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

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Speaker 1: We are the authority on all things R and B

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Speaker 1: ladies and gentleman. My name is Tank Time, and this

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Speaker 1: is the R and B Money Podcast. The authority. You

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Speaker 1: know what I'm saying on all things, all things, all,

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Speaker 1: every last one of them. R and B.

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Speaker 2: Is it in your blood? Did you come from it?

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Speaker 1: Did you come from it?

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Speaker 2: Uh?

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Speaker 1: Did you get it out of the womb?

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Speaker 3: Huh?

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Speaker 1: Are you on a level of perfection? That are you

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Speaker 1: will be studied?

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Speaker 2: How many grammy is you got?

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Speaker 1: How many grimes do you have? Yeah? Yeah? Have you

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Speaker 1: perfected you'll game? Have you putting in hours to understand?

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Speaker 1: Can you say more than one voice with one throat?

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Speaker 1: That's all I'm asking you.

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Speaker 2: She can and she's here.

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Speaker 1: About it?

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Speaker 3: Fie, Hello, thank you?

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Speaker 1: Something wrong with you?

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Speaker 3: No, it's all right.

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Speaker 1: It doesn't make sense. I have I have. I have

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Speaker 1: two perfect vocals. I have two perfect vocals. There's Eric

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Speaker 1: Dawkins in their shoe.

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Speaker 3: I fully agree with you on the Eric Dawkins fully perfect.

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Speaker 3: He's in my top ten of all time voices.

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Speaker 1: No flaws.

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Speaker 3: Yeah, I agree with.

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Speaker 1: You, and I've seen you live, I've heard you on record.

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Speaker 1: You don't miss sometimes I miss I haven't heard it.

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Speaker 3: I covered good. That is the gifts to understand. There's

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Speaker 3: no such thing as a miss. But yeah, I usually

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Speaker 3: don't miss them.

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Speaker 1: Yeah. Yeah, what I'm doing, what I'm doing, you won't

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Speaker 1: catch me missing.

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Speaker 3: Yeah, you fix it somehow.

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Speaker 2: You're just vocal. Steph Curry, oh man. Every time you shoot,

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Speaker 2: we think it's going in every time.

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Speaker 1: A word.

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Speaker 3: That's the other part. It's the expectation though. That's if

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Speaker 3: you think, you know how you like you see a

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Speaker 3: girl on Instagram and she looks away that when she

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Speaker 3: walks in front of you. You might she don't look

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Speaker 3: that way, really, but you're so used to looking at

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Speaker 3: that other way that that's what you see.

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Speaker 1: So yeah, okay, let me ask you a question. And

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Speaker 1: normally we started to beginning, but you just played us

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Speaker 1: your new project. I did, yeah, and thanks for listening please.

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Speaker 1: And I feel like you're taking like jazz soul, and

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Speaker 1: I want to mix in something else in there? What

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Speaker 1: can I mix? What else can I mix it?

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Speaker 4: Now?

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Speaker 3: Pop, blues, alternative, mets.

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Speaker 1: I want to say alternative. Yeah, I want to add alternative.

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Speaker 1: So R and B R and B got some house,

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Speaker 1: so I feel like you're you're I feel like you're

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Speaker 1: somewhere we're not yet really, I feel like you're in

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Speaker 1: the future. And it's because and it's because like this

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Speaker 1: is how I see it like for me, like listening

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Speaker 1: to it, I'm about to I'm about to study it

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Speaker 1: to apply it to future work.

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Speaker 3: Interesting to me, it feels like I'm in the real, good,

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Speaker 3: good past of me because in nineteen ninety when I

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Speaker 3: started making records, I wanted to make records that had

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Speaker 3: all that stuff on them, Like I had Shakakhan records

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Speaker 3: that had Beatles covers and duets with Rick James and

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Speaker 3: our Reef margin like these whole designed Bebop Medley things

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Speaker 3: on them. So I grew up with records where people

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Speaker 3: were stretching across the whole records. That's always what I

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Speaker 3: have tried.

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Speaker 1: To do, and it's like there's no boundary, which is

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Speaker 1: what I love.

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Speaker 3: Yeah, I like to stretch.

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Speaker 1: And so when we were having that conversation, I was like,

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Speaker 1: oh my god, if you don't put this tempo on

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Speaker 1: their head and keep hitting them with it, I'm gonna

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Speaker 1: be mad.

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Speaker 3: Yeah, I feel you, I feel you, I feel you

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Speaker 3: on the sequencing.

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Speaker 1: No, noss, I'm sorry. I wasn't talking about sequencing. I'm

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Speaker 1: talking about singles.

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Speaker 3: Oh yes, I agree, Yeah.

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Speaker 1: I'm talking about singles. They need to feel that of you, right.

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Speaker 3: But the concept of a single, though, like they're gonna

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Speaker 3: feel everything. We're gonna do what we can do for everything.

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Speaker 3: But the concept of the single is like, what is

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Speaker 3: that anymore?

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Speaker 1: It's just a lee record. It's just a record that

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Speaker 1: you're putting emphasis on at the moment. Yeah. Right, And

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Speaker 1: so but if we if we're dialing into single single

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Speaker 1: and we started talking radio, then that space is still

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Speaker 1: very much a viable space for what you do.

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Speaker 3: But where would you like, what radio? Would you go to?

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Speaker 1: ARMB radio? Off top?

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Speaker 3: What R and B radio?

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Speaker 1: Army radio?

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Speaker 3: Is that a thing?

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Speaker 1: Oh we changed that, Yeah, Army radio is a whole thing.

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Speaker 3: Is that a thing for that kind of.

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Speaker 1: It is absolutely a thing. Chris Brown is on R

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Speaker 1: and B radio. Yeah, it is a thing. C B

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Speaker 1: as you call them, c B see Breezy Team Breeze Radio.

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Speaker 1: It is. It is a thing. Sissa is on R

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Speaker 1: and B radio.

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Speaker 3: Not with tempo.

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Speaker 1: Absolutely, Sissa doesn't do tempo, does she?

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Speaker 2: I think you're looking at it from like, you know,

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Speaker 2: yours is Yours is just more upbeat. I think Scissa

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Speaker 2: does more of a down beat type of record, and

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Speaker 2: I agree with that. But I think what he's saying

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Speaker 2: is that it's now the format is just opened up

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Speaker 2: to more.

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Speaker 3: That's good to know because I am a person that

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Speaker 3: is not in my car all the time listening to

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Speaker 3: the radio, So I get my music from all kinds

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Speaker 3: of sources. Some from the radio, some from the satellite radio,

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Speaker 3: a lot from friends.

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Speaker 1: Let me help you. Number Number two on R and

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Speaker 1: B radio, Tyler Water, Number one on the R and

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Speaker 1: B radio Usher Good Good Yeah.

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Speaker 2: Uh.

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Speaker 1: Number three on R and B Radio Victorium Money, Oh

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Speaker 1: my mama.

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Speaker 3: Oh yeah. Also though still not tempo urgency, but not

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Speaker 3: tempo tempo.

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Speaker 1: It is absolutely tempo. If Bloodlines came out right now,

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Speaker 1: it'll be on R and B.

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Speaker 3: Radio, Well, yes, that's for not for tempo though the temple.

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Speaker 3: I hear you, Yes, absolutely, I feel.

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Speaker 1: You, because because now R and B radio is in

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Speaker 1: a place where it is it is being competitive with

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Speaker 1: mainstream radio, it's trying to mirror it in a sense,

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Speaker 1: and so the only thing that only place where I

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Speaker 1: think R and B radio is now is now starting

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Speaker 1: to pivot to catch up. Is for an artist to

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Speaker 1: be able to have multiple records at the same time

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Speaker 1: and a great charge some of them do. Yeah, so

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Speaker 1: that's the that's the next change revolution to RMB radio.

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Speaker 1: But in terms of the tempo and even the subject matter,

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Speaker 1: it's it's it's wide open now.

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Speaker 3: Yeah. I mean I have been at radio stations where,

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Speaker 3: you know, like I had a new record out and

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Speaker 3: the program director said, we just can't stop playing Forever

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Speaker 3: for Always for Love. And that record came out in

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Speaker 3: the early aughts, So I recognize that things have changed

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Speaker 3: since I put a record out. Things have changed absolutely

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Speaker 3: with me, and things have changed in the in the

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Speaker 3: the scope of what black radio is. So I'm that's

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Speaker 3: exciting to know if you feel like something that's for

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Speaker 3: on the floor can live in that way, particularly from

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Speaker 3: someone like me that they really just want to hear

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Speaker 3: like the blues and the ballads from, then yeah, I'll

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Speaker 3: go for that.

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Speaker 1: I am you and I are mirrored in the blues

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Speaker 1: in the ballad box. We are in there, you know

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Speaker 1: what I'm saying, And and we just said, man, I'm

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Speaker 1: a fine one. And when I find it's going yeah,

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Speaker 1: and we found it and it's going yeah, and so likes.

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Speaker 1: It's just it's just a concise. It's like a very

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Speaker 1: mean decision. This is it. You just pick it and go,

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Speaker 1: this is it. What y'all doing, This is what we all.

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Speaker 3: I'm going to show this to my whole team today.

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Speaker 3: I'm going to tell them all about it. That's all

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Speaker 3: about it.

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Speaker 1: That's the that's what we're in like we're we're not.

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Speaker 1: We just can't let them dictate it no more. And

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Speaker 1: I say that for you because you have so so

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Speaker 1: much to offer in terms of creativity, you should not

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Speaker 1: be limited. I agree with you for no reason.

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Speaker 3: Yeah, I think I know an artist like me, I

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Speaker 3: can just speak for myself. I fall into that paradigm

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Speaker 3: of like being one foot in what is the traditional

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Speaker 3: part of this business, and then both the other feats

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Speaker 3: in the future of where I want to go and

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Speaker 3: what I want to be able to do.

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Speaker 2: Because musically you're doing it.

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Speaker 3: Yeah, absolutely, and I feel like I have been doing

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Speaker 3: it musically. But it's just it's always been a it's

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Speaker 3: always been a thing. It's always been like this is

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Speaker 3: what you do, and you kind of stay in that box.

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Speaker 3: Which is why I apploud a lot of these young artists,

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Speaker 3: particularly women, who understand their power and understand that whatever

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Speaker 3: they decide to do is what's going to get done.

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Speaker 3: It's not even like a radio thing. It's deciding what

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Speaker 3: you want to get to people.

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Speaker 1: And it's also a testament to you know, now social media,

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Speaker 1: whereas like I'll talk to you, I'll tell you and

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Speaker 1: they'll talk to you. And for someone like yourself, your

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Speaker 1: fan base is so vast, you know what I mean,

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Speaker 1: You've been building your fan base and you have so

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Speaker 1: many people who just love you and what you decide

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Speaker 1: to give me right, And I think sometimes with artists

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Speaker 1: you you fall into, like you said, you fall into

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Speaker 1: some of those boxes of oh, well this is just

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Speaker 1: what they expect. Well that's what they expected, that's all

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Speaker 1: you're giving them. But you're giving them and you've been

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Speaker 1: giving them multiple things. Now what you decide to push

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Speaker 1: the button on that's amongst yourself and love.

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Speaker 3: The temple, because I think the biggest misconception about me

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Speaker 3: is that you know, like I'm somewhere sad singing the blues.

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Speaker 2: You're clearly not. You're clearly not. That's that, Yeah, you know.

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Speaker 3: That I'm not like a vibrant person that has joy,

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Speaker 3: and it's it's definitely not that I love the ballance

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Speaker 3: and I love to sing and I love to ring

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Speaker 3: people out emotionally, but I also like to have fun.

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Speaker 1: I like it, you know, have fun.

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Speaker 2: But it's another thing too of are you willing? And

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Speaker 2: I'm using you as an example, but just as an

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Speaker 2: artists period, like are we willing to take that chance?

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Speaker 2: Because every artist isn't willing to take that chance. Some

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Speaker 2: are is just like, listen, this is what they like

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Speaker 2: me for. I love me for. That's what I'll make

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Speaker 2: other than being like, you know what, this is what

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Speaker 2: I love and hopefully you love it with me. And

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Speaker 2: some people just aren't willing to make that sacrifice and

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Speaker 2: have people be like, ah, that ain't.

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Speaker 3: What I want it from you track them at thirteen.

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Speaker 2: But there's so many people, especially now with social media

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Speaker 2: and how fast the music business moves. It's people all

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Speaker 2: over the world that hear your song as soon as

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Speaker 2: it comes out. Absolutely so for those those other millions

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Speaker 2: that want a certain thing, is a billion people out

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Speaker 2: here that just like, oh my god, I've never heard

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Speaker 2: of Laylor Hathaway, right.

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Speaker 3: And everybody has access to the same stuff.

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Speaker 2: Everybody got access.

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Speaker 3: So the whole point for me is to be able

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Speaker 3: to on every record, is to be able to capture

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Speaker 3: the base and give them a loving hug and let

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Speaker 3: them sing the blues and then expand the tour the

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Speaker 3: territory past that. And that's always what I'm trying to do.

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Speaker 1: And this drops when this album drops. Win.

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Speaker 3: This album drops June fourteenth, in time for your June

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Speaker 3: teenth celebration.

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Speaker 1: Because I wanted to get this at the top of

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Speaker 1: the episode to make sure that they understand that June fourteenth.

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Speaker 1: In the name of the album, Vana Black, van to Black,

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Speaker 1: and what is van to black?

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Speaker 3: It's like the blackest black, even though you know, I

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Speaker 3: found in the last few years that like I'm super black,

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Speaker 3: Andy black, and I was always, but now I'm extra

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Speaker 3: I got extra black. In the last ten ten years or.

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Speaker 2: So, you've gotten blacker.

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Speaker 3: Come blacker.

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Speaker 2: I think I've got what.

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Speaker 1: We've just settled into all the plant.

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Speaker 3: Like two thirteen fifteen, I started looking around and really

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Speaker 3: evaluating my life in this country and my life like

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Speaker 3: on the planet as a as a black woman, and

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Speaker 3: understanding that just from all of this is where all

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Speaker 3: of this comes and the culture that we dictate is

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Speaker 3: just dictated to the whole, the whole, Like everything I do,

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Speaker 3: me as in the body me, all of us is

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Speaker 3: studied throughout the no matter what corner you go in

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Speaker 3: in the world black black, there's some black andy black

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Speaker 3: stuff there, and we're like a small newish group of people.

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Speaker 3: Really if you look at it in the history of peoples,

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Speaker 3: you know what I'm saying, Black Americans, But we have

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Speaker 3: spoken to every society in the world and influenced it

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Speaker 3: with our culture, with our songs, with their hair, their asses,

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Speaker 3: with our lips, with the way we talk and the

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Speaker 3: way we walk and all of that. So it's just

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Speaker 3: it has been sinking into my brain through osmosis in

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Speaker 3: the last ten fifteen years.

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Speaker 1: Van to Black, the title cut is absolutely out of

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Speaker 1: this world. You out of it. I'm just still like

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Speaker 1: listening as we're talking. So I'm gonna get through it.

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Speaker 1: Because it was some earth went and fire in there.

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Speaker 1: It was like it was just so many things throughout

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Speaker 1: the project that I was just like, and then you

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Speaker 1: went into some crazy time signatures, which was very disrespectful,

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Speaker 1: very disrespectful. Some people are gonna be very confused.

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Speaker 2: I'm sure she sang very easy.

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Speaker 1: Easy, like it was nothing. No one's going to know

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Speaker 1: where they snapped their fingers. I'm a drummer, so I was.

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Speaker 1: I was like, oh my god, you cannot do that.

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Speaker 1: I told you can't do that.

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Speaker 3: Yeah, tell me that you admonished me on my own ship.

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Speaker 1: Okay, listen, what we love to do. We love to

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Speaker 1: go back to the beginning, like Chicago shut down, like

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Speaker 1: where it.

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Speaker 2: Chicago black.

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Speaker 1: I just I mean the question I normally asked is

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Speaker 1: when did somebody say or identify that you had it

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Speaker 1: in you were special? But I just feel like, for

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Speaker 1: some reason, were born as soon as when you were born,

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Speaker 1: like when they cut the cord you hit a note. Yeah,

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Speaker 1: I just feel like I feel like that happened.

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Speaker 3: No, I don't you know what. It's funny. I think

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Speaker 3: that from the time I was very little, you know,

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Speaker 3: like I have perfect pitch. My parents have perfect pitch,

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Speaker 3: and both your parents have perfect Yeah. I think that

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Speaker 3: My mother said that the elevator would come down and

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Speaker 3: it would whistle. Dad will say what notice that? And

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Speaker 3: I was able to say it, which seems like a

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Speaker 3: big deal. No, no, no, what I'm saying is when

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Speaker 3: you listen to music all the time, you develop a

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Speaker 3: memory for music. And for a lot of people that

301
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Speaker 3: that muscle memory of hearing a song and knowing what

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Speaker 3: key to sing it in. Like my best friend is

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Speaker 3: pretty tone deaf, but when she starts a record, when

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Speaker 3: she starts singing a record acapella, she normally starts it

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Speaker 3: in the right key. It's a memory, do you know

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Speaker 3: what I mean?

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Speaker 1: It's still.

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Speaker 2: If you can't sing, you got a bad memory. That's

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Speaker 2: just like, oh you all right, bro has a horrible memory.

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Speaker 1: It's not that you're not gifted, bab you have a

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Speaker 1: bad memory.

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Speaker 3: Memory. It's the same way you learn to talk. It's

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Speaker 3: the same way you follow whomever's teaching you to talk,

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Speaker 3: how to talk, the inflections, the way you go down,

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Speaker 3: the way it's up as briten, down as no. It's

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Speaker 3: all of that. We unlearned that as we get older.

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Speaker 3: But that's the same way you learn to talk. Is

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Speaker 3: where you learn.

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Speaker 1: Let me try some. I was a whole step down,

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Speaker 1: so I have relative pitch.

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Speaker 3: What are you singing?

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Speaker 1: I was? I was? I was singing? How excellent?

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Speaker 3: Yeah?

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Speaker 1: So that's so like I can hold up me trying

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Speaker 1: to Uh.

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Speaker 3: These are good exercises for your ear. These are good

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Speaker 3: ear training exercises down okay, so you know you're within it.

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Speaker 3: I'm I'm microtonally off nowadays sometimes okay. But Claire Fisher

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Speaker 3: told me that the world is not vibrating at four

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Speaker 3: forty anymore like it was.

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Speaker 1: That is a fact.

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Speaker 2: So the world change, I'll take it.

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Speaker 1: Wasn't me fact.

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Speaker 3: I'll take it.

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Speaker 2: Oh, yeah, you don't hear spinning bars, you know, Yeah,

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Speaker 2: it's at she did?

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Speaker 5: You know?

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Speaker 1: It's just okay? And then and then I want to

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Speaker 1: ask you this, and then we'll go back to the

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Speaker 1: we go back to the beginning. What made you say

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Speaker 1: there's a chance I can sing two notes at the

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Speaker 1: same time, you know what?

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Speaker 3: It just happened, and then I thought, oh, and then

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Speaker 3: I kept trying it, and then I would show it

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Speaker 3: to people and say what can I do with this?

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Speaker 3: And people were like hmmm. And then I did it,

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Speaker 3: and I did it on a John p Key record

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Speaker 3: as a little joke, and he kept it on the record,

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Speaker 3: and then I started doing it more often, and then

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Speaker 3: I did it for that Snarky Puppy record and people

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Speaker 3: were able to see it actually happening because there were

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Speaker 3: people floating around on the internet like watch this, but

353
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Speaker 3: it was not real. And so when people could see

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Speaker 3: it happening and watch watch me working it out like changing,

355
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Speaker 3: you know, singing over changes with it, which I didn't

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Speaker 3: know I could do either until that moment. Then it

357
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Speaker 3: became like, oh, well that's a phenomenal thing. But I've

358
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Speaker 3: been doing it since I was like thirteen.

359
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Speaker 2: Did you want to be in a group person instead

360
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Speaker 2: of having imaginary.

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Speaker 3: Free normy imagining group?

362
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Speaker 2: What does this come from? No?

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Speaker 3: I just I just make a lot of I make

364
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Speaker 3: a lot of sounds. I'm just into sound.

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Speaker 1: Okay, you hit an elevator, your pop says what key

366
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Speaker 1: is that? And you can say the key and what

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Speaker 1: age is this?

368
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Speaker 4: Two?

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Speaker 3: Two three? I guess I don't know.

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Speaker 1: It's not normal.

371
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Speaker 3: It's it's normal. If you grew up in the house

372
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Speaker 3: of music, it's normal.

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Speaker 1: Like it's not. I don't want you to believe that

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Speaker 1: isn't it. I do not want you to get here.

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Speaker 3: I'm pretty sure it is.

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Speaker 1: No, it's pretty sure it's normal.

377
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Speaker 2: No, looking in the camera deeply, it is not going

378
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Speaker 2: anymore normal.

379
00:20:00,080 --> 00:20:02,919
Speaker 3: Normal, Like you know how you grew up with kids

380
00:20:02,960 --> 00:20:06,480
Speaker 3: that have musician parents or big brother and sister parents,

381
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Speaker 3: and they know a lot of music. I just grew

382
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Speaker 3: up in a house full of music.

383
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Speaker 1: Yeah, And there's like, you know, there are people who

384
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Speaker 1: are what we call not geniuses, but when they're early,

385
00:20:21,600 --> 00:20:24,560
Speaker 1: when they came in their kids, when they prategies like

386
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Speaker 1: you're you're you're clearly a prodigy because the gift resonated

387
00:20:30,400 --> 00:20:33,920
Speaker 1: so different at an early age, Like that's a thing

388
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Speaker 1: that you know you ask an adult, okay, or or

389
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Speaker 1: going into your adult years like very skill, got it,

390
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Speaker 1: but this is something that you're like, you know, like

391
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Speaker 1: like a twenty royster doing uh doing clinics at ten

392
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Speaker 1: in front of grown men, Like this is how you

393
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Speaker 1: play the drums? Like that type of thing is what

394
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Speaker 1: I'm trying to explain that you had them telling you

395
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Speaker 1: it's not normal and you can't.

396
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Speaker 3: Yeah, that part is not normal. And I was a

397
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Speaker 3: piano players kid, and I traveled and played piano, and

398
00:21:02,800 --> 00:21:05,240
Speaker 3: I played, you know for my mother, like for her

399
00:21:05,320 --> 00:21:09,120
Speaker 3: voice lessons. I would play piano for her. My sister

400
00:21:09,119 --> 00:21:13,239
Speaker 3: and I both grew up doing music like from day one,

401
00:21:13,440 --> 00:21:16,399
Speaker 3: from literally from day one, and so that was just

402
00:21:16,600 --> 00:21:20,400
Speaker 3: the the regularity of my life. I don't really It's

403
00:21:20,440 --> 00:21:22,960
Speaker 3: hard to see it any other way because I felt like,

404
00:21:24,560 --> 00:21:27,640
Speaker 3: whose parents don't do music? Everybody does music. It's everywhere.

405
00:21:27,640 --> 00:21:29,120
Speaker 1: It was, it's normal for you.

406
00:21:29,200 --> 00:21:32,359
Speaker 2: Yeah, So it wasn't even about making a decision about it.

407
00:21:32,280 --> 00:21:35,000
Speaker 3: It just it just was, yeah, well there was never.

408
00:21:35,280 --> 00:21:37,040
Speaker 3: I mean, the only time my mother ever threatened me

409
00:21:37,240 --> 00:21:39,640
Speaker 3: was like I would want to go outside and she said,

410
00:21:39,640 --> 00:21:40,960
Speaker 3: you don't want to, you don't want to play piano.

411
00:21:41,280 --> 00:21:43,520
Speaker 3: And I'd say, no, I want to go outside, and

412
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Speaker 3: she say, okay, I'm gonna call miss Bion Kenni now

413
00:21:45,560 --> 00:21:47,200
Speaker 3: and tell her you don't want to take lessons anymore.

414
00:21:47,200 --> 00:21:50,879
Speaker 3: And I say, no, I'll do it. That's the only

415
00:21:50,920 --> 00:21:51,840
Speaker 3: pressure I ever got.

416
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Speaker 1: So you were in you were in lessons as well, absolutely,

417
00:21:56,280 --> 00:21:57,520
Speaker 1: because I know you were study. I did you know

418
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Speaker 1: how earlier you started.

419
00:21:58,600 --> 00:22:03,360
Speaker 3: Started like three four like that at the American Conservatory

420
00:22:03,359 --> 00:22:07,840
Speaker 3: of Music. So my my thing is like the nature

421
00:22:07,920 --> 00:22:10,960
Speaker 3: that I had, and then also the nurture which my

422
00:22:11,119 --> 00:22:14,840
Speaker 3: parents also had. They were born musicians, but they met

423
00:22:15,240 --> 00:22:17,440
Speaker 3: at Howard at the Fine Arts School.

424
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Speaker 1: Shout out the Define Arts Department at Howard University that

425
00:22:22,880 --> 00:22:27,119
Speaker 1: developed me absolutely in that basement of the Fine Arts Building,

426
00:22:27,200 --> 00:22:32,000
Speaker 1: the musicians shedding yes in them rooms and the drum rooms,

427
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Speaker 1: and oh my god, I saw something from Gordon to

428
00:22:36,280 --> 00:22:40,840
Speaker 1: Marlon Saunders to Chris Daddy Dave, Like, so.

429
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Speaker 2: Oh my god, so many and your parents met there. Yeah, yeah, yeah, yeah, okay,

430
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Speaker 2: it all makes sense.

431
00:22:50,040 --> 00:22:50,800
Speaker 3: Yeah.

432
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Speaker 1: And so as you're developing your tone, are you are

433
00:22:57,520 --> 00:23:01,120
Speaker 1: you emulating Pops at this time? Are you like saying

434
00:23:01,240 --> 00:23:03,760
Speaker 1: okay that is or it's just you were just born

435
00:23:03,800 --> 00:23:04,800
Speaker 1: with that, just singing.

436
00:23:04,920 --> 00:23:07,640
Speaker 3: And I didn't even really I knew I was a musician.

437
00:23:08,560 --> 00:23:09,879
Speaker 3: I used to tell my mother I wanted to be

438
00:23:09,920 --> 00:23:13,639
Speaker 3: a magician, and she'd say, no, you mean musician. But

439
00:23:13,720 --> 00:23:31,119
Speaker 3: I actually wanted to do magic. So I tried theater.

440
00:23:31,280 --> 00:23:34,640
Speaker 3: I tried, you know, I tried desperately the dance department,

441
00:23:34,640 --> 00:23:37,280
Speaker 3: which did not work out for me at all. But

442
00:23:37,440 --> 00:23:40,160
Speaker 3: it was not a thing until you really.

443
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Speaker 1: Don't you do it? I can dance, don't you.

444
00:23:42,680 --> 00:23:56,560
Speaker 2: Oh you've met your twin? Yeah no, so okay you didn't.

445
00:23:56,560 --> 00:23:58,080
Speaker 2: It didn't work out.

446
00:23:58,119 --> 00:24:00,560
Speaker 3: I mean it worked out over time, but I didn't

447
00:24:00,640 --> 00:24:04,640
Speaker 3: really even start. I feel like I started coming into

448
00:24:04,680 --> 00:24:10,439
Speaker 3: my instrument like in college. You know, I got to

449
00:24:10,520 --> 00:24:12,840
Speaker 3: college and people started coming up to me on the

450
00:24:12,840 --> 00:24:15,520
Speaker 3: stairs like, hey, are you done? You have to Pay's daughter?

451
00:24:15,720 --> 00:24:17,879
Speaker 3: And I was like yeah, say, oh we want you

452
00:24:17,920 --> 00:24:20,280
Speaker 3: to come come sing with us, or come be in

453
00:24:20,280 --> 00:24:22,840
Speaker 3: my ensemble or come, you know, make music with us.

454
00:24:22,880 --> 00:24:24,480
Speaker 2: That group that she was preparing for.

455
00:24:26,160 --> 00:24:29,280
Speaker 3: Girl, that's where I discovered like my sound and I'm

456
00:24:29,320 --> 00:24:31,280
Speaker 3: still I'm still discovering it.

457
00:24:32,119 --> 00:24:36,880
Speaker 2: And you went to Berkeley was prestigious, is it?

458
00:24:36,960 --> 00:24:38,920
Speaker 1: My cousin went to Berkeley, the one who inspired me

459
00:24:38,960 --> 00:24:41,920
Speaker 1: to do all this? Oh yeah, you.

460
00:24:41,800 --> 00:24:44,920
Speaker 3: Know, I applied to like two schools. I knew I

461
00:24:44,960 --> 00:24:47,760
Speaker 3: wanted to go to Berkeley because I had these friends

462
00:24:47,840 --> 00:24:51,440
Speaker 3: in high school that were guitar players and they said

463
00:24:51,480 --> 00:24:54,000
Speaker 3: they were going to Berkeley. They gave me my Pat

464
00:24:54,080 --> 00:24:56,760
Speaker 3: Metheni records. They gave me my Jean leue Ponti records,

465
00:24:56,760 --> 00:25:00,159
Speaker 3: and I thought, oh, it's not a classical school. No

466
00:25:00,160 --> 00:25:02,720
Speaker 3: one will judge me for the breathiness of my voice

467
00:25:02,840 --> 00:25:05,120
Speaker 3: or make me try to sing and a register that's

468
00:25:05,160 --> 00:25:07,119
Speaker 3: not comfortable. That's where I want to go.

469
00:25:08,520 --> 00:25:13,440
Speaker 1: That's just crazy that like, as you say this right,

470
00:25:14,000 --> 00:25:17,000
Speaker 1: because you know when we listen when when I heard you,

471
00:25:17,000 --> 00:25:19,320
Speaker 1: when I discovered you, I was like, oh, that's that's perfect,

472
00:25:19,480 --> 00:25:24,640
Speaker 1: that's incredible. But there were people early on.

473
00:25:25,560 --> 00:25:28,040
Speaker 2: Yeah that didn't Yeah, that didn't get it. I never

474
00:25:28,080 --> 00:25:28,439
Speaker 2: thought you.

475
00:25:28,680 --> 00:25:30,160
Speaker 1: I never thought you would say that.

476
00:25:30,200 --> 00:25:31,840
Speaker 3: There's people that still don't get it.

477
00:25:31,920 --> 00:25:32,800
Speaker 1: Impossible.

478
00:25:32,920 --> 00:25:35,960
Speaker 3: It's a true thing. Everything is not for everybody.

479
00:25:36,119 --> 00:25:39,399
Speaker 2: But in a subjective business, subjective is one thing, but

480
00:25:39,560 --> 00:25:42,040
Speaker 2: right and wrong or another right now for someone to

481
00:25:42,640 --> 00:25:50,280
Speaker 2: that's a crazy statement in my opinions before. So at

482
00:25:50,320 --> 00:25:55,200
Speaker 2: no point did you did you ever have the you know,

483
00:25:53,359 --> 00:26:03,400
Speaker 2: I no, okay, use that everage relax, hath the way?

484
00:26:03,800 --> 00:26:10,720
Speaker 1: No? Okay no, no, people make it.

485
00:26:11,480 --> 00:26:12,359
Speaker 3: No, I never had that.

486
00:26:12,680 --> 00:26:13,600
Speaker 1: You guess that.

487
00:26:13,760 --> 00:26:13,879
Speaker 2: Yea.

488
00:26:15,000 --> 00:26:18,000
Speaker 3: It built my character, built me into deciding like, okay,

489
00:26:18,040 --> 00:26:22,000
Speaker 3: I can't sing like those girls. How what is the

490
00:26:22,000 --> 00:26:25,280
Speaker 3: way that I sing? What is my sound? What is

491
00:26:25,359 --> 00:26:29,479
Speaker 3: the what is the characteristic? What are the characteristics of

492
00:26:29,520 --> 00:26:34,080
Speaker 3: my instrument that make it singular? Because I can't do

493
00:26:34,160 --> 00:26:37,399
Speaker 3: what those girls can do. I can't belt, I can't

494
00:26:37,440 --> 00:26:39,480
Speaker 3: sing high, I can't you know all those things that

495
00:26:39,960 --> 00:26:41,720
Speaker 3: I used to go to a show and see these

496
00:26:41,720 --> 00:26:44,960
Speaker 3: women singing, particularly women women singing, and feel like, oh,

497
00:26:45,000 --> 00:26:47,159
Speaker 3: I wish I could do that, and I still have

498
00:26:47,280 --> 00:26:49,879
Speaker 3: those things I want to be able to do. But

499
00:26:49,920 --> 00:26:54,320
Speaker 3: I have always more connected with the men that I

500
00:26:54,400 --> 00:26:57,960
Speaker 3: listened to because I was always in that register. So

501
00:26:58,000 --> 00:27:00,439
Speaker 3: I'm twelve years old at the roller RNK singing yearning

502
00:27:00,720 --> 00:27:02,280
Speaker 3: in the original key, you know.

503
00:27:02,920 --> 00:27:06,119
Speaker 1: So it is that death in your voice though, that

504
00:27:06,200 --> 00:27:08,800
Speaker 1: makes it, that makes you special, singular and makes it

505
00:27:08,840 --> 00:27:12,040
Speaker 1: special because I've seen you live. Go to go to

506
00:27:12,080 --> 00:27:13,720
Speaker 1: that basement and everybody just like.

507
00:27:16,240 --> 00:27:18,760
Speaker 3: Aalvo. He said, if you go any lower, you'll need

508
00:27:18,800 --> 00:27:23,240
Speaker 3: an exorcism.

509
00:27:23,960 --> 00:27:28,560
Speaker 1: But it's so rich and and like it's so rich

510
00:27:28,680 --> 00:27:31,880
Speaker 1: and right. I'm still not connecting with that. We got

511
00:27:31,880 --> 00:27:34,520
Speaker 1: to shout those people out who didn't get it. What

512
00:27:34,600 --> 00:27:35,920
Speaker 1: were you thinking?

513
00:27:36,160 --> 00:27:39,399
Speaker 3: It was a European you know, everything is kind of European.

514
00:27:39,480 --> 00:27:40,439
Speaker 3: And that's another one.

515
00:27:40,280 --> 00:27:44,639
Speaker 1: Of those things in the kind of the studied space.

516
00:27:44,800 --> 00:27:48,879
Speaker 3: Absolutely, when you're singing carolmeo Ben, there's only you know,

517
00:27:49,480 --> 00:27:51,080
Speaker 3: seven ways you can really sound on it.

518
00:27:51,880 --> 00:27:55,560
Speaker 2: And there's a difference in music is the one thing too,

519
00:27:55,680 --> 00:28:00,639
Speaker 2: where it's most of the things that are quote unquote

520
00:28:00,680 --> 00:28:07,960
Speaker 2: supposed to be right usually don't work in the business right,

521
00:28:08,080 --> 00:28:12,320
Speaker 2: like it is very much, you know, with all due respect,

522
00:28:12,440 --> 00:28:15,320
Speaker 2: like this is a business that of where if you

523
00:28:15,440 --> 00:28:19,320
Speaker 2: can't do you teach mm hm, well you know what

524
00:28:19,359 --> 00:28:22,120
Speaker 2: I mean, Like most people that can really do this

525
00:28:22,760 --> 00:28:27,280
Speaker 2: aren't teachers, not not in not in music, because it's

526
00:28:27,320 --> 00:28:30,040
Speaker 2: just it's something else, is something else that connects to

527
00:28:30,080 --> 00:28:32,160
Speaker 2: the audience. And maybe that's the.

528
00:28:32,440 --> 00:28:35,080
Speaker 1: Well, I think we're past the time right, because there

529
00:28:35,240 --> 00:28:39,240
Speaker 1: was a time where right was right.

530
00:28:40,960 --> 00:28:43,440
Speaker 2: I don't know, I don't know, I don't know, I

531
00:28:43,440 --> 00:28:43,760
Speaker 2: don't know.

532
00:28:43,800 --> 00:28:45,720
Speaker 1: I think so. I think there was a time where

533
00:28:45,800 --> 00:28:47,640
Speaker 1: right was right. When you where when you heard a

534
00:28:47,720 --> 00:28:49,160
Speaker 1: young Michael Jackson.

535
00:28:49,720 --> 00:28:51,760
Speaker 2: I guarantee you there were some people that had an

536
00:28:51,800 --> 00:28:52,480
Speaker 2: opinion about my.

537
00:28:52,760 --> 00:28:54,280
Speaker 1: But I'm just talking about the effect of it. It

538
00:28:54,400 --> 00:28:58,160
Speaker 1: still was like that's right when you heard when they

539
00:28:58,200 --> 00:29:03,040
Speaker 1: heard Ray Charles, like, oh yeah, when they heard Stevie Wonder.

540
00:29:04,160 --> 00:29:07,520
Speaker 3: There is a there is an undeniable quality about greatness

541
00:29:07,520 --> 00:29:10,480
Speaker 3: that's always going to rise. Period. I like the way

542
00:29:10,520 --> 00:29:13,400
Speaker 3: you said there's an undeniable the cream will always like

543
00:29:13,720 --> 00:29:15,880
Speaker 3: you said, but there was somebody in the corner like

544
00:29:15,920 --> 00:29:17,480
Speaker 3: you sing too raspy.

545
00:29:17,240 --> 00:29:21,440
Speaker 1: Y, doing that your hair right?

546
00:29:23,280 --> 00:29:24,600
Speaker 2: Something to say in the music.

547
00:29:24,600 --> 00:29:25,720
Speaker 3: Everybody has something to say.

548
00:29:26,360 --> 00:29:31,760
Speaker 1: Yeah, yeah, so get me to It's college discovering the

549
00:29:31,840 --> 00:29:37,000
Speaker 1: vocal many groups. Remember I was not in any groups.

550
00:29:37,120 --> 00:29:39,880
Speaker 3: I was in Vocal Summit. That was just like an

551
00:29:39,920 --> 00:29:43,720
Speaker 3: apella type of situation, like.

552
00:29:42,960 --> 00:29:48,360
Speaker 2: Like, okay, yeah, the movie is pitch perfect. Pitch perfect.

553
00:29:48,520 --> 00:29:54,560
Speaker 3: Yeah, kind of like that got it. Yeah, we were great.

554
00:29:54,680 --> 00:29:55,880
Speaker 3: We were actually really good.

555
00:29:55,800 --> 00:29:58,400
Speaker 1: So full like sixth part, like the whole. I know

556
00:29:58,440 --> 00:30:01,440
Speaker 1: that was crazy. Yeah, because I love to take six.

557
00:30:01,360 --> 00:30:03,320
Speaker 3: About like I like, I like to think of them

558
00:30:03,360 --> 00:30:05,240
Speaker 3: as take seven because you.

559
00:30:08,400 --> 00:30:08,520
Speaker 1: Can.

560
00:30:08,600 --> 00:30:12,440
Speaker 2: I just you know, we're in Jodysy. Oh yeah, we're

561
00:30:12,480 --> 00:30:14,600
Speaker 2: in Josy. I don't know if they know it, but

562
00:30:14,640 --> 00:30:15,320
Speaker 2: we're in Josey.

563
00:30:15,720 --> 00:30:16,520
Speaker 1: I'm gonna take six to.

564
00:30:17,280 --> 00:30:21,200
Speaker 3: About to go on the road again, aren't they we are?

565
00:30:23,920 --> 00:30:28,760
Speaker 2: Yeah, of course we're of course word book books. You

566
00:30:29,000 --> 00:30:29,600
Speaker 2: take six too.

567
00:30:30,200 --> 00:30:32,680
Speaker 1: Yeah, but see she can be an extra number because

568
00:30:32,680 --> 00:30:34,280
Speaker 1: she knows what she knows what the other notes are.

569
00:30:38,000 --> 00:30:40,080
Speaker 2: And I did the talking parts, and boys.

570
00:30:40,400 --> 00:30:45,880
Speaker 3: You are busy so many.

571
00:30:45,200 --> 00:30:49,320
Speaker 1: Because you no girl, you're just running around with that

572
00:30:49,360 --> 00:30:52,800
Speaker 1: other fella. You're definitely not gonna be able.

573
00:30:52,640 --> 00:30:53,200
Speaker 2: To do that line.

574
00:30:53,520 --> 00:30:54,200
Speaker 1: I didn't mind.

575
00:30:54,720 --> 00:30:56,480
Speaker 2: I didn't I.

576
00:31:00,040 --> 00:31:03,040
Speaker 1: Get me, to get me to a discovery to where

577
00:31:03,040 --> 00:31:08,840
Speaker 1: it becomes like now it's about a record company and

578
00:31:08,880 --> 00:31:10,800
Speaker 1: in a budget, in a project.

579
00:31:10,840 --> 00:31:13,440
Speaker 3: So I got signed to Virgin when I was probably

580
00:31:13,480 --> 00:31:17,240
Speaker 3: seventeen or eighteen. I was in school. I used to

581
00:31:17,240 --> 00:31:21,960
Speaker 3: get on an Amtrak and come from Boston out here.

582
00:31:22,760 --> 00:31:24,719
Speaker 2: Wait, you were taking the train from I'm not just

583
00:31:24,760 --> 00:31:27,040
Speaker 2: gonna say, oh, I was going up to New York,

584
00:31:28,200 --> 00:31:29,160
Speaker 2: Boston to LA.

585
00:31:29,280 --> 00:31:31,160
Speaker 3: I was coming to LA and demo Wing Records.

586
00:31:31,200 --> 00:31:33,920
Speaker 1: And how long I just was seventeen years?

587
00:31:34,040 --> 00:31:34,840
Speaker 3: Hold long?

588
00:31:35,000 --> 00:31:37,520
Speaker 1: How long did it take for you to get.

589
00:31:37,480 --> 00:31:42,000
Speaker 2: From three days? Are you seeing the country? Was looking

590
00:31:42,000 --> 00:31:42,960
Speaker 2: out of the window, I've.

591
00:31:42,840 --> 00:31:48,080
Speaker 3: Been everywhere, I have, I have. I used to come

592
00:31:48,160 --> 00:31:51,000
Speaker 3: back and forth. My mother was not flying at that point,

593
00:31:51,200 --> 00:31:52,680
Speaker 3: and so I would get on the train and come

594
00:31:52,720 --> 00:31:57,960
Speaker 3: back and forth three and make my rade. Yeah, it

595
00:31:58,000 --> 00:31:58,480
Speaker 3: was fun.

596
00:31:59,080 --> 00:32:02,200
Speaker 1: I can imagine it. At seventeen years old. It was

597
00:32:02,280 --> 00:32:05,200
Speaker 1: exciting that can I can no not you, not you.

598
00:32:06,320 --> 00:32:09,000
Speaker 3: It was always fun on the way on the way back,

599
00:32:09,040 --> 00:32:09,880
Speaker 3: and the way back.

600
00:32:10,080 --> 00:32:13,080
Speaker 2: You wish you could fly, but your mom didn't fly.

601
00:32:13,440 --> 00:32:16,680
Speaker 3: Not at that point. We had a little hiatus of

602
00:32:16,720 --> 00:32:19,240
Speaker 3: her saying like I'm not messing with these aeroplanes. Yeah,

603
00:32:19,320 --> 00:32:20,800
Speaker 3: and we would amtrak everywhere.

604
00:32:22,320 --> 00:32:24,440
Speaker 1: Wow. And so you can sign the Virgin.

605
00:32:24,560 --> 00:32:27,040
Speaker 3: I got signed the Virgin. Jeff Foreman signon. You know him,

606
00:32:27,440 --> 00:32:32,719
Speaker 3: Jeff Foreman is in two May's cousin. He was a Virgin.

607
00:32:33,680 --> 00:32:35,200
Speaker 3: I got signed there there.

608
00:32:35,760 --> 00:32:39,320
Speaker 1: But we were there in nine two thousand and that's

609
00:32:39,360 --> 00:32:41,000
Speaker 1: what black ground was that in two thousand and two,

610
00:32:41,080 --> 00:32:41,800
Speaker 1: I think, yeah.

611
00:32:41,640 --> 00:32:43,840
Speaker 3: I got signed there. I don't know what year it was.

612
00:32:43,880 --> 00:32:46,800
Speaker 3: Now its it's becoming a blur, which is a little.

613
00:32:46,640 --> 00:32:48,080
Speaker 1: Bit scary it happens to me.

614
00:32:48,520 --> 00:32:52,160
Speaker 3: But it was before Janet was there, before Lenny was there,

615
00:32:52,240 --> 00:32:53,600
Speaker 3: before D'Angelo was there.

616
00:32:53,720 --> 00:32:56,360
Speaker 1: So that was way early because because we got offered

617
00:32:56,360 --> 00:32:58,280
Speaker 1: a deal. When Janet was there, I was in tenth grade.

618
00:32:58,520 --> 00:33:01,200
Speaker 3: Yeah, okay, gotcha, you were in the tenth grade.

619
00:33:02,760 --> 00:33:03,520
Speaker 6: Gosh.

620
00:33:03,920 --> 00:33:07,480
Speaker 1: But we were singing for Jesus, and we said we

621
00:33:07,600 --> 00:33:10,360
Speaker 1: just gonna sing for Jesus. And look at me.

622
00:33:10,440 --> 00:33:11,600
Speaker 3: Now I understood.

623
00:33:11,640 --> 00:33:12,760
Speaker 1: I could have took that Virgin.

624
00:33:18,360 --> 00:33:21,280
Speaker 2: Been a lot been signed to Sir Richard Branson.

625
00:33:21,360 --> 00:33:21,560
Speaker 1: Man.

626
00:33:23,040 --> 00:33:26,040
Speaker 3: Well, I was there when Paul Abdua was there and nice,

627
00:33:26,160 --> 00:33:31,440
Speaker 3: you know, it always was perplexing to me that I

628
00:33:31,480 --> 00:33:33,840
Speaker 3: was trying to be on the road like with a band,

629
00:33:34,200 --> 00:33:36,680
Speaker 3: and no one could figure that out. And then I

630
00:33:36,680 --> 00:33:39,000
Speaker 3: would go to these big pop shows and it'd be like,

631
00:33:39,120 --> 00:33:42,520
Speaker 3: no musicians anywhere. So I was still in such a

632
00:33:42,640 --> 00:33:47,520
Speaker 3: music mindset at that point, like I'm gonna make records,

633
00:33:47,560 --> 00:33:50,560
Speaker 3: but I'm an actual jazz musician. That's really what I

634
00:33:50,560 --> 00:33:53,920
Speaker 3: thought about myself at that point in life. So I

635
00:33:53,920 --> 00:33:57,040
Speaker 3: got signed and made that first record and wanted to

636
00:33:57,080 --> 00:34:01,040
Speaker 3: move to New York so that I could uh keep

637
00:34:01,080 --> 00:34:04,200
Speaker 3: my chops up and hang with other musicians and play.

638
00:34:05,240 --> 00:34:06,960
Speaker 3: And they were like, no, you've got to move to

639
00:34:07,080 --> 00:34:08,440
Speaker 3: l A. You got to come to LA.

640
00:34:09,280 --> 00:34:11,520
Speaker 1: So I came to LA so you could be on

641
00:34:11,560 --> 00:34:13,160
Speaker 1: the scene or the LA scene.

642
00:34:13,840 --> 00:34:16,120
Speaker 3: This one lady told me, she said, you've got to

643
00:34:16,160 --> 00:34:18,200
Speaker 3: come to LA because our senior Hall is here. We're

644
00:34:18,200 --> 00:34:19,920
Speaker 3: not going to be flying you back and forth to

645
00:34:19,920 --> 00:34:23,080
Speaker 3: do our senior hall. That was her whole reasoning for me.

646
00:34:25,800 --> 00:34:27,240
Speaker 3: I was on it like six times.

647
00:34:27,280 --> 00:34:31,359
Speaker 2: I never sat, never sat on the couch.

648
00:34:31,320 --> 00:34:33,080
Speaker 1: No never, what do you mean you?

649
00:34:34,160 --> 00:34:36,439
Speaker 3: I was always there just I did with my band.

650
00:34:36,480 --> 00:34:38,600
Speaker 3: I was on with Gerald Albright, I was on with

651
00:34:38,680 --> 00:34:41,960
Speaker 3: Joe Sample, I was on Yeah, I was on a

652
00:34:41,960 --> 00:34:44,200
Speaker 3: bunch of times. Never sat on the couch, but you

653
00:34:44,239 --> 00:34:48,920
Speaker 3: sang a bunch of times. I'll take it all right.

654
00:34:52,719 --> 00:34:54,400
Speaker 3: Hall Show used to sound good. I don't know if

655
00:34:54,440 --> 00:34:59,040
Speaker 3: you remember. They had a cracked team of sound engineers

656
00:34:59,080 --> 00:35:04,160
Speaker 3: and that show sounded great top to bottom. Absolutely it absolutely.

657
00:35:03,560 --> 00:35:05,800
Speaker 1: We need that back.

658
00:35:06,120 --> 00:35:06,360
Speaker 2: We do.

659
00:35:07,719 --> 00:35:10,839
Speaker 1: We need it. I need a place to go, I.

660
00:35:10,719 --> 00:35:13,520
Speaker 3: Agree on it's a shame that we don't have.

661
00:35:13,400 --> 00:35:17,799
Speaker 1: That because a lot of what are are a lot

662
00:35:17,840 --> 00:35:20,359
Speaker 1: of the things that may resonate what our culture may

663
00:35:20,400 --> 00:35:23,879
Speaker 1: not make it to the charts. And only we understand that.

664
00:35:23,960 --> 00:35:27,600
Speaker 3: Well most things there, yeah, are not going to make

665
00:35:27,600 --> 00:35:28,080
Speaker 3: it to the chart.

666
00:35:28,160 --> 00:35:31,840
Speaker 1: You need a place. First record, first record?

667
00:35:34,640 --> 00:35:41,720
Speaker 3: When was that? Nineteen seventy, nineteen ninety, That's my first record, Hathaway.

668
00:35:43,200 --> 00:35:46,360
Speaker 1: I'm still going on my notes. He's got notes, he

669
00:35:46,440 --> 00:35:48,520
Speaker 1: has notes. I'm talking about.

670
00:35:48,840 --> 00:35:49,920
Speaker 3: That was a good little record.

671
00:35:50,760 --> 00:35:52,120
Speaker 2: I listen to record.

672
00:35:52,160 --> 00:35:53,840
Speaker 3: When you go back and listen to your old record.

673
00:35:53,680 --> 00:35:57,440
Speaker 1: Lailah Hathaway live? Is that just Leila Hathaway? And that

674
00:35:57,520 --> 00:35:58,000
Speaker 1: was what when?

675
00:35:58,560 --> 00:35:59,959
Speaker 3: Nineteen ninety nineteen ninety?

676
00:36:00,320 --> 00:36:05,799
Speaker 1: Yeah, Jesus Christ, how were you then we put that out?

677
00:36:06,120 --> 00:36:10,200
Speaker 1: You know, young, you know, you can't ask what are

678
00:36:10,200 --> 00:36:13,680
Speaker 1: you doing because it's a younger age, but it was

679
00:36:13,800 --> 00:36:14,680
Speaker 1: it was a long time ago.

680
00:36:14,719 --> 00:36:16,759
Speaker 2: I'm not even married, and I know not it was

681
00:36:16,760 --> 00:36:18,920
Speaker 2: a long time ago because.

682
00:36:18,719 --> 00:36:24,880
Speaker 1: She said, so you were youthful, Yeah, he was just

683
00:36:24,960 --> 00:36:27,680
Speaker 1: born and record.

684
00:36:27,760 --> 00:36:27,960
Speaker 5: Yeah.

685
00:36:28,000 --> 00:36:34,360
Speaker 3: So I put that record out and uh, Luckily people

686
00:36:34,400 --> 00:36:36,880
Speaker 3: that I was wanting to work with and associate with

687
00:36:37,160 --> 00:36:39,640
Speaker 3: were able to feel my intent through that record because

688
00:36:39,680 --> 00:36:41,719
Speaker 3: the record, to me, is a great record. There's a

689
00:36:41,719 --> 00:36:44,360
Speaker 3: lot of stuff on that record that is great. Smile

690
00:36:44,760 --> 00:36:47,640
Speaker 3: I'm coming Back, which is obviously like a great song

691
00:36:47,680 --> 00:36:50,160
Speaker 3: that I've recorded for three records in the last thirty

692
00:36:50,160 --> 00:36:56,400
Speaker 3: five years, stay Home Tonight. It's Something, which is another

693
00:36:56,440 --> 00:36:58,759
Speaker 3: record that I recorded for that record that I want

694
00:36:58,760 --> 00:37:00,960
Speaker 3: to Grammy for twenty years later?

695
00:37:01,680 --> 00:37:03,479
Speaker 2: Are you went to Grammy for twenty years later?

696
00:37:03,600 --> 00:37:05,600
Speaker 3: So It's Something is a record that I recorded on

697
00:37:05,640 --> 00:37:08,279
Speaker 3: my first album. I was working with Andre Fisher, who

698
00:37:08,320 --> 00:37:11,239
Speaker 3: was a drummer for Rufus, and he took me to

699
00:37:11,280 --> 00:37:14,560
Speaker 3: get this record that Brenda Russell had written called It's Something.

700
00:37:15,040 --> 00:37:18,040
Speaker 3: It's a Brenda Russell David Foster record, and so I

701
00:37:18,080 --> 00:37:20,840
Speaker 3: recorded it from my first album and then I recorded

702
00:37:20,840 --> 00:37:24,040
Speaker 3: it from my live album, but I also recorded it

703
00:37:24,080 --> 00:37:26,360
Speaker 3: with this band called Snarky Puppy and we want a

704
00:37:26,400 --> 00:37:29,960
Speaker 3: Grammy for it, and that was it's like twenty years apart.

705
00:37:30,120 --> 00:37:31,239
Speaker 1: How crazy is that?

706
00:37:31,560 --> 00:37:31,759
Speaker 3: Yeah?

707
00:37:32,239 --> 00:37:34,560
Speaker 2: Have you done that multiple times? Where you do a

708
00:37:34,600 --> 00:37:36,640
Speaker 2: rerecord of something later on?

709
00:37:36,840 --> 00:37:39,280
Speaker 3: I do a lot of covers. I do a whole

710
00:37:39,360 --> 00:37:41,399
Speaker 3: lot of covers.

711
00:37:41,600 --> 00:37:43,400
Speaker 2: What's the method behind that for you?

712
00:37:44,000 --> 00:37:48,560
Speaker 3: For me, it's really making a love letter for the

713
00:37:48,560 --> 00:37:52,040
Speaker 3: person that recorded that song originally, So for Forever, for Always,

714
00:37:52,080 --> 00:37:55,400
Speaker 3: for Love or Loves Holiday by Earth Wind and Fire

715
00:37:56,000 --> 00:37:59,000
Speaker 3: or Angel with Anita Baker or I mean a lot

716
00:37:59,040 --> 00:38:02,000
Speaker 3: of those records on it Joe sample record are obviously

717
00:38:02,040 --> 00:38:06,160
Speaker 3: covers their standards. Heaven Knows was my first single ever

718
00:38:06,280 --> 00:38:09,480
Speaker 3: that was a cover. You know, Jackie Graham had recorded

719
00:38:09,520 --> 00:38:11,480
Speaker 3: that in London a couple of years pror of that.

720
00:38:12,000 --> 00:38:14,200
Speaker 3: A lot of the records that people know me for

721
00:38:14,680 --> 00:38:20,319
Speaker 3: much like my father, are not my original records.

722
00:38:22,200 --> 00:38:23,680
Speaker 2: Were you purposely doing that though?

723
00:38:23,800 --> 00:38:24,240
Speaker 3: No?

724
00:38:24,239 --> 00:38:25,680
Speaker 2: No, you just you love the song.

725
00:38:25,719 --> 00:38:28,160
Speaker 3: You just like Yeah, I like to sing stuff that

726
00:38:28,239 --> 00:38:33,839
Speaker 3: I like. I mean again, as a sometimes as a

727
00:38:33,920 --> 00:38:36,799
Speaker 3: recording artist, they want you to, you know, make a

728
00:38:36,840 --> 00:38:40,560
Speaker 3: record that people know you know what's the cover gonna be?

729
00:38:40,840 --> 00:38:43,600
Speaker 3: You know, that's a conversation a lot of times, particularly

730
00:38:43,640 --> 00:38:46,719
Speaker 3: in the part of the recording world that I was

731
00:38:46,719 --> 00:38:49,240
Speaker 3: in at the time. But I mean, I was seventeen

732
00:38:49,320 --> 00:38:51,640
Speaker 3: or eighteen years old. I always say, until I before

733
00:38:51,680 --> 00:38:54,920
Speaker 3: I realized that my father didn't write What's going on?

734
00:38:55,320 --> 00:38:58,560
Speaker 3: I didn't know, not because I wasn't a Marvin Gay fan,

735
00:38:59,080 --> 00:39:01,800
Speaker 3: but because everyone and I saw play that record, played

736
00:39:01,840 --> 00:39:05,000
Speaker 3: his arrangement of it, and so I thought he owned

737
00:39:05,040 --> 00:39:08,480
Speaker 3: everything he sang. I did not know. John Lennon wrote

738
00:39:08,560 --> 00:39:12,400
Speaker 3: jealous guy. You know, so a lot of the records

739
00:39:12,440 --> 00:39:14,759
Speaker 3: that he performed, he did not write. A song for

740
00:39:14,800 --> 00:39:17,120
Speaker 3: you is not his song, but people credit him for

741
00:39:17,239 --> 00:39:21,240
Speaker 3: that song. So who what.

742
00:39:22,760 --> 00:39:24,880
Speaker 2: You just? I mean, I only know.

743
00:39:25,480 --> 00:39:29,800
Speaker 3: Look, well there is there is only one definitive version,

744
00:39:29,880 --> 00:39:32,160
Speaker 3: which is his, and I believe that that's my own

745
00:39:32,239 --> 00:39:36,880
Speaker 3: biased opinion, but not his record. Yes, it's yours and

746
00:39:36,920 --> 00:39:38,680
Speaker 3: my you and me together.

747
00:39:39,560 --> 00:39:41,759
Speaker 2: Wow, that's not I did not know that.

748
00:39:42,239 --> 00:39:46,400
Speaker 3: You've got a friend. Obviously he didn't write. There's a

749
00:39:46,400 --> 00:39:50,640
Speaker 3: lot of records that my dad stole from people.

750
00:39:51,480 --> 00:40:00,640
Speaker 1: Cap Jesse Campbell, Willy Nelson, Who Who's.

751
00:40:00,760 --> 00:40:03,000
Speaker 3: Who's a writer for a song for you, you know

752
00:40:03,040 --> 00:40:03,560
Speaker 3: who it is.

753
00:40:05,719 --> 00:40:08,600
Speaker 2: You're looking it up, I am, I don't.

754
00:40:09,200 --> 00:40:10,960
Speaker 3: You're gonna know it when when he says it, I

755
00:40:11,040 --> 00:40:13,240
Speaker 3: just can't call it up right now because I haven't

756
00:40:13,280 --> 00:40:18,839
Speaker 3: had any breakfast. That's why Leon Russell, Leon Russell, absolutely.

757
00:40:19,719 --> 00:40:20,839
Speaker 1: I did not know that.

758
00:40:22,480 --> 00:40:23,800
Speaker 2: I had no idea.

759
00:40:24,000 --> 00:40:28,880
Speaker 1: Absolutely, even the arrangement, like the piano, that's Daddy's arrangement.

760
00:40:28,920 --> 00:40:32,920
Speaker 3: He's playing it. But yeah, but it's a it's a

761
00:40:33,120 --> 00:40:36,879
Speaker 3: it was an already recorded song. Wow, for all we know,

762
00:40:37,000 --> 00:40:38,120
Speaker 3: that's an old standard.

763
00:40:39,120 --> 00:40:41,759
Speaker 1: H you know that one? I know the song. I

764
00:40:41,760 --> 00:40:43,120
Speaker 1: don't know what that it's an old standard.

765
00:40:43,280 --> 00:40:45,839
Speaker 3: Yeah, it's an old standard. And even for when he's

766
00:40:45,880 --> 00:40:48,360
Speaker 3: playing it on that record, I think the story is

767
00:40:48,360 --> 00:40:50,680
Speaker 3: that ROBERTA is telling him the lyrics in his ears.

768
00:40:50,960 --> 00:40:52,319
Speaker 2: He's no way.

769
00:40:52,640 --> 00:41:00,200
Speaker 3: Yeah, But that's the approach to us to a to

770
00:41:00,239 --> 00:41:03,960
Speaker 3: a standard or cover is to first internally is to

771
00:41:04,040 --> 00:41:09,080
Speaker 3: own it in some way, but but mostly it's to

772
00:41:09,120 --> 00:41:13,040
Speaker 3: stand beside the thing that gave you the impetus to

773
00:41:13,160 --> 00:41:16,800
Speaker 3: create that thing, like a love letter to that impetus.

774
00:41:17,239 --> 00:41:18,960
Speaker 2: That I mean one of your favorite I mean one

775
00:41:18,960 --> 00:41:21,279
Speaker 2: of one of my favorite songs of yours? Is not

776
00:41:21,360 --> 00:41:22,480
Speaker 2: your song? Technically?

777
00:41:23,239 --> 00:41:23,680
Speaker 3: Which one?

778
00:41:23,960 --> 00:41:24,840
Speaker 2: I can't make you love me?

779
00:41:25,960 --> 00:41:27,680
Speaker 1: And I used to go through like singing that song

780
00:41:27,719 --> 00:41:29,919
Speaker 1: at colleges and those kids started was my song?

781
00:41:30,200 --> 00:41:32,680
Speaker 2: Yeah, I run into people all the time.

782
00:41:32,960 --> 00:41:35,640
Speaker 3: A lot of people think that as a Chris Brown song.

783
00:41:37,800 --> 00:41:42,360
Speaker 2: Yeah yeah, yeah, yeah yeah.

784
00:41:43,040 --> 00:41:45,040
Speaker 1: So when you do when you put out this first album,

785
00:41:45,080 --> 00:41:48,480
Speaker 1: are you now starting to make the connection with with

786
00:41:48,520 --> 00:41:50,239
Speaker 1: a lot bunch of the artists that you see and

787
00:41:50,280 --> 00:41:51,719
Speaker 1: look up to and that kind of thing or does

788
00:41:51,760 --> 00:41:52,359
Speaker 1: that take time?

789
00:41:52,880 --> 00:41:53,600
Speaker 3: That takes time?

790
00:41:53,760 --> 00:41:58,000
Speaker 1: I mean because I say that because you come from Royalty,

791
00:41:58,000 --> 00:41:59,759
Speaker 1: are they are they picking up on it and saying

792
00:41:59,840 --> 00:42:00,520
Speaker 1: we gotta.

793
00:42:01,040 --> 00:42:04,759
Speaker 3: What's interesting is, you know, I'm very young, but there

794
00:42:04,800 --> 00:42:08,280
Speaker 3: are people reaching out to me like Marcus Miller, Joe

795
00:42:08,280 --> 00:42:13,080
Speaker 3: sample Gerald Allbright. You know, I got to go Dave Samborn,

796
00:42:13,200 --> 00:42:16,080
Speaker 3: I got to go play with legends based on that record,

797
00:42:16,080 --> 00:42:18,840
Speaker 3: which is funny because the record is not like a

798
00:42:18,920 --> 00:42:22,279
Speaker 3: jazz record by any stretch of the imagination, but people

799
00:42:22,320 --> 00:42:24,520
Speaker 3: could hear I guess the intent, and I started to

800
00:42:24,760 --> 00:42:28,840
Speaker 3: work like kind of constantly with people of that ilk

801
00:42:29,920 --> 00:42:30,600
Speaker 3: of that elk.

802
00:42:31,320 --> 00:42:34,560
Speaker 2: Yeah, you're at Berkeley at this time or you're you're

803
00:42:34,560 --> 00:42:34,920
Speaker 2: still in that.

804
00:42:35,239 --> 00:42:36,879
Speaker 3: I graduated when the record came out.

805
00:42:37,000 --> 00:42:43,000
Speaker 2: Ok, yeah yeah baby, and everybody's now reaching out.

806
00:42:43,239 --> 00:42:45,120
Speaker 3: Yeah not everybody, not everybody, but.

807
00:42:45,160 --> 00:42:47,800
Speaker 2: The people you wanted, my peers, that's.

808
00:42:49,120 --> 00:42:55,160
Speaker 3: Immediate peer. I mean I did some work on of course,

809
00:42:55,320 --> 00:42:57,680
Speaker 3: I draw all kinds of but I mean I've done

810
00:42:57,719 --> 00:42:59,680
Speaker 3: a lot of work. I had done a lot of

811
00:42:59,680 --> 00:43:02,400
Speaker 3: work at that point with people sort of in my

812
00:43:02,719 --> 00:43:08,480
Speaker 3: immediate circle. But then I started working with jazz musicians

813
00:43:08,480 --> 00:43:12,239
Speaker 3: a lot, and I think it became complicated for the

814
00:43:12,400 --> 00:43:16,960
Speaker 3: label because it was like, well, where do we put you?

815
00:43:16,960 --> 00:43:19,799
Speaker 3: You know, the nineties also is a vortex in terms

816
00:43:19,800 --> 00:43:23,200
Speaker 3: of rhythm and blues music, particularly for black girls. Like

817
00:43:23,280 --> 00:43:25,239
Speaker 3: a lot of the girls that were coming up with me,

818
00:43:25,600 --> 00:43:31,200
Speaker 3: like Seannese and Karen Wheeler and Jeanne and do you know,

819
00:43:31,239 --> 00:43:34,720
Speaker 3: there's a lot of women trying to find their place

820
00:43:34,800 --> 00:43:37,399
Speaker 3: in that industry at that point, and there's a bit

821
00:43:37,480 --> 00:43:40,520
Speaker 3: of a vortex happening, like the whole you know, like

822
00:43:40,560 --> 00:43:43,280
Speaker 3: one day I went into Virgin after the second record

823
00:43:43,280 --> 00:43:46,520
Speaker 3: came out, and the whole black department was gone. They

824
00:43:46,520 --> 00:43:49,960
Speaker 3: had fired everyone, you know, so it kind of like

825
00:43:50,080 --> 00:43:53,600
Speaker 3: was that in the top of the nineties for black

826
00:43:53,719 --> 00:43:55,359
Speaker 3: music in a lot of places.

827
00:43:55,719 --> 00:43:57,560
Speaker 1: Do you think it was because, like, your gift was

828
00:43:57,640 --> 00:44:02,279
Speaker 1: just mature? But so, yeah, it was old.

829
00:44:02,440 --> 00:44:05,120
Speaker 3: It was it was old and mature. Yeah.

830
00:44:05,160 --> 00:44:07,160
Speaker 2: So did they sign you as a jazz artist or

831
00:44:07,400 --> 00:44:08,720
Speaker 2: did they sign as an R and B artist?

832
00:44:08,719 --> 00:44:10,359
Speaker 3: They signed me as an R and B artist because

833
00:44:10,360 --> 00:44:12,799
Speaker 3: I had I had these cool demos that Renee and

834
00:44:12,840 --> 00:44:15,800
Speaker 3: Angela have written in one of them songs I can't

835
00:44:15,840 --> 00:44:18,720
Speaker 3: find and it's so good. I don't know whatever happened

836
00:44:18,719 --> 00:44:21,640
Speaker 3: to it, but they signed me to make what ended

837
00:44:21,719 --> 00:44:24,279
Speaker 3: up being what was supposed to be like an R

838
00:44:24,320 --> 00:44:27,680
Speaker 3: and B pop record, I believe. But when we got

839
00:44:27,840 --> 00:44:32,440
Speaker 3: working then it became like, oh, this is what this is.

840
00:44:32,480 --> 00:44:32,560
Speaker 1: Like.

841
00:44:32,640 --> 00:44:35,200
Speaker 3: I used to have conversations with them about what to

842
00:44:35,280 --> 00:44:38,600
Speaker 3: say on video soul. We would we would prep for

843
00:44:38,640 --> 00:44:42,000
Speaker 3: interviews and they would say, who are you listening to?

844
00:44:42,080 --> 00:44:44,239
Speaker 3: And I would say, oh, I just got a new

845
00:44:44,280 --> 00:44:46,680
Speaker 3: one Shorter album and I got a John Coltrane record

846
00:44:46,719 --> 00:44:48,560
Speaker 3: that I really like, and they'd say, no, no, no, no, no,

847
00:44:50,200 --> 00:44:50,799
Speaker 3: don't say that.

848
00:44:51,040 --> 00:44:54,160
Speaker 2: So you tricked them, trick them, just like, Hey, I'm

849
00:44:54,200 --> 00:44:58,520
Speaker 2: gonna take this R and B Monday you know when

850
00:44:58,560 --> 00:45:00,680
Speaker 2: we had this conversation with Robert Glass where he was like, yeah,

851
00:45:00,680 --> 00:45:05,279
Speaker 2: they're gonna get twelve hundred jazz album absolutely or twelve thousand. Yeah,

852
00:45:05,440 --> 00:45:08,520
Speaker 2: but so yeah, he was out here with a big budget.

853
00:45:09,280 --> 00:45:11,440
Speaker 3: It wasn't a big budget. No, it wasn't a big

854
00:45:11,480 --> 00:45:14,080
Speaker 3: bugy No. No, I don't think so, I don't know what,

855
00:45:14,160 --> 00:45:16,359
Speaker 3: but you know that when you really reflect on it,

856
00:45:16,880 --> 00:45:19,160
Speaker 3: what would have been a big budget in the nineties.

857
00:45:20,719 --> 00:45:22,759
Speaker 1: Nineties was rocking maybe good.

858
00:45:22,840 --> 00:45:24,840
Speaker 2: Yeah, we spent a lot of money because I was

859
00:45:24,840 --> 00:45:27,480
Speaker 2: in a kid group. Oh, we were on MCA and

860
00:45:27,480 --> 00:45:32,000
Speaker 2: we probably we probably spent about seven to fifty yeah.

861
00:45:32,040 --> 00:45:36,400
Speaker 3: Wow. So there's a there's a part of my career

862
00:45:36,600 --> 00:45:43,280
Speaker 3: which again mirrors my father's career, which is that I'm

863
00:45:43,440 --> 00:45:47,040
Speaker 3: never not going to make records or or continue to

864
00:45:47,040 --> 00:45:49,719
Speaker 3: be a musician and make music. But there is a

865
00:45:49,760 --> 00:45:52,759
Speaker 3: commercial element to that part of the R and B

866
00:45:52,920 --> 00:45:56,120
Speaker 3: money that missed me in the nineties because I was

867
00:45:56,160 --> 00:45:57,960
Speaker 3: off doing other things.

868
00:45:58,000 --> 00:45:59,440
Speaker 1: Does that make sense it being talented?

869
00:45:59,600 --> 00:46:03,320
Speaker 3: Yeah, no, it's off.

870
00:46:03,280 --> 00:46:07,920
Speaker 2: Being talented inigent you know, because we are in this business,

871
00:46:08,320 --> 00:46:11,560
Speaker 2: we all have to find that happy medium at some point.

872
00:46:12,120 --> 00:46:14,720
Speaker 2: At some point, like you have to you know, as

873
00:46:14,719 --> 00:46:18,080
Speaker 2: gifted as you are, you have to find that space

874
00:46:18,080 --> 00:46:20,160
Speaker 2: to say, Okay, is this thing going to take care

875
00:46:20,200 --> 00:46:23,040
Speaker 2: of me? And how am I going to start putting

876
00:46:23,080 --> 00:46:26,200
Speaker 2: myself into space where it takes care of me other

877
00:46:26,280 --> 00:46:28,480
Speaker 2: than it just takes care of you know, just my

878
00:46:28,600 --> 00:46:29,600
Speaker 2: ego or what i've.

879
00:46:29,560 --> 00:46:32,719
Speaker 1: You know, Yeah, I'm great, you know what I mean.

880
00:46:32,800 --> 00:46:36,359
Speaker 2: And I see so many artists along the way, we've

881
00:46:36,440 --> 00:46:38,760
Speaker 2: all been in this business for you know, many years,

882
00:46:39,239 --> 00:46:41,760
Speaker 2: and you're like, oh, the artist is really really talented

883
00:46:41,840 --> 00:46:45,040
Speaker 2: or they can really sing, or great performer, all these things,

884
00:46:45,360 --> 00:46:49,160
Speaker 2: and me and him have these conversations and he'll be Jason, what,

885
00:46:49,360 --> 00:46:51,239
Speaker 2: I'm like, that ain't gonna make no money.

886
00:46:51,280 --> 00:46:51,440
Speaker 1: Doug.

887
00:46:51,960 --> 00:46:54,960
Speaker 2: Yeah, He's like, yeah, but I don't think that's gonna

888
00:46:55,000 --> 00:46:59,080
Speaker 2: make no money because this, this, this, this, And I

889
00:46:59,120 --> 00:47:03,759
Speaker 2: don't think that the artist wants to I don't even

890
00:47:03,800 --> 00:47:05,280
Speaker 2: know what the word would be.

891
00:47:05,320 --> 00:47:07,479
Speaker 3: Like capitulate to what is the thing that.

892
00:47:07,520 --> 00:47:10,319
Speaker 1: Would at least kind of to where there it's a

893
00:47:10,360 --> 00:47:14,080
Speaker 1: compromise the digestible in a sense.

894
00:47:14,360 --> 00:47:17,360
Speaker 3: Yeah, I mean, I have followed the advice of many

895
00:47:17,400 --> 00:47:21,160
Speaker 3: people over you know, the years, and people said I've

896
00:47:21,160 --> 00:47:23,239
Speaker 3: had conversations where people say, oh, it's got to be

897
00:47:23,280 --> 00:47:24,960
Speaker 3: this many beats per minuted, that's the only way you're

898
00:47:24,960 --> 00:47:27,279
Speaker 3: gonna break radio, or it's got to be it's got

899
00:47:27,280 --> 00:47:30,080
Speaker 3: to be a lifestyle record. You know, there's people always

900
00:47:30,800 --> 00:47:34,240
Speaker 3: there's always like a man at a label that has

901
00:47:34,320 --> 00:47:37,600
Speaker 3: an idea of what you need to do for your life.

902
00:47:38,280 --> 00:47:42,560
Speaker 3: But ultimately, like I have never really wanted for anything.

903
00:47:43,040 --> 00:47:46,880
Speaker 3: I have never I have always been a musician. I

904
00:47:46,920 --> 00:47:49,520
Speaker 3: have one job in college. I used to work at

905
00:47:49,560 --> 00:47:52,279
Speaker 3: Star Market in Boston. That's the only other job I

906
00:47:52,360 --> 00:47:52,640
Speaker 3: ever had.

907
00:47:52,880 --> 00:47:56,759
Speaker 2: You do a star Market, that's the grocery store. Imagine

908
00:47:56,800 --> 00:47:58,720
Speaker 2: she's checking out summer.

909
00:47:58,760 --> 00:48:00,959
Speaker 3: I did it. I worked at the Shari Movie Theater

910
00:48:01,080 --> 00:48:03,640
Speaker 3: for two months. Those are my only jobs I've ever

911
00:48:03,680 --> 00:48:06,759
Speaker 3: done other than music. So I have been okay on

912
00:48:06,840 --> 00:48:11,440
Speaker 3: my path. Yes I would like some g wagons and

913
00:48:11,520 --> 00:48:16,120
Speaker 3: houses and all that ship, but ultimately, the legacy, the

914
00:48:16,200 --> 00:48:18,920
Speaker 3: thing that I have inside of me is so important

915
00:48:18,960 --> 00:48:22,560
Speaker 3: to me that it has to be good and I'm

916
00:48:22,600 --> 00:48:24,239
Speaker 3: never gonna want for anything. I know that.

917
00:48:42,000 --> 00:48:43,760
Speaker 2: Because he can play this is awesome.

918
00:48:44,200 --> 00:48:46,160
Speaker 3: I wish you had two keyboards. I would have played

919
00:48:46,200 --> 00:48:52,120
Speaker 3: song with you. I also stop at singing the wrong

920
00:48:52,239 --> 00:48:53,800
Speaker 3: note at any given song.

921
00:48:59,480 --> 00:49:01,240
Speaker 1: That I don't even know what she expects.

922
00:49:01,520 --> 00:49:03,279
Speaker 2: See you pop up on this podcast.

923
00:49:09,200 --> 00:49:16,120
Speaker 3: That's too close, that's still too close. Get all the ways,

924
00:49:16,600 --> 00:49:20,560
Speaker 3: just get out out, go ahead, just ahead, change.

925
00:49:20,440 --> 00:49:34,000
Speaker 1: No, I want to hear the audience is going to

926
00:49:34,080 --> 00:49:39,239
Speaker 1: be man, that's fun.

927
00:49:40,440 --> 00:49:42,480
Speaker 3: That is fun, is fun.

928
00:49:43,480 --> 00:49:44,800
Speaker 4: I'm trying to go somewhere.

929
00:49:54,200 --> 00:49:54,360
Speaker 2: Is it?

930
00:49:54,440 --> 00:49:56,800
Speaker 3: What do you find more offensive? Flat or sharp?

931
00:49:58,280 --> 00:49:58,560
Speaker 1: Flat?

932
00:49:58,920 --> 00:50:01,239
Speaker 3: I agree, because the plan is.

933
00:50:01,239 --> 00:50:03,800
Speaker 1: Like you didn't even try, You gave it no effort.

934
00:50:03,800 --> 00:50:07,800
Speaker 1: If you overshoot a rock with you sharp make his records,

935
00:50:08,760 --> 00:50:09,600
Speaker 1: it really does.

936
00:50:10,200 --> 00:50:18,560
Speaker 2: Last night, we want to know something later.

937
00:50:18,960 --> 00:50:19,480
Speaker 4: What is it?

938
00:50:24,520 --> 00:50:29,279
Speaker 1: Your top f.

939
00:50:32,680 --> 00:50:51,800
Speaker 5: Your top five? Rock at you?

940
00:50:51,840 --> 00:50:53,000
Speaker 2: We all know?

941
00:50:54,040 --> 00:50:57,239
Speaker 1: All right? No, why do you.

942
00:50:57,239 --> 00:50:58,839
Speaker 3: Sound like a Bugwiser commercial right now?

943
00:50:58,880 --> 00:50:59,719
Speaker 2: Because that's what it is?

944
00:51:00,080 --> 00:51:30,000
Speaker 3: You five show top five. I hate these questions?

945
00:51:30,320 --> 00:51:34,520
Speaker 1: So what top five? Hate these R and B singers? Okay,

946
00:51:34,680 --> 00:51:36,560
Speaker 1: right now, please.

947
00:51:40,440 --> 00:51:43,760
Speaker 3: Let me just name five because top five is so hard.

948
00:51:45,600 --> 00:51:46,919
Speaker 3: Tony Hathaway is number one.

949
00:51:47,040 --> 00:51:49,080
Speaker 2: Start there all times, all time.

950
00:51:49,400 --> 00:51:52,440
Speaker 3: There's just no there's no about really, there's no tone

951
00:51:52,480 --> 00:51:59,800
Speaker 3: like that. Nope, make you laugh, makes you cry.

952
00:51:59,480 --> 00:52:03,000
Speaker 1: Look drus very clean, very clean.

953
00:52:03,080 --> 00:52:09,359
Speaker 3: I try not to think about these questions because I'm

954
00:52:09,360 --> 00:52:11,520
Speaker 3: going to tell you that I probably have one as well,

955
00:52:11,680 --> 00:52:13,920
Speaker 3: one of the top five of all time zones.

956
00:52:15,360 --> 00:52:15,799
Speaker 2: Mm hmm.

957
00:52:16,800 --> 00:52:18,640
Speaker 3: I just got to that in the last year and a.

958
00:52:18,640 --> 00:52:22,120
Speaker 1: Half to shout out to myself.

959
00:52:22,960 --> 00:52:26,920
Speaker 2: You haven't been the only person who named yourself. Oh really, yeah,

960
00:52:27,280 --> 00:52:29,080
Speaker 2: people name you. People people named you.

961
00:52:29,520 --> 00:52:33,400
Speaker 3: I've watched many of your I'm gonna have to go

962
00:52:33,440 --> 00:52:35,800
Speaker 3: through Thank you for those that name me. I appreciate

963
00:52:35,760 --> 00:52:51,040
Speaker 3: it's their mamas that like my record hard shaka Stevie

964
00:52:51,600 --> 00:52:58,880
Speaker 3: Michael top eight. It's very hard. I'm not even scratching

965
00:52:58,880 --> 00:53:01,160
Speaker 3: the surface. I'm at the top. That's that's why five

966
00:53:01,280 --> 00:53:01,680
Speaker 3: is hard.

967
00:53:02,600 --> 00:53:04,839
Speaker 1: That's that's why we make it five, to make it hard.

968
00:53:04,840 --> 00:53:06,839
Speaker 3: But if you get the same five people all the.

969
00:53:06,800 --> 00:53:12,120
Speaker 2: Time, no't know you don't, we don't, we don't, we don't.

970
00:53:12,120 --> 00:53:14,520
Speaker 3: Who have you got is.

971
00:53:14,280 --> 00:53:17,200
Speaker 2: A staple obviously is like Stevie Wonder.

972
00:53:18,360 --> 00:53:23,600
Speaker 1: Your dad, Michael Shock is actually not not not on

973
00:53:23,680 --> 00:53:25,200
Speaker 1: that not in everyone's whitney.

974
00:53:25,480 --> 00:53:30,799
Speaker 2: And it depends and it depends on the age demographics

975
00:53:30,800 --> 00:53:33,960
Speaker 2: to you know what I mean, Like some people come

976
00:53:34,000 --> 00:53:36,640
Speaker 2: in and have a younger top five. Some people have

977
00:53:36,760 --> 00:53:38,920
Speaker 2: you know what I mean? Like it just it just depends.

978
00:53:39,120 --> 00:53:42,759
Speaker 2: You might get an elephant. Gerald. No, that's what I'm

979
00:53:42,760 --> 00:53:43,000
Speaker 2: just saying.

980
00:53:43,239 --> 00:53:46,400
Speaker 3: What was the question though? Top five singers Singers of

981
00:53:46,440 --> 00:53:46,839
Speaker 3: all Time?

982
00:53:46,960 --> 00:53:48,520
Speaker 2: Yeah, you've been answering something.

983
00:53:51,920 --> 00:54:02,240
Speaker 6: I was trying to sing it and tell you, Oh, okay,

984
00:54:02,280 --> 00:54:02,880
Speaker 6: I'm sorry.

985
00:54:03,280 --> 00:54:05,920
Speaker 3: Then my list is not much different. I'm gonna say

986
00:54:05,920 --> 00:54:09,239
Speaker 3: my dad and I'm just gonna get up under his

987
00:54:09,360 --> 00:54:12,960
Speaker 3: coat and save me because I just I take that. Now,

988
00:54:13,040 --> 00:54:19,399
Speaker 3: I can do that. Singers of all Time. I'm gonna say,

989
00:54:19,520 --> 00:54:28,360
Speaker 3: Nat King Cole. It's a hard one. I don't I

990
00:54:30,400 --> 00:54:31,160
Speaker 3: played the fifth.

991
00:54:31,400 --> 00:54:34,360
Speaker 1: I can't do it, can't do it.

992
00:54:34,360 --> 00:54:42,360
Speaker 3: It's hard. Okay, you know earlier Aretha cannot be beat.

993
00:54:42,560 --> 00:54:43,360
Speaker 1: Imagine.

994
00:54:47,320 --> 00:54:50,359
Speaker 3: I'm really into Eric Dowkins, particularly right now too. I'm

995
00:54:50,400 --> 00:54:51,160
Speaker 3: gonna put him in there.

996
00:54:52,280 --> 00:54:52,560
Speaker 2: Why not?

997
00:54:52,680 --> 00:54:55,560
Speaker 3: It's excellent? Is that fine?

998
00:54:56,680 --> 00:54:56,879
Speaker 2: Hard?

999
00:54:57,080 --> 00:55:02,360
Speaker 1: Five has got here before? Five sod R and B songs.

1000
00:55:02,160 --> 00:55:08,400
Speaker 3: Songs I knew. I knew this was coming, and somehow

1001
00:55:08,440 --> 00:55:14,040
Speaker 3: I'm still yet unprepared. You know what I was listening

1002
00:55:14,040 --> 00:55:17,359
Speaker 3: to on the way over here, Circles by Atlantic Star.

1003
00:55:18,120 --> 00:55:21,200
Speaker 3: I love that record. All right, let's move on from

1004
00:55:21,200 --> 00:55:27,320
Speaker 3: that that's one. Okay, you know any Chaka console.

1005
00:55:27,600 --> 00:55:35,640
Speaker 1: Okay, that's one. This is Chaka Khan Essentials, Essentials, Value

1006
00:55:35,840 --> 00:55:37,520
Speaker 1: one and too. Yeah.

1007
00:55:37,560 --> 00:55:39,880
Speaker 3: Top five R and B records of all time.

1008
00:55:40,200 --> 00:55:43,399
Speaker 1: No, just your your favorite listen.

1009
00:55:43,600 --> 00:55:48,960
Speaker 3: I don't. I am bifurcated all over the place. I'm sorry,

1010
00:55:49,480 --> 00:55:50,600
Speaker 3: it is so hard.

1011
00:55:51,080 --> 00:55:55,040
Speaker 1: What type of education? What did you major in music?

1012
00:55:55,520 --> 00:55:55,719
Speaker 4: Yeah?

1013
00:55:55,800 --> 00:55:57,800
Speaker 1: But where are the words coming from? I'm sorry?

1014
00:55:57,840 --> 00:56:06,680
Speaker 2: Did you go to the penitentiary for that's the that's

1015
00:56:06,680 --> 00:56:07,480
Speaker 2: the real question.

1016
00:56:09,880 --> 00:56:16,680
Speaker 3: All right, let me think the discipitation. Herbie Hancock, come

1017
00:56:16,760 --> 00:56:23,560
Speaker 3: running to me, Herbie, all the Donny Hathaway songs. It's

1018
00:56:23,600 --> 00:56:35,840
Speaker 3: so hard, Mountains, Joni Mitchell, both sides. Now, do you

1019
00:56:35,880 --> 00:56:37,240
Speaker 3: know Glenn Rafferty.

1020
00:56:37,239 --> 00:56:37,759
Speaker 1: I don't know.

1021
00:56:37,800 --> 00:56:38,520
Speaker 3: Glen.

1022
00:56:38,560 --> 00:56:39,319
Speaker 2: Put us up on something.

1023
00:56:39,640 --> 00:56:43,840
Speaker 3: Glenn Rafferty songs. I like it's been you wo right

1024
00:56:44,000 --> 00:56:47,160
Speaker 3: down the line. Do you know that song? Yeah, Baker Street?

1025
00:56:47,200 --> 00:56:49,680
Speaker 3: Maybe that's song Baker Street. I love that song, Whining

1026
00:56:49,800 --> 00:56:54,640
Speaker 3: your Way down and bays. Then why don't we now

1027
00:56:54,680 --> 00:57:02,520
Speaker 3: go to Stevie Wonder or you know, any songs on it's.

1028
00:57:02,320 --> 00:57:04,520
Speaker 1: Just top twitter.

1029
00:57:06,880 --> 00:57:09,800
Speaker 3: To choose. It's very bad.

1030
00:57:10,120 --> 00:57:14,480
Speaker 1: All right, Okay, let's build your voltron. Okay, your your

1031
00:57:14,560 --> 00:57:16,520
Speaker 1: your super R and B artist, It's going to be

1032
00:57:16,560 --> 00:57:20,080
Speaker 1: easy to do. Okay, who are you going to get

1033
00:57:20,080 --> 00:57:24,720
Speaker 1: the vocal from the performance style? The styling performance style,

1034
00:57:25,800 --> 00:57:29,240
Speaker 1: let me announce it my performance style, the passion of

1035
00:57:29,280 --> 00:57:32,840
Speaker 1: the artists. And then since you are a song or,

1036
00:57:32,880 --> 00:57:35,080
Speaker 1: who's gonna write for this artist? Number one? Where you're

1037
00:57:35,120 --> 00:57:37,120
Speaker 1: gonna get the vocal from for this super R and

1038
00:57:37,120 --> 00:57:41,240
Speaker 1: B artist? Got it easy? Not even worried about that. Okay,

1039
00:57:41,760 --> 00:57:45,800
Speaker 1: that's tempo, that's ballad, that's whatever you need. Heart felt

1040
00:57:45,520 --> 00:57:49,880
Speaker 1: that you said, laugh and cry. The performance style on stage?

1041
00:57:50,320 --> 00:57:52,520
Speaker 3: Do you mean like dancing around style?

1042
00:57:52,600 --> 00:57:55,160
Speaker 1: If that's what you want performance? If you just want

1043
00:57:55,160 --> 00:57:58,720
Speaker 1: somebody who can stand and get your presence, your world way,

1044
00:57:59,200 --> 00:58:00,520
Speaker 1: your world. It's your artists.

1045
00:58:00,560 --> 00:58:04,400
Speaker 3: I'm just really micro sometimes it's your artist.

1046
00:58:04,480 --> 00:58:07,840
Speaker 1: What do you want your artists to do on stage?

1047
00:58:07,960 --> 00:58:10,880
Speaker 3: I'm gonna okay, the performance style I want is gonna

1048
00:58:10,880 --> 00:58:14,320
Speaker 3: be like my friend Hiram Bullock. He's no longer with us.

1049
00:58:14,400 --> 00:58:17,280
Speaker 3: He's a guitar player, but he I just watched him

1050
00:58:17,280 --> 00:58:19,960
Speaker 3: electrified people all over the world for years and years

1051
00:58:19,960 --> 00:58:21,880
Speaker 3: and years. He would just start playing and people would

1052
00:58:21,920 --> 00:58:23,000
Speaker 3: just their.

1053
00:58:22,840 --> 00:58:24,840
Speaker 1: Hair would blow back on some rock star type.

1054
00:58:25,080 --> 00:58:27,640
Speaker 3: Yeah, but he was. He was a jazz kind of

1055
00:58:28,480 --> 00:58:29,400
Speaker 3: jazz guitarist.

1056
00:58:29,640 --> 00:58:31,160
Speaker 1: How guitarists do they face beat?

1057
00:58:31,320 --> 00:58:34,360
Speaker 3: Yeah, it's a thing, you know what those faces are?

1058
00:58:35,600 --> 00:58:35,880
Speaker 2: Yeah?

1059
00:58:36,120 --> 00:58:39,080
Speaker 1: Okay, Styling the drip of.

1060
00:58:39,000 --> 00:58:45,200
Speaker 3: The artists, that's a hard one because you know, I

1061
00:58:45,280 --> 00:58:47,120
Speaker 3: like to be cute, but I also really liked to

1062
00:58:47,160 --> 00:58:49,120
Speaker 3: wear a T shirt and jeans and just be out there.

1063
00:58:49,600 --> 00:58:58,600
Speaker 3: So I'm gonna say, I'm gonna choose like I don't know,

1064
00:58:58,920 --> 00:59:00,120
Speaker 3: like Rihanna or.

1065
00:59:01,840 --> 00:59:03,800
Speaker 1: Probably be which one.

1066
00:59:03,840 --> 00:59:07,480
Speaker 3: She's Beyonce. She's always super hella together.

1067
00:59:08,440 --> 00:59:12,360
Speaker 1: It's always customed, absolutely and get that at the stove.

1068
00:59:12,560 --> 00:59:13,760
Speaker 3: You can't buy that everywhere.

1069
00:59:14,240 --> 00:59:18,800
Speaker 1: Somebody has to make that thing. Someone would imported fabrics.

1070
00:59:18,320 --> 00:59:20,640
Speaker 3: Okay, imported hands, mhm.

1071
00:59:21,240 --> 00:59:22,800
Speaker 1: The passion of the artist, the heart.

1072
00:59:22,600 --> 00:59:23,160
Speaker 2: Of the artist.

1073
00:59:23,640 --> 00:59:25,160
Speaker 3: That's Donny Hathaway or me.

1074
00:59:26,920 --> 00:59:27,560
Speaker 1: A Hathaway.

1075
00:59:28,840 --> 00:59:31,000
Speaker 2: A Hathay half the way she would have told that,

1076
00:59:31,080 --> 00:59:36,840
Speaker 2: Damn teacher, I'm a Hathaway, nigga.

1077
00:59:37,400 --> 00:59:40,520
Speaker 1: You know who I know? I know Leila Hathaway.

1078
00:59:40,680 --> 00:59:43,800
Speaker 3: This is only in the last ten fifteen years. I

1079
00:59:43,800 --> 00:59:47,200
Speaker 3: mean every year somebody says to me, I not this dude,

1080
00:59:47,240 --> 00:59:52,200
Speaker 3: sounds just like your father. Every year. Have you heard

1081
00:59:52,320 --> 00:59:54,720
Speaker 3: such and such? Have you heard this one? Have you

1082
00:59:54,720 --> 00:59:56,400
Speaker 3: heard that one? He sounds just like your father.

1083
00:59:56,560 --> 00:59:57,919
Speaker 2: Have you heard anyone that sounded close.

1084
00:59:58,720 --> 01:00:01,680
Speaker 3: I've heard a lot of people to sound else. Nobody

1085
01:00:01,720 --> 01:00:04,200
Speaker 3: sounds like him. You know what I mean? I don't.

1086
01:00:04,320 --> 01:00:11,720
Speaker 1: And it's There was a guy who in DC sing

1087
01:00:11,720 --> 01:00:14,680
Speaker 1: in a group with Cliff Jones. I got Cliff. I

1088
01:00:14,720 --> 01:00:17,200
Speaker 1: think it might have passed. I cannot think of his

1089
01:00:17,280 --> 01:00:18,880
Speaker 1: name right now, to save my life, I know they'renna

1090
01:00:18,920 --> 01:00:23,600
Speaker 1: kill me. He sounded like your pops. Yeah, like we

1091
01:00:23,920 --> 01:00:27,920
Speaker 1: were in there like and it was like it was

1092
01:00:27,960 --> 01:00:31,360
Speaker 1: the patience that he had with his movement now that

1093
01:00:31,680 --> 01:00:32,480
Speaker 1: it was just like.

1094
01:00:33,680 --> 01:00:36,400
Speaker 3: A lot of the people that that sound like him

1095
01:00:36,560 --> 01:00:40,840
Speaker 3: or want to sound like him can capture the part

1096
01:00:40,880 --> 01:00:45,680
Speaker 3: of the color spectrum. They cannot capture the pain. And

1097
01:00:45,720 --> 01:00:48,040
Speaker 3: that's a big part of what his sound was.

1098
01:00:48,120 --> 01:00:51,240
Speaker 1: I hear exactly what you're saying. I hear a thousand

1099
01:00:51,280 --> 01:00:52,200
Speaker 1: persons now.

1100
01:00:52,200 --> 01:00:54,280
Speaker 3: In the last fifteen years. People walk up to me

1101
01:00:54,320 --> 01:00:56,320
Speaker 3: and say, like, I sound just like your father. I

1102
01:00:56,360 --> 01:00:57,000
Speaker 3: sound just like that.

1103
01:00:57,120 --> 01:01:00,840
Speaker 2: I say that to you, Yes, wow, said thought it is.

1104
01:01:02,240 --> 01:01:03,440
Speaker 2: That's wild and I.

1105
01:01:03,440 --> 01:01:10,720
Speaker 3: Always say I am Donny Hathaway.

1106
01:01:08,160 --> 01:01:12,720
Speaker 2: And there's that, so welcome to me, and so stop running.

1107
01:01:12,480 --> 01:01:16,640
Speaker 1: Up on please for the love about you cut.

1108
01:01:16,440 --> 01:01:19,520
Speaker 3: It top or someone's telling me someone on the voice

1109
01:01:19,520 --> 01:01:22,040
Speaker 3: sounds just like you, like no they didn't, but okay,

1110
01:01:22,280 --> 01:01:24,240
Speaker 3: that's fine. Why do you want to sound just like

1111
01:01:24,280 --> 01:01:28,720
Speaker 3: Donny Hathaway. Well, figure out what you sound like, incorporate that,

1112
01:01:28,720 --> 01:01:31,000
Speaker 3: that's part of that's part of the seed of what

1113
01:01:31,080 --> 01:01:32,880
Speaker 3: you sound like, and then what is your sound?

1114
01:01:32,960 --> 01:01:37,760
Speaker 1: And then what is your sound? Who's writing for this artist?

1115
01:01:39,000 --> 01:01:39,640
Speaker 3: Songwriters?

1116
01:01:43,360 --> 01:01:44,320
Speaker 2: It's making your day hard.

1117
01:01:44,480 --> 01:01:49,000
Speaker 3: So it's terrible. I mean, are they songs? Are they

1118
01:01:49,040 --> 01:01:50,280
Speaker 3: writing songs or tracks?

1119
01:01:51,200 --> 01:01:52,400
Speaker 2: Writing song tap line?

1120
01:01:52,520 --> 01:02:00,440
Speaker 3: Top line, the top line being melody Again. I've been

1121
01:02:00,480 --> 01:02:02,680
Speaker 3: doing some stuff with E. Dawkins and he's killing it.

1122
01:02:03,520 --> 01:02:06,840
Speaker 2: Or we wrote a lot of records with the Egg.

1123
01:02:06,760 --> 01:02:07,040
Speaker 1: So we.

1124
01:02:09,000 --> 01:02:13,880
Speaker 3: Stevie wonder in his prime, I mean Mitchell, I wonder

1125
01:02:13,880 --> 01:02:15,960
Speaker 3: what Stevie's records sound like right now, like just the

1126
01:02:16,000 --> 01:02:16,840
Speaker 3: records he's writing.

1127
01:02:16,920 --> 01:02:18,920
Speaker 2: I would love to know that.

1128
01:02:19,160 --> 01:02:21,600
Speaker 1: Yeah, yeah, but how can you?

1129
01:02:21,760 --> 01:02:26,280
Speaker 3: I mean, so many decades, so many songs like he

1130
01:02:26,360 --> 01:02:30,400
Speaker 3: did not miss, like entire albums of masterpieces.

1131
01:02:30,440 --> 01:02:34,200
Speaker 1: He also made difficult, he made impossible sound easy.

1132
01:02:34,440 --> 01:02:38,240
Speaker 2: Yeah, but I would just love to hear though, because

1133
01:02:38,280 --> 01:02:42,640
Speaker 2: of like a Babyface, like baby Face still writing songs

1134
01:02:42,760 --> 01:02:45,800
Speaker 2: absolutely and hit records for himself for other people. Like

1135
01:02:46,440 --> 01:02:50,200
Speaker 2: So when you have someone like Stevie, wonder you just like,

1136
01:02:50,720 --> 01:02:53,320
Speaker 2: for lack of a better term, you wonder what the

1137
01:02:53,400 --> 01:02:55,680
Speaker 2: music still is? Yeah, what it would sound like if

1138
01:02:55,680 --> 01:03:00,160
Speaker 2: you just pull up on Stevie was playing working? Can

1139
01:03:00,200 --> 01:03:01,880
Speaker 2: you imagine that saying that to Stevie, wonder.

1140
01:03:01,640 --> 01:03:02,840
Speaker 1: What work she's working on?

1141
01:03:03,400 --> 01:03:03,680
Speaker 2: Yeah?

1142
01:03:03,960 --> 01:03:05,880
Speaker 3: You hear something I would love to know because that's

1143
01:03:05,960 --> 01:03:08,200
Speaker 3: music I grew up with. So that music has accompanied

1144
01:03:08,200 --> 01:03:10,480
Speaker 3: me at every step of life. So I want to

1145
01:03:10,520 --> 01:03:11,960
Speaker 3: know what's it? How is it now?

1146
01:03:12,080 --> 01:03:15,040
Speaker 2: Yeah? Yeah, we should start doing that. We started pulling

1147
01:03:15,080 --> 01:03:18,840
Speaker 2: up on it on jeez man, like fun for reason.

1148
01:03:18,840 --> 01:03:20,040
Speaker 2: We got that work out for it.

1149
01:03:20,040 --> 01:03:21,040
Speaker 3: It sounds amazing.

1150
01:03:21,360 --> 01:03:25,000
Speaker 2: We might get cussed out a couple of times, but whatever, whatever.

1151
01:03:32,760 --> 01:03:34,360
Speaker 1: Good stuff that.

1152
01:03:34,400 --> 01:03:38,440
Speaker 3: Was ugly, wasn't it like mustard? Like mustard?

1153
01:03:39,680 --> 01:03:51,560
Speaker 4: It's like all three of them.

1154
01:03:51,840 --> 01:03:54,800
Speaker 1: What I both try to do something.

1155
01:03:55,400 --> 01:03:58,160
Speaker 3: The look that you give me, one out of every

1156
01:03:58,160 --> 01:03:59,480
Speaker 3: three looks is like huh.

1157
01:04:00,040 --> 01:04:02,920
Speaker 1: Because that's what you be doing. You be doing hun stuff.

1158
01:04:02,960 --> 01:04:04,080
Speaker 3: I understand.

1159
01:04:05,920 --> 01:04:08,640
Speaker 1: Now. I'm gonna try to get through this song because

1160
01:04:09,000 --> 01:04:13,520
Speaker 1: in this song are the instructions for the next segment.

1161
01:04:13,280 --> 01:04:15,200
Speaker 2: The last one. You didn't know the last when you

1162
01:04:15,240 --> 01:04:16,240
Speaker 2: didn't listen to instruction.

1163
01:04:17,120 --> 01:04:19,320
Speaker 3: I'm paying attention. I'm fully aware of let's go.

1164
01:04:24,400 --> 01:04:27,240
Speaker 1: I ain't saying no nicks. I ain't saying no names.

1165
01:04:27,600 --> 01:04:28,840
Speaker 1: I ain't saying no names.

1166
01:04:29,160 --> 01:04:30,320
Speaker 2: Ain't saying no niggs.

1167
01:04:30,320 --> 01:04:38,600
Speaker 1: Who he was? What you did? Don't say she? Ain't

1168
01:04:38,640 --> 01:04:39,760
Speaker 1: saying no names.

1169
01:04:41,480 --> 01:04:53,200
Speaker 2: Hey, they very important segment of the show. I ain't

1170
01:04:53,240 --> 01:04:57,000
Speaker 2: saying no names. Tell us the story funny and fucked

1171
01:04:57,080 --> 01:05:01,040
Speaker 2: up a funny and fucked up the to the game.

1172
01:05:01,480 --> 01:05:02,640
Speaker 2: You can't say no name?

1173
01:05:02,880 --> 01:05:06,400
Speaker 3: Sure one. So I was doing a session with a

1174
01:05:06,480 --> 01:05:11,480
Speaker 3: friend who was working with these legendary singers, and my

1175
01:05:11,840 --> 01:05:16,840
Speaker 3: friend that was producing said, please come because one of

1176
01:05:16,840 --> 01:05:20,280
Speaker 3: these singers is I don't know how to communicate with

1177
01:05:20,320 --> 01:05:23,280
Speaker 3: her what I'm trying to get, And so I showed

1178
01:05:23,360 --> 01:05:27,560
Speaker 3: up and it was cool, but then the producer was like, hey,

1179
01:05:28,240 --> 01:05:30,160
Speaker 3: can you get them to do that thing that they do?

1180
01:05:30,600 --> 01:05:33,160
Speaker 3: And I was like, they said, they don't want to

1181
01:05:33,200 --> 01:05:36,240
Speaker 3: do that and now you pushing it. And so at

1182
01:05:36,280 --> 01:05:39,400
Speaker 3: some point the producer was like, please help me. They'll

1183
01:05:39,440 --> 01:05:41,840
Speaker 3: listen to you. So I got out of Mike and said, hey,

1184
01:05:42,520 --> 01:05:44,880
Speaker 3: can you do that? Do the thing? Do that thing

1185
01:05:44,960 --> 01:05:50,320
Speaker 3: you do? And she was like, I'm done. I'm done

1186
01:05:50,360 --> 01:05:54,480
Speaker 3: for the day. So that to me is not so funny.

1187
01:05:54,640 --> 01:05:57,000
Speaker 3: You had you had to you had to be there.

1188
01:05:59,240 --> 01:06:02,520
Speaker 3: She just came out studio like I'm done. I tried

1189
01:06:02,560 --> 01:06:05,200
Speaker 3: to help her. These stories are lame now because the

1190
01:06:05,280 --> 01:06:06,520
Speaker 3: fact that you can't say.

1191
01:06:06,320 --> 01:06:10,040
Speaker 1: Who it is gets great.

1192
01:06:11,320 --> 01:06:14,000
Speaker 3: I did tell Prince Ones that I had gas. That's

1193
01:06:14,080 --> 01:06:15,120
Speaker 3: kind of a funny story.

1194
01:06:15,440 --> 01:06:16,280
Speaker 1: You just said the name.

1195
01:06:16,320 --> 01:06:20,880
Speaker 2: That's crazy, because of course she was hanging out with him.

1196
01:06:22,240 --> 01:06:24,320
Speaker 1: Hey, Prince I got.

1197
01:06:28,080 --> 01:06:30,600
Speaker 3: I'm a very honest girl. What can I say that?

1198
01:06:31,120 --> 01:06:34,200
Speaker 3: The story I was talking about before, though, was harrowing

1199
01:06:34,280 --> 01:06:36,440
Speaker 3: because it was somebody that I held in very.

1200
01:06:36,360 --> 01:06:39,000
Speaker 1: High esteem and they canceled you off.

1201
01:06:39,880 --> 01:06:42,240
Speaker 3: They canceled a whole lot of things, They canceled a

1202
01:06:42,240 --> 01:06:44,840
Speaker 3: whole lot of people, and I just happened to be

1203
01:06:46,080 --> 01:06:51,080
Speaker 3: quietly in that line. But the reason it hurt was

1204
01:06:51,120 --> 01:06:53,520
Speaker 3: because it was somebody that I had really been trying

1205
01:06:53,560 --> 01:06:58,600
Speaker 3: to lift up and really been trying to support not

1206
01:06:58,680 --> 01:07:00,560
Speaker 3: in the way that they need what I have, but

1207
01:07:00,760 --> 01:07:03,640
Speaker 3: in a way that is how you support legends.

1208
01:07:03,720 --> 01:07:07,320
Speaker 1: Absolutely, you know, absolutely, Yeah, that sucks.

1209
01:07:07,680 --> 01:07:10,720
Speaker 3: Yeah, it's the worst. Like when the legendary talent and

1210
01:07:10,760 --> 01:07:14,120
Speaker 3: then the legendary attitude don't.

1211
01:07:15,040 --> 01:07:16,200
Speaker 1: I've been there. It happens.

1212
01:07:16,440 --> 01:07:17,520
Speaker 2: It happens more than people know.

1213
01:07:17,840 --> 01:07:19,400
Speaker 1: Yeah, I've been there.

1214
01:07:19,920 --> 01:07:22,120
Speaker 3: Some of the greatest musicians that I've ever met, though,

1215
01:07:22,160 --> 01:07:22,960
Speaker 3: are so cool.

1216
01:07:23,680 --> 01:07:26,880
Speaker 1: Most I think the thing that I've experienced is like

1217
01:07:27,040 --> 01:07:30,560
Speaker 1: the guys on a really really high level are the

1218
01:07:30,680 --> 01:07:31,400
Speaker 1: nicest people.

1219
01:07:31,520 --> 01:07:33,240
Speaker 3: Absolutely, they don't have anything to prove.

1220
01:07:33,600 --> 01:07:43,040
Speaker 2: It's the mids, some scanless midscanless.

1221
01:07:41,800 --> 01:07:46,280
Speaker 1: Mids, scandless mids like that. You know you mad, right?

1222
01:07:48,240 --> 01:07:51,440
Speaker 1: Are you walking like that? You can't be mid and

1223
01:07:51,520 --> 01:08:00,200
Speaker 1: walk and talk like that. I respect your confidence. Relax, relax, Well,

1224
01:08:00,240 --> 01:08:01,800
Speaker 1: well we got to pack your bags. Is you know,

1225
01:08:02,040 --> 01:08:04,960
Speaker 1: you got to get on that road. Get on tonight.

1226
01:08:05,000 --> 01:08:06,400
Speaker 1: We're looking forward to a new album.

1227
01:08:06,920 --> 01:08:09,840
Speaker 3: Thank you. I'm so excited. It's probably the best record

1228
01:08:09,880 --> 01:08:10,200
Speaker 3: I've made.

1229
01:08:10,600 --> 01:08:12,880
Speaker 1: I'm excited for the album too, and I'm excited because

1230
01:08:12,920 --> 01:08:16,600
Speaker 1: of the layers and you know, I'm gonna continue to

1231
01:08:16,880 --> 01:08:22,559
Speaker 1: encourage you to have fun. Yeah, you've you've You've more

1232
01:08:22,600 --> 01:08:26,800
Speaker 1: than earned that Black Black album. Have a ball. The

1233
01:08:26,840 --> 01:08:29,519
Speaker 1: intro is so crazy, Thank you, But have a ball.

1234
01:08:29,800 --> 01:08:34,800
Speaker 1: That temple there, that's that's yours, and have a good time.

1235
01:08:35,320 --> 01:08:37,120
Speaker 1: Because I was just like, literally when you were playing

1236
01:08:37,120 --> 01:08:38,679
Speaker 1: a couple of those songs, I was like this, ooh

1237
01:08:38,800 --> 01:08:42,200
Speaker 1: you and you and black Coffee. That would be like, yeah,

1238
01:08:42,320 --> 01:08:45,639
Speaker 1: because he's legendary. You're legendary. That that mesh of your

1239
01:08:45,760 --> 01:08:49,479
Speaker 1: vocal and that tempo you would ride in that space.

1240
01:08:50,600 --> 01:08:53,200
Speaker 1: I'm just throwing that out there in the world in

1241
01:08:54,080 --> 01:08:55,839
Speaker 1: either to see what happens.

1242
01:08:55,960 --> 01:08:57,040
Speaker 3: When are we going to do something?

1243
01:08:57,200 --> 01:09:00,760
Speaker 1: Whenever you want to quit plan I'm the only thing

1244
01:09:00,800 --> 01:09:01,360
Speaker 1: I'm doing right now.

1245
01:09:02,280 --> 01:09:04,519
Speaker 3: This is my worst pest peeve in this whole business.

1246
01:09:05,479 --> 01:09:08,040
Speaker 3: I really want to do something with you. Oh, I'll

1247
01:09:08,040 --> 01:09:08,839
Speaker 3: call you Thursday.

1248
01:09:10,200 --> 01:09:16,320
Speaker 1: I'll give you my address. All right then, and you've

1249
01:09:16,400 --> 01:09:17,040
Speaker 1: you've been here.

1250
01:09:17,600 --> 01:09:18,679
Speaker 3: I mean, I know you live here.

1251
01:09:18,760 --> 01:09:20,760
Speaker 1: So we work here and I work and I work

1252
01:09:20,760 --> 01:09:23,880
Speaker 1: at home and to guess wherever you feel comfortable. My

1253
01:09:23,920 --> 01:09:25,439
Speaker 1: wife to cook something I.

1254
01:09:25,439 --> 01:09:27,719
Speaker 3: Don't eat when I'm working. But yeah, that's be fine.

1255
01:09:28,000 --> 01:09:30,840
Speaker 1: We have some snacks on deck. Snacky Robinson got to

1256
01:09:30,880 --> 01:09:32,840
Speaker 1: keep snacks on deck snacking call.

1257
01:09:35,560 --> 01:09:38,880
Speaker 3: All right, well you said it. Now people know I'd like, yeah,

1258
01:09:38,920 --> 01:09:42,360
Speaker 3: we should, we really should, we actually should.

1259
01:09:43,240 --> 01:09:44,040
Speaker 1: I might have something.

1260
01:09:45,760 --> 01:09:48,479
Speaker 2: Casey came out here and said the same thing, same thing.

1261
01:09:48,520 --> 01:09:49,719
Speaker 1: Now I'm about to mix it single.

1262
01:09:50,200 --> 01:09:51,479
Speaker 3: But that's excellent.

1263
01:09:53,040 --> 01:09:53,360
Speaker 6: Okay.

1264
01:09:53,360 --> 01:09:56,160
Speaker 3: Oh, here's here's a good story, shady story about somebody

1265
01:09:56,439 --> 01:09:58,920
Speaker 3: I thought was sucked up. But I met this person.

1266
01:09:59,320 --> 01:10:02,679
Speaker 3: He's a legendary kind of songwriter dude. And I walked

1267
01:10:02,760 --> 01:10:04,880
Speaker 3: up to him. I was, you know, probably twenty five

1268
01:10:04,960 --> 01:10:08,120
Speaker 3: years old, and I said, I love your work. It

1269
01:10:08,160 --> 01:10:11,040
Speaker 3: has so much depth and color. I just I would

1270
01:10:11,160 --> 01:10:14,240
Speaker 3: love to work with you or write a song, or

1271
01:10:14,280 --> 01:10:16,200
Speaker 3: if you could write something for me. I don't know

1272
01:10:16,240 --> 01:10:18,160
Speaker 3: if you're familiar with what I do, but I just

1273
01:10:18,280 --> 01:10:20,320
Speaker 3: I think that what you do is for everyone. I

1274
01:10:20,320 --> 01:10:24,240
Speaker 3: would love to be involved. And he said, oh, I

1275
01:10:24,280 --> 01:10:26,160
Speaker 3: got two three hundred songs in the can. I could

1276
01:10:26,160 --> 01:10:27,000
Speaker 3: just give you one of those.

1277
01:10:30,439 --> 01:10:34,360
Speaker 2: He didn't eat and what I didn't, I.

1278
01:10:34,320 --> 01:10:37,160
Speaker 3: Don't want one of your songs in the can. It

1279
01:10:37,240 --> 01:10:38,759
Speaker 3: might have been, but I'm interested.

1280
01:10:39,320 --> 01:10:39,600
Speaker 1: I was.

1281
01:10:39,880 --> 01:10:44,400
Speaker 3: I was coming to him. I think you're great. Can

1282
01:10:44,439 --> 01:10:47,519
Speaker 3: we make something bespoke for for both of our levels

1283
01:10:47,520 --> 01:10:52,559
Speaker 3: of great bespoke. And he said, I'm busy. I got

1284
01:10:52,560 --> 01:10:54,760
Speaker 3: ship I made for other people six weeks ago. Why

1285
01:10:54,760 --> 01:10:56,599
Speaker 3: don't you just sip through that and find it?

1286
01:10:56,840 --> 01:10:58,160
Speaker 1: Can you some of this meal? Prep?

1287
01:10:58,439 --> 01:10:59,040
Speaker 3: Just get that?

1288
01:11:00,600 --> 01:11:01,920
Speaker 1: No, no freshly cooked meal?

1289
01:11:02,120 --> 01:11:06,000
Speaker 2: Yeah you kind of said, come get this hit.

1290
01:11:06,960 --> 01:11:08,639
Speaker 3: He has no more hits. He's had no more hits.

1291
01:11:08,640 --> 01:11:19,439
Speaker 1: Oh wow, yea, no, Mas, that statement really bad. Then

1292
01:11:19,520 --> 01:11:25,080
Speaker 1: if you don't have live the way I know you don't,

1293
01:11:25,320 --> 01:11:28,240
Speaker 1: you know, I know you don't feel like you have

1294
01:11:28,439 --> 01:11:32,640
Speaker 1: the perfect vocal. I I feel like you have the

1295
01:11:32,680 --> 01:11:33,400
Speaker 1: perfect vocal.

1296
01:11:35,680 --> 01:11:36,040
Speaker 2: You are.

1297
01:11:37,439 --> 01:11:39,200
Speaker 1: I never I never get the fan out, you know,

1298
01:11:39,280 --> 01:11:40,840
Speaker 1: when we're around each other, I never get to like

1299
01:11:40,880 --> 01:11:41,960
Speaker 1: you know what I'm saying. We just be like, hey,

1300
01:11:41,960 --> 01:11:43,920
Speaker 1: what you doing? Like you know, we were just kind

1301
01:11:43,920 --> 01:11:46,920
Speaker 1: of being passing. But I'm thankful for this moment to

1302
01:11:46,960 --> 01:11:49,559
Speaker 1: where I really get to actually sit and fan out

1303
01:11:49,600 --> 01:11:51,519
Speaker 1: over you and give you some flowers and let you

1304
01:11:51,560 --> 01:11:56,880
Speaker 1: know that like, yes, we're listening and we're studying. Thank you, yes,

1305
01:11:57,160 --> 01:11:58,280
Speaker 1: so thank.

1306
01:11:58,120 --> 01:11:59,160
Speaker 3: You, thank you.

1307
01:11:59,439 --> 01:12:00,320
Speaker 1: We appreciate.

1308
01:12:02,240 --> 01:12:02,719
Speaker 2: Valentine.

1309
01:12:02,960 --> 01:12:05,800
Speaker 1: This is the rby Money podcast. You authority on all

1310
01:12:05,920 --> 01:12:10,920
Speaker 1: things R and B because they gotta know.

1311
01:12:13,080 --> 01:12:14,240
Speaker 2: Its gonna wake the ass up.

1312
01:12:16,520 --> 01:12:21,160
Speaker 1: They gotta know your ass up because in the building

1313
01:12:21,320 --> 01:12:29,760
Speaker 1: is the COVID. R and B Money.

1314
01:12:30,000 --> 01:12:31,800
Speaker 2: R and B Money is a production of the Black

1315
01:12:31,800 --> 01:12:36,640
Speaker 2: Effect podcast Network. For more podcasts from iHeartRadio, visit the

1316
01:12:36,680 --> 01:12:40,519
Speaker 2: iHeartRadio app, Apple Podcasts, or wherever you listen to your

1317
01:12:40,560 --> 01:12:44,439
Speaker 2: favorite shows. Don't forget to subscribe to and Radar Show,

1318
01:12:44,760 --> 01:12:47,360
Speaker 2: and you can connect with us on social media at

1319
01:12:47,439 --> 01:12:51,720
Speaker 2: Jay Valentine and at the Real Tank. For the extended episode,

1320
01:12:51,800 --> 01:12:56,000
Speaker 2: subscribe to YouTube dot com, forward Slash, R and B

1321
01:12:56,120 --> 01:12:56,439
Speaker 2: Money