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Speaker 1: All right, welcome to the episode thirteen the Bobby Cast.

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Speaker 1: I just uh the word we are we're moving over.

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Speaker 1: So if you search this on I Heart Radio, just

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Speaker 1: search Bobby Cast one word and all the episodes will

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Speaker 1: be up. And for the time being, it'll still be

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Speaker 1: up on the on demand channel, but after I think

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Speaker 1: episode twenty or so, then it'll just be on the

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Speaker 1: Bobby Cast channel. That's right, Mike, right, all right, So,

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Speaker 1: and I appreciate you guys. This has become the largest

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Speaker 1: podcast in in country music. And the cool thing is

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Speaker 1: we don't just have to have country artists on. We've

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Speaker 1: had actors and you know, today is cool for me

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Speaker 1: because it's it's cool when I get to bring in

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Speaker 1: people that I'm a genuine fan of Noel Skags from

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Speaker 1: Fitsing the Tantrums this yere, I do know. So here,

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Speaker 1: let me I like to do a circle. So we're

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Speaker 1: gonna start, and I want to start with the circle

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Speaker 1: of how you and I met, and then now musically,

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Speaker 1: and then just kind of go around because you have

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Speaker 1: it's such an interesting story. So first, this is the

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Speaker 1: story of how I'm all the Atriots were playing the

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Speaker 1: Super Bowl. I think it was Patriots and Seahawks. Yes

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Speaker 1: it was. It was the year I cried after a

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Speaker 1: Green Bay lost and and I'm like, hey, I'm having

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Speaker 1: a super Bowl party and I never have super Bowl parties.

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Speaker 1: I never have anything in my house. And this is,

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Speaker 1: by the way, this is the last dame of my house.

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Speaker 1: It's a desas as you walked in, you saw it

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Speaker 1: like it's a disaster. Right, It's not bad, it's really

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Speaker 1: great now, but it's like all plywood everywhere. There sawdust everywhere.

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Speaker 1: I kind of was like tunnel vision because I heard

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Speaker 1: don't look around everywhere. Yea. So this is the last

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Speaker 1: day here in this place. But two super bowls ago,

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Speaker 1: I had a party and Nada, who works on the show,

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Speaker 1: and it's obviously a close friend. She shows up and

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Speaker 1: you're with her, and Nada just has a lot of friends,

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Speaker 1: and we kidnaa because she has friends that we don't know.

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Speaker 1: She's the only one in our group that has all

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Speaker 1: these friends that we don't know. And we're all really

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Speaker 1: close to Nada, but not to our producer has like

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Speaker 1: a hundred friends that we've never seen before in our lives.

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Speaker 1: She'll have an Instagram with forty people and we're like

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Speaker 1: not a We don't know any of them, and she's

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Speaker 1: the only one of all of our group that we

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Speaker 1: just because she's she's cool, right, We're not that cool.

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Speaker 1: So Nada shows up with Oil and I'm looking at

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Speaker 1: no Weel and I'm like, she looks so familiar. I'm

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Speaker 1: watching the game. I don't say anything about it, and

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Speaker 1: I look over at Nada and I say, hey, Nada,

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Speaker 1: I know her, Like have you brought her? And we

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Speaker 1: hadn't met, we had never met before, and I'm like, not,

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Speaker 1: have you brought up the student? And she was like, no,

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Speaker 1: this is my friend. And I was like from fits

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Speaker 1: in the tantrums And for a minute, I was like, oh,

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Speaker 1: I just saw them like play and so I kind

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Speaker 1: of geeked out. And I didn't tell you about that

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Speaker 1: because I don't want I don't want to not be cool.

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Speaker 1: But I was like, that's crazy that you're so Anyway,

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Speaker 1: since then, it's become a lot more normal because now

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Speaker 1: you're at you live in Nashville now, and you hang

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Speaker 1: out a more. I hang out and I get to

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Speaker 1: watch snapchats here snapchat not a snapchat, and you're around.

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Speaker 1: But that's the first story where I was kind of like,

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Speaker 1: that's crazy, because um, I saw you guys play Austin

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Speaker 1: City Limits. Yeah yeah, wait the first year or the

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Speaker 1: probably the first year, yeah, probably the first year. And

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Speaker 1: I was a fan then. And for me, you know,

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Speaker 1: I do this massive country show now, but I've done

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Speaker 1: a national alternative show. I've been a national pop show.

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Speaker 1: I just love music and so when it comes to

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Speaker 1: a group like you guys, that's just so eclectic. And

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Speaker 1: I would play you guys in the alternative station that

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Speaker 1: I was on. Um, you know, I was just a

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Speaker 1: big fan. And so anyway, that's how we met the

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Speaker 1: very first time. That was that's a weird story. Um,

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Speaker 1: so let's start with right now and hand clad. This

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Speaker 1: is a song that you guys have right now and

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Speaker 1: so maybe you guys have heard that we played this

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Speaker 1: on our show. Yes, and thank you for that, because

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Speaker 1: an Otto would tell me, like, Bobby has played your song.

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Speaker 1: We played every morning. I love I love it incredible.

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Speaker 1: Thank you. Yes, I just won't say I'm not like

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Speaker 1: I won't go, hey, I'm not a fan. Yeah, but

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Speaker 1: I won't say I'm a fan if I'm not. If

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Speaker 1: that makes sense, yes, I get that. So no, and

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Speaker 1: you are so in fits of the tantrums just before

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Speaker 1: I start playing songs here as they have all of

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Speaker 1: you guys, it's like you're the lead, you're the co

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Speaker 1: lead singer. Yes, So what does that mean? We basically

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Speaker 1: trade roles. You know, we're either singing duets together or

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Speaker 1: it's you know me, kind of like hyping up the crowd,

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Speaker 1: and it's really double vocals. It always has been, I

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Speaker 1: think because of the beginning of her career, when we

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Speaker 1: were doing the EP and stuff like that. I came

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Speaker 1: in on the end of the EP being created, so

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Speaker 1: it was kind of like people trying to figure out

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Speaker 1: where their positions were. And as we kept touring, he

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Speaker 1: realized that, oh, I can't she can't be a backup

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Speaker 1: singer because that's not good thing. I'm not. Yeah, thank you,

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Speaker 1: and not just your vocals, but your presence is too good,

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Speaker 1: which is something that you the presidence is Listen, there

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Speaker 1: are a lot of great singers, yeah, but there aren't

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Speaker 1: a lot of great singers that have great presence and

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Speaker 1: so and I think that's that's a place where you

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Speaker 1: really shine. So here's handclap, by the way, which we've

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Speaker 1: played on our show many times. It's a big country song.

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Speaker 1: By the way, We've played many. It's amazing in the city.

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Speaker 1: Just so you have the song. Whenever you guys like

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Speaker 1: have this song and you put it together the first

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Speaker 1: time or you're like cutting it as a demo, it

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Speaker 1: doesn't sound like this, obviously, what does it sound Did

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Speaker 1: you say a couple of guitars? Is it a keyboard? Well,

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Speaker 1: it's it's crazy because this particular song, I wasn't even

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Speaker 1: there for it. Uh. We co wrote it with this

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Speaker 1: guy Sam Hollander, who's actually really big songwriter um that

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Speaker 1: I got to meet as we were going through the

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Speaker 1: process of creating all of these songs. Fits and him

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Speaker 1: were in the studio together. And if I know anything

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Speaker 1: about Fits, he writes, we write exactly the same. He

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Speaker 1: came up with a really cool beat first, that was it.

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Speaker 1: It was just like drumbeat and then keyboards. Yeah, yeah,

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Speaker 1: I'm pretty sure that's exactly how it was, because we

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Speaker 1: write exactly the same. For me, I'm always moved by

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Speaker 1: rhythms first, and then I get my little hands on

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Speaker 1: the keyboard and start part, you know, pulling out parts

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Speaker 1: and stuff like that. And uh, if I know anything

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Speaker 1: about Fits, that's exactly what happened because the beat is

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Speaker 1: so strong, you know, so when he actually sent the

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Speaker 1: shell of the song together one, I didn't understand what

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Speaker 1: he was saying. You know, I'm like the first listener

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Speaker 1: of like lyrics and stuff, and I was like, I

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Speaker 1: can't quite make out what you're saying in the words.

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Speaker 1: So that's you know, like, but the beat is hot,

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Speaker 1: and all I wanted to do was sing on it

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Speaker 1: so you would get this and it would be like

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Speaker 1: nothing that does exactly gibberish, so kind of kind of

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Speaker 1: the melody, but the beat was really exactly such a

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Speaker 1: such a good song. But you could tell it was, yeah,

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Speaker 1: like for the minute you heard it, you know, it's

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Speaker 1: one of those songs like both of us, you know.

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Speaker 1: When Fitz sent me the initial idea before everything was

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Speaker 1: you know, kind of put together as far as lyrics

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Speaker 1: and where we were going to go with the song,

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Speaker 1: you know, it was kind of like this is immediate,

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Speaker 1: like I know exactly which harmonies need to go where.

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Speaker 1: You know, it was like let me get in the booth, now,

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Speaker 1: let me fly to l A. Because I was here

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Speaker 1: in Nashville when he sent the demo over to me,

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Speaker 1: and I was like, this is really different for us one,

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Speaker 1: you know, because now we're like kind of reaching into

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Speaker 1: the pop realm more so than alternative kind of the

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Speaker 1: pop electro different than believe They're different, yeah, way different sounds.

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Speaker 1: So it's like, Okay, now we're gonna stretch here. How

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Speaker 1: do I bring the fits and the tantrum thing that

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Speaker 1: people are used to kind of hearing so we're not

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Speaker 1: shell shocking our fans, you know. So I had to

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Speaker 1: think about it in the in the creative process of

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Speaker 1: actually getting into the room and singing and making sure

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Speaker 1: that our voices were working together. And you know, you

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Speaker 1: were still kind of getting that fits and fits in

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Speaker 1: the tantrum sets, you know, sound even and though the

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Speaker 1: music had kind of changed a little bit more forward thinking.

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Speaker 1: So it finally happened. You guys did Dancing with the

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Speaker 1: Stars two weeks ago. Yeah, and so that song, though

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Speaker 1: weird to play live because it's so electronic or no, no,

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Speaker 1: it actually pulls off. You know. It's it's it's incredible

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Speaker 1: about the guys in general, everybody in this band. We

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Speaker 1: know how to make things organic, you know, whether it's

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Speaker 1: you know, creating production elements and making them sound really

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Speaker 1: good and alive, you know kind of atmosphere. That's something

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Speaker 1: that we do really really well. And it's because we

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Speaker 1: are so nit picky, you know, it's like, that's too much.

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Speaker 1: Let's take this out. It sounds a lot better, you know,

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Speaker 1: for the drums to take over this part live, even

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Speaker 1: though it doesn't do it on record. You know. It's

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Speaker 1: it's really about being meticulous and how you want to

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Speaker 1: appear to the public, you know. And we never wanted

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Speaker 1: to be that band. It's like push buttons and only hit,

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Speaker 1: you know, hit and he just plays the kids want

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Speaker 1: to be a bunch of tracks just exactly exactly. You

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Speaker 1: got the no guitar thing, like, no guitar like, so

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Speaker 1: talk about that for a second, because you have a

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Speaker 1: band and you don't have a guitar. Yeah. Um, definitely

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Speaker 1: in the beginning stages of us writing songs, you know,

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Speaker 1: coming down to the way it fits and I write.

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Speaker 1: We both write on piano, you know, that's that's thing. Yeah,

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Speaker 1: I don't play it really well, but it's the one

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Speaker 1: thing that I understand. I try playing guitar. It didn't

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Speaker 1: work out for me. Hurts It's very painful and human

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Speaker 1: literally physically hurts me. So I was a lot better

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Speaker 1: on piano. Um, it's the same with him, you know,

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Speaker 1: sit down. I come up with melodies better in that

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Speaker 1: in that atmosphere. And we really wanted to say something

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Speaker 1: without using the most used instrument and all of music,

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Speaker 1: to see if we could actually pull it off, you know,

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Speaker 1: and that because we don't really write with guitars, it

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Speaker 1: didn't make sense for us to have a guitar player

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Speaker 1: coming in and you know, noodling and doing all of

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Speaker 1: these things. And what we found is this really distinct

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Speaker 1: vibe that we were getting with having horn arrangements in

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Speaker 1: addition to the vocals. So the horns kind of like

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Speaker 1: taking that percussive element that you would find with a guitarist,

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Speaker 1: you know. And and that's what I said, you guys.

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Speaker 1: A part to me though, early two was the horns,

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Speaker 1: the vocals, and like for example, I mentioned the walker

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Speaker 1: a minute ago. It's just different instruments, a lot of sense,

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Speaker 1: a lot of sense. What you guy, what is this

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Speaker 1: your biggest song? This is one of our biggest songs

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Speaker 1: that not in my league? Yeah? Yeah, Like I heard

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Speaker 1: this one played at like ball games and stuff. They'll

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Speaker 1: play this with the That's when you know, you kind

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Speaker 1: of got a big song whenever that they're playing it

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Speaker 1: for a crowd somewhere. Yeah, they ever walk in the mall,

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Speaker 1: it's something that and they're playing one of your songs

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Speaker 1: because you guys are cooling. You guys are cooling up,

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Speaker 1: and you can go into like an Express and they're

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Speaker 1: playing Fit in the room. It often happens to me

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Speaker 1: at the CVS stores every time I'm like Q tip

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Speaker 1: buying one. Was like one of my friends. I was like, hey, yeah,

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Speaker 1: I know, I was going over Fits in the tantrum.

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Speaker 1: She was like, I love money Grabber like that. Yeah,

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Speaker 1: that's that's few years old thought record. Even with this,

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Speaker 1: it's got that old school a lot of Motown stacks,

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Speaker 1: kind of you know, eighties new wave. That was really

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Speaker 1: the vibe we were filling when we were creating this.

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Speaker 1: That record, you know, was what we grew up with.

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Speaker 1: Things that sounded amazing on fits his voice because he

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Speaker 1: was really just starting to find his voice when that

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Speaker 1: album was created. When we started getting together and we

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Speaker 1: started actually working on Money Grabber. When you're talking about

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Speaker 1: a song that changed significantly, that song had like maybe

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Speaker 1: three or four different c section ideas that we had

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Speaker 1: come up with until we finally got to the bridge

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Speaker 1: one two and had a singing bridge, it had instrument bridge,

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Speaker 1: it had I don't know what else didn't work on there.

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Speaker 1: But we went back and forth and we worked on

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Speaker 1: this song before it was actually done. I think we

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Speaker 1: had gone back maybe three or four different times with

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Speaker 1: different drafts of just the bridge section alone, because we

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Speaker 1: couldn't nail it. We couldn't figure out what was missing.

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Speaker 1: It's interesting with you guys because just hearing how the

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Speaker 1: band was put together, it was yeah, and you can

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Speaker 1: kind of tell a story where it was like, hey,

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Speaker 1: you know this person knows this person. You guys got

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Speaker 1: together in like week you were doing a show and

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Speaker 1: then you guys were just kind of a band. So

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Speaker 1: how did the group come together? Our saxophone player, James King,

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Speaker 1: actually went to school with fits. James and I knew

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Speaker 1: each other from my previous band because he had come

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Speaker 1: in and done horn arrangements on two of our songs

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Speaker 1: on that record, and then later on after I had left,

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Speaker 1: I would say probably about two years later, we ended

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Speaker 1: up going on another tour together because I was asked

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Speaker 1: to kind of like sit in as a lead for

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Speaker 1: a Scion tour that they were doing with all these

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Speaker 1: like crazy hip hop artists and uh he and I

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Speaker 1: were part of that unit, and I led the band

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Speaker 1: for our opening set and then would do kind of

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Speaker 1: like back up like I would say, more sample driven

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Speaker 1: kind of stuff for the hip hop artist that we

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Speaker 1: were backing up. Anyway, So maybe like six months later

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Speaker 1: after we had done this tour, I get this random

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Speaker 1: message from James and he's like, Yo, you know, I

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Speaker 1: just finished up this project with a really good friend

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Speaker 1: of my name Michael, and we are looking to do

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Speaker 1: the live show. I know you left your last band.

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Speaker 1: I'm not sure if you'll be into it because it's

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Speaker 1: kind of a backup thing, but will you listen to it?

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Speaker 1: I'd love to hear what you think they approach as

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Speaker 1: a backup singer for the band. They wanted me to

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Speaker 1: do a backup session or basically one show. That's what

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Speaker 1: we were looking at. One show. Will you do it? Sure?

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Speaker 1: I don't know, let me see what it sounds like.

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Speaker 1: And there was a song on the EP that they

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Speaker 1: sent over called Darkest Street, and that was the song

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Speaker 1: for me that was like, oh, the is really special,

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Speaker 1: Like I can totally hear what he's trying to do,

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Speaker 1: and I feel like it's going to do something really cool.

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Speaker 1: So I went in to the rehearsal maybe like three

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Speaker 1: months later, and uh we started singing together and he

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Speaker 1: had I kind of looked at each other and it

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Speaker 1: was just exactly like the record. It sounded exactly like

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Speaker 1: the record. And uh, after that, it was kind of

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Speaker 1: like he just walked out of the room for a bit,

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Speaker 1: like we had a break, and you know, he comes

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Speaker 1: back in and he's like, hey, So I finalized the

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Speaker 1: booking of you know, Hotel Cafe. I didn't know it

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Speaker 1: hadn't been booked chet I thought it was we were

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Speaker 1: already doing it, and I guess he called and said, yeah,

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Speaker 1: I want to do the show. So we end up

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Speaker 1: doing the show on five songs. Like it was like,

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Speaker 1: how are you going to pull a little of five

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Speaker 1: songs set off? We've never done that before, you know,

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Speaker 1: and we stretched out things and it just became, you know,

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Speaker 1: this really cool energetic situation and uh, you know the

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Speaker 1: feedback that I had gotten from my manager after we

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Speaker 1: you know, kind of because he had our first manager

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Speaker 1: come into the show because he was interested in seeing

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Speaker 1: what she thought she was an A and R. Warner

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Speaker 1: Music group at the time, and she comes and, you know,

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Speaker 1: she and I had talked about the history and she's like,

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Speaker 1: I didn't think that it was going to be as

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Speaker 1: cool as it was until I saw the life set,

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Speaker 1: you know, because she had never really heard music being

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Speaker 1: done like that. She didn't quite get it. And that

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Speaker 1: was a lot of responses that we had gotten from

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Speaker 1: people just on the EP in general. They weren't quite

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Speaker 1: sure what it was supposed to be. If it was

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Speaker 1: supposed to be like the Sharon Jones and the Dap

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Speaker 1: Kings sound, or if it was supposed to be like Mark,

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Speaker 1: you know, like it was just wasn't it was just

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Speaker 1: him at the time, it was just like the sound

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Speaker 1: that was created. But then when you heard it live

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Speaker 1: and you saw us together, it kind of made sense.

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Speaker 1: He's like, oh, that's what I see what he's going for.

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Speaker 1: And then after that we just started recording, you know, him,

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Speaker 1: him and I would get into a room together. We

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Speaker 1: wrote picking Up the Pieces Together, which was on the

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Speaker 1: very first record, and that was like a very first

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Speaker 1: duet song he and I had ever done. And it

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Speaker 1: was bare bones, like when he sent handclap over the

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Speaker 1: same bare bones, and I came up with my verse

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Speaker 1: and I was like, it'd be cool to kind of

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Speaker 1: have this like you know, Tammy Terrell, Marvin Gay kind

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Speaker 1: of you know, call and response like it's yours yeah,

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Speaker 1: that kind of thing. So we did that together and

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Speaker 1: it that for me, I think, really solidified us as

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Speaker 1: a duo versus it being like I'm just going to

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Speaker 1: feature on his record because it wasn't gonna last very

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Speaker 1: long if that was the case for me, because I

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Speaker 1: had other goals in my life, in my career, and

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Speaker 1: it just really made sense and people heard it and

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Speaker 1: it translated, and as that progression happened with our recording,

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Speaker 1: we took that onto the stage and that's what you

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Speaker 1: see today when you go to you know, see his performance,

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Speaker 1: and I saw, yeah, yeah, so let's let's let's kind

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Speaker 1: of go back a bit some interesting things. Is and

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Speaker 1: so you sang on this song? Yeah? So yeah, you're

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Speaker 1: the background vocals on Let's Get a Start with the

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Speaker 1: Black Eyed Peas. Yes. So how did this come about? So?

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Speaker 1: I used to date a guy that grew up with

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Speaker 1: will Am and he would they He was actually in

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Speaker 1: a band called the at Band Clan, which was basically

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Speaker 1: the original Black Eyed Peas. Um. He was one of

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Speaker 1: the original members. And after they kind of you know

346
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Speaker 1: split up, the Black Eyed Peas formed and I met

347
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Speaker 1: him around the time Black Eyed Peas, just before they before,

348
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Speaker 1: because just before it was just a black Like yeah,

349
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Speaker 1: this was like Kem Hill. Kem Hill was the singer

350
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Speaker 1: and they had an entirely different band set up, and

351
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Speaker 1: I was hanging out those guys every day, like I

352
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Speaker 1: just go to the studio and you could find me.

353
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Speaker 1: It was like normally kind of I was really shy,

354
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Speaker 1: and I had always kind of been like that, Like

355
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Speaker 1: I'd hang out with all these crazy hip hop artists

356
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Speaker 1: and I was just watching and learning, and it was

357
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Speaker 1: mostly to kind of fine tune my life performance and

358
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Speaker 1: the way that I approached songs because I was always

359
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Speaker 1: into hip hop music and really brought that into the

360
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Speaker 1: way that I write lyrics, you know. Um. So anyway,

361
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Speaker 1: I would always be caught in the studio like kind

362
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Speaker 1: of hanging out and Will was like what do you do?

363
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Speaker 1: And I'm like I'm like, well, I sing and I write,

364
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Speaker 1: and he was like you do. And I played him

365
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Speaker 1: a bunch of songs that I had written, and he

366
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Speaker 1: was like you wrote that. He was so shocked, like

367
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Speaker 1: no idea, this like little girl like sitting in his

368
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Speaker 1: studio and stuff. And then when they started to go

369
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Speaker 1: to recording the Elephunk record, that's when they were going

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Speaker 1: through the transition of if they were going to stay

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Speaker 1: with Interscope, you know, sign over with Round Fair. They

372
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Speaker 1: you know, they'd let go of Kim Hill Will and

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Speaker 1: her couldn't get along, and they were trying to determine

374
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Speaker 1: if they wanted me on. They wanted to take me

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Speaker 1: on the original tour because this record was already done.

376
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Speaker 1: You know. I sang on the original just hanging out

377
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Speaker 1: in the studio and we'll heard me doing like you

378
00:18:55,560 --> 00:18:59,600
Speaker 1: should do that. And I would throw ideas out if

379
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Speaker 1: I heard something that somebody wasn't you know, filling, I

380
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Speaker 1: was like, oh, well you should do this, and I'd

381
00:19:04,200 --> 00:19:06,080
Speaker 1: saying he was like, why don't you go do that?

382
00:19:06,200 --> 00:19:07,600
Speaker 1: You know, and he would put me in the booth

383
00:19:07,640 --> 00:19:10,080
Speaker 1: and that's how I would get all these like songs

384
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Speaker 1: Dexter's lab and I did a lot of stuff throwing

385
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Speaker 1: out ideas in the room. And I've met Well a

386
00:19:17,080 --> 00:19:19,520
Speaker 1: bunch of times, like he's such a cerebral guy he is.

387
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Speaker 1: He is like almost to the point where it's like, wow,

388
00:19:22,280 --> 00:19:25,399
Speaker 1: he's such a cool geek. He's very cool geek. He

389
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Speaker 1: really to watch once and he sat down with me

390
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Speaker 1: and explained this and listen. I didn't I didn't even

391
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Speaker 1: know what he was saying. It was like, you look

392
00:19:32,240 --> 00:19:34,040
Speaker 1: at this is the future. He said, don't even just watch,

393
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Speaker 1: it's the future. And I was like okay, and he

394
00:19:37,720 --> 00:19:39,600
Speaker 1: started going through the little parts of the watch. I

395
00:19:39,600 --> 00:19:42,080
Speaker 1: had no idea what he was talking about. And I

396
00:19:42,119 --> 00:19:44,520
Speaker 1: said to fake it because I was like, I don't

397
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Speaker 1: want to not be interested. And he was so into it,

398
00:19:47,840 --> 00:19:49,720
Speaker 1: and he was like, in ten years, this is the future.

399
00:19:49,920 --> 00:19:52,840
Speaker 1: It's basically the eye Watch. It basically was the eye Watch.

400
00:19:52,960 --> 00:19:54,960
Speaker 1: This was like two years ago. And it gets me

401
00:19:55,000 --> 00:19:56,720
Speaker 1: in the corner and I go to that thirty minute

402
00:19:56,720 --> 00:19:58,439
Speaker 1: tutorial and then I thot, I'm gonna give me one.

403
00:19:58,680 --> 00:19:59,840
Speaker 1: I just said to the hold it. I was like,

404
00:20:00,000 --> 00:20:02,080
Speaker 1: all right, about to get free watch. It's like all right, Bobby,

405
00:20:02,080 --> 00:20:03,600
Speaker 1: I'll see you later. And I was like, all right, well,

406
00:20:06,119 --> 00:20:10,160
Speaker 1: watch out of it. So, uh, let's let's go back

407
00:20:10,680 --> 00:20:13,399
Speaker 1: to you being a kid. Your dad he was a

408
00:20:13,440 --> 00:20:16,159
Speaker 1: dj J, so he was on the radio. He was

409
00:20:16,200 --> 00:20:19,520
Speaker 1: actually no more of a party DJ. He was like

410
00:20:19,600 --> 00:20:23,640
Speaker 1: in the seventies, like spinning at you know people's clubs

411
00:20:23,640 --> 00:20:27,639
Speaker 1: and party j Yeah. Yeah, full of vinyls. Okay, So

412
00:20:27,640 --> 00:20:29,679
Speaker 1: there's a lot of music in your life. Yeah, check

413
00:20:29,720 --> 00:20:31,080
Speaker 1: it out. I just got a record player today. I

414
00:20:31,119 --> 00:20:34,879
Speaker 1: got I get credit card propart player. I used my

415
00:20:34,960 --> 00:20:37,840
Speaker 1: credit card points and I got it today because my

416
00:20:37,880 --> 00:20:39,840
Speaker 1: credit card point was starting to expire, which I didn't

417
00:20:39,840 --> 00:20:42,399
Speaker 1: know could happen. I love that thing, and so it

418
00:20:42,480 --> 00:20:44,560
Speaker 1: came in the middle and it wasn't broken. And I

419
00:20:44,640 --> 00:20:46,359
Speaker 1: have my favorite James Brown record over there on it,

420
00:20:46,480 --> 00:20:49,199
Speaker 1: and I was listening to it today and um, like

421
00:20:49,240 --> 00:20:52,320
Speaker 1: I like records, yeah, because they sound like crap and

422
00:20:52,320 --> 00:20:54,880
Speaker 1: that's why I like them. Yeah, it's all that static

423
00:20:54,920 --> 00:20:58,640
Speaker 1: and yeah, it just feels like it's it was created

424
00:20:59,080 --> 00:21:05,000
Speaker 1: and really upsetting way. And I like all my music upsetting,

425
00:21:05,440 --> 00:21:08,119
Speaker 1: like I like my song upsetting like. I just like

426
00:21:08,200 --> 00:21:11,040
Speaker 1: upsetting music. So that's how the Vinyl sounds to me.

427
00:21:11,320 --> 00:21:13,680
Speaker 1: And so I was I was listening to that. I

428
00:21:13,720 --> 00:21:15,600
Speaker 1: was so I'm so excited. I just got right before

429
00:21:15,640 --> 00:21:19,040
Speaker 1: you got here. On So your dad's playing records he's

430
00:21:19,119 --> 00:21:20,919
Speaker 1: he's doing parties and stuff, and he's exposing you to

431
00:21:20,920 --> 00:21:23,840
Speaker 1: what kind of music as a kid. I with his

432
00:21:23,880 --> 00:21:26,119
Speaker 1: record collection, it was a lot of the kind of

433
00:21:26,160 --> 00:21:29,960
Speaker 1: like funk to do op records, a lot of disco

434
00:21:30,240 --> 00:21:33,160
Speaker 1: kind of stuff, Like I discovered Parliament through my dad's

435
00:21:33,200 --> 00:21:38,359
Speaker 1: record collection and the Temptations, Spinners and Aretha Franklin, Tina Marie,

436
00:21:38,480 --> 00:21:41,240
Speaker 1: who actually ended up being one of my biggest kind

437
00:21:41,240 --> 00:21:44,320
Speaker 1: of like I was a huge fan of Tina Marie

438
00:21:44,520 --> 00:21:46,720
Speaker 1: and the songs that she would do with like Rick

439
00:21:46,840 --> 00:21:52,320
Speaker 1: James and those vocals, and she was like maybe five

440
00:21:52,320 --> 00:21:57,080
Speaker 1: ft four, yeah, small stature of huge voice, huge voice,

441
00:21:57,200 --> 00:22:00,760
Speaker 1: huge personality on stage. Um. I was introduced to a

442
00:22:00,760 --> 00:22:03,800
Speaker 1: lot of that music, and I think for me that

443
00:22:04,840 --> 00:22:07,280
Speaker 1: kind of developed into my love of the rhythm section.

444
00:22:07,520 --> 00:22:10,560
Speaker 1: Like I say that I play tambourine in the band

445
00:22:10,600 --> 00:22:12,720
Speaker 1: and it's like one of my soul instruments in the

446
00:22:12,720 --> 00:22:15,919
Speaker 1: band that I really play. But also just in writing,

447
00:22:16,000 --> 00:22:18,200
Speaker 1: like I'm so moved by a bassline, Like I can

448
00:22:18,200 --> 00:22:20,879
Speaker 1: create a baseline. I can sing a baseline to a

449
00:22:20,880 --> 00:22:24,560
Speaker 1: bassist and kind of you know, give them an idea

450
00:22:25,200 --> 00:22:29,080
Speaker 1: visually and you know, sonically of what I'm looking for

451
00:22:29,160 --> 00:22:31,960
Speaker 1: on a track, and normally that's the driving force to

452
00:22:32,359 --> 00:22:34,920
Speaker 1: a song that I'm writing. That's you know, not necessarily

453
00:22:34,960 --> 00:22:38,479
Speaker 1: inside of the band um and I love drums, I

454
00:22:38,520 --> 00:22:40,959
Speaker 1: love percussion, you know. I grew up with all of

455
00:22:40,960 --> 00:22:44,720
Speaker 1: that stuff, and my dad just introduced me to singers,

456
00:22:45,000 --> 00:22:47,280
Speaker 1: you know. So I would like sit down and write

457
00:22:47,320 --> 00:22:50,399
Speaker 1: every single word to every single song that I listened

458
00:22:50,400 --> 00:22:52,440
Speaker 1: to that I loved, and I would sing it over

459
00:22:52,520 --> 00:22:55,360
Speaker 1: and over and over and over until I like nailed

460
00:22:55,960 --> 00:22:58,639
Speaker 1: every single cadence of that the way that that singer

461
00:22:58,720 --> 00:23:01,679
Speaker 1: sang the song, and then started kind of developing my

462
00:23:01,720 --> 00:23:05,199
Speaker 1: own version of the of the tracks as well, and

463
00:23:05,280 --> 00:23:08,440
Speaker 1: that really gotten me into songwriting. When were you good? Though?

464
00:23:08,440 --> 00:23:11,360
Speaker 1: Like when did you know? Okay, I'm better than everybody

465
00:23:11,359 --> 00:23:14,640
Speaker 1: else as far as a singer, as far as singers concerned,

466
00:23:14,680 --> 00:23:17,200
Speaker 1: Like when were you like? Okay, I have I've been

467
00:23:17,200 --> 00:23:21,040
Speaker 1: practicing and I'm just I'm better. At what age I

468
00:23:21,080 --> 00:23:25,080
Speaker 1: think I realized? So there's two parts. I think I

469
00:23:25,160 --> 00:23:28,199
Speaker 1: realized that I could really sing when I did my

470
00:23:28,240 --> 00:23:31,760
Speaker 1: first talent show and I got a standing ovation from

471
00:23:31,800 --> 00:23:34,600
Speaker 1: like nine I think I was nine, like nine or

472
00:23:34,640 --> 00:23:37,840
Speaker 1: ten years old, and I was so nervous and I

473
00:23:37,880 --> 00:23:42,160
Speaker 1: sang the song acapella, what's uh this song just Can't

474
00:23:42,200 --> 00:23:51,480
Speaker 1: Stay Away by um in Vogue sy did. That was high. Yeah,

475
00:23:51,720 --> 00:23:55,320
Speaker 1: they gave a nine year old standing over. I didn't

476
00:23:55,320 --> 00:23:58,360
Speaker 1: even know what she was singing about if I had

477
00:23:58,400 --> 00:24:02,119
Speaker 1: no idea, right, So so you're like wow, I mean yeah,

478
00:24:02,200 --> 00:24:04,359
Speaker 1: and it's like, man, I gotta have more, you gotta

479
00:24:04,359 --> 00:24:07,359
Speaker 1: have well. But yeah, for me, that was like, oh,

480
00:24:07,440 --> 00:24:10,399
Speaker 1: I'm good at performing. You know, it was like the

481
00:24:10,440 --> 00:24:12,359
Speaker 1: one moment because I used to get bullied in school.

482
00:24:12,400 --> 00:24:14,199
Speaker 1: That was like the one moment for me where no

483
00:24:14,240 --> 00:24:17,120
Speaker 1: one could tell me that I was less than them,

484
00:24:17,160 --> 00:24:20,479
Speaker 1: you know, like ever, and I carried that with me

485
00:24:20,520 --> 00:24:22,160
Speaker 1: for a long time. Like that was kind of like

486
00:24:22,280 --> 00:24:26,200
Speaker 1: my performance was my you know, kind of refuge from

487
00:24:26,240 --> 00:24:29,080
Speaker 1: getting people to see that I wasn't what they were

488
00:24:29,119 --> 00:24:31,600
Speaker 1: saying I was, you know, because how else do you

489
00:24:31,640 --> 00:24:33,919
Speaker 1: do that when you're being bullied. You're like, you know,

490
00:24:34,080 --> 00:24:36,240
Speaker 1: I didn't want to fight and I wasn't into that

491
00:24:36,320 --> 00:24:38,679
Speaker 1: kind of thing. So performance was what I did. And

492
00:24:38,760 --> 00:24:41,679
Speaker 1: you grew up and I grew up in l a

493
00:24:42,320 --> 00:24:45,960
Speaker 1: um My like junior high, like younger years because I

494
00:24:46,000 --> 00:24:48,639
Speaker 1: was born in Denver. I moved to Light when I

495
00:24:48,640 --> 00:24:50,840
Speaker 1: was about six. Were you surrounded by a lot of

496
00:24:51,080 --> 00:24:55,120
Speaker 1: other like talented, famous kids and you know, I don't

497
00:24:55,160 --> 00:24:59,560
Speaker 1: know anyone. Yeah. Yeah, I had like friends. We would

498
00:24:59,560 --> 00:25:01,920
Speaker 1: get into like dance and stuff like that, but I'd

499
00:25:01,960 --> 00:25:05,679
Speaker 1: never I think the very first famous person I had

500
00:25:05,680 --> 00:25:13,280
Speaker 1: ever met was actually Stevie Wonders, like the last little guy.

501
00:25:13,400 --> 00:25:16,119
Speaker 1: That's like the last person you should be because I

502
00:25:16,160 --> 00:25:18,760
Speaker 1: really know, but like they're like three people on that

503
00:25:18,960 --> 00:25:24,560
Speaker 1: list of Steve how did. My aunt used to be

504
00:25:24,800 --> 00:25:30,359
Speaker 1: a counselor for adoptive youth an inner city, and she

505
00:25:30,440 --> 00:25:34,000
Speaker 1: worked for an organization called the Institute of Black Parenting

506
00:25:34,000 --> 00:25:35,760
Speaker 1: and every year they would throw like a gala and

507
00:25:35,760 --> 00:25:38,800
Speaker 1: they would invite, you know, celebrities to come through and

508
00:25:38,880 --> 00:25:40,640
Speaker 1: hang out with the kids and do the whole thing.

509
00:25:41,040 --> 00:25:43,080
Speaker 1: So I went to one of those events and he

510
00:25:43,160 --> 00:25:46,520
Speaker 1: was like the surprise guest, and I was like, oh

511
00:25:46,560 --> 00:25:48,879
Speaker 1: my god, Stevie Water is like right there, you know,

512
00:25:48,920 --> 00:25:50,919
Speaker 1: and it's like, as I used to listen to his records,

513
00:25:50,960 --> 00:25:53,439
Speaker 1: I know exactly who he was, you know, so I

514
00:25:53,520 --> 00:25:56,840
Speaker 1: see him and then Flavor Flavor was there as well,

515
00:25:56,880 --> 00:25:58,679
Speaker 1: but he wasn't wearing his clock, so I didn't think

516
00:25:58,680 --> 00:26:02,880
Speaker 1: it was him. I thought he was yeah, I can

517
00:26:02,880 --> 00:26:06,000
Speaker 1: see that. I thought he was like to be yeah yeah,

518
00:26:06,240 --> 00:26:08,679
Speaker 1: but I was like you're you were never you know,

519
00:26:08,720 --> 00:26:11,000
Speaker 1: it's like you'll probably never remember me, but I get

520
00:26:11,040 --> 00:26:14,720
Speaker 1: to meet like this guy. You know, he like influenced

521
00:26:15,320 --> 00:26:18,920
Speaker 1: most people, and the people he didn't influence. The people

522
00:26:18,960 --> 00:26:22,840
Speaker 1: he influenced influenced the exactly, you know exactly. So okay,

523
00:26:22,880 --> 00:26:26,959
Speaker 1: so you're young, you know you're good. Yeah, there's some similarities,

524
00:26:26,960 --> 00:26:28,240
Speaker 1: like I can just feel them too. That's kind of

525
00:26:28,280 --> 00:26:29,920
Speaker 1: how I found myself too. Was like you get the

526
00:26:29,920 --> 00:26:31,600
Speaker 1: crabby out of you until you find out how not to.

527
00:26:32,359 --> 00:26:35,040
Speaker 1: And for me, it was to be funny. And that's

528
00:26:35,040 --> 00:26:37,600
Speaker 1: where I found the control, Like I finally found the

529
00:26:37,640 --> 00:26:40,120
Speaker 1: control whenever I could finally be. I found my thing

530
00:26:40,160 --> 00:26:43,240
Speaker 1: that I could do. And so you start singing, and

531
00:26:43,520 --> 00:26:45,280
Speaker 1: when was it. We're okay, this is what I want

532
00:26:45,400 --> 00:26:47,639
Speaker 1: to do and I'm going to pursue this. And I

533
00:26:47,680 --> 00:26:50,560
Speaker 1: would say second year of college. So you go to

534
00:26:50,600 --> 00:26:53,320
Speaker 1: school like you're going to school. I go to school. Well,

535
00:26:53,320 --> 00:26:56,320
Speaker 1: it's crazy because I didn't want to necessarily take on

536
00:26:57,080 --> 00:27:00,879
Speaker 1: a music career and the perform Min's realm. I just

537
00:27:00,920 --> 00:27:03,160
Speaker 1: loved doing it. It was just something that I loved

538
00:27:03,240 --> 00:27:06,000
Speaker 1: to do. It was a hobby. I wanted to be

539
00:27:06,080 --> 00:27:09,240
Speaker 1: the Diane Warren of songwriting like that's. I wanted to

540
00:27:09,240 --> 00:27:11,800
Speaker 1: write songs for people, and I wanted to help other

541
00:27:11,920 --> 00:27:15,320
Speaker 1: people gain their careers and be creative in that realm,

542
00:27:15,359 --> 00:27:18,160
Speaker 1: you know, kind of create groups and stuff. But with that,

543
00:27:18,280 --> 00:27:20,400
Speaker 1: I had to kind of perform the songs in order

544
00:27:20,560 --> 00:27:23,920
Speaker 1: for the songs to get heard, um, which always turned

545
00:27:23,920 --> 00:27:27,240
Speaker 1: into are you doing a record? And like, uh, not really,

546
00:27:27,359 --> 00:27:29,560
Speaker 1: but I'm glad you think so They're like, no, you

547
00:27:29,600 --> 00:27:31,879
Speaker 1: should sing that song. So it always became you should

548
00:27:31,880 --> 00:27:34,600
Speaker 1: sing that song because I can't sing that song like you.

549
00:27:34,640 --> 00:27:35,879
Speaker 1: I'm like, well, I don't want you to sing the

550
00:27:35,920 --> 00:27:37,560
Speaker 1: song like me. I want you to sing the song

551
00:27:37,600 --> 00:27:42,480
Speaker 1: like you and I love the song, so whatever you know. Um,

552
00:27:42,520 --> 00:27:45,160
Speaker 1: So that's kind of what happened with me. And then

553
00:27:45,200 --> 00:27:47,320
Speaker 1: it wasn't really until like my second year of college

554
00:27:47,320 --> 00:27:49,879
Speaker 1: where I finally opened up my singing boys because I

555
00:27:49,880 --> 00:27:52,560
Speaker 1: stopped singing for a long time. I didn't want anybody

556
00:27:52,600 --> 00:27:54,960
Speaker 1: hear it. It was like just singing the melody because

557
00:27:55,000 --> 00:27:57,440
Speaker 1: I didn't want that response, because you were really aim

558
00:27:57,600 --> 00:27:59,720
Speaker 1: for something I was really going for something else, and

559
00:27:59,760 --> 00:28:04,600
Speaker 1: you were so good. This is the worst best problem

560
00:28:04,640 --> 00:28:06,960
Speaker 1: I've ever heard. She was so good at singing she

561
00:28:07,000 --> 00:28:10,119
Speaker 1: had to stop singing because she wanted to do something else.

562
00:28:10,880 --> 00:28:12,919
Speaker 1: Like the greatest problem ever. I'm too good at this.

563
00:28:13,080 --> 00:28:15,560
Speaker 1: I'm just gonna shut it down. I just shut it down.

564
00:28:15,800 --> 00:28:19,280
Speaker 1: I started us studying music business. I did radio for

565
00:28:19,320 --> 00:28:22,040
Speaker 1: a bit, like I took a telecommunications course because I

566
00:28:22,080 --> 00:28:23,520
Speaker 1: wanted to. I was like, I'm just going to play

567
00:28:23,520 --> 00:28:27,160
Speaker 1: other people's songs, you know, like I have a cool voice.

568
00:28:27,200 --> 00:28:28,640
Speaker 1: I got to figure out how to make it sound

569
00:28:28,640 --> 00:28:31,480
Speaker 1: better on you know, like on speaking, because I think

570
00:28:31,480 --> 00:28:39,120
Speaker 1: it sounds horrible. An I hated it, but yeah, I

571
00:28:39,160 --> 00:28:42,680
Speaker 1: did that. But for me it was like music business publishing.

572
00:28:43,120 --> 00:28:45,920
Speaker 1: You know. I learned about the commodity, and then I

573
00:28:45,960 --> 00:28:49,320
Speaker 1: realized how many artists don't understand that, which I was

574
00:28:49,360 --> 00:28:51,840
Speaker 1: going to say, so valuable as an artist now that

575
00:28:51,880 --> 00:28:54,200
Speaker 1: you kind of know, and it all it's all changing

576
00:28:54,200 --> 00:28:57,320
Speaker 1: to every day and with you know, all of the

577
00:28:57,360 --> 00:28:59,520
Speaker 1: different platforms. It's like the wild West. There still aren't

578
00:28:59,560 --> 00:29:02,000
Speaker 1: rules and people are still getting screwed. Artists are getting

579
00:29:02,000 --> 00:29:06,440
Speaker 1: screwed out of you know, the streaming here and and

580
00:29:06,520 --> 00:29:09,520
Speaker 1: being me for example, I'm on both sides of it

581
00:29:09,520 --> 00:29:12,680
Speaker 1: because you know, megan music not a level you are,

582
00:29:12,720 --> 00:29:15,400
Speaker 1: but making kids records and comedy records, and it's getting streamed,

583
00:29:15,520 --> 00:29:18,840
Speaker 1: but then I'm also playing it, and so there just

584
00:29:18,920 --> 00:29:22,320
Speaker 1: aren't rules because it's so new at this point. But

585
00:29:22,480 --> 00:29:27,000
Speaker 1: at least you know enough to know if I'm you're

586
00:29:27,000 --> 00:29:29,160
Speaker 1: really in screwed or not. Because a lot of artists

587
00:29:29,200 --> 00:29:31,160
Speaker 1: they just go in and they're such good artists, that's

588
00:29:31,160 --> 00:29:32,760
Speaker 1: what they focus on, and they don't put good people

589
00:29:32,760 --> 00:29:35,000
Speaker 1: around them, and they also don't know and they realize

590
00:29:35,000 --> 00:29:36,680
Speaker 1: that they're getting robbed at the end of it, at

591
00:29:36,760 --> 00:29:39,040
Speaker 1: the end of the end of it, which sucks because

592
00:29:39,040 --> 00:29:42,880
Speaker 1: there are so many artists, I mean, even artists that

593
00:29:43,000 --> 00:29:45,360
Speaker 1: you and I grew up listening to you hear about

594
00:29:45,360 --> 00:29:48,640
Speaker 1: those horror stories and how they're publishing got sold off

595
00:29:48,680 --> 00:29:51,480
Speaker 1: to three or four different people, and you know, they

596
00:29:51,480 --> 00:29:53,560
Speaker 1: didn't know that. So when they're trying to get a

597
00:29:53,600 --> 00:29:56,000
Speaker 1: license for something after they're able to get their catalog back,

598
00:29:56,040 --> 00:29:58,760
Speaker 1: they don't realize that some person that died is still

599
00:29:59,160 --> 00:30:03,920
Speaker 1: having ownership. They're publishing entity, and this person wants to

600
00:30:03,960 --> 00:30:06,040
Speaker 1: get as much money as they possibly can, so they're

601
00:30:06,120 --> 00:30:08,920
Speaker 1: kind of holding up things, you know, versus being smart

602
00:30:08,960 --> 00:30:12,040
Speaker 1: about it and saying the little goes a long way

603
00:30:12,040 --> 00:30:14,080
Speaker 1: because it starts to big up to you know, build

604
00:30:14,120 --> 00:30:16,160
Speaker 1: up to bigger numbers. Once you get that license. You know,

605
00:30:16,200 --> 00:30:18,840
Speaker 1: it's really and how you kind of build your business.

606
00:30:18,880 --> 00:30:22,600
Speaker 1: I guess when you when you think about your commodity,

607
00:30:22,240 --> 00:30:24,920
Speaker 1: it's an odd background to be creative but come from

608
00:30:24,960 --> 00:30:30,200
Speaker 1: a place of in the creative industry, but in the

609
00:30:30,280 --> 00:30:33,120
Speaker 1: very analytical side of it that you come from, it's

610
00:30:33,160 --> 00:30:35,400
Speaker 1: a it's a really posible I don't want to think

611
00:30:35,440 --> 00:30:40,680
Speaker 1: about that. Most creatives are creative because they don't. They

612
00:30:40,680 --> 00:30:45,120
Speaker 1: don't want to think about that. Like, you know, creatives

613
00:30:45,120 --> 00:30:47,640
Speaker 1: are nuts. You're one of these, like one of the

614
00:30:47,800 --> 00:30:53,080
Speaker 1: weird ones. I shouldn't be doing this act of other people.

615
00:30:55,320 --> 00:30:59,000
Speaker 1: So as you you're in your second year school and

616
00:30:59,120 --> 00:31:02,440
Speaker 1: you decide, okay, I'm gonn do this. You start singing again.

617
00:31:02,480 --> 00:31:04,400
Speaker 1: So what's the what's the goal when you start singing again?

618
00:31:04,440 --> 00:31:05,720
Speaker 1: Is it to go and be a solo artist? Is

619
00:31:05,720 --> 00:31:09,440
Speaker 1: it to get a band together? Um? Actually got asked

620
00:31:09,440 --> 00:31:12,440
Speaker 1: to sing on a chorus for a song. And it's

621
00:31:12,440 --> 00:31:15,040
Speaker 1: crazy because I wasn't doing it on purpose. I was

622
00:31:15,280 --> 00:31:20,080
Speaker 1: hanging out. I was dating this rapper dude. I know.

623
00:31:20,760 --> 00:31:25,880
Speaker 1: They never they never got their deal, unfortunately, not Roll

624
00:31:26,200 --> 00:31:28,720
Speaker 1: though he could have been. He could have been role um,

625
00:31:29,280 --> 00:31:32,800
Speaker 1: just bad timing. So I was just in the studio

626
00:31:32,840 --> 00:31:34,920
Speaker 1: with him. They were working on this song that they

627
00:31:34,960 --> 00:31:36,520
Speaker 1: wanted to throw on their demo because they had a

628
00:31:36,520 --> 00:31:39,680
Speaker 1: meeting with like Virgin Records at the time when Virgin existed,

629
00:31:39,960 --> 00:31:44,160
Speaker 1: and uh, do they even exist anymore? And the very small,

630
00:31:44,280 --> 00:31:47,840
Speaker 1: very small, very small yes, and even they said, I

631
00:31:47,840 --> 00:31:50,760
Speaker 1: think just the name even the airlines, not even Virgin.

632
00:31:51,080 --> 00:31:54,760
Speaker 1: He sold that too. Yes it's still alive, but probably

633
00:31:54,800 --> 00:31:57,480
Speaker 1: not with the same people. So you sing on a song.

634
00:31:57,640 --> 00:32:00,280
Speaker 1: So I sing on a song and a snowball for there.

635
00:32:01,080 --> 00:32:03,360
Speaker 1: You know. I was singing this, uh this like disco

636
00:32:03,680 --> 00:32:06,360
Speaker 1: song they were sampling and I was just singing along

637
00:32:06,440 --> 00:32:11,000
Speaker 1: and they were like, whoa, you can sing like had

638
00:32:11,040 --> 00:32:12,880
Speaker 1: no idea. I've been hanging about with the dude for

639
00:32:12,920 --> 00:32:15,280
Speaker 1: like a year and a half, no idea that I

640
00:32:15,280 --> 00:32:18,360
Speaker 1: could sing anything. You just knew that I wrote whatever

641
00:32:19,080 --> 00:32:21,760
Speaker 1: and anyway, long story short, I do that, and for

642
00:32:21,800 --> 00:32:25,800
Speaker 1: whatever reason, this song became the song that everybody knew

643
00:32:25,800 --> 00:32:29,080
Speaker 1: them for in l a you know, in the underground

644
00:32:29,200 --> 00:32:31,600
Speaker 1: kind of like hip hop circuit. And then from there

645
00:32:31,600 --> 00:32:33,480
Speaker 1: it kind of became like who singing on that track?

646
00:32:34,320 --> 00:32:36,640
Speaker 1: And then you know, I had this thing about hanging

647
00:32:36,640 --> 00:32:40,600
Speaker 1: out with like hip hop dudes or whatever. So did

648
00:32:40,600 --> 00:32:42,120
Speaker 1: not hang out with a NAZ? Did you sing on

649
00:32:42,120 --> 00:32:46,880
Speaker 1: a record? Come to my mind? Damian Marley? So that

650
00:32:46,960 --> 00:32:49,400
Speaker 1: Damian Marley and NAS project that they had done together

651
00:32:49,440 --> 00:32:51,480
Speaker 1: I got called in for, which, by the way, the

652
00:32:51,480 --> 00:32:55,160
Speaker 1: guy that called me in was an old percussionist in

653
00:32:55,240 --> 00:32:58,280
Speaker 1: my my project. When I finally decided to just go

654
00:32:58,400 --> 00:33:01,120
Speaker 1: for a solo thing and just kind of mess around

655
00:33:01,120 --> 00:33:03,200
Speaker 1: with stuff when I was still kind of like in

656
00:33:03,280 --> 00:33:06,280
Speaker 1: college and stuff. That's that's where that project came from.

657
00:33:06,360 --> 00:33:09,720
Speaker 1: He remembered me. His name Leon Mobley is his name

658
00:33:09,800 --> 00:33:14,280
Speaker 1: is ridiculous percusitionists. He calls me no, he actually calls

659
00:33:14,320 --> 00:33:16,240
Speaker 1: another friend of mine to get to me because he

660
00:33:16,320 --> 00:33:19,720
Speaker 1: lost my number. And then I get this phone calls like, hey,

661
00:33:19,760 --> 00:33:22,280
Speaker 1: you want to come in and sing for this Damien

662
00:33:22,400 --> 00:33:24,800
Speaker 1: not you know, Damian Marley Naas project, and I was

663
00:33:24,880 --> 00:33:27,720
Speaker 1: like what. I was like, how do you get my number? Which,

664
00:33:27,760 --> 00:33:29,880
Speaker 1: by the way, and I'm a huge hip hop guy

665
00:33:29,960 --> 00:33:33,400
Speaker 1: like Nas, depending on who you talked to, arguably one

666
00:33:33,400 --> 00:33:38,080
Speaker 1: of the greatest rappers of all time. Yeah, commercially not

667
00:33:38,280 --> 00:33:39,960
Speaker 1: as big as some of the ones that people would

668
00:33:39,960 --> 00:33:41,640
Speaker 1: say is the greatest of all time, but NAS is

669
00:33:41,720 --> 00:33:45,200
Speaker 1: arguably one of the greatest. Well, he is one of

670
00:33:45,240 --> 00:33:47,080
Speaker 1: the greatest. But some people put him in number one,

671
00:33:47,600 --> 00:33:50,480
Speaker 1: you know Nas is that I don't. That's I don't.

672
00:33:50,520 --> 00:33:52,800
Speaker 1: I would say he's in the top ten for me

673
00:33:52,920 --> 00:33:55,040
Speaker 1: or top I would say top ten for me too.

674
00:33:55,040 --> 00:33:57,040
Speaker 1: But I have some friends that are so die hard

675
00:33:57,160 --> 00:33:59,320
Speaker 1: NAS fans, especially when him and jay Z were like

676
00:33:59,680 --> 00:34:04,160
Speaker 1: big yeah yeah, and he and NAS was like just

677
00:34:04,200 --> 00:34:08,319
Speaker 1: going hard. Like that's when NAS really like poked his

678
00:34:08,360 --> 00:34:12,319
Speaker 1: head out in the commercial world when like the friends

679
00:34:12,360 --> 00:34:16,120
Speaker 1: that are just huge. But he does have a sound,

680
00:34:16,200 --> 00:34:19,040
Speaker 1: He has a he has a different sound. He has

681
00:34:19,080 --> 00:34:21,920
Speaker 1: a way away. When I talk about you know, cadences

682
00:34:21,960 --> 00:34:24,120
Speaker 1: and the way that people you know speak and in

683
00:34:24,160 --> 00:34:27,000
Speaker 1: the way that they convey their music, hip hop is

684
00:34:27,080 --> 00:34:29,840
Speaker 1: like that. And I feel like hip hop now because

685
00:34:29,880 --> 00:34:31,959
Speaker 1: it's changed so much I feel like with this new

686
00:34:32,000 --> 00:34:35,680
Speaker 1: era of music, I don't think anyone has a style.

687
00:34:36,239 --> 00:34:39,040
Speaker 1: They all sound exactly the same to me, you know,

688
00:34:39,239 --> 00:34:45,239
Speaker 1: I would the most crazy, like I'll give you an example. Uh,

689
00:34:45,239 --> 00:34:49,880
Speaker 1: and the easy one is like everyone loves Kendrick. For me,

690
00:34:49,960 --> 00:34:51,920
Speaker 1: it's hard to listen. For me, it's hard to listen

691
00:34:51,960 --> 00:34:54,360
Speaker 1: to ful Kendrick album because it's so nuts. It's so

692
00:34:54,480 --> 00:34:57,080
Speaker 1: nuts and it's all over the place. Like Drake is

693
00:34:57,080 --> 00:35:01,600
Speaker 1: easy to listen to, Yeah, because but but he's Drake

694
00:35:01,719 --> 00:35:08,840
Speaker 1: is not the best rapper. But if he stopped singing,

695
00:35:09,440 --> 00:35:12,160
Speaker 1: people want to hear that. I love dreg record and

696
00:35:12,160 --> 00:35:15,800
Speaker 1: I can listen to a full drag record with Kendrick tired.

697
00:35:15,840 --> 00:35:19,239
Speaker 1: It makes me tired. I mean to Pepper Butterfly, the

698
00:35:19,280 --> 00:35:21,919
Speaker 1: whole thing. It's just like, you know, there's horns here,

699
00:35:22,160 --> 00:35:25,760
Speaker 1: then there's nothing but drunk and then he's humming with

700
00:35:25,800 --> 00:35:28,200
Speaker 1: a kazoo, and I'm just like, I don't have the

701
00:35:28,200 --> 00:35:32,359
Speaker 1: middle capacity, but I understand this is on a whole

702
00:35:32,360 --> 00:35:37,040
Speaker 1: different level. Uh, the same thing even you know, with

703
00:35:37,560 --> 00:35:39,840
Speaker 1: I was watching today like Chance the rapper, Like I

704
00:35:39,880 --> 00:35:41,560
Speaker 1: was watching him today and he was playing on stage

705
00:35:41,560 --> 00:35:43,360
Speaker 1: with a couple of guys in guitar, and it was

706
00:35:43,480 --> 00:35:47,120
Speaker 1: very common esque. He kind of broke it down commonnesque

707
00:35:48,400 --> 00:35:51,080
Speaker 1: and it was kind of old school. But he's kind

708
00:35:51,080 --> 00:35:54,319
Speaker 1: of likes a lot of going, a lot going on

709
00:35:54,680 --> 00:35:56,920
Speaker 1: in that performance. Did you do you have the performance?

710
00:35:57,600 --> 00:35:59,960
Speaker 1: I know, I just I just did. I watched it too,

711
00:36:00,040 --> 00:36:02,200
Speaker 1: and I posted on my Facebook page. And I can't

712
00:36:02,200 --> 00:36:04,040
Speaker 1: throw it out there in the world because I don't

713
00:36:04,120 --> 00:36:06,600
Speaker 1: like doing that kind of thing, but I was I

714
00:36:06,640 --> 00:36:10,480
Speaker 1: felt like you did listening to a But for other reasons,

715
00:36:10,640 --> 00:36:13,840
Speaker 1: it was just it was a lot. Yeah, and I

716
00:36:13,880 --> 00:36:17,440
Speaker 1: appreciated it. I very much appreciated it. But for me,

717
00:36:17,480 --> 00:36:18,920
Speaker 1: it was a lot. Now I wasn't a drink. It's

718
00:36:18,960 --> 00:36:20,719
Speaker 1: not a lot, but it's awesome. Yeah, I don't need

719
00:36:20,760 --> 00:36:23,399
Speaker 1: it to be a lot. Yeah, but so so yeah

720
00:36:23,440 --> 00:36:25,080
Speaker 1: with it. So you're saying, with the hip hop guys,

721
00:36:25,080 --> 00:36:26,440
Speaker 1: you think a lot of them sounding the same? Right now?

722
00:36:26,560 --> 00:36:29,800
Speaker 1: I do? I really do. I mean from the singing

723
00:36:29,840 --> 00:36:32,680
Speaker 1: thing that's been going on since te Pain blew it up.

724
00:36:33,040 --> 00:36:34,640
Speaker 1: You know, when he doesn't get credit for that, he

725
00:36:34,680 --> 00:36:38,120
Speaker 1: created that style, he created that effect. That effect is

726
00:36:38,239 --> 00:36:41,200
Speaker 1: his license, but he got it from Roger and Zapp

727
00:36:41,320 --> 00:36:44,439
Speaker 1: that's you know what, and what's amazing about Tea Pain.

728
00:36:44,480 --> 00:36:47,160
Speaker 1: There's a lot of people that he can actually sing.

729
00:36:48,600 --> 00:36:50,960
Speaker 1: He sings like an angel. He's amazing. He doesn't even

730
00:36:50,960 --> 00:36:52,839
Speaker 1: need the Auto two. And then of course Kanye did

731
00:36:54,440 --> 00:36:56,120
Speaker 1: and did the whole and he sang the whole record.

732
00:36:56,160 --> 00:36:58,319
Speaker 1: I was like, Kanye, come on, but not that was

733
00:36:58,400 --> 00:37:01,960
Speaker 1: the influence from te Pain and Roger zapp Era. But

734
00:37:02,040 --> 00:37:04,359
Speaker 1: that was like vo you know, it wasn't Voe Quarter.

735
00:37:04,480 --> 00:37:07,640
Speaker 1: This was a specific sound that this man put on

736
00:37:07,680 --> 00:37:10,319
Speaker 1: the map, and no one gives him credit for it.

737
00:37:10,360 --> 00:37:13,120
Speaker 1: And I find it fascinating. This is what I mean

738
00:37:13,160 --> 00:37:16,880
Speaker 1: by people kind of you know, give credit where credits do?

739
00:37:16,920 --> 00:37:20,799
Speaker 1: You know? Don't leave people? Maybe because weren't. Maybe it's

740
00:37:20,840 --> 00:37:24,800
Speaker 1: because I'm in love with a stripper, doesn't really Maybe

741
00:37:24,920 --> 00:37:27,239
Speaker 1: everybody knows that I'm not anybody don know the song.

742
00:37:29,280 --> 00:37:32,120
Speaker 1: I'm saying it because I want the song about that.

743
00:37:32,239 --> 00:37:34,320
Speaker 1: Maybe he people wouldn't want to give him the credit

744
00:37:34,320 --> 00:37:37,120
Speaker 1: as being the influencer, but he was, you absolutely right,

745
00:37:37,239 --> 00:37:40,799
Speaker 1: like he started that sound that everybody uses exactly now

746
00:37:40,800 --> 00:37:42,719
Speaker 1: he can't get rid of things on all the tracks

747
00:37:42,719 --> 00:37:44,799
Speaker 1: of saying what the what the same I know, but

748
00:37:44,880 --> 00:37:49,200
Speaker 1: Draketon start off singing sang rapping, but the people do it.

749
00:37:49,239 --> 00:37:55,480
Speaker 1: And look, I think for me, like you're talking about style,

750
00:37:55,560 --> 00:37:58,120
Speaker 1: I'm talking about like people like Black thought from the roots.

751
00:37:58,920 --> 00:38:02,000
Speaker 1: You know, they weren't necessary like the biggest commercial like success.

752
00:38:02,000 --> 00:38:04,279
Speaker 1: They had one record I think did really well because

753
00:38:04,280 --> 00:38:06,560
Speaker 1: they had like Erica Badoo on it at the time

754
00:38:06,600 --> 00:38:09,160
Speaker 1: and all these different you know, awesome artists that were

755
00:38:09,200 --> 00:38:11,960
Speaker 1: killing it on radio. A lot of features on that record.

756
00:38:12,680 --> 00:38:18,040
Speaker 1: But he's one of the most amazing rappers. If you actually, millennials,

757
00:38:18,080 --> 00:38:20,120
Speaker 1: if you're listening to me right now, if you want

758
00:38:20,160 --> 00:38:27,480
Speaker 1: to hear real hip hop music, but not real the

759
00:38:27,600 --> 00:38:30,360
Speaker 1: classic stuff I said, I should say like the classic

760
00:38:30,400 --> 00:38:32,960
Speaker 1: stuff for me, which when I still put on that record,

761
00:38:33,040 --> 00:38:34,920
Speaker 1: it makes me feel good and I can see where

762
00:38:34,920 --> 00:38:37,920
Speaker 1: the influences come from from all these rappers that are

763
00:38:37,920 --> 00:38:40,319
Speaker 1: here now. There are certain artists when you say that,

764
00:38:40,360 --> 00:38:41,600
Speaker 1: and it is it's not even just a hip hop,

765
00:38:41,600 --> 00:38:44,560
Speaker 1: but there's certain artists that if they were alive now

766
00:38:44,560 --> 00:38:46,640
Speaker 1: and they put out new music today, it would still

767
00:38:47,160 --> 00:38:50,360
Speaker 1: cut through as new. And with me, you know, the

768
00:38:50,480 --> 00:38:53,880
Speaker 1: argument is always Tupaca Biggie and Tupac culturally was so

769
00:38:53,960 --> 00:38:56,520
Speaker 1: much more relevant to Biggie was. However, if you took

770
00:38:56,520 --> 00:38:59,560
Speaker 1: a Biggie song right now, like right now, and you

771
00:38:59,560 --> 00:39:01,120
Speaker 1: put it on radio, it would sound like a Brandy

772
00:39:01,239 --> 00:39:05,480
Speaker 1: rabber like to me of that if you're just taking

773
00:39:05,520 --> 00:39:08,960
Speaker 1: the product. Nobody was as good as Biggie. He was

774
00:39:09,000 --> 00:39:10,600
Speaker 1: so far. He was ten years ahead of the game.

775
00:39:10,840 --> 00:39:12,480
Speaker 1: He was ten years ahead of the game. And I

776
00:39:12,480 --> 00:39:15,560
Speaker 1: think it's also with his voice. You know, it worked

777
00:39:15,640 --> 00:39:18,439
Speaker 1: on record, he had this like no one could sound

778
00:39:18,480 --> 00:39:21,239
Speaker 1: like Biggie unless they were trying to write, unless they

779
00:39:21,239 --> 00:39:24,799
Speaker 1: were they were emulating his sound. The same thing with

780
00:39:24,840 --> 00:39:26,839
Speaker 1: like led Zeppelin, Like I think a band like that,

781
00:39:26,960 --> 00:39:29,240
Speaker 1: you listen to them, and if that came out today,

782
00:39:29,280 --> 00:39:31,759
Speaker 1: it would be an alternative radio and people would go, thing,

783
00:39:31,800 --> 00:39:33,719
Speaker 1: this is fresh and new, and there are only a

784
00:39:33,760 --> 00:39:36,920
Speaker 1: few of those that you hear now and looking back

785
00:39:36,960 --> 00:39:40,360
Speaker 1: and go day that still sounds like today. It was

786
00:39:40,480 --> 00:39:43,000
Speaker 1: so far ahead of its time. And I think even

787
00:39:43,000 --> 00:39:45,359
Speaker 1: with you guys music, it's the same thing. I think

788
00:39:45,400 --> 00:39:47,440
Speaker 1: at times you guys are ahead. Do you ever think

789
00:39:47,440 --> 00:39:50,319
Speaker 1: you're ahead of where things are? And I think hurts,

790
00:39:50,840 --> 00:39:53,640
Speaker 1: and I think that's a scary thing and it hurts

791
00:39:53,640 --> 00:39:56,279
Speaker 1: you sometimes. It does hurt you sometimes and then you

792
00:39:56,280 --> 00:39:59,399
Speaker 1: get appreciate it later. But like you know, I mean

793
00:39:59,440 --> 00:40:01,640
Speaker 1: I can play any of this stuff here, like like

794
00:40:02,160 --> 00:40:05,080
Speaker 1: even like money Grabber back in the day, like you

795
00:40:05,120 --> 00:40:10,200
Speaker 1: were back in the day. It sounds like a sixties

796
00:40:10,239 --> 00:40:12,120
Speaker 1: record and you're like, what in the world is this?

797
00:40:12,120 --> 00:40:17,319
Speaker 1: This is interesting? And that was our column card, you

798
00:40:17,360 --> 00:40:25,080
Speaker 1: know runs. I mean it does it sounds like you're

799
00:40:25,120 --> 00:40:27,480
Speaker 1: in an old studio in Detroit. Yeah, that was that

800
00:40:27,600 --> 00:40:31,160
Speaker 1: old ribbon micro are using this old crappy ribbon mike.

801
00:40:31,320 --> 00:40:35,560
Speaker 1: You know. It's up until this record, we recorded pretty

802
00:40:35,640 --> 00:40:39,239
Speaker 1: much every single song and fits his living room at

803
00:40:39,280 --> 00:40:42,440
Speaker 1: his old house and Silver Lake, you know. So we

804
00:40:42,520 --> 00:40:44,640
Speaker 1: got all of the sounds from the floor to the

805
00:40:44,719 --> 00:40:47,600
Speaker 1: little echoes in the in the room that all cut in,

806
00:40:47,880 --> 00:40:50,640
Speaker 1: you know, into the tape. But it was just something

807
00:40:50,680 --> 00:40:52,960
Speaker 1: about this one little mic that we would use, which

808
00:40:53,120 --> 00:40:56,799
Speaker 1: I thought I sounded wretch it on, you know, like

809
00:40:57,160 --> 00:40:59,000
Speaker 1: he would play the dry track back and I'm like,

810
00:40:59,080 --> 00:41:01,480
Speaker 1: you better put like twenty different effects on my voice

811
00:41:01,480 --> 00:41:05,640
Speaker 1: because that sounds awful, you know, But it worked for

812
00:41:05,680 --> 00:41:09,080
Speaker 1: whatever reason. When he and I started, you know, kind

813
00:41:09,080 --> 00:41:12,600
Speaker 1: of mixing the songs with our voices together. It just

814
00:41:12,640 --> 00:41:15,279
Speaker 1: clicked and there was something about the spirit of I

815
00:41:15,800 --> 00:41:18,080
Speaker 1: credit that to the microphone and the mixing and stuff,

816
00:41:18,120 --> 00:41:20,480
Speaker 1: of course, but there's always the tool. There's always one

817
00:41:20,480 --> 00:41:23,440
Speaker 1: tool that you use that kind of makes everything kind

818
00:41:23,440 --> 00:41:25,480
Speaker 1: of come together. And I kind of missed that, Mike.

819
00:41:25,560 --> 00:41:29,319
Speaker 1: It's stopped working after the second record, but we could

820
00:41:29,320 --> 00:41:33,680
Speaker 1: get a fixed. I missed that, Mike. Uh. Some of

821
00:41:33,719 --> 00:41:36,640
Speaker 1: the other a little interesting things that you sing. You

822
00:41:36,719 --> 00:41:39,680
Speaker 1: sing with Miley on a track I did not know.

823
00:41:39,960 --> 00:41:41,759
Speaker 1: I did not sing with Miley on a track I

824
00:41:41,800 --> 00:41:46,520
Speaker 1: performed with I'm still getting money off of that show.

825
00:41:47,239 --> 00:41:53,200
Speaker 1: The show it was some Disney Channel event, not kidding you,

826
00:41:53,280 --> 00:41:57,520
Speaker 1: Like in Anaheim. It was like this daytime show, like

827
00:41:58,360 --> 00:42:01,520
Speaker 1: special show, and she performed this is like when she

828
00:42:01,600 --> 00:42:04,960
Speaker 1: was still doing Hannah Montana kind of stuff, and I

829
00:42:05,000 --> 00:42:09,480
Speaker 1: was there. It was just one of those random because yeah,

830
00:42:09,520 --> 00:42:11,200
Speaker 1: because I mean, like I didn't know anything about her,

831
00:42:11,600 --> 00:42:14,000
Speaker 1: but I don't know. But that's the funny thing about

832
00:42:14,040 --> 00:42:17,080
Speaker 1: my career. I would always get these random phone calls

833
00:42:17,120 --> 00:42:20,719
Speaker 1: from people that heard about me through someone else. It

834
00:42:20,760 --> 00:42:22,680
Speaker 1: had always been kind of a word of mouth thing,

835
00:42:22,920 --> 00:42:24,880
Speaker 1: you know. It's all the hip hop stuff that I

836
00:42:24,920 --> 00:42:27,960
Speaker 1: got with the exception of the Black Eyed Peas stuff

837
00:42:28,239 --> 00:42:31,160
Speaker 1: was word of mouth stuff. You know, people that were

838
00:42:31,160 --> 00:42:34,200
Speaker 1: fans of my former band, The Rebirth and had seen

839
00:42:34,239 --> 00:42:36,799
Speaker 1: me performed live and they were like, Wow, would you

840
00:42:36,800 --> 00:42:38,320
Speaker 1: come in and like work with us? I know you

841
00:42:38,400 --> 00:42:39,960
Speaker 1: write too, would you be down there like right a

842
00:42:40,040 --> 00:42:42,360
Speaker 1: chorus for this for this song? And I, you know,

843
00:42:42,560 --> 00:42:45,319
Speaker 1: worked with all these these rappers that were out of

844
00:42:45,360 --> 00:42:48,480
Speaker 1: like I wouldn't say the underground, I really call them

845
00:42:48,520 --> 00:42:50,960
Speaker 1: that because they were producing all kinds of albums at

846
00:42:50,960 --> 00:42:54,239
Speaker 1: the time. But this record label that's very prominent in

847
00:42:54,400 --> 00:42:56,800
Speaker 1: l A and the hip hop scene, Stone s Throw Records.

848
00:42:57,120 --> 00:43:00,040
Speaker 1: I worked with a lot of their artist you know,

849
00:43:00,400 --> 00:43:07,520
Speaker 1: um Aloe Black did a remix for my band's record

850
00:43:08,000 --> 00:43:12,160
Speaker 1: for one of our songs nice like you should hear

851
00:43:12,239 --> 00:43:15,400
Speaker 1: his wife I haven't heard of My wife is a monster.

852
00:43:17,280 --> 00:43:20,279
Speaker 1: Spent about a half hour, and then we we've had

853
00:43:20,320 --> 00:43:22,600
Speaker 1: three or four conversations like just off to the side

854
00:43:22,640 --> 00:43:25,400
Speaker 1: and then email back and forth like such a pleasant

855
00:43:26,160 --> 00:43:29,960
Speaker 1: it's a good dude, like universe kind of guy, like

856
00:43:30,040 --> 00:43:32,520
Speaker 1: just you just like you like being around him, like

857
00:43:32,520 --> 00:43:35,759
Speaker 1: he makes you smile and feel calm, like you wanted

858
00:43:35,800 --> 00:43:39,560
Speaker 1: to kiss your forehead. Yeah, just like I like that

859
00:43:39,640 --> 00:43:41,320
Speaker 1: dude a lot. I want to talk about rebirth for

860
00:43:41,360 --> 00:43:44,840
Speaker 1: a second. Rebirth, um, so this this is this is

861
00:43:44,880 --> 00:43:49,680
Speaker 1: your band? Yeah, this is my band? So what song?

862
00:43:49,760 --> 00:43:53,280
Speaker 1: Like I have some stuff up here? How about this journey?

863
00:43:53,280 --> 00:44:07,440
Speaker 1: And Okay, So now I can hear it, like I

864
00:44:07,480 --> 00:44:11,320
Speaker 1: can hear the influences in this Yeah, like there is

865
00:44:11,360 --> 00:44:16,080
Speaker 1: a constant in your music, like in all it is. Yeah,

866
00:44:14,920 --> 00:44:18,719
Speaker 1: So the rebirth, you start the rebirth and so to

867
00:44:18,760 --> 00:44:20,320
Speaker 1: give me the brief history at the beginning in the

868
00:44:20,400 --> 00:44:23,640
Speaker 1: end of this. So I met Carlos, my my bandmate

869
00:44:23,680 --> 00:44:28,160
Speaker 1: and the rebirth UM at at a show that I

870
00:44:28,200 --> 00:44:31,520
Speaker 1: sang with with these hip hop dudes. I did some

871
00:44:31,600 --> 00:44:34,080
Speaker 1: backup kind of stuff for them, and he approached me

872
00:44:34,120 --> 00:44:36,360
Speaker 1: and he's like, hey, you know, I've been trying to

873
00:44:36,400 --> 00:44:39,040
Speaker 1: put together this this project, you know, for a while.

874
00:44:39,080 --> 00:44:41,279
Speaker 1: It's kind of a defunct off of another project that

875
00:44:41,320 --> 00:44:44,640
Speaker 1: I had done but still haven't really found a singer.

876
00:44:44,680 --> 00:44:46,960
Speaker 1: Would you come into a rehearsal and just kind of

877
00:44:47,040 --> 00:44:49,320
Speaker 1: check us out and see what you think. So I

878
00:44:49,360 --> 00:44:51,719
Speaker 1: go to the rehearsal. It's like in this hot garage

879
00:44:51,760 --> 00:44:55,520
Speaker 1: in Glendale and there's like six other dudes in there,

880
00:44:55,560 --> 00:44:57,000
Speaker 1: and I'm like, oh, great, it's gonna be like a

881
00:44:57,080 --> 00:44:59,360
Speaker 1: dude fest, you know, in here. And I get in

882
00:44:59,360 --> 00:45:02,319
Speaker 1: there and and I guess he had started working on

883
00:45:02,360 --> 00:45:05,719
Speaker 1: the bones of this journey and it was just at

884
00:45:05,760 --> 00:45:08,160
Speaker 1: the time, just instrumental. He was like, yeah, I've been

885
00:45:08,200 --> 00:45:10,759
Speaker 1: working on this instrumental for a while because they were

886
00:45:10,760 --> 00:45:14,640
Speaker 1: going to be an instrumental band. He just wanted to Yeah,

887
00:45:14,760 --> 00:45:17,200
Speaker 1: you're just gonna do a couple of songs together instrumental band.

888
00:45:17,239 --> 00:45:20,399
Speaker 1: He was like, okay, cool, let me go check it out.

889
00:45:21,160 --> 00:45:22,840
Speaker 1: They played this and I was like, wow, this is

890
00:45:22,880 --> 00:45:26,000
Speaker 1: really dope. But it took me a while to kind

891
00:45:26,040 --> 00:45:32,000
Speaker 1: of commit to the project. I didn't want to do it.

892
00:45:32,440 --> 00:45:35,000
Speaker 1: I didn't want to do any band. I was like,

893
00:45:35,040 --> 00:45:37,399
Speaker 1: if I'm going to do it, I'm just gonna do

894
00:45:37,520 --> 00:45:40,600
Speaker 1: Noel's gag solo and that's it. And it was still

895
00:45:40,600 --> 00:45:43,719
Speaker 1: around the time that I wasn't really like interested in

896
00:45:43,760 --> 00:45:46,840
Speaker 1: a career like that. I wasn't. And uh, he finally

897
00:45:46,920 --> 00:45:49,839
Speaker 1: lacks me down by telling me, listen, you know, you're

898
00:45:49,880 --> 00:45:52,040
Speaker 1: doing all this stuff with all these other guys and blah.

899
00:45:52,080 --> 00:45:53,920
Speaker 1: Blah blah blah blah, and I'm waiting for you, like

900
00:45:53,960 --> 00:45:55,120
Speaker 1: what do you want to do? Do you want to

901
00:45:55,160 --> 00:45:57,399
Speaker 1: try this? And I was like, all right, fine, let's

902
00:45:57,560 --> 00:46:00,840
Speaker 1: let's let me write those lyrics to journey in and

903
00:46:00,920 --> 00:46:05,759
Speaker 1: I'll go in with you. So that's what God lyrics

904
00:46:05,840 --> 00:46:08,480
Speaker 1: with him. And he's such a spacey dude. Now, Carlos

905
00:46:08,560 --> 00:46:12,480
Speaker 1: is a genius. Like talk about people that are into

906
00:46:12,560 --> 00:46:17,239
Speaker 1: music and interesting things like roy Airs, Period, earth Wind

907
00:46:17,239 --> 00:46:20,160
Speaker 1: and fire like he is the man in that in

908
00:46:20,200 --> 00:46:23,800
Speaker 1: that world. He's also a DJ as well. So straight away,

909
00:46:24,440 --> 00:46:30,960
Speaker 1: straight away, yeah, I'll be going deep. God, I think

910
00:46:31,000 --> 00:46:41,319
Speaker 1: it was twenty It's so good, thank you, so good,

911
00:46:41,600 --> 00:46:48,840
Speaker 1: thank you. So you're saying the national anthem last year? Yeah,

912
00:46:49,840 --> 00:46:55,759
Speaker 1: very cold cold, Green Baby, Dallas Cowboys. Yeah, so the

913
00:46:55,880 --> 00:46:59,000
Speaker 1: national anthem is a song, by the way, an awesome song,

914
00:46:59,040 --> 00:47:00,680
Speaker 1: but a song. Have a lot of friends are artists

915
00:47:00,719 --> 00:47:03,680
Speaker 1: that are like, it's it's one, it's the worst song

916
00:47:03,719 --> 00:47:05,759
Speaker 1: is thing, and two there's no wind. You don't win

917
00:47:05,840 --> 00:47:08,160
Speaker 1: because if you nail it, everyone expects you to nail it,

918
00:47:08,560 --> 00:47:12,120
Speaker 1: and it's like but if you don't, it's it's a

919
00:47:12,239 --> 00:47:16,239
Speaker 1: nightmare because you just did the greatest song of our

920
00:47:16,280 --> 00:47:21,560
Speaker 1: country wrong, So I think I stayed in the middle

921
00:47:21,920 --> 00:47:35,680
Speaker 1: of that, like here is now. So you're singing the

922
00:47:35,760 --> 00:47:39,640
Speaker 1: national anthem. And by the way, again, a really hard

923
00:47:39,680 --> 00:47:42,960
Speaker 1: song is sing because it changes in the it's it's

924
00:47:42,960 --> 00:47:46,520
Speaker 1: constantly changing alter the song. Is that a nerve racking

925
00:47:46,560 --> 00:47:49,200
Speaker 1: thing as compared to going on stage and performing, Yeah,

926
00:47:49,239 --> 00:47:52,520
Speaker 1: it's crazy because first of all, I'm doing the national

927
00:47:52,560 --> 00:48:01,440
Speaker 1: anthem acapella on national television in thirteen degree weather with jets.

928
00:48:05,040 --> 00:48:08,160
Speaker 1: I mean, it's just like everything that could be happening

929
00:48:08,200 --> 00:48:11,560
Speaker 1: in your head is happening at that moment. But when

930
00:48:11,560 --> 00:48:14,160
Speaker 1: you're on, you're on, so you're kind of like, okay,

931
00:48:14,280 --> 00:48:16,799
Speaker 1: I'm on. If anything goes wrong, I can't turn back,

932
00:48:16,880 --> 00:48:20,279
Speaker 1: you know. So it's kind of like I got nervous,

933
00:48:21,280 --> 00:48:24,799
Speaker 1: kind of looking around and finally realizing where I was standing.

934
00:48:26,239 --> 00:48:29,600
Speaker 1: It was weird to be nervous during a performance, because again,

935
00:48:29,600 --> 00:48:34,600
Speaker 1: that's what you do when you're about to sing, and

936
00:48:34,640 --> 00:48:38,400
Speaker 1: when you're singing, it's really that's the tough thing because

937
00:48:38,440 --> 00:48:41,799
Speaker 1: it's it's hard to hide that. It's so crazy. Because

938
00:48:41,800 --> 00:48:45,480
Speaker 1: my vocal trainer, this woman named Valerie Moorehouse, who does

939
00:48:45,520 --> 00:48:49,040
Speaker 1: a lot a lot of work. She was always telling me,

940
00:48:49,239 --> 00:48:51,880
Speaker 1: drink a shot of bourbon before you do any show

941
00:48:53,160 --> 00:48:55,800
Speaker 1: because it kind of helps relax you and it keeps

942
00:48:55,840 --> 00:48:59,400
Speaker 1: you from doing weird, weird stuff if you are nervous.

943
00:48:59,719 --> 00:49:02,160
Speaker 1: That was the first time I think in years, I

944
00:49:02,160 --> 00:49:04,960
Speaker 1: had ever felt that kind of fear. You know, like, wow,

945
00:49:05,000 --> 00:49:07,040
Speaker 1: if I screw this up, it's going to be the

946
00:49:07,040 --> 00:49:09,560
Speaker 1: worst of the Internet. And if you nail it, and

947
00:49:09,600 --> 00:49:12,319
Speaker 1: if you nail it, nobody cares. But if you're in

948
00:49:12,400 --> 00:49:15,440
Speaker 1: the middle, it's almost awesome because it's like you get

949
00:49:15,480 --> 00:49:17,480
Speaker 1: the trolls and you get the people that are like,

950
00:49:17,520 --> 00:49:19,879
Speaker 1: shut up. She sounded amazing, and that's what I got.

951
00:49:22,480 --> 00:49:25,040
Speaker 1: Whenever you guys play a live show, what's what's the

952
00:49:25,160 --> 00:49:30,880
Speaker 1: song that gets the biggest pop live show wise? I

953
00:49:30,920 --> 00:49:33,480
Speaker 1: would I gotta be honest with you. The Walker is

954
00:49:33,520 --> 00:49:36,319
Speaker 1: still kind of our rowty song. Yeah, I mean, you know,

955
00:49:36,360 --> 00:49:39,360
Speaker 1: it's also time to it's people have had time to

956
00:49:39,400 --> 00:49:41,399
Speaker 1: love it. They've had time to love it. I mean,

957
00:49:41,600 --> 00:49:46,399
Speaker 1: handclaps amazing. We I mean really, I would say good,

958
00:49:47,840 --> 00:49:50,279
Speaker 1: but it's so new, Yeah, because it's kind of hard

959
00:49:50,480 --> 00:49:52,680
Speaker 1: with the song and with the record and with the artists.

960
00:49:52,760 --> 00:49:56,440
Speaker 1: You develop relationships with and so with The Walker, like

961
00:49:56,480 --> 00:49:58,759
Speaker 1: even me, like if I would, that would probably be

962
00:49:58,760 --> 00:50:01,759
Speaker 1: the song that would be like that's about Is it

963
00:50:01,960 --> 00:50:04,399
Speaker 1: my favorite song? No? But what I probably get most

964
00:50:04,400 --> 00:50:07,920
Speaker 1: excited about, yes, because I've been able to develop a

965
00:50:07,960 --> 00:50:11,480
Speaker 1: relationship with a song like that, even like money like that.

966
00:50:11,480 --> 00:50:14,040
Speaker 1: That's way. But it's crazy because they all change, you know.

967
00:50:14,080 --> 00:50:17,000
Speaker 1: It's like something that I've noticed with us touring, you know,

968
00:50:17,080 --> 00:50:20,040
Speaker 1: over the last like three months on this album, is

969
00:50:20,080 --> 00:50:24,239
Speaker 1: that we have such a mixture of fans from the

970
00:50:24,320 --> 00:50:26,800
Speaker 1: old fans that have been following us since the first

971
00:50:26,840 --> 00:50:29,880
Speaker 1: record to the fans that discovered the first record at

972
00:50:29,920 --> 00:50:31,960
Speaker 1: the end of it. But we're brilli into the second

973
00:50:32,000 --> 00:50:36,520
Speaker 1: album and the until now, and it's amazing. We still

974
00:50:36,520 --> 00:50:41,200
Speaker 1: have this really crazy cross genre of like demographic, i

975
00:50:41,200 --> 00:50:44,279
Speaker 1: should say, of people that come to our shows. And

976
00:50:44,320 --> 00:50:46,840
Speaker 1: what I've been noticing now is people are really familiar

977
00:50:46,880 --> 00:50:50,440
Speaker 1: with handclap, so it takes them a little a little

978
00:50:50,440 --> 00:50:53,600
Speaker 1: bit longer to realize that we're playing The Walker, Whereas

979
00:50:53,640 --> 00:50:55,680
Speaker 1: before the minute we played The Walker, people were like,

980
00:50:55,719 --> 00:50:58,560
Speaker 1: oh my god, they were like losing their minds. So

981
00:50:58,760 --> 00:51:00,960
Speaker 1: I think it just depends on the timing like, you're right,

982
00:51:01,040 --> 00:51:03,200
Speaker 1: you have time to kind of figure it out. But

983
00:51:03,239 --> 00:51:06,000
Speaker 1: I feel like there are more millennials now listening to

984
00:51:06,080 --> 00:51:08,839
Speaker 1: this album than we had on our second, so they're

985
00:51:08,920 --> 00:51:11,719
Speaker 1: very familiar with handclap. They're all really fun to play,

986
00:51:11,719 --> 00:51:14,600
Speaker 1: though it's got to be a little nerve wracking to

987
00:51:14,800 --> 00:51:18,480
Speaker 1: style change a bit, because again and and we're hearing

988
00:51:18,800 --> 00:51:21,759
Speaker 1: just with the fits and intantient stuff, there's a style

989
00:51:21,880 --> 00:51:23,960
Speaker 1: change in just the music that you guys have done

990
00:51:24,920 --> 00:51:28,000
Speaker 1: and you have fans, and when you change anything, somebody

991
00:51:28,080 --> 00:51:31,840
Speaker 1: is going to get irritated always, and you have to

992
00:51:31,920 --> 00:51:34,839
Speaker 1: keep moving forward or you go backward. So it's all

993
00:51:35,120 --> 00:51:38,279
Speaker 1: it's almost and it's a gamble every single time, and

994
00:51:38,320 --> 00:51:41,120
Speaker 1: it's almost it's always kind of like where else are

995
00:51:41,160 --> 00:51:43,520
Speaker 1: we going to take this? You know, because it's kind

996
00:51:43,520 --> 00:51:46,440
Speaker 1: of like you're saying, you can't go backwards. But I

997
00:51:46,480 --> 00:51:50,920
Speaker 1: feel like, because we have at this point, people should

998
00:51:50,960 --> 00:51:54,799
Speaker 1: know that the fits in the Tantrum sound is going

999
00:51:54,840 --> 00:51:56,799
Speaker 1: to be the fits, and the Tantrum sound fits, and

1000
00:51:56,840 --> 00:51:59,879
Speaker 1: I are always singing James is playing on the wreck.

1001
00:52:00,560 --> 00:52:03,840
Speaker 1: You know, there's different textures and layers and personality that

1002
00:52:03,920 --> 00:52:06,760
Speaker 1: come out in our music. That I still feel are

1003
00:52:06,880 --> 00:52:10,719
Speaker 1: quite there, even if progressively we're changing as far as

1004
00:52:10,760 --> 00:52:13,439
Speaker 1: what people feel genres are supposed to be. I can

1005
00:52:13,520 --> 00:52:18,200
Speaker 1: hear again as we play stuff from the rebirth, even

1006
00:52:18,280 --> 00:52:20,040
Speaker 1: with the fits and the tantrum stuff, Like I can

1007
00:52:20,120 --> 00:52:22,960
Speaker 1: hear the similarities in your style, like as you say,

1008
00:52:23,040 --> 00:52:26,640
Speaker 1: there's always that, but there's the outside stuff that's always changing.

1009
00:52:26,680 --> 00:52:30,239
Speaker 1: And then people just don't like change. They just don't

1010
00:52:30,360 --> 00:52:34,239
Speaker 1: like change. That's the psychological things too, more than just music.

1011
00:52:34,280 --> 00:52:37,879
Speaker 1: But people just don't like change until they love it. Yeah,

1012
00:52:37,960 --> 00:52:40,879
Speaker 1: then they love it. They're like, I hate I've seen

1013
00:52:40,920 --> 00:52:43,359
Speaker 1: so many comments like this. I hated the song when

1014
00:52:43,360 --> 00:52:45,080
Speaker 1: I first heard it, and now it's the only thing

1015
00:52:45,080 --> 00:52:48,200
Speaker 1: I ever want to hear, Like banks after you like

1016
00:52:48,600 --> 00:52:55,239
Speaker 1: s H I T T. Method. I hate the way

1017
00:52:55,280 --> 00:52:56,880
Speaker 1: that they've got And then the next thing, you know,

1018
00:52:56,960 --> 00:52:59,000
Speaker 1: you're like all upon it. Are you guys getting any

1019
00:52:59,040 --> 00:53:00,920
Speaker 1: of the Oh, you guys get too big for your bridges?

1020
00:53:01,000 --> 00:53:03,759
Speaker 1: Now now you're doing some of the big stuff like yeah, yeah,

1021
00:53:03,800 --> 00:53:05,759
Speaker 1: it's almost like you guys have sold out, like we

1022
00:53:05,840 --> 00:53:10,680
Speaker 1: sell out shows to make money. Like if you got

1023
00:53:10,719 --> 00:53:12,239
Speaker 1: a job and you got a raise, I wouldn't be

1024
00:53:12,239 --> 00:53:14,640
Speaker 1: on your Facebook page being like Jim and accounting. You're

1025
00:53:14,680 --> 00:53:18,400
Speaker 1: selling out, buddy, you took the middle management job because

1026
00:53:18,400 --> 00:53:20,839
Speaker 1: people do that. They're like they do You're selling out.

1027
00:53:20,840 --> 00:53:23,040
Speaker 1: It's like, no, we're working hard to move up in

1028
00:53:23,080 --> 00:53:25,799
Speaker 1: the world. Well, yeah, because we have to. We have

1029
00:53:25,880 --> 00:53:27,840
Speaker 1: to pay our rent. You got to. You have to.

1030
00:53:28,200 --> 00:53:30,600
Speaker 1: You know, we got people got kids. I don't have any,

1031
00:53:30,640 --> 00:53:37,319
Speaker 1: but they have kids. Fool's gold. Here we go, it's

1032
00:53:37,360 --> 00:53:48,880
Speaker 1: the jam. Thank you, next next, next, that's a Fun's

1033
00:53:48,880 --> 00:53:51,399
Speaker 1: gonna be a fun one to do, right, Yeah, it's

1034
00:53:51,560 --> 00:53:54,399
Speaker 1: fun so like big and pounty to me, like it's

1035
00:53:54,520 --> 00:53:57,279
Speaker 1: it's like intense fun. Yeah, that was a fun song

1036
00:53:57,360 --> 00:54:00,480
Speaker 1: for us to ride fits And I um into a

1037
00:54:00,520 --> 00:54:03,319
Speaker 1: producer's house named Dave Bassett who co wrote this song

1038
00:54:03,360 --> 00:54:07,359
Speaker 1: with us, and we started and they always tinker around

1039
00:54:07,400 --> 00:54:09,320
Speaker 1: and they do their thing with production. And I'm always

1040
00:54:09,360 --> 00:54:12,600
Speaker 1: kind of sitting in the corner right now. Stuff. It

1041
00:54:12,640 --> 00:54:14,040
Speaker 1: sounds like you do a lot of sitting and it's

1042
00:54:14,080 --> 00:54:18,239
Speaker 1: observing until it's time. It's like you sit and you

1043
00:54:18,239 --> 00:54:20,040
Speaker 1: watch the pool for four hours and then you do

1044
00:54:20,120 --> 00:54:23,399
Speaker 1: the biggest cannonball, right, everybody's about to go home. Yeah,

1045
00:54:23,400 --> 00:54:28,040
Speaker 1: I come that seems to be the style of Yeah.

1046
00:54:28,080 --> 00:54:29,520
Speaker 1: I think it has a lot to do with me

1047
00:54:29,560 --> 00:54:31,200
Speaker 1: sitting in my room when I was a kid, like

1048
00:54:31,239 --> 00:54:33,600
Speaker 1: by myself, you know, I was always used to just

1049
00:54:33,719 --> 00:54:36,399
Speaker 1: like being a kid in the corner in a room

1050
00:54:36,440 --> 00:54:40,479
Speaker 1: by herself writing. So it's like I try to now

1051
00:54:40,880 --> 00:54:42,880
Speaker 1: bring that out a little bit more when I'm collaborating

1052
00:54:42,880 --> 00:54:44,719
Speaker 1: with people, so they don't think that they're you know,

1053
00:54:44,840 --> 00:54:47,479
Speaker 1: that I'm not contributing, and then when I do, they're like, what,

1054
00:54:48,000 --> 00:54:51,279
Speaker 1: you know, so, what's what's what's the next six months?

1055
00:54:51,280 --> 00:54:54,320
Speaker 1: Like what what's the goal? The next six months? Goal

1056
00:54:54,880 --> 00:54:58,480
Speaker 1: is to get a number one? Yeah, yeah, that's that's

1057
00:54:58,480 --> 00:55:00,960
Speaker 1: our We need to climb we were we're climbing the charts.

1058
00:55:00,960 --> 00:55:02,680
Speaker 1: That's our goal. Do you know where you're at right now?

1059
00:55:02,800 --> 00:55:04,680
Speaker 1: I don't even look at the at the alternative pop

1060
00:55:04,760 --> 00:55:07,520
Speaker 1: charts we're on. Uh. I think we're at a number

1061
00:55:07,520 --> 00:55:12,120
Speaker 1: of sixteen seventeen on hot c really yeah with this

1062
00:55:12,280 --> 00:55:16,919
Speaker 1: with the hand pup. Yeah, I obviously love the song

1063
00:55:16,960 --> 00:55:18,719
Speaker 1: because I played it on freaking country radio and got

1064
00:55:18,760 --> 00:55:20,680
Speaker 1: yelled at by country program directors. But I don't care,

1065
00:55:20,719 --> 00:55:23,720
Speaker 1: like you know, I just don't care. And we're actually

1066
00:55:23,800 --> 00:55:28,920
Speaker 1: on our second single, just went to alternatively. Yeah, up there,

1067
00:55:29,000 --> 00:55:30,880
Speaker 1: I didn't know that one. I'm still I'm still on

1068
00:55:30,920 --> 00:55:32,759
Speaker 1: this one. Yeah. I work out to this song too,

1069
00:55:32,760 --> 00:55:35,759
Speaker 1: It's in my workout. The problem is that actually do

1070
00:55:35,840 --> 00:55:39,200
Speaker 1: the claps. I'm running. It slows me down. Yeah, I

1071
00:55:39,280 --> 00:55:46,560
Speaker 1: work out that. You gotta be Yeah, you gotta you

1072
00:55:46,600 --> 00:55:50,000
Speaker 1: gotta be careful on those treadmills clapping and stopping. Mike,

1073
00:55:50,080 --> 00:55:52,120
Speaker 1: you have any you have any questions for now? Yeah,

1074
00:55:52,160 --> 00:55:55,799
Speaker 1: that song was on a commercial. Yes, yes, and they've

1075
00:55:55,800 --> 00:55:59,919
Speaker 1: actually just asked to extend it because it was doing

1076
00:56:00,040 --> 00:56:04,560
Speaker 1: gets doing so well for them. Well they put Yeah,

1077
00:56:04,600 --> 00:56:07,680
Speaker 1: they put in a license request and you know, we

1078
00:56:07,719 --> 00:56:10,040
Speaker 1: want to extend it for an extra three because you

1079
00:56:10,080 --> 00:56:12,360
Speaker 1: get options decent money when you get a commercial. Is

1080
00:56:12,360 --> 00:56:16,239
Speaker 1: that what you want? Yes, yes, and you want it

1081
00:56:16,760 --> 00:56:19,879
Speaker 1: even more so if you can actually get union out

1082
00:56:19,920 --> 00:56:24,320
Speaker 1: of it too, as like a songwriter, as a singer,

1083
00:56:24,400 --> 00:56:27,279
Speaker 1: as an actual performer on it. You want to get

1084
00:56:27,320 --> 00:56:31,120
Speaker 1: as much as you possibly can because they end and

1085
00:56:31,160 --> 00:56:33,080
Speaker 1: then it's gone, you know, and you hope that you

1086
00:56:33,120 --> 00:56:36,759
Speaker 1: get the next you know, at least like year full

1087
00:56:36,800 --> 00:56:39,160
Speaker 1: of at least five commercials and you're good you know,

1088
00:56:40,160 --> 00:56:46,040
Speaker 1: we've been so fortunate in the licensing game, not knock

1089
00:56:46,080 --> 00:56:54,279
Speaker 1: on all of it, whatever whatever that is reclaimed. You know,

1090
00:56:54,440 --> 00:56:58,560
Speaker 1: we've been very fortunate that, you know, people in that world,

1091
00:56:58,600 --> 00:57:01,759
Speaker 1: in the ad world and the creative world, want to

1092
00:57:01,880 --> 00:57:05,239
Speaker 1: use our music to help better their brand marketing. You

1093
00:57:05,239 --> 00:57:08,000
Speaker 1: know why. I think because it makes your music makes

1094
00:57:08,000 --> 00:57:11,719
Speaker 1: people smile. And that's a hard thing to do period.

1095
00:57:12,000 --> 00:57:14,359
Speaker 1: It just playing something that beat doesn't make people smile. Yeah,

1096
00:57:14,719 --> 00:57:17,400
Speaker 1: but there's a lot of that inside of you guys. Music.

1097
00:57:17,680 --> 00:57:21,960
Speaker 1: It's it's a it's all happy music, but music. I mean,

1098
00:57:22,000 --> 00:57:25,040
Speaker 1: that's that song makes you smile. I mean I heard

1099
00:57:25,120 --> 00:57:30,400
Speaker 1: and smiling right now trying to find it. Mike over there,

1100
00:57:30,800 --> 00:57:34,880
Speaker 1: did you really model R I did? I did. Vanessa

1101
00:57:34,960 --> 00:57:38,640
Speaker 1: Becroft was the artist for the e to White Heartbeat.

1102
00:57:39,400 --> 00:57:42,840
Speaker 1: She did his record release party at this event, and

1103
00:57:43,040 --> 00:57:45,160
Speaker 1: he wanted to do this kind of like live model

1104
00:57:45,280 --> 00:57:49,800
Speaker 1: set up basically mimicking the heart that was on the

1105
00:57:49,840 --> 00:57:53,120
Speaker 1: cover of and at the time I was doing when

1106
00:57:53,160 --> 00:57:55,200
Speaker 1: I was in on the road, I had like a

1107
00:57:55,240 --> 00:57:59,280
Speaker 1: modeling agent that I acquired, you know, for either commercial

1108
00:57:59,480 --> 00:58:03,280
Speaker 1: and what not, and then also a film agent as well,

1109
00:58:03,920 --> 00:58:07,440
Speaker 1: which I still have the agent um and uh. I

1110
00:58:07,440 --> 00:58:10,640
Speaker 1: guess she had submitted my photos and she was like, oh,

1111
00:58:10,720 --> 00:58:13,000
Speaker 1: come in for this audition thing and I didn't know

1112
00:58:13,040 --> 00:58:14,320
Speaker 1: what it was for. You go and you don't know

1113
00:58:14,360 --> 00:58:17,440
Speaker 1: what they're for. I went in and did the photos

1114
00:58:17,480 --> 00:58:19,040
Speaker 1: and they were like, are you okay with being nude?

1115
00:58:19,120 --> 00:58:22,240
Speaker 1: I'm like, yeah, sure, whatever, you know. I leave and

1116
00:58:22,240 --> 00:58:24,520
Speaker 1: then like I think the day later, I got a

1117
00:58:24,600 --> 00:58:28,760
Speaker 1: call and I think the photographer knows you. She said

1118
00:58:28,840 --> 00:58:30,959
Speaker 1: she shot you before in the past, but she really

1119
00:58:31,000 --> 00:58:33,040
Speaker 1: really wants you in this art piece. Are you down?

1120
00:58:33,400 --> 00:58:35,200
Speaker 1: And I was like, well, what is it? And they're like, oh,

1121
00:58:35,240 --> 00:58:37,520
Speaker 1: it's for a live art piece for Vanessa be Croft

1122
00:58:37,560 --> 00:58:40,400
Speaker 1: and I was like what because she's mad. Like I

1123
00:58:40,440 --> 00:58:43,760
Speaker 1: know her work, she's massive, but I didn't know. I

1124
00:58:43,840 --> 00:58:48,120
Speaker 1: met her at my best friend's house at a house

1125
00:58:48,200 --> 00:58:52,600
Speaker 1: party that we had thrown seven years earlier, and you

1126
00:58:52,640 --> 00:58:54,680
Speaker 1: didn't know it was her. I didn't know it was her.

1127
00:58:54,920 --> 00:58:57,720
Speaker 1: I didn't know that she was Vanessa be Croft when

1128
00:58:57,720 --> 00:59:00,880
Speaker 1: I met her. I met her just Vanessa. Uh. And

1129
00:59:01,000 --> 00:59:03,880
Speaker 1: at the time she was introduced to me as a photographer.

1130
00:59:04,480 --> 00:59:08,880
Speaker 1: I knew Vanessa be crawled for her life modeling pieces

1131
00:59:09,320 --> 00:59:12,080
Speaker 1: I didn't know she actually did anything else, you know.

1132
00:59:12,720 --> 00:59:15,200
Speaker 1: Um So anyway, I got that call and I ended

1133
00:59:15,280 --> 00:59:17,480
Speaker 1: up doing that art piece, and it's so funny. I

1134
00:59:17,560 --> 00:59:20,800
Speaker 1: was like, they you had the option. You could wear

1135
00:59:20,800 --> 00:59:23,040
Speaker 1: a wig on your face so nobody could actually see

1136
00:59:23,040 --> 00:59:25,200
Speaker 1: who you are and it's just about the body, or

1137
00:59:25,400 --> 00:59:28,439
Speaker 1: you could do it without and you know whatever people

1138
00:59:28,440 --> 00:59:30,640
Speaker 1: are gonna be walking around, you just be aware of

1139
00:59:30,640 --> 00:59:32,320
Speaker 1: what you want to do. So I was like, yeah,

1140
00:59:32,400 --> 00:59:34,680
Speaker 1: wig on my face. I'm totally fine with everything else.

1141
00:59:35,120 --> 00:59:37,479
Speaker 1: So I did this piece and I can see out

1142
00:59:37,480 --> 00:59:40,360
Speaker 1: of the wig, and I've been kidding you because I

1143
00:59:40,400 --> 00:59:42,120
Speaker 1: think she had me at the front part of the

1144
00:59:42,160 --> 00:59:48,200
Speaker 1: heart next to this like really thin, beautiful like African model,

1145
00:59:48,360 --> 00:59:50,600
Speaker 1: like super model girl, and I'm thinking to myself, I

1146
00:59:50,600 --> 00:59:54,680
Speaker 1: look so chubby right now, like everybody's probably like comparing

1147
00:59:54,680 --> 00:59:58,040
Speaker 1: the two of us. And while I am pops up

1148
00:59:58,480 --> 01:00:00,000
Speaker 1: and I was like, thank god, I have this boy

1149
01:00:00,040 --> 01:00:03,800
Speaker 1: on my face. That's all I think, because I didn't

1150
01:00:03,800 --> 01:00:05,360
Speaker 1: know they were going to be there, you know, it's

1151
01:00:05,400 --> 01:00:09,400
Speaker 1: like him, and then five of our other friends followed

1152
01:00:09,440 --> 01:00:11,640
Speaker 1: behind him, and I was like, oh my god, thank

1153
01:00:11,680 --> 01:00:14,439
Speaker 1: you so much. I didn't even know I was there

1154
01:00:14,560 --> 01:00:16,760
Speaker 1: because after the show I bounced like I was like,

1155
01:00:16,800 --> 01:00:19,440
Speaker 1: I'm out of here, you know. So I have all

1156
01:00:19,440 --> 01:00:21,760
Speaker 1: these weird like little there are a lot, like a

1157
01:00:21,760 --> 01:00:27,760
Speaker 1: lot of weird stories. Last show I bench watched, Um,

1158
01:00:28,480 --> 01:00:31,400
Speaker 1: I just bench finished binge watching Narcos, and now I'm

1159
01:00:31,440 --> 01:00:34,560
Speaker 1: like crazy about The Voice. The new season of The Voice.

1160
01:00:34,600 --> 01:00:39,560
Speaker 1: I watched what do you think? I thought it was okay.

1161
01:00:39,640 --> 01:00:41,080
Speaker 1: I thought it was okay too. It's a little slow.

1162
01:00:41,120 --> 01:00:42,800
Speaker 1: It was a little slow, but I do like the

1163
01:00:42,800 --> 01:00:44,560
Speaker 1: way that they threw in. How they're going to do

1164
01:00:44,600 --> 01:00:50,200
Speaker 1: the third I wondered because just I love history and

1165
01:00:50,280 --> 01:00:55,440
Speaker 1: obviously died and it's a google away like it's not

1166
01:00:56,320 --> 01:01:01,680
Speaker 1: it's not Lincoln shot in that theater, the boat sinks,

1167
01:01:01,680 --> 01:01:04,520
Speaker 1: and like these are things that have happened. Like but

1168
01:01:05,240 --> 01:01:07,880
Speaker 1: I wonder too, like please don't extend these four seasons

1169
01:01:07,920 --> 01:01:15,000
Speaker 1: of it didn't chasing and so but now you know it. Yeah,

1170
01:01:15,160 --> 01:01:17,200
Speaker 1: I don't want tell anyone how it goes into now.

1171
01:01:17,200 --> 01:01:19,840
Speaker 1: But it was a little slow. I did enjoy it

1172
01:01:20,600 --> 01:01:22,320
Speaker 1: once you got into it that you couldn't get out,

1173
01:01:22,360 --> 01:01:25,000
Speaker 1: like you couldn't stop watching, like you kind of need

1174
01:01:25,080 --> 01:01:29,960
Speaker 1: to see more death. What's wrong with us, Like it's

1175
01:01:30,000 --> 01:01:31,919
Speaker 1: because it is it doesn't seem real, but it doesn't

1176
01:01:31,960 --> 01:01:35,840
Speaker 1: seem real. It's it was so bad it doesn't seem really.

1177
01:01:36,520 --> 01:01:39,000
Speaker 1: It's like this odd fantasy line of that that can't

1178
01:01:39,000 --> 01:01:41,680
Speaker 1: be true, but that's real, but it's real. But that's

1179
01:01:41,680 --> 01:01:44,439
Speaker 1: the crazy thing you know about television. It's and it's

1180
01:01:44,560 --> 01:01:46,320
Speaker 1: probably one of the reasons why I don't watch that

1181
01:01:46,440 --> 01:01:49,919
Speaker 1: much of it, you know. It's like I'm probably not

1182
01:01:50,840 --> 01:01:52,920
Speaker 1: like my friend makes fun of me and Trevia because

1183
01:01:53,120 --> 01:01:55,360
Speaker 1: pop culture comes up and I'm out, Like I'm like,

1184
01:01:55,440 --> 01:01:57,240
Speaker 1: I don't know who you're talking about. You know, I

1185
01:01:57,280 --> 01:02:00,040
Speaker 1: don't know what that song is, you know, that on

1186
01:02:00,160 --> 01:02:04,320
Speaker 1: of thing. But I'm so easily entertained that It's really

1187
01:02:04,480 --> 01:02:06,720
Speaker 1: like when I get into a show, I am in it.

1188
01:02:07,240 --> 01:02:09,160
Speaker 1: I don't care how bad it gets, you know, It's

1189
01:02:09,200 --> 01:02:11,320
Speaker 1: like I just want to see a good part of

1190
01:02:11,360 --> 01:02:16,800
Speaker 1: it come out of this process of death that's happening

1191
01:02:16,800 --> 01:02:20,160
Speaker 1: to the show right now? Are you? I mean, you're

1192
01:02:20,160 --> 01:02:23,880
Speaker 1: on the road quite a bit use Netflix. Everything. Is

1193
01:02:23,880 --> 01:02:28,080
Speaker 1: that pretty much your mode of shows or your downloader.

1194
01:02:28,480 --> 01:02:31,480
Speaker 1: I'm kind of addicted to, like law and Order stuff.

1195
01:02:32,760 --> 01:02:36,160
Speaker 1: It's like we get like regular television, So I kind

1196
01:02:36,160 --> 01:02:43,560
Speaker 1: of watch a lot of Marishka Harkit and good. I mean,

1197
01:02:43,800 --> 01:02:46,520
Speaker 1: I figured that's good because they've been on for twenty years,

1198
01:02:46,640 --> 01:02:50,080
Speaker 1: and like your your music kind of dark and sad.

1199
01:02:50,360 --> 01:02:53,960
Speaker 1: I like watching television shows where it's like crime and

1200
01:02:54,160 --> 01:02:56,400
Speaker 1: you know, somebody died and we got to figure it out.

1201
01:02:56,560 --> 01:02:58,200
Speaker 1: Because you watch five minutes of it, you're like, well,

1202
01:02:58,240 --> 01:03:00,600
Speaker 1: I can't not see how this end end up watching

1203
01:03:00,640 --> 01:03:02,960
Speaker 1: like the whole thing. It's like when we got we

1204
01:03:03,080 --> 01:03:09,080
Speaker 1: got um license for episode of Criminal windes Um, which

1205
01:03:09,160 --> 01:03:12,400
Speaker 1: at the time was like my favorite shows like Shamar

1206
01:03:12,560 --> 01:03:16,240
Speaker 1: Moore as like a like a see us whatever the

1207
01:03:16,240 --> 01:03:18,520
Speaker 1: hell he does. I was like, oh my god, this

1208
01:03:18,520 --> 01:03:20,920
Speaker 1: is the most amazing thing ever. Love that show. We

1209
01:03:20,960 --> 01:03:22,520
Speaker 1: got that call, I was like, hey, yeah, they could

1210
01:03:22,520 --> 01:03:27,640
Speaker 1: have it for free. Just just give it the song.

1211
01:03:27,680 --> 01:03:30,800
Speaker 1: It's totally fine. Next thing I know, they're cutting an

1212
01:03:31,000 --> 01:03:34,320
Speaker 1: editing an edit of the actual video in the scene.

1213
01:03:34,320 --> 01:03:36,720
Speaker 1: We're like, oh cool, and we see it the opening

1214
01:03:36,720 --> 01:03:38,880
Speaker 1: scene and just has this on this little TV in

1215
01:03:38,920 --> 01:03:40,760
Speaker 1: the kitchen. I was like, Oh, that's all you're gonna see.

1216
01:03:40,960 --> 01:03:43,200
Speaker 1: Then it turned into a full music video. It was

1217
01:03:43,240 --> 01:03:47,480
Speaker 1: like cut into the scene to the like big screen

1218
01:03:47,800 --> 01:03:50,880
Speaker 1: of money grabber and me dancing and singing and stuff

1219
01:03:50,880 --> 01:03:54,560
Speaker 1: and somebody getting stabbed. It was amazing. That's me. That's

1220
01:03:56,200 --> 01:03:59,360
Speaker 1: unexpected though, and unexpected because we didn't know how they

1221
01:03:59,480 --> 01:04:03,440
Speaker 1: edit was going to be. Well. Uh, and you have

1222
01:04:03,480 --> 01:04:07,200
Speaker 1: a very interesting life and career. That's really cool. Um,

1223
01:04:07,200 --> 01:04:09,720
Speaker 1: thanks for hanging out, thanks for having me and just

1224
01:04:09,760 --> 01:04:12,920
Speaker 1: sitting and talking. It's like I got into the mind

1225
01:04:12,960 --> 01:04:21,080
Speaker 1: of a really creative banker. That is the best description.

1226
01:04:21,680 --> 01:04:26,320
Speaker 1: It's like the hippie accountant. It's like the two things

1227
01:04:26,360 --> 01:04:29,439
Speaker 1: that shouldn't be together are and it makes it even

1228
01:04:29,640 --> 01:04:36,680
Speaker 1: strangely cool. So listen, everybody hand clapped my jam. I

1229
01:04:36,680 --> 01:04:40,720
Speaker 1: hope this thing keeps climbing, and thank you. I'm really

1230
01:04:40,720 --> 01:04:45,120
Speaker 1: happy for you. Obviously, I'm not just blowing smoke guy.

1231
01:04:46,120 --> 01:04:47,680
Speaker 1: The first first day I came out and I was like,

1232
01:04:47,680 --> 01:04:49,280
Speaker 1: holy crap, this song is so good. I gotta play

1233
01:04:49,280 --> 01:04:53,120
Speaker 1: it immediately on country radio faces all over America and

1234
01:04:53,200 --> 01:04:57,120
Speaker 1: so send along my best to everybody. Thank you, thanks

1235
01:04:57,160 --> 01:05:00,960
Speaker 1: for having me. I appreciate it. So we go, go

1236
01:05:00,960 --> 01:05:04,040
Speaker 1: go Sam. If they come around by the music and

1237
01:05:04,160 --> 01:05:05,600
Speaker 1: doesn't buy that, let me say this. By the music.

1238
01:05:05,600 --> 01:05:07,720
Speaker 1: Don't buy the music, don't stream it. Yeah, I always

1239
01:05:07,760 --> 01:05:09,040
Speaker 1: say it. You want to help you artists you want

1240
01:05:09,040 --> 01:05:12,720
Speaker 1: to do yeah, by the music, don't stream it. It's

1241
01:05:12,760 --> 01:05:15,600
Speaker 1: easier to stream it. But if you really like find

1242
01:05:15,640 --> 01:05:18,640
Speaker 1: your few artists that you love and support, you can

1243
01:05:18,680 --> 01:05:22,360
Speaker 1: get it for six cent on iTunes. Yes, you can

1244
01:05:22,440 --> 01:05:25,439
Speaker 1: hag discount in this little six nine cent song. It's

1245
01:05:25,600 --> 01:05:29,480
Speaker 1: uh listen, I can't and we can't go and buy.

1246
01:05:29,880 --> 01:05:32,680
Speaker 1: If you love music and buy every artist you can,

1247
01:05:32,800 --> 01:05:35,000
Speaker 1: but you can take your five or six of that

1248
01:05:35,000 --> 01:05:38,440
Speaker 1: you're super passionate about and support them. And that's what

1249
01:05:38,560 --> 01:05:40,280
Speaker 1: I always say, like, find your middle ground and support

1250
01:05:40,280 --> 01:05:43,120
Speaker 1: the artist because if you don't. Right now, artists getting

1251
01:05:43,120 --> 01:05:46,280
Speaker 1: screwed like crazy, Yeah they are. And then you go

1252
01:05:46,280 --> 01:05:48,080
Speaker 1: on tour. You got tour and you make your money tory,

1253
01:05:48,720 --> 01:05:53,600
Speaker 1: we do, but it's exhausting, and then you travel and

1254
01:05:53,760 --> 01:05:55,280
Speaker 1: cost a lot of money to go on the road.

1255
01:05:56,240 --> 01:05:59,000
Speaker 1: Fits in the tantrums. No else, Thank you very much,

1256
01:06:00,080 --> 01:06:04,919
Speaker 1: gonna go. That has been episode thirteen, and uh, next

1257
01:06:04,960 --> 01:06:07,240
Speaker 1: week we have our our very first ever like a

1258
01:06:07,360 --> 01:06:10,200
Speaker 1: sponsor that's paying to be part of the show. You're

1259
01:06:10,200 --> 01:06:13,960
Speaker 1: on the very very last ever. Cool free show. Yeah, next,

1260
01:06:13,960 --> 01:06:15,520
Speaker 1: we got like somebody that's like, we want to have

1261
01:06:15,600 --> 01:06:18,400
Speaker 1: our sou I don't even know. This thing has gotten

1262
01:06:18,440 --> 01:06:20,440
Speaker 1: so crazy to thanks everybody who listens to it, and

1263
01:06:20,560 --> 01:06:22,240
Speaker 1: I don't even I don't even accept that. I don't

1264
01:06:22,240 --> 01:06:25,000
Speaker 1: accept that congratulations because it's so weird that some people

1265
01:06:25,000 --> 01:06:27,000
Speaker 1: listen to this. I don't even notice that Thank You

1266
01:06:27,200 --> 01:06:29,080
Speaker 1: Episode thirteen is over. We'll see you guys next time.

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Speaker 1: I