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Speaker 1: R and B money, Honey, we are thanks take Valoti.

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

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Speaker 2: Ladies and gentlemen. My name is Tek Valentine. This is

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Speaker 2: the Army Money podcast. The authority.

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Speaker 3: It's the fucking authorities on all things R and B.

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Speaker 3: There is a brotherhood in R and B. There's lineage,

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Speaker 3: there's history in R and B that connects and dates

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Speaker 3: back all the way to the beginning of even me.

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Speaker 3: And we got a guy here to confirm a talent,

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Speaker 3: a gift writer, songwriter, producer, business man. More importantly, my

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Speaker 3: loved one man. Uh Papa John's Pizza brother and Domino

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Speaker 3: Wings brother.

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Speaker 2: What's up? So happy to be here man?

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Speaker 3: We had many Papa John's pizza with the garlic butter

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Speaker 3: sauce you can only imagine, and.

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Speaker 2: The wings all the time.

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Speaker 3: What So it's crazy because I knew, you know, we

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Speaker 3: always go back to the to the beginning.

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Speaker 2: We're gonna go back to your beginning, right.

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Speaker 3: But when I, you know, as I became tank, Tank

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Speaker 3: was always my nickname, but then I became tank back

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Speaker 3: tank again whatever that means. On tour with Genuine and

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Speaker 3: Leah because Genuine didn't want to call me the rev.

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Speaker 2: He's like, nigga, you ain't got no nickname. I was like, yeah,

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Speaker 2: but help me call me.

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Speaker 3: That can't be black without you, can't be So as

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Speaker 3: I become Tank, my first stop, my first real stop

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Speaker 3: into developing whoever this Tank guy is going to be

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Speaker 3: is Noontime.

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Speaker 2: Wow, the legendary, the legendary legend Atlanta.

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Speaker 3: And the first guy they pair me with is this

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Speaker 3: guy right here there, it is.

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Speaker 2: I believe that. And you wouldn't even believe how that

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Speaker 2: pairing occurred, how okay, because it came at a time

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Speaker 2: where I wasn't officially signed to Noontime at that time, right,

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Speaker 2: I had basically privileged to be in the building and

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Speaker 2: to create and shouts out to be Cocks, shouts out

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Speaker 2: to to the Noontime family for allowing me that opportunity.

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Speaker 2: One but how that opportunity came was an accident because

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Speaker 2: there was nobody in the building, if you remember, but us.

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Speaker 2: It was just us. It was just me and you.

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Speaker 2: And that's really a fast forward into like the whole

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Speaker 2: process of our creative relationship because before that, there was

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Speaker 2: like a real hard grind going on. But Noontime was gone.

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Speaker 2: They were going to New York to work with Aliyah Hyeah. Absolutely,

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Speaker 2: so all of them, they just was like we out.

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Speaker 2: Well it wasn't you know. It was a deal happening

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Speaker 2: between Blackground Noontime and you know they had a relationship

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Speaker 2: where all of the signed producers got an opportunity to

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Speaker 2: go work with Aaliyah. Yeah, and I had to stay back.

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Speaker 2: And it was such the fortunate experience for me to

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Speaker 2: have to stay back because I got to meet you. Yeah,

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Speaker 2: it was just us, bro, It was just a whole studio. Yeah,

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Speaker 2: and it felt like it was like thirty days. I

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Speaker 2: want to say we did some time, bro. It was

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Speaker 2: like how many records you think we created? Time? Right?

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Speaker 2: So legend has it that we created a record a day.

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Speaker 2: We did something like that, And from that came many

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Speaker 2: opportunities and shouts out to JQ because I watched his

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Speaker 2: podcast and he mentioned one of the legendary records that

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Speaker 2: we came up with. I brought it here with me today.

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Speaker 2: By the way, we might have to put on the BIB.

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Speaker 2: I like to bring some receipts. I like to bring

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Speaker 2: some receipts. But the point is is there was a

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Speaker 2: time when you know, I was really on the grind,

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Speaker 2: and I really didn't have a footing for myself as

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Speaker 2: a producer. I really didn't even have a footing for

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Speaker 2: myself in Atlanta at the time because I wasn't from Itanta,

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Speaker 2: and so getting to know a lot of the Atlanta

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Speaker 2: community was like really working up, you know. And so

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Speaker 2: I didn't have songwriters who worked with me regularly, So

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Speaker 2: I wasn't necessarily writing songs that everybody was really interested

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Speaker 2: in here, you know. So it was really a grind.

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Speaker 2: But when they dropped you there, it was like, Okay,

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Speaker 2: now now's the time to really show them something. Yeah,

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Speaker 2: And that fast forwarded that I think into maybe this

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Speaker 2: was my second trip to Atlanta, because ideal was originally

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Speaker 2: the reason why I came to Atlanta in the first place.

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Speaker 2: Shut yeah, yeah, yeah. My Houston brothers and my family.

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Speaker 2: Let's go back to Houston.

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Speaker 3: Let's start. Let's go back to Houston. Let's start and

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Speaker 3: start there. How do you how do you even get started?

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Speaker 3: Like how do you say? You know what I'm saying.

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Speaker 3: Give me some equipment. I need to figure this shit out.

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Speaker 2: Wow, all right, well here it goes. Only child, just

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Speaker 2: me and my mom growing up, we went to Windsor

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Speaker 2: Village Church. Yeah, as many of us, we start out

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Speaker 2: in the church. I played drums, study jazz. And there

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Speaker 2: was a group of friends that I had made from

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Speaker 2: junior high school, right, Wayne Perry, Cedric Cotton, Maverick Cotton,

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Speaker 2: Jay Green. This is from junior high school, sixth seventh grade.

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Speaker 2: I was the youngest of our crew, and these guys

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Speaker 2: were uber talented. I'm talking about like, this is the

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Speaker 2: junior high school that Chris Dave went to. Johnston shouts

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Speaker 2: out to Johnston Middle School, And this is how it

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Speaker 2: all started. Because if you know anything about artist development

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Speaker 2: during that time, you know it took years. Right, it

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Speaker 2: still should take you, and it should absolutely right. And

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Speaker 2: by the time, of course, through our music musical diasp

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Speaker 2: or growing up, you know, we sang in the choirs,

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Speaker 2: we played in the church bands, we were in the

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Speaker 2: jazz bands at school. We were really into music theory.

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Speaker 2: All of these guys played an instrument, but they also

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Speaker 2: sang too. And so by the time we got to

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Speaker 2: high school, Ideal gets signed to Virgin Records. I was

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Speaker 2: in tenth grade when they got signed. I was also

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Speaker 2: in tenth grade when Chris Dave went to play for

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Speaker 2: Man Condition. Wow. So a lot of our musical influences

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Speaker 2: that we had grown up around that we had admired.

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Speaker 2: You know. Jason Moran was also cut from that cloth too,

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Speaker 2: and he's like director of the Kennedy Center Jazz. So

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Speaker 2: it's like these types of musical pedigrees was around us

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Speaker 2: and this was really inspired us. Now, me being the

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Speaker 2: youngest kid, nobody was really listening to me. I couldn't

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Speaker 2: sing a lit. My cousin, Charles Ben was in the

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Speaker 2: group at the time. Too. Ideal was a five man

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Speaker 2: group before it turned into a four man group, and

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Speaker 2: they went to Lamar High School, so I kind of

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Speaker 2: followed them everywhere they went, right and by the time

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Speaker 2: I ended up graduating, which I graduated from the High

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Speaker 2: School for Performing in Visual Arts, which is the same

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Speaker 2: school be Cos Beyonce, all of it. You know, that

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Speaker 2: pedigree went through, but they were already signed to Virgin

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Speaker 2: Records and they got put on the shelf. And so

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Speaker 2: by the time we get through graduating high school, you know,

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Speaker 2: these guys was running around Houston singing, you know, at

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Speaker 2: all kinds of events. My mother, who was like a

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Speaker 2: socialite in Houston, you know, set them up singing events

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Speaker 2: for Winnie Mandela, things of that such, and then they

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Speaker 2: got caught the ears of this management company called Mactown Management,

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Speaker 2: Too hard to Touch. This management company happened to manage

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Speaker 2: this group Htown too hard to Touch. Yeah, shout out

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Speaker 2: to Bishop Barrel Stick, Pat Johnson. Those guys, Now, mind you,

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Speaker 2: I didn't have any skin in the game. I'm just

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Speaker 2: a kid that's rolling with my friends, hoping one day

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Speaker 2: that maybe I could just be the drummer to go

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Speaker 2: on tour with them. That was my dream because looking

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Speaker 2: at Chris Dave and what he's doing, and I'm like, man,

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Speaker 2: this is what I want to do. So are they

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Speaker 2: moving with the band or at this point or no?

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Speaker 2: Moving with Town.

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Speaker 4: No, I'm saying as far as ideal. So, like you said,

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Speaker 4: you just wanted to go on a roll, So no,

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Speaker 4: you're just really kicking it. You don't even playing drums

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Speaker 4: at the shows, nothing.

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Speaker 2: None of that, Okay, But we wanted to create music together.

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Speaker 2: You know, during that time, you know how much it

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Speaker 2: costs to getting studios, So we didn't we didn't have

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Speaker 2: the ability to have those types of privileges, especially growing

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Speaker 2: up in Houston. It wasn't like an Atlanta scene. It

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Speaker 2: wasn't like there was just the music business everywhere. So

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Speaker 2: when Htown and Pat Johnson and Bishop Barrell invested their

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Speaker 2: time creatively in these guys, they gave them an opportunity

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Speaker 2: to write and produce their own stuff. Right. Shouts out

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Speaker 2: to g I Jackson, right, because he was one of

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Speaker 2: the dudes in Agetown that saw me, that saw me

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Speaker 2: and would invite me over to his crib and he's like, hey,

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Speaker 2: play with this ASR ten keyboard a little bit. You know,

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Speaker 2: let's see what you could do. Couldn't do nothing, couldn't

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Speaker 2: do nothing. But it was somebody that in that nucleus

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Speaker 2: saw me in a way in which that was different

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Speaker 2: from how they saw my guys. And I knew my

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Speaker 2: guys were talented, like I was like waving their flag

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Speaker 2: like none other. And h Town would take them on

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Speaker 2: like spot dates, you know, they might have an you know,

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Speaker 2: an open end. Yeah. And this was long before Noontime

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Speaker 2: came into the picture, long before the records came into

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Speaker 2: the pictures, long before we even took a trip to Atlanta.

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Speaker 5: Right, And.

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Speaker 2: That thing kind of fizzled after a while. This whole

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Speaker 2: time idea was signed to Virgin of the assigned group

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Speaker 2: to Virgin, right directly to Virgin, not through any subsidiaries

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Speaker 2: or anything like that. And so it was a privileged

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Speaker 2: opportunity because we saw this growth. And it took years.

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Speaker 2: It took years. It took years to get on the shelf.

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Speaker 2: They had a single came out that was a Marvin

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Speaker 2: Gay remake on Original Gangsters. I don't know if you'll

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Speaker 2: remember that.

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Speaker 4: I remember Original Man, all right, Yeah, that was that

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Speaker 4: was a real uh West Coast movie.

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Speaker 2: Absolutely, So that was the beginning, right for me, seeing

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Speaker 2: what could potentially occur, right, and I go to college.

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Speaker 2: Then when I go to college, everybody's back at home.

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Speaker 2: You know. The movie didn't do too good. The soundtrack

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Speaker 2: didn't do too good. I think Virgin was changing administrations,

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Speaker 2: you know, and so you know, get lost in the

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Speaker 2: sauce at a certain point, but we never stopped. And

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Speaker 2: so I got into a car accident maybe coming home

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Speaker 2: from Houston, I mean coming home from college. And it

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Speaker 2: awarded me the opportunity to buy some gear. Yeah, and

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Speaker 2: I bought an a SR tear and keyboard with Gi

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Speaker 2: used to let me come over his crib and play

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Speaker 2: with and tinkle with I bought it from Bishop Barrell Stick,

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Speaker 2: So he's the guy that produced Knocking the Boots, produced

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Speaker 2: all of a Town stuff. So that was my first

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Speaker 2: keyboard and then I'm like, okay, we can create something now.

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Speaker 2: But I wasn't a keyboard player, but this was a sampler,

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Speaker 2: so I learned how to manipulate things, learn how to

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Speaker 2: record their vocals into the sampler, stack them up, press

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Speaker 2: the one button and it sounds like a bunch of

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Speaker 2: bunch of stacks. It's like the first daw So. And

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Speaker 2: that was really my first foray into the technical side

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Speaker 2: of things because now I felt like I had some

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Speaker 2: value to bring to the table.

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Speaker 4: And so they had no other main producer at this point.

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Speaker 2: No, they had Stick and it was us as a group.

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Speaker 2: We called ourselves at that time Abstract Productions, right, I

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Speaker 2: know you remember Biyo has it of course. Yeah. It

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Speaker 2: was like it was like our first bio hazard production

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Speaker 2: company and it was us and we had an opportunity

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Speaker 2: to go in and some people gave us. You know,

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Speaker 2: we had some guys that threw us a little money

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Speaker 2: and it was like the streets, right, So we had

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Speaker 2: some guys that throw some money and said go in

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Speaker 2: the studio and do some things. So we cut this

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Speaker 2: demo and I mean, like one of these songs is

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Speaker 2: called Puppy Love, right. I can't wait till y'all hear that. Right.

218
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Speaker 2: Robert Glasper loves this song too, right. But so yeah,

219
00:14:39,920 --> 00:14:44,760
Speaker 2: that was the claim the fame of my contribution to

220
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Speaker 2: them as a group coming out of Houston, still being

221
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Speaker 2: at Howard because I would be coming home from Howard.

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Speaker 2: At Howard, I would have relationships with this guy, Eric Roberson,

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Speaker 2: my right, he would be going back and forth from Atlanta,

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Speaker 2: and he'd be like, man, working with these people down there,

225
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Speaker 2: this one producer Jay Duve. I don't know who Jay

226
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Speaker 2: Dove is until I start reading the my album credits

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Speaker 2: and I'm like, oh wow. So Eric Roberson would come back,

228
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Speaker 2: play me certain ideas. What you think about this, you know?

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Speaker 2: And I'm just a kid, like nobody's still really paying

230
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Speaker 2: attention to the fact that I got a group back

231
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Speaker 2: at home as signed the Virgin Records, even though I'm

232
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Speaker 2: not on no paperwork for nothing that they're privy to, Like,

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Speaker 2: it's still us at the end of the day. So

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Speaker 2: it gets around to the point to where like they're

235
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Speaker 2: in limbo. They're in limbo. I'm in school. I get

236
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Speaker 2: to mind second semester, my junior year at Howard at

237
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Speaker 2: this point, and they find a way to have someone

238
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Speaker 2: Leslie Bond. Actually, I'm gonna mention that name, Leslie Bond.

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Speaker 2: What's up less through one of our cousins, Pete, who

240
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Speaker 2: was a lawyer in Saint Louis, and he was like,

241
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Speaker 2: you know what, I'm gonna take on this action and

242
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Speaker 2: we're gonna fly off to la and we're gonna see

243
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Speaker 2: what's going on with ideals project. So he came out here,

244
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Speaker 2: he had a meeting with Eric Brooks. Ideal didn't necessarily

245
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Speaker 2: have like a real core manager at this time, and

246
00:16:23,120 --> 00:16:28,240
Speaker 2: they were able to convince them to put some attention

247
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Speaker 2: on the idea. And the minute that that happened, Virgin

248
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Speaker 2: decided that we're gonna fly him out here. We're gonna

249
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Speaker 2: put them up, put them up in the park Librea

250
00:16:39,800 --> 00:16:46,240
Speaker 2: before the grove was there, right, and you thought that

251
00:16:46,320 --> 00:16:54,040
Speaker 2: they was just gonna leave me, right, So now I

252
00:16:54,120 --> 00:16:56,120
Speaker 2: packed my stuff up. His career and I was like,

253
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Speaker 2: I'm out. When we leave, you leave school, You're like,

254
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Speaker 2: I'm I'm gone. This is it. I'm going at this

255
00:17:02,920 --> 00:17:07,199
Speaker 2: particular point because at in school, you know, I'm still touting,

256
00:17:07,400 --> 00:17:10,280
Speaker 2: you know, my guys got a deal like these the

257
00:17:10,320 --> 00:17:16,360
Speaker 2: one up next. Yeah, you know, so so come out

258
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Speaker 2: to LA And this had to be in nineteen ninety nine,

259
00:17:20,080 --> 00:17:24,840
Speaker 2: right nineteen ninety seven to nineteen ninety nine. We were

260
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Speaker 2: out here and I stayed on the couch. Virgin rented

261
00:17:31,160 --> 00:17:33,960
Speaker 2: a van, you know, for us to have to move

262
00:17:34,000 --> 00:17:37,560
Speaker 2: around with. Wasn't a lot of money going around, and

263
00:17:37,680 --> 00:17:40,520
Speaker 2: they were getting like a monthly stipend. I was getting zero,

264
00:17:42,840 --> 00:17:46,040
Speaker 2: and so you know, calling my mom, let me get

265
00:17:46,040 --> 00:17:48,840
Speaker 2: some you know, rolling around money, eating money, whatnot. You know,

266
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Speaker 2: go to Western Union, pick it up, call my dad,

267
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Speaker 2: you know, things would you know, they would help out.

268
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Speaker 2: But virtually, you know, I'm out here figuring it out.

269
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Speaker 2: And so Eric broke at the time, and I'm fast

270
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Speaker 2: forwarding a little bit. But I mean we met with

271
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Speaker 2: like Big John, We met with like, you know, people

272
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Speaker 2: who are at the height of their game and publishing

273
00:18:11,200 --> 00:18:13,760
Speaker 2: or actually getting there. You know, I don't know what

274
00:18:13,920 --> 00:18:16,880
Speaker 2: trajectory when we walked into this meeting with Big John

275
00:18:16,920 --> 00:18:19,320
Speaker 2: and we're playing him all of these demos and whatnot,

276
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Speaker 2: and they're basically like, it's like, nah, these songs suck.

277
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Speaker 2: Come on, tell the truth about the music business.

278
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Speaker 4: Yeah, because everybody thinks we're looking at successful people and

279
00:18:34,520 --> 00:18:38,840
Speaker 4: they've always had good music to everyone.

280
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Speaker 2: It might have been good music to you at the time.

281
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Speaker 2: Oh it was great to us, right.

282
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Speaker 4: But then you start realizing the reality of what the

283
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Speaker 4: big leagues really are. Yes, And we stepped into it

284
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Speaker 4: really quickly with not a lot of representation, basically zero representation.

285
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Speaker 4: Less didn't have experience in the music business, even though

286
00:19:02,160 --> 00:19:04,000
Speaker 4: he was a lawyer, so he knew how to kind

287
00:19:04,000 --> 00:19:05,680
Speaker 4: of look at deals.

288
00:19:05,320 --> 00:19:09,120
Speaker 2: And see what do what terms, but not everything right,

289
00:19:09,240 --> 00:19:13,239
Speaker 2: But we were like really on our own kids in

290
00:19:13,280 --> 00:19:17,080
Speaker 2: this game, like literally kids taking means with our songs,

291
00:19:17,280 --> 00:19:21,160
Speaker 2: taking means with our songs. Nobody liked them. Nobody liked them.

292
00:19:22,000 --> 00:19:26,720
Speaker 2: It was Do you remember the feeling of that though, Yes,

293
00:19:27,080 --> 00:19:29,520
Speaker 2: because it was. I mean it's like a gut punch

294
00:19:29,920 --> 00:19:32,440
Speaker 2: really and a reality check too at the same time.

295
00:19:33,320 --> 00:19:39,320
Speaker 2: Because this group is undeniably talented. They will sing any

296
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Speaker 2: group under the table. Their harmonies will like none other.

297
00:19:44,119 --> 00:19:47,919
Speaker 2: So how could anything that their voices be on not

298
00:19:48,000 --> 00:19:55,840
Speaker 2: be good? Yeah, it happens bro, No, it happened. It happened.

299
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Speaker 2: You know.

300
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Speaker 3: So even if you like do like I mean when

301
00:19:59,520 --> 00:20:01,080
Speaker 3: you place the stuff, you do like to do a

302
00:20:01,119 --> 00:20:01,720
Speaker 3: deep dive.

303
00:20:01,800 --> 00:20:03,800
Speaker 2: Like I've listened to some of my old records and

304
00:20:03,880 --> 00:20:05,720
Speaker 2: I'd be like, damn, I.

305
00:20:05,760 --> 00:20:12,800
Speaker 4: Was exactly listen nobody, nobody back to a thousand.

306
00:20:13,800 --> 00:20:15,879
Speaker 2: We can still go back and listen to this Puppy

307
00:20:15,920 --> 00:20:19,159
Speaker 2: Love record. And I'm sorry, but that record was fire.

308
00:20:19,200 --> 00:20:21,040
Speaker 2: But were y'all playing Puppy Love for people too? We

309
00:20:21,080 --> 00:20:23,080
Speaker 2: were playing that, but nobody liked it.

310
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Speaker 3: It was like it was jazzy. It was like, it's

311
00:20:25,640 --> 00:20:29,439
Speaker 3: also called puffy Love. We gotta I want your.

312
00:20:29,280 --> 00:20:31,400
Speaker 2: Grown nigga to play me puppy love.

313
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Speaker 5: Right here.

314
00:20:33,840 --> 00:20:35,560
Speaker 2: This is really hot called puppy Love.

315
00:20:35,680 --> 00:20:39,680
Speaker 3: Niggas is twenty three guys. Oh, we're just talking about

316
00:20:39,720 --> 00:20:40,400
Speaker 3: all the puppies.

317
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Speaker 2: And we're not thinking we've nurtured over over the years.

318
00:20:45,160 --> 00:20:47,840
Speaker 2: We're thinking we some real musicians out here, and you know,

319
00:20:47,920 --> 00:21:03,400
Speaker 2: we are adding some value to puffy Love. What had

320
00:21:03,480 --> 00:21:10,160
Speaker 2: happened was is Ideal found someone in Virgin Records, right,

321
00:21:11,480 --> 00:21:17,400
Speaker 2: and they asked her to come and manage them. Okay, right,

322
00:21:18,160 --> 00:21:22,879
Speaker 2: And so now there was someone who spoke the language

323
00:21:23,240 --> 00:21:27,880
Speaker 2: of the business, who probably didn't have any experience managing

324
00:21:28,080 --> 00:21:33,159
Speaker 2: at that time, but who worked in there that worked

325
00:21:33,160 --> 00:21:38,280
Speaker 2: in that building. Her name was Carmenic Roberts. Carmen. Okay,

326
00:21:38,920 --> 00:21:46,760
Speaker 2: I'm saying that shouts out to Karmeny, because the moment

327
00:21:47,080 --> 00:21:51,760
Speaker 2: that she started to speak for the group, then we

328
00:21:51,880 --> 00:21:56,240
Speaker 2: started to see things happening. You know. It was somebody

329
00:21:56,240 --> 00:21:58,960
Speaker 2: who believed in the group, somebody who was willing to

330
00:21:59,160 --> 00:22:03,240
Speaker 2: take their time and energy and speak on the behalf

331
00:22:03,359 --> 00:22:07,320
Speaker 2: of right those who can't necessarily speak for themselves a

332
00:22:07,359 --> 00:22:10,640
Speaker 2: certain kind of way, right. And she happened to Winter

333
00:22:11,040 --> 00:22:17,399
Speaker 2: to go to Howard and so back channel. Now I

334
00:22:17,440 --> 00:22:21,879
Speaker 2: got my little cousin b Cox calling me too while

335
00:22:21,920 --> 00:22:25,560
Speaker 2: he's at Clarke Atlanta University, because there was a period

336
00:22:25,600 --> 00:22:28,760
Speaker 2: of limbo before we moved to LA where I was

337
00:22:28,800 --> 00:22:35,080
Speaker 2: working at Mars Music, right, and he was in Clarke

338
00:22:35,080 --> 00:22:38,120
Speaker 2: Atlanta and trying to figure it out, right, And part

339
00:22:38,119 --> 00:22:41,200
Speaker 2: of his story is he's walking around, he finds this

340
00:22:41,560 --> 00:22:46,760
Speaker 2: flyer on the ground, right, and he calls them up,

341
00:22:46,800 --> 00:22:50,520
Speaker 2: and he's trying to get over there and go in turn. Hey, look,

342
00:22:51,520 --> 00:22:54,760
Speaker 2: I don't want to be paid. Just give me studio time, right,

343
00:22:55,520 --> 00:23:03,480
Speaker 2: guy from Houston, PVA well trained musically, right, So back

344
00:23:03,600 --> 00:23:07,719
Speaker 2: channel Cox and them already knew Idea was signed, like

345
00:23:07,920 --> 00:23:10,840
Speaker 2: since we were in high school. He was an underclassman

346
00:23:11,119 --> 00:23:13,760
Speaker 2: to us, right, so we're like seniors. He was like

347
00:23:13,760 --> 00:23:18,280
Speaker 2: a sophomore, right, and he worked at the Guitar Center,

348
00:23:18,320 --> 00:23:20,800
Speaker 2: and so we just, you know, we just try to

349
00:23:20,840 --> 00:23:24,440
Speaker 2: figure out ways that how we can really just make it.

350
00:23:24,640 --> 00:23:27,160
Speaker 2: So by the time we get to LA, things start moving.

351
00:23:27,200 --> 00:23:33,560
Speaker 2: Carmenique starts moving. He's in Atlanta. Carmenique sets up this meeting. Well,

352
00:23:33,600 --> 00:23:39,080
Speaker 2: here's how it happened. Jay Dubb submitted some tracks and

353
00:23:39,240 --> 00:23:43,440
Speaker 2: before we got to Atlanta, he came to LA and

354
00:23:43,920 --> 00:23:46,479
Speaker 2: I think that there was something going on between the

355
00:23:46,520 --> 00:23:49,760
Speaker 2: Noontime relationship. But Jay Dub was out here rolling with

356
00:23:49,840 --> 00:23:54,560
Speaker 2: tr and they went to the Music Grinder studios talk

357
00:23:54,600 --> 00:23:59,760
Speaker 2: about the music the Music Grinder studios, right, and recorded

358
00:23:59,800 --> 00:24:02,520
Speaker 2: this that we all set in the Circle in the

359
00:24:02,520 --> 00:24:07,760
Speaker 2: Park Librea and we wrote about a breakup that my

360
00:24:07,840 --> 00:24:11,399
Speaker 2: cousin Pete had. Right. A song called tell Me Why.

361
00:24:11,520 --> 00:24:14,840
Speaker 2: It's on the Ideas first album, right, This Ja Doub

362
00:24:14,880 --> 00:24:18,119
Speaker 2: produced track. This was before we got to Atlanta and

363
00:24:18,200 --> 00:24:22,719
Speaker 2: started to realize that our songs were trash, right, But

364
00:24:22,800 --> 00:24:25,119
Speaker 2: this song actually made it yah because it was on

365
00:24:25,160 --> 00:24:28,600
Speaker 2: a jaduve B and the five of us in the

366
00:24:28,680 --> 00:24:32,240
Speaker 2: room wrote it, and so we were like, yeah, we

367
00:24:32,280 --> 00:24:35,080
Speaker 2: could do this thing. Start feeling ourselves a little bit.

368
00:24:35,160 --> 00:24:38,440
Speaker 2: We worked with Jay Dubb, you know. And so now

369
00:24:38,520 --> 00:24:42,320
Speaker 2: on the other side of the management's back channels, Carmanique

370
00:24:42,359 --> 00:24:45,119
Speaker 2: is on the phone working out, well, how can we

371
00:24:45,160 --> 00:24:49,920
Speaker 2: come down and get some more noontime records? Right, so

372
00:24:50,000 --> 00:24:54,199
Speaker 2: they work out a chunk of a deal. You know,

373
00:24:54,240 --> 00:24:55,800
Speaker 2: there was a lot of money going around in the

374
00:24:55,880 --> 00:25:00,600
Speaker 2: music business back then, all right, And they they flew

375
00:25:00,600 --> 00:25:04,120
Speaker 2: down to Atlanta. I wasn't on that ticket because, mind you,

376
00:25:04,400 --> 00:25:13,160
Speaker 2: I'm not the guy that anybody's let's just get what

377
00:25:13,160 --> 00:25:17,879
Speaker 2: do you what are you even doing? The guy is

378
00:25:18,200 --> 00:25:21,000
Speaker 2: the guy, you know. And and there was you know,

379
00:25:21,840 --> 00:25:24,800
Speaker 2: ran around LA working with a bunch of songwriters and

380
00:25:24,840 --> 00:25:29,359
Speaker 2: producers here, and you know, things just weren't sticking, you know,

381
00:25:29,480 --> 00:25:34,160
Speaker 2: for them. But I was also making relationships too, and

382
00:25:35,480 --> 00:25:37,919
Speaker 2: I remember making a relationship with this one producer and

383
00:25:37,920 --> 00:25:40,679
Speaker 2: who would invite me over to his studio and to

384
00:25:40,760 --> 00:25:44,240
Speaker 2: do some drum programming for him, and I just learned

385
00:25:44,240 --> 00:25:46,760
Speaker 2: a lot about the technical aspect of it. And I

386
00:25:46,800 --> 00:25:49,520
Speaker 2: was really just sewing my oats. You know. I wouldn't

387
00:25:49,560 --> 00:25:53,040
Speaker 2: just lay on the couch just waiting for ideal to

388
00:25:52,760 --> 00:25:53,800
Speaker 2: to do something.

389
00:25:54,320 --> 00:25:54,600
Speaker 5: I was.

390
00:25:54,640 --> 00:25:56,399
Speaker 2: I was going to use the best of my time

391
00:25:56,440 --> 00:25:58,920
Speaker 2: out here in LA the best way I could, and

392
00:25:58,960 --> 00:26:01,840
Speaker 2: that was making, you know, relationships with other producers who

393
00:26:01,880 --> 00:26:03,840
Speaker 2: could teach me things, because people were telling me all

394
00:26:03,880 --> 00:26:06,359
Speaker 2: this one little keyboard that you're working on, it's not

395
00:26:06,480 --> 00:26:09,760
Speaker 2: industry standard enough, so you got to get your game up.

396
00:26:10,440 --> 00:26:15,199
Speaker 2: That's crazy that they will say that, right, Yeah, but

397
00:26:15,320 --> 00:26:17,200
Speaker 2: I didn't know anything about sound design.

398
00:26:18,520 --> 00:26:22,200
Speaker 3: Well, no, the A s R ten was just I mean,

399
00:26:23,480 --> 00:26:26,440
Speaker 3: at that time, we're talking Timblin.

400
00:26:27,960 --> 00:26:29,440
Speaker 2: Yeah, we are talking like.

401
00:26:29,400 --> 00:26:33,760
Speaker 3: We're talking like a game changing machine, like like.

402
00:26:33,760 --> 00:26:36,600
Speaker 2: It was a game changing talking big tank. But if

403
00:26:36,640 --> 00:26:39,359
Speaker 2: you didn't know how to manipulate it like a sound

404
00:26:39,880 --> 00:26:43,960
Speaker 2: if you have to, and if you knew about sound design,

405
00:26:44,160 --> 00:26:49,800
Speaker 2: then right, getting sounds wasn't like going on splice today. Right, Okay,

406
00:26:50,480 --> 00:26:59,600
Speaker 2: you know what people the speedy, speedy, we just couldn't afford.

407
00:27:00,760 --> 00:27:02,800
Speaker 2: Speedy was walking around like you can't afford.

408
00:27:03,960 --> 00:27:05,920
Speaker 3: Its like I got, I got two, I got two

409
00:27:05,920 --> 00:27:07,080
Speaker 3: for three or three before you got to.

410
00:27:07,119 --> 00:27:11,600
Speaker 2: Limit know what you want to do, because Speedy was

411
00:27:11,600 --> 00:27:16,879
Speaker 2: like at least five grande no joke, no joke, Okay,

412
00:27:17,280 --> 00:27:18,439
Speaker 2: I was like, where are you kidding this?

413
00:27:18,600 --> 00:27:21,760
Speaker 3: Speedy taught me a lot, though, so he told all

414
00:27:21,800 --> 00:27:24,040
Speaker 3: of us, I just want to throw that out there.

415
00:27:24,160 --> 00:27:30,920
Speaker 2: Great guy, Yeah for sure. So back channels, Carmenig's figuring

416
00:27:30,920 --> 00:27:36,040
Speaker 2: out how Ideal could get some more great songs, right,

417
00:27:37,640 --> 00:27:41,200
Speaker 2: and I'm skipping over some things, and you can imagine

418
00:27:41,200 --> 00:27:44,359
Speaker 2: how much time is passing in between, you know, all

419
00:27:44,400 --> 00:27:46,560
Speaker 2: of this stuff that's going on, right, So it's you know,

420
00:27:46,760 --> 00:27:51,760
Speaker 2: some months, maybe even the year, you know, and we're

421
00:27:51,800 --> 00:27:55,159
Speaker 2: trying to figure it out. And I'm not officially not

422
00:27:55,200 --> 00:27:58,280
Speaker 2: in the noontime, but I could still go over there

423
00:27:58,480 --> 00:28:01,439
Speaker 2: and work. I could still get my bones in, and

424
00:28:01,600 --> 00:28:05,960
Speaker 2: I do appreciate. I am so appreciative of the ability

425
00:28:06,040 --> 00:28:10,280
Speaker 2: to do that at that time because when they left

426
00:28:10,359 --> 00:28:14,000
Speaker 2: me behind to go to New York while they were

427
00:28:14,480 --> 00:28:20,120
Speaker 2: negotiating this bigger lie A deal. Before they left, Chris

428
00:28:20,200 --> 00:28:22,520
Speaker 2: Hicks comes into the sea room because there was this

429
00:28:22,560 --> 00:28:26,800
Speaker 2: group seven mile who was working who was scheduled to

430
00:28:26,920 --> 00:28:31,280
Speaker 2: work but everybody was gone. He's like, can you make

431
00:28:31,320 --> 00:28:36,000
Speaker 2: this track like this with these elements? Kevin's gonna be here.

432
00:28:36,160 --> 00:28:38,360
Speaker 2: He'll get you some guitars, you know, woo woo whoo.

433
00:28:38,880 --> 00:28:41,280
Speaker 2: And I'm like, okay, cool. So I make this track

434
00:28:42,160 --> 00:28:45,360
Speaker 2: and seven Mile loved it. They cut a song to it.

435
00:28:46,240 --> 00:28:49,600
Speaker 2: Sony Music cuts a check for it. I get a check,

436
00:28:51,360 --> 00:28:55,880
Speaker 2: they get dropped. You got to check. I got to check.

437
00:28:57,320 --> 00:29:02,040
Speaker 2: Shouts out to seven Miles. But I was there in

438
00:29:02,160 --> 00:29:08,600
Speaker 2: noontime studios alone, and then you fly in. Yeah yeah,

439
00:29:10,120 --> 00:29:14,960
Speaker 2: shut out the goosebumps. I swear that's where a lot

440
00:29:14,960 --> 00:29:18,840
Speaker 2: of my advanced money went. And I guess the inspiration

441
00:29:19,040 --> 00:29:22,640
Speaker 2: for this legendary record that we ended up cutting. I

442
00:29:22,680 --> 00:29:24,520
Speaker 2: don't know if it was the first record we cut.

443
00:29:25,400 --> 00:29:29,400
Speaker 3: It's absolutely the inspiration, though, I promise you it is.

444
00:29:29,520 --> 00:29:33,160
Speaker 3: I remember that forty dollars. Oh man, I stretched it out.

445
00:29:33,720 --> 00:29:37,760
Speaker 2: I kept flipping it over. Your advance was gone.

446
00:29:38,000 --> 00:29:41,640
Speaker 3: Yeah, yeah, yeah, I fucked that up.

447
00:29:43,040 --> 00:29:45,680
Speaker 2: But he got seven Mile money. He got yeah, seven

448
00:29:46,000 --> 00:29:46,680
Speaker 2: money money.

449
00:29:46,800 --> 00:29:49,800
Speaker 3: But we wasn't like, we wasn't balling by no means.

450
00:29:49,960 --> 00:29:53,760
Speaker 3: It was all work in Pisa by that's it.

451
00:29:54,720 --> 00:29:58,719
Speaker 2: Yeah, so, and I still wasn't signing noontime And I

452
00:29:58,840 --> 00:30:03,920
Speaker 2: keep saying that because what magically occurred, and I think

453
00:30:03,960 --> 00:30:08,360
Speaker 2: it occurred by accident, was afternoon Times Trip was up

454
00:30:09,240 --> 00:30:13,440
Speaker 2: with recording with Aleah in New York. Nobody could figure

455
00:30:13,440 --> 00:30:17,400
Speaker 2: out who did this one track that Aliah just so

456
00:30:17,480 --> 00:30:23,040
Speaker 2: happened to cut too, because on the CDs, on the dats,

457
00:30:24,120 --> 00:30:27,440
Speaker 2: the names of the producers, just the music, the music

458
00:30:27,600 --> 00:30:29,920
Speaker 2: and what I remember of the story. And you know,

459
00:30:29,960 --> 00:30:32,320
Speaker 2: I could I could have it a little bit botched

460
00:30:32,320 --> 00:30:36,040
Speaker 2: because I wasn't there is Jazzy heard the track. Jazzy

461
00:30:36,040 --> 00:30:37,720
Speaker 2: Fay heard the track, and it was like, oh, I

462
00:30:37,720 --> 00:30:41,200
Speaker 2: want to write to this one for Leah, and Blackground

463
00:30:41,440 --> 00:30:45,000
Speaker 2: loved the track too, and Leah loved the track, and

464
00:30:45,120 --> 00:30:50,680
Speaker 2: so Johntay and Jazzy jump on the record and John

465
00:30:50,720 --> 00:30:53,440
Speaker 2: Tay writes the first verse, Jazzy writes the second verse,

466
00:30:54,680 --> 00:30:56,640
Speaker 2: and it comes back to be I don't want to

467
00:30:57,440 --> 00:31:03,040
Speaker 2: wow and yeah, so when they find out that it

468
00:31:03,080 --> 00:31:09,480
Speaker 2: was me, we gotta sign, we gotta sign it. Let's

469
00:31:09,560 --> 00:31:12,320
Speaker 2: all I need to talk to you. And it didn't

470
00:31:12,320 --> 00:31:16,200
Speaker 2: even happen like that just yet, because there were some

471
00:31:16,240 --> 00:31:19,560
Speaker 2: other things that were occurring in the business side of it.

472
00:31:19,960 --> 00:31:22,200
Speaker 2: Now Notontime went up there and cut a bunch of

473
00:31:22,240 --> 00:31:27,720
Speaker 2: records with A LEA right, and during that time, I

474
00:31:27,760 --> 00:31:31,720
Speaker 2: guess whatever deal that they had going on didn't work out,

475
00:31:33,400 --> 00:31:37,320
Speaker 2: And from what I understood of it is that Blackground

476
00:31:37,360 --> 00:31:41,280
Speaker 2: didn't want any of those I LEO records anymore, including

477
00:31:41,320 --> 00:31:45,360
Speaker 2: I don't want including I don't want it. But when

478
00:31:45,360 --> 00:31:48,560
Speaker 2: it came back down, while the deal was still moving on,

479
00:31:49,480 --> 00:31:52,320
Speaker 2: I was trying to make sure that I secured the

480
00:31:52,360 --> 00:31:54,600
Speaker 2: potential for this record to be the greatest record that

481
00:31:54,640 --> 00:31:57,000
Speaker 2: it could be. So I was like, Teddy, can you

482
00:31:57,000 --> 00:31:59,920
Speaker 2: help me on it? Brian, can you help me on it?

483
00:32:00,000 --> 00:32:03,040
Speaker 2: Every help finish it? Yeah, to help finish it, and

484
00:32:03,120 --> 00:32:05,400
Speaker 2: so you know, I think we came up with like

485
00:32:05,440 --> 00:32:08,959
Speaker 2: maybe another version of it, and then Chris was like, Nah,

486
00:32:09,040 --> 00:32:12,400
Speaker 2: they like the record the way it is. I was like, Wow,

487
00:32:14,240 --> 00:32:20,320
Speaker 2: that's great, and so, you know, things were moving forward

488
00:32:20,360 --> 00:32:24,240
Speaker 2: until it wasn't until we got word that Blackground didn't

489
00:32:24,280 --> 00:32:27,880
Speaker 2: want any of those records. But somehow, and I don't

490
00:32:27,920 --> 00:32:32,080
Speaker 2: know how, shouts out to Chris Hicks for whatever magic

491
00:32:32,200 --> 00:32:35,200
Speaker 2: that he did during that time, But somehow that record

492
00:32:35,240 --> 00:32:39,880
Speaker 2: got on Priorities Desk Priority Records, and they were doing

493
00:32:39,920 --> 00:32:45,000
Speaker 2: this movie next Friday, and they wanted Aaliah so bad

494
00:32:45,040 --> 00:32:51,000
Speaker 2: to be on this soundtrack, right that they were willing

495
00:32:51,040 --> 00:32:57,960
Speaker 2: to pay whatever Blackground wanted for Leah's appearance, and this

496
00:32:58,080 --> 00:33:01,000
Speaker 2: was the record that they chose. And I was like,

497
00:33:01,560 --> 00:33:08,200
Speaker 2: thank you Jesus. Yeah. So the song was never on

498
00:33:08,240 --> 00:33:11,400
Speaker 2: her album then, not yet, Okay, okay.

499
00:33:11,880 --> 00:33:14,360
Speaker 6: Because she wasn't working on any albums that put on

500
00:33:14,400 --> 00:33:18,040
Speaker 6: two different projects. She was working on an album, she

501
00:33:18,160 --> 00:33:21,240
Speaker 6: was doing movies. I think she had tooken hiatus from

502
00:33:21,280 --> 00:33:23,840
Speaker 6: like making music, and she was doing movies. She did

503
00:33:23,920 --> 00:33:26,160
Speaker 6: Romeo Must Die and then she did Queen and the

504
00:33:26,240 --> 00:33:30,840
Speaker 6: damn right, and there was no Alia music out there

505
00:33:32,280 --> 00:33:34,520
Speaker 6: until this Next Friday soundtrack.

506
00:33:36,040 --> 00:33:43,440
Speaker 2: Yeah, yeah, And you know it, it was fortunate because

507
00:33:44,640 --> 00:33:47,760
Speaker 2: they paid whatever her appearance fee was. I'll tell y'all

508
00:33:47,800 --> 00:33:50,120
Speaker 2: how much that what I know of it was it

509
00:33:50,160 --> 00:33:53,120
Speaker 2: was two hundred thousand dollars just to get the record,

510
00:33:53,240 --> 00:33:56,640
Speaker 2: just to get her, just for her. Yeah yeah. And

511
00:33:56,680 --> 00:34:00,520
Speaker 2: it was forty three thousand dollars for the track twenty three.

512
00:34:00,760 --> 00:34:04,960
Speaker 2: I don't know that's I'm not pressure I was seventeen five.

513
00:34:05,080 --> 00:34:08,160
Speaker 2: I don't know what. I don't know what that's at

514
00:34:08,239 --> 00:34:11,479
Speaker 2: least dope prices. But what three is like.

515
00:34:11,920 --> 00:34:17,840
Speaker 3: Somebody took seven, somebody was probably hey man, hey it

516
00:34:17,960 --> 00:34:19,080
Speaker 3: was forty three thousand.

517
00:34:19,560 --> 00:34:23,280
Speaker 2: Somebody definitely we're not because they're like, you're not complaining

518
00:34:23,640 --> 00:34:27,240
Speaker 2: forty three or you have to give new Time noontime

519
00:34:27,280 --> 00:34:30,160
Speaker 2: there their piece, but in their piece again because they

520
00:34:30,239 --> 00:34:37,000
Speaker 2: had publishing too. But I'm talking about the cash. Oh yeah, yeah.

521
00:34:37,280 --> 00:34:39,600
Speaker 2: Well when I said they had publishing, like we when

522
00:34:39,640 --> 00:34:41,920
Speaker 2: we did the deal with Noontime, they did you a

523
00:34:41,960 --> 00:34:44,799
Speaker 2: production deal and a publishing so they gave you an

524
00:34:44,840 --> 00:34:51,680
Speaker 2: advance right, and I guess to kind of buffer what

525
00:34:51,719 --> 00:34:56,320
Speaker 2: the recruitment process was, they'd only recoup like maybe one thousand,

526
00:34:56,440 --> 00:35:00,359
Speaker 2: two thousand dollars. They take the twenty percent, you know,

527
00:35:00,480 --> 00:35:03,960
Speaker 2: for the Noontime management side, in which at that time

528
00:35:04,040 --> 00:35:06,919
Speaker 2: I didn't think I was managed by Noontime. I thought

529
00:35:06,960 --> 00:35:09,839
Speaker 2: I was managed by by Carmenique. Yeah, okay, you know,

530
00:35:09,880 --> 00:35:12,040
Speaker 2: so it was a lot of other things that were

531
00:35:12,040 --> 00:35:16,279
Speaker 2: in play at this particular point that I had. But

532
00:35:16,400 --> 00:35:19,680
Speaker 2: what happened was you got the noontime price. Yeah, I

533
00:35:19,719 --> 00:35:20,759
Speaker 2: got the noontime.

534
00:35:21,040 --> 00:35:25,200
Speaker 3: Yeah, so they you know, their stock is what got

535
00:35:25,200 --> 00:35:32,879
Speaker 3: you and you're ten all in, you're definitely yeah.

536
00:35:32,719 --> 00:35:33,759
Speaker 2: Exactly right.

537
00:35:33,800 --> 00:35:36,920
Speaker 4: So yeah, so your prices got bumped up so it

538
00:35:37,000 --> 00:35:38,080
Speaker 4: was all justified.

539
00:35:38,160 --> 00:35:41,800
Speaker 2: Yeah, more for sure. There was no gripes. It wasn't

540
00:35:42,400 --> 00:35:46,279
Speaker 2: so what you buy. Did you buy anything stupid? Yes?

541
00:35:47,160 --> 00:35:49,600
Speaker 2: I bought some five hundred dollars product boots that I

542
00:35:49,640 --> 00:35:56,799
Speaker 2: wore like twice. Okay, I call that stupid because you know,

543
00:35:56,920 --> 00:35:58,920
Speaker 2: it was just like, you know, why did I do it?

544
00:35:58,920 --> 00:36:02,320
Speaker 2: The little sports joints that everbody had? No, it wasn't smart.

545
00:36:02,760 --> 00:36:04,040
Speaker 2: It was like it was like, you know what's ones

546
00:36:04,080 --> 00:36:05,680
Speaker 2: I'm talking about? It was the ones that came out

547
00:36:05,800 --> 00:36:08,640
Speaker 2: after those. It was like the like the big big

548
00:36:08,680 --> 00:36:10,919
Speaker 2: toe boots, like how they wear them big shoes now, Yeah,

549
00:36:10,960 --> 00:36:14,040
Speaker 2: yeah it looks like those. But did you feel good

550
00:36:14,040 --> 00:36:17,439
Speaker 2: when you had them all for the first couple of times? Yeah,

551
00:36:17,480 --> 00:36:19,920
Speaker 2: But then I didn't. I didn't really care much after that,

552
00:36:19,920 --> 00:36:20,239
Speaker 2: that's all.

553
00:36:20,280 --> 00:36:23,719
Speaker 4: At first, they didn't get the reaction you were looking for.

554
00:36:26,320 --> 00:36:30,040
Speaker 2: He's gonna kill They didn't kill you. Nobody nobody ever

555
00:36:30,080 --> 00:36:33,600
Speaker 2: looked down. And I liked my vands and my shelters. Yeah,

556
00:36:33,719 --> 00:36:34,840
Speaker 2: you know, I was cool with that.

557
00:36:34,960 --> 00:36:38,320
Speaker 3: I couldn't and just knowing you like the product, just

558
00:36:39,080 --> 00:36:41,160
Speaker 3: it's not me and the product.

559
00:36:43,680 --> 00:36:48,120
Speaker 2: I don't know music videos, but I remember I remember

560
00:36:48,200 --> 00:36:54,359
Speaker 2: actually taking Ryan I want to say it was Ryan Nooney.

561
00:36:54,400 --> 00:36:56,560
Speaker 2: They took me out on Rodeo Drive. When we went

562
00:36:56,600 --> 00:36:58,560
Speaker 2: and got him, I was like, what y'all want to

563
00:36:59,160 --> 00:37:06,759
Speaker 2: Oh yeah, yeah, yeah, I shouldn't have did that either. Nonetheless,

564
00:37:06,800 --> 00:37:11,040
Speaker 2: it happens, brother, it happens. It happens. You were feeling uh,

565
00:37:11,560 --> 00:37:15,279
Speaker 2: you were feeling grateful, feeling grateful, but I still wasn't

566
00:37:15,280 --> 00:37:21,640
Speaker 2: officially signing Noontime and me and b Cox took a

567
00:37:21,680 --> 00:37:26,040
Speaker 2: trip to New York City and I started to have

568
00:37:26,160 --> 00:37:28,680
Speaker 2: meetings and I had this lea song in my pocket,

569
00:37:31,360 --> 00:37:34,400
Speaker 2: and Sony Music offered me three hundred and fifty thousand.

570
00:37:34,160 --> 00:37:38,400
Speaker 4: Come on, come on, three fifty yeah, uh huh, okay,

571
00:37:38,480 --> 00:37:41,080
Speaker 4: all right now we're talking about yeah, yeah, we went

572
00:37:41,120 --> 00:37:45,000
Speaker 4: from we were from thirty all in till forty three.

573
00:37:45,000 --> 00:37:49,880
Speaker 2: Was seven missing yeah, Sony Music. Now, Now let me

574
00:37:49,880 --> 00:37:53,320
Speaker 2: tell you there's a catch to this. If there's always

575
00:37:53,400 --> 00:37:58,960
Speaker 2: a cat catch, you know, some guys down at Noontime

576
00:37:59,120 --> 00:38:03,399
Speaker 2: called window those Yeah, I bet they did. I got

577
00:38:03,400 --> 00:38:05,600
Speaker 2: a phone call. That's a record. You're gonna get a

578
00:38:05,600 --> 00:38:10,040
Speaker 2: phone call. You might get a visit. It started with

579
00:38:10,080 --> 00:38:18,000
Speaker 2: a phone call, started with the like, hey, so we

580
00:38:17,320 --> 00:38:21,920
Speaker 2: a we heard you had this meeting. So look, you

581
00:38:21,960 --> 00:38:25,399
Speaker 2: could take that deal if you want, but you won't

582
00:38:25,440 --> 00:38:30,960
Speaker 2: having a LEO record. And it could have happened like that.

583
00:38:32,200 --> 00:38:34,880
Speaker 2: I mean, John T wrote the record, Jazzy wrote the record,

584
00:38:35,840 --> 00:38:40,640
Speaker 2: Kevin played guitar on the record. Fully capable of recreating it,

585
00:38:41,080 --> 00:38:44,000
Speaker 2: you know. But it wasn't that I didn't want to

586
00:38:44,040 --> 00:38:48,000
Speaker 2: be signed the noontime at all. I had an opportunity

587
00:38:48,040 --> 00:38:52,840
Speaker 2: to see what the value was, right, My heart was

588
00:38:52,920 --> 00:38:57,000
Speaker 2: definitely one I wanted. I wanted to be accepted by

589
00:38:57,040 --> 00:39:01,160
Speaker 2: these guys, and I wanted to be in their system

590
00:39:01,280 --> 00:39:05,720
Speaker 2: because what you saw happening in that building was pure magic.

591
00:39:05,840 --> 00:39:09,560
Speaker 2: Special It was pure magic. But you know that it

592
00:39:09,640 --> 00:39:13,600
Speaker 2: came with a cost. It came with some sacrifices, and

593
00:39:14,000 --> 00:39:16,000
Speaker 2: you know, a lot of people don't know what those

594
00:39:16,000 --> 00:39:19,120
Speaker 2: sacrifices might look like because people are so enamored when

595
00:39:19,160 --> 00:39:22,560
Speaker 2: they do hear the numbers. When they do, you know, oh,

596
00:39:22,640 --> 00:39:26,400
Speaker 2: you could have got three to fifty're like, yeah, but

597
00:39:27,560 --> 00:39:29,719
Speaker 2: at the same cost.

598
00:39:29,800 --> 00:39:33,000
Speaker 4: But let's break this down too, right, let's break this down.

599
00:39:34,640 --> 00:39:38,880
Speaker 4: Most people think you signed publishing deals for them to

600
00:39:39,080 --> 00:39:42,000
Speaker 4: actually help you get music on more projects.

601
00:39:42,360 --> 00:39:42,839
Speaker 2: That part.

602
00:39:43,200 --> 00:39:46,319
Speaker 4: You ultimately do a publishing deal because you need the

603
00:39:46,360 --> 00:39:48,879
Speaker 4: bread and they're kind of a bank, the same kind

604
00:39:48,920 --> 00:39:50,680
Speaker 4: of thing that you did these record deals.

605
00:39:51,360 --> 00:39:54,720
Speaker 2: It's really a bank, right. That doesn't mean.

606
00:39:54,560 --> 00:39:56,759
Speaker 4: That the people that work at these publishing companies are

607
00:39:56,760 --> 00:40:01,720
Speaker 4: going to actually land you placements or have a system

608
00:40:01,760 --> 00:40:04,240
Speaker 4: to even put you in that will get you placed.

609
00:40:04,840 --> 00:40:06,640
Speaker 4: Right now, they may see, what's what's the ship they

610
00:40:06,719 --> 00:40:07,840
Speaker 4: used to send out, what's the sheet?

611
00:40:07,880 --> 00:40:11,400
Speaker 2: What was it called Who's Looking? Who's Looking? List? You

612
00:40:11,560 --> 00:40:14,399
Speaker 2: have that? How many times have you landed a song

613
00:40:14,440 --> 00:40:18,360
Speaker 2: off of Who's Listening? I've led it none Who's Looking?

614
00:40:19,080 --> 00:40:23,280
Speaker 4: So that's you know, at the R and B Money

615
00:40:23,320 --> 00:40:29,439
Speaker 4: podcast where we're about the information and the understanding, when

616
00:40:29,480 --> 00:40:33,120
Speaker 4: you say I could have went and done that deal,

617
00:40:33,719 --> 00:40:35,440
Speaker 4: but that might have just only been.

618
00:40:35,320 --> 00:40:38,040
Speaker 2: For the three fifty, right, and I'd have been in limbo,

619
00:40:38,360 --> 00:40:41,520
Speaker 2: in limbo, stuck in stuck in some crazy It would

620
00:40:41,520 --> 00:40:42,120
Speaker 2: have been blown.

621
00:40:42,520 --> 00:40:46,120
Speaker 4: Of course, at that age, with nobody to actually go

622
00:40:46,200 --> 00:40:49,040
Speaker 4: and pitch your records where they're not actually coming to

623
00:40:49,160 --> 00:40:55,279
Speaker 4: a studio like noontime to hear these debt tapes that

624
00:40:55,360 --> 00:40:57,600
Speaker 4: are putting you in a position to make way more

625
00:40:57,640 --> 00:40:58,360
Speaker 4: than three fifty.

626
00:40:58,680 --> 00:41:02,280
Speaker 3: Because it's walking into that building that was just whatever.

627
00:41:02,320 --> 00:41:04,960
Speaker 3: Once you walked into that building, whatever was presented to you.

628
00:41:05,520 --> 00:41:07,640
Speaker 3: It just makes sense, right, right.

629
00:41:07,560 --> 00:41:13,160
Speaker 2: He was leaving the right and so I mean, I

630
00:41:13,239 --> 00:41:17,359
Speaker 2: made the sacrifice, but I also felt like I was

631
00:41:17,400 --> 00:41:22,640
Speaker 2: paying my way up. Of course, I said, I don't

632
00:41:22,680 --> 00:41:26,400
Speaker 2: know how much of my talent really spoke for it,

633
00:41:26,560 --> 00:41:30,040
Speaker 2: outside of the fact that these stars aligned for me

634
00:41:30,640 --> 00:41:33,319
Speaker 2: in a way in which that allowed me an opportunity

635
00:41:33,320 --> 00:41:36,640
Speaker 2: to get a Liah song on the next Friday soundtrack.

636
00:41:37,360 --> 00:41:40,160
Speaker 2: My dream was to work with Alia. It felt like

637
00:41:40,200 --> 00:41:43,520
Speaker 2: I manifested there's some kind of way, you know, and

638
00:41:43,640 --> 00:41:47,080
Speaker 2: noon time was the catalyst to do that, you know.

639
00:41:47,160 --> 00:41:51,960
Speaker 2: And I'm still in there, you know, grinding and really

640
00:41:52,000 --> 00:41:54,920
Speaker 2: just trying to be accepted by any and everybody up

641
00:41:54,960 --> 00:42:00,560
Speaker 2: in there. Right So they signed me, Hm, got signed,

642
00:42:00,600 --> 00:42:07,840
Speaker 2: I got sign sign We're official, We're signed. Were the

643
00:42:07,920 --> 00:42:25,280
Speaker 2: numbers anywhere closed? No? That number was thirty five thousand

644
00:42:25,280 --> 00:42:32,440
Speaker 2: dollars it was ten percent of three fifty yeah, okay, okay, okay,

645
00:42:32,520 --> 00:42:37,000
Speaker 2: all right, but I got a forty three thousand dollars

646
00:42:37,480 --> 00:42:40,279
Speaker 2: Alijah check. Okay, okay, So now we are seventy eight

647
00:42:41,280 --> 00:42:44,000
Speaker 2: if you want to add that onto it. Like I

648
00:42:44,040 --> 00:42:48,239
Speaker 2: worked for that, do that. That's all it all counts.

649
00:42:50,360 --> 00:42:52,839
Speaker 2: I was in the studio day in and there for free,

650
00:42:53,080 --> 00:42:57,640
Speaker 2: for free, working for right, So all of these factors

651
00:42:57,680 --> 00:43:00,200
Speaker 2: played into it. And of course, as a kid got

652
00:43:00,200 --> 00:43:02,440
Speaker 2: the record placed, they got the record place. You're not

653
00:43:02,480 --> 00:43:05,239
Speaker 2: thinking about this stuff though as a kid, yeah, you know,

654
00:43:06,040 --> 00:43:08,680
Speaker 2: and you're not thinking about what they're going through on

655
00:43:08,719 --> 00:43:13,200
Speaker 2: the other side of their businesses for other certain things

656
00:43:13,200 --> 00:43:16,239
Speaker 2: to happen. Right, So I get the front half of

657
00:43:16,280 --> 00:43:18,160
Speaker 2: that thirty.

658
00:43:17,880 --> 00:43:22,040
Speaker 4: Five thousand, and this is an advance, right, let's talk

659
00:43:22,080 --> 00:43:24,759
Speaker 4: about that. Okay, So right, because of be paid back,

660
00:43:24,800 --> 00:43:27,799
Speaker 4: it got to be paid back, but check it out.

661
00:43:28,120 --> 00:43:31,759
Speaker 2: It wasn't that much to pay back. Right. But that's

662
00:43:31,760 --> 00:43:33,200
Speaker 2: what I'm saying. So you're going to be in the

663
00:43:33,280 --> 00:43:36,920
Speaker 2: black very very soon, right, you know if that black

664
00:43:37,200 --> 00:43:39,680
Speaker 2: you know what that black looked like for noontime was

665
00:43:39,680 --> 00:43:42,919
Speaker 2: maybe taking out a thousand here off of this check.

666
00:43:43,400 --> 00:43:47,040
Speaker 2: You know two thousand here, you know it. It was

667
00:43:47,080 --> 00:43:50,040
Speaker 2: a process. Yeah, it was a process. And you know,

668
00:43:50,239 --> 00:43:53,520
Speaker 2: again they were a production company. So knowing what I

669
00:43:53,560 --> 00:43:56,480
Speaker 2: know now, again you don't know what was going on

670
00:43:56,520 --> 00:44:00,759
Speaker 2: in the back end of their business practices. But I

671
00:44:00,800 --> 00:44:03,600
Speaker 2: only got paid the front half of that thirty five.

672
00:44:04,120 --> 00:44:07,040
Speaker 2: I never got paid for seventeen five. I never agreed.

673
00:44:07,560 --> 00:44:11,760
Speaker 2: I never got paid to second seventeen to five. However,

674
00:44:12,360 --> 00:44:15,879
Speaker 2: that Aliachek came in, that seven mile check came in.

675
00:44:16,600 --> 00:44:19,200
Speaker 2: You know. So now as an adult, when I'm looking

676
00:44:19,200 --> 00:44:22,080
Speaker 2: at certain things, it's like, you know, maybe one hand

677
00:44:22,280 --> 00:44:26,360
Speaker 2: washes the other. Maybe I felt slighted then as a kid,

678
00:44:27,000 --> 00:44:30,640
Speaker 2: you see what I'm saying, Maybe I felt like the outcast.

679
00:44:31,400 --> 00:44:34,839
Speaker 2: Maybe I felt like Cinderella in the room because there

680
00:44:34,920 --> 00:44:40,400
Speaker 2: was nothing that I was privy to until this official

681
00:44:41,040 --> 00:44:47,640
Speaker 2: signing happened. Right, But what I'm thankful for is the

682
00:44:47,680 --> 00:44:53,600
Speaker 2: way in which things still happened, because if it happened

683
00:44:53,640 --> 00:44:57,560
Speaker 2: like I wanted to happen, I wouldn't have been with you.

684
00:44:58,680 --> 00:45:01,960
Speaker 2: I wouldn't have had that opportunity need to see the

685
00:45:02,080 --> 00:45:07,720
Speaker 2: greatness that you were and have a part to play

686
00:45:07,920 --> 00:45:12,360
Speaker 2: in the legend of who Tank was in Atlanta because

687
00:45:12,400 --> 00:45:16,320
Speaker 2: after that, after people started hearing what we were creating,

688
00:45:17,640 --> 00:45:20,439
Speaker 2: then they were like, oh my god, more work, more

689
00:45:20,520 --> 00:45:25,719
Speaker 2: work came, more work came. Yeah, And that was like

690
00:45:25,960 --> 00:45:36,000
Speaker 2: the pinnacle of where our brotherhood messed right and collaboration

691
00:45:36,560 --> 00:45:39,600
Speaker 2: came back into the forefront. For me, it was like,

692
00:45:39,719 --> 00:45:43,840
Speaker 2: my goodness, now I'm creating with somebody that wants to

693
00:45:43,920 --> 00:45:48,120
Speaker 2: create with me one, you know, two, and we're creating

694
00:45:48,200 --> 00:45:52,680
Speaker 2: great music and people are liking it, right, and so

695
00:45:53,400 --> 00:45:59,319
Speaker 2: that leads us to moat yeah yeah, you know, my god,

696
00:45:59,480 --> 00:46:03,560
Speaker 2: yeah yeah, and being he's getting those DreamWorks checks too, yeah,

697
00:46:03,719 --> 00:46:08,960
Speaker 2: dream work, yeah, you know. And that's that's when I

698
00:46:08,960 --> 00:46:12,640
Speaker 2: started to learn about what else had to happen. Yeah, yeah,

699
00:46:12,840 --> 00:46:16,279
Speaker 2: come on, man, I'm gonna get you thirty. But now

700
00:46:16,360 --> 00:46:23,600
Speaker 2: you know what happened we smoke on a little bit earlier.

701
00:46:23,840 --> 00:46:27,680
Speaker 2: Hey guys, It's called a kickback kick. So what happens

702
00:46:27,719 --> 00:46:29,120
Speaker 2: is the kickback is.

703
00:46:30,520 --> 00:46:33,879
Speaker 4: I'm going to put it, I'm going to invoice it

704
00:46:33,960 --> 00:46:36,719
Speaker 4: for a little bit higher than what you probably would

705
00:46:36,760 --> 00:46:40,479
Speaker 4: make normally, and then once you get it, you kick

706
00:46:40,640 --> 00:46:44,520
Speaker 4: that extra back to me period period. And that was

707
00:46:44,760 --> 00:46:47,080
Speaker 4: that was an industry standard. Back in the day for

708
00:46:47,320 --> 00:46:48,040
Speaker 4: n RS.

709
00:46:47,880 --> 00:46:50,800
Speaker 3: Wh's is kind of what it was because they controlled

710
00:46:50,800 --> 00:46:52,799
Speaker 3: the pocketbook, they controlled the you know what I mean,

711
00:46:53,160 --> 00:46:56,440
Speaker 3: they controlled the checkbook, and you have to decide, you

712
00:46:56,480 --> 00:47:00,520
Speaker 3: know how bad you wanted it, right, And to me,

713
00:47:01,800 --> 00:47:05,879
Speaker 3: it was always worth that sacrifice. Always you need it.

714
00:47:06,120 --> 00:47:08,319
Speaker 3: You need a little five from this, that's it. From

715
00:47:08,320 --> 00:47:11,560
Speaker 3: a thirty five, absolutely right, because I usually only make twenty.

716
00:47:12,000 --> 00:47:16,320
Speaker 3: You also need you need fifteen the on the pub

717
00:47:17,400 --> 00:47:18,160
Speaker 3: absolutely here you go.

718
00:47:18,640 --> 00:47:21,279
Speaker 2: Oh yeah you was, he was making it.

719
00:47:21,520 --> 00:47:25,359
Speaker 3: I need all seven songs, right, all seven I need

720
00:47:25,400 --> 00:47:26,319
Speaker 3: all seven.

721
00:47:26,239 --> 00:47:28,600
Speaker 2: Right, Well, when you were putting them out the way

722
00:47:28,640 --> 00:47:30,160
Speaker 2: you which you were putting them out.

723
00:47:30,040 --> 00:47:32,640
Speaker 3: There because I was cheating. I was cheating the game

724
00:47:33,400 --> 00:47:37,080
Speaker 3: seven songs. I'm one hundred percent, so I'm cheating right.

725
00:47:37,200 --> 00:47:40,640
Speaker 3: So to me, I'm that math. I'm going to dropping

726
00:47:40,640 --> 00:47:43,719
Speaker 3: an eighty five. Ain't really, I'm doing long term math.

727
00:47:43,760 --> 00:47:47,080
Speaker 3: I'm like I can do these all day, days, all day.

728
00:47:47,880 --> 00:47:50,200
Speaker 2: But it's not just that one that came. It was

729
00:47:50,200 --> 00:47:56,640
Speaker 2: fooling around. Yeah, fooling around. Yeah, we went out and

730
00:47:56,719 --> 00:48:02,200
Speaker 2: we did tear shit up rocked joint. Yeah yeah, damn

731
00:48:02,400 --> 00:48:07,160
Speaker 2: fooling around. What so did any of the records make

732
00:48:07,239 --> 00:48:09,640
Speaker 2: me your first album. Nope, nope, Like I said, none

733
00:48:09,680 --> 00:48:10,200
Speaker 2: made the album.

734
00:48:10,239 --> 00:48:13,279
Speaker 3: So the relationship, like you said, the relationship between Noon

735
00:48:13,320 --> 00:48:18,880
Speaker 3: Time and Black Row, went sour because okay, okay, And

736
00:48:18,960 --> 00:48:19,760
Speaker 3: so when it went.

737
00:48:19,680 --> 00:48:22,839
Speaker 2: Sour, none of it. No, I won't need none of that.

738
00:48:23,760 --> 00:48:28,440
Speaker 2: I was like, none of it. Wow, ye none. So

739
00:48:28,480 --> 00:48:32,480
Speaker 2: a lot of those records went on the you know,

740
00:48:32,880 --> 00:48:36,279
Speaker 2: on the shop list, and so I got my own

741
00:48:36,400 --> 00:48:41,520
Speaker 2: room in Zach's studios after that, and then Zach. It

742
00:48:41,600 --> 00:48:44,480
Speaker 2: was it was a time where I felt like everything

743
00:48:44,640 --> 00:48:48,200
Speaker 2: was an urgency for me because you know, I had

744
00:48:48,239 --> 00:48:50,360
Speaker 2: my child in the world at this point, you know,

745
00:48:50,520 --> 00:48:54,240
Speaker 2: and because things were so inconsistent for me at that time.

746
00:48:55,000 --> 00:48:58,160
Speaker 2: You know, I'm it wasn't the best relationship with my

747
00:48:58,239 --> 00:49:02,560
Speaker 2: son's mother. I did have the ability to provide as

748
00:49:03,360 --> 00:49:08,800
Speaker 2: consistently and as good as I should have at that point,

749
00:49:09,080 --> 00:49:11,640
Speaker 2: you know, but I was working my ass off. So

750
00:49:11,680 --> 00:49:14,760
Speaker 2: I named my production company State of Emergency at this point.

751
00:49:16,000 --> 00:49:20,279
Speaker 2: State of Emergency. State of Emergency was the angst of

752
00:49:20,400 --> 00:49:22,880
Speaker 2: everything that was going on with me in Atlanta at

753
00:49:22,880 --> 00:49:27,040
Speaker 2: that point, and I started putting rock guitars in everything,

754
00:49:27,920 --> 00:49:31,840
Speaker 2: and I started like, really just you know, utilizing my

755
00:49:31,920 --> 00:49:35,359
Speaker 2: creative community as much as I could of people who

756
00:49:35,400 --> 00:49:38,520
Speaker 2: really wanted to work with me at that point. And

757
00:49:38,560 --> 00:49:40,840
Speaker 2: so I had guys like Chris Dave in the studio

758
00:49:40,960 --> 00:49:44,319
Speaker 2: with me. I had guys like PJ Morton in the

759
00:49:44,360 --> 00:49:47,880
Speaker 2: studio playing on tracks. And you know, PJ attests to

760
00:49:47,920 --> 00:49:51,239
Speaker 2: it himself, like he you know, he used to come

761
00:49:51,280 --> 00:49:53,960
Speaker 2: into the studio with me and play on keys, and

762
00:49:54,239 --> 00:49:56,800
Speaker 2: he attributes me to teaching him how to make beats

763
00:49:56,800 --> 00:49:59,640
Speaker 2: and things of that such like out of his own mouth.

764
00:50:00,320 --> 00:50:05,120
Speaker 2: This was a whole nother learning process. But I wanted

765
00:50:05,160 --> 00:50:10,759
Speaker 2: to create this band state of emergency. And there was

766
00:50:10,800 --> 00:50:16,279
Speaker 2: this producer, well, he was a rapper at first, and

767
00:50:18,320 --> 00:50:20,759
Speaker 2: it was somebody that I saw a talent in that

768
00:50:21,000 --> 00:50:23,319
Speaker 2: was remarkable because I saw the work that he did

769
00:50:23,360 --> 00:50:26,480
Speaker 2: with Jim Crow and I'm like, bro, you're really producing.

770
00:50:27,920 --> 00:50:32,520
Speaker 2: But he didn't necessarily know how to navigate the equipment right,

771
00:50:32,960 --> 00:50:36,120
Speaker 2: but he would move around between me or between bea Cox,

772
00:50:36,239 --> 00:50:39,560
Speaker 2: or between whoever he could to learn how to work

773
00:50:39,600 --> 00:50:47,560
Speaker 2: this equipment right. And coming out of their situation, he

774
00:50:47,680 --> 00:50:49,880
Speaker 2: was like, I really want to be I want to

775
00:50:49,920 --> 00:50:52,680
Speaker 2: take my shot of this production thing. And so I

776
00:50:52,719 --> 00:50:56,080
Speaker 2: was like, you know, okay, cool, and we did this

777
00:50:56,120 --> 00:50:59,720
Speaker 2: thing out of my apartment, right and he would bring

778
00:51:00,080 --> 00:51:04,439
Speaker 2: street dudes through the crib and you know, Rent would

779
00:51:04,440 --> 00:51:06,839
Speaker 2: get paid. You know what I'm saying. Things would come through,

780
00:51:06,920 --> 00:51:10,400
Speaker 2: and you know, it was a cool little relationship for

781
00:51:12,120 --> 00:51:18,120
Speaker 2: that process. During this process, I was building up State

782
00:51:18,160 --> 00:51:21,600
Speaker 2: of Emergency and Seasac dropped like twenty twenty five grand

783
00:51:21,680 --> 00:51:25,920
Speaker 2: to have their opening party in Atlanta, and they wanted

784
00:51:25,960 --> 00:51:30,400
Speaker 2: State of Emergency to be the band of this performance.

785
00:51:30,640 --> 00:51:33,239
Speaker 2: And I got to choose the artist that would be

786
00:51:33,360 --> 00:51:37,400
Speaker 2: on this stage, all right, And it was at Club

787
00:51:37,400 --> 00:51:41,759
Speaker 2: eleven fifty and literally all of Atlanta came out. It

788
00:51:41,800 --> 00:51:46,000
Speaker 2: was packed house, packed house. One artist that was on

789
00:51:46,040 --> 00:51:50,600
Speaker 2: that stage was Jay Holliday. Another artist that we performed on,

790
00:51:50,680 --> 00:51:53,880
Speaker 2: which happened to be like the headlining artists that we

791
00:51:53,960 --> 00:51:58,400
Speaker 2: performed with, was Leela James all right. Chris Dave was

792
00:51:58,480 --> 00:52:01,600
Speaker 2: on drums. Shout out to John John Tracks on guitar.

793
00:52:04,920 --> 00:52:08,120
Speaker 2: It was a remarkable situation. It was like we was

794
00:52:08,120 --> 00:52:11,960
Speaker 2: a fifteen hundred and nothing to Atlanta, right, and it

795
00:52:12,000 --> 00:52:14,200
Speaker 2: felt good because we was getting you know, we was

796
00:52:14,239 --> 00:52:16,759
Speaker 2: getting some traction and we were making some records, and

797
00:52:16,800 --> 00:52:19,520
Speaker 2: we had this one front person that I put a

798
00:52:19,640 --> 00:52:23,440
Speaker 2: lot of energy into and her name was Carrie Hilson.

799
00:52:25,160 --> 00:52:32,080
Speaker 2: She was my lead a state of emergency, and you know,

800
00:52:32,200 --> 00:52:36,960
Speaker 2: watching Carrie's interviews, it was just kind of like things

801
00:52:36,960 --> 00:52:40,440
Speaker 2: weren't so a random, you know, they were very like

802
00:52:41,280 --> 00:52:44,680
Speaker 2: intentional on my part when it came to her specifically.

803
00:52:46,080 --> 00:52:48,280
Speaker 2: And this was the first time that I think anybody

804
00:52:48,280 --> 00:52:51,640
Speaker 2: had seen her on a stage in Atlanta, first time

805
00:52:51,680 --> 00:52:54,400
Speaker 2: anybody would have seen Jay Holliday on stage in Atlanta.

806
00:52:55,680 --> 00:52:58,480
Speaker 2: And the type of music that was behind them, this

807
00:52:58,640 --> 00:53:03,120
Speaker 2: was real intentional music, like real musicians playing on these tracks,

808
00:53:03,760 --> 00:53:09,040
Speaker 2: like at this point, pulling from the Donnie from Houston

809
00:53:10,200 --> 00:53:14,440
Speaker 2: that all I had was my spirit of collaboration at

810
00:53:14,440 --> 00:53:18,560
Speaker 2: that point, you know, And I took up engineering right

811
00:53:18,640 --> 00:53:21,719
Speaker 2: because I wanted to learn all the technical aspects of it.

812
00:53:21,800 --> 00:53:24,120
Speaker 2: So I was a damn good engineer too as well,

813
00:53:24,920 --> 00:53:30,120
Speaker 2: mixing my own stuff all of the above. So people

814
00:53:30,200 --> 00:53:33,440
Speaker 2: heard these and there was like, yeah, these records they

815
00:53:33,480 --> 00:53:36,800
Speaker 2: can't go nowhere but for these artists. So we weren't

816
00:53:36,840 --> 00:53:40,560
Speaker 2: shopping any records, Like I wasn't trying to shop these songs.

817
00:53:40,920 --> 00:53:45,160
Speaker 2: I was trying to make this a group a thing.

818
00:53:46,440 --> 00:53:48,879
Speaker 2: And so at the same time I was working with

819
00:53:50,280 --> 00:53:54,480
Speaker 2: this producer who was a rapper at first. His name

820
00:53:54,520 --> 00:53:58,560
Speaker 2: is Polo to don A Right. One thing that came

821
00:53:58,600 --> 00:54:02,960
Speaker 2: out of my relationship with was Pimping all over the World.

822
00:54:03,280 --> 00:54:07,200
Speaker 2: Yeah yeah, right, So Ludacris hit record Pimping all over

823
00:54:07,200 --> 00:54:11,839
Speaker 2: the World. And to add some clarity, because I think

824
00:54:11,880 --> 00:54:14,280
Speaker 2: in Carrie's interviews she said that she cut that record

825
00:54:14,280 --> 00:54:18,040
Speaker 2: in Atlanta, she actually cut that record in Los Angeles.

826
00:54:18,840 --> 00:54:24,640
Speaker 2: It was on a trip that me, Polo, rich Boy,

827
00:54:25,480 --> 00:54:28,799
Speaker 2: and Carrie took to LA and we worked in ron

828
00:54:28,880 --> 00:54:32,520
Speaker 2: Fairs Studio and we created that track there and she

829
00:54:32,640 --> 00:54:36,399
Speaker 2: sang the hook, Polo wrote the hook, and we had

830
00:54:36,440 --> 00:54:39,080
Speaker 2: the track. Polo came with the brilliant idea that did

831
00:54:39,080 --> 00:54:46,759
Speaker 2: should go to Ludacris. Right, this trip was us as

832
00:54:46,760 --> 00:54:52,040
Speaker 2: a unit at this point. This was us as a unit,

833
00:54:53,960 --> 00:54:57,640
Speaker 2: I think because I had the band state of Emergency,

834
00:54:58,000 --> 00:55:00,480
Speaker 2: and I called my production company state of and see.

835
00:55:00,680 --> 00:55:04,719
Speaker 2: Me and Polo had one little debate that was like, well,

836
00:55:06,239 --> 00:55:10,760
Speaker 2: I'm gonna call my ship's own four and I'm like, okay,

837
00:55:11,719 --> 00:55:15,440
Speaker 2: I'm in Atlanta. I don't have no problem with that like,

838
00:55:16,480 --> 00:55:21,480
Speaker 2: if this was the Neptunes, right, you could be for real,

839
00:55:21,560 --> 00:55:27,359
Speaker 2: I'll be chat you know, that's fine. And we were

840
00:55:27,400 --> 00:55:33,279
Speaker 2: a unit, at least in my eyes, we were a unit, right,

841
00:55:33,360 --> 00:55:38,959
Speaker 2: And so when it came to certain things that were

842
00:55:39,120 --> 00:55:43,640
Speaker 2: because Polo had he was very charismatic in making relationships,

843
00:55:43,640 --> 00:55:48,480
Speaker 2: so when the Jim Crow thing fizzled with in the scope,

844
00:55:49,000 --> 00:55:52,759
Speaker 2: he was able to secure his relationship, his management relationship

845
00:55:53,160 --> 00:55:59,880
Speaker 2: with dj J and that was a very beneficial relationship

846
00:56:00,040 --> 00:56:06,759
Speaker 2: because it allowed access. Still, we still had access, and

847
00:56:06,800 --> 00:56:10,200
Speaker 2: I'm using the term we very loosely at this point

848
00:56:10,280 --> 00:56:15,080
Speaker 2: because in my mind, you got the production team together. Yeah.

849
00:56:15,360 --> 00:56:19,799
Speaker 2: So so we got a unit and I got all

850
00:56:19,840 --> 00:56:24,640
Speaker 2: these great records with carry and State of Emergency. Yeah.

851
00:56:24,960 --> 00:56:29,520
Speaker 2: It was a little it was a little triggering watching

852
00:56:31,360 --> 00:56:39,160
Speaker 2: the recollection of how the story was told, because nobody's

853
00:56:39,200 --> 00:56:42,280
Speaker 2: really going to tell your story the way in which

854
00:56:43,719 --> 00:56:47,360
Speaker 2: you are. You know you're going to tell it, and

855
00:56:48,080 --> 00:56:50,719
Speaker 2: you know that's why I just have to offer the

856
00:56:50,800 --> 00:56:55,040
Speaker 2: opportunity for the clarification for certain things to be there,

857
00:56:55,120 --> 00:57:01,680
Speaker 2: especially with my relationship with Carrie to speak, because a

858
00:57:01,719 --> 00:57:10,240
Speaker 2: lot of things didn't happen as randomly as she recalled them,

859
00:57:10,400 --> 00:57:12,520
Speaker 2: you know, granted, like I think that she had it

860
00:57:12,560 --> 00:57:14,520
Speaker 2: all planned out in her mind the way in which

861
00:57:14,560 --> 00:57:19,200
Speaker 2: she described it, you know, from you know, not necessarily

862
00:57:19,200 --> 00:57:21,040
Speaker 2: wanting to be in those girl groups that she was

863
00:57:21,080 --> 00:57:24,240
Speaker 2: in and all of those things. And Anthony Dent actually

864
00:57:24,280 --> 00:57:27,040
Speaker 2: brought Carrie to me, right, Carrie was running around the

865
00:57:27,080 --> 00:57:29,920
Speaker 2: streets of Atlanta doing the things that she was She

866
00:57:30,000 --> 00:57:34,480
Speaker 2: was a very talented songwriter. Everybody knew it, but Carrie

867
00:57:34,520 --> 00:57:37,320
Speaker 2: really wanted to be a solo waters And that's the

868
00:57:37,400 --> 00:57:41,160
Speaker 2: interest that I took in her is I want to

869
00:57:41,160 --> 00:57:44,320
Speaker 2: make you the front of you having your own lane,

870
00:57:44,480 --> 00:57:51,240
Speaker 2: and we're doing this crazy sound in music that I

871
00:57:51,320 --> 00:57:57,440
Speaker 2: think is yours. So you know, it came out. You

872
00:57:57,480 --> 00:58:01,040
Speaker 2: know that there were certain things that happened between men

873
00:58:01,160 --> 00:58:04,040
Speaker 2: Polo that didn't necessarily work out the way in which

874
00:58:04,080 --> 00:58:10,880
Speaker 2: I thought it should work out, But there was there

875
00:58:10,920 --> 00:58:16,640
Speaker 2: was a relationship he developed with Carrie where and Carrie

876
00:58:16,680 --> 00:58:20,920
Speaker 2: recalls it in her meeting with Timberland about how she

877
00:58:21,200 --> 00:58:25,160
Speaker 2: was approached and talked about what producer would get your

878
00:58:25,240 --> 00:58:28,840
Speaker 2: music right? And I think she tried to recall whether

879
00:58:28,920 --> 00:58:31,600
Speaker 2: or not me or Polo had said that I wouldn't

880
00:58:31,600 --> 00:58:35,680
Speaker 2: have never said that because I got Carrie's music, I

881
00:58:35,760 --> 00:58:38,960
Speaker 2: understood what it was, I understood who she was as

882
00:58:39,040 --> 00:58:41,600
Speaker 2: an artist, at least I thought I did at that time.

883
00:58:44,320 --> 00:58:50,040
Speaker 2: And the introduction to Timberland came into play, and that

884
00:58:50,160 --> 00:58:54,560
Speaker 2: was a relationship that Polo had, And so again I

885
00:58:54,640 --> 00:58:59,920
Speaker 2: wasn't necessarily privy to how all of that transpired within that,

886
00:59:00,240 --> 00:59:05,200
Speaker 2: but I did get a call because there were demos

887
00:59:05,200 --> 00:59:09,680
Speaker 2: that were being played in the Four Seasons hotel, and

888
00:59:10,720 --> 00:59:13,360
Speaker 2: I don't know if Carrie recalls, but I was also

889
00:59:13,440 --> 00:59:17,000
Speaker 2: in that meeting. I was in that Four Seasons meeting

890
00:59:17,040 --> 00:59:20,520
Speaker 2: with Timberland, and I got the call from Polo. Hey,

891
00:59:20,560 --> 00:59:26,000
Speaker 2: Timberland is hearing these songs y'all did why don't you

892
00:59:26,040 --> 00:59:30,840
Speaker 2: bring the files down to that strange Angel joint because

893
00:59:30,840 --> 00:59:32,800
Speaker 2: I think Timberland want to put his hands on it.

894
00:59:33,240 --> 00:59:37,840
Speaker 2: Not me. I'm like, oh my god, Timberland likes my shit,

895
00:59:38,200 --> 00:59:44,919
Speaker 2: right right, this is one of my favorite producers ever, right,

896
00:59:45,240 --> 00:59:48,680
Speaker 2: enamored by the opportunity. Right And even though you know,

897
00:59:48,760 --> 00:59:50,920
Speaker 2: me and Polo had some differences that were going on

898
00:59:51,480 --> 00:59:55,840
Speaker 2: during the constructs of what he was building with DJ,

899
00:59:57,160 --> 01:00:01,200
Speaker 2: I was still happy to be a to not only

900
01:00:01,240 --> 01:00:04,960
Speaker 2: see him flourish, but to see an opportunity happened for

901
01:00:05,040 --> 01:00:09,920
Speaker 2: Carrie to flourish too, And it was just it was

902
01:00:10,960 --> 01:00:14,280
Speaker 2: something that I wasn't going to say no to, So

903
01:00:14,600 --> 01:00:19,880
Speaker 2: of course I went with your files, went with the files,

904
01:00:20,040 --> 01:00:23,040
Speaker 2: went down to the meeting. I had my boy DJ

905
01:00:23,200 --> 01:00:27,520
Speaker 2: Rogers with me, right, And this was a random phone call,

906
01:00:27,600 --> 01:00:29,720
Speaker 2: just as random as Carrie said she had gotten a

907
01:00:29,800 --> 01:00:34,320
Speaker 2: phone call that morning or when she had her beats

908
01:00:34,360 --> 01:00:40,320
Speaker 2: braids in or however. Right, I got that same call,

909
01:00:40,360 --> 01:00:43,600
Speaker 2: and I rushed down to the Four Seasons to have

910
01:00:43,640 --> 01:00:48,960
Speaker 2: a meeting with Timberland and Polo and Carrie. But they

911
01:00:49,000 --> 01:00:53,720
Speaker 2: were there before I got there, and I'm not sure

912
01:00:53,760 --> 01:00:56,120
Speaker 2: what was said in the room before I got there,

913
01:00:57,640 --> 01:01:02,040
Speaker 2: but when I walked into the room, I was introduced

914
01:01:02,160 --> 01:01:11,439
Speaker 2: as Polo's engineer, and I was like, oh, okay, there's

915
01:01:11,480 --> 01:01:15,480
Speaker 2: a different dynamic plan here now. Totally threw me off guard.

916
01:01:16,200 --> 01:01:18,800
Speaker 2: And because I had the opportunity to meet Timberland, I

917
01:01:18,840 --> 01:01:22,840
Speaker 2: wanted to, you know, fit get you know, I wanted

918
01:01:22,880 --> 01:01:24,240
Speaker 2: to meet my idol on a.

919
01:01:24,400 --> 01:01:29,440
Speaker 3: On a level that positive. I didn't want to start shit, right, but.

920
01:01:29,480 --> 01:01:31,840
Speaker 2: At the same right, you know, it wasn't It wasn't

921
01:01:31,920 --> 01:01:35,840
Speaker 2: like I was. I was just Polo's engineer at that time,

922
01:01:36,160 --> 01:01:40,200
Speaker 2: and I don't know what the agenda was specifically, but

923
01:01:41,280 --> 01:01:44,680
Speaker 2: I still wanted to play whatever part that needed to

924
01:01:44,720 --> 01:01:49,240
Speaker 2: be played for that scenario to go the way. Yeah,

925
01:01:49,920 --> 01:01:51,920
Speaker 2: but nobody's going to speak for you the way that

926
01:01:51,960 --> 01:01:54,680
Speaker 2: you're going to speak for you. And I had never

927
01:01:54,800 --> 01:01:58,240
Speaker 2: had anyone speak up for me in any situation, and

928
01:01:58,280 --> 01:02:00,880
Speaker 2: so in that situation, I felt like it was necessary

929
01:02:00,920 --> 01:02:04,439
Speaker 2: for me to say, you know, hey, those records y'all

930
01:02:04,440 --> 01:02:10,440
Speaker 2: listening to I produced those records, yeah right, And I

931
01:02:10,480 --> 01:02:13,720
Speaker 2: also produced to Leah. I don't want to. I do

932
01:02:13,920 --> 01:02:17,480
Speaker 2: not know how that rubbed on Timbland because he's like,

933
01:02:19,040 --> 01:02:24,080
Speaker 2: so what at that point, and I didn't. I didn't

934
01:02:24,080 --> 01:02:29,760
Speaker 2: feel like it was well received. And it was just

935
01:02:29,800 --> 01:02:33,960
Speaker 2: like another gut punch for me, just meeting my idol

936
01:02:34,040 --> 01:02:39,840
Speaker 2: in this type of fashion, and but he's loving my records.

937
01:02:40,240 --> 01:02:43,040
Speaker 2: So it was like it's a high and a low.

938
01:02:46,600 --> 01:02:49,919
Speaker 2: So I'm sitting in this meeting and I'm hearing them

939
01:02:50,080 --> 01:02:55,400
Speaker 2: talk around these records and Timberland's like, yeah, Carrie, that's strange, Angel,

940
01:02:55,920 --> 01:02:59,520
Speaker 2: that's your cry me a river everything Carrie said. I'm

941
01:02:59,560 --> 01:03:03,960
Speaker 2: like yeah, in my mind, like, oh my god, Templand

942
01:03:04,560 --> 01:03:07,680
Speaker 2: can't lift a finger to this guy, but he's fucking

943
01:03:07,760 --> 01:03:15,720
Speaker 2: with my shit. Right. So the end of the meeting comes,

944
01:03:17,280 --> 01:03:20,920
Speaker 2: Timlin's like I want you to come to Miami tomorrow

945
01:03:24,400 --> 01:03:28,640
Speaker 2: and he's looking at Carrie and Polo and we're gonna

946
01:03:28,640 --> 01:03:34,920
Speaker 2: do this record strange angel, and I'm like, word, so

947
01:03:34,960 --> 01:03:38,720
Speaker 2: I raised my hand like I'm in class, literally raise

948
01:03:38,760 --> 01:03:41,120
Speaker 2: your head literally like why the fuck am I raising

949
01:03:41,200 --> 01:03:47,040
Speaker 2: my hand? But I'm like, hey, guys, like, since you

950
01:03:47,080 --> 01:03:49,400
Speaker 2: guys are gonna go do my record in Miami, you

951
01:03:49,440 --> 01:03:56,600
Speaker 2: think I could come along too, right? Timerlin looks at

952
01:03:56,600 --> 01:04:00,000
Speaker 2: Polo and then carry dapts him up and walks out

953
01:04:00,040 --> 01:04:05,080
Speaker 2: out the room. Oh shit, And I'm like wow, right,

954
01:04:05,120 --> 01:04:07,640
Speaker 2: so we're talking about R and B money, right, it

955
01:04:07,680 --> 01:04:13,320
Speaker 2: ain't always the highs. It's not always the highs, and

956
01:04:13,360 --> 01:04:15,640
Speaker 2: so you know, and you could just think of the

957
01:04:15,720 --> 01:04:19,680
Speaker 2: mental load that that that could have taken on someone.

958
01:04:21,240 --> 01:04:23,360
Speaker 2: And DJ was there, he saw the whole thing happen,

959
01:04:24,760 --> 01:04:29,760
Speaker 2: and Carrie was silent the whole time, and it just

960
01:04:29,880 --> 01:04:34,200
Speaker 2: hurt me that she was silent. It just hurt hurt

961
01:04:34,240 --> 01:04:38,400
Speaker 2: me to the to the core. So I remember I

962
01:04:38,480 --> 01:04:44,400
Speaker 2: sent carry alone message, I sent Polo loan message Skytel

963
01:04:44,480 --> 01:04:49,920
Speaker 2: two a's I think was in this right, and basically

964
01:04:51,440 --> 01:04:54,000
Speaker 2: that was it. But I did get a phone call

965
01:04:54,080 --> 01:04:57,080
Speaker 2: from Miami from Carrie. I don't know if she remembers

966
01:04:57,120 --> 01:05:01,360
Speaker 2: this either, and I think mbling it came around to

967
01:05:01,400 --> 01:05:04,680
Speaker 2: the point of saying, hey them State of Emergency guys

968
01:05:04,720 --> 01:05:07,360
Speaker 2: you was working with, why don't we bring them down

969
01:05:07,400 --> 01:05:11,240
Speaker 2: to Miami let them play on some stuff. But they

970
01:05:11,240 --> 01:05:14,760
Speaker 2: had already done Strange Angel, they had already redid it.

971
01:05:14,880 --> 01:05:17,720
Speaker 2: Carrie came back to Atlanta played it for me, was

972
01:05:17,960 --> 01:05:23,480
Speaker 2: banging amazing, right, Like come on, it's a Timblin beat.

973
01:05:24,320 --> 01:05:27,000
Speaker 2: So I'm like, that's dope, you know, it's a dope

974
01:05:27,360 --> 01:05:31,480
Speaker 2: remix of what we had already came with. I got

975
01:05:31,520 --> 01:05:37,520
Speaker 2: those records too, if you want to hear them. But nonetheless,

976
01:05:37,920 --> 01:05:42,280
Speaker 2: the beauty of it was in that phone call. I

977
01:05:42,320 --> 01:05:45,480
Speaker 2: felt like I had to regain whatever power that I could,

978
01:05:46,440 --> 01:05:48,200
Speaker 2: and so I told her, I was like, if we

979
01:05:48,240 --> 01:05:51,840
Speaker 2: can come down there and co produce on them records,

980
01:05:51,880 --> 01:05:54,120
Speaker 2: just like how he does with the other co producers

981
01:05:54,120 --> 01:05:58,840
Speaker 2: that he currently works with. Specifically for you, like, yeah,

982
01:05:58,880 --> 01:06:01,360
Speaker 2: I think my guy as would all be for it.

983
01:06:02,320 --> 01:06:05,040
Speaker 2: And this was a collaborative effort, so it wasn't just me.

984
01:06:05,960 --> 01:06:09,640
Speaker 2: State of Emergency was not just me. It was John

985
01:06:09,720 --> 01:06:12,440
Speaker 2: John Tracks on guitar, Chris Dave on drums. This was

986
01:06:12,560 --> 01:06:16,480
Speaker 2: like my creative community, and so they wanted to hear

987
01:06:16,600 --> 01:06:21,200
Speaker 2: back from me positive news that we could do this,

988
01:06:23,120 --> 01:06:25,960
Speaker 2: and it just didn't come out like that. After I

989
01:06:26,040 --> 01:06:28,120
Speaker 2: told Carry that on the phone, I never got that

990
01:06:28,200 --> 01:06:36,000
Speaker 2: phone call back. And so the next thing that happened

991
01:06:36,120 --> 01:06:38,960
Speaker 2: is I think Carrie had a first single come out

992
01:06:39,320 --> 01:06:44,200
Speaker 2: and it was the way I are. And now I'm

993
01:06:44,200 --> 01:06:47,040
Speaker 2: making up all kinds of scenarios in my mind. I'm like,

994
01:06:47,360 --> 01:06:51,360
Speaker 2: come on, man, Like, you know, Timberland is like my

995
01:06:51,520 --> 01:06:55,080
Speaker 2: favorite producer of all time, Like there's no way, like

996
01:06:56,520 --> 01:06:59,880
Speaker 2: I can't hold a finger to him for nothing, you know.

997
01:07:00,120 --> 01:07:03,360
Speaker 2: So but I listened to this record and on the

998
01:07:03,400 --> 01:07:07,960
Speaker 2: big ending of the record, I heard Timberland saying anonymous voice,

999
01:07:09,400 --> 01:07:15,240
Speaker 2: state of Emergency. I don't know why he said that,

1000
01:07:17,360 --> 01:07:21,640
Speaker 2: but I'm making up in my mind like wow, why

1001
01:07:21,640 --> 01:07:26,960
Speaker 2: would he say that? And I'm like I cannot I

1002
01:07:29,040 --> 01:07:31,320
Speaker 2: just had all these kind of scenarios running around in

1003
01:07:31,320 --> 01:07:35,280
Speaker 2: my mind. I can imagine why would he say, I

1004
01:07:35,320 --> 01:07:40,400
Speaker 2: can imagine, you know, so just another gut punch And

1005
01:07:40,440 --> 01:07:42,680
Speaker 2: I'm like Timberlin, don't need to be gut punching me?

1006
01:07:45,240 --> 01:07:50,360
Speaker 2: Like who am I? I have not even the minuscule

1007
01:07:50,720 --> 01:07:53,280
Speaker 2: amount of hit records to even match up to this

1008
01:07:53,320 --> 01:07:56,000
Speaker 2: guy's statue, and all the records that he's coming out

1009
01:07:56,040 --> 01:07:59,080
Speaker 2: with is crazy. The single that he came out with

1010
01:07:59,120 --> 01:08:06,600
Speaker 2: would carry yeah, crazy, But just it goes to show

1011
01:08:07,400 --> 01:08:13,440
Speaker 2: when the mental starts getting messed with, where your mind

1012
01:08:13,480 --> 01:08:17,120
Speaker 2: could really go with a hole. Yeah, you start connecting

1013
01:08:17,120 --> 01:08:19,240
Speaker 2: things that may not even that might that might not

1014
01:08:19,280 --> 01:08:32,479
Speaker 2: even be relevant relevant. I moved back to LA and

1015
01:08:32,600 --> 01:08:35,680
Speaker 2: maybe there was some years and stuff in between that,

1016
01:08:35,800 --> 01:08:38,800
Speaker 2: but we missed a whole lot of success stories, like

1017
01:08:38,920 --> 01:08:41,960
Speaker 2: even being in hit CO at that time, had an

1018
01:08:42,000 --> 01:08:46,719
Speaker 2: opportunity to engineer. Yeah, got flew to La Usher's vocals,

1019
01:08:46,720 --> 01:08:48,000
Speaker 2: got Grammy nominated for that.

1020
01:08:48,120 --> 01:08:54,120
Speaker 4: You're the actual engineer for yeah? Yeah, Okay, okay, yeah, okay,

1021
01:08:54,439 --> 01:08:55,320
Speaker 4: who's the engineer for?

1022
01:08:55,360 --> 01:09:03,639
Speaker 2: You? Read the credits, You're the engineer, Read the credits. Okay.

1023
01:09:06,680 --> 01:09:10,720
Speaker 2: It's a money business. It's a money business. All I

1024
01:09:10,760 --> 01:09:12,559
Speaker 2: got to say, is read the credits. No, no, no, for sure,

1025
01:09:12,600 --> 01:09:15,519
Speaker 2: I don't know who said what. Yeah, you know, but

1026
01:09:15,560 --> 01:09:20,200
Speaker 2: it's in the engineer cut the demo and the song

1027
01:09:21,240 --> 01:09:26,040
Speaker 2: at Larabie out here in l A. Downed his vocals

1028
01:09:26,080 --> 01:09:29,280
Speaker 2: in did all of those you cut him? I got

1029
01:09:29,280 --> 01:09:37,920
Speaker 2: the picture. I got they're going to receive. They gotta

1030
01:09:37,960 --> 01:09:41,559
Speaker 2: receive for that as me, Sean Garrett, Little John and Usha,

1031
01:09:42,520 --> 01:09:44,960
Speaker 2: we were the only four in the studio here in LA.

1032
01:09:45,400 --> 01:09:48,920
Speaker 2: That doesn't take away what j q's contribution to it was.

1033
01:09:49,439 --> 01:09:51,880
Speaker 2: It didn't take away the night. You know, Carrie and

1034
01:09:51,920 --> 01:09:54,120
Speaker 2: I were in the studio working on carry stuff and

1035
01:09:55,120 --> 01:09:57,479
Speaker 2: you know, Sean Garrett brings out the Little John CD

1036
01:09:57,640 --> 01:10:01,320
Speaker 2: and they ended up writing Red Light HM together on

1037
01:10:01,520 --> 01:10:05,599
Speaker 2: Confessions as well, which was the bonus track. So there

1038
01:10:05,680 --> 01:10:07,920
Speaker 2: was a lot of opportunity and a lot of time

1039
01:10:08,760 --> 01:10:12,400
Speaker 2: that created a lot of plays. Yeah, you know, and

1040
01:10:13,040 --> 01:10:15,679
Speaker 2: you know from that, there was a lot of positive

1041
01:10:15,720 --> 01:10:18,320
Speaker 2: things that happened, and there was a lot of things

1042
01:10:18,360 --> 01:10:23,880
Speaker 2: that weren't necessarily perceived as positive for me. And that's

1043
01:10:23,960 --> 01:10:26,000
Speaker 2: just the side that I would like your audience to

1044
01:10:26,520 --> 01:10:31,120
Speaker 2: understand that there's ebbs and flows in this thing, and

1045
01:10:31,160 --> 01:10:35,639
Speaker 2: you really have to be on top of your decision

1046
01:10:35,720 --> 01:10:39,880
Speaker 2: making skills and your ability to represent yourself certain kinds

1047
01:10:39,880 --> 01:10:44,479
Speaker 2: of ways so that you know, you could you know, thrive.

1048
01:10:45,080 --> 01:10:48,599
Speaker 4: So looking back on it and looking back on some

1049
01:10:48,680 --> 01:10:53,160
Speaker 4: of these instances, do you feel as if.

1050
01:10:54,479 --> 01:10:57,760
Speaker 2: You should have done a little more music business? Definitely?

1051
01:10:58,040 --> 01:11:05,479
Speaker 2: I take full responsibility for not doing the business the

1052
01:11:05,520 --> 01:11:09,759
Speaker 2: way in which the business was being done. Then. Yeah,

1053
01:11:10,200 --> 01:11:13,360
Speaker 2: right now, maybe I didn't have the resources. I do

1054
01:11:13,439 --> 01:11:16,600
Speaker 2: remember going to DJ and asking DJ, can can you

1055
01:11:16,640 --> 01:11:20,559
Speaker 2: please also manage me too? He said yes, But then

1056
01:11:21,240 --> 01:11:27,439
Speaker 2: there was a I might not can do this conflict interest? Right,

1057
01:11:29,520 --> 01:11:32,720
Speaker 2: But I wonder where that conflict of interest was. You know,

1058
01:11:33,040 --> 01:11:37,200
Speaker 2: rich boys started in my apartment, Carrie started with the

1059
01:11:37,240 --> 01:11:40,679
Speaker 2: whole culmination of the thing. There was a relationship there

1060
01:11:40,720 --> 01:11:44,080
Speaker 2: that was fractured, and I didn't know how to manage that. Yeah,

1061
01:11:45,280 --> 01:11:48,080
Speaker 2: Just honestly speaking, I didn't know how to manage that. Yeah,

1062
01:11:48,760 --> 01:11:51,240
Speaker 2: And that was something that I have to take to

1063
01:11:51,280 --> 01:11:55,719
Speaker 2: the chin. And I think that, you know, even throughout time,

1064
01:11:55,840 --> 01:11:58,920
Speaker 2: you know, Paolo and I still work together. After that,

1065
01:12:00,320 --> 01:12:03,760
Speaker 2: you know, I ended up mixing the whole Lloyd King

1066
01:12:03,800 --> 01:12:06,960
Speaker 2: of Heart's album. I ended up actually really becoming Polo's

1067
01:12:06,960 --> 01:12:10,120
Speaker 2: engineer at one point. You know, if you really want to,

1068
01:12:10,200 --> 01:12:14,240
Speaker 2: just look at it hindsight twenty twenty like, and we

1069
01:12:14,320 --> 01:12:18,839
Speaker 2: made good money off of that. Yeah, this is bleeding.

1070
01:12:18,920 --> 01:12:22,759
Speaker 2: This is blood that runs store fucking veins. So blood,

1071
01:12:22,760 --> 01:12:24,080
Speaker 2: sweat and tears is from it.

1072
01:12:24,120 --> 01:12:27,040
Speaker 3: All is you as you love it. The operative word

1073
01:12:27,160 --> 01:12:31,160
Speaker 3: is loving you. Keep loving it and keep doing the work.

1074
01:12:32,439 --> 01:12:34,800
Speaker 3: It'll it'll. It's Jay said, make all the room for you,

1075
01:12:35,680 --> 01:12:37,280
Speaker 3: and at the end of the day makes all the difference.

1076
01:12:37,320 --> 01:12:39,040
Speaker 2: And it has made all the room. Come on, man,

1077
01:12:39,360 --> 01:12:40,519
Speaker 2: it has made up. Man.

1078
01:12:40,680 --> 01:12:44,040
Speaker 4: Now you've had it. You've had and you have an

1079
01:12:44,040 --> 01:12:44,840
Speaker 4: amazing career.

1080
01:12:44,880 --> 01:12:51,520
Speaker 2: Bro. Yeah, I agree. It's still going. It's still going. Yeah,

1081
01:12:51,800 --> 01:12:53,639
Speaker 2: what what you got over there? Show? It just tapped

1082
01:12:53,640 --> 01:12:56,200
Speaker 2: into my you know, to my talented mind. We got

1083
01:12:56,200 --> 01:12:59,360
Speaker 2: talented people here we do. He brought it, He brought

1084
01:12:59,400 --> 01:13:03,200
Speaker 2: a camera with Yeah, yeah, do a few things. Yeah.

1085
01:13:03,320 --> 01:13:04,800
Speaker 3: He talking about going on the road and I went

1086
01:13:04,840 --> 01:13:07,880
Speaker 3: on and road musician, you know, I went on and

1087
01:13:07,920 --> 01:13:09,240
Speaker 3: road as the background singer.

1088
01:13:09,280 --> 01:13:13,120
Speaker 2: That was my dream, you know, to be an m

1089
01:13:13,200 --> 01:13:22,320
Speaker 2: D brother.

1090
01:13:22,400 --> 01:13:31,360
Speaker 3: Donnie Scants, Yes, sir, you've been doing music a real.

1091
01:13:31,280 --> 01:13:34,000
Speaker 2: Long long long, long long time, a long time.

1092
01:13:36,080 --> 01:13:39,439
Speaker 3: You know a lot of things about music, and all

1093
01:13:39,439 --> 01:13:40,880
Speaker 3: of your journeys are making music.

1094
01:13:41,520 --> 01:13:49,200
Speaker 2: You've been inspired buy a lot of music. Today. The

1095
01:13:49,360 --> 01:13:52,360
Speaker 2: R and B Money Podcast will like to inquire what

1096
01:13:52,479 --> 01:13:53,880
Speaker 2: you want to know about.

1097
01:13:53,600 --> 01:13:59,280
Speaker 3: Your musical knowledge, your musical information. Uh uh, the music

1098
01:13:59,320 --> 01:14:02,559
Speaker 3: that makes sense to you. Mm hmm, that touches your

1099
01:14:02,600 --> 01:14:04,439
Speaker 3: heart your.

1100
01:14:05,880 --> 01:14:06,280
Speaker 4: Mm hmm.

1101
01:14:07,120 --> 01:14:13,360
Speaker 2: Top fun, your top five.

1102
01:14:16,120 --> 01:14:27,479
Speaker 5: Top five, your top five A repe singers are and

1103
01:14:27,640 --> 01:14:29,120
Speaker 5: the songs.

1104
01:14:31,000 --> 01:14:36,439
Speaker 2: We know, you know, we know you rolled gen Mere tube.

1105
01:14:37,240 --> 01:14:40,599
Speaker 2: You see what's your top five?

1106
01:14:42,800 --> 01:14:58,800
Speaker 7: Yeah, yes, yeah, top five, your home top f.

1107
01:15:07,840 --> 01:15:08,759
Speaker 2: This niggas before.

1108
01:15:08,800 --> 01:15:12,920
Speaker 4: I bet ninety different times, ninety different ways.

1109
01:15:13,920 --> 01:15:16,880
Speaker 2: This is insane. It never gets old. This is great,

1110
01:15:17,080 --> 01:15:26,240
Speaker 2: joyous Donnie Scance Scantana, Yeah, that was one of them.

1111
01:15:26,400 --> 01:15:33,960
Speaker 2: Come on, man, Top five R and B singers living

1112
01:15:34,040 --> 01:15:40,639
Speaker 2: undead your world? You call it? Marvin Gaye A Donnie Hathaway, Yes,

1113
01:15:40,760 --> 01:15:46,200
Speaker 2: I not. I mean you can't leave out Stevie Wonder

1114
01:15:46,240 --> 01:15:50,840
Speaker 2: you better not, you better not. They're going down that

1115
01:15:50,960 --> 01:15:54,160
Speaker 2: road now. But I'm gonna add some new guys open

1116
01:15:54,240 --> 01:16:02,799
Speaker 2: there too. I'm really messing with Dixon. Shut the building

1117
01:16:02,960 --> 01:16:07,240
Speaker 2: down at the R and B money line. He went crazy,

1118
01:16:08,320 --> 01:16:11,680
Speaker 2: shout out to Dix, so yeah, put him on them.

1119
01:16:11,720 --> 01:16:15,040
Speaker 2: He acted up. Y'all need to go listen. Yeah, man,

1120
01:16:15,080 --> 01:16:19,000
Speaker 2: you do here, you do okay, and uh, I'm gonna

1121
01:16:19,040 --> 01:16:22,320
Speaker 2: just throw a left curveball because I need to put

1122
01:16:22,760 --> 01:16:25,719
Speaker 2: you said R and B singers, this was your world. Whatever,

1123
01:16:26,320 --> 01:16:31,240
Speaker 2: go crazy. This young girl Malaya. Are y'all familiar with her? No,

1124
01:16:31,360 --> 01:16:35,599
Speaker 2: I'm not. Y'all need to check her out. She's on

1125
01:16:36,160 --> 01:16:43,160
Speaker 2: Kean Harold's new album, mhmm Forever Land. Y'all should definitely

1126
01:16:43,240 --> 01:16:46,719
Speaker 2: check him out. Robert. Yeah, her name is Malaya Malaya.

1127
01:16:46,920 --> 01:16:49,120
Speaker 2: We shall do that. Yeah, my goodness, the.

1128
01:16:49,120 --> 01:16:51,880
Speaker 3: Army money community will do that. Top five R and

1129
01:16:51,920 --> 01:16:55,439
Speaker 3: B songs h son mm hmm.

1130
01:16:57,080 --> 01:17:03,640
Speaker 2: Sparrow by Marvin Gaye. Okay, that's interesting. You know that one? No,

1131
01:17:04,720 --> 01:17:07,679
Speaker 2: it was on the Here My Dear album I Love

1132
01:17:07,720 --> 01:17:10,120
Speaker 2: You for Life? Is that the name of that? Yes?

1133
01:17:10,439 --> 01:17:15,639
Speaker 2: One of them? Yeah, what a song. I know where

1134
01:17:15,640 --> 01:17:19,280
Speaker 2: I was when I heard that. Yeah, I'm gonna go

1135
01:17:19,320 --> 01:17:22,760
Speaker 2: with a lee. I don't want to. I'm definitely gonna

1136
01:17:22,760 --> 01:17:28,000
Speaker 2: put one of mine on that. Okay, that's three. I

1137
01:17:28,120 --> 01:17:30,080
Speaker 2: belong to you, Lenny Kravitz.

1138
01:17:32,400 --> 01:17:38,360
Speaker 4: Wow, yeah, yeah, yeah, very special.

1139
01:17:38,680 --> 01:17:44,040
Speaker 2: Oh don't get enough R and B credit. Lenny don't

1140
01:17:44,040 --> 01:17:48,160
Speaker 2: get enough credit. Bro, Lenny is R and B, R

1141
01:17:48,160 --> 01:17:51,679
Speaker 2: and B star. He's an R and B rock star. Man.

1142
01:17:53,000 --> 01:17:57,400
Speaker 2: Ain't nobody fucking with Lenny Man? Mm hmmm. I love

1143
01:17:57,520 --> 01:18:02,400
Speaker 2: Lenny Kravits, bro Man, And I'm not even gonna lie

1144
01:18:03,479 --> 01:18:05,680
Speaker 2: with be Cox in them. There were made for me

1145
01:18:05,880 --> 01:18:13,519
Speaker 2: with money long I'm not gonna not yet. Yeah. My

1146
01:18:13,720 --> 01:18:18,320
Speaker 2: peoples up in that piece. Yeah, special record for the guys.

1147
01:18:18,320 --> 01:18:21,679
Speaker 2: And the release of that, the BT version of it. Yeah,

1148
01:18:21,720 --> 01:18:25,840
Speaker 2: know they cooking, they cooking. They all right, here we go.

1149
01:18:26,080 --> 01:18:28,639
Speaker 2: What what else you got? I got some mother, Yeah,

1150
01:18:28,720 --> 01:18:32,120
Speaker 2: because I know this because he did. He did. He

1151
01:18:32,320 --> 01:18:34,479
Speaker 2: said some names right was here. So this is this

1152
01:18:34,560 --> 01:18:36,280
Speaker 2: is gonna be a little bit different for you. Brother.

1153
01:18:36,680 --> 01:18:46,719
Speaker 8: Okay, I ain't saying no next, I ain't saying no names,

1154
01:18:47,080 --> 01:18:59,559
Speaker 8: A saying no names, saying no Nigga was.

1155
01:18:58,160 --> 01:19:11,200
Speaker 2: One three. Yes, he got them president vocals. Now you

1156
01:19:11,240 --> 01:19:11,559
Speaker 2: know what I mean.

1157
01:19:11,600 --> 01:19:13,400
Speaker 4: He was taking out the White House and ship man

1158
01:19:14,120 --> 01:19:22,280
Speaker 4: Skinny been at the White House making policy, say the

1159
01:19:22,320 --> 01:19:25,800
Speaker 4: Secretary of the fifth Yeah, they need the general to

1160
01:19:25,800 --> 01:19:35,760
Speaker 4: do general, Yes, yes, generally. Yeah, So this segment of

1161
01:19:35,760 --> 01:19:39,439
Speaker 4: the show, very important segment. We save it for last.

1162
01:19:39,960 --> 01:19:42,639
Speaker 4: You know what I mean, cart, I ain't saying no names.

1163
01:19:42,920 --> 01:19:45,200
Speaker 4: Will you tell us a story funny or fucked up?

1164
01:19:45,360 --> 01:19:49,760
Speaker 4: Are funny and fucked up? Along the journey.

1165
01:19:51,439 --> 01:19:56,360
Speaker 2: Again? It's already just got more. I know you got

1166
01:19:56,400 --> 01:20:00,160
Speaker 2: more and some ones you don't want to put. I'm

1167
01:20:00,160 --> 01:20:06,479
Speaker 2: saying who you second's saying no name. Second thing. We

1168
01:20:06,520 --> 01:20:12,120
Speaker 2: was in New York. Okay, okay, so right now, I

1169
01:20:12,240 --> 01:20:15,240
Speaker 2: like your attitude. I like you first. He went from

1170
01:20:15,479 --> 01:20:17,280
Speaker 2: I don't know you know so one time.

1171
01:20:18,479 --> 01:20:24,200
Speaker 4: So listen right now, this is Donny's scam, the scam

1172
01:20:24,400 --> 01:20:25,400
Speaker 4: man himself.

1173
01:20:27,000 --> 01:20:30,960
Speaker 2: I ain't saying no names. We were in New York City.

1174
01:20:31,640 --> 01:20:36,760
Speaker 2: That's a place. That's the place. Who we went to

1175
01:20:36,800 --> 01:20:40,320
Speaker 2: go drink saki at a saki bar in New York City.

1176
01:20:41,760 --> 01:20:44,160
Speaker 2: I didn't know how saki hits after you drink so

1177
01:20:44,280 --> 01:20:50,320
Speaker 2: many shots. I ain't saying no names. But we was

1178
01:20:50,360 --> 01:20:56,200
Speaker 2: at the Renaissance Hotel in Manhattan. One you have to

1179
01:20:56,200 --> 01:21:00,080
Speaker 2: take an elevator to get up to the lobby. And

1180
01:21:00,479 --> 01:21:06,640
Speaker 2: God forgive me because we were so oh man, I

1181
01:21:06,640 --> 01:21:14,479
Speaker 2: don't even know if I should tell this one. Oh

1182
01:21:14,600 --> 01:21:20,640
Speaker 2: my goodness. Well, security had to help me in this

1183
01:21:20,840 --> 01:21:26,439
Speaker 2: other individual up to our rooms because we kind of

1184
01:21:26,600 --> 01:21:30,360
Speaker 2: passed out in that one floor elevator going up after

1185
01:21:30,400 --> 01:21:38,000
Speaker 2: the cab dropped us out and we get up to

1186
01:21:38,080 --> 01:21:41,000
Speaker 2: our rooms. And New York, you had a whole lot

1187
01:21:41,080 --> 01:21:47,080
Speaker 2: going on during this time, Like, yeah, I fell out

1188
01:21:47,120 --> 01:21:51,880
Speaker 2: in the hotel room, only to wake up to see

1189
01:21:51,880 --> 01:21:57,320
Speaker 2: in the room full of disarray, knowing that some things

1190
01:21:57,400 --> 01:22:03,360
Speaker 2: happened around me at God put me to sleep for

1191
01:22:04,240 --> 01:22:08,599
Speaker 2: mm hmm. Didn't want you to witness it, didn't want

1192
01:22:08,680 --> 01:22:15,400
Speaker 2: me to up participate or even think of being a

1193
01:22:15,439 --> 01:22:21,120
Speaker 2: part of And I can just remember seeing things around

1194
01:22:21,160 --> 01:22:32,720
Speaker 2: me that were used and the hangover is real. And

1195
01:22:32,760 --> 01:22:37,719
Speaker 2: I ain't saying no names who was used on ship

1196
01:22:38,840 --> 01:22:45,280
Speaker 2: not used on. But that wake up is different. That

1197
01:22:45,400 --> 01:22:50,360
Speaker 2: wake up is different. I'm glad I was sleep now

1198
01:22:50,360 --> 01:22:52,920
Speaker 2: that I'm forty seven, but I could think about it

1199
01:22:53,720 --> 01:22:56,120
Speaker 2: because when I wasn't forty seven and I woke up,

1200
01:22:56,200 --> 01:22:57,000
Speaker 2: I was mad.

1201
01:22:57,400 --> 01:23:02,040
Speaker 3: Man, I'm telling you listen on forty eight and I'm

1202
01:23:02,080 --> 01:23:06,000
Speaker 3: still mad. I ain't got over that night I fell asleep,

1203
01:23:06,479 --> 01:23:09,960
Speaker 3: I have not, but that's the only sleep that only

1204
01:23:10,040 --> 01:23:14,559
Speaker 3: God could. Only God, only only God could have knocked

1205
01:23:14,600 --> 01:23:16,680
Speaker 3: me out and kept me out of that because I

1206
01:23:16,800 --> 01:23:17,320
Speaker 3: needed it.

1207
01:23:18,360 --> 01:23:24,240
Speaker 2: No, boy, no, only you know who that story is.

1208
01:23:24,280 --> 01:23:27,439
Speaker 3: Oh my god, I tolt you. I gotta, I gotta

1209
01:23:27,479 --> 01:23:29,160
Speaker 3: tell me. I ain't saying no names and tell my

1210
01:23:29,280 --> 01:23:30,759
Speaker 3: story like that.

1211
01:23:30,880 --> 01:23:34,160
Speaker 2: Oh my god, But the names are so legendary in

1212
01:23:34,240 --> 01:23:40,200
Speaker 2: the story. Oh yeah, good job, good job, good job, Lord,

1213
01:23:40,240 --> 01:23:44,160
Speaker 2: good job. Thank you, thank you, thank.

1214
01:23:43,960 --> 01:23:48,320
Speaker 3: You, brother, Donnie Skance. You have been my relative for

1215
01:23:48,400 --> 01:23:51,280
Speaker 3: quite some time. My brother, it is. It is really

1216
01:23:51,280 --> 01:23:53,479
Speaker 3: good to see you. Yes, it is, you know what

1217
01:23:53,520 --> 01:23:57,160
Speaker 3: I mean, after so long, so long, it's really dope,

1218
01:23:57,680 --> 01:24:01,720
Speaker 3: you know, talking down memory lane and being able to

1219
01:24:01,760 --> 01:24:06,400
Speaker 3: put myself back back there as a kid, you know,

1220
01:24:06,520 --> 01:24:11,240
Speaker 3: twenty We were kids, three year old kids on our own.

1221
01:24:11,400 --> 01:24:15,040
Speaker 2: Because kids get on their families insurance till they're twenty six,

1222
01:24:15,120 --> 01:24:20,760
Speaker 2: now right. I wasn't on none of that. But that's

1223
01:24:20,880 --> 01:24:24,120
Speaker 2: just to show you the level in which you're still.

1224
01:24:25,520 --> 01:24:25,800
Speaker 4: Side.

1225
01:24:25,960 --> 01:24:27,600
Speaker 2: I guess I was grown for a long time and

1226
01:24:28,040 --> 01:24:29,880
Speaker 2: have no insurance. I don't even know what we were

1227
01:24:29,920 --> 01:24:30,400
Speaker 2: talking about.

1228
01:24:30,800 --> 01:24:36,080
Speaker 3: We were outside outside, literally, we were outside in Atlanta

1229
01:24:36,200 --> 01:24:40,439
Speaker 3: by ourselves, trying to figure out and you know it's

1230
01:24:40,479 --> 01:24:43,680
Speaker 3: it's I mean, I couldn't tell you enough how much

1231
01:24:43,720 --> 01:24:44,760
Speaker 3: I love you and appreciate you.

1232
01:24:44,840 --> 01:24:45,120
Speaker 2: Brother.

1233
01:24:45,560 --> 01:24:49,080
Speaker 3: Thanks having the beginnings? Are you know or why we

1234
01:24:49,120 --> 01:24:51,240
Speaker 3: are who we are and what we are man? And

1235
01:24:51,720 --> 01:24:55,080
Speaker 3: while we will continue to be absolutely it's the love.

1236
01:24:56,040 --> 01:24:58,080
Speaker 3: It's the love for it. It is the love for

1237
01:24:58,160 --> 01:25:01,280
Speaker 3: ourselves that will continue to drive us. And that's what

1238
01:25:01,320 --> 01:25:04,080
Speaker 3: we teach. Yeah, that's what we continue to preach and teach.

1239
01:25:04,120 --> 01:25:06,120
Speaker 2: And I hope your audience was able to take away

1240
01:25:07,160 --> 01:25:09,880
Speaker 2: a lot from what they needed to hear from this. Well,

1241
01:25:09,920 --> 01:25:13,600
Speaker 2: they hear the journey man, and that's and that's the

1242
01:25:13,600 --> 01:25:17,080
Speaker 2: most important y'all are doing. Y'all are doing God's work here, sir.

1243
01:25:17,360 --> 01:25:22,000
Speaker 2: Trust that trust that the information is important. The information

1244
01:25:22,200 --> 01:25:25,800
Speaker 2: is very very important. And I think people could utilize

1245
01:25:25,840 --> 01:25:30,719
Speaker 2: this and take from our experiences and make this world

1246
01:25:30,800 --> 01:25:35,320
Speaker 2: a better place, sir. That's what Michael said, just you

1247
01:25:35,400 --> 01:25:39,880
Speaker 2: and me. That's the only purpose. Man. Thank y'all so much.

1248
01:25:40,840 --> 01:25:44,679
Speaker 3: My name is and this is the Yay Money Podcast,

1249
01:25:44,760 --> 01:25:47,559
Speaker 3: the authority on all things R and B.

1250
01:25:48,080 --> 01:25:51,559
Speaker 2: This has been the journey. This has been been to health,

1251
01:25:51,600 --> 01:25:54,760
Speaker 2: this has been music, this has been everything our brother

1252
01:25:55,280 --> 01:26:03,320
Speaker 2: talent Donnie scat Yes, R and B Money.

1253
01:26:03,920 --> 01:26:06,000
Speaker 4: Money R and B Money is a production of the

1254
01:26:06,000 --> 01:26:10,960
Speaker 4: Black Effect podcast Network. For more podcasts from iHeartRadio, visit

1255
01:26:11,000 --> 01:26:14,840
Speaker 4: the iHeartRadio app, Apple Podcasts, or wherever you listen to

1256
01:26:14,880 --> 01:26:18,439
Speaker 4: your favorite shows. Don't forget to subscribe to and rate

1257
01:26:18,479 --> 01:26:20,960
Speaker 4: our show, and you can connect with us on social

1258
01:26:21,000 --> 01:26:24,640
Speaker 4: media at j Valentine and at the Real Tank. For

1259
01:26:24,720 --> 01:26:29,919
Speaker 4: the extended episode, subscribe to YouTube dot com, forward Slash,

1260
01:26:30,200 --> 01:26:30,920
Speaker 4: R and B Money