1 00:00:00,200 --> 00:00:02,160 Speaker 1: Y'all. It's good as your boy, Eric Belinger, make sure 2 00:00:02,200 --> 00:00:05,200 Speaker 1: you check me out on a bootleg CAV podcast, It's 3 00:00:05,320 --> 00:00:12,119 Speaker 1: Easy Boulet CAV podcast. We got a special guest in here, 4 00:00:12,960 --> 00:00:15,040 Speaker 1: my guy, one of the most prolific R and B 5 00:00:15,200 --> 00:00:18,639 Speaker 1: singers and writers. Come on, baby B just finished this tour. 6 00:00:18,800 --> 00:00:22,200 Speaker 1: Eric Bellinger is here. Yeah, man, we're here, We here. 7 00:00:22,239 --> 00:00:26,080 Speaker 1: Congrats on another successful tour. Thank you, dog. I appreciate you. Dog. 8 00:00:26,280 --> 00:00:29,440 Speaker 1: Always amazing. To finish up, relax and chop it up 9 00:00:29,440 --> 00:00:31,000 Speaker 1: with the home. What's the first thing you do, like 10 00:00:31,040 --> 00:00:32,760 Speaker 1: when you get off tour? Like? Is it like? How's 11 00:00:32,760 --> 00:00:35,960 Speaker 1: that first day? Are you relaxing your kids? Very first day? Yes, 12 00:00:36,280 --> 00:00:38,800 Speaker 1: very first day. I came home. When I was unpacking 13 00:00:39,200 --> 00:00:43,600 Speaker 1: the trailer and unloading all the suitcases, they came home 14 00:00:43,600 --> 00:00:47,560 Speaker 1: from school. Daddy got that moment off and I didn't 15 00:00:47,560 --> 00:00:48,919 Speaker 1: do anything for the rest of the day. I make 16 00:00:48,960 --> 00:00:52,560 Speaker 1: sure I just dedicated that night to them. But better believe, 17 00:00:52,600 --> 00:00:55,440 Speaker 1: I woke up the next day back to it, back 18 00:00:55,480 --> 00:00:59,360 Speaker 1: to it, multiple interviews, multiple sessions. So yesterday I went crazy, 19 00:00:59,360 --> 00:01:02,040 Speaker 1: and today it's the second day off and we already 20 00:01:02,040 --> 00:01:03,960 Speaker 1: back at it. At the second interview to day. You 21 00:01:04,000 --> 00:01:07,080 Speaker 1: definitely you have a song you're pushing, you got an album, Yeah, 22 00:01:07,200 --> 00:01:10,040 Speaker 1: so you get your your tours over. But the work, 23 00:01:10,800 --> 00:01:13,080 Speaker 1: that's what I was saying, man, that's what you gotta do. 24 00:01:13,160 --> 00:01:14,480 Speaker 1: You know, you got to sign up for both. And 25 00:01:14,640 --> 00:01:16,280 Speaker 1: a lot of ourtists don't know that. They just like 26 00:01:16,440 --> 00:01:18,000 Speaker 1: they just want to drop it and to go viral. 27 00:01:18,040 --> 00:01:20,280 Speaker 1: But you really really got to go crazy with the 28 00:01:20,319 --> 00:01:22,920 Speaker 1: marketing once the songs out, to let the people know 29 00:01:22,959 --> 00:01:25,120 Speaker 1: it's there. Man. Yeah, I was gonna say for you, like, 30 00:01:25,680 --> 00:01:27,720 Speaker 1: how do you do the work life balance with the family. 31 00:01:27,720 --> 00:01:30,880 Speaker 1: And because you're a hard working guy, you're always in sessions, 32 00:01:30,880 --> 00:01:33,400 Speaker 1: you're always moving around, Like what's the key to that? 33 00:01:34,360 --> 00:01:37,240 Speaker 1: So I think it's like, especially you can start off 34 00:01:37,240 --> 00:01:40,920 Speaker 1: with like weekends, like trying to be like, yo, weekends, 35 00:01:41,240 --> 00:01:43,080 Speaker 1: we're gonna have a day where we hang aside for 36 00:01:43,160 --> 00:01:46,520 Speaker 1: the kid. Yeah, set aside for the kids, wifey. Yo, 37 00:01:46,600 --> 00:01:48,160 Speaker 1: We're gonna make sure we do a day night at 38 00:01:48,240 --> 00:01:51,400 Speaker 1: least every two weeks or something, you know, every week 39 00:01:51,520 --> 00:01:54,920 Speaker 1: is yeah, you would love that, but you gotta be 40 00:01:54,960 --> 00:01:57,960 Speaker 1: real with yourself and not set too high expectations. And 41 00:01:58,040 --> 00:02:00,320 Speaker 1: if you get that extra day, then you're good. But 42 00:02:00,640 --> 00:02:03,280 Speaker 1: to be able to really push and not have the 43 00:02:03,360 --> 00:02:07,200 Speaker 1: pressure while still having the support has been a blessing. 44 00:02:07,400 --> 00:02:09,799 Speaker 1: Every two weeks. I like that minimum. I need to 45 00:02:09,800 --> 00:02:12,360 Speaker 1: push that to my wife. But to go eat, you know, 46 00:02:12,480 --> 00:02:15,399 Speaker 1: even if you know, we gotta get a sitter, got 47 00:02:15,400 --> 00:02:17,960 Speaker 1: to get the babysitter. Man, gotta do it because it's important. Man, 48 00:02:18,120 --> 00:02:23,640 Speaker 1: just keep falling in love your new album. How many 49 00:02:23,639 --> 00:02:27,200 Speaker 1: records is it? Fourteen fourteen? Obviously the core day record 50 00:02:27,240 --> 00:02:29,480 Speaker 1: in Fabulous record is dope. I guess actually popping on 51 00:02:29,480 --> 00:02:31,679 Speaker 1: the video shoot for that you shot at super Bowl, Yeah, 52 00:02:31,760 --> 00:02:34,840 Speaker 1: super Bowl weekend in AZ Yeah, man, you were, you were. 53 00:02:34,880 --> 00:02:38,880 Speaker 1: I look at you like the pivotal moment for me 54 00:02:38,919 --> 00:02:42,480 Speaker 1: even shooting a video, shooting the curious video, Bro, what 55 00:02:42,560 --> 00:02:45,760 Speaker 1: do you mean Like JD told me that you had 56 00:02:46,200 --> 00:02:49,000 Speaker 1: booked fab for the weekend. Oh yeah, yeah, yeah for 57 00:02:49,080 --> 00:02:53,359 Speaker 1: the club, for your club, and I saw a window 58 00:02:53,520 --> 00:02:55,280 Speaker 1: of being able to be in the same place at 59 00:02:55,320 --> 00:02:58,120 Speaker 1: the same time. We had a show in a z 60 00:02:58,440 --> 00:03:00,640 Speaker 1: as well around the same time. Yeah it was. It 61 00:03:00,680 --> 00:03:02,880 Speaker 1: was the same week it was, yeah, yeah, So it 62 00:03:03,000 --> 00:03:06,080 Speaker 1: was like, Yo, let's make it happen. Corder, can we 63 00:03:06,120 --> 00:03:10,240 Speaker 1: get him there? He was down. We flew him in town, 64 00:03:11,120 --> 00:03:15,119 Speaker 1: but it was started because you and you guys. Shout 65 00:03:15,120 --> 00:03:16,680 Speaker 1: out to y'all for putting my club in the video. 66 00:03:16,720 --> 00:03:19,680 Speaker 1: I love that. Yes, we were like yo. The club 67 00:03:19,720 --> 00:03:24,600 Speaker 1: scenes are definitely from eleven eleven in Scott Still. Yes, yes, 68 00:03:24,639 --> 00:03:28,600 Speaker 1: it's good times man man for you, like how because 69 00:03:28,720 --> 00:03:30,840 Speaker 1: when you're an album mode and you're because you're obviously 70 00:03:31,280 --> 00:03:33,200 Speaker 1: we talked about that. We did a radio interview in 71 00:03:33,200 --> 00:03:35,880 Speaker 1: San Diego, but we got to kind of reflect on 72 00:03:35,920 --> 00:03:38,360 Speaker 1: how many bodies of work you have at this point? 73 00:03:38,360 --> 00:03:42,119 Speaker 1: How many is it now? It's like thirty eight, It's 74 00:03:42,160 --> 00:03:45,200 Speaker 1: like closing of forty if you include like mixtapes and 75 00:03:45,200 --> 00:03:48,440 Speaker 1: stuff like on the on the album is on just 76 00:03:48,480 --> 00:03:51,760 Speaker 1: on iTunes. I have like twenty eight or something like that, 77 00:03:51,800 --> 00:03:54,440 Speaker 1: but there's so many that I couldn't put on iTunes, 78 00:03:54,480 --> 00:03:59,080 Speaker 1: so like Spotifyune last twenty eight. Yeah, do you damn 79 00:03:59,360 --> 00:04:04,320 Speaker 1: When did you first like really dive into the full 80 00:04:04,320 --> 00:04:12,200 Speaker 1: time artist grime? Yeah? When I dropped Got twenty seventeen, 81 00:04:12,320 --> 00:04:16,080 Speaker 1: twenty eighteen. It doesn't feel like very long ago. I 82 00:04:16,080 --> 00:04:18,240 Speaker 1: feel like you've been on that way now because I've 83 00:04:18,240 --> 00:04:21,520 Speaker 1: been dropping. I would say like twenty ten twenty ten 84 00:04:21,600 --> 00:04:25,120 Speaker 1: is when I put my very first mixtape out ten 85 00:04:25,200 --> 00:04:28,040 Speaker 1: ten ten, and I think it just was a grind 86 00:04:28,080 --> 00:04:30,760 Speaker 1: of me dropping projects just out of I create so 87 00:04:30,839 --> 00:04:33,919 Speaker 1: many that I'm dropping, not knowing that they would eventually 88 00:04:34,240 --> 00:04:37,839 Speaker 1: amount to streams that pay monthly royalty, you know what 89 00:04:37,839 --> 00:04:39,919 Speaker 1: I mean. It was just like I'm dropping. You know, 90 00:04:40,000 --> 00:04:42,559 Speaker 1: I'm an independent, Damn, I should be signed to a major. 91 00:04:42,800 --> 00:04:44,800 Speaker 1: I should be signed to a major. Little do I 92 00:04:44,880 --> 00:04:47,039 Speaker 1: know that me owning my masters would give me a 93 00:04:47,040 --> 00:04:49,800 Speaker 1: bigger piece of the pie at the end of the day. Yeah, 94 00:04:49,800 --> 00:04:53,000 Speaker 1: because I can only assume when you have twenty eight 95 00:04:53,040 --> 00:04:55,720 Speaker 1: projects out, it's like kind of like residual income. Just 96 00:04:55,800 --> 00:04:58,680 Speaker 1: hitting that account every month. That's it. That's all it is. 97 00:04:58,720 --> 00:05:02,680 Speaker 1: Once started piling, I was like, oh, why do they 98 00:05:02,760 --> 00:05:05,760 Speaker 1: need it? Like what is that for? It's it's really 99 00:05:05,839 --> 00:05:08,080 Speaker 1: if you need the really the label is if you 100 00:05:08,120 --> 00:05:11,800 Speaker 1: need the upfront nut at that time. Yeah, you know 101 00:05:11,839 --> 00:05:13,520 Speaker 1: what it is like, so you don't you don't use 102 00:05:13,520 --> 00:05:16,239 Speaker 1: your own money, you know, that's time. That's fine. And also, 103 00:05:16,320 --> 00:05:18,040 Speaker 1: like some artists, like you know, I think a major 104 00:05:18,080 --> 00:05:20,720 Speaker 1: label system probably better suit some artists like lazier guys, 105 00:05:20,760 --> 00:05:23,120 Speaker 1: you know, yeah, yeah, yeah, guys who kind of lazier guys. 106 00:05:23,200 --> 00:05:25,560 Speaker 1: You know, just like if you're going to be independent, 107 00:05:25,720 --> 00:05:28,440 Speaker 1: it's the work is it's strenuous, it's a lot. You 108 00:05:28,440 --> 00:05:31,040 Speaker 1: gotta wear multiple hats for sure. You know, you gotta 109 00:05:31,080 --> 00:05:33,719 Speaker 1: be willing to take a note and you know, flip 110 00:05:33,760 --> 00:05:37,279 Speaker 1: it and be on for you Like, uh, talk to 111 00:05:37,320 --> 00:05:39,640 Speaker 1: me about just like the day to day stuff that 112 00:05:39,680 --> 00:05:43,520 Speaker 1: you handle being independent. Obviously you're with Empire, who's doing distribution, 113 00:05:43,920 --> 00:05:46,120 Speaker 1: who helps the label services, but like what are you 114 00:05:46,200 --> 00:05:52,400 Speaker 1: handling as eb Yeah? Man, so I'm tapping into the 115 00:05:52,440 --> 00:05:55,760 Speaker 1: storyline of the album. So you got the writing creative 116 00:05:55,800 --> 00:05:58,680 Speaker 1: in the studio, then you got the mixing process. Then 117 00:05:58,720 --> 00:06:00,960 Speaker 1: it's time to think of what the artwork is gonna be, 118 00:06:01,320 --> 00:06:04,960 Speaker 1: the colors, the aesthetic. Now you got single artwork, every 119 00:06:05,040 --> 00:06:10,039 Speaker 1: single attached and coinciding with the previous to remind people 120 00:06:10,040 --> 00:06:12,120 Speaker 1: that this is all for one body of work. Now 121 00:06:12,120 --> 00:06:15,840 Speaker 1: you got a photo shoot that is intentional to take 122 00:06:15,880 --> 00:06:18,400 Speaker 1: people back to a time. So I'm bringing out the leather. 123 00:06:18,800 --> 00:06:21,960 Speaker 1: I'm leather headed toe with the R and B energy. 124 00:06:22,080 --> 00:06:25,039 Speaker 1: Now we got to talk about music videos, and I'm 125 00:06:25,080 --> 00:06:28,560 Speaker 1: on the line with the directors I'm planning, I'm picking, 126 00:06:28,880 --> 00:06:32,000 Speaker 1: I'm casting, I'm looking for the for the ladies. I'm 127 00:06:32,000 --> 00:06:35,160 Speaker 1: talking to emails, shout out the emails. Diddy always came through. 128 00:06:35,200 --> 00:06:38,000 Speaker 1: We shot four videos with my guy and brought nothing 129 00:06:38,000 --> 00:06:40,839 Speaker 1: but beautiful ladies to go crazy in the videos with 130 00:06:41,000 --> 00:06:44,400 Speaker 1: us Man, the styling of the videos. Now you've got 131 00:06:44,400 --> 00:06:48,160 Speaker 1: the marketing. You're putting your fingerprints on everything. Yeah, I'm not. 132 00:06:48,400 --> 00:06:50,799 Speaker 1: There's nothing that I don't know that's happening. That's amazing. 133 00:06:51,360 --> 00:06:53,120 Speaker 1: Do you feel like I just heard Russ say this 134 00:06:53,200 --> 00:06:57,560 Speaker 1: recently that he feels like music videos aren't as effective 135 00:06:57,560 --> 00:06:59,279 Speaker 1: as they used to be at this point. It's like 136 00:06:59,320 --> 00:07:01,800 Speaker 1: a branding thing in terms of in terms of just 137 00:07:01,839 --> 00:07:05,760 Speaker 1: like the ROI on streams, Yeah, see that. Yeah, because 138 00:07:05,760 --> 00:07:08,720 Speaker 1: we spend more on music videos then you'll get from 139 00:07:08,760 --> 00:07:11,960 Speaker 1: the music video stream wise. You have to stream like 140 00:07:12,520 --> 00:07:16,920 Speaker 1: or it has to have like certain amounts, so many commercials. Yeah, 141 00:07:16,960 --> 00:07:20,200 Speaker 1: before you can even get the return on investment. Yeah, 142 00:07:20,200 --> 00:07:22,200 Speaker 1: because you can think like a good music video, like 143 00:07:22,240 --> 00:07:25,840 Speaker 1: a good one, Yeah, spend at least five grand exactly. Okay, 144 00:07:25,880 --> 00:07:28,000 Speaker 1: was just talking about that today. A good one, good one. 145 00:07:28,240 --> 00:07:32,320 Speaker 1: You can get a decent one for like twelve. Look 146 00:07:32,320 --> 00:07:33,960 Speaker 1: if you got a homie with a camera and you 147 00:07:34,040 --> 00:07:36,640 Speaker 1: got some fucking aspirations and you're willing to take some 148 00:07:37,480 --> 00:07:40,640 Speaker 1: for sure, you nat Yeah, get that right, lighting You 149 00:07:40,640 --> 00:07:42,720 Speaker 1: know it's gonna make a difference in the long run 150 00:07:42,760 --> 00:07:44,560 Speaker 1: to just do it right the first time instead of 151 00:07:44,600 --> 00:07:46,800 Speaker 1: just trying to go back and shoot another music video 152 00:07:46,960 --> 00:07:49,040 Speaker 1: and now the streams are you know what I mean, 153 00:07:49,040 --> 00:07:52,360 Speaker 1: You gotta do it right the first time. Talk to 154 00:07:52,400 --> 00:07:57,240 Speaker 1: me about your uh your just I feel like every 155 00:07:57,320 --> 00:07:59,960 Speaker 1: Chris Brown album you somehow have your fingerprints on and 156 00:08:00,080 --> 00:08:04,000 Speaker 1: some capacity. Yeah, how did you guys first link up 157 00:08:04,080 --> 00:08:07,680 Speaker 1: and just talk about why he trusts you so much? Yeah, 158 00:08:08,080 --> 00:08:10,360 Speaker 1: so he's also a great writer. He is, he is. 159 00:08:10,400 --> 00:08:12,480 Speaker 1: That's why I you know, I definitely don't take it lightly, 160 00:08:13,840 --> 00:08:16,520 Speaker 1: just that you know that trust. The first song we 161 00:08:16,560 --> 00:08:19,200 Speaker 1: did was called Champion. It was for a London artist 162 00:08:19,360 --> 00:08:22,120 Speaker 1: named Chipmunk. Harmony called me in for the session. I 163 00:08:22,120 --> 00:08:24,600 Speaker 1: wrote the hook and he just recut the hook and 164 00:08:24,760 --> 00:08:28,120 Speaker 1: was like, Yo, whoever did that, whoever that was singing, 165 00:08:28,440 --> 00:08:30,720 Speaker 1: I want them to work on my next album. So 166 00:08:30,760 --> 00:08:34,480 Speaker 1: he brought the whole team with Harmony and myself and 167 00:08:34,720 --> 00:08:39,320 Speaker 1: Courtney and we all went to the man straight in 168 00:08:39,360 --> 00:08:41,120 Speaker 1: with Chris Brown. You know what I mean. I was. 169 00:08:41,200 --> 00:08:44,800 Speaker 1: I was actually in London working and had to get 170 00:08:44,800 --> 00:08:47,520 Speaker 1: a call to come back the next day. Literally like 171 00:08:47,720 --> 00:08:50,200 Speaker 1: I landed, had to go right back. I didn't do 172 00:08:50,240 --> 00:08:51,880 Speaker 1: no work, and we got in with him and wrote 173 00:08:51,920 --> 00:08:56,520 Speaker 1: all the songs on Fame, Oh My Love. Champion ended 174 00:08:56,600 --> 00:08:58,240 Speaker 1: up going on there say It with Me and then 175 00:08:58,280 --> 00:09:03,160 Speaker 1: that joint. One of his first Grammy was Fame, the 176 00:09:03,200 --> 00:09:07,040 Speaker 1: first album after kind of the whole shin dig Yeah. Yeah, 177 00:09:07,200 --> 00:09:09,439 Speaker 1: with the graffiti kind of art yep. So that was 178 00:09:09,480 --> 00:09:11,120 Speaker 1: like kind of his comeback. That was the one and 179 00:09:11,120 --> 00:09:13,720 Speaker 1: it got a Grammy. So it's like we was involved 180 00:09:13,720 --> 00:09:16,720 Speaker 1: in such a pivotal moment. I felt like it was like, 181 00:09:16,840 --> 00:09:20,160 Speaker 1: let's keep doing it. Yeah, And then you did find Channa, 182 00:09:20,240 --> 00:09:24,079 Speaker 1: right yeah, Find China record. Man, That's that's my favorite one. 183 00:09:24,240 --> 00:09:25,959 Speaker 1: I say, when you write a song like find China, 184 00:09:26,040 --> 00:09:27,920 Speaker 1: are you with him or do you send it to him? 185 00:09:28,000 --> 00:09:29,280 Speaker 1: And if you send it to him, are you kind 186 00:09:29,280 --> 00:09:30,880 Speaker 1: of hoping he doesn't want it so you keep it 187 00:09:30,880 --> 00:09:33,680 Speaker 1: for yourself? Nah? I'm with him, Okay, Yeah, I'm with him. 188 00:09:34,080 --> 00:09:36,120 Speaker 1: Any of the songs that are like the big ones 189 00:09:36,160 --> 00:09:40,400 Speaker 1: like New Flame and Love More There. Yeah, but when 190 00:09:40,440 --> 00:09:43,000 Speaker 1: I'm by my myself, a lot of them songs nobody, 191 00:09:43,080 --> 00:09:46,160 Speaker 1: I don't be playing him for nobody, you know. For one, 192 00:09:46,600 --> 00:09:48,640 Speaker 1: it's like, I'm gonna keep this and I can do 193 00:09:48,679 --> 00:09:50,880 Speaker 1: whatever I want with it, and it's gonna benefit me 194 00:09:51,000 --> 00:09:53,800 Speaker 1: more low key to have ownership of the song, as 195 00:09:53,800 --> 00:09:57,280 Speaker 1: opposed to if I go to a session and I'm 196 00:09:57,280 --> 00:10:00,360 Speaker 1: with somebody else, that's their studio time, they pay for that, 197 00:10:00,360 --> 00:10:02,840 Speaker 1: that's most likely they beat. So I'll never really be 198 00:10:02,920 --> 00:10:05,840 Speaker 1: too connected. I'm always like pouring all my energy into 199 00:10:05,880 --> 00:10:08,640 Speaker 1: the moment. Was Usher in the session for New Flynn? 200 00:10:09,320 --> 00:10:12,680 Speaker 1: Usher was not? Usher was not he's on that song? Yeah, 201 00:10:12,679 --> 00:10:17,080 Speaker 1: he's on that song. Who else? Somebody else? Someone else's 202 00:10:17,080 --> 00:10:20,320 Speaker 1: singing a song. Yeah, I feel like there's a rapper room. No, 203 00:10:20,360 --> 00:10:22,719 Speaker 1: it wasn't Rick Cross. Somebody's on that song. It might 204 00:10:22,800 --> 00:10:25,240 Speaker 1: just be him an Usher, it might be I feel 205 00:10:25,280 --> 00:10:27,640 Speaker 1: like I'm missing a rapper. You're fucking no, you wouldn't. 206 00:10:27,840 --> 00:10:35,880 Speaker 1: Baby bab my guy over there, big Yeat fan. Yeah, 207 00:10:36,040 --> 00:10:38,760 Speaker 1: have you listened to Yeat? I've just seen his logo. 208 00:10:39,040 --> 00:10:41,720 Speaker 1: He's popping this fuck just seeing it pop up on 209 00:10:41,760 --> 00:10:44,400 Speaker 1: the page. I don't get it. It's not for me 210 00:10:44,440 --> 00:10:47,000 Speaker 1: to get the name. Hey, it's so many things that 211 00:10:47,080 --> 00:10:50,520 Speaker 1: come out now. I'm like, Wow, it's so many different 212 00:10:50,679 --> 00:10:53,440 Speaker 1: names of new people and artists, and it's just like 213 00:10:54,160 --> 00:10:56,480 Speaker 1: I just respect it because I remember when it was like, 214 00:10:56,800 --> 00:10:59,240 Speaker 1: who's this Ic Bellinger guy? Up? All? We gotta stop 215 00:10:59,280 --> 00:11:02,200 Speaker 1: the interview to tell you at our folks at my Bookie. 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Yeah, 333 00:16:54,680 --> 00:16:57,280 Speaker 1: what do you feel like, because I do feel like 334 00:16:57,320 --> 00:16:59,760 Speaker 1: there has been a dopeer surgence in like R and 335 00:16:59,840 --> 00:17:02,760 Speaker 1: B getting respect again in terms of like, you know, 336 00:17:03,120 --> 00:17:05,800 Speaker 1: traditional R and B coming back, like you know, guys 337 00:17:05,840 --> 00:17:09,840 Speaker 1: like yourself, you got a girl like Lma, go on 338 00:17:09,880 --> 00:17:11,359 Speaker 1: and on and on. There's so much dope R and 339 00:17:11,400 --> 00:17:14,560 Speaker 1: B in the world right now, but you've been pushing 340 00:17:14,600 --> 00:17:18,720 Speaker 1: through the whole wave. Yeah, And I feel like your 341 00:17:18,800 --> 00:17:23,080 Speaker 1: first project comes out in twenty ten, which I refer 342 00:17:23,200 --> 00:17:27,399 Speaker 1: to as the Dark Era because that's when like ed 343 00:17:27,560 --> 00:17:31,040 Speaker 1: M got introduced and there's all of these R and 344 00:17:31,080 --> 00:17:34,400 Speaker 1: B artists doing that is when it happened. So there 345 00:17:34,440 --> 00:17:36,560 Speaker 1: was like this was like the lady guy guy and 346 00:17:36,600 --> 00:17:40,400 Speaker 1: I'm the only one still Yeah, And so like you're 347 00:17:40,400 --> 00:17:42,600 Speaker 1: still putting out traditional R and B. I think around 348 00:17:42,680 --> 00:17:46,640 Speaker 1: that time, August was starting to come out with his mixtape. 349 00:17:46,880 --> 00:17:54,640 Speaker 1: Adrian Marcel had a dope mixtape in Raphael first. But yeah, 350 00:17:54,760 --> 00:17:57,639 Speaker 1: like for you, like you've been through so many eras 351 00:17:57,680 --> 00:18:01,280 Speaker 1: of R and B, Like do you recall when it's like, 352 00:18:01,359 --> 00:18:03,919 Speaker 1: what was it like to not be cool to be 353 00:18:04,000 --> 00:18:07,920 Speaker 1: the R and B guy? Mm? Because you're thinking Neo's 354 00:18:07,920 --> 00:18:11,040 Speaker 1: biggest songs are the yeah yeah, yeah, yeah, you know 355 00:18:11,040 --> 00:18:13,159 Speaker 1: what I mean or on the floor joints. You know 356 00:18:13,359 --> 00:18:17,520 Speaker 1: it was it was not only did the R and 357 00:18:17,520 --> 00:18:23,840 Speaker 1: B not become as popular, but I was also I 358 00:18:23,920 --> 00:18:30,119 Speaker 1: was also I was also singing at a time and 359 00:18:30,440 --> 00:18:33,080 Speaker 1: was married too, you know what I mean. So like 360 00:18:35,000 --> 00:18:37,800 Speaker 1: that wasn't the cool, Like everybody wasn't bowed up. That 361 00:18:37,920 --> 00:18:41,000 Speaker 1: wasn't like bagels, Like we were being married and making 362 00:18:41,119 --> 00:18:44,199 Speaker 1: R and B music. Yeah I was not, you feel me? 363 00:18:44,400 --> 00:18:47,000 Speaker 1: But I knew like yo. Also shout out to Miguel 364 00:18:47,000 --> 00:18:48,840 Speaker 1: who was holding that flag too at that time. He 365 00:18:49,000 --> 00:18:52,399 Speaker 1: was he was for sure, and I wasn't. I wasn't 366 00:18:52,440 --> 00:18:58,080 Speaker 1: aiming to also married at the time. Ish, we've been 367 00:18:58,119 --> 00:19:02,000 Speaker 1: going big time the jump, Sure this is the big boy. 368 00:19:02,040 --> 00:19:05,160 Speaker 1: When you really in there, yeah and you in there walk, Yeah, 369 00:19:05,240 --> 00:19:10,119 Speaker 1: it's different. Different, So the commitment was like I was dedicated. 370 00:19:10,320 --> 00:19:12,560 Speaker 1: We've ribe, we've we vibed it out, and she held 371 00:19:12,600 --> 00:19:14,480 Speaker 1: me up. When you once you got that woman, that 372 00:19:14,560 --> 00:19:17,760 Speaker 1: queen that make you feel like you got it, you're good. 373 00:19:17,880 --> 00:19:21,040 Speaker 1: So that sustained me and my fans really just let 374 00:19:21,119 --> 00:19:23,280 Speaker 1: me know, like, yo, thank you for being the only 375 00:19:23,359 --> 00:19:25,359 Speaker 1: one that we can listen to when it comes to 376 00:19:25,880 --> 00:19:29,159 Speaker 1: positive influence and relationships when it thinks of just like 377 00:19:29,359 --> 00:19:30,879 Speaker 1: R and B, like I want to love on my 378 00:19:31,000 --> 00:19:34,399 Speaker 1: girl as opposed to everything being the opposite, you know, 379 00:19:34,520 --> 00:19:38,720 Speaker 1: so me just giving people another option, it became the standard, 380 00:19:38,760 --> 00:19:41,840 Speaker 1: and it became the new wave after people got tired 381 00:19:41,880 --> 00:19:45,600 Speaker 1: of disrespecting and being disrespected. Yeah, there was also, like 382 00:19:45,600 --> 00:19:47,760 Speaker 1: like you're saying, there was the super toxic R and 383 00:19:47,800 --> 00:19:51,480 Speaker 1: B ship where it was like, Jesus Christ, it was 384 00:19:52,160 --> 00:19:55,439 Speaker 1: really crazy. Some of the ship that was girlfriend's girlfriend. 385 00:19:55,520 --> 00:19:59,320 Speaker 1: Oh my god, it was going crazy. Trey song, Yeah 386 00:19:59,640 --> 00:20:05,520 Speaker 1: talks R and B of all time, Jesus Christ. It's 387 00:20:05,560 --> 00:20:08,439 Speaker 1: like where the love go. God damn it, it was gone. 388 00:20:08,640 --> 00:20:10,720 Speaker 1: It's gone. I was just like, yo, I'm here, and 389 00:20:11,240 --> 00:20:12,960 Speaker 1: I don't do it for applause. I do it for 390 00:20:13,040 --> 00:20:15,360 Speaker 1: a cause, you know what I'm saying I love that. Man. 391 00:20:15,800 --> 00:20:19,680 Speaker 1: We talked about this a little bit, but okay, you 392 00:20:19,760 --> 00:20:22,800 Speaker 1: did a whole album with hit Maker. He has had 393 00:20:22,840 --> 00:20:25,920 Speaker 1: a friendly feud. We'll call it. It's I like it 394 00:20:25,960 --> 00:20:28,240 Speaker 1: because I think it kind of you know, lets people 395 00:20:28,520 --> 00:20:33,360 Speaker 1: talk about producers, you know, with hit Boy, they're two 396 00:20:33,560 --> 00:20:38,280 Speaker 1: very different guys, so different. Hit Boy is obviously touching 397 00:20:38,320 --> 00:20:41,919 Speaker 1: in the beat, he's secrecing the drums. He's you put 398 00:20:41,960 --> 00:20:43,560 Speaker 1: an NPC in front of hip Boy, you know, Yeah, 399 00:20:43,600 --> 00:20:45,600 Speaker 1: you know what I mean. I look at hip Maker 400 00:20:45,640 --> 00:20:50,360 Speaker 1: as more like like a like a nineties type producer, 401 00:20:50,359 --> 00:20:53,159 Speaker 1: where like the way Diddy is a producer for the 402 00:20:53,200 --> 00:20:57,159 Speaker 1: way like Quincy Jones. He knows how to get the 403 00:20:57,160 --> 00:20:59,960 Speaker 1: people Rick Rubin, get the right people in the room, 404 00:21:00,000 --> 00:21:02,240 Speaker 1: get the right writers in the room, kind of conduct 405 00:21:02,240 --> 00:21:05,320 Speaker 1: a hit record. What are your thoughts on this whole thing? Yeah, 406 00:21:05,400 --> 00:21:09,240 Speaker 1: hit Boy and hit Maker, Oh man, I think when 407 00:21:09,280 --> 00:21:12,840 Speaker 1: you talk about that music, that's it, you know what 408 00:21:12,880 --> 00:21:18,600 Speaker 1: I'm saying. Like hit Maker is, you know, conducting the 409 00:21:18,680 --> 00:21:23,720 Speaker 1: session and hit Boy is literally producing and musically engineering 410 00:21:23,720 --> 00:21:29,280 Speaker 1: the session. But hit Maker's argument wasn't about the talent 411 00:21:29,359 --> 00:21:33,960 Speaker 1: when it comes to musicianship. He was just like I'm 412 00:21:34,000 --> 00:21:36,919 Speaker 1: on the radio, you know, that was all he's the 413 00:21:37,080 --> 00:21:40,960 Speaker 1: argument was so to his argument, he won the argument, 414 00:21:41,000 --> 00:21:43,080 Speaker 1: you know what I mean. But to hit Boy's argument, 415 00:21:43,600 --> 00:21:45,679 Speaker 1: he's not even tripping on the radio, I don't eve 416 00:21:45,680 --> 00:21:47,080 Speaker 1: think he's trying to be on the radio. He's not. 417 00:21:47,359 --> 00:21:52,159 Speaker 1: And also for the record, I mean, this guy's done. Yeah, 418 00:21:52,400 --> 00:21:54,840 Speaker 1: that song is still you know, and hit Maker is 419 00:21:55,000 --> 00:21:57,440 Speaker 1: only about your current right now, this is what we're 420 00:21:57,480 --> 00:22:00,880 Speaker 1: talking about. But hit boys like Yo, I'm playing seeds, 421 00:22:01,200 --> 00:22:04,119 Speaker 1: you know, for the generations to come to discover my music, 422 00:22:04,480 --> 00:22:08,560 Speaker 1: not for sure. And he's like the the Nash is 423 00:22:08,600 --> 00:22:10,719 Speaker 1: crazy to me. Yeah, yeah, yeah, he tapped in. That's 424 00:22:10,720 --> 00:22:14,480 Speaker 1: what I'm saying. Even yeah, the music album he's going, 425 00:22:14,520 --> 00:22:18,080 Speaker 1: he's going crazy and and and different styles, you know, 426 00:22:18,320 --> 00:22:22,600 Speaker 1: influencing a generation of making beats like that can't go undermine. 427 00:22:22,840 --> 00:22:25,320 Speaker 1: Have you ever worked with hit Boy? Yeah, a couple 428 00:22:25,320 --> 00:22:27,560 Speaker 1: of times. What was the difference kind of I guess studio. 429 00:22:29,240 --> 00:22:33,800 Speaker 1: So with hit Boy it was a much slower process 430 00:22:33,880 --> 00:22:38,000 Speaker 1: of like take our time, like let's listen, let's let's 431 00:22:38,000 --> 00:22:40,840 Speaker 1: see what we got, let's see how we're feeling. And 432 00:22:40,880 --> 00:22:43,879 Speaker 1: with hit Maker, he's speedy gon solid in the studio. 433 00:22:43,920 --> 00:22:45,280 Speaker 1: But we we got the next one. Okay, you got an 434 00:22:45,320 --> 00:22:47,840 Speaker 1: idea going to book? Okay, next one, Okay, next one, 435 00:22:48,040 --> 00:22:50,720 Speaker 1: and he's a next one, next one, next one. In 436 00:22:50,800 --> 00:22:54,280 Speaker 1: three hours, you got five songs. He's worrying about it tomorrow, 437 00:22:54,359 --> 00:22:57,199 Speaker 1: what we're doing tomorrow? And then a week later he 438 00:22:57,240 --> 00:23:01,360 Speaker 1: has thirty songs to place artists through the studio. Hey, 439 00:23:01,359 --> 00:23:04,240 Speaker 1: what you been working on? He has thirty options to play, 440 00:23:04,400 --> 00:23:06,119 Speaker 1: you know what I'm saying. So it's like it's a 441 00:23:06,119 --> 00:23:09,080 Speaker 1: factory that he's intentionally doing. As opposed to hit Boy. 442 00:23:09,359 --> 00:23:11,840 Speaker 1: He's selective who he's working with, you know what I mean. 443 00:23:12,040 --> 00:23:15,439 Speaker 1: And you know it's more of like a like a 444 00:23:16,040 --> 00:23:19,080 Speaker 1: it's almost like because I've been in the studio, I've 445 00:23:19,119 --> 00:23:20,879 Speaker 1: been in the studio with him, make us for a 446 00:23:20,920 --> 00:23:23,640 Speaker 1: sec But hip Boy is very like intentional. That's what said. 447 00:23:23,880 --> 00:23:25,280 Speaker 1: If you're going to go over to Childie and work 448 00:23:25,280 --> 00:23:30,200 Speaker 1: with him, like block out the night exactly exactly were chilling, 449 00:23:30,240 --> 00:23:32,720 Speaker 1: We're gonna have a loop on. We might fall in 450 00:23:32,720 --> 00:23:34,600 Speaker 1: love with something and then he might be like, hold on, 451 00:23:34,640 --> 00:23:37,439 Speaker 1: let me switch that idea, start something over, because you 452 00:23:37,440 --> 00:23:40,280 Speaker 1: know the foundation is music, and you know I just 453 00:23:40,280 --> 00:23:44,399 Speaker 1: think they they they they They stand for different things, 454 00:23:44,520 --> 00:23:46,680 Speaker 1: but they both represent the same thing, a hit, and 455 00:23:46,720 --> 00:23:48,960 Speaker 1: they're both very good at what they do. Yes, sir, 456 00:23:49,080 --> 00:23:52,800 Speaker 1: at a high level, like when you get with hit Maker, 457 00:23:53,320 --> 00:23:57,840 Speaker 1: because do you feel like you guys are like his 458 00:23:58,000 --> 00:24:02,120 Speaker 1: factory process. I feel like you're kind of a go 459 00:24:02,160 --> 00:24:05,360 Speaker 1: to asset for him in terms of like when you're 460 00:24:05,400 --> 00:24:07,440 Speaker 1: laying hooks down for him, do you know that they're 461 00:24:07,880 --> 00:24:10,359 Speaker 1: just they might end up somewhere else? Yeah, for sure, 462 00:24:10,760 --> 00:24:13,160 Speaker 1: for sure, because he's shopping them actively with your hook 463 00:24:13,200 --> 00:24:15,800 Speaker 1: on it tell the artists immediate. He was like, Yo, 464 00:24:16,520 --> 00:24:18,280 Speaker 1: I got a tie coming by this week. I got 465 00:24:18,280 --> 00:24:20,560 Speaker 1: this beat. I need you on it. This one, it 466 00:24:20,600 --> 00:24:22,800 Speaker 1: got your name all over it. Boom, I come through. 467 00:24:23,359 --> 00:24:27,359 Speaker 1: Let's such a great song. By the way, that album 468 00:24:27,400 --> 00:24:31,240 Speaker 1: is super slept on. Yeah, my TI album was fucking raw. 469 00:24:31,359 --> 00:24:32,960 Speaker 1: That's what made me be like, oh no, no, no, 470 00:24:33,000 --> 00:24:35,480 Speaker 1: I'm going over there. Were about to work. What's up Chrishan, 471 00:24:35,520 --> 00:24:39,160 Speaker 1: what's up? Hit Maker? What's up? Source? You know, and 472 00:24:39,200 --> 00:24:41,120 Speaker 1: when you link up with them and you can add 473 00:24:41,160 --> 00:24:43,400 Speaker 1: your own flavor, I think that's when you be able 474 00:24:43,400 --> 00:24:46,960 Speaker 1: to differentiate it yourself and keep your uniqueness. I also 475 00:24:47,000 --> 00:24:49,879 Speaker 1: think Jeremih is another one of the great songwriters of 476 00:24:49,880 --> 00:24:52,080 Speaker 1: our time who don't get enough credit in that aspect. 477 00:24:52,240 --> 00:24:54,600 Speaker 1: I agree, I agree. I think he's another person that's 478 00:24:54,640 --> 00:24:58,240 Speaker 1: not really tripping on like the fame, the bride lights, 479 00:24:58,280 --> 00:25:01,280 Speaker 1: the music videos, like the tour like he's just like, man, 480 00:25:01,359 --> 00:25:04,240 Speaker 1: I love I'm from Chicago, I love making music, and 481 00:25:04,440 --> 00:25:06,639 Speaker 1: all the shit that I'm spending is real and the 482 00:25:06,680 --> 00:25:09,280 Speaker 1: real niggas connect with it and that's it. And you know, 483 00:25:09,400 --> 00:25:12,680 Speaker 1: I think that keeps his core and his solid foundation stable. 484 00:25:13,000 --> 00:25:15,440 Speaker 1: Why did you never decide to sign with a major label. 485 00:25:16,720 --> 00:25:19,240 Speaker 1: I always felt like I had more that I could 486 00:25:19,240 --> 00:25:21,800 Speaker 1: do on my own, you know, like I felt like 487 00:25:22,640 --> 00:25:25,360 Speaker 1: I still can do this, or I haven't got all 488 00:25:25,359 --> 00:25:28,280 Speaker 1: this off, or I haven't exhausted my resources, or I 489 00:25:28,320 --> 00:25:32,400 Speaker 1: haven't you know, had the right timing of the right album. 490 00:25:32,840 --> 00:25:35,359 Speaker 1: And I don't know. It was just never anyone that 491 00:25:35,960 --> 00:25:38,399 Speaker 1: saw what I saw in myself. Was it because you 492 00:25:38,480 --> 00:25:42,000 Speaker 1: never got the Because I would say that, like the 493 00:25:42,040 --> 00:25:44,639 Speaker 1: deal terms got to be right. Yeah, the bread gotta 494 00:25:44,680 --> 00:25:46,920 Speaker 1: be right. If you're smart, like you can just sign 495 00:25:47,160 --> 00:25:49,199 Speaker 1: it's put in front of you. You You know what I'm saying. Yeah, so, 496 00:25:49,359 --> 00:25:51,919 Speaker 1: and it was like we always had enough success to 497 00:25:52,000 --> 00:25:54,160 Speaker 1: make me feel like we were good, Like we're good, 498 00:25:54,480 --> 00:25:56,439 Speaker 1: We're good. But I don't know. We live in a 499 00:25:56,440 --> 00:25:59,639 Speaker 1: new day and age. Man. I definitely feel like, you know, 500 00:26:00,080 --> 00:26:02,000 Speaker 1: with where I'm at, I'm not at the same place 501 00:26:02,040 --> 00:26:05,960 Speaker 1: when I was trying to break myself to gain my 502 00:26:06,119 --> 00:26:08,080 Speaker 1: own fan base. You know, now that I have a 503 00:26:08,080 --> 00:26:10,840 Speaker 1: fan base, now, let's market on a heavy scale, on 504 00:26:10,880 --> 00:26:14,080 Speaker 1: a heavy you know scale. But before then, it's like, man, 505 00:26:14,119 --> 00:26:16,199 Speaker 1: you got to build it, you know, And I was 506 00:26:16,240 --> 00:26:18,399 Speaker 1: I was happy with just building the building it for 507 00:26:18,440 --> 00:26:21,200 Speaker 1: the sake of leverage. You and AD did a whole 508 00:26:21,200 --> 00:26:25,400 Speaker 1: album together in twenty eight nineteen. Yeah, yeah, yeah, yeah, 509 00:26:25,440 --> 00:26:28,960 Speaker 1: that was like eighteen. It was definitely like pandemic times. 510 00:26:29,040 --> 00:26:30,840 Speaker 1: It was before the pandemic. It had to be yah, yeah, 511 00:26:30,840 --> 00:26:32,200 Speaker 1: I was. I met to you guys released part of 512 00:26:33,000 --> 00:26:35,000 Speaker 1: it was it was before. It was the last one 513 00:26:35,000 --> 00:26:38,359 Speaker 1: before the pandemic. It was called nine. And I remember 514 00:26:38,400 --> 00:26:42,080 Speaker 1: coming back from Mexico. We went to the session and 515 00:26:42,359 --> 00:26:44,840 Speaker 1: I had all these different memorabilia from Mexico. I was 516 00:26:44,840 --> 00:26:47,840 Speaker 1: wearing a poncho and h they hit you with that 517 00:26:48,280 --> 00:26:49,960 Speaker 1: when you're in line waiting to get over the border. 518 00:26:49,960 --> 00:26:54,480 Speaker 1: There's all those people just try selling everything. So I 519 00:26:54,520 --> 00:26:57,359 Speaker 1: went to the studio, still in formed, talking Spanish, playing 520 00:26:57,359 --> 00:26:59,600 Speaker 1: with them. He was like, Man, I'm calling you Pancho Belly. 521 00:26:59,640 --> 00:27:02,919 Speaker 1: I'm calling Poncho Belly. And then we started like joking 522 00:27:02,960 --> 00:27:07,399 Speaker 1: around and bro. We did like nine songs in two days, 523 00:27:07,400 --> 00:27:10,000 Speaker 1: and it was like, I was a project. What you 524 00:27:10,080 --> 00:27:12,160 Speaker 1: like to see him kind of evolve into a media 525 00:27:12,240 --> 00:27:17,080 Speaker 1: personality and do his podcasting. Dope, it's the evolution of nine. 526 00:27:17,240 --> 00:27:18,960 Speaker 1: I feel like when we were dropping that, we were 527 00:27:18,960 --> 00:27:24,280 Speaker 1: making videos and being community characters and yeah, but now 528 00:27:24,359 --> 00:27:27,240 Speaker 1: to see him with community, it's like dog, that's who 529 00:27:27,240 --> 00:27:30,000 Speaker 1: he He's a character, you know. So now for him 530 00:27:30,000 --> 00:27:33,160 Speaker 1: to be able to be himself make everybody laugh even 531 00:27:33,200 --> 00:27:35,239 Speaker 1: in his music, I got the juice. When you hear that, 532 00:27:35,560 --> 00:27:37,160 Speaker 1: you want to laugh. You know. It's a good guy. 533 00:27:37,240 --> 00:27:39,919 Speaker 1: So happy for him. Who's on your mount? Rushmore of 534 00:27:40,040 --> 00:27:42,720 Speaker 1: R and B music, R and B music. Let's say, 535 00:27:42,760 --> 00:27:47,200 Speaker 1: let's let's say from nineteen ninety two to now. All right, 536 00:27:47,440 --> 00:27:54,480 Speaker 1: you gotta go with man, that's a tough one because 537 00:27:54,520 --> 00:27:56,960 Speaker 1: I want to go laugh a little bit, but you can't. 538 00:27:56,960 --> 00:28:01,000 Speaker 1: You can't really avoid people like Cisco back in the day, 539 00:28:01,160 --> 00:28:04,600 Speaker 1: love Cisco. Cisco big inspiration for you because you've done 540 00:28:04,600 --> 00:28:11,520 Speaker 1: the other hair things. Yea completes my ship. Drew's my favorite. 541 00:28:12,720 --> 00:28:16,640 Speaker 1: All is my song that I sing that at all 542 00:28:16,680 --> 00:28:20,400 Speaker 1: of the fucking nineties R and B groups. Drew Hill's 543 00:28:20,440 --> 00:28:24,760 Speaker 1: my personal favorite. Nice enter the dwip. Okay you you 544 00:28:24,760 --> 00:28:28,359 Speaker 1: you tapped in the red joint? Yes, and then you 545 00:28:28,560 --> 00:28:34,399 Speaker 1: gotta you gotta go with Usher after that? Two more 546 00:28:35,920 --> 00:28:41,840 Speaker 1: man Cisco Usher? Who else? I gotta also throw Joe. 547 00:28:42,040 --> 00:28:50,240 Speaker 1: I'm throwing love Joe joking blow. And I don't want 548 00:28:50,240 --> 00:28:52,160 Speaker 1: to just be biased and put myself in there, you 549 00:28:52,240 --> 00:28:54,560 Speaker 1: know what I mean, Like, I can't do that, don't 550 00:28:54,560 --> 00:28:57,440 Speaker 1: do that. I'm trying to put like somebody who I 551 00:28:57,480 --> 00:29:01,920 Speaker 1: feel like. You know, it's different from me to have 552 00:29:01,960 --> 00:29:04,680 Speaker 1: the artists, but I want to also include somebody that 553 00:29:04,840 --> 00:29:08,000 Speaker 1: writes their music too, you know what I mean? And 554 00:29:08,040 --> 00:29:14,920 Speaker 1: I gotta say Kels, of course, say what you want. 555 00:29:14,960 --> 00:29:17,160 Speaker 1: We're talking about R and B right now, we're talking 556 00:29:17,160 --> 00:29:22,600 Speaker 1: about art only. I've been talking about art from the start. 557 00:29:22,880 --> 00:29:29,480 Speaker 1: I love R. Kelly's music and his talents. The boy 558 00:29:29,640 --> 00:29:31,520 Speaker 1: is a bad one. When it comes to the studio 559 00:29:31,640 --> 00:29:34,520 Speaker 1: and the songs and the and the and the concepts 560 00:29:34,560 --> 00:29:37,880 Speaker 1: and the melodies and the endless amount of hits for 561 00:29:38,000 --> 00:29:40,640 Speaker 1: himself and others. I don't think a lot of people 562 00:29:40,680 --> 00:29:45,720 Speaker 1: talk enough about like he wrote for so many other artists. Yeah, Seline, Dion, 563 00:29:45,840 --> 00:29:49,880 Speaker 1: Michael Jackson, Aliyah, like boy B two K, like he 564 00:29:49,960 --> 00:29:51,720 Speaker 1: could go on, So you gotta give him his love 565 00:29:51,760 --> 00:29:53,520 Speaker 1: when it comes to the music. What's your favorite R 566 00:29:53,600 --> 00:29:57,840 Speaker 1: Kelly album? TP two ah TP two dot com? That's 567 00:29:57,880 --> 00:30:05,480 Speaker 1: the one I feel like was that dot com? And 568 00:30:05,480 --> 00:30:08,560 Speaker 1: then was a chocolate factory after that? Oh, chocolate factory 569 00:30:08,760 --> 00:30:10,240 Speaker 1: was a vibe. But you know where I gotta go 570 00:30:10,320 --> 00:30:13,200 Speaker 1: after that. I love something Both worlds with jay Z. 571 00:30:13,680 --> 00:30:16,440 Speaker 1: Really yo, that album is crazy, it is. It is 572 00:30:16,480 --> 00:30:18,280 Speaker 1: a good album. I feel like because of the drama 573 00:30:18,280 --> 00:30:20,360 Speaker 1: that's arounded that album, Like people don't really be like 574 00:30:20,680 --> 00:30:22,520 Speaker 1: tapping in with it like that, but there was some 575 00:30:22,520 --> 00:30:24,840 Speaker 1: ship on there. Oh my god, that it was a 576 00:30:25,400 --> 00:30:30,760 Speaker 1: I love the self titled album that you remind me? Yeah, 577 00:30:30,760 --> 00:30:33,400 Speaker 1: obviously a White one twelve No, it was black he was. 578 00:30:33,560 --> 00:30:35,680 Speaker 1: It was the White One's twelve play okay, the White 579 00:30:35,680 --> 00:30:39,560 Speaker 1: One okay, and then the the white shirt. Then r 580 00:30:39,760 --> 00:30:42,800 Speaker 1: was great. Yeah, it was a double disc. It had 581 00:30:43,760 --> 00:30:47,240 Speaker 1: they had the rest of the brothers on there on 582 00:30:47,320 --> 00:30:50,440 Speaker 1: a baby coos. No the record, what was the record 583 00:30:50,480 --> 00:30:53,840 Speaker 1: with the brothers in the music video, that's not contagious. No, 584 00:30:54,320 --> 00:30:57,720 Speaker 1: he's fucking he's fucking the dude's girl behind his back. Yeah, 585 00:30:57,960 --> 00:31:02,200 Speaker 1: ain't that you all containe? Oh oh oh oh oh, 586 00:31:02,760 --> 00:31:06,120 Speaker 1: you know what I'm talking about. It's gonna bother me. 587 00:31:06,160 --> 00:31:09,840 Speaker 1: Now he's fucking ron Eisley's girl in the video. He's like, 588 00:31:10,440 --> 00:31:14,800 Speaker 1: Frank shot up. Can't you see too many that one? No, no, 589 00:31:14,800 --> 00:31:16,960 Speaker 1: I'll tell you right now. No, that's still your contagious 590 00:31:17,000 --> 00:31:20,000 Speaker 1: here it is. It is not half fun. Oh, when 591 00:31:20,000 --> 00:31:22,520 Speaker 1: a woman's faed wait, women, when a woman's fed up? 592 00:31:22,520 --> 00:31:28,840 Speaker 1: The video, Yeah, video is contagious, I'm telling you, is it? 593 00:31:28,880 --> 00:31:32,920 Speaker 1: Is it contagious? It's contagious when a woman's fed up? 594 00:31:34,360 --> 00:31:38,720 Speaker 1: Started it? But the story can Yeah, I don't know. 595 00:31:38,760 --> 00:31:42,320 Speaker 1: I'm just thinking of that music video, which was incredible. 596 00:31:43,560 --> 00:31:50,120 Speaker 1: Ron Eisley playing a mafioso boss, fucking great. That's that's 597 00:31:50,120 --> 00:31:52,680 Speaker 1: when I came up, you know, so you know I 598 00:31:52,760 --> 00:31:55,080 Speaker 1: know my man is receiving flag. But hey, we gotta 599 00:31:55,080 --> 00:31:57,560 Speaker 1: stop the interview. Shout to our our great sponsors at 600 00:31:57,600 --> 00:32:00,360 Speaker 1: hard Dean Las Vegas. 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Let's take a check, 630 00:33:21,400 --> 00:33:23,400 Speaker 1: just a nice little peek at the Beavis and butt 631 00:33:23,400 --> 00:33:30,520 Speaker 1: heead draw skis. Bro. Come on, man, they also just 632 00:33:30,600 --> 00:33:35,240 Speaker 1: dropped Coca Cola. We got Scarface, we got Reeses, we 633 00:33:35,360 --> 00:33:39,240 Speaker 1: got the big fucking Lebowski. So many dope socks, the 634 00:33:39,320 --> 00:33:42,440 Speaker 1: most comfortable socks in the world, the most comfortable underwear 635 00:33:42,440 --> 00:33:45,520 Speaker 1: in the world. And check this out right now you 636 00:33:45,520 --> 00:33:48,520 Speaker 1: can get twenty percent off. That's twenty percent off at 637 00:33:48,600 --> 00:33:54,200 Speaker 1: checkout at oddsocksofficial dot com using the promo code bootleg, 638 00:33:54,440 --> 00:33:58,040 Speaker 1: So go right now odd socksofficial dot com. My first 639 00:33:58,080 --> 00:34:01,760 Speaker 1: of a suggestion would be get you a pair or 640 00:34:01,840 --> 00:34:04,120 Speaker 1: a pack of the odd socks basics to black and 641 00:34:04,120 --> 00:34:06,480 Speaker 1: the whites. Those are my go tos. And then you 642 00:34:06,560 --> 00:34:09,600 Speaker 1: gotta fuck with some of these big Lebowski socks. And 643 00:34:09,640 --> 00:34:13,480 Speaker 1: they just got Coca Cola, They got the scarface boys, Like, 644 00:34:13,520 --> 00:34:16,000 Speaker 1: what are we talking about? Man? What are you waiting on? 645 00:34:16,000 --> 00:34:18,600 Speaker 1: They are the most comfortable socks in the world. So 646 00:34:18,640 --> 00:34:21,960 Speaker 1: if you're not wearing odd socks, you're just cheating yourself. 647 00:34:22,160 --> 00:34:25,560 Speaker 1: You know what I mean, You're really cheating yourself. They 648 00:34:25,600 --> 00:34:29,319 Speaker 1: got a fucking South Park. Come on, bruh, what are 649 00:34:29,320 --> 00:34:32,480 Speaker 1: we talking about? Go to odd socksoficial dot com right 650 00:34:32,480 --> 00:34:35,800 Speaker 1: now use the promo code bootleg. Save twenty percent off 651 00:34:36,120 --> 00:34:38,200 Speaker 1: at checkout on the most comfortable socks in the world. 652 00:34:38,680 --> 00:34:41,719 Speaker 1: Or don't and keep torturing yourself with those shitty socks 653 00:34:41,719 --> 00:34:44,799 Speaker 1: you're wearing right now. Be a damn shame. Anyway, let's 654 00:34:44,800 --> 00:34:46,440 Speaker 1: get back to the interview. What do you feel like 655 00:34:46,560 --> 00:34:50,919 Speaker 1: your ideal output is on a yearly basis for dropping music, 656 00:34:50,920 --> 00:34:52,600 Speaker 1: because in an album of years or two hours a 657 00:34:52,680 --> 00:34:55,040 Speaker 1: year is it? I say two is good. Yeah, you 658 00:34:55,040 --> 00:34:58,960 Speaker 1: know I've done up to four and five at a time. 659 00:34:59,000 --> 00:35:01,080 Speaker 1: But it's just so much that people miss it. You know, 660 00:35:01,160 --> 00:35:03,360 Speaker 1: they're too busy. People are too busy to tap in 661 00:35:03,400 --> 00:35:07,239 Speaker 1: with you that much. And that's the reality. Is your 662 00:35:07,239 --> 00:35:11,960 Speaker 1: biggest song Goat go and drive By yep which I 663 00:35:12,000 --> 00:35:15,319 Speaker 1: don't want to which which is the record that we 664 00:35:15,320 --> 00:35:17,200 Speaker 1: were talking about this in SD You were saying that 665 00:35:17,239 --> 00:35:18,759 Speaker 1: you had a record that just kind of out of 666 00:35:18,760 --> 00:35:22,399 Speaker 1: nowhere to started streaming because of TikTok or something. Oh 667 00:35:22,560 --> 00:35:24,440 Speaker 1: that was because you were like you were like there 668 00:35:24,480 --> 00:35:26,279 Speaker 1: was one that was like like you guys chose to 669 00:35:26,280 --> 00:35:31,200 Speaker 1: be a single by yeah drive By? We Yeah, we 670 00:35:31,239 --> 00:35:33,480 Speaker 1: went with Goat and you know, put all the energy 671 00:35:33,560 --> 00:35:36,960 Speaker 1: and all the funds and all the ideas both to 672 00:35:37,080 --> 00:35:40,920 Speaker 1: your biggest song. Yeah, but damn what, you never know, 673 00:35:41,000 --> 00:35:42,680 Speaker 1: maybe we needed it too. The R and B was 674 00:35:42,719 --> 00:35:44,879 Speaker 1: able to carry yourself just from it being a great song, 675 00:35:45,320 --> 00:35:47,040 Speaker 1: and the other one needed a little bit of push 676 00:35:47,120 --> 00:35:50,720 Speaker 1: because it was a rhythmic song. So you would mentioned 677 00:35:50,760 --> 00:35:54,439 Speaker 1: to me that you have sold some of your catalog, Yeah, 678 00:35:54,480 --> 00:36:00,239 Speaker 1: because everybody right now is selling catalog? Yeah, everybody, what 679 00:36:00,280 --> 00:36:02,840 Speaker 1: did you decide to sell? And what did you So 680 00:36:02,960 --> 00:36:05,239 Speaker 1: it's like some of the so all the writing that 681 00:36:05,320 --> 00:36:07,960 Speaker 1: I've written for Chris Brown, and sure none of that 682 00:36:08,000 --> 00:36:11,240 Speaker 1: has been sold, that's all. And you can just chilling. 683 00:36:11,760 --> 00:36:14,799 Speaker 1: But I've I've released so many albums, like some of 684 00:36:14,800 --> 00:36:17,120 Speaker 1: my older stuff. I was like, all right, cool, let's 685 00:36:17,320 --> 00:36:20,080 Speaker 1: experiment because we're hearing all this stuff and it sounds crazy, 686 00:36:20,160 --> 00:36:23,000 Speaker 1: it doesn't sound real, but let's give it a shot. 687 00:36:23,080 --> 00:36:25,480 Speaker 1: What am I willing to gamble with to see if 688 00:36:25,640 --> 00:36:27,720 Speaker 1: that really happens? And I still got a new catalog 689 00:36:27,760 --> 00:36:29,920 Speaker 1: and I'm still making new catalog. So he cashed out 690 00:36:29,920 --> 00:36:33,439 Speaker 1: some of the old stuff. Yeah seven figures, Yeah, bought 691 00:36:33,560 --> 00:36:36,359 Speaker 1: bought crabs like it brought me my lifestyle, you know, 692 00:36:36,480 --> 00:36:38,799 Speaker 1: like the music. So to me, it's like I made 693 00:36:38,920 --> 00:36:43,440 Speaker 1: music that has got me able to provide for my 694 00:36:43,560 --> 00:36:47,360 Speaker 1: family for real. You know that's amazing. Man. We'll listen 695 00:36:47,360 --> 00:36:51,080 Speaker 1: to what is album comes out? Albums out albums out? Yeah, 696 00:36:51,120 --> 00:36:55,680 Speaker 1: one hundred hit easy line to video, just drop Curious 697 00:36:55,800 --> 00:36:59,319 Speaker 1: cord fab and that's that's it. Man. We finished the tour. 698 00:36:59,400 --> 00:37:04,279 Speaker 1: So now it's really just about pushing the music promoting 699 00:37:04,320 --> 00:37:08,200 Speaker 1: and you know, going from there. Any placement's coming up. Yeah, 700 00:37:08,239 --> 00:37:10,680 Speaker 1: I got some got some heat coming with Big Sean. 701 00:37:11,960 --> 00:37:16,040 Speaker 1: Yeah nice. He singles singles single with Big Sean coming. 702 00:37:16,200 --> 00:37:18,040 Speaker 1: Yeah yeah. I don't know if it's the first one, 703 00:37:18,120 --> 00:37:20,600 Speaker 1: but it's definitely one of them ones that when you 704 00:37:20,640 --> 00:37:23,239 Speaker 1: put on you just you feel good. So, you know, 705 00:37:23,520 --> 00:37:27,759 Speaker 1: just happy with my aries brother. No, no, no, it's 706 00:37:27,760 --> 00:37:31,160 Speaker 1: all it's all him him. I'm just we've just vibed in, 707 00:37:31,760 --> 00:37:33,160 Speaker 1: you know what I mean. I like it. I got 708 00:37:33,239 --> 00:37:34,880 Speaker 1: to be in the vibe and it was just as 709 00:37:34,920 --> 00:37:38,000 Speaker 1: on areas. What was the session like with Sean ah 710 00:37:38,200 --> 00:37:42,200 Speaker 1: Man also in love? Yeah, exactly someone who's in love, 711 00:37:42,320 --> 00:37:46,279 Speaker 1: I don't know, vibe. Great guy. First time I really 712 00:37:46,320 --> 00:37:47,719 Speaker 1: was able to be in the studio with him, and 713 00:37:47,719 --> 00:37:50,600 Speaker 1: he was warm, he was welcoming, he was open to 714 00:37:50,680 --> 00:37:54,360 Speaker 1: new ideas, and I think that's what makes people great 715 00:37:54,400 --> 00:37:57,359 Speaker 1: when they they know they're good enough to not have 716 00:37:57,440 --> 00:37:59,640 Speaker 1: to be the only one coming up with the ideas, 717 00:37:59,719 --> 00:38:02,800 Speaker 1: you know. So once we were able to piggyback and 718 00:38:02,920 --> 00:38:04,719 Speaker 1: I got to see which ones he liked, like I 719 00:38:04,760 --> 00:38:07,239 Speaker 1: did a couple to see like okay, which one is 720 00:38:07,280 --> 00:38:10,319 Speaker 1: he gravitated towards the most. You know, I got to 721 00:38:10,520 --> 00:38:14,200 Speaker 1: really tap in and my boy Childish Major. We got 722 00:38:14,239 --> 00:38:18,400 Speaker 1: in and man just cooked up something real special. Uh, 723 00:38:18,560 --> 00:38:20,520 Speaker 1: thank you for coming back, because the last time you 724 00:38:20,520 --> 00:38:22,600 Speaker 1: tried to come on the podcast, you came with hit 725 00:38:22,680 --> 00:38:25,839 Speaker 1: Maker and the Nelk boys were in the studio and 726 00:38:25,880 --> 00:38:29,360 Speaker 1: they tried to prank you guys, and things went it 727 00:38:29,440 --> 00:38:34,040 Speaker 1: went left. To say, things went left. Berg did not 728 00:38:34,120 --> 00:38:36,520 Speaker 1: appreciate it. I feel like you were kind of like 729 00:38:36,640 --> 00:38:40,239 Speaker 1: because I let Nima know that it was happening, he 730 00:38:40,360 --> 00:38:43,440 Speaker 1: knew and we didn't know. I was like, wait, what 731 00:38:43,560 --> 00:38:47,319 Speaker 1: haven't the dude came in? What was he was doing 732 00:38:47,360 --> 00:38:50,799 Speaker 1: an interview? And the dude came in with a sand blaster? Yeah? Yeah, 733 00:38:50,840 --> 00:38:52,800 Speaker 1: he can't even think it was a It's on YouTube. 734 00:38:52,960 --> 00:38:55,040 Speaker 1: It's got millions of views on YouTube. But your guys' 735 00:38:55,160 --> 00:38:58,799 Speaker 1: faces are blurred. I gotta see. I thought it was joking. No, 736 00:38:58,960 --> 00:39:03,120 Speaker 1: that shit is online and it's it went viral. So 737 00:39:03,239 --> 00:39:07,520 Speaker 1: in the comments, everyone's guessing who you got are because 738 00:39:07,840 --> 00:39:10,919 Speaker 1: you guys faces were blurred. Yeah, please send me that link. 739 00:39:11,160 --> 00:39:13,000 Speaker 1: Shout out to Bird, shout out of hit Maker. Yes, 740 00:39:13,040 --> 00:39:15,799 Speaker 1: sir go get the album. I appreciate you man, thank you. 741 00:39:15,920 --> 00:39:17,360 Speaker 1: Looking forward to the rest of the year. That what 742 00:39:17,440 --> 00:39:19,719 Speaker 1: you got in store for us? Broh yeah man, yes, sir, 743 00:39:20,800 --> 00:39:21,520 Speaker 1: let's go fire.