For us we had to find something that grabs everybody’s attention with that exuberance and that joy that that song has. “That was one of the suggestions from Alison Rosenfeld. Maybe the best example of that last category is Dexys Midnight Runners’ “Come on Eileen,” which Cherise (Da’Vine Joy Randolph) belts out in the middle of Championship Vinyl halfway through the pilot. Others still are karaoke staples, reworked in a different context to be one of the show’s main engines. Some are overlooked jams from some of the most iconic musicians of the past half-century. There are tracks that feel like they’ve been waiting patiently on a vinyl-laden shelf to be the perfect scene accompaniment. One of the key strengths of “High Fidelity” is its ability to find a balance in the songs it uses. She put it in and said, ‘Maybe it’s just a starting point for conversation.’ When we heard it and saw the way that she cut it with the scene, we were like, ‘We can’t change this.’ It drove the way that we edited the scene and helped us build the emotion in what was one of our biggest emotional peaks of the entire season,” Kucserka said. “It was a selection that our editor Kate Hickey had found and really loved and felt like was a great template for the scene. Such was the case for Silk Rhode’s “Pains,” the backing track for Rob’s rooftop birthday encounter with Mac, one that makes up a sizable part of the season’s last two chapters.

And while some songs were key component parts from the outset, some additions came much later in the process.

Not only are some of those songs referenced directly within the dialogue on the show, many of them originated as part of a key step in the show’s writing process. ‘What We Do in the Shadows’ Season 5 Is Matt Berry’s MVP Run

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