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Speaker 1: R and B Money, than take valati. We are the

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Speaker 1: authorities on all R and B. Ladies and gentlemen, my

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Speaker 1: name is Tank and this come on.

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Speaker 2: This is the R and B Money Podcast, the authority

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Speaker 2: on all things.

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Speaker 3: R and B.

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Speaker 4: You only know it if you can do it. You

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Speaker 4: can only curate it if you have the experience and

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Speaker 4: has been a part of this thing.

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Speaker 1: Have you done it? Have you had? Do you have? Number? Ones?

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Speaker 3: On?

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Speaker 1: Ones on one?

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Speaker 2: Don't tell me how to make a record if you've

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Speaker 2: never made a record. Don't talk to me about your

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Speaker 2: relationships if you don't have relationships.

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Speaker 3: Returning to.

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Speaker 1: That's picture, that's that, that's big ship, that's pure ship,

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Speaker 1: big ship.

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Speaker 2: That's a great song. I want say big things popping,

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Speaker 2: he little things stopping, not even jer Our friend is here.

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Speaker 2: He goes about one name. When his name everybody knows

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Speaker 2: his motherfucking name. Notes and gentlemen, our guy, your guy, yay,

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Speaker 2: the godfather right here, two feet away, he's right here.

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Speaker 1: What's up? Are you feeling? Vab blessed man?

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Speaker 5: Glad to have y'all in Atlanta's good y'all here?

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Speaker 3: Yeah, yeah, I'm so happy to be here.

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Speaker 1: Glad you're here. We're glad. We're glad to have you.

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Speaker 1: If I can say that, I'm glad to have you

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Speaker 1: more importantly, glad to have you in this building.

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Speaker 5: Man, Yeah, yeah building, Yes, sir, Sessions Atlanta.

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Speaker 2: Out the Tricky Steward red Zone, Mark Stewart, Yes, sir, Man, yeah,

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Speaker 2: Lane Stewart.

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Speaker 3: Come on now, come on all, start with all the Stewart.

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Speaker 2: Absolutely, all the Steward who have done it at a

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Speaker 2: high level absolutely are receiving their flowers. And this building

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Speaker 2: tells you what the fuck it is. Yes, yes, we

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Speaker 2: started it.

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Speaker 1: We started here ninety six the building next door, yes,

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Speaker 1: ninety six thirty seven. Man, we uh packed up a car,

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Speaker 1: signed the pub deal with Hicco. And there was a

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Speaker 1: little line because you know when you sign the pub

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Speaker 1: del you always pay attention to the pop number with

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Speaker 1: the money. And I said, okay, okay, that's how much

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Speaker 1: I get. And then there's a little bottom section down

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Speaker 1: there somewhere said you have to move to Atlanta. And

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Speaker 1: I said, oh, I said where's Atlanta? I said where?

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Speaker 1: That's crazy? Where's that at Trick? Trick was like, yeah,

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Speaker 1: I got a building out there. LA had just deal

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Speaker 1: with Trick and so we Uh, we packed up, drove

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Speaker 1: across the country and uh, yeah me tricker Mark drove

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Speaker 1: across the country. It's funny because my section of the

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Speaker 1: drive as we're driving furniture and stuff. I was coming

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Speaker 1: through Mississippi and Atlanta, and I crossed the Georgia state line.

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Speaker 1: And I'll never get this. I could tell you to

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Speaker 1: this day. My when I it was like six o'clock

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Speaker 1: in the morning, I was driving when I saw this

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Speaker 1: bumper sticker. It said, if I knew it was going

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Speaker 1: to turn out like this, I had to pick my

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Speaker 1: own damn cotton. And I said, hey, y'all, wake up,

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Speaker 1: We're going back to La. I'm not gonna turn this.

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Speaker 1: I'm turning this bitch around. I'm not staying here. My damn.

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Speaker 1: That said that, and then uh but yeah, man turned

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Speaker 1: out to be the best move ever. Turned out to

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Speaker 1: be the best decision. I mean, yeah, I haven't made

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Speaker 1: thirty years later. Thirty years later, we here, we're here,

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Speaker 1: and we uh moved into that building across and then

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Speaker 1: wrote a lot of records, made a lot of hits.

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Speaker 5: Back to that listen, yeahs before you even go back

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Speaker 5: to his Yeah yeah, because I want to put this

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Speaker 5: out there. Yeah, my brother is also from San Francisco.

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Speaker 5: Talk to him, you know what I mean, Like, you

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Speaker 5: know they guy talk to him.

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Speaker 1: You know what I mean. He went to high school

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Speaker 1: day like yeah, he ain't even know Yo. No, that's

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Speaker 1: you big homies in Laomis. You know what it is?

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Speaker 1: They know?

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Speaker 3: Ta, Yeah, you know they be trying to say that.

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Speaker 5: You know, y'all got y'all got some rappers, Yeah we

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Speaker 5: got those, but it's.

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Speaker 1: Some real R and B music.

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Speaker 5: You know Cindy from in Vogue, you know, Bible high school,

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Speaker 5: her and I not at the same time.

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Speaker 1: But you know that's a big thing. I like it,

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Speaker 1: you know what I mean, Ta Roosevelt Junior High, Come on, man,

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Speaker 1: like you know what it is.

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Speaker 5: But I say that, you know boastfully right because obviously

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Speaker 5: as your friend and your brother, I'm proud of you.

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Speaker 5: Thank you, which I also want to say to you.

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Speaker 5: But I say that too because I want the youth

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Speaker 5: from where we're from to know that you can do

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Speaker 5: this too, you know what I mean, Instead of it

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Speaker 5: just which is cool, listen, rapid school, but it's a

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Speaker 5: different thing in R and B. And it's also a

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Speaker 5: different thing as a kid trying to write songs or

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Speaker 5: sing songs in places where really nobody does it. Interestingly enough,

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Speaker 5: it's close as we're from our closest we are to Oakland,

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Speaker 5: we're still not Oakland, right like Oakland, Sam Suo two

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Speaker 5: different cities. I think obviously we get grouped barrier for sure,

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Speaker 5: we love Oakland, but Oakland just has has had more

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Speaker 5: success in the arts, in the sports, and you know,

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Speaker 5: San Francisco just we get caught up. We do like

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Speaker 5: we really it's a lot of talented people in all

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Speaker 5: aspects of the city that that never really get their

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Speaker 5: shot for whatever reason, right, you know what I mean?

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Speaker 5: So are you know, maybe fucked shut up to Sometimes

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Speaker 5: it happens.

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Speaker 1: It's funny. I was on the phone the other day

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Speaker 1: shooting ship with our brother Larry Jackson. Yeas, and Larry

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Speaker 1: didn't know this. I reminded him a funny story. My

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Speaker 1: very first ever ever ever record business meeting was with

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Speaker 1: Larry Jackson at camel Oh. So funny shit is that

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Speaker 1: I was writing songs and doing groups and shit like that,

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Speaker 1: and I was like, Yo, I'm trying to get my

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Speaker 1: song on the radio. And I remember I said, okay, cool,

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Speaker 1: I call came here they said, okay, cool, we do

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Speaker 1: these like listening meetings and you got to meet with

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Speaker 1: the program directors.

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Speaker 3: Yeah.

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Speaker 1: I was like okay, cool, I said, right, walked in

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Speaker 1: the cameo, sat in the little space area, and then

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Speaker 1: they brought me into this room and incomes some kids

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Speaker 1: literally literally, and he was like, okay, play me your music.

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Speaker 1: And I was like, well, where's your boss at Why?

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Speaker 1: Why am I playing a few? He's like no, you

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Speaker 1: got to play it for me. And I'm like, okay, cool,

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Speaker 1: And I'm thinking to myself, I'm like, yo, he's got

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Speaker 1: to be younger than me, Like why am I fare

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Speaker 1: funny enough? Larry Jackson was the young music director that

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Speaker 1: came here.

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Speaker 3: Fourteen fifteen years old steen years old.

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Speaker 1: Man, Absolutely absolutely, yes, Larry is Larry wonder Kid called

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Speaker 1: himself Dugie Houses the other day.

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Speaker 3: It's funny, It's like he was.

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Speaker 1: But yeah, Larry Larry Jackson was my very first ever

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Speaker 1: official record business meeting in the Bay.

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Speaker 3: Yeah.

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Speaker 1: I was like, yo, that's crazy.

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Speaker 3: He was a program as a teenager.

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Speaker 5: He sure was, because by I think nineteen he was

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Speaker 5: at at Ariston.

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Speaker 1: Yeah, Larry was uh with Clyde. He played the record

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Speaker 1: he didn't tell my ship was terrible, and he did,

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Speaker 1: Yeah he did. They didn't say it like that. He's

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Speaker 1: much more political now and it was shout out to that,

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Speaker 1: but yeah, it was. It was funny, yeah, Larry. It

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Speaker 1: was my very first meeting in the Bay Woweah as

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Speaker 1: a kid. And then I kind of moved to La

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Speaker 1: Algiero was my uncle and what yeah, well not by blood,

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Speaker 1: but Algiero is my family. And you know, that summer,

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Speaker 1: I was just trying to get off and get things going,

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Speaker 1: and he's like, well, what are you gonna do with

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Speaker 1: your life? And I was like, man, I gotta want

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Speaker 1: to be a song writer. I want to be in

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Speaker 1: the record. He said, we can't do that from here,

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Speaker 1: and I was like, you're right. He said, well, come down,

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Speaker 1: come come stay with me for a little while. And

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Speaker 1: so I went down, told my mom. My mom said

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Speaker 1: you got a summer. If not, you're going to school.

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Speaker 1: I was like, okay, cool. This is right after high school.

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Speaker 1: It's like maybe two years after that, and so I

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Speaker 1: was like all right, cool, And so I drove down,

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Speaker 1: took the Greyhound to l Yeah, and I remember I

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Speaker 1: got there and I went to our's house and I

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Speaker 1: said Oh my god, this is it. I said, I'm

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Speaker 1: never leaving. Yeah, yeah, I'm not. I'm not going back

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Speaker 1: to the bay. I was like. I was like, this

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Speaker 1: is all yours, gates and stuff.

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Speaker 3: Yeah, and.

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Speaker 1: I had a pool house. I stayed in the poolhouse

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Speaker 1: up there, and I was just like, okay, I got

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Speaker 1: to figure out how to make it because I can't

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Speaker 1: go back to the bay. So, you know, and I remember,

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Speaker 1: it's funny thing. He's like, Yo, there's a petty cash

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Speaker 1: drawer if you ever need cats. I was like, there's

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Speaker 1: a drawer full of cash if you need. I was like, yo, man,

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Speaker 1: I'm never leaving. Let me tell you something. Man, don't

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Speaker 1: don't don't let that fool out. Did I did big things.

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Speaker 1: My drawer was an immense talent. And you know, I

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Speaker 1: wouldn't be sitting here if it was a for hour

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Speaker 1: and uh So from then I was like, all right, cool,

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Speaker 1: I got to figure out how to stay here. Let

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Speaker 1: you stay with him. I probably stayed with Oh, to

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Speaker 1: be honest with you, I probably overstayed my walk. I

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Speaker 1: was probably was there like two three years. Say oh no, no, no,

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Speaker 1: that was that was your house? Yeah, who house was

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Speaker 1: your house? One thousand percent, like I gave my uncle.

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Speaker 1: Oh yeah, I lived there. I lived there and uh

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Speaker 1: and what are you doing during that time? I'm gonna

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Speaker 1: I'll tell you. So probably the first second weekend I

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Speaker 1: was there, I went to the Pladium. My brother worked

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Speaker 1: to Pladium, so my brother was there, Manti, he just

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Speaker 1: worked Pladium, got me tickets still see Digital Underground was

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Speaker 1: there that week and I'm like, oh, I said yeah, okay.

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Speaker 1: I said, okay, hey, you know the money yeah, to

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Speaker 1: put the set on your panties. I had to go

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Speaker 1: see that. And so I was there. I went to

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Speaker 1: go see Digital Underground and I saw a park and

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Speaker 1: I was like, oh, I got to go talk to

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Speaker 1: the park. I was like, yo, you're from the Bay,

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Speaker 1: You're from the pay.

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Speaker 3: I was like.

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Speaker 1: I walked up the park and I was like, man,

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Speaker 1: you know from the Bay. I'm just trying to figure

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Speaker 1: out how to make it. And he's like kind of

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Speaker 1: gave me some nuggets or whatever. You know, just what you

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Speaker 1: do is what you do. And I was like, that's

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Speaker 1: what's up. And so ten minute conversations, this kid comes

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Speaker 1: up to me. He's like, you know two podcast said no,

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Speaker 1: I just I just met him I just met him today.

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Speaker 1: I'm just trying to figure out how to make it.

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Speaker 1: He said, what do you do? I said, I'm a

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Speaker 1: songwriter trying to hustle whatever, whatever, And it's Robin Thick and.

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Speaker 3: So man, no way, just Robin.

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Speaker 1: They just random and walks to you. You know, but

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Speaker 1: this was this was this was pre Robin Thick, of course,

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Speaker 1: and and you know, we started just trying. He was

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Speaker 1: still Alan yeah Lott. Funny story because he and he

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Speaker 1: had uh, he had invited me over to the crib

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Speaker 1: and he's like, yo, let's I write songs or whatever whatever,

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Speaker 1: and like, all right, cool, let's figure this out. I

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Speaker 1: stopped by it. He never said who his dad was.

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Speaker 1: And you know, I remember pulling up to the house

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Speaker 1: and I was like, oh ship, this this was this

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Speaker 1: white can't live. I was like, god, damn living like

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Speaker 1: I'm living bigger, bigger than I'm living, bigger than I'm living.

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Speaker 1: He had multiple gates, and I remember coming to the

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Speaker 1: house and and there was a lady was cooking food

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Speaker 1: for us, and bah blah blah. And then I heard

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Speaker 1: his voice say, Robin, who are your friends? And I

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Speaker 1: was like yoo, I said, wait a minute, that's Jason Seaver.

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Speaker 1: I said, that's your dad, and so Al comes walking

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Speaker 1: downstairs and we literally spent the next couple of years

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Speaker 1: just partying, acting like we wanted to be in a

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Speaker 1: record business, writing songs, throwing parties. Robin on the piano

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Speaker 1: used to calling Brian mc white.

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Speaker 3: Race that is.

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Speaker 1: And then it's funny enough he gets signed by Brian

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Speaker 1: McKnight a few years later, and uh so, you know,

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Speaker 1: we started writing songs and Robin goes off to go

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Speaker 1: do his thing and write songs, and uh then I

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Speaker 1: got to figure out, okay, cool, I gotta I gotta

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Speaker 1: stay in this. I meet a kid named Sam Salter

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Speaker 1: hm hmm, rest in peace.

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Speaker 3: Sam.

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Speaker 1: Sam was h We wrote songs again, and Sam was

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Speaker 1: an immense, crazy talent man. He was. He was the

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Speaker 1: guy that that got me to Atlanta because I started

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Speaker 1: writing songs with Sam, and I think that's where we

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Speaker 1: met Landy Stewart and Madlyn Randolph actually Madelyn Randolph. She

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Speaker 1: connected me with Tricky and Tricky's partner Sean at the time,

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Speaker 1: and we, uh we did a session. We started writing songs,

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Speaker 1: working and doing doing stuff, and I was trying to

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Speaker 1: be in a group at the time we.

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Speaker 5: Heard about you don't don't just try to don't glance

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Speaker 5: over that brother I.

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Speaker 1: Am because funny story after that was my first our

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Speaker 1: group's first session was with Ko Correll, the greatest vocal

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Speaker 1: producer in the game right now. And Coop was like, yo,

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Speaker 1: we started saying. Coop was like, yo, that guy, he

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Speaker 1: don't he's not that good talk about me. Coop was like, yo,

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Speaker 1: he these other guys, thank god it to you. Yeah,

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Speaker 1: And I was like and I was like, oh, you

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Speaker 1: know what time for a pivot and the shifted life

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Speaker 1: and so were you self aware before that? You know

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Speaker 1: what it was? I felt like I was Michael bevens

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Speaker 1: mm hmm. I felt like I played a role. He

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Speaker 1: was putting the place together. I'm not I'm not rough

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Speaker 1: and Johnny I wanted to be in the group, and

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Speaker 1: so I had vocalists, which was actually Robin think was

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Speaker 1: in the group with us at the time. This is

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Speaker 1: so Robinson, I'm backtracking. So it was like we was like,

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Speaker 1: you know, fake color me bad.

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Speaker 5: Yeah yeah, yeah, yeah, we were together, yeah yeah.

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Speaker 1: Right around that time. So we were we were that

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Speaker 1: and so rob went on to do his things. I said,

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Speaker 1: Sam got me and Sam trying to write songs, and

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Speaker 1: we got our first placement with the kid named Jesse Powell.

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Speaker 1: He's just you Yeah, yeah, yeah. We actually wrote his

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Speaker 1: first single and that was my first placement. My first

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Speaker 1: time getting a stone place was with Jesse Powell. Yeah,

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Speaker 1: it was the first thing.

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Speaker 5: He was on Solace, Yeah, Louis Solace, who was also

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Speaker 5: from San Francisco.

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Speaker 1: I didn't know that. You didn't know that.

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Speaker 5: I know Louis from Yeah, yeah, Louis originally from San Francisco.

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Speaker 1: Man, Louis very few better than him. So Louis gave

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Speaker 1: me my first placement and that's when my career sort

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Speaker 1: of took off. And then uh got a pub deal

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Speaker 1: and uh again that little fine print in a pub

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Speaker 1: deal said you got to move to Atlanta.

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Speaker 3: And so why did you say that?

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Speaker 1: Because La I signed a hicco and La and Lorondo

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Speaker 1: Sutton they built it here, so they were like, you

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Speaker 1: got to come to Atlanta. So they weren't signing writers

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Speaker 1: to stay in the No. No, they were signing people

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Speaker 1: to to build something here in Atlanta and turned out

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Speaker 1: to be the smartest thing they ever did. We ever

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Speaker 1: didn't in moving here because shout out the legend. Yes,

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Speaker 1: indeed the legend. Aronda Sutton. Yes, yeah, yeah, yeah, you

300
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Speaker 1: know what I'm I'm just we're goin to figure this out. Yeah,

301
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Speaker 1: all of a sudden, that was all of a sudden, Loronda,

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Speaker 1: Yeah yeah yeah. So we uh we we came here,

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Speaker 1: we did our deal, I moved. We had a little

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Speaker 1: apartment up the street, Trick had the studio, and we

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Speaker 1: went to work.

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Speaker 2: Man.

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Speaker 1: We came to work every day, just a bunch of kids,

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Speaker 1: man in this building. Man. We didn't know what we

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Speaker 1: was doing at the time. Honestly, we had Tricky's brother,

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Speaker 1: Mark did an amazing deal and when he signed to

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Speaker 1: when he did the deal with a face, he bought

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Speaker 1: a build. He made l a you know, most people's

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Speaker 1: getting cars and doing shit, were like, now we want

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Speaker 1: a space and yeah. That was that That really turned

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Speaker 1: everything around, was when we bought a building and Mark

316
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Speaker 1: brought the building. Ty got the building here and we

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Speaker 1: had our own studio. We never had our own studio,

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Speaker 1: and it was like, yo, so we was here, man,

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Speaker 1: We're just writing songs every day, just trying to hustle

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Speaker 1: and figure it out, man. And you know that sort

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Speaker 1: of turned into writing songs for B two K and right,

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Speaker 1: we were all huh and uh.

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Speaker 3: No.

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Speaker 1: We didn't write little bit. I wish I did too,

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Speaker 1: from eighteen what I Need with a wife? Come on? Yeah,

326
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Speaker 1: yeah yeah we did. We did. I didn't write that part,

327
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Speaker 1: but we wrote huh. Man. I was like, I remember,

328
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Speaker 1: I gotta, I gotta going back to B two K.

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Speaker 1: I got a vc R tape. That's how all that was.

330
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Speaker 1: David McPherson sent us a tape of them then rehearsal

331
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Speaker 1: or something it was, then performing uh at a at

332
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Speaker 1: a fair or something like that in the in the

333
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Speaker 1: I E. And I was like, I told Trick, I said, man,

334
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Speaker 1: I've been watching this video tape. You got to see

335
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Speaker 1: these kids. Man, these kids is dope. And Trick was

336
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Speaker 1: like whatever, whatever, man whatever. I said, no, no, you got

337
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Speaker 1: to see these kids.

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Speaker 3: Man.

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Speaker 1: We need And I called Dave McPherson and I said, man,

340
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Speaker 1: we don't want to work with bring him down here.

341
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Speaker 1: And and that's kind of how it started. Man, We

342
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Speaker 1: brought him down here.

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Speaker 3: Uh you know.

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Speaker 1: I started writing songs for B two K. Yeah, I

345
00:17:58,840 --> 00:18:02,800
Speaker 1: was like and that that jumped it off. And from

346
00:18:02,840 --> 00:18:08,280
Speaker 1: there we wrote songs for I mean, everybody man, my Cisco, everybody.

347
00:18:08,320 --> 00:18:10,919
Speaker 1: We just we built something down here, man, and it

348
00:18:11,000 --> 00:18:13,639
Speaker 1: was a beautiful thing. Yeah, being here in Atlanta, we

349
00:18:13,920 --> 00:18:16,800
Speaker 1: planted our flag here. You know, do people really know

350
00:18:16,920 --> 00:18:19,600
Speaker 1: you have that much of a catalog under your belt. No,

351
00:18:19,680 --> 00:18:21,639
Speaker 1: It's funny because I talked to the writers that I

352
00:18:21,680 --> 00:18:25,639
Speaker 1: signed now and they have no idea. You know, somebody

353
00:18:25,680 --> 00:18:27,120
Speaker 1: in the room, you know, he tab you to write

354
00:18:27,119 --> 00:18:30,639
Speaker 1: songs and I'm like, you did, right, And that's how

355
00:18:30,720 --> 00:18:34,000
Speaker 1: it goes. Yeah. You know, sometimes you know, become Dominique Wilkins.

356
00:18:34,359 --> 00:18:37,120
Speaker 1: It's like Nigga, I won that. I beat Michael Jordan's

357
00:18:39,600 --> 00:18:40,480
Speaker 1: I did that. I did.

358
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Speaker 5: Like it's broke. I've experienced it as well, you know

359
00:18:44,560 --> 00:18:46,240
Speaker 5: what I mean. You meet, you meet, you meet the

360
00:18:46,280 --> 00:18:48,359
Speaker 5: writer and they're like, oh yeah, hey man, I love

361
00:18:48,480 --> 00:18:49,960
Speaker 5: your show. Bro the show is dope.

362
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Speaker 1: Man, Like, oh, you're right, yeah Nigga for real?

363
00:18:58,480 --> 00:19:04,000
Speaker 2: Yeah yeah, he's so slappy with this catalog.

364
00:19:04,080 --> 00:19:04,640
Speaker 1: You know what I'm saying.

365
00:19:15,160 --> 00:19:17,439
Speaker 2: What was the song for you that you felt like

366
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Speaker 2: it wasn't a rival moment where you felt like, I

367
00:19:20,680 --> 00:19:23,760
Speaker 2: mean sure there was okay. Then the music business, I

368
00:19:23,760 --> 00:19:26,560
Speaker 2: got this deal. This is this is you know these

369
00:19:26,600 --> 00:19:28,760
Speaker 2: things are happening, we're working in the studio. But what

370
00:19:28,840 --> 00:19:32,280
Speaker 2: is the song that that that says to you, Oh yeah,

371
00:19:32,320 --> 00:19:34,000
Speaker 2: I'm really in.

372
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Speaker 1: I think it was case of the Ax for my hmmm,

373
00:19:38,400 --> 00:19:41,840
Speaker 1: because that's the one when you really realize that you

374
00:19:41,880 --> 00:19:44,480
Speaker 1: can really really make a living at this. That was

375
00:19:44,840 --> 00:19:46,680
Speaker 1: the first one for you. That Yeah, that's that's that's

376
00:19:46,680 --> 00:19:48,879
Speaker 1: the one where you kept going to the mailbox and

377
00:19:48,920 --> 00:19:50,840
Speaker 1: you would open up their mail by the mailbox and

378
00:19:51,160 --> 00:19:52,920
Speaker 1: you and you and you would see that ass cap

379
00:19:53,040 --> 00:19:56,080
Speaker 1: check come in and it's the mailbox, the mailbox story,

380
00:19:56,119 --> 00:19:59,119
Speaker 1: and the mailbox was a beautiful thing. You would just

381
00:19:59,160 --> 00:20:01,000
Speaker 1: be like, wow, this is beautiful.

382
00:20:01,960 --> 00:20:03,080
Speaker 3: Yeah I like that.

383
00:20:03,200 --> 00:20:06,360
Speaker 1: Yeah, yeah that that those those performance checks and you know.

384
00:20:07,040 --> 00:20:13,720
Speaker 2: You know, getting into it, I had never experienced, you know,

385
00:20:14,000 --> 00:20:14,280
Speaker 2: that's go.

386
00:20:14,640 --> 00:20:16,359
Speaker 3: I haven't experienced it.

387
00:20:16,920 --> 00:20:19,080
Speaker 2: As I'm signing up and I'm doing my songs and

388
00:20:19,080 --> 00:20:20,520
Speaker 2: working on my album and all this stuff I had

389
00:20:20,560 --> 00:20:23,840
Speaker 2: worked on stuff before. They probably stole that. Yeah, I

390
00:20:23,840 --> 00:20:27,080
Speaker 2: think I think that's the thing. I think that's the thing.

391
00:20:27,200 --> 00:20:29,080
Speaker 2: Say it right.

392
00:20:30,240 --> 00:20:38,760
Speaker 3: My previous works some fraudulent things, but that maybe I deserve.

393
00:20:39,440 --> 00:20:44,520
Speaker 2: And and one day I just go to the mailbox

394
00:20:45,800 --> 00:20:50,240
Speaker 2: and I'm looking at Okay, what is this? What is this?

395
00:20:51,200 --> 00:20:58,000
Speaker 2: And it's six figures you go. I'm like, he's like.

396
00:20:59,280 --> 00:21:06,840
Speaker 1: Just declaring, how like this yes, yes in D yes

397
00:21:06,880 --> 00:21:12,840
Speaker 1: to d strip Club for everybody, And that's what it becomes,

398
00:21:12,880 --> 00:21:15,800
Speaker 1: and that's what it becomes a real thing. And that's

399
00:21:15,840 --> 00:21:18,000
Speaker 1: the moment that it clicks. It's funny you said something

400
00:21:18,000 --> 00:21:21,920
Speaker 1: about being stolen because I remember one time when I

401
00:21:21,960 --> 00:21:24,080
Speaker 1: was in there early in the game, living with my

402
00:21:24,160 --> 00:21:26,199
Speaker 1: uncle Il at the time, and I was telling you

403
00:21:26,240 --> 00:21:27,800
Speaker 1: I'm in a recomend I'm in a record business. And

404
00:21:27,800 --> 00:21:30,400
Speaker 1: he said to me, he said, has anybody stole something

405
00:21:30,440 --> 00:21:32,840
Speaker 1: from you yet? And I said, and I said, n

406
00:21:32,960 --> 00:21:35,240
Speaker 1: ain't nobody. Still he said, then you're not a recommended

407
00:21:37,000 --> 00:21:42,480
Speaker 1: and I said, nugget So until somebody stolen something from you,

408
00:21:43,119 --> 00:21:47,040
Speaker 1: you haven't a arrived oh man. And I was like, damn,

409
00:21:47,160 --> 00:21:49,080
Speaker 1: that was harsh, but yeah, because.

410
00:21:48,800 --> 00:21:51,960
Speaker 3: It is true. It's all of it. This business is

411
00:21:52,119 --> 00:21:52,560
Speaker 3: all of it.

412
00:21:52,640 --> 00:21:55,880
Speaker 1: Absolutely. Until you have something stolen from.

413
00:21:55,760 --> 00:21:59,480
Speaker 2: Then you have an experience for full and then absolutely

414
00:21:59,760 --> 00:22:00,520
Speaker 2: then you arived.

415
00:22:00,640 --> 00:22:04,400
Speaker 3: Then a minute now now a record fighting for.

416
00:22:04,359 --> 00:22:07,679
Speaker 1: My life, I've got there. Yeah, but they didn't put

417
00:22:07,680 --> 00:22:11,080
Speaker 1: my name on that song. Wait what wait what? Oh

418
00:22:11,119 --> 00:22:16,200
Speaker 1: that album that's doing it, that's doing that? Yeah yeah yeah,

419
00:22:16,240 --> 00:22:18,520
Speaker 1: Writings on the Wall Dusky's Child. I wrote a song

420
00:22:18,560 --> 00:22:23,000
Speaker 1: called if He Leaves You with r L. Yeah, and

421
00:22:23,119 --> 00:22:26,879
Speaker 1: I was like, wait a minute, I'm not on there.

422
00:22:27,280 --> 00:22:30,360
Speaker 1: You weren't on the credit at all, not at all. Yeah,

423
00:22:30,440 --> 00:22:34,399
Speaker 1: I wrote that, Yeah exactly. Was it ever rectified? It

424
00:22:34,480 --> 00:22:37,800
Speaker 1: was rectified, Okay. I said, wait a minute, that's this album, Diamond,

425
00:22:37,800 --> 00:22:41,119
Speaker 1: this this ten minutes. I'm like, oh, I'm gonna need that.

426
00:22:41,440 --> 00:22:41,760
Speaker 3: Yeah.

427
00:22:41,800 --> 00:22:45,880
Speaker 1: So then did that's when you arrived you on some jinks? Yeah? Yeah,

428
00:22:47,280 --> 00:22:48,680
Speaker 1: we went to work, bro, We went to work. I

429
00:22:49,000 --> 00:22:52,120
Speaker 1: always tell people, Man, we didn't do much. We we

430
00:22:52,119 --> 00:22:54,879
Speaker 1: we watched football, we played video games, and we wrote songs.

431
00:22:54,720 --> 00:22:56,600
Speaker 1: That's what we did, you know what I'm saying. Yeah,

432
00:22:56,720 --> 00:22:58,639
Speaker 1: we came to work every day and we just wrote records,

433
00:22:58,720 --> 00:23:00,600
Speaker 1: you know. And that's what it was.

434
00:23:00,640 --> 00:23:00,879
Speaker 3: You know.

435
00:23:01,200 --> 00:23:03,560
Speaker 1: We approached it like Nashville.

436
00:23:03,600 --> 00:23:03,720
Speaker 3: You know.

437
00:23:03,920 --> 00:23:06,920
Speaker 1: We came to work every day and we wrote songs.

438
00:23:07,200 --> 00:23:07,440
Speaker 3: You know.

439
00:23:07,480 --> 00:23:10,040
Speaker 2: We just when you were a kid, though, was this

440
00:23:10,240 --> 00:23:14,240
Speaker 2: like was this the dream or were you No?

441
00:23:14,480 --> 00:23:16,280
Speaker 1: I wasn't the dream. I think the dream for me

442
00:23:16,520 --> 00:23:19,840
Speaker 1: was I wanted to be a sports broadcaster really at

443
00:23:19,880 --> 00:23:21,960
Speaker 1: Brian Gumble. Yeah, I wanted to be Brian Gumble.

444
00:23:22,119 --> 00:23:22,280
Speaker 2: Yeah.

445
00:23:22,320 --> 00:23:24,199
Speaker 1: I wanted to do money in that football and I

446
00:23:24,200 --> 00:23:26,879
Speaker 1: felt like I should. That was that was my dream.

447
00:23:26,960 --> 00:23:29,320
Speaker 1: I always wanted to do sports broadcasting.

448
00:23:29,640 --> 00:23:32,960
Speaker 5: Yeah, so what made you pivot from that or even

449
00:23:33,040 --> 00:23:33,480
Speaker 5: just you know what?

450
00:23:33,520 --> 00:23:35,800
Speaker 1: It was? Music was always a part of my my love.

451
00:23:35,840 --> 00:23:39,240
Speaker 1: My brother was a DJ at UCS University set Santa Cruz,

452
00:23:39,320 --> 00:23:41,840
Speaker 1: so he was doing DJ set and stuff like that.

453
00:23:41,880 --> 00:23:44,000
Speaker 1: So I always be like, you know, play this record,

454
00:23:44,000 --> 00:23:45,920
Speaker 1: play this record. You know, I was reading credits and

455
00:23:46,000 --> 00:23:48,720
Speaker 1: you should play this, play this whatever. And then, honestly,

456
00:23:49,320 --> 00:23:52,680
Speaker 1: for me, when kind of in the Bay, just music

457
00:23:52,760 --> 00:23:54,560
Speaker 1: just became kind of my thing. I was writing poetry,

458
00:23:54,640 --> 00:23:57,200
Speaker 1: writing lyrics and stuff like that. And then when I

459
00:23:57,240 --> 00:23:58,320
Speaker 1: was like, what are you gonna do with your life,

460
00:23:58,359 --> 00:23:59,400
Speaker 1: and I was like, I want to be in music,

461
00:23:59,480 --> 00:24:03,320
Speaker 1: and then he said come down here, and uh, that's

462
00:24:03,320 --> 00:24:06,560
Speaker 1: when it shifted. Yeah, yeah, that's definitely when it shifted.

463
00:24:06,680 --> 00:24:08,399
Speaker 1: It's funny, I'm looking at you like that.

464
00:24:08,359 --> 00:24:10,080
Speaker 3: That may could be introducing.

465
00:24:09,800 --> 00:24:11,639
Speaker 1: Yeah, man, it could have been. Man, I should have

466
00:24:11,640 --> 00:24:16,639
Speaker 1: been Stephen Tree baby is Williams. What out of you

467
00:24:16,720 --> 00:24:18,720
Speaker 1: take something Florida State? You take him?

468
00:24:19,520 --> 00:24:22,320
Speaker 3: What did you say?

469
00:24:22,480 --> 00:24:27,040
Speaker 2: Just see the NFL drafts, you know, wow, come on.

470
00:24:27,520 --> 00:24:30,240
Speaker 5: Absolutely, a lot of a whole bunch of Davante's and

471
00:24:30,320 --> 00:24:32,280
Speaker 5: tyres is now. So you know that R and B

472
00:24:32,400 --> 00:24:34,760
Speaker 5: has done really well in the hood.

473
00:24:35,480 --> 00:24:38,640
Speaker 2: Is a lot of necklace that play football and basketball

474
00:24:38,720 --> 00:24:44,200
Speaker 2: named Davonte Tyres and they did not exist.

475
00:24:43,880 --> 00:24:48,480
Speaker 1: Before the r V version. There's some tepping's out there too. Yeah, yeah,

476
00:24:48,520 --> 00:24:49,600
Speaker 1: you're right, you're right.

477
00:24:50,080 --> 00:24:53,520
Speaker 2: So you're having so much success writing songs and how

478
00:24:53,520 --> 00:24:56,560
Speaker 2: long does that period last for you to when you

479
00:24:56,600 --> 00:25:01,119
Speaker 2: say maybe I can curate now, it's.

480
00:25:01,000 --> 00:25:04,920
Speaker 5: About about twelve and a half thirteen years writing. I

481
00:25:05,000 --> 00:25:08,679
Speaker 5: was really engulfed in the songwriting absolutely.

482
00:25:08,800 --> 00:25:11,400
Speaker 1: And then I think the shift kind of came two

483
00:25:11,440 --> 00:25:14,520
Speaker 1: years and two things happened that made me kind of shift.

484
00:25:14,640 --> 00:25:15,080
Speaker 3: That was.

485
00:25:17,119 --> 00:25:18,560
Speaker 1: I woke up on it and I was just kind

486
00:25:18,560 --> 00:25:20,600
Speaker 1: of burnt well you know what it was. I had

487
00:25:21,240 --> 00:25:23,280
Speaker 1: that I wanted to get on Britney Spearit so bad

488
00:25:23,720 --> 00:25:25,280
Speaker 1: and I was like, I was like, I know we

489
00:25:25,320 --> 00:25:30,240
Speaker 1: could do this. And there was an an R Steve Lunt.

490
00:25:30,480 --> 00:25:32,840
Speaker 1: I would bug him all the time, man, and I

491
00:25:32,880 --> 00:25:34,240
Speaker 1: really would spend a lot of time just kind of

492
00:25:34,240 --> 00:25:36,000
Speaker 1: hanging out with him. I kept saying, just give us

493
00:25:36,000 --> 00:25:40,080
Speaker 1: a shot, Just give us a shot. And I kind

494
00:25:40,119 --> 00:25:41,080
Speaker 1: of got to know him and I was like, man,

495
00:25:41,160 --> 00:25:42,480
Speaker 1: I want to do what he does, you know what

496
00:25:42,520 --> 00:25:46,680
Speaker 1: I'm saying. And so anyways, I think that was kind

497
00:25:46,720 --> 00:25:49,119
Speaker 1: of the last project. And then I met this kid

498
00:25:49,200 --> 00:25:53,880
Speaker 1: who was kind of a better writer than me named

499
00:25:53,920 --> 00:25:58,760
Speaker 1: Lonnie bro And and I was like, it turned out

500
00:25:58,760 --> 00:26:03,040
Speaker 1: to be AKA Frank ocean m And I was like,

501
00:26:03,880 --> 00:26:06,560
Speaker 1: you know, I'm gonna use a sports equivalent. It's like

502
00:26:06,640 --> 00:26:08,800
Speaker 1: I couldn't run as fast as him anymore, you know

503
00:26:08,840 --> 00:26:10,840
Speaker 1: what I'm saying. I lost the step. I was like,

504
00:26:10,880 --> 00:26:12,960
Speaker 1: you know what, I'm not that good. I can't jump

505
00:26:13,040 --> 00:26:17,120
Speaker 1: that high anymore. When I when I watched him write

506
00:26:17,200 --> 00:26:21,240
Speaker 1: songs when I met him, I was like, I'm honest

507
00:26:21,240 --> 00:26:24,119
Speaker 1: with myself, I'm not I'm not as good as him.

508
00:26:24,160 --> 00:26:26,480
Speaker 1: And I said, you know what, but I want to

509
00:26:26,480 --> 00:26:29,200
Speaker 1: be in business with him. And so I think those

510
00:26:29,240 --> 00:26:31,439
Speaker 1: two moments, I think kind of made me say, you

511
00:26:31,480 --> 00:26:34,520
Speaker 1: know what, yeah, I'm kind of done. Yeah let me,

512
00:26:34,600 --> 00:26:37,480
Speaker 1: let me, let me pivot, let me transition, and fortunately

513
00:26:37,640 --> 00:26:41,960
Speaker 1: enough I was able to. I started consulting with the

514
00:26:42,000 --> 00:26:44,959
Speaker 1: company I worked at, which was when Bug went swept

515
00:26:44,960 --> 00:26:50,320
Speaker 1: with Leo. Leo Williams shot out, Leo WILLI yeah, and

516
00:26:50,440 --> 00:26:54,240
Speaker 1: so I signed. The first thing I signed was KP

517
00:26:54,400 --> 00:26:59,480
Speaker 1: and Malay, my brother KP and which who actually ended

518
00:26:59,560 --> 00:27:01,320
Speaker 1: up playing a song which with Frank on it with

519
00:27:01,400 --> 00:27:03,000
Speaker 1: a song called Quickly and I was that's when I

520
00:27:03,000 --> 00:27:04,880
Speaker 1: first heard Frank. When I heard, I was like, yo,

521
00:27:04,960 --> 00:27:07,640
Speaker 1: it played me just John Legend record, but they played

522
00:27:07,640 --> 00:27:09,120
Speaker 1: me in the demo and then that's when the first

523
00:27:09,160 --> 00:27:10,800
Speaker 1: time I heard Frank, and I was like, yo, who

524
00:27:10,880 --> 00:27:13,040
Speaker 1: is that? And then that's when I got started working

525
00:27:13,040 --> 00:27:15,560
Speaker 1: with He was singing the demo. He was singing a demo. Okay,

526
00:27:16,200 --> 00:27:18,199
Speaker 1: he was singing a demo. And then I was like,

527
00:27:18,200 --> 00:27:20,880
Speaker 1: I got to meet this kid. And then I had him.

528
00:27:21,160 --> 00:27:22,520
Speaker 1: I went to La to go meet with him. He

529
00:27:22,520 --> 00:27:26,359
Speaker 1: started sending me some records and funny story because I

530
00:27:26,440 --> 00:27:29,520
Speaker 1: had the songs in my CDs in my car and

531
00:27:29,560 --> 00:27:30,880
Speaker 1: I just was like, and I'll get to the I'll

532
00:27:30,880 --> 00:27:34,399
Speaker 1: get to him. I'll get to him. And I was

533
00:27:34,440 --> 00:27:36,960
Speaker 1: married at the time. My asked wife she had she

534
00:27:37,040 --> 00:27:38,600
Speaker 1: was on a girl strip, but she took my car

535
00:27:39,320 --> 00:27:42,240
Speaker 1: and she was driving on a girl's trip somewhere. I

536
00:27:42,240 --> 00:27:43,560
Speaker 1: think it was going to Florida or whatever, and she

537
00:27:43,640 --> 00:27:47,159
Speaker 1: kept saying, man, these songs you wrote are amazing. And

538
00:27:47,200 --> 00:27:49,280
Speaker 1: I was like, yeah, that's what I do, what you

539
00:27:49,359 --> 00:27:53,760
Speaker 1: talk about. Yeah, I'm like that. I'm like that. Yeah.

540
00:27:54,000 --> 00:27:56,920
Speaker 1: Somebody says I still got her, but I was like, yeah,

541
00:27:57,080 --> 00:28:00,879
Speaker 1: that's what's up. And I remember her. They heard their

542
00:28:00,880 --> 00:28:03,000
Speaker 1: girls kept calling it, like Yo, these songs are incredible.

543
00:28:03,040 --> 00:28:04,600
Speaker 1: They was on the background sticking. I was like, yeah,

544
00:28:04,600 --> 00:28:07,280
Speaker 1: that's what because it was a full trip to yeah

545
00:28:08,800 --> 00:28:11,720
Speaker 1: is deep into the into the demos. And I was like, yeah,

546
00:28:12,000 --> 00:28:14,440
Speaker 1: you know, it's nice. I'm nice like that. And then

547
00:28:14,680 --> 00:28:16,359
Speaker 1: she called me and she's like, man, what made you

548
00:28:16,359 --> 00:28:20,080
Speaker 1: write this song about getting married quickly in Vegas and

549
00:28:20,080 --> 00:28:22,280
Speaker 1: ship like that? And I was like, or getting a

550
00:28:22,320 --> 00:28:24,199
Speaker 1: tattoo of a song called blasted? He wrote a by

551
00:28:24,280 --> 00:28:26,119
Speaker 1: getting a tattoo And.

552
00:28:26,160 --> 00:28:28,159
Speaker 5: I was like, wait, a, man, I didn't write I

553
00:28:28,200 --> 00:28:30,000
Speaker 5: didn't write that.

554
00:28:30,000 --> 00:28:34,760
Speaker 1: That ain't muscle. That's that kid, and they're like to Louisiana,

555
00:28:34,800 --> 00:28:36,720
Speaker 1: I was like, I need to really go spends some

556
00:28:36,760 --> 00:28:42,080
Speaker 1: time with this kid, and uh yeah. So that trip,

557
00:28:42,160 --> 00:28:44,000
Speaker 1: when her girl's trip, made me say, okay, you know,

558
00:28:44,280 --> 00:28:45,480
Speaker 1: let me let me go see this, see what this

559
00:28:45,560 --> 00:28:48,000
Speaker 1: kid is really about. And he would he would send

560
00:28:48,000 --> 00:28:51,840
Speaker 1: me records daily and they just kept getting better and

561
00:28:51,960 --> 00:28:57,080
Speaker 1: better and better. And I'm like, this, motherfuckers, he's musician.

562
00:28:58,280 --> 00:29:03,120
Speaker 1: He is it and got him a check for one

563
00:29:03,160 --> 00:29:06,280
Speaker 1: hundred and sixty two thousand dollars. Oh, I won sixty two.

564
00:29:06,480 --> 00:29:08,400
Speaker 1: That's the most random number eever. That's what I said.

565
00:29:08,400 --> 00:29:10,280
Speaker 1: But that's that's the deal. That's what he asked, that's

566
00:29:10,280 --> 00:29:12,840
Speaker 1: what he asked for. I said, absolutely, he asked for

567
00:29:12,840 --> 00:29:15,880
Speaker 1: one hundred and sixty two thousand dollars. I'll never know that.

568
00:29:15,880 --> 00:29:18,080
Speaker 1: That what it was. And I was like, yeah, let's

569
00:29:18,080 --> 00:29:20,880
Speaker 1: do this. And I was publishing, publishing and I was

570
00:29:20,880 --> 00:29:22,720
Speaker 1: working here out of Atlanta. This was when I was

571
00:29:22,760 --> 00:29:25,320
Speaker 1: consulting for Winswept and so I said, yeah, let's do it.

572
00:29:25,320 --> 00:29:27,280
Speaker 1: The deal one hundred percent. But at the time I

573
00:29:27,320 --> 00:29:28,520
Speaker 1: was like, I was nervous. I said, yeah, I got

574
00:29:28,600 --> 00:29:29,760
Speaker 1: to get him wreck. I said, I got to get

575
00:29:29,760 --> 00:29:32,680
Speaker 1: this money back, right. So, because he had no placements,

576
00:29:32,720 --> 00:29:35,920
Speaker 1: he had zero placements yet nothing, he still gave me

577
00:29:35,920 --> 00:29:38,400
Speaker 1: one hundred and sixty two one thousand percent because I

578
00:29:38,440 --> 00:29:39,520
Speaker 1: just believed on what I heard.

579
00:29:39,640 --> 00:29:40,960
Speaker 3: Yeah, I knew what I heard.

580
00:29:41,040 --> 00:29:42,480
Speaker 1: And I was like, okay, cool, let me go find

581
00:29:42,480 --> 00:29:44,120
Speaker 1: this kid a deal, you know what I'm saying. So

582
00:29:44,160 --> 00:29:46,640
Speaker 1: I remember I was taking around. I took him to

583
00:29:46,680 --> 00:29:50,880
Speaker 1: some one particular label and this one guy and he

584
00:29:50,960 --> 00:29:52,400
Speaker 1: left him and he left us in the lobby for

585
00:29:52,480 --> 00:29:55,640
Speaker 1: two hours, two hours, and if you know Frank, Frank

586
00:29:55,640 --> 00:29:57,440
Speaker 1: don't play that kind of stuff. He's like, get worriedy,

587
00:29:57,520 --> 00:29:59,160
Speaker 1: let's go. I was like, all right, cool, let's go.

588
00:30:00,360 --> 00:30:03,000
Speaker 1: And then Tricky had just started working at Death Cham

589
00:30:03,240 --> 00:30:05,600
Speaker 1: and I said, Trick Man, I said, I signed this

590
00:30:05,720 --> 00:30:07,440
Speaker 1: kid man, and I really need to get him a

591
00:30:07,480 --> 00:30:09,440
Speaker 1: record deal. He's an artist, I promise you he is.

592
00:30:10,280 --> 00:30:12,920
Speaker 1: And Trick was like, okay, just give me the music.

593
00:30:13,160 --> 00:30:17,040
Speaker 1: And Trick was driving to Vegas and to go work

594
00:30:17,040 --> 00:30:21,560
Speaker 1: with Dream on Dream's album, and Trick didn't call me

595
00:30:21,600 --> 00:30:23,680
Speaker 1: for three weeks, and I was like, yo, man, I'm

596
00:30:23,680 --> 00:30:24,920
Speaker 1: gonna need you to listen to this kid man. I

597
00:30:24,960 --> 00:30:26,360
Speaker 1: got to get this money back. You know what I'm saying.

598
00:30:26,360 --> 00:30:28,080
Speaker 1: At the time, I'm the type of executive he was like, yo,

599
00:30:28,360 --> 00:30:30,040
Speaker 1: you know, I got to help the kid recoup this deal.

600
00:30:30,960 --> 00:30:33,200
Speaker 1: And Trick called me and was like, yo, I finally

601
00:30:33,240 --> 00:30:35,680
Speaker 1: listened to the music. Where is he? He said? Trick

602
00:30:35,720 --> 00:30:37,360
Speaker 1: said he's an artist. I said, yes, he's an artist.

603
00:30:37,400 --> 00:30:41,000
Speaker 1: I promise you he's an artist. And that's when Trick

604
00:30:41,040 --> 00:30:44,480
Speaker 1: signed him and started working on him making the music.

605
00:30:45,000 --> 00:30:47,240
Speaker 1: And I'll never get Frank hit me. He said, ma,

606
00:30:47,240 --> 00:30:49,080
Speaker 1: I'm about to put a mixtape out. And I was like,

607
00:30:49,600 --> 00:30:53,040
Speaker 1: that's the dumbest idea I've ever heard. How would you

608
00:30:53,080 --> 00:30:56,760
Speaker 1: put a mixtape out you got a record deal? Obous,

609
00:30:56,800 --> 00:30:59,440
Speaker 1: it's probably not moving. Yeah. Well, they was just you know,

610
00:30:59,480 --> 00:31:01,680
Speaker 1: he was just working. He was young or as nobody

611
00:31:01,720 --> 00:31:04,600
Speaker 1: was paying attention to them. And he said and I

612
00:31:04,600 --> 00:31:07,480
Speaker 1: was like, that's why would you do that? Obviously he

613
00:31:07,560 --> 00:31:10,440
Speaker 1: was right. I was wrong because the mixtape came out

614
00:31:10,520 --> 00:31:13,720
Speaker 1: and you know, changed the game, and and that's when

615
00:31:13,720 --> 00:31:17,920
Speaker 1: everything just slokes started putting out mixtapes and that's what

616
00:31:18,080 --> 00:31:20,440
Speaker 1: Frank was the first to do it. And he put

617
00:31:20,480 --> 00:31:22,200
Speaker 1: that out and I'll never forget. I was at the

618
00:31:22,240 --> 00:31:24,240
Speaker 1: airport so some reason, I had a newspaper in the

619
00:31:24,280 --> 00:31:26,120
Speaker 1: car and the cars picking it up and I was

620
00:31:26,160 --> 00:31:28,320
Speaker 1: opening up the paper and I saw this whole spread

621
00:31:28,320 --> 00:31:32,760
Speaker 1: in the La Times about this mixtape, and I was like, Oh,

622
00:31:32,840 --> 00:31:35,400
Speaker 1: this ship is working. I was like, I was like,

623
00:31:35,400 --> 00:31:42,080
Speaker 1: oh yeah. I was like, oh you famous. I was like, Okay,

624
00:31:42,320 --> 00:31:45,400
Speaker 1: this is it? So yeah, we uh And that's that's

625
00:31:45,400 --> 00:31:47,240
Speaker 1: what's funny part about this. I was telling Jay just

626
00:31:47,320 --> 00:31:49,280
Speaker 1: a little while ago, was like, yuh said, everybody was

627
00:31:49,320 --> 00:31:51,360
Speaker 1: trying to sign it. Everybod's trying to look for They

628
00:31:51,400 --> 00:31:52,840
Speaker 1: didn't know. It was like where is he at? How

629
00:31:52,840 --> 00:31:55,200
Speaker 1: can we find it? How can we find it? Including

630
00:31:55,240 --> 00:31:59,360
Speaker 1: death Jam not knowing he was signed. Yeah, they were like,

631
00:31:59,360 --> 00:32:02,959
Speaker 1: we gotta find it. Where is he at? He's on

632
00:32:03,000 --> 00:32:06,920
Speaker 1: your roster? You cracked him off. Wow, he's already signed

633
00:32:06,920 --> 00:32:12,800
Speaker 1: there man. They were like, oh oh look at god man,

634
00:32:14,120 --> 00:32:15,560
Speaker 1: he's he's on our roster.

635
00:32:16,360 --> 00:32:16,600
Speaker 3: Yeah.

636
00:32:17,040 --> 00:32:18,920
Speaker 1: So yeah, that was that was That was a funny

637
00:32:18,960 --> 00:32:21,640
Speaker 1: one of the moments.

638
00:32:20,480 --> 00:32:21,320
Speaker 3: Like the bar is high.

639
00:32:21,320 --> 00:32:25,960
Speaker 2: Now at this point you find Frank, you know, in

640
00:32:26,040 --> 00:32:28,840
Speaker 2: terms of a song writer, you're already working with tricky,

641
00:32:29,360 --> 00:32:34,880
Speaker 2: crazy producer and you know the stewarts at this point,

642
00:32:34,920 --> 00:32:39,400
Speaker 2: like as a taste maker and understanding the level in

643
00:32:39,440 --> 00:32:44,920
Speaker 2: which music is supposed to be played on. How does

644
00:32:44,960 --> 00:32:47,440
Speaker 2: that really play? How does that play a part? And

645
00:32:47,600 --> 00:32:53,000
Speaker 2: now how you're curating like projects? I mean, because it's different,

646
00:32:53,040 --> 00:32:56,000
Speaker 2: Like you want singles, but then you want you know,

647
00:32:56,440 --> 00:32:59,320
Speaker 2: you want body, you want things that are you know,

648
00:32:59,640 --> 00:33:01,480
Speaker 2: because a lot of times people are putting bodies of

649
00:33:01,480 --> 00:33:04,520
Speaker 2: work together and they're just single, single, single, single, s right,

650
00:33:05,040 --> 00:33:10,280
Speaker 2: But a lot of times an album or project is

651
00:33:10,280 --> 00:33:15,800
Speaker 2: about a journey and not every record is a single,

652
00:33:16,360 --> 00:33:19,080
Speaker 2: but it's part of the story. Yeah, you know what

653
00:33:19,160 --> 00:33:22,360
Speaker 2: I mean, Like, how does all of that How do

654
00:33:22,440 --> 00:33:24,320
Speaker 2: all of these things play into you now?

655
00:33:25,080 --> 00:33:25,680
Speaker 3: Curating?

656
00:33:26,440 --> 00:33:29,840
Speaker 1: If we fast forward to when I started working at

657
00:33:29,840 --> 00:33:33,520
Speaker 1: a label and I went to death Jam, No Idea

658
00:33:33,560 --> 00:33:35,800
Speaker 1: brought me over there. I just left another company and

659
00:33:35,840 --> 00:33:37,160
Speaker 1: I went over there, and then I was like, yo,

660
00:33:37,320 --> 00:33:39,280
Speaker 1: me and hot about to go work at death Jam.

661
00:33:39,520 --> 00:33:41,440
Speaker 1: And it was funny because I was two hours away

662
00:33:41,440 --> 00:33:44,360
Speaker 1: from signing a deal extending my contract at another company.

663
00:33:44,800 --> 00:33:47,080
Speaker 1: And I went to this luncheon and Dan was sitting

664
00:33:47,080 --> 00:33:48,240
Speaker 1: at the table and he was like, Yo, man, what

665
00:33:48,320 --> 00:33:49,280
Speaker 1: are you about to do? I was about to go

666
00:33:49,280 --> 00:33:51,160
Speaker 1: to my attorney's office to go sign this contract to

667
00:33:51,160 --> 00:33:53,480
Speaker 1: go stay at this other label, and he was like,

668
00:33:53,840 --> 00:33:56,280
Speaker 1: hold on, he said, because me and Hop about to

669
00:33:56,320 --> 00:33:58,200
Speaker 1: go to Death Jam, and I was like, you are,

670
00:33:58,640 --> 00:34:01,400
Speaker 1: and I said, okay, I'm coming with y'all because I

671
00:34:01,400 --> 00:34:03,200
Speaker 1: didn't sign my contract at the time because they had

672
00:34:03,240 --> 00:34:06,560
Speaker 1: what I'd gotten out of an extension window. So I

673
00:34:06,560 --> 00:34:09,279
Speaker 1: was like, okay, I'll come with y'all. And so when

674
00:34:09,320 --> 00:34:12,720
Speaker 1: I finally eventually ended up in Death Jam working with Dion,

675
00:34:13,520 --> 00:34:16,800
Speaker 1: I had found this girl somebody play me a demo

676
00:34:17,280 --> 00:34:20,480
Speaker 1: about a year six months earlier, and they played me

677
00:34:20,520 --> 00:34:23,440
Speaker 1: a demo they were playing they had this artist they

678
00:34:23,480 --> 00:34:24,680
Speaker 1: were working on them. I was like, who's the girl

679
00:34:24,719 --> 00:34:28,600
Speaker 1: singing the hook and then it was oh, it's Tony,

680
00:34:28,640 --> 00:34:30,800
Speaker 1: my brother, Tony Perez and Robbio shout out my brothers.

681
00:34:31,160 --> 00:34:33,360
Speaker 1: They played me this song and I was like, I

682
00:34:33,520 --> 00:34:35,560
Speaker 1: want this girl. It was like, oh my my daughter

683
00:34:35,600 --> 00:34:39,440
Speaker 1: found on YouTube and I'm like, okay, cool, but I

684
00:34:39,480 --> 00:34:40,200
Speaker 1: need to meet this girl.

685
00:34:40,280 --> 00:34:41,080
Speaker 3: Yeah, I don't get to her.

686
00:34:41,120 --> 00:34:44,040
Speaker 1: Yeah. And so when I got to Death Jam the

687
00:34:44,160 --> 00:34:46,440
Speaker 1: very first day, I got to death Jam because if

688
00:34:46,440 --> 00:34:48,880
Speaker 1: you in that building at the time, when in Santa Monica,

689
00:34:49,280 --> 00:34:51,000
Speaker 1: you make her left to go to Republic, where I

690
00:34:51,040 --> 00:34:53,319
Speaker 1: had worked at before and you make a right to

691
00:34:53,320 --> 00:34:56,640
Speaker 1: go to death jam. This is my very first day

692
00:34:57,040 --> 00:34:59,200
Speaker 1: at death Jam. I got off the elevator at ten thirty,

693
00:35:00,080 --> 00:35:02,240
Speaker 1: first day at the job at the new company. Because

694
00:35:02,360 --> 00:35:03,759
Speaker 1: when you work at the Republic, you didn't make you

695
00:35:03,760 --> 00:35:06,000
Speaker 1: didn't go to death jail. You stayed on that side.

696
00:35:06,040 --> 00:35:08,000
Speaker 1: You know what I'm saying. You didn't mess with that side.

697
00:35:08,160 --> 00:35:10,719
Speaker 1: And so I was like, damn, this is weird, like

698
00:35:10,719 --> 00:35:12,640
Speaker 1: my first day at school. But you know I used

699
00:35:12,640 --> 00:35:15,560
Speaker 1: to go to that school. Yeah, yeah, in school, and

700
00:35:15,600 --> 00:35:17,440
Speaker 1: I was like, okay, cool. And coming out of my

701
00:35:17,520 --> 00:35:21,319
Speaker 1: old school was the girl who I was trying to

702
00:35:21,360 --> 00:35:24,760
Speaker 1: sign and it was a Lessian car. She just happened

703
00:35:24,760 --> 00:35:26,320
Speaker 1: to be at the office. She just happened to be

704
00:35:26,360 --> 00:35:29,720
Speaker 1: a getting off the elevator at Republic and at the time,

705
00:35:29,960 --> 00:35:33,080
Speaker 1: because when I left Republic, I was saying, you know you,

706
00:35:33,080 --> 00:35:34,520
Speaker 1: you say, hey, these are all the things that I

707
00:35:34,560 --> 00:35:37,719
Speaker 1: was looking at transparency. I'm not hiding nothing. Yeah, this

708
00:35:37,719 --> 00:35:39,279
Speaker 1: is a girl that I was thinking, here's her info,

709
00:35:39,320 --> 00:35:40,880
Speaker 1: blah blah blah. When she came up to the elevator,

710
00:35:40,880 --> 00:35:42,200
Speaker 1: I was like, oh, they must have signed you. And

711
00:35:42,200 --> 00:35:44,960
Speaker 1: then I said, oh, they signed you. And they were like, no, no,

712
00:35:45,000 --> 00:35:46,799
Speaker 1: we just took a meeting. We just flew out there.

713
00:35:46,800 --> 00:35:48,719
Speaker 1: I was like, wait, you're not signed, and I said

714
00:35:48,760 --> 00:35:51,560
Speaker 1: hold on. I said wait, I said, Danne, I noticed

715
00:35:51,600 --> 00:35:54,919
Speaker 1: my first day here. It's my first day on the job. Dog.

716
00:35:55,239 --> 00:35:57,600
Speaker 1: But there is this girl right here that that I

717
00:35:57,640 --> 00:35:58,160
Speaker 1: need to sign.

718
00:35:59,000 --> 00:35:59,399
Speaker 3: And so.

719
00:36:01,000 --> 00:36:03,480
Speaker 1: He let me sign her. And he's like, oh, let's

720
00:36:03,520 --> 00:36:05,560
Speaker 1: go ahead and do it. If you caring, you know

721
00:36:05,640 --> 00:36:07,279
Speaker 1: about it, you're that passionate about it, go ahead and

722
00:36:07,280 --> 00:36:09,320
Speaker 1: sign her. I said, bet. You said she got to

723
00:36:09,320 --> 00:36:10,680
Speaker 1: go to fight in New York to go see Bartles

724
00:36:10,719 --> 00:36:12,399
Speaker 1: and all that stuff. I was like, cool, my first

725
00:36:12,440 --> 00:36:14,120
Speaker 1: damn job. I said, okay, cool, I said this. I

726
00:36:14,200 --> 00:36:15,640
Speaker 1: know this is gonna sound crazy, but I said, man,

727
00:36:15,880 --> 00:36:18,719
Speaker 1: it was her and her mom and I said, let

728
00:36:18,719 --> 00:36:21,600
Speaker 1: me let me sign y'all over here. Yeah, And they

729
00:36:21,600 --> 00:36:23,640
Speaker 1: were like all right, cool. So we ended up signing her.

730
00:36:24,239 --> 00:36:27,560
Speaker 1: And that's how I learned to create and curate an

731
00:36:27,600 --> 00:36:31,160
Speaker 1: album truly working on that project, you know what I mean,

732
00:36:31,239 --> 00:36:34,400
Speaker 1: that was the first project I really felt like, you know,

733
00:36:34,640 --> 00:36:41,920
Speaker 1: I everything that I learned writing songs, signing writers, everything

734
00:36:42,120 --> 00:36:45,560
Speaker 1: I was able to pour into that from I mean,

735
00:36:46,560 --> 00:36:48,840
Speaker 1: I picked. You know, I picked the writers. I picked

736
00:36:48,960 --> 00:36:52,600
Speaker 1: shout out to open pop m M. I picked the manager.

737
00:36:52,640 --> 00:36:57,279
Speaker 1: When the album was finished, mastered, it mixed it, you

738
00:36:57,320 --> 00:36:59,279
Speaker 1: know everything. You know what I'm saying, it's that that

739
00:36:59,360 --> 00:37:04,080
Speaker 1: whole project and went on to have you know, four

740
00:37:04,160 --> 00:37:08,319
Speaker 1: number ones. I mean just for twelve billion streams. It's

741
00:37:08,360 --> 00:37:12,400
Speaker 1: just twelve billion Best New Artists, Best New Artist Grammy.

742
00:37:13,080 --> 00:37:16,200
Speaker 1: You know we you know we had number one Dance

743
00:37:16,280 --> 00:37:19,279
Speaker 1: with the Pop for Z and Stay Logic one eight

744
00:37:19,400 --> 00:37:24,000
Speaker 1: hundred here Scars to your Beautiful Mawana which had a

745
00:37:24,000 --> 00:37:27,239
Speaker 1: billion streams. You know we did the thing on that. Yeah,

746
00:37:26,760 --> 00:37:28,799
Speaker 1: that was it. That was a big one for me.

747
00:37:29,200 --> 00:37:30,919
Speaker 2: Like you said, your new first day on the job

748
00:37:31,560 --> 00:37:33,839
Speaker 2: and you go in and you say, hey, I want

749
00:37:33,880 --> 00:37:34,520
Speaker 2: to sign.

750
00:37:34,560 --> 00:37:38,160
Speaker 1: Yes, yeah, where's that trust coming from from?

751
00:37:38,280 --> 00:37:39,239
Speaker 3: From the higher.

752
00:37:39,080 --> 00:37:41,680
Speaker 1: Ups who are like you know what I say this,

753
00:37:41,920 --> 00:37:43,560
Speaker 1: It's like one of the things I've learned in this

754
00:37:43,600 --> 00:37:45,279
Speaker 1: game is like you got to work with people. You

755
00:37:45,280 --> 00:37:47,759
Speaker 1: gotta work with your friends. It's not the company you

756
00:37:47,800 --> 00:37:50,720
Speaker 1: gotta work with. You work with people. And the reason

757
00:37:50,719 --> 00:37:52,040
Speaker 1: why I was able to do this because I worked

758
00:37:52,040 --> 00:37:54,920
Speaker 1: with Diana. What I'm saying, who's my brother so working

759
00:37:54,920 --> 00:37:56,880
Speaker 1: with no idea with that's where the trust come. You

760
00:37:56,920 --> 00:37:59,000
Speaker 1: know what I'm saying. He let me, he said, go rock,

761
00:37:59,120 --> 00:38:01,200
Speaker 1: go do your thing. And you know it's funny because

762
00:38:01,200 --> 00:38:03,319
Speaker 1: he never bothered me. I was making a record maybe

763
00:38:03,480 --> 00:38:05,400
Speaker 1: eight months, just doing a thing, and I remember he

764
00:38:05,440 --> 00:38:06,719
Speaker 1: came in my office one day he said, where's that

765
00:38:06,760 --> 00:38:10,480
Speaker 1: girl you saw? And I said, I'm mixing at Maxinon

766
00:38:10,560 --> 00:38:13,120
Speaker 1: and I need that ship tomorrow. And we literally said, yah,

767
00:38:13,120 --> 00:38:15,720
Speaker 1: I need it. We got to put it out, and

768
00:38:15,760 --> 00:38:17,560
Speaker 1: we came up with a plan. We put it out

769
00:38:17,760 --> 00:38:20,879
Speaker 1: and we dropped here and it's funny because people didn't

770
00:38:20,880 --> 00:38:25,680
Speaker 1: know that she was white. And our first placement, Rodney Sheeley.

771
00:38:26,040 --> 00:38:29,280
Speaker 1: Our first play was that skip cheating.

772
00:38:29,920 --> 00:38:30,840
Speaker 3: Oh my god.

773
00:38:31,000 --> 00:38:33,200
Speaker 1: Yeah, And so that was the first and I remember

774
00:38:33,239 --> 00:38:36,400
Speaker 1: they called me that this record is happening, and they

775
00:38:36,400 --> 00:38:38,160
Speaker 1: were like and it was like in Dallas or something

776
00:38:38,160 --> 00:38:40,319
Speaker 1: like that. Dallas. It was like they got spins and

777
00:38:40,320 --> 00:38:42,080
Speaker 1: it was just blowing up in Dallas. And I was like, damn,

778
00:38:42,080 --> 00:38:45,279
Speaker 1: that's crazy. You know what I'm saying. It was the

779
00:38:45,320 --> 00:38:47,719
Speaker 1: record took off from there and then you know, they

780
00:38:47,760 --> 00:38:49,360
Speaker 1: were like, well, you know, where's the black girl that

781
00:38:49,400 --> 00:38:50,839
Speaker 1: we want to do some things with her, blah blah

782
00:38:50,880 --> 00:38:55,719
Speaker 1: blah blah. I was like, hold on, there's this thing

783
00:38:55,719 --> 00:38:59,839
Speaker 1: we might want to tell you. Here's the thing, here's

784
00:38:59,880 --> 00:39:05,400
Speaker 1: the thinking. She's a white girl from Toronto. Yeah, yeah, yeah,

785
00:39:05,440 --> 00:39:09,040
Speaker 1: and uh yeah man, and so we uh number one

786
00:39:09,080 --> 00:39:11,560
Speaker 1: R and B record by the way, Wow, Yeah, ain't

787
00:39:11,600 --> 00:39:15,680
Speaker 1: that crazy? It was the top Army radio record. Rodney

788
00:39:15,719 --> 00:39:18,120
Speaker 1: wrote that record, and then from that it went on

789
00:39:18,200 --> 00:39:21,600
Speaker 1: to go become pop record. You know what I'm saying.

790
00:39:21,600 --> 00:39:23,319
Speaker 1: It was just yeah, it was all genres, man, and

791
00:39:23,320 --> 00:39:24,840
Speaker 1: then from then we was off to the races.

792
00:39:25,400 --> 00:39:39,920
Speaker 3: Yeah, that's.

793
00:39:35,920 --> 00:39:36,000
Speaker 2: So.

794
00:39:36,280 --> 00:39:39,640
Speaker 1: Was your intention to make an R and B album

795
00:39:39,640 --> 00:39:42,000
Speaker 1: with her in the beginning, No, man, it was it

796
00:39:42,040 --> 00:39:47,960
Speaker 1: was my intention to Sebastian cole charm Yeah man, incredible, man,

797
00:39:48,040 --> 00:39:52,399
Speaker 1: incredible that boy that boy tapped in yeah to who

798
00:39:52,480 --> 00:39:56,680
Speaker 1: she was. And for me, you know, I've always an

799
00:39:56,800 --> 00:39:59,960
Speaker 1: R from a genre list perspective, and I take that

800
00:40:00,120 --> 00:40:02,640
Speaker 1: probably to we grew up in the Bay, and if

801
00:40:02,680 --> 00:40:04,719
Speaker 1: you grew up in the Bay, it's a melting pop.

802
00:40:05,080 --> 00:40:07,840
Speaker 1: I mean, we listened to everything from we listen to

803
00:40:07,840 --> 00:40:10,320
Speaker 1: the news, the Journey to Frankie Beverley. We listened to everything.

804
00:40:10,600 --> 00:40:12,719
Speaker 1: And that's the beautiful thing about being in a bay

805
00:40:12,719 --> 00:40:15,400
Speaker 1: We listened to confunction. We listen to everything, and so

806
00:40:15,440 --> 00:40:17,640
Speaker 1: I an r from that perspective, you know what I'm saying.

807
00:40:17,680 --> 00:40:20,000
Speaker 1: So it's like, it's just about the songs, right, and

808
00:40:20,040 --> 00:40:24,840
Speaker 1: so you know, we made great songs, and so it

809
00:40:24,920 --> 00:40:27,719
Speaker 1: was never about trying to go to a specific genre,

810
00:40:27,760 --> 00:40:30,720
Speaker 1: which I think is which is why she had pop hits,

811
00:40:31,719 --> 00:40:33,720
Speaker 1: number one pop songs and number one R and B songs,

812
00:40:34,280 --> 00:40:36,440
Speaker 1: you know what I'm saying, because we just we approached

813
00:40:36,440 --> 00:40:38,880
Speaker 1: it from let's just make the best records.

814
00:40:38,920 --> 00:40:43,640
Speaker 5: The difficult side of that though, with when you have

815
00:40:44,239 --> 00:40:46,080
Speaker 5: you know, these big pop artists.

816
00:40:46,800 --> 00:40:51,480
Speaker 1: As a black executive, you touching on some things, you know,

817
00:40:51,760 --> 00:40:52,320
Speaker 1: you touch.

818
00:40:52,160 --> 00:40:56,400
Speaker 5: It on because we know that it's just not a normalcy.

819
00:40:56,760 --> 00:40:59,719
Speaker 1: No, it wasn't. And I think the other thing about

820
00:40:59,760 --> 00:41:02,760
Speaker 1: it was we were at death Jam, which is historic,

821
00:41:02,760 --> 00:41:07,600
Speaker 1: which was a lack urban black label, and you know,

822
00:41:07,960 --> 00:41:11,319
Speaker 1: luckily we had there were some justin Bieber's of the

823
00:41:11,360 --> 00:41:12,120
Speaker 1: world that were there.

824
00:41:12,760 --> 00:41:15,239
Speaker 5: But for us, it was also worked that we you know,

825
00:41:15,640 --> 00:41:18,680
Speaker 5: you know, we start because we're gonna pour this champagne.

826
00:41:18,920 --> 00:41:21,440
Speaker 1: I appreciate that let's get to it. But it was.

827
00:41:21,480 --> 00:41:23,440
Speaker 1: It was a situation for me. It was like I

828
00:41:23,440 --> 00:41:25,560
Speaker 1: think as a black executive, because no one was paying

829
00:41:25,600 --> 00:41:27,400
Speaker 1: attention to the girl I signed. The deal was for

830
00:41:27,440 --> 00:41:30,520
Speaker 1: five hundred and seventy thousand dollars. We made her advance.

831
00:41:31,040 --> 00:41:33,560
Speaker 1: I made a nob for five hundred and seventy thousand dollars.

832
00:41:33,920 --> 00:41:36,000
Speaker 1: No one expected it to go. For her to go

833
00:41:36,040 --> 00:41:41,719
Speaker 1: on tour hundred city tour cold Play, shit open up

834
00:41:41,719 --> 00:41:44,400
Speaker 1: for cold Play. No one expected her to do Saturday

835
00:41:44,440 --> 00:41:47,080
Speaker 1: Our Live. Yeah, we was all over the world, man,

836
00:41:47,120 --> 00:41:49,759
Speaker 1: we was. We was everywhere. No one expected us to

837
00:41:50,239 --> 00:41:52,799
Speaker 1: for her to do shows with tail Us with no

838
00:41:52,840 --> 00:41:54,480
Speaker 1: one expected her. You know, we just showed tail Us

839
00:41:54,480 --> 00:41:57,800
Speaker 1: when we've been John Mayor. It wasn't it turned into

840
00:41:58,400 --> 00:42:00,239
Speaker 1: a pop thing, you know what I'm saying, And to

841
00:42:00,239 --> 00:42:02,279
Speaker 1: do Saturday Our Live and all those things. But when

842
00:42:02,320 --> 00:42:04,799
Speaker 1: you again, when we make records, you're just making the

843
00:42:04,840 --> 00:42:07,520
Speaker 1: best songs you possibly can make. And that's kind of

844
00:42:07,560 --> 00:42:09,239
Speaker 1: how I was raised in this game.

845
00:42:09,280 --> 00:42:09,400
Speaker 2: Man.

846
00:42:09,440 --> 00:42:11,680
Speaker 1: You know, you just gonna make the best songs that

847
00:42:11,680 --> 00:42:14,560
Speaker 1: you could possibly make. Genrealists, you know what I'm saying.

848
00:42:14,600 --> 00:42:17,120
Speaker 1: And where they land and where how they arrived. It's

849
00:42:17,160 --> 00:42:21,200
Speaker 1: what it was. But as a black executive, to your point,

850
00:42:21,440 --> 00:42:24,720
Speaker 1: I think at some point, you know, when she became

851
00:42:24,800 --> 00:42:29,200
Speaker 1: a global priority. You know, it's like, what do they say,

852
00:42:29,239 --> 00:42:32,520
Speaker 1: success has a lot of fathers and failures, an orphan,

853
00:42:33,400 --> 00:42:36,200
Speaker 1: you know. I think when when success came, you know,

854
00:42:36,239 --> 00:42:38,000
Speaker 1: there was a lot of people that weren't there in

855
00:42:38,040 --> 00:42:41,440
Speaker 1: the beginning. And they weren't there when it was just me,

856
00:42:42,080 --> 00:42:47,200
Speaker 1: Oak Pop, Sebastian and Alessia sitting in Glenwood making the album.

857
00:42:47,440 --> 00:42:50,320
Speaker 1: You know what I'm saying, And it was just nobody's

858
00:42:50,320 --> 00:42:53,360
Speaker 1: paying attention to us, right, and then come out in

859
00:42:53,440 --> 00:42:56,719
Speaker 1: two that's when everybody's paying Yeah, that's when that's when

860
00:42:56,760 --> 00:42:57,279
Speaker 1: things change.

861
00:42:57,280 --> 00:42:58,959
Speaker 3: Everybody's involved, I think.

862
00:43:00,560 --> 00:43:04,480
Speaker 1: Yeah, And that's when that's when I and after winning

863
00:43:04,520 --> 00:43:08,279
Speaker 1: the Grammy, that's when I was off the project. I'm

864
00:43:08,320 --> 00:43:11,680
Speaker 1: no longer yet and no longer at de jail.

865
00:43:11,760 --> 00:43:13,640
Speaker 3: Yeah, how was that even possible?

866
00:43:13,719 --> 00:43:17,960
Speaker 1: Well, I didn't let me go, so you'd have to

867
00:43:18,000 --> 00:43:22,200
Speaker 1: ask the people that that that that made that decision happened.

868
00:43:22,960 --> 00:43:26,280
Speaker 1: So you know what, No, No, I remember, I remember

869
00:43:26,320 --> 00:43:28,360
Speaker 1: somebody called me and said to me, he said to me,

870
00:43:28,400 --> 00:43:30,640
Speaker 1: after that happened, that day, you realize what happened to

871
00:43:30,640 --> 00:43:32,600
Speaker 1: you has never happened before in the history of the

872
00:43:32,600 --> 00:43:34,920
Speaker 1: record business. And I was like, God, damn you right,

873
00:43:35,200 --> 00:43:38,600
Speaker 1: And I was like, but what happened was and I've

874
00:43:38,600 --> 00:43:40,600
Speaker 1: never talked about this, so I guess we'll touch on it.

875
00:43:41,719 --> 00:43:44,839
Speaker 1: What happened was it was time for album too, right,

876
00:43:45,160 --> 00:43:49,359
Speaker 1: and she wanted to write her album. And I believe

877
00:43:49,400 --> 00:43:52,440
Speaker 1: she earned the right to go take your swings.

878
00:43:52,480 --> 00:43:52,799
Speaker 3: You did it.

879
00:43:52,880 --> 00:43:55,239
Speaker 1: You you you put in two years, you grind it,

880
00:43:56,320 --> 00:44:00,160
Speaker 1: you have you're older now, you know, you're dating. We've

881
00:44:00,160 --> 00:44:04,240
Speaker 1: got stories, You've seen the world three times over. Go

882
00:44:04,239 --> 00:44:10,080
Speaker 1: go right. And when she came back, I remember it

883
00:44:10,120 --> 00:44:12,400
Speaker 1: was like about six seven months later. You know, we

884
00:44:12,440 --> 00:44:14,840
Speaker 1: had rented out Jungle, you know, in New York studio.

885
00:44:14,920 --> 00:44:16,200
Speaker 1: Was like, you know, that was gonna be our listening things.

886
00:44:16,280 --> 00:44:16,840
Speaker 3: We got we got the.

887
00:44:16,800 --> 00:44:20,680
Speaker 1: Studio and I remember I had pulled up. I said,

888
00:44:20,840 --> 00:44:22,120
Speaker 1: I'll never forget this. I had pulled up to the

889
00:44:22,120 --> 00:44:27,120
Speaker 1: studio that day and on Z one hundred, biggest station

890
00:44:27,200 --> 00:44:28,799
Speaker 1: in the country, I said, her records. I said, your

891
00:44:28,840 --> 00:44:29,480
Speaker 1: record is playing.

892
00:44:29,600 --> 00:44:29,799
Speaker 3: You know.

893
00:44:30,000 --> 00:44:31,600
Speaker 1: Literally when I got out the studio, I mean I

894
00:44:31,600 --> 00:44:33,800
Speaker 1: got out of the car her records on the radio.

895
00:44:35,200 --> 00:44:38,239
Speaker 1: Five PM Drivetime pulled up the studio, biggest station in

896
00:44:38,239 --> 00:44:40,759
Speaker 1: the world, in the country, your record's still planning from

897
00:44:40,760 --> 00:44:46,719
Speaker 1: the previous album. That that for me, that album two

898
00:44:46,880 --> 00:44:51,160
Speaker 1: has to elevate, right. And it's funny because I think

899
00:44:51,160 --> 00:44:52,800
Speaker 1: about it like this, I'm gonna come back around. I

900
00:44:52,840 --> 00:44:54,600
Speaker 1: probably go sound well, it won't be long winded. But

901
00:44:55,360 --> 00:44:58,160
Speaker 1: Tricky and I found this artist in Blue Cantrail. We

902
00:44:58,239 --> 00:45:00,520
Speaker 1: signed her. We had a big success first first album

903
00:45:01,280 --> 00:45:04,919
Speaker 1: and album two. We got stupid we we we went

904
00:45:04,960 --> 00:45:07,760
Speaker 1: and we started renting cars, you know. Trick got Ferrari

905
00:45:07,920 --> 00:45:09,960
Speaker 1: and I got the new Bends, I mean, the new

906
00:45:10,480 --> 00:45:13,160
Speaker 1: big body of BMW. And we went down to Miami.

907
00:45:13,200 --> 00:45:15,160
Speaker 1: We got Circle House. We you know, we rented out

908
00:45:15,200 --> 00:45:17,600
Speaker 1: the whole Circle House, shot out bb in Circle House.

909
00:45:17,640 --> 00:45:20,680
Speaker 1: We just we was wild. We had rooms. We had

910
00:45:20,800 --> 00:45:23,440
Speaker 1: rooms in New York, we had rooms in LA We

911
00:45:23,480 --> 00:45:25,640
Speaker 1: had room We had all the Circle House. We were

912
00:45:26,440 --> 00:45:28,239
Speaker 1: We did all the things. Cars was being ship I

913
00:45:28,239 --> 00:45:31,719
Speaker 1: remember when when there was trailers of cars being shipped. Yeah, yeah,

914
00:45:31,760 --> 00:45:35,600
Speaker 1: we cars is coming off right outside. Yeah we yeah,

915
00:45:35,640 --> 00:45:40,120
Speaker 1: we we we was. We had chefs, we had homes,

916
00:45:40,160 --> 00:45:44,120
Speaker 1: we were in Miami. We were and I remember La

917
00:45:44,200 --> 00:45:45,719
Speaker 1: Reid said to us one day, he said to us,

918
00:45:45,760 --> 00:45:48,960
Speaker 1: and I'll never get to this, said, what are y'all doing?

919
00:45:50,040 --> 00:45:54,080
Speaker 1: And he said, go back to the same studio that

920
00:45:54,120 --> 00:45:57,280
Speaker 1: she went to on the first album, wear the same clothes,

921
00:45:57,760 --> 00:46:01,200
Speaker 1: eat the same food. Now he meant that metaphorically. What

922
00:46:01,239 --> 00:46:04,480
Speaker 1: he was saying is it wasn't broke, so what are

923
00:46:04,520 --> 00:46:11,440
Speaker 1: you doing? And he was right and knowing that after

924
00:46:11,480 --> 00:46:14,400
Speaker 1: she did that, I come back to Alessia. I was like,

925
00:46:15,160 --> 00:46:20,279
Speaker 1: it wasn't broke. Let's go back to Oak, to Pop

926
00:46:21,120 --> 00:46:25,880
Speaker 1: to Sebastian and let's continue this. Let's put we had

927
00:46:25,880 --> 00:46:27,799
Speaker 1: our foot on their neck, Let's go put let's go

928
00:46:27,840 --> 00:46:29,759
Speaker 1: put our foot on their neck. You know what I'm saying,

929
00:46:29,840 --> 00:46:32,440
Speaker 1: like we we are, we are killing right now. And

930
00:46:32,800 --> 00:46:36,160
Speaker 1: I think what ended up happening is is, you know,

931
00:46:36,320 --> 00:46:41,680
Speaker 1: again things elevated. There are a lot more people around,

932
00:46:41,719 --> 00:46:44,239
Speaker 1: and we didn't go back to what was what it was.

933
00:46:44,320 --> 00:46:48,080
Speaker 1: So then I as the A and R at the time,

934
00:46:48,120 --> 00:46:51,360
Speaker 1: I said there, you know, it became known that the

935
00:46:51,400 --> 00:46:56,959
Speaker 1: A n R didn't like the new music and opened

936
00:46:57,160 --> 00:47:00,560
Speaker 1: the door, and then there was it was never forget

937
00:47:01,320 --> 00:47:05,480
Speaker 1: because my contract was up too, and my contract was up.

938
00:47:07,160 --> 00:47:11,759
Speaker 1: We won the Grammy twenty eighteen in February, and my

939
00:47:11,800 --> 00:47:15,120
Speaker 1: contract was up like a week after, like a week later,

940
00:47:15,680 --> 00:47:17,400
Speaker 1: and so I'm thinking like, okay, it's up.

941
00:47:17,440 --> 00:47:17,600
Speaker 3: Oh.

942
00:47:17,640 --> 00:47:20,400
Speaker 1: I'm like, okay, cool, I'm about to free ag No, no, no,

943
00:47:20,440 --> 00:47:23,400
Speaker 1: I'm about to I'm about to re up. Yeah. I

944
00:47:23,400 --> 00:47:25,120
Speaker 1: think of the extension because I remember they had just

945
00:47:25,800 --> 00:47:28,600
Speaker 1: my man no oppressed to shout out no oppressing an amazing,

946
00:47:28,880 --> 00:47:32,600
Speaker 1: amazing love Noah. Noah just got quote unquote an an

947
00:47:32,680 --> 00:47:34,480
Speaker 1: ore Maxie. They just maxed out. No. I was like,

948
00:47:35,640 --> 00:47:38,719
Speaker 1: I was like, oh no, we're just getting maxed out.

949
00:47:38,760 --> 00:47:40,480
Speaker 1: I was like, okay, I remember walking into the office.

950
00:47:40,480 --> 00:47:42,560
Speaker 1: I'll never forget this. I walked to the office and

951
00:47:42,680 --> 00:47:44,080
Speaker 1: they said I got a call.

952
00:47:45,200 --> 00:47:45,759
Speaker 3: I swear to got.

953
00:47:45,760 --> 00:47:46,840
Speaker 1: I think I walked to that because there was a

954
00:47:46,880 --> 00:47:48,759
Speaker 1: new Bottles was going there was a new guy in there,

955
00:47:49,160 --> 00:47:50,560
Speaker 1: and I mean I think I probably walked into the

956
00:47:50,560 --> 00:47:51,920
Speaker 1: office like okay, cool. You know, I think I was

957
00:47:51,960 --> 00:47:55,200
Speaker 1: rubbing my hands. I was like okay, I said, okay,

958
00:47:55,440 --> 00:47:58,279
Speaker 1: it's time. It's time for that deal. I was like, okay, cool,

959
00:47:58,320 --> 00:47:59,960
Speaker 1: where that money I played? I was like here we go,

960
00:48:00,160 --> 00:48:01,880
Speaker 1: my deal, and you couldn't have tied this out of

961
00:48:01,920 --> 00:48:03,879
Speaker 1: any better. I was like, I just averaged twenty and ten.

962
00:48:04,040 --> 00:48:07,360
Speaker 1: You know what, you know what I'm saying, Let's go, baby,

963
00:48:07,440 --> 00:48:10,600
Speaker 1: Let's go, and then I'll never forget he said to me.

964
00:48:10,680 --> 00:48:14,400
Speaker 1: He said, uh, he said, man, you know this is

965
00:48:14,440 --> 00:48:17,440
Speaker 1: the hardest part of my new job. Thinking myself, what

966
00:48:17,440 --> 00:48:20,719
Speaker 1: what's hard about cutting the check? I was like, he said, man,

967
00:48:20,719 --> 00:48:24,280
Speaker 1: but we gotta let you go. And I was like, oh,

968
00:48:25,200 --> 00:48:31,680
Speaker 1: like how I just I just y'all y'all to see

969
00:48:31,680 --> 00:48:34,799
Speaker 1: that that and the winner is and then get y'all

970
00:48:34,840 --> 00:48:39,439
Speaker 1: to hear that why I'm leaving. I was like, wait

971
00:48:39,440 --> 00:48:41,799
Speaker 1: a minute, and this is two weeks a week after

972
00:48:41,840 --> 00:48:44,160
Speaker 1: the week after granted, man, and I had just come

973
00:48:44,200 --> 00:48:45,759
Speaker 1: off with you, and we had just just an r

974
00:48:46,080 --> 00:48:48,719
Speaker 1: Jesu's album, the number one album jeszuz just beat like

975
00:48:48,760 --> 00:48:51,200
Speaker 1: Kenny Chesney. So I had a number one j Z album,

976
00:48:51,520 --> 00:48:53,759
Speaker 1: I had a number one saw twenty bracts as long

977
00:48:53,800 --> 00:48:56,240
Speaker 1: as I live, and I just had a Celestian project.

978
00:48:56,280 --> 00:49:00,239
Speaker 1: And I'm like, im so, how y'all me I swear

979
00:49:00,280 --> 00:49:02,480
Speaker 1: of guy the moment he said, and we gotta let

980
00:49:02,480 --> 00:49:04,040
Speaker 1: you go. I didn't hear nothing else. I don't think

981
00:49:04,040 --> 00:49:05,960
Speaker 1: I heard nothing else In like two weeks, I didn't

982
00:49:05,960 --> 00:49:08,760
Speaker 1: hear I was in a funk. I was like wow.

983
00:49:09,200 --> 00:49:11,799
Speaker 1: I was like, you do everything right, and I was like,

984
00:49:12,239 --> 00:49:16,359
Speaker 1: how y'all let me go. But again it came back

985
00:49:16,360 --> 00:49:21,839
Speaker 1: to I think me saying initially that the music that

986
00:49:23,200 --> 00:49:24,920
Speaker 1: she had started working on the second project, I just

987
00:49:25,040 --> 00:49:26,880
Speaker 1: I felt like we had we could go better. And

988
00:49:26,920 --> 00:49:29,319
Speaker 1: so but then you listen to the artist, you're about

989
00:49:29,360 --> 00:49:31,880
Speaker 1: to rock the boat. Yeah, you know. Unfortunately it was

990
00:49:32,400 --> 00:49:35,680
Speaker 1: unless he's an amazing artist man, that I just believe

991
00:49:35,800 --> 00:49:38,720
Speaker 1: that I thought we could do take it to another level.

992
00:49:38,880 --> 00:49:42,920
Speaker 5: You mentioned something, you said you couldn't hear nothing for

993
00:49:42,960 --> 00:49:46,359
Speaker 5: two weeks. No, after that, I hear right, because you know,

994
00:49:46,680 --> 00:49:51,560
Speaker 5: we don't have a lot of executives, especially current executives

995
00:49:51,600 --> 00:49:55,759
Speaker 5: come on the show, and I like to know that

996
00:49:55,880 --> 00:49:57,960
Speaker 5: feeling right because people are just.

997
00:49:57,920 --> 00:49:58,359
Speaker 1: Like, oh yeah.

998
00:49:58,400 --> 00:49:59,680
Speaker 5: And then I went to this company, and then I

999
00:49:59,760 --> 00:50:03,640
Speaker 5: wasn't what you know, because we talked to the artists,

1000
00:50:04,160 --> 00:50:07,600
Speaker 5: and the artists obviously tell how it feels to get

1001
00:50:07,680 --> 00:50:10,439
Speaker 5: dropped to this have to bounce back.

1002
00:50:10,880 --> 00:50:13,480
Speaker 1: But there's a thing in this industry too.

1003
00:50:13,520 --> 00:50:16,000
Speaker 5: I was talking to you know, another one of our counterparts,

1004
00:50:16,400 --> 00:50:18,000
Speaker 5: and he was saying like, yeah, when you know, when

1005
00:50:18,000 --> 00:50:21,920
Speaker 5: I got fired from such and such, certain niggas wouldn't

1006
00:50:21,960 --> 00:50:24,800
Speaker 5: call me back. Who had I had just done?

1007
00:50:24,960 --> 00:50:27,960
Speaker 1: It was for yeah, yeah, I'll never forget. There was

1008
00:50:27,960 --> 00:50:30,040
Speaker 1: a few people that reached out. Barry whis had called

1009
00:50:30,040 --> 00:50:32,279
Speaker 1: me in and gave me some words of encouragement, a

1010
00:50:32,280 --> 00:50:34,719
Speaker 1: man Josh from Posts, and my brother Walter Jones. I

1011
00:50:34,760 --> 00:50:36,560
Speaker 1: remember those calls. I mean, there was a few people

1012
00:50:36,600 --> 00:50:39,400
Speaker 1: called me, but those specifically those stuck out to me,

1013
00:50:39,719 --> 00:50:42,040
Speaker 1: stot out to me. I literally was like it was

1014
00:50:42,160 --> 00:50:44,560
Speaker 1: it was like what maybe I think the next time

1015
00:50:44,600 --> 00:50:47,200
Speaker 1: I really woke up, because that was February was eight

1016
00:50:47,239 --> 00:50:48,680
Speaker 1: and April I went to Coachella for some reason, I

1017
00:50:48,719 --> 00:50:50,040
Speaker 1: think I don't know that year and I was just

1018
00:50:50,120 --> 00:50:52,680
Speaker 1: kind of like then I stood away from the business

1019
00:50:52,680 --> 00:50:54,759
Speaker 1: for a little while, and then I was like, okay, cool,

1020
00:50:54,800 --> 00:50:56,120
Speaker 1: let me let me just get back out here and

1021
00:50:56,160 --> 00:50:57,680
Speaker 1: just kind of see what it was. But I ended

1022
00:50:57,800 --> 00:51:01,080
Speaker 1: up taking a couple of years off. I found Queen Nija.

1023
00:51:01,320 --> 00:51:03,440
Speaker 1: Somebody brought me Queen Naje. I got Queen Nija signed.

1024
00:51:03,800 --> 00:51:05,960
Speaker 5: I remember you introduced me to her. We're at a restaurant.

1025
00:51:06,000 --> 00:51:09,000
Speaker 5: I want to say. It was like me and you,

1026
00:51:09,040 --> 00:51:12,480
Speaker 5: no id, we were at some kind of dinner, I

1027
00:51:12,520 --> 00:51:16,600
Speaker 5: don't know what it was. And you were like, she's it. Yeah,

1028
00:51:17,160 --> 00:51:19,480
Speaker 5: the girlfriend the internet. Yeah, and I've seen a couple

1029
00:51:19,480 --> 00:51:20,279
Speaker 5: of clips.

1030
00:51:19,960 --> 00:51:20,920
Speaker 1: And it's like she could sing.

1031
00:51:21,000 --> 00:51:23,520
Speaker 5: No, yeah, You're like, nah, Jay, I'm telling you, she

1032
00:51:24,040 --> 00:51:26,480
Speaker 5: she got it. She can write, she can sing, like

1033
00:51:26,520 --> 00:51:28,799
Speaker 5: she got a story. You give me the whole.

1034
00:51:29,719 --> 00:51:33,160
Speaker 1: I'm like, well, if you said, yeah, so I was

1035
00:51:33,200 --> 00:51:35,040
Speaker 1: moving you and you weren't at it. You didn't have

1036
00:51:35,239 --> 00:51:37,839
Speaker 1: a gig at that point. No, absolutely not. I was unemployed.

1037
00:51:38,239 --> 00:51:40,799
Speaker 1: I was I was moving Queen around and then big

1038
00:51:40,840 --> 00:51:43,239
Speaker 1: bidding war for Queen and then obviously I took it

1039
00:51:43,239 --> 00:51:45,879
Speaker 1: to my brother now Idea Capital, and damn that did

1040
00:51:46,000 --> 00:51:48,719
Speaker 1: deal over there, you know that. But for the most part, Dog,

1041
00:51:48,760 --> 00:51:50,960
Speaker 1: I just took time off and I just was like,

1042
00:51:51,320 --> 00:51:53,120
Speaker 1: I didn't want to be at a gig again. You

1043
00:51:53,160 --> 00:51:54,200
Speaker 1: know what I'm saying. I was like, cause that was

1044
00:51:54,239 --> 00:51:56,680
Speaker 1: such a weird kind of thing for me. Man, that

1045
00:51:56,920 --> 00:51:58,560
Speaker 1: shook me to the core. I ain't gonna lie to you,

1046
00:51:58,640 --> 00:52:00,719
Speaker 1: because you know, when you go to work every day.

1047
00:52:00,719 --> 00:52:03,279
Speaker 1: You work for those moments, you know what I'm saying.

1048
00:52:03,360 --> 00:52:05,960
Speaker 5: Yeah, you work for success, right, and then you get them,

1049
00:52:05,960 --> 00:52:07,239
Speaker 5: and then you're not rewarded, and then.

1050
00:52:07,160 --> 00:52:09,279
Speaker 1: You get it and then that happens to you, you

1051
00:52:09,320 --> 00:52:12,360
Speaker 1: know what I'm saying. And it sort of, you know,

1052
00:52:12,520 --> 00:52:15,239
Speaker 1: shifted me a little bit. You know, that was a

1053
00:52:15,320 --> 00:52:17,520
Speaker 1: that was a rough period, and so I was like,

1054
00:52:17,520 --> 00:52:19,080
Speaker 1: all right, cool, I'm just gonna take some time off.

1055
00:52:19,320 --> 00:52:21,919
Speaker 1: Travel kicked. It just got away. A couple of people

1056
00:52:21,920 --> 00:52:23,080
Speaker 1: had called me and said did you want to do this?

1057
00:52:23,200 --> 00:52:24,400
Speaker 1: Come do that? But I was like, nah, I'm just

1058
00:52:24,480 --> 00:52:27,319
Speaker 1: not in the right headspace. And then I got a

1059
00:52:27,360 --> 00:52:31,080
Speaker 1: call from my brother, manty Olsen to come work at BMG.

1060
00:52:31,160 --> 00:52:33,280
Speaker 1: And again I go back to you don't work at companies,

1061
00:52:33,280 --> 00:52:35,480
Speaker 1: you work with people. And so I went to go

1062
00:52:35,520 --> 00:52:37,880
Speaker 1: work with somebody that I knew, you know what I'm saying,

1063
00:52:37,880 --> 00:52:40,640
Speaker 1: And I'm still here six seven years later at BMG.

1064
00:52:40,960 --> 00:52:41,520
Speaker 3: Yeah.

1065
00:52:41,600 --> 00:52:44,760
Speaker 1: Yeah, having a good time, and that's why we're at BMG.

1066
00:52:45,800 --> 00:52:49,520
Speaker 1: That's right, that's right, that's right, that's right. You called

1067
00:52:49,520 --> 00:52:50,640
Speaker 1: me one day. I called you up.

1068
00:52:50,719 --> 00:52:54,840
Speaker 5: Yeah, you said, hey man, And actually we were still

1069
00:52:55,120 --> 00:52:59,880
Speaker 5: at that time. I think it was before maybe at

1070
00:52:59,880 --> 00:53:02,840
Speaker 5: the tell end of the R and B Money album,

1071
00:53:03,560 --> 00:53:04,279
Speaker 5: and like.

1072
00:53:04,239 --> 00:53:07,440
Speaker 1: You know what you going to do? Yeah, I don't know.

1073
00:53:07,520 --> 00:53:12,080
Speaker 6: Yeah, let me ask you, right, And obviously you know

1074
00:53:12,360 --> 00:53:14,239
Speaker 6: it took it took a little while to just kind

1075
00:53:14,239 --> 00:53:16,920
Speaker 6: of figure it out obviously at the last place what

1076
00:53:17,040 --> 00:53:18,320
Speaker 6: was going on there in the transition.

1077
00:53:19,000 --> 00:53:21,080
Speaker 5: But I just remember you just being like, hey, Bro,

1078
00:53:21,200 --> 00:53:23,719
Speaker 5: like you should think about BMG. You should talk to

1079
00:53:23,760 --> 00:53:26,280
Speaker 5: Bro and see what he thinks about BMG, because it's

1080
00:53:26,800 --> 00:53:29,880
Speaker 5: it's getting real over here. It's turning into something you

1081
00:53:29,920 --> 00:53:30,440
Speaker 5: know what I mean.

1082
00:53:30,640 --> 00:53:33,200
Speaker 1: And kudos y'all, because it's one thing to do business

1083
00:53:33,239 --> 00:53:35,160
Speaker 1: with your friends. It's another thing to your friends to

1084
00:53:35,239 --> 00:53:40,000
Speaker 1: make you look good. Number one record, magic, Yeah, come on,

1085
00:53:40,160 --> 00:53:43,000
Speaker 1: come on, control, Come on control. So you know what

1086
00:53:43,000 --> 00:53:49,120
Speaker 1: I'm saying. Your baby got some number one baby. You

1087
00:53:49,160 --> 00:53:49,720
Speaker 1: know what I'm saying.

1088
00:53:50,480 --> 00:53:51,880
Speaker 3: We got a monster coming.

1089
00:53:51,600 --> 00:53:54,160
Speaker 1: And you got some more records coming. I heard, I've heard,

1090
00:53:54,280 --> 00:53:57,560
Speaker 1: I've heard. So yeah. Man, it's it's those moments when

1091
00:53:57,560 --> 00:53:58,840
Speaker 1: you say, you know what, you can do business with

1092
00:53:58,880 --> 00:54:00,640
Speaker 1: your friends and yeah, you call, I mean we talked.

1093
00:54:00,680 --> 00:54:02,520
Speaker 1: I remember I was in New York. I remember that call.

1094
00:54:02,800 --> 00:54:04,880
Speaker 1: A conversation and I was like, yeah, man, like why not,

1095
00:54:05,120 --> 00:54:07,000
Speaker 1: Like you know, to be in business with y'all would

1096
00:54:07,040 --> 00:54:09,560
Speaker 1: be amazing. And it's funny because you don't remember because

1097
00:54:09,560 --> 00:54:12,600
Speaker 1: I worked at ATV and you gave me a dope

1098
00:54:12,640 --> 00:54:14,200
Speaker 1: compliment one time and I was, this is my early

1099
00:54:14,200 --> 00:54:17,520
Speaker 1: publishing day and I had just placed like two or

1100
00:54:17,520 --> 00:54:20,360
Speaker 1: three year old records in a day on other people,

1101
00:54:21,120 --> 00:54:22,520
Speaker 1: and you call me one day you said, man, you

1102
00:54:22,560 --> 00:54:23,719
Speaker 1: know what, man, he said, I don't even know why

1103
00:54:23,719 --> 00:54:25,359
Speaker 1: I need a manager. I said, if you're gonna hustle

1104
00:54:25,440 --> 00:54:26,719
Speaker 1: my records like that, you said, I don't even know

1105
00:54:26,719 --> 00:54:28,440
Speaker 1: I need a manager. And I said. It was on

1106
00:54:28,480 --> 00:54:30,319
Speaker 1: a Friday, And I remember that day leaving office. I

1107
00:54:30,320 --> 00:54:32,200
Speaker 1: was like, yeah, I placed I placed a bunch of

1108
00:54:32,239 --> 00:54:35,719
Speaker 1: tanks records. I was slanging records and I was like

1109
00:54:36,000 --> 00:54:38,799
Speaker 1: I was and I got taken about two or three

1110
00:54:38,800 --> 00:54:39,719
Speaker 1: records place of the day.

1111
00:54:39,760 --> 00:54:39,880
Speaker 2: Man.

1112
00:54:39,920 --> 00:54:40,160
Speaker 3: It was.

1113
00:54:40,239 --> 00:54:41,759
Speaker 1: It was a good feeling. I remember you seld me that.

1114
00:54:41,840 --> 00:54:44,520
Speaker 1: But again it goes back to just work with people

1115
00:54:44,520 --> 00:54:46,759
Speaker 1: you fuck with, you know what I'm saying. Yeah, So

1116
00:54:46,840 --> 00:54:48,880
Speaker 1: that's what it was, man. So it was it was

1117
00:54:49,160 --> 00:54:51,600
Speaker 1: to be in business with y'all. And watch what y'all

1118
00:54:51,640 --> 00:54:54,000
Speaker 1: was building. You know, at the time, I was like, yeah, man,

1119
00:54:54,000 --> 00:54:56,000
Speaker 1: why not? Why not be in business with them?

1120
00:54:56,360 --> 00:54:58,080
Speaker 2: You know what I'm saying is you make all these

1121
00:54:58,120 --> 00:55:02,000
Speaker 2: different leaps and bounds, like you know, then these pivots,

1122
00:55:02,719 --> 00:55:07,480
Speaker 2: lots of pivots, and and and going to high levels

1123
00:55:08,360 --> 00:55:09,360
Speaker 2: within these pivots.

1124
00:55:09,920 --> 00:55:10,919
Speaker 3: What's the driving force?

1125
00:55:11,040 --> 00:55:14,640
Speaker 2: Is it just truly just a love for just the

1126
00:55:14,760 --> 00:55:19,520
Speaker 2: music itself and and and because for me, I want

1127
00:55:19,560 --> 00:55:25,320
Speaker 2: to be involved in music in any way, in any capacity,

1128
00:55:26,000 --> 00:55:31,560
Speaker 2: like with no no ego of how much or how

1129
00:55:31,600 --> 00:55:35,800
Speaker 2: little I'm involved. You know, if I'm just playing the keyboard,

1130
00:55:36,920 --> 00:55:41,200
Speaker 2: I'm with it. If I'm just singing backgrounds, I'm with it.

1131
00:55:41,400 --> 00:55:46,120
Speaker 2: If I'm just giving advice, I'm with it. Just to

1132
00:55:46,239 --> 00:55:49,759
Speaker 2: be a part of the thing that I love. And

1133
00:55:49,880 --> 00:55:51,440
Speaker 2: I'm asking is that the same for you?

1134
00:55:52,040 --> 00:55:57,279
Speaker 1: It's it's multifaceted because it's I love like what we did.

1135
00:55:58,160 --> 00:56:00,799
Speaker 1: I love being able to do that come through for

1136
00:56:00,840 --> 00:56:06,160
Speaker 1: your people, deliver for your people. I love when I

1137
00:56:06,239 --> 00:56:09,120
Speaker 1: when I first listen to a record and it makes

1138
00:56:09,160 --> 00:56:11,480
Speaker 1: me feel because I still do it for that, you

1139
00:56:11,520 --> 00:56:13,359
Speaker 1: know what I'm saying, I still do it for a

1140
00:56:13,400 --> 00:56:15,400
Speaker 1: melody of verse and a hook. You know what I'm saying.

1141
00:56:15,880 --> 00:56:17,839
Speaker 1: I love going to see an artist performed that you

1142
00:56:17,880 --> 00:56:20,080
Speaker 1: sign live and you see them and you get to

1143
00:56:20,120 --> 00:56:23,319
Speaker 1: see it, and you watch the growth, and you watch

1144
00:56:23,400 --> 00:56:25,239
Speaker 1: people say okay, wow. You know what I'm saying. You

1145
00:56:25,239 --> 00:56:28,719
Speaker 1: watch the crowd go from you know, one thousand or

1146
00:56:28,719 --> 00:56:31,560
Speaker 1: two hundred people to in the cap room to stadium.

1147
00:56:31,920 --> 00:56:35,560
Speaker 1: You do it for that too, right, And I'm competitive, man,

1148
00:56:35,600 --> 00:56:37,759
Speaker 1: You know you still want to let me taste something

1149
00:56:37,840 --> 00:56:39,759
Speaker 1: when you when you when you taste that drink of

1150
00:56:39,800 --> 00:56:44,680
Speaker 1: a number one record, when you taste it, it's it's

1151
00:56:44,400 --> 00:56:47,440
Speaker 1: it's the best extra in Yahoe. You could have a hass,

1152
00:56:47,719 --> 00:56:51,680
Speaker 1: you know what I'm saying. It and you aug it's

1153
00:56:51,680 --> 00:56:54,120
Speaker 1: a drug and you chase it. You wake up every

1154
00:56:54,160 --> 00:56:56,719
Speaker 1: Monday and you get on them flights and you get

1155
00:56:56,719 --> 00:56:58,799
Speaker 1: on them planes and you pray. Man, it's just going

1156
00:56:58,880 --> 00:57:00,319
Speaker 1: to be turning into something. But that's what that's what

1157
00:57:00,400 --> 00:57:02,680
Speaker 1: keeps me going. Man. You want to you still want it,

1158
00:57:02,680 --> 00:57:04,319
Speaker 1: you know I still you know what I'm saying, You're

1159
00:57:04,360 --> 00:57:06,200
Speaker 1: still adding to the legacy of it, all right, you know,

1160
00:57:06,239 --> 00:57:07,880
Speaker 1: and I don't you don't think about legacy. But you

1161
00:57:07,920 --> 00:57:11,279
Speaker 1: think about just just building you know what I'm saying.

1162
00:57:11,280 --> 00:57:13,640
Speaker 1: It's like and it kind of goes back to what

1163
00:57:13,680 --> 00:57:15,719
Speaker 1: we're doing here in Atlanta with BMG. You know what

1164
00:57:15,719 --> 00:57:18,400
Speaker 1: I'm saying. It's like, I feel like this is another

1165
00:57:18,480 --> 00:57:21,160
Speaker 1: chapter in my life. You know, we're building something dope here,

1166
00:57:21,240 --> 00:57:25,880
Speaker 1: like you know, just Sign Tricky Sign Dream a few

1167
00:57:25,960 --> 00:57:27,840
Speaker 1: years ago, you know what I'm saying, And watching them

1168
00:57:27,840 --> 00:57:30,160
Speaker 1: get back together, it's like a beautiful thing.

1169
00:57:30,440 --> 00:57:31,080
Speaker 3: You know what I'm saying.

1170
00:57:31,240 --> 00:57:32,800
Speaker 1: I don't want to call it there together, but you

1171
00:57:32,840 --> 00:57:35,840
Speaker 1: know they're working right. So you know, Sign Tricky Signed

1172
00:57:35,920 --> 00:57:39,439
Speaker 1: Dream Sign, Brian Michael Cox, you know, sign a Little

1173
00:57:39,520 --> 00:57:43,560
Speaker 1: Ronnie Sign sign my young boy pop Lord was popping.

1174
00:57:44,240 --> 00:57:45,920
Speaker 1: And you know, I really feel like, you know, I

1175
00:57:45,960 --> 00:57:49,800
Speaker 1: just signed a deal to deal with a berry in

1176
00:57:49,880 --> 00:57:50,560
Speaker 1: since the eighties.

1177
00:57:50,600 --> 00:57:51,160
Speaker 3: You know what I'm saying.

1178
00:57:51,440 --> 00:57:53,320
Speaker 1: I feel like we're planning a flag here in Atlanta, right,

1179
00:57:53,360 --> 00:57:55,040
Speaker 1: So it's like that's another thing for me, Like you

1180
00:57:55,040 --> 00:57:55,560
Speaker 1: know what I'm saying.

1181
00:57:55,560 --> 00:57:57,400
Speaker 5: So it's like I feel like, and to be clear,

1182
00:57:57,960 --> 00:58:00,320
Speaker 5: now you're on the publishing side, Yes, I'm sorry, I'm

1183
00:58:00,360 --> 00:58:01,760
Speaker 5: on the publish you know, people like.

1184
00:58:01,760 --> 00:58:04,160
Speaker 1: So when is this Brian my cocks out. You're right,

1185
00:58:04,200 --> 00:58:08,600
Speaker 1: You're right that part yeah, BMG, music publishing, music publishing, yes,

1186
00:58:08,680 --> 00:58:12,240
Speaker 1: so yeah, just stay let me just kind of rock here.

1187
00:58:12,280 --> 00:58:14,040
Speaker 1: You know what I'm saying. Yeah, I came out here

1188
00:58:14,080 --> 00:58:15,760
Speaker 1: and just planning the flag in Atlanta and said that

1189
00:58:15,760 --> 00:58:18,080
Speaker 1: I want to build something here in Atlanta on behalf

1190
00:58:18,080 --> 00:58:19,920
Speaker 1: of the company. You to start putting that in the

1191
00:58:19,960 --> 00:58:22,440
Speaker 1: contracts too, You gott to move to Atlanta. Yeah, right.

1192
00:58:22,920 --> 00:58:24,439
Speaker 1: You know it's funny, man. I just told a writer

1193
00:58:24,520 --> 00:58:25,640
Speaker 1: that the other day. I was like, yeah, you know,

1194
00:58:25,680 --> 00:58:27,560
Speaker 1: I just signed a kid and you know, he was like,

1195
00:58:27,680 --> 00:58:29,360
Speaker 1: I'm gonna move to New York and moved to L's Like,

1196
00:58:29,360 --> 00:58:31,360
Speaker 1: why would you do that? And I said, your money

1197
00:58:31,440 --> 00:58:33,680
Speaker 1: is going to run out, I said, I said, come

1198
00:58:33,720 --> 00:58:37,040
Speaker 1: to Atlanta. I said, you know it's it's it's it'll

1199
00:58:37,120 --> 00:58:39,480
Speaker 1: last longer here. I said, you know what I'm saying,

1200
00:58:39,480 --> 00:58:42,640
Speaker 1: And I said, there's as many studios here, there's infrastructure here,

1201
00:58:42,680 --> 00:58:45,400
Speaker 1: there's people here. Yeah, get your hits off here. And

1202
00:58:45,440 --> 00:58:47,600
Speaker 1: by the way, you could weather the hard times here.

1203
00:58:48,040 --> 00:58:50,800
Speaker 1: Take from me, as a writer, I had some some

1204
00:58:50,920 --> 00:58:54,600
Speaker 1: down moments, but bro, it's just the music business. But

1205
00:58:54,920 --> 00:58:58,479
Speaker 1: as a writer, down moments in Atlanta way different. Don't

1206
00:58:58,560 --> 00:59:00,520
Speaker 1: hurt that they don't.

1207
00:59:02,160 --> 00:59:04,360
Speaker 2: The other day he's like, he say, man, in La

1208
00:59:05,120 --> 00:59:07,240
Speaker 2: broke us right around the corner, looking at.

1209
00:59:08,000 --> 00:59:12,600
Speaker 1: One thousand percent. I'm coming for you, Tricky said. Tricky

1210
00:59:12,600 --> 00:59:13,920
Speaker 1: has to stay. And he always says, he said, man,

1211
00:59:13,920 --> 00:59:15,600
Speaker 1: I made all my money in Atlanta, and I spent

1212
00:59:15,640 --> 00:59:18,280
Speaker 1: it all in l A. And you know what I'm saying,

1213
00:59:18,680 --> 00:59:21,480
Speaker 1: And so, and that's kind of what Atlanta is like.

1214
00:59:21,520 --> 00:59:23,280
Speaker 1: When I you know, we used to have this thing

1215
00:59:23,320 --> 00:59:27,640
Speaker 1: in them terrible m DRC deals and we used to you, man,

1216
00:59:27,800 --> 00:59:30,080
Speaker 1: come on the slave deal, them slave deal, you called

1217
00:59:30,080 --> 00:59:32,480
Speaker 1: them slave deal. And then you would you would go

1218
00:59:32,560 --> 00:59:40,520
Speaker 1: into suspension. What I know all about, man, let me

1219
00:59:40,520 --> 00:59:43,080
Speaker 1: tell you something. And then check stopped coming. Man. But

1220
00:59:43,120 --> 00:59:45,160
Speaker 1: the thing about it is when when the checks stopped

1221
00:59:45,160 --> 00:59:47,560
Speaker 1: coming here, it didn't hurt that bad. You know what

1222
00:59:47,600 --> 00:59:49,320
Speaker 1: I'm saying. You still had your home, you still had

1223
00:59:49,360 --> 00:59:54,080
Speaker 1: your card, I was suspension, I had courtside seats I

1224
00:59:54,160 --> 00:59:56,360
Speaker 1: had I was still with every Hawks game, courtside seats

1225
00:59:56,360 --> 00:59:58,440
Speaker 1: and suspension, you know what I'm saying. So like you

1226
00:59:58,440 --> 01:00:02,280
Speaker 1: could mentioned and Atlanta didn't feel so bad, you know

1227
01:00:02,320 --> 01:00:04,960
Speaker 1: what I'm saying, so it was like it was, it was,

1228
01:00:05,040 --> 01:00:07,480
Speaker 1: it was different. And I and I and I and

1229
01:00:07,600 --> 01:00:10,640
Speaker 1: I love what Atlanta is and what it's been. You know,

1230
01:00:10,680 --> 01:00:12,959
Speaker 1: I tell people, man, it's is black Nashville. Man, and

1231
01:00:13,000 --> 01:00:15,800
Speaker 1: we don't we don't respect what it is the way

1232
01:00:15,840 --> 01:00:17,680
Speaker 1: we should. You know when I say we, I say,

1233
01:00:17,720 --> 01:00:20,760
Speaker 1: people on the coast don't really understand how important this

1234
01:00:20,880 --> 01:00:22,320
Speaker 1: city is for us.

1235
01:00:22,320 --> 01:00:22,480
Speaker 4: Man.

1236
01:00:22,520 --> 01:00:25,320
Speaker 1: And it's like for me coming back here and getting

1237
01:00:25,320 --> 01:00:29,440
Speaker 1: a chance to just kind of spend money with these

1238
01:00:29,480 --> 01:00:31,280
Speaker 1: writers help you know, Like I signed, I signed a

1239
01:00:31,320 --> 01:00:34,600
Speaker 1: kid named nash Being Man. And Na's got a studio.

1240
01:00:34,960 --> 01:00:36,760
Speaker 1: You know, he's building, He's building one of these you

1241
01:00:36,800 --> 01:00:38,600
Speaker 1: know what I'm saying. It's like, it's a beautiful thing.

1242
01:00:38,640 --> 01:00:38,800
Speaker 3: Man.

1243
01:00:39,160 --> 01:00:41,920
Speaker 1: You can't you know, listen, it's it's hard. It's hard

1244
01:00:41,960 --> 01:00:43,920
Speaker 1: to do that off Ave los Enega. You know what

1245
01:00:43,960 --> 01:00:50,800
Speaker 1: I'm saying, it's just just keep it a buck. It's

1246
01:00:50,880 --> 01:00:52,200
Speaker 1: hard to do that. It's hard to do that in

1247
01:00:52,200 --> 01:00:53,680
Speaker 1: the valley. It's hard to do that. At will and Hill.

1248
01:00:53,720 --> 01:00:55,360
Speaker 1: It's hard, you know what I'm saying. But you could

1249
01:00:55,400 --> 01:00:57,320
Speaker 1: do that here, you could you could get you look

1250
01:00:57,360 --> 01:00:58,720
Speaker 1: at Trick, Look at Trick did man. You know what

1251
01:00:58,720 --> 01:01:01,920
Speaker 1: I'm saying, like, uh, what's the man in the studio?

1252
01:01:02,680 --> 01:01:03,000
Speaker 3: Q C?

1253
01:01:03,520 --> 01:01:07,920
Speaker 1: Oh oh yeah, come on, come on, funny about q C?

1254
01:01:08,880 --> 01:01:11,240
Speaker 1: Is that back in the day. I'll never get this.

1255
01:01:11,640 --> 01:01:15,640
Speaker 1: Coach called me about three four o'clock in the mornings. Man,

1256
01:01:15,640 --> 01:01:18,880
Speaker 1: I got this kid and it uh and I said,

1257
01:01:18,920 --> 01:01:21,040
Speaker 1: now tell you about he's from the Bay. I said, okay,

1258
01:01:21,040 --> 01:01:23,080
Speaker 1: I'm about to do the deal already. But it was

1259
01:01:23,080 --> 01:01:25,760
Speaker 1: Adrian marcel Man. So you know, I signed, I signed.

1260
01:01:25,760 --> 01:01:29,439
Speaker 1: He brought me Adrian marcel Man and coach Coach brought

1261
01:01:29,440 --> 01:01:32,040
Speaker 1: me Adrian marcel Yeah. Yeah, care and then he and

1262
01:01:32,040 --> 01:01:34,480
Speaker 1: then he left and then it was like it was

1263
01:01:34,520 --> 01:01:37,520
Speaker 1: just me and Yancy, but it was but Coach went

1264
01:01:37,560 --> 01:01:39,320
Speaker 1: on to go do his thing. But yeah, but it's

1265
01:01:39,360 --> 01:01:42,200
Speaker 1: like that I think that you know, that kind of

1266
01:01:42,200 --> 01:01:43,600
Speaker 1: helped Coach and he was doing this thing and now

1267
01:01:43,640 --> 01:01:45,160
Speaker 1: look with it, you know, but that you you get

1268
01:01:45,240 --> 01:01:49,680
Speaker 1: that in atlant you know, you get facilities, you get built.

1269
01:01:50,040 --> 01:01:52,640
Speaker 1: You know what I'm saying, and that that's hard to

1270
01:01:52,640 --> 01:01:58,360
Speaker 1: do as a black creator. Yeah, it just it just

1271
01:01:58,960 --> 01:02:10,480
Speaker 1: doesn't happen. Shout out to La and bank face. Oh

1272
01:02:10,600 --> 01:02:13,640
Speaker 1: let me tell you kicking off. Yeah, let me say

1273
01:02:14,160 --> 01:02:16,400
Speaker 1: they're the reason why we're all here. I signed it.

1274
01:02:16,440 --> 01:02:17,880
Speaker 1: I signed to l A. You know what I'm saying.

1275
01:02:17,960 --> 01:02:21,640
Speaker 1: LA gave my first check, bought a house. You know

1276
01:02:21,680 --> 01:02:24,440
Speaker 1: what I'm saying. I moved here. And you know, LA

1277
01:02:24,520 --> 01:02:26,439
Speaker 1: tells the story. One time I heard him telling the story.

1278
01:02:26,440 --> 01:02:30,640
Speaker 1: He said when he first when when the Face first

1279
01:02:30,640 --> 01:02:32,920
Speaker 1: got here, there was a company called Green Limousine. He

1280
01:02:32,960 --> 01:02:36,080
Speaker 1: said they had two cars. He said at the height

1281
01:02:36,120 --> 01:02:37,800
Speaker 1: of the face, he said, they had one hundred and

1282
01:02:37,800 --> 01:02:42,720
Speaker 1: twenty cars. And that's and that's infrastructure, right, that's what

1283
01:02:42,840 --> 01:02:45,800
Speaker 1: That's what LA built. That's what signing. Tony bracts and

1284
01:02:45,840 --> 01:02:49,280
Speaker 1: that's what's signing. You know what I'm saying, Tony Ridge

1285
01:02:49,320 --> 01:02:53,520
Speaker 1: outcast all that, that's what that brought. He brought Usher Usher,

1286
01:02:53,600 --> 01:02:57,000
Speaker 1: He brought a whole industry to a town. How many

1287
01:02:57,040 --> 01:03:00,960
Speaker 1: people say that outside of Barry Gordon, especially when he was.

1288
01:03:00,960 --> 01:03:03,320
Speaker 5: From but he was also from there too though, like

1289
01:03:03,640 --> 01:03:04,920
Speaker 5: they weren't even from allat.

1290
01:03:05,480 --> 01:03:06,480
Speaker 1: L A brought us all here.

1291
01:03:06,760 --> 01:03:06,960
Speaker 3: Yeah.

1292
01:03:07,200 --> 01:03:09,880
Speaker 1: L A gave us the money. The builders get these levels,

1293
01:03:11,080 --> 01:03:11,960
Speaker 1: shout of Perry.

1294
01:03:12,240 --> 01:03:13,320
Speaker 3: Yeah, who's from the bank.

1295
01:03:15,440 --> 01:03:17,439
Speaker 1: Come on, we're gonna get them all in. We gonna

1296
01:03:17,440 --> 01:03:20,439
Speaker 1: get them all in any bay repence know all of them,

1297
01:03:20,480 --> 01:03:25,720
Speaker 1: we know, baby, Yeah, Larry Jackson, Larry Jackson, Gazi. Yeah,

1298
01:03:28,240 --> 01:03:30,280
Speaker 1: you know. Friends know that's close enough.

1299
01:03:30,840 --> 01:03:31,560
Speaker 3: Y'all got a bunch.

1300
01:03:33,640 --> 01:03:35,560
Speaker 1: We got him, We got it, and we're forgetting something.

1301
01:03:35,560 --> 01:03:38,680
Speaker 1: They gonna probably call me to Yeah, y'all did y'all base?

1302
01:03:38,760 --> 01:03:44,400
Speaker 3: Shout out bad dog my bad got bad clean up.

1303
01:03:44,640 --> 01:03:49,680
Speaker 1: Chris, Chris Sicks. Yes, rest in peace, my brother the

1304
01:03:49,720 --> 01:03:52,680
Speaker 1: one on one secure Stewart Steward, no time, yealy.

1305
01:03:52,760 --> 01:03:53,360
Speaker 3: You know what I'm saying.

1306
01:03:53,560 --> 01:03:55,240
Speaker 1: The Bay the Bay is. You know what I'm saying.

1307
01:03:55,600 --> 01:03:58,560
Speaker 1: I think we kind of claimed Ethiopia a little bit, right. Absolutely,

1308
01:03:58,600 --> 01:04:00,640
Speaker 1: she was born in she was born, she was born

1309
01:04:00,680 --> 01:04:02,680
Speaker 1: to Bay right. Yeah, she was raising that at all,

1310
01:04:02,800 --> 01:04:04,080
Speaker 1: but exactly that's why we got to claim her a

1311
01:04:04,120 --> 01:04:06,160
Speaker 1: little bit. But we claim her, you know what I'm saying.

1312
01:04:06,240 --> 01:04:09,600
Speaker 1: But yeah, the Bay, the Bay definitely had his footprint

1313
01:04:09,640 --> 01:04:11,640
Speaker 1: on this game, you know what I'm saying. Yeah, for sure.

1314
01:04:12,880 --> 01:04:14,640
Speaker 5: Let's get to some of these records too, though, because

1315
01:04:14,640 --> 01:04:18,040
Speaker 5: we we we glossed over early and the things that

1316
01:04:18,120 --> 01:04:20,320
Speaker 5: you were being a part of. Man, that to me,

1317
01:04:20,640 --> 01:04:22,200
Speaker 5: you know this is this is the day that to

1318
01:04:22,960 --> 01:04:25,080
Speaker 5: poor the champagne and for you to have some champagne.

1319
01:04:25,120 --> 01:04:28,000
Speaker 1: You know what I mean? Bro, you were in the

1320
01:04:28,040 --> 01:04:29,520
Speaker 1: beginning of Justin Bieber.

1321
01:04:30,440 --> 01:04:34,760
Speaker 5: I was, yeah, very because that like this kid that

1322
01:04:34,800 --> 01:04:38,600
Speaker 5: obviously was on the internet and another in the sense

1323
01:04:38,760 --> 01:04:41,000
Speaker 5: kid that worked for Jermaine Dupris.

1324
01:04:41,040 --> 01:04:45,520
Speaker 1: At one point Scooter Scooter Scooter called me and Scooter said, man,

1325
01:04:45,600 --> 01:04:49,120
Speaker 1: billionaire the billionaire. Yeah, the billionaire, Yeah, shout out Scooter

1326
01:04:49,160 --> 01:04:52,280
Speaker 1: bron Scooter called me and said, uh, I got this

1327
01:04:52,360 --> 01:04:55,800
Speaker 1: kid and kept sending me this video on YouTube clip

1328
01:04:55,960 --> 01:04:58,920
Speaker 1: and he was playing his guitar in Stratford on thetarier

1329
01:04:58,960 --> 01:05:00,400
Speaker 1: and I was like, and he said, just take a

1330
01:05:00,440 --> 01:05:02,800
Speaker 1: list to this kid. And I listened to it and

1331
01:05:02,840 --> 01:05:04,840
Speaker 1: I called Scooter. I said, Yo, he's incredible. What are

1332
01:05:04,840 --> 01:05:07,000
Speaker 1: we doing? And I just kept maing He's like, we

1333
01:05:07,000 --> 01:05:09,240
Speaker 1: got to figure this out. And so Scooter brought him

1334
01:05:09,240 --> 01:05:15,040
Speaker 1: to Atlanta and I ended up obviously writing his first

1335
01:05:15,040 --> 01:05:18,160
Speaker 1: single one time, but I ended up placing and I

1336
01:05:18,200 --> 01:05:20,080
Speaker 1: was like, Scooter would just be like, it's so funny,

1337
01:05:20,120 --> 01:05:22,920
Speaker 1: cause Scooter. I always say this about Scooter the Billionaire.

1338
01:05:22,920 --> 01:05:27,200
Speaker 1: Scooter was he was already there because at that point

1339
01:05:27,200 --> 01:05:29,000
Speaker 1: he just let me place whatever songs on the album

1340
01:05:29,000 --> 01:05:30,920
Speaker 1: I wanted. He was like, yeah, I was just I

1341
01:05:30,960 --> 01:05:32,439
Speaker 1: was like, yeo, okay, I found this record. I found

1342
01:05:32,480 --> 01:05:36,680
Speaker 1: this record. I foind this record absolutely, so he we cut.

1343
01:05:36,800 --> 01:05:38,320
Speaker 1: Like I think I had five six songs on the

1344
01:05:38,360 --> 01:05:40,840
Speaker 1: first project that I brought or whatever. Actually one of

1345
01:05:40,840 --> 01:05:43,360
Speaker 1: the first songs I brought was written by Frank because

1346
01:05:43,400 --> 01:05:46,640
Speaker 1: I had to recoup Frank's deal. Everything goes back to

1347
01:05:46,800 --> 01:05:50,760
Speaker 1: getting that honed. I got to get that money back,

1348
01:05:51,320 --> 01:05:52,800
Speaker 1: and I was like, okay, I said, okay, I got

1349
01:05:52,800 --> 01:05:54,840
Speaker 1: this one song called Bigger. I remember, I sid I'm

1350
01:05:54,840 --> 01:05:56,720
Speaker 1: about to put this on the project. Scooter said, dope,

1351
01:05:56,760 --> 01:05:58,640
Speaker 1: let's do it. I was literally just placing a bunch

1352
01:05:58,680 --> 01:06:02,280
Speaker 1: of songs on the project, and you know, it just

1353
01:06:02,320 --> 01:06:02,760
Speaker 1: took off.

1354
01:06:02,800 --> 01:06:02,960
Speaker 3: Man.

1355
01:06:03,040 --> 01:06:06,000
Speaker 1: But I knew it was two things. Because it's funny

1356
01:06:06,000 --> 01:06:07,600
Speaker 1: because I was I think about this when I think

1357
01:06:07,600 --> 01:06:10,160
Speaker 1: about Scooter Scooter, because there's music and there's the music business.

1358
01:06:11,320 --> 01:06:15,120
Speaker 1: Scooter was I cared about the music. Scooter was amazingly

1359
01:06:15,200 --> 01:06:17,680
Speaker 1: about the business. You know what I'm saying that Obviously

1360
01:06:17,880 --> 01:06:20,880
Speaker 1: it turned out that way, and Scooter was great partner

1361
01:06:20,920 --> 01:06:22,280
Speaker 1: them in the beginning, he just was like, yoh, man,

1362
01:06:22,360 --> 01:06:24,040
Speaker 1: just send me records. Man, just I need records for

1363
01:06:24,080 --> 01:06:25,680
Speaker 1: this kid. And I said, I got you because he

1364
01:06:25,760 --> 01:06:27,760
Speaker 1: knew that in the beginning, I believed in it. He

1365
01:06:27,760 --> 01:06:29,520
Speaker 1: played me the kid early and I was like, yeah,

1366
01:06:29,600 --> 01:06:32,120
Speaker 1: let's do it whatever, and so the kid was amazing,

1367
01:06:32,600 --> 01:06:34,560
Speaker 1: and so yeah, we did that, and then the second

1368
01:06:34,560 --> 01:06:37,160
Speaker 1: project probably placed like two or three other four records

1369
01:06:37,160 --> 01:06:38,920
Speaker 1: on it. My World two point zero.

1370
01:06:39,000 --> 01:06:41,160
Speaker 3: Yeah, did you write on the second one?

1371
01:06:41,280 --> 01:06:42,760
Speaker 1: I did not write on the second one and second one.

1372
01:06:42,760 --> 01:06:45,880
Speaker 1: By the time second got here, I was fully an executive.

1373
01:06:46,840 --> 01:06:47,720
Speaker 1: I was at Tony.

1374
01:06:47,720 --> 01:06:52,760
Speaker 5: He met Frank and Frank told him without saying anything, yeah, man, yeah.

1375
01:06:52,720 --> 01:06:55,840
Speaker 1: I write the songs around here now. Yeah. Man, Frank

1376
01:06:55,840 --> 01:07:00,200
Speaker 1: crossed me up The Girl, The Girls, The Girls Trip. Yeah.

1377
01:07:00,280 --> 01:07:00,520
Speaker 3: Yeah.

1378
01:07:00,640 --> 01:07:03,520
Speaker 1: And so yeah, that I was early early Beaver definitely

1379
01:07:03,600 --> 01:07:04,160
Speaker 1: A yeah.

1380
01:07:04,800 --> 01:07:07,120
Speaker 5: It's funny because now that I'm like thinking of your catalog,

1381
01:07:07,120 --> 01:07:08,800
Speaker 5: you work on a lot of young artists.

1382
01:07:09,200 --> 01:07:13,760
Speaker 1: Was B two K Beaver Sammy Sammy Little Sammy? Yeah,

1383
01:07:13,880 --> 01:07:17,479
Speaker 1: I wrote us sam My bad My Bad. I wrote

1384
01:07:17,480 --> 01:07:19,400
Speaker 1: his very first single, crazy Things I Do for Love?

1385
01:07:19,720 --> 01:07:22,320
Speaker 3: Yeah, Yeah, that's crazy.

1386
01:07:23,200 --> 01:07:25,840
Speaker 5: What was it that was a driver for like you

1387
01:07:26,040 --> 01:07:28,880
Speaker 5: working with new artists, was it because really you didn't

1388
01:07:28,880 --> 01:07:29,680
Speaker 5: have a whole bunch.

1389
01:07:29,560 --> 01:07:31,640
Speaker 1: Of placements on people at one point and you were

1390
01:07:31,680 --> 01:07:33,200
Speaker 1: just trying to get it. You know, it's a good question.

1391
01:07:33,280 --> 01:07:35,120
Speaker 1: You got to think about. When we was writing songs,

1392
01:07:35,200 --> 01:07:38,000
Speaker 1: we was, we was competing. That meant it was still

1393
01:07:38,720 --> 01:07:42,320
Speaker 1: Jammy Lewis. It was still Babyface, it was still Teddy Riley,

1394
01:07:43,080 --> 01:07:45,560
Speaker 1: it was still Rodney, it was still was taking what

1395
01:07:45,600 --> 01:07:48,360
Speaker 1: you could get. Yeah, it was still Jamaine. So if

1396
01:07:48,360 --> 01:07:50,880
Speaker 1: you got if you got a single back then I mean,

1397
01:07:51,000 --> 01:07:53,320
Speaker 1: come on, it was it was. It was different. It

1398
01:07:53,360 --> 01:07:55,240
Speaker 1: was different. It was different. It was really tough to get.

1399
01:07:55,360 --> 01:07:58,680
Speaker 1: Everybody was getting album cut. What we was just you know,

1400
01:07:58,760 --> 01:08:00,200
Speaker 1: we was, We was just trying to get on on

1401
01:08:00,320 --> 01:08:02,400
Speaker 1: project that you know, that that were coming out, that

1402
01:08:02,480 --> 01:08:04,480
Speaker 1: were coming out, and so you were competing with the

1403
01:08:04,480 --> 01:08:06,680
Speaker 1: back of the M D r C. Yes, absolutely, back

1404
01:08:06,680 --> 01:08:08,320
Speaker 1: in the r C. Which is funny because this is

1405
01:08:08,360 --> 01:08:11,320
Speaker 1: why I would sign artists. I found Blue Cant Trail.

1406
01:08:12,000 --> 01:08:13,600
Speaker 1: I found her at the place cause the state they

1407
01:08:13,920 --> 01:08:15,840
Speaker 1: called for sisters only, and I was like, you know what,

1408
01:08:15,880 --> 01:08:19,040
Speaker 1: I'm absolutely I was a fist only. And I found

1409
01:08:19,040 --> 01:08:24,840
Speaker 1: this girl we we deal with hilarious. There was one here.

1410
01:08:25,320 --> 01:08:27,559
Speaker 1: There was one here in Atlanta, and I met her

1411
01:08:27,600 --> 01:08:29,280
Speaker 1: and she's like, I sing, and I'm like you do,

1412
01:08:30,240 --> 01:08:32,160
Speaker 1: and so she sang for me writing for sisters only,

1413
01:08:32,280 --> 01:08:35,760
Speaker 1: and I was like, hold on, I called trick. I said, yo,

1414
01:08:36,160 --> 01:08:38,880
Speaker 1: I found this girl. And honestly, two weeks later she

1415
01:08:38,920 --> 01:08:43,400
Speaker 1: was signed Arriston and in a huge deal. But the

1416
01:08:43,439 --> 01:08:45,320
Speaker 1: reason why I was doing that is because I could

1417
01:08:45,320 --> 01:08:47,639
Speaker 1: write all my songs and put them on the project.

1418
01:08:48,360 --> 01:08:51,200
Speaker 1: I said, Okay, I'm a trick to system. I'm gonna

1419
01:08:51,200 --> 01:08:52,960
Speaker 1: get I'm gonna get my my m DR. I'm gonna

1420
01:08:52,960 --> 01:08:56,719
Speaker 1: get my two. Absolutely, I'm gonna keep my course seat.

1421
01:09:00,240 --> 01:09:02,840
Speaker 1: Absolutely not. I mean, you know what it was. I'm

1422
01:09:02,960 --> 01:09:04,720
Speaker 1: from the Bay. I'm a worrifare threw it through. But

1423
01:09:04,920 --> 01:09:06,000
Speaker 1: you know it was fun to have, you know what

1424
01:09:06,000 --> 01:09:07,719
Speaker 1: I'm saying at the time. So it's like but again,

1425
01:09:07,760 --> 01:09:11,599
Speaker 1: it's like I used write out find artists to get

1426
01:09:11,640 --> 01:09:14,320
Speaker 1: write my songs, which I did with Sam Salter. I

1427
01:09:14,360 --> 01:09:16,519
Speaker 1: found sign this girl so late, and you know I

1428
01:09:16,560 --> 01:09:18,920
Speaker 1: wrote some songs on that project too, and I would

1429
01:09:18,960 --> 01:09:21,960
Speaker 1: just write these songs and to get among the projects,

1430
01:09:21,960 --> 01:09:23,479
Speaker 1: you know what I'm saying. I love it.

1431
01:09:23,479 --> 01:09:27,120
Speaker 3: He's quick. What well, he's quick, so what you're doing?

1432
01:09:27,640 --> 01:09:28,000
Speaker 3: All right?

1433
01:09:28,040 --> 01:09:33,000
Speaker 1: Cool? Let's sign what one thousand percent? And I guess

1434
01:09:33,000 --> 01:09:35,599
Speaker 1: that I got four songs right now, man, five or six.

1435
01:09:35,840 --> 01:09:38,160
Speaker 1: But it's funny because remember when we signed her shout

1436
01:09:38,160 --> 01:09:39,719
Speaker 1: Out Down Sous and he wrote hit Him Up Style,

1437
01:09:40,880 --> 01:09:43,639
Speaker 1: and then the songs that we didn't write. I remember

1438
01:09:44,760 --> 01:09:46,240
Speaker 1: Ellie said, well, who you want to work on the album?

1439
01:09:46,240 --> 01:09:48,479
Speaker 1: And I said, Jamy lewiscause that's my favorite producers of

1440
01:09:48,479 --> 01:09:50,720
Speaker 1: all time. Yeah, Llia said Jammer Lewis. He said, no,

1441
01:09:50,880 --> 01:09:52,880
Speaker 1: the song these songs, and I say, I don't care.

1442
01:09:54,160 --> 01:09:56,160
Speaker 1: I don't care. We went up to Mini Apples. I

1443
01:09:56,200 --> 01:09:58,439
Speaker 1: went the flight time and I think Jama Louis was

1444
01:09:58,439 --> 01:10:00,559
Speaker 1: trying like one hundred fifty thousand dollars. I had no

1445
01:10:00,600 --> 01:10:02,240
Speaker 1: idea what it but I had no idea what the

1446
01:10:02,240 --> 01:10:03,880
Speaker 1: budget was. You know what I'm saying. We didn't care.

1447
01:10:03,920 --> 01:10:05,360
Speaker 1: We was like, you know, we just went up there.

1448
01:10:05,479 --> 01:10:07,120
Speaker 1: For me, that was just an opportunity to just go

1449
01:10:07,160 --> 01:10:10,439
Speaker 1: be around Jammin. I sat up there and I was like, man,

1450
01:10:10,479 --> 01:10:15,200
Speaker 1: I'm just work like paying exactly. That was That was

1451
01:10:15,280 --> 01:10:17,200
Speaker 1: That was tuition for me. You know what I'm saying,

1452
01:10:17,240 --> 01:10:19,640
Speaker 1: to just be around Jam and Lewis and even go

1453
01:10:19,680 --> 01:10:21,599
Speaker 1: up the flight time and work with them. But yeah, man,

1454
01:10:21,600 --> 01:10:23,880
Speaker 1: it was like I would usually I would sign artists

1455
01:10:23,880 --> 01:10:26,760
Speaker 1: to just put my song, put your songs on absolutely.

1456
01:10:26,960 --> 01:10:29,599
Speaker 5: Then you had another song which you kind of just

1457
01:10:29,880 --> 01:10:34,439
Speaker 5: randomly had a smash in your retirement with Mary J.

1458
01:10:34,520 --> 01:10:36,880
Speaker 1: Blige. Oh well that was with the Clutch. Let me

1459
01:10:37,160 --> 01:10:39,559
Speaker 1: let me go back that that was with the Clutch.

1460
01:10:39,800 --> 01:10:43,320
Speaker 1: It was it was an idea that I had. I

1461
01:10:43,320 --> 01:10:45,920
Speaker 1: remember I was in South Africa. Funny story. I was

1462
01:10:45,920 --> 01:10:47,799
Speaker 1: in South Africa, and back in the day in South Africa,

1463
01:10:48,880 --> 01:10:51,559
Speaker 1: on the chirons, we would see videos. They would put

1464
01:10:51,760 --> 01:10:54,360
Speaker 1: the video director and they would put the songwriters mhmm.

1465
01:10:54,520 --> 01:10:56,000
Speaker 1: And I was like, man, we don't do that in America.

1466
01:10:56,040 --> 01:10:57,439
Speaker 1: When the video come on here in America, they don't

1467
01:10:57,439 --> 01:11:00,360
Speaker 1: put song. I don't listen. And so I felt as

1468
01:11:00,400 --> 01:11:01,920
Speaker 1: a songwriter, we didn't. We never got the love that

1469
01:11:01,960 --> 01:11:05,200
Speaker 1: we deserved. And I remember I called JQ and Carry

1470
01:11:05,280 --> 01:11:08,439
Speaker 1: Hillson and and I called Mark Stewart and I said, yo,

1471
01:11:08,560 --> 01:11:11,000
Speaker 1: I said, let's let's come up with a collective. Let's

1472
01:11:11,080 --> 01:11:13,200
Speaker 1: let it be something because we would write songs together

1473
01:11:13,560 --> 01:11:16,360
Speaker 1: together apart whatever, and I said, let's let's develop something.

1474
01:11:16,400 --> 01:11:18,240
Speaker 1: It wasn't called the Clutch. Zeke named it the Clutch,

1475
01:11:18,240 --> 01:11:20,439
Speaker 1: I think, but it was like we were a songwriter

1476
01:11:20,560 --> 01:11:24,559
Speaker 1: collective and I was like, we gotta just you know,

1477
01:11:24,640 --> 01:11:26,920
Speaker 1: as a crew. We started writing songs together and then

1478
01:11:27,360 --> 01:11:31,040
Speaker 1: they added Balewa and Candice Yeah, and then uh and

1479
01:11:31,040 --> 01:11:34,559
Speaker 1: then they kicked me out? How y'all kick me out

1480
01:11:34,560 --> 01:11:36,160
Speaker 1: of something I came up with? I was like, I

1481
01:11:36,160 --> 01:11:37,880
Speaker 1: felt like Steve Jobs, like, how y'all gonna kick me

1482
01:11:37,880 --> 01:11:40,040
Speaker 1: out of Apple? But but it was funny as hell.

1483
01:11:41,760 --> 01:11:44,639
Speaker 1: But it was funny, but it's uh. Zeke's my brother

1484
01:11:44,720 --> 01:11:46,400
Speaker 1: is one of my best friends in life to this day.

1485
01:11:46,479 --> 01:11:49,880
Speaker 1: But yeah, so with with with that, I ended up

1486
01:11:49,880 --> 01:11:52,000
Speaker 1: writing a song, yeah with with the Clutch, he road

1487
01:11:53,080 --> 01:11:55,200
Speaker 1: take Me as Me as I Am? Yeah, man and

1488
01:11:55,240 --> 01:11:56,920
Speaker 1: me and JQ are a lot of records. We wrote

1489
01:11:57,000 --> 01:11:58,160
Speaker 1: records for beat k Road.

1490
01:11:58,240 --> 01:11:58,400
Speaker 4: Uh.

1491
01:11:58,640 --> 01:12:03,160
Speaker 1: We wrote Fantasia's Uh Yeah Man, Me and Q did that.

1492
01:12:03,200 --> 01:12:06,120
Speaker 1: We wrote a lot of records. How did you get

1493
01:12:06,200 --> 01:12:07,000
Speaker 1: kicked out of the clutch?

1494
01:12:07,040 --> 01:12:08,200
Speaker 3: But what you do?

1495
01:12:08,240 --> 01:12:10,680
Speaker 1: You know what it was, but you know what it

1496
01:12:10,760 --> 01:12:12,760
Speaker 1: was it was. It was. It was one of those

1497
01:12:12,760 --> 01:12:15,840
Speaker 1: things that when you when you got six people, five

1498
01:12:15,840 --> 01:12:18,519
Speaker 1: people write on the record and splits started that math

1499
01:12:18,600 --> 01:12:23,840
Speaker 1: on math Man the window dwindle hap and a half percent. Yeah,

1500
01:12:23,880 --> 01:12:25,240
Speaker 1: you start looking at that and then don't get a

1501
01:12:25,320 --> 01:12:26,680
Speaker 1: don't get an artist. He wants the piece of the

1502
01:12:26,680 --> 01:12:28,920
Speaker 1: publishing to you know what I'm saying. At that point,

1503
01:12:28,920 --> 01:12:31,439
Speaker 1: it's like, you know, so it became it became a

1504
01:12:31,439 --> 01:12:33,880
Speaker 1: math problem. And at that point then I started becoming

1505
01:12:33,920 --> 01:12:35,920
Speaker 1: closer and becoming an executive more and I was doing

1506
01:12:35,960 --> 01:12:38,200
Speaker 1: other things. So I was like, okay, cool, it's the

1507
01:12:38,240 --> 01:12:42,320
Speaker 1: transition out of it right, right, right, right right transitions.

1508
01:12:42,400 --> 01:12:46,760
Speaker 5: What do you see now how publishing works in this

1509
01:12:47,040 --> 01:12:55,720
Speaker 5: new age of you know, streaming in that whole thing,

1510
01:12:55,760 --> 01:12:58,879
Speaker 5: and how the money breaks down a little bit different,

1511
01:12:59,000 --> 01:13:03,760
Speaker 5: and if if it's if it's still advantageous for you know,

1512
01:13:03,840 --> 01:13:06,280
Speaker 5: writers and producers and artists to even do it.

1513
01:13:06,439 --> 01:13:08,960
Speaker 1: Absolutely it is, because I'll tell these deals have changed.

1514
01:13:09,120 --> 01:13:12,120
Speaker 1: You know what I'm saying, The structure of a publishing deals

1515
01:13:12,200 --> 01:13:16,320
Speaker 1: has changed. Like you know, I'll say this, like you

1516
01:13:16,320 --> 01:13:20,960
Speaker 1: could ask dream Dream the split dream gets he's earned it,

1517
01:13:21,280 --> 01:13:24,840
Speaker 1: of course he's earned it, you know, we do. You know,

1518
01:13:25,160 --> 01:13:28,920
Speaker 1: dream Dream will get through a significant amount of money

1519
01:13:29,400 --> 01:13:34,160
Speaker 1: quickly because he writes and you know, and they're they're

1520
01:13:35,880 --> 01:13:37,919
Speaker 1: pretty much admin deals. But a lot of the structure

1521
01:13:37,960 --> 01:13:41,440
Speaker 1: for deals that we do now are you know, advantageous

1522
01:13:41,439 --> 01:13:43,320
Speaker 1: to writers. You know, I think attorneys have gotten smarter

1523
01:13:43,720 --> 01:13:47,000
Speaker 1: publishing and you know, publishing deals have kind of they're

1524
01:13:47,000 --> 01:13:48,600
Speaker 1: not antiquated like they used to be, you know what

1525
01:13:48,600 --> 01:13:50,680
Speaker 1: I'm saying, So they caught up to the times. So

1526
01:13:50,800 --> 01:13:53,760
Speaker 1: I would suggest if if you're a writer coming up

1527
01:13:53,800 --> 01:13:55,439
Speaker 1: in the game and you get it, you know, and

1528
01:13:55,479 --> 01:13:58,360
Speaker 1: you're worthy of a deal, to do a publishing deal.

1529
01:13:58,400 --> 01:14:00,800
Speaker 1: I mean, you know, it's it's alone. You never have

1530
01:14:00,840 --> 01:14:03,040
Speaker 1: to pay back, you know what I'm saying, Like if

1531
01:14:03,040 --> 01:14:05,840
Speaker 1: you don't, if it doesn't work, then there's no there's

1532
01:14:05,840 --> 01:14:07,719
Speaker 1: no recourse. Nobody's coming to get your house.

1533
01:14:07,800 --> 01:14:08,400
Speaker 3: You know what I'm saying.

1534
01:14:08,520 --> 01:14:11,240
Speaker 1: It's like, Okay, well we lost as the publishing company helpful.

1535
01:14:11,240 --> 01:14:12,960
Speaker 1: We we don't do that that often. We try to

1536
01:14:12,960 --> 01:14:15,200
Speaker 1: make great, great deals. But for the most part, it's

1537
01:14:15,240 --> 01:14:18,080
Speaker 1: an amazing opportunity for a writer. And now the deals

1538
01:14:18,080 --> 01:14:21,160
Speaker 1: are structured, there's no MDRC, they're all recoupment based. You know,

1539
01:14:21,640 --> 01:14:24,000
Speaker 1: back in the day, you could recoup a publishing deal

1540
01:14:24,439 --> 01:14:26,880
Speaker 1: off of one song, right, but still be stuck in

1541
01:14:26,920 --> 01:14:29,920
Speaker 1: the MDRC. And so you know, if then that money

1542
01:14:30,040 --> 01:14:31,920
Speaker 1: just goes in, you know it doesn't benefit you. So

1543
01:14:32,000 --> 01:14:34,120
Speaker 1: you know, the deals are a lot a lot better now,

1544
01:14:34,160 --> 01:14:36,919
Speaker 1: and you know not coming. Being a writer who signs

1545
01:14:37,160 --> 01:14:39,599
Speaker 1: form a writer who signs writers, you know, I try

1546
01:14:39,680 --> 01:14:42,400
Speaker 1: to educate writers on how to do deals and what

1547
01:14:42,520 --> 01:14:44,360
Speaker 1: to do deals. And it's not always about you know,

1548
01:14:44,360 --> 01:14:47,160
Speaker 1: everybody wants a million dollars, not everybody deserves a million offs.

1549
01:14:47,200 --> 01:14:49,320
Speaker 1: But you know, I'm like, man, take this amount of money,

1550
01:14:49,800 --> 01:14:52,040
Speaker 1: get through this, and let's get through here. Let's get

1551
01:14:52,040 --> 01:14:54,320
Speaker 1: through here. So I try to educate writers about how

1552
01:14:54,360 --> 01:14:57,000
Speaker 1: to do smart deals. It's it's better to have that

1553
01:14:57,080 --> 01:14:59,639
Speaker 1: money coming than than to stop, you know what I'm saying,

1554
01:15:00,479 --> 01:15:02,679
Speaker 1: because a lot of times you'll take a big advance

1555
01:15:03,280 --> 01:15:05,840
Speaker 1: and you pay your commissions, you pay your taxes, and

1556
01:15:05,880 --> 01:15:07,559
Speaker 1: you might not see you might not see another check

1557
01:15:07,600 --> 01:15:08,599
Speaker 1: for three four years.

1558
01:15:08,680 --> 01:15:11,880
Speaker 3: I definitely enjoyed doing my publishing deal.

1559
01:15:12,560 --> 01:15:17,320
Speaker 1: Are you ready to do another one? You're still a TV?

1560
01:15:17,439 --> 01:15:18,160
Speaker 3: Right? No?

1561
01:15:18,200 --> 01:15:22,599
Speaker 1: I met a couple Okay, that's what's up. Competing over there.

1562
01:15:22,600 --> 01:15:24,160
Speaker 1: You got a good adm Miss, I'm.

1563
01:15:24,000 --> 01:15:26,559
Speaker 3: Sure, but that was the difference.

1564
01:15:26,800 --> 01:15:29,200
Speaker 2: That was the change for me, doing that pub deal

1565
01:15:29,600 --> 01:15:31,120
Speaker 2: and being able to get that equipment.

1566
01:15:31,280 --> 01:15:33,040
Speaker 1: Yeah, there you go, you know what I mean.

1567
01:15:33,240 --> 01:15:35,559
Speaker 3: And then now now I can work.

1568
01:15:35,760 --> 01:15:37,360
Speaker 1: Yeah yeah, and.

1569
01:15:37,320 --> 01:15:39,679
Speaker 3: It's freedom too. He could have a building.

1570
01:15:40,200 --> 01:15:43,439
Speaker 2: Come on now, I was in my mama's basement, basement

1571
01:15:44,400 --> 01:15:49,720
Speaker 2: help still in Maryland.

1572
01:15:50,439 --> 01:15:52,680
Speaker 1: You could have got thirty two thousand square thirty two

1573
01:15:52,680 --> 01:15:56,200
Speaker 1: thousand dollars in ninety six. Nobody told me.

1574
01:15:57,920 --> 01:16:00,840
Speaker 2: That money gave me, you know, it allowed me to

1575
01:16:00,840 --> 01:16:04,960
Speaker 2: get the resources and allowed me the freedom to create

1576
01:16:05,040 --> 01:16:05,519
Speaker 2: and grow.

1577
01:16:05,920 --> 01:16:08,160
Speaker 1: Keep the light so keep the lights on the Wi FI.

1578
01:16:09,360 --> 01:16:12,400
Speaker 3: I don't see nothing. I never saw nothing wrong with that.

1579
01:16:12,520 --> 01:16:15,880
Speaker 2: Absolutely, But and I got I got a great deal,

1580
01:16:16,680 --> 01:16:19,639
Speaker 2: you know, with some great people, you know what I.

1581
01:16:19,560 --> 01:16:22,000
Speaker 1: Mean, They weren't as good a publisher as I was.

1582
01:16:21,800 --> 01:16:24,400
Speaker 1: Who's slaying your records? I got you two three cuts

1583
01:16:24,439 --> 01:16:26,519
Speaker 1: in the day. Baby. You know what's crazy?

1584
01:16:26,560 --> 01:16:26,760
Speaker 2: Yeah?

1585
01:16:26,880 --> 01:16:28,160
Speaker 1: No, I wasn't.

1586
01:16:28,720 --> 01:16:30,880
Speaker 2: I was just you know what I'm saying. I was

1587
01:16:30,880 --> 01:16:34,000
Speaker 2: beating streets myself in the beginning. You know what I'm

1588
01:16:34,000 --> 01:16:37,519
Speaker 2: saying but the trick was, you know, I had I

1589
01:16:37,520 --> 01:16:40,200
Speaker 2: had albums there you go, that's right, and that was

1590
01:16:40,240 --> 01:16:40,719
Speaker 2: my trick.

1591
01:16:41,160 --> 01:16:41,640
Speaker 7: That was it.

1592
01:16:42,200 --> 01:16:49,280
Speaker 2: And they and once once they saw that happen, they say.

1593
01:16:47,560 --> 01:16:49,360
Speaker 1: Yeah, right, you're moving through these too quick.

1594
01:16:49,479 --> 01:16:52,200
Speaker 2: We gotta switch this up. We got to create some

1595
01:16:52,640 --> 01:16:57,080
Speaker 2: thresholds for you, Pardner. I got kind of me and

1596
01:16:57,280 --> 01:16:59,120
Speaker 2: Kelly kind of messed up the business and that I

1597
01:16:59,120 --> 01:17:03,880
Speaker 2: can see that that way. Yeah, three songs, like because

1598
01:17:03,920 --> 01:17:07,080
Speaker 2: I was, I had a five songs, M D R C.

1599
01:17:09,200 --> 01:17:14,200
Speaker 1: I'm one hundred percenter. Still doesn't I didn't know it's time. Yes,

1600
01:17:14,640 --> 01:17:16,479
Speaker 1: that's so. But when I hear it as from a

1601
01:17:16,520 --> 01:17:19,200
Speaker 1: storright perspective, that's a lot of one hundred percent people,

1602
01:17:19,760 --> 01:17:22,439
Speaker 1: of course, but I'm one hundred percenter this is true

1603
01:17:22,720 --> 01:17:24,360
Speaker 1: or fifty percent. Yeah, that's true.

1604
01:17:24,520 --> 01:17:25,719
Speaker 3: And I got my own album.

1605
01:17:25,760 --> 01:17:28,400
Speaker 1: You can get through that quickly. It were mad at me,

1606
01:17:28,560 --> 01:17:29,080
Speaker 1: I know they.

1607
01:17:28,960 --> 01:17:31,320
Speaker 2: Were, because it was upside down the other way. Yeah,

1608
01:17:31,520 --> 01:17:32,840
Speaker 2: they had to give me a bunch of money and

1609
01:17:32,880 --> 01:17:35,080
Speaker 2: I just keep moving through terms every time I turn

1610
01:17:35,120 --> 01:17:38,280
Speaker 2: an album, and they was like, no, sir, we're done

1611
01:17:38,320 --> 01:17:43,120
Speaker 2: with this. We're gonna fix you, you guys. Two songs count.

1612
01:17:43,479 --> 01:17:45,719
Speaker 2: Only three songs count when you sell this many four

1613
01:17:45,800 --> 01:17:46,920
Speaker 2: songs count when you sell.

1614
01:17:46,760 --> 01:17:51,439
Speaker 5: This absolutely yeah yeah publishing business.

1615
01:17:51,479 --> 01:17:53,840
Speaker 3: Yeah yeah.

1616
01:17:54,040 --> 01:17:55,519
Speaker 1: Listen, man, I would do a deal with you now.

1617
01:17:55,560 --> 01:17:57,680
Speaker 1: You know what I'm saying. I do that deal to

1618
01:17:57,680 --> 01:18:03,840
Speaker 1: the heartbeat because fast, let's have come on. Let me

1619
01:18:03,880 --> 01:18:06,960
Speaker 1: know you're ready. I'll do a deal with you.

1620
01:18:07,000 --> 01:18:07,120
Speaker 2: Bro.

1621
01:18:07,200 --> 01:18:08,760
Speaker 1: You might as well. You want to make record size,

1622
01:18:08,760 --> 01:18:10,439
Speaker 1: you wanted to come on home? May just have everything

1623
01:18:10,439 --> 01:18:17,240
Speaker 1: a BMG. Baby you go. I like the way you're talking. Pants,

1624
01:18:17,280 --> 01:18:20,160
Speaker 1: come on, come on you. I like the way you're talking. Baby.

1625
01:18:20,320 --> 01:18:21,360
Speaker 1: To use a couple of dollars.

1626
01:18:21,320 --> 01:18:23,360
Speaker 3: I can't use a couple of more dollars.

1627
01:18:24,000 --> 01:18:27,400
Speaker 1: Call me, buy me something at let ye there you go.

1628
01:18:29,320 --> 01:18:30,960
Speaker 1: There's a lot of things out here to buy. Baby,

1629
01:18:31,040 --> 01:18:42,000
Speaker 1: Let's go. What's now for you? Brother? I mean you still?

1630
01:18:42,120 --> 01:18:42,280
Speaker 2: You know?

1631
01:18:42,479 --> 01:18:45,920
Speaker 1: I mean listen, man, I'm I'm here building it at BMG. Man,

1632
01:18:46,120 --> 01:18:48,160
Speaker 1: I'm trying to try to grow it, build it. And

1633
01:18:48,680 --> 01:18:50,120
Speaker 1: you know I'm between here in Atlanta and l A.

1634
01:18:50,200 --> 01:18:51,800
Speaker 1: So I spent my time between both. So you know,

1635
01:18:51,880 --> 01:18:53,800
Speaker 1: I have a great team, great staff that I have there,

1636
01:18:54,400 --> 01:18:55,479
Speaker 1: and we're just trying to build it.

1637
01:18:55,520 --> 01:18:55,720
Speaker 3: Man.

1638
01:18:55,800 --> 01:18:57,639
Speaker 1: We're trying to grow it. We gotta we gotta compete

1639
01:18:57,680 --> 01:18:59,439
Speaker 1: with with a small gun a block, but we try

1640
01:18:59,479 --> 01:19:01,439
Speaker 1: to punch above our way. Mm hmmm.

1641
01:19:02,000 --> 01:19:05,960
Speaker 3: So if you're in Atlanta, you're looking to get cracking.

1642
01:19:06,080 --> 01:19:09,639
Speaker 1: Oh yeah, are you looking to move to Atlanta? Yeah?

1643
01:19:09,880 --> 01:19:12,559
Speaker 1: I know some realtors, I know some bankers. I got

1644
01:19:12,560 --> 01:19:14,800
Speaker 1: some studios. Let's go. You know what I'm saying, this

1645
01:19:14,840 --> 01:19:19,240
Speaker 1: guy right here, you know, absolutely, I get you out

1646
01:19:19,280 --> 01:19:19,640
Speaker 1: of here.

1647
01:19:20,000 --> 01:19:23,720
Speaker 5: It's like, wait, is that is that a judge?

1648
01:19:24,880 --> 01:19:25,280
Speaker 1: You got that?

1649
01:19:25,800 --> 01:19:26,080
Speaker 2: You got?

1650
01:19:27,880 --> 01:19:28,479
Speaker 3: Shut up?

1651
01:19:29,200 --> 01:19:31,240
Speaker 1: Use Atlanta for real? You know we got a more

1652
01:19:31,280 --> 01:19:34,720
Speaker 1: speed down baby, what you need you home loans? We

1653
01:19:34,800 --> 01:19:37,720
Speaker 1: got the more speed down? What you bankers?

1654
01:19:39,200 --> 01:19:39,840
Speaker 3: Super dope?

1655
01:19:39,880 --> 01:19:40,040
Speaker 4: Man?

1656
01:19:40,120 --> 01:19:42,800
Speaker 1: Yeah? Man, come on, what you got over there? Baby?

1657
01:19:42,840 --> 01:19:59,800
Speaker 1: What you got over there? Let's do this.

1658
01:20:05,120 --> 01:20:06,160
Speaker 3: I like this, park man.

1659
01:20:06,240 --> 01:20:11,240
Speaker 1: This is just we get to get the information from you. Man.

1660
01:20:11,320 --> 01:20:15,840
Speaker 1: Let's go. Because a former artist, you are not quite

1661
01:20:15,920 --> 01:20:17,080
Speaker 1: close if.

1662
01:20:17,000 --> 01:20:21,040
Speaker 3: You were there, former songwriter, I'm gonna say, still.

1663
01:20:20,880 --> 01:20:25,640
Speaker 1: Songwriter, wet every songwriter, forever song star and.

1664
01:20:25,840 --> 01:20:32,560
Speaker 8: One star executive star publisher, star publisher.

1665
01:20:32,800 --> 01:20:37,519
Speaker 1: Yeah, thank you. We like to know who. We want

1666
01:20:37,560 --> 01:20:50,439
Speaker 1: to know. You're five your top five. Yeah, I'm taking time.

1667
01:20:51,040 --> 01:20:52,840
Speaker 2: Top five.

1668
01:20:55,720 --> 01:21:02,120
Speaker 1: You're too five R and B say said R and

1669
01:21:02,240 --> 01:21:09,479
Speaker 1: B songs. We got to know before you go, Gere

1670
01:21:09,640 --> 01:21:16,679
Speaker 1: on this show. Everybody was to know about your Yes,

1671
01:21:23,240 --> 01:21:25,320
Speaker 1: come come on.

1672
01:21:27,360 --> 01:21:31,200
Speaker 6: You five.

1673
01:21:35,680 --> 01:21:51,880
Speaker 7: Yes, let's do it, babe, Let's go for the tab sir.

1674
01:21:52,040 --> 01:21:56,000
Speaker 3: Yeah, your Top five R and B.

1675
01:21:56,080 --> 01:22:02,320
Speaker 1: Singers, Top five R and B Singers, Stevie Wonder. Yes,

1676
01:22:03,320 --> 01:22:04,559
Speaker 1: if you ever hear all that, if you ever in

1677
01:22:04,560 --> 01:22:07,360
Speaker 1: a bad move, just play all I do and it

1678
01:22:07,520 --> 01:22:09,960
Speaker 1: just it just bring you back to life. It'll bring

1679
01:22:10,040 --> 01:22:13,559
Speaker 1: you back to life. Its just literally will somebody got

1680
01:22:13,600 --> 01:22:16,040
Speaker 1: a chance to work with, which which was an amazing thing.

1681
01:22:16,200 --> 01:22:16,839
Speaker 3: Was uh.

1682
01:22:17,479 --> 01:22:20,719
Speaker 1: I wrote actually number one record called What's Out Without

1683
01:22:20,760 --> 01:22:24,360
Speaker 1: You with Charlie Wilson. Comes for your letter?

1684
01:22:26,600 --> 01:22:28,280
Speaker 3: You said you wrote that record.

1685
01:22:28,120 --> 01:22:31,000
Speaker 1: Me and Lady Stewart Tracy Hall. Yeah, number one, number

1686
01:22:31,000 --> 01:22:34,439
Speaker 1: one Adult contemporary. Yeah, if you ever get fired, if

1687
01:22:34,439 --> 01:22:35,760
Speaker 1: I get married, I might play it at that one

1688
01:22:36,080 --> 01:22:36,759
Speaker 1: might play yeah.

1689
01:22:36,640 --> 01:22:37,320
Speaker 3: Play your song.

1690
01:22:37,400 --> 01:22:38,160
Speaker 1: Yeah, I might do that.

1691
01:22:38,200 --> 01:22:38,880
Speaker 3: I might do that.

1692
01:22:39,200 --> 01:22:44,800
Speaker 1: Charlie Wilson. I'm gonna say, Whinney Houston, come on. When

1693
01:22:44,880 --> 01:22:47,160
Speaker 1: when you hear Whitney's voice, it's just it's just like

1694
01:22:47,200 --> 01:22:50,559
Speaker 1: that the voice that can't be real, voice that can't

1695
01:22:50,560 --> 01:22:53,840
Speaker 1: be real. Who else is on that list?

1696
01:22:54,920 --> 01:22:59,439
Speaker 3: Joe? Yeah, come on, Yeah, he's one of my favorite people.

1697
01:22:59,479 --> 01:23:01,599
Speaker 1: Just don't really, I mean for me, I mean listening

1698
01:23:01,600 --> 01:23:02,479
Speaker 1: if you if you get.

1699
01:23:02,360 --> 01:23:05,439
Speaker 3: Him going, my car is Joe's a singer, singer.

1700
01:23:05,720 --> 01:23:06,960
Speaker 1: Joe is Joe.

1701
01:23:07,000 --> 01:23:07,840
Speaker 3: He's a singer. Singer.

1702
01:23:08,400 --> 01:23:13,080
Speaker 1: That's four. Five is Michael Jackson. Michael Jackson. His tone,

1703
01:23:13,479 --> 01:23:18,040
Speaker 1: energy is feel, it's it's it's here, it's here, it's there,

1704
01:23:18,040 --> 01:23:18,439
Speaker 1: it's there.

1705
01:23:18,520 --> 01:23:22,800
Speaker 3: It's two people that have been vocal instruments.

1706
01:23:22,479 --> 01:23:26,599
Speaker 2: Yeah, and that would be James Brown Jackson.

1707
01:23:26,640 --> 01:23:30,560
Speaker 3: Yes, he became instruments. He became instrumentation.

1708
01:23:30,920 --> 01:23:36,920
Speaker 5: Absolutely, And Michael Jackson is also one of very few

1709
01:23:37,520 --> 01:23:44,000
Speaker 5: who have been a great as a child and as

1710
01:23:44,040 --> 01:23:45,839
Speaker 5: an adult as a vocalist.

1711
01:23:46,080 --> 01:23:48,880
Speaker 1: Absolutely. Yeah.

1712
01:23:49,040 --> 01:23:52,280
Speaker 2: Some would argue he was a better vocalist as a child, yes,

1713
01:23:52,800 --> 01:23:55,160
Speaker 2: because he became a stylist as an adult.

1714
01:23:55,720 --> 01:23:58,479
Speaker 1: As a child, it's just flat foot vocal you go.

1715
01:24:00,640 --> 01:24:05,720
Speaker 1: I know, I'm not, but soon as I finished this

1716
01:24:05,760 --> 01:24:13,640
Speaker 1: Caprice Yeah yeah, kulid Hey, yeah, but I know what

1717
01:24:13,680 --> 01:24:16,160
Speaker 1: you mean. He was that man, He was that kid,

1718
01:24:16,240 --> 01:24:17,160
Speaker 1: and he was that dude.

1719
01:24:17,200 --> 01:24:25,320
Speaker 2: He created like, I just think it's very incredible that

1720
01:24:26,000 --> 01:24:30,280
Speaker 2: when artists are are able to create a thing that

1721
01:24:30,439 --> 01:24:35,760
Speaker 2: is now trademark trademarked without the legal thing. But but

1722
01:24:36,200 --> 01:24:42,240
Speaker 2: it's Michael's a trademark. There are certain things Tradek's sonic trademark.

1723
01:24:42,360 --> 01:24:50,400
Speaker 2: You pursue that thing like m J ship right now? Yeah,

1724
01:24:50,720 --> 01:24:57,000
Speaker 2: is Charlie Wilson, Oh yeah, it is joy k C

1725
01:24:57,360 --> 01:25:01,760
Speaker 2: Like m hm, those types of things. Man, I think

1726
01:25:01,760 --> 01:25:07,400
Speaker 2: I just yeah, ah, yeah, that's genuine Yeah, yeah, yeah,

1727
01:25:07,439 --> 01:25:07,840
Speaker 2: that's right.

1728
01:25:08,360 --> 01:25:10,880
Speaker 1: Imber Harvey was in the studio like why do you

1729
01:25:10,960 --> 01:25:11,320
Speaker 1: do that?

1730
01:25:12,080 --> 01:25:16,240
Speaker 2: And genuine thought it was shade and I just do

1731
01:25:16,280 --> 01:25:19,160
Speaker 2: my thing And I said, gee, no, No, He's asking

1732
01:25:19,200 --> 01:25:22,360
Speaker 2: you genuinely like where does that come from?

1733
01:25:22,600 --> 01:25:24,920
Speaker 3: Like he's like he thinks it's dope.

1734
01:25:24,920 --> 01:25:25,439
Speaker 1: He said yeah.

1735
01:25:25,479 --> 01:25:29,080
Speaker 3: I was like, yeah, Harvey's liked.

1736
01:25:28,479 --> 01:25:28,960
Speaker 1: Him do that.

1737
01:25:29,000 --> 01:25:32,120
Speaker 3: What's making that do it? How do you just come

1738
01:25:32,200 --> 01:25:32,720
Speaker 3: up with that?

1739
01:25:34,000 --> 01:25:36,639
Speaker 1: Said, I've been here. He was perplexed since ninety six?

1740
01:25:38,360 --> 01:25:40,840
Speaker 3: What is that? Is your tongue in the way of

1741
01:25:41,560 --> 01:25:42,320
Speaker 3: what is going on?

1742
01:25:43,320 --> 01:25:45,879
Speaker 2: But those things, you know what I'm saying, I've always

1743
01:25:45,960 --> 01:25:47,320
Speaker 2: been in search of a thing.

1744
01:25:48,800 --> 01:25:52,120
Speaker 1: I don't have the thing. I still everybody else's still well,

1745
01:25:52,200 --> 01:25:57,080
Speaker 1: you're a good thing. I steal all their things. You're

1746
01:25:57,080 --> 01:25:58,240
Speaker 1: a good thing. Your own.

1747
01:25:58,439 --> 01:26:01,880
Speaker 3: Okay, okay, your top five R and B songs.

1748
01:26:02,160 --> 01:26:06,360
Speaker 1: I said one, it was all I do. Yeah, it's

1749
01:26:06,400 --> 01:26:09,719
Speaker 1: my Sunday music. Can you say it right? Jammy Lewis,

1750
01:26:10,200 --> 01:26:11,880
Speaker 1: you know a lot of my things would be Jammy Lewis.

1751
01:26:11,920 --> 01:26:16,200
Speaker 1: I know jam I think I know Jimmy, jam and

1752
01:26:16,280 --> 01:26:20,000
Speaker 1: Terry Lewi's catalog probably better than anybody else other than them.

1753
01:26:20,200 --> 01:26:24,439
Speaker 1: Like I literally studied their catalog. I mean, I am

1754
01:26:24,439 --> 01:26:27,600
Speaker 1: a I am a jam of Lewis fanatic. Just that

1755
01:26:27,720 --> 01:26:31,960
Speaker 1: anybody who really knows me knows that I genuinely like

1756
01:26:32,200 --> 01:26:34,479
Speaker 1: love Jimmy Terry. The other day, Terry Lewis gave me

1757
01:26:34,520 --> 01:26:36,640
Speaker 1: a phone number a couple of months ago. I just

1758
01:26:36,640 --> 01:26:38,439
Speaker 1: put it my fault. I just I'm never gonna call it.

1759
01:26:39,640 --> 01:26:41,000
Speaker 3: But I was like, I just had to have it.

1760
01:26:41,320 --> 01:26:42,160
Speaker 3: He gave me his number.

1761
01:26:44,280 --> 01:26:46,559
Speaker 1: Cloudy is a day, but cloudy was a day when

1762
01:26:46,560 --> 01:26:49,559
Speaker 1: sunshine came into my life and made it brighter. I said,

1763
01:26:49,560 --> 01:26:51,680
Speaker 1: that man gave me his phone number, That man who

1764
01:26:51,720 --> 01:26:53,519
Speaker 1: wrote that lyric gave me his number, Like you know what,

1765
01:26:53,520 --> 01:26:55,559
Speaker 1: I'm saying. You know what I'm saying, because when I

1766
01:26:55,640 --> 01:26:59,439
Speaker 1: need somebody, you know what I'm saying, What's what's what's well, what's.

1767
01:26:59,240 --> 01:27:02,040
Speaker 3: My somebody who will stand by me?

1768
01:27:03,640 --> 01:27:05,920
Speaker 1: Say that's he I got to it's rough, you know

1769
01:27:05,920 --> 01:27:09,360
Speaker 1: what I'm saying. Like literally, anyways.

1770
01:27:09,439 --> 01:27:11,800
Speaker 2: I look at them, I'm the same way I look

1771
01:27:11,840 --> 01:27:15,479
Speaker 2: at them guys, and I'm like, those are the guys

1772
01:27:15,520 --> 01:27:16,080
Speaker 2: that did that.

1773
01:27:16,439 --> 01:27:17,080
Speaker 1: Guys.

1774
01:27:17,479 --> 01:27:22,200
Speaker 2: Those are the like another another, guys who trademarked something.

1775
01:27:23,120 --> 01:27:26,000
Speaker 1: Yeah, those are the guys that wrote a sonic. Yeah,

1776
01:27:26,680 --> 01:27:28,320
Speaker 1: tell me if you still care, those are the guys

1777
01:27:28,320 --> 01:27:28,879
Speaker 1: that wrote.

1778
01:27:28,720 --> 01:27:36,800
Speaker 3: On course, come moment, Jesus Christ. When you think about that.

1779
01:27:37,720 --> 01:27:42,400
Speaker 1: When you think about when you think about that, it's

1780
01:27:42,560 --> 01:27:46,439
Speaker 1: just not No, it's not normal, not normal, it's not normal.

1781
01:27:46,760 --> 01:27:49,960
Speaker 1: No what those what those guys are. But yes, can't

1782
01:27:50,040 --> 01:27:55,080
Speaker 1: stand the rain. All I do, all I do. I'm

1783
01:27:55,080 --> 01:27:57,519
Speaker 1: gonna go back, Charlie Wilson. You feel love?

1784
01:27:57,600 --> 01:28:00,120
Speaker 3: Why not feel love? Why not?

1785
01:28:00,360 --> 01:28:03,840
Speaker 1: Just it's just a feeling. If you don't want to

1786
01:28:03,840 --> 01:28:10,400
Speaker 1: hold somebody, something wrong when that, come on? If you're still.

1787
01:28:12,880 --> 01:28:15,760
Speaker 9: Come on, come on minute, if that ain't should do

1788
01:28:15,760 --> 01:28:25,160
Speaker 9: that with niggas exactly, we're good, We're good.

1789
01:28:25,960 --> 01:28:30,000
Speaker 1: Were good? Uh God, what's what's what's another song? Oh,

1790
01:28:30,439 --> 01:28:34,400
Speaker 1: I'm gonna say, Prince, what's my song? Thinking about if

1791
01:28:34,400 --> 01:28:36,880
Speaker 1: I was your girlfriend? I'm gonna tell you why that

1792
01:28:36,920 --> 01:28:42,040
Speaker 1: man wrote a song about being a girl, but if

1793
01:28:42,080 --> 01:28:45,479
Speaker 1: I was from a man's perspective, he said, I want

1794
01:28:45,520 --> 01:28:46,720
Speaker 1: to be so close to you that I wish I

1795
01:28:46,800 --> 01:28:49,080
Speaker 1: was your girlfriend. M hm. I want you to think

1796
01:28:49,120 --> 01:28:50,720
Speaker 1: about what that where he had to go.

1797
01:28:51,040 --> 01:28:51,400
Speaker 3: I don't.

1798
01:28:51,479 --> 01:28:53,800
Speaker 1: I don't do drugs, but if I did, I would

1799
01:28:53,800 --> 01:28:55,479
Speaker 1: hope that I be able to tap in some ship

1800
01:28:55,560 --> 01:28:57,840
Speaker 1: like that because he had to go there. To go there,

1801
01:28:57,880 --> 01:29:00,240
Speaker 1: he had to switch genders because I want to be

1802
01:29:00,240 --> 01:29:02,040
Speaker 1: so close to you that I want to be your girlfriend.

1803
01:29:02,080 --> 01:29:03,599
Speaker 3: I mean, come on, could write that?

1804
01:29:03,840 --> 01:29:04,120
Speaker 1: Come on?

1805
01:29:04,200 --> 01:29:06,759
Speaker 3: You can tell by his pants and.

1806
01:29:06,240 --> 01:29:09,639
Speaker 1: You know I'm just saying, but still take but still

1807
01:29:09,640 --> 01:29:10,599
Speaker 1: take your chick, you know what I'm saying.

1808
01:29:10,680 --> 01:29:12,479
Speaker 3: So at the end of the day, he's got he's

1809
01:29:12,520 --> 01:29:14,240
Speaker 3: got perspective.

1810
01:29:14,040 --> 01:29:16,240
Speaker 1: That that he had to go to me.

1811
01:29:16,400 --> 01:29:19,080
Speaker 3: He's like women talk to him differently.

1812
01:29:19,240 --> 01:29:22,640
Speaker 1: Absolutely, yeah, absolutely, yep, yeah they do.

1813
01:29:23,000 --> 01:29:26,479
Speaker 3: They're sharing the inner working yes, yeah, with Prince.

1814
01:29:26,800 --> 01:29:30,000
Speaker 1: That's why you could write that, you know, what I'm saying.

1815
01:29:30,920 --> 01:29:34,960
Speaker 1: Probably lastly, oh would be this is a song. Yeah,

1816
01:29:35,120 --> 01:29:40,240
Speaker 1: love Ballad LTD. Come on, Jeffrey, and what we have

1817
01:29:40,960 --> 01:29:42,880
Speaker 1: is much more than they can see. Come on what

1818
01:29:43,000 --> 01:29:45,599
Speaker 1: we talk about and keep saying it and keep saying,

1819
01:29:46,760 --> 01:29:50,800
Speaker 1: just keep saying this much more, come on, come on,

1820
01:29:52,880 --> 01:29:54,760
Speaker 1: just keep saying. That is that is that is the

1821
01:29:54,880 --> 01:29:57,840
Speaker 1: that is the R and B black love song. You

1822
01:29:57,920 --> 01:30:00,439
Speaker 1: can't write a better love song than that.

1823
01:30:01,160 --> 01:30:02,679
Speaker 3: Oh my god. Yeah.

1824
01:30:02,760 --> 01:30:05,120
Speaker 5: If that don't make you feel, I got something else

1825
01:30:05,160 --> 01:30:07,519
Speaker 5: for him, chief something something, something different, fro him man

1826
01:30:08,479 --> 01:30:13,479
Speaker 5: for the executive, for the executive, not your top five executives.

1827
01:30:15,720 --> 01:30:21,439
Speaker 1: Got you? That's good, that's good, top five executives. I'm

1828
01:30:21,439 --> 01:30:25,200
Speaker 1: gonna okay, I'm gonna start like here Jermaine du Prix

1829
01:30:29,200 --> 01:30:33,080
Speaker 1: because I know I'm gonna say this because j D

1830
01:30:33,240 --> 01:30:35,160
Speaker 1: does not get the love j D. J D's is

1831
01:30:35,800 --> 01:30:37,640
Speaker 1: is incredible. I've I've been spending some time with j

1832
01:30:37,720 --> 01:30:39,240
Speaker 1: D lately a lot of time just hanging out with

1833
01:30:39,320 --> 01:30:43,840
Speaker 1: him sometimes Jamaine. When Jamaine talks to Jamaine's Jamaine don't

1834
01:30:43,880 --> 01:30:46,639
Speaker 1: talk enough about himself. So I want to just give

1835
01:30:46,760 --> 01:30:49,760
Speaker 1: Jamaine his shot out. Jamaine is incredible Jamaine incredible and

1836
01:30:49,960 --> 01:30:53,160
Speaker 1: our producer whatever and genius. JAMAINEA. Pree is one of

1837
01:30:53,200 --> 01:30:57,360
Speaker 1: the best and our executives in our in our game.

1838
01:30:58,479 --> 01:31:00,559
Speaker 1: I'm gonna give you one another one that people think about.

1839
01:31:01,280 --> 01:31:02,040
Speaker 1: Michael Bivens.

1840
01:31:02,479 --> 01:31:06,480
Speaker 3: Oh, come on, because SAI yesterday.

1841
01:31:06,720 --> 01:31:16,320
Speaker 1: Because if you don't understand he did ABC BBD, just

1842
01:31:16,680 --> 01:31:18,920
Speaker 1: stop right there and then and then you go around

1843
01:31:18,920 --> 01:31:22,519
Speaker 1: and then you find these four guys from Philly who

1844
01:31:22,600 --> 01:31:26,080
Speaker 1: starts selling fourteen fifteen million records like it's nothing. And

1845
01:31:26,960 --> 01:31:30,360
Speaker 1: in Boys and Men. I mean, if if there was

1846
01:31:30,400 --> 01:31:33,280
Speaker 1: somebody today or whatever you want to say, whoever was

1847
01:31:33,560 --> 01:31:37,800
Speaker 1: that founded a group that did ten to fifteen million

1848
01:31:37,840 --> 01:31:41,519
Speaker 1: dollars sales, I was more than one billion dollars. That's

1849
01:31:41,520 --> 01:31:43,679
Speaker 1: a billion dollars. He's a billionaire in this day and age.

1850
01:31:44,160 --> 01:31:47,960
Speaker 1: He's a billionaire. We don't give Michael Bivins the credit

1851
01:31:48,040 --> 01:31:54,160
Speaker 1: Michael Bivens deserves. Yes, Michael Bivens. Oh, My number three

1852
01:31:54,160 --> 01:31:57,160
Speaker 1: would be Mark Pitts. Come on, you see the tour

1853
01:31:57,240 --> 01:31:59,519
Speaker 1: that's I think. I think, I think we got it.

1854
01:31:59,520 --> 01:32:01,280
Speaker 1: We gotta we got a salute Mark Pitch. We got

1855
01:32:01,360 --> 01:32:03,599
Speaker 1: got to got we gotta get Mark with Mark Pitch

1856
01:32:03,760 --> 01:32:06,360
Speaker 1: is done in this game, does not again, does not

1857
01:32:06,400 --> 01:32:09,280
Speaker 1: get talked about enough. And he's god level. He is

1858
01:32:09,680 --> 01:32:13,960
Speaker 1: executive absolutely man like his layers in the story, like

1859
01:32:14,040 --> 01:32:15,000
Speaker 1: that is that is?

1860
01:32:15,040 --> 01:32:19,680
Speaker 3: That is different, Chris Brown, come on, Miguel Usher, come

1861
01:32:19,720 --> 01:32:20,439
Speaker 3: on different.

1862
01:32:20,600 --> 01:32:24,280
Speaker 1: Absolutely, Well, we'll all be chasing. We'll be chasing in

1863
01:32:24,360 --> 01:32:27,400
Speaker 1: his shadow. Mark Mark Pitches is incredible and so I

1864
01:32:27,400 --> 01:32:28,960
Speaker 1: want to say Mark Pitch is one of my top

1865
01:32:29,000 --> 01:32:32,599
Speaker 1: five executives all time. Oh and then I'm gonna say

1866
01:32:32,640 --> 01:32:33,760
Speaker 1: I'm gonna say one another one.

1867
01:32:33,960 --> 01:32:38,519
Speaker 5: Rested Stewart talk about it my god to me the

1868
01:32:38,560 --> 01:32:43,519
Speaker 5: first superstar and are first superstar. Like he's known for

1869
01:32:43,640 --> 01:32:46,200
Speaker 5: his music, but he was known for his lifestyle.

1870
01:32:46,840 --> 01:32:50,040
Speaker 1: Like niggas was like Shake, Yeah, come on, you know

1871
01:32:50,080 --> 01:32:54,000
Speaker 1: what I'm saying. That is new Shake. They knew Shake.

1872
01:32:54,040 --> 01:32:55,599
Speaker 1: And you know the thing about Shake, I mean Shak

1873
01:32:55,760 --> 01:32:59,320
Speaker 1: was from the Bay. From the Bay. Shake was such

1874
01:32:59,360 --> 01:33:01,880
Speaker 1: an important person in my career because he was like,

1875
01:33:02,840 --> 01:33:04,800
Speaker 1: as a writer, you know, I'd be going through ship

1876
01:33:04,800 --> 01:33:06,280
Speaker 1: SAKEE would always just be like, come on, man, I

1877
01:33:06,320 --> 01:33:06,640
Speaker 1: got you.

1878
01:33:06,640 --> 01:33:06,800
Speaker 3: You know.

1879
01:33:07,000 --> 01:33:08,240
Speaker 1: He said, come to New York, Come fuck with me

1880
01:33:08,280 --> 01:33:10,040
Speaker 1: New York. Whenever I was like going through ship as

1881
01:33:10,040 --> 01:33:11,960
Speaker 1: a writer. Come fuck with me, come down to Miami,

1882
01:33:12,000 --> 01:33:13,519
Speaker 1: come fuck with me. You know what I'm saying. We had,

1883
01:33:13,680 --> 01:33:16,200
Speaker 1: we had, we come to Vegas. Shake Shake used to do.

1884
01:33:16,800 --> 01:33:17,120
Speaker 3: He was.

1885
01:33:17,400 --> 01:33:20,080
Speaker 1: He was truly one of thee Shake would be like

1886
01:33:20,120 --> 01:33:21,920
Speaker 1: funk the corporate card. We for the spending, we for

1887
01:33:22,040 --> 01:33:23,680
Speaker 1: the methist, corporate card up. We would just have a

1888
01:33:23,720 --> 01:33:27,120
Speaker 1: good time. But he knew what you needed, you know

1889
01:33:27,120 --> 01:33:28,879
Speaker 1: what I'm saying, And he would do that for everybody.

1890
01:33:29,560 --> 01:33:33,320
Speaker 1: That's my guy. The Goat number five is l A.

1891
01:33:33,360 --> 01:33:35,640
Speaker 3: Red. That's it. That's it.

1892
01:33:35,720 --> 01:33:40,280
Speaker 1: That's that's it, the Goat. He's the He's the greatest.

1893
01:33:41,000 --> 01:33:44,519
Speaker 1: He's the outside. I mean, listen, no disrespect to the Clives,

1894
01:33:44,520 --> 01:33:45,960
Speaker 1: to armored ear to get into the Barry Gorgers of

1895
01:33:46,000 --> 01:33:48,160
Speaker 1: the world. You know what I'm saying. But from my

1896
01:33:48,280 --> 01:33:53,559
Speaker 1: generation l A. Re Antonio readers, every genre of me,

1897
01:33:53,720 --> 01:33:56,880
Speaker 1: come on, come on, he is he is. He's also

1898
01:33:57,160 --> 01:34:00,680
Speaker 1: written and produced it. Absolutely he is it. He is.

1899
01:34:01,200 --> 01:34:04,800
Speaker 1: He is, he is, he is, he is the guy man.

1900
01:34:04,920 --> 01:34:06,920
Speaker 1: He did it, and I mean we could sit here

1901
01:34:06,920 --> 01:34:08,360
Speaker 1: and talk for hours about what he did. I saw

1902
01:34:08,439 --> 01:34:10,000
Speaker 1: this episode with y'all, which was great, man, but it's

1903
01:34:10,040 --> 01:34:12,400
Speaker 1: like Eli. He's they said he coming back to do

1904
01:34:12,600 --> 01:34:15,080
Speaker 1: part two. Come on, he has to. That's not one one.

1905
01:34:15,080 --> 01:34:17,360
Speaker 1: It's not enough just to go. So those are my

1906
01:34:17,400 --> 01:34:17,840
Speaker 1: top five.

1907
01:34:18,200 --> 01:34:20,000
Speaker 3: Good job. I like what you did.

1908
01:34:20,560 --> 01:34:22,800
Speaker 5: But what else is there that that that you know

1909
01:34:22,960 --> 01:34:26,040
Speaker 5: your your thing? We gotta his his votron, We need that,

1910
01:34:26,120 --> 01:34:26,680
Speaker 5: We need that.

1911
01:34:27,120 --> 01:34:30,320
Speaker 2: See your votron, buddy, you're super R and B artists.

1912
01:34:30,320 --> 01:34:32,320
Speaker 2: We're going to build them. So where you're gonna get

1913
01:34:32,320 --> 01:34:36,400
Speaker 2: the vocal from or build her or build something your

1914
01:34:36,479 --> 01:34:40,080
Speaker 2: vocal from performance style, styling, passion of the artist, and

1915
01:34:40,160 --> 01:34:45,599
Speaker 2: who's going to exect this product, this this artist pro

1916
01:34:47,080 --> 01:34:49,360
Speaker 2: where you get the one vocal from for you're super

1917
01:34:49,600 --> 01:34:50,519
Speaker 2: super R and B artist.

1918
01:34:50,800 --> 01:34:52,960
Speaker 1: I'm gonna get my vocal from Michael because we said

1919
01:34:53,040 --> 01:34:56,120
Speaker 1: he can. He had all that, all of it all.

1920
01:34:56,560 --> 01:35:00,400
Speaker 2: You ain't gonna explain it, You're right, Michael Jackson performing style.

1921
01:35:00,720 --> 01:35:08,520
Speaker 1: I gotta go Beyonce, who yeah, because she wears heels

1922
01:35:09,640 --> 01:35:12,800
Speaker 1: and she danced like she wears sneakers, you know what

1923
01:35:12,840 --> 01:35:17,200
Speaker 1: I'm saying. And she does it across stadiums, you know

1924
01:35:17,200 --> 01:35:19,240
Speaker 1: what I'm saying. And by the way, and I've seen

1925
01:35:19,400 --> 01:35:22,320
Speaker 1: many shows, you could you could catch a show in

1926
01:35:22,560 --> 01:35:26,080
Speaker 1: LA or you can catch a show at fucking Saint Louis.

1927
01:35:26,560 --> 01:35:29,559
Speaker 1: You're gonna get the same energy. She's not gonna cheat

1928
01:35:29,600 --> 01:35:33,040
Speaker 1: you out of your expensive dance ticket. You're gonna get.

1929
01:35:33,280 --> 01:35:35,520
Speaker 1: You're gonna get your money's worth wherever.

1930
01:35:35,240 --> 01:35:36,120
Speaker 3: You see her excellent.

1931
01:35:36,200 --> 01:35:40,360
Speaker 1: Yeah, yes, the styling. Listen, man, I'll probably keep it

1932
01:35:40,360 --> 01:35:43,400
Speaker 1: the same and the keeping the same household. I love hope.

1933
01:35:44,280 --> 01:35:44,960
Speaker 3: You know what I'm saying.

1934
01:35:45,040 --> 01:35:48,439
Speaker 1: I love I love you know the man. The man

1935
01:35:48,560 --> 01:35:50,280
Speaker 1: is decides to wake up and say I'm about to

1936
01:35:50,320 --> 01:35:52,880
Speaker 1: go do Yankee Stadium, and everybody want to be there

1937
01:35:53,439 --> 01:35:56,120
Speaker 1: and no one's gonna miss it because it's it's his aura,

1938
01:35:56,640 --> 01:36:00,160
Speaker 1: and we're all gonna be there. It's clothes, absolutely, it's

1939
01:36:00,200 --> 01:36:07,320
Speaker 1: it's it's it's an essence. J gonna bring out CEO's hood, niggas, models,

1940
01:36:08,160 --> 01:36:10,800
Speaker 1: everybody gonna be at a Jay show and you want

1941
01:36:10,800 --> 01:36:13,040
Speaker 1: to be there, and you want to say I was there. Yeah,

1942
01:36:13,160 --> 01:36:15,160
Speaker 1: I'll be at Ruth's picnic, I'll be in Yankee Stadium.

1943
01:36:15,200 --> 01:36:18,920
Speaker 1: Might be there at all. Listen, I got I had

1944
01:36:18,960 --> 01:36:20,800
Speaker 1: a bunch of rock away in my time there. You got,

1945
01:36:21,479 --> 01:36:23,439
Speaker 1: But even from a style perspective. He just he's just

1946
01:36:23,479 --> 01:36:24,040
Speaker 1: that dude to.

1947
01:36:24,000 --> 01:36:26,720
Speaker 2: Me telling you, I had a rock a bunch of

1948
01:36:27,520 --> 01:36:30,360
Speaker 2: his sister gave me a bunch of and I loved it.

1949
01:36:31,439 --> 01:36:32,719
Speaker 2: The passion of the artist.

1950
01:36:33,360 --> 01:36:39,000
Speaker 5: Chris Brown, Man, he really don't getting more passionate, really

1951
01:36:39,160 --> 01:36:45,400
Speaker 5: don't get more passionate, and than the three Browns, James Brown,

1952
01:36:45,880 --> 01:36:49,200
Speaker 5: Bobby Brown, Christy come on something.

1953
01:36:49,880 --> 01:36:53,280
Speaker 8: Something something in the brown I find me young this

1954
01:36:53,439 --> 01:36:57,120
Speaker 8: last day is Brown. I'm like, yeah, it's gonna be

1955
01:36:57,120 --> 01:37:00,439
Speaker 8: some young nigga. Yeah, it's something brown out.

1956
01:37:00,720 --> 01:37:01,959
Speaker 1: But you better be passionate.

1957
01:37:01,960 --> 01:37:04,599
Speaker 3: We're going to time when we getting done because because

1958
01:37:05,720 --> 01:37:06,280
Speaker 3: get to deal with that.

1959
01:37:06,920 --> 01:37:09,920
Speaker 1: I like it in quick. That man man perform for

1960
01:37:09,960 --> 01:37:12,680
Speaker 1: three hours. Yeah, they stop, he's not playing, and then

1961
01:37:12,840 --> 01:37:15,200
Speaker 1: want to just sitio. Ain't gonna, ain't gonna go to the club,

1962
01:37:15,360 --> 01:37:17,320
Speaker 1: absolutely like what what?

1963
01:37:17,320 --> 01:37:20,160
Speaker 2: What? All in the same night, same night, and he's gonna

1964
01:37:20,160 --> 01:37:23,280
Speaker 2: plays eighty records in the same night they already did

1965
01:37:23,320 --> 01:37:27,320
Speaker 2: and didn't do another movie treatments for all of them

1966
01:37:27,640 --> 01:37:30,200
Speaker 2: in the same night, and then do it again the

1967
01:37:30,280 --> 01:37:32,720
Speaker 2: same the next night. Yes, and then paint the side

1968
01:37:32,720 --> 01:37:36,479
Speaker 2: of his bus all in the same night. Come on, man, Yeah,

1969
01:37:36,720 --> 01:37:39,040
Speaker 2: twenty four hours are not the same, and everyone.

1970
01:37:38,680 --> 01:37:42,880
Speaker 1: Else we don't get themselves. Oh yeah, no, that to

1971
01:37:42,920 --> 01:37:45,760
Speaker 1: what's gonna be crazy by the I'm not an usher too. Yeah,

1972
01:37:46,120 --> 01:37:47,439
Speaker 1: we will absolutely be there.

1973
01:37:47,600 --> 01:37:48,360
Speaker 3: Who's he paying this?

1974
01:37:50,080 --> 01:37:56,880
Speaker 1: Who's he paying this? I'd like to do it. I'd

1975
01:37:57,000 --> 01:37:59,640
Speaker 1: like to do it. Let me get it, let me

1976
01:37:59,680 --> 01:38:03,080
Speaker 1: get it the beginning. You know what I'm gonna do,

1977
01:38:03,120 --> 01:38:08,160
Speaker 1: and I'll bring it into the budget slightly. You might

1978
01:38:08,200 --> 01:38:10,200
Speaker 1: have to for forecast a little bit, but I got it.

1979
01:38:10,960 --> 01:38:15,200
Speaker 1: Talk that executive talk for a good call. Absolutely.

1980
01:38:15,880 --> 01:38:16,080
Speaker 3: See.

1981
01:38:16,960 --> 01:38:22,639
Speaker 2: Yeah, I ain't saying no nick.

1982
01:38:23,120 --> 01:38:25,960
Speaker 1: I ain't saying no nicks. I ain't saying no names.

1983
01:38:26,240 --> 01:38:27,320
Speaker 1: I ain't saying no name.

1984
01:38:30,439 --> 01:38:37,400
Speaker 2: What you did, don't say she, I ain't saying no names.

1985
01:38:44,439 --> 01:38:47,920
Speaker 1: Yeah, appreciate you'all, My brothers. We at the very important

1986
01:38:47,920 --> 01:38:50,000
Speaker 1: part of the show. Brother talk to her. Will you

1987
01:38:50,040 --> 01:38:50,759
Speaker 1: tell us a story?

1988
01:38:51,800 --> 01:38:56,040
Speaker 5: Funny? You're fucked up? Are funny and fucked up? The

1989
01:38:56,080 --> 01:38:59,280
Speaker 5: only rule to the game, tap can't say no name.

1990
01:39:00,560 --> 01:39:03,840
Speaker 5: You already tells us about you getting fired. Oh that

1991
01:39:03,960 --> 01:39:07,320
Speaker 5: was a fun up story. That was then it happened.

1992
01:39:07,400 --> 01:39:08,000
Speaker 3: That happens.

1993
01:39:08,040 --> 01:39:11,120
Speaker 1: Part of the story though funny and fucked up? Are

1994
01:39:11,160 --> 01:39:15,400
Speaker 1: funny and fucked up or just sucked it? Mm hmm, Man,

1995
01:39:15,400 --> 01:39:16,120
Speaker 1: I got so many.

1996
01:39:16,360 --> 01:39:20,440
Speaker 5: I'm sure it comes along with the pivot.

1997
01:39:20,200 --> 01:39:23,080
Speaker 1: Absolutely, you know. And I ain't got no n DA here,

1998
01:39:23,080 --> 01:39:26,120
Speaker 1: so I gotta be careful. So let's see funny fucked up.

1999
01:39:26,520 --> 01:39:33,040
Speaker 1: This particular person got caught stealing and I was like,

2000
01:39:33,080 --> 01:39:36,320
Speaker 1: what are you doing stealing? And it was young, a

2001
01:39:36,320 --> 01:39:40,559
Speaker 1: young person, and he called me and said, hey, I

2002
01:39:40,600 --> 01:39:43,880
Speaker 1: need you to come tell these people that you're mine.

2003
01:39:44,240 --> 01:39:45,720
Speaker 1: What was what you say? I need you to tell

2004
01:39:45,760 --> 01:39:48,920
Speaker 1: them that you're like my fucking guardian. I'm like wow.

2005
01:39:50,160 --> 01:39:55,639
Speaker 1: I said, okay, I guess and okay, if it's gonna work,

2006
01:39:55,680 --> 01:39:58,720
Speaker 1: i'll do it. Yeah, And I said, okay, cool, y'all, Hey,

2007
01:39:58,720 --> 01:40:02,760
Speaker 1: i'm his guardian. He was at a music store. It's

2008
01:40:03,120 --> 01:40:05,519
Speaker 1: dated myself right there because we don't have those, and

2009
01:40:06,920 --> 01:40:11,280
Speaker 1: so I was stealing CDs and I was like, all right, yeah.

2010
01:40:11,080 --> 01:40:11,839
Speaker 3: I'm his guardian.

2011
01:40:12,680 --> 01:40:17,880
Speaker 1: That's okay, cool, let them go. And then when I

2012
01:40:17,920 --> 01:40:20,920
Speaker 1: saw this person where this person lived, and I'm like,

2013
01:40:22,520 --> 01:40:28,280
Speaker 1: how are you stealing CDs? And you live here? Ain't

2014
01:40:28,320 --> 01:40:32,360
Speaker 1: none of us had none? This this is your house? Yeah,

2015
01:40:32,640 --> 01:40:34,920
Speaker 1: and you was trying to steal some CDs and you

2016
01:40:35,000 --> 01:40:37,720
Speaker 1: live here. Yeah, that's what it is. I'll leave it there.

2017
01:40:37,840 --> 01:40:40,600
Speaker 1: Some people like to find me and I was like,

2018
01:40:41,680 --> 01:40:46,439
Speaker 1: this is your house. Yeah, and you were stealing the CDs.

2019
01:40:47,080 --> 01:40:50,560
Speaker 1: That's what got the rush. Yeah, yeah, look at it.

2020
01:40:50,600 --> 01:40:51,320
Speaker 3: I guess.

2021
01:40:52,640 --> 01:40:54,559
Speaker 1: That person's going to hear this story. He's gonna laugh

2022
01:40:54,640 --> 01:40:56,439
Speaker 1: and he's gonna text me and be like, oh my god,

2023
01:40:56,439 --> 01:40:58,479
Speaker 1: that's hilarious. Yeah, he probably forgot it. But yeah, I

2024
01:40:58,520 --> 01:41:01,040
Speaker 1: remember that one you with the Guardian. I was the

2025
01:41:01,080 --> 01:41:05,479
Speaker 1: guardian hilarious and they believed it. And I was like, wow, okay,

2026
01:41:06,000 --> 01:41:07,240
Speaker 1: y'all off anything.

2027
01:41:07,240 --> 01:41:10,479
Speaker 2: Elder doctor tab Yes, sir. We appreciate you, brother, I

2028
01:41:10,520 --> 01:41:11,360
Speaker 2: appreciate y'all.

2029
01:41:11,400 --> 01:41:14,960
Speaker 3: Thank you, bro. We appreciate your overdue.

2030
01:41:14,800 --> 01:41:16,400
Speaker 1: Talk about doing this for a minute, and I'm glad

2031
01:41:16,400 --> 01:41:18,360
Speaker 1: we finally did it. We waited till we had a

2032
01:41:18,400 --> 01:41:19,080
Speaker 1: number one together.

2033
01:41:19,400 --> 01:41:20,360
Speaker 3: Yeah, there it is.

2034
01:41:20,560 --> 01:41:21,519
Speaker 1: Now we have a reason to do it.

2035
01:41:21,560 --> 01:41:24,080
Speaker 2: You've done a lot of great work, brow you continue

2036
01:41:24,120 --> 01:41:28,840
Speaker 2: to do great work, man, and we just appreciate you, brother.

2037
01:41:28,920 --> 01:41:32,880
Speaker 2: Thank you for having the friendship, the brotherhood, the business,

2038
01:41:32,960 --> 01:41:33,400
Speaker 2: all of it.

2039
01:41:33,560 --> 01:41:35,360
Speaker 1: And I thank y'all for what y'all do for army music.

2040
01:41:35,680 --> 01:41:38,639
Speaker 1: It's important, sir. You you keep it alive, you keep

2041
01:41:38,640 --> 01:41:41,040
Speaker 1: it at the forefront. Now y'all make it cool, y'all

2042
01:41:41,080 --> 01:41:43,440
Speaker 1: and now everybody that we were back armies.

2043
01:41:43,160 --> 01:41:46,120
Speaker 3: Back right kicking that taking good thing.

2044
01:41:46,000 --> 01:41:47,960
Speaker 1: To do it. So I appreciate what y'all do this

2045
01:41:48,200 --> 01:41:50,439
Speaker 1: for the genre. You know what I'm saying. It's important.

2046
01:41:50,920 --> 01:41:53,840
Speaker 1: And yeah, because when y'all started this, it wasn't always

2047
01:41:53,840 --> 01:41:55,080
Speaker 1: you know what I'm saying. We was We was coming

2048
01:41:55,120 --> 01:41:57,240
Speaker 1: out of some things. People you know, they weren't. They

2049
01:41:57,240 --> 01:41:58,800
Speaker 1: weren't too keen on what he was always doing.

2050
01:41:59,640 --> 01:42:00,439
Speaker 3: And we go R and B.

2051
01:42:00,520 --> 01:42:01,280
Speaker 1: So glad y'all doing.

2052
01:42:02,840 --> 01:42:04,360
Speaker 3: Appreciate, ladies and gentlemen.

2053
01:42:04,400 --> 01:42:07,360
Speaker 2: My name is Tank Valentine and this is the R

2054
01:42:07,400 --> 01:42:11,760
Speaker 2: and B Money Podcast, the authority on all things R

2055
01:42:11,840 --> 01:42:16,479
Speaker 2: and B. And this is a man who is all things.

2056
01:42:18,200 --> 01:42:24,439
Speaker 2: Brother star E said Cliff, It's not that