WEBVTT - Questlove Supreme: Brian Alexander Morgan 0:00:00.160 --> 0:00:03.080 Quest Love Supreme is a production of iHeartRadio. 0:00:08.600 --> 0:00:13.320 Ladies and gentlemen, Welcome to another episode of Quest Love Supreme. 0:00:13.600 --> 0:00:16.200 I'm your house, much love. We have some Supreme in 0:00:16.280 --> 0:00:19.400 the house. We have uh yea, what you doing out there, 0:00:20.160 --> 0:00:20.680 guys and all? 0:00:20.880 --> 0:00:22.480 Yes, yes, yes, I'm still here. 0:00:22.520 --> 0:00:27.520 I'm not not on fire. Okay, good, Yeah, that's good 0:00:27.520 --> 0:00:27.800 to hear. 0:00:28.280 --> 0:00:28.400 Uh. 0:00:28.480 --> 0:00:32.280 We have fun take alot right now? Yeah? Cooland man 0:00:32.280 --> 0:00:33.880 cooland was it was raining out here today? 0:00:34.159 --> 0:00:34.599 So uh. 0:00:36.280 --> 0:00:37.840 And uh Sugar. 0:00:37.520 --> 0:00:41.000 Steve Greetings, Hello everybody, Team Supreme. 0:00:41.159 --> 0:00:44.360 I love you, I love you back Sugar Steeds like 0:00:44.360 --> 0:00:45.360 Michael Jackson. 0:00:45.080 --> 0:00:45.239 Like. 0:00:47.400 --> 0:00:50.400 Network Hello, I like that, Yeah exactly. 0:00:51.840 --> 0:00:54.360 Okay, So, ladies and gentlemen, I will say that today 0:00:54.880 --> 0:00:57.520 is one of those those I guess you could say 0:00:57.520 --> 0:01:02.440 the special deep cut episode of Chus Love Supreme between 0:01:02.480 --> 0:01:06.280 the explore and sect work and the history some of 0:01:06.280 --> 0:01:08.200 our favorites. 0:01:07.800 --> 0:01:11.279 Who otherwise wouldn't receive their flowers. 0:01:10.800 --> 0:01:15.360 While here and our guess is that person in my book, 0:01:15.400 --> 0:01:17.679 he his resume is extensive and. 0:01:17.720 --> 0:01:19.919 Legendary and wrote down resume. 0:01:20.080 --> 0:01:23.800 There's a lot of sufficial there's a lot to drake 0:01:24.240 --> 0:01:27.520 to Taymour Braxton, the Faith Evans to jo Jo dan Nesby, 0:01:28.000 --> 0:01:30.160 Hark Faney, Mi Walston. 0:01:30.080 --> 0:01:31.840 Ursa Lebo Hathaway. 0:01:32.680 --> 0:01:36.200 But you know it's it's without no doubt that his 0:01:36.319 --> 0:01:40.320 work on the bona fide classic lp uh It's about 0:01:40.400 --> 0:01:43.959 Time by Sisters with Voices Study Dree, which he made 0:01:44.000 --> 0:01:48.440 his mark creating hit after hit, classic after classic, John 0:01:48.560 --> 0:01:53.480 after John. In my opinion, Week is probably neck and 0:01:53.640 --> 0:01:56.400 neck with Living Lift Every Voice. 0:01:56.240 --> 0:02:02.040 And Sing as as the national anthem. 0:02:02.520 --> 0:02:05.440 Actually I think we edges it out because unlike Lift 0:02:05.480 --> 0:02:08.040 Every Voice and Sing, I know the bridge to Week 0:02:08.120 --> 0:02:08.600 by heart. 0:02:10.040 --> 0:02:13.560 It's at least the anthem is at least that right hey, 0:02:13.720 --> 0:02:13.919 you know? 0:02:14.480 --> 0:02:16.799 But yeah, what more can I say? Ladies and gentlemen, 0:02:16.880 --> 0:02:19.119 We've been waiting for this one. Please welcome to Quest 0:02:19.160 --> 0:02:23.320 of Supreme, mister Brian Alexander Morgan. Thank you, thank you, sir, 0:02:24.280 --> 0:02:24.600 thank you. 0:02:24.840 --> 0:02:28.480 Thank you, thank you. Love all you guys, fans for life, 0:02:28.760 --> 0:02:33.160 fans forever forget it. I'm huge, huge, huge fans of everybody, 0:02:33.240 --> 0:02:34.959 so thank so. 0:02:35.040 --> 0:02:35.760 Where are you right now? 0:02:35.840 --> 0:02:35.920 Bro? 0:02:37.040 --> 0:02:39.960 Where am I right now? Is that what I'm at home? 0:02:41.720 --> 0:02:43.519 Okay? You know East West Coast? 0:02:44.080 --> 0:02:48.359 Oh oh oh la am i bad la. The valley 0:02:48.960 --> 0:02:49.240 out in. 0:02:49.360 --> 0:02:52.519 The valley, you know, you know, yeah. 0:02:52.520 --> 0:02:54.680 I think last time we hung out it was when 0:02:54.720 --> 0:02:55.880 you were in Sacramento. 0:02:56.080 --> 0:02:56.880 This was got. 0:02:57.080 --> 0:03:00.359 It was after after Foreign Shang Show and s Smith. 0:03:01.120 --> 0:03:03.880 She was like, yeah, y'all, yes, big shout to side 0:03:03.919 --> 0:03:06.280 man side knows everybody and she's like, yo, y'all want 0:03:06.280 --> 0:03:08.640 to go brand that was in the Morgan wants us 0:03:08.680 --> 0:03:09.040 to come back. 0:03:09.040 --> 0:03:15.840 I was like, yeah, yeah, that was God. That was 0:03:15.919 --> 0:03:16.480 ten years ago. 0:03:16.600 --> 0:03:18.519 It was easy and I was a huge fan of 0:03:18.639 --> 0:03:20.120 what you were doing then, just loving it. 0:03:20.560 --> 0:03:20.680 Bro. 0:03:20.880 --> 0:03:22.640 I had no idea you knew who we were when 0:03:22.680 --> 0:03:24.640 I When I got your care that's when I realized 0:03:24.680 --> 0:03:26.720 how much of a head you were when in your 0:03:26.800 --> 0:03:29.959 kitchen and you had CDs in your cabinets where the 0:03:30.080 --> 0:03:30.840 glasses should be. 0:03:32.600 --> 0:03:34.120 I said, he really about that life. 0:03:35.280 --> 0:03:38.160 And I'm a huge little Brother fan, huge roots fan, 0:03:38.760 --> 0:03:41.280 black Dog one of my Oh my god, we're talking 0:03:41.280 --> 0:03:44.040 about pins. Oh my god. I've been from day one. 0:03:44.280 --> 0:03:47.360 I was a I was a fan of Quest credits just. 0:03:47.400 --> 0:03:52.000 From day one because he appreciated Because he appreciated credits. 0:03:52.040 --> 0:03:53.880 I caught it all. I was like, okay, then there 0:03:54.120 --> 0:03:57.920 you go, man, Look, thank you that's real talking all day. 0:03:59.240 --> 0:04:02.000 Do we I believe, did we not? I don't know 0:04:02.040 --> 0:04:04.880 if we met at our very first show. We had 0:04:04.920 --> 0:04:07.600 a show in Sacramento, like back in ninety four, ninety five. 0:04:07.720 --> 0:04:11.280 Yes, yes, yes, yes, I think I met you and 0:04:11.480 --> 0:04:14.560 Rafael Sad the same day at the very first. 0:04:16.440 --> 0:04:17.680 Killed in there that nightclub. 0:04:17.800 --> 0:04:22.159 Right, Yeah, I remember that, Okay, So I do remember, yes. 0:04:22.120 --> 0:04:23.839 Sir, yes, sir. And then I saw you again. 0:04:23.880 --> 0:04:25.360 Next time I saw you again, it was years later, 0:04:25.520 --> 0:04:27.440 and I had on that Donny Hathaway joint, that Donny 0:04:27.440 --> 0:04:28.000 Hathaway shirt. 0:04:28.160 --> 0:04:31.080 Yeah yeah, yeah, yeah, Oh. 0:04:31.040 --> 0:04:35.520 Good, Okay, I know that you well, your home base 0:04:35.640 --> 0:04:41.000 was kind of Sacramento, but you were born in all places, Wichita, 0:04:41.120 --> 0:04:45.640 Kansas described growing up in Wichita. How long did you 0:04:45.720 --> 0:04:46.640 stay there before? 0:04:47.000 --> 0:04:47.279 Wow? 0:04:48.040 --> 0:04:52.839 Man, you know what Wichita is Some of the hottest 0:04:52.880 --> 0:04:55.159 talent you'll never hear, is what I like to say, 0:04:55.480 --> 0:05:00.800 because when you're there, it seems impossible to be on joy, 0:05:00.960 --> 0:05:02.880 at least back then, not now because you could do 0:05:02.920 --> 0:05:06.039 anything on the Internet now. But when I was there, listen, 0:05:06.600 --> 0:05:11.560 Charlie Wilson, Roger and Zach all that Midwest funk, all 0:05:11.600 --> 0:05:15.120 that stuff is the holy grail because we perceived them 0:05:15.279 --> 0:05:17.440 as people who got out of the Midwest. Like, okay, 0:05:17.480 --> 0:05:20.640 even Babyface and all that stuff from Cincinnati, Cleveland. 0:05:20.520 --> 0:05:22.360 Pick a thing. It's rude boys. 0:05:22.520 --> 0:05:26.400 There's always that Midwest funk, Shirley Murdoch and plus you 0:05:26.400 --> 0:05:30.120 get way back, you know, of course, Ohio players, James. 0:05:30.600 --> 0:05:34.720 So there's always been this element of whoever makes it 0:05:34.880 --> 0:05:37.800 out of there, we feel like, oh, the gods made 0:05:37.839 --> 0:05:41.000 it out. For example, Charlie himself, Gap Ben, they had 0:05:41.040 --> 0:05:44.240 been struggling for years before that before they finally broke through. 0:05:44.440 --> 0:05:47.120 So I feel like me being for which to I 0:05:47.200 --> 0:05:47.400 was just. 0:05:47.440 --> 0:05:49.320 Another one in that long line of oh my god, 0:05:49.400 --> 0:05:49.960 he made it out. 0:05:51.880 --> 0:05:54.680 So what was the music environment like in like, what's 0:05:54.760 --> 0:05:56.800 your first musical memory from your childhood? 0:05:56.960 --> 0:05:58.560 Oh? Man, I can tell you that right off the 0:05:58.600 --> 0:05:59.560 top of Michael Jackson. 0:05:59.640 --> 0:06:03.040 Of course, the purity of Michael's voice on I Want 0:06:03.120 --> 0:06:09.080 You Back, ABC, I'll be there, Touch Me Beyond beyond, right, 0:06:09.400 --> 0:06:12.400 and then you add Stevie Wonder to that, and the 0:06:12.480 --> 0:06:15.000 progressive stuff he was doing on those keys really got me. 0:06:15.040 --> 0:06:16.800 I wasn't playing yet. I just started playing until I 0:06:16.960 --> 0:06:19.800 was like ten in nineteen seventy seventy six. 0:06:20.320 --> 0:06:24.799 But between seventy and seventy five, man, it was Stevie, 0:06:25.640 --> 0:06:27.400 Donny Hathaway, Michael Jackson. 0:06:27.440 --> 0:06:30.040 Those were the three voices that really changed my life. 0:06:30.320 --> 0:06:32.640 Now, later on in the late seventies, it was the 0:06:32.680 --> 0:06:35.640 Clark sisters that changed everything else that turned. That was 0:06:35.680 --> 0:06:38.120 a paradigm shift from in seventy nine when it is 0:06:38.120 --> 0:06:40.920 my living in Vain. Everything changed again. But I don't 0:06:40.920 --> 0:06:41.360 want to get. 0:06:41.279 --> 0:06:41.960 Ahead of myself. 0:06:42.200 --> 0:06:44.040 I can tell what no I can tell how you 0:06:44.080 --> 0:06:44.920 stack your harmonies. 0:06:45.080 --> 0:06:48.880 I can see that influence in it. You hear that, Yeah, 0:06:49.120 --> 0:06:52.640 no doubt, I hear that. So yeah, are you from 0:06:52.720 --> 0:06:54.279 a musical family or like. 0:06:55.000 --> 0:06:56.200 Let me give it up to my pops. 0:06:56.360 --> 0:06:58.760 He made a record when I was like two and 0:06:58.920 --> 0:07:01.640 sixty eight to forty five, quest and I still have 0:07:01.800 --> 0:07:04.080 it and me and my dad is the only one. 0:07:04.160 --> 0:07:06.200 Let my mom's gone, my sister's gone, rest in peace, 0:07:06.440 --> 0:07:09.000 but my father and I. He thought he was Jimmy 0:07:09.040 --> 0:07:11.720 Hendrix back when Jimmy was you know the ship. So 0:07:13.080 --> 0:07:14.960 I grew up in a house that was he was 0:07:15.040 --> 0:07:17.160 playing not only the slide, the family stone stuff and 0:07:17.200 --> 0:07:19.119 the and the funk stuff, but he was also playing 0:07:19.160 --> 0:07:22.720 Hendrix and Santana and all those rock joints. He loved 0:07:22.800 --> 0:07:27.400 led Zeppelin, So I'm a truly amalgamation of all of that. 0:07:27.680 --> 0:07:28.440 Bro all of it. 0:07:28.560 --> 0:07:31.440 My dad thought he was Jimmy seriously with the friends, 0:07:31.480 --> 0:07:34.000 swearing the friends. We had beads in the house, and 0:07:34.480 --> 0:07:35.680 you know it was that. 0:07:36.120 --> 0:07:38.600 Beas before you entered the room. Yes, sir, I thought 0:07:38.600 --> 0:07:39.160 it was the only. 0:07:42.240 --> 0:07:46.800 Yeah, absolutely, you know. 0:07:46.920 --> 0:07:48.640 But my dad was a guitar player, man, and that's 0:07:48.640 --> 0:07:51.920 the only musician that I ever saw first in my 0:07:52.000 --> 0:07:54.200 life was a guitar player. And he had rehearsals at 0:07:54.200 --> 0:07:56.440 the house too. That also was mind blowing to hear 0:07:56.600 --> 0:07:59.720 musicians play in your house, and your house is only 0:07:59.720 --> 0:08:02.920 a two bedroom house. It was very, very impactful to 0:08:03.040 --> 0:08:03.480 a little me. 0:08:04.120 --> 0:08:06.640 What did your folks do for a living? 0:08:07.040 --> 0:08:09.960 My crazy, crazy thing. Another thing I got from my 0:08:10.080 --> 0:08:11.800 dad reading reading. 0:08:12.000 --> 0:08:15.360 My dad worked as a librarian at a at a huge, 0:08:15.680 --> 0:08:18.960 big metropolitan library in Wichita, like the biggest in the city, 0:08:19.200 --> 0:08:22.560 and he drove a bookmobile to the hood to the 0:08:22.680 --> 0:08:28.200 hood books, letting black kids come read in the bookmobile. 0:08:28.280 --> 0:08:30.240 So that was a huge influence on me as well. 0:08:31.360 --> 0:08:33.920 Book I've heard I've seen that on television. So was 0:08:34.000 --> 0:08:35.880 that like the book version of the ice Cream Man. 0:08:36.600 --> 0:08:39.679 Totally just drive books to the hood, and you know 0:08:39.720 --> 0:08:41.920 what's crazy, Like I don't think you could do that now, 0:08:42.720 --> 0:08:43.280 Like it would be. 0:08:43.480 --> 0:08:44.640 Like people be like, what the hell? 0:08:44.920 --> 0:08:47.079 But no, it bring the book Man, the food Man, 0:08:47.200 --> 0:08:49.440 and the Bookman back and bringing back. 0:08:49.320 --> 0:09:01.400 Bro and you know what, thank God for get Harris Ye. 0:09:14.480 --> 0:09:16.280 Back to the influence. My mom knows what she did. 0:09:16.400 --> 0:09:19.280 She was just a secretary at a construction place. But 0:09:19.600 --> 0:09:23.439 it was her church going that was the dip where 0:09:23.480 --> 0:09:25.559 my mom and dad converged. My dad was absolutely not 0:09:25.640 --> 0:09:28.679 religious and all about African this African that. My mom 0:09:28.840 --> 0:09:31.280 was completely Jesus, Jesus, all church all the time. 0:09:34.520 --> 0:09:36.679 You didn't like saying in the church or playing the 0:09:36.760 --> 0:09:37.319 church and none of that. 0:09:37.559 --> 0:09:40.599 Of course I did, of course, okay, okay, that's the 0:09:40.679 --> 0:09:43.040 training right there, the beginning. But now I got to 0:09:43.120 --> 0:09:45.280 keep it one hundred because everybody listen, I got to 0:09:45.320 --> 0:09:47.959 keep it one hundred. I grew up Baptists, and so 0:09:48.280 --> 0:09:51.800 it was all about Andre Crouch and and James Cleveland and. 0:09:53.280 --> 0:09:55.760 Yes, which we love, but check this. It was when 0:09:55.800 --> 0:09:57.800 I went to the Koji Church for the first time 0:09:57.920 --> 0:09:59.800 right and heard that Corsist is. 0:10:01.600 --> 0:10:05.400 You know, I heard that little swag on and you know, 0:10:05.559 --> 0:10:07.199 drummers was really really drumming. 0:10:07.800 --> 0:10:10.120 I was like, oh so I kind of switched over 0:10:10.200 --> 0:10:10.560 a little bit. 0:10:11.280 --> 0:10:11.480 Cool. 0:10:12.120 --> 0:10:12.760 Explain that to me. 0:10:12.880 --> 0:10:16.520 So, what's the difference in you're saying in Baptist Church 0:10:16.720 --> 0:10:19.920 was just very traditional meat potatoes gospel. 0:10:22.440 --> 0:10:25.280 And you were allowed to be more so. 0:10:25.400 --> 0:10:27.160 Is this a non denomination in church or what was 0:10:27.240 --> 0:10:31.000 the second church the church got in Christ Christ Learned 0:10:31.040 --> 0:10:33.360 as the Kojik Church or Pentecostal. 0:10:34.400 --> 0:10:39.200 They they had a history of literally trying to play 0:10:39.280 --> 0:10:42.679 records that sounded like you know, the streets for for 0:10:42.920 --> 0:10:43.320 for lack of. 0:10:43.320 --> 0:10:46.079 A better word, Okay, I have a yeah, I have 0:10:46.120 --> 0:10:50.439 an obsession with collecting next to Jamaican music, I have 0:10:50.559 --> 0:10:55.439 a really large collection of like earl gospel acts, trying 0:10:55.480 --> 0:10:59.440 to turn secular songs into gospel joints like I Got 0:10:59.480 --> 0:11:01.640 a Second Time Around by Shallow. 0:11:01.280 --> 0:11:02.760 Mar I got hilarious. 0:11:02.920 --> 0:11:04.520 Oh I got yeah, I have so much. 0:11:04.640 --> 0:11:06.400 I'm going to do it on my DJ sets one night, 0:11:06.559 --> 0:11:09.920 Like just do it, bro you upside down by you 0:11:10.040 --> 0:11:13.319 gotta be kidding me. Oh dude, all I do is 0:11:13.480 --> 0:11:21.080 collect like really bad cover songs and gospel secularizing songs. 0:11:21.800 --> 0:11:23.599 There's a really good one for the Jacksons. Can you 0:11:23.679 --> 0:11:25.400 feel it? But yeah, it's like wow. 0:11:25.720 --> 0:11:28.840 Let me give you another thing about that particular subject. 0:11:29.480 --> 0:11:33.040 There were certain producers at the time that were capturing 0:11:33.160 --> 0:11:35.600 it though, they were really nailing it, like this guy. 0:11:35.679 --> 0:11:38.199 I gotta give you, Matt Probs, Bill Maxwell. He used 0:11:38.200 --> 0:11:41.280 to produce the Andre Krouch records. Them joints sounded like 0:11:41.360 --> 0:11:46.720 earth winning fire productions. You hear me, like pristine, ridiculous, funky, 0:11:46.960 --> 0:11:49.599 punchy mixes. And I was as a kid, you know, 0:11:49.720 --> 0:11:52.800 like the late seventies, me thirteen year old me. I 0:11:52.880 --> 0:11:55.160 was thirteen and seventy nine. That's when I started paying 0:11:55.160 --> 0:11:58.560 attention to mixing and the production. So you talk about 0:11:59.000 --> 0:12:02.240 off the walls out at the time, so is my 0:12:02.280 --> 0:12:04.280 living and Van came out at that time. Stevie hit 0:12:04.360 --> 0:12:07.720 his stride with Hotter than July eighty so a lot 0:12:07.760 --> 0:12:09.760 of things was happening in that mixing part. So my 0:12:09.920 --> 0:12:12.360 very first time in the studio making my own record 0:12:12.480 --> 0:12:15.120 was like eighty one, and it was gospel, but of 0:12:15.200 --> 0:12:16.839 course I was trying to do what was in the 0:12:16.880 --> 0:12:18.200 streets too, So I did a joint. 0:12:18.240 --> 0:12:20.800 It sounded like Sherylyn's got to be real. Think it didn't. 0:12:22.480 --> 0:12:22.720 Really? 0:12:23.559 --> 0:12:28.560 Hell, yeah, absolutely, joint. I need that, I need that's insane. Yeah, 0:12:28.600 --> 0:12:29.120 I'll get you that. 0:12:29.200 --> 0:12:30.640 And I got a lot of gospel stuff that we 0:12:30.720 --> 0:12:33.120 did in that era. But trust me when I tell 0:12:33.120 --> 0:12:35.320 you it was it was. It was from a good 0:12:35.840 --> 0:12:40.520 reference point Thomas Whitfield and Detroit Production, Pristine on Vanessa 0:12:40.559 --> 0:12:43.679 bel Armstrong by the time, by the time Commission came 0:12:43.720 --> 0:12:46.520 out in eighty five, Can you explain? 0:12:46.840 --> 0:12:47.840 All right, So here's the deal. 0:12:48.320 --> 0:12:53.280 I grew up like my Arab musicianship, especially with all 0:12:53.320 --> 0:12:58.079 the cats that I encountered in my age range. Take 0:12:58.120 --> 0:13:00.480 all the jazz cats out, So those who were non 0:13:00.640 --> 0:13:05.240 jazz cats, you were either a prince head or you 0:13:05.360 --> 0:13:06.400 were commissioned head. 0:13:06.760 --> 0:13:07.080 Aha. 0:13:08.240 --> 0:13:11.800 And of course you know every cat I know now 0:13:11.880 --> 0:13:16.840 that's deep on gospel chops. Commission is their foundation. Can 0:13:16.920 --> 0:13:21.120 you explain to me, like a majority of R and 0:13:21.320 --> 0:13:28.000 B musicians' first generation from like nineteen ninety to like yeah, 0:13:28.280 --> 0:13:31.920 two thousand and one, two thousand and two, what is 0:13:32.000 --> 0:13:34.959 the obsession with Commission? Like, what was it about them 0:13:35.000 --> 0:13:37.360 that just grabbed. Was that like the closest y'all could 0:13:37.400 --> 0:13:40.760 get to secular music that mom and dad would allow 0:13:40.840 --> 0:13:43.920 in the house or whatever, like or live? Were they 0:13:44.080 --> 0:13:47.040 just some next level craziness? 0:13:47.320 --> 0:13:47.840 Great question. 0:13:48.000 --> 0:13:51.120 I can answer it like this for me speaking for 0:13:51.240 --> 0:13:54.559 my generation literally coming from like I said, the Hawkins 0:13:54.640 --> 0:13:57.920 and Andrea and those guys in the late seventies into 0:13:58.160 --> 0:14:02.360 the eighties when drum machine became a thing, production literally 0:14:02.520 --> 0:14:07.040 changed because of Prince right, So commission, now, remember all 0:14:07.080 --> 0:14:10.920 we had before that was the Whinings with voices like that, 0:14:11.559 --> 0:14:13.600 and they were incredible. And again but you're still talking 0:14:13.640 --> 0:14:16.840 live then that's Phil Maxwell again, same producer, same producer 0:14:16.840 --> 0:14:19.480 as Andre Krauss. That one guy gave us all those 0:14:19.560 --> 0:14:23.080 brilliant andre Krous records and all those brilliant Whinings Whinings 0:14:23.160 --> 0:14:27.760 records prior to Quincy signing them. Okay, so that production 0:14:27.880 --> 0:14:32.000 standard and that whole vibe came right into the eighties 0:14:32.080 --> 0:14:34.480 with drum machines and all the stuff that we grew 0:14:34.600 --> 0:14:37.640 up on. Quest So, like what happened was when we 0:14:37.760 --> 0:14:40.800 first heard Fred Hammond's voice, we are liking it. 0:14:40.920 --> 0:14:42.520 We likned it to the Whinings. 0:14:42.520 --> 0:14:45.000 You know that big, powerful voice coming like from Marvin Winers, 0:14:45.120 --> 0:14:47.000 but we had never heard it from such a young 0:14:47.160 --> 0:14:50.480 person prior. Besides Johnny Gill you know that, you know 0:14:50.520 --> 0:14:52.800 what I mean. Somebody you feel me and shout out 0:14:52.840 --> 0:14:53.479 to Johnny. 0:14:53.240 --> 0:14:53.680 That's my guy. 0:14:53.920 --> 0:14:56.680 But there was a young boy in commission back in 0:14:56.720 --> 0:14:59.560 the back in yes eighty five. See the Fred Hammond 0:14:59.560 --> 0:15:01.200 I knows Uncle Fred No. 0:15:01.240 --> 0:15:01.280 No. 0:15:01.720 --> 0:15:03.120 Eighty five, the very first album. 0:15:03.160 --> 0:15:05.480 Get get familiar with all of their whole catalogs because 0:15:05.480 --> 0:15:07.960 what happened was it changed our lives. But what they 0:15:08.040 --> 0:15:10.920 did that I liked about them was that they not 0:15:11.040 --> 0:15:13.800 only had the gospel chops, but they had a David 0:15:13.960 --> 0:15:16.360 Foster flavor all through their whole mix. 0:15:16.520 --> 0:15:20.400 Like and I'm not joking, I'm talking about this. Yeah, 0:15:23.000 --> 0:15:25.520 but look but with the chops, but with the chops 0:15:25.640 --> 0:15:25.880 of a. 0:15:26.360 --> 0:15:29.520 Of a you're my inspiration by Chicago, you know what 0:15:29.520 --> 0:15:32.960 I mean. So that was the difference between the Winans 0:15:33.080 --> 0:15:39.080 and Commission. Commission gave you that no, no, no, those 0:15:39.160 --> 0:15:39.840 kind of melodies. 0:15:40.920 --> 0:15:43.960 That wasn't that way with Tomorrow with the Winings that 0:15:44.160 --> 0:15:44.520 was later. 0:15:45.280 --> 0:15:47.680 Well, no, there they were on it, but they weren't young. 0:15:48.480 --> 0:15:52.880 Okay. The Commission was young. I get it, okay, And that. 0:15:53.040 --> 0:15:55.680 Changed it because when they saw young people doing it. 0:15:55.920 --> 0:15:57.520 I went to their show so I could see the 0:15:57.600 --> 0:16:00.120 audience change, you know what I mean, like all of 0:16:00.120 --> 0:16:01.320 a sudden, it went from older. 0:16:01.160 --> 0:16:03.520 People vibing on the Winings and the Hawkins and. 0:16:03.920 --> 0:16:07.880 And all that to fool young kids that would have 0:16:07.960 --> 0:16:09.640 been otherwise in a club at a hip hop thing. 0:16:09.680 --> 0:16:12.160 Are all of a sudden that a commission, commission. That's 0:16:12.280 --> 0:16:12.640 right and so. 0:16:12.760 --> 0:16:15.680 But now but they got hip though, so Tremaine Hawkins 0:16:15.720 --> 0:16:17.960 and then got hipped, Clark Shisters got everybody got hit 0:16:18.040 --> 0:16:19.440 and was like yo, they start doing stuff that they 0:16:19.440 --> 0:16:22.400 could play all down on Tremaine as a direct result 0:16:22.440 --> 0:16:22.600 of that. 0:16:23.440 --> 0:16:27.640 And that's right, that's right, that's right. 0:16:27.720 --> 0:16:27.840 Right. 0:16:28.360 --> 0:16:30.600 But because they got hip to the kids was picking 0:16:30.640 --> 0:16:31.960 it up and they would put it in the club 0:16:32.000 --> 0:16:34.880 and you brought the sunshine was the biggest, biggest, biggest 0:16:34.960 --> 0:16:36.280 joint of that type of thing. 0:16:36.520 --> 0:16:37.640 But that was just following Stevie. 0:16:37.720 --> 0:16:40.680 But I'm saying as far as really young people commission 0:16:40.760 --> 0:16:42.320 is the paradigm shift is what I want to say. 0:16:42.440 --> 0:16:45.520 Question y'all got me downloading a bunch of Gospels. 0:16:47.640 --> 0:16:50.240 I was going to say, uh, you know, there was 0:16:50.280 --> 0:16:53.240 some gospel in my crib, like and I see what 0:16:53.280 --> 0:16:56.840 you're saying. Andre Crouch's Perfect Piece is a great. 0:16:56.640 --> 0:17:02.160 Example, good record of that. Of that, uh yeah of that. 0:17:02.360 --> 0:17:06.119 And I think my dad had the the Hawkins Family 0:17:06.160 --> 0:17:09.159 album which Warrin's White actually did the first song with 0:17:09.240 --> 0:17:10.119 them or something like that. 0:17:10.320 --> 0:17:14.240 So they got joints, bro, they got joints. Holy One. 0:17:14.359 --> 0:17:17.399 Have you heard Tremaine's Holy One? Oh my goodness, you 0:17:17.520 --> 0:17:18.600 got a certain. 0:17:18.400 --> 0:17:23.000 First album, very the first album with the look at Me, 0:17:23.920 --> 0:17:24.800 look at Yeah. 0:17:24.840 --> 0:17:25.680 Holy One is on there. 0:17:26.640 --> 0:17:28.280 Okay, yeah, I know that whole album left and right. 0:17:28.359 --> 0:17:30.760 My parents went through a really weird Christian phase for 0:17:30.880 --> 0:17:36.159 like a good four years. So yeah, dope, yeah for 0:17:36.240 --> 0:17:38.000 every Prince album that got broken. And I had to, 0:17:38.280 --> 0:17:41.639 you know, be a exercise with Tremaine Hawkins record. 0:17:41.760 --> 0:17:43.240 So I got you stick a pin in this. 0:17:43.520 --> 0:17:45.560 When I got to Sacramento because I'm jumping I'm not 0:17:45.600 --> 0:17:47.440 jumping ahead to my Sacramento and how I got there. 0:17:47.520 --> 0:17:50.240 But when I got there, one of the first people 0:17:50.440 --> 0:17:53.080 that I got to meet was Fred Hammond and Mitchell 0:17:53.200 --> 0:17:57.040 Jones from Commission because Waynmon Tisdale was a Sacramento king 0:17:57.320 --> 0:17:59.640 and also an incredible musician, and he was there. 0:17:59.560 --> 0:17:59.840 He had a. 0:18:05.160 --> 0:18:07.280 Right yeah as a musician. 0:18:07.400 --> 0:18:08.360 Yeah wow, oh yeah. 0:18:08.600 --> 0:18:11.560 He was definitely a major athlete and came out Oklahoma. 0:18:11.840 --> 0:18:14.159 So we had the Gap connect Charlie connect. 0:18:14.240 --> 0:18:14.960 But trust me when I. 0:18:15.000 --> 0:18:17.159 Tell you all those people came through Wyman's house and 0:18:17.240 --> 0:18:19.480 I met them over there. Yeah yeah, yeah, yeah, just 0:18:19.560 --> 0:18:19.960 one of time. 0:18:20.040 --> 0:18:20.240 Wow. 0:18:20.840 --> 0:18:21.040 Yeah. 0:18:21.119 --> 0:18:25.600 So what was your what was your what's the first 0:18:25.680 --> 0:18:27.119 concert you ever attended. 0:18:26.880 --> 0:18:30.040 When you were in That's a great question, man. 0:18:30.359 --> 0:18:33.359 The most significant one would have to be the Victory 0:18:33.440 --> 0:18:38.639 Tour opening day and and uh and were there too, Yes, sir, yes. 0:18:38.560 --> 0:18:40.800 Sir, you went. You went to the opening night, open 0:18:40.840 --> 0:18:43.800 the night, strip pants absolutely, yeah, strip pants night. 0:18:45.960 --> 0:18:52.119 Well, the Democrats, I believe the Democratic Convention was also 0:18:53.080 --> 0:18:56.639 in Kansas for that period. And you know, I did 0:18:56.880 --> 0:18:58.720 enough Bagan, but my my dad and. 0:18:58.760 --> 0:19:01.679 My mom, and I like said, amazing, amazing, I went 0:19:01.760 --> 0:19:04.679 to the third night. Were you by yourself? Like by yourself? 0:19:04.840 --> 0:19:07.160 No, my mom, my dad, and my sister, my dad. 0:19:07.520 --> 0:19:07.639 Uh. 0:19:08.040 --> 0:19:09.520 This is one of the times where like one of 0:19:09.600 --> 0:19:13.200 his brain hair schemes worked, which was he was like, 0:19:13.840 --> 0:19:15.840 we're gonna scalt the scalpers, and I was like, what 0:19:15.880 --> 0:19:19.000 does that mean? He's like, we're gonna wait five minutes 0:19:19.040 --> 0:19:21.480 into the show. See, you gotta be on immense faith 0:19:22.600 --> 0:19:26.560 to leave West Philadelphia drive all the way to get 0:19:26.640 --> 0:19:27.840 to Kansas City. 0:19:28.359 --> 0:19:28.600 Wow. 0:19:28.720 --> 0:19:30.680 And we're just sitting in that, you know. And I'm 0:19:31.119 --> 0:19:34.320 twelve man, so I'm my nerves are all. You know. 0:19:35.080 --> 0:19:36.080 I ain't paying no thirty. 0:19:35.920 --> 0:19:37.640 Dollars, no ticket, but I bet y'all get him down 0:19:37.680 --> 0:19:43.760 to town in about two minutes before the show. Bam, Wow, 0:19:43.880 --> 0:19:44.679 we got, we got. 0:19:45.320 --> 0:19:49.280 We got four Victory Tour tickets for ten bucks? Was 0:19:49.280 --> 0:19:50.040 the original stuff? 0:19:50.080 --> 0:19:53.920 Huh damn? 0:19:55.280 --> 0:19:57.520 Straight up, yo, that's crazy. And guess what. 0:19:57.600 --> 0:19:59.960 There's some footage somewhere floating around of Mary Hard from 0:20:00.080 --> 0:20:04.720 Entertainment Tonight interviewed my ask what nobody. 0:20:04.440 --> 0:20:08.800 Said her name? In a minute, Mary Hart no said 0:20:08.840 --> 0:20:10.160 her name, and it's not good. 0:20:14.880 --> 0:20:15.960 Here up. 0:20:18.040 --> 0:20:22.879 What I was You guys gotta choose his side right now, bro. 0:20:23.040 --> 0:20:24.359 That's I did not know that. You guys are hit 0:20:24.440 --> 0:20:26.080 the media. I did not know that, and you know 0:20:26.280 --> 0:20:33.160 I love her and yeah, wow, crazy wow. 0:20:33.440 --> 0:20:37.200 So what was it like in what was your your 0:20:37.320 --> 0:20:41.440 band situation or your like your high school situation like 0:20:41.520 --> 0:20:44.160 were you in any local bands at the time or yes, 0:20:44.280 --> 0:20:46.240 and you know what was your development moment that brought 0:20:46.320 --> 0:20:47.320 you to musicianship. 0:20:47.640 --> 0:20:48.160 Totally crazy? 0:20:48.160 --> 0:20:50.320 Okay, So starting in the church, I saw this thirteen 0:20:50.400 --> 0:20:53.520 year old little girl playing keys. It was the pastor's daughter. 0:20:54.240 --> 0:20:57.560 That was my first, Wow, a young person can do this. 0:20:58.200 --> 0:21:00.359 So that was huge for me to see her doing that. 0:21:00.720 --> 0:21:03.240 And then when they added drums at our church, it 0:21:03.280 --> 0:21:04.959 took us took them a while to let them let 0:21:05.040 --> 0:21:06.960 them do that because they were so conservative. But once 0:21:07.000 --> 0:21:10.200 they did that, my mom Look, my mom was the 0:21:10.320 --> 0:21:12.119 church secretary, so pete this. 0:21:12.440 --> 0:21:14.920 So the drummer would always leave his drums at the church. 0:21:15.200 --> 0:21:17.160 So when my mom would go to do the secretary 0:21:17.200 --> 0:21:19.359 stuff and on Saturdays, I would go with her just 0:21:19.440 --> 0:21:23.800 to jump on that dude's drums. Okay, So I started 0:21:23.840 --> 0:21:27.359 out drumming before I could play keys. And then and 0:21:27.440 --> 0:21:29.240 that changed my whole life because I was like, man, 0:21:29.840 --> 0:21:31.440 drumming is like the thing I thought, that's what I 0:21:31.480 --> 0:21:32.720 thought I was going to be doing. But then I 0:21:32.800 --> 0:21:34.560 kept getting on those keys trying to you know, how 0:21:34.600 --> 0:21:37.160 you pick out melodies and stuff. And I got better 0:21:37.280 --> 0:21:39.760 and better at picking out melodies, and I was like, man, 0:21:39.800 --> 0:21:41.560 maybe I'm supposed to play. So I just started listening 0:21:41.600 --> 0:21:44.280 and then I got embarrassed by better players than me, 0:21:44.440 --> 0:21:46.720 and I was like, whoa, I'm nowhere near I gotta 0:21:46.720 --> 0:21:48.239 get my you know, step my game up. 0:21:48.280 --> 0:21:51.040 These guys are playing Herbie Hancock. I'm in here playing 0:21:51.119 --> 0:21:52.480 soon and very soon. What the hell? 0:21:54.640 --> 0:21:57.879 You know, it's good to know that. I thought I 0:21:58.000 --> 0:22:00.800 was the only one that went through that, that whole thing. 0:22:00.960 --> 0:22:02.840 Like there was a period maybe like two months where 0:22:02.880 --> 0:22:04.840 I drummed in my local church. 0:22:05.280 --> 0:22:05.640 Uh huh. 0:22:05.880 --> 0:22:07.879 But you know, I was trying to play funk rhythms 0:22:07.880 --> 0:22:10.520 and whatnot, and they actually had to have a meeting 0:22:11.480 --> 0:22:14.440 or whether or not my playing was uplifting the lord. 0:22:14.520 --> 0:22:18.160 Or like that's how strict they were like, oh my god. 0:22:18.240 --> 0:22:20.119 So because the thing was when I would play all 0:22:20.160 --> 0:22:22.320 the you know, they'd be like, oh, like, I try 0:22:22.359 --> 0:22:26.680 to play like seprom seas By, like a popular break 0:22:26.760 --> 0:22:30.200 feat inside the music, and it's like the kids news. 0:22:30.240 --> 0:22:34.520 So they started doing the and everything. Church the deacons like. 0:22:34.640 --> 0:22:38.440 Sit down, so look, and hence that's why I left 0:22:38.840 --> 0:22:41.320 the particular church I was at and I went to 0:22:41.480 --> 0:22:44.399 play for a Kojak Church, And when I got to 0:22:44.480 --> 0:22:47.040 the Kojin church, I had my full on keyboard and 0:22:47.080 --> 0:22:48.800 drum machine in that bad bad When we play you 0:22:48.840 --> 0:22:51.400 about the Sunshine, it sounded like you about the sunshine? 0:22:52.400 --> 0:22:54.480 Wow, wow, you feel me? 0:22:55.400 --> 0:22:57.320 And then all my commission stuff. I programmed it the 0:22:57.400 --> 0:23:00.560 night before. QUEST programmed all the beats and feels and 0:23:00.720 --> 0:23:03.240 crashes and everything, and so when I played So when 0:23:03.240 --> 0:23:05.320 I played the commission joint, it sounded like the record. 0:23:05.680 --> 0:23:06.920 Yeah, what was your whatpin of choice? 0:23:06.920 --> 0:23:09.120 Where were you using Leah Lindrum all day? 0:23:09.840 --> 0:23:11.600 Wow? You got lyndrum that early? 0:23:11.840 --> 0:23:14.280 I got Lyndrum And as soon as it came out, 0:23:14.440 --> 0:23:17.280 it was I got it in eighty three. I think 0:23:17.320 --> 0:23:19.199 it was eighty three. They all went out. 0:23:19.200 --> 0:23:20.960 They had one out in eighty two, but it was 0:23:21.000 --> 0:23:23.359 in California. My friends had I heard about it, but 0:23:23.800 --> 0:23:25.000 I got one in eighty three. 0:23:25.640 --> 0:23:25.840 Yeah. 0:23:26.080 --> 0:23:28.080 How many LUNs did you have that mode to get that? 0:23:28.440 --> 0:23:28.639 You know what? 0:23:29.280 --> 0:23:32.479 Listen this here's the good news about how my development happened. 0:23:32.760 --> 0:23:35.720 In Wichita, there was this white guy named John Miller. 0:23:36.280 --> 0:23:38.720 John Miller owned what would be the equivalent of the 0:23:39.040 --> 0:23:41.639 guitar center in a major city. Okay, he had his 0:23:41.720 --> 0:23:43.080 own music story like that. So we had all the 0:23:43.119 --> 0:23:46.240 new keyboards, all the new drum machines, earlier than everybody, 0:23:46.400 --> 0:23:49.199 right and so. But he also had a recording studio, 0:23:49.440 --> 0:23:51.040 a sixteen track recording studio. 0:23:51.280 --> 0:23:52.199 So this is what happened. 0:23:52.480 --> 0:23:53.879 So he said, I used to go in there and 0:23:54.040 --> 0:23:56.080 just play on all his gear because of course, you know, 0:23:56.200 --> 0:23:57.879 being broke poor, that's where. 0:23:57.760 --> 0:23:58.640 I got a chance to play. 0:23:58.880 --> 0:24:00.960 So the people, the esecial, the white people that would 0:24:00.960 --> 0:24:02.480 cut and this is Kansas, so the white people that 0:24:02.520 --> 0:24:02.960 would come in. 0:24:02.960 --> 0:24:05.040 There and hear me playing on stuff would ask, you 0:24:05.119 --> 0:24:06.400 know what my name was? What am I doing? 0:24:06.560 --> 0:24:08.399 So John got hit piece like yo, you know what. 0:24:08.560 --> 0:24:10.479 I got a studio I want to promote, and if 0:24:10.520 --> 0:24:12.440 you come in there, I'll give you free studio time 0:24:12.800 --> 0:24:15.080 if you can go in there and do some work. 0:24:15.119 --> 0:24:17.800 I did a demo in there, bro That gospel demo 0:24:17.880 --> 0:24:19.560 is the demo that got me my record deal. 0:24:19.440 --> 0:24:24.760 On Warner Brothers. Wow. What yeah, Wow, Yes sir, yes sir. 0:24:25.320 --> 0:24:28.119 That demo I did in that studio got me the 0:24:28.160 --> 0:24:30.760 record deal that Bennie Medina signed me to in eighty seven. 0:24:30.800 --> 0:24:32.320 I did it in eighty five. I did it in 0:24:32.400 --> 0:24:35.639 eighty five eighty six. By eighty seven, J King came 0:24:35.680 --> 0:24:38.800 through Wichita, Kansas and heard that demo. 0:24:39.040 --> 0:24:41.080 And I cannot wait to hear you J King's story 0:24:42.880 --> 0:24:47.000 waiting and waiting for some King you know. 0:24:47.480 --> 0:24:54.520 Yes, so this is to give people some context. So 0:24:54.600 --> 0:24:59.000 this is TIMEX social club, Yes, club club, Yes, so 0:24:59.440 --> 0:24:59.840 this is that. 0:25:00.240 --> 0:25:03.080 So eventually absolutely all. 0:25:04.520 --> 0:25:07.280 Yes, right, he came from all that, and that's my people. 0:25:07.560 --> 0:25:09.560 So how did I get from which iss Tod to Sacramento? 0:25:10.200 --> 0:25:12.359 Just that way? A friend of mine named Steve Williams. 0:25:12.400 --> 0:25:13.159 I got a shout out, my. 0:25:13.119 --> 0:25:15.760 Boy, Steve Williams, because Steve Williams was the person who 0:25:15.880 --> 0:25:18.440 was the biggest club nouveaut fan I ever met in 0:25:18.560 --> 0:25:21.000 my life, like a full on stand right, And of 0:25:21.080 --> 0:25:24.359 course I was arrogant. I'm snooty nosed fred Ham and 0:25:24.440 --> 0:25:26.600 Clark sister's guy. Then people can't sing what are you 0:25:26.640 --> 0:25:29.280 talking about? I was. I was very I was a 0:25:29.359 --> 0:25:36.600 quest of very snob situation, like because I know Christen snob. Nah, bro, 0:25:36.720 --> 0:25:39.200 I'm talking like when I'm talking singing, we're talking about 0:25:39.520 --> 0:25:46.159 the female d you know what I'm saying. Look, and 0:25:46.160 --> 0:25:47.080 I'm not trying to be funny. 0:25:47.160 --> 0:25:49.360 I'm just saying I was just that that arrogant guy. 0:25:49.600 --> 0:25:52.520 You feel me? So I wasn't even paying no attention 0:25:52.600 --> 0:25:55.200 to the freaking club New Vau at that time. Now 0:25:55.320 --> 0:25:58.399 and rumors. I thought that was a joke. I was like, 0:25:58.520 --> 0:25:59.840 is that is that like a joke? 0:25:59.880 --> 0:26:02.879 I thought somebody record? Yeah, yeah, talking about how do 0:26:03.080 --> 0:26:05.160 rumor get? I was like, okay, what is that Eddie Murphy, 0:26:05.240 --> 0:26:05.920 what the fuck is this? 0:26:07.160 --> 0:26:09.720 And did know it was because then, because if you remember, 0:26:12.960 --> 0:26:13.720 that was the joke. 0:26:14.080 --> 0:26:16.720 But lost re short. The guys that put that put 0:26:16.760 --> 0:26:19.320 that record out was j King. He put that own 0:26:19.400 --> 0:26:20.360 label and that joint. 0:26:20.280 --> 0:26:21.119 Blew the hell up. 0:26:21.320 --> 0:26:22.520 And when Pop and They was on all of a 0:26:22.520 --> 0:26:25.600 sudden they were on tour with run DMC and motherfucking 0:26:25.640 --> 0:26:26.280 Beastie Boys. 0:26:26.320 --> 0:26:30.960 Okay, when that happened, I was like, wow, this is 0:26:31.040 --> 0:26:33.280 a real record, right, never thought nothing else about it. 0:26:33.280 --> 0:26:35.639 That was nineteen eighty six. Uh, and I still got 0:26:35.680 --> 0:26:38.320 my gospel demo. We're trying to get signed to A 0:26:38.480 --> 0:26:40.679 and M Records. We had a little manager and they 0:26:40.760 --> 0:26:42.440 was trying to get us signed to A and M 0:26:42.600 --> 0:26:45.440 because John McLean signed. 0:26:45.520 --> 0:26:48.960 Janet had just done the Fall Down record of Tremaine. 0:26:49.240 --> 0:26:50.000 What you mean, right? 0:26:50.200 --> 0:26:52.639 So we thought, hey, we could it was me And 0:26:52.680 --> 0:26:54.560 when I say we, it was a group called Cachet 0:26:55.720 --> 0:26:56.200 that I was in. 0:26:56.520 --> 0:26:56.760 It was. 0:27:02.280 --> 0:27:11.240 A light green drink right there. And hypnotic is a 0:27:11.280 --> 0:27:11.600 part of it. 0:27:15.160 --> 0:27:16.760 Listen. I was trying to be all in. 0:27:16.840 --> 0:27:19.359 Look since j K found me and signed me, I 0:27:19.480 --> 0:27:21.600 was trying to be all in the French state Club Nouveau. 0:27:21.800 --> 0:27:24.360 And you know, so I just said that stupid ship. 0:27:24.880 --> 0:27:29.879 It's just right, right right. It's just made a unique voice, supposedly, 0:27:30.320 --> 0:27:32.080 and it was spelled c A c h E T 0:27:32.480 --> 0:27:40.680 d E v O. I s, oh wow, that's right, 0:27:40.840 --> 0:27:41.840 that's right, that's right. 0:27:43.760 --> 0:27:47.920 Oh yeah, And you know what, shout out to my 0:27:48.000 --> 0:27:50.320 girl Michelle mactheney, who I grew up with, my homegirl 0:27:50.359 --> 0:27:50.880 from witch Toad. 0:27:51.000 --> 0:27:52.879 She was in that group with me, and recipes to 0:27:52.960 --> 0:27:54.680 James Williams who was also in that group. We passed 0:27:54.680 --> 0:27:57.760 away that. But guess what, Jake One just. 0:27:57.800 --> 0:28:01.280 Sampled some something from that very album only last year, 0:28:01.880 --> 0:28:06.000 that unreleased, that unreleased Warner Brothers album, Can you feel Me? 0:28:06.160 --> 0:28:06.200 Like? 0:28:06.240 --> 0:28:10.000 People find they find stuff? Brow that's dope, man, Ain't 0:28:10.000 --> 0:28:11.600 that crazy? But Anyway, long story, so back to J 0:28:11.760 --> 0:28:16.840 King's Okay, So Jay King blows up with time Ax 0:28:16.960 --> 0:28:19.879 Social Club. They fall out and then the only thing 0:28:20.040 --> 0:28:23.120 left is Denny and Tommy and and Uh and Jay 0:28:23.240 --> 0:28:25.600 King and then he puts in Samuel and Val. That 0:28:25.720 --> 0:28:28.880 becomes Club New vaut All right, So now I'm still 0:28:28.920 --> 0:28:31.680 in Wichita. My first visit to LA was trying to 0:28:31.720 --> 0:28:33.840 get signed to A and M with John McClain. John 0:28:34.000 --> 0:28:35.880 was actually interested and we thought we had a deal 0:28:35.920 --> 0:28:38.400 on the table. So I'm kind of feeling a little 0:28:38.440 --> 0:28:41.680 cocky and thinking that, oh, John McLain said he's interested. 0:28:42.000 --> 0:28:44.320 So when I get back to Wichita and I'm just 0:28:44.400 --> 0:28:47.840 in this in between times, my friend Steve the Club 0:28:47.920 --> 0:28:51.440 New vau stand calls me from J King's hotel room 0:28:51.800 --> 0:28:54.280 late like two in the morning, something crazy, and he 0:28:54.360 --> 0:28:56.320 calls me. I'm still living with my mom, so she's 0:28:56.320 --> 0:28:56.920 like what the hell? 0:28:57.240 --> 0:28:59.800 So I answered the phone. His name is Steve Williams. 0:29:00.040 --> 0:29:01.560 He goes, hey, you got to get down here. 0:29:01.880 --> 0:29:05.360 I'll let Ja King hear your demo, that same gospel demo, 0:29:05.960 --> 0:29:07.680 and then Jay King snatches. 0:29:07.280 --> 0:29:09.640 The phone and be like, come get this motherfucker. He's 0:29:09.640 --> 0:29:12.800 sucking up my pussy. But I do need you to 0:29:12.920 --> 0:29:15.320 let me. But I do need to let you. Let 0:29:15.400 --> 0:29:17.560 me take this tape, I said. 0:29:17.640 --> 0:29:20.680 And I was like, WHOA, I don't know, bro, And 0:29:20.800 --> 0:29:23.960 the only thing I had seen was bad press about 0:29:24.000 --> 0:29:27.960 them fighting right with Time at Social Club. 0:29:28.520 --> 0:29:31.880 Yes, listen, let me tell you to radio obviously, and 0:29:32.040 --> 0:29:42.120 I read right the lead singer Time Social Club like 0:29:42.400 --> 0:29:44.400 just throw J King under the bus. 0:29:47.200 --> 0:29:49.480 Worse than that, though, I would read like black beaten, 0:29:49.680 --> 0:29:54.440 you know, come on, man, so look so but here's 0:29:54.480 --> 0:29:56.560 the thing that changed my mind talking to him. 0:29:57.440 --> 0:30:00.040 I saw an image and the TV was on, and 0:30:00.400 --> 0:30:01.800 it sounds like I'm making it up, but it's not. 0:30:01.920 --> 0:30:05.400 It's true. Joan Rivers had her first show on Fox 0:30:05.920 --> 0:30:07.000 and she had a little talk show. 0:30:07.760 --> 0:30:11.120 I'd be damned when that shit played on repeats in 0:30:11.160 --> 0:30:14.440 which tah, there's Joan Rivers talking to J King. 0:30:14.320 --> 0:30:16.320 And Club newvau with and handing them a gold album. 0:30:17.400 --> 0:30:17.680 Wow. 0:30:18.040 --> 0:30:21.040 I was like, uh, whoa, Now do I want to 0:30:21.040 --> 0:30:23.920 say this at my mama's house or I don't want 0:30:23.960 --> 0:30:25.600 to worry about whether Jay is a crook or not? 0:30:25.840 --> 0:30:26.000 Right? 0:30:26.680 --> 0:30:28.600 And so I said, man, let it take the tape, Bro, 0:30:28.920 --> 0:30:30.560 take the tape. And he said, and he said this 0:30:30.640 --> 0:30:32.560 to me, and he made a promise to me. He said, bro, 0:30:33.480 --> 0:30:35.640 I promise you, I'll have you a record deal in 0:30:35.760 --> 0:30:39.600 two weeks. This tape is phenomenal. Benny Medina is going 0:30:39.640 --> 0:30:41.720 to love it, and you're going to be ready to 0:30:41.800 --> 0:30:44.400 leave Wichita and move to Sacramento, which is where he 0:30:44.520 --> 0:30:45.440 lived at the time. 0:30:45.480 --> 0:30:47.920 And this is nineteen eighty seven. He absolutely. 0:30:48.080 --> 0:30:50.560 I was washing dishes one day phone rang, picked up 0:30:50.600 --> 0:30:52.160 that thing on you know, the old school phone, off 0:30:52.200 --> 0:30:54.480 the wall, put it on my shoulder, kept washing the dishes. 0:30:54.560 --> 0:30:57.080 Jak said, you ready to leave? I said, who is this? 0:30:57.240 --> 0:30:57.600 Jay Man? 0:30:57.720 --> 0:31:00.520 Get to pay your mama's bills. You're moving this Sacramento. 0:31:00.800 --> 0:31:03.040 You guys are signing the Warner Brothers. That's how I 0:31:03.120 --> 0:31:04.040 got in the record business. 0:31:04.960 --> 0:31:05.920 Wow, nikes. 0:31:06.360 --> 0:31:08.720 Now that the Cats Sims you mentioned Samuel that was 0:31:08.760 --> 0:31:11.000 in that group. Was that the same Samuel? So you 0:31:11.120 --> 0:31:12.000 like what you see Samuel? 0:31:13.760 --> 0:31:14.280 Absolutely? 0:31:16.240 --> 0:31:18.800 Oh yeah, absolutely for sure. And that was you know, 0:31:19.000 --> 0:31:20.880 that was the club devote part of it. When I 0:31:20.960 --> 0:31:22.840 got to Sack, I met all of those dudes. They 0:31:22.840 --> 0:31:25.120 were still recording Tony Tony. Tony hadn't happened. 0:31:24.880 --> 0:31:28.760 Yet and where can you answer this for me? Where 0:31:28.800 --> 0:31:30.440 the hell is Tommy Denny right now? 0:31:30.800 --> 0:31:31.440 I talked to him. 0:31:31.480 --> 0:31:33.240 I talked to him all the time. Tommy follows me 0:31:33.360 --> 0:31:36.200 on on on Instagram, and Denny is out here. I 0:31:36.280 --> 0:31:37.760 think he's managing them joints. 0:31:37.880 --> 0:31:44.240 The producer. Oh wow wow ye folks. 0:31:44.600 --> 0:31:48.280 Yeah, and we're talking about we're talking about Denzel Thomas 0:31:48.320 --> 0:31:49.400 Backro and Denzel Foster. 0:31:49.680 --> 0:31:57.560 That's right, right, absolutely, so, I mean you get the Sacramento. 0:31:57.920 --> 0:32:00.120 I get the Sacramento and it's the first time in 0:32:00.200 --> 0:32:02.560 California ever. No, No, that was my second time because 0:32:02.560 --> 0:32:03.880 I had just been in La trying to meet with 0:32:03.960 --> 0:32:06.320 John McLain in the year before, in eighty six. 0:32:06.440 --> 0:32:09.040 In eighty six, Right, how did that fall through? 0:32:09.200 --> 0:32:11.600 Or it was just like quickly beating happened and it 0:32:11.640 --> 0:32:12.040 fell through? 0:32:12.120 --> 0:32:14.200 Because this is my only big Griffy tie ever in 0:32:14.280 --> 0:32:14.800 my whole life. 0:32:14.880 --> 0:32:18.600 It felt because the guy that we thought was our 0:32:18.680 --> 0:32:21.600 manager was a crook and he had been doing business with, 0:32:21.800 --> 0:32:26.959 said Dick Griffy at some kind of international shipping weird something. 0:32:27.440 --> 0:32:31.720 He went to jail, and when he went to jail, 0:32:32.080 --> 0:32:32.680 we had to go. 0:32:32.760 --> 0:32:38.280 Back to Kansas, right, Yeah, So the j King coming 0:32:38.360 --> 0:32:41.480 through was a literal savior of my life. 0:32:41.760 --> 0:32:42.800 That was a lifeline. 0:32:42.880 --> 0:32:43.840 Yeah yeah, well is. 0:32:43.920 --> 0:32:45.160 Jay King from Sacramento? 0:32:45.440 --> 0:32:48.200 He actually is from Sacramento. Yeah, okay, sounds like what. 0:32:48.960 --> 0:32:54.120 Have y'all noticed that no one, no black artists not 0:32:54.400 --> 0:32:58.680 born in the in the sixties, that gets to our show. 0:32:59.560 --> 0:33:03.760 It's like they cannot even get to California without running 0:33:03.760 --> 0:33:11.320 to either Ronnie Simmons. We're now j King like is 0:33:11.400 --> 0:33:14.160 completely I mean, the good side of that story is 0:33:14.200 --> 0:33:17.239 also clearance. But yeah, it's like, you're gonna get You're 0:33:17.240 --> 0:33:20.400 gonna run into four people on your journey. 0:33:20.720 --> 0:33:24.480 That's said a lot about them though the success or 0:33:24.960 --> 0:33:26.400 epic failure one or the other. 0:33:26.920 --> 0:33:28.720 Oh my god, wow, it's crazy. 0:33:29.600 --> 0:33:33.280 But Yo, here's the thing though, the j King part 0:33:33.320 --> 0:33:36.520 of my my experience taught me a lot because not 0:33:36.680 --> 0:33:39.600 only did they get me in the studio and kept working, 0:33:40.240 --> 0:33:43.400 but unfortunately I did very horrible drum sound during that era. 0:33:43.520 --> 0:33:45.560 Don't don't don't go find that cash album quest and 0:33:45.600 --> 0:33:48.720 talk about the drum. Oh god, it's horrible. 0:33:48.960 --> 0:33:51.000 But look Jake, I made up Jake and get it 0:33:51.040 --> 0:33:51.320 from him. 0:33:53.400 --> 0:33:56.400 That bad Boy is on disc. Gods, it's horrible. They're 0:33:56.400 --> 0:34:01.440 selling on on which call it too Amazon. That shit 0:34:01.520 --> 0:34:03.120 is on Amazon. So look anyway, it. 0:34:03.160 --> 0:34:06.080 Never so it never was released. It never officially released. 0:34:06.120 --> 0:34:07.760 It never but I have it on CD. 0:34:08.800 --> 0:34:11.680 Got you you know, we got it that far cover, 0:34:12.120 --> 0:34:14.360 about to be released on the schedule and everything, and 0:34:14.440 --> 0:34:16.719 then Jay like pissed off the top brass and they 0:34:16.760 --> 0:34:18.040 dropped his whole ship. 0:34:18.800 --> 0:34:19.080 Wow. 0:34:19.600 --> 0:34:25.719 So yes, describe j King as CEO because he was 0:34:25.800 --> 0:34:26.400 on the come up. 0:34:26.760 --> 0:34:27.279 Yeah he was. 0:34:27.560 --> 0:34:30.800 And then you know what, so what happened? 0:34:31.120 --> 0:34:31.880 I think you know what? 0:34:32.120 --> 0:34:35.040 Like and the jail tell you this himself. When he 0:34:35.200 --> 0:34:42.480 was young, girl, he had a serious like energy problem. 0:34:42.560 --> 0:34:43.799 He could not control his. 0:34:44.040 --> 0:34:46.759 Energy, like meaning like if he got pissed, he let 0:34:46.800 --> 0:34:49.719 you know. He did not edit himself. He did not care. 0:34:50.560 --> 0:34:52.520 I remember one time a security guy said something crazy 0:34:52.560 --> 0:34:53.839 to him as we was walking through the mall. 0:34:54.000 --> 0:34:54.839 He went and got a gun. 0:34:56.200 --> 0:34:59.040 He said, like he was triggered, Like this guy was 0:34:59.200 --> 0:35:02.160 not the one playing with seriously seriously, and. 0:35:04.400 --> 0:35:04.719 That was it. 0:35:04.880 --> 0:35:08.040 Maybe I don't know, I don't know, but I'm telling 0:35:08.040 --> 0:35:10.799 you this. People did not play with Jay. 0:35:11.239 --> 0:35:14.359 Jay was about his business and he definitely but one 0:35:14.400 --> 0:35:16.719 thing he was to me was like a kind of 0:35:16.719 --> 0:35:19.080 an older brother. And he was protective and he was 0:35:19.400 --> 0:35:20.799 and he nurtured me, I give him. 0:35:20.920 --> 0:35:23.080 And you know what he also did. He left me alone. 0:35:24.040 --> 0:35:26.040 He left me do my thing. And and I'm telling 0:35:26.080 --> 0:35:27.880 you right now, those years. 0:35:28.520 --> 0:35:30.799 Taught me the most, probably because it was the time 0:35:30.800 --> 0:35:32.080 where I thought I had made it. 0:35:32.200 --> 0:35:33.800 You know, when you get signed and you think you 0:35:33.880 --> 0:35:35.880 made it and then all of a sudden beginning. 0:35:36.120 --> 0:35:38.279 Man, look that was just the beginning. You know all 0:35:38.320 --> 0:35:41.080 about that funtation, So it's just it was crazy. But 0:35:41.200 --> 0:35:45.319 when we got dropped because of his actions, and now 0:35:45.360 --> 0:35:49.080 I'm stuck like not having product out, and I thought, 0:35:49.160 --> 0:35:51.160 my dream You listen, when you think your whole dreams 0:35:51.239 --> 0:35:54.359 are over at twenty two, you know what I mean? 0:35:55.480 --> 0:35:57.200 It was devastating. It was devastating. 0:35:57.280 --> 0:36:01.480 But Jay was so much of volatile person that it 0:36:01.520 --> 0:36:03.239 made it difficult to deal with. 0:36:03.440 --> 0:36:09.040 In the moment, he reminded me of the way he talks. 0:36:09.120 --> 0:36:10.520 He talks just like J Prince. 0:36:13.360 --> 0:36:14.279 Yeah, yeah, I know what you mean. 0:36:14.280 --> 0:36:16.719 I know, like a very quiet little least the interviews 0:36:16.760 --> 0:36:18.840 I saw which something said, don't mess. 0:36:18.680 --> 0:36:19.080 With that guy. 0:36:20.880 --> 0:36:21.920 Do you want to have any. 0:36:23.239 --> 0:36:23.879 Go ahead? Go ahead? 0:36:23.880 --> 0:36:25.239 And I was gonna say, do you ever have any 0:36:25.680 --> 0:36:27.960 What was your interactions like with Benny madeena at that time? 0:36:28.040 --> 0:36:28.680 If you had any? 0:36:29.000 --> 0:36:32.200 I did several And you know what, this is the 0:36:32.239 --> 0:36:33.840 funny one of the funny stories about Bennie. 0:36:34.600 --> 0:36:38.360 He at that time he was really trying to transition 0:36:38.480 --> 0:36:41.719 into television, so he was kind of over it in 0:36:41.800 --> 0:36:43.600 a lot of ways. He was already over the record 0:36:43.640 --> 0:36:45.080 thing he was because he was really about to do 0:36:45.160 --> 0:36:47.960 Fresh Press of bel Air, because he started that immediately 0:36:48.000 --> 0:36:51.279 when he left. But what he was for me was 0:36:51.400 --> 0:36:54.080 just a real honest person, like he was like, Nope, 0:36:54.400 --> 0:36:55.919 that sucks, Yep, that's dope. 0:36:56.280 --> 0:36:58.120 Nope. At one time I used to. 0:36:58.160 --> 0:37:00.160 Make these phone messages on my phone and sat him 0:37:00.200 --> 0:37:02.880 in where I would do all these big ass productions quests. 0:37:02.960 --> 0:37:04.719 I would do, like whole productions just to say that 0:37:04.800 --> 0:37:05.279 I'm not home. 0:37:06.440 --> 0:37:06.960 We all did. 0:37:07.080 --> 0:37:09.400 Yeah, you know what I'm saying right right. So I 0:37:09.480 --> 0:37:12.239 had this one joint and it was funky as hell, 0:37:12.320 --> 0:37:13.160 and he called me. 0:37:13.239 --> 0:37:14.680 Benny called me. I was like, what the hell Benny 0:37:14.719 --> 0:37:17.040 mcgeena was telling me. He went, Yo, that's your first 0:37:17.120 --> 0:37:21.360 fucking single right there. Wow, And he literally chose it 0:37:21.520 --> 0:37:22.800 for the album that never came out, but it was 0:37:22.840 --> 0:37:25.880 a song called wrong and he said, man, that's just. 0:37:27.880 --> 0:37:29.800 So that happened. And then I didn't see Benny for 0:37:29.880 --> 0:37:31.279 decades until he was trying. 0:37:31.280 --> 0:37:32.880 I heard he was trying to find me throughout the 0:37:32.920 --> 0:37:35.320 whole successful SWV period in the nineties. 0:37:35.400 --> 0:37:36.200 He never could find me. 0:37:36.360 --> 0:37:38.560 And when I finally saw him again was recently at 0:37:38.600 --> 0:37:42.320 a La Read book signing. It was me, him and 0:37:42.440 --> 0:37:46.400 Usher and La Reid, and that was probably twenty sixteen. 0:37:47.360 --> 0:37:49.839 He hadn't seen me since eighty eight. 0:37:50.560 --> 0:37:51.399 Right, how's he doing? 0:37:51.440 --> 0:37:51.560 Man? 0:37:51.600 --> 0:37:52.960 She's still like good health and everything. 0:37:53.719 --> 0:37:55.440 As far as I know. Bennie's great. Yeah, I mean 0:37:55.480 --> 0:38:01.600 when you're that rich man, j the Man, Diddy, Babyface, 0:38:01.840 --> 0:38:02.840 you know. Please. 0:38:05.280 --> 0:38:10.200 There's another legendary person that enters your sphere and I 0:38:10.280 --> 0:38:13.960 don't know much about him or like I know his 0:38:14.120 --> 0:38:16.080 music well, and that's Robert Brookins. 0:38:17.480 --> 0:38:21.320 Oh, how like how does he enter your story? 0:38:22.280 --> 0:38:26.239 So when I got to Sacramento, I found out that 0:38:26.400 --> 0:38:30.280 there was this rivalry between j King and Robert Brookins. 0:38:31.080 --> 0:38:34.720 Robert Brookins had been a child star in the Sacramento 0:38:34.719 --> 0:38:36.879 He's from Sacramento as well, so they were like from 0:38:36.920 --> 0:38:38.640 the same hood, and it was like, you know, I'm 0:38:38.640 --> 0:38:41.160 gonna be famous before you type of thing. So Robert 0:38:41.440 --> 0:38:43.640 was a genius really on the keys vocals, I mean, 0:38:43.760 --> 0:38:46.000 talk about fred Hammon. Robert sound like fred Hammon before 0:38:46.040 --> 0:38:46.520 fred Hammon. 0:38:47.400 --> 0:38:48.479 Wow, Okay, so pete. 0:38:48.840 --> 0:38:51.439 So when I get there, it was only a matter 0:38:51.520 --> 0:38:53.239 of time before I I would meet Robert because I 0:38:53.280 --> 0:38:54.959 was always he was like a legend and I hadn't 0:38:54.960 --> 0:38:55.440 met him yet. 0:38:55.480 --> 0:38:56.279 I was only twenty two. 0:38:56.480 --> 0:38:58.480 I kept hearing about him, and then when Jay would 0:38:58.520 --> 0:39:00.600 talk about him, it was always brother. 0:39:00.880 --> 0:39:07.960 I beat Robert's ass, So I was like, what is 0:39:08.040 --> 0:39:09.440 the deal with Jking and Robert? 0:39:09.600 --> 0:39:12.960 So they had this rivalry. When Robert Brookings met me, 0:39:13.120 --> 0:39:15.840 it was by accident. I had this girlfriend I was 0:39:15.880 --> 0:39:18.719 seeing the time. Her name is Donna. Donna answered the 0:39:18.880 --> 0:39:23.080 phones for Robert's office front office. So one time I 0:39:23.160 --> 0:39:25.600 wrote Week and I wanted to play Week for her 0:39:25.880 --> 0:39:26.840 to see what she thought of it. 0:39:26.920 --> 0:39:30.240 As a female, I went into her office. She introduced 0:39:30.239 --> 0:39:30.800 me to Robert. 0:39:30.920 --> 0:39:33.319 That was my first time meeting him, and he didn't 0:39:33.320 --> 0:39:34.880 know nothing about me singing or playing and none of 0:39:34.880 --> 0:39:37.239 that stuff. When I pushed the button play on Week, 0:39:37.440 --> 0:39:39.640 my demo of Week Donna. 0:39:40.360 --> 0:39:44.880 I looked up. Her ass was in tears. Robert was like, 0:39:45.120 --> 0:39:51.279 that's too many motherfucking words, yes, he said, he said, 0:39:51.320 --> 0:39:54.879 why are you saying something? Words? Make it most simple? 0:39:55.360 --> 0:39:55.879 That's too many. 0:39:56.400 --> 0:40:00.200 I was only if only Robert had an on the 0:40:00.280 --> 0:40:01.719 bone thugs is right around the corner. 0:40:04.480 --> 0:40:07.200 But look, but look what Robert did at that moment. 0:40:07.239 --> 0:40:11.120 Though he showed me a couple of chords, he showed 0:40:11.160 --> 0:40:13.919 me he was working with Jackie Jackson at the time. 0:40:14.360 --> 0:40:17.520 He took me to Tito Jackson's house here in LA. 0:40:18.000 --> 0:40:19.640 He took me under his wing, is what he did. 0:40:19.880 --> 0:40:22.200 And that's how I ended up on his second album. 0:40:22.239 --> 0:40:24.680 I'm doing backgrounds on there on a song called United. 0:40:25.160 --> 0:40:28.520 But Robert literally, what he really was trying to do 0:40:28.960 --> 0:40:33.120 was take J Kings thing from J King. 0:40:34.239 --> 0:40:37.520 You feel me. He's trying to get me squarely into 0:40:37.600 --> 0:40:39.200 Robert camp. He's like, and what you doing with that? 0:40:39.480 --> 0:40:39.640 You know? 0:40:40.040 --> 0:40:40.440 Jking? 0:40:40.800 --> 0:40:44.200 Them niggas can't sing, they can't. He's like, you too, 0:40:44.400 --> 0:40:46.360 You're too bad to be in that camp, bro, what 0:40:46.520 --> 0:40:48.520 you doing? And I think he tried to show me, 0:40:48.800 --> 0:40:51.040 like the life Hollywood life with the Jackson's and the that, 0:40:51.360 --> 0:40:53.640 and he was also playing keys for Earth Wind and Fire. 0:40:53.680 --> 0:40:57.200 Eventually Robert was doing everything long story short, you. 0:40:57.239 --> 0:41:01.440 Know, Okay, yeah, I know, I know he passed away 0:41:01.560 --> 0:41:02.359 like ten years ago. 0:41:02.400 --> 0:41:04.839 I think, yes, yes, yes, but he ultimately became very 0:41:04.880 --> 0:41:05.920 good friends and. 0:41:06.760 --> 0:41:08.399 And he was He's just one of those cats where 0:41:08.400 --> 0:41:11.440 that I always knew about or you know that that 0:41:11.719 --> 0:41:14.160 never you know, got a shine or really got the 0:41:14.239 --> 0:41:16.200 light of day, but always saw his name on credits 0:41:16.239 --> 0:41:17.080 and all that stuff. 0:41:17.120 --> 0:41:18.000 And that's funny, man. 0:41:18.080 --> 0:41:21.200 And listen to a record by him called uh in 0:41:21.320 --> 0:41:23.239 Our Lives, In our Lives, check that one out. 0:41:23.680 --> 0:41:25.239 Okay, yeah, look that up. 0:41:25.600 --> 0:41:27.439 Did you sing your demo for for a week? 0:41:28.320 --> 0:41:32.080 Did I sang all the demos for all those songs? Oh? Yeah? 0:41:36.920 --> 0:41:38.959 So how long before. 0:41:40.160 --> 0:41:43.120 You're able to at least get back up on your 0:41:43.160 --> 0:41:48.319 feet again once the j King deal goes? Like did 0:41:48.360 --> 0:41:50.200 you try to tell Benny like why don't you just 0:41:50.200 --> 0:41:53.240 sign me directly? Or like you were already under contract. 0:41:52.840 --> 0:41:56.120 To listen when Jay did what he did, I think 0:41:56.320 --> 0:41:58.960 that in that building it was a rap for anything 0:41:59.040 --> 0:42:01.960 having to do you feel me, like any food from 0:42:02.000 --> 0:42:03.080 that tree was done. 0:42:03.200 --> 0:42:03.719 It's a rap. 0:42:03.960 --> 0:42:05.520 And I didn't have the power as a young kid 0:42:05.640 --> 0:42:07.719 like that to be walking up in those rooms talking 0:42:07.920 --> 0:42:10.080 about anything. Really shit, We fucked up and went tried 0:42:10.120 --> 0:42:12.200 to get a manager to get out of the j dial, and. 0:42:12.239 --> 0:42:14.680 That backfired on us. It was just all bad. I 0:42:15.160 --> 0:42:15.800 was depreved on. 0:42:15.880 --> 0:42:17.600 Did it take you to be free of him? 0:42:18.520 --> 0:42:19.200 A couple of years? 0:42:19.280 --> 0:42:19.400 Man? 0:42:19.600 --> 0:42:20.399 Like a couple of years. 0:42:20.840 --> 0:42:23.800 And then even after that though, I was just struggling 0:42:23.880 --> 0:42:26.279 just to be able to be a working musician. So 0:42:26.400 --> 0:42:28.719 all of a sudden I start taking I start taking 0:42:28.760 --> 0:42:32.680 any calls, any calls, if anything, I would take it 0:42:32.760 --> 0:42:33.439 and go do the work. 0:42:33.760 --> 0:42:35.840 That's how I got Stevie Wonder Gig. 0:42:37.480 --> 0:42:40.720 And the Bobby Brown Gig in nineteen ninety and nineteen 0:42:40.760 --> 0:42:41.839 ninety one, respectively. 0:42:42.040 --> 0:42:43.280 Can I shall tell you that story? 0:42:43.880 --> 0:42:44.120 Nice? 0:42:44.640 --> 0:42:48.080 Okay, So this is what we lived for. Think this. 0:42:48.400 --> 0:42:50.600 So now me and Robert at this time had fallen 0:42:50.640 --> 0:42:52.640 out because Robert made me buy a car that I 0:42:52.680 --> 0:42:54.440 couldn't afford and put it in He said he was 0:42:54.440 --> 0:42:55.920 gonna go sign for it, but then he didn't do it. 0:42:55.960 --> 0:42:57.319 Then I was stuck with the things. I was mad, 0:42:57.560 --> 0:42:59.480 so I was like not feeling Robert, and then Robert 0:42:59.560 --> 0:43:02.160 I also had done multiple songs for Robert that he 0:43:02.280 --> 0:43:04.000 was supposed to pay me for and then he didn't 0:43:04.040 --> 0:43:05.440 pay me for them. So I was really really mad 0:43:05.440 --> 0:43:07.080 at Robert in this moment. I understand that when I 0:43:07.120 --> 0:43:09.560 told you, you know, for these for these artists, it 0:43:09.640 --> 0:43:11.520 was the There was some people that he was working with, 0:43:11.719 --> 0:43:13.520 but I had demoed, I had written and demoed them, 0:43:13.520 --> 0:43:15.040 and he told me he's gonna pay me x amount 0:43:15.080 --> 0:43:15.680 and he didn't do it. 0:43:16.080 --> 0:43:16.239 Well. 0:43:16.280 --> 0:43:18.200 Remember I had Donnad working in there, so Donna could 0:43:18.200 --> 0:43:21.680 tell me what was really going on, right, So what 0:43:21.760 --> 0:43:24.040 I found out was that he really never was gonna 0:43:24.080 --> 0:43:24.320 pay me. 0:43:24.520 --> 0:43:26.960 Okay, so I was I was heeded. 0:43:27.360 --> 0:43:29.640 So now I'm down to La hustling for gigs and 0:43:29.680 --> 0:43:33.320 ship I get a call from a guy named Derek Allen, 0:43:33.480 --> 0:43:34.000 bass player. 0:43:34.040 --> 0:43:34.560 He plays bass. 0:43:35.280 --> 0:43:37.680 That's right, d o A, yes, you know the So 0:43:38.040 --> 0:43:42.000 shout out to Derek Allen. So Derek was Bobby Brown's 0:43:42.080 --> 0:43:44.440 musical director for his tour at that time. 0:43:44.520 --> 0:43:46.759 He did College Girl on Bobby Bobby. 0:43:46.920 --> 0:43:49.239 Exactly check you out. So yeah, that's exactly right. 0:43:49.840 --> 0:43:53.280 So look he hit me and my man, Dennis Austin 0:43:53.840 --> 0:43:55.520 was in the band he's a keyboard player, Dope drough 0:43:55.520 --> 0:43:58.600 from Sacramento as well, Derek's homeboy. They called me and said, Brian, 0:43:58.840 --> 0:44:01.480 we need somebody that can sing and play. Can you 0:44:01.600 --> 0:44:04.120 do this Bobby Brown gig? I said, what's the gig? 0:44:04.320 --> 0:44:06.680 We're doing the American Music Awards. We're doing a medley 0:44:06.960 --> 0:44:09.680 of all his hits at the American Music Awards. Okay, 0:44:09.880 --> 0:44:11.279 and now this is nineteen ninety. Now this is a 0:44:11.400 --> 0:44:13.239 question you were asking how long it took. This is 0:44:13.320 --> 0:44:16.279 about a year after we had gotten dropped. 0:44:16.080 --> 0:44:18.480 And when this is happening in nineteen ninety Okay, Okay, 0:44:18.960 --> 0:44:22.040 So I take the gig. I get the gig, I 0:44:22.080 --> 0:44:24.399 get down to La uh and I do the gig. 0:44:24.480 --> 0:44:26.719 It was amazing. I met Val Young, who's also a legend. 0:44:26.760 --> 0:44:28.319 Shout out to Val Young. I know you know that. 0:44:29.920 --> 0:44:32.799 Vow was on the record. That's right, uh and goat 0:44:32.880 --> 0:44:35.400 banned but check this. Yes, So it's me Val and 0:44:35.440 --> 0:44:37.360 this other guy named Harold. We're doing the backgrounds for 0:44:37.440 --> 0:44:38.960 Bobby Bobby. Uh. 0:44:40.000 --> 0:44:42.520 For for reasons I won't mention, could not really do it. 0:44:45.640 --> 0:44:48.000 You couldn't do the show okay, live like it was 0:44:48.000 --> 0:44:48.440 supposed to be. 0:44:48.560 --> 0:44:51.279 So Dick Clark said, you're not coming up on here. 0:44:51.320 --> 0:44:52.960 You know, Dick Clark did not play. He's like, you're 0:44:52.960 --> 0:44:54.279 not coming out here and messing up my ship. 0:44:54.560 --> 0:44:57.040 Go go record it. You got to go record it. 0:44:57.239 --> 0:44:59.480 So we went to excuse that it was bad. So 0:44:59.560 --> 0:45:02.480 we rec or the whole thing in the studio. 0:45:03.000 --> 0:45:06.080 Now, when I was supposed to leave the next day 0:45:06.239 --> 0:45:08.239 to go back to Sacramento, I'm in the hotel room. 0:45:09.080 --> 0:45:11.160 I'm getting my bags are all packed. I'm in the 0:45:11.480 --> 0:45:15.279 hotel lobby waiting on a cab or something, and look, 0:45:16.000 --> 0:45:17.880 I jump on the piano and I start playing what 0:45:18.320 --> 0:45:19.359 a commission song? 0:45:20.320 --> 0:45:20.640 M hm? 0:45:20.880 --> 0:45:22.680 And it probably was running Back to You or something 0:45:22.719 --> 0:45:26.879 like that. So a guy walks by me and he goes, yo, 0:45:28.960 --> 0:45:30.520 you know that you want you know about the commission 0:45:30.560 --> 0:45:32.000 and say, man, come on, and so we start doing 0:45:32.000 --> 0:45:33.920 two part harmony to it in the lobby of this hotel. 0:45:34.880 --> 0:45:38.719 I looked up and I was like, Bro, you are Keith. 0:45:38.560 --> 0:45:47.640 John hunh Wow, Stevie, Yeah, Stevie, and you yes, yes, yes, yes. 0:45:47.560 --> 0:45:50.960 Yes, yes so Pete. So I go bro, and before 0:45:51.000 --> 0:45:53.000 I can say anything else, he said, what's your name? 0:45:53.680 --> 0:45:55.920 I said, I'm Brian Morgan and he goes, not. 0:45:56.040 --> 0:46:00.279 Brian Alexander Morgan and I said, wait a minute, you 0:46:00.400 --> 0:46:02.920 know my name? Bro? How do you know my name? 0:46:03.320 --> 0:46:06.200 He said, Bro? That Cache album. Stevie plays it on 0:46:06.280 --> 0:46:07.239 the bus all the time. 0:46:08.719 --> 0:46:12.319 What I even get it because they gave promos out 0:46:12.360 --> 0:46:13.840 all the time tables. 0:46:14.520 --> 0:46:15.120 I said, what. 0:46:15.760 --> 0:46:18.239 He said, check this out, Bro, we're having a rehearsal. 0:46:18.640 --> 0:46:22.360 Stevie's doing the Grammys and we're having a rehearsal for it. 0:46:23.040 --> 0:46:24.360 Would you like the audition for it? 0:46:24.440 --> 0:46:25.520 I say what? Of course? 0:46:25.640 --> 0:46:27.000 I said, what you'all doing? He said, we're gonna do 0:46:27.000 --> 0:46:29.839 we can work it out the Beatles joint because Paul 0:46:29.880 --> 0:46:30.839 McCartney's gonna be there. 0:46:30.880 --> 0:46:33.040 I said, oh my god. Yeah, So I did it. 0:46:33.120 --> 0:46:35.759 I went to the form, a line around the form, waiting, 0:46:36.040 --> 0:46:40.240 everybody doing twenty thousand runs warming up, Keith John walking 0:46:40.280 --> 0:46:42.400 me in, got me into that audition and I got 0:46:42.440 --> 0:46:42.759 that gig. 0:46:42.840 --> 0:46:44.359 So if you look at this you can you can 0:46:44.400 --> 0:46:46.000 YouTube it. Nineteen ninety one. 0:46:46.040 --> 0:46:49.200 I think I know that performance. Yeah. 0:46:49.280 --> 0:46:51.759 Wow, that's right, and I'm in there. That's me right there. 0:46:53.000 --> 0:46:55.680 That is crazy around up you you the R and 0:46:55.800 --> 0:46:57.240 B Forrest Gump out here cuz. 0:46:57.239 --> 0:46:58.719 That's what this is. 0:46:58.760 --> 0:46:59.319 How he came. 0:46:59.520 --> 0:47:02.600 Yes, yes, it's a conversation. 0:47:02.920 --> 0:47:05.160 Thank you, thank you, thank you very much. Hey. But yo, 0:47:05.520 --> 0:47:10.600 but from there back home and broke right, okay, and. 0:47:10.800 --> 0:47:12.480 It's cool to be on TV and your mama was like, 0:47:12.520 --> 0:47:14.320 look at my baby on TV with Stevie Wonder. 0:47:14.400 --> 0:47:16.360 But you know, Stevie didn't call me after that until 0:47:17.080 --> 0:47:18.319 about four years later when. 0:47:18.239 --> 0:47:20.640 The girls were out. But when I went back home 0:47:21.200 --> 0:47:23.279 something I'm gonna switch. I'm gonna make it easy, just 0:47:23.320 --> 0:47:26.800 transition for y'all. I was like, I cannot be broke 0:47:26.920 --> 0:47:30.480 no more. I got to write something for somebody that 0:47:30.600 --> 0:47:34.000 I already know has has has a standing, you know 0:47:34.040 --> 0:47:34.400 what I mean. 0:47:35.120 --> 0:47:38.320 So I in eighty nine, Martha wash. 0:47:39.000 --> 0:47:43.200 Had out everybody, everybody, and I love that joint right, 0:47:43.520 --> 0:47:46.080 And I've always been a househead and a dance head. 0:47:46.239 --> 0:47:47.560 So I was like, man, I can write. I can 0:47:47.600 --> 0:47:49.360 write a joint for Martha. And then all of a sudden, 0:47:49.360 --> 0:47:53.759 when she had out everybody does now that, I was like, 0:47:53.880 --> 0:47:56.000 somebody right, So that's ninety one. 0:47:56.160 --> 0:47:57.320 So I'm like, this is my opening. 0:47:57.400 --> 0:48:00.200 Because she got a record deal on RCA as a 0:48:00.239 --> 0:48:04.520 result of her getting suing C and C. So she 0:48:04.600 --> 0:48:06.719 got that deal. So I said, that's my opening right there. 0:48:06.800 --> 0:48:08.800 She got a brand new album that she's gonna need songs. 0:48:09.000 --> 0:48:09.640 So I went home. 0:48:09.880 --> 0:48:11.400 I had a listen to what I had quest This 0:48:11.440 --> 0:48:13.680 is the equipment I had. It's pathetic, but I made 0:48:13.719 --> 0:48:14.400 these joints on it. 0:48:14.560 --> 0:48:15.160 You made it work. 0:48:16.080 --> 0:48:20.040 I had a motherfucking nine O nine rolling nine on 0:48:20.160 --> 0:48:21.439 nine house. 0:48:21.520 --> 0:48:22.480 You need that, you need that. 0:48:22.520 --> 0:48:25.120 I needed that, And then I had a horrible release 0:48:25.160 --> 0:48:26.840 since HR sixteen B. 0:48:27.480 --> 0:48:31.040 Remember that joint, it was progressive joint, Oh my god, 0:48:31.600 --> 0:48:32.360 for percussion. 0:48:32.600 --> 0:48:34.319 Right, you made it work, bro. 0:48:34.520 --> 0:48:36.880 I mated them joints together and used the nine O 0:48:37.000 --> 0:48:38.879 nine for the kick and snare stuff and the HR 0:48:38.960 --> 0:48:40.360 sixty B for the percussion stuff. 0:48:40.400 --> 0:48:42.759 Right, and them two joints go together. It sound like 0:48:42.760 --> 0:48:44.920 a whole new drum machine. So boom. And then I 0:48:44.960 --> 0:48:46.399 wrote and I was like, I did my best. 0:48:46.600 --> 0:48:50.759 Everybody everybody right, And it's a song called give It 0:48:50.840 --> 0:48:52.759 to You and when number one dance for me and 0:48:52.840 --> 0:48:56.400 Martha on RCA in nineteen ninety two, early nineteen ninety two. 0:48:56.640 --> 0:49:00.200 But it got me in the door at RCA and 0:49:00.280 --> 0:49:02.600 our person of the of the Martha Wash record was. 0:49:02.640 --> 0:49:05.920 Kenny or T T Kenny or ts okay Okay, that's 0:49:05.960 --> 0:49:10.000 how we get to s WV WOWTA got you in 0:49:10.080 --> 0:49:10.920 the door, got. 0:49:10.800 --> 0:49:12.520 Me in that door? And I did. And I had 0:49:12.719 --> 0:49:15.040 only done two songs on the demo for Marcus. She 0:49:15.200 --> 0:49:17.440 liked them so much. This is what Martha Wah said 0:49:17.480 --> 0:49:19.040 to me when she heard them demo songs. She said, 0:49:19.719 --> 0:49:22.560 I don't know who you are or where you come from, 0:49:23.040 --> 0:49:25.319 but you're doing what we want the A and our 0:49:25.400 --> 0:49:27.200 guy has not given us what we want until he 0:49:27.280 --> 0:49:30.200 played us. You can you can you do more? 0:49:30.480 --> 0:49:32.360 So I ended up doing five joints on that on 0:49:32.480 --> 0:49:34.879 Martha's debut on r C A five songs on them, 0:49:35.360 --> 0:49:37.319 and that literally changed my life because I was able 0:49:37.360 --> 0:49:40.279 to get a new car by say fuck you to 0:49:40.360 --> 0:49:41.359 Robert Brookins. 0:49:41.280 --> 0:49:45.520 See say say to j King, I could you know 0:49:45.800 --> 0:49:46.239 I'm out here? 0:49:46.280 --> 0:49:47.759 I'm still working, you know it was And I was 0:49:47.840 --> 0:49:49.640 never malice towards him because I knew that if it 0:49:49.760 --> 0:49:51.520 wasn't for him, I wouldn't even be there, So I 0:49:51.560 --> 0:49:53.359 would never talk shit about Jay. But at the end 0:49:53.360 --> 0:49:55.240 of the day, I was just like, yo, I'm working, 0:49:55.360 --> 0:49:57.360 and I got an apartment and I started working and 0:49:57.440 --> 0:49:59.239 if I didn't have that money that I made for 0:49:59.320 --> 0:50:02.799 Martha wash about my first MPC that I did, I'm 0:50:02.800 --> 0:50:04.759 swim to you and all the rest of the stuff. 0:50:04.520 --> 0:50:07.680 On wow, So aka right, got it? 0:50:07.840 --> 0:50:08.120 Got it? 0:50:08.280 --> 0:50:08.440 Now? 0:50:09.520 --> 0:50:09.839 All right? 0:50:09.920 --> 0:50:09.960 Go? 0:50:10.920 --> 0:50:12.080 How do you developed this stuff? 0:50:12.520 --> 0:50:15.880 We came first the songs or or did the songs 0:50:15.920 --> 0:50:20.279 come first? Or you meeting the ladies of s WV 0:50:20.480 --> 0:50:21.439 first songs first? 0:50:21.480 --> 0:50:23.120 Remember I told you I did Week before I ever 0:50:23.160 --> 0:50:23.480 met him. 0:50:23.600 --> 0:50:26.040 I did that, right, okay eighty nine and that's when 0:50:26.560 --> 0:50:28.560 when the whole thing fell apart with Jay, and then 0:50:28.680 --> 0:50:31.319 Chante Moore came into the picture, and then that's kind 0:50:31.320 --> 0:50:33.680 of I wrote that out of a sadness about. 0:50:33.520 --> 0:50:35.759 You were writing that song for her record or I 0:50:35.840 --> 0:50:36.160 wrote it. 0:50:36.200 --> 0:50:39.200 About her, and I was writing it for Charlie Wilson. 0:50:41.719 --> 0:50:43.120 Week was about Chante Moore. 0:50:43.360 --> 0:50:43.960 You didn't know that? 0:50:44.520 --> 0:50:56.279 Every yeah, yeah, yeah, yeah, bro, yes, wow, speak on it. 0:50:56.520 --> 0:50:58.440 I had a huge crush on Chante Bro and I 0:50:58.480 --> 0:51:00.839 couldn't but that was Jay's woman at the time. 0:51:01.440 --> 0:51:03.440 Chaunte was Jay's woman at the time. Big Time. 0:51:05.440 --> 0:51:05.839 Got a man. 0:51:05.920 --> 0:51:06.120 This is. 0:51:09.040 --> 0:51:09.160 Man. 0:51:10.480 --> 0:51:12.520 I'm saying yea, yeah, yeah, and you. 0:51:12.560 --> 0:51:14.719 Know what, and it was just about boundaries and I 0:51:14.840 --> 0:51:17.399 need didn't want to cross no boundaries with my that's 0:51:17.440 --> 0:51:17.680 my boss. 0:51:17.800 --> 0:51:19.680 And j K was still crazy, don't get it sucked up. 0:51:20.080 --> 0:51:29.440 So with that like that and she got that voice 0:51:29.520 --> 0:51:33.600 though that was, Oh my god, make a connection. 0:51:34.040 --> 0:51:40.279 Brooy, Yes, yes, yes, bro bro So. 0:51:40.360 --> 0:51:43.440 Long story short, but I tell the body still Charlie 0:51:43.440 --> 0:51:46.040 Wilson fan though, me thinking where I'm coming from. So, 0:51:46.760 --> 0:51:47.839 Wednesday Lover had. 0:51:47.840 --> 0:51:55.359 Been my favorite gap band song at that right, Oh god, 0:51:55.440 --> 0:51:57.320 I gotta write something for charge. So that was Wednesday 0:51:57.360 --> 0:52:00.080 Lover came on eighty eight, so I wrote week in 0:52:00.160 --> 0:52:02.040 eighty nine. It was only a week a year later, 0:52:02.200 --> 0:52:04.320 not even a whole year later, right, So I'm thinking 0:52:04.680 --> 0:52:06.520 Wednesday Lover. I got to do something at least as 0:52:06.520 --> 0:52:10.239 strong as that, right, And so but Chante was the 0:52:10.320 --> 0:52:13.320 fuel for the subject of it because it was just 0:52:13.400 --> 0:52:16.960 about unrequited things. You can't you know, something's happened, but 0:52:17.000 --> 0:52:20.160 you can't do nothing about it type of energy, hence 0:52:20.239 --> 0:52:21.800 the whole I don't know what it is, but this 0:52:21.960 --> 0:52:23.359 is this is crazy. 0:52:23.400 --> 0:52:23.920 You know what I mean? 0:52:24.239 --> 0:52:26.600 Why is she not exclaiming this from the rooftops? 0:52:26.640 --> 0:52:26.840 Does she? 0:52:27.080 --> 0:52:27.840 What was her reaction? 0:52:28.000 --> 0:52:28.520 To knowing that. 0:52:28.920 --> 0:52:29.920 She didn't know that then and. 0:52:31.640 --> 0:52:34.799 Now she definitely knows it now, she's known it for years, 0:52:35.000 --> 0:52:37.080 But back then she had no idea. And not only that, 0:52:37.200 --> 0:52:39.239 she was trying to get the hell away from Sacramento 0:52:39.320 --> 0:52:40.920 and j too. She had a whole little life she's 0:52:40.920 --> 0:52:43.560 about to live. But but my point, but my point 0:52:43.719 --> 0:52:48.000 is thank god I wrote something so honest, you know 0:52:48.040 --> 0:52:50.400 what I mean, from my heart and and she was 0:52:50.440 --> 0:52:51.239 the inspiration for it. 0:52:51.320 --> 0:52:58.040 And I'm not ashamed to say, you know what Wednesday Love. 0:52:59.160 --> 0:53:02.160 Yeah, man, when the one that's that's just hard, Oh 0:53:02.239 --> 0:53:04.120 my god, it still all right? 0:53:04.160 --> 0:53:08.080 You two are an anomaly to y'all, so puzzling because 0:53:08.200 --> 0:53:11.480 I know that's not on that's on the round Trip record. 0:53:11.840 --> 0:53:14.439 That's right, there's nothing else on. There's horrible. 0:53:17.400 --> 0:53:24.080 Listening. Nobody in eighty nine that like, but when look 0:53:24.160 --> 0:53:26.200 at You Sucker wasn't on there, like. 0:53:26.440 --> 0:53:30.960 Man, right, right? So when's they level? 0:53:31.040 --> 0:53:34.840 What for for my generation I think is when Jagged 0:53:35.000 --> 0:53:37.719 Edge covered it, Yeah, that kind of sent a lot 0:53:37.760 --> 0:53:39.640 of people back like, oh, this is a cover and 0:53:39.800 --> 0:53:41.759 then you know we checked that one. 0:53:41.880 --> 0:53:44.120 It was the same thing when Mary covered I'm in 0:53:44.239 --> 0:53:46.480 Love Like that was a lot of that was a gap. 0:53:46.360 --> 0:53:49.640 Band record, a brilliant gap band record that it kind 0:53:49.680 --> 0:53:50.960 of just went under the radar. 0:53:52.320 --> 0:53:56.680 And honestly, after Gap Band eight so I no na listen. 0:53:56.760 --> 0:53:58.440 They were on Capitol and we're about to get dropped, 0:53:58.440 --> 0:54:00.719 and it was a whole lot of screwed up stuff 0:54:00.719 --> 0:54:02.600 happening at Capito. At the time, it wasn't it wasn't 0:54:02.640 --> 0:54:05.000 a good it wasn't their fault. That was a bona 0:54:05.040 --> 0:54:07.480 fide smash it should have been, but no money was 0:54:07.520 --> 0:54:08.080 put behind it. 0:54:08.280 --> 0:54:10.760 It was just horrible. But that record just did. 0:54:10.640 --> 0:54:12.000 Something to my heart at the time. So when I 0:54:12.040 --> 0:54:14.799 wrote week, I was coming from Matt's face like it's 0:54:14.840 --> 0:54:16.560 gotta be doping up for Charlie to do it. 0:54:16.800 --> 0:54:16.920 Now. 0:54:16.960 --> 0:54:21.360 The ironic thing is I never even gave it to him, wow, 0:54:21.920 --> 0:54:23.960 because so much stuff started happening in a different direction 0:54:24.120 --> 0:54:26.399 for me when like Martha happened and then it didn't 0:54:26.440 --> 0:54:28.200 really blow blow up like I hoped it would, but 0:54:28.480 --> 0:54:29.840 we got the number one dance record out of it, 0:54:29.840 --> 0:54:31.480 and then it kind of went away. But when I 0:54:31.600 --> 0:54:34.080 met when I heard Coco's voice though, this is the connection. 0:54:34.480 --> 0:54:36.359 So when Kenny Ortiz was like all this Suden when 0:54:36.360 --> 0:54:38.440 he's finishing up Martha Watch. He's like, b I got 0:54:38.480 --> 0:54:40.840 these girls. I'm gonna need you to write some stuff 0:54:40.840 --> 0:54:42.640 for these girls. And you hear that all the time 0:54:42.640 --> 0:54:44.360 from an rd's and be like, oh God, here we go. 0:54:44.840 --> 0:54:45.200 But wait. 0:54:45.280 --> 0:54:48.040 He FedEx the joint a cassette to me back in 0:54:48.120 --> 0:54:50.040 those days. I opened the cassette up, I put it on. 0:54:50.640 --> 0:54:52.520 Soon as I heard Coco's voice, I was like, oh 0:54:52.600 --> 0:54:56.160 my god, that's another Shirley Murdock all day. Right, So 0:54:56.280 --> 0:54:59.080 when you put my energy, which is a Charlie Wilson 0:54:59.160 --> 0:55:02.480 heavily influenced thing, with a Shirley Murderer, now you got 0:55:02.520 --> 0:55:04.440 a potential computer love about to happen. 0:55:05.840 --> 0:55:06.880 That's so scientific. 0:55:09.800 --> 0:55:12.480 It's the truth, right it is. And I knew it 0:55:12.560 --> 0:55:14.360 as soon as I heard it. So I'm like, okay. 0:55:14.520 --> 0:55:16.680 So that demo that had been floating around a week 0:55:16.800 --> 0:55:19.440 of me, I knew in the back of my mind 0:55:19.560 --> 0:55:21.520 Coco would murder it. But I was trying to get 0:55:21.560 --> 0:55:23.680 a solo deal for myself. So out of all the 0:55:23.719 --> 0:55:27.000 stuff I sent Kenny for them, I didn't send him. 0:55:26.920 --> 0:55:30.200 That Wow, I sent him right here. 0:55:30.880 --> 0:55:32.640 I send him some other stuff, and I did not 0:55:32.760 --> 0:55:34.920 send him Week. Now, listen how he found out about Week. 0:55:35.800 --> 0:55:39.279 Before you do that? What who was working on their 0:55:39.440 --> 0:55:41.320 music that got to you? 0:55:41.360 --> 0:55:43.720 Because I'm under the impression that you did all their music, 0:55:44.520 --> 0:55:46.759 Like how did how did their demo get to you? 0:55:46.880 --> 0:55:48.839 And what was on that demo? Like what was the music? 0:55:48.960 --> 0:55:51.920 That's a great question. There's a guy that what they 0:55:51.960 --> 0:55:55.160 were work with called Donald Donald Brown. I'm a bolding, 0:55:55.239 --> 0:55:57.399 I think if I'm saying it right, he passed away. 0:55:57.480 --> 0:55:59.920 He was there's a song on the first album called 0:56:00.320 --> 0:56:01.520 a Couple of Things he did on there. 0:56:02.840 --> 0:56:04.560 Look on the credits and check his joints out. But 0:56:04.600 --> 0:56:06.800 he's on the first album. But that's the stuff I 0:56:06.880 --> 0:56:07.560 heard was from him. 0:56:07.600 --> 0:56:09.879 But now what I learned on Coco's voice at the time, 0:56:09.920 --> 0:56:11.960 I was like, man, she's got to have somebody to 0:56:12.040 --> 0:56:13.920 be able to control what she's doing because it was 0:56:13.960 --> 0:56:17.040 like very church. You know, it's all over the place, church, church, church, 0:56:17.080 --> 0:56:18.879 and alands were wild. I was like, if I could, 0:56:19.000 --> 0:56:21.080 if I could harness that entertainment. 0:56:21.200 --> 0:56:22.840 It's going to be dope. And I knew that. 0:56:23.280 --> 0:56:25.440 But here's how Kenny found out about Week and went 0:56:25.520 --> 0:56:30.000 crazy there back to J King at J King when 0:56:30.080 --> 0:56:33.200 I worked there, there was this janitor working there named 0:56:33.280 --> 0:56:37.040 Jeff Bowen's okay, So Jeff Bowens would clean up the 0:56:37.080 --> 0:56:38.359 office after everybody would leave. 0:56:39.080 --> 0:56:40.680 But what we didn't know was that he would also 0:56:41.000 --> 0:56:45.480 take help himself to taste and concept to me. Oh okay. 0:56:45.840 --> 0:56:49.680 So now that was eighty nine, cut to ninety two, 0:56:50.080 --> 0:56:53.040 ninety one somewhere in there, not even ninety two, It 0:56:53.040 --> 0:56:56.480 is ninety one. I get a phone call from Kenny Ortiz. 0:56:57.120 --> 0:57:01.600 He's at a meeting at RCA Records in Hollywood. He goes, nigga, 0:57:01.719 --> 0:57:05.000 you have been holding out on me. How in the 0:57:05.080 --> 0:57:07.960 hell am I hearing this song from Jeff Bowens because 0:57:08.000 --> 0:57:13.520 Jeff Bowens is now an an R person at RCA Records. Wow, 0:57:14.080 --> 0:57:16.640 And he goes and Kenny Otez goes, that sounds like 0:57:16.760 --> 0:57:19.600 my dude, Brian Morgan, And Jeff Bowen goes Brian Alexander 0:57:19.600 --> 0:57:21.560 Margan and he goes, hell yeah, And Kenny goes, I'm 0:57:21.600 --> 0:57:27.920 working with this nigga right now. And so Kenny called me, go, 0:57:28.120 --> 0:57:31.120 b are you crazy? You've been holding out on me? Bro, 0:57:31.640 --> 0:57:33.120 I got you gotta cut this on that stuff. Even 0:57:33.160 --> 0:57:35.240 you gotta cut this on them when you finished mixing, Martha, 0:57:35.440 --> 0:57:37.800 please come to New York and cut this on them 0:57:38.000 --> 0:57:41.200 when you finish mixing Martha, I said no, because I 0:57:41.240 --> 0:57:41.640 was like, bro. 0:57:41.600 --> 0:57:43.800 I'm trying to get a deal myself. You hear me 0:57:43.880 --> 0:57:46.000 on that joint cup. Why don't you sign me? He said, 0:57:46.360 --> 0:57:50.520 be later. I need them on that record now. And 0:57:50.800 --> 0:57:52.720 he said because he wanted to do like a female guy. 0:57:55.960 --> 0:58:00.640 Okay, okay, okay, So but who but who who influenced 0:58:00.760 --> 0:58:04.560 Aaron Charlie? So we still we're still back at Charlie. Right, 0:58:05.280 --> 0:58:06.960 So when I get back to New York, I agree 0:58:07.000 --> 0:58:10.160 to it after you agreed to drop a little coinage, uh. 0:58:13.400 --> 0:58:14.360 De right? 0:58:14.760 --> 0:58:17.280 So yeah, we went in there were in the studio 0:58:17.360 --> 0:58:21.480 called Homeboy, which is legendary robinesque. Shortly after we did that, 0:58:21.560 --> 0:58:24.760 did show me Love in there Andrew Martin whichever one 0:58:24.800 --> 0:58:26.120 you believe, And. 0:58:28.280 --> 0:58:30.480 Is that the story is that Andrew Martin is singing that. 0:58:30.880 --> 0:58:35.040 Yes, Lord, that's what that's the Yeah, that's what. That's 0:58:35.480 --> 0:58:38.640 the big, big big. I saw it on the internet, man, 0:58:38.800 --> 0:58:40.920 and then and then Andreas, y'all got to google it. 0:58:41.000 --> 0:58:41.840 She she sings it. 0:58:42.080 --> 0:58:43.840 And then when you hear her sing it, you can 0:58:43.880 --> 0:58:49.880 be like holy wow. So anyway, but Fred Fred shout 0:58:49.920 --> 0:58:53.080 out to Fred McFarlane and and uh the guy that 0:58:53.160 --> 0:58:55.680 own Homeboy not forgive me, Matt Foster, forgive me. Y'all 0:58:55.720 --> 0:58:59.080 worked there, Fred and Allen, George Jesus, the writers of 0:58:59.400 --> 0:58:59.920 Show Me Love. 0:59:00.880 --> 0:59:02.800 But we're recording this salam Rima, recording a lot of 0:59:02.840 --> 0:59:05.960 joints in there as a very famous room. Ask everybody 0:59:06.280 --> 0:59:10.840 Homeboy recordings, Ask them about that. Anyway, history So got 0:59:10.880 --> 0:59:14.480 that cut. Coco hated it was difficult to record her 0:59:14.560 --> 0:59:14.720 on it. 0:59:15.760 --> 0:59:18.920 But the good news every hit starts right. 0:59:19.320 --> 0:59:22.160 But yeah, Well, let me ask you, well, I was 0:59:22.200 --> 0:59:28.200 gonna say, you're you're basically being set up, uh, kind 0:59:28.240 --> 0:59:32.960 of as a blind playdate. So like, how do you 0:59:34.280 --> 0:59:38.080 even start to nurture the relationship of trust and whatnot? 0:59:38.240 --> 0:59:41.040 Like do you just immediately day one to start recording 0:59:41.080 --> 0:59:42.960 these joints? Do you like spend time with them? For 0:59:43.200 --> 0:59:45.560 like jam and Lewis spent two weeks with Janet before 0:59:45.560 --> 0:59:47.320 they even hit the studio. 0:59:47.960 --> 0:59:50.400 Man with you, what was the process to gain the 0:59:50.480 --> 0:59:51.960 trust that was? 0:59:52.200 --> 0:59:54.680 That is a great question, and let me tell you 0:59:54.840 --> 0:59:58.840 the answer is not good because that level of commitment 0:59:58.880 --> 1:00:00.600 that Jam m Lewis, and I'm a huge fan of 1:00:00.680 --> 1:00:03.320 Jimmy jan Terry Lewis my guy. They influenced they influenced 1:00:03.360 --> 1:00:05.560 me producer wise, like almost more than everybody. 1:00:06.040 --> 1:00:09.560 Uh my key style, my bass, left hand bass is Jimmy. 1:00:09.680 --> 1:00:13.760 We talked, We talked very often. That's my guy. But 1:00:13.920 --> 1:00:16.000 they spent a time with Janet like that to do that, 1:00:16.040 --> 1:00:17.440 I had no such luxury. 1:00:18.000 --> 1:00:20.120 I got these three girls thrown in my face with 1:00:20.200 --> 1:00:23.040 attitude out the Yin yang right like all this whole 1:00:23.200 --> 1:00:24.960 New York attitude, and they was like they didn't know me, 1:00:25.320 --> 1:00:27.920 they didn't care. But what the difference was with me 1:00:28.200 --> 1:00:30.880 and Coco was she had been used to running these 1:00:30.960 --> 1:00:33.840 hip hop producers crazy because they couldn't sing, and they 1:00:33.880 --> 1:00:35.320 could and she and they couldn't tell her what to 1:00:35.400 --> 1:00:37.600 do because they could not reproduce it with their own mouth. 1:00:38.000 --> 1:00:40.200 I walk in, I did the whole beat, the whole 1:00:40.240 --> 1:00:42.000 record and everything, and I'm also can. 1:00:42.000 --> 1:00:44.520 Sing this, and I can sing, and I can tell 1:00:44.560 --> 1:00:45.240 you how to sing it. 1:00:46.320 --> 1:00:49.360 So that changed the game for her, and she resisted 1:00:49.440 --> 1:00:51.680 it big time, like in a big way, like it 1:00:51.760 --> 1:00:54.320 was it was very hard to get anything done. However, 1:00:54.920 --> 1:00:57.560 once she got it, done, and I was satisfied with 1:00:57.640 --> 1:00:58.240 how it sounded. 1:00:58.680 --> 1:00:59.400 That's what you hear? 1:01:01.720 --> 1:01:04.400 Did you have to go line for line? And what 1:01:04.520 --> 1:01:07.320 you're basically saying is and I've heard this story before, 1:01:07.560 --> 1:01:12.400 the story of u uh. We once had Linda Perry 1:01:12.480 --> 1:01:15.400 on the show and she was talking about how, you 1:01:15.480 --> 1:01:19.800 know Christina Aguilera when she first got beautiful. You know, 1:01:19.880 --> 1:01:22.120 of course Christina thought she was going to do some 1:01:22.480 --> 1:01:34.760 you know, crazy and you know, just as a way 1:01:34.800 --> 1:01:36.560 for her to learn the song. She's like, all right, 1:01:36.600 --> 1:01:38.360 put the mic up, let me just sing this real quick, 1:01:38.760 --> 1:01:40.240 and I'll come back in two weeks and knock this 1:01:40.360 --> 1:01:40.800 joint out. 1:01:40.840 --> 1:01:44.000 And she's saying in her dry voice, and Linda, news 1:01:44.520 --> 1:01:44.960 is the take. 1:01:45.560 --> 1:01:47.960 I'm gonna let you struggle for three weeks and make 1:01:48.040 --> 1:01:50.400 you think you're gonna top it and didn't do it 1:01:51.120 --> 1:01:55.680 so like? But what's what's the You know, I've made 1:01:55.720 --> 1:01:57.880 it known on this show that I hate nothing more 1:01:57.960 --> 1:02:01.000 than recording vocals with artists. 1:02:01.080 --> 1:02:05.640 But how do you like, how do you get them 1:02:05.760 --> 1:02:09.960 to just straight up chill and go. 1:02:10.760 --> 1:02:13.760 That's a great question as well. Listen with me and Coco. 1:02:14.120 --> 1:02:17.920 It was very very easy in one sense because she 1:02:18.160 --> 1:02:21.680 surrendered because she wasn't a person who could ad lib. 1:02:22.520 --> 1:02:25.280 She wasn't an improv person at all, and she was 1:02:25.360 --> 1:02:28.240 really fearful of it, Like she would be so terrified 1:02:28.280 --> 1:02:30.120 that she might have to create an ad lib or 1:02:30.200 --> 1:02:31.680 do any of that stuff. So in order to make 1:02:31.720 --> 1:02:34.520 her feel more comfortable, I would just do every single 1:02:34.600 --> 1:02:38.360 thing that I wanted her to do, literally, like I 1:02:38.400 --> 1:02:40.280 would just sing it down the way. 1:02:40.320 --> 1:02:41.840 Literally that I wanted her to do it. I'm talking 1:02:41.880 --> 1:02:44.040 about every single thing. Listen, I'm saying to you at 1:02:44.040 --> 1:02:47.560 the end, even down to the even that I sang 1:02:47.640 --> 1:02:50.840 that like every single run, every single thing. So really 1:02:50.920 --> 1:02:54.040 what you're hearing when you hear those records is just 1:02:54.360 --> 1:02:57.720 me doing it first and then she does it. And 1:02:58.000 --> 1:02:59.920 it was so it worked so well. 1:03:00.200 --> 1:03:01.800 It's like it was magic how it worked, Like it 1:03:01.920 --> 1:03:03.200 was like I was I was able to have a 1:03:03.280 --> 1:03:04.680 female voice be my voice. 1:03:06.280 --> 1:03:08.520 Does she feel like she was being inauthentic if she 1:03:08.720 --> 1:03:09.960 just followed you verbatim? 1:03:10.560 --> 1:03:12.800 No, Because she was so young, that wasn't didn't cross 1:03:12.840 --> 1:03:14.320 her mind. Now I'm sure now here's what I feel 1:03:14.360 --> 1:03:16.440 like happened. Later, Cocho, you tell me if I'm wrong, 1:03:16.440 --> 1:03:18.560 because if I know you're gonna see this. She probably 1:03:18.600 --> 1:03:21.160 got really sick of people that are like musicians and 1:03:21.240 --> 1:03:25.240 singers asking her questions about shit, about how we did 1:03:25.280 --> 1:03:26.960 shit and whether and how they do this and how 1:03:27.000 --> 1:03:29.680 we do that, And it was really just she just 1:03:29.800 --> 1:03:30.520 copied the demo. 1:03:31.000 --> 1:03:33.280 It was not a big a big answer, right. 1:03:33.480 --> 1:03:35.440 But the whole thing was it was always back to me. 1:03:35.920 --> 1:03:38.200 So I think as a person young person is trying 1:03:38.240 --> 1:03:39.960 to develop and be who they are, it would be 1:03:40.000 --> 1:03:40.160 a no. 1:03:40.280 --> 1:03:41.160 I could get that. I see that. 1:03:41.200 --> 1:03:43.880 It could be annoying to constantly be reminded that somebody 1:03:43.920 --> 1:03:45.400 else gave you all your licks or somebody else. 1:03:46.040 --> 1:03:49.080 When you go into a studio with another producer and 1:03:49.200 --> 1:03:50.960 they expecting you to do what they've. 1:03:50.800 --> 1:03:54.120 Heard it before, exactly you can't. You can't replicate that shit. 1:03:54.320 --> 1:03:56.160 And then but she learned, and that's why I think 1:03:56.400 --> 1:03:58.840 her learning process started right there. And she'll tell you 1:03:58.960 --> 1:04:00.320 that to shout out to Coco. 1:04:00.600 --> 1:04:04.800 She'll tell you those hard sessions taught her how to 1:04:04.920 --> 1:04:07.880 do all that stuff that that eventually came to her naturally. 1:04:08.560 --> 1:04:09.600 Can I just ask a question. 1:04:09.480 --> 1:04:12.120 Real quick because I noticed that, I just I'm sorry, 1:04:12.560 --> 1:04:14.560 just because I noticed that you keep saying Coco and 1:04:14.600 --> 1:04:17.000 for s WV fan like, we all know that Coco's 1:04:17.040 --> 1:04:19.960 voice is like, of course she is the but how 1:04:20.040 --> 1:04:22.760 did the work low work in the dynamic work with 1:04:22.840 --> 1:04:24.360 the group, because at the same time, as an s 1:04:24.480 --> 1:04:27.640 WV fan, you still was like, I want to hear Taj. 1:04:28.360 --> 1:04:31.160 I want to hear Li, Like like how did that? 1:04:31.400 --> 1:04:31.680 You know what? 1:04:31.800 --> 1:04:34.959 On my records and everyone their place or every listen. 1:04:35.080 --> 1:04:36.880 I made sure that they were on every one of 1:04:36.960 --> 1:04:39.040 my joints, all my hits. But this is we just 1:04:39.120 --> 1:04:43.200 having a discussion about this recently. Kenny Ortiz would always 1:04:43.240 --> 1:04:46.200 try to get me to re record Coco doing the 1:04:46.280 --> 1:04:49.080 girl's parts as just as a safety just in case, 1:04:49.360 --> 1:04:51.120 and I didn't believe in that because what I like, 1:04:51.520 --> 1:04:56.080 I loved their blend, the true authentic blend from Coco, 1:04:56.200 --> 1:04:58.800 Taj and Lelee is you can't replace, just like you 1:04:58.840 --> 1:05:02.080 can't replace Queen. That sound of those guys's voices together 1:05:02.240 --> 1:05:07.880 is their sound. You can't replace backgrounds, that blend of 1:05:07.960 --> 1:05:08.520 those people. 1:05:08.880 --> 1:05:11.240 So how long were they together before they got to you. 1:05:11.800 --> 1:05:14.000 I think a couple of years, and that's why their 1:05:14.040 --> 1:05:16.480 blend was so smooth and so perfect. What I would 1:05:16.480 --> 1:05:16.920 always do. 1:05:17.400 --> 1:05:20.720 Was record them individually so I could have control of 1:05:20.800 --> 1:05:24.040 each note and I would make sure they would blended 1:05:24.120 --> 1:05:25.160 into the record properly. 1:05:25.240 --> 1:05:27.960 So if you listen to every one of my joints, 1:05:28.040 --> 1:05:29.760 they're always there. They're on my joints. 1:05:30.040 --> 1:05:32.520 But can you commonize it, but never like as solo like. 1:05:32.720 --> 1:05:35.800 You oh leaves well no, no, that came later because 1:05:35.920 --> 1:05:37.640 remember most of my joints were on the first album 1:05:37.680 --> 1:05:40.200 where we just trying to find our feeling right because 1:05:40.200 --> 1:05:42.160 clearly sounds amazing on that faith Avage joints and she 1:05:42.160 --> 1:05:42.880 did or you kid me on. 1:05:42.880 --> 1:05:45.360 The second album and they all can sing this is 1:05:45.440 --> 1:05:48.480 sis exactly. That's exactly. It's truly systems with voices. 1:05:48.680 --> 1:05:52.120 But at the same time, the placement of what they 1:05:52.240 --> 1:05:55.560 do on the hit records is as important to me as. 1:05:55.440 --> 1:05:58.720 The lead because everybody loves those backgrounds. You kidding me 1:05:59.040 --> 1:05:59.640 so firm? 1:06:00.040 --> 1:06:04.720 So or if it's a everyone sings, come on bro, 1:06:05.000 --> 1:06:07.480 everything they do, I'll tell a legally this who's who 1:06:07.520 --> 1:06:10.360 felt underappreciated and under it's not real. 1:06:10.800 --> 1:06:13.120 I'm like, no, you can't sing none of those songs 1:06:13.160 --> 1:06:13.720 without those. 1:06:13.600 --> 1:06:19.840 Background without them, yeah, man, you having them singing unison 1:06:20.200 --> 1:06:23.920 like because I love how there the way that you 1:06:24.000 --> 1:06:28.200 stack their background vocals, it starts off unison and then 1:06:28.520 --> 1:06:31.360 it blossoms into harmony. 1:06:31.480 --> 1:06:33.760 Is that the Clark sisters influence. 1:06:33.640 --> 1:06:40.840 Absolutely, absolutely all day. Thank you, Twinkie elber Neva Clark. Yes, ma'am, sir, exactly. 1:06:42.080 --> 1:06:44.080 Give me example on the s w B record of 1:06:44.120 --> 1:06:46.760 when you do that, because just for the layman is listening. 1:06:46.600 --> 1:06:52.800 Okay, uh so and then saying you you harmony, your 1:06:52.840 --> 1:06:59.040 harmony yes, and then back you don't know what, and 1:06:59.040 --> 1:07:04.240 then you don't go harming against confuse. Yeah, maybe that's 1:07:04.320 --> 1:07:05.800 what you give him something to look forward to and 1:07:05.880 --> 1:07:06.720 back and forth with it. 1:07:06.800 --> 1:07:13.240 That's commission, commission to commission. That's that's that's a style man. 1:07:14.120 --> 1:07:16.240 Yeahah. George Clinton. 1:07:17.520 --> 1:07:20.120 Would often say if you you look at Funkadelic records, 1:07:20.160 --> 1:07:23.080 like look at Flash Flashlight, they would always sing in 1:07:23.240 --> 1:07:28.200 unison because he had a theory that he once gave 1:07:28.240 --> 1:07:30.120 a theory about like how you know, when you're in 1:07:30.160 --> 1:07:32.080 an Irish pub or whatever and people sing the song, 1:07:32.120 --> 1:07:35.480 they get drunk, like they all sing together what he calls. 1:07:35.320 --> 1:07:36.000 A Greek chorus. 1:07:36.200 --> 1:07:41.760 Greek chorus, right, it's more down to earth and it's 1:07:41.880 --> 1:07:44.560 it's more inviting to make you want to remember the 1:07:44.680 --> 1:07:47.520 song if everyone sings in unison, like in the same 1:07:47.600 --> 1:07:52.760 voice as opposed to like yes he wasn't to take 1:07:52.800 --> 1:07:55.200 six you just want to watch him like Wow, they're amazing, 1:07:55.760 --> 1:07:56.640 but you feel like. 1:07:58.200 --> 1:08:00.560 Never need them now. 1:08:01.560 --> 1:08:06.280 But yeah, that's the things where they had just enough 1:08:06.400 --> 1:08:08.400 unison to make people feel like, oh, I can sing 1:08:08.480 --> 1:08:11.160 this too, and then you had a little. 1:08:10.920 --> 1:08:14.080 Spice in there to let them know with me and Rain. 1:08:15.560 --> 1:08:15.960 Same thing. 1:08:16.840 --> 1:08:21.200 I have another I have another question production wise, and 1:08:21.240 --> 1:08:24.439 I always wanted to know this. What makes It's about 1:08:24.560 --> 1:08:26.639 time somewhat? 1:08:26.920 --> 1:08:27.599 Uh uh? 1:08:29.200 --> 1:08:33.720 I guess revolutionary is also in the production because you 1:08:33.800 --> 1:08:35.160 could easily. 1:08:36.040 --> 1:08:40.519 Succumb to what was happening in the and that time 1:08:40.640 --> 1:08:41.800 with with New Jack Swing. 1:08:42.720 --> 1:08:46.320 You know, I'm certain that like Guys the Future, uh 1:08:47.479 --> 1:08:52.200 TLC's first record, like everybody was using you know, James 1:08:52.280 --> 1:08:55.479 Brown's think about It loop and all that stuff like 1:08:56.280 --> 1:09:00.400 or that post Dallas Austin, like basically the boomerangsund track 1:09:00.520 --> 1:09:02.839 like that sort of right exact. 1:09:02.800 --> 1:09:06.960 Post Public getting Me one hundred Noise. Yeah. 1:09:07.640 --> 1:09:10.680 Yeah, but I for this album to come out in 1:09:10.880 --> 1:09:16.560 nineteen ninety two. It is very unnew jack swinging. 1:09:16.520 --> 1:09:19.840 Like it's right right, and it was a bridge to. 1:09:21.320 --> 1:09:21.519 Yeah. 1:09:21.560 --> 1:09:24.439 I was going to say, like, can Henot feel like, 1:09:24.479 --> 1:09:28.479 wait a minute, this doesn't sound like in Vogue or 1:09:29.040 --> 1:09:33.160 TLC or whatever was you know, the time you're competing 1:09:33.200 --> 1:09:36.160 with Dallas Austin and Teddy Riley and what if I'm 1:09:36.160 --> 1:09:39.559 going to be made you purposely go the opposite direction 1:09:39.680 --> 1:09:40.600 with the production. 1:09:40.800 --> 1:09:43.479 As we when we started, I'm so in to you 1:09:43.560 --> 1:09:46.639 didn't exist, so remember that, right, So when we started recording, 1:09:46.920 --> 1:09:50.120 we started from week and then went into the only 1:09:50.160 --> 1:09:52.280 the first up tempo we did was right here, So 1:09:52.520 --> 1:09:56.000 technically I'm still slightly new Jackie on right here, my 1:09:56.080 --> 1:09:58.080 original right here if you listen to it. 1:09:58.280 --> 1:09:59.840 But I was trying to do it in a breakbeat 1:10:00.080 --> 1:10:03.679 kind of way, right So, but Pete, but I knew. 1:10:04.080 --> 1:10:06.880 I knew from coming New York and coming being in 1:10:06.960 --> 1:10:09.880 New York and being in the energy. I was around Fanta, 1:10:10.040 --> 1:10:12.240 I was in the heads sessions, I was in Eric 1:10:12.320 --> 1:10:15.639 sermon sessions. I was in sessions that didn't have anything 1:10:15.680 --> 1:10:18.600 to do with R and B. So my my instinct was, 1:10:18.760 --> 1:10:20.599 I gotta go harder. I can't just do New jack 1:10:20.640 --> 1:10:22.519 swinging that's the pop sound and radio fuck that. I 1:10:22.560 --> 1:10:25.360 don't want to do something that's different because the reason 1:10:25.400 --> 1:10:27.920 why guy was so hard was because they did their 1:10:28.000 --> 1:10:31.840 thing in their in their style. Yous gotta show their 1:10:31.920 --> 1:10:33.880 thing in their own style. They can't be new Jack 1:10:33.920 --> 1:10:36.479 swing because then they they're trying to be guys, is 1:10:36.560 --> 1:10:37.360 what my mind would be. 1:10:37.600 --> 1:10:39.400 So I'm like, no, this is me right. 1:10:39.880 --> 1:10:42.400 So by the time as we recorded, and listen to 1:10:42.400 --> 1:10:44.000 the record, because I'm gonna keep it really one hundred, 1:10:44.520 --> 1:10:46.559 there's two new Jack swingy things on there. 1:10:48.240 --> 1:10:52.160 You gonna like it. Bro come all right, but that's. 1:10:52.080 --> 1:10:54.800 The remnants of what had been. You can hear. I 1:10:54.960 --> 1:11:01.200 think you're gonna like it almost. Yeah, I like that song. 1:11:01.280 --> 1:11:03.680 I mean, I definitely see the news. But that was 1:11:03.800 --> 1:11:05.840 not a bad song at all. But I appreciate it. 1:11:05.960 --> 1:11:08.800 But I'm saying that happened when I first met them, 1:11:09.080 --> 1:11:11.880 and then my whole once he got quest asked about 1:11:11.920 --> 1:11:15.720 the comfortable comfortability factor by the time as far as 1:11:15.760 --> 1:11:17.519 getting to know them and who they were. By the 1:11:17.600 --> 1:11:19.839 time we did, I'm swim to you. I had recorded 1:11:19.880 --> 1:11:23.479 them many many times. So now they trust me and 1:11:23.560 --> 1:11:25.160 they trust what I'm going to tell them to do, 1:11:25.600 --> 1:11:27.320 and then we had that level. So when we get 1:11:27.360 --> 1:11:30.920 to I'm swim to you, I knew that this was 1:11:31.000 --> 1:11:33.120 going to be the ones for me, even if it 1:11:33.240 --> 1:11:37.040 never succeeded. I said, personally, I think I nailed this 1:11:37.160 --> 1:11:40.840 one because it's my own sound. And I purposely went 1:11:41.000 --> 1:11:43.800 straight with the straight sixteenth thing because it was so 1:11:44.200 --> 1:11:46.040 un knew Jack it was not. 1:11:46.160 --> 1:11:48.479 It was actually not trying to say sixteen on the 1:11:48.560 --> 1:11:54.320 high end. I was like, yeah, I was like, uh, 1:11:57.800 --> 1:11:59.439 is there some controversial about that right here? 1:11:59.479 --> 1:12:04.560 Story? Oh god, the remix? Oh yes, God, I just 1:12:04.640 --> 1:12:07.760 wanted to know about right here. Oh okay, no, no, no, 1:12:08.439 --> 1:12:08.840 I don't know. 1:12:10.800 --> 1:12:13.360 Everybody has a story about it. But here's my thing. 1:12:14.160 --> 1:12:16.720 All Star, the one that that did the vocal the 1:12:16.800 --> 1:12:20.280 work on the record is my man. Now, I didn't 1:12:20.360 --> 1:12:23.439 know that Teddy did anything on it at all until 1:12:23.560 --> 1:12:26.599 I became aware of it through Kenny Ortiz and Teddy 1:12:26.600 --> 1:12:28.519 and them saying exactly what he did. 1:12:28.760 --> 1:12:31.160 But we're talking about right here, human nature rem. 1:12:32.640 --> 1:12:35.800 So just to be clear, everybody had a hand in it. 1:12:36.600 --> 1:12:40.639 But the truth of the matter is the whole beat 1:12:40.800 --> 1:12:44.400 itself was done by All Star, then touched up by 1:12:44.960 --> 1:12:48.759 Teddy and others with certain things. Teddy recorded her vocal, 1:12:49.120 --> 1:12:52.640 Coco's vocal on their some other Teddy's. 1:12:54.479 --> 1:12:56.040 Right, and Teddy did. 1:12:56.200 --> 1:12:57.880 I guess there's some other guys that work with Teddy 1:12:58.080 --> 1:12:58.880 in the studio as well. 1:12:58.960 --> 1:13:01.000 They got at me on Instagram. Those are all great 1:13:01.040 --> 1:13:02.160 guys and everybody's cool people. 1:13:02.479 --> 1:13:06.120 I'm just saying the German nation of that song and 1:13:06.200 --> 1:13:08.960 that production and that beat was done by All Star. 1:13:09.080 --> 1:13:10.400 The person who grabbed also. 1:13:10.320 --> 1:13:12.600 Did anything remix killed it? 1:13:12.840 --> 1:13:13.000 Right? 1:13:13.320 --> 1:13:14.000 Wait, even. 1:13:16.160 --> 1:13:18.800 Teddy even the drums, because I could have sworn the 1:13:18.840 --> 1:13:19.559 drums were Teddy. 1:13:19.720 --> 1:13:22.680 No, Teddy's drums are on. I'm swinging to you his 1:13:22.840 --> 1:13:24.800 remix on that. Have you heard that? 1:13:25.400 --> 1:13:26.000 It's so rough? 1:13:26.040 --> 1:13:29.400 So yeah, he. 1:13:31.080 --> 1:13:33.719 Played that, telling me that that that swing. 1:13:35.800 --> 1:13:39.360 Know that that is All Star. And then they told 1:13:39.400 --> 1:13:41.960 me what sample he used. And I'm just gonna say this. 1:13:42.080 --> 1:13:43.760 I'm just gonna say this, this is how I got 1:13:43.800 --> 1:13:45.439 because I mean, I'm just like y'all, I wasn't sure 1:13:45.439 --> 1:13:47.400 who did what at this point. When I hear something, 1:13:47.520 --> 1:13:50.240 you know Teddy, they say one thing Teddy's people and 1:13:50.360 --> 1:13:51.680 his and his guys that did it with him. 1:13:51.960 --> 1:13:52.920 No, we was there. 1:13:53.000 --> 1:13:54.760 We did this this is and I can't argue because 1:13:54.760 --> 1:13:57.240 I wasn't there. But here's what I told all Star, 1:13:57.320 --> 1:13:59.040 who had told me that he did the basic beat. 1:13:59.280 --> 1:14:01.320 I said, all Star, tell me this then, because I'm 1:14:01.360 --> 1:14:02.880 like you quest I'm like, let's get down to the 1:14:02.960 --> 1:14:05.639 germination of this whole what you just did, Like, okay, 1:14:05.960 --> 1:14:10.000 where's that beat from bro? And he broke it down 1:14:10.200 --> 1:14:12.800 and told me the samples, and I went and checked 1:14:12.840 --> 1:14:15.160 it against what he told me, and that is it. 1:14:15.640 --> 1:14:17.759 So I said, if y'all, and I went on Instagram 1:14:17.840 --> 1:14:19.840 and said this to those people who was claiming that 1:14:19.920 --> 1:14:21.879 they did it, I said, tell me what the samples 1:14:21.920 --> 1:14:23.519 are that made that drum loot? 1:14:23.920 --> 1:14:27.400 Just tell me? And then it's like remember that showman. 1:14:27.960 --> 1:14:33.040 And I was like, important, more importantly, what were the 1:14:33.120 --> 1:14:36.320 comments like when he rocked it on versus? 1:14:41.160 --> 1:14:45.200 Well, that's how all this man, that's how this all happened. 1:14:45.200 --> 1:14:46.439 Because when that when. 1:14:46.320 --> 1:14:51.880 I'm madly yeah night that night, I didn't see that part. 1:14:51.800 --> 1:14:54.920 Of then when he opened his whole thing with that joint. 1:14:56.120 --> 1:14:57.960 Oh so he had a story for it and everything and. 1:14:57.960 --> 1:15:01.120 People ready with the receipts. No, he just opened it 1:15:01.200 --> 1:15:04.559 as if it was his. Yeah, that's what he did. 1:15:04.880 --> 1:15:07.840 And so and I was like, whoa, whoa, whoa you 1:15:07.920 --> 1:15:09.120 know that one? Hold on? 1:15:09.680 --> 1:15:12.400 And then I called All Star because I wanted clarity. 1:15:13.080 --> 1:15:14.720 I was like, bro, before I say anything on this 1:15:14.840 --> 1:15:17.880 internet about anything, tell me once again, who did what 1:15:18.080 --> 1:15:18.679 on this joint? 1:15:18.760 --> 1:15:19.120 For real? 1:15:19.680 --> 1:15:20.920 He lose at his ship when he was. 1:15:21.400 --> 1:15:24.440 All Star was laughing. He's like, these people are hilarious. 1:15:28.240 --> 1:15:30.760 He's like, bro, okay, So you know it's obviously that 1:15:30.880 --> 1:15:33.559 Dinah Ross presents the Jackson five story, you know. 1:15:33.760 --> 1:15:35.559 Right exactly right, right right value. 1:15:36.160 --> 1:15:38.360 I felt with Hooklon singing, I'm like, yeah, well, Teddy's 1:15:38.360 --> 1:15:41.320 work of Michael Jackson. He got this sample clear, Okay, yeah, 1:15:41.320 --> 1:15:41.640 I get it. 1:15:41.920 --> 1:15:43.560 And that's not why the sample, Claire, trust me. 1:15:43.920 --> 1:15:46.160 The girls had been just number one with week a 1:15:46.240 --> 1:15:48.519 million selling single, number one, and this is at the 1:15:48.560 --> 1:15:51.680 time that Michael had just done his OPRAH interview, so 1:15:52.600 --> 1:15:56.160 the publicity wasn't the greatest, and then being associated with 1:15:56.320 --> 1:15:58.920 something really really black, like a number one pop girl 1:15:59.000 --> 1:16:00.880 group that has a song called week Out. And that's 1:16:00.960 --> 1:16:03.360 why the follow up is right here human Nature with 1:16:03.600 --> 1:16:07.040 number two and Michael, those girls went crazy number two pop. 1:16:07.160 --> 1:16:08.439 It would have went number one if it wasn't for 1:16:08.520 --> 1:16:14.040 Mariah's dream Lover. Woamn, that's right, by the way, shout 1:16:14.080 --> 1:16:15.439 out to myself a remixing dream Lover. 1:16:15.560 --> 1:16:16.720 Mariah called me out. 1:16:16.760 --> 1:16:20.720 To myself son, Hey, Brian, what did you say when 1:16:20.720 --> 1:16:22.719 you heard Joe Joe's version a week. 1:16:22.680 --> 1:16:24.960 And then she kind of knocked me out. Well, I 1:16:25.080 --> 1:16:26.120 did it. I produced it. 1:16:26.280 --> 1:16:33.000 So oh fuckaby, It's the only reason I love her 1:16:33.040 --> 1:16:33.879 so hard still. 1:16:33.720 --> 1:16:34.200 To this day. 1:16:35.080 --> 1:16:36.559 So thank you. You're welcome. 1:16:36.680 --> 1:16:38.519 Vincent Herbert called me on that one said, listen to this. 1:16:38.840 --> 1:16:40.880 I put the phone in my ear. I just heard 1:16:40.920 --> 1:16:41.439 a kid singing. 1:16:41.520 --> 1:16:44.439 She said. She said she's thirteen. I said what anyway? 1:16:44.479 --> 1:16:45.040 And she's white. 1:16:45.200 --> 1:16:54.200 I said what, And it's right, yeah, Tamar. 1:16:54.320 --> 1:16:56.839 For people who are on the light in the music exactly, 1:16:56.960 --> 1:16:59.360 so Vincent yoga yo and the mirror. 1:16:59.600 --> 1:17:04.360 They fled me down, fluted me down to l A 1:17:04.520 --> 1:17:05.759 and I cut that on Jojo. 1:17:06.400 --> 1:17:07.160 How long did that take? 1:17:07.200 --> 1:17:09.000 But she like it just seemed like she just had it. 1:17:09.320 --> 1:17:12.240 Oh man, that was nothing. That was like, oh my god, 1:17:12.640 --> 1:17:14.360 Yeah she did that. She did and she's been. 1:17:14.280 --> 1:17:16.400 Singing it every since. Sorry to talk on Susan that 1:17:16.479 --> 1:17:17.360 my boy killed it. 1:17:17.479 --> 1:17:19.519 He saw it on Instagram a year ago she was 1:17:19.600 --> 1:17:19.840 doing it. 1:17:19.920 --> 1:17:21.400 I was like, happy at my. 1:17:21.400 --> 1:17:24.240 Boy Steve Mackie's house. Hell yeah, shout out Steve mackeiy 1:17:24.600 --> 1:17:25.599 j Loo's vocal coach. 1:17:25.640 --> 1:17:27.559 Hello, okay man. 1:17:27.760 --> 1:17:30.760 She still maintained that the original version of Anything is 1:17:31.000 --> 1:17:31.880 better than the remix. 1:17:32.080 --> 1:17:34.840 That was Thank you so much, bro, dude. 1:17:34.880 --> 1:17:35.960 I mean, I love the remix. 1:17:36.040 --> 1:17:38.920 But man, I first when I when I heard when 1:17:38.960 --> 1:17:41.559 you just hear you talk about that album the uh 1:17:41.880 --> 1:17:45.120 you know that's off your record? And how I can 1:17:45.200 --> 1:17:47.360 hear now as you talk about it, now you know 1:17:47.439 --> 1:17:48.760 the thing, you're gonna like it? That was kind of 1:17:48.800 --> 1:17:51.479 new Jack screen but Anything. When I heard that, I 1:17:51.600 --> 1:17:53.920 was just like, Nah, this ain't on some other ship. 1:17:54.120 --> 1:17:55.680 Yeah, man, let me tell you how I wanted to. 1:17:55.840 --> 1:17:59.760 I really approach that one. Coco at that time. I 1:17:59.920 --> 1:18:04.080 was impressed with She was her own, she was solent 1:18:04.200 --> 1:18:08.360 in her diva is very very early, right, and I'm 1:18:08.439 --> 1:18:09.960 just wanting with Mark the watch I'm on the hills 1:18:09.960 --> 1:18:12.880 of Martha watch an actual diva, right. But I was like, 1:18:13.120 --> 1:18:15.680 Coco is a little young diva in training for real, 1:18:15.760 --> 1:18:17.160 for real, I. 1:18:17.240 --> 1:18:19.360 Said to myself when I thought about how that album. 1:18:22.760 --> 1:18:25.720 When that album starts, broke you got it, man, I 1:18:25.800 --> 1:18:28.360 was like, I need a joint that not only sets 1:18:28.439 --> 1:18:30.680 up the whole mood, but it's got to be a 1:18:30.800 --> 1:18:32.800 joint that sets Coco's voice. 1:18:33.120 --> 1:18:33.840 Out there like that. 1:18:34.000 --> 1:18:36.600 And I was thinking about Diana Ross's how there's the 1:18:36.680 --> 1:18:41.320 slow intros on uh ain't a mountain high enough? You 1:18:41.400 --> 1:18:43.639 feel me where it's just the slow building it builds 1:18:43.680 --> 1:18:46.040 up to the ben boom boom bam, right. But I 1:18:46.160 --> 1:18:48.519 wondered it when it came on to be so sexy, 1:18:48.920 --> 1:18:51.519 I was like, what can I do atmospherically quest to 1:18:51.640 --> 1:18:52.720 set up a sexy thing? 1:18:52.800 --> 1:18:53.479 So I sampled. 1:18:53.560 --> 1:18:55.640 I turned on my water foster in my apartment and 1:18:55.760 --> 1:18:59.519 I sampled, uh, the water dripping. Then I sampled me 1:18:59.640 --> 1:19:03.479 dropping a fifty piece into a glass, and so I 1:19:03.560 --> 1:19:04.760 got that PLoP that I wanted. 1:19:05.160 --> 1:19:06.880 And I was like all these and then I breathed 1:19:06.920 --> 1:19:11.320 into the mic. I was just going so all those sounds. 1:19:11.400 --> 1:19:13.719 I said to myself, you didn't use the library records, 1:19:13.760 --> 1:19:15.040 that the studios, right, you just. 1:19:15.240 --> 1:19:17.160 Know I was in my apartment, bro I was like, 1:19:17.520 --> 1:19:20.479 nobody's joint is going to sound like this because it's 1:19:20.520 --> 1:19:23.160 so just me literally making up sounds. 1:19:23.360 --> 1:19:24.960 And so by the time I put those keys to. 1:19:24.960 --> 1:19:27.560 All those weird and all those snaps and all that 1:19:27.600 --> 1:19:30.120 breathing and stuff, it created a mood. And it's the 1:19:30.200 --> 1:19:33.360 perfect mood for Coco's voice to come in and do 1:19:33.520 --> 1:19:35.840 what it does. And look how good the background sound 1:19:35.880 --> 1:19:38.800 on that. There they are again laying taj killing it. 1:19:39.640 --> 1:19:39.840 Yeah. 1:19:39.920 --> 1:19:43.840 Nah, And the unison and harmony thing theory is still 1:19:43.840 --> 1:19:44.600 an effect on that. 1:19:49.880 --> 1:19:50.200 Come on. 1:19:55.280 --> 1:19:58.640 So what I want to know is that once this 1:19:58.840 --> 1:20:03.240 album really hits pay dirt and becomes your your lottery ticket, 1:20:03.920 --> 1:20:07.800 well one, how does your life change? But can you 1:20:07.920 --> 1:20:12.760 talk about the phone calls that come in after, like 1:20:12.840 --> 1:20:15.000 the artist that you had to turn down and whatnot? 1:20:16.960 --> 1:20:17.920 What is that? What is that? 1:20:19.080 --> 1:20:24.479 Downpouring of water feels like like, how does your life change? 1:20:25.040 --> 1:20:25.360 Again? 1:20:25.600 --> 1:20:28.160 I was being that kid from Kansas who always lived 1:20:28.200 --> 1:20:31.560 in those credits like we do. When I tell you, 1:20:31.960 --> 1:20:35.400 when Charlie called me and said I want to come by, 1:20:36.000 --> 1:20:39.559 just come by the house, you know, I'm in tears. 1:20:39.640 --> 1:20:39.840 Damn. 1:20:39.880 --> 1:20:42.720 They're like, oh my god, my hero's coming. And then 1:20:42.760 --> 1:20:44.519 we sit down and jam and get on the drums 1:20:44.560 --> 1:20:46.240 and the keys and back and trade back and forth. 1:20:46.280 --> 1:20:48.160 He on keys, I'm on drums, he's on drums, I'm 1:20:48.160 --> 1:20:51.000 on keys. Recording it, videotaping it. I got all that footage. 1:20:51.640 --> 1:20:52.280 It was amazing. 1:20:52.400 --> 1:20:57.439 But when Stevie called and said, what are you doing 1:20:57.680 --> 1:20:59.840 with that girl's voice? How are you doing it? Can 1:20:59.880 --> 1:21:02.960 you come down and hang out? What? And I was like, 1:21:03.160 --> 1:21:05.760 And I said to him, do you remember me? I said, 1:21:06.000 --> 1:21:08.320 I said background, so we can work that. 1:21:09.360 --> 1:21:12.240 He did not remember that, Okay, But the point was, 1:21:12.320 --> 1:21:14.679 now he's calling me, and I'm and I'm and I'm there. 1:21:14.760 --> 1:21:17.400 Man, I'm like, this is crazy. Who another one that called, Oh, 1:21:17.640 --> 1:21:18.400 Ray Parker Jr. 1:21:18.479 --> 1:21:20.240 One of my heroes came up and flew up in 1:21:20.280 --> 1:21:21.680 his plane and came out to hang out with me 1:21:21.720 --> 1:21:22.360 and Sacramento. 1:21:22.600 --> 1:21:23.360 Just stupid stuff. 1:21:24.840 --> 1:21:27.240 Man, All the heroes you can think of that you 1:21:27.280 --> 1:21:30.640 want to call that you love? They called, and and 1:21:30.800 --> 1:21:33.160 and Mariah called, and I went to meet Tommy Mottola 1:21:33.240 --> 1:21:33.479 and her. 1:21:33.680 --> 1:21:36.519 That's how I got dream Lover. Clyde Davis called. 1:21:36.320 --> 1:21:38.080 And signed a girl group that I had at the time, 1:21:39.160 --> 1:21:41.080 and he wanted me to do my production deal with them. 1:21:42.360 --> 1:21:43.080 It was amazing. 1:21:43.200 --> 1:21:44.320 What was that? What was the name of the girl 1:21:44.439 --> 1:21:44.759 the Groogle. 1:21:44.880 --> 1:21:46.719 They never came out, but they were called Oliver Twists. 1:21:47.960 --> 1:21:51.519 All of her spell it no, no, no, no, how 1:21:51.600 --> 1:21:58.519 they spell it, just like, oh my god, oh wow, 1:22:00.880 --> 1:22:01.679 we have some joints. 1:22:01.720 --> 1:22:02.680 We had some joints on it. 1:22:04.840 --> 1:22:07.560 Wow. I want a collection of all the groups that 1:22:07.680 --> 1:22:09.240 didn't make it with these with the. 1:22:12.439 --> 1:22:13.200 Hilarious right. 1:22:13.439 --> 1:22:16.200 So man, so on the second record, Man, before we go, 1:22:16.680 --> 1:22:18.719 I just got to nerve and give you your props. 1:22:19.080 --> 1:22:22.120 There's a baseline, a base you play on anything. 1:22:22.640 --> 1:22:28.360 It's yes, sir, yeah, yeah, yeah, yeah, yeah, yeah yeah. 1:22:29.040 --> 1:22:30.600 You feel me because you know why that you know 1:22:30.640 --> 1:22:33.280 where that came from, always hanging out with with his 1:22:33.400 --> 1:22:36.519 fretless Yeah. So I did that as a nod to 1:22:36.600 --> 1:22:39.479 Waymen Tisdell, Like, yo, bro, I'm thinking about you right here. 1:22:39.520 --> 1:22:41.439 That's you. I just wanted to play with my hands 1:22:41.720 --> 1:22:43.240 on the keyboard, like let me play this thing like 1:22:43.320 --> 1:22:45.720 a fretless dude would do. Thank you, Thank you for 1:22:45.840 --> 1:22:46.240 noticing that. 1:22:46.360 --> 1:22:46.479 Man. 1:22:46.520 --> 1:22:48.680 That's no, that's that's like my favorite part of song. 1:22:48.960 --> 1:22:51.439 By the way, women tis deal is on that first album. 1:22:51.520 --> 1:22:53.720 He did that's what I need, That's what I need. 1:22:53.800 --> 1:22:56.759 That's right. Yeah, shout out to and Danielle Tillsdale. 1:22:57.320 --> 1:23:00.080 So, man, what happened on the second record the and 1:23:00.160 --> 1:23:03.800 when they did because you did the single the well 1:23:04.080 --> 1:23:06.000 no no, before you. 1:23:06.280 --> 1:23:09.840 Get ahead of myself, Layla love you. 1:23:10.200 --> 1:23:11.360 Yeah I heard that. 1:23:11.479 --> 1:23:14.599 I was like, Yo, this doing this ship? 1:23:15.040 --> 1:23:20.120 Look what went down with with with the second album 1:23:20.280 --> 1:23:22.040 and the girls? 1:23:22.320 --> 1:23:25.800 My six six degrees in Separation's crazy quest check this out. 1:23:26.800 --> 1:23:28.400 Do you guys know who Jeff Foreman is? 1:23:29.600 --> 1:23:34.360 Yes? He was Layla's may he and yeah we had 1:23:34.400 --> 1:23:35.080 her on the show. 1:23:36.120 --> 1:23:37.880 When I got that Warner Brother still way back in 1:23:37.960 --> 1:23:39.519 eighty nine and I was thinking I'm about to come 1:23:39.560 --> 1:23:40.000 out on Wonder. 1:23:40.040 --> 1:23:42.080 I met Jeff and through a friend here in La. 1:23:42.280 --> 1:23:44.200 He just was a friend. But what I what I 1:23:44.320 --> 1:23:47.800 learned was that Jeff Foreman's brother is James and two May. 1:23:48.800 --> 1:23:50.479 What damn right right? 1:23:50.920 --> 1:23:53.559 He's just so yeah yeah, so James and Too May's 1:23:53.640 --> 1:23:55.920 kid brother is my buddy, my best friend. Jeff Foreman. 1:23:55.920 --> 1:23:56.920 Shout out to Jeff Foreman. 1:23:57.200 --> 1:23:59.920 Also shout out to DJ Khalil, who Jeff Foreman meant 1:24:00.320 --> 1:24:03.000 and gave his first gig. Jeff Foreman introduced me to 1:24:03.080 --> 1:24:05.920 Layla right when he signed her to Virgin Records in 1:24:06.040 --> 1:24:09.960 nineteen ninety. So that's why I already had a relationship 1:24:09.960 --> 1:24:12.439 with Laila four years before let Me Love You. 1:24:13.040 --> 1:24:16.840 Ah got that crazy, And so by the time when 1:24:16.960 --> 1:24:19.479 that came out, were you and the girls with y'all beefing, 1:24:19.560 --> 1:24:20.439 like what was your relationship? 1:24:20.560 --> 1:24:22.640 Like, no, let me no, no, let Me Love You 1:24:22.760 --> 1:24:24.840 came out in between the second album. I didn't know 1:24:24.880 --> 1:24:25.400 that that was right. 1:24:25.479 --> 1:24:28.120 That was ninety four, yeah, and then the beginning was 1:24:28.200 --> 1:24:29.120 ninety five, right. 1:24:29.040 --> 1:24:32.439 So I spent I did let Me six, right, but 1:24:32.520 --> 1:24:32.760 I did. 1:24:33.040 --> 1:24:36.639 Camember when ladelp Half Life came out, I remember exactly. Yeah, 1:24:36.680 --> 1:24:37.639 he came out in ninety six. 1:24:37.920 --> 1:24:39.760 I did Let Me Love You in ninety four and 1:24:39.960 --> 1:24:44.400 Usher Crazy in ninety four, and they both came to 1:24:44.439 --> 1:24:45.720 Sacramento and recorded up there. 1:24:46.040 --> 1:24:48.680 That was Usher's first album, that Diddy A and R 1:24:49.040 --> 1:24:49.760 and the whole thing. 1:24:51.040 --> 1:24:55.360 But Pete after that, Layla first of all, came to 1:24:55.400 --> 1:24:57.880 Sacramento and murdered that that's a that's one take that 1:24:58.200 --> 1:24:59.240 lead vocal and let Me Love You. 1:24:59.360 --> 1:24:59.840 Is one take. 1:25:01.400 --> 1:25:01.599 Really. 1:25:01.840 --> 1:25:05.120 She was smirking cigarette playing my Gallaga machine. When I 1:25:05.200 --> 1:25:06.400 walked up on her, I said, you ready to do 1:25:06.520 --> 1:25:08.559 this vocal? She said yeah, let's knock it out, put 1:25:08.600 --> 1:25:11.719 a cigarette out, got on that mic, sung that entire. 1:25:11.640 --> 1:25:16.120 Vocal from top to bottom. Really killed it. Yes, so 1:25:16.240 --> 1:25:17.680 let me let me love you a special to me. 1:25:17.960 --> 1:25:19.479 I really really love love her on that. 1:25:20.120 --> 1:25:22.120 I totally forgot you did crazy on the USh album. 1:25:22.160 --> 1:25:23.200 I forgot about that record. 1:25:23.240 --> 1:25:24.840 Yeah, I don't like I don't like talking about that 1:25:24.880 --> 1:25:27.800 when I said that was my first Diddy experience. 1:25:27.320 --> 1:25:28.200 And it wasn't great. 1:25:28.880 --> 1:25:33.040 Really, let's talk about it exactly. 1:25:33.880 --> 1:25:37.200 Well, I mean, in a nutshell, as much as I 1:25:37.280 --> 1:25:40.200 tried to not swing on my debut with I'm Swinging 1:25:40.240 --> 1:25:42.080 to You and all that. Of course, it was a 1:25:42.200 --> 1:25:44.080 big east well east coast, west coast thing going on 1:25:44.160 --> 1:25:46.240 at that time. And and did he just had been 1:25:46.400 --> 1:25:49.560 just put in charge of that kid Ussher and and 1:25:50.400 --> 1:25:52.400 I was like, yo, this is how I hear this tune. 1:25:53.080 --> 1:25:54.160 And I did it really straight. 1:25:54.280 --> 1:25:56.559 Well, he didn't like it and wiped it and had 1:25:56.640 --> 1:25:57.920 Chucky Chucky Thompson was one of. 1:25:57.920 --> 1:26:01.320 My good friends redo the whole really, so that's it. 1:26:01.560 --> 1:26:03.840 So I never could listen to it because that's what 1:26:04.000 --> 1:26:07.479 happened to that. However, us should call me recently after 1:26:07.560 --> 1:26:10.439 we had saw each other that book toward LA's book thing. 1:26:11.479 --> 1:26:13.640 Yeah, He's like, Yo, do you still have a copy of. 1:26:13.640 --> 1:26:15.200 That old way we did it? I was like, hell yeah, 1:26:15.240 --> 1:26:16.519 that's just like, let me get a copy of that. 1:26:16.600 --> 1:26:19.040 We want to do that in my live show. Wow 1:26:19.840 --> 1:26:22.360 wow yeah yeah yeah so that that that made me 1:26:22.400 --> 1:26:24.600 feel better. And Babyface liked my version better, by the 1:26:24.600 --> 1:26:27.439 way too. At the time when it happened, I gotta 1:26:27.520 --> 1:26:27.800 check that. 1:26:27.920 --> 1:26:28.640 You gotta see me that. 1:26:28.920 --> 1:26:29.880 Oh yeah, it's crazy. 1:26:30.280 --> 1:26:30.439 Yeah. 1:26:30.479 --> 1:26:32.240 I loved that first US album. I mean, he was 1:26:32.360 --> 1:26:34.839 it's totally not age appropriate. He shouldn't have been seeing. 1:26:34.680 --> 1:26:37.200 That shit at twelve, I hold, he was, Yeah, yeah, 1:26:38.520 --> 1:26:39.080 I do like that. 1:26:41.320 --> 1:26:41.479 Man. 1:26:41.640 --> 1:26:45.439 So so when they do New Beginning, what's your status 1:26:45.520 --> 1:26:47.439 with the with the group at that time, I come. 1:26:47.320 --> 1:26:48.720 Out just like we did on the first album. I 1:26:48.800 --> 1:26:50.679 come out to New York. I'm hanging out, I'm working. 1:26:50.760 --> 1:26:52.680 We had, you know, in all the spots, hitting all 1:26:52.680 --> 1:26:53.240 the studios. 1:26:53.520 --> 1:26:55.400 Quad. We recorded half of it at Quad, you know 1:26:55.680 --> 1:26:58.800 where Tupac was. It was. It was very energetic and good. 1:26:58.800 --> 1:26:59.599 I thought I was going good. 1:26:59.840 --> 1:27:03.080 I knew something was gonna be weird when their management 1:27:03.200 --> 1:27:05.720 kept saying, hey, they got to write they have to 1:27:05.800 --> 1:27:06.720 write on this song. 1:27:07.040 --> 1:27:07.960 They have to write. 1:27:08.400 --> 1:27:08.800 Here we go. 1:27:09.080 --> 1:27:11.360 So I was like, okay, you know, if they can contribute, 1:27:11.479 --> 1:27:12.320 I'm not mad at it. 1:27:12.439 --> 1:27:17.040 Of course you can write, write right, Well, nothing really 1:27:17.080 --> 1:27:21.360 ever materialized from the writing, and so I didn't think 1:27:21.400 --> 1:27:24.640 nothing else about it. Well, the record gets done and 1:27:24.720 --> 1:27:27.080 then all of a sudden, none of my joints are singles, 1:27:27.120 --> 1:27:29.679 and I'm like, oh, this has been a concentrated effort 1:27:30.000 --> 1:27:32.920 to sideline me, really because they just probably didn't. 1:27:33.000 --> 1:27:34.519 They were like, yo, he made all the money because 1:27:34.520 --> 1:27:35.160 he wrote and produced. 1:27:36.520 --> 1:27:38.160 Yeah, so they was like they just tried to side 1:27:38.240 --> 1:27:39.880 but they knew they couldn't take me off the record 1:27:40.040 --> 1:27:41.040 because they needed my sound. 1:27:41.080 --> 1:27:43.040 But at the same time, they didn't release anything that 1:27:43.120 --> 1:27:44.160 I did as a single. 1:27:44.439 --> 1:27:46.320 Did they write on any of those other songs that 1:27:46.400 --> 1:27:46.800 you didn't do? 1:27:47.920 --> 1:27:50.360 I don't think so, especially certainly not the ones that 1:27:50.479 --> 1:27:53.320 hit like You're the One. Maybe they did they write 1:27:53.320 --> 1:27:54.760 on that. I don't know, but I know all Star 1:27:54.880 --> 1:27:57.040 was responsible for killing it. And but see all Star 1:27:57.240 --> 1:27:59.639 was a part of the original success via the remixes, 1:27:59.760 --> 1:28:01.960 So to me that made sense. That was a continuation, 1:28:02.920 --> 1:28:04.240 you know what I mean. But at the end, of 1:28:04.280 --> 1:28:06.680 the day, same subject things. You're the one, it's the 1:28:06.760 --> 1:28:07.080 same thing. 1:28:07.240 --> 1:28:09.400 It's the subject of I'm gonna it's the same subject again. 1:28:09.680 --> 1:28:12.760 You feel so even this time around with the proven history, like, 1:28:12.880 --> 1:28:17.840 there's not a more of a bonding between you guys. 1:28:17.920 --> 1:28:21.760 It's just strictly business and that's that's such a great Okay, 1:28:21.880 --> 1:28:25.599 let's not ruin a good formula, because there's nothing harder 1:28:25.640 --> 1:28:28.600 than doing your second album and having to prove that. 1:28:30.120 --> 1:28:32.240 You know, no, it went the exact other way. 1:28:32.640 --> 1:28:35.439 Unbeknownst to me, I had no idea that it was 1:28:35.520 --> 1:28:38.759 so hostile towards me until it happened. 1:28:39.240 --> 1:28:41.120 And when you call the album new beginning, you're trying 1:28:41.160 --> 1:28:42.639 to tell me something. Damn. 1:28:42.720 --> 1:28:45.120 So how long did that circle back take? Because y'all 1:28:45.160 --> 1:28:47.160 are you know, y'all are back to good. 1:28:47.080 --> 1:28:50.479 Beautiful she's been good for a while. Yeah, But I mean, 1:28:50.560 --> 1:28:52.880 but then but they left that particular manager was the day. 1:28:52.960 --> 1:28:55.200 Was was the reason for all the drama sounds like 1:28:57.120 --> 1:28:58.680 between me, between them, between the. 1:28:58.720 --> 1:29:00.439 Messenger, it was bad. Yeah. 1:29:00.800 --> 1:29:02.960 So I was so happy to see y'all get back 1:29:03.000 --> 1:29:05.840 together for rain Man, Like when y'all when they did. 1:29:05.760 --> 1:29:08.840 The yeah, the release, Yeah, yeah, yeah. 1:29:08.920 --> 1:29:09.120 Yeah. 1:29:09.160 --> 1:29:12.000 I was so house, like, yes, if he's back with Bron, 1:29:12.120 --> 1:29:13.200 you know it wasn't. 1:29:13.040 --> 1:29:18.760 Because I chose to really that moment little backstory quest. Yes, yeah, 1:29:20.320 --> 1:29:21.200 all right, peep this. 1:29:21.840 --> 1:29:25.240 So I was so hurt by the whole not releasing 1:29:25.360 --> 1:29:28.200 songs like Fine Time that people consider should have been 1:29:28.240 --> 1:29:30.360 a single the ballot or what's it gonna be? 1:29:31.760 --> 1:29:34.160 That's what I'm here for. I got five solid joints on. 1:29:34.200 --> 1:29:35.920 That album that I thought at least one or two 1:29:35.960 --> 1:29:37.640 of them could have been singles and sold most of 1:29:37.680 --> 1:29:38.080 the fans. 1:29:38.280 --> 1:29:39.960 So I was like, in my mind, I was like, Okay, 1:29:40.000 --> 1:29:42.960 I'm done with them. I'm moving on. Uh so Brandy. 1:29:43.040 --> 1:29:46.000 I was focusing on Brandy because Sylvia Ron reached out 1:29:46.400 --> 1:29:47.280 and gave her and. 1:29:47.280 --> 1:29:49.280 Maryland Bob I know, you guys remember that name, Marlin Bob. 1:29:50.800 --> 1:29:53.519 They reached out and gave me a production deal a 1:29:53.680 --> 1:29:56.360 song deal rather, and they're like, Yo, we're gonna do 1:29:56.479 --> 1:29:57.600 like a five song deal with you. 1:29:58.200 --> 1:30:00.360 Can you give us some joints? I'm like hell, oh yeah. 1:30:00.520 --> 1:30:01.760 And I was like, but I want to work on 1:30:01.840 --> 1:30:03.640 Brandy though, and she's not really you know, she was 1:30:03.720 --> 1:30:06.519 on Atlantic, she wasn't on East West Atlantic. So she said, well, 1:30:06.560 --> 1:30:09.320 that's in our family word. So I wrote three joints. 1:30:09.800 --> 1:30:12.479 One is called Don't Change, one is called Rain, and 1:30:12.560 --> 1:30:14.040 the other one was a third one that I have. 1:30:14.720 --> 1:30:16.519 I never titled it. It was just a third joint. 1:30:16.560 --> 1:30:19.400 So look, so I let them hear them. They're like, Yo, 1:30:19.720 --> 1:30:21.800 that's crazy. You need to get in with Brandy right away. 1:30:22.680 --> 1:30:25.439 So I'm in New York. They put me in Daddy's 1:30:25.439 --> 1:30:28.240 house the studio, and were going in there and we're 1:30:28.240 --> 1:30:32.760 about to cut it. And I remember distinctly, Kelly Price 1:30:32.880 --> 1:30:36.120 was working with Diddy in one room. Di Angeletti might 1:30:36.160 --> 1:30:37.600 have been in another room, and I was in this 1:30:37.760 --> 1:30:39.840 room that me and Brandy were supposed to potentially start 1:30:39.840 --> 1:30:43.880 cutting Rain in. I remember playing Rain for Diddy. He 1:30:44.000 --> 1:30:48.280 said as all right, and then yeah, and then and 1:30:48.360 --> 1:30:50.439 then you know, just and I'm still not over my 1:30:51.520 --> 1:30:53.719 I'm still not over my crazy thing, you know, crazy. 1:30:55.680 --> 1:30:57.360 So I'm thinking I'm a get in with this one. 1:30:57.439 --> 1:31:00.920 And then he's like, eh, anyway, So I get a 1:31:01.000 --> 1:31:05.200 phone call and it's this an R guy, Anthony Morgan 1:31:05.280 --> 1:31:05.760 at r c A. 1:31:05.880 --> 1:31:10.960 He's like, YO, check this out me, Please don't cut 1:31:11.000 --> 1:31:11.679 that on Brandy. 1:31:15.080 --> 1:31:15.320 Wow. 1:31:15.800 --> 1:31:18.439 And I was like, what it's like, yo, man, that's 1:31:18.479 --> 1:31:21.080 a s w V. Join. So it has circulated in 1:31:21.200 --> 1:31:23.440 the in the in the you know, somehow circulated. 1:31:23.880 --> 1:31:32.800 You the most circulating talked about producer man of social industry, right, 1:31:33.160 --> 1:31:33.439 so p. 1:31:33.800 --> 1:31:38.760 So then the net it's crazy, right, But when Rodney. 1:31:40.160 --> 1:31:42.720 Listen, when Rodney Jerkins took over the Janet, I mean 1:31:42.760 --> 1:31:46.800 the Brandy record, he and this is the Boy's Mind album. 1:31:46.840 --> 1:31:50.120 So I think, and Rodney will tell you this, he 1:31:50.200 --> 1:31:52.800 loves Rain as well, but somebody I don't know who 1:31:52.840 --> 1:31:53.040 got it. 1:31:53.120 --> 1:31:55.880 Who's here, But it ended up being we're not going 1:31:55.920 --> 1:31:56.840 to cut this on Brandy? 1:31:57.680 --> 1:32:02.200 Yeah, So then which is Angel in disguise? Okay? 1:32:02.760 --> 1:32:12.639 So you see so look at so I'm cool because 1:32:12.680 --> 1:32:15.160 Sylvia and them already broke me off for these songs. 1:32:16.320 --> 1:32:18.120 So I'm like, oh, that was just a demo that 1:32:18.200 --> 1:32:20.200 I just got paid a couple hundred thousand word awesome. 1:32:20.600 --> 1:32:23.559 And so then I said to Anthony Morgan the next day, 1:32:23.680 --> 1:32:25.680 you know what, Okay, I'm here, we can cut it on. 1:32:25.840 --> 1:32:27.680 We can cut it on this WV. And that's how 1:32:27.760 --> 1:32:29.559 that got on that Wow. 1:32:29.880 --> 1:32:33.640 So during the so during that session where y'all, what 1:32:33.840 --> 1:32:36.680 was it like with you and Co. Yeah we all 1:32:36.680 --> 1:32:37.840 still cool or how was it? 1:32:38.120 --> 1:32:38.960 Now? I understand this. 1:32:39.560 --> 1:32:42.920 By this time, a whole new paradigm shift had happened. 1:32:43.000 --> 1:32:45.400 Missy and Timberland are part of the equation now. 1:32:46.040 --> 1:32:50.519 Because they come out with That's right. 1:32:51.080 --> 1:32:54.400 So absolutely, and so Missy called me to be to 1:32:54.520 --> 1:32:57.400 hang out on the set of the Rain video, which, ironic, 1:32:57.479 --> 1:32:59.080 both these songs I'm doing have to do with water 1:32:59.200 --> 1:33:01.560 and Rain. I went hung out, and because because she 1:33:01.640 --> 1:33:03.840 had cameos at the end of that video. Remember seven 1:33:03.920 --> 1:33:08.080 o two was in there, and yes he's not in there, Coco. 1:33:08.240 --> 1:33:10.200 Miss Missy and Coco were beefing at the time over 1:33:10.280 --> 1:33:15.040 some bullshit. Wow yeah, some some stupid shit, probably some 1:33:15.120 --> 1:33:18.320 ego ship but anyway, so Coco was not invited to 1:33:18.479 --> 1:33:22.280 the video of that Missy Elliott video, which I was. 1:33:22.479 --> 1:33:23.280 So I went and hung out. 1:33:23.360 --> 1:33:25.960 We recorded the vocals to the backgrounds to reign On 1:33:26.160 --> 1:33:28.479 Taj and Leelee at Electric Lady Land. 1:33:28.560 --> 1:33:34.000 Hello, very did, and then we did. I did Coco's 1:33:34.200 --> 1:33:36.320 lead vocal at right track. Remember right track? 1:33:37.280 --> 1:33:38.719 Yeah, yep. 1:33:39.040 --> 1:33:41.160 So so those those are my two days of recording 1:33:41.200 --> 1:33:44.920 in New York. And in between that's me that's me 1:33:45.680 --> 1:33:50.519 from the demo let you just follow me. That's me. 1:33:50.720 --> 1:33:52.880 That's me of course right, and it's. 1:33:52.760 --> 1:33:55.639 Also you singing uh, because I never thought. 1:33:58.800 --> 1:33:59.920 Yeah, yeah, we can't forget. 1:34:00.040 --> 1:34:02.200 I always on my mind tribute to my hero Charli 1:34:02.240 --> 1:34:04.400 Wilson and the gay band earning all day. 1:34:04.720 --> 1:34:07.080 And I did it unabashedly, very clearly. 1:34:07.479 --> 1:34:09.559 And by the way, just while we're in this moment 1:34:09.920 --> 1:34:12.479 quest I made sure after I saw you know, your 1:34:12.560 --> 1:34:14.599 Charlie thing on on the on the on the other show, 1:34:15.160 --> 1:34:17.040 I was like, yo, I feel like he lightweight kind 1:34:17.040 --> 1:34:18.880 of came after me on week somebody I made a 1:34:18.880 --> 1:34:20.960 lot of money a week and it was basically he 1:34:21.000 --> 1:34:21.960 thought it was another record. 1:34:22.320 --> 1:34:22.960 Truth of the matter. 1:34:23.280 --> 1:34:25.280 I never thought about that record. I was only thinking 1:34:25.280 --> 1:34:27.120 about Wednesday Lover, the one me and font are talking 1:34:27.160 --> 1:34:29.720 about and and so. But but he but it got 1:34:29.800 --> 1:34:31.280 back to him that I said that, and he called 1:34:31.320 --> 1:34:33.680 me any any thanked me. He's like, yo, bro, no, 1:34:34.200 --> 1:34:37.080 he said this, you are a gap band by your 1:34:37.160 --> 1:34:45.479 damn self. Praise its huge, right, And so I was like, man, 1:34:45.520 --> 1:34:47.120 I love you so and I got this joint for 1:34:47.200 --> 1:34:48.360 him called better man right now. 1:34:48.520 --> 1:34:52.000 But if he does it, who it's crazy quest, wait too, Quest, 1:34:52.080 --> 1:34:53.719 we got to start sharing. Okay. 1:34:53.840 --> 1:34:56.040 Yeah, So once Rain came out and uh and Missing 1:34:56.160 --> 1:34:58.360 Him came out, now we're in a new whole paradigm shift. 1:34:58.920 --> 1:35:00.880 Thank god. I got to play Rain for Timblin right 1:35:01.040 --> 1:35:02.719 in the studio as he was mixing down. 1:35:03.120 --> 1:35:07.840 Are you that somebody show? So in the studio I 1:35:07.960 --> 1:35:10.080 walked in. I kept hearing don't, don't, don't. 1:35:13.280 --> 1:35:13.800 I don't want to. 1:35:13.800 --> 1:35:20.160 Play in this black ass ballad shit. Okay, And you 1:35:20.240 --> 1:35:22.479 know who brought me there to that session with Static Major? 1:35:22.560 --> 1:35:23.120 Rest in Peace? 1:35:23.400 --> 1:35:24.759 Yes, rest in peace? 1:35:28.160 --> 1:35:30.200 Everybody else from Player, all my homies form Player too, man, 1:35:30.400 --> 1:35:32.479 that funky, smokey everybody bro. 1:35:32.920 --> 1:35:34.720 It was crazy black man. 1:35:34.920 --> 1:35:36.960 And so again, that was a moment in time I 1:35:37.040 --> 1:35:40.040 will never forget. And I played it for Tim though, 1:35:40.080 --> 1:35:42.040 and you know what he said, because his ears are incredible. 1:35:42.800 --> 1:35:46.640 He went, I played him my demo version versus the 1:35:46.800 --> 1:35:49.920 album version, and he's like, your demo version sounds better, bro, 1:35:50.640 --> 1:35:53.960 And I said, I know right, he said a fatter. 1:35:54.360 --> 1:35:56.360 He just got it right away. And guess who else 1:35:56.400 --> 1:35:57.439 was sitting there, Jimmy Douglas. 1:35:57.560 --> 1:36:01.840 I was like, I know, God, Jimmy Douglas. You feel 1:36:01.880 --> 1:36:04.400 me so, I mean, yo, man, he's the greatest dude 1:36:04.479 --> 1:36:07.799 ever ever. Jimmy Man me too, man, god Man crazy. 1:36:07.920 --> 1:36:10.080 But that's you know, that's how rain happened. Look how 1:36:10.200 --> 1:36:11.040 the ripple effect of. 1:36:11.160 --> 1:36:15.200 Rain has been so crazy? I can't even tell you like. 1:36:15.280 --> 1:36:17.000 Pulling me back? 1:36:17.120 --> 1:36:24.000 Yeah, come on, bro, favorite change jam, call away? 1:36:24.040 --> 1:36:26.639 I did like one call right now. 1:36:26.880 --> 1:36:29.040 I don't even know that one called away. It was 1:36:29.120 --> 1:36:32.280 with I like that exactly. 1:36:32.880 --> 1:36:34.840 It was with with who was on the hook on that? 1:36:34.920 --> 1:36:35.519 I think we. 1:36:37.320 --> 1:36:40.719 Weave on the hook nice. Nice. That's the two chingy jams. 1:36:40.720 --> 1:36:42.000 And that's what you know. 1:36:42.479 --> 1:36:47.839 It's out right now on Rick Ross Summer rain yesh ship. 1:36:47.680 --> 1:36:48.040 I got it? 1:36:48.200 --> 1:36:50.320 Now you're gonna make me listen to That's. 1:36:50.160 --> 1:36:56.320 What can I ask uh? From the pastorious point of view, 1:36:56.520 --> 1:36:57.360 How easy was. 1:36:57.400 --> 1:37:02.360 It to to clear that? Yes, very very easy because 1:37:02.400 --> 1:37:04.360 at the time in ninety seven. 1:37:04.720 --> 1:37:06.479 Wasn't a whole lot of people sampling Jocko or doing 1:37:06.479 --> 1:37:08.200 anything having to do with Joco at all, So it 1:37:08.280 --> 1:37:09.280 was very easy. 1:37:10.040 --> 1:37:14.000 It's just weird because like I almost like you know, 1:37:14.080 --> 1:37:18.720 there's some samples out there that are so quasi obscure 1:37:18.800 --> 1:37:22.400 that you might be tempted to be like I can 1:37:22.520 --> 1:37:23.200 get away with this. 1:37:23.479 --> 1:37:26.040 You know it's crazy. I didn't. I didn't let me 1:37:26.080 --> 1:37:28.320 say this. I did not sample it. Let's get played it. 1:37:29.160 --> 1:37:30.760 I know that I know you inmp it. 1:37:31.040 --> 1:37:34.320 That's the thing like when you when you when you're 1:37:34.400 --> 1:37:37.519 creating something like you know all the time. I'll put 1:37:37.560 --> 1:37:40.519 it this way, I'll say that eighty I do. 1:37:41.640 --> 1:37:41.800 Well. 1:37:42.240 --> 1:37:44.080 Yeah, but just like eighty percent of the outperield I 1:37:44.240 --> 1:37:45.880 do usually starts with a sample. 1:37:51.280 --> 1:37:55.000 I'm not I'll tell you after we stop recording, but. 1:37:56.280 --> 1:37:58.080 I want to know that. That's one of my favorite 1:37:58.120 --> 1:37:58.799 What I'm saying. 1:37:58.720 --> 1:38:03.559 Is it'll start with this sample, and then I'll make 1:38:03.640 --> 1:38:05.920 the decision on whether or not I'm gonna ride with 1:38:06.040 --> 1:38:08.559 it all the way out, or if I'm gonna freak 1:38:08.640 --> 1:38:09.800 it so that. 1:38:09.960 --> 1:38:13.000 No one knows what it is or whatever, you know, 1:38:13.120 --> 1:38:13.680 and then I. 1:38:15.200 --> 1:38:17.120 Dress it up and then I take the sample away 1:38:17.160 --> 1:38:19.800 and then blame it's a it's a song on its own, 1:38:20.360 --> 1:38:23.960 but Portrait of Tracy could be one of them things 1:38:24.080 --> 1:38:29.000 where it's like, yo, this is man familiar. I mean, yes, 1:38:29.080 --> 1:38:31.680 you definitely stuck with the melody or whatnot. But in 1:38:31.760 --> 1:38:34.439 the beginning, did you definitely say like I'm gonna make 1:38:34.479 --> 1:38:36.280 a joint to Portrait of Tracy. 1:38:36.560 --> 1:38:38.600 No, let me tell you this. I'm gonna do this 1:38:38.800 --> 1:38:40.519 story right here. Is really quick. It's very quick. 1:38:41.000 --> 1:38:43.800 The only reason I even know about Jocko at all 1:38:44.000 --> 1:38:46.280 is because of Layla Hathaway. And so when I was 1:38:46.360 --> 1:38:49.360 doing let Me Love You like You described with Janet 1:38:49.400 --> 1:38:51.280 and Jimmy and Terry, I went to her apartment. We 1:38:51.400 --> 1:38:53.040 hung out, trying to get a vibe, just to get 1:38:53.080 --> 1:38:56.160 between us right energy. She pulled out all this vinyl. 1:38:56.560 --> 1:38:58.840 One of the vinyls was the Jocko debut, the black 1:38:58.840 --> 1:39:01.360 and white joint with tra Just on the cover. I 1:39:01.439 --> 1:39:02.200 was intrigued with the cover. 1:39:02.320 --> 1:39:03.599 So when I pulled out and I saw that Herbie 1:39:03.640 --> 1:39:05.840 Hancock did the notes, I was like, oh my god. 1:39:06.080 --> 1:39:08.240 So when I started listening listen that, when Portrait of 1:39:08.280 --> 1:39:11.360 Tracy came on, It's my whole soul and spirit was 1:39:11.479 --> 1:39:12.880 just snatched and transformed. 1:39:12.920 --> 1:39:14.120 Right. So I was like, oh my god. 1:39:14.200 --> 1:39:16.680 So when I went back to Sacramento, before I even 1:39:16.720 --> 1:39:18.200 did Let Me Love You, I did my homework. 1:39:18.240 --> 1:39:20.479 I went and bought that CD. So I just lived 1:39:20.520 --> 1:39:20.720 with it. 1:39:21.200 --> 1:39:23.880 Now when I heard it again I listened to it, 1:39:23.880 --> 1:39:25.439 I was like, oh, that's crazy. When if I ever 1:39:25.640 --> 1:39:27.640 used that, it's gonna be dope, and then forgot all 1:39:27.640 --> 1:39:27.920 about it. 1:39:29.360 --> 1:39:34.040 Four years later, ninety seven, ninety six, whatever. 1:39:34.200 --> 1:39:37.040 But three years later, I'm in the shower a hook 1:39:37.160 --> 1:39:40.479 comes to me and it's full entirety never happened before 1:39:40.520 --> 1:39:42.519 in my life. A whole hook with the words and 1:39:42.560 --> 1:39:45.120 everything came to me as I was showering. Water is 1:39:45.120 --> 1:39:46.200 always involved in my shit. 1:39:46.640 --> 1:39:50.840 So I fucking the whole rain down on me like 1:39:51.320 --> 1:39:53.880 love this all Like man, it just came to me, 1:39:54.479 --> 1:39:57.080 and I said, hold on, man, hold on, hold on, 1:39:57.160 --> 1:40:01.639 hold on. In my mind I heard it clearstay. I said, 1:40:01.680 --> 1:40:04.880 if that jacko thing works with what this hook is, 1:40:05.479 --> 1:40:07.720 it's gonna go together. Well. So I ran to my 1:40:07.800 --> 1:40:08.920 studio with a. 1:40:09.000 --> 1:40:12.360 Towel on, put the Jocko joint, put the Jocko joint on, 1:40:12.920 --> 1:40:14.880 and I took it as divine intervention. 1:40:15.680 --> 1:40:19.640 When it was in the same key, I heard the damn. 1:40:20.000 --> 1:40:21.680 And when I went I said it. I sung it 1:40:21.760 --> 1:40:23.960 out loud on my voy ain't not me, And I 1:40:24.040 --> 1:40:24.960 put the record and went. 1:40:27.280 --> 1:40:28.280 And my hands went up. 1:40:29.560 --> 1:40:32.280 I turned on that NPC. I did that beat right, 1:40:32.520 --> 1:40:39.519 then and there too. Yeah, absolutely wow. In a towel, 1:40:39.760 --> 1:40:42.600 I said, no, nah, I'm doing this joint right now. 1:40:42.680 --> 1:40:44.640 I didn't want to lose the feeling. 1:40:44.560 --> 1:40:46.240 Of what I felt. And I'm gonna tell you something. 1:40:46.280 --> 1:40:48.680 My sample that I never told nobody and Rain, this 1:40:48.800 --> 1:40:49.960 is a beat they ain't got nothing doing with no 1:40:50.040 --> 1:40:50.639 melody nothing. 1:40:51.880 --> 1:40:54.240 There's a beat on Michael Jackson's solo. 1:40:54.080 --> 1:40:58.680 Album where he redoes Bill Withers use me. So you 1:40:58.760 --> 1:40:59.639 gotta check this out. 1:41:01.000 --> 1:41:03.160 It starts with a beat or ain't no sunshine? 1:41:03.560 --> 1:41:06.639 I mean, ain't no sunshine. It ain't no sunshine. Drums, 1:41:06.680 --> 1:41:09.080 ain't no sunshine at the beginning. I'm sorry, you know 1:41:09.120 --> 1:41:09.720 what I'm talking about. 1:41:10.400 --> 1:41:10.840 So when. 1:41:13.960 --> 1:41:18.240 Boom, right, So if you listen to Rain, there's a 1:41:18.400 --> 1:41:19.360 little tiny thing. 1:41:19.479 --> 1:41:21.640 I didn't want my beat to feel so stiff on 1:41:21.760 --> 1:41:24.639 the NPC, right, So my beat. 1:41:24.520 --> 1:41:33.679 Is bum bum bum bum. That little is the dreams. 1:41:38.280 --> 1:41:38.720 I love it. 1:41:39.000 --> 1:41:41.720 I love it, and that gives you that that real 1:41:41.960 --> 1:41:45.040 human feel in there. So when people try to. 1:41:45.040 --> 1:41:49.000 Recreate it on whatever devices that they have, they forget 1:41:49.040 --> 1:41:52.479 that human element, like James Gad saying or somedamn body. 1:41:52.520 --> 1:41:55.160 But it's like, you know what I mean, and I 1:41:55.240 --> 1:41:56.600 did that, and then I just played the keys, and 1:41:56.640 --> 1:41:59.439 then when I wanted to sample Jocko, but something told 1:41:59.520 --> 1:42:01.479 me no because I didn't want to stretch it and 1:42:01.560 --> 1:42:03.840 have it sound all weird. So I called one of 1:42:03.880 --> 1:42:08.120 my favorite uh bass and guitar players over to my 1:42:08.160 --> 1:42:10.439 house of Sacramento, and he just replayed what I wanted 1:42:10.479 --> 1:42:10.840 him to play. 1:42:10.840 --> 1:42:11.840 And I didn't want all the notes. 1:42:12.000 --> 1:42:13.519 I just said, dude, yeah, I was going to say, 1:42:13.600 --> 1:42:17.400 every bass player worth a green of salt, like that's 1:42:17.439 --> 1:42:19.600 their entry into the world of jazz. You gotta know 1:42:20.360 --> 1:42:23.880 Team Town by Jacko well Weather Report, and you gotta 1:42:23.920 --> 1:42:26.559 know Portrait of Tracy Damn right like modern jazz. 1:42:26.680 --> 1:42:29.120 Like that's just without. 1:42:28.920 --> 1:42:31.040 Saying, but you know what the first person, as sambled 1:42:31.080 --> 1:42:31.799 it was master. 1:42:31.720 --> 1:42:34.479 P Nigga, what's doing? 1:42:36.280 --> 1:42:38.479 It's called you just don't Know? It was the only 1:42:38.760 --> 1:42:41.680 only like nine months later and it's called you just 1:42:41.880 --> 1:42:44.600 don't know? What you did to me? 1:42:45.320 --> 1:42:46.280 I missed that one. 1:42:46.840 --> 1:42:51.040 Missed that one though, that him doing that without getting 1:42:51.040 --> 1:42:56.800 permission paid off my publishing debt to Universal at the 1:42:56.880 --> 1:43:01.320 time way back and by two thousand that record because 1:43:01.320 --> 1:43:03.160 he sold four million albums that was on his album 1:43:03.200 --> 1:43:03.920 called The Last Dawn. 1:43:05.120 --> 1:43:06.640 It was on the last song because that was the 1:43:06.680 --> 1:43:10.080 double CD. It was right, Damn, I forgot about that record. 1:43:10.240 --> 1:43:14.280 And yes, four million albums so way before CHINGI master 1:43:14.400 --> 1:43:18.120 P did it within a year of me putting it 1:43:18.200 --> 1:43:18.719 out right. 1:43:19.040 --> 1:43:20.880 Paid off my All of a sudden. 1:43:20.960 --> 1:43:22.479 I knew what I had gotten from him as an 1:43:22.479 --> 1:43:25.240 advance like in ninety eight, and then in two thousand 1:43:25.400 --> 1:43:26.360 it was already paid off. 1:43:27.240 --> 1:43:31.920 I was like, wow, yeah, and it was because of that. Okay, 1:43:32.160 --> 1:43:33.320 So one big. 1:43:39.280 --> 1:43:41.360 Is it ever as you look back over your career, 1:43:41.560 --> 1:43:43.880 is it ever a part I guess where you're at 1:43:44.000 --> 1:43:47.479 now where you still have the yearning like to be 1:43:47.640 --> 1:43:50.000 an artist that'd be all the just the great things 1:43:50.040 --> 1:43:52.120 you've done as a producer. Is it still a part 1:43:52.160 --> 1:43:54.120 of you that yearns to just like put out your 1:43:54.120 --> 1:43:56.479 own music and still sing because you still got it. 1:43:56.520 --> 1:43:58.240 I mean, you still got the chops and you could 1:43:58.240 --> 1:43:58.720 still do it. 1:43:58.880 --> 1:44:00.960 So not only that I am doing it, and I 1:44:01.120 --> 1:44:05.080 finally got myself into a position financially where I can 1:44:05.200 --> 1:44:07.519 do it and do it and do it right. So 1:44:07.800 --> 1:44:11.160 that's exactly what I'm doing right now, like putting something 1:44:11.200 --> 1:44:13.040 together for you guys and the fans that love all 1:44:13.080 --> 1:44:15.280 the stuff that we talked about, plus stuff I'll be 1:44:15.320 --> 1:44:16.360 slipping out to certain people. 1:44:17.400 --> 1:44:20.040 I'm totally doing that and with artists I find that's. 1:44:19.960 --> 1:44:21.800 What I just gave a quest, that was those exclusives 1:44:22.080 --> 1:44:24.240 that he can play if he wants to, because it's 1:44:24.280 --> 1:44:26.280 a couple of new artists on there or and then 1:44:26.320 --> 1:44:28.760 some old me and Coco's on one, and then this 1:44:28.920 --> 1:44:31.960 new girl, Nephutitiavanni is on another. She's a badass writer 1:44:32.280 --> 1:44:34.360 and a dope ass singer. Check that out joint called 1:44:34.600 --> 1:44:37.080 do It Again. I think you guys are gonna appreciate 1:44:37.120 --> 1:44:39.040 what we got going. And I'm about to put out 1:44:39.040 --> 1:44:40.280 a lot of stuff that I wanted to do on 1:44:40.400 --> 1:44:42.760 other people that I never did do, Like those other 1:44:42.800 --> 1:44:45.479 two songs that I did on Brandy. I want to 1:44:45.520 --> 1:44:47.960 put those out. So I'm trying to get I'm just 1:44:48.080 --> 1:44:49.880 grabbing folks and putting them on joints. 1:44:49.920 --> 1:44:52.960 And I call it BAM's rare, remixed and unreleased. I 1:44:53.080 --> 1:44:57.280 love it. You're gonna put that, I'm gonna put No, 1:44:57.560 --> 1:44:59.960 I'm gonna put the new crazy with this new dude 1:45:00.120 --> 1:45:02.040 that's a crazy singer, all right. 1:45:02.120 --> 1:45:03.000 That makes it's cheaper. 1:45:03.160 --> 1:45:08.160 Yes, it's a whole nother joint. Hey, hey, it's trapped out. 1:45:08.240 --> 1:45:09.240 It's dope, it's dope. 1:45:10.560 --> 1:45:14.000 Can you talk about well, I know that there's not 1:45:14.160 --> 1:45:19.559 even I won't say resurgence, but you worked on with Drake. 1:45:19.640 --> 1:45:22.439 What was that situation? How did that situation come to be? 1:45:23.080 --> 1:45:24.200 Came to be? Wow? 1:45:24.400 --> 1:45:28.280 You know what's crazy I learned about Toronto is that 1:45:28.720 --> 1:45:32.240 they're Detroit adjacent. And let me tell you something. The 1:45:32.360 --> 1:45:36.920 Toronto fans of as far as sw vegos are voracious. 1:45:37.000 --> 1:45:38.400 They know their ship. 1:45:38.840 --> 1:45:42.559 Like I was shocked to know that Noah like forty yea. 1:45:44.880 --> 1:45:45.320 Champion. 1:45:45.680 --> 1:45:49.519 Them dudes know their ship. So when they reached out. 1:45:51.160 --> 1:45:52.800 I have been working with DJ Khalil, who was one 1:45:52.840 --> 1:45:56.280 of my best friends here in l A. Thank thank god. Man. Yeah, man, 1:45:56.760 --> 1:45:57.519 I love him to death. 1:45:57.800 --> 1:46:00.439 And he's the guy that said, man just moved to 1:46:00.600 --> 1:46:02.280 La stopped playing, just moved to La because I was 1:46:02.400 --> 1:46:04.599 just kind of like not wanting to live in La ever. 1:46:06.240 --> 1:46:09.840 And but why is that? Because wouldn't it be easier 1:46:09.920 --> 1:46:13.240 for you to go to where the water well is? 1:46:15.360 --> 1:46:17.640 You know, it's funny, that would be true usually, but 1:46:17.720 --> 1:46:20.120 since I had made such of my own little lake 1:46:20.280 --> 1:46:21.000 in Sacramento. 1:46:21.439 --> 1:46:23.160 It was easier to just stay in it, you know 1:46:23.200 --> 1:46:24.920 what I mean. I was a small in my own 1:46:24.960 --> 1:46:28.280 little I created my own thing there, and I was 1:46:28.320 --> 1:46:30.040 doing my dance stuff. I was just doing my thing. 1:46:30.320 --> 1:46:32.880 But it's it's when Chris Brown redid she Ain't You? 1:46:33.360 --> 1:46:36.479 In twenty eleven to right here and it did so well, 1:46:36.960 --> 1:46:40.280 and then pulling me back in eight It was just 1:46:40.360 --> 1:46:42.240 all these little things kept telling me, man, maybe I 1:46:42.320 --> 1:46:44.040 do need to step my toe back into it, just 1:46:44.120 --> 1:46:44.960 because I had I had. 1:46:45.200 --> 1:46:45.920 This is what happened. 1:46:45.920 --> 1:46:47.760 I was over the fact that we couldn't seem to 1:46:47.800 --> 1:46:50.320 get any traction with black artists, and that it seemed 1:46:50.400 --> 1:46:52.880 like that all the black stuff was getting done in 1:46:53.040 --> 1:46:53.639 white face. 1:46:55.479 --> 1:46:58.200 It and and that, and that was frustrating and I 1:46:58.360 --> 1:47:00.920 was just over it. So I started doing one that 1:47:01.680 --> 1:47:04.200 done in white face. It was being called pop and 1:47:04.280 --> 1:47:07.280 it wasn't mean called R and B exactly right. 1:47:07.320 --> 1:47:09.280 And then you all of a sudden relegated our chart. 1:47:09.600 --> 1:47:11.280 All of a sudden it looked like the gospel chart 1:47:11.479 --> 1:47:13.679 used to look what is wrong with you? Are y'all 1:47:13.760 --> 1:47:14.599 kidding me right now? 1:47:15.120 --> 1:47:18.599 And that was did somebody said white face I'm right here. 1:47:27.640 --> 1:47:29.000 I love it. Question hear me? 1:47:29.080 --> 1:47:29.120 Know? 1:47:29.600 --> 1:47:31.400 So like I dipped out? 1:47:31.400 --> 1:47:33.439 I mean you know why because my mailbox money was 1:47:33.479 --> 1:47:36.719 so crazy I could afford to didn't. 1:47:36.760 --> 1:47:37.840 I wasn't really tripping on. 1:47:38.120 --> 1:47:39.000 What was that money? 1:47:39.120 --> 1:47:42.040 That's the dream right there? That phrase is amazing. My 1:47:42.160 --> 1:47:44.680 mailbox money. Listen. Let me tell you something. Pulling Me 1:47:44.760 --> 1:47:46.400 Back was a big pop record. Let me tell you 1:47:47.880 --> 1:47:48.479 Jermaine Deprie. 1:47:48.560 --> 1:47:51.560 Shout out to Jermaine dupri and a big not to 1:47:51.600 --> 1:47:53.880 Jermain Depres for real because a lot of producers don't 1:47:53.960 --> 1:47:56.960 want use some other producers stuff. That was huge that 1:47:57.040 --> 1:47:59.200 he did that, and I want to thank him publicly 1:47:59.280 --> 1:48:01.760 right now. Thank you your main love you. And then 1:48:02.080 --> 1:48:04.000 again with Chris Brown with she Ain't You? 1:48:04.200 --> 1:48:04.800 And that did well. 1:48:04.880 --> 1:48:07.040 So that was the year that I decided I'm gonna 1:48:07.040 --> 1:48:09.000 move to LA. That was twenty eleven. I actually did 1:48:09.040 --> 1:48:12.080 it in twenty twelve. And DJ Khalil is the person 1:48:12.120 --> 1:48:15.519 who received me with open arms. And as you know, 1:48:16.000 --> 1:48:18.360 because he told a story about It's About Time album 1:48:18.560 --> 1:48:20.920 that brings me to tears. He was playing basketball, thinking 1:48:20.960 --> 1:48:22.600 he was about to be a basketball start riding on 1:48:22.640 --> 1:48:25.360 the bus and they gave them promos out for free 1:48:25.439 --> 1:48:26.840 to a lot of people that he knew in the business, 1:48:26.840 --> 1:48:29.160 and he put that on as a as a college 1:48:29.200 --> 1:48:31.280 basketball player, put it on the headphones and on a bus. 1:48:31.720 --> 1:48:33.840 He said, by the time he got that through playing 1:48:33.840 --> 1:48:35.439 at this about time, that changed his life. 1:48:36.720 --> 1:48:39.720 So that and then the fact that Jeff Foreman is 1:48:39.760 --> 1:48:41.840 the one who mentored him and gave him his first 1:48:42.120 --> 1:48:45.040 gig in television doing music for what's that show? 1:48:45.080 --> 1:48:47.080 It's an entertainment Tonight show called the Other One the 1:48:49.040 --> 1:48:49.360 Troll with. 1:48:49.520 --> 1:48:53.040 Yeah, that's how Khalil became. I got back in his 1:48:53.160 --> 1:48:55.680 life because Jeff Foreman was working with him, you know 1:48:55.720 --> 1:48:57.439 what I mean. So if I don't know if you 1:48:57.479 --> 1:49:00.320 guys believe in divine stuff like that, but to me. 1:49:00.760 --> 1:49:03.000 Absolutely that right there was. 1:49:03.360 --> 1:49:06.600 It's a lot, so long story short, thank god I 1:49:06.640 --> 1:49:09.040 got in it. Khalil had already worked with Drake, so 1:49:09.120 --> 1:49:10.920 he knew what that camp was like. And I was like, man, 1:49:10.920 --> 1:49:14.120 I want to get down. I think forty found me 1:49:15.439 --> 1:49:17.120 from somebody. I don't know how he found me, but 1:49:17.200 --> 1:49:18.479 he found me and he asked me if I had 1:49:18.479 --> 1:49:19.800 anything original. 1:49:20.240 --> 1:49:20.840 And I did. 1:49:21.479 --> 1:49:24.719 And that's how the song nine got done is because 1:49:24.720 --> 1:49:26.519 I already had it and I sent it to them 1:49:26.560 --> 1:49:27.920 and him and Boy wondered to touch it up. And 1:49:28.000 --> 1:49:30.040 that's how that got on there turn of six two 1:49:30.120 --> 1:49:33.080 or nine now, And that's how I ended up on views. 1:49:33.400 --> 1:49:36.519 And as a result, I think the producer nineteen eighty five, 1:49:36.720 --> 1:49:40.360 who's amazing himself, we started working and that's how I ended. 1:49:40.280 --> 1:49:42.440 Up on the Khalead on the Way record. 1:49:44.800 --> 1:49:45.639 And on that could. 1:49:45.760 --> 1:49:47.840 If y'all listen, I'm just I'm just doing my best 1:49:47.960 --> 1:49:54.080 Jimmy Jam invitation on the keys, all of that, all 1:49:54.160 --> 1:49:59.439 of that keys, baby, you know the nice Roads chords. 1:49:59.479 --> 1:50:02.640 You feel me everything I miss at home, warmth and 1:50:02.680 --> 1:50:05.000 all that. Yes, I'm trying to give it. 1:50:06.000 --> 1:50:08.519 All this stuff come back around, man, and I'm hopefully 1:50:08.600 --> 1:50:08.960 bringing it. 1:50:09.040 --> 1:50:12.600 I'm trying to you feel me like quest, what do 1:50:12.640 --> 1:50:16.400 you think about the on the Way record? Are you familiar? Oh? 1:50:16.560 --> 1:50:17.560 The colliding No? 1:50:18.760 --> 1:50:18.800 It? 1:50:18.880 --> 1:50:19.599 Yes? Absolutely? 1:50:19.800 --> 1:50:21.920 Word? Okay good, I'm sure if you look okay good. 1:50:22.439 --> 1:50:23.679 So that's that's how that happened. 1:50:24.800 --> 1:50:26.360 That Nigga. I ain't feeling that ship. 1:50:29.479 --> 1:50:31.320 Hey, I'm hoping you is dope. 1:50:31.640 --> 1:50:34.920 Khalid is dope, bro. That record he got the talk record, 1:50:34.960 --> 1:50:36.960 he got with disclosure. 1:50:36.680 --> 1:50:40.280 Crazy shit hardest, yeah crazy. He don't do no whack ship. 1:50:40.520 --> 1:50:42.880 Everything he does is cool. And you know what I'm saying, 1:50:43.160 --> 1:50:43.640 shout out to. 1:50:44.840 --> 1:50:49.880 Oh yeah yeah, shout yeah, that's the homie over it 1:50:50.160 --> 1:50:51.559 and keep cool, Tungey and Josh. 1:50:52.040 --> 1:50:54.680 Absolutely and and thank you for making sure that that 1:50:54.800 --> 1:50:57.439 all went down with with with Khalid, I mean. 1:50:58.080 --> 1:51:01.960 Out here where you are right now, and you know, 1:51:02.280 --> 1:51:06.800 I guess as evidenced by especially with where we are 1:51:07.000 --> 1:51:12.880 in twenty twenty and as we witnessed, especially watching the 1:51:13.000 --> 1:51:20.400 Monica and Brandy sort of resurgence, it's I almost feel 1:51:20.520 --> 1:51:26.160 like there is finally there's a respect with a K 1:51:26.920 --> 1:51:30.720 put on the name of really good R and B, 1:51:31.640 --> 1:51:34.760 Like do you feel as though this is now? Did 1:51:34.840 --> 1:51:36.519 you was ever a point where you felt like it 1:51:36.640 --> 1:51:40.320 was a little hopeless, Like well, yeah, this doesn't exist anymore, 1:51:40.320 --> 1:51:42.960 because you know, I'll go to the iTunes charts and 1:51:43.040 --> 1:51:46.280 I'll be shocked that, like you know, like get Lifted 1:51:46.320 --> 1:51:49.760 by by John Legend is still like the still in 1:51:49.840 --> 1:51:51.880 the top ten of the R and B charts or 1:51:52.320 --> 1:51:58.720 iTunes like it amaze you how deserted that you know 1:51:58.880 --> 1:52:01.760 those charts are right now? But wow, you know do 1:52:01.920 --> 1:52:04.840 you wish or envision a day where it's like, Okay, 1:52:05.320 --> 1:52:09.040 we could bring the art form of singing back. 1:52:09.840 --> 1:52:14.080 I think Bruno has has brought it a long way 1:52:14.439 --> 1:52:17.000 with records like lucky for me. That's what I like 1:52:17.240 --> 1:52:19.600 where you I mean them kind of joints. Uh my 1:52:19.680 --> 1:52:25.679 people out here, my guy Mars Uh yeah, man, shout 1:52:25.680 --> 1:52:27.080 out to all of the guys at fifteen hundred other 1:52:27.200 --> 1:52:30.040 James Boloyd, everybody like that. 1:52:30.400 --> 1:52:32.599 To me understand where it comes from. 1:52:33.360 --> 1:52:33.559 And so. 1:52:36.360 --> 1:52:42.120 From Sacramento, absolutely, yeah, absolutely, so they get it. They 1:52:42.240 --> 1:52:44.080 totally get it. And so I think they're. 1:52:43.920 --> 1:52:46.320 Bringing it back around. And I'm just happen to be here, 1:52:46.439 --> 1:52:48.439 still here doing it and I'm just happy to be 1:52:48.560 --> 1:52:51.320 doing it. So now to me, it's more exciting than 1:52:51.360 --> 1:52:54.960 ever to be doing it with the authenticity that I have, 1:52:55.800 --> 1:52:57.479 you know what I mean, And I still have the 1:52:57.560 --> 1:52:59.600 understanding of today's stuff and what it is. 1:52:59.680 --> 1:53:01.040 You know, I'm not one of them old heads that 1:53:01.439 --> 1:53:02.800 don't get it, you know what I mean. 1:53:03.600 --> 1:53:05.880 No, man, you know when we when we hung out, man, 1:53:06.000 --> 1:53:08.800 that was the thing I was just so surprised by 1:53:09.400 --> 1:53:11.920 because you were, you know, a producer that like I 1:53:12.000 --> 1:53:14.400 grew up listened to, but yet we still listen to. 1:53:14.400 --> 1:53:15.120 The same things. 1:53:15.320 --> 1:53:18.160 Absolutely you had you know, you had like donuts and 1:53:18.240 --> 1:53:22.960 I was like, like, like you was you know. 1:53:23.200 --> 1:53:25.800 So I think that was something that just the lesson 1:53:25.880 --> 1:53:29.360 I took from you from that from that meeting was 1:53:29.560 --> 1:53:31.599 just how important it is too. 1:53:32.120 --> 1:53:34.080 And I tell you know, artists at this all the time. 1:53:34.920 --> 1:53:37.960 You don't have to like new music, but you do. 1:53:38.160 --> 1:53:41.360 I think it's important to understand it, understand why it works, 1:53:41.479 --> 1:53:45.040 and understand why people gravitate to it. And that was 1:53:45.080 --> 1:53:47.840 something I always admired about you, Like you just worked. 1:53:47.920 --> 1:53:50.040 I mean you was up on everything, like you knew 1:53:50.080 --> 1:53:51.400 all the ship I was listening, was like, yeah, I 1:53:51.479 --> 1:53:53.080 got that list. 1:53:53.320 --> 1:53:54.400 You was right up on it. Man. 1:53:54.560 --> 1:53:56.640 Absolutely, I'm a DJ, and that makes it. You have 1:53:56.800 --> 1:53:56.960 to know. 1:53:57.120 --> 1:53:58.800 I mean, how could you not know you're trying to 1:53:58.840 --> 1:54:01.640 spend I mean I play dance, I play hip hop, I. 1:54:01.680 --> 1:54:06.000 Play house, Like you gotta know what's what? You ain't 1:54:06.040 --> 1:54:06.559 seen none of my. 1:54:09.000 --> 1:54:10.080 Dude, I've seen your set. 1:54:11.640 --> 1:54:12.519 I'll be fucking around. 1:54:12.600 --> 1:54:12.720 Man. 1:54:13.200 --> 1:54:14.840 I can never do what you do, but you know 1:54:15.680 --> 1:54:16.080 I love it. 1:54:16.479 --> 1:54:18.639 Man, It's it's you being creative. 1:54:18.720 --> 1:54:21.360 That's everybody that you see DJing right now in the 1:54:21.520 --> 1:54:23.120 in the age of quarantining, is. 1:54:25.160 --> 1:54:27.160 Trying to get the creative, creative juices working. 1:54:28.040 --> 1:54:28.439 I love it. 1:54:28.520 --> 1:54:31.080 I love watching DJ sets online you know, and see 1:54:31.080 --> 1:54:33.240 what people are because. 1:54:33.000 --> 1:54:35.240 You guys are so damn intimidating. I'm like, oh, fuck it, 1:54:35.240 --> 1:54:37.240 they don't done. Seven hours before I even get the 1:54:37.280 --> 1:54:39.600 funk up, I was like, I ain't. 1:54:39.400 --> 1:54:41.560 Seen you pop up on them alive? Man, what's going on? 1:54:41.920 --> 1:54:43.920 You know what's crazy? After so much I started doing 1:54:43.960 --> 1:54:45.680 this album trying to get it ready for you guys. 1:54:45.800 --> 1:54:49.880 I need wah. 1:54:51.720 --> 1:54:53.640 But I'm so happy just to even be in the 1:54:53.680 --> 1:54:56.320 conversation about stuff that we love like this, bro, Like 1:54:56.440 --> 1:54:57.320 it's still here doing it. 1:54:57.600 --> 1:54:59.880 You feel me. That's my most important thing. I'm like, man, 1:55:00.000 --> 1:55:02.040 thank god, I'm still here actually doing it. 1:55:03.560 --> 1:55:07.360 You know, we thank you, We appreciate it, We thank 1:55:07.400 --> 1:55:08.880 you for coming on the show with us. 1:55:08.960 --> 1:55:10.760 Man, this is thank you. Guys. 1:55:10.880 --> 1:55:12.640 We've been trying to make this happen a long time. 1:55:12.760 --> 1:55:14.000 Yeah, I told you I was gonna get you. 1:55:16.640 --> 1:55:17.640 So I ain't heard no call. 1:55:17.640 --> 1:55:20.280 From Like, yeah, I'm like, bro, I'm looking on it. 1:55:22.240 --> 1:55:22.760 I love it. 1:55:23.200 --> 1:55:23.640 I love it. 1:55:26.160 --> 1:55:26.320 For you. 1:55:28.560 --> 1:55:30.520 You know what day because we made it happen. I 1:55:30.800 --> 1:55:33.120 love you, guys man. Thank you so much back there. 1:55:33.200 --> 1:55:33.840 We appreciate it. 1:55:33.920 --> 1:55:36.640 This is a jump off of a whole lot of 1:55:36.680 --> 1:55:37.240 stuff to come. 1:55:37.960 --> 1:55:41.680 Once again, Brian Alexander Morgan the Great on Quest up 1:55:41.760 --> 1:55:44.440 Supreme when we have a lot of sugar. 1:55:44.480 --> 1:55:48.160 Steve take alot, paid Bill somewhere else there in the world. 1:55:48.800 --> 1:55:51.360 Thank you very much for listening. Thank you, thank you, 1:55:51.480 --> 1:55:52.440 thank you, thank you. 1:56:00.080 --> 1:56:00.200 Much. 1:56:00.240 --> 1:56:06.320 Of Supreme is a production of iHeartRadio. For more podcasts 1:56:06.360 --> 1:56:10.680 from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or wherever 1:56:10.720 --> 1:56:12.040 you listen to your favorite shows.