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Speaker 1: R and B Money. We take valti. We are the authorities.

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Speaker 2: R and B ladies and gentlemen. My name is Tank,

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Speaker 2: I am jave allent.

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Speaker 3: This, this right cheer is the R and B Money Podcast,

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Speaker 3: the authority.

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Speaker 2: Come on, come on, come on, all things.

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Speaker 4: R and B today. We're gonna get a drummer son today.

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Speaker 2: Yeah like that.

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Speaker 3: Yes, we're gonna give the motherfucking drunk listen, come on,

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Speaker 3: come on, come on.

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Speaker 2: There are people and then there are pillars.

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Speaker 3: There are foundings in foundational building blocks that this thing

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Speaker 3: is set upon. There is a gate with platinum and

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Speaker 3: gold bars.

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Speaker 2: Get in there.

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Speaker 3: There's a man that stands at this gate as a keeper.

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Speaker 2: Quality control. Before Q see shout after my God, shout

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Speaker 2: out this man. This legacy.

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Speaker 3: Is the reason why we are here one hund. I

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Speaker 3: won't label before you long I could intro could take years.

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Speaker 3: We want to get into the information and the method

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Speaker 3: of the madness of the man.

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Speaker 2: Mister l a read Wow, yeah, wow, you're a good

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Speaker 2: waiting this way. I'm all the buzz and the pillars

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Speaker 2: and the one thing I can say that.

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Speaker 3: Was so good I was shaving. And then the man

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Speaker 3: is the man of a man You're important. Thank you, sir,

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Speaker 3: Thank you. This is important being here with y'all, this

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Speaker 3: is important. This means everything to me. Thank you for

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Speaker 3: I have to say, like, you know, I can't overstate

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Speaker 3: your importance, your contribution to all of us, like we

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Speaker 3: we we were all babies. I don't even know if

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Speaker 3: I had a dream of of being that, Like it

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Speaker 3: was so far away what you were doing with you guys,

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Speaker 3: it was.

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Speaker 2: It was just like.

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Speaker 3: You just watching Amazement and say, I don't even know

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Speaker 3: what that is. I don't even know if I'll even

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Speaker 3: get to that, s I don't even know if I'll

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Speaker 3: ever attain. But it gave us. It gave us levels,

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Speaker 3: you understand, I'm saying. It gave us inspiration, That gave

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Speaker 3: us things to aspire too. It gave us the senses

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Speaker 3: I spoke before, a sense of quality, like we're being

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Speaker 3: seen for what we are.

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Speaker 2: True artistry, yes, sir. Like knowing that that was there

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Speaker 2: and what it accomplished.

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Speaker 3: Keeps us pushing to know that we can still accomplish

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Speaker 3: that no matter what the algorithm says, no matter how

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Speaker 3: far they try to go away from.

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Speaker 2: It, it is possible. Because you did it, then you

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Speaker 2: keep doing it and we can keep doing it. I

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Speaker 2: love what you just said. I love that regardless of

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Speaker 2: what the albem rhythm says. I absolutely love that. The

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Speaker 2: algorithm is people. It's people pressing a button a certain

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Speaker 2: amount of times, right, and now we have the power

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Speaker 2: to get to those people. We have the power to

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Speaker 2: give them a choice, an alternative. I don't knock anything.

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Speaker 2: Everybody does anything that anybody else does, I never knock it.

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Speaker 3: I salute it. If you can get off that bench

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Speaker 3: and get in the game and get some points up.

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Speaker 3: God bless you, God bless you who, God bless you.

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Speaker 3: It ain't easy easy to talk about it. Oh my

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Speaker 3: God out there and be about it.

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Speaker 2: Yes, that's right.

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Speaker 3: But I absolutely have an affinity for those who are

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Speaker 3: well versed, well studied, prepared, rehearsed, God gifted, like for

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Speaker 3: those who are different, for those who feel like they

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Speaker 3: are not seen and very seldom celebrated, have an affinity

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Speaker 3: for them the ship that you do.

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Speaker 2: Thank you, thank you. So that was my long thank

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Speaker 2: you well received and I appreciate it and thank you.

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Speaker 3: I have to start at the beginning because there's so

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Speaker 3: many pieces that I want to we want to get

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Speaker 3: to because We just want to understand your mind on

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Speaker 3: on decisions, on on music, on business.

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Speaker 2: But where does where? Where did this? Where does this

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Speaker 2: even start? Where? Where do you start building into? Wow? Man?

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Speaker 2: My career starts with my love for music and more importantly,

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Speaker 2: my love for seeing a set of drums for the

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Speaker 2: first time in my life and feeling like I saw

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Speaker 2: God like right, and everything about me just just sparkled

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Speaker 2: with excitement. What was the brand? And it was Ludwig

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Speaker 2: and it was my uncle's right and he had them

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Speaker 2: in these cases and he opened the case and I

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Speaker 2: saw those things, man, and it's just and I must

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Speaker 2: have been like eight nine years old, but I saw God, man,

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Speaker 2: It's like what there it is? I had never played,

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Speaker 2: had never paid attention to anything like that, but I

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Speaker 2: saw that, and in that moment I was I was gone,

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Speaker 2: and I've never been back.

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Speaker 3: My cousin had a red Tama Thomas, Yeah, and he

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Speaker 3: went to Berkeley College of Music and he would come

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Speaker 3: home during the summers and he was set up in

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Speaker 3: his mom's attic, Auntie Betty's attic, who taught us all

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Speaker 3: how to say, and he would just be up there

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Speaker 3: ship sneak.

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Speaker 2: Up into the attic and just watch them.

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Speaker 3: You know, like you said you saw God in the drums.

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Speaker 3: I like I saw Jesus playing the drums that God

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Speaker 3: gave me.

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Speaker 2: I was like, this bit me and it's crazy, right, Yeah,

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Speaker 2: that that killed me. Man, It was like, my god,

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Speaker 2: this is not I said it wrong. Didn't kill me.

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Speaker 2: It brought me to life. It birthed me, you know.

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Speaker 2: And by the way, I'm not that good. I was

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Speaker 2: never that good, right, that's not really the point. I

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Speaker 2: was never I was like.

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Speaker 4: Well, you get to your drums and its production.

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Speaker 2: So that's a that's a tough thing to say.

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Speaker 4: Because record, yeah, no record all right, an actual drummer.

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Speaker 2: Yeah, there was things I just could never do. But

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Speaker 2: still it was my love and that's what brought me

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Speaker 2: into the game. And and that just led me. That

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Speaker 2: took me places, you know what I mean. That took

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Speaker 2: first around the neighborhood in Cincinnati everybody else who did music. Like,

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Speaker 2: just being a drummer led me to everybody that made music.

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Speaker 2: And one person leads you to another person leads you

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Speaker 2: to another person, and you you know how this goes, right, Yeah,

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Speaker 2: but that was that's where it started.

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Speaker 4: So were you clearly focused on becoming an artist in

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Speaker 4: the beginning, or did you just want to play in

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Speaker 4: the band.

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Speaker 2: I wanted to do anything around the band. Like my

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Speaker 2: first gig was like carrying the drums and carrying amps

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Speaker 2: for somebody for another I don't even know who they were.

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Speaker 2: And at the time, James Brown was like on fire, right,

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Speaker 2: James Brown was like the godfather soul, and he used

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Speaker 2: to drop down on one knee and they put the

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Speaker 2: cape over right. So my first gig was putting the

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Speaker 2: cape over this guy who's James Brown, you know what

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Speaker 2: I mean. So it was just about being a part

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Speaker 2: of it band. It wasn't It didn't matter to me.

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Speaker 2: I didn't know the difference between you know, being a

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Speaker 2: utility person or being a performer making music or setting up.

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Speaker 2: I didn't know to just want to be around it.

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Speaker 2: Just had to be in it.

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Speaker 4: Yeah, I love that love of service. We always it

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Speaker 4: always goes back to that. Yes, the people who have

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Speaker 4: who've gotten to these higher levels, at some point you

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Speaker 4: had to be of service, that's right, and you still

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Speaker 4: got to be of service, but in the beginning, you

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Speaker 4: got to start somewhere. I think people are you know,

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Speaker 4: we try to fast forward instead of actually going through

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Speaker 4: the experiences of Like you said, I don't even remember

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Speaker 4: who I was putting the cape on, but it was like,

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Speaker 4: that's what'all needed.

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Speaker 2: To do exactly. I'm a leisure let's go my pleasure.

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Speaker 4: Yeah, right, Like you know, you've had these conversations we

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Speaker 4: have as well where you meet, you know, the new

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Speaker 4: people that just want to be in a business, but

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Speaker 4: they don't want to do all the things that they

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Speaker 4: need to do that's available to them at that point,

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Speaker 4: because everything is not available to you when you first

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Speaker 4: get in, you know what I mean, you can't sign

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Speaker 4: the checks when you first get in. That's just not

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Speaker 4: where you are.

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Speaker 2: Well to me, those people who are not the thing

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Speaker 2: that I got naturally, and I'm assuming that you guys

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Speaker 2: feel the same way about it and being of service.

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Speaker 2: The people who are willing to give, if anything, are

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Speaker 2: are setting themselves up in a really positive way to

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Speaker 2: receive many many things. People that want to jump over

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Speaker 2: the cheating themselves, right, That's how I feel like you

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Speaker 2: can't jump over it, Like you gotta do the service

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Speaker 2: part first. It can't be about you first. It can't.

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Speaker 2: If that's the gig then I mean I get it.

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Speaker 2: But you know, that's not what I teach my kids,

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Speaker 2: you know, like like, let's just do it for everybody else.

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Speaker 2: You know, to this day, I'm still of service. I

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Speaker 2: love that. I think I love that more than anything.

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Speaker 2: I love for an artist to call me and say

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Speaker 2: I need X, I need this, I need help with

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Speaker 2: this and help with that. Nothing makes my day more

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Speaker 2: than to be able to say I don't know if

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Speaker 2: I can accomplish it, but I'm damn sure going to

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Speaker 2: pick up the phone and try. M hmm right. That's

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Speaker 2: that's everything to me, you know. So yeah, man, So

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Speaker 2: my existence is all about being.

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Speaker 3: Of service to the artists, you know, to give me

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Speaker 3: to the where's the break, where's the like? Okay, my

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Speaker 3: service has been rendered in so many areas and with

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Speaker 3: so many people to where now it's being recognized and

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Speaker 3: seen on a higher level on the industry, a professional level.

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Speaker 2: When does that happen for you?

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Speaker 5: Oh?

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Speaker 2: Man? I had the great fortune of being in a

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Speaker 2: band that you're familiar with, the Deal and Babyface Kenny Edmunds.

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Speaker 2: I met in Indianapolis, and we ended up being in

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Speaker 2: the band together, right, and we ended up writing and

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Speaker 2: producing stuff together. But the real breakthrough for me was

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Speaker 2: meeting him, was meeting Babyface right when he was Kenny

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Speaker 2: Edmunds and being the guy that he called every morning

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Speaker 2: to listen to the song get written. That was life

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Speaker 2: changing for me. Right, I feel like that was the

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Speaker 2: greatest honor ever. I heard damn near every song that

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Speaker 2: man wrote before the world did. Right, So you know

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Speaker 2: that felt wow?

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Speaker 4: And did you even realize.

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Speaker 2: That, Oh no, no, no, no, I didn't.

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Speaker 4: I just just my guy playing me some song.

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Speaker 2: Yo, this guy's playing me this song, and he wanted

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Speaker 2: to know what I thought, and he wanted to know

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Speaker 2: is it complete? Is it right? And and somehow I

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Speaker 2: knew the answer to those questions. And I didn't know

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Speaker 2: how I knew the answer to those questions, right, but

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Speaker 2: I was like, no, right, here needs to go to

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Speaker 2: a bridge, and it used to do this, or it

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Speaker 2: needs to do that, or you know, I knew how

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Speaker 2: to coach it. And I didn't even know where that

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Speaker 2: came from, but it was all. You know what it is,

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Speaker 2: it's memory. It's like the music you listen to, the

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Speaker 2: music you grow up on. What you're really doing is

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Speaker 2: you're really trying to do what you've heard create. And

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Speaker 2: so if a song does a certain thing, you want

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Speaker 2: your song to do that thing that you're favorite song did.

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Speaker 2: And so I was like I was in touch with that,

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Speaker 2: and so I could tell him, you know, I could

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Speaker 2: give him advice about it, just based on being a

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Speaker 2: connoisseur of music. Music, Like I really listened to a

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Speaker 2: lot of music. I still do. I listened to tons

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Speaker 2: of music. So I keep that muscle, you know, intact,

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Speaker 2: you know what I mean. But anyways, that's what it was, man,

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Speaker 2: that was the breakthrough.

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Speaker 4: He told us that, uh you said he had to

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Speaker 4: get he had to be more breed though, Oh.

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Speaker 2: Yeah, yeah, that was That was it to get in

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Speaker 2: the band?

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Speaker 4: Yeah yeah, that was that was like the thing.

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Speaker 2: It was like he wasn't breed enough, Like we were

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Speaker 2: a Breed band. You know what breed was bread? You know. Okay,

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Speaker 2: great man, I'm I'm in the room with y'all. You know, man,

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Speaker 2: you know what it is. You have to whip that up. Man.

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Speaker 3: You know what the craziest thing about Breed is so

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Speaker 3: so so so.

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Speaker 2: The crown Prince of Breed is prince yes, yes, and

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Speaker 2: he knew that we were all his disciples without meeting us,

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Speaker 2: right and just like that, even treat us like that.

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Speaker 2: The first time I met Prince, he was looking at

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Speaker 2: it like, yeah, I know exactly who you are. Yeah,

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Speaker 2: I knew you before you had those classes and your

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Speaker 2: little suit and right, and he was just son us

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Speaker 2: because he knew he was the crown Prince of Breed. Right.

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Speaker 2: So anyway, yeah, so that's how we start. Anybody ever

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Speaker 2: cussed him out.

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Speaker 4: You started?

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Speaker 2: No, No, I argued. I did argue with him though.

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Speaker 2: So was that a like Breed?

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Speaker 3: Was that a just a regional thing that was just

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Speaker 3: like if we're from this place, this is what we

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Speaker 3: must tap into.

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Speaker 2: You know what it was?

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Speaker 6: It was?

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Speaker 2: It was an era that in black music. It was

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Speaker 2: it was the closest thing to rock and roll. Like

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Speaker 2: that was edge at that time, I got to say,

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Speaker 2: because it grew beyond, yes, just where it was. It

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Speaker 2: turned into phenomena, It turned into a thing. But it

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Speaker 2: was it was the edge, like there was a there

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Speaker 2: was a certain there was a certain normalness and normalcy

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Speaker 2: about R and B and R and B artist at

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Speaker 2: that time. And everybody could sing and everybody can play.

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Speaker 2: We just saw talented people, right, and so the thing

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Speaker 2: that would separate you was where did your edge come from? Right?

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Speaker 2: And so breed was really androgyny? Mhm, it was this.

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Speaker 2: It was the black it was it was the black

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Speaker 2: take on what David boy was doing or artists like that, right,

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Speaker 2: Billy Idol at the time and Prince sort of introduced

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Speaker 2: it and we all just basically copied prints. But it

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Speaker 2: was a way to have edge, you know, uh, and

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Speaker 2: the way to to have just to have a little

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Speaker 2: just a little a little danger. And in your presentation,

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Speaker 2: you know what I mean.

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Speaker 4: Did you feel more dangerous?

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Speaker 2: He I ain't have no heels listen, Jay, I didn't

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Speaker 2: have no heels on.

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Speaker 3: Hey, I'm feel tough in his T shirt.

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Speaker 2: But in this plus you don't get kniced up in

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Speaker 2: here when I throw this on. This interview is over.

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Speaker 3: This is crazy, no, but but you you know what.

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Speaker 2: It was like. It was the girls. Man, They always

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Speaker 2: do girls always always. They knew the difference. They knew

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Speaker 2: oh my god, yeah, they knew the difference, the difference, right,

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Speaker 2: And that that was that's you know, that's always the

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Speaker 2: unfortunate leader of decisions that we make. How you because.

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Speaker 3: If a woman jump ten men is going to replicate

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Speaker 3: that process. They replicate that process there you go.

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Speaker 2: So I met face he wasn't breed, and we talked

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Speaker 2: and he wanted to join the band. And he was

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Speaker 2: so gifted though, And that was the only reservation because

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Speaker 2: at that point we were we were me and the

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Speaker 2: guys in my band were focused on we'd already done

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Speaker 2: the club circuit, the chitlin circuit. We've been playing for years, man, right,

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Speaker 2: and now we need to break.

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Speaker 4: So we've been playing for years.

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Speaker 2: Yeah, yeah, we've been doing it for years. Yeah, we played.

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Speaker 2: We used to play clubs. Uh, six nights a week,

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Speaker 2: four shows a night and hour hold hold on, yeah, yeah,

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Speaker 2: that's how we grew up. What Yeah, we played clubs.

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Speaker 4: No no, no, no, no, I get to that. Six days, yes,

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Speaker 4: six days ago, four hours a night, our show fours.

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Speaker 2: To night and on Saturdays we had a matinee. So

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Speaker 2: it was like two sets in the daytime and for

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Speaker 2: the night time. Right, And that's how we grew up

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Speaker 2: and polished. Yeah, we learned how to play. Yeah you know,

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Speaker 2: but you can also as much as that sounds like

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Speaker 2: a great, uh stage for polishing, we actually became complacent

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Speaker 2: doing it. Go we stopped growing. We started doing that

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Speaker 2: and just got stuck in that cycle for like three

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Speaker 2: or four years. We lived in Indianapolis, Indiana. Indianapolis had clubs.

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Speaker 2: It had the Zodiac Lounge. You had to mark for

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Speaker 2: Ricky's Lounge, the night flight. It was just clubs, man

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Speaker 2: and every club higher bands and the bands will stay

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Speaker 2: for weeks on weeks, like having a residency, except chitting

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Speaker 2: a circuit residency no money and no money and you know,

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Speaker 2: you could do some original material, but you had to

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Speaker 2: do cover. So you're doing covers four shows at night,

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Speaker 2: six n four shows a night. Yeah, it is it, okay?

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Speaker 2: Is it where people come to the club, you just

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Speaker 2: take a fifteen minute break and you just get back

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Speaker 2: up running the cycle. Yeah. Yeah. We just had four

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Speaker 2: different sets, you know, and we had the opening set.

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Speaker 2: We had the set that hat like the hits in it,

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Speaker 2: you know what I mean. And we just pasted so

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Speaker 2: for all intensive purposes. You guys were the DJ. Oh

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Speaker 2: there was no DJ at the time. This is three DJ.

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Speaker 2: The DJ was the change exactly. Actually, you know when

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Speaker 2: the DJs came, that's when disco kicked in. Gotcha right,

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Speaker 2: I'm really aging myself, I know, but that's when disco

329
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Speaker 2: kicked in in the eighties like really right, like seventy eight,

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Speaker 2: seventy nine, eighty disco kicked in right, really really heavy,

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Speaker 2: and that was the difference. But before that it was

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Speaker 2: the band. It's the band stand a lot of live musicians,

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Speaker 2: you know, able to make a living, and the DJ

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Speaker 2: kind of changed that.

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Speaker 3: You're taking me back to watching ray right and them

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Speaker 3: in the club like full sets.

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Speaker 4: Yeah, so how long does it? Okay? So once Kenny

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Speaker 4: gets into group, is now the focus make these records?

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Speaker 2: Get a record deal? Yeah? We we we switched our

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Speaker 2: focus right before meeting Kenny. We had come tired of

341
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Speaker 2: playing clubs and we started saving up some of our

342
00:20:35,960 --> 00:20:39,520
Speaker 2: little club money and buying machines, buying take recorders like

343
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Speaker 2: two track or four track reel to real. U took

344
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Speaker 2: our mixing console from the live show, brought it into

345
00:20:45,800 --> 00:20:48,520
Speaker 2: a room and we started recording, and we started making

346
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Speaker 2: demos and really getting serious about it. And that's kind

347
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Speaker 2: of how we ended up. Like making the transition, the

348
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Speaker 2: focus was let's make the best songs we can make

349
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Speaker 2: and figure out how can we get them to Solar Records,

350
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Speaker 2: Like we only wanted to be on one record label.

351
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Speaker 2: We didn't want a record deal. We wanted a record

352
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Speaker 2: deal with Solar, that's it. We wanted that because because

353
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Speaker 2: my music teacher from Cincinnati was signed to Solar. My

354
00:21:16,119 --> 00:21:19,000
Speaker 2: music teacher's name is Terry Brown, and he had a

355
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Speaker 2: brother named Gerald Brown, and they moved from Cincinnati to

356
00:21:22,520 --> 00:21:25,919
Speaker 2: LA and they had a group called the Soul Train Gang,

357
00:21:26,320 --> 00:21:33,320
Speaker 2: which morphed into Shalamar. Okay, So, so the only thing

358
00:21:33,359 --> 00:21:37,200
Speaker 2: I three and Jeffrey. It was Jeffrey, Jody and Gerald

359
00:21:37,240 --> 00:21:40,040
Speaker 2: at first, and then it became Jeffrey, Jody and Howard.

360
00:21:40,600 --> 00:21:42,399
Speaker 2: So my eyes were set.

361
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Speaker 4: But they were all they were so trained dancers.

362
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Speaker 2: They were so all so trained dancers. But my music

363
00:21:47,600 --> 00:21:51,320
Speaker 2: teacher came out here, left left high high school and

364
00:21:51,440 --> 00:21:55,160
Speaker 2: came out to UH to join Don Corneis and Dick Griffy,

365
00:21:55,840 --> 00:21:58,760
Speaker 2: and so I'm sitting in Cincinnati like, yeah, I want

366
00:21:58,760 --> 00:22:02,960
Speaker 2: to be there too, And so my mind was just stuck, stuck,

367
00:22:03,119 --> 00:22:07,000
Speaker 2: focused on solo records, and I sent my first demo

368
00:22:07,080 --> 00:22:08,960
Speaker 2: to them. I got a rejection letter, and I thought

369
00:22:09,000 --> 00:22:10,320
Speaker 2: that was the greatest thing ever.

370
00:22:10,440 --> 00:22:13,560
Speaker 3: The letter was the letter, just getting a rejection. They're

371
00:22:13,640 --> 00:22:19,160
Speaker 3: talking to me, had the logo on it, had records. Yeah, Okay,

372
00:22:19,359 --> 00:22:20,800
Speaker 3: I'm getting get a better song.

373
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Speaker 2: But now that I know you listening, Now I know

374
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Speaker 2: that you're listening, and you know what, it's crazy job.

375
00:22:38,520 --> 00:22:40,680
Speaker 2: And we ended up getting signed to show our records.

376
00:22:40,760 --> 00:22:44,560
Speaker 2: What was the song they did it? Body Talk? You know,

377
00:22:44,680 --> 00:22:47,359
Speaker 2: the song no Body Talk by the deal is the

378
00:22:47,400 --> 00:22:50,040
Speaker 2: first song we made, not the first song we made it,

379
00:22:50,080 --> 00:22:52,280
Speaker 2: but it was the first single that we had as

380
00:22:52,320 --> 00:22:56,439
Speaker 2: a group. And I wrote it. I co wrote it

381
00:22:56,440 --> 00:22:59,720
Speaker 2: with a couple of other guys and and it worked. Man,

382
00:23:00,480 --> 00:23:03,040
Speaker 2: got us the record deal. Next thing I know, we

383
00:23:03,080 --> 00:23:05,720
Speaker 2: were on tour with Luther Vandros opening for Luther and

384
00:23:05,920 --> 00:23:10,520
Speaker 2: the de Barge. Life changed. That's what I love about

385
00:23:10,520 --> 00:23:13,280
Speaker 2: what we do. Man. One song can change your life.

386
00:23:13,400 --> 00:23:15,960
Speaker 2: Lottery the lottery.

387
00:23:15,640 --> 00:23:17,879
Speaker 4: One song that was your lottery ticket.

388
00:23:18,200 --> 00:23:20,639
Speaker 2: We went from being in the chicken circuit man eating

389
00:23:21,440 --> 00:23:25,560
Speaker 2: hm Popeyes, you know, on tour with Luther. Popeye is

390
00:23:25,640 --> 00:23:28,680
Speaker 2: on credit, by the way, huh yeah, because I went

391
00:23:28,720 --> 00:23:32,000
Speaker 2: to the Popeyes guy that ran Popeyes. Okay, I gotta

392
00:23:32,000 --> 00:23:34,879
Speaker 2: feed my band. I can pay you at the end

393
00:23:34,880 --> 00:23:35,320
Speaker 2: of the month.

394
00:23:36,160 --> 00:23:38,159
Speaker 4: You was getting Popeyes on credit.

395
00:23:38,320 --> 00:23:41,359
Speaker 2: My man was like, all right, I trust you. I

396
00:23:41,400 --> 00:23:43,400
Speaker 2: failed my band Popeyes. The end of the month came.

397
00:23:43,440 --> 00:23:46,240
Speaker 2: I paid him. Next month. I was like, I gotta

398
00:23:46,280 --> 00:23:50,520
Speaker 2: do it again. I'm about to go to chick.

399
00:23:50,320 --> 00:23:50,600
Speaker 4: For le.

400
00:23:53,520 --> 00:23:56,960
Speaker 3: Man, like, I see if I can pay at the

401
00:23:57,080 --> 00:23:57,879
Speaker 3: end of the month.

402
00:23:58,200 --> 00:23:59,959
Speaker 2: At the end of the month, I promise some good.

403
00:24:01,640 --> 00:24:07,480
Speaker 2: He trusted the tag and pomp that survived. I've never

404
00:24:07,520 --> 00:24:09,720
Speaker 2: heard of that before. I never heard of it. I'm

405
00:24:09,760 --> 00:24:11,639
Speaker 2: a band leader. I got to take care of my guys.

406
00:24:12,600 --> 00:24:15,159
Speaker 2: That's that's it. That's what mattered, right. I got to

407
00:24:15,200 --> 00:24:17,439
Speaker 2: get their rent paid, I had to get them fed.

408
00:24:17,560 --> 00:24:19,879
Speaker 2: I got to get them ready for the show. Whatever

409
00:24:19,920 --> 00:24:22,359
Speaker 2: you need, you need to geitar strings, whatever you need.

410
00:24:22,720 --> 00:24:24,240
Speaker 2: My job is to make sure.

411
00:24:24,720 --> 00:24:27,800
Speaker 4: That was always your function from the beginning. You always

412
00:24:28,560 --> 00:24:31,560
Speaker 4: this thing, we're putting this together and whatever y'all need,

413
00:24:31,680 --> 00:24:33,160
Speaker 4: and I would make it happen.

414
00:24:33,720 --> 00:24:38,600
Speaker 2: Facilitator. And then and it became casting. It became okay,

415
00:24:38,640 --> 00:24:40,159
Speaker 2: I got to get the right members. I get to

416
00:24:40,200 --> 00:24:42,000
Speaker 2: get the right members with the right look and the

417
00:24:42,080 --> 00:24:45,719
Speaker 2: right everything. That's that's where the babyface piece comes in.

418
00:24:45,800 --> 00:24:49,600
Speaker 2: At the whole conversation about not being breed was Okay,

419
00:24:49,600 --> 00:24:52,720
Speaker 2: you have the musicality, but you're not the right casting

420
00:24:53,720 --> 00:24:55,840
Speaker 2: And he fixed it next time I saw it. Next

421
00:24:55,840 --> 00:24:58,800
Speaker 2: time I saw him, he was he was ready. Man.

422
00:24:58,840 --> 00:25:01,800
Speaker 2: He had the right everything, the right right trench, cody

423
00:25:01,840 --> 00:25:04,800
Speaker 2: at the hair right, everything was right. And I was like, okay,

424
00:25:04,840 --> 00:25:08,960
Speaker 2: now now you fit the movie joint and anyway, That's

425
00:25:08,960 --> 00:25:11,920
Speaker 2: how I see it, man. So my career is all

426
00:25:11,960 --> 00:25:16,040
Speaker 2: about being a band leader. So what I've done as

427
00:25:16,119 --> 00:25:19,000
Speaker 2: an executive, as a producer and all that stuff, it's

428
00:25:19,080 --> 00:25:22,320
Speaker 2: just all the same thing that I did when I

429
00:25:22,359 --> 00:25:24,639
Speaker 2: was twenty two years old, when I was picking members

430
00:25:24,640 --> 00:25:28,360
Speaker 2: of the band and picking material. Yeah, it's the same shit.

431
00:25:28,520 --> 00:25:31,399
Speaker 3: That was the that was the development of this, that

432
00:25:31,520 --> 00:25:32,880
Speaker 3: was the skill set.

433
00:25:32,720 --> 00:25:35,440
Speaker 2: The same shit. Because I was never the talent, right.

434
00:25:35,480 --> 00:25:38,840
Speaker 2: I had some talent, but I was never the talent, right,

435
00:25:38,960 --> 00:25:41,040
Speaker 2: So I was I was a different time. I was.

436
00:25:41,080 --> 00:25:43,600
Speaker 2: I was the eyes and the ears and the ingenuity, right,

437
00:25:43,600 --> 00:25:44,960
Speaker 2: and you were able to identify that.

438
00:25:45,280 --> 00:25:48,400
Speaker 4: Yeah, because that's the one thing I feel like as well,

439
00:25:48,520 --> 00:25:52,760
Speaker 4: especially in this day and age. Hey man, all y'all

440
00:25:52,840 --> 00:25:55,240
Speaker 4: not talented, very rays not, you know what I mean,

441
00:25:55,560 --> 00:25:59,720
Speaker 4: Or maybe you're talented, but you meet someone you're like,

442
00:25:59,760 --> 00:26:04,320
Speaker 4: you know what, you got something different? Have something and

443
00:26:04,440 --> 00:26:06,680
Speaker 4: you know what I can help you with this, right,

444
00:26:06,760 --> 00:26:09,800
Speaker 4: I can help guy that we can figure this whole

445
00:26:09,840 --> 00:26:12,480
Speaker 4: thing out together instead of it being like na, na,

446
00:26:12,520 --> 00:26:14,560
Speaker 4: I'm gonna just be the artist and keep all these

447
00:26:14,600 --> 00:26:15,600
Speaker 4: songs from me.

448
00:26:16,320 --> 00:26:18,160
Speaker 2: Oh my god, I met so many people you guys

449
00:26:18,200 --> 00:26:20,000
Speaker 2: have too that I'm like, damn, if you just get

450
00:26:20,000 --> 00:26:22,560
Speaker 2: out of the way, what the career you would have

451
00:26:22,600 --> 00:26:24,600
Speaker 2: if you would just get out of the way. Right,

452
00:26:24,800 --> 00:26:28,600
Speaker 2: But it's gotta be about you. Huh, Okay, all right,

453
00:26:29,520 --> 00:26:35,159
Speaker 2: tell me something. Dick griff Yes, how was how was

454
00:26:35,200 --> 00:26:39,639
Speaker 2: he as an executive? Dick Griffy was? Uh, he had

455
00:26:39,720 --> 00:26:43,000
Speaker 2: great taste. He was a he was he was tough.

456
00:26:43,960 --> 00:26:47,800
Speaker 2: He was tough, but but he was but he but

457
00:26:47,880 --> 00:26:52,040
Speaker 2: he had a soft spot for talent. Right. But the

458
00:26:52,080 --> 00:26:54,359
Speaker 2: way he would talk to me, he talked to me like,

459
00:26:54,600 --> 00:26:57,159
Speaker 2: you know, like a tough guy. Yeah, you know.

460
00:26:57,880 --> 00:26:58,000
Speaker 1: Uh.

461
00:26:58,200 --> 00:27:00,480
Speaker 2: He would give me the information whatever I might be

462
00:27:00,520 --> 00:27:02,880
Speaker 2: asking about, whatever I need to know, but he would

463
00:27:02,920 --> 00:27:05,719
Speaker 2: always say it like, let me tell you something, young motherfucker. Right.

464
00:27:06,000 --> 00:27:08,840
Speaker 2: Everything was like young motherfucker. You know what I mean.

465
00:27:09,040 --> 00:27:11,919
Speaker 2: Everything was like that. You met people like that, you know,

466
00:27:12,720 --> 00:27:16,000
Speaker 2: but you're still getting getting the lessons. But yeah, he

467
00:27:16,040 --> 00:27:17,880
Speaker 2: was he was great man. He had he had great

468
00:27:17,960 --> 00:27:20,720
Speaker 2: taste in music. He knew a hit when he heard

469
00:27:20,720 --> 00:27:25,160
Speaker 2: a hit. You know, yeah, I loved I loved Solar.

470
00:27:25,600 --> 00:27:26,440
Speaker 2: I still love Solar.

471
00:27:26,560 --> 00:27:28,359
Speaker 4: I don't think I don't think he gets enough credit

472
00:27:28,840 --> 00:27:32,399
Speaker 4: when the great executives are mentioned, right, they don't. They

473
00:27:32,400 --> 00:27:35,239
Speaker 4: don't talk about sound of Los Angeles records, and they

474
00:27:35,280 --> 00:27:40,879
Speaker 4: don't like the artists, the writers. The music that came

475
00:27:40,920 --> 00:27:42,920
Speaker 4: from Solar is so special.

476
00:27:43,640 --> 00:27:46,320
Speaker 2: Yes, one of my favorite producers ever is from Solar.

477
00:27:46,440 --> 00:27:50,520
Speaker 2: Man Leon Silva one of my favorite producers. Man, Like,

478
00:27:50,560 --> 00:27:54,320
Speaker 2: if you listen to Chalamar and the whispers and the

479
00:27:54,359 --> 00:27:57,880
Speaker 2: beat goes on and all those make that move or

480
00:27:58,080 --> 00:28:00,919
Speaker 2: you know, you just name it like it's joints for

481
00:28:01,000 --> 00:28:04,440
Speaker 2: the lover in me. That's all Leon Silver's as a producer.

482
00:28:04,520 --> 00:28:04,680
Speaker 4: Man.

483
00:28:04,800 --> 00:28:09,480
Speaker 2: So, but I think it's hard to everybody can't get

484
00:28:09,520 --> 00:28:12,159
Speaker 2: the praise. Man, It's just like everybody can't get it.

485
00:28:12,320 --> 00:28:16,000
Speaker 2: Barry Gordy is that guy. It's Arry Gordy, right, Berry

486
00:28:16,000 --> 00:28:19,960
Speaker 2: Gordy is the greatest record executive of all time. And

487
00:28:20,119 --> 00:28:22,600
Speaker 2: no one else gets to have that. No one else

488
00:28:22,600 --> 00:28:24,879
Speaker 2: gets to have that. I don't care how good any

489
00:28:25,320 --> 00:28:28,040
Speaker 2: of us might be at him. It's kind of like

490
00:28:28,119 --> 00:28:32,560
Speaker 2: in basketball, I don't care what it's Michael Jordan's Kobe right,

491
00:28:33,080 --> 00:28:34,840
Speaker 2: Kobe Man right.

492
00:28:34,480 --> 00:28:39,120
Speaker 3: But but it feels like it's just gonna be Jordan's forever.

493
00:28:39,280 --> 00:28:44,480
Speaker 3: It starts and ends right because it's the it's the blueprint.

494
00:28:44,640 --> 00:28:50,320
Speaker 3: It's everything that we're aspiring to be and how we

495
00:28:50,360 --> 00:28:53,440
Speaker 3: should do it and how it starts there.

496
00:28:53,520 --> 00:29:00,400
Speaker 2: It starts there, transcended basketballau and even even when you

497
00:29:00,400 --> 00:29:03,719
Speaker 2: look at a Berry Gordy right, motown was they had

498
00:29:03,720 --> 00:29:04,920
Speaker 2: a different type of shine to it.

499
00:29:05,120 --> 00:29:07,360
Speaker 4: It had a different type of thing to it that

500
00:29:07,960 --> 00:29:10,040
Speaker 4: no one had ever seen at that point. That's the

501
00:29:10,080 --> 00:29:12,320
Speaker 4: other thing I think that happens with Michael Jordan. No

502
00:29:12,360 --> 00:29:16,240
Speaker 4: one had ever seen the tongue out, the ball head,

503
00:29:16,440 --> 00:29:20,000
Speaker 4: all of that, the band shoes, the Nike money pushing it,

504
00:29:20,080 --> 00:29:21,440
Speaker 4: you know. I mean, it was a lot of things

505
00:29:21,480 --> 00:29:25,120
Speaker 4: that made that what it became, right, And I feel

506
00:29:25,120 --> 00:29:27,880
Speaker 4: like for us, Barry Gordy sits in that spot where

507
00:29:27,920 --> 00:29:30,880
Speaker 4: he was. He broke down so many barriers.

508
00:29:31,320 --> 00:29:35,800
Speaker 2: I think people who are thought of as the first

509
00:29:36,000 --> 00:29:39,280
Speaker 2: greats at anything, it's just very tough for anyone else

510
00:29:39,320 --> 00:29:44,080
Speaker 2: to really hold that title. Yeah, Yeah, We still think

511
00:29:44,120 --> 00:29:48,720
Speaker 2: of Sigmund Freud as the greatest psychologists, and and we

512
00:29:48,840 --> 00:29:51,760
Speaker 2: still think of Albert Einstein as as a genius in

513
00:29:51,800 --> 00:29:55,880
Speaker 2: a certain way. We still those things don't change right there.

514
00:29:55,880 --> 00:30:01,600
Speaker 2: Probably they're probably somebody who is is a better psycho

515
00:30:01,640 --> 00:30:05,280
Speaker 2: therapist than Sigmund Freud. But it doesn't matter, right, you

516
00:30:05,320 --> 00:30:05,760
Speaker 2: know what I mean?

517
00:30:05,880 --> 00:30:09,480
Speaker 4: But I think that's ultimately a big reason also why

518
00:30:09,520 --> 00:30:12,400
Speaker 4: we started this show is so that we could highlight

519
00:30:13,480 --> 00:30:18,400
Speaker 4: everyone everyone. That's really something that that is very important

520
00:30:18,400 --> 00:30:23,000
Speaker 4: to us. That someone like Dick Griffy gets the you know,

521
00:30:23,960 --> 00:30:28,400
Speaker 4: gets the celebration man other labels may have gotten, because

522
00:30:28,480 --> 00:30:31,440
Speaker 4: what he did is so special and it's still lasting

523
00:30:31,480 --> 00:30:34,920
Speaker 4: to this day. You come from Solar, they face comes

524
00:30:34,920 --> 00:30:37,120
Speaker 4: from Solar, you know what I mean. Like this is

525
00:30:37,120 --> 00:30:40,160
Speaker 4: something that is and still the test of time, but

526
00:30:40,680 --> 00:30:43,080
Speaker 4: the average person would not know of.

527
00:30:43,720 --> 00:30:51,320
Speaker 2: Right, even some of the early you remember like COOLi Old, Sampled, Lakesides, fantastic,

528
00:30:52,640 --> 00:30:56,680
Speaker 2: even it transcended R and B and pop at that

529
00:30:56,760 --> 00:31:01,280
Speaker 2: time and even made its way into hip hop. You know. Yeah,

530
00:31:01,320 --> 00:31:03,760
Speaker 2: Dick Griffy is incredible, man, he really is incredible. I

531
00:31:03,800 --> 00:31:06,440
Speaker 2: learned a lot from him, really learned a lot. He

532
00:31:06,560 --> 00:31:08,520
Speaker 2: let me study under him, He let me hang around

533
00:31:09,000 --> 00:31:12,480
Speaker 2: and just watch and ask questions. I would ask anything,

534
00:31:13,040 --> 00:31:15,640
Speaker 2: good questions, bad questions. He'd still give me an answer,

535
00:31:16,240 --> 00:31:18,840
Speaker 2: you know. And that was a training ground.

536
00:31:18,920 --> 00:31:22,040
Speaker 4: Do you think that you were preparing yourself for what

537
00:31:22,080 --> 00:31:24,240
Speaker 4: you would become then, even though you were an artist

538
00:31:24,240 --> 00:31:26,239
Speaker 4: at that point, because you're signed to his label, but

539
00:31:26,280 --> 00:31:28,840
Speaker 4: you're asking questions like a young executive.

540
00:31:29,160 --> 00:31:31,320
Speaker 2: I didn't know I was doing that. I really didn't know.

541
00:31:32,440 --> 00:31:35,160
Speaker 2: I was just trying to survive. Man. Again. I was

542
00:31:35,640 --> 00:31:37,840
Speaker 2: just trying to get the bills paid, man, and get

543
00:31:37,880 --> 00:31:40,720
Speaker 2: my band fed. Everything I was asking was just about

544
00:31:41,120 --> 00:31:42,920
Speaker 2: how do I take care of my people? You know

545
00:31:42,960 --> 00:31:45,000
Speaker 2: what I mean? It was a survival. It was all

546
00:31:45,040 --> 00:31:48,800
Speaker 2: about that, you know. And I didn't know. But when

547
00:31:49,040 --> 00:31:55,040
Speaker 2: once I once I saw Dick Griffy, it became clearer

548
00:31:55,680 --> 00:31:58,920
Speaker 2: what I thought I could do with my career. He

549
00:31:59,120 --> 00:32:01,520
Speaker 2: was the example, because yes, Barry Gordy was the great,

550
00:32:01,560 --> 00:32:05,000
Speaker 2: but I never met him. He was way you know,

551
00:32:05,560 --> 00:32:08,400
Speaker 2: you know, but Dick was right there. They dealing with

552
00:32:08,480 --> 00:32:12,080
Speaker 2: him every day every day. Yeah, good batter and different. Right.

553
00:32:12,280 --> 00:32:16,560
Speaker 3: As a performer like you, you you go from doing

554
00:32:16,600 --> 00:32:17,120
Speaker 3: the clubs.

555
00:32:17,200 --> 00:32:21,600
Speaker 2: Now you got a record that's working, and it's it's

556
00:32:21,920 --> 00:32:27,600
Speaker 2: the Barge and and and Luther and Luther and when

557
00:32:27,600 --> 00:32:29,800
Speaker 2: you when you when n I just was as a

558
00:32:29,800 --> 00:32:33,800
Speaker 2: performer on your first few dates. Are you going through

559
00:32:33,800 --> 00:32:37,120
Speaker 2: a thing where you're watching him and you're like, oh,

560
00:32:37,160 --> 00:32:40,440
Speaker 2: we gotta get our ship together, or you're in a

561
00:32:40,480 --> 00:32:45,280
Speaker 2: space where oh, cool, we're about to kill that's a

562
00:32:45,360 --> 00:32:50,440
Speaker 2: great one. So the first show Marcus Square Arena, Indianapolis,

563
00:32:50,520 --> 00:32:56,320
Speaker 2: Indiana Arena. From a little bar to arena. Man, we

564
00:32:56,320 --> 00:32:59,520
Speaker 2: were so horrible. We were so bad, but we didn't

565
00:32:59,560 --> 00:33:04,000
Speaker 2: know we were good, right, But we got on that

566
00:33:04,080 --> 00:33:08,120
Speaker 2: stage and you've been on that big stage, big all

567
00:33:08,120 --> 00:33:11,120
Speaker 2: of a sudden, you can't hear I can't hear the

568
00:33:11,160 --> 00:33:14,800
Speaker 2: bass player, the guitar players out of tune, but he

569
00:33:14,880 --> 00:33:18,400
Speaker 2: can't hear it because all there is guitar and and

570
00:33:18,880 --> 00:33:22,560
Speaker 2: it's a mess. It's a mess. So that was the

571
00:33:22,560 --> 00:33:27,080
Speaker 2: first show. You guys are open, were opening, no soundtrack,

572
00:33:27,640 --> 00:33:30,520
Speaker 2: you know, no sound check. I'm sorry and very much.

573
00:33:31,080 --> 00:33:34,320
Speaker 2: And it was bad. So we didn't have that that

574
00:33:34,560 --> 00:33:37,720
Speaker 2: bravado and the ego, uh that we thought we were

575
00:33:38,080 --> 00:33:40,640
Speaker 2: all that, No, we knew it was getting ass kicked,

576
00:33:40,760 --> 00:33:46,800
Speaker 2: right and plus plus the barge was light skinned man, right, so.

577
00:33:47,240 --> 00:33:51,400
Speaker 4: I can only imagine how bad was.

578
00:33:53,440 --> 00:33:56,120
Speaker 2: I would have definitely been on side of stage. I

579
00:33:56,200 --> 00:33:58,560
Speaker 2: see Buddy, by the way, we're on the side of the stage.

580
00:33:58,600 --> 00:34:02,200
Speaker 2: But I never met no, no, you could get they

581
00:34:02,200 --> 00:34:08,879
Speaker 2: wouln't letting none of us. And get it, guys, those

582
00:34:09,480 --> 00:34:13,839
Speaker 2: boys come out and and and the screams. They would

583
00:34:13,840 --> 00:34:18,080
Speaker 2: lose it, they would and they were good, like El

584
00:34:18,120 --> 00:34:21,080
Speaker 2: Debarche was not incredible, like really an incredible talent, Like

585
00:34:21,120 --> 00:34:25,000
Speaker 2: I love his songs, I love his voice, and the

586
00:34:25,080 --> 00:34:27,600
Speaker 2: band was good, but it was for me. It was

587
00:34:27,680 --> 00:34:31,160
Speaker 2: El Debarche that was great. But when Luther hit that stage,

588
00:34:31,440 --> 00:34:33,839
Speaker 2: it was a problem. It was a whole different thing.

589
00:34:33,920 --> 00:34:36,600
Speaker 2: It was like all of a sudden the Siege party,

590
00:34:36,719 --> 00:34:40,279
Speaker 2: Like it was a different thing. Because Luther is a

591
00:34:40,600 --> 00:34:44,719
Speaker 2: real pro right right right to this day. I haven't

592
00:34:44,760 --> 00:34:51,920
Speaker 2: heard people we love singers. Luther never had a mic problem.

593
00:34:52,239 --> 00:34:54,400
Speaker 2: It was never like something's wrong with the sound system.

594
00:34:54,480 --> 00:34:55,360
Speaker 2: Like Luther.

595
00:34:56,040 --> 00:35:00,000
Speaker 4: It's so crazy that most people that if you don't

596
00:35:00,040 --> 00:35:02,759
Speaker 4: don't do music and you've never been on the stage,

597
00:35:03,400 --> 00:35:06,440
Speaker 4: that in itself right there for you to say that right,

598
00:35:06,640 --> 00:35:09,640
Speaker 4: he never had a mic. Every single artist has that

599
00:35:09,960 --> 00:35:11,080
Speaker 4: at some point.

600
00:35:11,440 --> 00:35:15,560
Speaker 2: Not Luther. That's crazy. That mean he was on He

601
00:35:15,640 --> 00:35:18,279
Speaker 2: was on it, man, he was. I'm telling you, like,

602
00:35:18,400 --> 00:35:22,560
Speaker 2: the sound was incredible, and you know how I used

603
00:35:22,560 --> 00:35:25,279
Speaker 2: to do that thing where he yeah, I know you

604
00:35:25,320 --> 00:35:25,719
Speaker 2: could do this.

605
00:35:25,719 --> 00:35:31,400
Speaker 3: Ship right but right, but it was always like perfection

606
00:35:31,560 --> 00:35:35,160
Speaker 3: and it was always like sonically round and complete and

607
00:35:35,440 --> 00:35:38,080
Speaker 3: full and in your face or an echo of it

608
00:35:38,160 --> 00:35:39,000
Speaker 3: needed to be right.

609
00:35:39,600 --> 00:35:43,440
Speaker 2: So like Luther would just shut everybody down. And I

610
00:35:43,440 --> 00:35:45,400
Speaker 2: did that for like, I don't know. We must have

611
00:35:45,480 --> 00:35:48,200
Speaker 2: been out there for at least like sixty shows. That's

612
00:35:48,200 --> 00:35:51,439
Speaker 2: what I'm talking about, right, real touring. So I saw

613
00:35:51,480 --> 00:35:52,160
Speaker 2: that every night.

614
00:35:52,239 --> 00:35:54,240
Speaker 4: Yeah, by show sixty though, y'all doing y'all thing.

615
00:35:54,239 --> 00:35:55,880
Speaker 2: We were better. By the end, we were better. We

616
00:35:55,920 --> 00:36:05,160
Speaker 2: would never we never got to let it got there

617
00:36:05,239 --> 00:36:12,239
Speaker 2: right n sixty nights. But here's the beauty of it.

618
00:36:12,400 --> 00:36:14,399
Speaker 2: You ever heard a song about Babyface and the Deal

619
00:36:14,480 --> 00:36:18,799
Speaker 2: called Sweet November? Yes, yes, yes, So that was that

620
00:36:18,920 --> 00:36:21,719
Speaker 2: was our takeaway from watching Luther every night. When he

621
00:36:21,760 --> 00:36:23,760
Speaker 2: and I went in the studio to make that record,

622
00:36:24,560 --> 00:36:27,440
Speaker 2: we were in our minds. We were doing what we

623
00:36:27,520 --> 00:36:31,480
Speaker 2: learned from Luther right, all of our ballots where will

624
00:36:31,520 --> 00:36:34,680
Speaker 2: you Go? All the ballads that we did, like the production,

625
00:36:34,960 --> 00:36:38,160
Speaker 2: the way we approached it. Everything was what would Luther do?

626
00:36:38,840 --> 00:36:40,920
Speaker 2: Like we started our career with what would Prince do?

627
00:36:42,160 --> 00:36:44,279
Speaker 2: And as we grew it became what would Luther do?

628
00:36:44,560 --> 00:36:46,880
Speaker 4: It's so crazy when you say that and I'm dialing

629
00:36:46,960 --> 00:36:49,640
Speaker 4: up now, it feels like what would Luther do?

630
00:36:49,760 --> 00:36:49,920
Speaker 6: Is you?

631
00:36:50,320 --> 00:36:52,960
Speaker 2: Yeah? Oh no? All the way? Man, all the way?

632
00:36:53,040 --> 00:36:54,040
Speaker 2: That was that way? Then?

633
00:36:54,520 --> 00:36:58,799
Speaker 4: So did you guys have two occasions by this time

634
00:36:58,840 --> 00:36:59,759
Speaker 4: that you're on the road or no?

635
00:37:00,160 --> 00:37:02,960
Speaker 2: Oh no? That came on our third album. Yeah, we had.

636
00:37:03,160 --> 00:37:07,560
Speaker 2: We had. Our first album was Body Talk, which was

637
00:37:07,960 --> 00:37:09,399
Speaker 2: it was a hit. It was it was a hit,

638
00:37:09,600 --> 00:37:14,320
Speaker 2: like number three on Black chart, maybe number twenty on

639
00:37:14,360 --> 00:37:18,960
Speaker 2: the pop chart. It was a hit. And on the road, yeah, sure,

640
00:37:19,440 --> 00:37:26,359
Speaker 2: the second and Reggie Callaway produced that album like two

641
00:37:26,480 --> 00:37:35,960
Speaker 2: days ago, that's right, that's right, but Reggie produced it.

642
00:37:36,360 --> 00:37:40,759
Speaker 2: Second album. Dick Griffy said he came to Cincinnati to visit.

643
00:37:40,840 --> 00:37:43,320
Speaker 2: We played in some demos and he said who produced

644
00:37:43,320 --> 00:37:46,640
Speaker 2: the demos? I said, I did. He said, well, you

645
00:37:46,640 --> 00:37:50,480
Speaker 2: should produce the album, So I produced me and Face

646
00:37:51,280 --> 00:37:55,200
Speaker 2: produced the band's second album, and it was a disaster.

647
00:37:55,640 --> 00:37:57,759
Speaker 2: The songs were good, but we just didn't get the

648
00:37:57,800 --> 00:38:02,319
Speaker 2: singles right okay, And then Dick moved us to la

649
00:38:03,239 --> 00:38:04,640
Speaker 2: He called me one day he said, let me ask

650
00:38:04,680 --> 00:38:07,440
Speaker 2: you something, young man, Why are you still living in Cincinnati?

651
00:38:08,000 --> 00:38:11,279
Speaker 2: That's this home. He let me tell you something. I

652
00:38:11,360 --> 00:38:14,080
Speaker 2: think you knew everything. This is Dick. He just talks

653
00:38:14,160 --> 00:38:17,960
Speaker 2: like this. He said, you could make more money by

654
00:38:18,080 --> 00:38:22,240
Speaker 2: accident in Los Angeles then you can make on purpose

655
00:38:22,680 --> 00:38:25,360
Speaker 2: in Cincinnati. All I needed to hear.

656
00:38:25,840 --> 00:38:29,640
Speaker 4: Is still in that there. I'm still That's what it is.

657
00:38:29,800 --> 00:38:30,319
Speaker 4: What it is.

658
00:38:30,440 --> 00:38:32,200
Speaker 2: I say it all the time.

659
00:38:32,920 --> 00:38:35,640
Speaker 3: You you in the right place at the right time

660
00:38:35,680 --> 00:38:40,000
Speaker 3: and had the right conversation, your life can change.

661
00:38:40,080 --> 00:38:45,400
Speaker 2: It changed. So we moved out here and started working

662
00:38:45,400 --> 00:38:48,440
Speaker 2: on the albums. Start working on the record, meeting other people,

663
00:38:48,560 --> 00:38:52,120
Speaker 2: meet Charlaman, meet the Whispers, meeting people, and then we

664
00:38:52,160 --> 00:38:59,520
Speaker 2: started producing writing together. And then we had two occasions right,

665
00:38:59,560 --> 00:39:02,080
Speaker 2: which was originally it was an up tempo song. It

666
00:39:02,200 --> 00:39:04,839
Speaker 2: was like it was a funk record at first, and

667
00:39:06,520 --> 00:39:08,920
Speaker 2: yeah it was a funk record, yeah, And then Face

668
00:39:09,000 --> 00:39:12,160
Speaker 2: took it. It was one of the other members of

669
00:39:12,200 --> 00:39:15,720
Speaker 2: our band D actually wrote the song and Face took

670
00:39:16,000 --> 00:39:18,920
Speaker 2: the chorus that D wrote and turned it into a

671
00:39:18,960 --> 00:39:22,839
Speaker 2: beautiful ballot and I was like, oh, there it is.

672
00:39:22,920 --> 00:39:24,080
Speaker 2: We got we got one.

673
00:39:24,120 --> 00:39:27,400
Speaker 3: So what's Let me ask you a question, like, was

674
00:39:27,480 --> 00:39:32,719
Speaker 3: that production a result of now you're in l A.

675
00:39:33,680 --> 00:39:37,400
Speaker 3: You in these different rooms, different studios, different level of

676
00:39:37,480 --> 00:39:42,759
Speaker 3: producers and writers, and you're like this okay, and and

677
00:39:42,920 --> 00:39:48,720
Speaker 3: that triggering the competitive nature yeah, and sharpening the tool

678
00:39:48,760 --> 00:39:51,640
Speaker 3: at the same time to get you to a new

679
00:39:51,719 --> 00:39:55,239
Speaker 3: place where it's like now this is now, we're here.

680
00:39:55,320 --> 00:39:59,439
Speaker 2: Yeah. So you know how music works when you when

681
00:39:59,480 --> 00:40:03,359
Speaker 2: you first time you made I ain't gonna say your

682
00:40:03,400 --> 00:40:06,600
Speaker 2: first hit because your first hit was like, oh I

683
00:40:06,640 --> 00:40:10,200
Speaker 2: got hit. But by the time you were like into it,

684
00:40:10,360 --> 00:40:13,880
Speaker 2: you actually knew when you nailed it absolutely. You know

685
00:40:13,960 --> 00:40:16,080
Speaker 2: that point where your knowledge just kicks in and you

686
00:40:16,200 --> 00:40:18,080
Speaker 2: just you know you in the bag. You know you're

687
00:40:18,080 --> 00:40:21,279
Speaker 2: in your bag, you know you in the zone, and

688
00:40:21,440 --> 00:40:24,320
Speaker 2: everything you do at that point sounds really good. It

689
00:40:24,360 --> 00:40:25,799
Speaker 2: does no matter what's a hit and out of hit,

690
00:40:25,920 --> 00:40:28,759
Speaker 2: everything is quality at that polot, right, because you're now

691
00:40:28,800 --> 00:40:32,319
Speaker 2: in your bag. Right, That's what happened with two Okay.

692
00:40:32,400 --> 00:40:34,359
Speaker 2: We were in our bag. We didn't have to ask

693
00:40:34,440 --> 00:40:38,000
Speaker 2: questions like how does this sound? We were in our bag, right,

694
00:40:38,080 --> 00:40:40,760
Speaker 2: and everything that we did in that moment, everything wasn't

695
00:40:40,760 --> 00:40:44,359
Speaker 2: a hit, but everything was of that quality because we

696
00:40:44,360 --> 00:40:45,880
Speaker 2: were in our bag, you know.

697
00:40:48,120 --> 00:40:51,560
Speaker 4: But is that yourll Is that your first like smash

698
00:40:51,640 --> 00:40:52,240
Speaker 4: hit though.

699
00:40:52,320 --> 00:40:56,600
Speaker 2: That wasn't our first. That was our first really big

700
00:40:56,680 --> 00:40:58,800
Speaker 2: hit for the band, but it wasn't our first really

701
00:40:58,800 --> 00:41:02,360
Speaker 2: big hit. I really our first really big hid was

702
00:41:02,360 --> 00:41:05,840
Speaker 2: a song called rock Steady by the Whispers, a.

703
00:41:05,680 --> 00:41:16,759
Speaker 5: Song called yeah like yeah yeah listen, friend, yes, don't

704
00:41:16,800 --> 00:41:17,960
Speaker 5: talk to our people talk.

705
00:41:17,880 --> 00:41:23,400
Speaker 3: About the money community. Come on, we've had the Whispers

706
00:41:23,400 --> 00:41:30,000
Speaker 3: on here. Whisper absolutely, whisper. Don't wait with use here man, yeah,

707
00:41:30,120 --> 00:41:35,799
Speaker 3: come on, brother Walter, Yes, what's like?

708
00:41:36,480 --> 00:41:39,880
Speaker 2: All right? This all right? All right, all right, that's money.

709
00:41:39,920 --> 00:41:40,800
Speaker 2: So that's the respect.

710
00:41:41,040 --> 00:41:42,399
Speaker 4: That's the first. That's our first.

711
00:41:42,680 --> 00:41:42,919
Speaker 2: Man.

712
00:41:44,360 --> 00:41:46,120
Speaker 4: So are you getting some money when you when you

713
00:41:46,160 --> 00:41:48,040
Speaker 4: get rock Steady out? Did you did you take some

714
00:41:48,080 --> 00:41:50,640
Speaker 4: money yet? Is this anything substantial?

715
00:41:50,840 --> 00:41:52,759
Speaker 2: Man? Let me tell you something. We don't have no

716
00:41:52,840 --> 00:41:55,640
Speaker 2: money yet. Okay, I were paying the rent, but we

717
00:41:55,719 --> 00:42:01,040
Speaker 2: have no money yet. We had this manager money, we

718
00:42:01,160 --> 00:42:04,719
Speaker 2: had this manager. Uh he heard the song. He was

719
00:42:04,840 --> 00:42:06,759
Speaker 2: and we needed some money. It was like holiday time.

720
00:42:08,120 --> 00:42:12,480
Speaker 2: He said, let's go bring your boombox. Let's go go

721
00:42:12,600 --> 00:42:16,719
Speaker 2: to the bank. Okay, we went to the bank with

722
00:42:16,840 --> 00:42:20,840
Speaker 2: a boombox. We went in to see the bank. I

723
00:42:20,880 --> 00:42:23,840
Speaker 2: don't know a dude at the bank in the office.

724
00:42:24,080 --> 00:42:26,240
Speaker 2: The president paid rock Steady.

725
00:42:28,280 --> 00:42:29,160
Speaker 4: But it's not out yet.

726
00:42:29,320 --> 00:42:32,600
Speaker 2: No, it's not out yet. Had a nice Christmas.

727
00:42:33,320 --> 00:42:34,239
Speaker 4: He gave y'all check.

728
00:42:34,320 --> 00:42:38,080
Speaker 2: Yeah, gave us a check at the bank alone, yeah, alone,

729
00:42:38,160 --> 00:42:40,520
Speaker 2: like I want to. You have to ask Kenny, Kenny,

730
00:42:40,600 --> 00:42:43,960
Speaker 2: how much was it? There was some money though the

731
00:42:44,160 --> 00:42:48,440
Speaker 2: song like a publishing company. Know that. We went to

732
00:42:48,520 --> 00:42:56,200
Speaker 2: the bank. You're telling me right now, going today, let's

733
00:42:56,239 --> 00:42:59,000
Speaker 2: go get out. It's a different a man. We went

734
00:42:59,080 --> 00:43:01,080
Speaker 2: to the bank. We played City National. I don't know

735
00:43:01,120 --> 00:43:02,759
Speaker 2: how much we got, but I'm telling you we got

736
00:43:02,840 --> 00:43:04,360
Speaker 2: some money. It might have been some grand let me

737
00:43:04,480 --> 00:43:07,839
Speaker 2: get something, but we got some money. I forgot much.

738
00:43:07,840 --> 00:43:09,640
Speaker 4: I got some songs in the computer. I'm going to

739
00:43:09,680 --> 00:43:11,480
Speaker 4: give me somebody out of the City National day.

740
00:43:11,719 --> 00:43:14,120
Speaker 2: I can't make this up. Thank you are listen, you

741
00:43:14,239 --> 00:43:16,640
Speaker 2: are listen.

742
00:43:16,640 --> 00:43:19,160
Speaker 3: You are disoling me at the moment. First of all,

743
00:43:19,320 --> 00:43:23,439
Speaker 3: Popeye is old. Credit alone with this record, can ready

744
00:43:23,480 --> 00:43:29,600
Speaker 3: to flit this boom. But for a banker, not a

745
00:43:29,719 --> 00:43:30,320
Speaker 3: music person.

746
00:43:30,400 --> 00:43:36,760
Speaker 2: No, right, the black bank. We were in California, Los Angeles,

747
00:43:36,920 --> 00:43:42,000
Speaker 2: a black bank. Yes, sir, this is great. Yeah that happened.

748
00:43:42,239 --> 00:43:44,360
Speaker 4: So your first real check came off of that.

749
00:43:45,000 --> 00:43:48,680
Speaker 2: Yeah, and then we started getting Then we started getting

750
00:43:49,000 --> 00:43:51,920
Speaker 2: making money. Okay, right, we got hot. Yeah. I was

751
00:43:51,920 --> 00:43:54,560
Speaker 2: about to say because rock steady and steady and then

752
00:43:54,640 --> 00:44:00,719
Speaker 2: girlfriends ah on two occasions, like all ridolds hit at

753
00:44:00,760 --> 00:44:01,319
Speaker 2: the same time.

754
00:44:11,920 --> 00:44:12,719
Speaker 4: You know what he bought?

755
00:44:12,880 --> 00:44:16,160
Speaker 2: What did you buy? Speakers? First thing? Yeah, first thing

756
00:44:16,200 --> 00:44:18,160
Speaker 2: I bought was a set of speakers. He's so smart.

757
00:44:20,280 --> 00:44:23,480
Speaker 2: I promise, I'm not right. I promise you, I'm not right.

758
00:44:23,800 --> 00:44:32,120
Speaker 2: You better than me, man, No, but uh yeah, but

759
00:44:32,160 --> 00:44:35,080
Speaker 2: I'm a sound fanatic, right, so I bought. When I

760
00:44:35,160 --> 00:44:37,360
Speaker 2: look around, I'm like, damn, I got so many pairs

761
00:44:37,400 --> 00:44:40,440
Speaker 2: of speakers, Like I'm a sound fanatic. So yeah, I

762
00:44:40,480 --> 00:44:42,680
Speaker 2: bought a pair of I don't even know what they were, man,

763
00:44:42,800 --> 00:44:43,959
Speaker 2: but they sounded great.

764
00:44:45,080 --> 00:44:45,279
Speaker 4: Yeah.

765
00:44:45,600 --> 00:44:48,000
Speaker 2: They would just just just play back or so you

766
00:44:48,080 --> 00:44:51,840
Speaker 2: could know. This is so that I could listen outside

767
00:44:51,880 --> 00:44:55,279
Speaker 2: the studio. When I got home, I wanted to Yeah,

768
00:44:55,600 --> 00:44:57,320
Speaker 2: you wanted to know what it? Yeah, I already know.

769
00:44:57,640 --> 00:45:00,759
Speaker 2: It was just that thing. Yeah yeah, and probably the

770
00:45:00,840 --> 00:45:06,279
Speaker 2: next thing was like a jeep, cheap Cherokee and put

771
00:45:06,320 --> 00:45:08,920
Speaker 2: a sound system in it. Right, it was just all

772
00:45:08,960 --> 00:45:13,480
Speaker 2: about the music. Sound guy. Yeah. First person I ever

773
00:45:13,560 --> 00:45:18,600
Speaker 2: saw like that serious about speakers was Craig Calman. Yeah, yeah, yeah,

774
00:45:18,640 --> 00:45:19,400
Speaker 2: he's serious.

775
00:45:19,640 --> 00:45:22,120
Speaker 3: He was the first person I like, he's definitely a

776
00:45:22,200 --> 00:45:24,680
Speaker 3: sound guy. I had seen, like, Okay, in the studio,

777
00:45:25,760 --> 00:45:28,040
Speaker 3: you got the speakers. You know you got you got

778
00:45:28,080 --> 00:45:30,239
Speaker 3: your Ausburgers or your genial xt or you know, you

779
00:45:30,360 --> 00:45:33,279
Speaker 3: all the all the brands, right, But never had I

780
00:45:33,440 --> 00:45:38,880
Speaker 3: been in someone's house or office where there's an eighty

781
00:45:39,040 --> 00:45:45,200
Speaker 3: thousand dollars speakers up right, I'm like you tripping right,

782
00:45:46,239 --> 00:45:49,319
Speaker 3: you know what I mean? Pairs of rims. I could

783
00:45:49,360 --> 00:45:53,279
Speaker 3: have gotten this money. They were low and heart ld

784
00:45:53,480 --> 00:45:57,360
Speaker 3: one and they shine when I pulled up, And that

785
00:45:57,520 --> 00:45:59,000
Speaker 3: was the first time I had ever saw it. He

786
00:45:59,080 --> 00:46:02,319
Speaker 3: was like, no, I got a I have to know, yeah, man,

787
00:46:02,520 --> 00:46:05,919
Speaker 3: everywhere I go, I have to know what this ship

788
00:46:06,360 --> 00:46:07,040
Speaker 3: sounds like.

789
00:46:07,320 --> 00:46:10,120
Speaker 2: That's how I am everywhere I go. I have everywhere

790
00:46:10,360 --> 00:46:15,120
Speaker 2: to this day, like everywhere, sound is everything with you,

791
00:46:15,239 --> 00:46:20,920
Speaker 2: that's my pet everything. Do you purchase cars around? The

792
00:46:21,000 --> 00:46:23,399
Speaker 2: speaker said, that's in or do you No? I don't

793
00:46:23,400 --> 00:46:26,000
Speaker 2: really buy cars though, like I never. I hate driving.

794
00:46:26,040 --> 00:46:29,239
Speaker 2: I'm horrible, man. I have a couple of cars, and

795
00:46:30,560 --> 00:46:33,600
Speaker 2: man I can't I'm so bad at driving, like you

796
00:46:33,680 --> 00:46:36,560
Speaker 2: can't drive. No, I'm horrible. What cars you got right now?

797
00:46:37,920 --> 00:46:40,000
Speaker 2: I got an old Range for over to speed up.

798
00:46:40,040 --> 00:46:42,520
Speaker 2: I got an old Porsche to speed up. And my

799
00:46:42,640 --> 00:46:45,040
Speaker 2: kids have cars, but I just don't care about I'm

800
00:46:45,080 --> 00:46:48,520
Speaker 2: just trying to see if there's anything you want. It's

801
00:46:48,560 --> 00:46:51,560
Speaker 2: not I'm trying to take it's not. No, no, no,

802
00:46:51,719 --> 00:46:54,520
Speaker 2: you might have some ventus sitting there. You know. I

803
00:46:54,640 --> 00:46:56,520
Speaker 2: do have one ventage car, like I have an old

804
00:46:56,640 --> 00:47:00,200
Speaker 2: sixty five Ford Mustang coming to get beautiful and to

805
00:47:00,239 --> 00:47:05,759
Speaker 2: pick that up. Yeah that's a beautiful. Yeah, yeah, that's

806
00:47:05,800 --> 00:47:09,040
Speaker 2: it's that's a talking piece, that one. But take a

807
00:47:09,120 --> 00:47:12,719
Speaker 2: walk with me outside. Yeah. But I'm so horrible a driver, man.

808
00:47:13,560 --> 00:47:16,680
Speaker 2: I should never have a nice car like trash cars

809
00:47:16,880 --> 00:47:20,200
Speaker 2: like you know, but they sound good. I bet I

810
00:47:20,320 --> 00:47:28,479
Speaker 2: bet take us, take us from production company to record label.

811
00:47:29,440 --> 00:47:29,640
Speaker 3: Yeah.

812
00:47:29,760 --> 00:47:33,719
Speaker 2: So so we had we started having a lot of

813
00:47:34,040 --> 00:47:38,359
Speaker 2: success as writers and producers. We we did. I think

814
00:47:38,400 --> 00:47:41,520
Speaker 2: the big one for us was Bobby Brown. I was

815
00:47:41,520 --> 00:47:44,879
Speaker 2: going to the one man when we did Bobby. By

816
00:47:44,960 --> 00:47:47,799
Speaker 2: the time we did Bobby, we probably had like five,

817
00:47:48,040 --> 00:47:54,120
Speaker 2: six seven other artists that we worked on. And the

818
00:47:54,200 --> 00:47:57,000
Speaker 2: record labels just put out everything that we did. They

819
00:47:57,040 --> 00:48:02,000
Speaker 2: trusted you, right, They you know, would put out all

820
00:48:02,080 --> 00:48:05,160
Speaker 2: of the Bobby songs, or Warners will put out the

821
00:48:05,239 --> 00:48:08,520
Speaker 2: Karen White songs. Everything we did just came out at

822
00:48:08,560 --> 00:48:11,520
Speaker 2: the same time. So it was like we didn't make

823
00:48:11,600 --> 00:48:13,520
Speaker 2: it all at the same time, but they released them

824
00:48:13,560 --> 00:48:15,319
Speaker 2: all at the same time, and it made it feel

825
00:48:15,360 --> 00:48:18,200
Speaker 2: like we on fire. It made it feel like we

826
00:48:18,239 --> 00:48:21,239
Speaker 2: were on fire. You know. That's called the run, The Run,

827
00:48:21,440 --> 00:48:26,520
Speaker 2: the run. And what were you thinking? What was you

828
00:48:26,920 --> 00:48:30,800
Speaker 2: thinking about when you was making that Bobby Brown like like,

829
00:48:31,120 --> 00:48:35,320
Speaker 2: oh man, that was being in the bag man? Like

830
00:48:35,560 --> 00:48:38,040
Speaker 2: what the songs like, I'm gonna tell you the one

831
00:48:38,880 --> 00:48:41,319
Speaker 2: I love all of them, but the one I love

832
00:48:41,560 --> 00:48:46,000
Speaker 2: is my heart belongs to a Ronie the truth about

833
00:48:47,760 --> 00:48:49,640
Speaker 2: She's the sweetest. And he wrote that when we were

834
00:48:49,680 --> 00:48:52,640
Speaker 2: on tour with the Barge and Luther Kenny wrote that

835
00:48:53,120 --> 00:48:56,560
Speaker 2: in Miami, Florida, on a night we had off. We

836
00:48:56,640 --> 00:48:58,560
Speaker 2: didn't know why we were off, because Luther and the

837
00:48:58,640 --> 00:49:00,800
Speaker 2: bar still had they were still on. Yeah, but for

838
00:49:00,880 --> 00:49:04,160
Speaker 2: whatever reason, we were off that night. And I remember

839
00:49:04,200 --> 00:49:06,480
Speaker 2: this girl walking into the hotel and he saw her

840
00:49:06,520 --> 00:49:10,719
Speaker 2: and he loved her, and and but she went with

841
00:49:10,840 --> 00:49:13,680
Speaker 2: one of the other band members, right, And I just

842
00:49:13,760 --> 00:49:16,600
Speaker 2: saw Kenny just like in his bag, in his own

843
00:49:16,719 --> 00:49:19,400
Speaker 2: looking at her. And he went to his room and

844
00:49:19,440 --> 00:49:21,600
Speaker 2: he came back and he played me the truth about

845
00:49:21,640 --> 00:49:26,800
Speaker 2: a Ronie. And we held it until nineteen eighty and

846
00:49:26,880 --> 00:49:30,160
Speaker 2: that probably was like that. Probably there had to be

847
00:49:30,280 --> 00:49:34,359
Speaker 2: like eighty three or eighty four. And he held that song.

848
00:49:35,080 --> 00:49:37,200
Speaker 2: He held that song until we did Bobby Brown. Then

849
00:49:37,239 --> 00:49:40,000
Speaker 2: he pulled it out and we did it on Bobby Brown.

850
00:49:40,280 --> 00:49:41,160
Speaker 1: It is.

851
00:49:42,719 --> 00:49:44,319
Speaker 4: I wonder if I got a rone in a tux.

852
00:49:46,920 --> 00:49:50,880
Speaker 2: Listen to the songs, the most timeless, Oh, and I

853
00:49:51,000 --> 00:49:51,960
Speaker 2: love it.

854
00:49:52,920 --> 00:49:54,759
Speaker 4: I love that song. I loved all of it, but

855
00:49:54,880 --> 00:49:56,920
Speaker 4: that one was like special to me. Now that you

856
00:49:57,000 --> 00:49:58,799
Speaker 4: told that story, I got to go listen to it again.

857
00:49:59,040 --> 00:50:00,600
Speaker 4: You just see how he painted it.

858
00:50:00,760 --> 00:50:04,640
Speaker 2: I'm talking, but I didn't touch the demo, right, so

859
00:50:05,080 --> 00:50:08,839
Speaker 2: you know, he did the demo, but when we did

860
00:50:08,880 --> 00:50:12,160
Speaker 2: it on Bobby, I put my thing on it, right,

861
00:50:13,480 --> 00:50:16,280
Speaker 2: And that's what I want you to listen to. Okay, Okay,

862
00:50:16,440 --> 00:50:19,399
Speaker 2: I want you to listen to that. Yeah, forget everything else.

863
00:50:19,440 --> 00:50:23,760
Speaker 2: I there listening to those drums, seriously, so the drums.

864
00:50:23,920 --> 00:50:36,120
Speaker 2: Listen to that. Listen to that. That ship is smacking, right,

865
00:50:36,320 --> 00:50:41,920
Speaker 2: that one. That's my one. That's my one brag about

866
00:50:42,000 --> 00:50:45,680
Speaker 2: my career and my music. My drums on Ronnie. After that,

867
00:50:45,719 --> 00:50:59,759
Speaker 2: I'm going back to service. Listen my one talk to you. Yeah,

868
00:51:00,160 --> 00:51:02,839
Speaker 2: top tier. So we made up, we made a bunch

869
00:51:02,880 --> 00:51:06,800
Speaker 2: of records, and then we didn't have anything to do

870
00:51:06,880 --> 00:51:09,080
Speaker 2: with the records once we turned them in, like we

871
00:51:09,280 --> 00:51:12,480
Speaker 2: make these records and the record company thank you for

872
00:51:12,560 --> 00:51:15,080
Speaker 2: your service, and they and we had nothing to do

873
00:51:15,200 --> 00:51:17,879
Speaker 2: with it. And that started to eat at me because

874
00:51:17,920 --> 00:51:21,080
Speaker 2: I was like, that's not the right single. Damn. I'm

875
00:51:21,120 --> 00:51:24,279
Speaker 2: like what they're wearing, Oh, this video is trash. I

876
00:51:24,360 --> 00:51:29,719
Speaker 2: started having all of that, yeah, big opinions, and so

877
00:51:30,520 --> 00:51:32,959
Speaker 2: I just wanted my own at that point. I wanted

878
00:51:33,000 --> 00:51:37,200
Speaker 2: my own label at that point. So we started. Clarence

879
00:51:37,200 --> 00:51:42,920
Speaker 2: Avant made his beautiful soul rest in peace. What an

880
00:51:42,960 --> 00:51:47,920
Speaker 2: important man. Clarence said, well, if you want to have

881
00:51:48,000 --> 00:51:50,120
Speaker 2: a record label, I'm gonna introduce you to everybody. But

882
00:51:50,400 --> 00:51:52,480
Speaker 2: you know, you can't take these people money and bullshit

883
00:51:52,520 --> 00:51:54,440
Speaker 2: that like, you gotta be serious about it right, And

884
00:51:55,280 --> 00:51:58,920
Speaker 2: Clarence schooled us. Clarence became our godfather very early on,

885
00:51:59,560 --> 00:52:03,480
Speaker 2: and he took arounding introduced us to every record company

886
00:52:03,520 --> 00:52:07,960
Speaker 2: head in the city, right from David Geffen to Moe

887
00:52:08,080 --> 00:52:12,239
Speaker 2: Austin to you name it. We met everybody and we

888
00:52:12,440 --> 00:52:14,600
Speaker 2: ended up we thought we were going to make our

889
00:52:14,640 --> 00:52:17,640
Speaker 2: deal with David Geffen, but we ended up doing it

890
00:52:17,760 --> 00:52:20,960
Speaker 2: with Clive Davis and we started the Face Records with

891
00:52:21,080 --> 00:52:26,480
Speaker 2: Clive and then we moved to Atlanta and started the

892
00:52:26,560 --> 00:52:29,560
Speaker 2: labeling that started the next chapter of our lives.

893
00:52:29,960 --> 00:52:33,600
Speaker 3: What was what went into the Clive decision was just

894
00:52:33,719 --> 00:52:36,840
Speaker 3: on an overall better deal, beating of the better minds.

895
00:52:38,000 --> 00:52:39,919
Speaker 2: I think that if you ask Kenny, it was because

896
00:52:39,960 --> 00:52:44,879
Speaker 2: Whitney Houston was an artist at Arista and Kenny being

897
00:52:45,400 --> 00:52:49,640
Speaker 2: you know, the most incredible songwriter I know, he wanted

898
00:52:49,640 --> 00:52:54,120
Speaker 2: to work with Whitney, so that was his attraction. For me,

899
00:52:54,440 --> 00:52:57,439
Speaker 2: it was when I was eighteen. Clive had a book

900
00:52:57,719 --> 00:53:00,080
Speaker 2: and I read his book when I was eighteen, so

901
00:53:00,160 --> 00:53:04,799
Speaker 2: I was enamored with him. M right, But nobody really

902
00:53:04,880 --> 00:53:07,520
Speaker 2: knew it. But I was just enamored with Clive and

903
00:53:07,719 --> 00:53:10,919
Speaker 2: Kenny Love Whitney. So it's just worth just go. Yeah.

904
00:53:11,320 --> 00:53:14,400
Speaker 4: So when you guys do your deal, were you thinking

905
00:53:17,360 --> 00:53:20,080
Speaker 4: outside of outside of the things that you said earlier

906
00:53:20,719 --> 00:53:23,719
Speaker 4: as far as just wanting to for your opinion to matter.

907
00:53:24,360 --> 00:53:26,880
Speaker 4: That's really that's what kicked it off. That's right, your

908
00:53:26,920 --> 00:53:30,719
Speaker 4: opinion mattering. Were you thinking from the business side of

909
00:53:30,760 --> 00:53:32,800
Speaker 4: it yet though, or were you just like, this is

910
00:53:32,920 --> 00:53:34,080
Speaker 4: just an entry into it.

911
00:53:34,840 --> 00:53:37,520
Speaker 2: No, I never did to be honest with you, like,

912
00:53:38,000 --> 00:53:41,920
Speaker 2: I understand business, but I was never like a consummate businessman.

913
00:53:42,000 --> 00:53:47,640
Speaker 2: I understand value, I understand culture, I understand trends, I

914
00:53:47,800 --> 00:53:53,000
Speaker 2: understand the world artistically. Yeah right, it was never We

915
00:53:53,080 --> 00:53:54,279
Speaker 2: were never great business people.

916
00:53:54,440 --> 00:53:57,000
Speaker 4: So for you, it was never about you know, this

917
00:53:57,160 --> 00:53:57,799
Speaker 4: is real estate.

918
00:53:58,320 --> 00:54:00,200
Speaker 2: For me, no, I never thought about it like that.

919
00:54:00,320 --> 00:54:06,399
Speaker 2: I thought about it simply as she's a star. She's

920
00:54:06,480 --> 00:54:11,520
Speaker 2: a fucking star. This this girl, she sounds like a guy.

921
00:54:12,040 --> 00:54:15,399
Speaker 2: Tea bos sounds like a guy. That ship's unusual. Yes,

922
00:54:15,719 --> 00:54:18,840
Speaker 2: her m that's how I thought about this ship. It

923
00:54:18,960 --> 00:54:22,640
Speaker 2: wasn't about but it was like her with that voice

924
00:54:22,800 --> 00:54:26,879
Speaker 2: and that look, and these two girls that are with her, oh,

925
00:54:27,040 --> 00:54:28,520
Speaker 2: Dallas Austin, you want to work with them?

926
00:54:29,520 --> 00:54:29,800
Speaker 4: Okay?

927
00:54:29,880 --> 00:54:31,840
Speaker 2: Yeah, that's that was it man. It was just like,

928
00:54:31,920 --> 00:54:34,880
Speaker 2: how do we architects some great different ship out here?

929
00:54:35,080 --> 00:54:38,000
Speaker 4: Because that was really cool to see with you guys

930
00:54:38,040 --> 00:54:42,520
Speaker 4: as well as far as being producers and writers that

931
00:54:42,680 --> 00:54:45,040
Speaker 4: you didn't try to produce and write everything that was

932
00:54:45,120 --> 00:54:48,560
Speaker 4: on your label, you really found and discovered.

933
00:54:48,880 --> 00:54:51,440
Speaker 2: Yeah, that was your fun, man. That was That was

934
00:54:51,520 --> 00:54:54,640
Speaker 2: the real That was the real fun, because I wasn't

935
00:54:54,960 --> 00:54:58,480
Speaker 2: you know, Babyface was the great songwriter. I was a

936
00:54:58,640 --> 00:55:02,000
Speaker 2: good producer and a decent drummer, but baby Face was

937
00:55:02,080 --> 00:55:06,279
Speaker 2: a genius so and and still is to this day,

938
00:55:06,440 --> 00:55:10,120
Speaker 2: right and and and I owe my entire career to him.

939
00:55:10,640 --> 00:55:12,800
Speaker 2: You know, if I hadn't met Kenny, I don't know

940
00:55:12,880 --> 00:55:16,400
Speaker 2: what would have would have happened. But working with him.

941
00:55:17,920 --> 00:55:19,480
Speaker 4: Was it was that was.

942
00:55:21,200 --> 00:55:25,880
Speaker 2: I think that was like Phil Jackson working with Michael Jordans.

943
00:55:27,440 --> 00:55:30,359
Speaker 2: So now where does Phil go from Michael? You gotta

944
00:55:30,400 --> 00:55:33,560
Speaker 2: find Kobe. So I started looking for people that I

945
00:55:33,640 --> 00:55:36,640
Speaker 2: thought were as talented as Kenny or especial like that.

946
00:55:37,239 --> 00:55:39,640
Speaker 2: That led me to like Dallas Austin that let me

947
00:55:40,000 --> 00:55:43,759
Speaker 2: Organized Noise, Jermaine Dupree. You know, it just led me

948
00:55:43,840 --> 00:55:46,520
Speaker 2: to some really great producers who wanted to work with us.

949
00:55:47,520 --> 00:55:49,719
Speaker 2: And that's how the Face Records was built. You know,

950
00:55:50,040 --> 00:55:54,520
Speaker 2: off of Yes, Face Me and Face produced. Face was writing,

951
00:55:54,719 --> 00:55:58,719
Speaker 2: Daryls Simmons was writing, you know, all of us were

952
00:55:58,840 --> 00:56:02,920
Speaker 2: contributing KO. You know, my high school best friend was

953
00:56:03,000 --> 00:56:08,759
Speaker 2: in it. But the real growth was Organized Noise doing

954
00:56:08,920 --> 00:56:12,239
Speaker 2: Outcast and Goodie Mob, and Dallas Austin doing TLC and

955
00:56:12,440 --> 00:56:15,680
Speaker 2: Usher being with Jermaine dupri That was the growth.

956
00:56:15,880 --> 00:56:19,480
Speaker 3: It's really awesome to see that because it was like

957
00:56:19,640 --> 00:56:22,719
Speaker 3: you were, just like you said, you were creating extensions

958
00:56:23,920 --> 00:56:28,480
Speaker 3: of yourselves to pull all these things together. It's like,

959
00:56:28,560 --> 00:56:31,600
Speaker 3: how can these how how can how can we us

960
00:56:32,400 --> 00:56:36,799
Speaker 3: you know, exist in four different rooms at the same

961
00:56:36,920 --> 00:56:39,200
Speaker 3: time exactly and get it all done?

962
00:56:39,320 --> 00:56:39,960
Speaker 4: That was that was it.

963
00:56:41,600 --> 00:56:42,840
Speaker 2: That was it. I don't even know what made you

964
00:56:42,920 --> 00:56:45,080
Speaker 2: think of that, but that's exactly what it was, like,

965
00:56:45,160 --> 00:56:48,080
Speaker 2: how can we how can we make four sets of

966
00:56:48,200 --> 00:56:52,840
Speaker 2: us like with similar vibe and music, but still different

967
00:56:52,880 --> 00:56:55,040
Speaker 2: because Dallas and those guys they were younger than Facing.

968
00:56:55,320 --> 00:56:58,800
Speaker 2: Yeah yeah, yeah they were. They had one foot in

969
00:56:58,960 --> 00:57:02,080
Speaker 2: hip hop, but they right man, and we were pure

970
00:57:02,560 --> 00:57:05,520
Speaker 2: r and b maybe one foot in pop, you know

971
00:57:05,520 --> 00:57:09,359
Speaker 2: what I mean. So that and then Jermaine was a DJ,

972
00:57:10,520 --> 00:57:14,880
Speaker 2: Organized Noise were purely hip hop, right, So those extensions

973
00:57:14,920 --> 00:57:17,040
Speaker 2: of us was really like, that was the magic. That's

974
00:57:17,040 --> 00:57:19,840
Speaker 2: the most fun I ever had. That's those are colors, man, Like,

975
00:57:20,000 --> 00:57:23,200
Speaker 2: that's yeah, that's the that's the full box of crayons, right,

976
00:57:23,360 --> 00:57:24,440
Speaker 2: like all of that.

977
00:57:24,960 --> 00:57:28,400
Speaker 4: How long did it take to garner success? As in

978
00:57:28,480 --> 00:57:28,920
Speaker 4: the label?

979
00:57:30,080 --> 00:57:32,680
Speaker 2: First couple of years were really rough because we didn't

980
00:57:32,680 --> 00:57:35,640
Speaker 2: really know. We thought we knew. We had so many

981
00:57:35,720 --> 00:57:38,960
Speaker 2: hits at that time, right we I mean we thought

982
00:57:39,000 --> 00:57:43,200
Speaker 2: we knew, and I'll tell you exactly when the turning

983
00:57:43,240 --> 00:57:46,080
Speaker 2: point happened. Right, So it took it took close to

984
00:57:46,160 --> 00:57:51,000
Speaker 2: three years to really like have a legitimate hit. And

985
00:57:51,880 --> 00:57:56,480
Speaker 2: we signed this group called Damien Dame right first that

986
00:57:57,000 --> 00:58:02,560
Speaker 2: face and I produced the entire album and singles. We

987
00:58:02,680 --> 00:58:06,200
Speaker 2: put out a single, Arista, our joint venture partners put

988
00:58:06,240 --> 00:58:09,640
Speaker 2: out a single. It was doing okay, So I went

989
00:58:09,680 --> 00:58:13,040
Speaker 2: to Clive Davidson to said, Clive, like, I need you

990
00:58:13,120 --> 00:58:15,160
Speaker 2: to push the button on this thing. Man. You know.

991
00:58:15,840 --> 00:58:18,080
Speaker 2: He said, what's the button? I said, you know, like

992
00:58:18,160 --> 00:58:20,000
Speaker 2: you did for Whitney Houston, Like I need you to

993
00:58:20,040 --> 00:58:24,520
Speaker 2: push the button. And we were at a conference when

994
00:58:24,560 --> 00:58:26,840
Speaker 2: I said this to him. He said, the button. Huh?

995
00:58:28,760 --> 00:58:32,280
Speaker 2: He said, sit right here. I sat down beside and write.

996
00:58:32,680 --> 00:58:35,560
Speaker 2: We had a conference and I forgot what we were.

997
00:58:35,560 --> 00:58:37,280
Speaker 2: I thought we were in Florida. I can't remember, maybe

998
00:58:37,360 --> 00:58:41,760
Speaker 2: Miami or something. Anyway, Whitney Houston comes on stage and

999
00:58:41,840 --> 00:58:45,520
Speaker 2: Whitney Houston sings and he looks at me. He said,

1000
00:58:45,640 --> 00:58:50,800
Speaker 2: that's the button. He said no, he said, do they

1001
00:58:50,880 --> 00:58:58,120
Speaker 2: sound like that shit? I was like, oh, so what

1002
00:58:58,200 --> 00:59:00,640
Speaker 2: you're telling me it's my shit is not hot?

1003
00:59:00,760 --> 00:59:00,920
Speaker 1: Oh?

1004
00:59:02,120 --> 00:59:04,080
Speaker 2: Because I thought I really did think, like you know,

1005
00:59:04,560 --> 00:59:08,920
Speaker 2: record labels, they take talent, good batter and different and

1006
00:59:08,960 --> 00:59:11,760
Speaker 2: they push the button and ship goes right. That's what

1007
00:59:11,880 --> 00:59:12,200
Speaker 2: I thought.

1008
00:59:12,280 --> 00:59:15,560
Speaker 4: So Cli pushed the button, this button that we've all

1009
00:59:15,600 --> 00:59:16,360
Speaker 4: heard about.

1010
00:59:19,120 --> 00:59:22,840
Speaker 2: Right here, young man something, and then I saw it.

1011
00:59:22,960 --> 00:59:26,960
Speaker 2: I was like, oh, I get it now, And I

1012
00:59:27,040 --> 00:59:32,480
Speaker 2: thought I knew. But when you're a producer and when

1013
00:59:32,560 --> 00:59:35,680
Speaker 2: everybody's hiring you to make records. You start thinking that,

1014
00:59:36,360 --> 00:59:39,160
Speaker 2: you're like God, you think start thinking that the ship,

1015
00:59:39,360 --> 00:59:42,640
Speaker 2: you know issue, thank you sweet, And I was like,

1016
00:59:42,720 --> 00:59:46,040
Speaker 2: wait a minute, So signing talent is, oh, that's different

1017
00:59:46,080 --> 00:59:50,520
Speaker 2: than producing talent. Oh, so it ain't about us anymore.

1018
00:59:50,520 --> 00:59:54,000
Speaker 2: It's about getting the right got it, got it? So

1019
00:59:54,120 --> 00:59:58,600
Speaker 2: then you know, we got Lucky and signed TLC signed

1020
00:59:58,640 --> 01:00:04,240
Speaker 2: the Button and Tony Brixton another button. Both of them

1021
01:00:04,240 --> 01:00:08,120
Speaker 2: are like like two weeks apart. Y'all signed him two

1022
01:00:08,120 --> 01:00:12,880
Speaker 2: weeks apart. Yeah, wow, that was the button. That was

1023
01:00:12,960 --> 01:00:27,320
Speaker 2: the button. Then we had we had a great fortune

1024
01:00:27,360 --> 01:00:33,680
Speaker 2: again because we signed Outcast and Usher. Yeah in the

1025
01:00:33,760 --> 01:00:36,520
Speaker 2: same month. Now you got a cardigan. Those are fours

1026
01:00:37,560 --> 01:00:40,480
Speaker 2: right in the same month. Like so okay, now it's

1027
01:00:40,480 --> 01:00:44,280
Speaker 2: work very expensive. It's expensive expensive. Yeah. So then that

1028
01:00:44,440 --> 01:00:46,120
Speaker 2: was it. So it took about three years to get

1029
01:00:46,120 --> 01:00:46,600
Speaker 2: it right though.

1030
01:00:46,720 --> 01:00:50,000
Speaker 4: So do you remember the first face hit record.

1031
01:00:50,640 --> 01:00:56,919
Speaker 2: Yeah, it was the Boomerang soundtrack Jesus Rise. Oh yeah, yeah, Boomerang, Yeah,

1032
01:00:57,120 --> 01:00:58,240
Speaker 2: Jesus Rise.

1033
01:00:58,640 --> 01:01:00,960
Speaker 4: And that's ultimately how y'all launched Tony.

1034
01:01:01,360 --> 01:01:04,960
Speaker 2: Yes, we launched Tony from that and and we got

1035
01:01:05,000 --> 01:01:07,080
Speaker 2: ourselves kind of back right, you know what I mean,

1036
01:01:07,840 --> 01:01:10,720
Speaker 2: we had a little cold period when we in the face.

1037
01:01:11,240 --> 01:01:13,280
Speaker 4: We weren't hot because you tried to become businessmen. At

1038
01:01:13,320 --> 01:01:14,400
Speaker 4: this point, we try to.

1039
01:01:15,320 --> 01:01:18,680
Speaker 2: We're trying to and and I think that was always

1040
01:01:18,800 --> 01:01:21,720
Speaker 2: like one of mine and faces tug awards with each

1041
01:01:21,760 --> 01:01:25,560
Speaker 2: other was he is an incredible songwriter. And he's like, man,

1042
01:01:25,640 --> 01:01:29,080
Speaker 2: I gotta write songs for great artists. And I was like, no,

1043
01:01:29,160 --> 01:01:31,320
Speaker 2: you gotta, You should write songs for our artists. And

1044
01:01:31,320 --> 01:01:33,000
Speaker 2: he's like, no, I got to write for great.

1045
01:01:32,880 --> 01:01:34,840
Speaker 4: Art So he's telling you, y'all didn't have no hot,

1046
01:01:34,960 --> 01:01:39,680
Speaker 4: He's telling me, but Kitty put the hours.

1047
01:01:39,920 --> 01:01:44,280
Speaker 2: Yeah, but it ain't hot. They're not breathed, ain't it.

1048
01:01:44,960 --> 01:01:48,160
Speaker 4: Listen in our next beating, I'm gonna go thank Is

1049
01:01:48,200 --> 01:01:49,000
Speaker 4: that artist a button?

1050
01:01:49,480 --> 01:01:55,160
Speaker 2: Right? That's right? But is that ship breed? Is it

1051
01:01:55,280 --> 01:01:57,600
Speaker 2: the button? Because you know, is it it?

1052
01:01:58,240 --> 01:01:58,560
Speaker 4: Is it it?

1053
01:01:59,800 --> 01:02:03,520
Speaker 2: You gotta stay on that right. Yeah. So so that's

1054
01:02:03,560 --> 01:02:06,280
Speaker 2: what took a long time. But then Boomerang kicked in,

1055
01:02:07,320 --> 01:02:12,560
Speaker 2: and Tony kicked in, and end of the Road kicked in.

1056
01:02:12,720 --> 01:02:18,000
Speaker 2: Ah ah right, yeah yeah, end of the Road was yeah,

1057
01:02:19,280 --> 01:02:22,320
Speaker 2: although we've come, Yeah, that was you know when we

1058
01:02:22,400 --> 01:02:24,760
Speaker 2: did it, I think I'm sure Kenny knew it was great.

1059
01:02:25,240 --> 01:02:27,560
Speaker 2: I knew it was great, But that was one of

1060
01:02:27,600 --> 01:02:30,040
Speaker 2: those ones that when I played it for Clive, I

1061
01:02:30,120 --> 01:02:33,400
Speaker 2: saw it in his eyes. I was like, oh, oh,

1062
01:02:33,640 --> 01:02:34,360
Speaker 2: I saw a difference.

1063
01:02:34,440 --> 01:02:35,920
Speaker 4: That was that wasn't for.

1064
01:02:38,720 --> 01:02:39,880
Speaker 2: For the label, for the label either.

1065
01:02:40,160 --> 01:02:41,960
Speaker 4: Obviously it wasn't it was it wasn't on the face,

1066
01:02:42,000 --> 01:02:43,080
Speaker 4: but it wasn't even for Clive.

1067
01:02:43,800 --> 01:02:47,120
Speaker 2: It was on the face. Yeah, yeah, that was on

1068
01:02:47,160 --> 01:02:51,920
Speaker 2: the Boomerang soundtrack, but Busby Busby said, I need to

1069
01:02:52,000 --> 01:02:55,360
Speaker 2: put it on Coolly High Harmony as a what do

1070
01:02:55,400 --> 01:02:57,480
Speaker 2: you call it when you stripped something on stripe it

1071
01:02:57,520 --> 01:02:59,800
Speaker 2: on or whatever you used to call it, a bonus.

1072
01:03:01,000 --> 01:03:04,040
Speaker 2: End of the Road was a bonus on COOLi High Harmony.

1073
01:03:04,080 --> 01:03:08,040
Speaker 2: But it was on Boomerang. I did not realize that.

1074
01:03:08,200 --> 01:03:11,520
Speaker 2: Yeah that was ours, that was our, That was ours. Yeah.

1075
01:03:12,640 --> 01:03:17,520
Speaker 2: Boom run, yeah, home run. Yeah. So that was that's

1076
01:03:17,720 --> 01:03:24,160
Speaker 2: that's when we were official. Yeah, that about doing that's

1077
01:03:24,200 --> 01:03:27,960
Speaker 2: not like renegotiations. Yes, you know y'all.

1078
01:03:28,240 --> 01:03:29,720
Speaker 4: You know y'all been in the rear for three years.

1079
01:03:29,760 --> 01:03:30,840
Speaker 4: I don't give over.

1080
01:03:32,440 --> 01:03:35,320
Speaker 2: The road the road. You ain't lying, boy, that's like,

1081
01:03:35,640 --> 01:03:40,480
Speaker 2: that's like scoring eighty absolutely, right?

1082
01:03:42,560 --> 01:03:45,120
Speaker 4: Is that the biggest LA and Babyface record?

1083
01:03:45,600 --> 01:03:50,240
Speaker 2: Yeah? Ever, Yeah, I'm pretty sure it is. Yes, Yes, yeah,

1084
01:03:50,680 --> 01:03:52,720
Speaker 2: we go to the concert and sing it to this day. Yeah,

1085
01:03:52,800 --> 01:03:57,200
Speaker 2: that's a big one. That's a big one we had. Yeah,

1086
01:03:57,240 --> 01:04:01,520
Speaker 2: because the one that would compete with that, I didn't

1087
01:04:01,520 --> 01:04:04,120
Speaker 2: produce with him. He did it like we broke up,

1088
01:04:05,280 --> 01:04:07,640
Speaker 2: and he went in the studio and he cut the

1089
01:04:07,760 --> 01:04:13,200
Speaker 2: song and he came to my office. Can you a

1090
01:04:13,280 --> 01:04:16,360
Speaker 2: funny guy? He comes to my office and he plays

1091
01:04:16,520 --> 01:04:22,920
Speaker 2: me can We Talk? And I'm like, why would you

1092
01:04:23,040 --> 01:04:25,680
Speaker 2: come in here and play me that great fucking record?

1093
01:04:25,800 --> 01:04:28,280
Speaker 2: The record sounds so good. My heart was so broken.

1094
01:04:28,680 --> 01:04:32,880
Speaker 3: But but the music, but the music. I loved it

1095
01:04:33,000 --> 01:04:36,800
Speaker 3: so much. I wanted I wanted to I wanted to

1096
01:04:36,880 --> 01:04:37,200
Speaker 3: hate it.

1097
01:04:37,440 --> 01:04:40,760
Speaker 2: Man, it was so good. But that was the first

1098
01:04:41,680 --> 01:04:45,440
Speaker 2: hit he did outside of without Me and without the face,

1099
01:04:45,560 --> 01:04:49,560
Speaker 2: without nothing to do with me, right, And I was like, damn,

1100
01:04:50,680 --> 01:04:54,280
Speaker 2: that's big. That's where I wanted to be mad. I

1101
01:04:54,360 --> 01:04:56,320
Speaker 2: wanted to hate it. It was just so good. And

1102
01:04:56,440 --> 01:04:59,200
Speaker 2: when I hear it today, I think that I think

1103
01:04:59,280 --> 01:05:04,200
Speaker 2: can We Talk? It is Babyface's most famous record. Like,

1104
01:05:04,360 --> 01:05:06,800
Speaker 2: I think in the Road might score bigger on the chart,

1105
01:05:07,760 --> 01:05:11,360
Speaker 2: but I think that when I'm out and about or

1106
01:05:12,040 --> 01:05:16,440
Speaker 2: if I'm scrolling, it's always like can we talk challenge?

1107
01:05:16,560 --> 01:05:20,200
Speaker 2: Or or when it comes on I don't know, man,

1108
01:05:21,400 --> 01:05:27,040
Speaker 2: what do you think you said? Can we talk challenges? Lee?

1109
01:05:28,080 --> 01:05:28,480
Speaker 2: I did that?

1110
01:05:29,080 --> 01:05:40,080
Speaker 4: He started? You need to endit? The road challenge, the challenge.

1111
01:05:41,320 --> 01:05:46,520
Speaker 2: It's one of those songs that is just like it's

1112
01:05:46,640 --> 01:05:51,480
Speaker 2: the simplest song, it's the easiest song, but it's so

1113
01:05:52,280 --> 01:05:56,560
Speaker 2: every piece about it is just memorable and every piece

1114
01:05:56,640 --> 01:06:01,840
Speaker 2: you know what it is, everything, everything weeks, but every

1115
01:06:01,960 --> 01:06:06,760
Speaker 2: part of the song has a peak, like like going

1116
01:06:06,840 --> 01:06:11,320
Speaker 2: into the chorus, the song has a peak, the bridge

1117
01:06:11,400 --> 01:06:14,919
Speaker 2: has a peak. Everything about it, like every every every

1118
01:06:15,240 --> 01:06:20,080
Speaker 2: every section of it continue used to rise. It rises.

1119
01:06:21,440 --> 01:06:27,760
Speaker 4: You're talking real executive songwrite and talk because everybody, everybody

1120
01:06:27,800 --> 01:06:33,200
Speaker 4: has an opinion. Everybody doesn't have solutions. Everybody can tell

1121
01:06:33,280 --> 01:06:36,400
Speaker 4: you what they don't like, they can't tell you how

1122
01:06:36,400 --> 01:06:36,840
Speaker 4: to fix it.

1123
01:06:37,760 --> 01:06:38,240
Speaker 2: Oh yeah.

1124
01:06:38,360 --> 01:06:42,600
Speaker 4: That is a separation between people who are great like yourself,

1125
01:06:42,880 --> 01:06:46,400
Speaker 4: thank you, who can say you know what, hey, actually,

1126
01:06:46,480 --> 01:06:49,360
Speaker 4: can you just change this right here? And it's a

1127
01:06:49,400 --> 01:06:50,200
Speaker 4: whole nother record.

1128
01:06:52,040 --> 01:06:56,520
Speaker 2: That's the tweet, that's that little tweet we need solution based. Yeah,

1129
01:06:56,760 --> 01:06:59,600
Speaker 2: always looking for that. And there was a point when

1130
01:06:59,640 --> 01:07:01,200
Speaker 2: I knew how to do that really well. There was

1131
01:07:01,200 --> 01:07:03,000
Speaker 2: a point when I was like, I don't actually know

1132
01:07:03,080 --> 01:07:05,080
Speaker 2: what to say to you. It's just not it right.

1133
01:07:05,280 --> 01:07:08,640
Speaker 2: But there was a moment though, when I just knew, like,

1134
01:07:10,000 --> 01:07:14,480
Speaker 2: just right there, just go here and watch the difference

1135
01:07:14,520 --> 01:07:17,240
Speaker 2: it makes. But anyway, he mastered that on that song, man,

1136
01:07:17,400 --> 01:07:21,840
Speaker 2: he mastered that thing, and I was like, oh my god,

1137
01:07:22,080 --> 01:07:25,240
Speaker 2: this is greatness. This is really really that's my favorite

1138
01:07:27,000 --> 01:07:32,000
Speaker 2: that both Tevin Campbell songs and my my favorite babyface composition.

1139
01:07:33,000 --> 01:07:36,080
Speaker 2: There was another one he did call I'm Ready right,

1140
01:07:36,240 --> 01:07:38,280
Speaker 2: and I just love it and it was old. I

1141
01:07:38,360 --> 01:07:41,680
Speaker 2: remember did that like early eighties and he gave it

1142
01:07:41,760 --> 01:07:46,360
Speaker 2: to Tevin like really late in the nineties or something.

1143
01:07:46,520 --> 01:07:48,520
Speaker 4: Man, you know what I You know, when I see

1144
01:07:48,680 --> 01:07:50,280
Speaker 4: when I see Kenny in the car line when I

1145
01:07:50,400 --> 01:07:53,080
Speaker 4: dropping the kids off at school, I hey, man, you

1146
01:07:53,160 --> 01:07:54,560
Speaker 4: got anything you want to go?

1147
01:07:56,920 --> 01:07:58,600
Speaker 2: You need to you need to ask Kenny. Let you

1148
01:07:58,680 --> 01:08:01,440
Speaker 2: hear some of his four tracks, like yeah, he's got magic,

1149
01:08:02,640 --> 01:08:04,520
Speaker 2: I'm sure, Yeah, I need that.

1150
01:08:05,280 --> 01:08:08,600
Speaker 4: How long did you guys have face.

1151
01:08:09,280 --> 01:08:12,360
Speaker 2: We had Leface from nineteen eighty nine. We started it

1152
01:08:12,600 --> 01:08:19,400
Speaker 2: and we sold it to Arista BMG in two thousand, right,

1153
01:08:19,600 --> 01:08:22,000
Speaker 2: but we kept the name. But I took over Arista

1154
01:08:22,080 --> 01:08:25,000
Speaker 2: at that point, so I kept it alive, although we

1155
01:08:25,160 --> 01:08:28,720
Speaker 2: weren't technically the owners at that point, right, but I

1156
01:08:28,840 --> 01:08:31,680
Speaker 2: was still in charge of it, right. Yeah, So what

1157
01:08:31,840 --> 01:08:33,960
Speaker 2: is that progression like where you're.

1158
01:08:35,520 --> 01:08:40,000
Speaker 3: You, you make the sale and then become the executive

1159
01:08:40,360 --> 01:08:42,720
Speaker 3: of the company by how does that?

1160
01:08:43,040 --> 01:08:53,400
Speaker 2: How does that work? Not? Well, oh yeah, Fucky records,

1161
01:08:54,000 --> 01:08:58,479
Speaker 2: Well we have musical success. That part was good, you know.

1162
01:09:00,240 --> 01:09:04,360
Speaker 2: The good news about it was I got I got

1163
01:09:04,439 --> 01:09:11,120
Speaker 2: to see what it was like to actually be the boss, right,

1164
01:09:12,800 --> 01:09:14,320
Speaker 2: And I also got to see what it was like

1165
01:09:14,560 --> 01:09:20,599
Speaker 2: with being the boss and how people dance around the boss,

1166
01:09:21,280 --> 01:09:25,240
Speaker 2: and how much bullshit there is, right And how many

1167
01:09:25,320 --> 01:09:28,360
Speaker 2: smiling faces there are and how many fucking knives there are.

1168
01:09:29,000 --> 01:09:30,800
Speaker 2: I ain't know none of that, ship man, I'm I'm

1169
01:09:30,840 --> 01:09:32,840
Speaker 2: a musician. I just told you. I come from the

1170
01:09:32,920 --> 01:09:39,800
Speaker 2: clubs and the label was yours. But Arista was that

1171
01:09:39,960 --> 01:09:44,599
Speaker 2: was that you come from a boutique from where everybody

1172
01:09:44,680 --> 01:09:48,080
Speaker 2: loves each other and everybody has a common goal and

1173
01:09:48,160 --> 01:09:51,120
Speaker 2: we're all like bootstrapping it. Everybody wants to make it.

1174
01:09:51,439 --> 01:09:55,160
Speaker 2: Everybody's happy for the success, and all of a sudden,

1175
01:09:55,600 --> 01:10:00,400
Speaker 2: you know, it's a political you know environment. So was tough.

1176
01:10:00,520 --> 01:10:02,080
Speaker 2: That was tough for me because I was like a

1177
01:10:02,320 --> 01:10:04,479
Speaker 2: country boy. I didn't know anything about this ship, you know,

1178
01:10:06,520 --> 01:10:10,000
Speaker 2: but I knew. I knew well, I knew what I

1179
01:10:10,520 --> 01:10:15,760
Speaker 2: felt about music, and that was my saving grace, right,

1180
01:10:16,200 --> 01:10:19,160
Speaker 2: So we signed while I was there. We signed seattra

1181
01:10:19,800 --> 01:10:24,880
Speaker 2: mm hmm. We signed Avria Levigne, We signed uh Pink.

1182
01:10:24,960 --> 01:10:26,479
Speaker 2: We put up Pink's first album.

1183
01:10:27,600 --> 01:10:28,760
Speaker 4: Pink wasn't Through the Face.

1184
01:10:29,240 --> 01:10:33,479
Speaker 2: Pink was signed to Okay, but but her first album

1185
01:10:33,560 --> 01:10:37,439
Speaker 2: came after taking the job at Arista. Her first single

1186
01:10:37,520 --> 01:10:40,440
Speaker 2: came while it was the Face, and then the transition happened.

1187
01:10:40,160 --> 01:10:42,000
Speaker 4: Because I know there's a group called black Pink now,

1188
01:10:42,080 --> 01:10:43,639
Speaker 4: but she was the first black Pink.

1189
01:10:43,800 --> 01:10:44,799
Speaker 2: That was the first black.

1190
01:10:46,160 --> 01:10:48,719
Speaker 6: There's that talk that I met her at the studio,

1191
01:10:49,200 --> 01:10:51,120
Speaker 6: that I met at the studio back in the day,

1192
01:10:51,120 --> 01:10:56,280
Speaker 6: and I was like, oh you okay, you think okay, yeah, yeah,

1193
01:10:56,600 --> 01:10:57,360
Speaker 6: black white girl.

1194
01:10:57,680 --> 01:11:01,160
Speaker 2: I see. It was just what I was just talking

1195
01:11:01,200 --> 01:11:04,160
Speaker 2: to her, like a few days ago, and uh, you

1196
01:11:04,240 --> 01:11:08,639
Speaker 2: know she had to. She had the second largest tour

1197
01:11:09,320 --> 01:11:14,080
Speaker 2: global tour in twenty twenty four. Taylor's was first Pinks

1198
01:11:14,120 --> 01:11:17,120
Speaker 2: of Second Wow. I don't even like the transition she

1199
01:11:17,320 --> 01:11:21,880
Speaker 2: made crazy and the elevation in her performance.

1200
01:11:22,479 --> 01:11:24,160
Speaker 4: I knew it was different when she did like the circus.

1201
01:11:24,160 --> 01:11:25,479
Speaker 4: So that's what That's what I'm saying.

1202
01:11:25,520 --> 01:11:26,120
Speaker 2: That's the change.

1203
01:11:26,240 --> 01:11:27,240
Speaker 4: Wasn't that was the change?

1204
01:11:27,640 --> 01:11:33,560
Speaker 3: I said, incredible, But she can also sing, She's she

1205
01:11:34,160 --> 01:11:39,080
Speaker 3: she had real gift and said, now how do I

1206
01:11:40,160 --> 01:11:44,519
Speaker 3: how do I add to this and and and make

1207
01:11:44,600 --> 01:11:47,880
Speaker 3: it not just the gift? Because because the gift that

1208
01:11:47,960 --> 01:11:50,240
Speaker 3: I have people have seen before, people have seen singing,

1209
01:11:50,360 --> 01:11:54,120
Speaker 3: people have seen they we got that, But how can

1210
01:11:54,320 --> 01:11:57,840
Speaker 3: I be special.

1211
01:11:58,800 --> 01:12:02,920
Speaker 2: And completely out side of the box. That's exactly right.

1212
01:12:03,000 --> 01:12:05,519
Speaker 2: She told me something that I didn't even think about it.

1213
01:12:05,800 --> 01:12:10,439
Speaker 2: I sorry, she said. She said, you're focused on hits.

1214
01:12:10,960 --> 01:12:14,240
Speaker 2: She said, I don't have that many hits, so I

1215
01:12:14,280 --> 01:12:18,080
Speaker 2: don't focus on hits. She said, I focus on my show.

1216
01:12:19,680 --> 01:12:24,200
Speaker 2: That's my hit. And she said, you never focused on that.

1217
01:12:24,280 --> 01:12:26,679
Speaker 2: You didn't have to, but that's why you probably didn't

1218
01:12:26,760 --> 01:12:29,800
Speaker 2: recognize what was the turning point? In my life because

1219
01:12:29,800 --> 01:12:31,479
Speaker 2: you probably thought the turning point in my life was

1220
01:12:31,520 --> 01:12:33,439
Speaker 2: going to be a song. It wasn't a song, and

1221
01:12:33,520 --> 01:12:39,840
Speaker 2: it wasn't a song. You can still learn, you know.

1222
01:12:41,000 --> 01:12:43,160
Speaker 4: I love that. You just said that. Love that, right,

1223
01:12:43,320 --> 01:12:46,720
Speaker 4: you can still learn. You can still learn? Yeah, right,

1224
01:12:46,880 --> 01:12:52,400
Speaker 4: Like it's it's a man, people, We all get there.

1225
01:12:52,479 --> 01:12:54,759
Speaker 4: We all get to points in our life of whatever

1226
01:12:54,880 --> 01:12:58,120
Speaker 4: success or whatever things that you you give a little

1227
01:12:58,160 --> 01:12:59,120
Speaker 4: closed minded.

1228
01:12:59,320 --> 01:13:02,320
Speaker 2: Yeah you start, yeah, just thinking, you know, man, and

1229
01:13:03,720 --> 01:13:05,799
Speaker 2: I don't know. The more I know, the more I realize,

1230
01:13:05,840 --> 01:13:10,200
Speaker 2: I don't know, you know what I'm saying, and and

1231
01:13:10,560 --> 01:13:16,200
Speaker 2: and I try to add a certain logic to every situation.

1232
01:13:16,600 --> 01:13:18,680
Speaker 2: Oh I know why that is. That's because this, that's

1233
01:13:18,720 --> 01:13:20,720
Speaker 2: because of that. But then some shit just doesn't make

1234
01:13:20,720 --> 01:13:24,760
Speaker 2: any sense, you know. Like we were talking earlier, We're

1235
01:13:24,760 --> 01:13:28,040
Speaker 2: watching the Grammys. I was watching the Grammys. It's a

1236
01:13:28,120 --> 01:13:32,559
Speaker 2: great show, man, it was great. There was no black

1237
01:13:32,640 --> 01:13:34,960
Speaker 2: man on stage. What the fuck happened to R and

1238
01:13:35,040 --> 01:13:36,040
Speaker 2: B and black people?

1239
01:13:36,680 --> 01:13:36,720
Speaker 4: Like?

1240
01:13:36,840 --> 01:13:40,280
Speaker 2: There was none man on a great show. They did

1241
01:13:40,360 --> 01:13:41,040
Speaker 2: a great job.

1242
01:13:41,160 --> 01:13:41,880
Speaker 4: No, it was a great show.

1243
01:13:41,880 --> 01:13:44,920
Speaker 2: I watched Bobby Mason did an incredible job man of

1244
01:13:46,280 --> 01:13:50,360
Speaker 2: turning the whole narrows around and getting the voters and

1245
01:13:50,960 --> 01:13:54,400
Speaker 2: really addressing like diversity and minority. H he is a

1246
01:13:54,600 --> 01:13:57,720
Speaker 2: ten out of ten, right, But I watched the show

1247
01:13:57,720 --> 01:14:02,720
Speaker 2: and I was like, damn, but damn, where where's the representation?

1248
01:14:03,760 --> 01:14:06,559
Speaker 2: And I mean and I couldn't. I couldn't.

1249
01:14:07,400 --> 01:14:09,320
Speaker 4: The only black man got up there that I could

1250
01:14:09,320 --> 01:14:13,080
Speaker 4: think of that I mean, obviously perform and he didn't perform.

1251
01:14:13,120 --> 01:14:16,880
Speaker 2: Though, Yeah, it's the we can't perform the Weekend did

1252
01:14:17,000 --> 01:14:21,679
Speaker 2: perform them, we can't perform fair enough, massive, massive, massive

1253
01:14:21,720 --> 01:14:28,200
Speaker 2: star Stevie performed. Yes, Stevie's a tribute legend. I mean,

1254
01:14:28,520 --> 01:14:31,000
Speaker 2: there's a tribute. But I'm saying like in the in

1255
01:14:31,120 --> 01:14:36,280
Speaker 2: those in those feature moments when we watched uh Shabouzie

1256
01:14:36,439 --> 01:14:41,720
Speaker 2: or Chaperone or Properenter Benson Boom or Teddy Swims or

1257
01:14:41,960 --> 01:14:43,280
Speaker 2: you know, when I was watching, like.

1258
01:14:44,080 --> 01:14:47,960
Speaker 4: There was no core R and B manation, you know

1259
01:14:48,040 --> 01:14:48,760
Speaker 4: what I was waiting for.

1260
01:14:49,920 --> 01:14:51,760
Speaker 3: And and because I didn't know what was going on

1261
01:14:51,840 --> 01:14:53,759
Speaker 3: with the Grammys, I had talked, hadn't talked to anybody.

1262
01:14:53,800 --> 01:14:55,519
Speaker 3: I was like sitting at my house just watching it.

1263
01:14:56,400 --> 01:15:00,280
Speaker 3: I was waiting for that old school mic to from

1264
01:15:00,320 --> 01:15:05,800
Speaker 3: the sky with the glitter Chris Brown to sing residuals.

1265
01:15:06,520 --> 01:15:11,200
Speaker 3: In my mind, I had decided that's going to happen,

1266
01:15:13,000 --> 01:15:17,360
Speaker 3: and it didn't have a lot. Okay, well he won out,

1267
01:15:17,400 --> 01:15:18,400
Speaker 3: he won r bum.

1268
01:15:19,760 --> 01:15:26,000
Speaker 2: Ooh I wish yeah, yeah, man, that that would have

1269
01:15:27,120 --> 01:15:29,160
Speaker 2: That would definitely I know exactly that would have answered

1270
01:15:29,160 --> 01:15:31,400
Speaker 2: the call. And the reason I say it is not

1271
01:15:31,520 --> 01:15:34,200
Speaker 2: because it's not because I'm jaded. That might be jaded.

1272
01:15:34,240 --> 01:15:37,880
Speaker 2: It's not that it's that I liked that country music

1273
01:15:38,040 --> 01:15:42,360
Speaker 2: found its way because the first country recording of note

1274
01:15:42,680 --> 01:15:46,479
Speaker 2: was a black man. We all know that that's historic,

1275
01:15:46,640 --> 01:15:49,479
Speaker 2: that's that's documented, and for it to make its way

1276
01:15:49,560 --> 01:15:53,080
Speaker 2: back to being represented by black people, like I love that,

1277
01:15:53,640 --> 01:15:56,840
Speaker 2: right and and so much of music traces back to

1278
01:15:57,720 --> 01:16:01,560
Speaker 2: UH to black performers like and rock and roll is

1279
01:16:01,600 --> 01:16:05,680
Speaker 2: a little Richard and Chuck bergerbut right, and so I

1280
01:16:05,840 --> 01:16:09,280
Speaker 2: know how important we are to music as black people,

1281
01:16:09,920 --> 01:16:13,040
Speaker 2: and no disrespect, but as black men, I know how

1282
01:16:13,080 --> 01:16:16,639
Speaker 2: important we are as well, right And and I'm like, okay,

1283
01:16:16,720 --> 01:16:21,680
Speaker 2: so what's happening now? The best soul singer on the

1284
01:16:21,760 --> 01:16:23,800
Speaker 2: show might have been like Benson Boom. He could sing

1285
01:16:23,920 --> 01:16:27,080
Speaker 2: his face off, right and Teddy Swims. They could sing, man,

1286
01:16:28,320 --> 01:16:32,160
Speaker 2: but they sing in soul music. And they don't look

1287
01:16:32,280 --> 01:16:35,479
Speaker 2: like Tank, and they don't look like Usher, and they

1288
01:16:35,520 --> 01:16:38,400
Speaker 2: don't look like Chris Brown. And so I'm just like,

1289
01:16:38,680 --> 01:16:41,520
Speaker 2: what's happening? And so I see it as an opportunity.

1290
01:16:42,080 --> 01:16:44,320
Speaker 2: I see there's an opportunity to try to make a

1291
01:16:44,439 --> 01:16:48,920
Speaker 2: contribution and to try to focus on the youth, you know,

1292
01:16:49,280 --> 01:16:55,040
Speaker 2: black youth that sing. And that's why, and that's why

1293
01:16:55,040 --> 01:16:56,920
Speaker 2: I thank you guys for allowing my artists to come

1294
01:16:56,960 --> 01:17:00,639
Speaker 2: on your show and sing, you know, jay Don Paradise,

1295
01:17:01,400 --> 01:17:04,479
Speaker 2: because I'm trying to find the next generation of of that. Man,

1296
01:17:04,520 --> 01:17:05,880
Speaker 2: I don't want to see it. I don't want to

1297
01:17:05,880 --> 01:17:08,080
Speaker 2: see another show and say it's great, but see us

1298
01:17:08,160 --> 01:17:10,000
Speaker 2: missing right all right?

1299
01:17:10,479 --> 01:17:14,720
Speaker 3: As you say that, I'm just thinking about our upbringing,

1300
01:17:15,880 --> 01:17:22,519
Speaker 3: where we had Bobby, we had new Additions, we had

1301
01:17:23,080 --> 01:17:28,559
Speaker 3: Guy m Hm, we had Babyface, we had our Kelly,

1302
01:17:29,160 --> 01:17:34,800
Speaker 3: we had Maxwell, we had like we had it like.

1303
01:17:34,920 --> 01:17:41,800
Speaker 2: Man, and we got to see I'll be sure, be sure,

1304
01:17:42,120 --> 01:17:46,000
Speaker 2: thank you, we got the truth true, I mean, so

1305
01:17:46,320 --> 01:17:48,960
Speaker 2: many of them, but we got to see them.

1306
01:17:50,040 --> 01:17:53,920
Speaker 4: Yeah right, No, But I mean and that that in

1307
01:17:54,040 --> 01:17:57,799
Speaker 4: itself you're doing the work. You're doing the work by

1308
01:17:57,960 --> 01:18:02,360
Speaker 4: by having Paradise, by having Jayden, Like that's that's extremely important,

1309
01:18:02,400 --> 01:18:07,439
Speaker 4: like to continue it and to give it opportunities. Right

1310
01:18:07,520 --> 01:18:09,679
Speaker 4: because I'm sitting there and I'm you know, my daughter's

1311
01:18:09,760 --> 01:18:12,599
Speaker 4: nine years old and we're watching it. She she knows

1312
01:18:12,720 --> 01:18:15,160
Speaker 4: she's introducing me to stuff and introduce me to music.

1313
01:18:15,800 --> 01:18:20,320
Speaker 4: And her excitement as a nine year old young black

1314
01:18:20,360 --> 01:18:24,960
Speaker 4: girl watching the Grammys kind of it kind of caught

1315
01:18:25,000 --> 01:18:29,360
Speaker 4: me off guard. Like my daughter literally was looking at

1316
01:18:29,439 --> 01:18:34,400
Speaker 4: the clock, so dadd it comes on at you know,

1317
01:18:34,479 --> 01:18:38,519
Speaker 4: because now that everything is on demand, everything is on demand.

1318
01:18:38,720 --> 01:18:45,120
Speaker 4: My daughter is counting down until the Grammy starts. She's saying,

1319
01:18:45,120 --> 01:18:46,479
Speaker 4: we got to have dinner at this time, but we

1320
01:18:46,479 --> 01:18:48,160
Speaker 4: gotta grab some snacks and we're gonna have to.

1321
01:18:48,479 --> 01:18:51,679
Speaker 2: We're gonna be on this couch right watching the Grammy.

1322
01:18:52,760 --> 01:18:56,800
Speaker 4: So when I see that, I'm like, Okay, who's going

1323
01:18:56,920 --> 01:19:01,240
Speaker 4: to give her the music in the soundtrack for her

1324
01:19:01,360 --> 01:19:05,560
Speaker 4: life that looks like her or that she can be

1325
01:19:05,640 --> 01:19:09,240
Speaker 4: excited about. You know, Listen, I got a daughter. I

1326
01:19:09,320 --> 01:19:11,760
Speaker 4: know at some point she canna run off with a boy,

1327
01:19:12,240 --> 01:19:14,360
Speaker 4: you know what I mean, she gonna want, she gonna

1328
01:19:14,360 --> 01:19:15,800
Speaker 4: want to put a boy up, a picture of a

1329
01:19:15,840 --> 01:19:20,080
Speaker 4: boy in her locker. I get it. Me being in

1330
01:19:20,120 --> 01:19:20,720
Speaker 4: a position that.

1331
01:19:20,760 --> 01:19:22,280
Speaker 2: I'm in probably gonna be paradise.

1332
01:19:24,960 --> 01:19:27,519
Speaker 4: Maybe in a position that I'm in and music, I'm like, oh,

1333
01:19:27,840 --> 01:19:30,519
Speaker 4: I have to help create that for her, man. I

1334
01:19:30,680 --> 01:19:31,800
Speaker 4: have to you know what I mean. I have to

1335
01:19:31,880 --> 01:19:35,320
Speaker 4: help usher in these artists, these young these young artists

1336
01:19:35,320 --> 01:19:39,640
Speaker 4: that are speaking to her. Yeah, like we need a

1337
01:19:39,720 --> 01:19:40,639
Speaker 4: down my heart.

1338
01:19:41,640 --> 01:19:43,840
Speaker 2: Come on, don't do that, We need a telephone. Man.

1339
01:19:44,520 --> 01:19:48,200
Speaker 2: So here's the difference, like, and here's here's here's how

1340
01:19:48,280 --> 01:19:50,160
Speaker 2: I just thought of this while I'm sitting here, and

1341
01:19:50,320 --> 01:19:53,439
Speaker 2: why I think that it's that way. You know, there

1342
01:19:53,560 --> 01:19:59,200
Speaker 2: was a time and and and in the past, not

1343
01:19:59,400 --> 01:20:04,799
Speaker 2: that distant past. But we were talking earlier about Dick Griffy,

1344
01:20:05,439 --> 01:20:08,599
Speaker 2: We talked about Barry Gordy. Yes, we talked about Gerald Busby.

1345
01:20:09,280 --> 01:20:17,200
Speaker 2: We talked about black leaders who were the curators of

1346
01:20:17,280 --> 01:20:22,760
Speaker 2: the music that we loved. Right, and that's that is

1347
01:20:23,439 --> 01:20:27,920
Speaker 2: all but missing. We still have great ones. We still

1348
01:20:27,960 --> 01:20:31,160
Speaker 2: have Sylvia Rohn, we have you know, zeque Lewis, we

1349
01:20:31,320 --> 01:20:36,480
Speaker 2: have Tanji. We have some great executives in really great positions.

1350
01:20:37,320 --> 01:20:41,800
Speaker 2: But very very few. Yeah, and only I think you

1351
01:20:41,880 --> 01:20:44,240
Speaker 2: and I talked about it. How many how many important

1352
01:20:44,240 --> 01:20:47,160
Speaker 2: boutique labels do we have that are black, because that's

1353
01:20:47,160 --> 01:20:49,560
Speaker 2: where the community is built from, right, right, So you

1354
01:20:49,680 --> 01:20:53,920
Speaker 2: started at blackground, right right, a boutique, right and an

1355
01:20:54,080 --> 01:20:56,519
Speaker 2: artist I had started at La Face. And there was

1356
01:20:56,680 --> 01:20:59,040
Speaker 2: Uptown artists, and there was Death Row artists, there was

1357
01:20:59,120 --> 01:21:02,679
Speaker 2: Motown artists. There stacked artists, and they were like and andy,

1358
01:21:02,800 --> 01:21:07,719
Speaker 2: and that was where that's where black music was uh, nurtured,

1359
01:21:08,160 --> 01:21:14,200
Speaker 2: curated and and and and it wasn't no disrespect to anybody,

1360
01:21:14,320 --> 01:21:21,840
Speaker 2: but it wasn't so much us asking for permission, hmm,

1361
01:21:23,000 --> 01:21:25,759
Speaker 2: because people that looked like us were making those decisions.

1362
01:21:26,080 --> 01:21:28,760
Speaker 2: And look how different the industry looked in so the end,

1363
01:21:28,880 --> 01:21:33,040
Speaker 2: so the moment we just talked about when we said, guy,

1364
01:21:34,120 --> 01:21:39,120
Speaker 2: and I'll be sure and keep Sweat and Babyface and

1365
01:21:39,880 --> 01:21:42,439
Speaker 2: and all and heavy D and the boys, and and

1366
01:21:42,560 --> 01:21:45,559
Speaker 2: I could keep going on and on and boys the men, right, guys,

1367
01:21:45,600 --> 01:21:48,040
Speaker 2: those are black people making decisions about the music. We

1368
01:21:48,160 --> 01:21:53,479
Speaker 2: heard on a national, international level that is all but dead.

1369
01:21:53,800 --> 01:21:55,760
Speaker 2: So if you look at the Grammy stage, what you

1370
01:21:55,840 --> 01:22:09,880
Speaker 2: see missing is people that look like us, what's next.

1371
01:22:10,160 --> 01:22:14,400
Speaker 2: So what's next for me is I've been very fortunate

1372
01:22:14,600 --> 01:22:18,880
Speaker 2: that a couple of young artists found me. One of

1373
01:22:19,000 --> 01:22:23,120
Speaker 2: them his name is Jaydn. One of them his name

1374
01:22:23,240 --> 01:22:28,240
Speaker 2: is Paradise. Another one his name is Sweater, And they

1375
01:22:28,360 --> 01:22:31,800
Speaker 2: found me, and I'm putting moms around it and I'm

1376
01:22:31,840 --> 01:22:33,720
Speaker 2: going to rock this thing all the way to the top.

1377
01:22:34,280 --> 01:22:38,680
Speaker 3: First of all, we want to introduce that right here

1378
01:22:39,479 --> 01:22:44,639
Speaker 3: on the Army Money Podcast. First time ever, incredible, give them,

1379
01:22:45,640 --> 01:22:49,880
Speaker 3: give them a platform to perform their music.

1380
01:22:50,080 --> 01:22:53,160
Speaker 2: I love that. I think it's beautiful. I appreciate you

1381
01:22:53,479 --> 01:22:58,400
Speaker 2: for inviting them on having them here, and we'll look

1382
01:22:58,479 --> 01:23:00,800
Speaker 2: back on this one day. We're gonna all be really

1383
01:23:00,840 --> 01:23:03,479
Speaker 2: really proud of it, you know, really really, we're gonna

1384
01:23:03,479 --> 01:23:07,160
Speaker 2: be really proud of really audacity and the bravery to

1385
01:23:07,320 --> 01:23:10,280
Speaker 2: do this, to actually bring some new artists on the

1386
01:23:10,439 --> 01:23:12,960
Speaker 2: R and B Money Podcast, which is one of the

1387
01:23:13,040 --> 01:23:15,840
Speaker 2: most famous podcasts in the world that could have star

1388
01:23:16,000 --> 01:23:19,360
Speaker 2: after star after star, but you actually had the bravery

1389
01:23:19,400 --> 01:23:23,120
Speaker 2: and the audacity to bring on some complete unknowns, some

1390
01:23:23,320 --> 01:23:26,120
Speaker 2: brand new artists and giving them your platform to shine.

1391
01:23:26,160 --> 01:23:29,360
Speaker 2: So I really appreciate it, and we got as we

1392
01:23:29,960 --> 01:23:35,519
Speaker 2: as we following great footsteps you're making. You're making great decisions.

1393
01:23:35,560 --> 01:23:40,759
Speaker 2: I know that you make a great decisions.

1394
01:23:40,840 --> 01:23:43,519
Speaker 4: We try come you.

1395
01:23:45,080 --> 01:23:47,760
Speaker 2: L trying to run off on this, man, I talked

1396
01:23:47,800 --> 01:23:48,160
Speaker 2: too much.

1397
01:23:48,360 --> 01:23:51,559
Speaker 1: NOA l A no, this is this is needed.

1398
01:23:52,880 --> 01:23:53,920
Speaker 4: We're gonna have a part too.

1399
01:23:53,920 --> 01:23:57,840
Speaker 2: We're gonna bring you back. Come on, man, we got

1400
01:23:57,880 --> 01:23:59,320
Speaker 2: a lot now, I ain't gonna lie. We got a lot.

1401
01:24:02,000 --> 01:24:10,800
Speaker 2: You got over the chapel, brother la Bishop reed. We

1402
01:24:14,680 --> 01:24:16,880
Speaker 2: have come to the portion of the show where your

1403
01:24:17,040 --> 01:24:21,599
Speaker 2: musical knowledge and information is needed.

1404
01:24:21,680 --> 01:24:26,479
Speaker 3: We you've been breaking for a long time, and we

1405
01:24:26,640 --> 01:24:28,679
Speaker 3: want to take you back to a place to where

1406
01:24:29,640 --> 01:24:31,200
Speaker 3: music has inspired you.

1407
01:24:33,040 --> 01:24:47,519
Speaker 2: We call this particular section. You're f your top five,

1408
01:24:50,640 --> 01:24:55,639
Speaker 2: top fire, your.

1409
01:24:55,680 --> 01:24:58,440
Speaker 3: Top fur beasing?

1410
01:25:00,280 --> 01:25:06,320
Speaker 2: What else are let be sooo? We got to know

1411
01:25:07,240 --> 01:25:12,160
Speaker 2: before you go belong this shoe. Come on out the

1412
01:25:12,400 --> 01:25:13,559
Speaker 2: Norse your.

1413
01:25:13,760 --> 01:25:32,200
Speaker 4: Top Yes, right to you, top four.

1414
01:25:45,200 --> 01:25:50,320
Speaker 2: Oh my god, man, you are gifted. Oh my goodness, brother,

1415
01:25:50,479 --> 01:25:55,880
Speaker 2: they read you get that from it just made it up. Wow.

1416
01:25:57,080 --> 01:26:04,439
Speaker 2: Your top five are in the singers. Singers sing, We're

1417
01:26:04,479 --> 01:26:08,880
Speaker 2: doing We're doing gender or whatever you want, no gender,

1418
01:26:11,760 --> 01:26:15,360
Speaker 2: we want. It's up to you. Five whatever you want?

1419
01:26:15,680 --> 01:26:21,519
Speaker 2: Five R and B singers all time, all time, Aretha Franklin,

1420
01:26:21,720 --> 01:26:31,640
Speaker 2: start there, mister Marvin Gaye, Oh my god, R and

1421
01:26:31,760 --> 01:26:37,280
Speaker 2: B singers, mister Luther Vandros. Yes, sir, yes, sir. I

1422
01:26:37,400 --> 01:26:40,080
Speaker 2: gotta go obscure because I love what I love. I

1423
01:26:40,200 --> 01:26:42,559
Speaker 2: love what I love. What I love is what I love. Right,

1424
01:26:43,200 --> 01:26:49,120
Speaker 2: there's a young man named Howard Hewitt. I love this man.

1425
01:26:50,600 --> 01:26:58,240
Speaker 2: He loves this voice him sad man. And then Chaka

1426
01:26:58,280 --> 01:27:01,519
Speaker 2: Khan huh check a con check.

1427
01:27:04,439 --> 01:27:06,840
Speaker 3: When the first time I saw Sha Ka Khan live,

1428
01:27:07,640 --> 01:27:13,519
Speaker 3: I couldn't believe that that voice was coming out of

1429
01:27:13,640 --> 01:27:15,800
Speaker 3: her because of the height.

1430
01:27:16,720 --> 01:27:21,200
Speaker 2: No, man, she wasn't. It was effortless powerful. I never

1431
01:27:21,240 --> 01:27:22,400
Speaker 2: felt like she's reaching for it.

1432
01:27:22,600 --> 01:27:25,080
Speaker 1: Just it was the rough.

1433
01:27:26,880 --> 01:27:28,000
Speaker 4: Did you know she you knew?

1434
01:27:28,120 --> 01:27:32,679
Speaker 3: I'm sure you probably know rum Yeah, I don't know that. Yeah,

1435
01:27:32,960 --> 01:27:35,080
Speaker 3: I never spent time around her. She's like, I just

1436
01:27:35,120 --> 01:27:37,160
Speaker 3: saw a clip, but I saw that too. I think

1437
01:27:37,200 --> 01:27:43,000
Speaker 3: I'm like drums. I saw Chakak hitting every song note

1438
01:27:43,120 --> 01:27:45,680
Speaker 3: for note like she had just recorded it like it

1439
01:27:45,800 --> 01:27:46,599
Speaker 3: was nothing.

1440
01:27:47,560 --> 01:27:48,360
Speaker 2: It was nothing.

1441
01:27:48,800 --> 01:27:50,720
Speaker 4: I believe the message on her page about coming to

1442
01:27:50,800 --> 01:27:52,200
Speaker 4: the podcast. I mean, I listen.

1443
01:27:52,880 --> 01:27:55,519
Speaker 3: I'm a hit her too, that we ran into it

1444
01:27:55,680 --> 01:27:57,800
Speaker 3: as all that stuff. Every now and then I get

1445
01:27:57,840 --> 01:27:59,160
Speaker 3: a little interaction on my page.

1446
01:27:59,680 --> 01:28:03,680
Speaker 2: Boy, tell you mean, I mean it was for me,

1447
01:28:03,800 --> 01:28:07,040
Speaker 2: it was it was her and like I really loved

1448
01:28:07,080 --> 01:28:08,600
Speaker 2: it was Others that I love that are not in

1449
01:28:08,640 --> 01:28:11,040
Speaker 2: that top five, like I love Mayvid Staples from the

1450
01:28:11,080 --> 01:28:14,280
Speaker 2: Staple Sings, like I really loved I felt some ROBERTA.

1451
01:28:14,320 --> 01:28:17,240
Speaker 2: Flack is like one of my all time favorite artists ever,

1452
01:28:17,760 --> 01:28:22,240
Speaker 2: you know, and Stevie Wonder and Donnie Hathaway. I don't

1453
01:28:22,280 --> 01:28:23,760
Speaker 2: mean to lead him out of the top five, but

1454
01:28:23,880 --> 01:28:25,439
Speaker 2: it's like five slots. I don't know how to do

1455
01:28:25,520 --> 01:28:28,439
Speaker 2: it right because they I don't even know which one

1456
01:28:28,479 --> 01:28:32,639
Speaker 2: of those is where that's you know, But there's so many.

1457
01:28:32,720 --> 01:28:37,840
Speaker 2: There's so much great music. But originals like originals, people

1458
01:28:37,880 --> 01:28:42,479
Speaker 2: who did like original stuff. Original turns original. That's what

1459
01:28:42,680 --> 01:28:46,360
Speaker 2: Chaka Khan is like, Yeah, I never heard anybody I've

1460
01:28:46,439 --> 01:28:48,000
Speaker 2: never heard of do her phrasings?

1461
01:28:49,280 --> 01:28:54,920
Speaker 3: Right, we've had we've had oh, she's like or she's like, right,

1462
01:28:55,040 --> 01:28:56,280
Speaker 3: we haven't had a Chaka Khan.

1463
01:28:56,439 --> 01:28:59,439
Speaker 2: No, it's only one Shaka Khan. There was one, lady,

1464
01:28:59,680 --> 01:29:02,320
Speaker 2: don't get mad at me. There's one Lady who Who.

1465
01:29:03,200 --> 01:29:06,320
Speaker 2: She did a song. She's gonna hate me for saying this,

1466
01:29:06,520 --> 01:29:09,240
Speaker 2: But Vesta Williams and she had a song called Once

1467
01:29:09,320 --> 01:29:13,439
Speaker 2: Bitten Twice Shy and it had Choka con phrasings right

1468
01:29:13,560 --> 01:29:15,200
Speaker 2: and it was and I was like, okay, so chalk

1469
01:29:15,360 --> 01:29:16,200
Speaker 2: is impacting people.

1470
01:29:16,400 --> 01:29:17,120
Speaker 4: Congratulations.

1471
01:29:18,200 --> 01:29:22,439
Speaker 2: Yeah, now I'm hearing Yeah, okay, no one is this

1472
01:29:22,520 --> 01:29:29,360
Speaker 2: original was her Top five R and B songs. God, man,

1473
01:29:29,840 --> 01:29:32,720
Speaker 2: yeap what you can name yours? I want to you

1474
01:29:32,800 --> 01:29:36,240
Speaker 2: can name yours. It's fine five top five, it comes

1475
01:29:36,240 --> 01:29:41,240
Speaker 2: to your mind. Yeah, just come to your mind. Okay, man,

1476
01:29:41,840 --> 01:29:47,000
Speaker 2: try a little tenderness oldis Redding. Let's see which one

1477
01:29:47,160 --> 01:29:51,760
Speaker 2: is it. It's a song on Marvin Gaye's What Let's

1478
01:29:51,800 --> 01:29:54,800
Speaker 2: get it on album? And I want to say. It's

1479
01:29:54,880 --> 01:29:58,200
Speaker 2: called If I Should Die? Do you know that? If

1480
01:29:58,280 --> 01:30:05,719
Speaker 2: I Should Die? That's one of my favorites. Reverendly by ROBERTA. Flack.

1481
01:30:08,439 --> 01:30:13,880
Speaker 2: Let's see it aren't being sold the same thing? True,

1482
01:30:14,280 --> 01:30:20,639
Speaker 2: they are, so I can't have two lists. Let's say,

1483
01:30:21,479 --> 01:30:28,960
Speaker 2: Oh man, let's see, I'm gonna I'm gonta lost. I

1484
01:30:29,040 --> 01:30:32,160
Speaker 2: got too many songs in my head, just like like

1485
01:30:32,240 --> 01:30:34,240
Speaker 2: there was an era in music that I called the

1486
01:30:34,360 --> 01:30:37,599
Speaker 2: post do op era, when it was all the stand

1487
01:30:37,720 --> 01:30:40,880
Speaker 2: up groups, it was the Temptations, it was the four Times,

1488
01:30:40,960 --> 01:30:45,959
Speaker 2: it was the dramatics, it was the stylistics and the intruder.

1489
01:30:46,240 --> 01:30:48,680
Speaker 2: That era right there, right, that era in music was

1490
01:30:48,760 --> 01:30:53,000
Speaker 2: like so impactful and like so under celebrated, right, but

1491
01:30:53,200 --> 01:30:56,599
Speaker 2: so much greatness the shylights, right, it was so much

1492
01:30:56,680 --> 01:31:00,479
Speaker 2: great music out of that and uh and there was

1493
01:31:00,600 --> 01:31:02,439
Speaker 2: songs from that place, gambling huff.

1494
01:31:03,040 --> 01:31:04,599
Speaker 4: Was that era super?

1495
01:31:05,880 --> 01:31:10,760
Speaker 2: I know, me and Missus Jones. Yeah, there it is.

1496
01:31:10,840 --> 01:31:12,759
Speaker 2: I found it. It's me and Missus Jones.

1497
01:31:13,840 --> 01:31:15,360
Speaker 4: That record is so special.

1498
01:31:15,439 --> 01:31:18,280
Speaker 2: Yeah, that's the thing, that's my that's my that's my

1499
01:31:18,400 --> 01:31:22,600
Speaker 2: song going on. Let's see. So how many do I

1500
01:31:22,720 --> 01:31:26,759
Speaker 2: give you? That's for time will reveal by the DeBarge,

1501
01:31:29,200 --> 01:31:35,040
Speaker 2: they were singing that every night, every night watching Eldbar.

1502
01:31:35,560 --> 01:31:39,160
Speaker 2: Time will reveal. That's five for today. If you ask

1503
01:31:39,240 --> 01:31:40,960
Speaker 2: me tomorrow, be a different five. I don't even know

1504
01:31:41,000 --> 01:31:42,320
Speaker 2: what I just said. By the way, I don't even

1505
01:31:42,320 --> 01:31:44,639
Speaker 2: know what you I just said. I really don't because

1506
01:31:44,640 --> 01:31:47,880
Speaker 2: I I have so much music in my head. I

1507
01:31:48,000 --> 01:31:50,760
Speaker 2: listened to so much music. I love music so much.

1508
01:31:51,160 --> 01:31:54,120
Speaker 2: There's no five of anything five is so unfair.

1509
01:31:55,200 --> 01:31:58,439
Speaker 3: But I tried two more sections for you, and we're

1510
01:31:58,439 --> 01:32:00,680
Speaker 3: gonna let you go. Let's make a ul trying for you,

1511
01:32:01,080 --> 01:32:04,200
Speaker 3: a super R and B artist, a super one where

1512
01:32:04,200 --> 01:32:08,479
Speaker 3: you're going to get the vocal from the performance style,

1513
01:32:09,000 --> 01:32:12,080
Speaker 3: the styling of the artists, the passion of the artist.

1514
01:32:12,720 --> 01:32:19,360
Speaker 3: Who's going to produce for this artist vocal You're gonna

1515
01:32:20,479 --> 01:32:23,559
Speaker 3: dial up to make your super R and B artist one.

1516
01:32:23,479 --> 01:32:27,559
Speaker 2: Vocal, one vocal. We're just creating, right, Give me Tevin

1517
01:32:27,600 --> 01:32:32,760
Speaker 2: Campbell's voice, Give me Jimmy Jam and Terry Lewis as

1518
01:32:32,800 --> 01:32:39,840
Speaker 2: the producers. Are you skipping? Hold on? Don't you help me?

1519
01:32:40,040 --> 01:32:44,040
Speaker 2: Guy the track? Yeah, he's going heavy to Jimmy Jam.

1520
01:32:45,840 --> 01:32:52,839
Speaker 2: Okayform style, give me Usher's performance style, me Tevin styling.

1521
01:32:53,520 --> 01:32:56,840
Speaker 2: Who're gonna put that ship on the drip? Oh, I'm

1522
01:32:56,840 --> 01:32:57,679
Speaker 2: gonna keep it breathing.

1523
01:32:57,760 --> 01:33:00,120
Speaker 4: Prince about to say if you didn't say Prince, I'm.

1524
01:33:00,600 --> 01:33:01,599
Speaker 2: Man, it's Prince.

1525
01:33:02,120 --> 01:33:04,040
Speaker 4: I'm seeing your original album.

1526
01:33:06,479 --> 01:33:07,240
Speaker 2: Super breathing.

1527
01:33:07,760 --> 01:33:15,240
Speaker 3: Keep We need edge right and drodging, edge blousey edge.

1528
01:33:16,000 --> 01:33:20,280
Speaker 2: Drop, Uh, the passion of the artist who mean it,

1529
01:33:20,360 --> 01:33:25,360
Speaker 2: the heart of the artist. Marvin Gay. Yeah, right, I

1530
01:33:25,479 --> 01:33:28,920
Speaker 2: believed everything. Marvin me too everything, Yeah, me too.

1531
01:33:29,120 --> 01:33:31,880
Speaker 4: I don't know nobody else that had to give an

1532
01:33:32,000 --> 01:33:34,560
Speaker 4: album and divorce proceeding.

1533
01:33:36,200 --> 01:33:39,920
Speaker 2: Meaning. And it was here and it was enough. Here

1534
01:33:40,240 --> 01:33:42,840
Speaker 2: here is that crazy? It was enough. He tried to

1535
01:33:42,880 --> 01:33:45,720
Speaker 2: make a bad album. He was incapable of making a

1536
01:33:45,800 --> 01:33:47,720
Speaker 2: bad album. Take Teer.

1537
01:33:49,920 --> 01:33:50,639
Speaker 4: That's the thing though.

1538
01:33:50,920 --> 01:33:53,080
Speaker 2: I'm sure he didn't want to give it a good album,

1539
01:33:54,520 --> 01:33:58,040
Speaker 2: Take this one. He couldn't help it. You know, it's

1540
01:33:58,040 --> 01:34:03,200
Speaker 2: too great, too good, talented. And then you said it,

1541
01:34:03,439 --> 01:34:06,479
Speaker 2: who's going to produce themself? Yeah, and it's Jimmy Jamary Lewis.

1542
01:34:06,680 --> 01:34:09,040
Speaker 2: Are they writing it to or you're writing it? No,

1543
01:34:09,160 --> 01:34:14,200
Speaker 2: it's just them all the way. All is Jimmy Dammitary. Melodies, piano, drums,

1544
01:34:14,320 --> 01:34:19,800
Speaker 2: They're wrong with them? What's wrong with them? They're perfect? Like,

1545
01:34:20,600 --> 01:34:25,200
Speaker 2: they're fucking perfect. They're the greatest ever. They're the fucking

1546
01:34:25,240 --> 01:34:25,880
Speaker 2: greatest ever.

1547
01:34:26,640 --> 01:34:30,559
Speaker 4: Are you as you guys are having your run? Are

1548
01:34:30,600 --> 01:34:34,479
Speaker 4: you looking like the whole time?

1549
01:34:34,720 --> 01:34:34,760
Speaker 6: Like?

1550
01:34:35,280 --> 01:34:38,400
Speaker 2: Not like that? Not looking at it? Never competitively because

1551
01:34:38,400 --> 01:34:41,360
Speaker 2: I never thought we could compete. Never, Like, if there's

1552
01:34:41,439 --> 01:34:44,240
Speaker 2: no Jimmy Jammentary, there is no la and face at

1553
01:34:44,280 --> 01:34:47,439
Speaker 2: that time, right, period, point blank. They introduced us to

1554
01:34:47,520 --> 01:34:51,040
Speaker 2: Clarence A. Van, They gave us the blueprint everything about them, Like, no,

1555
01:34:51,479 --> 01:34:54,120
Speaker 2: it was never I never thought we could compete with them.

1556
01:34:54,439 --> 01:34:57,719
Speaker 2: I still don't. And as much as I love music

1557
01:34:57,800 --> 01:35:01,120
Speaker 2: that we made, you know, ask Jimmy's I love I

1558
01:35:01,240 --> 01:35:04,680
Speaker 2: love I love their songs, man, I love their like

1559
01:35:04,840 --> 01:35:08,920
Speaker 2: you Everard never knew love like this by Alexander That's

1560
01:35:09,040 --> 01:35:13,000
Speaker 2: my ship, you know, I mean all of those songs,

1561
01:35:13,080 --> 01:35:17,280
Speaker 2: everything from from Charrell's uh, I didn't mean to turn

1562
01:35:17,360 --> 01:35:20,120
Speaker 2: you on to s O s bands, you know, I

1563
01:35:20,200 --> 01:35:24,320
Speaker 2: mean their songs, man Like, I just think these songs,

1564
01:35:24,800 --> 01:35:28,160
Speaker 2: the sound of them to me metaphorically, it looks like

1565
01:35:28,760 --> 01:35:31,360
Speaker 2: the tallest building in the world. The production sounded like

1566
01:35:31,439 --> 01:35:33,640
Speaker 2: the tallest come on like it was just.

1567
01:35:33,720 --> 01:35:37,040
Speaker 4: Like wow, absolutely, I've never heard that atology, you know

1568
01:35:37,080 --> 01:35:40,080
Speaker 4: what I mean, Like the bottom was way down there

1569
01:35:40,080 --> 01:35:42,280
Speaker 4: and the top of it was way to fuck up there.

1570
01:35:42,360 --> 01:35:45,040
Speaker 2: Right, and no one, they're the best in the world.

1571
01:35:45,080 --> 01:35:48,120
Speaker 2: They're the best. I love Quincy Jones also, right, and

1572
01:35:48,240 --> 01:35:53,160
Speaker 2: Quincy has the years the genre, mixing the diversity of

1573
01:35:53,640 --> 01:35:57,400
Speaker 2: talent from everything from Michael Jackson and Frank Sinatra. You know,

1574
01:35:58,360 --> 01:36:02,640
Speaker 2: I'm not taking anything away from Quincy Jones, who is

1575
01:36:02,720 --> 01:36:08,040
Speaker 2: probably the most celebrated, but my personal favorite it's Jimmy Janme,

1576
01:36:08,120 --> 01:36:09,720
Speaker 2: Terry Lewis and they know it.

1577
01:36:10,080 --> 01:36:16,120
Speaker 3: It was it's it's the musicality that we love, but

1578
01:36:17,520 --> 01:36:26,280
Speaker 3: the drama in effect and and sound making right right,

1579
01:36:26,320 --> 01:36:30,120
Speaker 3: because we have the musical element which is absolutely insane,

1580
01:36:30,760 --> 01:36:35,519
Speaker 3: but the sound making the things that took you from

1581
01:36:36,520 --> 01:36:40,960
Speaker 3: the B section to the hook or from the verse

1582
01:36:41,280 --> 01:36:45,439
Speaker 3: to the beat, like how sounds was like, what is

1583
01:36:45,840 --> 01:36:49,720
Speaker 3: what is adorning this musical masterpiece?

1584
01:36:50,080 --> 01:36:54,360
Speaker 2: Like like the piano on Tender Love by for m

1585
01:36:54,439 --> 01:37:00,800
Speaker 2: D or Oh my God man, that just blow me away.

1586
01:37:00,840 --> 01:37:04,680
Speaker 2: They really they are just masters because on top of the.

1587
01:37:05,760 --> 01:37:10,760
Speaker 4: Masters relatable top line, the lyric and melody is so

1588
01:37:10,960 --> 01:37:13,680
Speaker 4: relatable to everyone. Like you said, tender love, right, We're

1589
01:37:13,680 --> 01:37:16,920
Speaker 4: gonna call this tender tender love, tend to love love,

1590
01:37:17,280 --> 01:37:19,240
Speaker 4: you know what I mean? Like just the songs that

1591
01:37:20,680 --> 01:37:22,880
Speaker 4: when you just go down the list of records that

1592
01:37:22,960 --> 01:37:26,200
Speaker 4: they've done, the finest by so O S Band, just

1593
01:37:26,320 --> 01:37:28,360
Speaker 4: be Good to Me by s O S Band, all

1594
01:37:28,400 --> 01:37:29,879
Speaker 4: those new addition songs.

1595
01:37:29,960 --> 01:37:35,160
Speaker 2: Man, never what is that? If it isn't love, why

1596
01:37:35,240 --> 01:37:37,280
Speaker 2: does it feel this way. Why does it feel so

1597
01:37:37,360 --> 01:37:37,840
Speaker 2: bad if it.

1598
01:37:37,880 --> 01:37:38,559
Speaker 4: Isn't love.

1599
01:37:40,080 --> 01:37:45,040
Speaker 2: Rights? Right? Sometimes I just look at them and like this,

1600
01:37:45,800 --> 01:37:51,519
Speaker 2: they didn't do that. That's great. He y'all didn't do that.

1601
01:37:52,120 --> 01:37:52,680
Speaker 2: They don't do that.

1602
01:37:53,200 --> 01:37:58,320
Speaker 4: All of it, all of it, man, all of it. Yeah, Okay,

1603
01:37:58,720 --> 01:37:59,400
Speaker 4: they producing it.

1604
01:37:59,840 --> 01:38:01,080
Speaker 2: They they're they're it.

1605
01:38:01,800 --> 01:38:02,760
Speaker 4: But la signing it.

1606
01:38:04,360 --> 01:38:11,560
Speaker 2: Yes, I'm signing it. You signed right? How about this

1607
01:38:11,680 --> 01:38:13,439
Speaker 2: secure discovery? I sign.

1608
01:38:20,400 --> 01:38:20,439
Speaker 1: O?

1609
01:38:20,720 --> 01:38:28,000
Speaker 2: Brother, you can't still discovered that signed Jimmy produc sir right, waited,

1610
01:38:29,320 --> 01:38:32,320
Speaker 2: y'all good at this? Thank you, thank you, thank you

1611
01:38:32,439 --> 01:38:34,280
Speaker 2: for real my brother. First of all, let's say this

1612
01:38:36,080 --> 01:38:39,560
Speaker 2: you you, you are him, Thank you, sir, thank you.

1613
01:38:39,920 --> 01:38:43,599
Speaker 2: We don't we don't take your time, your expertise, your wisdom,

1614
01:38:44,000 --> 01:38:46,240
Speaker 2: we don't take none of that, likely brother, your success.

1615
01:38:46,840 --> 01:38:50,280
Speaker 2: We appreciate it all, and we appreciate you sitting in

1616
01:38:50,479 --> 01:38:54,200
Speaker 2: that chair right now like we do not take this thankly,

1617
01:38:54,320 --> 01:38:56,320
Speaker 2: and we thank you from the bottom of my hearts.

1618
01:38:58,880 --> 01:39:03,080
Speaker 2: And thank you for thank you for the challenge, yes, sir,

1619
01:39:03,800 --> 01:39:07,560
Speaker 2: thank you for the challenge. Yes, to be more, to

1620
01:39:07,640 --> 01:39:08,320
Speaker 2: be better. Thank you.

1621
01:39:08,760 --> 01:39:12,840
Speaker 3: We can as you as you talk about those those

1622
01:39:12,960 --> 01:39:15,719
Speaker 3: boutiques and all we we stand here as a boutique,

1623
01:39:15,840 --> 01:39:21,200
Speaker 3: and and and we are answered answering, answering the bill, Yes, sir,

1624
01:39:21,560 --> 01:39:23,040
Speaker 3: getting to these trenches and get it done.

1625
01:39:23,840 --> 01:39:26,599
Speaker 2: Yeah, I wanted to. I wanted to do this because

1626
01:39:26,880 --> 01:39:29,479
Speaker 2: I had so much. You know, when I met you,

1627
01:39:30,120 --> 01:39:32,800
Speaker 2: I was like, damn, just met this man, But damn

1628
01:39:32,840 --> 01:39:36,840
Speaker 2: he's my brother, geez. Like that's how I felt like, Wow, right,

1629
01:39:37,000 --> 01:39:39,200
Speaker 2: and I've known you tan't and just knowing you to

1630
01:39:39,320 --> 01:39:42,759
Speaker 2: be so talented and what you guys are doing together,

1631
01:39:44,000 --> 01:39:45,360
Speaker 2: I just wanted to be a part of it, man,

1632
01:39:45,400 --> 01:39:48,439
Speaker 2: because I think that it's so damn important what you

1633
01:39:48,560 --> 01:39:51,400
Speaker 2: stand for. And I also love just that, like you

1634
01:39:51,479 --> 01:39:54,760
Speaker 2: have a platform of honesty, but it's coming from a

1635
01:39:54,840 --> 01:39:57,920
Speaker 2: really loving place, like it's really coming from it. And

1636
01:39:58,200 --> 01:40:00,840
Speaker 2: as I told you earlier today, baby fait, it always

1637
01:40:00,960 --> 01:40:03,439
Speaker 2: reminds me if I'm in a situation that doesn't have

1638
01:40:03,560 --> 01:40:05,880
Speaker 2: love in it. And he says, I can't prosper, you

1639
01:40:05,960 --> 01:40:08,280
Speaker 2: know what I mean. And that's a brother looking out

1640
01:40:08,320 --> 01:40:10,600
Speaker 2: for a brother, you know. And he and I have

1641
01:40:10,680 --> 01:40:14,240
Speaker 2: the greatest relationship because we're not friends, but we are brothers.

1642
01:40:14,960 --> 01:40:18,200
Speaker 2: It's the craziest thing in the world, right, So Anyway,

1643
01:40:18,240 --> 01:40:21,040
Speaker 2: I just really appreciate being here with y'all. Thank you

1644
01:40:21,120 --> 01:40:23,479
Speaker 2: for listening to me, thank you for letting me rant

1645
01:40:24,120 --> 01:40:26,960
Speaker 2: and get on my soapbox, you know. And I like

1646
01:40:27,080 --> 01:40:29,720
Speaker 2: to come back, you know, and part two I'll have

1647
01:40:29,880 --> 01:40:35,960
Speaker 2: stories funny and fucked up. We'll take it's binding because

1648
01:40:37,120 --> 01:40:40,599
Speaker 2: I'm but but I want to You got to fight

1649
01:40:40,720 --> 01:40:44,240
Speaker 2: me off because I want to back, you know, like

1650
01:40:44,360 --> 01:40:46,400
Speaker 2: you always invited. Brother. The last time I thought that,

1651
01:40:46,560 --> 01:40:48,240
Speaker 2: I thought y'all canceled on me. And I was like,

1652
01:40:48,280 --> 01:40:50,280
Speaker 2: why would they cancel on men? My sister said, no,

1653
01:40:51,280 --> 01:40:53,040
Speaker 2: you're out of town. I was like, oh it was me.

1654
01:40:54,240 --> 01:40:57,200
Speaker 2: It was I was trying to get in my feelings,

1655
01:40:57,680 --> 01:40:59,160
Speaker 2: you know. You know, you know listen, he's trying to

1656
01:40:59,200 --> 01:41:02,519
Speaker 2: find the reason reason that's crazy. You know. I'm glad

1657
01:41:02,560 --> 01:41:04,360
Speaker 2: you brought that up because I'm a nigga, because yeah,

1658
01:41:05,400 --> 01:41:07,680
Speaker 2: she was a nigga and Assen too. I was like,

1659
01:41:07,760 --> 01:41:18,200
Speaker 2: where he was, well, I was colored that day. It

1660
01:41:18,439 --> 01:41:21,640
Speaker 2: was like I was bro I was chasing. I was

1661
01:41:21,680 --> 01:41:26,880
Speaker 2: there with Mariah Carey shut up to not yeah, and

1662
01:41:27,479 --> 01:41:30,600
Speaker 2: she's welcome to the Larry make his own announcement. But

1663
01:41:31,400 --> 01:41:35,000
Speaker 2: you know, we there's something Brewing. We love that.

1664
01:41:35,720 --> 01:41:36,439
Speaker 4: Come on to the p.

1665
01:41:38,600 --> 01:41:40,200
Speaker 2: Yeah, oh you do want.

1666
01:41:40,120 --> 01:41:44,800
Speaker 3: Mariah absolutely, and you know what you know who to

1667
01:41:44,880 --> 01:41:48,599
Speaker 3: come you definitely, oh you definitely.

1668
01:41:49,000 --> 01:41:52,599
Speaker 2: Yeah, Ladies and gentlemen about him to take.

1669
01:41:53,479 --> 01:41:55,840
Speaker 3: And this is the R and B Money podcast, the

1670
01:41:55,960 --> 01:41:58,800
Speaker 3: authority on all things R.

1671
01:41:58,840 --> 01:42:03,760
Speaker 2: And B and and the authority is in the month

1672
01:42:06,320 --> 01:42:12,519
Speaker 2: Thank you for having fun fun R and B Money.

1673
01:42:13,680 --> 01:42:15,439
Speaker 4: R and B Money is a production of the Black

1674
01:42:15,479 --> 01:42:20,240
Speaker 4: Effect Podcast Network. For more podcasts from iHeartRadio, visit the

1675
01:42:20,360 --> 01:42:24,200
Speaker 4: iHeartRadio app, Apple Podcasts, or wherever you listen to your

1676
01:42:24,240 --> 01:42:28,080
Speaker 4: favorite shows. Don't forget to subscribe to and rate our show,

1677
01:42:28,439 --> 01:42:31,040
Speaker 4: and you can connect with us on social media at

1678
01:42:31,120 --> 01:42:35,360
Speaker 4: Jay Valentine and at the Real Tank. For the extended episode,

1679
01:42:35,479 --> 01:42:39,680
Speaker 4: subscribe to YouTube dot com, forward slash R and B

1680
01:42:39,800 --> 01:42:40,040
Speaker 4: Money