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Speaker 1: Wake that ass up in the morning.

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Speaker 2: The Breakfast Club Morning. Everybody's the j Envy Jesse, Larry

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Speaker 2: Charlamage the guy. We are the Breakfast Club. We got

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Speaker 2: a special guest in the building. Yes, indeed we have

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Speaker 2: Marsha ambrosis. Welcome back.

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Speaker 3: What's happening, Hi, guys Marha seven eight years.

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Speaker 2: Eight nine years, spend a long time crazy. How are

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Speaker 2: you feeling?

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Speaker 3: I'm great?

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Speaker 2: How are you doing well?

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Speaker 1: That's black and Holly favorite.

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Speaker 4: I mean, you got so many classics to me late nights,

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Speaker 4: early morning, friends and lovers, Nyla, you've done it again

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Speaker 4: with Casablanco.

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Speaker 3: Thank you you heard it?

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Speaker 1: Yes, absolutely, they gave it to you.

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Speaker 5: I feel it's such a vulnerable feeling when people would

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Speaker 5: like have it now, it's like not real, but this

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Speaker 5: is all the dream.

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Speaker 2: Well, congrats, thank you. So I heard it was your

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Speaker 2: mom that actually uh got you the link back up

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Speaker 2: with doctor Dreams.

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Speaker 5: What she did, in true scalse of fashion, the Liverpudlian

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Speaker 5: that she is, she hit me up and said.

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Speaker 1: Using words we have no idea.

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Speaker 5: That was means you were born and raised in Liverpool, Liverpudlian. Right,

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Speaker 5: so I'm born Liverpool born and raised. So my mom

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Speaker 5: calls me.

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Speaker 3: Me. Mom calls me and says, oh, Marsha, have you

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Speaker 3: spoke to her, ma'am doctor Dre lately.

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Speaker 5: No if I don't even think she referred to him

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Speaker 5: as doctor Dre. She just said Dre like I was

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Speaker 5: supposed to know who that was. And I'm like, no, mam,

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Speaker 5: I haven't spoke to Dre lately. And I was like,

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Speaker 5: all right, I'll call them up. So this is around

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Speaker 5: about the end of twenty twenty December, so I give

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Speaker 5: him a call, say what's up. We reconnect. It's like,

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Speaker 5: I'm working on a couple of things. I'll send you

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Speaker 5: a couple of ideas.

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Speaker 3: So we started shooting ideas back and forth what would

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Speaker 3: then be the GTA video game.

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Speaker 5: But I didn't know that that's what was being worked on.

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Speaker 5: You know, Dres just like, let's just work. You never

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Speaker 5: know what's going to happen. So we're going back and

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Speaker 5: forth and a couple of weeks go by, and the

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Speaker 5: top of twenty twenty one, he had a brain aneurysm

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Speaker 5: and I was on the treadmill when I found that out,

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Speaker 5: like looked at my phone and you know, it popped up.

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Speaker 3: Whatever news outlet, and it was like what I just

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Speaker 3: talked to him like less than twenty four.

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Speaker 5: Hours ago and made all the calls, found out everything

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Speaker 5: was okay and stable. Twenty four hours after that, he

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Speaker 5: called me said.

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Speaker 3: Look, Marsh, I'm cool.

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Speaker 5: I'm in recovery, but I want to get back to work.

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Speaker 5: So I want to get you out to LA and

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Speaker 5: let's just figure some things out.

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Speaker 2: So he in a hospital bed calling you like, look,

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Speaker 2: we got to get back to work.

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Speaker 3: All I know was like plugged up, plug up. On

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Speaker 3: the way back, I said, okay, doctor Dre, whatever you say.

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Speaker 5: And within a couple of weeks, I was in LA

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Speaker 5: most of that year twenty twenty one, and the creation

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Speaker 5: of Casablanco happened a couple of months after that, so

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Speaker 5: it was really all the GTA stuff. And then I

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Speaker 5: told Dre that I was overdoing this artist thing. Nyla's

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Speaker 5: mothers now and I just want to chill, like I

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Speaker 5: just want to produce and write. I've never been a

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Speaker 5: uh pick me. I want to be in front of

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Speaker 5: the cap No.

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Speaker 3: I was done, and he said, yeah.

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Speaker 1: Nah, are you was done with music?

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Speaker 3: Yeah?

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Speaker 1: Really?

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Speaker 3: Yeah?

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Speaker 5: An artist like I was always going to create, but

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Speaker 5: the whole being the artist thing. I was like, I've

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Speaker 5: done everything that I could possibly do on a this

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Speaker 5: bucket list that I tried to create for myself, I've surpassed.

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Speaker 2: My bucket list was on the bucket list.

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Speaker 5: I'm just curious get signed, win a Grammy, lose some Grammys.

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Speaker 3: I don't know, like work with.

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Speaker 5: My favorite artists, like regular stuff, but my actual things.

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Speaker 3: I didn't write, Oh.

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Speaker 5: Work with Michael Jackson, work with Prince, work with Stevie,

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Speaker 5: work with Doctor Dray. I didn't write those things out loud,

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Speaker 5: but I wanted those things, and it achieved that. By now,

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Speaker 5: this is twenty four years in for me, so I'm like.

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Speaker 3: Ah, what's next. I'm on my Quincy Jones mission.

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Speaker 4: Yeah, I know, you write for other people and produce

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Speaker 4: for other people with just something about your sound and

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Speaker 4: your music that I don't think.

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Speaker 1: Nobody else can deliver.

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Speaker 4: Your voice, your energy is something about a Marsha ambrocious

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Speaker 4: album that's just different than everything else that's out there.

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Speaker 3: This is true.

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Speaker 5: I'd done those I felt like I'd said all the

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Speaker 5: things that I wanted to say up until that point.

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Speaker 3: I say all that to say.

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Speaker 5: I told dra this over like we had a party

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Speaker 5: for the kids at his crib chilling, and I'm like, look, Dread,

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Speaker 5: I want to do this no more. I'm really into producing,

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Speaker 5: I'm writing. I love this team. I want to stay creative.

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Speaker 5: But as far as me doing it, and he was like, yeah, nah,

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Speaker 5: I just want to keep you creative. I just want

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Speaker 5: to keep you inspired. And we did one song in particular.

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Speaker 5: I can safely say the titles now.

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Speaker 3: Yes.

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Speaker 5: So we started with a song that used to be

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Speaker 5: called Curfew because there's a line where I say, let's

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Speaker 5: fall in love before the street lights come on. And

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Speaker 5: I was like, mm before curfew. Andre was like, no

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Speaker 5: one likes curfew. No one likes the curfew. So it

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Speaker 5: was we used a sample from A Night in Tunisia. Oh,

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Speaker 5: and I called it too Nizzian Nights.

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Speaker 1: Oh that's that class. It's a classic jazz record, right.

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Speaker 5: So it's a classic jazz record. It starts the way

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Speaker 5: we sampled it. We used this elaborate piano intro that

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Speaker 5: Bluetooth came up with, and I just started singing this intro,

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Speaker 5: and then that A night in too Nisia hits, and

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Speaker 5: then it goes to an entire nas situation and then

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Speaker 5: the Mary thing gets into it, and it's just all

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Speaker 5: of these things, and it was that magic happening in

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Speaker 5: the studio at.

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Speaker 3: That moment that we knew, you know, you know, you know.

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Speaker 5: It was one of those moments like sometimes in the

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Speaker 5: studio you're creating and it's like, oh, this is fire,

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Speaker 5: it's cool, We'll go home.

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Speaker 3: Listen to the beat.

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Speaker 5: Everyone in that room felt something shift, felt something new happen.

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Speaker 5: And to have done everything that I've already done musically,

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Speaker 5: everything that Dre has done, we'd never done this. So

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Speaker 5: we were onto something and it felt like we had

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Speaker 5: to see it through. So Casa Blanco became a destination.

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Speaker 5: Casa Blanco became the mood, the vibe, the standard, and

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Speaker 5: we just took.

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Speaker 3: It from there.

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Speaker 4: I like the pedestal you put hip hop on on

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Speaker 4: this album because just because just musically, it just shows

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Speaker 4: how much of a classic musical art form hip hop is.

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Speaker 4: The fact you can go from a that Tannisian records

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Speaker 4: like from the forties, right, yeah, the fact you can

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Speaker 4: go from nat to.

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Speaker 5: No to nineties, right and it blends perfectly, seamlessly. It

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Speaker 5: doesn't a lot of things that we did on this

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Speaker 5: album shouldn't make sense. Like I truly believe we will

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Speaker 5: be in the Guinness Book of World Records for how

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Speaker 5: many things we sampled and the way that we sampled them.

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Speaker 3: So no we tang.

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Speaker 5: Duke Kellington and Michael Jackson aren't supposed to fuse. But

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Speaker 5: on thrill Her did you know? So it's yeah, it

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Speaker 5: was a wild ride, but one of the most amazing

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Speaker 5: experiences I've ever had, not only recording it, just the

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Speaker 5: entire process even getting to this point, even it's taken

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Speaker 5: so long to get a release date for it to

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Speaker 5: be available, like the entire thing has just been No

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Speaker 5: one's done this before.

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Speaker 2: Now, how you talk about you talk about inspiration right

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Speaker 2: in Charlama, say how you inspired so many people, But

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Speaker 2: you must have inspired Doctor Dre as well, because we

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Speaker 2: haven't heard music from Doctor dra we haven't seen him

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Speaker 2: executive produce things. We've only heard rumors, and like it's

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Speaker 2: almost like a teathing.

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Speaker 1: Ever comes out.

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Speaker 4: You hear Doctor drect reduced such and such album, but

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Speaker 4: you never hear this.

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Speaker 5: He recently said this in a bit in a in

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Speaker 5: an interview he recently did and said, and I absolutely

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Speaker 5: believe this.

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Speaker 3: He may have only released.

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Speaker 5: Five percent of the music that he's ever recorded. Wow,

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Speaker 5: and now working with him as extensively as I did

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Speaker 5: during the pandemic.

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Speaker 3: It's absolutely true. And he doesn't do it purposefully.

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Speaker 5: It's because he loves the creative process, and it's like, no,

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Speaker 5: this is just for us, this is ours.

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Speaker 1: What did you do? How did you? How are you

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Speaker 1: one of a few people do you think happen?

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Speaker 3: I'm the only.

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Speaker 5: Only there's not one person before or after. I don't

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Speaker 5: even think this happens again that has an entire project

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Speaker 5: solely produced and mixed by Doctor Dre.

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Speaker 3: How did I do it? Not clear? But I know

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Speaker 3: that I did it.

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Speaker 5: I know that this is something that he'd never done,

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Speaker 5: and I feel like that that was the driving force for.

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Speaker 3: It to be something new.

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Speaker 5: He could have just did a hip hop rerecord. It

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Speaker 5: could have just been a soul armed. It's none of

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Speaker 5: those things. It's something so specific, so different, but so familiar,

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Speaker 5: and I feel like we were both going through a

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Speaker 5: similar situation. It was he had health scare, Eyda healthscare.

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Speaker 5: The pandemic is happening. It felt like the end of

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Speaker 5: the earth during that time, so it felt desperate in

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Speaker 5: a way. It felt if we don't do this and

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Speaker 5: this world ends tomorrow. What's the mark that we actually

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Speaker 5: leave on planet Earth? And musically, like you said, I've

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Speaker 5: done things that you know, a Marsha Ambrosius album is

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Speaker 5: this specific thing. If I had to leave it all

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Speaker 5: on the floor and put up my triple double and

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Speaker 5: win a chip, that's this album.

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Speaker 3: If it was all said and done.

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Speaker 5: Like okay, apocalyptic world that we're now in because of

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Speaker 5: the pandemic and many other things, it was that it

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Speaker 5: was out of desperation and feeling like I could have

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Speaker 5: lost my life.

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Speaker 3: Drake could have lost his. We didn't.

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Speaker 5: We survived these things. We're now post COVID. How do

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Speaker 5: we navigate through this? And what does that sound like?

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Speaker 5: And that's why and how this happens. So yeah, drab

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Speaker 5: and inspired by me, I'm inspired by him and it

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Speaker 5: just took off.

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Speaker 1: That's what the title means.

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Speaker 5: So Casablanco I initially within a week of recording what

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Speaker 5: we knew this was going to be. After Tunisian Nights,

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Speaker 5: he threw out some album titles, a couple of which

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Speaker 5: were things like I sing or I Sing more of

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Speaker 5: a one of those, and I was like, Drake, we

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Speaker 5: need an actual title, like what is this? It was like,

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Speaker 5: I mean you sing motherfucker is it? So I'm like, no, Dray,

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Speaker 5: it needs to be a title, like what is this thing?

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Speaker 5: So I was in a spoiled circumstance where I'm driving

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Speaker 5: through the Beverly Hills, like just Hollywood Hills every day

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Speaker 5: to the destination to record, and it felt very vintage Hollywood,

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Speaker 5: like the lights, the lambs. It was glitz, glamour, red carpets,

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Speaker 5: the whole nine, and I felt under dress for the

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Speaker 5: studio every time I.

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Speaker 3: Got there based on what we were creating. And so

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Speaker 3: it was strings.

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Speaker 5: It was a symphony, but it painted these pictures and

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Speaker 5: I was like, no, it feels like a place. It

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Speaker 5: feels like Casa Blanca. And it was like, okay, Casa Blanca,

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Speaker 5: it said, but nah, it's that Dray shit. So it's

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Speaker 5: a little bit more gangster than that, like Casa Blanco,

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Speaker 5: like Giselda Blanco. So the fusion of that very vintage

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Speaker 5: jazz Hollywood feel meets hip hop is how Casa Blanco

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Speaker 5: became what it was.

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Speaker 4: What it is and all you make it feels like

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Speaker 4: it's soundtracks to make love to, of course, like nothing more,

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Speaker 4: nothing less.

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Speaker 1: Why is that.

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Speaker 3: I have no clue. It's just in me. It's ridiculous,

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Speaker 3: Like I've had this.

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Speaker 5: Well, a friend of mine recently was like, how do

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Speaker 5: you even come up with another one this? Why not

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Speaker 5: even in a place of desperation, and even in a

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Speaker 5: place of the world was over, I still find a

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Speaker 5: song to make love to.

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Speaker 3: And it's a gift. And it's a gift.

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Speaker 4: One night stand music too good to have a one

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Speaker 4: night stand too, Like, that's not the type of music

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Speaker 4: you have one night stand to.

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Speaker 3: Well, that was the point.

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Speaker 5: My one night stand is now ten years long, okay,

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Speaker 5: And I'm saying so I definitely lent from other experiences

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Speaker 5: and wild drunk nights over the course of you know,

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Speaker 5: Grammy open bar. You know, it gets very ridiculous. So yeah,

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Speaker 5: those those one nights, they're a part of that song too.

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Speaker 5: But ultimately it's that one night that could be your forever.

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Speaker 1: Have a bunch of people that'll be like, you shouldn't

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Speaker 1: have one night stand?

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Speaker 3: Why not?

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Speaker 1: Exactly?

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Speaker 5: I don't know where it's gonna go. Like if you don't,

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Speaker 5: everything is a one night stand if you think about it.

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Speaker 3: So we've all done it.

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Speaker 5: It's whether or not it lasted or it didn't, but

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Speaker 5: you shouldn't be Oh, I'd never do that if I

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Speaker 5: didn't do it ten years later in a seven year old,

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Speaker 5: maybe that doesn't happen if I don't just you know

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Speaker 5: what I mean, Like if I don't say.

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Speaker 2: Hey, I gotta I want to ask. So I want

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Speaker 2: to go back to what you said. You said the

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Speaker 2: health scare in your child. How did that change your life?

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Speaker 2: With the healthcare in your child? Because I guess if

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Speaker 2: the baby was six seven years old, happened right before COVID,

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Speaker 2: so you pretty much raised the baby during COVID.

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Speaker 5: It's just COVID babies are different. It's ridiculous, Like, but

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Speaker 5: for me, how it all changed.

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Speaker 3: It changed all of us, you know. So it was.

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Speaker 5: Being a bit more sensitive, being a bit more open,

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Speaker 5: and I feel like.

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Speaker 3: All of our issues, all of our.

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Speaker 5: Mental health, health, everything was on the table because we

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Speaker 5: could all see each other. Now we had way too

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Speaker 5: much time to spend with ourselves. So you were like, oh,

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Speaker 5: you're I see you and we're going through exactly the

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Speaker 5: same thing. So there was much more, well for me anyway,

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Speaker 5: much more dialogue. Even though suicide skyrocketed, like all of

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Speaker 5: these things, all of these numbers, all of these things

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Speaker 5: are happening, and I have my baby, I have my husband,

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Speaker 5: I have my own bubble that allowed me to feel

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Speaker 5: safe amidst the chaos like it was. It still is chaotic,

294
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Speaker 5: but that was my peace and me being able to

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Speaker 5: be grounded, so that that definitely helped. By at the

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Speaker 5: same time, being in a dark place. I don't think

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Speaker 5: there's anything that could bring you out of that, and

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Speaker 5: that was terrifying during the pandemic. And I'm pretty sure

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Speaker 5: for anybody where you're like, not even your kid could

300
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Speaker 5: bring you. No my mother, my father, my brother, like

301
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Speaker 5: close friends could. This is what Casablanco ended up being.

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Speaker 5: Casablanco when the timing of it all was I could

303
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Speaker 5: see the light at the end of the tunnel. Now

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Speaker 5: I was over the other side of that dark place.

305
00:15:22,320 --> 00:15:26,000
Speaker 5: And even with this tentative, oh there's going to be

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Speaker 5: a release date or we had think about the samples

307
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Speaker 5: on this album, we literally took over a year to

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Speaker 5: clear the samples, and I didn't mind that because I

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Speaker 5: felt like I still needed time to heal. So waiting

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Speaker 5: for this release date was almost like when I say

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Speaker 5: a death date. It was Okay, that's the end of

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Speaker 5: that era. So whenever it was happening, it was like, Okay,

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Speaker 5: now it's June twenty eighth. I was like, that's the

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Speaker 5: end of all this madness that I had to get

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Speaker 5: through to get to it. So it was like, if

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Speaker 5: I can survive that long, I made it. So what,

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Speaker 5: We've got a couple of couple of days to go

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Speaker 5: until we get there. I didn't think I'd see this

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Speaker 5: moment at one point. So to get here and to

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Speaker 5: be happy and to be in a space that I'm in,

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Speaker 5: it's just wow.

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Speaker 3: Wow.

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Speaker 1: Is that where the song I guess self care on

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Speaker 1: right might come.

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Speaker 3: But even that is a song to make.

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Speaker 1: Love to yea a form of self care.

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Speaker 5: Right, it's self care. It's being in tune to oneself.

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Speaker 5: Put the do the math one plus one is there?

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Speaker 5: Do you? So? Yeah, self care And no matter who's

330
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Speaker 5: wrong or who was right, it was just don't leave

331
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Speaker 5: me and don't leave that feeling.

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Speaker 3: And once the.

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Speaker 5: Music started, it was all of those emotions and even

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Speaker 5: in that, like you said, it all came back down

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Speaker 5: to in true Marsha ambrosiest fashion right in that love song. Still,

336
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Speaker 5: so I'm just glad to be able to do that.

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Speaker 1: What's the wrong right part of it? Though? Like what

338
00:17:03,760 --> 00:17:05,600
Speaker 1: let mean, who's wrong self care? Wrong right with?

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Speaker 5: So initially those were two separate songs, and the self

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Speaker 5: care was I needed to do me figuratively literally, so

341
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Speaker 5: by the time we got too wrong right, it's me

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Speaker 5: inviting that person then into my space and it's given

343
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Speaker 5: me good like you so hood like please don't go.

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Speaker 3: It's that.

345
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Speaker 5: You're so wrong right now for even trying to let

346
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Speaker 5: me let my guard down. Because I was so cool

347
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Speaker 5: with just letting me do me and then here comes

348
00:17:44,280 --> 00:17:52,000
Speaker 5: this m this ugh, this fine dark chocolate swept me

349
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Speaker 5: off my feet and let me put my guard down,

350
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Speaker 5: and I'm a leo and that's hard for me to do.

351
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Speaker 5: So when it has happens, it's both terrifying.

352
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Speaker 3: But the the fear.

353
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Speaker 5: And the lioness comes out in aggression and anger and

354
00:18:08,600 --> 00:18:14,600
Speaker 5: a lot of sexual appetite that is or you know

355
00:18:15,560 --> 00:18:19,520
Speaker 5: anyone that knows that knows, And yeah, that was You're

356
00:18:19,600 --> 00:18:20,800
Speaker 5: so wrong right now.

357
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Speaker 2: What did y'all meet? Where did you meet your husband

358
00:18:23,200 --> 00:18:23,640
Speaker 2: on tour?

359
00:18:24,040 --> 00:18:24,440
Speaker 1: On tour?

360
00:18:25,119 --> 00:18:27,080
Speaker 2: How did that go down? Because when you're talking about him,

361
00:18:27,119 --> 00:18:30,359
Speaker 2: you just you started mouse started salamating and you just

362
00:18:30,640 --> 00:18:31,800
Speaker 2: start getting together.

363
00:18:32,240 --> 00:18:33,200
Speaker 1: Turn it in beyond.

364
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Speaker 3: Because you say, I'm thinking about the song wrong, right,

365
00:18:35,359 --> 00:18:35,800
Speaker 3: and I'm like.

366
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Speaker 1: Hey, and be thinking about your man. Turned.

367
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Speaker 2: I'm just saying. I'm just saying she was just so excited.

368
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Speaker 2: I'm just asking that's where the music love is love.

369
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Speaker 2: It got me thinking about my wife. All right, I'm sorry, get.

370
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Speaker 3: It, it's fine.

371
00:18:52,880 --> 00:18:57,480
Speaker 5: No. We met on on tour ten years ago and

372
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Speaker 5: I saw him.

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Speaker 3: It's ten years later. I said, you know, when you.

374
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Speaker 5: Know, you know, and you keep like all the movies

375
00:19:07,680 --> 00:19:10,720
Speaker 5: that you see that's corny shit, like never happy, Yes,

376
00:19:10,760 --> 00:19:11,080
Speaker 5: it did.

377
00:19:11,440 --> 00:19:11,879
Speaker 3: It was.

378
00:19:12,200 --> 00:19:15,439
Speaker 5: I seen him and he had a red fit on

379
00:19:16,480 --> 00:19:22,200
Speaker 5: and I was like, who is that? And I approached

380
00:19:22,280 --> 00:19:25,320
Speaker 5: him like yo, what's up? And we got to talking

381
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Speaker 5: and we haven't stopped talking since.

382
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Speaker 4: You need to write a book called one Nights Thing,

383
00:19:29,840 --> 00:19:31,520
Speaker 4: because there's so many people who think you got to

384
00:19:31,560 --> 00:19:35,000
Speaker 4: make the man wait thirty days or sixty days or

385
00:19:35,080 --> 00:19:35,800
Speaker 4: ninety days.

386
00:19:36,200 --> 00:19:39,720
Speaker 3: There's so many formulas to it. MAFE.

387
00:19:39,760 --> 00:19:42,840
Speaker 5: You don't just follow your intuition because it all depends

388
00:19:42,880 --> 00:19:45,280
Speaker 5: on what type of person you are, Like there are

389
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Speaker 5: people that are I've never been I'm not approaching unless

390
00:19:49,800 --> 00:19:51,040
Speaker 5: I know it's for sure.

391
00:19:51,680 --> 00:19:52,080
Speaker 3: I don't know.

392
00:19:52,119 --> 00:19:54,840
Speaker 5: There's many formulas to it. So even if I did

393
00:19:54,880 --> 00:19:57,919
Speaker 5: write a book, I'm going with what worked for me.

394
00:19:58,240 --> 00:20:02,439
Speaker 5: I'm not giving you the manual to how this works out, like, ooh,

395
00:20:02,520 --> 00:20:05,480
Speaker 5: you too can find your ten years later, you know

396
00:20:05,520 --> 00:20:07,960
Speaker 5: what I mean. Like, I'm not giving it as game

397
00:20:08,119 --> 00:20:08,399
Speaker 5: like that.

398
00:20:08,640 --> 00:20:09,640
Speaker 3: I'm saying, if you.

399
00:20:11,080 --> 00:20:13,040
Speaker 5: Saw what it was that you wanted and you didn't

400
00:20:13,080 --> 00:20:15,840
Speaker 5: make your move, that's on you, because then you will

401
00:20:15,880 --> 00:20:19,240
Speaker 5: sit there and ponder and be like, well, what if

402
00:20:19,240 --> 00:20:21,280
Speaker 5: I just said something?

403
00:20:21,600 --> 00:20:23,760
Speaker 3: But if I just approached. But by the.

404
00:20:23,720 --> 00:20:25,840
Speaker 5: Time that I did, and it was what it was,

405
00:20:26,520 --> 00:20:29,679
Speaker 5: and I knew that it was more than just that

406
00:20:29,800 --> 00:20:34,480
Speaker 5: one night in Philadelphia, that one night in Chicago, that

407
00:20:34,600 --> 00:20:37,920
Speaker 5: one night in Virginia, that one night in La Now

408
00:20:37,920 --> 00:20:42,080
Speaker 5: it's many nights. Now it's all you want to move in? Sure,

409
00:20:42,320 --> 00:20:44,520
Speaker 5: moved in together. And then it's oh, you want to

410
00:20:44,560 --> 00:20:46,560
Speaker 5: go back to the UK for Christmas with me, meet

411
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Speaker 5: my whole family.

412
00:20:47,320 --> 00:20:52,600
Speaker 3: Sure? And then by April we were pregnant. Wow, that serious.

413
00:20:53,119 --> 00:20:54,920
Speaker 3: It counts ridiculous when I say no.

414
00:20:55,960 --> 00:20:59,000
Speaker 5: When I say ridiculous, it's like, that's the timeline though,

415
00:20:59,359 --> 00:21:02,760
Speaker 5: you know, and we were both very sure.

416
00:21:03,480 --> 00:21:05,960
Speaker 4: I can't remember what song it is. Maybe it was greedy,

417
00:21:06,119 --> 00:21:08,280
Speaker 4: what's the what song? Maybe I'm tripping it sound you

418
00:21:08,280 --> 00:21:09,280
Speaker 4: was talking about having a threesome.

419
00:21:09,800 --> 00:21:14,840
Speaker 5: Oh, thrill Her. That was a dream not really came true,

420
00:21:14,840 --> 00:21:20,160
Speaker 5: but a fantasy. So thrill Her was a drunken high night.

421
00:21:20,680 --> 00:21:24,320
Speaker 5: I want to say I took that story from what

422
00:21:24,440 --> 00:21:24,560
Speaker 5: was it?

423
00:21:24,600 --> 00:21:25,159
Speaker 3: Atlanta?

424
00:21:26,280 --> 00:21:28,320
Speaker 5: No, this one might have been at LA. It was

425
00:21:28,359 --> 00:21:32,320
Speaker 5: definitely a Grammy week and I painted the picture. He

426
00:21:32,480 --> 00:21:36,800
Speaker 5: came in drunk as hell, give some head. Then a

427
00:21:36,880 --> 00:21:39,480
Speaker 5: knock at the door and it's another chick. I'm like,

428
00:21:39,560 --> 00:21:44,560
Speaker 5: who the is this? And I'm like, oh, it's about

429
00:21:44,560 --> 00:21:46,600
Speaker 5: to go down. Oh it might have been a Philly

430
00:21:46,720 --> 00:21:47,320
Speaker 5: story too.

431
00:21:48,600 --> 00:21:50,760
Speaker 3: There's like a lot of stories involved.

432
00:21:51,160 --> 00:21:53,439
Speaker 5: So yeah, when people hear this album, they can claim

433
00:21:53,480 --> 00:21:56,200
Speaker 5: them yeah that was me, and then.

434
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Speaker 3: Uh, it's just great. I love that you. Yeah, it's

435
00:22:02,400 --> 00:22:05,720
Speaker 3: a it was a wild night, but it was a dream.

436
00:22:06,359 --> 00:22:11,800
Speaker 1: Who knows, Okay, I don't know. It sounded real to

437
00:22:11,840 --> 00:22:12,320
Speaker 1: me either.

438
00:22:12,600 --> 00:22:13,919
Speaker 3: Sounded real to me too.

439
00:22:15,880 --> 00:22:18,520
Speaker 4: And the album is very like nineteen ninety now, like

440
00:22:18,560 --> 00:22:20,840
Speaker 4: how do you have such a nostalgic feeling, but feeling

441
00:22:20,880 --> 00:22:23,800
Speaker 4: but keep it fresh, because.

442
00:22:23,520 --> 00:22:28,320
Speaker 5: That's what I mean. Any hip hop conoissour or R

443
00:22:28,400 --> 00:22:33,639
Speaker 5: and B head nineties is just it's unmatched. It was

444
00:22:33,720 --> 00:22:36,679
Speaker 5: a time if it weren't outside, just say that. And

445
00:22:36,760 --> 00:22:42,000
Speaker 5: I feel like with this album to have grasped what

446
00:22:42,720 --> 00:22:45,760
Speaker 5: the NASAs of the world were doing then the Mary's

447
00:22:45,760 --> 00:22:48,720
Speaker 5: of the world were doing then, but making it now.

448
00:22:48,840 --> 00:22:53,720
Speaker 5: It's because that was timeless and that's I think we're

449
00:22:53,760 --> 00:22:56,800
Speaker 5: all the same age, like our generation of timeless like,

450
00:22:56,920 --> 00:23:01,879
Speaker 5: whereas our parents it's Temptations, it's you know, earth wind Vice. Okay,

451
00:23:01,880 --> 00:23:06,040
Speaker 5: even later than that, but it was timeless music. So

452
00:23:06,080 --> 00:23:08,879
Speaker 5: it survives now and sounds fresh now because it was

453
00:23:08,960 --> 00:23:12,560
Speaker 5: that good then. So I couldn't integrate, I want to say,

454
00:23:12,640 --> 00:23:16,480
Speaker 5: couldn't didn't really want to integrate what we feel like

455
00:23:16,680 --> 00:23:18,680
Speaker 5: hip hop is now or R and B is now.

456
00:23:18,800 --> 00:23:21,040
Speaker 5: I can only lem from what I really know and

457
00:23:21,600 --> 00:23:25,520
Speaker 5: me creating in my creative process has always come from

458
00:23:25,840 --> 00:23:26,920
Speaker 5: the Jodasy era.

459
00:23:27,520 --> 00:23:29,280
Speaker 3: It stops and starts there.

460
00:23:29,400 --> 00:23:33,960
Speaker 5: It's Jodasy, that's my R and B like ultimately, so

461
00:23:34,040 --> 00:23:38,200
Speaker 5: my hip hop is nas it's Jay So it's all

462
00:23:38,240 --> 00:23:42,679
Speaker 5: of those things in one album. That make it fresh

463
00:23:42,760 --> 00:23:45,320
Speaker 5: because it was good then, so it's gonna be good now.

464
00:23:45,760 --> 00:23:51,560
Speaker 5: Like singing what's a classic to you give any class? Right,

465
00:23:51,840 --> 00:23:56,000
Speaker 5: so you sing that now it's then, but it's absolutely

466
00:23:56,080 --> 00:23:58,639
Speaker 5: now because it was that good then. And I feel

467
00:23:58,680 --> 00:24:04,080
Speaker 5: like I've always, when I say, attempted to write timeless

468
00:24:04,160 --> 00:24:06,960
Speaker 5: music for me to sing say yes or Butterflies. Now

469
00:24:07,000 --> 00:24:09,840
Speaker 5: I can, but that is twenty four years ago for

470
00:24:10,040 --> 00:24:14,119
Speaker 5: me in my real time times four years later, absolutely timeless.

471
00:24:14,480 --> 00:24:18,080
Speaker 5: So to create a Casa blanco and know that twenty

472
00:24:18,080 --> 00:24:21,879
Speaker 5: four years later that can still live, that's the goal.

473
00:24:22,000 --> 00:24:24,040
Speaker 3: It's like, what is your tomorrow?

474
00:24:24,560 --> 00:24:27,920
Speaker 5: And musically I've been doing things that could live for

475
00:24:28,640 --> 00:24:30,639
Speaker 5: tomorrow whenever that future is.

476
00:24:30,920 --> 00:24:33,400
Speaker 4: I just love the fact that a nas illmatic can

477
00:24:33,480 --> 00:24:36,199
Speaker 4: inspire something like this because when I hit it out,

478
00:24:36,280 --> 00:24:38,400
Speaker 4: I hear a lot of I hear a lot of illmatic.

479
00:24:38,840 --> 00:24:40,800
Speaker 3: Yeah, and that was unintentional.

480
00:24:41,160 --> 00:24:45,000
Speaker 5: I guess with that first Tunisian Nights, it's trying to

481
00:24:45,040 --> 00:24:51,359
Speaker 5: outdo how we implemented unintentionally nas in there. And it

482
00:24:51,400 --> 00:24:53,520
Speaker 5: was all of these things because hip hop back then

483
00:24:53,760 --> 00:24:57,640
Speaker 5: was still lending from classic jazz records, so it only

484
00:24:57,720 --> 00:25:01,840
Speaker 5: made sense that we not only borrowed from what the

485
00:25:01,960 --> 00:25:06,440
Speaker 5: nineties did with those samples, but reinventing and elevating them

486
00:25:06,600 --> 00:25:11,080
Speaker 5: in the only way that a doctor Dre can And

487
00:25:11,240 --> 00:25:12,600
Speaker 5: did you know?

488
00:25:12,880 --> 00:25:15,359
Speaker 2: So I was gonna ask, you know, you talk about

489
00:25:15,400 --> 00:25:17,919
Speaker 2: doctor Dre only releasing five percent of the music that

490
00:25:17,960 --> 00:25:20,840
Speaker 2: he actually made. How much music did y'all make and had?

491
00:25:20,960 --> 00:25:24,080
Speaker 2: What was the process of trickling it down from the

492
00:25:24,119 --> 00:25:26,120
Speaker 2: amount of songs you made to this eleven?

493
00:25:27,600 --> 00:25:28,840
Speaker 3: You know what's crazy?

494
00:25:30,200 --> 00:25:34,280
Speaker 5: We made about twelve or thirteen songs really and knew

495
00:25:34,320 --> 00:25:36,080
Speaker 5: when it was time to start. We knew it when

496
00:25:36,080 --> 00:25:38,959
Speaker 5: it was completed. And the only reason why the other

497
00:25:39,080 --> 00:25:43,840
Speaker 5: two didn't make it is because one of them it

498
00:25:43,960 --> 00:25:46,320
Speaker 5: made the album play a little longer than we felt

499
00:25:46,320 --> 00:25:50,320
Speaker 5: comfortable with and it matched another song on there like evenly,

500
00:25:50,440 --> 00:25:51,680
Speaker 5: like if you had to get rid of one of

501
00:25:51,760 --> 00:25:55,720
Speaker 5: the other definitely that one though, and one of them

502
00:25:55,720 --> 00:25:57,760
Speaker 5: we couldn't clear, like get nah.

503
00:25:59,200 --> 00:25:59,680
Speaker 3: One of them.

504
00:25:59,760 --> 00:26:02,680
Speaker 5: So I was like, okay, we can't clear that one.

505
00:26:03,119 --> 00:26:06,280
Speaker 5: We have an album and Dre in the creative process

506
00:26:06,359 --> 00:26:09,359
Speaker 5: has like a whiteboard on the wall, We'll write the

507
00:26:09,400 --> 00:26:10,520
Speaker 5: titles for each song.

508
00:26:10,640 --> 00:26:13,960
Speaker 3: We just looked at it and was like that's it.

509
00:26:14,720 --> 00:26:15,840
Speaker 3: That's it. We're done.

510
00:26:16,160 --> 00:26:20,520
Speaker 5: So between April, end of April twenty twenty one and

511
00:26:21,560 --> 00:26:25,480
Speaker 5: end of May, we were completely done with recorded and vocally.

512
00:26:25,880 --> 00:26:30,200
Speaker 5: I recorded everything, written everything, and we took a couple

513
00:26:30,200 --> 00:26:35,440
Speaker 5: of weeks off and reconvened and dre said twenty seven

514
00:26:35,440 --> 00:26:36,320
Speaker 5: piece orchestra.

515
00:26:37,160 --> 00:26:39,119
Speaker 3: So we were at Gower Studios.

516
00:26:39,320 --> 00:26:43,680
Speaker 5: Eric Gorefain did the string arrangements and we were in

517
00:26:43,720 --> 00:26:49,280
Speaker 5: with the orchestra listening to them go crazy on this

518
00:26:49,440 --> 00:26:52,359
Speaker 5: album that we created, which was already doing what it

519
00:26:52,440 --> 00:26:57,439
Speaker 5: was going to do. This symphony just took it to

520
00:26:57,560 --> 00:27:02,399
Speaker 5: another place, like just didn't even make any sense. So

521
00:27:02,640 --> 00:27:08,639
Speaker 5: by the time that's happened, it's just timeless in that way.

522
00:27:09,440 --> 00:27:12,679
Speaker 4: How does you know, really thinking about your mortality and

523
00:27:12,720 --> 00:27:15,560
Speaker 4: like you know, maybe I guess, being face to face

524
00:27:15,640 --> 00:27:19,240
Speaker 4: with definite way, how did that change just everything about you.

525
00:27:19,240 --> 00:27:21,520
Speaker 1: As an artist, as a person.

526
00:27:22,280 --> 00:27:23,560
Speaker 3: I don't know if you can see it.

527
00:27:24,480 --> 00:27:28,560
Speaker 5: I'm so happy and chill, like nothing can really like

528
00:27:28,840 --> 00:27:32,840
Speaker 5: phase me. And if it's anything that does kind of

529
00:27:33,000 --> 00:27:35,320
Speaker 5: interfere with my peace.

530
00:27:35,400 --> 00:27:38,640
Speaker 3: It's whereas I would get upset.

531
00:27:38,400 --> 00:27:44,600
Speaker 5: Or combative or defensive about things in the past, it's Okay,

532
00:27:45,760 --> 00:27:49,680
Speaker 5: that's how you feel cool, Like there's so many more

533
00:27:49,720 --> 00:27:54,800
Speaker 5: important things than being mad about anything or holding onto

534
00:27:54,880 --> 00:28:02,600
Speaker 5: things unnecessarily, like that brush with what you think death

535
00:28:02,720 --> 00:28:06,679
Speaker 5: looks like, and that flash across your eyes of like

536
00:28:06,680 --> 00:28:12,840
Speaker 5: like that was it. The things you think were important

537
00:28:12,880 --> 00:28:16,879
Speaker 5: never were, And by the time you get your life back,

538
00:28:17,640 --> 00:28:18,919
Speaker 5: it still feels.

539
00:28:18,560 --> 00:28:21,240
Speaker 3: Like that, like it's not important.

540
00:28:22,760 --> 00:28:29,520
Speaker 5: Importance, Like prioritizing the importance of things in your life changes,

541
00:28:30,520 --> 00:28:31,919
Speaker 5: like it's not important.

542
00:28:33,160 --> 00:28:35,760
Speaker 2: But you know, with you taking so much time off,

543
00:28:36,000 --> 00:28:37,680
Speaker 2: it's part of the reason, Like I just don't want

544
00:28:37,680 --> 00:28:40,280
Speaker 2: to deal with the noise, with the people talking, with

545
00:28:40,320 --> 00:28:43,160
Speaker 2: the social media, with the conversations. It's just you have

546
00:28:43,200 --> 00:28:46,880
Speaker 2: a clear mind when you don't deal with things and people.

547
00:28:47,840 --> 00:28:51,200
Speaker 3: Not necessarily that. I love people. I love the Internet.

548
00:28:51,520 --> 00:28:53,120
Speaker 3: It's very entertaining space.

549
00:28:53,360 --> 00:28:59,719
Speaker 5: So it was never that it was the obligatory having

550
00:28:59,800 --> 00:29:06,880
Speaker 5: to do it, the whole artist thing. It's the interviews, right,

551
00:29:07,040 --> 00:29:10,240
Speaker 5: it's the no Now I have an itinerary.

552
00:29:10,600 --> 00:29:14,880
Speaker 3: Yeah, let's just live with chill and maybe.

553
00:29:14,600 --> 00:29:18,680
Speaker 5: Do stuff for fun and live how the other side

554
00:29:18,720 --> 00:29:20,040
Speaker 5: lives or whatever you think.

555
00:29:20,080 --> 00:29:23,120
Speaker 3: That looks like it was always that, But as far

556
00:29:23,200 --> 00:29:29,239
Speaker 3: as noise, I think I've I forced myself.

557
00:29:28,720 --> 00:29:32,840
Speaker 5: To engage to get perspective on where people are actually

558
00:29:32,880 --> 00:29:37,080
Speaker 5: at in their lives, to understand me more, if that

559
00:29:37,200 --> 00:29:40,440
Speaker 5: makes any sense, because I couldn't. I think during the

560
00:29:40,480 --> 00:29:44,600
Speaker 5: pandemic we all internalized a little bit more and.

561
00:29:45,120 --> 00:29:46,640
Speaker 3: Understood ourselves a bit more.

562
00:29:46,720 --> 00:29:49,880
Speaker 5: But I think not enough people were sharing that for

563
00:29:50,000 --> 00:29:52,560
Speaker 5: the fear of being looked at crazy, because you have

564
00:29:52,680 --> 00:29:55,479
Speaker 5: more time to think about who you were, why you

565
00:29:55,520 --> 00:29:58,760
Speaker 5: were and if all I had to end tomorrow, what

566
00:29:59,000 --> 00:30:01,080
Speaker 5: what did you do? You were here, so all of

567
00:30:01,120 --> 00:30:07,320
Speaker 5: these things are happening, and I was okay with noise.

568
00:30:08,120 --> 00:30:10,440
Speaker 5: I feel like I was more terrified of the silence.

569
00:30:12,640 --> 00:30:16,560
Speaker 2: We say okay with the noise, meaning you didn't mind

570
00:30:16,680 --> 00:30:20,880
Speaker 2: people discussing and talking and oh not like, but you

571
00:30:20,880 --> 00:30:21,800
Speaker 2: feel like you're still there.

572
00:30:22,240 --> 00:30:26,040
Speaker 5: Yeah, Like if I if I wasn't there, I don't know.

573
00:30:27,480 --> 00:30:29,760
Speaker 5: I want to say, it doesn't matter. I think I

574
00:30:29,880 --> 00:30:34,440
Speaker 5: was engaging in conversations and catching up with at such

575
00:30:34,440 --> 00:30:37,000
Speaker 5: and such on a Twitter or at blah blah blah,

576
00:30:37,040 --> 00:30:39,680
Speaker 5: because it was oh, we're still here, We're still able

577
00:30:39,720 --> 00:30:43,240
Speaker 5: to communicate you okay, but it was negative or positive.

578
00:30:43,280 --> 00:30:44,440
Speaker 3: It was like you've made time.

579
00:30:44,840 --> 00:30:46,640
Speaker 2: You're talking about it regardless.

580
00:30:46,800 --> 00:30:48,480
Speaker 3: Yeah, so it was like you've made time.

581
00:30:49,200 --> 00:30:51,080
Speaker 2: It's the fear of not talking about you.

582
00:30:51,760 --> 00:30:54,240
Speaker 3: But yeah, I didn't mind that. It was life.

583
00:30:54,320 --> 00:30:58,040
Speaker 5: I was comfortable with again and all of it in

584
00:30:58,160 --> 00:31:02,000
Speaker 5: all of its noise. So I think for anyone during

585
00:31:02,040 --> 00:31:07,840
Speaker 5: the pandemic, that silence, it was like the zombie apocalypse, like,

586
00:31:08,320 --> 00:31:11,640
Speaker 5: is anyone here? Am I crazy by myself? We're all

587
00:31:11,720 --> 00:31:12,360
Speaker 5: gonna die?

588
00:31:12,480 --> 00:31:16,400
Speaker 3: What's happened? Like? It was the silence, especially if.

589
00:31:16,360 --> 00:31:19,160
Speaker 4: You've never if you've never done any internal work, you

590
00:31:19,240 --> 00:31:21,680
Speaker 4: never did no therapy, if you never did no meditation,

591
00:31:21,800 --> 00:31:23,440
Speaker 4: if you never have it on no healing journey, and

592
00:31:23,560 --> 00:31:26,000
Speaker 4: that was your first time having to deal with yourself.

593
00:31:26,920 --> 00:31:33,080
Speaker 5: That's noisier than anything. You and your thoughts by yourself,

594
00:31:34,000 --> 00:31:38,440
Speaker 5: screaming at times, and then it was quiet, but then

595
00:31:38,480 --> 00:31:42,320
Speaker 5: it was peaceful, and then it was okay, let me breathe,

596
00:31:42,720 --> 00:31:48,400
Speaker 5: and everyone okay, everyone good, you know, And it felt like.

597
00:31:48,360 --> 00:31:50,960
Speaker 1: That you learn new about yourself during that time.

598
00:31:52,640 --> 00:31:55,240
Speaker 3: I have way more patience than I thought.

599
00:31:56,280 --> 00:32:01,760
Speaker 5: I'm terrible, like terrible, like Uber eats, where you at

600
00:32:01,800 --> 00:32:03,440
Speaker 5: with my food delivery?

601
00:32:03,600 --> 00:32:05,520
Speaker 3: You said you made a left turn? What do you

602
00:32:05,560 --> 00:32:07,680
Speaker 3: mean you're still waiting. What do you mean you're.

603
00:32:08,000 --> 00:32:11,560
Speaker 5: Yeah, I'm terrible. I don't like waiting. I got no

604
00:32:11,720 --> 00:32:13,400
Speaker 5: patience and I hate waiting.

605
00:32:13,600 --> 00:32:14,440
Speaker 1: So get your.

606
00:32:16,000 --> 00:32:16,560
Speaker 3: Favorite line.

607
00:32:18,160 --> 00:32:23,200
Speaker 5: Yeah, patience didn't have any Now I have all of

608
00:32:23,240 --> 00:32:26,360
Speaker 5: it because it's oh, it's not happening right now?

609
00:32:28,000 --> 00:32:31,720
Speaker 3: Cool before What do you mean why went.

610
00:32:33,240 --> 00:32:35,920
Speaker 5: I don't even care when they don't care. It's I

611
00:32:35,960 --> 00:32:42,000
Speaker 5: can't do anything about time, and it's I thought I

612
00:32:42,040 --> 00:32:44,720
Speaker 5: had time at one point and when I realized I

613
00:32:44,760 --> 00:32:49,600
Speaker 5: had none. Oh, Now I'm patient with everything because now

614
00:32:49,600 --> 00:32:52,160
Speaker 5: I feel like I've held onto more time than I

615
00:32:52,160 --> 00:32:53,000
Speaker 5: could have had.

616
00:32:53,600 --> 00:32:55,040
Speaker 3: So that's different.

617
00:32:55,360 --> 00:32:58,280
Speaker 2: I was watching the R and B Money podcast shot

618
00:32:58,280 --> 00:33:01,080
Speaker 2: the tank end you comment. I guess you were joking.

619
00:33:01,080 --> 00:33:02,280
Speaker 2: I don't know if you were joking or not talking

620
00:33:02,280 --> 00:33:05,440
Speaker 2: about you thought Stevie Wonder really can see now, and

621
00:33:05,440 --> 00:33:07,000
Speaker 2: people took it as they were mad at you for

622
00:33:07,000 --> 00:33:08,760
Speaker 2: a little bit mad at me.

623
00:33:08,880 --> 00:33:13,600
Speaker 5: How I don't know, because if you're a Stevie Wonder fan,

624
00:33:14,560 --> 00:33:20,000
Speaker 5: what I said was he can see if you listen

625
00:33:20,160 --> 00:33:21,160
Speaker 5: to the music.

626
00:33:21,840 --> 00:33:24,080
Speaker 3: To be one of the.

627
00:33:24,040 --> 00:33:30,720
Speaker 5: Most prolific, descriptive songwriters of our time, how can he not?

628
00:33:31,200 --> 00:33:33,040
Speaker 3: And maybe not in the way that you believe that

629
00:33:33,160 --> 00:33:33,680
Speaker 3: that is.

630
00:33:35,160 --> 00:33:42,120
Speaker 5: But his pen game makes you visualize us with actual sight,

631
00:33:42,840 --> 00:33:48,000
Speaker 5: visualize everything. He was saying, that's a gift.

632
00:33:48,800 --> 00:33:49,920
Speaker 3: That's what I said.

633
00:33:50,480 --> 00:33:53,480
Speaker 5: Yes, he can see because there's no way. He says,

634
00:33:53,680 --> 00:33:56,560
Speaker 5: I never dreamed you'd leave in summer, and I literally

635
00:33:56,600 --> 00:33:58,160
Speaker 5: see the summer day he's referring to.

636
00:33:59,320 --> 00:34:04,080
Speaker 3: That's not fair. Mary wants to be a superwoman, and

637
00:34:04,120 --> 00:34:05,520
Speaker 3: I know who Mary looks like.

638
00:34:05,800 --> 00:34:09,879
Speaker 5: I've already made that character. The song plays a nice

639
00:34:09,960 --> 00:34:13,640
Speaker 5: see it Stevie more than any song where I are,

640
00:34:14,120 --> 00:34:16,600
Speaker 5: I believe on planet Earth has made me see a

641
00:34:16,680 --> 00:34:18,200
Speaker 5: song the way Stevie does.

642
00:34:18,680 --> 00:34:21,320
Speaker 3: That's what I said. I said, what I like, I said,

643
00:34:22,239 --> 00:34:22,800
Speaker 3: That's why.

644
00:34:22,600 --> 00:34:24,200
Speaker 1: I said, I get what you're saying. He might be blind,

645
00:34:24,239 --> 00:34:24,920
Speaker 1: but he got vision.

646
00:34:25,400 --> 00:34:30,240
Speaker 3: It's a difference, speaking of vision. To use that song

647
00:34:30,400 --> 00:34:34,840
Speaker 3: on Casta Blanco. I remember Dre, actually he might.

648
00:34:36,200 --> 00:34:39,040
Speaker 5: Dre was nervous about using the Stevie record or like

649
00:34:39,160 --> 00:34:42,600
Speaker 5: asking him, like, yo, listen Stevie and see what he thinks.

650
00:34:42,800 --> 00:34:46,399
Speaker 5: I'm like, okay, crazy, but yeah, we got to use

651
00:34:46,800 --> 00:34:54,000
Speaker 5: visions on Casa Blanco and with Stevie's blessing and bucket list,

652
00:34:54,239 --> 00:34:58,239
Speaker 5: Like wow, this fake bucket lists. I keep making up,

653
00:34:58,400 --> 00:34:59,839
Speaker 5: like I'll check that one off.

654
00:35:00,080 --> 00:35:01,200
Speaker 1: You know, did he want to hear it?

655
00:35:01,360 --> 00:35:02,920
Speaker 2: Or oh yeah, yeah hear it?

656
00:35:03,080 --> 00:35:05,520
Speaker 3: So I mean we had to go through that process.

657
00:35:05,560 --> 00:35:07,920
Speaker 1: But did he love it? Did he give any creative input?

658
00:35:08,400 --> 00:35:12,279
Speaker 5: We had creative input because I did curse in that

659
00:35:12,400 --> 00:35:16,160
Speaker 5: song at some point in the bridge. But I when

660
00:35:16,200 --> 00:35:20,360
Speaker 5: I curse in music, it's for emphasism.

661
00:35:20,480 --> 00:35:24,120
Speaker 3: So I think with this one, I've taken it too far.

662
00:35:24,600 --> 00:35:27,640
Speaker 5: Steve was like now, now, now, and he might have

663
00:35:27,760 --> 00:35:31,720
Speaker 5: cursed during and like not like he might have cursed

664
00:35:31,800 --> 00:35:33,000
Speaker 5: trying to tell us not to curse.

665
00:35:33,760 --> 00:35:37,239
Speaker 3: But it was necessary. I took it out. It makes sense.

666
00:35:37,520 --> 00:35:38,600
Speaker 3: I didn't have to.

667
00:35:39,440 --> 00:35:42,960
Speaker 5: I wanted to in that emotional moment though, and did

668
00:35:43,320 --> 00:35:45,319
Speaker 5: and maybe live Steve you.

669
00:35:45,640 --> 00:35:45,960
Speaker 3: With it.

670
00:35:47,640 --> 00:35:51,120
Speaker 5: Still sing that same line that I did. But yeah,

671
00:35:51,160 --> 00:35:54,120
Speaker 5: it was a it was a wonderful experience.

672
00:35:54,200 --> 00:35:55,920
Speaker 1: Did Stevie FaceTime zoom?

673
00:35:57,000 --> 00:35:59,560
Speaker 5: I want to say it was a phone call that

674
00:35:59,680 --> 00:36:03,920
Speaker 5: I and dre It spoke to him also, So yeah,

675
00:36:04,280 --> 00:36:07,640
Speaker 5: how involved is d We're just gonna let that one

676
00:36:07,680 --> 00:36:11,840
Speaker 5: do this cool?

677
00:36:13,200 --> 00:36:15,520
Speaker 2: You call it as long as you caught him. Absolutely,

678
00:36:16,280 --> 00:36:20,239
Speaker 2: you caught it smooth. I love it, FaceTime, I love it.

679
00:36:20,680 --> 00:36:23,759
Speaker 4: How involved is Dre as far as creative direction and

680
00:36:23,880 --> 00:36:24,960
Speaker 4: like just taking your input?

681
00:36:25,680 --> 00:36:26,480
Speaker 3: Oh for this.

682
00:36:26,480 --> 00:36:29,360
Speaker 5: This was a complete hand in hand fifty to fifty

683
00:36:30,880 --> 00:36:35,120
Speaker 5: battle of the creative minds. And his respect for me,

684
00:36:35,960 --> 00:36:41,200
Speaker 5: My respect for him allowed us to really do this.

685
00:36:41,719 --> 00:36:53,560
Speaker 3: And he's a genius. I'm me and he's he said

686
00:36:53,560 --> 00:36:55,400
Speaker 3: that I was a genius.

687
00:36:55,440 --> 00:36:59,600
Speaker 5: You are to me, which is it's crazy to hear

688
00:36:59,640 --> 00:37:04,040
Speaker 5: it from from who I'm looking at, a genius and

689
00:37:04,080 --> 00:37:06,799
Speaker 5: he's looking like it's like the Spider Man me. We're

690
00:37:06,800 --> 00:37:10,239
Speaker 5: all doing this in the studio and he's like, yeah,

691
00:37:10,280 --> 00:37:13,160
Speaker 5: I'm Dre and I do this thing. But I ain't

692
00:37:13,160 --> 00:37:17,239
Speaker 5: tell Michael Jackson what to do, so that you're absolutely right,

693
00:37:17,600 --> 00:37:20,920
Speaker 5: I did that one. So there was just a respect

694
00:37:21,040 --> 00:37:27,640
Speaker 5: level there and he let me push boundaries in a

695
00:37:27,640 --> 00:37:31,040
Speaker 5: way that I'd never done one this Dray's budget and

696
00:37:31,080 --> 00:37:35,160
Speaker 5: he's literally saying, no limits. You can do whatever you want.

697
00:37:35,680 --> 00:37:38,680
Speaker 5: If you had to make the perfect song and implement

698
00:37:38,760 --> 00:37:41,440
Speaker 5: all of these things, what is that just do it.

699
00:37:42,360 --> 00:37:44,359
Speaker 3: I didn't think that.

700
00:37:45,880 --> 00:37:49,960
Speaker 5: Me having Wu Tang, Duke Kellington and Michael Jackson on

701
00:37:49,960 --> 00:37:53,120
Speaker 5: one song was possible until we did it. I didn't

702
00:37:53,160 --> 00:37:56,279
Speaker 5: know a Patrece Russian and the Mary j and Mary

703
00:37:56,360 --> 00:38:00,759
Speaker 5: Jane girls one song could happen, but it did. All

704
00:38:00,800 --> 00:38:09,800
Speaker 5: of these things were happening because Dre said no limits

705
00:38:10,840 --> 00:38:19,840
Speaker 5: and it's unreal, for real, for real, I if I'm honest,

706
00:38:21,560 --> 00:38:25,520
Speaker 5: I've never done anything like this, like I've made music.

707
00:38:25,280 --> 00:38:28,320
Speaker 3: Before, but with the creative freedom.

708
00:38:29,520 --> 00:38:34,360
Speaker 5: And no limits on it allowed me to do things

709
00:38:34,400 --> 00:38:41,120
Speaker 5: that I'd never done ever and may never will. Might

710
00:38:41,200 --> 00:38:44,440
Speaker 5: really truly be the one of one, and I'll be

711
00:38:44,480 --> 00:38:45,040
Speaker 5: okay with that.

712
00:38:45,480 --> 00:38:48,200
Speaker 1: Dannswer you don't think you'd put out another album as

713
00:38:48,239 --> 00:38:48,520
Speaker 1: it is.

714
00:38:48,920 --> 00:38:51,640
Speaker 3: It's not even another album, it's not another this.

715
00:38:52,160 --> 00:38:55,960
Speaker 5: I'll create music for the rest of my life, whatever

716
00:38:56,000 --> 00:39:00,399
Speaker 5: that sounds like, whatever that looks like. But this, in

717
00:39:00,440 --> 00:39:08,040
Speaker 5: its moment, it's like, we can't recreate the timing of

718
00:39:08,080 --> 00:39:12,520
Speaker 5: when these health scares happened, the desperation of what's happening

719
00:39:12,520 --> 00:39:16,759
Speaker 5: with Planet Earth, the uncertainty of life, and why we

720
00:39:16,840 --> 00:39:18,040
Speaker 5: made this album.

721
00:39:18,719 --> 00:39:22,600
Speaker 3: You know, we can only do celebritory like.

722
00:39:24,680 --> 00:39:27,239
Speaker 5: Happy to Be a live albums after this, you know,

723
00:39:27,400 --> 00:39:31,920
Speaker 5: everything else is kind of just a But this album

724
00:39:32,400 --> 00:39:34,600
Speaker 5: was made because we didn't think we'd ever get the

725
00:39:34,719 --> 00:39:35,720
Speaker 5: chance to make one again.

726
00:39:36,160 --> 00:39:39,000
Speaker 2: How was it when you played the record for method

727
00:39:39,040 --> 00:39:40,200
Speaker 2: Man during the Roots Picnic?

728
00:39:43,120 --> 00:39:46,880
Speaker 5: Most of my best friends standing behind me waiting to

729
00:39:47,000 --> 00:39:52,520
Speaker 5: just hold him, like give me a mother man, please,

730
00:39:52,520 --> 00:39:55,880
Speaker 5: because you listen to I mean, he's a dream.

731
00:39:56,040 --> 00:39:57,000
Speaker 3: I can still say that.

732
00:39:57,080 --> 00:40:00,120
Speaker 5: I know I'm married, my husband knows what it is

733
00:40:00,120 --> 00:40:01,960
Speaker 5: the man, so.

734
00:40:01,760 --> 00:40:02,719
Speaker 3: To play him.

735
00:40:04,360 --> 00:40:08,440
Speaker 5: I remember when I was writing that moment in the

736
00:40:08,480 --> 00:40:12,800
Speaker 5: song and the go outside and the rain sample is happening,

737
00:40:12,840 --> 00:40:14,719
Speaker 5: and I knew the beat was about to come in,

738
00:40:14,800 --> 00:40:18,560
Speaker 5: and I'm like, you got that, emmy T H O

739
00:40:18,800 --> 00:40:23,680
Speaker 5: D man, do that thing you do those hands, kiss

740
00:40:23,760 --> 00:40:27,800
Speaker 5: on this and make it dance, Take it baby, giving

741
00:40:27,840 --> 00:40:29,680
Speaker 5: you permission with persistence.

742
00:40:29,760 --> 00:40:33,680
Speaker 3: Oh I l O V E I T And I.

743
00:40:33,520 --> 00:40:38,280
Speaker 5: Can't get enough of this ocean flow below my legs,

744
00:40:38,560 --> 00:40:42,560
Speaker 5: swim in it, go diving inside inside my love babe,

745
00:40:43,280 --> 00:40:43,919
Speaker 5: love you babe.

746
00:40:44,640 --> 00:40:47,279
Speaker 1: That's what right, ain't it?

747
00:40:47,480 --> 00:40:53,800
Speaker 2: Yeah?

748
00:40:50,600 --> 00:41:02,240
Speaker 5: So you film me like so to play it for him.

749
00:41:02,520 --> 00:41:08,480
Speaker 5: Fantasy bucket list. You can't make up like this method Man,

750
00:41:08,760 --> 00:41:13,239
Speaker 5: play wet the method Man, and just to see him

751
00:41:13,320 --> 00:41:15,840
Speaker 5: blush when the moment came in.

752
00:41:15,800 --> 00:41:17,759
Speaker 2: And him do a little two step.

753
00:41:17,719 --> 00:41:22,000
Speaker 5: Right, two step to that give me all the audibles, said,

754
00:41:22,040 --> 00:41:24,160
Speaker 5: he's going to be the leading man in the video,

755
00:41:25,440 --> 00:41:30,160
Speaker 5: and it's you know, the Minie Riperton inside me at

756
00:41:30,200 --> 00:41:33,480
Speaker 5: the end, and it's just all the things. It was

757
00:41:33,560 --> 00:41:39,520
Speaker 5: a fantasy. All of this feels very surreal, like it's happening,

758
00:41:39,680 --> 00:41:43,800
Speaker 5: but it's happening in real time. Like I get to go, hey, Stevie,

759
00:41:43,840 --> 00:41:46,840
Speaker 5: listen to what we did with your Hey, George Benson.

760
00:41:46,880 --> 00:41:51,120
Speaker 5: Here's Patrice Russian he is married, here's Nah's here's plain it.

761
00:41:51,640 --> 00:41:56,439
Speaker 5: Just yeah, so Meth, thank you, Meth, my leading man.

762
00:41:57,160 --> 00:42:00,520
Speaker 4: I've got a couple more questions. You said you didn't

763
00:42:00,520 --> 00:42:02,200
Speaker 4: tell Michael jacks what to do. Dre didn't tell Michael

764
00:42:02,239 --> 00:42:02,840
Speaker 4: Jackson what to do.

765
00:42:03,239 --> 00:42:03,920
Speaker 3: Drey didn't.

766
00:42:04,000 --> 00:42:04,480
Speaker 1: Okay, okay.

767
00:42:05,000 --> 00:42:09,000
Speaker 5: So he's saying, basically his nod to me was I'm

768
00:42:09,120 --> 00:42:12,359
Speaker 5: Dre and I've made several other goats, but you know

769
00:42:13,680 --> 00:42:15,640
Speaker 5: I didn't tell Michael Jackson what to do.

770
00:42:15,680 --> 00:42:16,200
Speaker 3: That was you.

771
00:42:16,600 --> 00:42:20,200
Speaker 5: So it's I'm coming to the room with something that

772
00:42:20,239 --> 00:42:23,319
Speaker 5: he's never done. Wow, So don't devalue what it is

773
00:42:23,360 --> 00:42:27,040
Speaker 5: with you in the room. And I get that, and

774
00:42:27,800 --> 00:42:29,719
Speaker 5: you have to understand the amount of people that have

775
00:42:29,840 --> 00:42:32,600
Speaker 5: probably crossed parts and been in the studio with Dre

776
00:42:32,760 --> 00:42:36,440
Speaker 5: and possibly gotten to a stage where they thought maybe

777
00:42:36,440 --> 00:42:40,440
Speaker 5: a project is happening. This part has barely happened. For

778
00:42:40,840 --> 00:42:43,120
Speaker 5: like I said, that five percent is just the creating

779
00:42:43,160 --> 00:42:46,480
Speaker 5: of the music. The actual artists that get to be

780
00:42:46,680 --> 00:42:51,160
Speaker 5: at this part only happen if you're the five people

781
00:42:51,200 --> 00:42:55,560
Speaker 5: that you can count six or seven maybe, but don't happen.

782
00:42:55,920 --> 00:42:59,880
Speaker 3: So it was it was that it's I'm one of

783
00:43:01,239 --> 00:43:04,840
Speaker 3: MJ Cultable what yes.

784
00:43:05,480 --> 00:43:08,319
Speaker 5: And wanted to be like I think that was the

785
00:43:09,440 --> 00:43:11,640
Speaker 5: I had a spoiled experience. I was just getting to

786
00:43:11,920 --> 00:43:14,719
Speaker 5: you know, Atlanta, then get to Philly, get signed by

787
00:43:14,719 --> 00:43:16,680
Speaker 5: the end of that year. Now I'm in the studio

788
00:43:16,800 --> 00:43:19,839
Speaker 5: within less than a year of the time it took

789
00:43:19,920 --> 00:43:20,920
Speaker 5: me to get to the States.

790
00:43:21,360 --> 00:43:24,120
Speaker 3: Then worked with Michael Jackson because he's heard this demo.

791
00:43:24,640 --> 00:43:30,400
Speaker 5: And we were here in New York Hit Factory and

792
00:43:30,480 --> 00:43:33,200
Speaker 5: he was there to out. Michael Jackson was there in

793
00:43:33,239 --> 00:43:37,759
Speaker 5: the studio two hours before call time, just warming up

794
00:43:37,800 --> 00:43:40,760
Speaker 5: his vocal. He was that guy like he was great

795
00:43:40,840 --> 00:43:50,200
Speaker 5: because he worked like unlike any other. And I'll never

796
00:43:50,280 --> 00:43:54,280
Speaker 5: forget the first moment where he goes in the booth

797
00:43:54,440 --> 00:43:57,200
Speaker 5: like that glass behind there, and it was I'm at

798
00:43:57,200 --> 00:44:00,799
Speaker 5: the mixing board and Bruce swedeon or so too.

799
00:44:01,920 --> 00:44:03,600
Speaker 3: Andre Harris is at the board.

800
00:44:03,640 --> 00:44:07,120
Speaker 5: I have the talk back button, and the first chord

801
00:44:07,239 --> 00:44:11,560
Speaker 5: happens and Mike just whispers like butterfly, and I just

802
00:44:11,560 --> 00:44:14,960
Speaker 5: started crying Wow, immediately, just couldn't even hold it back.

803
00:44:15,000 --> 00:44:15,359
Speaker 1: Was just.

804
00:44:16,960 --> 00:44:19,440
Speaker 5: I'm in the studio, I'm twenty two, twenty three at

805
00:44:19,480 --> 00:44:23,560
Speaker 5: that time, like those were my younger years, my formative years,

806
00:44:23,560 --> 00:44:25,720
Speaker 5: and I'm doing this at that age.

807
00:44:25,880 --> 00:44:26,200
Speaker 1: Wow.

808
00:44:26,400 --> 00:44:28,239
Speaker 5: And then it was taught back one more time, might

809
00:44:28,360 --> 00:44:31,000
Speaker 5: get your timing right, one more time, might make sure you,

810
00:44:31,280 --> 00:44:35,600
Speaker 5: like vocally produce that entire song. But when I press

811
00:44:35,680 --> 00:44:39,160
Speaker 5: play is only when I can hear the reality of

812
00:44:39,200 --> 00:44:40,560
Speaker 5: that because it's steamless.

813
00:44:40,600 --> 00:44:42,520
Speaker 3: There's nothing wrong with that song.

814
00:44:42,920 --> 00:44:49,720
Speaker 5: And he allowed me, at my very young, naive, very

815
00:44:49,719 --> 00:44:55,480
Speaker 5: green to everything industry, not only do me retain all

816
00:44:55,520 --> 00:45:01,200
Speaker 5: my publishing and flourish in that studio as a vocally,

817
00:45:02,080 --> 00:45:06,200
Speaker 5: as a vocal producer, producer and writer for that record, and.

818
00:45:07,840 --> 00:45:13,000
Speaker 3: Mike was just the king for all reasons.

819
00:45:13,000 --> 00:45:14,880
Speaker 2: Can you take us back? How did he hear butterflies.

820
00:45:14,880 --> 00:45:16,239
Speaker 2: How did he hit a reference track? I said, I

821
00:45:16,239 --> 00:45:18,200
Speaker 2: wanted that well.

822
00:45:18,239 --> 00:45:19,560
Speaker 3: I'd written the song.

823
00:45:21,080 --> 00:45:27,600
Speaker 5: When I was about sixteen seventeen in Camberwell, South London,

824
00:45:27,680 --> 00:45:30,920
Speaker 5: about a boy that worked in McDonald's. I don't even

825
00:45:30,960 --> 00:45:32,520
Speaker 5: know his name. I just knew that he was a

826
00:45:32,520 --> 00:45:34,120
Speaker 5: neighbor's friend and he was fine as hell.

827
00:45:34,320 --> 00:45:35,759
Speaker 2: He gave you butterflies every time you went.

828
00:45:36,080 --> 00:45:36,760
Speaker 3: Every time.

829
00:45:37,239 --> 00:45:40,239
Speaker 1: So I recently put to McDonald's giving you bubble gud.

830
00:45:41,040 --> 00:45:43,439
Speaker 5: Then there's that I wasn't eating McDonald's like that though

831
00:45:43,520 --> 00:45:45,680
Speaker 5: I never really ate my well, I did kind of,

832
00:45:45,719 --> 00:45:48,680
Speaker 5: but I was basketball back then, so I was in

833
00:45:48,760 --> 00:45:54,120
Speaker 5: athlete mode for sure. But Camberwell, the place that the

834
00:45:54,200 --> 00:45:58,439
Speaker 5: McDonald's is in, is called Butterfly Walk, and I never

835
00:45:58,480 --> 00:46:00,840
Speaker 5: put that together until we recently went back and started

836
00:46:00,840 --> 00:46:01,879
Speaker 5: taking pictures there and I.

837
00:46:01,880 --> 00:46:04,640
Speaker 3: Was like, look at God, look at that.

838
00:46:05,000 --> 00:46:07,600
Speaker 5: So I ended up writing this song. Get to Philadelphia,

839
00:46:07,719 --> 00:46:10,319
Speaker 5: year two thousands. That's a couple of years after that.

840
00:46:11,000 --> 00:46:13,760
Speaker 5: Meet the team out of Touch of Jazz. One producer

841
00:46:13,800 --> 00:46:18,000
Speaker 5: in particular, Andre Harris, who'd done two of my favorite

842
00:46:18,080 --> 00:46:21,440
Speaker 5: Jill Scott songs, Long Walk and the Way, and I.

843
00:46:21,400 --> 00:46:24,480
Speaker 3: Was like, who did those two. Oh, that's Dray, that's Andre.

844
00:46:25,400 --> 00:46:27,000
Speaker 3: I was like, I want parts.

845
00:46:27,280 --> 00:46:30,840
Speaker 5: So within a week, Andre Harris and myself had recorded

846
00:46:31,440 --> 00:46:35,239
Speaker 5: Say Yes and Butterflies together, So Say Yes was for

847
00:46:35,360 --> 00:46:38,600
Speaker 5: Ron Eisley. So we did that demo together, and that

848
00:46:38,760 --> 00:46:40,840
Speaker 5: was with the intent that Ron Eisley was going to.

849
00:46:40,880 --> 00:46:43,319
Speaker 3: Do Say Yes for his album. He just didn't take it.

850
00:46:43,400 --> 00:46:46,560
Speaker 5: Restless History and then Butterflies a few days after that,

851
00:46:47,800 --> 00:46:49,680
Speaker 5: five or slow in the morning, six or so in

852
00:46:49,719 --> 00:46:53,600
Speaker 5: the morning, play the chords and like Dre, slow those down.

853
00:46:53,520 --> 00:47:01,279
Speaker 3: YadA, YadA YadA, and Butterflies happens. And John McClain, who

854
00:47:01,360 --> 00:47:06,320
Speaker 3: ended up signing Flower Tree to Dream Works, was Michael

855
00:47:06,400 --> 00:47:10,319
Speaker 3: Jackson's personal manager, so he has the demo, plays it

856
00:47:10,360 --> 00:47:12,600
Speaker 3: for Mike, so listen, you have to listen to these girls.

857
00:47:12,640 --> 00:47:15,279
Speaker 3: Listen to this demo, and Mike was like, I want

858
00:47:15,360 --> 00:47:15,799
Speaker 3: that one.

859
00:47:16,360 --> 00:47:20,120
Speaker 5: Just Butterflies. Mike, you can have the entire album. Can't

860
00:47:20,160 --> 00:47:20,840
Speaker 5: want it.

861
00:47:20,840 --> 00:47:22,680
Speaker 3: It's yours. I don't have to do another thing.

862
00:47:23,280 --> 00:47:25,520
Speaker 5: And that's how we heard it. We got the call

863
00:47:26,680 --> 00:47:29,080
Speaker 5: in Philly out a touch of jazz. Everyone thought it

864
00:47:29,160 --> 00:47:32,200
Speaker 5: was a prank. Call went to voicemail the first time,

865
00:47:32,239 --> 00:47:34,320
Speaker 5: and then I think Jeff spoke to him, Well, Carvin

866
00:47:34,360 --> 00:47:36,319
Speaker 5: spoke to I think Carvin said he spoke to him.

867
00:47:36,400 --> 00:47:37,680
Speaker 5: He thought it was dre messing around.

868
00:47:37,920 --> 00:47:41,200
Speaker 3: We were practical jokers back of the day. And Mike,

869
00:47:41,360 --> 00:47:43,600
Speaker 3: you don't really know. You think you know his voice.

870
00:47:44,080 --> 00:47:47,640
Speaker 5: Mike had a deeper, raspier voice, and I think he

871
00:47:47,719 --> 00:47:51,360
Speaker 5: only used a higher tone just to preserve his greatness,

872
00:47:51,440 --> 00:47:53,440
Speaker 5: like he didn't want to use or project. He was

873
00:47:53,480 --> 00:47:55,880
Speaker 5: only using that for the booth or the stage, and

874
00:47:55,920 --> 00:47:59,080
Speaker 5: that's it. So by the time we've spoken to him,

875
00:47:59,239 --> 00:48:01,319
Speaker 5: this is the summer of two thousand. I was in

876
00:48:01,360 --> 00:48:04,560
Speaker 5: the studio with him in New York the following year March,

877
00:48:04,840 --> 00:48:07,840
Speaker 5: so it's like that quick wow.

878
00:48:08,440 --> 00:48:11,520
Speaker 2: Now you also mentioned Flower Tree fans were always would

879
00:48:11,640 --> 00:48:13,640
Speaker 2: will flowr you ever do an album together again? Or

880
00:48:13,719 --> 00:48:14,839
Speaker 2: that chapter your life is over?

881
00:48:15,160 --> 00:48:17,200
Speaker 3: Who knows? No chapters are closed.

882
00:48:17,360 --> 00:48:20,319
Speaker 5: And I think rewinding to what you said about you know,

883
00:48:20,360 --> 00:48:22,680
Speaker 5: when I met my husband, I did a Flowa Tree

884
00:48:23,800 --> 00:48:26,919
Speaker 5: tour twenty fifteen twenty sixteen, and that's when I met him,

885
00:48:27,000 --> 00:48:29,160
Speaker 5: and then got pregnant the following year on the other tour,

886
00:48:29,239 --> 00:48:30,120
Speaker 5: so it was like a back to.

887
00:48:30,080 --> 00:48:33,480
Speaker 3: Back hey reunion. It's all love and yeah, who knows?

888
00:48:33,680 --> 00:48:33,799
Speaker 1: Now?

889
00:48:33,840 --> 00:48:36,920
Speaker 2: Also, I seen Amanda Seals was on Club Shah and

890
00:48:37,000 --> 00:48:39,719
Speaker 2: talks about she said that she thinks she wanted her

891
00:48:39,760 --> 00:48:41,560
Speaker 2: to quit flow a Tree? Was that true?

892
00:48:43,600 --> 00:48:49,040
Speaker 5: The loaded question quit flower Tree is very vague. What

893
00:48:49,080 --> 00:48:52,560
Speaker 5: was happening with Amanda Sells? And this is what because

894
00:48:52,560 --> 00:48:54,040
Speaker 5: I won't spend a lot of time in this.

895
00:48:54,040 --> 00:48:56,799
Speaker 3: This is like a quick bit. When did we lost

896
00:48:56,840 --> 00:48:57,640
Speaker 3: through the Breakfast Club?

897
00:48:57,719 --> 00:49:00,000
Speaker 1: Because this is like seven came up.

898
00:49:00,800 --> 00:49:05,120
Speaker 5: Yes, So initially the first thing I said about Amanda

899
00:49:05,160 --> 00:49:08,360
Speaker 5: Sales is sorry, Like I can play the clip, you

900
00:49:08,400 --> 00:49:10,799
Speaker 5: can go to YouTube and see it, and it was

901
00:49:11,320 --> 00:49:13,719
Speaker 5: she was put in a position that she shouldn't have

902
00:49:13,760 --> 00:49:16,800
Speaker 5: been in the first place, the label and management of

903
00:49:16,880 --> 00:49:19,319
Speaker 5: trying to re establish what that was and it just

904
00:49:19,840 --> 00:49:22,279
Speaker 5: didn't work. So by the time we've put all of

905
00:49:22,320 --> 00:49:25,919
Speaker 5: these things into action, we've rehearsed a show and you've

906
00:49:25,920 --> 00:49:30,000
Speaker 5: given it to the public. Everyone has gone, oh nah,

907
00:49:30,200 --> 00:49:33,839
Speaker 5: and there's nothing I can do about that part. And

908
00:49:34,080 --> 00:49:37,840
Speaker 5: this is also seventeen years ago, three weeks of a

909
00:49:37,880 --> 00:49:40,880
Speaker 5: summer toll. We may have done like fifteen or sixteen

910
00:49:40,920 --> 00:49:44,520
Speaker 5: shows and it just didn't work out. And that was

911
00:49:44,719 --> 00:49:47,400
Speaker 5: the end of that, really, but we've had nothing but

912
00:49:48,000 --> 00:49:51,040
Speaker 5: for me, And I'm saying like I, well for me,

913
00:49:51,920 --> 00:49:56,160
Speaker 5: we'd had nothing but positive interactions thereafter. Like I saw

914
00:49:56,239 --> 00:50:00,120
Speaker 5: her twenty thirteen, we took pictures together, we reminisced, and

915
00:50:00,160 --> 00:50:04,160
Speaker 5: she'd been texting me throughout the years after that, nothing

916
00:50:04,160 --> 00:50:11,160
Speaker 5: but positive vibes. So I'm in a good space right now,

917
00:50:11,280 --> 00:50:15,239
Speaker 5: seventeen years later. So for whatever she believes that was,

918
00:50:15,520 --> 00:50:20,000
Speaker 5: I don't think publicly we can do this combative. Well

919
00:50:20,120 --> 00:50:22,440
Speaker 5: you said this happened, or I said this happened. I

920
00:50:22,480 --> 00:50:25,080
Speaker 5: know exactly what happened on my end, But you know,

921
00:50:25,239 --> 00:50:31,359
Speaker 5: it's kind of seventeen years ago. I've done all this

922
00:50:31,440 --> 00:50:33,880
Speaker 5: healing between now and then. I'm not the same Like

923
00:50:33,960 --> 00:50:38,280
Speaker 5: seventeen years ago, two thousand and seven, I'm still talking

924
00:50:38,320 --> 00:50:40,880
Speaker 5: to Michael Jackson at that point, I've still got prints

925
00:50:40,880 --> 00:50:45,000
Speaker 5: on speed dial, Like I was still very much Grammy winning,

926
00:50:45,080 --> 00:50:50,920
Speaker 5: Grammy nominated me. That was in a position to do

927
00:50:51,000 --> 00:50:53,840
Speaker 5: what I wanted to do at that point, moving forward.

928
00:50:53,960 --> 00:50:58,200
Speaker 5: And here we are seventeen years later, and I'm still

929
00:50:59,480 --> 00:51:03,080
Speaker 5: moving on. I wanted to moving forward, and Casa Blanco

930
00:51:03,200 --> 00:51:06,719
Speaker 5: with Doctor Dre's about to drop and just in a

931
00:51:06,800 --> 00:51:07,720
Speaker 5: different space.

932
00:51:08,400 --> 00:51:11,520
Speaker 4: You know, on the song Greedy, it makes me wonder

933
00:51:11,560 --> 00:51:13,239
Speaker 4: that your husband ever hear certain lyrics and be like,

934
00:51:13,280 --> 00:51:15,120
Speaker 4: you're talking about us because you say it's never enough

935
00:51:15,120 --> 00:51:17,480
Speaker 4: to love you, same old lamb old. Ain't no way

936
00:51:17,520 --> 00:51:19,440
Speaker 4: I'm ever gonna take that shit. I'm giving you everything

937
00:51:19,440 --> 00:51:20,359
Speaker 4: and this the thanks I get.

938
00:51:21,120 --> 00:51:27,000
Speaker 3: Don't play that shit, even if it was Greedy.

939
00:51:27,080 --> 00:51:30,080
Speaker 5: During that time and even during the creative process of

940
00:51:30,560 --> 00:51:36,560
Speaker 5: Casa Blanco, my husband and I had a conversation about

941
00:51:38,120 --> 00:51:42,239
Speaker 5: where I was at mentally to create.

942
00:51:44,560 --> 00:51:45,840
Speaker 3: The actual.

943
00:51:49,320 --> 00:51:52,839
Speaker 5: Basically, he said I didn't have to be married mash

944
00:51:53,440 --> 00:51:56,480
Speaker 5: and come from that space. And I understood what he

945
00:51:56,560 --> 00:52:00,520
Speaker 5: said when he said that, because the love songs different

946
00:52:00,960 --> 00:52:06,240
Speaker 5: if I'm attached to the relationship I'm in and having

947
00:52:06,320 --> 00:52:09,120
Speaker 5: to kind of skirt around what that looks like. Those

948
00:52:09,160 --> 00:52:11,880
Speaker 5: songs sound like don't Wait the Baby or just like

949
00:52:11,960 --> 00:52:13,040
Speaker 5: old Times.

950
00:52:12,680 --> 00:52:15,920
Speaker 3: And they're different. With this.

951
00:52:16,080 --> 00:52:19,799
Speaker 5: It was you need to stretch that panem write from

952
00:52:19,840 --> 00:52:23,080
Speaker 5: a space of you doing you and what does that

953
00:52:23,120 --> 00:52:26,520
Speaker 5: sound like. So by the time I got to Greedy,

954
00:52:26,680 --> 00:52:29,879
Speaker 5: I was angry at the world, like it's never enough

955
00:52:29,920 --> 00:52:36,839
Speaker 5: to love anyone or anything, and then be satisfied in

956
00:52:36,880 --> 00:52:40,080
Speaker 5: a way that you feel like you put your one

957
00:52:40,120 --> 00:52:44,359
Speaker 5: hundred in and they only claim it's thirty percent. So

958
00:52:44,440 --> 00:52:46,400
Speaker 5: I could give you the moon and it's like, well

959
00:52:46,440 --> 00:52:50,360
Speaker 5: where the sun at? Like it's the Moon family that

960
00:52:50,440 --> 00:52:52,080
Speaker 5: you don't want to you know.

961
00:52:52,400 --> 00:52:54,560
Speaker 3: And I feel like Greedy I.

962
00:52:54,520 --> 00:53:01,080
Speaker 5: Was talking about everyone. It wasn't even just about him,

963
00:53:01,480 --> 00:53:04,799
Speaker 5: it was everyone and everything playing this tiger war of

964
00:53:05,880 --> 00:53:08,960
Speaker 5: if you're not next to me, you feel as though

965
00:53:09,000 --> 00:53:12,719
Speaker 5: you're missing out on something that you only gain by

966
00:53:12,800 --> 00:53:16,160
Speaker 5: being with me or taking something from me.

967
00:53:16,840 --> 00:53:19,879
Speaker 3: I'm like, what's the endgame? Like what exactly do you want?

968
00:53:19,960 --> 00:53:23,279
Speaker 5: Because you're really upset, like you mad as fuck that

969
00:53:23,360 --> 00:53:27,160
Speaker 5: you're not around me like that greedy.

970
00:53:28,719 --> 00:53:33,719
Speaker 1: M I love that song music on my mind.

971
00:53:33,760 --> 00:53:36,200
Speaker 4: You said it's a it's that Wu Tang me to

972
00:53:36,239 --> 00:53:38,480
Speaker 4: Cold Traine, And what I love about that is like

973
00:53:38,480 --> 00:53:39,920
Speaker 4: what I told you earlier is like you're putting hip

974
00:53:39,960 --> 00:53:44,120
Speaker 4: hop on this proper pedestal of being like a classic

975
00:53:44,239 --> 00:53:45,640
Speaker 4: musical art form?

976
00:53:45,840 --> 00:53:50,000
Speaker 1: Was that intentional throughout the project?

977
00:53:50,360 --> 00:53:55,560
Speaker 5: Maybe not intentional, but my affinity and adoration for hip

978
00:53:55,560 --> 00:54:01,680
Speaker 5: hop has stemmed from me knowing.

979
00:54:01,400 --> 00:54:05,200
Speaker 3: All the words to beach street breaking, like.

980
00:54:06,280 --> 00:54:12,000
Speaker 5: Being overseas, getting all of these imported hip hop twelve

981
00:54:12,080 --> 00:54:18,560
Speaker 5: inch records from my uncle and hip up you the

982
00:54:18,600 --> 00:54:22,480
Speaker 5: love of my life, and I feel like on this

983
00:54:22,680 --> 00:54:27,720
Speaker 5: album it only made sense that I made sure that

984
00:54:27,719 --> 00:54:30,640
Speaker 5: that last music of my mind was my love letter

985
00:54:30,880 --> 00:54:34,239
Speaker 5: to music, and I couldn't fit everything in, so I

986
00:54:34,360 --> 00:54:37,600
Speaker 5: just gave you the bullet points of what those errors

987
00:54:37,760 --> 00:54:40,160
Speaker 5: and time. So yeah, WU tang it to shout out.

988
00:54:40,239 --> 00:54:44,279
Speaker 5: I even shouted out Mace and Cam before I even

989
00:54:44,360 --> 00:54:45,799
Speaker 5: know they would reunite.

990
00:54:45,880 --> 00:54:48,000
Speaker 3: This is twenty twenty one. I'm calling this out.

991
00:54:48,040 --> 00:54:50,040
Speaker 5: And I know what Horse and Carriage did for me

992
00:54:50,120 --> 00:54:53,600
Speaker 5: in the nineties, you know, So it was all of

993
00:54:53,640 --> 00:54:56,680
Speaker 5: these small nuds to things and this is in the

994
00:54:56,719 --> 00:55:02,080
Speaker 5: same breath I'm saying, you know, MJ. J. Dillar, Marcus Miller, Murder,

995
00:55:02,080 --> 00:55:07,400
Speaker 5: Max cam Killer, miss Paid, Funkadelic, George Clinton, and I

996
00:55:07,440 --> 00:55:11,360
Speaker 5: even shout out Luke Skywalker, just things that I've loved

997
00:55:11,440 --> 00:55:13,600
Speaker 5: over the course of my life. And if that were

998
00:55:13,719 --> 00:55:19,640
Speaker 5: my last speech to planet Earth, like it's been real,

999
00:55:20,320 --> 00:55:22,960
Speaker 5: this was it. That's what music in my mind, and

1000
00:55:23,000 --> 00:55:26,000
Speaker 5: that last statement was the last thing that I say,

1001
00:55:26,120 --> 00:55:33,280
Speaker 5: is dr e that Mamba mentality, the game winning shut

1002
00:55:33,400 --> 00:55:35,040
Speaker 5: for the three cod.

1003
00:55:36,400 --> 00:55:37,200
Speaker 3: Swish.

1004
00:55:38,760 --> 00:55:42,279
Speaker 4: It's good, great way in the project. That's right, great

1005
00:55:42,360 --> 00:55:43,879
Speaker 4: for the fantastic album.

1006
00:55:43,800 --> 00:55:45,959
Speaker 2: Comes out next Friday, June twenty eighth.

1007
00:55:46,040 --> 00:55:48,640
Speaker 3: Oh my goodness, when you say it out loud, it's real.

1008
00:55:48,800 --> 00:55:49,760
Speaker 2: That's right next Friday.

1009
00:55:49,880 --> 00:55:53,960
Speaker 3: Oh man, listen, but what do you want to hear

1010
00:55:54,000 --> 00:55:56,840
Speaker 3: off the album? What do I want to hear that?

1011
00:55:56,880 --> 00:55:58,400
Speaker 2: You're gonna allow us to play because we got to

1012
00:55:58,440 --> 00:55:58,800
Speaker 2: get it from you.

1013
00:55:58,880 --> 00:56:00,960
Speaker 1: Guys everywhere.

1014
00:56:02,239 --> 00:56:05,480
Speaker 3: Might be wet, we might be self care wrong.

1015
00:56:05,360 --> 00:56:08,399
Speaker 2: Riot, you can do you can do both both.

1016
00:56:08,680 --> 00:56:12,600
Speaker 3: Thrill has a thing though that thing is a story.

1017
00:56:13,080 --> 00:56:14,680
Speaker 2: We ain't enough time for three, but we got two.

1018
00:56:14,719 --> 00:56:15,640
Speaker 2: We will.

1019
00:56:16,160 --> 00:56:17,839
Speaker 3: It's pick one.

1020
00:56:17,520 --> 00:56:20,759
Speaker 5: Used to be done at the board, like Okay, what

1021
00:56:20,840 --> 00:56:21,799
Speaker 5: we're saying thrill her?

1022
00:56:21,880 --> 00:56:23,720
Speaker 3: What scart?

1023
00:56:23,960 --> 00:56:26,880
Speaker 2: Okay, cool, thrill her and we let's do it all right.

1024
00:56:26,920 --> 00:56:29,239
Speaker 2: We'll get that on. Thank you so much for joining us.

1025
00:56:29,280 --> 00:56:33,560
Speaker 2: The album Casablanco comes out next Friday. Today, the track

1026
00:56:33,600 --> 00:56:35,640
Speaker 2: listing is released. You guys can check that out and

1027
00:56:35,640 --> 00:56:37,239
Speaker 2: we appreciate you for spending it with us today.

1028
00:56:37,239 --> 00:56:38,839
Speaker 3: Thank you so much for having me.

1029
00:56:40,080 --> 00:56:43,479
Speaker 2: It's Marsha Ambrosis, It's the Breakfast Club. Good morning, wake

1030
00:56:43,520 --> 00:56:45,239
Speaker 2: that ass up in the morning.

1031
00:56:45,400 --> 00:56:46,440
Speaker 1: The Breakfast Club