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Speaker 1: R and B Money, Honey, we are thanks take valati.

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Speaker 2: We are the authority on.

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Speaker 3: R and B.

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Speaker 2: Ladies and gentlemen, money is tank This, my friend, Come on,

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Speaker 2: is the R and B Money podcast. This is the

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Speaker 2: authority on all things R and B.

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Speaker 1: What then, is your accent hurd on? My friend?

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Speaker 2: Be careful, my friend, what you asked for? Because you

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Speaker 2: know it's a flow in my spirit. Show is going

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Speaker 2: to have a certain flow today.

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Speaker 1: Come on mate, you know mate, come on, bro. The

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Speaker 1: whay you try to organize this thing as it flows?

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Speaker 4: Is it is?

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Speaker 1: It reaches your spirit and your inside it. It kind

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Speaker 1: of models poetry. Yeah, yes, it does flow so well.

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Speaker 1: It flows so well. They flows so well, and you

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Speaker 1: put it to Coulin. It's like a floatid kind of thing.

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Speaker 2: Ladies and gentlemen, it just got expensive. It's just the

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Speaker 2: level of gift has gone to the stratusphears and outer

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Speaker 2: fears and galaxies that we've never seen. I'm just excited

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Speaker 2: to be here to to talk to this young lady

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Speaker 2: who's just one of the most talented human beings I've

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Speaker 2: ever seen in my life.

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Speaker 5: Thank you her name.

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Speaker 1: Let's see her name correctly because it deserves reference.

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Speaker 3: Marcia Ambrosious, amazing, amazing.

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Speaker 5: One most time to me, Ambrocious said Ambrocious. Okay, so

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Speaker 5: some people do say Ambrosius, right, then it's Ambrosious. I

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Speaker 5: don't even know how to pronounce my own name anymore.

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Speaker 5: I've heard it back to me so many times wrong.

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Speaker 1: How did you were born?

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Speaker 5: When I was born, Darling, I came out of the

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Speaker 5: womb and they said, this is Marcia Ambrosius.

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Speaker 3: Ambrosius, Ambrosius, ambros When I got to America was like,

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Speaker 3: what's up Martia Ambrosious or Ambrose or Ambarrose or ambro Ambrosias.

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Speaker 1: Like a z I kind of like Marcia amburrows.

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Speaker 5: I was referred to us, not even Marsha Ambrose. Oh,

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Speaker 5: they go Marcia amber Ambarrosia amberrows. I just left it,

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Speaker 5: you know what. Being in Philadelphia that long, it was

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Speaker 5: what it was. But I love it, Ambrosios with your

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Speaker 5: wonderfully awful British accent.

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Speaker 2: Well, are a lot of things I don't do, so

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Speaker 2: I like to put all of them on display.

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Speaker 1: This is why we.

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Speaker 6: Hear what's up?

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Speaker 5: Guys.

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Speaker 2: I feel like like you're like you're like one of

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Speaker 2: the rare artists, one of the rare entities where you've

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Speaker 2: that you've been able to maintain a mystique about you,

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Speaker 2: But every time your name is brought up, it's like

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Speaker 2: a real thing. Still to this day.

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Speaker 5: It's lovely to hear.

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Speaker 2: I mean, you're you've, you've your your imprint, and I

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Speaker 2: think it's it's it's because you're wonderfully talented, it's because

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Speaker 2: you're an awesome human being. But you're very distinct in

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Speaker 2: how you approach all of it, like it's very much yours.

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Speaker 5: I've been in intent. My intentions have always been to

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Speaker 5: do just that. I think I've been such a unique

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Speaker 5: individual in this very when I say urban space, in

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Speaker 5: our R and B field. Unfortunately, on one side, it's

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Speaker 5: been deemed as one thing, one toned, it's this box.

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Speaker 5: And then you try and do that one thing that

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Speaker 5: makes you outstanding, and you're seeing how long that can sustain,

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Speaker 5: and you're like, Okay, how long can I get away

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Speaker 5: with being myself before I'm then forced into having to

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Speaker 5: fine tune this thing that people are grasping towards. Because

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Speaker 5: what R and B has been the driving force of

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Speaker 5: our space for however long, And it's wild that I

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Speaker 5: remember doing my first solo project with late nights and

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Speaker 5: early mornings, and I had so many gems in the cut,

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Speaker 5: and I'm like, oh, I can't wait to put this

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Speaker 5: record out. And there's this one thing I hope she

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Speaker 5: cheats on you basketball player, which playing basketball my entire

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Speaker 5: life just felt like a funny little joke, a little

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Speaker 5: free STYLI did on what was it ustream we used

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Speaker 5: to have at the time, freestyled it on, and that's

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Speaker 5: the thing that takes off, not far Away, not Sour Times,

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Speaker 5: not Lose Myself, not any other record. The Ratchet one

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Speaker 5: the outlandish statement, and I was like, hmm, I see

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Speaker 5: R and B and hip hop doing this fusion thing

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Speaker 5: where the shift is about to happen and people are

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Speaker 5: going to go ratchet, and there's nothing that we can

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Speaker 5: do other than hold onto the reins and still try

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Speaker 5: and find yourself within it. But coming from a space

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Speaker 5: of I've been able to say what the fuck I

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Speaker 5: want for so long, it's I should be able to

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Speaker 5: say what the fuck.

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Speaker 1: I want, absolutely absolutely know.

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Speaker 5: But you have to stand on that in R and

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Speaker 5: B and some people have a way of doing it

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Speaker 5: where anyone can sing your song and there's no uniqueness

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Speaker 5: to it. It's just a good song and anyone can

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Speaker 5: sing it, name an artist, give it to them. But

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Speaker 5: then there's me, and there are very few people that

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Speaker 5: are just going to say, Okay, I'm going to sing

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Speaker 5: a Marsha song because it's such a signature, it's so unique,

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Speaker 5: even if it's even if it's oh, I'm trying to

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Speaker 5: touch on this little thing that I think R and

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Speaker 5: B is for a joke. I hope she cheats. I

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Speaker 5: hope she chooses the most ratchet thing I think I

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Speaker 5: did with my space in all of its uniqueness.

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

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Speaker 1: just the truth? It's just real.

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Speaker 5: I'm saying ratchet coming from me, where people are like,

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Speaker 5: oh my god, Marsha like say yes, Marsha, like you know,

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Speaker 5: so it's it's the difference.

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Speaker 7: And maybe we may look at it because we know

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Speaker 7: you exactly get it differently.

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Speaker 4: You know.

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Speaker 1: It didn't surprise me, of course.

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Speaker 7: In the record, I'm like, you know, she feel a

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Speaker 7: way about these lebrons.

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Speaker 5: I'm a little better, just a little better. I'm doing

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Speaker 5: better now. And that was the song, and you know,

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Speaker 5: but it was still very much R and B.

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Speaker 1: Absolutely, It's called the truth.

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Speaker 5: And that's what R and B is.

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Speaker 1: It's just the truth.

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Speaker 5: You can interpret how it should be.

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Speaker 2: The truth ru the truth, and that's the uniqueness that

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Speaker 2: stands the test of time.

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Speaker 5: And I feel like I can stand on saying that

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Speaker 5: I've done so for twenty plus years now. That's crazy

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Speaker 5: to say that you've sustain that. But in also praising

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Speaker 5: what this platform is as well, you and I have

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Speaker 5: brushed shoulders that entire time. That's insane to go into

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Speaker 5: this being well not front row. I've only got like

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Speaker 5: third row tickets to your concerts. I couldn't. It was

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Speaker 5: sold out by the time I was getting this, So

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Speaker 5: we've got freebie got in anyway. So there, I am

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Speaker 5: a tank your lungs and I'm a fan. And then

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Speaker 5: coming into it, we're sharing stages together. Absolutely, so not

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Speaker 5: saying your age or nothing. You've been doing this one,

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Speaker 5: but it's like to do that in our field and

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Speaker 5: really claim to not only have made R and B money,

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Speaker 5: still making R and B money, still have R and

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Speaker 5: B money. There's a big difference in that because in

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Speaker 5: our field, a lot of money is.

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Speaker 7: I just play private school tuition, so I don't really

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Speaker 7: get too much R and b money left this week.

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Speaker 5: The fact that you can say that you had it

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Speaker 5: to give that up, I know what that is.

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Speaker 2: It hurts that I got a pond this ship. You can.

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Speaker 1: It will?

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Speaker 5: I hate it. No, we're not claiming that we're actually

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Speaker 5: going to stand on businesses, say that we make and

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Speaker 5: still have and laugh about the luxury of kids in

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Speaker 5: private school because of what we've done for two plus

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Speaker 5: decades now, that's insane and incredible. More to come. I

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Speaker 5: haven't written my best song yet, talk about loads of them.

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Speaker 5: I can write so much more like and Will. There's

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Speaker 5: too much life to be had. It's too many memories

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Speaker 5: to make. And just to see the reaction from people

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Speaker 5: in the audience listening to these songs that we made

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Speaker 5: over that course of time, and it resonated in a way.

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Speaker 5: It's powerful and I respect that power, which is why

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Speaker 5: I've only leave so much like I've actually contained, because

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Speaker 5: it's a responsibility. You're responsible for someone's happiness, heartache, love, life, hate,

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Speaker 5: just through the songs that we make. It is a

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Speaker 5: responsibility and I do take it seriously. It's terrible, but.

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Speaker 1: It should be. Though not My.

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Speaker 5: Music isn't for play play like don't play it. If

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Speaker 5: you don't mean it, like you want to one night

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Speaker 5: stand and you want to play a Marsha record, it

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Speaker 5: might turn into forever.

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Speaker 1: Listen, I can think you know what, no whit?

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Speaker 2: I have a wife? What are we doing? How do let's

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Speaker 2: go back to the beginning. When does when does someone say?

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Speaker 2: And in the beginning, give me give me the birthplace

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Speaker 2: of of your unique self.

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Speaker 5: Having a crush on the guy that worked in McDonald's

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Speaker 5: in Campbewell, London, England, South London. He was a friend

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Speaker 5: of a kid that lived down the street. His name

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Speaker 5: was Mark. I don't even know his friend's name. I

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Speaker 5: just knew that he had the old school brown McDonald's uniform, remember,

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Speaker 5: like the shitty brown with the hat and the clean

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Speaker 5: pressure like that McDonald Like I have, not the big mac.

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Speaker 5: But so my school was within five minutes walking distance.

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Speaker 5: McDonald's was like seven minutes the opposite direction. I didn't

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Speaker 5: need to be over there, but would go over there

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Speaker 5: and to stand outside the window salivating over well the cheeseburger,

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Speaker 5: but him as well. And this song I wrote in

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Speaker 5: my head at the time was called Gonna Get You,

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Speaker 5: So I was out to get it like like it

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Speaker 5: was cooled gonna get you. Like I was walking down

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Speaker 5: the road, saw your face. It was so terrible. You

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Speaker 5: looked at me, Yeah, you were away. It was like

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Speaker 5: really corny, really cheesy, but the.

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Speaker 8: Core of it amaz of it.

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Speaker 5: Twelve thirteen year old Melody. Years go by. Now I'm

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Speaker 5: in my teens, teens, teens where feelings are true feelings.

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Speaker 5: And that turned into Butterflies. So it was I just

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Speaker 5: want to touch and kiss, and I wish that I

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Speaker 5: could be with you tonight. You would be butterflies. So

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Speaker 5: I wrote Butterflies about him.

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Speaker 1: At what age I.

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Speaker 5: Was like sixteen? I had to be sixteen seventeen because

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Speaker 5: I was definitely going to that bust up to get

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Speaker 5: the thirty five thirty five bus to Brixton to play

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Speaker 5: for the Brixton TOPCTS. I was still playing ball at

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Speaker 5: that time, and I would go to that McDonald's every

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Speaker 5: single time get the bus.

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Speaker 1: How long did he work at that McDonald's. It was

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Speaker 1: like three four years he put in time.

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Speaker 5: I just remember the uniform going from dusty brown to

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Speaker 5: you know, the white shirt. So maybe it was flipping

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Speaker 5: burgers at first and then sweeping the floor like that.

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Speaker 8: The big exactly.

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Speaker 5: So butterflies happened from that. So my unique perspective on

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Speaker 5: seeing this very monotonous scenario come from innocent feelings like oh,

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Speaker 5: one day I'm gonna get you. I'm gonna get you

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Speaker 5: to know I have feelings. You give me butterflies, like

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Speaker 5: all you gonna do is just walk away and pass

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Speaker 5: me by. I don't even acknowledge my smile when I

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Speaker 5: tried to say hello to you. M Yeah, so I

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Speaker 5: felt that, but really melodically and in composing certain songs

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Speaker 5: like that stemmed from my obsession with Jodasy.

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Speaker 1: There's always that, yeah.

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Speaker 5: Like Jodasy has been my reason. Okay, So Prince, Michael Stevie,

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Speaker 5: no particular order, favorite artists of all time, and they're

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Speaker 5: like the umbrellas of then everyone else because I can

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Speaker 5: say all the other names, they just go in those brackets. Stevie,

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Speaker 5: every performer, writer, musician, Prince, complete, rock star, abstract in

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Speaker 5: his own way. Michael was just a fucking star. Yeah, yeah, stars,

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Speaker 5: legend star of stars, hits of hits, and I loved

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Speaker 5: them all dearly. I didn't want to make music until

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Speaker 5: I heard the production of DeVante make music like sit there, figure.

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Speaker 1: Out anybody in your family making music though or not dad?

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Speaker 1: Your dad.

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Speaker 5: My dad was a musician and basketball coach, hence me.

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Speaker 5: So it was him playing bass or league guitar, singing

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Speaker 5: in a seventies funk band called Supercharge that were actually

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Speaker 5: signed to Virgin You know what I'm saying.

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Speaker 6: I like that.

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Speaker 5: When I was born one of that no like Supercharger,

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Speaker 5: just doing it. So I had that background. And there's

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Speaker 5: me watching my dad play all these instruments and don't

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Speaker 5: touch that, and he, you know, mister miagi me into Okay,

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Speaker 5: I'm gonna touch it. I'm play this bass real quick,

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Speaker 5: and play these keys real quick, and play you know.

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Speaker 5: So the love for music came from just it being

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Speaker 5: around me. But listening to that Jodicy era, the New

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Speaker 5: Jack Swing era, I was like, what I think doing?

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Speaker 5: What is this thing? Let me figure out these chords?

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Speaker 5: Let me listen to these harmonies? What do you do again?

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Speaker 5: And then I'm the fifth member of joy Bocally. I

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Speaker 5: can find the other harmony in anything like.

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Speaker 1: It's insane, Like maybe I was the fifth member.

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Speaker 5: You think you sick? We can fight, we can fight.

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Speaker 1: He said that way too confidently. I don't know if

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Speaker 1: you've met.

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Speaker 5: You gave yourself a name. Nice to meet you, jay Bones, mister.

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Speaker 7: Because I'm both mister mister, Yeah, I feel you.

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Speaker 1: I know there's an episode.

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Speaker 5: We had and he verified this. Yeah, I don't know

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Speaker 5: we actually verified. But other than thanked you for being

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Speaker 5: so crazeously, I'm kind. But I will say without I.

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Speaker 7: Don't know if there's a lot of us out.

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Speaker 5: Here, there's no mesne.

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Speaker 2: Seriously, I'm going to.

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Speaker 5: All right, listen to any one of my songs a

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Speaker 5: cappella and really hear my harmony arrangements and just know

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Speaker 5: where that comes from, so you can claim wherever your

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Speaker 5: spot is, I just know from you.

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Speaker 1: It's all in there.

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Speaker 5: All of that influences in there. And my reasons why

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Speaker 5: to create the way I create stemmed from really picking

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Speaker 5: apart what that was, and it was from the the interludes,

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Speaker 5: like the nerve of the interludes. We're just outrageous in

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Speaker 5: nineties R and B and to want to carry that

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Speaker 5: further and keep the integrity of what my R and

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Speaker 5: B for me is what I pursued this entire time,

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Speaker 5: and the longevity in that is why you can sustain that,

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Speaker 5: because people want to feel exactly that they want to

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Speaker 5: fight for their sixth or seventh position that they so

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Speaker 5: claim your set.

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Speaker 1: Don't make me called casey.

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Speaker 5: I got I'll call the family. I'll call.

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Speaker 1: Yeah, I'll call this mama. How about that? You love

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Speaker 1: you love? I gotta step I gotta step side that.

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Speaker 5: Okay, So yeah, I might have to bow down. That's

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Speaker 5: that's that's that's fine.

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Speaker 1: I say. The worst thing will.

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Speaker 5: We fighting over twenty thirty years from now?

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Speaker 1: The worst thing is, don't go to an NBA game

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Speaker 1: with Tank.

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Speaker 7: Why every NBA niggas, Mama are the biggest Tank fans

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Speaker 7: you've ever met in your life.

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Speaker 1: It's the craziest. It's the craziest thing in the world.

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Speaker 1: I'm like, wait, wait, who mama is that? Oh? You

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Speaker 1: know that's that's that's just man. You know I had

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Speaker 1: to go saying birthday I graduated to that's how he

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Speaker 1: Trump's that all arguments.

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Speaker 8: I call the mom that's not fair.

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Speaker 1: I get their mama's tickets, their mama's tickets. It's true.

296
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Speaker 5: Yeah, there's nothing you can do about that.

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Speaker 1: Nothing.

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Speaker 7: So when you were so, when you're going through this

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Speaker 7: phase right where you're you're becoming this songwriter and you're

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Speaker 7: loving the music. You're also playing basketball.

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Speaker 1: How are you.

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Speaker 7: Juggling too, because what you're talking about musically is not

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00:19:45,760 --> 00:19:48,960
Speaker 7: a locker room conversation. No, that's not like you're not

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00:19:49,040 --> 00:19:52,680
Speaker 7: taking the Jogsy tapes into the basketball locker room and

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00:19:52,760 --> 00:19:56,120
Speaker 7: y'all talking about the DeVante harmonies in the in the

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Speaker 7: in the piano.

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Speaker 5: That was having my well the Walkman at the time,

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Speaker 5: which is shaky, juggly cassette tape advancing into the CD.

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00:20:06,560 --> 00:20:09,920
Speaker 5: It was me with my headphones and all of the teammates, oh,

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Speaker 5: sing that song again. Sing yeah. So that was my

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Speaker 5: way of sharing it and then getting the you know,

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00:20:20,480 --> 00:20:23,600
Speaker 5: still very insecure in that areing and I didn't really

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Speaker 5: want to be on any stages, didn't want to be seen.

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Speaker 5: But my teammates your height, sing that again, your wife

315
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Speaker 5: you could sing.

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Speaker 1: And I'm like you putting in your time. So that

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Speaker 1: was my.

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Speaker 5: Very intimate first experience of putting myself out there. So

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Speaker 5: that was my version of Okay, maybe I'm onto something.

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Speaker 5: So I wasn't juggling, not according to my dad, who

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Speaker 5: was very much you're going to be about this possible

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Speaker 5: life one hundred or you're going to take music seriously

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Speaker 5: and I didn't take music seriously until I tore ligaments.

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Speaker 5: Can we get the violins or something that moment, because

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00:21:01,280 --> 00:21:11,679
Speaker 5: it was we got devastating, devastating, it was tragic. Keep on.

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Speaker 5: I heard the crunch, but America I wasn't. I was

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00:21:19,240 --> 00:21:23,640
Speaker 5: still overseas. I was playing a three on three pickup

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Speaker 5: game at Elephant and Castle Gym, and we hadn't lost

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Speaker 5: the game, and I just wanted to play one more game.

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Speaker 5: We lost the last game and I was like, nah,

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Speaker 5: I'm not leaving the floor until we win again. Play

332
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Speaker 5: music again, played music. So I played that last game,

333
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Speaker 5: and I remember receiving the ball. M remember it was

334
00:21:54,800 --> 00:22:02,160
Speaker 5: like yesterday. I went to crossover and as soon as

335
00:22:02,160 --> 00:22:09,480
Speaker 5: I hit that pivot crunch, it's like a bricocheted through

336
00:22:09,480 --> 00:22:17,040
Speaker 5: the entire gym, and I just want to break down the.

337
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Speaker 6: Lord hell me.

338
00:22:36,040 --> 00:22:38,119
Speaker 5: Yeah, it was over then, and then you can start now.

339
00:22:38,960 --> 00:22:44,440
Speaker 5: So after that, the whole world and no, there's no

340
00:22:44,480 --> 00:22:45,120
Speaker 5: need to get sack.

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Speaker 1: It's so great with your exity. We're done nothing.

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00:22:50,560 --> 00:22:52,919
Speaker 5: So that's what happened. It was a movie scene. It

343
00:22:53,000 --> 00:22:58,920
Speaker 5: was like slow motion, and I hadn't seen my life

344
00:22:59,160 --> 00:23:21,439
Speaker 5: without basket until that morning. Heartbreaking me, crushing, like you

345
00:23:21,520 --> 00:23:24,280
Speaker 5: don't picture your life without the thing that you love

346
00:23:24,440 --> 00:23:29,760
Speaker 5: until you've lost it. So music hobby can listen to

347
00:23:29,840 --> 00:23:33,760
Speaker 5: music all day. My mother's viny collection, outrageous, Go in

348
00:23:33,760 --> 00:23:37,760
Speaker 5: the crib Basketball. I'm up first thing in the morning.

349
00:23:37,800 --> 00:23:40,320
Speaker 5: It's late nights and early mornings for basketball. For me,

350
00:23:40,480 --> 00:23:45,760
Speaker 5: it was practice Monday through Friday, away game, Saturday, home game,

351
00:23:45,840 --> 00:23:49,520
Speaker 5: Sunday repeat. I didn't have a day off, not with basketball.

352
00:23:50,320 --> 00:23:53,480
Speaker 5: And then it's gone, and I was like, Okay, what

353
00:23:53,560 --> 00:23:56,280
Speaker 5: am I going to do? I'm going to write about it.

354
00:23:57,160 --> 00:24:00,280
Speaker 5: And I got home, got a diary, got in front

355
00:24:00,320 --> 00:24:04,000
Speaker 5: of my piano, and I wrote the song If I

356
00:24:04,119 --> 00:24:09,240
Speaker 5: Was a Bird, and that was about losing basketball, which

357
00:24:09,280 --> 00:24:12,159
Speaker 5: was then a part of the first Flowtry album. So

358
00:24:12,240 --> 00:24:16,680
Speaker 5: If I Was a Bird stemmed from Michael Jordan's documentary

359
00:24:16,720 --> 00:24:19,520
Speaker 5: at the time, Come Fly with Me. I used to

360
00:24:19,520 --> 00:24:26,160
Speaker 5: watch that'll repeat every day day and it was without basketball,

361
00:24:26,160 --> 00:24:29,800
Speaker 5: my life is incomplete. So it's like you have me

362
00:24:29,960 --> 00:24:33,880
Speaker 5: caught up in this starry eyed well the dreams, and

363
00:24:36,119 --> 00:24:37,440
Speaker 5: it's that one last shot.

364
00:24:40,080 --> 00:24:45,520
Speaker 7: All these songs are about flipping burgers and shooting baskets regular.

365
00:24:49,000 --> 00:24:51,280
Speaker 5: I take the most regular ship, and I make it

366
00:24:51,320 --> 00:24:57,600
Speaker 5: your every day like most of my prolific long jevity

367
00:24:57,720 --> 00:25:00,280
Speaker 5: long game. I want this music to li in the

368
00:25:00,280 --> 00:25:02,800
Speaker 5: space forever. A basic sayings it's what you're going to

369
00:25:02,840 --> 00:25:04,760
Speaker 5: do is say yes, getting late? Why are you going

370
00:25:04,800 --> 00:25:05,240
Speaker 5: to be here?

371
00:25:05,600 --> 00:25:05,919
Speaker 6: Hello?

372
00:25:06,040 --> 00:25:09,280
Speaker 5: How are you? Were you up to nothing? I hope

373
00:25:09,280 --> 00:25:11,200
Speaker 5: you choose on you with a possible player. It's very

374
00:25:11,400 --> 00:25:14,040
Speaker 5: matter of fact, yeah, far away and every minute you're

375
00:25:14,080 --> 00:25:15,679
Speaker 5: going to missing you. So it's going to be a

376
00:25:15,720 --> 00:25:18,359
Speaker 5: late night early morning when I come home.

377
00:25:19,680 --> 00:25:20,880
Speaker 1: It just feels like.

378
00:25:23,480 --> 00:25:30,280
Speaker 2: Not not that your universal calling, will you know, make

379
00:25:30,320 --> 00:25:33,359
Speaker 2: the floor a little extra slippery at that time, or

380
00:25:34,119 --> 00:25:37,680
Speaker 2: make your shoes stick to the parquet so that your

381
00:25:37,720 --> 00:25:42,080
Speaker 2: need goes to Not that, not that it does that, right,

382
00:25:43,240 --> 00:25:49,640
Speaker 2: but your calling has a way of showing itself and

383
00:25:49,840 --> 00:25:57,120
Speaker 2: showing up to where you ultimately don't have a choice.

384
00:25:57,440 --> 00:26:01,479
Speaker 5: I agree with that, and that just comes with what

385
00:26:01,720 --> 00:26:04,600
Speaker 5: is our gift. We can run from it if we

386
00:26:04,640 --> 00:26:07,520
Speaker 5: want to, and it's gonna be right there going up.

387
00:26:07,920 --> 00:26:10,800
Speaker 5: Excuse me. The gift that I gave you, it's time

388
00:26:10,800 --> 00:26:12,800
Speaker 5: for you to give it to the world, because that's

389
00:26:12,840 --> 00:26:15,560
Speaker 5: what you've been blessed with. And regardless of where your

390
00:26:15,560 --> 00:26:18,239
Speaker 5: headspace is, that what you think this is about to be,

391
00:26:19,160 --> 00:26:21,520
Speaker 5: this is actually what it is. So even when I

392
00:26:21,560 --> 00:26:27,199
Speaker 5: wanted to quit, like very recently, not quit, I just

393
00:26:27,240 --> 00:26:32,439
Speaker 5: feel like I've completed well. I wanted out of this space.

394
00:26:32,680 --> 00:26:36,960
Speaker 5: It's like Super Mario Brothers. I'm level eight. I jumped

395
00:26:37,000 --> 00:26:39,520
Speaker 5: over the Dragon and Save the Princess. I'm out. Like

396
00:26:40,119 --> 00:26:42,480
Speaker 5: it's done. I don't need to do anymore. There's nothing

397
00:26:43,000 --> 00:26:47,000
Speaker 5: to prove. I wanted to sell a couple million records,

398
00:26:47,080 --> 00:26:50,560
Speaker 5: work with my favorite artists, and I did all of

399
00:26:50,600 --> 00:26:55,080
Speaker 5: the things that should be someone's bucket list very early on,

400
00:26:55,680 --> 00:26:59,719
Speaker 5: like how a song that I wrote about the Doo

401
00:26:59,760 --> 00:27:05,520
Speaker 5: dooround Michael, I mean McDonald's his name might have been Michael.

402
00:27:05,640 --> 00:27:09,120
Speaker 5: I don't know, Like who knows. We're trying to figure

403
00:27:09,119 --> 00:27:11,160
Speaker 5: out where are you? I really want to know where

404
00:27:11,160 --> 00:27:16,920
Speaker 5: this guy is. I didn't know. Years later, Michael Jackson

405
00:27:16,960 --> 00:27:21,280
Speaker 5: would hear a demo that was presented to him by

406
00:27:21,359 --> 00:27:25,320
Speaker 5: John McClain, presented to him as a Flower Tree album

407
00:27:25,400 --> 00:27:27,199
Speaker 5: like look, I want you to hear these Girls, and

408
00:27:27,280 --> 00:27:31,200
Speaker 5: a part of that demo package where the original Flowa

409
00:27:31,240 --> 00:27:36,120
Speaker 5: Troy album, including two songs that were just demos. Say

410
00:27:36,160 --> 00:27:37,960
Speaker 5: Yes was one of them. Say Yes was written for

411
00:27:38,080 --> 00:27:42,119
Speaker 5: Rod Eisley and Me and Dre Harris did that he

412
00:27:42,160 --> 00:27:45,520
Speaker 5: didn't take, but it was specifically catered to him, but

413
00:27:45,560 --> 00:27:48,080
Speaker 5: he didn't take it. So he ended up doing a

414
00:27:48,160 --> 00:27:51,240
Speaker 5: duet with Jill Scott for that project and didn't take

415
00:27:51,280 --> 00:27:53,280
Speaker 5: Say Yes. So Say Yes is just sitting there is

416
00:27:53,320 --> 00:27:58,359
Speaker 5: this lonely demo shipped to Babyface didn't want it, so

417
00:27:58,440 --> 00:28:03,320
Speaker 5: now it's just this outstanding song as well as Butterflies. So,

418
00:28:03,400 --> 00:28:07,240
Speaker 5: Mike is this butterfly song on this flow Atry demo?

419
00:28:07,480 --> 00:28:07,560
Speaker 4: Like?

420
00:28:07,960 --> 00:28:08,520
Speaker 5: What's that?

421
00:28:08,560 --> 00:28:08,800
Speaker 1: Though?

422
00:28:08,920 --> 00:28:09,640
Speaker 5: Can I have that?

423
00:28:09,680 --> 00:28:09,880
Speaker 3: Mike?

424
00:28:09,960 --> 00:28:16,159
Speaker 5: You can have the entire album? You know just what

425
00:28:17,440 --> 00:28:20,840
Speaker 5: that's two coming to America. That's why, like between the

426
00:28:20,880 --> 00:28:25,400
Speaker 5: Big Bucks and this. Okay, so I didn't know that

427
00:28:25,400 --> 00:28:29,600
Speaker 5: that's how these things were going to transpire, but you

428
00:28:29,800 --> 00:28:34,359
Speaker 5: dream big enough, big dreams happen, So when it starts

429
00:28:34,400 --> 00:28:41,000
Speaker 5: to happen, I can't then say not I quit, but

430
00:28:41,920 --> 00:28:44,920
Speaker 5: there's gonna be more in me. If that was my start,

431
00:28:45,640 --> 00:28:49,600
Speaker 5: I can't start there. And then where do you go

432
00:28:49,640 --> 00:28:50,000
Speaker 5: from there?

433
00:28:50,040 --> 00:28:50,280
Speaker 1: Though?

434
00:28:51,320 --> 00:28:54,800
Speaker 5: Wherever you just keep going, And that's exactly what I did.

435
00:28:55,640 --> 00:29:01,520
Speaker 5: That was the year two thousand that that demo resurfaces,

436
00:29:01,640 --> 00:29:05,160
Speaker 5: is repurposed and Andre Harris and myself go in the b

437
00:29:05,360 --> 00:29:07,520
Speaker 5: room of a Touch of Jazz and I'm like, look,

438
00:29:07,760 --> 00:29:09,640
Speaker 5: I have this record. Ray, I know that you are

439
00:29:09,760 --> 00:29:13,360
Speaker 5: the guy you did Long Walk the Way like my

440
00:29:13,440 --> 00:29:16,440
Speaker 5: favorite Jill Records. I no issue, Let's get this. We

441
00:29:16,600 --> 00:29:19,640
Speaker 5: do that demo. By March of two thousand and one,

442
00:29:19,680 --> 00:29:22,080
Speaker 5: we're in the studio with Michael Jackson telling him what

443
00:29:22,120 --> 00:29:23,840
Speaker 5: to do and how to do it, like he's behind

444
00:29:23,880 --> 00:29:26,440
Speaker 5: the glass like your mike one more time, bit pitchy,

445
00:29:26,720 --> 00:29:29,840
Speaker 5: one more time, me with the talk back telling Michael

446
00:29:29,880 --> 00:29:33,720
Speaker 5: Jackson I'm twenty three at that time.

447
00:29:33,800 --> 00:29:35,960
Speaker 1: And you guys don't yet.

448
00:29:37,160 --> 00:29:40,880
Speaker 5: We signed our deal December, so the end of that year,

449
00:29:40,960 --> 00:29:44,720
Speaker 5: so we were already at DreamWorks and then the album's done,

450
00:29:45,120 --> 00:29:48,120
Speaker 5: so we're literally waiting for papers at that point to

451
00:29:48,280 --> 00:29:50,840
Speaker 5: illegal aliens trying to get this record deal. So it

452
00:29:50,920 --> 00:29:54,240
Speaker 5: was hey, let's get you some visas so we can.

453
00:29:54,080 --> 00:29:55,280
Speaker 1: Put you to that.

454
00:29:55,640 --> 00:29:59,280
Speaker 5: Yeah, So the album, our album didn't drop until October

455
00:29:59,800 --> 00:30:02,680
Speaker 5: of that following year. I think by the time all

456
00:30:02,720 --> 00:30:08,000
Speaker 5: that was squad Away. Yeah, there's Michael Jackson like Michael

457
00:30:08,400 --> 00:30:10,560
Speaker 5: mother Jackson and.

458
00:30:10,560 --> 00:30:14,400
Speaker 7: The thing too, like you said, it all comes from

459
00:30:14,640 --> 00:30:17,320
Speaker 7: your demos going through the hands of John McClain, who

460
00:30:17,320 --> 00:30:21,920
Speaker 7: are at this point he's at DreamWorks. If you sign

461
00:30:22,000 --> 00:30:29,440
Speaker 7: anywhere else for what Michael Jackson never hears. We just

462
00:30:29,480 --> 00:30:31,600
Speaker 7: always we like to connect it, you know, we like

463
00:30:31,640 --> 00:30:34,080
Speaker 7: to connect the dots. And you know when people are

464
00:30:34,120 --> 00:30:36,120
Speaker 7: thinking of why I did this or why I didn't

465
00:30:36,160 --> 00:30:38,120
Speaker 7: do this and all these other things, and what didn't

466
00:30:38,160 --> 00:30:47,560
Speaker 7: come from something like just signing to this, you know, boutique.

467
00:30:46,120 --> 00:30:54,600
Speaker 5: Exactly supposed to be with Motown and then it's John

468
00:30:54,680 --> 00:30:58,840
Speaker 5: McClain and Michael Jackson and it's might want to go

469
00:30:58,920 --> 00:31:01,000
Speaker 5: that route because yeah.

470
00:31:00,680 --> 00:31:02,240
Speaker 1: I'm gonna need these butterflies.

471
00:31:02,800 --> 00:31:06,520
Speaker 5: Yes, And that's how business wise, that's how that all

472
00:31:06,640 --> 00:31:11,240
Speaker 5: kind of transpired, which is crazy about Michael Jackson himself

473
00:31:11,440 --> 00:31:13,840
Speaker 5: telling me, you know, if this is your beginning, imagine

474
00:31:13,840 --> 00:31:14,520
Speaker 5: where you're gonna go.

475
00:31:14,840 --> 00:31:14,959
Speaker 1: Right.

476
00:31:15,120 --> 00:31:17,600
Speaker 5: So Flow Tree go on to go platinum, couple of

477
00:31:17,640 --> 00:31:20,720
Speaker 5: Grimy Nuds and toured for years.

478
00:31:20,400 --> 00:31:22,600
Speaker 2: And then so here's a question before you go there,

479
00:31:23,280 --> 00:31:27,920
Speaker 2: does the Michael Jackson work Just that being in that

480
00:31:28,000 --> 00:31:34,880
Speaker 2: conversation and being in that room make the flow a

481
00:31:34,960 --> 00:31:38,280
Speaker 2: tree that much more urgent to the building.

482
00:31:39,480 --> 00:31:41,080
Speaker 1: Did you guys become more of a priority?

483
00:31:41,160 --> 00:31:44,440
Speaker 5: Yeah, well, like you said before, it was still very

484
00:31:44,480 --> 00:31:47,800
Speaker 5: much boutique. So it's on the rock side, it was

485
00:31:47,840 --> 00:31:51,680
Speaker 5: what alien ant Farm. On the urban side, it was ourselves,

486
00:31:53,240 --> 00:31:58,280
Speaker 5: ron Issley, what's her name? Why am I missing that

487
00:31:58,360 --> 00:31:58,800
Speaker 5: right now?

488
00:31:59,480 --> 00:31:59,800
Speaker 6: I really?

489
00:32:00,040 --> 00:32:08,960
Speaker 5: Oh no, what you came before? Sorry, I think, lovely girl,

490
00:32:09,000 --> 00:32:14,600
Speaker 5: we've actually had conversations. No, I don't think so it

491
00:32:14,680 --> 00:32:18,440
Speaker 5: was very it was sane. This is two thousand when

492
00:32:18,480 --> 00:32:20,760
Speaker 5: we signed, but two thousand and one when all of

493
00:32:20,800 --> 00:32:22,560
Speaker 5: these things started to happen. So I'm not saying there

494
00:32:22,560 --> 00:32:26,440
Speaker 5: was a level of urgency now that these I think

495
00:32:26,440 --> 00:32:29,920
Speaker 5: it was a talking point. So even with our papers

496
00:32:30,000 --> 00:32:31,800
Speaker 5: not being done, it wasn't like we could release the

497
00:32:31,840 --> 00:32:37,080
Speaker 5: album that day and Flower try the floetic album. We're

498
00:32:37,120 --> 00:32:40,920
Speaker 5: talking a completely different time in industry, Like our first

499
00:32:41,640 --> 00:32:44,440
Speaker 5: video was up for a vm A, like we're up

500
00:32:44,480 --> 00:32:47,240
Speaker 5: against told Play like we were. We had different budgets

501
00:32:47,280 --> 00:32:51,560
Speaker 5: back then, so it was it was different. So I

502
00:32:51,560 --> 00:32:55,360
Speaker 5: had a different spoiled experience of what industry was like.

503
00:32:55,520 --> 00:32:59,200
Speaker 5: And I don't think even with a Michael Jackson coming

504
00:32:59,240 --> 00:33:03,000
Speaker 5: into play when the album was released, Butterflies were still

505
00:33:03,080 --> 00:33:06,400
Speaker 5: very much in his the demo on the actual album,

506
00:33:06,440 --> 00:33:09,200
Speaker 5: the Butterfly's demo that Marsh was saying, and this is why.

507
00:33:10,360 --> 00:33:12,000
Speaker 1: Yeah, the fact that you guys were able to use

508
00:33:12,040 --> 00:33:13,160
Speaker 1: it on the album too.

509
00:33:13,960 --> 00:33:16,000
Speaker 5: That was a dream works play and they could because

510
00:33:16,000 --> 00:33:19,280
Speaker 5: it was the same building and it was like the

511
00:33:19,280 --> 00:33:23,280
Speaker 5: the Silent not So Silent co sign had.

512
00:33:23,120 --> 00:33:26,600
Speaker 1: Michael, he's my girls. They looked out for me. I'm

513
00:33:26,640 --> 00:33:29,640
Speaker 1: looking out and that's what that was. I think you

514
00:33:29,640 --> 00:33:30,640
Speaker 1: should use it as well.

515
00:33:32,200 --> 00:33:33,560
Speaker 5: Do you think he said it just like that?

516
00:33:34,000 --> 00:33:36,120
Speaker 1: Oh you know the voice everybody be throwing around it.

517
00:33:36,200 --> 00:33:40,600
Speaker 2: Just use this shit, man.

518
00:33:40,800 --> 00:33:44,240
Speaker 5: The Michael voice he gives. You're a singer. I know

519
00:33:44,280 --> 00:33:47,720
Speaker 5: you have a deep, husky voice, but preservation is key.

520
00:33:48,200 --> 00:33:50,280
Speaker 5: I feel like he only had that voice. He was

521
00:33:50,320 --> 00:33:58,160
Speaker 5: preserving every single ounce of his vocal to just be

522
00:33:58,280 --> 00:33:59,640
Speaker 5: the icon and performer that he was.

523
00:33:59,720 --> 00:34:03,400
Speaker 7: Jackson talking was they talks off when they talk to you,

524
00:34:03,440 --> 00:34:05,840
Speaker 7: they talk, they don't, they don't, they don't project, they

525
00:34:05,840 --> 00:34:06,560
Speaker 7: don't do a whole.

526
00:34:06,360 --> 00:34:09,640
Speaker 1: Bunch of cracking jokes and laughing and drinking.

527
00:34:11,280 --> 00:34:15,120
Speaker 5: I was in the studio, me and Andre Harris in

528
00:34:15,200 --> 00:34:18,600
Speaker 5: the studio with Michael Jackson. It was nothing but jokes.

529
00:34:18,880 --> 00:34:26,360
Speaker 5: Did you have completely four beverages? Bevies? No, the kids?

530
00:34:26,920 --> 00:34:27,359
Speaker 1: What about?

531
00:34:29,360 --> 00:34:32,799
Speaker 5: But we did have smothered turkey chops and mac and

532
00:34:32,880 --> 00:34:36,279
Speaker 5: cheese and strawberry shortcake from a soul food spot in

533
00:34:36,320 --> 00:34:40,440
Speaker 5: New York called Jezebels. We had that every day, every day,

534
00:34:40,160 --> 00:34:45,600
Speaker 5: every day I put on. It was was lovely like

535
00:34:45,719 --> 00:34:48,600
Speaker 5: Paris and Prince when they were very very young, just

536
00:34:48,719 --> 00:34:52,719
Speaker 5: kids chilling in the studio like it was very family environment.

537
00:34:54,360 --> 00:34:55,479
Speaker 5: It was a wild time.

538
00:34:55,760 --> 00:34:59,399
Speaker 7: So when you get this record placed, have you done

539
00:35:00,040 --> 00:35:02,160
Speaker 7: getting your record deal done? Have you done your publishing

540
00:35:02,200 --> 00:35:02,600
Speaker 7: deal yet?

541
00:35:02,800 --> 00:35:04,319
Speaker 1: Did people? How did that go?

542
00:35:04,840 --> 00:35:11,640
Speaker 5: Okay? So I already had a dusty very your first

543
00:35:12,000 --> 00:35:15,880
Speaker 5: publishing deal, you know, one of those. So they're just

544
00:35:15,960 --> 00:35:19,160
Speaker 5: very much doing me in the studio with whoever to

545
00:35:19,200 --> 00:35:21,800
Speaker 5: see what sticks. And then I've gone to the States

546
00:35:21,840 --> 00:35:25,240
Speaker 5: on a whim to do this flowtry thing that pans

547
00:35:25,280 --> 00:35:29,200
Speaker 5: out ultimately, and then it's hey, I've got you know,

548
00:35:29,239 --> 00:35:34,080
Speaker 5: a placement on Michael. So we're only up the ante

549
00:35:34,280 --> 00:35:38,160
Speaker 5: for me and lent to there like oh ship, we've

550
00:35:38,160 --> 00:35:40,879
Speaker 5: got a writer who's got Michael Jackson record.

551
00:35:40,880 --> 00:35:43,080
Speaker 1: So did you renegotiate absolute.

552
00:35:46,200 --> 00:35:49,200
Speaker 5: In retrospect, you kind of wish you just cashed out

553
00:35:49,280 --> 00:35:51,080
Speaker 5: then and ship.

554
00:35:51,360 --> 00:35:53,960
Speaker 7: Yes at the time, but you didn't know that that

555
00:35:54,080 --> 00:36:00,799
Speaker 7: money got you to.

556
00:35:57,800 --> 00:36:02,120
Speaker 5: America, coming to America my name, and had the means

557
00:36:02,160 --> 00:36:02,640
Speaker 5: to do it.

558
00:36:02,719 --> 00:36:05,279
Speaker 7: So yeah, yeah, if you don't mind me asking, how

559
00:36:05,320 --> 00:36:07,440
Speaker 7: did they give you for your before before you did

560
00:36:08,560 --> 00:36:09,080
Speaker 7: ten grand?

561
00:36:10,800 --> 00:36:11,000
Speaker 6: Yeah?

562
00:36:11,800 --> 00:36:13,440
Speaker 1: Did you have a crazy commitment?

563
00:36:14,000 --> 00:36:15,960
Speaker 5: No, it wasn't that bad of a commitment.

564
00:36:16,160 --> 00:36:20,560
Speaker 8: But then if it was an MDRC though, absolutely Okay, okay,

565
00:36:20,760 --> 00:36:23,839
Speaker 8: So if you look at it like you never had

566
00:36:24,120 --> 00:36:26,279
Speaker 8: a record deal yet and you didn't know where these

567
00:36:26,280 --> 00:36:30,000
Speaker 8: placements were even coming from, outrageous Still that I was

568
00:36:30,000 --> 00:36:33,120
Speaker 8: then stuck into four years because.

569
00:36:32,800 --> 00:36:35,000
Speaker 5: Of the renegotiation. Now they're trying to hold on to you,

570
00:36:35,080 --> 00:36:37,080
Speaker 5: and you're like, well help me.

571
00:36:37,280 --> 00:36:39,520
Speaker 2: Yeah, but you got in at a time give us

572
00:36:39,560 --> 00:36:43,680
Speaker 2: for four before the threshold were created, so.

573
00:36:45,080 --> 00:36:48,920
Speaker 1: You were able to with that one album. H what

574
00:36:49,000 --> 00:36:52,880
Speaker 1: needs Yeah? Move through a turn.

575
00:36:52,920 --> 00:36:56,480
Speaker 5: Right, So even up until late nights and early mornings,

576
00:36:56,480 --> 00:36:59,879
Speaker 5: which is what twenty eleven, twenty twelve, that wasn't so bad.

577
00:37:00,200 --> 00:37:03,279
Speaker 5: And I've had this conversation before with record deals that

578
00:37:03,320 --> 00:37:07,560
Speaker 5: were signed pre dating this streaming eerror is how are

579
00:37:07,560 --> 00:37:11,879
Speaker 5: we supposed to fulfill album commitments in terms under those

580
00:37:11,920 --> 00:37:15,360
Speaker 5: same contracts? Because tower records don't exist. We can't do

581
00:37:15,400 --> 00:37:17,920
Speaker 5: it in store signing. There's nothing physical for me to

582
00:37:17,960 --> 00:37:21,279
Speaker 5: actually give you. So what stipulates in my deal that

583
00:37:21,360 --> 00:37:24,880
Speaker 5: I haven't turned that around already because the stream is

584
00:37:24,920 --> 00:37:28,239
Speaker 5: not going to do it a dollar amount my contract,

585
00:37:28,880 --> 00:37:30,920
Speaker 5: everyone has to go back to the table. We're like

586
00:37:30,960 --> 00:37:33,680
Speaker 5: stuck on a deal. I'd be in a five album

587
00:37:33,760 --> 00:37:38,040
Speaker 5: deal for one hundred and twenty seven years now.

588
00:37:39,160 --> 00:37:42,880
Speaker 1: You know, tape don't count until it reaches.

589
00:37:43,520 --> 00:37:45,719
Speaker 5: Two billion streams like.

590
00:37:47,480 --> 00:37:51,640
Speaker 2: Physical discount for this much of it. The digital only

591
00:37:51,719 --> 00:37:52,719
Speaker 2: counts for this.

592
00:37:53,320 --> 00:37:55,719
Speaker 5: But where does it say that in your contract? And

593
00:37:55,760 --> 00:37:57,360
Speaker 5: where's the clause? They even.

594
00:37:59,400 --> 00:38:03,120
Speaker 1: The automatic based on their negotiations.

595
00:38:02,480 --> 00:38:06,200
Speaker 5: With right they've been talking to the digital service platforms,

596
00:38:06,239 --> 00:38:09,319
Speaker 5: which is insane. So if you write a lot of

597
00:38:09,360 --> 00:38:13,560
Speaker 5: your songs and produce, so that's your hundred percent, and

598
00:38:13,680 --> 00:38:15,560
Speaker 5: you might break off a producer if they came in

599
00:38:15,600 --> 00:38:17,359
Speaker 5: and say, Okay, I'm going to layer up, so I'm

600
00:38:17,400 --> 00:38:20,600
Speaker 5: going to take let's go with eighty twenty. So out

601
00:38:20,600 --> 00:38:23,040
Speaker 5: of eighty percent of that record, that you have and

602
00:38:23,120 --> 00:38:26,680
Speaker 5: you put it on iTunes or Amazon and you put

603
00:38:26,719 --> 00:38:29,560
Speaker 5: it for sale, you're getting a substantial amount of your

604
00:38:29,600 --> 00:38:33,360
Speaker 5: eighty percent as it pertains to a sale. What are

605
00:38:33,360 --> 00:38:35,120
Speaker 5: you getting now is.

606
00:38:35,120 --> 00:38:40,640
Speaker 8: A stream point the fact that you said.

607
00:38:40,640 --> 00:38:45,720
Speaker 1: Point it starts to start that point it starts.

608
00:38:46,160 --> 00:38:49,280
Speaker 5: So imagine signing these contracts back in the day, your hype.

609
00:38:49,280 --> 00:38:52,279
Speaker 5: You've got a record deal, you write, you produce, you

610
00:38:52,360 --> 00:38:57,200
Speaker 5: know that your fraction of that portion of the entire

611
00:38:57,239 --> 00:39:02,000
Speaker 5: composition is solely yours. Like button Flies seven zero percent,

612
00:39:02,280 --> 00:39:05,360
Speaker 5: mind seventy I have that so when it was out,

613
00:39:05,520 --> 00:39:10,640
Speaker 5: it's seventy mine all of it. Now streaming it, seventy

614
00:39:10,760 --> 00:39:14,560
Speaker 5: percent of Butterflies by Michael Jackson is reduced to a

615
00:39:14,800 --> 00:39:16,000
Speaker 5: point something.

616
00:39:16,200 --> 00:39:20,040
Speaker 1: Yeah, depending on what platform, it could be point zero.

617
00:39:20,640 --> 00:39:24,560
Speaker 5: Appreciate that zero zero seven in my contract.

618
00:39:25,600 --> 00:39:33,680
Speaker 2: Here's also the question, though, because that's seventy still performs

619
00:39:33,719 --> 00:39:38,839
Speaker 2: well in in the traditional spaces that it performed in. Right,

620
00:39:38,880 --> 00:39:48,000
Speaker 2: you do this? This digital seventy is brand new, brand new.

621
00:39:48,000 --> 00:39:48,839
Speaker 1: Absolutely icing.

622
00:39:49,160 --> 00:39:52,560
Speaker 2: It's like we were just talking about this. It has

623
00:39:52,600 --> 00:39:55,080
Speaker 2: to be negotiated right, better.

624
00:39:55,640 --> 00:39:58,799
Speaker 5: Right, But who starts these conversations like.

625
00:39:59,280 --> 00:40:01,960
Speaker 1: Well, ultimately we have to but you.

626
00:40:02,160 --> 00:40:06,319
Speaker 7: But we have to do it in a sense outside

627
00:40:06,480 --> 00:40:09,440
Speaker 7: of the major corporations. We have to we have to

628
00:40:09,440 --> 00:40:12,520
Speaker 7: start it from an independent sense of saying I will

629
00:40:12,560 --> 00:40:15,279
Speaker 7: not give you my product like I don't like, I

630
00:40:15,320 --> 00:40:18,200
Speaker 7: don't care. It's the same thing is if if you're

631
00:40:18,280 --> 00:40:22,120
Speaker 7: Nike and foot Locker is saying, well, we want to

632
00:40:22,160 --> 00:40:24,080
Speaker 7: sell your shoes for this, this is what we want

633
00:40:24,080 --> 00:40:25,880
Speaker 7: to give you, right, and you being able to say

634
00:40:26,280 --> 00:40:28,120
Speaker 7: I don't want to put my shoes in foot Locker,

635
00:40:28,160 --> 00:40:29,759
Speaker 7: I'm going to put them in Champs.

636
00:40:29,560 --> 00:40:32,560
Speaker 1: Right, And you have to you have to make that right.

637
00:40:32,680 --> 00:40:36,120
Speaker 7: Yes, costs right, So, and I think we also have

638
00:40:36,239 --> 00:40:41,600
Speaker 7: to get into the super fan space of literally going

639
00:40:41,719 --> 00:40:42,800
Speaker 7: direct to consumer.

640
00:40:43,400 --> 00:40:47,080
Speaker 5: So think about just saying that. Imagine when iTunes was

641
00:40:47,160 --> 00:40:49,840
Speaker 5: iTunes and if I go, oh shit, Tank has a

642
00:40:49,880 --> 00:40:52,640
Speaker 5: new release this what was it tuesdays back then wherever

643
00:40:52,760 --> 00:40:54,480
Speaker 5: day it was, and I'm like, I want to buy

644
00:40:54,640 --> 00:40:57,400
Speaker 5: your song. It's ninety nine cents or ninety nine p

645
00:40:57,480 --> 00:40:59,560
Speaker 5: in the UK, I've going to spend that entire for

646
00:40:59,680 --> 00:41:03,560
Speaker 5: just you. Now with a subscription, you've reduced me to

647
00:41:03,640 --> 00:41:07,320
Speaker 5: a monthly fee. So I, as the consumer have access

648
00:41:07,320 --> 00:41:11,880
Speaker 5: to everything, not to specialize in exactly what it is

649
00:41:11,880 --> 00:41:15,640
Speaker 5: that I want. I just have this plethora of music

650
00:41:15,719 --> 00:41:17,960
Speaker 5: to go through and scroll through and not spend or

651
00:41:18,040 --> 00:41:22,160
Speaker 5: invest any time, and it's kind of what the fuck

652
00:41:22,200 --> 00:41:22,680
Speaker 5: do we doing?

653
00:41:23,080 --> 00:41:26,080
Speaker 7: But what it is, though, is that it becomes it

654
00:41:26,120 --> 00:41:30,680
Speaker 7: becomes a form of just radio in a sense, which

655
00:41:30,719 --> 00:41:31,320
Speaker 7: isn't fair.

656
00:41:32,400 --> 00:41:35,560
Speaker 5: It's not fair. It's not fair. It's not a fair

657
00:41:35,640 --> 00:41:42,320
Speaker 5: game like it's to be fair. It's never been fair.

658
00:41:42,400 --> 00:41:45,040
Speaker 5: But we've managed to get the R and P money

659
00:41:45,640 --> 00:41:48,640
Speaker 5: where we can and where we have and sustained it.

660
00:41:49,320 --> 00:41:51,400
Speaker 5: Not a lot of us can still get on a

661
00:41:51,440 --> 00:41:55,719
Speaker 5: stage live and do that part. It's very much okay,

662
00:41:55,800 --> 00:41:58,080
Speaker 5: let me rely on what the wave is right now.

663
00:41:58,440 --> 00:42:02,680
Speaker 5: Gets something that's trending, and that's my money, if that's

664
00:42:02,719 --> 00:42:05,200
Speaker 5: the money. Like, I've never been in it for that.

665
00:42:05,239 --> 00:42:07,040
Speaker 5: I've been in it for the art and I've made

666
00:42:07,160 --> 00:42:10,480
Speaker 5: money because of it. So I feel like my intentions

667
00:42:10,480 --> 00:42:14,080
Speaker 5: were different, like recently having got in the studio with

668
00:42:14,880 --> 00:42:21,160
Speaker 5: doctor Dre and Doctor Dre very unrealistically saying do whatever

669
00:42:21,200 --> 00:42:25,479
Speaker 5: the fuck you want? Does that mean I can play

670
00:42:25,600 --> 00:42:29,759
Speaker 5: Jesus with music? And that's exactly what we did in

671
00:42:29,800 --> 00:42:35,279
Speaker 5: the studio for this project, Casablanco like, even when you

672
00:42:35,320 --> 00:42:41,800
Speaker 5: say it's just this mysterious, yeah, it's a bit bigger

673
00:42:41,800 --> 00:42:44,480
Speaker 5: than an album. And you know, everyone marsh Wednesday, it's

674
00:42:44,480 --> 00:42:48,080
Speaker 5: a bit bigger than just an album. We're talking doctor

675
00:42:48,160 --> 00:42:52,360
Speaker 5: dre here. So yeah, what took us ultimately two weeks

676
00:42:52,400 --> 00:42:56,640
Speaker 5: to get the grasp of what the album actually was,

677
00:42:57,000 --> 00:43:02,440
Speaker 5: to implement the strings into from an having to clear

678
00:43:02,760 --> 00:43:06,600
Speaker 5: what we decided to borrow and take from this time

679
00:43:06,680 --> 00:43:09,880
Speaker 5: capsule of music during a time when we didn't know

680
00:43:09,880 --> 00:43:13,279
Speaker 5: where the world was going, during the pandemic fucked up

681
00:43:13,280 --> 00:43:15,399
Speaker 5: out here. So I'm like, if we had to take

682
00:43:15,440 --> 00:43:17,800
Speaker 5: the music that we cared about and make it one

683
00:43:17,920 --> 00:43:21,399
Speaker 5: thing and listen to it in one space, what would

684
00:43:21,440 --> 00:43:26,360
Speaker 5: that be? So it's the audacity to take Duke Kellington

685
00:43:26,440 --> 00:43:30,799
Speaker 5: and Michael Jackson and George Benson and Patrice Russian and

686
00:43:31,280 --> 00:43:39,120
Speaker 5: Wu Tang and Frank Sinatra and random things that identify

687
00:43:39,280 --> 00:43:42,600
Speaker 5: us as musicians as a whole and put it in

688
00:43:42,680 --> 00:43:46,200
Speaker 5: one space. To then be reduced to giving it away

689
00:43:46,239 --> 00:43:54,040
Speaker 5: as a SoundBite or radio.

690
00:43:52,680 --> 00:43:54,319
Speaker 1: You have to now be.

691
00:43:57,320 --> 00:44:02,560
Speaker 7: More what would be the word for just you have

692
00:44:02,640 --> 00:44:05,280
Speaker 7: You have to take a different chance with the music

693
00:44:05,760 --> 00:44:09,319
Speaker 7: and and not go into these spaces that have just

694
00:44:09,400 --> 00:44:13,120
Speaker 7: always been what they are and where people are making

695
00:44:13,200 --> 00:44:16,600
Speaker 7: up terms and making up new ways to do bad business,

696
00:44:16,600 --> 00:44:19,360
Speaker 7: which you can say, listen, you just have to you

697
00:44:19,440 --> 00:44:22,440
Speaker 7: have to take ownership and it completely. It's just my opinion,

698
00:44:22,880 --> 00:44:25,000
Speaker 7: especially when if I'm fucking doctor.

699
00:44:24,760 --> 00:44:28,400
Speaker 5: Dre and I'm using as an example.

700
00:44:28,920 --> 00:44:31,880
Speaker 7: You can release it how you please, of course, but

701
00:44:32,800 --> 00:44:34,759
Speaker 7: if you want to be a part of their platforms,

702
00:44:35,960 --> 00:44:38,120
Speaker 7: the only way is to give it to them either

703
00:44:38,200 --> 00:44:41,279
Speaker 7: at their whatever whatever their pricing is, or say, hey,

704
00:44:41,640 --> 00:44:45,920
Speaker 7: let's negotiate if you want this album. This is the

705
00:44:45,960 --> 00:44:48,040
Speaker 7: negotiation to it. This is these are the numbers that

706
00:44:48,080 --> 00:44:51,360
Speaker 7: we want or not are I'm going to now vinyl

707
00:44:51,440 --> 00:44:52,359
Speaker 7: is getting cracking again.

708
00:44:52,880 --> 00:44:55,759
Speaker 1: I'm going to I'm ana press it up in vinyl.

709
00:44:56,400 --> 00:44:57,040
Speaker 1: You know what I'm saying.

710
00:44:57,239 --> 00:45:00,480
Speaker 5: That's that's the game we're in. That is where we consume,

711
00:45:00,600 --> 00:45:04,400
Speaker 5: is to absolutely get from any arts that they care about.

712
00:45:04,640 --> 00:45:06,640
Speaker 5: It's just where are you going to find it?

713
00:45:06,640 --> 00:45:08,560
Speaker 2: But I think it's a way to do both, right,

714
00:45:09,040 --> 00:45:14,160
Speaker 2: There's a way to you know, feed the system, but

715
00:45:14,360 --> 00:45:20,240
Speaker 2: also from a super fan aspect or from the desire

716
00:45:20,360 --> 00:45:26,160
Speaker 2: of the super fan still supply the experience in a

717
00:45:26,239 --> 00:45:29,839
Speaker 2: way that you want them to have by creating the

718
00:45:29,920 --> 00:45:34,040
Speaker 2: space that they have to come and get it from.

719
00:45:34,120 --> 00:45:34,799
Speaker 1: If you are a.

720
00:45:34,719 --> 00:45:38,560
Speaker 2: Super fan, if you desire to really experience this the

721
00:45:38,600 --> 00:45:41,640
Speaker 2: way it's supposed to be experienced. That out there, it's

722
00:45:41,760 --> 00:45:44,239
Speaker 2: just just just they have the music.

723
00:45:44,520 --> 00:45:50,160
Speaker 5: You like, radio your boom bucks and wait for the

724
00:45:50,239 --> 00:45:52,680
Speaker 5: radio station to come on and praying that they play

725
00:45:52,719 --> 00:45:55,840
Speaker 5: that record and pressing record, even with the DJ yelling

726
00:45:55,880 --> 00:45:58,120
Speaker 5: all over that shit and you rewind it, crying it

727
00:45:58,200 --> 00:46:02,160
Speaker 5: up until the end when it's fading out. There's no

728
00:46:02,480 --> 00:46:06,840
Speaker 5: urgency with music like that anymore, or listen to in

729
00:46:06,880 --> 00:46:09,040
Speaker 5: a way where we had. It's like we had a

730
00:46:09,080 --> 00:46:14,120
Speaker 5: spoiled experience of the way we listen to music or

731
00:46:14,160 --> 00:46:17,040
Speaker 5: the way it was presented to us. Like right now,

732
00:46:17,080 --> 00:46:21,160
Speaker 5: it's may as well be friggin' what's the singles websites

733
00:46:21,239 --> 00:46:24,200
Speaker 5: tender swipe left of you don't like it? If you

734
00:46:24,239 --> 00:46:38,040
Speaker 5: don't like it, So, yeah, it was Creating orgasms through

735
00:46:38,160 --> 00:46:42,920
Speaker 5: music is my thing. So we imagine having Casa Blanco

736
00:46:43,200 --> 00:46:49,520
Speaker 5: as a landscape and this very unrealistic, elevated version of

737
00:46:49,680 --> 00:46:55,439
Speaker 5: life from a billionaire's perspective, what are those orgasms like now,

738
00:46:56,320 --> 00:47:00,600
Speaker 5: So walking to that studio and hearing I mean imagine

739
00:47:00,600 --> 00:47:02,640
Speaker 5: hearing say yes for the first time, but the melodies

740
00:47:02,640 --> 00:47:05,359
Speaker 5: I heard for this for the first time, I now

741
00:47:05,440 --> 00:47:11,520
Speaker 5: have to create different orgasms. So without getting too kinky

742
00:47:11,680 --> 00:47:16,000
Speaker 5: for me, no, this is how I operate. By walking

743
00:47:16,000 --> 00:47:20,880
Speaker 5: to a studio, I'm seducing every single instrument that's implemented

744
00:47:21,400 --> 00:47:26,719
Speaker 5: into the composition. We fucking. Basically, you have to fuck

745
00:47:26,760 --> 00:47:30,480
Speaker 5: the music. You have to fuck that shit up, and

746
00:47:30,520 --> 00:47:38,200
Speaker 5: you can't. There's no friction there. It's all smooth. So

747
00:47:38,960 --> 00:47:42,360
Speaker 5: with every musician that doctor dra had in that studio,

748
00:47:42,440 --> 00:47:48,879
Speaker 5: whether that was bluetooth, focus, trev them, joints, sly, all

749
00:47:48,920 --> 00:47:54,279
Speaker 5: of these elements had to get fucked up to make

750
00:47:54,320 --> 00:47:58,600
Speaker 5: it one thing. So when you press play and it's

751
00:47:58,680 --> 00:48:02,839
Speaker 5: this symphony, all of these elements have given each other

752
00:48:03,840 --> 00:48:08,000
Speaker 5: space and energy and intimacy all at the same time.

753
00:48:08,800 --> 00:48:11,560
Speaker 5: So depending on where your spot is, if it's sometimes

754
00:48:11,600 --> 00:48:15,719
Speaker 5: it's my neck, sometimes it's my kneecap, sometimes it's a

755
00:48:15,760 --> 00:48:20,520
Speaker 5: brush of my arm, and it's seductive. That's what music

756
00:48:20,560 --> 00:48:24,000
Speaker 5: is supposed to do. And I've been doing that for

757
00:48:24,120 --> 00:48:28,840
Speaker 5: two decades. Plus starting from that one, I'd say that

758
00:48:28,920 --> 00:48:34,200
Speaker 5: was the sexiest song to that particular timeframe that I'd done,

759
00:48:34,360 --> 00:48:37,160
Speaker 5: and continue to go on and do way more, whether

760
00:48:37,200 --> 00:48:41,160
Speaker 5: that was sixty nine and so Good with the interns

761
00:48:41,239 --> 00:48:45,360
Speaker 5: and even late nights and early mornings with Rich Harrison.

762
00:48:45,480 --> 00:48:50,800
Speaker 5: It was just all of these moments of sex through music,

763
00:48:51,400 --> 00:48:54,319
Speaker 5: and you want to be that. You want to be

764
00:48:54,400 --> 00:48:56,880
Speaker 5: that you do when you do your concerts. You're like,

765
00:48:57,840 --> 00:49:02,680
Speaker 5: I'm your three the I'm the threesome.

766
00:49:03,600 --> 00:49:08,520
Speaker 7: You're in that room, I'm the tour I'm stealing so

767
00:49:08,760 --> 00:49:09,920
Speaker 7: much of your lingo.

768
00:49:11,840 --> 00:49:18,400
Speaker 5: I'm down my credit what you say, I ain't taking

769
00:49:18,440 --> 00:49:33,360
Speaker 5: point nothing.

770
00:49:27,880 --> 00:49:32,840
Speaker 8: Nine compositions, right, that's what we do.

771
00:49:33,200 --> 00:49:36,520
Speaker 2: There's a there's like a there's there's a hierarchy of

772
00:49:36,520 --> 00:49:46,480
Speaker 2: of sensual moments, and say Yes is right on that

773
00:49:46,719 --> 00:49:55,360
Speaker 2: top tier with Untitled. That's that's like there's a high

774
00:49:55,520 --> 00:50:05,759
Speaker 2: level of songs that are automatically intimate, automatically yeah, no

775
00:50:05,800 --> 00:50:11,480
Speaker 2: one's talking, everyone's just trying to figure out who's gonna

776
00:50:11,520 --> 00:50:12,120
Speaker 2: go first.

777
00:50:16,360 --> 00:50:23,600
Speaker 1: That's it. Those top tiers like the song just don't

778
00:50:23,640 --> 00:50:26,960
Speaker 1: read the room right.

779
00:50:28,800 --> 00:50:32,000
Speaker 7: First, and the room ain't really trying to go with you.

780
00:50:32,320 --> 00:50:36,000
Speaker 1: They played. It was a time I was earlier.

781
00:50:38,000 --> 00:50:42,480
Speaker 5: There is a time and place, but it's great to have. God,

782
00:50:42,800 --> 00:50:45,000
Speaker 5: you know the moment in the show where you're like, okay,

783
00:50:45,040 --> 00:50:47,200
Speaker 5: you know where this is going. You play that first.

784
00:50:49,600 --> 00:50:55,000
Speaker 2: During my piano segment, I've performed oh with my shirt.

785
00:50:55,160 --> 00:51:01,520
Speaker 5: You know what You've seen that effects, so you understand

786
00:51:01,560 --> 00:51:02,320
Speaker 5: the power in that.

787
00:51:02,520 --> 00:51:08,680
Speaker 2: And as you said, I become the threesome, not you know,

788
00:51:09,200 --> 00:51:11,640
Speaker 2: not figuratively, because.

789
00:51:11,600 --> 00:51:17,440
Speaker 5: I want the audience to have that experience, such a compliment,

790
00:51:18,040 --> 00:51:25,959
Speaker 5: like having been coined a lesbian for so long. Yeah,

791
00:51:26,040 --> 00:51:28,600
Speaker 5: it's it's yeah, it's the lesbian. There she is. It's

792
00:51:28,680 --> 00:51:32,719
Speaker 5: not like I don't know, I've been completely comfortable with

793
00:51:32,760 --> 00:51:36,600
Speaker 5: my sexuality for it's the last thing I would hide

794
00:51:36,600 --> 00:51:38,680
Speaker 5: about me based on the music that i'd mad like,

795
00:51:38,760 --> 00:51:43,960
Speaker 5: why I don't mind that attention or that want for

796
00:51:44,000 --> 00:51:49,000
Speaker 5: you to me to be it's intimate. That's perfectly fine.

797
00:51:49,200 --> 00:51:52,840
Speaker 5: It's the music. I want to be your threesome. However

798
00:51:52,920 --> 00:51:59,120
Speaker 5: that goes whatever your preference. It's you give your it's

799
00:51:59,160 --> 00:52:01,719
Speaker 5: the power in it. You give that sex away. You

800
00:52:01,800 --> 00:52:03,759
Speaker 5: can't help who's going to be turned on?

801
00:52:04,440 --> 00:52:04,840
Speaker 1: I can't.

802
00:52:04,920 --> 00:52:06,880
Speaker 5: You don't know what turns on.

803
00:52:07,280 --> 00:52:07,680
Speaker 1: I can't.

804
00:52:07,680 --> 00:52:10,440
Speaker 2: I'll be trying to tell my wife, babe, you can't manage.

805
00:52:11,600 --> 00:52:13,279
Speaker 2: It's how it comes to me.

806
00:52:13,560 --> 00:52:20,439
Speaker 5: You can't and don't get and your wife, no, don't

807
00:52:20,440 --> 00:52:23,680
Speaker 5: stab him. But this is the responsibility of what it is.

808
00:52:23,800 --> 00:52:31,520
Speaker 5: We're superheroes, straight, gay, whatever it is. The music is

809
00:52:31,600 --> 00:52:37,239
Speaker 5: whatever it is. We give it away and it's intimate.

810
00:52:36,800 --> 00:52:39,600
Speaker 1: And you let the people interpret it, let them dance.

811
00:52:39,400 --> 00:52:45,359
Speaker 5: With Yeah, it's intimate. Like one night stand. This song

812
00:52:45,440 --> 00:52:48,640
Speaker 5: One night stand. When the concept of the song came

813
00:52:48,680 --> 00:52:52,480
Speaker 5: to me, it was because of how the music sounded,

814
00:52:52,800 --> 00:52:55,319
Speaker 5: and I was like, oh, this is the morning after

815
00:52:55,360 --> 00:52:58,839
Speaker 5: we fucked. For sure, this exactly sounds like the triumphant

816
00:52:59,200 --> 00:53:01,080
Speaker 5: Who the fuck is that the covers I don't even know.

817
00:53:01,160 --> 00:53:03,960
Speaker 1: The was amazing. Who is that in the covers?

818
00:53:04,200 --> 00:53:07,279
Speaker 5: We will never know? Look check the toes like boomerang.

819
00:53:07,800 --> 00:53:10,040
Speaker 5: Oh yeah, I know who exactly who that is. And

820
00:53:10,080 --> 00:53:13,240
Speaker 5: that's perfectly fine. But it was that morning after sex.

821
00:53:13,480 --> 00:53:17,920
Speaker 5: It was You're under those covers looking at the ceiling

822
00:53:18,080 --> 00:53:22,239
Speaker 5: like we should fuck again one more time just to

823
00:53:22,280 --> 00:53:24,279
Speaker 5: make sure it was that good, And then you do.

824
00:53:24,920 --> 00:53:27,920
Speaker 5: You're like, oh shit, is this forever? Then we love no,

825
00:53:28,040 --> 00:53:28,919
Speaker 5: it was just one night.

826
00:53:29,040 --> 00:53:31,520
Speaker 1: You say that earlier. If they listened to the music,

827
00:53:32,120 --> 00:53:35,400
Speaker 1: your one night could be And.

828
00:53:35,239 --> 00:53:41,440
Speaker 5: That's okay too, and that's how we made Yeah, eighteen

829
00:53:41,520 --> 00:53:43,879
Speaker 5: years from now, I shall not be responsible for any

830
00:53:43,960 --> 00:53:49,000
Speaker 5: child support incurred, nor the godmother of any of you.

831
00:53:49,800 --> 00:53:53,280
Speaker 2: Are you giving us a wind though? Like like a wind,

832
00:53:53,480 --> 00:53:58,520
Speaker 2: like you're really giving us. You're giving us the magical pitch, right,

833
00:53:58,600 --> 00:54:00,839
Speaker 2: You're giving us all of the Do we get all

834
00:54:01,040 --> 00:54:04,880
Speaker 2: the intimate details and the intricacy.

835
00:54:04,840 --> 00:54:07,440
Speaker 5: Of camera and I can I can play you? That's

836
00:54:09,000 --> 00:54:13,560
Speaker 5: ladies and gentlemen, can I give Can I say eight days?

837
00:54:13,760 --> 00:54:16,000
Speaker 5: I'm looking off camera right now, so we can say

838
00:54:16,000 --> 00:54:20,040
Speaker 5: a March date. You will be getting something and the

839
00:54:20,160 --> 00:54:24,840
Speaker 5: March something is coming and it's going to be a

840
00:54:26,560 --> 00:54:27,280
Speaker 5: cool summer.

841
00:54:29,080 --> 00:54:35,239
Speaker 1: Yeah, come on your piano, Come on man.

842
00:54:35,760 --> 00:54:36,600
Speaker 5: You know, I just.

843
00:54:39,840 --> 00:54:54,480
Speaker 2: To speak of us being superheroes our respective fields. A

844
00:54:54,520 --> 00:54:59,360
Speaker 2: lot of the music that we've sang, written and produced.

845
00:55:01,600 --> 00:55:05,759
Speaker 1: All well and good. There's a lot of music that

846
00:55:05,800 --> 00:55:09,920
Speaker 1: has inspired you to do what you do.

847
00:55:10,560 --> 00:55:11,080
Speaker 6: Mm hmmm.

848
00:55:13,360 --> 00:55:15,600
Speaker 1: So the people who watch the R and B Money podcast,

849
00:55:15,640 --> 00:55:17,360
Speaker 1: they want to know what they want to know you.

850
00:55:19,480 --> 00:55:26,279
Speaker 5: They want to know I want to know. I want to.

851
00:55:29,520 --> 00:55:43,640
Speaker 4: Top five, your top five, top five, Your top five

852
00:55:44,400 --> 00:55:46,520
Speaker 4: are being.

853
00:55:48,520 --> 00:55:49,960
Speaker 1: Already songs.

854
00:55:52,320 --> 00:55:55,760
Speaker 6: We want to know, we want this flow.

855
00:55:56,600 --> 00:55:59,440
Speaker 1: Just let it go and let us know.

856
00:56:00,239 --> 00:56:39,600
Speaker 6: He's your top face. Yeah five, it's really good.

857
00:56:39,920 --> 00:56:44,880
Speaker 1: Your top five R and B singers.

858
00:56:47,760 --> 00:56:56,680
Speaker 5: No particular order. Two of those spots will be placed,

859
00:56:59,080 --> 00:57:02,000
Speaker 5: whether they should or wouldn't be anyone's top five, but

860
00:57:02,160 --> 00:57:09,719
Speaker 5: they're the vocalists of vocalists for me, Luther Whitney, those

861
00:57:09,800 --> 00:57:13,439
Speaker 5: two spots are just taken. Yes, So now I'm down

862
00:57:13,480 --> 00:57:21,520
Speaker 5: to three. Michael Jackson takes like three versions of himself

863
00:57:21,800 --> 00:57:27,200
Speaker 5: because I love ABC Mike, I love Off the Wall, Mike,

864
00:57:27,760 --> 00:57:32,000
Speaker 5: the Dirty Diana. Mike did something else to me, So

865
00:57:32,120 --> 00:57:34,439
Speaker 5: it's almost like he's three and one.

866
00:57:35,560 --> 00:57:38,320
Speaker 1: Not almost, he absolutely is. He's him.

867
00:57:39,320 --> 00:57:41,920
Speaker 5: Can you have Casey and Jojo as one.

868
00:57:43,920 --> 00:57:44,280
Speaker 1: Want to do?

869
00:57:44,400 --> 00:57:51,720
Speaker 5: Okay? Now, for two voices to be so different and

870
00:57:52,000 --> 00:57:55,040
Speaker 5: compliment each other in such a way that made them

871
00:57:55,120 --> 00:58:00,720
Speaker 5: one hasn't been matched to this day to me, because

872
00:58:00,800 --> 00:58:06,240
Speaker 5: listening to the difference of a very sensitive, almost soprano

873
00:58:07,120 --> 00:58:11,840
Speaker 5: jojo and its pure high tone to Casey's growl, it's

874
00:58:11,880 --> 00:58:16,600
Speaker 5: almost like you'd be threatened to sing after case, but

875
00:58:16,760 --> 00:58:19,040
Speaker 5: not if you're Jojo anyone else. But you know what

876
00:58:19,080 --> 00:58:23,720
Speaker 5: I'm saying, like, and it's only because it's been recently,

877
00:58:23,880 --> 00:58:28,320
Speaker 5: like Donny Hathaway, and it took me a couple of

878
00:58:29,440 --> 00:58:32,280
Speaker 5: different people that would have been in my top five.

879
00:58:32,960 --> 00:58:34,520
Speaker 5: But someday we'll all be free.

880
00:58:36,280 --> 00:58:36,880
Speaker 1: That song.

881
00:58:38,280 --> 00:58:40,320
Speaker 5: I don't think I could not cry if I hear it,

882
00:58:42,160 --> 00:58:45,240
Speaker 5: And it's the power in a vocal being able to

883
00:58:45,320 --> 00:58:50,480
Speaker 5: do that to me. And five is unfair because it

884
00:58:51,160 --> 00:58:55,080
Speaker 5: means I don't get to mention who currently holds spots,

885
00:58:55,880 --> 00:58:59,440
Speaker 5: whether that's Jasmine Sullivan, you know what I mean, Like

886
00:58:59,560 --> 00:59:07,200
Speaker 5: I'm watching she can do with her vocal, Tina Marie,

887
00:59:07,360 --> 00:59:10,920
Speaker 5: what's her vocal? Something like this?

888
00:59:11,760 --> 00:59:12,640
Speaker 6: But this is all.

889
00:59:16,360 --> 00:59:20,240
Speaker 5: Stevie Wonder. It's not fair the stories that he can

890
00:59:20,360 --> 00:59:23,960
Speaker 5: tell with his tongue before even lyrics come into it

891
00:59:24,040 --> 00:59:26,640
Speaker 5: and claims he can't see. We know that you can see.

892
00:59:26,680 --> 00:59:31,640
Speaker 7: It's fine, You're going it okay because I'm not getting

893
00:59:31,680 --> 00:59:34,240
Speaker 7: in that you in tank. I'm not getting in that.

894
00:59:34,480 --> 00:59:36,640
Speaker 1: Agree. I didn't. I didn't agree.

895
00:59:43,600 --> 00:59:45,720
Speaker 5: I see us in the park, do you.

896
00:59:48,240 --> 00:59:52,520
Speaker 1: Man? I don't want to smoke Steve. I don't want

897
00:59:52,560 --> 00:59:56,000
Speaker 1: to I love Steve from when I heard Stevie flak.

898
00:59:56,120 --> 01:00:00,240
Speaker 1: I'm not gonna do this with you. Watch cat do

899
01:00:00,400 --> 01:00:01,360
Speaker 1: switch cap.

900
01:00:04,560 --> 01:00:08,200
Speaker 5: It's not fair. How dead. There's a ribbon in the

901
01:00:08,320 --> 01:00:09,439
Speaker 5: sky for our love?

902
01:00:09,880 --> 01:00:10,320
Speaker 6: Is there.

903
01:00:12,840 --> 01:00:12,880
Speaker 4: Is?

904
01:00:12,960 --> 01:00:13,080
Speaker 2: There?

905
01:00:15,160 --> 01:00:17,000
Speaker 1: Is it up there for our lives. I've actually never

906
01:00:17,120 --> 01:00:18,919
Speaker 1: seen one in the sky.

907
01:00:19,440 --> 01:00:20,440
Speaker 6: So he did.

908
01:00:23,200 --> 01:00:26,800
Speaker 1: He has? That was a lot. I think I left handed.

909
01:00:31,480 --> 01:00:31,720
Speaker 6: Wade.

910
01:00:31,800 --> 01:00:36,120
Speaker 1: Okay, here we go, get your top five R and

911
01:00:36,240 --> 01:00:37,120
Speaker 1: B songs.

912
01:00:39,280 --> 01:00:44,200
Speaker 5: Five Okay, because we didn't say that, because we didn't

913
01:00:44,240 --> 01:00:44,480
Speaker 5: need to.

914
01:00:47,920 --> 01:00:48,200
Speaker 6: Okay.

915
01:00:50,720 --> 01:00:52,720
Speaker 5: I want to spend the night by Bill Withers.

916
01:00:53,480 --> 01:00:55,080
Speaker 1: We're going to be weathers.

917
01:00:56,400 --> 01:00:56,440
Speaker 8: MA.

918
01:00:57,000 --> 01:01:00,560
Speaker 5: I want Anthony Hamilton to cover and feel like you

919
01:01:00,640 --> 01:01:01,440
Speaker 5: get a Grammy.

920
01:01:04,080 --> 01:01:04,400
Speaker 3: You heard.

921
01:01:06,040 --> 01:01:11,240
Speaker 5: That's one of my favorite songs, the breakup song by

922
01:01:11,360 --> 01:01:12,600
Speaker 5: me mm hmm.

923
01:01:12,640 --> 01:01:17,000
Speaker 7: Okay, come on mine as well, because like get publishing

924
01:01:17,080 --> 01:01:18,920
Speaker 7: for all your niggas out there making y'all playlist.

925
01:01:19,400 --> 01:01:23,680
Speaker 5: The breakup song was like, listen to that ship I

926
01:01:23,840 --> 01:01:24,400
Speaker 5: came from.

927
01:01:24,280 --> 01:01:26,479
Speaker 1: A Really, that's your favorite song of yours?

928
01:01:26,840 --> 01:01:29,360
Speaker 5: No, I have way more than that. But we're talking

929
01:01:29,400 --> 01:01:32,880
Speaker 5: about you said, what if I was doing with songs

930
01:01:32,920 --> 01:01:34,800
Speaker 5: like you? Wrote that ship melodically into that.

931
01:01:35,600 --> 01:01:37,400
Speaker 1: That's who you.

932
01:01:38,520 --> 01:01:45,040
Speaker 5: It's in there. I can't help it. Thank you Stevie

933
01:01:46,120 --> 01:01:47,960
Speaker 5: to give that to Mike looking out for the bro.

934
01:01:48,680 --> 01:01:50,120
Speaker 5: Definitely looked out for the bro.

935
01:01:50,960 --> 01:01:52,760
Speaker 1: Mm hmmm. What a joint to.

936
01:01:56,320 --> 01:01:59,360
Speaker 5: Say with this five the bad album?

937
01:02:00,160 --> 01:02:00,600
Speaker 1: Mm hmm.

938
01:02:00,960 --> 01:02:06,240
Speaker 5: Can we have that as like one entire album off

939
01:02:06,280 --> 01:02:14,960
Speaker 5: the respects I Am album ever creates thriller? Okay, fine,

940
01:02:15,000 --> 01:02:17,160
Speaker 5: you're doing what you're doing still to this day to

941
01:02:17,320 --> 01:02:19,960
Speaker 5: follow that ship up and have the nerve to say

942
01:02:21,240 --> 01:02:25,480
Speaker 5: there's no skips on there. That's one whole thing. Remember

943
01:02:25,520 --> 01:02:36,360
Speaker 5: the time is not okay forever, my lady Joy because

944
01:02:36,400 --> 01:02:42,480
Speaker 5: they were four very young black men with Dr Martin's

945
01:02:42,560 --> 01:02:51,200
Speaker 5: on and like see through the zipper Johns. So you're

946
01:02:51,280 --> 01:02:55,360
Speaker 5: having my baby and it means so much to me.

947
01:02:55,640 --> 01:02:59,720
Speaker 5: That is nothing more pressure, you know what I'm saying.

948
01:03:00,240 --> 01:03:04,760
Speaker 5: It's the narrative that we were giving nineties black men

949
01:03:05,800 --> 01:03:09,440
Speaker 5: to love and support the family bond.

950
01:03:11,080 --> 01:03:12,840
Speaker 1: I'll be talking in my accent after that.

951
01:03:14,040 --> 01:03:14,959
Speaker 5: You've got the rest of your.

952
01:03:16,960 --> 01:03:22,120
Speaker 1: I've seen too many episodes of T Boy Gangs of London.

953
01:03:23,320 --> 01:03:25,600
Speaker 5: That's a good one. I've lived in America for like

954
01:03:25,800 --> 01:03:29,600
Speaker 5: twenty plus years, so if I'm around you guys, I'm Philadelphia.

955
01:03:35,680 --> 01:03:42,880
Speaker 5: The camera you know what, see kind of.

956
01:03:45,160 --> 01:03:47,000
Speaker 1: One more second? Can we get it?

957
01:03:47,080 --> 01:03:47,240
Speaker 4: Jack?

958
01:03:47,960 --> 01:03:50,800
Speaker 1: We need it, We get it, We need it. I

959
01:03:50,800 --> 01:03:55,080
Speaker 1: ain't saying no names. I ain't saying no names, no names.

960
01:03:56,240 --> 01:03:59,880
Speaker 6: Name what you.

961
01:04:14,080 --> 01:04:14,680
Speaker 5: Five facts?

962
01:04:14,880 --> 01:04:20,520
Speaker 1: Ye m m perfect time and perfect time and very

963
01:04:20,560 --> 01:04:24,600
Speaker 1: special segment of the show's card. I ain't saying no names.

964
01:04:25,680 --> 01:04:28,120
Speaker 7: Will you give us a story funny or fucked up?

965
01:04:29,360 --> 01:04:34,360
Speaker 7: Funny and fucked up only route to the game. You

966
01:04:34,400 --> 01:04:37,600
Speaker 7: can't say no names. I mean it could be overseas,

967
01:04:37,760 --> 01:04:43,680
Speaker 7: middle c under the sea, wherever you want to be. Oh,

968
01:04:44,000 --> 01:04:47,280
Speaker 7: you got to do just tell the story without saying names.

969
01:04:49,480 --> 01:05:02,320
Speaker 5: Okay. There was this one time, oh yeah, on tour

970
01:05:03,200 --> 01:05:17,360
Speaker 5: and there was a day off in Amsterdam, so said

971
01:05:17,600 --> 01:05:22,880
Speaker 5: artists decided to partake in what you do when you're

972
01:05:22,920 --> 01:05:29,040
Speaker 5: in Amsterdam, which was get high, like really high, like

973
01:05:29,960 --> 01:05:33,360
Speaker 5: spark up in the hotel. The concierge lit you up

974
01:05:33,480 --> 01:05:37,840
Speaker 5: high and it's you just checked in. It's noon, and

975
01:05:41,600 --> 01:05:50,200
Speaker 5: that artist proceeded to smoke go to a cafe across

976
01:05:50,240 --> 01:05:56,480
Speaker 5: the street. There was a menu full of delicious treats

977
01:05:56,600 --> 01:06:01,800
Speaker 5: like marshmallowsmores and cookie and stuff like that. And it

978
01:06:02,840 --> 01:06:03,840
Speaker 5: infused with.

979
01:06:05,160 --> 01:06:06,760
Speaker 1: More with more of it.

980
01:06:06,960 --> 01:06:15,040
Speaker 5: Yeah, yeah, yeah, Amsterdam. So of course they picked the marshmallow.

981
01:06:15,560 --> 01:06:19,560
Speaker 5: Small one took that to the face and they were

982
01:06:20,680 --> 01:06:24,680
Speaker 5: even more high. So on this day off, before you

983
01:06:24,840 --> 01:06:27,800
Speaker 5: know it, sun up, sun goes down. What happens in

984
01:06:27,880 --> 01:06:33,919
Speaker 5: Amsterdam red light district. So that artist in the band

985
01:06:34,040 --> 01:06:37,160
Speaker 5: decide to go down there and see what all the

986
01:06:37,240 --> 01:06:40,800
Speaker 5: fuss is about. So in doing so, you look through

987
01:06:40,880 --> 01:06:44,160
Speaker 5: a couple of those glass windows. It's some sexy shit

988
01:06:44,880 --> 01:06:46,360
Speaker 5: and you find yourself.

989
01:06:46,960 --> 01:06:47,560
Speaker 6: In there.

990
01:06:49,600 --> 01:06:56,800
Speaker 5: And you're high. So this artist goes in there, gets

991
01:06:56,920 --> 01:07:03,280
Speaker 5: up to whatever, comes back outside, finds a sex shop,

992
01:07:04,240 --> 01:07:08,320
Speaker 5: goes in the sex shop and buys a sex toy.

993
01:07:09,280 --> 01:07:13,240
Speaker 5: So this artist then decides that it would be a

994
01:07:13,320 --> 01:07:18,600
Speaker 5: good idea to go back to the hotel and try

995
01:07:18,680 --> 01:07:22,280
Speaker 5: this thing out. It was from Amsterdam, might be a

996
01:07:22,320 --> 01:07:30,040
Speaker 5: different feeling, I don't know. So lobby call for the

997
01:07:30,120 --> 01:07:34,400
Speaker 5: departure of the tour bus to take that artist to

998
01:07:34,600 --> 01:07:37,360
Speaker 5: the next city was coming up, so they decided to

999
01:07:37,480 --> 01:07:41,800
Speaker 5: take all of this stuff out the room, take the

1000
01:07:41,920 --> 01:07:44,800
Speaker 5: sex toy, get on the bus before anyone else gets

1001
01:07:44,960 --> 01:07:50,440
Speaker 5: on this actual bus, and partake there so they wouldn't

1002
01:07:50,480 --> 01:07:56,920
Speaker 5: pass out in the room. And you know, miss lobby

1003
01:07:57,000 --> 01:08:00,400
Speaker 5: call made sense to that artist at the time. So

1004
01:08:01,880 --> 01:08:04,080
Speaker 5: get all the stuff, get the code of the bus,

1005
01:08:04,720 --> 01:08:08,000
Speaker 5: put the bags, you know where they're supposed to be.

1006
01:08:09,000 --> 01:08:12,160
Speaker 5: Get in the bunk. Now, if you've been on tour,

1007
01:08:13,040 --> 01:08:17,240
Speaker 5: you know when the generator is not on, pitch black

1008
01:08:17,280 --> 01:08:21,400
Speaker 5: on them buses. Pitch can't see shit. But work out

1009
01:08:22,160 --> 01:08:26,160
Speaker 5: one bunk, two bunk. Feel your way down to the bottom.

1010
01:08:26,320 --> 01:08:30,880
Speaker 5: You're in the middle. Bottom bunk knows that artist, not

1011
01:08:31,040 --> 01:08:33,800
Speaker 5: the one on the right, the one on the left.

1012
01:08:35,680 --> 01:08:40,200
Speaker 5: I told them to get in that bunk. So the

1013
01:08:40,400 --> 01:08:44,640
Speaker 5: artists got in the bunk that belonged to them, or

1014
01:08:44,720 --> 01:08:53,040
Speaker 5: so they thought. Batteries were included, and they proceed to

1015
01:08:53,240 --> 01:08:59,880
Speaker 5: go to town with this toy for however long it

1016
01:09:00,200 --> 01:09:06,439
Speaker 5: took to not only forget what actually happened, but wake

1017
01:09:06,560 --> 01:09:09,679
Speaker 5: up the following morning as the bus is in motion.

1018
01:09:11,160 --> 01:09:18,040
Speaker 5: So whatever happened in between going gazoo has just done

1019
01:09:18,080 --> 01:09:20,240
Speaker 5: a don't recall.

1020
01:09:20,479 --> 01:09:21,160
Speaker 1: What the fuck?

1021
01:09:22,040 --> 01:09:26,080
Speaker 5: The artist then woke up while the bus is moving.

1022
01:09:27,120 --> 01:09:31,000
Speaker 5: So the bus is moving, That means everybody's on the bus. Yeah,

1023
01:09:31,880 --> 01:09:36,000
Speaker 5: where the fuck is the fucking sex toys? This artist

1024
01:09:36,040 --> 01:09:41,040
Speaker 5: thinking they go to what did they say, They went

1025
01:09:41,160 --> 01:09:46,759
Speaker 5: to lean up to go it's still in between said thighs,

1026
01:09:47,080 --> 01:09:51,040
Speaker 5: where it previously allowed the artists to pass out, and

1027
01:09:51,200 --> 01:09:57,640
Speaker 5: it's still on. It switches on because the artist is

1028
01:09:57,760 --> 01:10:01,360
Speaker 5: now having what feels like a molt support orgasm while

1029
01:10:01,479 --> 01:10:04,880
Speaker 5: banging their head on the top of the other bunk,

1030
01:10:05,680 --> 01:10:10,040
Speaker 5: trying to pretend that nothing's happening, that they've lost something

1031
01:10:10,200 --> 01:10:14,240
Speaker 5: or you can't find you can hear commotion, what the

1032
01:10:14,320 --> 01:10:17,880
Speaker 5: fuck is going on? Finally find the switch. It's off.

1033
01:10:19,560 --> 01:10:23,240
Speaker 5: They look out the bunk. Everyone's kind of you know,

1034
01:10:23,360 --> 01:10:26,400
Speaker 5: rustling curtains to like seeing what the fuck has happened?

1035
01:10:26,760 --> 01:10:33,800
Speaker 5: And the sex toy packaging. It's just everywhere, like you know,

1036
01:10:33,960 --> 01:10:35,719
Speaker 5: that plastic that you can't.

1037
01:10:37,240 --> 01:10:37,400
Speaker 6: Get.

1038
01:10:40,320 --> 01:10:42,320
Speaker 5: Why the did I get this ship? I don't even

1039
01:10:42,360 --> 01:10:44,680
Speaker 5: know how you can't. There's no scissors for it. You're

1040
01:10:44,840 --> 01:10:51,679
Speaker 5: breaking ship. And I think that artist was talked about

1041
01:10:51,760 --> 01:10:57,599
Speaker 5: for the rest of the tour, and that's the story.

1042
01:10:57,840 --> 01:10:59,759
Speaker 5: I'm sticking to it. No names.

1043
01:11:00,320 --> 01:11:06,800
Speaker 1: Wow, they really wanted it. Whoever was could not wait.

1044
01:11:08,080 --> 01:11:10,040
Speaker 1: I just couldn't to have it.

1045
01:11:10,600 --> 01:11:11,360
Speaker 6: A bunch of them.

1046
01:11:12,840 --> 01:11:27,960
Speaker 5: It was amazing. So they told me Amsterdam days off

1047
01:11:28,000 --> 01:11:30,320
Speaker 5: in Amsterdam. It's a song Drake I'm telling you now.

1048
01:11:31,800 --> 01:11:36,360
Speaker 1: Of Asterdam. I just want to it's a great way

1049
01:11:36,400 --> 01:11:36,960
Speaker 1: to wrap it up.

1050
01:11:37,200 --> 01:11:39,320
Speaker 2: First of all, thank you so much for coming. You

1051
01:11:39,439 --> 01:11:42,120
Speaker 2: know what I mean, you are you know we consider

1052
01:11:42,160 --> 01:11:47,839
Speaker 2: your family and but your time, your energy, your artistry,

1053
01:11:49,560 --> 01:11:52,000
Speaker 2: all of these things mean something to us, and so

1054
01:11:52,200 --> 01:11:57,679
Speaker 2: we value your presence and we value march.

1055
01:11:59,160 --> 01:12:04,280
Speaker 5: Yeah said one night stands only that's what that's what

1056
01:12:05,360 --> 01:12:08,639
Speaker 5: they turn into forevers. And then you're welcome.

1057
01:12:08,920 --> 01:12:10,960
Speaker 1: You're welcome. I listen.

1058
01:12:11,040 --> 01:12:13,880
Speaker 2: Sometimes you got to experience what the experience is going

1059
01:12:13,960 --> 01:12:15,559
Speaker 2: to be like in order to know if you want

1060
01:12:15,600 --> 01:12:21,120
Speaker 2: to continue experiencing the Thanks so, thank you, We appreciate you.

1061
01:12:21,640 --> 01:12:28,200
Speaker 2: This is here for you anytime, any any anytime, and and.

1062
01:12:28,280 --> 01:12:33,599
Speaker 1: Thank you you My family, ladies and gentlemen.

1063
01:12:34,040 --> 01:12:38,080
Speaker 2: Take and this is the Army Money podcast, the authority

1064
01:12:38,479 --> 01:12:44,960
Speaker 2: on all things R and B and she is her

1065
01:12:46,240 --> 01:12:46,959
Speaker 2: my shirt.

1066
01:12:47,680 --> 01:12:59,840
Speaker 6: Roses come on from the Womb Money.

1067
01:13:00,960 --> 01:13:02,760
Speaker 7: R and B Money is a production of the Black

1068
01:13:02,800 --> 01:13:07,560
Speaker 7: Effect podcast Network. For more podcasts from iHeartRadio, visit the

1069
01:13:07,680 --> 01:13:11,479
Speaker 7: iHeartRadio app, Apple Podcasts, or wherever you listen to your

1070
01:13:11,560 --> 01:13:15,400
Speaker 7: favorite shows. Don't forget to subscribe to and rate our show,

1071
01:13:15,760 --> 01:13:18,360
Speaker 7: and you can connect with us on social media at

1072
01:13:18,439 --> 01:13:22,640
Speaker 7: JY Valentine and at the Real Tank. For the extended episode,

1073
01:13:22,800 --> 01:13:26,960
Speaker 7: subscribe to YouTube, dot com, Forward, slash r, and b

1074
01:13:27,120 --> 01:13:27,360
Speaker 7: Money