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Speaker 1: Yeah, rapper it our podcast, Elliott Wilson Speed. What's up baby?

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Speaker 1: Feeling great? See all of these streets. Man, just saw

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Speaker 1: you in New York man a little nas Shall Man,

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Speaker 1: he was at that Nas Joy. I'm saying, I was

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Speaker 1: starting to feel like you work for Delta Airlines, man,

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Speaker 1: because I can't keep up with New York. Take a side, man, Yeah,

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Speaker 1: I gotta fresh off of Utah, Man, I gotta show

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Speaker 1: the culture that I love everywhere. Man, you know what

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Speaker 1: I'm saying. So, yeah, I saw my man a Central Sea.

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Speaker 1: Did you see that guy UK rapper Extraw there Central Sea? Yeah?

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Speaker 1: You was there down. We was there for Essential see

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Speaker 1: Urban Plauz in New York, tore it down, International rappers.

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Speaker 1: I saw the industry people there, like I feel like

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Speaker 1: they're trying to do business with the boy. You know

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Speaker 1: what I'm saying. It's all the industry heavyweights up in

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Speaker 1: their backstage. I was like, whoa, Okay, you's got the

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Speaker 1: hot end right Orlandos and the Kazes and the David

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Speaker 1: Allies and all that. And then yeah, we saw NOAs

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Speaker 1: Man NASA mastercare Guard. Man. I loved it. Man. I

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Speaker 1: don't know about you as a kid from queens yourself.

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Speaker 1: I wonder what did you think of rapper Nas finally

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Speaker 1: tearing down the garden? Man, I loved it. Man, it

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Speaker 1: was dope, you know to see Nas and that, Like,

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Speaker 1: first of all, I remember when he did the Nazi

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Speaker 1: is like video outside of the Goddess and now he

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Speaker 1: was actually inside. Um, it was a great show, you know,

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Speaker 1: and um it was built like a Katie three show,

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Speaker 1: and those it also had, like some of the B sides.

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Speaker 1: I'm not gonna lie to the we love Katie three.

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Speaker 1: That's my only great is that I think that it's

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Speaker 1: a little bit too early for some of those songs

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Speaker 1: to resonate in such a big arena, you know, even

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Speaker 1: though we love the albums um in this Cannon, but

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Speaker 1: I love those B sides songs that he performed. At

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Speaker 1: one point, he did um Hot Boys remix with you

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Speaker 1: know Miss Elliott Q Tip, and I thought that Eve

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Speaker 1: was gonna I mean, I thought that Miss Elli was

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Speaker 1: gonna come out. I have recorded that. I was like, oh,

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Speaker 1: that's one of my favorite Nas verses. But yeah, he

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Speaker 1: was wrapping alonger the video. I heard you out there

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Speaker 1: he sided out of breath. Man. Yeah yourself, I was

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Speaker 1: like Wow, that was dope, man. But you know, get

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Speaker 1: your mama clip shot up. Word. So it was great

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Speaker 1: to be in the building. And you know, Nas is

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Speaker 1: a legend. He definitely deserved you know that, man. I

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Speaker 1: was really happy to see him. Yeah. I just felt

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Speaker 1: like he poured Haart soul and your bus sweat and

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Speaker 1: tears into it. Like I never really see him go

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Speaker 1: all out for a performance like that. You could tell

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Speaker 1: he was geeked ye to be on that Garden stage, man,

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Speaker 1: So which is you know, it was incredible, man. I

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Speaker 1: mean obviously I saw Jay do the Garden and that

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Speaker 1: was crazy, but you know this felt different where it

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Speaker 1: felt like, you know, this wasn't a retirement, was more

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Speaker 1: like this kind of a celebration of what this guy's like,

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Speaker 1: you know, contributed to the culture. You know. It was

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Speaker 1: pretty pretty crazy to see him kind of run through

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Speaker 1: those new records and then like you can't really mess

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Speaker 1: with the nineties in the classic catalog he has. It's

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Speaker 1: really insane. Yeah, thirty years in the game, man, it

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Speaker 1: doesn't even feel like it. That's what I'm on that

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Speaker 1: two man. Thirty years for me too, beat out man,

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Speaker 1: somebody going away the man, it's guys. We inspired man,

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Speaker 1: We inspired each other man, these guys from the nineties

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Speaker 1: men sticking around, man, because you know, right now, I

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Speaker 1: feel we got the hot podcast. Man, were a little

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Speaker 1: hot street right now, right we got a young boy,

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Speaker 1: we got Yaddy. The Yaddy thing went well. Everybody was

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Speaker 1: rocking with that episode. I felt, yeah, and Yaddi was

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Speaker 1: a great conversation man. And I was kind of bummed

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Speaker 1: because he dropped his interview with Drake, like over the

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Speaker 1: same day, Yo, Yadi, Man, what you're doing kids? Daddy

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Speaker 1: try to battle us? Man, he try to interview Drake us.

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Speaker 1: Is that what he's trying to do with the scot attack.

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Speaker 1: I was like, oh my gosh. But you know, everything

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Speaker 1: worked out the way it was supposed to, so it

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Speaker 1: was it was a great conversation, man. So shout out

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Speaker 1: to Yadi. Somebody said a little boat that's something to

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Speaker 1: goat with the ship with it. I don't know, but

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Speaker 1: I still put out Drake interview against anybody, man, you know,

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Speaker 1: God bless man. I thought he's done these kind of weird,

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Speaker 1: like fake kind of interviews since the pat Rapper It

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Speaker 1: Up podcast. But you know, no disuspect but to Rapper

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Speaker 1: it up out. Yeah, that's a high standard. Man, at

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Speaker 1: that the interview we did with him many so that's

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Speaker 1: that's the bar. Still, I feel like, you know, I mean,

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Speaker 1: anytime Drake speaks on the record, it's obviously enjoyable to people.

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Speaker 1: So I'm not mad at that. But yeah, like you said,

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Speaker 1: with it, if y'all even give it's a little more

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Speaker 1: round to breathe, I would appreciate that. But you know,

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Speaker 1: well you can't. You can't knock a little boat though

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Speaker 1: you can't knock him. We definitely set the gold standard

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Speaker 1: with that, and I think today's guests set the gold

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Speaker 1: standard for the last what forty years? Man man listen

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Speaker 1: to legend I remember. So we ties set to see

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Speaker 1: we did it like in Hollywood at this apartment you know,

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Speaker 1: shout out Laura the hyper House team. She always picks

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Speaker 1: out dope low coals for us to do interviews. And

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Speaker 1: we got a couple of locations we use a lot

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Speaker 1: like it's one it's like in a Hollywood hill. So

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Speaker 1: you know, we get somebody like baby Face, you know

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Speaker 1: that you want to do some high end ship. So

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Speaker 1: we picked that spot. So I rolled to the spot

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Speaker 1: and I get to the set I'm on time, and

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Speaker 1: everybody else is up in there, y'all up in there

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Speaker 1: pumping baby Face music, having a party, like y'all was

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Speaker 1: real respectful to God. Y'allways there mad early, like all

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Speaker 1: set up. I felt like I was running late and

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Speaker 1: I was on time. Man, geez. Yeah, Man's iconic. Man,

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Speaker 1: I'm a big baby Face fan, you know, and just

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Speaker 1: like running through his catalog, you forget how much songs

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Speaker 1: he's written or produced. It's like, yo, it's overwhelming. So

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Speaker 1: you know, I met baby Face a couple of years

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Speaker 1: ago with La Reid, but just to have him in

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Speaker 1: this setting, I never had a conversation with him like

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Speaker 1: how we did, so I was super excited. Man. Yeah,

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Speaker 1: now I was dope. I mean, what happened on my

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Speaker 1: side was my wife Dan y'all. She had did a

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Speaker 1: thing for when he Houston's movie, which came out in December,

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Speaker 1: and it was a panel with her and baby Face

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Speaker 1: and another writer, and so I met him there in

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Speaker 1: the first time, like I met him back in the day.

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Speaker 1: Maybe I don't remember, but that's definitely A met him

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Speaker 1: to chop it up with him and his new manager,

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Speaker 1: his new manager, Rika Um. She's super cool. So I

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Speaker 1: met him that day and then we just stayed in touching,

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Speaker 1: and then we saw him at the Rock Nation brunch. Yeah,

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Speaker 1: and I feel like we all saw the bonded because

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Speaker 1: we got kind of stuck at the at the big table,

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Speaker 1: at the big J and B table, He's like, yo,

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Speaker 1: faces like running the party down. Man, he's just I

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Speaker 1: think he was gonna leave, but now he's got, he's in.

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Speaker 1: He's in the spotlight area. Right. He was next to

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Speaker 1: Hold the whole night. It was so dope. It was like,

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Speaker 1: yeah man, it was he was like maybe maybe you

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Speaker 1: just like trying to get the DJ to play at Sunshine. Yeah,

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Speaker 1: actually went to the DJ's like Yo, you're gonna play

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Speaker 1: Sunshine or nah, like come on you miss is the opportunity.

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Speaker 1: But even let that SunShot off. Yeah man. But I

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Speaker 1: think we had great opportunities with baby, facing great moments

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Speaker 1: with him. And I can't wait for everyone to listen.

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Speaker 1: Is here it is right now? Man, any minutes to

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Speaker 1: beat out. This ain't no little short rap right out

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Speaker 1: of you. Man. We got it in with the legend. Man.

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Speaker 1: I feel like we we touched on everything right pretty much. Yeah,

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Speaker 1: the old inda new like you gotta think this is

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Speaker 1: a guy who's working with Sisson, you know, on her

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Speaker 1: new project. Yeah. Hello, he just out right now. Yeah,

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Speaker 1: he was just a Super Bowl as well, and he's

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Speaker 1: on tour with Nita Baker. Like baby Face ain't resting

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Speaker 1: on his laurels. The guys still working. Yeah, and his

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Speaker 1: manager Rika got him out there the right way, and

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Speaker 1: I appreciate her for like understanding, you know, how important

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Speaker 1: we are of the culture, and like, you know, he's

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Speaker 1: very gracious with his time. You know, I feel like

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Speaker 1: we could have had talked to him even longer, but

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Speaker 1: you know it was really super cool, right, absolutely, absolutely,

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Speaker 1: Well let's get into it then, right, let's get into it. Man,

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Speaker 1: the legend baby Face. Man, its feels so special. Man

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Speaker 1: went on it to give this to you right now. Man.

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Speaker 1: Kenneth baby Face Edmonds on the Rap Rate Off Podcast. Yeah, yeah,

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Speaker 1: Rap Rate Off Podcast, Elliot Wilson's beat out. What's up

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Speaker 1: baby and I'm feeling fantastic. We both fans today. Yes,

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Speaker 1: we got the legend baby Face. Kenneth Babyface emands out there, man,

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Speaker 1: how are you good to me? Doesn't legend man baby

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Speaker 1: Face already having a busy twenty twenty three. Already many's

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Speaker 1: been been different. It's different back outside, face, back outside.

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Speaker 1: I guess I came outside a little bit. Yeah, where

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Speaker 1: we starting congratulations on a Grammy nomination. Thank you, Ella

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Speaker 1: may keeps on falling, like how many? How meaningful is

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Speaker 1: it to have a Grammy nomination and be recognized all

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Speaker 1: these years later? That's I mean, that's a cool part.

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Speaker 1: You know, I didn't see it coming. Wasn't that I

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Speaker 1: was looking forward either, So when it happens, you know,

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Speaker 1: you appreciate that much more. It's an honor, you know,

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Speaker 1: to still be thought of and still be that like

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Speaker 1: you can still do it, you know, so I'm good

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Speaker 1: with that. It was important with that Girl's now our

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Speaker 1: project to connect with this new generation of artists, right,

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Speaker 1: Can you speak about that process of Yeah, I think

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Speaker 1: it was definitely Girls Night Out. That the whole idea

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Speaker 1: of that was actually, you know, I'd like to say

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Speaker 1: that that was my idea, It wasn't. It was actually Rica,

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Speaker 1: my partner, Rica, Rica the Genius Rica, and that she

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Speaker 1: came up with and she said, you know it was

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Speaker 1: after verses. I did verses, and you know, everybody was

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Speaker 1: talking about that, and then I seem to pick up

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Speaker 1: a lot of fans from there, and so it's like,

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Speaker 1: how do I keep on connecting, you know, because once

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Speaker 1: you still be able to, you know, write music and

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Speaker 1: do things for to stay stay relevant to a certain extent.

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Speaker 1: And that seemed to be the best way. It was

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Speaker 1: a great idea, and then we got out these artists

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Speaker 1: and the differences. Say, I did Exhale all by myself

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Speaker 1: with all the women, but this one we actually collaborate together.

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Speaker 1: We wrote it together, so I was able to get

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Speaker 1: a sense of them and also work with younger producers too,

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Speaker 1: so that it um, it really was a whole collaboration project.

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Speaker 1: Yeah's awesome, you said, We like today's female artists are

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Speaker 1: kind of more clear on what they want to say

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Speaker 1: and how they want to express themselves. Clearly, yeah, everybody

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Speaker 1: people in general today, but you know, definitely the female

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Speaker 1: artis they really kind of have a sense of what

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Speaker 1: they're not gonna say and what they're gonna say, and

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Speaker 1: that's refreshing. You know, can't put words into their mouths.

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Speaker 1: I can only suggest something, you know, in terms of

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Speaker 1: how they how they might approach it. I think the biggest,

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Speaker 1: the biggest difference on this project with each one of

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Speaker 1: the arts, I was able to kind of like kind

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Speaker 1: of dig into them a little bit deeper, so they

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Speaker 1: artistically they put push themselves a little bit more in

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Speaker 1: terms of not just lyrically, but also as they're in

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Speaker 1: the room performing, you know, going places that they wouldn't

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Speaker 1: normally go to because most of the producers and people

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Speaker 1: that they work with, they don't know that they got

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Speaker 1: that in them. And I think you wanted to bring

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Speaker 1: light to them too. Like I think it with this project,

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Speaker 1: it seems like, you know, you obviously have had the

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Speaker 1: accolades and sell this amount of records, but it seemed

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Speaker 1: like success for this project. To me, it was almost

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Speaker 1: just the execution of it right and seeing the impact

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Speaker 1: it had right. No question, it didn't even matter how

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Speaker 1: big a guy. It's a question of shining a light

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Speaker 1: on a lot of these girls that the light wasn't

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Speaker 1: on necessarily, and to show that there's so much talent

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Speaker 1: out there and and all different. It's not like you

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Speaker 1: gotta this girl's not The out office is full of

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Speaker 1: the same kind of things which one of these girls

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Speaker 1: had had something to bring to the table different. So

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Speaker 1: that's the coolest part about it project. I think, right,

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Speaker 1: you still have a lot to say too. Man, you

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Speaker 1: got your own stone right now. Matter of fact, yeah,

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Speaker 1: that's just I was talked into doing it because I say, well,

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Speaker 1: you know, you're doing the Super Bowl, you should have

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Speaker 1: some kind of something about the streams out every day.

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Speaker 1: So we put it out for that reason. But other

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Speaker 1: than that, you know, wrote it about actually about two

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Speaker 1: years ago, and so um and uh so it was

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Speaker 1: kind of sitting there. It's good, the good feeling, good,

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Speaker 1: good love and you know, more traditional R and B.

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Speaker 1: And I have a number of fans that were like,

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Speaker 1: even though they liked Girls Night Out, they were like,

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Speaker 1: give me the old stuff, give me the vintage. So

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Speaker 1: this is kind of given some vintage baby face at

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Speaker 1: fact right, as a matter of fact, I was doing that.

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Speaker 1: Do you sit on a lot of music like that?

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Speaker 1: Probably a lot of things I throw away and don't

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Speaker 1: and don't revisit it. So your face, you don't have

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Speaker 1: no throwaways? Man? No, Yeah, I got a bunch of

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Speaker 1: throwaways and stuff that I just don't you know, I

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Speaker 1: think it doesn't and I like my engineers, keep up,

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Speaker 1: you need to put this stuff out. But now it's

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Speaker 1: it's different. It was for its for its time, and

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Speaker 1: so I gotta leave it there so you stay inspired

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Speaker 1: with that, Like if you ever suffer with writer's block

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Speaker 1: at times, like how do you seem like you just

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Speaker 1: of course you know you have writer's block, and when

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Speaker 1: you have writer's block, you just don't write simple just

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Speaker 1: walk away from it. But you get inspired by everybody

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Speaker 1: else and by music that you're hearing, you know. I

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Speaker 1: always like, I do listen to what comes out and

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Speaker 1: then and somebody directs me to someone that's that's happening whenever.

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Speaker 1: Then I listened to it, and it seemed like there

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Speaker 1: was a good while where I wasn't loving a lot

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Speaker 1: of things, um because it was all kind of the same,

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Speaker 1: sounding the same. But even even and I was, I

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Speaker 1: try to understand it and why why everybody liked it?

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Speaker 1: Because I didn't want to be a hater, because you

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Speaker 1: find yourself in that position, then then you will aid

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Speaker 1: yourself out of out of a period, so you won't

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Speaker 1: ever be able to hear it when it is good,

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Speaker 1: when it does feel good, when it doesn't self. Yeah,

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Speaker 1: you say that, like I think I try to do

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Speaker 1: that too, Like sometimes because I've been covering hip hop forever.

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Speaker 1: But like if it's a young record hits off and

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Speaker 1: I don't get why it's hitting, I try to figure out.

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Speaker 1: I'll try to understand what the connectivity is, right, Yeah,

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Speaker 1: and it's it's sometimes sometimes it's it's a simple lyric,

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Speaker 1: it's just so stupid that it works. Are it's just

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Speaker 1: the feel of it. And sometimes things are just so

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Speaker 1: Sometimes things just so bad that they're good. Yeah, they're

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Speaker 1: a common denominator you experience, as a lot of songs say,

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Speaker 1: it's like a a certain thread. No used to be

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Speaker 1: when songs were more traditional, but not anymore. It's today.

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Speaker 1: It's it can be the simplest thing, you know, you know,

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Speaker 1: a kick and a you know, high hat and the

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Speaker 1: right thing put on top of it. It's it makes

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Speaker 1: it go. If it's it's a catchy does a stick,

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Speaker 1: there's a stick with you, and that's it works with

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Speaker 1: the particular genre and people, you know. So it's not

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Speaker 1: like it's not necessary for everybody. There's there's a lot

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Speaker 1: more pockets of music now where everybody's not necessarily all

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Speaker 1: on the same thing. There's everybody can have a career,

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Speaker 1: you know, and and do well that might not have

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Speaker 1: anything to do with radio true, but they can still

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Speaker 1: survive and and do just as good. So it's uh,

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Speaker 1: it wasn't like that before, but now there's all kind

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Speaker 1: of there, there's all kinds of pockets. I saw something

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Speaker 1: you said that newer artists tend to uh post the

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Speaker 1: record behind the beat and set up on top of

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Speaker 1: the beat like a lot of the older artists do.

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Speaker 1: Like you, can you give any examples of that that

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Speaker 1: we could may not be as knowledgeable as you like,

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Speaker 1: as hard as it's hard to say, like when I

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Speaker 1: work with Lucky Day and Huck is really good at

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Speaker 1: it too, but and Lucky's lucky can go both ways.

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Speaker 1: But but what I was able to learn because when

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Speaker 1: we did a remake of Ken I Love with with Earth,

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Speaker 1: Wind and Fire and so, and Philip came in and saying,

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Speaker 1: and it was and then we rewrote on top of it,

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Speaker 1: and and the verses that we were writing on top

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Speaker 1: of it was completely different. But had a had this

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Speaker 1: laid back just kind of feel that that felt like

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Speaker 1: today and I started to understand it better and it

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Speaker 1: felt really good. Um, And that's the that's the thing

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Speaker 1: is that um, I imagine while we were doing it,

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Speaker 1: I imagine Maurice White being in there and just really

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Speaker 1: kind of getting it. Like I totally hear where you're

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Speaker 1: coming from. So it's like, um, it is something that's

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Speaker 1: you know, how to how to put this something you

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Speaker 1: have to learn. It's not something that you can just

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Speaker 1: when you're growing up with it. It's now, yeah, but

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Speaker 1: if you growed up doing something else, then you got

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Speaker 1: to learn it. Is it almost unlearning it in a

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Speaker 1: sense too, right, because to a certain extent, Yeah, yeah,

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Speaker 1: I think that's really kind of it. The rules don't apply,

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Speaker 1: you know. And then for a good minute, I couldn't

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Speaker 1: necessarily really feel a difference, especially when I would do it.

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Speaker 1: I couldn't feel the difference of how you know, when

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Speaker 1: I was like I thought, I thought I was on it,

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Speaker 1: but you know, and then finally it started to you know,

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Speaker 1: I started to come together and then even and I

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Speaker 1: had to kind of do that with this project with

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Speaker 1: singing with the girls because I didn't want to tell

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Speaker 1: two nineties and ahead of the beat and everything. So

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Speaker 1: I so I was able to kind of figure that out,

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Speaker 1: and and everything I played for them, played for the

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Speaker 1: girls made sure that they were cool with it as well.

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Speaker 1: It was really. I wasn't trying to do anything where

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Speaker 1: I was just trying to like, Okay, this is it,

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Speaker 1: this is how it goes right, you know. It was

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Speaker 1: uh total collaboration. Yeah, you would definitely carry on tradition

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Speaker 1: at the Super Bowl man, like you mentioned formed America

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Speaker 1: the Beautiful. Yeah, I kind of decided to not trying

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Speaker 1: to be too new on that, just peace through a

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Speaker 1: little baby face links in there in the end that

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Speaker 1: might as well tried. You ain't got no other shot

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Speaker 1: to do it. But as policies you alwa wasn't still

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Speaker 1: kind of nerve racking or like that? Oh yeah, yeah,

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Speaker 1: I was nervous as hell, wow, because you know, it

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Speaker 1: could have gone wrong, could you could have gone terribly wrong,

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Speaker 1: and then that's all that's all they'll talk about. And

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Speaker 1: it is you know, it's patriotic song and so you

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Speaker 1: want to be respectful with it. Um and as a

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Speaker 1: question of just trying to deliver it in an honest way, yeah,

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Speaker 1: And that was that was my biggest thing, is it's

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Speaker 1: trying to deliver it that way. And I knew doing

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Speaker 1: it with acoustic guitar would be my best bet. I'm

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Speaker 1: not a big gospel singer. I wasn't gonna be riffing

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Speaker 1: and some runs. I wasn't gonna be my gay. I

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Speaker 1: was gonna be whitney. I was gonna be any that

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Speaker 1: I just had to be, had to be myself because

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Speaker 1: I had I tried to be those things, and I

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Speaker 1: don't know I even tried that. So um, I just

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Speaker 1: kind of went the most honest way I could approach it.

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Speaker 1: And so the nerve, the nervous part was, you know,

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Speaker 1: when the click comes on and when you're playing for

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Speaker 1: all the backgrounds and everything that you start, when the

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Speaker 1: songs will start, because if you start wrong, then it's

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Speaker 1: a long day. I showed it was a song that

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Speaker 1: you heard a thousand times. Probably did you rehearse it?

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Speaker 1: Showed we showed yourself playing it as as a child,

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Speaker 1: right as a teenager. Yea, I played it. U. That's

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Speaker 1: the only other time I played on stage. But yeah,

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Speaker 1: I was like like and as a sophomore and h

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Speaker 1: Me and Darryl Simmons and Sky Manual Officer we did,

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Speaker 1: you know, did harmonies with it? So not the same version.

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Speaker 1: Isn't it crazy that many years ago this guy jay Z,

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Speaker 1: you don't really know who he is. You jump in

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Speaker 1: you do a hook for a song called shot Yeah,

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Speaker 1: yeah you in and out. And then many years later,

382
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Speaker 1: you know he's involved with this and he's fucking you

383
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Speaker 1: to play super Bowl and pays me the favorite back

384
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Speaker 1: Fromally because that's payback paid for it. Just got a

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Speaker 1: way for it. This was much better than any verse

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Speaker 1: he would have given me. So because when we did

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Speaker 1: do that, ACTIVE was telling him when I went in

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Speaker 1: with him, I didn't know who he was. Uh, andre

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Speaker 1: Relle kind of pushed me, yeah, you need to do that,

390
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Speaker 1: and it was Frankie Barreley song. I was like, why

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Speaker 1: am I doing this? He said he wanted you, so

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Speaker 1: all right do it and he said, yeah, I know

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Speaker 1: you didn't know who I was, but it was cool.

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Speaker 1: I still did it anyway. So um, and so that

395
00:18:48,680 --> 00:18:51,119
Speaker 1: was that long ago, and so you know, full circle,

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Speaker 1: you know he was. He certainly made the decision, which

397
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Speaker 1: was an unorthodox decision in the sense that I wouldn't

398
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Speaker 1: have been the normal choice for it doing that the

399
00:19:03,480 --> 00:19:06,400
Speaker 1: politics in the past, I just know what the that's

400
00:19:06,400 --> 00:19:08,959
Speaker 1: just the reality of it. So it was definitely, um,

401
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Speaker 1: a unique call and I appreciate it. You know, you

402
00:19:13,560 --> 00:19:15,360
Speaker 1: ended up we end up holding quarter to the main

403
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Speaker 1: table with the Right Nation Project. We all had a

404
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Speaker 1: good time. Yeah, yeah, yeah, my stay longer than you intended.

405
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Speaker 1: But yeah, I actually had been intended to go in

406
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Speaker 1: and out, but I was sitting with the King, so

407
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Speaker 1: you know, and it was great. We had a great conversation,

408
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Speaker 1: So it was fun. Well, you're performing with the Queen,

409
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Speaker 1: miss Anita Baker currently on Yes, Yes, she's so good.

410
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Speaker 1: She's so good. I watched the show we performed last night,

411
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Speaker 1: and that was our first show on Valentine's Day. Yeah,

412
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Speaker 1: and man, you forget, you know. I mean, there's always

413
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Speaker 1: the hits, but the thing that goes beyond the hits

414
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Speaker 1: is that real artist that can go up on that

415
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Speaker 1: stage and really make those things come alive. You you

416
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Speaker 1: understand why she is who she is. She's amazing and

417
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Speaker 1: so great to have her out there, and I'm so

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Speaker 1: glad to be out there performance with her. Yeah. I

419
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Speaker 1: saw something he said a lot of the success of

420
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Speaker 1: uh Was It, Tony Braxton was like originally the intent

421
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Speaker 1: was a lot of those songs were for Anita. There

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Speaker 1: there were two songs specifically written for Anita that she

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Speaker 1: turned down. Yeah, I don't feel bad about it told

424
00:20:27,800 --> 00:20:29,800
Speaker 1: me about the story about love should have brought you home.

425
00:20:29,920 --> 00:20:31,359
Speaker 1: Love shoud have brought you home and you mean the

426
00:20:31,359 --> 00:20:34,399
Speaker 1: world to me was the second one that was written,

427
00:20:34,520 --> 00:20:38,200
Speaker 1: maybe she should do this when instead, but um, your

428
00:20:38,280 --> 00:20:41,600
Speaker 1: love ship brought you home? Was that was We wanted

429
00:20:42,119 --> 00:20:45,840
Speaker 1: a Nita on the project and she said we didn't

430
00:20:46,080 --> 00:20:51,280
Speaker 1: need her at all. I mean, it's only the first

431
00:20:51,280 --> 00:20:54,200
Speaker 1: show I saw. Ushra came out right yeah, yeah, yeah.

432
00:20:54,600 --> 00:20:56,320
Speaker 1: It was a good kick in it with him, you know,

433
00:20:56,400 --> 00:20:58,920
Speaker 1: reconnect h she came back, he came back stage that

434
00:20:59,040 --> 00:21:01,080
Speaker 1: we said hey and stuff. So we see each other

435
00:21:01,359 --> 00:21:05,240
Speaker 1: every now and then. Um, yeah, that was like the

436
00:21:05,280 --> 00:21:07,480
Speaker 1: first night for the show, so it was you know

437
00:21:07,520 --> 00:21:09,760
Speaker 1: a little bit of trying to get it together. We go.

438
00:21:10,520 --> 00:21:13,160
Speaker 1: She was just incredible and it was fun. Crowd was great.

439
00:21:13,200 --> 00:21:15,680
Speaker 1: It was Atlanta, Yeah it was. It was sold out.

440
00:21:16,880 --> 00:21:18,760
Speaker 1: It was a great night. I saw something one of

441
00:21:18,760 --> 00:21:20,080
Speaker 1: the earliest show you did. I think it was over

442
00:21:20,200 --> 00:21:23,399
Speaker 1: overseas that this is still party of sellers. But it

443
00:21:23,440 --> 00:21:25,280
Speaker 1: seems like you just stunt and say, hey, I'm about

444
00:21:25,280 --> 00:21:27,720
Speaker 1: to do a half hour of just hits that I

445
00:21:27,720 --> 00:21:31,560
Speaker 1: wrote for other people. That's that's that's a big part

446
00:21:31,560 --> 00:21:33,800
Speaker 1: of the show. So because I do go through a

447
00:21:33,880 --> 00:21:37,680
Speaker 1: medley songs, and so I gotta go through the guy

448
00:21:37,800 --> 00:21:40,000
Speaker 1: songs and I gotta go through the girls songs. So

449
00:21:40,080 --> 00:21:43,879
Speaker 1: that's like and beast half the show. So it's a

450
00:21:43,920 --> 00:21:47,360
Speaker 1: fun part because it really checks everybody down memory Lane

451
00:21:48,040 --> 00:21:50,840
Speaker 1: and everybody get up in party. I get to I

452
00:21:50,920 --> 00:21:53,359
Speaker 1: get to get my Bobby on. I get he's in

453
00:21:53,480 --> 00:21:59,320
Speaker 1: the choreography a little. Right. We were talking about the

454
00:21:59,320 --> 00:22:01,919
Speaker 1: Bobby thing to go back, like I think like we

455
00:22:01,960 --> 00:22:03,639
Speaker 1: all loved New Edition kind of going up, but it

456
00:22:03,720 --> 00:22:05,680
Speaker 1: was like something about when that Bobby record hit that

457
00:22:05,760 --> 00:22:08,679
Speaker 1: don't be cruel, Yeah, it'd just be kind of kadis phenomenon.

458
00:22:09,040 --> 00:22:12,600
Speaker 1: It was, it was watched it in real time. It

459
00:22:12,720 --> 00:22:16,119
Speaker 1: was like when Bobby was let go. I think that

460
00:22:17,400 --> 00:22:19,520
Speaker 1: probably a lot of them probably thought that was it

461
00:22:19,600 --> 00:22:22,280
Speaker 1: for Bobby. And yeah, Bobby actually put up a single

462
00:22:22,320 --> 00:22:26,119
Speaker 1: called Girlfriend. I don't know. I think it might have

463
00:22:26,119 --> 00:22:27,800
Speaker 1: been a whole album, but it can't say mad. It's

464
00:22:27,800 --> 00:22:30,760
Speaker 1: a little it was a little made. It wasn't fully there, yea,

465
00:22:32,040 --> 00:22:34,239
Speaker 1: it wasn't all the way there, but it was like,

466
00:22:34,560 --> 00:22:38,000
Speaker 1: you know, I mean a girlfriend, I forget something something

467
00:22:38,000 --> 00:22:41,159
Speaker 1: like that. I remember, I remember what made me decide

468
00:22:41,200 --> 00:22:43,000
Speaker 1: to want to work with him. He was we had

469
00:22:43,040 --> 00:22:47,040
Speaker 1: just met with Little Silas over MCA and he was saying,

470
00:22:47,040 --> 00:22:51,040
Speaker 1: you got should work with Bobby, and I wasn't completely sure.

471
00:22:51,119 --> 00:22:53,560
Speaker 1: Then when we got in the car driving, Bobby was

472
00:22:53,600 --> 00:22:58,159
Speaker 1: doing this live show on kJ LH and he was

473
00:22:58,200 --> 00:23:02,119
Speaker 1: singing girlfriend and he started singing and he went for

474
00:23:02,200 --> 00:23:04,680
Speaker 1: a note and he didn't hit the note. And then

475
00:23:04,720 --> 00:23:09,240
Speaker 1: he goes, I didn't want to sing that song anyway, man,

476
00:23:09,320 --> 00:23:11,160
Speaker 1: he's crazy. And then I want to work with them

477
00:23:11,160 --> 00:23:13,560
Speaker 1: for sure. So when it came the chance to work

478
00:23:13,560 --> 00:23:17,560
Speaker 1: with them, these songs that were some of the songs

479
00:23:17,600 --> 00:23:22,879
Speaker 1: had been sitting around for a while, UM weren't really um,

480
00:23:22,960 --> 00:23:27,240
Speaker 1: they weren't written for him for se They became his

481
00:23:27,720 --> 00:23:29,960
Speaker 1: Don't Be Cruel was definitely written for him. But Rock

482
00:23:30,000 --> 00:23:33,760
Speaker 1: with You was written before and Roni was written way

483
00:23:33,800 --> 00:23:39,240
Speaker 1: before the way before. Every little step was written, every

484
00:23:39,280 --> 00:23:42,240
Speaker 1: little step was actually tried to place that on Midnight

485
00:23:42,320 --> 00:23:46,680
Speaker 1: start Wow. And so so Bobby ended up getting these

486
00:23:46,680 --> 00:23:51,479
Speaker 1: songs that were when he when he took them and

487
00:23:51,560 --> 00:23:54,480
Speaker 1: when he his voice got on them, there's this magic

488
00:23:54,520 --> 00:23:58,680
Speaker 1: that happened. And when he worked with you know, Teddy Riley,

489
00:23:58,720 --> 00:24:01,840
Speaker 1: and that my prerogative. It's like, so to be a

490
00:24:01,840 --> 00:24:05,600
Speaker 1: part of that. Bobby actually, to be honest, Bobby leaned

491
00:24:05,600 --> 00:24:08,480
Speaker 1: towards Teddy Riley more than he did with us. Yeah,

492
00:24:08,480 --> 00:24:10,560
Speaker 1: it was saying there was some resistance at first, right, Yeah,

493
00:24:10,560 --> 00:24:13,960
Speaker 1: definitely because Teddy was like the you know, Cheddy was killing.

494
00:24:13,960 --> 00:24:16,720
Speaker 1: He came out with you know, key Sweat. You know

495
00:24:16,840 --> 00:24:18,440
Speaker 1: when when I heard I won her, I said, oh,

496
00:24:18,480 --> 00:24:21,640
Speaker 1: it's over. How are we gonna ever do anything like that?

497
00:24:21,640 --> 00:24:28,800
Speaker 1: That's that felt so proud. It was like, oh, it

498
00:24:28,920 --> 00:24:30,720
Speaker 1: changed my life. And there I was like, oh man,

499
00:24:32,640 --> 00:24:34,920
Speaker 1: it was just so it was so new and so

500
00:24:35,080 --> 00:24:38,480
Speaker 1: just and so like there's no way we're gonna ever

501
00:24:38,560 --> 00:24:44,399
Speaker 1: be that funky um. And so you know, our version

502
00:24:44,440 --> 00:24:47,240
Speaker 1: of it ultimately became you know, you know every little

503
00:24:47,240 --> 00:24:50,320
Speaker 1: step which was still up song. Yeah, you know, um

504
00:24:51,320 --> 00:24:55,359
Speaker 1: and um, even with Don't Be Cruel. So it was

505
00:24:56,960 --> 00:25:00,240
Speaker 1: he just had this thing about him where he the

506
00:25:00,400 --> 00:25:04,240
Speaker 1: rawness of Bobby. There's an honesty that was in it. Yeah,

507
00:25:04,480 --> 00:25:06,960
Speaker 1: and that's that's what it was. So that honesty. And

508
00:25:07,000 --> 00:25:09,960
Speaker 1: then he was also you know the first first one

509
00:25:10,000 --> 00:25:12,679
Speaker 1: to start rapping with his music and so that that

510
00:25:12,840 --> 00:25:15,119
Speaker 1: brought it to another level. So it put him on

511
00:25:15,359 --> 00:25:17,480
Speaker 1: a whole nother thing. And so we sat there and

512
00:25:17,520 --> 00:25:20,880
Speaker 1: watched that happen when he did the Dumpy Crew video.

513
00:25:20,920 --> 00:25:23,080
Speaker 1: And then I remember we were out on the road

514
00:25:23,359 --> 00:25:26,480
Speaker 1: somewhere in South Carolina or North Carolina. He was touring

515
00:25:26,520 --> 00:25:31,600
Speaker 1: with New Addition I'll be Sure, I'll be Sure. It

516
00:25:31,720 --> 00:25:36,560
Speaker 1: was headlining New Addition and Bobby Brown, and Bobby was

517
00:25:36,600 --> 00:25:39,680
Speaker 1: opening the show. And I remember we got to the

518
00:25:39,680 --> 00:25:42,639
Speaker 1: show late, didn't didn't get to see Bobby go up,

519
00:25:42,640 --> 00:25:44,679
Speaker 1: but walked out on the side of the stage, and

520
00:25:45,119 --> 00:25:48,080
Speaker 1: while New Addition was on the stage. Now, while I'll

521
00:25:48,119 --> 00:25:50,639
Speaker 1: be Sure was on the stage, Bobby walked on the

522
00:25:50,680 --> 00:25:52,600
Speaker 1: side and even though we shore was on the stage,

523
00:25:52,800 --> 00:25:55,119
Speaker 1: all these girls saw Bobby over there. They were freaking

524
00:25:55,119 --> 00:26:00,800
Speaker 1: out that Bobby Brown was there. And I was like, oh,

525
00:26:00,840 --> 00:26:03,679
Speaker 1: it's getting reay, it's getting ready changed. And probably a

526
00:26:03,760 --> 00:26:09,280
Speaker 1: month later that tour went from I'll be Sure being

527
00:26:09,280 --> 00:26:12,440
Speaker 1: in the middle of New auditioning open I'll be Sure

528
00:26:12,520 --> 00:26:15,880
Speaker 1: and Bobby Brown was headlining. Wow, we shuffled it. Never

529
00:26:15,920 --> 00:26:21,600
Speaker 1: seen that, you know, he was he was electric, he

530
00:26:21,760 --> 00:26:27,520
Speaker 1: was explosive. The way he performed when you see things

531
00:26:27,520 --> 00:26:30,480
Speaker 1: that he was just a performer and he just it

532
00:26:30,560 --> 00:26:33,159
Speaker 1: was just excitement. So he was lucky to find us,

533
00:26:33,160 --> 00:26:35,159
Speaker 1: and we were lucky to find him. Yeah, at the

534
00:26:35,240 --> 00:26:39,200
Speaker 1: right time, it's just the right time. Well, I mean,

535
00:26:40,080 --> 00:26:42,480
Speaker 1: you have a string of hits, like, you're one of

536
00:26:42,480 --> 00:26:46,520
Speaker 1: the most iconic songwriters and producers of all time, and

537
00:26:46,600 --> 00:26:49,440
Speaker 1: you wrote everything like but the Bible but what I want?

538
00:26:49,440 --> 00:26:51,240
Speaker 1: I was like, how does a person become a great

539
00:26:51,240 --> 00:26:54,520
Speaker 1: songwriter like yourself? I don't know if there's any I

540
00:26:54,560 --> 00:26:56,600
Speaker 1: don't really have an answer to it, other than I

541
00:26:56,640 --> 00:26:59,080
Speaker 1: always used to just like the right songs all the time,

542
00:26:59,720 --> 00:27:04,399
Speaker 1: and I wrote a lot of songs. It's up too that,

543
00:27:04,520 --> 00:27:06,359
Speaker 1: you know. It was the process of trying to figure

544
00:27:06,359 --> 00:27:12,200
Speaker 1: out what people liked. I remember sitting outside Benny Medina's

545
00:27:12,200 --> 00:27:14,880
Speaker 1: office trying to pedal some songs too, and I sat

546
00:27:14,880 --> 00:27:16,560
Speaker 1: out there for a couple of hours and finally got

547
00:27:16,600 --> 00:27:19,119
Speaker 1: in and played him stuff and he's like, no, I

548
00:27:19,119 --> 00:27:23,000
Speaker 1: don't hear anything. And those were early pieces of things

549
00:27:23,000 --> 00:27:25,960
Speaker 1: that weren't really that good yet. But but it was

550
00:27:26,040 --> 00:27:30,399
Speaker 1: that process of going through getting denied that made me like, Okay,

551
00:27:30,400 --> 00:27:32,480
Speaker 1: I'm gonna work a little harder and try to figure

552
00:27:32,520 --> 00:27:34,760
Speaker 1: this out. How can I be more commercial? How can

553
00:27:34,800 --> 00:27:36,879
Speaker 1: I make sure I got a good hook? How can

554
00:27:36,920 --> 00:27:39,840
Speaker 1: I make sure that it matches whatever the artist it is.

555
00:27:40,400 --> 00:27:42,640
Speaker 1: And that's when I think when it started to become

556
00:27:42,680 --> 00:27:44,560
Speaker 1: more alive, when we were actually able to get the

557
00:27:44,680 --> 00:27:47,760
Speaker 1: artist and work with the artists and then then actually

558
00:27:47,760 --> 00:27:50,560
Speaker 1: shape it that way, because otherwise it was just kind

559
00:27:50,600 --> 00:27:56,200
Speaker 1: of just songwriting and not every person, producer or something

560
00:27:56,400 --> 00:27:58,199
Speaker 1: would be able to figure out what to do with

561
00:27:58,200 --> 00:28:01,119
Speaker 1: it to make it match whoever that artist would be.

562
00:28:01,680 --> 00:28:04,000
Speaker 1: So where you're like good in English when you were

563
00:28:04,000 --> 00:28:09,560
Speaker 1: growing up in no I like doing poetry, write writing poetry,

564
00:28:09,560 --> 00:28:11,560
Speaker 1: and I was like writing songs. I started writing songs

565
00:28:11,560 --> 00:28:14,960
Speaker 1: when I was in sixth grade, right, So, Um, but

566
00:28:15,080 --> 00:28:18,800
Speaker 1: I was I was a very average student. You know,

567
00:28:19,720 --> 00:28:25,680
Speaker 1: I sucked at school. I will not show you my report, Garter.

568
00:28:28,000 --> 00:28:29,359
Speaker 1: But do you know when the song is gonna be

569
00:28:29,359 --> 00:28:31,480
Speaker 1: com a hit? Is there a feeling to it? Nah?

570
00:28:32,200 --> 00:28:34,639
Speaker 1: You know when something feels good to you and you

571
00:28:34,680 --> 00:28:37,199
Speaker 1: hope that it catches and hope that everybody else hears it.

572
00:28:37,240 --> 00:28:41,760
Speaker 1: But there's there's no real answer to that. Um, everybody

573
00:28:41,880 --> 00:28:44,840
Speaker 1: you can always be a Monday morning quarterback and say

574
00:28:44,920 --> 00:28:48,000
Speaker 1: I knew that was gonna be, but you never know.

575
00:28:48,160 --> 00:28:51,239
Speaker 1: And I still I stand with that. There are some

576
00:28:51,280 --> 00:28:54,840
Speaker 1: people that maybe knew you know, um, when you're hot

577
00:28:55,720 --> 00:28:59,520
Speaker 1: and when it's when it's groove oriented. I'm sure there

578
00:28:59,560 --> 00:29:01,560
Speaker 1: are times and people are just like, Okay, this is one,

579
00:29:01,640 --> 00:29:04,800
Speaker 1: this is one, and um. But I've always been kind

580
00:29:04,800 --> 00:29:06,560
Speaker 1: of superstitious, and I always say, now, I'm not going

581
00:29:06,640 --> 00:29:08,520
Speaker 1: to say that because as soon as you say that,

582
00:29:08,560 --> 00:29:11,959
Speaker 1: it won't be. Yeah. So I think do I think

583
00:29:11,960 --> 00:29:14,040
Speaker 1: of like your songs like a singular song that kind

584
00:29:14,080 --> 00:29:16,240
Speaker 1: of became its own phenomenon too. I think of boys

585
00:29:16,240 --> 00:29:18,360
Speaker 1: the Man into the Road? Yeah, yeah, like and I

586
00:29:18,400 --> 00:29:20,040
Speaker 1: think you have put a photo on ig like what

587
00:29:20,120 --> 00:29:22,520
Speaker 1: your kids saying? The house behind you is where you

588
00:29:22,560 --> 00:29:25,000
Speaker 1: wrote the songs? Can you speak about that? Like? I

589
00:29:25,040 --> 00:29:27,320
Speaker 1: always wonder what you like? Where where are you actually

590
00:29:27,360 --> 00:29:30,040
Speaker 1: creating these songs? Like where's where you writing these songs?

591
00:29:30,240 --> 00:29:31,960
Speaker 1: I mean like there's a lot of songs all over

592
00:29:32,080 --> 00:29:35,520
Speaker 1: Hollywood We're Wow that were created in little places that

593
00:29:35,600 --> 00:29:38,400
Speaker 1: I was like that we were living in, like, um,

594
00:29:38,520 --> 00:29:42,040
Speaker 1: in some apartments, I know where Can we talk which

595
00:29:42,160 --> 00:29:47,400
Speaker 1: was on Burton Way and Maple the apartment there, um,

596
00:29:47,920 --> 00:29:56,280
Speaker 1: whipp A Pill in Hollywood on Millner Street. Also wrote

597
00:29:56,720 --> 00:30:03,320
Speaker 1: the Bobby Brown's On Our Own classic. But I think

598
00:30:03,880 --> 00:30:09,280
Speaker 1: overall just writing in general. Um, like with the End

599
00:30:09,320 --> 00:30:12,040
Speaker 1: of the Road, that was a place, a little house

600
00:30:12,120 --> 00:30:14,280
Speaker 1: that I got just to go there and have a

601
00:30:14,280 --> 00:30:16,800
Speaker 1: space to write it. It was really just for myself.

602
00:30:17,960 --> 00:30:20,360
Speaker 1: That was really kind of listening going to the movie

603
00:30:20,920 --> 00:30:24,000
Speaker 1: to when we range watching it and then saying, okay,

604
00:30:24,040 --> 00:30:27,280
Speaker 1: they need they needed song from voicing man. They really

605
00:30:27,280 --> 00:30:29,520
Speaker 1: wanted to solve form voicing man. So I wanted it

606
00:30:29,560 --> 00:30:32,360
Speaker 1: to have a really kind of sounding and just started,

607
00:30:32,560 --> 00:30:35,920
Speaker 1: you know, thought of the situation. I wrote it for

608
00:30:35,960 --> 00:30:38,120
Speaker 1: a particular scene that it didn't go on the scene

609
00:30:38,120 --> 00:30:40,560
Speaker 1: that I wanted it to go for it, But that's

610
00:30:40,600 --> 00:30:43,720
Speaker 1: where the inspiration came from. Yeah. But also it's about

611
00:30:43,960 --> 00:30:45,640
Speaker 1: a break up and you were going through a break

612
00:30:45,680 --> 00:30:48,920
Speaker 1: up at that time too, right, situation No kind of

613
00:30:49,960 --> 00:30:53,280
Speaker 1: I don't know, it wasn't it didn't factor into it.

614
00:30:55,360 --> 00:30:59,560
Speaker 1: I'm just thinking, no, I don't. It's like there was

615
00:31:00,240 --> 00:31:02,880
Speaker 1: a complete for like, like my personal life, many times,

616
00:31:02,920 --> 00:31:07,920
Speaker 1: there's a complete separation of me writing other than me

617
00:31:08,120 --> 00:31:12,200
Speaker 1: writing something like kids. Yeah, but other than that, writing

618
00:31:12,240 --> 00:31:15,680
Speaker 1: personal stuff, I usually like, damn, I'm not gonna kept

619
00:31:15,720 --> 00:31:17,840
Speaker 1: a separate and they're gonna put those two together. But

620
00:31:18,000 --> 00:31:20,360
Speaker 1: you could certainly read from them from all the sad

621
00:31:20,600 --> 00:31:24,960
Speaker 1: songs I've written and love songs I written over the years,

622
00:31:25,000 --> 00:31:27,120
Speaker 1: but it was never really on the basis of that.

623
00:31:27,160 --> 00:31:29,600
Speaker 1: I always at least that's what I'm gonna tell myself. Yeah,

624
00:31:29,680 --> 00:31:32,160
Speaker 1: we think this big part of that song to me

625
00:31:32,320 --> 00:31:34,280
Speaker 1: is like you know, but I think a lot of times,

626
00:31:34,320 --> 00:31:36,720
Speaker 1: especially with you, also like we credit you for writing songs,

627
00:31:36,760 --> 00:31:38,800
Speaker 1: but how active you also are as a producer of

628
00:31:38,840 --> 00:31:41,320
Speaker 1: the songs, like almost a decision there to like drop

629
00:31:41,360 --> 00:31:43,480
Speaker 1: off them to go a cappella at the end of

630
00:31:43,520 --> 00:31:45,240
Speaker 1: the song. Yeah, to me as so much of a

631
00:31:45,320 --> 00:31:48,960
Speaker 1: key of why that song they just they just sound

632
00:31:49,080 --> 00:31:52,760
Speaker 1: so good, you know, and they were. I mean, I

633
00:31:53,280 --> 00:31:55,080
Speaker 1: I did the demo of the song, and when I

634
00:31:55,120 --> 00:31:56,840
Speaker 1: did this song, it was it was one song that

635
00:31:56,840 --> 00:31:58,360
Speaker 1: I thought was really good. I said maybe I should

636
00:31:58,440 --> 00:32:04,120
Speaker 1: keep this from myself, and obviously didn't keep it for myself.

637
00:32:04,480 --> 00:32:07,560
Speaker 1: I think that's one time you know that where once

638
00:32:07,600 --> 00:32:11,680
Speaker 1: they got on it, it was like it was it

639
00:32:11,720 --> 00:32:13,959
Speaker 1: was made for them. Yeah, and we only had one

640
00:32:14,040 --> 00:32:17,520
Speaker 1: day to record it one afternoon wow, because they were

641
00:32:17,520 --> 00:32:20,600
Speaker 1: out on the road and they came in and when

642
00:32:20,600 --> 00:32:24,360
Speaker 1: we started working together, we could tell. I think at

643
00:32:24,400 --> 00:32:26,560
Speaker 1: that point we could tell with Boyson Man myself that

644
00:32:26,680 --> 00:32:29,440
Speaker 1: we kind of connected and that we would probably be

645
00:32:29,520 --> 00:32:31,280
Speaker 1: able to work together in future because there was just

646
00:32:31,320 --> 00:32:33,680
Speaker 1: something that was kind of magical with us. I feel

647
00:32:33,680 --> 00:32:36,520
Speaker 1: like sometimes it's Boys Depends somewhat underrated, right. I feel

648
00:32:36,560 --> 00:32:38,920
Speaker 1: like this generation like they'll praise Joda see which were dope.

649
00:32:38,960 --> 00:32:40,800
Speaker 1: Also when I feel like Boys the Man doesn't fully

650
00:32:40,800 --> 00:32:44,000
Speaker 1: get the the credit they deserved. Yeah, I think the

651
00:32:44,160 --> 00:32:48,000
Speaker 1: issue with that it is a culture question because m

652
00:32:48,320 --> 00:32:51,880
Speaker 1: Jodas is very far more cultural in that since Boys

653
00:32:51,920 --> 00:32:56,560
Speaker 1: the Man, they became very big pop U Jodsy never

654
00:32:56,560 --> 00:33:03,040
Speaker 1: became that um, but culturally they were huge so um.

655
00:33:03,080 --> 00:33:06,000
Speaker 1: So it's a question of flavor sometimes and Boysmen get

656
00:33:06,440 --> 00:33:08,600
Speaker 1: they get overlooked, even on something like even with their

657
00:33:08,600 --> 00:33:11,080
Speaker 1: first album, there were a lot more urban things on

658
00:33:11,120 --> 00:33:15,320
Speaker 1: the first album that people have intendency to forget because

659
00:33:15,360 --> 00:33:18,520
Speaker 1: they became so big with the Motown Philly and then

660
00:33:18,680 --> 00:33:23,120
Speaker 1: at that particular point they became an America's group and uh,

661
00:33:24,080 --> 00:33:28,600
Speaker 1: and then into the road kind of like blew them out. Yeah.

662
00:33:29,680 --> 00:33:34,880
Speaker 1: So so it was so they were suddenly not ours

663
00:33:35,000 --> 00:33:38,840
Speaker 1: per se, right, Yeah, they weren't. They became not necessarily

664
00:33:38,840 --> 00:33:44,120
Speaker 1: a black group and uh, but just pop and and

665
00:33:44,160 --> 00:33:48,480
Speaker 1: I think there there's the difference. And they have they

666
00:33:48,520 --> 00:33:51,720
Speaker 1: have love songs that are big pop love songs. But

667
00:33:51,840 --> 00:33:55,200
Speaker 1: your sound is so tailored for the specific artists, right,

668
00:33:55,480 --> 00:33:57,760
Speaker 1: But when it comes to production, you don't sample, right,

669
00:33:58,320 --> 00:34:01,920
Speaker 1: you know, he don't do remixes either. So all the

670
00:34:01,920 --> 00:34:06,120
Speaker 1: production that we hear from from all these classics, these

671
00:34:06,120 --> 00:34:09,240
Speaker 1: are just from scratch. Yeah, I mean initially the demos

672
00:34:09,200 --> 00:34:11,840
Speaker 1: would be done and be fair. Um, a lot of

673
00:34:11,840 --> 00:34:14,120
Speaker 1: the things were done with LA in terms of of

674
00:34:14,120 --> 00:34:16,680
Speaker 1: course the production, the earlier stuff. You know, we were

675
00:34:16,719 --> 00:34:19,480
Speaker 1: doing things together than I when we when we separated

676
00:34:19,520 --> 00:34:23,120
Speaker 1: and I had to kind of do it myself. But

677
00:34:23,160 --> 00:34:27,160
Speaker 1: I had always I had always been doing the demos anyway.

678
00:34:27,440 --> 00:34:30,759
Speaker 1: It was something that was kind of like, I guess,

679
00:34:30,920 --> 00:34:33,800
Speaker 1: learning on the job all the time. When we first

680
00:34:33,800 --> 00:34:37,960
Speaker 1: got our chance to produce our own album, we were

681
00:34:38,000 --> 00:34:41,359
Speaker 1: scared because we didn't know if we really knew, you know,

682
00:34:42,200 --> 00:34:44,760
Speaker 1: we always were under the depression. It's like really difficult,

683
00:34:44,800 --> 00:34:48,520
Speaker 1: and it's like you gotta be way smarter than producing stuff,

684
00:34:49,239 --> 00:34:51,200
Speaker 1: when in fact, it's just a question of you know,

685
00:34:52,000 --> 00:34:54,960
Speaker 1: what you hear, you know and doesn't feel good, doesn't

686
00:34:54,960 --> 00:34:58,120
Speaker 1: feel right. And once you trust that, then you know,

687
00:34:58,239 --> 00:35:01,319
Speaker 1: anybody can any But if you have that, if you

688
00:35:01,400 --> 00:35:04,480
Speaker 1: have that ability, then you can go make magic happen. Wow.

689
00:35:04,640 --> 00:35:08,160
Speaker 1: That's like where I've always said, like p Diddy, Puffy,

690
00:35:08,640 --> 00:35:12,600
Speaker 1: it's always been underrated because, um, you know, he didn't

691
00:35:12,600 --> 00:35:14,560
Speaker 1: play any instruments, but he knew how to go in there.

692
00:35:14,719 --> 00:35:17,279
Speaker 1: He knew when that stuff felt right. He wouldn't let

693
00:35:17,320 --> 00:35:20,200
Speaker 1: it come out till, you know, untill it came out right.

694
00:35:20,239 --> 00:35:22,560
Speaker 1: So and you have these other producers that would help

695
00:35:22,640 --> 00:35:24,480
Speaker 1: create those tracks and stuff like that, but he was

696
00:35:24,560 --> 00:35:28,000
Speaker 1: like that dude, that was like yeah, you know, And

697
00:35:28,120 --> 00:35:29,839
Speaker 1: and the proof is in the pudding in terms of

698
00:35:31,239 --> 00:35:35,080
Speaker 1: how much how much success everybody had afterwards, not that

699
00:35:35,160 --> 00:35:36,839
Speaker 1: they didn't have it, but it wasn't the same kind

700
00:35:36,840 --> 00:35:39,400
Speaker 1: of success. So I give him much credit for that.

701
00:35:39,440 --> 00:35:42,240
Speaker 1: And I ended up working with him on this album,

702
00:35:42,320 --> 00:35:44,040
Speaker 1: this last album he's working on it, and and I actually

703
00:35:44,040 --> 00:35:48,680
Speaker 1: got to see him work and produce and I understood it.

704
00:35:49,239 --> 00:35:52,440
Speaker 1: You know how he can inspire you and get you to,

705
00:35:52,840 --> 00:35:55,080
Speaker 1: you know, give me this, give me that he does that.

706
00:35:55,920 --> 00:35:58,799
Speaker 1: He does it way better than I do in terms

707
00:35:58,840 --> 00:36:01,160
Speaker 1: of trying to inspire you to really go there. Yeah.

708
00:36:01,160 --> 00:36:03,040
Speaker 1: I had a lot of respect from him after that. No,

709
00:36:03,160 --> 00:36:04,880
Speaker 1: but yeah, because he's working on more of an R

710
00:36:04,920 --> 00:36:07,440
Speaker 1: and B type product, Yes, something like that. Yeah. Yeah.

711
00:36:07,480 --> 00:36:10,080
Speaker 1: So what's it like being the goal to producer from

712
00:36:10,120 --> 00:36:11,640
Speaker 1: the late eighties all the way up to like the

713
00:36:11,680 --> 00:36:14,759
Speaker 1: mid nineties, when you're like the most sought after. Um,

714
00:36:14,880 --> 00:36:16,759
Speaker 1: you know, it's not someone's go to at this point.

715
00:36:16,880 --> 00:36:20,080
Speaker 1: There's there are people that My blessing is that there

716
00:36:20,080 --> 00:36:22,360
Speaker 1: are producers, and there are artists that still want to

717
00:36:22,400 --> 00:36:26,200
Speaker 1: work with me today, and people that are and literally

718
00:36:26,400 --> 00:36:27,800
Speaker 1: you know, really want to get in the studio and

719
00:36:28,040 --> 00:36:33,040
Speaker 1: chop it up. That doesn't that's not normal and because

720
00:36:33,080 --> 00:36:36,080
Speaker 1: of and I think part of that is because I

721
00:36:36,800 --> 00:36:40,440
Speaker 1: try to not be stuck in one particular genre. And

722
00:36:40,719 --> 00:36:44,560
Speaker 1: I've done a number of things, you know, from from

723
00:36:44,800 --> 00:36:48,360
Speaker 1: Boys to Man to Tum DOWNA to a Barber Strits

724
00:36:48,480 --> 00:36:54,600
Speaker 1: and to Fallout Boy to Eric Clapton. You know, so

725
00:36:54,680 --> 00:36:57,239
Speaker 1: doing that and coming from the basis of being a

726
00:36:57,360 --> 00:37:00,799
Speaker 1: musician first, I just feel like you should your ears,

727
00:37:00,800 --> 00:37:04,480
Speaker 1: should always be open and always be ready to try anything.

728
00:37:04,760 --> 00:37:08,400
Speaker 1: Your musician so shouldn't be afraid of it and shouldn't

729
00:37:08,440 --> 00:37:11,640
Speaker 1: get so stuck in having your sound or anything. Some

730
00:37:11,680 --> 00:37:13,520
Speaker 1: people would come to me for my sound, they would

731
00:37:13,560 --> 00:37:16,160
Speaker 1: like to like for me to do backgrounds on things.

732
00:37:16,680 --> 00:37:18,360
Speaker 1: That's how it was with mcdonna, That's how I was

733
00:37:18,400 --> 00:37:22,000
Speaker 1: with Eric Clapton, and then that's kind of like how

734
00:37:22,040 --> 00:37:25,880
Speaker 1: I would push the whole baby face thing sometimes the

735
00:37:25,880 --> 00:37:28,520
Speaker 1: background or going back to Ronie like yeah, you know.

736
00:37:28,560 --> 00:37:30,960
Speaker 1: The funny thing is that I think that's really how

737
00:37:31,000 --> 00:37:35,400
Speaker 1: I got my gig with the deal to begin with,

738
00:37:35,440 --> 00:37:38,480
Speaker 1: because I was really good at making four track demos

739
00:37:38,520 --> 00:37:42,239
Speaker 1: and doing backgrounds, really good at that, and so I

740
00:37:42,320 --> 00:37:49,239
Speaker 1: was actually hired from Jeff Cooper and Midnight Star said

741
00:37:49,640 --> 00:37:52,640
Speaker 1: can you please come down and help us produce the deal?

742
00:37:53,120 --> 00:37:55,520
Speaker 1: Write some songs for the deal because you do really

743
00:37:55,520 --> 00:37:59,040
Speaker 1: good four tracks, so why don't you do that and

744
00:37:59,320 --> 00:38:01,920
Speaker 1: you can help with the deal. Helped them get a

745
00:38:01,960 --> 00:38:04,360
Speaker 1: record deal. I wasn't even in the band that and

746
00:38:04,480 --> 00:38:07,440
Speaker 1: so that was kind of my thing and I always

747
00:38:07,520 --> 00:38:10,440
Speaker 1: was good at kind of making doing backgrounds and doing harmages.

748
00:38:10,880 --> 00:38:14,920
Speaker 1: How did two occasions change your life? Two occasions was

749
00:38:16,040 --> 00:38:18,080
Speaker 1: that's a song that there's a number of people that

750
00:38:18,080 --> 00:38:19,839
Speaker 1: were writing it as a piece of a song, and

751
00:38:19,920 --> 00:38:22,080
Speaker 1: D actually came up with the I Don't Think of

752
00:38:22,160 --> 00:38:29,239
Speaker 1: you in two acases? I said, oh shit, and uh no,

753
00:38:29,400 --> 00:38:33,520
Speaker 1: that was actually du de Bristol, the lead of lead

754
00:38:33,560 --> 00:38:36,759
Speaker 1: singer of the deal and the talented talented guy D

755
00:38:36,920 --> 00:38:39,160
Speaker 1: with like sitting come up with the hook and seconds

756
00:38:39,800 --> 00:38:43,480
Speaker 1: and so he took that, and it's just with a

757
00:38:43,520 --> 00:38:45,680
Speaker 1: couple of things I was starting to put together. And

758
00:38:45,960 --> 00:38:50,520
Speaker 1: the funny thing about two occasions is that I don't

759
00:38:50,520 --> 00:38:54,359
Speaker 1: know that we knew what we had when we were

760
00:38:54,360 --> 00:38:59,520
Speaker 1: putting it together. We definitely didn't um And there was

761
00:39:01,400 --> 00:39:04,920
Speaker 1: this moment where we were doing the song and D

762
00:39:06,040 --> 00:39:09,000
Speaker 1: was supposed to sing the whole song and Carlos wanted

763
00:39:09,000 --> 00:39:11,440
Speaker 1: to sing the song, but actually we had it for

764
00:39:11,520 --> 00:39:13,680
Speaker 1: D to sing the whole song. But we were out

765
00:39:13,719 --> 00:39:18,720
Speaker 1: here in California on Highland and Franklin the other apartment

766
00:39:18,800 --> 00:39:26,279
Speaker 1: over there, and we were at Solar Records, which is

767
00:39:26,520 --> 00:39:29,920
Speaker 1: uh later became the Emnos building and then became Now

768
00:39:30,000 --> 00:39:34,479
Speaker 1: was Dian Warren's building. So we were there and we're

769
00:39:34,480 --> 00:39:36,680
Speaker 1: working on the song, and then d was supposed to

770
00:39:36,680 --> 00:39:39,520
Speaker 1: come in, and D said, I can't come work on

771
00:39:39,560 --> 00:39:42,600
Speaker 1: the song because I need to go back to Ohio

772
00:39:42,920 --> 00:39:45,880
Speaker 1: Coac Cincinnati because I got a Halloween party I'm throwing.

773
00:39:46,560 --> 00:39:50,400
Speaker 1: So he went to go to his. He was famous

774
00:39:50,440 --> 00:39:53,960
Speaker 1: for his Halloween parties, so he went back and gave

775
00:39:54,000 --> 00:39:57,719
Speaker 1: his Halloween party. So it left it to where I

776
00:39:57,800 --> 00:40:01,400
Speaker 1: had to do the bridge and and Carlos, who did Diverse,

777
00:40:01,520 --> 00:40:03,839
Speaker 1: got on got to be able to reverse, and so

778
00:40:03,920 --> 00:40:07,520
Speaker 1: that was like how I ultimately ended up on two occasions,

779
00:40:07,960 --> 00:40:11,200
Speaker 1: it was supposed to be d and then we did

780
00:40:11,280 --> 00:40:18,000
Speaker 1: the fake live version. I think that was kind of

781
00:40:18,000 --> 00:40:23,239
Speaker 1: like where baby Face became baby Um, because I had

782
00:40:23,280 --> 00:40:25,480
Speaker 1: a song I called I Love You Babe that was

783
00:40:25,520 --> 00:40:30,880
Speaker 1: out at the same time, and um, it was okay,

784
00:40:31,000 --> 00:40:33,720
Speaker 1: it's doing okay, but it wasn't, and I was confused.

785
00:40:33,719 --> 00:40:36,680
Speaker 1: I didn't know who I was trying to be. You

786
00:40:36,719 --> 00:40:40,760
Speaker 1: listened to that first album that it's it's everywhere everything,

787
00:40:40,760 --> 00:40:43,040
Speaker 1: It's everywhere. So you got new audition songs, you got

788
00:40:44,600 --> 00:40:48,439
Speaker 1: it's just like how old are you anyway, and so

789
00:40:48,719 --> 00:40:50,640
Speaker 1: when that song happened, I Love You Babe happened, and

790
00:40:50,640 --> 00:40:53,920
Speaker 1: then then two occasions, this one thing happened in the

791
00:40:53,920 --> 00:40:56,800
Speaker 1: summer where we were we were touring. This is like

792
00:40:56,800 --> 00:40:58,560
Speaker 1: I said, this is the birth of the baby Face

793
00:40:59,320 --> 00:41:02,600
Speaker 1: Bootsie again even me the name, and that was like

794
00:41:04,880 --> 00:41:08,000
Speaker 1: that was fate too, because we couldn't figure out a

795
00:41:08,080 --> 00:41:11,040
Speaker 1: nickname for myself. And then I walked in the studio

796
00:41:11,120 --> 00:41:13,319
Speaker 1: one day he said baby Face and that was it.

797
00:41:13,360 --> 00:41:17,680
Speaker 1: There's more to that, but anyway, so we were on

798
00:41:17,840 --> 00:41:23,640
Speaker 1: tour in Indianapolis, Indiana, and we performed. We performed that

799
00:41:23,800 --> 00:41:27,840
Speaker 1: night and we would do the whole show, and I

800
00:41:27,880 --> 00:41:30,759
Speaker 1: think we had had a good reaction to the songs

801
00:41:30,800 --> 00:41:33,120
Speaker 1: and stuff like that. But then I had some wisdom

802
00:41:33,120 --> 00:41:36,279
Speaker 1: teeth that were impacted and I had to have my

803
00:41:36,360 --> 00:41:42,719
Speaker 1: wisdom teeth taken out. So they decided rather than just

804
00:41:42,760 --> 00:41:44,440
Speaker 1: taking the two others, saying we need to take all

805
00:41:44,440 --> 00:41:47,680
Speaker 1: four outs. So I was like messed up. And we

806
00:41:47,719 --> 00:41:51,239
Speaker 1: had a show maybe the next night or two nights

807
00:41:51,320 --> 00:41:56,200
Speaker 1: later in Louisville, Kentucky, and I couldn't go on, and

808
00:41:56,239 --> 00:41:59,520
Speaker 1: so my brother Melvin, he took my place and saying

809
00:41:59,560 --> 00:42:03,359
Speaker 1: that night. Then we had another big show a couple

810
00:42:03,400 --> 00:42:08,040
Speaker 1: of nights later in New Orleans at the Superdome. Yea.

811
00:42:08,760 --> 00:42:13,000
Speaker 1: So it was like forty thousand people whatever, and they

812
00:42:13,000 --> 00:42:15,120
Speaker 1: were like, you know, you really need to go up,

813
00:42:15,160 --> 00:42:17,320
Speaker 1: that's it, but I can't. I can't. So what we

814
00:42:17,400 --> 00:42:21,320
Speaker 1: decided to do was, um, they did the whole show

815
00:42:21,840 --> 00:42:24,600
Speaker 1: and then at the end of the show, de goos

816
00:42:24,840 --> 00:42:27,759
Speaker 1: So one of our members, baby Face, he you know,

817
00:42:28,400 --> 00:42:31,480
Speaker 1: he couldn't make it out here tonight because he feels

818
00:42:31,520 --> 00:42:34,200
Speaker 1: really sick, but he feels so bad about it, he

819
00:42:34,239 --> 00:42:35,920
Speaker 1: wanted to come out here and try to do this

820
00:42:36,000 --> 00:42:40,160
Speaker 1: last song for you guys, and so um, so, welcome up,

821
00:42:40,360 --> 00:42:42,200
Speaker 1: baby Face. And I walked across. I have this white

822
00:42:42,239 --> 00:42:45,480
Speaker 1: suito and I walk across the stage. I'm imagining I'm

823
00:42:45,480 --> 00:42:48,799
Speaker 1: walking like Luther. And as I'm walking across, but I'm

824
00:42:48,840 --> 00:42:51,479
Speaker 1: in pain, and I'm like I was actually in pain.

825
00:42:51,760 --> 00:42:53,960
Speaker 1: I go down and sit at the piano and started

826
00:42:54,040 --> 00:43:00,439
Speaker 1: Doom Doom, Doom, doom. The whole place explodes just with that.

827
00:43:00,800 --> 00:43:04,840
Speaker 1: And I always remember we played in eighty two eighty

828
00:43:04,840 --> 00:43:07,840
Speaker 1: three with Luther and the Barge, and we get killed

829
00:43:07,880 --> 00:43:10,400
Speaker 1: every night because of it. As soon as we finished,

830
00:43:10,440 --> 00:43:12,399
Speaker 1: they said, next up is the barge, and the place

831
00:43:12,440 --> 00:43:15,800
Speaker 1: would explode. And we were always looking for our explosion,

832
00:43:15,880 --> 00:43:18,960
Speaker 1: but we never would get an explosion. And so when

833
00:43:19,000 --> 00:43:22,839
Speaker 1: I did dom Doom Doom Doom, Um, the whole place

834
00:43:22,920 --> 00:43:26,520
Speaker 1: exploded and I started saying and that was like the

835
00:43:26,560 --> 00:43:32,319
Speaker 1: birth of baby Face. Um. And then I played sick

836
00:43:32,360 --> 00:43:36,000
Speaker 1: the rest of the tour, The show must go on,

837
00:43:36,680 --> 00:43:38,839
Speaker 1: I played, so I just wait till the last song

838
00:43:38,880 --> 00:43:41,520
Speaker 1: and come on. It was. It was a nice little gimmick.

839
00:43:41,640 --> 00:43:43,160
Speaker 1: But then you build with tender lover it right, so

840
00:43:43,200 --> 00:43:46,920
Speaker 1: that's your second It's no crime, whip the pillson as

841
00:43:46,920 --> 00:43:48,880
Speaker 1: I get home. Yeah, what was the whole process putting

842
00:43:48,880 --> 00:43:51,560
Speaker 1: that record again? So that was I was starting to

843
00:43:52,320 --> 00:43:54,800
Speaker 1: because of, you know, two occasions, all of a sudden,

844
00:43:54,840 --> 00:43:57,560
Speaker 1: I'm starting to say, okay, so that's who baby Face is.

845
00:43:57,560 --> 00:44:01,640
Speaker 1: A romantic guy, you know. So I'm starting out to

846
00:44:01,880 --> 00:44:06,120
Speaker 1: try to write things that makes sense there. And but

847
00:44:06,200 --> 00:44:10,279
Speaker 1: sometimes it was it wouldn't be like it's a crime.

848
00:44:10,320 --> 00:44:14,360
Speaker 1: It is completely different. Yeah, um temple. Yeah, it was

849
00:44:14,400 --> 00:44:17,120
Speaker 1: like a whole different. Sometimes I would end up doing

850
00:44:17,160 --> 00:44:20,839
Speaker 1: tracks that would that weren't necessarily what everybody else was doing,

851
00:44:21,000 --> 00:44:23,120
Speaker 1: but it was just music, so I would just do it,

852
00:44:23,120 --> 00:44:26,120
Speaker 1: and that was That was one of those things. I remember.

853
00:44:26,160 --> 00:44:29,279
Speaker 1: Michael Jackson liked that track It's No Crime. He liked

854
00:44:29,280 --> 00:44:31,319
Speaker 1: It's no Crime. I don't like what's on top of,

855
00:44:32,840 --> 00:44:39,439
Speaker 1: but I love the group. Thank you. He talks about

856
00:44:39,480 --> 00:44:41,200
Speaker 1: working with Michael michaels like I love it. I love

857
00:44:41,239 --> 00:44:48,400
Speaker 1: it exactly. I dig real deep, now, deeply. You obviously

858
00:44:48,440 --> 00:44:52,080
Speaker 1: didn't dig deep enough for the the top part on crime,

859
00:44:52,120 --> 00:44:54,640
Speaker 1: but it's okay. I'd like to check. He didn't say that,

860
00:44:54,680 --> 00:44:56,839
Speaker 1: but that's what I'm listening. You didn't have that joint

861
00:44:56,840 --> 00:45:00,279
Speaker 1: with Michael, right like the way Teddy had remember the time. Now, yeah, Eddy,

862
00:45:01,120 --> 00:45:04,640
Speaker 1: I worked with Michael. I did, uh, did a couple

863
00:45:04,640 --> 00:45:08,160
Speaker 1: of songs here and there, but never got that one.

864
00:45:08,440 --> 00:45:13,160
Speaker 1: Never um that one that you know, I really wanted

865
00:45:13,400 --> 00:45:16,640
Speaker 1: and um, but I went with them a couple of

866
00:45:16,680 --> 00:45:19,360
Speaker 1: times and really kind of hung out with them a

867
00:45:19,440 --> 00:45:21,000
Speaker 1: few times where we were just kind of like we

868
00:45:21,040 --> 00:45:26,120
Speaker 1: would just talk and it wasn't even about really recording anything.

869
00:45:26,320 --> 00:45:31,520
Speaker 1: So and to me, that's just as precious to me

870
00:45:31,560 --> 00:45:35,600
Speaker 1: in that sense to be in that been in that position.

871
00:45:35,640 --> 00:45:39,000
Speaker 1: But like, you know, Teddy clearly clearly did his thing

872
00:45:39,000 --> 00:45:42,719
Speaker 1: with Michael and made a made a stamp. You know,

873
00:45:42,840 --> 00:45:45,040
Speaker 1: people mean, I know you as a kid, like that's

874
00:45:45,040 --> 00:45:47,120
Speaker 1: when you interviewed Michael Jackson as a kid. You you

875
00:45:47,200 --> 00:45:49,960
Speaker 1: scammed your way through that, Like yeah, ido yours. It's

876
00:45:49,960 --> 00:45:54,200
Speaker 1: an interesting thing because I you know, I was I

877
00:45:54,200 --> 00:45:57,120
Speaker 1: would watch how Michael. Michael was magical and Michael had

878
00:45:57,120 --> 00:45:59,560
Speaker 1: this ability to like to make people do anything he

879
00:45:59,600 --> 00:46:03,040
Speaker 1: wanted to him to do and um, and I was

880
00:46:03,080 --> 00:46:06,120
Speaker 1: like so excited to meet him again. And as an adult.

881
00:46:06,520 --> 00:46:10,280
Speaker 1: Before we met with Michael, we went to Line Richie's

882
00:46:10,280 --> 00:46:13,759
Speaker 1: house Brenda Ritchie and Lionel was there. The Linel talked

883
00:46:13,760 --> 00:46:16,400
Speaker 1: about doing We Are the World with him and we

884
00:46:16,400 --> 00:46:17,960
Speaker 1: were like the next day, we want to get on

885
00:46:17,960 --> 00:46:21,319
Speaker 1: a helicopter go out and visit Michael and Neverland and

886
00:46:21,920 --> 00:46:25,640
Speaker 1: Lionel goes. You know, just be careful, just to watch

887
00:46:25,640 --> 00:46:27,360
Speaker 1: out for him because he's you know, he's a sneaky

888
00:46:27,480 --> 00:46:30,600
Speaker 1: he's sneaky, little careful and he gets you doing a

889
00:46:30,600 --> 00:46:31,920
Speaker 1: bunch of stuff that you don't want to do, and

890
00:46:31,960 --> 00:46:34,080
Speaker 1: so you know he'll pull you in. He got that charm.

891
00:46:34,120 --> 00:46:38,120
Speaker 1: He'll pull you in, so I approached it without him. Now,

892
00:46:38,160 --> 00:46:40,479
Speaker 1: I ain't gonna let you get me, you know, So

893
00:46:40,840 --> 00:46:43,200
Speaker 1: I acted a little bit more Indianapolis than I normally

894
00:46:43,239 --> 00:46:46,200
Speaker 1: would have. I didn't fan out on him, you know,

895
00:46:47,400 --> 00:46:50,640
Speaker 1: with Lionel's warning, and I think because of that, Michael,

896
00:46:51,480 --> 00:46:53,480
Speaker 1: we were always end up being cooler with each other

897
00:46:53,480 --> 00:46:56,439
Speaker 1: because of the because I didn't I didn't fan out

898
00:46:56,440 --> 00:46:59,879
Speaker 1: on him, I didn't praise him, and he just saw.

899
00:47:00,239 --> 00:47:03,439
Speaker 1: He always used to say, you know, you're funny. We've

900
00:47:03,440 --> 00:47:08,880
Speaker 1: got the same sense of human because we're from India.

901
00:47:09,000 --> 00:47:13,400
Speaker 1: I was like, yeah, maybe, but he was. He was great.

902
00:47:13,440 --> 00:47:19,239
Speaker 1: He was, you know, a very sweet person. I think

903
00:47:19,280 --> 00:47:24,719
Speaker 1: that we were. We were just lucky to have you know,

904
00:47:24,840 --> 00:47:29,279
Speaker 1: worked with them period. And and I just got so

905
00:47:29,360 --> 00:47:31,680
Speaker 1: much respect for those that you know, really worked with

906
00:47:31,760 --> 00:47:34,560
Speaker 1: him and really got really great stuff. The name that

907
00:47:34,640 --> 00:47:37,440
Speaker 1: nobody wants to mention, but R Kelly, did you know,

908
00:47:37,680 --> 00:47:43,719
Speaker 1: Yeah you're not alone? You know, Yeah, that's a great copyright.

909
00:47:43,719 --> 00:47:47,120
Speaker 1: There is that this instance. It's the rest of you,

910
00:47:47,200 --> 00:47:49,200
Speaker 1: like even like go back to your bet like even

911
00:47:49,280 --> 00:47:51,960
Speaker 1: your first album, like it's a cover song of a

912
00:47:52,000 --> 00:47:55,239
Speaker 1: stylistic's like you covered James ll like like to me,

913
00:47:55,320 --> 00:47:57,799
Speaker 1: someone who writes great songs like yourself, you really appreciate

914
00:47:57,880 --> 00:48:00,399
Speaker 1: other great songs on the question way that's different great

915
00:48:00,400 --> 00:48:05,800
Speaker 1: songs great writers. I was never jealous. I was never

916
00:48:06,480 --> 00:48:12,200
Speaker 1: even competitive with any other writers. I always respected their work,

917
00:48:12,880 --> 00:48:17,239
Speaker 1: even with Teddy and and when we were doing the

918
00:48:17,239 --> 00:48:20,000
Speaker 1: Bobby album and I could see Bobby clearly leaning towards that,

919
00:48:20,000 --> 00:48:22,080
Speaker 1: I said, I get it, you know, that's what it is.

920
00:48:22,120 --> 00:48:25,640
Speaker 1: So I was never it was never a it was

921
00:48:25,719 --> 00:48:28,160
Speaker 1: never a competition thing to me. And I think I

922
00:48:28,200 --> 00:48:30,560
Speaker 1: got that a little bit from just Jimmy jam and

923
00:48:30,640 --> 00:48:34,000
Speaker 1: Terry Lewis because when we met them, they were so

924
00:48:34,160 --> 00:48:38,520
Speaker 1: nice and so supportive. I was like, so that's how

925
00:48:38,520 --> 00:48:41,280
Speaker 1: you're supposed to be, because I wanted to beat them

926
00:48:41,320 --> 00:48:44,359
Speaker 1: and to run into Jimmy and Terry who were just

927
00:48:44,400 --> 00:48:46,600
Speaker 1: the nicest people in the world, and they were like,

928
00:48:48,360 --> 00:48:51,800
Speaker 1: don't underestimate what they did and the sound that they created,

929
00:48:51,840 --> 00:48:55,799
Speaker 1: and nobody, nobody could do it like them. Nobody ever

930
00:48:55,880 --> 00:48:59,120
Speaker 1: came out doing Jimmy the Jimmy and Terry sound, nobody

931
00:48:59,120 --> 00:49:04,080
Speaker 1: ever captured. They owned that, and from the Janet stuff

932
00:49:04,080 --> 00:49:07,040
Speaker 1: to to other things that they've done, um and to

933
00:49:07,120 --> 00:49:09,440
Speaker 1: come from the time you thought that was you know

934
00:49:10,120 --> 00:49:11,680
Speaker 1: that they would have been they would have been that,

935
00:49:11,760 --> 00:49:14,000
Speaker 1: but I guess ultimately that was Prince. But so when

936
00:49:14,040 --> 00:49:16,000
Speaker 1: they came, it sounded so fresh that they came with

937
00:49:16,040 --> 00:49:20,080
Speaker 1: their own thing. So, but they were a huge inspiration

938
00:49:20,200 --> 00:49:22,880
Speaker 1: for me as a as a writer and a producer,

939
00:49:23,120 --> 00:49:26,120
Speaker 1: wanting to be like them and half the reason why

940
00:49:26,160 --> 00:49:29,680
Speaker 1: we got La and Baby faces Jimmy, Jemmy, Terry Lewis

941
00:49:30,480 --> 00:49:33,839
Speaker 1: we need a cool name, So La Baby why did

942
00:49:33,840 --> 00:49:36,080
Speaker 1: the all partnership and at that time of ninety three

943
00:49:36,200 --> 00:49:38,640
Speaker 1: or so, like, that's something I cannot talk about at

944
00:49:38,640 --> 00:49:42,640
Speaker 1: the moment, uh, but I will talk about it later

945
00:49:43,360 --> 00:49:48,320
Speaker 1: in a document doing a documentary. Yeah, nice, Yeah, I

946
00:49:48,320 --> 00:49:50,000
Speaker 1: remember that was a big thing in the industry. Was

947
00:49:50,040 --> 00:49:52,880
Speaker 1: just like because you think about it, like there was

948
00:49:53,480 --> 00:49:55,920
Speaker 1: people get fascinated because there was never no decline right

949
00:49:55,960 --> 00:49:59,680
Speaker 1: like you guys were No we still you know, um,

950
00:50:00,040 --> 00:50:02,480
Speaker 1: the actual working together and producing together. That that's the

951
00:50:02,520 --> 00:50:06,239
Speaker 1: only thing that ultimately changed. Yeah, but we kept kept

952
00:50:06,320 --> 00:50:09,640
Speaker 1: the Face going and I kept on writing for the

953
00:50:09,719 --> 00:50:11,799
Speaker 1: Face as well and the artists that would be there,

954
00:50:11,800 --> 00:50:14,960
Speaker 1: and we were able to build in that way, I

955
00:50:15,000 --> 00:50:18,800
Speaker 1: think interesting enough. I think it was probably the best

956
00:50:18,840 --> 00:50:23,520
Speaker 1: thing that could have happened, because I think that La

957
00:50:23,719 --> 00:50:29,080
Speaker 1: was destined to become an executive and ultimately go to

958
00:50:29,080 --> 00:50:31,799
Speaker 1: the places that he that he went to, and I

959
00:50:31,880 --> 00:50:34,879
Speaker 1: was destined to, you know, would come over a writer

960
00:50:35,200 --> 00:50:37,600
Speaker 1: and a producer and go down that road. Even more

961
00:50:38,280 --> 00:50:41,120
Speaker 1: things might have been different, you know, had had it

962
00:50:41,200 --> 00:50:43,880
Speaker 1: gone another way, I might not have ever got to Madonna,

963
00:50:44,440 --> 00:50:49,080
Speaker 1: I might not ever got to those kind of things,

964
00:50:49,160 --> 00:50:52,239
Speaker 1: those kind of projects, they wouldn't have ever happened, and

965
00:50:52,640 --> 00:50:55,520
Speaker 1: so I would have been able to grow as a producer, writer.

966
00:50:56,000 --> 00:50:58,680
Speaker 1: You guys remained great friends and like you I've seen

967
00:50:58,719 --> 00:51:00,879
Speaker 1: you say before, like you don't think also, Elie gets

968
00:51:00,960 --> 00:51:03,560
Speaker 1: enough credit for what he's achieved as an executive. As

969
00:51:03,600 --> 00:51:07,040
Speaker 1: an executive, he you know, he accomplished a lot of things,

970
00:51:07,680 --> 00:51:11,680
Speaker 1: um and um, and you know you gotta you give

971
00:51:11,840 --> 00:51:15,920
Speaker 1: give credit to where credits do. I think that my goal,

972
00:51:16,400 --> 00:51:19,240
Speaker 1: my my thing has always been a writer. I've always

973
00:51:19,239 --> 00:51:22,640
Speaker 1: been a writer from the get go. Um and uh,

974
00:51:23,200 --> 00:51:27,760
Speaker 1: more of a writer than even an artist and so writer, producer, artist,

975
00:51:28,080 --> 00:51:30,160
Speaker 1: that's kind of like how I put things, you know,

976
00:51:31,239 --> 00:51:33,000
Speaker 1: and somewhat of a hip hop head. You know. I

977
00:51:33,040 --> 00:51:35,960
Speaker 1: mean hip hop is celebrating his fifty years year this year,

978
00:51:36,400 --> 00:51:38,359
Speaker 1: and um, you're old enough to see its growth, right

979
00:51:38,360 --> 00:51:40,480
Speaker 1: and growing up in Indiana, like we're they're artists or

980
00:51:40,480 --> 00:51:43,239
Speaker 1: groups that you the songs that you gravitated towards and

981
00:51:43,280 --> 00:51:47,359
Speaker 1: its inception, Well, you know, we were. I was hip

982
00:51:47,360 --> 00:51:54,160
Speaker 1: hop happened? Who started happening? Actually when actually when I

983
00:51:54,200 --> 00:51:55,920
Speaker 1: was in this group called Manschott is a guy named

984
00:51:55,920 --> 00:51:59,640
Speaker 1: Reggie Griffin who's the leader of the band, and he

985
00:52:00,040 --> 00:52:03,560
Speaker 1: it up leaving Manchot a little earlier and he ended

986
00:52:03,600 --> 00:52:07,040
Speaker 1: up working with this little group called sugar Hill Game,

987
00:52:08,960 --> 00:52:13,480
Speaker 1: a little something I was like, and he started doing

988
00:52:13,480 --> 00:52:15,440
Speaker 1: a lot of the music for them, so like he

989
00:52:15,440 --> 00:52:19,040
Speaker 1: had jumped out a way earlier, knew that that's what

990
00:52:19,080 --> 00:52:22,640
Speaker 1: the possibility is was for that. And I remember when

991
00:52:22,640 --> 00:52:25,680
Speaker 1: we were in the deal, we had this little group

992
00:52:25,719 --> 00:52:29,160
Speaker 1: open up for us, and we're like, what are they doing?

993
00:52:30,360 --> 00:52:32,279
Speaker 1: Is this even work? You know, they was wearing their

994
00:52:32,360 --> 00:52:35,280
Speaker 1: datas and they had their hats on, and of course,

995
00:52:35,880 --> 00:52:39,840
Speaker 1: you know, three months later they was way above us.

996
00:52:39,880 --> 00:52:42,960
Speaker 1: It was rundow, you know, but they had opened up

997
00:52:42,960 --> 00:52:51,279
Speaker 1: for us. I don't know about that, and wasn't wasn't

998
00:52:51,360 --> 00:52:53,920
Speaker 1: judgmental with it was just a question of didn't didn't

999
00:52:54,000 --> 00:52:59,440
Speaker 1: quite understand it? Yeah, Um, And then it's it's interesting

1000
00:52:59,600 --> 00:53:08,759
Speaker 1: I think, Um, I think that I often imagine had

1001
00:53:08,760 --> 00:53:12,160
Speaker 1: I grown up to day, what kind of writer would

1002
00:53:12,200 --> 00:53:15,440
Speaker 1: I be? You know? And depending on where I grew

1003
00:53:15,560 --> 00:53:17,200
Speaker 1: up in you know, I grew up in New York,

1004
00:53:17,800 --> 00:53:21,000
Speaker 1: you know, what kind of how influence would I be?

1005
00:53:22,080 --> 00:53:28,160
Speaker 1: And at a different time, UM, would I lean towards

1006
00:53:28,200 --> 00:53:33,080
Speaker 1: it hip hop? You know? I mean, I'm to this day,

1007
00:53:33,120 --> 00:53:35,839
Speaker 1: I still look at like, I love Drake and I

1008
00:53:35,880 --> 00:53:40,040
Speaker 1: think that Drake is like, Um, I'd love to work

1009
00:53:40,080 --> 00:53:43,920
Speaker 1: with Drake when we just do a classic song because

1010
00:53:43,960 --> 00:53:48,040
Speaker 1: I think it's phrasing and his and um, his lyrics

1011
00:53:48,040 --> 00:53:50,719
Speaker 1: and everything. I think I think it goes beyond just

1012
00:53:51,560 --> 00:53:57,239
Speaker 1: you know rap so to say, and um, and I

1013
00:53:57,320 --> 00:53:59,440
Speaker 1: like the tone of his voice, so I feel like

1014
00:53:59,440 --> 00:54:02,160
Speaker 1: there's even in that. I feel like I hear emotions

1015
00:54:02,120 --> 00:54:04,080
Speaker 1: and stuff in his voice. So as a writer and

1016
00:54:04,160 --> 00:54:09,839
Speaker 1: a producer, even for even even with hip hop, with rap,

1017
00:54:09,920 --> 00:54:13,399
Speaker 1: hip hop for whatever you all call it, Um, they're

1018
00:54:13,680 --> 00:54:16,040
Speaker 1: the same thing applies the emotion and the feel good

1019
00:54:16,560 --> 00:54:21,160
Speaker 1: and and there is like you know, from whether it's

1020
00:54:21,239 --> 00:54:24,680
Speaker 1: Drake from a little baby, you know, to a baby

1021
00:54:24,719 --> 00:54:29,279
Speaker 1: face right, yeah, you know, these these vibes that I

1022
00:54:29,360 --> 00:54:32,440
Speaker 1: hear when I when I hear it, it moves me.

1023
00:54:32,560 --> 00:54:35,200
Speaker 1: So I often think, thank how would it be if

1024
00:54:35,239 --> 00:54:38,600
Speaker 1: I I was actually growing up today? Who would I be?

1025
00:54:39,280 --> 00:54:41,440
Speaker 1: How would I be? You know? And how depends are

1026
00:54:41,480 --> 00:54:43,800
Speaker 1: what part of the country you come from. But you

1027
00:54:43,840 --> 00:54:46,920
Speaker 1: also signed one of the greatest rap groups of all time, Outcast.

1028
00:54:47,560 --> 00:54:50,279
Speaker 1: Outcast was on the face and to be honest, that

1029
00:54:50,360 --> 00:54:55,640
Speaker 1: was La signing and I wasn't as involved at that point,

1030
00:54:55,640 --> 00:55:02,760
Speaker 1: but nevertheless they were on the face and they um,

1031
00:55:02,800 --> 00:55:05,359
Speaker 1: you know, Big Boy and Dre you know, that's like

1032
00:55:05,680 --> 00:55:08,200
Speaker 1: to this, to this point their heroes, you know, because

1033
00:55:08,239 --> 00:55:15,200
Speaker 1: they came, they came completely different and honest and which

1034
00:55:15,880 --> 00:55:19,160
Speaker 1: it always seems to go back to that how honest

1035
00:55:19,200 --> 00:55:24,960
Speaker 1: are you? And how how real does it feel? And

1036
00:55:25,239 --> 00:55:27,840
Speaker 1: those those are the those are always the same ingredients

1037
00:55:27,840 --> 00:55:31,440
Speaker 1: and every kind of every genre of music, it's how

1038
00:55:31,480 --> 00:55:33,480
Speaker 1: real does it feel? Man? You did get on the

1039
00:55:33,560 --> 00:55:38,160
Speaker 1: Jazzy Bell remix though, Yeah, that's cussing on that thing. Well,

1040
00:55:38,200 --> 00:55:44,040
Speaker 1: you know, to straighten up your still applause you'll have

1041
00:55:44,080 --> 00:55:46,279
Speaker 1: to You'll have to play because I forget these things

1042
00:55:46,320 --> 00:55:50,239
Speaker 1: sometimes I do, like a lot of songs I do.

1043
00:55:51,400 --> 00:55:55,879
Speaker 1: I remember being at a concert, um, and I think

1044
00:55:55,960 --> 00:56:02,120
Speaker 1: Drew Hill was playing, and um, I heard some music,

1045
00:56:02,400 --> 00:56:05,200
Speaker 1: heard something that sounds from me here, and it was

1046
00:56:05,239 --> 00:56:07,719
Speaker 1: a couple of songs that they started playing, and I

1047
00:56:07,800 --> 00:56:11,080
Speaker 1: forgot that I had even written the songs. Wow. And

1048
00:56:11,880 --> 00:56:14,560
Speaker 1: so sometimes when certain things come on, I've it's been

1049
00:56:14,600 --> 00:56:16,319
Speaker 1: so much that I've done over the years, I really

1050
00:56:16,400 --> 00:56:19,879
Speaker 1: kind of forget that I even did them. And that's

1051
00:56:19,920 --> 00:56:24,160
Speaker 1: not trying to like I ain't trying to flex or anything.

1052
00:56:24,800 --> 00:56:27,880
Speaker 1: I'm just saying I when I do something, I do it,

1053
00:56:27,920 --> 00:56:30,200
Speaker 1: and then I'm done with it. It's like when I

1054
00:56:30,239 --> 00:56:33,319
Speaker 1: write something, I write it, then I forget, forget it.

1055
00:56:33,320 --> 00:56:36,439
Speaker 1: On the keyboard, I have to learn learn it all over.

1056
00:56:38,000 --> 00:56:41,400
Speaker 1: And fortunately I don't do really difficult chords most of

1057
00:56:41,400 --> 00:56:43,200
Speaker 1: the time, so I can usually figure it out again

1058
00:56:43,440 --> 00:56:46,160
Speaker 1: because I'm not really so much a piano player as it.

1059
00:56:46,200 --> 00:56:49,040
Speaker 1: And I played. I played to write songs, you know,

1060
00:56:49,520 --> 00:56:52,400
Speaker 1: and then once that's done, then I moved on and suffe.

1061
00:56:52,400 --> 00:56:53,879
Speaker 1: So how does it feel when you get calls from

1062
00:56:53,880 --> 00:56:56,719
Speaker 1: like little Wayne, have you on the song comfortable? Well,

1063
00:56:56,719 --> 00:57:01,200
Speaker 1: that kind of just happens, you know. We did that.

1064
00:57:01,440 --> 00:57:03,920
Speaker 1: I did the song with Kanye, did the course and

1065
00:57:03,960 --> 00:57:06,880
Speaker 1: everything and uh and then little Wayne found it and

1066
00:57:06,920 --> 00:57:09,640
Speaker 1: did it, so we weren't in the studio together. It

1067
00:57:09,680 --> 00:57:12,120
Speaker 1: was great too that he that he loved it and

1068
00:57:12,120 --> 00:57:14,960
Speaker 1: he didn't did it you know. So um, A lot

1069
00:57:15,000 --> 00:57:19,800
Speaker 1: of the a lot of the things that are things

1070
00:57:19,840 --> 00:57:22,080
Speaker 1: that are you know, attached with the hip hop. It's

1071
00:57:22,080 --> 00:57:24,919
Speaker 1: like either they find a song that sampled or something,

1072
00:57:25,680 --> 00:57:29,000
Speaker 1: you know. And that was one course I did. It

1073
00:57:29,080 --> 00:57:31,640
Speaker 1: was fun. I would probably do more if I got called,

1074
00:57:31,680 --> 00:57:35,439
Speaker 1: I'd probably do more courses. I love to win you, Yeah,

1075
00:57:35,440 --> 00:57:37,320
Speaker 1: for sure. I love when you were for real connected

1076
00:57:37,360 --> 00:57:39,080
Speaker 1: for their she goes it was like your first time

1077
00:57:39,120 --> 00:57:42,040
Speaker 1: really being produced by somebody, right. Yeah. That was And

1078
00:57:42,320 --> 00:57:45,000
Speaker 1: for Rell was I mean, Forrell was amazing and I

1079
00:57:45,120 --> 00:57:48,480
Speaker 1: was that was. I didn't mind going in there and

1080
00:57:48,480 --> 00:57:50,480
Speaker 1: doing that because I wanted it was a learning experience.

1081
00:57:50,520 --> 00:57:52,640
Speaker 1: I wanted to learn from him and see how he

1082
00:57:52,680 --> 00:57:55,640
Speaker 1: does what he does. I was amazed you know that

1083
00:57:56,360 --> 00:57:58,880
Speaker 1: what he did it from you know, and it just

1084
00:57:59,440 --> 00:58:03,320
Speaker 1: it just minded me of how you know, it doesn't

1085
00:58:03,320 --> 00:58:05,680
Speaker 1: really so much matter how how much equipment you have

1086
00:58:06,560 --> 00:58:09,440
Speaker 1: are whether you have everything in the the world where you

1087
00:58:09,480 --> 00:58:11,120
Speaker 1: can afford everything in the world, it's all about your

1088
00:58:11,160 --> 00:58:14,480
Speaker 1: creativity and what you can and and and how you

1089
00:58:14,520 --> 00:58:17,080
Speaker 1: hear things and what you can work with with what

1090
00:58:17,120 --> 00:58:21,680
Speaker 1: you got. And that was clearly a sign of like

1091
00:58:21,760 --> 00:58:24,240
Speaker 1: I knew that Pharrell was going to be, like he

1092
00:58:24,320 --> 00:58:26,240
Speaker 1: was already kind of big, but it was gonna be

1093
00:58:26,320 --> 00:58:29,520
Speaker 1: much bigger than it was. We had a conversation with

1094
00:58:29,640 --> 00:58:32,280
Speaker 1: baby Face Ray. Yeah, and then he told us that

1095
00:58:32,520 --> 00:58:34,880
Speaker 1: you guys had a conversation. Yeah, yeah, what was that

1096
00:58:35,080 --> 00:58:38,400
Speaker 1: initial in action? It was it was one of those

1097
00:58:38,440 --> 00:58:41,680
Speaker 1: interviews that you know, somebody said you should meet baby

1098
00:58:41,680 --> 00:58:44,520
Speaker 1: Face Ray and and and so we just kind of

1099
00:58:44,520 --> 00:58:48,760
Speaker 1: talked to each other. You know, he's from Detroit. Yeah,

1100
00:58:49,320 --> 00:58:51,080
Speaker 1: And I listened to his music and I listened to

1101
00:58:51,120 --> 00:58:53,479
Speaker 1: his vibe and you know, I like it, like laid

1102
00:58:53,480 --> 00:58:56,400
Speaker 1: back vib you know. Um. And I just talked to

1103
00:58:56,480 --> 00:58:59,640
Speaker 1: him about the music that he you know, that he writes,

1104
00:58:59,680 --> 00:59:04,200
Speaker 1: and and what is it about what inspires him? And

1105
00:59:04,760 --> 00:59:06,480
Speaker 1: it's the same thing that inspires us all and he

1106
00:59:06,560 --> 00:59:10,120
Speaker 1: just writes real stuff, you know, and real things that

1107
00:59:10,160 --> 00:59:13,760
Speaker 1: happened in his life, and you know, UM, it was

1108
00:59:13,880 --> 00:59:19,680
Speaker 1: very cool here from his perspective. UM, And once again,

1109
00:59:19,760 --> 00:59:23,439
Speaker 1: it's honest. And I think that. I think that whenever

1110
00:59:23,480 --> 00:59:27,480
Speaker 1: you're dealing with musicians and you're dealing with with artists, UM,

1111
00:59:27,520 --> 00:59:30,280
Speaker 1: there's always a connection that you can always make and

1112
00:59:30,720 --> 00:59:33,000
Speaker 1: even even in working together, you can always read the

1113
00:59:33,000 --> 00:59:35,520
Speaker 1: connection as long as there's honesty that's there. You know,

1114
00:59:36,360 --> 00:59:38,240
Speaker 1: you never know whether a big hit would come out

1115
00:59:38,280 --> 00:59:40,360
Speaker 1: of it, but at least you know the art's going

1116
00:59:40,440 --> 00:59:42,200
Speaker 1: to come out of it. Right. What do you make

1117
00:59:42,240 --> 00:59:44,800
Speaker 1: of this long standing connection to this? Can we talk record?

1118
00:59:44,800 --> 00:59:48,880
Speaker 1: It feels like that that's kind of become like, um,

1119
00:59:48,920 --> 00:59:51,880
Speaker 1: the biggest record in a different sense. Yes, how timeless

1120
00:59:51,920 --> 00:59:55,880
Speaker 1: has become. Yeah, time has been kind to Can we

1121
00:59:55,960 --> 01:00:01,080
Speaker 1: talk about UM? Shout out to he had Tevin? You

1122
01:00:01,120 --> 01:00:06,800
Speaker 1: know Tevin. You know we met Tevin right before he

1123
01:00:07,160 --> 01:00:11,640
Speaker 1: was signing, right when he signed with Quincy, so even

1124
01:00:11,680 --> 01:00:16,480
Speaker 1: before he actually sung Tomorrow, and he came to our studio.

1125
01:00:16,520 --> 01:00:20,800
Speaker 1: Bennie Medina brought him to the studio and U and

1126
01:00:20,880 --> 01:00:23,000
Speaker 1: brought him in and I think we were like, oh,

1127
01:00:23,040 --> 01:00:25,720
Speaker 1: we want him because he could he could sing, Because

1128
01:00:25,720 --> 01:00:29,000
Speaker 1: we asked him to sing a couple of things and

1129
01:00:29,080 --> 01:00:33,760
Speaker 1: what he's saying, he's he's uncle Rutha Franklin respect. Then

1130
01:00:33,760 --> 01:00:40,840
Speaker 1: he sung Superwoman yeah, and I'm like, whoa that voice?

1131
01:00:41,280 --> 01:00:45,919
Speaker 1: You know? And so it wasn't until obviously his next

1132
01:00:45,960 --> 01:00:50,280
Speaker 1: album a couple of years that where Quincy actually called

1133
01:00:50,320 --> 01:00:53,760
Speaker 1: me and said, I would love for you to write

1134
01:00:53,760 --> 01:00:57,440
Speaker 1: something for Tevin. And I had one song I had

1135
01:00:57,480 --> 01:01:02,720
Speaker 1: already written. I had written it in school, and uh

1136
01:01:02,760 --> 01:01:05,080
Speaker 1: so I just kind of like, because I've written on

1137
01:01:05,160 --> 01:01:07,240
Speaker 1: the guitar that I took it and rewrote into the

1138
01:01:07,280 --> 01:01:10,600
Speaker 1: song called I'm Ready Yeah. It was hard too, yeah,

1139
01:01:11,000 --> 01:01:14,440
Speaker 1: And so I recorded that first and sent that to

1140
01:01:14,480 --> 01:01:17,080
Speaker 1: him and Quincy loved it. Then he said I love it.

1141
01:01:17,440 --> 01:01:19,040
Speaker 1: Can you give me something else? I need a couple

1142
01:01:19,040 --> 01:01:21,680
Speaker 1: of other things. And that's when you know, I wrote

1143
01:01:22,200 --> 01:01:25,040
Speaker 1: a real can we talk with? Kevin had him in

1144
01:01:25,120 --> 01:01:28,320
Speaker 1: mind us got into the studio with another young new

1145
01:01:28,440 --> 01:01:31,560
Speaker 1: artist or Scissor. She's still knew, I don't know, but

1146
01:01:31,800 --> 01:01:34,760
Speaker 1: she's on top of the game right now, the game right,

1147
01:01:34,880 --> 01:01:38,320
Speaker 1: but snooze right that was supposed to be on it wasn't.

1148
01:01:38,720 --> 01:01:41,720
Speaker 1: There's still two songs Okay and there's there's another song

1149
01:01:42,160 --> 01:01:44,800
Speaker 1: that exists. I want to say the title, but um,

1150
01:01:44,840 --> 01:01:47,600
Speaker 1: but I hope that she will finish it. This a

1151
01:01:47,600 --> 01:01:49,280
Speaker 1: couple of things she could do. Finish it because they

1152
01:01:49,320 --> 01:01:51,560
Speaker 1: was supposed to be on a girl's night out right

1153
01:01:51,760 --> 01:01:55,920
Speaker 1: and and maybe she'll she'll grace us with that one

1154
01:01:56,000 --> 01:02:00,600
Speaker 1: day deluxe album or so. But um, yeah, this news

1155
01:02:00,680 --> 01:02:04,760
Speaker 1: was written there in Brandon's way and in two songs.

1156
01:02:04,800 --> 01:02:09,240
Speaker 1: She wrote two songs. Scissor is incredible. I've been around

1157
01:02:09,240 --> 01:02:10,800
Speaker 1: a lot of writers and a lot of artists, and

1158
01:02:10,880 --> 01:02:15,960
Speaker 1: to watch her work and and her how how unique

1159
01:02:15,960 --> 01:02:20,000
Speaker 1: she is in her own artistry, I just don't haven't

1160
01:02:20,000 --> 01:02:24,600
Speaker 1: seen that. UM. And she's serious about her craft with

1161
01:02:24,680 --> 01:02:29,040
Speaker 1: the songs very she's very serious and and she's uh,

1162
01:02:29,240 --> 01:02:32,440
Speaker 1: but she's an artist, she's you know, she's like also

1163
01:02:33,440 --> 01:02:39,320
Speaker 1: very um not always secure, I think, and which artists

1164
01:02:39,320 --> 01:02:42,000
Speaker 1: are like that can be like that many times. But

1165
01:02:42,040 --> 01:02:45,120
Speaker 1: she is uh because she's incredible. I don't think. I

1166
01:02:45,120 --> 01:02:47,880
Speaker 1: don't think she has any idea how incredible she is

1167
01:02:48,520 --> 01:02:52,120
Speaker 1: UM and how talented she is. UM. I think that

1168
01:02:52,200 --> 01:02:56,000
Speaker 1: she's uh, she's she's one of the best that I've seen.

1169
01:02:57,400 --> 01:02:59,480
Speaker 1: It's dope, like your connection to the newer generation, like

1170
01:02:59,560 --> 01:03:01,320
Speaker 1: it's sold happen in you know, with even with the

1171
01:03:01,360 --> 01:03:04,840
Speaker 1: album and like versus how that kind of reinvigorated the

1172
01:03:04,920 --> 01:03:07,480
Speaker 1: career and brought it to a new set of new

1173
01:03:07,520 --> 01:03:10,080
Speaker 1: set of generation, news set of eyes. Yeah, and he said,

1174
01:03:10,120 --> 01:03:12,560
Speaker 1: Andrea Rell cur and courage you to do Yeah, the

1175
01:03:13,040 --> 01:03:15,600
Speaker 1: versus what was your connection? Me and Andre had been

1176
01:03:16,000 --> 01:03:20,439
Speaker 1: friends for years. We connected just really but by him

1177
01:03:20,920 --> 01:03:25,400
Speaker 1: having Uptown and LaFace and we used to have discussions

1178
01:03:25,400 --> 01:03:29,480
Speaker 1: about who was going to be bigger Mary Jay and

1179
01:03:29,520 --> 01:03:34,640
Speaker 1: between Tony Braxon and he'd be like the real versus

1180
01:03:36,400 --> 01:03:38,000
Speaker 1: he was like it was all that back in the

1181
01:03:38,080 --> 01:03:40,600
Speaker 1: day man, and we were like the we were like

1182
01:03:40,640 --> 01:03:43,960
Speaker 1: the black excellence and he was he was he was

1183
01:03:44,000 --> 01:03:47,240
Speaker 1: all about the hood and that's in culture and you know,

1184
01:03:47,640 --> 01:03:49,920
Speaker 1: and so he respected what it was. And so we

1185
01:03:49,920 --> 01:03:53,600
Speaker 1: were like we weren't We weren't competitors. We would just

1186
01:03:53,600 --> 01:03:56,840
Speaker 1: talk about music. I would always talk with Andre, he

1187
01:03:56,960 --> 01:03:59,840
Speaker 1: was I would I played him the Excel album when

1188
01:03:59,840 --> 01:04:02,280
Speaker 1: I finished to get his get his opinion on it.

1189
01:04:02,320 --> 01:04:06,200
Speaker 1: And I played him the Mary J record when I

1190
01:04:06,240 --> 01:04:09,120
Speaker 1: finished it um to get his opinion because I was

1191
01:04:09,560 --> 01:04:12,800
Speaker 1: not gonna cry. I was very proud about it. And

1192
01:04:13,720 --> 01:04:16,520
Speaker 1: I remember sitting at the Four Seasons and my white

1193
01:04:16,760 --> 01:04:20,160
Speaker 1: range Rover playing for when he listened to it and

1194
01:04:20,440 --> 01:04:23,160
Speaker 1: he goes, nah, this ain't it. Wow. I said, what

1195
01:04:23,200 --> 01:04:25,880
Speaker 1: do you mean it's not it? He goes this, you

1196
01:04:25,920 --> 01:04:28,760
Speaker 1: know it's a nice record, but you know this ain't married.

1197
01:04:28,800 --> 01:04:32,600
Speaker 1: Mary's not this hip hop soul. She ain't old, She

1198
01:04:32,640 --> 01:04:34,480
Speaker 1: don't you know, she ain't got no kids. And let's

1199
01:04:34,480 --> 01:04:37,680
Speaker 1: just say this don't make no sense. It doesn't make

1200
01:04:37,680 --> 01:04:40,640
Speaker 1: sense to her story. And then I said, it's not

1201
01:04:40,680 --> 01:04:43,400
Speaker 1: supposed to make sense. It's for the movie. And I said,

1202
01:04:43,720 --> 01:04:47,000
Speaker 1: and Mary is the voice of everyone. You know that

1203
01:04:47,200 --> 01:04:50,160
Speaker 1: she's gonna she's speaking for more than just herselves. She's

1204
01:04:50,160 --> 01:04:54,160
Speaker 1: speaking for every woman that's ever been in this position.

1205
01:04:54,800 --> 01:04:59,520
Speaker 1: You know, I disagree, And uh, I was right, and

1206
01:04:59,600 --> 01:05:05,280
Speaker 1: you both. Secretari, Yeah, she didn't write that. I wrote that.

1207
01:05:07,120 --> 01:05:09,240
Speaker 1: She was like, you sure you want to say, Secretary? Yeah,

1208
01:05:09,280 --> 01:05:13,280
Speaker 1: secret Well, you mention like the way they excel soundtrack

1209
01:05:13,360 --> 01:05:16,240
Speaker 1: when you know you did, And so food contribute to

1210
01:05:16,280 --> 01:05:18,720
Speaker 1: the Bodyguard. Why do we have like movie soundtracks like

1211
01:05:18,800 --> 01:05:21,120
Speaker 1: that anymore? I just don't know that they connect the

1212
01:05:21,240 --> 01:05:25,800
Speaker 1: same way anymore. Music is completely different. Um. The way

1213
01:05:25,840 --> 01:05:31,840
Speaker 1: we consume musicum with the way we don't watch movies

1214
01:05:31,880 --> 01:05:34,760
Speaker 1: the same in music, you know, connects the same. It's

1215
01:05:35,320 --> 01:05:37,400
Speaker 1: it's it's just so much out there, so much more

1216
01:05:37,440 --> 01:05:40,160
Speaker 1: information out there that no one guides you any particular place,

1217
01:05:40,800 --> 01:05:43,520
Speaker 1: and so it's it's so much more individual at this

1218
01:05:43,640 --> 01:05:46,080
Speaker 1: particular point. I always kind of make this point where

1219
01:05:46,440 --> 01:05:48,880
Speaker 1: where you have like Kaylani, who's like out there selling

1220
01:05:49,040 --> 01:05:51,960
Speaker 1: arenas and you know she's not like doing big radio records.

1221
01:05:52,360 --> 01:05:54,640
Speaker 1: You don't need to, right because she's got her fan

1222
01:05:54,720 --> 01:05:57,400
Speaker 1: base and they love they know, they sing every word,

1223
01:05:58,240 --> 01:06:02,760
Speaker 1: and you know it is um is a pure sign

1224
01:06:02,800 --> 01:06:05,440
Speaker 1: of them where the artists can be in control and

1225
01:06:05,520 --> 01:06:07,600
Speaker 1: it's not about labels or anything. It's really about the

1226
01:06:07,720 --> 01:06:09,720
Speaker 1: artists at this point becoming more and more about that.

1227
01:06:10,400 --> 01:06:14,280
Speaker 1: And if you just happen to hit it, hit it right,

1228
01:06:14,720 --> 01:06:19,600
Speaker 1: you know, it's a different day. There are far more

1229
01:06:19,720 --> 01:06:21,560
Speaker 1: artists that are far more successful than they were in

1230
01:06:21,600 --> 01:06:26,400
Speaker 1: the nineties, that are making far more money for about

1231
01:06:26,800 --> 01:06:29,560
Speaker 1: things and they don't need the record company money. They

1232
01:06:29,600 --> 01:06:33,040
Speaker 1: don't need you know, those things, because they can make

1233
01:06:33,080 --> 01:06:35,240
Speaker 1: it so many other way. So The one thing about

1234
01:06:35,880 --> 01:06:40,520
Speaker 1: you know, um just you know, social media and everything,

1235
01:06:40,640 --> 01:06:44,760
Speaker 1: is that it's that it does. There are opportunities that

1236
01:06:44,920 --> 01:06:47,760
Speaker 1: come with it. It may hurt us in other ways,

1237
01:06:47,800 --> 01:06:50,520
Speaker 1: but to a lot of artists it's great. All right.

1238
01:06:50,760 --> 01:06:52,400
Speaker 1: What do you think about this recent trend with like

1239
01:06:52,440 --> 01:06:54,600
Speaker 1: a lot of your peers selling their catalogs. I know,

1240
01:06:54,880 --> 01:06:56,560
Speaker 1: La read so it is a few years ago. I

1241
01:06:56,680 --> 01:06:58,240
Speaker 1: think if you can get the right dollars for it,

1242
01:06:58,320 --> 01:07:01,840
Speaker 1: then yeah, you do it. You know, Um, we're in

1243
01:07:01,920 --> 01:07:06,080
Speaker 1: a crazy times. We don't know what what's coming. And

1244
01:07:06,240 --> 01:07:07,760
Speaker 1: then if you if you get the right number and

1245
01:07:07,800 --> 01:07:09,360
Speaker 1: makes sense in your life, then I don't I don't

1246
01:07:09,400 --> 01:07:12,720
Speaker 1: think it's it's terrible. Some people will not sell it,

1247
01:07:12,800 --> 01:07:16,560
Speaker 1: and some people will, you know, so you could write

1248
01:07:16,600 --> 01:07:20,439
Speaker 1: more song, especially those that are young enough to where

1249
01:07:20,480 --> 01:07:22,760
Speaker 1: they can keep on, stay in the game and just

1250
01:07:23,360 --> 01:07:26,240
Speaker 1: do it over again. It's not something that you're opposed. No, no,

1251
01:07:26,320 --> 01:07:30,760
Speaker 1: why would impost to somebody making money? You know, all right?

1252
01:07:30,840 --> 01:07:34,680
Speaker 1: Someone buying something? Who I did? We we built the

1253
01:07:34,760 --> 01:07:37,520
Speaker 1: face to sell it, you know, we're One of my

1254
01:07:37,600 --> 01:07:40,800
Speaker 1: earliest experiences with your song was on an old school

1255
01:07:40,920 --> 01:07:46,160
Speaker 1: uh medium TV on Family Matters. Remember get cool. Yeah,

1256
01:07:46,200 --> 01:07:47,720
Speaker 1: I know, and it seems like on social media so

1257
01:07:47,920 --> 01:07:49,280
Speaker 1: kind of taking on the life of his own that

1258
01:07:49,360 --> 01:07:53,800
Speaker 1: particular song. Yeah, I didn't. I didn't see that to

1259
01:07:53,960 --> 01:07:57,200
Speaker 1: wait to after it had been done. In the time

1260
01:07:57,280 --> 01:07:59,640
Speaker 1: that happened, I had no idea that it happened. So

1261
01:08:00,160 --> 01:08:03,280
Speaker 1: that's crazy. Um. I mean there are there are certain

1262
01:08:03,360 --> 01:08:06,280
Speaker 1: moments like that that you remember in TV that that

1263
01:08:06,480 --> 01:08:09,120
Speaker 1: used to be powerful. I mean I did the uh

1264
01:08:09,360 --> 01:08:14,160
Speaker 1: you are so beautiful uh um Martin and Gina's wedding,

1265
01:08:14,480 --> 01:08:18,040
Speaker 1: that's right. Oh yeah, yes, and many times I would

1266
01:08:18,080 --> 01:08:21,040
Speaker 1: be asked to seeing you are so beautiful people's wedding.

1267
01:08:24,600 --> 01:08:29,519
Speaker 1: That's tsion. But yeah, there there have always been moments

1268
01:08:29,600 --> 01:08:32,680
Speaker 1: like that, you know that we don't feel the same

1269
01:08:32,720 --> 01:08:37,559
Speaker 1: way anymore because television is such a you know, everybody's

1270
01:08:37,600 --> 01:08:41,400
Speaker 1: looking for a viral moment and U you can't. You

1271
01:08:41,479 --> 01:08:44,519
Speaker 1: can't create them. Yeah, that's the one thing that's and

1272
01:08:44,680 --> 01:08:47,040
Speaker 1: I think that's the good thing, because you can kind

1273
01:08:47,040 --> 01:08:49,080
Speaker 1: of create it, then we're all in trouble, you know.

1274
01:08:49,479 --> 01:08:52,880
Speaker 1: So it keeps it, It keeps us guessing, you know,

1275
01:08:53,280 --> 01:08:55,960
Speaker 1: keeps it honest. Yeah, are you gonna recreate the magic?

1276
01:08:56,040 --> 01:08:59,000
Speaker 1: You Madonna? Hers. She's going on tour this year. I

1277
01:08:59,080 --> 01:09:02,960
Speaker 1: don't know when when Men and mcdonnad did that song

1278
01:09:03,280 --> 01:09:04,880
Speaker 1: take About It was another one of those songs that

1279
01:09:05,960 --> 01:09:13,320
Speaker 1: was not a traditional McDonald's song. Did very well. Um

1280
01:09:14,200 --> 01:09:17,439
Speaker 1: we got actually one of the American music word for it. Yeah,

1281
01:09:17,760 --> 01:09:22,080
Speaker 1: and it was crazy when we performed it on that show.

1282
01:09:22,120 --> 01:09:25,360
Speaker 1: And I remember being so nervous and because I had

1283
01:09:25,360 --> 01:09:27,639
Speaker 1: on some really white pants, my leg was like shaking

1284
01:09:27,720 --> 01:09:31,280
Speaker 1: like that. It's on YouTube. Yeah, well you won't see

1285
01:09:31,320 --> 01:09:35,519
Speaker 1: that leg ship, but the leg was shaken. And I

1286
01:09:35,640 --> 01:09:40,200
Speaker 1: remember coming off the stage and saying to her, I

1287
01:09:40,320 --> 01:09:42,479
Speaker 1: was so nervous, and she said I was so nervous too,

1288
01:09:43,080 --> 01:09:47,439
Speaker 1: And that hit me like, WHOA mcdonnad's nervous, because it

1289
01:09:47,680 --> 01:09:51,439
Speaker 1: was just a different kind of It's so different experience,

1290
01:09:51,479 --> 01:09:54,280
Speaker 1: and to this day I can't The one thing I'll

1291
01:09:54,280 --> 01:09:58,120
Speaker 1: say is that these moments that happened, that passed you by,

1292
01:09:58,320 --> 01:10:04,840
Speaker 1: you almost don't realize that even happens. The one thing,

1293
01:10:06,320 --> 01:10:08,280
Speaker 1: the one thing that I can say about as it

1294
01:10:08,360 --> 01:10:12,720
Speaker 1: relates to the amount of the catalog that that I

1295
01:10:12,840 --> 01:10:15,840
Speaker 1: have in terms of all the songs I've written, is

1296
01:10:15,880 --> 01:10:20,160
Speaker 1: that I was never stopping to say, to smell the

1297
01:10:20,200 --> 01:10:24,160
Speaker 1: flowers or smell the success. I was like, okay, did this, Okay,

1298
01:10:24,280 --> 01:10:29,360
Speaker 1: now go back and work more. And so I was

1299
01:10:29,439 --> 01:10:33,320
Speaker 1: working throughout at the high points when when it seems

1300
01:10:33,320 --> 01:10:36,200
Speaker 1: like it every week was like a you know, top

1301
01:10:36,280 --> 01:10:39,320
Speaker 1: ten song or whatever like that, I wasn't. I wasn't

1302
01:10:39,400 --> 01:10:42,600
Speaker 1: focused on anything, but just still just the music and

1303
01:10:42,680 --> 01:10:44,760
Speaker 1: not so much like I want to get another top ten,

1304
01:10:44,800 --> 01:10:47,200
Speaker 1: I want to get this. It's just it was writing

1305
01:10:47,680 --> 01:10:52,560
Speaker 1: for writing's sake and enjoying that process. So when I

1306
01:10:53,320 --> 01:10:56,800
Speaker 1: remember when I see things where I see me on

1307
01:10:56,880 --> 01:11:00,600
Speaker 1: the American Music Wards with Madonna, are performing Change the

1308
01:11:00,680 --> 01:11:07,080
Speaker 1: World with Eric Clapton on the Grammys, those those memories

1309
01:11:07,080 --> 01:11:11,000
Speaker 1: aren't clear as the memories that I have for growing

1310
01:11:11,120 --> 01:11:16,040
Speaker 1: up and and working towards doing all of this. Once

1311
01:11:16,080 --> 01:11:18,200
Speaker 1: you got in, Once I got into it, then that's

1312
01:11:18,240 --> 01:11:21,439
Speaker 1: all I was doing. But the years prior to it,

1313
01:11:22,560 --> 01:11:27,360
Speaker 1: um the deal years, and which I would say, those

1314
01:11:28,400 --> 01:11:30,840
Speaker 1: really fun times with with with the band and stuff

1315
01:11:30,840 --> 01:11:33,559
Speaker 1: like that. That stuff I can clear memories and clear

1316
01:11:33,640 --> 01:11:36,400
Speaker 1: stories that come from it, but not so much with

1317
01:11:36,560 --> 01:11:40,080
Speaker 1: the um when I've got when I really got with

1318
01:11:40,160 --> 01:11:42,960
Speaker 1: the really big artists, not as clear because I was

1319
01:11:42,960 --> 01:11:47,840
Speaker 1: still in work. Moth n what else can we look

1320
01:11:47,840 --> 01:11:51,800
Speaker 1: for it for to this? You know, Um, I'm just uh,

1321
01:11:52,920 --> 01:11:56,080
Speaker 1: we're actually trying to put together a deluxe album for

1322
01:11:56,240 --> 01:12:00,080
Speaker 1: Girls Night Out as well, and and I think that

1323
01:12:01,040 --> 01:12:03,559
Speaker 1: I'll be out touring as well and just look at

1324
01:12:03,640 --> 01:12:05,960
Speaker 1: some other kind of projects that you know, there's a

1325
01:12:06,000 --> 01:12:08,519
Speaker 1: lot of people that have been hitting me about doing

1326
01:12:08,600 --> 01:12:12,160
Speaker 1: some work, which is which is fun, and so I'll

1327
01:12:12,160 --> 01:12:14,560
Speaker 1: figure out what things I want to do and just

1328
01:12:14,680 --> 01:12:16,680
Speaker 1: kind of keep doing doing the same thing in it.

1329
01:12:17,560 --> 01:12:20,840
Speaker 1: That's the that's my blessing is that I'm that I'm

1330
01:12:20,840 --> 01:12:23,040
Speaker 1: able to at least do it. You know, people are

1331
01:12:23,080 --> 01:12:25,960
Speaker 1: still interested, you know, right, so we're still interested in

1332
01:12:26,040 --> 01:12:27,640
Speaker 1: the music. But before we get out of here, what

1333
01:12:27,720 --> 01:12:32,040
Speaker 1: are the five baby Face essentials? I know it's difficult essential,

1334
01:12:32,200 --> 01:12:40,640
Speaker 1: it's essentials. Like there's too many songs and that's not

1335
01:12:40,720 --> 01:12:46,200
Speaker 1: me trying to flex um, but there there are so

1336
01:12:46,320 --> 01:12:49,000
Speaker 1: many moments and and there's probably songs that you know

1337
01:12:50,880 --> 01:12:53,479
Speaker 1: that weren't necessarily big songs, but things that you know,

1338
01:12:53,680 --> 01:12:57,760
Speaker 1: kind of touch me. And um AT's while working with it.

1339
01:12:57,800 --> 01:12:59,800
Speaker 1: Read the Franklin That's why I'll read the Franklin like

1340
01:13:00,360 --> 01:13:04,240
Speaker 1: that hurts like hell on the Excel thing. That's like

1341
01:13:05,360 --> 01:13:07,479
Speaker 1: one of my favorites. And that's the number one in

1342
01:13:07,560 --> 01:13:10,200
Speaker 1: your heart. Yeah, because the way she performed it and

1343
01:13:10,880 --> 01:13:13,360
Speaker 1: and um, because she just came in and just killed

1344
01:13:13,439 --> 01:13:16,320
Speaker 1: that thing, and that was a special that's a special moment,

1345
01:13:16,360 --> 01:13:21,120
Speaker 1: a special memory. Doing the XCEL project gets it's a

1346
01:13:21,160 --> 01:13:23,200
Speaker 1: little cloudy in terms of some some of the details

1347
01:13:23,240 --> 01:13:25,880
Speaker 1: with certain things stick out. Working with shot Guy, working

1348
01:13:25,960 --> 01:13:33,200
Speaker 1: with UM, with Patty LaBelle, Um, because working with Brandy,

1349
01:13:33,720 --> 01:13:37,720
Speaker 1: when I worked my classic because those were like done

1350
01:13:37,760 --> 01:13:42,360
Speaker 1: in my house, Um on what the street was that

1351
01:13:44,840 --> 01:13:49,120
Speaker 1: let's get the street, the street, I'm spacing the street

1352
01:13:49,200 --> 01:13:53,240
Speaker 1: right now. It wasn't Carrollwood. Um, there's a little house

1353
01:13:53,320 --> 01:13:55,280
Speaker 1: that I had. And so the studio was in back

1354
01:13:55,320 --> 01:13:58,439
Speaker 1: of the kitchen. There was a kitchen and then had

1355
01:13:58,439 --> 01:14:01,320
Speaker 1: a little studio in the back. And so I mean

1356
01:14:01,400 --> 01:14:03,600
Speaker 1: Patty would come walk through the kitchen, she's she's like

1357
01:14:03,800 --> 01:14:06,160
Speaker 1: I might cook something for her, come in there, and

1358
01:14:07,400 --> 01:14:11,160
Speaker 1: and then and everybody came in there. So because that

1359
01:14:11,320 --> 01:14:13,360
Speaker 1: that whole time period, I had Madonna coming in there,

1360
01:14:13,360 --> 01:14:16,360
Speaker 1: I had Whitney coming there. We did we wrote come

1361
01:14:16,400 --> 01:14:20,479
Speaker 1: on me there had uh, Brandy came in there, and

1362
01:14:20,560 --> 01:14:26,000
Speaker 1: Brandy like, you know, I listened to Brandy prior to it,

1363
01:14:26,120 --> 01:14:29,240
Speaker 1: and I, you know, wrote the song specifically for her

1364
01:14:29,880 --> 01:14:31,560
Speaker 1: in the in the movie. But the thing when she

1365
01:14:31,720 --> 01:14:39,400
Speaker 1: came in and started singing, I was like, yeah, my

1366
01:14:39,520 --> 01:14:41,479
Speaker 1: mouth was just wide open. I couldn't not believe in.

1367
01:14:41,520 --> 01:14:44,479
Speaker 1: Then she did the harmonies and I was like, it

1368
01:14:44,720 --> 01:14:51,160
Speaker 1: was just unbelievable. Brandy is I think she's one of

1369
01:14:51,200 --> 01:14:56,280
Speaker 1: the most underrated singers. Let's say all time. The voice

1370
01:14:56,360 --> 01:15:03,519
Speaker 1: she is incredible, um and that voice is just it's um,

1371
01:15:03,880 --> 01:15:06,800
Speaker 1: it's glorious. And I was I couldn't believe it. When

1372
01:15:06,840 --> 01:15:08,840
Speaker 1: I did that did that song with her, I was

1373
01:15:08,880 --> 01:15:10,680
Speaker 1: like so happy, you know, when she was doing it.

1374
01:15:11,120 --> 01:15:13,320
Speaker 1: And it's not like I was thinking, oh, this is

1375
01:15:13,320 --> 01:15:14,880
Speaker 1: a hit or something like that. I was just thinking,

1376
01:15:15,600 --> 01:15:18,280
Speaker 1: this just sounds so good and feels so good. And

1377
01:15:20,160 --> 01:15:23,080
Speaker 1: and so when that whole project was done, you know,

1378
01:15:24,720 --> 01:15:27,160
Speaker 1: and I turned it in. That's the first time I

1379
01:15:27,280 --> 01:15:29,599
Speaker 1: turned something into cloud where he had no notes. Wow.

1380
01:15:30,000 --> 01:15:34,960
Speaker 1: Yeah yeah, perfect school, perfect school for a score. Yah.

1381
01:15:35,520 --> 01:15:39,840
Speaker 1: It was so yeah. So that whole project was incredible,

1382
01:15:39,960 --> 01:15:44,320
Speaker 1: and working with a number of those artists that made

1383
01:15:44,320 --> 01:15:47,080
Speaker 1: it made it fun. And Mary j you know, went

1384
01:15:47,160 --> 01:15:48,760
Speaker 1: to New York and working with her and I was like,

1385
01:15:49,280 --> 01:15:54,080
Speaker 1: she's like mister face, that's what she calling And Whitney

1386
01:15:54,080 --> 01:15:57,960
Speaker 1: approved it. So yeah, Whitney was she was down for

1387
01:15:58,080 --> 01:16:01,760
Speaker 1: Mary for sure. A couple of people she wasn't down for.

1388
01:16:05,320 --> 01:16:09,040
Speaker 1: It seems working like that as well with Beyonce. When

1389
01:16:09,240 --> 01:16:12,320
Speaker 1: when I worked with Beyonce that was in New York, um,

1390
01:16:13,200 --> 01:16:15,479
Speaker 1: and it was Beyonce would come in the room but

1391
01:16:15,960 --> 01:16:18,439
Speaker 1: just kind of writing music. I didn't I work with

1392
01:16:18,560 --> 01:16:22,559
Speaker 1: Beyonce through working with Stargate before and then end up

1393
01:16:22,880 --> 01:16:25,880
Speaker 1: doing it you know myself. She would come in the room,

1394
01:16:26,600 --> 01:16:28,560
Speaker 1: she'd come and check out what what it was, what

1395
01:16:28,720 --> 01:16:32,360
Speaker 1: we had written, and then she would um walk out

1396
01:16:32,400 --> 01:16:34,680
Speaker 1: and say see whether she liked or not. And then

1397
01:16:34,720 --> 01:16:36,600
Speaker 1: I'd hand it to her and she liked something that

1398
01:16:36,680 --> 01:16:38,479
Speaker 1: she'd taken. She go singing, then come back and then

1399
01:16:38,520 --> 01:16:42,320
Speaker 1: we do it that way. Beyonce is another one of

1400
01:16:42,360 --> 01:16:46,760
Speaker 1: those artists who best way to say, is Beyonce, UM,

1401
01:16:48,479 --> 01:16:53,680
Speaker 1: what a voice when an artistry? UM. I'm proud of

1402
01:16:54,720 --> 01:16:59,120
Speaker 1: who she has become. I'm proud of how she carries

1403
01:17:00,080 --> 01:17:07,200
Speaker 1: her her stardom, her um being the queen. Um, I'm

1404
01:17:07,280 --> 01:17:10,280
Speaker 1: proud of who she who she ultimately became. I mean,

1405
01:17:10,360 --> 01:17:13,320
Speaker 1: you know, um, it's not a secret. But Darryl Simmons

1406
01:17:13,720 --> 01:17:18,200
Speaker 1: he actually found it when they were kids and he

1407
01:17:18,280 --> 01:17:21,920
Speaker 1: had signed them up. So it's it's fun to see

1408
01:17:22,080 --> 01:17:25,479
Speaker 1: where this little girl and I hadn't met him then,

1409
01:17:26,000 --> 01:17:31,760
Speaker 1: you know, but it's it's great to see where her

1410
01:17:31,840 --> 01:17:36,920
Speaker 1: story and her journey and jay Z and his journey

1411
01:17:37,000 --> 01:17:39,600
Speaker 1: and where they ever become. You know, they're they're the

1412
01:17:39,680 --> 01:17:43,519
Speaker 1: king and queen, you know, and I'm proud of them.

1413
01:17:43,760 --> 01:17:46,320
Speaker 1: You know. Yeah. My last thing is I was just

1414
01:17:46,439 --> 01:17:48,080
Speaker 1: thinking you were saying how two occasions was kind of

1415
01:17:48,120 --> 01:17:50,120
Speaker 1: like the birth of baby Face. I feel like something

1416
01:17:50,160 --> 01:17:52,559
Speaker 1: about when when can I see you? Oh you're going

1417
01:17:52,600 --> 01:17:54,840
Speaker 1: out the guitar Like that was more like this, that's

1418
01:17:54,880 --> 01:17:58,240
Speaker 1: the baby Face. Oh baby Face is a superstar? Like yeah,

1419
01:17:58,960 --> 01:18:02,960
Speaker 1: that was that was a continuation. It was because I

1420
01:18:03,040 --> 01:18:05,400
Speaker 1: wanted to go back to I wanted to go back

1421
01:18:05,400 --> 01:18:09,080
Speaker 1: to where it started because I started playing acoustic guitar

1422
01:18:10,000 --> 01:18:13,920
Speaker 1: and that was where I wanted to I wondered if

1423
01:18:13,960 --> 01:18:16,840
Speaker 1: that could work. Yeah, you know, you think of how

1424
01:18:16,880 --> 01:18:20,360
Speaker 1: afford the cooling You sounds and that sounds the same album, right,

1425
01:18:21,040 --> 01:18:23,320
Speaker 1: So that was I'm glad that it I'm glad that

1426
01:18:23,400 --> 01:18:26,719
Speaker 1: it did work because it allowed me to well, actually,

1427
01:18:28,040 --> 01:18:30,439
Speaker 1: it's because of when Can I See You? That I

1428
01:18:30,560 --> 01:18:35,640
Speaker 1: worked with mcdonna. Madonna she loved that song, because of

1429
01:18:35,680 --> 01:18:37,080
Speaker 1: When Can I See You? That I were with their

1430
01:18:37,120 --> 01:18:40,479
Speaker 1: Clepton because they loved that song. He loved that song

1431
01:18:40,520 --> 01:18:44,400
Speaker 1: as well. So, um, that was a great decision for

1432
01:18:44,520 --> 01:18:46,880
Speaker 1: me to pull out the acoustic guitar and show that

1433
01:18:47,080 --> 01:18:54,519
Speaker 1: and show that side of me, you know, and all

1434
01:18:54,560 --> 01:18:56,479
Speaker 1: that Teddy. I just knew there was nothing I was

1435
01:18:56,520 --> 01:18:59,640
Speaker 1: gonna be able to battle with when he when he

1436
01:18:59,720 --> 01:19:05,120
Speaker 1: played that, Um that remix last one, Yeah, yeah, it's

1437
01:19:05,160 --> 01:19:09,479
Speaker 1: like two gonna be how you how are you gonna beat? That?

1438
01:19:10,000 --> 01:19:12,080
Speaker 1: Was that fun? Looking back on it, I knew the

1439
01:19:12,160 --> 01:19:14,280
Speaker 1: first like you didn't really know what you were getting into,

1440
01:19:14,400 --> 01:19:15,960
Speaker 1: Like getting back out of that, how do you feel

1441
01:19:15,960 --> 01:19:19,320
Speaker 1: about the whole I was nervous as hell throughout it, um,

1442
01:19:20,240 --> 01:19:27,000
Speaker 1: and it was it was difficult to sit there and um,

1443
01:19:29,439 --> 01:19:35,240
Speaker 1: look at a camera, uh yeah and act like that

1444
01:19:35,439 --> 01:19:38,640
Speaker 1: that ain't me. So I was so so it was

1445
01:19:38,680 --> 01:19:41,120
Speaker 1: weird and it was weird to be nervous about it

1446
01:19:41,200 --> 01:19:43,880
Speaker 1: when you when it's just the camera, you know, at

1447
01:19:43,960 --> 01:19:47,400
Speaker 1: the same time, but it was it was a moment

1448
01:19:48,280 --> 01:19:52,280
Speaker 1: and it um I think because of that moment, it's

1449
01:19:52,360 --> 01:19:55,120
Speaker 1: kind of changed my life. Yeah, and reminder important you

1450
01:19:55,200 --> 01:20:00,720
Speaker 1: all to us and more contributions to come. Thank you absolutely,

1451
01:20:00,880 --> 01:20:03,240
Speaker 1: legend baby face. Did you coin the term tenderroni? We

1452
01:20:03,320 --> 01:20:05,479
Speaker 1: went to debating that before you came. No, no, no, no, no.

1453
01:20:06,160 --> 01:20:10,160
Speaker 1: TENDERRONI was It was a it was a term that

1454
01:20:11,000 --> 01:20:16,160
Speaker 1: that existed, the Tenderni song, I'll do that, We'll do

1455
01:20:16,240 --> 01:20:18,920
Speaker 1: the last. I think we'll finishing with it. How did

1456
01:20:18,960 --> 01:20:23,360
Speaker 1: Tenderroni happened? So we were in the deal, we were

1457
01:20:23,439 --> 01:20:25,760
Speaker 1: down in Miami and for some reason they didn't let

1458
01:20:25,840 --> 01:20:30,080
Speaker 1: us on the show in Miami. We were hurt. Yeah,

1459
01:20:30,120 --> 01:20:32,719
Speaker 1: we were destroyed. And I think they tried to book

1460
01:20:32,760 --> 01:20:36,519
Speaker 1: us at some little skating rink the same night because

1461
01:20:36,520 --> 01:20:40,080
Speaker 1: it wasn't nobody in there. So we got in the

1462
01:20:40,160 --> 01:20:42,920
Speaker 1: bus and we had our tour bus and we parked

1463
01:20:42,960 --> 01:20:46,679
Speaker 1: outside of the concert Wow, so that way we could

1464
01:20:46,680 --> 01:20:49,800
Speaker 1: pick up girls when they came out, you know. And

1465
01:20:49,920 --> 01:20:52,880
Speaker 1: so we had d stan in front of the bus

1466
01:20:52,920 --> 01:20:55,720
Speaker 1: because he was like the good looking guy and he

1467
01:20:55,840 --> 01:20:57,400
Speaker 1: stood out and he said, hey, you know, we have

1468
01:20:57,479 --> 01:20:59,840
Speaker 1: a little after party at at our hotel. And they got,

1469
01:21:00,000 --> 01:21:01,600
Speaker 1: oh yeah, we the deal. We're supposed to be on

1470
01:21:01,640 --> 01:21:07,800
Speaker 1: the show. But you know, honesty, something happens. And then

1471
01:21:08,360 --> 01:21:13,400
Speaker 1: so all these people, these girls came by, and there's

1472
01:21:13,439 --> 01:21:17,679
Speaker 1: one girl in particular that came on the bus and nice,

1473
01:21:18,640 --> 01:21:20,760
Speaker 1: sweet girl, and she gets on the bus and she

1474
01:21:22,600 --> 01:21:26,240
Speaker 1: d invites them all. So I'm sitting downstairs waiting for her,

1475
01:21:27,160 --> 01:21:30,240
Speaker 1: and I have to sit and wait because Darryl Simmons

1476
01:21:30,320 --> 01:21:33,760
Speaker 1: has got somebody in the room. We were sharing rooms.

1477
01:21:33,840 --> 01:21:37,120
Speaker 1: He said, give me some time, so I gave him time.

1478
01:21:37,439 --> 01:21:39,519
Speaker 1: So I'm sitting downstairs and this one girl comes in.

1479
01:21:40,080 --> 01:21:44,519
Speaker 1: She sits down and she's like talking to me and nice.

1480
01:21:44,520 --> 01:21:46,280
Speaker 1: We're having a nice conversation. I was a nice guy.

1481
01:21:46,280 --> 01:21:50,880
Speaker 1: I didn't do anything. So as we're talking, d comes

1482
01:21:50,920 --> 01:21:56,240
Speaker 1: downstairs and grabs her real quick. And when he grabs her,

1483
01:21:57,760 --> 01:22:01,040
Speaker 1: takes her upstairs immediately, and I'm like sitting there by myself.

1484
01:22:01,200 --> 01:22:04,000
Speaker 1: About ten minutes later, she comes down. He goes, I

1485
01:22:04,160 --> 01:22:06,840
Speaker 1: can't believe it. You know, he like, you know, he said,

1486
01:22:06,920 --> 01:22:08,680
Speaker 1: you know, start tried to kiss me and stuff, and

1487
01:22:09,439 --> 01:22:12,560
Speaker 1: I said. She went to his room and said, you

1488
01:22:12,640 --> 01:22:15,040
Speaker 1: know you like that you came here and like, you know,

1489
01:22:15,160 --> 01:22:17,559
Speaker 1: not like that was cool, but you know, you shouldn't

1490
01:22:17,560 --> 01:22:21,479
Speaker 1: have shouldn't have done that, she said. So she goes, yeah, yeah, yeah, right,

1491
01:22:21,479 --> 01:22:23,360
Speaker 1: and stuff like. So we're sitting there talking and stuff,

1492
01:22:23,360 --> 01:22:29,439
Speaker 1: and then we end up going I get tired. Finally

1493
01:22:29,520 --> 01:22:31,360
Speaker 1: Darryl comes out. So I get tired, so I go

1494
01:22:31,520 --> 01:22:33,000
Speaker 1: up to my room and saying I'm sorry, I'm tired.

1495
01:22:33,000 --> 01:22:34,000
Speaker 1: I got to go to the room, and she says,

1496
01:22:34,120 --> 01:22:36,240
Speaker 1: can I go up to your room with you? I

1497
01:22:36,360 --> 01:22:40,599
Speaker 1: said okay, So she walks up. We talk. She invites

1498
01:22:40,640 --> 01:22:42,360
Speaker 1: me to go out the next day and see the city.

1499
01:22:43,320 --> 01:22:45,920
Speaker 1: And then finally her friend was leaving because her friend

1500
01:22:46,000 --> 01:22:48,800
Speaker 1: was seeing Carlos the thing. So they start to walk

1501
01:22:48,840 --> 01:22:53,120
Speaker 1: out of the building and as I walk her downstairs.

1502
01:22:53,200 --> 01:22:55,400
Speaker 1: As I'm walking her downstairs, d walks out and sees

1503
01:22:55,479 --> 01:22:59,120
Speaker 1: me walking with her and goes, this ain't cool because

1504
01:22:59,120 --> 01:23:02,960
Speaker 1: it's a Jacobi and Jacoby was back in the days

1505
01:23:03,040 --> 01:23:05,640
Speaker 1: when you're in a band, you watch you spend all

1506
01:23:05,680 --> 01:23:08,120
Speaker 1: your time watching all my children. And there was a

1507
01:23:08,200 --> 01:23:11,080
Speaker 1: character called Steve Jacoby and he was still and Everybody's girl.

1508
01:23:11,640 --> 01:23:16,360
Speaker 1: So the term was Jacoby Jacoby and like this, this

1509
01:23:16,600 --> 01:23:18,519
Speaker 1: is this is just getting too far. We gotta have

1510
01:23:18,600 --> 01:23:22,160
Speaker 1: a meeting. So we had a group meeting about Jacoby's.

1511
01:23:23,080 --> 01:23:26,560
Speaker 1: I was being accused of pulling a Jacoby. And so

1512
01:23:27,760 --> 01:23:30,960
Speaker 1: we were sitting there in this meeting, and he was saying,

1513
01:23:31,040 --> 01:23:35,640
Speaker 1: you know, it's this Jacoby. Stuff's gotta stop because you know,

1514
01:23:36,360 --> 01:23:39,320
Speaker 1: you know, face was up there, you know, with her

1515
01:23:39,439 --> 01:23:42,600
Speaker 1: and and and and I had pulled the girl and this.

1516
01:23:42,880 --> 01:23:44,519
Speaker 1: I said, wait a minute, no, no, no, this was

1517
01:23:44,960 --> 01:23:47,479
Speaker 1: this was not a Jacoby. You know, first of all,

1518
01:23:48,200 --> 01:23:52,320
Speaker 1: she was a Roni. And and the truth about a Roni,

1519
01:23:52,520 --> 01:23:54,280
Speaker 1: she's a sweet old girl and if you treat him right.

1520
01:23:54,800 --> 01:23:56,720
Speaker 1: And I saw that these lyrics. Was kind of hit

1521
01:23:56,840 --> 01:24:01,880
Speaker 1: me right at that moment. Wow, and so um, I

1522
01:24:02,080 --> 01:24:05,040
Speaker 1: immediately I wouldn't even baby face then, I was just kinny.

1523
01:24:05,560 --> 01:24:08,840
Speaker 1: And so I immediately after that meeting, I went to

1524
01:24:09,040 --> 01:24:14,080
Speaker 1: my room and wrote to Darroni. Um. And that was

1525
01:24:14,160 --> 01:24:17,040
Speaker 1: in like eighty two eighty three. That song did not

1526
01:24:17,160 --> 01:24:21,840
Speaker 1: get to Bobby Brown too, yay, wow, So and it

1527
01:24:21,920 --> 01:24:25,720
Speaker 1: stuck around that long. So so and so the word

1528
01:24:25,800 --> 01:24:31,599
Speaker 1: to Darroni it started way back then lasted and then

1529
01:24:31,720 --> 01:24:36,639
Speaker 1: RONI and then so I remember Keevin Campbell saying because

1530
01:24:36,680 --> 01:24:39,639
Speaker 1: when he said, when we say Roni and can we talk,

1531
01:24:39,720 --> 01:24:41,600
Speaker 1: he says, that's that works too old. Nobody want to

1532
01:24:41,760 --> 01:24:44,760
Speaker 1: I want to say that as I trust me it'll

1533
01:24:44,760 --> 01:24:48,640
Speaker 1: still work it. So never you gott anke a song

1534
01:24:48,640 --> 01:24:54,120
Speaker 1: about Jacoby's Jacoby, I know that's a that's a funny thing. Jacoby.

1535
01:24:54,160 --> 01:24:58,479
Speaker 1: Will you alleger face, thank you. I appreciate you guys, Yes, sir.

1536
01:24:58,720 --> 01:25:03,120
Speaker 1: Rapper On podcast Yeah. Rapperator is an Interval Presents original

1537
01:25:03,160 --> 01:25:06,919
Speaker 1: production from Hyperhouse, produced by Laura Wasser, Hosts and producers

1538
01:25:07,000 --> 01:25:10,200
Speaker 1: Elliot Wilson and Brian b. Dot Miller From Interval Presents

1539
01:25:10,560 --> 01:25:16,000
Speaker 1: executive producers Alan Coy and Jake Kleinberg, Executive producer Paul Rosenberg,

1540
01:25:16,280 --> 01:25:20,000
Speaker 1: editing his sound design by Dylan Alexander Freeman, Recording engineer

1541
01:25:20,280 --> 01:25:24,280
Speaker 1: Brian Curley. Special thanks to Chard Jenkins, Tammy Kim, and

1542
01:25:24,400 --> 01:25:29,080
Speaker 1: Jasmine Sanchez. Operations Lead Sarah You, Business development Lead Cheffie

1543
01:25:29,080 --> 01:25:32,200
Speaker 1: Ellen Swegg, and Marketing Lead Samara Still. Make sure to

1544
01:25:32,240 --> 01:25:36,400
Speaker 1: follow Rapperator or listen on Apple podcasts. Spotify, Amazon Music, Stitcher,

1545
01:25:36,479 --> 01:25:37,639
Speaker 1: or wherever you get your podcasts.