as the two fat, white, redneck trailer park dudes that are watching pro wrestling.
Christina: Oh yeah.
Miguel: Oh, it was for In Too Deep, the LL Cool J and Omar Epps movie. So they're watching Redman and Method Man wrestling on TV while clips of the movie are being shown. It was wild. None of it made sense.
Christina: I vaguely remember that, but yeah, I don't even remember what song it was, but as soon as you said that they were dressed up as rednecks, I was like, wait, I have a faint memory of this.
Miguel: Yeah, I watched it earlier. It's silly, it makes no sense.
Christina: Well, there's a song from the Belly Soundtrack “Grand Finale.” And this is basically the movie and the video is one in the same because you have like, basically the same treatment and the same people in the movie that are on the songs.
Miguel: Yeah, I didn't watch the video, but I like that song because of the NWA sample. So that has always drawn me to the soundtrack. But again, we'll get into Belly later.
Christina: We will. Another thing about soundtracks is some of my favorite songs by a particular artist are only available on the soundtrack.
Miguel: Yes.
Christina: Like Hi-Five's “Unconditional Love,” I absolutely love that song, that was on Menace II Society. And my favorite Xscape song is on the Love Jones soundtrack, which is also another cover “In The Rain.” And yeah, these songs are only available on the soundtrack. Because sometimes the songs will be on the soundtrack, but then that is supposed to kind of lure you into buying that artist's album as well. So they'll put it on both.
Miguel: Yeah. But you would get the album version a year later.
Christina: Yeah. So I remember watching an interview with Joe Budden. I think that's what did him in because it was on the, his “Pump It Up” was on the 2 Fast 2 Furious or whatever one of the Fast and Furious soundtracks. And then by the time his album came out, it was just like, we already got the song.
Miguel: Yeah. We got the song and we don't like the rest of the stuff that you're giving us, so…
Christina: Cause I was trying to find the interview just to confirm what my memory was. Cause I, I saw this interview a long time ago, but I couldn't find it, but I'm pretty sure that's what he said.
Miguel: Okay.
Christina: Well, on the flip side, there are often songs that were played in the movie that were not on the soundtrack.
Miguel: Yes.That happens a lot.
Christina: Which is a very annoying. We talked about this offline many times, which is Tupac's “Pain” on Above The Rim.
Miguel: “Pain” and “Loyal To The Game.”
Christina: But “Pain,” especially because it's played throughout the movie. So it was available only on the cassette tape version when it was first released. And they said it was time constraints, I guess. CD technology could only hold so many minutes. I don't know. But I also read that Dr. Dre didn't want it on the soundtrack. Something with Dr. Dre.
Miguel: Well, I can't answer any of those questions, but I know for a fact that I had the cassette version. And then when I got a CD player in my car, I bought the CD and was very upset that “Loyal To The Game” and “Pain” were not on there.
Christina: I must have had the cassette version because that's like, one of my favorite Tupac songs. But I feel like I only had the CD, but I had to have heard it from somewhere else unless I just heard it from somewhere else. Oh, I think it was included as a B side on one of the singles, too.
Miguel: I don't know.
Christina: All I know was I was very upset that it was not available.
Miguel: Yeah. Well, you had the same experience just last week when we were driving down the street, and I was listening to Ice Cube's album and “Ghetto Bird” starts playing.
Christina: And I was like, wait a minute. Isn't this the opening song on Menace II Society?
Miguel: Yep, it sure is.
Christina: And I was like, “oh!” Because I remember wanting to know what that song was so bad, because first of all, it's the opener and then it's such a classic West Coast beat. And I was just like, getting into West Coast music. So I was like, what is this song? I want it.
Miguel: O'Shea Jackson, “Ghetto Bird.”
Christina: And it was just a little bit of the instrumental. So it's not even like I could hear his voice and be like, Okay, it's Ice Cube. At least that can give me something to track it down.
Miguel: Right.
Christina: Just the beat at the beginning. And it's like, what the hell is this song? And then what? 30 plus years later, you're just randomly listening to it.
Miguel: Yeah.
Christina: And I'm like, Menace II Society!
Miguel: Yeah, I was just listening to some Ice Cube. I felt like listening to it last week. And yeah, there we go.
Christina: Because for me, I listened to Ice Cube, but I was more of like, singles. I didn't really listen to full album, so I wouldn't have heard that song unless I listened to the full album, which I didn't. But now I know. All right. So do you remember the first soundtrack that you purchased?
Miguel: I don't remember it, but I have an idea just based on when it came out. It was probably the Batman soundtrack that Prince did.
Christina: Okay.
Miguel: Because I do remember having the album and I don't remember having any other any other soundtracks before that.
Miguel: So it's got to be Batman.
Christina: What songs were on that soundtrack?
Miguel: “Batdance,” just a bunch of stuff, not any of his bigger hits, but they were big at the time.
Christina: “Batdance.”
Miguel: [Singing] “Batman.” And it had little clips of what's his name? Jack Nicholson throughout the song as well with some of the lines from the movie. So, yeah.
Christina: Well, for me, I kind of had to just go by release dates as well, because I don't really remember. Because I know that there were songs that I liked from New Jack City and Juice. I really liked Naughty By Nature's “Uptown Anthem.”
Miguel: Yeah.
Christina: But I don't remember actually owning them. So if we're going by release date, the first one I remember actually owning was Mo' Money.
Miguel: “A job ain't nothing but work.”
Christina: See, that was another thing about soundtracks, that they would add little clips of the movie audio into the CDs as well. “A job ain't nothing but work.”
Miguel: Was there a movie that you watched just because of the music? Like, hearing it in the trailer or seeing the video or actually hearing the soundtrack before the movie?
Christina: I don't think so because if it was a soundtrack that had more than like, one or two songs I may have liked, I think it would likely would have been a movie I wanted to watch anyways.
Miguel: Okay.
Christina: They were just so intertwined at that time that it's like, if I want to watch this movie, of course, there's going to be songs that I like. If there are songs that I like, of course, I'm going to watch the movie.
Miguel: Yeah, the only one I could think of is Caught Up with Bokeen Woodbine and Cynda Williams because him hiding behind that pole holding the gun, “I ain't going out like no punk!” So between that and there's a song on the soundtrack with Kurupt and Snoop called “Ride On/Caught Up!”
So between hearing that on the radio all the time and seeing “I ain't going out like no punk!” I had to see this movie. There was nothing that was going to stop me from seeing this movie. It's not a very good movie, but it's a good movie. If you understand what I'm saying.
Christina: I do.
Miguel: I love it. I love that movie.
Christina: “I ain't going out like no punk.” Also, it's one of those movies that they used to play on BET all the time.
Miguel: Right.
Christina: So it's like a comfort movie at this point.
Miguel: Yeah, but see, I paid money to go see this movie in theaters. At the Village at USC.
Christina: I don't even think it played in the theater where I was.
Miguel: I paid five American dollars to see that movie.
Christina: Five American dollars?
Miguel: Yes.
Christina: And you paid extra for popcorn?
Miguel: I didn't buy any popcorn. I paid for the movie and that's it.
Christina: Okay.
Miguel: Nothing else. I didn't have that kind of money back then. I think this is a good spot for us to take a break. And we'll be right back.
[Break]
Miguel: This is They Reminisce Over You. I'm Miguel.
Christina: And I'm Christina.
Christina: We wanted to take a minute to make a small request of all our listeners.
Christina: If you're listening to us on Apple Podcasts, Spotify, Goodpods, or Podchaser, leave us a five star rating. You can also leave a review as well on Apple, Goodpods, and Podchaser. Ratings and reviews will help us with discoverability, and we want to get this out to as many like minded folks as we can.
Miguel: We want to get on the first page of these podcast apps.
Christina: And to move up on the charts as well. So help us get the word out.
Miguel: Make sure to follow and interact with us on social media. Also, check out our website, troypodcast.com. It's where we post links to a lot of the things that we've mentioned in the show, as well as transcripts and themed playlists that supplement our episodes and more.
Christina: Thank you again for your support.
[Break ends]
Miguel: And we are back. Now that we talked about why these soundtracks were so important, let's talk about the ones that left an impression on us. Now, for the people who are listening, keep in mind that we're focusing on 90s and 2000s soundtracks. So Shaft, Super Fly, Trouble Man, Black Caesar. We're not talking about those soundtracks.We're not talking about Stevie Wonder's Woman In Red from the 80s. We're talking about our era.
Christina: Yes.
Miguel: And we were coming up and becoming young adults and actually buying our own stuff. So with that said, someone is probably going to ask this question. How come y'all ain't talking about Dead Presidents? Because those songs were recorded between 1964 and 1973. So it falls—
Christina: Except for one song.
Miguel: Except for one. So it falls under the same thing as the blaxploitation, Motown era. So we're not going to talk about that one either, even though it might be the best soundtrack of the 1990s.
Christina: It is a, it's a very good soundtrack because I originally had it on my list. And I was like, no, this doesn't make any sense.
Miguel: Yeah. So we're talking about the ones that had new songs on them. Maybe one or two classings, but the majority of them were new. So now that we got that out of the way, which one do you want to start with?
Christina: Well, there are so many soundtracks from that era.
Miguel: Yes.
Christina: And many of them had some really great songs. But I'm going to focus on the ones where I liked most or all the songs on the whole album.
Miguel: Yes. Same here.
Christina: Yeah. Because some of them, like I said, some of them had monster hits, but it was like, you know, maybe three songs, you might like.
Miguel: Right.
Christina: All right. So the first one I'm going to talk about is Above The Rim.
Miguel: Okay.
Christina: Which I briefly mentioned.
Miguel: I'm with you on that.
Christina: I also had the movie poster in my room because I think I've mentioned this before, but my local HMV, where I used to go buy CDs and such, once they were finished with the promo, they would just roll up posters and put them in a bin and you could just take them all for free.
So I was like, oooh, Above The Rim, I'm taking this. So I took it and had it over my bed next to my Mary J. Blige Share My World, which I also got for free from there. So I really loved this movie and the soundtrack. And I'm not the only one because it won soundtrack of the year at the infamous 95 Source Awards.
Miguel: It did. It certainly did. I remember.
Christina: And it also spawned such a big hit from SWV that you always forget that the “Anything” version on this album is a remix.
Miguel: Yes. Yeah, I never remember that “Anything” is a slow song.
Christina: Because even the way “Anything” is on their album, it almost sounds like an interlude.
Miguel: Right.
Christina: Because it's very short and all they sing is, they don’t— there's no verses.
Miguel: Yeah, it's just a hook.
Christina: Yeah. Also spawned some major classic hits like “Regulate.” Also, “Part-Time Lover,” H-Town, “Afro Puffs,” Lady of Rage. And one of my favorite Tupac songs, “Pour Out a Little Liquor.”
Miguel: [Singing]
Christina: So we had already talked about “Pain" not being included in the CD version. We don't need to open that up again.
Miguel: Yes.
Christina: But overall, this is just, I still, it's probably one of the ones that I listen to pretty regularly, like, up until today.
Miguel: And it also has possibly the best Dogg Pound song ever, “Big Pimpin’.”
Christina: Ah, yes.
Miguel: That might be the best song they've ever done.
Christina: This is quite a West Coast album.
Miguel: It is.
Christina: A little bit of R&B in there.
Miguel: Yep.
Christina: Yeah, even that the songs that weren't singles were catchy, too. Like “Didn't Mean To Turn You On,” 2nd II None.
Miguel: Yeah.
Christina: Oh, yeah. Of course, the cover “I’m Still In Love With You,” Al B. Sure!’s cover was a single and I like it. “Old Time's Sake,” we always joke about chilling, how does it go?
Miguel: ”Smoking a blunt and sipping on a Heineken.”
Christina: And you're like, oh, that breath is probably bad.
Miguel: It is. It smells rank.
Christina: But I just love that line anyways, because like this is just chilling.“Smoking a blunt, sipping on a Heineken.” We could go out and chill.
Miguel: Exactly.
Christina: Yeah. So it sounds really silly now. I mean, I think it's not as silly then, too, but it's still catchy. Oh, “Hoochies Need Love, Too.”
Miguel: Oh, God. Just going to go ahead and skip that one.
Christina: Jewell, “It's Not Deep Enough.” I like that one, and it's produced by Mr. Dalvin. This is around the time that the DeGrate brothers were hanging out over with Suge.
Miguel: Oh, it was all of them.
Christina: Oh, yeah.
Miguel: Suge strong-armed management of Jodeci and Mary J. Blige.
Christina: All of them, but those two.
Miguel: And Christopher Williams. If you were signed to Uptown Records, Suge came and snatched you.
Christina: “Come over to Death Row.”
Miguel: Basically.
Christina: He was not playing when he said that, which makes sense now that I know. But I remember at the time I didn't know that. And I remember when sidetrack here, when Devante released “Gin and Juice,” I was like, this is an interesting song for Dalvin, I mean, Devante to sing, but it all makes sense now.
Miguel: Right.
Christina: And also like, the "Love U 4 Life", I mean, The Show, The Afterparty, The Hotel album. Like, now it's so clear to me, but at the time I didn't think of it as sounding very West Coast.
Miguel: Oh, it is.
Christina: Yeah. But now I'm like, ah, how did that just go right over my head? I was just like, Jodeci. Anyways, back to the soundtracks.
Miguel: Yes.
Christina: So that was the first one I would like to mention. What about you?
Miguel: I'm going to keep it in the same year.
Christina: Okay.
Miguel: I'm going to keep it with the same label, It's another Death Row soundtrack. Murder Was The Case. So this is another one of my favorite soundtracks/albums. You got the remix of Murder Was The Case, the song, “Natural Born Killaz” with Dr. Dre and Ice Cube, another Dogg Pound classic, “What Would U Do?” “U Better Recognize,” Sam Sneed and possibly the greatest diss track of all time, DJ Quik’s, “Dollaz and Sense.”
Christina: Yes.
Miguel: But the absolute best song on this album is “One More Day” by Nate Dogg.
Christina: [Singing] “One More Day.”
Miguel: Yes. The greatest song he ever made is on this album.
Christina: And—
Miguel: “One More Day.”
Christina: It's actually his own song and not just him singing.
Miguel: He's not singing a hook for anybody else.
Christina: He's telling a whole story.
Miguel: So if you haven't heard his album, G-Funk Classics, it ain't the greatest album, but it's got some hits on it and it's in the same vein of “One More Day.” So if you like “One More Day,” check out G-Funk Classics, volume one and two.
Christina: All right. I'm going to take it back a couple of years.
Miguel: All right.
Christina: And I've already mentioned it already. Boomerang.
Miguel: Yes.
Christina: So I forgot because I haven't listened to it in a long time. I forgot how much I enjoyed the soundtrack. I've been listening to it for days.
Miguel: Me too.
Christina: And this is another one that like, seamlessly fits into the movie. Just like, you know, that Toni Braxton hit “Love Shoulda Brought You Home Brought You Home Last Night” because you got Halle Berry in the movie saying, “love should have brought your ass home last night.”
Miguel: Yes.
Christina: So talk about, you know, integrating it into the movie plot. And also, again, major hits, “End Of The Road,” which, you know, didn't really stand the test of time for me, but that's a huge song.
Miguel: It is.
Christina: Boyz II Men. It's like their first, like, major, major hit, wasn't it?
Miguel: I think so.
Christina: And then PM Dawn's “I Die Without You.” And then you got Aaron Hall and Charlie Wilson having a growl off, basically, on “It's Gonna Be Alright.”
Miguel: I just love the fact that Aaron did a song with the dude whose style he completely stole.
Christina: I guess he wanted to go toe to toe.
Miguel: I guess.
Christina: And then A Tribe Called Quest, “Hot Sex on a platter.”
Miguel: And you talk about songs that don't fit in. That's a song that doesn't fit in with the rest of the soundtrack at all.
Christina: It doesn't, but they played it in the movie.
Miguel: They did.
Christina: So it is in the movie, it's on the soundtrack.
Miguel: Yes.
Christina: And then this isn't necessarily a great song, per se, but I just love it anyways because I just think it's funny. The “Reversal Of A Dog” by the—
Miguel: Oh God, I can’t stand that song
Christina: I just think it's funny because it was like, “the LaFace cartel.” So they basically just brought everyone in and everyone just had a battle basically. But my favorite part is Toni Braxton and come in just to go, “yeah, yeah, yeah, yeah.” She doesn't sing any actual words.
Miguel: No, she just comes in screaming.
Christina: So none of that breathy stuff that she does in other songs.
Miguel: Yes.
Christina: She's like, I just came in to do a little hollering. Aaron Hall and Charlie ain't the only one.
Miguel: Exactly.
Christina: So not necessarily a great song, but it just it entertains me.
Miguel: Well, I'm going to give you a snippet of a review for the soundtrack.
Christina: Okay.
Miguel: And you've already mentioned that the song “Love Shoulda Brought You Home Brought You Home” was originally written for Anita Baker.
Christina: Yes.
Miguel: So this is what Marisa Fox from Entertainment Weekly had to say about “Love Shoulda Brought You Home Brought You Home.” “It's a bit too much of an Anita Baker ‘Real Love’ clone.”
Christina: Well, I don't know. It's not like it's a bad song. And it's not like Toni did a bad job.
Miguel: Right.
Christina: But I guess that makes sense because it was written for Anita Baker. But “Give You My Heart,” I guess, gave her a little more range. Like, I can sing not like Anita Baker.
Miguel: And I got beef with the video for Give You My Heart.[3]
Christina: Because Babyface ain't got no shirt on.
Miguel: Exactly. Kenneth, why are you running around shirtless?
Christina: With a jacket on.
Miguel: Yeah, you got this hot ass jacket on, but your chest is out.
Christina: I never understood the jacket and no shirt. It's like, even though Jodeci did it all the time and they can do no wrong in my eyes. But, you know, when you think about it, that's got to be sweaty.
Miguel: I know it was.
Christina: Can you imagine wearing like, a leather jacket, too?
Miguel: I know he was hot. That's all I gotta say.
Christina: I can't remember. Was his leather? I just remember it was a jacket.
Miguel: I don't remember if it was leather.
Christina: I don't know like a shirt that's unbuttoned. It's a literal jacket.
Miguel: Yeah, he had a black jacket, black pants. That's all I remember.
Christina: I knew you were going to say that.
Miguel: I had to.
Christina: So I don't know if maybe because, this is atheory I just thought of right now, because I mentioned to you earlier about how this also reminded me of how much I love Toni Braxton, because for no reason in particular, I just haven't listened to a lot of Toni Braxton as of late. But I was telling you that I was like, oh, she kind of felt like, mature R&B, even though she was pretty young when she came out. So I wonder if it was just like, starting off with this Anita Baker style song kind of shaped the production for her.
Miguel: I don't know about that. I'm going to say they just heard her voice and was like—
Christina: This is what matches your voice.
Miguel: Yeah. And I like this album, but this kind of shows how a generation gap can have different opinions on things. Because my aunt, who I was raised with like a sister, she's about 10 years older than me, loved this album. Couldn't stand “Hot Sex” on it. Because even though we're about 10 years apart, hip hop was not her thing, it was all about this.
Christina: And then the song's called “Hot Sex.” “Hot sex on a platter.”
Miguel: Well, she didn't have a problem with that. It was just like she didn't like hip hop.
Christina: Right. Okay.
Miguel: So she grew up in a time where it was all about R&B and she didn't want to hear that hip hop noise.
Christina: Right.
Miguel: But the two of us are hanging out and I'm like, I don't want to hear this shit that you’re listening to either. So that's how I ended up knowing this album so well, just being around her and her playing it all the time.
Christina: Right.
Miguel: And then having to watch her with her stank face when “Hot Sex” comes on.
Christina: And you're like, no, leave it.
Miguel: I'm fine. Like finally, I get to enjoy some shit.
Christina: Yeah.
Miguel: But I always found that to be funny how just a 10 year gap can give you two completely different opinions on the same album.
Christina: Sometimes even less because for the most part, me and you are on the same path. But even with our age difference, there are things where I'm just like, eh, before my time.
Miguel: There's things that you have no idea about. And we're four years apart.
Christina: Yeah. Because I think it also has to be that age difference is at the cusp of a change.
Miguel: Yeah.
Christina: Because I got into it late 80s. Like, we're talking like ’89. So even then I was very new to it. So for you, you were already immersed into it. So anything before like, ’91 is a little sketchy for me, ‘cause I just wasn't there.
Miguel: Exactly.
Christina: But then we went through, you know, ’93, ’94, ’95 plus at an age where we both appreciated it. But yeah, that early stuff was like, I was too young for that.
Miguel: Yeah.
Christina: Anyways, so yeah, the age gap can make a difference.
Miguel: It can.
Christina: So what's your next album you want to talk about?
Miguel: I am going to go back to 1991.
Christina: Okay.
Miguel: And talk about New Jack City, which is, I'm not going to say the greatest soundtrack of all time, because I've already given that to Dead Presidents. But it's on the list.
Christina: Okay.
Miguel: You got “New Jack Hustler” from Ice-T. And obviously, you know how I feel about Christopher Williams. [Singing] “Don't wake me, I’m dreaming.”
Christina: Screaming in your ear.
Miguel: And then he followed that up with a “Nayhoo” too.
Christina: A very aggressive Nayhoo.
Miguel: Yes. So you got that one. You got Johnny Gill, who's doing his all over the place. Keith Sweat. But my favorite is the mashup of “For the Love of Money/Living for the City” with Troop, LeVert and Queen Latifah. And that's another one that I would see the video or hear it on the radio. I was like, I want to see that move. And of course, they had “I Wanna Sex You Up” by Color Me Badd.
Christina: Big hit.
Miguel: Yes.
Miguel: Although I never really liked them much.
Christina: Yeah.
Miguel: And it had nothing to do with the music. I just didn't like the way they looked. And I didn't believe that they—
Christina: Was the Kenny G guy with a little too much?
Miguel: It was just all four of them. That mix looked like it was forced together.
Christina: Hand picked, yeah.
Miguel: And they didn't really believe what they were singing.
Christina: Yeah.
Miguel: But hey, they were able to make a couple of hits. I don't deny that.
Christina: I think it’s funny that he looked like Kenny G.
Miguel: You got the Kenny G looking dude. You got the one that looked like Leroy from Fame, And then two different versions of George Michael. So I'm like, this makes no sense.[4]
Christina: No “I Adore Mi Amor” for you?
Miguel: Yeah. So I didn't trust them at all.
Christina: You know what? I did like them, but I think they also came out again for me at a cusp of a change.
Miguel: Right.
Christina: I think if they came out a year later or I was a year or two older, I probably wouldn't have. I find that their music, it felt like it was made for mainstream. That makes any sense? Made to be mainstream.
Miguel: Yeah.
Christina: Like, it sounds like the stuff that we like, and that's why we kind of liked it or liked some of it. But it sounded like it was made to go pop, made to cross over.
Miguel: I just didn't buy them. The four of y'all can't be making these songs.
Christina: But they did.
Miguel: They did.
Christina: And it was a big hit.
Miguel: It was. They had several hits around that time.
Christina: They did.
Miguel: So what else you got?
Christina: The last one I want to talk about, I'm going to bring it up again, Belly.
Miguel: Okay.
Christina: So this one, actually, now that I think about it, it's kind of like the opposite of Above The Rim, where it has like, a couple really nice R&B songs, but then it has like, all the rap songs are more East Coast leaning, but it's a great compilation of that style as well.
Christina: So you had the “Top Shotter” with DMX, Sean Paul, Mr. Vegas, “Sometimes” with Nore, “Grand Finale,” which I already mentioned. And the hilarious thing, which I didn't even realize because I didn't know his real name. “Movin’ On” with Mya and Raekwon. You were like, why did they have this government name on Apple? Because I was like, I was wondering who the hell Corey Woods was.
Miguel: Yeah. So I pulled it up yesterday to listen to it. And it's like, “featuring Corey Woods” and Noreaga. And I'm thinking to myself, wasn't Raekwon on that song?
Christina: Yeah.
Miguel: So then I put it on and listened to it. I was like, it is Raekwon. So I went to Spotify and Tidal and YouTube, and it still lists Mya featuring Noreaga and Raekwon. So I don't know why Apple Music has his government name out there like that.
Christina: Because I'm listening to it and I'm thinking, who is this Corey Woods? And why haven't I heard like, another voice yet? And I just didn't even think to look it up and like said, I didn't know his real name until you mentioned it. And then there's a Sparkle song in here that I really love called “What About” And I enjoy a dramatic R&B song every time [Singing] “What about the children? Who's gonna be a father to my child?” So yeah, you got some nice R&B songs and then a good representation of like, East Coast rap at the time.
Miguel: Yeah. So for my last one, since you didn't choose it, which actually surprised me, I'm going with the Love Jones soundtrack. So I'm always singing “Hopeless” by Dionne Farris.
Christina: “Like a penny with a hole in it.”
Miguel: If the words hopeless are mentioned around me,
Christina: You will sing it.
Miguel: I always follow it up with “like a penny with a hole in it.
Christina: “Like a penny with a hole in it.”
Miguel: It's got “The Sweetest Thing” with Lauryn Hill before I pushed her to the side. Maxwell's “Sumthin’ Sumthin’.”
Christina: A special remix.
Miguel: Yes.
Christina: That slowed down, sexy version.
Miguel: They slowed it down for us. And you got some Xscape on there. You got a really bad poem at the beginning of it.
Christina: Hey—
Miguel: “They call me Brother To The Night.”
Christina: They had to include it.
Miguel: You have to.
Christina: You have to.
Miguel: You have to include that if you're going to be doing a soundtrack for Love Jones. You gotta have Larenz Tate doing “Brother To The Night.”
Christina: “They call me Brother To The Night.”
Miguel: “Is your name Yemeya?”
Christina: “Oh, hell nah.”
Miguel: So bad.
Christina: I love it, though.
Miguel: I know you do.
Christina: And then Nina, "a blue line in a red sky.”
Miguel: Yeah.
Christina: “I am seeing love.” Is it seeing? “I am…”
Miguel: I don't know.
Christina: I don't know. I should know. I’m ashamed of myself. I can't remember.
Christina: Oh, no, “I am remembering…love.”
Miguel: Oh, boy. On that note, it's time for us to take another break.
[Break]
Miguel: Hi, kids. Do you like fun?
Christina: Yeah.
Miguel: We're starting a month of newsletter called Liner Notes. We'll be sharing what we're watching, what we're listening to, throwback YouTube videos, updates on our upcoming projects, random shit you may have missed on the Internet, you know, stuff like that.
Miguel: The link is in the show notes, or you can go to troypodcast.com/newsletter. Do it. It's good for you.
Christina: It'll make you teeth whiter.
Miguel: And back to the show.
[Break ends]
Miguel: All right, we are back.
Christina: So are there any soundtracks that you love, but you haven't seen the movie?
Miguel: Yeah, there are a couple. And actually, they're probably more than a couple. But the ones that I can think of off the top of my head is The Show.
Christina: Oh, you haven't seen it either?
Miguel: I have never seen The Show. I don't know why I haven't seen The Show, but I haven't.
Christina: I know why I haven't. I just didn't have access to it at the time. And I guess I just haven't bothered to look it up ever since. I don't know. But at the time, I just had no way of watching it.
Miguel: So yeah, never saw it.
Christina: Okay.
Miguel: Another one from the same year, New Jersey Drive. My favorite OutKast song of all time is on the New Jersey Drive soundtrack.
Christina: “Benz Or Beamer.”
Miguel: Never seen the movie.
Christina: Oh, man. And we were trying to track down this song for you. I could have sworn I had CD, but I cannot find it.
Miguel: Me too.
Christina: I know I had it. I don't know where it is, but I know I had it because I just remember that cover so clearly.
Miguel: Yep. I had the full soundtrack and I had the single. Can't find either of them. And one last one Backstage. Never seen that one either.
Christina: I don't even know what that is.
Miguel: It's basically about, I think it was the Hard Knock Life Tour. One of the Def Jam tours. It might have been Hard Knock Life. Got the soundtrack, never seen the movie.
Miguel: What about you?
Christina: One of the soundtracks that I love Hav Plenty.
Miguel: Yeah.
Christina: I've also never seen it. But again, not because I didn't want to. Just it wasn't playing anywhere where I would be able to access it. They have a song on there with three people you probably wouldn't have thought to put together. Coko from SWV, Jon B and Jay-Z., “Keep It Real.”
Miguel: Yeah, I forgot about that.
Christina: And I really like the Jayo Felony, “What You Gonna Do?” [Rapping] “What what what what.” “I could give it to you, but what you gonna do with it?”
Miguel: Now, I might be crazy, but I know it was on that soundtrack, but I'm pretty sure it was on another soundtrack too.
Christina: Let me look that up.
Miguel: I could be wrong, but they were trying to get that song out there and it worked.
Christina: “What, what, what, what”
Christina: I really liked it.
Miguel: Me too.
Christina: [Rapping] “I could give it to you, but what you gonna do with it?”
Miguel: Jayo Felony from San Diego. “San Diego.”
Christina: “San Diego.” Well, there was a remix. Yeah, this looks like it's on his album, though.
Miguel: Yeah, I'm not talking about the remix. Maybe I'm making this whole thing up.
Christina: Yeah, right now I'm not seeing anything, but I also don't want to be recording and looking at my browser and wasting time. So we'll just have to look at that offline.
Miguel: Yes.
Christina: Put a pin in it.
Miguel: I remember Hav Plenty seeing it, but I don't remember a thing about it.
Christina: I don't know anything because I never saw it. I don't even know what it's about. Some kind of romantic comedy.
Miguel: Rom-com.
Christina: Yeah, I figured that from the cover.
Miguel: Yeah, 90s rom-com.
Christina: My other one is Sprung. Same thing, because both Hav Plenty and Sprung, they're just not. They weren't like, the movies weren't as big, right, as the other ones. So they wouldn't have made it to my side of town.
Miguel: And Sprung is more comedy than romance.
Christina: Okay.
Miguel: Whereas Hav Plenty is more romance than comedy. That I remember because I actually remember watching Sprung because the guy who wrote and directed it also did Fear of a Black Hat. So that's why I wanted to see this one.
Christina: I have one more.
Miguel: Okay.
Christina: The Nutty Professor. I have never seen The Nutty Professor. And that one, and that's the thing. I don't know why I haven't, because that's a movie I should have had access to.
Miguel: Yes.
Christina: It's an Eddie Murphy movie.
Miguel: Exactly.
Christina: I'm sure it would have been playing in the theaters.
Miguel: So, yeah, you've never seen the “Hercules, Hercules” in real time?
Christina: No, I only know, you know, that because it's a meme now.
Miguel: Right.
Christina: Like, I know the premise of the movie, and it probably helps that, you know, the little clips of the movies are in the music. Yeah, but I've never actually seen the movie. But I listened to the album all the time.
Miguel: All right.
Christina: Yeah.
Miguel: Interesting. We're going to have to watch this one and the second one. Second one's not as good as the first, but we're going to watch them both.
Christina: Right.
Miguel: Back to back. He was able to pull Jada Pinkett and Janet Jackson, That's all I'm going to say.
Christina: Okay.
Miguel: So is there a soundtrack that you think is better than the actual movie?This is easy for me.
Christina: Oh, yeah. I'm going to bring this up again. Belly. I remember it being not good, but I remember it being extremely good visually because Hype Williams is a master at the visuals.
Miguel: Yep. It looks good.
Christina: Yes, it looks amazing. So I was just like, you know what? The only thing I remember of Belly is just like, you know, little meme-able bits like “Africa's far.”
Miguel: Right.
Christina: When Nas suggested to T-Boz that he wanted to move to Africa, just Africa. Not a specific country, and she's like, “I “don’t know, Africa's far.” I always remember that. Of course, Tyrin Turner eating that damn banana.
Miguel: Yeah.
Christina: Yeah. So I was just like, you know what? I don't remember this movie at all. So I decided to watch it.
Miguel: Okay.
Christina: It is worse.
Miguel: I'm going to have to do that.
Christina: Than what I remember.
Miguel: Because I haven't seen it since it came out. I watched it in the theater.
Christina: I feel really bad saying that.
Miguel: I don't.
Christina: But it is visually amazing.
Miguel: Yeah, I'll say that. It looks great.
Christina: It's one long Hype Williams video.
Miguel: Yeah.
Christina: It's the same treatment. There's a lot of ass for no reason. You know, women's body parts and whatnot are highlighted for no reason.
Miguel: There's a reason.
Christina: I mean, there's a reason, but, you know, gratuitously, there's a lot of blue lights.
Miguel: Yep.
Christina: But yeah, like, it looks amazing.
Miguel: See, I wanted to say that Belly was going to be my choice, too. But I have an even better one.
Christina: Okay.
Miguel: Glitter by Mariah Carey. Glitter is one of the worst movies I've ever seen in my life. But the soundtrack, she got some jams on it.
Christina: It achieved cult status, though.
Miguel: It did.
Christina: I would say Belly—
Miguel: Same thing.
Christina: does too.
Christina: Because that opener, though.
Miguel: That's what carries the entire movie is the “Back To Life.”
Christina: Yes.
Miguel: And people hold onto that.
Christina: And how could I forget to, almost forget to mention it. Yeah, that’s, that was amazing. It set the bar.
Miguel: And you get fooled by that and think that it's a good movie. But it is not.
Christina: And then you're like, oh, it's like, downhill from here.
Miguel: Yeah. Well, there's no hill for Glitter. It starts at the bottom of the hill and it stays there. The movie is terrible.
Christina: You know what? I watched it not too long ago because I was like, you know what? Let me just finally see what how quote unquote bad this movie is. And I remember telling you, like, when I started watching, I'm like, it's not that bad. But as it progressed.
Miguel: Oh, yeah.
Christina: Oh, I think I see it now. I don't even remember like, all of it now. I just remember being like, Okay, yep, I see it now.
Miguel: I paid three dollars for it and I want my money back, still. It's not as bad as like, other rapper movies like Master P. “I Got The Hook Up” and all the shitty movies he did.
Christina: Well, you told me—
Miguel: Streets Is Watching is another one that's terrible.
Christina: You've always told me Phat Beach is like, the worst movie you’ve seen.
Miguel: Phat Beach is the worst movie I've never seen it of all time.
Christina: I don't even know what it's about.
Miguel: It's so bad that it's good. We might have to do an episode on Phat Beach. Not a full episode.
Christina: Does it have a good soundtrack? I don't remember.
Miguel: I'm not going to say it has a bad soundtrack, but it's nothing that's memorable. So it's probably better than the movie and would fall under this category. But yeah, it's terrible.
Christina: All right.
Miguel: It's terrible. It's not worth watching, but it's worth watching at the same time just to see how bad it is.
Christina: You want me to watch it, but I'm scared.
Miguel: I do want you to watch it.
Christina: I don't want to waste my time.
Miguel: You have to. Moving on.
Christina: All right. So did any of these albums introduce you to an artist or a song that you weren't familiar with before?
Miguel: Yes. We've already mentioned Toni Braxton. And it's so much so that on the cover of Boomerang, it says "introducing Toni Braxton.” There is a list of all the artists that are on it. And at the very bottom, "introducing Toni Braxton.”
Christina: I did not even notice that.
Miguel: Yep. But it wasn't her first song. Actually, there are two songs, but it's the songs that blew her up. Foxy Brown on “Ain't No Nigga” and "Touch Me, Tease Me" on the same soundtrack. She was on “I Shot Ya” and "No One Else" remix before this. But these are the two that got her up out of here.
Christina: I think “Ain't No…” was probably the first time I saw her. That's my memory, my first memory of her.
Miguel: Yeah. I remember her from the LL video and the Total remix, but these are the ones that blew her up.
Christina: I remember those too, but maybe I saw them after. But when I think about my first time seeing her was that.
Miguel: And speaking of "Touch Me, Tease Me,” Case, that was his coming out as well. Who else? Ja Rule. Even though he had other songs with the, what was he called? The Cash Money Click with Mic Geronimo. "Can I Get A..." was here's Ja Rule. I got a couple more. Total on New Jersey Drive. “Can't You See.”
Christina: Yes. Big Hit.
Miguel: And probably the most important one is on the Who's The Man? soundtrack, Biggie with “Party & Bullshit.”
Christina: Also, not necessarily a big hit, but important.
Miguel: So what about you?
Christina: This isn't an introduction per se, but back to the Sprung soundtrack. This is when I found out Tichina Arnold and Tisha Campbell could like, really sing because they did the “Don't Ask My Neighbor” cover.
Miguel: Yeah, which is why I was singing it earlier.
Christina: So I was like, what? They sing? Because I mean, at this time, you know, I hadn't. We know that Tisha Campbell has, what’s that Spike Lee movie?
Miguel: School Daze.
Christina: School Daze. I hadn't seen School Daze, so I've never seen Tisha Campbell sing. Maybe they I'm sure they probably did some singing on Martin or something, but I didn't know they were like, singers. They did a little singing on Martin, but I would imagine that probably be more comedic.
Miguel: I knew they could sing because they were also in Little Shop of Horrors.
Christina: Yeah, these are things I hadn't seen.
Miguel: So I had seen them singing in that before I even knew that they were doing this other stuff.
Christina: So I thought that was, I remember being like, what? I'm also on Sprung as well. There's this song I like called “Since You've Gone Away.” It's over the "Shook Ones" beat by some group called Bonnie and Clyde. I'm like, who the hell is Bonnie and Clyde? So they're not really a group. They are actually songwriters. But I don't know if maybe they were like, let's keep the song for ourselves.
Because when I looked them up, it doesn't look like they have any other songs that they've sang, but they have written a bunch of songs that we know and love, like SWV, OutKast, En Vogue. And what we were talking about the other day with Toni Braxton, “I Love Me Some Him” is one of their songs.
Miguel: Yeah, I don't remember this one at all.
Christina: Yeah, it's just, yeah, it's over the, yeah, the "Shook Ones.” No, no, no, not "Shook Ones.” Now I can't remember, one of the Mobb Deep songs.
Miguel: I'm looking at it. Oh, Andrea Martin.
Christina: Yeah, you know, because when I saw the name, I was like, Andrea Martin. Yeah, I know who that is. I didn't I hadn't heard of her writing partner, Ivan Matias. Matias? I don't know.
Well, it says he's her writing partner. So I imagine their credits are similar. But yeah, it's they've written stuff for like, everybody.
Miguel: Right.
Christina: All the songs we know. But I was like, who's Bonnie and Clyde?
Miguel: Yeah, I don't remember that on the soundtrack at all. I'm going to have to go back and listen to it.
Christina: [Singing] “Since You've Gone Away.” And I have one more song.
Miguel: Okay.
Christina: On the Low Down Dity Shame soundtrack. I have never heard of her outside of this song. “Turn It Up” by Raja-Nee.
Miguel: I have no idea what you're talking about.
Christina: It's a very 1994 song.
Miguel: Okay.
Christina: It's upbeat. There's a little bit of reggae style in the beginning. And it's just a, “here we go, here we go.” It's very 1994.
Miguel: Yeah, I don't know that one at all.
Christina: But I have not heard of her before or after. But it's a cute little upbeat song and I like it.
Miguel: All right. I don't know her, but I will look into it.
Christina: Okay.
Miguel: So if you could pick one soundtrack to recommend to somebody who's never listened to 90s and 2000s R&B and hip hop, what would you pick?
Christina: Okay. This was really hard.
Miguel: It was.
Christina: I was first going to go with Mo' Money.
Miguel: Okay. I can see that.
Christina: Yeah, because it has a very good representation of like, New Jack Swing and R&B and also that early 90s rap. But, this again, how we talk about that there was that turn around 91, 92. If you're saying who's never listened to 90s, 2000s R&B, maybe this came just a little bit too early because it's like, it came right at the beginning of the 90s, like this sound.
So I'm like, okay, let me pick something a little more in the middle. So I ended up choosing Above The Rim because even though the rap songs skew very West Coast, it gives you a good idea of what 90s R&B and hip hop sounded like at that time.
Miguel: Yeah.
Christina: I almost said The Best Man, but The Best Man is mostly R&B. So that's why I ended up going with Above The Rim because you get some variation.
Miguel: I couldn't even come up with anything for that same reason. It leans too West Coast or if I go with this direction, it's too East Coast or it's too R&B because like we mentioned, they're all like label driven soundtracks. For example, LaFace, they're pushing all of their artists and then sprinkle in two or three. Death Row is pushing all of their artists and then sprinkle in a couple over here. So I couldn't really choose one. But now that the pressure is on and I've got nothing else, I'm going to say Rush Hour.
Christina: Okay.
Miguel: I'm going to say Rush Hour.
Christina: I need to look at the track list.
Miguel: I have no particular reason for choosing Rush Hour, but I'm going to go with that one.
Christina: All right.
Miguel: So it's Def Jam Heavy because it's a Def Jam soundtrack. So you got Dru Hill. [Singing] “How deep is your love for me…”
Christina: [Singing] Yeah.
Miguel: Exactly. "Faded Pictures", Case and Joe. "Can I Get A..." what else? Montell Jordan, Monifah and Flesh-N-Bone, of all people. “If I Die Tonight,” Terror Squad. Tray Deee, Jayo Felony, Daz Dillinger. So it's got a little bit of West Coast, a little bit of East Coast, but mostly Def Jam artists with a couple of others sprinkled in. So I'm going to go with that one.
Christina: So then what would you say is the best soundtrack of all time? All time or just this era?
Miguel: Just this era, because, like I said, we're going to leave out the 70s and 80s and all those.
Christina: And the odd ones that are a little more current.
Miguel: Yeah.
Christina: Because they don't really do it anymore. But Black Panther kind of brought back that.
Miguel: Yes.
Christina: Incorporating movies and soundtracks.
Miguel: Black Panther, Beyonce did the one with The Lion King. But I'm sticking with the era that we're talking about.
Christina: Yeah.
Miguel: So it's got to be Boomerang.
Christina: Yeah, that was it has that was on my shortlist.
Miguel: It's got to be Boomerang. I wanted to go with other ones. Murder Was The Case is a close second, but it's got to be Boomerang, in my opinion.
Christina: Why would you say that?
Miguel: I don't know. It just is. It's because it's got hits from top to bottom.
Christina: Right.
Miguel: And like I said, you got all these LA and Babyface hits, and then you just tack on A Tribe Called Quest at the end. It's got a little something for everybody.
Christina: It's true.
Miguel: I've mentioned several times before, I don't like Babyface.
Christina: You like Babyface productions, though?
Miguel: Yeah, I like the songs he makes for others people.
Christina: You’re just not listening to “For The Cool In You”
Miguel: Or “Whip Appeal.” And I can't listen to him singing, but his production shines on this album, him and LA.
Christina: Right.
Miguel: What they were doing, that, this is peak LA and Babyface right here. So that's why I'm going to go with that one.
And before anybody comes at me like, “How come you don't like Babyface? How come you don't like Babyface? “I just can't get into the man as a singer. Songwriter, production, I'm all for it. Not a fan of the singing.
Christina: It happens, I guess.
Miguel: It does.
Christina: Well, I'm that way about The Dream.
Miguel: Yeah.
Christina: I love his production. But when he does his own music, I never like it.
Miguel: I can see that.
Christina: Anyways, that was a close second for me. And but my pick is you said you were surprised I didn't bring it up because I was saving it, Love Jones.
Miguel: Okay, I was surprised that you hadn't brought it up earlier.
Christina: And the reason why I ended up choosing it over Boomerang, because first of all, as I mentioned already, I just hadn't listened to Boomerang in a while. So listening to it now, I'm like, oh, I'm definitely going to listen to it more now because I kind of just forgot about it. But I listen to Love Jones all the time, which is why I was surprised that you hadn't mentioned it up to this point. And the reason why I also pick it over Boomerang, even though, like I said, Boomerang is close second, is for me, this is more of a no skip album.
Miguel: Okay.
Christina: Whereas there's a few things on Boomerang where, you know, I don't really need to listen to. And so this one is for the most part, I could just leave the whole thing on. Also, just the tempo and the types of songs, you can just put it on for so many different types of situations. Whether you're working, cleaning, just chilling. You have friends over. Like, you could just put it on. But even if you're feeling a little melancholy, too. They got the “In A Sentimental Mood” and it really, the music also really tied into the mood of the movie where a lot of rain and stuff, too.
Miguel: Yeah.
Christina: So this this sort of like, you feel like it's a rainy day in the city.
Miguel: Okay.
Christina: And you just feel that in the album. And that could go with any mood that you have, I think.
Miguel: Okay.
Christina: That's why I ended up picking it. I do have an honorable mention.
Miguel: Go for it.
Christina: New York Undercover and it's an honorable mention because it's a TV show.
Miguel: See, I was going to have New York Undercover as well. But the thing that stopped me from doing New York Undercover is the ratio was off.
Christina: Yeah.
Miguel: Like, it was a bunch of covers of old songs.
Christina: Eh.
Miguel: So it wasn't like, new material. And that's the one reason why I didn't want to go with—
Christina: Eh.
Miguel: New York Undercover, but I'll allow it.
Christina: I just didn't because it's not a movie and I have one more honorable mention.
Christina: Okay, Bodyguard. And I put it in honorable mention because it just feels like a Whitney album.
Miguel: Well, same with what? The Preacher's Wife.
Christina: Yeah, Whitney was playing a character, but this is just another Whitney Houston album.
Miguel: Yeah. There's a few movies Waiting To Exhale, which are basically just Whitney Houston albums with a couple of people sprinkled in the mix.
Christina: I would say Waiting To Exhale is a little more. There's more variation on there.
Miguel: Yeah. But still, it's a Whitney Houston album.
Christina: But yeah, The Bodyguard album is a good, good soundtrack, but it's a Whitney Houston album.
Miguel: Yeah.
Christina: It's more Whitney than soundtrack. It just happens to be a movie. That's how I see it.
Miguel: Exactly.
Christina: And that's that on that.
Miguel: Yeah. Just listening to all of these soundtracks over the past week or so makes me want to go back and watch a lot of these horrible movies.
Christina: Okay.
Miguel: They're not horrible, but they're not the best movies and things that should be in the Criterion Collection or anything.
Christina: Yeah.
Miguel: But I still want to watch them. I'm going to watch Booty Call. I'm going to watch A Low Down Dirty Shame.
Christina: I need you to watch Belly so we can talk about it.
Miguel: Unfortunately, I'm going to watch Belly. I'm going to watch Who's The Man? because I haven't seen that since it first came out.
Christina: I can't remember if I've seen it or not. I think sometimes because as we've been saying over and over again, the music is so tied to the movie that sometimes I can't remember if I've actually watched the movie or I've just seen clips.
Miguel: Yeah. So I'm going to go through all of these that we talked about and actually start watching these movies.
Christina: Well, we do need to dive deeper into, I think, some of these specific albums.
Miguel: Yeah.
Christina: Because there were so many that, before you say “Why didn't you say about this? Why didn't you say about that?” There's a lot. We know that there's a lot. And I have like, so many tabs open. And we just we just had to record.
Miguel: Exactly. We couldn't sit here and talk about the top hundred movie soundrtacks of the 90s. So that's why we talked about these, which are our favorite.
Christina: Or at least top of mind.
Miguel: Yeah, exactly. You got anything else you want to share before we leave?
Christina: I'm ready to eat.
Miguel: All right. So the missus is ready to eat. Thank you again for listening to They Reminisce Over You. We try to do this every two weeks. So come back and listen to us in a couple of weeks. If you haven't signed up for our newsletter, go ahead and do that. It comes out once a month, it's called Liner Notes. You can get it at troypodcast.com/newsletter.
You can also check out our store. Nuthin’ But A Tee Thang. Get some t-shirts, hoodies, caps, all that good stuff at teethang.com, T-E-E-T-H-A-N-G .com Yeah, I'm hungry too, so we're going to shut this outro down and talk to y'all in a couple of weeks. Bye.
Christina: Bye.