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Speaker 1: The volume.

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Speaker 2: All right, Ry, we are back today. We are joined

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Speaker 2: by a very very special guest, somebody that we are

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Speaker 2: both huge fans of. Happy to see him back. Did

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Speaker 2: not realize until he told us that the last album,

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Speaker 2: Warren Leisure, came out twenty seventeen, seven years ago. Eight

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Speaker 2: years ago. I thought it was for COVID that scrambled

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Speaker 2: our minds, brains everything. Tom is a construct though, right

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Speaker 2: but today we are joined by the talented, the creative,

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Speaker 2: the iconic R and B. I'm not gonna say R

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Speaker 2: and B because I'm not going to box them into that.

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Speaker 2: He's just an incredible musician back with his new album Chaos.

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Speaker 2: Miguel Clap, Miguel.

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Speaker 1: Thank you, Thank you, guys.

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Speaker 3: Thank Already embarrassed me off, Mike of how excited I was.

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Speaker 2: That Miguel was coming by to see us today. But

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Speaker 2: rightfully so. We've been fans of Miguel and supporting them

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Speaker 2: for years, so it's good to see him. A good

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Speaker 2: dab im here today. How you feeling it?

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Speaker 1: I feel great, man, I'm fans of your guys. I'm

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Speaker 1: appreciated that. Like be on here man, it's stop listen,

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Speaker 1: He's stop keeping. But the thing is is like when

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Speaker 1: you're able to come and talk to people who love music.

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Speaker 2: It's just it's a different conversations, a who different we

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Speaker 2: were talking about all. So we were listening to the

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Speaker 2: album over the weekend. Yesterday, I listened to it in

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Speaker 2: the crib and I was just telling you that it

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Speaker 2: inspired me to clean the dishes, clean the crib. The

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Speaker 2: album sounds incredible. The music is great, but that's it's

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Speaker 2: not I mean, it's no surprise you've been doing this

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Speaker 2: for years, making incredible music. But how does it feel

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Speaker 2: personally after eight years to just get back into the

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Speaker 2: swing of artists mode.

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Speaker 1: Yeah, it's it's a lot. It's a lot to be like, Okay, get.

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Speaker 2: Back to it.

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Speaker 1: Yeah, save this talk ship. Yeah the song is about this.

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Speaker 1: Yeah by the album. Right, it's like eight years though

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Speaker 1: it took time. I mean we were talking earlier, and

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Speaker 1: I mean parenthood is a big one, but I mean

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Speaker 1: I didn't become a parent eight years ago. It was

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Speaker 1: more recent. I think that was the kind of final, like, Okay,

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Speaker 1: it's time. I think I just was really looking for

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Speaker 1: a reason because I was getting I was I was

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Speaker 1: kind of burnt. I was burned a lot of things

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Speaker 1: that I needed to like really just deal with you know,

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Speaker 1: I went on a pretty long run, and I think

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Speaker 1: it was it was time. It was time to start

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Speaker 1: dealing with my me shit, because I did a lot

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Speaker 1: of my growing up like adult growing up in the

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Speaker 1: in the middle of it. You know, it all kind

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Speaker 1: of happened in my adult years, and which is a blessing,

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Speaker 1: but it also means you gotta you you know, holding

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Speaker 1: oneself accountable is a vigilant ordeal. You know, I'm saying,

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Speaker 1: you gotta really be paying attention. And I just didn't have.

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Speaker 1: I didn't have the bandwidth at the time or just

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Speaker 1: the self awareness to be straight up, and I wasn't

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Speaker 1: really paying attention to like the me of it. And

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Speaker 1: I need to do some some like reflecting and just

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Speaker 1: get get in touch with my values really and so

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Speaker 1: it took some time, but it was the right amount.

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Speaker 1: I think I feel. I feel coming back. I'm a

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Speaker 1: I feel so much more like, all right, I'm good,

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Speaker 1: Like I can do this for some time, and you know,

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Speaker 1: it's gonna take some maintenance, but I feel really good

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Speaker 1: coming back.

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Speaker 3: Was there like a specific aha moment in that eight

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Speaker 3: years that it was like, I need to get back

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Speaker 3: to the studio or were you always working just nothing

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Speaker 3: really connected the way you wanted to.

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Speaker 1: Man, you know when you get in and you're like,

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Speaker 1: I'm here, but nothing is coming. Man. It felt like

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Speaker 1: a drought for some time. If it took time, I

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Speaker 1: think because I had put so much like of the

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Speaker 1: the value are my value and like the success of

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Speaker 1: what I was doing or whatever my perceived success was,

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Speaker 1: and then like looking at others success and then comparing

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Speaker 1: and you're like, damn, like I'm doing all this work,

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Speaker 1: but I'm not getting this. And then you start you

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Speaker 1: start to chip away at that the moment looking yeah, everything.

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Speaker 1: So I needed to really go lock in, you know,

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Speaker 1: I needed to lock in and like figure out, Okay, well,

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Speaker 1: what what is it that I love about this? What

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Speaker 1: do I still love and what can be recovered? What

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Speaker 1: has changed? And like figure it out and decide if

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Speaker 1: I really wanted to do it and to continue to

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Speaker 1: do that the dom to do this rather to do music,

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Speaker 1: and and yeah, I'm really happy that I found founded again.

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Speaker 1: And I think I became really like protective this time around.

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Speaker 1: I'm really protective about you know, this is about It's

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Speaker 1: like there's purpose behind it. And then I really want

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Speaker 1: to connect with my audience. Before it was like get

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Speaker 1: the big song, do the big thing, have a big moment,

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Speaker 1: flag pictures taken, go walk the carpet. It was like

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Speaker 1: that part of it was a big It was a

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Speaker 1: big thing, you know. This time it's about how am I?

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Speaker 1: How am I having a real conversation that I can

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Speaker 1: continue to have with my audience. Is they're the only

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Speaker 1: ones that's really been writing for me and the ones

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Speaker 1: that is going to still play my music where I

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Speaker 1: can provide for my son, for my family and it's

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Speaker 1: a sustainable thing. So yeah, the objective is different.

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Speaker 2: Yeah, but twenty seventeen, I mean eight years, so much

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Speaker 2: has changed with the business of music, sound, the audience.

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Speaker 2: A lot of your audience has grown as well as

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Speaker 2: you have there. Yeah, you have families now, so so

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Speaker 2: in writing and making music. With that gap of seven years,

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Speaker 2: how much of the music on this new project was

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Speaker 2: like closer to twenty seventeen than twenty twenty five. O

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Speaker 2: was it all like new current right now? Where Miguel

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Speaker 2: is today?

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Speaker 1: This is a it was like I was. That's also

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Speaker 1: a part of what took a long time, because in

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Speaker 1: the beginning you know when you're like, man, I don't know.

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Speaker 1: You meet somebody and you're like I don't know what

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Speaker 1: it was, but I just don't fuck with them, like

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Speaker 1: I don't know. I would say the beginning of twenty

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Speaker 1: seventeen twenty eighteen, there was a feeling about myself. I

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Speaker 1: was like, something's not right okay, And the beginnings of

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Speaker 1: that are still on that album. I think it took

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Speaker 1: eight years to really identify, like what are the things

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Speaker 1: that are really important and that have continued to They

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Speaker 1: say something about the overall me coming to terms with

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Speaker 1: me and also the value of hitting a point where

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Speaker 1: good enough isn't good enough. You feel me when you're like, actually,

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Speaker 1: like I have something that is important to refine and

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Speaker 1: where I want to go. That's not going to work,

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Speaker 1: you know, not refining it isn't going to work. And

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Speaker 1: so this album is like the main points of the

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Speaker 1: last eight years that kind of tell the story of like,

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Speaker 1: oh man, I hit a point where I'm I'm really

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Speaker 1: trying to like get my shit together. And what I

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Speaker 1: found out was, you know, change and growing. It's like

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Speaker 1: it's not it's not a linear half, right, you know,

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Speaker 1: and it's I feel I think along the way. There

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Speaker 1: are many times like I got it, Yeah, like bet

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Speaker 1: I'm going and you know four months later. Yeah.

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Speaker 3: Sonically this album does kind of feel like your entire

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Speaker 3: desography in one project.

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Speaker 1: What's their pressure? Kind of? I feel like the catch.

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Speaker 3: Twenty two of making a class album is that everyone

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Speaker 3: is going to want it again. And even going from

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Speaker 3: Wildheart to Warren Leisure, you did steer away from trying

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Speaker 3: to make Kaleidoscope Dreams too. Yeah, what was the thought

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Speaker 3: going into this because there's a lot of like alternative

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Speaker 3: almost like TRL blink on two type style in.

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Speaker 1: This crazy love Thank you, Thanks, Yeah, thanks coming back?

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Speaker 3: Was there a pressure of thinking like, damn, should I

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Speaker 3: just go back to what I know my core maybe

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Speaker 3: once for me, which is more traditional R and B?

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Speaker 1: Or should I keep this path of evolving my sound

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Speaker 1: was That's always It's always the question, right, But you

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Speaker 1: have to we have to remember that, and I remind

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Speaker 1: myself this when all I Want is you came out.

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Speaker 1: What that sounded like in the songwriting, That's not what

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Speaker 1: was happening at the time. Yeah, and my core core

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Speaker 1: audience from that album when Kaleidoscope dream came, that's also

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Speaker 1: not what the that's not what they were expecting or

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Speaker 1: what it sounded like in the time and Kaleidoscope dream.

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Speaker 1: That core audience is not the core audience from wild

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Speaker 1: Heart and so on and so forth. And I think

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Speaker 1: to answer your question, I would consider myself more like

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Speaker 1: a restaurant tour than no. Every album is like its

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Speaker 1: own restaurant, you know what I mean. There's gonna be

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Speaker 1: some there's gonna be a core principle in the in

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Speaker 1: the approach, but the cuisine may be a little different.

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Speaker 1: I'm also the head chef, so you're still gonna feel

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Speaker 1: me in the in the dishes. That's all my personality,

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Speaker 1: all where I come from. But you know, I might

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Speaker 1: bring in some new flavors. It's gonna be some new

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Speaker 1: technique even, you know. And so each album is its

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Speaker 1: own restaurant and cuisine experience, dining experience. This album, this

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Speaker 1: experience is personally, I think for my fans, for my audience,

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Speaker 1: it will be a classic album. Now whether or not

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Speaker 1: it becomes a classic album for you know, a broad audience,

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Speaker 1: it's not really my I have no say in that.

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Speaker 2: You know.

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Speaker 1: That's that's timing, and that's all kinds of things. What

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Speaker 1: I will say is that on this one is my

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Speaker 1: most aggressive album for sure, and I think in that

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Speaker 1: it's fitting for the times, because what I've learned is

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Speaker 1: that when you're going through some like refining, you've got

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Speaker 1: to be aggressive. You can't be passive, you can't be

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Speaker 1: lacks of daisical, and you can't sleep on any of it.

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Speaker 1: You start to veer back into your into the old,

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Speaker 1: your comfort zone. And I think it happened naturally because

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Speaker 1: of what we're seeing, Like we're in a time where

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Speaker 1: overall I feel like there's a lot of anger and aggression,

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Speaker 1: and it dawned on me that we need to be

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Speaker 1: in this is the mode, this is this is not

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Speaker 1: a time for us to be honky dory. You feel

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Speaker 1: me like it is the time to be like, no,

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Speaker 1: I'm not. I don't like this. We need and and

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Speaker 1: I don't like it today and I don't like it tomorrow,

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Speaker 1: and I'm not gonna be okay with it until it's right.

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Speaker 1: And that's the I think that at the core of

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Speaker 1: this one, there's a real there's a real need for change,

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Speaker 1: you know, there's a there's a drive to change, and

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Speaker 1: I think that's what makes it relevant there's that None

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Speaker 1: of my other albums have ever had that at the core,

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Speaker 1: you know.

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Speaker 2: It the electric guitar, because the electric guitar can kind

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Speaker 2: of feel aggressive, Yeah, at times, But is that the

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Speaker 2: reason why there's more of that on this project is

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Speaker 2: because of the energy and the mold that you're in.

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Speaker 1: I would say most of my I mean, I think

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Speaker 1: that's the most. The electric guitar throughout my albums has

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Speaker 1: always been always driving, always a driver. I think that

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Speaker 1: live drums on this album, I think there's a lot

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Speaker 1: of even temple wise, there's a few records on others

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Speaker 1: more than any of my other albums that feel like

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Speaker 1: they're driving and they're aggressive, and even on the mid

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Speaker 1: tempo side New Martyrs, it still feels.

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Speaker 2: Yeah, you know.

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Speaker 1: I mean, there's there's songs. There's a song called Better

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Speaker 1: the Man, which is like I lose myself and that

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Speaker 1: feels like there's just the something in there. So I

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Speaker 1: would say that and the drums, but just the spirit

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Speaker 1: of the whole thing is really coming from me feeling

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Speaker 1: like I'm not okay with just being okay anymore. And yeah,

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Speaker 1: you know, and I really I'm demanding of myself to

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Speaker 1: figure it out. Yeah, and that's yeah, that's that's that's

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Speaker 1: where aproaching.

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Speaker 3: Yeah, yeah, But where would you say that I guess

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Speaker 3: new form of aggression derived from was that? I mean,

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Speaker 3: in the eight years of you finding yourself in different situations,

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Speaker 3: is there a core point where you think that aggression started.

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Speaker 1: It's probably just been building. If I'm and and also

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Speaker 1: I realized in the process that I have I haven't

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Speaker 1: always been I haven't considered that my anger and aggression

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Speaker 1: needs to be dealt with in a in a I've

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Speaker 1: never needed to. It wasn't always like something that was

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Speaker 1: like forward facing, you know, I think because it was

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Speaker 1: building for sure. Look, you this this industry, In any industry, man,

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Speaker 1: you start to deal with people, and people think they

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Speaker 1: could take advantage of you, or you get taken advantage

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Speaker 1: of and and you learn your lessons a hard way sometimes,

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Speaker 1: but that just starts to pile up, and you know,

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Speaker 1: you want to take the high road you want to

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Speaker 1: be on, you know, and on top of that, you're considering, uh,

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Speaker 1: things that people say, you know, when you're in the

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Speaker 1: when you're forefacing, it's like people say things that they

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Speaker 1: have no insight on. So you're dealing with that and

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Speaker 1: then you've got the regular ship life. I definitely feel

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Speaker 1: it was just building. Yeah, I just was like, man,

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Speaker 1: I need to I need to get this out. Start

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Speaker 1: telling like it didn't matter. I mean, what what was

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Speaker 1: like the first hard lesson? You felt like you learned

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Speaker 1: in the music industry to deal with people one on one.

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Speaker 1: To not do that in this business will come at

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Speaker 1: the cost of money and a lot of time. I

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Speaker 1: think being being direct with people and dealing with people directly,

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Speaker 1: and you know, I'm I'm old enough now, where in

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Speaker 1: the past it was very much like let your lawyers

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Speaker 1: handle or let the man handle that. It's always somebody

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Speaker 1: that they would like to put in front of in order.

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Speaker 1: At the time, it was like to you know, protect you.

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Speaker 1: But what ends up happening is like other people's egos

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Speaker 1: get in the way, people misrepresent your position or even

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Speaker 1: sometimes inadvertently color a message in their own way that

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Speaker 1: changes the outcome, and that can go both ways positive

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Speaker 1: and negative sometimes. You know, in my case, I've learned

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Speaker 1: that dealing with people directly is way more effective, and

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Speaker 1: I think that's why even now the things move faster

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Speaker 1: because we're dealing with people. It's a dm you know

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Speaker 1: what I mean, like I don't want, I don't need

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Speaker 1: to talk to you.

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Speaker 2: You know you can talk.

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Speaker 1: Yeah, let's just let's just do it. And also as

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Speaker 1: a man, dealing with things directly is way more effect

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Speaker 1: just straight just get to the point, let's go to

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Speaker 1: the source and let's handle it, and we can squash it,

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Speaker 1: we can get on the same page and everything move forward.

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Speaker 1: So I think that's the biggest one, not to not

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Speaker 1: to hide behind people or teams, I think, being very

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Speaker 1: politics of it all. Yeah, listen, get that out the way. Yeah.

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Speaker 3: I mean even on an artist level too, because I feel,

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Speaker 3: you know, outside of you being on classic hooks with

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Speaker 3: your music, you've been very particular on who you collab with,

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Speaker 3: Like there hasn't been many features in your desography like that.

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Speaker 1: Yeah. You know what, though, I would say in the future,

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Speaker 1: I would I would do way more, but I would

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Speaker 1: preface it like I don't want I'm not doing no

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Speaker 1: features with nobody that I haven't had some food or

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Speaker 1: coffee or a conversation with.

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Speaker 2: Why is that? But a lot of artists don't do that,

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Speaker 2: like they just like he's hot or she's hot right now,

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Speaker 2: need to get a joint.

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Speaker 1: Let me do this, I'll sell you the session.

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Speaker 2: Miguel wants to go to dinn Let's go have lunch

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Speaker 2: at least, let's sit down.

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Speaker 1: Let's kick it, man, because I I this is like

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Speaker 1: my life. I'm I put my heart into everything I do.

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Speaker 1: It's really personal. None of this is like business. I mean,

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Speaker 1: it's business, you know, there's that part of it. But

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Speaker 1: when it comes to the music part, like I'm really trying,

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Speaker 1: it's really effort. And then on top of that, then

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Speaker 1: you're gonna ask me to post about it and then

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Speaker 1: show for the video and then do you a favor

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Speaker 1: over here if if I if any of that happens,

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Speaker 1: and then like the person is an asshole and I

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Speaker 1: find it out too late it's happened, But like, I

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Speaker 1: don't ever want to be around that person, you know

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Speaker 1: what I'm saying, Like.

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Speaker 2: I'm not collabing with somebody that puts ketchup on eggs.

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Speaker 2: We can't do we can't do nothing together, Like I

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Speaker 2: don't need anything else. It's like, you know what, I'm booked.

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Speaker 2: It's not I'm that verse, but I just can't get

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Speaker 2: on the same level. I'm sorry, bro, No, but that

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Speaker 2: makes sense tho, because a lot of people. You know,

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Speaker 2: we're talking about collab and now it's so easy to collab,

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Speaker 2: like you said a DM, but if you don't sit

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Speaker 2: down and connect with somebody, it's like you don't really

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Speaker 2: feel like the energy is not like even to an extent,

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Speaker 2: like the things that Rory and I do would guess

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Speaker 2: like we say, damn, I hate meeting, Like I hate

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Speaker 2: that we're having this conversation with you on camera for

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Speaker 2: the first time. I would rather meet Miguel like.

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Speaker 1: A Chinese food spot or we had a drink or whatever.

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Speaker 2: It just makes everything is different. After energy, everything is different.

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Speaker 2: But as far as making music, it's a whole different

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Speaker 2: level of just chemistry when you're able to really sit

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Speaker 2: down and get to know somebody to connect with them.

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Speaker 1: Yeah. I did get lucky though, Like Cole Cole is

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Speaker 1: one of those people where it was like it just

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Speaker 1: we just locked in and and he's actually a good person,

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Speaker 1: you know, he's just a good person. I got lucky.

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Speaker 1: And there's there's a couple of like really significant points,

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Speaker 1: and I have to say I'm very I've been very

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Speaker 1: lucky where I've actually really connected with like my significant

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Speaker 1: you know, like collaborators, mentors are good people. I got

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Speaker 1: lucky like that. There's a lot of people who don't

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Speaker 1: get that. And at this point, I'm like, I've had

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Speaker 1: it happen where I do a collab and you know,

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Speaker 1: it was the it was it was the right thing

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Speaker 1: in terms of this was a name at the time

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Speaker 1: or they were having a moment or whatever, and then

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Speaker 1: later on I'm just like, I don't yeah, you know really, yeah,

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Speaker 1: we don't really connect like that, not really, you know

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Speaker 1: what I mean, like wish no, no, no, ill will

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Speaker 1: at all just like this, I don't really ever want to. Yeah,

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Speaker 1: I'm like I definitely feel that though.

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Speaker 3: It's interesting too that like rappers kind of get the

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Speaker 3: the rap no pun intended that they're the ones that

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Speaker 3: are stand offisher or won't work with each other.

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Speaker 1: R and B artists are that times ten.

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Speaker 3: Like if you go with the Coles, Kendricks, Drake, Big

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Speaker 3: Sean wile A like that class, they've all collaborated with

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Speaker 3: each other. Now if you would go with your class,

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Speaker 3: which i you frank weekend party next door, Like yeah,

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Speaker 3: R and P people even with their graduating class, it

351
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Speaker 3: never really fuck with each other like that.

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Speaker 1: It's it's a trip it's a trip. I was just

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Speaker 1: having this conversation too, I was we were talking about

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Speaker 1: the difference in support also because I can hear that

355
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Speaker 1: class in the music and you know, and it's like

356
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Speaker 1: I can look at it and be like, damn, like

357
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Speaker 1: I did my thing, We did our thing. Like it's

358
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Speaker 1: it's like I can hear how my approach is like

359
00:20:24,680 --> 00:20:27,400
Speaker 1: really actually kind of affected, and it's it's such a

360
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Speaker 1: it's a dope thing to see and to see everyone else,

361
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Speaker 1: you know, see everyone else's influence and the shaping of

362
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Speaker 1: the sound. I mean, we started alternative R and B.

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Speaker 1: There was no category for that, you know, it was

364
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Speaker 1: like we did that. Yeah, there was no blog R

365
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Speaker 1: and B. Yeah, we were the ones R it was

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Speaker 1: and and it is a shame to kind of to

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Speaker 1: think that we actually never really did. And I don't

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Speaker 1: know what that what that's about. I think about historically,

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Speaker 1: you know, when when soul music was in Detroit, when

370
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Speaker 1: it was Philly or Detroit, there was a hub of

371
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Speaker 1: in a scene where writers and artists were working together.

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Speaker 1: Stevie's all over all the Motimer, you know what I mean.

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Speaker 1: Marvin Gaye was in you know, he was in a band,

374
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Speaker 1: he was they were all working together, travel together, on

375
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Speaker 1: tours together. I still don't have an answer for why

376
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Speaker 1: it doesn't happen.

377
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Speaker 3: I mean, I think with a lot of them they

378
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Speaker 3: had similar producers in common, so they would be in sessions.

379
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Speaker 3: Everyone was kind of running through the same system. Where

380
00:21:30,920 --> 00:21:34,439
Speaker 3: that's different now, and I think rappers also, it's a

381
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Speaker 3: bit easier if we both walk into a studio and

382
00:21:37,320 --> 00:21:40,919
Speaker 3: agree on a beat, something can easily come out of that.

383
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Speaker 3: Where I feel like some of the greater R and

384
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Speaker 3: B artists are so in tune with their production like

385
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Speaker 3: they are producers as well, that can get weird, Like

386
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Speaker 3: if you and Frank walk into a studio, you're both

387
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Speaker 3: going to have different directions as far as the production goes.

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Speaker 1: The approach are the sonic or the sonic whereas.

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Speaker 3: You know, a loop beat with a fucking old sample

390
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Speaker 3: cole and while I'd be like.

391
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Speaker 1: This is great, yeah, like banger, I agree, it's gonna

392
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Speaker 1: go crazy.

393
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Speaker 3: So I think maybe that's where it could derive from,

394
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Speaker 3: just on the production side, because everyone's so hands.

395
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Speaker 1: On, especially before too, we're talking about songwriters, Yeah, crafters

396
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Speaker 1: like I write and produced like I produced it. Yeah,

397
00:22:24,440 --> 00:22:26,120
Speaker 1: I wrote that song. You know what I mean, I

398
00:22:26,160 --> 00:22:30,760
Speaker 1: wrote short thing and they're not. It's not a verse. Also,

399
00:22:30,800 --> 00:22:33,439
Speaker 1: it's also the approach like a crazy verse from an

400
00:22:33,560 --> 00:22:36,320
Speaker 1: MC is gonna be like can kill the whole song.

401
00:22:37,080 --> 00:22:40,960
Speaker 1: It's like, man like, let me think like Nicki Minaj

402
00:22:41,119 --> 00:22:46,520
Speaker 1: verse on Monster like her verse won the song. You

403
00:22:46,520 --> 00:22:48,119
Speaker 1: know what I'm saying. Two of the greatest rappers of

404
00:22:48,119 --> 00:22:51,040
Speaker 1: all time on that. But it's like a verse can

405
00:22:51,080 --> 00:22:55,720
Speaker 1: go crazy for MC, but for for singing for I

406
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Speaker 1: don't know how, you know, I think it can stick.

407
00:22:58,440 --> 00:23:01,199
Speaker 1: I think now it's evolved where we could approach it

408
00:23:01,240 --> 00:23:03,520
Speaker 1: that way, and I think it'd be interesting to explore

409
00:23:03,560 --> 00:23:07,159
Speaker 1: it like that. But I know in the past it

410
00:23:07,240 --> 00:23:10,359
Speaker 1: was about we're singer songwriters, you know, and we're producers,

411
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Speaker 1: so it was about the song. It was the whole

412
00:23:12,160 --> 00:23:16,160
Speaker 1: thing and artists. So I wonder if there's something interesting there, though,

413
00:23:16,400 --> 00:23:18,359
Speaker 1: you know, it's like what if we just approach it

414
00:23:18,359 --> 00:23:19,720
Speaker 1: as versus right?

415
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Speaker 2: You know, have you ever had to meet any of

416
00:23:22,720 --> 00:23:25,639
Speaker 2: your idols or people that you looked up to and

417
00:23:25,640 --> 00:23:28,840
Speaker 2: were like disappointed and like heartbroken, like oh this person

418
00:23:28,960 --> 00:23:31,640
Speaker 2: is not really a good person, or like not.

419
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Speaker 1: What I thought it would be definitely ones where I

420
00:23:34,920 --> 00:23:38,040
Speaker 1: wish we would have got on like it, like we

421
00:23:38,400 --> 00:23:40,240
Speaker 1: could have found some like Okay, I funk with you

422
00:23:40,320 --> 00:23:44,520
Speaker 1: like I'm a personal Uh who did I not? Really?

423
00:23:46,560 --> 00:23:49,399
Speaker 1: You know what? Honestly, I would almost say I would

424
00:23:49,400 --> 00:23:55,160
Speaker 1: wager that more was like me, that it was like, oh,

425
00:23:55,400 --> 00:23:58,639
Speaker 1: am I the problem. This was the eight years of

426
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Speaker 1: disappearing to go do something.

427
00:24:01,600 --> 00:24:06,640
Speaker 2: I was the problem. I am happened trauma.

428
00:24:07,359 --> 00:24:10,159
Speaker 3: So we'll tell you that you felt that way that

429
00:24:10,359 --> 00:24:11,320
Speaker 3: he looked back like.

430
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Speaker 2: You know what, Damn, I'm like I fucked that up. Yeah.

431
00:24:13,200 --> 00:24:14,919
Speaker 1: No, no, I'll say this. I'll say this. This is

432
00:24:14,920 --> 00:24:17,399
Speaker 1: when I like I wish it would and it wasn't

433
00:24:17,440 --> 00:24:21,359
Speaker 1: because anyone was was when we were doing when I

434
00:24:21,359 --> 00:24:24,760
Speaker 1: was doing Klaudoscope Dream, I was here at at Platinum Sound.

435
00:24:25,560 --> 00:24:27,880
Speaker 1: I was over there for a long time when Platinum

436
00:24:27,920 --> 00:24:31,240
Speaker 1: Sound was over on in Midtown. Shout out to Jerry One,

437
00:24:32,640 --> 00:24:36,240
Speaker 1: Jerry One. I mean what happened in that studio in

438
00:24:36,320 --> 00:24:38,439
Speaker 1: terms of just like the amount of fun and the

439
00:24:38,480 --> 00:24:42,480
Speaker 1: songs and all that was incredible. And I was we

440
00:24:42,720 --> 00:24:45,520
Speaker 1: finally had momentum and a Dorn was was having a

441
00:24:45,560 --> 00:24:47,960
Speaker 1: moment and we were finishing the album. I got to

442
00:24:47,960 --> 00:24:50,920
Speaker 1: work with Pharrell finally, and Farrell came and he spent

443
00:24:51,040 --> 00:24:55,239
Speaker 1: some days with me, and and I still look at

444
00:24:55,280 --> 00:24:57,040
Speaker 1: those sessions and I'm like, man, I really wish we

445
00:24:57,080 --> 00:25:01,240
Speaker 1: would have found one. What we did doesn't fit the album.

446
00:25:01,480 --> 00:25:04,199
Speaker 1: It doesn't it like it would have never worked on

447
00:25:04,240 --> 00:25:08,640
Speaker 1: Kaleidoscope Dream. And I'm I'm I'm clear about that, but

448
00:25:08,920 --> 00:25:11,320
Speaker 1: also like I just wish I would have locked in

449
00:25:11,359 --> 00:25:13,800
Speaker 1: with him more because he's a hero of mine, you know.

450
00:25:14,520 --> 00:25:18,919
Speaker 1: And I always like, just like, damn, I wish like

451
00:25:19,080 --> 00:25:22,280
Speaker 1: was it me? Like was I just like too? And

452
00:25:22,359 --> 00:25:24,800
Speaker 1: I was really adamant too. I was like I knew

453
00:25:24,800 --> 00:25:29,040
Speaker 1: what I wanted, yeah, and I was really sure.

454
00:25:29,400 --> 00:25:29,640
Speaker 4: Yeah.

455
00:25:29,680 --> 00:25:32,320
Speaker 2: It's like it's a bad thing because it has to

456
00:25:32,359 --> 00:25:35,080
Speaker 2: be commendable and respectable, especially for Forarrell to see a

457
00:25:35,119 --> 00:25:38,720
Speaker 2: young artist so fixed on who they are and what

458
00:25:38,800 --> 00:25:40,600
Speaker 2: they want and the sound that they want to create.

459
00:25:41,119 --> 00:25:42,520
Speaker 2: I know what you mean though, because it's like this

460
00:25:42,600 --> 00:25:43,680
Speaker 2: is for real's big.

461
00:25:44,400 --> 00:25:46,720
Speaker 1: But I will say this though he did he had.

462
00:25:46,800 --> 00:25:50,679
Speaker 1: I mean, look, he's a visionary and he came in

463
00:25:50,720 --> 00:25:54,200
Speaker 1: and we cut this record that is a banger. I

464
00:25:54,400 --> 00:25:56,520
Speaker 1: don't even I can't find like the hard drive that

465
00:25:56,600 --> 00:25:58,760
Speaker 1: has the session on and it's like it's somewhere in

466
00:25:59,160 --> 00:26:03,679
Speaker 1: storage somewhere, but but it it's very much feels like

467
00:26:03,680 --> 00:26:06,119
Speaker 1: a Prince record. But if I were, if I but

468
00:26:06,280 --> 00:26:09,120
Speaker 1: me still you know, but he came in with such

469
00:26:09,160 --> 00:26:11,520
Speaker 1: a vision, and I don't think I was ready for that.

470
00:26:11,600 --> 00:26:14,280
Speaker 1: I was liked to clear out a clear different vision.

471
00:26:15,200 --> 00:26:20,160
Speaker 1: And I've seen in subsequent interviews of his they've asked

472
00:26:20,200 --> 00:26:22,360
Speaker 1: some questions like, I mean, you could tell I've thought

473
00:26:22,359 --> 00:26:25,720
Speaker 1: about this. I really thought about this. Oh bro, it's

474
00:26:25,720 --> 00:26:29,359
Speaker 1: been on my like man, like why like why didn't

475
00:26:29,400 --> 00:26:32,159
Speaker 1: we I know it was all that, like damn didn't.

476
00:26:33,760 --> 00:26:36,440
Speaker 3: If Kaladscope Dreams wasn't a classic, I'd say this should

477
00:26:36,480 --> 00:26:36,720
Speaker 3: keep you.

478
00:26:38,280 --> 00:26:38,520
Speaker 2: But you.

479
00:26:41,000 --> 00:26:43,920
Speaker 3: Would that have worked maybe more on Wild I mean

480
00:26:43,920 --> 00:26:48,520
Speaker 3: that was kind of the stereotypical fan perspective of like,

481
00:26:48,520 --> 00:26:50,560
Speaker 3: all right, is he about to do his Princes thing?

482
00:26:50,680 --> 00:26:53,919
Speaker 1: He's going yeah, he's going no no. I think on

483
00:26:54,000 --> 00:26:58,000
Speaker 1: the contrary, this was this well I don't even know

484
00:26:58,000 --> 00:27:01,800
Speaker 1: where this record would have fit, but I do think

485
00:27:01,840 --> 00:27:04,240
Speaker 1: it would have probably at the time it probably would

486
00:27:04,240 --> 00:27:06,560
Speaker 1: have hit. I think he was right, and I think

487
00:27:07,080 --> 00:27:13,040
Speaker 1: based on what what fans wanted what's known about me

488
00:27:13,160 --> 00:27:16,080
Speaker 1: and my taste and who I'm drawing from my inspirations

489
00:27:16,119 --> 00:27:17,840
Speaker 1: and whatnot. It would have made a lot of sense,

490
00:27:17,920 --> 00:27:21,560
Speaker 1: and the record was a great record, but I just

491
00:27:21,640 --> 00:27:23,720
Speaker 1: wanted to go a different direction. And he spoke about

492
00:27:23,720 --> 00:27:26,280
Speaker 1: it in interviews as well. No, No, he talked about

493
00:27:26,359 --> 00:27:28,760
Speaker 1: other He's talked about other situations where he's been in

494
00:27:28,840 --> 00:27:32,320
Speaker 1: a room and he's like, you know, not everybody's ready

495
00:27:32,359 --> 00:27:37,160
Speaker 1: to hear my vision, and the ones that do have listened,

496
00:27:38,119 --> 00:27:41,040
Speaker 1: you know, he's like, more often than not have had

497
00:27:41,160 --> 00:27:43,520
Speaker 1: great moments with him, and he didn't.

498
00:27:44,080 --> 00:27:48,359
Speaker 3: He's talking about you watch YouTube, that's about me.

499
00:27:49,440 --> 00:27:55,600
Speaker 1: This is about me. Yeah. No, No, he definitely wasn't.

500
00:27:55,960 --> 00:27:57,560
Speaker 1: And I think it might have been an interview before,

501
00:27:57,720 --> 00:28:01,840
Speaker 1: even before I worked with him. But but I think

502
00:28:01,840 --> 00:28:04,919
Speaker 1: he was referring to like maybe Justin or something at

503
00:28:04,960 --> 00:28:06,520
Speaker 1: the time, and he's like, you know, not every time

504
00:28:06,560 --> 00:28:08,879
Speaker 1: I go in and they're ready to hear what I

505
00:28:09,040 --> 00:28:13,280
Speaker 1: what I'm seeing, But when they trust me to just

506
00:28:13,359 --> 00:28:15,359
Speaker 1: do the thing, it's like, that's where that's how we

507
00:28:15,440 --> 00:28:16,920
Speaker 1: get this and that. And I think he was talking

508
00:28:16,920 --> 00:28:21,240
Speaker 1: about Justin and whatnot. He might have mentioned Kendrick or

509
00:28:21,240 --> 00:28:24,240
Speaker 1: something in it. But that is one of those ones

510
00:28:24,520 --> 00:28:27,639
Speaker 1: where it wasn't either of us. It just didn't happen,

511
00:28:28,000 --> 00:28:30,159
Speaker 1: and I always look at it and I'm like, he

512
00:28:30,200 --> 00:28:32,320
Speaker 1: would have it again. I think that speaks more to

513
00:28:33,520 --> 00:28:34,879
Speaker 1: greatness and your vision.

514
00:28:34,960 --> 00:28:38,040
Speaker 3: Like for example, we definitely we were talking when j

515
00:28:38,200 --> 00:28:41,120
Speaker 3: I D dropped his record with eminem and was like,

516
00:28:41,160 --> 00:28:44,040
Speaker 3: this isn't on the album, and it made me go, oh,

517
00:28:44,240 --> 00:28:46,840
Speaker 3: this JID album has to be great. That if he's

518
00:28:46,920 --> 00:28:50,680
Speaker 3: so stuck on his vision that this eminem or is

519
00:28:50,720 --> 00:28:53,360
Speaker 3: not what I'm trying to do with a project, it

520
00:28:53,400 --> 00:28:56,440
Speaker 3: made me more excited about it to just leave off

521
00:28:56,480 --> 00:28:57,480
Speaker 3: of eminem.

522
00:28:57,160 --> 00:29:00,880
Speaker 1: Versus oh yeah, album is like vision. Yeah, the same

523
00:29:00,880 --> 00:29:01,280
Speaker 1: way of.

524
00:29:01,280 --> 00:29:03,360
Speaker 3: Like damn, I really about to just leave a Farell

525
00:29:03,440 --> 00:29:05,760
Speaker 3: session and be like nah, yeah the fuck.

526
00:29:06,120 --> 00:29:08,480
Speaker 1: We did a couple other ones, and I've been meaning

527
00:29:08,480 --> 00:29:11,160
Speaker 1: to hit him because he was telling me earlier that

528
00:29:11,280 --> 00:29:15,360
Speaker 1: I should be leaning into just being Latino and like

529
00:29:15,920 --> 00:29:19,200
Speaker 1: he's like, bro, who can do it. He was definitely

530
00:29:19,240 --> 00:29:22,920
Speaker 1: like he was coaching, you know, he was like, and

531
00:29:23,160 --> 00:29:25,600
Speaker 1: I wasn't in the place at the time. Also, I

532
00:29:25,640 --> 00:29:28,520
Speaker 1: didn't feel like I had done the work to feel

533
00:29:29,440 --> 00:29:33,200
Speaker 1: doing music in Spanish felt organic. It just it was

534
00:29:33,240 --> 00:29:35,680
Speaker 1: too big of a leap at the time. But he's like,

535
00:29:35,920 --> 00:29:41,240
Speaker 1: he's like a whole I mean maybe ten years actually,

536
00:29:41,240 --> 00:29:44,479
Speaker 1: because after my sessions for Kalaudscope Dream, we worked in

537
00:29:44,520 --> 00:29:46,800
Speaker 1: like Nashville during like Bonu or some shit like that,

538
00:29:47,280 --> 00:29:50,720
Speaker 1: and he was like, bro, you gotta get on your

539
00:29:50,800 --> 00:29:55,880
Speaker 1: Latin shit hard and he cooked up some like you

540
00:29:55,920 --> 00:29:59,440
Speaker 1: know those rhythms. Yeah, and I just wasn't ready for it.

541
00:29:59,520 --> 00:29:59,840
Speaker 2: Yeah.

542
00:30:00,040 --> 00:30:02,880
Speaker 1: But then fast forward eight years later this on this album,

543
00:30:02,960 --> 00:30:06,960
Speaker 1: Kyle was like, I'm definitely intro am. I yeah, yeah,

544
00:30:07,000 --> 00:30:12,240
Speaker 1: I'm in it and I've been waiting for for the

545
00:30:12,360 --> 00:30:14,239
Speaker 1: time when I see him and I'm like, you're right, bro,

546
00:30:14,320 --> 00:30:16,840
Speaker 1: I just wasn't ready. Yeah, yeah, because this album definitely

547
00:30:16,840 --> 00:30:19,400
Speaker 1: got you still have that loaded up in your MPC,

548
00:30:19,560 --> 00:30:20,920
Speaker 1: the shit you cooked up in that ship. I'm like,

549
00:30:22,120 --> 00:30:25,920
Speaker 1: now I'm telling this storage up like fucking hard drive.

550
00:30:29,560 --> 00:30:32,200
Speaker 3: Well, you see, my phone is broken. I need a

551
00:30:32,320 --> 00:30:35,880
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552
00:30:36,000 --> 00:30:36,960
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553
00:30:36,960 --> 00:30:39,320
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554
00:30:39,440 --> 00:30:42,760
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555
00:30:42,800 --> 00:30:44,240
Speaker 3: your way to get the phone. Well, maybe to go

556
00:30:44,280 --> 00:30:46,600
Speaker 3: to the store transferring all your data that can.

557
00:30:46,440 --> 00:30:48,120
Speaker 2: Get Sometimes that could stop me from going.

558
00:30:48,200 --> 00:30:48,920
Speaker 1: It can get messy.

559
00:30:48,960 --> 00:30:50,800
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565
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566
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590
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Speaker 3: Do you think at in twenty twenty five, something like

591
00:32:29,440 --> 00:32:31,880
Speaker 3: in the Doring could work or do you think the

592
00:32:32,000 --> 00:32:36,080
Speaker 3: landscape has just changed? Like I feel like timeless records

593
00:32:36,680 --> 00:32:41,200
Speaker 3: pre COVID were the definition timeless. This could have been

594
00:32:41,200 --> 00:32:43,640
Speaker 3: at any time and it would have worked. I feel

595
00:32:43,680 --> 00:32:45,640
Speaker 3: like that is kind of left, and I'm not sure

596
00:32:45,680 --> 00:32:47,360
Speaker 3: if it's an algorithm thing. I don't know, if it's

597
00:32:47,360 --> 00:32:49,040
Speaker 3: an attention span thing. I don't know if it's just

598
00:32:49,040 --> 00:32:53,160
Speaker 3: a lack of feeling in music. But those timeless records,

599
00:32:53,200 --> 00:32:54,680
Speaker 3: I don't know if you can place them in this

600
00:32:55,320 --> 00:32:58,520
Speaker 3: time now and they would get the same reaction, Like

601
00:32:58,560 --> 00:33:01,000
Speaker 3: would a Dorn just be just a that's an amazing record,

602
00:33:01,000 --> 00:33:02,800
Speaker 3: But is it getting the legs that it would deserve

603
00:33:02,880 --> 00:33:03,880
Speaker 3: in this time.

604
00:33:05,120 --> 00:33:08,959
Speaker 1: I have I kind of have given up on analy

605
00:33:09,000 --> 00:33:11,920
Speaker 1: I think there's so many variables, and like the timing

606
00:33:11,960 --> 00:33:14,680
Speaker 1: of wreck of songs, and like it has so much

607
00:33:14,720 --> 00:33:17,800
Speaker 1: to do with all of all of these different variables.

608
00:33:18,840 --> 00:33:21,640
Speaker 2: Could it, Sure it could? Would it?

609
00:33:21,920 --> 00:33:26,120
Speaker 1: I don't fucking know. Yeah, I know, I know, sure thing.

610
00:33:26,200 --> 00:33:28,400
Speaker 1: I put that record out when I wrote I wrote

611
00:33:28,400 --> 00:33:33,080
Speaker 1: short thing when I was eighteen, eighteen years old nineteen.

612
00:33:32,960 --> 00:33:34,360
Speaker 2: You know what I wrote when I was eighteen or

613
00:33:34,360 --> 00:33:40,600
Speaker 2: fucking my principals, my bad eighteen.

614
00:33:40,280 --> 00:33:44,120
Speaker 1: Apology to the judge, What the fuck? I will not

615
00:33:45,000 --> 00:33:49,640
Speaker 1: that's crazy eighteen wrote the record, yeah, you know, and

616
00:33:50,320 --> 00:33:53,959
Speaker 1: it did good at the time. But I was on

617
00:33:54,000 --> 00:33:57,320
Speaker 1: a record label called Jive Records at the time. The

618
00:33:57,360 --> 00:34:01,640
Speaker 1: promo department didn't work record from black artist black music

619
00:34:02,200 --> 00:34:04,600
Speaker 1: in the way that maybe, and also R and B

620
00:34:04,720 --> 00:34:10,040
Speaker 1: music was not necessarily a pop genre. Yeah so, and

621
00:34:10,080 --> 00:34:12,800
Speaker 1: I was a new artist, so I said, I'm giving

622
00:34:12,800 --> 00:34:16,080
Speaker 1: you all these like variables. I'm like, that record went

623
00:34:16,160 --> 00:34:21,160
Speaker 1: number one two years ago, a whole decade more after

624
00:34:21,239 --> 00:34:24,560
Speaker 1: it was written and published and out in the in

625
00:34:24,640 --> 00:34:27,440
Speaker 1: the thing, and even though it did it did numbers

626
00:34:27,480 --> 00:34:30,719
Speaker 1: when it came out, the variables didn't line up for

627
00:34:30,760 --> 00:34:33,000
Speaker 1: it to be a number one record or what have you.

628
00:34:33,520 --> 00:34:37,760
Speaker 1: And then all of a sudden, you know, random TikTok

629
00:34:38,080 --> 00:34:41,359
Speaker 1: person does this thing with the video does it puts

630
00:34:41,400 --> 00:34:44,000
Speaker 1: it in a song? And then another person hir like

631
00:34:44,160 --> 00:34:46,360
Speaker 1: I could I can't put like, how.

632
00:34:46,200 --> 00:34:47,399
Speaker 2: Does that make you feel as an artist?

633
00:34:47,440 --> 00:34:47,560
Speaker 1: Though?

634
00:34:47,600 --> 00:34:49,560
Speaker 2: Like for some random TikTok girl to be doing a

635
00:34:49,560 --> 00:34:52,879
Speaker 2: makeup tutorial with your record playing and then now it's

636
00:34:52,880 --> 00:34:55,400
Speaker 2: going crazy on the charts again after like you don't.

637
00:34:55,200 --> 00:34:58,200
Speaker 1: Look at that, Like, bro, it wasn't even the original

638
00:34:58,360 --> 00:35:01,000
Speaker 1: video that shit went crazy on. I don't even it

639
00:35:01,000 --> 00:35:03,319
Speaker 1: doesn't make sense to me. It's like a it's like

640
00:35:03,360 --> 00:35:05,880
Speaker 1: a girl in a van, like if she was getting

641
00:35:06,000 --> 00:35:07,879
Speaker 1: kidnapped has nothing to do.

642
00:35:09,040 --> 00:35:10,200
Speaker 2: That wasn't your vision at all.

643
00:35:10,480 --> 00:35:10,600
Speaker 3: Bro.

644
00:35:11,440 --> 00:35:13,919
Speaker 1: It makes no sense, Like if I was ever getting

645
00:35:14,000 --> 00:35:18,360
Speaker 1: kidnapped or kid never thought it was a short thing. Yeah,

646
00:35:18,400 --> 00:35:22,439
Speaker 1: And somehow that's the that's the video that made someone

647
00:35:22,480 --> 00:35:24,880
Speaker 1: else create something. And I'm like, okay, I don't I

648
00:35:25,360 --> 00:35:26,040
Speaker 1: don't know if.

649
00:35:25,960 --> 00:35:28,400
Speaker 3: A darn, which is kind of nuts because it's like

650
00:35:29,000 --> 00:35:32,200
Speaker 3: it's the Steve Lacey effective. I mean, man, should I

651
00:35:32,200 --> 00:35:34,080
Speaker 3: be upset or should I be happy?

652
00:35:34,400 --> 00:35:34,560
Speaker 1: Like?

653
00:35:35,040 --> 00:35:37,200
Speaker 3: Yes, I'm happy that now my music is out there,

654
00:35:37,440 --> 00:35:39,920
Speaker 3: but it's bringing in an audience that doesn't particularly care

655
00:35:39,960 --> 00:35:40,640
Speaker 3: about my artist.

656
00:35:41,280 --> 00:35:46,640
Speaker 1: They show up and they're like, we just want that song. Yeah, yeah,

657
00:35:46,719 --> 00:35:48,800
Speaker 1: I throw somebody's phoning off stage the same you know

658
00:35:48,840 --> 00:35:50,200
Speaker 1: what I'm saying, you better know my lyrics?

659
00:35:50,200 --> 00:35:52,759
Speaker 3: No, I mean, do you think that may happen in

660
00:35:53,160 --> 00:35:56,160
Speaker 3: the upcoming tour with this project, that you'll get maybe

661
00:35:56,160 --> 00:35:59,160
Speaker 3: some younger kids that know the older songs.

662
00:35:59,360 --> 00:36:03,080
Speaker 1: Yeah, they'll be like, play sure thing, Yeah, for sure,

663
00:36:03,080 --> 00:36:07,120
Speaker 1: it's gonna happen. It's gonna happen. Uh. I kind of

664
00:36:07,360 --> 00:36:09,400
Speaker 1: I am kind of lucky in this way though, that

665
00:36:09,520 --> 00:36:13,000
Speaker 1: I do have a core audience that have been with me.

666
00:36:13,080 --> 00:36:18,399
Speaker 1: Since since all I want is you, since you know enough,

667
00:36:18,520 --> 00:36:22,680
Speaker 1: so that'll that I feel like we'll fill in the gaps.

668
00:36:24,200 --> 00:36:26,239
Speaker 1: The crazy thing I wonder is if a dorn will

669
00:36:26,239 --> 00:36:29,920
Speaker 1: have a moment coming back, think yeah, I'm like coming back.

670
00:36:29,920 --> 00:36:32,920
Speaker 1: I'm like, oh ship, They're just they're just discovering. All

671
00:36:32,960 --> 00:36:35,680
Speaker 1: I want is you wait till they get to Kaleidos coaching,

672
00:36:35,760 --> 00:36:37,200
Speaker 1: Wait till you know it's like, wait till they get

673
00:36:37,239 --> 00:36:37,760
Speaker 1: to So.

674
00:36:37,880 --> 00:36:42,279
Speaker 3: It's gonna take one like royal wedding exactly, it's some

675
00:36:42,360 --> 00:36:52,759
Speaker 3: Saudi wedding. But I mean, your team is here now,

676
00:36:52,760 --> 00:36:54,560
Speaker 3: and you guys can have this one for free on

677
00:36:54,640 --> 00:36:57,200
Speaker 3: a on the tour. Maybe you set up some type

678
00:36:57,200 --> 00:36:58,960
Speaker 3: of thing. You know, Chris Brown brings like a fan

679
00:36:59,040 --> 00:37:00,880
Speaker 3: on stage. Maybe you can nap a fan at the

680
00:37:00,960 --> 00:37:03,480
Speaker 3: end of every show in the van and like that

681
00:37:03,600 --> 00:37:08,040
Speaker 3: just becomes a thing. Just rickety van drives on stage

682
00:37:08,040 --> 00:37:09,560
Speaker 3: and then you kidnap child.

683
00:37:09,680 --> 00:37:12,480
Speaker 1: I think the Ricky van just all the just anything

684
00:37:12,520 --> 00:37:15,160
Speaker 1: that looks real, suss and we put somebody tie them up.

685
00:37:16,600 --> 00:37:17,160
Speaker 1: It's gonna go.

686
00:37:17,200 --> 00:37:17,960
Speaker 2: It's gonna.

687
00:37:19,640 --> 00:37:23,520
Speaker 3: I know your intentions were not this at all in

688
00:37:23,600 --> 00:37:26,880
Speaker 3: the song how Many Drinks, But in twenty twenty five,

689
00:37:27,719 --> 00:37:28,080
Speaker 3: how do you.

690
00:37:28,120 --> 00:37:30,640
Speaker 1: Think that is a consent?

691
00:37:33,560 --> 00:37:36,240
Speaker 2: We know that consent record.

692
00:37:36,320 --> 00:37:39,520
Speaker 1: That in twenty twenty five, how many drinks? It was

693
00:37:39,520 --> 00:37:45,520
Speaker 1: a question, take you how many are we talking? Three?

694
00:37:45,800 --> 00:37:51,719
Speaker 1: Are we talking two? That is posing a question even.

695
00:37:51,560 --> 00:37:55,600
Speaker 3: I started to get everyone's mind warped into hyper sensitive

696
00:37:55,640 --> 00:37:57,880
Speaker 3: shit because when Gladysgow Dreams came out, that would have

697
00:37:57,880 --> 00:37:59,920
Speaker 3: never even crossed my mind that would come across that.

698
00:38:00,560 --> 00:38:03,360
Speaker 1: But then through COVID when your mind changes, and yeah,

699
00:38:03,400 --> 00:38:06,840
Speaker 1: you've been everybody's internalizing everything, being sensitive.

700
00:38:06,920 --> 00:38:07,800
Speaker 2: Everybody's a victim.

701
00:38:07,880 --> 00:38:08,560
Speaker 1: I go back to this shit.

702
00:38:08,560 --> 00:38:11,759
Speaker 3: I'm like, well, this could be misconstrued, it could be

703
00:38:11,760 --> 00:38:12,760
Speaker 3: definitely twisted.

704
00:38:13,000 --> 00:38:15,560
Speaker 1: It was twisted for a second. It's not quite Rick

705
00:38:15,640 --> 00:38:18,279
Speaker 1: Ross I dropped a million or drink yet, No, it's

706
00:38:18,280 --> 00:38:18,520
Speaker 1: not that.

707
00:38:18,800 --> 00:38:21,279
Speaker 2: Yeah, no, it definitely was that. It's not that. It

708
00:38:21,360 --> 00:38:24,719
Speaker 2: wasn't that. But in twenty twenty five. I mean it

709
00:38:24,840 --> 00:38:26,799
Speaker 2: almost like when Rory said it early, I was like,

710
00:38:27,040 --> 00:38:29,719
Speaker 2: you know, it's crazy. It almost feels it's almost like

711
00:38:29,800 --> 00:38:31,759
Speaker 2: should I even play this record? Like if I'm in

712
00:38:31,800 --> 00:38:35,399
Speaker 2: the car with some girls, put this on, because it's

713
00:38:35,440 --> 00:38:40,000
Speaker 2: just a different world. It's everybody nobody understands context, or

714
00:38:40,040 --> 00:38:42,399
Speaker 2: even if they do understand it, they don't care. They

715
00:38:42,440 --> 00:38:44,640
Speaker 2: want to be upset, They want victims, they want to

716
00:38:44,680 --> 00:38:46,480
Speaker 2: know this is we cannot listen to this. It's like,

717
00:38:46,520 --> 00:38:48,280
Speaker 2: but that's not what this song is about.

718
00:38:48,320 --> 00:38:48,759
Speaker 1: That it's not.

719
00:38:49,080 --> 00:38:51,680
Speaker 2: No, I think I think you performed that song on tour.

720
00:38:51,760 --> 00:38:52,800
Speaker 2: Hell yeah, I mean.

721
00:38:52,719 --> 00:38:54,600
Speaker 1: Are you still in contact with the woman that you

722
00:38:54,640 --> 00:38:59,239
Speaker 1: drop kicked? Oh my goodness, No, I haven't. I have not.

723
00:38:59,719 --> 00:39:03,960
Speaker 1: You know, where is she? Check in with her? Though

724
00:39:04,000 --> 00:39:07,080
Speaker 1: we need to check in. I do know that that

725
00:39:07,200 --> 00:39:09,839
Speaker 1: she was okay, you know after I think it is.

726
00:39:10,120 --> 00:39:11,440
Speaker 1: It's been ample time to check in.

727
00:39:11,520 --> 00:39:12,919
Speaker 2: But you are going back on the road.

728
00:39:13,080 --> 00:39:16,359
Speaker 1: We'll be back on tour in February for sure. I'll

729
00:39:16,400 --> 00:39:18,840
Speaker 1: play the Forum for the first time in my hometown.

730
00:39:19,080 --> 00:39:21,840
Speaker 1: Oh yeah, yeah, we do the Forum in La So

731
00:39:21,880 --> 00:39:22,480
Speaker 1: I'm excited.

732
00:39:24,600 --> 00:39:27,040
Speaker 2: Which city is your favorite, like your favorite city to

733
00:39:27,160 --> 00:39:27,719
Speaker 2: perform in.

734
00:39:27,760 --> 00:39:32,840
Speaker 1: Like on tour. It's hard to say. I would say

735
00:39:33,719 --> 00:39:35,880
Speaker 1: New York has always been a special place for me.

736
00:39:35,960 --> 00:39:40,840
Speaker 1: My my career really starts on the East Coast. Yeah,

737
00:39:41,160 --> 00:39:43,600
Speaker 1: they weren't playing They didn't play any of my records

738
00:39:43,600 --> 00:39:46,120
Speaker 1: on the West coast. My first album. Really none of

739
00:39:46,160 --> 00:39:49,680
Speaker 1: those songs were on the radio in LA. In the

740
00:39:49,719 --> 00:39:52,279
Speaker 1: Bay they did, though, big shout out to the Bay

741
00:39:52,440 --> 00:39:55,400
Speaker 1: Bay area may be one of my my my top ones.

742
00:39:55,440 --> 00:39:57,360
Speaker 1: And look, I am born and raised in LA. I

743
00:39:57,360 --> 00:39:59,520
Speaker 1: will always wrap Los Angeles that's my city, or we're

744
00:39:59,560 --> 00:40:02,200
Speaker 1: have you. But we're just not known for having great

745
00:40:02,520 --> 00:40:05,640
Speaker 1: shows like crowd the crowds in LA.

746
00:40:05,600 --> 00:40:07,040
Speaker 2: Because we say that when we did some shows and

747
00:40:07,040 --> 00:40:10,600
Speaker 2: at least like the crowd is just a little more

748
00:40:10,719 --> 00:40:13,080
Speaker 2: laid back and quiet and kind of just staring at

749
00:40:13,120 --> 00:40:18,600
Speaker 2: you and call like why is that is that? We

750
00:40:18,600 --> 00:40:21,360
Speaker 2: always say, We always joke and say everybody's high, but

751
00:40:21,400 --> 00:40:25,320
Speaker 2: everybody's high in the Bay too, though, Yeah, everybody's high everywhere.

752
00:40:25,520 --> 00:40:27,920
Speaker 2: Yeah at a show, yeah gotta be high. But it's

753
00:40:27,920 --> 00:40:30,000
Speaker 2: just something about La Tho where it's just like the

754
00:40:30,120 --> 00:40:31,800
Speaker 2: energy is always more reserved.

755
00:40:32,160 --> 00:40:36,640
Speaker 1: I believe you will find more than any artists upset

756
00:40:36,680 --> 00:40:38,719
Speaker 1: at their shows, like video of them being like this

757
00:40:38,920 --> 00:40:41,320
Speaker 1: is like y'all better, like come on, like get up. Yeah,

758
00:40:41,440 --> 00:40:43,920
Speaker 1: in Los Angeles. I just think it's it's just a

759
00:40:43,960 --> 00:40:47,960
Speaker 1: cultural like laid back thing. I guess about it, because even.

760
00:40:47,920 --> 00:40:50,480
Speaker 3: I feel like New York has the stereotype of like

761
00:40:50,520 --> 00:40:52,520
Speaker 3: the too cool crowd, but I always felt that was.

762
00:40:52,560 --> 00:40:55,200
Speaker 1: Misjudged, Like I think New York Crown, New York was crazy.

763
00:40:55,160 --> 00:40:56,480
Speaker 2: Yeah, New York is LA.

764
00:40:56,560 --> 00:40:59,240
Speaker 1: Maybe only stereotype, but I think it's true with crowds.

765
00:40:59,440 --> 00:41:02,080
Speaker 3: Yeah, and rap shows, R and B shows, rock shows,

766
00:41:02,280 --> 00:41:04,200
Speaker 3: podcast like everyone is just fucking standing there.

767
00:41:04,360 --> 00:41:06,920
Speaker 1: Watch you buy a ticket? Yeah, I don't want to dance. Actually,

768
00:41:06,960 --> 00:41:08,400
Speaker 1: the last show I went to an LA that was

769
00:41:08,640 --> 00:41:12,239
Speaker 1: that cracked was a turnstile show. Okay, and I was

770
00:41:12,280 --> 00:41:13,600
Speaker 1: in the pit for the most of that show, but

771
00:41:14,239 --> 00:41:16,080
Speaker 1: that was a dope one. And this is before the

772
00:41:16,200 --> 00:41:18,600
Speaker 1: newest album actually great album. Also, anyone in the pit

773
00:41:18,719 --> 00:41:24,319
Speaker 1: go oh shit? Is that Miguel? Hell no, No, like

774
00:41:24,520 --> 00:41:27,560
Speaker 1: Miguel Miguel. They're just like go hard.

775
00:41:27,880 --> 00:41:29,920
Speaker 2: I often do you go, like see other artists like

776
00:41:29,920 --> 00:41:32,200
Speaker 2: to their live shows. Yeah, as a fan, just kind

777
00:41:32,200 --> 00:41:34,680
Speaker 2: of like look at the set and yes, yes, And

778
00:41:34,719 --> 00:41:38,200
Speaker 2: I don't I prefer to be in it, Like I

779
00:41:38,200 --> 00:41:38,719
Speaker 2: don't want to be.

780
00:41:39,560 --> 00:41:40,719
Speaker 1: I'm not trying to be. I don't want to do

781
00:41:40,800 --> 00:41:43,279
Speaker 1: that side of stage sound is trash. Yeah, I want

782
00:41:43,280 --> 00:41:45,959
Speaker 1: to go listen and like absorb and enjoy the show

783
00:41:46,000 --> 00:41:48,000
Speaker 1: and like really feel it. You know, that's just the

784
00:41:48,480 --> 00:41:51,440
Speaker 1: I mean, I mean we forget, like that's the beauty

785
00:41:51,480 --> 00:41:55,520
Speaker 1: of getting together and listening to great ship is like

786
00:41:56,080 --> 00:42:00,600
Speaker 1: around people. You're around people enjoying a moment. That's what

787
00:42:01,239 --> 00:42:04,160
Speaker 1: the the they just brought me on and I've been

788
00:42:05,520 --> 00:42:08,640
Speaker 1: I've been excited about this. I'm Scotland Residents at n

789
00:42:08,760 --> 00:42:13,640
Speaker 1: y U this semester. Yeah, I'm doing a course entitled

790
00:42:13,840 --> 00:42:17,120
Speaker 1: Speaking Chaos of Power, which is which is just about

791
00:42:17,120 --> 00:42:20,920
Speaker 1: across the board, taking you know, all of our endeavors

792
00:42:20,960 --> 00:42:23,319
Speaker 1: and making sure that we're using it in a way

793
00:42:23,400 --> 00:42:27,200
Speaker 1: that's equitable, which I feel like is the right It's

794
00:42:27,239 --> 00:42:30,719
Speaker 1: the right time for that, but especially in music and

795
00:42:30,960 --> 00:42:35,880
Speaker 1: across the arts, across all mediums, I think really being

796
00:42:36,120 --> 00:42:40,160
Speaker 1: intentional about how we're organizing and molding and shaping the

797
00:42:40,239 --> 00:42:44,719
Speaker 1: industries of i P and utilizing i P, and how

798
00:42:44,760 --> 00:42:48,160
Speaker 1: that i P should remain in the power of the creators,

799
00:42:48,400 --> 00:42:50,800
Speaker 1: and and also the systems by which that i P

800
00:42:50,960 --> 00:42:56,000
Speaker 1: get distributed and monetized should be owned and operated by

801
00:42:56,080 --> 00:42:59,480
Speaker 1: the creators. I think it's that time where it's no

802
00:42:59,560 --> 00:43:04,120
Speaker 1: longer other entrepreneurs than you know, building businesses off of

803
00:43:04,160 --> 00:43:07,080
Speaker 1: IP I think it should be artists owned is important,

804
00:43:07,120 --> 00:43:12,480
Speaker 1: so anyway built a whole course around that. But this,

805
00:43:12,719 --> 00:43:15,799
Speaker 1: uh should don't even know we were talking about. Oh oh,

806
00:43:15,960 --> 00:43:18,960
Speaker 1: it's the moments of getting together and organizing. I mean,

807
00:43:19,080 --> 00:43:21,640
Speaker 1: these are the beginnings of it. Are shows like go

808
00:43:21,680 --> 00:43:24,480
Speaker 1: to your like, support your art, go to your artist shows,

809
00:43:25,160 --> 00:43:29,600
Speaker 1: enjoy them. That is the function of art. Art brings

810
00:43:29,640 --> 00:43:35,360
Speaker 1: people together around emotion, which erasist change the differences creed, color,

811
00:43:35,520 --> 00:43:40,480
Speaker 1: religious belief, ethnic background, all of that completely disappears where

812
00:43:40,520 --> 00:43:43,200
Speaker 1: you're in the presence of art. That's why you'll go

813
00:43:43,239 --> 00:43:45,320
Speaker 1: look at the painting and sit and just stare at that.

814
00:43:45,360 --> 00:43:47,799
Speaker 1: But it's just be like, I don't I don't know

815
00:43:47,840 --> 00:43:51,520
Speaker 1: who this artist somebody, but this is like I fuck

816
00:43:51,600 --> 00:43:53,640
Speaker 1: with this. Or you listen to a poet who's from

817
00:43:53,640 --> 00:43:56,920
Speaker 1: a completely different walk of life and you're like, this

818
00:43:57,040 --> 00:44:00,719
Speaker 1: is just I feel this. Last night I was at

819
00:44:00,719 --> 00:44:04,279
Speaker 1: the Blue Note said I watched a poet by my

820
00:44:04,360 --> 00:44:10,640
Speaker 1: name of Queen Shiba. She's from she's from Atlanta, and

821
00:44:10,719 --> 00:44:13,799
Speaker 1: she did an amazing piece last night moving and I'm like, man,

822
00:44:13,840 --> 00:44:16,840
Speaker 1: how often do we go see poetry anymore? And like,

823
00:44:16,880 --> 00:44:20,600
Speaker 1: how often are we going so I think about that

824
00:44:20,760 --> 00:44:22,880
Speaker 1: just to say, like, no, like I go to shows

825
00:44:22,920 --> 00:44:27,480
Speaker 1: to enjoy and absorb the fucking emotion. That's like, that's

826
00:44:27,480 --> 00:44:28,080
Speaker 1: what it's about.

827
00:44:28,280 --> 00:44:35,160
Speaker 3: Yeah, Like, average live music beats good recorded music any day.

828
00:44:35,520 --> 00:44:37,279
Speaker 3: Just if you would just walk past somebody and watch

829
00:44:37,320 --> 00:44:39,200
Speaker 3: the square park and they just playing, that's going to

830
00:44:39,280 --> 00:44:41,399
Speaker 3: feel better than good recorded music.

831
00:44:41,480 --> 00:44:45,400
Speaker 1: That's not any moment of professionals. Also, I love New Orleans.

832
00:44:45,719 --> 00:44:47,440
Speaker 3: I love being one of the greatest, one of my

833
00:44:47,440 --> 00:44:49,160
Speaker 3: favorite cities, and it's the only city in the States

834
00:44:49,200 --> 00:44:51,200
Speaker 3: where you feel like you're not in the States.

835
00:44:51,320 --> 00:44:54,680
Speaker 1: Yeah, exactly, it feels like a whole other, whole other place.

836
00:44:55,200 --> 00:44:57,880
Speaker 1: So to answer your question, New Orleans is one of them.

837
00:44:57,920 --> 00:45:02,080
Speaker 1: New York for sure, London's been really good to me.

838
00:45:02,280 --> 00:45:08,520
Speaker 1: South Africa is great. Australia okay, yeah, Australia is always

839
00:45:08,520 --> 00:45:10,320
Speaker 1: really good. Those are some big ones.

840
00:45:10,640 --> 00:45:12,960
Speaker 3: Now that I know your career started in New York

841
00:45:12,960 --> 00:45:15,920
Speaker 3: more or lesson recording out here. What were some of

842
00:45:15,920 --> 00:45:19,200
Speaker 3: the spots you were going to in two thousand and

843
00:45:19,440 --> 00:45:23,000
Speaker 3: ten in New York. Yeah, I'm curious what the Miguel

844
00:45:23,080 --> 00:45:25,200
Speaker 3: like club run was like, Like, was he at Up

845
00:45:25,239 --> 00:45:25,600
Speaker 3: and Down?

846
00:45:25,840 --> 00:45:28,200
Speaker 2: I was I was going to say up and down

847
00:45:28,239 --> 00:45:31,640
Speaker 2: downy Like, I've walked past mcguil a few times in

848
00:45:31,640 --> 00:45:31,919
Speaker 2: the club.

849
00:45:31,960 --> 00:45:36,360
Speaker 1: I'm like, is that Miguel. He's just like up and down,

850
00:45:37,160 --> 00:45:37,680
Speaker 1: up and down.

851
00:45:38,719 --> 00:45:42,640
Speaker 2: That was like, that's the legendary. I've definitely seen Miguel,

852
00:45:42,760 --> 00:45:45,520
Speaker 2: Like maybe even Compella one night getting something to eat.

853
00:45:45,560 --> 00:45:48,200
Speaker 1: Compella for sure was the go to late night always.

854
00:45:48,200 --> 00:45:50,399
Speaker 1: We still go there. I still get the tacos there.

855
00:45:50,400 --> 00:45:52,000
Speaker 1: They had to bring them back. Yeah, they got rid

856
00:45:52,040 --> 00:45:53,880
Speaker 1: of them a second. Yeah, you've never been a Copella

857
00:45:53,920 --> 00:45:55,719
Speaker 1: and you've been in the citygether. Yeah, I think like

858
00:45:55,719 --> 00:45:58,640
Speaker 1: a Vashti Santos set. Maybe I've seen you for sure,

859
00:45:58,680 --> 00:45:59,919
Speaker 1: seen you at for sure?

860
00:46:00,000 --> 00:46:02,479
Speaker 2: Where have we been? New York is so little.

861
00:46:04,080 --> 00:46:04,719
Speaker 1: You don't have these things.

862
00:46:04,719 --> 00:46:06,000
Speaker 2: You don't have these things anymore.

863
00:46:06,400 --> 00:46:08,000
Speaker 1: Yeah, it's kind of it's kind of changed.

864
00:46:09,040 --> 00:46:09,520
Speaker 2: Outside.

865
00:46:10,160 --> 00:46:12,680
Speaker 1: People are still outside though, like, like, what.

866
00:46:12,400 --> 00:46:14,239
Speaker 2: What are people doing outside in New York.

867
00:46:14,320 --> 00:46:16,279
Speaker 1: It's not the same. It's it's not the same.

868
00:46:16,640 --> 00:46:18,799
Speaker 2: They're bringing one oh back because New York is so

869
00:46:18,920 --> 00:46:19,399
Speaker 2: terrible now.

870
00:46:19,480 --> 00:46:21,640
Speaker 1: Yeah, I feel like New York is kind of transitioned

871
00:46:21,640 --> 00:46:24,719
Speaker 1: to more like private parties. It's like it's kind of

872
00:46:24,760 --> 00:46:26,320
Speaker 1: more like the private ship.

873
00:46:26,360 --> 00:46:29,680
Speaker 2: Yeah, members clubs like you know, the Soho houses and

874
00:46:29,719 --> 00:46:32,520
Speaker 2: things like that. Yeah, like that's not just people do

875
00:46:32,560 --> 00:46:33,000
Speaker 2: I guess I.

876
00:46:32,920 --> 00:46:36,040
Speaker 1: Went to a spot. I'm trying to think. The last

877
00:46:36,080 --> 00:46:42,040
Speaker 1: dinner we did was that the I just had dinner

878
00:46:42,080 --> 00:46:46,680
Speaker 1: with Nikki over there. It was one of my best friends.

879
00:46:48,760 --> 00:46:50,760
Speaker 1: What was that spot? But yes, the private the private

880
00:46:50,760 --> 00:46:56,279
Speaker 1: clubs is going crazy, the private spots. How's how's fatherhood

881
00:46:56,400 --> 00:47:03,319
Speaker 1: changed your brain in the last year? I for bro

882
00:47:03,480 --> 00:47:05,719
Speaker 1: me too? Why should is just? And they The weird

883
00:47:05,760 --> 00:47:07,799
Speaker 1: thing is they come and they go, It's like they're

884
00:47:07,840 --> 00:47:09,439
Speaker 1: in and then they'll be like, all right, I'm chilling

885
00:47:09,440 --> 00:47:11,120
Speaker 1: somebody as I wake up with more grades and then

886
00:47:11,120 --> 00:47:13,720
Speaker 1: they disappear. Yeah, yeah, they'd be like I'm coming.

887
00:47:14,000 --> 00:47:16,799
Speaker 3: Like the more my daughter kicks me in the face

888
00:47:16,800 --> 00:47:18,320
Speaker 3: at night, the more the grays cious.

889
00:47:18,640 --> 00:47:20,560
Speaker 1: I'm getting that right now a big time. They wake

890
00:47:20,640 --> 00:47:21,360
Speaker 1: up with a slap.

891
00:47:21,560 --> 00:47:22,040
Speaker 2: Yeah.

892
00:47:22,200 --> 00:47:24,480
Speaker 1: I never thought I'd appreciate it so much, but I

893
00:47:24,520 --> 00:47:26,040
Speaker 1: love it best. Wake up.

894
00:47:28,280 --> 00:47:28,480
Speaker 2: Dad.

895
00:47:28,520 --> 00:47:32,200
Speaker 1: Brain is a real thing. Yeah, I'm forgetting all the

896
00:47:32,400 --> 00:47:36,239
Speaker 1: ship all the time. I didn't know I could be

897
00:47:36,280 --> 00:47:39,080
Speaker 1: this tired and just still be like all right, well

898
00:47:39,239 --> 00:47:41,640
Speaker 1: make it work. I have a tremendous appreciation for my

899
00:47:41,680 --> 00:47:44,919
Speaker 1: parents in a very different for sure. We were talking

900
00:47:44,920 --> 00:47:47,840
Speaker 1: about this in the kitchen. It's like people do say that,

901
00:47:47,920 --> 00:47:50,040
Speaker 1: it's like you you do feel that way. It's like

902
00:47:50,080 --> 00:47:53,520
Speaker 1: the most life changing thing, but it is scary. Yeah,

903
00:47:53,719 --> 00:47:57,360
Speaker 1: I look at the world differently. I feel I feel

904
00:47:59,080 --> 00:48:02,040
Speaker 1: a big response to ability to both like try and

905
00:48:02,080 --> 00:48:04,120
Speaker 1: do something about what I see because it's going to

906
00:48:04,160 --> 00:48:07,000
Speaker 1: be his. Yeah. And I also am like the most

907
00:48:07,040 --> 00:48:12,399
Speaker 1: angry and protective that I've ever been, which I think

908
00:48:12,400 --> 00:48:16,120
Speaker 1: it's a it's a sign of maturity. Oddly, I'm like, oh, no,

909
00:48:16,280 --> 00:48:18,880
Speaker 1: you actually it's not all good out here, and everything

910
00:48:18,920 --> 00:48:21,480
Speaker 1: is going to be all right, just because it's going

911
00:48:21,520 --> 00:48:23,799
Speaker 1: to be all right, you know. And I think I

912
00:48:23,840 --> 00:48:28,279
Speaker 1: took that. I was very much in that, like manifested

913
00:48:28,320 --> 00:48:30,680
Speaker 1: it's going to be good. Yeah. For it's like, nah,

914
00:48:30,920 --> 00:48:32,480
Speaker 1: you're gonna have to make that shit happen. Yeah.

915
00:48:32,480 --> 00:48:36,200
Speaker 3: It's crazy that the feelings of going from feelings so

916
00:48:36,560 --> 00:48:38,320
Speaker 3: insignificant once you have a child, because this is the

917
00:48:38,360 --> 00:48:41,360
Speaker 3: most important thing too. While I am the most important

918
00:48:41,400 --> 00:48:44,319
Speaker 3: person because I'm teaching my dumb ass is teaching you

919
00:48:44,840 --> 00:48:47,440
Speaker 3: everything you need to know, and it's like should I

920
00:48:47,480 --> 00:48:47,880
Speaker 3: be doing that?

921
00:48:48,280 --> 00:48:50,960
Speaker 1: Yeah, it'll have you questioning. I was tripping that they

922
00:48:51,040 --> 00:48:53,480
Speaker 1: just gave us the baby after he was born, like

923
00:48:53,920 --> 00:48:58,200
Speaker 1: all right, go home. I was like, that's is You're

924
00:48:58,200 --> 00:48:59,719
Speaker 1: not going to show me how to get him into

925
00:48:59,719 --> 00:49:03,719
Speaker 1: this like how do Yeah? Like I'm like, am I

926
00:49:03,760 --> 00:49:07,480
Speaker 1: gonna break him? Like YoY? Like is it? It's me?

927
00:49:08,440 --> 00:49:10,320
Speaker 3: They brought us to like our you know, the room

928
00:49:10,560 --> 00:49:14,160
Speaker 3: after she gave birth, and they just put amar in

929
00:49:14,640 --> 00:49:17,080
Speaker 3: the ship and close the door. We was like, wait,

930
00:49:17,440 --> 00:49:21,320
Speaker 3: it's like peace, no, no, no come back questions?

931
00:49:22,120 --> 00:49:24,520
Speaker 1: Yeah yeah, yeah, how did you wrap them up like that? Okay?

932
00:49:24,560 --> 00:49:26,800
Speaker 1: Can you at least show me that one time? Yeah,

933
00:49:27,640 --> 00:49:31,520
Speaker 1: it's it's I do feel and I don't want to

934
00:49:31,560 --> 00:49:35,160
Speaker 1: say the word that I was going to say is inadequate.

935
00:49:35,320 --> 00:49:41,040
Speaker 1: But it's not that I feel inadequate. I feel I'm

936
00:49:41,080 --> 00:49:44,279
Speaker 1: aware that I don't have the answers. Yeah, you know,

937
00:49:44,880 --> 00:49:47,320
Speaker 1: And we were talking about that like damn ship because

938
00:49:47,360 --> 00:49:49,920
Speaker 1: because my son is one, so he's going to be

939
00:49:49,920 --> 00:49:54,920
Speaker 1: out and you're saying too, yeah, yeah, he when he

940
00:49:54,920 --> 00:49:58,120
Speaker 1: starts asking those questions, I don't know.

941
00:49:57,760 --> 00:49:59,680
Speaker 2: I don't know, I really don't know.

942
00:50:00,200 --> 00:50:02,319
Speaker 1: But you know what, though, I will say that, I

943
00:50:02,360 --> 00:50:05,200
Speaker 1: will feel comfortable saying I don't know, son, let me,

944
00:50:05,239 --> 00:50:07,560
Speaker 1: let's look it up. You know, Like I do feel

945
00:50:08,040 --> 00:50:10,400
Speaker 1: good about that. I don't feel like I have to

946
00:50:10,440 --> 00:50:11,920
Speaker 1: have the answer yeah.

947
00:50:11,560 --> 00:50:14,040
Speaker 3: To that place because for the first like few months,

948
00:50:14,080 --> 00:50:16,960
Speaker 3: where you know, she was really starting to have like

949
00:50:17,040 --> 00:50:21,040
Speaker 3: real thoughts and questions, I was so insecure of like

950
00:50:21,200 --> 00:50:25,280
Speaker 3: I don't know anything. Like she's asking simple and profound questions.

951
00:50:25,320 --> 00:50:28,160
Speaker 3: I'm like, I don't fucking know. Yeah. Now I've gotten

952
00:50:28,200 --> 00:50:32,120
Speaker 3: more comfortable with saying I don't know. Yeah, like I

953
00:50:32,120 --> 00:50:34,759
Speaker 3: have no and I feel like that prepares them as well,

954
00:50:34,840 --> 00:50:36,399
Speaker 3: because she's not gonna know shit.

955
00:50:36,800 --> 00:50:39,000
Speaker 1: Sometimes you'll be like I don't know, Yeah, let's figure

956
00:50:39,040 --> 00:50:42,279
Speaker 1: it out, let's find out. Yeah. I think that's the opportunity.

957
00:50:42,320 --> 00:50:46,520
Speaker 1: I will probably be hitting chat GBT though. I'll be like, so,

958
00:50:46,600 --> 00:50:49,680
Speaker 1: why is the moon so big today? And like, I

959
00:50:49,719 --> 00:50:52,040
Speaker 1: don't know, that's a good question. Yeah.

960
00:50:52,280 --> 00:50:55,160
Speaker 2: So listening to this, this this project, well back to

961
00:50:56,200 --> 00:50:58,520
Speaker 2: the you know, the lack of features. I don't know

962
00:50:58,520 --> 00:50:59,799
Speaker 2: if were there any features on this.

963
00:51:00,480 --> 00:51:03,000
Speaker 1: Just George Clinton in the very end, which is a.

964
00:51:03,040 --> 00:51:05,880
Speaker 2: Dream he just threw, you know, he just threw George Clinton.

965
00:51:05,920 --> 00:51:09,640
Speaker 1: Just only not just I'm sorry only George Clinton. Yeah,

966
00:51:10,200 --> 00:51:14,120
Speaker 1: I'm that's intentional for sure. Good Thoughts, Bad Thoughts has

967
00:51:14,160 --> 00:51:19,000
Speaker 1: been a big It had a big impact in my life.

968
00:51:19,000 --> 00:51:21,960
Speaker 1: Has had a big impact in my life. And because

969
00:51:22,000 --> 00:51:25,840
Speaker 1: this album kind of like represents I feel like a

970
00:51:25,880 --> 00:51:31,400
Speaker 1: turning point for me. It's it's personal. I wanted I

971
00:51:31,440 --> 00:51:35,919
Speaker 1: wanted it to be just about the overarching the where

972
00:51:35,960 --> 00:51:40,720
Speaker 1: I'm at, you know, and just George is just his words.

973
00:51:40,760 --> 00:51:43,879
Speaker 1: And in that song, if you never listen heard Good

974
00:51:43,920 --> 00:51:47,400
Speaker 1: Good Thoughts, Bad Thoughts, the first the first two and

975
00:51:47,480 --> 00:51:51,200
Speaker 1: a half three minutes is just soloing and then the

976
00:51:51,239 --> 00:51:56,960
Speaker 1: second half is George Clinton just speaking deep deep truth,

977
00:51:57,480 --> 00:52:00,600
Speaker 1: the kind of truth that's like a breath of fresh

978
00:52:00,680 --> 00:52:04,920
Speaker 1: air and also like feels like it's ominous. It's like

979
00:52:04,960 --> 00:52:10,359
Speaker 1: an ominous truth that's stuck with me since the very

980
00:52:10,360 --> 00:52:14,280
Speaker 1: first time I heard it. And a lot of those

981
00:52:14,400 --> 00:52:16,160
Speaker 1: a lot of that is a core is like core

982
00:52:16,200 --> 00:52:19,880
Speaker 1: belief for me. Travel, travel like a king. You know,

983
00:52:19,960 --> 00:52:23,320
Speaker 1: it's like your thoughts, like careful of the plant seeds

984
00:52:23,360 --> 00:52:25,600
Speaker 1: you plant in your mind, because seeds grow according to

985
00:52:25,640 --> 00:52:29,800
Speaker 1: their kind. You know. It's like deep things that resonate

986
00:52:29,880 --> 00:52:32,120
Speaker 1: with me and things that I, you know, want to

987
00:52:32,120 --> 00:52:34,759
Speaker 1: instill in my son. And I think it is those

988
00:52:34,800 --> 00:52:37,680
Speaker 1: core beliefs that really helped push me push through some

989
00:52:37,800 --> 00:52:42,040
Speaker 1: of the change in this album that I was. I

990
00:52:42,200 --> 00:52:44,120
Speaker 1: just it was a dream to have him on the album,

991
00:52:44,200 --> 00:52:46,960
Speaker 1: and and it all the more makes him being on

992
00:52:47,040 --> 00:52:49,480
Speaker 1: the last song, which is called a beautiful I'm sorry

993
00:52:50,560 --> 00:52:54,880
Speaker 1: Kama Karma, Uh, it makes it even more important. So yeah,

994
00:52:55,040 --> 00:52:57,440
Speaker 1: he blessed me, blessed me there.

995
00:52:57,440 --> 00:53:00,440
Speaker 2: As a as a as a as a musician and songwriter.

996
00:53:01,120 --> 00:53:05,880
Speaker 2: What is Miguel's what is your greatest one song? Greatest?

997
00:53:05,920 --> 00:53:09,360
Speaker 2: Not yours and just the heard.

998
00:53:10,840 --> 00:53:12,919
Speaker 1: I'm telling you, this is my favorite song of all time.

999
00:53:13,080 --> 00:53:16,560
Speaker 1: So Good Thoughts, Bad Thoughts by Funkadelic Great one of

1000
00:53:16,600 --> 00:53:19,000
Speaker 1: the greatest songs of all time, one of my top

1001
00:53:19,440 --> 00:53:22,960
Speaker 1: and it's it's not just the second half it is.

1002
00:53:23,040 --> 00:53:30,359
Speaker 1: The first half feels it's like transcend. It's transcending. You know,

1003
00:53:30,440 --> 00:53:33,680
Speaker 1: it's your you can close your eyes and it's going

1004
00:53:33,760 --> 00:53:35,759
Speaker 1: to take you to a whole other place. Yeah, and

1005
00:53:35,800 --> 00:53:37,920
Speaker 1: then the second half is like a double down on

1006
00:53:38,080 --> 00:53:41,680
Speaker 1: like just belief systems. And and to think that it

1007
00:53:42,160 --> 00:53:44,359
Speaker 1: came at a time, in the time that it came.

1008
00:53:44,440 --> 00:53:48,400
Speaker 1: It's just like just so far ahead, you know. You know,

1009
00:53:48,480 --> 00:53:52,520
Speaker 1: George is a visionary and I mean he's made just

1010
00:53:52,640 --> 00:53:54,719
Speaker 1: shit that's going to last for ever and ever and ever.

1011
00:53:54,760 --> 00:53:56,440
Speaker 3: So yeah, that makes so much sense though that that

1012
00:53:56,520 --> 00:53:59,759
Speaker 3: would be because I feel like Kaleidoscope Dreams even is

1013
00:53:59,840 --> 00:54:03,800
Speaker 3: like like a continuation of Maggot Brain. Yeah. Yeah, it

1014
00:54:04,280 --> 00:54:07,799
Speaker 3: very much Funkadelic Maggot Brain to me would be Kaleidoscope

1015
00:54:07,880 --> 00:54:10,839
Speaker 3: Dreams of that time. So that does make a lot

1016
00:54:10,880 --> 00:54:13,880
Speaker 3: of sense. How did that whole you know, relationship with

1017
00:54:14,000 --> 00:54:14,600
Speaker 3: him even?

1018
00:54:15,160 --> 00:54:18,000
Speaker 1: How did that happen? Bro? How did that with George?

1019
00:54:18,880 --> 00:54:24,560
Speaker 1: Did they just reach out because he was working on something?

1020
00:54:24,680 --> 00:54:27,240
Speaker 2: Yeah, that's crazy.

1021
00:54:27,719 --> 00:54:31,719
Speaker 1: Yeah, it was just kind of wow. It was one

1022
00:54:31,760 --> 00:54:34,040
Speaker 1: of those you know, like is this a prank call

1023
00:54:34,120 --> 00:54:34,680
Speaker 1: type of moment.

1024
00:54:34,880 --> 00:54:35,560
Speaker 2: Yeah, it was.

1025
00:54:35,600 --> 00:54:39,480
Speaker 1: It was like that, it's like, really, are you sure, George? Right? Yeah?

1026
00:54:39,760 --> 00:54:42,560
Speaker 1: So so yeah, it just came about that he was

1027
00:54:42,560 --> 00:54:45,960
Speaker 1: working on a project and his team reached out and

1028
00:54:46,320 --> 00:54:50,200
Speaker 1: I was like, tell him good Thoughts. Bad Thoughts is

1029
00:54:50,200 --> 00:54:52,480
Speaker 1: like one of my favorite songs of all time and

1030
00:54:52,520 --> 00:54:55,759
Speaker 1: it's like changed my life. And I told him the

1031
00:54:55,760 --> 00:54:57,319
Speaker 1: story of how I heard the song the first time

1032
00:54:57,320 --> 00:55:00,320
Speaker 1: I was at Coachella. I was driving, windows down. I

1033
00:55:00,320 --> 00:55:02,640
Speaker 1: don't know who left this CD in my car back

1034
00:55:02,800 --> 00:55:06,040
Speaker 1: This is back before when Coachella was still an electronic music,

1035
00:55:06,440 --> 00:55:09,000
Speaker 1: music and arts. You know, it's like an electronic festival.

1036
00:55:09,840 --> 00:55:10,760
Speaker 2: Something totally different.

1037
00:55:11,120 --> 00:55:15,239
Speaker 1: Yeah, it's very different, very different, very different. And I

1038
00:55:15,320 --> 00:55:17,520
Speaker 1: was coming from a long night. I did all kind

1039
00:55:17,520 --> 00:55:20,320
Speaker 1: of shit and I was driving back to my little

1040
00:55:20,680 --> 00:55:25,839
Speaker 1: shitty motel that I found last minute, and uh, and

1041
00:55:25,880 --> 00:55:27,680
Speaker 1: I popped the CD in just because I was like,

1042
00:55:27,960 --> 00:55:31,960
Speaker 1: windows are down, I'm high. Do not advise anyone doing this.

1043
00:55:33,040 --> 00:55:34,400
Speaker 1: You know, it's a wild night when you don't even

1044
00:55:34,440 --> 00:55:36,279
Speaker 1: know who left the CD in your car. Oh, I

1045
00:55:36,280 --> 00:55:37,839
Speaker 1: don't know. I still to this day don't know who

1046
00:55:37,920 --> 00:55:39,279
Speaker 1: left that citty in my car. But I put this

1047
00:55:39,440 --> 00:55:41,399
Speaker 1: and the first thing that came came on was this

1048
00:55:41,440 --> 00:55:44,359
Speaker 1: and it it comes in kind of soft, it kind

1049
00:55:44,360 --> 00:55:47,200
Speaker 1: of creeps in, and after a long night, it was

1050
00:55:47,239 --> 00:55:50,160
Speaker 1: like your high, windows down, the sun is coming up.

1051
00:55:50,160 --> 00:55:53,360
Speaker 1: I've got like the mountains on my on my right

1052
00:55:53,400 --> 00:55:55,239
Speaker 1: and the sun is coming up on the left and

1053
00:55:55,280 --> 00:55:57,359
Speaker 1: I'm just like the wind is blowing, but it's hot

1054
00:55:57,400 --> 00:56:02,800
Speaker 1: because you're in you know, Indio. Yeah, and this guitar

1055
00:56:02,920 --> 00:56:06,800
Speaker 1: comes in and it's like magic, and I'm just going

1056
00:56:07,440 --> 00:56:09,799
Speaker 1: and I'm driving. It's taken a long time to get there.

1057
00:56:10,239 --> 00:56:13,279
Speaker 1: I'm driving for some time and it feels good. And

1058
00:56:13,360 --> 00:56:16,440
Speaker 1: all of a sudden traveled like a king and I'm like,

1059
00:56:17,239 --> 00:56:22,600
Speaker 1: I swerved. I'm like because it's jarring. It's kind of scary,

1060
00:56:22,640 --> 00:56:25,640
Speaker 1: but I get I gained control of the car almost,

1061
00:56:25,800 --> 00:56:29,440
Speaker 1: you know, I crash almost crash out, get control of

1062
00:56:29,440 --> 00:56:32,719
Speaker 1: the car and I, you know, tighten up. And in

1063
00:56:32,760 --> 00:56:35,840
Speaker 1: that time, I must have been really too high, so

1064
00:56:35,880 --> 00:56:39,080
Speaker 1: it sowered me up one but it also locked me in.

1065
00:56:39,600 --> 00:56:43,200
Speaker 1: And I listened to to just George Clinton just speaking

1066
00:56:43,239 --> 00:56:45,719
Speaker 1: that just deep deep truth, and that shit hit me

1067
00:56:45,840 --> 00:56:48,319
Speaker 1: so hard and it's still to this day again. It's

1068
00:56:48,360 --> 00:56:51,160
Speaker 1: something that I'll play for my son and it's one

1069
00:56:51,200 --> 00:56:52,920
Speaker 1: of those songs that I'll just always be like.

1070
00:56:53,040 --> 00:56:54,680
Speaker 2: It's yeah, it stuck with you.

1071
00:56:54,760 --> 00:56:56,760
Speaker 1: Yeah, yeah, No, that's that's beautiful.

1072
00:56:57,000 --> 00:57:00,680
Speaker 3: Are you a miss Rachel family or you? What's what's

1073
00:57:00,719 --> 00:57:04,680
Speaker 3: your go to with screen time? Screen time for him?

1074
00:57:04,880 --> 00:57:08,719
Speaker 1: Yeah? No screen time? Love it right now? No screen time?

1075
00:57:10,239 --> 00:57:14,040
Speaker 1: You say that? No, I know no, I'm counting down

1076
00:57:14,080 --> 00:57:15,919
Speaker 1: the days. I'm like, how when can we start doing

1077
00:57:16,280 --> 00:57:16,840
Speaker 1: screen time?

1078
00:57:16,920 --> 00:57:17,200
Speaker 2: Please?

1079
00:57:17,320 --> 00:57:21,040
Speaker 3: Because yeah, sometimes until you're in Holland tunnel traffic, it's

1080
00:57:21,080 --> 00:57:23,640
Speaker 3: like take that pad. Yeah, here, here, this is here

1081
00:57:23,680 --> 00:57:24,200
Speaker 3: to take it.

1082
00:57:24,240 --> 00:57:28,080
Speaker 1: Take it. Yeah, he's he's definitely trying. I need to

1083
00:57:28,080 --> 00:57:30,960
Speaker 1: get like a disguise, like a book like something to

1084
00:57:31,000 --> 00:57:32,520
Speaker 1: make it not look like it's a phone, because he

1085
00:57:32,560 --> 00:57:35,080
Speaker 1: knows exactly what this is. And he's like just crazy,

1086
00:57:35,120 --> 00:57:37,360
Speaker 1: Oh my god, he's like I mean, he picks it

1087
00:57:37,400 --> 00:57:39,080
Speaker 1: up and moves his his thumb around like he knows

1088
00:57:39,120 --> 00:57:42,360
Speaker 1: what he's doing. I'm like, all right, yeah, yeah.

1089
00:57:42,440 --> 00:57:45,000
Speaker 3: Before we let you go, I have kind of a random,

1090
00:57:45,520 --> 00:57:48,960
Speaker 3: yet nerdy question, what is your relationship with Blue like

1091
00:57:49,000 --> 00:57:49,560
Speaker 3: these days?

1092
00:57:49,920 --> 00:57:53,560
Speaker 1: Man? Blue is for those of you that don't know,

1093
00:57:53,880 --> 00:57:57,080
Speaker 1: Blue and I go back to high school. Yeah, we

1094
00:57:57,120 --> 00:58:01,600
Speaker 1: went to high school together, and I mean and we

1095
00:58:01,800 --> 00:58:04,720
Speaker 1: talk on text here and there, but we actually haven't

1096
00:58:04,760 --> 00:58:06,640
Speaker 1: kicked it in a long time. But that's my brother,

1097
00:58:06,800 --> 00:58:11,240
Speaker 1: like he's that's my brother getting on almost talented. This

1098
00:58:11,320 --> 00:58:13,920
Speaker 1: is a ever if you have not listened to below,

1099
00:58:13,960 --> 00:58:16,720
Speaker 1: the Heavens called do yourself a favor and listen to

1100
00:58:16,800 --> 00:58:21,240
Speaker 1: a classic album called Below the Heavens Man. He's still

1101
00:58:21,240 --> 00:58:24,280
Speaker 1: crushing with exile and an exile. You know, we're like

1102
00:58:25,320 --> 00:58:28,320
Speaker 1: it's just online text message kind of kind of like

1103
00:58:28,400 --> 00:58:31,600
Speaker 1: keeping up, but there's always like one or two things

1104
00:58:31,600 --> 00:58:33,440
Speaker 1: in a year of that i'll catch him at. It's

1105
00:58:33,480 --> 00:58:36,760
Speaker 1: either an anniversary that we get to kick it, or

1106
00:58:36,840 --> 00:58:38,960
Speaker 1: it'll be like a little family hang. It'll be me

1107
00:58:39,840 --> 00:58:43,040
Speaker 1: be our boy B. He's like kind of like our

1108
00:58:43,080 --> 00:58:47,680
Speaker 1: bigger brother figure growing up. But yeah, we'll have a

1109
00:58:47,760 --> 00:58:49,400
Speaker 1: we'll have a hang once or twice in a year,

1110
00:58:49,440 --> 00:58:51,360
Speaker 1: but we haven't kicked it in a long long time.

1111
00:58:51,600 --> 00:58:55,040
Speaker 3: Yeah, as a fan, I would love for a Blue

1112
00:58:55,080 --> 00:58:56,800
Speaker 3: and Miguel EP at some point.

1113
00:58:57,160 --> 00:58:58,760
Speaker 2: I honestly Phil, you know what.

1114
00:59:00,160 --> 00:59:02,840
Speaker 1: Too, Like, I think that would be incredible, especially in

1115
00:59:02,840 --> 00:59:08,800
Speaker 1: this time. I absolutely was like we we've been, you know,

1116
00:59:09,080 --> 00:59:11,400
Speaker 1: just like keeping keeping up a little more regular. I

1117
00:59:11,400 --> 00:59:15,840
Speaker 1: feel like it's like when it's supposed to happen with timing.

1118
00:59:16,080 --> 00:59:20,440
Speaker 1: Also also because you know when when he when he

1119
00:59:20,440 --> 00:59:22,560
Speaker 1: found out that I was, you know, having a son

1120
00:59:22,640 --> 00:59:25,120
Speaker 1: or whatever, he was just he has some kids as well.

1121
00:59:25,440 --> 00:59:27,800
Speaker 1: That that's a whole other thing too, when your friends

1122
00:59:27,840 --> 00:59:32,720
Speaker 1: become parents and you're also parents, it's like okay, yeah, level, Yeah,

1123
00:59:32,840 --> 00:59:34,920
Speaker 1: you just start to and you look at life different,

1124
00:59:35,080 --> 00:59:36,720
Speaker 1: you know, you look at the journey you like, ah,

1125
00:59:36,800 --> 00:59:38,280
Speaker 1: so it makes you want to lock in even more.

1126
00:59:38,320 --> 00:59:39,400
Speaker 2: Who gave us kids?

1127
00:59:39,600 --> 00:59:39,680
Speaker 3: Like?

1128
00:59:41,400 --> 00:59:45,480
Speaker 1: How did they let us do this? It's crazy? It's crazy.

1129
00:59:45,480 --> 00:59:48,000
Speaker 1: So yeah, I would love I would love that. Yeah,

1130
00:59:48,080 --> 00:59:50,280
Speaker 1: I think it would be really special. Yeah, it would

1131
00:59:50,280 --> 00:59:50,800
Speaker 1: be really special.

1132
00:59:50,920 --> 00:59:52,720
Speaker 3: Is there any producers that you haven't worked with that

1133
00:59:52,760 --> 00:59:54,440
Speaker 3: you do want to work with outside of you and

1134
00:59:54,520 --> 00:59:56,000
Speaker 3: for real working again at some point?

1135
00:59:56,120 --> 01:00:01,160
Speaker 1: Yeah, right, right, there's a lot. Man. I've been blessed

1136
01:00:01,160 --> 01:00:03,400
Speaker 1: to be able to do this kind of self sustainably

1137
01:00:03,480 --> 01:00:06,840
Speaker 1: and and and then work with a lot of incredible,

1138
01:00:07,360 --> 01:00:12,280
Speaker 1: you know, incredible producers along the way. Already, I've never

1139
01:00:12,360 --> 01:00:17,880
Speaker 1: done any music with Shit. I want to do something

1140
01:00:17,880 --> 01:00:22,800
Speaker 1: with Trent Okay, fly Low, we've been talking about doing

1141
01:00:22,840 --> 01:00:24,960
Speaker 1: music for some time. I think fly Low is one

1142
01:00:25,480 --> 01:00:29,160
Speaker 1: I've already like Dave Knows Dave Sidik is on my

1143
01:00:29,280 --> 01:00:33,200
Speaker 1: last two albums. He's we've done work together and he

1144
01:00:33,320 --> 01:00:35,520
Speaker 1: was really integral and helping me get my mind around

1145
01:00:35,520 --> 01:00:37,280
Speaker 1: this album. But I'd love to do a full project

1146
01:00:37,280 --> 01:00:43,400
Speaker 1: with Dave Sidik Jeff. I love to do a lot

1147
01:00:43,440 --> 01:00:46,560
Speaker 1: more with Jeff Basker. That's that's also a brother and

1148
01:00:46,680 --> 01:00:52,520
Speaker 1: like friend and he's just incredible. I want to do

1149
01:00:52,600 --> 01:00:58,880
Speaker 1: something like Primo. Gotta do it. We got to do

1150
01:00:58,920 --> 01:01:01,720
Speaker 1: a full one. Yeah, because he's been gracious enough to

1151
01:01:01,720 --> 01:01:06,560
Speaker 1: have me on some stuff before. And that's why I

1152
01:01:06,560 --> 01:01:08,680
Speaker 1: love because Primo would lock a week.

1153
01:01:08,480 --> 01:01:11,560
Speaker 3: Out into and that's crazy. He's a legend. But also

1154
01:01:11,680 --> 01:01:12,800
Speaker 3: will be like, Yo, let's just work for me.

1155
01:01:13,040 --> 01:01:15,640
Speaker 1: Just do it. Yeah, yeah, Prem will do that. He'll

1156
01:01:15,640 --> 01:01:17,880
Speaker 1: for sure, for sure to do that. Yeah, we have

1157
01:01:17,960 --> 01:01:20,200
Speaker 1: yet to do that, Prem, I know, I know we

1158
01:01:20,240 --> 01:01:20,760
Speaker 1: need to do that.

1159
01:01:22,640 --> 01:01:24,560
Speaker 3: Have you worked with fifteen hundred and nothing like rans

1160
01:01:24,600 --> 01:01:27,200
Speaker 3: and just like being an La Native, I feel like

1161
01:01:27,360 --> 01:01:29,280
Speaker 3: that's such a no brainer that you would be you

1162
01:01:29,400 --> 01:01:32,480
Speaker 3: and rants like that is That's that is one of

1163
01:01:32,480 --> 01:01:35,200
Speaker 3: those ones where I'm like, Yeah, why hasn't that happened?

1164
01:01:35,360 --> 01:01:37,480
Speaker 1: Why hasn't it You're You're right, That's actually one of

1165
01:01:37,520 --> 01:01:40,840
Speaker 1: those ones that I always forget. It's crazy because when

1166
01:01:40,840 --> 01:01:42,760
Speaker 1: you're at home you forget. It's kind of like going

1167
01:01:42,800 --> 01:01:46,640
Speaker 1: to like fashion week, you like run into everybody. You're like, damn,

1168
01:01:46,640 --> 01:01:49,360
Speaker 1: but we live in the same every day, but we're

1169
01:01:49,400 --> 01:01:52,400
Speaker 1: kicking it the hardest out here. Yeah, you know, but

1170
01:01:52,440 --> 01:01:55,320
Speaker 1: that is a yes, yes, fifteen hundred or nothing we have.

1171
01:01:55,480 --> 01:01:59,840
Speaker 1: We haven't done a single record together, which is it's crazy.

1172
01:02:00,080 --> 01:02:01,920
Speaker 1: We need to change that. We need to change that.

1173
01:02:02,160 --> 01:02:03,840
Speaker 3: Yeah, and I mean even just you and James on

1174
01:02:03,880 --> 01:02:05,880
Speaker 3: the writing side as well would be incredible.

1175
01:02:05,920 --> 01:02:07,680
Speaker 1: That's one of those. That's another one. And I think

1176
01:02:07,800 --> 01:02:10,760
Speaker 1: James the reason why is because I always catch James

1177
01:02:10,800 --> 01:02:13,960
Speaker 1: like a one like one off kind of vibe and

1178
01:02:14,000 --> 01:02:16,920
Speaker 1: it's like, let's let's get one in and what happens,

1179
01:02:18,040 --> 01:02:20,320
Speaker 1: what needs to happen is to lock in with James

1180
01:02:20,360 --> 01:02:23,920
Speaker 1: like early and like the whole process, be like okay,

1181
01:02:23,920 --> 01:02:26,120
Speaker 1: we're working together through the whole process. I think that'd

1182
01:02:26,160 --> 01:02:28,400
Speaker 1: be the better one. We said that the last time.

1183
01:02:28,440 --> 01:02:30,280
Speaker 3: We Yeah, you gotta you have to catch them at

1184
01:02:30,360 --> 01:02:32,400
Speaker 3: like a convention where you buy samurai swords or so.

1185
01:02:32,440 --> 01:02:35,640
Speaker 2: Oh yeah yeah, yeah, yeah, yeah, you got in this world.

1186
01:02:36,920 --> 01:02:39,040
Speaker 1: It's very very true. I got to catch him on

1187
01:02:39,080 --> 01:02:40,040
Speaker 1: in Japan trip or something.

1188
01:02:40,120 --> 01:02:40,360
Speaker 4: Yeah.

1189
01:02:40,400 --> 01:02:42,320
Speaker 3: Absolutely, yeah, I think you know, I d would be

1190
01:02:42,320 --> 01:02:46,560
Speaker 3: incredible too. That's something that I also have, Like, why

1191
01:02:46,600 --> 01:02:48,360
Speaker 3: is Miguel no idea, never no id.

1192
01:02:49,000 --> 01:02:51,920
Speaker 1: Fuck, I'm I'm there's there's people that I'm not thinking

1193
01:02:51,920 --> 01:02:54,480
Speaker 1: of right now. Again, dad brain is a real thing.

1194
01:02:56,360 --> 01:03:00,160
Speaker 1: But we've we've also talked. We've also spoke before like

1195
01:03:00,200 --> 01:03:03,439
Speaker 1: no idea, like we've been in the same said, I'm

1196
01:03:03,480 --> 01:03:08,120
Speaker 1: a massive fan. I'm like, we've been in touch, just haven't.

1197
01:03:08,160 --> 01:03:10,120
Speaker 1: It just hasn't happened yet. Would love that to happen

1198
01:03:10,120 --> 01:03:11,120
Speaker 1: because artists are too stubborn.

1199
01:03:11,160 --> 01:03:12,960
Speaker 3: Man, they don't want to send the first text of like, hey,

1200
01:03:13,160 --> 01:03:14,760
Speaker 3: let's follow up and actually work.

1201
01:03:15,080 --> 01:03:19,040
Speaker 1: You know, it's true though, it's true, it's true. It's yeah,

1202
01:03:19,400 --> 01:03:21,240
Speaker 1: I wouldn't. I wouldn't for me, I wouldn't say ego.

1203
01:03:21,280 --> 01:03:23,840
Speaker 1: It's just that I forget. I mean seriously, I literally forget.

1204
01:03:23,960 --> 01:03:27,680
Speaker 1: And you know what, I have a thing about asking

1205
01:03:27,720 --> 01:03:30,680
Speaker 1: people to do anything, Like I hate to ask people

1206
01:03:31,400 --> 01:03:31,840
Speaker 1: for any.

1207
01:03:31,680 --> 01:03:33,840
Speaker 2: Of my burden. You know, I'm the same.

1208
01:03:34,000 --> 01:03:34,280
Speaker 1: I don't.

1209
01:03:34,280 --> 01:03:36,200
Speaker 2: I don't want to ask like I feel bad.

1210
01:03:36,240 --> 01:03:38,600
Speaker 1: I'm like ah, because I never want to make anyone

1211
01:03:38,600 --> 01:03:41,880
Speaker 1: feel uncomfortable. And then also it's all super personal. And

1212
01:03:41,920 --> 01:03:46,080
Speaker 1: then so there's like a little bit of like everybody else's.

1213
01:03:45,760 --> 01:03:48,000
Speaker 2: Asking for something and you're just like I don't want

1214
01:03:48,000 --> 01:03:48,560
Speaker 2: to add to that.

1215
01:03:48,840 --> 01:03:52,160
Speaker 1: Yeah, yeah, so but I but I'm working on it

1216
01:03:52,200 --> 01:03:54,320
Speaker 1: for sure, I am yeah. Yeah.

1217
01:03:54,440 --> 01:03:58,520
Speaker 3: Do we think the R and B rap hook combo

1218
01:03:58,560 --> 01:04:02,720
Speaker 3: will come back? Everything reinvents itself. I feel like that

1219
01:04:02,880 --> 01:04:05,560
Speaker 3: sixteen R and B hook sixteen R and B hook

1220
01:04:06,280 --> 01:04:07,480
Speaker 3: has kind of disappeared.

1221
01:04:07,920 --> 01:04:08,760
Speaker 2: It's gone.

1222
01:04:09,240 --> 01:04:12,520
Speaker 1: Oh no, I think it's still I think it's still room. Excuse,

1223
01:04:12,600 --> 01:04:13,480
Speaker 1: I think it's still room for that.

1224
01:04:13,560 --> 01:04:16,200
Speaker 2: Oh, I definitely watch. I think just don't do it.

1225
01:04:16,280 --> 01:04:19,000
Speaker 1: Yeah, that's that's kind of disappeared. Well, look, selfishly, I'll

1226
01:04:19,000 --> 01:04:23,000
Speaker 1: say that to a degree, I'm not I'm not the

1227
01:04:23,160 --> 01:04:26,240
Speaker 1: I'm not the most for that, only because it sort

1228
01:04:26,240 --> 01:04:28,960
Speaker 1: of relegates the R and B part and the singer

1229
01:04:29,000 --> 01:04:30,920
Speaker 1: part is like you just do the hook and then

1230
01:04:30,960 --> 01:04:34,919
Speaker 1: we do the verse. Yeah fuck that. But I do

1231
01:04:35,000 --> 01:04:36,960
Speaker 1: miss some of it, you know, I do miss some

1232
01:04:37,000 --> 01:04:38,920
Speaker 1: of it. So yeah, I think an iteration of that

1233
01:04:39,280 --> 01:04:41,360
Speaker 1: is necessary. It's going to come back. I might be

1234
01:04:41,360 --> 01:04:42,240
Speaker 1: behind it. I don't know.

1235
01:04:43,600 --> 01:04:48,240
Speaker 4: I just see you've had a few good ones like

1236
01:04:48,760 --> 01:04:51,880
Speaker 4: I've I've definitely like floated the idea of like just

1237
01:04:52,080 --> 01:04:56,280
Speaker 4: executive producing an entire album with all female MC's and

1238
01:04:56,440 --> 01:04:58,640
Speaker 4: where I just do the hook or we're bringing people

1239
01:04:58,680 --> 01:04:59,760
Speaker 4: to do the hook, and just like.

1240
01:05:00,880 --> 01:05:02,880
Speaker 3: Yeah, I like that, and I mean, even if it's

1241
01:05:02,920 --> 01:05:07,440
Speaker 3: not as structured as inverse here, yeah, but I seeah,

1242
01:05:07,560 --> 01:05:08,320
Speaker 3: I think it's needed.

1243
01:05:08,480 --> 01:05:12,120
Speaker 1: Right, that's interesting. I think it was a bang. Yeah, absolutely, yeah.

1244
01:05:11,880 --> 01:05:13,560
Speaker 2: All right. The album October twenty third.

1245
01:05:13,560 --> 01:05:17,320
Speaker 1: October twenty third, Kyles the album my fifth studio album,

1246
01:05:17,680 --> 01:05:20,880
Speaker 1: and we'll go out on the road in February. So

1247
01:05:20,880 --> 01:05:22,720
Speaker 1: so pull up, yeah, get.

1248
01:05:22,560 --> 01:05:24,840
Speaker 2: Your tickets to see Miguel, one of the most talented.

1249
01:05:25,320 --> 01:05:28,560
Speaker 2: We got to support real musicians, real artists. Miguel. It

1250
01:05:28,640 --> 01:05:30,640
Speaker 2: was a pleasure of meeting you, talking to you. Finally

1251
01:05:30,800 --> 01:05:33,760
Speaker 2: we've I've crossed, we've crossed, but this was like our

1252
01:05:34,160 --> 01:05:38,240
Speaker 2: first official hang. Yeah yeah, like so it's it's good

1253
01:05:38,240 --> 01:05:41,919
Speaker 2: to see you. Album sounds incredible. Thank you for helping

1254
01:05:41,960 --> 01:05:44,880
Speaker 2: me clean the crib last night. I appreciate that.

1255
01:05:45,040 --> 01:05:48,800
Speaker 1: Spotless, Now Spotless, I can have everybody. For eight years,

1256
01:05:49,680 --> 01:05:50,800
Speaker 1: I've been waiting for Migel.

1257
01:05:50,800 --> 01:05:54,280
Speaker 2: I'm sorry it's been eight years, but now with Spotless,

1258
01:05:54,280 --> 01:05:56,760
Speaker 2: thanks to Miguel. Miguel, thank you, and I'm definitely gonna

1259
01:05:56,760 --> 01:05:58,040
Speaker 2: catch you when you're on the road. Got to come

1260
01:05:58,040 --> 01:05:58,600
Speaker 2: to see the show.

1261
01:05:58,680 --> 01:05:59,840
Speaker 1: Yes, love to have you guys.

1262
01:06:00,160 --> 01:06:02,160
Speaker 2: That nigga, he's just Ginger. That's Miguel.

1263
01:06:02,280 --> 01:06:04,880
Speaker 1: He no will he had now