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Speaker 1: R and B Money.

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Speaker 2: Honey, we are.

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Speaker 3: Take Valoti.

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Speaker 1: We are the authorities on R and B ladies and Gentlemen's.

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Speaker 1: My name is Tank, I'm Jay Valentine.

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Speaker 3: This it's the R and B Money Podcast authority on

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Speaker 3: all things R and B. Exquisite, exquisite. The level has

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Speaker 3: just gone regal.

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Speaker 2: Uh.

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Speaker 1: There's R and B Royalty in the building and Royal

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Speaker 1: Royalty in the building.

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Speaker 3: One of the greatest songwriters of our generation ever walked

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Speaker 3: this ever walk this planet. You guys, ladies and gentlemen,

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Speaker 3: and mister John t oh.

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Speaker 1: Wow, yeah, really yeah, thank you. Yeah, he's here. We

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Speaker 1: believe it.

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Speaker 4: No ship.

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Speaker 1: You are than brother, Thank you you. I wore my

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Speaker 1: suit for you.

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Speaker 4: Guys.

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Speaker 1: Man, you were doing this when I was trying. I

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Speaker 1: was trying.

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Speaker 3: I was I saw you you know when when uh,

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Speaker 3: I remember, I remember when one of your your first

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Speaker 3: big checks. You got one of your first big checks.

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Speaker 3: This is probably ninety eight maybe was it ninety eight? Yeah,

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Speaker 3: and you you got the Jaguar, the jack Jaguar four door.

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Speaker 3: Did everybody wants No, it was the Bens. No the

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Speaker 3: Jaguar bubble Eye.

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Speaker 1: No, Jazzy had the bubble Lie. I had the five fifty,

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Speaker 1: the five fifty. Why did I think you had the No,

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Speaker 1: I had the five fifty and I had dubs in

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Speaker 1: the ninety ninety eight.

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Speaker 3: Right, yeah, I remember your car was way better than

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Speaker 3: anything i'd ever Thank you. I get and I'm just watching.

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Speaker 3: I was just like, yeah, thank you too. If you

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Speaker 3: keep writing these songs, man, you too can be like John.

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Speaker 1: I want to be like John. Now I'm washing legs,

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Speaker 1: then be on the fries.

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Speaker 5: It's like the nigga I was. I was just moping

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Speaker 5: you had your own McDonald's.

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Speaker 1: Absolutely early, yeah, early.

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Speaker 3: I mean, I think, you know, we gotta go back there.

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Speaker 3: We got to go back to the beginning, even even

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Speaker 3: before the Sweet Ladies and all these things. Let's go

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Speaker 3: back to the beginning.

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Speaker 1: Where are you from, bro, I'm from Atlanta. You from

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Speaker 1: from the southwest.

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Speaker 5: Atlanta, from the Swats. I am from the Swats.

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Speaker 1: Is that what it's called. They call it the Swats?

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Speaker 1: The Swats? Swats?

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Speaker 3: Absolutely well, let's let's go back to the Swats. Okay,

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Speaker 3: let's do when somebody said, what up? What John Tey

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Speaker 3: brought up? Ben boy boy got something special, something on them.

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Speaker 1: Yeah. Yeah, I started out in church. I think just

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Speaker 1: probably like most.

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Speaker 5: Of us did, singing, and you know, I was doing

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Speaker 5: television stuff like commercials and singing on television.

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Speaker 1: No, just like acting. Oh shit, okay, you kids incorporated, right,

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Speaker 1: Kids Beat?

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Speaker 5: I had Kids Beat and real News for kids on

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Speaker 5: Turner Broadcasting on TBS, seeing inn and you know that's

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Speaker 5: when Ted Turner was still the head of the company

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Speaker 5: and I was thirteen. Yeah, so I did it from

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Speaker 5: like thirteen to seventeen.

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Speaker 1: How'd you get in that? It was? So I initially

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Speaker 1: landed it on open audition.

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Speaker 5: My mom just took me, like she saw it, and

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Speaker 5: you know, I'd already had a couple of commercials under

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Speaker 5: my belt and she took me, you know, to do that.

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Speaker 5: And I got the audition and you know, and landed

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Speaker 5: the gig. Yeah, and so I was on yeh Saturday

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Speaker 5: mornings like so it started with like these little news

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Speaker 5: blurbs and you know, like you Ryan Cameron always makes

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Speaker 5: fun of me when he sees me. He's like, you know,

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Speaker 5: this is John Jay Austin for Kids Be and so

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Speaker 5: because that was like the sign off and then you

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Speaker 5: were buying out yep.

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Speaker 1: Right early and so from there.

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Speaker 5: But I always had a passion for music, and I

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Speaker 5: was interviewing all these people on the show, you know,

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Speaker 5: sports people, entertainment people, and then I ended up being

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Speaker 5: able to go on our Senior Hall and he asked me,

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Speaker 5: you know what if I wanted to do anything else

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Speaker 5: in addition to what I was doing. I said I

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Speaker 5: wanted to sing, and so he had me sing with

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Speaker 5: the band and then he kept me around for the

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Speaker 5: whole show, like I come back from commercial, I'm singing

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Speaker 5: with the band and he let me hang out.

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Speaker 1: Dave Chappelle was on that night, which is a you know,

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Speaker 1: you are pouring champagne. Yeah, you know. Yeah, Man's.

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Speaker 5: That he did this before us to not just the

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Speaker 5: writing thing, but this as well, Like, yeah, I was

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Speaker 5: interviewing people.

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Speaker 1: I'm like, this is kind of what we're doing. Yeah,

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Speaker 1: he did this, I was doing that. I was doing that.

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Speaker 5: It was you know, like Michael Jackson, Michael Jordan's, all

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Speaker 5: of these people.

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Speaker 1: You interviewed all of them. Yes, people absolutely came through

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Speaker 1: your show. Absolutely absolutely. We got to find the archives man. Yeah.

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Speaker 5: So if you see my Instagram, every year on Michael

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Speaker 5: Jackson's birthday, I post a picture of me and him

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Speaker 5: and it's this, you know, I'm like thirteen.

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Speaker 1: These I wore glasses back then, had a silk shirt

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Speaker 1: on coming. He was doing the silk shirts then. Yeah,

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Speaker 1: you know that's crazy.

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Speaker 5: Yeah, and from and from there on our Senio Tease Williams,

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Speaker 5: who was absolutely Tease Williams saw it and she called

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Speaker 5: up to Turner and was like, you know who is

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Speaker 5: like got ine And you know, went up to New

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Speaker 5: York and met Kenny Ortisse who was at RCA Records

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Speaker 5: that was back, and that he had just signed s WV.

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Speaker 1: Not just signed, he signed.

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Speaker 5: Him and they had done well, like so they had

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Speaker 5: done great, and so he was looking to sign you know,

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Speaker 5: someone else and so he you know, they flew me

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Speaker 5: up and you know, Tease had made that introduction and

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Speaker 5: I got my first record deal with RCA Records. I

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Speaker 5: was thirteen, you were thirteen. That was before I was.

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Speaker 5: That was and that preceded the writing. I was just

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Speaker 5: you know, all about the singing. It was, you know,

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Speaker 5: and New York back in those days, you know, to

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Speaker 5: see it, you know, walk through the office. At the time,

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Speaker 5: Rob Walker, who managed the Neptunes, was an assistant to

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Speaker 5: this cat named Dino, who was another an R. Steve

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Speaker 5: Stout was up there working for Loud under Steve Rifkins.

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Speaker 1: Yeah. Yeah, just the all of these people back in

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Speaker 1: those times.

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Speaker 5: Yeah, that's incredible, bro, Yeah, that's incredible.

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Speaker 1: So you signed first to RCA or you signed to

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Speaker 1: which one?

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Speaker 5: I signed the RCA Yeah, OK, yeah, because it was

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Speaker 5: RCIVE at that time. No, it was just yeah, everything

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Speaker 5: was separate back then. That was before for it kind

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Speaker 5: of you know exactly exactly. So I signed and you

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Speaker 5: know was recording. That was back when, you know, that's

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Speaker 5: that's how I hooked up with you know, the like

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Speaker 5: Joe and the Neptunes, like Kenny Kenny Ortiz had founded

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Speaker 5: Neptunes earlier. This was back like you know, Chad had

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Speaker 5: to leave the sessions because he was still in school,

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Speaker 5: like he was going back to college and flying out,

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Speaker 5: and you know that was back when.

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Speaker 1: You know, so do they work on your first album?

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Speaker 1: They worked on the first album.

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Speaker 5: I still have like the demo of like a couple

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Speaker 5: of the songs and with like with like Joe.

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Speaker 1: Singing the demos but to Neptunes.

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Speaker 5: Yeah that Pharrell had written for me at Dallas, Austin

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Speaker 5: at Dark and they and they were here and this

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Speaker 5: is back when I mean they had them staying in

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Speaker 5: like this holiday inn that was like around it. It

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Speaker 5: was like a kick door hotel. This is this, So

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Speaker 5: this is early Neptune. That's how I'm giving you the

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Speaker 5: picture of out early Neptunes.

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Speaker 1: This is and you know, and then you know they

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Speaker 1: go on there And how did that process go though?

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Speaker 3: I mean, because it's like, you know, you as an

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Speaker 3: artist at thirteen, like, yeah, you know, you probably have

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Speaker 3: some expectations too. I'm getting ready to I'm getting ready

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Speaker 3: to go there, you know, I'm ready to be him.

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Speaker 3: I'm getting ready, man, I am.

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Speaker 5: I'm thinking like I'm gonna be you know huge, I'm

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Speaker 5: about to do this album.

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Speaker 1: It's about to drop.

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Speaker 5: Because at the same time, you know, a childhood friend

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Speaker 5: that I had met around twelve usher, you know, was

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Speaker 5: already out doing He had called me a macout. So

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Speaker 5: it's like okay, and then he's you know, he's about

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Speaker 5: to drop. Can you get with it? It's like, oh man,

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Speaker 5: I'm getting you know, I'm next. I'm right behind my guy.

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Speaker 5: And then I went through a voice change and then

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Speaker 5: the administration that brought me in the acts new administration.

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Speaker 1: Came in, like y'all know how y'all. Y'all know how

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Speaker 1: that goes. Y'all know how I knew it?

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Speaker 5: All right, kids, we got another kid we want to sign,

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Speaker 5: and that kid was Tyres. That was so that's how,

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Speaker 5: that's how we get.

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Speaker 6: To Okay, let's get there. Let's get there, because now

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Speaker 6: you are faced with the music business absolutely right, where like, hey,

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Speaker 6: we got this new kid, and we want your song

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Speaker 6: for this new kid.

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Speaker 5: Yeah, and it wasn't my so sweet lady. Troy Taylor

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Speaker 5: when he was with Charles Farah when they were the characters,

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Speaker 5: they also worked on my album as well, and so

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Speaker 5: and Carl Thomas was writing, and so you know, we

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Speaker 5: had had a bunch of songs. So Troy is the

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Speaker 5: one who really kind of pushed me into like, yo,

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Speaker 5: you ever thought about writing? And I was like, you know,

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Speaker 5: I mean, you know, he was like, you should try.

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Speaker 5: I hadn't written any song yet, and really, you know,

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Speaker 5: I kind of played around with it, but for yourself, no, no,

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Speaker 5: like I hadn't you know, all of the songs I

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Speaker 5: recorded other people.

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Speaker 1: Wrote and the problem yeah right right, I mean didn't

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Speaker 1: right for himself. Shit, you know that's where it starts.

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Speaker 5: Yeah, And so you know, Troy pushed me, and then

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Speaker 5: we like landed a couple of things on Jason Weaver

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Speaker 5: on seven O two, and so then I get, you

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Speaker 5: get deal after I get out of my deal, you know,

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Speaker 5: because that was now my way of just staying around

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Speaker 5: the business, like you said, the music business, and I

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Speaker 5: just wanted to be around it, you know, biding my

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Speaker 5: time until I could maybe get another shot at being

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Speaker 5: an artist. And so I'm writing and it's you know,

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Speaker 5: it's I'm getting some placements here and there, and you know,

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Speaker 5: then I get a publishing deal, you know, Valerie Patten

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Speaker 5: signs me to Chrysalis. I think I'm like fifteen at

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Speaker 5: the time, Like my mom had to sign the contract.

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Speaker 1: Everything exactly exactly.

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Speaker 5: So, uh but then fast forward, so I'm home and

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Speaker 5: you know, I get a call from Troy and he's like,

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Speaker 5: you know, listen, I got an opportunity for you, and

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Speaker 5: if you're smart, you'll do it.

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Speaker 1: And he was like, you know, if you're emotional, you

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Speaker 1: won't do it.

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Speaker 5: And I was like, okay, but you don't try setting

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Speaker 5: up y'all.

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Speaker 1: Don't try you know what I mean, Troy setting it up.

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Speaker 5: And so he's like, uh, you know, he's like, you know,

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Speaker 5: the you know, the record because we had the hook

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Speaker 5: for Sweet Lady. He's like, you're a sweet Lady and

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Speaker 5: I was like yeah yeah. He was like, you know,

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Speaker 5: I need some verses for I need you to, you know,

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Speaker 5: finish the verses and.

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Speaker 1: We're gonna do it. They wanted for tyres.

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Speaker 5: And I'm like, I don't want to help that nigga.

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Speaker 1: He took my spot.

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Speaker 5: Yeah right, you know, but then after you go, after

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Speaker 5: you get that out for about ten minutes, realize that,

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Speaker 5: you know, he he in Tyreese's mind, this is my spot.

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Speaker 5: Like I'm trying to I'm trying to be an artist.

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Speaker 5: I'm trying to be successful, just like you had.

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Speaker 1: Nothing to do.

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Speaker 5: I don't know, you bro, Like yeah right, but you

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Speaker 5: know I got a deal. I'm popping, you know what

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Speaker 5: I mean, from the commercials to the deal. And so

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Speaker 5: I was like, okay, I'm gonna write the verses. I

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Speaker 5: wrote the verses. And that was back when you know,

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Speaker 5: this is before text.

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Speaker 1: You couldn't you know, send songs.

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Speaker 5: Nothing, nothing over the phone, right, you couldn't record nothing

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Speaker 5: on your phone. So, you know, Troy called me and

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Speaker 5: like my answer machine, pick up and let it play

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Speaker 5: and so I could hear it on the answer machine,

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Speaker 5: and then I wrote the verses and I called back

246
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Speaker 5: and left the melody of the verses on his answering

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Speaker 5: machine with the lyrics like that's how we did songs

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Speaker 5: over them, That's how we did songs over the.

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Speaker 1: Phone back then. Yeah, that's great.

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Speaker 5: So Sweet Lady was written, you know, the verses, the

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Speaker 5: hook was done, but it was done on an answer absolutely,

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Speaker 5: and that's your first legitimate hit record, absolutely, absolutely. So

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Speaker 5: before that, let's let rewind a little bit. You do

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Speaker 5: your first publish, your fifteen What was that deal?

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Speaker 1: Like? Do you remember that deal? Do you remember like

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Speaker 1: the terms of that deal with the type of bridge

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Speaker 1: you got absolute fifteen? I remember.

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Speaker 5: So I gotten that deal based on my first commercial

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Speaker 5: release was Mona Lisa's Can't be wasting my time going

260
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Speaker 5: to the Wayne's Brother's soundtrack with the Lost Boys. So

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Speaker 5: I signed my first publishing deal.

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Speaker 1: Was it was for eighty K.

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Speaker 6: Okay, fifteen eighty K, all right, how much you got

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Speaker 6: it up front?

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Speaker 1: Eighty I got on Lady K eighty K up front.

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Speaker 1: I got small set of twenty five. Yeah I didn't.

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Speaker 6: I made it though, I'm gonna have to sell some

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Speaker 6: more dope.

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Speaker 5: Yeah, so you know I got that up front. It

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Speaker 5: was three years, and you know, you have to meet

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Speaker 5: your song delivery commitment to get the exactly you know

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Speaker 5: what I mean.

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Speaker 1: So it was.

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Speaker 5: Four holy written songs, which if you write fifty percents,

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Speaker 5: that's eight songs. People never people never do that math, right,

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Speaker 5: because it's in It's twelve exactly, it's in the contract,

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Speaker 5: holy written song.

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Speaker 3: Like it's only five songs. I'm about to kill them, like,

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Speaker 3: no you're not.

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Speaker 1: No, you're not. You need ten.

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Speaker 5: You need fifteen released released, not just.

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Speaker 1: Release. See we're giving them label on a major label, right.

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Speaker 5: Yeah, So I went into suspension my first I did.

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Speaker 1: I didn't mean the commitment, right, I didn't need the

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Speaker 1: commit Yeah, you know she.

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Speaker 5: Guy over here who was actually putting out on his

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Speaker 5: own album too, and you.

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Speaker 1: Gotta love this, you know, I love it now. It's amazing.

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Speaker 5: But my best clause in the contract was I got

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Speaker 5: the reversion clause. So everything came back to me in

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Speaker 5: ten years.

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Speaker 1: Yeah, you're only fifteen anyway, So it's ten years after,

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Speaker 1: you know, because I read up with them a few times,

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Speaker 1: you know, Valerie and I stayed in business for a

295
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Speaker 1: while over there at Chrysalis, and but yeah, everything came

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Speaker 1: back to me.

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Speaker 5: I don't know, I guess about twenty eighteen. Yeah, so

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Speaker 5: all of the yeah stuff stuff happens when you're not

299
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Speaker 5: emotional exactly exactly. No, I learned that early. I had

300
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Speaker 5: to relearn it, of course, over and over and over again.

301
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Speaker 5: So sweet Lady drops, Sweet Lady drops.

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Speaker 3: I'm newly hanging out with Tyres at that time. Yeah,

303
00:15:56,160 --> 00:16:00,280
Speaker 3: because RCA had signed a group called Elements of Life

304
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Speaker 3: that was on the same production company I was signed to.

305
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Speaker 3: You know what I'm saying, What was my guy that

306
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Speaker 3: was over there, Kevin.

307
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Speaker 5: Oh gosh, gosh, Kevin, because that's who dropped me, Kevin,

308
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Speaker 5: Kevin Evans, Kevin Kevin Evans, and Anthony oh gosh, who

309
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Speaker 5: was right up under him. I can't remember Anthony Morgan.

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Speaker 3: Kevin Kevin Evans when he signed EO Element's Life. Then

311
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Speaker 3: he was like I went and sang and performed for him.

312
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Speaker 3: Was like, we want you to next.

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Speaker 1: Him.

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Speaker 3: Yeah, I mean not to fast forward. But then then

315
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Speaker 3: when Kevin got pushed out, I was I got pushed

316
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Speaker 3: out too. So anyway, you know, it slice two times.

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Speaker 1: So this drops.

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Speaker 3: It was a meeting Tyreees for the first time. I'm like,

319
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Speaker 3: this dude is different. That's when you had the thing

320
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Speaker 3: right here. And he was mad at because everybody thought

321
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Speaker 3: he was Tyson Beckford.

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Speaker 1: Yes he was.

323
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Speaker 3: He was angry, like we were. We was walking the

324
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Speaker 3: streets in New York and oh my god, Tyson man,

325
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Speaker 3: no fucking Tyson.

326
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Speaker 1: I was like, it's not a bad remind me to

327
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Speaker 1: tell you. Let's go.

328
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Speaker 5: We're at a New Year's party, uh for the you know,

329
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Speaker 5: the the Christmas part at the Mayor of Atlanta throws.

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Speaker 1: This was in during Cassimes.

331
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Speaker 4: You know.

332
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Speaker 5: Era and a friend of my wife's, my wife had

333
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Speaker 5: a bachelor party in Vegas and they went to go

334
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Speaker 5: see Tyson Beckford, you know, when he was doing the Chippendale.

335
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Speaker 1: She goes up.

336
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Speaker 5: My wife's goes up to Tyres and it was like, also,

337
00:17:48,200 --> 00:17:50,880
Speaker 5: good to see you. We we loved the show last week.

338
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Speaker 5: You were amazing.

339
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Speaker 1: And Tyres is like looking at her, like, you know,

340
00:17:55,760 --> 00:17:57,159
Speaker 1: she was like in Vegas, we wed to show in

341
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Speaker 1: Vegas and you know in this she goes off. He

342
00:18:00,800 --> 00:18:03,800
Speaker 1: leans over to me. He's like, she thinks I'm Tyson

343
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Speaker 1: Beckford after all, this was old Casinia. Yeah, not too

344
00:18:11,320 --> 00:18:16,040
Speaker 1: long ago, twenty sixteen. Maybe after all these movies still

345
00:18:16,119 --> 00:18:22,719
Speaker 1: haunting him, Tyson back is still haunting you. Just obabe.

346
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Speaker 4: You not?

347
00:18:28,600 --> 00:18:32,760
Speaker 3: Yeah, so so so sweet lady drops it's a smash

348
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Speaker 3: because I can tell by the way ty is walking.

349
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Speaker 1: He's walking he has a smash He's talking smashy. Yeah, yeah,

350
00:18:43,000 --> 00:18:43,760
Speaker 1: what changes?

351
00:18:45,080 --> 00:18:47,439
Speaker 3: I know everything changes, but what but what what can

352
00:18:47,520 --> 00:18:49,359
Speaker 3: you pick out at that moment when it didn't get

353
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Speaker 3: you out of suspensions.

354
00:18:51,960 --> 00:18:54,000
Speaker 5: That by that time I had, Yes, I had had

355
00:18:54,040 --> 00:18:56,000
Speaker 5: a couple of other songs come out, and yeah, so

356
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Speaker 5: I was out of suspension.

357
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Speaker 1: You know.

358
00:19:00,720 --> 00:19:03,159
Speaker 5: I think by that time I hooked up with Noontime.

359
00:19:04,960 --> 00:19:09,280
Speaker 5: You know, we were you know, still like getting our

360
00:19:09,359 --> 00:19:10,560
Speaker 5: collaborations together.

361
00:19:10,720 --> 00:19:15,000
Speaker 1: So it was like a we you know, it felt good.

362
00:19:15,040 --> 00:19:16,800
Speaker 5: It was like a validation cause it's like, man, like

363
00:19:16,880 --> 00:19:20,040
Speaker 5: now I'm turning on the radio all the time, and

364
00:19:20,119 --> 00:19:23,760
Speaker 5: then you watch the song crack the top ten, you know,

365
00:19:24,000 --> 00:19:26,080
Speaker 5: R and B and it's like, you know, I think

366
00:19:26,119 --> 00:19:28,080
Speaker 5: it made it to like number eight and I'm seven

367
00:19:28,160 --> 00:19:29,159
Speaker 5: number eight something.

368
00:19:28,960 --> 00:19:31,160
Speaker 1: Like that, and it's like, wow, this is a real

369
00:19:31,920 --> 00:19:34,199
Speaker 1: bona fide you know record, and.

370
00:19:35,680 --> 00:19:39,760
Speaker 5: You know, I think from there it just it motivated

371
00:19:39,840 --> 00:19:43,200
Speaker 5: me more to want to, you know, put more songs

372
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Speaker 5: on the radio. Then it kind of became about you know,

373
00:19:46,080 --> 00:19:48,880
Speaker 5: you go from I want to write, so I want

374
00:19:48,920 --> 00:19:52,560
Speaker 5: to get placements, then so I want to get placements.

375
00:19:52,359 --> 00:19:54,200
Speaker 1: To now I want to get singles. Yea.

376
00:19:54,800 --> 00:19:57,119
Speaker 5: Now it's like, you know, it goes from I want

377
00:19:57,160 --> 00:19:59,120
Speaker 5: to get singles to now I want to get first

378
00:19:59,200 --> 00:20:00,920
Speaker 5: singles the second you know what I mean, like I

379
00:20:01,040 --> 00:20:04,440
Speaker 5: want to be you know, and then from there it's

380
00:20:04,480 --> 00:20:06,720
Speaker 5: like I want us to be the go to guys,

381
00:20:06,840 --> 00:20:08,840
Speaker 5: Like now you come to us, Yeah, Because.

382
00:20:08,880 --> 00:20:11,840
Speaker 1: It's like before you actually have a hit record.

383
00:20:11,880 --> 00:20:14,000
Speaker 3: Even sometimes when you do have that first hit record

384
00:20:14,040 --> 00:20:17,280
Speaker 3: one or two, you're a guy that people will listen

385
00:20:17,440 --> 00:20:20,080
Speaker 3: and accept records for. But there becomes a point in

386
00:20:20,160 --> 00:20:24,760
Speaker 3: time when it's like, okay, let's book the session. Yes, right,

387
00:20:24,920 --> 00:20:27,920
Speaker 3: there's a process. That's a real process. If John Tay

388
00:20:28,080 --> 00:20:29,280
Speaker 3: in with X, Y and Z.

389
00:20:30,720 --> 00:20:32,160
Speaker 1: Because Johntay's record is going.

390
00:20:32,119 --> 00:20:35,240
Speaker 3: To be he's going to deliver, it's going to deliver

391
00:20:35,359 --> 00:20:37,800
Speaker 3: something exactly. And when did that change? When did that

392
00:20:37,880 --> 00:20:38,399
Speaker 3: happen for you?

393
00:20:39,040 --> 00:20:39,680
Speaker 1: Ah? Man?

394
00:20:39,800 --> 00:20:45,600
Speaker 5: I think that happened, man, it was because it was

395
00:20:45,640 --> 00:20:49,760
Speaker 5: post Sweet Lady. I think we started to get those opportunities.

396
00:20:50,119 --> 00:20:53,760
Speaker 5: It was it was two records when be Cox and

397
00:20:53,840 --> 00:20:58,440
Speaker 5: I did Get Gone for Ideal, Hm, I love thank you.

398
00:21:00,400 --> 00:21:05,920
Speaker 3: That was, you know, I think Lee, yeah alone, pack

399
00:21:05,960 --> 00:21:09,600
Speaker 3: your bags, Yes, get the hell on. Yeah, because I

400
00:21:10,320 --> 00:21:14,400
Speaker 3: don't want you no, no, Yeah, that was the record

401
00:21:14,480 --> 00:21:14,760
Speaker 3: was great.

402
00:21:14,800 --> 00:21:17,560
Speaker 1: I was inspired by a real person. I bet it was.

403
00:21:17,680 --> 00:21:21,920
Speaker 1: It absolutely was, absolutely was before you could block people.

404
00:21:22,480 --> 00:21:24,680
Speaker 2: Yes, this was you know.

405
00:21:25,000 --> 00:21:28,520
Speaker 1: She she also inspired I Miss You for Lee.

406
00:21:29,400 --> 00:21:31,920
Speaker 5: But you know, back in the day when she used

407
00:21:31,920 --> 00:21:33,680
Speaker 5: to try to bring that up, I would be quicker,

408
00:21:33,800 --> 00:21:34,879
Speaker 5: you know, I inspired I miss you.

409
00:21:35,040 --> 00:21:37,400
Speaker 1: I would also be like, you also inspired Get Gone.

410
00:21:37,520 --> 00:21:45,600
Speaker 1: So there's that feel because I married Min I'm not

411
00:21:45,640 --> 00:21:49,040
Speaker 1: even gonna do it. Just just let's keep going.

412
00:21:49,359 --> 00:21:49,560
Speaker 4: Yeah.

413
00:21:49,760 --> 00:21:53,199
Speaker 5: So so it was Get Gone that because that record

414
00:21:53,480 --> 00:21:58,320
Speaker 5: showed like these guys can do records on new artists

415
00:21:58,880 --> 00:22:01,520
Speaker 5: and get a new artist happen, you know what I mean.

416
00:22:01,600 --> 00:22:04,320
Speaker 5: So that's one thing, you know, And then for me

417
00:22:04,440 --> 00:22:06,239
Speaker 5: it was like the second time because we had ty

418
00:22:06,320 --> 00:22:07,520
Speaker 5: rees and now we have Ideal.

419
00:22:09,080 --> 00:22:15,720
Speaker 1: But then yeah, be Cox did Get Gone. Yeah, the

420
00:22:15,800 --> 00:22:17,560
Speaker 1: guy one of the guys from ideal is his cousin

421
00:22:17,680 --> 00:22:18,159
Speaker 1: or something? Right?

422
00:22:20,640 --> 00:22:20,800
Speaker 4: Yeah?

423
00:22:20,840 --> 00:22:26,000
Speaker 5: Yeah, yeah, who produced I don't want to, Donnie and

424
00:22:26,080 --> 00:22:27,040
Speaker 5: Jazzy Fair producer.

425
00:22:27,040 --> 00:22:27,639
Speaker 1: I don't want to.

426
00:22:28,160 --> 00:22:30,240
Speaker 5: And then when I don't want to came then it

427
00:22:30,440 --> 00:22:33,800
Speaker 5: was like, Okay, these guys are for real. They're doing

428
00:22:34,800 --> 00:22:38,480
Speaker 5: real hits because you like, I don't want to win

429
00:22:38,600 --> 00:22:42,680
Speaker 5: number two on the charts with no video, and you know,

430
00:22:43,080 --> 00:22:45,960
Speaker 5: and we all from the era of like how important

431
00:22:46,040 --> 00:22:49,040
Speaker 5: videos were and you had to have a video, you know,

432
00:22:49,440 --> 00:22:52,760
Speaker 5: and you know, number two it was on the Next

433
00:22:52,800 --> 00:22:58,800
Speaker 5: Friday soundtrack before it was on Romeo Must Die Socks.

434
00:22:58,840 --> 00:23:00,840
Speaker 5: It was on two soundtracks. It was on Next Friday.

435
00:23:00,920 --> 00:23:05,879
Speaker 5: First you was getting paid? Yeah, yeah, ship, what did

436
00:23:05,920 --> 00:23:06,200
Speaker 5: you buy?

437
00:23:07,240 --> 00:23:11,240
Speaker 1: Man? What's the first? What's the first? Crazy John Ta?

438
00:23:13,400 --> 00:23:16,560
Speaker 1: It might have been that Bens. I mean it might

439
00:23:16,640 --> 00:23:18,960
Speaker 1: have been that Ben. It was not on the streets, No,

440
00:23:19,160 --> 00:23:22,480
Speaker 1: it was yeah, it was brand new. Yeah, I think

441
00:23:22,520 --> 00:23:24,480
Speaker 1: that was it. Yeah, I have to pay the overage

442
00:23:24,880 --> 00:23:26,679
Speaker 1: to be the first. No, no, no, man.

443
00:23:26,760 --> 00:23:30,880
Speaker 5: I found a guy in Athens, Georgia who got one

444
00:23:31,000 --> 00:23:34,040
Speaker 5: for me, and I drove up to Athens and and

445
00:23:34,680 --> 00:23:35,680
Speaker 5: you know, I drove it back.

446
00:23:36,119 --> 00:23:40,520
Speaker 1: I was killing that noontime parking lot. Same way you'll

447
00:23:40,560 --> 00:23:44,119
Speaker 1: travel for a woman, you'll travel for a car. I

448
00:23:44,160 --> 00:23:46,520
Speaker 1: flew to LA to pick up a car once you

449
00:23:46,560 --> 00:23:49,399
Speaker 1: should and shipped it back. But I like, you know,

450
00:23:49,440 --> 00:23:51,240
Speaker 1: I need to see it. Yeah, fly out there.

451
00:23:51,359 --> 00:23:52,480
Speaker 2: Yeah. Yeah.

452
00:23:53,040 --> 00:23:54,359
Speaker 1: When your money get different.

453
00:23:54,240 --> 00:23:57,200
Speaker 3: Even rich for a long time money and your money

454
00:23:57,240 --> 00:24:00,439
Speaker 3: get different, you know you have particular taste.

455
00:24:00,640 --> 00:24:06,600
Speaker 1: Ye, I need I need to Yeah, I need all

456
00:24:06,680 --> 00:24:22,440
Speaker 1: new cars don't smell the sad. I wanted to see

457
00:24:23,160 --> 00:24:27,520
Speaker 1: how because I had just gotten the Black card, and so.

458
00:24:27,640 --> 00:24:30,240
Speaker 5: I wanted to heavy one, the heavy one, right, the

459
00:24:30,320 --> 00:24:34,399
Speaker 5: one that made Now now a lot of cards are

460
00:24:34,480 --> 00:24:37,159
Speaker 5: made out of that, but like the black was the first.

461
00:24:37,320 --> 00:24:39,680
Speaker 1: One, and I just I was just like I wanted

462
00:24:39,680 --> 00:24:41,520
Speaker 1: to see if I can do the whole thing. And

463
00:24:41,680 --> 00:24:43,960
Speaker 1: I handed them and they swipe it, and I'm like, wow,

464
00:24:44,160 --> 00:24:50,720
Speaker 1: that's cool that the whole car. That was a whole

465
00:24:51,520 --> 00:24:54,960
Speaker 1: I need to know this. Oh, were you with a

466
00:24:55,000 --> 00:24:57,880
Speaker 1: Black card? And for people that don't understand, he's talking

467
00:24:57,920 --> 00:25:05,200
Speaker 1: about the American Express Vorian right, smell that Centurion.

468
00:25:06,160 --> 00:25:10,000
Speaker 6: Yeah, and it's the unlimited you can you can go

469
00:25:10,160 --> 00:25:12,760
Speaker 6: purchase a jet. Yeah, they gonna want that jet, like

470
00:25:13,119 --> 00:25:15,840
Speaker 6: they want to jet. Yeah, well, but you go purchase one.

471
00:25:16,080 --> 00:25:18,680
Speaker 1: By the time I got this, I was like twenty five.

472
00:25:19,359 --> 00:25:25,680
Speaker 1: Oh wow, small, small set twenty five, small, twenty five.

473
00:25:25,840 --> 00:25:31,680
Speaker 1: This is you know, we Belong Together is out. This

474
00:25:31,880 --> 00:25:33,920
Speaker 1: is all of it everything. I mean he wrote we

475
00:25:34,000 --> 00:25:38,640
Speaker 1: Belong Together at twenty four Yeah what yeah, around Yeah,

476
00:25:38,640 --> 00:25:39,720
Speaker 1: I think we were around that time.

477
00:25:40,000 --> 00:25:44,320
Speaker 7: Yeah, yeah, at that time it was yeah know I

478
00:25:44,520 --> 00:25:47,200
Speaker 7: was yeah know, he was in it. I was in

479
00:25:47,320 --> 00:25:50,080
Speaker 7: it for the good and for the bad, for the

480
00:25:50,160 --> 00:25:51,120
Speaker 7: good and for the bad.

481
00:25:51,320 --> 00:25:53,600
Speaker 3: My question, as we go through these progressions with you know,

482
00:25:54,880 --> 00:26:01,840
Speaker 3: so many records, what are you feeling as what is

483
00:26:01,920 --> 00:26:06,120
Speaker 3: the artist John T. Austin feeling like, because there has

484
00:26:06,200 --> 00:26:09,199
Speaker 3: to be moments all of this where you're like.

485
00:26:09,800 --> 00:26:13,000
Speaker 1: These are my children could be this could be broke

486
00:26:13,320 --> 00:26:15,560
Speaker 1: my career as an artists. Yeah, maybe I should.

487
00:26:16,359 --> 00:26:19,399
Speaker 5: Absolutely. I said it a hundred times. I said it

488
00:26:19,440 --> 00:26:23,000
Speaker 5: a hundred times. I you know, I'm conflicted about, you know,

489
00:26:23,600 --> 00:26:28,359
Speaker 5: giving records away. You know, I'm conflicted about it.

490
00:26:28,680 --> 00:26:29,399
Speaker 1: Was almost like.

491
00:26:30,960 --> 00:26:33,760
Speaker 5: You ever see the movie Happy Gilmour, Yes, you know,

492
00:26:33,840 --> 00:26:35,760
Speaker 5: how like he started doing really well at golf, but

493
00:26:35,840 --> 00:26:38,440
Speaker 5: he kept telling people he was a hockey player. Like

494
00:26:38,600 --> 00:26:40,240
Speaker 5: you know what I mean, I'm like, I'm an artist

495
00:26:41,040 --> 00:26:43,240
Speaker 5: and you know, but I'm like, I want to hold

496
00:26:43,280 --> 00:26:48,960
Speaker 5: on to something. And my manager, Chris Hicks, you know,

497
00:26:50,160 --> 00:26:51,960
Speaker 5: he would always have to talk me out, he would,

498
00:26:52,000 --> 00:26:55,200
Speaker 5: you know, but he would say, listen, the only reason

499
00:26:55,320 --> 00:26:58,520
Speaker 5: you hang on to records is if you are not

500
00:26:58,720 --> 00:27:02,919
Speaker 5: confident that you can make another one. But I believe

501
00:27:03,000 --> 00:27:05,760
Speaker 5: you can make another one. So let's give that we

502
00:27:05,920 --> 00:27:09,280
Speaker 5: have an opportunity to place these records and put these

503
00:27:09,359 --> 00:27:12,600
Speaker 5: records on people who are coming out. You'll get your shot.

504
00:27:13,240 --> 00:27:15,720
Speaker 5: I don't know when it's gonna happen, but yes, So,

505
00:27:15,920 --> 00:27:19,159
Speaker 5: like it's it is frustrating. It was frustrating because like

506
00:27:19,280 --> 00:27:22,000
Speaker 5: even though I'm making all of these hits, I'm like,

507
00:27:22,280 --> 00:27:26,119
Speaker 5: you know, man, I you know I can do this,

508
00:27:26,480 --> 00:27:27,720
Speaker 5: Like you know, I'm.

509
00:27:27,600 --> 00:27:30,320
Speaker 1: Singing the demos. They're you know, they're doing my demo

510
00:27:30,520 --> 00:27:35,200
Speaker 1: note for note no for you know, right, So it's

511
00:27:35,240 --> 00:27:39,639
Speaker 1: like you're hearing yourself right the radio. Absolutely absolutely a

512
00:27:39,760 --> 00:27:40,880
Speaker 1: version of yourself. Yeah.

513
00:27:41,280 --> 00:27:41,480
Speaker 2: Yeah.

514
00:27:42,200 --> 00:27:45,639
Speaker 5: So it's you know, like to the point where like

515
00:27:45,680 --> 00:27:47,240
Speaker 5: when we were talking about when can't help but Wait

516
00:27:47,320 --> 00:27:50,679
Speaker 5: came out for Trey songs, like getting calls like.

517
00:27:51,200 --> 00:27:54,879
Speaker 1: You wrote that, didn't you. I can tell like it's.

518
00:27:54,600 --> 00:27:56,920
Speaker 3: Your even what you're talking about, because I didn't know. Yeah,

519
00:27:57,040 --> 00:27:58,480
Speaker 3: we were just talking about it. I was like, I'm

520
00:27:58,560 --> 00:28:00,960
Speaker 3: replaying the record of my mind and I just hear

521
00:28:01,119 --> 00:28:04,639
Speaker 3: you you have vibrato. I hear the whole thing. I

522
00:28:04,680 --> 00:28:08,760
Speaker 3: was like, that's for damn sure, John T. Austin record.

523
00:28:09,119 --> 00:28:12,600
Speaker 1: John T. Austin could have diad yes, yeah, could have

524
00:28:12,680 --> 00:28:13,600
Speaker 1: put out easily.

525
00:28:15,080 --> 00:28:15,320
Speaker 7: Yeah.

526
00:28:15,640 --> 00:28:17,200
Speaker 1: And it's so it becomes.

527
00:28:18,480 --> 00:28:21,200
Speaker 5: Right right, and you're happy for that, Like you're not

528
00:28:21,600 --> 00:28:24,520
Speaker 5: like I'm I'm not happy that anybody else got to hit.

529
00:28:24,920 --> 00:28:26,879
Speaker 5: It's just kind of like your own personal war that

530
00:28:27,000 --> 00:28:30,320
Speaker 5: you're fighting. It's like, man, what do I have to do?

531
00:28:31,119 --> 00:28:34,320
Speaker 5: You know, like I'm because I'm celebrating their success and

532
00:28:34,560 --> 00:28:36,920
Speaker 5: not jealous of it. But man, I would like to

533
00:28:36,960 --> 00:28:38,680
Speaker 5: be an artist as as well.

534
00:28:39,560 --> 00:28:39,760
Speaker 3: You know.

535
00:28:40,440 --> 00:28:44,120
Speaker 1: But you know, we kept writing, what's the record that

536
00:28:44,280 --> 00:28:48,440
Speaker 1: you didn't want to give away? Is there one that

537
00:28:48,560 --> 00:28:50,040
Speaker 1: you just like, fuck.

538
00:28:51,600 --> 00:29:00,320
Speaker 5: Man, I'm trying to what's a Then there's one that

539
00:29:00,400 --> 00:29:03,000
Speaker 5: stands out. I'm just trying to think if that's the

540
00:29:03,040 --> 00:29:05,920
Speaker 5: one I want to go with. I think it might

541
00:29:06,040 --> 00:29:08,880
Speaker 5: have been. No, it wasn't can't help but wait because

542
00:29:08,920 --> 00:29:13,480
Speaker 5: we did that specifically for Trey with Stargate.

543
00:29:17,760 --> 00:29:19,000
Speaker 1: I think I don't want to.

544
00:29:20,760 --> 00:29:24,200
Speaker 5: Like at the time because it wasn't for Aaliyah. Okay,

545
00:29:25,480 --> 00:29:28,680
Speaker 5: you know we did it and then Chris heard it.

546
00:29:28,960 --> 00:29:31,760
Speaker 5: Chris Hicks heard it and was like, oh, this is

547
00:29:32,000 --> 00:29:34,200
Speaker 5: this is getting played you know for Aleah.

548
00:29:34,560 --> 00:29:37,520
Speaker 1: I was there too. Yeah, yeah, you were in there

549
00:29:37,600 --> 00:29:39,600
Speaker 1: on a Sony Studios in New York.

550
00:29:42,280 --> 00:29:42,520
Speaker 2: Yeah.

551
00:29:42,840 --> 00:29:46,280
Speaker 1: We was like that make a cold man, oh man,

552
00:29:46,680 --> 00:29:49,120
Speaker 1: than you fucking rits. You need to write like that.

553
00:29:49,240 --> 00:29:51,360
Speaker 1: You see how you writing like that will copy your

554
00:29:51,400 --> 00:29:52,880
Speaker 1: doubles like view that.

555
00:29:54,000 --> 00:29:57,920
Speaker 3: I need to repeat some stuff, right, okay, and then

556
00:29:57,960 --> 00:30:00,280
Speaker 3: you would you would do the telephone, and so you

557
00:30:00,320 --> 00:30:00,960
Speaker 3: need the telephone.

558
00:30:01,360 --> 00:30:05,800
Speaker 1: Telephone, man, the telephone like all that stuff. Phone kind

559
00:30:05,840 --> 00:30:09,600
Speaker 1: of was like an early auto tune thing. I think

560
00:30:09,680 --> 00:30:16,000
Speaker 1: I was the because when you get excited about the telephone,

561
00:30:17,880 --> 00:30:22,880
Speaker 1: but the telephone, the telephone, the telephone on the telephone. Right,

562
00:30:23,880 --> 00:30:24,560
Speaker 1: I got that from you.

563
00:30:24,720 --> 00:30:28,760
Speaker 6: So I'm telling to interview y'all real real quick, real quick,

564
00:30:30,880 --> 00:30:35,600
Speaker 6: come over, come over. I got I got both, I

565
00:30:35,680 --> 00:30:39,840
Speaker 6: got both of you guys in the room, and for

566
00:30:39,960 --> 00:30:43,960
Speaker 6: a long time, people did not know that that was

567
00:30:44,680 --> 00:30:45,320
Speaker 6: Tank's voice.

568
00:30:46,600 --> 00:30:50,320
Speaker 1: People didn't know that. And because I want to were

569
00:30:50,360 --> 00:30:52,640
Speaker 1: you even credited on there?

570
00:30:53,040 --> 00:30:55,320
Speaker 3: I didn't get credited on there till late That's what

571
00:30:55,360 --> 00:30:58,240
Speaker 3: I'm saying, Like, so people people found out right and

572
00:30:58,360 --> 00:31:00,800
Speaker 3: then they I think people themselves just credited me and

573
00:31:00,880 --> 00:31:03,680
Speaker 3: then ended up as but it's not on the project.

574
00:31:03,800 --> 00:31:07,160
Speaker 3: As a fan right now, I need I need the backstory.

575
00:31:08,000 --> 00:31:09,800
Speaker 3: I have to have the backstory. So we give you

576
00:31:09,840 --> 00:31:11,719
Speaker 3: my perspective because this perspective more important.

577
00:31:11,920 --> 00:31:12,800
Speaker 1: But I heard him telling it.

578
00:31:12,880 --> 00:31:16,760
Speaker 3: I love it because this is more important. We're at

579
00:31:16,800 --> 00:31:20,280
Speaker 3: another studio recording, ye me.

580
00:31:20,920 --> 00:31:23,480
Speaker 1: I think Jerry's with me. I don't know if Cliff

581
00:31:23,560 --> 00:31:23,840
Speaker 1: is with me.

582
00:31:25,160 --> 00:31:26,680
Speaker 5: You down at Chunk King right, because we were at

583
00:31:26,720 --> 00:31:30,719
Speaker 5: Son of you guys worrying probably probably, and he was like, uh,

584
00:31:31,440 --> 00:31:33,840
Speaker 5: he was like uh, he's like a leave recording recording

585
00:31:33,840 --> 00:31:34,360
Speaker 5: around the corner.

586
00:31:34,400 --> 00:31:36,120
Speaker 3: I was like, oh, shoot, let's go over there, you

587
00:31:36,160 --> 00:31:37,600
Speaker 3: know what I'm saying, check on her and see what's

588
00:31:37,640 --> 00:31:40,000
Speaker 3: going on. And so, you know, we walking the streets

589
00:31:40,040 --> 00:31:42,600
Speaker 3: in New York, run into the LEA session. As soon

590
00:31:42,600 --> 00:31:47,680
Speaker 3: as we walk in, She's like, oh, Tank can do it.

591
00:31:48,080 --> 00:31:50,720
Speaker 3: And then Johntay's like, can do it?

592
00:31:52,760 --> 00:31:56,040
Speaker 1: You have no music out at this point. No, okay,

593
00:31:56,720 --> 00:32:01,520
Speaker 1: but we knew he was a sang right, but my

594
00:32:01,680 --> 00:32:02,680
Speaker 1: background singer anymore?

595
00:32:02,960 --> 00:32:05,920
Speaker 3: Are you still a back kind for genuine? I'm fighting

596
00:32:06,000 --> 00:32:08,960
Speaker 3: to be you still want to do it? I'm damn right.

597
00:32:09,040 --> 00:32:10,720
Speaker 1: I mean to this day you still I still want

598
00:32:10,720 --> 00:32:11,440
Speaker 1: to sing backgrounds?

599
00:32:12,040 --> 00:32:12,160
Speaker 3: Right?

600
00:32:12,840 --> 00:32:16,120
Speaker 1: I want to sing background And Johnny was like getting

601
00:32:16,120 --> 00:32:17,880
Speaker 1: the booth, I was like, this is wow. I just

602
00:32:18,000 --> 00:32:20,480
Speaker 1: want to say here right, yeah.

603
00:32:20,440 --> 00:32:23,400
Speaker 3: Getting the booth and John Tay of course, John Tay sings.

604
00:32:24,720 --> 00:32:26,840
Speaker 3: He gives me the notes, just think me, give me,

605
00:32:26,920 --> 00:32:27,280
Speaker 3: give me the.

606
00:32:29,480 --> 00:32:31,800
Speaker 1: And sing that. I think we spent about like five

607
00:32:31,880 --> 00:32:33,920
Speaker 1: ten minutes or that sing that like that's a stack

608
00:32:34,000 --> 00:32:36,920
Speaker 1: head because he then he put like a mid no,

609
00:32:38,200 --> 00:32:39,200
Speaker 1: it's mad crazy.

610
00:32:39,240 --> 00:32:40,640
Speaker 3: I just come out the booth and I'm like, that's

611
00:32:40,720 --> 00:32:43,320
Speaker 3: it cool and we're just talking and listen of it.

612
00:32:43,520 --> 00:32:45,240
Speaker 3: Liz is talking to me about my style and what

613
00:32:45,320 --> 00:32:46,960
Speaker 3: I need to do and you need to dress like

614
00:32:47,040 --> 00:32:48,640
Speaker 3: and you know you're like a one man Josy and

615
00:32:48,680 --> 00:32:52,400
Speaker 3: you better and john Day's like, yeah, you're do the thing.

616
00:32:52,640 --> 00:32:52,840
Speaker 2: Yeah.

617
00:32:53,080 --> 00:32:54,920
Speaker 3: But Johnsy was like, you know when we listen to

618
00:32:55,000 --> 00:32:58,760
Speaker 3: the record like I'm in there taking notes because I

619
00:32:58,800 --> 00:33:02,200
Speaker 3: had already heard this record. I'd already heard the record.

620
00:33:02,760 --> 00:33:04,400
Speaker 3: And then when she's when he put her on it,

621
00:33:04,440 --> 00:33:07,320
Speaker 3: I was just like this, Ninka is cold.

622
00:33:07,320 --> 00:33:09,680
Speaker 1: Because I was in line, you know what I'm saying.

623
00:33:10,000 --> 00:33:11,760
Speaker 1: It was him and it was static.

624
00:33:13,160 --> 00:33:16,280
Speaker 3: So for my label, you know, even at Blackground, you

625
00:33:16,320 --> 00:33:20,080
Speaker 3: know what I'm saying, their go to was we need

626
00:33:20,240 --> 00:33:23,520
Speaker 3: static or we need John Tea. So I was in line,

627
00:33:23,600 --> 00:33:27,080
Speaker 3: just kind of waiting my turn to be sick, waiting

628
00:33:27,200 --> 00:33:30,080
Speaker 3: for my again, I would say, for my writing to

629
00:33:30,200 --> 00:33:33,120
Speaker 3: get on that level because I wasn't there yet, you

630
00:33:33,160 --> 00:33:34,720
Speaker 3: know what I'm saying. So these were the guys that

631
00:33:34,800 --> 00:33:36,800
Speaker 3: I was just kind of like watching, kind of in

632
00:33:36,960 --> 00:33:38,360
Speaker 3: awe of, you know what I'm saying. So when they

633
00:33:38,360 --> 00:33:39,640
Speaker 3: put me in the studio on that on that, I

634
00:33:39,640 --> 00:33:42,600
Speaker 3: didn't think nothing of it. But then you know, as

635
00:33:42,880 --> 00:33:45,720
Speaker 3: as it looks in twenty twenty three, wow, thank you.

636
00:33:46,200 --> 00:33:52,320
Speaker 1: Absolutely, thank you, thank you. Yeah. Now okay, now give

637
00:33:52,400 --> 00:33:55,320
Speaker 1: us the before he gets to the studio. Okay, Yeah,

638
00:33:55,440 --> 00:33:58,240
Speaker 1: So we were in there she so Alia had cut

639
00:33:58,680 --> 00:34:02,440
Speaker 1: most of the record, and you know, hearing this part,

640
00:34:02,640 --> 00:34:04,440
Speaker 1: it's like okay, like you know, it's got to be

641
00:34:04,560 --> 00:34:07,320
Speaker 1: some somebody that asked, because she was like, I think

642
00:34:07,360 --> 00:34:12,120
Speaker 1: somebody else should do this. And so we was like okay, because.

643
00:34:11,880 --> 00:34:14,239
Speaker 5: It was you know, the story of come On. So

644
00:34:14,360 --> 00:34:17,040
Speaker 5: she's calling you know, her dude, her dude, and so

645
00:34:17,120 --> 00:34:20,480
Speaker 5: it's like, okay, she just touched story wise right too.

646
00:34:21,840 --> 00:34:25,040
Speaker 1: Yeah, so yeah, yeah, so.

647
00:34:25,680 --> 00:34:27,400
Speaker 5: We thought like okay, at this point of the story,

648
00:34:28,200 --> 00:34:32,400
Speaker 5: it's you know, him participating now, like you know what

649
00:34:32,480 --> 00:34:32,759
Speaker 5: I mean.

650
00:34:32,880 --> 00:34:36,000
Speaker 1: And so it was like a call out back to her, okay.

651
00:34:36,360 --> 00:34:39,040
Speaker 1: And so it's like, you know, and who is saying

652
00:34:39,080 --> 00:34:40,640
Speaker 1: this ship like who you know?

653
00:34:41,680 --> 00:34:44,120
Speaker 5: And we're going through like you know, I think Usher

654
00:34:44,239 --> 00:34:46,960
Speaker 5: might have come up. You know, we're throwing people out,

655
00:34:47,920 --> 00:34:49,040
Speaker 5: and then Tank walks in.

656
00:34:49,400 --> 00:34:54,160
Speaker 1: And we're like like Tank can do it. That's crazy,

657
00:34:54,400 --> 00:34:56,000
Speaker 1: And we said I think we said g I think

658
00:34:56,000 --> 00:34:58,759
Speaker 1: we did say genuine. So it was like, but you

659
00:34:59,000 --> 00:35:03,719
Speaker 1: never walked check on your friend. I mean like, yeah,

660
00:35:05,120 --> 00:35:05,600
Speaker 1: it's crazy.

661
00:35:06,920 --> 00:35:10,280
Speaker 5: But that's like such, that's the yeah, that's the juice

662
00:35:10,280 --> 00:35:12,719
Speaker 5: of the song, right, Like that's the you know that part,

663
00:35:12,880 --> 00:35:14,279
Speaker 5: Like that's the sing along part.

664
00:35:14,440 --> 00:35:17,759
Speaker 1: That's the you know, that's the flavor and then what

665
00:35:18,360 --> 00:35:21,000
Speaker 1: two years ago, three years ago, you get another check

666
00:35:21,080 --> 00:35:21,279
Speaker 1: for it?

667
00:35:21,920 --> 00:35:26,640
Speaker 5: Because Kaylannie, yeah yeah, can I absolutely which is k

668
00:35:26,719 --> 00:35:28,520
Speaker 5: Lonnie that you didn't call Chief to come and do

669
00:35:28,680 --> 00:35:29,320
Speaker 5: his part again?

670
00:35:31,239 --> 00:35:34,600
Speaker 1: He might have done it for you. Yeah, come on

671
00:35:34,719 --> 00:35:40,080
Speaker 1: stage sometimes sold up shows, stole out show, yes, yeah no,

672
00:35:40,920 --> 00:35:45,080
Speaker 1: because that's and that leads me to my next question.

673
00:35:46,040 --> 00:35:48,640
Speaker 5: How does it feel to be sampled at this younger

674
00:35:48,760 --> 00:35:52,560
Speaker 5: age that you are, like, you're not seventy eighty years

675
00:35:52,640 --> 00:35:53,759
Speaker 5: old when you got to clear the.

676
00:35:53,760 --> 00:36:00,800
Speaker 1: Sam being like, oh, who want to like what he's singing?

677
00:36:01,320 --> 00:36:05,080
Speaker 1: I don't like what he's saying on that my wholesome

678
00:36:05,200 --> 00:36:09,640
Speaker 1: song into a whole song. Yeah, you know you're still

679
00:36:09,640 --> 00:36:10,399
Speaker 1: a young dude.

680
00:36:10,520 --> 00:36:15,960
Speaker 6: Man, they're sampling your music, Kaylane Bryson Tiller, like they're

681
00:36:16,080 --> 00:36:17,800
Speaker 6: sampling your records already.

682
00:36:18,040 --> 00:36:23,359
Speaker 5: Absolutely, No, it's a it's a great feeling. I mean

683
00:36:23,480 --> 00:36:25,680
Speaker 5: it makes me, you know, it like makes you feel

684
00:36:25,719 --> 00:36:28,600
Speaker 5: sing because it's like, okay, the younger generation. You know,

685
00:36:29,160 --> 00:36:31,279
Speaker 5: it's funny that you say, like the seventy year old guy, right,

686
00:36:31,320 --> 00:36:32,240
Speaker 5: because you like you don't.

687
00:36:32,040 --> 00:36:34,480
Speaker 1: Want to be that. I had to call a couple

688
00:36:34,560 --> 00:36:37,560
Speaker 1: of them stuff. So that's why. Yeah, exactly.

689
00:36:37,560 --> 00:36:41,799
Speaker 5: I'm sorry they feel like, you know, but I don't

690
00:36:41,840 --> 00:36:44,160
Speaker 5: want to be the person that's like, oh, you know,

691
00:36:45,880 --> 00:36:47,480
Speaker 5: you know music should be this way.

692
00:36:47,840 --> 00:36:50,759
Speaker 1: Yeah, you know, you got to have more respect than

693
00:36:50,800 --> 00:36:51,520
Speaker 1: blah blah blah.

694
00:36:51,600 --> 00:36:55,560
Speaker 5: Because when I meet young writers, young artist, young producers,

695
00:36:56,120 --> 00:36:57,160
Speaker 5: what I've learned.

696
00:36:57,040 --> 00:37:00,680
Speaker 1: Is they do respect it. They know it. They follow

697
00:37:00,760 --> 00:37:03,239
Speaker 1: it like they have nothing but respect and the admiration.

698
00:37:03,920 --> 00:37:07,480
Speaker 5: That's why they're sampling like they they're paying you a compliment,

699
00:37:08,040 --> 00:37:10,719
Speaker 5: you know to me, so like and a check.

700
00:37:10,840 --> 00:37:13,440
Speaker 1: So when it comes through, like you know, I'm like,

701
00:37:13,800 --> 00:37:16,799
Speaker 1: it's I always listen for the creativity of it, Like, wow,

702
00:37:17,120 --> 00:37:20,719
Speaker 1: have you ever not clear something I'm trying to see?

703
00:37:22,640 --> 00:37:24,680
Speaker 5: I don't think so, yeah, I don't think so you

704
00:37:24,760 --> 00:37:28,320
Speaker 5: know what, No, I think there might have been like

705
00:37:28,400 --> 00:37:31,080
Speaker 5: an ed M version of I can't remember of something

706
00:37:31,200 --> 00:37:32,240
Speaker 5: I might not have cleared.

707
00:37:33,360 --> 00:37:39,759
Speaker 1: I love EDM, but it wasn't for whatever reason. Yeah.

708
00:37:39,960 --> 00:37:43,200
Speaker 5: Yeah, it felt like you know, something that I'm hearing

709
00:37:43,680 --> 00:37:47,920
Speaker 5: in just like a one way bar in Amsterdam, you know,

710
00:37:48,120 --> 00:37:51,839
Speaker 5: like off that, but not but not in the Flyway,

711
00:37:52,080 --> 00:37:54,200
Speaker 5: not the fly Amsterdam that we're talking.

712
00:37:54,280 --> 00:37:58,360
Speaker 6: Nothing that I love going to sample John say as records.

713
00:37:58,800 --> 00:38:04,960
Speaker 6: Make sure it's fly, you know, make sure its music

714
00:38:05,040 --> 00:38:05,440
Speaker 6: is flying.

715
00:38:05,560 --> 00:38:10,239
Speaker 3: Absolutely, absolutely, I want to talk about I want to

716
00:38:10,280 --> 00:38:13,200
Speaker 3: talk about your experience with Mariah Carey.

717
00:38:13,800 --> 00:38:17,920
Speaker 1: Okay, because that's you know, before we get to Maracay.

718
00:38:18,000 --> 00:38:20,319
Speaker 1: I do have to let y'all know for I don't

719
00:38:20,320 --> 00:38:23,320
Speaker 1: want to You know, Aliyah didn't want to cut that. No,

720
00:38:23,480 --> 00:38:25,040
Speaker 1: I did not know that. She didn't want to cut

721
00:38:25,080 --> 00:38:27,680
Speaker 1: that one. She wasn't sold and I don't want to.

722
00:38:28,600 --> 00:38:30,120
Speaker 1: She wanted to cut I Miss You. That was what

723
00:38:30,280 --> 00:38:31,200
Speaker 1: got us to New York.

724
00:38:31,920 --> 00:38:34,719
Speaker 6: And you know, so how do you sell because now

725
00:38:34,760 --> 00:38:37,880
Speaker 6: the writers need to see this. How do you sell

726
00:38:38,440 --> 00:38:43,440
Speaker 6: a major superstar? How do you sell them the record

727
00:38:43,480 --> 00:38:45,279
Speaker 6: that they don't want but you know that they need.

728
00:38:45,760 --> 00:38:49,520
Speaker 5: Right, So you know, I can't take credit for that.

729
00:38:49,680 --> 00:38:52,759
Speaker 5: That was all Chris Hicks who made that. He was like,

730
00:38:52,920 --> 00:38:57,000
Speaker 5: I tell you what, let's make a deal. You can

731
00:38:57,080 --> 00:38:59,880
Speaker 5: cut I Miss You, but you have to cut this

732
00:39:00,120 --> 00:39:00,640
Speaker 5: one as well.

733
00:39:02,200 --> 00:39:05,880
Speaker 1: That's the deal. And she was like okay, And then

734
00:39:05,920 --> 00:39:07,920
Speaker 1: when she got on it, it was Chris has always

735
00:39:07,960 --> 00:39:15,560
Speaker 1: been good with conversations. Yea, I know, yeah, absolutely is

736
00:39:15,600 --> 00:39:26,279
Speaker 1: from the area. You know what this feels feels, right,

737
00:39:26,760 --> 00:39:29,560
Speaker 1: I like the way you're talking to me. Yeah, so

738
00:39:29,920 --> 00:39:31,879
Speaker 1: so you know, so that's how that's how we got

739
00:39:31,920 --> 00:39:35,440
Speaker 1: her on it. Wow, that was it. So Mariah Carey, Yes,

740
00:39:36,560 --> 00:39:37,439
Speaker 1: what is that call?

741
00:39:37,680 --> 00:39:37,719
Speaker 4: Like?

742
00:39:40,120 --> 00:39:44,560
Speaker 1: So the call comes from j D. Jay's like, you know,

743
00:39:44,719 --> 00:39:46,880
Speaker 1: come to uh, you know, come to studio tonight.

744
00:39:48,640 --> 00:39:51,719
Speaker 5: At this point, you know, obviously JD has such a

745
00:39:51,800 --> 00:39:54,160
Speaker 5: long history with her, you know, starting would always be

746
00:39:54,280 --> 00:39:57,960
Speaker 5: my baby, going back to that, right and and you know,

747
00:39:58,120 --> 00:40:00,239
Speaker 5: now be Cox has done you know, songs with her,

748
00:40:00,280 --> 00:40:02,080
Speaker 5: so they're like a nucleus.

749
00:40:02,400 --> 00:40:05,960
Speaker 1: And but I was excited.

750
00:40:06,000 --> 00:40:07,720
Speaker 5: So he's like, you know, Mariah's gonna be here tonight,

751
00:40:07,920 --> 00:40:11,960
Speaker 5: you know, come down, and you know, she gets there

752
00:40:12,719 --> 00:40:15,720
Speaker 5: and Mariah doesn't show up till like midnight. That's her session.

753
00:40:15,920 --> 00:40:19,719
Speaker 5: Session starts at midnight. She likes to She's a night out,

754
00:40:20,400 --> 00:40:23,799
Speaker 5: absolutely likes to likes to write and work you know late.

755
00:40:23,880 --> 00:40:25,759
Speaker 5: So you know, at the time, I didn't I have

756
00:40:25,880 --> 00:40:26,800
Speaker 5: I've had to learn that.

757
00:40:27,640 --> 00:40:29,200
Speaker 1: The first day I showed up, I was there at

758
00:40:29,239 --> 00:40:34,560
Speaker 1: like six p m. Just six hours. Yeah, what she had.

759
00:40:34,600 --> 00:40:38,239
Speaker 1: I mean, I'm like, you know, let me know, now,

760
00:40:38,320 --> 00:40:39,680
Speaker 1: let me know when she comes in, you know, let me.

761
00:40:43,280 --> 00:40:46,239
Speaker 6: And this is levels right, because I'm sure at this

762
00:40:46,360 --> 00:40:49,719
Speaker 6: point you have massive records by this point, yeah, you

763
00:40:49,840 --> 00:40:50,800
Speaker 6: don't have a Mariah.

764
00:40:51,160 --> 00:40:53,520
Speaker 5: We don't have them or this is still Mariah. So

765
00:40:53,680 --> 00:41:00,279
Speaker 5: what is interesting is that this is Mariah, I mean

766
00:41:00,360 --> 00:41:04,279
Speaker 5: off of Glitter movie in this.

767
00:41:04,640 --> 00:41:09,040
Speaker 1: And so there were a couple of people around me

768
00:41:10,400 --> 00:41:13,040
Speaker 1: who were like, why are you gonna spend your time

769
00:41:13,160 --> 00:41:17,480
Speaker 1: on this? Like and they thought the ship itself, thought

770
00:41:17,520 --> 00:41:18,320
Speaker 1: the ship itself.

771
00:41:19,200 --> 00:41:23,200
Speaker 5: I have a fast rule about legends, like legends stay legends,

772
00:41:24,000 --> 00:41:26,680
Speaker 5: you know what I mean. It's like that right, you've

773
00:41:26,719 --> 00:41:30,479
Speaker 5: earned that, You've earned that, and you're always one hit away.

774
00:41:30,640 --> 00:41:32,680
Speaker 1: I don't care if you ain't.

775
00:41:32,520 --> 00:41:37,000
Speaker 5: Had a hit in ten years if you call you

776
00:41:37,120 --> 00:41:39,440
Speaker 5: know what I mean. That's how I feel about legends.

777
00:41:39,480 --> 00:41:41,840
Speaker 5: And at that point, you know, this is once we

778
00:41:42,000 --> 00:41:44,400
Speaker 5: dy walking through the door, like what do you mean?

779
00:41:44,680 --> 00:41:49,600
Speaker 1: We don't write and we're gonna look into these cameras.

780
00:41:49,920 --> 00:41:50,960
Speaker 1: That's what it should be.

781
00:41:51,880 --> 00:41:55,120
Speaker 6: They've earned it, absolutely, and if you are a hit maker,

782
00:41:55,640 --> 00:41:58,000
Speaker 6: go give them that hit worker one hundred percent one

783
00:41:58,080 --> 00:41:58,680
Speaker 6: hundred percent.

784
00:41:58,880 --> 00:42:03,279
Speaker 5: So Mariah gets there and I'm just sitting in the

785
00:42:03,320 --> 00:42:05,920
Speaker 5: corner just quiet her and Jamaine and Brian are catching

786
00:42:06,000 --> 00:42:09,080
Speaker 5: up and you fly on the wall, just fly on

787
00:42:09,160 --> 00:42:12,800
Speaker 5: the wall, just you know, just sitting because again this

788
00:42:13,080 --> 00:42:18,760
Speaker 5: is so, this is after Aliyah, this is after Chris Brown,

789
00:42:19,640 --> 00:42:22,480
Speaker 5: this is after you know what I mean, this is yeah.

790
00:42:22,400 --> 00:42:26,680
Speaker 1: This is only popping, this is yo yo yeah.

791
00:42:26,840 --> 00:42:27,080
Speaker 2: Yeah.

792
00:42:27,239 --> 00:42:30,480
Speaker 5: So you know, after about thirty minutes we're sitting there.

793
00:42:31,400 --> 00:42:36,040
Speaker 5: The first song that Jamaine played so can I get

794
00:42:36,080 --> 00:42:38,439
Speaker 5: your number? And they already had that him and Brian

795
00:42:38,480 --> 00:42:41,439
Speaker 5: already had that hook, and so he was like okay.

796
00:42:41,480 --> 00:42:42,480
Speaker 5: She was like, oh, I want to start with this,

797
00:42:42,840 --> 00:42:47,880
Speaker 5: like do some verses, and so then you know, she turns,

798
00:42:47,960 --> 00:42:55,440
Speaker 5: She's like, and who are you? Starts that way she

799
00:42:55,640 --> 00:42:58,200
Speaker 5: was like and she was like who are you? She

800
00:42:58,360 --> 00:43:00,359
Speaker 5: was like I'm guessing. She's like are you a part

801
00:43:00,400 --> 00:43:03,280
Speaker 5: of this? And I was like I look at Jamaine

802
00:43:03,920 --> 00:43:06,840
Speaker 5: and Jamaine is like yeah, yeah, he writes with us.

803
00:43:07,719 --> 00:43:11,359
Speaker 5: And she was like, okay, all right, let's rite. Let's

804
00:43:11,360 --> 00:43:14,839
Speaker 5: start like it wasn't no what have you done? Yeah,

805
00:43:15,239 --> 00:43:17,120
Speaker 5: you know, just like okay, I just need to know

806
00:43:17,160 --> 00:43:21,200
Speaker 5: who you were, and now we're good, and then you know,

807
00:43:21,360 --> 00:43:25,200
Speaker 5: we hit it off from there and Mariah is like

808
00:43:26,320 --> 00:43:30,360
Speaker 5: a brilliant songwriter in her own right, so, you know,

809
00:43:30,520 --> 00:43:33,640
Speaker 5: being able to collaborate with someone like so the experience

810
00:43:34,320 --> 00:43:38,640
Speaker 5: of someone who can write for themselves, like she doesn't

811
00:43:38,680 --> 00:43:43,120
Speaker 5: really need anyone to write, you know, but throwing out ideas,

812
00:43:43,200 --> 00:43:45,160
Speaker 5: the way that she hears things, the way that she

813
00:43:45,480 --> 00:43:47,680
Speaker 5: rhymes words and melodies.

814
00:43:47,719 --> 00:43:52,040
Speaker 1: And then you're also hearing her sing, and so it's

815
00:43:52,120 --> 00:43:53,280
Speaker 1: like one of those moments.

816
00:43:53,880 --> 00:43:55,880
Speaker 5: The first time I had a moment like that, we

817
00:43:56,040 --> 00:43:57,680
Speaker 5: go back to Tony Braxton, but it was like the

818
00:43:57,760 --> 00:44:00,239
Speaker 5: second time when I first worked with Tony and Tony

819
00:44:00,320 --> 00:44:02,719
Speaker 5: walks into booth and you like, hear that voice come

820
00:44:02,760 --> 00:44:05,000
Speaker 5: over the mic and you're like, I said, this is

821
00:44:05,080 --> 00:44:08,440
Speaker 5: Tony Brax and the same thing so before Mariah even won,

822
00:44:08,680 --> 00:44:11,560
Speaker 5: Like just her sitting there with the pad writing and

823
00:44:11,719 --> 00:44:14,600
Speaker 5: she's humming, and I'm like trying not to like smile,

824
00:44:14,760 --> 00:44:18,080
Speaker 5: but I'm like, damn, this is Mariah Carried.

825
00:44:18,360 --> 00:44:21,239
Speaker 1: I think I had that moment when we worked on

826
00:44:21,360 --> 00:44:26,520
Speaker 1: ron Isley. Yeah, yeah, man, I was like, he hit

827
00:44:26,600 --> 00:44:32,680
Speaker 1: one of them. This is a dream come true. He's

828
00:44:32,719 --> 00:44:36,319
Speaker 1: really in the booth singing one of my records. When

829
00:44:36,360 --> 00:44:38,239
Speaker 1: did you have that moment any artist? For you?

830
00:44:39,400 --> 00:44:43,800
Speaker 3: I'm like, I'm like the fan you are, you know,

831
00:44:45,360 --> 00:44:52,239
Speaker 3: so everybody when they get into yeah, because it's like,

832
00:44:53,920 --> 00:44:57,200
Speaker 3: I don't know, man, I don't It's an unexplainable feeling.

833
00:44:57,280 --> 00:44:59,479
Speaker 1: It's just like to have these type of people singing

834
00:44:59,600 --> 00:45:01,239
Speaker 1: rect just to have.

835
00:45:01,480 --> 00:45:05,919
Speaker 3: The voice, like you've heard this voice everywhere, You've heard

836
00:45:05,960 --> 00:45:10,160
Speaker 3: this voice on massive records. You're saying this voice, and

837
00:45:10,280 --> 00:45:13,440
Speaker 3: now this voice in a sense belongs to you.

838
00:45:14,760 --> 00:45:17,440
Speaker 1: You're a part of this voice. Now you're sharing in this.

839
00:45:19,880 --> 00:45:23,160
Speaker 1: That's a great one. Yeah, that's a great one. That's Gladys.

840
00:45:23,239 --> 00:45:24,640
Speaker 3: That was my first time where I was just like,

841
00:45:25,560 --> 00:45:29,719
Speaker 3: no way, Like, first of all, she's singing in one

842
00:45:29,800 --> 00:45:34,520
Speaker 3: take and that's literally one top to bottom.

843
00:45:34,680 --> 00:45:34,839
Speaker 2: Yes.

844
00:45:35,520 --> 00:45:37,960
Speaker 3: She studied it for about ten minutes, ten fifteen minutes,

845
00:45:38,640 --> 00:45:42,400
Speaker 3: played it over and over so and she said I'm ready, yes, yes,

846
00:45:42,600 --> 00:45:44,160
Speaker 3: will say it all, set it all up. She went

847
00:45:44,840 --> 00:45:50,759
Speaker 3: top two bottom, no auto tune stuff, you know, just

848
00:45:50,960 --> 00:45:57,040
Speaker 3: some slight verb raw top to bottom. What else would

849
00:45:57,080 --> 00:45:57,360
Speaker 3: you like?

850
00:45:58,280 --> 00:46:00,360
Speaker 1: That's how they I looked at it then there I

851
00:46:00,440 --> 00:46:02,160
Speaker 1: was like, you don't even know what to say, Like

852
00:46:03,600 --> 00:46:06,279
Speaker 1: maybe we should tell her to do it again. I

853
00:46:06,560 --> 00:46:09,400
Speaker 1: feel like I did something here, right, I'm gonna just

854
00:46:09,480 --> 00:46:13,000
Speaker 1: tell her. You're not gonna call me back. I'm gonna

855
00:46:13,000 --> 00:46:13,640
Speaker 1: tell her do it again?

856
00:46:15,200 --> 00:46:19,520
Speaker 3: Great, great, Yes, let's just let's get one more, one more, like,

857
00:46:19,640 --> 00:46:22,799
Speaker 3: let's just get one more and and and you see

858
00:46:22,840 --> 00:46:26,080
Speaker 3: where we end up. See what we gotta She did

859
00:46:26,160 --> 00:46:26,680
Speaker 3: one more.

860
00:46:27,239 --> 00:46:32,920
Speaker 1: Top to bottom, flawless. That's crazy. It come out, come on, out,

861
00:46:33,000 --> 00:46:38,120
Speaker 1: come on, thank you, coming by God, bless you. Yes,

862
00:46:38,800 --> 00:46:41,440
Speaker 1: that's crazy. Do you right? Shake it off? In that

863
00:46:41,560 --> 00:46:45,959
Speaker 1: first session, so we did. Can I get your number?

864
00:46:46,080 --> 00:46:49,000
Speaker 1: The first night? Second night was shake it off? Okay,

865
00:46:49,920 --> 00:46:56,080
Speaker 1: second night was shaking. So we had the mic on

866
00:46:56,440 --> 00:47:01,520
Speaker 1: the demo. It was me, Mariah and Mariah's assistant. Whose

867
00:47:01,600 --> 00:47:06,680
Speaker 1: idea was that? Was Mariah because that's the classic ship,

868
00:47:06,880 --> 00:47:10,279
Speaker 1: that's Mariah. I got to give her. I gotta give her.

869
00:47:12,440 --> 00:47:16,400
Speaker 1: I've never written a song with any of those old

870
00:47:16,760 --> 00:47:21,160
Speaker 1: like everybody in never written a song with that.

871
00:47:21,960 --> 00:47:30,960
Speaker 5: I was like, yeah, man, that's all that's classic. M

872
00:47:31,040 --> 00:47:34,040
Speaker 5: see all day, all day. So can't I get your numbers?

873
00:47:34,120 --> 00:47:34,799
Speaker 5: Shake it off?

874
00:47:38,040 --> 00:47:42,400
Speaker 1: It's like that. Yeah, and then and then we were

875
00:47:42,480 --> 00:47:46,640
Speaker 1: done like that. Those were all in those sessions. And

876
00:47:48,880 --> 00:47:49,800
Speaker 1: you know, so l A.

877
00:47:49,920 --> 00:47:52,359
Speaker 5: Reid, you know who was ahead of death jam at

878
00:47:52,360 --> 00:47:55,200
Speaker 5: the time, he was like, listen, like, I feel like

879
00:47:55,360 --> 00:47:58,600
Speaker 5: we got something. I feel like, you know, shake it

880
00:47:58,680 --> 00:48:02,200
Speaker 5: Off can probably be our first single. But I think

881
00:48:03,080 --> 00:48:05,359
Speaker 5: y'all got one more in you, so I'm gonna send

882
00:48:05,440 --> 00:48:06,200
Speaker 5: her back down.

883
00:48:08,000 --> 00:48:13,000
Speaker 1: And that was the We Belong Together session. That was

884
00:48:13,200 --> 00:48:16,719
Speaker 1: the you know, so it started with la It's like,

885
00:48:17,040 --> 00:48:20,239
Speaker 1: I think y'all got one more and sent her back down.

886
00:48:20,640 --> 00:48:20,920
Speaker 2: You know.

887
00:48:22,560 --> 00:48:27,400
Speaker 1: This time it was Manuel Seal for your Seal. Hey, listen, listen.

888
00:48:29,040 --> 00:48:33,080
Speaker 6: Yeah, because unless unless you're in the music business, don't

889
00:48:33,120 --> 00:48:35,640
Speaker 6: really know that name. It's not like you know, he

890
00:48:35,800 --> 00:48:38,640
Speaker 6: never really came outside like that. No, but if you

891
00:48:38,800 --> 00:48:40,279
Speaker 6: in this music business.

892
00:48:40,960 --> 00:48:41,800
Speaker 1: Man, you seal.

893
00:48:43,239 --> 00:48:46,279
Speaker 5: It's fucking special. I hope you see this, brother, Absolutely,

894
00:48:46,360 --> 00:48:48,920
Speaker 5: you are, absolutely, yeah.

895
00:48:48,960 --> 00:48:53,000
Speaker 1: You're special. That guy is special. Those records that he's

896
00:48:53,040 --> 00:48:56,840
Speaker 1: been a part of incredible, Yeah, incredible.

897
00:48:56,880 --> 00:49:00,120
Speaker 6: So yeah, you know we we we give real have

898
00:49:00,239 --> 00:49:05,000
Speaker 6: to respect shoutouts flowers like yeah, man, yeah, we respect

899
00:49:05,040 --> 00:49:05,719
Speaker 6: the game up here.

900
00:49:05,880 --> 00:49:06,640
Speaker 1: No, no, you have to.

901
00:49:06,719 --> 00:49:08,040
Speaker 5: And that's why, I mean, that's why it's important for

902
00:49:08,080 --> 00:49:09,919
Speaker 5: me to bring him up too, like, you know, cause

903
00:49:09,960 --> 00:49:14,919
Speaker 5: it's there is you know, these big songs. I feel

904
00:49:14,960 --> 00:49:17,879
Speaker 5: like there could probably be some temptation to like want

905
00:49:17,960 --> 00:49:22,160
Speaker 5: to hoard credit for yourself, but there's enough for it.

906
00:49:22,400 --> 00:49:27,040
Speaker 5: Everybody made such a significant contribution. Like you know, I

907
00:49:27,160 --> 00:49:30,760
Speaker 5: tell people like, you know it's Mariah and I wrote

908
00:49:30,760 --> 00:49:32,040
Speaker 5: we Belong Together.

909
00:49:32,520 --> 00:49:35,040
Speaker 1: Together, like you know what I mean. So like she

910
00:49:35,320 --> 00:49:36,239
Speaker 1: was just as much.

911
00:49:36,920 --> 00:49:38,960
Speaker 5: You know, it wasn't like a word here, a word there.

912
00:49:39,080 --> 00:49:42,439
Speaker 5: No Mariah's in the studio writing the records. We wrote

913
00:49:42,480 --> 00:49:46,560
Speaker 5: a song together, Manuel and JD you know, produced it,

914
00:49:46,719 --> 00:49:49,719
Speaker 5: and so we worked on this record. It was like

915
00:49:50,080 --> 00:49:52,680
Speaker 5: we worked till like five six in the morning, and

916
00:49:52,800 --> 00:49:58,080
Speaker 5: I laid the demo for it and demo to there's

917
00:49:58,080 --> 00:50:00,440
Speaker 5: a John Te demo to we Belong Together.

918
00:50:01,360 --> 00:50:04,359
Speaker 1: There is an n F T. I want.

919
00:50:07,160 --> 00:50:12,279
Speaker 5: You know who probably has it is La because he

920
00:50:12,440 --> 00:50:16,040
Speaker 5: told me later he was like I knew she was

921
00:50:16,360 --> 00:50:20,640
Speaker 5: gonna have something because she left Atlanta from the studio,

922
00:50:21,800 --> 00:50:24,200
Speaker 5: landed in New York and l A was like she

923
00:50:24,400 --> 00:50:26,600
Speaker 5: woke me up and was like, you have to hear

924
00:50:26,680 --> 00:50:30,040
Speaker 5: this record. She came by and played him my demo

925
00:50:30,560 --> 00:50:33,239
Speaker 5: Like that's how excited she was about the record, Like

926
00:50:33,600 --> 00:50:34,600
Speaker 5: you got to hear this song.

927
00:50:45,080 --> 00:50:46,759
Speaker 1: I'm gonna go pick up my son after this and

928
00:50:46,800 --> 00:50:47,680
Speaker 1: we're gonna roll today.

929
00:50:50,200 --> 00:50:50,399
Speaker 2: Yeah.

930
00:50:52,760 --> 00:50:54,720
Speaker 1: Yeah, that guy is turning his piano.

931
00:51:03,880 --> 00:51:07,560
Speaker 5: Yeah, were about to put some pressure on the pressure

932
00:51:07,640 --> 00:51:10,040
Speaker 5: man himself, because I mean he wrote that too. Oh

933
00:51:10,560 --> 00:51:12,400
Speaker 5: yeah yeah yeah, come on, like I don't know s

934
00:51:12,960 --> 00:51:15,879
Speaker 5: yeah yeah, we're still writing hits to this day.

935
00:51:16,560 --> 00:51:18,480
Speaker 1: Yeah, look shout out to all right Lynx. That's the home.

936
00:51:25,480 --> 00:51:29,160
Speaker 1: You've written a lot of songs. Man, we haven't probably even.

937
00:51:29,040 --> 00:51:29,879
Speaker 2: Got to have them.

938
00:51:30,600 --> 00:51:36,160
Speaker 3: We haven't gotten to a third things you've done. There

939
00:51:36,200 --> 00:51:39,600
Speaker 3: were a lot of songs written before you. Oh yes,

940
00:51:40,719 --> 00:51:42,839
Speaker 3: it might have inspired you to become.

941
00:51:44,560 --> 00:51:45,359
Speaker 1: The man you are.

942
00:51:50,239 --> 00:51:55,680
Speaker 3: We would like to tap into the greatness that you

943
00:51:55,760 --> 00:51:59,200
Speaker 3: consider great. Oh yes, by understanding your.

944
00:52:00,880 --> 00:52:18,200
Speaker 4: Top five, your top five, top five, your top five, horsing.

945
00:52:20,160 --> 00:52:26,799
Speaker 2: All and be sold. You got to have, you got

946
00:52:27,000 --> 00:52:45,920
Speaker 2: to know you got John Yeah, Ron yeah, yeah, you

947
00:52:46,040 --> 00:52:46,239
Speaker 2: know with.

948
00:52:46,280 --> 00:52:47,759
Speaker 1: The Teddy Teddy pindagras.

949
00:52:47,840 --> 00:52:48,239
Speaker 2: Yeah you.

950
00:52:51,560 --> 00:53:11,320
Speaker 8: Five, John, take Austin, your top five R and B singers,

951
00:53:15,280 --> 00:53:19,040
Speaker 8: Stevie Wonder start off, come on, come on, come on,

952
00:53:19,120 --> 00:53:19,719
Speaker 8: come on, come on.

953
00:53:20,320 --> 00:53:28,719
Speaker 1: Otis Redding, whoa Sam Cook? No, come on now, come

954
00:53:28,800 --> 00:53:34,839
Speaker 1: on with anything like this, Whitney Houston. The voice, the voice, right,

955
00:53:35,160 --> 00:53:40,040
Speaker 1: the voice of all voices. Right, I'm riding with the

956
00:53:40,120 --> 00:53:42,000
Speaker 1: home team. I'm going usher come.

957
00:53:41,880 --> 00:53:47,000
Speaker 2: On, I'm going with.

958
00:53:49,480 --> 00:53:54,200
Speaker 1: Absolutely, I'm going with the squad, rocking with the squad. Absolutely,

959
00:53:54,360 --> 00:53:56,040
Speaker 1: not bad, not mad at you at all.

960
00:53:56,200 --> 00:53:56,399
Speaker 2: Yeah.

961
00:53:56,680 --> 00:54:02,080
Speaker 1: Yeah. Top five R and B songs.

962
00:54:04,040 --> 00:54:09,880
Speaker 5: As by Stevie Wonder kick it off absolutely, When a

963
00:54:09,920 --> 00:54:10,919
Speaker 5: Woman's fed up.

964
00:54:12,480 --> 00:54:24,160
Speaker 1: Lot of now, yeah, I don't want to find had

965
00:54:24,840 --> 00:54:32,000
Speaker 1: Listen to the song. Listen to the song on the record, please. Yeah.

966
00:54:32,120 --> 00:54:37,240
Speaker 1: So let's see as when a woman's fed up. Michael

967
00:54:37,320 --> 00:54:44,960
Speaker 1: Jackson's Lady in My Life. Yes, yes, I think that's

968
00:54:45,000 --> 00:54:47,160
Speaker 1: that's made it to the top five a few times

969
00:54:47,800 --> 00:54:48,040
Speaker 1: it is.

970
00:54:48,920 --> 00:54:51,759
Speaker 5: Yeah, I'm gonna give you the last two, but real quick.

971
00:54:51,800 --> 00:54:55,120
Speaker 5: I told I asked JD one time, if Michael came

972
00:54:55,200 --> 00:54:57,560
Speaker 5: to you to work, you know, would you work? When

973
00:54:57,600 --> 00:54:59,480
Speaker 5: he was like, man, nah, I tell him to go

974
00:54:59,560 --> 00:55:02,200
Speaker 5: back to quick see that's where he belongs. And he

975
00:55:02,360 --> 00:55:04,160
Speaker 5: I was like, you know, but we can do some

976
00:55:04,280 --> 00:55:06,480
Speaker 5: records for Michael. He was like, not like they can

977
00:55:06,560 --> 00:55:09,560
Speaker 5: do him. I say, you don't think we could do

978
00:55:09,680 --> 00:55:12,240
Speaker 5: like we've done a Lady in My Life. JD goes,

979
00:55:13,480 --> 00:55:14,759
Speaker 5: when the hell we did one of them?

980
00:55:17,239 --> 00:55:19,640
Speaker 1: Every day? I haven't seen I ain't seen one of

981
00:55:19,680 --> 00:55:21,520
Speaker 1: them get out the door. When when they got out

982
00:55:21,520 --> 00:55:27,239
Speaker 1: of door, I said, oh ship just yeah, so uh,

983
00:55:27,920 --> 00:55:36,279
Speaker 1: lady in my life, never too much Luther Vandra Yeah yeah.

984
00:55:37,840 --> 00:55:39,360
Speaker 1: What's that sound in the beginning of that?

985
00:55:39,440 --> 00:55:39,480
Speaker 4: So?

986
00:55:39,640 --> 00:55:41,759
Speaker 2: What is that? What is it.

987
00:55:43,280 --> 00:55:46,360
Speaker 1: Before kick in? It's this sound that comes in in

988
00:55:46,440 --> 00:55:51,160
Speaker 1: the beginning of that song. Could be as a basis

989
00:55:51,239 --> 00:55:58,120
Speaker 1: something like, man, it's the call out to me? Yeah,

990
00:55:59,600 --> 00:56:01,239
Speaker 1: and a door?

991
00:56:04,840 --> 00:56:05,680
Speaker 2: What a song?

992
00:56:05,920 --> 00:56:09,359
Speaker 1: What a record? An artist? But I got something else

993
00:56:09,400 --> 00:56:11,560
Speaker 1: for him, Chief, I got something else for him. We've

994
00:56:11,640 --> 00:56:15,560
Speaker 1: never done this. What haven't you done? I want to

995
00:56:15,640 --> 00:56:21,839
Speaker 1: know your top five songwriters because you are who you are, brother, Yeah,

996
00:56:22,600 --> 00:56:24,760
Speaker 1: I would like to know your top five songwriter.

997
00:56:25,560 --> 00:56:28,640
Speaker 5: One of my pix is going to be controversial, so

998
00:56:28,760 --> 00:56:30,200
Speaker 5: we'll save him at the end.

999
00:56:31,560 --> 00:56:34,360
Speaker 1: I've already named one of his songs, I guess, but

1000
00:56:34,680 --> 00:56:46,440
Speaker 1: uh so Stevie Wonder babyface line. Now Richie the man

1001
00:56:46,480 --> 00:56:47,680
Speaker 1: who bought Beverly Hills.

1002
00:56:49,480 --> 00:56:51,759
Speaker 6: Off the Pin, off the pin talking about Pimp and

1003
00:56:51,800 --> 00:56:54,800
Speaker 6: your pen Yeah, absolutely.

1004
00:56:54,600 --> 00:57:01,000
Speaker 1: Pimp r Kelly yeah, m hm mm hmm.

1005
00:57:01,280 --> 00:57:11,600
Speaker 9: Jermaine Dupree, everybody in the Hall of Fame.

1006
00:57:11,840 --> 00:57:14,439
Speaker 1: Yeah, Hall of Fame, say what you won't.

1007
00:57:14,600 --> 00:57:18,720
Speaker 5: Absolutely, yes, that's a great list. Yeah, thank you, thank you,

1008
00:57:19,320 --> 00:57:23,160
Speaker 5: because you know we're we're all fans. Yeah, no matter

1009
00:57:23,240 --> 00:57:24,800
Speaker 5: what if we do it or not, we're all fans.

1010
00:57:25,080 --> 00:57:27,640
Speaker 1: Yeah. So for you as how I look at you.

1011
00:57:27,640 --> 00:57:29,200
Speaker 5: As a songwriter, for you to tell me who your

1012
00:57:29,360 --> 00:57:33,600
Speaker 5: five guys are, five women, whatever it is, that's amazing, amazing.

1013
00:57:33,840 --> 00:57:36,280
Speaker 1: Okay, I like your list.

1014
00:57:37,960 --> 00:57:41,760
Speaker 3: We're gonna make the voltron Okay, Okay, We're gonna assemble

1015
00:57:41,840 --> 00:57:44,840
Speaker 3: your R and B artists, the greatest, the super who

1016
00:57:44,880 --> 00:57:48,760
Speaker 3: are getting the vocal from the performing style, from the styling,

1017
00:57:48,880 --> 00:57:52,400
Speaker 3: from the passion of that artist, and who's gonna write

1018
00:57:52,480 --> 00:57:53,240
Speaker 3: for that artist?

1019
00:57:54,560 --> 00:57:57,760
Speaker 1: Okay? Vocal vocal Stevie wonder again.

1020
00:58:00,160 --> 00:58:07,040
Speaker 5: Stevie is Temples, Steve Ballads, yes, right, achappella, straight ahead

1021
00:58:08,080 --> 00:58:10,640
Speaker 5: vocal acrobatics, what however you want?

1022
00:58:11,000 --> 00:58:17,520
Speaker 3: Does it all performance style? Michael Jackson, that's gonna be fucking.

1023
00:58:17,280 --> 00:58:23,600
Speaker 1: Nuts voice Michael Nuts. Yeah, he's not gonna be He's

1024
00:58:23,600 --> 00:58:24,560
Speaker 1: not gonna be alien.

1025
00:58:24,320 --> 00:58:28,040
Speaker 5: Because you also get Stevie playing to because his voice

1026
00:58:28,680 --> 00:58:30,280
Speaker 5: play that's how he sings.

1027
00:58:31,080 --> 00:58:35,000
Speaker 1: Get on the hard mountain. Yeah, yeah, okay, it's the styling,

1028
00:58:36,800 --> 00:58:46,480
Speaker 1: the styling Frank Sinatra. Yeah yeah, Frank was a my friend.

1029
00:58:46,520 --> 00:58:56,200
Speaker 1: They called me, they call me absolutely absolutely yeah yeah.

1030
00:58:56,640 --> 00:59:00,480
Speaker 1: The passion of the artist hard mm hmm mm hmm.

1031
00:59:00,760 --> 00:59:02,760
Speaker 1: It's hard working. No one works hard.

1032
00:59:03,120 --> 00:59:08,040
Speaker 5: Dilegit absolutely, roller skates and things like well, how many

1033
00:59:08,320 --> 00:59:10,320
Speaker 5: hours do you need to prepare?

1034
00:59:10,600 --> 00:59:11,920
Speaker 1: You need ten thousand hours?

1035
00:59:12,680 --> 00:59:15,640
Speaker 5: He's hitting the same handstanding the one time where the

1036
00:59:16,160 --> 00:59:19,000
Speaker 5: one time where the dancer bumped into him and he

1037
00:59:19,120 --> 00:59:20,320
Speaker 5: turned it into a move.

1038
00:59:20,480 --> 00:59:23,600
Speaker 1: Yeah, like no, I'm not gonna fall on these skates

1039
00:59:23,680 --> 00:59:26,520
Speaker 1: like that. These people, I'm too nice. I'm about the

1040
00:59:26,600 --> 00:59:33,960
Speaker 1: robots sweetness, sweetness, Yeah, I'm nice with it. Absolutely.

1041
00:59:34,160 --> 00:59:36,480
Speaker 5: I think he kind of turned into like a half split,

1042
00:59:36,880 --> 00:59:40,840
Speaker 5: like I said, come on, I'm sick of all the point.

1043
00:59:41,560 --> 00:59:45,520
Speaker 1: Yeah, who's writing for this artist? I know who I

1044
00:59:45,600 --> 00:59:46,200
Speaker 1: want to write that.

1045
00:59:46,320 --> 00:59:55,880
Speaker 5: So man, that's say you better not give it away.

1046
00:59:56,920 --> 01:00:01,760
Speaker 5: That that's kind of, uh a toss up of what

1047
01:00:03,560 --> 01:00:06,720
Speaker 5: but you know, can I say I'm writing.

1048
01:00:06,640 --> 01:00:10,880
Speaker 1: You get what you Listen. I was ready to fight you.

1049
01:00:11,880 --> 01:00:13,840
Speaker 1: You got this mega artist and you ain't gonna write

1050
01:00:14,120 --> 01:00:16,080
Speaker 1: God do right? You better write it? Like, man, I

1051
01:00:16,080 --> 01:00:19,640
Speaker 1: don't want to give away my song I'm starting to

1052
01:00:19,720 --> 01:00:28,040
Speaker 1: frustrate man right before. Yeah, I'm writing for them, yeah.

1053
01:00:28,280 --> 01:00:31,920
Speaker 5: Man, yeah, writing an all timer all timer for the

1054
01:00:32,280 --> 01:00:34,080
Speaker 5: third or fourth and third or fourth thank you?

1055
01:00:34,240 --> 01:00:45,160
Speaker 1: Yeah, what you got, Chief? What you got? I ain't

1056
01:00:45,200 --> 01:00:47,560
Speaker 1: saying no, nat to pay. I ain't saying no nation.

1057
01:00:48,040 --> 01:00:50,960
Speaker 1: I ain't saying no Nick, ain't saying no names. Where

1058
01:00:51,000 --> 01:00:51,400
Speaker 1: you was?

1059
01:00:52,280 --> 01:00:52,400
Speaker 4: Who?

1060
01:00:53,840 --> 01:00:54,560
Speaker 2: What you did?

1061
01:00:55,400 --> 01:01:06,800
Speaker 1: Don't say she. I ain't saying no. Yeah, we hear that.

1062
01:01:07,560 --> 01:01:16,480
Speaker 1: We're here, now, we hear now. Okay, so you know

1063
01:01:17,600 --> 01:01:19,760
Speaker 1: you watched the show. You know you know how this

1064
01:01:19,880 --> 01:01:21,720
Speaker 1: thing goes. Man, we're here.

1065
01:01:22,560 --> 01:01:25,560
Speaker 5: This is the I ain't saying no name segment. Will

1066
01:01:25,600 --> 01:01:29,560
Speaker 5: you tell us your story? A story funny or fucked up?

1067
01:01:30,000 --> 01:01:33,240
Speaker 5: A funny and fucked up in the travels in the

1068
01:01:33,360 --> 01:01:35,360
Speaker 5: times of John T.

1069
01:01:35,520 --> 01:01:43,440
Speaker 1: Austin. Okay, here we go. Hold on, this is John T. Austin.

1070
01:01:44,840 --> 01:01:49,680
Speaker 1: Kids Beat. Oh God, if you've ever.

1071
01:01:49,600 --> 01:01:51,240
Speaker 6: Met a young lady that you wanted to be a

1072
01:01:51,360 --> 01:01:56,000
Speaker 6: sweet lady, jeez, he started with kids beat.

1073
01:01:56,120 --> 01:01:56,320
Speaker 5: Huh.

1074
01:01:56,600 --> 01:02:00,320
Speaker 1: Cocaine is involved in this story. Ship. Ship ain't be

1075
01:02:00,440 --> 01:02:06,160
Speaker 1: without you. You know, you can't be without the you feel. So.

1076
01:02:07,160 --> 01:02:11,720
Speaker 5: I ain't saying no names, but so we're in well,

1077
01:02:11,720 --> 01:02:13,040
Speaker 5: I'm gonna say a couple of names, but it has

1078
01:02:13,080 --> 01:02:16,120
Speaker 5: nothing to do with you know. But we're in Vegas

1079
01:02:17,360 --> 01:02:19,840
Speaker 5: working on the Raymond Versus Raymond album. This is the

1080
01:02:20,080 --> 01:02:24,520
Speaker 5: formation of the whole Oceans thing and whatever. And I

1081
01:02:24,840 --> 01:02:27,840
Speaker 5: was beefing with someone else in the music business. They

1082
01:02:27,840 --> 01:02:33,720
Speaker 5: were not in Vegas with us beefing, though I was beefing.

1083
01:02:35,720 --> 01:02:39,840
Speaker 1: Old a lady. I was in my I was emotional.

1084
01:02:40,120 --> 01:02:42,240
Speaker 1: I was Carl Thomas Thomas emotions.

1085
01:02:42,520 --> 01:02:48,600
Speaker 2: Look at me. I can't stop crying my hardest.

1086
01:02:52,040 --> 01:02:56,080
Speaker 1: I was reaching for rain. I'm grasp yes, you know,

1087
01:02:56,640 --> 01:03:03,840
Speaker 1: Jess and I had you know, was in the you know,

1088
01:03:04,000 --> 01:03:10,240
Speaker 1: the heights of just a really stellar drug problem. Uh,

1089
01:03:10,800 --> 01:03:12,040
Speaker 1: you know, it's one for the books.

1090
01:03:12,840 --> 01:03:15,320
Speaker 5: I went through a period where I did enough cocaine

1091
01:03:15,360 --> 01:03:18,840
Speaker 5: to probably kill a Kentucky Derby level thoroughbred horse.

1092
01:03:19,320 --> 01:03:26,320
Speaker 1: But so I'm, you know, just upset at this person.

1093
01:03:28,160 --> 01:03:30,680
Speaker 1: And we go out to Dre's.

1094
01:03:31,760 --> 01:03:39,080
Speaker 5: And you high, I'm high, and I'm rifling shots someone

1095
01:03:40,600 --> 01:03:44,760
Speaker 5: you know, and I'm just venting. I think j d

1096
01:03:44,960 --> 01:03:49,160
Speaker 5: Or be Cox makes a joke about it. I storm

1097
01:03:49,320 --> 01:03:53,480
Speaker 5: out of dres By myself. I've left everybody in there

1098
01:03:53,600 --> 01:03:56,000
Speaker 5: and I and you can't just storm out of dres

1099
01:03:56,000 --> 01:03:58,400
Speaker 5: because elevated.

1100
01:03:59,000 --> 01:04:01,760
Speaker 1: St the hallway a lot of breath.

1101
01:04:01,880 --> 01:04:02,760
Speaker 2: But I have.

1102
01:04:04,480 --> 01:04:07,800
Speaker 1: Stormed out of this place, but you also have performing

1103
01:04:08,840 --> 01:04:12,400
Speaker 1: exactly exactly. I get it. So then I go to

1104
01:04:12,800 --> 01:04:14,680
Speaker 1: the Spearmint Rhino. Why not?

1105
01:04:16,320 --> 01:04:19,880
Speaker 5: And I'm in the Spearmint Rhino, just me and my

1106
01:04:19,960 --> 01:04:25,840
Speaker 5: lonesome in the vi P and you know, I start

1107
01:04:25,920 --> 01:04:28,840
Speaker 5: to feel sick. I go to the bathroom and.

1108
01:04:28,880 --> 01:04:33,320
Speaker 1: I throw up, and then I feel better.

1109
01:04:33,800 --> 01:04:35,680
Speaker 5: And what would really make me feel better is if

1110
01:04:35,800 --> 01:04:38,160
Speaker 5: you know, I did another bump, and that would like

1111
01:04:38,200 --> 01:04:40,000
Speaker 5: get me back to where I was right And.

1112
01:04:40,080 --> 01:04:47,640
Speaker 1: So now I'm in the zone. And so this was

1113
01:04:47,800 --> 01:04:55,840
Speaker 1: the era of two ways, not two ways blackberries. I

1114
01:04:56,120 --> 01:04:57,880
Speaker 1: send off an email.

1115
01:04:59,800 --> 01:05:05,640
Speaker 5: H at about five o'clock Vegas time, and you know,

1116
01:05:06,800 --> 01:05:11,240
Speaker 5: talking about how you know, I need people around me

1117
01:05:11,320 --> 01:05:12,080
Speaker 5: who are solid.

1118
01:05:13,200 --> 01:05:15,120
Speaker 1: I need people arriving me who are going to ride

1119
01:05:15,200 --> 01:05:18,560
Speaker 1: for me. And if you are not for me, then

1120
01:05:18,680 --> 01:05:23,760
Speaker 1: you are against me. Send it to all of the

1121
01:05:23,840 --> 01:05:30,720
Speaker 1: crew in Vegas. Send it to Mark Pitts. Send it

1122
01:05:30,840 --> 01:05:35,840
Speaker 1: to Barry Weiss, who's that like a couple of other executives.

1123
01:05:36,200 --> 01:05:38,200
Speaker 5: Send it to everybody but the person I'm mad at

1124
01:05:39,520 --> 01:05:41,800
Speaker 5: who has no idea that I'm mad at him, by

1125
01:05:41,840 --> 01:05:46,560
Speaker 5: the way, and yeah, and then fired off of you

1126
01:05:46,640 --> 01:05:48,800
Speaker 5: know that text. I won't say who the person was,

1127
01:05:49,240 --> 01:05:53,120
Speaker 5: but and then the next day just rolled into the

1128
01:05:53,160 --> 01:05:58,120
Speaker 5: studio like like nothing happened. Well, first I had to

1129
01:05:58,640 --> 01:06:01,439
Speaker 5: the aforementioned black card. I left that in the spearmitt rhino,

1130
01:06:01,560 --> 01:06:01,960
Speaker 5: so I had to.

1131
01:06:01,960 --> 01:06:02,920
Speaker 1: Go back and hit that.

1132
01:06:04,280 --> 01:06:06,080
Speaker 5: But I wasn't the only one because the person I

1133
01:06:06,200 --> 01:06:08,560
Speaker 5: was like, you know, I left my MX here last night.

1134
01:06:08,760 --> 01:06:10,800
Speaker 1: You know which one is. I'm like, you know, it's

1135
01:06:10,800 --> 01:06:13,160
Speaker 1: the black card that doesn't narrow it down.

1136
01:06:13,480 --> 01:06:16,880
Speaker 5: And I'm like wow, So there was there was. I

1137
01:06:16,920 --> 01:06:19,000
Speaker 5: didn't feel bad. And so I go and see the

1138
01:06:19,040 --> 01:06:22,760
Speaker 5: next day like nothing happens. Usher comes in and you know,

1139
01:06:23,160 --> 01:06:27,040
Speaker 5: sits down. We're at the board and all he does

1140
01:06:27,160 --> 01:06:27,880
Speaker 5: is he goes.

1141
01:06:30,040 --> 01:06:41,480
Speaker 1: Okay, and I'm like, yep, He's like okay. So that's

1142
01:06:41,560 --> 01:06:49,280
Speaker 1: why I ain't gonna say you said. I ain't gonna

1143
01:06:49,280 --> 01:06:53,920
Speaker 1: say I'm gonna say that somebody, Oh my gosh, what

1144
01:06:54,120 --> 01:06:56,640
Speaker 1: was wrong with me? I was tripping matters of the heart.

1145
01:06:56,720 --> 01:06:56,840
Speaker 3: Man.

1146
01:06:56,920 --> 01:07:01,720
Speaker 1: It happened right, and cocaine and cocaine make the heart explode.

1147
01:07:02,960 --> 01:07:08,040
Speaker 1: We're glad that your heart didn't explode me too. Yeah,

1148
01:07:08,680 --> 01:07:10,880
Speaker 1: crazy enough. I never knew it was okay, brother, thank you.

1149
01:07:11,320 --> 01:07:17,120
Speaker 1: I never knew that. I never knew that. Thanks. Thanks. Yeah, yeah,

1150
01:07:17,280 --> 01:07:20,560
Speaker 1: welcome back, thank you? No, yeah, off it by the way,

1151
01:07:20,880 --> 01:07:25,040
Speaker 1: just you know, for years, so there you go. We

1152
01:07:25,240 --> 01:07:25,920
Speaker 1: need you, man.

1153
01:07:26,160 --> 01:07:31,440
Speaker 5: Yeah, brother, yeah, I'm and I'm running and doing jiu

1154
01:07:31,520 --> 01:07:33,360
Speaker 5: jitsu so you know things.

1155
01:07:33,440 --> 01:07:39,000
Speaker 1: Yeah, things you need your heart for. So mister John T.

1156
01:07:39,280 --> 01:07:47,960
Speaker 3: Austin Sinatra, Yeah, now you really are you are Sinatra boy? Yes,

1157
01:07:50,080 --> 01:07:52,840
Speaker 3: thank you, brother. I mean we've we've been great. We've

1158
01:07:52,840 --> 01:07:57,520
Speaker 3: been doing this for too long, man, and you know,

1159
01:07:58,360 --> 01:08:03,440
Speaker 3: just outside of friendships and brotherhood, man, just just what

1160
01:08:03,560 --> 01:08:07,040
Speaker 3: you've done. Thank you as a peer, you know what

1161
01:08:07,080 --> 01:08:10,160
Speaker 3: I mean, Like you are ship, you're him.

1162
01:08:10,800 --> 01:08:12,920
Speaker 1: Thank you so much. I appreciate you guys having me.

1163
01:08:13,000 --> 01:08:14,840
Speaker 1: I've been looking forward to doing it. Yeah, you know,

1164
01:08:14,960 --> 01:08:16,760
Speaker 1: we needed we needed to have. It's the R and

1165
01:08:16,840 --> 01:08:19,519
Speaker 1: B Money Podcast, the authority on all things R and

1166
01:08:19,600 --> 01:08:22,000
Speaker 1: B Absolute. How do we not have you? Thank you

1167
01:08:22,080 --> 01:08:24,200
Speaker 1: so much. Thank you for having me. You're on the

1168
01:08:24,520 --> 01:08:27,760
Speaker 1: You're on the board of authorities. Oh wow, I appreciate you,

1169
01:08:27,760 --> 01:08:29,439
Speaker 1: aboy to start sending the names to you like yo.

1170
01:08:29,560 --> 01:08:31,360
Speaker 1: You think they could come on there?

1171
01:08:31,400 --> 01:08:31,680
Speaker 5: It is.

1172
01:08:34,880 --> 01:08:36,880
Speaker 3: Right quite.

1173
01:08:38,960 --> 01:08:43,920
Speaker 1: That once wig that passed up on that record. You

1174
01:08:43,960 --> 01:08:48,120
Speaker 1: can't come over here, Come come. I love you, guys,

1175
01:08:49,360 --> 01:08:50,599
Speaker 1: you the greatest. Thank you, guys.

1176
01:08:51,080 --> 01:08:54,080
Speaker 3: My name is thank This is the R and B

1177
01:08:54,200 --> 01:08:57,920
Speaker 3: Money Podcast, the authority on all things R and B

1178
01:08:58,600 --> 01:08:59,559
Speaker 3: and we've just.

1179
01:08:59,680 --> 01:09:04,320
Speaker 1: Had our brother and one of the peace rating songwriters

1180
01:09:04,360 --> 01:09:08,479
Speaker 1: of all time. It's John Tet. Thank God.

1181
01:09:11,240 --> 01:09:12,320
Speaker 3: R and B Money.

1182
01:09:13,439 --> 01:09:15,240
Speaker 6: R and B Money is a production of the Black

1183
01:09:15,280 --> 01:09:20,000
Speaker 6: Effect podcast Network. For more podcasts from iHeartRadio, visit the

1184
01:09:20,160 --> 01:09:23,960
Speaker 6: iHeartRadio app, Apple Podcasts, or wherever you listen to your

1185
01:09:24,000 --> 01:09:27,880
Speaker 6: favorite shows. Don't forget to subscribe to and rate our show,

1186
01:09:28,240 --> 01:09:30,840
Speaker 6: and you can connect with us on social media at

1187
01:09:30,920 --> 01:09:35,120
Speaker 6: jy Valentine and at the Real Tank. For the extended episode,

1188
01:09:35,280 --> 01:09:39,439
Speaker 6: subscribe to YouTube dot com, forward slash R and B

1189
01:09:39,600 --> 01:09:39,840
Speaker 6: Money