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