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Speaker 1: Wake that ass up in the morning.

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Speaker 2: The Breakfast Club Morning, Everybody's DJ, Envy, Jesse, Larry Charlamagne,

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Speaker 2: the guy.

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Speaker 1: We are the Breakfast Club. We got a special guest

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Speaker 1: in the building. Yes, indeed we have Marsha ambrosis. Welcome back.

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Speaker 3: What's happening, hi, guys, mar seven eight years eight nine years,

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Speaker 3: spend a long time crazy.

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Speaker 1: How are you feeling?

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Speaker 3: I'm great?

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Speaker 1: How are you doing well?

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Speaker 4: That's black and Holly favorite.

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Speaker 5: I mean, you got so many classics to me late nights,

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Speaker 5: early morning, friends and lovers.

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Speaker 4: Nyla, you've done it again with Casablanco.

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Speaker 3: Thank you you heard it?

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Speaker 4: Yes, absolutely, they gave it to you.

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Speaker 3: I feel it's such a vulnerable feeling when people would

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Speaker 3: like have it now it's like not real, this is

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Speaker 3: all the dream.

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Speaker 1: Well, congrats, thank you.

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Speaker 2: So I heard it was your mom that actually uh

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Speaker 2: got you the link back up with doctor Dreams.

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Speaker 3: No, what she did, in true scouse of fashion, the

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Speaker 3: liver Puddlian that she is, she hit me up and said,

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Speaker 3: using words we have no idea means you were born

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Speaker 3: and raised in Liverpool A Liverpudlian. Right, So I'm born Liverpool,

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Speaker 3: born and raised. So my mom calls me. Me. Mom

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Speaker 3: calls me and says, oh, Marsha, have you spoke to hermam,

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Speaker 3: doctor Dre lately. No if I don't even think she

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Speaker 3: referred to him as doctor Dre. She just said Dre

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Speaker 3: like I was supposed to know who that was. And

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Speaker 3: I'm like, no, Mam, I haven't spoke to Dre lately.

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Speaker 3: And I was like, all right, I'll call him up.

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Speaker 3: So this is around about the end of twenty twenty December,

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Speaker 3: so I give him a call, say what's up. We reconnect.

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Speaker 3: It's like, I'm working on a couple of things. I'll

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Speaker 3: send you a couple of ideas. So we started shooting

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Speaker 3: ideas back and forth what would then be the GTA

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Speaker 3: video game. But I didn't know that that's what was

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Speaker 3: being worked on. You know. Dre's just like, let's just work.

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Speaker 3: You never know what's going to happen. So we're going

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Speaker 3: back and forth, and a couple of weeks go by,

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Speaker 3: and the top of twenty twenty one, he had a

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Speaker 3: brain aneurysm and I was on the treadmill when I

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Speaker 3: found that out, like looked at my phone and you know,

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Speaker 3: it popped up whatever news outlet and it was like

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Speaker 3: what I just talked to him like less than twenty

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Speaker 3: four hours ago and made all the calls, found out

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Speaker 3: everything was okay and stable. Twenty four hours after that,

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Speaker 3: he called me said, look, Marsh I'm cool. I'm in recovery,

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Speaker 3: but I want to get back to work. So I

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Speaker 3: want to get you out to LA and let's just

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Speaker 3: figure some things out.

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Speaker 1: So he in a hospital bed, called and you like, look,

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Speaker 1: we got to get back to work.

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Speaker 3: All I know was like plugged up, plug up. On

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Speaker 3: the way back, I said, okay, doctor Dre, whatever you say.

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Speaker 3: And within a couple of weeks, I was in LA

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Speaker 3: most of that year twenty twenty one, and the creation

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Speaker 3: of Casablanco happened a couple of months after that, so

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Speaker 3: it was really all the GTA stuff. And then I

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Speaker 3: told Dre that I was overdoing this artist thing. Nyla's

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Speaker 3: mothers now and I just want to chill, like I

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Speaker 3: just want to produce and write. I've never been a

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Speaker 3: uh pick me. I want to be in front of

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Speaker 3: the cap No. I was done, and he said, yeah, nah.

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Speaker 4: Are you was done with music?

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Speaker 3: Yeah?

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Speaker 4: Really?

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Speaker 3: Yeah? Being an artist like I was always going to create,

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Speaker 3: but the whole being the artist thing. I was like,

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Speaker 3: I've done everything that I could possibly do on a

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Speaker 3: this bucket list that I tried to create for myself,

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Speaker 3: I've surpassed.

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Speaker 1: My bucket list was on the bucket list.

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Speaker 3: I'm just curious get signed, win a Grammy, lose some Grammys.

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Speaker 3: I don't know, like work with my favorite artists, like

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Speaker 3: regular stuff, but my actual things. I didn't write or

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Speaker 3: work with Michael Jackson, work with Prince, work with Stevie,

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Speaker 3: work with Doctor Dray. I didn't write those things out loud,

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Speaker 3: but I wanted those things, and it achieved that. By now,

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Speaker 3: this is twenty four years in for me, so I'm like, ah,

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Speaker 3: what's next. I'm on my Quincy Jones mission.

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Speaker 5: Yeah, I know, you write for other people and produce

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Speaker 5: for other people with It's something about your sound and

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Speaker 5: your music that I don't think nobody else can deliver.

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Speaker 5: Your voice, your energy. It's something about a Marsha ambrocious

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Speaker 5: album that's just different than everything else that's out there.

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Speaker 3: This is true. I'd done those I felt like I'd

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Speaker 3: said all the things that I wanted to say up

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Speaker 3: until that point. I say all that to say. I

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Speaker 3: told dra this over like, we had a party for

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Speaker 3: the kids at his crib chilling, and I'm like, look, Dread,

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Speaker 3: I want to do this no more. I'm really into producing,

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Speaker 3: I'm writing. I love this team. I want to stay creative.

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Speaker 3: But as far as me doing it, and he was like, yeah, nah,

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Speaker 3: I just want to keep you creative. I just want

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Speaker 3: to keep you inspired. And we did one song in particular.

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Speaker 3: I can safely say the titles now.

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Speaker 4: Yes.

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Speaker 3: So we started with a song that used to be

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Speaker 3: called Curfew because there's a line where I say, let's

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Speaker 3: fall in love before the street lights come on, and

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Speaker 3: I was like, mm before curfew. Andre was like, no

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Speaker 3: one likes curfew, No one likes the curfew. So it

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Speaker 3: was we used a sample from A Night in Tunisia. Oh,

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Speaker 3: and I called it to Nizzi and night.

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Speaker 4: Oh, that's that class. It's a classic jazz record, right.

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Speaker 3: So it's a classic jazz record. It starts the way

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Speaker 3: we sampled it. We used this elaborate piano intro that

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Speaker 3: Bluetooth came up with, and I just started singing this

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Speaker 3: intro and then that A Night in too Nisia hits,

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Speaker 3: and then it goes to an entire nas situation and

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Speaker 3: then the merry thing gets into it and it's just

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Speaker 3: all of these things and it was that magic happening

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Speaker 3: in the studio at that moment that we knew, you know,

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Speaker 3: you know, you know. It was one of those moments

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Speaker 3: like sometimes in the studio you're creating and it's like, oh,

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Speaker 3: this is fire, it's cool, We'll go home. Listen to

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Speaker 3: the beat. Everyone in that room felt something shift, felt

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Speaker 3: something new happen. And to have done everything that I've

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Speaker 3: all he done musically, everything that Dre has done, we'd

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Speaker 3: never done this. So we were onto something and it

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Speaker 3: felt like we had to see it through. So Casa

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Speaker 3: Blanco became a destination. Casa Blanco became the mood, the vibe,

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Speaker 3: the standard, and we just took it from there.

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Speaker 5: I like the pedestal you put hip hop on on

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Speaker 5: this album because just because just musically, it just shows

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Speaker 5: how much of a classic musical art form hip hop is.

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Speaker 5: The fact you can go from a that Tannisian records

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Speaker 5: like from the forties, right, yeah, the fact you can

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Speaker 5: go from Nat to Noah.

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Speaker 3: The nineties, right, and it blends perfectly, seamlessly. It doesn't

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Speaker 3: a lot of things that we did on this album

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Speaker 3: shouldn't make sense. Like I truly believe we will be

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Speaker 3: in the Guinness Book of World Records for how many

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Speaker 3: things we sampled and the way that we sampled them.

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Speaker 3: So no, we tang. Duke Kellington and Michael Jackson aren't

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Speaker 3: supposed to fuse, but on Thrill Her they did, you know,

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Speaker 3: So it's yeah, it was a wild ride, but one

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Speaker 3: of the most amazing experiences I've ever had, not only

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Speaker 3: recording it, just the entire process even getting to this point,

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Speaker 3: even it's taken so long to get a release date

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Speaker 3: for it to be available, like the entire thing has

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Speaker 3: just been No one's done this before.

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Speaker 2: Now, how you talk about you talk about inspiration right

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Speaker 2: in Charlot may say how you inspire so many people,

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Speaker 2: But you must have inspired Doctor Dre as well, because

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Speaker 2: we haven't heard music from Doctor dra we haven't seen

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Speaker 2: him executive produce things. We've only heard rumors, and like

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Speaker 2: it's almost like a.

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Speaker 5: Team that never comes out. You hear Doctor drest such

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Speaker 5: and such album.

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Speaker 4: But you never hear this.

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Speaker 3: He recently said this in a bit in a in

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Speaker 3: an interview he recently did and said, and I absolutely

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Speaker 3: believe this. He may have only released five percent of

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Speaker 3: the music that he's ever recorded. Wow, and now working

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Speaker 3: with him as extensively as I did during the pandemic.

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Speaker 3: It's absolutely true. And he doesn't do it purposefully. It's

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Speaker 3: because he loves the creative process, and it's like, no,

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Speaker 3: this is just for us, this is ours.

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Speaker 4: What did you do? How did you? How are you

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Speaker 4: one of a few people?

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Speaker 1: Do you ever think it happen?

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Speaker 3: I'm the only only There's not one person before or after.

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Speaker 3: I don't even think this happens again that has an

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Speaker 3: entire project solely produced and mixed by Doctor Dre. How

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Speaker 3: did I do it? Not clear? But I know that

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Speaker 3: I did it. I know that this is something that

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Speaker 3: he'd never done, and I feel like that that was

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Speaker 3: the driving force for it to be something new. He

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Speaker 3: could have just did a hip hop breakord. It could

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Speaker 3: have just been a soul armed. It's none of those things.

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Speaker 3: It's something so specific, so different, but so familiar, and

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Speaker 3: I feel like we were both going through a similar situation.

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Speaker 3: It was here, health scare, id to healthscare, the pandemic

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Speaker 3: is happening. It felt like the end of the earth

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Speaker 3: during that time, so it felt desperate in a way.

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Speaker 3: It felt if we don't do this and this world

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Speaker 3: ends tomorrow, what's the mark that we actually leave on

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Speaker 3: planet Earth? And musically, like you said, I've done things

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Speaker 3: that you know, a Marsha Ambrosius album is this specific thing.

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Speaker 3: If I had to leave it all on the floor

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Speaker 3: and put up my triple double and win a chip,

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Speaker 3: that's this album. If it was all said and done,

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Speaker 3: like okay, apocalyptic world that we're now in because of

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Speaker 3: the pandemic and many other things, it was that it

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Speaker 3: was out of desperation and feeling like I could have

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Speaker 3: lost my life, Drake could have lost his. We didn't.

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Speaker 3: We survived these things. We're now post COVID. How do

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Speaker 3: we navigate through this? And what does that sound like?

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Speaker 3: And that's why and how this happens. So yeah, drab

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Speaker 3: and inspired by me, I'm inspired by him and it

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Speaker 3: just took off.

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Speaker 4: That's what the title means.

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Speaker 3: So Casablanco I initially within a week of recording what

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Speaker 3: we knew this was going to be. After Tunisian Nights,

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Speaker 3: he threw out some album titles, a couple of which

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Speaker 3: were things like I sing or I sing more of

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Speaker 3: them one of those and I was like, Drake, we

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Speaker 3: need an actual title, like what is this? It was like,

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Speaker 3: I mean you sing, motherfucker, that's it. So I'm like, no, Drake,

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Speaker 3: it seeds to be a title, like what is this thing?

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Speaker 3: So I was in a spoiled circumstance where I'm driving

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Speaker 3: through the Beverly Hills, like just Hollywood Hills every day

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Speaker 3: to the destination to record, and it felt very vintage Hollywood,

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Speaker 3: like the lights, the lambs. It was glitz, glamour, red carpets,

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Speaker 3: the whole nine. And I felt under the rest of

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Speaker 3: the studio every time I got there based on what

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Speaker 3: we were creating. And so it was strings. It was

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Speaker 3: a symphony, but it painted these pictures and I was like, no,

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Speaker 3: it feels like a place. It feels like Casa Blanca.

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Speaker 3: And it was like, okay, Casa Blanca. It's a but nah,

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Speaker 3: it's that Dray shit. So it's a little bit more

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Speaker 3: gangster than that, like Casa Blanco, Giselda Blanco. So the

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Speaker 3: fusion of that very vintage jazz Hollywood feel meets hip

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Speaker 3: hop is how Casa Blanco became what it was.

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Speaker 5: What it is, and all you make it feels like

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Speaker 5: it's soundtracks to make love to of course, like nothing more,

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Speaker 5: nothing less?

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Speaker 4: Why is that?

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Speaker 3: I have no clue, It's just in me. It's ridiculous,

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Speaker 3: Like I've had this. Well, a friend of mine recently

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Speaker 3: was like, how do you even come up with another

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Speaker 3: one this? Why not even in a place of desperation,

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Speaker 3: and even in a place of the world was over,

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Speaker 3: I still find a song to make love to. And

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Speaker 3: it's a gift.

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Speaker 4: It's a gift one night stand music.

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Speaker 5: Too good to have a one night stand too, Like,

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Speaker 5: that's not the type of music you have a one

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Speaker 5: night stand to.

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Speaker 3: Well, that was the point. My one night stand is

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Speaker 3: now ten years long, okay, and I'm saying so I

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Speaker 3: definitely lent from other experiences and wild drunk nights over

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Speaker 3: the course of you know, Grammy open Bar. You know,

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Speaker 3: it gets very ridiculous. So yeah, those those one nights,

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Speaker 3: they're a part of that song too. But ultimately it's

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Speaker 3: that one night that could be your forever.

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Speaker 4: A bunch of people that'll be like, you shouldn't have

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Speaker 4: one night stand?

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Speaker 3: Why not?

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Speaker 4: Exactly?

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Speaker 3: I don't know where it's gonna go. Like if you don't,

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Speaker 3: everything is a one night stand if you think about it.

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Speaker 3: We've all done it. It's whether or not it lasted

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Speaker 3: or it didn't. But you shouldn't be Oh, I'd never

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Speaker 3: do that if I didn't do it ten years later

250
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Speaker 3: in a seven year old, maybe that doesn't happen if

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Speaker 3: I don't just you know what I mean, like if

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Speaker 3: I don't say.

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Speaker 2: Hey, I gotta I want to ask. So I want

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Speaker 2: to go back to what you said. You said the

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Speaker 2: health scare in your child. How did that change your life?

256
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Speaker 2: With the healthcare in your child? Because I guess if

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Speaker 2: the baby's was six seven years old, happened right before COVID,

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Speaker 2: so you pretty much raised the baby during COVID.

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Speaker 3: It's just COVID babies are different. It's ridiculous, Like, but

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Speaker 3: for me, how it all changed, It changed all of us,

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Speaker 3: you know. So it was being a bit more sensitive,

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Speaker 3: being a bit more open, and I feel like all

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Speaker 3: of our issues, all of our mental health, it was

264
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Speaker 3: everything was on the table because we could all see

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Speaker 3: each other now we had way too much time to

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Speaker 3: spend with ourselves. So you were like, oh, you're I

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Speaker 3: see you and we're going through exactly the same thing.

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Speaker 3: So there was much more well for me anyway, much

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Speaker 3: more dialogue. Even though suicide skyrocketed, like all of these things,

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Speaker 3: all of these numbers, all of these things are happening,

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Speaker 3: and I have my baby, I have my husband, I

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Speaker 3: have my own bubble that allowed me to feel safe

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Speaker 3: amidst the chaos like it was. It still is chaotic,

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Speaker 3: but that was my peace and me being able to

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Speaker 3: be grounded, so that that definitely helped. But at the

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Speaker 3: same time, being in a dark place, I don't think

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Speaker 3: there's anything that could bring you out of that, and

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Speaker 3: that was terrifying during the pandemic, and I'm pretty sure

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Speaker 3: for anybody where you're like, not even your kid could

280
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Speaker 3: bring you. No my mother, my father, my brother, like

281
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Speaker 3: close friends.

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Speaker 4: You can write your year.

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Speaker 3: This is what Casablanco ended up being. Casablanco when the

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Speaker 3: timing of it all was I could see the light

285
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Speaker 3: at the end of the tunnel. Now I was over

286
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Speaker 3: the other side of that dark place. And even with

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Speaker 3: this tentative, oh there's going to be a release date

288
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Speaker 3: or we had think about the samples on this album,

289
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Speaker 3: we literally took over a year to clear the samples,

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Speaker 3: and I didn't mind that because I felt like I

291
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Speaker 3: still needed time to heal. So waiting for this release

292
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Speaker 3: date was almost like when I say a death date,

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Speaker 3: it was Okay, that's the end of that era. So

294
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Speaker 3: whenever it was happening, it was like, Okay, now it's

295
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Speaker 3: June twenty eighth. I was like, that's the end of

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Speaker 3: all this madness that I had to get through to

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Speaker 3: get to it. So it was like, if I can

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Speaker 3: survive that long, I made it. So what, We've got

299
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Speaker 3: a couple of couple of days to go until we

300
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Speaker 3: get there. I didn't think I'd see this moment at

301
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Speaker 3: one point. So to get here and to be happy

302
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Speaker 3: and to be in a space that I'm in, it's

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Speaker 3: just wow.

304
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Speaker 4: Wow. Is that where the song I guess self care

305
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Speaker 4: on right might come.

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Speaker 3: But even that is a song to make love to.

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Speaker 4: Yeah, I mean a form of self care.

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Speaker 3: Right, it's self care. It's being in tune to oneself.

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Speaker 3: Put the do the math one plus one is there?

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Speaker 3: Do you?

311
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Speaker 2: So?

312
00:16:34,800 --> 00:16:38,160
Speaker 3: Yeah, self care And no matter who's wrong or who

313
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Speaker 3: was right, it was just don't leave me and don't

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Speaker 3: leave that feeling. And once the music started, it was

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Speaker 3: all of those emotions and even in that, like you said,

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Speaker 3: it all came back down to in true Marsha Ambrosiest

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Speaker 3: fashion right in that love song still, so I'm just

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Speaker 3: glad to be able to do that.

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Speaker 4: What's the wrong right part of it?

320
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Speaker 2: Though?

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Speaker 4: Like what let mean, who's wrong? Self care? Wrong right with?

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Speaker 3: So initially those were two separate songs, and the self

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Speaker 3: care was I needed to do me figure chip for

324
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Speaker 3: you literally, so by the time we got too wrong right,

325
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Speaker 3: it's me inviting that person then into my space and

326
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Speaker 3: it's given me good like you so hood like please

327
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Speaker 3: don't go. It's that you're so wrong right now for

328
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Speaker 3: even trying to let me let my guard down. Because

329
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Speaker 3: I was so cool with just letting me do me

330
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Speaker 3: and then here comes this m this ugh, this fine

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Speaker 3: dark chocolate swept me off my feet and let me

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Speaker 3: put my guard down. And I'm a Leo and that's

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Speaker 3: hard for me to do. So when it happens, it's

334
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Speaker 3: both terrifying. But the the fear and the lioness comes

335
00:18:06,560 --> 00:18:11,000
Speaker 3: out in aggression and anger and a lot of sexual

336
00:18:11,520 --> 00:18:17,359
Speaker 3: appetite that is or you know anyone that knows that knows,

337
00:18:17,800 --> 00:18:20,840
Speaker 3: and yeah, that was You're so wrong right now.

338
00:18:20,920 --> 00:18:23,000
Speaker 1: What did y'all meet? Where did you meet your husband?

339
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Speaker 3: On tour?

340
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Speaker 1: On tour? How did that go?

341
00:18:25,800 --> 00:18:28,040
Speaker 2: Down, because when you're talking about him, you just you

342
00:18:28,080 --> 00:18:31,879
Speaker 2: started mouse started salamating, and you just start getting together.

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Speaker 4: Turn it.

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Speaker 3: You say, I'm thinking about the song long right, I'm like.

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Speaker 5: Hey, and be thinking about your man? Turned on.

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Speaker 1: I'm just saying I'm listening. She was just so excited.

347
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Speaker 2: I'm just asking that's where the music Love is Love

348
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Speaker 2: got me thinking about my wife?

349
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Speaker 1: All right, I'm sorry, I get it.

350
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Speaker 3: It's fine. No. We met on on tour ten years

351
00:18:56,240 --> 00:19:04,520
Speaker 3: ago and I saw him. It's ten years later. I said,

352
00:19:04,600 --> 00:19:06,480
Speaker 3: you know, when you know you know, and you keep

353
00:19:06,600 --> 00:19:09,440
Speaker 3: like all the movies that you see that's corny shit,

354
00:19:09,720 --> 00:19:12,720
Speaker 3: like never happy, Yes, it did. It was. I seen

355
00:19:12,800 --> 00:19:17,239
Speaker 3: him and he had a red fit on and I

356
00:19:17,359 --> 00:19:23,000
Speaker 3: was like, who is that? And I approached him like yo,

357
00:19:23,080 --> 00:19:26,160
Speaker 3: what's up? And we got to talking and we haven't

358
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Speaker 3: stopped talking since.

359
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Speaker 5: You need to write a book called One Night's Thing,

360
00:19:29,920 --> 00:19:31,600
Speaker 5: because there's so many people who think you got to

361
00:19:31,640 --> 00:19:35,080
Speaker 5: make the man wait thirty days or sixty days or

362
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Speaker 5: ninety days.

363
00:19:36,240 --> 00:19:40,160
Speaker 3: There's so many formulas to it. But if you don't

364
00:19:40,200 --> 00:19:43,200
Speaker 3: just follow your intuition, because it all depends on what

365
00:19:43,359 --> 00:19:45,840
Speaker 3: type of person you are, Like, there are people that

366
00:19:46,040 --> 00:19:50,240
Speaker 3: are I've never been. I'm not approaching unless I know

367
00:19:50,440 --> 00:19:53,679
Speaker 3: it's for sure. I don't know. There's many formulas to it.

368
00:19:53,880 --> 00:19:56,240
Speaker 3: So even if I did write a book, I'm going

369
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Speaker 3: with what worked for me. I'm not giving you the

370
00:19:59,400 --> 00:20:03,000
Speaker 3: manual to how this works out, like ooh, you too

371
00:20:03,080 --> 00:20:05,600
Speaker 3: can find your ten years later or you know what

372
00:20:05,680 --> 00:20:08,480
Speaker 3: I mean, Like, I'm not giving it as game like that.

373
00:20:08,720 --> 00:20:12,199
Speaker 3: I'm saying, if you saw what it was that you

374
00:20:12,280 --> 00:20:14,520
Speaker 3: wanted and you didn't make your move, that's on you,

375
00:20:15,200 --> 00:20:18,840
Speaker 3: because then you will sit there and ponder and be like, well,

376
00:20:18,920 --> 00:20:23,080
Speaker 3: what if I just said something? But if I just approached.

377
00:20:23,359 --> 00:20:25,239
Speaker 3: But by the time that I did, and it was

378
00:20:25,280 --> 00:20:28,960
Speaker 3: what it was, and I knew that it was more

379
00:20:29,040 --> 00:20:33,480
Speaker 3: than just that one night in Philadelphia, that one night

380
00:20:33,520 --> 00:20:37,040
Speaker 3: in Chicago, that one night in Virginia, that one night

381
00:20:37,119 --> 00:20:41,199
Speaker 3: in LA Now it's many nights. Now it's all you

382
00:20:41,240 --> 00:20:43,720
Speaker 3: want to move in? Sure, moved in together. And then

383
00:20:43,800 --> 00:20:45,440
Speaker 3: it's oh, you want to go back to the UK

384
00:20:45,560 --> 00:20:48,119
Speaker 3: for Christmas with me? Meet my whole family. Sure? And

385
00:20:48,160 --> 00:20:52,760
Speaker 3: then by April we were pregnant. Wow, was that serious?

386
00:20:53,400 --> 00:20:57,080
Speaker 3: Sounds ridiculous When I say no, When I say ridiculous.

387
00:20:57,119 --> 00:21:00,680
Speaker 3: It's like that's the timeline though, you know, and we

388
00:21:00,680 --> 00:21:02,800
Speaker 3: were both very sure.

389
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Speaker 5: I can't remember what song it is. Maybe it was

390
00:21:05,720 --> 00:21:08,240
Speaker 5: Greedy was the one song? Maybe I'm tripping it sound

391
00:21:08,280 --> 00:21:09,320
Speaker 5: you was talking about having a threesome.

392
00:21:09,880 --> 00:21:14,880
Speaker 3: Oh, thrill her. That was a dream not really came true,

393
00:21:14,920 --> 00:21:19,600
Speaker 3: but a fantasy. So thrill her. It was a drunken

394
00:21:19,680 --> 00:21:22,840
Speaker 3: high night. I want to say I took that story

395
00:21:22,960 --> 00:21:27,159
Speaker 3: from what was it? Atlanta? No, this one might have

396
00:21:27,240 --> 00:21:30,240
Speaker 3: been at LA. It was definitely a Grammy week and

397
00:21:31,000 --> 00:21:34,040
Speaker 3: I painted the picture. He came in drunk as hell,

398
00:21:34,480 --> 00:21:38,040
Speaker 3: give some head. Then a knock at the door and

399
00:21:38,040 --> 00:21:43,639
Speaker 3: it's another chick. I'm like, who the is this? And

400
00:21:43,680 --> 00:21:45,639
Speaker 3: I'm like, oh, it's about to go down. Oh it

401
00:21:45,720 --> 00:21:49,320
Speaker 3: might have been a Philly story too. There's like a

402
00:21:49,359 --> 00:21:52,840
Speaker 3: lot of stories involved. So yeah, when people hear this album,

403
00:21:52,880 --> 00:21:57,680
Speaker 3: they can claim them yeah that was me, and then uh,

404
00:21:57,800 --> 00:22:03,360
Speaker 3: it's just great. I love that figure. Yeah it's yeah,

405
00:22:03,400 --> 00:22:05,240
Speaker 3: it was a wild night, but.

406
00:22:05,240 --> 00:22:11,080
Speaker 4: It was a dream. Who knows, Okay, I don't know.

407
00:22:11,200 --> 00:22:12,400
Speaker 4: It sounded real to me either.

408
00:22:12,680 --> 00:22:13,640
Speaker 3: Sounded real to me.

409
00:22:13,640 --> 00:22:18,240
Speaker 5: Too, And the album is very like nineteen ninety now,

410
00:22:18,520 --> 00:22:20,919
Speaker 5: like how do you have such a nostalgic feeling feeling

411
00:22:20,960 --> 00:22:23,800
Speaker 5: but keep it fresh, because.

412
00:22:23,600 --> 00:22:28,399
Speaker 3: That's what I mean. Any hip hop Conoissan or R

413
00:22:28,440 --> 00:22:33,720
Speaker 3: and B head nineties is just it's unmatched. It was

414
00:22:33,760 --> 00:22:36,760
Speaker 3: a time if you weren't outside, just say that. And

415
00:22:36,800 --> 00:22:42,080
Speaker 3: I feel like with this album to have grasped what

416
00:22:42,760 --> 00:22:45,840
Speaker 3: the nass of the world were doing then, the Mary's

417
00:22:45,840 --> 00:22:48,760
Speaker 3: of the world were doing then, but making it now

418
00:22:48,920 --> 00:22:53,760
Speaker 3: it's because that was timeless and that's I think we're

419
00:22:53,800 --> 00:22:56,879
Speaker 3: all the same age, like our generation of timeless like,

420
00:22:56,960 --> 00:23:01,880
Speaker 3: whereas our parents it's Temptations, it's you know, Earthwind Vice. Okay,

421
00:23:01,960 --> 00:23:06,120
Speaker 3: even later than that, but it was timeless music. So

422
00:23:06,160 --> 00:23:08,960
Speaker 3: it survives now and sounds fresh now because it was

423
00:23:09,040 --> 00:23:12,640
Speaker 3: that good then. So I couldn't integrate, I want to say,

424
00:23:12,720 --> 00:23:16,560
Speaker 3: couldn't didn't really want to integrate what we feel like

425
00:23:16,720 --> 00:23:18,760
Speaker 3: hip hop is now or R and B is now.

426
00:23:18,880 --> 00:23:21,120
Speaker 3: I can only lem from what I really know and

427
00:23:21,680 --> 00:23:25,600
Speaker 3: me creating in my creative process has always come from

428
00:23:25,920 --> 00:23:30,400
Speaker 3: the Jodasy era. It stops and starts there. It's Jodasy,

429
00:23:30,720 --> 00:23:34,600
Speaker 3: that's my R and B like. Ultimately, so my hip

430
00:23:34,600 --> 00:23:38,840
Speaker 3: hop is nas it's Jay so it's all of those

431
00:23:38,880 --> 00:23:43,280
Speaker 3: things in one album that make it fresh because it

432
00:23:43,359 --> 00:23:46,600
Speaker 3: was good then, so it's gonna be good now. Like singing,

433
00:23:47,720 --> 00:23:51,960
Speaker 3: what's a classic to you give any class? Right, so

434
00:23:52,160 --> 00:23:56,320
Speaker 3: you sing that now it's then, but it's absolutely now

435
00:23:56,359 --> 00:23:58,800
Speaker 3: because it was that good then. And I feel like

436
00:23:58,880 --> 00:24:04,560
Speaker 3: I've always, when I say, attempted to write timeless music

437
00:24:04,760 --> 00:24:07,520
Speaker 3: for me to sing say yes or Butterflies. Now I can,

438
00:24:07,720 --> 00:24:10,480
Speaker 3: but that is twenty four years ago for me in

439
00:24:10,640 --> 00:24:14,600
Speaker 3: my real time betimes four years later, absolutely timeless. So

440
00:24:14,760 --> 00:24:18,360
Speaker 3: to create a Casa blanco and know that twenty four

441
00:24:18,440 --> 00:24:22,479
Speaker 3: years later that can still live, that's the goal. It's like,

442
00:24:22,640 --> 00:24:26,960
Speaker 3: what is your tomorrow? And musically I've been doing things

443
00:24:27,000 --> 00:24:30,679
Speaker 3: that could live for tomorrow whenever that future is.

444
00:24:31,000 --> 00:24:33,480
Speaker 5: I just love the fact that a nas illmatic can

445
00:24:33,560 --> 00:24:35,840
Speaker 5: inspire something like this, because.

446
00:24:35,600 --> 00:24:37,000
Speaker 4: When I hit it out, I hear a lot of

447
00:24:37,320 --> 00:24:38,440
Speaker 4: I hear a lot of illmatic.

448
00:24:38,880 --> 00:24:42,360
Speaker 3: Yeah, and that was unintentional, I guess. With that first

449
00:24:42,960 --> 00:24:49,400
Speaker 3: Tunisian Nights, it's trying to outdo how we implemented unintentionally

450
00:24:49,840 --> 00:24:52,400
Speaker 3: nas in there. And it was all of these things

451
00:24:52,440 --> 00:24:55,880
Speaker 3: because hip hop back then was still lending from classic

452
00:24:55,960 --> 00:24:59,199
Speaker 3: jazz records, so it only made sense that we not

453
00:24:59,280 --> 00:25:03,840
Speaker 3: only borrowed from what the nineties did with those samples,

454
00:25:03,880 --> 00:25:08,439
Speaker 3: but reinventing and elevating them in the only way that

455
00:25:08,640 --> 00:25:12,679
Speaker 3: a doctor Dre can And did you know?

456
00:25:12,960 --> 00:25:15,400
Speaker 2: So I was gonna ask, you know, you talk about

457
00:25:15,440 --> 00:25:18,000
Speaker 2: doctor Dre only releasing five percent of the music that

458
00:25:18,040 --> 00:25:20,679
Speaker 2: he actually made. How much music did y'all make? And

459
00:25:20,760 --> 00:25:23,879
Speaker 2: had what was the process of trickling it down from

460
00:25:24,040 --> 00:25:26,159
Speaker 2: the amount of songs you made to this eleven?

461
00:25:27,680 --> 00:25:32,040
Speaker 3: You know what's crazy? We made about twelve or thirteen

462
00:25:32,160 --> 00:25:35,480
Speaker 3: songs really and knew when it was time to start.

463
00:25:35,520 --> 00:25:38,160
Speaker 3: We knew it when it was completed. And the only

464
00:25:38,240 --> 00:25:41,879
Speaker 3: reason why the other two didn't make it is because

465
00:25:42,119 --> 00:25:45,360
Speaker 3: one of them it made the album play a little

466
00:25:45,440 --> 00:25:48,840
Speaker 3: longer than we felt comfortable with, and it matched another

467
00:25:48,920 --> 00:25:51,080
Speaker 3: song on there like evenly, like if you had to

468
00:25:51,080 --> 00:25:54,640
Speaker 3: get rid of one of the other definitely that one though,

469
00:25:55,200 --> 00:25:59,240
Speaker 3: and one of them we couldn't clear, like get nah

470
00:25:59,280 --> 00:26:02,040
Speaker 3: one of them. So I was like, okay, we can't

471
00:26:02,080 --> 00:26:05,280
Speaker 3: clear that one. We have an album and Dre in

472
00:26:05,320 --> 00:26:08,800
Speaker 3: the creative process has like a whiteboard on the wall.

473
00:26:08,840 --> 00:26:11,280
Speaker 3: We'll write the titles for each song. We just looked

474
00:26:11,280 --> 00:26:15,840
Speaker 3: at it and was like, that's it. That's it, We're done.

475
00:26:16,200 --> 00:26:20,600
Speaker 3: So between April, end of April twenty twenty one and

476
00:26:21,640 --> 00:26:25,560
Speaker 3: end of May we were completely done with recorded vocally.

477
00:26:25,920 --> 00:26:30,200
Speaker 3: I recorded everything, written, everything, and we took a couple

478
00:26:30,240 --> 00:26:35,480
Speaker 3: of weeks off and reconvened and dre said twenty seven

479
00:26:35,520 --> 00:26:40,119
Speaker 3: piece orchestra. So we were at Gower Studios. Eric Gorefain

480
00:26:40,440 --> 00:26:43,960
Speaker 3: did the string arrangements and we were in with the

481
00:26:44,160 --> 00:26:50,000
Speaker 3: orchestra listening to them go crazy on this album that

482
00:26:50,040 --> 00:26:52,760
Speaker 3: we created, which was already doing what it was going

483
00:26:52,800 --> 00:26:58,439
Speaker 3: to do. This symphony just took it to another place,

484
00:26:58,680 --> 00:27:03,000
Speaker 3: like just didn't even make any sense. So by the

485
00:27:03,040 --> 00:27:08,680
Speaker 3: time that's happened, it's just timeless in that way.

486
00:27:09,480 --> 00:27:12,720
Speaker 5: How does you know, really thinking about your mortality and

487
00:27:12,800 --> 00:27:15,640
Speaker 5: like you know, maybe I guess being face to face

488
00:27:15,680 --> 00:27:19,119
Speaker 5: with definite way, how did that change just everything about

489
00:27:19,160 --> 00:27:21,600
Speaker 5: you as an artist, as a person.

490
00:27:22,320 --> 00:27:25,000
Speaker 3: I don't know if you can see it. I'm so

491
00:27:25,080 --> 00:27:29,439
Speaker 3: happy and chill, like nothing can really like phase me.

492
00:27:30,640 --> 00:27:34,040
Speaker 3: And if it's anything that does kind of interfere with

493
00:27:34,320 --> 00:27:39,439
Speaker 3: my peace, it's whereas I would get upset or combative

494
00:27:39,560 --> 00:27:46,040
Speaker 3: or defensive about things in the past, it's okay, that's

495
00:27:46,040 --> 00:27:50,320
Speaker 3: how you feel cool, Like there's so many more important

496
00:27:50,320 --> 00:27:56,480
Speaker 3: things than being mad about anything or holding onto things unnecessarily,

497
00:27:56,840 --> 00:28:03,280
Speaker 3: like that brush with what you think death looks like,

498
00:28:03,720 --> 00:28:08,760
Speaker 3: and that flash across your eyes, like like that was it.

499
00:28:11,520 --> 00:28:15,240
Speaker 3: The things you think were important never were, And by

500
00:28:15,280 --> 00:28:18,560
Speaker 3: the time you get your life back, it still feels

501
00:28:18,600 --> 00:28:26,880
Speaker 3: like that, like it's not important important, Like prioritizing the

502
00:28:26,920 --> 00:28:31,920
Speaker 3: importance of things in your life changes, like it's not important.

503
00:28:33,200 --> 00:28:35,840
Speaker 2: But you know, with you taking so much time off,

504
00:28:36,080 --> 00:28:37,719
Speaker 2: it's part of the reason, Like I just don't want

505
00:28:37,720 --> 00:28:39,360
Speaker 2: to deal with the noise, with.

506
00:28:39,360 --> 00:28:42,360
Speaker 1: The people talking, with the social media, with the conversations.

507
00:28:42,400 --> 00:28:44,360
Speaker 2: It's just you have a clear mind when you don't

508
00:28:44,400 --> 00:28:47,000
Speaker 2: deal with things and people.

509
00:28:47,920 --> 00:28:51,280
Speaker 3: Not necessarily that. I love people, I love the internet.

510
00:28:51,560 --> 00:28:55,680
Speaker 3: It's a very entertaining space. So it was never that

511
00:28:56,360 --> 00:29:02,040
Speaker 3: it was the obligatory having to do it, the whole

512
00:29:02,160 --> 00:29:08,920
Speaker 3: artist thing. It's the interviews, right, it's the now I

513
00:29:08,960 --> 00:29:13,960
Speaker 3: have an itinerary. Yeah, let's just live with chill and

514
00:29:14,240 --> 00:29:18,400
Speaker 3: maybe do stuff for fun and live how the other

515
00:29:18,480 --> 00:29:20,960
Speaker 3: side lives or whatever. You think. That looks like it

516
00:29:21,080 --> 00:29:25,880
Speaker 3: was always that, but as far as noise, I think

517
00:29:25,960 --> 00:29:31,480
Speaker 3: I've I forced myself to engage to get perspective on

518
00:29:31,640 --> 00:29:35,080
Speaker 3: where people are actually at in their lives, to understand

519
00:29:35,120 --> 00:29:39,200
Speaker 3: me more, if that makes any sense, because I couldn't.

520
00:29:39,800 --> 00:29:43,440
Speaker 3: I think during the pandemic we all internalized a little

521
00:29:43,440 --> 00:29:47,120
Speaker 3: bit more and understood ourselves a bit more. But I

522
00:29:47,160 --> 00:29:50,440
Speaker 3: think not enough people were sharing that for the fear

523
00:29:50,480 --> 00:29:53,240
Speaker 3: of being looked at crazy, because you have more time

524
00:29:53,320 --> 00:29:56,760
Speaker 3: to think about who you were, why you were and

525
00:29:57,240 --> 00:29:59,760
Speaker 3: if all I had to end tomorrow, what did you do?

526
00:30:00,120 --> 00:30:02,320
Speaker 3: You were here, so all of these things are happening,

527
00:30:03,000 --> 00:30:08,800
Speaker 3: and I was okay with noise, I feel like I

528
00:30:08,840 --> 00:30:10,480
Speaker 3: was more terrified of the silence.

529
00:30:12,560 --> 00:30:16,280
Speaker 2: Would you say okay with the noise, meaning you didn't

530
00:30:16,320 --> 00:30:20,760
Speaker 2: mind people discussing and talking and oh not like, but

531
00:30:20,880 --> 00:30:21,880
Speaker 2: you feel like you're still there?

532
00:30:22,280 --> 00:30:26,120
Speaker 3: Yeah, Like if I if I wasn't there, I don't know.

533
00:30:27,560 --> 00:30:29,840
Speaker 3: I want to say, it doesn't matter. I think I

534
00:30:29,920 --> 00:30:34,480
Speaker 3: was engaging in conversations and catching up with at such

535
00:30:34,520 --> 00:30:37,440
Speaker 3: and such on Twitter or at blah blah blah, because

536
00:30:37,480 --> 00:30:39,840
Speaker 3: it was oh, we're still here, We're still able to

537
00:30:39,880 --> 00:30:43,520
Speaker 3: communicate you, okay, it was negative or positive. I was

538
00:30:43,560 --> 00:30:44,520
Speaker 3: like you've made time.

539
00:30:44,920 --> 00:30:46,720
Speaker 1: You're talking about it regardless.

540
00:30:46,880 --> 00:30:48,560
Speaker 3: Yeah, so it was like you've made time.

541
00:30:49,240 --> 00:30:51,160
Speaker 1: It's the fear of not talking about you.

542
00:30:51,840 --> 00:30:54,520
Speaker 3: But yeah, I didn't mind that. It was life. I

543
00:30:54,680 --> 00:30:58,440
Speaker 3: was comfortable with again and all of it, in all

544
00:30:58,480 --> 00:31:02,800
Speaker 3: of its noise. So I think for anyone during the pandemic,

545
00:31:03,640 --> 00:31:08,440
Speaker 3: that silence, it was like the zombie apocalypse, like, is

546
00:31:08,520 --> 00:31:12,440
Speaker 3: anyone here? Am I crazy by myself? We're all gonna die?

547
00:31:12,560 --> 00:31:13,360
Speaker 3: What's happened?

548
00:31:13,400 --> 00:31:13,480
Speaker 4: Like?

549
00:31:13,560 --> 00:31:16,640
Speaker 3: It was the silence, especially.

550
00:31:16,280 --> 00:31:18,760
Speaker 5: If you've never if you've never done any internal work,

551
00:31:19,160 --> 00:31:21,760
Speaker 5: you never did no therapy, if you never did no meditation,

552
00:31:21,840 --> 00:31:23,600
Speaker 5: if you never have it on no healing journey, and

553
00:31:23,640 --> 00:31:26,840
Speaker 5: that was your first time having to deal with yourself.

554
00:31:27,000 --> 00:31:33,160
Speaker 3: That's noisier than anything. You and your thoughts by yourself,

555
00:31:34,040 --> 00:31:38,520
Speaker 3: screaming at times, and then it was quiet, but then

556
00:31:38,560 --> 00:31:42,400
Speaker 3: it was peaceful, and then it was okay, let me breathe,

557
00:31:42,800 --> 00:31:48,280
Speaker 3: and everyone okay, everyone good? You know? And it felt

558
00:31:48,280 --> 00:31:48,600
Speaker 3: like that.

559
00:31:48,840 --> 00:31:51,040
Speaker 4: Why did you learn new about yourself during that time?

560
00:31:52,680 --> 00:31:57,520
Speaker 3: I have way more patience than I thought. I'm terrible,

561
00:31:58,440 --> 00:32:03,520
Speaker 3: like terrible Uber eats. Where you at with my food delivery?

562
00:32:03,680 --> 00:32:05,600
Speaker 3: You said you made a left turn. What do you

563
00:32:05,640 --> 00:32:08,280
Speaker 3: mean you're still waiting? What do you mean you're yeah,

564
00:32:08,280 --> 00:32:12,280
Speaker 3: I'm terrible. I don't like waiting. I got no patience

565
00:32:12,520 --> 00:32:21,880
Speaker 3: and I hate waiting. Get yeah, patience didn't have any

566
00:32:22,480 --> 00:32:25,600
Speaker 3: Now I have all of it because it's oh, it's

567
00:32:25,600 --> 00:32:30,680
Speaker 3: not happening right now? Cool? Before What do you mean

568
00:32:30,680 --> 00:32:35,000
Speaker 3: why went I don't even care when they don't care.

569
00:32:35,200 --> 00:32:41,640
Speaker 3: It's I can't do anything about time, and it's I

570
00:32:41,680 --> 00:32:44,200
Speaker 3: thought I had time at one point, and when I

571
00:32:44,240 --> 00:32:48,440
Speaker 3: realized I had none. Oh, Now I'm patient with everything

572
00:32:49,200 --> 00:32:51,480
Speaker 3: because now I feel like I've held onto more time

573
00:32:51,520 --> 00:32:55,120
Speaker 3: than I could have had, So that's different.

574
00:32:55,440 --> 00:32:58,320
Speaker 2: I was watching the R and B Money podcast shot

575
00:32:58,360 --> 00:33:00,800
Speaker 2: the Tank and he made a comment, I guess you

576
00:33:00,840 --> 00:33:02,040
Speaker 2: was joking. I don't know if you were joking or

577
00:33:02,040 --> 00:33:03,840
Speaker 2: not talking about you dot Stevie want that really can

578
00:33:03,880 --> 00:33:06,719
Speaker 2: see now, And people took it as they were mad

579
00:33:06,760 --> 00:33:08,800
Speaker 2: at you for a little bit mad at me.

580
00:33:08,960 --> 00:33:13,640
Speaker 3: How I don't know, because if you're a Stevie Wonder fan,

581
00:33:14,640 --> 00:33:20,120
Speaker 3: what I said was, he can see if you listen

582
00:33:20,240 --> 00:33:25,400
Speaker 3: to the music, to be one of the most prolific,

583
00:33:25,960 --> 00:33:31,360
Speaker 3: descriptive songwriters of our time, how can he not and

584
00:33:31,400 --> 00:33:33,760
Speaker 3: maybe not in the way that you believe that that is.

585
00:33:35,240 --> 00:33:42,200
Speaker 3: But his pen game makes you visualize us with actual sight,

586
00:33:42,880 --> 00:33:49,360
Speaker 3: visualize everything. He was saying, that's a gift. That's what

587
00:33:49,520 --> 00:33:52,920
Speaker 3: I said. Yes, he can see because there's no way.

588
00:33:53,000 --> 00:33:55,880
Speaker 3: He says, I never dreamed you'd leave in summer, and

589
00:33:55,920 --> 00:33:59,840
Speaker 3: I literally see the summer day he's referring to. That's

590
00:34:01,120 --> 00:34:04,320
Speaker 3: not fair. Mary wants to be a superwoman, and I

591
00:34:04,360 --> 00:34:07,960
Speaker 3: know who Mary looks like. I've already made that character.

592
00:34:08,520 --> 00:34:11,839
Speaker 3: The song plays and nice see it. Stevie more than

593
00:34:12,000 --> 00:34:15,960
Speaker 3: any song WHERI are. I believe on planet Earth has

594
00:34:16,000 --> 00:34:18,959
Speaker 3: made me see a song the way Stevie does. That's

595
00:34:19,000 --> 00:34:21,360
Speaker 3: what I said. I said, what I like, I said,

596
00:34:22,280 --> 00:34:23,120
Speaker 3: That's why I said.

597
00:34:22,960 --> 00:34:24,360
Speaker 4: I get what you're saying. He might be blind, but

598
00:34:24,360 --> 00:34:27,760
Speaker 4: he got a vision. It's a difference, speaking of vision.

599
00:34:29,160 --> 00:34:33,680
Speaker 3: To use that song on Casta Blanco, I remember Dre

600
00:34:33,880 --> 00:34:38,240
Speaker 3: actually he might Drey was nervous about using the Stevie

601
00:34:38,280 --> 00:34:41,840
Speaker 3: record or like asking him, like, yo, listen Stevie and

602
00:34:41,880 --> 00:34:45,479
Speaker 3: see what he thinks. I'm like, okay, crazy, but yeah,

603
00:34:45,600 --> 00:34:49,960
Speaker 3: we got to use visions on Casta Blanco and with

604
00:34:50,120 --> 00:34:57,360
Speaker 3: Stevie's blessing and bucket list, like wow, this fake bucket lifts.

605
00:34:57,360 --> 00:34:59,919
Speaker 3: I keep making up, like I'll check that one off.

606
00:35:00,120 --> 00:35:01,279
Speaker 4: You know, did he want to hear it?

607
00:35:01,400 --> 00:35:04,279
Speaker 3: Or oh yeah, yeah he hear it? So I mean

608
00:35:04,280 --> 00:35:05,560
Speaker 3: we had to go through that process.

609
00:35:05,640 --> 00:35:08,000
Speaker 4: But did he love it? Did he give any creative input?

610
00:35:08,480 --> 00:35:12,359
Speaker 3: We had creative input because I did curse in that

611
00:35:12,480 --> 00:35:16,239
Speaker 3: song at some point in the bridge. But I when

612
00:35:16,280 --> 00:35:21,399
Speaker 3: I curse in music, it's for emphasism. So I think

613
00:35:21,440 --> 00:35:24,160
Speaker 3: with this one, I've taken it too far.

614
00:35:24,640 --> 00:35:27,760
Speaker 1: Steve was like now, now, now, and he might.

615
00:35:27,640 --> 00:35:31,800
Speaker 3: Have cursed during and not like he might have cursed

616
00:35:31,840 --> 00:35:35,480
Speaker 3: trying to tell us not to curse. But it was necessary.

617
00:35:35,560 --> 00:35:38,680
Speaker 3: I took it out. It makes sense. I didn't have to.

618
00:35:39,520 --> 00:35:43,000
Speaker 3: I wanted to in that emotional moment though, and did

619
00:35:43,400 --> 00:35:48,400
Speaker 3: and maybe live Steve you with it still sing that

620
00:35:48,480 --> 00:35:51,640
Speaker 3: same line that I did. But yeah, it was a

621
00:35:52,200 --> 00:35:54,200
Speaker 3: it was a wonderful experience.

622
00:35:54,280 --> 00:35:55,760
Speaker 4: Did Stevie FaceTime zoom?

623
00:35:57,080 --> 00:35:59,640
Speaker 3: I want to say it was a phone call that

624
00:35:59,719 --> 00:36:03,319
Speaker 3: I had and dre It spoke to him also.

625
00:36:03,280 --> 00:36:06,920
Speaker 4: So yeah, how involved is d.

626
00:36:06,600 --> 00:36:11,880
Speaker 3: We're just gonna let that one do this cool?

627
00:36:13,239 --> 00:36:14,839
Speaker 1: You call it as long as you caught him.

628
00:36:15,040 --> 00:36:20,319
Speaker 2: Absolutely, you caught it smooth, love it, FaceTime, I love it.

629
00:36:20,719 --> 00:36:23,840
Speaker 5: How involved is Dre as far as creative direction and

630
00:36:23,920 --> 00:36:25,000
Speaker 5: like just taking your input?

631
00:36:25,760 --> 00:36:28,440
Speaker 3: Oh for this, this was a complete hand in hand

632
00:36:28,640 --> 00:36:33,960
Speaker 3: fifty to fifty battle of the creative minds, and his

633
00:36:34,200 --> 00:36:40,400
Speaker 3: respect for me, my respect for him allowed us to

634
00:36:40,520 --> 00:36:48,239
Speaker 3: really do this. And he's a genius. I'm me and

635
00:36:52,480 --> 00:36:55,879
Speaker 3: he's he said that I was a genius. You are

636
00:36:56,560 --> 00:37:00,239
Speaker 3: to me, which is it's crazy to hear it from

637
00:37:01,360 --> 00:37:04,920
Speaker 3: who I'm looking at, a genius and he's looking like

638
00:37:05,000 --> 00:37:07,480
Speaker 3: it's like the Spider Man me. We're all doing this

639
00:37:07,520 --> 00:37:10,960
Speaker 3: in the studio and he's like, yeah, I'm Dre and

640
00:37:11,040 --> 00:37:14,080
Speaker 3: I do this thing, but I ain't tell Michael Jackson

641
00:37:14,080 --> 00:37:18,000
Speaker 3: what to do. So, ah, you're absolutely right. I did

642
00:37:18,040 --> 00:37:21,560
Speaker 3: that one. So there was just a respect level there

643
00:37:22,000 --> 00:37:28,040
Speaker 3: and he let me push boundaries in a way that

644
00:37:28,120 --> 00:37:32,280
Speaker 3: I'd never done one. It's Dray's budget and he's literally saying,

645
00:37:32,960 --> 00:37:36,040
Speaker 3: no limits. You can do whatever you want. If you

646
00:37:36,080 --> 00:37:39,120
Speaker 3: had to make the perfect song and implement all of

647
00:37:39,160 --> 00:37:42,960
Speaker 3: these things, what is that, just do it. I didn't

648
00:37:43,719 --> 00:37:49,440
Speaker 3: think that me having Wu Tang, Duke Kellington and Michael

649
00:37:49,480 --> 00:37:52,440
Speaker 3: Jackson on one song was possible until we did it.

650
00:37:52,760 --> 00:37:56,080
Speaker 3: I didn't know Patrece Russian and the Mary j and

651
00:37:56,120 --> 00:37:59,000
Speaker 3: Mary Jane girls one song could happen, but it did.

652
00:38:00,600 --> 00:38:09,279
Speaker 3: All of these things were happening because Dre said no

653
00:38:09,400 --> 00:38:19,920
Speaker 3: limits and it's unreal, for real, for real, If I'm honest,

654
00:38:21,600 --> 00:38:25,720
Speaker 3: I've never done anything like this, like I've made music before,

655
00:38:25,840 --> 00:38:32,840
Speaker 3: but with the creative freedom and no limits on it

656
00:38:32,920 --> 00:38:38,160
Speaker 3: allowed me to do things that I'd never done ever

657
00:38:39,160 --> 00:38:43,000
Speaker 3: and may never will, might really truly be the one

658
00:38:43,000 --> 00:38:45,120
Speaker 3: of one and I'd be okay with that.

659
00:38:45,560 --> 00:38:48,080
Speaker 4: Dan, So you don't think you'd put out another album

660
00:38:48,120 --> 00:38:48,480
Speaker 4: after this.

661
00:38:49,000 --> 00:38:52,479
Speaker 3: It's not even another album, it's not another this. I'll

662
00:38:52,480 --> 00:38:56,200
Speaker 3: create music for the rest of my life, whatever that

663
00:38:56,320 --> 00:39:01,240
Speaker 3: sounds like, whatever that looks like. But this, in its moment,

664
00:39:01,680 --> 00:39:08,640
Speaker 3: it's like, we can't recreate the timing of when these

665
00:39:08,680 --> 00:39:13,439
Speaker 3: health scares happened, the desperation of what's happening with Planet Earth,

666
00:39:13,480 --> 00:39:17,800
Speaker 3: the uncertainty of life, and why we made this album.

667
00:39:18,800 --> 00:39:25,160
Speaker 3: You know, we can only do celebritory like Happy to

668
00:39:25,200 --> 00:39:28,120
Speaker 3: Be a live albums after this. You know, everything else

669
00:39:28,239 --> 00:39:32,920
Speaker 3: is kind of just a But this album was made

670
00:39:32,960 --> 00:39:35,160
Speaker 3: because we didn't think we'd ever get the chance to

671
00:39:35,160 --> 00:39:35,800
Speaker 3: make one again.

672
00:39:36,200 --> 00:39:39,120
Speaker 1: How was it when you played the record for method

673
00:39:39,120 --> 00:39:40,280
Speaker 1: Man during the Roots picnic?

674
00:39:43,200 --> 00:39:46,920
Speaker 3: Most of my best friends standing behind me, waiting to

675
00:39:47,080 --> 00:39:52,319
Speaker 3: just hold him, like, give me a second, mother, man,

676
00:39:52,360 --> 00:39:55,960
Speaker 3: please scause you listen to my I mean, he's a dream.

677
00:39:56,120 --> 00:39:58,319
Speaker 3: I can still say that. I know I'm married, my

678
00:39:58,400 --> 00:40:01,920
Speaker 3: husband knows what it is. What's the man? So to

679
00:40:02,080 --> 00:40:08,080
Speaker 3: play him? I remember when I was writing that moment

680
00:40:08,200 --> 00:40:11,719
Speaker 3: in the song and the go outside and the rain

681
00:40:11,840 --> 00:40:14,240
Speaker 3: sample is happening, and I knew the beat was about

682
00:40:14,239 --> 00:40:17,440
Speaker 3: to come in, and I'm like, you got that m

683
00:40:17,560 --> 00:40:21,200
Speaker 3: me T H O D man do that thing you

684
00:40:21,520 --> 00:40:26,440
Speaker 3: do those hands, kiss on this and make it dance.

685
00:40:26,760 --> 00:40:30,279
Speaker 3: Take it baby, giving you permission with persistence. Oh I

686
00:40:30,600 --> 00:40:34,160
Speaker 3: l O V E I T And I can't get

687
00:40:34,400 --> 00:40:39,200
Speaker 3: enough of this ocean flow below my legs, swim in it,

688
00:40:39,320 --> 00:40:44,040
Speaker 3: go diving inside inside my love babe, love you babe.

689
00:40:44,680 --> 00:40:47,360
Speaker 4: That's what right, ain't it?

690
00:40:47,560 --> 00:40:53,880
Speaker 1: Yeah?

691
00:40:55,280 --> 00:41:02,160
Speaker 3: You film me like so to play it for him.

692
00:41:02,600 --> 00:41:08,520
Speaker 3: Fantasy bucket list. You can't make up like this method Man,

693
00:41:08,840 --> 00:41:13,319
Speaker 3: play wet the method Man and just to see him

694
00:41:13,400 --> 00:41:15,960
Speaker 3: blush when the moment came in.

695
00:41:15,880 --> 00:41:18,799
Speaker 1: And him do a little two step right, two.

696
00:41:18,560 --> 00:41:22,319
Speaker 3: Step to that give me all the audibles, said he's

697
00:41:22,360 --> 00:41:25,719
Speaker 3: going to be the leading man in the video, and

698
00:41:26,239 --> 00:41:30,719
Speaker 3: it's you know, the Minie Riperton inside me at the end,

699
00:41:30,800 --> 00:41:34,760
Speaker 3: and it's just all the things. It was a fantasy.

700
00:41:35,560 --> 00:41:39,840
Speaker 3: All of this feels very surreal, like it's happening, but

701
00:41:39,960 --> 00:41:43,880
Speaker 3: it's happening in real time. Like I get to go, hey, Stevie,

702
00:41:43,920 --> 00:41:46,920
Speaker 3: listen to what we did with your Hey, George Benson,

703
00:41:46,960 --> 00:41:51,000
Speaker 3: here's Patrice Rushing, here is Mary, here's Nah's here's plain

704
00:41:51,120 --> 00:41:56,520
Speaker 3: it just yeah, so Meth, thank you, Meth my leading man.

705
00:41:57,200 --> 00:42:00,560
Speaker 5: I've got a couple more questions. You said you didn't

706
00:42:00,600 --> 00:42:02,279
Speaker 5: tell Michael Jackson what to do. Drey didn't tell Michael

707
00:42:02,320 --> 00:42:02,920
Speaker 5: Jackson what to do.

708
00:42:03,320 --> 00:42:03,960
Speaker 3: Dre didn't.

709
00:42:04,080 --> 00:42:04,560
Speaker 4: Okay, okay.

710
00:42:05,080 --> 00:42:09,120
Speaker 3: So he's saying, basically his nod to me was I'm

711
00:42:09,200 --> 00:42:12,440
Speaker 3: Dre and I've made several other goats, but you know

712
00:42:13,760 --> 00:42:16,279
Speaker 3: I didn't tell Michael Jackson what to do. That was you.

713
00:42:16,680 --> 00:42:20,239
Speaker 3: So it's I'm coming to the room with something that

714
00:42:20,280 --> 00:42:23,400
Speaker 3: he's never done. Wow, So don't devalue what it is

715
00:42:23,440 --> 00:42:27,080
Speaker 3: with you in the room. And I get that, and

716
00:42:27,880 --> 00:42:29,799
Speaker 3: you have to understand the amount of people that have

717
00:42:29,920 --> 00:42:32,680
Speaker 3: probably crossed paths and been in the studio with Dre

718
00:42:32,840 --> 00:42:36,479
Speaker 3: and possibly gotten to a stage where they thought maybe

719
00:42:36,520 --> 00:42:40,480
Speaker 3: a project is happening. This part has barely happened. For

720
00:42:40,920 --> 00:42:43,160
Speaker 3: like I said that five percent is just the creating

721
00:42:43,200 --> 00:42:46,560
Speaker 3: of the music. The actual artists that get to be

722
00:42:46,760 --> 00:42:51,240
Speaker 3: at this part only happen if you're the five people

723
00:42:51,280 --> 00:42:55,640
Speaker 3: that you can count six or seven maybe, but don't happen.

724
00:42:56,000 --> 00:42:59,920
Speaker 3: So it was it was that it's I'm one of

725
00:43:00,080 --> 00:43:06,440
Speaker 3: one and unja cultable what yes and wanted to be

726
00:43:07,239 --> 00:43:10,840
Speaker 3: like I think that was the I had a spoiled experience.

727
00:43:10,920 --> 00:43:13,279
Speaker 3: I was just getting to you know, Atlanta, then get

728
00:43:13,320 --> 00:43:15,600
Speaker 3: to Philly, get signed by the end of that year.

729
00:43:15,760 --> 00:43:19,160
Speaker 3: Now I'm in the studio within less than a year

730
00:43:19,160 --> 00:43:21,000
Speaker 3: of the time it took me to get to the States.

731
00:43:21,440 --> 00:43:23,840
Speaker 3: Then worked with Michael Jackson because he's heard this demo

732
00:43:24,680 --> 00:43:30,480
Speaker 3: and we were here in New York Hit Factory and

733
00:43:30,560 --> 00:43:33,239
Speaker 3: he was there to out. Michael Jackson was there in

734
00:43:33,280 --> 00:43:37,799
Speaker 3: the studio two hours before call time, just warming up

735
00:43:37,840 --> 00:43:40,840
Speaker 3: his vocal. He was that guy like he was great

736
00:43:40,920 --> 00:43:50,239
Speaker 3: because he worked like unlike any other and I'll never

737
00:43:50,320 --> 00:43:54,360
Speaker 3: forget the first moment where he goes in the booth

738
00:43:54,480 --> 00:43:57,239
Speaker 3: like that glass behind there, and it was I'm at

739
00:43:57,280 --> 00:44:00,879
Speaker 3: the mixing board and Bruce Swede and a sist soul too,

740
00:44:01,960 --> 00:44:04,359
Speaker 3: Andre Harris is at the board. I have the talk

741
00:44:04,440 --> 00:44:08,440
Speaker 3: back button, and the first chord happens and Mike just

742
00:44:08,719 --> 00:44:13,880
Speaker 3: whispers like butterfly, and I just started crying wow immediately,

743
00:44:14,000 --> 00:44:17,840
Speaker 3: just couldn't even hold it back. Just I'm in the studio,

744
00:44:18,040 --> 00:44:21,560
Speaker 3: I'm twenty two, twenty three at that time, like those

745
00:44:21,600 --> 00:44:24,240
Speaker 3: were my younger years, my formative years, and I'm doing

746
00:44:24,320 --> 00:44:25,800
Speaker 3: this at that age.

747
00:44:25,960 --> 00:44:26,280
Speaker 1: Wow.

748
00:44:26,480 --> 00:44:28,239
Speaker 3: And then it was tat back, one more time, I

749
00:44:28,440 --> 00:44:30,959
Speaker 3: get your timing right, one more time, might make sure

750
00:44:31,000 --> 00:44:35,360
Speaker 3: you like vocally produce that entire song. But when I

751
00:44:35,400 --> 00:44:38,960
Speaker 3: press play is only when I can hear the reality

752
00:44:39,080 --> 00:44:42,560
Speaker 3: of that because it's steamless. There's nothing wrong with that song.

753
00:44:43,000 --> 00:44:49,719
Speaker 3: And he allowed me, at my very young, naive, very

754
00:44:49,800 --> 00:44:55,520
Speaker 3: green to everything industry, not only do me retain all

755
00:44:55,560 --> 00:45:01,280
Speaker 3: my publishing and flourish in that studio as a vocally

756
00:45:02,120 --> 00:45:05,760
Speaker 3: as a vocal producer, producer and writer for that record.

757
00:45:06,080 --> 00:45:13,040
Speaker 3: And Mike was just the king for all reasons.

758
00:45:13,080 --> 00:45:14,960
Speaker 1: Can you take us back? How did he hear butterflies?

759
00:45:14,960 --> 00:45:16,319
Speaker 1: How did he hit a reference track? I said, I

760
00:45:16,320 --> 00:45:16,759
Speaker 1: wanted that.

761
00:45:18,120 --> 00:45:18,279
Speaker 4: Well.

762
00:45:18,280 --> 00:45:24,520
Speaker 3: I'd written the song when I was about sixteen seventeen

763
00:45:25,440 --> 00:45:30,040
Speaker 3: in Camberwell, South London, about a boy that worked in McDonald's.

764
00:45:30,440 --> 00:45:32,239
Speaker 3: I don't even know his name. I just knew that

765
00:45:32,280 --> 00:45:34,200
Speaker 3: he was a neighbor's friend and he was fine as hell.

766
00:45:34,360 --> 00:45:36,840
Speaker 1: He gave you butterflies every time, every time.

767
00:45:37,320 --> 00:45:40,319
Speaker 3: So I recently put to in McDonald's giving you bubble gud.

768
00:45:41,120 --> 00:45:43,520
Speaker 3: Then there's that I wasn't eating McDonald's like that though

769
00:45:43,600 --> 00:45:45,759
Speaker 3: I never really ate my well, I did kind of,

770
00:45:45,800 --> 00:45:48,759
Speaker 3: but I was basketball back then, so I was in

771
00:45:48,840 --> 00:45:54,160
Speaker 3: athlete mode for sure. But Camberwell, the place that the

772
00:45:54,280 --> 00:45:58,520
Speaker 3: McDonald's is in, is called Butterfly Walk, and I never

773
00:45:58,560 --> 00:46:00,560
Speaker 3: put that together until we recently he went back and

774
00:46:00,600 --> 00:46:03,840
Speaker 3: started taking pictures there and I was like, look at God,

775
00:46:04,080 --> 00:46:06,680
Speaker 3: look at that. So I ended up writing this song.

776
00:46:06,719 --> 00:46:09,600
Speaker 3: Get to Philadelphia, year two thousands, that's a couple of

777
00:46:09,640 --> 00:46:12,760
Speaker 3: years after that. Meet the team out of Touch of Jazz.

778
00:46:13,120 --> 00:46:17,520
Speaker 3: One producer in particular, Andre Harris, who'd done two of

779
00:46:17,520 --> 00:46:21,080
Speaker 3: my favorite Jill Scott songs, Long Walk, and the Way,

780
00:46:21,200 --> 00:46:23,960
Speaker 3: and I was like, who did those two? Oh, that's Dray,

781
00:46:24,040 --> 00:46:27,880
Speaker 3: that's Andre. I was like, I want parts. So within

782
00:46:27,920 --> 00:46:32,000
Speaker 3: a week, Andre Harris and myself had recorded Say Yes

783
00:46:32,239 --> 00:46:36,080
Speaker 3: and Butterflies together. So Say Yes was for Ron Eisley.

784
00:46:36,280 --> 00:46:39,000
Speaker 3: So we did that demo together, and that was with

785
00:46:39,120 --> 00:46:41,480
Speaker 3: the intent that Ron Eisley was going to do Say

786
00:46:41,520 --> 00:46:43,880
Speaker 3: Yes for his album. He just didn't take it. Restless

787
00:46:43,920 --> 00:46:48,120
Speaker 3: History and then Butterflies a few days after that, five

788
00:46:48,200 --> 00:46:50,240
Speaker 3: or slow in the morning, six or so in the morning,

789
00:46:51,040 --> 00:46:53,799
Speaker 3: play the chords and like Dre, slow those down, YadA

790
00:46:53,880 --> 00:47:01,640
Speaker 3: YadA YadA, and Butterflies happens. And John McClain, who ended

791
00:47:01,680 --> 00:47:06,880
Speaker 3: up signing Flower Tree to Dream Works, was Michael Jackson's

792
00:47:06,920 --> 00:47:10,799
Speaker 3: personal manager, so he has the demo, plays it for Mike,

793
00:47:10,880 --> 00:47:12,959
Speaker 3: so listen, you have to listen to these girls. Listen

794
00:47:13,000 --> 00:47:15,839
Speaker 3: to this demo, and Mike was like, I want that one,

795
00:47:16,400 --> 00:47:19,960
Speaker 3: just Butterflies. Mike, you can have the entire album if

796
00:47:19,960 --> 00:47:22,200
Speaker 3: you want it. It's yours. I don't have to do

797
00:47:22,239 --> 00:47:25,239
Speaker 3: another thing. And that's how we heard it. We got

798
00:47:25,239 --> 00:47:29,040
Speaker 3: the call in Philia a Touch of Jazz. Everyone thought

799
00:47:29,040 --> 00:47:32,239
Speaker 3: it was a prank call. Went to voicemail the first time,

800
00:47:32,280 --> 00:47:34,360
Speaker 3: and then I think Jeff spoke to him, well, Carvin

801
00:47:34,440 --> 00:47:36,400
Speaker 3: spoke to I think Carvin said he spoke to him,

802
00:47:36,400 --> 00:47:38,319
Speaker 3: and he thought it was dre messing around. We were

803
00:47:38,640 --> 00:47:41,759
Speaker 3: practical jokers back of the day. And Mike, you don't

804
00:47:41,800 --> 00:47:44,600
Speaker 3: really know. You think you know his voice. Mike had

805
00:47:44,640 --> 00:47:48,480
Speaker 3: a deeper, raspier voice, and I think he only used

806
00:47:48,760 --> 00:47:51,680
Speaker 3: a higher tone just to preserve his greatness, like he

807
00:47:51,680 --> 00:47:54,160
Speaker 3: didn't want to use or project. He was only using

808
00:47:54,160 --> 00:47:56,439
Speaker 3: that for the booth or the stage, and that's it.

809
00:47:57,040 --> 00:47:59,560
Speaker 3: So by the time we've spoken to him, this is

810
00:47:59,600 --> 00:48:02,000
Speaker 3: the summer of two thousand. I was in the studio

811
00:48:02,200 --> 00:48:05,040
Speaker 3: with him in New York the following year March, so

812
00:48:06,000 --> 00:48:07,920
Speaker 3: it's like that quick wow.

813
00:48:08,520 --> 00:48:11,239
Speaker 2: Now you also mentioned Flowa Tree fans were always what

814
00:48:11,719 --> 00:48:13,560
Speaker 2: will flowr you ever do an album together again?

815
00:48:13,640 --> 00:48:14,919
Speaker 1: Or that chapter your life is over?

816
00:48:15,200 --> 00:48:19,360
Speaker 3: Who knows? No chapters are closed. And I think, rewinding

817
00:48:19,360 --> 00:48:20,879
Speaker 3: to what you said about you know, when I met

818
00:48:20,920 --> 00:48:25,040
Speaker 3: my husband, I did a Flowa Tree tour twenty fifteen

819
00:48:25,120 --> 00:48:27,239
Speaker 3: twenty sixteen, and that's when I met him, and then

820
00:48:27,320 --> 00:48:29,360
Speaker 3: got pregnant the following year on the other tour, So

821
00:48:29,400 --> 00:48:31,440
Speaker 3: it was like a back to back Hey reunion its

822
00:48:31,440 --> 00:48:33,880
Speaker 3: full love and yeah, who knows now?

823
00:48:33,920 --> 00:48:37,000
Speaker 2: Also I seen Amanda Seals was on Club Shah and

824
00:48:37,080 --> 00:48:39,799
Speaker 2: talks about she said that she thinks she wanted her

825
00:48:39,840 --> 00:48:40,799
Speaker 2: to quit flow a Tree?

826
00:48:41,080 --> 00:48:41,640
Speaker 1: Was that true?

827
00:48:43,640 --> 00:48:49,120
Speaker 3: The loaded question quit flower Tree is very vague? What

828
00:48:49,160 --> 00:48:52,600
Speaker 3: was happening with Amanda Seals? And this is what? Because

829
00:48:52,640 --> 00:48:54,160
Speaker 3: I won't spend a lot of time in this. This

830
00:48:54,239 --> 00:48:57,000
Speaker 3: is like a quick bit. When did we lost through

831
00:48:57,040 --> 00:48:57,719
Speaker 3: the Breakfast Club?

832
00:48:57,800 --> 00:49:00,000
Speaker 4: Because this is like seven came up.

833
00:49:00,880 --> 00:49:05,200
Speaker 3: Yes, So initially the first thing I said about Amanda

834
00:49:05,239 --> 00:49:08,640
Speaker 3: Sales is sorry, I can play the clip, you can

835
00:49:08,680 --> 00:49:11,480
Speaker 3: go to YouTube and see it. And it was she

836
00:49:11,640 --> 00:49:13,960
Speaker 3: was put in a position that she shouldn't have been

837
00:49:13,960 --> 00:49:17,200
Speaker 3: in the first place, the label and management of trying

838
00:49:17,200 --> 00:49:20,920
Speaker 3: to re establish what that was and it just didn't work.

839
00:49:21,160 --> 00:49:22,920
Speaker 3: So by the time we've put all of these things

840
00:49:22,920 --> 00:49:26,360
Speaker 3: into action, we've rehearsed a show and you've given it

841
00:49:26,400 --> 00:49:30,600
Speaker 3: to the public. Everyone has gone, oh nah, and there's

842
00:49:30,640 --> 00:49:34,480
Speaker 3: nothing I can do about that part. And this is

843
00:49:34,560 --> 00:49:38,520
Speaker 3: also seventeen years ago, three weeks of a summer to all,

844
00:49:38,600 --> 00:49:41,480
Speaker 3: we may have done like fifteen or sixteen shows, and

845
00:49:41,520 --> 00:49:45,200
Speaker 3: it just didn't work out and that was the end

846
00:49:45,239 --> 00:49:48,400
Speaker 3: of that, really, But we've had nothing but for me,

847
00:49:48,800 --> 00:49:52,399
Speaker 3: And I'm saying like I, well, for me, we'd had

848
00:49:52,440 --> 00:49:57,480
Speaker 3: nothing but positive interactions thereafter. Like I saw her twenty thirteen,

849
00:49:57,680 --> 00:50:01,200
Speaker 3: we took pictures together, we reminisced, and she'd been texting

850
00:50:01,239 --> 00:50:05,280
Speaker 3: me throughout the years after that, nothing but positive vibes.

851
00:50:05,400 --> 00:50:12,560
Speaker 3: So I'm in a good space right now, seventeen years later.

852
00:50:12,680 --> 00:50:16,400
Speaker 3: So for whatever she believes that was, I don't think

853
00:50:17,280 --> 00:50:21,040
Speaker 3: publicly we can do this combative. Well you said this happened,

854
00:50:21,120 --> 00:50:23,720
Speaker 3: or I said this happened. I know exactly what happened

855
00:50:23,760 --> 00:50:29,560
Speaker 3: on my end, But you know, it's kind of seventeen

856
00:50:29,640 --> 00:50:32,919
Speaker 3: years ago. I've done all this healing between now and then.

857
00:50:33,000 --> 00:50:35,440
Speaker 3: I'm not the same Like seventeen years ago, two thousand

858
00:50:35,480 --> 00:50:39,800
Speaker 3: and seven, I'm still talking to Michael Jackson at that point,

859
00:50:39,880 --> 00:50:42,319
Speaker 3: I've still got prints on speed dial, Like I was

860
00:50:42,360 --> 00:50:47,719
Speaker 3: still very much Grammy winning, Grammy nominated me, that was

861
00:50:48,600 --> 00:50:52,120
Speaker 3: in a position to do what I wanted to do

862
00:50:52,280 --> 00:50:56,719
Speaker 3: at that point, moving forward. And here we are seventeen

863
00:50:56,800 --> 00:51:01,360
Speaker 3: years later, and I'm still moving on and moving forward,

864
00:51:01,520 --> 00:51:06,080
Speaker 3: and Casa Blanco with doctor Dre's about to drop and

865
00:51:06,360 --> 00:51:08,160
Speaker 3: just in a different space.

866
00:51:08,480 --> 00:51:11,600
Speaker 5: You know, on the song Greedy, it makes me wonder

867
00:51:11,640 --> 00:51:13,320
Speaker 5: that your husband ever hears certain lyrics and be like,

868
00:51:13,320 --> 00:51:15,200
Speaker 5: you're talking about us because you say it's never enough

869
00:51:15,200 --> 00:51:17,560
Speaker 5: to love you, same old, lame old Ain't no way

870
00:51:17,560 --> 00:51:19,440
Speaker 5: I'm ever going to take that shit. I'm giving you everything,

871
00:51:19,480 --> 00:51:20,439
Speaker 5: and this the thanks I get.

872
00:51:21,200 --> 00:51:27,400
Speaker 3: Don't play that shit, even if it was Greedy. During

873
00:51:27,440 --> 00:51:31,480
Speaker 3: that time, and even during the creative process of Casa Blanco,

874
00:51:32,480 --> 00:51:38,600
Speaker 3: my husband and I had a conversation about where I

875
00:51:38,760 --> 00:51:50,399
Speaker 3: was at mentally to create the actual Basically, he said

876
00:51:50,440 --> 00:51:54,160
Speaker 3: I didn't have to be married Mash and come from

877
00:51:54,200 --> 00:51:57,160
Speaker 3: that space. And I understood what he said when he

878
00:51:57,239 --> 00:52:02,080
Speaker 3: said that, because the love songs different if I'm attached

879
00:52:02,320 --> 00:52:06,880
Speaker 3: to the relationship I'm in and having to kind of

880
00:52:06,960 --> 00:52:10,080
Speaker 3: skirt around what that looks like. Those songs sound like

881
00:52:10,360 --> 00:52:12,879
Speaker 3: don't Wait the Baby or just like old Times, and

882
00:52:13,680 --> 00:52:18,720
Speaker 3: they're different. With this. It was you need to stretch

883
00:52:18,760 --> 00:52:21,880
Speaker 3: that pen and write from a space of you doing

884
00:52:21,920 --> 00:52:24,440
Speaker 3: you and what does that sound like. So by the

885
00:52:24,480 --> 00:52:28,520
Speaker 3: time I got to Greedy, I was angry at the world,

886
00:52:28,840 --> 00:52:35,120
Speaker 3: like it's never enough to love anyone or anything, and

887
00:52:35,200 --> 00:52:39,319
Speaker 3: then be satisfied in a way that you feel like

888
00:52:39,440 --> 00:52:42,560
Speaker 3: you put your one hundred in and they only claim

889
00:52:42,600 --> 00:52:45,560
Speaker 3: it's thirty percent. So I could give you the moon

890
00:52:45,880 --> 00:52:48,600
Speaker 3: and it's like, well where the sun at? Like it's

891
00:52:48,680 --> 00:52:52,640
Speaker 3: the moon family that you don't want, you know, And

892
00:52:52,880 --> 00:52:58,399
Speaker 3: I feel like greedy I was talking about everyone. It

893
00:52:58,440 --> 00:53:03,040
Speaker 3: wasn't even just about him, it was everyone and everything

894
00:53:03,160 --> 00:53:07,319
Speaker 3: playing this tuggerwar of if you're not next to me,

895
00:53:08,360 --> 00:53:11,000
Speaker 3: you feel as though you're missing out on something that

896
00:53:11,080 --> 00:53:15,360
Speaker 3: you only gain by being with me or taking something

897
00:53:15,800 --> 00:53:19,320
Speaker 3: from me. I'm like, what's the endgame? Like what exactly

898
00:53:19,360 --> 00:53:22,399
Speaker 3: do you want? Because you're really upset, like you mad

899
00:53:22,480 --> 00:53:27,280
Speaker 3: as fuck that you're not around me like that greedy.

900
00:53:28,760 --> 00:53:33,759
Speaker 4: M I love that song music on my mind.

901
00:53:33,800 --> 00:53:36,920
Speaker 5: You said it's a it's that Wu Tang meets Cold Traine,

902
00:53:37,520 --> 00:53:38,759
Speaker 5: And what I love about that is like what I

903
00:53:38,760 --> 00:53:40,319
Speaker 5: told you earlier is like you're putting hip hop on

904
00:53:40,360 --> 00:53:45,719
Speaker 5: this proper pedestal of being like a classic musical art form?

905
00:53:45,880 --> 00:53:50,120
Speaker 4: Was that intentional throughout the project?

906
00:53:50,400 --> 00:53:55,640
Speaker 3: Maybe not intentional, but my affinity and adoration for hip

907
00:53:55,640 --> 00:54:02,279
Speaker 3: hop has stemmed from me knowing all the words to

908
00:54:02,440 --> 00:54:08,439
Speaker 3: Beach Street breaking like being overseas, getting all of these

909
00:54:08,600 --> 00:54:13,759
Speaker 3: imported hip hop twelve inch records from my uncle and

910
00:54:17,320 --> 00:54:20,799
Speaker 3: hip up you the love of my life, and I

911
00:54:20,840 --> 00:54:24,920
Speaker 3: feel like on this album, it only made sense that

912
00:54:25,000 --> 00:54:29,480
Speaker 3: I made sure that that last music on my mind

913
00:54:29,680 --> 00:54:33,080
Speaker 3: was my love letter to music, and I couldn't fit

914
00:54:33,120 --> 00:54:36,120
Speaker 3: everything in, so I just gave you the bullet points

915
00:54:36,239 --> 00:54:39,359
Speaker 3: of what those errors and time. So yeah, WU tang

916
00:54:39,440 --> 00:54:42,880
Speaker 3: it to shout out. I even shouted out Mace and

917
00:54:43,080 --> 00:54:46,239
Speaker 3: Cam before I even know they would reunite. This is

918
00:54:46,280 --> 00:54:48,520
Speaker 3: twenty twenty one. I'm calling this out and I know

919
00:54:48,560 --> 00:54:50,960
Speaker 3: what Horse and Carriage did for me in the nineties,

920
00:54:51,880 --> 00:54:54,920
Speaker 3: you know, So it was all of these small nuds

921
00:54:55,040 --> 00:54:57,960
Speaker 3: to things and this is in the same breath I'm saying,

922
00:54:58,040 --> 00:55:03,000
Speaker 3: you know, MJ. J. Dillar, Marcus Miller, Murder, Max Cam Killer,

923
00:55:03,440 --> 00:55:08,160
Speaker 3: Miss Pay, Funkadelic, George Clinton, and I even shout out

924
00:55:08,239 --> 00:55:12,120
Speaker 3: Luke Skywalker, just things that I've loved over the course

925
00:55:12,200 --> 00:55:16,920
Speaker 3: of my life. And if that were my last speech

926
00:55:17,120 --> 00:55:21,000
Speaker 3: to planet Earth, like it's been real, this was it.

927
00:55:21,480 --> 00:55:23,880
Speaker 3: That's what music on my mind and that last statement

928
00:55:24,080 --> 00:55:30,759
Speaker 3: was the last thing that I say is Dr that

929
00:55:30,920 --> 00:55:37,280
Speaker 3: mamba mentality, the game winning shut for the three cod swish.

930
00:55:38,840 --> 00:55:41,799
Speaker 5: It's good, great way to in the project. That's right,

931
00:55:42,120 --> 00:55:43,960
Speaker 5: great for the fantastic album.

932
00:55:43,880 --> 00:55:46,040
Speaker 1: Comes out next Friday, June twenty eighth.

933
00:55:46,120 --> 00:55:48,680
Speaker 3: Oh my goodness, when you say it out loud, it's real.

934
00:55:48,840 --> 00:55:49,840
Speaker 1: That's right next Friday.

935
00:55:49,920 --> 00:55:53,480
Speaker 3: Oh man, listen, but.

936
00:55:53,440 --> 00:55:54,560
Speaker 1: What do you want to hear off that album?

937
00:55:55,160 --> 00:55:56,920
Speaker 3: What do I want to hear that?

938
00:55:56,960 --> 00:55:58,480
Speaker 1: You're gonna allow us to play because we got to

939
00:55:58,480 --> 00:56:01,040
Speaker 1: get it from you, guys. We haveybody.

940
00:56:02,320 --> 00:56:06,000
Speaker 3: Might be wet, we might be self care wrong, riot.

941
00:56:06,239 --> 00:56:08,480
Speaker 4: You can do you can do both both.

942
00:56:08,760 --> 00:56:12,680
Speaker 3: Thrill has a thing though that thing is a story.

943
00:56:13,200 --> 00:56:14,799
Speaker 1: Ain't got enough time for three, but we got two.

944
00:56:14,800 --> 00:56:15,680
Speaker 1: We will.

945
00:56:16,200 --> 00:56:19,239
Speaker 3: It's pick one. Tell us used to be done at

946
00:56:19,239 --> 00:56:23,800
Speaker 3: the board, like okay, what we're saying thrill her? What scart?

947
00:56:24,040 --> 00:56:26,920
Speaker 1: Okay cool thrill her and we let's do it all right.

948
00:56:26,960 --> 00:56:27,480
Speaker 1: We'll get that on.

949
00:56:27,600 --> 00:56:30,680
Speaker 2: Thank you so much for joining us. The album Casablanco

950
00:56:31,200 --> 00:56:34,560
Speaker 2: comes out next Friday. Today, the track listing is released.

951
00:56:34,640 --> 00:56:35,600
Speaker 2: You guys can check that out.

952
00:56:35,640 --> 00:56:37,279
Speaker 1: And we appreciate you for spending it with us today.

953
00:56:37,320 --> 00:56:38,880
Speaker 3: Thank you so much for having me.

954
00:56:40,160 --> 00:56:43,840
Speaker 1: It's Marsha ambrosis. It's the Breakfast Club. Good morning, wake.

955
00:56:43,600 --> 00:56:46,520
Speaker 4: That ass up in the morning. The Breakfast Club