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Speaker 1: Quest Love Supreme is a production of iHeartRadio.

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Speaker 2: Ladies and gentlemen, Welcome to another episode of Quest Love Supreme.

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Speaker 2: I'm your house, much love. We have some Supreme in

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Speaker 2: the house. We have uh yea, what you doing out there,

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Speaker 2: guys and all?

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Speaker 3: Yes, yes, yes, I'm still here.

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Speaker 1: I'm not not on fire. Okay, good, Yeah, that's good

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Speaker 1: to hear.

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Speaker 3: Uh.

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Speaker 1: We have fun take alot right now? Yeah? Cooland man

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Speaker 1: cooland was it was raining out here today?

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Speaker 4: So uh.

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Speaker 1: And uh Sugar.

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Speaker 4: Steve Greetings, Hello everybody, Team Supreme.

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Speaker 2: I love you, I love you back Sugar Steeds like

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Speaker 2: Michael Jackson.

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Speaker 4: Like.

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Speaker 1: Network Hello, I like that, Yeah exactly.

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Speaker 2: Okay, So, ladies and gentlemen, I will say that today

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Speaker 2: is one of those those I guess you could say

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Speaker 2: the special deep cut episode of Chus Love Supreme between

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Speaker 2: the explore and sect work and the history some of

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Speaker 2: our favorites.

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Speaker 1: Who otherwise wouldn't receive their flowers.

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Speaker 2: While here and our guess is that person in my book,

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Speaker 2: he his resume is extensive and.

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Speaker 1: Legendary and wrote down resume.

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Speaker 2: There's a lot of sufficial there's a lot to drake

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Speaker 2: to Taymour Braxton, the Faith Evans to jo Jo dan Nesby,

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Speaker 2: Hark Faney, Mi Walston.

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Speaker 1: Ursa Lebo Hathaway.

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Speaker 2: But you know it's it's without no doubt that his

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Speaker 2: work on the bona fide classic lp uh It's about

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Speaker 2: Time by Sisters with Voices Study Dree, which he made

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Speaker 2: his mark creating hit after hit, classic after classic, John

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Speaker 2: after John. In my opinion, Week is probably neck and

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Speaker 2: neck with Living Lift Every Voice.

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Speaker 1: And Sing as as the national anthem.

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Speaker 2: Actually I think we edges it out because unlike Lift

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Speaker 2: Every Voice and Sing, I know the bridge to Week

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Speaker 2: by heart.

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Speaker 5: It's at least the anthem is at least that right hey,

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Speaker 5: you know?

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Speaker 2: But yeah, what more can I say? Ladies and gentlemen,

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Speaker 2: We've been waiting for this one. Please welcome to Quest

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Speaker 2: of Supreme, mister Brian Alexander Morgan. Thank you, thank you, sir,

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Speaker 2: thank you.

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Speaker 4: Thank you, thank you. Love all you guys, fans for life,

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Speaker 4: fans forever forget it. I'm huge, huge, huge fans of everybody,

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Speaker 4: so thank so.

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Speaker 1: Where are you right now?

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Speaker 3: Bro?

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Speaker 4: Where am I right now? Is that what I'm at home?

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Speaker 1: Okay? You know East West Coast?

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Speaker 4: Oh oh oh la am i bad la. The valley

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Speaker 4: out in.

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Speaker 1: The valley, you know, you know, yeah.

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Speaker 5: I think last time we hung out it was when

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Speaker 5: you were in Sacramento.

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Speaker 1: This was got.

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Speaker 6: It was after after Foreign Shang Show and s Smith.

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Speaker 6: She was like, yeah, y'all, yes, big shout to side

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Speaker 6: man side knows everybody and she's like, yo, y'all want

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Speaker 6: to go brand that was in the Morgan wants us

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Speaker 6: to come back.

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Speaker 1: I was like, yeah, yeah, that was God. That was

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Speaker 1: ten years ago.

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Speaker 4: It was easy and I was a huge fan of

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Speaker 4: what you were doing then, just loving it.

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Speaker 7: Bro.

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Speaker 6: I had no idea you knew who we were when

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Speaker 6: I When I got your care that's when I realized

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Speaker 6: how much of a head you were when in your

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Speaker 6: kitchen and you had CDs in your cabinets where the

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Speaker 6: glasses should be.

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Speaker 1: I said, he really about that life.

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Speaker 4: And I'm a huge little Brother fan, huge roots fan,

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Speaker 4: black Dog one of my Oh my god, we're talking

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Speaker 4: about pins. Oh my god. I've been from day one.

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Speaker 4: I was a I was a fan of Quest credits just.

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Speaker 8: From day one because he appreciated Because he appreciated credits.

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Speaker 4: I caught it all. I was like, okay, then there

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Speaker 4: you go, man, Look, thank you that's real talking all day.

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Speaker 2: Do we I believe, did we not? I don't know

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Speaker 2: if we met at our very first show. We had

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Speaker 2: a show in Sacramento, like back in ninety four, ninety five.

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Speaker 1: Yes, yes, yes, yes, I think I met you and

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Speaker 1: Rafael Sad the same day at the very first.

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Speaker 4: Killed in there that nightclub.

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Speaker 1: Right, Yeah, I remember that, Okay, So I do remember, yes.

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Speaker 4: Sir, yes, sir. And then I saw you again.

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Speaker 8: Next time I saw you again, it was years later,

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Speaker 8: and I had on that Donny Hathaway joint, that Donny

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Speaker 8: Hathaway shirt.

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Speaker 5: Yeah yeah, yeah, yeah, Oh.

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Speaker 2: Good, Okay, I know that you well, your home base

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Speaker 2: was kind of Sacramento, but you were born in all places, Wichita,

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Speaker 2: Kansas described growing up in Wichita. How long did you

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Speaker 2: stay there before?

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Speaker 4: Wow?

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Speaker 8: Man, you know what Wichita is Some of the hottest

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Speaker 8: talent you'll never hear, is what I like to say,

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Speaker 8: because when you're there, it seems impossible to be on joy,

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Speaker 8: at least back then, not now because you could do

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Speaker 8: anything on the Internet now. But when I was there, listen,

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Speaker 8: Charlie Wilson, Roger and Zach all that Midwest funk, all

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Speaker 8: that stuff is the holy grail because we perceived them

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Speaker 8: as people who got out of the Midwest. Like, okay,

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Speaker 8: even Babyface and all that stuff from Cincinnati, Cleveland.

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Speaker 4: Pick a thing. It's rude boys.

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Speaker 8: There's always that Midwest funk, Shirley Murdoch and plus you

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Speaker 8: get way back, you know, of course, Ohio players, James.

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Speaker 8: So there's always been this element of whoever makes it

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Speaker 8: out of there, we feel like, oh, the gods made

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Speaker 8: it out. For example, Charlie himself, Gap Ben, they had

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Speaker 8: been struggling for years before that before they finally broke through.

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Speaker 8: So I feel like me being for which to I

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Speaker 8: was just.

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Speaker 4: Another one in that long line of oh my god,

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Speaker 4: he made it out.

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Speaker 2: So what was the music environment like in like, what's

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Speaker 2: your first musical memory from your childhood?

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Speaker 4: Oh? Man, I can tell you that right off the

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Speaker 4: top of Michael Jackson.

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Speaker 8: Of course, the purity of Michael's voice on I Want

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Speaker 8: You Back, ABC, I'll be there, Touch Me Beyond beyond, right,

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Speaker 8: and then you add Stevie Wonder to that, and the

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Speaker 8: progressive stuff he was doing on those keys really got me.

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Speaker 4: I wasn't playing yet. I just started playing until I

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Speaker 4: was like ten in nineteen seventy seventy six.

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Speaker 8: But between seventy and seventy five, man, it was Stevie,

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Speaker 8: Donny Hathaway, Michael Jackson.

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Speaker 4: Those were the three voices that really changed my life.

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Speaker 8: Now, later on in the late seventies, it was the

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Speaker 8: Clark sisters that changed everything else that turned. That was

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Speaker 8: a paradigm shift from in seventy nine when it is

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Speaker 8: my living in Vain. Everything changed again. But I don't

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Speaker 8: want to get.

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Speaker 4: Ahead of myself.

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Speaker 1: I can tell what no I can tell how you

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Speaker 1: stack your harmonies.

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Speaker 2: I can see that influence in it. You hear that, Yeah,

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Speaker 2: no doubt, I hear that. So yeah, are you from

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Speaker 2: a musical family or like.

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Speaker 4: Let me give it up to my pops.

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Speaker 8: He made a record when I was like two and

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Speaker 8: sixty eight to forty five, quest and I still have

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Speaker 8: it and me and my dad is the only one.

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Speaker 8: Let my mom's gone, my sister's gone, rest in peace,

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Speaker 8: but my father and I. He thought he was Jimmy

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Speaker 8: Hendrix back when Jimmy was you know the ship. So

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Speaker 8: I grew up in a house that was he was

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Speaker 8: playing not only the slide, the family stone stuff and

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Speaker 8: the and the funk stuff, but he was also playing

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Speaker 8: Hendrix and Santana and all those rock joints. He loved

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Speaker 8: led Zeppelin, So I'm a truly amalgamation of all of that.

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Speaker 4: Bro all of it.

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Speaker 8: My dad thought he was Jimmy seriously with the friends,

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Speaker 8: swearing the friends. We had beads in the house, and

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Speaker 8: you know it was that.

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Speaker 1: Beas before you entered the room. Yes, sir, I thought

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Speaker 1: it was the only.

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Speaker 4: Yeah, absolutely, you know.

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Speaker 8: But my dad was a guitar player, man, and that's

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Speaker 8: the only musician that I ever saw first in my

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Speaker 8: life was a guitar player. And he had rehearsals at

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Speaker 8: the house too. That also was mind blowing to hear

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Speaker 8: musicians play in your house, and your house is only

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Speaker 8: a two bedroom house. It was very, very impactful to

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Speaker 8: a little me.

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Speaker 1: What did your folks do for a living?

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Speaker 4: My crazy, crazy thing. Another thing I got from my

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Speaker 4: dad reading reading.

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Speaker 8: My dad worked as a librarian at a at a huge,

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Speaker 8: big metropolitan library in Wichita, like the biggest in the city,

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Speaker 8: and he drove a bookmobile to the hood to the

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Speaker 8: hood books, letting black kids come read in the bookmobile.

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Speaker 4: So that was a huge influence on me as well.

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Speaker 2: Book I've heard I've seen that on television. So was

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Speaker 2: that like the book version of the ice Cream Man.

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Speaker 8: Totally just drive books to the hood, and you know

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Speaker 8: what's crazy, Like I don't think you could do that now,

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Speaker 8: Like it would be.

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Speaker 4: Like people be like, what the hell?

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Speaker 1: But no, it bring the book Man, the food Man,

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Speaker 1: and the Bookman back and bringing back.

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Speaker 4: Bro and you know what, thank God for get Harris Ye.

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Speaker 4: Back to the influence. My mom knows what she did.

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Speaker 8: She was just a secretary at a construction place. But

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Speaker 8: it was her church going that was the dip where

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Speaker 8: my mom and dad converged. My dad was absolutely not

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Speaker 8: religious and all about African this African that. My mom

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Speaker 8: was completely Jesus, Jesus, all church all the time.

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Speaker 5: You didn't like saying in the church or playing the

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Speaker 5: church and none of that.

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Speaker 8: Of course I did, of course, okay, okay, that's the

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Speaker 8: training right there, the beginning. But now I got to

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Speaker 8: keep it one hundred because everybody listen, I got to

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Speaker 8: keep it one hundred. I grew up Baptists, and so

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Speaker 8: it was all about Andre Crouch and and James Cleveland and.

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Speaker 4: Yes, which we love, but check this. It was when

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Speaker 4: I went to the Koji Church for the first time

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Speaker 4: right and heard that Corsist is.

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Speaker 8: You know, I heard that little swag on and you know,

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Speaker 8: drummers was really really drumming.

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Speaker 4: I was like, oh so I kind of switched over

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Speaker 4: a little bit.

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Speaker 7: Cool.

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Speaker 1: Explain that to me.

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Speaker 2: So, what's the difference in you're saying in Baptist Church

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Speaker 2: was just very traditional meat potatoes gospel.

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Speaker 1: And you were allowed to be more so.

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Speaker 2: Is this a non denomination in church or what was

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Speaker 2: the second church the church got in Christ Christ Learned

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Speaker 2: as the Kojik Church or Pentecostal.

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Speaker 8: They they had a history of literally trying to play

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Speaker 8: records that sounded like you know, the streets for for

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Speaker 8: for lack of.

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Speaker 2: A better word, Okay, I have a yeah, I have

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Speaker 2: an obsession with collecting next to Jamaican music, I have

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Speaker 2: a really large collection of like earl gospel acts, trying

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Speaker 2: to turn secular songs into gospel joints like I Got

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Speaker 2: a Second Time Around by Shallow.

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Speaker 7: Mar I got hilarious.

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Speaker 1: Oh I got yeah, I have so much.

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Speaker 2: I'm going to do it on my DJ sets one night,

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Speaker 2: Like just do it, bro you upside down by you

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Speaker 2: gotta be kidding me. Oh dude, all I do is

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Speaker 2: collect like really bad cover songs and gospel secularizing songs.

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Speaker 1: There's a really good one for the Jacksons. Can you

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Speaker 1: feel it? But yeah, it's like wow.

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Speaker 8: Let me give you another thing about that particular subject.

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Speaker 8: There were certain producers at the time that were capturing

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Speaker 8: it though, they were really nailing it, like this guy.

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Speaker 8: I gotta give you, Matt Probs, Bill Maxwell. He used

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Speaker 8: to produce the Andre Krouch records. Them joints sounded like

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Speaker 8: earth winning fire productions. You hear me, like pristine, ridiculous, funky,

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Speaker 8: punchy mixes. And I was as a kid, you know,

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Speaker 8: like the late seventies, me thirteen year old me. I

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Speaker 8: was thirteen and seventy nine. That's when I started paying

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Speaker 8: attention to mixing and the production. So you talk about

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Speaker 8: off the walls out at the time, so is my

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Speaker 8: living and Van came out at that time. Stevie hit

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Speaker 8: his stride with Hotter than July eighty so a lot

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Speaker 8: of things was happening in that mixing part. So my

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Speaker 8: very first time in the studio making my own record

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Speaker 8: was like eighty one, and it was gospel, but of

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Speaker 8: course I was trying to do what was in the

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Speaker 8: streets too, So I did a joint.

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Speaker 4: It sounded like Sherylyn's got to be real. Think it didn't.

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Speaker 7: Really?

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Speaker 4: Hell, yeah, absolutely, joint. I need that, I need that's insane. Yeah,

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Speaker 4: I'll get you that.

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Speaker 8: And I got a lot of gospel stuff that we

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Speaker 8: did in that era. But trust me when I tell

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Speaker 8: you it was it was. It was from a good

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Speaker 8: reference point Thomas Whitfield and Detroit Production, Pristine on Vanessa

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Speaker 8: bel Armstrong by the time, by the time Commission came

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Speaker 8: out in eighty five, Can you explain?

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Speaker 1: All right, So here's the deal.

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Speaker 2: I grew up like my Arab musicianship, especially with all

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Speaker 2: the cats that I encountered in my age range. Take

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Speaker 2: all the jazz cats out, So those who were non

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Speaker 2: jazz cats, you were either a prince head or you

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Speaker 2: were commissioned head.

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Speaker 4: Aha.

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Speaker 2: And of course you know every cat I know now

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Speaker 2: that's deep on gospel chops. Commission is their foundation. Can

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Speaker 2: you explain to me, like a majority of R and

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Speaker 2: B musicians' first generation from like nineteen ninety to like yeah,

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Speaker 2: two thousand and one, two thousand and two, what is

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Speaker 2: the obsession with Commission? Like, what was it about them

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Speaker 2: that just grabbed. Was that like the closest y'all could

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Speaker 2: get to secular music that mom and dad would allow

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Speaker 2: in the house or whatever, like or live? Were they

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Speaker 2: just some next level craziness?

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Speaker 4: Great question.

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Speaker 8: I can answer it like this for me speaking for

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Speaker 8: my generation literally coming from like I said, the Hawkins

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Speaker 8: and Andrea and those guys in the late seventies into

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Speaker 8: the eighties when drum machine became a thing, production literally

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Speaker 8: changed because of Prince right, So commission, now, remember all

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Speaker 8: we had before that was the Whinings with voices like that,

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Speaker 8: and they were incredible. And again but you're still talking

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Speaker 8: live then that's Phil Maxwell again, same producer, same producer

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Speaker 8: as Andre Krauss. That one guy gave us all those

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Speaker 8: brilliant andre Krous records and all those brilliant Whinings Whinings

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Speaker 8: records prior to Quincy signing them. Okay, so that production

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Speaker 8: standard and that whole vibe came right into the eighties

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Speaker 8: with drum machines and all the stuff that we grew

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Speaker 8: up on. Quest So, like what happened was when we

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Speaker 8: first heard Fred Hammond's voice, we are liking it.

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Speaker 4: We likned it to the Whinings.

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Speaker 8: You know that big, powerful voice coming like from Marvin Winers,

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Speaker 8: but we had never heard it from such a young

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Speaker 8: person prior. Besides Johnny Gill you know that, you know

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Speaker 8: what I mean. Somebody you feel me and shout out

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Speaker 8: to Johnny.

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Speaker 4: That's my guy.

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Speaker 2: But there was a young boy in commission back in

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Speaker 2: the back in yes eighty five. See the Fred Hammond

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Speaker 2: I knows Uncle Fred No.

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Speaker 7: No.

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Speaker 4: Eighty five, the very first album.

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Speaker 8: Get get familiar with all of their whole catalogs because

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Speaker 8: what happened was it changed our lives. But what they

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Speaker 8: did that I liked about them was that they not

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Speaker 8: only had the gospel chops, but they had a David

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Speaker 8: Foster flavor all through their whole mix.

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Speaker 4: Like and I'm not joking, I'm talking about this. Yeah,

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Speaker 4: but look but with the chops, but with the chops

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Speaker 4: of a.

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Speaker 8: Of a you're my inspiration by Chicago, you know what

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Speaker 8: I mean. So that was the difference between the Winans

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Speaker 8: and Commission. Commission gave you that no, no, no, those

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Speaker 8: kind of melodies.

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Speaker 1: That wasn't that way with Tomorrow with the Winings that

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Speaker 1: was later.

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Speaker 4: Well, no, there they were on it, but they weren't young.

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Speaker 1: Okay. The Commission was young. I get it, okay, And that.

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Speaker 8: Changed it because when they saw young people doing it.

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Speaker 8: I went to their show so I could see the

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Speaker 8: audience change, you know what I mean, like all of

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Speaker 8: a sudden, it went from older.

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Speaker 4: People vibing on the Winings and the Hawkins and.

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Speaker 8: And all that to fool young kids that would have

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Speaker 8: been otherwise in a club at a hip hop thing.

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Speaker 4: Are all of a sudden that a commission, commission. That's

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Speaker 4: right and so.

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Speaker 8: But now but they got hip though, so Tremaine Hawkins

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Speaker 8: and then got hipped, Clark Shisters got everybody got hit

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Speaker 8: and was like yo, they start doing stuff that they

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Speaker 8: could play all down on Tremaine as a direct result

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Speaker 8: of that.

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Speaker 1: And that's right, that's right, that's right.

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Speaker 7: Right.

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Speaker 8: But because they got hip to the kids was picking

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Speaker 8: it up and they would put it in the club

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Speaker 8: and you brought the sunshine was the biggest, biggest, biggest

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Speaker 8: joint of that type of thing.

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Speaker 4: But that was just following Stevie.

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Speaker 8: But I'm saying as far as really young people commission

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Speaker 8: is the paradigm shift is what I want to say.

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Speaker 5: Question y'all got me downloading a bunch of Gospels.

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Speaker 2: I was going to say, uh, you know, there was

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Speaker 2: some gospel in my crib, like and I see what

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Speaker 2: you're saying. Andre Crouch's Perfect Piece is a great.

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Speaker 1: Example, good record of that. Of that, uh yeah of that.

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Speaker 2: And I think my dad had the the Hawkins Family

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Speaker 2: album which Warrin's White actually did the first song with

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Speaker 2: them or something like that.

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Speaker 4: So they got joints, bro, they got joints. Holy One.

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Speaker 4: Have you heard Tremaine's Holy One? Oh my goodness, you

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Speaker 4: got a certain.

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Speaker 1: First album, very the first album with the look at Me,

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Speaker 1: look at Yeah.

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Speaker 4: Holy One is on there.

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Speaker 2: Okay, yeah, I know that whole album left and right.

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Speaker 2: My parents went through a really weird Christian phase for

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Speaker 2: like a good four years. So yeah, dope, yeah for

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Speaker 2: every Prince album that got broken. And I had to,

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Speaker 2: you know, be a exercise with Tremaine Hawkins record.

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Speaker 4: So I got you stick a pin in this.

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Speaker 8: When I got to Sacramento because I'm jumping I'm not

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Speaker 8: jumping ahead to my Sacramento and how I got there.

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Speaker 8: But when I got there, one of the first people

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Speaker 8: that I got to meet was Fred Hammond and Mitchell

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Speaker 8: Jones from Commission because Waynmon Tisdale was a Sacramento king

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Speaker 8: and also an incredible musician, and he was there.

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Speaker 4: He had a.

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Speaker 1: Right yeah as a musician.

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Speaker 4: Yeah wow, oh yeah.

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Speaker 8: He was definitely a major athlete and came out Oklahoma.

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Speaker 8: So we had the Gap connect Charlie connect.

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Speaker 4: But trust me when I.

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Speaker 8: Tell you all those people came through Wyman's house and

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Speaker 8: I met them over there. Yeah yeah, yeah, yeah, just

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Speaker 8: one of time.

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Speaker 7: Wow.

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Speaker 4: Yeah.

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Speaker 1: So what was your what was your what's the first

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Speaker 1: concert you ever attended.

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Speaker 4: When you were in That's a great question, man.

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Speaker 8: The most significant one would have to be the Victory

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Speaker 8: Tour opening day and and uh and were there too, Yes, sir, yes.

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Speaker 1: Sir, you went. You went to the opening night, open

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Speaker 1: the night, strip pants absolutely, yeah, strip pants night.

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Speaker 2: Well, the Democrats, I believe the Democratic Convention was also

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Speaker 2: in Kansas for that period. And you know, I did

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Speaker 2: enough Bagan, but my my dad and.

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Speaker 8: My mom, and I like said, amazing, amazing, I went

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Speaker 8: to the third night. Were you by yourself? Like by yourself?

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Speaker 1: No, my mom, my dad, and my sister, my dad.

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Speaker 8: Uh.

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Speaker 2: This is one of the times where like one of

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Speaker 2: his brain hair schemes worked, which was he was like,

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Speaker 2: we're gonna scalt the scalpers, and I was like, what

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Speaker 2: does that mean? He's like, we're gonna wait five minutes

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Speaker 2: into the show. See, you gotta be on immense faith

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Speaker 2: to leave West Philadelphia drive all the way to get

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Speaker 2: to Kansas City.

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Speaker 4: Wow.

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Speaker 1: And we're just sitting in that, you know. And I'm

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Speaker 1: twelve man, so I'm my nerves are all. You know.

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Speaker 1: I ain't paying no thirty.

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Speaker 2: Dollars, no ticket, but I bet y'all get him down

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Speaker 2: to town in about two minutes before the show. Bam, Wow,

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Speaker 2: we got, we got.

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Speaker 1: We got four Victory Tour tickets for ten bucks? Was

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Speaker 1: the original stuff?

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Speaker 5: Huh damn?

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Speaker 4: Straight up, yo, that's crazy. And guess what.

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Speaker 8: There's some footage somewhere floating around of Mary Hard from

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Speaker 8: Entertainment Tonight interviewed my ask what nobody.

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Speaker 1: Said her name? In a minute, Mary Hart no said

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Speaker 1: her name, and it's not good.

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Speaker 4: Here up.

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Speaker 1: What I was You guys gotta choose his side right now, bro.

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Speaker 4: That's I did not know that. You guys are hit

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Speaker 4: the media. I did not know that, and you know

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Speaker 4: I love her and yeah, wow, crazy wow.

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Speaker 2: So what was it like in what was your your

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Speaker 2: band situation or your like your high school situation like

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Speaker 2: were you in any local bands at the time or yes,

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Speaker 2: and you know what was your development moment that brought

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Speaker 2: you to musicianship.

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Speaker 4: Totally crazy?

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Speaker 8: Okay, So starting in the church, I saw this thirteen

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Speaker 8: year old little girl playing keys. It was the pastor's daughter.

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Speaker 8: That was my first, Wow, a young person can do this.

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Speaker 8: So that was huge for me to see her doing that.

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Speaker 8: And then when they added drums at our church, it

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Speaker 8: took us took them a while to let them let

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Speaker 8: them do that because they were so conservative. But once

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Speaker 8: they did that, my mom Look, my mom was the

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Speaker 8: church secretary, so pete this.

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Speaker 4: So the drummer would always leave his drums at the church.

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Speaker 8: So when my mom would go to do the secretary

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Speaker 8: stuff and on Saturdays, I would go with her just

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Speaker 8: to jump on that dude's drums. Okay, So I started

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Speaker 8: out drumming before I could play keys. And then and

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Speaker 8: that changed my whole life because I was like, man,

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Speaker 8: drumming is like the thing I thought, that's what I

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Speaker 8: thought I was going to be doing. But then I

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Speaker 8: kept getting on those keys trying to you know, how

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Speaker 8: you pick out melodies and stuff. And I got better

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Speaker 8: and better at picking out melodies, and I was like, man,

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00:21:39,800 --> 00:21:41,560
Speaker 8: maybe I'm supposed to play. So I just started listening

449
00:21:41,600 --> 00:21:44,280
Speaker 8: and then I got embarrassed by better players than me,

450
00:21:44,440 --> 00:21:46,720
Speaker 8: and I was like, whoa, I'm nowhere near I gotta

451
00:21:46,720 --> 00:21:48,239
Speaker 8: get my you know, step my game up.

452
00:21:48,280 --> 00:21:51,040
Speaker 4: These guys are playing Herbie Hancock. I'm in here playing

453
00:21:51,119 --> 00:21:52,480
Speaker 4: soon and very soon. What the hell?

454
00:21:54,640 --> 00:21:57,879
Speaker 2: You know, it's good to know that. I thought I

455
00:21:58,000 --> 00:22:00,800
Speaker 2: was the only one that went through that, that whole thing.

456
00:22:00,960 --> 00:22:02,840
Speaker 2: Like there was a period maybe like two months where

457
00:22:02,880 --> 00:22:04,840
Speaker 2: I drummed in my local church.

458
00:22:05,280 --> 00:22:05,640
Speaker 4: Uh huh.

459
00:22:05,880 --> 00:22:07,879
Speaker 2: But you know, I was trying to play funk rhythms

460
00:22:07,880 --> 00:22:10,520
Speaker 2: and whatnot, and they actually had to have a meeting

461
00:22:11,480 --> 00:22:14,440
Speaker 2: or whether or not my playing was uplifting the lord.

462
00:22:14,520 --> 00:22:18,160
Speaker 1: Or like that's how strict they were like, oh my god.

463
00:22:18,240 --> 00:22:20,119
Speaker 2: So because the thing was when I would play all

464
00:22:20,160 --> 00:22:22,320
Speaker 2: the you know, they'd be like, oh, like, I try

465
00:22:22,359 --> 00:22:26,680
Speaker 2: to play like seprom seas By, like a popular break

466
00:22:26,760 --> 00:22:30,200
Speaker 2: feat inside the music, and it's like the kids news.

467
00:22:30,240 --> 00:22:34,520
Speaker 1: So they started doing the and everything. Church the deacons like.

468
00:22:34,640 --> 00:22:38,440
Speaker 8: Sit down, so look, and hence that's why I left

469
00:22:38,840 --> 00:22:41,320
Speaker 8: the particular church I was at and I went to

470
00:22:41,480 --> 00:22:44,399
Speaker 8: play for a Kojak Church, And when I got to

471
00:22:44,480 --> 00:22:47,040
Speaker 8: the Kojin church, I had my full on keyboard and

472
00:22:47,080 --> 00:22:48,800
Speaker 8: drum machine in that bad bad When we play you

473
00:22:48,840 --> 00:22:51,400
Speaker 8: about the Sunshine, it sounded like you about the sunshine?

474
00:22:52,400 --> 00:22:54,480
Speaker 4: Wow, wow, you feel me?

475
00:22:55,400 --> 00:22:57,320
Speaker 8: And then all my commission stuff. I programmed it the

476
00:22:57,400 --> 00:23:00,560
Speaker 8: night before. QUEST programmed all the beats and feels and

477
00:23:00,720 --> 00:23:03,240
Speaker 8: crashes and everything, and so when I played So when

478
00:23:03,240 --> 00:23:05,320
Speaker 8: I played the commission joint, it sounded like the record.

479
00:23:05,680 --> 00:23:06,920
Speaker 1: Yeah, what was your whatpin of choice?

480
00:23:06,920 --> 00:23:09,120
Speaker 4: Where were you using Leah Lindrum all day?

481
00:23:09,840 --> 00:23:11,600
Speaker 1: Wow? You got lyndrum that early?

482
00:23:11,840 --> 00:23:14,280
Speaker 4: I got Lyndrum And as soon as it came out,

483
00:23:14,440 --> 00:23:17,280
Speaker 4: it was I got it in eighty three. I think

484
00:23:17,320 --> 00:23:19,199
Speaker 4: it was eighty three. They all went out.

485
00:23:19,200 --> 00:23:20,960
Speaker 8: They had one out in eighty two, but it was

486
00:23:21,000 --> 00:23:23,359
Speaker 8: in California. My friends had I heard about it, but

487
00:23:23,800 --> 00:23:25,000
Speaker 8: I got one in eighty three.

488
00:23:25,640 --> 00:23:25,840
Speaker 4: Yeah.

489
00:23:26,080 --> 00:23:28,080
Speaker 1: How many LUNs did you have that mode to get that?

490
00:23:28,440 --> 00:23:28,639
Speaker 7: You know what?

491
00:23:29,280 --> 00:23:32,479
Speaker 8: Listen this here's the good news about how my development happened.

492
00:23:32,760 --> 00:23:35,720
Speaker 8: In Wichita, there was this white guy named John Miller.

493
00:23:36,280 --> 00:23:38,720
Speaker 8: John Miller owned what would be the equivalent of the

494
00:23:39,040 --> 00:23:41,639
Speaker 8: guitar center in a major city. Okay, he had his

495
00:23:41,720 --> 00:23:43,080
Speaker 8: own music story like that. So we had all the

496
00:23:43,119 --> 00:23:46,240
Speaker 8: new keyboards, all the new drum machines, earlier than everybody,

497
00:23:46,400 --> 00:23:49,199
Speaker 8: right and so. But he also had a recording studio,

498
00:23:49,440 --> 00:23:51,040
Speaker 8: a sixteen track recording studio.

499
00:23:51,280 --> 00:23:52,199
Speaker 4: So this is what happened.

500
00:23:52,480 --> 00:23:53,879
Speaker 8: So he said, I used to go in there and

501
00:23:54,040 --> 00:23:56,080
Speaker 8: just play on all his gear because of course, you know,

502
00:23:56,200 --> 00:23:57,879
Speaker 8: being broke poor, that's where.

503
00:23:57,760 --> 00:23:58,640
Speaker 4: I got a chance to play.

504
00:23:58,880 --> 00:24:00,960
Speaker 8: So the people, the esecial, the white people that would

505
00:24:00,960 --> 00:24:02,480
Speaker 8: cut and this is Kansas, so the white people that

506
00:24:02,520 --> 00:24:02,960
Speaker 8: would come in.

507
00:24:02,960 --> 00:24:05,040
Speaker 4: There and hear me playing on stuff would ask, you

508
00:24:05,119 --> 00:24:06,400
Speaker 4: know what my name was? What am I doing?

509
00:24:06,560 --> 00:24:08,399
Speaker 8: So John got hit piece like yo, you know what.

510
00:24:08,560 --> 00:24:10,479
Speaker 8: I got a studio I want to promote, and if

511
00:24:10,520 --> 00:24:12,440
Speaker 8: you come in there, I'll give you free studio time

512
00:24:12,800 --> 00:24:15,080
Speaker 8: if you can go in there and do some work.

513
00:24:15,119 --> 00:24:17,800
Speaker 8: I did a demo in there, bro That gospel demo

514
00:24:17,880 --> 00:24:19,560
Speaker 8: is the demo that got me my record deal.

515
00:24:19,440 --> 00:24:24,760
Speaker 4: On Warner Brothers. Wow. What yeah, Wow, Yes sir, yes sir.

516
00:24:25,320 --> 00:24:28,119
Speaker 8: That demo I did in that studio got me the

517
00:24:28,160 --> 00:24:30,760
Speaker 8: record deal that Bennie Medina signed me to in eighty seven.

518
00:24:30,800 --> 00:24:32,320
Speaker 4: I did it in eighty five. I did it in

519
00:24:32,400 --> 00:24:35,639
Speaker 4: eighty five eighty six. By eighty seven, J King came

520
00:24:35,680 --> 00:24:38,800
Speaker 4: through Wichita, Kansas and heard that demo.

521
00:24:39,040 --> 00:24:41,080
Speaker 1: And I cannot wait to hear you J King's story

522
00:24:42,880 --> 00:24:47,000
Speaker 1: waiting and waiting for some King you know.

523
00:24:47,480 --> 00:24:54,520
Speaker 6: Yes, so this is to give people some context. So

524
00:24:54,600 --> 00:24:59,000
Speaker 6: this is TIMEX social club, Yes, club club, Yes, so

525
00:24:59,440 --> 00:24:59,840
Speaker 6: this is that.

526
00:25:00,240 --> 00:25:03,080
Speaker 4: So eventually absolutely all.

527
00:25:04,520 --> 00:25:07,280
Speaker 8: Yes, right, he came from all that, and that's my people.

528
00:25:07,560 --> 00:25:09,560
Speaker 8: So how did I get from which iss Tod to Sacramento?

529
00:25:10,200 --> 00:25:12,359
Speaker 4: Just that way? A friend of mine named Steve Williams.

530
00:25:12,400 --> 00:25:13,159
Speaker 4: I got a shout out, my.

531
00:25:13,119 --> 00:25:15,760
Speaker 8: Boy, Steve Williams, because Steve Williams was the person who

532
00:25:15,880 --> 00:25:18,440
Speaker 8: was the biggest club nouveaut fan I ever met in

533
00:25:18,560 --> 00:25:21,000
Speaker 8: my life, like a full on stand right, And of

534
00:25:21,080 --> 00:25:24,359
Speaker 8: course I was arrogant. I'm snooty nosed fred Ham and

535
00:25:24,440 --> 00:25:26,600
Speaker 8: Clark sister's guy. Then people can't sing what are you

536
00:25:26,640 --> 00:25:29,280
Speaker 8: talking about? I was. I was very I was a

537
00:25:29,359 --> 00:25:36,600
Speaker 8: quest of very snob situation, like because I know Christen snob. Nah, bro,

538
00:25:36,720 --> 00:25:39,200
Speaker 8: I'm talking like when I'm talking singing, we're talking about

539
00:25:39,520 --> 00:25:46,159
Speaker 8: the female d you know what I'm saying. Look, and

540
00:25:46,160 --> 00:25:47,080
Speaker 8: I'm not trying to be funny.

541
00:25:47,160 --> 00:25:49,360
Speaker 4: I'm just saying I was just that that arrogant guy.

542
00:25:49,600 --> 00:25:52,520
Speaker 4: You feel me? So I wasn't even paying no attention

543
00:25:52,600 --> 00:25:55,200
Speaker 4: to the freaking club New Vau at that time. Now

544
00:25:55,320 --> 00:25:58,399
Speaker 4: and rumors. I thought that was a joke. I was like,

545
00:25:58,520 --> 00:25:59,840
Speaker 4: is that is that like a joke?

546
00:25:59,880 --> 00:26:02,879
Speaker 8: I thought somebody record? Yeah, yeah, talking about how do

547
00:26:03,080 --> 00:26:05,160
Speaker 8: rumor get? I was like, okay, what is that Eddie Murphy,

548
00:26:05,240 --> 00:26:05,920
Speaker 8: what the fuck is this?

549
00:26:07,160 --> 00:26:09,720
Speaker 1: And did know it was because then, because if you remember,

550
00:26:12,960 --> 00:26:13,720
Speaker 1: that was the joke.

551
00:26:14,080 --> 00:26:16,720
Speaker 8: But lost re short. The guys that put that put

552
00:26:16,760 --> 00:26:19,320
Speaker 8: that record out was j King. He put that own

553
00:26:19,400 --> 00:26:20,360
Speaker 8: label and that joint.

554
00:26:20,280 --> 00:26:21,119
Speaker 4: Blew the hell up.

555
00:26:21,320 --> 00:26:22,520
Speaker 8: And when Pop and They was on all of a

556
00:26:22,520 --> 00:26:25,600
Speaker 8: sudden they were on tour with run DMC and motherfucking

557
00:26:25,640 --> 00:26:26,280
Speaker 8: Beastie Boys.

558
00:26:26,320 --> 00:26:30,960
Speaker 4: Okay, when that happened, I was like, wow, this is

559
00:26:31,040 --> 00:26:33,280
Speaker 4: a real record, right, never thought nothing else about it.

560
00:26:33,280 --> 00:26:35,639
Speaker 8: That was nineteen eighty six. Uh, and I still got

561
00:26:35,680 --> 00:26:38,320
Speaker 8: my gospel demo. We're trying to get signed to A

562
00:26:38,480 --> 00:26:40,679
Speaker 8: and M Records. We had a little manager and they

563
00:26:40,760 --> 00:26:42,440
Speaker 8: was trying to get us signed to A and M

564
00:26:42,600 --> 00:26:45,440
Speaker 8: because John McLean signed.

565
00:26:45,520 --> 00:26:48,960
Speaker 4: Janet had just done the Fall Down record of Tremaine.

566
00:26:49,240 --> 00:26:50,000
Speaker 1: What you mean, right?

567
00:26:50,200 --> 00:26:52,639
Speaker 4: So we thought, hey, we could it was me And

568
00:26:52,680 --> 00:26:54,560
Speaker 4: when I say we, it was a group called Cachet

569
00:26:55,720 --> 00:26:56,200
Speaker 4: that I was in.

570
00:26:56,520 --> 00:26:56,760
Speaker 7: It was.

571
00:27:02,280 --> 00:27:11,240
Speaker 1: A light green drink right there. And hypnotic is a

572
00:27:11,280 --> 00:27:11,600
Speaker 1: part of it.

573
00:27:15,160 --> 00:27:16,760
Speaker 4: Listen. I was trying to be all in.

574
00:27:16,840 --> 00:27:19,359
Speaker 8: Look since j K found me and signed me, I

575
00:27:19,480 --> 00:27:21,600
Speaker 8: was trying to be all in the French state Club Nouveau.

576
00:27:21,800 --> 00:27:24,360
Speaker 4: And you know, so I just said that stupid ship.

577
00:27:24,880 --> 00:27:29,879
Speaker 4: It's just right, right right. It's just made a unique voice, supposedly,

578
00:27:30,320 --> 00:27:32,080
Speaker 4: and it was spelled c A c h E T

579
00:27:32,480 --> 00:27:40,680
Speaker 4: d E v O. I s, oh wow, that's right,

580
00:27:40,840 --> 00:27:41,840
Speaker 4: that's right, that's right.

581
00:27:43,760 --> 00:27:47,920
Speaker 8: Oh yeah, And you know what, shout out to my

582
00:27:48,000 --> 00:27:50,320
Speaker 8: girl Michelle mactheney, who I grew up with, my homegirl

583
00:27:50,359 --> 00:27:50,880
Speaker 8: from witch Toad.

584
00:27:51,000 --> 00:27:52,879
Speaker 4: She was in that group with me, and recipes to

585
00:27:52,960 --> 00:27:54,680
Speaker 4: James Williams who was also in that group. We passed

586
00:27:54,680 --> 00:27:57,760
Speaker 4: away that. But guess what, Jake One just.

587
00:27:57,800 --> 00:28:01,280
Speaker 8: Sampled some something from that very album only last year,

588
00:28:01,880 --> 00:28:06,000
Speaker 8: that unreleased, that unreleased Warner Brothers album, Can you feel Me?

589
00:28:06,160 --> 00:28:06,200
Speaker 4: Like?

590
00:28:06,240 --> 00:28:10,000
Speaker 8: People find they find stuff? Brow that's dope, man, Ain't

591
00:28:10,000 --> 00:28:11,600
Speaker 8: that crazy? But Anyway, long story, so back to J

592
00:28:11,760 --> 00:28:16,840
Speaker 8: King's Okay, So Jay King blows up with time Ax

593
00:28:16,960 --> 00:28:19,879
Speaker 8: Social Club. They fall out and then the only thing

594
00:28:20,040 --> 00:28:23,120
Speaker 8: left is Denny and Tommy and and Uh and Jay

595
00:28:23,240 --> 00:28:25,600
Speaker 8: King and then he puts in Samuel and Val. That

596
00:28:25,720 --> 00:28:28,880
Speaker 8: becomes Club New vaut All right, So now I'm still

597
00:28:28,920 --> 00:28:31,680
Speaker 8: in Wichita. My first visit to LA was trying to

598
00:28:31,720 --> 00:28:33,840
Speaker 8: get signed to A and M with John McClain. John

599
00:28:34,000 --> 00:28:35,880
Speaker 8: was actually interested and we thought we had a deal

600
00:28:35,920 --> 00:28:38,400
Speaker 8: on the table. So I'm kind of feeling a little

601
00:28:38,440 --> 00:28:41,680
Speaker 8: cocky and thinking that, oh, John McLain said he's interested.

602
00:28:42,000 --> 00:28:44,320
Speaker 8: So when I get back to Wichita and I'm just

603
00:28:44,400 --> 00:28:47,840
Speaker 8: in this in between times, my friend Steve the Club

604
00:28:47,920 --> 00:28:51,440
Speaker 8: New vau stand calls me from J King's hotel room

605
00:28:51,800 --> 00:28:54,280
Speaker 8: late like two in the morning, something crazy, and he

606
00:28:54,360 --> 00:28:56,320
Speaker 8: calls me. I'm still living with my mom, so she's

607
00:28:56,320 --> 00:28:56,920
Speaker 8: like what the hell?

608
00:28:57,240 --> 00:28:59,800
Speaker 4: So I answered the phone. His name is Steve Williams.

609
00:29:00,040 --> 00:29:01,560
Speaker 4: He goes, hey, you got to get down here.

610
00:29:01,880 --> 00:29:05,360
Speaker 8: I'll let Ja King hear your demo, that same gospel demo,

611
00:29:05,960 --> 00:29:07,680
Speaker 8: and then Jay King snatches.

612
00:29:07,280 --> 00:29:09,640
Speaker 4: The phone and be like, come get this motherfucker. He's

613
00:29:09,640 --> 00:29:12,800
Speaker 4: sucking up my pussy. But I do need you to

614
00:29:12,920 --> 00:29:15,320
Speaker 4: let me. But I do need to let you. Let

615
00:29:15,400 --> 00:29:17,560
Speaker 4: me take this tape, I said.

616
00:29:17,640 --> 00:29:20,680
Speaker 8: And I was like, WHOA, I don't know, bro, And

617
00:29:20,800 --> 00:29:23,960
Speaker 8: the only thing I had seen was bad press about

618
00:29:24,000 --> 00:29:27,960
Speaker 8: them fighting right with Time at Social Club.

619
00:29:28,520 --> 00:29:31,880
Speaker 2: Yes, listen, let me tell you to radio obviously, and

620
00:29:32,040 --> 00:29:42,120
Speaker 2: I read right the lead singer Time Social Club like

621
00:29:42,400 --> 00:29:44,400
Speaker 2: just throw J King under the bus.

622
00:29:47,200 --> 00:29:49,480
Speaker 8: Worse than that, though, I would read like black beaten,

623
00:29:49,680 --> 00:29:54,440
Speaker 8: you know, come on, man, so look so but here's

624
00:29:54,480 --> 00:29:56,560
Speaker 8: the thing that changed my mind talking to him.

625
00:29:57,440 --> 00:30:00,040
Speaker 4: I saw an image and the TV was on, and

626
00:30:00,400 --> 00:30:01,800
Speaker 4: it sounds like I'm making it up, but it's not.

627
00:30:01,920 --> 00:30:05,400
Speaker 4: It's true. Joan Rivers had her first show on Fox

628
00:30:05,920 --> 00:30:07,000
Speaker 4: and she had a little talk show.

629
00:30:07,760 --> 00:30:11,120
Speaker 8: I'd be damned when that shit played on repeats in

630
00:30:11,160 --> 00:30:14,440
Speaker 8: which tah, there's Joan Rivers talking to J King.

631
00:30:14,320 --> 00:30:16,320
Speaker 4: And Club newvau with and handing them a gold album.

632
00:30:17,400 --> 00:30:17,680
Speaker 1: Wow.

633
00:30:18,040 --> 00:30:21,040
Speaker 8: I was like, uh, whoa, Now do I want to

634
00:30:21,040 --> 00:30:23,920
Speaker 8: say this at my mama's house or I don't want

635
00:30:23,960 --> 00:30:25,600
Speaker 8: to worry about whether Jay is a crook or not?

636
00:30:25,840 --> 00:30:26,000
Speaker 4: Right?

637
00:30:26,680 --> 00:30:28,600
Speaker 8: And so I said, man, let it take the tape, Bro,

638
00:30:28,920 --> 00:30:30,560
Speaker 8: take the tape. And he said, and he said this

639
00:30:30,640 --> 00:30:32,560
Speaker 8: to me, and he made a promise to me. He said, bro,

640
00:30:33,480 --> 00:30:35,640
Speaker 8: I promise you, I'll have you a record deal in

641
00:30:35,760 --> 00:30:39,600
Speaker 8: two weeks. This tape is phenomenal. Benny Medina is going

642
00:30:39,640 --> 00:30:41,720
Speaker 8: to love it, and you're going to be ready to

643
00:30:41,800 --> 00:30:44,400
Speaker 8: leave Wichita and move to Sacramento, which is where he

644
00:30:44,520 --> 00:30:45,440
Speaker 8: lived at the time.

645
00:30:45,480 --> 00:30:47,920
Speaker 4: And this is nineteen eighty seven. He absolutely.

646
00:30:48,080 --> 00:30:50,560
Speaker 8: I was washing dishes one day phone rang, picked up

647
00:30:50,600 --> 00:30:52,160
Speaker 8: that thing on you know, the old school phone, off

648
00:30:52,200 --> 00:30:54,480
Speaker 8: the wall, put it on my shoulder, kept washing the dishes.

649
00:30:54,560 --> 00:30:57,080
Speaker 4: Jak said, you ready to leave? I said, who is this?

650
00:30:57,240 --> 00:30:57,600
Speaker 7: Jay Man?

651
00:30:57,720 --> 00:31:00,520
Speaker 8: Get to pay your mama's bills. You're moving this Sacramento.

652
00:31:00,800 --> 00:31:03,040
Speaker 8: You guys are signing the Warner Brothers. That's how I

653
00:31:03,120 --> 00:31:04,040
Speaker 8: got in the record business.

654
00:31:04,960 --> 00:31:05,920
Speaker 1: Wow, nikes.

655
00:31:06,360 --> 00:31:08,720
Speaker 6: Now that the Cats Sims you mentioned Samuel that was

656
00:31:08,760 --> 00:31:11,000
Speaker 6: in that group. Was that the same Samuel? So you

657
00:31:11,120 --> 00:31:12,000
Speaker 6: like what you see Samuel?

658
00:31:13,760 --> 00:31:14,280
Speaker 4: Absolutely?

659
00:31:16,240 --> 00:31:18,800
Speaker 8: Oh yeah, absolutely for sure. And that was you know,

660
00:31:19,000 --> 00:31:20,880
Speaker 8: that was the club devote part of it. When I

661
00:31:20,960 --> 00:31:22,840
Speaker 8: got to Sack, I met all of those dudes. They

662
00:31:22,840 --> 00:31:25,120
Speaker 8: were still recording Tony Tony. Tony hadn't happened.

663
00:31:24,880 --> 00:31:28,760
Speaker 1: Yet and where can you answer this for me? Where

664
00:31:28,800 --> 00:31:30,440
Speaker 1: the hell is Tommy Denny right now?

665
00:31:30,800 --> 00:31:31,440
Speaker 4: I talked to him.

666
00:31:31,480 --> 00:31:33,240
Speaker 8: I talked to him all the time. Tommy follows me

667
00:31:33,360 --> 00:31:36,200
Speaker 8: on on on Instagram, and Denny is out here. I

668
00:31:36,280 --> 00:31:37,760
Speaker 8: think he's managing them joints.

669
00:31:37,880 --> 00:31:44,240
Speaker 4: The producer. Oh wow wow ye folks.

670
00:31:44,600 --> 00:31:48,280
Speaker 6: Yeah, and we're talking about we're talking about Denzel Thomas

671
00:31:48,320 --> 00:31:49,400
Speaker 6: Backro and Denzel Foster.

672
00:31:49,680 --> 00:31:57,560
Speaker 8: That's right, right, absolutely, so, I mean you get the Sacramento.

673
00:31:57,920 --> 00:32:00,120
Speaker 8: I get the Sacramento and it's the first time in

674
00:32:00,200 --> 00:32:02,560
Speaker 8: California ever. No, No, that was my second time because

675
00:32:02,560 --> 00:32:03,880
Speaker 8: I had just been in La trying to meet with

676
00:32:03,960 --> 00:32:06,320
Speaker 8: John McLain in the year before, in eighty six.

677
00:32:06,440 --> 00:32:09,040
Speaker 4: In eighty six, Right, how did that fall through?

678
00:32:09,200 --> 00:32:11,600
Speaker 1: Or it was just like quickly beating happened and it

679
00:32:11,640 --> 00:32:12,040
Speaker 1: fell through?

680
00:32:12,120 --> 00:32:14,200
Speaker 4: Because this is my only big Griffy tie ever in

681
00:32:14,280 --> 00:32:14,800
Speaker 4: my whole life.

682
00:32:14,880 --> 00:32:18,600
Speaker 8: It felt because the guy that we thought was our

683
00:32:18,680 --> 00:32:21,600
Speaker 8: manager was a crook and he had been doing business with,

684
00:32:21,800 --> 00:32:26,959
Speaker 8: said Dick Griffy at some kind of international shipping weird something.

685
00:32:27,440 --> 00:32:31,720
Speaker 4: He went to jail, and when he went to jail,

686
00:32:32,080 --> 00:32:32,680
Speaker 4: we had to go.

687
00:32:32,760 --> 00:32:38,280
Speaker 8: Back to Kansas, right, Yeah, So the j King coming

688
00:32:38,360 --> 00:32:41,480
Speaker 8: through was a literal savior of my life.

689
00:32:41,760 --> 00:32:42,800
Speaker 5: That was a lifeline.

690
00:32:42,880 --> 00:32:43,840
Speaker 4: Yeah yeah, well is.

691
00:32:43,920 --> 00:32:45,160
Speaker 3: Jay King from Sacramento?

692
00:32:45,440 --> 00:32:48,200
Speaker 4: He actually is from Sacramento. Yeah, okay, sounds like what.

693
00:32:48,960 --> 00:32:54,120
Speaker 2: Have y'all noticed that no one, no black artists not

694
00:32:54,400 --> 00:32:58,680
Speaker 2: born in the in the sixties, that gets to our show.

695
00:32:59,560 --> 00:33:03,760
Speaker 2: It's like they cannot even get to California without running

696
00:33:03,760 --> 00:33:11,320
Speaker 2: to either Ronnie Simmons. We're now j King like is

697
00:33:11,400 --> 00:33:14,160
Speaker 2: completely I mean, the good side of that story is

698
00:33:14,200 --> 00:33:17,239
Speaker 2: also clearance. But yeah, it's like, you're gonna get You're

699
00:33:17,240 --> 00:33:20,400
Speaker 2: gonna run into four people on your journey.

700
00:33:20,720 --> 00:33:24,480
Speaker 4: That's said a lot about them though the success or

701
00:33:24,960 --> 00:33:26,400
Speaker 4: epic failure one or the other.

702
00:33:26,920 --> 00:33:28,720
Speaker 1: Oh my god, wow, it's crazy.

703
00:33:29,600 --> 00:33:33,280
Speaker 8: But Yo, here's the thing though, the j King part

704
00:33:33,320 --> 00:33:36,520
Speaker 8: of my my experience taught me a lot because not

705
00:33:36,680 --> 00:33:39,600
Speaker 8: only did they get me in the studio and kept working,

706
00:33:40,240 --> 00:33:43,400
Speaker 8: but unfortunately I did very horrible drum sound during that era.

707
00:33:43,520 --> 00:33:45,560
Speaker 4: Don't don't don't go find that cash album quest and

708
00:33:45,600 --> 00:33:48,720
Speaker 4: talk about the drum. Oh god, it's horrible.

709
00:33:48,960 --> 00:33:51,000
Speaker 5: But look Jake, I made up Jake and get it

710
00:33:51,040 --> 00:33:51,320
Speaker 5: from him.

711
00:33:53,400 --> 00:33:56,400
Speaker 4: That bad Boy is on disc. Gods, it's horrible. They're

712
00:33:56,400 --> 00:34:01,440
Speaker 4: selling on on which call it too Amazon. That shit

713
00:34:01,520 --> 00:34:03,120
Speaker 4: is on Amazon. So look anyway, it.

714
00:34:03,160 --> 00:34:06,080
Speaker 1: Never so it never was released. It never officially released.

715
00:34:06,120 --> 00:34:07,760
Speaker 4: It never but I have it on CD.

716
00:34:08,800 --> 00:34:11,680
Speaker 8: Got you you know, we got it that far cover,

717
00:34:12,120 --> 00:34:14,360
Speaker 8: about to be released on the schedule and everything, and

718
00:34:14,440 --> 00:34:16,719
Speaker 8: then Jay like pissed off the top brass and they

719
00:34:16,760 --> 00:34:18,040
Speaker 8: dropped his whole ship.

720
00:34:18,800 --> 00:34:19,080
Speaker 5: Wow.

721
00:34:19,600 --> 00:34:25,719
Speaker 1: So yes, describe j King as CEO because he was

722
00:34:25,800 --> 00:34:26,400
Speaker 1: on the come up.

723
00:34:26,760 --> 00:34:27,279
Speaker 4: Yeah he was.

724
00:34:27,560 --> 00:34:30,800
Speaker 1: And then you know what, so what happened?

725
00:34:31,120 --> 00:34:31,880
Speaker 4: I think you know what?

726
00:34:32,120 --> 00:34:35,040
Speaker 8: Like and the jail tell you this himself. When he

727
00:34:35,200 --> 00:34:42,480
Speaker 8: was young, girl, he had a serious like energy problem.

728
00:34:42,560 --> 00:34:43,799
Speaker 8: He could not control his.

729
00:34:44,040 --> 00:34:46,759
Speaker 4: Energy, like meaning like if he got pissed, he let

730
00:34:46,800 --> 00:34:49,719
Speaker 4: you know. He did not edit himself. He did not care.

731
00:34:50,560 --> 00:34:52,520
Speaker 8: I remember one time a security guy said something crazy

732
00:34:52,560 --> 00:34:53,839
Speaker 8: to him as we was walking through the mall.

733
00:34:54,000 --> 00:34:54,839
Speaker 4: He went and got a gun.

734
00:34:56,200 --> 00:34:59,040
Speaker 8: He said, like he was triggered, Like this guy was

735
00:34:59,200 --> 00:35:02,160
Speaker 8: not the one playing with seriously seriously, and.

736
00:35:04,400 --> 00:35:04,719
Speaker 7: That was it.

737
00:35:04,880 --> 00:35:08,040
Speaker 4: Maybe I don't know, I don't know, but I'm telling

738
00:35:08,040 --> 00:35:10,799
Speaker 4: you this. People did not play with Jay.

739
00:35:11,239 --> 00:35:14,359
Speaker 8: Jay was about his business and he definitely but one

740
00:35:14,400 --> 00:35:16,719
Speaker 8: thing he was to me was like a kind of

741
00:35:16,719 --> 00:35:19,080
Speaker 8: an older brother. And he was protective and he was

742
00:35:19,400 --> 00:35:20,799
Speaker 8: and he nurtured me, I give him.

743
00:35:20,920 --> 00:35:23,080
Speaker 4: And you know what he also did. He left me alone.

744
00:35:24,040 --> 00:35:26,040
Speaker 4: He left me do my thing. And and I'm telling

745
00:35:26,080 --> 00:35:27,880
Speaker 4: you right now, those years.

746
00:35:28,520 --> 00:35:30,799
Speaker 8: Taught me the most, probably because it was the time

747
00:35:30,800 --> 00:35:32,080
Speaker 8: where I thought I had made it.

748
00:35:32,200 --> 00:35:33,800
Speaker 4: You know, when you get signed and you think you

749
00:35:33,880 --> 00:35:35,880
Speaker 4: made it and then all of a sudden beginning.

750
00:35:36,120 --> 00:35:38,279
Speaker 8: Man, look that was just the beginning. You know all

751
00:35:38,320 --> 00:35:41,080
Speaker 8: about that funtation, So it's just it was crazy. But

752
00:35:41,200 --> 00:35:45,319
Speaker 8: when we got dropped because of his actions, and now

753
00:35:45,360 --> 00:35:49,080
Speaker 8: I'm stuck like not having product out, and I thought,

754
00:35:49,160 --> 00:35:51,160
Speaker 8: my dream You listen, when you think your whole dreams

755
00:35:51,239 --> 00:35:54,359
Speaker 8: are over at twenty two, you know what I mean?

756
00:35:55,480 --> 00:35:57,200
Speaker 4: It was devastating. It was devastating.

757
00:35:57,280 --> 00:36:01,480
Speaker 8: But Jay was so much of volatile person that it

758
00:36:01,520 --> 00:36:03,239
Speaker 8: made it difficult to deal with.

759
00:36:03,440 --> 00:36:09,040
Speaker 1: In the moment, he reminded me of the way he talks.

760
00:36:09,120 --> 00:36:10,520
Speaker 1: He talks just like J Prince.

761
00:36:13,360 --> 00:36:14,279
Speaker 4: Yeah, yeah, I know what you mean.

762
00:36:14,280 --> 00:36:16,719
Speaker 2: I know, like a very quiet little least the interviews

763
00:36:16,760 --> 00:36:18,840
Speaker 2: I saw which something said, don't mess.

764
00:36:18,680 --> 00:36:19,080
Speaker 1: With that guy.

765
00:36:20,880 --> 00:36:21,920
Speaker 5: Do you want to have any.

766
00:36:23,239 --> 00:36:23,879
Speaker 4: Go ahead? Go ahead?

767
00:36:23,880 --> 00:36:25,239
Speaker 6: And I was gonna say, do you ever have any

768
00:36:25,680 --> 00:36:27,960
Speaker 6: What was your interactions like with Benny madeena at that time?

769
00:36:28,040 --> 00:36:28,680
Speaker 1: If you had any?

770
00:36:29,000 --> 00:36:32,200
Speaker 4: I did several And you know what, this is the

771
00:36:32,239 --> 00:36:33,840
Speaker 4: funny one of the funny stories about Bennie.

772
00:36:34,600 --> 00:36:38,360
Speaker 8: He at that time he was really trying to transition

773
00:36:38,480 --> 00:36:41,719
Speaker 8: into television, so he was kind of over it in

774
00:36:41,800 --> 00:36:43,600
Speaker 8: a lot of ways. He was already over the record

775
00:36:43,640 --> 00:36:45,080
Speaker 8: thing he was because he was really about to do

776
00:36:45,160 --> 00:36:47,960
Speaker 8: Fresh Press of bel Air, because he started that immediately

777
00:36:48,000 --> 00:36:51,279
Speaker 8: when he left. But what he was for me was

778
00:36:51,400 --> 00:36:54,080
Speaker 8: just a real honest person, like he was like, Nope,

779
00:36:54,400 --> 00:36:55,919
Speaker 8: that sucks, Yep, that's dope.

780
00:36:56,280 --> 00:36:58,120
Speaker 4: Nope. At one time I used to.

781
00:36:58,160 --> 00:37:00,160
Speaker 8: Make these phone messages on my phone and sat him

782
00:37:00,200 --> 00:37:02,880
Speaker 8: in where I would do all these big ass productions quests.

783
00:37:02,960 --> 00:37:04,719
Speaker 8: I would do, like whole productions just to say that

784
00:37:04,800 --> 00:37:05,279
Speaker 8: I'm not home.

785
00:37:06,440 --> 00:37:06,960
Speaker 1: We all did.

786
00:37:07,080 --> 00:37:09,400
Speaker 4: Yeah, you know what I'm saying right right. So I

787
00:37:09,480 --> 00:37:12,239
Speaker 4: had this one joint and it was funky as hell,

788
00:37:12,320 --> 00:37:13,160
Speaker 4: and he called me.

789
00:37:13,239 --> 00:37:14,680
Speaker 8: Benny called me. I was like, what the hell Benny

790
00:37:14,719 --> 00:37:17,040
Speaker 8: mcgeena was telling me. He went, Yo, that's your first

791
00:37:17,120 --> 00:37:21,360
Speaker 8: fucking single right there. Wow, And he literally chose it

792
00:37:21,520 --> 00:37:22,800
Speaker 8: for the album that never came out, but it was

793
00:37:22,840 --> 00:37:25,880
Speaker 8: a song called wrong and he said, man, that's just.

794
00:37:27,880 --> 00:37:29,800
Speaker 4: So that happened. And then I didn't see Benny for

795
00:37:29,880 --> 00:37:31,279
Speaker 4: decades until he was trying.

796
00:37:31,280 --> 00:37:32,880
Speaker 8: I heard he was trying to find me throughout the

797
00:37:32,920 --> 00:37:35,320
Speaker 8: whole successful SWV period in the nineties.

798
00:37:35,400 --> 00:37:36,200
Speaker 4: He never could find me.

799
00:37:36,360 --> 00:37:38,560
Speaker 8: And when I finally saw him again was recently at

800
00:37:38,600 --> 00:37:42,320
Speaker 8: a La Read book signing. It was me, him and

801
00:37:42,440 --> 00:37:46,400
Speaker 8: Usher and La Reid, and that was probably twenty sixteen.

802
00:37:47,360 --> 00:37:49,839
Speaker 4: He hadn't seen me since eighty eight.

803
00:37:50,560 --> 00:37:51,399
Speaker 1: Right, how's he doing?

804
00:37:51,440 --> 00:37:51,560
Speaker 4: Man?

805
00:37:51,600 --> 00:37:52,960
Speaker 1: She's still like good health and everything.

806
00:37:53,719 --> 00:37:55,440
Speaker 4: As far as I know. Bennie's great. Yeah, I mean

807
00:37:55,480 --> 00:38:01,600
Speaker 4: when you're that rich man, j the Man, Diddy, Babyface,

808
00:38:01,840 --> 00:38:02,840
Speaker 4: you know. Please.

809
00:38:05,280 --> 00:38:10,200
Speaker 2: There's another legendary person that enters your sphere and I

810
00:38:10,280 --> 00:38:13,960
Speaker 2: don't know much about him or like I know his

811
00:38:14,120 --> 00:38:16,080
Speaker 2: music well, and that's Robert Brookins.

812
00:38:17,480 --> 00:38:21,320
Speaker 1: Oh, how like how does he enter your story?

813
00:38:22,280 --> 00:38:26,239
Speaker 8: So when I got to Sacramento, I found out that

814
00:38:26,400 --> 00:38:30,280
Speaker 8: there was this rivalry between j King and Robert Brookins.

815
00:38:31,080 --> 00:38:34,720
Speaker 8: Robert Brookins had been a child star in the Sacramento

816
00:38:34,719 --> 00:38:36,879
Speaker 8: He's from Sacramento as well, so they were like from

817
00:38:36,920 --> 00:38:38,640
Speaker 8: the same hood, and it was like, you know, I'm

818
00:38:38,640 --> 00:38:41,160
Speaker 8: gonna be famous before you type of thing. So Robert

819
00:38:41,440 --> 00:38:43,640
Speaker 8: was a genius really on the keys vocals, I mean,

820
00:38:43,760 --> 00:38:46,000
Speaker 8: talk about fred Hammon. Robert sound like fred Hammon before

821
00:38:46,040 --> 00:38:46,520
Speaker 8: fred Hammon.

822
00:38:47,400 --> 00:38:48,479
Speaker 4: Wow, Okay, so pete.

823
00:38:48,840 --> 00:38:51,439
Speaker 8: So when I get there, it was only a matter

824
00:38:51,520 --> 00:38:53,239
Speaker 8: of time before I I would meet Robert because I

825
00:38:53,280 --> 00:38:54,959
Speaker 8: was always he was like a legend and I hadn't

826
00:38:54,960 --> 00:38:55,440
Speaker 8: met him yet.

827
00:38:55,480 --> 00:38:56,279
Speaker 4: I was only twenty two.

828
00:38:56,480 --> 00:38:58,480
Speaker 8: I kept hearing about him, and then when Jay would

829
00:38:58,520 --> 00:39:00,600
Speaker 8: talk about him, it was always brother.

830
00:39:00,880 --> 00:39:07,960
Speaker 4: I beat Robert's ass, So I was like, what is

831
00:39:08,040 --> 00:39:09,440
Speaker 4: the deal with Jking and Robert?

832
00:39:09,600 --> 00:39:12,960
Speaker 8: So they had this rivalry. When Robert Brookings met me,

833
00:39:13,120 --> 00:39:15,840
Speaker 8: it was by accident. I had this girlfriend I was

834
00:39:15,880 --> 00:39:18,719
Speaker 8: seeing the time. Her name is Donna. Donna answered the

835
00:39:18,880 --> 00:39:23,080
Speaker 8: phones for Robert's office front office. So one time I

836
00:39:23,160 --> 00:39:25,600
Speaker 8: wrote Week and I wanted to play Week for her

837
00:39:25,880 --> 00:39:26,840
Speaker 8: to see what she thought of it.

838
00:39:26,920 --> 00:39:30,240
Speaker 4: As a female, I went into her office. She introduced

839
00:39:30,239 --> 00:39:30,800
Speaker 4: me to Robert.

840
00:39:30,920 --> 00:39:33,319
Speaker 8: That was my first time meeting him, and he didn't

841
00:39:33,320 --> 00:39:34,880
Speaker 8: know nothing about me singing or playing and none of

842
00:39:34,880 --> 00:39:37,239
Speaker 8: that stuff. When I pushed the button play on Week,

843
00:39:37,440 --> 00:39:39,640
Speaker 8: my demo of Week Donna.

844
00:39:40,360 --> 00:39:44,880
Speaker 4: I looked up. Her ass was in tears. Robert was like,

845
00:39:45,120 --> 00:39:51,279
Speaker 4: that's too many motherfucking words, yes, he said, he said,

846
00:39:51,320 --> 00:39:54,879
Speaker 4: why are you saying something? Words? Make it most simple?

847
00:39:55,360 --> 00:39:55,879
Speaker 4: That's too many.

848
00:39:56,400 --> 00:40:00,200
Speaker 5: I was only if only Robert had an on the

849
00:40:00,280 --> 00:40:01,719
Speaker 5: bone thugs is right around the corner.

850
00:40:04,480 --> 00:40:07,200
Speaker 8: But look, but look what Robert did at that moment.

851
00:40:07,239 --> 00:40:11,120
Speaker 8: Though he showed me a couple of chords, he showed

852
00:40:11,160 --> 00:40:13,919
Speaker 8: me he was working with Jackie Jackson at the time.

853
00:40:14,360 --> 00:40:17,520
Speaker 8: He took me to Tito Jackson's house here in LA.

854
00:40:18,000 --> 00:40:19,640
Speaker 8: He took me under his wing, is what he did.

855
00:40:19,880 --> 00:40:22,200
Speaker 8: And that's how I ended up on his second album.

856
00:40:22,239 --> 00:40:24,680
Speaker 8: I'm doing backgrounds on there on a song called United.

857
00:40:25,160 --> 00:40:28,520
Speaker 8: But Robert literally, what he really was trying to do

858
00:40:28,960 --> 00:40:33,120
Speaker 8: was take J Kings thing from J King.

859
00:40:34,239 --> 00:40:37,520
Speaker 4: You feel me. He's trying to get me squarely into

860
00:40:37,600 --> 00:40:39,200
Speaker 4: Robert camp. He's like, and what you doing with that?

861
00:40:39,480 --> 00:40:39,640
Speaker 1: You know?

862
00:40:40,040 --> 00:40:40,440
Speaker 4: Jking?

863
00:40:40,800 --> 00:40:44,200
Speaker 8: Them niggas can't sing, they can't. He's like, you too,

864
00:40:44,400 --> 00:40:46,360
Speaker 8: You're too bad to be in that camp, bro, what

865
00:40:46,520 --> 00:40:48,520
Speaker 8: you doing? And I think he tried to show me,

866
00:40:48,800 --> 00:40:51,040
Speaker 8: like the life Hollywood life with the Jackson's and the that,

867
00:40:51,360 --> 00:40:53,640
Speaker 8: and he was also playing keys for Earth Wind and Fire.

868
00:40:53,680 --> 00:40:57,200
Speaker 4: Eventually Robert was doing everything long story short, you.

869
00:40:57,239 --> 00:41:01,440
Speaker 1: Know, Okay, yeah, I know, I know he passed away

870
00:41:01,560 --> 00:41:02,359
Speaker 1: like ten years ago.

871
00:41:02,400 --> 00:41:04,839
Speaker 4: I think, yes, yes, yes, but he ultimately became very

872
00:41:04,880 --> 00:41:05,920
Speaker 4: good friends and.

873
00:41:06,760 --> 00:41:08,399
Speaker 2: And he was He's just one of those cats where

874
00:41:08,400 --> 00:41:11,440
Speaker 2: that I always knew about or you know that that

875
00:41:11,719 --> 00:41:14,160
Speaker 2: never you know, got a shine or really got the

876
00:41:14,239 --> 00:41:16,200
Speaker 2: light of day, but always saw his name on credits

877
00:41:16,239 --> 00:41:17,080
Speaker 2: and all that stuff.

878
00:41:17,120 --> 00:41:18,000
Speaker 4: And that's funny, man.

879
00:41:18,080 --> 00:41:21,200
Speaker 8: And listen to a record by him called uh in

880
00:41:21,320 --> 00:41:23,239
Speaker 8: Our Lives, In our Lives, check that one out.

881
00:41:23,680 --> 00:41:25,239
Speaker 1: Okay, yeah, look that up.

882
00:41:25,600 --> 00:41:27,439
Speaker 5: Did you sing your demo for for a week?

883
00:41:28,320 --> 00:41:32,080
Speaker 4: Did I sang all the demos for all those songs? Oh? Yeah?

884
00:41:36,920 --> 00:41:38,959
Speaker 1: So how long before.

885
00:41:40,160 --> 00:41:43,120
Speaker 2: You're able to at least get back up on your

886
00:41:43,160 --> 00:41:48,319
Speaker 2: feet again once the j King deal goes? Like did

887
00:41:48,360 --> 00:41:50,200
Speaker 2: you try to tell Benny like why don't you just

888
00:41:50,200 --> 00:41:53,240
Speaker 2: sign me directly? Or like you were already under contract.

889
00:41:52,840 --> 00:41:56,120
Speaker 8: To listen when Jay did what he did, I think

890
00:41:56,320 --> 00:41:58,960
Speaker 8: that in that building it was a rap for anything

891
00:41:59,040 --> 00:42:01,960
Speaker 8: having to do you feel me, like any food from

892
00:42:02,000 --> 00:42:03,080
Speaker 8: that tree was done.

893
00:42:03,200 --> 00:42:03,719
Speaker 4: It's a rap.

894
00:42:03,960 --> 00:42:05,520
Speaker 8: And I didn't have the power as a young kid

895
00:42:05,640 --> 00:42:07,719
Speaker 8: like that to be walking up in those rooms talking

896
00:42:07,920 --> 00:42:10,080
Speaker 8: about anything. Really shit, We fucked up and went tried

897
00:42:10,120 --> 00:42:12,200
Speaker 8: to get a manager to get out of the j dial, and.

898
00:42:12,239 --> 00:42:14,680
Speaker 4: That backfired on us. It was just all bad. I

899
00:42:15,160 --> 00:42:15,800
Speaker 4: was depreved on.

900
00:42:15,880 --> 00:42:17,600
Speaker 1: Did it take you to be free of him?

901
00:42:18,520 --> 00:42:19,200
Speaker 4: A couple of years?

902
00:42:19,280 --> 00:42:19,400
Speaker 8: Man?

903
00:42:19,600 --> 00:42:20,399
Speaker 4: Like a couple of years.

904
00:42:20,840 --> 00:42:23,800
Speaker 8: And then even after that though, I was just struggling

905
00:42:23,880 --> 00:42:26,279
Speaker 8: just to be able to be a working musician. So

906
00:42:26,400 --> 00:42:28,719
Speaker 8: all of a sudden I start taking I start taking

907
00:42:28,760 --> 00:42:32,680
Speaker 8: any calls, any calls, if anything, I would take it

908
00:42:32,760 --> 00:42:33,439
Speaker 8: and go do the work.

909
00:42:33,760 --> 00:42:35,840
Speaker 4: That's how I got Stevie Wonder Gig.

910
00:42:37,480 --> 00:42:40,720
Speaker 8: And the Bobby Brown Gig in nineteen ninety and nineteen

911
00:42:40,760 --> 00:42:41,839
Speaker 8: ninety one, respectively.

912
00:42:42,040 --> 00:42:43,280
Speaker 4: Can I shall tell you that story?

913
00:42:43,880 --> 00:42:44,120
Speaker 1: Nice?

914
00:42:44,640 --> 00:42:48,080
Speaker 4: Okay, So this is what we lived for. Think this.

915
00:42:48,400 --> 00:42:50,600
Speaker 8: So now me and Robert at this time had fallen

916
00:42:50,640 --> 00:42:52,640
Speaker 8: out because Robert made me buy a car that I

917
00:42:52,680 --> 00:42:54,440
Speaker 8: couldn't afford and put it in He said he was

918
00:42:54,440 --> 00:42:55,920
Speaker 8: gonna go sign for it, but then he didn't do it.

919
00:42:55,960 --> 00:42:57,319
Speaker 8: Then I was stuck with the things. I was mad,

920
00:42:57,560 --> 00:42:59,480
Speaker 8: so I was like not feeling Robert, and then Robert

921
00:42:59,560 --> 00:43:02,160
Speaker 8: I also had done multiple songs for Robert that he

922
00:43:02,280 --> 00:43:04,000
Speaker 8: was supposed to pay me for and then he didn't

923
00:43:04,040 --> 00:43:05,440
Speaker 8: pay me for them. So I was really really mad

924
00:43:05,440 --> 00:43:07,080
Speaker 8: at Robert in this moment. I understand that when I

925
00:43:07,120 --> 00:43:09,560
Speaker 8: told you, you know, for these for these artists, it

926
00:43:09,640 --> 00:43:11,520
Speaker 8: was the There was some people that he was working with,

927
00:43:11,719 --> 00:43:13,520
Speaker 8: but I had demoed, I had written and demoed them,

928
00:43:13,520 --> 00:43:15,040
Speaker 8: and he told me he's gonna pay me x amount

929
00:43:15,080 --> 00:43:15,680
Speaker 8: and he didn't do it.

930
00:43:16,080 --> 00:43:16,239
Speaker 4: Well.

931
00:43:16,280 --> 00:43:18,200
Speaker 8: Remember I had Donnad working in there, so Donna could

932
00:43:18,200 --> 00:43:21,680
Speaker 8: tell me what was really going on, right, So what

933
00:43:21,760 --> 00:43:24,040
Speaker 8: I found out was that he really never was gonna

934
00:43:24,080 --> 00:43:24,320
Speaker 8: pay me.

935
00:43:24,520 --> 00:43:26,960
Speaker 4: Okay, so I was I was heeded.

936
00:43:27,360 --> 00:43:29,640
Speaker 8: So now I'm down to La hustling for gigs and

937
00:43:29,680 --> 00:43:33,320
Speaker 8: ship I get a call from a guy named Derek Allen,

938
00:43:33,480 --> 00:43:34,000
Speaker 8: bass player.

939
00:43:34,040 --> 00:43:34,560
Speaker 4: He plays bass.

940
00:43:35,280 --> 00:43:37,680
Speaker 8: That's right, d o A, yes, you know the So

941
00:43:38,040 --> 00:43:42,000
Speaker 8: shout out to Derek Allen. So Derek was Bobby Brown's

942
00:43:42,080 --> 00:43:44,440
Speaker 8: musical director for his tour at that time.

943
00:43:44,520 --> 00:43:46,759
Speaker 5: He did College Girl on Bobby Bobby.

944
00:43:46,920 --> 00:43:49,239
Speaker 4: Exactly check you out. So yeah, that's exactly right.

945
00:43:49,840 --> 00:43:53,280
Speaker 8: So look he hit me and my man, Dennis Austin

946
00:43:53,840 --> 00:43:55,520
Speaker 8: was in the band he's a keyboard player, Dope drough

947
00:43:55,520 --> 00:43:58,600
Speaker 8: from Sacramento as well, Derek's homeboy. They called me and said, Brian,

948
00:43:58,840 --> 00:44:01,480
Speaker 8: we need somebody that can sing and play. Can you

949
00:44:01,600 --> 00:44:04,120
Speaker 8: do this Bobby Brown gig? I said, what's the gig?

950
00:44:04,320 --> 00:44:06,680
Speaker 8: We're doing the American Music Awards. We're doing a medley

951
00:44:06,960 --> 00:44:09,680
Speaker 8: of all his hits at the American Music Awards. Okay,

952
00:44:09,880 --> 00:44:11,279
Speaker 8: and now this is nineteen ninety. Now this is a

953
00:44:11,400 --> 00:44:13,239
Speaker 8: question you were asking how long it took. This is

954
00:44:13,320 --> 00:44:16,279
Speaker 8: about a year after we had gotten dropped.

955
00:44:16,080 --> 00:44:18,480
Speaker 4: And when this is happening in nineteen ninety Okay, Okay,

956
00:44:18,960 --> 00:44:22,040
Speaker 4: So I take the gig. I get the gig, I

957
00:44:22,080 --> 00:44:24,399
Speaker 4: get down to La uh and I do the gig.

958
00:44:24,480 --> 00:44:26,719
Speaker 4: It was amazing. I met Val Young, who's also a legend.

959
00:44:26,760 --> 00:44:28,319
Speaker 4: Shout out to Val Young. I know you know that.

960
00:44:29,920 --> 00:44:32,799
Speaker 8: Vow was on the record. That's right, uh and goat

961
00:44:32,880 --> 00:44:35,400
Speaker 8: banned but check this. Yes, So it's me Val and

962
00:44:35,440 --> 00:44:37,360
Speaker 8: this other guy named Harold. We're doing the backgrounds for

963
00:44:37,440 --> 00:44:38,960
Speaker 8: Bobby Bobby. Uh.

964
00:44:40,000 --> 00:44:42,520
Speaker 4: For for reasons I won't mention, could not really do it.

965
00:44:45,640 --> 00:44:48,000
Speaker 4: You couldn't do the show okay, live like it was

966
00:44:48,000 --> 00:44:48,440
Speaker 4: supposed to be.

967
00:44:48,560 --> 00:44:51,279
Speaker 8: So Dick Clark said, you're not coming up on here.

968
00:44:51,320 --> 00:44:52,960
Speaker 8: You know, Dick Clark did not play. He's like, you're

969
00:44:52,960 --> 00:44:54,279
Speaker 8: not coming out here and messing up my ship.

970
00:44:54,560 --> 00:44:57,040
Speaker 4: Go go record it. You got to go record it.

971
00:44:57,239 --> 00:44:59,480
Speaker 4: So we went to excuse that it was bad. So

972
00:44:59,560 --> 00:45:02,480
Speaker 4: we rec or the whole thing in the studio.

973
00:45:03,000 --> 00:45:06,080
Speaker 8: Now, when I was supposed to leave the next day

974
00:45:06,239 --> 00:45:08,239
Speaker 8: to go back to Sacramento, I'm in the hotel room.

975
00:45:09,080 --> 00:45:11,160
Speaker 8: I'm getting my bags are all packed. I'm in the

976
00:45:11,480 --> 00:45:15,279
Speaker 8: hotel lobby waiting on a cab or something, and look,

977
00:45:16,000 --> 00:45:17,880
Speaker 8: I jump on the piano and I start playing what

978
00:45:18,320 --> 00:45:19,359
Speaker 8: a commission song?

979
00:45:20,320 --> 00:45:20,640
Speaker 1: M hm?

980
00:45:20,880 --> 00:45:22,680
Speaker 8: And it probably was running Back to You or something

981
00:45:22,719 --> 00:45:26,879
Speaker 8: like that. So a guy walks by me and he goes, yo,

982
00:45:28,960 --> 00:45:30,520
Speaker 8: you know that you want you know about the commission

983
00:45:30,560 --> 00:45:32,000
Speaker 8: and say, man, come on, and so we start doing

984
00:45:32,000 --> 00:45:33,920
Speaker 8: two part harmony to it in the lobby of this hotel.

985
00:45:34,880 --> 00:45:38,719
Speaker 4: I looked up and I was like, Bro, you are Keith.

986
00:45:38,560 --> 00:45:47,640
Speaker 6: John hunh Wow, Stevie, Yeah, Stevie, and you yes, yes, yes, yes.

987
00:45:47,560 --> 00:45:50,960
Speaker 8: Yes, yes so Pete. So I go bro, and before

988
00:45:51,000 --> 00:45:53,000
Speaker 8: I can say anything else, he said, what's your name?

989
00:45:53,680 --> 00:45:55,920
Speaker 8: I said, I'm Brian Morgan and he goes, not.

990
00:45:56,040 --> 00:46:00,279
Speaker 4: Brian Alexander Morgan and I said, wait a minute, you

991
00:46:00,400 --> 00:46:02,920
Speaker 4: know my name? Bro? How do you know my name?

992
00:46:03,320 --> 00:46:06,200
Speaker 4: He said, Bro? That Cache album. Stevie plays it on

993
00:46:06,280 --> 00:46:07,239
Speaker 4: the bus all the time.

994
00:46:08,719 --> 00:46:12,319
Speaker 8: What I even get it because they gave promos out

995
00:46:12,360 --> 00:46:13,840
Speaker 8: all the time tables.

996
00:46:14,520 --> 00:46:15,120
Speaker 4: I said, what.

997
00:46:15,760 --> 00:46:18,239
Speaker 8: He said, check this out, Bro, we're having a rehearsal.

998
00:46:18,640 --> 00:46:22,360
Speaker 8: Stevie's doing the Grammys and we're having a rehearsal for it.

999
00:46:23,040 --> 00:46:24,360
Speaker 8: Would you like the audition for it?

1000
00:46:24,440 --> 00:46:25,520
Speaker 4: I say what? Of course?

1001
00:46:25,640 --> 00:46:27,000
Speaker 8: I said, what you'all doing? He said, we're gonna do

1002
00:46:27,000 --> 00:46:29,839
Speaker 8: we can work it out the Beatles joint because Paul

1003
00:46:29,880 --> 00:46:30,839
Speaker 8: McCartney's gonna be there.

1004
00:46:30,880 --> 00:46:33,040
Speaker 4: I said, oh my god. Yeah, So I did it.

1005
00:46:33,120 --> 00:46:35,759
Speaker 8: I went to the form, a line around the form, waiting,

1006
00:46:36,040 --> 00:46:40,240
Speaker 8: everybody doing twenty thousand runs warming up, Keith John walking

1007
00:46:40,280 --> 00:46:42,400
Speaker 8: me in, got me into that audition and I got

1008
00:46:42,440 --> 00:46:42,759
Speaker 8: that gig.

1009
00:46:42,840 --> 00:46:44,359
Speaker 4: So if you look at this you can you can

1010
00:46:44,400 --> 00:46:46,000
Speaker 4: YouTube it. Nineteen ninety one.

1011
00:46:46,040 --> 00:46:49,200
Speaker 1: I think I know that performance. Yeah.

1012
00:46:49,280 --> 00:46:51,759
Speaker 4: Wow, that's right, and I'm in there. That's me right there.

1013
00:46:53,000 --> 00:46:55,680
Speaker 5: That is crazy around up you you the R and

1014
00:46:55,800 --> 00:46:57,240
Speaker 5: B Forrest Gump out here cuz.

1015
00:46:57,239 --> 00:46:58,719
Speaker 1: That's what this is.

1016
00:46:58,760 --> 00:46:59,319
Speaker 7: How he came.

1017
00:46:59,520 --> 00:47:02,600
Speaker 5: Yes, yes, it's a conversation.

1018
00:47:02,920 --> 00:47:05,160
Speaker 4: Thank you, thank you, thank you very much. Hey. But yo,

1019
00:47:05,520 --> 00:47:10,600
Speaker 4: but from there back home and broke right, okay, and.

1020
00:47:10,800 --> 00:47:12,480
Speaker 8: It's cool to be on TV and your mama was like,

1021
00:47:12,520 --> 00:47:14,320
Speaker 8: look at my baby on TV with Stevie Wonder.

1022
00:47:14,400 --> 00:47:16,360
Speaker 4: But you know, Stevie didn't call me after that until

1023
00:47:17,080 --> 00:47:18,319
Speaker 4: about four years later when.

1024
00:47:18,239 --> 00:47:20,640
Speaker 8: The girls were out. But when I went back home

1025
00:47:21,200 --> 00:47:23,279
Speaker 8: something I'm gonna switch. I'm gonna make it easy, just

1026
00:47:23,320 --> 00:47:26,800
Speaker 8: transition for y'all. I was like, I cannot be broke

1027
00:47:26,920 --> 00:47:30,480
Speaker 8: no more. I got to write something for somebody that

1028
00:47:30,600 --> 00:47:34,000
Speaker 8: I already know has has has a standing, you know

1029
00:47:34,040 --> 00:47:34,400
Speaker 8: what I mean.

1030
00:47:35,120 --> 00:47:38,320
Speaker 4: So I in eighty nine, Martha wash.

1031
00:47:39,000 --> 00:47:43,200
Speaker 8: Had out everybody, everybody, and I love that joint right,

1032
00:47:43,520 --> 00:47:46,080
Speaker 8: And I've always been a househead and a dance head.

1033
00:47:46,239 --> 00:47:47,560
Speaker 8: So I was like, man, I can write. I can

1034
00:47:47,600 --> 00:47:49,360
Speaker 8: write a joint for Martha. And then all of a sudden,

1035
00:47:49,360 --> 00:47:53,759
Speaker 8: when she had out everybody does now that, I was like,

1036
00:47:53,880 --> 00:47:56,000
Speaker 8: somebody right, So that's ninety one.

1037
00:47:56,160 --> 00:47:57,320
Speaker 4: So I'm like, this is my opening.

1038
00:47:57,400 --> 00:48:00,200
Speaker 8: Because she got a record deal on RCA as a

1039
00:48:00,239 --> 00:48:04,520
Speaker 8: result of her getting suing C and C. So she

1040
00:48:04,600 --> 00:48:06,719
Speaker 8: got that deal. So I said, that's my opening right there.

1041
00:48:06,800 --> 00:48:08,800
Speaker 8: She got a brand new album that she's gonna need songs.

1042
00:48:09,000 --> 00:48:09,640
Speaker 4: So I went home.

1043
00:48:09,880 --> 00:48:11,400
Speaker 8: I had a listen to what I had quest This

1044
00:48:11,440 --> 00:48:13,680
Speaker 8: is the equipment I had. It's pathetic, but I made

1045
00:48:13,719 --> 00:48:14,400
Speaker 8: these joints on it.

1046
00:48:14,560 --> 00:48:15,160
Speaker 1: You made it work.

1047
00:48:16,080 --> 00:48:20,040
Speaker 4: I had a motherfucking nine O nine rolling nine on

1048
00:48:20,160 --> 00:48:21,439
Speaker 4: nine house.

1049
00:48:21,520 --> 00:48:22,480
Speaker 1: You need that, you need that.

1050
00:48:22,520 --> 00:48:25,120
Speaker 8: I needed that, And then I had a horrible release

1051
00:48:25,160 --> 00:48:26,840
Speaker 8: since HR sixteen B.

1052
00:48:27,480 --> 00:48:31,040
Speaker 4: Remember that joint, it was progressive joint, Oh my god,

1053
00:48:31,600 --> 00:48:32,360
Speaker 4: for percussion.

1054
00:48:32,600 --> 00:48:34,319
Speaker 1: Right, you made it work, bro.

1055
00:48:34,520 --> 00:48:36,880
Speaker 8: I mated them joints together and used the nine O

1056
00:48:37,000 --> 00:48:38,879
Speaker 8: nine for the kick and snare stuff and the HR

1057
00:48:38,960 --> 00:48:40,360
Speaker 8: sixty B for the percussion stuff.

1058
00:48:40,400 --> 00:48:42,759
Speaker 4: Right, and them two joints go together. It sound like

1059
00:48:42,760 --> 00:48:44,920
Speaker 4: a whole new drum machine. So boom. And then I

1060
00:48:44,960 --> 00:48:46,399
Speaker 4: wrote and I was like, I did my best.

1061
00:48:46,600 --> 00:48:50,759
Speaker 8: Everybody everybody right, And it's a song called give It

1062
00:48:50,840 --> 00:48:52,759
Speaker 8: to You and when number one dance for me and

1063
00:48:52,840 --> 00:48:56,400
Speaker 8: Martha on RCA in nineteen ninety two, early nineteen ninety two.

1064
00:48:56,640 --> 00:49:00,200
Speaker 8: But it got me in the door at RCA and

1065
00:49:00,280 --> 00:49:02,600
Speaker 8: our person of the of the Martha Wash record was.

1066
00:49:02,640 --> 00:49:05,920
Speaker 2: Kenny or T T Kenny or ts okay Okay, that's

1067
00:49:05,960 --> 00:49:10,000
Speaker 2: how we get to s WV WOWTA got you in

1068
00:49:10,080 --> 00:49:10,920
Speaker 2: the door, got.

1069
00:49:10,800 --> 00:49:12,520
Speaker 4: Me in that door? And I did. And I had

1070
00:49:12,719 --> 00:49:15,040
Speaker 4: only done two songs on the demo for Marcus. She

1071
00:49:15,200 --> 00:49:17,440
Speaker 4: liked them so much. This is what Martha Wah said

1072
00:49:17,480 --> 00:49:19,040
Speaker 4: to me when she heard them demo songs. She said,

1073
00:49:19,719 --> 00:49:22,560
Speaker 4: I don't know who you are or where you come from,

1074
00:49:23,040 --> 00:49:25,319
Speaker 4: but you're doing what we want the A and our

1075
00:49:25,400 --> 00:49:27,200
Speaker 4: guy has not given us what we want until he

1076
00:49:27,280 --> 00:49:30,200
Speaker 4: played us. You can you can you do more?

1077
00:49:30,480 --> 00:49:32,360
Speaker 8: So I ended up doing five joints on that on

1078
00:49:32,480 --> 00:49:34,879
Speaker 8: Martha's debut on r C A five songs on them,

1079
00:49:35,360 --> 00:49:37,319
Speaker 8: and that literally changed my life because I was able

1080
00:49:37,360 --> 00:49:40,279
Speaker 8: to get a new car by say fuck you to

1081
00:49:40,360 --> 00:49:41,359
Speaker 8: Robert Brookins.

1082
00:49:41,280 --> 00:49:45,520
Speaker 4: See say say to j King, I could you know

1083
00:49:45,800 --> 00:49:46,239
Speaker 4: I'm out here?

1084
00:49:46,280 --> 00:49:47,759
Speaker 8: I'm still working, you know it was And I was

1085
00:49:47,840 --> 00:49:49,640
Speaker 8: never malice towards him because I knew that if it

1086
00:49:49,760 --> 00:49:51,520
Speaker 8: wasn't for him, I wouldn't even be there, So I

1087
00:49:51,560 --> 00:49:53,359
Speaker 8: would never talk shit about Jay. But at the end

1088
00:49:53,360 --> 00:49:55,240
Speaker 8: of the day, I was just like, yo, I'm working,

1089
00:49:55,360 --> 00:49:57,360
Speaker 8: and I got an apartment and I started working and

1090
00:49:57,440 --> 00:49:59,239
Speaker 8: if I didn't have that money that I made for

1091
00:49:59,320 --> 00:50:02,799
Speaker 8: Martha wash about my first MPC that I did, I'm

1092
00:50:02,800 --> 00:50:04,759
Speaker 8: swim to you and all the rest of the stuff.

1093
00:50:04,520 --> 00:50:07,680
Speaker 5: On wow, So aka right, got it?

1094
00:50:07,840 --> 00:50:08,120
Speaker 1: Got it?

1095
00:50:08,280 --> 00:50:08,440
Speaker 7: Now?

1096
00:50:09,520 --> 00:50:09,839
Speaker 1: All right?

1097
00:50:09,920 --> 00:50:09,960
Speaker 4: Go?

1098
00:50:10,920 --> 00:50:12,080
Speaker 1: How do you developed this stuff?

1099
00:50:12,520 --> 00:50:15,880
Speaker 2: We came first the songs or or did the songs

1100
00:50:15,920 --> 00:50:20,279
Speaker 2: come first? Or you meeting the ladies of s WV

1101
00:50:20,480 --> 00:50:21,439
Speaker 2: first songs first?

1102
00:50:21,480 --> 00:50:23,120
Speaker 4: Remember I told you I did Week before I ever

1103
00:50:23,160 --> 00:50:23,480
Speaker 4: met him.

1104
00:50:23,600 --> 00:50:26,040
Speaker 8: I did that, right, okay eighty nine and that's when

1105
00:50:26,560 --> 00:50:28,560
Speaker 8: when the whole thing fell apart with Jay, and then

1106
00:50:28,680 --> 00:50:31,319
Speaker 8: Chante Moore came into the picture, and then that's kind

1107
00:50:31,320 --> 00:50:33,680
Speaker 8: of I wrote that out of a sadness about.

1108
00:50:33,520 --> 00:50:35,759
Speaker 1: You were writing that song for her record or I

1109
00:50:35,840 --> 00:50:36,160
Speaker 1: wrote it.

1110
00:50:36,200 --> 00:50:39,200
Speaker 4: About her, and I was writing it for Charlie Wilson.

1111
00:50:41,719 --> 00:50:43,120
Speaker 1: Week was about Chante Moore.

1112
00:50:43,360 --> 00:50:43,960
Speaker 4: You didn't know that?

1113
00:50:44,520 --> 00:50:56,279
Speaker 7: Every yeah, yeah, yeah, yeah, bro, yes, wow, speak on it.

1114
00:50:56,520 --> 00:50:58,440
Speaker 8: I had a huge crush on Chante Bro and I

1115
00:50:58,480 --> 00:51:00,839
Speaker 8: couldn't but that was Jay's woman at the time.

1116
00:51:01,440 --> 00:51:03,440
Speaker 4: Chaunte was Jay's woman at the time. Big Time.

1117
00:51:05,440 --> 00:51:05,839
Speaker 7: Got a man.

1118
00:51:05,920 --> 00:51:06,120
Speaker 1: This is.

1119
00:51:09,040 --> 00:51:09,160
Speaker 6: Man.

1120
00:51:10,480 --> 00:51:12,520
Speaker 4: I'm saying yea, yeah, yeah, and you.

1121
00:51:12,560 --> 00:51:14,719
Speaker 8: Know what, and it was just about boundaries and I

1122
00:51:14,840 --> 00:51:17,399
Speaker 8: need didn't want to cross no boundaries with my that's

1123
00:51:17,440 --> 00:51:17,680
Speaker 8: my boss.

1124
00:51:17,800 --> 00:51:19,680
Speaker 4: And j K was still crazy, don't get it sucked up.

1125
00:51:20,080 --> 00:51:29,440
Speaker 5: So with that like that and she got that voice

1126
00:51:29,520 --> 00:51:33,600
Speaker 5: though that was, Oh my god, make a connection.

1127
00:51:34,040 --> 00:51:40,279
Speaker 1: Brooy, Yes, yes, yes, bro bro So.

1128
00:51:40,360 --> 00:51:43,440
Speaker 4: Long story short, but I tell the body still Charlie

1129
00:51:43,440 --> 00:51:46,040
Speaker 4: Wilson fan though, me thinking where I'm coming from. So,

1130
00:51:46,760 --> 00:51:47,839
Speaker 4: Wednesday Lover had.

1131
00:51:47,840 --> 00:51:55,359
Speaker 8: Been my favorite gap band song at that right, Oh god,

1132
00:51:55,440 --> 00:51:57,320
Speaker 8: I gotta write something for charge. So that was Wednesday

1133
00:51:57,360 --> 00:52:00,080
Speaker 8: Lover came on eighty eight, so I wrote week in

1134
00:52:00,160 --> 00:52:02,040
Speaker 8: eighty nine. It was only a week a year later,

1135
00:52:02,200 --> 00:52:04,320
Speaker 8: not even a whole year later, right, So I'm thinking

1136
00:52:04,680 --> 00:52:06,520
Speaker 8: Wednesday Lover. I got to do something at least as

1137
00:52:06,520 --> 00:52:10,239
Speaker 8: strong as that, right, And so but Chante was the

1138
00:52:10,320 --> 00:52:13,320
Speaker 8: fuel for the subject of it because it was just

1139
00:52:13,400 --> 00:52:16,960
Speaker 8: about unrequited things. You can't you know, something's happened, but

1140
00:52:17,000 --> 00:52:20,160
Speaker 8: you can't do nothing about it type of energy, hence

1141
00:52:20,239 --> 00:52:21,800
Speaker 8: the whole I don't know what it is, but this

1142
00:52:21,960 --> 00:52:23,359
Speaker 8: is this is crazy.

1143
00:52:23,400 --> 00:52:23,920
Speaker 4: You know what I mean?

1144
00:52:24,239 --> 00:52:26,600
Speaker 3: Why is she not exclaiming this from the rooftops?

1145
00:52:26,640 --> 00:52:26,840
Speaker 4: Does she?

1146
00:52:27,080 --> 00:52:27,840
Speaker 5: What was her reaction?

1147
00:52:28,000 --> 00:52:28,520
Speaker 7: To knowing that.

1148
00:52:28,920 --> 00:52:29,920
Speaker 4: She didn't know that then and.

1149
00:52:31,640 --> 00:52:34,799
Speaker 8: Now she definitely knows it now, she's known it for years,

1150
00:52:35,000 --> 00:52:37,080
Speaker 8: But back then she had no idea. And not only that,

1151
00:52:37,200 --> 00:52:39,239
Speaker 8: she was trying to get the hell away from Sacramento

1152
00:52:39,320 --> 00:52:40,920
Speaker 8: and j too. She had a whole little life she's

1153
00:52:40,920 --> 00:52:43,560
Speaker 8: about to live. But but my point, but my point

1154
00:52:43,719 --> 00:52:48,000
Speaker 8: is thank god I wrote something so honest, you know

1155
00:52:48,040 --> 00:52:50,400
Speaker 8: what I mean, from my heart and and she was

1156
00:52:50,440 --> 00:52:51,239
Speaker 8: the inspiration for it.

1157
00:52:51,320 --> 00:52:58,040
Speaker 4: And I'm not ashamed to say, you know what Wednesday Love.

1158
00:52:59,160 --> 00:53:02,160
Speaker 5: Yeah, man, when the one that's that's just hard, Oh

1159
00:53:02,239 --> 00:53:04,120
Speaker 5: my god, it still all right?

1160
00:53:04,160 --> 00:53:08,080
Speaker 2: You two are an anomaly to y'all, so puzzling because

1161
00:53:08,200 --> 00:53:11,480
Speaker 2: I know that's not on that's on the round Trip record.

1162
00:53:11,840 --> 00:53:14,439
Speaker 4: That's right, there's nothing else on. There's horrible.

1163
00:53:17,400 --> 00:53:24,080
Speaker 1: Listening. Nobody in eighty nine that like, but when look

1164
00:53:24,160 --> 00:53:26,200
Speaker 1: at You Sucker wasn't on there, like.

1165
00:53:26,440 --> 00:53:30,960
Speaker 4: Man, right, right? So when's they level?

1166
00:53:31,040 --> 00:53:34,840
Speaker 6: What for for my generation I think is when Jagged

1167
00:53:35,000 --> 00:53:37,719
Speaker 6: Edge covered it, Yeah, that kind of sent a lot

1168
00:53:37,760 --> 00:53:39,640
Speaker 6: of people back like, oh, this is a cover and

1169
00:53:39,800 --> 00:53:41,759
Speaker 6: then you know we checked that one.

1170
00:53:41,880 --> 00:53:44,120
Speaker 5: It was the same thing when Mary covered I'm in

1171
00:53:44,239 --> 00:53:46,480
Speaker 5: Love Like that was a lot of that was a gap.

1172
00:53:46,360 --> 00:53:49,640
Speaker 6: Band record, a brilliant gap band record that it kind

1173
00:53:49,680 --> 00:53:50,960
Speaker 6: of just went under the radar.

1174
00:53:52,320 --> 00:53:56,680
Speaker 1: And honestly, after Gap Band eight so I no na listen.

1175
00:53:56,760 --> 00:53:58,440
Speaker 8: They were on Capitol and we're about to get dropped,

1176
00:53:58,440 --> 00:54:00,719
Speaker 8: and it was a whole lot of screwed up stuff

1177
00:54:00,719 --> 00:54:02,600
Speaker 8: happening at Capito. At the time, it wasn't it wasn't

1178
00:54:02,640 --> 00:54:05,000
Speaker 8: a good it wasn't their fault. That was a bona

1179
00:54:05,040 --> 00:54:07,480
Speaker 8: fide smash it should have been, but no money was

1180
00:54:07,520 --> 00:54:08,080
Speaker 8: put behind it.

1181
00:54:08,280 --> 00:54:10,760
Speaker 4: It was just horrible. But that record just did.

1182
00:54:10,640 --> 00:54:12,000
Speaker 8: Something to my heart at the time. So when I

1183
00:54:12,040 --> 00:54:14,799
Speaker 8: wrote week, I was coming from Matt's face like it's

1184
00:54:14,840 --> 00:54:16,560
Speaker 8: gotta be doping up for Charlie to do it.

1185
00:54:16,800 --> 00:54:16,920
Speaker 7: Now.

1186
00:54:16,960 --> 00:54:21,360
Speaker 8: The ironic thing is I never even gave it to him, wow,

1187
00:54:21,920 --> 00:54:23,960
Speaker 8: because so much stuff started happening in a different direction

1188
00:54:24,120 --> 00:54:26,399
Speaker 8: for me when like Martha happened and then it didn't

1189
00:54:26,440 --> 00:54:28,200
Speaker 8: really blow blow up like I hoped it would, but

1190
00:54:28,480 --> 00:54:29,840
Speaker 8: we got the number one dance record out of it,

1191
00:54:29,840 --> 00:54:31,480
Speaker 8: and then it kind of went away. But when I

1192
00:54:31,600 --> 00:54:34,080
Speaker 8: met when I heard Coco's voice though, this is the connection.

1193
00:54:34,480 --> 00:54:36,359
Speaker 8: So when Kenny Ortiz was like all this Suden when

1194
00:54:36,360 --> 00:54:38,440
Speaker 8: he's finishing up Martha Watch. He's like, b I got

1195
00:54:38,480 --> 00:54:40,840
Speaker 8: these girls. I'm gonna need you to write some stuff

1196
00:54:40,840 --> 00:54:42,640
Speaker 8: for these girls. And you hear that all the time

1197
00:54:42,640 --> 00:54:44,360
Speaker 8: from an rd's and be like, oh God, here we go.

1198
00:54:44,840 --> 00:54:45,200
Speaker 4: But wait.

1199
00:54:45,280 --> 00:54:48,040
Speaker 8: He FedEx the joint a cassette to me back in

1200
00:54:48,120 --> 00:54:50,040
Speaker 8: those days. I opened the cassette up, I put it on.

1201
00:54:50,640 --> 00:54:52,520
Speaker 8: Soon as I heard Coco's voice, I was like, oh

1202
00:54:52,600 --> 00:54:56,160
Speaker 8: my god, that's another Shirley Murdock all day. Right, So

1203
00:54:56,280 --> 00:54:59,080
Speaker 8: when you put my energy, which is a Charlie Wilson

1204
00:54:59,160 --> 00:55:02,480
Speaker 8: heavily influenced thing, with a Shirley Murderer, now you got

1205
00:55:02,520 --> 00:55:04,440
Speaker 8: a potential computer love about to happen.

1206
00:55:05,840 --> 00:55:06,880
Speaker 1: That's so scientific.

1207
00:55:09,800 --> 00:55:12,480
Speaker 4: It's the truth, right it is. And I knew it

1208
00:55:12,560 --> 00:55:14,360
Speaker 4: as soon as I heard it. So I'm like, okay.

1209
00:55:14,520 --> 00:55:16,680
Speaker 8: So that demo that had been floating around a week

1210
00:55:16,800 --> 00:55:19,440
Speaker 8: of me, I knew in the back of my mind

1211
00:55:19,560 --> 00:55:21,520
Speaker 8: Coco would murder it. But I was trying to get

1212
00:55:21,560 --> 00:55:23,680
Speaker 8: a solo deal for myself. So out of all the

1213
00:55:23,719 --> 00:55:27,000
Speaker 8: stuff I sent Kenny for them, I didn't send him.

1214
00:55:26,920 --> 00:55:30,200
Speaker 4: That Wow, I sent him right here.

1215
00:55:30,880 --> 00:55:32,640
Speaker 8: I send him some other stuff, and I did not

1216
00:55:32,760 --> 00:55:34,920
Speaker 8: send him Week. Now, listen how he found out about Week.

1217
00:55:35,800 --> 00:55:39,279
Speaker 1: Before you do that? What who was working on their

1218
00:55:39,440 --> 00:55:41,320
Speaker 1: music that got to you?

1219
00:55:41,360 --> 00:55:43,720
Speaker 2: Because I'm under the impression that you did all their music,

1220
00:55:44,520 --> 00:55:46,759
Speaker 2: Like how did how did their demo get to you?

1221
00:55:46,880 --> 00:55:48,839
Speaker 1: And what was on that demo? Like what was the music?

1222
00:55:48,960 --> 00:55:51,920
Speaker 8: That's a great question. There's a guy that what they

1223
00:55:51,960 --> 00:55:55,160
Speaker 8: were work with called Donald Donald Brown. I'm a bolding,

1224
00:55:55,239 --> 00:55:57,399
Speaker 8: I think if I'm saying it right, he passed away.

1225
00:55:57,480 --> 00:55:59,920
Speaker 8: He was there's a song on the first album called

1226
00:56:00,320 --> 00:56:01,520
Speaker 8: a Couple of Things he did on there.

1227
00:56:02,840 --> 00:56:04,560
Speaker 4: Look on the credits and check his joints out. But

1228
00:56:04,600 --> 00:56:06,800
Speaker 4: he's on the first album. But that's the stuff I

1229
00:56:06,880 --> 00:56:07,560
Speaker 4: heard was from him.

1230
00:56:07,600 --> 00:56:09,879
Speaker 8: But now what I learned on Coco's voice at the time,

1231
00:56:09,920 --> 00:56:11,960
Speaker 8: I was like, man, she's got to have somebody to

1232
00:56:12,040 --> 00:56:13,920
Speaker 8: be able to control what she's doing because it was

1233
00:56:13,960 --> 00:56:17,040
Speaker 8: like very church. You know, it's all over the place, church, church, church,

1234
00:56:17,080 --> 00:56:18,879
Speaker 8: and alands were wild. I was like, if I could,

1235
00:56:19,000 --> 00:56:21,080
Speaker 8: if I could harness that entertainment.

1236
00:56:21,200 --> 00:56:22,840
Speaker 4: It's going to be dope. And I knew that.

1237
00:56:23,280 --> 00:56:25,440
Speaker 8: But here's how Kenny found out about Week and went

1238
00:56:25,520 --> 00:56:30,000
Speaker 8: crazy there back to J King at J King when

1239
00:56:30,080 --> 00:56:33,200
Speaker 8: I worked there, there was this janitor working there named

1240
00:56:33,280 --> 00:56:37,040
Speaker 8: Jeff Bowen's okay, So Jeff Bowens would clean up the

1241
00:56:37,080 --> 00:56:38,359
Speaker 8: office after everybody would leave.

1242
00:56:39,080 --> 00:56:40,680
Speaker 4: But what we didn't know was that he would also

1243
00:56:41,000 --> 00:56:45,480
Speaker 4: take help himself to taste and concept to me. Oh okay.

1244
00:56:45,840 --> 00:56:49,680
Speaker 8: So now that was eighty nine, cut to ninety two,

1245
00:56:50,080 --> 00:56:53,040
Speaker 8: ninety one somewhere in there, not even ninety two, It

1246
00:56:53,040 --> 00:56:56,480
Speaker 8: is ninety one. I get a phone call from Kenny Ortiz.

1247
00:56:57,120 --> 00:57:01,600
Speaker 8: He's at a meeting at RCA Records in Hollywood. He goes, nigga,

1248
00:57:01,719 --> 00:57:05,000
Speaker 8: you have been holding out on me. How in the

1249
00:57:05,080 --> 00:57:07,960
Speaker 8: hell am I hearing this song from Jeff Bowens because

1250
00:57:08,000 --> 00:57:13,520
Speaker 8: Jeff Bowens is now an an R person at RCA Records. Wow,

1251
00:57:14,080 --> 00:57:16,640
Speaker 8: And he goes and Kenny Otez goes, that sounds like

1252
00:57:16,760 --> 00:57:19,600
Speaker 8: my dude, Brian Morgan, And Jeff Bowen goes Brian Alexander

1253
00:57:19,600 --> 00:57:21,560
Speaker 8: Margan and he goes, hell yeah, And Kenny goes, I'm

1254
00:57:21,600 --> 00:57:27,920
Speaker 8: working with this nigga right now. And so Kenny called me, go,

1255
00:57:28,120 --> 00:57:31,120
Speaker 8: b are you crazy? You've been holding out on me? Bro,

1256
00:57:31,640 --> 00:57:33,120
Speaker 8: I got you gotta cut this on that stuff. Even

1257
00:57:33,160 --> 00:57:35,240
Speaker 8: you gotta cut this on them when you finished mixing, Martha,

1258
00:57:35,440 --> 00:57:37,800
Speaker 8: please come to New York and cut this on them

1259
00:57:38,000 --> 00:57:41,200
Speaker 8: when you finish mixing Martha, I said no, because I

1260
00:57:41,240 --> 00:57:41,640
Speaker 8: was like, bro.

1261
00:57:41,600 --> 00:57:43,800
Speaker 4: I'm trying to get a deal myself. You hear me

1262
00:57:43,880 --> 00:57:46,000
Speaker 4: on that joint cup. Why don't you sign me? He said,

1263
00:57:46,360 --> 00:57:50,520
Speaker 4: be later. I need them on that record now. And

1264
00:57:50,800 --> 00:57:52,720
Speaker 4: he said because he wanted to do like a female guy.

1265
00:57:55,960 --> 00:58:00,640
Speaker 8: Okay, okay, okay, So but who but who who influenced

1266
00:58:00,760 --> 00:58:04,560
Speaker 8: Aaron Charlie? So we still we're still back at Charlie. Right,

1267
00:58:05,280 --> 00:58:06,960
Speaker 8: So when I get back to New York, I agree

1268
00:58:07,000 --> 00:58:10,160
Speaker 8: to it after you agreed to drop a little coinage, uh.

1269
00:58:13,400 --> 00:58:14,360
Speaker 1: De right?

1270
00:58:14,760 --> 00:58:17,280
Speaker 8: So yeah, we went in there were in the studio

1271
00:58:17,360 --> 00:58:21,480
Speaker 8: called Homeboy, which is legendary robinesque. Shortly after we did that,

1272
00:58:21,560 --> 00:58:24,760
Speaker 8: did show me Love in there Andrew Martin whichever one

1273
00:58:24,800 --> 00:58:26,120
Speaker 8: you believe, And.

1274
00:58:28,280 --> 00:58:30,480
Speaker 1: Is that the story is that Andrew Martin is singing that.

1275
00:58:30,880 --> 00:58:35,040
Speaker 4: Yes, Lord, that's what that's the Yeah, that's what. That's

1276
00:58:35,480 --> 00:58:38,640
Speaker 4: the big, big big. I saw it on the internet, man,

1277
00:58:38,800 --> 00:58:40,920
Speaker 4: and then and then Andreas, y'all got to google it.

1278
00:58:41,000 --> 00:58:41,840
Speaker 7: She she sings it.

1279
00:58:42,080 --> 00:58:43,840
Speaker 8: And then when you hear her sing it, you can

1280
00:58:43,880 --> 00:58:49,880
Speaker 8: be like holy wow. So anyway, but Fred Fred shout

1281
00:58:49,920 --> 00:58:53,080
Speaker 8: out to Fred McFarlane and and uh the guy that

1282
00:58:53,160 --> 00:58:55,680
Speaker 8: own Homeboy not forgive me, Matt Foster, forgive me. Y'all

1283
00:58:55,720 --> 00:58:59,080
Speaker 8: worked there, Fred and Allen, George Jesus, the writers of

1284
00:58:59,400 --> 00:58:59,920
Speaker 8: Show Me Love.

1285
00:59:00,880 --> 00:59:02,800
Speaker 4: But we're recording this salam Rima, recording a lot of

1286
00:59:02,840 --> 00:59:05,960
Speaker 4: joints in there as a very famous room. Ask everybody

1287
00:59:06,280 --> 00:59:10,840
Speaker 4: Homeboy recordings, Ask them about that. Anyway, history So got

1288
00:59:10,880 --> 00:59:14,480
Speaker 4: that cut. Coco hated it was difficult to record her

1289
00:59:14,560 --> 00:59:14,720
Speaker 4: on it.

1290
00:59:15,760 --> 00:59:18,920
Speaker 1: But the good news every hit starts right.

1291
00:59:19,320 --> 00:59:22,160
Speaker 2: But yeah, Well, let me ask you, well, I was

1292
00:59:22,200 --> 00:59:28,200
Speaker 2: gonna say, you're you're basically being set up, uh, kind

1293
00:59:28,240 --> 00:59:32,960
Speaker 2: of as a blind playdate. So like, how do you

1294
00:59:34,280 --> 00:59:38,080
Speaker 2: even start to nurture the relationship of trust and whatnot?

1295
00:59:38,240 --> 00:59:41,040
Speaker 2: Like do you just immediately day one to start recording

1296
00:59:41,080 --> 00:59:42,960
Speaker 2: these joints? Do you like spend time with them? For

1297
00:59:43,200 --> 00:59:45,560
Speaker 2: like jam and Lewis spent two weeks with Janet before

1298
00:59:45,560 --> 00:59:47,320
Speaker 2: they even hit the studio.

1299
00:59:47,960 --> 00:59:50,400
Speaker 1: Man with you, what was the process to gain the

1300
00:59:50,480 --> 00:59:51,960
Speaker 1: trust that was?

1301
00:59:52,200 --> 00:59:54,680
Speaker 8: That is a great question, and let me tell you

1302
00:59:54,840 --> 00:59:58,840
Speaker 8: the answer is not good because that level of commitment

1303
00:59:58,880 --> 01:00:00,600
Speaker 8: that Jam m Lewis, and I'm a huge fan of

1304
01:00:00,680 --> 01:00:03,320
Speaker 8: Jimmy jan Terry Lewis my guy. They influenced they influenced

1305
01:00:03,360 --> 01:00:05,560
Speaker 8: me producer wise, like almost more than everybody.

1306
01:00:06,040 --> 01:00:09,560
Speaker 4: Uh my key style, my bass, left hand bass is Jimmy.

1307
01:00:09,680 --> 01:00:13,760
Speaker 4: We talked, We talked very often. That's my guy. But

1308
01:00:13,920 --> 01:00:16,000
Speaker 4: they spent a time with Janet like that to do that,

1309
01:00:16,040 --> 01:00:17,440
Speaker 4: I had no such luxury.

1310
01:00:18,000 --> 01:00:20,120
Speaker 8: I got these three girls thrown in my face with

1311
01:00:20,200 --> 01:00:23,040
Speaker 8: attitude out the Yin yang right like all this whole

1312
01:00:23,200 --> 01:00:24,960
Speaker 8: New York attitude, and they was like they didn't know me,

1313
01:00:25,320 --> 01:00:27,920
Speaker 8: they didn't care. But what the difference was with me

1314
01:00:28,200 --> 01:00:30,880
Speaker 8: and Coco was she had been used to running these

1315
01:00:30,960 --> 01:00:33,840
Speaker 8: hip hop producers crazy because they couldn't sing, and they

1316
01:00:33,880 --> 01:00:35,320
Speaker 8: could and she and they couldn't tell her what to

1317
01:00:35,400 --> 01:00:37,600
Speaker 8: do because they could not reproduce it with their own mouth.

1318
01:00:38,000 --> 01:00:40,200
Speaker 8: I walk in, I did the whole beat, the whole

1319
01:00:40,240 --> 01:00:42,000
Speaker 8: record and everything, and I'm also can.

1320
01:00:42,000 --> 01:00:44,520
Speaker 4: Sing this, and I can sing, and I can tell

1321
01:00:44,560 --> 01:00:45,240
Speaker 4: you how to sing it.

1322
01:00:46,320 --> 01:00:49,360
Speaker 8: So that changed the game for her, and she resisted

1323
01:00:49,440 --> 01:00:51,680
Speaker 8: it big time, like in a big way, like it

1324
01:00:51,760 --> 01:00:54,320
Speaker 8: was it was very hard to get anything done. However,

1325
01:00:54,920 --> 01:00:57,560
Speaker 8: once she got it, done, and I was satisfied with

1326
01:00:57,640 --> 01:00:58,240
Speaker 8: how it sounded.

1327
01:00:58,680 --> 01:00:59,400
Speaker 4: That's what you hear?

1328
01:01:01,720 --> 01:01:04,400
Speaker 2: Did you have to go line for line? And what

1329
01:01:04,520 --> 01:01:07,320
Speaker 2: you're basically saying is and I've heard this story before,

1330
01:01:07,560 --> 01:01:12,400
Speaker 2: the story of u uh. We once had Linda Perry

1331
01:01:12,480 --> 01:01:15,400
Speaker 2: on the show and she was talking about how, you

1332
01:01:15,480 --> 01:01:19,800
Speaker 2: know Christina Aguilera when she first got beautiful. You know,

1333
01:01:19,880 --> 01:01:22,120
Speaker 2: of course Christina thought she was going to do some

1334
01:01:22,480 --> 01:01:34,760
Speaker 2: you know, crazy and you know, just as a way

1335
01:01:34,800 --> 01:01:36,560
Speaker 2: for her to learn the song. She's like, all right,

1336
01:01:36,600 --> 01:01:38,360
Speaker 2: put the mic up, let me just sing this real quick,

1337
01:01:38,760 --> 01:01:40,240
Speaker 2: and I'll come back in two weeks and knock this

1338
01:01:40,360 --> 01:01:40,800
Speaker 2: joint out.

1339
01:01:40,840 --> 01:01:44,000
Speaker 1: And she's saying in her dry voice, and Linda, news

1340
01:01:44,520 --> 01:01:44,960
Speaker 1: is the take.

1341
01:01:45,560 --> 01:01:47,960
Speaker 2: I'm gonna let you struggle for three weeks and make

1342
01:01:48,040 --> 01:01:50,400
Speaker 2: you think you're gonna top it and didn't do it

1343
01:01:51,120 --> 01:01:55,680
Speaker 2: so like? But what's what's the You know, I've made

1344
01:01:55,720 --> 01:01:57,880
Speaker 2: it known on this show that I hate nothing more

1345
01:01:57,960 --> 01:02:01,000
Speaker 2: than recording vocals with artists.

1346
01:02:01,080 --> 01:02:05,640
Speaker 1: But how do you like, how do you get them

1347
01:02:05,760 --> 01:02:09,960
Speaker 1: to just straight up chill and go.

1348
01:02:10,760 --> 01:02:13,760
Speaker 4: That's a great question as well. Listen with me and Coco.

1349
01:02:14,120 --> 01:02:17,920
Speaker 8: It was very very easy in one sense because she

1350
01:02:18,160 --> 01:02:21,680
Speaker 8: surrendered because she wasn't a person who could ad lib.

1351
01:02:22,520 --> 01:02:25,280
Speaker 8: She wasn't an improv person at all, and she was

1352
01:02:25,360 --> 01:02:28,240
Speaker 8: really fearful of it, Like she would be so terrified

1353
01:02:28,280 --> 01:02:30,120
Speaker 8: that she might have to create an ad lib or

1354
01:02:30,200 --> 01:02:31,680
Speaker 8: do any of that stuff. So in order to make

1355
01:02:31,720 --> 01:02:34,520
Speaker 8: her feel more comfortable, I would just do every single

1356
01:02:34,600 --> 01:02:38,360
Speaker 8: thing that I wanted her to do, literally, like I

1357
01:02:38,400 --> 01:02:40,280
Speaker 8: would just sing it down the way.

1358
01:02:40,320 --> 01:02:41,840
Speaker 4: Literally that I wanted her to do it. I'm talking

1359
01:02:41,880 --> 01:02:44,040
Speaker 4: about every single thing. Listen, I'm saying to you at

1360
01:02:44,040 --> 01:02:47,560
Speaker 4: the end, even down to the even that I sang

1361
01:02:47,640 --> 01:02:50,840
Speaker 4: that like every single run, every single thing. So really

1362
01:02:50,920 --> 01:02:54,040
Speaker 4: what you're hearing when you hear those records is just

1363
01:02:54,360 --> 01:02:57,720
Speaker 4: me doing it first and then she does it. And

1364
01:02:58,000 --> 01:02:59,920
Speaker 4: it was so it worked so well.

1365
01:03:00,200 --> 01:03:01,800
Speaker 8: It's like it was magic how it worked, Like it

1366
01:03:01,920 --> 01:03:03,200
Speaker 8: was like I was I was able to have a

1367
01:03:03,280 --> 01:03:04,680
Speaker 8: female voice be my voice.

1368
01:03:06,280 --> 01:03:08,520
Speaker 1: Does she feel like she was being inauthentic if she

1369
01:03:08,720 --> 01:03:09,960
Speaker 1: just followed you verbatim?

1370
01:03:10,560 --> 01:03:12,800
Speaker 8: No, Because she was so young, that wasn't didn't cross

1371
01:03:12,840 --> 01:03:14,320
Speaker 8: her mind. Now I'm sure now here's what I feel

1372
01:03:14,360 --> 01:03:16,440
Speaker 8: like happened. Later, Cocho, you tell me if I'm wrong,

1373
01:03:16,440 --> 01:03:18,560
Speaker 8: because if I know you're gonna see this. She probably

1374
01:03:18,600 --> 01:03:21,160
Speaker 8: got really sick of people that are like musicians and

1375
01:03:21,240 --> 01:03:25,240
Speaker 8: singers asking her questions about shit, about how we did

1376
01:03:25,280 --> 01:03:26,960
Speaker 8: shit and whether and how they do this and how

1377
01:03:27,000 --> 01:03:29,680
Speaker 8: we do that, And it was really just she just

1378
01:03:29,800 --> 01:03:30,520
Speaker 8: copied the demo.

1379
01:03:31,000 --> 01:03:33,280
Speaker 4: It was not a big a big answer, right.

1380
01:03:33,480 --> 01:03:35,440
Speaker 8: But the whole thing was it was always back to me.

1381
01:03:35,920 --> 01:03:38,200
Speaker 8: So I think as a person young person is trying

1382
01:03:38,240 --> 01:03:39,960
Speaker 8: to develop and be who they are, it would be

1383
01:03:40,000 --> 01:03:40,160
Speaker 8: a no.

1384
01:03:40,280 --> 01:03:41,160
Speaker 4: I could get that. I see that.

1385
01:03:41,200 --> 01:03:43,880
Speaker 8: It could be annoying to constantly be reminded that somebody

1386
01:03:43,920 --> 01:03:45,400
Speaker 8: else gave you all your licks or somebody else.

1387
01:03:46,040 --> 01:03:49,080
Speaker 6: When you go into a studio with another producer and

1388
01:03:49,200 --> 01:03:50,960
Speaker 6: they expecting you to do what they've.

1389
01:03:50,800 --> 01:03:54,120
Speaker 1: Heard it before, exactly you can't. You can't replicate that shit.

1390
01:03:54,320 --> 01:03:56,160
Speaker 4: And then but she learned, and that's why I think

1391
01:03:56,400 --> 01:03:58,840
Speaker 4: her learning process started right there. And she'll tell you

1392
01:03:58,960 --> 01:04:00,320
Speaker 4: that to shout out to Coco.

1393
01:04:00,600 --> 01:04:04,800
Speaker 8: She'll tell you those hard sessions taught her how to

1394
01:04:04,920 --> 01:04:07,880
Speaker 8: do all that stuff that that eventually came to her naturally.

1395
01:04:08,560 --> 01:04:09,600
Speaker 4: Can I just ask a question.

1396
01:04:09,480 --> 01:04:12,120
Speaker 3: Real quick because I noticed that, I just I'm sorry,

1397
01:04:12,560 --> 01:04:14,560
Speaker 3: just because I noticed that you keep saying Coco and

1398
01:04:14,600 --> 01:04:17,000
Speaker 3: for s WV fan like, we all know that Coco's

1399
01:04:17,040 --> 01:04:19,960
Speaker 3: voice is like, of course she is the but how

1400
01:04:20,040 --> 01:04:22,760
Speaker 3: did the work low work in the dynamic work with

1401
01:04:22,840 --> 01:04:24,360
Speaker 3: the group, because at the same time, as an s

1402
01:04:24,480 --> 01:04:27,640
Speaker 3: WV fan, you still was like, I want to hear Taj.

1403
01:04:28,360 --> 01:04:31,160
Speaker 7: I want to hear Li, Like like how did that?

1404
01:04:31,400 --> 01:04:31,680
Speaker 4: You know what?

1405
01:04:31,800 --> 01:04:34,959
Speaker 1: On my records and everyone their place or every listen.

1406
01:04:35,080 --> 01:04:36,880
Speaker 8: I made sure that they were on every one of

1407
01:04:36,960 --> 01:04:39,040
Speaker 8: my joints, all my hits. But this is we just

1408
01:04:39,120 --> 01:04:43,200
Speaker 8: having a discussion about this recently. Kenny Ortiz would always

1409
01:04:43,240 --> 01:04:46,200
Speaker 8: try to get me to re record Coco doing the

1410
01:04:46,280 --> 01:04:49,080
Speaker 8: girl's parts as just as a safety just in case,

1411
01:04:49,360 --> 01:04:51,120
Speaker 8: and I didn't believe in that because what I like,

1412
01:04:51,520 --> 01:04:56,080
Speaker 8: I loved their blend, the true authentic blend from Coco,

1413
01:04:56,200 --> 01:04:58,800
Speaker 8: Taj and Lelee is you can't replace, just like you

1414
01:04:58,840 --> 01:05:02,080
Speaker 8: can't replace Queen. That sound of those guys's voices together

1415
01:05:02,240 --> 01:05:07,880
Speaker 8: is their sound. You can't replace backgrounds, that blend of

1416
01:05:07,960 --> 01:05:08,520
Speaker 8: those people.

1417
01:05:08,880 --> 01:05:11,240
Speaker 1: So how long were they together before they got to you.

1418
01:05:11,800 --> 01:05:14,000
Speaker 4: I think a couple of years, and that's why their

1419
01:05:14,040 --> 01:05:16,480
Speaker 4: blend was so smooth and so perfect. What I would

1420
01:05:16,480 --> 01:05:16,920
Speaker 4: always do.

1421
01:05:17,400 --> 01:05:20,720
Speaker 8: Was record them individually so I could have control of

1422
01:05:20,800 --> 01:05:24,040
Speaker 8: each note and I would make sure they would blended

1423
01:05:24,120 --> 01:05:25,160
Speaker 8: into the record properly.

1424
01:05:25,240 --> 01:05:27,960
Speaker 4: So if you listen to every one of my joints,

1425
01:05:28,040 --> 01:05:29,760
Speaker 4: they're always there. They're on my joints.

1426
01:05:30,040 --> 01:05:32,520
Speaker 5: But can you commonize it, but never like as solo like.

1427
01:05:32,720 --> 01:05:35,800
Speaker 8: You oh leaves well no, no, that came later because

1428
01:05:35,920 --> 01:05:37,640
Speaker 8: remember most of my joints were on the first album

1429
01:05:37,680 --> 01:05:40,200
Speaker 8: where we just trying to find our feeling right because

1430
01:05:40,200 --> 01:05:42,160
Speaker 8: clearly sounds amazing on that faith Avage joints and she

1431
01:05:42,160 --> 01:05:42,880
Speaker 8: did or you kid me on.

1432
01:05:42,880 --> 01:05:45,360
Speaker 4: The second album and they all can sing this is

1433
01:05:45,440 --> 01:05:48,480
Speaker 4: sis exactly. That's exactly. It's truly systems with voices.

1434
01:05:48,680 --> 01:05:52,120
Speaker 8: But at the same time, the placement of what they

1435
01:05:52,240 --> 01:05:55,560
Speaker 8: do on the hit records is as important to me as.

1436
01:05:55,440 --> 01:05:58,720
Speaker 4: The lead because everybody loves those backgrounds. You kidding me

1437
01:05:59,040 --> 01:05:59,640
Speaker 4: so firm?

1438
01:06:00,040 --> 01:06:04,720
Speaker 8: So or if it's a everyone sings, come on bro,

1439
01:06:05,000 --> 01:06:07,480
Speaker 8: everything they do, I'll tell a legally this who's who

1440
01:06:07,520 --> 01:06:10,360
Speaker 8: felt underappreciated and under it's not real.

1441
01:06:10,800 --> 01:06:13,120
Speaker 4: I'm like, no, you can't sing none of those songs

1442
01:06:13,160 --> 01:06:13,720
Speaker 4: without those.

1443
01:06:13,600 --> 01:06:19,840
Speaker 2: Background without them, yeah, man, you having them singing unison

1444
01:06:20,200 --> 01:06:23,920
Speaker 2: like because I love how there the way that you

1445
01:06:24,000 --> 01:06:28,200
Speaker 2: stack their background vocals, it starts off unison and then

1446
01:06:28,520 --> 01:06:31,360
Speaker 2: it blossoms into harmony.

1447
01:06:31,480 --> 01:06:33,760
Speaker 1: Is that the Clark sisters influence.

1448
01:06:33,640 --> 01:06:40,840
Speaker 8: Absolutely, absolutely all day. Thank you, Twinkie elber Neva Clark. Yes, ma'am, sir, exactly.

1449
01:06:42,080 --> 01:06:44,080
Speaker 3: Give me example on the s w B record of

1450
01:06:44,120 --> 01:06:46,760
Speaker 3: when you do that, because just for the layman is listening.

1451
01:06:46,600 --> 01:06:52,800
Speaker 8: Okay, uh so and then saying you you harmony, your

1452
01:06:52,840 --> 01:06:59,040
Speaker 8: harmony yes, and then back you don't know what, and

1453
01:06:59,040 --> 01:07:04,240
Speaker 8: then you don't go harming against confuse. Yeah, maybe that's

1454
01:07:04,320 --> 01:07:05,800
Speaker 8: what you give him something to look forward to and

1455
01:07:05,880 --> 01:07:06,720
Speaker 8: back and forth with it.

1456
01:07:06,800 --> 01:07:13,240
Speaker 4: That's commission, commission to commission. That's that's that's a style man.

1457
01:07:14,120 --> 01:07:16,240
Speaker 1: Yeahah. George Clinton.

1458
01:07:17,520 --> 01:07:20,120
Speaker 2: Would often say if you you look at Funkadelic records,

1459
01:07:20,160 --> 01:07:23,080
Speaker 2: like look at Flash Flashlight, they would always sing in

1460
01:07:23,240 --> 01:07:28,200
Speaker 2: unison because he had a theory that he once gave

1461
01:07:28,240 --> 01:07:30,120
Speaker 2: a theory about like how you know, when you're in

1462
01:07:30,160 --> 01:07:32,080
Speaker 2: an Irish pub or whatever and people sing the song,

1463
01:07:32,120 --> 01:07:35,480
Speaker 2: they get drunk, like they all sing together what he calls.

1464
01:07:35,320 --> 01:07:36,000
Speaker 1: A Greek chorus.

1465
01:07:36,200 --> 01:07:41,760
Speaker 2: Greek chorus, right, it's more down to earth and it's

1466
01:07:41,880 --> 01:07:44,560
Speaker 2: it's more inviting to make you want to remember the

1467
01:07:44,680 --> 01:07:47,520
Speaker 2: song if everyone sings in unison, like in the same

1468
01:07:47,600 --> 01:07:52,760
Speaker 2: voice as opposed to like yes he wasn't to take

1469
01:07:52,800 --> 01:07:55,200
Speaker 2: six you just want to watch him like Wow, they're amazing,

1470
01:07:55,760 --> 01:07:56,640
Speaker 2: but you feel like.

1471
01:07:58,200 --> 01:08:00,560
Speaker 1: Never need them now.

1472
01:08:01,560 --> 01:08:06,280
Speaker 2: But yeah, that's the things where they had just enough

1473
01:08:06,400 --> 01:08:08,400
Speaker 2: unison to make people feel like, oh, I can sing

1474
01:08:08,480 --> 01:08:11,160
Speaker 2: this too, and then you had a little.

1475
01:08:10,920 --> 01:08:14,080
Speaker 1: Spice in there to let them know with me and Rain.

1476
01:08:15,560 --> 01:08:15,960
Speaker 4: Same thing.

1477
01:08:16,840 --> 01:08:21,200
Speaker 2: I have another I have another question production wise, and

1478
01:08:21,240 --> 01:08:24,439
Speaker 2: I always wanted to know this. What makes It's about

1479
01:08:24,560 --> 01:08:26,639
Speaker 2: time somewhat?

1480
01:08:26,920 --> 01:08:27,599
Speaker 4: Uh uh?

1481
01:08:29,200 --> 01:08:33,720
Speaker 2: I guess revolutionary is also in the production because you

1482
01:08:33,800 --> 01:08:35,160
Speaker 2: could easily.

1483
01:08:36,040 --> 01:08:40,519
Speaker 1: Succumb to what was happening in the and that time

1484
01:08:40,640 --> 01:08:41,800
Speaker 1: with with New Jack Swing.

1485
01:08:42,720 --> 01:08:46,320
Speaker 2: You know, I'm certain that like Guys the Future, uh

1486
01:08:47,479 --> 01:08:52,200
Speaker 2: TLC's first record, like everybody was using you know, James

1487
01:08:52,280 --> 01:08:55,479
Speaker 2: Brown's think about It loop and all that stuff like

1488
01:08:56,280 --> 01:09:00,400
Speaker 2: or that post Dallas Austin, like basically the boomerangsund track

1489
01:09:00,520 --> 01:09:02,839
Speaker 2: like that sort of right exact.

1490
01:09:02,800 --> 01:09:06,960
Speaker 1: Post Public getting Me one hundred Noise. Yeah.

1491
01:09:07,640 --> 01:09:10,680
Speaker 2: Yeah, but I for this album to come out in

1492
01:09:10,880 --> 01:09:16,560
Speaker 2: nineteen ninety two. It is very unnew jack swinging.

1493
01:09:16,520 --> 01:09:19,840
Speaker 4: Like it's right right, and it was a bridge to.

1494
01:09:21,320 --> 01:09:21,519
Speaker 1: Yeah.

1495
01:09:21,560 --> 01:09:24,439
Speaker 2: I was going to say, like, can Henot feel like,

1496
01:09:24,479 --> 01:09:28,479
Speaker 2: wait a minute, this doesn't sound like in Vogue or

1497
01:09:29,040 --> 01:09:33,160
Speaker 2: TLC or whatever was you know, the time you're competing

1498
01:09:33,200 --> 01:09:36,160
Speaker 2: with Dallas Austin and Teddy Riley and what if I'm

1499
01:09:36,160 --> 01:09:39,559
Speaker 2: going to be made you purposely go the opposite direction

1500
01:09:39,680 --> 01:09:40,600
Speaker 2: with the production.

1501
01:09:40,800 --> 01:09:43,479
Speaker 8: As we when we started, I'm so in to you

1502
01:09:43,560 --> 01:09:46,639
Speaker 8: didn't exist, so remember that, right, So when we started recording,

1503
01:09:46,920 --> 01:09:50,120
Speaker 8: we started from week and then went into the only

1504
01:09:50,160 --> 01:09:52,280
Speaker 8: the first up tempo we did was right here, So

1505
01:09:52,520 --> 01:09:56,000
Speaker 8: technically I'm still slightly new Jackie on right here, my

1506
01:09:56,080 --> 01:09:58,080
Speaker 8: original right here if you listen to it.

1507
01:09:58,280 --> 01:09:59,840
Speaker 4: But I was trying to do it in a breakbeat

1508
01:10:00,080 --> 01:10:03,679
Speaker 4: kind of way, right So, but Pete, but I knew.

1509
01:10:04,080 --> 01:10:06,880
Speaker 8: I knew from coming New York and coming being in

1510
01:10:06,960 --> 01:10:09,880
Speaker 8: New York and being in the energy. I was around Fanta,

1511
01:10:10,040 --> 01:10:12,240
Speaker 8: I was in the heads sessions, I was in Eric

1512
01:10:12,320 --> 01:10:15,639
Speaker 8: sermon sessions. I was in sessions that didn't have anything

1513
01:10:15,680 --> 01:10:18,600
Speaker 8: to do with R and B. So my my instinct was,

1514
01:10:18,760 --> 01:10:20,599
Speaker 8: I gotta go harder. I can't just do New jack

1515
01:10:20,640 --> 01:10:22,519
Speaker 8: swinging that's the pop sound and radio fuck that. I

1516
01:10:22,560 --> 01:10:25,360
Speaker 8: don't want to do something that's different because the reason

1517
01:10:25,400 --> 01:10:27,920
Speaker 8: why guy was so hard was because they did their

1518
01:10:28,000 --> 01:10:31,840
Speaker 8: thing in their in their style. Yous gotta show their

1519
01:10:31,920 --> 01:10:33,880
Speaker 8: thing in their own style. They can't be new Jack

1520
01:10:33,920 --> 01:10:36,479
Speaker 8: swing because then they they're trying to be guys, is

1521
01:10:36,560 --> 01:10:37,360
Speaker 8: what my mind would be.

1522
01:10:37,600 --> 01:10:39,400
Speaker 4: So I'm like, no, this is me right.

1523
01:10:39,880 --> 01:10:42,400
Speaker 8: So by the time as we recorded, and listen to

1524
01:10:42,400 --> 01:10:44,000
Speaker 8: the record, because I'm gonna keep it really one hundred,

1525
01:10:44,520 --> 01:10:46,559
Speaker 8: there's two new Jack swingy things on there.

1526
01:10:48,240 --> 01:10:52,160
Speaker 1: You gonna like it. Bro come all right, but that's.

1527
01:10:52,080 --> 01:10:54,800
Speaker 4: The remnants of what had been. You can hear. I

1528
01:10:54,960 --> 01:11:01,200
Speaker 4: think you're gonna like it almost. Yeah, I like that song.

1529
01:11:01,280 --> 01:11:03,680
Speaker 1: I mean, I definitely see the news. But that was

1530
01:11:03,800 --> 01:11:05,840
Speaker 1: not a bad song at all. But I appreciate it.

1531
01:11:05,960 --> 01:11:08,800
Speaker 8: But I'm saying that happened when I first met them,

1532
01:11:09,080 --> 01:11:11,880
Speaker 8: and then my whole once he got quest asked about

1533
01:11:11,920 --> 01:11:15,720
Speaker 8: the comfortable comfortability factor by the time as far as

1534
01:11:15,760 --> 01:11:17,519
Speaker 8: getting to know them and who they were. By the

1535
01:11:17,600 --> 01:11:19,839
Speaker 8: time we did, I'm swim to you. I had recorded

1536
01:11:19,880 --> 01:11:23,479
Speaker 8: them many many times. So now they trust me and

1537
01:11:23,560 --> 01:11:25,160
Speaker 8: they trust what I'm going to tell them to do,

1538
01:11:25,600 --> 01:11:27,320
Speaker 8: and then we had that level. So when we get

1539
01:11:27,360 --> 01:11:30,920
Speaker 8: to I'm swim to you, I knew that this was

1540
01:11:31,000 --> 01:11:33,120
Speaker 8: going to be the ones for me, even if it

1541
01:11:33,240 --> 01:11:37,040
Speaker 8: never succeeded. I said, personally, I think I nailed this

1542
01:11:37,160 --> 01:11:40,840
Speaker 8: one because it's my own sound. And I purposely went

1543
01:11:41,000 --> 01:11:43,800
Speaker 8: straight with the straight sixteenth thing because it was so

1544
01:11:44,200 --> 01:11:46,040
Speaker 8: un knew Jack it was not.

1545
01:11:46,160 --> 01:11:48,479
Speaker 2: It was actually not trying to say sixteen on the

1546
01:11:48,560 --> 01:11:54,320
Speaker 2: high end. I was like, yeah, I was like, uh,

1547
01:11:57,800 --> 01:11:59,439
Speaker 2: is there some controversial about that right here?

1548
01:11:59,479 --> 01:12:04,560
Speaker 1: Story? Oh god, the remix? Oh yes, God, I just

1549
01:12:04,640 --> 01:12:07,760
Speaker 1: wanted to know about right here. Oh okay, no, no, no,

1550
01:12:08,439 --> 01:12:08,840
Speaker 1: I don't know.

1551
01:12:10,800 --> 01:12:13,360
Speaker 8: Everybody has a story about it. But here's my thing.

1552
01:12:14,160 --> 01:12:16,720
Speaker 8: All Star, the one that that did the vocal the

1553
01:12:16,800 --> 01:12:20,280
Speaker 8: work on the record is my man. Now, I didn't

1554
01:12:20,360 --> 01:12:23,439
Speaker 8: know that Teddy did anything on it at all until

1555
01:12:23,560 --> 01:12:26,599
Speaker 8: I became aware of it through Kenny Ortiz and Teddy

1556
01:12:26,600 --> 01:12:28,519
Speaker 8: and them saying exactly what he did.

1557
01:12:28,760 --> 01:12:31,160
Speaker 1: But we're talking about right here, human nature rem.

1558
01:12:32,640 --> 01:12:35,800
Speaker 4: So just to be clear, everybody had a hand in it.

1559
01:12:36,600 --> 01:12:40,639
Speaker 8: But the truth of the matter is the whole beat

1560
01:12:40,800 --> 01:12:44,400
Speaker 8: itself was done by All Star, then touched up by

1561
01:12:44,960 --> 01:12:48,759
Speaker 8: Teddy and others with certain things. Teddy recorded her vocal,

1562
01:12:49,120 --> 01:12:52,640
Speaker 8: Coco's vocal on their some other Teddy's.

1563
01:12:54,479 --> 01:12:56,040
Speaker 4: Right, and Teddy did.

1564
01:12:56,200 --> 01:12:57,880
Speaker 8: I guess there's some other guys that work with Teddy

1565
01:12:58,080 --> 01:12:58,880
Speaker 8: in the studio as well.

1566
01:12:58,960 --> 01:13:01,000
Speaker 4: They got at me on Instagram. Those are all great

1567
01:13:01,040 --> 01:13:02,160
Speaker 4: guys and everybody's cool people.

1568
01:13:02,479 --> 01:13:06,120
Speaker 8: I'm just saying the German nation of that song and

1569
01:13:06,200 --> 01:13:08,960
Speaker 8: that production and that beat was done by All Star.

1570
01:13:09,080 --> 01:13:10,400
Speaker 4: The person who grabbed also.

1571
01:13:10,320 --> 01:13:12,600
Speaker 1: Did anything remix killed it?

1572
01:13:12,840 --> 01:13:13,000
Speaker 4: Right?

1573
01:13:13,320 --> 01:13:14,000
Speaker 1: Wait, even.

1574
01:13:16,160 --> 01:13:18,800
Speaker 2: Teddy even the drums, because I could have sworn the

1575
01:13:18,840 --> 01:13:19,559
Speaker 2: drums were Teddy.

1576
01:13:19,720 --> 01:13:22,680
Speaker 4: No, Teddy's drums are on. I'm swinging to you his

1577
01:13:22,840 --> 01:13:24,800
Speaker 4: remix on that. Have you heard that?

1578
01:13:25,400 --> 01:13:26,000
Speaker 1: It's so rough?

1579
01:13:26,040 --> 01:13:29,400
Speaker 4: So yeah, he.

1580
01:13:31,080 --> 01:13:33,719
Speaker 5: Played that, telling me that that that swing.

1581
01:13:35,800 --> 01:13:39,360
Speaker 4: Know that that is All Star. And then they told

1582
01:13:39,400 --> 01:13:41,960
Speaker 4: me what sample he used. And I'm just gonna say this.

1583
01:13:42,080 --> 01:13:43,760
Speaker 8: I'm just gonna say this, this is how I got

1584
01:13:43,800 --> 01:13:45,439
Speaker 8: because I mean, I'm just like y'all, I wasn't sure

1585
01:13:45,439 --> 01:13:47,400
Speaker 8: who did what at this point. When I hear something,

1586
01:13:47,520 --> 01:13:50,240
Speaker 8: you know Teddy, they say one thing Teddy's people and

1587
01:13:50,360 --> 01:13:51,680
Speaker 8: his and his guys that did it with him.

1588
01:13:51,960 --> 01:13:52,920
Speaker 1: No, we was there.

1589
01:13:53,000 --> 01:13:54,760
Speaker 8: We did this this is and I can't argue because

1590
01:13:54,760 --> 01:13:57,240
Speaker 8: I wasn't there. But here's what I told all Star,

1591
01:13:57,320 --> 01:13:59,040
Speaker 8: who had told me that he did the basic beat.

1592
01:13:59,280 --> 01:14:01,320
Speaker 8: I said, all Star, tell me this then, because I'm

1593
01:14:01,360 --> 01:14:02,880
Speaker 8: like you quest I'm like, let's get down to the

1594
01:14:02,960 --> 01:14:05,639
Speaker 8: germination of this whole what you just did, Like, okay,

1595
01:14:05,960 --> 01:14:10,000
Speaker 8: where's that beat from bro? And he broke it down

1596
01:14:10,200 --> 01:14:12,800
Speaker 8: and told me the samples, and I went and checked

1597
01:14:12,840 --> 01:14:15,160
Speaker 8: it against what he told me, and that is it.

1598
01:14:15,640 --> 01:14:17,759
Speaker 8: So I said, if y'all, and I went on Instagram

1599
01:14:17,840 --> 01:14:19,840
Speaker 8: and said this to those people who was claiming that

1600
01:14:19,920 --> 01:14:21,879
Speaker 8: they did it, I said, tell me what the samples

1601
01:14:21,920 --> 01:14:23,519
Speaker 8: are that made that drum loot?

1602
01:14:23,920 --> 01:14:27,400
Speaker 4: Just tell me? And then it's like remember that showman.

1603
01:14:27,960 --> 01:14:33,040
Speaker 2: And I was like, important, more importantly, what were the

1604
01:14:33,120 --> 01:14:36,320
Speaker 2: comments like when he rocked it on versus?

1605
01:14:41,160 --> 01:14:45,200
Speaker 4: Well, that's how all this man, that's how this all happened.

1606
01:14:45,200 --> 01:14:46,439
Speaker 4: Because when that when.

1607
01:14:46,320 --> 01:14:51,880
Speaker 2: I'm madly yeah night that night, I didn't see that part.

1608
01:14:51,800 --> 01:14:54,920
Speaker 4: Of then when he opened his whole thing with that joint.

1609
01:14:56,120 --> 01:14:57,960
Speaker 1: Oh so he had a story for it and everything and.

1610
01:14:57,960 --> 01:15:01,120
Speaker 4: People ready with the receipts. No, he just opened it

1611
01:15:01,200 --> 01:15:04,559
Speaker 4: as if it was his. Yeah, that's what he did.

1612
01:15:04,880 --> 01:15:07,840
Speaker 4: And so and I was like, whoa, whoa, whoa you

1613
01:15:07,920 --> 01:15:09,120
Speaker 4: know that one? Hold on?

1614
01:15:09,680 --> 01:15:12,400
Speaker 8: And then I called All Star because I wanted clarity.

1615
01:15:13,080 --> 01:15:14,720
Speaker 8: I was like, bro, before I say anything on this

1616
01:15:14,840 --> 01:15:17,880
Speaker 8: internet about anything, tell me once again, who did what

1617
01:15:18,080 --> 01:15:18,679
Speaker 8: on this joint?

1618
01:15:18,760 --> 01:15:19,120
Speaker 4: For real?

1619
01:15:19,680 --> 01:15:20,920
Speaker 1: He lose at his ship when he was.

1620
01:15:21,400 --> 01:15:24,440
Speaker 4: All Star was laughing. He's like, these people are hilarious.

1621
01:15:28,240 --> 01:15:30,760
Speaker 2: He's like, bro, okay, So you know it's obviously that

1622
01:15:30,880 --> 01:15:33,559
Speaker 2: Dinah Ross presents the Jackson five story, you know.

1623
01:15:33,760 --> 01:15:35,559
Speaker 1: Right exactly right, right right value.

1624
01:15:36,160 --> 01:15:38,360
Speaker 2: I felt with Hooklon singing, I'm like, yeah, well, Teddy's

1625
01:15:38,360 --> 01:15:41,320
Speaker 2: work of Michael Jackson. He got this sample clear, Okay, yeah,

1626
01:15:41,320 --> 01:15:41,640
Speaker 2: I get it.

1627
01:15:41,920 --> 01:15:43,560
Speaker 4: And that's not why the sample, Claire, trust me.

1628
01:15:43,920 --> 01:15:46,160
Speaker 8: The girls had been just number one with week a

1629
01:15:46,240 --> 01:15:48,519
Speaker 8: million selling single, number one, and this is at the

1630
01:15:48,560 --> 01:15:51,680
Speaker 8: time that Michael had just done his OPRAH interview, so

1631
01:15:52,600 --> 01:15:56,160
Speaker 8: the publicity wasn't the greatest, and then being associated with

1632
01:15:56,320 --> 01:15:58,920
Speaker 8: something really really black, like a number one pop girl

1633
01:15:59,000 --> 01:16:00,880
Speaker 8: group that has a song called week Out. And that's

1634
01:16:00,960 --> 01:16:03,360
Speaker 8: why the follow up is right here human Nature with

1635
01:16:03,600 --> 01:16:07,040
Speaker 8: number two and Michael, those girls went crazy number two pop.

1636
01:16:07,160 --> 01:16:08,439
Speaker 8: It would have went number one if it wasn't for

1637
01:16:08,520 --> 01:16:14,040
Speaker 8: Mariah's dream Lover. Woamn, that's right, by the way, shout

1638
01:16:14,080 --> 01:16:15,439
Speaker 8: out to myself a remixing dream Lover.

1639
01:16:15,560 --> 01:16:16,720
Speaker 4: Mariah called me out.

1640
01:16:16,760 --> 01:16:20,720
Speaker 3: To myself son, Hey, Brian, what did you say when

1641
01:16:20,720 --> 01:16:22,719
Speaker 3: you heard Joe Joe's version a week.

1642
01:16:22,680 --> 01:16:24,960
Speaker 4: And then she kind of knocked me out. Well, I

1643
01:16:25,080 --> 01:16:26,120
Speaker 4: did it. I produced it.

1644
01:16:26,280 --> 01:16:33,000
Speaker 3: So oh fuckaby, It's the only reason I love her

1645
01:16:33,040 --> 01:16:33,879
Speaker 3: so hard still.

1646
01:16:33,720 --> 01:16:34,200
Speaker 1: To this day.

1647
01:16:35,080 --> 01:16:36,559
Speaker 4: So thank you. You're welcome.

1648
01:16:36,680 --> 01:16:38,519
Speaker 8: Vincent Herbert called me on that one said, listen to this.

1649
01:16:38,840 --> 01:16:40,880
Speaker 8: I put the phone in my ear. I just heard

1650
01:16:40,920 --> 01:16:41,439
Speaker 8: a kid singing.

1651
01:16:41,520 --> 01:16:44,439
Speaker 4: She said. She said she's thirteen. I said what anyway?

1652
01:16:44,479 --> 01:16:45,040
Speaker 4: And she's white.

1653
01:16:45,200 --> 01:16:54,200
Speaker 6: I said what, And it's right, yeah, Tamar.

1654
01:16:54,320 --> 01:16:56,839
Speaker 4: For people who are on the light in the music exactly,

1655
01:16:56,960 --> 01:16:59,360
Speaker 4: so Vincent yoga yo and the mirror.

1656
01:16:59,600 --> 01:17:04,360
Speaker 8: They fled me down, fluted me down to l A

1657
01:17:04,520 --> 01:17:05,759
Speaker 8: and I cut that on Jojo.

1658
01:17:06,400 --> 01:17:07,160
Speaker 4: How long did that take?

1659
01:17:07,200 --> 01:17:09,000
Speaker 5: But she like it just seemed like she just had it.

1660
01:17:09,320 --> 01:17:12,240
Speaker 4: Oh man, that was nothing. That was like, oh my god,

1661
01:17:12,640 --> 01:17:14,360
Speaker 4: Yeah she did that. She did and she's been.

1662
01:17:14,280 --> 01:17:16,400
Speaker 8: Singing it every since. Sorry to talk on Susan that

1663
01:17:16,479 --> 01:17:17,360
Speaker 8: my boy killed it.

1664
01:17:17,479 --> 01:17:19,519
Speaker 4: He saw it on Instagram a year ago she was

1665
01:17:19,600 --> 01:17:19,840
Speaker 4: doing it.

1666
01:17:19,920 --> 01:17:21,400
Speaker 7: I was like, happy at my.

1667
01:17:21,400 --> 01:17:24,240
Speaker 8: Boy Steve Mackie's house. Hell yeah, shout out Steve mackeiy

1668
01:17:24,600 --> 01:17:25,599
Speaker 8: j Loo's vocal coach.

1669
01:17:25,640 --> 01:17:27,559
Speaker 1: Hello, okay man.

1670
01:17:27,760 --> 01:17:30,760
Speaker 6: She still maintained that the original version of Anything is

1671
01:17:31,000 --> 01:17:31,880
Speaker 6: better than the remix.

1672
01:17:32,080 --> 01:17:34,840
Speaker 4: That was Thank you so much, bro, dude.

1673
01:17:34,880 --> 01:17:35,960
Speaker 1: I mean, I love the remix.

1674
01:17:36,040 --> 01:17:38,920
Speaker 6: But man, I first when I when I heard when

1675
01:17:38,960 --> 01:17:41,559
Speaker 6: you just hear you talk about that album the uh

1676
01:17:41,880 --> 01:17:45,120
Speaker 6: you know that's off your record? And how I can

1677
01:17:45,200 --> 01:17:47,360
Speaker 6: hear now as you talk about it, now you know

1678
01:17:47,439 --> 01:17:48,760
Speaker 6: the thing, you're gonna like it? That was kind of

1679
01:17:48,800 --> 01:17:51,479
Speaker 6: new Jack screen but Anything. When I heard that, I

1680
01:17:51,600 --> 01:17:53,920
Speaker 6: was just like, Nah, this ain't on some other ship.

1681
01:17:54,120 --> 01:17:55,680
Speaker 8: Yeah, man, let me tell you how I wanted to.

1682
01:17:55,840 --> 01:17:59,760
Speaker 8: I really approach that one. Coco at that time. I

1683
01:17:59,920 --> 01:18:04,080
Speaker 8: was impressed with She was her own, she was solent

1684
01:18:04,200 --> 01:18:08,360
Speaker 8: in her diva is very very early, right, and I'm

1685
01:18:08,439 --> 01:18:09,960
Speaker 8: just wanting with Mark the watch I'm on the hills

1686
01:18:09,960 --> 01:18:12,880
Speaker 8: of Martha watch an actual diva, right. But I was like,

1687
01:18:13,120 --> 01:18:15,680
Speaker 8: Coco is a little young diva in training for real,

1688
01:18:15,760 --> 01:18:17,160
Speaker 8: for real, I.

1689
01:18:17,240 --> 01:18:19,360
Speaker 4: Said to myself when I thought about how that album.

1690
01:18:22,760 --> 01:18:25,720
Speaker 8: When that album starts, broke you got it, man, I

1691
01:18:25,800 --> 01:18:28,360
Speaker 8: was like, I need a joint that not only sets

1692
01:18:28,439 --> 01:18:30,680
Speaker 8: up the whole mood, but it's got to be a

1693
01:18:30,800 --> 01:18:32,800
Speaker 8: joint that sets Coco's voice.

1694
01:18:33,120 --> 01:18:33,840
Speaker 4: Out there like that.

1695
01:18:34,000 --> 01:18:36,600
Speaker 8: And I was thinking about Diana Ross's how there's the

1696
01:18:36,680 --> 01:18:41,320
Speaker 8: slow intros on uh ain't a mountain high enough? You

1697
01:18:41,400 --> 01:18:43,639
Speaker 8: feel me where it's just the slow building it builds

1698
01:18:43,680 --> 01:18:46,040
Speaker 8: up to the ben boom boom bam, right. But I

1699
01:18:46,160 --> 01:18:48,519
Speaker 8: wondered it when it came on to be so sexy,

1700
01:18:48,920 --> 01:18:51,519
Speaker 8: I was like, what can I do atmospherically quest to

1701
01:18:51,640 --> 01:18:52,720
Speaker 8: set up a sexy thing?

1702
01:18:52,800 --> 01:18:53,479
Speaker 4: So I sampled.

1703
01:18:53,560 --> 01:18:55,640
Speaker 8: I turned on my water foster in my apartment and

1704
01:18:55,760 --> 01:18:59,519
Speaker 8: I sampled, uh, the water dripping. Then I sampled me

1705
01:18:59,640 --> 01:19:03,479
Speaker 8: dropping a fifty piece into a glass, and so I

1706
01:19:03,560 --> 01:19:04,760
Speaker 8: got that PLoP that I wanted.

1707
01:19:05,160 --> 01:19:06,880
Speaker 4: And I was like all these and then I breathed

1708
01:19:06,920 --> 01:19:11,320
Speaker 4: into the mic. I was just going so all those sounds.

1709
01:19:11,400 --> 01:19:13,719
Speaker 2: I said to myself, you didn't use the library records,

1710
01:19:13,760 --> 01:19:15,040
Speaker 2: that the studios, right, you just.

1711
01:19:15,240 --> 01:19:17,160
Speaker 8: Know I was in my apartment, bro I was like,

1712
01:19:17,520 --> 01:19:20,479
Speaker 8: nobody's joint is going to sound like this because it's

1713
01:19:20,520 --> 01:19:23,160
Speaker 8: so just me literally making up sounds.

1714
01:19:23,360 --> 01:19:24,960
Speaker 4: And so by the time I put those keys to.

1715
01:19:24,960 --> 01:19:27,560
Speaker 8: All those weird and all those snaps and all that

1716
01:19:27,600 --> 01:19:30,120
Speaker 8: breathing and stuff, it created a mood. And it's the

1717
01:19:30,200 --> 01:19:33,360
Speaker 8: perfect mood for Coco's voice to come in and do

1718
01:19:33,520 --> 01:19:35,840
Speaker 8: what it does. And look how good the background sound

1719
01:19:35,880 --> 01:19:38,800
Speaker 8: on that. There they are again laying taj killing it.

1720
01:19:39,640 --> 01:19:39,840
Speaker 1: Yeah.

1721
01:19:39,920 --> 01:19:43,840
Speaker 4: Nah, And the unison and harmony thing theory is still

1722
01:19:43,840 --> 01:19:44,600
Speaker 4: an effect on that.

1723
01:19:49,880 --> 01:19:50,200
Speaker 1: Come on.

1724
01:19:55,280 --> 01:19:58,640
Speaker 2: So what I want to know is that once this

1725
01:19:58,840 --> 01:20:03,240
Speaker 2: album really hits pay dirt and becomes your your lottery ticket,

1726
01:20:03,920 --> 01:20:07,800
Speaker 2: well one, how does your life change? But can you

1727
01:20:07,920 --> 01:20:12,760
Speaker 2: talk about the phone calls that come in after, like

1728
01:20:12,840 --> 01:20:15,000
Speaker 2: the artist that you had to turn down and whatnot?

1729
01:20:16,960 --> 01:20:17,920
Speaker 4: What is that? What is that?

1730
01:20:19,080 --> 01:20:24,479
Speaker 1: Downpouring of water feels like like, how does your life change?

1731
01:20:25,040 --> 01:20:25,360
Speaker 4: Again?

1732
01:20:25,600 --> 01:20:28,160
Speaker 8: I was being that kid from Kansas who always lived

1733
01:20:28,200 --> 01:20:31,560
Speaker 8: in those credits like we do. When I tell you,

1734
01:20:31,960 --> 01:20:35,400
Speaker 8: when Charlie called me and said I want to come by,

1735
01:20:36,000 --> 01:20:39,559
Speaker 8: just come by the house, you know, I'm in tears.

1736
01:20:39,640 --> 01:20:39,840
Speaker 4: Damn.

1737
01:20:39,880 --> 01:20:42,720
Speaker 8: They're like, oh my god, my hero's coming. And then

1738
01:20:42,760 --> 01:20:44,519
Speaker 8: we sit down and jam and get on the drums

1739
01:20:44,560 --> 01:20:46,240
Speaker 8: and the keys and back and trade back and forth.

1740
01:20:46,280 --> 01:20:48,160
Speaker 8: He on keys, I'm on drums, he's on drums, I'm

1741
01:20:48,160 --> 01:20:51,000
Speaker 8: on keys. Recording it, videotaping it. I got all that footage.

1742
01:20:51,640 --> 01:20:52,280
Speaker 8: It was amazing.

1743
01:20:52,400 --> 01:20:57,439
Speaker 4: But when Stevie called and said, what are you doing

1744
01:20:57,680 --> 01:20:59,840
Speaker 4: with that girl's voice? How are you doing it? Can

1745
01:20:59,880 --> 01:21:02,960
Speaker 4: you come down and hang out? What? And I was like,

1746
01:21:03,160 --> 01:21:05,760
Speaker 4: And I said to him, do you remember me? I said,

1747
01:21:06,000 --> 01:21:08,320
Speaker 4: I said background, so we can work that.

1748
01:21:09,360 --> 01:21:12,240
Speaker 8: He did not remember that, Okay, But the point was,

1749
01:21:12,320 --> 01:21:14,679
Speaker 8: now he's calling me, and I'm and I'm and I'm there.

1750
01:21:14,760 --> 01:21:17,400
Speaker 4: Man, I'm like, this is crazy. Who another one that called, Oh,

1751
01:21:17,640 --> 01:21:18,400
Speaker 4: Ray Parker Jr.

1752
01:21:18,479 --> 01:21:20,240
Speaker 8: One of my heroes came up and flew up in

1753
01:21:20,280 --> 01:21:21,680
Speaker 8: his plane and came out to hang out with me

1754
01:21:21,720 --> 01:21:22,360
Speaker 8: and Sacramento.

1755
01:21:22,600 --> 01:21:23,360
Speaker 4: Just stupid stuff.

1756
01:21:24,840 --> 01:21:27,240
Speaker 8: Man, All the heroes you can think of that you

1757
01:21:27,280 --> 01:21:30,640
Speaker 8: want to call that you love? They called, and and

1758
01:21:30,800 --> 01:21:33,160
Speaker 8: and Mariah called, and I went to meet Tommy Mottola

1759
01:21:33,240 --> 01:21:33,479
Speaker 8: and her.

1760
01:21:33,680 --> 01:21:36,519
Speaker 4: That's how I got dream Lover. Clyde Davis called.

1761
01:21:36,320 --> 01:21:38,080
Speaker 8: And signed a girl group that I had at the time,

1762
01:21:39,160 --> 01:21:41,080
Speaker 8: and he wanted me to do my production deal with them.

1763
01:21:42,360 --> 01:21:43,080
Speaker 4: It was amazing.

1764
01:21:43,200 --> 01:21:44,320
Speaker 1: What was that? What was the name of the girl

1765
01:21:44,439 --> 01:21:44,759
Speaker 1: the Groogle.

1766
01:21:44,880 --> 01:21:46,719
Speaker 4: They never came out, but they were called Oliver Twists.

1767
01:21:47,960 --> 01:21:51,519
Speaker 1: All of her spell it no, no, no, no, how

1768
01:21:51,600 --> 01:21:58,519
Speaker 1: they spell it, just like, oh my god, oh wow,

1769
01:22:00,880 --> 01:22:01,679
Speaker 1: we have some joints.

1770
01:22:01,720 --> 01:22:02,680
Speaker 4: We had some joints on it.

1771
01:22:04,840 --> 01:22:07,560
Speaker 1: Wow. I want a collection of all the groups that

1772
01:22:07,680 --> 01:22:09,240
Speaker 1: didn't make it with these with the.

1773
01:22:12,439 --> 01:22:13,200
Speaker 4: Hilarious right.

1774
01:22:13,439 --> 01:22:16,200
Speaker 6: So man, so on the second record, Man, before we go,

1775
01:22:16,680 --> 01:22:18,719
Speaker 6: I just got to nerve and give you your props.

1776
01:22:19,080 --> 01:22:22,120
Speaker 5: There's a baseline, a base you play on anything.

1777
01:22:22,640 --> 01:22:28,360
Speaker 4: It's yes, sir, yeah, yeah, yeah, yeah, yeah, yeah yeah.

1778
01:22:29,040 --> 01:22:30,600
Speaker 8: You feel me because you know why that you know

1779
01:22:30,640 --> 01:22:33,280
Speaker 8: where that came from, always hanging out with with his

1780
01:22:33,400 --> 01:22:36,519
Speaker 8: fretless Yeah. So I did that as a nod to

1781
01:22:36,600 --> 01:22:39,479
Speaker 8: Waymen Tisdell, Like, yo, bro, I'm thinking about you right here.

1782
01:22:39,520 --> 01:22:41,439
Speaker 4: That's you. I just wanted to play with my hands

1783
01:22:41,720 --> 01:22:43,240
Speaker 4: on the keyboard, like let me play this thing like

1784
01:22:43,320 --> 01:22:45,720
Speaker 4: a fretless dude would do. Thank you, Thank you for

1785
01:22:45,840 --> 01:22:46,240
Speaker 4: noticing that.

1786
01:22:46,360 --> 01:22:46,479
Speaker 8: Man.

1787
01:22:46,520 --> 01:22:48,680
Speaker 5: That's no, that's that's like my favorite part of song.

1788
01:22:48,960 --> 01:22:51,439
Speaker 4: By the way, women tis deal is on that first album.

1789
01:22:51,520 --> 01:22:53,720
Speaker 4: He did that's what I need, That's what I need.

1790
01:22:53,800 --> 01:22:56,759
Speaker 4: That's right. Yeah, shout out to and Danielle Tillsdale.

1791
01:22:57,320 --> 01:23:00,080
Speaker 6: So, man, what happened on the second record the and

1792
01:23:00,160 --> 01:23:03,800
Speaker 6: when they did because you did the single the well

1793
01:23:04,080 --> 01:23:06,000
Speaker 6: no no, before you.

1794
01:23:06,280 --> 01:23:09,840
Speaker 1: Get ahead of myself, Layla love you.

1795
01:23:10,200 --> 01:23:11,360
Speaker 4: Yeah I heard that.

1796
01:23:11,479 --> 01:23:14,599
Speaker 1: I was like, Yo, this doing this ship?

1797
01:23:15,040 --> 01:23:20,120
Speaker 5: Look what went down with with with the second album

1798
01:23:20,280 --> 01:23:22,040
Speaker 5: and the girls?

1799
01:23:22,320 --> 01:23:25,800
Speaker 8: My six six degrees in Separation's crazy quest check this out.

1800
01:23:26,800 --> 01:23:28,400
Speaker 4: Do you guys know who Jeff Foreman is?

1801
01:23:29,600 --> 01:23:34,360
Speaker 1: Yes? He was Layla's may he and yeah we had

1802
01:23:34,400 --> 01:23:35,080
Speaker 1: her on the show.

1803
01:23:36,120 --> 01:23:37,880
Speaker 8: When I got that Warner Brother still way back in

1804
01:23:37,960 --> 01:23:39,519
Speaker 8: eighty nine and I was thinking I'm about to come

1805
01:23:39,560 --> 01:23:40,000
Speaker 8: out on Wonder.

1806
01:23:40,040 --> 01:23:42,080
Speaker 4: I met Jeff and through a friend here in La.

1807
01:23:42,280 --> 01:23:44,200
Speaker 4: He just was a friend. But what I what I

1808
01:23:44,320 --> 01:23:47,800
Speaker 4: learned was that Jeff Foreman's brother is James and two May.

1809
01:23:48,800 --> 01:23:50,479
Speaker 1: What damn right right?

1810
01:23:50,920 --> 01:23:53,559
Speaker 4: He's just so yeah yeah, so James and Too May's

1811
01:23:53,640 --> 01:23:55,920
Speaker 4: kid brother is my buddy, my best friend. Jeff Foreman.

1812
01:23:55,920 --> 01:23:56,920
Speaker 4: Shout out to Jeff Foreman.

1813
01:23:57,200 --> 01:23:59,920
Speaker 8: Also shout out to DJ Khalil, who Jeff Foreman meant

1814
01:24:00,320 --> 01:24:03,000
Speaker 8: and gave his first gig. Jeff Foreman introduced me to

1815
01:24:03,080 --> 01:24:05,920
Speaker 8: Layla right when he signed her to Virgin Records in

1816
01:24:06,040 --> 01:24:09,960
Speaker 8: nineteen ninety. So that's why I already had a relationship

1817
01:24:09,960 --> 01:24:12,439
Speaker 8: with Laila four years before let Me Love You.

1818
01:24:13,040 --> 01:24:16,840
Speaker 6: Ah got that crazy, And so by the time when

1819
01:24:16,960 --> 01:24:19,479
Speaker 6: that came out, were you and the girls with y'all beefing,

1820
01:24:19,560 --> 01:24:20,439
Speaker 6: like what was your relationship?

1821
01:24:20,560 --> 01:24:22,640
Speaker 4: Like, no, let me no, no, let Me Love You

1822
01:24:22,760 --> 01:24:24,840
Speaker 4: came out in between the second album. I didn't know

1823
01:24:24,880 --> 01:24:25,400
Speaker 4: that that was right.

1824
01:24:25,479 --> 01:24:28,120
Speaker 1: That was ninety four, yeah, and then the beginning was

1825
01:24:28,200 --> 01:24:29,120
Speaker 1: ninety five, right.

1826
01:24:29,040 --> 01:24:32,439
Speaker 4: So I spent I did let Me six, right, but

1827
01:24:32,520 --> 01:24:32,760
Speaker 4: I did.

1828
01:24:33,040 --> 01:24:36,639
Speaker 2: Camember when ladelp Half Life came out, I remember exactly. Yeah,

1829
01:24:36,680 --> 01:24:37,639
Speaker 2: he came out in ninety six.

1830
01:24:37,920 --> 01:24:39,760
Speaker 8: I did Let Me Love You in ninety four and

1831
01:24:39,960 --> 01:24:44,400
Speaker 8: Usher Crazy in ninety four, and they both came to

1832
01:24:44,439 --> 01:24:45,720
Speaker 8: Sacramento and recorded up there.

1833
01:24:46,040 --> 01:24:48,680
Speaker 4: That was Usher's first album, that Diddy A and R

1834
01:24:49,040 --> 01:24:49,760
Speaker 4: and the whole thing.

1835
01:24:51,040 --> 01:24:55,360
Speaker 8: But Pete after that, Layla first of all, came to

1836
01:24:55,400 --> 01:24:57,880
Speaker 8: Sacramento and murdered that that's a that's one take that

1837
01:24:58,200 --> 01:24:59,240
Speaker 8: lead vocal and let Me Love You.

1838
01:24:59,360 --> 01:24:59,840
Speaker 4: Is one take.

1839
01:25:01,400 --> 01:25:01,599
Speaker 1: Really.

1840
01:25:01,840 --> 01:25:05,120
Speaker 8: She was smirking cigarette playing my Gallaga machine. When I

1841
01:25:05,200 --> 01:25:06,400
Speaker 8: walked up on her, I said, you ready to do

1842
01:25:06,520 --> 01:25:08,559
Speaker 8: this vocal? She said yeah, let's knock it out, put

1843
01:25:08,600 --> 01:25:11,719
Speaker 8: a cigarette out, got on that mic, sung that entire.

1844
01:25:11,640 --> 01:25:16,120
Speaker 4: Vocal from top to bottom. Really killed it. Yes, so

1845
01:25:16,240 --> 01:25:17,680
Speaker 4: let me let me love you a special to me.

1846
01:25:17,960 --> 01:25:19,479
Speaker 4: I really really love love her on that.

1847
01:25:20,120 --> 01:25:22,120
Speaker 5: I totally forgot you did crazy on the USh album.

1848
01:25:22,160 --> 01:25:23,200
Speaker 5: I forgot about that record.

1849
01:25:23,240 --> 01:25:24,840
Speaker 8: Yeah, I don't like I don't like talking about that

1850
01:25:24,880 --> 01:25:27,800
Speaker 8: when I said that was my first Diddy experience.

1851
01:25:27,320 --> 01:25:28,200
Speaker 4: And it wasn't great.

1852
01:25:28,880 --> 01:25:33,040
Speaker 1: Really, let's talk about it exactly.

1853
01:25:33,880 --> 01:25:37,200
Speaker 8: Well, I mean, in a nutshell, as much as I

1854
01:25:37,280 --> 01:25:40,200
Speaker 8: tried to not swing on my debut with I'm Swinging

1855
01:25:40,240 --> 01:25:42,080
Speaker 8: to You and all that. Of course, it was a

1856
01:25:42,200 --> 01:25:44,080
Speaker 8: big east well east coast, west coast thing going on

1857
01:25:44,160 --> 01:25:46,240
Speaker 8: at that time. And and did he just had been

1858
01:25:46,400 --> 01:25:49,560
Speaker 8: just put in charge of that kid Ussher and and

1859
01:25:50,400 --> 01:25:52,400
Speaker 8: I was like, yo, this is how I hear this tune.

1860
01:25:53,080 --> 01:25:54,160
Speaker 8: And I did it really straight.

1861
01:25:54,280 --> 01:25:56,559
Speaker 4: Well, he didn't like it and wiped it and had

1862
01:25:56,640 --> 01:25:57,920
Speaker 4: Chucky Chucky Thompson was one of.

1863
01:25:57,920 --> 01:26:01,320
Speaker 8: My good friends redo the whole really, so that's it.

1864
01:26:01,560 --> 01:26:03,840
Speaker 8: So I never could listen to it because that's what

1865
01:26:04,000 --> 01:26:07,479
Speaker 8: happened to that. However, us should call me recently after

1866
01:26:07,560 --> 01:26:10,439
Speaker 8: we had saw each other that book toward LA's book thing.

1867
01:26:11,479 --> 01:26:13,640
Speaker 4: Yeah, He's like, Yo, do you still have a copy of.

1868
01:26:13,640 --> 01:26:15,200
Speaker 8: That old way we did it? I was like, hell yeah,

1869
01:26:15,240 --> 01:26:16,519
Speaker 8: that's just like, let me get a copy of that.

1870
01:26:16,600 --> 01:26:19,040
Speaker 8: We want to do that in my live show. Wow

1871
01:26:19,840 --> 01:26:22,360
Speaker 8: wow yeah yeah yeah so that that that made me

1872
01:26:22,400 --> 01:26:24,600
Speaker 8: feel better. And Babyface liked my version better, by the

1873
01:26:24,600 --> 01:26:27,439
Speaker 8: way too. At the time when it happened, I gotta

1874
01:26:27,520 --> 01:26:27,800
Speaker 8: check that.

1875
01:26:27,920 --> 01:26:28,640
Speaker 1: You gotta see me that.

1876
01:26:28,920 --> 01:26:29,880
Speaker 4: Oh yeah, it's crazy.

1877
01:26:30,280 --> 01:26:30,439
Speaker 1: Yeah.

1878
01:26:30,479 --> 01:26:32,240
Speaker 6: I loved that first US album. I mean, he was

1879
01:26:32,360 --> 01:26:34,839
Speaker 6: it's totally not age appropriate. He shouldn't have been seeing.

1880
01:26:34,680 --> 01:26:37,200
Speaker 5: That shit at twelve, I hold, he was, Yeah, yeah,

1881
01:26:38,520 --> 01:26:39,080
Speaker 5: I do like that.

1882
01:26:41,320 --> 01:26:41,479
Speaker 4: Man.

1883
01:26:41,640 --> 01:26:45,439
Speaker 6: So so when they do New Beginning, what's your status

1884
01:26:45,520 --> 01:26:47,439
Speaker 6: with the with the group at that time, I come.

1885
01:26:47,320 --> 01:26:48,720
Speaker 8: Out just like we did on the first album. I

1886
01:26:48,800 --> 01:26:50,679
Speaker 8: come out to New York. I'm hanging out, I'm working.

1887
01:26:50,760 --> 01:26:52,680
Speaker 8: We had, you know, in all the spots, hitting all

1888
01:26:52,680 --> 01:26:53,240
Speaker 8: the studios.

1889
01:26:53,520 --> 01:26:55,400
Speaker 4: Quad. We recorded half of it at Quad, you know

1890
01:26:55,680 --> 01:26:58,800
Speaker 4: where Tupac was. It was. It was very energetic and good.

1891
01:26:58,800 --> 01:26:59,599
Speaker 4: I thought I was going good.

1892
01:26:59,840 --> 01:27:03,080
Speaker 8: I knew something was gonna be weird when their management

1893
01:27:03,200 --> 01:27:05,720
Speaker 8: kept saying, hey, they got to write they have to

1894
01:27:05,800 --> 01:27:06,720
Speaker 8: write on this song.

1895
01:27:07,040 --> 01:27:07,960
Speaker 4: They have to write.

1896
01:27:08,400 --> 01:27:08,800
Speaker 1: Here we go.

1897
01:27:09,080 --> 01:27:11,360
Speaker 4: So I was like, okay, you know, if they can contribute,

1898
01:27:11,479 --> 01:27:12,320
Speaker 4: I'm not mad at it.

1899
01:27:12,439 --> 01:27:17,040
Speaker 8: Of course you can write, write right, Well, nothing really

1900
01:27:17,080 --> 01:27:21,360
Speaker 8: ever materialized from the writing, and so I didn't think

1901
01:27:21,400 --> 01:27:24,640
Speaker 8: nothing else about it. Well, the record gets done and

1902
01:27:24,720 --> 01:27:27,080
Speaker 8: then all of a sudden, none of my joints are singles,

1903
01:27:27,120 --> 01:27:29,679
Speaker 8: and I'm like, oh, this has been a concentrated effort

1904
01:27:30,000 --> 01:27:32,920
Speaker 8: to sideline me, really because they just probably didn't.

1905
01:27:33,000 --> 01:27:34,519
Speaker 4: They were like, yo, he made all the money because

1906
01:27:34,520 --> 01:27:35,160
Speaker 4: he wrote and produced.

1907
01:27:36,520 --> 01:27:38,160
Speaker 8: Yeah, so they was like they just tried to side

1908
01:27:38,240 --> 01:27:39,880
Speaker 8: but they knew they couldn't take me off the record

1909
01:27:40,040 --> 01:27:41,040
Speaker 8: because they needed my sound.

1910
01:27:41,080 --> 01:27:43,040
Speaker 4: But at the same time, they didn't release anything that

1911
01:27:43,120 --> 01:27:44,160
Speaker 4: I did as a single.

1912
01:27:44,439 --> 01:27:46,320
Speaker 3: Did they write on any of those other songs that

1913
01:27:46,400 --> 01:27:46,800
Speaker 3: you didn't do?

1914
01:27:47,920 --> 01:27:50,360
Speaker 8: I don't think so, especially certainly not the ones that

1915
01:27:50,479 --> 01:27:53,320
Speaker 8: hit like You're the One. Maybe they did they write

1916
01:27:53,320 --> 01:27:54,760
Speaker 8: on that. I don't know, but I know all Star

1917
01:27:54,880 --> 01:27:57,040
Speaker 8: was responsible for killing it. And but see all Star

1918
01:27:57,240 --> 01:27:59,639
Speaker 8: was a part of the original success via the remixes,

1919
01:27:59,760 --> 01:28:01,960
Speaker 8: So to me that made sense. That was a continuation,

1920
01:28:02,920 --> 01:28:04,240
Speaker 8: you know what I mean. But at the end, of

1921
01:28:04,280 --> 01:28:06,680
Speaker 8: the day, same subject things. You're the one, it's the

1922
01:28:06,760 --> 01:28:07,080
Speaker 8: same thing.

1923
01:28:07,240 --> 01:28:09,400
Speaker 4: It's the subject of I'm gonna it's the same subject again.

1924
01:28:09,680 --> 01:28:12,760
Speaker 2: You feel so even this time around with the proven history, like,

1925
01:28:12,880 --> 01:28:17,840
Speaker 2: there's not a more of a bonding between you guys.

1926
01:28:17,920 --> 01:28:21,760
Speaker 2: It's just strictly business and that's that's such a great Okay,

1927
01:28:21,880 --> 01:28:25,599
Speaker 2: let's not ruin a good formula, because there's nothing harder

1928
01:28:25,640 --> 01:28:28,600
Speaker 2: than doing your second album and having to prove that.

1929
01:28:30,120 --> 01:28:32,240
Speaker 4: You know, no, it went the exact other way.

1930
01:28:32,640 --> 01:28:35,439
Speaker 8: Unbeknownst to me, I had no idea that it was

1931
01:28:35,520 --> 01:28:38,759
Speaker 8: so hostile towards me until it happened.

1932
01:28:39,240 --> 01:28:41,120
Speaker 4: And when you call the album new beginning, you're trying

1933
01:28:41,160 --> 01:28:42,639
Speaker 4: to tell me something. Damn.

1934
01:28:42,720 --> 01:28:45,120
Speaker 5: So how long did that circle back take? Because y'all

1935
01:28:45,160 --> 01:28:47,160
Speaker 5: are you know, y'all are back to good.

1936
01:28:47,080 --> 01:28:50,479
Speaker 8: Beautiful she's been good for a while. Yeah, But I mean,

1937
01:28:50,560 --> 01:28:52,880
Speaker 8: but then but they left that particular manager was the day.

1938
01:28:52,960 --> 01:28:55,200
Speaker 8: Was was the reason for all the drama sounds like

1939
01:28:57,120 --> 01:28:58,680
Speaker 8: between me, between them, between the.

1940
01:28:58,720 --> 01:29:00,439
Speaker 4: Messenger, it was bad. Yeah.

1941
01:29:00,800 --> 01:29:02,960
Speaker 6: So I was so happy to see y'all get back

1942
01:29:03,000 --> 01:29:05,840
Speaker 6: together for rain Man, Like when y'all when they did.

1943
01:29:05,760 --> 01:29:08,840
Speaker 1: The yeah, the release, Yeah, yeah, yeah.

1944
01:29:08,920 --> 01:29:09,120
Speaker 4: Yeah.

1945
01:29:09,160 --> 01:29:12,000
Speaker 5: I was so house, like, yes, if he's back with Bron,

1946
01:29:12,120 --> 01:29:13,200
Speaker 5: you know it wasn't.

1947
01:29:13,040 --> 01:29:18,760
Speaker 4: Because I chose to really that moment little backstory quest. Yes, yeah,

1948
01:29:20,320 --> 01:29:21,200
Speaker 4: all right, peep this.

1949
01:29:21,840 --> 01:29:25,240
Speaker 8: So I was so hurt by the whole not releasing

1950
01:29:25,360 --> 01:29:28,200
Speaker 8: songs like Fine Time that people consider should have been

1951
01:29:28,240 --> 01:29:30,360
Speaker 8: a single the ballot or what's it gonna be?

1952
01:29:31,760 --> 01:29:34,160
Speaker 4: That's what I'm here for. I got five solid joints on.

1953
01:29:34,200 --> 01:29:35,920
Speaker 8: That album that I thought at least one or two

1954
01:29:35,960 --> 01:29:37,640
Speaker 8: of them could have been singles and sold most of

1955
01:29:37,680 --> 01:29:38,080
Speaker 8: the fans.

1956
01:29:38,280 --> 01:29:39,960
Speaker 4: So I was like, in my mind, I was like, Okay,

1957
01:29:40,000 --> 01:29:42,960
Speaker 4: I'm done with them. I'm moving on. Uh so Brandy.

1958
01:29:43,040 --> 01:29:46,000
Speaker 8: I was focusing on Brandy because Sylvia Ron reached out

1959
01:29:46,400 --> 01:29:47,280
Speaker 8: and gave her and.

1960
01:29:47,280 --> 01:29:49,280
Speaker 4: Maryland Bob I know, you guys remember that name, Marlin Bob.

1961
01:29:50,800 --> 01:29:53,519
Speaker 8: They reached out and gave me a production deal a

1962
01:29:53,680 --> 01:29:56,360
Speaker 8: song deal rather, and they're like, Yo, we're gonna do

1963
01:29:56,479 --> 01:29:57,600
Speaker 8: like a five song deal with you.

1964
01:29:58,200 --> 01:30:00,360
Speaker 4: Can you give us some joints? I'm like hell, oh yeah.

1965
01:30:00,520 --> 01:30:01,760
Speaker 8: And I was like, but I want to work on

1966
01:30:01,840 --> 01:30:03,640
Speaker 8: Brandy though, and she's not really you know, she was

1967
01:30:03,720 --> 01:30:06,519
Speaker 8: on Atlantic, she wasn't on East West Atlantic. So she said, well,

1968
01:30:06,560 --> 01:30:09,320
Speaker 8: that's in our family word. So I wrote three joints.

1969
01:30:09,800 --> 01:30:12,479
Speaker 8: One is called Don't Change, one is called Rain, and

1970
01:30:12,560 --> 01:30:14,040
Speaker 8: the other one was a third one that I have.

1971
01:30:14,720 --> 01:30:16,519
Speaker 8: I never titled it. It was just a third joint.

1972
01:30:16,560 --> 01:30:19,400
Speaker 8: So look, so I let them hear them. They're like, Yo,

1973
01:30:19,720 --> 01:30:21,800
Speaker 8: that's crazy. You need to get in with Brandy right away.

1974
01:30:22,680 --> 01:30:25,439
Speaker 8: So I'm in New York. They put me in Daddy's

1975
01:30:25,439 --> 01:30:28,240
Speaker 8: house the studio, and were going in there and we're

1976
01:30:28,240 --> 01:30:32,760
Speaker 8: about to cut it. And I remember distinctly, Kelly Price

1977
01:30:32,880 --> 01:30:36,120
Speaker 8: was working with Diddy in one room. Di Angeletti might

1978
01:30:36,160 --> 01:30:37,600
Speaker 8: have been in another room, and I was in this

1979
01:30:37,760 --> 01:30:39,840
Speaker 8: room that me and Brandy were supposed to potentially start

1980
01:30:39,840 --> 01:30:43,880
Speaker 8: cutting Rain in. I remember playing Rain for Diddy. He

1981
01:30:44,000 --> 01:30:48,280
Speaker 8: said as all right, and then yeah, and then and

1982
01:30:48,360 --> 01:30:50,439
Speaker 8: then you know, just and I'm still not over my

1983
01:30:51,520 --> 01:30:53,719
Speaker 8: I'm still not over my crazy thing, you know, crazy.

1984
01:30:55,680 --> 01:30:57,360
Speaker 8: So I'm thinking I'm a get in with this one.

1985
01:30:57,439 --> 01:31:00,920
Speaker 8: And then he's like, eh, anyway, So I get a

1986
01:31:01,000 --> 01:31:05,200
Speaker 8: phone call and it's this an R guy, Anthony Morgan

1987
01:31:05,280 --> 01:31:05,760
Speaker 8: at r c A.

1988
01:31:05,880 --> 01:31:10,960
Speaker 4: He's like, YO, check this out me, Please don't cut

1989
01:31:11,000 --> 01:31:11,679
Speaker 4: that on Brandy.

1990
01:31:15,080 --> 01:31:15,320
Speaker 1: Wow.

1991
01:31:15,800 --> 01:31:18,439
Speaker 4: And I was like, what it's like, yo, man, that's

1992
01:31:18,479 --> 01:31:21,080
Speaker 4: a s w V. Join. So it has circulated in

1993
01:31:21,200 --> 01:31:23,440
Speaker 4: the in the in the you know, somehow circulated.

1994
01:31:23,880 --> 01:31:32,800
Speaker 2: You the most circulating talked about producer man of social industry, right,

1995
01:31:33,160 --> 01:31:33,439
Speaker 2: so p.

1996
01:31:33,800 --> 01:31:38,760
Speaker 4: So then the net it's crazy, right, But when Rodney.

1997
01:31:40,160 --> 01:31:42,720
Speaker 8: Listen, when Rodney Jerkins took over the Janet, I mean

1998
01:31:42,760 --> 01:31:46,800
Speaker 8: the Brandy record, he and this is the Boy's Mind album.

1999
01:31:46,840 --> 01:31:50,120
Speaker 8: So I think, and Rodney will tell you this, he

2000
01:31:50,200 --> 01:31:52,800
Speaker 8: loves Rain as well, but somebody I don't know who

2001
01:31:52,840 --> 01:31:53,040
Speaker 8: got it.

2002
01:31:53,120 --> 01:31:55,880
Speaker 4: Who's here, But it ended up being we're not going

2003
01:31:55,920 --> 01:31:56,840
Speaker 4: to cut this on Brandy?

2004
01:31:57,680 --> 01:32:02,200
Speaker 1: Yeah, So then which is Angel in disguise? Okay?

2005
01:32:02,760 --> 01:32:12,639
Speaker 8: So you see so look at so I'm cool because

2006
01:32:12,680 --> 01:32:15,160
Speaker 8: Sylvia and them already broke me off for these songs.

2007
01:32:16,320 --> 01:32:18,120
Speaker 8: So I'm like, oh, that was just a demo that

2008
01:32:18,200 --> 01:32:20,200
Speaker 8: I just got paid a couple hundred thousand word awesome.

2009
01:32:20,600 --> 01:32:23,559
Speaker 8: And so then I said to Anthony Morgan the next day,

2010
01:32:23,680 --> 01:32:25,680
Speaker 8: you know what, Okay, I'm here, we can cut it on.

2011
01:32:25,840 --> 01:32:27,680
Speaker 4: We can cut it on this WV. And that's how

2012
01:32:27,760 --> 01:32:29,559
Speaker 4: that got on that Wow.

2013
01:32:29,880 --> 01:32:33,640
Speaker 6: So during the so during that session where y'all, what

2014
01:32:33,840 --> 01:32:36,680
Speaker 6: was it like with you and Co. Yeah we all

2015
01:32:36,680 --> 01:32:37,840
Speaker 6: still cool or how was it?

2016
01:32:38,120 --> 01:32:38,960
Speaker 4: Now? I understand this.

2017
01:32:39,560 --> 01:32:42,920
Speaker 8: By this time, a whole new paradigm shift had happened.

2018
01:32:43,000 --> 01:32:45,400
Speaker 8: Missy and Timberland are part of the equation now.

2019
01:32:46,040 --> 01:32:50,519
Speaker 4: Because they come out with That's right.

2020
01:32:51,080 --> 01:32:54,400
Speaker 8: So absolutely, and so Missy called me to be to

2021
01:32:54,520 --> 01:32:57,400
Speaker 8: hang out on the set of the Rain video, which, ironic,

2022
01:32:57,479 --> 01:32:59,080
Speaker 8: both these songs I'm doing have to do with water

2023
01:32:59,200 --> 01:33:01,560
Speaker 8: and Rain. I went hung out, and because because she

2024
01:33:01,640 --> 01:33:03,840
Speaker 8: had cameos at the end of that video. Remember seven

2025
01:33:03,920 --> 01:33:08,080
Speaker 8: o two was in there, and yes he's not in there, Coco.

2026
01:33:08,240 --> 01:33:10,200
Speaker 8: Miss Missy and Coco were beefing at the time over

2027
01:33:10,280 --> 01:33:15,040
Speaker 8: some bullshit. Wow yeah, some some stupid shit, probably some

2028
01:33:15,120 --> 01:33:18,320
Speaker 8: ego ship but anyway, so Coco was not invited to

2029
01:33:18,479 --> 01:33:22,280
Speaker 8: the video of that Missy Elliott video, which I was.

2030
01:33:22,479 --> 01:33:23,280
Speaker 4: So I went and hung out.

2031
01:33:23,360 --> 01:33:25,960
Speaker 8: We recorded the vocals to the backgrounds to reign On

2032
01:33:26,160 --> 01:33:28,479
Speaker 8: Taj and Leelee at Electric Lady Land.

2033
01:33:28,560 --> 01:33:34,000
Speaker 4: Hello, very did, and then we did. I did Coco's

2034
01:33:34,200 --> 01:33:36,320
Speaker 4: lead vocal at right track. Remember right track?

2035
01:33:37,280 --> 01:33:38,719
Speaker 1: Yeah, yep.

2036
01:33:39,040 --> 01:33:41,160
Speaker 4: So so those those are my two days of recording

2037
01:33:41,200 --> 01:33:44,920
Speaker 4: in New York. And in between that's me that's me

2038
01:33:45,680 --> 01:33:50,519
Speaker 4: from the demo let you just follow me. That's me.

2039
01:33:50,720 --> 01:33:52,880
Speaker 4: That's me of course right, and it's.

2040
01:33:52,760 --> 01:33:55,639
Speaker 1: Also you singing uh, because I never thought.

2041
01:33:58,800 --> 01:33:59,920
Speaker 4: Yeah, yeah, we can't forget.

2042
01:34:00,040 --> 01:34:02,200
Speaker 8: I always on my mind tribute to my hero Charli

2043
01:34:02,240 --> 01:34:04,400
Speaker 8: Wilson and the gay band earning all day.

2044
01:34:04,720 --> 01:34:07,080
Speaker 4: And I did it unabashedly, very clearly.

2045
01:34:07,479 --> 01:34:09,559
Speaker 8: And by the way, just while we're in this moment

2046
01:34:09,920 --> 01:34:12,479
Speaker 8: quest I made sure after I saw you know, your

2047
01:34:12,560 --> 01:34:14,599
Speaker 8: Charlie thing on on the on the on the other show,

2048
01:34:15,160 --> 01:34:17,040
Speaker 8: I was like, yo, I feel like he lightweight kind

2049
01:34:17,040 --> 01:34:18,880
Speaker 8: of came after me on week somebody I made a

2050
01:34:18,880 --> 01:34:20,960
Speaker 8: lot of money a week and it was basically he

2051
01:34:21,000 --> 01:34:21,960
Speaker 8: thought it was another record.

2052
01:34:22,320 --> 01:34:22,960
Speaker 4: Truth of the matter.

2053
01:34:23,280 --> 01:34:25,280
Speaker 8: I never thought about that record. I was only thinking

2054
01:34:25,280 --> 01:34:27,120
Speaker 8: about Wednesday Lover, the one me and font are talking

2055
01:34:27,160 --> 01:34:29,720
Speaker 8: about and and so. But but he but it got

2056
01:34:29,800 --> 01:34:31,280
Speaker 8: back to him that I said that, and he called

2057
01:34:31,320 --> 01:34:33,680
Speaker 8: me any any thanked me. He's like, yo, bro, no,

2058
01:34:34,200 --> 01:34:37,080
Speaker 8: he said this, you are a gap band by your

2059
01:34:37,160 --> 01:34:45,479
Speaker 8: damn self. Praise its huge, right, And so I was like, man,

2060
01:34:45,520 --> 01:34:47,120
Speaker 8: I love you so and I got this joint for

2061
01:34:47,200 --> 01:34:48,360
Speaker 8: him called better man right now.

2062
01:34:48,520 --> 01:34:52,000
Speaker 4: But if he does it, who it's crazy quest, wait too, Quest,

2063
01:34:52,080 --> 01:34:53,719
Speaker 4: we got to start sharing. Okay.

2064
01:34:53,840 --> 01:34:56,040
Speaker 8: Yeah, So once Rain came out and uh and Missing

2065
01:34:56,160 --> 01:34:58,360
Speaker 8: Him came out, now we're in a new whole paradigm shift.

2066
01:34:58,920 --> 01:35:00,880
Speaker 4: Thank god. I got to play Rain for Timblin right

2067
01:35:01,040 --> 01:35:02,719
Speaker 4: in the studio as he was mixing down.

2068
01:35:03,120 --> 01:35:07,840
Speaker 8: Are you that somebody show? So in the studio I

2069
01:35:07,960 --> 01:35:10,080
Speaker 8: walked in. I kept hearing don't, don't, don't.

2070
01:35:13,280 --> 01:35:13,800
Speaker 4: I don't want to.

2071
01:35:13,800 --> 01:35:20,160
Speaker 8: Play in this black ass ballad shit. Okay, And you

2072
01:35:20,240 --> 01:35:22,479
Speaker 8: know who brought me there to that session with Static Major?

2073
01:35:22,560 --> 01:35:23,120
Speaker 4: Rest in Peace?

2074
01:35:23,400 --> 01:35:24,759
Speaker 1: Yes, rest in peace?

2075
01:35:28,160 --> 01:35:30,200
Speaker 8: Everybody else from Player, all my homies form Player too, man,

2076
01:35:30,400 --> 01:35:32,479
Speaker 8: that funky, smokey everybody bro.

2077
01:35:32,920 --> 01:35:34,720
Speaker 4: It was crazy black man.

2078
01:35:34,920 --> 01:35:36,960
Speaker 8: And so again, that was a moment in time I

2079
01:35:37,040 --> 01:35:40,040
Speaker 8: will never forget. And I played it for Tim though,

2080
01:35:40,080 --> 01:35:42,040
Speaker 8: and you know what he said, because his ears are incredible.

2081
01:35:42,800 --> 01:35:46,640
Speaker 8: He went, I played him my demo version versus the

2082
01:35:46,800 --> 01:35:49,920
Speaker 8: album version, and he's like, your demo version sounds better, bro,

2083
01:35:50,640 --> 01:35:53,960
Speaker 8: And I said, I know right, he said a fatter.

2084
01:35:54,360 --> 01:35:56,360
Speaker 4: He just got it right away. And guess who else

2085
01:35:56,400 --> 01:35:57,439
Speaker 4: was sitting there, Jimmy Douglas.

2086
01:35:57,560 --> 01:36:01,840
Speaker 2: I was like, I know, God, Jimmy Douglas. You feel

2087
01:36:01,880 --> 01:36:04,400
Speaker 2: me so, I mean, yo, man, he's the greatest dude

2088
01:36:04,479 --> 01:36:07,799
Speaker 2: ever ever. Jimmy Man me too, man, god Man crazy.

2089
01:36:07,920 --> 01:36:10,080
Speaker 2: But that's you know, that's how rain happened. Look how

2090
01:36:10,200 --> 01:36:11,040
Speaker 2: the ripple effect of.

2091
01:36:11,160 --> 01:36:15,200
Speaker 4: Rain has been so crazy? I can't even tell you like.

2092
01:36:15,280 --> 01:36:17,000
Speaker 5: Pulling me back?

2093
01:36:17,120 --> 01:36:24,000
Speaker 1: Yeah, come on, bro, favorite change jam, call away?

2094
01:36:24,040 --> 01:36:26,639
Speaker 5: I did like one call right now.

2095
01:36:26,880 --> 01:36:29,040
Speaker 4: I don't even know that one called away. It was

2096
01:36:29,120 --> 01:36:32,280
Speaker 4: with I like that exactly.

2097
01:36:32,880 --> 01:36:34,840
Speaker 1: It was with with who was on the hook on that?

2098
01:36:34,920 --> 01:36:35,519
Speaker 7: I think we.

2099
01:36:37,320 --> 01:36:40,719
Speaker 1: Weave on the hook nice. Nice. That's the two chingy jams.

2100
01:36:40,720 --> 01:36:42,000
Speaker 4: And that's what you know.

2101
01:36:42,479 --> 01:36:47,839
Speaker 8: It's out right now on Rick Ross Summer rain yesh ship.

2102
01:36:47,680 --> 01:36:48,040
Speaker 7: I got it?

2103
01:36:48,200 --> 01:36:50,320
Speaker 5: Now you're gonna make me listen to That's.

2104
01:36:50,160 --> 01:36:56,320
Speaker 1: What can I ask uh? From the pastorious point of view,

2105
01:36:56,520 --> 01:36:57,360
Speaker 1: How easy was.

2106
01:36:57,400 --> 01:37:02,360
Speaker 4: It to to clear that? Yes, very very easy because

2107
01:37:02,400 --> 01:37:04,360
Speaker 4: at the time in ninety seven.

2108
01:37:04,720 --> 01:37:06,479
Speaker 8: Wasn't a whole lot of people sampling Jocko or doing

2109
01:37:06,479 --> 01:37:08,200
Speaker 8: anything having to do with Joco at all, So it

2110
01:37:08,280 --> 01:37:09,280
Speaker 8: was very easy.

2111
01:37:10,040 --> 01:37:14,000
Speaker 2: It's just weird because like I almost like you know,

2112
01:37:14,080 --> 01:37:18,720
Speaker 2: there's some samples out there that are so quasi obscure

2113
01:37:18,800 --> 01:37:22,400
Speaker 2: that you might be tempted to be like I can

2114
01:37:22,520 --> 01:37:23,200
Speaker 2: get away with this.

2115
01:37:23,479 --> 01:37:26,040
Speaker 4: You know it's crazy. I didn't. I didn't let me

2116
01:37:26,080 --> 01:37:28,320
Speaker 4: say this. I did not sample it. Let's get played it.

2117
01:37:29,160 --> 01:37:30,760
Speaker 1: I know that I know you inmp it.

2118
01:37:31,040 --> 01:37:34,320
Speaker 2: That's the thing like when you when you when you're

2119
01:37:34,400 --> 01:37:37,519
Speaker 2: creating something like you know all the time. I'll put

2120
01:37:37,560 --> 01:37:40,519
Speaker 2: it this way, I'll say that eighty I do.

2121
01:37:41,640 --> 01:37:41,800
Speaker 7: Well.

2122
01:37:42,240 --> 01:37:44,080
Speaker 1: Yeah, but just like eighty percent of the outperield I

2123
01:37:44,240 --> 01:37:45,880
Speaker 1: do usually starts with a sample.

2124
01:37:51,280 --> 01:37:55,000
Speaker 6: I'm not I'll tell you after we stop recording, but.

2125
01:37:56,280 --> 01:37:58,080
Speaker 4: I want to know that. That's one of my favorite

2126
01:37:58,120 --> 01:37:58,799
Speaker 4: What I'm saying.

2127
01:37:58,720 --> 01:38:03,559
Speaker 2: Is it'll start with this sample, and then I'll make

2128
01:38:03,640 --> 01:38:05,920
Speaker 2: the decision on whether or not I'm gonna ride with

2129
01:38:06,040 --> 01:38:08,559
Speaker 2: it all the way out, or if I'm gonna freak

2130
01:38:08,640 --> 01:38:09,800
Speaker 2: it so that.

2131
01:38:09,960 --> 01:38:13,000
Speaker 1: No one knows what it is or whatever, you know,

2132
01:38:13,120 --> 01:38:13,680
Speaker 1: and then I.

2133
01:38:15,200 --> 01:38:17,120
Speaker 2: Dress it up and then I take the sample away

2134
01:38:17,160 --> 01:38:19,800
Speaker 2: and then blame it's a it's a song on its own,

2135
01:38:20,360 --> 01:38:23,960
Speaker 2: but Portrait of Tracy could be one of them things

2136
01:38:24,080 --> 01:38:29,000
Speaker 2: where it's like, yo, this is man familiar. I mean, yes,

2137
01:38:29,080 --> 01:38:31,680
Speaker 2: you definitely stuck with the melody or whatnot. But in

2138
01:38:31,760 --> 01:38:34,439
Speaker 2: the beginning, did you definitely say like I'm gonna make

2139
01:38:34,479 --> 01:38:36,280
Speaker 2: a joint to Portrait of Tracy.

2140
01:38:36,560 --> 01:38:38,600
Speaker 4: No, let me tell you this. I'm gonna do this

2141
01:38:38,800 --> 01:38:40,519
Speaker 4: story right here. Is really quick. It's very quick.

2142
01:38:41,000 --> 01:38:43,800
Speaker 8: The only reason I even know about Jocko at all

2143
01:38:44,000 --> 01:38:46,280
Speaker 8: is because of Layla Hathaway. And so when I was

2144
01:38:46,360 --> 01:38:49,360
Speaker 8: doing let Me Love You like You described with Janet

2145
01:38:49,400 --> 01:38:51,280
Speaker 8: and Jimmy and Terry, I went to her apartment. We

2146
01:38:51,400 --> 01:38:53,040
Speaker 8: hung out, trying to get a vibe, just to get

2147
01:38:53,080 --> 01:38:56,160
Speaker 8: between us right energy. She pulled out all this vinyl.

2148
01:38:56,560 --> 01:38:58,840
Speaker 4: One of the vinyls was the Jocko debut, the black

2149
01:38:58,840 --> 01:39:01,360
Speaker 4: and white joint with tra Just on the cover. I

2150
01:39:01,439 --> 01:39:02,200
Speaker 4: was intrigued with the cover.

2151
01:39:02,320 --> 01:39:03,599
Speaker 8: So when I pulled out and I saw that Herbie

2152
01:39:03,640 --> 01:39:05,840
Speaker 8: Hancock did the notes, I was like, oh my god.

2153
01:39:06,080 --> 01:39:08,240
Speaker 8: So when I started listening listen that, when Portrait of

2154
01:39:08,280 --> 01:39:11,360
Speaker 8: Tracy came on, It's my whole soul and spirit was

2155
01:39:11,479 --> 01:39:12,880
Speaker 8: just snatched and transformed.

2156
01:39:12,920 --> 01:39:14,120
Speaker 4: Right. So I was like, oh my god.

2157
01:39:14,200 --> 01:39:16,680
Speaker 8: So when I went back to Sacramento, before I even

2158
01:39:16,720 --> 01:39:18,200
Speaker 8: did Let Me Love You, I did my homework.

2159
01:39:18,240 --> 01:39:20,479
Speaker 4: I went and bought that CD. So I just lived

2160
01:39:20,520 --> 01:39:20,720
Speaker 4: with it.

2161
01:39:21,200 --> 01:39:23,880
Speaker 8: Now when I heard it again I listened to it,

2162
01:39:23,880 --> 01:39:25,439
Speaker 8: I was like, oh, that's crazy. When if I ever

2163
01:39:25,640 --> 01:39:27,640
Speaker 8: used that, it's gonna be dope, and then forgot all

2164
01:39:27,640 --> 01:39:27,920
Speaker 8: about it.

2165
01:39:29,360 --> 01:39:34,040
Speaker 4: Four years later, ninety seven, ninety six, whatever.

2166
01:39:34,200 --> 01:39:37,040
Speaker 8: But three years later, I'm in the shower a hook

2167
01:39:37,160 --> 01:39:40,479
Speaker 8: comes to me and it's full entirety never happened before

2168
01:39:40,520 --> 01:39:42,519
Speaker 8: in my life. A whole hook with the words and

2169
01:39:42,560 --> 01:39:45,120
Speaker 8: everything came to me as I was showering. Water is

2170
01:39:45,120 --> 01:39:46,200
Speaker 8: always involved in my shit.

2171
01:39:46,640 --> 01:39:50,840
Speaker 4: So I fucking the whole rain down on me like

2172
01:39:51,320 --> 01:39:53,880
Speaker 4: love this all Like man, it just came to me,

2173
01:39:54,479 --> 01:39:57,080
Speaker 4: and I said, hold on, man, hold on, hold on,

2174
01:39:57,160 --> 01:40:01,639
Speaker 4: hold on. In my mind I heard it clearstay. I said,

2175
01:40:01,680 --> 01:40:04,880
Speaker 4: if that jacko thing works with what this hook is,

2176
01:40:05,479 --> 01:40:07,720
Speaker 4: it's gonna go together. Well. So I ran to my

2177
01:40:07,800 --> 01:40:08,920
Speaker 4: studio with a.

2178
01:40:09,000 --> 01:40:12,360
Speaker 8: Towel on, put the Jocko joint, put the Jocko joint on,

2179
01:40:12,920 --> 01:40:14,880
Speaker 8: and I took it as divine intervention.

2180
01:40:15,680 --> 01:40:19,640
Speaker 4: When it was in the same key, I heard the damn.

2181
01:40:20,000 --> 01:40:21,680
Speaker 8: And when I went I said it. I sung it

2182
01:40:21,760 --> 01:40:23,960
Speaker 8: out loud on my voy ain't not me, And I

2183
01:40:24,040 --> 01:40:24,960
Speaker 8: put the record and went.

2184
01:40:27,280 --> 01:40:28,280
Speaker 4: And my hands went up.

2185
01:40:29,560 --> 01:40:32,280
Speaker 8: I turned on that NPC. I did that beat right,

2186
01:40:32,520 --> 01:40:39,519
Speaker 8: then and there too. Yeah, absolutely wow. In a towel,

2187
01:40:39,760 --> 01:40:42,600
Speaker 8: I said, no, nah, I'm doing this joint right now.

2188
01:40:42,680 --> 01:40:44,640
Speaker 8: I didn't want to lose the feeling.

2189
01:40:44,560 --> 01:40:46,240
Speaker 4: Of what I felt. And I'm gonna tell you something.

2190
01:40:46,280 --> 01:40:48,680
Speaker 8: My sample that I never told nobody and Rain, this

2191
01:40:48,800 --> 01:40:49,960
Speaker 8: is a beat they ain't got nothing doing with no

2192
01:40:50,040 --> 01:40:50,639
Speaker 8: melody nothing.

2193
01:40:51,880 --> 01:40:54,240
Speaker 4: There's a beat on Michael Jackson's solo.

2194
01:40:54,080 --> 01:40:58,680
Speaker 8: Album where he redoes Bill Withers use me. So you

2195
01:40:58,760 --> 01:40:59,639
Speaker 8: gotta check this out.

2196
01:41:01,000 --> 01:41:03,160
Speaker 1: It starts with a beat or ain't no sunshine?

2197
01:41:03,560 --> 01:41:06,639
Speaker 4: I mean, ain't no sunshine. It ain't no sunshine. Drums,

2198
01:41:06,680 --> 01:41:09,080
Speaker 4: ain't no sunshine at the beginning. I'm sorry, you know

2199
01:41:09,120 --> 01:41:09,720
Speaker 4: what I'm talking about.

2200
01:41:10,400 --> 01:41:10,840
Speaker 7: So when.

2201
01:41:13,960 --> 01:41:18,240
Speaker 4: Boom, right, So if you listen to Rain, there's a

2202
01:41:18,400 --> 01:41:19,360
Speaker 4: little tiny thing.

2203
01:41:19,479 --> 01:41:21,640
Speaker 8: I didn't want my beat to feel so stiff on

2204
01:41:21,760 --> 01:41:24,639
Speaker 8: the NPC, right, So my beat.

2205
01:41:24,520 --> 01:41:33,679
Speaker 4: Is bum bum bum bum. That little is the dreams.

2206
01:41:38,280 --> 01:41:38,720
Speaker 1: I love it.

2207
01:41:39,000 --> 01:41:41,720
Speaker 4: I love it, and that gives you that that real

2208
01:41:41,960 --> 01:41:45,040
Speaker 4: human feel in there. So when people try to.

2209
01:41:45,040 --> 01:41:49,000
Speaker 8: Recreate it on whatever devices that they have, they forget

2210
01:41:49,040 --> 01:41:52,479
Speaker 8: that human element, like James Gad saying or somedamn body.

2211
01:41:52,520 --> 01:41:55,160
Speaker 8: But it's like, you know what I mean, and I

2212
01:41:55,240 --> 01:41:56,600
Speaker 8: did that, and then I just played the keys, and

2213
01:41:56,640 --> 01:41:59,439
Speaker 8: then when I wanted to sample Jocko, but something told

2214
01:41:59,520 --> 01:42:01,479
Speaker 8: me no because I didn't want to stretch it and

2215
01:42:01,560 --> 01:42:03,840
Speaker 8: have it sound all weird. So I called one of

2216
01:42:03,880 --> 01:42:08,120
Speaker 8: my favorite uh bass and guitar players over to my

2217
01:42:08,160 --> 01:42:10,439
Speaker 8: house of Sacramento, and he just replayed what I wanted

2218
01:42:10,479 --> 01:42:10,840
Speaker 8: him to play.

2219
01:42:10,840 --> 01:42:11,840
Speaker 4: And I didn't want all the notes.

2220
01:42:12,000 --> 01:42:13,519
Speaker 2: I just said, dude, yeah, I was going to say,

2221
01:42:13,600 --> 01:42:17,400
Speaker 2: every bass player worth a green of salt, like that's

2222
01:42:17,439 --> 01:42:19,600
Speaker 2: their entry into the world of jazz. You gotta know

2223
01:42:20,360 --> 01:42:23,880
Speaker 2: Team Town by Jacko well Weather Report, and you gotta

2224
01:42:23,920 --> 01:42:26,559
Speaker 2: know Portrait of Tracy Damn right like modern jazz.

2225
01:42:26,680 --> 01:42:29,120
Speaker 1: Like that's just without.

2226
01:42:28,920 --> 01:42:31,040
Speaker 4: Saying, but you know what the first person, as sambled

2227
01:42:31,080 --> 01:42:31,799
Speaker 4: it was master.

2228
01:42:31,720 --> 01:42:34,479
Speaker 1: P Nigga, what's doing?

2229
01:42:36,280 --> 01:42:38,479
Speaker 4: It's called you just don't Know? It was the only

2230
01:42:38,760 --> 01:42:41,680
Speaker 4: only like nine months later and it's called you just

2231
01:42:41,880 --> 01:42:44,600
Speaker 4: don't know? What you did to me?

2232
01:42:45,320 --> 01:42:46,280
Speaker 1: I missed that one.

2233
01:42:46,840 --> 01:42:51,040
Speaker 8: Missed that one though, that him doing that without getting

2234
01:42:51,040 --> 01:42:56,800
Speaker 8: permission paid off my publishing debt to Universal at the

2235
01:42:56,880 --> 01:43:01,320
Speaker 8: time way back and by two thousand that record because

2236
01:43:01,320 --> 01:43:03,160
Speaker 8: he sold four million albums that was on his album

2237
01:43:03,200 --> 01:43:03,920
Speaker 8: called The Last Dawn.

2238
01:43:05,120 --> 01:43:06,640
Speaker 1: It was on the last song because that was the

2239
01:43:06,680 --> 01:43:10,080
Speaker 1: double CD. It was right, Damn, I forgot about that record.

2240
01:43:10,240 --> 01:43:14,280
Speaker 8: And yes, four million albums so way before CHINGI master

2241
01:43:14,400 --> 01:43:18,120
Speaker 8: P did it within a year of me putting it

2242
01:43:18,200 --> 01:43:18,719
Speaker 8: out right.

2243
01:43:19,040 --> 01:43:20,880
Speaker 4: Paid off my All of a sudden.

2244
01:43:20,960 --> 01:43:22,479
Speaker 8: I knew what I had gotten from him as an

2245
01:43:22,479 --> 01:43:25,240
Speaker 8: advance like in ninety eight, and then in two thousand

2246
01:43:25,400 --> 01:43:26,360
Speaker 8: it was already paid off.

2247
01:43:27,240 --> 01:43:31,920
Speaker 4: I was like, wow, yeah, and it was because of that. Okay,

2248
01:43:32,160 --> 01:43:33,320
Speaker 4: So one big.

2249
01:43:39,280 --> 01:43:41,360
Speaker 6: Is it ever as you look back over your career,

2250
01:43:41,560 --> 01:43:43,880
Speaker 6: is it ever a part I guess where you're at

2251
01:43:44,000 --> 01:43:47,479
Speaker 6: now where you still have the yearning like to be

2252
01:43:47,640 --> 01:43:50,000
Speaker 6: an artist that'd be all the just the great things

2253
01:43:50,040 --> 01:43:52,120
Speaker 6: you've done as a producer. Is it still a part

2254
01:43:52,160 --> 01:43:54,120
Speaker 6: of you that yearns to just like put out your

2255
01:43:54,120 --> 01:43:56,479
Speaker 6: own music and still sing because you still got it.

2256
01:43:56,520 --> 01:43:58,240
Speaker 5: I mean, you still got the chops and you could

2257
01:43:58,240 --> 01:43:58,720
Speaker 5: still do it.

2258
01:43:58,880 --> 01:44:00,960
Speaker 8: So not only that I am doing it, and I

2259
01:44:01,120 --> 01:44:05,080
Speaker 8: finally got myself into a position financially where I can

2260
01:44:05,200 --> 01:44:07,519
Speaker 8: do it and do it and do it right. So

2261
01:44:07,800 --> 01:44:11,160
Speaker 8: that's exactly what I'm doing right now, like putting something

2262
01:44:11,200 --> 01:44:13,040
Speaker 8: together for you guys and the fans that love all

2263
01:44:13,080 --> 01:44:15,280
Speaker 8: the stuff that we talked about, plus stuff I'll be

2264
01:44:15,320 --> 01:44:16,360
Speaker 8: slipping out to certain people.

2265
01:44:17,400 --> 01:44:20,040
Speaker 4: I'm totally doing that and with artists I find that's.

2266
01:44:19,960 --> 01:44:21,800
Speaker 8: What I just gave a quest, that was those exclusives

2267
01:44:22,080 --> 01:44:24,240
Speaker 8: that he can play if he wants to, because it's

2268
01:44:24,280 --> 01:44:26,280
Speaker 8: a couple of new artists on there or and then

2269
01:44:26,320 --> 01:44:28,760
Speaker 8: some old me and Coco's on one, and then this

2270
01:44:28,920 --> 01:44:31,960
Speaker 8: new girl, Nephutitiavanni is on another. She's a badass writer

2271
01:44:32,280 --> 01:44:34,360
Speaker 8: and a dope ass singer. Check that out joint called

2272
01:44:34,600 --> 01:44:37,080
Speaker 8: do It Again. I think you guys are gonna appreciate

2273
01:44:37,120 --> 01:44:39,040
Speaker 8: what we got going. And I'm about to put out

2274
01:44:39,040 --> 01:44:40,280
Speaker 8: a lot of stuff that I wanted to do on

2275
01:44:40,400 --> 01:44:42,760
Speaker 8: other people that I never did do, Like those other

2276
01:44:42,800 --> 01:44:45,479
Speaker 8: two songs that I did on Brandy. I want to

2277
01:44:45,520 --> 01:44:47,960
Speaker 8: put those out. So I'm trying to get I'm just

2278
01:44:48,080 --> 01:44:49,880
Speaker 8: grabbing folks and putting them on joints.

2279
01:44:49,920 --> 01:44:52,960
Speaker 4: And I call it BAM's rare, remixed and unreleased. I

2280
01:44:53,080 --> 01:44:57,280
Speaker 4: love it. You're gonna put that, I'm gonna put No,

2281
01:44:57,560 --> 01:44:59,960
Speaker 4: I'm gonna put the new crazy with this new dude

2282
01:45:00,120 --> 01:45:02,040
Speaker 4: that's a crazy singer, all right.

2283
01:45:02,120 --> 01:45:03,000
Speaker 5: That makes it's cheaper.

2284
01:45:03,160 --> 01:45:08,160
Speaker 4: Yes, it's a whole nother joint. Hey, hey, it's trapped out.

2285
01:45:08,240 --> 01:45:09,240
Speaker 4: It's dope, it's dope.

2286
01:45:10,560 --> 01:45:14,000
Speaker 2: Can you talk about well, I know that there's not

2287
01:45:14,160 --> 01:45:19,559
Speaker 2: even I won't say resurgence, but you worked on with Drake.

2288
01:45:19,640 --> 01:45:22,439
Speaker 2: What was that situation? How did that situation come to be?

2289
01:45:23,080 --> 01:45:24,200
Speaker 4: Came to be? Wow?

2290
01:45:24,400 --> 01:45:28,280
Speaker 8: You know what's crazy I learned about Toronto is that

2291
01:45:28,720 --> 01:45:32,240
Speaker 8: they're Detroit adjacent. And let me tell you something. The

2292
01:45:32,360 --> 01:45:36,920
Speaker 8: Toronto fans of as far as sw vegos are voracious.

2293
01:45:37,000 --> 01:45:38,400
Speaker 8: They know their ship.

2294
01:45:38,840 --> 01:45:42,559
Speaker 4: Like I was shocked to know that Noah like forty yea.

2295
01:45:44,880 --> 01:45:45,320
Speaker 1: Champion.

2296
01:45:45,680 --> 01:45:49,519
Speaker 4: Them dudes know their ship. So when they reached out.

2297
01:45:51,160 --> 01:45:52,800
Speaker 4: I have been working with DJ Khalil, who was one

2298
01:45:52,840 --> 01:45:56,280
Speaker 4: of my best friends here in l A. Thank thank god. Man. Yeah, man,

2299
01:45:56,760 --> 01:45:57,519
Speaker 4: I love him to death.

2300
01:45:57,800 --> 01:46:00,439
Speaker 8: And he's the guy that said, man just moved to

2301
01:46:00,600 --> 01:46:02,280
Speaker 8: La stopped playing, just moved to La because I was

2302
01:46:02,400 --> 01:46:04,599
Speaker 8: just kind of like not wanting to live in La ever.

2303
01:46:06,240 --> 01:46:09,840
Speaker 1: And but why is that? Because wouldn't it be easier

2304
01:46:09,920 --> 01:46:13,240
Speaker 1: for you to go to where the water well is?

2305
01:46:15,360 --> 01:46:17,640
Speaker 8: You know, it's funny, that would be true usually, but

2306
01:46:17,720 --> 01:46:20,120
Speaker 8: since I had made such of my own little lake

2307
01:46:20,280 --> 01:46:21,000
Speaker 8: in Sacramento.

2308
01:46:21,439 --> 01:46:23,160
Speaker 4: It was easier to just stay in it, you know

2309
01:46:23,200 --> 01:46:24,920
Speaker 4: what I mean. I was a small in my own

2310
01:46:24,960 --> 01:46:28,280
Speaker 4: little I created my own thing there, and I was

2311
01:46:28,320 --> 01:46:30,040
Speaker 4: doing my dance stuff. I was just doing my thing.

2312
01:46:30,320 --> 01:46:32,880
Speaker 8: But it's it's when Chris Brown redid she Ain't You?

2313
01:46:33,360 --> 01:46:36,479
Speaker 8: In twenty eleven to right here and it did so well,

2314
01:46:36,960 --> 01:46:40,280
Speaker 8: and then pulling me back in eight It was just

2315
01:46:40,360 --> 01:46:42,240
Speaker 8: all these little things kept telling me, man, maybe I

2316
01:46:42,320 --> 01:46:44,040
Speaker 8: do need to step my toe back into it, just

2317
01:46:44,120 --> 01:46:44,960
Speaker 8: because I had I had.

2318
01:46:45,200 --> 01:46:45,920
Speaker 4: This is what happened.

2319
01:46:45,920 --> 01:46:47,760
Speaker 8: I was over the fact that we couldn't seem to

2320
01:46:47,800 --> 01:46:50,320
Speaker 8: get any traction with black artists, and that it seemed

2321
01:46:50,400 --> 01:46:52,880
Speaker 8: like that all the black stuff was getting done in

2322
01:46:53,040 --> 01:46:53,639
Speaker 8: white face.

2323
01:46:55,479 --> 01:46:58,200
Speaker 6: It and and that, and that was frustrating and I

2324
01:46:58,360 --> 01:47:00,920
Speaker 6: was just over it. So I started doing one that

2325
01:47:01,680 --> 01:47:04,200
Speaker 6: done in white face. It was being called pop and

2326
01:47:04,280 --> 01:47:07,280
Speaker 6: it wasn't mean called R and B exactly right.

2327
01:47:07,320 --> 01:47:09,280
Speaker 8: And then you all of a sudden relegated our chart.

2328
01:47:09,600 --> 01:47:11,280
Speaker 8: All of a sudden it looked like the gospel chart

2329
01:47:11,479 --> 01:47:13,679
Speaker 8: used to look what is wrong with you? Are y'all

2330
01:47:13,760 --> 01:47:14,599
Speaker 8: kidding me right now?

2331
01:47:15,120 --> 01:47:18,599
Speaker 1: And that was did somebody said white face I'm right here.

2332
01:47:27,640 --> 01:47:29,000
Speaker 4: I love it. Question hear me?

2333
01:47:29,080 --> 01:47:29,120
Speaker 1: Know?

2334
01:47:29,600 --> 01:47:31,400
Speaker 4: So like I dipped out?

2335
01:47:31,400 --> 01:47:33,439
Speaker 8: I mean you know why because my mailbox money was

2336
01:47:33,479 --> 01:47:36,719
Speaker 8: so crazy I could afford to didn't.

2337
01:47:36,760 --> 01:47:37,840
Speaker 4: I wasn't really tripping on.

2338
01:47:38,120 --> 01:47:39,000
Speaker 1: What was that money?

2339
01:47:39,120 --> 01:47:42,040
Speaker 4: That's the dream right there? That phrase is amazing. My

2340
01:47:42,160 --> 01:47:44,680
Speaker 4: mailbox money. Listen. Let me tell you something. Pulling Me

2341
01:47:44,760 --> 01:47:46,400
Speaker 4: Back was a big pop record. Let me tell you

2342
01:47:47,880 --> 01:47:48,479
Speaker 4: Jermaine Deprie.

2343
01:47:48,560 --> 01:47:51,560
Speaker 8: Shout out to Jermaine dupri and a big not to

2344
01:47:51,600 --> 01:47:53,880
Speaker 8: Jermain Depres for real because a lot of producers don't

2345
01:47:53,960 --> 01:47:56,960
Speaker 8: want use some other producers stuff. That was huge that

2346
01:47:57,040 --> 01:47:59,200
Speaker 8: he did that, and I want to thank him publicly

2347
01:47:59,280 --> 01:48:01,760
Speaker 8: right now. Thank you your main love you. And then

2348
01:48:02,080 --> 01:48:04,000
Speaker 8: again with Chris Brown with she Ain't You?

2349
01:48:04,200 --> 01:48:04,800
Speaker 4: And that did well.

2350
01:48:04,880 --> 01:48:07,040
Speaker 8: So that was the year that I decided I'm gonna

2351
01:48:07,040 --> 01:48:09,000
Speaker 8: move to LA. That was twenty eleven. I actually did

2352
01:48:09,040 --> 01:48:12,080
Speaker 8: it in twenty twelve. And DJ Khalil is the person

2353
01:48:12,120 --> 01:48:15,519
Speaker 8: who received me with open arms. And as you know,

2354
01:48:16,000 --> 01:48:18,360
Speaker 8: because he told a story about It's About Time album

2355
01:48:18,560 --> 01:48:20,920
Speaker 8: that brings me to tears. He was playing basketball, thinking

2356
01:48:20,960 --> 01:48:22,600
Speaker 8: he was about to be a basketball start riding on

2357
01:48:22,640 --> 01:48:25,360
Speaker 8: the bus and they gave them promos out for free

2358
01:48:25,439 --> 01:48:26,840
Speaker 8: to a lot of people that he knew in the business,

2359
01:48:26,840 --> 01:48:29,160
Speaker 8: and he put that on as a as a college

2360
01:48:29,200 --> 01:48:31,280
Speaker 8: basketball player, put it on the headphones and on a bus.

2361
01:48:31,720 --> 01:48:33,840
Speaker 4: He said, by the time he got that through playing

2362
01:48:33,840 --> 01:48:35,439
Speaker 4: at this about time, that changed his life.

2363
01:48:36,720 --> 01:48:39,720
Speaker 8: So that and then the fact that Jeff Foreman is

2364
01:48:39,760 --> 01:48:41,840
Speaker 8: the one who mentored him and gave him his first

2365
01:48:42,120 --> 01:48:45,040
Speaker 8: gig in television doing music for what's that show?

2366
01:48:45,080 --> 01:48:47,080
Speaker 4: It's an entertainment Tonight show called the Other One the

2367
01:48:49,040 --> 01:48:49,360
Speaker 4: Troll with.

2368
01:48:49,520 --> 01:48:53,040
Speaker 8: Yeah, that's how Khalil became. I got back in his

2369
01:48:53,160 --> 01:48:55,680
Speaker 8: life because Jeff Foreman was working with him, you know

2370
01:48:55,720 --> 01:48:57,439
Speaker 8: what I mean. So if I don't know if you

2371
01:48:57,479 --> 01:49:00,320
Speaker 8: guys believe in divine stuff like that, but to me.

2372
01:49:00,760 --> 01:49:03,000
Speaker 4: Absolutely that right there was.

2373
01:49:03,360 --> 01:49:06,600
Speaker 8: It's a lot, so long story short, thank god I

2374
01:49:06,640 --> 01:49:09,040
Speaker 8: got in it. Khalil had already worked with Drake, so

2375
01:49:09,120 --> 01:49:10,920
Speaker 8: he knew what that camp was like. And I was like, man,

2376
01:49:10,920 --> 01:49:14,120
Speaker 8: I want to get down. I think forty found me

2377
01:49:15,439 --> 01:49:17,120
Speaker 8: from somebody. I don't know how he found me, but

2378
01:49:17,200 --> 01:49:18,479
Speaker 8: he found me and he asked me if I had

2379
01:49:18,479 --> 01:49:19,800
Speaker 8: anything original.

2380
01:49:20,240 --> 01:49:20,840
Speaker 4: And I did.

2381
01:49:21,479 --> 01:49:24,719
Speaker 8: And that's how the song nine got done is because

2382
01:49:24,720 --> 01:49:26,519
Speaker 8: I already had it and I sent it to them

2383
01:49:26,560 --> 01:49:27,920
Speaker 8: and him and Boy wondered to touch it up. And

2384
01:49:28,000 --> 01:49:30,040
Speaker 8: that's how that got on there turn of six two

2385
01:49:30,120 --> 01:49:33,080
Speaker 8: or nine now, And that's how I ended up on views.

2386
01:49:33,400 --> 01:49:36,519
Speaker 8: And as a result, I think the producer nineteen eighty five,

2387
01:49:36,720 --> 01:49:40,360
Speaker 8: who's amazing himself, we started working and that's how I ended.

2388
01:49:40,280 --> 01:49:42,440
Speaker 4: Up on the Khalead on the Way record.

2389
01:49:44,800 --> 01:49:45,639
Speaker 7: And on that could.

2390
01:49:45,760 --> 01:49:47,840
Speaker 8: If y'all listen, I'm just I'm just doing my best

2391
01:49:47,960 --> 01:49:54,080
Speaker 8: Jimmy Jam invitation on the keys, all of that, all

2392
01:49:54,160 --> 01:49:59,439
Speaker 8: of that keys, baby, you know the nice Roads chords.

2393
01:49:59,479 --> 01:50:02,640
Speaker 8: You feel me everything I miss at home, warmth and

2394
01:50:02,680 --> 01:50:05,000
Speaker 8: all that. Yes, I'm trying to give it.

2395
01:50:06,000 --> 01:50:08,519
Speaker 5: All this stuff come back around, man, and I'm hopefully

2396
01:50:08,600 --> 01:50:08,960
Speaker 5: bringing it.

2397
01:50:09,040 --> 01:50:12,600
Speaker 4: I'm trying to you feel me like quest, what do

2398
01:50:12,640 --> 01:50:16,400
Speaker 4: you think about the on the Way record? Are you familiar? Oh?

2399
01:50:16,560 --> 01:50:17,560
Speaker 1: The colliding No?

2400
01:50:18,760 --> 01:50:18,800
Speaker 4: It?

2401
01:50:18,880 --> 01:50:19,599
Speaker 1: Yes? Absolutely?

2402
01:50:19,800 --> 01:50:21,920
Speaker 4: Word? Okay good, I'm sure if you look okay good.

2403
01:50:22,439 --> 01:50:23,679
Speaker 4: So that's that's how that happened.

2404
01:50:24,800 --> 01:50:26,360
Speaker 1: That Nigga. I ain't feeling that ship.

2405
01:50:29,479 --> 01:50:31,320
Speaker 4: Hey, I'm hoping you is dope.

2406
01:50:31,640 --> 01:50:34,920
Speaker 6: Khalid is dope, bro. That record he got the talk record,

2407
01:50:34,960 --> 01:50:36,960
Speaker 6: he got with disclosure.

2408
01:50:36,680 --> 01:50:40,280
Speaker 4: Crazy shit hardest, yeah crazy. He don't do no whack ship.

2409
01:50:40,520 --> 01:50:42,880
Speaker 4: Everything he does is cool. And you know what I'm saying,

2410
01:50:43,160 --> 01:50:43,640
Speaker 4: shout out to.

2411
01:50:44,840 --> 01:50:49,880
Speaker 6: Oh yeah yeah, shout yeah, that's the homie over it

2412
01:50:50,160 --> 01:50:51,559
Speaker 6: and keep cool, Tungey and Josh.

2413
01:50:52,040 --> 01:50:54,680
Speaker 4: Absolutely and and thank you for making sure that that

2414
01:50:54,800 --> 01:50:57,439
Speaker 4: all went down with with with Khalid, I mean.

2415
01:50:58,080 --> 01:51:01,960
Speaker 2: Out here where you are right now, and you know,

2416
01:51:02,280 --> 01:51:06,800
Speaker 2: I guess as evidenced by especially with where we are

2417
01:51:07,000 --> 01:51:12,880
Speaker 2: in twenty twenty and as we witnessed, especially watching the

2418
01:51:13,000 --> 01:51:20,400
Speaker 2: Monica and Brandy sort of resurgence, it's I almost feel

2419
01:51:20,520 --> 01:51:26,160
Speaker 2: like there is finally there's a respect with a K

2420
01:51:26,920 --> 01:51:30,720
Speaker 2: put on the name of really good R and B,

2421
01:51:31,640 --> 01:51:34,760
Speaker 2: Like do you feel as though this is now? Did

2422
01:51:34,840 --> 01:51:36,519
Speaker 2: you was ever a point where you felt like it

2423
01:51:36,640 --> 01:51:40,320
Speaker 2: was a little hopeless, Like well, yeah, this doesn't exist anymore,

2424
01:51:40,320 --> 01:51:42,960
Speaker 2: because you know, I'll go to the iTunes charts and

2425
01:51:43,040 --> 01:51:46,280
Speaker 2: I'll be shocked that, like you know, like get Lifted

2426
01:51:46,320 --> 01:51:49,760
Speaker 2: by by John Legend is still like the still in

2427
01:51:49,840 --> 01:51:51,880
Speaker 2: the top ten of the R and B charts or

2428
01:51:52,320 --> 01:51:58,720
Speaker 2: iTunes like it amaze you how deserted that you know

2429
01:51:58,880 --> 01:52:01,760
Speaker 2: those charts are right now? But wow, you know do

2430
01:52:01,920 --> 01:52:04,840
Speaker 2: you wish or envision a day where it's like, Okay,

2431
01:52:05,320 --> 01:52:09,040
Speaker 2: we could bring the art form of singing back.

2432
01:52:09,840 --> 01:52:14,080
Speaker 8: I think Bruno has has brought it a long way

2433
01:52:14,439 --> 01:52:17,000
Speaker 8: with records like lucky for me. That's what I like

2434
01:52:17,240 --> 01:52:19,600
Speaker 8: where you I mean them kind of joints. Uh my

2435
01:52:19,680 --> 01:52:25,679
Speaker 8: people out here, my guy Mars Uh yeah, man, shout

2436
01:52:25,680 --> 01:52:27,080
Speaker 8: out to all of the guys at fifteen hundred other

2437
01:52:27,200 --> 01:52:30,040
Speaker 8: James Boloyd, everybody like that.

2438
01:52:30,400 --> 01:52:32,599
Speaker 4: To me understand where it comes from.

2439
01:52:33,360 --> 01:52:33,559
Speaker 7: And so.

2440
01:52:36,360 --> 01:52:42,120
Speaker 4: From Sacramento, absolutely, yeah, absolutely, so they get it. They

2441
01:52:42,240 --> 01:52:44,080
Speaker 4: totally get it. And so I think they're.

2442
01:52:43,920 --> 01:52:46,320
Speaker 8: Bringing it back around. And I'm just happen to be here,

2443
01:52:46,439 --> 01:52:48,439
Speaker 8: still here doing it and I'm just happy to be

2444
01:52:48,560 --> 01:52:51,320
Speaker 8: doing it. So now to me, it's more exciting than

2445
01:52:51,360 --> 01:52:54,960
Speaker 8: ever to be doing it with the authenticity that I have,

2446
01:52:55,800 --> 01:52:57,479
Speaker 8: you know what I mean, And I still have the

2447
01:52:57,560 --> 01:52:59,600
Speaker 8: understanding of today's stuff and what it is.

2448
01:52:59,680 --> 01:53:01,040
Speaker 4: You know, I'm not one of them old heads that

2449
01:53:01,439 --> 01:53:02,800
Speaker 4: don't get it, you know what I mean.

2450
01:53:03,600 --> 01:53:05,880
Speaker 6: No, man, you know when we when we hung out, man,

2451
01:53:06,000 --> 01:53:08,800
Speaker 6: that was the thing I was just so surprised by

2452
01:53:09,400 --> 01:53:11,920
Speaker 6: because you were, you know, a producer that like I

2453
01:53:12,000 --> 01:53:14,400
Speaker 6: grew up listened to, but yet we still listen to.

2454
01:53:14,400 --> 01:53:15,120
Speaker 1: The same things.

2455
01:53:15,320 --> 01:53:18,160
Speaker 5: Absolutely you had you know, you had like donuts and

2456
01:53:18,240 --> 01:53:22,960
Speaker 5: I was like, like, like you was you know.

2457
01:53:23,200 --> 01:53:25,800
Speaker 6: So I think that was something that just the lesson

2458
01:53:25,880 --> 01:53:29,360
Speaker 6: I took from you from that from that meeting was

2459
01:53:29,560 --> 01:53:31,599
Speaker 6: just how important it is too.

2460
01:53:32,120 --> 01:53:34,080
Speaker 5: And I tell you know, artists at this all the time.

2461
01:53:34,920 --> 01:53:37,960
Speaker 5: You don't have to like new music, but you do.

2462
01:53:38,160 --> 01:53:41,360
Speaker 6: I think it's important to understand it, understand why it works,

2463
01:53:41,479 --> 01:53:45,040
Speaker 6: and understand why people gravitate to it. And that was

2464
01:53:45,080 --> 01:53:47,840
Speaker 6: something I always admired about you, Like you just worked.

2465
01:53:47,920 --> 01:53:50,040
Speaker 6: I mean you was up on everything, like you knew

2466
01:53:50,080 --> 01:53:51,400
Speaker 6: all the ship I was listening, was like, yeah, I

2467
01:53:51,479 --> 01:53:53,080
Speaker 6: got that list.

2468
01:53:53,320 --> 01:53:54,400
Speaker 1: You was right up on it. Man.

2469
01:53:54,560 --> 01:53:56,640
Speaker 4: Absolutely, I'm a DJ, and that makes it. You have

2470
01:53:56,800 --> 01:53:56,960
Speaker 4: to know.

2471
01:53:57,120 --> 01:53:58,800
Speaker 8: I mean, how could you not know you're trying to

2472
01:53:58,840 --> 01:54:01,640
Speaker 8: spend I mean I play dance, I play hip hop, I.

2473
01:54:01,680 --> 01:54:06,000
Speaker 4: Play house, Like you gotta know what's what? You ain't

2474
01:54:06,040 --> 01:54:06,559
Speaker 4: seen none of my.

2475
01:54:09,000 --> 01:54:10,080
Speaker 1: Dude, I've seen your set.

2476
01:54:11,640 --> 01:54:12,519
Speaker 4: I'll be fucking around.

2477
01:54:12,600 --> 01:54:12,720
Speaker 8: Man.

2478
01:54:13,200 --> 01:54:14,840
Speaker 4: I can never do what you do, but you know

2479
01:54:15,680 --> 01:54:16,080
Speaker 4: I love it.

2480
01:54:16,479 --> 01:54:18,639
Speaker 1: Man, It's it's you being creative.

2481
01:54:18,720 --> 01:54:21,360
Speaker 2: That's everybody that you see DJing right now in the

2482
01:54:21,520 --> 01:54:23,120
Speaker 2: in the age of quarantining, is.

2483
01:54:25,160 --> 01:54:27,160
Speaker 1: Trying to get the creative, creative juices working.

2484
01:54:28,040 --> 01:54:28,439
Speaker 4: I love it.

2485
01:54:28,520 --> 01:54:31,080
Speaker 1: I love watching DJ sets online you know, and see

2486
01:54:31,080 --> 01:54:33,240
Speaker 1: what people are because.

2487
01:54:33,000 --> 01:54:35,240
Speaker 8: You guys are so damn intimidating. I'm like, oh, fuck it,

2488
01:54:35,240 --> 01:54:37,240
Speaker 8: they don't done. Seven hours before I even get the

2489
01:54:37,280 --> 01:54:39,600
Speaker 8: funk up, I was like, I ain't.

2490
01:54:39,400 --> 01:54:41,560
Speaker 1: Seen you pop up on them alive? Man, what's going on?

2491
01:54:41,920 --> 01:54:43,920
Speaker 4: You know what's crazy? After so much I started doing

2492
01:54:43,960 --> 01:54:45,680
Speaker 4: this album trying to get it ready for you guys.

2493
01:54:45,800 --> 01:54:49,880
Speaker 5: I need wah.

2494
01:54:51,720 --> 01:54:53,640
Speaker 8: But I'm so happy just to even be in the

2495
01:54:53,680 --> 01:54:56,320
Speaker 8: conversation about stuff that we love like this, bro, Like

2496
01:54:56,440 --> 01:54:57,320
Speaker 8: it's still here doing it.

2497
01:54:57,600 --> 01:54:59,880
Speaker 4: You feel me. That's my most important thing. I'm like, man,

2498
01:55:00,000 --> 01:55:02,040
Speaker 4: thank god, I'm still here actually doing it.

2499
01:55:03,560 --> 01:55:07,360
Speaker 1: You know, we thank you, We appreciate it, We thank

2500
01:55:07,400 --> 01:55:08,880
Speaker 1: you for coming on the show with us.

2501
01:55:08,960 --> 01:55:10,760
Speaker 4: Man, this is thank you. Guys.

2502
01:55:10,880 --> 01:55:12,640
Speaker 1: We've been trying to make this happen a long time.

2503
01:55:12,760 --> 01:55:14,000
Speaker 5: Yeah, I told you I was gonna get you.

2504
01:55:16,640 --> 01:55:17,640
Speaker 4: So I ain't heard no call.

2505
01:55:17,640 --> 01:55:20,280
Speaker 1: From Like, yeah, I'm like, bro, I'm looking on it.

2506
01:55:22,240 --> 01:55:22,760
Speaker 7: I love it.

2507
01:55:23,200 --> 01:55:23,640
Speaker 3: I love it.

2508
01:55:26,160 --> 01:55:26,320
Speaker 8: For you.

2509
01:55:28,560 --> 01:55:30,520
Speaker 4: You know what day because we made it happen. I

2510
01:55:30,800 --> 01:55:33,120
Speaker 4: love you, guys man. Thank you so much back there.

2511
01:55:33,200 --> 01:55:33,840
Speaker 1: We appreciate it.

2512
01:55:33,920 --> 01:55:36,640
Speaker 4: This is a jump off of a whole lot of

2513
01:55:36,680 --> 01:55:37,240
Speaker 4: stuff to come.

2514
01:55:37,960 --> 01:55:41,680
Speaker 2: Once again, Brian Alexander Morgan the Great on Quest up

2515
01:55:41,760 --> 01:55:44,440
Speaker 2: Supreme when we have a lot of sugar.

2516
01:55:44,480 --> 01:55:48,160
Speaker 1: Steve take alot, paid Bill somewhere else there in the world.

2517
01:55:48,800 --> 01:55:51,360
Speaker 1: Thank you very much for listening. Thank you, thank you,

2518
01:55:51,480 --> 01:55:52,440
Speaker 1: thank you, thank you.

2519
01:56:00,080 --> 01:56:00,200
Speaker 7: Much.

2520
01:56:00,240 --> 01:56:06,320
Speaker 1: Of Supreme is a production of iHeartRadio. For more podcasts

2521
01:56:06,360 --> 01:56:10,680
Speaker 1: from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or wherever

2522
01:56:10,720 --> 01:56:12,040
Speaker 1: you listen to your favorite shows.