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Speaker 1: R and D Money. Thanks. We are the authorities on

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Speaker 1: R and D, Ladies and gentlemen.

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Speaker 2: My name is Tank and this is the R and

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Speaker 2: B Money Podcast, the authority on all things are indeed,

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Speaker 2: get out now, get out, go, get through the chopper.

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Speaker 3: My friend is here and now ye done a lot

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Speaker 3: of work together, a lot a lot of work, a

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Speaker 3: lot of good times. What studio outside of studio? Hey

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Speaker 3: ball following lifting weights, Hey, ladies and gentlemen. He is

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Speaker 3: a family member. I'm trying to do a really cool introduction.

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Speaker 3: But this is this, This is my nigga. You know, listen,

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Speaker 3: we thought all that out to.

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Speaker 2: My friend and your friend, y'all, mister Tony Dixon, my dog,

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Speaker 2: my dog, sir.

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Speaker 1: You niggas know what this is. Yeah, are you feeling, brother?

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Speaker 1: I'm great man. You know I love being with y'all. Brother.

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Speaker 2: I mean, you know, well, we always talk off the microphone,

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Speaker 2: you know, we always working party, you know, outside of

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Speaker 2: the camera work. We thought it was important that the people,

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Speaker 2: you know, people got to see it.

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Speaker 1: And feel it and know what it is like you

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Speaker 1: saying what it is.

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Speaker 2: You know what I'm saying. You don't do a whole

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Speaker 2: lot of talking. You know, you don't do a whole

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Speaker 2: lot of uh, propagating, imaginate.

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Speaker 1: It works somehow. Uh, it's it's it's.

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Speaker 4: Not getting promoting and it's.

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Speaker 1: All roller one propagating.

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Speaker 4: Yeah, as he reads it off, the problem, I don't know.

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Speaker 2: You don't do none of that, none of that. You

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Speaker 2: just get to the chicken.

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Speaker 4: What the work itself, the work what they say, the

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Speaker 4: work sell itself, and Tony Dixon, you are a product

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Speaker 4: of work selling itself.

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Speaker 2: They ain't have to say, you ain't have to say

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Speaker 2: nothing to be in these rooms, in these sessions, in

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Speaker 2: these places, they say, well, why don't we get Tony Dixon?

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Speaker 1: Yeah, thank you, brother, because he can do X y

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Speaker 1: z an x x t u v W. You know

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Speaker 1: he can't spell propagating, propagated, propagate the words I need

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Speaker 1: n E y sandwich which which there's gonna be your time.

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Speaker 4: Whatever twenty five plus years yeah, man of getting that

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Speaker 4: phone call, Yes, sir, yes, sir man, congratulations.

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Speaker 1: Thank you Bro, Thank you man. I make a conscious

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Speaker 1: effort to always do my best to give God credit

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Speaker 1: worse to Bro. And I know people more talented than me,

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Speaker 1: more gifted than me, people that I assume would be

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Speaker 1: doing this longer and all those things. And I always

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Speaker 1: make sure that I give him credit for everything. The

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Speaker 1: rooms he's put me in, the friends he's given me,

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Speaker 1: you know, because some of the things I've gotten to do.

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Speaker 1: You can't script this stuff, bro, like you couldn't. I

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Speaker 1: couldn't have imagined in my wild streams that I get

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Speaker 1: to work with some of the people I've worked with

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Speaker 1: and built the friendships and relationships that I've gotten because

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Speaker 1: of this thing called music. Bro.

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Speaker 4: We're gonna talk about all that today, Yeah, on today,

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Speaker 4: on today, today, He's gonna talk about it, Bro, because

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Speaker 4: you have been instrumental in our lives and our careers.

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Speaker 4: Thank you, me and this man, bro like you. We

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Speaker 4: can't tell our story without Tony.

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Speaker 1: Thank you. Man. It does it doesn't.

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Speaker 4: It does not happen without you know what I'm saying,

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Speaker 4: Like nigga, i'mna kick it off.

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Speaker 1: She worked trouble, man, Yes, sir, thank you.

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Speaker 4: They run up on me about all the time when

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Speaker 4: a young nigga run up on me and said, man,

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Speaker 4: my mom ain't gonna believe this man.

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Speaker 2: You she worked in trouble, yes, sir, you know, yes,

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Speaker 2: you worked in trouble.

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Speaker 1: I don't know how to even make some Yeah, but bro.

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Speaker 4: Like the things that you have been a part of

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Speaker 4: in our lives, man, are really special.

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Speaker 1: And I just wanted to get I want to start there.

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Speaker 4: We're gonna get back to there, but let's let's let's

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Speaker 4: get let's start this thing off in Denver, Yes, sir,

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Speaker 4: because one you one of the only niggas I know

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Speaker 4: from Denver.

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Speaker 1: You and Big John. Yeah, like two people I know

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Speaker 1: from Denver. Chauncey. Yeah, Chauncey is my dog. We've been

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Speaker 1: for instance, we were fourteen years old. No way, Yeah,

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Speaker 1: I'm no Chancey most of my life. Man. That's wow. Okay, okay, yeah,

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Speaker 1: so I have so do all the black people on

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Speaker 1: DIN know each other? No, there's way more than you think.

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Speaker 1: That's the problem. Like, no, no, no, I went to Denver oncet.

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Speaker 1: I just said, I didn't. I didn't. I didn't know.

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Speaker 1: Oh yeah, there was a lot.

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Speaker 2: I went to Denver one time and did the show

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Speaker 2: and they were getting active.

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Speaker 1: Yeah. I was like, wow, it was so violent. Yeah.

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Speaker 4: Yeah, shout out to my brother. And I grew with

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Speaker 4: Lenny Walls. He got drafted that my first time. I

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Speaker 4: was like, oh yeah, it's real. And y'all have a

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Speaker 4: papa doz.

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Speaker 1: No question, I'll be back, no question. This place is

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Speaker 1: this is a good place. Yeah, we get active, Yeah, yeah,

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Speaker 1: it's yeah, man, it's Denver actually was really important actually too.

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Speaker 1: There's so many people in Denver that actually were important

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Speaker 1: to me even getting here and getting they were instrumental

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Speaker 1: in my career even happened. And a lot of people

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Speaker 1: don't know that. I'd love to kind of shout out

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Speaker 1: is where you as? Yeah, but like Big John was,

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Speaker 1: he's my first publisher. But I know Big John since

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Speaker 1: I was fourteen, back in the day. People from Denver

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Speaker 1: and I used to dance back then. So hold on,

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Speaker 1: hold on, here we go with this ship.

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Speaker 2: There we go, Here we go. You're always trying to

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Speaker 2: step into turning the CB. Everybody trying to friend in

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Speaker 2: fringe on my man. You know what I'm saying, my footwork,

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Speaker 2: you know, yeah.

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Speaker 1: That was a problem. Whatever problem, you know whatever. Okay,

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Speaker 1: but you know what three niggas Smith smile, Yes, sir,

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Speaker 1: I ain't gonna forget my niggas. Don't know he could

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Speaker 1: say to the R and B he was an R

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Speaker 1: and B group. Want anybody know that?

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Speaker 4: No know, now, Okay, get back to the storm work though,

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Speaker 4: So back to your footwork.

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Speaker 1: Yeah, I was a problem. There's that's my mom has

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Speaker 1: the footage locked up in her the crib. But yeah, mama,

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Speaker 1: we need that, we needed We definitely need to refer

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Speaker 1: to this stuff. Man. Yeah, I used to in the pod. Yeah,

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Speaker 1: I used to dance quite a bit. And I've done

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Speaker 1: stuff where I got to do stuff with hammer and

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Speaker 1: all kinds of stuff. Back then ship with no Hammer

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Speaker 1: cut it off, Tony Dixon and m c heaven cut

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Speaker 1: it off. What did you do with him? I danced

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Speaker 1: for what bro Like we opened for his tour. It

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Speaker 1: was bro it goes deep, Bro. We did some stuff

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Speaker 1: back there. What's the name of the dance crew? Is

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Speaker 1: it a dance crew? It was my best friend William

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Speaker 1: at the time. It was Romeo on ecstasy, see propagating.

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Speaker 1: He didn't want to tell us that. He didn't want

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Speaker 1: to tell us about Romeo and ecstasy. Whoa that was

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Speaker 1: me and I had it written in the back of

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Speaker 1: my head like this it's a whole thing. Yeah, I

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Speaker 1: have to find I'm going to find out this man

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Speaker 1: was a stripper type. Oh my gosh. Yeah, so yeah,

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Speaker 1: I used to dance and we don't get past the dancing. No. Yeah,

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Speaker 1: So I danced, and that was kind of my intro

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Speaker 1: to music. But it was I didn't know that producing

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Speaker 1: was something that you do as a career, and you know,

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Speaker 1: I just thought it was a cool hobby. Fast forward,

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Speaker 1: I kind of I really got into the music side

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Speaker 1: of it, or creating music off of something that was

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Speaker 1: considered really a tragedy. I lost my father. My father

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Speaker 1: passed in a car accident, and I didn't For me,

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Speaker 1: it was that blurry part of life where you don't

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Speaker 1: know what you want to do and become the man

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Speaker 1: of the house and all these things. And it just

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Speaker 1: so happened that my uncle had some keyboards that he

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Speaker 1: would bring to the house because he ended up moving

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Speaker 1: in with us and help him take care of me

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Speaker 1: and my brother. And I once I found that in

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Speaker 1: Sonic EPs sixteen plus, you couldn't yeah, bro, you could

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Speaker 1: not tear me away from that thing. So I did

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Speaker 1: it all the time, all day. It was times where

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Speaker 1: I'd get up in the morning and I'd start creating

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Speaker 1: and I look up and it was dark and you

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Speaker 1: just you know, and anybody that doesn't you know, you've

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Speaker 1: been through that stage. It's like you just do it

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Speaker 1: and you lose all sense of time and everything grow.

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Speaker 1: And so I did it all the time, and I

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Speaker 1: got really good, really fast, only because that's all I did.

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Speaker 1: There were days I wouldn't eat. Yeah, say, I didn't

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Speaker 1: know it, didn't miss it. Yeah, Like my.

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Speaker 2: Mom would come back, I guess, come back from work.

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Speaker 1: I guess, yeah, what say same? I didn't know. I

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Speaker 1: didn't know.

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Speaker 2: I was up so early in my headphones and in

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Speaker 2: making these beats, and my mom would come in, come

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Speaker 2: in in the evening like, yes, you eat, Yeah, let

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Speaker 2: me eating a minute.

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Speaker 1: Yeah, I don't know what time is it, Yeah, eight o'clock. Same,

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Speaker 1: you don't say. I was like, I was like one

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Speaker 1: hundred and fifty pounds. Yeah, I'm just making beats yep,

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Speaker 1: saying same, constant creativity. I had to have it. Yeah

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Speaker 1: that's it, dude.

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Speaker 2: I'd wake up because I'm I sleep next to my

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Speaker 2: my my keyboard saying, so I would hear something in

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Speaker 2: the middle of the night.

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Speaker 1: Yep, let me go. Yeah that's wow. Same. Same. And

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Speaker 1: I did it all the time. It was nerves. Yeah,

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Speaker 1: I didn't care and did not care. That's always that's

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Speaker 1: all we do, and you get to it. It was

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Speaker 1: just addictive, man, and the fact that any emotion you

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Speaker 1: was feeling, if you couldn't communicate it, you could create it. Yeah.

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Speaker 1: And you know, if it was frustration, you could take

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Speaker 1: it out on the keyboard. If love and drums bring frustration, yeah,

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Speaker 1: let me take it out on whatever it. And and

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Speaker 1: so I just I did it all the time. And

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Speaker 1: same thing with like learning chords and stuff, because I

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Speaker 1: started on drums in church, so that wasn't even my

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Speaker 1: first keyboard wasn't my first instrument. But I once when

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Speaker 1: I did it all the time, I pull out my

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Speaker 1: chords and I learned chord note by note, and then

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Speaker 1: you realize that, especially in commercial music, one chord kind

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Speaker 1: of leads to another, and then you start realizing that

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Speaker 1: a bunch of songs kind of have similar chords and

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Speaker 1: chord progressions, and you just start building your own thing.

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Speaker 1: But I think you have to kind of start with music.

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Speaker 1: You have to start with imitation first, and then you

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Speaker 1: go into who were you in the beginning, Oh, I

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Speaker 1: was Jane Lewis in l A and Face Yeah all day.

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Speaker 1: So that's a great Yeah, Yeah, that's how I learned.

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Speaker 1: I would just take any of their records and I

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Speaker 1: would just and it was great for me as a

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Speaker 1: producer because it taught me how to dissect the music.

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Speaker 1: I would listen, you know, you create the music or whatever,

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Speaker 1: and it's it's one thing to learn the chords chords,

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Speaker 1: but it's another thing to like pick up the nuances

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Speaker 1: of the music, like what is that sound underneath there

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Speaker 1: that I don't quite understand what that is? Or that

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Speaker 1: that lead sound? Oh, that's what that is. And yeah,

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Speaker 1: and so I learned to I just learned how to

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Speaker 1: dissect music like that man. And so I did it again,

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Speaker 1: Like I said, I did it all the time, and

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Speaker 1: it just became the thing that I just fell in

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Speaker 1: love with and you couldn't pull me away from it.

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Speaker 1: And it was like the woman that was just going

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Speaker 1: to stick with me the rest of my life, you

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Speaker 1: know what I mean. So that's that's what I did, bro.

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Speaker 2: But it soundly you could sample, Yeah, that's that's how

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Speaker 2: I got sample. So on mine, I couldn't sample. Oh,

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Speaker 2: so I had to, like I had to try to

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Speaker 2: doctor the sounds that were in it to try and fit,

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Speaker 2: you know, kind of fit into the space sonically that

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Speaker 2: I needed it too.

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Speaker 1: I wanted because my first was.

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Speaker 2: Davante Okay, yeah, uh huh, and then his baby face

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Speaker 2: and then it's timberling.

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Speaker 1: Yeah, yeah, got it. So it's like I wasn't saying yeah.

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Speaker 2: But what I could do is I knew just how

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Speaker 2: to manipulate the drums just a little bit and tweak

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Speaker 2: them frequencies just to make the snare sound like and

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Speaker 2: and I and I only had nine tracks.

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Speaker 1: Do you have some of those beasts? I'm sure he does.

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Speaker 2: I have the keyboard sitting at the house I still

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Speaker 2: have with the sounds and.

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Speaker 1: Everything and everything. Yeah, everything I already knew. Yeah, you

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Speaker 1: know he's got it. He still has iPod, Yes he does. Yes, sir.

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Speaker 1: You on the other hand, yeah, you know what I mean.

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Speaker 1: The only thing I care.

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Speaker 4: I know you got about one hundred storages that you

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Speaker 4: never went back to from a.

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Speaker 2: Sentimental standpoint, you know, I'm not like super sentimental in

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Speaker 2: terms of holding things right. But the only thing I

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Speaker 2: kept it was that keyboard. That's the first one. First one,

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Speaker 2: Ye have myboard and my first It's like it's like, yeah,

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Speaker 2: my mama was paying a note for me because sometimes

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Speaker 2: my church gigs wouldn't wouldn't.

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Speaker 1: Cover the note. So how much were those keyboards back then? Thirteen? Yeah,

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Speaker 1: teenager got it? Yeah in church too.

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Speaker 2: I get the church with it was a p V

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Speaker 2: D P M four while everybody else was playing.

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Speaker 1: Cord you know what I'm saying? On next level? And

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Speaker 1: I was and it was like, what's that? Yeah? I

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Speaker 1: was like, this said, and you carrying that around church? Church?

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Speaker 2: I got a p V what's my other keyboard? X

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Speaker 2: P eighty yep, I remember the XP eight and.

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Speaker 1: A double tears stand. Oh you was one of them, okay,

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Speaker 1: am oh.

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Speaker 2: And I was carrying a PV AMP picked three hundred

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Speaker 2: and I'm carrying.

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Speaker 1: All of it in one one one rock. Have you

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Speaker 1: seen the viral video of him? Yes, of course she

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Speaker 1: isn't playing the piano. Yeah, I said it to him.

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Speaker 1: I was like, is this He's having the time of

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Speaker 1: his life. No worries in the world, have no idea

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Speaker 1: of being stolen.

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Speaker 5: From it didn't even matters for the Lord.

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Speaker 1: For the Lord, So I thought, when we already that

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Speaker 1: was your last time.

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Speaker 4: They didn't rob my nigga out.

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Speaker 1: They put the hands and they tried o.

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Speaker 4: Okay, so you're in the room. Yes, sir, you're perfecting

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Speaker 4: your craft. Yes, sir, you're obviously playing in church in

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Speaker 4: your mind. When does it click for you that says, oh,

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Speaker 4: I can make this a career for myself in Denver?

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Speaker 1: Or does it? Does it? Does that start in Denver? No,

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Speaker 1: it actually starts when I got to college. So I

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Speaker 1: went to Hampton. Come on, man, my brother graduated.

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Speaker 2: Ye man, Yes, sir, you've done so much that I

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Speaker 2: haven't done, so much better than.

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Speaker 1: I didn't know. You were this good. God, we're good.

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Speaker 1: This Yeah, So fast forward, I get to by the

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Speaker 1: grace of God, I get to Hampton and I take

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Speaker 1: all my gear with me, and that's when I realized

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Speaker 1: this could be a real thing. And the reason is

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Speaker 1: because in Virginia at that time, especially Teddy was it.

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Speaker 1: So Teddy Roley was the guy. He was God. Everybody

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Speaker 1: wanted to be around him, and and so for me,

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Speaker 1: I got to meet him first. He was the first,

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Speaker 1: my first real big intro to the industry because Black

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Speaker 1: Street and Guy and then used to rehearse at our

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Speaker 1: music hall, and so I got word that he was

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Speaker 1: around and he'd be there at night and you know, rehearsing.

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Speaker 1: So I stuck it out one night and great place

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Speaker 1: to rehearse college, right, you know what I mean? You

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Speaker 1: know what I mean? So yeah, it was that. So yeah,

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Speaker 1: So that's when I realized it's like, okay, me watching

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Speaker 1: him made me see like this could actually be a

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Speaker 1: viable career. Because my mindset at the time was really

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Speaker 1: when I was when I was at Hampton, was I'm

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Speaker 1: gonna do everything I have to do to please my mom.

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Speaker 1: My mother was really adamant about me going to an HBCU,

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Speaker 1: and because of all she had been through it, that

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Speaker 1: was my whole thing was if I got to graduate

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Speaker 1: to make her happy, So let me know that, that's

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Speaker 1: all'm gonna do. And so and I lived that way

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Speaker 1: to this day. My mother, I do whatever I have

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Speaker 1: to do to make sure she's happy. So so that's

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Speaker 1: how I was thinking at the time. And so my

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Speaker 1: degree I was actually going to school for business management,

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Speaker 1: had nothing to do with music. But I like, while

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Speaker 1: I was in school, I started seeing Teddy and those

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Speaker 1: guys around and that you know, through him, I got

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Speaker 1: to meet who ended up being the Neptunes and Davante

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Speaker 1: and Timbling. All those guys were out there because everybody

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Speaker 1: was in Virginia at the time, and everybody was pretty

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Speaker 1: much centered around Teddy. I met Rodney Jerkins back then too,

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Speaker 1: because he was sixteen and they were calling him like

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Speaker 1: the sixteen year old blah blah blah. So but that's

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Speaker 1: when I realized that this could be a serious career.

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Speaker 1: And so I was like, Okay, now I got to

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Speaker 1: figure out a way to make sure that I can

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Speaker 1: do this for real, for real, and I took it

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Speaker 1: a lot more seriously, and so it went from just

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Speaker 1: creating demos and you know, just working on beats whatever,

329
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Speaker 1: and now it's like I got to learn how to

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Speaker 1: really write songs and create songs and not just shopping

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Speaker 1: beats to people. Because to realize, even then, my whole

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Speaker 1: thing was I never wanted to have to be the

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Speaker 1: type of creative that had to rely on somebody else

334
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Speaker 1: to get stuff done. Yeah, you know, that was that

335
00:18:10,600 --> 00:18:12,360
Speaker 1: was the worst thing to me. Like, I know, I'm

336
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Speaker 1: not a singer and all those other things, but it

337
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Speaker 1: was like, Okay, if I want a guitar player and

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Speaker 1: I can't afford a guitar player, I can't find one

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Speaker 1: that does what I hear in my head, Well let

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Speaker 1: me figure it out on a keyboard, kind of like

341
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Speaker 1: what you were doing. You know, if I need to

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Speaker 1: figure out how to I wanted a bassline, let me

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Speaker 1: figure this thing out. If I want a chord, let

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Speaker 1: me figure it out. And then I would want to

345
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Speaker 1: write songs, and nobody around me was writing what I

346
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Speaker 1: heard in my head. So it's like, let me figure

347
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Speaker 1: that out and just dissecting and create it myself. And

348
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Speaker 1: so God and his wisdom decided that this was the

349
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Speaker 1: path I needed to make sure that I could do

350
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Speaker 1: everything and create my longevity that I wanted anyway, because

351
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Speaker 1: you know that, like the reality is in this in

352
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Speaker 1: this industry, you have to be able to pivot where

353
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Speaker 1: you need it. Boy, yeah, you know, better figure it out,

354
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Speaker 1: bro like. And so it's like if whatever, when you

355
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Speaker 1: get to that moment where what you feel like you're

356
00:19:03,000 --> 00:19:04,920
Speaker 1: doing isn't hot, you better figure out how to make

357
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Speaker 1: it work so you can continue to work. And so

358
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Speaker 1: that's what I did. I learned a little bit of everything.

359
00:19:09,000 --> 00:19:11,439
Speaker 1: If it was engineering, if it was mixing, if it

360
00:19:11,520 --> 00:19:14,439
Speaker 1: was musicianship, if it was vocal producing, if it was writing.

361
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Speaker 1: I wanted to make sure I could do everything so

362
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Speaker 1: I could pull it out of my tool belt whenever

363
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Speaker 1: I needed it. And that's kind of how I just

364
00:19:20,000 --> 00:19:22,280
Speaker 1: developed my career that way. Just let me do everything.

365
00:19:22,480 --> 00:19:26,239
Speaker 1: So were you still dancing? No, I gave that up.

366
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Speaker 1: I definitely gave it. Definitely. That's all your before. And wow,

367
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Speaker 1: it didn't look like wow wow wow. It didn't look

368
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Speaker 1: like I could look like oh wow wow. Okay, so

369
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Speaker 1: I took a twist twist on my running. Well, well,

370
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Speaker 1: I would get back to the music, right because I Hampton.

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Speaker 4: What I realized when you said Hampton too, is that

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Speaker 4: so many times of people I personally know that went

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Speaker 4: to Hampton, Chris Henderson.

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Speaker 1: Yeah, and we were the same time. Yeah, we were

375
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Speaker 1: the same time.

376
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Speaker 4: Yeah, like I know that they went to Hampton as well.

377
00:20:14,800 --> 00:20:16,480
Speaker 4: So you guys were all there at the same.

378
00:20:16,280 --> 00:20:19,080
Speaker 1: Same time, the same time, and we we kind of

379
00:20:19,080 --> 00:20:22,040
Speaker 1: became the campus producers, you know, because anybody that can

380
00:20:22,080 --> 00:20:25,640
Speaker 1: sing on campus would come to us and beating, can

381
00:20:25,640 --> 00:20:28,240
Speaker 1: you do do the female voice? Because you're doing it,

382
00:20:28,480 --> 00:20:34,399
Speaker 1: you're doing it. Come on, man, don't don't do it.

383
00:20:35,800 --> 00:20:41,840
Speaker 1: Don't do this so nice? That is so nice, so nice.

384
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Speaker 1: Can you tell how many EPs you've done? It's none

385
00:20:50,000 --> 00:20:54,439
Speaker 1: of y'all I do this, so glad you're heard. I

386
00:20:54,480 --> 00:20:57,840
Speaker 1: did called the Quiet so you know who a demo

387
00:20:57,920 --> 00:21:00,200
Speaker 1: k is of course, my god. So he went to

388
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Speaker 1: Hampton to okay, yeah, okay, and so I did his

389
00:21:03,560 --> 00:21:06,640
Speaker 1: I did his his music drop for his radio show

390
00:21:06,640 --> 00:21:11,040
Speaker 1: at Hampton back in the day, Quiet Storm. Yeah yeah

391
00:21:12,040 --> 00:21:16,360
Speaker 1: about yeah, I have I have the music. I did

392
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Speaker 1: his music for his show Quiet Storm on one O

393
00:21:18,720 --> 00:21:22,880
Speaker 1: three and all of that, and then led to that's

394
00:21:22,960 --> 00:21:29,560
Speaker 1: so nice. Of course nice. So yeah it was. It

395
00:21:29,640 --> 00:21:32,000
Speaker 1: was crazy. Hampton was great, man, I it was. It

396
00:21:32,080 --> 00:21:32,480
Speaker 1: was nothing.

397
00:21:32,760 --> 00:21:34,920
Speaker 4: Niggas is like the cheat code too, Like I can

398
00:21:34,960 --> 00:21:38,280
Speaker 4: play because there's always a young lady who wants to

399
00:21:38,280 --> 00:21:40,520
Speaker 4: sit next to you while you play the piano and

400
00:21:40,520 --> 00:21:41,920
Speaker 4: tell you how talented you are.

401
00:21:42,880 --> 00:21:45,200
Speaker 1: But I watched you niggas.

402
00:21:45,200 --> 00:21:48,960
Speaker 2: Man, it's that's just what the lot of Lord said

403
00:21:49,000 --> 00:21:49,240
Speaker 2: this up.

404
00:21:49,320 --> 00:21:52,639
Speaker 1: I didn't. I didn't do it. It's not my fault. The

405
00:21:52,680 --> 00:22:01,640
Speaker 1: Lord told my fingers no. But won't this nigga can saying.

406
00:22:01,720 --> 00:22:21,560
Speaker 2: So it's like, when did it become or a discovery

407
00:22:21,760 --> 00:22:23,879
Speaker 2: on a pro level.

408
00:22:25,520 --> 00:22:29,840
Speaker 1: So again, like shortly after that, after getting out of school,

409
00:22:29,960 --> 00:22:32,000
Speaker 1: I moved back to Denver. Because you're trying to figure

410
00:22:32,040 --> 00:22:33,879
Speaker 1: life out and don't know what to do or whatever.

411
00:22:34,320 --> 00:22:36,200
Speaker 1: But I knew my my goal was like to get

412
00:22:36,200 --> 00:22:38,720
Speaker 1: out here to get it in LA because I just

413
00:22:38,800 --> 00:22:40,680
Speaker 1: knew you had to be here in order to get

414
00:22:40,720 --> 00:22:43,400
Speaker 1: access to it. I ended up basically taking a slight

415
00:22:43,760 --> 00:22:45,080
Speaker 1: kind of turn or I ended up going to moving

416
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Speaker 1: to Chicago, and so I lived in Chicago for a

417
00:22:47,240 --> 00:22:49,680
Speaker 1: couple of years. I was newly married at the time,

418
00:22:50,440 --> 00:22:53,320
Speaker 1: and so I wanted to, you know, my goal was

419
00:22:53,359 --> 00:22:55,120
Speaker 1: to get into the industry. And I met a guy

420
00:22:55,119 --> 00:22:56,680
Speaker 1: by name of Percy Baty, who a lot of people

421
00:22:56,720 --> 00:22:59,879
Speaker 1: in the music industry know as a gospel legend. I

422
00:23:00,280 --> 00:23:02,720
Speaker 1: believe I can fly right. Yeah he should did yeah

423
00:23:02,760 --> 00:23:05,400
Speaker 1: and a lot of stuff at the times of community Choir.

424
00:23:05,440 --> 00:23:07,240
Speaker 1: And that's why I know him from initially. Yeah, that

425
00:23:07,359 --> 00:23:10,400
Speaker 1: was him. Yeah, Percy, he's like my big bro man.

426
00:23:10,440 --> 00:23:13,240
Speaker 1: So I met him literally out here at the NAM

427
00:23:13,280 --> 00:23:15,840
Speaker 1: show one year that came out for one of the

428
00:23:15,960 --> 00:23:21,000
Speaker 1: you know the na Yeah you lost, but I'm gonna go.

429
00:23:21,320 --> 00:23:24,960
Speaker 1: You should go. I'm ana go though, Yeah it's fire.

430
00:23:25,400 --> 00:23:27,840
Speaker 1: So this particular when I met him and that same thing,

431
00:23:27,880 --> 00:23:29,479
Speaker 1: played him some records and he was like man, I'm

432
00:23:29,480 --> 00:23:32,280
Speaker 1: thinking about putting this team together. You want to move

433
00:23:32,320 --> 00:23:36,200
Speaker 1: to Chicago? Was like absolutely, let's go one conversation. Yeah,

434
00:23:36,320 --> 00:23:39,560
Speaker 1: because you know that's the thing, Like, if, especially coming

435
00:23:39,600 --> 00:23:41,960
Speaker 1: from Denver, nobody does what I did. I didn't have

436
00:23:41,960 --> 00:23:44,160
Speaker 1: a blueprint, Nobody I knew did what I was trying

437
00:23:44,200 --> 00:23:46,680
Speaker 1: to do. And if there was anybody that I felt

438
00:23:46,680 --> 00:23:49,480
Speaker 1: like had access to getting me closer to this injury industry,

439
00:23:49,560 --> 00:23:52,520
Speaker 1: I was like, yeah, there was no question. I'm gonna

440
00:23:52,520 --> 00:23:56,679
Speaker 1: figure it out. There was no no doubt. So Percy

441
00:23:56,800 --> 00:23:59,000
Speaker 1: was like, Yo, why don't you know consider moving to Chicago.

442
00:23:59,640 --> 00:24:01,320
Speaker 1: We're gonna put this team together. I would love to

443
00:24:01,320 --> 00:24:03,440
Speaker 1: work with you and develop. I was like absolutely. And

444
00:24:03,520 --> 00:24:04,960
Speaker 1: I knew that he had worked with our Kelly and

445
00:24:05,000 --> 00:24:06,399
Speaker 1: that you know stuff at the time, So I was

446
00:24:06,440 --> 00:24:09,119
Speaker 1: like anything again to get close to the industry and

447
00:24:09,400 --> 00:24:10,960
Speaker 1: to do this on a professional level. I wanted to

448
00:24:11,000 --> 00:24:15,000
Speaker 1: do it. So end up moving out there and then again,

449
00:24:15,480 --> 00:24:19,560
Speaker 1: by by God's divine timing, end up meeting Smoky Norfl

450
00:24:20,760 --> 00:24:23,560
Speaker 1: That's how we met. Just ended up meeting smoking because

451
00:24:23,600 --> 00:24:27,560
Speaker 1: Smokey was also being courted by Percy do the same thing.

452
00:24:28,440 --> 00:24:31,600
Speaker 1: Same with Kevin Randolph you guys know, yes, Yeah, So

453
00:24:31,640 --> 00:24:33,080
Speaker 1: I met all of them at the same time. He

454
00:24:33,160 --> 00:24:35,840
Speaker 1: was basically putting a team of producers and writers together

455
00:24:36,280 --> 00:24:40,720
Speaker 1: in Chicago. And so turns out Smokey had just gotten

456
00:24:40,720 --> 00:24:42,399
Speaker 1: married at the same time that I did, and so

457
00:24:42,480 --> 00:24:44,760
Speaker 1: and we randomly moved out, like way out to the

458
00:24:44,800 --> 00:24:47,760
Speaker 1: outskirts of Chicago. We both were in the suburbs. Money

459
00:24:48,119 --> 00:24:52,159
Speaker 1: make that money last, can't stretch it out, And so

460
00:24:52,280 --> 00:24:54,840
Speaker 1: we ended up. But he became my brother man and

461
00:24:54,880 --> 00:24:58,000
Speaker 1: we did everything together, and like when it came to

462
00:24:58,160 --> 00:25:00,520
Speaker 1: creating music, and he was an assistant pastor at the

463
00:25:00,520 --> 00:25:02,680
Speaker 1: time with this other church, and so I started going

464
00:25:02,680 --> 00:25:04,560
Speaker 1: to his church and Percy was the music director there

465
00:25:04,600 --> 00:25:07,679
Speaker 1: and the whole thing. Yeah, so we we you know,

466
00:25:07,880 --> 00:25:10,879
Speaker 1: we got access to everything and production wise and music

467
00:25:10,920 --> 00:25:12,680
Speaker 1: and saying with you know, me and R. Kelly and

468
00:25:12,840 --> 00:25:15,600
Speaker 1: working with him and that whole thing, and so it

469
00:25:15,680 --> 00:25:18,200
Speaker 1: was amazing, bro. But that's when I was like, Okay,

470
00:25:18,280 --> 00:25:20,240
Speaker 1: I actually can do this for real and I'm getting

471
00:25:20,280 --> 00:25:21,000
Speaker 1: paid to do it.

472
00:25:21,160 --> 00:25:22,800
Speaker 4: Yeah, this is going to be And he was going

473
00:25:22,800 --> 00:25:24,879
Speaker 4: from the church to the church to the church.

474
00:25:25,320 --> 00:25:28,760
Speaker 1: Yeah what was the first place, Oh, God might have

475
00:25:28,800 --> 00:25:33,360
Speaker 1: been Marvin Sap. Yeah song by Marvin Sap. I can't

476
00:25:33,359 --> 00:25:35,080
Speaker 1: eve remember the name of that song, Won't Let Go.

477
00:25:35,119 --> 00:25:36,040
Speaker 1: I think it's what it was called.

478
00:25:36,200 --> 00:25:39,639
Speaker 4: Yeah, Yeah, and you did that when you're in Chicago.

479
00:25:39,640 --> 00:25:41,600
Speaker 1: I did that in Chicago. I did that in Chicago.

480
00:25:41,640 --> 00:25:46,080
Speaker 1: And so and going from there, I started working. You know,

481
00:25:46,920 --> 00:25:49,160
Speaker 1: I find out that Smokey's like this incredible singer. Because

482
00:25:49,200 --> 00:25:50,720
Speaker 1: I didn't know. He didn't sing around me like that.

483
00:25:51,160 --> 00:25:53,159
Speaker 1: I was just like, this dude's cool, and he's like,

484
00:25:53,240 --> 00:25:55,840
Speaker 1: you know, family to me. And so, come to find

485
00:25:55,840 --> 00:25:59,240
Speaker 1: out this dude is incredible, and I'm like, who's saying

486
00:25:59,320 --> 00:26:02,439
Speaker 1: like this? Yeah, I had no clue. And so and

487
00:26:02,640 --> 00:26:04,600
Speaker 1: I heard him one Sunday and he's tearing the roof

488
00:26:04,640 --> 00:26:06,760
Speaker 1: off the church. This is before a record deal and

489
00:26:06,800 --> 00:26:09,159
Speaker 1: before people knew him and all that other stuff. And

490
00:26:09,200 --> 00:26:10,919
Speaker 1: I'm like, bro, you didn't ever tell me. He was

491
00:26:10,960 --> 00:26:14,600
Speaker 1: just like, it is what I do. And so, long

492
00:26:14,680 --> 00:26:17,199
Speaker 1: story short, we both kind of were going through our

493
00:26:17,200 --> 00:26:19,280
Speaker 1: frustrations with the industry and things not kind of working

494
00:26:19,280 --> 00:26:21,760
Speaker 1: out the way we wanted to, and he came to

495
00:26:21,760 --> 00:26:23,840
Speaker 1: me and he was like, bro, let's just start creating

496
00:26:23,840 --> 00:26:27,520
Speaker 1: some music. Let's see where it goes, you know, we're

497
00:26:27,560 --> 00:26:29,800
Speaker 1: both frustrated and trying to figure it out, and that's

498
00:26:29,800 --> 00:26:32,520
Speaker 1: what we did. So literally the beginnings of what ended

499
00:26:32,560 --> 00:26:34,119
Speaker 1: up being I Need You Now for that whole album,

500
00:26:34,119 --> 00:26:38,840
Speaker 1: we started in my apartment in Chicago, and so we

501
00:26:40,160 --> 00:26:42,040
Speaker 1: even recording that. He didn't have a record deal at

502
00:26:42,080 --> 00:26:44,159
Speaker 1: the time, so we flew back to Denver to a

503
00:26:44,160 --> 00:26:46,479
Speaker 1: friend of mine's crib on a buddy pass to record

504
00:26:46,480 --> 00:26:49,360
Speaker 1: that stuff, which that I do have the footage too,

505
00:26:49,800 --> 00:26:52,160
Speaker 1: So we recorded that. We recorded one of the songs

506
00:26:52,160 --> 00:26:53,840
Speaker 1: I ended up doing a song called It's All About You.

507
00:26:54,240 --> 00:26:58,040
Speaker 1: We recorded that in my friend's studio in Denver. Again,

508
00:26:58,119 --> 00:27:00,160
Speaker 1: we flew on a buddy pass to go and record it,

509
00:27:00,359 --> 00:27:04,199
Speaker 1: and the same with still got to say thank you.

510
00:27:04,240 --> 00:27:07,359
Speaker 1: That's like my family singing. They're a choiring that zone.

511
00:27:07,680 --> 00:27:10,640
Speaker 1: So I called my cousins and literally anybody I knew

512
00:27:10,640 --> 00:27:12,800
Speaker 1: in Denver that saying. I was like, yo, I got

513
00:27:12,800 --> 00:27:16,359
Speaker 1: this kid smoking awful. Let's let's work. So that's that

514
00:27:16,520 --> 00:27:18,640
Speaker 1: and it's still with on the album. All those same

515
00:27:18,640 --> 00:27:22,000
Speaker 1: people on that album. That's when I realized, like, Okay,

516
00:27:22,000 --> 00:27:24,520
Speaker 1: I can do this for real. But my mindset was

517
00:27:24,560 --> 00:27:28,760
Speaker 1: also the frustration I had with Chicago was it had

518
00:27:28,800 --> 00:27:32,840
Speaker 1: the most incredible musicians, but I didn't want to be

519
00:27:32,880 --> 00:27:35,320
Speaker 1: limited to the church culture. I kind of felt like

520
00:27:35,359 --> 00:27:39,280
Speaker 1: for me, where what I heard and work? Because coming

521
00:27:39,280 --> 00:27:41,760
Speaker 1: from Denver, you're you're fed all kinds of music. Denver

522
00:27:41,760 --> 00:27:43,359
Speaker 1: doesn't have a sound or anything like that. So I

523
00:27:43,400 --> 00:27:46,159
Speaker 1: got everything. But I also knew that because that's what

524
00:27:46,200 --> 00:27:47,520
Speaker 1: I wanted to do. All I wanted to do was

525
00:27:47,560 --> 00:27:48,960
Speaker 1: all kinds of music, and I didn't want to be

526
00:27:49,040 --> 00:27:51,080
Speaker 1: limited to just doing gospel, or limited to doing R

527
00:27:51,119 --> 00:27:52,840
Speaker 1: and B, or limited to doing anything. I was like,

528
00:27:53,240 --> 00:27:54,720
Speaker 1: I just wanted to do good music or what was

529
00:27:54,760 --> 00:27:57,879
Speaker 1: good to me, And so that's really what stim me

530
00:27:58,160 --> 00:28:00,320
Speaker 1: steered me to move to LA was like, Okay, well,

531
00:28:01,600 --> 00:28:04,120
Speaker 1: now that you've gotten your placements, you've gotten a little

532
00:28:04,119 --> 00:28:06,879
Speaker 1: bit of where you've gotten access. Let's just try to

533
00:28:06,880 --> 00:28:09,280
Speaker 1: figure out a way to take it up. So how

534
00:28:09,320 --> 00:28:11,680
Speaker 1: long do you stay in Chicago? Only about two years?

535
00:28:11,720 --> 00:28:15,040
Speaker 1: I was only there about two guys, and so from there,

536
00:28:15,640 --> 00:28:17,800
Speaker 1: while we're like, after we record it, Smokey goes and

537
00:28:17,800 --> 00:28:20,160
Speaker 1: gets a record deal. So I find out after I leave,

538
00:28:20,920 --> 00:28:23,000
Speaker 1: I Need You Now does what it does? The album

539
00:28:23,040 --> 00:28:27,560
Speaker 1: takes off he's incredible and all the other things. But

540
00:28:28,240 --> 00:28:30,520
Speaker 1: took tie back to we were talking about Denver. So

541
00:28:30,560 --> 00:28:34,080
Speaker 1: Silas White, who's a great friend of mine from Denver

542
00:28:34,119 --> 00:28:37,240
Speaker 1: to Yeah, yeah, I didn't need it. Yeah, I was

543
00:28:37,240 --> 00:28:39,280
Speaker 1: gonna name him for you to help you out. We're

544
00:28:39,280 --> 00:28:46,200
Speaker 1: gonna have a Denver education today. Yeah. So I talked

545
00:28:46,200 --> 00:28:49,320
Speaker 1: to Silas and Damien. Again, I've known Damien since I

546
00:28:49,360 --> 00:28:52,520
Speaker 1: was a teenager and he was in a group. But

547
00:28:52,640 --> 00:28:54,760
Speaker 1: he had another good friend of mine, a guy named

548
00:28:54,800 --> 00:28:59,240
Speaker 1: Anthony Nance, who is an incredible producer and somewhere yeah. Yeah.

549
00:28:59,360 --> 00:29:01,160
Speaker 1: So all of those were guys that I grew up

550
00:29:01,160 --> 00:29:04,440
Speaker 1: around and watching and you know, studying, because they were

551
00:29:04,440 --> 00:29:06,880
Speaker 1: the ones who were really tied to the closest I

552
00:29:06,880 --> 00:29:09,160
Speaker 1: had seen tied to the industry, the industry. Yeah, you know.

553
00:29:09,280 --> 00:29:14,840
Speaker 1: And so but when I met with I was talking

554
00:29:14,840 --> 00:29:17,800
Speaker 1: with Silas about my frustrations with Chicago, and he was like, man,

555
00:29:17,800 --> 00:29:20,120
Speaker 1: you should just come out to La see what you

556
00:29:20,160 --> 00:29:21,840
Speaker 1: can do. And at the time he was managing, he

557
00:29:21,880 --> 00:29:25,040
Speaker 1: was handling road management for Brian me yea yeah, and

558
00:29:25,120 --> 00:29:26,680
Speaker 1: so he was like, you should just come out here.

559
00:29:26,800 --> 00:29:30,040
Speaker 1: I'll connect you with Brian. You guys can work and

560
00:29:30,160 --> 00:29:33,440
Speaker 1: let's just see what can happen. Same thing, same mentality

561
00:29:33,440 --> 00:29:34,880
Speaker 1: I had with Chicago was to move to l A.

562
00:29:34,920 --> 00:29:38,320
Speaker 1: I was like, absolutely immediate, I'm out. I'm out, And

563
00:29:38,400 --> 00:29:41,600
Speaker 1: so for me, I had to I was now married,

564
00:29:41,640 --> 00:29:43,040
Speaker 1: so I had to deal with the commitment of making

565
00:29:43,040 --> 00:29:45,360
Speaker 1: sure I had a responsibility for my wife, and then

566
00:29:45,440 --> 00:29:47,200
Speaker 1: also wanted to make sure I was still doing this

567
00:29:47,280 --> 00:29:49,560
Speaker 1: career that I loved. So I took a I was

568
00:29:49,600 --> 00:29:52,760
Speaker 1: working a temp job in Westwood. What were you doing?

569
00:29:52,800 --> 00:29:57,000
Speaker 1: I was an account manager for this insurance company. Yeah,

570
00:29:57,120 --> 00:29:58,880
Speaker 1: it was. It was a means to an end. Bro.

571
00:29:59,000 --> 00:30:02,600
Speaker 1: It was the work. It's worse, but it paid the bills.

572
00:30:02,800 --> 00:30:05,640
Speaker 1: And so what I would do is even before she

573
00:30:05,800 --> 00:30:07,880
Speaker 1: moved out to LA I was making sure that I

574
00:30:07,880 --> 00:30:10,640
Speaker 1: would I would do my job and then sometimes at

575
00:30:10,680 --> 00:30:13,040
Speaker 1: night I would sleep in my car to save money

576
00:30:13,040 --> 00:30:15,600
Speaker 1: to make sure that I could. You know, we had

577
00:30:15,760 --> 00:30:18,080
Speaker 1: the deposit for an apartment and all the things. I

578
00:30:18,160 --> 00:30:20,680
Speaker 1: was on it. All I was grinding, bro and so,

579
00:30:20,840 --> 00:30:23,040
Speaker 1: and even when I would get a hotel or whatever,

580
00:30:23,080 --> 00:30:25,320
Speaker 1: I would go stay at the motel right by the

581
00:30:25,320 --> 00:30:27,360
Speaker 1: Airport's been thirty dollars a night just to change and

582
00:30:27,400 --> 00:30:29,720
Speaker 1: clean and go back to work. And then I would

583
00:30:29,760 --> 00:30:32,160
Speaker 1: go from work where I get off at like three

584
00:30:32,160 --> 00:30:34,120
Speaker 1: o'clock and then I drive from like Westwood all the

585
00:30:34,160 --> 00:30:36,440
Speaker 1: way to Glendale where Brian's studio was at the time,

586
00:30:37,160 --> 00:30:39,200
Speaker 1: and I would do that five days a week, and

587
00:30:39,240 --> 00:30:41,000
Speaker 1: I work with Brian, I'd get to work with Anthony,

588
00:30:41,080 --> 00:30:45,120
Speaker 1: I'd work with whoever. Just again, get me in this industry.

589
00:30:45,200 --> 00:30:46,400
Speaker 1: Let me figure it out. Let me figure it out.

590
00:30:46,440 --> 00:30:50,200
Speaker 1: Because at this point in early twenty five, twenty six, yeah,

591
00:30:50,360 --> 00:30:52,200
Speaker 1: so it was like, let me figure it out, and

592
00:30:52,400 --> 00:30:55,840
Speaker 1: the Mayora's sending money home. Literally wow. Yeah. I was

593
00:30:55,880 --> 00:30:57,800
Speaker 1: like I wanted to make sure that I could, you know,

594
00:30:57,840 --> 00:30:59,760
Speaker 1: I wanted to make sure I handle my responsibility. But

595
00:30:59,800 --> 00:31:02,080
Speaker 1: I knew beyond the shadow of doubt that I was

596
00:31:02,120 --> 00:31:06,280
Speaker 1: going to do this no matter what. And so that's

597
00:31:06,280 --> 00:31:08,680
Speaker 1: what I did. Man, I did it all the time.

598
00:31:08,800 --> 00:31:10,880
Speaker 1: And that's when I kind of really got introduced to

599
00:31:10,880 --> 00:31:13,680
Speaker 1: the idea of publishing. It's like, okay, well, let me

600
00:31:13,720 --> 00:31:17,120
Speaker 1: figure out a way to God this job first, and

601
00:31:17,240 --> 00:31:20,280
Speaker 1: the gospel not pay per up, you know what.

602
00:31:20,720 --> 00:31:23,800
Speaker 4: Let me you know, I'm just going I'm gonna mind

603
00:31:23,840 --> 00:31:28,000
Speaker 4: my secular business, see, because I'm gonna run down on

604
00:31:28,040 --> 00:31:33,240
Speaker 4: you by my publishing. It does, it does, Okay, okay, okay,

605
00:31:33,480 --> 00:31:34,800
Speaker 4: it does, it does.

606
00:31:35,800 --> 00:31:40,360
Speaker 1: Yeah, it just didn't for me at the time, but yeah,

607
00:31:40,440 --> 00:31:43,080
Speaker 1: definitely can. But that was my thing. Man. I just

608
00:31:43,120 --> 00:31:44,560
Speaker 1: wanted to make sure I could do this thing all

609
00:31:44,600 --> 00:31:48,720
Speaker 1: the time. And so again, Big John at the time

610
00:31:48,760 --> 00:31:50,440
Speaker 1: when I was growing up, was a DJ in Denver.

611
00:31:50,720 --> 00:31:52,560
Speaker 1: A lot of people don't know that, yeah he was.

612
00:31:52,840 --> 00:31:55,160
Speaker 1: He was like the kid Capria Denver. Every party he

613
00:31:55,360 --> 00:31:58,520
Speaker 1: put me through, I was dancing. You can check, you

614
00:31:58,520 --> 00:32:02,560
Speaker 1: can credit check that way, but yeah, sure, but I

615
00:32:02,560 --> 00:32:04,800
Speaker 1: would show up and perform. You know, I either perform

616
00:32:04,880 --> 00:32:06,640
Speaker 1: or I get to be at his parties and stuff

617
00:32:06,680 --> 00:32:08,840
Speaker 1: like that. And so by then I found out Big

618
00:32:08,920 --> 00:32:11,840
Speaker 1: John is this big publishing guy and I'm like, he's

619
00:32:11,880 --> 00:32:14,640
Speaker 1: what But yeah, I find out, you know, all these

620
00:32:14,640 --> 00:32:16,720
Speaker 1: important things he's doing in the industry, and so I

621
00:32:16,760 --> 00:32:20,160
Speaker 1: reconnect with him and I'm have the whole spill like

622
00:32:20,200 --> 00:32:22,520
Speaker 1: this is what I want to do, same thing, Play

623
00:32:22,600 --> 00:32:25,800
Speaker 1: me some music. I played him some stuff. He ends

624
00:32:25,840 --> 00:32:27,520
Speaker 1: up getting my first publishing deal, and my goal at

625
00:32:27,560 --> 00:32:30,720
Speaker 1: the time was like, Okay, let me get a publishing

626
00:32:30,720 --> 00:32:34,080
Speaker 1: deal that's equivalent to what I'm making a salad job.

627
00:32:34,720 --> 00:32:38,640
Speaker 1: If I can do that, quit I quit, literally I quit.

628
00:32:39,120 --> 00:32:40,880
Speaker 1: And that's what my My first publishing deal was fifty

629
00:32:40,920 --> 00:32:44,040
Speaker 1: thousand dollars. I was like, and that first check came,

630
00:32:44,360 --> 00:32:46,360
Speaker 1: Look here, I don't need a letter of reference. I

631
00:32:46,440 --> 00:32:49,719
Speaker 1: won't see y'all ever again. I'm out peace. And so

632
00:32:49,800 --> 00:32:51,720
Speaker 1: I knew it the day. And back then they used

633
00:32:51,720 --> 00:32:53,960
Speaker 1: to give you half up front and then the month

634
00:32:54,080 --> 00:32:57,920
Speaker 1: the rest of the monthly stipend. So you get it, yes, yes,

635
00:32:58,560 --> 00:33:02,040
Speaker 1: get neither. I never get my m d r C

636
00:33:02,360 --> 00:33:04,720
Speaker 1: was met. That's when you got George and you got

637
00:33:04,720 --> 00:33:05,480
Speaker 1: your rest. Yeah.

638
00:33:06,080 --> 00:33:07,840
Speaker 2: But once the m d r C was met for

639
00:33:07,880 --> 00:33:10,960
Speaker 2: that first term, you got the back and the front

640
00:33:10,960 --> 00:33:11,800
Speaker 2: of the new one.

641
00:33:12,000 --> 00:33:19,240
Speaker 1: You got the OI, you got that OI killing Yeah. Yeah.

642
00:33:19,720 --> 00:33:22,240
Speaker 1: I think John just knew how irresponsible I was back then,

643
00:33:22,400 --> 00:33:26,880
Speaker 1: so he made sure that he looked Yeah, John, Yeah, Yeah.

644
00:33:26,880 --> 00:33:29,320
Speaker 1: I think John was part of my first one. Am

645
00:33:29,360 --> 00:33:33,240
Speaker 1: I right? Yeah A Jody Yeah, was.

646
00:33:33,200 --> 00:33:37,960
Speaker 2: My first and so they they had to change the rules.

647
00:33:39,560 --> 00:33:41,000
Speaker 2: He was a real changer for me and R.

648
00:33:41,080 --> 00:33:44,600
Speaker 1: Kelly. Why because through those deals, because.

649
00:33:44,360 --> 00:33:45,840
Speaker 2: We could get it all off on one album, got

650
00:33:45,880 --> 00:33:52,240
Speaker 2: it and so that's where the thresholds as on this dude,

651
00:33:52,280 --> 00:33:54,800
Speaker 2: you got to sell this many for this many to count.

652
00:33:54,840 --> 00:33:57,480
Speaker 2: Then you sell this many and then this many will count.

653
00:33:57,640 --> 00:34:01,240
Speaker 1: Got it? I was running. They said, look at your champ.

654
00:34:02,200 --> 00:34:04,840
Speaker 1: We're gonna and what it used to be got us.

655
00:34:07,080 --> 00:34:08,960
Speaker 1: Oh my god, I got to say, you got us?

656
00:34:09,560 --> 00:34:11,279
Speaker 4: So do you go when you do your when you

657
00:34:11,360 --> 00:34:16,279
Speaker 4: do your publishing deal. You're already writing and producing with

658
00:34:16,480 --> 00:34:18,040
Speaker 4: Priming Knight at this point.

659
00:34:18,200 --> 00:34:22,000
Speaker 1: So are you so? Just so for people to understand

660
00:34:22,239 --> 00:34:24,799
Speaker 1: how this business works and how it used to work,

661
00:34:24,920 --> 00:34:28,359
Speaker 1: especially when you first come on though, are you just

662
00:34:29,320 --> 00:34:32,640
Speaker 1: are you a session musician? Yeah? Are you a drum programmer?

663
00:34:32,960 --> 00:34:36,600
Speaker 1: All the above. You're not a producer, I'm not a producers. Yeah,

664
00:34:36,680 --> 00:34:40,359
Speaker 1: he's a producer. And honestly, I did not care right

665
00:34:40,520 --> 00:34:44,080
Speaker 1: at that time. My whole thing was I'm in the room,

666
00:34:44,120 --> 00:34:48,160
Speaker 1: and I also knew that I knew that my time

667
00:34:48,239 --> 00:34:50,640
Speaker 1: was gonna come and eventually the gift I had would

668
00:34:50,719 --> 00:34:54,319
Speaker 1: showcase when it was necessary. But I also knew I

669
00:34:54,360 --> 00:34:57,000
Speaker 1: was also I was always self aware, so I understood

670
00:34:57,000 --> 00:34:59,520
Speaker 1: if a major artist came in and there was decisions

671
00:34:59,520 --> 00:35:01,120
Speaker 1: to be made, and I wouldn't know what to do.

672
00:35:01,480 --> 00:35:03,280
Speaker 1: Then I'm not ready, you know what I'm saying.

673
00:35:03,360 --> 00:35:06,520
Speaker 4: Yeah, yeah, And at that time, that's production, that's production

674
00:35:06,920 --> 00:35:07,640
Speaker 4: decision making.

675
00:35:07,719 --> 00:35:10,640
Speaker 1: That's all it is. It's decision making. It's about you choosing.

676
00:35:10,960 --> 00:35:13,640
Speaker 1: You have infinite choices, and let's narrow this thing down

677
00:35:13,640 --> 00:35:15,080
Speaker 1: and let me go ahead and commit to a decision

678
00:35:15,080 --> 00:35:17,560
Speaker 1: that works for this record. And at the time, I

679
00:35:17,600 --> 00:35:19,440
Speaker 1: didn't know that. I was just like, you know, I

680
00:35:19,480 --> 00:35:22,520
Speaker 1: just knew whoever came in the room, and I was

681
00:35:22,560 --> 00:35:24,400
Speaker 1: excited that they got in the room or I'm in

682
00:35:24,400 --> 00:35:26,040
Speaker 1: the room with them. But it's like when it came

683
00:35:26,080 --> 00:35:30,279
Speaker 1: time for those those game time decisions, it's like, I

684
00:35:30,360 --> 00:35:31,880
Speaker 1: want to make sure I'm making the right one and

685
00:35:31,920 --> 00:35:34,000
Speaker 1: I want to make sure that I'm okay with my decisions.

686
00:35:34,000 --> 00:35:36,480
Speaker 1: And you know, if there's changes that have to be made,

687
00:35:36,600 --> 00:35:38,319
Speaker 1: am I really cool with that? And I'm okay and

688
00:35:38,360 --> 00:35:41,600
Speaker 1: I'm okay with things not working out or we having

689
00:35:41,600 --> 00:35:44,160
Speaker 1: to go back and do it again. I really wasn't ready.

690
00:35:44,320 --> 00:35:46,040
Speaker 1: I thought I was, but I really wasn't, you know.

691
00:35:46,840 --> 00:35:50,680
Speaker 1: So that's what that era taught me, was like, this

692
00:35:50,760 --> 00:35:53,319
Speaker 1: is how you get ready for real, Like you have

693
00:35:53,480 --> 00:35:56,239
Speaker 1: access to all the celebrities and all that stuff, but

694
00:35:56,360 --> 00:35:59,120
Speaker 1: make sure when you're in the room that you can

695
00:36:00,440 --> 00:36:02,359
Speaker 1: deliver on the dime, because that's what you have to do.

696
00:36:02,800 --> 00:36:04,200
Speaker 1: You know, you got to be able to come in

697
00:36:04,320 --> 00:36:06,480
Speaker 1: and show improve right on the on the spot.

698
00:36:06,600 --> 00:36:08,600
Speaker 4: So when you do the when you do your your

699
00:36:08,640 --> 00:36:12,799
Speaker 4: in my ideal with Big John, you don't have any pipeline.

700
00:36:13,200 --> 00:36:16,880
Speaker 1: No, he did a one song deal for me. Literally,

701
00:36:16,840 --> 00:36:19,120
Speaker 1: my deal was for one song. My mdr C was

702
00:36:19,160 --> 00:36:23,919
Speaker 1: one song. Oh yeah, he loved you. Yeah, one song, Yeah,

703
00:36:24,640 --> 00:36:28,439
Speaker 1: dollars And again it's it's a god thing. You can't

704
00:36:28,440 --> 00:36:30,040
Speaker 1: I can't script that. I wouldn't have known that at

705
00:36:30,040 --> 00:36:32,000
Speaker 1: the time, you know what I mean, But it was,

706
00:36:32,400 --> 00:36:37,080
Speaker 1: it was that was what I needed. It was this

707
00:36:37,120 --> 00:36:39,600
Speaker 1: is how I can quickly get through my deal. It's

708
00:36:39,600 --> 00:36:41,759
Speaker 1: not gonna overwhelm me. It's not going to be in

709
00:36:41,800 --> 00:36:43,359
Speaker 1: a I'm not gonna be in a situation where I'm

710
00:36:43,400 --> 00:36:45,600
Speaker 1: in debt to them forever. Right, all things he could

711
00:36:45,600 --> 00:36:47,600
Speaker 1: have done if you really want to sure, you know

712
00:36:47,640 --> 00:36:49,600
Speaker 1: what I mean, get to your point. He looked out man,

713
00:36:49,640 --> 00:36:51,919
Speaker 1: and he made sure he got me right where I

714
00:36:51,960 --> 00:36:55,600
Speaker 1: was and and helped mentor me through that phase and

715
00:36:55,600 --> 00:36:57,799
Speaker 1: that's how I met Harol Lily, who was literally my

716
00:36:57,840 --> 00:37:00,800
Speaker 1: second session in LA after sign with him. Me and

717
00:37:00,880 --> 00:37:04,280
Speaker 1: Hill became close friends right after that, and Warren Campbell

718
00:37:04,360 --> 00:37:06,480
Speaker 1: and Rodney and all the things.

719
00:37:06,520 --> 00:37:08,719
Speaker 4: Yeah, it all happened, right, because then the publishing deal

720
00:37:09,400 --> 00:37:12,200
Speaker 4: solidified you. It solidified me and this is my new writer,

721
00:37:12,480 --> 00:37:15,000
Speaker 4: yeah and them I yeah, other than oh, this is

722
00:37:15,040 --> 00:37:17,160
Speaker 4: this guy who just came from Denver, right or this

723
00:37:17,239 --> 00:37:20,239
Speaker 4: guy that just he was out of Chicago right now.

724
00:37:20,280 --> 00:37:22,680
Speaker 4: It's and that's the thing that people don't understand, especially

725
00:37:23,320 --> 00:37:26,959
Speaker 4: those sessions were not easy to get into. No bro,

726
00:37:27,080 --> 00:37:32,800
Speaker 4: like major sessions that are literally four major recording artists.

727
00:37:33,480 --> 00:37:37,200
Speaker 4: It's just not an easy feat. And having a publishing

728
00:37:37,200 --> 00:37:38,920
Speaker 4: deal solidified you.

729
00:37:38,960 --> 00:37:42,320
Speaker 1: They did people be like, oh, okay, oh big John's Ideyeah, yeah,

730
00:37:42,480 --> 00:37:45,680
Speaker 1: at least got it. Yeah yeah, yeah, And that's how

731
00:37:45,680 --> 00:37:48,120
Speaker 1: it Yeah, that's exactly how it happened, man, And so

732
00:37:48,239 --> 00:37:51,640
Speaker 1: I did it. And my my goal for John was

733
00:37:52,280 --> 00:37:54,560
Speaker 1: again I knew how important he had become, and my

734
00:37:54,600 --> 00:37:56,879
Speaker 1: goal was to make sure I made him proud, made

735
00:37:56,880 --> 00:37:59,040
Speaker 1: sure I wanted to make sure that he looked like

736
00:37:59,800 --> 00:38:02,279
Speaker 1: his decision wasn't even a gamble. It was just like

737
00:38:02,320 --> 00:38:04,560
Speaker 1: he just happened to see it ahead. He knew it,

738
00:38:04,600 --> 00:38:06,279
Speaker 1: and that's why I told him that. I was like,

739
00:38:06,520 --> 00:38:08,239
Speaker 1: I just want to make sure you know that that's

740
00:38:08,280 --> 00:38:10,600
Speaker 1: real vision. Yeah, because I will give you fifty thousand

741
00:38:12,480 --> 00:38:18,120
Speaker 1: if I knew she's gonna turn it too. It worked out.

742
00:38:18,320 --> 00:38:21,000
Speaker 1: It worked out. So how long are you working with Brian?

743
00:38:21,680 --> 00:38:25,520
Speaker 1: So that lasted probably about two or three years. And

744
00:38:25,719 --> 00:38:27,960
Speaker 1: that's how I got access to Justin Timberlake. So we

745
00:38:27,960 --> 00:38:30,920
Speaker 1: were working on the in Sync project and so he

746
00:38:30,960 --> 00:38:32,640
Speaker 1: had me doing stuff for him and he wants to

747
00:38:32,680 --> 00:38:34,480
Speaker 1: shake hands. Yeah, shake my hands.

748
00:38:35,760 --> 00:38:39,080
Speaker 4: I know what that. You wasn't known that in sink?

749
00:38:42,719 --> 00:38:44,640
Speaker 4: Yeah he got his plack do I don't have mine?

750
00:38:45,040 --> 00:38:52,160
Speaker 1: Whatever? But whatever, you sure did your.

751
00:38:52,040 --> 00:38:59,160
Speaker 2: TV broke we didn't, you know, justifyed tour and that's

752
00:38:59,160 --> 00:39:01,520
Speaker 2: when I met just This is fair, that makes sense.

753
00:39:02,080 --> 00:39:05,120
Speaker 2: He was like, I love your music, You're dope, And

754
00:39:05,160 --> 00:39:05,839
Speaker 2: so I got that.

755
00:39:07,160 --> 00:39:14,880
Speaker 1: Did that solidify you? I think so? But yeah, so

756
00:39:14,880 --> 00:39:17,879
Speaker 1: that's you know, work with Brian because you know, back

757
00:39:18,040 --> 00:39:22,240
Speaker 1: back then he was he was a standard. Everybody wanted

758
00:39:22,520 --> 00:39:26,000
Speaker 1: Brian McKnight. Yeah, literally, so I got you know, I

759
00:39:26,520 --> 00:39:28,799
Speaker 1: ended up getting access to working with Justin, we did

760
00:39:28,800 --> 00:39:31,799
Speaker 1: a lot of stuff that ultimately, again to your point,

761
00:39:31,800 --> 00:39:34,920
Speaker 1: I really wasn't ready as a producer, but that's what

762
00:39:35,040 --> 00:39:37,880
Speaker 1: led to the Justified project because he came to me

763
00:39:37,920 --> 00:39:40,200
Speaker 1: after we did the Ensign stuff and he and I

764
00:39:40,239 --> 00:39:43,080
Speaker 1: created a cool bond and he was like, you know,

765
00:39:43,239 --> 00:39:45,360
Speaker 1: with me and him and Anthony at the time, Anthony Nancy,

766
00:39:45,360 --> 00:39:46,800
Speaker 1: he was like, why don't we all get together and

767
00:39:46,880 --> 00:39:49,960
Speaker 1: let's create some stuff and see where this goes. I

768
00:39:50,000 --> 00:39:52,600
Speaker 1: was like absolutely, So we started creating records for him,

769
00:39:52,640 --> 00:39:54,319
Speaker 1: and at the time, he was dating Brittany, so I

770
00:39:54,320 --> 00:39:56,600
Speaker 1: got access to Brittany. So that's how that worked. And

771
00:39:56,640 --> 00:39:59,040
Speaker 1: then he was like, Okay, I got the session coming

772
00:39:59,120 --> 00:40:01,920
Speaker 1: up with these guys called the Underdogs that I've heard about.

773
00:40:02,239 --> 00:40:05,480
Speaker 1: Will you come to the session with me? Same thing. Absolutely,

774
00:40:05,600 --> 00:40:08,799
Speaker 1: let's go, so go, and you know, ultimately they ended

775
00:40:08,840 --> 00:40:11,759
Speaker 1: up with the record cast stilling my brain on that project. Yeah, yeah,

776
00:40:11,880 --> 00:40:13,719
Speaker 1: I was at that session, so I got to meet them,

777
00:40:13,800 --> 00:40:15,680
Speaker 1: and that's how we built the relationship and so on

778
00:40:15,719 --> 00:40:19,080
Speaker 1: and so forth. Everything was just like, you know, just connecting,

779
00:40:19,239 --> 00:40:19,720
Speaker 1: just connected.

780
00:40:19,880 --> 00:40:24,920
Speaker 4: So from from from that introduction, it comes back around

781
00:40:25,200 --> 00:40:27,280
Speaker 4: and y'all do could would have for Brian.

782
00:40:27,480 --> 00:40:30,800
Speaker 1: Yeah, okay, yeah, so that's how literally, so that was

783
00:40:30,840 --> 00:40:33,239
Speaker 1: your first underdog record. Yeah right, yeah, that's my first

784
00:40:33,360 --> 00:40:36,839
Speaker 1: underdog record. So I'm working with, you know, with Damon

785
00:40:36,920 --> 00:40:39,600
Speaker 1: and Harvey, and everything's going really well. I'm starting to

786
00:40:39,600 --> 00:40:42,000
Speaker 1: get activated how they work and so on and so forth,

787
00:40:42,040 --> 00:40:44,879
Speaker 1: and Silence is still working with Brian, and I still

788
00:40:44,880 --> 00:40:47,280
Speaker 1: have a relationship with Brian. So it's like, yo, let's

789
00:40:47,520 --> 00:40:49,640
Speaker 1: let's bring this back over here and get this particular

790
00:40:49,680 --> 00:40:51,440
Speaker 1: sound and let's work on Brian stuff. And so that's

791
00:40:51,440 --> 00:40:53,880
Speaker 1: what happened. We ended up doing Shuita could A Wooder

792
00:40:54,400 --> 00:40:55,960
Speaker 1: and a lot of other records at the time. But

793
00:40:56,000 --> 00:40:58,520
Speaker 1: that's really what started to build my relationship with them

794
00:40:58,560 --> 00:41:02,960
Speaker 1: and my confidence too in regarding to in regards to okay,

795
00:41:03,000 --> 00:41:05,759
Speaker 1: I now understand how to make the right decisions and

796
00:41:05,960 --> 00:41:08,920
Speaker 1: how to you know, make sure that my stuff sonically

797
00:41:09,120 --> 00:41:11,760
Speaker 1: is up to par with the radio and all those

798
00:41:12,040 --> 00:41:14,440
Speaker 1: those things. And so that was really that that was

799
00:41:14,520 --> 00:41:16,840
Speaker 1: that part of school for me. It's like, Okay, I

800
00:41:16,880 --> 00:41:19,000
Speaker 1: can do this, and I'm not I'm not just a writer.

801
00:41:19,840 --> 00:41:21,600
Speaker 1: I'm not just Big John's writer. Now it's like, okay,

802
00:41:21,600 --> 00:41:23,279
Speaker 1: I can actually produce a record. Let me finish some

803
00:41:23,320 --> 00:41:26,359
Speaker 1: stuff out. And so I just built my confidence that way.

804
00:41:26,400 --> 00:41:29,240
Speaker 1: And you know, and and it's not just gospel or whatever.

805
00:41:29,280 --> 00:41:31,840
Speaker 1: You know, it's like, right, no, I'm having some commercial success.

806
00:41:32,000 --> 00:41:43,399
Speaker 1: You figure this thing out. I feel like.

807
00:41:45,160 --> 00:41:48,120
Speaker 2: During during this journey or getting up to this point,

808
00:41:48,680 --> 00:41:51,640
Speaker 2: you know, we gotta we should we should we should

809
00:41:51,640 --> 00:41:57,280
Speaker 2: talk equipment because you know, there were there were progressions,

810
00:41:57,560 --> 00:42:00,759
Speaker 2: and there were changes in terms of what you were

811
00:42:00,840 --> 00:42:03,960
Speaker 2: starting to use to produce. Can you just kind of

812
00:42:03,960 --> 00:42:06,640
Speaker 2: take me through those progressions as you are in Sonic

813
00:42:06,719 --> 00:42:10,600
Speaker 2: and then when you finally get to get to.

814
00:42:10,600 --> 00:42:12,719
Speaker 1: LA and you work with Brian, what are you using there?

815
00:42:12,760 --> 00:42:15,080
Speaker 2: And then when you finally get to the Underdogs and

816
00:42:15,120 --> 00:42:16,879
Speaker 2: what are you using there? Can you take me through

817
00:42:16,880 --> 00:42:17,640
Speaker 2: those progressions?

818
00:42:17,680 --> 00:42:21,759
Speaker 1: Yeah? Absolutely. So when I started, like you said, I

819
00:42:21,760 --> 00:42:25,359
Speaker 1: had the EPs sixteen plus and I had a TS

820
00:42:25,440 --> 00:42:28,800
Speaker 1: twelve were my first two keyboards. And then fast forward,

821
00:42:29,560 --> 00:42:32,160
Speaker 1: I ended up saving enough money to get an NPC

822
00:42:32,440 --> 00:42:39,680
Speaker 1: three thousand and the Core Trinity or the Nord Lead. Yeah. Yeah, yeah.

823
00:42:39,680 --> 00:42:41,759
Speaker 1: I was a problem in the streets. Yeah yeah, So

824
00:42:42,719 --> 00:42:45,040
Speaker 1: it went to it went from that to you know, now,

825
00:42:45,239 --> 00:42:47,279
Speaker 1: same thing. I got my double tiers and my whole thing,

826
00:42:47,320 --> 00:42:49,600
Speaker 1: and I got my little set up. And so that's

827
00:42:49,680 --> 00:42:52,080
Speaker 1: really what I carried all the way up through meeting

828
00:42:52,239 --> 00:42:54,680
Speaker 1: up with Damon Harvey. So I brought an MPC over there.

829
00:42:54,719 --> 00:42:57,040
Speaker 1: They had they were on the same thing, and I

830
00:42:57,080 --> 00:42:58,719
Speaker 1: was like, Okay, this is works, this works or whatever.

831
00:42:58,760 --> 00:43:01,120
Speaker 1: But I was like, I ended up building a relationship

832
00:43:01,120 --> 00:43:03,319
Speaker 1: with the guys that in Sonic. I mean, uh AT

833
00:43:03,920 --> 00:43:09,800
Speaker 1: Emagic Igic made logic from them from them show. Yeah,

834
00:43:09,840 --> 00:43:12,719
Speaker 1: So I built a relationship with the guys from uh

835
00:43:12,840 --> 00:43:14,840
Speaker 1: E Magic at the time, and they had this program

836
00:43:14,880 --> 00:43:17,480
Speaker 1: called Logic and I'm pretty sure you got me my

837
00:43:17,520 --> 00:43:20,520
Speaker 1: logic yeah yeah, yeah, yeah yeah. So that's how that's

838
00:43:20,520 --> 00:43:22,120
Speaker 1: how I got introduced to logic. And I was like,

839
00:43:22,760 --> 00:43:24,440
Speaker 1: I already knew how to work pro tools because of

840
00:43:24,480 --> 00:43:26,200
Speaker 1: those sessions I had already been doing because that's kind

841
00:43:26,200 --> 00:43:28,719
Speaker 1: of like the industry standard for studios. But once they

842
00:43:28,760 --> 00:43:31,000
Speaker 1: showed me and gave me access to Logic, I was like, Okay,

843
00:43:32,200 --> 00:43:34,279
Speaker 1: I'm gonna figure this same thing. I'm gonna figure it out.

844
00:43:34,360 --> 00:43:37,040
Speaker 1: And so I spent all my time just learning how

845
00:43:37,080 --> 00:43:41,200
Speaker 1: it works and realizing that okay, I can actually create

846
00:43:41,239 --> 00:43:45,560
Speaker 1: everything I want quickly, quickly, very quickly and instant recall,

847
00:43:45,640 --> 00:43:48,440
Speaker 1: which is the problem you have with having the equipment,

848
00:43:48,480 --> 00:43:51,560
Speaker 1: because with the equipment, if you have hardware, if you

849
00:43:51,640 --> 00:43:53,160
Speaker 1: if I if like you came to Steel and said

850
00:43:53,160 --> 00:43:54,920
Speaker 1: I need you to pull that record back up. Well,

851
00:43:54,920 --> 00:43:56,600
Speaker 1: now I got to go back and remember what sounds

852
00:43:56,640 --> 00:43:59,799
Speaker 1: were used and the media and yeah, and so you

853
00:44:00,120 --> 00:44:02,080
Speaker 1: was a lot of time just trying to remember. If

854
00:44:02,080 --> 00:44:04,000
Speaker 1: you didn't chart it out or write it out, you're

855
00:44:04,120 --> 00:44:05,920
Speaker 1: just you know, dealing with a lot and if you've

856
00:44:05,920 --> 00:44:08,960
Speaker 1: tweaked the sound and then't save it, you know. So

857
00:44:09,719 --> 00:44:12,600
Speaker 1: for me, that was all that was my logical side

858
00:44:12,640 --> 00:44:15,080
Speaker 1: saying no pun intended, but that was me saying, okay,

859
00:44:15,160 --> 00:44:18,040
Speaker 1: like this is how I can I can be more

860
00:44:18,080 --> 00:44:21,320
Speaker 1: efficient in what I do, especially now because we're starting

861
00:44:21,320 --> 00:44:24,319
Speaker 1: to do a lot of records back to back, and

862
00:44:24,360 --> 00:44:26,959
Speaker 1: I wanted to make sure that I understood I don't

863
00:44:26,960 --> 00:44:28,319
Speaker 1: have that's not the part I want to have to

864
00:44:28,320 --> 00:44:31,560
Speaker 1: focus on. I want to focus on creating. And so

865
00:44:32,160 --> 00:44:35,560
Speaker 1: that's what made me get into logic, was like, okay again,

866
00:44:35,600 --> 00:44:38,160
Speaker 1: when you came into the studio, it was like, if

867
00:44:38,200 --> 00:44:40,520
Speaker 1: we're going to work with Tank, I got to make

868
00:44:40,560 --> 00:44:42,960
Speaker 1: sure if he likes a particular idea, I can pull

869
00:44:42,960 --> 00:44:45,120
Speaker 1: it up right away because I know him. I know

870
00:44:45,120 --> 00:44:47,480
Speaker 1: how quickly you wrote. I know how quickly ideas came

871
00:44:47,520 --> 00:44:50,080
Speaker 1: to you. I don't have time to be doing this, yeah,

872
00:44:50,200 --> 00:44:51,960
Speaker 1: to sort it out while you're trying to create. If

873
00:44:51,960 --> 00:44:53,359
Speaker 1: you already got the idea in your head. I want

874
00:44:53,360 --> 00:44:54,560
Speaker 1: to be able to go, and I want you to

875
00:44:54,600 --> 00:44:56,840
Speaker 1: be able to go. So that's what it to me.

876
00:44:57,600 --> 00:44:59,600
Speaker 1: What the equipment thing was is like, figure out a

877
00:44:59,640 --> 00:45:02,200
Speaker 1: way to get out of the way so that the

878
00:45:02,239 --> 00:45:06,520
Speaker 1: creator can a way to get out of the way. Yeah,

879
00:45:06,560 --> 00:45:08,319
Speaker 1: so the creative can do what you do. Man. Like

880
00:45:08,880 --> 00:45:10,319
Speaker 1: I don't know if y'all have gotten to see this

881
00:45:10,360 --> 00:45:14,719
Speaker 1: guy work, but like it's unreal to watch Tank do

882
00:45:14,800 --> 00:45:17,000
Speaker 1: what he does in the studio because he doesn't write

883
00:45:17,040 --> 00:45:20,120
Speaker 1: stuff down. There's only a couple of people I know,

884
00:45:20,120 --> 00:45:21,759
Speaker 1: the dude you and R Kelly didn't do the same.

885
00:45:21,800 --> 00:45:24,040
Speaker 1: But like there's only a few, but like they would

886
00:45:24,080 --> 00:45:25,440
Speaker 1: get in and have the idea in their head and

887
00:45:25,520 --> 00:45:28,000
Speaker 1: just go in the booth and knock it out. And

888
00:45:28,120 --> 00:45:31,279
Speaker 1: when I realized that level of skill, I was like, Yo,

889
00:45:31,960 --> 00:45:33,400
Speaker 1: the only way I can keep up with you is

890
00:45:33,440 --> 00:45:35,640
Speaker 1: to make sure that I'm giving you what you need

891
00:45:35,680 --> 00:45:38,120
Speaker 1: when you need it, as quickly as you need it. Again,

892
00:45:38,200 --> 00:45:39,640
Speaker 1: let me get out of the way. If he's got

893
00:45:39,680 --> 00:45:42,040
Speaker 1: the idea in his head, let's let him record so

894
00:45:42,160 --> 00:45:44,879
Speaker 1: that you know, by the time you get into booth,

895
00:45:44,880 --> 00:45:49,200
Speaker 1: if the equipment gets in the way of the creation process,

896
00:45:49,280 --> 00:45:51,640
Speaker 1: then you could lose the idea, or it could go

897
00:45:51,840 --> 00:45:54,240
Speaker 1: you know, you can lose the energy, something else could happen, whatever.

898
00:45:54,840 --> 00:45:57,040
Speaker 1: And I just never wanted to be that how long

899
00:45:58,239 --> 00:46:02,000
Speaker 1: So once you get into this logic thing, how long

900
00:46:02,160 --> 00:46:04,040
Speaker 1: does it take? Or you know what?

901
00:46:04,680 --> 00:46:09,160
Speaker 2: What spawns the damon? And Harvey saying, yeah, we got

902
00:46:09,160 --> 00:46:13,120
Speaker 2: to do what he doing. Whatever he's doing, exactly what

903
00:46:13,160 --> 00:46:16,120
Speaker 2: I just said. I don't remember artists or whatever, but

904
00:46:16,239 --> 00:46:19,279
Speaker 2: I remember a particular I do remember artists coming in

905
00:46:20,040 --> 00:46:21,640
Speaker 2: and exactly what I said would happened.

906
00:46:21,640 --> 00:46:23,360
Speaker 1: An artists would come in and I'd have three or

907
00:46:23,360 --> 00:46:27,640
Speaker 1: four ideas that I could pull up right away, right, yeah,

908
00:46:28,320 --> 00:46:30,719
Speaker 1: how'd you Yeah, And I'm like, yeah, well you can

909
00:46:30,760 --> 00:46:32,960
Speaker 1: do this, and I'm like okay, and they they were like, well,

910
00:46:33,400 --> 00:46:35,319
Speaker 1: but that was the whole thing at the time. Well,

911
00:46:35,320 --> 00:46:37,960
Speaker 1: the drums don't slap as hard is that? And I'm like, okay, fine,

912
00:46:38,160 --> 00:46:40,440
Speaker 1: let me sample those drums, give me that stuff that

913
00:46:40,480 --> 00:46:42,680
Speaker 1: you have in the NPC. Let's make some kits out

914
00:46:42,719 --> 00:46:44,600
Speaker 1: of it and watch how I work. And that's what

915
00:46:44,600 --> 00:46:46,800
Speaker 1: I would do. So I made kits for the stuff

916
00:46:46,800 --> 00:46:48,719
Speaker 1: that we had and I was like, now pull it

917
00:46:48,800 --> 00:46:51,600
Speaker 1: up and see how quickly you can work. And it

918
00:46:51,680 --> 00:46:53,879
Speaker 1: just became and then it clicked for them. It's like, oh, oh,

919
00:46:53,960 --> 00:46:57,000
Speaker 1: you can everything you want to do in hardware, you

920
00:46:57,040 --> 00:46:59,399
Speaker 1: can do in dah if you just take the time

921
00:46:59,760 --> 00:47:01,640
Speaker 1: to learn it, to learn it and execute it. And

922
00:47:01,680 --> 00:47:04,520
Speaker 1: it's just gotten better and better. Now there's there's no

923
00:47:04,640 --> 00:47:07,719
Speaker 1: line between hardware, and unless you just have to be

924
00:47:07,760 --> 00:47:10,600
Speaker 1: a tactile learner and you like to turn knobs and

925
00:47:10,640 --> 00:47:14,320
Speaker 1: all that other stuff, then that's fine. But no artists

926
00:47:14,320 --> 00:47:17,600
Speaker 1: and no nobody on the radio, there's nobody can tell

927
00:47:17,840 --> 00:47:20,399
Speaker 1: what you use to create anything. Now it can literally

928
00:47:20,400 --> 00:47:23,480
Speaker 1: be done on the laptop. So it's I'm just grateful

929
00:47:23,520 --> 00:47:25,479
Speaker 1: I stuck with it because it to me, it made

930
00:47:25,480 --> 00:47:27,239
Speaker 1: sense because it's like, again, I got to get out

931
00:47:27,280 --> 00:47:29,839
Speaker 1: of the way and I got to see what you

932
00:47:29,920 --> 00:47:31,480
Speaker 1: do and watch you, you know, do what you and

933
00:47:31,520 --> 00:47:33,840
Speaker 1: I got to participate, so I'm not spending my time

934
00:47:34,200 --> 00:47:36,200
Speaker 1: learning chords or figuring something out, Like no, I get

935
00:47:36,239 --> 00:47:38,319
Speaker 1: to sit with Tank and we can vibe and talk

936
00:47:38,360 --> 00:47:40,080
Speaker 1: and create and write and so on and so forth,

937
00:47:40,080 --> 00:47:41,959
Speaker 1: and sitting with the same thing. Like we just sitting

938
00:47:41,960 --> 00:47:44,600
Speaker 1: and write and creating. Like the one thing we could

939
00:47:44,600 --> 00:47:47,520
Speaker 1: all say that when we got to create the we

940
00:47:47,560 --> 00:47:50,560
Speaker 1: never had technical difficulty to getting in the way period ever.

941
00:47:51,239 --> 00:47:53,399
Speaker 1: Anything we could think of we could do and could

942
00:47:53,400 --> 00:47:55,560
Speaker 1: get it done really fast. It was it was.

943
00:47:55,600 --> 00:47:58,160
Speaker 4: It was really cool for me, man, Like I had

944
00:47:58,200 --> 00:48:01,440
Speaker 4: met you. Actually before I met Tank, I met you.

945
00:48:01,520 --> 00:48:04,239
Speaker 4: I come by the studio one day. I forgot where

946
00:48:04,280 --> 00:48:06,800
Speaker 4: well I think, yeah, I think it was I forgot

947
00:48:06,800 --> 00:48:10,319
Speaker 4: where it was. But by this time it was after

948
00:48:10,360 --> 00:48:14,600
Speaker 4: I had left the first time. And but you know,

949
00:48:14,640 --> 00:48:16,279
Speaker 4: that was still my guys, and I'm pulling up on

950
00:48:16,320 --> 00:48:21,480
Speaker 4: them and I was like, yeah, that nigga talented, the

951
00:48:21,560 --> 00:48:26,160
Speaker 4: quiet niggas really talented over and I'm listening to the

952
00:48:26,239 --> 00:48:28,680
Speaker 4: music and this is around you know those you know

953
00:48:28,800 --> 00:48:33,440
Speaker 4: that justified and sync and all that had happened for you,

954
00:48:34,200 --> 00:48:38,120
Speaker 4: and I'm just paying attention, and I'm just like the

955
00:48:38,200 --> 00:48:41,800
Speaker 4: tony nigga talented man, thank you, and I would you

956
00:48:41,840 --> 00:48:43,920
Speaker 4: know drop By, you know what I mean, just cool

957
00:48:43,960 --> 00:48:46,600
Speaker 4: listening to music. Damn it like, man, come back, y'all

958
00:48:46,600 --> 00:48:48,400
Speaker 4: work with you, gotta work with this, yeah, work with

959
00:48:48,400 --> 00:48:48,759
Speaker 4: this again.

960
00:48:48,800 --> 00:48:51,880
Speaker 1: I'm like, oh, one day, I don't know. And then

961
00:48:52,600 --> 00:48:57,759
Speaker 1: my decision, like when it was fully like okay, I'm

962
00:48:58,000 --> 00:49:02,239
Speaker 1: I'm rocking, is when it was over on Kowanga at

963
00:49:02,239 --> 00:49:05,520
Speaker 1: the Edmins Towers. And at this point he was there, yes,

964
00:49:06,239 --> 00:49:08,759
Speaker 1: and Eric was there, yes, and Little Steve was there,

965
00:49:09,280 --> 00:49:12,640
Speaker 1: and now it was like it was a problem these niggas.

966
00:49:13,160 --> 00:49:17,120
Speaker 1: It's cold on top of what already we had established

967
00:49:17,360 --> 00:49:18,320
Speaker 1: with Damon Harvey.

968
00:49:18,640 --> 00:49:21,279
Speaker 4: It was like, for lack of a better term, it

969
00:49:21,320 --> 00:49:23,800
Speaker 4: was votron, no question. It was literally R and B

970
00:49:23,880 --> 00:49:26,480
Speaker 4: voutron at this point. It was it was really what

971
00:49:26,520 --> 00:49:28,520
Speaker 4: I considered to be at that time was the R

972
00:49:28,520 --> 00:49:31,320
Speaker 4: and B version of the hit Man, right, which the

973
00:49:31,400 --> 00:49:34,719
Speaker 4: Hitman did R and B. Yeah, absolutely, but we focused

974
00:49:35,239 --> 00:49:38,400
Speaker 4: on R and B, you know what I mean? And

975
00:49:40,480 --> 00:49:42,800
Speaker 4: I just know, I like everyone in here can write

976
00:49:42,960 --> 00:49:48,440
Speaker 4: and produce, and most niggas can sing, most niggas can play.

977
00:49:48,800 --> 00:49:50,920
Speaker 1: There were no holes, you know, what I'm saying, like

978
00:49:50,960 --> 00:49:53,359
Speaker 1: they were just And let me tell you the part

979
00:49:53,440 --> 00:49:56,040
Speaker 1: to me that was more important than that. There was

980
00:49:56,040 --> 00:49:58,880
Speaker 1: no egos either, No, because all of us we like

981
00:49:58,920 --> 00:50:01,799
Speaker 1: each other. We liked each other. It was whoever had

982
00:50:01,840 --> 00:50:03,719
Speaker 1: the best idea of the day. It was never like

983
00:50:03,840 --> 00:50:06,680
Speaker 1: I had to have If Tank showed up with the record,

984
00:50:06,680 --> 00:50:08,640
Speaker 1: if you showed up, whatever, it's like, yo, let's do

985
00:50:08,719 --> 00:50:14,000
Speaker 1: it whatever. That record, except for Steve was Steve. I'm

986
00:50:14,000 --> 00:50:14,319
Speaker 1: on that.

987
00:50:15,120 --> 00:50:23,480
Speaker 2: I need that, and you're doing something without me.

988
00:50:24,200 --> 00:50:32,120
Speaker 1: I can smell it. A lead singer, Yes, yeah, it.

989
00:50:32,160 --> 00:50:33,960
Speaker 2: Was like you ain't leading, no room for a little Steve.

990
00:50:34,480 --> 00:50:37,320
Speaker 2: If you hurt two third person, ain't room with little Steve.

991
00:50:38,960 --> 00:50:42,920
Speaker 1: That's so true, bro, Like, oh my god, Yes, but

992
00:50:43,000 --> 00:50:46,360
Speaker 1: yeah that was That was it, man, because yes, everybody

993
00:50:46,400 --> 00:50:50,880
Speaker 1: was talented, but everybody also came in as a team player. Yeah,

994
00:50:51,160 --> 00:50:53,479
Speaker 1: and so it was not about trying. It was about

995
00:50:53,520 --> 00:50:56,120
Speaker 1: all of us winning. And to me, there's nothing like

996
00:50:56,200 --> 00:50:58,520
Speaker 1: That's what I enjoyed most about that experience is that

997
00:50:59,719 --> 00:51:01,959
Speaker 1: it was to me, it would have been no good

998
00:51:02,000 --> 00:51:04,640
Speaker 1: for a record for me to shine and not be

999
00:51:04,640 --> 00:51:07,239
Speaker 1: able to share it with him, Yeah, or to go

1000
00:51:07,280 --> 00:51:08,920
Speaker 1: to an Award show and not be able to Yo,

1001
00:51:08,960 --> 00:51:10,640
Speaker 1: what are we wearing? Or you know what I mean,

1002
00:51:10,640 --> 00:51:12,399
Speaker 1: because we all I.

1003
00:51:12,360 --> 00:51:15,719
Speaker 4: Look at that as like I look at Damon as

1004
00:51:15,800 --> 00:51:19,480
Speaker 4: like a general manager. He knew how to put the

1005
00:51:19,560 --> 00:51:22,080
Speaker 4: right people in the room, no questions, right, Yeah, and

1006
00:51:22,080 --> 00:51:24,799
Speaker 4: then then Harvey was a great coach, no question right.

1007
00:51:24,960 --> 00:51:29,040
Speaker 4: So looking at it in that structure, I'm like, oh,

1008
00:51:29,200 --> 00:51:31,440
Speaker 4: the niggas that were put in that room, because there

1009
00:51:31,440 --> 00:51:34,560
Speaker 4: were a lot of people who came Yeah, who came by, is.

1010
00:51:34,560 --> 00:51:35,480
Speaker 1: What I'll say.

1011
00:51:35,680 --> 00:51:39,080
Speaker 4: But the guys who like the core team of guys

1012
00:51:39,080 --> 00:51:44,239
Speaker 4: who worked for years together just really loved each other

1013
00:51:44,320 --> 00:51:46,960
Speaker 4: and really knew how to get the best out of

1014
00:51:46,960 --> 00:51:48,359
Speaker 4: each other musically, Like you.

1015
00:51:48,320 --> 00:51:50,000
Speaker 1: Know, no question, I already knew when I.

1016
00:51:49,960 --> 00:51:52,440
Speaker 4: Would get there, Like, Okay, if I got a certain idea,

1017
00:51:53,360 --> 00:51:56,319
Speaker 4: I'm gonna go in Tony room, I'm gonna go on Eric,

1018
00:51:56,480 --> 00:52:00,600
Speaker 4: I'm gonna go find tank A. You know what, I'm

1019
00:52:00,600 --> 00:52:02,719
Speaker 4: gonna start this dice game on the pool table.

1020
00:52:05,719 --> 00:52:07,120
Speaker 1: You know what I mean. Like it was just certain.

1021
00:52:07,160 --> 00:52:07,840
Speaker 1: It was just certain.

1022
00:52:07,920 --> 00:52:11,200
Speaker 4: It was just certain things where it's just where musically

1023
00:52:12,520 --> 00:52:14,480
Speaker 4: you could you couldn't go wrong in any room.

1024
00:52:15,200 --> 00:52:18,000
Speaker 1: You couldn't go wrong in any wrong. Yeah, yeah, you couldn't, man.

1025
00:52:18,000 --> 00:52:19,640
Speaker 1: And it was it was like it was such a

1026
00:52:19,640 --> 00:52:20,080
Speaker 1: wee thing.

1027
00:52:20,160 --> 00:52:22,920
Speaker 2: It was like, yes, very much. When something would start,

1028
00:52:23,719 --> 00:52:26,560
Speaker 2: it would be like it was like this, what y'all doing?

1029
00:52:26,640 --> 00:52:29,360
Speaker 1: Yeah, what y'all doing? Get here? And then now you

1030
00:52:29,400 --> 00:52:35,200
Speaker 1: got seven niggas in a little let me get in there.

1031
00:52:35,760 --> 00:52:39,520
Speaker 2: Literally, but it was like that was it was welcomed,

1032
00:52:40,120 --> 00:52:42,400
Speaker 2: no question. It was do you y'all hear something? You

1033
00:52:42,400 --> 00:52:42,920
Speaker 2: hear someone on this?

1034
00:52:43,000 --> 00:52:45,520
Speaker 1: What do you think? Every time? Every time? Every time?

1035
00:52:45,840 --> 00:52:49,400
Speaker 2: And I think that was the that was the like

1036
00:52:49,480 --> 00:52:53,360
Speaker 2: you said, that was the gift.

1037
00:52:52,920 --> 00:52:56,120
Speaker 1: We can we can all say like historically speaking, that's

1038
00:52:56,120 --> 00:52:58,200
Speaker 1: why I'm glad. I'm grateful I kind of get to

1039
00:52:58,200 --> 00:53:02,759
Speaker 1: show this part of my story. But like what most

1040
00:53:02,800 --> 00:53:06,000
Speaker 1: of what I intended to happen in every particular place

1041
00:53:06,040 --> 00:53:08,760
Speaker 1: I went was not why God had me go mmm,

1042
00:53:09,239 --> 00:53:12,239
Speaker 1: youe know what I'm saying. And so maybe what from

1043
00:53:12,280 --> 00:53:17,160
Speaker 1: from Chicago to Hampton to Denver, being born and raised

1044
00:53:17,160 --> 00:53:20,640
Speaker 1: in Denver, to being with Damon and Harvey to working

1045
00:53:20,680 --> 00:53:23,960
Speaker 1: with y'all, like my intention may have been, Okay, well,

1046
00:53:24,000 --> 00:53:26,600
Speaker 1: I'm gonna go ahead and be this producer that gets to,

1047
00:53:26,800 --> 00:53:28,920
Speaker 1: you know, finally get to stand on my own this

1048
00:53:29,000 --> 00:53:32,080
Speaker 1: and the other. But I built brotherhoods. I got to

1049
00:53:32,200 --> 00:53:37,480
Speaker 1: build relationships. I've we created some incredible music, and it

1050
00:53:37,560 --> 00:53:41,160
Speaker 1: became therapy. It became you know, because all of us

1051
00:53:41,280 --> 00:53:43,279
Speaker 1: was going through stuff, but we would all get to

1052
00:53:43,320 --> 00:53:45,560
Speaker 1: sit and talk about it or write songs about it.

1053
00:53:45,640 --> 00:53:48,320
Speaker 1: And I wasn't really going through nothing. I was. I was.

1054
00:53:48,800 --> 00:53:52,200
Speaker 1: I was ordering white teas and air Force ones for everybody.

1055
00:53:51,560 --> 00:53:56,560
Speaker 1: But hey, hey, push yours. I got somebody that's gonna

1056
00:53:56,560 --> 00:53:58,600
Speaker 1: come and get the money they bring us back fine

1057
00:53:58,840 --> 00:54:03,359
Speaker 1: and white teas. Man, don't worry about man, that's I

1058
00:54:03,400 --> 00:54:07,560
Speaker 1: get it. Man. Yeah, you was hustling. Yeah, man, you

1059
00:54:07,600 --> 00:54:12,359
Speaker 1: know I was some You feel me back here. Man,

1060
00:54:12,480 --> 00:54:17,480
Speaker 1: you know, lose and go lose, don't do it. You

1061
00:54:17,560 --> 00:54:20,960
Speaker 1: canna walk away smileing just like that does I'm telling

1062
00:54:20,960 --> 00:54:24,480
Speaker 1: you you like that? All right? Yeah, nobody's gonna be

1063
00:54:24,480 --> 00:54:28,719
Speaker 1: gone as a gift, a gift for the foolish. You

1064
00:54:28,800 --> 00:54:32,520
Speaker 1: go lose with a smile. Man, were just having a

1065
00:54:32,520 --> 00:54:32,919
Speaker 1: good time.

1066
00:54:34,120 --> 00:54:37,799
Speaker 4: Because the other thing that I realized, and at this point, right,

1067
00:54:37,920 --> 00:54:39,839
Speaker 4: I'm not even a manager. At this point, I had

1068
00:54:39,840 --> 00:54:44,280
Speaker 4: never managed before at this point, but I realized time

1069
00:54:44,400 --> 00:54:47,520
Speaker 4: needed to be managed around there because I will walk

1070
00:54:47,560 --> 00:54:50,520
Speaker 4: in the studio and I'm like, oh, it's three or

1071
00:54:50,760 --> 00:54:58,239
Speaker 4: four maybe artists waiting, waiting impatiently. So yeah, niggas might

1072
00:54:58,280 --> 00:55:00,359
Speaker 4: want to play video games a little bit, nigga, But

1073
00:55:00,440 --> 00:55:03,880
Speaker 4: we had to like start finding some ship for niggas

1074
00:55:03,880 --> 00:55:07,160
Speaker 4: to do, because to get in that.

1075
00:55:07,160 --> 00:55:11,600
Speaker 1: Main room, oh yeah, could take three four days for

1076
00:55:11,680 --> 00:55:16,480
Speaker 1: an artist. So we had to find some activities. And

1077
00:55:16,520 --> 00:55:24,759
Speaker 1: I just knew some activities the bridge. Let's just have

1078
00:55:24,760 --> 00:55:26,920
Speaker 1: a good time to slip on the twenty four hours

1079
00:55:26,920 --> 00:55:27,879
Speaker 1: and get some hoo fings.

1080
00:55:28,200 --> 00:55:30,520
Speaker 4: You know, all of that, bro, all of it, bro,

1081
00:55:30,600 --> 00:55:32,960
Speaker 4: And I think when I when I look back at

1082
00:55:32,960 --> 00:55:35,319
Speaker 4: the time, man, it just it really it really did

1083
00:55:35,360 --> 00:55:38,000
Speaker 4: build a brotherhood, no question, it built a brotherhood.

1084
00:55:38,040 --> 00:55:39,799
Speaker 1: But let's let's let's talk about the records. Though.

1085
00:55:40,480 --> 00:55:44,200
Speaker 4: We talked about the brotherhood the records, though, Bro, we

1086
00:55:44,480 --> 00:55:47,719
Speaker 4: spoke about it earlier man, for me, which was a

1087
00:55:47,800 --> 00:55:52,680
Speaker 4: later time actually after the second time I left, right

1088
00:55:52,960 --> 00:55:56,719
Speaker 4: when I go do my deal and they asked me

1089
00:55:56,760 --> 00:55:59,040
Speaker 4: who I want to work with, and you know, me

1090
00:55:59,080 --> 00:56:01,440
Speaker 4: and Larry went through all you know, the producers, and

1091
00:56:01,440 --> 00:56:05,600
Speaker 4: and I said, listen, I'm I'm going back to the underdogs.

1092
00:56:07,200 --> 00:56:11,000
Speaker 4: I'm going listen, give me two weeks, give me, oh,

1093
00:56:11,120 --> 00:56:15,759
Speaker 4: we give me whatever it is. But my budget, it's

1094
00:56:15,760 --> 00:56:19,440
Speaker 4: a part that's allocated toward going back to the underdogs

1095
00:56:19,440 --> 00:56:23,560
Speaker 4: and fucking with my pots and and.

1096
00:56:23,280 --> 00:56:28,560
Speaker 1: And it felt good for me to go back and

1097
00:56:28,640 --> 00:56:30,920
Speaker 1: work with y'all. You know what I mean, It.

1098
00:56:31,360 --> 00:56:33,919
Speaker 4: Really did, because I want to say, this was even

1099
00:56:33,960 --> 00:56:36,120
Speaker 4: before you do the Sex, Love and Pain album.

1100
00:56:36,160 --> 00:56:38,120
Speaker 1: Yeah, yeah, my deal was.

1101
00:56:38,160 --> 00:56:41,440
Speaker 4: My deal was before that, and I'm like, I just

1102
00:56:41,480 --> 00:56:44,880
Speaker 4: gotta go work with my guys. And the records that

1103
00:56:44,920 --> 00:56:47,360
Speaker 4: we came up with man like incredible.

1104
00:56:47,440 --> 00:56:47,799
Speaker 1: I was.

1105
00:56:47,920 --> 00:56:50,520
Speaker 4: I was really excited because I had worked with everybody

1106
00:56:50,760 --> 00:56:52,480
Speaker 4: on that album too, but I was just like, I'm

1107
00:56:52,480 --> 00:56:55,960
Speaker 4: going to end it with my guys. And coming up

1108
00:56:55,960 --> 00:56:58,480
Speaker 4: when she worked in Trouble bro and and should Have

1109
00:56:58,520 --> 00:57:01,879
Speaker 4: Been with You, which me and Larry argue to this

1110
00:57:01,960 --> 00:57:04,520
Speaker 4: day about which record is better.

1111
00:57:04,719 --> 00:57:08,360
Speaker 1: Yeah, they're both really good. I listened to should Have

1112
00:57:08,400 --> 00:57:13,080
Speaker 1: Been with You the other day. I was like, God, yeah, yeah, this.

1113
00:57:13,040 --> 00:57:17,560
Speaker 4: Nigga Harvey got me singing what they I'm like, ain't

1114
00:57:17,960 --> 00:57:18,880
Speaker 4: I get a headache?

1115
00:57:18,880 --> 00:57:22,120
Speaker 1: Trying to hit those notes right now. But I was

1116
00:57:22,120 --> 00:57:24,120
Speaker 1: just like, man, it's the music that we were able

1117
00:57:24,200 --> 00:57:28,280
Speaker 1: to create together. Bro. Was was really special, Like O Marion,

1118
00:57:29,840 --> 00:57:32,600
Speaker 1: come come on, come on, what we got bro? I

1119
00:57:32,600 --> 00:57:38,360
Speaker 1: remember weekend, Yes, Sir Stark, Sir All Star week and

1120
00:57:39,120 --> 00:57:43,000
Speaker 1: three people met up at the building look at each

1121
00:57:43,000 --> 00:57:45,720
Speaker 1: other like that, get her done, to get her done,

1122
00:57:46,280 --> 00:57:51,520
Speaker 1: get a head start yeah, And there came yeah, oh

1123
00:57:51,560 --> 00:57:52,720
Speaker 1: and I'm trying. I'm trying to.

1124
00:57:54,280 --> 00:57:59,919
Speaker 2: I was like, listen, that was therapy for me me too.

1125
00:58:01,240 --> 00:58:07,200
Speaker 2: That session right there got got my my mental mm

1126
00:58:07,240 --> 00:58:11,240
Speaker 2: hmmm and my spiritual back into the game.

1127
00:58:11,440 --> 00:58:15,400
Speaker 1: Wow. Wow, I didn't know that I was cooked. Bro,

1128
00:58:16,440 --> 00:58:19,040
Speaker 1: I get it. I get it. I couldn't.

1129
00:58:19,240 --> 00:58:23,720
Speaker 2: I couldn't land nothing, nothing felt right, nothing sounded right.

1130
00:58:23,800 --> 00:58:25,840
Speaker 2: It was because of everything I was going through personally.

1131
00:58:26,240 --> 00:58:28,360
Speaker 2: Everything that I was going through personally had knocked me

1132
00:58:28,440 --> 00:58:34,480
Speaker 2: completely off my track. And that weekend, those two songs.

1133
00:58:34,280 --> 00:58:36,800
Speaker 1: Wow, that's got me back and got me back in

1134
00:58:37,080 --> 00:58:43,600
Speaker 1: bros like myself. I felt like I felt better than myself,

1135
00:58:44,800 --> 00:58:45,800
Speaker 1: you know what I mean? Because then.

1136
00:58:47,160 --> 00:58:51,840
Speaker 2: That's during the transition of coming, coming, getting to the

1137
00:58:51,960 --> 00:58:55,000
Speaker 2: underdogs and to work with you guys. But now starting

1138
00:58:55,040 --> 00:58:58,600
Speaker 2: to learn so many new things, you know what I mean? So,

1139
00:58:59,600 --> 00:59:02,560
Speaker 2: oh oh, the old track is the last track I

1140
00:59:02,560 --> 00:59:08,280
Speaker 2: did on the NPC with my equipment and transferring all

1141
00:59:08,320 --> 00:59:13,880
Speaker 2: of that stuff into logic and having Harvey and Tony

1142
00:59:13,920 --> 00:59:16,000
Speaker 2: look at me this. You gotta cut it out, bro,

1143
00:59:17,520 --> 00:59:29,040
Speaker 2: you got you got n now you gotta I got

1144
00:59:29,120 --> 00:59:33,800
Speaker 2: your sounds, I got everything for you. You gotta move Yeah,

1145
00:59:33,880 --> 00:59:37,160
Speaker 2: And that was I'm like, okay, okay, So now I'm

1146
00:59:37,840 --> 00:59:40,440
Speaker 2: now I'm really I'm on a new learning curve, you

1147
00:59:40,480 --> 00:59:43,400
Speaker 2: know what I'm saying. Now I'm starting to I'm starting

1148
00:59:43,400 --> 00:59:45,240
Speaker 2: to grow in a different way because I'm in a

1149
00:59:45,240 --> 00:59:48,040
Speaker 2: completely different space I've never been in. I've been around

1150
00:59:48,040 --> 00:59:50,520
Speaker 2: guys who've worked on computers made music in the computer,

1151
00:59:50,640 --> 00:59:53,600
Speaker 2: but I've never done it myself. So now I'm starting

1152
00:59:53,600 --> 00:59:56,120
Speaker 2: to I'm starting to really need to be in his room.

1153
00:59:56,160 --> 00:59:59,360
Speaker 2: And what are you doing right there? How did you

1154
00:59:59,400 --> 01:00:01,920
Speaker 2: drag that it's supposed to comand for that? What's this?

1155
01:00:02,040 --> 01:00:05,040
Speaker 1: What's that? And how do you set up you how

1156
01:00:05,040 --> 01:00:06,360
Speaker 1: do you set up your power ball? To make sure?

1157
01:00:06,760 --> 01:00:09,960
Speaker 1: Oh ship, that's crazy. Okay. I'm running from room to

1158
01:00:10,040 --> 01:00:12,880
Speaker 1: room like like a kid in a candy store, trying

1159
01:00:12,920 --> 01:00:15,800
Speaker 1: to learn all of these things. Yeah, but the way

1160
01:00:15,840 --> 01:00:19,560
Speaker 1: you I remember very specifically you came in with that

1161
01:00:19,600 --> 01:00:24,400
Speaker 1: tank smile like I got one. He came with that.

1162
01:00:24,680 --> 01:00:26,800
Speaker 1: He was like, I got what. You got to sit down.

1163
01:00:26,840 --> 01:00:28,840
Speaker 1: That's what we did. We sat down and I remember

1164
01:00:28,880 --> 01:00:32,880
Speaker 1: you playing us the chorus to Oh, and I was like, yeah,

1165
01:00:32,920 --> 01:00:37,360
Speaker 1: he's got the singles. He got to sing Oh. He did.

1166
01:00:37,920 --> 01:00:39,360
Speaker 1: He did before anybody heard it.

1167
01:00:39,400 --> 01:00:40,600
Speaker 2: I said I got I said, I got you. I

1168
01:00:40,600 --> 01:00:42,400
Speaker 2: got your record, no question, gonna take you from a

1169
01:00:42,440 --> 01:00:43,160
Speaker 2: boy to a man.

1170
01:00:44,480 --> 01:00:46,200
Speaker 4: And that's the thing when you can write a record

1171
01:00:46,280 --> 01:00:48,200
Speaker 4: that it's personal.

1172
01:00:48,440 --> 01:00:52,480
Speaker 1: Yeah yeah for an artist, Yeah it's here. And I

1173
01:00:52,600 --> 01:00:56,960
Speaker 1: clicked Yeah for sure. It was like I met my

1174
01:00:57,080 --> 01:00:59,920
Speaker 1: long lost little brother. Yeah yeah. And it was just

1175
01:01:00,120 --> 01:01:05,000
Speaker 1: like it was he hoop, Yeah, he super cool. He sing.

1176
01:01:05,240 --> 01:01:12,320
Speaker 1: He looked like me, he like hopefully not like you're

1177
01:01:12,400 --> 01:01:14,240
Speaker 1: gonna stop messing me on my knees. You know what

1178
01:01:14,280 --> 01:01:18,240
Speaker 1: I'm saying so correct.

1179
01:01:18,320 --> 01:01:21,960
Speaker 2: So it was all of that, and I'm looking at

1180
01:01:21,960 --> 01:01:23,960
Speaker 2: and I'm watching him and I'm just listening and I'm

1181
01:01:24,000 --> 01:01:27,960
Speaker 2: listening to him sing, and I'm like I'm like, nah, yeah,

1182
01:01:28,400 --> 01:01:31,640
Speaker 2: first you're in the wrong key. I said, let's get

1183
01:01:31,640 --> 01:01:35,600
Speaker 2: you out of yeah, the stratisfy Yeah, and put you

1184
01:01:35,680 --> 01:01:40,320
Speaker 2: in mansong Yeah yeah yeah, put you right here. Your

1185
01:01:40,360 --> 01:01:44,280
Speaker 2: son needs to be called. Oh yeah you're Mario yea Marion.

1186
01:01:44,720 --> 01:01:47,680
Speaker 2: Yeah your word playing on that the girl, Oh yeah,

1187
01:01:47,840 --> 01:01:49,800
Speaker 2: he said he's tank do.

1188
01:01:54,680 --> 01:01:55,320
Speaker 1: Weekend. Bro.

1189
01:01:55,640 --> 01:01:58,480
Speaker 2: I can't say it enough that we can change everything

1190
01:01:58,480 --> 01:01:59,880
Speaker 2: for me, life changing.

1191
01:02:00,040 --> 01:02:04,040
Speaker 1: We can't remember yesterday. And then my first track track.

1192
01:02:03,920 --> 01:02:11,080
Speaker 2: Yeah on on Logic that like real placement from Logic naked.

1193
01:02:11,440 --> 01:02:18,760
Speaker 1: Yeah. Wow, see I'm telling you. I was like, yeah

1194
01:02:18,160 --> 01:02:23,400
Speaker 1: him logic, Yeah, yeah, I am logic. Yeah. But again,

1195
01:02:23,440 --> 01:02:25,960
Speaker 1: it's just like every other instrument or anything you've learned.

1196
01:02:26,000 --> 01:02:28,920
Speaker 1: Once you got through the muscle memory part and the

1197
01:02:29,040 --> 01:02:31,160
Speaker 1: technical side of it and you were able to get

1198
01:02:31,160 --> 01:02:33,480
Speaker 1: out of the way, yes, and get back to creating,

1199
01:02:34,120 --> 01:02:36,200
Speaker 1: then you were unstoppable. And it's not it had nothing

1200
01:02:36,240 --> 01:02:37,720
Speaker 1: to do with your gift. It was just let me

1201
01:02:37,760 --> 01:02:38,800
Speaker 1: go ahead and get out of the way so I

1202
01:02:38,840 --> 01:02:41,120
Speaker 1: can create just more. By the NPC, yeah you did

1203
01:02:41,560 --> 01:02:44,440
Speaker 1: swore by the When you fall in love with something,

1204
01:02:44,560 --> 01:02:48,040
Speaker 1: especially something that's been good to you, yeah, you've had

1205
01:02:48,080 --> 01:02:48,800
Speaker 1: success with it.

1206
01:02:49,080 --> 01:02:59,480
Speaker 4: Yeah, we have to keep talking about it because it

1207
01:02:59,520 --> 01:03:03,600
Speaker 4: keeps coming. This AI think right, like we have to

1208
01:03:03,600 --> 01:03:05,560
Speaker 4: figure out how to utilize it.

1209
01:03:06,120 --> 01:03:10,440
Speaker 1: Says it's not going anywhere. You know. Listen, I'm really

1210
01:03:10,440 --> 01:03:14,640
Speaker 1: an old nigga in music years, right, I'm about a

1211
01:03:14,720 --> 01:03:17,240
Speaker 1: thousand years old when it comes to music. And so

1212
01:03:17,320 --> 01:03:20,240
Speaker 1: I remember two inch days. I remember you know what

1213
01:03:20,280 --> 01:03:22,880
Speaker 1: I mean, the machine, the machines bro.

1214
01:03:24,560 --> 01:03:31,800
Speaker 4: So you couldn't have told the producers of yesteryear what

1215
01:03:31,840 --> 01:03:32,920
Speaker 4: this was going to become.

1216
01:03:33,280 --> 01:03:34,920
Speaker 1: Are the writers and you know what I mean. So

1217
01:03:34,960 --> 01:03:37,800
Speaker 1: it's like it was the same argument back then when

1218
01:03:37,800 --> 01:03:42,240
Speaker 1: it was over to pro tools. This is where's my master?

1219
01:03:42,880 --> 01:03:45,840
Speaker 2: Right, So certain guys were like, well, I'm gonna still

1220
01:03:46,080 --> 01:03:48,320
Speaker 2: run my protus through the board.

1221
01:03:48,680 --> 01:03:52,000
Speaker 1: Right, yes, right, yes, I remember, no, right, I get it.

1222
01:03:52,080 --> 01:03:57,960
Speaker 2: It was there they just and now it's like you

1223
01:03:58,120 --> 01:04:05,080
Speaker 2: got world renowned mix engineers, sound crafters that are completely

1224
01:04:05,200 --> 01:04:06,040
Speaker 2: in the box.

1225
01:04:06,880 --> 01:04:08,960
Speaker 1: In the box. Yeah. The one thing I've learned about,

1226
01:04:09,080 --> 01:04:13,720
Speaker 1: especially surviving in today's industry, is our goal has to

1227
01:04:13,720 --> 01:04:17,400
Speaker 1: be able to make better music faster. Period. We don't

1228
01:04:17,440 --> 01:04:20,960
Speaker 1: have a choice. Now, whether you choose to use AI

1229
01:04:21,480 --> 01:04:23,400
Speaker 1: as a tool or not, that's up to you. But

1230
01:04:23,440 --> 01:04:27,480
Speaker 1: the reality is is the consumption is so quick that

1231
01:04:27,560 --> 01:04:30,680
Speaker 1: we have to create music that again, we have to

1232
01:04:30,680 --> 01:04:34,600
Speaker 1: make great music faster. And to me, you got to

1233
01:04:34,600 --> 01:04:36,840
Speaker 1: figure out the tool that get you out of the

1234
01:04:36,840 --> 01:04:39,120
Speaker 1: way the quickest so that you can do the music

1235
01:04:39,160 --> 01:04:41,160
Speaker 1: that you want to do. And if you're a hyper

1236
01:04:41,160 --> 01:04:43,280
Speaker 1: creative like me and like both of us are, it's

1237
01:04:43,320 --> 01:04:45,200
Speaker 1: like all three of us are, it's like you have

1238
01:04:45,280 --> 01:04:47,000
Speaker 1: to figure out ways to get out of the way.

1239
01:04:47,240 --> 01:04:50,760
Speaker 1: And for some people, this is my only issue with

1240
01:04:50,920 --> 01:04:54,320
Speaker 1: AI has to do with the verbiage. I think the

1241
01:04:54,360 --> 01:04:58,080
Speaker 1: reality is is that we have to stop saying that

1242
01:04:58,120 --> 01:05:01,680
Speaker 1: I wrote something when you didn't write it. Right what

1243
01:05:01,720 --> 01:05:04,480
Speaker 1: I'm saying, I agree, Yeah, if you can't say, you

1244
01:05:04,520 --> 01:05:06,880
Speaker 1: can't say you wrote something that you prompted. But there

1245
01:05:06,920 --> 01:05:10,080
Speaker 1: they have been pretended since the beginning of time. There's

1246
01:05:10,120 --> 01:05:14,200
Speaker 1: that that's very trures people taking credit. There's names on

1247
01:05:14,280 --> 01:05:15,960
Speaker 1: projects that should not be there.

1248
01:05:16,000 --> 01:05:20,560
Speaker 2: Very very dum and this right here, it's no different,

1249
01:05:20,920 --> 01:05:21,960
Speaker 2: very true, very true.

1250
01:05:22,400 --> 01:05:24,960
Speaker 1: It's just not an actual person. That's very true. Credit.

1251
01:05:25,320 --> 01:05:32,720
Speaker 1: And I still think that nothing can replace human ingenuity

1252
01:05:32,760 --> 01:05:35,360
Speaker 1: and creativity. So if you choose to want to use

1253
01:05:35,400 --> 01:05:38,840
Speaker 1: that as your thing, fine, But I guarantee there's nothing

1254
01:05:38,880 --> 01:05:41,120
Speaker 1: like getting us in the room together to create music.

1255
01:05:42,280 --> 01:05:44,320
Speaker 2: I will ever tell the artists standpoint, like when I

1256
01:05:44,360 --> 01:05:46,480
Speaker 2: walk up, walk up on you and sing in your face.

1257
01:05:47,080 --> 01:05:51,720
Speaker 1: Yeah, you be walking up on people. It's hot, breath

1258
01:05:51,760 --> 01:05:55,520
Speaker 1: of these cities on you. Oh my god. Yeah, you

1259
01:05:56,800 --> 01:06:01,240
Speaker 1: know what I'm talking about. Get out of there.

1260
01:06:01,360 --> 01:06:06,440
Speaker 2: Man, you sold five heart beats a hundred thousand times.

1261
01:06:06,560 --> 01:06:09,760
Speaker 1: Yeah. Put that body on her, got up on her.

1262
01:06:10,680 --> 01:06:13,160
Speaker 1: You know, I do that, and I do that and

1263
01:06:13,280 --> 01:06:19,960
Speaker 1: walk up on her. That's nice. Squirrem that takes nice,

1264
01:06:20,360 --> 01:06:24,880
Speaker 1: That takes nice. That was so nice.

1265
01:06:25,120 --> 01:06:27,160
Speaker 4: Another record I have to bring up. If I don't

1266
01:06:27,160 --> 01:06:30,240
Speaker 4: while you're here, I deal the crucify me.

1267
01:06:30,520 --> 01:06:34,000
Speaker 1: Yeah. How could you? Ah yeah, how could you? How

1268
01:06:34,040 --> 01:06:37,680
Speaker 1: could you? What a great record? Man? I got a

1269
01:06:37,760 --> 01:06:42,439
Speaker 1: couple of days too. Yeah. Yeah, yeah. He was hanging

1270
01:06:42,440 --> 01:06:50,680
Speaker 1: out and Rancho Coogle magket I heard that record. Yeah.

1271
01:06:50,920 --> 01:06:54,160
Speaker 1: That was also the problem with having that level of

1272
01:06:54,200 --> 01:06:57,120
Speaker 1: talent in a small space at a small amount time.

1273
01:06:57,280 --> 01:07:02,880
Speaker 1: You never knew the day. An incredible light change you

1274
01:07:00,640 --> 01:07:03,680
Speaker 1: to do that, you had to be there.

1275
01:07:04,080 --> 01:07:06,320
Speaker 4: Okay, I'll say with my schedule, actually know before we

1276
01:07:06,320 --> 01:07:10,920
Speaker 4: get to dischedules, that record, though I never forget. Us

1277
01:07:11,120 --> 01:07:15,000
Speaker 4: were all in there right and everybody's you know, and

1278
01:07:15,280 --> 01:07:21,320
Speaker 4: I had this moment where I thought of what Babyface

1279
01:07:21,360 --> 01:07:23,959
Speaker 4: had told me years ago. He was like, every song

1280
01:07:24,040 --> 01:07:28,720
Speaker 4: has to have something that makes you remember it something.

1281
01:07:28,760 --> 01:07:30,600
Speaker 4: It could be ridiculous, it could be you know what

1282
01:07:30,640 --> 01:07:33,960
Speaker 4: I mean. And I learned that from him, from him

1283
01:07:34,400 --> 01:07:38,280
Speaker 4: writing Drew Hill when he says swallow you like Reese's Pieces,

1284
01:07:38,320 --> 01:07:40,720
Speaker 4: got it, come on, girl, you know I needed And

1285
01:07:40,760 --> 01:07:44,240
Speaker 4: I thought it was the worst ever, but then I realized, like, no,

1286
01:07:44,360 --> 01:07:49,200
Speaker 4: it's actually the greatest because it's it's so relatable. He's

1287
01:07:49,200 --> 01:07:51,959
Speaker 4: comparing her. A woman loves to be compared to something, something,

1288
01:07:52,040 --> 01:07:53,520
Speaker 4: you know, especially something sweet.

1289
01:07:53,840 --> 01:08:16,720
Speaker 5: Was that his verse Drew Hill, Yeah, yeah.

1290
01:08:06,560 --> 01:08:10,920
Speaker 1: I love that jazz The second motherfucker old Blood, Old Blood.

1291
01:08:10,960 --> 01:08:13,040
Speaker 4: But I remembered that, and while we're in there right,

1292
01:08:13,160 --> 01:08:16,080
Speaker 4: I'm like, and I told the story before, you know.

1293
01:08:17,240 --> 01:08:19,960
Speaker 4: You know, at that time, that was a thing like

1294
01:08:20,080 --> 01:08:22,160
Speaker 4: Comma Suture was the thing. Everybody was talking about it

1295
01:08:22,880 --> 01:08:24,200
Speaker 4: the last twelve.

1296
01:08:25,960 --> 01:08:31,320
Speaker 1: I'm gonna see Indian style in it for twelve and

1297
01:08:31,400 --> 01:08:35,640
Speaker 1: it was like all the conversations like yeah, yeah, I

1298
01:08:35,800 --> 01:08:39,360
Speaker 1: just put the ghetto comes and you nailed it, and

1299
01:08:39,439 --> 01:08:41,280
Speaker 1: Hardy was like, man, what is that?

1300
01:08:41,320 --> 01:08:41,479
Speaker 2: Man?

1301
01:08:41,680 --> 01:08:48,400
Speaker 1: What is that? Buddy? That buddy ghetto conversation? Yeah, it's

1302
01:08:48,479 --> 01:08:54,120
Speaker 1: the version man, just about a little kool aid on him. Man,

1303
01:08:54,600 --> 01:08:55,840
Speaker 1: you know what we gotta do?

1304
01:08:57,479 --> 01:09:01,559
Speaker 4: But record bro, it was, and it was the song

1305
01:09:01,680 --> 01:09:05,280
Speaker 4: that floated around the floor, Yeah, where niggas was like, nigga,

1306
01:09:05,320 --> 01:09:07,320
Speaker 4: y'all heard, how could you? Yeah you heard?

1307
01:09:07,880 --> 01:09:08,120
Speaker 1: Yeah?

1308
01:09:08,640 --> 01:09:11,720
Speaker 4: Yeah, and it would just get played for everyone who

1309
01:09:11,720 --> 01:09:15,559
Speaker 4: walked up in that nigga. Once Mario got hold of it,

1310
01:09:15,560 --> 01:09:19,599
Speaker 4: it was over. There was another record that Becoming a Man.

1311
01:09:19,920 --> 01:09:23,760
Speaker 1: Yeah, yeah, yeah, this is a crazy thing about even

1312
01:09:23,760 --> 01:09:25,960
Speaker 1: doing how could You? And naked and own all that

1313
01:09:26,000 --> 01:09:30,160
Speaker 1: other stuff. I feel sorry for those artists because they had,

1314
01:09:30,240 --> 01:09:35,920
Speaker 1: like you demoed, Oh, Eric, demo? Could you like if

1315
01:09:35,960 --> 01:09:38,200
Speaker 1: I'm an artist and I can't step up? Like that

1316
01:09:38,280 --> 01:09:41,280
Speaker 1: had to be intimidating, like well, you know they killed

1317
01:09:41,280 --> 01:09:43,920
Speaker 1: it though, and yeah they did. What you're saying makes sense.

1318
01:09:44,520 --> 01:09:48,720
Speaker 2: And the beauty in that was you had a guy

1319
01:09:48,760 --> 01:09:52,639
Speaker 2: like Harvey, Yeah who could He could get you the artists,

1320
01:09:52,680 --> 01:09:55,520
Speaker 2: He could get you there to that level, get you there.

1321
01:09:55,640 --> 01:09:59,840
Speaker 1: I used to love when he said this, I got it. Yeah, yeah,

1322
01:09:59,880 --> 01:10:02,679
Speaker 1: I I gotta think of another I trust you, Yeah,

1323
01:10:02,840 --> 01:10:04,800
Speaker 1: I trust you, and he would get it. We gotta

1324
01:10:04,800 --> 01:10:09,559
Speaker 1: tech people. Yeah yeah, okay, yeah, I told him this repeatedly.

1325
01:10:09,680 --> 01:10:12,000
Speaker 1: I think he's an amazing finisher of a record. Yeah,

1326
01:10:12,040 --> 01:10:14,679
Speaker 1: that's how I learned. So I knew how to produce.

1327
01:10:16,200 --> 01:10:18,479
Speaker 1: I knew how to produce. That wasn't a problem. Yeah.

1328
01:10:18,920 --> 01:10:23,439
Speaker 2: But the extra gloss at the end, yeah yeah, yeah,

1329
01:10:23,680 --> 01:10:27,800
Speaker 2: yeah yeah that finished the buff Yeah at the end.

1330
01:10:28,240 --> 01:10:34,400
Speaker 1: Yeah. Yeah, that man, and you thank you. Listen, what

1331
01:10:34,439 --> 01:10:34,800
Speaker 1: are you doing?

1332
01:10:35,120 --> 01:10:35,240
Speaker 6: Oh?

1333
01:10:35,320 --> 01:10:36,960
Speaker 2: I took the vocals from the game and I brought

1334
01:10:37,000 --> 01:10:38,760
Speaker 2: him in here and then now then the logic, it's

1335
01:10:38,760 --> 01:10:40,160
Speaker 2: just going to go through and just find more pieces

1336
01:10:40,200 --> 01:10:43,200
Speaker 2: that would add to it, like in certain parts like yeah,

1337
01:10:43,400 --> 01:10:45,519
Speaker 2: running my room, I need the.

1338
01:10:45,560 --> 01:10:50,559
Speaker 1: Vocals like I learned that I learned from I learned

1339
01:10:50,600 --> 01:10:56,680
Speaker 1: from them, the how to edit the breaths. Yeah, oh,

1340
01:10:56,760 --> 01:10:59,040
Speaker 1: in your in your pro touls. Yeah yeah, got you.

1341
01:10:59,080 --> 01:11:02,040
Speaker 1: Because I'm like, okay, I get it. We can clean

1342
01:11:02,080 --> 01:11:04,880
Speaker 1: it up. But now it feels computerized.

1343
01:11:05,240 --> 01:11:08,080
Speaker 4: Yeah, okay, So now I just gotta I gotta, I gotta,

1344
01:11:08,760 --> 01:11:12,280
Speaker 4: I gotta figure out where the breath almost feels almost

1345
01:11:12,720 --> 01:11:15,080
Speaker 4: like an inflection, or it feels like an ad live

1346
01:11:15,120 --> 01:11:15,599
Speaker 4: in a sense.

1347
01:11:17,520 --> 01:11:20,439
Speaker 1: Yes, yes, right, it.

1348
01:11:20,520 --> 01:11:23,120
Speaker 4: Was just a little intricate things like that that a

1349
01:11:23,240 --> 01:11:26,639
Speaker 4: lot of people didn't understand about production, especially in logic

1350
01:11:26,760 --> 01:11:29,200
Speaker 4: and protus and really learning how to we're.

1351
01:11:29,080 --> 01:11:33,360
Speaker 1: Also learning from not just producers but engineer engineer. Yeah right, yeah.

1352
01:11:33,720 --> 01:11:37,759
Speaker 1: I remember certain things like when you cut a record

1353
01:11:37,840 --> 01:11:40,439
Speaker 1: and it ended with an S, and then making sure

1354
01:11:40,479 --> 01:11:42,120
Speaker 1: that the all harmonies didn't have an S on it,

1355
01:11:42,240 --> 01:11:46,360
Speaker 1: because then you'd hear yeah and all that little stuff. Okay, no,

1356
01:11:46,479 --> 01:11:48,200
Speaker 1: we got the sea, we have the S on the one.

1357
01:11:48,200 --> 01:11:51,760
Speaker 1: We don't need everybody and little stuff like that, or

1358
01:11:51,920 --> 01:11:53,720
Speaker 1: you know, the t's and the p's and all that

1359
01:11:53,760 --> 01:11:56,280
Speaker 1: stuff that were pop But that's that's all a part

1360
01:11:56,320 --> 01:11:58,720
Speaker 1: of producing that you start to learn that takes your

1361
01:11:58,760 --> 01:12:02,800
Speaker 1: stuff from here to to again commercially ready and yeah

1362
01:12:03,000 --> 01:12:04,880
Speaker 1: and getting out again, getting out of the way, man,

1363
01:12:05,000 --> 01:12:08,880
Speaker 1: Like is this song it would make the sheene matter,

1364
01:12:09,200 --> 01:12:11,200
Speaker 1: But it's in the details. And to me, that's the

1365
01:12:11,240 --> 01:12:14,200
Speaker 1: biggest issue that a lot of producers now have to

1366
01:12:14,439 --> 01:12:18,000
Speaker 1: learn in order to elevate their music. To me, is

1367
01:12:19,479 --> 01:12:21,920
Speaker 1: really start to dive back into the details of the record,

1368
01:12:22,200 --> 01:12:24,120
Speaker 1: not just the fact that you got a great loop

1369
01:12:24,200 --> 01:12:26,360
Speaker 1: or you got a great you know, a great hook

1370
01:12:26,439 --> 01:12:28,439
Speaker 1: or whatever like. Start to look into the details as

1371
01:12:28,479 --> 01:12:29,679
Speaker 1: to why these songs stick.

1372
01:12:30,040 --> 01:12:31,960
Speaker 2: Because what happens with the dolls is that you can

1373
01:12:32,000 --> 01:12:34,160
Speaker 2: get lazy because you can do it so fast and

1374
01:12:34,240 --> 01:12:37,880
Speaker 2: it sounds so good, AI, and so you think you're

1375
01:12:37,920 --> 01:12:42,840
Speaker 2: done right right, when when there's all there's always just

1376
01:12:42,920 --> 01:12:44,879
Speaker 2: a little more to do always.

1377
01:12:45,400 --> 01:12:47,200
Speaker 1: And that was the thing I learned also about from

1378
01:12:47,320 --> 01:12:50,400
Speaker 1: from from Kenny, from Babyface, was I learned the difference

1379
01:12:50,439 --> 01:12:54,680
Speaker 1: between a great song and a copyright. H and a

1380
01:12:54,800 --> 01:12:57,519
Speaker 1: copyright for those who don't know, a copyright is that

1381
01:12:57,640 --> 01:13:00,599
Speaker 1: record that pays you the rest of your life. That's

1382
01:13:00,640 --> 01:13:03,800
Speaker 1: that thing becomes your signature song, your signature sound that

1383
01:13:04,240 --> 01:13:05,920
Speaker 1: you know you've got. Of course a bunch of them,

1384
01:13:05,960 --> 01:13:08,000
Speaker 1: you've got yours. So anytime you get a call or

1385
01:13:08,040 --> 01:13:11,880
Speaker 1: demanded to perform somewhere, there's these particular songs that are used,

1386
01:13:12,040 --> 01:13:13,240
Speaker 1: and that's what a copyright is.

1387
01:13:13,280 --> 01:13:16,040
Speaker 4: Now we we have one, and I'm glad you're here

1388
01:13:16,560 --> 01:13:20,840
Speaker 4: because we can jump in now we had one. It

1389
01:13:20,920 --> 01:13:27,080
Speaker 4: was a record called The Injured Reserve. Yeh, I are right, Tank,

1390
01:13:27,320 --> 01:13:29,000
Speaker 4: just another song, and you know, I was like, listen,

1391
01:13:30,280 --> 01:13:33,240
Speaker 4: I'm going to write this for Tank.

1392
01:13:33,960 --> 01:13:37,280
Speaker 1: Sure, did you know what? I know? All the rest

1393
01:13:37,320 --> 01:13:38,920
Speaker 1: of you niggas is trying to cut it. Y'all want

1394
01:13:38,960 --> 01:13:44,720
Speaker 1: to sing it? No? Mm hm you know what, guys? No, Yeah,

1395
01:13:44,920 --> 01:13:50,240
Speaker 1: because I'm gonna be on this new Tank album. Me

1396
01:13:50,520 --> 01:13:53,599
Speaker 1: and Tony Dixon, sure are, we're gonna be on this album.

1397
01:13:53,760 --> 01:13:57,160
Speaker 1: We're gonna kill it. And Tank like y'all gonna be

1398
01:13:57,400 --> 01:14:00,760
Speaker 1: on this album, kill it. And then we wasn't on

1399
01:14:00,840 --> 01:14:05,360
Speaker 1: that album, killed it. I just want to bring it

1400
01:14:05,439 --> 01:14:08,120
Speaker 1: up because you here, it wasn't my fault. I get it.

1401
01:14:08,439 --> 01:14:10,160
Speaker 1: I get it. We don't understand the industry. Now I

1402
01:14:10,240 --> 01:14:13,080
Speaker 1: get it. I'm the only nigga from the Underdogs that

1403
01:14:13,320 --> 01:14:16,799
Speaker 1: was not on Sex Loving Pain. I loved your record.

1404
01:14:19,400 --> 01:14:25,840
Speaker 1: I get it. The powers that be Okay, Okay. At

1405
01:14:25,880 --> 01:14:30,559
Speaker 1: that time, I was trying to get back. I get

1406
01:14:30,760 --> 01:14:33,880
Speaker 1: I'm doing it. I got to do. Y'all don't want

1407
01:14:33,920 --> 01:14:35,720
Speaker 1: to find I.

1408
01:14:35,760 --> 01:14:39,960
Speaker 2: Didn't have a position. It's fine, it's system. It hurt

1409
01:14:39,960 --> 01:14:43,520
Speaker 2: a little bit, just so you know, just but weary.

1410
01:14:42,560 --> 01:14:45,360
Speaker 1: You don't get your reserve. Yeah, it's cool. It don't it.

1411
01:14:45,400 --> 01:14:46,960
Speaker 1: Don't mess with the rest of the ship you got,

1412
01:14:48,120 --> 01:15:00,800
Speaker 1: But what about change? What about what about my friend? Right? Oh?

1413
01:15:01,240 --> 01:15:01,479
Speaker 3: Ship?

1414
01:15:03,040 --> 01:15:07,680
Speaker 1: You sure? Yeah, yeah, we won't need that one. And

1415
01:15:07,760 --> 01:15:10,320
Speaker 1: then it just never went on to nobody else. No, no,

1416
01:15:11,040 --> 01:15:14,400
Speaker 1: but the record, it's crazy. Yeah, I love that record

1417
01:15:14,479 --> 01:15:17,439
Speaker 1: to this day, to this day, we just might have

1418
01:15:17,479 --> 01:15:18,320
Speaker 1: to look at that one again.

1419
01:15:18,560 --> 01:15:22,560
Speaker 2: We just might have to just yeah, just because you

1420
01:15:22,640 --> 01:15:24,280
Speaker 2: know what I'm saying, go out there on the court,

1421
01:15:24,320 --> 01:15:34,160
Speaker 2: blow a hamstrings. Yeah, love that record too.

1422
01:15:36,240 --> 01:15:38,680
Speaker 1: That's one of my favorite records of personally that you

1423
01:15:38,720 --> 01:15:39,479
Speaker 1: know everybody has there.

1424
01:15:39,640 --> 01:15:42,519
Speaker 2: It takes me back to a time. That record has

1425
01:15:42,560 --> 01:15:46,120
Speaker 2: a a time stamp on it. Yeah, And when I

1426
01:15:46,200 --> 01:15:48,040
Speaker 2: hear that record, when I hear those scores.

1427
01:15:47,720 --> 01:15:50,760
Speaker 1: I'm like, yeah, that was a time. Yes, it was

1428
01:15:50,840 --> 01:15:54,680
Speaker 1: such a time. Yeah, to be young man and this

1429
01:15:54,880 --> 01:15:58,640
Speaker 1: is a crazy thing. So just like you said, the

1430
01:15:58,760 --> 01:16:02,160
Speaker 1: old Weekend was therapy for you, Heartbreaker was a therapy

1431
01:16:02,240 --> 01:16:06,439
Speaker 1: for me because that was my story. No, no, no, yeah,

1432
01:16:07,400 --> 01:16:10,680
Speaker 1: Heartbreaker was our story. It was that's right, that's right.

1433
01:16:11,280 --> 01:16:15,680
Speaker 1: We yes, your niggas was going, oh my gosh, and

1434
01:16:15,760 --> 01:16:23,040
Speaker 1: that song was done like Breaker was so period. I

1435
01:16:23,200 --> 01:16:28,280
Speaker 1: cried They played wedding song yeah, telling me that this

1436
01:16:30,600 --> 01:16:40,240
Speaker 1: shoot allergies is crazy? Yeah, you know me? So yeah,

1437
01:16:40,760 --> 01:16:43,720
Speaker 1: I was cooked. And then I heard Heartbreak. I was

1438
01:16:43,760 --> 01:16:47,120
Speaker 1: like this, yeah, nigga, y'all in my business. I don't

1439
01:16:47,160 --> 01:16:50,479
Speaker 1: even know you. Niggas like that was me too, you

1440
01:16:50,520 --> 01:16:55,360
Speaker 1: didn't know other niggas was going through no idea? Yeah yeah,

1441
01:16:56,240 --> 01:16:56,760
Speaker 1: yeah I was.

1442
01:16:57,120 --> 01:17:00,360
Speaker 2: I was y'all kill bro y'all killed me, and I

1443
01:17:00,439 --> 01:17:03,960
Speaker 2: said Jesus right, yeah, yeah, that was one of my

1444
01:17:04,120 --> 01:17:04,959
Speaker 2: vocal mentors.

1445
01:17:04,960 --> 01:17:09,439
Speaker 1: I'm like, oh you eating? Yeah, all right, here we go.

1446
01:17:09,680 --> 01:17:12,559
Speaker 1: Yeah and you did here we go, Yeah you did.

1447
01:17:12,680 --> 01:17:14,680
Speaker 2: I used to do heartbreacord concert boy. I could just

1448
01:17:14,800 --> 01:17:17,320
Speaker 2: slow that thing down and free falled boy.

1449
01:17:17,560 --> 01:17:21,400
Speaker 1: Yeah yeah that sh that was one for me. That

1450
01:17:21,560 --> 01:17:24,519
Speaker 1: was one for me, and another one that stuck out

1451
01:17:24,800 --> 01:17:28,120
Speaker 1: that made me feel like I had to arrived. This

1452
01:17:28,240 --> 01:17:32,519
Speaker 1: is I'll say this more as a songwriter. With four minutes, kay,

1453
01:17:32,680 --> 01:17:34,840
Speaker 1: and I can kind of tell you why so you

1454
01:17:34,960 --> 01:17:37,240
Speaker 1: did that? Yeah, thank you, thank you. But four minutes

1455
01:17:37,880 --> 01:17:42,600
Speaker 1: we were literally at Clyde Davis's bungalow and he was

1456
01:17:42,680 --> 01:17:47,760
Speaker 1: on the phone yelling at some program director about some

1457
01:17:47,880 --> 01:17:50,080
Speaker 1: particular record that Jay records. Wasn't you know that they

1458
01:17:50,080 --> 01:17:53,240
Speaker 1: weren't promoting whatever? And he goes, I'm sick of this.

1459
01:17:53,520 --> 01:17:55,439
Speaker 1: You said you got four minutes to tell a story.

1460
01:17:55,520 --> 01:17:58,400
Speaker 1: You got four minutes, you got four minutes to tell

1461
01:17:58,439 --> 01:18:00,439
Speaker 1: a good story. And I've done this time and time

1462
01:18:00,479 --> 01:18:02,200
Speaker 1: with you guys again. So he's going off and cussing

1463
01:18:02,280 --> 01:18:05,080
Speaker 1: this program director out, and that stuck with me, and

1464
01:18:05,160 --> 01:18:08,439
Speaker 1: I was like, you got four minutes to tell a story.

1465
01:18:09,040 --> 01:18:12,800
Speaker 1: So I remember writing that concept down. That's one of

1466
01:18:12,800 --> 01:18:16,360
Speaker 1: the things I always did because my vocal problems with

1467
01:18:16,560 --> 01:18:18,240
Speaker 1: what you guys did. So the way I would usually

1468
01:18:18,360 --> 01:18:21,719
Speaker 1: deliver would be concepts. I usually start with a concept

1469
01:18:21,840 --> 01:18:24,000
Speaker 1: or a title or something. And so what I would

1470
01:18:24,040 --> 01:18:26,080
Speaker 1: do is I'd like, okay, I remember I had that

1471
01:18:26,120 --> 01:18:29,120
Speaker 1: as a list of one of my titles, and I remembered, okay.

1472
01:18:29,640 --> 01:18:31,240
Speaker 1: As a producer and as a writer, how can I

1473
01:18:31,320 --> 01:18:34,000
Speaker 1: make this song interesting? I want to obviously, I want

1474
01:18:34,040 --> 01:18:36,680
Speaker 1: to make sure it's exactly four minutes. I'm gonna take

1475
01:18:36,720 --> 01:18:39,560
Speaker 1: a second hand and make that the metronome. And I

1476
01:18:39,680 --> 01:18:42,120
Speaker 1: told I remember when I told her Von, I was like, look,

1477
01:18:42,479 --> 01:18:43,840
Speaker 1: I was like, you got four minutes to win your

1478
01:18:43,880 --> 01:18:46,240
Speaker 1: girl back. What are you gonna say? That's how we

1479
01:18:46,280 --> 01:18:47,679
Speaker 1: started the song. I was like, you got four minutes

1480
01:18:47,680 --> 01:18:49,439
Speaker 1: to win your girl back? What do you do? I

1481
01:18:49,520 --> 01:18:51,360
Speaker 1: was like, you walk in the door, you see her packing.

1482
01:18:51,920 --> 01:18:53,920
Speaker 1: I created the whole scene for him. I was you

1483
01:18:53,960 --> 01:18:56,120
Speaker 1: see your girl packing. You see your girl packing. You

1484
01:18:56,160 --> 01:18:58,519
Speaker 1: don't know why she's packing. You also know you ain't clean.

1485
01:18:59,320 --> 01:19:01,200
Speaker 1: So what are you going to to do? We don't

1486
01:19:01,200 --> 01:19:02,720
Speaker 1: know what she knows, what she doesn't know, But what

1487
01:19:02,800 --> 01:19:04,639
Speaker 1: are you going to do? And so when he starts

1488
01:19:04,640 --> 01:19:07,000
Speaker 1: the song, part of me stumbling over my works. That's

1489
01:19:07,040 --> 01:19:10,000
Speaker 1: literally how it starts is let's make this scene of

1490
01:19:10,160 --> 01:19:12,680
Speaker 1: you got four minutes to win her back? How do

1491
01:19:12,760 --> 01:19:14,599
Speaker 1: you win her back? And so that's the whole concept

1492
01:19:14,640 --> 01:19:16,760
Speaker 1: of that song. And then again at the end, I'm

1493
01:19:16,760 --> 01:19:18,479
Speaker 1: out of time, but you don't know whether you want

1494
01:19:18,560 --> 01:19:21,720
Speaker 1: her back or not? Because yeah, So that's when that

1495
01:19:21,840 --> 01:19:24,760
Speaker 1: song came out, like I actually, And that's and that's

1496
01:19:24,800 --> 01:19:27,320
Speaker 1: truly the joy of songwriting. Yes, yes, yeah, you know

1497
01:19:27,360 --> 01:19:29,799
Speaker 1: what I mean. Being able to fully paint the picture.

1498
01:19:29,960 --> 01:19:33,280
Speaker 4: Yeah, Being able to fully paint a picture and tell

1499
01:19:33,360 --> 01:19:36,439
Speaker 4: a story where someone can close their eyes and see

1500
01:19:36,479 --> 01:19:39,479
Speaker 4: what you're saying, right, right. That's when you know that

1501
01:19:40,120 --> 01:19:41,679
Speaker 4: you're doing the right thing as a songwriter.

1502
01:19:41,760 --> 01:19:44,240
Speaker 1: In my opinion, I agree when someone goes Bro, I

1503
01:19:44,439 --> 01:19:47,720
Speaker 1: was there, I'm like, youn't no, nigga. When I heard

1504
01:19:47,800 --> 01:19:48,840
Speaker 1: that song, I was there.

1505
01:19:49,439 --> 01:19:52,439
Speaker 4: It was with you, nigga, I'm like, oh shit, we

1506
01:19:52,520 --> 01:19:56,280
Speaker 4: did something right. Yeah, really did something right. So, speaking

1507
01:19:56,320 --> 01:20:01,840
Speaker 4: of doing things right, Bro, your next steps too right.

1508
01:20:01,960 --> 01:20:06,720
Speaker 4: Because being a part of something that we were all

1509
01:20:06,840 --> 01:20:09,479
Speaker 4: part of, like the Underdogs, which was such a force

1510
01:20:09,600 --> 01:20:16,320
Speaker 4: in the business, sometimes it's tough after Yeah, sometimes it's

1511
01:20:16,360 --> 01:20:18,760
Speaker 4: tough to really transition into what you're going to do

1512
01:20:19,800 --> 01:20:22,360
Speaker 4: on your own or with someone else, you know what

1513
01:20:22,400 --> 01:20:24,800
Speaker 4: I mean. Because the other thing that I've noticed about.

1514
01:20:24,560 --> 01:20:24,920
Speaker 1: You is that.

1515
01:20:27,560 --> 01:20:31,800
Speaker 4: You are the epitome of the collaborative effort, and I

1516
01:20:31,880 --> 01:20:35,000
Speaker 4: think you embraced that. You've never had an issue with that.

1517
01:20:35,120 --> 01:20:37,479
Speaker 4: I've never had a conversation with you where you were

1518
01:20:37,520 --> 01:20:41,320
Speaker 4: having a me me me I moment. You're just always like, yeah,

1519
01:20:41,479 --> 01:20:43,720
Speaker 4: and we did this, and then we did that, and

1520
01:20:44,160 --> 01:20:46,479
Speaker 4: and I helped in this, you know what I mean.

1521
01:20:46,520 --> 01:20:50,679
Speaker 1: But it was for you, it was you. A better

1522
01:20:50,720 --> 01:20:52,559
Speaker 1: way to put it, Bro, Like if anybody was.

1523
01:20:52,560 --> 01:20:57,040
Speaker 4: An underdog, you are an underdog because you always worked

1524
01:20:57,080 --> 01:20:59,720
Speaker 4: with someone or sometimes under somebody else's they were doing

1525
01:20:59,760 --> 01:21:02,160
Speaker 4: their thing in the background.

1526
01:21:02,240 --> 01:21:02,439
Speaker 1: Yeah.

1527
01:21:03,040 --> 01:21:06,000
Speaker 4: Yeah, And I think that's why personally, me and I

1528
01:21:06,120 --> 01:21:09,120
Speaker 4: know Tank as well, we've always screamed your name so loud.

1529
01:21:09,240 --> 01:21:12,280
Speaker 1: Yeah, and I appreciate that more than you know, because.

1530
01:21:12,760 --> 01:21:15,679
Speaker 4: You've never screamed your no, and then other people didn't.

1531
01:21:16,200 --> 01:21:17,880
Speaker 4: In my opinion, I'll just be real about it, like,

1532
01:21:17,960 --> 01:21:21,400
Speaker 4: and I'm that if the shoe fit wear right. But

1533
01:21:21,600 --> 01:21:26,679
Speaker 4: to me, you've always been a part of so much

1534
01:21:26,960 --> 01:21:32,280
Speaker 4: dope music, so many dope situations. Man, Like after the

1535
01:21:32,479 --> 01:21:36,320
Speaker 4: underdogs like you and Eric, Yeah, I decide we're going

1536
01:21:36,360 --> 01:21:36,880
Speaker 4: to do our thing.

1537
01:21:37,840 --> 01:21:38,880
Speaker 1: Yeah, you know what I mean.

1538
01:21:38,960 --> 01:21:41,000
Speaker 4: And the success that y'all have, can you start leading

1539
01:21:41,160 --> 01:21:44,640
Speaker 4: leading us to like, you know, just you and Eric babyface,

1540
01:21:45,000 --> 01:21:47,320
Speaker 4: you know what I'm saying. Just give us some history

1541
01:21:47,360 --> 01:21:50,400
Speaker 4: in that because this is your time. As Tank would say,

1542
01:21:52,960 --> 01:21:54,000
Speaker 4: so that's why you here.

1543
01:21:54,320 --> 01:21:56,800
Speaker 1: My dogs. But man, I appreciate you all. But yeah,

1544
01:21:56,840 --> 01:22:02,160
Speaker 1: I so toward the end of the underdog error for

1545
01:22:02,280 --> 01:22:06,400
Speaker 1: me personally, I felt like there were areas I wanted

1546
01:22:06,400 --> 01:22:10,880
Speaker 1: to go to creatively that weren't necessarily everybody's collective idea

1547
01:22:10,920 --> 01:22:14,519
Speaker 1: at the time, which is fine, but also I wanted

1548
01:22:14,560 --> 01:22:18,400
Speaker 1: to make sure that, like like you said, that the

1549
01:22:18,479 --> 01:22:21,960
Speaker 1: business was always handled fairly, and that the relationships were

1550
01:22:22,120 --> 01:22:24,360
Speaker 1: maintained and all of these things. And so the only

1551
01:22:24,400 --> 01:22:26,240
Speaker 1: way I could have any sort of control over that

1552
01:22:26,640 --> 01:22:28,160
Speaker 1: was to make sure that I went and did my

1553
01:22:28,240 --> 01:22:32,559
Speaker 1: own thing. And you know, because no matter what situation

1554
01:22:32,680 --> 01:22:35,840
Speaker 1: you're in, if you haven't officially partnered with somebody, then

1555
01:22:35,880 --> 01:22:37,200
Speaker 1: you have to deal with the fact that this is

1556
01:22:37,280 --> 01:22:38,920
Speaker 1: under their rules and this is what they choose to do.

1557
01:22:38,960 --> 01:22:40,800
Speaker 1: And it's okay, you know, so you decide whether or

1558
01:22:40,800 --> 01:22:42,040
Speaker 1: not you want to play by their rules or not.

1559
01:22:42,880 --> 01:22:44,600
Speaker 1: And so for me, that was just how that was

1560
01:22:44,640 --> 01:22:47,360
Speaker 1: my decision. It was like, okay, well, we let's figure

1561
01:22:47,360 --> 01:22:48,599
Speaker 1: out a way to do this thing on our own.

1562
01:22:49,360 --> 01:22:52,200
Speaker 1: And Eric and I had already built a great relationship anyway,

1563
01:22:52,240 --> 01:22:53,680
Speaker 1: so it was like, well, let's just go ahead and

1564
01:22:53,760 --> 01:22:55,960
Speaker 1: do it. And so we did, and we created some

1565
01:22:56,040 --> 01:22:57,840
Speaker 1: music together that was great. We did. I want to

1566
01:22:57,880 --> 01:23:02,360
Speaker 1: be for Chris, Yes, yeah, called you back in on that.

1567
01:23:04,280 --> 01:23:11,160
Speaker 1: I said, he sure did. He was like, I mean

1568
01:23:11,240 --> 01:23:15,559
Speaker 1: we need a bridge. Good good. He was so quick,

1569
01:23:16,439 --> 01:23:21,280
Speaker 1: so quick, and killed it too, man like, yeah, so

1570
01:23:21,400 --> 01:23:24,880
Speaker 1: we did I want to be here the ball, I'm like, yeah, yeah,

1571
01:23:25,520 --> 01:23:29,840
Speaker 1: you know that's my Yeah, I'm on that. Little Steve

1572
01:23:29,960 --> 01:23:33,280
Speaker 1: was like I'm on that right, yeah man. And you know,

1573
01:23:33,400 --> 01:23:35,240
Speaker 1: from that and getting to work with A. Kelly again

1574
01:23:35,320 --> 01:23:38,240
Speaker 1: and doing Religious and got to work with Mary Mary

1575
01:23:38,320 --> 01:23:40,519
Speaker 1: and did some stuff on the Christmas project and then

1576
01:23:40,560 --> 01:23:42,959
Speaker 1: working with Eric and his brother that said Cold Transition,

1577
01:23:43,080 --> 01:23:47,760
Speaker 1: yeah Kelly Religious to you know what. Yeah, but it

1578
01:23:47,840 --> 01:23:49,760
Speaker 1: goes back to I wanted to do I want to

1579
01:23:49,800 --> 01:23:58,080
Speaker 1: do more? When was when was remember finally, yes, finally

1580
01:23:58,120 --> 01:24:02,240
Speaker 1: for Tony? Yes, yeah, that was a Libra album. Yeah, yeah,

1581
01:24:02,439 --> 01:24:07,000
Speaker 1: I did finally supposed to be and Hate You and yeah,

1582
01:24:08,800 --> 01:24:10,599
Speaker 1: supposed to be. That was me and kry Kerry Hilston

1583
01:24:10,800 --> 01:24:14,600
Speaker 1: and Jay. That's how I met JQ and carry that.

1584
01:24:14,840 --> 01:24:17,360
Speaker 1: They worked on that record as well, so cook it

1585
01:24:17,840 --> 01:24:21,880
Speaker 1: yeah man, that was again that was how I even

1586
01:24:21,920 --> 01:24:24,360
Speaker 1: how I built my relationship with Tony was making sure

1587
01:24:24,400 --> 01:24:26,320
Speaker 1: I had some stuff that I felt fit her. Finally

1588
01:24:26,520 --> 01:24:29,160
Speaker 1: was one of those records where I started thinking conceptually,

1589
01:24:29,200 --> 01:24:30,800
Speaker 1: what can she do? This interesting? So like all the

1590
01:24:30,920 --> 01:24:33,720
Speaker 1: verses have old titles, other songs in it, and I

1591
01:24:33,800 --> 01:24:36,120
Speaker 1: think Kimberly Johnson is singing the demo of that, and

1592
01:24:36,200 --> 01:24:37,640
Speaker 1: she co wrote it with us as well, and so,

1593
01:24:38,560 --> 01:24:40,400
Speaker 1: but I wanted to make sure my whole thing was

1594
01:24:40,479 --> 01:24:44,280
Speaker 1: always do what it is that my gift is. If okay,

1595
01:24:44,320 --> 01:24:45,599
Speaker 1: if I'm not going to be the singer, I got

1596
01:24:45,680 --> 01:24:47,679
Speaker 1: to make sure that I give them some sort of direction,

1597
01:24:48,320 --> 01:24:50,800
Speaker 1: give an artist or a writer direction or whatever, so

1598
01:24:50,920 --> 01:24:53,520
Speaker 1: that you know, they have some sort of different perspective

1599
01:24:54,080 --> 01:24:56,599
Speaker 1: on the song. To me, we all write the same

1600
01:24:56,680 --> 01:24:59,519
Speaker 1: five songs, right, but the way you look at it

1601
01:24:59,760 --> 01:25:04,160
Speaker 1: can be interpreted completely different by where your creative space

1602
01:25:04,240 --> 01:25:06,800
Speaker 1: is and where your head is. So, for example, if

1603
01:25:06,840 --> 01:25:09,200
Speaker 1: we walk in this room, and you can look around

1604
01:25:09,240 --> 01:25:10,800
Speaker 1: this room and say, okay, this is a you know,

1605
01:25:10,960 --> 01:25:12,439
Speaker 1: it's a fly room. It's got this, that and the other.

1606
01:25:12,920 --> 01:25:15,200
Speaker 1: But me, as a creative I may go and say, okay, well,

1607
01:25:15,280 --> 01:25:17,160
Speaker 1: let's look at the detail of that seat, or look

1608
01:25:17,200 --> 01:25:18,840
Speaker 1: at the pictures and the frame of that wall, or

1609
01:25:19,280 --> 01:25:21,200
Speaker 1: let me check out the lighting or whatever. And that's

1610
01:25:21,240 --> 01:25:23,439
Speaker 1: what we do is creative as writers. Okay, we're going

1611
01:25:23,520 --> 01:25:26,080
Speaker 1: to tell that story of heartbreak, but how do you

1612
01:25:26,160 --> 01:25:28,840
Speaker 1: tell that story in a way that maybe hasn't been told.

1613
01:25:28,920 --> 01:25:30,720
Speaker 1: Let's get into the nuances of it that are a

1614
01:25:30,760 --> 01:25:33,240
Speaker 1: little different than someone else, or you know, you're please

1615
01:25:33,280 --> 01:25:36,320
Speaker 1: don't goes or whatever, She's worth the trouble? All these records,

1616
01:25:36,360 --> 01:25:37,599
Speaker 1: it is like, let's try to figure out a way

1617
01:25:37,680 --> 01:25:40,599
Speaker 1: to come up with a different perspective and a different

1618
01:25:40,720 --> 01:25:44,080
Speaker 1: detailed point of view that makes people go, oh crap,

1619
01:25:44,360 --> 01:25:45,920
Speaker 1: Yeah it is heartbreak, but maybe I don't have to

1620
01:25:45,960 --> 01:25:48,280
Speaker 1: look at it that way, right, or you know, why

1621
01:25:48,360 --> 01:25:53,640
Speaker 1: is she worth the trouble? Oh? Yeah, you know what?

1622
01:25:54,200 --> 01:26:13,000
Speaker 1: You know what ed no? Edits? So how do you

1623
01:26:13,200 --> 01:26:16,880
Speaker 1: how do you get to baby face? So so yeah,

1624
01:26:17,000 --> 01:26:20,439
Speaker 1: so Kenny, we'll have to reinde back to the under Kenny.

1625
01:26:20,640 --> 01:26:27,599
Speaker 1: Yeah yeah, babyface Ken. Yeah. But so it started during

1626
01:26:27,640 --> 01:26:30,000
Speaker 1: the underdog era. So we did an entire album with

1627
01:26:30,120 --> 01:26:34,120
Speaker 1: him that was actually unreleased, and so again we were

1628
01:26:34,160 --> 01:26:36,000
Speaker 1: in the Edmonds Towers, which was his building at the time,

1629
01:26:36,080 --> 01:26:38,599
Speaker 1: and so we got to work on an entire project

1630
01:26:38,640 --> 01:26:41,000
Speaker 1: for him that and that's how I really built my

1631
01:26:41,040 --> 01:26:43,040
Speaker 1: relationship with him. This had to maybe two thousand and

1632
01:26:43,640 --> 01:26:47,479
Speaker 1: six something like that, And just sitting with him, obviously

1633
01:26:47,520 --> 01:26:49,840
Speaker 1: I knew who he was, and again I told you.

1634
01:26:49,880 --> 01:26:52,280
Speaker 1: He was one of my blueprints. So it was that.

1635
01:26:52,479 --> 01:26:57,160
Speaker 1: But then fast forward, we had been working, we got

1636
01:26:57,280 --> 01:26:59,080
Speaker 1: we had a group that we had gotten signed to

1637
01:26:59,439 --> 01:27:04,559
Speaker 1: Interscope I Square, Yeah, and y'all called us. Yeah, same thing.

1638
01:27:05,360 --> 01:27:08,200
Speaker 1: That's what I'm talking abou about relationships. Yeah, that's it's

1639
01:27:08,200 --> 01:27:12,920
Speaker 1: about relationship again. So so, but we were also at

1640
01:27:12,920 --> 01:27:15,800
Speaker 1: that particular time back in his studio at Brandon's Way,

1641
01:27:15,840 --> 01:27:21,880
Speaker 1: and so his other studio he had like five don't

1642
01:27:21,920 --> 01:27:26,040
Speaker 1: get it twisted, but being around him or him getting

1643
01:27:26,040 --> 01:27:29,519
Speaker 1: to see me work again, he got to see how,

1644
01:27:29,800 --> 01:27:31,439
Speaker 1: you know, how I operated, and we just happened to

1645
01:27:31,479 --> 01:27:33,040
Speaker 1: be down the same musical street, if you want to

1646
01:27:33,040 --> 01:27:34,800
Speaker 1: call it that. He also knew that I was the

1647
01:27:34,840 --> 01:27:36,639
Speaker 1: type of person I would work until it got done,

1648
01:27:37,400 --> 01:27:39,640
Speaker 1: you know, whatever, however long it took, whatever we had

1649
01:27:39,680 --> 01:27:40,920
Speaker 1: to do to figure it out, it was going to

1650
01:27:40,960 --> 01:27:45,719
Speaker 1: get done. And so he pulls me aside after watching

1651
01:27:45,840 --> 01:27:48,000
Speaker 1: how things were going and how how it worked, and

1652
01:27:48,080 --> 01:27:49,880
Speaker 1: he was just like, what do you think about us

1653
01:27:49,920 --> 01:27:53,640
Speaker 1: working together? And I was like, absolutely, you know, but

1654
01:27:54,040 --> 01:27:56,200
Speaker 1: but to be fair, I also was concerned about that

1655
01:27:56,360 --> 01:27:59,080
Speaker 1: in the beginning because he was already who he was

1656
01:28:00,080 --> 01:28:02,920
Speaker 1: and at this point to what you were saying before.

1657
01:28:03,000 --> 01:28:04,760
Speaker 1: I wanted to make sure I could establish my name,

1658
01:28:05,320 --> 01:28:06,920
Speaker 1: but I also wanted to make sure that I had

1659
01:28:07,439 --> 01:28:11,120
Speaker 1: the community and the relationship. So I was I asked him,

1660
01:28:11,120 --> 01:28:12,360
Speaker 1: I was like, how do we figure out a way

1661
01:28:12,360 --> 01:28:14,000
Speaker 1: to balance this, because I don't want it to be

1662
01:28:14,560 --> 01:28:17,160
Speaker 1: where every record we do is going to say produced

1663
01:28:17,160 --> 01:28:19,680
Speaker 1: by Babyface and I had not you know, I had

1664
01:28:19,720 --> 01:28:21,800
Speaker 1: everything to do with it, but yeah, you know, and

1665
01:28:22,080 --> 01:28:24,960
Speaker 1: so I just and he was very accommodating and welcoming

1666
01:28:25,000 --> 01:28:26,680
Speaker 1: and all that, but I also told him too, like

1667
01:28:27,120 --> 01:28:28,759
Speaker 1: I'm not going to be that person that's a mucher.

1668
01:28:29,479 --> 01:28:30,880
Speaker 1: I'm not going to be. I want to make sure

1669
01:28:30,920 --> 01:28:32,840
Speaker 1: that any environment I'm in, I'm going to bring value.

1670
01:28:33,360 --> 01:28:35,080
Speaker 1: So whatever it is that I need to do to

1671
01:28:35,120 --> 01:28:37,400
Speaker 1: make your job easier again to get out of the way,

1672
01:28:38,040 --> 01:28:39,800
Speaker 1: you tell me what that is, I'm going to do that.

1673
01:28:40,400 --> 01:28:42,400
Speaker 1: And in return, all I ask is that you make

1674
01:28:42,439 --> 01:28:43,680
Speaker 1: sure that I have the freedom to do what I

1675
01:28:43,760 --> 01:28:46,280
Speaker 1: need to do to establish my name. And that's literally

1676
01:28:46,360 --> 01:28:49,200
Speaker 1: what we did. And so from that point on it

1677
01:28:49,400 --> 01:28:52,080
Speaker 1: was he was, of course okay with it. But the

1678
01:28:52,240 --> 01:28:55,720
Speaker 1: very first thing we did together was Beyonce therely the

1679
01:28:55,800 --> 01:28:58,479
Speaker 1: first thing we did. We got a call a week

1680
01:28:58,600 --> 01:29:03,680
Speaker 1: later to go to New York. Niggas just like that.

1681
01:29:04,200 --> 01:29:07,439
Speaker 4: The first thing that I do with Kenny, with Kennedy

1682
01:29:07,760 --> 01:29:10,120
Speaker 4: Kennedy with Kenny. It's a young lady named Have you

1683
01:29:10,200 --> 01:29:10,479
Speaker 4: heard of her?

1684
01:29:10,640 --> 01:29:13,599
Speaker 1: Yeah? You know you might have. Yeah, So it's it's whatever.

1685
01:29:13,760 --> 01:29:18,479
Speaker 1: I've been to a stadium or two. Yeah, yeah, the

1686
01:29:18,520 --> 01:29:20,760
Speaker 1: whole thing is crazy. But yeah. So we got a

1687
01:29:20,840 --> 01:29:23,160
Speaker 1: call not even a week after he and I had

1688
01:29:23,280 --> 01:29:28,360
Speaker 1: solidified our partnership and go to New York. And at

1689
01:29:28,439 --> 01:29:31,120
Speaker 1: this particular time, the first person that I thought, because

1690
01:29:31,240 --> 01:29:33,280
Speaker 1: Kenny asked me like, who do you want to bring

1691
01:29:33,360 --> 01:29:35,680
Speaker 1: in as a writer as a top liner to you know,

1692
01:29:35,840 --> 01:29:37,439
Speaker 1: bring bring it home or whatever. And so I hit

1693
01:29:37,560 --> 01:29:40,280
Speaker 1: JQ and I was like, so I hit Q and

1694
01:29:40,520 --> 01:29:42,519
Speaker 1: I told him and I was like, we I got

1695
01:29:42,560 --> 01:29:44,559
Speaker 1: this opportunity. I can't tell you what it is. Yeah,

1696
01:29:45,400 --> 01:29:47,479
Speaker 1: just hop on a plane and come. We got you.

1697
01:29:47,800 --> 01:29:49,800
Speaker 1: Just come. And so he did and we got to

1698
01:29:49,920 --> 01:29:53,559
Speaker 1: New York and she was It was an amazing session

1699
01:29:53,920 --> 01:29:55,560
Speaker 1: that we had with her. We got to spend a

1700
01:29:55,600 --> 01:29:57,960
Speaker 1: couple of weeks with her, and the way she did

1701
01:29:58,000 --> 01:30:01,240
Speaker 1: it was she had went out Quad the entire studio

1702
01:30:01,360 --> 01:30:04,800
Speaker 1: Quad Studios, and so she had one room where she

1703
01:30:04,840 --> 01:30:07,639
Speaker 1: cut vocals, one room where we could create the demos,

1704
01:30:07,640 --> 01:30:09,040
Speaker 1: and then she had another room where Dream was at

1705
01:30:09,920 --> 01:30:12,479
Speaker 1: and writing on whatever other records she had for him.

1706
01:30:12,560 --> 01:30:15,160
Speaker 1: And so she came in and talked and talked with us,

1707
01:30:15,200 --> 01:30:17,560
Speaker 1: and she was like she was telling us at the

1708
01:30:17,600 --> 01:30:20,040
Speaker 1: time what her goal, what her goal was for this project.

1709
01:30:20,080 --> 01:30:21,720
Speaker 1: I think the only record she played us at the

1710
01:30:21,760 --> 01:30:26,479
Speaker 1: time that stuck was Girls Run the World. And so

1711
01:30:26,800 --> 01:30:28,320
Speaker 1: at that time I remember her tenguing and said she

1712
01:30:28,400 --> 01:30:30,920
Speaker 1: was really into felt and like African rhythms and that

1713
01:30:31,040 --> 01:30:32,640
Speaker 1: kind of thing, and that was bopping or whatever. But

1714
01:30:32,720 --> 01:30:34,320
Speaker 1: the reason we got to work with her was because

1715
01:30:34,320 --> 01:30:35,519
Speaker 1: she was like, I want to make sure we had

1716
01:30:35,560 --> 01:30:39,160
Speaker 1: a classic R and B song or some songs for

1717
01:30:39,240 --> 01:30:42,680
Speaker 1: this project. And so I was like, you call the

1718
01:30:42,760 --> 01:30:45,960
Speaker 1: right people, We do that right, And so so we

1719
01:30:46,040 --> 01:30:48,800
Speaker 1: sat and created for her and she heard the song

1720
01:30:48,920 --> 01:30:52,880
Speaker 1: and so we're writing it. Kenny demo's the record, same thing.

1721
01:30:53,000 --> 01:30:56,400
Speaker 1: So he's demoing the record and then she comes back

1722
01:30:56,439 --> 01:30:59,320
Speaker 1: in and she she's bopping and doing her thing, and

1723
01:30:59,360 --> 01:31:01,880
Speaker 1: she called Tat and she's like yo, and he comes

1724
01:31:01,920 --> 01:31:04,280
Speaker 1: in and they're bopping, and so we're like excited to see,

1725
01:31:04,360 --> 01:31:07,840
Speaker 1: you know, the reaction. And because again, just like any team,

1726
01:31:08,200 --> 01:31:11,800
Speaker 1: you still got to build chemistry and learn how people

1727
01:31:11,880 --> 01:31:13,800
Speaker 1: work and all those things, and so Kenny and I

1728
01:31:13,880 --> 01:31:16,439
Speaker 1: were just learning each other really in that space, like

1729
01:31:17,160 --> 01:31:19,760
Speaker 1: but it was again proof that we're in the right

1730
01:31:19,840 --> 01:31:21,280
Speaker 1: place and this is the right time for us to

1731
01:31:21,439 --> 01:31:24,640
Speaker 1: be doing what we're doing together. And so, you know,

1732
01:31:24,840 --> 01:31:28,200
Speaker 1: she loves the record, takes the file, goes in the room,

1733
01:31:28,400 --> 01:31:30,320
Speaker 1: goes to cut it. We start writing something else and

1734
01:31:30,320 --> 01:31:33,479
Speaker 1: we're writing another record. She comes in, loves it, cuts it.

1735
01:31:33,760 --> 01:31:36,040
Speaker 1: So we're like, oh, shoot, we're you know, we're onto something.

1736
01:31:36,120 --> 01:31:39,240
Speaker 1: So that's literally what happened from that was getting to

1737
01:31:39,280 --> 01:31:41,560
Speaker 1: work with her and dealing with that whole experience and

1738
01:31:42,800 --> 01:31:44,599
Speaker 1: what came of it was the best thing I never had.

1739
01:31:44,680 --> 01:31:46,599
Speaker 1: And we had another record that went on her international

1740
01:31:46,680 --> 01:31:50,599
Speaker 1: record called Dreaming, But yeah, the best thing I never

1741
01:31:50,680 --> 01:31:53,879
Speaker 1: had was the original version of that was a completely

1742
01:31:53,960 --> 01:31:56,360
Speaker 1: different production initially where we were kind of looking at

1743
01:31:56,920 --> 01:31:58,760
Speaker 1: like it was more of a mid tempo. It was

1744
01:31:58,800 --> 01:32:01,600
Speaker 1: kind of nineties driven, like, yeah, we used like the

1745
01:32:01,880 --> 01:32:04,160
Speaker 1: drums from like the show from Dougie Fresh's the show,

1746
01:32:04,280 --> 01:32:06,640
Speaker 1: and it was it was more of a mid tempo. Yeah. Well,

1747
01:32:06,760 --> 01:32:09,080
Speaker 1: I'm glad y'all chose this one. And that's one of

1748
01:32:09,160 --> 01:32:12,640
Speaker 1: my favorite Beyonce records. Thank you. That record is I

1749
01:32:12,720 --> 01:32:14,320
Speaker 1: can't hear it the other way, Thank you man. And

1750
01:32:15,000 --> 01:32:16,920
Speaker 1: but that goes and even with that, when it goes

1751
01:32:16,960 --> 01:32:20,120
Speaker 1: back to me bringing what I could bring to the

1752
01:32:20,160 --> 01:32:22,880
Speaker 1: table at the time, I remember having that title of

1753
01:32:23,200 --> 01:32:26,479
Speaker 1: that song in my notes as a as a concept

1754
01:32:26,520 --> 01:32:29,360
Speaker 1: for a song. Yeah, And we just sat down one day.

1755
01:32:29,400 --> 01:32:31,400
Speaker 1: It was like, and I throw it out there, what

1756
01:32:31,479 --> 01:32:34,599
Speaker 1: do you think of this title? What do you mean

1757
01:32:34,680 --> 01:32:36,360
Speaker 1: by that? And I remember sitting we were sitting with

1758
01:32:36,439 --> 01:32:39,240
Speaker 1: her and we were joking like I think I made

1759
01:32:39,240 --> 01:32:41,080
Speaker 1: a joke like the guy that she did in high

1760
01:32:41,080 --> 01:32:43,840
Speaker 1: school's got to be laughing or bragging everybody about yea,

1761
01:32:45,479 --> 01:32:47,599
Speaker 1: and everybody's like, yeah, right, you know what I mean.

1762
01:32:47,680 --> 01:32:51,040
Speaker 1: And she literally was like I died that bullet and

1763
01:32:51,160 --> 01:32:57,040
Speaker 1: we were like hold on. And so we go in

1764
01:32:57,120 --> 01:32:58,720
Speaker 1: and we write the song, and we took some of

1765
01:32:58,760 --> 01:33:01,360
Speaker 1: the things that our conversations. As you all know, you

1766
01:33:01,479 --> 01:33:04,759
Speaker 1: take the conversation, you write the song. And that's what happened.

1767
01:33:04,760 --> 01:33:07,360
Speaker 1: So we wrote that song and it was where she

1768
01:33:07,520 --> 01:33:09,560
Speaker 1: was at. She loved the story, and we cut that

1769
01:33:09,680 --> 01:33:13,240
Speaker 1: one and yeah, and so that that kind of started

1770
01:33:13,600 --> 01:33:16,080
Speaker 1: to solidify he and I's relationship when it came to

1771
01:33:16,200 --> 01:33:20,439
Speaker 1: the workspace, and like, it was if you want to

1772
01:33:20,479 --> 01:33:24,840
Speaker 1: say advanced class right in my walk, then I got

1773
01:33:24,960 --> 01:33:29,200
Speaker 1: to say, that's what it was. Man, it was I

1774
01:33:29,320 --> 01:33:34,679
Speaker 1: didn't know that the smallest word change in a verse

1775
01:33:35,200 --> 01:33:37,560
Speaker 1: could completely change the meaning of what you said, just

1776
01:33:37,600 --> 01:33:40,280
Speaker 1: by changing maybe one word yep. And that's what I

1777
01:33:40,400 --> 01:33:42,439
Speaker 1: learned from him, Like it's literally one word that you

1778
01:33:42,520 --> 01:33:44,439
Speaker 1: could be like, oh wow, I didn't think about it

1779
01:33:44,479 --> 01:33:47,880
Speaker 1: that way. But again, it's the details. He would do that.

1780
01:33:48,280 --> 01:33:50,920
Speaker 1: Sometimes we would do three, four, five, and six rewrites

1781
01:33:50,920 --> 01:33:52,680
Speaker 1: of a record just to get to that right one.

1782
01:33:53,520 --> 01:33:55,200
Speaker 1: But it was because of the detail that he would

1783
01:33:55,439 --> 01:33:57,880
Speaker 1: in his time, that he would put into it. And

1784
01:33:58,880 --> 01:34:03,479
Speaker 1: then you forget, Like to me, he's again he's Kenny

1785
01:34:03,520 --> 01:34:06,000
Speaker 1: because he's my friend. But then then he get behind

1786
01:34:06,040 --> 01:34:07,679
Speaker 1: that booth and he's like, oh yeah, no, he's baby face.

1787
01:34:08,240 --> 01:34:09,960
Speaker 1: He grabbed that guitar. He's like, oh no, he's baby face.

1788
01:34:10,439 --> 01:34:13,040
Speaker 1: He's yeah flipped. That gets herd the wrong way.

1789
01:34:13,320 --> 01:34:15,920
Speaker 4: He flipped that boy, or it's like, wait, so you're

1790
01:34:16,000 --> 01:34:19,639
Speaker 4: not you ain't Kenny at all, Okay, your whole new nigga.

1791
01:34:19,720 --> 01:34:22,280
Speaker 1: Yeah yeah he really is superman. Yeah you really superman.

1792
01:34:22,880 --> 01:34:24,600
Speaker 1: And so and I wanted to learn the other thing

1793
01:34:24,640 --> 01:34:27,040
Speaker 1: I wanted to learn from him was about he in

1794
01:34:27,200 --> 01:34:30,799
Speaker 1: LA's process in regards to artists selection and song selection

1795
01:34:30,880 --> 01:34:33,400
Speaker 1: for artists, because to me, The Face is the last

1796
01:34:33,439 --> 01:34:37,240
Speaker 1: big motown we've ever had, and it was really important

1797
01:34:37,280 --> 01:34:39,479
Speaker 1: for me to understand their thought process as to why

1798
01:34:39,560 --> 01:34:43,800
Speaker 1: they would pick you know, Tony versus her entire you know,

1799
01:34:43,880 --> 01:34:46,000
Speaker 1: with her and her sisters, or pick Pink out of

1800
01:34:46,040 --> 01:34:48,760
Speaker 1: a group or whoever it is that they signed. And

1801
01:34:48,880 --> 01:34:50,760
Speaker 1: then all of these people still have careers that have

1802
01:34:50,880 --> 01:34:53,600
Speaker 1: lasted as long as they have. And so that's what

1803
01:34:53,640 --> 01:34:55,400
Speaker 1: I would ask him, and he would always tell me like,

1804
01:34:55,680 --> 01:34:57,720
Speaker 1: you know, we're looking two three albums down the road,

1805
01:34:57,880 --> 01:35:00,680
Speaker 1: and you know, we're looking for and this, that and

1806
01:35:00,760 --> 01:35:01,679
Speaker 1: the other and all the things.

1807
01:35:01,720 --> 01:35:03,880
Speaker 4: And so I was like, oh, he's very gracious with

1808
01:35:04,000 --> 01:35:06,160
Speaker 4: his information, no question. If you know him and you

1809
01:35:06,240 --> 01:35:08,600
Speaker 4: can have a real conversation with him. He is not

1810
01:35:08,720 --> 01:35:11,080
Speaker 4: he's not a gatekeeper of information. He's going to tell

1811
01:35:11,080 --> 01:35:13,200
Speaker 4: you something. Yeah, you know what I mean to help you,

1812
01:35:13,560 --> 01:35:17,280
Speaker 4: to really help you, and and just even and seeing

1813
01:35:17,320 --> 01:35:19,800
Speaker 4: you guys pay it forward. Yeah, right with something that

1814
01:35:20,080 --> 01:35:24,240
Speaker 4: is now people are really truly finding out about is

1815
01:35:24,280 --> 01:35:26,200
Speaker 4: a Leon Thomas and a Chris Riddick time.

1816
01:35:27,160 --> 01:35:28,000
Speaker 1: Most people don't know.

1817
01:35:29,200 --> 01:35:31,760
Speaker 4: Yeah, how that you know, how that transpired and how

1818
01:35:31,800 --> 01:35:35,320
Speaker 4: you guys were very instrumental. Yeah, with the whole Ariana

1819
01:35:35,360 --> 01:35:41,360
Speaker 4: Grande and that whole thing, and now them being the

1820
01:35:41,520 --> 01:35:44,120
Speaker 4: faces of where we're at in R and B music.

1821
01:35:43,920 --> 01:35:47,400
Speaker 1: No question, no question it. If there's anything I would

1822
01:35:47,439 --> 01:35:49,960
Speaker 1: hope people that are interested in the business would get

1823
01:35:49,960 --> 01:35:53,840
Speaker 1: out of this is how important relationship is. Yeah, relationship

1824
01:35:53,880 --> 01:35:56,840
Speaker 1: will take you places your talent won't. It will keep

1825
01:35:56,880 --> 01:36:00,800
Speaker 1: you in places that your talent won't. And so for me,

1826
01:36:01,640 --> 01:36:03,960
Speaker 1: the one thing that I always did my best to

1827
01:36:04,080 --> 01:36:05,960
Speaker 1: do was make sure that when my name got out there,

1828
01:36:06,000 --> 01:36:08,920
Speaker 1: you couldn't say anything negative about me. You couldn't say

1829
01:36:08,960 --> 01:36:10,560
Speaker 1: that I did you dirty, You couldn't say that I

1830
01:36:10,960 --> 01:36:13,479
Speaker 1: handled things sideways. You couldn't say you know, you couldn't

1831
01:36:13,479 --> 01:36:18,040
Speaker 1: say anything about my integrity. And that's how my relationship

1832
01:36:18,080 --> 01:36:20,800
Speaker 1: with Chris came, you know, with Chris Aleon. I met

1833
01:36:20,880 --> 01:36:23,400
Speaker 1: Chris at sixteen years old, and Neil Pogan is the

1834
01:36:23,400 --> 01:36:26,519
Speaker 1: one who actually introduced him to me. And Nil was

1835
01:36:26,560 --> 01:36:32,080
Speaker 1: a Grammy Award winning engineer, friend, whole thing. But he

1836
01:36:32,320 --> 01:36:34,040
Speaker 1: called me and was like, Yo, I got this kid.

1837
01:36:34,200 --> 01:36:36,160
Speaker 1: He's you know, he's a little rough arounder their edges.

1838
01:36:36,240 --> 01:36:39,280
Speaker 1: But I told him there was nobody else in LA

1839
01:36:39,320 --> 01:36:42,200
Speaker 1: I wanted him to meet other than you, and how

1840
01:36:42,240 --> 01:36:44,519
Speaker 1: would you feel about be interested in mentoring him? And

1841
01:36:44,600 --> 01:36:46,920
Speaker 1: so I met with Chris and he brings me some

1842
01:36:47,040 --> 01:36:49,719
Speaker 1: beats and you know, the whole thing. And I remember

1843
01:36:49,800 --> 01:36:51,680
Speaker 1: telling him what I felt he needed to improve on.

1844
01:36:52,439 --> 01:36:54,519
Speaker 1: And literally six months later he came back and everything

1845
01:36:54,520 --> 01:36:56,600
Speaker 1: I asked him to do he had done. And I

1846
01:36:56,720 --> 01:36:59,439
Speaker 1: was like, you got the attitude I had, let's do it.

1847
01:37:00,120 --> 01:37:02,720
Speaker 1: And so brought him in and he brought Leon in,

1848
01:37:03,520 --> 01:37:06,519
Speaker 1: and again Leon had a relationship with Arianna from the show.

1849
01:37:07,200 --> 01:37:10,000
Speaker 1: So he's like, Yo, they're trying to figure out this

1850
01:37:10,080 --> 01:37:11,960
Speaker 1: Ariana thing. What do you what should we do about it?

1851
01:37:12,680 --> 01:37:14,559
Speaker 1: Bring her here and that's her debut out, that's her

1852
01:37:14,600 --> 01:37:18,200
Speaker 1: debut album. So she came over and actually the song

1853
01:37:18,240 --> 01:37:19,760
Speaker 1: we did Baby I was one of the things we

1854
01:37:19,800 --> 01:37:23,679
Speaker 1: did in the Beyonce session, so that was a carry

1855
01:37:23,680 --> 01:37:25,439
Speaker 1: over that she didn't take. And so we had a

1856
01:37:25,479 --> 01:37:29,320
Speaker 1: record that we felt fit Ari and she cut that

1857
01:37:29,439 --> 01:37:32,720
Speaker 1: record and then it turned into why don't you guys

1858
01:37:32,760 --> 01:37:35,360
Speaker 1: do the whole thing? And so that's how we did it.

1859
01:37:35,439 --> 01:37:38,760
Speaker 1: We took one song, turned into six and and all

1860
01:37:38,840 --> 01:37:41,640
Speaker 1: of that. But it also gave Chris the confidence and

1861
01:37:41,680 --> 01:37:44,320
Speaker 1: gave Leon the confidence because that was the other thing.

1862
01:37:44,360 --> 01:37:47,120
Speaker 1: We gave them the space to grow and we just

1863
01:37:47,200 --> 01:37:48,000
Speaker 1: became guardrail.

1864
01:37:48,160 --> 01:37:51,960
Speaker 4: Y'ah could have easily big boy the situation and took

1865
01:37:52,000 --> 01:37:54,120
Speaker 4: their tags off the song like their tags are on

1866
01:37:54,200 --> 01:37:54,639
Speaker 4: the song.

1867
01:37:54,800 --> 01:37:59,040
Speaker 1: But experience taught me that that's not the right way

1868
01:37:59,120 --> 01:38:05,439
Speaker 1: to handle to handle producers. Yeah, yeah, I wanted them.

1869
01:38:05,479 --> 01:38:07,320
Speaker 1: I wanted them to have their space to be able

1870
01:38:07,400 --> 01:38:09,680
Speaker 1: to create, and I knew it was going to be

1871
01:38:09,720 --> 01:38:12,559
Speaker 1: paid forward. I didn't know how, but I also knew

1872
01:38:12,920 --> 01:38:17,240
Speaker 1: that them having the freedom to get confident and again

1873
01:38:17,280 --> 01:38:20,040
Speaker 1: they had Kenyanized Guardrails, so we were going to make

1874
01:38:20,080 --> 01:38:21,599
Speaker 1: sure that nothing was going to get out too far

1875
01:38:21,760 --> 01:38:25,040
Speaker 1: and to let you know, but and the business was fair,

1876
01:38:25,120 --> 01:38:26,320
Speaker 1: so it's not like they had to worry about that.

1877
01:38:26,600 --> 01:38:29,080
Speaker 1: They could just create, you know what I mean. And

1878
01:38:29,280 --> 01:38:34,080
Speaker 1: so when we sat and created the music, they again

1879
01:38:34,160 --> 01:38:35,920
Speaker 1: they got their tag in the record and all that,

1880
01:38:36,040 --> 01:38:38,599
Speaker 1: and it doesn't make what I got to do any

1881
01:38:38,680 --> 01:38:41,519
Speaker 1: less credible or any less important, you know what I mean.

1882
01:38:41,680 --> 01:38:43,360
Speaker 1: And they got to shine the way that they needed

1883
01:38:43,400 --> 01:38:45,280
Speaker 1: to shine and create the confidence that they needed. And

1884
01:38:45,439 --> 01:38:48,639
Speaker 1: so fast forward, look at where they are now. It's

1885
01:38:49,120 --> 01:38:51,560
Speaker 1: you know, I'm nothing but proud of them and have

1886
01:38:51,680 --> 01:38:54,639
Speaker 1: nothing but great things to say about them. Both Chris

1887
01:38:54,720 --> 01:38:57,559
Speaker 1: is still and Leone they both are like my little brothers, man,

1888
01:38:57,680 --> 01:39:00,760
Speaker 1: and it has our relationship is now spend like it

1889
01:39:00,880 --> 01:39:02,840
Speaker 1: is with you guys. It's outside of music. If we

1890
01:39:02,960 --> 01:39:05,200
Speaker 1: never did music, we could hang outright, But if we

1891
01:39:05,280 --> 01:39:07,400
Speaker 1: do music, the byproduct is there's gonna be some good

1892
01:39:07,479 --> 01:39:09,679
Speaker 1: music coming out, you know what I mean? Speaking of that, Yeah,

1893
01:39:09,800 --> 01:39:14,040
Speaker 1: well it's a really great song. As they would say

1894
01:39:14,040 --> 01:39:19,320
Speaker 1: back in the day, it's burning up the airways, old

1895
01:39:19,400 --> 01:39:21,799
Speaker 1: music business, burning up the airways.

1896
01:39:22,320 --> 01:39:27,720
Speaker 4: Yeah, man, that you've done with Chris Riddick time. Yes, Yeah,

1897
01:39:27,840 --> 01:39:32,160
Speaker 4: it's called out the Window, Yeah yeah, by the fabulous

1898
01:39:32,680 --> 01:39:40,519
Speaker 4: Ka Lani Ka Lannie. Yes, it not Klin. It's yes,

1899
01:39:40,680 --> 01:39:46,880
Speaker 4: respect it yeah again, it's relationship. You know, Chris brought

1900
01:39:47,160 --> 01:39:50,000
Speaker 4: kay Lannie to Kenny and I when she was fourteen fifteen,

1901
01:39:51,000 --> 01:39:53,280
Speaker 4: and he knew even back then what to do with her.

1902
01:39:53,520 --> 01:39:56,439
Speaker 1: Yeah, we weren't in a space where we had any

1903
01:39:56,520 --> 01:39:58,920
Speaker 1: sort of leverage to actually do anything for her. And

1904
01:39:59,000 --> 01:40:00,840
Speaker 1: that's the other thing that's great about Kenny. Kenny's not

1905
01:40:01,520 --> 01:40:03,320
Speaker 1: when egos not in the way. If there's a better

1906
01:40:03,360 --> 01:40:06,479
Speaker 1: place for them or better home, yeah, fine, we'll figure

1907
01:40:06,479 --> 01:40:08,240
Speaker 1: out way for us to work together. But it doesn't

1908
01:40:08,240 --> 01:40:09,680
Speaker 1: have to be got to sign them and lock them

1909
01:40:09,680 --> 01:40:12,720
Speaker 1: down and all that other. No. And so that's how

1910
01:40:12,760 --> 01:40:15,080
Speaker 1: our relationship with Kayle Lonnie was built, was way back

1911
01:40:15,120 --> 01:40:18,000
Speaker 1: when she was fourteen. But Chris has always known how

1912
01:40:18,080 --> 01:40:21,320
Speaker 1: to deal with her, how to understand what she wanted

1913
01:40:21,320 --> 01:40:25,040
Speaker 1: to do musically. He always was a go getter. And

1914
01:40:25,400 --> 01:40:29,160
Speaker 1: what he did was he took this place and he's

1915
01:40:29,479 --> 01:40:32,599
Speaker 1: actually elevated her to a place of you know, she's

1916
01:40:32,640 --> 01:40:34,880
Speaker 1: always been this talented, she's always been good, but now

1917
01:40:35,080 --> 01:40:37,519
Speaker 1: the music is like now she's just coming into her

1918
01:40:37,640 --> 01:40:41,200
Speaker 1: plateau moment where it's like she's peaking and out the

1919
01:40:41,240 --> 01:40:45,400
Speaker 1: window was a byproduct of that, she literally said, I

1920
01:40:45,520 --> 01:40:47,000
Speaker 1: want to do the album that I grew up on,

1921
01:40:48,240 --> 01:40:49,760
Speaker 1: and so she gave us a lot of points of

1922
01:40:49,840 --> 01:40:52,680
Speaker 1: references to what that was. And to me, I give

1923
01:40:52,760 --> 01:40:56,080
Speaker 1: her nothing but the utmost respecting kudos because I've heard

1924
01:40:56,120 --> 01:40:58,639
Speaker 1: that a lot of times before. But then artists get

1925
01:40:58,680 --> 01:41:01,200
Speaker 1: a lot of artists have gotten scared to follow through.

1926
01:41:01,200 --> 01:41:03,240
Speaker 1: They say, yeah, they don't follow through, And whether it

1927
01:41:03,360 --> 01:41:06,120
Speaker 1: be because they feel like it's too dated or whatever

1928
01:41:06,120 --> 01:41:09,760
Speaker 1: their mindset is, you never know. But whatever, but she

1929
01:41:10,000 --> 01:41:12,960
Speaker 1: decided I'm committed to this and I'm gonna go ham

1930
01:41:13,080 --> 01:41:15,120
Speaker 1: at it and I'm gonna do I'm gonna do my

1931
01:41:15,240 --> 01:41:17,880
Speaker 1: best job to do that, and she's winning. And I

1932
01:41:17,960 --> 01:41:20,160
Speaker 1: think this is gonna be, my opinion, is going to

1933
01:41:20,200 --> 01:41:23,519
Speaker 1: be where music is coming back to, especially our genre

1934
01:41:23,560 --> 01:41:25,479
Speaker 1: of R and B is coming back to. It's not

1935
01:41:25,720 --> 01:41:28,599
Speaker 1: just about the classic sense of the music, but it's

1936
01:41:28,640 --> 01:41:32,439
Speaker 1: about the vulnerability, it's about the honesty. It's about again

1937
01:41:32,600 --> 01:41:36,400
Speaker 1: giving some interesting details to walking into the room again,

1938
01:41:36,560 --> 01:41:39,599
Speaker 1: like out the window is an interesting concept folded, it's

1939
01:41:39,640 --> 01:41:44,200
Speaker 1: an interesting concept. It's you know. And so now we're

1940
01:41:44,280 --> 01:41:47,320
Speaker 1: just creating new soundtracks for those same five Love song stories,

1941
01:41:47,400 --> 01:41:51,480
Speaker 1: but it all is centered around relationship, and the relationships

1942
01:41:51,520 --> 01:41:54,200
Speaker 1: has done nothing but been paid forward and come back

1943
01:41:54,439 --> 01:41:58,000
Speaker 1: to me one hundredfold. So yeah, now you you.

1944
01:42:00,280 --> 01:42:02,800
Speaker 4: You are an example, bro, Thank you man, that you

1945
01:42:02,920 --> 01:42:04,840
Speaker 4: can be a good guy and great things can happen

1946
01:42:04,880 --> 01:42:05,080
Speaker 4: for you.

1947
01:42:05,240 --> 01:42:07,160
Speaker 1: Thank you man. You know what I mean. I've met

1948
01:42:07,160 --> 01:42:08,240
Speaker 1: a lot of people in this business.

1949
01:42:08,280 --> 01:42:11,040
Speaker 4: I work with a lot of people, and you are

1950
01:42:11,120 --> 01:42:14,320
Speaker 4: someone that when I when I just think of like

1951
01:42:14,479 --> 01:42:17,000
Speaker 4: all the good people in this business and which for me,

1952
01:42:17,280 --> 01:42:19,519
Speaker 4: like I don't have those Oh it's oh the business

1953
01:42:19,640 --> 01:42:23,240
Speaker 4: is is nasty. The business is the business, right, but

1954
01:42:23,360 --> 01:42:25,599
Speaker 4: the people that are really good people and they stand

1955
01:42:25,680 --> 01:42:27,840
Speaker 4: out to me and I and I've been blessed enough

1956
01:42:27,880 --> 01:42:30,320
Speaker 4: to meet a lot of people that are that, and

1957
01:42:30,439 --> 01:42:30,920
Speaker 4: you are at the.

1958
01:42:30,920 --> 01:42:33,080
Speaker 1: Top of that list. Bro, Thank you man. Thank y'all

1959
01:42:33,080 --> 01:42:35,240
Speaker 1: both man. I say the same thing about both of

1960
01:42:35,320 --> 01:42:40,759
Speaker 1: y'all two, Like, there's the great thing about you, guys

1961
01:42:41,160 --> 01:42:43,560
Speaker 1: is what's said when you're not around. You know what

1962
01:42:43,600 --> 01:42:46,720
Speaker 1: I mean, And to me, that is the test the

1963
01:42:46,760 --> 01:42:49,559
Speaker 1: true testament of our relationship and our friendship and our brotherhood.

1964
01:42:49,680 --> 01:42:53,040
Speaker 1: Like I can go out and nobody can say anything

1965
01:42:53,040 --> 01:42:55,680
Speaker 1: bad about y'all. Yeah, and if they choose to get

1966
01:42:55,720 --> 01:42:57,840
Speaker 1: ready to, they got to look at me because they

1967
01:42:57,960 --> 01:43:00,320
Speaker 1: know it's not gonna fly with me, you know. I mean,

1968
01:43:00,840 --> 01:43:04,559
Speaker 1: and I know you feel the same. But then they

1969
01:43:04,680 --> 01:43:08,160
Speaker 1: can't even if they want to do they what are

1970
01:43:08,160 --> 01:43:11,360
Speaker 1: they gonna hate on? They're gonna hate on the truth, right,

1971
01:43:11,840 --> 01:43:13,519
Speaker 1: you know what I mean? Or or they just hate

1972
01:43:13,600 --> 01:43:15,320
Speaker 1: because they want to hate, But they can't hate on

1973
01:43:15,920 --> 01:43:18,640
Speaker 1: how you guys operate, how you guys treat people, the

1974
01:43:19,120 --> 01:43:22,120
Speaker 1: type of music you and your talent like. And to me,

1975
01:43:22,320 --> 01:43:26,360
Speaker 1: that's what built our bond. Like it's just like, yeah,

1976
01:43:27,520 --> 01:43:29,640
Speaker 1: the music matters, but the music is only as good

1977
01:43:29,680 --> 01:43:33,080
Speaker 1: as the people that make it. Yeah, period, you know.

1978
01:43:33,360 --> 01:43:36,040
Speaker 1: And so when people look at what we've gotten to do,

1979
01:43:36,200 --> 01:43:38,840
Speaker 1: and you know, even the endeavors you guys have created

1980
01:43:38,920 --> 01:43:40,680
Speaker 1: and the platform you created and all the other things

1981
01:43:40,720 --> 01:43:42,760
Speaker 1: that you guys are getting to do, it's all based

1982
01:43:42,760 --> 01:43:45,320
Speaker 1: on your relationships. But everybody has to go back and say, well,

1983
01:43:45,880 --> 01:43:48,280
Speaker 1: they's some good dudes. Yeah, you know what I mean

1984
01:43:48,360 --> 01:43:51,400
Speaker 1: A lot, bro, It's everything lot, It's literally everything, Like

1985
01:43:52,400 --> 01:43:54,920
Speaker 1: there's nothing you guys. That's why there's nothing you can't do.

1986
01:43:55,840 --> 01:43:59,360
Speaker 1: It's not just that you're that talented. But your name

1987
01:43:59,479 --> 01:44:02,559
Speaker 1: is good in this streets, like your credit is good,

1988
01:44:02,720 --> 01:44:04,840
Speaker 1: you know what I mean, Like got to have good credit,

1989
01:44:04,880 --> 01:44:08,160
Speaker 1: got to have great credit anywhere. Get along, bro, because

1990
01:44:08,160 --> 01:44:10,080
Speaker 1: you're gonna need it. You're gonna do this thing that

1991
01:44:10,520 --> 01:44:13,599
Speaker 1: don't need it, especially his business facts facts. I want

1992
01:44:13,640 --> 01:44:15,080
Speaker 1: to touch you on one thing before we before we

1993
01:44:15,160 --> 01:44:19,360
Speaker 1: get to yes, sir, to get to my piano. Way before,

1994
01:44:21,720 --> 01:44:28,960
Speaker 1: way before guys were figuring out the camera had value.

1995
01:44:29,120 --> 01:44:32,439
Speaker 2: Oh yeah, yeah, because I know a lot of guys

1996
01:44:32,800 --> 01:44:34,200
Speaker 2: use their cameras for evil.

1997
01:44:35,479 --> 01:44:38,759
Speaker 1: Yeah. I take pictures of you, girl, come over while

1998
01:44:40,040 --> 01:44:45,760
Speaker 1: so nice eleven he turned the camera on and the

1999
01:44:45,840 --> 01:44:49,679
Speaker 1: clothes come off. Get some good photos of you. About

2000
01:44:49,720 --> 01:44:57,320
Speaker 1: one am. Trainers and photographers, trainers and don't work. Yeah,

2001
01:44:57,439 --> 01:44:59,840
Speaker 1: train you about two thirty.

2002
01:45:00,160 --> 01:45:18,240
Speaker 2: Yeah, that's when your mules are. Really you went into

2003
01:45:19,040 --> 01:45:28,160
Speaker 2: photography for real, like like we hired you. Yeah, yeah,

2004
01:45:28,520 --> 01:45:33,440
Speaker 2: you weren't it was an Instagram model photography. You were photography.

2005
01:45:33,760 --> 01:45:37,360
Speaker 1: Yeah, yeah, it became It was another passion that I found. Man.

2006
01:45:37,600 --> 01:45:39,920
Speaker 1: It was one of those lulls in the industry where

2007
01:45:39,920 --> 01:45:42,559
Speaker 1: you get frustrated and life happens and you're just trying

2008
01:45:42,600 --> 01:45:45,360
Speaker 1: to figure out some other way to feed that creative

2009
01:45:46,520 --> 01:45:48,960
Speaker 1: bug that I had. And I always enjoyed going to

2010
01:45:49,120 --> 01:45:51,160
Speaker 1: like you know, galleries and stuff like that and looking

2011
01:45:51,200 --> 01:45:52,800
Speaker 1: at cool pictures and all that. But the thing that

2012
01:45:52,840 --> 01:45:55,400
Speaker 1: really triggered it for me was I went to Raphael

2013
01:45:55,439 --> 01:45:58,200
Speaker 1: c studio one time and he had this book that

2014
01:45:58,280 --> 01:45:59,960
Speaker 1: he had gotten from Paris. And if you know Raffia,

2015
01:46:00,040 --> 01:46:03,760
Speaker 1: know he has like the rarest of everything. Yeah, that's

2016
01:46:03,840 --> 01:46:08,080
Speaker 1: just what he does. And so nigga, Yeah, just a

2017
01:46:08,200 --> 01:46:10,680
Speaker 1: rare nigga. He is, he just he but that's what

2018
01:46:10,760 --> 01:46:12,640
Speaker 1: he does. And so he had this book and it

2019
01:46:12,720 --> 01:46:14,519
Speaker 1: was this motown book and it had like some of

2020
01:46:14,520 --> 01:46:17,240
Speaker 1: the most incredible candids and pictures that I've ever seen

2021
01:46:17,720 --> 01:46:20,640
Speaker 1: of that era that and you rarely see anywhere. And

2022
01:46:20,760 --> 01:46:22,920
Speaker 1: I was like, man, nobody's done that in our era,

2023
01:46:23,720 --> 01:46:25,639
Speaker 1: Like we don't have that kind of stuff as memoir

2024
01:46:25,720 --> 01:46:28,680
Speaker 1: anymore of like you know, the studio sessions and the

2025
01:46:28,800 --> 01:46:31,280
Speaker 1: writing and Michael being in the room with Stevie and

2026
01:46:31,560 --> 01:46:33,400
Speaker 1: so on and so forth, and so I was like,

2027
01:46:33,840 --> 01:46:35,439
Speaker 1: that was the first thing for me, was like maybe

2028
01:46:35,479 --> 01:46:37,240
Speaker 1: I'll start with that. Let me just go ahead and

2029
01:46:37,280 --> 01:46:40,320
Speaker 1: start creating my own coffee table book, not even to

2030
01:46:40,360 --> 01:46:42,680
Speaker 1: sell it, just for me, you know, because the thing

2031
01:46:42,760 --> 01:46:46,240
Speaker 1: that has happened with my career is you got I

2032
01:46:46,280 --> 01:46:48,840
Speaker 1: got so engulfed in it that some of it became

2033
01:46:48,880 --> 01:46:51,200
Speaker 1: a blur because you start moving so much, you always

2034
01:46:51,200 --> 01:46:53,599
Speaker 1: think about the next thing, and you start you stop

2035
01:46:53,760 --> 01:46:55,760
Speaker 1: reflecting and start looking at the memories and the things

2036
01:46:55,800 --> 01:46:58,160
Speaker 1: that we've gotten to accomplish. And so I said, maybe

2037
01:46:58,200 --> 01:46:59,240
Speaker 1: that's what I want to do. Let me go ahead

2038
01:46:59,240 --> 01:47:01,800
Speaker 1: and make coffee table And so I started there and

2039
01:47:01,920 --> 01:47:05,240
Speaker 1: then it went from that to I dove into it

2040
01:47:05,320 --> 01:47:07,080
Speaker 1: the way I dove into music. I just did it

2041
01:47:07,240 --> 01:47:09,840
Speaker 1: all the time, like almost took a year off of music,

2042
01:47:10,320 --> 01:47:13,439
Speaker 1: where I studied lighting, I studied retouching. I went and

2043
01:47:14,040 --> 01:47:16,720
Speaker 1: I went to classes, I did portfolio building, I did

2044
01:47:16,800 --> 01:47:19,680
Speaker 1: the whole thing. And I purposely didn't tell anybody in

2045
01:47:19,800 --> 01:47:22,120
Speaker 1: that world that I did music because I wanted to

2046
01:47:22,160 --> 01:47:23,840
Speaker 1: make sure that it was respected for what it was,

2047
01:47:24,640 --> 01:47:26,720
Speaker 1: not for who I knew, or who I can bring

2048
01:47:26,840 --> 01:47:28,680
Speaker 1: or any of that stuff. It needed to be that

2049
01:47:28,760 --> 01:47:30,240
Speaker 1: if it was going to be validated, it was going

2050
01:47:30,280 --> 01:47:32,920
Speaker 1: to be because it was actually just good work. And

2051
01:47:33,080 --> 01:47:35,760
Speaker 1: so that's what I did. I dove into it, and

2052
01:47:35,960 --> 01:47:37,800
Speaker 1: I did it all the time, and I spent a

2053
01:47:37,880 --> 01:47:39,479
Speaker 1: bunch of money on a bunch of a gear and

2054
01:47:39,560 --> 01:47:41,800
Speaker 1: the whole thing. And then I started getting calls and

2055
01:47:41,840 --> 01:47:44,479
Speaker 1: getting hired, and you guys hired me and so many others,

2056
01:47:44,520 --> 01:47:46,760
Speaker 1: and it was like it turned into a whole other

2057
01:47:46,880 --> 01:47:49,840
Speaker 1: medium of a whole other business that I've created now

2058
01:47:49,920 --> 01:47:53,920
Speaker 1: that I still do and I still love it. You did,

2059
01:47:54,520 --> 01:47:58,280
Speaker 1: what's the magazine? It was rolling out, rolling out magazine? Yeah, magazine. Yeah,

2060
01:47:59,720 --> 01:48:02,280
Speaker 1: yeah like that. Yeah. Yeah. They told me you was

2061
01:48:02,320 --> 01:48:04,439
Speaker 1: coming to us, like, don't tell them what I was like,

2062
01:48:04,479 --> 01:48:10,439
Speaker 1: don't tell the coming, don't go yeah yeah yeah, man, ok, yeah, yeah,

2063
01:48:10,880 --> 01:48:14,040
Speaker 1: I'm not worried. Yeah, renaissance.

2064
01:48:14,160 --> 01:48:16,320
Speaker 2: Man, if you got the camera, I know you know

2065
01:48:16,439 --> 01:48:20,879
Speaker 2: everything about that mother exactly, research exactly.

2066
01:48:20,960 --> 01:48:23,200
Speaker 1: And that's that's what I did. Man. I learned it.

2067
01:48:23,280 --> 01:48:25,400
Speaker 1: I fell in love with it, and I wanted to

2068
01:48:26,320 --> 01:48:28,880
Speaker 1: I'm sure it goes into a much deeper psychological thing

2069
01:48:28,960 --> 01:48:31,960
Speaker 1: for me, but it was like, again, so much of

2070
01:48:32,160 --> 01:48:34,720
Speaker 1: my life, from losing my father up to the day

2071
01:48:34,840 --> 01:48:37,360
Speaker 1: makes you go like wow, like so many great things

2072
01:48:37,400 --> 01:48:39,439
Speaker 1: have happened, and we don't document this stuff. We don't

2073
01:48:39,479 --> 01:48:42,479
Speaker 1: have memories a lot of times anymore, and everybody so

2074
01:48:42,640 --> 01:48:44,600
Speaker 1: quick to put it on social media and all this

2075
01:48:44,680 --> 01:48:47,880
Speaker 1: other stuff. But to me, it's like, I remember all

2076
01:48:47,920 --> 01:48:49,920
Speaker 1: the great sessions we had that we don't have pictures of.

2077
01:48:50,680 --> 01:48:53,519
Speaker 1: You know, some incredible things. I remember us going paintball

2078
01:48:53,520 --> 01:48:56,120
Speaker 1: on the stay at your house and don't have pictures.

2079
01:48:55,840 --> 01:48:59,679
Speaker 4: For those camera photographer too late, I sure did. Fuck yeah,

2080
01:49:00,160 --> 01:49:02,200
Speaker 4: trust the pictures. I got our boot.

2081
01:49:03,479 --> 01:49:05,080
Speaker 1: It's glory, Ashy.

2082
01:49:05,200 --> 01:49:07,679
Speaker 4: It's like a picture like all of us with money,

2083
01:49:08,040 --> 01:49:11,360
Speaker 4: like doing a little money thing and you can barely

2084
01:49:11,400 --> 01:49:12,720
Speaker 4: make they're gonna tell you.

2085
01:49:14,400 --> 01:49:17,680
Speaker 1: Yea yeah. So that was that's that's how the photography

2086
01:49:17,720 --> 01:49:19,400
Speaker 1: part came in, man, and I just thought that was

2087
01:49:20,200 --> 01:49:23,000
Speaker 1: now it was and it is. Thank you, absolutely bro,

2088
01:49:23,320 --> 01:49:26,800
Speaker 1: thank you ship. Here you go.

2089
01:49:54,240 --> 01:49:56,200
Speaker 2: I feel like we've been connected for a long time,

2090
01:49:56,320 --> 01:49:58,960
Speaker 2: so I don't really have to say much. You feel

2091
01:49:59,040 --> 01:50:00,160
Speaker 2: what the fuck I'm trying to get.

2092
01:50:07,040 --> 01:50:17,679
Speaker 1: Right there? If I do that? Yeah, Tony Nerds, your

2093
01:50:20,880 --> 01:50:30,639
Speaker 1: top FU, your top fun, come on down top far,

2094
01:50:33,880 --> 01:50:38,519
Speaker 1: your tough fun, R beasingers.

2095
01:50:39,000 --> 01:50:46,040
Speaker 6: You starring me song we got to do before you

2096
01:50:46,360 --> 01:50:50,840
Speaker 6: go around this show show. Everybody wants to know how

2097
01:50:51,200 --> 01:51:00,040
Speaker 6: your top Yeah, hurrah, top.

2098
01:51:08,160 --> 01:51:28,719
Speaker 1: Top five. Oh this nigga get closer to Randy Watson

2099
01:51:28,760 --> 01:51:37,840
Speaker 1: and Jock Man. They can't mess with you on that piano.

2100
01:51:37,920 --> 01:51:41,000
Speaker 1: Bro Im trying to hate on this little piano too. Yeah,

2101
01:51:43,920 --> 01:51:47,160
Speaker 1: they don't know humble beginning. Yeah, they don't know your

2102
01:51:47,280 --> 01:51:54,160
Speaker 1: top five R and B singer. All right, I'm gonna

2103
01:51:54,160 --> 01:51:58,920
Speaker 1: start with Michael, Come on, Michael, Michael Jackson, Michael, and

2104
01:51:59,040 --> 01:52:02,000
Speaker 1: then I'm gonna go with Stevie. I like Steve. Yeah.

2105
01:52:02,800 --> 01:52:05,680
Speaker 1: Then I'm gonna go D'Angelo. Okay, okay, now now now

2106
01:52:05,960 --> 01:52:15,760
Speaker 1: now you're dribbling, yeah yeah, yeah, yeah, okay, Yeah. Then

2107
01:52:15,760 --> 01:52:21,439
Speaker 1: I'm gonna go Charlie Wilson longevity man like still songs,

2108
01:52:21,800 --> 01:52:27,400
Speaker 1: exactly the same, Prestine. I have him on the record

2109
01:52:27,479 --> 01:52:31,400
Speaker 1: right now. It's just he cold, he just cold, like

2110
01:52:31,680 --> 01:52:37,519
Speaker 1: it's it's amazing, Uncle Uncle Charlie. Then my last one

2111
01:52:37,640 --> 01:52:39,280
Speaker 1: was kind of tough, but I'm gonna go ahead and

2112
01:52:39,520 --> 01:52:47,800
Speaker 1: commit to I'm saying Whitney Houston. Yeah yeah, yeah, great commitment. Yeah.

2113
01:52:48,200 --> 01:52:51,920
Speaker 1: The voice, yeah, the voice, the voice, she just she's

2114
01:52:52,000 --> 01:52:59,760
Speaker 1: just a monster man record. She might be the Chris

2115
01:53:00,080 --> 01:53:09,439
Speaker 1: best vocal of all time. Yeah, I agree. Agree, didn't Luther? Luther?

2116
01:53:10,560 --> 01:53:14,240
Speaker 1: All right? Luthor was clean. Yeah, Yeah, there you go.

2117
01:53:14,520 --> 01:53:16,679
Speaker 1: You got it, got it. You ain't gotta saything else. Yeah,

2118
01:53:16,800 --> 01:53:21,120
Speaker 1: I understand, Yeah, I agree, I understand. Yeah, Chrispy goes

2119
01:53:21,160 --> 01:53:24,720
Speaker 1: to Whitney. Yeah. Yeah. To me, the epitome of a

2120
01:53:24,800 --> 01:53:28,360
Speaker 1: great singer is not just your technical ability, but do

2121
01:53:28,520 --> 01:53:32,040
Speaker 1: I believe you when you sing? Yes? Every word? Yeah,

2122
01:53:32,280 --> 01:53:34,840
Speaker 1: I gotta believe everything you say and all of them

2123
01:53:35,640 --> 01:53:38,760
Speaker 1: when you when they sang it, you believe it. And

2124
01:53:40,280 --> 01:53:43,439
Speaker 1: and I got through audible. I got the Brandy in there. Yeah,

2125
01:53:43,479 --> 01:53:46,360
Speaker 1: why not? Because she's the lineage of Whitney. So Brandy

2126
01:53:46,520 --> 01:53:50,920
Speaker 1: just cold, she just you know, nasty. Yeah. Okay, yeah,

2127
01:53:51,360 --> 01:53:55,320
Speaker 1: your top five R and B songs, Okay, they got

2128
01:53:55,320 --> 01:53:57,080
Speaker 1: a lot of songs in your head. Yeah, I got

2129
01:53:57,120 --> 01:53:59,320
Speaker 1: a lot of songs. I'm gonna go way back and

2130
01:53:59,360 --> 01:54:02,280
Speaker 1: then bring it back. So bring it up. Joy inside

2131
01:54:02,320 --> 01:54:05,840
Speaker 1: my tiers, Stevie Wonder, Jesus Christ. Yeah, that's an album

2132
01:54:05,920 --> 01:54:07,720
Speaker 1: cut right after this and she Lovely. For those who

2133
01:54:07,720 --> 01:54:11,400
Speaker 1: ain't heard it, you are crazy that song for whatever reason,

2134
01:54:12,640 --> 01:54:15,320
Speaker 1: when he sings it, I believe it. He That's that's

2135
01:54:15,400 --> 01:54:19,120
Speaker 1: my favorite Stevie Wonder song. Then I'm gonna go tell

2136
01:54:19,160 --> 01:54:21,680
Speaker 1: me if you still care SOS band mm m.

2137
01:54:24,040 --> 01:54:24,240
Speaker 6: Yeah.

2138
01:54:25,080 --> 01:54:29,559
Speaker 1: Every time that song comes on still yeah you stop,

2139
01:54:30,280 --> 01:54:38,600
Speaker 1: so you stop stop. We gotta we gotta make that record,

2140
01:54:38,720 --> 01:54:40,680
Speaker 1: no question. I just so recently I just got to

2141
01:54:40,720 --> 01:54:44,720
Speaker 1: work with jam and Lewis. That's we'll go down. But anyway, yes,

2142
01:54:44,880 --> 01:54:47,240
Speaker 1: loss and I got to ask them. I asked him

2143
01:54:47,280 --> 01:54:50,040
Speaker 1: about that song and the whole process, because again I

2144
01:54:50,120 --> 01:54:52,480
Speaker 1: nerd it out. From that point, I was, yo, y'all,

2145
01:54:52,520 --> 01:54:56,400
Speaker 1: did my my favorites the track? Yes to that? Got

2146
01:54:56,440 --> 01:54:59,520
Speaker 1: it for right now done and bring it to me done?

2147
01:55:00,040 --> 01:55:04,360
Speaker 1: Bring it to me done, I promise you done. But yeah,

2148
01:55:04,440 --> 01:55:06,160
Speaker 1: tell me if you still care. It was one of

2149
01:55:06,240 --> 01:55:08,320
Speaker 1: the I'm a singer verse on there, as you said,

2150
01:55:08,480 --> 01:55:17,360
Speaker 1: Jay's gonna sing a verse on as you should shout out.

2151
01:55:17,400 --> 01:55:22,040
Speaker 1: Little Let's bring a little Steve Russell in to help.

2152
01:55:22,120 --> 01:55:26,640
Speaker 1: Right here we go, problem solve, problem solve man, need

2153
01:55:26,760 --> 01:55:31,400
Speaker 1: that tomorrow done, done done? Then I'm gonna go. This

2154
01:55:31,560 --> 01:55:33,320
Speaker 1: is kind of a slash because it's the same artist

2155
01:55:34,600 --> 01:55:37,720
Speaker 1: untitled how does It Feel? And Lady D'Angelo both of

2156
01:55:37,760 --> 01:55:43,640
Speaker 1: those why not? Why not? Why not? Cold? I don't

2157
01:55:43,680 --> 01:55:46,160
Speaker 1: think there's How does it feel? I don't think there's

2158
01:55:46,160 --> 01:55:48,640
Speaker 1: a sexier record anybody.

2159
01:55:48,720 --> 01:55:51,640
Speaker 2: I don't think there's a better song ever in the

2160
01:55:51,760 --> 01:55:53,440
Speaker 2: six eighth time signature period.

2161
01:55:53,720 --> 01:55:56,000
Speaker 1: Then how does it feel? Completely agree?

2162
01:55:58,000 --> 01:56:02,760
Speaker 2: Untitled changed my life me two Well, lady, it was

2163
01:56:02,840 --> 01:56:04,920
Speaker 2: the start. Lady in Brown Sugar was the start of

2164
01:56:05,000 --> 01:56:09,800
Speaker 2: the change. Because I got the cassette, I got that,

2165
01:56:10,040 --> 01:56:15,560
Speaker 2: I was sad, I was I was all laying Yeah yeah, D'Angelo.

2166
01:56:15,720 --> 01:56:15,920
Speaker 1: Yeah.

2167
01:56:16,560 --> 01:56:20,720
Speaker 2: Then the title came out, gone that ship wasn't fair.

2168
01:56:20,880 --> 01:56:28,320
Speaker 2: Untitled is dis respectful. That song is so cold right

2169
01:56:28,440 --> 01:56:31,360
Speaker 2: now off the top. Let me just say it for

2170
01:56:31,440 --> 01:56:35,160
Speaker 2: a minute. What are y'all doing in there?

2171
01:56:35,480 --> 01:56:40,200
Speaker 1: Yeah? Being talented? Yeah, yeah, and that's I think, I think.

2172
01:56:41,720 --> 01:56:45,680
Speaker 2: I think that's what you can get lost in in

2173
01:56:46,000 --> 01:56:49,680
Speaker 2: just the new age process of making music.

2174
01:56:53,240 --> 01:56:57,120
Speaker 1: It's the cats. Yeah, I forget about the cats, can't.

2175
01:56:57,240 --> 01:56:58,400
Speaker 1: That's what Tis Martins.

2176
01:56:58,200 --> 01:57:00,720
Speaker 2: Taras Smart said, don't forget about the cat the cats,

2177
01:57:01,160 --> 01:57:04,360
Speaker 2: this guy and this guy and this guy.

2178
01:57:05,560 --> 01:57:10,480
Speaker 1: Yeah, because that do something different to a record. Think

2179
01:57:10,520 --> 01:57:13,440
Speaker 1: about what it did for us musically. That's my point.

2180
01:57:13,480 --> 01:57:15,160
Speaker 1: It's why we are. That's why we are. We are

2181
01:57:16,120 --> 01:57:18,080
Speaker 1: for sure It's not that I couldn't do it myself

2182
01:57:18,120 --> 01:57:19,560
Speaker 1: and you couldn't do it by yourself, but when we

2183
01:57:19,640 --> 01:57:24,280
Speaker 1: all together. Yeah, period, I didn't even know I was

2184
01:57:24,320 --> 01:57:26,520
Speaker 1: a cat You a cat bro? I didn't even know. Yeah,

2185
01:57:27,120 --> 01:57:35,240
Speaker 1: later I was like, I'm a brother, Slick, You're definitely

2186
01:57:35,280 --> 01:57:39,720
Speaker 1: a cat bro. Was that two and one or one?

2187
01:57:42,160 --> 01:57:49,960
Speaker 1: When you touch me? Brandy? Disrespectful? Disrespectful? That always disrespectful.

2188
01:57:50,680 --> 01:57:57,280
Speaker 1: You can't be you can't be anyone within the community

2189
01:57:57,360 --> 01:58:01,120
Speaker 1: of what we do, and that song not be a

2190
01:58:01,360 --> 01:58:11,520
Speaker 1: standout period, period, period, on every level, in every production, writing, vocals.

2191
01:58:12,440 --> 01:58:16,000
Speaker 1: It's one of those perfect songs period. No holes that

2192
01:58:16,120 --> 01:58:20,760
Speaker 1: you call none. Yeah, song is incredible. You talk about execution,

2193
01:58:21,440 --> 01:58:25,360
Speaker 1: she killed it. Do I believe her? Absolutely. I'm still

2194
01:58:25,400 --> 01:58:28,880
Speaker 1: listening to the track like, yeah, yeah, it can stand

2195
01:58:28,960 --> 01:58:32,560
Speaker 1: up today. Who is this? Yeah? The song is cold

2196
01:58:33,200 --> 01:58:37,600
Speaker 1: Rodney's Master Monster. Yeah, that's another one for me. It's

2197
01:58:37,680 --> 01:58:40,960
Speaker 1: just like, oh, then I gotta go another jam In Lewis,

2198
01:58:41,040 --> 01:58:47,120
Speaker 1: Can you stand the ring again? Architects architects like you

2199
01:58:47,240 --> 01:58:50,360
Speaker 1: look at if you to me, a great song has

2200
01:58:50,440 --> 01:58:53,400
Speaker 1: the three elements. So you got the lyric, you got

2201
01:58:53,440 --> 01:58:56,440
Speaker 1: the melody, and you got the music right, and if

2202
01:58:56,480 --> 01:58:58,440
Speaker 1: you can separate all three of those and still have

2203
01:58:58,520 --> 01:59:01,480
Speaker 1: something memorable, or you still got an incredible body of work.

2204
01:59:01,560 --> 01:59:03,400
Speaker 1: To me, you've got the best song that you can have.

2205
01:59:03,840 --> 01:59:06,480
Speaker 1: So if you read the lyrics or can you stand

2206
01:59:06,560 --> 01:59:08,800
Speaker 1: the rain? To somebody, it's still going to affect them.

2207
01:59:09,000 --> 01:59:11,400
Speaker 1: If you hum it, everybody's gonna run the perfect day.

2208
01:59:12,240 --> 01:59:13,600
Speaker 1: I know I can count on you. Know that I

2209
01:59:13,640 --> 01:59:15,760
Speaker 1: can count on you like you can literally just say

2210
01:59:15,800 --> 01:59:18,920
Speaker 1: that that's not possible. Tell me, can you weather the storm?

2211
01:59:20,920 --> 01:59:24,080
Speaker 1: Because I need somebody stand by me. I don't know

2212
01:59:24,080 --> 01:59:29,080
Speaker 1: about you. When it's tough, she won't run. She will

2213
01:59:29,400 --> 01:59:31,840
Speaker 1: always be right there for me.

2214
01:59:32,600 --> 01:59:40,240
Speaker 2: He sunny motherfucking days. Everybody loves them. But huh, but

2215
01:59:40,440 --> 01:59:46,040
Speaker 2: tell me, baby, can you stand the rain?

2216
01:59:52,360 --> 02:00:00,880
Speaker 1: Sorry? Sad fix? Why not? That's a great fire. Yeah

2217
02:00:01,280 --> 02:00:04,400
Speaker 1: and a half, Yeah, five and a half. Jimmy Jim

2218
02:00:04,520 --> 02:00:09,320
Speaker 1: and Terry architects man. Yeah, builders of worlds and the

2219
02:00:09,440 --> 02:00:13,600
Speaker 1: greatest guys. Yeah, it's so nice. Yeah, the builders of worlds.

2220
02:00:13,880 --> 02:00:18,520
Speaker 1: They are true cats, bro man bro Yeah, true cats.

2221
02:00:19,520 --> 02:00:24,760
Speaker 1: They are, They're lions, they are. I'm a cat, yeah,

2222
02:00:27,200 --> 02:00:31,320
Speaker 1: the different type of cat, big cats, Yeah, big big

2223
02:00:31,400 --> 02:00:34,520
Speaker 1: cat records, big big cat records, and you get rid

2224
02:00:34,560 --> 02:00:35,160
Speaker 1: of flight times.

2225
02:00:35,400 --> 02:00:35,560
Speaker 5: Man.

2226
02:00:36,480 --> 02:00:37,920
Speaker 1: All right, let's make your vulture on brother.

2227
02:00:38,080 --> 02:00:40,400
Speaker 2: Yes, they're a perfect super R and B artist where

2228
02:00:40,440 --> 02:00:43,720
Speaker 2: you can get the vocal, uh, the performance style, styling,

2229
02:00:43,840 --> 02:00:46,280
Speaker 2: the passion of the artists, who's producing and writing for

2230
02:00:46,400 --> 02:00:48,920
Speaker 2: this artist, artist, and who's going to shoot the cover?

2231
02:00:49,240 --> 02:00:55,000
Speaker 1: Here we go. Here we call the vocal Michael Michael Jackson,

2232
02:00:55,160 --> 02:01:03,480
Speaker 1: performance style, James Brown, Jesus James. Without James, everybody else

2233
02:01:04,320 --> 02:01:10,640
Speaker 1: is wipe out. Yeah. Yeah, styling Janet Janet jack The

2234
02:01:10,680 --> 02:01:14,560
Speaker 1: reason I say fly is hell fly, super fly, superfly.

2235
02:01:14,840 --> 02:01:19,440
Speaker 1: She's every era of Janet. We have a style that

2236
02:01:19,800 --> 02:01:22,680
Speaker 1: is attached to that. Yeah, And to me, that's what

2237
02:01:23,080 --> 02:01:25,800
Speaker 1: a lot of artists don't have anymore. We can. The

2238
02:01:25,920 --> 02:01:28,800
Speaker 1: red hair is velvet rope, the black and white is

2239
02:01:29,160 --> 02:01:31,360
Speaker 1: eighteen forty. Say it has kept that going? There you go,

2240
02:01:31,560 --> 02:01:33,960
Speaker 1: she's kept that going. She has, she has talk about it.

2241
02:01:34,040 --> 02:01:35,960
Speaker 1: But I gotta go with Jennet. Yeah, I gotta go

2242
02:01:36,280 --> 02:01:38,360
Speaker 1: on the style. I like the explanation to ye. Yeah,

2243
02:01:38,800 --> 02:01:42,720
Speaker 1: your attention to detail, the passion of the artist. Chris

2244
02:01:42,800 --> 02:01:47,240
Speaker 1: Brown mm hm to do what he's done as much

2245
02:01:47,320 --> 02:01:49,400
Speaker 1: as long as he's done it and go as hard

2246
02:01:49,440 --> 02:01:52,320
Speaker 1: as he does. You can't tell me he's not passionate.

2247
02:01:52,320 --> 02:01:55,240
Speaker 1: All does. I don't either. It's amazing to watch.

2248
02:01:55,080 --> 02:01:59,200
Speaker 4: Less passionate people would have folded, no question, there's no folding.

2249
02:02:00,080 --> 02:02:08,959
Speaker 1: Chris, Chris Brown, give me let at all. The blackest

2250
02:02:09,080 --> 02:02:11,040
Speaker 1: Nast's how you know what he is.

2251
02:02:11,200 --> 02:02:18,200
Speaker 2: That's how you know Christe. Don't let me call Maurice Brown.

2252
02:02:19,520 --> 02:02:24,040
Speaker 1: Brown more Brown come through this from problem he used

2253
02:02:24,040 --> 02:02:26,880
Speaker 1: to us the BLEG liquor. You got that from Brow

2254
02:02:27,000 --> 02:02:28,760
Speaker 1: more Brown standing right outside of the liquor. Don't come on.

2255
02:02:33,400 --> 02:02:35,480
Speaker 2: Come on, if you know a couple of let me

2256
02:02:35,560 --> 02:02:38,840
Speaker 2: get a shot. Come on, come on now, come on.

2257
02:02:38,920 --> 02:02:40,440
Speaker 2: Now you know more Brown, You know what Brown? More

2258
02:02:40,480 --> 02:02:43,040
Speaker 2: Brown needed nigga that past.

2259
02:02:43,680 --> 02:02:46,680
Speaker 1: Yeah, I gotta go. Chris Man, who's writing and producing

2260
02:02:46,760 --> 02:02:51,040
Speaker 1: for this artist, Babyface mm hmm, because he's gonna figure

2261
02:02:51,040 --> 02:02:53,560
Speaker 1: it out. Absolutely is gonna figure it out. Yeah, he's

2262
02:02:53,600 --> 02:02:55,280
Speaker 1: gonna figure it out. You gotta let him do what

2263
02:02:55,360 --> 02:02:57,720
Speaker 1: he does. I would say all of us work with him,

2264
02:02:58,040 --> 02:03:02,800
Speaker 1: But yes, baby, thank you, let me be. Let let us. Yeah,

2265
02:03:03,720 --> 02:03:09,320
Speaker 1: the baby Face is writing it. I'm shooting it. Yeah,

2266
02:03:09,320 --> 02:03:13,080
Speaker 1: I'm shooting that coming. I'm shooting that. I'm shoot let's go. Yeah,

2267
02:03:13,160 --> 02:03:16,040
Speaker 1: my name is on that bad boy. Ain't gonna let Jonathan, Man,

2268
02:03:16,040 --> 02:03:19,560
Speaker 1: you do we love it? John?

2269
02:03:20,000 --> 02:03:27,920
Speaker 2: Sorry, okay, but yeah, yam, I like that note, Yeah,

2270
02:03:27,920 --> 02:03:32,640
Speaker 2: I like it. Ain't saying no nicks. Hey, I ain't

2271
02:03:32,680 --> 02:03:36,080
Speaker 2: saying no names. Ain't saying no names. I ain't saying

2272
02:03:36,160 --> 02:03:36,640
Speaker 2: no names.

2273
02:03:36,800 --> 02:03:41,960
Speaker 1: We was we used what you did. Don't say she

2274
02:03:47,800 --> 02:04:05,560
Speaker 1: ain't saying no name. He been party is tequila. Oh

2275
02:04:05,720 --> 02:04:13,000
Speaker 1: my god, you gotta make that.

2276
02:04:16,600 --> 02:04:16,960
Speaker 3: Clip that.

2277
02:04:18,120 --> 02:04:20,000
Speaker 1: Oh my gosh, this is great.

2278
02:04:22,960 --> 02:04:26,720
Speaker 4: So we we we got here, man, Okay, we got

2279
02:04:26,760 --> 02:04:30,560
Speaker 4: to this. We got to this point, man, very important

2280
02:04:30,560 --> 02:04:34,480
Speaker 4: part of the show. Will you tell us a story? Okay, funnier,

2281
02:04:34,600 --> 02:04:37,080
Speaker 4: fucked up? Are funny and fucked up?

2282
02:04:37,120 --> 02:04:40,800
Speaker 1: Okay? But the only rude to the game. You can't

2283
02:04:40,840 --> 02:04:46,720
Speaker 1: say no names? Okay? All right. So I was in

2284
02:04:46,800 --> 02:04:51,400
Speaker 1: the studios particular day and there were this particular person

2285
02:04:51,600 --> 02:04:54,720
Speaker 1: who came to the studio and brought a crew of

2286
02:04:54,800 --> 02:04:59,640
Speaker 1: some other celebrities with him to the studio, and the

2287
02:04:59,720 --> 02:05:04,839
Speaker 1: goal was to show how great they were in the studio,

2288
02:05:05,640 --> 02:05:09,840
Speaker 1: this particular person, and so he decides, you know what,

2289
02:05:10,520 --> 02:05:14,280
Speaker 1: let's go out to eat. So he pulls out all

2290
02:05:14,360 --> 02:05:16,200
Speaker 1: the stops for all of us to go out to eat,

2291
02:05:17,120 --> 02:05:20,440
Speaker 1: and we go to this expensive Chinese restaurant or whatever,

2292
02:05:20,560 --> 02:05:22,480
Speaker 1: and he, you know, he's fitting the bill, he's taking

2293
02:05:22,480 --> 02:05:24,400
Speaker 1: care of everybody. He's showing this is the life, you

2294
02:05:24,440 --> 02:05:26,240
Speaker 1: know what I mean. It's where we go and having

2295
02:05:26,280 --> 02:05:28,840
Speaker 1: a great time and eating and all this other stuff.

2296
02:05:28,920 --> 02:05:31,080
Speaker 1: And everybody goes to plot the money. Now you know

2297
02:05:31,160 --> 02:05:33,240
Speaker 1: your money's no good? Here da da da, I got it.

2298
02:05:33,240 --> 02:05:35,560
Speaker 1: I got it. Yeah, yeah, you know it's good. Were good?

2299
02:05:35,600 --> 02:05:39,280
Speaker 1: Were good? So we you know, I'm like, okay, this

2300
02:05:39,440 --> 02:05:42,920
Speaker 1: is cool. That's cool. We get back to the studio.

2301
02:05:43,000 --> 02:05:46,960
Speaker 1: He goes watch this. He calls his credit card company.

2302
02:05:49,440 --> 02:05:53,240
Speaker 1: I did not uh, I see a charge on my

2303
02:05:54,000 --> 02:06:00,160
Speaker 1: credit card for nine hundred and SOMEI dollars and it's

2304
02:06:00,240 --> 02:06:06,560
Speaker 1: not men, move these charges, please, thank you. And I

2305
02:06:06,600 --> 02:06:12,720
Speaker 1: sat there like this, Oh man, what that is great? Yeah?

2306
02:06:12,800 --> 02:06:15,240
Speaker 1: You know, this is how you get him? So how

2307
02:06:15,360 --> 02:06:23,480
Speaker 1: you get him. I gotta feel this, figga, but I

2308
02:06:23,520 --> 02:06:24,440
Speaker 1: ain't saying no. Next.

2309
02:06:28,520 --> 02:06:30,880
Speaker 2: Oh this is great. Shy, hen't be giving nigga ship.

2310
02:06:34,360 --> 02:06:35,520
Speaker 2: Welcome to the music business.

2311
02:06:36,080 --> 02:06:40,080
Speaker 1: Oh man, that's great, thats great. That sounds great. Yeah,

2312
02:06:41,840 --> 02:06:45,320
Speaker 1: this was not my charge. This is not my charge.

2313
02:06:48,000 --> 02:06:52,040
Speaker 1: He made him an accomplished Come tell me, watch this,

2314
02:06:52,240 --> 02:06:58,160
Speaker 1: stay with me, watch this. This has been great, bro.

2315
02:06:58,520 --> 02:06:59,800
Speaker 1: We appreciate you, brother.

2316
02:07:00,280 --> 02:07:04,640
Speaker 2: We appreciate you allowing us to get you know, to

2317
02:07:04,840 --> 02:07:08,160
Speaker 2: just get some of our conversations and that and our

2318
02:07:08,280 --> 02:07:09,880
Speaker 2: interaction as brothers.

2319
02:07:11,120 --> 02:07:11,640
Speaker 1: On tape.

2320
02:07:11,920 --> 02:07:14,240
Speaker 2: Thank you and on the channel for all the world

2321
02:07:14,320 --> 02:07:17,200
Speaker 2: to see, man, because we feel like if anybody deserves it,

2322
02:07:17,280 --> 02:07:17,880
Speaker 2: you deserve it.

2323
02:07:18,040 --> 02:07:20,680
Speaker 1: Thank you, Thank you. You deserve people to know and

2324
02:07:20,880 --> 02:07:25,840
Speaker 1: understand who and what you are. Yes, sir, Thank y'all.

2325
02:07:25,880 --> 02:07:27,800
Speaker 1: I really appreciate y'all. I love y'all. Y'all know that

2326
02:07:28,200 --> 02:07:29,040
Speaker 1: I love you too. Brother.

2327
02:07:29,360 --> 02:07:33,160
Speaker 2: So we are we we are appreciative that first for

2328
02:07:33,240 --> 02:07:36,720
Speaker 2: the brotherhood, that we that we have something that we've

2329
02:07:36,920 --> 02:07:40,040
Speaker 2: created that we can yeah, throw something back your way.

2330
02:07:40,120 --> 02:07:44,400
Speaker 1: Thank you, so many things, Thank you many. More important

2331
02:07:44,560 --> 02:07:47,720
Speaker 1: than all of this, the thing that I value more

2332
02:07:47,800 --> 02:07:49,560
Speaker 1: than anything. I can call both y'all, my brothers and

2333
02:07:49,600 --> 02:07:52,600
Speaker 1: my friends. That's it, sir. I appreciate you all that

2334
02:07:53,400 --> 02:07:57,520
Speaker 1: be at my house in my kitchen in center rolls

2335
02:07:57,520 --> 02:07:57,920
Speaker 1: with gmen.

2336
02:07:59,400 --> 02:08:02,800
Speaker 2: Sorry, sorry man, shake you cook a little bit man.

2337
02:08:03,240 --> 02:08:05,600
Speaker 2: He made me an impossible burger one that I'm still

2338
02:08:05,640 --> 02:08:06,200
Speaker 2: thinking about.

2339
02:08:06,240 --> 02:08:14,240
Speaker 1: That thing he had one like it since right. We

2340
02:08:14,400 --> 02:08:15,800
Speaker 1: love you, brother, appreciate.

2341
02:08:16,920 --> 02:08:19,440
Speaker 2: My name is Tank Valentine and this is the R

2342
02:08:19,440 --> 02:08:23,120
Speaker 2: and VY Money Podcast, the authority on all things R

2343
02:08:23,200 --> 02:08:26,760
Speaker 2: and B. And this has been our brother, our loved one.

2344
02:08:27,480 --> 02:08:29,839
Speaker 2: The also mister Tom Dixon.

2345
02:08:31,080 --> 02:08:33,680
Speaker 1: Thankyll appreciate man,