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<v Speaker 1>This is later with Lee Matthews the Lee Matthews Podcast.

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<v Speaker 2>More of what you hear Weekday after Do is on

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<v Speaker 2>the Drive. You know Jac chaise As as a singer, songwriter,

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<v Speaker 2>and producer and artist within Sync. He's also written for Elton,

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<v Speaker 2>John Area and a Grande Aerosmith and many others. Jimmy

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<v Speaker 2>Harry is also a Golden Globe winning songwriter for Madonna, Pink,

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<v Speaker 2>Britney Spears, and many many others. So when you get

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<v Speaker 2>two great writers like this together and an unusually inspired project,

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<v Speaker 2>you know a something special is going to come of it.

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<v Speaker 2>I welcome Jac chase As in sinc and Jimmy Harry,

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<v Speaker 2>creators of their new album Playing with Fire. Hello, guys,

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<v Speaker 2>good more. Let's start with you. Jac. This, I said,

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<v Speaker 2>head is an unusual inspiration. What is it?

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<v Speaker 3>It's well, the source material is Mary Shelley Sprankenstein man.

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<v Speaker 3>So I know that maybe a lot of people don't say, hey,

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<v Speaker 3>that sounds like music to me, a story about frank

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<v Speaker 3>Stein and his creature. But that's exactly what it is.

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<v Speaker 3>It was inspired by and Jimmy and I just kind

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<v Speaker 3>of put ourselves out there. We read an adaptation that

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<v Speaker 3>his mother wrote Barbara Fields wrote an adaptation of Frankenstein

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<v Speaker 3>and called it Play with Fire, And after Jimmy had

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<v Speaker 3>shared it with me, we went down the rabbit hole.

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<v Speaker 2>And Jimmy, your mother was she normally a playwright of sorts?

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<v Speaker 4>She definitely was a playwright. She was a traumat at

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<v Speaker 4>the Gus three Theater in Minneapolis for a very long time.

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<v Speaker 4>She founded the Playwrights Center, and she was well loved

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<v Speaker 4>by the community.

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<v Speaker 2>What's the plot, Jimmy, of her adaptation of the Frankenstein story.

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<v Speaker 4>I think what sets it apart from other Frankenstein's is

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<v Speaker 4>that it's essential. It's a conversation with doctor Frankenstein and

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<v Speaker 4>the creature, his creation well after the events of the story,

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<v Speaker 4>and basically creature approaches him and says, hey, I need

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<v Speaker 4>to answer some questions, tell me why, And after I

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<v Speaker 4>know you hate me, so after you've answered my questions,

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<v Speaker 4>you can kill me. I don't care anymore. And it

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<v Speaker 4>takes you on this journey through the through you know,

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<v Speaker 4>what is the body of Mary Shelley's books, but you

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<v Speaker 4>kind of it's also about this relationship how these people

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<v Speaker 4>sort of you know, come to actually love each other

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<v Speaker 4>even though they've done horrible things to each other and

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<v Speaker 4>if they make peace. Because it's a it's a father

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<v Speaker 4>and son's story.

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<v Speaker 2>Spin spine tingling. J Chess says, not unlike maybe a

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<v Speaker 2>father son relationship.

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<v Speaker 4>It is.

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<v Speaker 3>Yeah, that's that is that's that's what we focused in on,

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<v Speaker 3>you know. And and the the interesting thing about what

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<v Speaker 3>we try to present in the music and in our

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<v Speaker 3>musical is, you know, it's from the perspective of each

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<v Speaker 3>a person in the conversation. So really the first.

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<v Speaker 4>Half of the story, the half of.

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<v Speaker 3>The musical is through one lens, and that would be

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<v Speaker 3>through Victor of Frankenstein's lens. When we're hearing the songs

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<v Speaker 3>and where he's taking us into his memories. We're seeing,

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<v Speaker 3>you know, life play out through the lens of Victor Frankenstein.

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<v Speaker 3>And in the second half of the musical, you're really

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<v Speaker 3>getting the story through the perspective and lens of the creature.

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<v Speaker 3>So instead of just observing all the events, you know,

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<v Speaker 3>as a third party viewer, we're really getting to feel

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<v Speaker 3>what it's like to be each one of these characters

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<v Speaker 3>and how the events played out through their eyes.

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<v Speaker 2>And I think that's the unique perspective Playing with Fire

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<v Speaker 2>is the album. I still call them albums. Guys. Sorry

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<v Speaker 2>for release we go ahead.

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<v Speaker 4>Said so do we okay?

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<v Speaker 2>Good? Because I used to play the vinyl back in

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<v Speaker 2>the day. Uh we go. Center Stage Records is where

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<v Speaker 2>you can find a copy of Playing with Fire. Jimmy what,

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<v Speaker 2>let's go through the song list? So this is it?

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<v Speaker 2>Can I guess it could be considered a concept album,

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<v Speaker 2>but it's also a soundtrack.

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<v Speaker 4>It's a music. It's a concept record for a musical.

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<v Speaker 4>I guess that's what it is. It's sort of like,

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<v Speaker 4>you know, there's been a history of people putting out

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<v Speaker 4>concept records for musicals before their stage. They think it

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<v Speaker 4>started with Jesus Christ Superstar, but more recently, Kadies Town

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<v Speaker 4>and U six have been you know, have had concept records.

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<v Speaker 4>So it just kind of gives you a picture, you know,

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<v Speaker 4>a sonic picture into what the musical could be.

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<v Speaker 2>I guess and jac chazays along with U with Jimmy

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<v Speaker 2>Harriet creators of Playing with I gather the title is

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<v Speaker 2>in reference to fire in Frankenstein and Frankenstein's Fear of Fire.

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<v Speaker 3>It's well that there's a piece of that in it,

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<v Speaker 3>but really it's just about, you know, hey, be if you.

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<v Speaker 3>If you're going to do something, be careful, be thoughtful,

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<v Speaker 3>treated with respect.

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<v Speaker 4>You know.

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<v Speaker 3>It's like fire is a wonderful technology, right, it keeps

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<v Speaker 3>us warm when it's cold, but it's also something that

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<v Speaker 3>if it catches the wrong thing, it can just destroy

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<v Speaker 3>the world around you. So it's something that you don't

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<v Speaker 3>you shouldn't.

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<v Speaker 4>Really play with You should.

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<v Speaker 3>Be thoughtful and show it the respect.

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<v Speaker 4>That it deserves.

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<v Speaker 2>JAYC. Child says in sinc Jimmy Harry a songwriter and

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<v Speaker 2>the son of the playwright of which this is an

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<v Speaker 2>inspiration playing with Fire, which is out. Now, let's go

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<v Speaker 2>through some of the song titles. Jimmy and if you

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<v Speaker 2>can explain to me what we're seeing or what we're

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<v Speaker 2>supposed to be seeing. In the story you used to Touch Me,

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<v Speaker 2>You used to Touch.

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<v Speaker 4>Me is actually about really how before that happens. Doctor

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<v Speaker 4>Frankenstein tells a creature how he was made. You know,

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<v Speaker 4>he said, I made you from dead body parts. I like,

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<v Speaker 4>I spent so much time. I know every stitch on

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<v Speaker 4>your body. You know, I loved making you. And then

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<v Speaker 4>creature says, well, why won't you look at me because

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<v Speaker 4>you're hideous? Oh, but you used to love me? What

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<v Speaker 4>went wrong? And so it's sort of like this basically

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<v Speaker 4>as saying, hey, you know you loved me enough to

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<v Speaker 4>make me, why don't you love me now?

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<v Speaker 2>And jac Chad says, when I talk to songwriters, I'm

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<v Speaker 2>always intrigued because I love music, I read music. I

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<v Speaker 2>play a little bit on the guitar and the ukulele,

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<v Speaker 2>But I'm always intrigued about what comes from for you.

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<v Speaker 2>Is it melody or is it lyric or is it both?

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<v Speaker 3>It's it's different every time.

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<v Speaker 4>You know.

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<v Speaker 3>Look, sometimes you sit down at a piano and you

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<v Speaker 3>start tinkering and and something memorable pops up. But then

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<v Speaker 3>sometimes it is the word. Sometimes it's the words that

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<v Speaker 3>drive everything home. So it really every every beginning is

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<v Speaker 3>unexpected and uh, and it's it's a it's a process

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<v Speaker 3>every time.

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<v Speaker 2>And Jimmy, is it the same for you?

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<v Speaker 4>Yeah, I mean everything's different. You know, it depends on

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<v Speaker 4>what the situation is, for sure. Sometimes it starts with

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<v Speaker 4>the concept, Sometimes it starts with a melody. Sometimes you

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<v Speaker 4>just it all magically pours out your you know, your

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<v Speaker 4>singers and your singing, and it's all of a sudden

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<v Speaker 4>you have a song.

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<v Speaker 2>And Jimmy your mother was a creative person. You are

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<v Speaker 2>a creative person? Did she? What were there? Was there

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<v Speaker 2>anything in particular she did to inspire you or to

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<v Speaker 2>to spark your creativity?

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<v Speaker 4>Everything? It was, you know, we used to like improvise,

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<v Speaker 4>you know, like lyrics in the backyard. He had me

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<v Speaker 4>reading you know, all the classics at a very young

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<v Speaker 4>age and just being you know, being in a room

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<v Speaker 4>with some really famous directors like in my in you know,

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<v Speaker 4>my dining room, my living room and watching them run rehearsals.

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<v Speaker 4>I just was it was. It was like a graduate

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<v Speaker 4>school education at like you know, age seven or eight

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<v Speaker 4>or something like that.

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<v Speaker 2>The album is Playing with Fire. It's with the instincts

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<v Speaker 2>Jacy Chazzez and songwriter Jimmy Harry, two great songwriters that

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<v Speaker 2>have come together to write this soundtrack, this musical. Uh

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<v Speaker 2>are you working on getting this produced? JC?

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<v Speaker 3>Yes, So that that's the main goal. Look, you know,

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<v Speaker 3>we want to make a musical. We want people to

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<v Speaker 3>see not just here, but see what Play with Fire is.

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<v Speaker 3>But we we know that it's a long process to

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<v Speaker 3>make a musical, and so we decided, you know, to

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<v Speaker 3>take it upon ourselves to at least bring what we

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<v Speaker 3>can at the very beginning, you know, and not wait.

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<v Speaker 3>We wanted to share the music with everybody, and hopefully

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<v Speaker 3>so when they see it, there's a bit of familiarity

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<v Speaker 3>and they can enjoy it a bit more and when

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<v Speaker 3>they hear the songs they like, they.

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<v Speaker 4>Can sing along.

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<v Speaker 2>Yeah, that's a good idea. Get the music out there first,

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<v Speaker 2>get people singing along with it, and then then they

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<v Speaker 2>can see the visual that goes along with it. Jimmy,

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<v Speaker 2>is there one particular song that you've written or corroborated

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<v Speaker 2>on in this album that you now say, I think

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<v Speaker 2>that's going to be the hit.

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<v Speaker 4>I think the whole thing is going to be the

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<v Speaker 4>It's it's a great record. I think people are listening

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<v Speaker 4>to the whole album old school. I think if you

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<v Speaker 4>want to take one song just to be like a

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<v Speaker 4>mirror into the soul to the record, if you want

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<v Speaker 4>to just check it out out of us, say listen

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<v Speaker 4>to how Do You Sleep? That's the that's the template,

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<v Speaker 4>first one we wrote, and it's kind of shaped everything

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<v Speaker 4>we came after it.

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<v Speaker 2>Look forward to listening to it. My friend, my friends

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<v Speaker 2>j C. Chazazit and Sink, Jimmy Harry, I love the

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<v Speaker 2>work that you produced so far, and I know this

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<v Speaker 2>is going to be another big project. So thanks for

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<v Speaker 2>joining us and bringing it to us today.

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<v Speaker 4>Thank you so much having me.

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<v Speaker 1>Thanks for listening to Later with Lee Matthews, the Lee

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<v Speaker 1>Matthews Podcast, and remember to listen to The Drive Live

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<v Speaker 1>weekday afternoons from five to seven and iHeartMedia presentation