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Speaker 1: R and B Money, honey, thanks take Valentini.

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Speaker 2: We are the.

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Speaker 3: Authorities on all.

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Speaker 1: Ladies and gentlemen. My name is Tank Valentine.

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Speaker 2: This is the R and BY Money Podcasts, the authority, yes, sir,

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Speaker 2: on all things R and B.

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Speaker 1: Yeah, and business, big business.

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Speaker 2: The man comes from the place where soul resides. If

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Speaker 2: you ever touched the soil in Philadelphia, the tales of

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Speaker 2: a man who's had his hand and input on all

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Speaker 2: things musicality in the city and the scene, you probably

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Speaker 2: love a Yeah. This man is considered and uncle to everyone,

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Speaker 2: a family member to everyone, a brother to us. Yes, sir,

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Speaker 2: ladies and gentlemen, we're gonna get right to the ship.

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Speaker 2: Come on, there's a lot of information we got to

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Speaker 2: get to on. Let's get I'm not gonna hold it

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Speaker 2: up any longer. Ladies and gentlemen. We call him uncle Mark.

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Speaker 1: But right here Mark, thanks for having me, brother, thanks

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Speaker 1: for having me. Absolutely man. Welcome, welcome, thank you, thank you.

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Speaker 2: Talking about our age of the h at the game,

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Speaker 2: and I was he's just a little bit. He's a

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Speaker 2: little bit older than me. He's not like that much

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Speaker 2: older than me. This isn't true, but but uh, when

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Speaker 2: we're getting down on the bleachers and now. And I

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Speaker 2: looked at him. I'm like, I'm like, man, maybe I

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Speaker 2: should help my uncle Mark get off. He looked at me, said,

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Speaker 2: I wish you would.

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Speaker 4: Said this respectful, so disrespectful, so disrespect You know that,

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Speaker 4: like the fight in the city of almost.

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Speaker 5: Walked away from I know if I didn't love my

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Speaker 5: walk away from this young disrespectful he crossed the threshold.

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Speaker 5: Want to talk to me different? Listen, just I was

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Speaker 5: just checking the temperature. You know what I'm saying is

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Speaker 5: still the same.

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Speaker 2: No, he wants and he wanted. He wants to fight too.

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Speaker 2: He wanted to fight you know who. That's off the

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Speaker 2: pot and over here.

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Speaker 5: I was just kidding.

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Speaker 1: I just wanted to see if he was awake. We

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Speaker 1: all want to get up, brother.

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Speaker 5: I haven't feeling amazing man, Man, And I'm proud of y'all. Man.

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Speaker 5: I love this podcast. Thank you, brother, thanks for having me.

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Speaker 1: This is this is this is why we have it.

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Speaker 2: You know, we we we feel like there are just

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Speaker 2: so many cool conversations that that have to be highlighted

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Speaker 2: so that people can truly see the inner workings of

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Speaker 2: how this thing works. Man, and the people responsible you

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Speaker 2: know what I mean, Like, because you you everybody gets

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Speaker 2: to see the finished product. Man, I say this all

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Speaker 2: the time, but you never you never see those those people.

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Speaker 5: What's in the kitchen. You're a visible architect.

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Speaker 2: You don't see the person going going shopping for the

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Speaker 2: you know what I'm saying, for the materials.

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Speaker 1: Yeah, none of that.

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Speaker 2: The meetings that take place before you even put the

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Speaker 2: list together to go to go grab the essentials.

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Speaker 1: Yeah, like who's doing who's doing that?

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Speaker 2: We need to know who those people are while you're

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Speaker 2: in mark one.

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Speaker 1: We need to know the stirs.

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Speaker 2: You know.

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Speaker 5: Look, it helps. I think it helps, especially the next generation.

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Speaker 5: It helps them to kind of see the full story

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Speaker 5: and the how to. Yes, you know, yes, so this

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Speaker 5: is this is the how it happened session.

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Speaker 2: Because because I'm listen, I'm I'm for technology. I understand

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Speaker 2: all of it. But you know, there's this manpower. It's

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Speaker 2: just it's undefeated. It's true, man, And I.

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Speaker 5: Don't think that technology will ever outdo God's creation that

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Speaker 5: creates it's did that come from us, will forever be

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Speaker 5: ahead of it. It's just that because not everybody are

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Speaker 5: true creatives, and so our business everybody claims to be because.

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Speaker 1: It's the creative industry.

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Speaker 5: But you know, we've seen over the years people that

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Speaker 5: have a gift of making records and the gift of

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Speaker 5: finding talent and developing talent and stuff like that.

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Speaker 2: It's like, we can't allow that to be a loss

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Speaker 2: art and we have to listen. The track record has

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Speaker 2: to tell the story. You can't tell me you do this.

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Speaker 5: And yeah, and you don't have the stripes. I want

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Speaker 5: to see the stripes.

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Speaker 1: I want to see the time.

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Speaker 4: I think we should start doing that, like like the military,

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Speaker 4: you should.

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Speaker 2: You should have to start wearing strip your stripes. Man,

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Speaker 2: you strike see a jacket, to see a jacket?

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Speaker 5: Yeah, man, Because the stripes can't be followers.

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Speaker 1: Mm hmm.

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Speaker 5: The stripes can't be followers. It's just true. It's like

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Speaker 5: a lot of people can sit online all day and

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Speaker 5: figure out a way to get followers. But what's the talent?

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Speaker 5: What's your gift to the business?

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Speaker 1: Yeah, your contribution?

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Speaker 5: What made per se?

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Speaker 1: Yeah, let's let's let's get into that.

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Speaker 4: Let's get into that, man, Let's let's let's get back

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Speaker 4: into them, into those original days for you, and you'll

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Speaker 4: start really in this business. Young Mark Young, Mark Young

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Speaker 4: I'm talking about like young mar because you know, you

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Speaker 4: and I have had those conversations up you know when

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Speaker 4: when you got into the game and you're really a teenager.

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Speaker 5: It's funny, man, Like you know, up in the neighborhood,

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Speaker 5: there was music wrapped around this piece of a dream

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Speaker 5: was across the driveway from me, so I could see

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Speaker 5: them rehearsing, you know, in their garage. Yeah, and then

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Speaker 5: I would my my middle school. No, yeah, my middle school.

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Speaker 5: I had to walk past Patt of the Bell's house

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Speaker 5: every day. What so I'm deeply entrenched. And it was

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Speaker 5: you know, and it was just people. I used to

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Speaker 5: shovel snow on the other side, on the bigger houses,

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Speaker 5: and that's where like Grove of Washington and all those

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Speaker 5: guys lived. So we were I was, I was in

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Speaker 5: the mix of hard. You know. I'd be at the

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Speaker 5: barbershop Teddy Pendergrass be riding down the street with a

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Speaker 5: fur on and a Rose Royce with the top down

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Speaker 5: in the winter because you.

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Speaker 4: Have wait, wait, top down in the winter. In the

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Speaker 4: winters you have you're gonna see me. Yeah, You're gonna

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Speaker 4: stay warm though, Yeah, he's gonna stay warm.

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Speaker 5: Yeah, because you know, all of the entrepreneurs, the jewelry

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Speaker 5: store owners and all those guys. They lived in my neighborhood,

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Speaker 5: so it was it was a lot of energy that

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Speaker 5: came our way. So I would, you know, It was

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Speaker 5: just I didn't know that I was going to be

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Speaker 5: in the music business. My uncle played for McFadden and

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Speaker 5: white Head, so he was a guitar player. Ain't no

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Speaker 5: stopping this now. He played the delphonics and all that stuff.

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Speaker 5: I used to go to rehearsals with him, but I

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Speaker 5: didn't look at it as I'm gonna be in the business.

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Speaker 5: It kind of ended up that way.

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Speaker 1: Later.

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Speaker 5: I veered off in different paths until music, you know,

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Speaker 5: found me or I found it, you know.

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Speaker 1: Yeah, man, was music a lifesaver for you?

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Speaker 5: It was one main for Center Lifesaver.

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Speaker 1: Yeah?

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Speaker 5: Yeah, it was one Maine for Centered Lifesaver. That's why

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Speaker 5: I don't treat it like it's, you know, this so

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Speaker 5: called side piece or anything.

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Speaker 1: You know.

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Speaker 5: If I don't feel like I can do it at

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Speaker 5: his best level, I just don't do it, you know

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Speaker 5: what I mean. I don't shop a bunch of talent,

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Speaker 5: I don't wrap a bunch of people if it's not

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Speaker 5: special I could sit on this eeline to do something else,

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Speaker 5: something special come along, I'll do it. But I'm not

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Speaker 5: just doing anything just to hustle cash.

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Speaker 2: That I mean, I speaks, that speaks more to love

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Speaker 2: than anything love the game. But what how do you

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Speaker 2: even after you hit these veers that you speak of how.

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Speaker 1: We're going, we're not going to speak, how do you ultimately.

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Speaker 2: Make that take that first step into what it's called

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Speaker 2: the music business.

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Speaker 5: It's funny.

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Speaker 1: I was like.

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Speaker 5: Going in and out of the studios like just somehow

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Speaker 5: for some reason, and I ended up meeting Getny Gamble

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Speaker 5: and I would go to their spot a lot and

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Speaker 5: just sit in the corner while they were like remaking

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Speaker 5: their masters. So they would bring new vocalists in, new musicians,

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Speaker 5: stuff like that, and they were remaking their masters. And

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Speaker 5: then one day it's just like, you'll find me keyboard player.

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Speaker 5: And I was like, I'm in what you just told

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Speaker 5: you to find him a keyboard find a keyboard player.

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Speaker 5: So it was a kid named Maurice Wolcher. That what

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Speaker 5: that was like incredible that we bought him to the

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Speaker 5: session and then he started playing on all of the

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Speaker 5: all of those projects and stuff like that. And then

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Speaker 5: you know, over time, we just started moving him around

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Speaker 5: as a producer, and that's when we ended up working

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Speaker 5: with Freddie Jackson and a bunch of other folks, and

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Speaker 5: then we ended up meeting Sylvia Wrong. Sylvia introduced us

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Speaker 5: to Dreel LeVert and Jerrol was recording in Philly all

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Speaker 5: his albums, the Rule Boy albums. I was there when

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Speaker 5: they did written all over your Face all of that stuff,

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Speaker 5: all the Druel's albums, and then you know, Jerro was like, yo, man.

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Speaker 5: One day, we just in the studio. He's like, yo, man,

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Speaker 5: want you get in the booth and singing this background?

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Speaker 5: I'm like what, I'm like, Nah, We're not doing that, bro.

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Speaker 5: He said, come on, man, just come on. We just

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Speaker 5: need a note. So I ended up going and doing

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Speaker 5: a not and ironically he was like, man, I think

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Speaker 5: we could make you an artist. I said, now, we're

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Speaker 5: not doing that, you know. And then over time, when

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Speaker 5: we really got to know each other, he was like,

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Speaker 5: you know what, man, it's a lot of people in

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Speaker 5: this business that you know, they need people that know

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Speaker 5: how to collect money, you know, And he was like,

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Speaker 5: I think you could do a good job managing cats

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Speaker 5: and help him collect money. So then he introduced us

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Speaker 5: to Frank McCone and Frank mccoone was the keyboard player

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Speaker 5: for them and the Roople Boys. And then we start

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Speaker 5: managing Frank and you know, moved into Philly, started getting

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Speaker 5: his package together, had him playing with on Kenny Gamble

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Speaker 5: and them stuff as well. And it's just like progressed

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Speaker 5: in the stuff. And we're going to DC a lot,

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Speaker 5: my brother and I and we met Teddy Riley down there,

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Speaker 5: and I think that's when it really sparked that this

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Speaker 5: could be it because Teddy was our age, you know

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Speaker 5: what I'm saying. So it's a difference when you were

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Speaker 5: in there with the og. But then you're in there,

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Speaker 5: you know, you see somebody it's your peer, and they

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Speaker 5: got the same stuff you got.

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Speaker 1: You're like, man, what's going on? I just got to

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Speaker 1: get this.

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Speaker 5: Car, yeah, you know. And then Teddy started telling us,

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Speaker 5: you know, his production and he would invite us to

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Speaker 5: you know, the studio and stuff like that, and I

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Speaker 5: was like, all right, this is it.

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Speaker 1: Yeah, you know.

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Speaker 5: Then after the Maurice stuff, I ended up getting a

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Speaker 5: gig at Atlantic because we were shopping this music really

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Speaker 5: heavy and I was flying to Atlanta to the face

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Speaker 5: and stuff like that, and met Brian and La Reid,

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Speaker 5: and then Brian ended up getting a president's job at Atlantic,

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Speaker 5: so he in turn called me. I was like, yo, man,

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Speaker 5: why don't you come over here and do an R.

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Speaker 5: So I kind of didn't know what the gig.

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Speaker 1: Was for real.

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Speaker 5: This was ninety three. Oh yeah, yeah, heyday, yeah yeah,

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Speaker 5: very early budgets. Yeah yeah. So there I ended up

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Speaker 5: an R and Intro's album. Yeah yeah, not the first one.

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Speaker 5: This is the second one. Eddie f did the first one.

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Speaker 5: But I met Eddie during those days. Yeah, man, and

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Speaker 5: Mony Love. I was a and on her project. I

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Speaker 5: was an R and the Bracton sisters as well. This

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Speaker 5: is when they were a group, you know, it was

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Speaker 5: the three sisters minus Tony. Yeah yeah and yeah man.

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Speaker 5: And then it was time to shot Maurice's artist deal Atlantic.

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Speaker 5: I mean didn't want to do it because they were

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Speaker 5: so focused on Atlanta and his publish His publisher at

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Speaker 5: the time was Johnston Cooper and Jocelyn was the publisher

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Speaker 5: that signed di'angelo. Angie Stone Raphael Sadig like a bunch

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Speaker 5: of cats, and she was his publisher. Also, we did

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Speaker 5: the deal with her for him, and she was like, look,

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Speaker 5: when I asked the guy if he'll let you shop

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Speaker 5: it somewhere. So I asked him, he was like, yeah,

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Speaker 5: go ahead. So one thing leads to another. I called

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Speaker 5: her back. She was like, I was like, look, he said, cool,

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Speaker 5: just how I'll call you back.

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Speaker 1: I'm like, all right.

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Speaker 5: She called me back, maybe three or four days later.

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Speaker 5: She got Jimmy Ivan on the phone. He's like, look,

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Speaker 5: I want to do this project. I want to give

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Speaker 5: you guys a million dollars. I want to give you

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Speaker 5: some extra cash so you can finish the project because

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Speaker 5: I don't know when could make this project the way

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Speaker 5: it's sounding, and so on and so forth. And he

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Speaker 5: was like, give me your lawyer's information. I want to

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Speaker 5: fly you, the artist and the lawyer out.

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Speaker 1: So he flew us out.

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Speaker 5: Well, actually before that, I had to call the artist

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Speaker 5: let him know what the deal was. He in turn,

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Speaker 5: then they flew us out. Once they flew us out,

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Speaker 5: Jimmy to the guy, he's like, look, man, take my security.

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Speaker 5: He handed them an envelope with some cash in it.

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Speaker 5: He was like, go take a ride and we'll we'll

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Speaker 5: call the security bring you back. When we've done the deal.

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Speaker 5: So we actually negotiated the deal in the conference room.

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Speaker 5: It was myself, a lawyer named Brad Rubin, David Cohen

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Speaker 5: that was the lawyer for Jimmy and Jimmy. We negotiated

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Speaker 5: the deal in the conference room, called the kid back

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Speaker 5: to the to in the scope, signed off on the deal.

264
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Speaker 5: They gave us our check and we went home. Jimmy

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Speaker 5: cut another check for a recording studio to make sure

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Speaker 5: the kid had equipment. Then he introduced us to Dre

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Speaker 5: and he was like, look, and then Dre really liked him.

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Speaker 5: They started getting in the studio together, and Jimmy at

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Speaker 5: that time he was like, look, I think this is

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Speaker 5: going to be dynamite, this relationship with me, Dre, so

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Speaker 5: on and so forth. And he was like, look, I

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Speaker 5: want to bring Mick Jagger for Dre and Maurice to do.

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Speaker 5: I'm just like, what is going on? Yeah, I'm like,

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Speaker 5: what's going on in here?

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Speaker 1: You know?

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Speaker 5: Because this kid was like extremely prolific, you know what

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Speaker 5: I mean, probably one of the best musicians I've ever met,

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Speaker 5: you know, But he was also a producer that knew

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Speaker 5: how to calm down in the studio and like get

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Speaker 5: the record done too, so you know, lo and Behold.

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Speaker 5: I think it just got too heavy for him. You know,

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Speaker 5: people back home that wanted to be a part of

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Speaker 5: his life his career was getting in his head, acting

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Speaker 5: like people are going to steal from him, and.

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Speaker 1: This, that and the other. You got to watch them.

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Speaker 5: It was la people and they're going to record company

287
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Speaker 5: to go to the front of me, and the kids

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Speaker 5: just kind of kind of lost it a little bit.

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Speaker 5: So we ended up pulling that down and then we

290
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Speaker 5: ended up managing this other group named Brother.

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Speaker 1: His brother was signing to Vincent Herbert. Yeah you know,

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Speaker 1: I know the guys, Yeah.

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Speaker 5: He was signing. They were signed to Vincent Herbert. And

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Speaker 5: there was a kid in that group named Butter, and

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Speaker 5: Butter was the producer for the group, and he was

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Speaker 5: actually really doing good music for the group. So I

297
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Speaker 5: had to meet when Silly's like, look, we should get

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Speaker 5: this kid some equipment so he could actually do most

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Speaker 5: of the music from the house and save money. So

300
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Speaker 5: she gave us a budget. We took him to Maryland

301
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Speaker 5: to a music store, got them all his equipment, sized

302
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Speaker 5: it up, took it to his crib in his room.

303
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Speaker 5: He lived in the hood, he had a full studio

304
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Speaker 5: in his bedroom in the hood and it's probably was

305
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Speaker 5: like the most expensive thing that was in the crib.

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Speaker 5: And Butter ultimately ended up doing some records that I'll

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Speaker 5: be sure. Then they also ended up doing you remind

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Speaker 5: me for usure sure where?

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Speaker 1: Yeah?

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Speaker 5: Yeah.

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Speaker 4: So so each each what's happening is is more so

312
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Speaker 4: than you were you even knowing these people from anywhere else.

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Speaker 4: You're meeting him through each situation, each client is leading.

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Speaker 5: Because what's happening in Philly was that it wasn't a

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Speaker 5: lot of people at that time doing anything. So anybody

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Speaker 5: that was that was remotely making checks happen. The people

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Speaker 5: that wanted to get in they find you somehow. Sure

318
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Speaker 5: he's not that big, right, you know what I mean?

319
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Speaker 5: So they find you, you know. And during that time

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Speaker 5: when we were working with Butter, our lawyer introduced us

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Speaker 5: to Rodney Jerkins. Rodney is probably about maybe fourteen fifteen

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Speaker 5: years old.

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Speaker 1: She's a monster.

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Speaker 5: And we would go back and forth to pick Rodney

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Speaker 5: up and take them to New York shop to me music,

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Speaker 5: and we had him doing records on brother as well,

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Speaker 5: and that was Rodney got his first check in the

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Speaker 5: business from working with brother, and you know, we were

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Speaker 5: going to manage him. You know, the parents were letting

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Speaker 5: us take him back and forth. And his father was like, yeah,

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Speaker 5: well you know, his father as a pastor. So he

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Speaker 5: was like, I don't know if I need to be

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Speaker 5: involved in secular music, this, that and the other end.

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Speaker 5: Right after the check came, Pop changed his mind. He

335
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Speaker 5: was just like, you know, I got to look after

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Speaker 5: my son and I could respect it. You got a

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Speaker 5: kid that's fifteen, sixteen years old and he's getting corporate

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Speaker 5: money and these type of checks, especially the checks that

339
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Speaker 5: were moving. Then it's like I would have came and

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Speaker 5: got my son too, you know what I mean. So

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Speaker 5: we didn't have any hard feelings. And Rodney still like

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Speaker 5: a little brother today. But you know, his story now

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Speaker 5: is just you know what I mean, you know, Hall

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Speaker 5: of Famer now, you know what I mean?

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Speaker 1: Did you do you feel like you saw that then?

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Speaker 5: Because this d man Rodney as a kid, bro, I

347
00:18:03,119 --> 00:18:05,119
Speaker 5: don't know. When we would go down there and visit him, man,

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Speaker 5: he might make ten tracks in an hour. Wow, it

349
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Speaker 5: was just running off, running off.

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Speaker 4: But real compositions though, not like just ten beats, no, like.

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Speaker 5: Real no, no.

352
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Speaker 4: Yeah, yeah, yeah, because now somebody would be like, oh yeah,

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Speaker 4: I did.

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Speaker 5: But but the other part of it is also is

355
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Speaker 5: what you have to consider with Rodney is that he

356
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Speaker 5: had a sound. Yes, yeah, fifteen he had a sound.

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Speaker 5: You know what I'm saying, Like most kids are copying people.

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Speaker 1: A good question for him? How did he get that?

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Speaker 5: Like?

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Speaker 1: What made him do that?

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Speaker 5: Bro was passion. Man. Rodney would never like he had

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Speaker 5: to set up in the basement and Rodney wouldn't even

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Speaker 5: come upstairs, like they put his food downstairs to him.

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Speaker 1: Everything he just was cranking. Bro.

365
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Speaker 5: It's just it was unbelievable. It's like seeing the passion

366
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Speaker 5: of like a basketball player in middle school. Everybody invested

367
00:19:02,119 --> 00:19:05,880
Speaker 5: in him, and he invested like you got to show

368
00:19:05,960 --> 00:19:09,480
Speaker 5: up every day. So he was there every day on

369
00:19:09,640 --> 00:19:11,520
Speaker 5: it Bro, like it was nothing else to do in

370
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Speaker 5: life and go and behold look at the results. Rodney

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Speaker 5: might have had his ten thousand hours in by the

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Speaker 5: time he was sixteen.

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Speaker 1: That's right.

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Speaker 5: You know, the work ethic was out the roof and

375
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Speaker 5: its times. I would visit them while he was working

376
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Speaker 5: on other stuff. Man and Rodney might have three different

377
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Speaker 5: studios running at the same time, with three different artists cranking,

378
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Speaker 5: absolutely absolutely cranking hit.

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Speaker 1: I've been in one of those rooms.

380
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Speaker 5: Yeah, not like I'm just busy, yeah, just collected money. No,

381
00:19:46,320 --> 00:19:49,680
Speaker 5: I'm busy and I'm making hits. There's a different ball

382
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Speaker 5: game this kid. I've never seen nothing like Rodney in

383
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Speaker 5: my life. Yeah, it's just you know, Teddy was Teddy

384
00:20:04,119 --> 00:20:08,399
Speaker 5: was a monster. Watching Teddy, Yeah, watching Teddy in his

385
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Speaker 5: day was it was incredible to watch. But also watching

386
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Speaker 5: like people literally pull up down Virginia beach Man and

387
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Speaker 5: sit in the hotel rooms to wait for that slot.

388
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Speaker 5: It's crazy. I remember we went to Jack the Rapper,

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Speaker 5: I think it was in Atlanta and he was being

390
00:20:27,280 --> 00:20:30,520
Speaker 5: managed by Gene Griffin at the time, and Teddy was

391
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Speaker 5: so hot that you know how, he had a valet

392
00:20:33,359 --> 00:20:37,640
Speaker 5: area and at the hotel, Jean had his range rover

393
00:20:37,760 --> 00:20:40,720
Speaker 5: pulled up at the valet area and all the managers

394
00:20:40,840 --> 00:20:43,800
Speaker 5: and A and r's were down the sidewalk waiting to

395
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Speaker 5: sit in the passenger seat to take a meet to

396
00:20:46,080 --> 00:20:47,760
Speaker 5: get their artists in the studio with Teddy.

397
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Speaker 1: He's taking meetings from the valet from a rangebrow.

398
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Speaker 5: Unbelievable.

399
00:20:57,600 --> 00:20:57,919
Speaker 1: Teddy.

400
00:20:58,119 --> 00:21:07,120
Speaker 5: Teddy ever's Teddy was like the first super producer. Yeah, yeah,

401
00:21:07,560 --> 00:21:11,080
Speaker 5: you know what I'm saying, the first super producer. He

402
00:21:11,160 --> 00:21:14,480
Speaker 5: was the first super producer that they had anymore records

403
00:21:14,920 --> 00:21:17,840
Speaker 5: leading his voice and he had a presence inside of it.

404
00:21:18,040 --> 00:21:21,639
Speaker 5: But also he just shocked the business because his sound

405
00:21:21,720 --> 00:21:26,639
Speaker 5: took over so much that it transformed what other producers

406
00:21:26,640 --> 00:21:29,080
Speaker 5: were doing. It's a lot of people didn't do Jack.

407
00:21:30,920 --> 00:21:33,360
Speaker 1: I can't Yeah, the first producer.

408
00:21:33,480 --> 00:21:38,040
Speaker 2: Standpoint like, it's it wouldn't be and I'm just you know,

409
00:21:38,920 --> 00:21:43,520
Speaker 2: it wouldn't be Face or Jimmy, Jimmy and Terry.

410
00:21:44,240 --> 00:21:45,560
Speaker 5: It was all in the same time.

411
00:21:47,359 --> 00:21:48,920
Speaker 1: It was it was early. I'm not sure.

412
00:21:49,040 --> 00:21:53,720
Speaker 5: I'm not have to remember Teddy been rocking bro since

413
00:21:53,720 --> 00:21:56,160
Speaker 5: since the show, you know what I'm saying.

414
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Speaker 2: So, but his breakout in terms of like that, what

415
00:22:01,920 --> 00:22:03,159
Speaker 2: do you feel like that was?

416
00:22:03,480 --> 00:22:06,280
Speaker 5: But it would be guy, it would be it will

417
00:22:06,320 --> 00:22:08,560
Speaker 5: be Guy heavy, all of that stuff.

418
00:22:09,119 --> 00:22:14,359
Speaker 1: But look, man, I'm trying to I want to give

419
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Speaker 1: it to you. I'm just I'm just.

420
00:22:15,400 --> 00:22:18,520
Speaker 5: Yeah, because you gotta remember, like you know, Face, Face

421
00:22:18,640 --> 00:22:22,320
Speaker 5: was La and Face at that time. Right, it wasn't

422
00:22:22,440 --> 00:22:26,960
Speaker 5: just Face, it was Jimmy and Terry. Right, this is

423
00:22:27,000 --> 00:22:32,440
Speaker 5: Teddy Riley and not Teddy and to most of the

424
00:22:32,480 --> 00:22:35,639
Speaker 5: stuff before that with duos Gamble Health was duos, this that,

425
00:22:35,760 --> 00:22:41,119
Speaker 5: the other, this guy, this guy first super producer, I

426
00:22:41,119 --> 00:22:44,160
Speaker 5: didn't say superducers listen.

427
00:22:44,560 --> 00:22:48,000
Speaker 2: But the fun bad as motherfuckers ever. So yeah, it's

428
00:22:48,080 --> 00:22:50,800
Speaker 2: just that that goes without question and work.

429
00:22:50,840 --> 00:22:51,639
Speaker 5: I think it was crazy.

430
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Speaker 2: But it's like when I'm when I'm hearing Babyface's backgrounds,

431
00:22:54,080 --> 00:22:56,080
Speaker 2: but I'm also hearing what you're saying in terms of

432
00:22:56,119 --> 00:23:01,480
Speaker 2: like like I think Babyface was he was the work,

433
00:23:02,240 --> 00:23:04,639
Speaker 2: but he wasn't necessarily trying to put himself.

434
00:23:06,080 --> 00:23:09,200
Speaker 5: But also but also like we're talking about cultural impacts

435
00:23:09,200 --> 00:23:12,840
Speaker 5: and were talking the Ryan Stone Jackets to the life

436
00:23:13,240 --> 00:23:16,399
Speaker 5: just the presence in your culture, Teddy sat different with

437
00:23:16,480 --> 00:23:17,600
Speaker 5: faces a little.

438
00:23:17,320 --> 00:23:20,240
Speaker 1: Older, you know what I mean. Teddy's in three groups.

439
00:23:20,600 --> 00:23:22,000
Speaker 5: Yeah at one time.

440
00:23:21,920 --> 00:23:24,919
Speaker 2: Guy, Black Street and Rex in effect exactly, and I

441
00:23:25,000 --> 00:23:25,880
Speaker 2: might be forgetting one.

442
00:23:28,320 --> 00:23:31,199
Speaker 5: Group two yeah, and not to mention, I mean I

443
00:23:31,240 --> 00:23:37,720
Speaker 5: think Black Street did Diamond out the Gate, did they? Yeah?

444
00:23:38,680 --> 00:23:41,280
Speaker 5: Yeaht did a lot of numbers.

445
00:23:42,720 --> 00:23:45,159
Speaker 1: I remember when the album first came out, remember exactly

446
00:23:45,160 --> 00:23:45,679
Speaker 1: where I was.

447
00:23:46,080 --> 00:23:48,600
Speaker 5: I mean, but he also he also had the right

448
00:23:48,640 --> 00:23:53,000
Speaker 5: executive like Jimmy pushed the button he wasn't scared to

449
00:23:53,160 --> 00:23:55,080
Speaker 5: like if he believed that he wasn't scared. I mean,

450
00:23:55,359 --> 00:23:58,480
Speaker 5: how many people do you see would have taken like

451
00:23:58,600 --> 00:24:02,960
Speaker 5: Dre that commercial. A lot of the labels would have

452
00:24:03,040 --> 00:24:05,360
Speaker 5: left it like no disrespect. They'd left it like we're

453
00:24:05,440 --> 00:24:08,080
Speaker 5: rock him and other things where they's like, okay, there's

454
00:24:08,119 --> 00:24:11,280
Speaker 5: some street music, this, that and the other. But it's

455
00:24:11,359 --> 00:24:17,240
Speaker 5: just Dre snoop. All that stuff went super commercial. So

456
00:24:17,280 --> 00:24:22,080
Speaker 5: it's just you know, different era, different executives too, you know,

457
00:24:22,640 --> 00:24:25,840
Speaker 5: not scared, but also they understood what they's listening to. Yeah,

458
00:24:26,280 --> 00:24:29,359
Speaker 5: I'm not exactly sure if everybody knows what they're listening

459
00:24:29,400 --> 00:24:32,879
Speaker 5: to today too, we get through the weeds. But I

460
00:24:32,960 --> 00:24:35,600
Speaker 5: don't think they also had the distraction of streaming either.

461
00:24:36,520 --> 00:24:38,280
Speaker 5: You know, it's a lot of distractions right now. Yeah,

462
00:24:38,320 --> 00:24:40,480
Speaker 5: I mean, you know, streaming let the amateurs in the

463
00:24:40,520 --> 00:24:41,200
Speaker 5: pro business.

464
00:24:41,280 --> 00:24:47,159
Speaker 2: It's so many ways to monetize to where you know it.

465
00:24:47,960 --> 00:24:50,480
Speaker 2: It's created so many great areas, but.

466
00:24:50,400 --> 00:24:54,159
Speaker 5: It's the noise. I think, the noise of streaming and

467
00:24:55,480 --> 00:25:00,320
Speaker 5: social as the executive is not understanding the how to

468
00:25:00,400 --> 00:25:02,560
Speaker 5: just rely on your taste.

469
00:25:04,240 --> 00:25:06,040
Speaker 1: Right, everything's a number now.

470
00:25:05,920 --> 00:25:08,600
Speaker 5: And then also, like you looked at the labels back

471
00:25:08,600 --> 00:25:13,000
Speaker 5: in the day, they were known for things. Now it's

472
00:25:13,000 --> 00:25:15,119
Speaker 5: like a hosh pots of stuff that just kind of

473
00:25:15,119 --> 00:25:17,440
Speaker 5: triggers off of TikTok or this, that.

474
00:25:17,440 --> 00:25:17,800
Speaker 1: And the other.

475
00:25:17,840 --> 00:25:21,120
Speaker 5: It's like, what's your thing? Yeah, you know, because if

476
00:25:21,160 --> 00:25:26,160
Speaker 5: you establish your thing, then the hotness of those things

477
00:25:26,200 --> 00:25:31,080
Speaker 5: will come your way. You'll heat in those sectors. That's

478
00:25:31,080 --> 00:25:33,800
Speaker 5: why Motown was so great, So Uptown was so great,

479
00:25:34,560 --> 00:25:36,960
Speaker 5: death Jam was so great, so and so forth. It

480
00:25:37,000 --> 00:25:39,520
Speaker 5: wasn't they were brands bro and they and they had

481
00:25:39,880 --> 00:25:42,600
Speaker 5: it was very specific and what they drove they were

482
00:25:42,640 --> 00:25:45,960
Speaker 5: either very specific in R and B, very specific in rap,

483
00:25:46,119 --> 00:25:48,159
Speaker 5: certain type of rap, this, that and the other. No

484
00:25:48,240 --> 00:25:51,280
Speaker 5: different than how Blue Note was WHI jazz right? Yea

485
00:25:51,520 --> 00:25:56,480
Speaker 5: death row death row right. No, one's looking at the

486
00:25:56,600 --> 00:25:57,720
Speaker 5: environment the same way.

487
00:25:57,760 --> 00:25:58,000
Speaker 1: Look it.

488
00:25:58,080 --> 00:26:01,320
Speaker 5: Uptown with Andre they were lifestyle artist, whether it was

489
00:26:01,440 --> 00:26:05,119
Speaker 5: rap or R and B, they all had this performance

490
00:26:05,160 --> 00:26:09,280
Speaker 5: flair to them, heavy d rather them see and so

491
00:26:09,520 --> 00:26:12,960
Speaker 5: it was a flare, but also a mix of R

492
00:26:13,000 --> 00:26:15,120
Speaker 5: and B with all of them, you know what I mean.

493
00:26:15,160 --> 00:26:19,440
Speaker 5: So you know now I feel like it's got to

494
00:26:19,480 --> 00:26:19,920
Speaker 5: get back.

495
00:26:20,440 --> 00:26:22,119
Speaker 4: How do we say, and that was that's my question,

496
00:26:22,560 --> 00:26:25,520
Speaker 4: in your opinion, how do we get back to taste?

497
00:26:26,240 --> 00:26:30,199
Speaker 5: I think the people that notate should come together and

498
00:26:30,280 --> 00:26:35,919
Speaker 5: support at the highest level the artists that they believe in. Right, So,

499
00:26:35,960 --> 00:26:38,000
Speaker 5: if you have an artist, or you have an artist,

500
00:26:38,400 --> 00:26:41,840
Speaker 5: I think it's my duty to get you records. And

501
00:26:41,880 --> 00:26:45,080
Speaker 5: it shouldn't have nothing to do with money. It should

502
00:26:45,119 --> 00:26:48,640
Speaker 5: have something to do with what's going to represent us,

503
00:26:49,119 --> 00:26:51,439
Speaker 5: what's going to represent our quality, what's going to represent

504
00:26:51,480 --> 00:26:55,200
Speaker 5: our taste, our lifestyle, or what are we backing TD

505
00:26:56,400 --> 00:26:59,439
Speaker 5: TD is doing it great, but the TD is on

506
00:26:59,560 --> 00:27:02,359
Speaker 5: that same brand. Thesis says the Uptowns and the death

507
00:27:02,440 --> 00:27:06,480
Speaker 5: Roads they all look like they would hang out together. Yeah,

508
00:27:06,560 --> 00:27:08,160
Speaker 5: you know what I mean, that's why it fit so well.

509
00:27:08,200 --> 00:27:10,159
Speaker 5: You look at the features stuff like that. It's no,

510
00:27:11,160 --> 00:27:12,520
Speaker 5: it doesn't feel like it's forced.

511
00:27:12,640 --> 00:27:14,320
Speaker 1: We got to bring back the motown picnic.

512
00:27:14,560 --> 00:27:16,880
Speaker 5: Gott to bring it all back, right, got to bring

513
00:27:16,880 --> 00:27:19,840
Speaker 5: it all back. And also it's just like yeah, but

514
00:27:19,880 --> 00:27:22,119
Speaker 5: also it's like people got to start telling the truth,

515
00:27:22,560 --> 00:27:25,840
Speaker 5: like if it ain't hot, it ain't hot. I think

516
00:27:25,880 --> 00:27:28,239
Speaker 5: that'll help the kids more if they feel like they

517
00:27:28,280 --> 00:27:30,520
Speaker 5: got to go back to the drawing board. You know,

518
00:27:31,320 --> 00:27:35,760
Speaker 5: no bridges in R and B songs. Well that's the climax.

519
00:27:36,760 --> 00:27:39,399
Speaker 5: Well what are we talking about, Like how as a

520
00:27:39,440 --> 00:27:42,840
Speaker 5: part of the story, you reach your peak in the bridge.

521
00:27:43,480 --> 00:27:48,119
Speaker 5: So where these bridges? You know?

522
00:27:48,520 --> 00:27:51,560
Speaker 4: I think cause most artists, we're trying to figure out

523
00:27:51,560 --> 00:27:54,400
Speaker 4: the algorithm, right, and they're trying to figure out like, oh,

524
00:27:54,520 --> 00:27:56,480
Speaker 4: if this song is only a minute and a half,

525
00:27:56,480 --> 00:27:59,080
Speaker 4: two minutes, that's actually two streams.

526
00:27:59,119 --> 00:28:04,480
Speaker 5: But the algorithm is feel right, Leon Thomas will prove that. Yes, sir,

527
00:28:05,320 --> 00:28:08,399
Speaker 5: you know I remember I was in Motown, man we knew.

528
00:28:09,200 --> 00:28:12,439
Speaker 5: I knew Leon from repend Dranva. He was signed to

529
00:28:12,600 --> 00:28:18,080
Speaker 5: Sony or Columbia. An executive named Maria Egan had signed him.

530
00:28:18,080 --> 00:28:20,320
Speaker 5: She brought him the Philly for us to meet. I

531
00:28:20,480 --> 00:28:23,720
Speaker 5: wasn't necessarily an agreeance to the direction, but he was

532
00:28:23,760 --> 00:28:28,000
Speaker 5: an extremely talented kid. So when I ended up in Motown,

533
00:28:28,400 --> 00:28:33,800
Speaker 5: Fuzzy took me to Leon and reconnected us. And at

534
00:28:33,800 --> 00:28:37,000
Speaker 5: the time, he wasn't in a great deal, so I

535
00:28:37,040 --> 00:28:41,200
Speaker 5: helped put his management team together that could help him

536
00:28:41,240 --> 00:28:43,920
Speaker 5: get out of that deal. Because I thought Leon would

537
00:28:43,920 --> 00:28:46,360
Speaker 5: be great for us at Motown, but it needed a

538
00:28:46,400 --> 00:28:49,600
Speaker 5: little bit of mechanics to happen, to get him out

539
00:28:49,640 --> 00:28:52,320
Speaker 5: of a bad situation, to get it, for us to

540
00:28:52,320 --> 00:28:54,800
Speaker 5: get him and ultimately, I mean, look at him now,

541
00:28:55,640 --> 00:28:58,560
Speaker 5: but it's like sticking behind it. I don't manage Leon.

542
00:28:58,640 --> 00:29:02,040
Speaker 5: I don't make a do I'm off for Leon know nothing,

543
00:29:02,520 --> 00:29:03,760
Speaker 5: but he's talented.

544
00:29:04,960 --> 00:29:05,680
Speaker 1: You were of service.

545
00:29:06,160 --> 00:29:09,000
Speaker 5: You have to be like, what are we in the

546
00:29:09,120 --> 00:29:11,320
Speaker 5: in this business with our service? Like I came up

547
00:29:11,400 --> 00:29:13,560
Speaker 5: in this and it was about service. Like if people

548
00:29:13,560 --> 00:29:16,600
Speaker 5: felt like you had it, they put you on, they

549
00:29:16,680 --> 00:29:19,200
Speaker 5: introduced you to stuff. They'd be like, Nah, your guitar,

550
00:29:19,320 --> 00:29:21,240
Speaker 5: play it cool, let me introduce you to this guy

551
00:29:22,120 --> 00:29:24,080
Speaker 5: that's you know.

552
00:29:24,240 --> 00:29:27,080
Speaker 1: A lot of kids that call that hating now and

553
00:29:28,560 --> 00:29:30,440
Speaker 1: that developed, but.

554
00:29:30,360 --> 00:29:33,640
Speaker 5: That developed weakness too, right, Like they had that word

555
00:29:33,800 --> 00:29:38,240
Speaker 5: just flail across things because you don't like rebuttal is

556
00:29:38,280 --> 00:29:41,560
Speaker 5: a problem, right, and it makes the environment weak. So

557
00:29:42,400 --> 00:29:44,320
Speaker 5: I don't I don't believe in that word hating. I

558
00:29:44,360 --> 00:29:48,240
Speaker 5: think it destroyed a lot of things. You know, it

559
00:29:48,320 --> 00:29:50,720
Speaker 5: took it took the honesty away from the business and

560
00:29:50,760 --> 00:29:53,760
Speaker 5: the music and critiquing you to be great. There's a

561
00:29:53,800 --> 00:29:56,600
Speaker 5: lot of artists out here could be better. But because

562
00:29:56,880 --> 00:30:00,360
Speaker 5: the bar is so low, nobody's like critique them in

563
00:30:00,400 --> 00:30:02,120
Speaker 5: a manner that they say me, let me keep back

564
00:30:02,120 --> 00:30:04,680
Speaker 5: home and tighten this up. They're not gonna tell me

565
00:30:04,760 --> 00:30:07,160
Speaker 5: that you know what I'm saying. What happened to that part?

566
00:30:07,680 --> 00:30:09,840
Speaker 4: I think a big part for you, And something I've

567
00:30:09,880 --> 00:30:12,000
Speaker 4: always noticed in my years of knowing you is that

568
00:30:13,040 --> 00:30:14,640
Speaker 4: you can explain your opinion.

569
00:30:15,800 --> 00:30:16,440
Speaker 1: Everyone can.

570
00:30:17,200 --> 00:30:18,280
Speaker 5: I mean, but and.

571
00:30:18,600 --> 00:30:20,960
Speaker 1: Sometime I won't even take the time too right.

572
00:30:21,000 --> 00:30:26,440
Speaker 4: They'll use their tenures as they'll weaponize their tenure.

573
00:30:27,000 --> 00:30:30,680
Speaker 5: But but I'm also I'm not trying to be hierarchy

574
00:30:30,920 --> 00:30:34,560
Speaker 5: over no youngster. So I'm not gonna I'm gonna think

575
00:30:34,600 --> 00:30:38,440
Speaker 5: before I speak so they can actually retain the information.

576
00:30:38,800 --> 00:30:42,000
Speaker 5: I'm not trying to bully you into my way, and

577
00:30:42,040 --> 00:30:45,120
Speaker 5: I'm not giving you information that is going to service me.

578
00:30:45,680 --> 00:30:47,880
Speaker 5: It's not servicing me. Most of the information I give

579
00:30:47,920 --> 00:30:49,760
Speaker 5: away I had nothing to do with coming back to me.

580
00:30:50,720 --> 00:30:52,520
Speaker 5: It's like, how can you be great? And either you

581
00:30:52,560 --> 00:30:56,600
Speaker 5: got it or you don't, you know, I mean dravied

582
00:30:56,680 --> 00:31:00,480
Speaker 5: I was an example of that, you know. Managing them,

583
00:31:00,600 --> 00:31:05,040
Speaker 5: there was some trials to like get them here. They

584
00:31:05,040 --> 00:31:09,080
Speaker 5: were very talented. We cannot take that away. But there

585
00:31:09,160 --> 00:31:13,200
Speaker 5: was trials of things that really put them at a

586
00:31:13,240 --> 00:31:16,719
Speaker 5: place of competitive market because when they were they were

587
00:31:16,760 --> 00:31:20,120
Speaker 5: working to touch a jazz everything was homegrown, so the

588
00:31:20,200 --> 00:31:24,760
Speaker 5: competition was within, but it wasn't with the world. Once

589
00:31:24,840 --> 00:31:28,760
Speaker 5: you leave a production house that is signing artists, now

590
00:31:29,240 --> 00:31:31,520
Speaker 5: your competition is with the world. So now you're competing

591
00:31:31,520 --> 00:31:36,120
Speaker 5: against Tembland, Forell, this person, that person. Before you're competing

592
00:31:36,160 --> 00:31:41,920
Speaker 5: against in house producers. So coming out of that when

593
00:31:41,920 --> 00:31:44,640
Speaker 5: I started managing them was when we signed Glynn. We

594
00:31:44,720 --> 00:31:49,920
Speaker 5: actually we signed Glen Lewis, brought him to Philly.

595
00:31:49,560 --> 00:31:52,920
Speaker 2: To write, not to he wasn't He wasn't He wasn't

596
00:31:52,920 --> 00:31:55,000
Speaker 2: brought to Philly to be artists evert he was aught.

597
00:31:54,840 --> 00:31:57,640
Speaker 5: To Philly to introduce him to Philly because we knew

598
00:31:57,680 --> 00:32:00,680
Speaker 5: Philly would give him the music that he needs it right.

599
00:32:02,080 --> 00:32:05,120
Speaker 5: So when we got him there, he wrote Don't You

600
00:32:05,160 --> 00:32:08,200
Speaker 5: Forget It was the first record that he wrote. That

601
00:32:08,240 --> 00:32:12,120
Speaker 5: record was supposed to be for Stevie m the same

602
00:32:12,360 --> 00:32:16,480
Speaker 5: that that same week or during that same time, they

603
00:32:16,520 --> 00:32:21,160
Speaker 5: also did Butterflies, but I wasn't repping them at this time.

604
00:32:21,240 --> 00:32:24,479
Speaker 5: They were just my youngsters. Yeah, I wasn't repping them

605
00:32:24,480 --> 00:32:28,240
Speaker 5: at the time. Then they ended up the partying touching

606
00:32:28,320 --> 00:32:31,000
Speaker 5: jazz and they called me. It's like, look, you know,

607
00:32:31,840 --> 00:32:33,760
Speaker 5: we want you to represent us, to say what's really

608
00:32:33,880 --> 00:32:37,160
Speaker 5: Vidal And then I went up to the house and

609
00:32:37,200 --> 00:32:38,800
Speaker 5: suppose to be that. He's like, y'all, I really need

610
00:32:38,840 --> 00:32:40,880
Speaker 5: you to talk to Dre. And at the time, it

611
00:32:41,000 --> 00:32:42,800
Speaker 5: was this place called Valley Green. I would get up

612
00:32:42,800 --> 00:32:45,640
Speaker 5: and I would jog this park every day, and I

613
00:32:45,720 --> 00:32:49,640
Speaker 5: was like, look, Dre, we're gonna jog tomorrow. We're gonna talk.

614
00:32:50,280 --> 00:32:52,080
Speaker 5: So went and drogged and talked because I had to

615
00:32:52,080 --> 00:32:55,000
Speaker 5: fill him out and see what he wanted. And I'm like, man,

616
00:32:55,000 --> 00:32:57,239
Speaker 5: I'm not going to manage these guys separate because they

617
00:32:57,240 --> 00:33:00,080
Speaker 5: lived in the same house. I'm like, it doesn't make sense.

618
00:33:00,400 --> 00:33:02,920
Speaker 1: Right down there. They're not they're not a duo at

619
00:33:02,960 --> 00:33:03,600
Speaker 1: this time.

620
00:33:03,400 --> 00:33:06,680
Speaker 5: But they but they're best friends. You know. They their

621
00:33:06,760 --> 00:33:09,760
Speaker 5: uncles played in church. They played in church. They both

622
00:33:09,760 --> 00:33:12,680
Speaker 5: with drummers, you know, two different type of drummers. So

623
00:33:12,680 --> 00:33:16,960
Speaker 5: I knew them well, but I didn't look to represent

624
00:33:17,040 --> 00:33:20,400
Speaker 5: them ever. But I always gave him advice when first

625
00:33:20,440 --> 00:33:22,840
Speaker 5: got his equipment in the crib he went over like

626
00:33:22,880 --> 00:33:26,280
Speaker 5: I got a studio, he got a keyboard, and he

627
00:33:26,360 --> 00:33:29,040
Speaker 5: got a microphone hanging from one of the water pipes.

628
00:33:29,600 --> 00:33:32,400
Speaker 1: You know, you know what I'm saying.

629
00:33:32,400 --> 00:33:36,160
Speaker 5: But he was young. It was a studio and he

630
00:33:36,280 --> 00:33:37,880
Speaker 5: was getting it done, and you know, I would go

631
00:33:37,920 --> 00:33:39,920
Speaker 5: over there and like give him game on how the

632
00:33:39,960 --> 00:33:42,479
Speaker 5: layer of drums and all of that kind of stuff,

633
00:33:42,560 --> 00:33:45,880
Speaker 5: and you know, one thing lead to another. They end

634
00:33:46,000 --> 00:33:50,760
Speaker 5: up departing Touch of Jazz, and I was like, so

635
00:33:50,880 --> 00:33:53,320
Speaker 5: we start managing my brother and I start managing them.

636
00:33:53,680 --> 00:33:54,520
Speaker 5: And I was like, you know.

637
00:33:54,520 --> 00:33:56,520
Speaker 1: What, they came together.

638
00:33:56,600 --> 00:34:04,360
Speaker 5: They came separately, but as best friends. But I couldn't

639
00:34:04,400 --> 00:34:07,640
Speaker 5: see managing them separate. I was like, from a marketing standpoint,

640
00:34:07,960 --> 00:34:10,480
Speaker 5: it will make more sense for y'all to be this

641
00:34:10,680 --> 00:34:15,640
Speaker 5: generation's gambling huff. So we put them together, turned around,

642
00:34:16,000 --> 00:34:19,640
Speaker 5: gave them Glenn's album as for the proof of concept,

643
00:34:20,600 --> 00:34:25,440
Speaker 5: and after that, you know that success Glenn inner critically acclaimed.

644
00:34:25,880 --> 00:34:29,440
Speaker 5: And then between having Glenn's record out and the Butterflies

645
00:34:29,480 --> 00:34:30,000
Speaker 5: record out.

646
00:34:30,920 --> 00:34:33,320
Speaker 2: You can expound on Butterflies if you could for the people,

647
00:34:33,520 --> 00:34:34,360
Speaker 2: for the people, because you.

648
00:34:34,440 --> 00:34:37,160
Speaker 4: Just said butterflies like it's just some random ass record.

649
00:34:37,200 --> 00:34:41,000
Speaker 5: I'm not, but you can are. I'm actually not. It's

650
00:34:41,040 --> 00:34:43,480
Speaker 5: not a random record. It's a Michael Jackson record.

651
00:34:43,520 --> 00:34:46,239
Speaker 2: Yeah, okay, yeah, because right now we're in the Michael

652
00:34:46,280 --> 00:34:46,799
Speaker 2: Jackson room.

653
00:34:47,040 --> 00:34:50,120
Speaker 5: Yeah, I know, you know. But what I do have

654
00:34:50,200 --> 00:34:53,040
Speaker 5: to admit is that I actually had nothing to do

655
00:34:53,120 --> 00:34:53,640
Speaker 5: with the record.

656
00:34:54,480 --> 00:34:57,959
Speaker 2: But that was that was That was four times yeah,

657
00:34:58,080 --> 00:34:59,080
Speaker 2: but that was that was.

658
00:34:59,160 --> 00:35:04,080
Speaker 5: That was like an opportunity that Jazzy Jeff put together

659
00:35:04,120 --> 00:35:07,399
Speaker 5: for them with John McClain. Right they had John had

660
00:35:07,440 --> 00:35:11,560
Speaker 5: signed Flow a Try, and that relationship started through there

661
00:35:11,560 --> 00:35:16,279
Speaker 5: and John and Mike worked together, and so he was like, Yo,

662
00:35:16,719 --> 00:35:18,480
Speaker 5: I need a record for Mike. And they played the

663
00:35:18,520 --> 00:35:21,040
Speaker 5: record over the phone from what I understand, and he

664
00:35:21,160 --> 00:35:24,360
Speaker 5: was like, Mike's cutting that record, and they was like, yeah, okay,

665
00:35:25,320 --> 00:35:27,080
Speaker 5: right record and he kind of said it as a

666
00:35:27,080 --> 00:35:30,080
Speaker 5: matter of fact from what I understand. And then you know,

667
00:35:30,719 --> 00:35:33,440
Speaker 5: kind of fast forward and we're in Toronto cutting Glenn's

668
00:35:33,480 --> 00:35:36,200
Speaker 5: album and I get a phone call from John mcclan's

669
00:35:36,239 --> 00:35:38,560
Speaker 5: office and he was like, I got to put John

670
00:35:38,640 --> 00:35:40,400
Speaker 5: on the phone and she's like, Yo, we need to

671
00:35:40,400 --> 00:35:42,400
Speaker 5: finish this Mike stuff. Man, I hear the guys with

672
00:35:42,480 --> 00:35:44,400
Speaker 5: you now and sold on and so forth. Laud of

673
00:35:44,520 --> 00:35:46,600
Speaker 5: I was like, when do you need it done? He's

674
00:35:46,680 --> 00:35:51,000
Speaker 5: like this weekend. Now we're in Toronto cutting Glenn's album.

675
00:35:51,360 --> 00:35:53,720
Speaker 5: But I'm just like, this is too big for y'all.

676
00:35:53,800 --> 00:35:56,160
Speaker 5: We gotta y'all gotta leave and go cut this record.

677
00:35:56,560 --> 00:36:00,520
Speaker 5: So I stayed in Toronto and with Glenn, and I

678
00:36:00,560 --> 00:36:03,960
Speaker 5: sent them to LA to get the record done. They stayed,

679
00:36:04,000 --> 00:36:05,759
Speaker 5: they came here for three or four days, and then

680
00:36:05,800 --> 00:36:10,200
Speaker 5: came back to Toronto with the record done. And the

681
00:36:10,239 --> 00:36:13,880
Speaker 5: rest is history. And that those two songs kind of

682
00:36:13,960 --> 00:36:18,040
Speaker 5: drove everything to come in the door because you got

683
00:36:18,080 --> 00:36:22,000
Speaker 5: these two examples. You got a superstar with a cracking record,

684
00:36:22,000 --> 00:36:25,320
Speaker 5: and you got a brand new nobody with a cracking record.

685
00:36:25,719 --> 00:36:27,920
Speaker 5: That makes the business be like, man, who are these guys?

686
00:36:28,280 --> 00:36:28,600
Speaker 1: Yeah?

687
00:36:28,760 --> 00:36:31,160
Speaker 5: You know what I mean. So then we get a

688
00:36:31,160 --> 00:36:34,880
Speaker 5: phone call from Justin Timberlay. This's his first solo album,

689
00:36:35,840 --> 00:36:38,359
Speaker 5: and he's like, I want to work with the guys.

690
00:36:38,400 --> 00:36:39,719
Speaker 5: I want them to do the album. This, that and

691
00:36:39,760 --> 00:36:42,680
Speaker 5: the other was there was he had another guy call

692
00:36:42,800 --> 00:36:45,200
Speaker 5: and I forgot the an r's name, but he had

693
00:36:45,280 --> 00:36:48,680
Speaker 5: hired a an R. He had his own like team

694
00:36:48,960 --> 00:36:52,640
Speaker 5: and Johnny Wright was in the picture as well, and

695
00:36:53,000 --> 00:36:57,080
Speaker 5: they sent them to Philly. We started recording them. The

696
00:36:57,160 --> 00:37:00,000
Speaker 5: guys are doing some really incredible records, but they weren't

697
00:37:00,000 --> 00:37:04,560
Speaker 5: aren't in the direction that Justin was. They were kind

698
00:37:04,560 --> 00:37:07,920
Speaker 5: of just breaking the mold from like the neo soul stuff,

699
00:37:08,560 --> 00:37:13,239
Speaker 5: and Justin was like coming out of boy band on tempo, this,

700
00:37:13,320 --> 00:37:13,959
Speaker 5: that and the other.

701
00:37:14,239 --> 00:37:18,160
Speaker 2: So you know we're in there they working cutting records.

702
00:37:18,600 --> 00:37:19,560
Speaker 2: Farrell's calling me.

703
00:37:20,320 --> 00:37:22,480
Speaker 5: He called the first time, sitting next to Justin on

704
00:37:22,480 --> 00:37:24,800
Speaker 5: the couch, and I can hear a call Forrell's playing

705
00:37:24,800 --> 00:37:27,719
Speaker 5: the music on the phone and it's all tempo. I'm

706
00:37:27,719 --> 00:37:29,520
Speaker 5: telling the guys like, yo, you got to pick it up.

707
00:37:30,600 --> 00:37:32,520
Speaker 1: I said, He's coming.

708
00:37:34,160 --> 00:37:37,719
Speaker 5: It's coming. But it's like but it's like know where

709
00:37:37,760 --> 00:37:41,040
Speaker 5: you are right and mind you, this is the first

710
00:37:41,080 --> 00:37:47,200
Speaker 5: swing into the public air. Right now you out of

711
00:37:47,239 --> 00:37:49,680
Speaker 5: this small camp and now you're out in the public

712
00:37:49,719 --> 00:37:55,560
Speaker 5: air and its fitsts being swung thrown everywhere, right because

713
00:37:55,600 --> 00:38:01,000
Speaker 5: these are top projects. So long and behold. Second time

714
00:38:01,040 --> 00:38:03,040
Speaker 5: Pharrell called man. First time, He's like, yoah, I just

715
00:38:03,040 --> 00:38:07,920
Speaker 5: got a phone call from Farrell. Maybe three four days

716
00:38:07,960 --> 00:38:12,560
Speaker 5: later he calls again. He's like, Yo, I just got

717
00:38:12,560 --> 00:38:15,680
Speaker 5: off the phone with my boy Farrell, and I was like,

718
00:38:15,719 --> 00:38:18,440
Speaker 5: did y'all hear that? He's like what I said? He

719
00:38:18,480 --> 00:38:20,200
Speaker 5: went for Farrell to my boy for I said, he

720
00:38:20,200 --> 00:38:22,759
Speaker 5: got him. I said he got him. I said, y'all

721
00:38:22,760 --> 00:38:25,879
Speaker 5: got to step it up. He got him. And you know,

722
00:38:26,040 --> 00:38:30,200
Speaker 5: at this time, I'm not exactly sure if they understood

723
00:38:30,360 --> 00:38:34,640
Speaker 5: what it meant. But I think every artist, every producer,

724
00:38:34,719 --> 00:38:38,279
Speaker 5: every writer has a project. You know, even athletes, right,

725
00:38:38,360 --> 00:38:42,920
Speaker 5: they have a moment that you miss that makes you

726
00:38:43,000 --> 00:38:44,440
Speaker 5: never want that feeling again.

727
00:38:44,560 --> 00:38:44,759
Speaker 1: Yeah.

728
00:38:45,360 --> 00:38:49,280
Speaker 5: Right, So fast forward, we end up going to Justin's

729
00:38:49,280 --> 00:38:55,400
Speaker 5: album release party and I'm standing near the bar and

730
00:38:55,640 --> 00:38:58,280
Speaker 5: Justin comes out. The guys are already deep in the party.

731
00:38:58,280 --> 00:38:59,759
Speaker 5: He comes out and he sees me. He's like, yo,

732
00:39:00,680 --> 00:39:03,320
Speaker 5: what's up. He's like, where's the guys? I'm like that

733
00:39:03,400 --> 00:39:05,320
Speaker 5: over there, and he had this concerned look on his face,

734
00:39:05,880 --> 00:39:07,640
Speaker 5: and I was like, what's up. He's like, yo, man,

735
00:39:07,960 --> 00:39:10,640
Speaker 5: did anybody tell you? I'm like what He's like, they

736
00:39:10,680 --> 00:39:13,960
Speaker 5: didn't make the American album, but they're on the international album.

737
00:39:14,440 --> 00:39:19,719
Speaker 5: I was like, cool, we're gonna stay here, I mean, yeah,

738
00:39:19,800 --> 00:39:22,360
Speaker 5: we ain't leaving. So he went and talked to the

739
00:39:22,360 --> 00:39:24,200
Speaker 5: guys and then they came to me and we talked.

740
00:39:24,239 --> 00:39:25,719
Speaker 5: I said, Yo, bro, we're gonna have to take it

741
00:39:25,760 --> 00:39:27,960
Speaker 5: on the chin. We're gonna stay here and we're gonna

742
00:39:28,000 --> 00:39:30,840
Speaker 5: party with everybody else and we're gonna look this in

743
00:39:30,880 --> 00:39:38,480
Speaker 5: the eye. And fast forward. Next project is Usher. He

744
00:39:38,600 --> 00:39:43,319
Speaker 5: missed them, so I'm like, fella, So I get a

745
00:39:43,320 --> 00:39:46,360
Speaker 5: phone call letting us know that Usher is working, because

746
00:39:46,360 --> 00:39:49,680
Speaker 5: that's when they was passing those sheets around and I'm like,

747
00:39:50,560 --> 00:39:54,440
Speaker 5: this is if we miss Justin, we ain't missing this one.

748
00:39:55,280 --> 00:39:59,560
Speaker 5: So they were writing songs in the apartment. They ended

749
00:39:59,640 --> 00:40:05,960
Speaker 5: up getting Superstar done with Ryan. I'm like, well, we

750
00:40:06,040 --> 00:40:08,759
Speaker 5: got one. So I ended up going to New York

751
00:40:08,840 --> 00:40:12,080
Speaker 5: asking meetings with Clive and then leaving there and Clive

752
00:40:12,200 --> 00:40:15,000
Speaker 5: was like, USh is working. I didn't play him the record,

753
00:40:15,760 --> 00:40:18,600
Speaker 5: so I called ironically, I called Mark Pitts first, he

754
00:40:18,640 --> 00:40:22,239
Speaker 5: didn't pick up. I called Daryl Jones. He picked up,

755
00:40:22,760 --> 00:40:24,480
Speaker 5: and I was like, yo, I got a record for Usher,

756
00:40:25,040 --> 00:40:26,919
Speaker 5: and Dad was like, yo, you called just in time.

757
00:40:26,920 --> 00:40:27,399
Speaker 1: I'm like wow.

758
00:40:27,440 --> 00:40:29,880
Speaker 5: He was like, LA, just put me on the project.

759
00:40:30,320 --> 00:40:32,319
Speaker 5: He was like, but I don't know his security guard.

760
00:40:32,640 --> 00:40:35,040
Speaker 5: I don't know his homies. I don't know nobody in there,

761
00:40:35,080 --> 00:40:36,439
Speaker 5: so I don't know how to I'm trying to figure

762
00:40:36,440 --> 00:40:38,799
Speaker 5: out how to get in there like that right, So

763
00:40:38,840 --> 00:40:43,080
Speaker 5: I'm like, look, I'm walking over, so get there. I

764
00:40:43,160 --> 00:40:45,600
Speaker 5: turned the record on. As soon as the record came on.

765
00:40:45,640 --> 00:40:47,000
Speaker 5: In the first few bars.

766
00:40:46,680 --> 00:40:47,920
Speaker 1: He was like, oh my god.

767
00:40:48,280 --> 00:40:49,759
Speaker 5: He turned to us, like can I get a copy?

768
00:40:49,760 --> 00:40:52,120
Speaker 5: I said absolutely not. I said, we don't do copies.

769
00:40:52,160 --> 00:40:52,600
Speaker 1: You know that.

770
00:40:52,920 --> 00:40:56,399
Speaker 5: I said, but if you tell La that I'm here

771
00:40:56,880 --> 00:40:58,920
Speaker 5: and we got a smash for Usher, I'll stay and

772
00:40:58,960 --> 00:41:01,600
Speaker 5: I'll wait. So he was like, hold on. He went

773
00:41:01,640 --> 00:41:04,360
Speaker 5: and went to LA's office. He's like, man, it's going

774
00:41:04,440 --> 00:41:06,640
Speaker 5: to take him forty minutes. Like all right, I'm be

775
00:41:06,680 --> 00:41:09,520
Speaker 5: here for that. Well, and played on the record. Same

776
00:41:09,520 --> 00:41:12,120
Speaker 5: thing happened. He called Usher. He's like, yo, you got

777
00:41:12,120 --> 00:41:14,719
Speaker 5: to get in the studio with Tran Vidall. And I

778
00:41:14,760 --> 00:41:18,000
Speaker 5: was just like, who's that you know? And he was

779
00:41:18,040 --> 00:41:19,880
Speaker 5: like the guys that did Chill and this, that and

780
00:41:19,920 --> 00:41:22,000
Speaker 5: the other. And I was just like, you think they

781
00:41:22,000 --> 00:41:24,799
Speaker 5: can do me? He didn't. He didn't know I could

782
00:41:24,840 --> 00:41:28,399
Speaker 5: hear it. He didn't know nobody was there, and La

783
00:41:28,520 --> 00:41:29,800
Speaker 5: was at him and he's like, now you're going to

784
00:41:29,840 --> 00:41:32,920
Speaker 5: see you gotta cut this record. So we ended up

785
00:41:32,920 --> 00:41:37,520
Speaker 5: going down there and we packed up Ryan and we

786
00:41:37,640 --> 00:41:40,240
Speaker 5: packed up Poober, which we met from a previous session

787
00:41:40,719 --> 00:41:46,000
Speaker 5: with with Ironica with Puff because we went to Miami

788
00:41:46,080 --> 00:41:49,480
Speaker 5: and worked on all puffs groups, New Addition and Carl

789
00:41:49,640 --> 00:41:52,359
Speaker 5: and all recorded all of his groups. And while we

790
00:41:52,360 --> 00:41:56,439
Speaker 5: were down there, you know, Poopber had this thing and

791
00:41:56,440 --> 00:41:59,960
Speaker 5: it's like, you know, my responsibility was to make sure

792
00:42:00,080 --> 00:42:03,600
Speaker 5: that we had the writers that could compete with what

793
00:42:03,640 --> 00:42:07,000
Speaker 5: was happening. So I had to understand my guys talent

794
00:42:07,160 --> 00:42:10,120
Speaker 5: and where they could go and how whatever writers I

795
00:42:10,160 --> 00:42:14,160
Speaker 5: bring into the environment can help elevate it and make

796
00:42:14,239 --> 00:42:17,399
Speaker 5: something like who can reach what they can do? But

797
00:42:17,440 --> 00:42:21,800
Speaker 5: also who can push them? Like once you start that

798
00:42:21,920 --> 00:42:24,600
Speaker 5: first song, who can push them even further? Because the

799
00:42:24,640 --> 00:42:27,240
Speaker 5: beauty of Drane vidals that they were both two different

800
00:42:27,280 --> 00:42:32,000
Speaker 5: tilestyle drummers. So the magic was whoever started the track,

801
00:42:33,239 --> 00:42:38,040
Speaker 5: it may be a different outcome. So Dre started Superstar

802
00:42:38,600 --> 00:42:43,400
Speaker 5: and Vidal started Caught Up. Vd Al is a pounder

803
00:42:43,960 --> 00:42:49,000
Speaker 5: and Dre's got that bounce right, So yeah, one thing

804
00:42:49,120 --> 00:42:52,040
Speaker 5: leads to another. Weend there putting pressure because at this

805
00:42:52,200 --> 00:42:54,480
Speaker 5: time they didn't have a direction for us. So we

806
00:42:54,600 --> 00:42:57,239
Speaker 5: just keep going down and keep going down there. And

807
00:42:57,680 --> 00:42:59,480
Speaker 5: I remember listening to the interview with you guys, and

808
00:42:59,560 --> 00:43:02,600
Speaker 5: Ryan was right. I didn't like the record, but I

809
00:43:02,640 --> 00:43:05,719
Speaker 5: think Usher was influenced because we the new Cats, So

810
00:43:05,840 --> 00:43:08,600
Speaker 5: Usher was influenced by other people as we were applying

811
00:43:08,640 --> 00:43:13,040
Speaker 5: pressure to Like, you know, I don't know if those

812
00:43:13,080 --> 00:43:15,720
Speaker 5: records this, that, and the other, but La knew Jammi

813
00:43:15,800 --> 00:43:19,080
Speaker 5: Lewis heard those records. He was like, Yo, we ain't

814
00:43:19,080 --> 00:43:22,680
Speaker 5: never heard this boy singing like this. We were pushing

815
00:43:22,719 --> 00:43:25,160
Speaker 5: because I told the guys, I'm like, look, this guy's

816
00:43:25,200 --> 00:43:27,279
Speaker 5: going in to be twenty five years old. There's gonna

817
00:43:27,280 --> 00:43:29,799
Speaker 5: be a thoat women looking at him. He got to sing,

818
00:43:31,480 --> 00:43:35,799
Speaker 5: So we didn't really give him rappy, melodic records. We

819
00:43:35,880 --> 00:43:39,040
Speaker 5: gave him real you got to sing the records like

820
00:43:39,080 --> 00:43:42,200
Speaker 5: you look at his performance on Caught Up, Oh, stuff

821
00:43:42,239 --> 00:43:45,719
Speaker 5: like that's insane. Yeah, it's insane, you know. So that

822
00:43:45,960 --> 00:43:49,759
Speaker 5: was that, and then we ended up doing Anthony Hamilton

823
00:43:49,960 --> 00:43:53,080
Speaker 5: and all of the kids from the American Idol, the

824
00:43:53,080 --> 00:43:55,600
Speaker 5: Black Kids, the Ruben Stutters and the Fantasies and all

825
00:43:55,640 --> 00:43:59,480
Speaker 5: of them. Then we did Old Sierra. She was we

826
00:43:59,520 --> 00:44:03,760
Speaker 5: got a phone call from Ethiopia and Flana Felana was managing,

827
00:44:04,480 --> 00:44:09,840
Speaker 5: and so it's like, look, Sierra's going to be in

828
00:44:09,920 --> 00:44:13,480
Speaker 5: Philly recording to R. Kelly record. But R Kelly was

829
00:44:13,480 --> 00:44:17,120
Speaker 5: going through his problems. So Carvin from Touching Jazz is

830
00:44:17,160 --> 00:44:19,279
Speaker 5: coaching the vocals, so he want us to go over

831
00:44:20,000 --> 00:44:21,640
Speaker 5: listen to what they were doing so we could get

832
00:44:21,760 --> 00:44:24,720
Speaker 5: an idea. And they were talking about, you know, crunk

833
00:44:24,760 --> 00:44:27,200
Speaker 5: and Bee, and that record wasn't crunking B.

834
00:44:27,400 --> 00:44:27,600
Speaker 1: The R.

835
00:44:27,680 --> 00:44:30,959
Speaker 5: Kelly record wasn't what they claim it was. It was good,

836
00:44:31,040 --> 00:44:32,320
Speaker 5: but it wasn't crunk and B.

837
00:44:32,480 --> 00:44:33,000
Speaker 1: It was an R.

838
00:44:33,120 --> 00:44:36,760
Speaker 5: Kelly R and B record, So you know, we listened

839
00:44:36,760 --> 00:44:38,319
Speaker 5: to it. We go back to the studio, but we

840
00:44:38,360 --> 00:44:43,319
Speaker 5: only had a day to get a record done. And ironically,

841
00:44:43,360 --> 00:44:46,640
Speaker 5: what people don't realize with Draa vy Dow is that

842
00:44:46,719 --> 00:44:49,840
Speaker 5: the only record that they that the only records that

843
00:44:49,880 --> 00:44:53,160
Speaker 5: they had done in advance of the entire run was

844
00:44:53,239 --> 00:44:57,919
Speaker 5: Butterflies and Superstar. Every other record was done in front

845
00:44:57,920 --> 00:45:01,880
Speaker 5: of the artists on the spot, you know, because the

846
00:45:01,960 --> 00:45:04,600
Speaker 5: whole objective is you get to know the artists and

847
00:45:04,600 --> 00:45:07,640
Speaker 5: then you tell him make that suit, you know. So

848
00:45:08,600 --> 00:45:12,399
Speaker 5: we we grabbed Blayel Mohammed, and we grabbed this kid

849
00:45:12,560 --> 00:45:15,680
Speaker 5: named Sugar Tongue Slim. He was a rapper from Atlanta,

850
00:45:15,680 --> 00:45:17,600
Speaker 5: but he lived in Philly. Was a rapper and a poet.

851
00:45:18,120 --> 00:45:22,040
Speaker 5: Because Balaywa could give the melody, but somebody had to

852
00:45:22,080 --> 00:45:24,920
Speaker 5: talk Atlanta, you know what I'm saying. Somebody had to

853
00:45:24,960 --> 00:45:28,960
Speaker 5: have those references. So I put them two together to

854
00:45:29,239 --> 00:45:34,799
Speaker 5: write that record, and then we shot the record down there.

855
00:45:34,880 --> 00:45:38,719
Speaker 5: Ethiopia got the record and she got Luda Records, and

856
00:45:38,719 --> 00:45:41,759
Speaker 5: then Luda Luda John Luda jumped on the record same

857
00:45:41,880 --> 00:45:42,279
Speaker 5: day and.

858
00:45:42,160 --> 00:45:43,319
Speaker 1: He's like, we got to cook her.

859
00:45:44,239 --> 00:45:46,320
Speaker 5: You know, we knew we had a cook, you know

860
00:45:46,320 --> 00:45:49,759
Speaker 5: what I'm saying. So then then here comes to Chris

861
00:45:49,800 --> 00:45:55,239
Speaker 5: Brown project. So Tina Davis was on his first It

862
00:45:55,320 --> 00:45:57,200
Speaker 5: was in transition and she ended up getting doing the

863
00:45:57,200 --> 00:46:02,520
Speaker 5: deal over at Jive. Mark called us and then spoke

864
00:46:02,560 --> 00:46:06,640
Speaker 5: to Tina again after that and he's like, look, if

865
00:46:07,200 --> 00:46:13,200
Speaker 5: if we can develop him, send them, but give him

866
00:46:13,239 --> 00:46:14,839
Speaker 5: to us a couple of days early so we can

867
00:46:14,920 --> 00:46:17,319
Speaker 5: really see who the kid was. So when we got

868
00:46:17,360 --> 00:46:19,560
Speaker 5: we got him in I told you I like, take

869
00:46:19,640 --> 00:46:22,360
Speaker 5: him to the mall, taking the basketball, take him anywhere

870
00:46:22,400 --> 00:46:24,799
Speaker 5: where you think young people are so we can figure

871
00:46:24,840 --> 00:46:25,480
Speaker 5: out who he is.

872
00:46:25,960 --> 00:46:28,640
Speaker 1: And he's like, yo, man, hello, hello, g.

873
00:46:29,400 --> 00:46:32,320
Speaker 5: You know what I'm saying cooling? And what cats is thinking?

874
00:46:32,719 --> 00:46:34,759
Speaker 5: You know what I'm saying. All these girls this, that,

875
00:46:34,800 --> 00:46:36,600
Speaker 5: and the other. He could run by this like you're

876
00:46:36,680 --> 00:46:39,080
Speaker 5: running it down. So I'm okay, cool. So I called

877
00:46:39,160 --> 00:46:42,440
Speaker 5: Chris Hicks, I say, I need Johntay in here tomorrow.

878
00:46:43,680 --> 00:46:46,680
Speaker 5: We got John Ay in pop excuse me, miss? Got

879
00:46:46,719 --> 00:46:48,680
Speaker 5: done the same day.

880
00:46:50,440 --> 00:46:52,719
Speaker 1: I did an excuse me miss.

881
00:46:52,840 --> 00:46:56,319
Speaker 5: Yeah. We gave John Tay to the directional orders like

882
00:46:56,520 --> 00:46:59,160
Speaker 5: this is who this kid is. He kind of eyed

883
00:46:59,239 --> 00:47:02,359
Speaker 5: him down and then he heard the music. John Tate

884
00:47:02,360 --> 00:47:05,520
Speaker 5: got in that booth and got busy. And then after that, man,

885
00:47:05,520 --> 00:47:08,600
Speaker 5: I was like, yo, Mark, send him to Scott. Scott

886
00:47:08,640 --> 00:47:10,080
Speaker 5: don't know what to do from here. And then Scott

887
00:47:10,200 --> 00:47:13,160
Speaker 5: ended up doing run It in another record with Sean.

888
00:47:13,920 --> 00:47:16,560
Speaker 5: You know, but again unselfish, Yeah, you know.

889
00:47:16,600 --> 00:47:22,480
Speaker 4: Because you had already been in business with Storch Roots,

890
00:47:22,560 --> 00:47:24,680
Speaker 4: right well. I knew Storts through the Roots. I helped

891
00:47:24,680 --> 00:47:28,240
Speaker 4: get the Roots their first deal, so I knew stores

892
00:47:28,280 --> 00:47:32,920
Speaker 4: through that and ironically the first kid, Maurice Wilcher, was

893
00:47:32,920 --> 00:47:38,280
Speaker 4: in the a room in Sigma Sound studio and Scott

894
00:47:38,400 --> 00:47:41,640
Speaker 4: was in like a like an office room with his equipment.

895
00:47:42,160 --> 00:47:44,239
Speaker 5: So I knew Scott. So when Scott was making his

896
00:47:44,280 --> 00:47:46,799
Speaker 5: money from the Roots he bought his first car from

897
00:47:46,880 --> 00:47:50,240
Speaker 5: my father, I knew Scott, like you know what I'm saying.

898
00:47:50,320 --> 00:47:53,520
Speaker 5: So I knew Scott very well. So how Scott ended

899
00:47:53,560 --> 00:47:56,600
Speaker 5: up with Dre is that when I managed an Eve

900
00:47:57,320 --> 00:48:01,759
Speaker 5: during the Dre period, he called her, knowing her from

901
00:48:01,760 --> 00:48:03,520
Speaker 5: the roots because she was under you got me record

902
00:48:03,560 --> 00:48:07,399
Speaker 5: for the Roots. So one thing leads to another. She's like, yo,

903
00:48:07,520 --> 00:48:10,239
Speaker 5: Scott called and wanted to see if we could, you know,

904
00:48:10,640 --> 00:48:13,080
Speaker 5: if I could, let you know, introduce him to Dre.

905
00:48:13,239 --> 00:48:15,839
Speaker 5: But like, I don't know him, that's your friend like that.

906
00:48:15,920 --> 00:48:17,680
Speaker 5: I was like, man, take them with you to the studio.

907
00:48:18,840 --> 00:48:21,759
Speaker 5: He's from Philly, like, and he was bad. So I

908
00:48:21,840 --> 00:48:24,520
Speaker 5: was like, let's see what happens. So she took him in.

909
00:48:25,360 --> 00:48:27,160
Speaker 5: The rest is history, and even in that I never

910
00:48:27,200 --> 00:48:30,480
Speaker 5: asked got to manage him. Derek Jackson ended up managing

911
00:48:31,200 --> 00:48:33,520
Speaker 5: Derek was one of the people we took the roots

912
00:48:33,560 --> 00:48:37,640
Speaker 5: to because Derek worked for Russell with Franz Barrow, they

913
00:48:37,719 --> 00:48:40,920
Speaker 5: ran the management company. So you know, when we were

914
00:48:40,920 --> 00:48:43,359
Speaker 5: working on stuff with Russell with Maurice, the first guy,

915
00:48:43,760 --> 00:48:46,840
Speaker 5: Maurice was the torch lighter, you know, And when we

916
00:48:46,840 --> 00:48:50,040
Speaker 5: were working with them with Maurice, they was like, what

917
00:48:50,080 --> 00:48:52,080
Speaker 5: else is down in Philly which are working on? Because

918
00:48:52,080 --> 00:48:54,640
Speaker 5: we was blowing out that GM R and B star.

919
00:48:54,719 --> 00:48:55,840
Speaker 5: They were trying to get in the R and B

920
00:48:55,880 --> 00:48:59,080
Speaker 5: and we were blowing it out the door. And you know,

921
00:48:59,360 --> 00:49:01,640
Speaker 5: next thing Lee to they come to Philly. There comes

922
00:49:01,680 --> 00:49:04,400
Speaker 5: to Philly, ends up late and I run him across

923
00:49:04,400 --> 00:49:06,520
Speaker 5: the park to see the Roots while they're performing in

924
00:49:06,560 --> 00:49:08,520
Speaker 5: the park. And then after that we went to want

925
00:49:08,520 --> 00:49:10,840
Speaker 5: them to the radio station and we kicked it with

926
00:49:10,880 --> 00:49:13,880
Speaker 5: them a little bit, and then the meeting came for

927
00:49:13,920 --> 00:49:17,800
Speaker 5: them to go to New York and me at Russell's office,

928
00:49:18,400 --> 00:49:21,359
Speaker 5: and then that's how the Wendy Goldstings ended up in there.

929
00:49:22,000 --> 00:49:24,960
Speaker 5: But you know, the story is often told without the

930
00:49:25,000 --> 00:49:29,520
Speaker 5: inclusion of that part because I never claimed it, I

931
00:49:29,600 --> 00:49:32,320
Speaker 5: never got a check from it, I never pushed an it.

932
00:49:32,400 --> 00:49:35,160
Speaker 5: We had the same lawyer, Rich that was the Roots

933
00:49:35,280 --> 00:49:38,319
Speaker 5: manager ended up being a good friend, you know, may

934
00:49:38,440 --> 00:49:41,040
Speaker 5: rest in peace. So it's just like you're doing stuff

935
00:49:41,080 --> 00:49:44,480
Speaker 5: for the environment. Because while Scott is up in one room,

936
00:49:45,120 --> 00:49:48,319
Speaker 5: the roots, Maurice is in the big room. Scott's in

937
00:49:48,360 --> 00:49:51,360
Speaker 5: another room, the roots are downstairs in the room about

938
00:49:51,360 --> 00:49:54,319
Speaker 5: the half size of this room, maybe a courter size

939
00:49:54,360 --> 00:49:56,879
Speaker 5: of this room. This got David Ivy's room, and all

940
00:49:56,920 --> 00:49:59,400
Speaker 5: of them are lined up down the hallway because you

941
00:49:59,400 --> 00:50:01,200
Speaker 5: could only get one or two people in the room

942
00:50:01,239 --> 00:50:04,360
Speaker 5: at the time, So you got cats with bagpipes and

943
00:50:04,640 --> 00:50:06,920
Speaker 5: horns and all sorts of stuff. Real talk it was

944
00:50:07,120 --> 00:50:10,200
Speaker 5: it was a cat that played backpipes. I'm serious as

945
00:50:10,200 --> 00:50:12,600
Speaker 5: a heart attack. They had a guy that played the bagpipe.

946
00:50:12,600 --> 00:50:14,319
Speaker 5: I don't know what he played on or if he

947
00:50:14,320 --> 00:50:16,520
Speaker 5: played on anything, or if they kept it, but it

948
00:50:16,640 --> 00:50:19,120
Speaker 5: was definitely a guy that played the bagpipe. That was

949
00:50:19,200 --> 00:50:21,400
Speaker 5: in case that was down there as well, and you

950
00:50:21,440 --> 00:50:23,640
Speaker 5: know they was in this tiny room. Make it magic

951
00:50:25,040 --> 00:50:26,480
Speaker 5: and lo and behold.

952
00:50:26,760 --> 00:50:31,680
Speaker 2: Yeah, the roots, the Roots, Roots, the legendary the legendary

953
00:50:31,800 --> 00:50:37,840
Speaker 2: Roots Crew, The legendary Roots Crew, which ironically thought.

954
00:50:39,239 --> 00:50:41,680
Speaker 5: Partially grew up in my in my neighborhood up in

955
00:50:41,680 --> 00:50:43,560
Speaker 5: mine area because I would see him in the playground

956
00:50:44,120 --> 00:50:46,279
Speaker 5: or we were like teenagers, you know what I mean.

957
00:50:46,280 --> 00:50:49,080
Speaker 5: I would se him in the playground sometimes. Then later on,

958
00:50:49,800 --> 00:50:54,799
Speaker 5: you know he was the guy, yeah, the guy with

959
00:50:54,840 --> 00:50:55,640
Speaker 5: the rats.

960
00:51:03,600 --> 00:51:10,920
Speaker 1: How was it? So Philly? Was there ever like this.

961
00:51:13,320 --> 00:51:18,560
Speaker 4: Rivalry in a sense musically with Philly and Detroit because

962
00:51:19,800 --> 00:51:23,760
Speaker 4: the Motown sound obviously, and yeah, the soul of Philly

963
00:51:23,800 --> 00:51:26,200
Speaker 4: and the thing and like just you think of all

964
00:51:26,239 --> 00:51:30,160
Speaker 4: of the great artists, producers, writers, was there.

965
00:51:29,960 --> 00:51:32,560
Speaker 1: Like a thing with Philly and no, there was.

966
00:51:32,920 --> 00:51:35,880
Speaker 5: Well, talking to Kenny Gamble, it was respect thing because

967
00:51:35,920 --> 00:51:38,480
Speaker 5: you got to realize, man like Barry Gordy was the

968
00:51:38,520 --> 00:51:43,680
Speaker 5: godfather of infrastructure for all of them, so they respected it.

969
00:51:43,719 --> 00:51:46,920
Speaker 5: But they were the ones that got the run. After

970
00:51:47,320 --> 00:51:51,480
Speaker 5: Gordy's run started coming down, Philly International got their run.

971
00:51:51,560 --> 00:51:54,240
Speaker 5: So they were the first cats to do an album

972
00:51:54,280 --> 00:51:58,160
Speaker 5: on the Jackson's post Motown, you know what I mean.

973
00:51:58,200 --> 00:52:01,040
Speaker 5: If you look there's an album on C yes, Philly

974
00:52:01,040 --> 00:52:04,120
Speaker 5: International that had Enjoyed Yourself and all that.

975
00:52:04,120 --> 00:52:05,880
Speaker 1: That's a Philly International record.

976
00:52:06,640 --> 00:52:10,360
Speaker 5: So if you listen to that record, right, that record

977
00:52:10,440 --> 00:52:15,400
Speaker 5: lent to what Quincy ended up doing on Mike with

978
00:52:15,520 --> 00:52:18,920
Speaker 5: a little less Soul. But if you listen to it,

979
00:52:19,560 --> 00:52:20,880
Speaker 5: that album was the blueprint.

980
00:52:21,160 --> 00:52:25,080
Speaker 2: Yeah wow, yeah, yeah, you know what I'm saying. I'm

981
00:52:25,080 --> 00:52:26,560
Speaker 2: hearing the records in my area.

982
00:52:26,440 --> 00:52:29,080
Speaker 5: Yeah, that album is the blueprint, man. So and you

983
00:52:29,120 --> 00:52:31,520
Speaker 5: look at their run, the theme song for Soul Trained,

984
00:52:31,520 --> 00:52:33,319
Speaker 5: and so on and so for the Greatest Love of

985
00:52:33,320 --> 00:52:38,120
Speaker 5: All like that Master hits Bro. But the difference between

986
00:52:39,560 --> 00:52:43,400
Speaker 5: Kenny Gamble and Leon Huff and Barry was Barry was

987
00:52:43,440 --> 00:52:47,680
Speaker 5: about his songs that anybody could do them, where Gamble

988
00:52:47,719 --> 00:52:51,040
Speaker 5: and Huff was about this is your record. We're going

989
00:52:51,120 --> 00:52:53,000
Speaker 5: to tell him make your suit. So if you listen

990
00:52:53,080 --> 00:52:55,799
Speaker 5: to Teddy, he's a player all throughout the album. Yeah,

991
00:52:56,200 --> 00:52:59,840
Speaker 5: Lou Ross couldn't do Teddy's records. Phillis Hymen couldn't do

992
00:53:00,000 --> 00:53:03,040
Speaker 5: Tyler Bell's records, the OJ's couldn't do the Delphonics records,

993
00:53:03,080 --> 00:53:06,040
Speaker 5: and so on and so forth. It was all individual

994
00:53:06,080 --> 00:53:09,640
Speaker 5: craftsmanship that happened around each one of these artists because

995
00:53:09,640 --> 00:53:11,680
Speaker 5: they like, we want to put who you are to

996
00:53:11,760 --> 00:53:16,440
Speaker 5: the world, you know what I mean. So beautiful times, bro, Yeah,

997
00:53:17,120 --> 00:53:23,120
Speaker 5: beautiful times a lot, you know sit I mean, look

998
00:53:23,920 --> 00:53:30,399
Speaker 5: Usher alone, man, I think I have placed two album titles.

999
00:53:31,120 --> 00:53:38,080
Speaker 2: With Usher with here I Stand that rel from Rockefeller wrote.

1000
00:53:38,280 --> 00:53:39,880
Speaker 5: I remember we were in New York in the studio.

1001
00:53:39,960 --> 00:53:42,360
Speaker 5: I think it was either Hit Factor of Sony I

1002
00:53:42,480 --> 00:53:45,479
Speaker 5: called was like, y'all come to the studio. He comes

1003
00:53:45,520 --> 00:53:50,040
Speaker 5: to the studio with a backpack on. He walks in,

1004
00:53:50,120 --> 00:53:53,759
Speaker 5: the track is playing. He's like, mike me up. So

1005
00:53:53,840 --> 00:53:56,400
Speaker 5: he goes into the booth backpack still on, bro and

1006
00:53:56,440 --> 00:54:02,320
Speaker 5: he freestyled here I stand no shit. When he started

1007
00:54:02,360 --> 00:54:04,560
Speaker 5: laying out the melody, bro we and there I was like,

1008
00:54:04,600 --> 00:54:11,319
Speaker 5: this guy just fucking now did it. I'm like, it

1009
00:54:11,440 --> 00:54:14,040
Speaker 5: came out and we drve you down and now we

1010
00:54:14,200 --> 00:54:15,719
Speaker 5: just looking at each other like this this joke. It

1011
00:54:15,840 --> 00:54:19,080
Speaker 5: just killed this record, you know. He cleaned it up eventually,

1012
00:54:19,160 --> 00:54:20,920
Speaker 5: like it was some clean up that happened, but the

1013
00:54:20,960 --> 00:54:23,120
Speaker 5: base of that record, Bro, he freestoted that record.

1014
00:54:24,080 --> 00:54:25,000
Speaker 1: I couldn't believe it.

1015
00:54:25,800 --> 00:54:31,400
Speaker 5: And then I gave Usher ruin on the last album

1016
00:54:31,400 --> 00:54:34,440
Speaker 5: by a kid, Phils, that I was doing his album.

1017
00:54:34,920 --> 00:54:38,040
Speaker 5: That was like my stint into African music. So I

1018
00:54:38,080 --> 00:54:41,360
Speaker 5: did two Tea with Savages album, two Ta with Savage albums,

1019
00:54:41,840 --> 00:54:46,120
Speaker 5: and a Phils project. So during the time, Phil is

1020
00:54:46,160 --> 00:54:50,080
Speaker 5: also one of the top producers in Nigeria. So you know,

1021
00:54:50,800 --> 00:54:57,040
Speaker 5: I had Usher was doing Global Citizens and he was

1022
00:54:57,040 --> 00:55:00,160
Speaker 5: telling me about how what they were doing, and I

1023
00:55:00,200 --> 00:55:03,600
Speaker 5: was like, you can't go to Africa with that plan.

1024
00:55:04,560 --> 00:55:06,000
Speaker 5: I'm like, if you go there, like you got to

1025
00:55:06,040 --> 00:55:08,520
Speaker 5: get entrenched in the culture, Like you can't go and

1026
00:55:08,800 --> 00:55:11,520
Speaker 5: go to the schools that aren't making it'll go in poverty.

1027
00:55:11,560 --> 00:55:12,840
Speaker 5: And it said was like, you got to go to

1028
00:55:12,880 --> 00:55:16,040
Speaker 5: the culture. So I ended up making some phone calls

1029
00:55:16,080 --> 00:55:19,240
Speaker 5: to make sure that there was room set up for him.

1030
00:55:19,080 --> 00:55:21,200
Speaker 1: To meet all the creatives of Africa.

1031
00:55:22,000 --> 00:55:26,480
Speaker 5: And then also I put the artists on the stage

1032
00:55:26,480 --> 00:55:28,719
Speaker 5: that he should have on the stage. So it was

1033
00:55:28,760 --> 00:55:31,960
Speaker 5: Tea with Savage, it was ox Slade and it was Phills.

1034
00:55:32,560 --> 00:55:35,239
Speaker 5: Ox Slade and Phills was two new artists and Tea

1035
00:55:35,320 --> 00:55:37,319
Speaker 5: was Savage. At that time, she was like the young

1036
00:55:37,400 --> 00:55:43,200
Speaker 5: queen of Africa, especially Nigeria. And the guys have been overused,

1037
00:55:43,200 --> 00:55:45,879
Speaker 5: the burner's been used. The cats come in, they want

1038
00:55:45,880 --> 00:55:47,160
Speaker 5: to get burned, and they want to get ways, they

1039
00:55:47,160 --> 00:55:49,960
Speaker 5: want to get David. But nobody called at Tiva, you

1040
00:55:50,000 --> 00:55:51,800
Speaker 5: know what I mean. So put Tea on the stage

1041
00:55:51,840 --> 00:55:58,000
Speaker 5: as well, and ironically man I was home sick while

1042
00:55:58,000 --> 00:56:00,200
Speaker 5: I was doing it. I was in bed sick. The

1043
00:56:00,200 --> 00:56:04,239
Speaker 5: phone calls to get him set up. So by the

1044
00:56:04,280 --> 00:56:07,239
Speaker 5: time he finished that Global Citizens, You're like, look, man,

1045
00:56:07,239 --> 00:56:11,440
Speaker 5: you got a footprint, you gotta get a record with them.

1046
00:56:11,440 --> 00:56:14,120
Speaker 5: It makes sense now for you to do an African record.

1047
00:56:14,520 --> 00:56:18,640
Speaker 5: So it gave him ruin and that record, Like if

1048
00:56:18,680 --> 00:56:21,080
Speaker 5: you'd have seen the data on that record, and where

1049
00:56:21,080 --> 00:56:25,080
Speaker 5: to pick up is because Africa gets Europe first, like

1050
00:56:25,200 --> 00:56:29,440
Speaker 5: outside of before they get America, they get Europe. So

1051
00:56:29,480 --> 00:56:31,480
Speaker 5: you get in Germany, you get in France, you getting

1052
00:56:31,480 --> 00:56:33,760
Speaker 5: this and that and the other London and the data

1053
00:56:33,920 --> 00:56:35,720
Speaker 5: was like crazy on the other side of the world.

1054
00:56:36,120 --> 00:56:38,120
Speaker 5: And I remember as a producer called me, he was

1055
00:56:38,200 --> 00:56:43,400
Speaker 5: like afro beats played out. I'm like, you don't have

1056
00:56:43,480 --> 00:56:46,640
Speaker 5: no idea what you're talking about, I said, but this

1057
00:56:46,800 --> 00:56:52,839
Speaker 5: record is smash you know what I mean. And it helped, Yeah,

1058
00:56:53,120 --> 00:56:56,120
Speaker 5: you know, it helped tremendously. If you just saw the

1059
00:56:56,160 --> 00:57:01,480
Speaker 5: streams and then the territories, those other records from America

1060
00:57:01,960 --> 00:57:04,480
Speaker 5: wasn't in those territories the way this record was, right,

1061
00:57:04,920 --> 00:57:07,960
Speaker 5: you know what I mean, Global record and strategy right,

1062
00:57:08,000 --> 00:57:11,440
Speaker 5: It's like, you know, every record that was given to

1063
00:57:11,520 --> 00:57:14,440
Speaker 5: him from us. It was a strategy for growth. It

1064
00:57:14,480 --> 00:57:17,520
Speaker 5: wasn't about changing them. It was about what wasn't there.

1065
00:57:18,600 --> 00:57:20,320
Speaker 5: You know, if you look at all the records that

1066
00:57:20,360 --> 00:57:23,520
Speaker 5: he did with your main what wasn't there was the

1067
00:57:23,560 --> 00:57:26,680
Speaker 5: records that Dram v Dowd did. If you look after that,

1068
00:57:26,800 --> 00:57:29,560
Speaker 5: what wasn't there was the records that Feels did, because

1069
00:57:30,160 --> 00:57:33,240
Speaker 5: did that record and did the record with Berner, the

1070
00:57:33,280 --> 00:57:35,680
Speaker 5: record that Burner Boys on as well, and I co

1071
00:57:35,720 --> 00:57:37,280
Speaker 5: wrote that record with Phils.

1072
00:57:37,800 --> 00:57:42,680
Speaker 4: So yeah, man, I know, you know, I know the

1073
00:57:42,800 --> 00:57:45,480
Speaker 4: R and B side right, but you know you know me,

1074
00:57:45,560 --> 00:57:47,080
Speaker 4: I love I love it.

1075
00:57:47,120 --> 00:57:48,520
Speaker 1: I love the streets street.

1076
00:57:49,840 --> 00:57:53,960
Speaker 4: So I can't let you be here and not talk

1077
00:57:54,040 --> 00:57:57,480
Speaker 4: about there was a moment where.

1078
00:57:57,400 --> 00:58:00,080
Speaker 1: You literally had Eve.

1079
00:58:01,280 --> 00:58:07,680
Speaker 2: At Roughrider, Eve Beanie Sieg, Beanie Siegel at Rockefeller.

1080
00:58:07,280 --> 00:58:09,400
Speaker 5: And Philly's most Wanted at Atlantic.

1081
00:58:09,920 --> 00:58:14,600
Speaker 2: And oh yes, yeah, our company was called Black Friday.

1082
00:58:15,320 --> 00:58:17,840
Speaker 1: How were you managing that?

1083
00:58:18,760 --> 00:58:22,000
Speaker 5: Well, it's funny, man, I remember we were We were

1084
00:58:23,240 --> 00:58:27,280
Speaker 5: before I got Eve off of Dre's label, which that

1085
00:58:27,400 --> 00:58:31,240
Speaker 5: was mutual, it wasn't really off, which I'll tell you

1086
00:58:31,280 --> 00:58:35,440
Speaker 5: that story. We were going in the studio, we met

1087
00:58:35,720 --> 00:58:39,120
Speaker 5: Rough Riders producers Dan Greece and stuff through Mike Lynn,

1088
00:58:39,280 --> 00:58:42,320
Speaker 5: who was at the time of president for DRE. So

1089
00:58:42,880 --> 00:58:46,840
Speaker 5: we're getting records from them, but I don't know them, right,

1090
00:58:47,480 --> 00:58:49,760
Speaker 5: So it's no. One day we're in the studio, man

1091
00:58:50,640 --> 00:58:54,680
Speaker 5: and DMX comes in the studio. I get there. He's

1092
00:58:54,720 --> 00:58:59,400
Speaker 5: there already with her in the studio, believe right. So

1093
00:59:00,440 --> 00:59:03,880
Speaker 5: I get a phone call from the front thatsk clerk. Ironically,

1094
00:59:03,960 --> 00:59:07,760
Speaker 5: the front that's clerk is Jessica Rivera. That soundtrack studio

1095
00:59:08,960 --> 00:59:11,280
Speaker 5: Rough Riders is downstairs. Roust Riders wants to.

1096
00:59:11,200 --> 00:59:11,600
Speaker 1: Talk to you.

1097
00:59:12,280 --> 00:59:13,280
Speaker 5: So I come in the lobby.

1098
00:59:13,840 --> 00:59:16,600
Speaker 1: Nobody's there. She says, oh no, they're downstairs.

1099
00:59:17,120 --> 00:59:19,080
Speaker 5: So I'm like, all right, cool, I go downstairs, like

1100
00:59:19,080 --> 00:59:22,360
Speaker 5: twenty guys downstairs, Like, you got an artist in the studio.

1101
00:59:25,080 --> 00:59:28,000
Speaker 5: So it's a little heat, right, you got you got

1102
00:59:28,000 --> 00:59:30,160
Speaker 5: our artists in the studio, which I didn't know. Dude,

1103
00:59:30,280 --> 00:59:34,360
Speaker 5: he's chasing Eve. I didn't put him in the studio.

1104
00:59:34,360 --> 00:59:36,120
Speaker 5: He was there when I got there, and I said, yo, man,

1105
00:59:36,960 --> 00:59:39,280
Speaker 5: this guy was in there before we got there. I said,

1106
00:59:39,280 --> 00:59:41,720
Speaker 5: but if you want to come up and hear what

1107
00:59:41,840 --> 00:59:46,080
Speaker 5: he doing, come on up. Put only two y'all can

1108
00:59:46,120 --> 00:59:46,440
Speaker 5: come up.

1109
00:59:47,000 --> 00:59:47,760
Speaker 1: Okay, take off.

1110
00:59:47,880 --> 00:59:51,680
Speaker 5: We're not taking everybody. So you know, they wasn't comfortable,

1111
00:59:51,680 --> 00:59:54,240
Speaker 5: they wasn't happy, and you could feel the tension like

1112
00:59:54,280 --> 00:59:56,360
Speaker 5: they wanted to jump on me. And I'm just I'm

1113
00:59:56,400 --> 00:59:58,080
Speaker 5: out there. I'm like, man, I'm sitting here with these

1114
00:59:58,120 --> 01:00:01,480
Speaker 5: cats and they looking at me. I come on food,

1115
01:00:02,480 --> 01:00:06,200
Speaker 5: And the just happened to say where you from? And

1116
01:00:06,240 --> 01:00:08,080
Speaker 5: I said, I'm from Philly. He got on the phone,

1117
01:00:09,360 --> 01:00:12,520
Speaker 5: he called somebody from Philly because long behold, they also

1118
01:00:12,760 --> 01:00:16,000
Speaker 5: a part of their life. They lived in Philly, ironically,

1119
01:00:16,400 --> 01:00:19,600
Speaker 5: two neighborhoods over from me. So they called one of

1120
01:00:19,640 --> 01:00:22,960
Speaker 5: my homies up that they grew up on the block with.

1121
01:00:23,960 --> 01:00:27,000
Speaker 5: And I'm looking at the tone change on the phone

1122
01:00:28,400 --> 01:00:31,040
Speaker 5: and he's like, yo, hold on, and he hands me

1123
01:00:31,080 --> 01:00:34,840
Speaker 5: the phone. It's my man Bernie. He's like, yo, man.

1124
01:00:35,480 --> 01:00:37,240
Speaker 1: He's like, I told some texts that she was a

1125
01:00:37,240 --> 01:00:39,680
Speaker 1: solid dude man, and this that and the other. The

1126
01:00:39,680 --> 01:00:40,200
Speaker 1: pot of die.

1127
01:00:40,600 --> 01:00:43,680
Speaker 5: Hey, my boys, man, we grew up together like that.

1128
01:00:44,000 --> 01:00:47,920
Speaker 5: So the phone call ends, I handle back the phone,

1129
01:00:48,880 --> 01:00:52,600
Speaker 5: I take dn wib stairs. We get cool after that.

1130
01:00:53,560 --> 01:00:59,200
Speaker 5: So you know Dre's trying to like get this aftermath

1131
01:00:59,280 --> 01:01:01,840
Speaker 5: thing together. But at the same time, he's like running

1132
01:01:01,880 --> 01:01:03,840
Speaker 5: out of money a little bit. So Dre and I

1133
01:01:03,920 --> 01:01:06,640
Speaker 5: ended up having a conversation. He said, call Jimmy. So

1134
01:01:06,640 --> 01:01:09,080
Speaker 5: I end up calling Jimmy. Jimmy's like, look, well, let's

1135
01:01:09,120 --> 01:01:10,760
Speaker 5: give you a deal and you can put it on

1136
01:01:10,800 --> 01:01:13,400
Speaker 5: your company. And I was like, nah, I don't have

1137
01:01:13,480 --> 01:01:16,680
Speaker 5: the guys to like do this, like you know what

1138
01:01:16,720 --> 01:01:19,640
Speaker 5: I mean at that time, you needed mail rappers around.

1139
01:01:19,720 --> 01:01:21,040
Speaker 5: It's like, why don't you just let's put it on

1140
01:01:21,120 --> 01:01:22,880
Speaker 5: Rough Riders. He's like, I can't tell them what to do.

1141
01:01:22,920 --> 01:01:25,120
Speaker 5: I just did the deal. I can't let him come

1142
01:01:25,160 --> 01:01:26,640
Speaker 5: in the door. I mean, just tell them what to do.

1143
01:01:27,360 --> 01:01:29,240
Speaker 5: So I said I have a relationship with him. He said, well,

1144
01:01:29,280 --> 01:01:31,040
Speaker 5: you get him to do it, we'll figure it out.

1145
01:01:31,160 --> 01:01:32,520
Speaker 5: So I called here. I was like, yo, you want

1146
01:01:32,560 --> 01:01:35,320
Speaker 5: to eve. He said, man, stop playing. So I play

1147
01:01:35,400 --> 01:01:36,760
Speaker 5: him Like now it's is serious. I said, but you

1148
01:01:36,720 --> 01:01:38,439
Speaker 5: got to answer this question right now because I gotta

1149
01:01:38,440 --> 01:01:41,520
Speaker 5: get Jimmy back on the phone. So he's like, we

1150
01:01:41,640 --> 01:01:45,280
Speaker 5: in So I said, hold on, we called Jimmy. I said, Jimmy,

1151
01:01:45,280 --> 01:01:47,480
Speaker 5: I got Dal on the line. Rough Riders is in,

1152
01:01:48,120 --> 01:01:51,640
Speaker 5: Jimmy again called David Cohen, the same lawyer from earlier.

1153
01:01:52,000 --> 01:01:55,000
Speaker 5: He said, Yo, David, let's do a rollover deal. Let

1154
01:01:55,240 --> 01:01:59,160
Speaker 5: let dre and and rough Riders share Eve put her

1155
01:01:59,160 --> 01:02:02,760
Speaker 5: on rough Riders, and then after that we had to

1156
01:02:02,760 --> 01:02:05,040
Speaker 5: get her to meet the rest of the rappers. So

1157
01:02:05,640 --> 01:02:08,959
Speaker 5: ended up taking her up in the in the pit bulls. Then,

1158
01:02:09,320 --> 01:02:11,120
Speaker 5: so you go into this studio in New York, in

1159
01:02:11,160 --> 01:02:15,640
Speaker 5: this building, Bro up and up in Yonkers. It's dogs

1160
01:02:15,760 --> 01:02:20,000
Speaker 5: in there. I mean you said, I was like literally

1161
01:02:20,760 --> 01:02:24,560
Speaker 5: literally pit bulls in the studio. Bro, it's cats, Like

1162
01:02:24,920 --> 01:02:27,720
Speaker 5: I mean, this is this was like I'm like, man,

1163
01:02:28,600 --> 01:02:30,440
Speaker 5: all right, we gotta go do our thing. I just

1164
01:02:30,520 --> 01:02:32,680
Speaker 5: kept her hyped up the whole way, like you got

1165
01:02:32,680 --> 01:02:35,760
Speaker 5: to kill this. This is the shot. And all the

1166
01:02:35,800 --> 01:02:38,200
Speaker 5: guys after she finished wrapping in the trap with the guys,

1167
01:02:38,240 --> 01:02:40,120
Speaker 5: there was like all of the rappers kissing all the

1168
01:02:40,160 --> 01:02:42,520
Speaker 5: guys that, Yo, this is we need to keep her.

1169
01:02:44,040 --> 01:02:47,840
Speaker 5: So then you know, we switched everything over, move her

1170
01:02:47,880 --> 01:02:49,680
Speaker 5: to New York because at that point she had gotten

1171
01:02:49,720 --> 01:02:52,160
Speaker 5: moved out of LA and back to Philly. She's a

1172
01:02:52,200 --> 01:02:54,760
Speaker 5: little depressed. Get her up there and we move it

1173
01:02:54,800 --> 01:02:57,240
Speaker 5: in New York. Now she like in the thick of it.

1174
01:02:57,960 --> 01:03:01,240
Speaker 5: And you know, then Greece is like, is the one

1175
01:03:01,280 --> 01:03:04,360
Speaker 5: at this time at Rough Riders on the production side,

1176
01:03:04,760 --> 01:03:07,160
Speaker 5: and Swizz is the young buck like Eve. They both

1177
01:03:07,600 --> 01:03:11,160
Speaker 5: so they end up cooking in the room. And this

1178
01:03:11,200 --> 01:03:14,520
Speaker 5: is when Eve's I mean, when Swiss starts just like

1179
01:03:14,800 --> 01:03:17,960
Speaker 5: cutting through with the Rough Riders compilation album and he

1180
01:03:18,080 --> 01:03:20,840
Speaker 5: did jagging my nigga and people don't know that's Eve

1181
01:03:20,920 --> 01:03:27,280
Speaker 5: On jaging my nigga. I didn't know that, Yeah, yeah, yeah, yeah,

1182
01:03:27,320 --> 01:03:30,840
Speaker 5: and lo and behold. Then after that they did what

1183
01:03:30,960 --> 01:03:37,680
Speaker 5: y'all want and he was true and uh yeah, man.

1184
01:03:38,000 --> 01:03:42,200
Speaker 5: So then it was time to like grow the company

1185
01:03:42,240 --> 01:03:47,400
Speaker 5: a bit because we had you know, Beans on on

1186
01:03:47,600 --> 01:03:52,480
Speaker 5: Rockefeller and Beans got on that label freestyling.

1187
01:03:52,720 --> 01:03:54,080
Speaker 1: He didn't have any demos.

1188
01:03:54,240 --> 01:03:58,160
Speaker 5: Ironically, none of our artists, none of the rappers had

1189
01:03:58,200 --> 01:04:01,720
Speaker 5: demos to get their deals. Eve rapped for Mike Lynn

1190
01:04:01,800 --> 01:04:06,240
Speaker 5: in my mother's living room to a beat tape, Beans

1191
01:04:06,280 --> 01:04:10,160
Speaker 5: wrapped in the studio for Jay in New York Phillies

1192
01:04:10,200 --> 01:04:14,400
Speaker 5: most wanted rapped for Risk Christina and in New York

1193
01:04:14,400 --> 01:04:17,680
Speaker 5: at Atlantic. I wasn't managing them at the time as

1194
01:04:17,720 --> 01:04:19,400
Speaker 5: a guy by the name is Stevie g'es that was

1195
01:04:19,480 --> 01:04:24,760
Speaker 5: managing them. But we shot the deal, and you know,

1196
01:04:25,600 --> 01:04:27,600
Speaker 5: and what people don't know is that the first like

1197
01:04:28,240 --> 01:04:33,760
Speaker 5: probably full album that the Neptunes did was on Phillis.

1198
01:04:35,360 --> 01:04:35,600
Speaker 1: Yeah.

1199
01:04:36,160 --> 01:04:41,720
Speaker 5: Yeah, And you know, I think Buboniic like was such

1200
01:04:41,720 --> 01:04:45,160
Speaker 5: an incredible MC. You know, I think like the j

1201
01:04:45,720 --> 01:04:48,880
Speaker 5: and a few other cats that rapped street rap learned

1202
01:04:48,880 --> 01:04:54,360
Speaker 5: what to do to Pharrell's music off of Bubonic, off

1203
01:04:54,360 --> 01:04:56,800
Speaker 5: of Phillies most wanted because they had a full body

1204
01:04:56,800 --> 01:04:59,160
Speaker 5: of work. And it's it's these street records, like you

1205
01:04:59,200 --> 01:05:01,600
Speaker 5: know what I mean, it's Sila Street Records hits too.

1206
01:05:01,640 --> 01:05:04,439
Speaker 5: But so we had please Don't Mind That record took

1207
01:05:04,440 --> 01:05:06,920
Speaker 5: off and these guys that we got them out on

1208
01:05:07,000 --> 01:05:11,280
Speaker 5: tour with uh cash money and a few other folks.

1209
01:05:11,560 --> 01:05:13,760
Speaker 5: They probably was like some of the first rappers to

1210
01:05:13,840 --> 01:05:18,680
Speaker 5: do south By Southwest because they hit rhythmic crossover radio

1211
01:05:18,760 --> 01:05:21,160
Speaker 5: before they got Irban. It was all right, It was

1212
01:05:21,360 --> 01:05:25,720
Speaker 5: weird how it happened, and you know, and then Beans

1213
01:05:25,720 --> 01:05:28,880
Speaker 5: and then we had the Beefs that was happening. So

1214
01:05:29,000 --> 01:05:31,280
Speaker 5: I got an artist on both labels. I got Eve

1215
01:05:31,360 --> 01:05:33,960
Speaker 5: at Rocket at Roughriders.

1216
01:05:33,800 --> 01:05:36,680
Speaker 1: Beans and those two labels on at the time, not

1217
01:05:36,800 --> 01:05:37,400
Speaker 1: sing out of I.

1218
01:05:38,000 --> 01:05:40,200
Speaker 5: You know, I remember we had the you know, I

1219
01:05:40,240 --> 01:05:46,560
Speaker 5: remember rough Riders cleared Eve for Beans and then Rockefeller

1220
01:05:46,640 --> 01:05:51,360
Speaker 5: didn't want to clear Eve, I mean Beans for Eve.

1221
01:05:52,000 --> 01:05:54,560
Speaker 5: So we end up having to have a meeting. I'm like, yo, bro,

1222
01:05:54,760 --> 01:05:56,880
Speaker 5: we all got to talk because we don't have nothing

1223
01:05:56,920 --> 01:05:59,720
Speaker 5: to do with y'all problem. So I remember it was

1224
01:05:59,800 --> 01:06:05,200
Speaker 5: my self, d why this guy Boondo on the rough

1225
01:06:05,280 --> 01:06:08,640
Speaker 5: Rider side, and it was Dane and Big on the

1226
01:06:08,720 --> 01:06:11,520
Speaker 5: other side, and we met up uptown in New York

1227
01:06:12,000 --> 01:06:14,160
Speaker 5: on the corner and we talked it out.

1228
01:06:14,920 --> 01:06:17,520
Speaker 1: It's like, we don't have anything to do with y'all problem.

1229
01:06:18,400 --> 01:06:20,520
Speaker 5: These two artists were Philly, they both our artists, and

1230
01:06:21,560 --> 01:06:24,720
Speaker 5: y'all can't include us in whatever y'all got going on.

1231
01:06:24,920 --> 01:06:28,360
Speaker 5: You can't include my artists in that. And got it

1232
01:06:28,440 --> 01:06:32,880
Speaker 5: cleared and that became the Philly Philly Record, you know. Yeah, man.

1233
01:06:33,040 --> 01:06:35,720
Speaker 5: So it's been a lot of twists and turns and

1234
01:06:35,800 --> 01:06:37,840
Speaker 5: magics and streets and this that and the other. And

1235
01:06:38,360 --> 01:06:42,840
Speaker 5: the reason why even the beans and kiss stuff never

1236
01:06:43,040 --> 01:06:46,919
Speaker 5: like elevated because I was in between with the relationship

1237
01:06:47,200 --> 01:06:48,520
Speaker 5: with rough Riders.

1238
01:06:49,320 --> 01:06:49,480
Speaker 2: You know.

1239
01:06:49,760 --> 01:06:52,120
Speaker 5: I remember they had Beans had to do something in Harlem,

1240
01:06:53,040 --> 01:06:55,280
Speaker 5: and I got a phone call. They had Beans surrounded,

1241
01:06:55,880 --> 01:06:57,680
Speaker 5: and I got a phone call because you know, Beans

1242
01:06:57,760 --> 01:07:00,680
Speaker 5: was rough on New York and they had this surround.

1243
01:07:00,720 --> 01:07:02,920
Speaker 5: They thought it's coming up on some you know, some

1244
01:07:03,040 --> 01:07:06,760
Speaker 5: dumb stuff because that was like rough Riuters territory. And

1245
01:07:06,840 --> 01:07:08,400
Speaker 5: I was like, nah, bro, he up there to do

1246
01:07:08,480 --> 01:07:10,760
Speaker 5: a shoot him back? And I call it being as

1247
01:07:10,800 --> 01:07:14,720
Speaker 5: I said, Yo, be careful because they all wrapped around

1248
01:07:14,760 --> 01:07:15,320
Speaker 5: the territory.

1249
01:07:15,480 --> 01:07:16,880
Speaker 1: Just do what you gotta do and get.

1250
01:07:16,760 --> 01:07:21,440
Speaker 5: Out, you know, And he did, you know, But yeah, man,

1251
01:07:22,240 --> 01:07:24,800
Speaker 5: but it's just you know, we were able to keep

1252
01:07:24,840 --> 01:07:29,560
Speaker 5: the peace and just allowed to be friendly competition, you know,

1253
01:07:30,080 --> 01:07:32,440
Speaker 5: instead of turning into what it could have been.

1254
01:07:40,560 --> 01:07:43,680
Speaker 1: Did you did you prefer or do you prefer.

1255
01:07:45,840 --> 01:07:48,200
Speaker 4: In the label or outside of the label, Because you've

1256
01:07:48,280 --> 01:07:51,360
Speaker 4: had you know, you've been general manager of Motown and

1257
01:07:51,560 --> 01:07:55,280
Speaker 4: our Atlantic, like you've worked at different at different labels,

1258
01:07:55,280 --> 01:07:57,120
Speaker 4: but then you also have had you know, your companies

1259
01:07:57,240 --> 01:07:57,720
Speaker 4: like Friday.

1260
01:07:58,160 --> 01:08:01,120
Speaker 5: You know what I mean. I enjoyed my freedom right,

1261
01:08:01,640 --> 01:08:05,840
Speaker 5: but at the same time, I feel like the systems

1262
01:08:05,960 --> 01:08:12,120
Speaker 5: need a bit of entrepreneurial expertise. In partnership that can

1263
01:08:12,200 --> 01:08:17,720
Speaker 5: help them with different things. Right, So consulting could be good, right,

1264
01:08:18,479 --> 01:08:21,599
Speaker 5: but not going back in like full time. I feel

1265
01:08:21,640 --> 01:08:23,680
Speaker 5: like it's a bit of a handcuff, you know what

1266
01:08:23,760 --> 01:08:27,000
Speaker 5: I mean. And you know, I'm used to owning my stuff,

1267
01:08:27,479 --> 01:08:30,640
Speaker 5: so it's a different story when you don't own it,

1268
01:08:30,720 --> 01:08:33,840
Speaker 5: and then you got to listen to so many different

1269
01:08:33,880 --> 01:08:37,080
Speaker 5: people's perspectives and ideas on what they see or deem

1270
01:08:37,160 --> 01:08:39,719
Speaker 5: as the win and all of that kind of stuff,

1271
01:08:39,920 --> 01:08:43,599
Speaker 5: you know. So I like the freedom, but I would

1272
01:08:43,680 --> 01:08:48,720
Speaker 5: love to always consult the executives, you know, and some

1273
01:08:48,840 --> 01:08:52,160
Speaker 5: of the managers and stuff like that, resources and whatever

1274
01:08:52,160 --> 01:08:54,280
Speaker 5: it takes to help them win, whether it's business development

1275
01:08:54,320 --> 01:08:55,600
Speaker 5: stuff or its records.

1276
01:08:55,880 --> 01:08:58,040
Speaker 1: You know what I mean. So what's next for you?

1277
01:08:59,400 --> 01:09:03,280
Speaker 5: Man? I'm thinking through it now, to be honest, you

1278
01:09:03,360 --> 01:09:05,400
Speaker 5: know what I mean. I have plans that I just

1279
01:09:05,560 --> 01:09:08,160
Speaker 5: at this point I don't want to discuss, okay, you know,

1280
01:09:08,280 --> 01:09:13,439
Speaker 5: to be honest, it's lining up really well. But you know,

1281
01:09:14,240 --> 01:09:16,880
Speaker 5: I was taught to talk about it when it's done,

1282
01:09:17,960 --> 01:09:20,360
Speaker 5: you know. But I am putting a book out, which

1283
01:09:20,439 --> 01:09:26,120
Speaker 5: I ironically I just got the feedback from Amazon today.

1284
01:09:26,120 --> 01:09:28,479
Speaker 5: I got to read the final manuscripts on the plane tonight.

1285
01:09:29,000 --> 01:09:33,200
Speaker 5: But it's called the Invisible Architects, and it's about just that, right,

1286
01:09:33,280 --> 01:09:36,000
Speaker 5: the people that are kind of been in the shadows,

1287
01:09:36,040 --> 01:09:40,679
Speaker 5: holding like the business down in various different ways, whether

1288
01:09:40,720 --> 01:09:44,080
Speaker 5: it was the gambling hubs or the Garrig Gordy's, and this,

1289
01:09:44,240 --> 01:09:48,439
Speaker 5: that and the others. Like these folks that these tools

1290
01:09:48,600 --> 01:09:51,240
Speaker 5: and these skill sets that need to be reapplied to

1291
01:09:51,320 --> 01:09:54,840
Speaker 5: the business. And I kind of got a breakdown from

1292
01:09:55,800 --> 01:10:00,800
Speaker 5: the days at Motown really looking at what could make

1293
01:10:00,880 --> 01:10:06,080
Speaker 5: these businesses better and what hinders the businesses. And it's

1294
01:10:06,120 --> 01:10:08,800
Speaker 5: just kind of giving a blueprint that if somebody was

1295
01:10:08,840 --> 01:10:13,679
Speaker 5: in this opportunity, how they should really see the parts

1296
01:10:13,760 --> 01:10:17,480
Speaker 5: coming together and you know, what they should actually.

1297
01:10:17,200 --> 01:10:17,920
Speaker 1: Do with the parts.

1298
01:10:18,680 --> 01:10:23,120
Speaker 5: So it's not necessarily my story. It's like an infrastructure layout.

1299
01:10:23,200 --> 01:10:27,160
Speaker 5: It's very short. I feel like people don't have long

1300
01:10:27,240 --> 01:10:30,360
Speaker 5: attention span to learn reading, so I kept it down

1301
01:10:30,400 --> 01:10:34,280
Speaker 5: to fifty pages, ten chapters, and that's the first book,

1302
01:10:35,040 --> 01:10:37,360
Speaker 5: and then the next one is going to be the

1303
01:10:37,479 --> 01:10:40,920
Speaker 5: story of you know, the real story of kind of

1304
01:10:40,960 --> 01:10:44,000
Speaker 5: stuff that we talked about today and even stuff that

1305
01:10:44,080 --> 01:10:45,920
Speaker 5: we miss because you can't get a fit at all

1306
01:10:46,000 --> 01:10:49,160
Speaker 5: inside of this because there's executives that I put in place,

1307
01:10:49,880 --> 01:10:53,680
Speaker 5: you know, there's managers that are put in place, like

1308
01:10:54,520 --> 01:10:58,679
Speaker 5: you know, so it's I want to really talk about

1309
01:10:58,720 --> 01:11:03,800
Speaker 5: the journey way, but where I actually own it. Yeah,

1310
01:11:03,960 --> 01:11:06,040
Speaker 5: you know what I mean. It's like certain stuff you

1311
01:11:06,240 --> 01:11:09,320
Speaker 5: just don't give away. You got to own it so

1312
01:11:09,400 --> 01:11:12,360
Speaker 5: people can really understand the impact that you put into

1313
01:11:12,479 --> 01:11:15,080
Speaker 5: this business and the passion that you put into it.

1314
01:11:15,280 --> 01:11:18,080
Speaker 5: So you know, the one thing that I say about

1315
01:11:18,120 --> 01:11:21,920
Speaker 5: the executives now, and ironically I hate to say it,

1316
01:11:22,000 --> 01:11:24,760
Speaker 5: but it's like the black executives, a lot of them

1317
01:11:24,840 --> 01:11:29,400
Speaker 5: have terrible phone habits. You know, they're calling response is

1318
01:11:30,240 --> 01:11:33,560
Speaker 5: not the way it should be, you know, when it

1319
01:11:33,640 --> 01:11:37,439
Speaker 5: comes to help and resources. I think a lot of

1320
01:11:37,479 --> 01:11:40,840
Speaker 5: them feel like they have it. Whatever executives in the

1321
01:11:40,960 --> 01:11:44,400
Speaker 5: past they didn't feel like they had it. They felt like,

1322
01:11:45,240 --> 01:11:46,479
Speaker 5: if you call them, I want to know what you

1323
01:11:46,560 --> 01:11:49,360
Speaker 5: feel like, you're not. And I feel like now they

1324
01:11:49,400 --> 01:11:52,559
Speaker 5: feel like they got it, and I feel like it's

1325
01:11:52,600 --> 01:11:57,000
Speaker 5: the easiest way to either get you booted out, you know,

1326
01:11:57,120 --> 01:11:59,479
Speaker 5: because that's not the you think it's the safer out,

1327
01:11:59,520 --> 01:12:02,200
Speaker 5: but it's not. You know, just kind of sitting back

1328
01:12:02,320 --> 01:12:07,000
Speaker 5: standing on this thing and not taking any risk or this,

1329
01:12:07,160 --> 01:12:08,720
Speaker 5: that and the other. The best thing that you could

1330
01:12:08,760 --> 01:12:12,360
Speaker 5: do is get with some vets and match those those

1331
01:12:12,439 --> 01:12:14,599
Speaker 5: wits up, just like vesity to get with young people,

1332
01:12:15,320 --> 01:12:20,000
Speaker 5: match those wits up. It's like there's no lineage inside

1333
01:12:20,040 --> 01:12:23,360
Speaker 5: of the mechanism that we see that is working. But

1334
01:12:23,479 --> 01:12:28,040
Speaker 5: we're watching it with other genres. We see African music,

1335
01:12:28,479 --> 01:12:32,240
Speaker 5: those guys they still in it. Platinos they still in it,

1336
01:12:32,640 --> 01:12:33,960
Speaker 5: and so on and so forth. They're still in it.

1337
01:12:34,400 --> 01:12:38,320
Speaker 5: We're here, We're like, we're like this when it should

1338
01:12:38,320 --> 01:12:42,160
Speaker 5: be more together because there's information that everybody could share

1339
01:12:42,920 --> 01:12:47,759
Speaker 5: that can ultimately make this system like consistently crank with quality.

1340
01:12:48,320 --> 01:12:51,120
Speaker 5: So you just need to get back to it. You know,

1341
01:12:51,680 --> 01:12:55,080
Speaker 5: I'm waiting to see, you know, who's going to invite

1342
01:12:55,120 --> 01:12:57,960
Speaker 5: that kind of energy in. You know, I'm excited to

1343
01:12:58,000 --> 01:13:01,040
Speaker 5: see Ethiopia back in the saddle, you know what I mean.

1344
01:13:01,240 --> 01:13:05,360
Speaker 5: So you know, whatever help she needs, we're gonna give

1345
01:13:05,400 --> 01:13:07,600
Speaker 5: it to her. We want to see her win, you

1346
01:13:07,680 --> 01:13:10,679
Speaker 5: know what I mean. You know, she gambled on QC

1347
01:13:11,080 --> 01:13:13,880
Speaker 5: early and they had a heck of a run, and

1348
01:13:14,200 --> 01:13:14,880
Speaker 5: look where they ended.

1349
01:13:14,960 --> 01:13:15,080
Speaker 1: Up.

1350
01:13:15,880 --> 01:13:17,640
Speaker 5: So it's like now it's like, you know, how do

1351
01:13:17,680 --> 01:13:20,840
Speaker 5: you pour into her? You know, I don't want a gig,

1352
01:13:21,000 --> 01:13:23,960
Speaker 5: but I would definitely consult, you know what I mean?

1353
01:13:24,520 --> 01:13:26,920
Speaker 5: Those wins. I just want to see people win, bro,

1354
01:13:27,479 --> 01:13:29,479
Speaker 5: And I want to see the music in the environment

1355
01:13:29,520 --> 01:13:32,720
Speaker 5: get better. You know, we can't just be you know,

1356
01:13:32,840 --> 01:13:35,960
Speaker 5: you look at rap. They got us killers and hoes.

1357
01:13:37,080 --> 01:13:40,760
Speaker 5: It's too much, you know, it has no balance, Bro,

1358
01:13:40,880 --> 01:13:43,000
Speaker 5: It's like, what's the family listening to?

1359
01:13:44,240 --> 01:13:44,439
Speaker 2: You know?

1360
01:13:44,800 --> 01:13:47,160
Speaker 5: Now I'm watching people with little babies, two three four

1361
01:13:47,240 --> 01:13:49,840
Speaker 5: year old babies with stacks of money in their hands

1362
01:13:49,840 --> 01:13:51,920
Speaker 5: and chains on and stuff like that. I'm like, okay,

1363
01:13:52,320 --> 01:13:55,839
Speaker 5: well if you have this now, what will you appreciate

1364
01:13:55,880 --> 01:13:58,000
Speaker 5: when you're twenty one, when you're out on your own?

1365
01:13:58,880 --> 01:14:02,479
Speaker 5: And what if that can't come? Then now you're going

1366
01:14:02,560 --> 01:14:05,080
Speaker 5: to be going in the wrong direction. This is where

1367
01:14:05,080 --> 01:14:07,800
Speaker 5: you end up depressed on drugs, in jail, this, that

1368
01:14:07,880 --> 01:14:11,080
Speaker 5: and the other. There's a time and the place for everything,

1369
01:14:11,760 --> 01:14:13,800
Speaker 5: and I just don't feel like that is the place

1370
01:14:13,880 --> 01:14:15,240
Speaker 5: for children, you.

1371
01:14:15,240 --> 01:14:15,640
Speaker 1: Know what I mean?

1372
01:14:15,640 --> 01:14:17,880
Speaker 5: I don't feel like the language is the place. Know nothing,

1373
01:14:18,320 --> 01:14:21,960
Speaker 5: And we got to tighten up. We got to tighten up, bro,

1374
01:14:22,640 --> 01:14:28,000
Speaker 5: because R and B music, black music has always led

1375
01:14:28,040 --> 01:14:31,760
Speaker 5: the way for every genre. The flavors come off of

1376
01:14:31,840 --> 01:14:34,479
Speaker 5: that influence, whether it's rock and roll, whether it's jazz,

1377
01:14:34,680 --> 01:14:38,560
Speaker 5: hip hop, whatever, and right now it's not at that

1378
01:14:38,680 --> 01:14:42,759
Speaker 5: place and it's gotta get back. That's why a champion

1379
01:14:42,920 --> 01:14:47,360
Speaker 5: the leons, he wants to be great and he's parting

1380
01:14:47,400 --> 01:14:50,200
Speaker 5: of them, bro, you know, going to the shows and

1381
01:14:50,280 --> 01:14:53,679
Speaker 5: watching the shows, just watching his kids, just like Craank

1382
01:14:54,800 --> 01:14:59,880
Speaker 5: night after night and he's singing, sanging, actually singing, he sang.

1383
01:15:00,520 --> 01:15:05,000
Speaker 5: So you know, look, man, it's a I don't think

1384
01:15:05,040 --> 01:15:09,200
Speaker 5: it's at a loss, but I just feel like, you know,

1385
01:15:10,080 --> 01:15:12,200
Speaker 5: people need to work more together to get it together,

1386
01:15:13,200 --> 01:15:16,880
Speaker 5: you know, and if that happens, because it's not like

1387
01:15:17,000 --> 01:15:20,760
Speaker 5: it's not talent out here. I think that there's a

1388
01:15:20,920 --> 01:15:27,760
Speaker 5: lack of skill sets to see real talent. And I'm

1389
01:15:27,800 --> 01:15:30,679
Speaker 5: watching people grab singers that they can sing, but they're

1390
01:15:30,720 --> 01:15:34,479
Speaker 5: not stars. And we know that, like not always. It's

1391
01:15:34,520 --> 01:15:38,240
Speaker 5: the greatest singers, the ones that make it over singing

1392
01:15:38,439 --> 01:15:41,560
Speaker 5: and how many runs you can do, Man, this is

1393
01:15:41,560 --> 01:15:44,400
Speaker 5: about a ton of story, you know. You know that

1394
01:15:44,720 --> 01:15:47,080
Speaker 5: as a singer, it's like you could run if you want,

1395
01:15:47,640 --> 01:15:50,080
Speaker 5: but you know, you got to tell that story. I

1396
01:15:50,160 --> 01:15:52,360
Speaker 5: got to save all that extra candy for this place

1397
01:15:52,800 --> 01:15:56,479
Speaker 5: in that place orful live, but not throughout the song.

1398
01:15:57,840 --> 01:16:01,120
Speaker 5: And I'm listening to people misplaced runs. You know, they

1399
01:16:01,400 --> 01:16:03,880
Speaker 5: got them in places that Oh you just thought that

1400
01:16:03,960 --> 01:16:06,519
Speaker 5: that would be cool right there, So you said, hold up,

1401
01:16:07,040 --> 01:16:09,720
Speaker 5: punch that in. Let me hit that. You just like

1402
01:16:11,080 --> 01:16:12,880
Speaker 5: didn't feel it, you know.

1403
01:16:13,320 --> 01:16:15,800
Speaker 1: So it's it's it's some cool It's some cool talent, man,

1404
01:16:16,840 --> 01:16:18,000
Speaker 1: some cool talent. I want.

1405
01:16:18,040 --> 01:16:21,120
Speaker 4: I want to say, man, thank you for for pouring

1406
01:16:21,160 --> 01:16:23,840
Speaker 4: in us like Tanking and I have both known you

1407
01:16:24,000 --> 01:16:29,519
Speaker 4: for two decades. But that's not always a thing that

1408
01:16:31,200 --> 01:16:34,160
Speaker 4: a lot of executives do, you know what I mean?

1409
01:16:34,240 --> 01:16:36,360
Speaker 4: Like but I just saying it as like, oh yeah,

1410
01:16:36,400 --> 01:16:39,040
Speaker 4: you're my guys, but a lot of people are people's

1411
01:16:39,080 --> 01:16:40,439
Speaker 4: guys and they still don't pour in.

1412
01:16:40,640 --> 01:16:42,240
Speaker 5: But I mean, but you know what though, man, to

1413
01:16:42,320 --> 01:16:45,920
Speaker 5: be honest with you, man, I never bought into me

1414
01:16:46,120 --> 01:16:51,040
Speaker 5: being like this music business person like this is this

1415
01:16:51,240 --> 01:16:53,360
Speaker 5: just happened to be what I love to do. But

1416
01:16:53,520 --> 01:16:56,800
Speaker 5: if you notice Jay Tank two, you've never seen me

1417
01:16:56,880 --> 01:16:58,760
Speaker 5: in parties and this, that and the other.

1418
01:16:59,080 --> 01:16:59,920
Speaker 1: What I got to do. I go home.

1419
01:17:01,120 --> 01:17:03,720
Speaker 5: All of the other stuff, man, is the distraction from

1420
01:17:04,520 --> 01:17:08,320
Speaker 5: learning and studying what you're doing to be great? Like,

1421
01:17:08,479 --> 01:17:11,400
Speaker 5: it's not about how popular you are, it's how great

1422
01:17:11,479 --> 01:17:15,280
Speaker 5: you are. And it's also about you, know, what have

1423
01:17:15,400 --> 01:17:19,639
Speaker 5: you done as a service. Everybody can eat on their own,

1424
01:17:19,720 --> 01:17:22,360
Speaker 5: everybody can do for themselves, but like, have you put

1425
01:17:22,439 --> 01:17:26,599
Speaker 5: yourself as you've gained in this business, have you also

1426
01:17:26,760 --> 01:17:30,800
Speaker 5: put yourself out there as a service to others? That's

1427
01:17:30,880 --> 01:17:35,840
Speaker 5: the key anybody could do for yourself. You gain bro

1428
01:17:36,200 --> 01:17:39,200
Speaker 5: by dropping debt here. I can drop debt over here

1429
01:17:39,520 --> 01:17:42,000
Speaker 5: knowing that he gonna pay it off when you get

1430
01:17:42,040 --> 01:17:44,880
Speaker 5: on the stage, when you're getting the studio, I could

1431
01:17:44,960 --> 01:17:46,960
Speaker 5: drop that here and I know you're going to work

1432
01:17:47,000 --> 01:17:49,559
Speaker 5: to get it done. A lot of times the debt

1433
01:17:49,960 --> 01:17:54,719
Speaker 5: is being dropped in the wrong places because people don't

1434
01:17:54,760 --> 01:17:58,360
Speaker 5: have great choices, or they got some more weird other

1435
01:17:58,479 --> 01:18:00,639
Speaker 5: things going on in their mind, and that they want

1436
01:18:00,680 --> 01:18:03,800
Speaker 5: to take over people. I don't want to take over nobody, bro.

1437
01:18:03,800 --> 01:18:07,120
Speaker 5: I don't want your credit, I don't want nothing. I

1438
01:18:07,280 --> 01:18:08,200
Speaker 5: just want you to be good.

1439
01:18:09,280 --> 01:18:11,280
Speaker 1: That's it. We've been knowing each other a long time.

1440
01:18:11,800 --> 01:18:13,760
Speaker 5: I never stepped you be like, yo, man, Jay, let

1441
01:18:13,800 --> 01:18:15,680
Speaker 5: me manage you. I never hit you, joke. Let me

1442
01:18:15,760 --> 01:18:20,600
Speaker 5: manage you for what it's just messy. Just be a

1443
01:18:20,640 --> 01:18:22,160
Speaker 5: part of the community, bro, and serve.

1444
01:18:22,400 --> 01:18:22,680
Speaker 1: That's it.

1445
01:18:23,240 --> 01:18:29,080
Speaker 5: Everything else is chump stuff, man, real chump stuff.

1446
01:18:29,160 --> 01:18:29,280
Speaker 1: Bro.

1447
01:18:29,960 --> 01:18:35,320
Speaker 5: So you know coming back, you know, coming back to

1448
01:18:35,439 --> 01:18:40,639
Speaker 5: Motown leaving the business for ten years, bro, Well, coming

1449
01:18:40,680 --> 01:18:43,240
Speaker 5: to Motown after leaving the business for ten years, it's

1450
01:18:43,320 --> 01:18:48,120
Speaker 5: like going back to your old neighborhood after you left

1451
01:18:48,479 --> 01:18:53,200
Speaker 5: and you came back, it's been completely gentrified and rearranged,

1452
01:18:53,240 --> 01:18:55,360
Speaker 5: and you're like that, what happened to this cookie store?

1453
01:18:56,200 --> 01:18:58,720
Speaker 5: Things that made this thing great? It's no longer there.

1454
01:19:00,040 --> 01:19:03,840
Speaker 5: Everybody is a star, so it's.

1455
01:19:03,720 --> 01:19:04,920
Speaker 1: Like, how you a star?

1456
01:19:05,040 --> 01:19:09,160
Speaker 5: You ain't making nothing even the way the stars. Everybody's

1457
01:19:09,200 --> 01:19:14,360
Speaker 5: in the way of stars. Everybody's an influencer. The executives

1458
01:19:14,360 --> 01:19:16,960
Speaker 5: are influencers, this, that and the other. It's okay, if

1459
01:19:17,000 --> 01:19:19,920
Speaker 5: you got so much attention on how to make your image,

1460
01:19:20,280 --> 01:19:25,519
Speaker 5: how much energy are you putting into these artists. I

1461
01:19:25,640 --> 01:19:27,640
Speaker 5: see more pictures of you on your socials than I

1462
01:19:27,760 --> 01:19:30,720
Speaker 5: do of artists that you're working on. I see you

1463
01:19:30,880 --> 01:19:34,960
Speaker 5: with these titles, but I don't see the work that

1464
01:19:35,120 --> 01:19:38,519
Speaker 5: got you there. I can't see you worked on this, this, this,

1465
01:19:38,960 --> 01:19:42,280
Speaker 5: and this. Now I see why you're there. These are

1466
01:19:42,400 --> 01:19:46,720
Speaker 5: like social credits. Yeah, and it's sad to say, but

1467
01:19:46,800 --> 01:19:50,960
Speaker 5: it's true. Before I got the first gig, bro, I

1468
01:19:51,080 --> 01:19:55,320
Speaker 5: landed some real records and set some careers up where

1469
01:19:55,360 --> 01:19:57,360
Speaker 5: people looking like, Yo, this dude is on the South.

1470
01:19:57,920 --> 01:19:58,599
Speaker 5: You know what I'm saying.

1471
01:19:58,720 --> 01:20:02,560
Speaker 1: Now, I'm not looking at that onto something thing. We

1472
01:20:02,680 --> 01:20:05,920
Speaker 1: got to get back to that. It can't salute it.

1473
01:20:07,200 --> 01:20:07,880
Speaker 1: It's bad. Bro.

1474
01:20:08,040 --> 01:20:10,640
Speaker 5: You look around, You're like, Okay, it can't be this.

1475
01:20:10,840 --> 01:20:13,720
Speaker 5: Many people claim that they're doing this stuff and we're

1476
01:20:13,880 --> 01:20:17,560
Speaker 5: here versus here. Before it was less people doing it,

1477
01:20:17,720 --> 01:20:21,000
Speaker 5: more success success. Now it's more people doing it's less success.

1478
01:20:22,360 --> 01:20:27,839
Speaker 5: It's like it's a playground. Gotta get rid of the playground.

1479
01:20:29,160 --> 01:20:31,759
Speaker 5: Get back to the work, get back to the stars,

1480
01:20:31,800 --> 01:20:35,040
Speaker 5: get back to quality music, get back to the real songwriting.

1481
01:20:43,040 --> 01:20:46,559
Speaker 5: It's AI stuff that I'm hearing people talk about ain't

1482
01:20:46,560 --> 01:20:50,320
Speaker 5: go outright, no human being, Bro, you can hear it.

1483
01:20:51,000 --> 01:20:53,519
Speaker 1: I have people sending me AI saws. I call them back.

1484
01:20:53,560 --> 01:20:55,680
Speaker 1: Somebody sent me one today. I said, hell, you did

1485
01:20:55,720 --> 01:20:57,479
Speaker 1: that on AI huh So, how'd you know?

1486
01:20:57,960 --> 01:21:00,479
Speaker 5: It's because it has no soul. It's nothing there. I

1487
01:21:00,560 --> 01:21:03,880
Speaker 5: can feel it, and it does certain things. It takes

1488
01:21:03,920 --> 01:21:08,080
Speaker 5: certain routes, it does certain things consistently, no matter the

1489
01:21:08,160 --> 01:21:12,559
Speaker 5: drawing that you listen, just like, yeah, you ain't even

1490
01:21:12,640 --> 01:21:14,920
Speaker 5: go in once you got the sauce from it. At

1491
01:21:15,040 --> 01:21:17,799
Speaker 5: least go in and tweak it to make it something

1492
01:21:17,920 --> 01:21:21,320
Speaker 5: like you're settling in on this because you think you

1493
01:21:21,439 --> 01:21:23,800
Speaker 5: got one. It's like it ain't one.

1494
01:21:24,640 --> 01:21:26,280
Speaker 1: I tell the guy today, I'm like, Okay, I hear

1495
01:21:26,320 --> 01:21:27,040
Speaker 1: this right here.

1496
01:21:27,439 --> 01:21:32,519
Speaker 5: But where's the hook? This feels like the pre hook.

1497
01:21:32,760 --> 01:21:33,400
Speaker 1: But where's the.

1498
01:21:35,280 --> 01:21:37,080
Speaker 5: You know what I'm saying, It wasn't there. He was like,

1499
01:21:37,320 --> 01:21:39,280
Speaker 5: I never even thought about it like that. I said, Wow,

1500
01:21:40,800 --> 01:21:41,840
Speaker 5: very interesting.

1501
01:21:41,520 --> 01:21:44,040
Speaker 1: That you did it. Then the computer do all the thinking.

1502
01:21:44,160 --> 01:21:44,800
Speaker 1: Huh man.

1503
01:21:47,200 --> 01:21:50,880
Speaker 5: I like the oven, bro. Yeah, that microwave ain't cool.

1504
01:21:53,439 --> 01:21:55,280
Speaker 5: I can go to the bathroom, come back. That food

1505
01:21:55,320 --> 01:21:58,280
Speaker 5: for the microwave be cold. Yeah, I could go wash

1506
01:21:58,360 --> 01:22:03,000
Speaker 5: my car and run to the story real quick. Yeah

1507
01:22:03,040 --> 01:22:05,720
Speaker 5: that other food still at least gonna be warm. Ye, yes,

1508
01:22:06,200 --> 01:22:07,000
Speaker 5: got to get back to that.

1509
01:22:07,240 --> 01:22:12,200
Speaker 1: Yeah, so you know I love it. That's my story, bro,

1510
01:22:12,280 --> 01:22:16,280
Speaker 1: I'm sticking to it. I like your story, brother, I

1511
01:22:16,439 --> 01:22:17,599
Speaker 1: like that we're part of it, bro.

1512
01:22:18,120 --> 01:22:21,200
Speaker 5: Yeah percent. But y'all worked at it though, man, Like,

1513
01:22:21,360 --> 01:22:24,920
Speaker 5: you can't be in it this long and not have

1514
01:22:25,080 --> 01:22:28,519
Speaker 5: done the work, right. That's where we come from, you know. Yeah,

1515
01:22:29,080 --> 01:22:32,479
Speaker 5: that is our why, that is our reason. Yeah, you

1516
01:22:32,560 --> 01:22:35,240
Speaker 5: know see what I'm saying, like and and and ultimately

1517
01:22:35,720 --> 01:22:39,559
Speaker 5: you know there is a sept there will be a separation.

1518
01:22:40,760 --> 01:22:44,760
Speaker 5: Like you you you see the artists who are really

1519
01:22:44,920 --> 01:22:48,560
Speaker 5: what they say they are. Oh yeah, what they do

1520
01:22:48,800 --> 01:22:50,840
Speaker 5: and the way they do it. Yeah, I mean, look,

1521
01:22:50,880 --> 01:22:54,519
Speaker 5: Bruno is like a crazy example that right where people

1522
01:22:54,520 --> 01:22:56,920
Speaker 5: are like, yeah, just keep putting up music every year,

1523
01:22:57,479 --> 01:22:58,840
Speaker 5: how many to a year?

1524
01:22:58,880 --> 01:22:59,519
Speaker 1: And this, that and the other.

1525
01:22:59,560 --> 01:23:03,240
Speaker 5: It's like, man, I ain't nothing to blowout if you

1526
01:23:03,360 --> 01:23:07,160
Speaker 5: put quality out. This guy proved that you can take

1527
01:23:07,240 --> 01:23:10,879
Speaker 5: off eight years i think ten years without the project

1528
01:23:10,960 --> 01:23:13,320
Speaker 5: and come back and they're waiting for you. But what's

1529
01:23:13,360 --> 01:23:16,840
Speaker 5: even crazier is that he's doing larger venues than he

1530
01:23:16,920 --> 01:23:20,040
Speaker 5: did before that, and he's taking us waiting.

1531
01:23:20,200 --> 01:23:23,960
Speaker 1: Come on, man, Leon, come on Victoria. Yeah, man, yeah,

1532
01:23:24,320 --> 01:23:26,320
Speaker 1: the people, man, Ray.

1533
01:23:26,800 --> 01:23:31,120
Speaker 5: Come on, Yeah, it's happening. Yeah, it's happening. So that's

1534
01:23:31,160 --> 01:23:35,559
Speaker 5: the quality we speak of that again, that it should

1535
01:23:35,600 --> 01:23:38,639
Speaker 5: be should be notes, should be taken. Well, I'm hoping

1536
01:23:38,760 --> 01:23:42,120
Speaker 5: copycat culture makes people look at these examples and say, wow,

1537
01:23:42,160 --> 01:23:45,360
Speaker 5: I got to step it up because it is copycat

1538
01:23:45,439 --> 01:23:49,000
Speaker 5: culture right now of course. So you know, we'll see, Yeah,

1539
01:23:49,080 --> 01:23:50,679
Speaker 5: we'll see, we'll see. I'm waiting.

1540
01:23:51,240 --> 01:23:54,479
Speaker 4: I know what they can't copycat tanking this damn Cassio,

1541
01:23:54,880 --> 01:24:00,800
Speaker 4: that's what they can't copy cat. Yeah, I say, you

1542
01:24:00,920 --> 01:24:04,360
Speaker 4: know what, they heard some little hate about your your

1543
01:24:04,479 --> 01:24:05,200
Speaker 4: keyboard lately.

1544
01:24:05,240 --> 01:24:06,960
Speaker 1: Man, there's been people that's just been you know, maybe

1545
01:24:07,040 --> 01:24:10,280
Speaker 1: in the comments they talking about your little keyboard. I said,

1546
01:24:10,439 --> 01:24:13,960
Speaker 1: let my guy be great man with those sep keys, Dad,

1547
01:24:14,960 --> 01:24:15,800
Speaker 1: go ahead and take this out.

1548
01:24:16,640 --> 01:24:20,280
Speaker 2: If they can beat me, beat me, you know what

1549
01:24:20,320 --> 01:24:22,320
Speaker 2: I'm saying, saying, they can't beat you. Chance, if they

1550
01:24:22,360 --> 01:24:25,040
Speaker 2: can beat me, they can't beat you. Chaning the Casio.

1551
01:24:26,600 --> 01:24:30,120
Speaker 2: It's like my like my brother Mark said, I'm just

1552
01:24:30,200 --> 01:24:30,720
Speaker 2: trying to be.

1553
01:24:30,760 --> 01:24:40,760
Speaker 1: Of service, me and Casio. Uncle Mark.

1554
01:24:40,760 --> 01:24:48,360
Speaker 2: I'm gonna attempt something after Long Vegas weekend with what

1555
01:24:48,520 --> 01:24:51,160
Speaker 2: little vocal I have left. But I'm not gonna let

1556
01:24:51,280 --> 01:24:52,000
Speaker 2: you leave here.

1557
01:24:52,200 --> 01:24:56,520
Speaker 1: We're around there say septeenth ding no sleep, no sleep.

1558
01:24:56,680 --> 01:24:57,960
Speaker 5: No sleep. We we.

1559
01:25:03,200 --> 01:25:04,840
Speaker 1: The time. If you get an opportunity to let the

1560
01:25:04,920 --> 01:25:12,800
Speaker 1: people know, we're gonna let him know you. You're mm

1561
01:25:12,840 --> 01:25:21,400
Speaker 1: hmm you got top five, your top five?

1562
01:25:22,000 --> 01:25:36,120
Speaker 3: Yeah five, you're top fellow beasing are and these songs.

1563
01:25:37,680 --> 01:25:38,680
Speaker 5: We got to know?

1564
01:25:39,920 --> 01:25:43,679
Speaker 1: Thought you going around this show for nobody?

1565
01:25:43,880 --> 01:25:44,439
Speaker 2: Want to know.

1566
01:25:47,800 --> 01:25:48,880
Speaker 1: Everybody else?

1567
01:25:50,479 --> 01:25:50,719
Speaker 2: Right?

1568
01:25:52,120 --> 01:26:28,800
Speaker 1: No? You top five? H should I say Stevie your

1569
01:26:28,880 --> 01:26:29,599
Speaker 1: top five?

1570
01:26:30,200 --> 01:26:34,320
Speaker 5: I'm giving you R and B singers Top five R

1571
01:26:34,320 --> 01:26:38,160
Speaker 5: and B singer Let's go. Let's go Stevie, Teddy Pendergrass,

1572
01:26:39,240 --> 01:26:49,040
Speaker 5: Gladys Knight, Shaka Khan and ironically, man, I really love

1573
01:26:49,160 --> 01:26:49,840
Speaker 5: Maurice White.

1574
01:26:51,000 --> 01:26:52,520
Speaker 1: What do you mean ironic?

1575
01:26:52,720 --> 01:26:56,599
Speaker 5: Really? Like you know, I really love like most time

1576
01:26:56,640 --> 01:27:00,839
Speaker 5: people picked like these solo singers, right, but like Maurice

1577
01:27:01,040 --> 01:27:03,880
Speaker 5: was cold and just what he was singing about.

1578
01:27:04,200 --> 01:27:09,960
Speaker 1: Man, it's some people have voices like that just define

1579
01:27:10,080 --> 01:27:11,320
Speaker 1: generations in a sense.

1580
01:27:11,800 --> 01:27:15,680
Speaker 2: It's he's one of those. It's a voice, well, man,

1581
01:27:15,720 --> 01:27:18,120
Speaker 2: it's just a voice in itself.

1582
01:27:18,280 --> 01:27:21,120
Speaker 1: Is just the gift. You don't have to do a

1583
01:27:21,200 --> 01:27:23,760
Speaker 1: whole bunch of nothing, not a whole bunch just as

1584
01:27:23,800 --> 01:27:25,000
Speaker 1: soon as you hear that voice.

1585
01:27:25,920 --> 01:27:28,840
Speaker 2: Yeah, there we go now Mary's Rights be cruising. Now

1586
01:27:28,880 --> 01:27:33,120
Speaker 2: we just cruising. We're there now yeah yeah, and Gladys

1587
01:27:33,160 --> 01:27:39,320
Speaker 2: like I love that you named artists that that recorded

1588
01:27:39,439 --> 01:27:41,679
Speaker 2: records from top to bottom.

1589
01:27:43,680 --> 01:27:48,320
Speaker 1: Mm hmm. These are no punches, no punches, no pro tools.

1590
01:27:48,479 --> 01:27:50,679
Speaker 1: This ain't no pro so when you see him live,

1591
01:27:51,040 --> 01:27:52,800
Speaker 1: they sound exactly like the record. Man.

1592
01:27:52,920 --> 01:27:56,160
Speaker 5: Listen, bro, you hear Gladys singing one of us.

1593
01:27:56,240 --> 01:27:58,000
Speaker 1: Bro. Come on, man, come on.

1594
01:27:59,200 --> 01:28:02,559
Speaker 2: I worked on song We're Gladys when my very first

1595
01:28:02,600 --> 01:28:05,760
Speaker 2: opportunities to produce and write for Gladys knight.

1596
01:28:06,040 --> 01:28:06,320
Speaker 5: Wow.

1597
01:28:07,400 --> 01:28:11,040
Speaker 2: And I watched that woman sing. I let's watch she

1598
01:28:11,200 --> 01:28:15,439
Speaker 2: listened to the song for about twenty gonna repeat send

1599
01:28:15,439 --> 01:28:19,719
Speaker 2: in the back of all right, all right, I'm ready.

1600
01:28:20,920 --> 01:28:27,960
Speaker 2: She went in that booth top two bottom, and I'm

1601
01:28:28,040 --> 01:28:33,160
Speaker 2: talking perfection. I'm talking perfection.

1602
01:28:33,360 --> 01:28:33,479
Speaker 1: Bro.

1603
01:28:35,000 --> 01:28:36,240
Speaker 5: I know you're telling me.

1604
01:28:36,320 --> 01:28:40,400
Speaker 1: I get it. My desire to try and produce her

1605
01:28:43,720 --> 01:28:49,400
Speaker 1: my only the only thing. My only critique was I

1606
01:28:49,560 --> 01:28:54,920
Speaker 1: just need another one. Yeah, that's it. Let me get

1607
01:28:54,960 --> 01:28:55,719
Speaker 1: back your hair again.

1608
01:28:56,040 --> 01:29:01,519
Speaker 2: Let me just yeah, just do one more track? Please, please,

1609
01:29:02,120 --> 01:29:06,000
Speaker 2: actually pretty please? Come on, man, I get it.

1610
01:29:06,640 --> 01:29:08,719
Speaker 1: That was the first time I've ever seen that done

1611
01:29:09,720 --> 01:29:13,000
Speaker 1: and it made me want to do that.

1612
01:29:13,360 --> 01:29:18,240
Speaker 5: Yeah, I've got a couple. I know you mentioned. I

1613
01:29:18,360 --> 01:29:23,080
Speaker 5: know you mentioned songs too, songs. Yet I'm wont to

1614
01:29:23,120 --> 01:29:27,519
Speaker 5: stay at that five okay because we could go all

1615
01:29:27,600 --> 01:29:30,960
Speaker 5: into that and you want to get the songs. Okay, songs,

1616
01:29:31,080 --> 01:29:34,120
Speaker 5: your top five R and B songs. Let's go, man,

1617
01:29:34,120 --> 01:29:37,200
Speaker 5: I don't know if I can go in five. Well, yeah,

1618
01:29:37,880 --> 01:29:42,880
Speaker 5: I think I like After the Love Is Gone. It's incredible,

1619
01:29:43,040 --> 01:29:49,840
Speaker 5: incredible as Stevie's incredible, incredible. I like my favorite record

1620
01:29:49,960 --> 01:29:51,200
Speaker 5: actually is Wonderful World.

1621
01:29:52,080 --> 01:29:56,800
Speaker 1: Mm hmm. It's my favorite record bro all time. Yeah,

1622
01:29:57,840 --> 01:29:59,040
Speaker 1: that's my favorite record.

1623
01:29:58,840 --> 01:30:03,560
Speaker 5: Bro, funny man because you know, I guess because it

1624
01:30:03,640 --> 01:30:06,160
Speaker 5: was also in Disney when you and a kid, and

1625
01:30:06,320 --> 01:30:11,360
Speaker 5: this record, bro, just like kind of defines life, you

1626
01:30:11,439 --> 01:30:14,479
Speaker 5: know what I mean. So Wonderful World has always stood out,

1627
01:30:15,120 --> 01:30:18,960
Speaker 5: you know, to me, just like one of those records

1628
01:30:19,000 --> 01:30:22,000
Speaker 5: that feel like as things progress, like it's really a

1629
01:30:22,080 --> 01:30:28,080
Speaker 5: part of you, you know what I mean? Man, It's

1630
01:30:28,160 --> 01:30:39,600
Speaker 5: a I like the Children record for Marvin gay M

1631
01:30:40,400 --> 01:30:42,720
Speaker 5: big fan of that record. He's in that list, But

1632
01:30:44,000 --> 01:30:45,200
Speaker 5: I like that record.

1633
01:30:48,280 --> 01:30:48,639
Speaker 1: One more.

1634
01:30:49,160 --> 01:30:55,920
Speaker 5: No, Man, I know the Ojys Make Love. M M. Yeah,

1635
01:30:56,880 --> 01:30:57,599
Speaker 5: you know what I'm talking about.

1636
01:31:00,120 --> 01:31:06,040
Speaker 1: Crush that record. He crushed that. Oh, Jason was nasty broh.

1637
01:31:06,880 --> 01:31:09,840
Speaker 5: They man, they trust.

1638
01:31:09,640 --> 01:31:15,040
Speaker 4: Their two voices together, him and Walter bro perfect marriage, unbelievable, perfect,

1639
01:31:15,240 --> 01:31:16,640
Speaker 4: one smooth and one aggressive.

1640
01:31:16,720 --> 01:31:16,880
Speaker 3: Man.

1641
01:31:18,640 --> 01:31:21,080
Speaker 1: I got to question him every night. Yeah, is that

1642
01:31:21,200 --> 01:31:22,679
Speaker 1: the original Casey and Jojo?

1643
01:31:25,080 --> 01:31:25,360
Speaker 5: Might be?

1644
01:31:26,520 --> 01:31:31,240
Speaker 1: Might be? Yeah, you go back listen to that record

1645
01:31:31,280 --> 01:31:34,640
Speaker 1: on your way home because they they definitely stayed in

1646
01:31:34,800 --> 01:31:35,360
Speaker 1: their lane.

1647
01:31:35,760 --> 01:31:37,680
Speaker 5: I tell you that record is gonna be ringing through

1648
01:31:37,720 --> 01:31:43,880
Speaker 5: your car. Yeah, it's nighttime too. The sound really good

1649
01:31:43,920 --> 01:31:46,080
Speaker 5: at night, absolutely, you know what I mean. Just like

1650
01:31:46,240 --> 01:31:48,880
Speaker 5: you know in the East Coast, music sounds extremely good

1651
01:31:48,960 --> 01:31:51,400
Speaker 5: when it's snow on the ground and it's snowing in

1652
01:31:51,479 --> 01:31:54,280
Speaker 5: your car, it's just all boxes muted, you know what

1653
01:31:54,280 --> 01:31:57,960
Speaker 5: I'm saying. It's like your car is like soundproof. Ice

1654
01:31:58,040 --> 01:32:00,400
Speaker 5: to love getting riding and listening to you're sick in

1655
01:32:00,439 --> 01:32:02,519
Speaker 5: the snow, so you didn't have your tip down with

1656
01:32:02,640 --> 01:32:11,080
Speaker 5: a fur No, Teddy, I've never been you know, keep

1657
01:32:11,160 --> 01:32:13,320
Speaker 5: it classic and I've never been one for flash. But

1658
01:32:13,400 --> 01:32:15,320
Speaker 5: he did it. Yeah, he did it.

1659
01:32:15,840 --> 01:32:22,320
Speaker 1: In my next video, top down, it happen. That's a

1660
01:32:22,439 --> 01:32:23,000
Speaker 1: cold scene.

1661
01:32:23,200 --> 01:32:25,880
Speaker 5: I'll be at the studio wherever you're doing the box

1662
01:32:26,320 --> 01:32:27,920
Speaker 5: checking the box of snow down on you.

1663
01:32:31,720 --> 01:32:35,320
Speaker 2: Let's make a voltroying Uncle Mark. Let's make your super

1664
01:32:35,520 --> 01:32:40,080
Speaker 2: R and B artists. Okay, In building your artists, want

1665
01:32:40,120 --> 01:32:43,360
Speaker 2: to know who you're gonna get the vocal from, the

1666
01:32:43,479 --> 01:32:52,920
Speaker 2: performance style, the styling, the passion of the artists, and

1667
01:32:55,400 --> 01:32:58,439
Speaker 2: who's going to produce for that artist and right producing

1668
01:32:58,520 --> 01:33:01,000
Speaker 2: right for that artist. Yeah, wow, I've done a lot

1669
01:33:01,080 --> 01:33:04,160
Speaker 2: to put together, putting it together. Okay, one vocal to

1670
01:33:04,200 --> 01:33:06,360
Speaker 2: make your super R and B artist, one vocal.

1671
01:33:06,479 --> 01:33:08,920
Speaker 1: One vocal. Who's a vocal?

1672
01:33:15,280 --> 01:33:23,720
Speaker 5: Levi's style hm hmm on the fourth times, Yes, that's

1673
01:33:23,760 --> 01:33:26,200
Speaker 5: your I love that, leave us, I love that.

1674
01:33:26,840 --> 01:33:28,240
Speaker 1: I love that. That is a first.

1675
01:33:28,600 --> 01:33:31,800
Speaker 5: There's no there is no heavier voices out here.

1676
01:33:32,320 --> 01:33:35,960
Speaker 4: And le Levi was like, he's a monster. He took

1677
01:33:36,040 --> 01:33:38,640
Speaker 4: on the temptations by itself, by himself. When they had

1678
01:33:38,680 --> 01:33:39,719
Speaker 4: they sang.

1679
01:33:40,560 --> 01:33:44,080
Speaker 5: Just like really really really go back, really really take

1680
01:33:44,120 --> 01:33:44,840
Speaker 5: the time, go back.

1681
01:33:44,880 --> 01:33:50,120
Speaker 2: And Levi like, yeah, you know, I love Levi and

1682
01:33:50,240 --> 01:33:55,000
Speaker 2: I love Felipe went it's just one vocal, It's just

1683
01:33:55,080 --> 01:33:58,599
Speaker 2: one vocals. So We're gonna go with Levi performance style,

1684
01:33:58,920 --> 01:34:00,120
Speaker 2: performance style.

1685
01:34:01,840 --> 01:34:11,880
Speaker 5: On stage, killing the crowd. Sam Cook. Mm hmmm, yeah,

1686
01:34:12,160 --> 01:34:16,479
Speaker 5: Sam Cook, because not everybody could be like the Ushers

1687
01:34:16,560 --> 01:34:21,280
Speaker 5: and the Crises in the in the James Brown's and

1688
01:34:22,240 --> 01:34:25,839
Speaker 5: cats like that, but you can learn to have presence.

1689
01:34:26,680 --> 01:34:31,719
Speaker 5: So yeah, Sam Cook, what's my next one? I feel

1690
01:34:31,800 --> 01:34:38,680
Speaker 5: like you came here in the buick. The styling of

1691
01:34:38,800 --> 01:34:43,880
Speaker 5: the artists, the drip of the artists, drip. I think

1692
01:34:43,960 --> 01:34:44,599
Speaker 5: it could range.

1693
01:34:44,640 --> 01:34:48,719
Speaker 1: Is this a show showtime, showtime, showtime?

1694
01:34:48,840 --> 01:34:50,759
Speaker 5: Yeah, I think it should range. I think they should

1695
01:34:51,240 --> 01:34:54,960
Speaker 5: be a the range from streetwear to being super clean.

1696
01:34:56,160 --> 01:34:56,640
Speaker 1: You know what I mean.

1697
01:34:56,920 --> 01:34:59,640
Speaker 5: You know you're singing the ballad in the sweatsuit.

1698
01:35:00,280 --> 01:35:04,439
Speaker 1: No, put that thing on? Yeah, come back out. What

1699
01:35:04,640 --> 01:35:09,439
Speaker 1: artists do you think has that that that has that range? Styling?

1700
01:35:09,600 --> 01:35:15,280
Speaker 5: And of all time, of all time, Teddy Pendogras was

1701
01:35:15,360 --> 01:35:20,560
Speaker 5: cold right now? I don't know if I see it

1702
01:35:20,720 --> 01:35:21,160
Speaker 5: in full.

1703
01:35:21,520 --> 01:35:25,200
Speaker 2: We're going We're going to Teddy b Yeah, still in

1704
01:35:25,240 --> 01:35:26,759
Speaker 2: our bleab compa.

1705
01:35:26,920 --> 01:35:27,720
Speaker 1: The passion you.

1706
01:35:27,720 --> 01:35:30,400
Speaker 2: Can still ride. It bends with that though. Baby listen,

1707
01:35:31,040 --> 01:35:35,080
Speaker 2: I'm just saying you're going deep into the crates. It

1708
01:35:35,240 --> 01:35:38,400
Speaker 2: wasn't it you know Benzes wasn't going crazy. You got

1709
01:35:38,520 --> 01:35:39,560
Speaker 2: to our neighborhood.

1710
01:35:39,720 --> 01:35:43,160
Speaker 5: You gotta know where you came from to know where

1711
01:35:43,160 --> 01:35:46,680
Speaker 5: you're so I feel like people not going far back

1712
01:35:46,760 --> 01:35:47,840
Speaker 5: in there to that.

1713
01:35:49,360 --> 01:35:51,120
Speaker 2: Yeah, that's why, that's why I wanted to put you

1714
01:35:51,200 --> 01:35:54,000
Speaker 2: in the Buick or you know it's a big body Cadillac.

1715
01:35:54,479 --> 01:36:05,880
Speaker 1: I'm saying, yeah, the white baby blue white gud there

1716
01:36:05,880 --> 01:36:06,639
Speaker 1: you go right there.

1717
01:36:08,800 --> 01:36:13,040
Speaker 5: My pop had my hogging the fleetwood bro bro we

1718
01:36:13,160 --> 01:36:16,160
Speaker 5: call it bro Ham with with with the with the

1719
01:36:16,640 --> 01:36:23,880
Speaker 5: with tires white white, yeah, clean. I wish I missed.

1720
01:36:24,360 --> 01:36:27,960
Speaker 2: I know the passion of the artist who mean it?

1721
01:36:28,439 --> 01:36:32,800
Speaker 2: James Brown, easy and that's sweat, no sweat that that

1722
01:36:32,960 --> 01:36:37,160
Speaker 2: that thing. I ain't gonna get up on that thing. Yeah,

1723
01:36:37,720 --> 01:36:39,519
Speaker 2: that's what you want to do with there. You want

1724
01:36:39,520 --> 01:36:40,400
Speaker 2: to get up on that thing.

1725
01:36:41,880 --> 01:36:43,840
Speaker 1: You got to do it. That's that's it for me,

1726
01:36:44,200 --> 01:36:48,000
Speaker 1: all James All. And what producer you're gonna put this

1727
01:36:48,240 --> 01:36:51,960
Speaker 1: producer writer combo to work with this artist.

1728
01:36:52,360 --> 01:36:53,599
Speaker 5: Producer writer combo.

1729
01:36:53,840 --> 01:36:59,840
Speaker 1: Yep, wow, is you good at that? Mm hmm.

1730
01:37:02,640 --> 01:37:14,560
Speaker 5: I will put a few writers in the producer. I

1731
01:37:14,600 --> 01:37:17,040
Speaker 5: would take the lead of gambling huff, but I would

1732
01:37:17,080 --> 01:37:23,200
Speaker 5: put the dramve dials under him, like Camp wise, I

1733
01:37:23,240 --> 01:37:28,519
Speaker 5: would put I like the kid that that does Lucky Day.

1734
01:37:30,080 --> 01:37:32,080
Speaker 5: What's his name he did Lucky Day? I think he

1735
01:37:32,160 --> 01:37:37,759
Speaker 5: did Bruno two uhh, I mean I know Philip Lawrence.

1736
01:37:37,800 --> 01:37:47,360
Speaker 5: That's Bruno, not camp What's he did Lucky's first album? Yes, yes, yeah, yes, yes, yeah,

1737
01:37:47,840 --> 01:37:55,479
Speaker 5: because you know is because I want the arc to

1738
01:37:55,600 --> 01:37:57,880
Speaker 5: be able to be there when you've got the tempo,

1739
01:37:58,160 --> 01:38:00,000
Speaker 5: you got, the madge you got, but it all feel

1740
01:38:00,200 --> 01:38:03,040
Speaker 5: like it belong together. So I would I would let

1741
01:38:03,120 --> 01:38:06,519
Speaker 5: that be like the crew. Yeah you know what I'm

1742
01:38:06,520 --> 01:38:08,200
Speaker 5: saying that that could run the gamut.

1743
01:38:08,800 --> 01:38:09,880
Speaker 1: I like to we put that together.

1744
01:38:10,479 --> 01:38:26,040
Speaker 5: Yeah, writers, man, babyface Leon I would use as a writer.

1745
01:38:28,200 --> 01:38:31,360
Speaker 5: Then to create I would use as a writer.

1746
01:38:31,680 --> 01:38:31,880
Speaker 2: Yeah.

1747
01:38:38,920 --> 01:38:41,719
Speaker 5: And this could be controversial, but we're just talking talent,

1748
01:38:42,560 --> 01:38:42,960
Speaker 5: like just.

1749
01:38:43,080 --> 01:38:46,840
Speaker 1: The pen come on, come on, Robert Kelly. We know

1750
01:38:46,880 --> 01:38:48,639
Speaker 1: where you're going. Yeah you're going.

1751
01:38:48,840 --> 01:38:52,920
Speaker 5: Yeah, I know, yeah, I know he's got his his

1752
01:38:53,320 --> 01:38:55,960
Speaker 5: you know, these flaws and everything, but we just talking

1753
01:38:56,040 --> 01:38:59,240
Speaker 5: talent and talent only. It's probably got one of the

1754
01:38:59,320 --> 01:39:03,800
Speaker 5: most incredible depends of of his time of history. Yeah, yeah,

1755
01:39:04,000 --> 01:39:05,920
Speaker 5: and can do can reign? So you can get that

1756
01:39:06,560 --> 01:39:07,800
Speaker 5: temple record out of him too.

1757
01:39:08,120 --> 01:39:12,080
Speaker 1: Yeah. So that said for me, fellas like, you have

1758
01:39:12,160 --> 01:39:13,880
Speaker 1: one more thing before we let you get on this plank,

1759
01:39:13,880 --> 01:39:16,080
Speaker 1: because we know we never listen what time we got

1760
01:39:16,160 --> 01:39:18,160
Speaker 1: your time keeping time? Come up?

1761
01:39:18,680 --> 01:39:19,080
Speaker 5: You really?

1762
01:39:19,200 --> 01:39:21,479
Speaker 4: Yeah, we're gonna keep you out of here, get you okay,

1763
01:39:22,000 --> 01:39:22,840
Speaker 4: you're gonna make your flight?

1764
01:39:23,040 --> 01:39:25,280
Speaker 2: You sure, Yeah, you're gonna make your flat, all right.

1765
01:39:31,479 --> 01:39:34,640
Speaker 2: Ain't saying no names. I ain't saying no names. I

1766
01:39:34,680 --> 01:39:37,200
Speaker 2: ain't saying no names. I ain't saying no name.

1767
01:39:37,360 --> 01:39:37,880
Speaker 5: Where he was?

1768
01:39:40,479 --> 01:39:41,120
Speaker 2: What you need?

1769
01:39:41,840 --> 01:39:48,000
Speaker 1: Don't say she? I ain't saying no.

1770
01:39:55,600 --> 01:40:00,640
Speaker 4: That version is you tell us a story, funny, fucked up.

1771
01:40:01,080 --> 01:40:03,680
Speaker 4: I'm funny and fucked up. The only rude to the

1772
01:40:03,760 --> 01:40:05,760
Speaker 4: game is you can't say no names.

1773
01:40:10,160 --> 01:40:17,400
Speaker 1: Let me think that's a good one.

1774
01:40:18,640 --> 01:40:21,320
Speaker 5: Oh damvy dollars in the studio.

1775
01:40:23,960 --> 01:40:26,760
Speaker 1: But don't Yeah, I won't say no old names.

1776
01:40:28,800 --> 01:40:30,840
Speaker 5: Dram vy dollars in the studio. They called me. They're like, yo,

1777
01:40:32,439 --> 01:40:36,000
Speaker 5: this person is laying their engineer out, then this, that

1778
01:40:36,120 --> 01:40:44,120
Speaker 5: and the other, And I said, leave, she's session. She

1779
01:40:44,120 --> 01:40:48,599
Speaker 5: would have took him in the hallway. Please do they leave?

1780
01:40:48,800 --> 01:40:50,680
Speaker 5: It said, coming the hotel at the hotel. I get

1781
01:40:50,720 --> 01:40:55,800
Speaker 5: a phone call. It's like, we need the guys to

1782
01:40:55,880 --> 01:40:56,200
Speaker 5: come back.

1783
01:40:56,200 --> 01:40:56,600
Speaker 1: Where are they?

1784
01:40:56,640 --> 01:41:01,280
Speaker 5: I say, the sessions over today. Then I get another

1785
01:41:01,320 --> 01:41:05,880
Speaker 5: phone call. iPod's missing. I said, really, it's just so now,

1786
01:41:06,520 --> 01:41:12,120
Speaker 5: I said, I have my own. They're like, who, we

1787
01:41:12,160 --> 01:41:13,720
Speaker 5: still want you to come back? I said, now you

1788
01:41:13,840 --> 01:41:17,040
Speaker 5: missed both sessions because now the guys ain't coming back

1789
01:41:17,080 --> 01:41:21,680
Speaker 5: at all. That was disrespect. Then we get a phone call,

1790
01:41:21,880 --> 01:41:24,720
Speaker 5: be like, hell, is possible that we can meet? I'm

1791
01:41:24,760 --> 01:41:26,920
Speaker 5: so sorry, Like this apply to that? Can we just

1792
01:41:26,960 --> 01:41:29,160
Speaker 5: sit down and talking this, that and the other. And

1793
01:41:29,680 --> 01:41:31,760
Speaker 5: we went up and talked and they offered all this

1794
01:41:31,800 --> 01:41:35,759
Speaker 5: stuff and he's like, now we're cool. Thanks, but no thanks.

1795
01:41:36,680 --> 01:41:38,680
Speaker 5: And there's so many things in between. For finding the

1796
01:41:38,760 --> 01:41:42,160
Speaker 5: funny that I can't say the name of. But just

1797
01:41:42,280 --> 01:41:48,240
Speaker 5: imagine you losing a session because of your mouth. We've

1798
01:41:48,280 --> 01:41:52,800
Speaker 5: seen so many, so many, so many, you know, but

1799
01:41:54,439 --> 01:41:58,280
Speaker 5: you have to protect your guys. So if in fact

1800
01:41:58,360 --> 01:42:02,880
Speaker 5: it's happening on their watch, shut it down, start fresh tomorrow.

1801
01:42:03,080 --> 01:42:06,320
Speaker 5: He killed the vibe even though it was nothing against them,

1802
01:42:07,600 --> 01:42:11,519
Speaker 5: You know what I mean? It is, Yeah, environment got

1803
01:42:11,560 --> 01:42:15,040
Speaker 5: to go. So I don't know how funny I could

1804
01:42:15,080 --> 01:42:17,760
Speaker 5: make that story without really getting in because there's a

1805
01:42:17,760 --> 01:42:20,760
Speaker 5: lot of details that definitely made it funny. But I

1806
01:42:20,840 --> 01:42:23,120
Speaker 5: can't tell it because if I tell it, then you

1807
01:42:23,320 --> 01:42:28,080
Speaker 5: understand because you know what I'm saying, You'd be like, now,

1808
01:42:28,120 --> 01:42:31,200
Speaker 5: who could have been this? Right? Yeah, it would definitely

1809
01:42:31,240 --> 01:42:33,559
Speaker 5: fell out. So you just got to imagine the funny.

1810
01:42:33,920 --> 01:42:35,040
Speaker 1: Take it, and you take it.

1811
01:42:35,439 --> 01:42:39,840
Speaker 2: Brother, Mark Held the buyers been doing this thing for

1812
01:42:39,920 --> 01:42:43,040
Speaker 2: a long time, man, and your contributions are heard and

1813
01:42:43,160 --> 01:42:48,320
Speaker 2: felt all over this universe. Man, So we we thank

1814
01:42:48,360 --> 01:42:51,040
Speaker 2: you for your time. We appreciate your brotherhood.

1815
01:42:51,439 --> 01:42:52,400
Speaker 5: I appreciate the call.

1816
01:42:52,720 --> 01:42:56,960
Speaker 2: Yeah, yeah, you know, and we uh we support your

1817
01:42:57,080 --> 01:42:59,560
Speaker 2: continued contributions.

1818
01:43:00,000 --> 01:43:00,800
Speaker 5: I'm supporting y'all.

1819
01:43:01,760 --> 01:43:02,479
Speaker 1: You know what I'm saying.

1820
01:43:02,560 --> 01:43:03,360
Speaker 5: I'm supporting y'all.

1821
01:43:04,000 --> 01:43:06,640
Speaker 1: It's with baby, this is what we do.

1822
01:43:06,840 --> 01:43:07,280
Speaker 5: I take it.

1823
01:43:07,360 --> 01:43:07,920
Speaker 1: You know what I'm saying.

1824
01:43:08,080 --> 01:43:08,600
Speaker 5: I take it.

1825
01:43:08,840 --> 01:43:13,799
Speaker 1: So that being said, I'm gonna need y'all for Charity.

1826
01:43:14,760 --> 01:43:17,519
Speaker 5: Yes, yes, you know. Yes, it's a new artist, young artist.

1827
01:43:17,760 --> 01:43:22,000
Speaker 5: I've been helping need y'all for her, super challenged. Definitely

1828
01:43:22,560 --> 01:43:25,519
Speaker 5: one of the ones I feel like what was predicted

1829
01:43:25,600 --> 01:43:30,040
Speaker 5: on Leon. I think charity has that same opportunity as

1830
01:43:30,080 --> 01:43:30,439
Speaker 5: a girl.

1831
01:43:31,320 --> 01:43:31,559
Speaker 1: Wow.

1832
01:43:31,800 --> 01:43:33,720
Speaker 5: So that's just for me for the night.

1833
01:43:33,800 --> 01:43:34,519
Speaker 1: Gentlemen, love it.

1834
01:43:34,960 --> 01:43:35,680
Speaker 5: I appreciate you.

1835
01:43:36,240 --> 01:43:38,880
Speaker 2: Listen, we're gonna sign you up, sign you off the

1836
01:43:39,000 --> 01:43:45,320
Speaker 2: right way. My name is Tank Valentine and Everybody podcast

1837
01:43:46,800 --> 01:43:50,120
Speaker 2: on all things R, R and B. This man never

1838
01:43:50,200 --> 01:43:50,840
Speaker 2: slows down.

1839
01:43:51,560 --> 01:43:52,800
Speaker 1: Is you here? Our brother?

1840
01:43:54,000 --> 01:43:55,519
Speaker 5: I just joined as the third member.

1841
01:43:56,160 --> 01:44:03,800
Speaker 1: This is our first seeks, y'all. Okay, so Goodenoughensiam