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Speaker 1: R and B money, honey, thanks take matti. We are

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Speaker 1: the authority on all things R and Ladies and gentlemen,

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Speaker 1: my name is Sank. I'm Jay Valentine, and this this

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Speaker 1: is the every morning podcast man. That's what that's what

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Speaker 1: it is, the authority on all things, all things, all

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Speaker 1: and B.

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Speaker 2: Yes, sir, yes, sir.

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Speaker 1: You are connected to the people. Come on, talk about

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Speaker 1: it through your sound engineering.

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Speaker 2: How you sound.

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Speaker 1: Is going to decide how people receive you. Oh yeah,

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Speaker 1: you're preaching your sound must be pristine.

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Speaker 2: There are a levels to sound. Come speak on it.

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Speaker 1: There are masters of sound, there are sound designers. Yes, sir,

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Speaker 1: I happen to have a friend, our friend, our friend

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Speaker 1: not leaving you out for about the time. Yea, who

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Speaker 1: is all things sound? Yes, he's a sound mind and soundbody.

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Speaker 1: He's an able human being that is at the top

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Speaker 1: of the human being game.

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Speaker 2: Ladies and gentleman. Yea, my good friend and your friend.

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Speaker 1: Yes.

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Speaker 2: And Joshua y'all.

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Speaker 3: Yeah, yeah, and I appreciate it.

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Speaker 4: Thank you to man. Thank you guys. Are you feeling, brother,

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Speaker 4: I feel blessed.

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Speaker 2: I feel blessed to have been friends with you guys

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Speaker 2: for so long, seeing you guys, climb not only charts,

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Speaker 2: but uh obstacles, developing your own lane with this pure

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Speaker 2: R and B talk that's so desperately needed.

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Speaker 4: So my life is good.

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Speaker 1: I want to I want to start this off giving

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Speaker 1: giving the respect and honor that is due for the

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Speaker 1: place that we are recording.

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Speaker 4: Yeah, yeah, yeah, this is beautiful podcast.

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Speaker 1: That is beautiful, masterpiece of an architecture that is Jason

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Speaker 1: Josh was mixing Room.

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Speaker 4: Yeah, welcome to cat and House Studios.

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Speaker 2: Cat House formerly known as Kelly Clarkson's Voice I guess

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Speaker 2: you can say pad where she was recording.

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Speaker 4: Living here actually while she was doing the voice show.

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Speaker 2: Wow. One day it was time for me to move

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Speaker 2: from Larabie, which I was at for fifteen years.

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Speaker 4: We were looking for buildings and former.

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Speaker 2: Studios and I just was like, you know what, man,

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Speaker 2: why not try to combine like a soho house vibe

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Speaker 2: with some studios downstairs where it's invitation only private. I

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Speaker 2: have my room, I have two other rooms for clients

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Speaker 2: and you know, bedrooms if they need to stay. So

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Speaker 2: it just it felt like an opportunity that I couldn't

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Speaker 2: pass up. So as soon as she moved out, we

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Speaker 2: started the building process.

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Speaker 4: But you did a real build, bro.

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Speaker 2: Now, we spent a considerable amount of money just on

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Speaker 2: keeping the sound inside the house right and not having

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Speaker 2: the vibrations sturb any people upstairs, but mainly not having

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Speaker 2: anybody hearing anything outside. So once we did that, it

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Speaker 2: was pretty much a smooth, smooth ceiling. But yeah, we

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Speaker 2: probably put about without equipment just on the bill, probably

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Speaker 2: one point five just downstairs refitting the studio.

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Speaker 4: But it's I mean, flawless, it is. Yes, it is

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Speaker 4: for me, for me. That's why we come here. For me. Yeah,

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Speaker 4: that's why a lot of people come here.

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Speaker 1: Thanks for the membership, man, Yeah, you know what, it

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Speaker 1: is a membership.

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Speaker 2: Because we got an honorary membership.

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Speaker 4: We did like long membership.

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Speaker 2: There's no there's no in and outs too.

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Speaker 4: You can't get out. I don't want to get out.

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Speaker 2: I don't want to get out.

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Speaker 4: Once you're in, you I'm in. I'm locked in. It's

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Speaker 4: a great place man. Question.

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Speaker 1: Yeah, because you know we've known you for a very

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Speaker 1: very very very very very very very long time.

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Speaker 4: People don't understand how long. I mean we're talking decades.

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Speaker 1: And mixing wasn't on your list of things to do,

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Speaker 1: never even considered it even for a half second.

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Speaker 2: Was very interested in it. Loved the process because I

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Speaker 2: understood how important it was to the end game. But

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Speaker 2: in my life was like, Yo, while I was a

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Speaker 2: and R oh man, I want to be a mixer

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Speaker 2: instead of being an NR.

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Speaker 4: Never.

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Speaker 2: Never didn't even cross my mind while I was in

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Speaker 2: the trenches with you guys early.

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Speaker 1: Okay, because we're going to get to that, but and

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Speaker 1: then I'm gonna just say one little piece before we

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Speaker 1: get to that. Yeah, the very very beginning, because you know,

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Speaker 1: when I needed a place to stay and I needed

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Speaker 1: to get a check real quick, real quick because my

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Speaker 1: hotel was running out.

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Speaker 2: I always needed quick, you know what I'm saying.

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Speaker 1: I took my MPC three thousand and my keyboard and

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Speaker 1: I made songs for a group that Jason Joshua was

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Speaker 1: ANRN okay, and then he introduced me to Jerald Busby.

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Speaker 1: They liked my songs Terry Ross as well, and Joe

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Speaker 1: Buzby said, you know what, I like your tunes. Man,

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Speaker 1: here's a check for seventeen five.

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Speaker 2: Yeah. Yeah, they probably look at seventeen five now, like

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Speaker 2: you know, Oh no, no.

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Speaker 1: I still seventeen come up days, Hey, In two thousand.

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Speaker 4: Listen twenty six, you got seventeen five. I ithit.

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Speaker 2: No, no, no, that's like a big budget what Yeah,

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Speaker 2: I'm not talking No, I'm talking about and.

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Speaker 4: I went and got me some rims in the place

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Speaker 4: to stay.

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Speaker 1: So I just want to, you know, start off the

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Speaker 1: pod by saying I appreciate you.

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Speaker 2: It was absolutely the easiest decision to make because it

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Speaker 2: was obvious how talented you, how talented you were songwriting wise,

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Speaker 2: and you were so talented songwriting wise. I didn't even

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Speaker 2: it wasn't even like it didn't even hit my brain

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Speaker 2: how that worked, because I never really was int it

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Speaker 2: enough to really understand the the producer becoming an artist

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Speaker 2: who was always.

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Speaker 4: The producer was the producer.

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Speaker 2: Okay, So now looking back, I'm like, why would I

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Speaker 2: not offered you a deal at DreamWorks on the spot?

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Speaker 4: Like you were just my produced like I was already signed.

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Speaker 2: But I didn't even Yeah, that's what I'm saying.

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Speaker 4: I'm like, that was not.

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Speaker 2: Thinking, but it was because the way I looked at

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Speaker 2: it was like he was a Teddy Riley, you know,

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Speaker 2: he was a I mean, la baby face is a

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Speaker 2: little bit different, but you know what I mean to

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Speaker 2: me a producer was a producer in the sense of

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Speaker 2: not a crooner.

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Speaker 4: But then I'm like, dude, handsome, Yeah, I missed that one.

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Speaker 2: But you were already So wait when we gave you

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Speaker 2: that check for seventeen five, you we already signed a

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Speaker 2: Barry Yep, I didn't know that.

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Speaker 1: Yeah, signed the Barry at a pub deal. My my

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Speaker 1: record deal ran through that quick, absolutely.

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Speaker 2: That seventeen he ran through that. But what that advance was?

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Speaker 1: You know, everybody still has their advance. You don't give

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Speaker 1: them advances to people to hold them. Yeah, this this

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Speaker 1: is this is him to hold you over, to hold

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Speaker 1: you over the advances for listen, my advance was gone

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Speaker 1: before I left Maryland. How did you meet Terry? I

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Speaker 1: moved to LA with no advance left. How did you

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Speaker 1: meet Terry?

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Speaker 4: Noontime? I was in Atlanta.

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Speaker 1: Yes, my first stop in terms of recording with you know,

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Speaker 1: with with with a bunch of producers was Noontoime.

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Speaker 5: That's the first place Barry took me. Why do I

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Speaker 5: think Walter millsap because he was trying to work. He

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Speaker 5: was trying to do a deal with them, to partner

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Speaker 5: up with them.

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Speaker 2: So Terry introduced us or Walter. I thought Walter did

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Speaker 2: I feel like I thought we met at Walter's house.

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Speaker 2: Have you ever been to Walter's house in l A?

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Speaker 4: Yeah, twenty six.

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Speaker 5: But I'm pretty sure Terry into because you'll y'all were

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Speaker 5: partners for sure.

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Speaker 4: No, back then, we weren't partners. I thought I was partners.

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Speaker 2: No, he was just I gave I gave noontime. Well,

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Speaker 2: his part of noontime was situation of the dream works.

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Speaker 2: Got so, But no, we were he wasn't. I mean,

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Speaker 2: there was nothing to manage. I was an an r

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Speaker 2: so got you, got you, got you. He was just

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Speaker 2: he was living with a girl that I was trying

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Speaker 2: to date. That's how we met back in your days.

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Speaker 1: I'm still going through those days you were, Uh, you're

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Speaker 1: moving around the city a little bit. We'll get in that.

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Speaker 1: This is about mixic.

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Speaker 2: We can, I mean shit, we can do thirty minutes

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Speaker 2: on the Gold Club.

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Speaker 3: We're gonna act like we don't know what the Gold

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Speaker 3: What the club?

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Speaker 2: When the VIP was a real VIP man, talk about

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Speaker 2: it about it.

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Speaker 4: Crab legs as big as a baby.

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Speaker 2: Head, baby arm. Yeah, yeah, come talk to about big

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Speaker 2: porch pull up. When there was no Instagram all the

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Speaker 2: top of the top had only a couple options to

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Speaker 2: get that back.

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Speaker 4: Oh my god, it was.

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Speaker 2: They should do a movie on the Gold Club, if

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Speaker 2: there was a thing called the Gold Club.

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Speaker 4: Even a TV show tank just.

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Speaker 2: The chronicles of that era of the Gold Club from

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Speaker 2: like nineteen ninety to like the two thousands unbeatable because

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Speaker 2: it was it was like a five star restaurant mixed

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Speaker 2: in with some of the most like not.

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Speaker 4: Like you know, like people that you you.

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Speaker 2: Know, we've been to these establishments where you say these

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Speaker 2: exact words, you shouldn't be here. This is not for you,

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Speaker 2: those girls we're.

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Speaker 1: At the Gold Club. I've said that so many times.

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Speaker 1: I've set that line.

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Speaker 2: No more, no more, I can't happen. You're done.

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Speaker 4: I'm want to help you roll your rolling bag out

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Speaker 4: of here.

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Speaker 2: Back to school.

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Speaker 4: You go, you're done in here.

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Speaker 1: Let's now, let's take this thing all the way back

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Speaker 1: to the beginning where we're going. What year, man, let's

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Speaker 1: go back to It's quite as requirema. Man, Yeah, man,

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Speaker 1: how this all started for you?

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Speaker 4: Brother? Well, I've been around music for a long time. Yeah,

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Speaker 4: I got lucky, man, I was.

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Speaker 2: I don't want to say what do you call it

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Speaker 2: when the complex when when when? Because your parents are

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Speaker 2: in the business and you get an extra I don't

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Speaker 2: want to say I'm a NEPO baby, thank you so much,

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Speaker 2: big guy, but I'm an nepo baby because my mom

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Speaker 2: was the right hand man or left hand woman to uh,

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Speaker 2: you know, at the time, one of the most powerful

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Speaker 2: men in the record business. I mean, we could talk

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Speaker 2: about it now, God bless the dead, and it's you know,

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Speaker 2: all the everything is you know, out in the open now.

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Speaker 2: But there was nil deals in the music business running

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Speaker 2: rapid and I think Gerald Buzzby wrote the Blue Blue

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Speaker 2: Blue Book with a handbook on how to get your

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Speaker 2: record played on the radio, like he like to the

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Speaker 2: point like a lot of people don't know this that

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Speaker 2: he was the first African American to run an entire

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Speaker 2: major record label.

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Speaker 4: So he was in charge of the.

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Speaker 2: Rock Hot Ace overall, not just the black Michael McDonald,

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Speaker 2: all all of them.

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Speaker 4: You know, it wasn't just a new addition.

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Speaker 2: So yeah, So having my mom being by his side

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Speaker 2: and just listening to you know, their conference calls that

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Speaker 2: they would have in the morning and just you know,

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Speaker 2: eavesdropping and my mom always bringing me to the office

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Speaker 2: because at the time she didn't have the bread to

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Speaker 2: afford the babysitter, and the office was so loving to

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Speaker 2: kids like that, especially you know, my mom being so.

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Speaker 4: Close to Gerald, so I would just soak up game.

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Speaker 2: I would, you know, take naps in Louis Silas's office

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Speaker 2: and just being around it for so long. I was like,

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Speaker 2: there's nothing else I would want to, you know, know,

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Speaker 2: how to do. I just know music. I didn't know

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Speaker 2: at what capacity yet, because I really wasn't in the

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Speaker 2: trenches with regards to an R. Because my mom obviously was,

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Speaker 2: you know, she she elevated all the way up to

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Speaker 2: general manager of MCA Records, so she was, you know,

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Speaker 2: more of the money person than the day to day

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Speaker 2: you know, in charge of moving offices from Wilser.

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Speaker 4: From Hollywood to Wilser and so on and so forth.

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Speaker 2: But having that closeness and being around Gerald, he was

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Speaker 2: able to see that, you know, I was serious, you

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Speaker 2: know about this craft. You know, I didn't have the

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Speaker 2: wisdom or the knowledge or the connections to say the least,

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Speaker 2: because a lot of people don't realize the great an

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Speaker 2: rs are well liked and connected to all the creatives.

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Speaker 2: So you have access to the music before a lot

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Speaker 2: of other A and rs get there, because we're all

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Speaker 2: looking for the for the same hit. And that's the

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Speaker 2: one thing I got from being around Gerald, because his

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Speaker 2: people who he selected to bring on, whether it was

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Speaker 2: a record executive being Andre Herrel bringing Uptown Records to

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Speaker 2: MCA Records, whether it's supporting Clarence Avan and his you

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Speaker 2: know slew of people that he had and was representing

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Speaker 2: with Jimmy jam and Terry Lewis and you know obviously

256
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Speaker 2: La and Babyface and giving these incredible geniuses opportunities. I

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Speaker 2: was able to see how important gatekeeping was, you know,

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Speaker 2: to the point where I always remember the story. I

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Speaker 2: was in Gerald's office when he was at Motown and boys,

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Speaker 2: the Men just you know, came off their first album

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Speaker 2: gigantic Motown, Philly had that whole Dallas Austin kind of

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Speaker 2: like you know Street Atlanta Street Phil At the time,

263
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Speaker 2: I was winning really big and they cut these you know,

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Speaker 2: huge records I'll make Love to You, I'm bend the

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Speaker 2: Knee and water runs dry, and they hated it. Like

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Speaker 2: I was there when they were like, man, we don't

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Speaker 2: want to put that shit out. Da da da da,

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Speaker 2: this is gonna go. You can hit all your guys

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Speaker 2: and Jarrold was like, well, we're going on the shelf.

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Speaker 2: Then we're gonna take a little TV time out. And

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Speaker 2: obviously they didn't. The best decision they ever made the

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Speaker 2: two album Million Soul. So there was the Mexicans and

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Speaker 2: they will all tell you like, it's an amazing decision.

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Speaker 2: I don't know if it was Soully Gerald or Mike

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Speaker 2: told Gerald or whoever had to be the bad guy,

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Speaker 2: but my point is is you saw how important great taste.

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Speaker 2: It's no different than the art curator. You know, you

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Speaker 2: gotta have people. I mean, there's there's so many different

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Speaker 2: brilliant you know, producers, songwriters and artists, but there is

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Speaker 2: a need for that special talent of saying that's dope,

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Speaker 2: that's not. That is a talent, you know, and no,

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Speaker 2: that's not going on the radio. That's going on the

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Speaker 2: radio tonight. And there used to be that, but now

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Speaker 2: the taste is coming from a computer program. The computer

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Speaker 2: is telling you what's going to be good or not.

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Speaker 2: It's not just analytics, it's you know, it's it's it's.

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00:16:11,320 --> 00:16:16,480
Speaker 5: It's using it's using biometrics, and it's using.

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Speaker 2: Analysis to get information of what they think you would love, yes,

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00:16:22,160 --> 00:16:25,720
Speaker 2: and then send it to you until you love it.

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Speaker 2: Oh I love it?

291
00:16:26,560 --> 00:16:27,920
Speaker 4: Now?

292
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Speaker 2: How do I know it's catchy because they know exactly

293
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Speaker 2: what I stop.

294
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Speaker 4: And listen to.

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Speaker 2: It's amazing. Yeah, but yeah, so yeah, so having uh

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Speaker 2: the opportunity to be around you know, that type of

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Speaker 2: level of of uh. I don't want to say gatekeeping,

298
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Speaker 2: but taste. You know, it was it was an experience

299
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Speaker 2: to see how hard it was to get in this

300
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Speaker 2: business back then, like you because you got to have

301
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Speaker 2: a crazy amount of money, and you're only going to

302
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Speaker 2: get a crazy amount of money if somebody believes in you.

303
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Speaker 2: Because it costs a crazy amount of money to go

304
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Speaker 2: record in the studio, like to go in the studio

305
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Speaker 2: and put your thing. It was a whole deal, was

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Speaker 2: at and then you got you know, your one little

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Speaker 2: CD that sounded terrible, you know what I mean, Like

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00:17:18,800 --> 00:17:21,040
Speaker 2: any mix was better than that thing that was just

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Speaker 2: put up on the board and you know, no balance.

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Speaker 4: But you know, nowadays, you know, technology is change it

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Speaker 4: for the better, because now I mean for the better

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Speaker 4: in the sense of now everyone has the opportunity.

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Speaker 2: To make us all right, there's no excuse now anyone

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Speaker 2: and literally anyone. So now we have to to to

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Speaker 2: figure out how to bring that level of balance where

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Speaker 2: talent meets you know, I guess you could say the

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Speaker 2: consumer need you know what I mean? Before you had

318
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Speaker 2: to have talent to even get through the door. Now

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Speaker 2: you just need a hit record and hell of a

320
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Speaker 2: good content.

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Speaker 4: Hit record or a hit moment. What what was your

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Speaker 4: last hit moment?

323
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Speaker 2: What was the last time your name shot across the airway?

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Speaker 4: I got a few different ones.

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Speaker 2: I know you do. But when I say hit moment,

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Speaker 2: like when did you feel like?

327
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Speaker 4: Damn? I got it? I got a good ass record?

328
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Speaker 2: All right?

329
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Speaker 1: His what's crazy? I'll take it away from my records.

330
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Speaker 1: When I started doing challenges, that's right, I say hit moment.

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Speaker 1: Those challenges started creating night hit moments for me where

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Speaker 1: I could have a record up or those.

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Speaker 2: Challenges when you have the camera facing you and you

334
00:18:48,520 --> 00:18:49,800
Speaker 2: was on the piano doing those things.

335
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Speaker 4: One one was, but the other one that the.

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Speaker 1: Because I used to like when you used to do

337
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Speaker 1: those were those were just those were those were just

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Speaker 1: great content pieces for me, super great. Some of them

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00:18:58,960 --> 00:19:01,840
Speaker 1: went by with some different but it started with the

340
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Speaker 1: can We Talk No started with the yams.

341
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Speaker 4: Oh yeah, yeah, yams before can we Talk? What was it?

342
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Speaker 1: I don't know, I don't know. I always think of

343
00:19:10,600 --> 00:19:12,479
Speaker 1: it as can we talk talk challenge?

344
00:19:12,520 --> 00:19:12,960
Speaker 2: Can we talk?

345
00:19:13,000 --> 00:19:15,280
Speaker 1: Might have been first? Everything might have been first. It

346
00:19:15,359 --> 00:19:18,320
Speaker 1: was super super viral, super viral, right.

347
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Speaker 4: That's why you did Tevin Cambell, can we Talk? Yeah?

348
00:19:21,600 --> 00:19:23,720
Speaker 1: And then I started just challenging people and then picking

349
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Speaker 1: fingers winners and who can really sing it? And like

350
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Speaker 1: if you can really sing, you got to be able

351
00:19:27,720 --> 00:19:29,600
Speaker 1: to sing this, can't we talk? And that's how it started.

352
00:19:30,200 --> 00:19:34,119
Speaker 1: And so that was you as you as you as I.

353
00:19:34,160 --> 00:19:36,120
Speaker 4: Was, R and B money before that or after?

354
00:19:36,800 --> 00:19:39,399
Speaker 2: Is that when you start feeling RB the authority to

355
00:19:39,760 --> 00:19:41,639
Speaker 2: figure R and Base?

356
00:19:41,640 --> 00:19:45,399
Speaker 4: I know, was we were out? Yeah we're yeah, we

357
00:19:45,400 --> 00:19:45,760
Speaker 4: were out.

358
00:19:46,320 --> 00:19:46,720
Speaker 2: We were out.

359
00:19:46,760 --> 00:19:49,520
Speaker 1: I've been streaming, we've been screaming that authority day won.

360
00:19:50,080 --> 00:19:53,040
Speaker 1: But we were already out. But that challenge, or those

361
00:19:53,160 --> 00:19:57,000
Speaker 1: challenges so to speak, you got that one, the Yams Challenge,

362
00:19:57,600 --> 00:20:03,959
Speaker 1: the Residuals Challenge, and the Folded Challenge. Those four challenges

363
00:20:04,760 --> 00:20:07,960
Speaker 1: are not hit records for me, but they're hit moment

364
00:20:08,600 --> 00:20:11,520
Speaker 1: for sure, for sure. And they and and and you're

365
00:20:12,040 --> 00:20:15,880
Speaker 1: if you can find those, you know what I mean,

366
00:20:15,960 --> 00:20:18,600
Speaker 1: Like in this day and age, those are just as important.

367
00:20:19,480 --> 00:20:23,600
Speaker 1: She is hit records which we didn't have, We didn't

368
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Speaker 1: have access to because it brings discussions.

369
00:20:27,440 --> 00:20:29,840
Speaker 2: With their rollout. You didn't see that, motherfucker said the

370
00:20:29,880 --> 00:20:31,959
Speaker 2: next rollout? Right, where did Prince go?

371
00:20:33,600 --> 00:20:37,600
Speaker 1: But you know, I'll say to that and I will

372
00:20:37,680 --> 00:20:39,280
Speaker 1: go get back to your story a getting to when

373
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Speaker 1: Gerald believed in you know, the whole thing.

374
00:20:41,280 --> 00:20:42,399
Speaker 2: It was a.

375
00:20:42,280 --> 00:20:49,080
Speaker 1: Mystery that I wish we could still utilize to this

376
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Speaker 1: day because that's that's where the clamoring begin. That's where

377
00:20:54,480 --> 00:20:59,080
Speaker 1: the super fan really made its mark when they couldn't

378
00:20:59,160 --> 00:20:59,879
Speaker 1: find Prince.

379
00:21:00,080 --> 00:21:00,960
Speaker 2: You got a true life.

380
00:21:01,160 --> 00:21:02,960
Speaker 1: I think in this new day and age, you gotta

381
00:21:03,080 --> 00:21:06,240
Speaker 1: you gotta truly live in your mystery, right, It can't

382
00:21:06,280 --> 00:21:08,080
Speaker 1: just be a fake thing of like, oh yeah, I

383
00:21:08,080 --> 00:21:10,240
Speaker 1: think I'm gonna no you got like Frank Ocean is.

384
00:21:10,200 --> 00:21:14,480
Speaker 2: A mystery to people still yeah yeah, but no disrespect

385
00:21:14,520 --> 00:21:21,240
Speaker 2: to my amazingly talented brother, but like he's such a bro.

386
00:21:21,520 --> 00:21:25,480
Speaker 2: Like if people could be in this presence and understand

387
00:21:25,520 --> 00:21:29,320
Speaker 2: how much of a star he is and how like

388
00:21:29,480 --> 00:21:36,560
Speaker 2: just an abundance of talent that some artists have a

389
00:21:36,600 --> 00:21:38,080
Speaker 2: difficult time sharing.

390
00:21:37,840 --> 00:21:38,560
Speaker 4: With other people.

391
00:21:39,480 --> 00:21:40,080
Speaker 2: You know what I mean.

392
00:21:40,400 --> 00:21:43,200
Speaker 4: I've had talks with this with Bryson.

393
00:21:43,280 --> 00:21:47,520
Speaker 2: I'm like, right, man, like you are charismatic, great looking

394
00:21:47,840 --> 00:21:49,520
Speaker 2: this you're that in the thirties.

395
00:21:49,119 --> 00:21:53,880
Speaker 4: Like, man, I just I love video games for real.

396
00:21:53,720 --> 00:21:56,760
Speaker 2: You know what I mean. And it's like it's almost like, uh,

397
00:21:58,080 --> 00:22:03,200
Speaker 2: who are the basketball Like I I'm like Joker, I'm

398
00:22:03,520 --> 00:22:07,760
Speaker 2: raise a horse, raise horses that. This was good. I mean, MVP,

399
00:22:07,840 --> 00:22:10,120
Speaker 2: it's good. I guess you know, the championship it was good.

400
00:22:10,200 --> 00:22:12,080
Speaker 4: You know. I just can't wait to get home.

401
00:22:12,520 --> 00:22:14,720
Speaker 1: You just turned Joker into Donald Trump.

402
00:22:15,800 --> 00:22:18,200
Speaker 4: There's a lot of things.

403
00:22:18,680 --> 00:22:22,840
Speaker 2: Are you Joker? Are you Trump? Nigga? Like so many

404
00:22:22,880 --> 00:22:26,800
Speaker 2: good people that play for people, so many good horses

405
00:22:27,119 --> 00:22:29,520
Speaker 2: they play. I get what you I get with your

406
00:22:29,560 --> 00:22:32,600
Speaker 2: smartest don't disappear. Bruno knows how to disappear, even though

407
00:22:32,720 --> 00:22:35,560
Speaker 2: like you have some hec goes Adele knows how to just.

408
00:22:36,040 --> 00:22:38,680
Speaker 5: That side knows how to dis knows how to disappear

409
00:22:38,840 --> 00:22:45,760
Speaker 5: for sure. That's beyond disappear. Yeah, Beyonce is Beyonce. Beyonce

410
00:22:45,920 --> 00:22:50,560
Speaker 5: is probably like I don't think she's been through.

411
00:22:50,640 --> 00:22:52,640
Speaker 2: Like, I ain't hurt about her being at a club

412
00:22:53,040 --> 00:22:58,199
Speaker 2: ever out of this if it ain't something that on

413
00:22:58,320 --> 00:22:58,920
Speaker 2: the way up.

414
00:22:59,160 --> 00:23:02,000
Speaker 1: I've been club that she was at and I was

415
00:23:02,000 --> 00:23:04,040
Speaker 1: with remembers in New Orleans.

416
00:23:04,200 --> 00:23:08,200
Speaker 4: No oh too, seeing the unitorn guys and dogs.

417
00:23:08,480 --> 00:23:12,119
Speaker 2: Year's absolutely so what year it was it was?

418
00:23:12,359 --> 00:23:14,880
Speaker 1: It was a Grammy It was around Grammy time, around

419
00:23:14,920 --> 00:23:19,240
Speaker 1: this time or what year maybe a twenty twelve, yeah,

420
00:23:19,359 --> 00:23:20,040
Speaker 1: something around there.

421
00:23:20,600 --> 00:23:23,000
Speaker 2: Yeah, nominated You called her right.

422
00:23:23,400 --> 00:23:27,359
Speaker 1: It's probably the coldest guys and night guys and dolls.

423
00:23:27,520 --> 00:23:31,280
Speaker 1: That is insane. Ever, I've seen her Michael B. Jordan's

424
00:23:31,280 --> 00:23:35,600
Speaker 1: birthday party at Delilah's after that, that's right, Yeah, that's right. Yeah,

425
00:23:36,000 --> 00:23:38,720
Speaker 1: Like it's crazy. We just said, we're actually talked about

426
00:23:39,000 --> 00:23:42,960
Speaker 1: as long as we've known her. Yeah, I've seen her

427
00:23:42,960 --> 00:23:45,119
Speaker 1: at the which is wild.

428
00:23:46,119 --> 00:23:53,320
Speaker 2: Yes, I've worked on possibly two of her bigger records.

429
00:23:55,480 --> 00:24:01,720
Speaker 2: Never seen her, never had a conversation, never even you

430
00:24:01,800 --> 00:24:03,960
Speaker 2: know that energy when they come in the room, certain

431
00:24:03,960 --> 00:24:05,560
Speaker 2: fragments you never smell before.

432
00:24:06,160 --> 00:24:14,280
Speaker 1: Nothing, Bro, she is to me, yes, mystical, Yes, she

433
00:24:14,480 --> 00:24:19,679
Speaker 1: actually is mystical. Yeah, and she's where the where the

434
00:24:19,760 --> 00:24:21,920
Speaker 1: talent with the music.

435
00:24:22,680 --> 00:24:24,520
Speaker 2: There's only a couple of people that can walk into

436
00:24:24,560 --> 00:24:28,720
Speaker 2: a room and like you're no longer that person anymore,

437
00:24:29,440 --> 00:24:31,600
Speaker 2: Like you know what I mean. It's like Jeff Bezel

438
00:24:31,680 --> 00:24:33,800
Speaker 2: can be chilling in the room. That's Jeff Bezel's man,

439
00:24:33,840 --> 00:24:34,679
Speaker 2: Beyoncely walking.

440
00:24:34,960 --> 00:24:39,200
Speaker 4: Hey, it's be right back, Jeff.

441
00:24:50,720 --> 00:24:55,520
Speaker 1: So get me to you know, Jerl Busby is saying

442
00:24:55,560 --> 00:24:58,240
Speaker 1: something in you and well, I mean he.

443
00:24:59,760 --> 00:25:02,000
Speaker 4: Me and his son used to be his little uh

444
00:25:02,359 --> 00:25:02,960
Speaker 4: as music.

445
00:25:03,040 --> 00:25:11,879
Speaker 2: He has a son named Chris, who actually was probably

446
00:25:12,080 --> 00:25:16,200
Speaker 2: the reason why he signed a new edition because Chris

447
00:25:16,240 --> 00:25:19,040
Speaker 2: was playing the record at his birthday party oh wow,

448
00:25:19,480 --> 00:25:23,880
Speaker 2: or at some party I remember. So anyway, long story short.

449
00:25:24,119 --> 00:25:26,480
Speaker 2: He would always bounce ideas. He would tell me, you know,

450
00:25:26,720 --> 00:25:28,720
Speaker 2: stuff he was working on, and I really kind of

451
00:25:28,720 --> 00:25:31,720
Speaker 2: got in his ears or involved when he was working

452
00:25:31,760 --> 00:25:32,480
Speaker 2: with the group.

453
00:25:32,280 --> 00:25:35,840
Speaker 4: Called the Boys, because I really believed Hakkem of the Boys.

454
00:25:35,960 --> 00:25:39,080
Speaker 2: Yeah, and I really believed Hakem at the time was

455
00:25:41,240 --> 00:25:44,679
Speaker 2: superstar to me, like the next Teddy Riley because.

456
00:25:44,400 --> 00:25:45,120
Speaker 4: He was so.

457
00:25:46,920 --> 00:25:48,680
Speaker 2: A lot of people didn't know. He made a lot

458
00:25:48,720 --> 00:25:51,800
Speaker 2: of other than do My Heart, which I believe was

459
00:25:51,800 --> 00:25:53,920
Speaker 2: either La baby Face one of.

460
00:25:53,880 --> 00:25:57,119
Speaker 1: Them cats but he did all the records, especially on

461
00:25:57,119 --> 00:25:57,640
Speaker 1: the second album.

462
00:25:57,680 --> 00:25:59,640
Speaker 4: So he was super, super, super talented.

463
00:25:59,640 --> 00:26:06,000
Speaker 2: But it was when he made his transition from Motown

464
00:26:06,000 --> 00:26:08,600
Speaker 2: because I was just a sponge during those days. But

465
00:26:08,640 --> 00:26:11,360
Speaker 2: when he was believing Motown to go to dream Works.

466
00:26:11,960 --> 00:26:16,960
Speaker 2: I had heavily invested after college too, like I said,

467
00:26:17,240 --> 00:26:24,040
Speaker 2: entrence myself into the avenues of the people who had,

468
00:26:24,400 --> 00:26:28,600
Speaker 2: you know, lifelines to great producers, great music, great writers,

469
00:26:28,840 --> 00:26:32,120
Speaker 2: because if you don't have those relationships, man, like, I mean,

470
00:26:32,240 --> 00:26:35,399
Speaker 2: everyone's looking for the same hit record. You know, everybody

471
00:26:35,520 --> 00:26:37,960
Speaker 2: need that hit. I need that hit. So if you're not,

472
00:26:38,320 --> 00:26:43,360
Speaker 2: you know, I mean Tank, you got your ACD, your

473
00:26:43,400 --> 00:26:45,440
Speaker 2: b CD and your c you know, when a certain

474
00:26:45,520 --> 00:26:47,840
Speaker 2: artists I need a record Tank on hey, hey, here

475
00:26:47,880 --> 00:26:50,639
Speaker 2: it goes. And then you know, certain artists that you

476
00:26:51,280 --> 00:26:54,760
Speaker 2: might not believe in might get you know, producers do

477
00:26:54,920 --> 00:26:58,480
Speaker 2: do that. Yeah, I can't because you create on the spot.

478
00:26:58,520 --> 00:26:59,360
Speaker 4: That's why.

479
00:26:59,520 --> 00:27:04,040
Speaker 2: So long story short. I had an artist at the

480
00:27:04,040 --> 00:27:09,280
Speaker 2: time that I was working with and developing, which was TQ.

481
00:27:11,960 --> 00:27:15,120
Speaker 4: It was on this compilation and I was like, man,

482
00:27:15,160 --> 00:27:15,760
Speaker 4: who is that?

483
00:27:15,960 --> 00:27:19,119
Speaker 2: And I had a relationship with the person who signed

484
00:27:19,200 --> 00:27:22,879
Speaker 2: him at the time, and I ended up putting his

485
00:27:22,920 --> 00:27:25,480
Speaker 2: album together, that first album that came out on Epic,

486
00:27:25,920 --> 00:27:28,200
Speaker 2: and we were going to sign him to dream Works,

487
00:27:28,720 --> 00:27:32,520
Speaker 2: but then a friend of ours came in and listened

488
00:27:32,520 --> 00:27:36,040
Speaker 2: to the album and then brought Andre herrel in at

489
00:27:36,040 --> 00:27:39,120
Speaker 2: the time, and they brought it to Epic and they

490
00:27:39,160 --> 00:27:41,920
Speaker 2: gave him millions millions.

491
00:27:41,960 --> 00:27:42,879
Speaker 4: That crushed me.

492
00:27:43,400 --> 00:27:45,960
Speaker 2: But Gerald saw that it was like, oh shit, this

493
00:27:46,080 --> 00:27:49,159
Speaker 2: kid is for real. So the next thing that he

494
00:27:49,200 --> 00:27:50,600
Speaker 2: put me on, he was like, Hey, I need you

495
00:27:50,640 --> 00:27:54,280
Speaker 2: to help me, and are this Dave Hollister album? So

496
00:27:55,359 --> 00:27:59,439
Speaker 2: the first Ghetto Hymns was my first true an art con.

497
00:27:59,600 --> 00:28:00,480
Speaker 4: I think that's what we.

498
00:28:01,080 --> 00:28:04,239
Speaker 2: Great Ghetto Hymns or was it the Chicago five we

499
00:28:04,280 --> 00:28:04,720
Speaker 2: worked on?

500
00:28:05,920 --> 00:28:08,160
Speaker 1: I mean what we did direct on the second one

501
00:28:08,200 --> 00:28:10,800
Speaker 1: second one, so that Gogwaity five. That was me and

502
00:28:11,400 --> 00:28:12,120
Speaker 1: Chuckie Thompson.

503
00:28:13,560 --> 00:28:15,880
Speaker 2: A lot of people to know this, both of those records,

504
00:28:15,920 --> 00:28:20,480
Speaker 2: Like I marked marketing, the design, the you know, the

505
00:28:21,440 --> 00:28:24,880
Speaker 2: whole concept. More importantly, on the first album, we were

506
00:28:25,440 --> 00:28:28,080
Speaker 2: such a fleedgling company and dream Works there was.

507
00:28:27,800 --> 00:28:31,560
Speaker 4: Like, man, there's no money in uh in these budgets

508
00:28:31,560 --> 00:28:32,480
Speaker 4: for the video.

509
00:28:33,040 --> 00:28:36,720
Speaker 2: And I'm like, well ship if it was at the

510
00:28:36,760 --> 00:28:40,640
Speaker 2: time when everybody was doing their own music videos like that,

511
00:28:40,640 --> 00:28:45,280
Speaker 2: the puff was directing his own. This guy, I was like,

512
00:28:45,360 --> 00:28:47,800
Speaker 2: I could do it. So if you go back and

513
00:28:47,880 --> 00:28:53,520
Speaker 2: look at a Dave Hollister girl, God, I go, I

514
00:28:53,560 --> 00:28:58,840
Speaker 2: can't say directed that video. No way, fire, I gotta

515
00:28:58,880 --> 00:29:04,560
Speaker 2: go reliqu Hey, I bit hypes home style, the colors.

516
00:29:04,920 --> 00:29:08,640
Speaker 3: I had the slow motion there about stupid you were

517
00:29:08,760 --> 00:29:09,760
Speaker 3: yelling action.

518
00:29:11,320 --> 00:29:14,720
Speaker 2: Terry's in the video, Draino's in the video. No way.

519
00:29:14,880 --> 00:29:16,920
Speaker 1: But I'm telling you, when you have it, when you

520
00:29:17,000 --> 00:29:19,200
Speaker 1: had a boutique label, that is great.

521
00:29:20,080 --> 00:29:21,880
Speaker 4: You had it turned gotta turn in it.

522
00:29:21,960 --> 00:29:26,000
Speaker 2: So it turned out really really good. I mean, I'm honestly,

523
00:29:26,040 --> 00:29:28,760
Speaker 2: it turned out really really good, good enough where I

524
00:29:28,920 --> 00:29:32,240
Speaker 2: convinced another great taste maker we all know, Kawan priyther

525
00:29:32,400 --> 00:29:35,480
Speaker 2: k of course, of course he at the time had

526
00:29:35,560 --> 00:29:38,600
Speaker 2: a group called Parental Advisory PA who was part of

527
00:29:38,640 --> 00:29:41,360
Speaker 2: the Dungeon family signed to dream Works, and I was

528
00:29:41,400 --> 00:29:45,920
Speaker 2: an R and their stuff and their first video that

529
00:29:46,040 --> 00:29:47,480
Speaker 2: came out with a ball and mj G.

530
00:29:48,040 --> 00:29:50,600
Speaker 4: I directed that video called Sundown.

531
00:29:50,920 --> 00:29:54,720
Speaker 2: Videos, and then I got fired. I did to get fired.

532
00:29:55,000 --> 00:29:58,480
Speaker 2: Gerald got sick and I got promoted out which promoted

533
00:29:58,520 --> 00:30:01,680
Speaker 2: out Well they yeah, Jerald got real sick because of

534
00:30:01,680 --> 00:30:06,400
Speaker 2: the diabetes, and he his job. He never got fired

535
00:30:06,640 --> 00:30:10,320
Speaker 2: like they respected him so much. They just almost like

536
00:30:10,360 --> 00:30:14,120
Speaker 2: how Gerald did with Clarence. But when John McClain came in,

537
00:30:14,160 --> 00:30:17,360
Speaker 2: it was just John McLain had his own house, even

538
00:30:17,360 --> 00:30:22,200
Speaker 2: though he's like his people, he had his own path

539
00:30:22,280 --> 00:30:24,200
Speaker 2: the glory, which was you know, good for me because

540
00:30:24,200 --> 00:30:27,120
Speaker 2: then it put me onto a different journey.

541
00:30:28,080 --> 00:30:30,120
Speaker 1: So how does that put you on a different journey though,

542
00:30:30,120 --> 00:30:32,560
Speaker 1: because that's those are like, if anything, you'd be looking

543
00:30:32,600 --> 00:30:35,120
Speaker 1: for another an R job right.

544
00:30:35,240 --> 00:30:38,480
Speaker 2: Well, because I felt the frustrations jourally, I'll give you

545
00:30:39,200 --> 00:30:42,400
Speaker 2: a great story and a perfect example. It's gonna be

546
00:30:42,400 --> 00:30:46,160
Speaker 2: a funny. I always wanted to say this. I've never

547
00:30:46,200 --> 00:30:54,000
Speaker 2: told this story anywhere. So I had dream works and

548
00:30:54,040 --> 00:30:55,959
Speaker 2: I'm a young kid, I think I was like eighteen

549
00:30:56,040 --> 00:30:59,320
Speaker 2: wherever the funk I was, and I heard these records man,

550
00:30:59,520 --> 00:31:02,120
Speaker 2: and I'm like, yo, who the fuck is this? This

551
00:31:02,240 --> 00:31:06,760
Speaker 2: is a whole new sound. It's crazy. Nobody sounds like this.

552
00:31:06,440 --> 00:31:07,560
Speaker 4: This is the future.

553
00:31:08,600 --> 00:31:13,320
Speaker 2: Lo and behold. It was early Neptunes, so no one

554
00:31:13,440 --> 00:31:16,960
Speaker 2: was really on and I think they I think what

555
00:31:17,200 --> 00:31:20,000
Speaker 2: came out after I discovered them that people just got

556
00:31:20,040 --> 00:31:22,360
Speaker 2: hooked on and kind of like, oh they dope was

557
00:31:22,400 --> 00:31:24,480
Speaker 2: when they did that while are you over there looking.

558
00:31:24,240 --> 00:31:25,040
Speaker 4: At me by Mace.

559
00:31:25,480 --> 00:31:28,160
Speaker 2: That was kind of like the first that people this

560
00:31:28,240 --> 00:31:31,120
Speaker 2: is before Nori before it is that super big stuff,

561
00:31:31,160 --> 00:31:34,640
Speaker 2: super dug. So anyway, I ended up going out there

562
00:31:35,200 --> 00:31:38,239
Speaker 2: really hitting it off with them, had them do some

563
00:31:38,280 --> 00:31:41,120
Speaker 2: records or some remixes for some artists we had on DreamWorks.

564
00:31:41,360 --> 00:31:44,200
Speaker 2: But I ended up convincing them to sign to DreamWorks,

565
00:31:44,360 --> 00:31:49,840
Speaker 2: to sign the label deal, and so I took it

566
00:31:49,960 --> 00:31:51,960
Speaker 2: upstairs and I was like, the deal was closed. The

567
00:31:52,000 --> 00:31:54,120
Speaker 2: deal was done. At the last second, the big dogs

568
00:31:54,120 --> 00:31:55,880
Speaker 2: were like, we can't do this still, they're asking for

569
00:31:55,920 --> 00:31:58,720
Speaker 2: too much, you know, they want masters, this, that and

570
00:31:58,800 --> 00:32:01,080
Speaker 2: the other. And I was so young, I was only

571
00:32:01,120 --> 00:32:03,880
Speaker 2: eighteen at the time. I didn't know how to tell him.

572
00:32:04,400 --> 00:32:05,120
Speaker 2: So I stuck my.

573
00:32:05,080 --> 00:32:08,160
Speaker 4: Head in the hole and just disappeared.

574
00:32:08,160 --> 00:32:13,120
Speaker 2: Bro. I was so embarrassed, and I'd like it was

575
00:32:13,160 --> 00:32:16,880
Speaker 2: one of my biggest regrets to this day. But this

576
00:32:16,960 --> 00:32:20,880
Speaker 2: is the funny story. So I'm doing my thing in

577
00:32:20,920 --> 00:32:25,040
Speaker 2: the mixing game, you know, getting calls from everywhere and

578
00:32:25,080 --> 00:32:25,840
Speaker 2: Mike will hiss me.

579
00:32:25,880 --> 00:32:27,360
Speaker 4: He's like, yo, man, P just hit me.

580
00:32:27,560 --> 00:32:30,360
Speaker 2: Was like, yo, he needs my that low end and

581
00:32:30,440 --> 00:32:34,080
Speaker 2: my shit. Man, he checking for you, Like all right,

582
00:32:34,280 --> 00:32:37,560
Speaker 2: put us through. Man. We connected like this. We started

583
00:32:37,560 --> 00:32:41,600
Speaker 2: working on Missy shit. Everybody should killing it. Fucking he's

584
00:32:41,640 --> 00:32:46,280
Speaker 2: loving it, so I get sentimental. That's the same man.

585
00:32:48,040 --> 00:32:50,520
Speaker 2: I don't know if you remember me. I was fuck

586
00:32:51,840 --> 00:32:57,520
Speaker 2: but I used to go by Jason Fowler. I passed

587
00:32:57,560 --> 00:33:00,640
Speaker 2: under the deal man, and I just I mean, I

588
00:33:00,640 --> 00:33:03,360
Speaker 2: didn't pass on your due, I explained in the situation.

589
00:33:03,520 --> 00:33:04,880
Speaker 4: I was like, I just don't know what to say.

590
00:33:04,920 --> 00:33:12,680
Speaker 2: He was so nice, so gracious, so loved the mixed man.

591
00:33:14,360 --> 00:33:16,840
Speaker 2: Bye bye. You've never heard from the beginning.

592
00:33:17,080 --> 00:33:20,960
Speaker 6: Man, and I can't even go into Louis Vuitans.

593
00:33:22,440 --> 00:33:27,680
Speaker 2: They got Jason, my teacher him if you see him

594
00:33:27,760 --> 00:33:32,400
Speaker 2: in the Louis store, removed biggest regrets to my dad.

595
00:33:32,440 --> 00:33:35,040
Speaker 2: And that's a valuable learning lesson for a lot of

596
00:33:35,040 --> 00:33:37,000
Speaker 2: you early a and rs out there.

597
00:33:37,160 --> 00:33:40,600
Speaker 7: It is always better to tell them the truth truth

598
00:33:40,680 --> 00:33:41,120
Speaker 7: and tell.

599
00:33:41,040 --> 00:33:43,719
Speaker 2: Them early don't gus. I'm saying, Oh, I like your stuff,

600
00:33:43,760 --> 00:33:47,560
Speaker 2: call me next week, No, the ship's trash, or tell

601
00:33:47,680 --> 00:33:49,160
Speaker 2: me to do it the big boys.

602
00:33:49,680 --> 00:33:50,360
Speaker 4: I can't do it.

603
00:33:50,480 --> 00:33:52,240
Speaker 2: I can't do it, like I like, you got to

604
00:33:52,280 --> 00:33:54,760
Speaker 2: understand how much of a fan and then to see

605
00:33:54,880 --> 00:33:59,680
Speaker 2: him grow into infinity?

606
00:34:00,120 --> 00:34:03,600
Speaker 1: Yeah, and then you told on yourself you Wow.

607
00:34:03,920 --> 00:34:06,240
Speaker 4: I had so many people say what that Terry was?

608
00:34:06,320 --> 00:34:10,879
Speaker 2: So maus like I had to bro killing men because

609
00:34:10,880 --> 00:34:13,680
Speaker 2: I'm like, I'm I'm I'm with an icon, I'm with

610
00:34:13,840 --> 00:34:16,879
Speaker 2: somebody that early I was like, oh, ship, this guy

611
00:34:16,960 --> 00:34:19,200
Speaker 2: is the greatest thing ever. But not only that, he

612
00:34:19,360 --> 00:34:22,839
Speaker 2: came back to me. So it was just how could

613
00:34:22,880 --> 00:34:25,799
Speaker 2: you even be in that room and not you.

614
00:34:25,760 --> 00:34:28,440
Speaker 1: Know, what did you think you were going to gain

615
00:34:28,480 --> 00:34:31,760
Speaker 1: from that? What were you hoping for? I wasn't hoping

616
00:34:31,800 --> 00:34:32,200
Speaker 1: for anything.

617
00:34:32,239 --> 00:34:35,160
Speaker 2: I didn't think it was going to be one two

618
00:34:35,200 --> 00:34:39,799
Speaker 2: buckle my shoe, never see you motherfucking again. But I did,

619
00:34:40,440 --> 00:34:48,320
Speaker 2: I did, I did? I did. I felt a weightlifted. Yeah, okay, summer.

620
00:34:48,640 --> 00:34:53,520
Speaker 2: I was like, bro, you gotta understand bye bye, like

621
00:34:53,600 --> 00:34:56,560
Speaker 2: the deal was done and then they killed it and

622
00:34:56,600 --> 00:34:58,600
Speaker 2: then imagine them waiting for like, all right, when.

623
00:34:58,520 --> 00:35:02,399
Speaker 1: Is the contract man? You get you got plans. When

624
00:35:02,560 --> 00:35:05,480
Speaker 1: somebody says to you we're doing this, you are in

625
00:35:05,640 --> 00:35:09,640
Speaker 1: motion thing and mind you know what people about the kpiece.

626
00:35:09,760 --> 00:35:12,160
Speaker 2: You know, KPCE is man like it comes to music

627
00:35:12,200 --> 00:35:14,640
Speaker 2: and shipp now, and I didn't even ask kp like

628
00:35:14,800 --> 00:35:17,680
Speaker 2: what like, I didn't even like, Hey, what happened is

629
00:35:17,719 --> 00:35:21,640
Speaker 2: everything I knew, just knew. Let it, just let it

630
00:35:21,719 --> 00:35:22,279
Speaker 2: FLI let it.

631
00:35:22,719 --> 00:35:26,120
Speaker 1: Well, Well, Parrell owes me a song so you don't

632
00:35:26,120 --> 00:35:28,239
Speaker 1: go through me when he when he no, I'm just

633
00:35:28,320 --> 00:35:30,600
Speaker 1: I'm just trying to thank sucking his song up now

634
00:35:30,640 --> 00:35:31,719
Speaker 1: so you never get that song.

635
00:35:31,800 --> 00:35:32,360
Speaker 4: Give me.

636
00:35:32,560 --> 00:35:34,120
Speaker 1: I'm gonna try to work the forgiveness game for you.

637
00:35:34,400 --> 00:35:39,759
Speaker 1: Send out to Leslie Brathway. I'm trying to Leslie by Way.

638
00:35:40,400 --> 00:35:42,839
Speaker 5: I'm gon least try to get you into at least

639
00:35:42,880 --> 00:35:44,160
Speaker 5: get you.

640
00:35:45,480 --> 00:35:51,240
Speaker 2: I don't even drink around. Literally it was a catastrophic mistake. Yeah,

641
00:35:51,280 --> 00:35:55,239
Speaker 2: but after that, having that and it was cool. I

642
00:35:55,239 --> 00:35:58,000
Speaker 2: have that ability to identify them, have that ability to

643
00:35:58,040 --> 00:36:01,759
Speaker 2: identify noontime and they're talented people. I remember the first

644
00:36:01,760 --> 00:36:05,640
Speaker 2: time going to noontime as n R Brian Michael Cox

645
00:36:05,800 --> 00:36:08,279
Speaker 2: was working the front desk and had his keyboard up

646
00:36:08,320 --> 00:36:10,440
Speaker 2: there handed guy. I say this to this day, and

647
00:36:10,480 --> 00:36:13,799
Speaker 2: I take all the credit in the world because when

648
00:36:13,800 --> 00:36:16,840
Speaker 2: I went there, I told her that Terry, you know,

649
00:36:16,960 --> 00:36:19,640
Speaker 2: the hottest dude is the dude at the front. Doesk

650
00:36:19,680 --> 00:36:23,000
Speaker 2: answered the phones with his little keyboard man he's playing man,

651
00:36:23,280 --> 00:36:25,480
Speaker 2: I mean you need to holler at him. And obviously

652
00:36:25,480 --> 00:36:27,719
Speaker 2: they knew the same thing, because you know, Chris was there,

653
00:36:27,800 --> 00:36:29,680
Speaker 2: knew he was there. Ryan was just had a bunch

654
00:36:29,719 --> 00:36:33,239
Speaker 2: of talented yeah taste people over there as well. But yeah,

655
00:36:33,280 --> 00:36:37,520
Speaker 2: the first time I went over to Noontime before Puff

656
00:36:38,200 --> 00:36:41,719
Speaker 2: brought four of their guys into the hit hit, Yeah,

657
00:36:41,760 --> 00:36:48,040
Speaker 2: I knew I had something, but I also realized how much,

658
00:36:48,800 --> 00:36:54,080
Speaker 2: especially at that time, everything depends on everybody. You can

659
00:36:54,120 --> 00:36:55,920
Speaker 2: be the greatest an R in the world and have

660
00:36:56,000 --> 00:36:58,880
Speaker 2: the greatest song that if your radio team ay locked

661
00:36:58,880 --> 00:37:02,680
Speaker 2: in the video it ain't locked, yeah, managers ain't locked,

662
00:37:02,719 --> 00:37:05,600
Speaker 2: and the tool whatever. It's so many things that go

663
00:37:05,680 --> 00:37:08,080
Speaker 2: into expect you of that time to make a superstar

664
00:37:08,120 --> 00:37:10,520
Speaker 2: because there was no social media and stuff like that.

665
00:37:10,920 --> 00:37:14,319
Speaker 2: So I felt to myself the reason why I fell

666
00:37:14,360 --> 00:37:17,719
Speaker 2: into mixing and the reason why when I took that

667
00:37:17,800 --> 00:37:21,440
Speaker 2: first introductory class it was so appealing to me is

668
00:37:21,440 --> 00:37:25,160
Speaker 2: that I'm alone in this room with the record and

669
00:37:25,200 --> 00:37:26,319
Speaker 2: it all falls on me.

670
00:37:27,840 --> 00:37:30,319
Speaker 4: I don't have to worry about the video guy. I'm

671
00:37:30,360 --> 00:37:31,240
Speaker 4: in the process.

672
00:37:31,719 --> 00:37:35,600
Speaker 2: I can A and R a record by actually bending

673
00:37:35,640 --> 00:37:38,480
Speaker 2: the sound. And then I think that's what separates me

674
00:37:39,120 --> 00:37:42,000
Speaker 2: from every I don't want to say every mixed engineer.

675
00:37:42,120 --> 00:37:45,239
Speaker 2: What gives me an advantage? I think in the way

676
00:37:45,320 --> 00:37:47,520
Speaker 2: my thought process worth and it's a handicap and I'll

677
00:37:47,520 --> 00:37:51,240
Speaker 2: explain why later. Is because when I work on a record,

678
00:37:51,360 --> 00:37:54,000
Speaker 2: I'm working on how do I make that record a

679
00:37:54,080 --> 00:37:54,560
Speaker 2: number one?

680
00:37:54,600 --> 00:37:56,920
Speaker 4: Every record a number one record.

681
00:37:57,280 --> 00:38:00,720
Speaker 2: And I'm doing everything in my power that I feel

682
00:38:01,440 --> 00:38:04,319
Speaker 2: that gives you the best chance to make the most

683
00:38:04,320 --> 00:38:07,120
Speaker 2: get there. And that's a hard thing to explain to

684
00:38:07,120 --> 00:38:08,880
Speaker 2: people because they'll be like, all right, I have this

685
00:38:09,000 --> 00:38:11,160
Speaker 2: sound in my head, and I'm like, Okay, that sound

686
00:38:11,239 --> 00:38:13,920
Speaker 2: is amazing in your head, but that sound might only

687
00:38:14,000 --> 00:38:16,239
Speaker 2: be for a certain sect of people, and if that's

688
00:38:16,280 --> 00:38:20,200
Speaker 2: what you're looking for that niche that people come to me,

689
00:38:20,480 --> 00:38:24,760
Speaker 2: I think because I have the ability to transcend that

690
00:38:24,760 --> 00:38:29,719
Speaker 2: that threshold of being having the credibility and the low

691
00:38:29,840 --> 00:38:33,080
Speaker 2: end for the culture, but having that top end and

692
00:38:33,080 --> 00:38:38,040
Speaker 2: that pristine and that glossiness and that shine for the

693
00:38:38,080 --> 00:38:40,680
Speaker 2: pop world or whoever the case may be, and giving

694
00:38:40,680 --> 00:38:43,120
Speaker 2: you the ability, whether it's Latin song, whether it's a

695
00:38:43,200 --> 00:38:46,280
Speaker 2: rap song, whether it's Mike well with whoever, the best

696
00:38:46,320 --> 00:38:48,920
Speaker 2: possibility to sell more records.

697
00:38:49,880 --> 00:38:52,360
Speaker 4: That's all I'm thinking about. How are you going to

698
00:38:52,400 --> 00:38:53,240
Speaker 4: sell more records?

699
00:38:53,680 --> 00:38:57,160
Speaker 2: Now? Some people can't relate to that, and they're more

700
00:38:57,480 --> 00:39:01,600
Speaker 2: in tuned to the art, which is a amazing. But

701
00:39:02,360 --> 00:39:04,920
Speaker 2: I tell people like you know, some of the new

702
00:39:05,000 --> 00:39:09,640
Speaker 2: artists that are really heavily leaning on that digital distortion

703
00:39:10,080 --> 00:39:13,520
Speaker 2: where it sounds like we don't care and we're rapping

704
00:39:13,560 --> 00:39:16,120
Speaker 2: over it, and it's really it is an analogist, it's

705
00:39:16,200 --> 00:39:21,960
Speaker 2: really really a digital distortion, and trying to let them

706
00:39:22,040 --> 00:39:25,920
Speaker 2: understand the difference between why fifty Cents and jaw Rule

707
00:39:26,160 --> 00:39:28,719
Speaker 2: and Nelly were sending all these records because the shit

708
00:39:28,800 --> 00:39:30,120
Speaker 2: was on a different frequency.

709
00:39:30,600 --> 00:39:32,080
Speaker 4: It was a total.

710
00:39:33,560 --> 00:39:37,400
Speaker 2: The lyrics, the actual tone and sound of the record,

711
00:39:37,800 --> 00:39:41,160
Speaker 2: the BPM of the record. I mean, there used to

712
00:39:41,239 --> 00:39:43,439
Speaker 2: be a time we all know this, when we would

713
00:39:43,440 --> 00:39:46,279
Speaker 2: go to the best clubs in the world.

714
00:39:46,360 --> 00:39:48,040
Speaker 4: And you could actually dance with women.

715
00:39:48,640 --> 00:39:53,120
Speaker 2: Yeah, it had the greatest like dog dance. I remember

716
00:39:53,280 --> 00:39:57,719
Speaker 2: dancing with Paris Hilton. Thought I made it. Yeah.

717
00:39:57,880 --> 00:40:02,000
Speaker 3: Yeah, you saw how many champagne bottles I put on

718
00:40:02,040 --> 00:40:02,760
Speaker 3: my dream Works.

719
00:40:03,400 --> 00:40:09,480
Speaker 2: She said, that's hot kid, you not lifetime memories the

720
00:40:09,600 --> 00:40:12,719
Speaker 2: tagline like this is a buzz and I slady got

721
00:40:12,840 --> 00:40:15,360
Speaker 2: She looked at me and said, that's hot. Bottle bottles

722
00:40:15,400 --> 00:40:26,640
Speaker 2: under it for sure, get five more DreamWorks account baby Bird,

723
00:40:27,360 --> 00:40:41,000
Speaker 2: spiel Bird. So what was your first what was your

724
00:40:41,080 --> 00:40:44,880
Speaker 2: entry level? So the entry level as I started from

725
00:40:45,160 --> 00:40:47,600
Speaker 2: some scratch, man, I knew that I knew, Uh, I've

726
00:40:47,640 --> 00:40:50,319
Speaker 2: been in the business for so long that I knew, like,

727
00:40:50,360 --> 00:40:53,040
Speaker 2: you can't cheat, like to be in a n R

728
00:40:55,840 --> 00:40:59,719
Speaker 2: unless you are extremely connected for whatever reason, Like you

729
00:40:59,760 --> 00:41:03,080
Speaker 2: have to learn under up, you know somebody. You can't

730
00:41:03,160 --> 00:41:05,440
Speaker 2: just jump in and be like, oh you got to

731
00:41:06,000 --> 00:41:07,239
Speaker 2: I mean, you could be in the game and be

732
00:41:07,280 --> 00:41:09,440
Speaker 2: a manager and then somebody bring you into the the

733
00:41:09,480 --> 00:41:13,239
Speaker 2: record company. But I'm just saying as a person, I

734
00:41:13,360 --> 00:41:16,040
Speaker 2: realized that I had to learn from scratch and start

735
00:41:16,040 --> 00:41:19,120
Speaker 2: from scratch. And I knew where the number one studio

736
00:41:19,160 --> 00:41:21,520
Speaker 2: where all the records were getting mixed at. So I

737
00:41:21,520 --> 00:41:24,239
Speaker 2: was like, let me go there and do my internships

738
00:41:24,280 --> 00:41:27,759
Speaker 2: there and start from scratch. And the craziest thing was

739
00:41:28,080 --> 00:41:31,520
Speaker 2: is Manny was already there and the number one guy

740
00:41:31,520 --> 00:41:35,080
Speaker 2: in the room. And when I was working there, he

741
00:41:35,120 --> 00:41:38,279
Speaker 2: came to me. He's like, the fuck are you doing there?

742
00:41:38,560 --> 00:41:42,839
Speaker 2: Like I want to be you. He's like, well, man,

743
00:41:42,880 --> 00:41:44,920
Speaker 2: well shit, you don't have to come and clean no

744
00:41:45,040 --> 00:41:46,600
Speaker 2: trash or no you know shit like that.

745
00:41:46,680 --> 00:41:48,920
Speaker 4: I'll just sign your worksheet and you can just be

746
00:41:49,000 --> 00:41:49,440
Speaker 4: on your way.

747
00:41:49,480 --> 00:41:51,160
Speaker 2: And I was like, nah, man, I want it because

748
00:41:51,160 --> 00:41:54,239
Speaker 2: I liked going there and being able to study in

749
00:41:54,280 --> 00:41:59,840
Speaker 2: the back because they had all of the reference sheets

750
00:41:59,840 --> 00:42:02,000
Speaker 2: of every mix that was ever done in that studio,

751
00:42:02,320 --> 00:42:04,080
Speaker 2: so all the mixed though, so I can just pull

752
00:42:04,120 --> 00:42:06,319
Speaker 2: it out and see what you know this person used

753
00:42:06,320 --> 00:42:09,360
Speaker 2: on the base. It was. It was like a library.

754
00:42:09,880 --> 00:42:12,080
Speaker 2: So I was like, no, no, no, no, no, don't

755
00:42:12,120 --> 00:42:14,799
Speaker 2: sign nothing. I'll come, you know, so on and so forth.

756
00:42:14,840 --> 00:42:17,759
Speaker 2: He's like, all right, cool. So I was started as

757
00:42:17,800 --> 00:42:20,440
Speaker 2: a runner or as an intern first and then as

758
00:42:20,480 --> 00:42:22,000
Speaker 2: a runner fluffing pillows.

759
00:42:22,640 --> 00:42:25,760
Speaker 4: I remember, you know, ship having to clean up.

760
00:42:25,719 --> 00:42:33,080
Speaker 2: You know, the freak freaknick activities and lounges and and

761
00:42:33,080 --> 00:42:37,000
Speaker 2: and you know, seeing artists come in playing video games

762
00:42:37,000 --> 00:42:38,240
Speaker 2: for two days on the big.

763
00:42:38,080 --> 00:42:41,840
Speaker 4: Speakers, playing video games on the big speaker.

764
00:42:41,960 --> 00:42:45,600
Speaker 2: That's Chiny one on one, that's crazy Chingy one on one.

765
00:42:45,680 --> 00:42:48,560
Speaker 2: Chingy would come in the lounge, would be his little

766
00:42:48,600 --> 00:42:51,440
Speaker 2: thing thing and he'd be playing this whatever the two

767
00:42:51,520 --> 00:42:53,200
Speaker 2: K or whatever that back then.

768
00:42:53,960 --> 00:42:57,480
Speaker 4: But anyway started from scratch Man seeing.

769
00:42:57,440 --> 00:43:01,040
Speaker 2: Familiar faces like Tank or like Terror whoever was in Larrabie,

770
00:43:01,719 --> 00:43:03,880
Speaker 2: and it's like, hey, can I take your order? And

771
00:43:03,880 --> 00:43:08,040
Speaker 2: then people freaking out, like right, like offering me money,

772
00:43:08,640 --> 00:43:10,320
Speaker 2: like are you are you okay?

773
00:43:10,600 --> 00:43:12,640
Speaker 4: And I'm like, I was like, listen.

774
00:43:13,560 --> 00:43:14,440
Speaker 2: I'm not okay.

775
00:43:15,200 --> 00:43:17,080
Speaker 4: You know that's what I was going to add, I'm

776
00:43:17,120 --> 00:43:17,760
Speaker 4: not okay.

777
00:43:17,840 --> 00:43:20,600
Speaker 2: Like I did go from Nepo baby having all this

778
00:43:20,719 --> 00:43:23,640
Speaker 2: money to my man getting sick and having to start over.

779
00:43:24,360 --> 00:43:28,279
Speaker 2: But no, I just I felt that this was the

780
00:43:28,320 --> 00:43:31,560
Speaker 2: way and the only way that I could possibly make it.

781
00:43:31,600 --> 00:43:36,080
Speaker 2: And I think I was blessed back by being introduced

782
00:43:36,120 --> 00:43:38,200
Speaker 2: to the man who changed my life, which was Davesdo

783
00:43:38,719 --> 00:43:40,759
Speaker 2: at that same very studio. So I think there was

784
00:43:40,800 --> 00:43:42,080
Speaker 2: a reason to it obviously.

785
00:43:42,160 --> 00:43:45,799
Speaker 4: So you intro intro to dath Insada, how do you

786
00:43:45,840 --> 00:43:46,960
Speaker 4: intro dath Insida?

787
00:43:47,000 --> 00:43:49,440
Speaker 2: Is he is he working in there? He's lying to him?

788
00:43:49,480 --> 00:43:54,280
Speaker 2: So we got lucky because Enterprise closed down. Remember Enterprise Studio.

789
00:43:55,840 --> 00:43:58,960
Speaker 2: You know Enterprise Studio, right, and yeah, so Enterprise closed now,

790
00:43:59,080 --> 00:44:00,960
Speaker 2: so they've had to find an studio. So he came

791
00:44:01,000 --> 00:44:06,520
Speaker 2: to Larabie. When he moved into Larabie, I knew of

792
00:44:06,600 --> 00:44:09,600
Speaker 2: his legend, but I never used him as a mixer

793
00:44:09,680 --> 00:44:10,560
Speaker 2: when I was an R.

794
00:44:10,719 --> 00:44:11,040
Speaker 4: Gotcha.

795
00:44:11,440 --> 00:44:13,799
Speaker 2: My guys were Manny.

796
00:44:15,080 --> 00:44:20,200
Speaker 5: Dexter Stimmins my guy, yeah.

797
00:44:18,680 --> 00:44:23,239
Speaker 2: Rob Sharelli, and that was about it. So those are

798
00:44:23,280 --> 00:44:25,160
Speaker 2: the three guys that I knew on that era. But

799
00:44:25,239 --> 00:44:29,040
Speaker 2: I knew of Dave. So I was like, God, I

800
00:44:29,040 --> 00:44:30,759
Speaker 2: gotta get in a room because it was so hard

801
00:44:30,760 --> 00:44:32,520
Speaker 2: to get into a room at Larabie, like back in

802
00:44:32,520 --> 00:44:34,520
Speaker 2: the day, to become an assistant in Larby's room, you

803
00:44:34,560 --> 00:44:35,280
Speaker 2: had to wait.

804
00:44:35,080 --> 00:44:36,640
Speaker 4: Like two years. Yeah, Lee.

805
00:44:37,320 --> 00:44:41,400
Speaker 2: But Dave had a great system where his assistant picked

806
00:44:41,400 --> 00:44:44,759
Speaker 2: the next assistant, which I had took them on as

807
00:44:44,800 --> 00:44:47,840
Speaker 2: my strategy. So I've never choosen as system. I probably

808
00:44:47,840 --> 00:44:51,600
Speaker 2: have twenty four systems in my lifetime and I've never

809
00:44:51,680 --> 00:44:54,080
Speaker 2: chosen one. It's always been the next because they know

810
00:44:54,120 --> 00:44:56,200
Speaker 2: exactly what I want. So I'm like, listen, don't leave

811
00:44:56,280 --> 00:45:00,279
Speaker 2: me with a So I went to his assistant and

812
00:45:00,520 --> 00:45:04,359
Speaker 2: was like, whatever you need. I was washing his car,

813
00:45:04,520 --> 00:45:07,520
Speaker 2: I was picking up whatever, and then obviously doing the

814
00:45:07,560 --> 00:45:09,880
Speaker 2: same thing Forday fluffing the shit out of pillows. Everyone

815
00:45:09,880 --> 00:45:13,080
Speaker 2: knows that story, and just you know, making sure that

816
00:45:13,239 --> 00:45:16,560
Speaker 2: other than mixing their life was great to the point

817
00:45:16,640 --> 00:45:21,279
Speaker 2: where my first interaction of being his guy is he

818
00:45:21,520 --> 00:45:26,200
Speaker 2: entrusted me to track Whitney Houston instead of his guy wow,

819
00:45:26,400 --> 00:45:29,000
Speaker 2: which the guy who picked me up. My first on

820
00:45:29,160 --> 00:45:32,520
Speaker 2: site was Whitney's last song that she did with Harvey

821
00:45:32,560 --> 00:45:37,520
Speaker 2: Mason Wow. So I tracked that and we co mixed

822
00:45:37,560 --> 00:45:39,960
Speaker 2: that together. Me and Dave was your entry. It was

823
00:45:40,000 --> 00:45:44,680
Speaker 2: your first. When I say co mix, I didn't mix anything.

824
00:45:44,760 --> 00:45:49,120
Speaker 2: But what I'm saying is is he left like the

825
00:45:49,719 --> 00:45:53,000
Speaker 2: he started from where I left off, and I was like,

826
00:45:53,040 --> 00:45:56,560
Speaker 2: oh my god, I can't believe this is happening. And

827
00:45:56,600 --> 00:45:59,480
Speaker 2: then like maybe a month later, I became his guy

828
00:46:00,200 --> 00:46:05,680
Speaker 2: and we like the greatest human being and I think.

829
00:46:05,560 --> 00:46:08,439
Speaker 4: Everyone everybody's ever come in contact with him.

830
00:46:08,880 --> 00:46:11,120
Speaker 2: And I also want to say this too, this is

831
00:46:11,280 --> 00:46:13,720
Speaker 2: actually a good time to bring it up. Everyone knows

832
00:46:14,160 --> 00:46:16,560
Speaker 2: that Dave's going through some stuff right now. He needs,

833
00:46:17,120 --> 00:46:18,680
Speaker 2: you know, all the help in the world, and the

834
00:46:18,800 --> 00:46:22,480
Speaker 2: daughter is in charge of that, and the daughter has

835
00:46:22,560 --> 00:46:26,440
Speaker 2: taken control and and I think it's very, very important

836
00:46:26,440 --> 00:46:31,719
Speaker 2: that if you can to help Dave out. But there

837
00:46:32,000 --> 00:46:35,520
Speaker 2: was a time where I was taking care of everything

838
00:46:36,080 --> 00:46:38,279
Speaker 2: and then the daughter wanted to take control. So I'm

839
00:46:38,320 --> 00:46:40,799
Speaker 2: no longer. I know a lot of people always calling

840
00:46:40,840 --> 00:46:42,640
Speaker 2: me and ask me what can they do? I don't know.

841
00:46:43,360 --> 00:46:45,520
Speaker 2: So it's you have to go through Dave's foundation with

842
00:46:46,400 --> 00:46:49,759
Speaker 2: his daughter, but you can follow whatever the trail is

843
00:46:49,800 --> 00:46:53,319
Speaker 2: on Dave's Instagram. But like, he definitely needs all our

844
00:46:53,360 --> 00:46:54,000
Speaker 2: help right now.

845
00:46:56,239 --> 00:47:00,920
Speaker 1: So my question is, after you go from an r

846
00:47:01,080 --> 00:47:03,879
Speaker 1: cushy job, young guy, the.

847
00:47:03,880 --> 00:47:07,880
Speaker 2: Cushion, the cushy is like if you're really good at it,

848
00:47:08,880 --> 00:47:13,640
Speaker 2: which we all know this, say there's one hundred an rs,

849
00:47:14,400 --> 00:47:16,080
Speaker 2: there's probably ten good.

850
00:47:15,880 --> 00:47:19,640
Speaker 4: Ones, absolutely absolutely, because it's such a hard job. Everybody

851
00:47:19,680 --> 00:47:21,279
Speaker 4: thinks it's so easy.

852
00:47:21,719 --> 00:47:24,200
Speaker 2: Until that deadline here, so they need that here and

853
00:47:24,239 --> 00:47:27,120
Speaker 2: you're there for that. It's always like a three year, right,

854
00:47:27,280 --> 00:47:28,799
Speaker 2: a three year deal they give you, I think two

855
00:47:28,880 --> 00:47:30,880
Speaker 2: or three year. You hit that second year. I remember

856
00:47:30,920 --> 00:47:35,120
Speaker 2: my second year and I didn't have really no, it's over,

857
00:47:35,560 --> 00:47:39,799
Speaker 2: it's over. It's over. It's no joke, man, an RN.

858
00:47:39,960 --> 00:47:40,920
Speaker 2: It's tough.

859
00:47:41,280 --> 00:47:46,600
Speaker 1: So going from that, obviously probably not being prepared for

860
00:47:46,719 --> 00:47:50,880
Speaker 1: what was coming, Like, how are you surviving as a

861
00:47:50,880 --> 00:47:52,680
Speaker 1: as a runner an intern?

862
00:47:52,880 --> 00:47:58,200
Speaker 2: Well, fortunately enough, I had the greatest mother in the world,

863
00:47:58,480 --> 00:48:03,120
Speaker 2: and you know, whatever little say she had, she had

864
00:48:03,160 --> 00:48:07,319
Speaker 2: the ability to throw you something. It wasn't even throwing

865
00:48:07,320 --> 00:48:09,960
Speaker 2: me something because I've never I've never asked from her

866
00:48:10,160 --> 00:48:12,960
Speaker 2: like that. And I had money left over from DreamWorks.

867
00:48:13,040 --> 00:48:19,320
Speaker 2: But as a young person in my early twenties, living

868
00:48:19,440 --> 00:48:22,920
Speaker 2: back in the nest and having a mom to fall

869
00:48:22,960 --> 00:48:25,080
Speaker 2: back until it was you know, a lot of people

870
00:48:25,120 --> 00:48:26,640
Speaker 2: don't have that, you know what I mean, They got

871
00:48:26,640 --> 00:48:28,160
Speaker 2: to figure it out. You had a security blank But

872
00:48:28,160 --> 00:48:32,279
Speaker 2: I had a security blanket that let me have the

873
00:48:32,320 --> 00:48:36,200
Speaker 2: ability to make minimum wage at Larabie at the time

874
00:48:36,440 --> 00:48:38,960
Speaker 2: while I learned my craft. Yeah, so I got.

875
00:48:38,840 --> 00:48:40,719
Speaker 4: Super, super, super super lucky with that.

876
00:48:41,440 --> 00:48:44,359
Speaker 2: But when I was at Larrabie, having the opportunity to

877
00:48:44,360 --> 00:48:48,480
Speaker 2: be behind Dave and listening to what a good record

878
00:48:48,640 --> 00:48:53,040
Speaker 2: sounds like every day, you know you're you're you're listening

879
00:48:53,120 --> 00:48:54,719
Speaker 2: to the best of the best. You're listening to the

880
00:48:54,760 --> 00:48:59,760
Speaker 2: best artists work with the best producers, getting their stuff

881
00:48:59,800 --> 00:49:03,759
Speaker 2: mixed to me by the best mixer, and having that ear.

882
00:49:04,120 --> 00:49:06,520
Speaker 2: I forgot who the engineer was that did some talk

883
00:49:06,560 --> 00:49:09,080
Speaker 2: at Harvard, but it's like he was talking to the

884
00:49:09,360 --> 00:49:10,160
Speaker 2: musical students.

885
00:49:10,200 --> 00:49:15,240
Speaker 4: He's like, you guys don't know shit. They're like, what he's.

886
00:49:15,120 --> 00:49:17,960
Speaker 2: Like, You've never been to the South of France. When

887
00:49:18,000 --> 00:49:21,759
Speaker 2: you hear whatever song off a boat, You've never been here.

888
00:49:21,840 --> 00:49:25,680
Speaker 2: In the club in Germany where they're playing that EDM stuff,

889
00:49:25,719 --> 00:49:27,880
Speaker 2: it's your soul. It's like you haven't been to it.

890
00:49:27,960 --> 00:49:31,759
Speaker 2: You haven't listened to enough amazing shit to be able

891
00:49:31,800 --> 00:49:34,680
Speaker 2: to have an opinion. Because all our opinions come from

892
00:49:34,719 --> 00:49:37,239
Speaker 2: what we've listened to, you know what I mean. Your

893
00:49:37,280 --> 00:49:40,360
Speaker 2: opinion or your taste comes from your experience from childhood

894
00:49:40,760 --> 00:49:46,040
Speaker 2: till till now. So for me, it was being with

895
00:49:46,120 --> 00:49:50,800
Speaker 2: Dave and having that ear shaped to a point where

896
00:49:50,840 --> 00:49:52,560
Speaker 2: I tell all my assistants, you're going to get to

897
00:49:52,600 --> 00:49:56,600
Speaker 2: a point where you finally say to yourself, oh my god,

898
00:49:58,040 --> 00:50:01,960
Speaker 2: I love Jason sound, but I would have done this different,

899
00:50:02,719 --> 00:50:04,800
Speaker 2: you know what I mean. Then you start having changes

900
00:50:05,040 --> 00:50:06,440
Speaker 2: and the idea, and that's what happened with me and

901
00:50:06,520 --> 00:50:09,040
Speaker 2: Dave like, oh, before he could do no wrong. But

902
00:50:09,080 --> 00:50:11,319
Speaker 2: then after a year or so, I'll be like, wod

903
00:50:11,360 --> 00:50:13,000
Speaker 2: it made a little bit more of this on the base,

904
00:50:13,080 --> 00:50:14,759
Speaker 2: or I'd have gave it a little more sivil on this,

905
00:50:14,840 --> 00:50:16,800
Speaker 2: and dah dah dah dah. So then you start making

906
00:50:16,880 --> 00:50:19,920
Speaker 2: your own opinion. And I felt like me teaching that

907
00:50:20,000 --> 00:50:23,200
Speaker 2: way for my assistance gave them, you know, the ability

908
00:50:23,640 --> 00:50:26,600
Speaker 2: to build off where I left off. Yeah, you know

909
00:50:26,640 --> 00:50:28,920
Speaker 2: what I mean. So it's like I tell all my assistants,

910
00:50:28,920 --> 00:50:31,400
Speaker 2: if you guys leave me and don't become better than me,

911
00:50:32,400 --> 00:50:34,960
Speaker 2: you're bugging because I've given you everything. You know, no

912
00:50:35,000 --> 00:50:38,680
Speaker 2: one Dave never gave me that. They've never sat down

913
00:50:38,719 --> 00:50:40,200
Speaker 2: and gave me the template, gave me the thing give

914
00:50:40,200 --> 00:50:42,080
Speaker 2: me And if you look at my template now, it's

915
00:50:42,200 --> 00:50:45,880
Speaker 2: nowhere close to what where Dave gave me. But what

916
00:50:46,160 --> 00:50:51,520
Speaker 2: Dave gave me was the ability to take risks. Because

917
00:50:51,560 --> 00:50:55,520
Speaker 2: I would see Dave like literally bring his MPC in,

918
00:50:56,560 --> 00:50:59,360
Speaker 2: say a, can you bring me your your disc? And

919
00:50:59,400 --> 00:51:02,160
Speaker 2: he's like why because I want your drums live from

920
00:51:02,160 --> 00:51:03,879
Speaker 2: the NP so I can do some stuff I don't

921
00:51:03,880 --> 00:51:07,439
Speaker 2: want you to. I want to run it live during

922
00:51:07,480 --> 00:51:10,759
Speaker 2: the session during the mix, so instead of tracking it

923
00:51:10,880 --> 00:51:13,680
Speaker 2: to the tape and the tape taking off the transience

924
00:51:13,760 --> 00:51:17,520
Speaker 2: or whatever, he would run it live from. He was like, yo,

925
00:51:17,560 --> 00:51:19,400
Speaker 2: give me the disc and run simply to it and

926
00:51:19,719 --> 00:51:21,840
Speaker 2: would mix it with the live drum stigne and be

927
00:51:21,880 --> 00:51:23,759
Speaker 2: able to change the snare if he wanted to, or

928
00:51:23,800 --> 00:51:25,440
Speaker 2: the kick. So people are like, yo, how do you

929
00:51:25,440 --> 00:51:26,440
Speaker 2: get my shit smacking?

930
00:51:26,800 --> 00:51:29,759
Speaker 4: They have no idea. So it's stuff like that.

931
00:51:29,800 --> 00:51:32,520
Speaker 2: It was risk taking and like I said, it gave

932
00:51:32,600 --> 00:51:35,480
Speaker 2: me the ability to realize that I can use my

933
00:51:35,560 --> 00:51:39,640
Speaker 2: A and R ear and to help and mix these records.

934
00:51:40,440 --> 00:51:44,839
Speaker 2: And what's great about it is is every record, I say,

935
00:51:45,360 --> 00:51:48,759
Speaker 2: every hit record that I've ever been given, I never

936
00:51:48,840 --> 00:51:54,280
Speaker 2: let it down. I've given it the ability to be

937
00:51:54,280 --> 00:51:57,520
Speaker 2: better than they've ever expected. So if you look at

938
00:51:57,520 --> 00:52:02,200
Speaker 2: my record records, like for like Despacire, oneever thought it

939
00:52:02,239 --> 00:52:05,000
Speaker 2: was gonna even I didn't know, But I felt like

940
00:52:05,080 --> 00:52:09,400
Speaker 2: I gave it the best opportunity to be successful everywhere,

941
00:52:10,000 --> 00:52:15,319
Speaker 2: whether it's Black Beetles Bye Bye by Mike will No,

942
00:52:15,560 --> 00:52:20,080
Speaker 2: it's it's like I tell people, it's a different mentality

943
00:52:20,080 --> 00:52:24,120
Speaker 2: of mixing and it's not for everybody, but when giving,

944
00:52:24,440 --> 00:52:27,839
Speaker 2: when given the opportunity by others like Jay, just do you,

945
00:52:28,400 --> 00:52:32,000
Speaker 2: I've never let them down, from Muster to Mike Will,

946
00:52:32,760 --> 00:52:37,600
Speaker 2: from La May Jeneiko. If you give it like Jay,

947
00:52:37,680 --> 00:52:41,719
Speaker 2: do you, I've never let you down. Like there's only

948
00:52:41,800 --> 00:52:43,719
Speaker 2: one record I felt I let down. And what I

949
00:52:43,719 --> 00:52:46,440
Speaker 2: mean by let down is I give you the Jason

950
00:52:46,560 --> 00:52:49,400
Speaker 2: Joshua guarantee. He'll tell you if you bring me a smash.

951
00:52:49,160 --> 00:52:51,680
Speaker 4: I'll be like, we got one, let's go right right.

952
00:52:51,880 --> 00:52:53,919
Speaker 2: And of all the records I've ever said that too,

953
00:52:53,960 --> 00:52:57,200
Speaker 2: there's only been one record that I was wrong on.

954
00:52:59,400 --> 00:53:01,480
Speaker 4: Usher Moving Mountains.

955
00:53:01,760 --> 00:53:04,680
Speaker 1: You thought it was a mass still is it's mash?

956
00:53:05,480 --> 00:53:06,160
Speaker 2: But I was wrong.

957
00:53:07,480 --> 00:53:08,600
Speaker 1: Why do you think you were wrong?

958
00:53:09,920 --> 00:53:13,560
Speaker 2: Because I thought it was a gigantic dream. You know,

959
00:53:13,640 --> 00:53:16,640
Speaker 2: they were on their colossal run water real quick. They

960
00:53:16,640 --> 00:53:19,880
Speaker 2: were on a colossal run at the time, and uh,

961
00:53:21,440 --> 00:53:27,200
Speaker 2: for whatever reason, Polo leaked club and then they tried

962
00:53:27,200 --> 00:53:29,000
Speaker 2: to come with Moving Mountains right after.

963
00:53:28,840 --> 00:53:32,399
Speaker 4: And it just didn't connect. I don't know, but I

964
00:53:32,440 --> 00:53:34,439
Speaker 4: was I knew I was wrong.

965
00:53:36,840 --> 00:53:38,040
Speaker 2: Still a great record.

966
00:53:39,040 --> 00:53:39,880
Speaker 4: Phenomenal records.

967
00:53:39,840 --> 00:53:43,000
Speaker 2: There's so many phenomenal records for whatever reason that don't

968
00:53:43,520 --> 00:53:45,719
Speaker 2: become successful. But that's what made me become a mixing

969
00:53:45,760 --> 00:53:48,719
Speaker 2: engineer because I realized, like, wow, you could really have

970
00:53:48,800 --> 00:53:51,719
Speaker 2: a hit record and it just doesn't see the light

971
00:53:51,760 --> 00:53:53,080
Speaker 2: of day, no one hears it.

972
00:53:53,080 --> 00:53:56,040
Speaker 1: It can't be a hit, right if there's, like you said,

973
00:53:56,080 --> 00:54:01,800
Speaker 1: those factors where something, something gets in the way of it. Yeah,

974
00:54:02,000 --> 00:54:06,480
Speaker 1: you also, like you also become a producer at times

975
00:54:07,560 --> 00:54:08,160
Speaker 1: that goes.

976
00:54:08,000 --> 00:54:08,719
Speaker 2: To the an RM.

977
00:54:08,719 --> 00:54:11,279
Speaker 5: But yeah, like I try to not not that you

978
00:54:11,440 --> 00:54:14,960
Speaker 5: changed like the record, but it's certain things that you

979
00:54:15,239 --> 00:54:18,680
Speaker 5: do to make sounds, do something crazy.

980
00:54:20,040 --> 00:54:26,600
Speaker 2: Because the record company execs through a period of time,

981
00:54:26,640 --> 00:54:32,279
Speaker 2: we're able to separate the creatives and isolate them so

982
00:54:32,320 --> 00:54:35,759
Speaker 2: they have more control. So now when we came up,

983
00:54:36,520 --> 00:54:39,799
Speaker 2: if you wanted a record, you go to Tank. Tank

984
00:54:39,920 --> 00:54:42,960
Speaker 2: was in charge. You're getting the vocals produced, you charge

985
00:54:43,040 --> 00:54:46,359
Speaker 2: and fucking get the record done, bringing back the fucking mix.

986
00:54:46,880 --> 00:54:50,680
Speaker 2: He was the point person. And that's what's different today.

987
00:54:51,040 --> 00:54:55,040
Speaker 2: We don't have the Tate, the r Kelly's, the Pharrells,

988
00:54:55,239 --> 00:54:58,960
Speaker 2: the Kanye West, the Whoever Jimmy James, Terry Lowis. We

989
00:54:58,960 --> 00:55:02,960
Speaker 2: didn't have those elite taste makers that had the ability

990
00:55:03,360 --> 00:55:06,239
Speaker 2: to have the tunnel vision and say no, this is

991
00:55:06,280 --> 00:55:11,759
Speaker 2: what's dope. Now in today today's industry, everyone a part

992
00:55:11,760 --> 00:55:14,440
Speaker 2: of the process has an opinion from the an.

993
00:55:14,480 --> 00:55:17,520
Speaker 4: R to this or that so, and it's not tunnel vision.

994
00:55:17,800 --> 00:55:21,920
Speaker 2: But now even more so, there's no one talking to

995
00:55:21,960 --> 00:55:26,040
Speaker 2: the artist anymore. Do you feel what I'm saying? The

996
00:55:26,200 --> 00:55:30,560
Speaker 2: artist now has the final say in everything. Don't get

997
00:55:30,600 --> 00:55:33,960
Speaker 2: a twisted Even the new artists have the final say

998
00:55:33,960 --> 00:55:37,000
Speaker 2: and everything. It's not the producer saying, hey, listen, we

999
00:55:37,160 --> 00:55:41,240
Speaker 2: love you, but we've done this along we have great success.

1000
00:55:41,960 --> 00:55:43,839
Speaker 2: Trust me when I tell you, this is the way

1001
00:55:43,880 --> 00:55:45,000
Speaker 2: they got There's no more of that.

1002
00:55:45,560 --> 00:55:47,200
Speaker 4: I was astonished.

1003
00:55:47,200 --> 00:55:50,200
Speaker 2: I was working on a project last year on a

1004
00:55:51,560 --> 00:55:56,400
Speaker 2: good artist but new and one of the biggest producers

1005
00:55:56,440 --> 00:56:01,160
Speaker 2: of our era, like the biggest, was like, this is

1006
00:56:01,200 --> 00:56:01,759
Speaker 2: how I want it.

1007
00:56:01,840 --> 00:56:03,319
Speaker 4: She's like, no, this is how I want it.

1008
00:56:03,400 --> 00:56:06,239
Speaker 2: And he was like he relented, He's like all right,

1009
00:56:06,760 --> 00:56:09,520
Speaker 2: And I was like, wow, I just come from a

1010
00:56:09,600 --> 00:56:14,160
Speaker 2: time where it's like, like people listen to others who

1011
00:56:14,560 --> 00:56:18,960
Speaker 2: actually have like this guy is the guy?

1012
00:56:19,400 --> 00:56:21,160
Speaker 4: Why would just listen?

1013
00:56:21,400 --> 00:56:26,919
Speaker 2: But it's a different error. Let's hits though sair.

1014
00:56:28,040 --> 00:56:31,560
Speaker 4: It depends on who he asks. He's mixing everything so right.

1015
00:56:31,960 --> 00:56:36,640
Speaker 2: I mean, I think we have some incredible artists right now,

1016
00:56:36,800 --> 00:56:40,480
Speaker 2: like incredible that I love listening to. But I just

1017
00:56:40,760 --> 00:56:47,560
Speaker 2: wished we went back to where like I think we

1018
00:56:47,760 --> 00:56:51,719
Speaker 2: cared almost we obsessed over like the songs that we

1019
00:56:51,800 --> 00:56:56,720
Speaker 2: put out. What we couldn't just put something out like impossible.

1020
00:56:57,080 --> 00:57:00,840
Speaker 5: Nothing was just a put out because because it's a

1021
00:57:00,880 --> 00:57:03,840
Speaker 5: whole entire process, like you couldn't play, you couldn't play

1022
00:57:03,920 --> 00:57:07,560
Speaker 5: with none of the none of the steps because every

1023
00:57:07,600 --> 00:57:11,800
Speaker 5: step costs the real dollar to get that record out right.

1024
00:57:11,640 --> 00:57:14,720
Speaker 2: And then when you put that that first record out,

1025
00:57:15,080 --> 00:57:18,520
Speaker 2: it was a tremendous amount of money behind it to

1026
00:57:18,560 --> 00:57:24,040
Speaker 2: push it. So that's why like you don't have that anymore.

1027
00:57:23,920 --> 00:57:27,080
Speaker 2: Were higher because now you can just it's almost the

1028
00:57:27,120 --> 00:57:29,520
Speaker 2: same pattern but different. Never been there said back in

1029
00:57:29,560 --> 00:57:32,120
Speaker 2: the day that the music businesses you take a whole

1030
00:57:32,120 --> 00:57:33,760
Speaker 2: bunch of shit, you're thrown up against the wall and

1031
00:57:33,760 --> 00:57:36,920
Speaker 2: see which one see. It's the same thing now, but

1032
00:57:37,000 --> 00:57:40,280
Speaker 2: they ain't even have to put money behind it. Before

1033
00:57:40,280 --> 00:57:40,640
Speaker 2: they had to.

1034
00:57:40,640 --> 00:57:43,960
Speaker 3: Put money out all those things put out a record,

1035
00:57:43,960 --> 00:57:46,760
Speaker 3: you better have a single budget or how is anyone

1036
00:57:46,800 --> 00:57:47,320
Speaker 3: going to hear it?

1037
00:57:47,720 --> 00:57:47,959
Speaker 2: Right?

1038
00:57:49,560 --> 00:57:52,200
Speaker 4: Yeah, it's just times have changed.

1039
00:57:52,240 --> 00:57:55,720
Speaker 2: But fortunately enough I have changed with them and had

1040
00:57:55,760 --> 00:57:59,080
Speaker 2: the ability to change. It's just now with R and

1041
00:57:59,120 --> 00:58:03,479
Speaker 2: B it's a little bit tricky because when I fell

1042
00:58:03,520 --> 00:58:06,320
Speaker 2: in love with it, we had to be the ability

1043
00:58:06,360 --> 00:58:09,840
Speaker 2: to be on every format. Yeah, you know, there wasn't

1044
00:58:09,840 --> 00:58:12,000
Speaker 2: a Chris Brown record that I did not mix that

1045
00:58:12,040 --> 00:58:15,280
Speaker 2: didn't hit both formats. You had rhythmic and urban it

1046
00:58:15,280 --> 00:58:19,240
Speaker 2: which just wasn't just urban every record. You know, now

1047
00:58:19,280 --> 00:58:23,240
Speaker 2: you have to have a certain type of record and

1048
00:58:23,560 --> 00:58:26,640
Speaker 2: don't even think about, you know, taking any classic car

1049
00:58:26,640 --> 00:58:29,280
Speaker 2: and be over to the pop charts without a serious

1050
00:58:29,320 --> 00:58:32,560
Speaker 2: fight from whoever their gatekeepers are right.

1051
00:58:33,440 --> 00:58:37,120
Speaker 4: So let me make you a question you when you're with Dave?

1052
00:58:38,200 --> 00:58:42,520
Speaker 1: Is he is he mixing so so many genres?

1053
00:58:42,600 --> 00:58:43,840
Speaker 4: Like like the way you.

1054
00:58:43,760 --> 00:58:47,720
Speaker 2: Do when I came No, No, because the thank you,

1055
00:58:48,200 --> 00:58:51,200
Speaker 2: thank you, that's actually a great but no, Dave was

1056
00:58:51,720 --> 00:58:57,240
Speaker 2: the pop expensive R and B guy until I found

1057
00:58:57,240 --> 00:59:00,560
Speaker 2: out that motherfucker I think it was Fiendan. He mixed

1058
00:59:00,600 --> 00:59:03,520
Speaker 2: Fienan on Jobessy. He mixed one of those fucking records.

1059
00:59:03,520 --> 00:59:08,080
Speaker 2: I was like, yeah, like records. I was like, I

1060
00:59:08,400 --> 00:59:10,840
Speaker 2: couldn't believe it. So anyway, he was. He was more

1061
00:59:10,960 --> 00:59:16,160
Speaker 2: pop and polished R and B. And I think I

1062
00:59:16,160 --> 00:59:21,000
Speaker 2: think because of my my previous record business, I knew

1063
00:59:21,080 --> 00:59:26,560
Speaker 2: how engineers got pigeonholed. Like I knew like even if

1064
00:59:26,600 --> 00:59:29,480
Speaker 2: you're a producer, oh, you blow up on some hip

1065
00:59:29,520 --> 00:59:32,480
Speaker 2: hop stuff, but you can also produce some pop shit,

1066
00:59:32,760 --> 00:59:34,400
Speaker 2: but then you're really not going to get the calls,

1067
00:59:34,520 --> 00:59:36,920
Speaker 2: you know what I mean. It's like weird to me.

1068
00:59:37,000 --> 00:59:39,360
Speaker 2: You have somebody like metro Booman who is our you know,

1069
00:59:39,920 --> 00:59:44,840
Speaker 2: super producer right now, But what those guys used to

1070
00:59:44,840 --> 00:59:49,400
Speaker 2: get the calls from Brittany, from Gwen Stefani, from that,

1071
00:59:49,840 --> 00:59:56,640
Speaker 2: But we're not getting those cross genre opportunities anymore. But

1072
00:59:57,240 --> 01:00:01,520
Speaker 2: with with me, I felt like I had to break

1073
01:00:01,560 --> 01:00:03,400
Speaker 2: out of the mold. And what was so funny is

1074
01:00:03,480 --> 01:00:06,680
Speaker 2: the mold at that time was pop music because that's

1075
01:00:06,720 --> 01:00:10,760
Speaker 2: what primarily what Tricky and Dream was producing.

1076
01:00:11,400 --> 01:00:12,600
Speaker 4: Because my vessel to.

1077
01:00:14,120 --> 01:00:17,360
Speaker 2: Actually get to a level where people could see me

1078
01:00:17,440 --> 01:00:19,840
Speaker 2: and notice me was one hundred percent Tricky and Dream.

1079
01:00:20,160 --> 01:00:23,600
Speaker 2: I mean Tricky and Dream. Where the first people who

1080
01:00:24,000 --> 01:00:26,520
Speaker 2: not only believed in me and Dave was then when

1081
01:00:26,520 --> 01:00:29,040
Speaker 2: me and Dave was doing so much work and we

1082
01:00:29,080 --> 01:00:33,280
Speaker 2: split up into two rooms. Tricky had the ability which

1083
01:00:33,360 --> 01:00:36,440
Speaker 2: is uncannying that I've never seen anything like it. But

1084
01:00:36,480 --> 01:00:40,440
Speaker 2: he just has an ability to identify talented people, you

1085
01:00:40,520 --> 01:00:41,960
Speaker 2: know what I mean, even when you don't know you

1086
01:00:42,040 --> 01:00:43,680
Speaker 2: have the talent, because at the time I'm like, I

1087
01:00:43,760 --> 01:00:46,560
Speaker 2: don't know anything, and you know, he's stuck with me

1088
01:00:46,640 --> 01:00:49,560
Speaker 2: and Dave and he actually helped me. And I tell

1089
01:00:49,600 --> 01:00:52,600
Speaker 2: people all the time it's so important to get with

1090
01:00:52,720 --> 01:00:56,320
Speaker 2: a really good producer because that's the person who helps

1091
01:00:56,720 --> 01:01:00,760
Speaker 2: curate your ear the most. Like being around Trick and

1092
01:01:00,840 --> 01:01:06,479
Speaker 2: hearing his pop sensibility over dreams because drink. They worked

1093
01:01:06,560 --> 01:01:09,080
Speaker 2: so well together because they were polar opposites, you know

1094
01:01:09,120 --> 01:01:12,600
Speaker 2: what I mean, Tricky. Tricky is really a pop guy,

1095
01:01:13,000 --> 01:01:16,040
Speaker 2: so he just really knew how to make dream stuff

1096
01:01:16,440 --> 01:01:19,720
Speaker 2: sound extremely expensive. That's why they were doing the Celine

1097
01:01:19,760 --> 01:01:24,200
Speaker 2: Dion's and and the Mariah Careys and the Justin Biers

1098
01:01:24,520 --> 01:01:30,240
Speaker 2: and so on and so forth. And were you mixing

1099
01:01:30,520 --> 01:01:35,040
Speaker 2: all of that. I can say this now because the

1100
01:01:35,040 --> 01:01:38,120
Speaker 2: God particles blessed me so much, But at the time

1101
01:01:39,680 --> 01:01:43,160
Speaker 2: I was probably doing four records. Today, I was doing

1102
01:01:43,200 --> 01:01:48,200
Speaker 2: everybody four records a day. I was doing absolutely everything.

1103
01:01:48,360 --> 01:01:50,560
Speaker 2: I would look on the charts and it would be

1104
01:01:50,680 --> 01:01:56,720
Speaker 2: like the the top ten would be like that'd have

1105
01:01:56,920 --> 01:02:02,080
Speaker 2: seven out of ten. And I think the opportunity came.

1106
01:02:02,120 --> 01:02:04,040
Speaker 2: And I tell people all the time, you're gonna get

1107
01:02:04,040 --> 01:02:09,520
Speaker 2: an opportunity. My opportunity early was the successful Dream and Tricky,

1108
01:02:09,960 --> 01:02:13,560
Speaker 2: but it was only bringing in those type of records.

1109
01:02:13,600 --> 01:02:13,760
Speaker 1: You know.

1110
01:02:15,160 --> 01:02:16,240
Speaker 4: You know, we were doing stuff with.

1111
01:02:16,240 --> 01:02:20,080
Speaker 2: Maroon five and and you know, Gym Class Hero, so

1112
01:02:20,440 --> 01:02:23,520
Speaker 2: we were in that area. But I wanted to do

1113
01:02:23,760 --> 01:02:25,800
Speaker 2: the stuff that I grew up on, and of course

1114
01:02:25,880 --> 01:02:28,880
Speaker 2: you know what, I what I learned under jail, and

1115
01:02:28,960 --> 01:02:32,960
Speaker 2: I felt that that was super important to me. So

1116
01:02:33,040 --> 01:02:36,480
Speaker 2: I could also bring that edginess and that creativity over

1117
01:02:36,520 --> 01:02:39,560
Speaker 2: to the other side. So I had a campaign to

1118
01:02:40,200 --> 01:02:43,680
Speaker 2: get rap stuff, like I was getting no rap stuff,

1119
01:02:43,720 --> 01:02:45,840
Speaker 2: so I had actually campaign like, yo, just give me

1120
01:02:45,840 --> 01:02:49,040
Speaker 2: a crack, Da da da and the rest was history.

1121
01:02:49,080 --> 01:02:52,240
Speaker 2: So what got which was beneficial is every time I

1122
01:02:52,320 --> 01:02:55,080
Speaker 2: did a rap record, it became a record that was

1123
01:02:55,160 --> 01:03:02,600
Speaker 2: like whoa like the gigantic one. So people like, as

1124
01:03:02,600 --> 01:03:05,960
Speaker 2: a mixer, that's your only calling card, that's your commercial.

1125
01:03:06,240 --> 01:03:08,360
Speaker 2: It's people looking in the back of like, oh, it

1126
01:03:08,400 --> 01:03:11,520
Speaker 2: could even be a terrible mix. The record was so hot, Oh,

1127
01:03:11,520 --> 01:03:14,800
Speaker 2: I want to use that guy. So being on a

1128
01:03:14,880 --> 01:03:20,800
Speaker 2: roll with Trick and then aggressively backtracking and searching for

1129
01:03:20,880 --> 01:03:26,120
Speaker 2: the Mike Wills, the Mustards, the London's, the Metros, the

1130
01:03:26,160 --> 01:03:29,880
Speaker 2: Sunny Digitals. I was with all those guys early in

1131
01:03:29,880 --> 01:03:34,080
Speaker 2: the beginning when Mike Will first introduced the most distorted

1132
01:03:34,080 --> 01:03:35,720
Speaker 2: eight o eight I ever heard, which I thought was

1133
01:03:35,760 --> 01:03:39,400
Speaker 2: a mistake. But he was, to me the first person

1134
01:03:39,440 --> 01:03:42,120
Speaker 2: to show me that you could turn eightha into a

1135
01:03:42,200 --> 01:03:44,880
Speaker 2: musical instrument, almost like a guitar. So he's the one

1136
01:03:44,880 --> 01:03:48,040
Speaker 2: that player where you really hear it wasn't just around

1137
01:03:48,360 --> 01:03:50,600
Speaker 2: base the eda away and now had a top part

1138
01:03:50,640 --> 01:03:55,520
Speaker 2: to it. So being around learning from them and then

1139
01:03:55,560 --> 01:03:58,040
Speaker 2: being able to bring that experience over to somebody like

1140
01:03:58,080 --> 01:04:00,640
Speaker 2: Colvin Harris, Like yo, Mike Will did this ship or

1141
01:04:00,920 --> 01:04:01,840
Speaker 2: Calvin did this ship?

1142
01:04:02,640 --> 01:04:04,120
Speaker 4: It just that's crazy.

1143
01:04:05,040 --> 01:04:09,080
Speaker 2: It just helped me be able to to take whatever

1144
01:04:09,160 --> 01:04:11,840
Speaker 2: message that the producer or the artist was trying to

1145
01:04:11,880 --> 01:04:15,440
Speaker 2: send and make it palatable for everybody to enjoy it.

1146
01:04:15,560 --> 01:04:18,440
Speaker 2: Like to me, it's all about making the most money,

1147
01:04:18,440 --> 01:04:21,440
Speaker 2: and you can blame that on Gerald trying to sell records.

1148
01:04:22,280 --> 01:04:23,120
Speaker 2: What are we doing here?

1149
01:04:31,640 --> 01:04:36,000
Speaker 1: But then you get into your reggaeton, you know, you go,

1150
01:04:36,280 --> 01:04:38,080
Speaker 1: you go International.

1151
01:04:39,640 --> 01:04:43,440
Speaker 4: By by Chris Brown. Mm hmm that's what led there.

1152
01:04:43,520 --> 01:04:45,800
Speaker 2: Yeah. So I get a call man Chris Brown, like,

1153
01:04:46,280 --> 01:04:48,840
Speaker 2: that's another thing. Your vessel will give you a lot

1154
01:04:48,840 --> 01:04:52,960
Speaker 2: of cards. So Chris Brown gave your shiploader mixes, and

1155
01:04:53,200 --> 01:04:55,320
Speaker 2: Justin Bieber gave me a shipload of mixes. No one

1156
01:04:55,360 --> 01:05:00,480
Speaker 2: gave me more mixes than Chris Brown. Because secretly every

1157
01:05:00,640 --> 01:05:06,280
Speaker 2: artist male or to me super myers that guy and

1158
01:05:06,480 --> 01:05:10,080
Speaker 2: Kanda is influenced by some of the decisions that he

1159
01:05:10,280 --> 01:05:10,880
Speaker 2: that he makes.

1160
01:05:11,640 --> 01:05:14,640
Speaker 5: So what were we saying when you get into the

1161
01:05:14,680 --> 01:05:17,560
Speaker 5: record thrown and you go? So I get a call

1162
01:05:17,840 --> 01:05:21,840
Speaker 5: from two at the time. I've never heard of Columbian

1163
01:05:21,880 --> 01:05:24,680
Speaker 5: producers who are doing something for the World Cup.

1164
01:05:24,720 --> 01:05:28,920
Speaker 2: But they're like, Yo, my man's been at Chris Brown.

1165
01:05:29,880 --> 01:05:34,080
Speaker 1: Incredible man like that, I need the boom boom on

1166
01:05:34,200 --> 01:05:35,400
Speaker 1: my ship a nice.

1167
01:05:36,400 --> 01:05:39,120
Speaker 2: So the first record we did was for some World Cup.

1168
01:05:39,280 --> 01:05:42,880
Speaker 4: They called you from listening to Chris Columbia Columbia. That's great.

1169
01:05:43,040 --> 01:05:47,080
Speaker 2: And then the second record we did together was Dusto.

1170
01:05:47,720 --> 01:05:54,000
Speaker 4: Yeah yeah, And then the ship was you, and the

1171
01:05:54,040 --> 01:05:54,560
Speaker 4: rest is.

1172
01:05:56,400 --> 01:05:59,479
Speaker 2: It's making a genre type music. The way I mixed

1173
01:05:59,480 --> 01:06:04,720
Speaker 2: the drummer, they have never even even fathom some shit

1174
01:06:04,840 --> 01:06:07,320
Speaker 2: coming like that. But what it did was I felt

1175
01:06:08,000 --> 01:06:11,760
Speaker 2: it showed the world, especially with the talents from the

1176
01:06:11,760 --> 01:06:15,680
Speaker 2: two producers who brought this sound to the world, that

1177
01:06:15,800 --> 01:06:20,760
Speaker 2: Latin music is not a gimmick genre. It's not a

1178
01:06:20,800 --> 01:06:24,640
Speaker 2: live in levey do loca macaraina that one Spanish songhow

1179
01:06:24,680 --> 01:06:28,040
Speaker 2: it used to come every was a Rico suave every

1180
01:06:28,440 --> 01:06:30,840
Speaker 2: four or five years would be a big Latin song.

1181
01:06:31,520 --> 01:06:35,800
Speaker 2: But it showed people like, oh my god, this is

1182
01:06:35,880 --> 01:06:39,800
Speaker 2: actually to me a commercial and vible genre that could

1183
01:06:39,840 --> 01:06:41,880
Speaker 2: one day run the world, which it did and the

1184
01:06:41,920 --> 01:06:46,880
Speaker 2: floodgates opened after that. But that came from that. But

1185
01:06:46,960 --> 01:06:52,440
Speaker 2: another instance was I was in Las Vegas and one

1186
01:06:52,520 --> 01:06:57,760
Speaker 2: of the bigger engineer slash producers of reggaetne, this kidnamed Mosty,

1187
01:06:57,960 --> 01:06:59,960
Speaker 2: was like, I just want to let you know, man,

1188
01:07:01,040 --> 01:07:03,440
Speaker 2: you changed reggae tone, like you changed the vibe and

1189
01:07:04,080 --> 01:07:06,480
Speaker 2: there wasn't nothing to do with the sposito. They were like,

1190
01:07:06,560 --> 01:07:11,040
Speaker 2: we specifically listen to these Chris Brown records and want

1191
01:07:11,120 --> 01:07:14,160
Speaker 2: to get that low end. So that's when Colombia put

1192
01:07:14,240 --> 01:07:17,640
Speaker 2: the bottle boom into the reggae tone. Like before it

1193
01:07:17,680 --> 01:07:19,720
Speaker 2: was Puerto Rican reggae tone at the time was a

1194
01:07:19,720 --> 01:07:23,280
Speaker 2: little bit different. So that and that was influenced by

1195
01:07:23,360 --> 01:07:26,960
Speaker 2: Chris Brown. Wow, like Jay Bob and all that ship. Yeah,

1196
01:07:28,040 --> 01:07:31,320
Speaker 2: it's crazy how the world works. That I would say

1197
01:07:31,400 --> 01:07:33,120
Speaker 2: to all the artists that I've ever worked with, he

1198
01:07:33,240 --> 01:07:38,840
Speaker 2: has the most influenced musically everyone in the world, and

1199
01:07:38,840 --> 01:07:40,680
Speaker 2: they don't say it out loud, which is crazy.

1200
01:07:40,800 --> 01:07:44,640
Speaker 4: Yeah, you just said it, and that's great. That's crazy.

1201
01:07:44,680 --> 01:07:46,880
Speaker 4: Remember one day you was showing me, I don't even

1202
01:07:47,680 --> 01:07:50,520
Speaker 4: you still got that number up. Oh no, I need

1203
01:07:50,560 --> 01:07:52,439
Speaker 4: to get I need to redo the plague. Okay, that's

1204
01:07:52,480 --> 01:07:55,560
Speaker 4: that's the old numbers.

1205
01:07:58,720 --> 01:08:00,880
Speaker 2: Would if they so I can have.

1206
01:08:04,720 --> 01:08:05,360
Speaker 4: The right one.

1207
01:08:05,640 --> 01:08:09,120
Speaker 2: The Google is the do to Googles, it's five hundred billion.

1208
01:08:09,480 --> 01:08:11,120
Speaker 2: He's got The only reason.

1209
01:08:10,880 --> 01:08:12,760
Speaker 1: Why I'm saying that is this one is three ninety

1210
01:08:12,800 --> 01:08:16,160
Speaker 1: four four, So we we have four hundred billion right there.

1211
01:08:16,800 --> 01:08:20,160
Speaker 1: So he's at five hundred billion streams on the records.

1212
01:08:20,160 --> 01:08:22,639
Speaker 1: He's mad and it has nothing to do about nothing.

1213
01:08:23,400 --> 01:08:25,880
Speaker 2: But if you look at the amount of records I

1214
01:08:25,960 --> 01:08:28,160
Speaker 2: put out for the stream because I don't put out

1215
01:08:28,160 --> 01:08:33,200
Speaker 2: a lot of records, especially not anymore. My point is is,

1216
01:08:33,240 --> 01:08:36,400
Speaker 2: if you give me a hit, I'm not gonna let

1217
01:08:36,439 --> 01:08:41,760
Speaker 2: you do. Ain't no way possible, No way, no way.

1218
01:08:41,960 --> 01:08:45,080
Speaker 2: It's too much athlete to me. Yeah, like everything is

1219
01:08:45,120 --> 01:08:49,360
Speaker 2: competitive to me. I'd rather lose to you, to lose

1220
01:08:49,400 --> 01:08:53,000
Speaker 2: to death. Like you don't like my ship, I'd rather

1221
01:08:53,080 --> 01:08:57,080
Speaker 2: lose the mix. And that's like I can tell you

1222
01:08:57,160 --> 01:09:02,040
Speaker 2: probably twenty albums that I've done that I didn't put

1223
01:09:02,080 --> 01:09:04,880
Speaker 2: my name on because I was like, hey, no way,

1224
01:09:05,680 --> 01:09:09,639
Speaker 2: I'm letting y'all ruin my ship. Big albums too.

1225
01:09:09,840 --> 01:09:13,120
Speaker 4: I was like not be wanting to put my shit on.

1226
01:09:13,240 --> 01:09:15,320
Speaker 4: But it's like I take it so.

1227
01:09:17,320 --> 01:09:19,679
Speaker 2: Like I'm the worst person to probably mix your records

1228
01:09:19,680 --> 01:09:22,280
Speaker 2: if you don't like my style, because I just take

1229
01:09:22,320 --> 01:09:25,639
Speaker 2: it so personal, man, Like I really feel like if

1230
01:09:25,640 --> 01:09:28,479
Speaker 2: the ship don't blow up, I'll let you down. It's

1231
01:09:28,520 --> 01:09:29,400
Speaker 2: like it's my fault.

1232
01:09:30,680 --> 01:09:32,640
Speaker 4: I think about that. When I mix your ship, I

1233
01:09:32,640 --> 01:09:33,200
Speaker 4: feel like.

1234
01:09:33,520 --> 01:09:35,800
Speaker 2: Damn, that shit ain't going number one? What the fuck

1235
01:09:35,880 --> 01:09:36,160
Speaker 2: I do?

1236
01:09:37,360 --> 01:09:37,479
Speaker 8: Right?

1237
01:09:37,640 --> 01:09:38,240
Speaker 2: You know what I mean?

1238
01:09:38,320 --> 01:09:41,240
Speaker 5: Right? You wanted to creatives on the record. What do

1239
01:09:41,240 --> 01:09:41,759
Speaker 5: you mean.

1240
01:09:43,479 --> 01:09:46,719
Speaker 2: You're the you're the you're the last stop.

1241
01:09:49,360 --> 01:09:51,000
Speaker 4: The last stop doesn't exist anymore.

1242
01:09:52,080 --> 01:09:54,080
Speaker 2: You give us the rough, but louder because you're staying

1243
01:09:54,080 --> 01:09:54,800
Speaker 2: on the first stop.

1244
01:09:55,320 --> 01:09:57,040
Speaker 4: You ain't changed shit no more.

1245
01:09:57,200 --> 01:10:01,040
Speaker 2: Well, I'm just are you crazy? There's no more tanks anymore.

1246
01:10:01,320 --> 01:10:05,320
Speaker 2: It's technology has put people in position where your records

1247
01:10:05,360 --> 01:10:09,120
Speaker 2: are pretty good. They're pretty good already, and if you

1248
01:10:09,200 --> 01:10:11,760
Speaker 2: play pretty good one hundred times in your ear, you'll

1249
01:10:11,800 --> 01:10:14,000
Speaker 2: believe it's it's right, that's it. You'll believe it's right,

1250
01:10:14,200 --> 01:10:14,599
Speaker 2: that's it.

1251
01:10:15,400 --> 01:10:19,760
Speaker 1: I'm great at.

1252
01:10:18,760 --> 01:10:20,160
Speaker 4: A and being.

1253
01:10:21,760 --> 01:10:26,360
Speaker 1: The version I fell in love with and then yours.

1254
01:10:25,960 --> 01:10:28,960
Speaker 4: Because you But what you do is is you'll take.

1255
01:10:30,280 --> 01:10:33,879
Speaker 2: Moments and elements and even if it's a broad stroke.

1256
01:10:34,400 --> 01:10:35,920
Speaker 2: Even if it's a broad stroke, it's like, Jay, I

1257
01:10:35,960 --> 01:10:40,080
Speaker 2: need a little bit more low end and bottom on

1258
01:10:40,120 --> 01:10:42,519
Speaker 2: this because I need to feel whatever you're trying to project,

1259
01:10:42,560 --> 01:10:46,320
Speaker 2: and so on and so forth. You still always give

1260
01:10:46,360 --> 01:10:51,759
Speaker 2: it the opportunity to have the conversation to go whatever

1261
01:10:51,800 --> 01:10:55,160
Speaker 2: direction we're going to go. Right nowadays, you don't even

1262
01:10:55,240 --> 01:10:59,360
Speaker 2: get that conversation if you don't send back exactly what

1263
01:10:59,400 --> 01:11:01,000
Speaker 2: they want to hear, which is the rough.

1264
01:11:01,439 --> 01:11:02,639
Speaker 4: Oh, you are getting a call back.

1265
01:11:02,560 --> 01:11:07,000
Speaker 2: Which is the rough callback. A lot of these mixers

1266
01:11:07,000 --> 01:11:09,120
Speaker 2: are going through, right, and they really go through because

1267
01:11:09,160 --> 01:11:12,120
Speaker 2: you cannot be artists anymore. Listen, you can't give the

1268
01:11:12,160 --> 01:11:15,639
Speaker 2: person the best opportunity to sell records because it don't

1269
01:11:15,640 --> 01:11:16,880
Speaker 2: sound right.

1270
01:11:16,920 --> 01:11:20,000
Speaker 1: I'll tell you I told you just before. But a

1271
01:11:20,040 --> 01:11:24,759
Speaker 1: defining moment for me in in in your mix journey

1272
01:11:24,800 --> 01:11:28,880
Speaker 1: where I was like, oh, this nigga different and I

1273
01:11:28,920 --> 01:11:33,680
Speaker 1: gotta I'm gonna follow him. We were mixing keep It

1274
01:11:33,720 --> 01:11:40,200
Speaker 1: one hundred and I walked in that studio and you said,

1275
01:11:40,200 --> 01:11:44,840
Speaker 1: all right, here we go. You ready like shit? And

1276
01:11:44,880 --> 01:11:47,760
Speaker 1: you started the record and I was.

1277
01:11:47,720 --> 01:11:50,479
Speaker 4: Like, what I do you?

1278
01:11:50,479 --> 01:11:53,840
Speaker 2: You had some type of distortion?

1279
01:11:54,600 --> 01:11:59,400
Speaker 1: Am thing happened to the guitars at the beginning. I'm like,

1280
01:12:01,000 --> 01:12:03,599
Speaker 1: and my face was saying what did you do? I

1281
01:12:03,640 --> 01:12:05,920
Speaker 1: was like, I was turning to you to say and

1282
01:12:06,000 --> 01:12:07,200
Speaker 1: you said, wait.

1283
01:12:09,040 --> 01:12:16,360
Speaker 2: And suck give me one. Oh my god, as David

1284
01:12:16,479 --> 01:12:19,960
Speaker 2: so Odo man, I said, what the fuck was that?

1285
01:12:20,880 --> 01:12:22,040
Speaker 4: And just hey, do you starting?

1286
01:12:22,200 --> 01:12:24,439
Speaker 2: Just let me do my thing, take just let me

1287
01:12:26,760 --> 01:12:28,839
Speaker 2: and you have to be with the artists that affords

1288
01:12:28,880 --> 01:12:32,160
Speaker 2: you the response, the opportunity to fail and not be

1289
01:12:32,360 --> 01:12:35,519
Speaker 2: judged or like Domitan. So a lot of these mixers,

1290
01:12:35,560 --> 01:12:38,599
Speaker 2: a lot of these great mixers are now either mixing

1291
01:12:38,640 --> 01:12:41,160
Speaker 2: in fear or just mixing straight tongue and let me

1292
01:12:41,240 --> 01:12:44,040
Speaker 2: just get this better, and you know, go on to

1293
01:12:44,080 --> 01:12:48,800
Speaker 2: the next and it's it's uh, you know, it's it's

1294
01:12:48,840 --> 01:12:50,599
Speaker 2: it's it's a long time where it.

1295
01:12:50,600 --> 01:12:51,120
Speaker 4: Used to be.

1296
01:12:53,120 --> 01:12:55,360
Speaker 2: Like I if you ever look back at the liner

1297
01:12:55,360 --> 01:12:58,719
Speaker 2: sheets of like Michael Jackson's any song on Michael Jackson's Thriller,

1298
01:12:58,760 --> 01:13:04,960
Speaker 2: you'll see like John Marie dave Way, like icons of

1299
01:13:06,000 --> 01:13:13,519
Speaker 2: sound and mixing recording guys. Yeah, Bruce Wadine, then you

1300
01:13:13,600 --> 01:13:17,120
Speaker 2: got Jerry Hades, like the times of being in a

1301
01:13:17,240 --> 01:13:23,880
Speaker 2: room where you're greatness is only allowed. It's just man,

1302
01:13:23,960 --> 01:13:26,640
Speaker 2: just give us what we what we put out, and

1303
01:13:26,680 --> 01:13:28,240
Speaker 2: a lot of you know, even some of the some

1304
01:13:28,320 --> 01:13:33,000
Speaker 2: of the most talented people of our time of recent years,

1305
01:13:33,000 --> 01:13:36,799
Speaker 2: like Mariah Carey is a victim of it. I remember

1306
01:13:36,920 --> 01:13:42,840
Speaker 2: on Touch My Body. I heard the story is they

1307
01:13:42,880 --> 01:13:45,960
Speaker 2: created it in her bathroom and it took like five

1308
01:13:46,040 --> 01:13:48,719
Speaker 2: minutes and it had like a kick and a snare,

1309
01:13:49,800 --> 01:13:53,080
Speaker 2: a piano, a bass, and that's it.

1310
01:13:53,080 --> 01:13:54,559
Speaker 4: It was like super super simple.

1311
01:13:54,920 --> 01:13:58,679
Speaker 2: So then obviously Trick takes it, reproduces, it does this thing.

1312
01:13:58,800 --> 01:14:00,000
Speaker 4: It sounds fucking incredible.

1313
01:14:00,920 --> 01:14:05,479
Speaker 2: Man, she heard that ship said, if you negroes, do

1314
01:14:05,640 --> 01:14:08,680
Speaker 2: not flippity flop that ship right back to where it was.

1315
01:14:10,240 --> 01:14:12,240
Speaker 4: H two track a D.

1316
01:14:12,760 --> 01:14:15,120
Speaker 2: Me and Trick still can't really listen to that record

1317
01:14:15,160 --> 01:14:17,160
Speaker 2: because we didn't. We can't really take nobody it was

1318
01:14:17,200 --> 01:14:20,360
Speaker 2: the number one record. But you know, other than me

1319
01:14:20,360 --> 01:14:23,800
Speaker 2: putting a little sizzle on the two track, it is

1320
01:14:23,800 --> 01:14:25,960
Speaker 2: what it is, and you can't And then when it

1321
01:14:26,000 --> 01:14:27,800
Speaker 2: goes number one, what are you gonna say?

1322
01:14:27,960 --> 01:14:29,960
Speaker 4: That's That's what I was about to about to ask

1323
01:14:30,000 --> 01:14:30,599
Speaker 4: you that.

1324
01:14:30,840 --> 01:14:32,840
Speaker 2: And that, and that's the thing that happens a lot

1325
01:14:32,880 --> 01:14:36,160
Speaker 2: of times because some records, I tell people, some records

1326
01:14:36,280 --> 01:14:37,040
Speaker 2: are that good.

1327
01:14:37,600 --> 01:14:39,920
Speaker 4: Some records said that, but they could have been that

1328
01:14:40,000 --> 01:14:43,720
Speaker 4: much better with the little right. But you'll never know

1329
01:14:43,760 --> 01:14:44,400
Speaker 4: the most part.

1330
01:14:45,960 --> 01:14:53,479
Speaker 1: But in I guess in a worldly defense, like there

1331
01:14:53,479 --> 01:14:56,479
Speaker 1: are there there are very few who know the difference.

1332
01:14:56,600 --> 01:15:01,320
Speaker 4: That's not true, Like like these kids.

1333
01:15:01,160 --> 01:15:05,360
Speaker 2: Now are calling out kids but on the internet, but

1334
01:15:06,080 --> 01:15:10,240
Speaker 2: you make this, but we're talking about how many that

1335
01:15:10,920 --> 01:15:11,559
Speaker 2: touch my body?

1336
01:15:11,600 --> 01:15:13,880
Speaker 4: Is how many years ago though ten or something? They

1337
01:15:13,880 --> 01:15:15,120
Speaker 4: didn't know they did.

1338
01:15:15,640 --> 01:15:18,559
Speaker 1: Technology has advanced so much in between the last team

1339
01:15:18,680 --> 01:15:19,080
Speaker 1: back then.

1340
01:15:19,320 --> 01:15:22,519
Speaker 2: Back then because it's Mariah Carey doesn't matter, but if

1341
01:15:22,560 --> 01:15:24,680
Speaker 2: it's a new artist, it does matter because back then

1342
01:15:24,720 --> 01:15:27,479
Speaker 2: you had gatekeepers. I don't know how radio works now,

1343
01:15:27,720 --> 01:15:29,960
Speaker 2: but there really was like a nigga like a, uh,

1344
01:15:30,160 --> 01:15:32,760
Speaker 2: what's the what's the guy we know from? Uh? And

1345
01:15:32,800 --> 01:15:35,880
Speaker 2: he was making a huge comeback via the internet. But

1346
01:15:35,880 --> 01:15:40,240
Speaker 2: he used to be the guysics yeahs so he put.

1347
01:15:40,120 --> 01:15:45,840
Speaker 4: Up yeah, yeah, there's no more you know what I mean.

1348
01:15:45,960 --> 01:15:48,679
Speaker 2: So now you're absolutely right.

1349
01:15:49,120 --> 01:15:50,000
Speaker 4: So you you.

1350
01:15:49,920 --> 01:15:52,479
Speaker 2: Want a record to sound radio, like, oh, that should

1351
01:15:52,520 --> 01:15:56,400
Speaker 2: sound radio when those gatekeepers are listening to it. But

1352
01:15:56,439 --> 01:15:58,880
Speaker 2: now the gatekeepers.

1353
01:15:58,880 --> 01:16:01,040
Speaker 1: Do you have a you have a favorite mix of

1354
01:16:01,080 --> 01:16:04,720
Speaker 1: yours where you just like, ah, yeah.

1355
01:16:04,439 --> 01:16:07,320
Speaker 2: Yeah, yeah, it's nostalgic, but it's it's great record and

1356
01:16:07,360 --> 01:16:08,559
Speaker 2: I actually did it with Dave.

1357
01:16:08,920 --> 01:16:12,920
Speaker 4: It's called Fancy About Dream That. It's a nine minute

1358
01:16:12,920 --> 01:16:16,639
Speaker 4: record that I love. That incredible, it's a nine minute record.

1359
01:16:17,760 --> 01:16:20,639
Speaker 4: Incredible records. Yes, I can't believe it. And I love

1360
01:16:20,880 --> 01:16:22,000
Speaker 4: Fabs remix to it.

1361
01:16:22,200 --> 01:16:25,679
Speaker 5: Yeah yeah, everything about that record is so that's that's

1362
01:16:25,760 --> 01:16:26,640
Speaker 5: that's at the top for you.

1363
01:16:26,720 --> 01:16:27,679
Speaker 4: Yeah, because it's cultural.

1364
01:16:28,040 --> 01:16:30,720
Speaker 2: Yeah, you know, there's probably absolutely been bigger records, even

1365
01:16:30,720 --> 01:16:33,960
Speaker 2: bigger records that we did on Dream, but that record

1366
01:16:34,120 --> 01:16:37,120
Speaker 2: for what it is, I still don't understand why videos

1367
01:16:37,160 --> 01:16:39,920
Speaker 2: never but it's a if you take the move, if

1368
01:16:39,960 --> 01:16:42,000
Speaker 2: you take a time, your time and you go. But

1369
01:16:42,080 --> 01:16:47,160
Speaker 2: not only just the movie, it's technical wise. There were

1370
01:16:47,240 --> 01:16:50,680
Speaker 2: things that we did on that record that no one, like,

1371
01:16:50,760 --> 01:16:53,599
Speaker 2: no one was using UH screw voices over R and

1372
01:16:53,640 --> 01:16:54,120
Speaker 2: B that.

1373
01:16:54,240 --> 01:16:55,519
Speaker 4: Was nowhere in the games.

1374
01:16:55,520 --> 01:16:58,959
Speaker 2: There was no a's and everybody started using fucking a's.

1375
01:16:59,479 --> 01:17:03,960
Speaker 2: There was UH. Melodine was rarely used. It was always

1376
01:17:03,960 --> 01:17:07,120
Speaker 2: being an autotune, and we created backgrounds for the first

1377
01:17:07,200 --> 01:17:12,280
Speaker 2: time with UH with melodine, with just using his original vocals.

1378
01:17:13,560 --> 01:17:17,160
Speaker 2: The string arrangement was I think like a sixty. There

1379
01:17:17,240 --> 01:17:19,759
Speaker 2: was just so many things going on. The drums didn't

1380
01:17:19,760 --> 01:17:22,080
Speaker 2: come in until the last thirty seconds of the song.

1381
01:17:22,720 --> 01:17:26,680
Speaker 2: So it was just UH an amazing record to just

1382
01:17:26,720 --> 01:17:30,040
Speaker 2: look back on. And obviously I did it with my mentor,

1383
01:17:30,400 --> 01:17:32,160
Speaker 2: you know, it was at the time where I was

1384
01:17:32,200 --> 01:17:34,520
Speaker 2: doing the music and he was doing the vocals.

1385
01:17:34,160 --> 01:17:35,400
Speaker 4: Which he was always pissed off.

1386
01:17:35,400 --> 01:17:38,160
Speaker 2: He's like, my the vocals are the hardest, so he

1387
01:17:38,240 --> 01:17:40,400
Speaker 2: got Once I did the beat, it was done.

1388
01:17:40,479 --> 01:17:41,880
Speaker 4: I'm in the backs.

1389
01:17:41,680 --> 01:17:47,240
Speaker 2: Talking with Trick and Green playing car. He's fucking dying

1390
01:17:47,240 --> 01:17:52,759
Speaker 2: with these fucking speaky ass vocals. Fuck I get the job.

1391
01:17:55,280 --> 01:17:57,240
Speaker 2: I'd leave him a keyboard every now and then, the

1392
01:17:57,360 --> 01:18:00,439
Speaker 2: fucking twinkle twinkle before he gets hot.

1393
01:18:00,800 --> 01:18:03,040
Speaker 4: That was the thing, because he was so good at vocals.

1394
01:18:03,680 --> 01:18:06,320
Speaker 2: To this day still I'm chasing some of his Kisha

1395
01:18:06,360 --> 01:18:08,599
Speaker 2: cold stuff. Wow.

1396
01:18:10,280 --> 01:18:14,720
Speaker 1: I mean you going from You're going from A and

1397
01:18:14,920 --> 01:18:20,640
Speaker 1: R too, best mixed engineer in the world. It's just

1398
01:18:20,680 --> 01:18:24,240
Speaker 1: like with Jay always likes to talk about the pivot.

1399
01:18:25,160 --> 01:18:30,240
Speaker 1: That man, that pivot is. That pivot is to be respected.

1400
01:18:30,640 --> 01:18:34,320
Speaker 1: It's to be respected, bro, like and you know, we

1401
01:18:34,400 --> 01:18:36,080
Speaker 1: all known each other a long time. You know, I

1402
01:18:36,760 --> 01:18:38,840
Speaker 1: love a great pivot, you know what I mean of

1403
01:18:39,400 --> 01:18:43,160
Speaker 1: my career changes. And when I look at what you've

1404
01:18:43,200 --> 01:18:48,200
Speaker 1: done going from one thing to another that has nothing

1405
01:18:48,320 --> 01:18:49,360
Speaker 1: to truly do.

1406
01:18:49,400 --> 01:18:49,960
Speaker 2: With each other.

1407
01:18:50,360 --> 01:18:53,920
Speaker 1: And I don't know anyone who's ever done that pivot right,

1408
01:18:54,080 --> 01:18:55,360
Speaker 1: especially at this level.

1409
01:18:55,560 --> 01:18:59,880
Speaker 4: Yeah, bro, it's to be celebrated. What to go from?

1410
01:19:00,120 --> 01:19:00,840
Speaker 2: The reverse pivot?

1411
01:19:01,560 --> 01:19:03,439
Speaker 4: Yes, yeah, yeah, yeah, a lot of people don't know

1412
01:19:03,479 --> 01:19:06,920
Speaker 4: who was the engineer. Absolutely, absolutely, absolutely, And.

1413
01:19:06,880 --> 01:19:09,920
Speaker 2: I think that gives you an unfair advantage as well

1414
01:19:10,120 --> 01:19:13,160
Speaker 2: as an executive because you know, you know, as a mixer,

1415
01:19:13,479 --> 01:19:18,080
Speaker 2: you're almost like a counselor splash, you know, a person

1416
01:19:18,120 --> 01:19:18,920
Speaker 2: that they lean on.

1417
01:19:19,320 --> 01:19:28,200
Speaker 5: Oh sorry, So the same thing with with Jimmy is

1418
01:19:28,320 --> 01:19:33,280
Speaker 5: a key had the ability to hear the insecurities of

1419
01:19:33,320 --> 01:19:37,839
Speaker 5: the artists, hear what works, how to relate to artists,

1420
01:19:39,160 --> 01:19:42,040
Speaker 5: being around people like Bruce Springsteen and you two and

1421
01:19:42,080 --> 01:19:45,920
Speaker 5: all these people that are incredibly talented, and being able

1422
01:19:45,960 --> 01:19:47,519
Speaker 5: to bring that into an executive form.

1423
01:19:47,760 --> 01:19:50,360
Speaker 2: It's no different from me going the other way, like

1424
01:19:50,400 --> 01:19:53,479
Speaker 2: I said, and using my a in our abilities to

1425
01:19:53,560 --> 01:19:56,200
Speaker 2: try to help the record be the best record it

1426
01:19:56,240 --> 01:19:58,840
Speaker 2: can be. And it's weird how you'll get friction as

1427
01:19:58,840 --> 01:20:01,559
Speaker 2: a mixed engineer when you're trying to say these things.

1428
01:20:01,960 --> 01:20:02,439
Speaker 4: But like.

1429
01:20:05,600 --> 01:20:10,200
Speaker 2: If back in the day, if if a record had,

1430
01:20:10,280 --> 01:20:12,880
Speaker 2: like if Clive Davis told you, Hey, I think you.

1431
01:20:12,760 --> 01:20:13,920
Speaker 4: Need to do it, dude, do dude.

1432
01:20:14,120 --> 01:20:17,519
Speaker 2: You did it. You did it the negotiation the greatest

1433
01:20:17,680 --> 01:20:18,960
Speaker 2: ear that you did it.

1434
01:20:19,000 --> 01:20:21,360
Speaker 1: But you also aren't the you aren't the check cutter.

1435
01:20:22,720 --> 01:20:24,759
Speaker 1: You got the check I mean because that's really why

1436
01:20:25,080 --> 01:20:27,799
Speaker 1: the artists are listening. They don't want to get shelved.

1437
01:20:28,240 --> 01:20:30,920
Speaker 1: They want they want the music to come out, so

1438
01:20:30,960 --> 01:20:34,160
Speaker 1: they're like, Okay, I guess I gotta listen. Let's be

1439
01:20:34,280 --> 01:20:36,840
Speaker 1: let's be honest. Artists don't want to listen.

1440
01:20:37,000 --> 01:20:41,880
Speaker 4: Some do. Bro about three of them.

1441
01:20:42,080 --> 01:20:48,280
Speaker 3: Michael Jackson didn't want whatever that stringline talking about.

1442
01:20:48,080 --> 01:20:53,920
Speaker 5: Listen, listen, listen, listened? You know who didn't listen? Sure

1443
01:20:54,000 --> 01:20:56,479
Speaker 5: Prince didn't listen. I know for sure Prince didn't listen.

1444
01:20:56,680 --> 01:20:59,559
Speaker 2: Who listen? What did you say that?

1445
01:21:00,479 --> 01:21:00,519
Speaker 7: No?

1446
01:21:01,720 --> 01:21:03,240
Speaker 4: I can't hear you over my guitar.

1447
01:21:03,640 --> 01:21:04,479
Speaker 2: Fuck your streets.

1448
01:21:04,520 --> 01:21:06,719
Speaker 4: Could never talk to me while you're talking.

1449
01:21:07,600 --> 01:21:09,479
Speaker 2: Never talk to me. Why you're talking, Why you're in

1450
01:21:09,479 --> 01:21:12,599
Speaker 2: the room with me? Let you in the room, Let

1451
01:21:12,600 --> 01:21:13,160
Speaker 2: you in the room.

1452
01:21:13,680 --> 01:21:14,719
Speaker 4: How did you get in here?

1453
01:21:16,880 --> 01:21:19,400
Speaker 1: I'm just I'm I'm super proud of you, like i'm

1454
01:21:19,520 --> 01:21:25,000
Speaker 1: I'm I'm like always of the mind that my record

1455
01:21:25,000 --> 01:21:28,200
Speaker 1: could be better. And and that's why I bring.

1456
01:21:28,120 --> 01:21:30,719
Speaker 4: Him, because I tell you I'll kill you if anyone

1457
01:21:30,760 --> 01:21:31,200
Speaker 4: else does it.

1458
01:21:31,280 --> 01:21:33,360
Speaker 2: That's the main fucking not telling the truth.

1459
01:21:33,960 --> 01:21:37,439
Speaker 3: Here one sneak out on me when number one two I.

1460
01:21:37,560 --> 01:21:42,000
Speaker 2: Was hot day you want to me, you want to.

1461
01:21:53,640 --> 01:21:57,559
Speaker 5: Shouting good baby time.

1462
01:21:58,000 --> 01:22:05,160
Speaker 2: This number one that got away from my eyes.

1463
01:22:05,200 --> 01:22:09,560
Speaker 1: Hey man, I'm just my ears are just tuned, you

1464
01:22:09,640 --> 01:22:12,160
Speaker 1: know what I mean to just understand the difference, and

1465
01:22:12,600 --> 01:22:15,000
Speaker 1: you know as you get I'm competitive in that the

1466
01:22:15,080 --> 01:22:16,200
Speaker 1: same way you're competitive.

1467
01:22:16,760 --> 01:22:17,360
Speaker 4: And I'm like.

1468
01:22:19,040 --> 01:22:21,760
Speaker 1: To sound like I'm a stickler for sound, whether it

1469
01:22:21,760 --> 01:22:26,720
Speaker 1: be my front house engineer, my my monitor engineer, my ears, my.

1470
01:22:29,160 --> 01:22:34,200
Speaker 2: Always always. I mean, but that's like I said, what

1471
01:22:34,320 --> 01:22:37,800
Speaker 2: we said before, your ear has studied, Like how many

1472
01:22:37,800 --> 01:22:40,160
Speaker 2: records have you listened to in your own time that

1473
01:22:40,280 --> 01:22:42,120
Speaker 2: you can pull reference from.

1474
01:22:42,160 --> 01:22:43,759
Speaker 4: That's the that's the big difference.

1475
01:22:44,960 --> 01:22:50,680
Speaker 2: Like you have heard what analog truly sounded like, you

1476
01:22:50,840 --> 01:22:55,000
Speaker 2: heard the transition from the You've heard everything in every

1477
01:22:55,080 --> 01:22:59,479
Speaker 2: country so you could make an informed decision. Now people

1478
01:22:59,479 --> 01:23:01,320
Speaker 2: are just like, I don't want to make an album.

1479
01:23:01,720 --> 01:23:05,480
Speaker 2: Why because my streams is my podcast is on fire.

1480
01:23:06,760 --> 01:23:11,360
Speaker 4: So I can't make an album. I'm maging you take

1481
01:23:11,360 --> 01:23:12,400
Speaker 4: a shot at me, dog.

1482
01:23:12,320 --> 01:23:16,360
Speaker 2: But think about it. Think about how talented you are

1483
01:23:17,280 --> 01:23:19,280
Speaker 2: being Like, look what you had to go through to

1484
01:23:19,360 --> 01:23:21,719
Speaker 2: even get to this position. You was in the group.

1485
01:23:22,840 --> 01:23:27,080
Speaker 2: You are a record executive. You can sing your ass off.

1486
01:23:27,360 --> 01:23:33,160
Speaker 2: You're a songwriter and you produce records nowadays, as long

1487
01:23:33,200 --> 01:23:36,479
Speaker 2: as you can do the right you know, up about right,

1488
01:23:36,520 --> 01:23:38,200
Speaker 2: you got a shot right TikTok dance?

1489
01:23:40,000 --> 01:23:41,800
Speaker 3: You know, I can't lie. I'll be looking at it

1490
01:23:42,439 --> 01:23:44,880
Speaker 3: right be twenty seconds. I'm like, damn, they got me.

1491
01:23:47,880 --> 01:23:51,760
Speaker 3: You know, don't act like you just the move some

1492
01:23:51,920 --> 01:23:54,160
Speaker 3: Asian thing. I have to blame it on my daughter

1493
01:23:54,240 --> 01:23:57,080
Speaker 3: or something. But now I'm getting these these Asian kids

1494
01:23:57,080 --> 01:23:59,240
Speaker 3: doing these TikTok moves and they.

1495
01:24:01,280 --> 01:24:03,240
Speaker 2: Crazy. Viral is hypnotic.

1496
01:24:03,280 --> 01:24:05,120
Speaker 4: Bro. I was at the grove the other day.

1497
01:24:05,160 --> 01:24:08,400
Speaker 1: I'm having breakfast and they're making one.

1498
01:24:08,680 --> 01:24:14,840
Speaker 2: This is one song called Chicken Banana Chicken Banana dog.

1499
01:24:16,160 --> 01:24:19,960
Speaker 2: Listen to it once done all day long you sing

1500
01:24:19,960 --> 01:24:23,120
Speaker 2: a chicken banana. Watch people gonna listen to shit like, damn,

1501
01:24:23,120 --> 01:24:24,240
Speaker 2: you got chicken banana too.

1502
01:24:34,760 --> 01:24:38,000
Speaker 1: I gotta ask you before we get to this next second.

1503
01:24:39,040 --> 01:24:40,760
Speaker 2: I'll not even just ask you. I want you to.

1504
01:24:40,840 --> 01:24:44,120
Speaker 1: I want you to tell the world about the God particle.

1505
01:24:44,920 --> 01:24:49,960
Speaker 2: Well that's the third pivot. So the second pivot, you

1506
01:24:50,000 --> 01:24:52,840
Speaker 2: know about. The third pivot came when I came to

1507
01:24:52,880 --> 01:24:58,719
Speaker 2: the conclusion that wow, like most of my clients come

1508
01:24:59,000 --> 01:25:02,280
Speaker 2: because they'll hear around I did like, oh my god,

1509
01:25:02,960 --> 01:25:05,960
Speaker 2: change anything, oh shit. But then when I do their

1510
01:25:06,040 --> 01:25:10,200
Speaker 2: record sometimes that changes so much, like hey, hey, hey,

1511
01:25:10,240 --> 01:25:13,040
Speaker 2: what's not I'm doing the same thing. I'm just going

1512
01:25:13,120 --> 01:25:19,719
Speaker 2: buck buck What was the question? So I said to myself, listen,

1513
01:25:22,200 --> 01:25:24,800
Speaker 2: the game's changing and these kids are being able to

1514
01:25:24,840 --> 01:25:27,320
Speaker 2: mix their records in their house, through them stuff themselves,

1515
01:25:27,640 --> 01:25:30,960
Speaker 2: and they live with it. I got to figure out

1516
01:25:31,000 --> 01:25:34,280
Speaker 2: how to get where I'm at this stage here into

1517
01:25:34,360 --> 01:25:37,800
Speaker 2: there from the beginning. So at least when they get

1518
01:25:37,800 --> 01:25:40,720
Speaker 2: to that whatever playback level or their their their their

1519
01:25:40,760 --> 01:25:44,960
Speaker 2: printing level and they're making their masters or whatever, it

1520
01:25:45,200 --> 01:25:49,360
Speaker 2: sounds at a professional level, an extreme professional level and

1521
01:25:49,400 --> 01:25:53,360
Speaker 2: fortunate level. I did something that that that most people,

1522
01:25:53,400 --> 01:25:56,840
Speaker 2: I guess you could say at my level would do,

1523
01:25:57,040 --> 01:26:01,680
Speaker 2: and as I literally gave everything into this thing. So

1524
01:26:01,800 --> 01:26:06,520
Speaker 2: if you have this apparatus on that is basically everything

1525
01:26:06,560 --> 01:26:09,200
Speaker 2: that I've ever put together in my twenty years to

1526
01:26:09,320 --> 01:26:11,639
Speaker 2: help me curate and get that sound, and it gets

1527
01:26:11,640 --> 01:26:15,960
Speaker 2: you there super super quick and fortunately love It's given

1528
01:26:16,000 --> 01:26:18,240
Speaker 2: me the ability where I can step back from mixing

1529
01:26:18,600 --> 01:26:20,720
Speaker 2: and send my retire and only do the shit that

1530
01:26:20,760 --> 01:26:25,040
Speaker 2: I like right because it's you know, another you know,

1531
01:26:25,439 --> 01:26:28,640
Speaker 2: viable path that I really love because I know what

1532
01:26:28,720 --> 01:26:30,320
Speaker 2: I want to hear. I know how I want to

1533
01:26:30,360 --> 01:26:34,360
Speaker 2: get to a to a certain sound or sonic point,

1534
01:26:34,600 --> 01:26:37,120
Speaker 2: and I want to get there quickly. So why why

1535
01:26:37,160 --> 01:26:41,679
Speaker 2: can I help develop tools to help people like yourself

1536
01:26:42,080 --> 01:26:44,479
Speaker 2: or others get to that place just as fast?

1537
01:26:44,600 --> 01:26:45,840
Speaker 4: Genius?

1538
01:26:46,000 --> 01:26:49,000
Speaker 2: Congratulations on that, bro, that's great. I mean I've I've

1539
01:26:50,320 --> 01:26:54,720
Speaker 2: the last three years have probably been the best, you know,

1540
01:26:54,920 --> 01:26:59,320
Speaker 2: business wise than my whole twenty year mixing career. Wow.

1541
01:26:59,560 --> 01:27:01,200
Speaker 2: And that's why you have an N I L company

1542
01:27:01,240 --> 01:27:08,880
Speaker 2: now sponsoring all talent San Fernando Valley and uh mid

1543
01:27:09,320 --> 01:27:09,960
Speaker 2: mid Wilshire.

1544
01:27:12,760 --> 01:27:14,320
Speaker 4: You only got one client right now.

1545
01:27:16,040 --> 01:27:20,200
Speaker 2: You and Tank Gott got one client right now. We're

1546
01:27:20,200 --> 01:27:23,479
Speaker 2: working on developing some more. But uh go check out

1547
01:27:23,479 --> 01:27:25,920
Speaker 2: my man Du n il Du.

1548
01:27:26,080 --> 01:27:27,200
Speaker 4: We're hyper focused on.

1549
01:27:27,200 --> 01:27:32,160
Speaker 2: It and he almost close to tangs.

1550
01:27:33,560 --> 01:27:35,120
Speaker 4: Oh yeah, we can legally say that now.

1551
01:27:37,560 --> 01:27:43,680
Speaker 2: Eligibility good good. It's Uncle inn I LS relaxed and

1552
01:27:43,800 --> 01:27:47,480
Speaker 2: I relaxed relaxed. Pepper Dynau, North Carolina.

1553
01:27:47,560 --> 01:27:51,280
Speaker 4: You want to come to uncle and I M Uncle

1554
01:27:52,120 --> 01:27:52,519
Speaker 4: is here?

1555
01:27:53,160 --> 01:27:58,080
Speaker 2: Oh yeah, I got a free RN money change. That's

1556
01:27:58,120 --> 01:28:00,519
Speaker 2: my favorite part man as.

1557
01:28:00,400 --> 01:28:13,519
Speaker 9: I'm yeah, the stutter that that's a tank pattern.

1558
01:28:22,080 --> 01:28:24,519
Speaker 4: I'm special for you, brother John p Key.

1559
01:28:25,680 --> 01:28:27,240
Speaker 1: I'm sure I'm about to say he don't do that

1560
01:28:27,280 --> 01:28:29,280
Speaker 1: all the time from my A N R brother.

1561
01:28:30,880 --> 01:28:31,760
Speaker 4: Because he can hear it.

1562
01:28:34,040 --> 01:28:39,800
Speaker 1: Who of all the records you have mixed and contributed to,

1563
01:28:39,960 --> 01:28:41,680
Speaker 1: we know that there are some records that.

1564
01:28:43,320 --> 01:28:48,439
Speaker 2: Have influenced your mind, fluenced your art, and the people

1565
01:28:48,479 --> 01:28:51,240
Speaker 2: want to know what they are. We call that Yard.

1566
01:28:55,960 --> 01:28:56,240
Speaker 10: Five.

1567
01:28:59,479 --> 01:29:08,760
Speaker 2: Joe up far, you talk far, he believes jo to

1568
01:29:09,120 --> 01:29:18,800
Speaker 2: fun and listen you are in the song we got

1569
01:29:18,880 --> 01:29:20,960
Speaker 2: to be bothering.

1570
01:29:22,120 --> 01:29:22,600
Speaker 4: You're a.

1571
01:29:24,200 --> 01:29:53,519
Speaker 2: Body was to talk o fair. Yeah.

1572
01:30:03,240 --> 01:30:08,799
Speaker 4: There Top five Top five R and B singers.

1573
01:30:11,479 --> 01:30:15,120
Speaker 2: Well, I'm gonna start off with my favorite, and I'm

1574
01:30:15,120 --> 01:30:18,120
Speaker 2: gonna tell you how I judge things. I only have

1575
01:30:18,280 --> 01:30:23,080
Speaker 2: two rhymes or reasons of why I choose these five.

1576
01:30:24,000 --> 01:30:25,719
Speaker 4: First reason is tone.

1577
01:30:27,040 --> 01:30:30,640
Speaker 2: I don't care how many octaves you've got, man, I

1578
01:30:30,720 --> 01:30:33,840
Speaker 2: don't care how you can trinkle up and down the

1579
01:30:33,920 --> 01:30:35,920
Speaker 2: scales backwards and forwards.

1580
01:30:38,200 --> 01:30:42,479
Speaker 4: If you don't got tone, talk about it. It's tough.

1581
01:30:42,600 --> 01:30:43,960
Speaker 4: Well we'll hear that ship talk about it.

1582
01:30:44,800 --> 01:30:49,800
Speaker 2: Tone and the two things that are most distinctive about

1583
01:30:49,840 --> 01:30:53,080
Speaker 2: this tone is one, it separates you from everyone else,

1584
01:30:54,920 --> 01:30:58,479
Speaker 2: and b it cuts through the record. Now there's so

1585
01:30:58,560 --> 01:31:00,960
Speaker 2: many artists you'll see them saying live they're like, oh, singing,

1586
01:31:01,000 --> 01:31:03,080
Speaker 2: we are off there, you're dope. But then you put

1587
01:31:03,120 --> 01:31:06,639
Speaker 2: them in the studio and they don't cut through. It's

1588
01:31:06,640 --> 01:31:09,120
Speaker 2: a whole different. It's almost like a model. You're like, oh,

1589
01:31:09,160 --> 01:31:11,560
Speaker 2: you're beautiful, but then when you take the picture you're like,

1590
01:31:14,680 --> 01:31:19,519
Speaker 2: so saying you're saying your number one? So my not

1591
01:31:19,760 --> 01:31:23,880
Speaker 2: just everybody I smoked before this? Sorry you do? Will

1592
01:31:24,280 --> 01:31:27,920
Speaker 2: I smoked before this? Thank you really well, So we'll

1593
01:31:27,960 --> 01:31:28,920
Speaker 2: be out again one more time.

1594
01:31:30,479 --> 01:31:36,160
Speaker 4: Tip five R and be top five shady, amazing tone,

1595
01:31:36,760 --> 01:31:42,280
Speaker 4: de toned and pocket and pocket and pocket puts you

1596
01:31:43,280 --> 01:31:46,240
Speaker 4: in the zone of that zone she puts you in

1597
01:31:46,880 --> 01:31:50,920
Speaker 4: and there's no fighting. Is that is shad possible? Again?

1598
01:31:53,720 --> 01:31:54,479
Speaker 2: We had a little.

1599
01:31:54,320 --> 01:31:57,519
Speaker 5: Hiccup shod day. I give him a hiccup shad. Janney

1600
01:31:58,320 --> 01:32:03,360
Speaker 5: Jeanne's not shady. Jenny is completely different because Jenna is

1601
01:32:03,400 --> 01:32:04,000
Speaker 5: an acrobat.

1602
01:32:04,880 --> 01:32:07,720
Speaker 4: What's that mean? All the flips and turns she does,

1603
01:32:07,840 --> 01:32:10,240
Speaker 4: she can she does, She goes up and down, the Rainbow,

1604
01:32:10,280 --> 01:32:12,040
Speaker 4: but she but yeah, you're.

1605
01:32:11,960 --> 01:32:15,040
Speaker 2: Right, Shade is a straight ahead.

1606
01:32:16,560 --> 01:32:19,800
Speaker 4: It was a bad thing. It's a band. When I

1607
01:32:19,920 --> 01:32:21,479
Speaker 4: give it to Miss sad Day I do is not

1608
01:32:21,680 --> 01:32:22,880
Speaker 4: my number one go to.

1609
01:32:24,560 --> 01:32:28,840
Speaker 2: Now, this one's going to be controversial mm hmm because

1610
01:32:28,880 --> 01:32:29,640
Speaker 2: I worked with her.

1611
01:32:30,400 --> 01:32:31,800
Speaker 4: Okay, I love her.

1612
01:32:33,640 --> 01:32:42,160
Speaker 2: And we all know she's the gold standard. But sometimes

1613
01:32:43,800 --> 01:32:47,439
Speaker 2: less is more, all right, And when I get the

1614
01:32:48,840 --> 01:32:52,040
Speaker 2: when I get Brandy, when she's not afraid to double

1615
01:32:52,120 --> 01:32:54,479
Speaker 2: her vocals, like, just give me your single vocals so

1616
01:32:54,520 --> 01:32:56,120
Speaker 2: I can hear every texture.

1617
01:32:56,720 --> 01:33:01,439
Speaker 4: I should have too, it's undeniable. Number three.

1618
01:33:02,360 --> 01:33:08,280
Speaker 2: It's going to be sentimental because I just remember hearing

1619
01:33:08,960 --> 01:33:14,960
Speaker 2: two specific records. But all the things you're mad won't do.

1620
01:33:16,080 --> 01:33:21,960
Speaker 2: I never heard a male tone. Usually when singers can

1621
01:33:22,080 --> 01:33:27,439
Speaker 2: sing really good, and this is like tank, there's a.

1622
01:33:29,760 --> 01:33:31,519
Speaker 4: A texture to it, meaning like.

1623
01:33:34,800 --> 01:33:39,280
Speaker 2: Oh, I don explain it, like a little yeah he

1624
01:33:39,520 --> 01:33:46,800
Speaker 2: is so clean, yeah, almost like a pop sensibility because

1625
01:33:47,120 --> 01:33:50,080
Speaker 2: so frequency at the high at the high yeah.

1626
01:33:50,439 --> 01:33:50,639
Speaker 4: Yeah.

1627
01:33:50,760 --> 01:33:54,120
Speaker 2: The closest completely opposite type of singers, but the closest

1628
01:33:54,120 --> 01:33:56,080
Speaker 2: thing I can think of to it to give you

1629
01:33:56,120 --> 01:33:58,240
Speaker 2: the same kind of analogy, even though they sound completely

1630
01:33:58,240 --> 01:33:59,400
Speaker 2: opposite is neo.

1631
01:34:00,479 --> 01:34:04,880
Speaker 4: It's just I understand why you say that. I get it.

1632
01:34:05,280 --> 01:34:05,600
Speaker 2: I get it.

1633
01:34:05,760 --> 01:34:10,439
Speaker 1: No ash yeah, none, but in fucking you like clean vocal,

1634
01:34:11,360 --> 01:34:14,559
Speaker 1: so suber clean vocal so so Joe, so Joe.

1635
01:34:14,680 --> 01:34:17,920
Speaker 2: So that's my third. I'm gonna have to do it

1636
01:34:18,040 --> 01:34:20,160
Speaker 2: because I'm just the churchy type of guy and I

1637
01:34:20,280 --> 01:34:21,800
Speaker 2: do like vocal wakerbouts.

1638
01:34:21,800 --> 01:34:27,880
Speaker 4: When it's done by professionals, I'm glad you're leaning into

1639
01:34:27,920 --> 01:34:28,479
Speaker 4: that timber.

1640
01:34:29,000 --> 01:34:29,200
Speaker 2: Yeah.

1641
01:34:31,160 --> 01:34:36,520
Speaker 4: By professional, she is the professionals.

1642
01:34:36,960 --> 01:34:41,320
Speaker 2: She's the runner, she's the pro. It shouldn't be running. Yeah,

1643
01:34:42,040 --> 01:34:45,360
Speaker 2: you don't get off that track. Everybody at the track me.

1644
01:34:45,360 --> 01:34:49,639
Speaker 2: It ain't fast. And the fifth one and the last

1645
01:34:49,720 --> 01:34:54,519
Speaker 2: one is gonna make us all smile. Michael Jackson, come on,

1646
01:34:56,000 --> 01:34:58,560
Speaker 2: you know we love it. Now let me tell you

1647
01:34:58,680 --> 01:34:59,920
Speaker 2: why I told you to.

1648
01:35:01,479 --> 01:35:04,559
Speaker 4: And I told you record cells. There's a whole lot

1649
01:35:04,600 --> 01:35:08,840
Speaker 4: of records. Even if you don't appreciate his tone like

1650
01:35:09,000 --> 01:35:11,799
Speaker 4: I do, all the record sales, Like I don't.

1651
01:35:11,680 --> 01:35:15,840
Speaker 11: Understand what song has he sung that he convince you

1652
01:35:16,560 --> 01:35:20,160
Speaker 11: is behind you? What song have they has he sung

1653
01:35:20,560 --> 01:35:22,880
Speaker 11: that he hasn't convinced you? Like when you saw a

1654
01:35:22,960 --> 01:35:25,080
Speaker 11: man in the mirror. You wanted to straighten the shout out.

1655
01:35:25,640 --> 01:35:29,120
Speaker 11: You wanted to you wanted you want to fix the

1656
01:35:29,160 --> 01:35:31,920
Speaker 11: man in the mirror when he was in Brazil saying

1657
01:35:32,000 --> 01:35:34,240
Speaker 11: they don't care about man, you was hot.

1658
01:35:34,400 --> 01:35:37,120
Speaker 2: They really don't they really, they really don't care about Tell.

1659
01:35:37,040 --> 01:35:39,519
Speaker 4: Him Michael, tell him Mike, they don't care.

1660
01:35:40,000 --> 01:35:41,800
Speaker 2: And then we can get into the art like R

1661
01:35:41,840 --> 01:35:46,040
Speaker 2: and B wise like that's it just rock with you alone,

1662
01:35:46,520 --> 01:35:51,719
Speaker 2: like and have you heard the backgrounds when they're alone?

1663
01:35:52,720 --> 01:35:56,200
Speaker 12: Yeah, shout out to the internet and hey, just so

1664
01:35:56,320 --> 01:36:00,160
Speaker 12: you know what, And and that's five a five, be

1665
01:36:01,040 --> 01:36:06,880
Speaker 12: close close Chris Brown, because it's made me so much

1666
01:36:06,960 --> 01:36:10,200
Speaker 12: money because everybody wanted that ship to sound.

1667
01:36:10,040 --> 01:36:11,080
Speaker 2: Like Chris Brown.

1668
01:36:11,600 --> 01:36:14,200
Speaker 4: I love Chris Brown influence. Let me give you another one.

1669
01:36:16,120 --> 01:36:22,960
Speaker 2: Before our separation, my man never gave me one change.

1670
01:36:23,840 --> 01:36:26,000
Speaker 2: Every Chris Brown record you ever listened to for me

1671
01:36:26,520 --> 01:36:30,320
Speaker 2: is a director's cut. That man can do no wrong

1672
01:36:30,439 --> 01:36:35,000
Speaker 2: to cut. Like literally call me if you need some help,

1673
01:36:35,080 --> 01:36:40,559
Speaker 2: my man like literally never, not one, not one. Take hey, man,

1674
01:36:40,920 --> 01:36:44,719
Speaker 2: the high hat on bar thirty four down three tenths

1675
01:36:44,760 --> 01:36:46,559
Speaker 2: of a d's bar thirty four over.

1676
01:36:46,400 --> 01:36:51,960
Speaker 4: There, that's the real band.

1677
01:36:53,320 --> 01:36:57,160
Speaker 1: The start telling you put half a derail band, put

1678
01:36:57,200 --> 01:36:58,559
Speaker 1: it down half of derail band.

1679
01:37:00,520 --> 01:37:03,000
Speaker 2: It all makes sense now, you know. I've been call

1680
01:37:03,240 --> 01:37:05,000
Speaker 2: knowing this guy for so long. I don't even know

1681
01:37:05,040 --> 01:37:07,479
Speaker 2: who drel baps it when I see it, when I

1682
01:37:07,520 --> 01:37:12,759
Speaker 2: see Xena put missus, I'm like, who has no idea?

1683
01:37:13,080 --> 01:37:13,920
Speaker 2: He's just take.

1684
01:37:16,080 --> 01:37:20,280
Speaker 1: Your top five R and B songs all time, all times,

1685
01:37:21,520 --> 01:37:23,200
Speaker 1: all times are today.

1686
01:37:24,479 --> 01:37:28,639
Speaker 2: Oh man, this is tough. Rock with You is definitely

1687
01:37:28,680 --> 01:37:34,400
Speaker 2: number one, Top three easy work between the sheets Issley

1688
01:37:34,439 --> 01:37:39,160
Speaker 2: Brother Yes, yes, yes, yes, yes, because it defined an

1689
01:37:39,280 --> 01:37:45,040
Speaker 2: era and you know, former client of mine. I know

1690
01:37:45,080 --> 01:37:48,960
Speaker 2: people probably feel this as a controversial pick, but it

1691
01:37:49,080 --> 01:37:53,960
Speaker 2: changed the game. Bumping grind. I know it's weird, hm,

1692
01:37:54,120 --> 01:37:59,840
Speaker 2: but bumping grind literally to me is what transitioned into

1693
01:38:04,600 --> 01:38:09,880
Speaker 2: crazy or sexual. Aren't like really like people weren't more

1694
01:38:10,000 --> 01:38:13,439
Speaker 2: descriptive him period? Yeah? Yeah?

1695
01:38:13,479 --> 01:38:15,799
Speaker 4: Really him? Yeah I should.

1696
01:38:17,160 --> 01:38:19,519
Speaker 2: And I really like I appreciate him because I have

1697
01:38:19,680 --> 01:38:23,320
Speaker 2: worked with him, and I've like to me because I

1698
01:38:23,400 --> 01:38:27,720
Speaker 2: know we're going to get to this usher and r

1699
01:38:27,840 --> 01:38:34,960
Speaker 2: Kelly key wise, probably I'm not. They do not go

1700
01:38:35,120 --> 01:38:38,599
Speaker 2: off key, at least on their cuts without audo. I mean,

1701
01:38:38,880 --> 01:38:47,400
Speaker 2: they are perfectly I'm unbelievable tone, unbelievable key recognition and

1702
01:38:47,560 --> 01:38:49,840
Speaker 2: staying on that cannot waver it. And then when you

1703
01:38:50,200 --> 01:38:52,920
Speaker 2: and it was weird because R. Kelly transitioned because he

1704
01:38:52,960 --> 01:38:54,599
Speaker 2: wanted to be young when we were doing his last

1705
01:38:54,600 --> 01:38:58,080
Speaker 2: ship and started putting autotune on everything. And I didn't

1706
01:38:58,160 --> 01:39:01,080
Speaker 2: understand it, but he wanted the effect. When you looked

1707
01:39:01,080 --> 01:39:01,360
Speaker 2: at it.

1708
01:39:01,400 --> 01:39:05,360
Speaker 4: Man, it left. It's just like brow.

1709
01:39:06,560 --> 01:39:08,479
Speaker 2: That's why I'm fascinated when I hear some of these

1710
01:39:08,520 --> 01:39:10,320
Speaker 2: older records and you hear some of these singers, You're

1711
01:39:10,360 --> 01:39:15,759
Speaker 2: just like, how it's so abnormal now for somebody.

1712
01:39:15,880 --> 01:39:17,920
Speaker 4: It's not that no one can sing like that. It's

1713
01:39:17,960 --> 01:39:19,320
Speaker 4: just that, dude, it's a muscle.

1714
01:39:19,400 --> 01:39:22,479
Speaker 2: So if you're so used to having like, it's almost

1715
01:39:22,520 --> 01:39:24,120
Speaker 2: like doing pull ups with bands assistance.

1716
01:39:25,560 --> 01:39:27,360
Speaker 4: So it's it's no fault to the singers. It's just

1717
01:39:27,640 --> 01:39:29,639
Speaker 4: so that's what auto is. Pull up with bands.

1718
01:39:30,400 --> 01:39:34,040
Speaker 2: Yeah, Like, there's so many great singers tighten, There's so

1719
01:39:34,160 --> 01:39:35,360
Speaker 2: many great right, that's why.

1720
01:39:35,760 --> 01:39:37,479
Speaker 1: Yes, that's another way to look at it. I just

1721
01:39:37,520 --> 01:39:40,160
Speaker 1: call it steroids. Yeah, no, it's not steroids.

1722
01:39:41,320 --> 01:39:45,519
Speaker 2: You got you gotta have the tone. That's why with

1723
01:39:45,760 --> 01:39:49,560
Speaker 2: the bands, if you have the tone like the futures,

1724
01:39:49,720 --> 01:39:52,320
Speaker 2: like the NBA young boys, like the Don Tolliver's Like,

1725
01:39:52,920 --> 01:39:54,880
Speaker 2: you know, all these other guys who are now are

1726
01:39:55,240 --> 01:39:58,920
Speaker 2: our R and B singers, Little Dirk don don talk

1727
01:39:59,120 --> 01:40:01,000
Speaker 2: lit Dirk is now like you know what I mean?

1728
01:40:02,439 --> 01:40:04,880
Speaker 2: Like they they are used to that type of tone

1729
01:40:04,960 --> 01:40:06,680
Speaker 2: as opposed to what we're used to.

1730
01:40:07,840 --> 01:40:10,360
Speaker 4: You know, they're like, hey, that's what my dad, you know, like.

1731
01:40:10,720 --> 01:40:15,200
Speaker 2: To us if you weren't Joe to see period period

1732
01:40:16,320 --> 01:40:17,920
Speaker 2: now if you're Joe to see They're like, wait.

1733
01:40:17,840 --> 01:40:21,120
Speaker 4: Wait, y'all doing all that? You need to put that

1734
01:40:21,200 --> 01:40:23,320
Speaker 4: in like a sample, like put it on the knees.

1735
01:40:23,880 --> 01:40:28,960
Speaker 2: And speed it up and skim it's kid over, what

1736
01:40:29,040 --> 01:40:29,800
Speaker 2: do you do with dad?

1737
01:40:30,000 --> 01:40:30,240
Speaker 4: Do it?

1738
01:40:30,760 --> 01:40:33,280
Speaker 2: All right? So what we have songs? Two? Okay?

1739
01:40:33,680 --> 01:40:34,040
Speaker 4: All right?

1740
01:40:34,520 --> 01:40:36,479
Speaker 2: What were they hot?

1741
01:40:38,080 --> 01:40:44,720
Speaker 4: They were bumping grind rock between the seats, all right?

1742
01:40:46,120 --> 01:40:48,760
Speaker 2: Because I listened to it a bunch of times, and

1743
01:40:48,880 --> 01:40:51,559
Speaker 2: I know it's my go to cherish the day shot.

1744
01:40:51,760 --> 01:40:57,200
Speaker 10: Why not when it's my go to record When I'm

1745
01:40:57,240 --> 01:41:01,000
Speaker 10: in my car and I picked you up for the

1746
01:41:01,080 --> 01:41:03,880
Speaker 10: first time and I just wanted something underneath vibe and

1747
01:41:04,280 --> 01:41:05,080
Speaker 10: yeah's the day.

1748
01:41:05,360 --> 01:41:10,080
Speaker 2: It's very uplifting you're talking about you know what I mean, that's.

1749
01:41:10,240 --> 01:41:13,160
Speaker 1: It's leading, but it's leading to activity, you know what

1750
01:41:13,200 --> 01:41:17,840
Speaker 1: it's going. Yeah, it's respectful that if you put up

1751
01:41:17,880 --> 01:41:24,960
Speaker 1: playing bump and grass, you know this, nigga, If you playing.

1752
01:41:25,560 --> 01:41:27,880
Speaker 2: And you just pushed the door from the driving side,

1753
01:41:32,600 --> 01:41:33,760
Speaker 2: you know, we don't get in here.

1754
01:41:34,720 --> 01:41:36,960
Speaker 4: Okay, five, I'm gonna do.

1755
01:41:38,479 --> 01:41:43,640
Speaker 2: The one that I feel was a combination of an

1756
01:41:43,720 --> 01:41:49,519
Speaker 2: abundance of genius in the room making critical decisions on

1757
01:41:49,640 --> 01:41:53,679
Speaker 2: the record that benefited everybody. And that's Mary J. Blige,

1758
01:41:53,800 --> 01:41:57,040
Speaker 2: be without you. And that's because I'm directly involved and

1759
01:41:57,120 --> 01:42:00,639
Speaker 2: I saw what it took to make that type of record,

1760
01:42:00,760 --> 01:42:04,560
Speaker 2: a record that was so churching, so soulfully and so

1761
01:42:05,000 --> 01:42:09,599
Speaker 2: amazing that had to be sort of reinterpreted by Ron

1762
01:42:09,760 --> 01:42:15,440
Speaker 2: Fair to once again make it palatable for every everybody.

1763
01:42:15,800 --> 01:42:18,200
Speaker 2: You're right, and that's a lost start. Like now, people

1764
01:42:18,320 --> 01:42:20,240
Speaker 2: just like let me just do me, don't give me

1765
01:42:20,400 --> 01:42:24,600
Speaker 2: no opinion. But he you know from the string arrangements,

1766
01:42:24,680 --> 01:42:27,479
Speaker 2: and he's known to do that. Yeah, very very talented

1767
01:42:27,520 --> 01:42:29,799
Speaker 2: then you so you had him, you had Brian Michael Cox,

1768
01:42:30,280 --> 01:42:32,479
Speaker 2: you had Chris Hicks, was like the n R. Obviously

1769
01:42:32,520 --> 01:42:35,639
Speaker 2: you had Mary and then you had the great day

1770
01:42:35,640 --> 01:42:36,679
Speaker 2: fronsalo on myself.

1771
01:42:37,000 --> 01:42:40,519
Speaker 4: So and come on, I was a fly on the wall.

1772
01:42:40,880 --> 01:42:41,479
Speaker 4: That's crazy.

1773
01:42:41,920 --> 01:42:53,240
Speaker 1: It was. It was an amazing record. Let's make your

1774
01:42:53,280 --> 01:42:55,960
Speaker 1: vult trun you're super R and B artists. Who you

1775
01:42:56,080 --> 01:42:59,160
Speaker 1: need the vocal from the performance style, the styling, the

1776
01:42:59,280 --> 01:43:01,519
Speaker 1: passion of the art arison, who's gonna mix the record?

1777
01:43:01,760 --> 01:43:04,880
Speaker 4: Here we go the vocal, one vocal for your art

1778
01:43:04,920 --> 01:43:09,439
Speaker 4: your super R and B artist, build it. I'm gonna

1779
01:43:09,439 --> 01:43:11,680
Speaker 4: build it so it can be a hybrid, even though

1780
01:43:11,720 --> 01:43:13,600
Speaker 4: you might use it. Whatever you want, do, whatever you

1781
01:43:13,640 --> 01:43:17,920
Speaker 4: want could be by one voice. Paul sexual.

1782
01:43:19,320 --> 01:43:23,000
Speaker 2: Man, Yeah, absolutely, Winnie Houston for the voice pod.

1783
01:43:23,160 --> 01:43:25,200
Speaker 4: There it is, there, it is. That's money in tone.

1784
01:43:25,320 --> 01:43:27,679
Speaker 2: There is money and money and money.

1785
01:43:28,200 --> 01:43:30,240
Speaker 4: Performance style, performer style.

1786
01:43:31,760 --> 01:43:34,479
Speaker 2: I have to admit to Tank that if I had

1787
01:43:34,520 --> 01:43:38,240
Speaker 2: to choose personally from my artists, I wouldn't choose my

1788
01:43:38,360 --> 01:43:40,759
Speaker 2: favorite artist style, which is Michael Jackson.

1789
01:43:41,040 --> 01:43:44,040
Speaker 4: I would probably choose Chris Brown style. You know you

1790
01:43:44,160 --> 01:43:47,679
Speaker 4: are you are right with me? You are We're back.

1791
01:43:48,960 --> 01:43:49,439
Speaker 2: Keep it real.

1792
01:43:50,360 --> 01:43:54,080
Speaker 1: If y'all could see this text that I didn't ask

1793
01:43:54,120 --> 01:43:56,639
Speaker 1: to be on I did not ask a whole different

1794
01:43:56,680 --> 01:43:59,839
Speaker 1: podcast Jackson Chris Brown podcast.

1795
01:44:00,040 --> 01:44:05,800
Speaker 2: Here we go styling the Drift. Who the fly is?

1796
01:44:07,120 --> 01:44:09,519
Speaker 2: I mean, it's weird because you gotta say people like

1797
01:44:10,479 --> 01:44:15,040
Speaker 2: Michael Jackson their print because the drip was so revolutionary,

1798
01:44:15,240 --> 01:44:17,080
Speaker 2: I would have to say, Michael with the Drip the

1799
01:44:17,680 --> 01:44:18,880
Speaker 2: Captain crunch jacket.

1800
01:44:18,640 --> 01:44:20,920
Speaker 4: Along alone, the super jacket.

1801
01:44:20,920 --> 01:44:21,960
Speaker 2: Is to himself.

1802
01:44:22,160 --> 01:44:23,400
Speaker 4: Steve had him to beat the jacket.

1803
01:44:23,400 --> 01:44:25,960
Speaker 13: The other night, I got on glittering socks right now,

1804
01:44:26,120 --> 01:44:29,560
Speaker 13: y'all see listen, ya ya see top of my but

1805
01:44:29,640 --> 01:44:33,360
Speaker 13: I got glitter showing the socks now ship the Penny

1806
01:44:33,400 --> 01:44:34,080
Speaker 13: Loafers are back.

1807
01:44:35,240 --> 01:44:37,760
Speaker 4: What's the other part? The passion of the artist heart?

1808
01:44:37,840 --> 01:44:39,240
Speaker 4: Who mean it? Passion?

1809
01:44:39,479 --> 01:44:39,679
Speaker 2: Why?

1810
01:44:39,840 --> 01:44:43,920
Speaker 4: I said, Who's a dog man?

1811
01:44:45,360 --> 01:44:49,880
Speaker 2: You gotta be a dog the most doggy person I

1812
01:44:49,920 --> 01:44:50,640
Speaker 2: ever worked with.

1813
01:44:50,920 --> 01:44:55,559
Speaker 4: Who wants it so bad? Michaels behind your mic?

1814
01:44:56,160 --> 01:45:00,880
Speaker 2: It's so intense to the craft Ray. I know she's

1815
01:45:00,920 --> 01:45:04,160
Speaker 2: a new artist, I know she's from London, but this

1816
01:45:04,479 --> 01:45:09,040
Speaker 2: girl is like I always say this, the super super

1817
01:45:09,120 --> 01:45:12,280
Speaker 2: super super superstars are the ones that are heavily involved

1818
01:45:12,320 --> 01:45:15,720
Speaker 2: in their project like they are. They are the Beyonce's

1819
01:45:15,800 --> 01:45:19,439
Speaker 2: running her show. You know what I mean so with her,

1820
01:45:20,000 --> 01:45:22,080
Speaker 2: she is from the producing to the mixing to the

1821
01:45:22,120 --> 01:45:26,720
Speaker 2: ever seas so and she reminds me a lot like

1822
01:45:26,840 --> 01:45:30,760
Speaker 2: the early Kanye will show worker record till there's nothing wrong,

1823
01:45:31,560 --> 01:45:34,559
Speaker 2: Like she won't stop, like we got to like mix

1824
01:45:35,040 --> 01:45:38,920
Speaker 2: forty two man, and it was all for the better.

1825
01:45:39,439 --> 01:45:41,960
Speaker 2: M She just needs to She needed the time to

1826
01:45:42,520 --> 01:45:44,080
Speaker 2: figure stuff out. A lot of people don't know if

1827
01:45:44,120 --> 01:45:47,679
Speaker 2: you just if you ever just check her out. She plays,

1828
01:45:47,760 --> 01:45:50,920
Speaker 2: she writes, all her she is, you know, if she

1829
01:45:51,000 --> 01:45:54,240
Speaker 2: can catch that right American melody because that's a you know,

1830
01:45:54,280 --> 01:45:56,280
Speaker 2: a different kind of melody over in the UK than

1831
01:45:56,320 --> 01:45:56,720
Speaker 2: over here.

1832
01:45:57,800 --> 01:46:00,760
Speaker 4: But yeah, so her passion speaking a.

1833
01:46:00,840 --> 01:46:02,040
Speaker 2: Dog, his dog bit me.

1834
01:46:02,320 --> 01:46:04,680
Speaker 1: I don't know if you ever see that that that

1835
01:46:04,840 --> 01:46:07,360
Speaker 1: one picture I posted, it's like a little dog.

1836
01:46:07,920 --> 01:46:10,519
Speaker 2: Well but he's aggressive. Editor edit that out.

1837
01:46:11,760 --> 01:46:14,280
Speaker 5: God particle is doing amazing. So I feel like I

1838
01:46:14,479 --> 01:46:16,240
Speaker 5: edited that the funk out. I feel like there's some

1839
01:46:16,320 --> 01:46:16,960
Speaker 5: money that for you.

1840
01:46:17,439 --> 01:46:20,519
Speaker 2: Yeah yeah, yeah, Who's who's mixing?

1841
01:46:20,720 --> 01:46:22,040
Speaker 4: Who's mixing for this artist?

1842
01:46:23,040 --> 01:46:30,479
Speaker 2: Without hesitation, serving guinea without has it? Give me my money.

1843
01:46:31,840 --> 01:46:35,439
Speaker 2: You want money, you go to him. He's getting you

1844
01:46:35,560 --> 01:46:40,240
Speaker 2: the cats ash. Now do I think my flavor and

1845
01:46:40,360 --> 01:46:42,599
Speaker 2: my do I give the same opportunity. Do we get

1846
01:46:42,640 --> 01:46:43,120
Speaker 2: that money?

1847
01:46:43,920 --> 01:46:51,240
Speaker 6: Yes, But my man, I'm relaxing on the island. Servant, servant,

1848
01:46:51,720 --> 01:46:57,240
Speaker 6: no notes, serv no, no fucking changes, my jeep.

1849
01:46:57,800 --> 01:47:02,479
Speaker 2: I love that. And people don't understand. Serment is and

1850
01:47:02,840 --> 01:47:08,000
Speaker 2: was like the Batters, R and B Cat mixing in

1851
01:47:08,120 --> 01:47:13,320
Speaker 2: the day like he did all Thorly Teddy, all early Pharrell,

1852
01:47:14,040 --> 01:47:18,400
Speaker 2: all that Virginia stuff. He is, so yeah, I'd be

1853
01:47:18,640 --> 01:47:23,800
Speaker 2: I'd be in island or maybe Columbia saying mix, we

1854
01:47:23,920 --> 01:47:27,760
Speaker 2: want approved, what was bad?

1855
01:47:29,320 --> 01:47:29,680
Speaker 4: There we go.

1856
01:47:30,800 --> 01:47:34,599
Speaker 2: I'm saying no names today he's saying no name, saying

1857
01:47:34,680 --> 01:47:35,080
Speaker 2: no name.

1858
01:47:40,040 --> 01:47:40,680
Speaker 1: What you did?

1859
01:47:45,800 --> 01:47:46,479
Speaker 2: You know what I'm saying.

1860
01:47:54,800 --> 01:47:58,280
Speaker 1: So we had a very very important part of our show,

1861
01:47:58,400 --> 01:48:03,000
Speaker 1: my brother, you tell us a story funny or fucked up?

1862
01:48:03,640 --> 01:48:07,360
Speaker 4: Are funny and fucked up? But the only rulee to

1863
01:48:07,640 --> 01:48:08,360
Speaker 4: the game.

1864
01:48:09,400 --> 01:48:14,240
Speaker 2: And you can't say no name. Half the industry is

1865
01:48:14,360 --> 01:48:23,320
Speaker 2: panicing right right now because I've seen it all. Don't

1866
01:48:23,360 --> 01:48:35,920
Speaker 2: get sub peened man, man sh ship the point. However,

1867
01:48:36,040 --> 01:48:37,800
Speaker 2: I have one specific.

1868
01:48:38,760 --> 01:48:41,640
Speaker 4: Life changing events that it happened to.

1869
01:48:41,720 --> 01:48:45,560
Speaker 2: Me at a studio, my in between studio, when I

1870
01:48:45,640 --> 01:48:49,680
Speaker 2: went from Larabie to now Canon House Studio. I was

1871
01:48:49,760 --> 01:48:55,160
Speaker 2: at a studio called Sphere and the studio.

1872
01:48:54,920 --> 01:48:59,439
Speaker 4: Is now owned by no names. He's saying name.

1873
01:49:00,600 --> 01:49:06,000
Speaker 2: I was at this brilliant studio in North Hollywood, and

1874
01:49:07,400 --> 01:49:12,000
Speaker 2: that day my client came in late. I was waiting

1875
01:49:12,040 --> 01:49:17,800
Speaker 2: for him or her around about from two pm for

1876
01:49:17,960 --> 01:49:25,400
Speaker 2: their arrival about ten thirty ish eleven. So I'm not mad,

1877
01:49:25,520 --> 01:49:27,599
Speaker 2: but I'm definitely not happy that I was there waiting

1878
01:49:27,600 --> 01:49:32,080
Speaker 2: the whole time. And when they got there, they probably

1879
01:49:32,320 --> 01:49:40,439
Speaker 2: arrived in four sprinter bands and it was probably total,

1880
01:49:40,880 --> 01:49:44,639
Speaker 2: maybe about forty people. And we've all had sessions where

1881
01:49:44,640 --> 01:49:49,120
Speaker 2: you know, you had a crowded, crowded in the studio room,

1882
01:49:49,600 --> 01:49:52,720
Speaker 2: but you rarely see those type of activities when you're

1883
01:49:53,520 --> 01:49:55,519
Speaker 2: mixing your record as super super important.

1884
01:49:55,720 --> 01:49:57,760
Speaker 4: Okay, so the artist comes in.

1885
01:50:00,000 --> 01:50:03,000
Speaker 2: I mean when I say black, I don't know what

1886
01:50:03,160 --> 01:50:05,200
Speaker 2: they're doing these days, but you're doing.

1887
01:50:05,080 --> 01:50:07,160
Speaker 1: It forty deep. You got to be high of you

1888
01:50:07,240 --> 01:50:07,960
Speaker 1: having forty deep.

1889
01:50:09,160 --> 01:50:14,599
Speaker 2: So all of a sudden behind him the only way

1890
01:50:14,640 --> 01:50:16,799
Speaker 2: I can describe it, enters.

1891
01:50:18,080 --> 01:50:21,120
Speaker 4: Have you ever seen three hundred Yes, member.

1892
01:50:21,000 --> 01:50:24,519
Speaker 2: Zer sees little tavern, little cavern with all the people

1893
01:50:24,640 --> 01:50:29,240
Speaker 2: and the freaking crazy stuff that you couldn't even believe. Yes, yes, yes,

1894
01:50:29,760 --> 01:50:33,599
Speaker 2: all forty of them entered, all different characters from different

1895
01:50:33,680 --> 01:50:36,920
Speaker 2: parts of like the crazy of the world. So I'm

1896
01:50:37,240 --> 01:50:41,599
Speaker 2: I'm now at the board in the front. I'm sitting

1897
01:50:41,680 --> 01:50:45,280
Speaker 2: next to the gentleman going over the mix. He's in

1898
01:50:45,400 --> 01:50:50,840
Speaker 2: Planet Krypton and we're playing a record. And all of

1899
01:50:50,920 --> 01:50:54,920
Speaker 2: a sudden, I look in the back and I had

1900
01:50:55,000 --> 01:50:59,680
Speaker 2: this bottle of I don't know what it was. I'm

1901
01:50:59,840 --> 01:51:03,640
Speaker 2: just heard it was some really expensive Spanish champagne that

1902
01:51:03,800 --> 01:51:08,000
Speaker 2: was given to me by dear client that I had

1903
01:51:08,160 --> 01:51:13,000
Speaker 2: great relationship with, signed everything sentimental. I turned to the

1904
01:51:13,080 --> 01:51:21,120
Speaker 2: back and I see, I'm going to call him the

1905
01:51:21,400 --> 01:51:27,120
Speaker 2: arms dealer. He had a suit. He looked Iranian, but

1906
01:51:27,240 --> 01:51:30,400
Speaker 2: he had a suit, and he had the eyebrows that

1907
01:51:30,560 --> 01:51:40,040
Speaker 2: were unshavable. Yes, Mikail Gorbachov bushy. He's drinking out the

1908
01:51:40,120 --> 01:51:42,599
Speaker 2: bottle because I'm thinking he's thinking, oh, we're popping bottles.

1909
01:51:42,640 --> 01:51:46,240
Speaker 2: I'm like, oh, my god, that's my that's my I

1910
01:51:46,320 --> 01:51:53,120
Speaker 2: cannot believes. Before I could say anything, there's a woman

1911
01:51:53,479 --> 01:51:59,799
Speaker 2: who's about six foot four, ball headed, that has another

1912
01:52:00,160 --> 01:52:05,800
Speaker 2: man that's older on a dog chain. The older man

1913
01:52:06,640 --> 01:52:12,040
Speaker 2: turned around and punches this dominatrix woman and yeah, Dominatrix one.

1914
01:52:12,040 --> 01:52:16,519
Speaker 2: I'm all that in the face while I'm mixed. No,

1915
01:52:18,040 --> 01:52:19,720
Speaker 2: I didn't hear it. I didn't see it, but I

1916
01:52:19,920 --> 01:52:23,160
Speaker 2: heard it because my assistans said, oh my god, she

1917
01:52:24,240 --> 01:52:24,960
Speaker 2: lost the tooth.

1918
01:52:27,000 --> 01:52:31,719
Speaker 8: I'm like, this cannot be happening. Meanwhile, Zooted and Booted

1919
01:52:33,240 --> 01:52:37,760
Speaker 8: has not turned around one time. He's giving me notes.

1920
01:52:38,920 --> 01:52:41,840
Speaker 4: With the circus hold on the circus is not done.

1921
01:52:43,439 --> 01:52:45,120
Speaker 2: Give me two seconds and you could come back to it,

1922
01:52:45,120 --> 01:52:48,599
Speaker 2: because I gotta remember the fuck it's been so long.

1923
01:52:48,760 --> 01:52:50,440
Speaker 4: There was one other character.

1924
01:52:53,680 --> 01:52:56,840
Speaker 2: Fuck little person somewhere. God, I wish I could see

1925
01:52:56,880 --> 01:53:01,200
Speaker 2: the fucking was there a little person? Thank you? Oh

1926
01:53:01,280 --> 01:53:01,559
Speaker 2: my god.

1927
01:53:01,600 --> 01:53:03,320
Speaker 4: But I wish I could see another episode because I

1928
01:53:03,400 --> 01:53:04,200
Speaker 4: know I was so discreped.

1929
01:53:04,240 --> 01:53:09,280
Speaker 2: So anyway, back to the mixing, because now we're where

1930
01:53:09,800 --> 01:53:13,160
Speaker 2: he's trying to focus on the mix, and then all

1931
01:53:13,200 --> 01:53:18,360
Speaker 2: of a sudden, there's this guy. I would say, I

1932
01:53:18,400 --> 01:53:20,640
Speaker 2: wouldn't call him a small person, but I would just

1933
01:53:20,720 --> 01:53:25,240
Speaker 2: say he couldn't have been over four feet eleven.

1934
01:53:25,360 --> 01:53:28,360
Speaker 4: He can't ride the ride, so.

1935
01:53:29,880 --> 01:53:33,840
Speaker 2: He's in there with like a I guess you can say,

1936
01:53:33,960 --> 01:53:38,320
Speaker 2: like a vengeful chip on his shoulder. But he happens

1937
01:53:38,360 --> 01:53:42,120
Speaker 2: to have three ladies with him. And when I say

1938
01:53:42,200 --> 01:53:47,000
Speaker 2: by three ladies, I mean like trading places. The girl

1939
01:53:47,080 --> 01:53:49,519
Speaker 2: that was with dan Attloyd we already know, we know

1940
01:53:49,760 --> 01:53:51,920
Speaker 2: they are the type of it was a different kind

1941
01:53:51,920 --> 01:53:56,280
Speaker 2: of different kind of lady. So all of a sudden,

1942
01:53:56,720 --> 01:54:01,720
Speaker 2: mini pimp, no mini pimp. All of a sudden, my

1943
01:54:01,960 --> 01:54:05,479
Speaker 2: man gets picked up and put onto the you know

1944
01:54:05,560 --> 01:54:09,320
Speaker 2: how you have an island picked up and pulled on,

1945
01:54:10,400 --> 01:54:14,719
Speaker 2: pants pulled down, and the lady starts giving them the twist,

1946
01:54:14,840 --> 01:54:19,800
Speaker 2: the twisty twistler in the studio with everyone around now,

1947
01:54:19,920 --> 01:54:22,360
Speaker 2: mind you, the three things that are going on, the

1948
01:54:22,439 --> 01:54:26,160
Speaker 2: guy drinking, the girl getting beat up, and this happening

1949
01:54:26,560 --> 01:54:30,360
Speaker 2: is happening at the same time, and then the fight

1950
01:54:30,479 --> 01:54:34,320
Speaker 2: between the arms, no, between the dominatrix and the and

1951
01:54:34,440 --> 01:54:38,160
Speaker 2: the and and the guy gets pushed into the kitchen

1952
01:54:38,560 --> 01:54:41,240
Speaker 2: into where the off duty security cops that we're working

1953
01:54:41,320 --> 01:54:45,800
Speaker 2: for now have their Jesus. We're gonna believe that, We're

1954
01:54:45,800 --> 01:54:50,760
Speaker 2: gonna believe that gets gets pulled into the kitchen, guns

1955
01:54:50,880 --> 01:54:56,920
Speaker 2: drawn on the on the dominatrix lady, not the other guy.

1956
01:54:57,240 --> 01:55:01,400
Speaker 3: Meanwhile, I'm in the kitchen trying to figure shit out, like,

1957
01:55:01,480 --> 01:55:02,960
Speaker 3: oh this is bad.

1958
01:55:04,160 --> 01:55:06,800
Speaker 2: My man still in front of the board, zooted.

1959
01:55:06,560 --> 01:55:11,080
Speaker 4: Out, giving me no hell to nobody.

1960
01:55:13,680 --> 01:55:17,680
Speaker 2: That's my story now, Sodom and Gamore and Xerxes.

1961
01:55:18,000 --> 01:55:18,480
Speaker 4: Was it a hit?

1962
01:55:19,800 --> 01:55:20,960
Speaker 2: Did the record that being a hit?

1963
01:55:22,360 --> 01:55:23,120
Speaker 4: Wan't we be honest?

1964
01:55:23,600 --> 01:55:23,800
Speaker 2: Yeah?

1965
01:55:24,560 --> 01:55:31,720
Speaker 7: I lost the album, Oh shit, because he was influenced

1966
01:55:31,760 --> 01:55:36,200
Speaker 7: by the the lifestyle. That certain lifestyle has a certain

1967
01:55:36,880 --> 01:55:40,520
Speaker 7: sheen or certain sound texture that I'm not able to deliver.

1968
01:55:41,760 --> 01:55:44,320
Speaker 7: But mind you, when the album did come.

1969
01:55:44,200 --> 01:55:52,160
Speaker 14: Out, it's so triple keywih you know the texture of

1970
01:55:52,200 --> 01:55:55,320
Speaker 14: a key, triple key.

1971
01:55:55,440 --> 01:56:03,080
Speaker 5: We we both learned the lesson. We I'm like so

1972
01:56:03,200 --> 01:56:06,400
Speaker 5: many lessons in that story. I don't want no part

1973
01:56:06,480 --> 01:56:10,560
Speaker 5: of none of that. Arms dealers, it was. It was

1974
01:56:10,560 --> 01:56:11,400
Speaker 5: the most eclectic.

1975
01:56:11,760 --> 01:56:13,760
Speaker 2: Man. We laughed to it. I talked to him now,

1976
01:56:13,840 --> 01:56:16,240
Speaker 2: we laugh to it today because he knows that was like,

1977
01:56:16,400 --> 01:56:17,800
Speaker 2: it was the craziest thing.

1978
01:56:17,760 --> 01:56:20,320
Speaker 1: I've ever seen in my Lifeacher's madhouse in your in

1979
01:56:20,480 --> 01:56:22,840
Speaker 1: your studio session, That's what that was.

1980
01:56:23,800 --> 01:56:24,200
Speaker 2: Wow.

1981
01:56:25,640 --> 01:56:29,760
Speaker 4: Thank you, Oh no, this has been incredible. You are

1982
01:56:29,920 --> 01:56:30,480
Speaker 4: brother man.

1983
01:56:30,520 --> 01:56:33,880
Speaker 1: We we we uh we've been always you know we

1984
01:56:34,000 --> 01:56:35,840
Speaker 1: always shine a light on you, man, and we just

1985
01:56:35,960 --> 01:56:39,160
Speaker 1: you know, are glad we are able to take this opportunity.

1986
01:56:39,280 --> 01:56:43,280
Speaker 4: I appreciate it to show the people who you are.

1987
01:56:43,280 --> 01:56:47,040
Speaker 2: Guys, are keeping this, this beautiful torch alive. Man. Hopefully,

1988
01:56:48,560 --> 01:56:50,720
Speaker 2: like we talked before, man, we we don't go the

1989
01:56:50,800 --> 01:56:52,600
Speaker 2: way of rock and roll. R and B makes an

1990
01:56:53,080 --> 01:56:57,280
Speaker 2: incredible comeback and comes back on pop radio and dominates

1991
01:56:57,320 --> 01:56:57,880
Speaker 2: the charge once.

1992
01:56:58,440 --> 01:57:01,360
Speaker 4: Yes, we try to do our bro Amen, we all

1993
01:57:01,400 --> 01:57:02,160
Speaker 4: want the same thing.

1994
01:57:02,400 --> 01:57:02,760
Speaker 2: The word.

1995
01:57:02,960 --> 01:57:06,000
Speaker 1: Yeah, that was ship. That means now what else. My

1996
01:57:06,160 --> 01:57:07,880
Speaker 1: name is Tank, I'm Jay Valentine, and.

1997
01:57:11,640 --> 01:57:12,680
Speaker 2: Damn, let's do it again.

1998
01:57:13,040 --> 01:57:13,600
Speaker 4: Say your name?

1999
01:57:13,960 --> 01:57:16,200
Speaker 2: No you go? Okay, all right, my name is Tank.

2000
01:57:16,480 --> 01:57:19,720
Speaker 4: I'm Jay Valentine and I'm Jason Joshua. And this is

2001
01:57:19,840 --> 01:57:20,760
Speaker 4: the army money.

2002
01:57:20,960 --> 01:57:23,920
Speaker 2: We ask the authority of all things Are and B.

2003
01:57:24,400 --> 01:57:27,760
Speaker 2: And we are at his studio, Canton House Studios, Cat

2004
01:57:27,880 --> 01:57:29,800
Speaker 2: in the House, invite only.

2005
01:57:30,160 --> 01:57:32,240
Speaker 1: He keeps calling the can in the house, cat in

2006
01:57:32,240 --> 01:57:34,680
Speaker 1: the house, Canton House, Canton House.

2007
01:57:34,760 --> 01:57:34,920
Speaker 2: Dog.

2008
01:57:35,480 --> 01:57:40,360
Speaker 1: Sorry, Catten House. I'm gonna call it Catton House because

2009
01:57:40,360 --> 01:57:42,600
Speaker 1: you a cat and you in the house. Oh man,

2010
01:57:43,160 --> 01:57:45,160
Speaker 1: thank you, thank you, brother, Yes, thank you, thank you,

2011
01:57:45,280 --> 01:57:48,440
Speaker 1: very much. This has been amazing. The authority on all

2012
01:57:48,480 --> 01:57:49,680
Speaker 1: things are and B yeah,