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Speaker 1: R and B Money.

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Speaker 2: We are.

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Speaker 3: Thanks take valoti.

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Speaker 1: We are the authority on.

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Speaker 4: R and B.

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Speaker 5: Ladies and gentlemen, money is tank This, my friend, Come on,

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Speaker 5: is the R and B Money podcast. This is the

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Speaker 5: authority on all things R and B.

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Speaker 3: What the fun is your accent?

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Speaker 1: Heard on?

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Speaker 3: My friend?

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Speaker 5: Be careful, my friend, what you asked for? Because it's

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Speaker 5: a flow in my spirit? Show is going to have

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Speaker 5: a certain flow today.

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Speaker 3: Come on mate, you know mate, come on, bro.

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Speaker 5: Where we try to organize this thing as it flows?

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Speaker 3: Is it is?

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Speaker 1: It reaches your spirit in your inside.

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Speaker 5: It it kind of models poetry.

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Speaker 3: Yeah, yes, it does flow so well.

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Speaker 6: It flows so well, The flows so well, and you

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Speaker 6: put it together and as like a fluid creek kind

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Speaker 6: of thing. Ladies and gentlemen, it just got expensive. It's

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Speaker 6: just the level of gift has gone.

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Speaker 5: To the stratuspheares and outer fears and galaxies that we've

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Speaker 5: never seen. I'm just excited to be here to to

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Speaker 5: talk to this young lady who's just one of the

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Speaker 5: most talented human beings I've ever seen in my life.

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Speaker 5: Than her name, Let's see her name correctly because it

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Speaker 5: deserves reference.

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Speaker 4: Marcia Ambrosious, amazing amazing.

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Speaker 7: One more time to me Ambrocious Ambrosious. Okay, so some

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Speaker 7: people do say Ambrosius, right, Okay, then it's Ambrosious. I

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Speaker 7: don't even know how to pronounce my own name anymore.

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Speaker 7: I've heard it back to me so many times wrong.

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Speaker 1: How did you were born?

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Speaker 7: When I was born, Darling, I came out of the

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Speaker 7: woman and they said, this is Marcia Ambrosius.

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Speaker 4: Ambrosius, that Ambrosius ambros So when I got to America

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Speaker 4: was like, what's up the Martian Ambrosious or Ambrose or

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Speaker 4: Ambarrose or ambros Ambrosias.

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Speaker 3: So it's like a z I kind of like Marcia amburrows.

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Speaker 7: I was referred to us, not even Marsha Amberrose. Oh

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Speaker 7: they go Marcia amber Ambarrosia Amberrows. I just left it,

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Speaker 7: you know what. Being in Philadelphia that long, it was

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Speaker 7: what it was.

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Speaker 4: But I love it, Ambrosious.

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Speaker 7: With your wonderfully awful British accent.

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Speaker 5: Well, are a lot of things I don't do, so

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Speaker 5: I like to put all of them on display.

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Speaker 3: This is why we hear.

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Speaker 7: What's up? Guys. I feel like.

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Speaker 5: You're like you're like one of the rare artists, one

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Speaker 5: of the rare entities where you've that you've been able

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Speaker 5: to maintain a mystique about you, But every time your

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Speaker 5: name is brought up, it's like a real thing.

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Speaker 7: Still to this day, it's lovely to hear.

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Speaker 5: I mean, you're you've, you've your your imprint, and I

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Speaker 5: think it's it's it's because you're wonderfully talented. It is

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Speaker 5: because you're an awesome human being, but you're very distinct

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Speaker 5: in how you approach all of it, like it's very

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Speaker 5: much yours.

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Speaker 7: I've been intent My intentions have always been to do

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Speaker 7: just that. I think I've been such a unique individual

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Speaker 7: in this very when I say urban space, in our

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Speaker 7: R and B field. Unfortunately, on one side, it's been

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Speaker 7: deemed as one thing, one toned, it's this box. And

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Speaker 7: then you try and do that one thing that makes

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Speaker 7: you outstanding, and you're seeing how long that can sustain,

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Speaker 7: and you're like, Okay, how long can I get away

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Speaker 7: with B and myself before I'm then forced into having

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Speaker 7: to fine tune this thing that people are grasping towards.

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Speaker 7: Because what R and B has been the driving force

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Speaker 7: of our space for however long, And it's wild that

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Speaker 7: I remember doing my first solo project with late nights

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Speaker 7: and early mornings, and I had so many gems in

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Speaker 7: the cut, and I'm like, oh, I can't wait to

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Speaker 7: put this record out. And there's this one thing I

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Speaker 7: hope she cheats on you a basketball player, which playing

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Speaker 7: basketball my entire life just felt like a funny little joke,

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Speaker 7: a little free STYLI did on what was it ustream

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Speaker 7: we used to have at the time, freestyled it on

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Speaker 7: and that's the thing that takes off, not far Away,

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Speaker 7: not Sour Times, not Lose Myself, not any other record.

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Speaker 7: The Ratchet one the outlandish statement, and I was like, hmm,

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Speaker 7: I see R and B and hip hop doing this

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Speaker 7: fusion thing where the shift is about to happen and

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Speaker 7: people are going to go ratchet, and there's nothing that

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Speaker 7: we can do other than hold onto the reins and

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Speaker 7: still try and find yourself within it. But coming from

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Speaker 7: a space of I've been able to say what the

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Speaker 7: fuck I want for so long, it's I should be

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Speaker 7: able to say what the fuck.

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Speaker 1: I want, absolutely absolutely know.

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Speaker 7: But you have to stand on that in R and

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Speaker 7: B and some people have a way of doing it.

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Speaker 7: Anyone can sing your song and there's no uniqueness to it.

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Speaker 7: It's just a good song and anyone can sing it,

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Speaker 7: name an artist, give it to them. But then there's me,

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Speaker 7: and there are very few people that are just going

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Speaker 7: to say, Okay, I'm going to sing a Marsha song

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Speaker 7: because it's such a signature, it's so unique, even if

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Speaker 7: it's even if it's I'm trying to touch on this

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Speaker 7: little thing that I think R and B is for

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Speaker 7: a joke. I hope she cheats. I hope she chooses

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Speaker 7: the most ratchet thing I think I did with my

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Speaker 7: space in all of its uniqueness.

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Speaker 1: I mean, is it just like or is it just

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Speaker 1: the truth?

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Speaker 7: It's just real I'm saying ratchet coming from me, where

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Speaker 7: people are like, oh my god, Marshia like say yes,

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Speaker 7: Marsha like you know. So it's it's the.

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Speaker 8: Difference, and maybe we may look at it because we

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Speaker 8: know you exactly a differently. You know, it didn't surprise me,

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Speaker 8: of course. In the record, I'm like you, she feel

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Speaker 8: a way about these lebrons.

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Speaker 7: I'm a little better, just a little better. I'm doing

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Speaker 7: better now. And that was the song, and you know,

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Speaker 7: but it was still very much R and B.

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Speaker 3: Absolutely it's called the truth.

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Speaker 7: And that's what R and B is it's just the truth.

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Speaker 7: You can interpret how it should.

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Speaker 3: Should be the truth.

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Speaker 1: RB should be the truth, and that's the uniqueness that

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Speaker 1: stands the test of time.

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Speaker 7: And I feel like I can stand on saying that

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Speaker 7: I've done so for twenty plus years now. That's crazy

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Speaker 7: to say that you sustain that. But in also praising

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Speaker 7: what this platform is as well, you and I have

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Speaker 7: brushed shoulders that entire time. That's insane to go into

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Speaker 7: this being well not front row. I've only got like

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Speaker 7: third row tickets to your concerts. I couldn't. It was

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Speaker 7: sold out by the time I was getting this, so

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Speaker 7: we've got freebie got in anyway. So there, I am

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Speaker 7: a tank like your lungs and I'm a fan. And

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Speaker 7: then coming into it, we're sharing stages together. Absolutely so

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Speaker 7: not saying your age and I think you've been doing

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Speaker 7: this one, but it's like to do that in our

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Speaker 7: field and really claim to not only have made R

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Speaker 7: and B money, still making R and B money, still

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Speaker 7: have R and B money. There's a big difference in

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Speaker 7: that because in our field, a lot of money is.

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Speaker 8: I just play private school tuition, so I don't really

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Speaker 8: get too much R and B money.

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Speaker 3: Left this week.

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Speaker 7: The fact that you can say that you had it

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Speaker 7: to give that up, I know what that is.

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Speaker 5: It hurts that I got a pond and ship you can.

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Speaker 3: It will?

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Speaker 7: I hate it. No, we're not claiming that we're actually

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Speaker 7: going to stand on businesses say that we make and

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Speaker 7: still and laugh about the luxury in private school because

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Speaker 7: of what we've done for two plus decades now, that's

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Speaker 7: insane and incredible, with more to come. I haven't written

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Speaker 7: my best song yet.

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Speaker 3: Talk about loads of them.

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Speaker 7: I can write so much more like and Will. There's

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Speaker 7: too much life to be had. It's too many memories

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Speaker 7: to make, and just to see the reaction from people

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Speaker 7: in the audience listening to these songs that we made

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Speaker 7: over that course of time and it resonated in a way.

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Speaker 7: It's powerful and I respect that power, which is why

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Speaker 7: I've only least so much like I've actually contained because

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Speaker 7: it's a responsibility. You're responsible for someone's happiness, heartache, love, life, hate,

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Speaker 7: just through the songs that we make. It is a responsibility,

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Speaker 7: and I do take it seriously. It's terrible, but.

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Speaker 1: It should be though.

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Speaker 7: Not My music isn't for play play like, don't play

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Speaker 7: it if you don't mean it like you want to

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Speaker 7: one night stand and you want to play a Marsha record,

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Speaker 7: it might turn into forever.

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Speaker 1: Listen, I can think you know what, no white ship.

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Speaker 3: Have a wife?

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Speaker 1: What are we doing? How do let's go back to

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Speaker 1: the beginning. When does when does someone say? And in

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Speaker 1: the beginning, give me give me the birthplace of your

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Speaker 1: unique self?

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Speaker 7: Having a crush on the guy that worked in McDonald's

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Speaker 7: in Campbewell, London, England, South London. He was a friend

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Speaker 7: of a kid that lived down the street. His name

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Speaker 7: was Mark. I don't even know his friend's name. I

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Speaker 7: just knew that he had the old school brown McDonald's uniform, remember,

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Speaker 7: like the shitty brown with the hat and the clean

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Speaker 7: pressure like that McDonald Like I have not the big Mac.

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Speaker 7: So my school was within five minutes walking distance. McDonald's

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Speaker 7: was like seven minutes the opposite direction. I didn't need

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Speaker 7: to be over there, but would go over there and

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Speaker 7: just stand outside the window salivating over well the cheeseburger,

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Speaker 7: but him as well. And this song I wrote in

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Speaker 7: my head at the time was called Gonna Get You,

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Speaker 7: So I was out to get it like like it

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Speaker 7: was called gonna get You like I was walking down

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Speaker 7: the road, saw your face. It was so terrible. You

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Speaker 7: looked at me, Yeah, you were away. It was like

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Speaker 7: really corny, really cheesy, but the core of it of

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Speaker 7: it twelve thirteen year old melody. Years go by. Now

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Speaker 7: I'm in my teens, teens, teens where feelings are true feelings.

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Speaker 7: And that turned into butterflies. So it was I just

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Speaker 7: want to touch and kiss and I wish that I

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Speaker 7: could be with you tonight. You would be butterflies. So

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Speaker 7: I wrote Butterflies about him at what age I was

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Speaker 7: like sixteen? I had to be sixteen seventeen because I

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Speaker 7: was definitely going to that bust up to get the

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Speaker 7: thirty five thirty five bus to Brixton to play for

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Speaker 7: the Brixton Topcats. I was still playing ball at that time,

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Speaker 7: and I would go to that McDonald's every single time

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Speaker 7: get the bus.

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Speaker 3: How long did he work at that McDonald's. It was

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Speaker 3: like three four years he put it in time.

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Speaker 7: I just remember the uniform going from dusty brown to

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Speaker 7: you know, the white shirt. So maybe it was flipping

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Speaker 7: burgers at first and then sweeping the floor like the

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Speaker 7: big exactly exactly, So butterflies happens from that. So my

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Speaker 7: unique perspective on seeing this very monotonous scenario come from

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Speaker 7: innocent feelings like oh, one day I'm gonna get you.

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Speaker 7: I'm gonna get you to I have feelings you give

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Speaker 7: me butterflies, like all you're gonna do is just walk

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Speaker 7: away and pass me by. I don't even acknowledge my

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Speaker 7: smile when I tried to say hello to you. M Yeah,

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Speaker 7: so I felt that, but really melodically and in composing

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Speaker 7: certain songs like that stemmed from my obsession with Jodasy.

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Speaker 3: There's always that, yeah.

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Speaker 7: Like Jodasy has been my reason. Okay, so Prince Michael Stevie,

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Speaker 7: no particular order, favorite artists of all time, and they're

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Speaker 7: like the umbrellas of then everyone else because I can

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Speaker 7: say all the other names, they just go in those brackets. Stevie,

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Speaker 7: every performer, writer, musician, prince, complete, rock star, abstract in

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Speaker 7: his own way. Michael was just a fucking star. Yeah, yeah, stars,

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Speaker 7: legend star of stars, hits of hits, and I loved

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Speaker 7: them all dearly. I didn't want to make music until

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Speaker 7: I heard the production of Davante make music like sit there, figure.

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Speaker 3: Out anybody in your family making music? Though, or not dad,

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Speaker 3: your dad.

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Speaker 7: My dad was a musician and basketball coach, hence me.

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Speaker 7: So it was him playing bass or league guitar, singing

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Speaker 7: in a seventies funk band called Supercharge that were actually

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Speaker 7: signed to Virgin You know what I'm saying.

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Speaker 3: I like that.

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Speaker 7: When I was born one and that like Supercharger is

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Speaker 7: doing it. So I had that background. And there's me

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Speaker 7: watching my dad play all these instruments and don't touch that,

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Speaker 7: and he you know, missing me into Okay, I'm gonna

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Speaker 7: touch it. I'm play this bass real quick, and play

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Speaker 7: these keys real quick, and play you know. So the

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Speaker 7: love for music came from just it being around me.

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Speaker 7: But listening to that Jodicy era, the New Jack Swing era,

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Speaker 7: I was like, what I think doing? What is this thing?

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Speaker 7: Let me figure out these chords, Let me listen to

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Speaker 7: these harmonies. What do you do again? And then I'm

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Speaker 7: the fifth member of joy Bocally. I can find the

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Speaker 7: other harmony in anything like.

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Speaker 5: It's insane, like maybe I was the fifth member. Do

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Speaker 5: you think you can be sick?

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Speaker 7: We can fight, we can fight.

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Speaker 3: He said that way too confidently. I don't know if

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Speaker 3: you've met.

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Speaker 7: You gave yourself a name nice to meet you, Jayon.

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Speaker 8: Misters because I'm both mister mister, yeah, I feel you.

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Speaker 3: I don know this episode we had.

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Speaker 7: And he verified this. Yeah, I don't know we actually verified.

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Speaker 7: But other than thanked you for being so craciously, I'm kind.

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Speaker 7: But I will say without I don't know.

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Speaker 3: Fifty six. There's a lot of us out here.

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Speaker 7: There's no me, there's nine.

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Speaker 1: Seriously, I'm going to.

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Speaker 7: List all right, listen to any one of my songs

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Speaker 7: a cappella and really hear my harmony arrangements and just

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Speaker 7: know where that comes from so you can claim whatever

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Speaker 7: your spot is. I just know from you. It's all

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Speaker 7: in there, all of that influences in there. And my

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Speaker 7: reasons why to create the way I create stemmed from

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Speaker 7: really picking apart what that was, and it was from

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Speaker 7: the the interludes, like the nerve of the interludes. We're

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Speaker 7: just outrageous in nineties R and B and to want

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Speaker 7: to carry that further and keep the integrity of what

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Speaker 7: my R and B for me is what I pursued

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Speaker 7: this entire time. And the longevity in that is why

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Speaker 7: you can sustain that. Because people want to feel exactly that,

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Speaker 7: they want to fight for their sixth or seventh position

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Speaker 7: that they so claim your.

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Speaker 3: Set, don't make me called casey.

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Speaker 7: I got I'll call the family.

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Speaker 1: I'll yeah, I'll.

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Speaker 3: Call this mama.

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Speaker 8: How about that you love you love?

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Speaker 3: I gotta step I gotta step aside on that.

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Speaker 7: Okay, So yeah, I might have to bow down to

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Speaker 7: That's that's that's that's fine.

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Speaker 3: I say.

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Speaker 7: The worst thing are we fighting over twenty thirty years

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Speaker 7: from now?

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Speaker 3: The worst thing is don't go to an NBA game

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Speaker 3: with Tank?

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Speaker 8: Why every NBA niggas, Mama are the biggest Tank fans

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Speaker 8: you've ever met in your life. It's the craziest. It's

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Speaker 8: the craziest thing in the world. I'm like, wait, wait,

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Speaker 8: who mama is that?

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Speaker 3: Oh? You know that's that's that's just man. You know

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Speaker 3: I had to go saying Hay birthday, I graduated. That's

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Speaker 3: how he Trump's that all arguments.

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Speaker 4: I call the mom that's not fair.

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Speaker 1: I get their mama's tickets.

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Speaker 3: Their mama's tickets. It's true.

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Speaker 7: Yeah, there's nothing you can do about that.

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00:19:26,080 --> 00:19:31,399
Speaker 8: Nothing Like So when you were so, when you're going

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Speaker 8: through this phase right where you're you're becoming this songwriter

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Speaker 8: and you're loving the music, you're also playing basketball.

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Speaker 3: How are you.

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Speaker 8: Juggling too, because what you're talking about musically is not

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Speaker 8: a locker room conversation. No, that's not like you're not

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Speaker 8: taking the Jogsy tapes into the basketball locker room and

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Speaker 8: y'all talking about the divante harmonies in the in the in.

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Speaker 3: The piano.

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Speaker 7: That was having well the Walkman at the time, which

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Speaker 7: is shaky, juggly cassette tape advancing into the CD. It

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Speaker 7: was me with my headphones and all of the teammates, oh,

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Speaker 7: sing that song again. Yeah, So that was my way

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Speaker 7: of sharing it and then getting the you know, still

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Speaker 7: very insecure in that aren and I didn't really want

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Speaker 7: to be on any stages, didn't want to be seen,

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Speaker 7: but my teammates through.

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Speaker 3: Your height.

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Speaker 7: That again your wife, you can sing, and I'm like.

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Speaker 3: You putting in your time.

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Speaker 7: Yeah.

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Speaker 3: So that was my.

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Speaker 7: Very intimate first experience of putting myself out there. So

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Speaker 7: that was my version of Okay, maybe I'm onto something.

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Speaker 7: So I wasn't juggling, not according to my dad, who

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Speaker 7: was very much you're going to be about this possible

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Speaker 7: life one hundred percent, or you're going to take music seriously.

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Speaker 7: And I didn't take music seriously until I tore ligaments.

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Speaker 7: Can we get the violins or something that moment, because

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Speaker 7: it was we got devastating, devastating, it was tragic. Keep on.

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00:21:14,480 --> 00:21:19,119
Speaker 7: I heard the crunch, but in America, I wasn't. I

336
00:21:19,160 --> 00:21:22,800
Speaker 7: was still overseas. I was playing a three on three

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Speaker 7: pickup game at Elephant and Castle Gym, and we hadn't

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Speaker 7: lost the game, and I just wanted to play one

339
00:21:32,600 --> 00:21:37,240
Speaker 7: more game. We lost the last game and I was like, nah,

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Speaker 7: I'm not leaving the floor until we win again. Played

341
00:21:40,960 --> 00:21:46,200
Speaker 7: music again, played music. So I played that last game,

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Speaker 7: and I remember receiving the ball m Remember it was

343
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Speaker 7: like yesterday. I went to crossover and as soon as

344
00:22:02,200 --> 00:22:09,480
Speaker 7: I hit that pivot crunch, It's like a bricocheted through

345
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Speaker 7: the entire gym, and I just want to break down

346
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Speaker 7: the crack.

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Speaker 2: Lord help me.

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Speaker 7: Yeah, it was over then, and then you can start

349
00:22:38,040 --> 00:22:44,480
Speaker 7: now after that the whole world and no, there's no

350
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Speaker 7: need to get sad.

351
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Speaker 1: It's so great with your extity and we've done nothing.

352
00:22:50,600 --> 00:22:52,960
Speaker 7: So that's what happened. It was a movie scene. It

353
00:22:53,040 --> 00:22:58,879
Speaker 7: was like slow motion, and I hadn't seen my life

354
00:22:59,160 --> 00:23:21,479
Speaker 7: without basket until that morning, heartbreaking me, crushing, like you

355
00:23:21,560 --> 00:23:24,320
Speaker 7: don't picture your life without the thing that you love

356
00:23:24,480 --> 00:23:29,720
Speaker 7: until you've lost it. So music hobby can listen to

357
00:23:29,880 --> 00:23:33,760
Speaker 7: music all day. My mother's vinyl collection outrageous, Go in

358
00:23:33,800 --> 00:23:37,800
Speaker 7: the crib Basketball. I'm up first thing in the morning.

359
00:23:37,840 --> 00:23:40,280
Speaker 7: It's late nights and early mornings for basketball. For me,

360
00:23:40,480 --> 00:23:45,800
Speaker 7: it was practice Monday through Friday, away game, Saturday, home game,

361
00:23:45,840 --> 00:23:49,560
Speaker 7: Sunday repeat. I didn't have a day off, not with basketball.

362
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Speaker 7: And then it's gone and I was like, Okay, what

363
00:23:53,560 --> 00:23:56,320
Speaker 7: am I going to do. I'm going to write about it.

364
00:23:57,200 --> 00:24:00,320
Speaker 7: And I got home, got a diary, got in front

365
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Speaker 7: of my piano, and I wrote the song If I

366
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Speaker 7: Was a Bird, and that was about losing basketball, which

367
00:24:09,320 --> 00:24:12,199
Speaker 7: was then a part of the first Flowsry album. So

368
00:24:12,280 --> 00:24:16,720
Speaker 7: If I Was a Bird stemmed from Michael Jordan's documentary

369
00:24:16,760 --> 00:24:19,480
Speaker 7: at the time, Come Fly with Me. I used to

370
00:24:19,560 --> 00:24:26,160
Speaker 7: watch that'll repeat every day day and it was without basketball,

371
00:24:26,200 --> 00:24:29,840
Speaker 7: my life is incomplete. So it's like you have me

372
00:24:29,960 --> 00:24:33,920
Speaker 7: caught up in this starry eyed well the dreams, and

373
00:24:36,160 --> 00:24:37,480
Speaker 7: it's that one last shot.

374
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Speaker 8: All these songs are about flipping burgers and shooting baskets.

375
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Speaker 7: Regular I take the most regular ship and I make

376
00:24:51,200 --> 00:24:56,679
Speaker 7: it your every day like most of my prolific long

377
00:24:57,080 --> 00:25:00,280
Speaker 7: jevity long game. I want this music to in the

378
00:25:00,320 --> 00:25:02,800
Speaker 7: space forever. A basic sayings it's what you're going to

379
00:25:02,880 --> 00:25:04,800
Speaker 7: do is say yes, getting late? Why are you going

380
00:25:04,800 --> 00:25:05,280
Speaker 7: to be here?

381
00:25:05,640 --> 00:25:05,920
Speaker 2: Hello?

382
00:25:06,040 --> 00:25:09,280
Speaker 7: How are you? Were you up to nothing? I hope

383
00:25:09,320 --> 00:25:11,240
Speaker 7: you choose on you with a possible player. It's very

384
00:25:11,400 --> 00:25:14,080
Speaker 7: matter of fact, yeah, far away and every minute you're

385
00:25:14,080 --> 00:25:15,680
Speaker 7: going to missing you. So it's going to be a

386
00:25:15,760 --> 00:25:18,399
Speaker 7: late night early morning when I come home.

387
00:25:19,720 --> 00:25:20,920
Speaker 3: It just feels like.

388
00:25:23,520 --> 00:25:30,320
Speaker 5: Not not that your universal calling, will you know, make

389
00:25:30,359 --> 00:25:33,399
Speaker 5: the floor a little extra slippery at that time or

390
00:25:34,160 --> 00:25:38,400
Speaker 5: make your shoes stick to the parquet so that your need.

391
00:25:38,119 --> 00:25:39,639
Speaker 3: Goes to that.

392
00:25:39,880 --> 00:25:44,920
Speaker 5: Not that it does that, right, but your calling has

393
00:25:45,000 --> 00:25:52,600
Speaker 5: a way of showing itself and showing up to where

394
00:25:52,680 --> 00:25:57,160
Speaker 5: you ultimately don't have a choice.

395
00:25:57,480 --> 00:26:01,560
Speaker 7: I agree with that, and that just comes with what

396
00:26:01,760 --> 00:26:04,640
Speaker 7: is our gift. We can run from it if we

397
00:26:04,680 --> 00:26:07,600
Speaker 7: want to, and it's gonna be right there going up.

398
00:26:07,920 --> 00:26:10,800
Speaker 7: Excuse me. The gift that I gave you, it's time

399
00:26:10,840 --> 00:26:12,840
Speaker 7: for you to give it to the world because that's

400
00:26:12,880 --> 00:26:15,560
Speaker 7: what you've been blessed with and regardless of where your

401
00:26:15,560 --> 00:26:18,000
Speaker 7: head's face is. That what you think this is about

402
00:26:18,000 --> 00:26:21,280
Speaker 7: to be, this is actually what it is. So even

403
00:26:21,280 --> 00:26:26,440
Speaker 7: when I wanted to quit, like very recently, not quit,

404
00:26:26,920 --> 00:26:31,800
Speaker 7: I just feel like I've completed well. I wanted out

405
00:26:31,840 --> 00:26:36,280
Speaker 7: of this space. It's like Super Mario Brothers Level eight.

406
00:26:36,520 --> 00:26:39,320
Speaker 7: I jumped over the Dragon and Save the Princess. I'm out,

407
00:26:39,440 --> 00:26:42,200
Speaker 7: Like it's done. I don't need to do anymore. There's

408
00:26:42,200 --> 00:26:47,000
Speaker 7: nothing to prove. I wanted to sell a couple million records,

409
00:26:47,080 --> 00:26:50,600
Speaker 7: work with my favorite artists, and I did all of

410
00:26:50,640 --> 00:26:55,080
Speaker 7: the things that should be someone's bucket list very early on,

411
00:26:55,720 --> 00:26:59,760
Speaker 7: like how a song that I wrote about the Doo

412
00:26:59,760 --> 00:27:05,000
Speaker 7: Doo Brown Michael, I mean McDonald's his name might have

413
00:27:05,040 --> 00:27:07,840
Speaker 7: been Michael. I don't know, Like who knows. We're just

414
00:27:08,640 --> 00:27:10,760
Speaker 7: trying to figure out where are you? I really want

415
00:27:10,800 --> 00:27:15,720
Speaker 7: to know where this guy is. I didn't know. Years later,

416
00:27:15,880 --> 00:27:20,840
Speaker 7: Michael Jackson would hear a demo that was presented to

417
00:27:20,920 --> 00:27:24,679
Speaker 7: him by John McClain, presented to him as a flower

418
00:27:24,720 --> 00:27:27,120
Speaker 7: Tree album like look, I want you to hear these Girls,

419
00:27:27,160 --> 00:27:30,960
Speaker 7: and a part of that demo package where the original

420
00:27:30,960 --> 00:27:35,760
Speaker 7: Flowa Tree album, including two songs that were just demos.

421
00:27:35,960 --> 00:27:37,960
Speaker 7: Say Yes was one of them. Say Yes was written

422
00:27:37,960 --> 00:27:41,520
Speaker 7: for Rod Eisley and Me and Drey Harris did that

423
00:27:42,000 --> 00:27:45,160
Speaker 7: he didn't take, but it was specifically catered to him,

424
00:27:45,440 --> 00:27:48,040
Speaker 7: but he didn't take it. So he ended up doing

425
00:27:48,040 --> 00:27:51,119
Speaker 7: a duet with Jill Scott for that project and didn't

426
00:27:51,119 --> 00:27:53,120
Speaker 7: take Say Yes to Say Yes is just sitting there

427
00:27:53,240 --> 00:27:58,240
Speaker 7: is this lonely demo shipped to bab Babyface didn't want it,

428
00:27:58,320 --> 00:28:03,600
Speaker 7: so now it's just this outstanding song as well as Butterflies. So, Mike,

429
00:28:03,880 --> 00:28:07,280
Speaker 7: is this butterfly song on this flow at You demo?

430
00:28:07,480 --> 00:28:07,560
Speaker 1: Like?

431
00:28:08,000 --> 00:28:08,520
Speaker 7: What's that?

432
00:28:08,600 --> 00:28:08,800
Speaker 1: Though?

433
00:28:08,920 --> 00:28:09,680
Speaker 7: Can I have that?

434
00:28:09,720 --> 00:28:09,920
Speaker 3: Mike?

435
00:28:10,000 --> 00:28:16,159
Speaker 7: You can have the entire album? You know just what

436
00:28:16,680 --> 00:28:20,080
Speaker 7: kind of that's two coming to America. That's why, like

437
00:28:20,160 --> 00:28:25,080
Speaker 7: between the Big Bucks and this. Okay, so I didn't

438
00:28:25,119 --> 00:28:27,600
Speaker 7: know that that's how these things were going to transpire,

439
00:28:27,680 --> 00:28:33,920
Speaker 7: but you dream big enough, big dreams happen, So when

440
00:28:33,920 --> 00:28:40,720
Speaker 7: it starts to happen, I can't then say not I quit,

441
00:28:40,920 --> 00:28:44,360
Speaker 7: but there's gonna be more in me. If that was

442
00:28:44,400 --> 00:28:49,400
Speaker 7: my start, I can't start there. And then where do

443
00:28:49,400 --> 00:28:50,280
Speaker 7: you go from there? Though?

444
00:28:51,320 --> 00:28:51,680
Speaker 3: Wherever?

445
00:28:51,720 --> 00:28:53,000
Speaker 1: You just keep going?

446
00:28:53,440 --> 00:28:56,520
Speaker 7: And that's exactly what I did. That was the year

447
00:28:56,800 --> 00:29:03,640
Speaker 7: two thousand that that demo resurfaces, is repurposed and Andre

448
00:29:03,760 --> 00:29:05,760
Speaker 7: Harris and myself go in the b room of a

449
00:29:05,880 --> 00:29:08,920
Speaker 7: Touch of Jazz and I'm like, look, I have this record. Ray,

450
00:29:08,960 --> 00:29:11,800
Speaker 7: I know that you are the guy you did Long

451
00:29:11,880 --> 00:29:15,280
Speaker 7: Walk the Way like my favorite Jill Records. I no issue,

452
00:29:15,440 --> 00:29:18,840
Speaker 7: Let's get this. We do that demo. By March of

453
00:29:18,840 --> 00:29:21,200
Speaker 7: two thousand and one, we're in the studio with Michael

454
00:29:21,240 --> 00:29:23,160
Speaker 7: Jackson telling him what to do and how to do it,

455
00:29:23,200 --> 00:29:25,800
Speaker 7: like he's behind the glass like your mike one more time,

456
00:29:25,920 --> 00:29:29,480
Speaker 7: bit pitchy one time, me with the talk back, telling

457
00:29:29,560 --> 00:29:33,440
Speaker 7: Michael Jackson, I'm twenty three at that time.

458
00:29:34,000 --> 00:29:36,000
Speaker 1: You guys don't yet.

459
00:29:37,200 --> 00:29:40,880
Speaker 7: We signed our deal December, so the end of that year,

460
00:29:40,960 --> 00:29:44,680
Speaker 7: so we were already at DreamWorks and then the album's done.

461
00:29:45,160 --> 00:29:48,160
Speaker 7: So we're literally waiting for papers at that point to

462
00:29:48,320 --> 00:29:50,880
Speaker 7: illegal aliens trying to get this record deal. So it

463
00:29:50,960 --> 00:29:54,080
Speaker 7: was hey, let's get you some visas so we can

464
00:29:54,120 --> 00:29:54,400
Speaker 7: put you.

465
00:29:54,960 --> 00:29:56,040
Speaker 3: Is that yeah?

466
00:29:56,080 --> 00:30:00,280
Speaker 7: So the album, our album didn't drop until October that

467
00:30:00,320 --> 00:30:02,960
Speaker 7: following year. I think by the time all that was

468
00:30:03,000 --> 00:30:10,760
Speaker 7: squad Away. Yeah, there's Michael Jackson like Michael mother Jackson.

469
00:30:10,440 --> 00:30:13,800
Speaker 8: And the thing too, like you said, it all comes

470
00:30:13,840 --> 00:30:16,880
Speaker 8: from your demos going through the hands of John McClain,

471
00:30:17,160 --> 00:30:21,560
Speaker 8: who are and at this point he's at DreamWorks. If

472
00:30:21,560 --> 00:30:27,520
Speaker 8: you sign anywhere else for what Michael Jackson never hears.

473
00:30:29,160 --> 00:30:31,200
Speaker 8: We just always we like to connect it, you know,

474
00:30:31,400 --> 00:30:33,640
Speaker 8: we like to connect the dots. And you know when

475
00:30:33,640 --> 00:30:35,720
Speaker 8: people are thinking of why I did this or why

476
00:30:35,760 --> 00:30:37,600
Speaker 8: I didn't do this and all these other things, and

477
00:30:37,640 --> 00:30:42,920
Speaker 8: what didn't come from something like just signing to this,

478
00:30:43,760 --> 00:30:48,880
Speaker 8: you know, Boutiquet.

479
00:30:50,120 --> 00:30:55,080
Speaker 7: Supposed to be with Motown and then it's John McClain

480
00:30:55,160 --> 00:30:59,000
Speaker 7: and Michael Jackson and it's might want to go that

481
00:30:59,160 --> 00:31:01,040
Speaker 7: route because yeah.

482
00:31:00,720 --> 00:31:02,240
Speaker 3: I'm gonna need these butterflies.

483
00:31:02,840 --> 00:31:06,560
Speaker 7: Yes, And that's how business wise, that's how that all

484
00:31:06,640 --> 00:31:11,280
Speaker 7: kind of transpired, which is crazy about Michael Jackson himself

485
00:31:11,440 --> 00:31:13,880
Speaker 7: telling me, you know, if this is your beginning, imagine

486
00:31:13,880 --> 00:31:14,640
Speaker 7: where you're gonna go.

487
00:31:14,880 --> 00:31:15,040
Speaker 1: Right.

488
00:31:15,160 --> 00:31:17,640
Speaker 7: So Flow Tree go on to go platinum, couple of

489
00:31:17,640 --> 00:31:20,960
Speaker 7: Grimy Nuds and toured for years and then.

490
00:31:21,200 --> 00:31:25,080
Speaker 5: So here's a question before you go there, does the

491
00:31:25,240 --> 00:31:28,960
Speaker 5: Michael Jackson work Just that being in that conversation and

492
00:31:29,680 --> 00:31:36,320
Speaker 5: being in that room make the flow a tree that

493
00:31:36,480 --> 00:31:38,320
Speaker 5: much more urgent to the building.

494
00:31:39,480 --> 00:31:41,120
Speaker 3: Did you guys become more of a priority?

495
00:31:41,200 --> 00:31:44,440
Speaker 7: Yeah, well, like you said before, it was still very

496
00:31:44,520 --> 00:31:47,840
Speaker 7: much boutique. So it's on the rock side, it was

497
00:31:47,880 --> 00:31:51,720
Speaker 7: what alien Ant Farm. On the urban side, it was ourselves,

498
00:31:53,280 --> 00:31:58,280
Speaker 7: ron Issley, what's her name? Why am I missing that

499
00:31:58,400 --> 00:32:05,680
Speaker 7: right now? I really? Oh no, what you came before? Sorry,

500
00:32:06,440 --> 00:32:12,880
Speaker 7: I think, lovely girl, we've actually had conversations. No, I

501
00:32:12,960 --> 00:32:17,480
Speaker 7: don't think so. It was very It was this is

502
00:32:17,640 --> 00:32:20,160
Speaker 7: two thousand when we signed, but two thousand and one

503
00:32:20,240 --> 00:32:22,080
Speaker 7: when all of these things started to happen. So I'm

504
00:32:22,120 --> 00:32:25,360
Speaker 7: not saying there was a level of urgency now that

505
00:32:25,520 --> 00:32:29,160
Speaker 7: these I think it was a talking point. So even

506
00:32:29,200 --> 00:32:31,160
Speaker 7: with our papers not being done, it wasn't like we

507
00:32:31,200 --> 00:32:35,360
Speaker 7: could release the album that day and Flower try the

508
00:32:35,400 --> 00:32:40,280
Speaker 7: floetic album. We're talking a completely different time in industry,

509
00:32:40,320 --> 00:32:43,760
Speaker 7: like our first video was up for a vm A,

510
00:32:44,040 --> 00:32:46,120
Speaker 7: like we're up against cold Play like we were. We

511
00:32:46,200 --> 00:32:49,880
Speaker 7: had different budgets back then, and so it was it

512
00:32:49,960 --> 00:32:53,600
Speaker 7: was different. So I had a different spoiled experience of

513
00:32:53,600 --> 00:32:58,040
Speaker 7: what industry was like. And I don't think even with

514
00:32:58,160 --> 00:33:01,920
Speaker 7: a Michael Jackson coming into play, when the album was released,

515
00:33:01,960 --> 00:33:05,360
Speaker 7: Butterflies were still very much in his the demo on

516
00:33:05,520 --> 00:33:08,480
Speaker 7: the actual album, the Butterfly's demo that Marsh was saying,

517
00:33:08,480 --> 00:33:09,200
Speaker 7: and this is why.

518
00:33:10,400 --> 00:33:12,040
Speaker 3: Yeah, the fact that you guys were able to use

519
00:33:12,080 --> 00:33:14,280
Speaker 3: it on the album too, that was.

520
00:33:14,240 --> 00:33:16,080
Speaker 7: A dream work. It's play and they could because it

521
00:33:16,120 --> 00:33:19,400
Speaker 7: was the same building and it was like the the

522
00:33:19,520 --> 00:33:24,600
Speaker 7: Silent not so Silent co sign had no Michael, he's

523
00:33:24,720 --> 00:33:25,400
Speaker 7: my girls.

524
00:33:25,560 --> 00:33:27,920
Speaker 3: They looked out for me. I'm looking out and that's

525
00:33:27,920 --> 00:33:28,680
Speaker 3: what that was.

526
00:33:29,120 --> 00:33:30,680
Speaker 1: I think you should use it as well.

527
00:33:32,200 --> 00:33:33,400
Speaker 7: Do you think he said it just like that?

528
00:33:34,040 --> 00:33:36,120
Speaker 3: Oh you know the voice of everybody be throwing around it.

529
00:33:36,240 --> 00:33:42,760
Speaker 7: Just use this shit man, the Michael voice he gives.

530
00:33:43,200 --> 00:33:46,000
Speaker 7: You're a singer. I know you have a deep, husky voice,

531
00:33:46,040 --> 00:33:49,520
Speaker 7: but preservation is key. I feel like he only had

532
00:33:49,520 --> 00:33:53,920
Speaker 7: that voice. He was preserving every single ounce of his

533
00:33:54,480 --> 00:33:59,400
Speaker 7: vocal to just be the icon and performed that.

534
00:33:59,440 --> 00:34:02,360
Speaker 3: He was Jackson talking with the talks off.

535
00:34:02,800 --> 00:34:04,200
Speaker 8: When they talk to you, they talk about they don't,

536
00:34:04,200 --> 00:34:06,720
Speaker 8: they don't, they don't project, they don't do a whole bunch.

537
00:34:06,560 --> 00:34:09,680
Speaker 1: Of cracking jokes and laughing and drinking.

538
00:34:11,320 --> 00:34:15,160
Speaker 7: I was in the studio, me and Andre Harris in

539
00:34:15,239 --> 00:34:18,640
Speaker 7: the studio with Michael Jackson. It was nothing but jokes.

540
00:34:18,920 --> 00:34:21,400
Speaker 1: Did you have completely full.

541
00:34:21,520 --> 00:34:26,360
Speaker 7: Beverages you beves? No kids?

542
00:34:26,960 --> 00:34:27,400
Speaker 3: What about?

543
00:34:29,400 --> 00:34:32,840
Speaker 7: But we did have smothered turkey chops and mac and

544
00:34:32,920 --> 00:34:36,279
Speaker 7: cheese and strawberry shortcake from a soul food spot in

545
00:34:36,320 --> 00:34:40,440
Speaker 7: New York called Jezebels. We had that every day, every day,

546
00:34:40,200 --> 00:34:42,000
Speaker 7: every day I put on.

547
00:34:44,360 --> 00:34:44,400
Speaker 5: No.

548
00:34:44,520 --> 00:34:46,880
Speaker 7: It was was lovely like Paris and Prince when they

549
00:34:46,880 --> 00:34:50,520
Speaker 7: were very very young, just kids chilling in the studio

550
00:34:50,719 --> 00:34:55,520
Speaker 7: like it was very family environment. It was a wild time.

551
00:34:55,760 --> 00:34:59,399
Speaker 8: So when you get this record placed, have you done

552
00:35:00,080 --> 00:35:01,200
Speaker 8: getting your record deal done?

553
00:35:01,200 --> 00:35:03,240
Speaker 3: Have you done your publishing deal yet? Or did people?

554
00:35:03,719 --> 00:35:04,319
Speaker 3: How did that go?

555
00:35:04,880 --> 00:35:13,440
Speaker 7: Okay? So I already had a dusty your first publishing deal,

556
00:35:14,200 --> 00:35:16,439
Speaker 7: you know, one of those. So they're just very much

557
00:35:16,480 --> 00:35:20,040
Speaker 7: doing me in the studio with whoever see what sticks.

558
00:35:20,400 --> 00:35:23,040
Speaker 7: And then I've gone to the States on a whim

559
00:35:23,080 --> 00:35:26,799
Speaker 7: to do this flowtry thing that pans out ultimately, and

560
00:35:26,840 --> 00:35:30,760
Speaker 7: then it's hey, I've got you know, a placement on Michael.

561
00:35:32,880 --> 00:35:36,520
Speaker 7: So we're only up the ante for me and lent

562
00:35:36,680 --> 00:35:39,800
Speaker 7: to there like oh ship, We've got a writer who's

563
00:35:39,800 --> 00:35:40,879
Speaker 7: got Michael Jackson Record.

564
00:35:40,960 --> 00:35:43,160
Speaker 3: Did you renegotiate absolute.

565
00:35:46,239 --> 00:35:49,239
Speaker 7: In retrospect, you kind of wish you just cashed out

566
00:35:49,320 --> 00:35:51,080
Speaker 7: then and ship.

567
00:35:51,400 --> 00:35:54,000
Speaker 8: Yes at the time, but you didn't know that that

568
00:35:54,080 --> 00:36:00,799
Speaker 8: money got you to.

569
00:35:57,800 --> 00:36:02,160
Speaker 7: America coming to a May game and had the means

570
00:36:02,200 --> 00:36:02,680
Speaker 7: to do it.

571
00:36:02,760 --> 00:36:05,279
Speaker 8: So yeah, yeah, if you don't mind me asking, how

572
00:36:05,360 --> 00:36:07,359
Speaker 8: did they give you for your before before you.

573
00:36:07,320 --> 00:36:11,080
Speaker 7: Did ten grand? Yeah?

574
00:36:11,840 --> 00:36:13,440
Speaker 3: Did you have a crazy commitment?

575
00:36:14,000 --> 00:36:16,720
Speaker 7: No, it wasn't that bad of a commitment, but there.

576
00:36:17,280 --> 00:36:20,920
Speaker 9: If it was an MDRC though, absolutely, Okay, Okay, So

577
00:36:22,080 --> 00:36:24,279
Speaker 9: if you look at it, like you never had a

578
00:36:24,320 --> 00:36:26,760
Speaker 9: record deal yet and you didn't know where these placements

579
00:36:26,800 --> 00:36:30,080
Speaker 9: were even coming from, outrageous deal that I was.

580
00:36:30,040 --> 00:36:33,920
Speaker 7: Then stuck into four years because of the renegotiation. Now

581
00:36:33,960 --> 00:36:35,879
Speaker 7: they're trying to hold onto you and you're like, well

582
00:36:36,719 --> 00:36:37,120
Speaker 7: help me.

583
00:36:37,280 --> 00:36:40,240
Speaker 5: Yeah, but you got in at the time, give us

584
00:36:40,280 --> 00:36:43,719
Speaker 5: before the threshold were created, so.

585
00:36:45,120 --> 00:36:48,799
Speaker 3: You were able to with that one album to.

586
00:36:48,880 --> 00:36:49,400
Speaker 7: What needs to do?

587
00:36:50,320 --> 00:36:54,320
Speaker 1: Yeah, move through a turn right, even.

588
00:36:54,200 --> 00:36:56,920
Speaker 7: Up until late nights and early mornings, which is what

589
00:36:57,120 --> 00:37:00,640
Speaker 7: twenty eleven, twenty twelve, that wasn't so bad. And I've

590
00:37:00,640 --> 00:37:03,920
Speaker 7: had this conversation before with record deals that were signed

591
00:37:04,040 --> 00:37:08,160
Speaker 7: pre dating this streaming eerror is how are we supposed

592
00:37:08,200 --> 00:37:12,839
Speaker 7: to fulfill album commitments in terms under those same contracts?

593
00:37:12,920 --> 00:37:15,640
Speaker 7: Because tower records don't exist. We can't do it in

594
00:37:15,719 --> 00:37:18,839
Speaker 7: store signing. There's nothing physical for me to actually give you.

595
00:37:19,320 --> 00:37:22,560
Speaker 7: So what stipulates in my deal that I haven't turned

596
00:37:22,560 --> 00:37:25,360
Speaker 7: that around already because the stream is not going to

597
00:37:25,400 --> 00:37:29,680
Speaker 7: do it the dollar amount my contract, everyone has to

598
00:37:29,719 --> 00:37:31,799
Speaker 7: go back to the table. We're like stuck on a deal.

599
00:37:32,400 --> 00:37:35,440
Speaker 7: I'd be in a five album deal for one hundred

600
00:37:35,480 --> 00:37:38,080
Speaker 7: and twenty seven years now.

601
00:37:39,800 --> 00:37:42,920
Speaker 3: Tape don't count until it reaches.

602
00:37:43,520 --> 00:37:45,759
Speaker 7: Two billion streams like.

603
00:37:47,520 --> 00:37:51,640
Speaker 5: Physical discount for this much of it. The digital only

604
00:37:51,760 --> 00:37:52,759
Speaker 5: counts for this.

605
00:37:53,320 --> 00:37:55,719
Speaker 7: But where does it say that in your contract? And

606
00:37:55,800 --> 00:37:58,680
Speaker 7: where's the clause that even automatic?

607
00:37:59,400 --> 00:38:03,120
Speaker 1: The automatic based on their negotiations.

608
00:38:02,520 --> 00:38:06,239
Speaker 7: With Right, they've been talking to the digital service platforms,

609
00:38:06,239 --> 00:38:09,360
Speaker 7: which is insane. So if you write a lot of

610
00:38:09,360 --> 00:38:13,600
Speaker 7: your songs and produce, so that's your hundred percent, and

611
00:38:13,680 --> 00:38:15,560
Speaker 7: you might break off a producer if they came in

612
00:38:15,600 --> 00:38:17,399
Speaker 7: and say, Okay, I'm going to layer up, so I'm

613
00:38:17,400 --> 00:38:20,640
Speaker 7: going to take let's go with eighty twenty. So out

614
00:38:20,640 --> 00:38:23,080
Speaker 7: of eighty percent of that record, that you have and

615
00:38:23,120 --> 00:38:26,719
Speaker 7: you put it on iTunes or Amazon and you put

616
00:38:26,719 --> 00:38:29,600
Speaker 7: it for sale, you're getting a substantial amount of your

617
00:38:29,600 --> 00:38:33,400
Speaker 7: eighty percent as it pertains to a sale. What are

618
00:38:33,400 --> 00:38:39,800
Speaker 7: you getting now is a stream point the fact that

619
00:38:40,000 --> 00:38:40,680
Speaker 7: you said.

620
00:38:40,680 --> 00:38:45,760
Speaker 3: Point fact it starts to start that point it starts.

621
00:38:46,200 --> 00:38:49,320
Speaker 7: So imagine signing these contracts back in the day, your hype.

622
00:38:49,320 --> 00:38:52,319
Speaker 7: You've got a record deal, you write, you produce, you

623
00:38:52,400 --> 00:38:57,239
Speaker 7: know that your fraction of that portion of the entire

624
00:38:57,239 --> 00:39:02,000
Speaker 7: composition is solely yours. Like but Flies seven zero percent,

625
00:39:02,320 --> 00:39:05,359
Speaker 7: mind seventy I have that so when it was out,

626
00:39:05,560 --> 00:39:10,680
Speaker 7: it's seventy, mine all of it. Now streaming it, seventy

627
00:39:10,760 --> 00:39:14,600
Speaker 7: percent of Butterflies by Michael Jackson is reduced to a

628
00:39:14,840 --> 00:39:16,000
Speaker 7: point something.

629
00:39:16,239 --> 00:39:20,080
Speaker 3: Yeah, depending on what platform, it could be point zero.

630
00:39:20,680 --> 00:39:24,520
Speaker 7: Appreciate that zero zero seven in my contract.

631
00:39:25,640 --> 00:39:33,719
Speaker 5: Here's also the question, though, because that's seventy still performs

632
00:39:33,760 --> 00:39:38,839
Speaker 5: well in in the traditional spaces that it performed in. Right,

633
00:39:39,920 --> 00:39:48,040
Speaker 5: you do this? This digital seventy is brand new, brand.

634
00:39:47,680 --> 00:39:48,919
Speaker 3: New, absolutely icing.

635
00:39:49,200 --> 00:39:52,359
Speaker 5: It's like, now we were just talking about this. It

636
00:39:52,400 --> 00:39:55,120
Speaker 5: has to be negotiated, right, better.

637
00:39:55,680 --> 00:39:58,839
Speaker 7: Right, But who starts these conversations like.

638
00:39:59,280 --> 00:40:02,680
Speaker 8: Well, ultimately we have to but you. But we have

639
00:40:02,840 --> 00:40:08,120
Speaker 8: to do it in a sense outside of the major corporations.

640
00:40:08,440 --> 00:40:10,080
Speaker 8: We have to we have to start it from an

641
00:40:10,120 --> 00:40:13,360
Speaker 8: independent sense of saying I will not give you my

642
00:40:13,480 --> 00:40:14,640
Speaker 8: product like.

643
00:40:14,600 --> 00:40:15,839
Speaker 3: I don't like, I don't care.

644
00:40:16,400 --> 00:40:19,440
Speaker 8: It's the same thing is if if you're Nike and

645
00:40:20,239 --> 00:40:22,640
Speaker 8: foot Locker is saying, well, we want to sell your

646
00:40:22,680 --> 00:40:24,719
Speaker 8: shoes for this, this is what we want to give you, right,

647
00:40:24,760 --> 00:40:26,840
Speaker 8: and you being able to say I don't want to

648
00:40:26,840 --> 00:40:28,759
Speaker 8: put my shoes in foot Locker. I'm going to put

649
00:40:28,760 --> 00:40:31,239
Speaker 8: them in Champs, right, And you have to you have

650
00:40:31,320 --> 00:40:34,719
Speaker 8: to make that right. Yes, costs right, So, and I

651
00:40:34,760 --> 00:40:38,640
Speaker 8: think we also have to get into the super fan

652
00:40:38,719 --> 00:40:42,840
Speaker 8: space of literally going direct to consumer.

653
00:40:43,440 --> 00:40:47,120
Speaker 7: So think about just saying that. Imagine when iTunes was

654
00:40:47,200 --> 00:40:49,880
Speaker 7: iTunes and if I go, oh shit, Tank has a

655
00:40:49,920 --> 00:40:52,640
Speaker 7: new release this what was it tuesdays back then? Whenever

656
00:40:52,760 --> 00:40:54,479
Speaker 7: day it was, and I'm like, I want to buy

657
00:40:54,680 --> 00:40:57,440
Speaker 7: your song. It's ninety nine cents or ninety nine pen

658
00:40:57,520 --> 00:40:59,600
Speaker 7: in the UK, I'm going to spend that entire for

659
00:40:59,719 --> 00:41:03,600
Speaker 7: just you. Now with a subscription, you've reduced me to

660
00:41:03,680 --> 00:41:07,320
Speaker 7: a monthly fee. So I, as the consumer have access

661
00:41:07,360 --> 00:41:11,880
Speaker 7: to everything not to specialize in exactly what it is

662
00:41:11,920 --> 00:41:15,680
Speaker 7: that I want. I just have this plethora of music

663
00:41:15,760 --> 00:41:18,000
Speaker 7: to go through and scroll through and not spend or

664
00:41:18,080 --> 00:41:22,160
Speaker 7: invest any time, and it's kind of what the fuck

665
00:41:22,200 --> 00:41:22,719
Speaker 7: do we doing?

666
00:41:23,120 --> 00:41:26,080
Speaker 8: But what it is, though, is that it becomes it

667
00:41:26,160 --> 00:41:30,720
Speaker 8: becomes a form of just radio in a sense, which

668
00:41:30,760 --> 00:41:31,360
Speaker 8: isn't fair.

669
00:41:32,440 --> 00:41:39,239
Speaker 7: It's not fair. It's not fair. It's not a fair game, like.

670
00:41:40,520 --> 00:41:41,120
Speaker 3: To be fair.

671
00:41:41,160 --> 00:41:44,200
Speaker 7: It's never been fair. But we've managed to get the

672
00:41:44,360 --> 00:41:46,880
Speaker 7: R and P money where we can and where we

673
00:41:47,000 --> 00:41:50,480
Speaker 7: have and sustained it. Not a lot of us can

674
00:41:50,560 --> 00:41:54,279
Speaker 7: still get on a stage live and do that part.

675
00:41:54,560 --> 00:41:57,160
Speaker 7: It's very much okay, let me rely on what the

676
00:41:57,200 --> 00:42:01,239
Speaker 7: wave is right now. Gets something that's trending, and that's

677
00:42:01,280 --> 00:42:04,600
Speaker 7: my money, if that's the money. Like, I've never been

678
00:42:04,719 --> 00:42:06,080
Speaker 7: in it for that. I've been in it for the

679
00:42:06,239 --> 00:42:08,600
Speaker 7: art and I've made money because of it. So I

680
00:42:08,600 --> 00:42:13,319
Speaker 7: feel like my intentions were different, like recently having got

681
00:42:13,360 --> 00:42:18,279
Speaker 7: in the studio with Doctor Dre and Doctor Dre very

682
00:42:18,400 --> 00:42:23,719
Speaker 7: unrealistically saying do whatever the fuck you want? Does that

683
00:42:23,800 --> 00:42:28,360
Speaker 7: mean I can play Jesus with music? And that's exactly

684
00:42:28,400 --> 00:42:32,960
Speaker 7: what we did in the studio for this project, Casablanco, like,

685
00:42:34,840 --> 00:42:41,200
Speaker 7: even when you say it's just this mysterious, Yeah, it's

686
00:42:41,239 --> 00:42:43,440
Speaker 7: a bit bigger than an album. And you know, everyone,

687
00:42:43,480 --> 00:42:47,200
Speaker 7: marsh Wednesday, it's a bit bigger than just an album.

688
00:42:47,200 --> 00:42:50,080
Speaker 7: We're talking doctor dre here. So yeah, what took us

689
00:42:51,120 --> 00:42:55,359
Speaker 7: ultimately two weeks to get the grasp of what the

690
00:42:55,480 --> 00:43:01,760
Speaker 7: album actually was, to implement the strings into informent having

691
00:43:01,840 --> 00:43:05,960
Speaker 7: to clear what we decided to borrow and take from

692
00:43:06,040 --> 00:43:09,600
Speaker 7: this time capsule of music during a time when we

693
00:43:09,640 --> 00:43:11,840
Speaker 7: didn't know where the world was going, during the pandemic

694
00:43:12,760 --> 00:43:15,040
Speaker 7: fucked up out here. So I'm like, if we had

695
00:43:15,080 --> 00:43:17,200
Speaker 7: to take the music that we cared about and make

696
00:43:17,239 --> 00:43:21,000
Speaker 7: it one thing and listen to it in one space,

697
00:43:21,080 --> 00:43:24,200
Speaker 7: what would that be? So it's the audacity to take

698
00:43:25,600 --> 00:43:29,880
Speaker 7: Duke Kellington and Michael Jackson and George Benson and Patrice

699
00:43:29,960 --> 00:43:37,680
Speaker 7: Russian and Wu Tang and Frank Sinatra and random things

700
00:43:38,360 --> 00:43:41,600
Speaker 7: that identify us as musicians as a whole and put

701
00:43:41,640 --> 00:43:45,799
Speaker 7: it in one space to then be reduced to giving

702
00:43:45,840 --> 00:43:49,919
Speaker 7: it away as a SoundBite or radio.

703
00:43:52,719 --> 00:43:54,359
Speaker 3: You have to you have to now be.

704
00:43:57,360 --> 00:44:02,600
Speaker 8: More what would be the word for just you have

705
00:44:02,640 --> 00:44:05,320
Speaker 8: you have to take a different chance with the music

706
00:44:05,800 --> 00:44:09,319
Speaker 8: and and not go into these spaces that have just

707
00:44:09,440 --> 00:44:13,120
Speaker 8: always been what they are and where people are making

708
00:44:13,200 --> 00:44:16,600
Speaker 8: up terms and making of new ways to do bad business,

709
00:44:16,640 --> 00:44:19,400
Speaker 8: which you can say, listen, you just have to you

710
00:44:19,480 --> 00:44:22,440
Speaker 8: have to take ownership and it completely. It's just my opinion,

711
00:44:22,880 --> 00:44:25,520
Speaker 8: especially when if I'm fucking doctor Dre.

712
00:44:25,600 --> 00:44:28,400
Speaker 7: And I'm using as an example.

713
00:44:28,960 --> 00:44:31,920
Speaker 8: You can release it how you please, of course, but

714
00:44:32,840 --> 00:44:34,799
Speaker 8: if you want to be a part of their platforms,

715
00:44:36,000 --> 00:44:38,160
Speaker 8: the only way is to give it to them either

716
00:44:38,200 --> 00:44:41,319
Speaker 8: at their whatever whatever their pricing is, or say, hey,

717
00:44:41,680 --> 00:44:45,200
Speaker 8: let's negotiate if you want this album.

718
00:44:45,520 --> 00:44:46,960
Speaker 3: This is the negotiation to it.

719
00:44:47,000 --> 00:44:48,759
Speaker 8: This is these are the numbers that we want or

720
00:44:48,800 --> 00:44:52,400
Speaker 8: not are I'm going to now vinyl is getting cracking again.

721
00:44:52,920 --> 00:44:55,759
Speaker 8: I'm going to I'm gona press it up in vinyl.

722
00:44:56,440 --> 00:44:57,080
Speaker 3: You know what I'm saying.

723
00:44:57,280 --> 00:44:59,920
Speaker 7: That's that's the game we're in. That is where we

724
00:45:00,120 --> 00:45:04,400
Speaker 7: consumers to absolutely get from any arts that they care about.

725
00:45:04,640 --> 00:45:06,040
Speaker 7: It's just where are.

726
00:45:05,960 --> 00:45:06,680
Speaker 1: You going to find it?

727
00:45:06,680 --> 00:45:08,600
Speaker 5: But I think it's a way to do both right.

728
00:45:09,080 --> 00:45:14,200
Speaker 5: There's a way to you know, feed the system, but

729
00:45:14,400 --> 00:45:20,240
Speaker 5: also from a super fan aspect or from the desire

730
00:45:20,360 --> 00:45:26,200
Speaker 5: of the super fan still supply the experience in a

731
00:45:26,280 --> 00:45:29,880
Speaker 5: way that you want them to have by creating the

732
00:45:29,920 --> 00:45:34,040
Speaker 5: space that they have to come and get it from.

733
00:45:34,160 --> 00:45:36,960
Speaker 5: If you are a super fan, if you desire to

734
00:45:37,080 --> 00:45:40,560
Speaker 5: really experience this the way it's supposed to be experienced

735
00:45:40,880 --> 00:45:44,279
Speaker 5: out there, it's just that just they have the music.

736
00:45:44,560 --> 00:45:50,200
Speaker 7: You like, radio your boom bucks and wait for the

737
00:45:50,280 --> 00:45:52,720
Speaker 7: radio stations to come on and praying that they play

738
00:45:52,760 --> 00:45:55,880
Speaker 7: that record and pressing record, even with the DJ yelling

739
00:45:55,920 --> 00:45:58,160
Speaker 7: all over that shit and you rewind it, crying it

740
00:45:58,239 --> 00:46:02,200
Speaker 7: up until the end when it's fading out. There's no

741
00:46:02,520 --> 00:46:06,880
Speaker 7: urgency with music like that anymore, or listen to in

742
00:46:06,920 --> 00:46:09,080
Speaker 7: a way where we had. It's like we had a

743
00:46:09,120 --> 00:46:14,120
Speaker 7: spoiled experience of the way we listen to music or

744
00:46:14,200 --> 00:46:17,080
Speaker 7: the way it was presented to us. Like right now,

745
00:46:17,120 --> 00:46:21,160
Speaker 7: it's may as well be friggin what's the singles? Websites,

746
00:46:21,239 --> 00:46:24,480
Speaker 7: tenders sipe left of? You don't like it, you don't

747
00:46:24,560 --> 00:46:38,560
Speaker 7: like it, So yeah, it was Creating orgasms through music

748
00:46:38,840 --> 00:46:43,399
Speaker 7: is my thing. So we imagine having Casa Blanco as

749
00:46:43,440 --> 00:46:50,080
Speaker 7: a landscape and this very unrealistic, elevated version of life

750
00:46:50,760 --> 00:46:55,479
Speaker 7: from a billionaire's perspective, what are those orgasms like now?

751
00:46:56,320 --> 00:47:00,640
Speaker 7: So walking to that studio and hearing I mean imagine

752
00:47:00,640 --> 00:47:02,640
Speaker 7: hearing say yes for the first time. But the melodies

753
00:47:02,680 --> 00:47:05,399
Speaker 7: I heard for this were the first time. I now

754
00:47:05,480 --> 00:47:11,560
Speaker 7: have to create different orgasms. So without getting too kinky

755
00:47:11,719 --> 00:47:16,000
Speaker 7: for me, no, this is how I operate. By walking

756
00:47:16,040 --> 00:47:20,920
Speaker 7: to a studio, I'm seducing every single instrument that's implemented

757
00:47:21,440 --> 00:47:26,759
Speaker 7: into the composition. We fucking. Basically, you have to fuck

758
00:47:26,800 --> 00:47:30,520
Speaker 7: the music. You have to fuck that shit up, and

759
00:47:30,560 --> 00:47:38,239
Speaker 7: you can't. There's no friction there. It's all smooth. So

760
00:47:38,960 --> 00:47:42,400
Speaker 7: with every musician that doctor dra had in that studio,

761
00:47:42,480 --> 00:47:48,919
Speaker 7: whether that was bluetooth, focus, trev them, joints, sly, all

762
00:47:48,960 --> 00:47:54,319
Speaker 7: of these elements had to get fucked up to make

763
00:47:54,360 --> 00:47:58,640
Speaker 7: it one thing. So when you press play and it's

764
00:47:58,719 --> 00:48:02,839
Speaker 7: this symphony, all of these elements have given each other

765
00:48:03,880 --> 00:48:08,040
Speaker 7: space and energy and intimacy all at the same time.

766
00:48:08,800 --> 00:48:11,560
Speaker 7: So depending on where your spot is, if it's sometimes

767
00:48:11,640 --> 00:48:15,760
Speaker 7: it's my neck, sometimes it's my kneecap, sometimes it's a

768
00:48:15,800 --> 00:48:20,520
Speaker 7: brush of my arm, and it's seductive. That's what music

769
00:48:20,600 --> 00:48:24,040
Speaker 7: is supposed to do. And I've been doing that for

770
00:48:24,120 --> 00:48:28,880
Speaker 7: two decades. Plus starting from that one, I'd say that

771
00:48:28,960 --> 00:48:34,200
Speaker 7: was the sexiest song to that particular timeframe that I'd done,

772
00:48:34,400 --> 00:48:37,160
Speaker 7: and continue to go on and do way more, whether

773
00:48:37,239 --> 00:48:41,200
Speaker 7: that was sixty nine and so Good with the interns

774
00:48:41,280 --> 00:48:45,400
Speaker 7: and even late nights and early mornings with Rich Harrison.

775
00:48:45,480 --> 00:48:50,840
Speaker 7: It was just all of these moments of sex through music,

776
00:48:51,440 --> 00:48:54,359
Speaker 7: and you want to be that. You want to be

777
00:48:54,400 --> 00:48:56,920
Speaker 7: that you do when you do your concerts. You're like,

778
00:48:57,880 --> 00:49:04,160
Speaker 7: I'm your three some, I'm the threesome. You're in that

779
00:49:04,280 --> 00:49:05,600
Speaker 7: room you're listening.

780
00:49:05,239 --> 00:49:09,960
Speaker 1: To I'm the tour. I'm stealing so much of your lingo.

781
00:49:11,840 --> 00:49:14,000
Speaker 1: I'm down my credit.

782
00:49:14,920 --> 00:49:27,360
Speaker 7: What you say, I'll say, I ain't taking point nothing

783
00:49:27,880 --> 00:49:32,840
Speaker 7: nine compositions, right, that's what we do.

784
00:49:33,239 --> 00:49:36,560
Speaker 5: There's a there's like a there's there's a hierarchy of

785
00:49:36,560 --> 00:49:46,359
Speaker 5: of a sensual moments, and say Yes is right on

786
00:49:46,400 --> 00:49:54,919
Speaker 5: that top tier with Untitled. That's that's like there's a

787
00:49:55,040 --> 00:50:04,560
Speaker 5: high level of songs that are automatically intimate, automatically yeah,

788
00:50:05,640 --> 00:50:11,080
Speaker 5: no one's talking, everyone's just trying to figure out who's

789
00:50:11,160 --> 00:50:21,000
Speaker 5: gonna go first. That's it. Those top tiers like the

790
00:50:21,080 --> 00:50:24,040
Speaker 5: song just don't read the.

791
00:50:24,040 --> 00:50:26,920
Speaker 3: Room right.

792
00:50:28,840 --> 00:50:32,040
Speaker 8: First, and the room ain't really trying to go with you.

793
00:50:32,360 --> 00:50:36,040
Speaker 1: They played it was a time I was earlier.

794
00:50:38,040 --> 00:50:40,719
Speaker 7: There is a time and place, but it's great to have,

795
00:50:42,800 --> 00:50:45,000
Speaker 7: you know, the moment in the show where you're like, okay,

796
00:50:45,080 --> 00:50:47,279
Speaker 7: you know where this is going. You play that first.

797
00:50:49,600 --> 00:50:55,000
Speaker 5: During my piano segment, I've performed oh with my shirt.

798
00:50:55,200 --> 00:51:01,560
Speaker 7: You know what You've seen that effects, so you understand

799
00:51:01,560 --> 00:51:02,320
Speaker 7: the power in that.

800
00:51:02,560 --> 00:51:08,719
Speaker 5: And as you said, I become the threesome not you know,

801
00:51:09,239 --> 00:51:11,799
Speaker 5: not figuratively, because I.

802
00:51:11,880 --> 00:51:17,440
Speaker 7: Want the audience to have that experience. It's such a compliment,

803
00:51:18,080 --> 00:51:25,959
Speaker 7: like having been coined a lesbian for so long. Yeah,

804
00:51:26,080 --> 00:51:28,799
Speaker 7: it's it's yeah the lesbian. There she is. It's not

805
00:51:29,000 --> 00:51:32,880
Speaker 7: like I don't know. I've been completely comfortable with my

806
00:51:32,920 --> 00:51:36,879
Speaker 7: sexuality for It's the last thing I would hide about

807
00:51:36,920 --> 00:51:39,280
Speaker 7: me based on the music that I'd be like, why

808
00:51:40,360 --> 00:51:44,120
Speaker 7: I don't mind that attention or that want for you

809
00:51:44,200 --> 00:51:49,439
Speaker 7: to me to be it's intimate. That's perfectly fine. It's

810
00:51:49,480 --> 00:51:53,120
Speaker 7: the music. I want to be your threesome. However that

811
00:51:53,160 --> 00:51:59,239
Speaker 7: goes whatever your preference. It's you give your it's the

812
00:51:59,360 --> 00:52:02,120
Speaker 7: power in it. You give that sex away. You can't

813
00:52:02,120 --> 00:52:03,799
Speaker 7: help who's going to be turned on.

814
00:52:04,440 --> 00:52:04,880
Speaker 1: I can't.

815
00:52:04,960 --> 00:52:06,920
Speaker 7: You don't know what turns on.

816
00:52:07,320 --> 00:52:07,680
Speaker 3: I can't.

817
00:52:07,719 --> 00:52:10,480
Speaker 1: I'll be trying to tell my wife, babe, you can't manage.

818
00:52:11,600 --> 00:52:17,640
Speaker 1: It's how it comes to me. You can't and don't.

819
00:52:17,440 --> 00:52:21,040
Speaker 7: Get and your wife knows. I love, don't stab him.

820
00:52:21,320 --> 00:52:29,560
Speaker 7: But this is the responsibility of what it is. You're superheroes, straight, gay,

821
00:52:29,719 --> 00:52:33,839
Speaker 7: whatever it is. The music is whatever it is. We

822
00:52:33,960 --> 00:52:37,239
Speaker 7: give it away and it's intimate.

823
00:52:36,800 --> 00:52:39,400
Speaker 1: And you let the people interpret it, let them dance

824
00:52:39,440 --> 00:52:41,239
Speaker 1: with Yeah, it's intimate.

825
00:52:41,520 --> 00:52:46,680
Speaker 7: Like one night stand. This song One night stand. When

826
00:52:46,840 --> 00:52:50,880
Speaker 7: the concept of the song came to me, it was

827
00:52:50,880 --> 00:52:54,319
Speaker 7: because of how the music sounded, and I was like, oh,

828
00:52:54,440 --> 00:52:57,000
Speaker 7: this is the morning after we sucked. For sure, this

829
00:52:57,200 --> 00:53:00,000
Speaker 7: exactly sounds like the triumphant Who the fuck is that

830
00:53:00,040 --> 00:53:02,040
Speaker 7: in the covers? I don't even know? The was amazing?

831
00:53:02,680 --> 00:53:03,760
Speaker 3: Who is that in the covers?

832
00:53:04,239 --> 00:53:07,320
Speaker 7: We will never know? Look check the toes like boomerang.

833
00:53:07,800 --> 00:53:10,080
Speaker 7: Oh yeah, I know who exactly who that is. And

834
00:53:10,080 --> 00:53:13,280
Speaker 7: that's perfectly fine. But it was that morning after sex.

835
00:53:13,520 --> 00:53:14,000
Speaker 4: It was.

836
00:53:15,920 --> 00:53:20,239
Speaker 7: You're under those covers looking at the ceiling like we

837
00:53:20,239 --> 00:53:22,680
Speaker 7: should fuck again one more time, just to make sure

838
00:53:22,719 --> 00:53:25,239
Speaker 7: it was that good. And then you do You're like,

839
00:53:25,239 --> 00:53:26,360
Speaker 7: oh shit, is this forever?

840
00:53:26,400 --> 00:53:26,520
Speaker 2: Then?

841
00:53:26,600 --> 00:53:28,920
Speaker 7: Are we in love? No, it was just one night.

842
00:53:29,080 --> 00:53:31,120
Speaker 3: You say that earlier. If they listened to the.

843
00:53:31,160 --> 00:53:36,640
Speaker 7: Music, your one night could be And that's okay too,

844
00:53:37,560 --> 00:53:42,239
Speaker 7: and that's how we made Yeah, eighteen years from now,

845
00:53:42,280 --> 00:53:45,160
Speaker 7: I shall not be responsible for any child support incurred,

846
00:53:45,800 --> 00:53:49,040
Speaker 7: nor the godmother of any of you.

847
00:53:49,800 --> 00:53:53,320
Speaker 5: Are you giving us a wind though? Like like a wind,

848
00:53:53,480 --> 00:53:58,560
Speaker 5: like you're really giving us. You're giving us the magical pitch, right,

849
00:53:58,640 --> 00:54:00,880
Speaker 5: You're giving us all of the Do we get all

850
00:54:01,080 --> 00:54:03,400
Speaker 5: the intimate details.

851
00:54:02,760 --> 00:54:06,440
Speaker 7: And the camera and I can I can tell you

852
00:54:07,160 --> 00:54:12,919
Speaker 7: that's ladies and gentlemen, can I give Can I say

853
00:54:12,960 --> 00:54:15,600
Speaker 7: eight days? I'm looking off camera right now, so we

854
00:54:15,640 --> 00:54:18,320
Speaker 7: can say a March date. You will be getting something

855
00:54:19,880 --> 00:54:24,360
Speaker 7: and the March something is coming and it's going to

856
00:54:24,440 --> 00:54:27,320
Speaker 7: be a cool summer.

857
00:54:29,120 --> 00:54:35,279
Speaker 3: Yeah, come on you piano, Come on man.

858
00:54:35,800 --> 00:54:36,680
Speaker 1: You know, I just.

859
00:54:39,880 --> 00:54:54,520
Speaker 5: To speak of us being superheroes. Respect the fields. A

860
00:54:54,520 --> 00:54:58,200
Speaker 5: lot of the music that we've sang and we've written

861
00:54:58,200 --> 00:55:07,160
Speaker 5: and produced, and there's a lot of music that has inspired.

862
00:55:06,680 --> 00:55:09,920
Speaker 3: You to do what you do.

863
00:55:10,560 --> 00:55:11,080
Speaker 2: Mm hmmm.

864
00:55:13,400 --> 00:55:15,600
Speaker 5: So the people who watch the R and B Money podcast,

865
00:55:15,680 --> 00:55:17,240
Speaker 5: they want to know what they want.

866
00:55:17,040 --> 00:55:17,360
Speaker 10: To know you.

867
00:55:19,520 --> 00:55:23,360
Speaker 4: They want to know.

868
00:55:22,400 --> 00:55:34,520
Speaker 10: I want to know top fave, your.

869
00:55:34,400 --> 00:55:39,400
Speaker 2: Top five bot top five?

870
00:55:42,640 --> 00:55:50,040
Speaker 5: You're top five are besing, are and B songs.

871
00:55:52,360 --> 00:55:53,520
Speaker 2: We want to know.

872
00:55:54,440 --> 00:55:58,800
Speaker 1: We want this slow. Just let it go and let

873
00:55:58,880 --> 00:56:01,520
Speaker 1: us know your top.

874
00:56:04,040 --> 00:56:39,680
Speaker 2: Yeah five, it's really good.

875
00:56:39,920 --> 00:56:51,680
Speaker 1: Your top five R and B singers.

876
00:56:47,760 --> 00:56:56,760
Speaker 7: No particular order. Two of those spots will be placed,

877
00:56:59,120 --> 00:57:02,160
Speaker 7: whether they should or shouldn't be anyone's top five, but

878
00:57:02,200 --> 00:57:09,799
Speaker 7: they're the vocalists of vocalists for me, Luther Whitney, those

879
00:57:09,800 --> 00:57:13,480
Speaker 7: two spots are just taken. Yes, So now I'm down

880
00:57:13,520 --> 00:57:21,600
Speaker 7: to three. Michael Jackson takes like three versions of himself

881
00:57:21,840 --> 00:57:27,240
Speaker 7: because I love ABC Mike, I love Off the Wall, Mike,

882
00:57:27,760 --> 00:57:32,080
Speaker 7: the Dirty Diana. Mike did something else to me. So

883
00:57:32,120 --> 00:57:35,120
Speaker 7: it's almost like he's three and one.

884
00:57:35,560 --> 00:57:37,600
Speaker 1: Not almost, he absolutely is.

885
00:57:37,920 --> 00:57:38,960
Speaker 3: He's him.

886
00:57:39,360 --> 00:57:45,280
Speaker 7: Can you have Casey and Jojo as one? Okay? Now?

887
00:57:45,520 --> 00:57:53,120
Speaker 7: For two voices to be so different and compliment each

888
00:57:53,160 --> 00:57:57,120
Speaker 7: other in such a way that made them one hasn't

889
00:57:57,160 --> 00:58:01,360
Speaker 7: been matched to this day to me, because listening to

890
00:58:01,400 --> 00:58:08,200
Speaker 7: the difference of a very sensitive, almost soprano jojo and

891
00:58:08,280 --> 00:58:12,520
Speaker 7: its pure high tone to Casey's growl, it's almost like

892
00:58:13,440 --> 00:58:17,120
Speaker 7: you'd be threatened to sing after case, but not if

893
00:58:17,120 --> 00:58:19,880
Speaker 7: you're Jojo anyone else. But you know what I'm saying, like,

894
00:58:22,160 --> 00:58:25,120
Speaker 7: and it's only because it's been recently, like Donny Hathaway,

895
00:58:25,160 --> 00:58:30,360
Speaker 7: and it took me a couple of different people that

896
00:58:30,400 --> 00:58:33,840
Speaker 7: would have been in my top five. But someday we'll

897
00:58:33,880 --> 00:58:39,320
Speaker 7: all be free that song. I don't think I could

898
00:58:39,320 --> 00:58:43,720
Speaker 7: not cry if I hear it, And it's the power

899
00:58:43,720 --> 00:58:46,000
Speaker 7: in a vocal being able to do that to me.

900
00:58:47,440 --> 00:58:52,280
Speaker 7: And five is unfair because it means I don't get

901
00:58:52,280 --> 00:58:57,680
Speaker 7: to mention who currently holds spots, whether that's Jasmine Sullivan,

902
00:58:58,520 --> 00:59:00,320
Speaker 7: you know what I mean, Like I'm what she can

903
00:59:00,360 --> 00:59:08,560
Speaker 7: do with her vocal, Tina Marie what with her vocal?

904
00:59:10,000 --> 00:59:17,919
Speaker 7: Something like this, But this is all Stevie Wonder. It's

905
00:59:18,000 --> 00:59:21,080
Speaker 7: not fair the stories that he can tell with his

906
00:59:21,360 --> 00:59:24,680
Speaker 7: tongue before even lyrics come into it and claims he

907
00:59:24,720 --> 00:59:26,720
Speaker 7: can't see. We know that you can see.

908
00:59:26,720 --> 00:59:31,720
Speaker 8: It's fine, you're going it okay because I'm not getting

909
00:59:31,720 --> 00:59:32,600
Speaker 8: in that you in tank.

910
00:59:33,520 --> 00:59:34,280
Speaker 3: I'm not getting in that.

911
00:59:34,520 --> 00:59:34,840
Speaker 1: Agree.

912
00:59:35,720 --> 00:59:43,160
Speaker 3: I didn't. I didn't agree.

913
00:59:43,640 --> 00:59:46,000
Speaker 7: I see us in the park, do you.

914
00:59:48,240 --> 00:59:52,640
Speaker 3: Man? I don't want to smoke Steve. I don't want to.

915
00:59:53,040 --> 00:59:56,040
Speaker 1: I love Steve from when I heard Stevie Fack.

916
00:59:56,120 --> 01:00:00,280
Speaker 3: I'm not gonna do this with you. Watch go do

917
01:00:00,440 --> 01:00:01,400
Speaker 3: switch cap.

918
01:00:04,600 --> 01:00:08,280
Speaker 7: It's not fair. How dead there's a ribbon in the

919
01:00:08,360 --> 01:00:09,479
Speaker 7: sky for our love?

920
01:00:09,920 --> 01:00:13,120
Speaker 2: Is there?

921
01:00:12,880 --> 01:00:16,320
Speaker 7: Is it up there for our lives?

922
01:00:16,320 --> 01:00:19,000
Speaker 3: I've actually never seen one in the sky.

923
01:00:19,440 --> 01:00:20,560
Speaker 11: So he did.

924
01:00:23,200 --> 01:00:26,880
Speaker 3: He has? That was a lot. I think I left handed.

925
01:00:31,520 --> 01:00:31,800
Speaker 1: Wade.

926
01:00:31,840 --> 01:00:36,200
Speaker 5: Okay, here we go, get your top five R and

927
01:00:36,280 --> 01:00:37,720
Speaker 5: B songs.

928
01:00:39,320 --> 01:00:44,280
Speaker 7: Five okay, because we didn't say that because we didn't

929
01:00:44,280 --> 01:00:51,800
Speaker 7: need to get Okay. I want to spend the Night

930
01:00:51,880 --> 01:00:52,880
Speaker 7: by Bill Withers.

931
01:00:53,520 --> 01:00:54,640
Speaker 3: We go Bill Weathers.

932
01:00:57,040 --> 01:01:00,400
Speaker 7: I want Anthony Hamilton to cover it. And I feel

933
01:01:00,400 --> 01:01:06,560
Speaker 7: like you get a Grammy. You heard that's one of

934
01:01:06,560 --> 01:01:11,480
Speaker 7: my favorite songs, the breakup song by me?

935
01:01:12,280 --> 01:01:14,000
Speaker 1: Mmm, okay, come on mine as.

936
01:01:13,920 --> 01:01:17,760
Speaker 8: Well, because like, get off publishing for all your niggas

937
01:01:17,760 --> 01:01:18,960
Speaker 8: out there making y'all playlist.

938
01:01:19,400 --> 01:01:24,320
Speaker 7: The breakup song was like listen to that ship that came.

939
01:01:24,120 --> 01:01:26,600
Speaker 3: From a Really that's your favorite song of yours?

940
01:01:26,840 --> 01:01:29,400
Speaker 7: No, I have way more than that. But we're talking

941
01:01:29,440 --> 01:01:32,920
Speaker 7: about you said, what if I was doing with songs

942
01:01:32,960 --> 01:01:36,520
Speaker 7: like you? Wrote that ship melodically did that.

943
01:01:35,640 --> 01:01:37,440
Speaker 3: That's you.

944
01:01:38,560 --> 01:01:39,160
Speaker 1: It's in there.

945
01:01:41,840 --> 01:01:46,720
Speaker 7: I can't help it. Thank you Stevie to give him that.

946
01:01:46,760 --> 01:01:48,080
Speaker 3: To Mike looking out for the bro.

947
01:01:48,680 --> 01:01:50,240
Speaker 7: Definitely looked out for the bro.

948
01:01:51,000 --> 01:01:51,480
Speaker 3: Mm hmmm.

949
01:01:52,000 --> 01:01:52,800
Speaker 1: What a joint to.

950
01:01:56,360 --> 01:01:59,760
Speaker 7: Say with this five the bad album?

951
01:02:00,240 --> 01:02:00,640
Speaker 1: Mm hmm.

952
01:02:01,000 --> 01:02:06,280
Speaker 7: Can we have that as like one entire album off

953
01:02:06,320 --> 01:02:15,000
Speaker 7: the respect almost I am album ever creates thriller? Okay, fine,

954
01:02:15,040 --> 01:02:17,200
Speaker 7: you're doing what you're doing still to this day to

955
01:02:17,360 --> 01:02:20,160
Speaker 7: follow that ship up and have the nerve to say

956
01:02:21,280 --> 01:02:25,520
Speaker 7: there's no skips on there. That's one whole thing. Remember

957
01:02:25,560 --> 01:02:35,520
Speaker 7: the time is not ship Okay, forever, my lady Joy.

958
01:02:36,040 --> 01:02:41,840
Speaker 7: Because they were four very young black men with Dr

959
01:02:42,000 --> 01:02:50,920
Speaker 7: Martin's on and like see through the zipper Johns. So

960
01:02:51,040 --> 01:02:55,440
Speaker 7: you're having my baby and it means so much to me.

961
01:02:55,680 --> 01:02:58,560
Speaker 1: That is nothing more pressure.

962
01:02:59,000 --> 01:03:01,600
Speaker 7: You know what I'm saying. It's the narrative that we

963
01:03:01,600 --> 01:03:08,120
Speaker 7: were giving nineties black men to love and support the

964
01:03:08,160 --> 01:03:09,520
Speaker 7: family bond.

965
01:03:11,120 --> 01:03:14,360
Speaker 1: I'll be talking in my accent after you've.

966
01:03:14,240 --> 01:03:15,400
Speaker 7: Got the rest of your.

967
01:03:17,160 --> 01:03:22,200
Speaker 3: Seen too many episodes of Ti Boy Gangs of London,

968
01:03:23,360 --> 01:03:24,160
Speaker 3: that's a good one.

969
01:03:24,360 --> 01:03:26,920
Speaker 7: I've lived in America for like twenty plus years, so

970
01:03:27,160 --> 01:03:36,320
Speaker 7: if I'm around you guys, I'm Philadelphia on the camera.

971
01:03:39,760 --> 01:03:43,280
Speaker 7: You know what, see kind of.

972
01:03:45,200 --> 01:03:47,280
Speaker 1: One more second? Can we get it, Jack?

973
01:03:48,000 --> 01:03:49,640
Speaker 3: We need it, We get it, We need it.

974
01:03:50,800 --> 01:03:53,560
Speaker 11: I ain't saying no names. I ain't saying no names,

975
01:03:54,520 --> 01:04:14,240
Speaker 11: no names. Name what you.

976
01:04:14,120 --> 01:04:14,720
Speaker 7: Five facts?

977
01:04:14,920 --> 01:04:20,960
Speaker 3: Ye m perfect time and perfect time and very special

978
01:04:21,000 --> 01:04:23,520
Speaker 3: segment of the show card.

979
01:04:23,560 --> 01:04:26,520
Speaker 8: I ain't saying no names. Will you give us a

980
01:04:26,560 --> 01:04:33,400
Speaker 8: story funny or fucked up? Funny and fucked up only

981
01:04:33,480 --> 01:04:36,480
Speaker 8: rude to the game. You can't say no names. I

982
01:04:36,520 --> 01:04:40,120
Speaker 8: mean it could be overseas, middle c under the sea,

983
01:04:41,400 --> 01:04:44,640
Speaker 8: wherever you want to be. Oh, you got to do

984
01:04:45,480 --> 01:04:47,320
Speaker 8: just tell the story without saying names.

985
01:04:49,520 --> 01:05:02,320
Speaker 7: Okay. There was this one time, oh yeah, on tour

986
01:05:03,240 --> 01:05:17,440
Speaker 7: and there was a day off in Amsterdam, so said

987
01:05:17,640 --> 01:05:22,919
Speaker 7: artists decided to partake in what you do when you're

988
01:05:22,920 --> 01:05:29,120
Speaker 7: in Amsterdam, which was get high, like really high, like

989
01:05:30,000 --> 01:05:33,400
Speaker 7: spark up in the hotel. The concierge lit you up

990
01:05:33,480 --> 01:05:37,920
Speaker 7: high and it's you just checked in. It's noon, and

991
01:05:41,640 --> 01:05:50,240
Speaker 7: that artist proceeded to smoke go to a cafe across

992
01:05:50,280 --> 01:05:56,520
Speaker 7: the street. There was a menu full of delicious treats

993
01:05:56,640 --> 01:06:01,760
Speaker 7: like marshmallowsmores and cookie dough and stuff like that, and

994
01:06:01,800 --> 01:06:06,280
Speaker 7: it infused with more with.

995
01:06:06,400 --> 01:06:06,840
Speaker 3: More of it.

996
01:06:07,000 --> 01:06:14,360
Speaker 7: Yeah, yeah, yeah, Amsterdam. So of course they picked the

997
01:06:14,440 --> 01:06:19,360
Speaker 7: marshmallow small one took that to the face and they

998
01:06:19,400 --> 01:06:24,640
Speaker 7: were even more high. So on this day off, before

999
01:06:24,680 --> 01:06:27,760
Speaker 7: you know it, sun up, sun goes down. What happens

1000
01:06:27,800 --> 01:06:33,600
Speaker 7: in Amsterdam red light district. So that artist in the

1001
01:06:33,680 --> 01:06:37,120
Speaker 7: band decide to go down there and see what all

1002
01:06:37,160 --> 01:06:40,600
Speaker 7: the fuss is about. So in doing so, you look

1003
01:06:40,680 --> 01:06:43,880
Speaker 7: through a couple of those glass windows. It's some sexy

1004
01:06:43,960 --> 01:06:50,840
Speaker 7: shit and you find yourself in there and you're high.

1005
01:06:52,120 --> 01:06:57,800
Speaker 7: So this artist goes in there, gets up to whatever,

1006
01:06:58,120 --> 01:07:04,840
Speaker 7: comes back outside, finds a sex shop, goes in the

1007
01:07:04,920 --> 01:07:10,280
Speaker 7: sex shop and buys a sex toy. So this artist

1008
01:07:10,360 --> 01:07:14,320
Speaker 7: then decides that it would be a good idea to

1009
01:07:14,400 --> 01:07:19,880
Speaker 7: go back to the hotel and try this thing out

1010
01:07:20,840 --> 01:07:24,440
Speaker 7: from Amsterdam. Might be a different feeling, I don't know.

1011
01:07:25,400 --> 01:07:31,840
Speaker 7: So lobby call for the departure of the tour bus

1012
01:07:32,240 --> 01:07:36,280
Speaker 7: to take that artist to the next city was coming up,

1013
01:07:36,440 --> 01:07:39,840
Speaker 7: so they decided to take all of this stuff out

1014
01:07:39,880 --> 01:07:43,520
Speaker 7: the room, take the sex toy, get on the bus

1015
01:07:43,560 --> 01:07:49,240
Speaker 7: before anyone else gets on this actual bus, and partake there.

1016
01:07:49,760 --> 01:07:55,440
Speaker 7: So they wouldn't pass out in the room. And you know,

1017
01:07:56,200 --> 01:07:59,800
Speaker 7: miss lobby call made sense to that artist at the time.

1018
01:08:00,400 --> 01:08:04,400
Speaker 7: So get all the stuff, get the code to the bus,

1019
01:08:04,760 --> 01:08:08,120
Speaker 7: put the bags, you know where they're supposed to be.

1020
01:08:09,040 --> 01:08:12,240
Speaker 7: Get in the bunk. Now, if you've been on tour,

1021
01:08:13,080 --> 01:08:17,280
Speaker 7: you know when the generator is not on, pitch black

1022
01:08:17,320 --> 01:08:21,479
Speaker 7: on them buses. Pitch can't see shit. But work out

1023
01:08:22,200 --> 01:08:26,240
Speaker 7: one bunk, two bunk, feel your way down to the bottom.

1024
01:08:26,360 --> 01:08:30,960
Speaker 7: You're in the middle bottom bunk knows that artist, not

1025
01:08:31,080 --> 01:08:34,440
Speaker 7: the one on the right, the one on the left.

1026
01:08:35,680 --> 01:08:40,320
Speaker 7: I told them to get in that bunk. So the

1027
01:08:40,439 --> 01:08:44,720
Speaker 7: artists got in the bunk that belonged to them, or

1028
01:08:44,760 --> 01:08:53,120
Speaker 7: so they thought. Batteries were included, and they proceed to

1029
01:08:53,240 --> 01:08:58,560
Speaker 7: go to town with this toy for however long.

1030
01:09:00,080 --> 01:09:00,719
Speaker 3: It took.

1031
01:09:02,160 --> 01:09:06,800
Speaker 7: To not only forget what actually happened, but wake up

1032
01:09:06,920 --> 01:09:11,280
Speaker 7: the following morning as the bus is in motion. So

1033
01:09:11,400 --> 01:09:18,160
Speaker 7: whatever happened in between going gazoo has just done a

1034
01:09:19,560 --> 01:09:23,639
Speaker 7: don't recall. What the fuck. The artist then woke up

1035
01:09:24,680 --> 01:09:28,360
Speaker 7: while the bus is moving. So the bus is moving,

1036
01:09:29,320 --> 01:09:32,679
Speaker 7: that means everybody's on the bus. Yeah, where the fuck

1037
01:09:33,479 --> 01:09:38,200
Speaker 7: is the fucking sex toys? This artist thinking they go

1038
01:09:38,280 --> 01:09:42,160
Speaker 7: to what did they say they went to lean up

1039
01:09:42,439 --> 01:09:47,640
Speaker 7: to go it's still in between said thighs where it

1040
01:09:48,080 --> 01:09:52,000
Speaker 7: previously allowed the artist to pass out, and it's still on.

1041
01:09:53,320 --> 01:09:58,640
Speaker 7: It switches on because the artist is now having what

1042
01:09:58,760 --> 01:10:02,519
Speaker 7: feels like a mold support orgasm while banging their head

1043
01:10:02,680 --> 01:10:07,000
Speaker 7: on the top of the other bunk, trying to pretend

1044
01:10:08,000 --> 01:10:10,719
Speaker 7: that nothing's happening, that they've lost something or you can't

1045
01:10:10,760 --> 01:10:15,280
Speaker 7: find you can hear commotion, what the fuck is going on?

1046
01:10:15,640 --> 01:10:20,679
Speaker 7: Finally find the switch, it's off. They look out the bunk.

1047
01:10:22,280 --> 01:10:25,280
Speaker 7: Everyone's kind of you know, rustling curtains to like seeing

1048
01:10:25,280 --> 01:10:31,080
Speaker 7: what the fuck has happened? And the sex toy packaging.

1049
01:10:31,160 --> 01:10:35,200
Speaker 7: It's just everywhere, like you know that plastic that you

1050
01:10:35,240 --> 01:10:41,280
Speaker 7: can't regard. Get kid, You're like, why the fuck did

1051
01:10:41,280 --> 01:10:43,120
Speaker 7: I get this ship? I don't even know how. You can't.

1052
01:10:43,120 --> 01:10:49,960
Speaker 7: There's no scissors for it. You're breaking ship. And I

1053
01:10:50,000 --> 01:10:52,559
Speaker 7: think that artist was talked about for the rest of

1054
01:10:52,640 --> 01:10:58,920
Speaker 7: the tour, and that's the story. I'm sticking to it.

1055
01:10:59,280 --> 01:10:59,880
Speaker 7: No names.

1056
01:11:00,320 --> 01:11:06,840
Speaker 8: Wow, they really wanted it. Whoever was could not wait.

1057
01:11:08,080 --> 01:11:10,160
Speaker 1: I just couldn't to have it.

1058
01:11:10,600 --> 01:11:15,960
Speaker 7: A bunch of them. It was amazing. So they told

1059
01:11:16,000 --> 01:11:29,519
Speaker 7: me Amsterdam days off in Amsterdam. It's a song, Drake,

1060
01:11:29,560 --> 01:11:30,280
Speaker 7: I'm telling you now.

1061
01:11:31,840 --> 01:11:33,759
Speaker 1: Of Asterdam.

1062
01:11:34,360 --> 01:11:36,960
Speaker 3: I just wanted it's a great way to wrap it up.

1063
01:11:37,200 --> 01:11:39,439
Speaker 5: First of all, thank you so much for coming. You

1064
01:11:39,479 --> 01:11:42,160
Speaker 5: know what I mean, you are you know we consider

1065
01:11:42,200 --> 01:11:48,240
Speaker 5: your family and but your time, your energy, your artistry,

1066
01:11:49,600 --> 01:11:52,160
Speaker 5: all of these things mean something to us, and so

1067
01:11:52,200 --> 01:11:57,759
Speaker 5: we value your presence and we value march.

1068
01:11:59,200 --> 01:12:04,559
Speaker 7: Yeah said one night stands only that's what that's what

1069
01:12:04,680 --> 01:12:08,679
Speaker 7: you say. They turn into forevers and then you're welcome.

1070
01:12:08,960 --> 01:12:09,719
Speaker 3: You're welcome.

1071
01:12:10,720 --> 01:12:11,000
Speaker 7: Listen.

1072
01:12:11,080 --> 01:12:13,880
Speaker 5: Sometimes you got to experience what the experience is going

1073
01:12:13,960 --> 01:12:15,599
Speaker 5: to be like in order to know if you want

1074
01:12:15,640 --> 01:12:21,280
Speaker 5: to continue experiencing the Thanks so, thank you, We appreciate you.

1075
01:12:21,640 --> 01:12:28,160
Speaker 5: This is here for you anytime, any any anytime. And

1076
01:12:28,160 --> 01:12:28,640
Speaker 5: and thank you.

1077
01:12:31,640 --> 01:12:33,679
Speaker 1: My family, ladies and gentleman.

1078
01:12:33,800 --> 01:12:37,360
Speaker 5: In his take, and this is the Army Money podcast,

1079
01:12:37,400 --> 01:12:43,800
Speaker 5: the authority on all things R and B and she

1080
01:12:44,320 --> 01:13:02,200
Speaker 5: is her my shirt roses.

1081
01:12:56,160 --> 01:12:57,960
Speaker 3: Come on from the Womb.

1082
01:12:59,560 --> 01:13:00,360
Speaker 2: Money.

1083
01:13:01,000 --> 01:13:02,800
Speaker 8: R and B Money is a production of the Black

1084
01:13:02,840 --> 01:13:07,680
Speaker 8: Effect podcast Network. For more podcasts from iHeartRadio, visit the

1085
01:13:07,720 --> 01:13:11,559
Speaker 8: iHeartRadio app, Apple Podcasts, or wherever you listen to your

1086
01:13:11,560 --> 01:13:15,439
Speaker 8: favorite shows, don't forget to subscribe to and rate our show,

1087
01:13:15,800 --> 01:13:18,400
Speaker 8: and you can connect with us on social media at

1088
01:13:18,479 --> 01:13:22,680
Speaker 8: Jyvalentine and at the Real Tank. For the extended episode,

1089
01:13:22,840 --> 01:13:27,000
Speaker 8: subscribe to YouTube dot com, Forward, slash r, and b

1090
01:13:27,120 --> 01:13:27,439
Speaker 8: Money