Speaker 1: R and B Money.
Speaker 2: We are.
Speaker 3: Thanks take valoti.
Speaker 1: We are the authority on.
Speaker 4: R and B.
Speaker 5: Ladies and gentlemen, money is tank This, my friend, Come on,
Speaker 5: is the R and B Money podcast. This is the
Speaker 5: authority on all things R and B.
Speaker 3: What the fun is your accent?
Speaker 1: Heard on?
Speaker 3: My friend?
Speaker 5: Be careful, my friend, what you asked for? Because it's
Speaker 5: a flow in my spirit? Show is going to have
Speaker 5: a certain flow today.
Speaker 3: Come on mate, you know mate, come on, bro.
Speaker 5: Where we try to organize this thing as it flows?
Speaker 3: Is it is?
Speaker 1: It reaches your spirit in your inside.
Speaker 5: It it kind of models poetry.
Speaker 3: Yeah, yes, it does flow so well.
Speaker 6: It flows so well, The flows so well, and you
Speaker 6: put it together and as like a fluid creek kind
Speaker 6: of thing. Ladies and gentlemen, it just got expensive. It's
Speaker 6: just the level of gift has gone.
Speaker 5: To the stratuspheares and outer fears and galaxies that we've
Speaker 5: never seen. I'm just excited to be here to to
Speaker 5: talk to this young lady who's just one of the
Speaker 5: most talented human beings I've ever seen in my life.
Speaker 5: Than her name, Let's see her name correctly because it
Speaker 5: deserves reference.
Speaker 4: Marcia Ambrosious, amazing amazing.
Speaker 7: One more time to me Ambrocious Ambrosious. Okay, so some
Speaker 7: people do say Ambrosius, right, Okay, then it's Ambrosious. I
Speaker 7: don't even know how to pronounce my own name anymore.
Speaker 7: I've heard it back to me so many times wrong.
Speaker 1: How did you were born?
Speaker 7: When I was born, Darling, I came out of the
Speaker 7: woman and they said, this is Marcia Ambrosius.
Speaker 4: Ambrosius, that Ambrosius ambros So when I got to America
Speaker 4: was like, what's up the Martian Ambrosious or Ambrose or
Speaker 4: Ambarrose or ambros Ambrosias.
Speaker 3: So it's like a z I kind of like Marcia amburrows.
Speaker 7: I was referred to us, not even Marsha Amberrose. Oh
Speaker 7: they go Marcia amber Ambarrosia Amberrows. I just left it,
Speaker 7: you know what. Being in Philadelphia that long, it was
Speaker 7: what it was.
Speaker 4: But I love it, Ambrosious.
Speaker 7: With your wonderfully awful British accent.
Speaker 5: Well, are a lot of things I don't do, so
Speaker 5: I like to put all of them on display.
Speaker 3: This is why we hear.
Speaker 7: What's up? Guys. I feel like.
Speaker 5: You're like you're like one of the rare artists, one
Speaker 5: of the rare entities where you've that you've been able
Speaker 5: to maintain a mystique about you, But every time your
Speaker 5: name is brought up, it's like a real thing.
Speaker 7: Still to this day, it's lovely to hear.
Speaker 5: I mean, you're you've, you've your your imprint, and I
Speaker 5: think it's it's it's because you're wonderfully talented. It is
Speaker 5: because you're an awesome human being, but you're very distinct
Speaker 5: in how you approach all of it, like it's very
Speaker 5: much yours.
Speaker 7: I've been intent My intentions have always been to do
Speaker 7: just that. I think I've been such a unique individual
Speaker 7: in this very when I say urban space, in our
Speaker 7: R and B field. Unfortunately, on one side, it's been
Speaker 7: deemed as one thing, one toned, it's this box. And
Speaker 7: then you try and do that one thing that makes
Speaker 7: you outstanding, and you're seeing how long that can sustain,
Speaker 7: and you're like, Okay, how long can I get away
Speaker 7: with B and myself before I'm then forced into having
Speaker 7: to fine tune this thing that people are grasping towards.
Speaker 7: Because what R and B has been the driving force
Speaker 7: of our space for however long, And it's wild that
Speaker 7: I remember doing my first solo project with late nights
Speaker 7: and early mornings, and I had so many gems in
Speaker 7: the cut, and I'm like, oh, I can't wait to
Speaker 7: put this record out. And there's this one thing I
Speaker 7: hope she cheats on you a basketball player, which playing
Speaker 7: basketball my entire life just felt like a funny little joke,
Speaker 7: a little free STYLI did on what was it ustream
Speaker 7: we used to have at the time, freestyled it on
Speaker 7: and that's the thing that takes off, not far Away,
Speaker 7: not Sour Times, not Lose Myself, not any other record.
Speaker 7: The Ratchet one the outlandish statement, and I was like, hmm,
Speaker 7: I see R and B and hip hop doing this
Speaker 7: fusion thing where the shift is about to happen and
Speaker 7: people are going to go ratchet, and there's nothing that
Speaker 7: we can do other than hold onto the reins and
Speaker 7: still try and find yourself within it. But coming from
Speaker 7: a space of I've been able to say what the
Speaker 7: fuck I want for so long, it's I should be
Speaker 7: able to say what the fuck.
Speaker 1: I want, absolutely absolutely know.
Speaker 7: But you have to stand on that in R and
Speaker 7: B and some people have a way of doing it.
Speaker 7: Anyone can sing your song and there's no uniqueness to it.
Speaker 7: It's just a good song and anyone can sing it,
Speaker 7: name an artist, give it to them. But then there's me,
Speaker 7: and there are very few people that are just going
Speaker 7: to say, Okay, I'm going to sing a Marsha song
Speaker 7: because it's such a signature, it's so unique, even if
Speaker 7: it's even if it's I'm trying to touch on this
Speaker 7: little thing that I think R and B is for
Speaker 7: a joke. I hope she cheats. I hope she chooses
Speaker 7: the most ratchet thing I think I did with my
Speaker 7: space in all of its uniqueness.
Speaker 1: I mean, is it just like or is it just
Speaker 1: the truth?
Speaker 7: It's just real I'm saying ratchet coming from me, where
Speaker 7: people are like, oh my god, Marshia like say yes,
Speaker 7: Marsha like you know. So it's it's the.
Speaker 8: Difference, and maybe we may look at it because we
Speaker 8: know you exactly a differently. You know, it didn't surprise me,
Speaker 8: of course. In the record, I'm like you, she feel
Speaker 8: a way about these lebrons.
Speaker 7: I'm a little better, just a little better. I'm doing
Speaker 7: better now. And that was the song, and you know,
Speaker 7: but it was still very much R and B.
Speaker 3: Absolutely it's called the truth.
Speaker 7: And that's what R and B is it's just the truth.
Speaker 7: You can interpret how it should.
Speaker 3: Should be the truth.
Speaker 1: RB should be the truth, and that's the uniqueness that
Speaker 1: stands the test of time.
Speaker 7: And I feel like I can stand on saying that
Speaker 7: I've done so for twenty plus years now. That's crazy
Speaker 7: to say that you sustain that. But in also praising
Speaker 7: what this platform is as well, you and I have
Speaker 7: brushed shoulders that entire time. That's insane to go into
Speaker 7: this being well not front row. I've only got like
Speaker 7: third row tickets to your concerts. I couldn't. It was
Speaker 7: sold out by the time I was getting this, so
Speaker 7: we've got freebie got in anyway. So there, I am
Speaker 7: a tank like your lungs and I'm a fan. And
Speaker 7: then coming into it, we're sharing stages together. Absolutely so
Speaker 7: not saying your age and I think you've been doing
Speaker 7: this one, but it's like to do that in our
Speaker 7: field and really claim to not only have made R
Speaker 7: and B money, still making R and B money, still
Speaker 7: have R and B money. There's a big difference in
Speaker 7: that because in our field, a lot of money is.
Speaker 8: I just play private school tuition, so I don't really
Speaker 8: get too much R and B money.
Speaker 3: Left this week.
Speaker 7: The fact that you can say that you had it
Speaker 7: to give that up, I know what that is.
Speaker 5: It hurts that I got a pond and ship you can.
Speaker 3: It will?
Speaker 7: I hate it. No, we're not claiming that we're actually
Speaker 7: going to stand on businesses say that we make and
Speaker 7: still and laugh about the luxury in private school because
Speaker 7: of what we've done for two plus decades now, that's
Speaker 7: insane and incredible, with more to come. I haven't written
Speaker 7: my best song yet.
Speaker 3: Talk about loads of them.
Speaker 7: I can write so much more like and Will. There's
Speaker 7: too much life to be had. It's too many memories
Speaker 7: to make, and just to see the reaction from people
Speaker 7: in the audience listening to these songs that we made
Speaker 7: over that course of time and it resonated in a way.
Speaker 7: It's powerful and I respect that power, which is why
Speaker 7: I've only least so much like I've actually contained because
Speaker 7: it's a responsibility. You're responsible for someone's happiness, heartache, love, life, hate,
Speaker 7: just through the songs that we make. It is a responsibility,
Speaker 7: and I do take it seriously. It's terrible, but.
Speaker 1: It should be though.
Speaker 7: Not My music isn't for play play like, don't play
Speaker 7: it if you don't mean it like you want to
Speaker 7: one night stand and you want to play a Marsha record,
Speaker 7: it might turn into forever.
Speaker 1: Listen, I can think you know what, no white ship.
Speaker 3: Have a wife?
Speaker 1: What are we doing? How do let's go back to
Speaker 1: the beginning. When does when does someone say? And in
Speaker 1: the beginning, give me give me the birthplace of your
Speaker 1: unique self?
Speaker 7: Having a crush on the guy that worked in McDonald's
Speaker 7: in Campbewell, London, England, South London. He was a friend
Speaker 7: of a kid that lived down the street. His name
Speaker 7: was Mark. I don't even know his friend's name. I
Speaker 7: just knew that he had the old school brown McDonald's uniform, remember,
Speaker 7: like the shitty brown with the hat and the clean
Speaker 7: pressure like that McDonald Like I have not the big Mac.
Speaker 7: So my school was within five minutes walking distance. McDonald's
Speaker 7: was like seven minutes the opposite direction. I didn't need
Speaker 7: to be over there, but would go over there and
Speaker 7: just stand outside the window salivating over well the cheeseburger,
Speaker 7: but him as well. And this song I wrote in
Speaker 7: my head at the time was called Gonna Get You,
Speaker 7: So I was out to get it like like it
Speaker 7: was called gonna get You like I was walking down
Speaker 7: the road, saw your face. It was so terrible. You
Speaker 7: looked at me, Yeah, you were away. It was like
Speaker 7: really corny, really cheesy, but the core of it of
Speaker 7: it twelve thirteen year old melody. Years go by. Now
Speaker 7: I'm in my teens, teens, teens where feelings are true feelings.
Speaker 7: And that turned into butterflies. So it was I just
Speaker 7: want to touch and kiss and I wish that I
Speaker 7: could be with you tonight. You would be butterflies. So
Speaker 7: I wrote Butterflies about him at what age I was
Speaker 7: like sixteen? I had to be sixteen seventeen because I
Speaker 7: was definitely going to that bust up to get the
Speaker 7: thirty five thirty five bus to Brixton to play for
Speaker 7: the Brixton Topcats. I was still playing ball at that time,
Speaker 7: and I would go to that McDonald's every single time
Speaker 7: get the bus.
Speaker 3: How long did he work at that McDonald's. It was
Speaker 3: like three four years he put it in time.
Speaker 7: I just remember the uniform going from dusty brown to
Speaker 7: you know, the white shirt. So maybe it was flipping
Speaker 7: burgers at first and then sweeping the floor like the
Speaker 7: big exactly exactly, So butterflies happens from that. So my
Speaker 7: unique perspective on seeing this very monotonous scenario come from
Speaker 7: innocent feelings like oh, one day I'm gonna get you.
Speaker 7: I'm gonna get you to I have feelings you give
Speaker 7: me butterflies, like all you're gonna do is just walk
Speaker 7: away and pass me by. I don't even acknowledge my
Speaker 7: smile when I tried to say hello to you. M Yeah,
Speaker 7: so I felt that, but really melodically and in composing
Speaker 7: certain songs like that stemmed from my obsession with Jodasy.
Speaker 3: There's always that, yeah.
Speaker 7: Like Jodasy has been my reason. Okay, so Prince Michael Stevie,
Speaker 7: no particular order, favorite artists of all time, and they're
Speaker 7: like the umbrellas of then everyone else because I can
Speaker 7: say all the other names, they just go in those brackets. Stevie,
Speaker 7: every performer, writer, musician, prince, complete, rock star, abstract in
Speaker 7: his own way. Michael was just a fucking star. Yeah, yeah, stars,
Speaker 7: legend star of stars, hits of hits, and I loved
Speaker 7: them all dearly. I didn't want to make music until
Speaker 7: I heard the production of Davante make music like sit there, figure.
Speaker 3: Out anybody in your family making music? Though, or not dad,
Speaker 3: your dad.
Speaker 7: My dad was a musician and basketball coach, hence me.
Speaker 7: So it was him playing bass or league guitar, singing
Speaker 7: in a seventies funk band called Supercharge that were actually
Speaker 7: signed to Virgin You know what I'm saying.
Speaker 3: I like that.
Speaker 7: When I was born one and that like Supercharger is
Speaker 7: doing it. So I had that background. And there's me
Speaker 7: watching my dad play all these instruments and don't touch that,
Speaker 7: and he you know, missing me into Okay, I'm gonna
Speaker 7: touch it. I'm play this bass real quick, and play
Speaker 7: these keys real quick, and play you know. So the
Speaker 7: love for music came from just it being around me.
Speaker 7: But listening to that Jodicy era, the New Jack Swing era,
Speaker 7: I was like, what I think doing? What is this thing?
Speaker 7: Let me figure out these chords, Let me listen to
Speaker 7: these harmonies. What do you do again? And then I'm
Speaker 7: the fifth member of joy Bocally. I can find the
Speaker 7: other harmony in anything like.
Speaker 5: It's insane, like maybe I was the fifth member. Do
Speaker 5: you think you can be sick?
Speaker 7: We can fight, we can fight.
Speaker 3: He said that way too confidently. I don't know if
Speaker 3: you've met.
Speaker 7: You gave yourself a name nice to meet you, Jayon.
Speaker 8: Misters because I'm both mister mister, yeah, I feel you.
Speaker 3: I don know this episode we had.
Speaker 7: And he verified this. Yeah, I don't know we actually verified.
Speaker 7: But other than thanked you for being so craciously, I'm kind.
Speaker 7: But I will say without I don't know.
Speaker 3: Fifty six. There's a lot of us out here.
Speaker 7: There's no me, there's nine.
Speaker 1: Seriously, I'm going to.
Speaker 7: List all right, listen to any one of my songs
Speaker 7: a cappella and really hear my harmony arrangements and just
Speaker 7: know where that comes from so you can claim whatever
Speaker 7: your spot is. I just know from you. It's all
Speaker 7: in there, all of that influences in there. And my
Speaker 7: reasons why to create the way I create stemmed from
Speaker 7: really picking apart what that was, and it was from
Speaker 7: the the interludes, like the nerve of the interludes. We're
Speaker 7: just outrageous in nineties R and B and to want
Speaker 7: to carry that further and keep the integrity of what
Speaker 7: my R and B for me is what I pursued
Speaker 7: this entire time. And the longevity in that is why
Speaker 7: you can sustain that. Because people want to feel exactly that,
Speaker 7: they want to fight for their sixth or seventh position
Speaker 7: that they so claim your.
Speaker 3: Set, don't make me called casey.
Speaker 7: I got I'll call the family.
Speaker 1: I'll yeah, I'll.
Speaker 3: Call this mama.
Speaker 8: How about that you love you love?
Speaker 3: I gotta step I gotta step aside on that.
Speaker 7: Okay, So yeah, I might have to bow down to
Speaker 7: That's that's that's that's fine.
Speaker 3: I say.
Speaker 7: The worst thing are we fighting over twenty thirty years
Speaker 7: from now?
Speaker 3: The worst thing is don't go to an NBA game
Speaker 3: with Tank?
Speaker 8: Why every NBA niggas, Mama are the biggest Tank fans
Speaker 8: you've ever met in your life. It's the craziest. It's
Speaker 8: the craziest thing in the world. I'm like, wait, wait,
Speaker 8: who mama is that?
Speaker 3: Oh? You know that's that's that's just man. You know
Speaker 3: I had to go saying Hay birthday, I graduated. That's
Speaker 3: how he Trump's that all arguments.
Speaker 4: I call the mom that's not fair.
Speaker 1: I get their mama's tickets.
Speaker 3: Their mama's tickets. It's true.
Speaker 7: Yeah, there's nothing you can do about that.
Speaker 8: Nothing Like So when you were so, when you're going
Speaker 8: through this phase right where you're you're becoming this songwriter
Speaker 8: and you're loving the music, you're also playing basketball.
Speaker 3: How are you.
Speaker 8: Juggling too, because what you're talking about musically is not
Speaker 8: a locker room conversation. No, that's not like you're not
Speaker 8: taking the Jogsy tapes into the basketball locker room and
Speaker 8: y'all talking about the divante harmonies in the in the in.
Speaker 3: The piano.
Speaker 7: That was having well the Walkman at the time, which
Speaker 7: is shaky, juggly cassette tape advancing into the CD. It
Speaker 7: was me with my headphones and all of the teammates, oh,
Speaker 7: sing that song again. Yeah, So that was my way
Speaker 7: of sharing it and then getting the you know, still
Speaker 7: very insecure in that aren and I didn't really want
Speaker 7: to be on any stages, didn't want to be seen,
Speaker 7: but my teammates through.
Speaker 3: Your height.
Speaker 7: That again your wife, you can sing, and I'm like.
Speaker 3: You putting in your time.
Speaker 7: Yeah.
Speaker 3: So that was my.
Speaker 7: Very intimate first experience of putting myself out there. So
Speaker 7: that was my version of Okay, maybe I'm onto something.
Speaker 7: So I wasn't juggling, not according to my dad, who
Speaker 7: was very much you're going to be about this possible
Speaker 7: life one hundred percent, or you're going to take music seriously.
Speaker 7: And I didn't take music seriously until I tore ligaments.
Speaker 7: Can we get the violins or something that moment, because
Speaker 7: it was we got devastating, devastating, it was tragic. Keep on.
Speaker 7: I heard the crunch, but in America, I wasn't. I
Speaker 7: was still overseas. I was playing a three on three
Speaker 7: pickup game at Elephant and Castle Gym, and we hadn't
Speaker 7: lost the game, and I just wanted to play one
Speaker 7: more game. We lost the last game and I was like, nah,
Speaker 7: I'm not leaving the floor until we win again. Played
Speaker 7: music again, played music. So I played that last game,
Speaker 7: and I remember receiving the ball m Remember it was
Speaker 7: like yesterday. I went to crossover and as soon as
Speaker 7: I hit that pivot crunch, It's like a bricocheted through
Speaker 7: the entire gym, and I just want to break down
Speaker 7: the crack.
Speaker 2: Lord help me.
Speaker 7: Yeah, it was over then, and then you can start
Speaker 7: now after that the whole world and no, there's no
Speaker 7: need to get sad.
Speaker 1: It's so great with your extity and we've done nothing.
Speaker 7: So that's what happened. It was a movie scene. It
Speaker 7: was like slow motion, and I hadn't seen my life
Speaker 7: without basket until that morning, heartbreaking me, crushing, like you
Speaker 7: don't picture your life without the thing that you love
Speaker 7: until you've lost it. So music hobby can listen to
Speaker 7: music all day. My mother's vinyl collection outrageous, Go in
Speaker 7: the crib Basketball. I'm up first thing in the morning.
Speaker 7: It's late nights and early mornings for basketball. For me,
Speaker 7: it was practice Monday through Friday, away game, Saturday, home game,
Speaker 7: Sunday repeat. I didn't have a day off, not with basketball.
Speaker 7: And then it's gone and I was like, Okay, what
Speaker 7: am I going to do. I'm going to write about it.
Speaker 7: And I got home, got a diary, got in front
Speaker 7: of my piano, and I wrote the song If I
Speaker 7: Was a Bird, and that was about losing basketball, which
Speaker 7: was then a part of the first Flowsry album. So
Speaker 7: If I Was a Bird stemmed from Michael Jordan's documentary
Speaker 7: at the time, Come Fly with Me. I used to
Speaker 7: watch that'll repeat every day day and it was without basketball,
Speaker 7: my life is incomplete. So it's like you have me
Speaker 7: caught up in this starry eyed well the dreams, and
Speaker 7: it's that one last shot.
Speaker 8: All these songs are about flipping burgers and shooting baskets.
Speaker 7: Regular I take the most regular ship and I make
Speaker 7: it your every day like most of my prolific long
Speaker 7: jevity long game. I want this music to in the
Speaker 7: space forever. A basic sayings it's what you're going to
Speaker 7: do is say yes, getting late? Why are you going
Speaker 7: to be here?
Speaker 2: Hello?
Speaker 7: How are you? Were you up to nothing? I hope
Speaker 7: you choose on you with a possible player. It's very
Speaker 7: matter of fact, yeah, far away and every minute you're
Speaker 7: going to missing you. So it's going to be a
Speaker 7: late night early morning when I come home.
Speaker 3: It just feels like.
Speaker 5: Not not that your universal calling, will you know, make
Speaker 5: the floor a little extra slippery at that time or
Speaker 5: make your shoes stick to the parquet so that your need.
Speaker 3: Goes to that.
Speaker 5: Not that it does that, right, but your calling has
Speaker 5: a way of showing itself and showing up to where
Speaker 5: you ultimately don't have a choice.
Speaker 7: I agree with that, and that just comes with what
Speaker 7: is our gift. We can run from it if we
Speaker 7: want to, and it's gonna be right there going up.
Speaker 7: Excuse me. The gift that I gave you, it's time
Speaker 7: for you to give it to the world because that's
Speaker 7: what you've been blessed with and regardless of where your
Speaker 7: head's face is. That what you think this is about
Speaker 7: to be, this is actually what it is. So even
Speaker 7: when I wanted to quit, like very recently, not quit,
Speaker 7: I just feel like I've completed well. I wanted out
Speaker 7: of this space. It's like Super Mario Brothers Level eight.
Speaker 7: I jumped over the Dragon and Save the Princess. I'm out,
Speaker 7: Like it's done. I don't need to do anymore. There's
Speaker 7: nothing to prove. I wanted to sell a couple million records,
Speaker 7: work with my favorite artists, and I did all of
Speaker 7: the things that should be someone's bucket list very early on,
Speaker 7: like how a song that I wrote about the Doo
Speaker 7: Doo Brown Michael, I mean McDonald's his name might have
Speaker 7: been Michael. I don't know, Like who knows. We're just
Speaker 7: trying to figure out where are you? I really want
Speaker 7: to know where this guy is. I didn't know. Years later,
Speaker 7: Michael Jackson would hear a demo that was presented to
Speaker 7: him by John McClain, presented to him as a flower
Speaker 7: Tree album like look, I want you to hear these Girls,
Speaker 7: and a part of that demo package where the original
Speaker 7: Flowa Tree album, including two songs that were just demos.
Speaker 7: Say Yes was one of them. Say Yes was written
Speaker 7: for Rod Eisley and Me and Drey Harris did that
Speaker 7: he didn't take, but it was specifically catered to him,
Speaker 7: but he didn't take it. So he ended up doing
Speaker 7: a duet with Jill Scott for that project and didn't
Speaker 7: take Say Yes to Say Yes is just sitting there
Speaker 7: is this lonely demo shipped to bab Babyface didn't want it,
Speaker 7: so now it's just this outstanding song as well as Butterflies. So, Mike,
Speaker 7: is this butterfly song on this flow at You demo?
Speaker 1: Like?
Speaker 7: What's that?
Speaker 1: Though?
Speaker 7: Can I have that?
Speaker 3: Mike?
Speaker 7: You can have the entire album? You know just what
Speaker 7: kind of that's two coming to America. That's why, like
Speaker 7: between the Big Bucks and this. Okay, so I didn't
Speaker 7: know that that's how these things were going to transpire,
Speaker 7: but you dream big enough, big dreams happen, So when
Speaker 7: it starts to happen, I can't then say not I quit,
Speaker 7: but there's gonna be more in me. If that was
Speaker 7: my start, I can't start there. And then where do
Speaker 7: you go from there? Though?
Speaker 3: Wherever?
Speaker 1: You just keep going?
Speaker 7: And that's exactly what I did. That was the year
Speaker 7: two thousand that that demo resurfaces, is repurposed and Andre
Speaker 7: Harris and myself go in the b room of a
Speaker 7: Touch of Jazz and I'm like, look, I have this record. Ray,
Speaker 7: I know that you are the guy you did Long
Speaker 7: Walk the Way like my favorite Jill Records. I no issue,
Speaker 7: Let's get this. We do that demo. By March of
Speaker 7: two thousand and one, we're in the studio with Michael
Speaker 7: Jackson telling him what to do and how to do it,
Speaker 7: like he's behind the glass like your mike one more time,
Speaker 7: bit pitchy one time, me with the talk back, telling
Speaker 7: Michael Jackson, I'm twenty three at that time.
Speaker 1: You guys don't yet.
Speaker 7: We signed our deal December, so the end of that year,
Speaker 7: so we were already at DreamWorks and then the album's done.
Speaker 7: So we're literally waiting for papers at that point to
Speaker 7: illegal aliens trying to get this record deal. So it
Speaker 7: was hey, let's get you some visas so we can
Speaker 7: put you.
Speaker 3: Is that yeah?
Speaker 7: So the album, our album didn't drop until October that
Speaker 7: following year. I think by the time all that was
Speaker 7: squad Away. Yeah, there's Michael Jackson like Michael mother Jackson.
Speaker 8: And the thing too, like you said, it all comes
Speaker 8: from your demos going through the hands of John McClain,
Speaker 8: who are and at this point he's at DreamWorks. If
Speaker 8: you sign anywhere else for what Michael Jackson never hears.
Speaker 8: We just always we like to connect it, you know,
Speaker 8: we like to connect the dots. And you know when
Speaker 8: people are thinking of why I did this or why
Speaker 8: I didn't do this and all these other things, and
Speaker 8: what didn't come from something like just signing to this,
Speaker 8: you know, Boutiquet.
Speaker 7: Supposed to be with Motown and then it's John McClain
Speaker 7: and Michael Jackson and it's might want to go that
Speaker 7: route because yeah.
Speaker 3: I'm gonna need these butterflies.
Speaker 7: Yes, And that's how business wise, that's how that all
Speaker 7: kind of transpired, which is crazy about Michael Jackson himself
Speaker 7: telling me, you know, if this is your beginning, imagine
Speaker 7: where you're gonna go.
Speaker 1: Right.
Speaker 7: So Flow Tree go on to go platinum, couple of
Speaker 7: Grimy Nuds and toured for years and then.
Speaker 5: So here's a question before you go there, does the
Speaker 5: Michael Jackson work Just that being in that conversation and
Speaker 5: being in that room make the flow a tree that
Speaker 5: much more urgent to the building.
Speaker 3: Did you guys become more of a priority?
Speaker 7: Yeah, well, like you said before, it was still very
Speaker 7: much boutique. So it's on the rock side, it was
Speaker 7: what alien Ant Farm. On the urban side, it was ourselves,
Speaker 7: ron Issley, what's her name? Why am I missing that
Speaker 7: right now? I really? Oh no, what you came before? Sorry,
Speaker 7: I think, lovely girl, we've actually had conversations. No, I
Speaker 7: don't think so. It was very It was this is
Speaker 7: two thousand when we signed, but two thousand and one
Speaker 7: when all of these things started to happen. So I'm
Speaker 7: not saying there was a level of urgency now that
Speaker 7: these I think it was a talking point. So even
Speaker 7: with our papers not being done, it wasn't like we
Speaker 7: could release the album that day and Flower try the
Speaker 7: floetic album. We're talking a completely different time in industry,
Speaker 7: like our first video was up for a vm A,
Speaker 7: like we're up against cold Play like we were. We
Speaker 7: had different budgets back then, and so it was it
Speaker 7: was different. So I had a different spoiled experience of
Speaker 7: what industry was like. And I don't think even with
Speaker 7: a Michael Jackson coming into play, when the album was released,
Speaker 7: Butterflies were still very much in his the demo on
Speaker 7: the actual album, the Butterfly's demo that Marsh was saying,
Speaker 7: and this is why.
Speaker 3: Yeah, the fact that you guys were able to use
Speaker 3: it on the album too, that was.
Speaker 7: A dream work. It's play and they could because it
Speaker 7: was the same building and it was like the the
Speaker 7: Silent not so Silent co sign had no Michael, he's
Speaker 7: my girls.
Speaker 3: They looked out for me. I'm looking out and that's
Speaker 3: what that was.
Speaker 1: I think you should use it as well.
Speaker 7: Do you think he said it just like that?
Speaker 3: Oh you know the voice of everybody be throwing around it.
Speaker 7: Just use this shit man, the Michael voice he gives.
Speaker 7: You're a singer. I know you have a deep, husky voice,
Speaker 7: but preservation is key. I feel like he only had
Speaker 7: that voice. He was preserving every single ounce of his
Speaker 7: vocal to just be the icon and performed that.
Speaker 3: He was Jackson talking with the talks off.
Speaker 8: When they talk to you, they talk about they don't,
Speaker 8: they don't, they don't project, they don't do a whole bunch.
Speaker 1: Of cracking jokes and laughing and drinking.
Speaker 7: I was in the studio, me and Andre Harris in
Speaker 7: the studio with Michael Jackson. It was nothing but jokes.
Speaker 1: Did you have completely full.
Speaker 7: Beverages you beves? No kids?
Speaker 3: What about?
Speaker 7: But we did have smothered turkey chops and mac and
Speaker 7: cheese and strawberry shortcake from a soul food spot in
Speaker 7: New York called Jezebels. We had that every day, every day,
Speaker 7: every day I put on.
Speaker 5: No.
Speaker 7: It was was lovely like Paris and Prince when they
Speaker 7: were very very young, just kids chilling in the studio
Speaker 7: like it was very family environment. It was a wild time.
Speaker 8: So when you get this record placed, have you done
Speaker 8: getting your record deal done?
Speaker 3: Have you done your publishing deal yet? Or did people?
Speaker 3: How did that go?
Speaker 7: Okay? So I already had a dusty your first publishing deal,
Speaker 7: you know, one of those. So they're just very much
Speaker 7: doing me in the studio with whoever see what sticks.
Speaker 7: And then I've gone to the States on a whim
Speaker 7: to do this flowtry thing that pans out ultimately, and
Speaker 7: then it's hey, I've got you know, a placement on Michael.
Speaker 7: So we're only up the ante for me and lent
Speaker 7: to there like oh ship, We've got a writer who's
Speaker 7: got Michael Jackson Record.
Speaker 3: Did you renegotiate absolute.
Speaker 7: In retrospect, you kind of wish you just cashed out
Speaker 7: then and ship.
Speaker 8: Yes at the time, but you didn't know that that
Speaker 8: money got you to.
Speaker 7: America coming to a May game and had the means
Speaker 7: to do it.
Speaker 8: So yeah, yeah, if you don't mind me asking, how
Speaker 8: did they give you for your before before you.
Speaker 7: Did ten grand? Yeah?
Speaker 3: Did you have a crazy commitment?
Speaker 7: No, it wasn't that bad of a commitment, but there.
Speaker 9: If it was an MDRC though, absolutely, Okay, Okay, So
Speaker 9: if you look at it, like you never had a
Speaker 9: record deal yet and you didn't know where these placements
Speaker 9: were even coming from, outrageous deal that I was.
Speaker 7: Then stuck into four years because of the renegotiation. Now
Speaker 7: they're trying to hold onto you and you're like, well
Speaker 7: help me.
Speaker 5: Yeah, but you got in at the time, give us
Speaker 5: before the threshold were created, so.
Speaker 3: You were able to with that one album to.
Speaker 7: What needs to do?
Speaker 1: Yeah, move through a turn right, even.
Speaker 7: Up until late nights and early mornings, which is what
Speaker 7: twenty eleven, twenty twelve, that wasn't so bad. And I've
Speaker 7: had this conversation before with record deals that were signed
Speaker 7: pre dating this streaming eerror is how are we supposed
Speaker 7: to fulfill album commitments in terms under those same contracts?
Speaker 7: Because tower records don't exist. We can't do it in
Speaker 7: store signing. There's nothing physical for me to actually give you.
Speaker 7: So what stipulates in my deal that I haven't turned
Speaker 7: that around already because the stream is not going to
Speaker 7: do it the dollar amount my contract, everyone has to
Speaker 7: go back to the table. We're like stuck on a deal.
Speaker 7: I'd be in a five album deal for one hundred
Speaker 7: and twenty seven years now.
Speaker 3: Tape don't count until it reaches.
Speaker 7: Two billion streams like.
Speaker 5: Physical discount for this much of it. The digital only
Speaker 5: counts for this.
Speaker 7: But where does it say that in your contract? And
Speaker 7: where's the clause that even automatic?
Speaker 1: The automatic based on their negotiations.
Speaker 7: With Right, they've been talking to the digital service platforms,
Speaker 7: which is insane. So if you write a lot of
Speaker 7: your songs and produce, so that's your hundred percent, and
Speaker 7: you might break off a producer if they came in
Speaker 7: and say, Okay, I'm going to layer up, so I'm
Speaker 7: going to take let's go with eighty twenty. So out
Speaker 7: of eighty percent of that record, that you have and
Speaker 7: you put it on iTunes or Amazon and you put
Speaker 7: it for sale, you're getting a substantial amount of your
Speaker 7: eighty percent as it pertains to a sale. What are
Speaker 7: you getting now is a stream point the fact that
Speaker 7: you said.
Speaker 3: Point fact it starts to start that point it starts.
Speaker 7: So imagine signing these contracts back in the day, your hype.
Speaker 7: You've got a record deal, you write, you produce, you
Speaker 7: know that your fraction of that portion of the entire
Speaker 7: composition is solely yours. Like but Flies seven zero percent,
Speaker 7: mind seventy I have that so when it was out,
Speaker 7: it's seventy, mine all of it. Now streaming it, seventy
Speaker 7: percent of Butterflies by Michael Jackson is reduced to a
Speaker 7: point something.
Speaker 3: Yeah, depending on what platform, it could be point zero.
Speaker 7: Appreciate that zero zero seven in my contract.
Speaker 5: Here's also the question, though, because that's seventy still performs
Speaker 5: well in in the traditional spaces that it performed in. Right,
Speaker 5: you do this? This digital seventy is brand new, brand.
Speaker 3: New, absolutely icing.
Speaker 5: It's like, now we were just talking about this. It
Speaker 5: has to be negotiated, right, better.
Speaker 7: Right, But who starts these conversations like.
Speaker 8: Well, ultimately we have to but you. But we have
Speaker 8: to do it in a sense outside of the major corporations.
Speaker 8: We have to we have to start it from an
Speaker 8: independent sense of saying I will not give you my
Speaker 8: product like.
Speaker 3: I don't like, I don't care.
Speaker 8: It's the same thing is if if you're Nike and
Speaker 8: foot Locker is saying, well, we want to sell your
Speaker 8: shoes for this, this is what we want to give you, right,
Speaker 8: and you being able to say I don't want to
Speaker 8: put my shoes in foot Locker. I'm going to put
Speaker 8: them in Champs, right, And you have to you have
Speaker 8: to make that right. Yes, costs right, So, and I
Speaker 8: think we also have to get into the super fan
Speaker 8: space of literally going direct to consumer.
Speaker 7: So think about just saying that. Imagine when iTunes was
Speaker 7: iTunes and if I go, oh shit, Tank has a
Speaker 7: new release this what was it tuesdays back then? Whenever
Speaker 7: day it was, and I'm like, I want to buy
Speaker 7: your song. It's ninety nine cents or ninety nine pen
Speaker 7: in the UK, I'm going to spend that entire for
Speaker 7: just you. Now with a subscription, you've reduced me to
Speaker 7: a monthly fee. So I, as the consumer have access
Speaker 7: to everything not to specialize in exactly what it is
Speaker 7: that I want. I just have this plethora of music
Speaker 7: to go through and scroll through and not spend or
Speaker 7: invest any time, and it's kind of what the fuck
Speaker 7: do we doing?
Speaker 8: But what it is, though, is that it becomes it
Speaker 8: becomes a form of just radio in a sense, which
Speaker 8: isn't fair.
Speaker 7: It's not fair. It's not fair. It's not a fair game, like.
Speaker 3: To be fair.
Speaker 7: It's never been fair. But we've managed to get the
Speaker 7: R and P money where we can and where we
Speaker 7: have and sustained it. Not a lot of us can
Speaker 7: still get on a stage live and do that part.
Speaker 7: It's very much okay, let me rely on what the
Speaker 7: wave is right now. Gets something that's trending, and that's
Speaker 7: my money, if that's the money. Like, I've never been
Speaker 7: in it for that. I've been in it for the
Speaker 7: art and I've made money because of it. So I
Speaker 7: feel like my intentions were different, like recently having got
Speaker 7: in the studio with Doctor Dre and Doctor Dre very
Speaker 7: unrealistically saying do whatever the fuck you want? Does that
Speaker 7: mean I can play Jesus with music? And that's exactly
Speaker 7: what we did in the studio for this project, Casablanco, like,
Speaker 7: even when you say it's just this mysterious, Yeah, it's
Speaker 7: a bit bigger than an album. And you know, everyone,
Speaker 7: marsh Wednesday, it's a bit bigger than just an album.
Speaker 7: We're talking doctor dre here. So yeah, what took us
Speaker 7: ultimately two weeks to get the grasp of what the
Speaker 7: album actually was, to implement the strings into informent having
Speaker 7: to clear what we decided to borrow and take from
Speaker 7: this time capsule of music during a time when we
Speaker 7: didn't know where the world was going, during the pandemic
Speaker 7: fucked up out here. So I'm like, if we had
Speaker 7: to take the music that we cared about and make
Speaker 7: it one thing and listen to it in one space,
Speaker 7: what would that be? So it's the audacity to take
Speaker 7: Duke Kellington and Michael Jackson and George Benson and Patrice
Speaker 7: Russian and Wu Tang and Frank Sinatra and random things
Speaker 7: that identify us as musicians as a whole and put
Speaker 7: it in one space to then be reduced to giving
Speaker 7: it away as a SoundBite or radio.
Speaker 3: You have to you have to now be.
Speaker 8: More what would be the word for just you have
Speaker 8: you have to take a different chance with the music
Speaker 8: and and not go into these spaces that have just
Speaker 8: always been what they are and where people are making
Speaker 8: up terms and making of new ways to do bad business,
Speaker 8: which you can say, listen, you just have to you
Speaker 8: have to take ownership and it completely. It's just my opinion,
Speaker 8: especially when if I'm fucking doctor Dre.
Speaker 7: And I'm using as an example.
Speaker 8: You can release it how you please, of course, but
Speaker 8: if you want to be a part of their platforms,
Speaker 8: the only way is to give it to them either
Speaker 8: at their whatever whatever their pricing is, or say, hey,
Speaker 8: let's negotiate if you want this album.
Speaker 3: This is the negotiation to it.
Speaker 8: This is these are the numbers that we want or
Speaker 8: not are I'm going to now vinyl is getting cracking again.
Speaker 8: I'm going to I'm gona press it up in vinyl.
Speaker 3: You know what I'm saying.
Speaker 7: That's that's the game we're in. That is where we
Speaker 7: consumers to absolutely get from any arts that they care about.
Speaker 7: It's just where are.
Speaker 1: You going to find it?
Speaker 5: But I think it's a way to do both right.
Speaker 5: There's a way to you know, feed the system, but
Speaker 5: also from a super fan aspect or from the desire
Speaker 5: of the super fan still supply the experience in a
Speaker 5: way that you want them to have by creating the
Speaker 5: space that they have to come and get it from.
Speaker 5: If you are a super fan, if you desire to
Speaker 5: really experience this the way it's supposed to be experienced
Speaker 5: out there, it's just that just they have the music.
Speaker 7: You like, radio your boom bucks and wait for the
Speaker 7: radio stations to come on and praying that they play
Speaker 7: that record and pressing record, even with the DJ yelling
Speaker 7: all over that shit and you rewind it, crying it
Speaker 7: up until the end when it's fading out. There's no
Speaker 7: urgency with music like that anymore, or listen to in
Speaker 7: a way where we had. It's like we had a
Speaker 7: spoiled experience of the way we listen to music or
Speaker 7: the way it was presented to us. Like right now,
Speaker 7: it's may as well be friggin what's the singles? Websites,
Speaker 7: tenders sipe left of? You don't like it, you don't
Speaker 7: like it, So yeah, it was Creating orgasms through music
Speaker 7: is my thing. So we imagine having Casa Blanco as
Speaker 7: a landscape and this very unrealistic, elevated version of life
Speaker 7: from a billionaire's perspective, what are those orgasms like now?
Speaker 7: So walking to that studio and hearing I mean imagine
Speaker 7: hearing say yes for the first time. But the melodies
Speaker 7: I heard for this were the first time. I now
Speaker 7: have to create different orgasms. So without getting too kinky
Speaker 7: for me, no, this is how I operate. By walking
Speaker 7: to a studio, I'm seducing every single instrument that's implemented
Speaker 7: into the composition. We fucking. Basically, you have to fuck
Speaker 7: the music. You have to fuck that shit up, and
Speaker 7: you can't. There's no friction there. It's all smooth. So
Speaker 7: with every musician that doctor dra had in that studio,
Speaker 7: whether that was bluetooth, focus, trev them, joints, sly, all
Speaker 7: of these elements had to get fucked up to make
Speaker 7: it one thing. So when you press play and it's
Speaker 7: this symphony, all of these elements have given each other
Speaker 7: space and energy and intimacy all at the same time.
Speaker 7: So depending on where your spot is, if it's sometimes
Speaker 7: it's my neck, sometimes it's my kneecap, sometimes it's a
Speaker 7: brush of my arm, and it's seductive. That's what music
Speaker 7: is supposed to do. And I've been doing that for
Speaker 7: two decades. Plus starting from that one, I'd say that
Speaker 7: was the sexiest song to that particular timeframe that I'd done,
Speaker 7: and continue to go on and do way more, whether
Speaker 7: that was sixty nine and so Good with the interns
Speaker 7: and even late nights and early mornings with Rich Harrison.
Speaker 7: It was just all of these moments of sex through music,
Speaker 7: and you want to be that. You want to be
Speaker 7: that you do when you do your concerts. You're like,
Speaker 7: I'm your three some, I'm the threesome. You're in that
Speaker 7: room you're listening.
Speaker 1: To I'm the tour. I'm stealing so much of your lingo.
Speaker 1: I'm down my credit.
Speaker 7: What you say, I'll say, I ain't taking point nothing
Speaker 7: nine compositions, right, that's what we do.
Speaker 5: There's a there's like a there's there's a hierarchy of
Speaker 5: of a sensual moments, and say Yes is right on
Speaker 5: that top tier with Untitled. That's that's like there's a
Speaker 5: high level of songs that are automatically intimate, automatically yeah,
Speaker 5: no one's talking, everyone's just trying to figure out who's
Speaker 5: gonna go first. That's it. Those top tiers like the
Speaker 5: song just don't read the.
Speaker 3: Room right.
Speaker 8: First, and the room ain't really trying to go with you.
Speaker 1: They played it was a time I was earlier.
Speaker 7: There is a time and place, but it's great to have,
Speaker 7: you know, the moment in the show where you're like, okay,
Speaker 7: you know where this is going. You play that first.
Speaker 5: During my piano segment, I've performed oh with my shirt.
Speaker 7: You know what You've seen that effects, so you understand
Speaker 7: the power in that.
Speaker 5: And as you said, I become the threesome not you know,
Speaker 5: not figuratively, because I.
Speaker 7: Want the audience to have that experience. It's such a compliment,
Speaker 7: like having been coined a lesbian for so long. Yeah,
Speaker 7: it's it's yeah the lesbian. There she is. It's not
Speaker 7: like I don't know. I've been completely comfortable with my
Speaker 7: sexuality for It's the last thing I would hide about
Speaker 7: me based on the music that I'd be like, why
Speaker 7: I don't mind that attention or that want for you
Speaker 7: to me to be it's intimate. That's perfectly fine. It's
Speaker 7: the music. I want to be your threesome. However that
Speaker 7: goes whatever your preference. It's you give your it's the
Speaker 7: power in it. You give that sex away. You can't
Speaker 7: help who's going to be turned on.
Speaker 1: I can't.
Speaker 7: You don't know what turns on.
Speaker 3: I can't.
Speaker 1: I'll be trying to tell my wife, babe, you can't manage.
Speaker 1: It's how it comes to me. You can't and don't.
Speaker 7: Get and your wife knows. I love, don't stab him.
Speaker 7: But this is the responsibility of what it is. You're superheroes, straight, gay,
Speaker 7: whatever it is. The music is whatever it is. We
Speaker 7: give it away and it's intimate.
Speaker 1: And you let the people interpret it, let them dance
Speaker 1: with Yeah, it's intimate.
Speaker 7: Like one night stand. This song One night stand. When
Speaker 7: the concept of the song came to me, it was
Speaker 7: because of how the music sounded, and I was like, oh,
Speaker 7: this is the morning after we sucked. For sure, this
Speaker 7: exactly sounds like the triumphant Who the fuck is that
Speaker 7: in the covers? I don't even know? The was amazing?
Speaker 3: Who is that in the covers?
Speaker 7: We will never know? Look check the toes like boomerang.
Speaker 7: Oh yeah, I know who exactly who that is. And
Speaker 7: that's perfectly fine. But it was that morning after sex.
Speaker 4: It was.
Speaker 7: You're under those covers looking at the ceiling like we
Speaker 7: should fuck again one more time, just to make sure
Speaker 7: it was that good. And then you do You're like,
Speaker 7: oh shit, is this forever?
Speaker 2: Then?
Speaker 7: Are we in love? No, it was just one night.
Speaker 3: You say that earlier. If they listened to the.
Speaker 7: Music, your one night could be And that's okay too,
Speaker 7: and that's how we made Yeah, eighteen years from now,
Speaker 7: I shall not be responsible for any child support incurred,
Speaker 7: nor the godmother of any of you.
Speaker 5: Are you giving us a wind though? Like like a wind,
Speaker 5: like you're really giving us. You're giving us the magical pitch, right,
Speaker 5: You're giving us all of the Do we get all
Speaker 5: the intimate details.
Speaker 7: And the camera and I can I can tell you
Speaker 7: that's ladies and gentlemen, can I give Can I say
Speaker 7: eight days? I'm looking off camera right now, so we
Speaker 7: can say a March date. You will be getting something
Speaker 7: and the March something is coming and it's going to
Speaker 7: be a cool summer.
Speaker 3: Yeah, come on you piano, Come on man.
Speaker 1: You know, I just.
Speaker 5: To speak of us being superheroes. Respect the fields. A
Speaker 5: lot of the music that we've sang and we've written
Speaker 5: and produced, and there's a lot of music that has inspired.
Speaker 3: You to do what you do.
Speaker 2: Mm hmmm.
Speaker 5: So the people who watch the R and B Money podcast,
Speaker 5: they want to know what they want.
Speaker 10: To know you.
Speaker 4: They want to know.
Speaker 10: I want to know top fave, your.
Speaker 2: Top five bot top five?
Speaker 5: You're top five are besing, are and B songs.
Speaker 2: We want to know.
Speaker 1: We want this slow. Just let it go and let
Speaker 1: us know your top.
Speaker 2: Yeah five, it's really good.
Speaker 1: Your top five R and B singers.
Speaker 7: No particular order. Two of those spots will be placed,
Speaker 7: whether they should or shouldn't be anyone's top five, but
Speaker 7: they're the vocalists of vocalists for me, Luther Whitney, those
Speaker 7: two spots are just taken. Yes, So now I'm down
Speaker 7: to three. Michael Jackson takes like three versions of himself
Speaker 7: because I love ABC Mike, I love Off the Wall, Mike,
Speaker 7: the Dirty Diana. Mike did something else to me. So
Speaker 7: it's almost like he's three and one.
Speaker 1: Not almost, he absolutely is.
Speaker 3: He's him.
Speaker 7: Can you have Casey and Jojo as one? Okay? Now?
Speaker 7: For two voices to be so different and compliment each
Speaker 7: other in such a way that made them one hasn't
Speaker 7: been matched to this day to me, because listening to
Speaker 7: the difference of a very sensitive, almost soprano jojo and
Speaker 7: its pure high tone to Casey's growl, it's almost like
Speaker 7: you'd be threatened to sing after case, but not if
Speaker 7: you're Jojo anyone else. But you know what I'm saying, like,
Speaker 7: and it's only because it's been recently, like Donny Hathaway,
Speaker 7: and it took me a couple of different people that
Speaker 7: would have been in my top five. But someday we'll
Speaker 7: all be free that song. I don't think I could
Speaker 7: not cry if I hear it, And it's the power
Speaker 7: in a vocal being able to do that to me.
Speaker 7: And five is unfair because it means I don't get
Speaker 7: to mention who currently holds spots, whether that's Jasmine Sullivan,
Speaker 7: you know what I mean, Like I'm what she can
Speaker 7: do with her vocal, Tina Marie what with her vocal?
Speaker 7: Something like this, But this is all Stevie Wonder. It's
Speaker 7: not fair the stories that he can tell with his
Speaker 7: tongue before even lyrics come into it and claims he
Speaker 7: can't see. We know that you can see.
Speaker 8: It's fine, you're going it okay because I'm not getting
Speaker 8: in that you in tank.
Speaker 3: I'm not getting in that.
Speaker 1: Agree.
Speaker 3: I didn't. I didn't agree.
Speaker 7: I see us in the park, do you.
Speaker 3: Man? I don't want to smoke Steve. I don't want to.
Speaker 1: I love Steve from when I heard Stevie Fack.
Speaker 3: I'm not gonna do this with you. Watch go do
Speaker 3: switch cap.
Speaker 7: It's not fair. How dead there's a ribbon in the
Speaker 7: sky for our love?
Speaker 2: Is there?
Speaker 7: Is it up there for our lives?
Speaker 3: I've actually never seen one in the sky.
Speaker 11: So he did.
Speaker 3: He has? That was a lot. I think I left handed.
Speaker 1: Wade.
Speaker 5: Okay, here we go, get your top five R and
Speaker 5: B songs.
Speaker 7: Five okay, because we didn't say that because we didn't
Speaker 7: need to get Okay. I want to spend the Night
Speaker 7: by Bill Withers.
Speaker 3: We go Bill Weathers.
Speaker 7: I want Anthony Hamilton to cover it. And I feel
Speaker 7: like you get a Grammy. You heard that's one of
Speaker 7: my favorite songs, the breakup song by me?
Speaker 1: Mmm, okay, come on mine as.
Speaker 8: Well, because like, get off publishing for all your niggas
Speaker 8: out there making y'all playlist.
Speaker 7: The breakup song was like listen to that ship that came.
Speaker 3: From a Really that's your favorite song of yours?
Speaker 7: No, I have way more than that. But we're talking
Speaker 7: about you said, what if I was doing with songs
Speaker 7: like you? Wrote that ship melodically did that.
Speaker 3: That's you.
Speaker 1: It's in there.
Speaker 7: I can't help it. Thank you Stevie to give him that.
Speaker 3: To Mike looking out for the bro.
Speaker 7: Definitely looked out for the bro.
Speaker 3: Mm hmmm.
Speaker 1: What a joint to.
Speaker 7: Say with this five the bad album?
Speaker 1: Mm hmm.
Speaker 7: Can we have that as like one entire album off
Speaker 7: the respect almost I am album ever creates thriller? Okay, fine,
Speaker 7: you're doing what you're doing still to this day to
Speaker 7: follow that ship up and have the nerve to say
Speaker 7: there's no skips on there. That's one whole thing. Remember
Speaker 7: the time is not ship Okay, forever, my lady Joy.
Speaker 7: Because they were four very young black men with Dr
Speaker 7: Martin's on and like see through the zipper Johns. So
Speaker 7: you're having my baby and it means so much to me.
Speaker 1: That is nothing more pressure.
Speaker 7: You know what I'm saying. It's the narrative that we
Speaker 7: were giving nineties black men to love and support the
Speaker 7: family bond.
Speaker 1: I'll be talking in my accent after you've.
Speaker 7: Got the rest of your.
Speaker 3: Seen too many episodes of Ti Boy Gangs of London,
Speaker 3: that's a good one.
Speaker 7: I've lived in America for like twenty plus years, so
Speaker 7: if I'm around you guys, I'm Philadelphia on the camera.
Speaker 7: You know what, see kind of.
Speaker 1: One more second? Can we get it, Jack?
Speaker 3: We need it, We get it, We need it.
Speaker 11: I ain't saying no names. I ain't saying no names,
Speaker 11: no names. Name what you.
Speaker 7: Five facts?
Speaker 3: Ye m perfect time and perfect time and very special
Speaker 3: segment of the show card.
Speaker 8: I ain't saying no names. Will you give us a
Speaker 8: story funny or fucked up? Funny and fucked up only
Speaker 8: rude to the game. You can't say no names. I
Speaker 8: mean it could be overseas, middle c under the sea,
Speaker 8: wherever you want to be. Oh, you got to do
Speaker 8: just tell the story without saying names.
Speaker 7: Okay. There was this one time, oh yeah, on tour
Speaker 7: and there was a day off in Amsterdam, so said
Speaker 7: artists decided to partake in what you do when you're
Speaker 7: in Amsterdam, which was get high, like really high, like
Speaker 7: spark up in the hotel. The concierge lit you up
Speaker 7: high and it's you just checked in. It's noon, and
Speaker 7: that artist proceeded to smoke go to a cafe across
Speaker 7: the street. There was a menu full of delicious treats
Speaker 7: like marshmallowsmores and cookie dough and stuff like that, and
Speaker 7: it infused with more with.
Speaker 3: More of it.
Speaker 7: Yeah, yeah, yeah, Amsterdam. So of course they picked the
Speaker 7: marshmallow small one took that to the face and they
Speaker 7: were even more high. So on this day off, before
Speaker 7: you know it, sun up, sun goes down. What happens
Speaker 7: in Amsterdam red light district. So that artist in the
Speaker 7: band decide to go down there and see what all
Speaker 7: the fuss is about. So in doing so, you look
Speaker 7: through a couple of those glass windows. It's some sexy
Speaker 7: shit and you find yourself in there and you're high.
Speaker 7: So this artist goes in there, gets up to whatever,
Speaker 7: comes back outside, finds a sex shop, goes in the
Speaker 7: sex shop and buys a sex toy. So this artist
Speaker 7: then decides that it would be a good idea to
Speaker 7: go back to the hotel and try this thing out
Speaker 7: from Amsterdam. Might be a different feeling, I don't know.
Speaker 7: So lobby call for the departure of the tour bus
Speaker 7: to take that artist to the next city was coming up,
Speaker 7: so they decided to take all of this stuff out
Speaker 7: the room, take the sex toy, get on the bus
Speaker 7: before anyone else gets on this actual bus, and partake there.
Speaker 7: So they wouldn't pass out in the room. And you know,
Speaker 7: miss lobby call made sense to that artist at the time.
Speaker 7: So get all the stuff, get the code to the bus,
Speaker 7: put the bags, you know where they're supposed to be.
Speaker 7: Get in the bunk. Now, if you've been on tour,
Speaker 7: you know when the generator is not on, pitch black
Speaker 7: on them buses. Pitch can't see shit. But work out
Speaker 7: one bunk, two bunk, feel your way down to the bottom.
Speaker 7: You're in the middle bottom bunk knows that artist, not
Speaker 7: the one on the right, the one on the left.
Speaker 7: I told them to get in that bunk. So the
Speaker 7: artists got in the bunk that belonged to them, or
Speaker 7: so they thought. Batteries were included, and they proceed to
Speaker 7: go to town with this toy for however long.
Speaker 3: It took.
Speaker 7: To not only forget what actually happened, but wake up
Speaker 7: the following morning as the bus is in motion. So
Speaker 7: whatever happened in between going gazoo has just done a
Speaker 7: don't recall. What the fuck. The artist then woke up
Speaker 7: while the bus is moving. So the bus is moving,
Speaker 7: that means everybody's on the bus. Yeah, where the fuck
Speaker 7: is the fucking sex toys? This artist thinking they go
Speaker 7: to what did they say they went to lean up
Speaker 7: to go it's still in between said thighs where it
Speaker 7: previously allowed the artist to pass out, and it's still on.
Speaker 7: It switches on because the artist is now having what
Speaker 7: feels like a mold support orgasm while banging their head
Speaker 7: on the top of the other bunk, trying to pretend
Speaker 7: that nothing's happening, that they've lost something or you can't
Speaker 7: find you can hear commotion, what the fuck is going on?
Speaker 7: Finally find the switch, it's off. They look out the bunk.
Speaker 7: Everyone's kind of you know, rustling curtains to like seeing
Speaker 7: what the fuck has happened? And the sex toy packaging.
Speaker 7: It's just everywhere, like you know that plastic that you
Speaker 7: can't regard. Get kid, You're like, why the fuck did
Speaker 7: I get this ship? I don't even know how. You can't.
Speaker 7: There's no scissors for it. You're breaking ship. And I
Speaker 7: think that artist was talked about for the rest of
Speaker 7: the tour, and that's the story. I'm sticking to it.
Speaker 7: No names.
Speaker 8: Wow, they really wanted it. Whoever was could not wait.
Speaker 1: I just couldn't to have it.
Speaker 7: A bunch of them. It was amazing. So they told
Speaker 7: me Amsterdam days off in Amsterdam. It's a song, Drake,
Speaker 7: I'm telling you now.
Speaker 1: Of Asterdam.
Speaker 3: I just wanted it's a great way to wrap it up.
Speaker 5: First of all, thank you so much for coming. You
Speaker 5: know what I mean, you are you know we consider
Speaker 5: your family and but your time, your energy, your artistry,
Speaker 5: all of these things mean something to us, and so
Speaker 5: we value your presence and we value march.
Speaker 7: Yeah said one night stands only that's what that's what
Speaker 7: you say. They turn into forevers and then you're welcome.
Speaker 3: You're welcome.
Speaker 7: Listen.
Speaker 5: Sometimes you got to experience what the experience is going
Speaker 5: to be like in order to know if you want
Speaker 5: to continue experiencing the Thanks so, thank you, We appreciate you.
Speaker 5: This is here for you anytime, any any anytime. And
Speaker 5: and thank you.
Speaker 1: My family, ladies and gentleman.
Speaker 5: In his take, and this is the Army Money podcast,
Speaker 5: the authority on all things R and B and she
Speaker 5: is her my shirt roses.
Speaker 3: Come on from the Womb.
Speaker 2: Money.
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Speaker 8: and you can connect with us on social media at
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Speaker 8: Money