WEBVTT - James Fauntleroy

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<v Speaker 1>Pushkin. James Fauntleroy is one of the most prolific pop

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<v Speaker 1>songwriters of the last fifteen years. Some of his most

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<v Speaker 1>prized placements include songs written for Beyonce, Rihanna, Justin, Timberlake,

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<v Speaker 1>Bruno mars In, so many others. He's also contributed background

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<v Speaker 1>vocals to songs by Travis Scott, Jay Z, and his

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<v Speaker 1>longtime friend the late Nimsey Hustle. Similar to his music

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<v Speaker 1>industry idol and mentor Babyface, James Fauntleroy is also an

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<v Speaker 1>artist in his own right. His own songs, that are

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<v Speaker 1>best described as a really innovative take on alt R

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<v Speaker 1>and B have lived on streaming platforms for the last decade,

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<v Speaker 1>but in December he finally released his first official debut album,

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<v Speaker 1>The Warmest Winter Ever, a Christmas album that's put through

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<v Speaker 1>the font Leroy filter. On today's episode, I talked to

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<v Speaker 1>James Fauntleroy about why he decided to drop his debut

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<v Speaker 1>album well over a decade into his career. He also

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<v Speaker 1>explains how hundreds of his songs were stolen and posted

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<v Speaker 1>online by international hackers, and why he considers both weird

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<v Speaker 1>Al Yankovic and John Mayer among some of his biggest

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<v Speaker 1>musical influences. This is broken record liner notes to the

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<v Speaker 1>digital Age. I'm justin Mitchman. Here's my conversation with James Fauntleroy,

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<v Speaker 1>little man.

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<v Speaker 2>I mean, too, what's that?

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<v Speaker 1>I through?

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<v Speaker 2>Yeah, my first album came out today?

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<v Speaker 1>Your album?

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<v Speaker 3>I know, man, come on dog, this is this is it?

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<v Speaker 2>So that's nice? And then my first the last album

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<v Speaker 2>for that was not my album, but it got nominated.

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<v Speaker 3>I mean, I'm sure you know.

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<v Speaker 1>Yeah, the EP with with with Terrists, that's right.

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<v Speaker 2>So I'm going to sing one of those songs today.

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<v Speaker 1>You nervous about it?

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<v Speaker 2>No, I that's hard for me to feel nervousness. That's

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<v Speaker 2>always been like that. It's hard to feel nervousness and

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<v Speaker 2>also excitement, like since a kid, even yeah, I don't know,

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<v Speaker 2>there's always been like that. Always just been like fuck it,

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<v Speaker 2>getting on stages and talking and doing speeches and know whatever.

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<v Speaker 1>If you don't feel you have nervousness, how do you

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<v Speaker 1>deal with Not that you've experienced a lot of it,

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<v Speaker 1>but how do you deal with any even small level

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<v Speaker 1>of not even failure. I guess it's something not going.

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<v Speaker 2>On experienced exponential amounts of failure. Rejection, disappointment because that's

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<v Speaker 2>music business. It sounds like good podcast stuff, but I

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<v Speaker 2>think that it helps in that sense, because you have

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<v Speaker 2>to be some type of insane to continue to do

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<v Speaker 2>anything after you've been told no, I'm seven.

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<v Speaker 1>Hundred for me. I've only recently gotten to the point

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<v Speaker 1>of where I was just just fuck it, you know

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<v Speaker 1>what I mean. Like people used to say that, like

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<v Speaker 1>you know what I mean, like or that Cat Williams

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<v Speaker 1>bit back in the day of just you know your

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<v Speaker 1>a little fucking well.

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<v Speaker 2>That's probably because a lot of artists have like tough lives.

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<v Speaker 2>So my life was so rough before I started doing this,

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<v Speaker 2>I didn't even notice it was a thing you could do.

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<v Speaker 1>Man, So before the music industry, you sh your life

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<v Speaker 1>was tough. It was crazy.

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<v Speaker 2>It was crazy on multiple levels.

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<v Speaker 1>When you look back, what do you what do you see?

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<v Speaker 2>I see somebody that ended up being really super lucky,

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<v Speaker 2>just general lucky, also l the luck of being exposed

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<v Speaker 2>to different identities and possibilities. So yesterday I met with

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<v Speaker 2>the Department of Corrections, which was funny cause the first

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<v Speaker 2>cause I'm doing a pilot program for like juvenile probation

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<v Speaker 2>kids and shit, and the lady was like, just so

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<v Speaker 2>you know, these kids are dangerous, and I just started

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<v Speaker 2>laughing cause I was like, lady, I'm dangerous. I'm not

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<v Speaker 2>scared of these kids. You know, I know what their

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<v Speaker 2>lives are, like, I know why they cause I had

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<v Speaker 2>the same experience. It was like all ds and f's

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<v Speaker 2>for the entire time I was in school. Which is

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<v Speaker 2>so funny because I'm such I'm so such an intellectual

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<v Speaker 2>that it's almost like, you know what I mean, like.

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<v Speaker 1>You damn yourself identify as a nerd right.

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<v Speaker 2>Like, oh not damn near it. I mean, I'm wearing

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<v Speaker 2>a Pokemon diamond chain. But yeah, I've been thirty modeling

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<v Speaker 2>for ten years. I'm always trying to get people to

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<v Speaker 2>watch CS fifty that's Harvard's free computer science course on YouTube.

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<v Speaker 2>I'm a serious, serious nerd. But I just happened to

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<v Speaker 2>be born in you know, a wild environment at a

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<v Speaker 2>wild time. It was like the height of well when

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<v Speaker 2>I was born was the year Crack was born.

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<v Speaker 1>Yeah, you know what I mean.

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<v Speaker 2>And so my father, who I don't know he was,

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<v Speaker 2>he was military intelligence. When you finish military with that

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<v Speaker 2>level job, you can get a good corporate job. So

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<v Speaker 2>he got hired at Xerox Corporate where he was taking

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<v Speaker 2>money out of the safe to buy cocaine, and people

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<v Speaker 2>didn't know that crack turned you into a zombie. So

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<v Speaker 2>when he ran out of money, obviously got fired. That

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<v Speaker 2>caught him. Can put the money back fast enough and

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<v Speaker 2>he started smoking crack. Just take the edge off and

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<v Speaker 2>then boom, that's crackhead. So how old are you when

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<v Speaker 2>he was strung out of three? So I don't have

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<v Speaker 2>any memory of it. When my dad was a crackhead.

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<v Speaker 2>My first cousin was a heroin that age. I grew

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<v Speaker 2>up in all these extreme like just hood environments, losing

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<v Speaker 2>friends and gun violence from childhood to my adulthood because

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<v Speaker 2>Nipsey was one of my best friends. So like I'm

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<v Speaker 2>I mean, one of my friends died last year. Still,

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<v Speaker 2>so it's still like that, even though it's nowhere near

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<v Speaker 2>what it was when the murder ate it was like

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<v Speaker 2>two thousand people.

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<v Speaker 1>That's what I'm saying. When when things like Nipsey happened, now, man,

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<v Speaker 1>it's almost for me it feels like like damn, Holy

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<v Speaker 1>pat Like it feels like because it was obviously where

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<v Speaker 1>it was much more, it was happening much more often,

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<v Speaker 1>but so it feels, I hate to say, like a

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<v Speaker 1>throwback almost sometimes still when when.

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<v Speaker 2>Well, you know, you know, if you if you work

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<v Speaker 2>on the symptoms and not the cause, then the disease

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<v Speaker 2>is not gone. So the cause of the environment, of

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<v Speaker 2>low socio economic environment is something that we're not allowed

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<v Speaker 2>to actually talk about, our address under the social contract

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<v Speaker 2>of human life. So until we can do that, which

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<v Speaker 2>is gonna take, you know, probably another couple hundred years,

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<v Speaker 2>then the issue is not gonna change.

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<v Speaker 1>Revolution is slow.

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<v Speaker 2>I didn't know we were we were doing the podcast,

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<v Speaker 2>so I wouldn't even talk about you won't take that

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<v Speaker 2>and we can take it out. No, no, it's cool.

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<v Speaker 3>See let me know, man, all right, so let's start. Hey,

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<v Speaker 3>what's up. Well, now we're gonna put it.

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<v Speaker 1>We're gonna put a mask on that.

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<v Speaker 3>What's up, hey man?

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<v Speaker 2>How you doing?

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<v Speaker 1>Hey good? How are you doing? Man? Man? Congratulations on

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<v Speaker 1>your debut album.

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<v Speaker 2>Thank you so much. Man, it's a wild thing to

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<v Speaker 2>have a debut album almost twenty years.

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<v Speaker 3>Into it's like a young buck.

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<v Speaker 2>Yeah man, yeah, bro, it's I think it's time. I

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<v Speaker 2>think we're in an era that it's hard to keep

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<v Speaker 2>that age stigma. You know, existing in the Internet era,

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<v Speaker 2>because it's just obviously not really anymore.

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<v Speaker 1>This project that you put out almost whenever been out

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<v Speaker 1>to some degree a couple of different iteration years.

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<v Speaker 2>Yeahah, the majority of.

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<v Speaker 1>It, so first time in twenty fourteen, first batch of

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<v Speaker 1>songs released in twenty fourteen, then twenty twenty sixteen. Yeah, yeah,

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<v Speaker 1>why did you decide to compile those and drop those? Now?

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<v Speaker 2>It's a gift, you know what I mean? Like, I

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<v Speaker 2>haven't identified as an artist for this my entire career

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<v Speaker 2>for a bunch of different reasons. But from the very

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<v Speaker 2>beginning till now, Like let's say I had a thousand

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<v Speaker 2>fans when I started off, but like ten of the

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<v Speaker 2>fans were some of the biggest artists on the planet Earth,

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<v Speaker 2>and they were finding my music either from me working

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<v Speaker 2>in a session somebody or someone telling them about it,

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<v Speaker 2>and then going on YouTube, where I had hundreds of

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<v Speaker 2>songs uploaded, and especially at that time I uploaded exactly

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<v Speaker 2>zero of those songs. We were all hacked, and like

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<v Speaker 2>who was putting them up? There were hackers from Germany,

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<v Speaker 2>from Paris, from Russia. They would contact me and tell me,

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<v Speaker 2>like I remember one time, this is just I think

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<v Speaker 2>it was a German, German or French hacker, but he

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<v Speaker 2>found my aim, this aim at the time, and he

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<v Speaker 2>sent me a picture of like two hundred songs and

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<v Speaker 2>was like, these hundred, these are all stolen. He was like,

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<v Speaker 2>these hundred I'm posting, but this hundred over here, I

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<v Speaker 2>really like these. I'm gonna hold on to these. Just Rockulus.

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<v Speaker 2>So shout out to the hackers because they really they

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<v Speaker 2>were my first digital marketing team.

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<v Speaker 1>How did these hackers know about you? Like?

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<v Speaker 2>What was basically the hustle was, which a lot of

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<v Speaker 2>music business people don't even know that because they're not

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<v Speaker 2>computer people. And I've always been a serious, serious computer man.

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<v Speaker 2>I knew the hackers were going to be stealing people's

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<v Speaker 2>songs before it happened, because I know how, I know

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<v Speaker 2>how it works and how they stole it. And so basically,

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<v Speaker 2>I'm not going to say who it was with a

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<v Speaker 2>prominent music business person sitting out a mass email one time,

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<v Speaker 2>and they didn't know how to use blind carving copies,

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<v Speaker 2>so they put the email of almost everybody I'd ever

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<v Speaker 2>met in the music business was in this one email,

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<v Speaker 2>and I remember seeing it and I was like, knowing

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<v Speaker 2>what I know about hacking. I was like, this is

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<v Speaker 2>this is not good because the wrong person gets their

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<v Speaker 2>hands on all these emails. This is the beginning of

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<v Speaker 2>my career.

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<v Speaker 1>And I was like, and with someone trying to help

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<v Speaker 1>you essentially that he just.

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<v Speaker 2>Was sending out like a blast about an artist. It

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<v Speaker 2>was like, yo, I got a new artist. Everybody look

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<v Speaker 2>at this. But he put almost everybody's music in the

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<v Speaker 2>music business email and this thing. And I was like,

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<v Speaker 2>this is just not smart to have everybody's emails in

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<v Speaker 2>one place like this. This is the purpose of blind

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<v Speaker 2>carving copy. And shortly after that people started receiving these.

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<v Speaker 2>It's called phishing, which now is a more known term.

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<v Speaker 2>But sure enough, phishing emails started going out of people,

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<v Speaker 2>you know, like cloning industry emails and saying, yo, did

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<v Speaker 2>you get this file to this? And they still do

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<v Speaker 2>that to this day. But basically what they what you're

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<v Speaker 2>able to do, especially the further you go back in time,

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<v Speaker 2>the less security you had to deal with the emails,

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<v Speaker 2>and so they were tricking them into giving you their

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<v Speaker 2>user name or not to use the name of their password.

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<v Speaker 2>Then when you can go in the email and set

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<v Speaker 2>up an attachment filter and have it forwarded to another email.

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<v Speaker 2>So basically they were going in all the an RS, executives, producers,

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<v Speaker 2>everybody's emails, setting up attachment filters to forward all attachments

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<v Speaker 2>to their emails. And then they're incentive for doing this

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<v Speaker 2>was they were uploading all these leaks to websites where

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<v Speaker 2>like music fans would go, and then they were getting

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<v Speaker 2>money from the ads on the website. Wow, so they're

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<v Speaker 2>cleaning up.

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<v Speaker 1>I was on those websites. I'm those websites yet, so.

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<v Speaker 3>Think about it.

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<v Speaker 2>When you went to them old websites in the early

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<v Speaker 2>two thousands or mid two thousands, they were covered in ads.

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<v Speaker 1>Crazy ass.

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<v Speaker 2>Yeah, so the hackers were cleaning up. But they also

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<v Speaker 2>a lot of these guys, which if you think about

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<v Speaker 2>it makes sense because a hacker is someone that sits

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<v Speaker 2>in front of a computer all day. So they love.

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<v Speaker 1>Music, you know what I mean.

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<v Speaker 2>So like because they're listening to music while they're doing

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<v Speaker 2>their various hack things.

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<v Speaker 3>I love it.

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<v Speaker 1>It's not all it's not it's not only commercial concerns.

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<v Speaker 1>So like these under songs, I'm.

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<v Speaker 2>No, they're like and And a friend of mine got

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<v Speaker 2>to email that of a hacker that was like, we

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<v Speaker 2>want all of your James Funtleroy unsure. Uh, I forgot

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<v Speaker 2>who the other people were they were. It was like

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<v Speaker 2>he was like, we're coming for your ship.

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<v Speaker 3>We know you got them Usher songs. We coming to

0:11:54.676 --> 0:11:55.396
<v Speaker 3>get that ship.

0:11:55.956 --> 0:11:57.676
<v Speaker 2>And so what end up happening is they're putting all

0:11:57.716 --> 0:12:00.116
<v Speaker 2>they're putting all these songs on YouTube also so they

0:12:00.156 --> 0:12:04.676
<v Speaker 2>can get ad revenue. And now my small fan base,

0:12:04.716 --> 0:12:07.356
<v Speaker 2>which includes some of these huge celebrities, are able to

0:12:07.396 --> 0:12:10.796
<v Speaker 2>go on YouTube and listen to my songs and other

0:12:10.836 --> 0:12:13.076
<v Speaker 2>writers and go on YouTube and listening to a hundred

0:12:13.116 --> 0:12:16.516
<v Speaker 2>of my songs, and so that that really had a

0:12:16.516 --> 0:12:20.196
<v Speaker 2>big impact on me getting work and having something to

0:12:20.236 --> 0:12:24.436
<v Speaker 2>support the word of mouth, but also giving like hundreds

0:12:25.316 --> 0:12:29.236
<v Speaker 2>of writers, like just hundreds of songs to study my style.

0:12:29.396 --> 0:12:31.996
<v Speaker 2>So that was a part of my style.

0:12:32.076 --> 0:12:37.196
<v Speaker 1>Becoming proliferating around right big with this in the you

0:12:37.236 --> 0:12:40.116
<v Speaker 1>know R and B saying, so you were just making

0:12:40.116 --> 0:12:43.436
<v Speaker 1>these songs like your own personal songs.

0:12:43.116 --> 0:12:45.876
<v Speaker 2>And I was trying to get placements. So when I

0:12:45.916 --> 0:12:50.356
<v Speaker 2>got my first placement or or song on someone's album,

0:12:50.356 --> 0:12:52.756
<v Speaker 2>it was on Katherine McPhee's album, and I don't remember

0:12:52.796 --> 0:12:55.396
<v Speaker 2>the name of the song. But I was so excited

0:12:55.436 --> 0:12:58.516
<v Speaker 2>because you know, like just getting one song place is

0:12:58.596 --> 0:13:03.396
<v Speaker 2>a miracle. And the time, yeah, it was popping, I

0:13:03.516 --> 0:13:07.556
<v Speaker 2>was I was happy. And the guy, one of the

0:13:07.556 --> 0:13:10.276
<v Speaker 2>guys that worked at the publishing company came to me

0:13:10.316 --> 0:13:13.636
<v Speaker 2>and he was keeping track of like everybody's songs because

0:13:13.636 --> 0:13:15.756
<v Speaker 2>that was part of his job, and he gave me

0:13:15.756 --> 0:13:17.396
<v Speaker 2>a spreadsheet and was like, I want you to see this,

0:13:18.116 --> 0:13:20.236
<v Speaker 2>and showed me that I had written or started three

0:13:20.316 --> 0:13:24.596
<v Speaker 2>hundred songs before my first placement. So like a lot

0:13:24.636 --> 0:13:26.956
<v Speaker 2>of those songs and we're the ones that people are

0:13:27.036 --> 0:13:29.156
<v Speaker 2>sending to an rs and stuff trying to shop them,

0:13:29.796 --> 0:13:31.756
<v Speaker 2>which is so funny because I have almost no I

0:13:31.756 --> 0:13:35.436
<v Speaker 2>have like five hundred releases, and I think one came

0:13:35.476 --> 0:13:39.516
<v Speaker 2>from shopping of all those five hundred songs, the other

0:13:39.716 --> 0:13:41.916
<v Speaker 2>hundreds of songs came from people was just finding my

0:13:42.036 --> 0:13:47.076
<v Speaker 2>personal music and becoming fans. And to answer this extremely

0:13:47.116 --> 0:13:49.356
<v Speaker 2>long answer to your question why I wanted to do

0:13:49.476 --> 0:13:53.076
<v Speaker 2>this now is because over the years, my super small

0:13:53.156 --> 0:13:56.756
<v Speaker 2>fan base has grown to a bigger small fan base

0:13:57.276 --> 0:14:02.796
<v Speaker 2>of people that are really so supportive and just you know,

0:14:02.876 --> 0:14:05.796
<v Speaker 2>like giving me so much energy, especially when I'm the

0:14:05.876 --> 0:14:07.956
<v Speaker 2>music I've been releasing over the years is really just

0:14:08.716 --> 0:14:12.436
<v Speaker 2>you know, like to satisfy create my creative you know,

0:14:12.516 --> 0:14:15.916
<v Speaker 2>desire or whatever, just wanting to be able to release

0:14:15.956 --> 0:14:17.476
<v Speaker 2>things that I don't have to think about all the

0:14:17.516 --> 0:14:19.956
<v Speaker 2>parameters that come with working with superstars, even though I

0:14:19.996 --> 0:14:23.516
<v Speaker 2>also love parameters because they forced you to do something different.

0:14:24.156 --> 0:14:26.836
<v Speaker 2>And so why I'm putting the album out now is

0:14:26.836 --> 0:14:28.316
<v Speaker 2>I I just can't take it anymore. I want to

0:14:28.396 --> 0:14:30.756
<v Speaker 2>let the fans and people that listen to my music

0:14:30.876 --> 0:14:34.556
<v Speaker 2>in the community and at large know that I appreciate

0:14:34.676 --> 0:14:37.756
<v Speaker 2>all the support by putting some energy into it. And

0:14:37.796 --> 0:14:41.876
<v Speaker 2>then also I want to update these niggas because you know,

0:14:41.996 --> 0:14:45.316
<v Speaker 2>like so many people study me. And then also it's

0:14:45.556 --> 0:14:47.476
<v Speaker 2>because I've already seen a lot of people talking about

0:14:47.516 --> 0:14:51.436
<v Speaker 2>like why is James's first album on Christmas? Album? Actually,

0:14:51.436 --> 0:14:51.796
<v Speaker 2>today I.

0:14:51.796 --> 0:14:53.876
<v Speaker 3>Saw don't steal My question broll No.

0:14:54.036 --> 0:14:58.276
<v Speaker 2>Today I saw a sweet that said James Finloy's debut

0:14:58.396 --> 0:15:01.636
<v Speaker 2>album being a Christmas album is such a James Finleroy

0:15:01.716 --> 0:15:05.996
<v Speaker 2>thing to do, and I was like missing accomplish. So

0:15:06.036 --> 0:15:10.156
<v Speaker 2>it was why is your first album with christ Well

0:15:10.756 --> 0:15:13.276
<v Speaker 2>part of it, there's a couple of answers one is like,

0:15:14.316 --> 0:15:16.276
<v Speaker 2>because these songs have been out for so long I have,

0:15:16.396 --> 0:15:17.996
<v Speaker 2>I've had a lot of time to see what people

0:15:18.076 --> 0:15:20.676
<v Speaker 2>like or not, you know, and I get a lot

0:15:20.756 --> 0:15:24.316
<v Speaker 2>of responses about this Christmas music throughout the year and

0:15:24.436 --> 0:15:27.676
<v Speaker 2>four years, like so I know people like it, and

0:15:27.676 --> 0:15:29.716
<v Speaker 2>I know people listen to it not only in Christmas,

0:15:29.796 --> 0:15:34.836
<v Speaker 2>but creatively. It's just it's a fun way to stretch

0:15:34.956 --> 0:15:38.236
<v Speaker 2>my imagination because like, like, for instance, I did an

0:15:38.276 --> 0:15:42.436
<v Speaker 2>album one time that people don't even know. It's seven

0:15:42.516 --> 0:15:44.676
<v Speaker 2>songs on the projects and each one of them is

0:15:45.236 --> 0:15:48.276
<v Speaker 2>referencing one of the days of creation in the Bible.

0:15:48.796 --> 0:15:50.676
<v Speaker 2>And you know, like I did that because I was

0:15:50.676 --> 0:15:54.196
<v Speaker 2>studying philosophy at the time, but also because it's just

0:15:54.236 --> 0:15:57.516
<v Speaker 2>fun when you give yourself new. You know, almost every

0:15:57.556 --> 0:15:59.396
<v Speaker 2>song is about the same like three or four things.

0:16:00.076 --> 0:16:01.916
<v Speaker 2>And I told you I wrote three hundred songs before

0:16:01.956 --> 0:16:04.156
<v Speaker 2>my first one, so you can imagine that was almost

0:16:04.156 --> 0:16:06.396
<v Speaker 2>twenty years ago. How many have written up to this

0:16:06.436 --> 0:16:08.716
<v Speaker 2>point and you started running out of shit to say

0:16:09.236 --> 0:16:12.036
<v Speaker 2>and do, and like, how do you how do I

0:16:12.116 --> 0:16:16.156
<v Speaker 2>make this fun? It's like coming up with something new

0:16:16.476 --> 0:16:20.636
<v Speaker 2>to challenge myself and pull something new out of myself

0:16:21.276 --> 0:16:24.156
<v Speaker 2>and I'm still I feel like I still haven't had

0:16:24.476 --> 0:16:26.236
<v Speaker 2>which is gonna sound crazy. I can feel it right now,

0:16:26.236 --> 0:16:27.796
<v Speaker 2>but I feel like I still haven't had the success

0:16:28.116 --> 0:16:29.316
<v Speaker 2>trying to get well.

0:16:29.396 --> 0:16:32.316
<v Speaker 1>But it's funny because you're working in two different like

0:16:32.316 --> 0:16:34.316
<v Speaker 1>like you could judge your success a couple different ways.

0:16:34.316 --> 0:16:38.116
<v Speaker 1>Like obviously, working as a writer producer, you've had just

0:16:38.156 --> 0:16:40.796
<v Speaker 1>about as much success as won't can help to have

0:16:40.876 --> 0:16:43.036
<v Speaker 1>as a writer producer, right, But then there is this

0:16:43.196 --> 0:16:44.756
<v Speaker 1>like thing of you as an artist, and it's like,

0:16:44.916 --> 0:16:47.716
<v Speaker 1>you know, now, when I go to look for James

0:16:47.756 --> 0:16:51.516
<v Speaker 1>Fauntleroy on Apple Music or Spotify or whatever, it's not

0:16:51.596 --> 0:16:54.196
<v Speaker 1>just you featured on whatever, it's like an actual body

0:16:54.196 --> 0:16:55.836
<v Speaker 1>of work from you that I could So it's like

0:16:55.876 --> 0:16:58.116
<v Speaker 1>this other thing probably keeps things fun for you man

0:16:58.156 --> 0:16:59.716
<v Speaker 1>to like keep yourself challenged.

0:16:59.716 --> 0:17:01.796
<v Speaker 2>And yeah, I got to think of something because the

0:17:01.876 --> 0:17:03.156
<v Speaker 2>music business is not fun.

0:17:03.236 --> 0:17:05.436
<v Speaker 3>So like what do you mean by that?

0:17:05.876 --> 0:17:09.076
<v Speaker 2>It's terrible? I mean, like, you know, every movie about

0:17:09.316 --> 0:17:13.796
<v Speaker 2>the music business is terrible, like The Temptations, that's the

0:17:13.796 --> 0:17:14.796
<v Speaker 2>one I always use.

0:17:14.956 --> 0:17:18.316
<v Speaker 3>But you got to stay off of drugs.

0:17:18.996 --> 0:17:22.196
<v Speaker 2>You got to show because it's like we're selling an

0:17:22.196 --> 0:17:27.396
<v Speaker 2>intangible product, you know, and so like it's a breeding

0:17:27.436 --> 0:17:31.916
<v Speaker 2>ground for common and you know, like people who are

0:17:31.996 --> 0:17:35.916
<v Speaker 2>unscrupulous because it's it's it's a great environment to hustle,

0:17:36.116 --> 0:17:39.036
<v Speaker 2>you know. So like that's really one of my life

0:17:39.396 --> 0:17:42.836
<v Speaker 2>goals is to prove that you can be successful without

0:17:42.876 --> 0:17:44.916
<v Speaker 2>being a piece of shit and fucking people over left

0:17:44.916 --> 0:17:48.036
<v Speaker 2>and right, and you know, like doing fair business.

0:17:48.076 --> 0:17:51.556
<v Speaker 1>And do you find yourself in the and wanting to

0:17:51.596 --> 0:17:55.436
<v Speaker 1>practice less predatory sort of business practices? Do you do

0:17:55.436 --> 0:17:58.476
<v Speaker 1>you find that like people try to screw you over

0:17:58.956 --> 0:17:59.636
<v Speaker 1>every day?

0:17:59.836 --> 0:18:00.436
<v Speaker 2>Absolutely?

0:18:00.876 --> 0:18:02.156
<v Speaker 1>And do you think people are trying to screw you

0:18:02.196 --> 0:18:05.076
<v Speaker 1>over more because necessarily see that as maybe a weakness

0:18:05.116 --> 0:18:06.236
<v Speaker 1>and you're not trying to hustle.

0:18:06.316 --> 0:18:10.636
<v Speaker 2>I think they're just on autopilot, just doing whatever they can,

0:18:10.876 --> 0:18:13.676
<v Speaker 2>just trying stuff like the raptors in Jurassic Park when

0:18:13.676 --> 0:18:18.076
<v Speaker 2>they're like hitting an electric fence. That's these guys are

0:18:18.156 --> 0:18:20.516
<v Speaker 2>just like testing every fence they get they come in

0:18:20.516 --> 0:18:24.156
<v Speaker 2>contact with. And I wish it would be nice if

0:18:24.436 --> 0:18:28.796
<v Speaker 2>people would, you know, like consider that before I got

0:18:28.796 --> 0:18:31.396
<v Speaker 2>to this latest person that's trying to take advantage of me,

0:18:31.436 --> 0:18:33.516
<v Speaker 2>how many people I had to get through to get

0:18:33.556 --> 0:18:35.636
<v Speaker 2>to this point, it would be nice and they would

0:18:35.676 --> 0:18:38.116
<v Speaker 2>just but I can't be mad. I you know, I've

0:18:38.116 --> 0:18:39.596
<v Speaker 2>been in Vegas. I played Rouette once.

0:18:39.676 --> 0:18:43.036
<v Speaker 1>It was really I was like, I get it, you

0:18:43.116 --> 0:18:43.476
<v Speaker 1>get it.

0:18:43.556 --> 0:18:46.076
<v Speaker 2>Yeah, man, you know you win one time and it

0:18:46.156 --> 0:18:49.116
<v Speaker 2>just hooks you. So every time somebody, every time I

0:18:49.116 --> 0:18:52.076
<v Speaker 2>see anyone do anything crazy or say anything crazy, my

0:18:52.076 --> 0:18:53.996
<v Speaker 2>first thought is, though they got away with that shit before,

0:18:54.036 --> 0:18:55.556
<v Speaker 2>and that's why they think they could do that.

0:18:55.796 --> 0:18:58.116
<v Speaker 1>So it's really it's the business that's not fun.

0:18:58.556 --> 0:19:04.556
<v Speaker 2>Yeah, the music that can also lose its excitement for

0:19:04.796 --> 0:19:07.116
<v Speaker 2>a number of different reasons. But yeah, it's the business

0:19:07.156 --> 0:19:10.836
<v Speaker 2>and just human life. Like I study forhilosophy so extensively,

0:19:10.876 --> 0:19:14.796
<v Speaker 2>Like I spoke at the Philosophical Research Society. I think

0:19:14.796 --> 0:19:15.436
<v Speaker 2>that was this year.

0:19:15.996 --> 0:19:18.196
<v Speaker 1>Wow, what'd you speak on? This?

0:19:18.276 --> 0:19:24.636
<v Speaker 2>One was about a famous philosophical text called The Secret

0:19:24.796 --> 0:19:30.196
<v Speaker 2>Teachings of All Ages by Manly P. Hall's who founded

0:19:30.236 --> 0:19:34.076
<v Speaker 2>the Philosophical Research Society. And my first talk there was

0:19:34.076 --> 0:19:36.556
<v Speaker 2>like a decade ago, and that was on NPR. And

0:19:36.596 --> 0:19:38.476
<v Speaker 2>I just found the footage because I feel like people

0:19:38.476 --> 0:19:40.636
<v Speaker 2>think I'm lying when I say that ship, but I got.

0:19:40.516 --> 0:19:42.116
<v Speaker 3>Evidence now it's on NPR.

0:19:42.476 --> 0:19:45.356
<v Speaker 2>And then it with NPR and now I had college

0:19:45.396 --> 0:19:47.316
<v Speaker 2>professors for risks.

0:19:47.316 --> 0:19:48.596
<v Speaker 1>Bro, you did it.

0:19:48.916 --> 0:19:50.796
<v Speaker 3>It's like I did it on Believe.

0:19:51.116 --> 0:19:54.556
<v Speaker 1>Yeah it Ron Rihanna Sance, You're like pulling up MPR footage.

0:19:54.876 --> 0:19:59.836
<v Speaker 1>Chance Bro, Damn well, how'd you go to the philosophy going? Broke?

0:20:02.196 --> 0:20:02.596
<v Speaker 4>Some people?

0:20:02.596 --> 0:20:04.676
<v Speaker 2>When you lose all your money, that's when you really

0:20:04.716 --> 0:20:06.996
<v Speaker 2>started looking for God, right in that moment you started

0:20:07.036 --> 0:20:07.836
<v Speaker 2>praying and ship.

0:20:08.156 --> 0:20:09.636
<v Speaker 1>It was just after you had some money.

0:20:09.836 --> 0:20:10.036
<v Speaker 4>Yeah.

0:20:10.156 --> 0:20:13.196
<v Speaker 2>Man, you know, I haven't met a person yet that

0:20:13.236 --> 0:20:18.196
<v Speaker 2>didn't blow their first million dollars, and most people I

0:20:18.236 --> 0:20:20.636
<v Speaker 2>know are have also blown their last million dollars. So

0:20:20.956 --> 0:20:25.276
<v Speaker 2>it's just a That's Another part of the predatory environment

0:20:25.316 --> 0:20:28.756
<v Speaker 2>that makes it hard to enjoy is like you know,

0:20:28.836 --> 0:20:32.356
<v Speaker 2>like in sports, for instance, they have preferred business management

0:20:33.196 --> 0:20:36.596
<v Speaker 2>and regulatory boards, and they have all these things that

0:20:36.716 --> 0:20:39.716
<v Speaker 2>have come into place to protect the young.

0:20:39.596 --> 0:20:42.396
<v Speaker 1>Athletes, mentorship systems, it's the whole.

0:20:42.156 --> 0:20:46.036
<v Speaker 2>Thing address that because they realize that the quality of

0:20:46.076 --> 0:20:48.716
<v Speaker 2>life the players are experiencing has an impact on the product.

0:20:49.036 --> 0:20:50.956
<v Speaker 2>Versus in our industry, there's none of that. There's no

0:20:50.996 --> 0:20:54.076
<v Speaker 2>regulatory boards, so people can do any deal that you

0:20:54.156 --> 0:20:58.556
<v Speaker 2>will sign and with no oversight. There's no even like

0:20:58.716 --> 0:21:03.036
<v Speaker 2>industry of what the term business manager implies. So like

0:21:03.636 --> 0:21:07.356
<v Speaker 2>the biggest firms that are typical and the biggest entertainers

0:21:07.916 --> 0:21:09.596
<v Speaker 2>that are going to like what you would consider like

0:21:09.676 --> 0:21:12.996
<v Speaker 2>music firms, what they're getting is a CPA that's an accountant.

0:21:12.996 --> 0:21:17.076
<v Speaker 2>So the accountant is like paying your bills typically on

0:21:17.156 --> 0:21:20.796
<v Speaker 2>auto pay, calling the credit card company when your car

0:21:20.836 --> 0:21:24.036
<v Speaker 2>doesn't work in room or whatever. But what business manager

0:21:24.076 --> 0:21:26.596
<v Speaker 2>implies is that they're going to manage your business. So

0:21:26.676 --> 0:21:30.316
<v Speaker 2>what you're actually looking for is wealth management. Somebody that's gonna,

0:21:30.836 --> 0:21:32.356
<v Speaker 2>you know, come up with a plan for your money

0:21:32.356 --> 0:21:34.596
<v Speaker 2>so that you can build a wealth and budgeting and

0:21:34.676 --> 0:21:37.796
<v Speaker 2>whatever versus. I mean, my last business manager I had,

0:21:38.276 --> 0:21:39.556
<v Speaker 2>you know, I would call and say, hey, can I

0:21:39.596 --> 0:21:42.076
<v Speaker 2>afford this? They'd be like, hell, yeah, bye too, you

0:21:42.116 --> 0:21:45.716
<v Speaker 2>know what I mean, And that actually that's not the truth.

0:21:46.756 --> 0:21:48.236
<v Speaker 3>And so was that a good thing?

0:21:48.436 --> 0:21:49.516
<v Speaker 2>No, it was a terrible thing.

0:21:50.876 --> 0:21:54.116
<v Speaker 1>Sounds like great great news to me too, I wish.

0:21:54.116 --> 0:21:55.996
<v Speaker 2>Yeah, because that's not that's not real, you know what

0:21:56.036 --> 0:21:59.436
<v Speaker 2>I mean. Because basically what they're doing is banking on

0:21:59.516 --> 0:22:02.876
<v Speaker 2>the fact that you'll just always have income, and that's

0:22:02.916 --> 0:22:06.596
<v Speaker 2>not how we get we we rarely get paid, especially

0:22:06.596 --> 0:22:09.476
<v Speaker 2>if you're a songwriter. That's a whole other conversation because

0:22:09.956 --> 0:22:12.756
<v Speaker 2>producers at least get fees, and a songwriter as big

0:22:12.756 --> 0:22:15.556
<v Speaker 2>as I am, I get fees sometimes, but that's not

0:22:16.316 --> 0:22:18.236
<v Speaker 2>what we're all expecting that I'm not going to get

0:22:18.236 --> 0:22:21.076
<v Speaker 2>a fee, you know what I mean. And so for

0:22:21.156 --> 0:22:25.996
<v Speaker 2>a songwriter it's it's even harder because like, you just

0:22:26.076 --> 0:22:28.356
<v Speaker 2>don't have any way to get paid except for your

0:22:28.396 --> 0:22:31.596
<v Speaker 2>publishing advance, which is based on your ability to have

0:22:31.716 --> 0:22:35.276
<v Speaker 2>hit songs, which is something you also can't control.

0:22:35.636 --> 0:22:38.876
<v Speaker 1>Right after a quick break, will be back with more

0:22:38.916 --> 0:22:46.276
<v Speaker 1>of an interview with James Fontleroy. We're back with more

0:22:46.356 --> 0:22:49.756
<v Speaker 1>from James font Leroy. Your name has always been a

0:22:49.756 --> 0:22:52.076
<v Speaker 1>gold standard in terms of so I know you're saying

0:22:52.076 --> 0:22:54.236
<v Speaker 1>you're not Babe Ruth, you can't call hits, and it's true,

0:22:54.236 --> 0:22:58.916
<v Speaker 1>but you've had an overwhelming amount of great songs written

0:22:58.956 --> 0:23:03.236
<v Speaker 1>with great artists over you know, now damn near twenty years.

0:23:03.956 --> 0:23:08.716
<v Speaker 1>How have you been able to retain that level of creativity?

0:23:08.796 --> 0:23:11.796
<v Speaker 2>And well, a hit song is that's something you buy,

0:23:11.996 --> 0:23:14.436
<v Speaker 2>you know what I mean? Like, a hit song is

0:23:14.476 --> 0:23:18.596
<v Speaker 2>not a sound it's an element of a marketing campaign

0:23:18.716 --> 0:23:21.676
<v Speaker 2>that costs a certain amount of money. So when people

0:23:21.676 --> 0:23:23.396
<v Speaker 2>are when I hear like an amateur, like I got

0:23:23.396 --> 0:23:25.076
<v Speaker 2>my new single coming out, I'm like, no, you don't

0:23:25.116 --> 0:23:26.996
<v Speaker 2>have any money. You're putting a song out. That's what

0:23:27.036 --> 0:23:31.996
<v Speaker 2>that's called a single, or somebody that's a budget behind.

0:23:32.116 --> 0:23:33.436
<v Speaker 2>That's that's what a single is.

0:23:34.396 --> 0:23:35.356
<v Speaker 3>And so.

0:23:36.756 --> 0:23:39.476
<v Speaker 2>That's why I'm like, I can't, I can't call it

0:23:39.556 --> 0:23:42.156
<v Speaker 2>hit because that depends on you know, like what what

0:23:42.156 --> 0:23:45.196
<v Speaker 2>people respond to, but more importantly, how much money people

0:23:45.236 --> 0:23:47.436
<v Speaker 2>are spending on it. Now, what I can say is

0:23:48.236 --> 0:23:53.676
<v Speaker 2>that I have really good tastes. And why my taste,

0:23:53.756 --> 0:23:56.596
<v Speaker 2>why I have so much confidence confidence in my taste

0:23:56.716 --> 0:23:59.636
<v Speaker 2>is because although some of it is inherent or whatever,

0:23:59.676 --> 0:24:02.316
<v Speaker 2>but for the most part, it's it's not about that.

0:24:02.396 --> 0:24:05.236
<v Speaker 2>It's we have evidence of what works. We have Stevie Wonder,

0:24:05.276 --> 0:24:07.996
<v Speaker 2>we have Prince, we have Jimmy jam and Terry Lewis,

0:24:07.996 --> 0:24:10.236
<v Speaker 2>we got Babyface, we got Dying Warren, we got all

0:24:10.276 --> 0:24:15.076
<v Speaker 2>these people, and it's really our job as modern creators

0:24:15.116 --> 0:24:19.596
<v Speaker 2>to try to comprehend not how to do what they did,

0:24:19.596 --> 0:24:22.556
<v Speaker 2>but what worked. You know, I had an argument with

0:24:22.596 --> 0:24:24.556
<v Speaker 2>them he's a really big executive now. At the time

0:24:24.596 --> 0:24:26.356
<v Speaker 2>he was a big executive. I had an argument with

0:24:26.396 --> 0:24:29.476
<v Speaker 2>this guy one time because he was telling me that

0:24:29.556 --> 0:24:31.956
<v Speaker 2>my songs were too complex, which she was right, but

0:24:32.476 --> 0:24:34.916
<v Speaker 2>he was like it was crazy too, because he was

0:24:34.956 --> 0:24:36.556
<v Speaker 2>asking me to work for this artist and I was

0:24:36.596 --> 0:24:39.316
<v Speaker 2>like no, And then he was like, come on, work

0:24:39.356 --> 0:24:41.756
<v Speaker 2>with the artist, and I was like no. So then

0:24:41.796 --> 0:24:43.116
<v Speaker 2>he said he wanted to have a meeting with me.

0:24:43.156 --> 0:24:44.556
<v Speaker 2>Then he calls me in the meeting, and the whole

0:24:44.596 --> 0:24:46.636
<v Speaker 2>meeting is him telling me why my songs won't be

0:24:46.756 --> 0:24:49.836
<v Speaker 2>hit songs. And so this is the early part of

0:24:49.836 --> 0:24:52.596
<v Speaker 2>my career. So I'm sitting here. Also, at the time,

0:24:52.636 --> 0:24:56.796
<v Speaker 2>my manager was there, and my poor manager didn't know

0:24:56.876 --> 0:25:00.676
<v Speaker 2>what my personality was like because growing up in the

0:25:00.796 --> 0:25:02.996
<v Speaker 2>environment I grew up and I knew, like, you know,

0:25:03.116 --> 0:25:06.436
<v Speaker 2>like in these kind of situations, yeah, unless they know

0:25:06.556 --> 0:25:09.556
<v Speaker 2>the better he does. So I'm just like he imagine

0:25:09.556 --> 0:25:12.516
<v Speaker 2>me for like almost two years, and he didn't know that.

0:25:13.956 --> 0:25:16.796
<v Speaker 2>I was like I am. So I'm sitting here listening

0:25:16.796 --> 0:25:19.836
<v Speaker 2>to this guy who just I told no twice, tell

0:25:19.876 --> 0:25:22.396
<v Speaker 2>me why my songs will never be hits, And I'm like,

0:25:22.516 --> 0:25:24.716
<v Speaker 2>I feel the pressure rising up that I'm about to

0:25:24.756 --> 0:25:27.796
<v Speaker 2>let this guy have it, and I'm like, oh no,

0:25:27.836 --> 0:25:31.636
<v Speaker 2>my manager, this is gonna happen. And so even though

0:25:31.676 --> 0:25:33.916
<v Speaker 2>I haven't, I've never yelled at anyone in the music business.

0:25:34.036 --> 0:25:37.756
<v Speaker 2>But and I have theories on why people feel like

0:25:37.796 --> 0:25:40.276
<v Speaker 2>I'm yelling at them when I'm talking calmly, because I

0:25:40.276 --> 0:25:42.076
<v Speaker 2>sounded just like this when I'm talking to this guy.

0:25:43.076 --> 0:25:44.876
<v Speaker 2>But after I let him say all this ridiculous shit,

0:25:44.956 --> 0:25:46.956
<v Speaker 2>I was like, man, with all due respect, like if

0:25:46.956 --> 0:25:50.076
<v Speaker 2>you take the number one songs from any period, like

0:25:50.116 --> 0:25:52.876
<v Speaker 2>the last year, the last ten years, last thirty years,

0:25:53.716 --> 0:25:57.276
<v Speaker 2>they're different tempos, different topics, different genres, different looking people.

0:25:58.076 --> 0:26:00.196
<v Speaker 2>None of those factors are the thing and something else

0:26:00.236 --> 0:26:02.036
<v Speaker 2>that they have in common that I know that you

0:26:02.116 --> 0:26:04.956
<v Speaker 2>don't know. And so for you to sit here and

0:26:04.996 --> 0:26:06.876
<v Speaker 2>tell me that I don't know how to write his song,

0:26:07.516 --> 0:26:10.876
<v Speaker 2>it's absolutely ridiculous. Nobody knows, you know. But of the

0:26:10.916 --> 0:26:11.316
<v Speaker 2>two of.

0:26:11.356 --> 0:26:14.956
<v Speaker 1>Us, yeah, you know more than.

0:26:16.676 --> 0:26:18.956
<v Speaker 2>He was like, you're absolutely right. I hope he here's

0:26:18.996 --> 0:26:22.116
<v Speaker 2>the shit and not just the truth. So like how

0:26:22.196 --> 0:26:25.316
<v Speaker 2>I have there's two things I'm thinking about. I'm measuring

0:26:26.196 --> 0:26:28.036
<v Speaker 2>the quality of my music and the quality of the

0:26:28.076 --> 0:26:32.036
<v Speaker 2>writing and melodies and all this stuff against these greats

0:26:32.076 --> 0:26:34.196
<v Speaker 2>that I listed. So I'm like, I'm not looking at

0:26:34.196 --> 0:26:37.956
<v Speaker 2>what people right now are doing. I'm looking at the

0:26:37.956 --> 0:26:39.756
<v Speaker 2>people that already proved to us. Oh, because this is

0:26:39.756 --> 0:26:42.916
<v Speaker 2>another thing I tell people all the time. Every generation

0:26:42.996 --> 0:26:45.756
<v Speaker 2>thinks their music is the best, right man, When I

0:26:45.796 --> 0:26:47.476
<v Speaker 2>was young, it was so good. I think that too now,

0:26:47.476 --> 0:26:48.636
<v Speaker 2>even though I know what I'm about to tell you

0:26:48.716 --> 0:26:49.036
<v Speaker 2>right now.

0:26:49.716 --> 0:26:49.876
<v Speaker 3>Oh.

0:26:49.916 --> 0:26:51.556
<v Speaker 2>And also, people are always like, you got to make

0:26:51.636 --> 0:26:54.516
<v Speaker 2>music simple because everybody's stupid, right, And so I tell

0:26:54.556 --> 0:26:58.316
<v Speaker 2>people all the time, one, people have always been stupid,

0:26:59.156 --> 0:27:02.876
<v Speaker 2>day one, the first human to the last is going

0:27:02.916 --> 0:27:05.436
<v Speaker 2>to be an abundance of idiots. So when Stevie Wonder

0:27:05.556 --> 0:27:08.196
<v Speaker 2>was putting out music, people were just dumb as they

0:27:08.196 --> 0:27:13.196
<v Speaker 2>were now. And then further, when I think about all

0:27:13.236 --> 0:27:17.636
<v Speaker 2>these these different people that I'm talking about the other

0:27:17.716 --> 0:27:21.476
<v Speaker 2>element of what makes people like songs, It's like, yes,

0:27:21.516 --> 0:27:24.876
<v Speaker 2>I'm comparing myself quality wise to all these greats. But

0:27:25.316 --> 0:27:27.276
<v Speaker 2>what I'm really trying to do with the song is

0:27:28.516 --> 0:27:32.476
<v Speaker 2>turn a consumer into a believer, you know what I mean.

0:27:32.516 --> 0:27:36.516
<v Speaker 2>Like that's yeah, Like that's something that connects you with

0:27:36.556 --> 0:27:38.876
<v Speaker 2>the person because I'm always telling people, which is just

0:27:38.876 --> 0:27:41.436
<v Speaker 2>funny because I have I've seen I just saw an

0:27:41.436 --> 0:27:43.356
<v Speaker 2>interview with somebody saying the opposite of what I'm about

0:27:43.396 --> 0:27:47.956
<v Speaker 2>to say. But art is it's it's already cathartic, you

0:27:47.956 --> 0:27:49.516
<v Speaker 2>know what I mean. When you're when you make a

0:27:49.516 --> 0:27:54.276
<v Speaker 2>piece of art, you're you're using your experience to make

0:27:54.316 --> 0:27:58.636
<v Speaker 2>it right everything, but the value of it, the part

0:27:58.676 --> 0:28:01.276
<v Speaker 2>that people are paying you money for, is not about

0:28:01.356 --> 0:28:04.476
<v Speaker 2>your catharist It has nothing to do with you. So

0:28:04.596 --> 0:28:07.916
<v Speaker 2>like my my secret or my my, what I'm thinking

0:28:07.956 --> 0:28:10.836
<v Speaker 2>about is, you know, there's the quality part I told

0:28:10.876 --> 0:28:13.516
<v Speaker 2>you about, but my intent is to make something that

0:28:13.556 --> 0:28:17.156
<v Speaker 2>connects the listener because of the level of service this

0:28:17.276 --> 0:28:20.276
<v Speaker 2>song is providing in their lives. And so you know,

0:28:20.316 --> 0:28:23.476
<v Speaker 2>there's different venues. There's barbecues, there's the car, there's the club.

0:28:24.236 --> 0:28:26.596
<v Speaker 2>A great example. I always tell people because for whatever reason,

0:28:26.636 --> 0:28:28.716
<v Speaker 2>people think I only listen to classical music and shit,

0:28:29.796 --> 0:28:33.836
<v Speaker 2>because whenever I tell people I listen, I listen. I've

0:28:33.876 --> 0:28:36.396
<v Speaker 2>listened to I started listening to classical, right, I do

0:28:36.516 --> 0:28:38.516
<v Speaker 2>listen to classical music, but I love all kinds of stuff.

0:28:38.516 --> 0:28:41.116
<v Speaker 2>So I always tell people a great example of a

0:28:41.196 --> 0:28:44.356
<v Speaker 2>song that is of extreme like levels of use is

0:28:44.396 --> 0:28:47.676
<v Speaker 2>back that ass up, right, Oh my god, because well

0:28:47.876 --> 0:28:51.436
<v Speaker 2>we'll use that song till the end of time. Tell me, yeah,

0:28:51.516 --> 0:28:54.556
<v Speaker 2>like Mariah Carey the Christmas song, back that ass up.

0:28:55.356 --> 0:28:56.996
<v Speaker 2>You know, there's just like a couple of songs that

0:28:56.996 --> 0:28:59.156
<v Speaker 2>we consider classics. Oh yeah, I just reader. My other

0:28:59.236 --> 0:29:03.596
<v Speaker 2>point was that people always think music is so good

0:29:03.636 --> 0:29:07.436
<v Speaker 2>from their era, But the fact is we stopped playing

0:29:07.436 --> 0:29:10.396
<v Speaker 2>the ship that's not of use, playing the things that

0:29:10.996 --> 0:29:11.836
<v Speaker 2>aren't good anymore.

0:29:11.876 --> 0:29:14.796
<v Speaker 1>That's real, man. So there's a lot of the because

0:29:14.796 --> 0:29:15.156
<v Speaker 1>that's the thing.

0:29:15.196 --> 0:29:15.476
<v Speaker 3>They'll be.

0:29:15.476 --> 0:29:19.876
<v Speaker 1>They'll be certain sounds that I like when I'm listening

0:29:19.876 --> 0:29:21.676
<v Speaker 1>to them at the time, I get real tired of

0:29:21.716 --> 0:29:23.516
<v Speaker 1>real fast, and I can't listen to any of it.

0:29:23.796 --> 0:29:25.956
<v Speaker 1>Ten years later, fifteen years later, when all like the

0:29:25.996 --> 0:29:29.996
<v Speaker 1>weakest versions of that style have kind of gone away

0:29:30.036 --> 0:29:33.996
<v Speaker 1>and you only have the cream has risen, and it's like, oh, wait,

0:29:34.036 --> 0:29:35.156
<v Speaker 1>why did I love this shit?

0:29:35.196 --> 0:29:35.916
<v Speaker 3>Actually? Why did I?

0:29:35.956 --> 0:29:38.476
<v Speaker 1>Why did I not listen to it? It's like, oh, because.

0:29:38.436 --> 0:29:42.436
<v Speaker 2>That's that's how it works, the ones that are impactful,

0:29:42.836 --> 0:29:45.036
<v Speaker 2>and and also that's good, that's great. You said it

0:29:45.076 --> 0:29:47.876
<v Speaker 2>like that because like it's also the ones that really

0:29:47.956 --> 0:29:51.116
<v Speaker 2>capture the sound the best. Yes, you know, like from

0:29:51.196 --> 0:29:55.796
<v Speaker 2>the Ratchet era, we have rack City and Loyal. Those

0:29:55.836 --> 0:29:59.036
<v Speaker 2>two songs are gonna be the representatives of that genre

0:29:59.076 --> 0:30:02.076
<v Speaker 2>in twenty years, even though there is and there's a

0:30:02.116 --> 0:30:03.596
<v Speaker 2>couple more.

0:30:03.636 --> 0:30:05.716
<v Speaker 1>It was great time, I got to be honest, I

0:30:05.716 --> 0:30:06.076
<v Speaker 1>don't know.

0:30:06.396 --> 0:30:08.876
<v Speaker 2>It was great. So yeah, there's like probably five, six, seven,

0:30:08.876 --> 0:30:10.756
<v Speaker 2>maybe ten of them songs. It was a thousand that

0:30:10.836 --> 0:30:14.316
<v Speaker 2>came out, the same thing for the nw Jack sound.

0:30:14.476 --> 0:30:18.596
<v Speaker 1>Same thing for New Jack was tough. Like the growing

0:30:18.676 --> 0:30:21.396
<v Speaker 1>up with new Jack was it was just everywhere and

0:30:21.436 --> 0:30:23.276
<v Speaker 1>it kind of got old for me at the time.

0:30:23.316 --> 0:30:25.596
<v Speaker 1>But going back, you're like, yo, I don't know, man.

0:30:25.956 --> 0:30:29.516
<v Speaker 2>Certain ones that we're always gonna play them. And so

0:30:29.556 --> 0:30:33.116
<v Speaker 2>that's my goal is like to make something like that,

0:30:33.316 --> 0:30:35.996
<v Speaker 2>something that is so useful.

0:30:36.276 --> 0:30:38.116
<v Speaker 1>You have a really unique sound though.

0:30:37.996 --> 0:30:42.076
<v Speaker 2>Man, I know, man, well it was unique in the beginning.

0:30:42.436 --> 0:30:43.996
<v Speaker 1>Yeah, but I feel like it still is. Like I

0:30:44.036 --> 0:30:46.316
<v Speaker 1>feel like listening even to this record, like it's clear

0:30:46.356 --> 0:30:50.516
<v Speaker 1>like people make music more like you now, but there's

0:30:50.556 --> 0:30:53.556
<v Speaker 1>still something in you doing it and in your songs

0:30:53.556 --> 0:30:56.436
<v Speaker 1>and then you performing them that make them sound original still,

0:30:56.596 --> 0:31:00.276
<v Speaker 1>you know, and unique. But I maybe we can talk

0:31:00.276 --> 0:31:04.156
<v Speaker 1>about your songwriting. Yeah, your structure is come on very

0:31:04.196 --> 0:31:09.756
<v Speaker 1>different than most songwriter structure. Were you trying to play

0:31:09.836 --> 0:31:11.596
<v Speaker 1>with form or was it just like that's just how

0:31:11.596 --> 0:31:12.076
<v Speaker 1>you heard it.

0:31:13.156 --> 0:31:17.116
<v Speaker 2>No, it's very intentional. When I started, you know, there

0:31:17.116 --> 0:31:19.556
<v Speaker 2>were writers I really admired that. I was trying my

0:31:19.636 --> 0:31:23.396
<v Speaker 2>best to write songs like just like everybody else. Well

0:31:23.556 --> 0:31:26.716
<v Speaker 2>my biggest right at the time I actually got signed

0:31:26.756 --> 0:31:29.436
<v Speaker 2>the Underdogs who I actually ended up getting signed to

0:31:29.676 --> 0:31:33.796
<v Speaker 2>where they were kind of like redefining R and B

0:31:33.916 --> 0:31:38.076
<v Speaker 2>at that time. So I was really like studying their

0:31:38.156 --> 0:31:43.116
<v Speaker 2>music hard and it was unbelievable. I couldn't copy because

0:31:43.116 --> 0:31:44.676
<v Speaker 2>I didn't know how you know what I mean. But

0:31:45.276 --> 0:31:47.316
<v Speaker 2>it was certain little things that I was like, I

0:31:47.436 --> 0:31:49.196
<v Speaker 2>like this, I like that. But then I ended up

0:31:49.236 --> 0:31:52.516
<v Speaker 2>going there and being trained in that style so much

0:31:52.556 --> 0:31:53.996
<v Speaker 2>so that it was like, and don't do it any

0:31:53.996 --> 0:31:56.996
<v Speaker 2>other way either. So that was another like final development.

0:31:56.996 --> 0:32:01.236
<v Speaker 2>But when I got there, people were telling me, even

0:32:01.276 --> 0:32:04.236
<v Speaker 2>though Brandy's one of the best singers ever and really

0:32:04.356 --> 0:32:09.276
<v Speaker 2>foundational to my sound and everything. Also, even like the

0:32:09.316 --> 0:32:11.956
<v Speaker 2>people she wrote with, I consider them like Lashawn Daniels,

0:32:11.996 --> 0:32:15.156
<v Speaker 2>for instance. I consider them to be huge influences on

0:32:15.276 --> 0:32:18.276
<v Speaker 2>my writing. But being the kind of person I am,

0:32:18.276 --> 0:32:19.396
<v Speaker 2>I don't want to hear that shit all day. I

0:32:19.436 --> 0:32:20.916
<v Speaker 2>don't want to hear people telling me I sound like

0:32:20.916 --> 0:32:23.116
<v Speaker 2>Brandy all the time because I'm like, what do you?

0:32:23.316 --> 0:32:23.636
<v Speaker 3>What are you?

0:32:23.796 --> 0:32:24.476
<v Speaker 2>What are you saying?

0:32:24.676 --> 0:32:24.916
<v Speaker 1>You know?

0:32:25.956 --> 0:32:29.476
<v Speaker 2>So I really sat up there for like, and I'm

0:32:29.516 --> 0:32:31.996
<v Speaker 2>still doing it today, Like I'm really like, I was like,

0:32:32.076 --> 0:32:35.156
<v Speaker 2>I want to I want my own sound. It would

0:32:35.196 --> 0:32:37.396
<v Speaker 2>never not have Brandy in it, you know. Like I

0:32:37.396 --> 0:32:42.556
<v Speaker 2>think even while I was consciously developing my sound, that's

0:32:42.596 --> 0:32:47.436
<v Speaker 2>when I discover Imaging Heap and you know, like the

0:32:47.516 --> 0:32:50.916
<v Speaker 2>eighties in general are big, you know. I think that

0:32:51.036 --> 0:32:55.156
<v Speaker 2>was when when humanity really started nailing down what pop

0:32:55.356 --> 0:32:58.396
<v Speaker 2>music really could be. And so that's a big part

0:32:58.436 --> 0:33:01.076
<v Speaker 2>of her style. I can hear too. But when I

0:33:01.116 --> 0:33:04.276
<v Speaker 2>heard Imaging Heap, it was like, Okay, this is what

0:33:04.316 --> 0:33:06.036
<v Speaker 2>I'm trying to do, you know what I mean?

0:33:06.156 --> 0:33:09.516
<v Speaker 1>Sense because you got that real the soul thiss of

0:33:09.516 --> 0:33:12.156
<v Speaker 1>a Brandy with those weird sounds that you might hear,

0:33:12.956 --> 0:33:15.756
<v Speaker 1>and the productions are big, like like like the best

0:33:15.916 --> 0:33:16.596
<v Speaker 1>because I.

0:33:16.556 --> 0:33:18.396
<v Speaker 2>Am from the hood too, you know what I'm saying.

0:33:18.476 --> 0:33:21.596
<v Speaker 2>But also that's another funny thing about the Hood experience

0:33:21.716 --> 0:33:24.916
<v Speaker 2>is like gangsters love music. Man, Like I was getting

0:33:24.956 --> 0:33:27.676
<v Speaker 2>a great you know, I was learning a lot about me.

0:33:27.716 --> 0:33:29.316
<v Speaker 2>I think the first person that really, my mom was

0:33:29.316 --> 0:33:31.196
<v Speaker 2>the first person to try to convince me that Prince

0:33:31.316 --> 0:33:34.156
<v Speaker 2>was somebody actually get into. But it was really like

0:33:34.196 --> 0:33:36.956
<v Speaker 2>a bunch of thugs. I was riding around blasting prints

0:33:37.076 --> 0:33:40.076
<v Speaker 2>out of lowriders that I was like, let me check this.

0:33:40.116 --> 0:33:42.036
<v Speaker 1>Outber my dad trying to put me on the DJ

0:33:42.156 --> 0:33:45.356
<v Speaker 1>quick by telling me of the best Prince of hip hop.

0:33:45.716 --> 0:33:47.796
<v Speaker 3>He's just like Prince. It was right.

0:33:47.916 --> 0:33:50.516
<v Speaker 2>He was like, Rhythmalism is one of the best albums

0:33:50.516 --> 0:33:53.716
<v Speaker 2>I ever heard of my whole entire life, hands down,

0:33:53.756 --> 0:33:56.836
<v Speaker 2>including every type of music I've ever heard. That's like

0:33:56.996 --> 0:33:59.036
<v Speaker 2>top five albums for me.

0:33:59.396 --> 0:34:00.436
<v Speaker 1>It's amazing stuff.

0:34:00.516 --> 0:34:00.916
<v Speaker 3>Man.

0:34:01.196 --> 0:34:05.076
<v Speaker 2>I really talk about Dave Hollister as an influence with

0:34:05.116 --> 0:34:08.436
<v Speaker 2>that was a big influence. And he's doing like soul

0:34:08.556 --> 0:34:11.636
<v Speaker 2>gospel kind of singing, and I was really getting into that.

0:34:12.756 --> 0:34:16.356
<v Speaker 2>Michael Franks is a big influence on you know. The

0:34:16.436 --> 0:34:18.796
<v Speaker 2>least people I come in contact are familiar with Michael Franks.

0:34:18.836 --> 0:34:21.316
<v Speaker 2>But I also know some ghetto people that I'm not

0:34:21.356 --> 0:34:25.356
<v Speaker 2>the only one in the hood, mister Franks that listens

0:34:25.476 --> 0:34:29.076
<v Speaker 2>to your music. But you know, I just had all

0:34:29.116 --> 0:34:32.516
<v Speaker 2>these different influences. And basically there's two things one. Singing

0:34:32.516 --> 0:34:36.116
<v Speaker 2>and writing is night and day skills. They don't go together.

0:34:36.396 --> 0:34:38.876
<v Speaker 2>Most of the big writers that have ever lived were

0:34:38.876 --> 0:34:42.116
<v Speaker 2>not great singers. Most of the great singers I know about,

0:34:42.156 --> 0:34:45.276
<v Speaker 2>we're not great writers. So those are two different things

0:34:45.276 --> 0:34:47.756
<v Speaker 2>I had to study, you know, Like my story of

0:34:48.636 --> 0:34:50.996
<v Speaker 2>my singing style is a different path.

0:34:51.516 --> 0:34:53.116
<v Speaker 1>But you wanted to have both, You wanted to have

0:34:53.236 --> 0:34:54.196
<v Speaker 1>singing and songwriter.

0:34:54.276 --> 0:34:56.156
<v Speaker 2>Yeah, I have a choice. You know, you can't choose

0:34:56.156 --> 0:34:57.716
<v Speaker 2>it if you can sing or not, you know what I mean.

0:34:57.836 --> 0:34:59.516
<v Speaker 2>So I just happened to be at one with it.

0:35:00.156 --> 0:35:02.516
<v Speaker 2>But I love books, and I'm a nerd, so I'm

0:35:02.556 --> 0:35:06.956
<v Speaker 2>into words and tone and writing, and like I was

0:35:06.996 --> 0:35:09.916
<v Speaker 2>already an avid reader, you know what I mean. So

0:35:10.236 --> 0:35:14.236
<v Speaker 2>I was I already was interested in the process of writing,

0:35:14.316 --> 0:35:18.236
<v Speaker 2>like you know, like literary writing. But as far as songwriting,

0:35:18.276 --> 0:35:21.476
<v Speaker 2>before I started really writing songs, my favorite writer was

0:35:21.516 --> 0:35:25.876
<v Speaker 2>probably where it now. Every song I wrote before, including

0:35:25.916 --> 0:35:28.956
<v Speaker 2>my first song, I wrote period. My first song was

0:35:28.996 --> 0:35:32.036
<v Speaker 2>a joke because like, you know, that's all, that's what

0:35:32.236 --> 0:35:33.876
<v Speaker 2>writing was to me. I didn't know it was a job.

0:35:33.956 --> 0:35:36.036
<v Speaker 2>So the only things I ever wrote were like parodies

0:35:36.676 --> 0:35:38.636
<v Speaker 2>like the Hot Boys. I wrote a song called hot

0:35:38.676 --> 0:35:43.556
<v Speaker 2>Breath when I was and uh in high school like that.

0:35:44.196 --> 0:35:48.676
<v Speaker 2>It was just a hot breath, the hot Breath. I

0:35:48.676 --> 0:35:51.356
<v Speaker 2>remember like writing the verses out and everything because I

0:35:51.396 --> 0:35:51.956
<v Speaker 2>love where it. Now.

0:35:53.436 --> 0:35:55.356
<v Speaker 1>We're gonna pause for another quick break and then we'll

0:35:55.356 --> 0:36:02.276
<v Speaker 1>be back with more from James font Leroy. We're back

0:36:02.316 --> 0:36:05.076
<v Speaker 1>with the rest of my conversation with James font Leroy.

0:36:06.036 --> 0:36:08.356
<v Speaker 1>When did songwriting become a thing you knew that you

0:36:08.396 --> 0:36:11.076
<v Speaker 1>could do, like as a career, Like, when did that

0:36:11.116 --> 0:36:12.596
<v Speaker 1>become like I want to do this?

0:36:13.316 --> 0:36:15.076
<v Speaker 2>Well, it was when I found out you could get paid,

0:36:15.236 --> 0:36:16.596
<v Speaker 2>you know what. I'm seen somebody pull up in a

0:36:16.676 --> 0:36:19.116
<v Speaker 2>nice car with a nice outfit on a nice this

0:36:19.236 --> 0:36:20.836
<v Speaker 2>and that, and I was like, what's up, what's going

0:36:20.836 --> 0:36:23.636
<v Speaker 2>on over here? And so that's when I found out

0:36:23.676 --> 0:36:27.396
<v Speaker 2>because I was at a publisher's I was at Universal's

0:36:27.636 --> 0:36:32.076
<v Speaker 2>publishing studio. They had a recording studio, and I had

0:36:32.116 --> 0:36:34.476
<v Speaker 2>actually been there before singing a demo for somebody right

0:36:34.516 --> 0:36:38.596
<v Speaker 2>before I actually had my first like writing session there,

0:36:39.076 --> 0:36:42.116
<v Speaker 2>and I just had no idea about what publishing was,

0:36:42.116 --> 0:36:44.196
<v Speaker 2>the pubishing deals and admin and all this stuff. So

0:36:44.196 --> 0:36:46.876
<v Speaker 2>when I found out what it was, I got on

0:36:46.916 --> 0:36:49.316
<v Speaker 2>the internet and I researched it so thoroughly that when

0:36:49.316 --> 0:36:52.956
<v Speaker 2>I got my first terrible deal, I told my lawyer.

0:36:52.996 --> 0:36:54.476
<v Speaker 2>I was like, Yo, this is bad right, and he

0:36:54.556 --> 0:36:55.796
<v Speaker 2>was like, I don't know the hell you think you are.

0:36:55.836 --> 0:36:58.596
<v Speaker 2>You need to sign that shit. So I actually got

0:36:58.636 --> 0:37:01.076
<v Speaker 2>to make a decision on the spot. I was like,

0:37:01.116 --> 0:37:03.396
<v Speaker 2>do I want to take this bad deal and get

0:37:03.396 --> 0:37:07.156
<v Speaker 2>the opportunities, which I don't suggest other people do that,

0:37:07.236 --> 0:37:10.436
<v Speaker 2>but they ended up working out for me because it

0:37:10.516 --> 0:37:11.036
<v Speaker 2>was worth it.

0:37:11.156 --> 0:37:13.916
<v Speaker 1>Yeah, it was worth just getting your foot in the door.

0:37:13.996 --> 0:37:17.436
<v Speaker 2>Absolutely, it doesn't always work like that. I've seen the

0:37:17.516 --> 0:37:20.916
<v Speaker 2>majority of people in those situations. They end up so

0:37:21.596 --> 0:37:26.156
<v Speaker 2>dejected that they they can't function after they realized because

0:37:26.156 --> 0:37:30.236
<v Speaker 2>everybody has this moment where you realize you signed something

0:37:30.276 --> 0:37:32.796
<v Speaker 2>that wasn't in your best interest. And I remember one

0:37:32.796 --> 0:37:34.596
<v Speaker 2>time talking to my publisher about it, even though knew

0:37:34.636 --> 0:37:35.876
<v Speaker 2>the deal was fucked up when I got it, But

0:37:36.276 --> 0:37:38.036
<v Speaker 2>I remember talking to my publisher about it, and I

0:37:38.076 --> 0:37:39.676
<v Speaker 2>was like, why did you think? I've said this to

0:37:39.716 --> 0:37:43.396
<v Speaker 2>several people in the music business. I said, why do

0:37:43.516 --> 0:37:45.516
<v Speaker 2>you think this is? Okay?

0:37:45.956 --> 0:37:47.996
<v Speaker 1>That's a great question, you.

0:37:47.956 --> 0:37:51.556
<v Speaker 2>Know what I mean. And the typical answer is, this

0:37:51.636 --> 0:37:54.556
<v Speaker 2>is how it happened to me. This is how it's done,

0:37:54.676 --> 0:37:56.956
<v Speaker 2>which is actually what made me want to start the

0:37:56.996 --> 0:37:59.036
<v Speaker 2>school and get into education and all this other stuff

0:37:59.076 --> 0:38:01.516
<v Speaker 2>I got going on. But my publisher was like, well,

0:38:01.556 --> 0:38:04.756
<v Speaker 2>we didn't know you, and I was like what, And

0:38:04.796 --> 0:38:07.556
<v Speaker 2>so I always since then, I've been like two things. One,

0:38:08.396 --> 0:38:11.476
<v Speaker 2>if you do better business and it turns out bad,

0:38:11.596 --> 0:38:13.676
<v Speaker 2>then you know at least you did your best. If

0:38:13.676 --> 0:38:15.636
<v Speaker 2>you do good business and it turns out well, then

0:38:15.676 --> 0:38:19.276
<v Speaker 2>you just exponentially multiply what you can do with that person.

0:38:19.996 --> 0:38:20.796
<v Speaker 3>And if you just.

0:38:20.716 --> 0:38:23.916
<v Speaker 2>Want to be a criminal, you know, no judgment, but

0:38:24.396 --> 0:38:30.836
<v Speaker 2>rob them in the end, not in the beginning. Why

0:38:30.876 --> 0:38:33.996
<v Speaker 2>are you so dumb if you really think this person's

0:38:34.036 --> 0:38:36.916
<v Speaker 2>worth robbing, why would you steal them their money when

0:38:36.916 --> 0:38:38.596
<v Speaker 2>they have one hundred and fifty thousand versus when they

0:38:38.596 --> 0:38:42.356
<v Speaker 2>have fifteen million. Ye're crazy? H So that that's why

0:38:42.316 --> 0:38:44.356
<v Speaker 2>all your criminals out there, that's a free one.

0:38:45.156 --> 0:38:46.876
<v Speaker 1>Do you think the music industry is fixable?

0:38:47.836 --> 0:38:52.116
<v Speaker 2>No, I don't. I don't think it's fixable at all.

0:38:52.156 --> 0:38:55.596
<v Speaker 2>I think it's just business, you know what I mean,

0:38:55.676 --> 0:39:01.156
<v Speaker 2>Like the music part is it's it's not even important.

0:39:01.236 --> 0:39:03.316
<v Speaker 2>And that's evident in the fact that we haven't had

0:39:03.356 --> 0:39:07.676
<v Speaker 2>any new superstars really for the last decade, and it's

0:39:07.796 --> 0:39:10.756
<v Speaker 2>solely because that's not in the best interests of the machine.

0:39:11.596 --> 0:39:12.996
<v Speaker 1>How do you feel, I mean, I'll say, as a

0:39:13.156 --> 0:39:14.916
<v Speaker 1>just as a person who's a fan of music, the

0:39:14.956 --> 0:39:18.076
<v Speaker 1>fact that there's have been no true superstars built over

0:39:18.076 --> 0:39:20.556
<v Speaker 1>the last built or put out or come out or

0:39:20.596 --> 0:39:23.756
<v Speaker 1>come about over the last decade, it's a drag man.

0:39:24.676 --> 0:39:27.356
<v Speaker 2>It is man And basically it's just it just takes

0:39:27.396 --> 0:39:32.556
<v Speaker 2>time because the Internet has been rearranging everything since it

0:39:32.596 --> 0:39:35.476
<v Speaker 2>popped off. Because basically, right now, like you know, you

0:39:35.556 --> 0:39:40.196
<v Speaker 2>have Internet fame, which doesn't translate into international market and

0:39:40.276 --> 0:39:44.396
<v Speaker 2>right now, the label systems have territory partners that they

0:39:44.396 --> 0:39:48.716
<v Speaker 2>can make an act a global priority, meaning like you know,

0:39:49.076 --> 0:39:51.676
<v Speaker 2>their partners in different territories will open up budgets to

0:39:52.156 --> 0:39:55.836
<v Speaker 2>market that person in different territories, which then creates a

0:39:55.876 --> 0:40:00.556
<v Speaker 2>global superstar. Yeah, and so I think that the way

0:40:00.596 --> 0:40:04.716
<v Speaker 2>the Internet is closing all these bridges and gaps, you're

0:40:04.716 --> 0:40:08.436
<v Speaker 2>going to start having people who are recreating the environment

0:40:08.436 --> 0:40:11.476
<v Speaker 2>without the need of that system. And so the labels

0:40:11.476 --> 0:40:14.116
<v Speaker 2>are aware and they figured out a lot of really

0:40:14.156 --> 0:40:18.356
<v Speaker 2>smart Like I'm not angry at the labels, like I

0:40:18.396 --> 0:40:21.156
<v Speaker 2>always hear my collaborators, especially all of us, because all

0:40:21.196 --> 0:40:23.956
<v Speaker 2>of us have much money, we have left, We're making

0:40:23.956 --> 0:40:26.956
<v Speaker 2>millions of dollars, you know what I mean, So I

0:40:26.996 --> 0:40:28.356
<v Speaker 2>don't have emotions about it.

0:40:28.556 --> 0:40:31.036
<v Speaker 1>I just also feel like music's better when there's a

0:40:31.076 --> 0:40:32.116
<v Speaker 1>strong label system.

0:40:32.156 --> 0:40:34.476
<v Speaker 2>But it's alway but like, oh yeah, they don't feel

0:40:34.476 --> 0:40:38.716
<v Speaker 2>any sense of responsibility to the art, which I do.

0:40:38.836 --> 0:40:40.796
<v Speaker 2>So that's a big part of everything I'm doing is

0:40:40.836 --> 0:40:44.116
<v Speaker 2>like I feel because all the people that came before

0:40:44.156 --> 0:40:46.076
<v Speaker 2>me had such an impact on me that I could

0:40:46.076 --> 0:40:49.076
<v Speaker 2>go from zero to traveling the world and having money

0:40:49.116 --> 0:40:51.076
<v Speaker 2>and doing all this, I'm like, who's going to do

0:40:51.116 --> 0:40:53.076
<v Speaker 2>that for the next people? So that's why I'm like

0:40:53.916 --> 0:40:57.676
<v Speaker 2>really working hard to fill in that gap and really

0:40:57.916 --> 0:41:00.396
<v Speaker 2>trying to support and work with other people that feel

0:41:00.436 --> 0:41:03.036
<v Speaker 2>like that, which is almost every collaborator I had that

0:41:03.156 --> 0:41:06.036
<v Speaker 2>people name when they name who I worked with. It's

0:41:06.076 --> 0:41:09.236
<v Speaker 2>a bunch of people who are also really concerned with

0:41:09.396 --> 0:41:12.196
<v Speaker 2>preserving the art, you know, like Bruno is one of

0:41:12.196 --> 0:41:15.836
<v Speaker 2>the best examples, Like every superstar though, like all the

0:41:15.836 --> 0:41:18.916
<v Speaker 2>people that are on my list of people that I

0:41:18.956 --> 0:41:21.516
<v Speaker 2>worked with, one thing I noticed they all have in

0:41:21.556 --> 0:41:25.156
<v Speaker 2>common is they're all like music historians, every single one

0:41:25.156 --> 0:41:25.436
<v Speaker 2>of them.

0:41:25.556 --> 0:41:31.596
<v Speaker 1>Justin Timberlake, he's one of them, absolutely, Beyonce, Beyonce.

0:41:31.756 --> 0:41:35.796
<v Speaker 2>Like just expert. They could all teach Ivy League classes

0:41:35.836 --> 0:41:39.196
<v Speaker 2>on music history, all of them.

0:41:39.276 --> 0:41:43.916
<v Speaker 1>What does that bring to writing sessions or recording sessions?

0:41:43.956 --> 0:41:49.476
<v Speaker 2>Wisdom? You know, like knowing what works and knowing the

0:41:49.556 --> 0:41:52.756
<v Speaker 2>rules enough to recreate them or break them or bend

0:41:52.836 --> 0:41:55.756
<v Speaker 2>them or whatever. And you just have to do that.

0:41:55.836 --> 0:41:58.996
<v Speaker 2>If you want to make something new, you have to

0:41:59.116 --> 0:42:03.716
<v Speaker 2>understand what came before it. Yeah, that's not a super

0:42:03.756 --> 0:42:06.596
<v Speaker 2>popular thing on the planet Earth, but the people that

0:42:06.796 --> 0:42:09.676
<v Speaker 2>know that have advantage.

0:42:09.916 --> 0:42:12.716
<v Speaker 1>Yeah, it's starting to change. It feels like this hip

0:42:12.716 --> 0:42:15.036
<v Speaker 1>hop fiftieth thing has been cool. It's been great to

0:42:15.036 --> 0:42:18.596
<v Speaker 1>see people embrace artists that I think before we're just

0:42:18.676 --> 0:42:20.756
<v Speaker 1>kind of aligned as like it's like that's old This

0:42:20.836 --> 0:42:23.716
<v Speaker 1>old school's wax it's you know, it's like, but it

0:42:23.716 --> 0:42:26.076
<v Speaker 1>feels like there's a lot of good will going towards

0:42:26.276 --> 0:42:28.396
<v Speaker 1>our legends these days, and so.

0:42:28.436 --> 0:42:30.676
<v Speaker 2>Yeah, I see that too, But that's just really that's

0:42:30.756 --> 0:42:34.236
<v Speaker 2>that's the mainstream and public perception. But the truth is,

0:42:35.116 --> 0:42:39.236
<v Speaker 2>you know, like whoever the biggest young rapper, like a

0:42:39.316 --> 0:42:42.996
<v Speaker 2>TikTok guy or whoever you want to name, they don't

0:42:43.036 --> 0:42:47.276
<v Speaker 2>have as successful a global touring career as the Wu

0:42:47.356 --> 0:42:49.956
<v Speaker 2>Tang clan, you know what I mean. So even when

0:42:49.996 --> 0:42:54.116
<v Speaker 2>we were all not looking the world, because even the world,

0:42:54.156 --> 0:42:56.156
<v Speaker 2>we all have this tendency to look through the lens

0:42:56.236 --> 0:43:00.236
<v Speaker 2>of America. But the fact is that you're not going

0:43:00.316 --> 0:43:03.476
<v Speaker 2>to find too many of these TikTok guys doing global

0:43:03.996 --> 0:43:06.796
<v Speaker 2>dates versus these old guys they've been out here getting

0:43:06.836 --> 0:43:11.396
<v Speaker 2>this money. Yeah, I think he's good that the Internet

0:43:11.476 --> 0:43:16.236
<v Speaker 2>is peeling away all sorts of machines and industry's ability

0:43:16.316 --> 0:43:19.316
<v Speaker 2>to tell you that something is one way when it's

0:43:19.356 --> 0:43:19.876
<v Speaker 2>really nothing.

0:43:19.876 --> 0:43:22.396
<v Speaker 1>And I also think too, like to an earlier point,

0:43:22.796 --> 0:43:25.716
<v Speaker 1>you're twenty years in just about releasing your debut album,

0:43:25.996 --> 0:43:29.396
<v Speaker 1>there really is no timeline anymore. Like the fact, like

0:43:29.756 --> 0:43:32.836
<v Speaker 1>if we dropped a really good album this year, people

0:43:32.876 --> 0:43:36.276
<v Speaker 1>would bang it just as hard as right as that.

0:43:36.396 --> 0:43:41.116
<v Speaker 1>It's by nods these last right like some of the

0:43:41.116 --> 0:43:43.676
<v Speaker 1>best music NAS has ever done. It sounds as relevant

0:43:43.716 --> 0:43:46.716
<v Speaker 1>as ever. People loved it as much as anything new

0:43:46.756 --> 0:43:47.876
<v Speaker 1>that came out, and he.

0:43:48.316 --> 0:43:50.556
<v Speaker 2>Boy was nominated for Partucer the year off.

0:43:50.436 --> 0:43:53.116
<v Speaker 1>Of that deserved. Hell, yeah, deserved.

0:43:53.316 --> 0:43:55.476
<v Speaker 2>He should get it every year. That's my boy. He's

0:43:55.516 --> 0:43:55.956
<v Speaker 2>on fire.

0:43:56.156 --> 0:43:57.996
<v Speaker 1>I talked to him a few months ago just because

0:43:57.996 --> 0:44:00.396
<v Speaker 1>I was so I was so pumped on those NOS records.

0:44:00.476 --> 0:44:03.476
<v Speaker 2>I met him to day zero. I met him when

0:44:03.476 --> 0:44:05.596
<v Speaker 2>I was trying to get the publishing did with the Underdogs.

0:44:06.236 --> 0:44:08.076
<v Speaker 2>That's when we met, so I know him from my

0:44:08.116 --> 0:44:08.596
<v Speaker 2>whole entire.

0:44:08.756 --> 0:44:10.116
<v Speaker 1>Was he also trying to get a deal there?

0:44:10.956 --> 0:44:11.916
<v Speaker 3>That's a funny story.

0:44:11.956 --> 0:44:14.036
<v Speaker 2>Actually, I don't know if he talks about the fact

0:44:14.076 --> 0:44:15.876
<v Speaker 2>that it used to be hit boys. Did he tell

0:44:15.876 --> 0:44:19.716
<v Speaker 2>you that, Yeah, it used to be two of them. No, Ill,

0:44:20.876 --> 0:44:22.756
<v Speaker 2>it used to be two hit boys and one of

0:44:22.756 --> 0:44:27.156
<v Speaker 2>them left to what we thought was signing to deal

0:44:27.156 --> 0:44:29.636
<v Speaker 2>with the Underdogs, which ended up to be actually not

0:44:29.716 --> 0:44:30.076
<v Speaker 2>the case.

0:44:30.116 --> 0:44:33.076
<v Speaker 1>But yeah, we did talk about his his initial bad

0:44:33.996 --> 0:44:34.596
<v Speaker 1>We all.

0:44:34.476 --> 0:44:38.396
<v Speaker 2>Were trying to everybody. Basically, it was like, it was

0:44:38.436 --> 0:44:41.196
<v Speaker 2>in this building that now Diane Warren owns that Babyface

0:44:41.276 --> 0:44:44.436
<v Speaker 2>used to own that used to be Solar even Dick

0:44:44.476 --> 0:44:48.356
<v Speaker 2>Griffy right, yep, it's on Hollywood and Kowana Wow. And

0:44:48.436 --> 0:44:52.396
<v Speaker 2>so the underdogs had the third floor because they have

0:44:52.396 --> 0:44:55.556
<v Speaker 2>a relationship Babyface with subt. I shout out to Babyface,

0:44:55.916 --> 0:44:58.916
<v Speaker 2>it's one of the greats. Why I consider him the top.

0:44:59.676 --> 0:45:01.796
<v Speaker 2>I consider me the top if I'm being totally honest.

0:45:02.596 --> 0:45:05.956
<v Speaker 3>But if I'm taking myself, I think you need twenty

0:45:05.996 --> 0:45:06.476
<v Speaker 3>more years.

0:45:06.476 --> 0:45:06.676
<v Speaker 1>Man.

0:45:07.076 --> 0:45:07.996
<v Speaker 3>I love you know.

0:45:08.036 --> 0:45:10.556
<v Speaker 2>I talked to about this. I said, yo, man, I

0:45:10.556 --> 0:45:13.716
<v Speaker 2>can never be Babyface, Like, what's how can I even

0:45:13.876 --> 0:45:16.356
<v Speaker 2>do it? And he was like, he said, really, how

0:45:16.396 --> 0:45:18.996
<v Speaker 2>you need to think about it is that because I've

0:45:19.036 --> 0:45:22.036
<v Speaker 2>been doing this so long, there's things that I've done

0:45:22.036 --> 0:45:24.756
<v Speaker 2>that you just can't do. He was like, you can't

0:45:24.796 --> 0:45:27.516
<v Speaker 2>work with Whitney Houston, you know what I mean. So

0:45:27.596 --> 0:45:29.956
<v Speaker 2>you can't We can't match each other on that in

0:45:29.996 --> 0:45:32.316
<v Speaker 2>that regard. But he was like, the same thing will

0:45:32.396 --> 0:45:33.756
<v Speaker 2>be true for you one day.

0:45:33.996 --> 0:45:36.116
<v Speaker 1>Twenty years though. Beyonce and Rihanna, they're gonna be the

0:45:36.116 --> 0:45:37.916
<v Speaker 1>way we think of Whitney now which is like.

0:45:37.916 --> 0:45:39.916
<v Speaker 2>You know what I mean, Like, so you know I'm

0:45:39.956 --> 0:45:42.836
<v Speaker 2>Babyface now Babyface. Yeah, I'm gonna let you hold on

0:45:42.876 --> 0:45:44.396
<v Speaker 2>to the name because you earned it.

0:45:44.996 --> 0:45:46.236
<v Speaker 1>Did you always love his music?

0:45:46.836 --> 0:45:50.436
<v Speaker 2>Absolutely as an artist before I knew he was writing

0:45:50.476 --> 0:45:52.996
<v Speaker 2>everything under the sun. Who was the first person I

0:45:53.036 --> 0:45:55.476
<v Speaker 2>heard about doing a catalog sales? So that's how you

0:45:55.476 --> 0:45:58.316
<v Speaker 2>even learned that that existed. And that was probably sixteen

0:45:58.396 --> 0:46:01.196
<v Speaker 2>seventeen years ago, and he recouped it, which is just

0:46:02.236 --> 0:46:05.756
<v Speaker 2>that's not even a thing today. So you know, statistically

0:46:05.876 --> 0:46:11.996
<v Speaker 2>he's we can't argue if he's as far as uh writing,

0:46:12.516 --> 0:46:13.556
<v Speaker 2>he's my number one.

0:46:13.636 --> 0:46:15.196
<v Speaker 1>I know, as far as my taste, he's got to

0:46:15.196 --> 0:46:16.836
<v Speaker 1>be one of the great songwriters of all time.

0:46:16.916 --> 0:46:19.836
<v Speaker 2>Man, Yeah, I think he's number one, especially just from

0:46:19.916 --> 0:46:22.996
<v Speaker 2>writing standpoint. But then, like you know, my top guys

0:46:23.036 --> 0:46:26.556
<v Speaker 2>are baby Face. It's me, It's me five times, but

0:46:26.556 --> 0:46:31.076
<v Speaker 2>it's baby Face. What's six to ten, it's baby Face,

0:46:32.476 --> 0:46:39.076
<v Speaker 2>Stevie Wonder, John Mayor. I feel like we're not taking John.

0:46:39.996 --> 0:46:42.836
<v Speaker 1>Way to say I'm gonna keep keep going, Wenna, we

0:46:42.876 --> 0:46:43.716
<v Speaker 1>can go back.

0:46:43.876 --> 0:46:49.556
<v Speaker 2>So baby Face, Stevie Wonder, John Mayor, Prince And then

0:46:49.596 --> 0:46:50.716
<v Speaker 2>I'll say Diane Warren.

0:46:50.916 --> 0:46:52.956
<v Speaker 1>All right, I love John Mayer. We go go back

0:46:52.996 --> 0:46:55.996
<v Speaker 1>to that? Is that in order? No, okay, that's good.

0:46:56.156 --> 0:46:56.476
<v Speaker 4>I don't know.

0:46:56.476 --> 0:46:58.836
<v Speaker 1>I mean Stevie, I love baby Face, but it's hard

0:46:58.876 --> 0:46:59.596
<v Speaker 1>to put.

0:46:59.836 --> 0:47:02.596
<v Speaker 2>Well, Stevie Wonder got a bunch of songs about singing ship.

0:47:02.796 --> 0:47:05.756
<v Speaker 2>So who could be who can compete with that? How

0:47:05.796 --> 0:47:08.956
<v Speaker 2>we're gonna beat that one? You just you're not You're

0:47:08.956 --> 0:47:10.796
<v Speaker 2>not going to get to that level of creativity.

0:47:10.876 --> 0:47:12.636
<v Speaker 1>What is it about John Mayer that you feel like?

0:47:12.676 --> 0:47:14.516
<v Speaker 1>Put the other the other four? I mean, I love

0:47:15.876 --> 0:47:16.356
<v Speaker 1>but I'm.

0:47:16.236 --> 0:47:19.076
<v Speaker 2>Telling you John Mayer is on the same level. He's

0:47:19.116 --> 0:47:23.476
<v Speaker 2>one of the best writers ever on earth, to ever live, period,

0:47:24.676 --> 0:47:27.116
<v Speaker 2>and he's also an amazing singer and arranger and musician.

0:47:27.196 --> 0:47:30.036
<v Speaker 2>He's like unbelievable. I would say, you think you got a.

0:47:29.956 --> 0:47:32.356
<v Speaker 1>Song as good as anything on the Waiting to Excel soundtrack?

0:47:32.996 --> 0:47:35.196
<v Speaker 2>I think it's more than one. Yeah, yeah, like Stop

0:47:35.276 --> 0:47:35.716
<v Speaker 2>this Train?

0:47:36.996 --> 0:47:39.196
<v Speaker 1>You know that song Stop the Trains Continuum?

0:47:39.236 --> 0:47:42.356
<v Speaker 2>Yeah? I don't. I don't know what what song we

0:47:42.396 --> 0:47:44.836
<v Speaker 2>could confidently say is better than that song? You would

0:47:44.836 --> 0:47:46.956
<v Speaker 2>have to be as good as that song. I'm just

0:47:46.996 --> 0:47:48.916
<v Speaker 2>telling you, as one of the greatest writers of all.

0:47:48.796 --> 0:47:54.356
<v Speaker 1>Time as one, two, five, Yeah, that song, it's that's

0:47:54.476 --> 0:47:55.836
<v Speaker 1>just that's it's a good song.

0:47:56.516 --> 0:48:00.116
<v Speaker 2>It's a great song. It's it's a song that captures

0:48:00.516 --> 0:48:04.156
<v Speaker 2>the human condition in a way that's almost impossible to

0:48:04.236 --> 0:48:11.436
<v Speaker 2>do in a digestible format. It's relatable, it's introspective, it's

0:48:11.556 --> 0:48:15.836
<v Speaker 2>musically incredible, it's proof that he's one of the greatest

0:48:15.836 --> 0:48:16.716
<v Speaker 2>writers of all times.

0:48:16.756 --> 0:48:18.436
<v Speaker 1>It's definitely one of the great albums.

0:48:19.156 --> 0:48:22.396
<v Speaker 2>That whole album, I mean, his first album, What Come.

0:48:22.276 --> 0:48:24.036
<v Speaker 1>On Continuum has got to be his top.

0:48:23.956 --> 0:48:26.716
<v Speaker 2>Contenue is definitely best album. But his first album, he

0:48:26.796 --> 0:48:30.116
<v Speaker 2>was letting us know right there. He's still on every song.

0:48:30.236 --> 0:48:31.796
<v Speaker 2>The first one I heard was the first single that

0:48:31.956 --> 0:48:35.836
<v Speaker 2>was by these in Wonderland was the second one, if

0:48:35.836 --> 0:48:37.956
<v Speaker 2>I'm not mistaken, because the first one was I Want

0:48:37.996 --> 0:48:40.956
<v Speaker 2>to Run through the halls of my high school. So

0:48:40.996 --> 0:48:43.396
<v Speaker 2>that one I was like, that got and this is

0:48:43.396 --> 0:48:45.556
<v Speaker 2>before I was even writing, and that got my attention,

0:48:45.716 --> 0:48:48.076
<v Speaker 2>like what's going on here? But then when I heard

0:48:48.076 --> 0:48:50.676
<v Speaker 2>your Body's Wonderland, I was like, so, you know what,

0:48:50.716 --> 0:48:52.516
<v Speaker 2>I want to add him to my list of influences

0:48:52.556 --> 0:48:55.636
<v Speaker 2>because I really think about how he writes as like

0:48:55.716 --> 0:48:57.996
<v Speaker 2>a great example of all these things I'm talking about,

0:48:57.996 --> 0:49:01.396
<v Speaker 2>as far as like adhering to the examples that all

0:49:01.396 --> 0:49:04.716
<v Speaker 2>these grades have set before us and then doing it

0:49:04.876 --> 0:49:07.396
<v Speaker 2>his own way. I think he's up there.

0:49:07.476 --> 0:49:10.156
<v Speaker 1>What about you as a guitar player, Oh.

0:49:09.836 --> 0:49:13.556
<v Speaker 2>I suck, dude, Like I just loved the guitar. I'm

0:49:13.596 --> 0:49:15.236
<v Speaker 2>so in love with the guitar, so I've been playing

0:49:15.236 --> 0:49:18.236
<v Speaker 2>it now for a long time. But I'll never forgive man.

0:49:18.276 --> 0:49:19.996
<v Speaker 2>I did this show because when I first I taught

0:49:20.036 --> 0:49:22.076
<v Speaker 2>myself the guitar as an adult, and I just had

0:49:22.076 --> 0:49:23.436
<v Speaker 2>it in the car with me and the band with

0:49:23.476 --> 0:49:25.516
<v Speaker 2>me everywhere. I'm just strumming it and fucking with it.

0:49:26.076 --> 0:49:29.196
<v Speaker 2>And then I wrote this project called String Theory because

0:49:29.196 --> 0:49:33.876
<v Speaker 2>I'm a nerd, and I performed it at this this

0:49:33.996 --> 0:49:36.356
<v Speaker 2>venue called No Name that was on Fairfax back in

0:49:36.356 --> 0:49:41.116
<v Speaker 2>the day. And I don't even know if Robert Cavallo

0:49:41.276 --> 0:49:43.676
<v Speaker 2>remembers this. This is my I love him to death,

0:49:43.796 --> 0:49:46.556
<v Speaker 2>like I just talked to I went to his birthday

0:49:46.636 --> 0:49:49.196
<v Speaker 2>last year and I told him the Dookie Green Day

0:49:49.196 --> 0:49:50.996
<v Speaker 2>poster is the only music poster I ever had on

0:49:50.996 --> 0:49:51.836
<v Speaker 2>my wall in my life.

0:49:51.836 --> 0:49:52.236
<v Speaker 1>Wow.

0:49:52.796 --> 0:49:55.036
<v Speaker 2>Yeah, it's the only music poster I ever had. I

0:49:55.116 --> 0:49:56.916
<v Speaker 2>was a big fan of Green Day and a bunch

0:49:56.996 --> 0:49:59.796
<v Speaker 2>of things at that time. But I don't even know

0:49:59.836 --> 0:50:01.516
<v Speaker 2>if he knows this, because I met him several times he.

0:50:01.556 --> 0:50:02.396
<v Speaker 1>Produced that record.

0:50:02.556 --> 0:50:05.236
<v Speaker 2>Yeah, I went to his house when I first started

0:50:05.236 --> 0:50:08.396
<v Speaker 2>writing with Justin Lake and we had a funny exchange there.

0:50:09.156 --> 0:50:10.596
<v Speaker 2>But he walked up to me at the show. I

0:50:10.636 --> 0:50:12.756
<v Speaker 2>don't even know if your members of this, but after

0:50:12.796 --> 0:50:14.676
<v Speaker 2>I perform my this is my first time performing live

0:50:14.756 --> 0:50:17.356
<v Speaker 2>playing the guitar, and he walks up to me. He's like,

0:50:17.436 --> 0:50:20.476
<v Speaker 2>you don't know who I am, but I'm a pretty

0:50:20.476 --> 0:50:24.196
<v Speaker 2>successful rock producer and I can tell you don't know

0:50:24.236 --> 0:50:27.036
<v Speaker 2>how to play the guitar. And I was like, you know,

0:50:27.076 --> 0:50:29.516
<v Speaker 2>oh shit, I'm caught. And he was like, and I

0:50:29.596 --> 0:50:33.196
<v Speaker 2>really wanna tell you that you're a genius. He was like,

0:50:34.436 --> 0:50:36.076
<v Speaker 2>I can tell you don't know what you're doing, but

0:50:36.436 --> 0:50:38.796
<v Speaker 2>the fact that you figured this out ay and and

0:50:38.916 --> 0:50:42.956
<v Speaker 2>how creative the arrangements are and how you're just doing

0:50:42.996 --> 0:50:44.916
<v Speaker 2>all this stuff, he was like, you're a genius. This

0:50:44.996 --> 0:50:47.356
<v Speaker 2>is insane, like that you just did that and you

0:50:47.396 --> 0:50:50.436
<v Speaker 2>don't even know how to play the guitar. And so

0:50:50.476 --> 0:50:52.436
<v Speaker 2>That's kind of how I feel about it. It's really like,

0:50:53.036 --> 0:50:56.516
<v Speaker 2>can't really play anything, But I just am lucky to

0:50:56.636 --> 0:51:01.836
<v Speaker 2>have the ability to comprehend why I love what I

0:51:01.876 --> 0:51:04.556
<v Speaker 2>love about music. And then even though I can't tell

0:51:04.556 --> 0:51:06.836
<v Speaker 2>you the numbers of the root, Nope, so their progression

0:51:06.956 --> 0:51:09.756
<v Speaker 2>or none of these other really important vitals that you

0:51:09.916 --> 0:51:13.676
<v Speaker 2>need to casef a musician. But I know how it's

0:51:13.676 --> 0:51:15.636
<v Speaker 2>supposed to sound, and I'm creative.

0:51:15.196 --> 0:51:16.076
<v Speaker 1>Well, I don't even know if it's how it was

0:51:16.076 --> 0:51:17.556
<v Speaker 1>supposed to Like you play something, I don't even know

0:51:17.556 --> 0:51:19.276
<v Speaker 1>if that's how it's supposed to sound. It just sounds

0:51:19.316 --> 0:51:21.516
<v Speaker 1>like there's stuffing on you on the record you just

0:51:21.556 --> 0:51:24.876
<v Speaker 1>put out today, like Magic, where I'm like, what is that?

0:51:25.356 --> 0:51:25.476
<v Speaker 4>Like?

0:51:25.516 --> 0:51:28.516
<v Speaker 3>What is like? You know, it's like working Man was

0:51:28.516 --> 0:51:29.116
<v Speaker 3>listening to it.

0:51:29.356 --> 0:51:31.476
<v Speaker 2>We were picking songs for the show. I just didn't

0:51:32.356 --> 0:51:33.956
<v Speaker 2>I can tell. They were like, what's going on?

0:51:34.116 --> 0:51:37.116
<v Speaker 1>But it's crazy, Like but it's like it makes no sense,

0:51:37.276 --> 0:51:40.516
<v Speaker 1>but it's absolutely beautiful and somehow it fits into the

0:51:40.556 --> 0:51:43.196
<v Speaker 1>song and you're like, I don't know how he made

0:51:43.436 --> 0:51:45.636
<v Speaker 1>Like I don't know how you made that song out

0:51:45.676 --> 0:51:47.236
<v Speaker 1>of that riff or how you fit that riff into

0:51:47.236 --> 0:51:50.436
<v Speaker 1>that song well out which wherever way it went, it's incredible.

0:51:50.676 --> 0:51:53.396
<v Speaker 2>Thank you. It's observing. Man. I worked with John Mayer

0:51:53.436 --> 0:51:56.476
<v Speaker 2>a bunch of times, so I was great. I was

0:51:56.476 --> 0:51:58.756
<v Speaker 2>already already felt how I felt before I even met him,

0:51:59.076 --> 0:52:01.156
<v Speaker 2>but then I was able to see him work too,

0:52:01.276 --> 0:52:04.556
<v Speaker 2>so that showed me some things about how to what

0:52:04.676 --> 0:52:06.916
<v Speaker 2>to do with the guitar. And then also this producer

0:52:07.036 --> 0:52:11.316
<v Speaker 2>named Mike Elizondo and Mike Alzando I've worked with so

0:52:11.356 --> 0:52:14.556
<v Speaker 2>many times over the years. But even though his biggest

0:52:14.636 --> 0:52:16.716
<v Speaker 2>hit is in the Club probably, but he's like an

0:52:16.716 --> 0:52:21.316
<v Speaker 2>incredible rock producer. Like he's so so like serious about

0:52:22.036 --> 0:52:24.036
<v Speaker 2>all the genres he does. He can do anything. But

0:52:24.076 --> 0:52:26.556
<v Speaker 2>like I worked with him in a bunch of sessions

0:52:26.596 --> 0:52:28.516
<v Speaker 2>that were like rock leaning, you know, like it was

0:52:28.516 --> 0:52:30.716
<v Speaker 2>pop rock or like just rock stuff. So I got

0:52:30.716 --> 0:52:34.876
<v Speaker 2>to watch him making you know, rock music the way

0:52:34.916 --> 0:52:37.476
<v Speaker 2>he imagines it, and it was just certain things I

0:52:37.596 --> 0:52:39.836
<v Speaker 2>learned from watching both of those guys that I was like, Okay,

0:52:39.836 --> 0:52:42.716
<v Speaker 2>so I don't need to really be good, I just

0:52:42.756 --> 0:52:45.956
<v Speaker 2>need to know how to do it, and you know,

0:52:46.076 --> 0:52:48.476
<v Speaker 2>like do what I'm trying to do with with everything

0:52:48.476 --> 0:52:50.836
<v Speaker 2>I've learned in singing and writing and production because I've

0:52:50.836 --> 0:52:53.156
<v Speaker 2>really been producing longer than both of those other things.

0:52:53.236 --> 0:52:56.996
<v Speaker 2>Like people don't know that, but I know how to

0:52:57.076 --> 0:53:00.716
<v Speaker 2>just get it to feel the way I wanted to feel.

0:53:01.196 --> 0:53:03.636
<v Speaker 2>And then once I get this feeling, then now I'm like, Okay,

0:53:03.716 --> 0:53:05.356
<v Speaker 2>now back to what I was saying earlier. Now this

0:53:05.436 --> 0:53:07.316
<v Speaker 2>song is abuse, this is creating the feeling.

0:53:08.076 --> 0:53:09.716
<v Speaker 1>And that's why I was saying that, like, yeah, I know,

0:53:09.796 --> 0:53:12.636
<v Speaker 1>like there's a lot of people have copied your style,

0:53:13.436 --> 0:53:16.516
<v Speaker 1>but it's something that hits very different when you're doing

0:53:16.516 --> 0:53:18.476
<v Speaker 1>it or when it's you're thinking there's an emotion in it.

0:53:18.516 --> 0:53:21.676
<v Speaker 1>That's just that doesn't translate to someone who's trying to

0:53:21.756 --> 0:53:23.876
<v Speaker 1>just do a song that sounded like one of yours

0:53:24.156 --> 0:53:26.716
<v Speaker 1>is a really like a it's like something that was

0:53:26.756 --> 0:53:29.036
<v Speaker 1>captured in the room. It's like documenting something in the room.

0:53:29.076 --> 0:53:31.756
<v Speaker 1>I don't know if that's necessarily. There's a few.

0:53:31.596 --> 0:53:34.596
<v Speaker 2>Things that the people that study me, even though I'm

0:53:34.796 --> 0:53:36.116
<v Speaker 2>I'll tell you, you know what I mean. It's not

0:53:36.116 --> 0:53:38.796
<v Speaker 2>a secret, but it's just a few things that one

0:53:38.836 --> 0:53:42.916
<v Speaker 2>thing is it's my style. While complex, there's some entry

0:53:42.956 --> 0:53:44.836
<v Speaker 2>points that are just not hard. You know what I

0:53:44.836 --> 0:53:49.236
<v Speaker 2>mean because like that it's supposed to be something that

0:53:49.276 --> 0:53:52.436
<v Speaker 2>people can can enjoy. It's not supposed to be like

0:53:52.796 --> 0:53:55.156
<v Speaker 2>you know, just like music for the sake of for

0:53:55.476 --> 0:53:59.476
<v Speaker 2>other musicians, like for people been Also there's just things

0:53:59.476 --> 0:54:01.676
<v Speaker 2>that they everybody hasn't picked up on yet, you know,

0:54:01.796 --> 0:54:05.596
<v Speaker 2>Like there's dynamic stuff, which I got this from. I

0:54:05.636 --> 0:54:07.756
<v Speaker 2>heard prince An shot it. Shot is a huge influence.

0:54:07.756 --> 0:54:10.836
<v Speaker 2>Thiss is shot it tattooed on my hand. Yeah, shade

0:54:10.996 --> 0:54:16.556
<v Speaker 2>as Mary, It's amazing, So that's another huge influence. But

0:54:16.676 --> 0:54:18.956
<v Speaker 2>like Shota in print and like kind of singing a

0:54:19.756 --> 0:54:21.396
<v Speaker 2>and also a lot of singers can't even do this

0:54:21.556 --> 0:54:24.556
<v Speaker 2>to emulate it, but like singing a low octave and

0:54:24.596 --> 0:54:27.036
<v Speaker 2>a high octave that creates a certain kind of feeling

0:54:27.116 --> 0:54:29.076
<v Speaker 2>that I noticed people haven't picked up on that yet

0:54:29.836 --> 0:54:33.476
<v Speaker 2>thinking of the singer as a character, you know. Like

0:54:34.716 --> 0:54:37.236
<v Speaker 2>I noticed this on the song Village Ghetto Land by

0:54:37.316 --> 0:54:41.716
<v Speaker 2>Stevie Wondering, which we all now know he loves classical

0:54:41.796 --> 0:54:43.516
<v Speaker 2>music and that's why he was doing all these different

0:54:44.436 --> 0:54:48.396
<v Speaker 2>classical leaning things. But when I heard that song, he's

0:54:48.436 --> 0:54:51.516
<v Speaker 2>singing with like a slight British accent on the song

0:54:52.156 --> 0:54:54.556
<v Speaker 2>and So what that taught me was that, you know,

0:54:54.596 --> 0:54:57.276
<v Speaker 2>because that why I instantly knew why he did it.

0:54:57.316 --> 0:55:01.316
<v Speaker 2>I'm like, it's classical music. It's already it's interesting because

0:55:01.356 --> 0:55:05.516
<v Speaker 2>you're talking about the life, the ghetto life experience with

0:55:05.596 --> 0:55:08.036
<v Speaker 2>the backdrop of classical So that's a lesson right there,

0:55:08.076 --> 0:55:14.316
<v Speaker 2>because that's interesting. So that's a lesson that everybody needs

0:55:14.316 --> 0:55:17.996
<v Speaker 2>to understand. And then the other thing is that he

0:55:18.116 --> 0:55:20.876
<v Speaker 2>put himself into a character. He changed how he's pronouncing

0:55:20.876 --> 0:55:24.356
<v Speaker 2>the words, his robrato, all these other things. So I'm like,

0:55:25.156 --> 0:55:27.476
<v Speaker 2>you can do that on every song. Every song, Every

0:55:27.556 --> 0:55:32.476
<v Speaker 2>every song has a different intent, and so like yeah, yeah,

0:55:32.476 --> 0:55:36.556
<v Speaker 2>so like you know, I literally change how I sing,

0:55:36.996 --> 0:55:41.436
<v Speaker 2>how I pronounce words, how if I'm singing louder, I change,

0:55:41.836 --> 0:55:45.556
<v Speaker 2>like in the arrangement. Different harmonies might have different characters,

0:55:46.196 --> 0:55:50.036
<v Speaker 2>but for sure, when I'm doing the performance, I'm acting,

0:55:50.236 --> 0:55:53.316
<v Speaker 2>you know what I mean, Like you're you're acting. I

0:55:53.356 --> 0:55:55.356
<v Speaker 2>think of the whole thing in terms of movies, the

0:55:55.396 --> 0:55:59.076
<v Speaker 2>whole and everything about my music is is I'm thinking

0:55:59.076 --> 0:56:06.396
<v Speaker 2>about cinematic dynamics, special effects, building it up, conflict. I

0:56:06.436 --> 0:56:08.916
<v Speaker 2>always used to Hangover as an example of what I'm

0:56:08.916 --> 0:56:11.876
<v Speaker 2>thinking when I'm writing, like in The Hangover, what a

0:56:11.876 --> 0:56:13.356
<v Speaker 2>lot of people do in their writing, like if we're

0:56:13.356 --> 0:56:15.356
<v Speaker 2>thinking about that scene and the Hangover the next day

0:56:15.876 --> 0:56:18.396
<v Speaker 2>is they're like they'll have a song called smoking chair

0:56:18.436 --> 0:56:20.996
<v Speaker 2>with a chicken on it, right, and it'll be like,

0:56:21.036 --> 0:56:25.436
<v Speaker 2>there's a chair with smoking a chicken and right. And

0:56:25.596 --> 0:56:29.796
<v Speaker 2>what the Hangover is doing is when everybody wakes up,

0:56:29.836 --> 0:56:31.996
<v Speaker 2>the camera pants around the room and you just see

0:56:32.036 --> 0:56:35.276
<v Speaker 2>the aftermath of what happened. And then for the rest

0:56:35.276 --> 0:56:37.316
<v Speaker 2>of the movie you're finding everybody's trying to figure out

0:56:37.316 --> 0:56:41.076
<v Speaker 2>what happened. And so in a song, while you can't,

0:56:41.116 --> 0:56:43.836
<v Speaker 2>that's a type of song. There's instruction songs like back

0:56:43.876 --> 0:56:45.756
<v Speaker 2>that ass up pretty clear.

0:56:45.556 --> 0:56:46.196
<v Speaker 1>What you need to do.

0:56:46.836 --> 0:56:49.596
<v Speaker 2>But then when you're making a cinemat when you're creating

0:56:49.596 --> 0:56:53.676
<v Speaker 2>a scene, it's better to describe the scene to get

0:56:53.676 --> 0:56:57.476
<v Speaker 2>the point across. So like, as far as the performance

0:56:57.556 --> 0:56:59.676
<v Speaker 2>is concerned, that's part of it. That's like part of

0:56:59.676 --> 0:57:02.476
<v Speaker 2>the scene is I'm describing the scene to you because

0:57:02.516 --> 0:57:05.076
<v Speaker 2>you can't see it most you know, unless there's a video.

0:57:05.836 --> 0:57:08.396
<v Speaker 2>And then I'm acting it out in as particular character,

0:57:08.476 --> 0:57:11.876
<v Speaker 2>so you feel emotion. It's supposed to invoke.

0:57:12.636 --> 0:57:15.676
<v Speaker 1>Wow, it's incredible, And that's a great point about village Ghettoland.

0:57:15.676 --> 0:57:18.556
<v Speaker 1>I never the song would be a lot less interesting

0:57:18.596 --> 0:57:19.756
<v Speaker 1>to be. I mean, it'll be a good song, but

0:57:19.876 --> 0:57:22.036
<v Speaker 1>to be way less interesting if you didn't perform it

0:57:22.076 --> 0:57:24.596
<v Speaker 1>that way. Yeah, it's an incredible lesson to take from that.

0:57:25.276 --> 0:57:29.796
<v Speaker 2>It's something that the listener doesn't need to know, you

0:57:29.836 --> 0:57:32.636
<v Speaker 2>know what I mean. It's it's something that is for

0:57:33.196 --> 0:57:35.316
<v Speaker 2>It's a detail that's for the person that wants to

0:57:35.356 --> 0:57:38.356
<v Speaker 2>learn how to communicate at the highest level with their music.

0:57:39.196 --> 0:57:42.116
<v Speaker 2>And so I used that on almost every single song.

0:57:42.156 --> 0:57:45.036
<v Speaker 2>There's a song on this album it's Slay.

0:57:45.076 --> 0:57:46.676
<v Speaker 1>On a Slay song.

0:57:46.796 --> 0:57:50.116
<v Speaker 2>On the second verse of that song, and I actually

0:57:50.116 --> 0:57:51.836
<v Speaker 2>I wrote the first half of that song in a

0:57:51.876 --> 0:57:55.116
<v Speaker 2>songwriting class at my school. What Yeah, some of my

0:57:55.236 --> 0:57:56.916
<v Speaker 2>students watching me write the first half of it.

0:57:56.996 --> 0:57:59.116
<v Speaker 3>I was trying to teach them, Yeah, while I.

0:57:59.076 --> 0:58:00.956
<v Speaker 2>Wrote that song, and then the second verse, since I'm

0:58:00.996 --> 0:58:03.636
<v Speaker 2>already like in education mode when I'm thinking about the song,

0:58:04.836 --> 0:58:07.396
<v Speaker 2>I literally sang the first and second line in two

0:58:07.436 --> 0:58:11.236
<v Speaker 2>different characters. First line, how I'm singing it is different,

0:58:11.556 --> 0:58:14.476
<v Speaker 2>how I'm pronouncing the words is different. You know, It's like,

0:58:15.036 --> 0:58:17.876
<v Speaker 2>you know, a lot more not articulate, but like it's

0:58:17.956 --> 0:58:21.556
<v Speaker 2>it's more sophisticated. The first character and then the second one,

0:58:21.596 --> 0:58:24.756
<v Speaker 2>I literally have like a Southern not as real Southern accent,

0:58:24.796 --> 0:58:27.796
<v Speaker 2>but it's like, you know, a lot more draw yeah,

0:58:27.916 --> 0:58:30.276
<v Speaker 2>like just a different person. But you know.

0:58:30.396 --> 0:58:32.916
<v Speaker 1>It's the second line, on the second line of the

0:58:32.956 --> 0:58:35.596
<v Speaker 1>second I'm listen for that again. I love that song.

0:58:35.636 --> 0:58:36.756
<v Speaker 1>I didn't even pick up on that.

0:58:37.676 --> 0:58:38.676
<v Speaker 2>I can play it right now.

0:58:38.876 --> 0:58:56.556
<v Speaker 4>Okay, yeah, so subtle but different guys.

0:58:56.996 --> 0:59:00.916
<v Speaker 2>Wow, same voice, but the first one, I'm articulating the words.

0:59:00.916 --> 0:59:05.916
<v Speaker 2>I'm singing softly. It's you know, it's a complicated yeah, right,

0:59:06.316 --> 0:59:08.236
<v Speaker 2>And in the second line, I'm just a head back

0:59:08.276 --> 0:59:08.716
<v Speaker 2>to together.

0:59:10.196 --> 0:59:12.076
<v Speaker 1>Wow. Man, that's a great lesson.

0:59:12.476 --> 0:59:15.196
<v Speaker 2>Thanks. The same thing I talked about in the beginning,

0:59:15.236 --> 0:59:17.236
<v Speaker 2>about like when I first started and I was really

0:59:17.236 --> 0:59:21.116
<v Speaker 2>focused on creating my own style. I'm still doing that.

0:59:21.276 --> 0:59:25.996
<v Speaker 2>I'm still you know, like changing every song is a

0:59:25.996 --> 0:59:29.196
<v Speaker 2>new opportunity for me to see what can I do,

0:59:29.316 --> 0:59:31.756
<v Speaker 2>What did I do before that I liked, what did

0:59:31.796 --> 0:59:34.276
<v Speaker 2>I try that didn't work? And then what can I

0:59:34.316 --> 0:59:37.796
<v Speaker 2>add in now that I haven't done before? So I'm

0:59:37.836 --> 0:59:39.236
<v Speaker 2>still trying to figure it out.

0:59:39.636 --> 0:59:43.556
<v Speaker 1>Man. Well, thanks for kicking it, man, appreciate it. The

0:59:43.676 --> 0:59:44.556
<v Speaker 1>beautiful record.

0:59:44.996 --> 0:59:45.796
<v Speaker 3>Thank you so much.

0:59:45.796 --> 0:59:49.516
<v Speaker 1>I'm glad it's like compiled finally into one like listenable,

0:59:49.716 --> 0:59:50.796
<v Speaker 1>digestible thing.

0:59:51.476 --> 0:59:53.156
<v Speaker 2>Yeah, if you don't have to switch when you're running

0:59:53.236 --> 0:59:54.996
<v Speaker 2>or whatever. That's what I hear all the time. It

0:59:55.036 --> 0:59:57.236
<v Speaker 2>was like, I'm tired of I'm on a treadmill. I'm

0:59:57.236 --> 1:00:00.516
<v Speaker 2>going between sounds. I can't relate to that. I'm not

1:00:00.556 --> 1:00:03.236
<v Speaker 2>on treadmill, but I got you, you know what I'm saying.

1:00:06.396 --> 1:00:09.116
<v Speaker 1>Thanks to James fontler Way for chatting about his songwriting career,

1:00:09.156 --> 1:00:12.276
<v Speaker 1>your and his debut album, The Warmest Winter Ever. You

1:00:12.316 --> 1:00:14.756
<v Speaker 1>can hear it along with our other favorite James Fauntleroy

1:00:14.796 --> 1:00:19.036
<v Speaker 1>Penk songs on a playlist at broken record podcast dot com.

1:00:19.436 --> 1:00:22.436
<v Speaker 1>Subscribe to our YouTube channel at YouTube dot com slash

1:00:22.436 --> 1:00:24.876
<v Speaker 1>broken Record Podcast, where you can find all of our

1:00:24.916 --> 1:00:28.916
<v Speaker 1>new episodes. You can follow us on Twitter at broken Record.

1:00:29.476 --> 1:00:32.396
<v Speaker 1>Broken Record is produced and edited by Leah Rose, with

1:00:32.516 --> 1:00:35.956
<v Speaker 1>marketing help from Eric Sandler and Jordan McMillan. Our engineer

1:00:36.156 --> 1:00:40.516
<v Speaker 1>is Ben Tolliday. Broken Record is a production of Pushkin Industries.

1:00:40.916 --> 1:00:43.716
<v Speaker 1>If you love this show and others from Pushkin consider

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1:00:58.436 --> 1:01:00.996
<v Speaker 1>to share, rate, and review us on your podcast app.

1:01:01.276 --> 1:01:03.996
<v Speaker 1>Our theme Music's back, any beats. I'm justin Richmond.