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Speaker 1: R and B Money.

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Speaker 2: Honey, thanks take valentized. We are the authority on R

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Speaker 2: and B.

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Speaker 1: The gentleman. Mon name is Tank Valentine.

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Speaker 3: This is the Army Money podcast, the Athority.

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Speaker 4: Come on, come on, whoa on all things R and B.

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Speaker 3: Yeah, yeah, and turn not your note what brough.

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Speaker 1: Governor? Yes, tribal brother, tible brother, tribal brother.

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Speaker 3: Yes, yes, yes, it's not just puno and falsetto.

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Speaker 5: No, no, no, you heard that.

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Speaker 4: Watch it back.

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Speaker 1: We are talking.

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Speaker 3: We are talking talent and gift presentation, artistry. A student

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Speaker 3: of the game and master of the trade. And he's

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Speaker 3: just getting started. Yeah, and it's scary, but he's here

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Speaker 3: from across the pond. Ladies and gentlemen, my friend and

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Speaker 3: Geoffrey tell.

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Speaker 4: Me thank you so much. Well a greeting. You know what,

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Speaker 4: singer is that you can't just be blowing your voice

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Speaker 4: out like that. You do that every intro. That's crazy.

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Speaker 1: You know what. It came from church.

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Speaker 3: So I used to have the super soft voice and

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Speaker 3: and you know, do my Jackson singing my pretty falsettu

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Speaker 3: and just stay there and just and then I started

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Speaker 3: being on the road and having shows with people like

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Speaker 3: Reverend John p key.

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Speaker 1: That sounds crazy already now.

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Speaker 3: Isaac and Lowell, and I was like, whoa, my baby

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Speaker 3: voice isn't going to work. And so I stripped my

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Speaker 3: voice so that I could be a harder singer.

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Speaker 4: You did want.

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Speaker 1: I stripped my voice.

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Speaker 4: You talking about physical stripping of flesh in a sense

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Speaker 4: singing you can blow your voice out enough where it

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Speaker 4: doesn't blow out.

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Speaker 1: I learned that from him.

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Speaker 4: Because that's the problem I have on tour all the time.

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Speaker 4: I'll lose my voice too much.

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Speaker 3: So what happens is right, you have your studio voice,

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Speaker 3: which is the comfortable space, which is the takes. Never

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Speaker 3: lets me down right, which is scary because takes are

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Speaker 3: scary because you know, as I've learned from Gladys Knight right.

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Speaker 3: And she was the first person I ever saw do that.

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Speaker 3: I had heard about it, but I had never seen it.

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Speaker 3: She sang the song from top to bottom. I worked

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Speaker 3: with her in the late nineties. And I'm looking and

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Speaker 3: I'm like, okay, do you want to catch something from

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Speaker 3: the middle, And Jesus is no, I want to sing

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Speaker 3: it from top to bottom. I want to give you

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Speaker 3: a great performance as if I was singing this song live,

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Speaker 3: So that I can replicate it when I do it live,

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Speaker 3: when you do it live. So what happens is when

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Speaker 3: you start singing a song that you've perfected with takes

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Speaker 3: live every night.

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Speaker 4: Yeah, it's different. That's when it sounds getting here. And

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Speaker 4: also what I've also realized is when you're on tour

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Speaker 4: for your set list, you're going to put a bunch

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Speaker 4: of your best songs on the thing, which a lot

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Speaker 4: of those songs have crescendos and peaks, and which you

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Speaker 4: wouldn't do this because you're just doing that one song.

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Speaker 4: You're like, man, I'm gonna give them my ale and

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Speaker 4: I'm gonna go home and go to bed. Yeah, I

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Speaker 4: was like, I'm doing this one, I'm this one, I'm

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Speaker 4: this one, I'm this one.

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Speaker 3: And so the pace, like the pace and the delivery

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Speaker 3: are the things you have to manage. So I put

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Speaker 3: that on this on my sound man, my front house

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Speaker 3: guy and a monitor guy. I shouldn't have to over

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Speaker 3: sing in order for the crowd to hear me and

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Speaker 3: enjoy me, and so a lot of that comes with

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Speaker 3: it starts in your ears. So I should be so

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Speaker 3: comfortable in my ears that even if I'm singing at

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Speaker 3: a whisper. I can feel that like it's a it's

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Speaker 3: a real thing, and I don't overcompensate thinking that nobody

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Speaker 3: else can hear me.

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Speaker 4: Because that was my problem. I hate it so much.

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Speaker 4: I can't I can't stand theirs change my life. I

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Speaker 4: feel like I need to.

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Speaker 3: Really I hated ears. I still have an element. I

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Speaker 3: still have an element where I hate him because we

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Speaker 3: like the crowd.

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Speaker 4: That's the thing. I can't hear anything.

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Speaker 1: But that's why I hit the crowd, mics.

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Speaker 5: Mics into the and because that's what that's That's what

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Speaker 5: our conversation was. When he was like, Jay, you gotta

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Speaker 5: get ears. I was like, Nope, I'm not getting heared.

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Speaker 5: He's like, but I need you to go on the

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Speaker 5: road with me, so you know, you got to come out.

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Speaker 5: And he's like, it's going to be different. It's not

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Speaker 5: the same if you don't have ears, especially in these

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Speaker 5: type of.

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Speaker 4: Spaces and then when they get bigger.

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Speaker 5: So what he told me was just like and he

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Speaker 5: got with told his his front of the house and

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Speaker 5: he was like, told give him some crowd. Let him

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Speaker 5: still feel like he's singing for somebody, just instead of

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Speaker 5: just singing for hisself. And you know, find find find

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Speaker 5: a space for him where it feels comfortable. And once

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Speaker 5: that happened, I was like, oh, this is a godsend.

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Speaker 4: But then how did the Beatles do it? I don't know,

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Speaker 4: before it like James Brown like.

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Speaker 1: They did it how they had had to do it?

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Speaker 5: Yeah, they did how they had to do it, And

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Speaker 5: I'm sure there was blowing out their voice and you know.

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Speaker 3: But think about it now, like now we're now we're

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Speaker 3: working more smarter than harder because you run from them, right, right,

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Speaker 3: So technology is going to help us survive and last longer.

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Speaker 3: Right because the way you sing right its presence, right,

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Speaker 3: It's like it invokes a moment where lighting and all

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Speaker 3: of these things where in a sense, if people aren't

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Speaker 3: singing along, they're quiet and they're watching intently, right, and

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Speaker 3: that's let's work on you.

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Speaker 4: I've had to learn that, let's work, Yeah, let's work.

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Speaker 3: B you just sing in your space. I've even I've

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Speaker 3: even you know, I've even. Since I have a strong falsetto,

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Speaker 3: I was reluctant to use it in voices that were

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Speaker 3: in my high chest area because I just felt like

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Speaker 3: my ego said, you got to hit that in your chest.

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Speaker 1: No, I don't.

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Speaker 4: I had to forget that early on. I was like,

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Speaker 4: there's no way, No, I don't, there's no way. There's like,

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Speaker 4: there's there's a levels. I feel like another part of

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Speaker 4: being a singer is really understanding how far you can

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Speaker 4: really go. I realized quickly. I was like, I can't

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Speaker 4: do this is a bad example. Like ray J one

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Speaker 4: wish he sings that here.

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Speaker 5: Yeah, yeah, I love that's a great example. Here's a

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Speaker 5: great example.

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Speaker 4: Actually right there. And quick I was like, I cannot

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Speaker 4: sing that song the way he sings it.

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Speaker 3: The ray J can't sing that song the way he

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Speaker 3: singing And that's no, no, and that's not a disc

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Speaker 3: to ray J. It's just where the song lives of

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Speaker 3: his vocals from time. They produced the hell out of

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Speaker 3: that song.

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Speaker 2: Yeah.

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Speaker 1: Right when I say l Sean wrote a song, that's also.

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Speaker 3: Where Lashawan lived, it's where he lives. And you know

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Speaker 3: what I mean, spot where women can sing along? Yes,

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Speaker 3: it is, it is.

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Speaker 5: I remember I have a demo I played I don't

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Speaker 5: know if I played for you with a record that

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Speaker 5: me and La Sean wrote before he passed, and he's

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Speaker 5: singing so high. I was like, bro, we're never placing

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Speaker 5: this record. I was like, just so you know, we're

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Speaker 5: never placing this record. It's just for us to listen

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Speaker 5: to in our cars. A great song, but nobody's going

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Speaker 5: to sing this.

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Speaker 1: Bro.

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Speaker 5: We can't find anyone and it never went anywhere. But

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Speaker 5: it's a great song in this space man where women.

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Speaker 5: He was singing that so easy. He was singing it

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Speaker 5: so easy too, because he's because he sings up there.

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Speaker 4: That's Neo's pocket as well. Neo has songs, and I'm like,

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Speaker 4: I can't sing the song the way Neo.

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Speaker 1: Si and he's clean yet in his height, and.

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Speaker 4: It doesn't because the radio one sounds like, oh he

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Speaker 4: is pushing.

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Speaker 1: Yeah, it's about I have that same thing.

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Speaker 3: When I go high, it sounds I know how to

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Speaker 3: use my compressor. So it's just loud, but you're gonna

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Speaker 3: hear he's fighting.

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Speaker 4: Givem all you Gotause's that's perfect. Segue slowly your song slowly.

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Speaker 4: I could never sing that song because.

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Speaker 1: I can so slowly. Slowly is me from top to bottom?

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Speaker 4: Yeah?

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Speaker 1: Right? One take?

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Speaker 4: Oh that's crazy. Oh this scene in this evening, the

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Speaker 4: whole thing that was.

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Speaker 3: Me experimenting with my gladdest night formula. So maybe I

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Speaker 3: deserve is top to bottom. Maybe I deserve it slowly.

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Speaker 3: Both both are so and you when you hear me

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Speaker 3: fighting it, then yeah, yeah, I'm fighting you fight for real.

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Speaker 1: I'm fighting for real.

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Speaker 3: Fighting And I said, cool, keep it.

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Speaker 1: Not my greatest ending of songs.

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Speaker 4: You you need to hang slowly?

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Speaker 1: Not my greatest endings. What but I said, keep it?

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Speaker 4: Oh my god, those are my favorite songs ever.

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Speaker 1: And this is pre tuned.

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Speaker 3: Yeah, yeah, thing, I said, just keep it that the

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Speaker 3: people that's insane.

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Speaker 1: I didn't even know that.

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Speaker 4: Another question, I'm just gonna this is gonna be a

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Speaker 4: tank interview seven money. It'll be my you know in

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Speaker 4: the end when when the song comes back, yes, and

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Speaker 4: come on, Jay did web and it comes the song?

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Speaker 4: Does that mean you would that whole take? You were

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Speaker 4: just sat in the booth waiting for the song to

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Speaker 4: come back, and then he came back and then you're like.

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Speaker 1: Come on, no, no, no, so so the song.

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Speaker 4: Cause it stops the stop and I'm always like the

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Speaker 4: next post just like guys, wait, do people know that

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Speaker 4: when they come to the shows.

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Speaker 1: When they come wa this is a layer that is

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Speaker 1: so dope. People need from you, like this is the goal, bro.

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Speaker 4: Because I used to when I used to play people slowly,

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Speaker 4: I'll be like, no, guys, the song's not done. Just

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Speaker 4: give it like wait, he's gonna come back.

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Speaker 3: So the song is originally just one complete long song, right,

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Speaker 3: So we got into a time issue in terms of, uh,

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Speaker 3: when you're when you're numbering the song, what was that

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Speaker 3: called sequence?

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Speaker 1: Sequence?

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Speaker 3: And then and in terms of how many whatever, I'm

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Speaker 3: messing that up. But so it was the whole song

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Speaker 3: is really the whole originally the whole song if we

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Speaker 3: faded out on purpose, yeah, right, and then just faded

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Speaker 3: it back up and I sang all that from top

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Speaker 3: to bottom.

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Speaker 4: And do you have that?

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Speaker 1: Do you have that the fade up?

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Speaker 4: Do you have the song as it is?

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Speaker 3: No?

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Speaker 4: What do you mean?

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Speaker 3: Gotta find it? We did, bro, We did those songs.

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Speaker 3: This is this is ninety nine. So let's suits your fault.

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Speaker 3: So I'm gonna give you a heads up of how

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Speaker 3: the music business used to work. Come on, talk about right,

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Speaker 3: there were there are these things called tape. There are

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Speaker 3: these days, got yeah, the real real it's just right

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Speaker 3: and over time, bro, Like there are certain people I think,

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Speaker 3: like from my understanding, Jimmy Jim and Terry Lewis, Jermaine Duprix,

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Speaker 3: they still have like all the tapes, and but most

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Speaker 3: artists probably that came around the early two thousands, uh huh,

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Speaker 3: that would losing studios, studios going out of business, was

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Speaker 3: going out of business in there.

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Speaker 1: They just go over time and you think you've collected

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Speaker 1: all of them.

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Speaker 5: But the cool thing about us having this platform in

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Speaker 5: this podcast is that there's probably somebody out there that

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Speaker 5: shouldn't have the actual.

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Speaker 3: Tape that has its slowly I'm gonna reach out to,

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Speaker 3: please reach out.

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Speaker 4: To me.

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Speaker 3: That that's how Okay, So tell me this. We're in Oxford, right,

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Speaker 3: Yes we are. We're in Oxford.

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Speaker 4: Indeed, how do you.

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Speaker 1: Get to how do you get to R and B

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Speaker 1: music and the piano?

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Speaker 6: Yeah?

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Speaker 4: Right?

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Speaker 1: And and I'm saying that in terms of like the

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Speaker 1: soulful version of.

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Speaker 4: It, I think how do I? I mean, I got

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Speaker 4: there when I was born in Frankfurt, Germany, and I

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Speaker 4: moved from there to Oxford, and a lot of my

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Speaker 4: larger family were in Oxford. So before that point I

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Speaker 4: didn't have like cousins around or whatever. So when I

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Speaker 4: want to ask her to have my older cousins that

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Speaker 4: were there. There's people that listened to music and they

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Speaker 4: were like, yoh, they had this big hard drive and

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Speaker 4: they had like Neo Wayne t Pain like all the

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Speaker 4: current RB at the time. They had it on lock.

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Speaker 4: Whatever that sound was hooked me more than it hooked them.

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Speaker 4: Where I then went and because I think I'm naturally quiet,

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Speaker 4: I think some people are wired to just be nerds.

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Speaker 4: I'm a nerd to the extent whatever it is. If

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Speaker 4: it's comics, I mean, I need to know that Cole.

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Speaker 4: I need to know why A makes B at least

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Speaker 4: to see the least that. I need to understand the lineage.

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Speaker 4: So I just went, Okay, I like this Usher song

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Speaker 4: at the time, what came out at the time. Here

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Speaker 4: I stand two thousand and son, Hey, yeah, I think

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Speaker 4: it was something special that song. But that song from there,

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Speaker 4: I kind of kept going in, I need to know

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Speaker 4: what happened before, what was before the confessions, understand that

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Speaker 4: eight seven oh one, and then that logic was with

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Speaker 4: all of it. And that's how I ended up back

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Speaker 4: with the Marios. How could you be one of the

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Speaker 4: songs that's one of my favorite songs, Get Karma Suit

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Speaker 4: to a crazy lyric love you for that, into your albums,

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Speaker 4: into and then going back into the hate towns and

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Speaker 4: the main conditions, and I was just obsessed. Where I

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Speaker 4: always feel like people ask like, where did you find

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Speaker 4: these soulful songs? It's because me finding these songs was

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Speaker 4: soul searching in itself.

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Speaker 3: It almost like as you found one, it led kept

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Speaker 3: leading you to another.

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Speaker 4: And then the beauty of sampling where you would hear

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Speaker 4: say like a jahim put that on the first you

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Speaker 4: go who is that originally? Oh, that's William Bell Oh,

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Speaker 4: and now you're in and then there's this like flip

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Speaker 4: flopping of the eras, and that was the beauty of white.

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Speaker 4: To this day, I assessed with this concept of the

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Speaker 4: lineage because I understand that the lineage isn't even like

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Speaker 4: you can't even quantify it by time, because the lineage

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Speaker 4: is always influencing everything all at once through the art

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Speaker 4: of sampling or the melodies we choose. There's riffs we

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Speaker 4: all collectively as a collective part of this lineage of

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Speaker 4: R and B.

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Speaker 1: And you're doing this at like eight nine years old.

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Speaker 4: This is the ten twelve eleven like going into that.

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Speaker 3: I get it because Bro because once, because when you

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Speaker 3: have the gift, things trigger it, yes, and what you're

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Speaker 3: and once you're triggered, you can't stop. You have to

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Speaker 3: you have to find why. You have to search out

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Speaker 3: the feeling and the why. You know, we always talk

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Speaker 3: about this. I was like, why does Charlie Brown Christmas

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Speaker 3: feel like this? Who's playing that? I need to learn

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Speaker 3: it so that I can have this feeling all the time.

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Speaker 4: Because that's how that's that's the real secret power is

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Speaker 4: that we can just open our mouth and it's just here.

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Speaker 4: People always say like, how do you feel. I'm like,

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Speaker 4: I feel blessed that I'm not here right now for

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Speaker 4: that part. Everything else who cares. But of the fact

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Speaker 4: that I can just be in a wherever and I'm

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Speaker 4: just singing a Hatestown B side that is special to me.

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Speaker 4: I'm like, I mean number one, I feel like I

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Speaker 4: just got to mention quick Dina from Hatstown is one

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Speaker 4: of the greatest vocalists that man there taught me a

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Speaker 4: lot of how I sing him. It was him if

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Speaker 4: I think about the vocal frame of my voice, him

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Speaker 4: Stevie Babyface, and I remember the first person that really

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Speaker 4: was a trigger for me going even further was when

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Speaker 4: I heard Danielle Jones sing for the first time. That

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Speaker 4: was the first time I heard someone that I felt

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Speaker 4: sounded like me.

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Speaker 3: I was going to say, I was going to ask

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Speaker 3: you if Danielle Jones was a component big because I

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Speaker 3: hear all of it.

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Speaker 7: I see it slimmer baby girl, mess it saying on

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Speaker 7: be coming home.

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Speaker 1: I dare you to redo that.

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Speaker 4: I already know. When I heard that song, I was like,

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Speaker 4: whoa Like I started singing and it just felt like

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Speaker 4: the vibrations were just like like this. I didn't struggle

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Speaker 4: at all. Back to the example of Ray J was like,

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Speaker 4: I could have sing one which but then Denel Jones

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Speaker 4: came and all his songs.

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Speaker 5: Down in your pocket. It's like talking for you. Yeah,

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Speaker 5: when it gets into that space, I'm here now. And

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Speaker 5: the cool thing is, especially.

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Speaker 1: With you being a young a young young guy, bro, Like.

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Speaker 5: It makes me smile to hear you talk about music,

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Speaker 5: you know, seriously, but because I can tell how studied

337
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Speaker 5: you are, how research you are. But it's one of

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Speaker 5: those things where a lot of people, no matter how

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Speaker 5: old they are, they don't know how to find this

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Speaker 5: space where singing feels like talking. They're either over singing

341
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Speaker 5: there that they haven't found that comfort zone.

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Speaker 1: Of like, yo, I can do this all day, all night.

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Speaker 4: It doesn't matter, and it doesn't matter because that was

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Speaker 4: where when I started writing music, because I only started

345
00:18:15,880 --> 00:18:18,760
Speaker 4: writing music when I got in I had a bizarre

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00:18:19,119 --> 00:18:23,159
Speaker 4: viral moment singing D'Angelo, and I got kind of thrust

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Speaker 4: into the music world from this video. It was like,

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Speaker 4: I went to bed, i'mtitled Yeah, of course sang I'm

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Speaker 4: titled That's my favorite song at the time. I went

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Speaker 4: to bed, and the next morning everything blown up. I

351
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Speaker 4: was like what I woke up as Missy Elliott reposted it,

352
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Speaker 4: Questlove reposted it talking about I was in London in

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Speaker 4: two thousand. That might be my son, so he's talking

354
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Speaker 4: about that whatever. So then I was just thrust in

355
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Speaker 4: managers and labels and then suddenly, before I knew it,

356
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Speaker 4: I was in the studio. And before that point, I

357
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Speaker 4: never wanted to be a musician. I loved music. How

358
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Speaker 4: I'm now describing to I love music, but for some

359
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Speaker 4: reason it never connected in my head the concept of

360
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Speaker 4: do it yourself. I was because I was I held

361
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Speaker 4: it at such high regard. I was just a fan

362
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Speaker 4: I was like, I could never. My friend he's asked me,

363
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Speaker 4: is like, how how where do you think you placed

364
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Speaker 4: amongst the people that you love to listen to? Nowhere? Man,

365
00:19:18,040 --> 00:19:21,320
Speaker 4: there's no way I can't. I'm on tank like I'm not.

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Speaker 1: So you weren't even looking for a deal. You weren't

367
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Speaker 1: looking for anything.

368
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Speaker 4: No, I was just I was. I was studying poetry

369
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Speaker 4: university at the time, and.

370
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Speaker 1: You were studying poetry university.

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Speaker 4: Only because I knew it was the thing that I

372
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Speaker 4: was best at. Maybe, And really the truth is I

373
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Speaker 4: just wanted to extend my childhood.

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Speaker 1: I was ready right now, what.

375
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Speaker 4: Do you mean.

376
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Speaker 1: The ass that's going to be in your DM?

377
00:19:47,240 --> 00:19:47,440
Speaker 4: Wait?

378
00:19:47,560 --> 00:19:47,600
Speaker 1: What?

379
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Speaker 4: I didn't even know what.

380
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Speaker 3: Bro It was so much flashing. What do you mean

381
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Speaker 3: studying poetry?

382
00:20:00,280 --> 00:20:00,920
Speaker 4: Yeah, I don't know.

383
00:20:01,520 --> 00:20:14,680
Speaker 8: Yeah, you don't know studying poetry.

384
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Speaker 9: I didn't want it, man, I didn't want I didn't

385
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Speaker 9: want this this life.

386
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Speaker 4: It kind of just asserted itself on me. And then

387
00:20:31,560 --> 00:20:32,879
Speaker 4: I was in the studio and suddenly it was like

388
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Speaker 4: you gotta write song. And that was the first thing.

389
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Speaker 4: My first struggle was how do I then take the

390
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Speaker 4: poetry that I think I know how to do? And

391
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Speaker 4: I bring it.

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Speaker 5: With all this now music that's pool that I had

393
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Speaker 5: song for And I was like, so you hadn't even

394
00:20:46,359 --> 00:20:49,080
Speaker 5: written a record yet, never never written a song, never

395
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Speaker 5: written a song.

396
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Speaker 4: It's only poems, just only poems. And then I was

397
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Speaker 4: writing poems on this hand, and I was singing all

398
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Speaker 4: my favorite songs on this hand. But I never did

399
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Speaker 4: this ever. So when I had to, it was like,

400
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Speaker 4: how do I do this? How do I do this?

401
00:21:01,280 --> 00:21:04,240
Speaker 4: And the first, the biggest AHA moment was figuring that

402
00:21:04,280 --> 00:21:07,720
Speaker 4: part of being Oh, I can write songs for me

403
00:21:08,520 --> 00:21:10,560
Speaker 4: that I can sing and enjoy.

404
00:21:10,760 --> 00:21:11,960
Speaker 1: And how old are you at this point?

405
00:21:12,040 --> 00:21:21,600
Speaker 4: At this point, I'm twenty one, so that's three right,

406
00:21:21,720 --> 00:21:22,320
Speaker 4: two days ago.

407
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Speaker 1: It's fine.

408
00:21:25,760 --> 00:21:27,439
Speaker 4: Because people always actually they're like, you've only been doing

409
00:21:27,480 --> 00:21:28,919
Speaker 4: it for so long. I'm like, really even doing it

410
00:21:28,920 --> 00:21:31,480
Speaker 4: for like fifteen because me studying music the way it was,

411
00:21:31,520 --> 00:21:32,240
Speaker 4: that was almost a job.

412
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Speaker 1: I just didn't know for sure, right for sure right itself.

413
00:21:35,920 --> 00:21:37,720
Speaker 1: It was just love. It was just it was just love.

414
00:21:37,840 --> 00:21:41,080
Speaker 1: You didn't know. You didn't realize the hours, no, you

415
00:21:41,119 --> 00:21:41,720
Speaker 1: were putting it.

416
00:21:41,800 --> 00:21:43,480
Speaker 4: Yeah, that's like the ten thousand hours to talk about.

417
00:21:43,520 --> 00:21:45,040
Speaker 4: It was like I was racking that up. I just

418
00:21:45,080 --> 00:21:46,879
Speaker 4: had no idea. So when I come in, they're like, man,

419
00:21:46,880 --> 00:21:47,840
Speaker 4: how did you know about this? It was like I

420
00:21:47,880 --> 00:21:49,360
Speaker 4: didn't do this last week. I did this a long

421
00:21:49,400 --> 00:21:52,040
Speaker 4: time ago. I'm like, oh, like, I don't know why

422
00:21:52,080 --> 00:21:54,080
Speaker 4: I'm listening to to Hate Town Special kind of fool.

423
00:21:54,080 --> 00:21:57,479
Speaker 4: I don't know why. I just love that record. I

424
00:21:57,560 --> 00:22:00,439
Speaker 4: just I just that's just what it was. Coming in.

425
00:22:00,480 --> 00:22:01,760
Speaker 4: I'm like, cool here.

426
00:22:01,640 --> 00:22:07,960
Speaker 5: I am, so now you get noticed the world is watching.

427
00:22:08,240 --> 00:22:13,000
Speaker 5: Right as a young man twenty years old in school,

428
00:22:13,680 --> 00:22:17,160
Speaker 5: how do you navigate, for lack of a better term,

429
00:22:17,280 --> 00:22:18,239
Speaker 5: who he's gonna fuck with?

430
00:22:18,920 --> 00:22:19,240
Speaker 4: Yeah?

431
00:22:19,640 --> 00:22:20,400
Speaker 1: How do you navigate?

432
00:22:20,440 --> 00:22:24,080
Speaker 4: That's that's probably the worst and best time in my life,

433
00:22:24,560 --> 00:22:27,600
Speaker 4: leaning more on worst that first month, and I don't

434
00:22:27,640 --> 00:22:29,320
Speaker 4: even say like the first three months of me like

435
00:22:30,000 --> 00:22:34,240
Speaker 4: having attention online, then understanding that I even wanted to

436
00:22:34,240 --> 00:22:38,399
Speaker 4: do this as a thing, and then meeting all those people.

437
00:22:38,760 --> 00:22:43,359
Speaker 4: It's terrifying, like genuinely terrifying. You have no idea, Like

438
00:22:43,440 --> 00:22:48,760
Speaker 4: I left Bournemouth who we're so, yeah, that's right, Bournemouth

439
00:22:48,760 --> 00:22:51,240
Speaker 4: as well, studying university. It's a town in southern coast

440
00:22:51,280 --> 00:22:53,639
Speaker 4: of England. So I leave there sounds like something here

441
00:22:53,720 --> 00:23:00,119
Speaker 4: pattern Yeah, but yeah, Bournemouth's crazy. Yeah, I got we

442
00:23:00,160 --> 00:23:02,480
Speaker 4: ain't got guns in England. So it's all this we

443
00:23:02,560 --> 00:23:04,240
Speaker 4: don't know how to do this is this is weird,

444
00:23:04,320 --> 00:23:07,520
Speaker 4: this is far into us to just do this. So

445
00:23:08,520 --> 00:23:09,960
Speaker 4: it kind of tracks as it looks like a knife.

446
00:23:10,000 --> 00:23:12,879
Speaker 4: It looks like a knife. It's the same, it's the

447
00:23:12,920 --> 00:23:20,000
Speaker 4: same theory the fuck. I went from Boarman, I went

448
00:23:20,040 --> 00:23:21,879
Speaker 4: the platform nine and three quarters and I got on

449
00:23:21,920 --> 00:23:24,600
Speaker 4: the train and I went to London and then I

450
00:23:24,640 --> 00:23:27,800
Speaker 4: was at a friend's house on a couch and it

451
00:23:27,920 --> 00:23:29,919
Speaker 4: was just every day we're just and this is the problem.

452
00:23:29,920 --> 00:23:33,119
Speaker 4: It's the scariest part about the music industry and just

453
00:23:33,160 --> 00:23:36,200
Speaker 4: in life in general is that the truest evil always

454
00:23:36,240 --> 00:23:39,760
Speaker 4: comes at you with a smile. Yeah, And that's what

455
00:23:39,920 --> 00:23:42,760
Speaker 4: the scariest part of it was was me realizing that

456
00:23:43,280 --> 00:23:45,000
Speaker 4: the person that's trying to fuck you over isn't going

457
00:23:45,040 --> 00:23:46,159
Speaker 4: to come at you and be like I'm trying to

458
00:23:46,200 --> 00:23:48,160
Speaker 4: mess you up like this, this, this, this, this, they're

459
00:23:48,160 --> 00:23:49,440
Speaker 4: going to come and go like this is how you're

460
00:23:49,440 --> 00:23:51,679
Speaker 4: going to come up? Is how you're going to do this?

461
00:23:52,200 --> 00:23:54,600
Speaker 4: And it was being twenty one having no idea, what

462
00:23:54,720 --> 00:24:00,679
Speaker 4: anything meant, all this music lingo jargon, splits and publishers.

463
00:24:00,760 --> 00:24:02,520
Speaker 4: I'm like, I didn't even write a song yet are

464
00:24:02,520 --> 00:24:05,800
Speaker 4: we talking about this? And now advance? I'm like, what

465
00:24:05,880 --> 00:24:09,120
Speaker 4: is an advance? What's happening? It was figuring out all

466
00:24:09,160 --> 00:24:12,640
Speaker 4: of that was the worst And how I ended up

467
00:24:12,680 --> 00:24:15,320
Speaker 4: finding out wasn't actually from what people told me I

468
00:24:15,359 --> 00:24:18,879
Speaker 4: could have. It was when someone told me we're not

469
00:24:18,920 --> 00:24:23,159
Speaker 4: gonna do anything. My managers that I know looked at

470
00:24:23,160 --> 00:24:25,320
Speaker 4: me the first time and they were like, we're not

471
00:24:25,320 --> 00:24:29,359
Speaker 4: going to sign nothing. We're not gonna do nothing, but

472
00:24:29,880 --> 00:24:33,200
Speaker 4: give you the space to learn how to write music

473
00:24:33,440 --> 00:24:35,800
Speaker 4: for the next year how long it takes, then let's

474
00:24:35,800 --> 00:24:38,280
Speaker 4: talk about because for now there's nothing to talk about.

475
00:24:38,960 --> 00:24:40,760
Speaker 4: M Until you have a body of about you're proud

476
00:24:40,800 --> 00:24:42,400
Speaker 4: of that, we can talk about now you're an artist

477
00:24:42,440 --> 00:24:44,400
Speaker 4: and we can play this as an artist plays the game.

478
00:24:44,640 --> 00:24:46,840
Speaker 4: But that was kind of the biggest scary part for me,

479
00:24:46,960 --> 00:24:50,600
Speaker 4: is coming into the world as someone singing a cover,

480
00:24:51,680 --> 00:24:55,399
Speaker 4: getting out of the cover game. If you, if you,

481
00:24:55,680 --> 00:24:57,879
Speaker 4: if you make the mistake of jumping in through that

482
00:24:57,920 --> 00:24:59,600
Speaker 4: way and being like this that works. So I'm gonna

483
00:24:59,640 --> 00:25:02,840
Speaker 4: do this works for me is terrifying. So that was

484
00:25:02,880 --> 00:25:05,679
Speaker 4: their immedia first thing was like no, no, no, no, no,

485
00:25:06,520 --> 00:25:09,600
Speaker 4: let's go. We're going to put you with good producers,

486
00:25:09,600 --> 00:25:12,200
Speaker 4: good writers that we trust. Jamie Woon is an incredible

487
00:25:12,280 --> 00:25:15,960
Speaker 4: artist from the UK. That basically became my sense and

488
00:25:16,000 --> 00:25:18,880
Speaker 4: the thing that we shared was our love for Stevie.

489
00:25:20,640 --> 00:25:22,560
Speaker 4: And from there I was gone because that was another

490
00:25:22,560 --> 00:25:24,760
Speaker 4: thing that was incredible for me coming from Oxford is

491
00:25:25,080 --> 00:25:27,879
Speaker 4: no one my aid in Oxford could talk to me

492
00:25:27,920 --> 00:25:32,800
Speaker 4: about You could talk to me about Mint Condition or

493
00:25:32,840 --> 00:25:35,880
Speaker 4: the Commodorees or whatever. They had no idea. So when

494
00:25:35,920 --> 00:25:38,439
Speaker 4: I found someone like Jamie who was like, oh I

495
00:25:38,480 --> 00:25:42,120
Speaker 4: know about Oh your favorite Stevie song is is Joined

496
00:25:42,160 --> 00:25:45,280
Speaker 4: side my Tears? Oh amazing, So oh my god, I

497
00:25:45,280 --> 00:25:47,840
Speaker 4: can't believe I'm even talking to someone who knows this language.

498
00:25:48,280 --> 00:25:50,600
Speaker 4: And from there just did that for a year, worked

499
00:25:51,359 --> 00:25:53,680
Speaker 4: wrote music until I came my first project, and then

500
00:25:53,680 --> 00:25:56,000
Speaker 4: from there it was like, let's go and figure this out.

501
00:25:56,040 --> 00:25:57,520
Speaker 4: And then I came to LA and I did what

502
00:25:57,560 --> 00:25:59,240
Speaker 4: I had to do and that was fine.

503
00:25:59,240 --> 00:26:02,520
Speaker 1: But you had and sith the deal yet yet? So

504
00:26:03,000 --> 00:26:04,320
Speaker 1: how long did it take you to get to.

505
00:26:04,359 --> 00:26:09,120
Speaker 4: That that took about a year, another year, another year.

506
00:26:09,240 --> 00:26:12,040
Speaker 4: So we only signed basically just like a like a

507
00:26:12,160 --> 00:26:17,760
Speaker 4: release a publishing deal with this label called rn R,

508
00:26:18,359 --> 00:26:21,800
Speaker 4: no advance, nothing, just like just to release the and

509
00:26:21,840 --> 00:26:27,200
Speaker 4: then from that I ended up. It's man, it's hilarious.

510
00:26:27,840 --> 00:26:33,960
Speaker 4: Tanji who's had a death champ currently. He so funny.

511
00:26:34,000 --> 00:26:35,800
Speaker 4: I don't know if I told the story. He was

512
00:26:35,840 --> 00:26:37,639
Speaker 4: creeping in my d ms from early.

513
00:26:38,800 --> 00:26:41,480
Speaker 1: He's very early on, very early on everyone.

514
00:26:41,480 --> 00:26:43,480
Speaker 4: But how he did it was hilarious. He would come

515
00:26:43,480 --> 00:26:47,040
Speaker 4: in and he would be like, you're doing great, young man.

516
00:26:47,440 --> 00:26:51,160
Speaker 4: Carry on, there's the point. I would respond, Then he'd

517
00:26:51,160 --> 00:26:52,960
Speaker 4: be gone. He wouldn't respond again, like what the fuck

518
00:26:53,040 --> 00:26:56,480
Speaker 4: is what? What's wrong with him? Six months later he'll

519
00:26:56,480 --> 00:27:01,919
Speaker 4: be like watching you man? What is ever? Be like yo,

520
00:27:02,040 --> 00:27:03,399
Speaker 4: like what are you talking about? Who are you? I

521
00:27:03,400 --> 00:27:06,560
Speaker 4: don't know who you are? I'm sorry, but like the

522
00:27:06,640 --> 00:27:08,640
Speaker 4: mystery game works if I know what I.

523
00:27:08,600 --> 00:27:09,199
Speaker 1: Know who you are.

524
00:27:09,280 --> 00:27:09,879
Speaker 4: I know who you are.

525
00:27:09,920 --> 00:27:13,719
Speaker 1: It's a weird guy.

526
00:27:12,200 --> 00:27:14,040
Speaker 4: And he has either if you changed his profile. He

527
00:27:14,119 --> 00:27:17,480
Speaker 4: had this like Nigerian uncle profile with his glass inside

528
00:27:17,560 --> 00:27:21,320
Speaker 4: these shades. I'm like, Tani, like it's crazy. You look crazy?

529
00:27:21,600 --> 00:27:23,560
Speaker 4: Who are you so you didn't look him up though

530
00:27:23,840 --> 00:27:24,359
Speaker 4: not really.

531
00:27:25,280 --> 00:27:27,919
Speaker 5: This is even more interesting, especially with you being that

532
00:27:28,119 --> 00:27:31,560
Speaker 5: young man because you know y'all of the Google age.

533
00:27:31,440 --> 00:27:33,400
Speaker 1: Yeah you know what I mean, like y'all looking up everything.

534
00:27:33,960 --> 00:27:35,600
Speaker 4: I just looked at I was like, I know this

535
00:27:35,640 --> 00:27:39,119
Speaker 4: is he's gonna waited me out. And we never really

536
00:27:39,200 --> 00:27:41,879
Speaker 4: like because also like we couldn't have a conversation. Whenever

537
00:27:41,880 --> 00:27:45,280
Speaker 4: I would respond, He's gone. So I'm like, cool, I guess.

538
00:27:45,560 --> 00:27:46,840
Speaker 4: And it was then I think I was listening to

539
00:27:46,920 --> 00:27:49,400
Speaker 4: Jeordia Smith interview and she mentioned his name. I went,

540
00:27:49,560 --> 00:27:52,879
Speaker 4: that's the creepy guy from my d M.

541
00:27:53,960 --> 00:27:59,480
Speaker 1: Y'all that sounds wow cep guy from my DM.

542
00:28:00,960 --> 00:28:03,680
Speaker 4: I'm sorry, you have to say how it is. And

543
00:28:03,720 --> 00:28:07,600
Speaker 4: then it was a year later when he flew in

544
00:28:08,000 --> 00:28:11,600
Speaker 4: to London to meet me and we met and this

545
00:28:11,680 --> 00:28:14,560
Speaker 4: is again, I ain't have no money. I was doing

546
00:28:14,600 --> 00:28:18,280
Speaker 4: all this London stuff like borrowing money from friends from

547
00:28:18,280 --> 00:28:20,040
Speaker 4: my mom like it was just like a hard time,

548
00:28:20,160 --> 00:28:22,240
Speaker 4: like something. I had been too embarrassed to ask money

549
00:28:22,240 --> 00:28:24,800
Speaker 4: from my mom. My friend be like I got you back, man,

550
00:28:24,840 --> 00:28:26,399
Speaker 4: I got you and then that and then I was

551
00:28:26,440 --> 00:28:28,040
Speaker 4: too embarrassed. I asked my manager to be like can

552
00:28:28,080 --> 00:28:29,600
Speaker 4: you be like what he dollars before? I'm like, I

553
00:28:29,600 --> 00:28:32,639
Speaker 4: don't know how this works. Money is scary. When you

554
00:28:32,720 --> 00:28:35,880
Speaker 4: don't have money, it's terrifying. And when you come from

555
00:28:36,040 --> 00:28:39,720
Speaker 4: like my single mom, like immigrant, like the concept of

556
00:28:39,760 --> 00:28:42,840
Speaker 4: money is just a scary thing. So even though like, oh,

557
00:28:42,840 --> 00:28:44,800
Speaker 4: can you do twenty pound for like a train ticket

558
00:28:44,840 --> 00:28:46,680
Speaker 4: so I can do this thing, I don't know, man.

559
00:28:46,640 --> 00:28:49,040
Speaker 3: Because how far it is asked fort from London. It's

560
00:28:49,040 --> 00:28:50,880
Speaker 3: about an hour and a half on a train on

561
00:28:50,920 --> 00:28:51,520
Speaker 3: a train.

562
00:28:52,440 --> 00:28:55,320
Speaker 4: So it was just like the travel and I was

563
00:28:55,320 --> 00:28:57,120
Speaker 4: still living in Bournmouth. It was like the travel from there,

564
00:28:57,120 --> 00:28:58,360
Speaker 4: it was like two and a half out. It was

565
00:28:58,400 --> 00:29:01,719
Speaker 4: just all these weird things. So Tunja when he comes

566
00:29:03,040 --> 00:29:04,040
Speaker 4: he meets us a nobu.

567
00:29:05,320 --> 00:29:07,880
Speaker 1: I'm like a sick, oh sick.

568
00:29:08,720 --> 00:29:12,240
Speaker 4: My managers they're like listen, like you gotta run his pockets.

569
00:29:12,240 --> 00:29:15,160
Speaker 1: You gotta run his pockets. Okay here I love this.

570
00:29:15,840 --> 00:29:18,520
Speaker 4: Really He's like, yeah, you gonna run his pocket. I'm

571
00:29:18,560 --> 00:29:23,040
Speaker 4: like okay, cool. So I get there like yes, TANGI

572
00:29:23,120 --> 00:29:24,720
Speaker 4: now is a face to the name. He's not just

573
00:29:24,760 --> 00:29:27,360
Speaker 4: the guy from the dam was no more weird guy person. Yeah,

574
00:29:27,400 --> 00:29:29,320
Speaker 4: They was like, Yeah, what, guys, reach just as weird

575
00:29:29,320 --> 00:29:29,960
Speaker 4: and pocket as.

576
00:29:34,840 --> 00:29:36,240
Speaker 1: He's literally like my little brother.

577
00:29:36,720 --> 00:29:40,600
Speaker 4: So I'm dragging this ship. I'm just so y'all know

578
00:29:40,680 --> 00:29:42,760
Speaker 4: people I'm dragging, you have to.

579
00:29:42,760 --> 00:29:43,920
Speaker 1: Okay, So back to the weird guy.

580
00:29:44,040 --> 00:29:45,680
Speaker 4: So back to the way, guys, I'm saving the weird

581
00:29:45,720 --> 00:29:52,520
Speaker 4: guy in at dinner and we're talking and he says

582
00:29:52,520 --> 00:29:55,600
Speaker 4: something that really connects with me that then silences any

583
00:29:55,600 --> 00:29:57,280
Speaker 4: other opportunity for be to sign with anyone else. At

584
00:29:57,320 --> 00:30:00,000
Speaker 4: the time, he said, I'm trying to make a label

585
00:30:00,040 --> 00:30:01,280
Speaker 4: for the black weirdos.

586
00:30:02,000 --> 00:30:02,360
Speaker 1: M hmm.

587
00:30:02,800 --> 00:30:06,800
Speaker 4: That's when it clicked. I was like, ah, I want

588
00:30:06,800 --> 00:30:09,160
Speaker 4: to work with this guy because I think he sees

589
00:30:09,200 --> 00:30:11,080
Speaker 4: me for the first time that something I didn't think

590
00:30:11,120 --> 00:30:14,600
Speaker 4: anyone else I ever seen me for. Well, I've always

591
00:30:14,680 --> 00:30:17,440
Speaker 4: felt weird in a lot of places. I felt I

592
00:30:17,480 --> 00:30:20,600
Speaker 4: was too black for the white friends and too white

593
00:30:20,600 --> 00:30:22,240
Speaker 4: for my black and it felt like I was in

594
00:30:22,240 --> 00:30:24,040
Speaker 4: a weird pocket and I never I always thought maybe

595
00:30:24,080 --> 00:30:26,200
Speaker 4: that's just my niche. But I had him been comfortable

596
00:30:26,240 --> 00:30:28,400
Speaker 4: enough to like really embrace it and be with it.

597
00:30:28,960 --> 00:30:30,920
Speaker 4: And then when he said that, it was like, oh

598
00:30:31,040 --> 00:30:39,680
Speaker 4: my god, we like you want to clearly, so let's

599
00:30:39,800 --> 00:30:42,960
Speaker 4: let's let's do this, let's figure this out. And I

600
00:30:43,000 --> 00:30:45,040
Speaker 4: was I was like, this is amazing. Get me the

601
00:30:45,120 --> 00:30:51,040
Speaker 4: Crispy Chuner because you didn't forget. I didn't forget. I

602
00:30:51,040 --> 00:30:53,080
Speaker 4: was like, I was sweet, you said some sweet ship.

603
00:30:53,480 --> 00:30:58,000
Speaker 4: Get the Krispy Chu, the four piece, get sick.

604
00:30:59,040 --> 00:31:00,240
Speaker 1: You gotta get the sick Like.

605
00:31:00,160 --> 00:31:03,800
Speaker 4: What's a shimi? They were like, give me this, give

606
00:31:03,840 --> 00:31:04,320
Speaker 4: me all of that.

607
00:31:04,600 --> 00:31:06,840
Speaker 1: I have loads of that story noble side car or

608
00:31:06,920 --> 00:31:08,120
Speaker 1: just hot soak and beer.

609
00:31:08,360 --> 00:31:11,600
Speaker 4: I don't drink, which makes me even more be like, oh,

610
00:31:11,600 --> 00:31:13,640
Speaker 4: it's easy because now if I don't drink, I can

611
00:31:13,760 --> 00:31:16,400
Speaker 4: order more food, would probably find food.

612
00:31:16,480 --> 00:31:17,200
Speaker 1: You don't drink it all.

613
00:31:17,480 --> 00:31:18,480
Speaker 4: I've never drank in my life.

614
00:31:18,720 --> 00:31:19,920
Speaker 1: Good, don't do it.

615
00:31:20,000 --> 00:31:21,040
Speaker 4: I just exist as I am.

616
00:31:21,120 --> 00:31:21,960
Speaker 1: Don't do it. I drink.

617
00:31:22,000 --> 00:31:22,440
Speaker 4: I drink this.

618
00:31:22,960 --> 00:31:26,960
Speaker 3: It's a dangerous road.

619
00:31:28,960 --> 00:31:33,040
Speaker 4: That's another scary part. Recently, I've never had the urge

620
00:31:33,040 --> 00:31:35,680
Speaker 4: to drink ever in my life, but recently when it

621
00:31:35,800 --> 00:31:37,200
Speaker 4: when it's been coming up to the raise of my

622
00:31:37,200 --> 00:31:40,200
Speaker 4: album and I'm realizing, oh, my schedule is busy. For

623
00:31:40,280 --> 00:31:42,280
Speaker 4: the first time my life, it clicked why someone would

624
00:31:42,320 --> 00:31:44,960
Speaker 4: want to drink? I was sat in I was sat

625
00:31:44,960 --> 00:31:45,760
Speaker 4: in the car one man.

626
00:31:45,800 --> 00:31:46,160
Speaker 1: I didn't know.

627
00:31:46,440 --> 00:31:49,080
Speaker 4: He was telling me about like my schedule, and I'm mad.

628
00:31:49,120 --> 00:31:50,200
Speaker 4: I was like, man, I just want to get away

629
00:31:50,200 --> 00:31:54,400
Speaker 4: from myself and that's important. And then the next thought was, oh,

630
00:31:54,440 --> 00:31:57,440
Speaker 4: my god, of course as possible. There's a thing that

631
00:31:57,600 --> 00:32:01,400
Speaker 4: people to get oh. And first that's when I was like,

632
00:32:01,480 --> 00:32:02,440
Speaker 4: it's just scary.

633
00:32:02,320 --> 00:32:06,239
Speaker 3: You don't funk around that now, Yeah, you don't want

634
00:32:06,280 --> 00:32:09,000
Speaker 3: to associate it with escape.

635
00:32:09,240 --> 00:32:11,960
Speaker 4: Because that's when I was like, I understand, James Brown.

636
00:32:12,000 --> 00:32:13,240
Speaker 1: I understand the two things.

637
00:32:13,280 --> 00:32:14,920
Speaker 5: Though you don't want to You don't want associated with

638
00:32:15,040 --> 00:32:18,240
Speaker 5: escape and you don't want to associated with doing anything

639
00:32:18,320 --> 00:32:22,240
Speaker 5: great on it. That's the part they never tell you, right.

640
00:32:22,440 --> 00:32:25,720
Speaker 5: You got to really have real conversations with people who've

641
00:32:25,760 --> 00:32:28,240
Speaker 5: done some ship and done some ship on some ship

642
00:32:28,560 --> 00:32:32,520
Speaker 5: wow for you to understand like, Okay, I need to

643
00:32:32,560 --> 00:32:35,040
Speaker 5: have this sober mind because I'll be chasing it through

644
00:32:35,120 --> 00:32:38,520
Speaker 5: this And that's when it gets dangerous for people.

645
00:32:39,560 --> 00:32:43,880
Speaker 3: You got to think there's certain sessions that can't start, yeah,

646
00:32:44,080 --> 00:32:49,080
Speaker 3: without a certain thing about a substance. There's certain shows, Yeah,

647
00:32:49,520 --> 00:32:52,040
Speaker 3: people can't go and stay at that right without it.

648
00:32:52,080 --> 00:32:53,120
Speaker 1: When you become reliant.

649
00:32:53,600 --> 00:32:55,160
Speaker 4: Nah, scary like.

650
00:32:55,960 --> 00:33:02,280
Speaker 3: My I'm I'm like, I'm like water and daytime mm hmm,

651
00:33:03,640 --> 00:33:06,680
Speaker 3: like gym and work. Yeah, like when the mind is

652
00:33:06,680 --> 00:33:09,800
Speaker 3: actually functioning. Yeah, that's we got so many friends that

653
00:33:09,840 --> 00:33:12,360
Speaker 3: are like, yeah, we're gonna start the session at eleven pm.

654
00:33:12,400 --> 00:33:14,520
Speaker 1: I'm like to do what I won't.

655
00:33:14,960 --> 00:33:17,600
Speaker 4: I don't even understand that. I never understand.

656
00:33:17,680 --> 00:33:20,680
Speaker 1: I used to understand that because I was I was

657
00:33:20,720 --> 00:33:24,040
Speaker 1: in party mode, right, and it's like that fake cool thing.

658
00:33:24,840 --> 00:33:25,840
Speaker 1: The nighttime is.

659
00:33:25,840 --> 00:33:31,160
Speaker 3: Like this this place where I guess live. And then

660
00:33:31,640 --> 00:33:36,160
Speaker 3: when I when I twitched over to my daytime routine

661
00:33:38,160 --> 00:33:42,680
Speaker 3: and really started taking taking the business of what I

662
00:33:42,760 --> 00:33:45,920
Speaker 3: do seriously, like everything.

663
00:33:45,560 --> 00:33:48,600
Speaker 1: Everything changed, everything falls into place. It was just different.

664
00:33:48,960 --> 00:33:52,880
Speaker 4: I've never understood that twelve o'clock is my favorite start time.

665
00:33:53,440 --> 00:33:56,040
Speaker 4: Oh if I could do eleven even better, because if

666
00:33:56,080 --> 00:33:59,240
Speaker 4: it gets too long, even too, I'm like, all right, guys.

667
00:33:59,080 --> 00:34:00,560
Speaker 1: I equated all the right.

668
00:34:00,880 --> 00:34:04,440
Speaker 3: Once you start burning crystals at about nine forty five,

669
00:34:04,520 --> 00:34:11,400
Speaker 3: we get up. Yeah, by about six seven, you're out

670
00:34:12,000 --> 00:34:14,480
Speaker 3: unless you want to get unless you're gonna red bullet, yeah, right,

671
00:34:14,520 --> 00:34:15,360
Speaker 3: which I don't want to do.

672
00:34:15,360 --> 00:34:17,400
Speaker 1: I don't want to do that I don't want to artificial.

673
00:34:17,560 --> 00:34:21,960
Speaker 4: There's nothing I was twelve twelve to six seven. Only

674
00:34:22,000 --> 00:34:25,960
Speaker 4: if I'm excited and we're really building something, will I

675
00:34:26,000 --> 00:34:28,560
Speaker 4: be there till like midnight? Maybe, But I'm sleeping on

676
00:34:28,600 --> 00:34:31,960
Speaker 4: the couch like a man. I'll sleep at ten. I

677
00:34:32,000 --> 00:34:34,200
Speaker 4: wake up be like, how's it going. I'm back to sleep.

678
00:34:34,520 --> 00:34:36,359
Speaker 4: Having a lot in my album press, it was just like,

679
00:34:36,440 --> 00:34:40,120
Speaker 4: oh cool, I'm I'm gonna figure out. Yeah, I can't

680
00:34:40,120 --> 00:34:42,120
Speaker 4: dotilate my sessions. That's terrifying.

681
00:34:42,360 --> 00:34:44,640
Speaker 1: So my other question to you is when do you

682
00:34:44,680 --> 00:34:46,359
Speaker 1: get to the piano?

683
00:34:46,600 --> 00:34:49,719
Speaker 4: That was much later on, that was about two years ago.

684
00:34:50,440 --> 00:34:52,799
Speaker 1: You just got to the piano? Yes, well you didn't

685
00:34:52,800 --> 00:34:55,000
Speaker 1: play growing up. No, okay, I.

686
00:34:54,920 --> 00:34:58,520
Speaker 4: Didn't play nothing growing up. It was it came out

687
00:34:58,520 --> 00:35:03,080
Speaker 4: of frustration for my life control in the studio where

688
00:35:03,120 --> 00:35:05,279
Speaker 4: I was turning up to the studio and I was like,

689
00:35:05,400 --> 00:35:11,960
Speaker 4: I'm so vocal and in control of lyrics and melodies

690
00:35:12,000 --> 00:35:13,440
Speaker 4: and stuff. And I was like, great, great, great, I'm

691
00:35:13,440 --> 00:35:16,160
Speaker 4: comfortable in this. And then it was suit And I

692
00:35:16,200 --> 00:35:18,000
Speaker 4: think it's because I was with people I was comfortable with,

693
00:35:18,040 --> 00:35:19,640
Speaker 4: Like when I was with Jamie back home, it was

694
00:35:19,680 --> 00:35:23,400
Speaker 4: like I trust you to understand me enough where no

695
00:35:23,400 --> 00:35:25,359
Speaker 4: matter what you're playing the guitar, we're going to get

696
00:35:25,400 --> 00:35:27,560
Speaker 4: to a place. But it was when I started doing

697
00:35:27,560 --> 00:35:29,480
Speaker 4: sessions that are outside of people that I know that

698
00:35:29,520 --> 00:35:31,920
Speaker 4: well where I got frustrated, be like, how come I

699
00:35:31,960 --> 00:35:34,640
Speaker 4: can't dictate the emotions and the chords and the feelings.

700
00:35:34,640 --> 00:35:36,919
Speaker 4: And I was like, this can't run because I can't

701
00:35:36,960 --> 00:35:40,000
Speaker 4: walk into a studio I feel a certain way, but

702
00:35:40,680 --> 00:35:42,560
Speaker 4: wherever producer feels like we need to write an up tempo,

703
00:35:44,280 --> 00:35:47,520
Speaker 4: can't today. But I have to know because you're the

704
00:35:47,520 --> 00:35:49,000
Speaker 4: one who knows how to do all the things. I

705
00:35:49,040 --> 00:35:51,640
Speaker 4: was like, this can never run again. After my first

706
00:35:51,640 --> 00:35:54,399
Speaker 4: trip to La where you do the classic speed dating thing,

707
00:35:54,840 --> 00:35:58,200
Speaker 4: meet this person, meet this person, do this, and I

708
00:35:58,280 --> 00:36:00,120
Speaker 4: went home and I was like, this can't run. I

709
00:36:00,160 --> 00:36:02,680
Speaker 4: need to figure something out. And I just started getting

710
00:36:02,719 --> 00:36:05,279
Speaker 4: into the chords.

711
00:36:05,760 --> 00:36:08,200
Speaker 1: No, you're just like I'm just gonna figure this out.

712
00:36:08,200 --> 00:36:09,640
Speaker 4: It's going to figure this out. The only thing I

713
00:36:09,719 --> 00:36:14,160
Speaker 4: learned was the base, like how the general shape of chords,

714
00:36:15,280 --> 00:36:18,600
Speaker 4: and then from there it's just listen to Stevie records,

715
00:36:19,320 --> 00:36:21,600
Speaker 4: learning how to play Stevie songs and this as I

716
00:36:21,680 --> 00:36:24,799
Speaker 4: learned as many Stevie song as I could. He don't

717
00:36:24,840 --> 00:36:26,399
Speaker 4: need anyone else to teach you how to play chords.

718
00:36:26,400 --> 00:36:28,920
Speaker 4: And Stevie wonder he could seek it's real. He just

719
00:36:28,920 --> 00:36:31,839
Speaker 4: got stupid because he's taking it straight from Felonious Monk

720
00:36:32,239 --> 00:36:35,360
Speaker 4: that he has the all all of the jazz influence

721
00:36:35,440 --> 00:36:37,600
Speaker 4: that you need for the chords as well. Stevie's already

722
00:36:37,640 --> 00:36:38,239
Speaker 4: done it for you.

723
00:36:38,840 --> 00:36:44,920
Speaker 3: So I'm like, you've never heard a producer produce. It's intricate,

724
00:36:45,800 --> 00:36:46,760
Speaker 3: it's Stevie wondering.

725
00:36:46,920 --> 00:36:48,759
Speaker 4: But then make it feel like it's makes it.

726
00:36:48,640 --> 00:36:49,480
Speaker 1: Feel like it's regular.

727
00:36:49,640 --> 00:36:52,799
Speaker 3: Yeah, until you try to until you try to play it,

728
00:36:53,360 --> 00:36:54,680
Speaker 3: and you're like, what did he do?

729
00:36:54,800 --> 00:36:55,520
Speaker 4: What do you do that for?

730
00:37:03,120 --> 00:37:04,799
Speaker 1: It's not what it's not cool?

731
00:37:05,600 --> 00:37:06,520
Speaker 4: What are you talking about?

732
00:37:06,760 --> 00:37:06,960
Speaker 1: Cool?

733
00:37:07,080 --> 00:37:12,680
Speaker 4: Do hi to Hi? Come down? What's going on?

734
00:37:12,760 --> 00:37:18,680
Speaker 1: And you think? I'm like, it's wrong, it's wrong, and

735
00:37:18,719 --> 00:37:19,600
Speaker 1: it's so right.

736
00:37:19,760 --> 00:37:21,759
Speaker 4: Yeah, Because I don't want to start getting the cards

737
00:37:21,800 --> 00:37:24,879
Speaker 4: and I'm playing these songs, I'm like, it don't sound right.

738
00:37:25,120 --> 00:37:26,759
Speaker 4: As I'm playing it and singing it, I think I'm

739
00:37:26,800 --> 00:37:28,239
Speaker 4: doing this wrong. And then I look, I'm like, no,

740
00:37:28,320 --> 00:37:29,160
Speaker 4: I'm playing the right chord.

741
00:37:29,840 --> 00:37:32,799
Speaker 3: Oh, you just would have never done that in that

742
00:37:33,040 --> 00:37:35,279
Speaker 3: order ever, no reason, right.

743
00:37:35,360 --> 00:37:38,359
Speaker 4: It's insane. There's so many Stevie songs that like, even

744
00:37:38,440 --> 00:37:43,400
Speaker 4: like creeping mm hm for feeling's personality that song there, dun,

745
00:37:50,680 --> 00:37:55,120
Speaker 4: what's that intro? What's happening? Whats going on? Why are

746
00:37:55,120 --> 00:37:55,600
Speaker 4: you doing that?

747
00:37:56,280 --> 00:37:56,760
Speaker 1: Freedom?

748
00:37:57,000 --> 00:37:57,560
Speaker 10: Oh my god?

749
00:37:57,600 --> 00:37:59,759
Speaker 1: Freedom, that's what it was, because most people don't.

750
00:38:01,080 --> 00:38:03,359
Speaker 5: I mean, when you know, we all come from music,

751
00:38:03,360 --> 00:38:06,080
Speaker 5: we all have done enough music to understand that some

752
00:38:06,120 --> 00:38:10,480
Speaker 5: people just live in a space and of of shackles

753
00:38:10,520 --> 00:38:15,600
Speaker 5: in a sense, music shackle, right, you saying, hey, I

754
00:38:15,640 --> 00:38:19,560
Speaker 5: have to learn how to do this because I'll be stuck.

755
00:38:21,640 --> 00:38:27,680
Speaker 5: Stevie Wonder is the definition of music freedom. If you

756
00:38:27,719 --> 00:38:29,520
Speaker 5: listen to his music and you listen to his bodies

757
00:38:29,520 --> 00:38:31,759
Speaker 5: of work, you're just like, oh, he's just.

758
00:38:32,120 --> 00:38:34,880
Speaker 1: This is how I felt today, insane and nobody's going

759
00:38:34,960 --> 00:38:35,799
Speaker 1: to tell me. And it.

760
00:38:37,400 --> 00:38:42,600
Speaker 3: Was it was received as as like the sentiment was,

761
00:38:43,040 --> 00:38:47,880
Speaker 3: he's incredible because he can do that that right, right?

762
00:38:48,239 --> 00:38:51,719
Speaker 1: Right? Wasn't the other way around? Right? Right? Wasn't you

763
00:38:51,800 --> 00:38:52,399
Speaker 1: doing too much?

764
00:38:52,920 --> 00:38:53,160
Speaker 4: Ever?

765
00:38:53,719 --> 00:38:57,400
Speaker 1: It was he's the best because he's doing.

766
00:38:57,320 --> 00:39:00,560
Speaker 4: That, and that's Stevie's brilliant. It's just like he was

767
00:39:00,600 --> 00:39:05,120
Speaker 4: beyond genre, which is another part of him. Yeah, that's

768
00:39:05,120 --> 00:39:07,400
Speaker 4: why he's my number one hero. It's the same with

769
00:39:07,480 --> 00:39:09,080
Speaker 4: the Angel, and it's what attracted me to the Angel

770
00:39:09,120 --> 00:39:13,600
Speaker 4: in the first place. Was it's that freedom where there

771
00:39:13,680 --> 00:39:17,120
Speaker 4: was not a song that I'd heard from a separate

772
00:39:17,120 --> 00:39:19,840
Speaker 4: album of like the Angelo's, whether it's Brown Sugar Voodoo

773
00:39:19,880 --> 00:39:22,279
Speaker 4: or Black Messiah, where I'm like, I don't know what

774
00:39:22,320 --> 00:39:27,080
Speaker 4: this is, but oh my god, what else? I love it?

775
00:39:27,760 --> 00:39:32,200
Speaker 4: How how do you introduce someone to a sound they've

776
00:39:32,239 --> 00:39:34,600
Speaker 4: never heard before and then make them love it? That's

777
00:39:34,640 --> 00:39:37,440
Speaker 4: like the genius that it's so rare that will we

778
00:39:37,480 --> 00:39:38,880
Speaker 4: ever find out again? I have no idea.

779
00:39:39,239 --> 00:39:43,360
Speaker 3: I hope so this is it's just it's just living

780
00:39:43,400 --> 00:39:47,200
Speaker 3: in it unapologetically, right watchn't I can't think of that.

781
00:39:47,480 --> 00:39:49,960
Speaker 3: I think the movie is called rock Star is Ever

782
00:39:50,040 --> 00:39:54,680
Speaker 3: Still Dragon? With Mark Wahlberg.

783
00:39:56,239 --> 00:39:59,200
Speaker 1: And and and when.

784
00:39:59,080 --> 00:40:01,239
Speaker 3: He was when he was fighting to be in this

785
00:40:01,239 --> 00:40:03,719
Speaker 3: group because he had the lead singer quit and then

786
00:40:03,760 --> 00:40:05,759
Speaker 3: he was like, you know, he auditioned to be the

787
00:40:05,800 --> 00:40:10,200
Speaker 3: lead singing. I remember, and he was like and he

788
00:40:10,280 --> 00:40:12,120
Speaker 3: got into it because he's like, I want to write songs.

789
00:40:12,120 --> 00:40:13,919
Speaker 3: I want to be part of it. And the guy

790
00:40:14,040 --> 00:40:16,640
Speaker 3: was like, well, let me tell you about the still

791
00:40:16,719 --> 00:40:21,640
Speaker 3: Dragon thing. I write the songs here, produces thing. That's

792
00:40:21,760 --> 00:40:23,719
Speaker 3: the still Dragon life. If you want to be in

793
00:40:23,760 --> 00:40:27,480
Speaker 3: Still Dragon, that's how it's going to get done. And

794
00:40:28,200 --> 00:40:32,440
Speaker 3: you have to respect it because they are what they

795
00:40:32,480 --> 00:40:36,920
Speaker 3: are because of how they do it right, and so

796
00:40:37,080 --> 00:40:42,200
Speaker 3: people have to be willing to live and die with

797
00:40:42,320 --> 00:40:45,080
Speaker 3: their program.

798
00:40:45,120 --> 00:40:45,719
Speaker 1: That's just it.

799
00:40:46,360 --> 00:40:51,200
Speaker 3: D'Angelo said, this is the program, These are the drums,

800
00:40:52,760 --> 00:40:57,040
Speaker 3: this is the road sound, this is Raphaelsa Dick.

801
00:40:59,400 --> 00:41:04,320
Speaker 5: Let's go yeah uninterrupted, Yeah, and the story.

802
00:41:06,040 --> 00:41:08,680
Speaker 3: Nobody can come in here and interrupt this and tell

803
00:41:08,760 --> 00:41:09,560
Speaker 3: us that we're wrong.

804
00:41:09,880 --> 00:41:12,640
Speaker 4: Yeah, ever, ever, ever, ever.

805
00:41:13,160 --> 00:41:18,600
Speaker 3: And if artists live in that space, that's when special

806
00:41:18,640 --> 00:41:20,440
Speaker 3: things happened.

807
00:41:20,600 --> 00:41:25,040
Speaker 4: That's what no Idea taught me. When he came into

808
00:41:25,080 --> 00:41:30,200
Speaker 4: work on my album. He came, he exact produced the project,

809
00:41:30,520 --> 00:41:33,000
Speaker 4: but he came in way later on the project where

810
00:41:33,040 --> 00:41:36,040
Speaker 4: he came and we just met on a just to

811
00:41:36,080 --> 00:41:39,359
Speaker 4: meet when I played them have the seventeen songs I had,

812
00:41:39,840 --> 00:41:41,040
Speaker 4: and at that point I didn't know if I was

813
00:41:41,080 --> 00:41:44,680
Speaker 4: five percent with the album or ninety percent. In that period,

814
00:41:44,800 --> 00:41:48,200
Speaker 4: we just have no clue, what's going on playing the songs?

815
00:41:48,200 --> 00:41:52,440
Speaker 4: And he went, the album's done, so what do you mean?

816
00:41:52,880 --> 00:41:55,000
Speaker 4: He was like, it's finished. You have the songs, you

817
00:41:55,040 --> 00:41:57,280
Speaker 4: have all the songs there, but you don't have your sound.

818
00:41:59,200 --> 00:42:00,600
Speaker 4: And then I was like, so what does that mean?

819
00:42:00,920 --> 00:42:04,439
Speaker 4: And that's another thing which it's incredible because he could

820
00:42:04,480 --> 00:42:08,000
Speaker 4: have turned round and said, you ain't got the songs.

821
00:42:08,160 --> 00:42:12,040
Speaker 4: I have the song. I'm no idea. I have the songs.

822
00:42:12,440 --> 00:42:14,200
Speaker 4: This is what you need to put off your sound.

823
00:42:14,640 --> 00:42:17,120
Speaker 4: He didn't say that. That's what I was almost expecting.

824
00:42:17,160 --> 00:42:19,320
Speaker 4: He turned and just went, no, you ain't got the sound.

825
00:42:19,560 --> 00:42:22,480
Speaker 4: And then he went, who's your favorite keys player? And

826
00:42:22,520 --> 00:42:24,560
Speaker 4: I said, my brother Amir Ghostno, who I wrote all

827
00:42:24,600 --> 00:42:28,400
Speaker 4: the songs with. Bring him into my studio tomorrow. Who's

828
00:42:28,400 --> 00:42:29,400
Speaker 4: your favorite guitar player?

829
00:42:29,640 --> 00:42:29,839
Speaker 1: Said?

830
00:42:29,880 --> 00:42:34,680
Speaker 4: Andrew aged, bring him in tomorrow. Who's your favorite? Who's

831
00:42:34,680 --> 00:42:37,359
Speaker 4: your favorite? He said, bring them all into one room.

832
00:42:38,080 --> 00:42:41,400
Speaker 4: I'm gonna oversee it. I don't even need to touch

833
00:42:41,480 --> 00:42:43,960
Speaker 4: a drum because I know that they're the people that

834
00:42:44,000 --> 00:42:46,560
Speaker 4: you trust. That's how we're going to build the sound.

835
00:42:46,800 --> 00:42:50,840
Speaker 4: And he built that insular thing straight out of the studio.

836
00:42:51,480 --> 00:42:55,600
Speaker 4: Uncle Ray, come in as a d next door coming in.

837
00:42:55,719 --> 00:42:58,759
Speaker 4: What do you guys playing? He plays bass on the

838
00:42:58,800 --> 00:43:01,440
Speaker 4: thing them they're doing the keys, and suddenly there was

839
00:43:01,560 --> 00:43:05,239
Speaker 4: this flow that started. I was like, Oh, this is

840
00:43:05,280 --> 00:43:07,880
Speaker 4: how you finish an album. This is how you make

841
00:43:07,920 --> 00:43:13,360
Speaker 4: an album. Oh it's not some like foreign mythical thread

842
00:43:13,480 --> 00:43:15,640
Speaker 4: that you just come across and go I made mis education,

843
00:43:15,760 --> 00:43:19,520
Speaker 4: Lauren Hill. No, you have the people all come in

844
00:43:19,560 --> 00:43:22,640
Speaker 4: and you go, this is this. It's intent. Having the

845
00:43:22,680 --> 00:43:24,200
Speaker 4: intent on every even Out.

846
00:43:24,120 --> 00:43:29,719
Speaker 3: Of Wonder is right there with every instrument, everything.

847
00:43:31,880 --> 00:43:34,200
Speaker 4: While with Stevie and the Tanto Machine, with music on

848
00:43:34,239 --> 00:43:36,560
Speaker 4: my mind, like he had the city and my people

849
00:43:36,600 --> 00:43:39,040
Speaker 4: were doing this and I was like, oh intent even

850
00:43:39,239 --> 00:43:42,239
Speaker 4: down to the last sound of each song. I was like,

851
00:43:42,440 --> 00:43:46,080
Speaker 4: oh it's not. Suddenly even the pressure of songwriting disappear

852
00:43:46,080 --> 00:43:47,680
Speaker 4: because I was like, oh, I don't need to think

853
00:43:47,680 --> 00:43:49,839
Speaker 4: about this when I'm writing the song. Even the song

854
00:43:49,880 --> 00:43:52,760
Speaker 4: should just be me trying to reflect accurately an emotion

855
00:43:52,880 --> 00:43:56,160
Speaker 4: that I feel and a story production. Forget about it,

856
00:43:56,760 --> 00:43:59,160
Speaker 4: because if I know that that process is coming later on,

857
00:43:59,600 --> 00:44:03,400
Speaker 4: we'll get there to where the sound reflects the story.

858
00:44:03,840 --> 00:44:07,680
Speaker 4: Don't think about I hate drums. The concept of drums

859
00:44:07,680 --> 00:44:09,600
Speaker 4: at the start of a song. If it's not to

860
00:44:09,600 --> 00:44:11,480
Speaker 4: do with helping you write a song a certain way,

861
00:44:11,760 --> 00:44:13,759
Speaker 4: I hate it. I'm trying to figure out what's a

862
00:44:13,800 --> 00:44:15,720
Speaker 4: drum sound and the song. I'm like, stop wasting time.

863
00:44:16,280 --> 00:44:18,160
Speaker 4: I need to write a good song that I can

864
00:44:18,239 --> 00:44:21,279
Speaker 4: play on the keys. If your song isn't able to

865
00:44:21,360 --> 00:44:24,280
Speaker 4: feel as impactful with just the keys of just a guitar,

866
00:44:24,480 --> 00:44:28,800
Speaker 4: you've written a bad song. That's always been my critique. Really,

867
00:44:28,920 --> 00:44:31,520
Speaker 4: if you can't, if you can't play it without the production,

868
00:44:31,640 --> 00:44:33,840
Speaker 4: you've written a bad song, or at least not a

869
00:44:33,840 --> 00:44:36,000
Speaker 4: song to a strength that can be considered as a

870
00:44:36,040 --> 00:44:39,560
Speaker 4: timeless bit of music. That babyfaces killer part. It doesn't

871
00:44:39,560 --> 00:44:41,759
Speaker 4: matter what he does. If he take it down to

872
00:44:41,880 --> 00:44:44,759
Speaker 4: just him and the guitar, you strip everything. Then I'm

873
00:44:44,800 --> 00:44:47,960
Speaker 4: the opposite he wanted to.

874
00:44:48,600 --> 00:44:50,759
Speaker 1: I feel like, but you are a drummer at heart.

875
00:44:50,760 --> 00:44:53,799
Speaker 3: I'm a drummer too, But I also but it's in

876
00:44:53,880 --> 00:44:57,040
Speaker 3: this we're having the same conversation. Yeah, yeah, I feel

877
00:44:57,080 --> 00:45:00,799
Speaker 3: like a great song and a great melody should be

878
00:45:00,960 --> 00:45:04,040
Speaker 3: able to exist with just the drums.

879
00:45:04,840 --> 00:45:08,720
Speaker 4: Ah, we all having the same conversation. When it's just different.

880
00:45:09,440 --> 00:45:12,359
Speaker 1: I feel like it should be just as great acappella.

881
00:45:12,719 --> 00:45:21,240
Speaker 7: Ah, it's like, yeah, she didn't need any music.

882
00:45:21,480 --> 00:45:27,200
Speaker 4: Oh if that remix, the come talk to me remixes

883
00:45:27,200 --> 00:45:29,400
Speaker 4: the genius in it. I get it now. I was

884
00:45:29,480 --> 00:45:35,680
Speaker 4: misconstrated my direction. I was missed my direction. It's when

885
00:45:35,680 --> 00:45:37,560
Speaker 4: you boil it down to just the salt and pepper.

886
00:45:37,920 --> 00:45:39,920
Speaker 4: What the Sultan pepper is? Is it just keys? This

887
00:45:40,520 --> 00:45:41,560
Speaker 4: that that's it.

888
00:45:42,200 --> 00:45:45,680
Speaker 3: That's because I'm a piano player, I'm a you know,

889
00:45:45,840 --> 00:45:50,040
Speaker 3: guitar all these things and it's like those things to me,

890
00:45:50,840 --> 00:45:54,920
Speaker 3: m you know, they can adorn a thing and dress

891
00:45:54,960 --> 00:45:58,160
Speaker 3: it up, you know, in a way to where you know,

892
00:45:58,640 --> 00:46:02,759
Speaker 3: it's just easy easy, easily, easily digestible, you know what

893
00:46:02,760 --> 00:46:06,040
Speaker 3: I mean? You can like that that help us. There's

894
00:46:06,040 --> 00:46:08,800
Speaker 3: nothing like a dope guitar player and a dope funnel

895
00:46:08,800 --> 00:46:13,000
Speaker 3: player to assist you along. But when you walk into

896
00:46:13,080 --> 00:46:16,160
Speaker 3: a like we used to have to walk into a

897
00:46:16,239 --> 00:46:19,000
Speaker 3: in our meetings and the artist is just standing there,

898
00:46:19,280 --> 00:46:20,520
Speaker 3: say do something.

899
00:46:20,360 --> 00:46:20,960
Speaker 1: Do something.

900
00:46:21,760 --> 00:46:26,960
Speaker 3: Ah, make a break.

901
00:46:32,719 --> 00:46:36,359
Speaker 5: I meancause even like what you're doing here today, Oh

902
00:46:36,440 --> 00:46:40,359
Speaker 5: my god, doing something I'm saying and this is not

903
00:46:41,280 --> 00:46:44,920
Speaker 5: it feels normal to you, right, And we understand it

904
00:46:44,920 --> 00:46:47,920
Speaker 5: because we come from it. But the majority of the

905
00:46:48,040 --> 00:46:51,040
Speaker 5: artists can't just sit on this couch and break into song.

906
00:46:51,200 --> 00:46:54,400
Speaker 1: But not just break into song, make it feel.

907
00:46:54,120 --> 00:46:58,560
Speaker 5: Like make it feel like something. Yeah, that's why the

908
00:46:58,600 --> 00:46:59,680
Speaker 5: weird guy was in your DM.

909
00:46:59,719 --> 00:47:08,480
Speaker 4: Man, there's weird guys. I also learned that when I

910
00:47:08,480 --> 00:47:10,560
Speaker 4: got into it, I was like, there's weird guys everywhere.

911
00:47:10,560 --> 00:47:13,319
Speaker 4: I thought this, this whole thing runs on weird guys.

912
00:47:13,320 --> 00:47:23,560
Speaker 4: We're weird guys ready to be with us.

913
00:47:23,640 --> 00:47:30,239
Speaker 11: You love it about talking about it, you make this,

914
00:47:33,120 --> 00:47:35,440
Speaker 11: you love it, you walking about table.

915
00:47:35,200 --> 00:47:35,359
Speaker 3: What.

916
00:47:36,920 --> 00:47:37,360
Speaker 1: You're telling me?

917
00:47:37,920 --> 00:47:41,800
Speaker 4: Where do you have the right head? We're all weirdos.

918
00:47:43,160 --> 00:47:44,200
Speaker 1: Absolutely, you know what it is?

919
00:47:44,200 --> 00:47:46,560
Speaker 4: Weird? Perfect segue because I want to ask you this

920
00:47:46,600 --> 00:47:51,360
Speaker 4: whole thing kill for you one of the weirdest songs.

921
00:47:51,760 --> 00:47:54,759
Speaker 4: Oh yeah, we have an unidentified young black male. What

922
00:47:55,080 --> 00:47:58,440
Speaker 4: the hell? How do you have a police chase in

923
00:47:58,480 --> 00:48:01,960
Speaker 4: the middle of your song? So what are you talking about?

924
00:48:02,080 --> 00:48:05,719
Speaker 3: I'm living in New York at the time. We had

925
00:48:05,719 --> 00:48:11,000
Speaker 3: a studio on fifty seven, and a lot of times

926
00:48:11,000 --> 00:48:14,200
Speaker 3: we'll just go hit the park, you know, hit uh

927
00:48:14,280 --> 00:48:16,640
Speaker 3: Central Park and just hang out us.

928
00:48:16,640 --> 00:48:18,000
Speaker 1: You know, So you're doing New York and the summer.

929
00:48:18,320 --> 00:48:19,200
Speaker 1: You know what I'm saying, walk.

930
00:48:19,080 --> 00:48:23,160
Speaker 3: Around, you look around, you know, you see who's available,

931
00:48:23,680 --> 00:48:26,719
Speaker 3: you know what I'm saying. And walking around a lot

932
00:48:26,719 --> 00:48:28,920
Speaker 3: of walking in a lot of walking. Get you some

933
00:48:28,960 --> 00:48:29,680
Speaker 3: ice creams?

934
00:48:29,719 --> 00:48:31,160
Speaker 1: You know what I'm saying. Did you two like some

935
00:48:31,239 --> 00:48:31,880
Speaker 1: ice creams?

936
00:48:31,960 --> 00:48:32,120
Speaker 6: Yeah?

937
00:48:32,200 --> 00:48:32,359
Speaker 4: Right?

938
00:48:32,800 --> 00:48:35,279
Speaker 1: Split a parf? You know?

939
00:48:39,360 --> 00:48:42,160
Speaker 3: And at night, like Central Park is just a really

940
00:48:42,480 --> 00:48:45,080
Speaker 3: it's a really dope place, but could also be a

941
00:48:45,160 --> 00:48:49,359
Speaker 3: very dangerous place, right, And I'm like, I'm like, what

942
00:48:49,440 --> 00:48:52,040
Speaker 3: if what if I was in love with this girl

943
00:48:53,040 --> 00:48:57,520
Speaker 3: and you know, I wanted to be with her, she

944
00:48:57,640 --> 00:48:59,440
Speaker 3: kind of she wanted I felt like she wanted to

945
00:48:59,440 --> 00:49:03,000
Speaker 3: be with me, but this guy was in the way, right,

946
00:49:03,600 --> 00:49:05,680
Speaker 3: And just what if he just happened to be jogging

947
00:49:05,760 --> 00:49:11,720
Speaker 3: in Central Park at night and and I would just

948
00:49:11,800 --> 00:49:13,960
Speaker 3: and I would just be waiting on him when he

949
00:49:14,040 --> 00:49:15,320
Speaker 3: came under the little bridge?

950
00:49:15,320 --> 00:49:17,080
Speaker 4: How would you do that?

951
00:49:19,320 --> 00:49:23,920
Speaker 1: This level of Haitians so crazy, He says this, He

952
00:49:24,000 --> 00:49:24,359
Speaker 1: came with.

953
00:49:26,400 --> 00:49:30,359
Speaker 3: He's dirty, backing on a whole other level. And I

954
00:49:30,440 --> 00:49:32,640
Speaker 3: was like, I was like that. I was like, that

955
00:49:32,760 --> 00:49:37,640
Speaker 3: would be crazy, that would And I'm kind of like

956
00:49:37,680 --> 00:49:41,480
Speaker 3: in this eminem space where I'm just like, fuck it,

957
00:49:42,320 --> 00:49:45,080
Speaker 3: let's just tell Let's just tell the craziest story ever.

958
00:49:45,120 --> 00:49:46,759
Speaker 3: And people were looking at me like this, what the

959
00:49:46,760 --> 00:49:48,839
Speaker 3: fuck is wrong with I was like.

960
00:49:48,880 --> 00:49:52,120
Speaker 5: This is not much of that and definitely not an RV.

961
00:49:52,800 --> 00:49:54,680
Speaker 5: It's like ship, damn motherfucker.

962
00:49:54,320 --> 00:49:59,000
Speaker 4: Yep, yep for you, for you? What else?

963
00:49:59,040 --> 00:50:02,200
Speaker 1: What else is like? A A serial killer? A serial killer?

964
00:50:03,000 --> 00:50:05,879
Speaker 4: You see? Here's the perfect I wrote a serial killer

965
00:50:05,920 --> 00:50:08,399
Speaker 4: record on my album. It's not out yet, but it's

966
00:50:08,400 --> 00:50:13,200
Speaker 4: called Lonely People, where initially the perspective of it was me.

967
00:50:14,320 --> 00:50:16,040
Speaker 4: You guys have seen nos Faratu, that film that came

968
00:50:16,040 --> 00:50:18,680
Speaker 4: out about the vampire, which one, this one came out

969
00:50:18,719 --> 00:50:21,640
Speaker 4: largely called nos Feratu. It's about this old German vampire

970
00:50:22,239 --> 00:50:26,240
Speaker 4: that falls in love with this girl and he curses

971
00:50:26,280 --> 00:50:29,160
Speaker 4: her because he wants her to eventually come and join

972
00:50:29,239 --> 00:50:31,120
Speaker 4: him in death ship.

973
00:50:31,360 --> 00:50:35,520
Speaker 5: Yeah I felt bad for the guy.

974
00:50:34,880 --> 00:50:38,560
Speaker 4: I feel bad for the guy. Yeah yeah, I feel

975
00:50:38,760 --> 00:50:40,880
Speaker 4: because I was like, I was like, I can't I

976
00:50:40,960 --> 00:50:42,680
Speaker 4: kind of get where he's coming from. Where it's like

977
00:50:43,080 --> 00:50:46,160
Speaker 4: he's been alone for centuries and then he fires someone

978
00:50:46,160 --> 00:50:48,000
Speaker 4: and he's like I want to just because I'm this

979
00:50:49,120 --> 00:50:50,320
Speaker 4: don't mean I don't deserve.

980
00:50:50,120 --> 00:50:55,480
Speaker 1: Love and it's selfish, but I get it.

981
00:50:55,560 --> 00:50:58,760
Speaker 4: Yeah, So I wrote the song from his perspective, fatu

982
00:50:59,480 --> 00:51:00,759
Speaker 4: where I was like the songs like.

983
00:51:00,920 --> 00:51:05,960
Speaker 7: If it was up to me now, you never leave

984
00:51:06,000 --> 00:51:06,520
Speaker 7: my site.

985
00:51:06,600 --> 00:51:10,920
Speaker 4: I locked the window. It was like this kind of crazy.

986
00:51:11,280 --> 00:51:15,960
Speaker 1: From yeah, yeah, that's your nuts.

987
00:51:16,320 --> 00:51:19,160
Speaker 4: It was crazy. So it was. But then it's happened.

988
00:51:19,520 --> 00:51:23,839
Speaker 4: I don't agree with my boy. The producer call it's

989
00:51:23,840 --> 00:51:26,479
Speaker 4: called him Seguey right now, he's in secret. He came

990
00:51:26,520 --> 00:51:28,200
Speaker 4: in and he was like, and what the hell are

991
00:51:28,200 --> 00:51:32,680
Speaker 4: you talking about? There's some crazy shit. Yeah, man, you

992
00:51:32,680 --> 00:51:35,080
Speaker 4: can't sing that to a lady. I was like, he

993
00:51:35,160 --> 00:51:38,800
Speaker 4: was like, you know what, flip the perspective. So I flipped,

994
00:51:38,840 --> 00:51:40,920
Speaker 4: I've written the whole song and sang it. And he

995
00:51:41,040 --> 00:51:44,319
Speaker 4: just said, I understand where you're coming from. I don't

996
00:51:44,320 --> 00:51:48,560
Speaker 4: know what a nuts for us two is. Man, you

997
00:51:48,600 --> 00:51:51,200
Speaker 4: gotta change that. I was like, cool, So I just

998
00:51:51,239 --> 00:51:51,680
Speaker 4: flipped that.

999
00:51:52,000 --> 00:51:55,239
Speaker 7: I was like, if it was up to you now,

1000
00:51:55,880 --> 00:51:59,120
Speaker 7: I'd never leave his site. You like the window, And

1001
00:51:59,160 --> 00:52:01,799
Speaker 7: I became the kidnap feet you went to misery, yeah,

1002
00:52:01,960 --> 00:52:04,520
Speaker 7: instead of me being the kidnapped, but originally the.

1003
00:52:04,760 --> 00:52:08,680
Speaker 1: Play the misery have you ever seen that movie you

1004
00:52:08,719 --> 00:52:09,000
Speaker 1: went to.

1005
00:52:10,520 --> 00:52:10,840
Speaker 4: Misery?

1006
00:52:11,080 --> 00:52:15,360
Speaker 3: So she basically she's in love with this author loves

1007
00:52:15,440 --> 00:52:17,920
Speaker 3: him to like I need him, I need to be

1008
00:52:18,080 --> 00:52:20,520
Speaker 3: with him, he needs to be with me. We really

1009
00:52:20,560 --> 00:52:23,560
Speaker 3: love each other. He just doesn't know it. And she kidnapped.

1010
00:52:23,640 --> 00:52:27,600
Speaker 3: She kidnaps him. She goes as far as to break

1011
00:52:27,640 --> 00:52:33,880
Speaker 3: his legs so he can't he can't leave. Wow, that's

1012
00:52:33,880 --> 00:52:35,040
Speaker 3: what I equate my wife too.

1013
00:52:36,280 --> 00:52:36,759
Speaker 1: That's the life.

1014
00:52:37,880 --> 00:52:43,200
Speaker 4: What so good with kille.

1015
00:52:45,040 --> 00:52:46,719
Speaker 1: Yo just saying check up on me?

1016
00:52:46,800 --> 00:52:50,360
Speaker 4: He sang it now he did? He sang it twice.

1017
00:52:51,440 --> 00:52:53,279
Speaker 3: But I have I have a bunch of songs like

1018
00:52:53,320 --> 00:52:56,080
Speaker 3: that that I just kind of like, you know, just

1019
00:52:56,160 --> 00:52:59,680
Speaker 3: as my I have a song called Groupie right, like

1020
00:52:59,680 --> 00:53:03,719
Speaker 3: like you're gonna lose, You're gonna meet your number one groupie, right,

1021
00:53:04,160 --> 00:53:06,759
Speaker 3: and I'm describing all the WOWD ship that I do.

1022
00:53:06,920 --> 00:53:09,560
Speaker 3: It in my mind makes sense. I got another song

1023
00:53:09,600 --> 00:53:10,920
Speaker 3: called dead Man Walking.

1024
00:53:11,760 --> 00:53:19,000
Speaker 1: Like, yeah, as you're doing it has been crazy, it's.

1025
00:53:18,680 --> 00:53:22,200
Speaker 4: Wild, you know, it's crazy. And what was it? Yeah,

1026
00:53:22,280 --> 00:53:24,560
Speaker 4: mas Sherry, fine, Sherry? What was that was at the

1027
00:53:24,640 --> 00:53:24,920
Speaker 4: end of.

1028
00:53:24,960 --> 00:53:26,040
Speaker 1: You know that's Luke James.

1029
00:53:26,880 --> 00:53:27,879
Speaker 4: That's when I was going too.

1030
00:53:28,040 --> 00:53:33,319
Speaker 5: I was talking on this that's crazy, right and Loani Yeah,

1031
00:53:33,400 --> 00:53:33,880
Speaker 5: me looking like.

1032
00:53:35,880 --> 00:53:40,920
Speaker 1: Rry. It's something crazy, you know. I don't know if

1033
00:53:40,960 --> 00:53:45,160
Speaker 1: I can say yeah, I'm not gonna do it. It's crazy.

1034
00:53:45,400 --> 00:53:47,160
Speaker 1: I'll tell you.

1035
00:53:47,520 --> 00:53:48,919
Speaker 4: I ain't saying no names.

1036
00:53:48,960 --> 00:53:53,320
Speaker 3: What's crazy is that it gets crazier really in real life.

1037
00:53:53,520 --> 00:54:01,319
Speaker 1: Oh, that's that's the love it loving Pa. Here's here's

1038
00:54:01,320 --> 00:54:02,000
Speaker 1: a question for you.

1039
00:54:05,040 --> 00:54:08,480
Speaker 3: Okay, you got the viral moment, starts changing things, started,

1040
00:54:08,560 --> 00:54:12,959
Speaker 3: starts propelling you and pushing you into a professional space. Right,

1041
00:54:13,560 --> 00:54:16,839
Speaker 3: and now you're in this professional space and now you're

1042
00:54:16,880 --> 00:54:21,880
Speaker 3: starting to move and groove and management and and and

1043
00:54:22,040 --> 00:54:25,839
Speaker 3: tui and all of these. Yeah, Christy right, spicy Christy right,

1044
00:54:25,960 --> 00:54:29,480
Speaker 3: spicy tun my favorite you see you say, Nobles, I'll

1045
00:54:29,520 --> 00:54:30,120
Speaker 3: be there early.

1046
00:54:30,640 --> 00:54:34,080
Speaker 5: I'm just letting you know it's on you now. I'm ready.

1047
00:54:34,280 --> 00:54:35,800
Speaker 5: I'm ready.

1048
00:54:36,120 --> 00:54:36,680
Speaker 4: That's honor.

1049
00:54:39,400 --> 00:54:44,880
Speaker 1: What is a defining moment from a record side.

1050
00:54:46,640 --> 00:54:49,160
Speaker 3: That you've had where you where you where you felt like,

1051
00:54:50,400 --> 00:54:55,279
Speaker 3: oh ship, I'm really in it, I'm really.

1052
00:54:55,000 --> 00:54:55,520
Speaker 1: Really in it.

1053
00:54:55,680 --> 00:54:57,520
Speaker 4: Defining from a record side.

1054
00:54:58,880 --> 00:55:03,160
Speaker 3: Like your record, your song, your video, your single, where

1055
00:55:03,360 --> 00:55:06,919
Speaker 3: when you put when you show up to perform this

1056
00:55:07,080 --> 00:55:11,720
Speaker 3: song it's now, it's it's different, it's for some reason,

1057
00:55:11,719 --> 00:55:13,080
Speaker 3: it's something ever moment.

1058
00:55:13,120 --> 00:55:15,880
Speaker 4: I kind of have multiple but the first moment I

1059
00:55:15,880 --> 00:55:21,560
Speaker 4: wrote a song called Madi Fire, and soon as I

1060
00:55:21,600 --> 00:55:27,640
Speaker 4: started touring and performing live. Initially before that song came out,

1061
00:55:27,880 --> 00:55:29,080
Speaker 4: it was hard to fill up a set list. I

1062
00:55:29,080 --> 00:55:31,400
Speaker 4: didn't have much music out. I had like five six songs.

1063
00:55:32,320 --> 00:55:34,239
Speaker 4: And also another part that was a struggle was that

1064
00:55:34,280 --> 00:55:38,759
Speaker 4: all of my songs are very sad introspective songs. Even

1065
00:55:38,840 --> 00:55:40,720
Speaker 4: harder to fill up a set list because I realized,

1066
00:55:40,719 --> 00:55:44,000
Speaker 4: oh my god, I'm for four songs. Everyone's sad. I

1067
00:55:44,040 --> 00:55:48,120
Speaker 4: appreciate it, but like four in a row is crazy, crying,

1068
00:55:48,680 --> 00:55:51,560
Speaker 4: like tears run out, like someone's gonna get dehydrated, Like

1069
00:55:53,719 --> 00:55:56,720
Speaker 4: this is hard. And then I wrote the song matter Fire.

1070
00:55:57,760 --> 00:56:02,040
Speaker 4: I started performing it first tour that I did properly

1071
00:56:02,040 --> 00:56:04,960
Speaker 4: in the station in twenty twenty four, formed it, and

1072
00:56:05,040 --> 00:56:07,560
Speaker 4: I started feeling that when when that song comes on.

1073
00:56:09,360 --> 00:56:10,560
Speaker 1: The shift the shift.

1074
00:56:11,520 --> 00:56:15,399
Speaker 4: As soon as that intro, everyone's doing it. What if

1075
00:56:15,440 --> 00:56:17,719
Speaker 4: I hat the man they're doing the whole thing.

1076
00:56:17,800 --> 00:56:20,239
Speaker 1: You hear where you're singing it, though, what you mean.

1077
00:56:22,000 --> 00:56:32,359
Speaker 6: Is the ray ja one wish oh.

1078
00:56:30,520 --> 00:56:35,440
Speaker 1: Oh my god, everything comes back to ray J. Guys everything.

1079
00:56:35,920 --> 00:56:39,600
Speaker 4: Ray J always always does this guy man.

1080
00:56:39,600 --> 00:56:40,920
Speaker 1: Here where you're singing?

1081
00:56:41,239 --> 00:56:47,879
Speaker 4: He did, he did.

1082
00:56:48,960 --> 00:56:51,040
Speaker 5: Ray J disappeared one day at my birth at one

1083
00:56:51,040 --> 00:56:53,680
Speaker 5: of my birthday parties, he appeared. He didn't come to

1084
00:56:53,800 --> 00:56:57,560
Speaker 5: the front door. He just appeared, popped up with a

1085
00:56:57,640 --> 00:56:58,400
Speaker 5: Laker jersey.

1086
00:57:00,560 --> 00:57:07,640
Speaker 3: There was like Rachel's outside, like yes, like him and

1087
00:57:07,719 --> 00:57:08,160
Speaker 3: eight people.

1088
00:57:08,160 --> 00:57:13,520
Speaker 6: I was like, oh, what are you gonna do?

1089
00:57:15,920 --> 00:57:17,800
Speaker 1: You know that you're singing it.

1090
00:57:17,880 --> 00:57:19,120
Speaker 3: As soon as you just sang it, I was like,

1091
00:57:19,360 --> 00:57:24,200
Speaker 3: it's a frequency. You're there. I can understand why that

1092
00:57:24,360 --> 00:57:25,120
Speaker 3: song did that.

1093
00:57:26,560 --> 00:57:28,320
Speaker 4: I got it. Now I feel like I need to

1094
00:57:28,360 --> 00:57:31,560
Speaker 4: rewrite my whole album now hold on. Now that's crazy.

1095
00:57:32,160 --> 00:57:35,720
Speaker 3: It's like it's like when you find when you strike

1096
00:57:35,800 --> 00:57:44,000
Speaker 3: that gold. It's scary trying to chase it and reproduce it.

1097
00:57:44,720 --> 00:57:50,040
Speaker 3: But but just now you have the information, if you

1098
00:57:50,120 --> 00:57:53,560
Speaker 3: have if you're doing your own analytics, you have the key,

1099
00:57:54,960 --> 00:57:57,520
Speaker 3: you have the tone and texture, you have the subject

1100
00:57:57,560 --> 00:58:04,000
Speaker 3: matter right, and you have the temple where you're like, Okay,

1101
00:58:05,880 --> 00:58:11,320
Speaker 3: if all else fails, I know where to get back to.

1102
00:58:12,240 --> 00:58:13,600
Speaker 1: I know where the north star.

1103
00:58:13,560 --> 00:58:15,760
Speaker 4: Is because that was the feeling. After that song, I went,

1104
00:58:16,240 --> 00:58:17,640
Speaker 4: what what did I do with that song? I need

1105
00:58:17,680 --> 00:58:20,120
Speaker 4: to do that again. I now understand it. We're going

1106
00:58:20,160 --> 00:58:22,520
Speaker 4: to call it this the ray j A formula. That's

1107
00:58:22,560 --> 00:58:23,360
Speaker 4: what it's going to be called.

1108
00:58:23,360 --> 00:58:24,080
Speaker 1: Now why not?

1109
00:58:24,400 --> 00:58:29,360
Speaker 4: But it was like, oh, oh, what else could we do?

1110
00:58:29,880 --> 00:58:31,800
Speaker 4: And the other moment where it kind of changed when

1111
00:58:31,800 --> 00:58:37,240
Speaker 4: I wrote the song called Useless, where I basically in

1112
00:58:37,280 --> 00:58:41,400
Speaker 4: the midst of writing my album. My album is more heavier,

1113
00:58:42,200 --> 00:58:44,560
Speaker 4: very personal topics, but my dad and all these things.

1114
00:58:44,840 --> 00:58:46,000
Speaker 4: So in the middle of it, I was like, man,

1115
00:58:46,000 --> 00:58:47,680
Speaker 4: I feel like I should write songs that aren't it's

1116
00:58:47,720 --> 00:58:50,560
Speaker 4: more lighthearted songs. And there's this week I spent with

1117
00:58:50,720 --> 00:58:51,360
Speaker 4: Jeff Gee.

1118
00:58:52,400 --> 00:58:55,680
Speaker 1: With Jeff, he's Hillous's dope too, He's.

1119
00:58:55,680 --> 00:58:59,439
Speaker 4: The mad scientist. He where he's just the perfect person

1120
00:58:59,440 --> 00:59:00,520
Speaker 4: for me to go to this where it was just

1121
00:59:00,520 --> 00:59:01,800
Speaker 4: like we just want to have to find let's just

1122
00:59:01,800 --> 00:59:03,880
Speaker 4: write some songs. I'm trying to write like Charlie Wilson,

1123
00:59:03,920 --> 00:59:06,640
Speaker 4: like whatever, trying to get in that bag. So we're

1124
00:59:06,680 --> 00:59:11,280
Speaker 4: just playing two thousand songs, doing the whole thing. And

1125
00:59:11,320 --> 00:59:13,520
Speaker 4: we wrote basically like four or five songs in this

1126
00:59:13,520 --> 00:59:15,600
Speaker 4: week that ended up becoming a mixtape where I went like,

1127
00:59:15,640 --> 00:59:18,040
Speaker 4: these songs have no home in the album, but they

1128
00:59:18,080 --> 00:59:20,840
Speaker 4: belong within each other. Let's just release it. See what happens.

1129
00:59:22,120 --> 00:59:26,440
Speaker 4: Useless just went where I just went, Oh, that was

1130
00:59:26,480 --> 00:59:29,760
Speaker 4: another part that I understood is to never forget as

1131
00:59:29,840 --> 00:59:32,520
Speaker 4: much as I'm all trying to be experimental and progressive

1132
00:59:32,560 --> 00:59:37,640
Speaker 4: and with with word to Stevie and D'Angelo, the fun

1133
00:59:37,800 --> 00:59:40,200
Speaker 4: the thing that we'd love to do of just having

1134
00:59:40,320 --> 00:59:41,960
Speaker 4: music just be Sometimes I just want to put it

1135
00:59:41,960 --> 00:59:45,560
Speaker 4: on and to have a good time. That mixtape completely

1136
00:59:45,640 --> 00:59:48,200
Speaker 4: reminded me of that. I was like, oh, when I

1137
00:59:48,240 --> 00:59:49,640
Speaker 4: was writing that song it was me and the keys.

1138
00:59:49,680 --> 00:59:52,080
Speaker 4: I was like, I took a show in my clothes

1139
00:59:52,080 --> 00:59:55,920
Speaker 4: all I was like, how stupid? And they went, how stupid?

1140
00:59:56,000 --> 00:59:58,160
Speaker 4: How stupid? What do you just to carry on? I

1141
00:59:58,200 --> 01:00:01,720
Speaker 4: was like, where does sleep with all the lights on?

1142
01:00:03,120 --> 01:00:07,440
Speaker 4: How stupid? WHOA, that's the song? I was like, I

1143
01:00:07,520 --> 01:00:09,640
Speaker 4: was saying the lyric was stupid. They said, that's the

1144
01:00:09,720 --> 01:00:10,439
Speaker 4: fucking song.

1145
01:00:10,680 --> 01:00:11,560
Speaker 1: You're crazy.

1146
01:00:11,680 --> 01:00:15,720
Speaker 7: I was like, oh, I play the keys with my guitar.

1147
01:00:17,560 --> 01:00:20,680
Speaker 4: How useless. And then it was just like, oh my god,

1148
01:00:21,000 --> 01:00:24,520
Speaker 4: let's keep going. And then it was done in like

1149
01:00:25,000 --> 01:00:28,120
Speaker 4: an hour or two tops and I went, this song

1150
01:00:28,200 --> 01:00:30,320
Speaker 4: is dumb as fuck. There's no way it's gonna do nothing.

1151
01:00:31,160 --> 01:00:32,200
Speaker 4: Now I do a show.

1152
01:00:33,080 --> 01:00:34,080
Speaker 1: That's what they wait in his.

1153
01:00:34,120 --> 01:00:38,880
Speaker 4: Heir, that's stupid. Even the riff, oh, they hear that,

1154
01:00:40,880 --> 01:00:43,240
Speaker 4: even that riff. I was like, that can't be the riff.

1155
01:00:43,640 --> 01:00:46,400
Speaker 4: Jeff went, that's the fucking riff. Get out the fucking booth.

1156
01:00:47,000 --> 01:00:47,480
Speaker 1: You're done.

1157
01:00:47,520 --> 01:00:48,920
Speaker 4: It's done.

1158
01:00:49,960 --> 01:00:54,280
Speaker 1: Okay, So you just you're gathering so much.

1159
01:00:54,160 --> 01:00:57,240
Speaker 4: Great little I'm I want to write more now.

1160
01:00:57,320 --> 01:01:00,880
Speaker 1: And now you're and now you're like you're your science,

1161
01:01:00,960 --> 01:01:02,720
Speaker 1: your formula. You know what I'm saying.

1162
01:01:02,800 --> 01:01:06,640
Speaker 3: You're you can look at it and say, okay, rights

1163
01:01:06,800 --> 01:01:12,280
Speaker 3: chart here, it's bro it's it's And the other part

1164
01:01:12,360 --> 01:01:15,600
Speaker 3: that I love about what what you're doing and what

1165
01:01:15,640 --> 01:01:22,120
Speaker 3: you're part of is you are you are helping reintroduce

1166
01:01:22,960 --> 01:01:25,240
Speaker 3: the excellence in music.

1167
01:01:26,320 --> 01:01:26,720
Speaker 4: Thank you.

1168
01:01:26,920 --> 01:01:29,400
Speaker 3: That means a love, no, no, you are a part

1169
01:01:29,440 --> 01:01:33,520
Speaker 3: of the shift that is happening in music right now

1170
01:01:34,240 --> 01:01:38,800
Speaker 3: when people want to hear that you've done some work

1171
01:01:39,520 --> 01:01:44,720
Speaker 3: and put some thought and care into this ship. That's

1172
01:01:44,760 --> 01:01:48,760
Speaker 3: what's happening right now, and you're very much a major

1173
01:01:48,760 --> 01:01:49,160
Speaker 3: part of that.

1174
01:01:49,320 --> 01:01:51,400
Speaker 4: I feel blessed to be a part of this. I

1175
01:01:52,400 --> 01:01:54,600
Speaker 4: say that quite a bit. Sometimes I'm I'm so happy

1176
01:01:54,600 --> 01:01:57,040
Speaker 4: that I'm here in this exact moment of this moment.

1177
01:01:57,280 --> 01:02:01,200
Speaker 1: You're You're so good, so great for this moment.

1178
01:02:01,280 --> 01:02:02,160
Speaker 4: I'm so lucky.

1179
01:02:02,440 --> 01:02:07,720
Speaker 3: And we've we've been we've been on this, We've been

1180
01:02:07,720 --> 01:02:10,200
Speaker 3: on we've been on the belt for a long time.

1181
01:02:12,120 --> 01:02:14,760
Speaker 3: We've been watching this ship shift and.

1182
01:02:14,840 --> 01:02:16,360
Speaker 4: Move in our group text and.

1183
01:02:18,160 --> 01:02:21,760
Speaker 1: Go haywire, and we've been like this, we'll be back.

1184
01:02:23,200 --> 01:02:25,520
Speaker 1: We're just gonna We're gonna post up right here.

1185
01:02:25,680 --> 01:02:29,040
Speaker 3: Wow, stand still because you can.

1186
01:02:29,120 --> 01:02:29,400
Speaker 1: You can.

1187
01:02:29,760 --> 01:02:34,240
Speaker 5: You can also if you're around if you're around it enough,

1188
01:02:34,440 --> 01:02:36,320
Speaker 5: you can see the things that are coming and the

1189
01:02:36,360 --> 01:02:38,680
Speaker 5: things that are bubbling, you can, you know what I mean.

1190
01:02:38,800 --> 01:02:44,600
Speaker 5: Like we've been having conversations about you, Wow, literally before

1191
01:02:44,640 --> 01:02:47,160
Speaker 5: we met you, before any of these things, like you

1192
01:02:47,240 --> 01:02:50,600
Speaker 5: were someone that were like, ah, keep your eye on

1193
01:02:50,720 --> 01:02:54,560
Speaker 5: that one, Yeah, something there, you know what I mean.

1194
01:02:55,040 --> 01:02:57,680
Speaker 5: And there's multiple artists that we've come across that you know,

1195
01:02:58,160 --> 01:03:00,640
Speaker 5: that are moving into that same space where it's like

1196
01:03:01,200 --> 01:03:05,120
Speaker 5: it gives us hope because you know, honestly, there are

1197
01:03:05,160 --> 01:03:08,080
Speaker 5: people in our business that are very tenured in our

1198
01:03:08,120 --> 01:03:11,160
Speaker 5: business that are feeling hopeless about what our business is

1199
01:03:11,240 --> 01:03:15,560
Speaker 5: right right, and we try to be whatever the beacon

1200
01:03:15,640 --> 01:03:18,080
Speaker 5: of hope of being like, hey man, now I'm telling

1201
01:03:18,160 --> 01:03:21,760
Speaker 5: you you just got to wait for such and such

1202
01:03:21,760 --> 01:03:22,600
Speaker 5: a for this to happen.

1203
01:03:22,840 --> 01:03:24,080
Speaker 1: It's it's coming.

1204
01:03:24,800 --> 01:03:26,880
Speaker 5: So, I mean, that's why we wanted you on the show, too,

1205
01:03:26,960 --> 01:03:30,040
Speaker 5: bro to, just to highlight the fact that you know,

1206
01:03:30,200 --> 01:03:34,000
Speaker 5: you're someone that we look at and look too, to

1207
01:03:34,160 --> 01:03:37,640
Speaker 5: kind of be a part of what's being ushered into

1208
01:03:37,680 --> 01:03:38,840
Speaker 5: where we are in this business.

1209
01:03:38,920 --> 01:03:41,960
Speaker 4: Right. Even when you hit me up, I said, whoa, guys,

1210
01:03:44,080 --> 01:03:47,240
Speaker 4: it's too early. You want me on the show? I

1211
01:03:47,240 --> 01:03:49,880
Speaker 4: was like, you just interviewed Case the other day, Like,

1212
01:03:50,000 --> 01:03:52,600
Speaker 4: are then fight? Yeah, I'm at the level where I

1213
01:03:52,600 --> 01:03:53,760
Speaker 4: can even talk to you guys yet.

1214
01:03:54,160 --> 01:03:57,880
Speaker 5: But we've created this this platform for that, right, It's

1215
01:03:58,080 --> 01:04:03,360
Speaker 5: for honestly, it's you know it. We'll probably get in

1216
01:04:03,360 --> 01:04:05,320
Speaker 5: trouble a little bit personally for this, but it's it's

1217
01:04:05,360 --> 01:04:06,720
Speaker 5: a lot of personal preference.

1218
01:04:07,680 --> 01:04:09,720
Speaker 1: This show is, you know what I mean, because this

1219
01:04:09,880 --> 01:04:10,680
Speaker 1: is something that.

1220
01:04:10,480 --> 01:04:12,960
Speaker 5: That him and I do as a labor of love

1221
01:04:13,000 --> 01:04:15,959
Speaker 5: and something that that that we really are excited about

1222
01:04:15,960 --> 01:04:17,000
Speaker 5: getting up and doing so.

1223
01:04:17,360 --> 01:04:19,600
Speaker 4: We want to be excited about who comes in here.

1224
01:04:20,040 --> 01:04:23,880
Speaker 5: And and be able to go down you know, that

1225
01:04:23,920 --> 01:04:26,360
Speaker 5: path and that rabbit hole of like when we are

1226
01:04:26,480 --> 01:04:28,560
Speaker 5: researching the music and I want to be able to

1227
01:04:28,560 --> 01:04:32,240
Speaker 5: listen to your music for hours straight, right and enjoy

1228
01:04:32,360 --> 01:04:34,400
Speaker 5: myself instead of being like, let me find this one

1229
01:04:34,440 --> 01:04:37,320
Speaker 5: song that I gotta be able to talk about and right.

1230
01:04:40,280 --> 01:04:43,320
Speaker 5: Our show is not about the single. That's not the

1231
01:04:43,440 --> 01:04:45,400
Speaker 5: That's not what this is about. This is about the process,

1232
01:04:45,480 --> 01:04:47,400
Speaker 5: about the journey, and this is about who we believe,

1233
01:04:48,440 --> 01:04:50,880
Speaker 5: especially for the newer artists like yourself that come on

1234
01:04:50,960 --> 01:04:52,400
Speaker 5: here that we believe are next.

1235
01:04:54,600 --> 01:04:55,439
Speaker 4: Thank you for having men.

1236
01:05:04,000 --> 01:05:06,000
Speaker 5: This is this is something that we've been excited about

1237
01:05:06,040 --> 01:05:08,080
Speaker 5: and just even just watching like I said, watching the journey,

1238
01:05:08,080 --> 01:05:10,800
Speaker 5: watching the process, and just seeing some of the moments

1239
01:05:10,840 --> 01:05:13,640
Speaker 5: for you outside of you know, even with the moments

1240
01:05:13,640 --> 01:05:17,520
Speaker 5: you brought up, but just like your records playing at

1241
01:05:17,920 --> 01:05:21,360
Speaker 5: the Louisvaton Fashion show, the last Virgil show, you know

1242
01:05:21,400 --> 01:05:23,760
Speaker 5: what I mean, Like the moments that you had, Like Bro,

1243
01:05:25,000 --> 01:05:28,120
Speaker 5: you're hanging out with my fucking l John Bro, Like.

1244
01:05:29,600 --> 01:05:33,880
Speaker 1: That's not normal. That white nigga ain't normal normal.

1245
01:05:33,920 --> 01:05:36,560
Speaker 4: You know, what I'm saying, we attract freaks and windows here. Man,

1246
01:05:36,640 --> 01:05:39,160
Speaker 4: it seems that's the that's.

1247
01:05:38,120 --> 01:05:39,040
Speaker 1: The great.

1248
01:05:40,320 --> 01:05:42,600
Speaker 4: Yeah, right right, you know what I mean.

1249
01:05:42,640 --> 01:05:46,120
Speaker 1: And that's the formula. Have you had that.

1250
01:05:46,840 --> 01:05:53,080
Speaker 4: I've had some moments where upon meeting the greatest of

1251
01:05:53,160 --> 01:06:00,480
Speaker 4: the greats, like when I first met dig and I

1252
01:06:00,520 --> 01:06:04,160
Speaker 4: realized how just normal and good of a person here is.

1253
01:06:04,560 --> 01:06:07,120
Speaker 4: This is incredible. And then the other one where I

1254
01:06:07,160 --> 01:06:09,600
Speaker 4: was like, I'm on the right path is I got

1255
01:06:09,640 --> 01:06:13,920
Speaker 4: invited to Stevie wants Thanksgiving last year Thanksgiving. Thanks that

1256
01:06:14,080 --> 01:06:18,000
Speaker 4: was and that was insane. That's when I realized, oh.

1257
01:06:18,040 --> 01:06:20,920
Speaker 5: Thanksgiving with Steve Windy, I'm a punch him in the stomach.

1258
01:06:21,240 --> 01:06:25,080
Speaker 5: He's never I think he likes you, bro, he loves me.

1259
01:06:25,520 --> 01:06:27,800
Speaker 5: I don't think so. Stevie loves whatever.

1260
01:06:29,000 --> 01:06:33,480
Speaker 3: Story steevee talking about how Stevie can see and it's

1261
01:06:33,520 --> 01:06:35,040
Speaker 3: the reason why Steve ain't been on us.

1262
01:06:36,120 --> 01:06:38,320
Speaker 1: You better block the punch. What do you mean, because

1263
01:06:44,000 --> 01:06:45,880
Speaker 1: it's just fine. I tell you what he did this.

1264
01:06:46,440 --> 01:06:49,200
Speaker 4: He will he will block it. He'll block it.

1265
01:06:49,800 --> 01:06:51,439
Speaker 1: See you can hear it. I know what I'm talking.

1266
01:06:51,560 --> 01:06:54,200
Speaker 4: But he's on something like echo. You like Dade, You

1267
01:06:54,240 --> 01:06:55,680
Speaker 4: know how like he's blind, but he can.

1268
01:06:55,680 --> 01:06:58,840
Speaker 3: Like, I know what's going on with Stevie. Stevie drove

1269
01:06:58,880 --> 01:07:03,360
Speaker 3: a car. You're not gonna yet that story.

1270
01:07:03,920 --> 01:07:05,760
Speaker 4: I had a mad time with Steve Is. I got

1271
01:07:05,760 --> 01:07:09,440
Speaker 4: on his I got on his on his piano in

1272
01:07:09,440 --> 01:07:14,600
Speaker 4: the room, playing the piano, and STEVEE comes downstairs. Who's

1273
01:07:14,640 --> 01:07:19,200
Speaker 4: playing my keys? I go meet Steve, just get off

1274
01:07:19,280 --> 01:07:23,600
Speaker 4: my keys, nigga, and he bus me up. He bumps me.

1275
01:07:23,760 --> 01:07:26,960
Speaker 4: I was like, oh ship. He starts playing, we'll start

1276
01:07:27,080 --> 01:07:31,280
Speaker 4: jamming whatever. And then he starts playing rocket Love and

1277
01:07:31,280 --> 01:07:33,840
Speaker 4: he goes, I know you know this one, and I'm

1278
01:07:33,840 --> 01:07:35,320
Speaker 4: just going off a.

1279
01:07:35,400 --> 01:07:39,320
Speaker 7: Long for you since I was born a woman sensitive

1280
01:07:39,480 --> 01:07:41,000
Speaker 7: and warm, and that.

1281
01:07:42,000 --> 01:07:46,120
Speaker 4: You doing it. And then he starts doing the harmony.

1282
01:07:46,360 --> 01:07:48,560
Speaker 4: It took me if I ain't in your record game.

1283
01:07:48,680 --> 01:07:51,280
Speaker 4: He stopped. He's in the Then I was like, whoa.

1284
01:07:51,320 --> 01:07:53,360
Speaker 4: And he's playing it and his family's around us in

1285
01:07:53,400 --> 01:07:56,560
Speaker 4: the piano, and it's like in those moments you can't

1286
01:07:56,600 --> 01:07:59,640
Speaker 4: even like fathom what's going on you do that. We've

1287
01:07:59,680 --> 01:08:02,240
Speaker 4: just had. We just ate like deviled eggs and corn bread,

1288
01:08:02,360 --> 01:08:05,600
Speaker 4: three different kinds of corn bread. You sat down, we're

1289
01:08:05,600 --> 01:08:08,360
Speaker 4: talking and there's the one point I was walking around

1290
01:08:08,400 --> 01:08:09,720
Speaker 4: and see who was just sat at the table and

1291
01:08:09,800 --> 01:08:11,520
Speaker 4: joining himself with his family, and I'm like, I guess

1292
01:08:11,560 --> 01:08:13,320
Speaker 4: I can just go up now and talk to him.

1293
01:08:13,480 --> 01:08:13,760
Speaker 1: I went.

1294
01:08:13,840 --> 01:08:16,800
Speaker 4: I was like, hey, man talking whatever, and I think

1295
01:08:16,840 --> 01:08:18,759
Speaker 4: I'm about to leave. Man, He's like a man, be safe.

1296
01:08:19,400 --> 01:08:22,320
Speaker 4: I was like, what am I doing. I got in

1297
01:08:22,360 --> 01:08:24,160
Speaker 4: the car and I went to the beach a couple

1298
01:08:24,160 --> 01:08:25,439
Speaker 4: of days day and I just sat there.

1299
01:08:25,960 --> 01:08:30,880
Speaker 1: It's like crying. I get it, just like you're talking about. Yes.

1300
01:08:31,400 --> 01:08:34,160
Speaker 4: And the biggest part that hit me emotionally was also

1301
01:08:34,280 --> 01:08:38,880
Speaker 4: understanding that Stevie was also just a good guy. Where

1302
01:08:38,960 --> 01:08:41,240
Speaker 4: the part that really struck me was that I wasn't

1303
01:08:41,280 --> 01:08:45,360
Speaker 4: wrong in my inspirations. The people that I wanted to

1304
01:08:45,400 --> 01:08:48,760
Speaker 4: follow him that I was obsessed with were good people people.

1305
01:08:49,360 --> 01:08:51,000
Speaker 4: Meeting Rapha, I was like, you were just a good part.

1306
01:08:51,000 --> 01:08:52,320
Speaker 4: We could talk about cinner buns.

1307
01:08:52,560 --> 01:08:55,280
Speaker 5: I love that you're saying this yes, because there's so

1308
01:08:55,400 --> 01:09:00,320
Speaker 5: many people on the outside of our business who have

1309
01:09:00,439 --> 01:09:04,360
Speaker 5: heard so much bullshit that they don't really know that

1310
01:09:04,560 --> 01:09:10,320
Speaker 5: Raphael is Ray Wiggins Man Oakland, like from a real

1311
01:09:10,439 --> 01:09:11,280
Speaker 5: town business.

1312
01:09:11,400 --> 01:09:13,760
Speaker 1: Yep, you know what I'm saying, and.

1313
01:09:13,680 --> 01:09:17,759
Speaker 3: Like, is the realest guy. He just don't be outside everywhere.

1314
01:09:18,439 --> 01:09:20,680
Speaker 3: He told you that, you know what I'm saying. But

1315
01:09:20,720 --> 01:09:22,680
Speaker 3: they're thinking, like, oh, it's just evil. As soon as

1316
01:09:22,680 --> 01:09:24,439
Speaker 3: you get in this, it's evil, is it. It's like, bro,

1317
01:09:24,640 --> 01:09:27,840
Speaker 3: I know so many cool people in his industry.

1318
01:09:28,240 --> 01:09:30,840
Speaker 4: They just don't They also they just all understand the

1319
01:09:31,280 --> 01:09:35,640
Speaker 4: just the own space. They understand that concept in your

1320
01:09:35,680 --> 01:09:37,720
Speaker 4: own space and being comfortable in it. They don't need

1321
01:09:37,760 --> 01:09:40,240
Speaker 4: to be out there because also understand that our job

1322
01:09:40,320 --> 01:09:43,680
Speaker 4: is to make music. Music or our job. Everything else

1323
01:09:43,760 --> 01:09:45,400
Speaker 4: is extra the fame.

1324
01:09:45,520 --> 01:09:47,000
Speaker 1: I appreciate your experience in this.

1325
01:09:47,439 --> 01:09:50,200
Speaker 4: It's all extra like and I needed that like when

1326
01:09:50,200 --> 01:09:52,000
Speaker 4: I was because because it's hard for me. It's also

1327
01:09:52,000 --> 01:09:54,120
Speaker 4: someone that's like, I'm a Muslim. I don't drink, I

1328
01:09:54,120 --> 01:09:57,600
Speaker 4: don't do nothing. I just exist. It's hard for me

1329
01:09:57,800 --> 01:09:59,960
Speaker 4: to go. Man, if the peak is what's the peak

1330
01:10:00,080 --> 01:10:03,040
Speaker 4: of this? What's the what's the point of being made?

1331
01:10:03,080 --> 01:10:03,320
Speaker 1: It?

1332
01:10:03,400 --> 01:10:05,720
Speaker 4: Is it having girls and being and doing this and

1333
01:10:05,760 --> 01:10:07,800
Speaker 4: doing that? Is that really the best of the best

1334
01:10:07,800 --> 01:10:11,080
Speaker 4: of this? And I was starting to feel like it's

1335
01:10:11,160 --> 01:10:14,120
Speaker 4: part of it. It is part of it, But I

1336
01:10:14,160 --> 01:10:17,160
Speaker 4: felt like I couldn't. I was feeling astray. I was like,

1337
01:10:17,200 --> 01:10:18,680
Speaker 4: I don't want to go down this road if this

1338
01:10:18,760 --> 01:10:21,240
Speaker 4: is the top of it. And then I met Stevian

1339
01:10:21,360 --> 01:10:24,600
Speaker 4: Ray and I went, oh, my true true heroes. It

1340
01:10:24,680 --> 01:10:27,800
Speaker 4: to me at the peak of this, absolutely the greatest

1341
01:10:27,840 --> 01:10:32,519
Speaker 4: of the greatest, chill man, they ain't doing all of that. No,

1342
01:10:32,640 --> 01:10:38,000
Speaker 4: I can't do this forever. It's fine. Well, don't say

1343
01:10:38,040 --> 01:10:45,320
Speaker 4: some ship now, I was.

1344
01:10:45,280 --> 01:10:45,760
Speaker 1: Gonna say that.

1345
01:10:45,760 --> 01:10:50,040
Speaker 12: I'm sure they know some pretty women. I can promise

1346
01:10:50,080 --> 01:10:58,520
Speaker 12: you at some point the people would indulge.

1347
01:11:00,120 --> 01:11:10,280
Speaker 3: Yeah, Parks, But you're right, You're right, there's more to it.

1348
01:11:10,360 --> 01:11:11,120
Speaker 4: There's more to it.

1349
01:11:11,280 --> 01:11:13,760
Speaker 1: There's more to get out of it and to give.

1350
01:11:14,120 --> 01:11:14,640
Speaker 4: Absolutely.

1351
01:11:15,000 --> 01:11:18,479
Speaker 1: So you're you're one hundred percent on the right, but

1352
01:11:18,600 --> 01:11:19,000
Speaker 1: you're young.

1353
01:11:19,080 --> 01:11:23,200
Speaker 4: So just you know, I'm gonna I'm gonna, I'm gonna

1354
01:11:23,200 --> 01:11:26,120
Speaker 4: tell you, I'm gonna update you guys as they is

1355
01:11:26,120 --> 01:11:26,599
Speaker 4: on fault.

1356
01:11:27,400 --> 01:11:30,840
Speaker 1: I've always sad that you look at young.

1357
01:11:34,080 --> 01:11:39,040
Speaker 3: As you as you, as you get better, as you

1358
01:11:39,160 --> 01:11:43,400
Speaker 3: grow and success and and schedule and all of these things,

1359
01:11:44,479 --> 01:11:48,600
Speaker 3: don't ever forget to enjoy it. Don't ever forget to

1360
01:11:48,680 --> 01:11:52,320
Speaker 3: enjoy it, Like what what what? What you get? To

1361
01:11:52,360 --> 01:11:57,320
Speaker 3: do for a living is nothing short of a miracle.

1362
01:11:58,840 --> 01:12:02,160
Speaker 3: Like sometimes step back and look at it black.

1363
01:12:02,880 --> 01:12:08,760
Speaker 1: Oh yeah, okay, yeah I had to go to ask Yeah,

1364
01:12:08,800 --> 01:12:09,040
Speaker 1: thank you.

1365
01:12:09,040 --> 01:12:12,760
Speaker 4: I'm to go to aspend. I'm I'm on that low

1366
01:12:12,760 --> 01:12:15,360
Speaker 4: way up. Yes you are, Yes, you are on the

1367
01:12:15,360 --> 01:12:17,920
Speaker 4: tank aspen level. Just go just crazy.

1368
01:12:18,439 --> 01:12:20,120
Speaker 1: That's my mindset.

1369
01:12:20,200 --> 01:12:23,400
Speaker 3: You don't got no wife and kids yet for you

1370
01:12:23,880 --> 01:12:26,439
Speaker 3: listen equalizes.

1371
01:12:27,400 --> 01:12:31,120
Speaker 1: This event is different the multiple ticket and multiple ticket

1372
01:12:31,360 --> 01:12:35,840
Speaker 1: to bedrooms. You can't put a nigga on the couch. Shut.

1373
01:12:38,880 --> 01:12:42,000
Speaker 1: You gotta feed them so they gotta eat too.

1374
01:12:42,680 --> 01:12:43,800
Speaker 4: Yeah yeah that's hard.

1375
01:12:44,360 --> 01:12:48,599
Speaker 3: Well listen while you while you're free.

1376
01:12:49,240 --> 01:12:50,519
Speaker 1: Yo, my good.

1377
01:12:50,320 --> 01:12:54,639
Speaker 5: Friends, that's pific.

1378
01:12:54,720 --> 01:12:57,120
Speaker 3: Where the other places where.

1379
01:12:57,760 --> 01:12:59,960
Speaker 4: You got hocado?

1380
01:13:00,080 --> 01:13:00,320
Speaker 1: Japan?

1381
01:13:01,160 --> 01:13:03,679
Speaker 4: Hey, I go to I did that last December. I went.

1382
01:13:04,360 --> 01:13:06,920
Speaker 4: I was building up all these excuses not to guys,

1383
01:13:06,920 --> 01:13:08,880
Speaker 4: like my friends, aren't you know, everyone's busy.

1384
01:13:09,280 --> 01:13:09,559
Speaker 1: And then.

1385
01:13:11,040 --> 01:13:13,479
Speaker 4: Someone told me, they were like, hey, what are you

1386
01:13:13,520 --> 01:13:18,280
Speaker 4: talking about. Just go it's your lifelong dream. Just go alone.

1387
01:13:18,320 --> 01:13:21,840
Speaker 4: Then I was like, oh, I had the best time

1388
01:13:21,920 --> 01:13:25,280
Speaker 4: my life. The best time my life solo is out

1389
01:13:25,360 --> 01:13:25,960
Speaker 4: that doing what.

1390
01:13:26,080 --> 01:13:27,920
Speaker 3: I was like, Wow, you get out there and you

1391
01:13:28,000 --> 01:13:31,559
Speaker 3: just be surprised and be subscribed. What's there for you

1392
01:13:32,360 --> 01:13:35,519
Speaker 3: and my and And it's great because you have this

1393
01:13:35,880 --> 01:13:41,320
Speaker 3: kind of international movement already, which guys from the US,

1394
01:13:41,880 --> 01:13:44,679
Speaker 3: we're not born into that, right, Like we're born into

1395
01:13:44,720 --> 01:13:47,320
Speaker 3: this local thing. For us the US, it's completely local.

1396
01:13:47,800 --> 01:13:51,320
Speaker 3: But you being you know, you being in the UK,

1397
01:13:51,479 --> 01:13:53,920
Speaker 3: like you're you're next too. Like I said, it's in

1398
01:13:54,040 --> 01:13:57,280
Speaker 3: the world. Yeah, all of these different cultures things, and

1399
01:13:57,280 --> 01:14:01,799
Speaker 3: so you're your understanding of the world is vast already

1400
01:14:01,800 --> 01:14:05,120
Speaker 3: in the very beginning. And that's what I kind of

1401
01:14:05,280 --> 01:14:07,760
Speaker 3: impressed upon my guys from here. I'm like, bro, go

1402
01:14:07,800 --> 01:14:10,360
Speaker 3: see the world first. Yeah, before you make any hard.

1403
01:14:10,200 --> 01:14:12,799
Speaker 4: Decisions, before you make any of this truth.

1404
01:14:12,720 --> 01:14:16,200
Speaker 3: Because you just never know what's over in South Africa. Wait,

1405
01:14:16,360 --> 01:14:18,080
Speaker 3: world is you never know?

1406
01:14:18,720 --> 01:14:20,759
Speaker 4: I had that the blessing of me being from Sudan.

1407
01:14:21,120 --> 01:14:23,760
Speaker 4: We used to go out to Sudan every year, so

1408
01:14:23,840 --> 01:14:26,320
Speaker 4: I used to go. We had no wife after twenty eighteen,

1409
01:14:27,080 --> 01:14:30,680
Speaker 4: so it's like being from Oxford experiencing that life and

1410
01:14:30,720 --> 01:14:34,000
Speaker 4: then going to Sudan experience another life and loving both, yeah,

1411
01:14:34,680 --> 01:14:37,599
Speaker 4: and seeing both for what they are and the benefits

1412
01:14:37,600 --> 01:14:39,639
Speaker 4: of both. I was like, whoa the world is crazy

1413
01:14:39,680 --> 01:14:41,400
Speaker 4: because I get on that plane and I might as

1414
01:14:41,439 --> 01:14:42,839
Speaker 4: well be in another universe.

1415
01:14:42,960 --> 01:14:43,200
Speaker 1: Yes.

1416
01:14:43,520 --> 01:14:44,760
Speaker 4: And then I got on the plane when I came

1417
01:14:44,800 --> 01:14:46,120
Speaker 4: to Mecca for the first time. When I came to

1418
01:14:46,200 --> 01:14:49,040
Speaker 4: LA I was like, this is a whole different. And

1419
01:14:49,080 --> 01:14:50,880
Speaker 4: then I went to New York and I was like, whoa,

1420
01:14:52,080 --> 01:14:54,920
Speaker 4: the world is huge. It's so big.

1421
01:14:55,160 --> 01:14:56,599
Speaker 1: And then you sit in that studio.

1422
01:14:56,880 --> 01:15:01,920
Speaker 3: Yeah, with all of that perspective, Oh my god, it's

1423
01:15:02,400 --> 01:15:04,800
Speaker 3: like it becomes unlimited.

1424
01:15:04,880 --> 01:15:05,080
Speaker 4: Yeah.

1425
01:15:05,160 --> 01:15:08,719
Speaker 1: Yeah, it's no boxes, there's no rules, it doesn't matter anymore.

1426
01:15:09,760 --> 01:15:14,080
Speaker 3: Man, talk album, talk new album. What's what's on this

1427
01:15:14,120 --> 01:15:14,799
Speaker 3: new album?

1428
01:15:14,840 --> 01:15:22,080
Speaker 4: On this new album, I have about twelve songs that God,

1429
01:15:22,120 --> 01:15:25,200
Speaker 4: I love this song so much. It's even just the

1430
01:15:25,280 --> 01:15:28,200
Speaker 4: name of the album. It's called Sounds for Someone mm hmm.

1431
01:15:28,880 --> 01:15:33,000
Speaker 4: And the someone to me is my is my late father.

1432
01:15:33,120 --> 01:15:36,959
Speaker 4: But I wanted to keep it open, inspired by Stevie's

1433
01:15:36,960 --> 01:15:39,200
Speaker 4: songs in the Key of Life, the greatest title to

1434
01:15:39,280 --> 01:15:45,160
Speaker 4: anything ever, because I wanted to make sure that that's

1435
01:15:45,280 --> 01:15:50,400
Speaker 4: someone is open to whoever. Is it your brother, is

1436
01:15:50,439 --> 01:15:52,839
Speaker 4: it your sister, is it your lover? Is it whoever?

1437
01:15:53,240 --> 01:15:55,559
Speaker 4: Because I also just didn't want the album to be

1438
01:15:55,920 --> 01:15:59,400
Speaker 4: this is our mean mourning his father for an album,

1439
01:15:59,600 --> 01:16:02,760
Speaker 4: and then that being the yes. I wanted them to

1440
01:16:02,800 --> 01:16:05,840
Speaker 4: be more to it than that. So thanks to Quincy,

1441
01:16:05,920 --> 01:16:08,040
Speaker 4: she came out with her name, let's to go right there.

1442
01:16:08,040 --> 01:16:11,759
Speaker 4: I killed it, That's what she brought it all together.

1443
01:16:12,360 --> 01:16:16,600
Speaker 4: But the album the same to the name where the

1444
01:16:16,720 --> 01:16:19,240
Speaker 4: sounds for someone. Another part of that that I always

1445
01:16:19,280 --> 01:16:21,800
Speaker 4: kind of saw that made sense was that there's a

1446
01:16:21,840 --> 01:16:25,439
Speaker 4: sound in here for anyone. And I've made sure to

1447
01:16:25,479 --> 01:16:27,920
Speaker 4: explore so many different ranges of my thing because that

1448
01:16:28,000 --> 01:16:30,280
Speaker 4: was one of the hardest parts of me being I mean,

1449
01:16:30,400 --> 01:16:33,000
Speaker 4: understanding what I'm about. Was like, man, I have so

1450
01:16:33,080 --> 01:16:37,439
Speaker 4: many different faces from the UK, but I grew up

1451
01:16:37,439 --> 01:16:40,120
Speaker 4: on music from America and I used to go to Sudan,

1452
01:16:40,400 --> 01:16:42,519
Speaker 4: and I'm influenced by my parents, and I speak Arabic

1453
01:16:42,560 --> 01:16:46,519
Speaker 4: and I have these two All these facets that are

1454
01:16:46,640 --> 01:16:49,479
Speaker 4: in the melodies, are in the things I talk about

1455
01:16:49,479 --> 01:16:53,640
Speaker 4: in my perspectives that I take in music that sometimes

1456
01:16:53,720 --> 01:16:56,400
Speaker 4: the conversations ended up feeling kind of nineteen fifties where

1457
01:16:56,400 --> 01:16:58,320
Speaker 4: it was like, oh, this song sounds kind of white,

1458
01:16:58,439 --> 01:17:02,680
Speaker 4: I don't know more black songs or or whatever. It's

1459
01:17:02,760 --> 01:17:04,040
Speaker 4: like what am I doing in my head? Why am

1460
01:17:04,040 --> 01:17:06,679
Speaker 4: I doing this to myself? Why am I restricting myself

1461
01:17:06,680 --> 01:17:08,519
Speaker 4: to whatever it is? So I made sure in this

1462
01:17:08,560 --> 01:17:12,400
Speaker 4: album that it's all there, and I really wanted it

1463
01:17:12,439 --> 01:17:14,719
Speaker 4: to come out as it is. It's my most important

1464
01:17:14,720 --> 01:17:17,360
Speaker 4: project because it now, I feel, sets the tone for

1465
01:17:17,400 --> 01:17:19,639
Speaker 4: what I am about from now on till the end.

1466
01:17:20,200 --> 01:17:24,400
Speaker 4: Where there is no specific hard cut box that I

1467
01:17:24,400 --> 01:17:27,040
Speaker 4: want to sit in. I don't want to be the

1468
01:17:27,120 --> 01:17:29,840
Speaker 4: king of R and B. I want to be part

1469
01:17:29,840 --> 01:17:33,840
Speaker 4: of the lineage of black music as a whole, and

1470
01:17:33,840 --> 01:17:35,760
Speaker 4: that's what Stevie and Dangelo did is like they were

1471
01:17:35,760 --> 01:17:39,400
Speaker 4: bigger than anything you couldn't it's a detriment to their

1472
01:17:40,560 --> 01:17:44,920
Speaker 4: efforts and what they've done for music as a whole concept. Yes,

1473
01:17:45,439 --> 01:17:49,479
Speaker 4: to just be like man, they're incredible RMB artists, that's

1474
01:17:49,560 --> 01:17:53,280
Speaker 4: part of it, but they are the reason why so

1475
01:17:53,680 --> 01:17:58,160
Speaker 4: many It's one I heard I think it was. It

1476
01:17:58,280 --> 01:18:01,759
Speaker 4: was a Dave Grol from Nirvana talking about how smells

1477
01:18:01,760 --> 01:18:04,680
Speaker 4: like teen Spirit was just up and a fire the

1478
01:18:04,800 --> 01:18:10,880
Speaker 4: drums was like, see the inspiration, inspiration, it's not the

1479
01:18:10,920 --> 01:18:12,639
Speaker 4: fifties or the sixties any well, you can't just put

1480
01:18:12,720 --> 01:18:14,120
Speaker 4: us in a box and go that's that, that's this,

1481
01:18:14,240 --> 01:18:19,720
Speaker 4: that's urban. That we are music, that's just what it is.

1482
01:18:20,160 --> 01:18:22,439
Speaker 4: And this album is me trying to really cement that

1483
01:18:22,479 --> 01:18:24,720
Speaker 4: I am just here to make music. I'm here to

1484
01:18:24,880 --> 01:18:27,400
Speaker 4: exactly reflect how I felt. If in that day I

1485
01:18:27,400 --> 01:18:30,480
Speaker 4: felt like I needed an electric guitar and a glockagepiel,

1486
01:18:31,040 --> 01:18:33,160
Speaker 4: so be it. If that's what the song demands, If

1487
01:18:33,160 --> 01:18:35,880
Speaker 4: the song demands me doing the R and B guitar

1488
01:18:36,040 --> 01:18:38,200
Speaker 4: and and the chords that we're that we love and know,

1489
01:18:38,720 --> 01:18:41,280
Speaker 4: so be it. That's what this song demands. That's the

1490
01:18:41,400 --> 01:18:44,960
Speaker 4: kind of just behind sounds to someone I want to

1491
01:18:44,960 --> 01:18:47,320
Speaker 4: hope to be freedom. That's what I hope people take

1492
01:18:47,360 --> 01:18:49,280
Speaker 4: from it is that, oh, this is a free guy

1493
01:18:49,880 --> 01:18:52,120
Speaker 4: who just writes and sings whatever he wants to sing.

1494
01:18:53,800 --> 01:19:04,240
Speaker 1: I love that you're going on tour.

1495
01:19:04,400 --> 01:19:07,639
Speaker 4: Yeah, I am in May started the end of eight,

1496
01:19:07,640 --> 01:19:10,559
Speaker 4: Pril goes throughout the whole of May, and I finish

1497
01:19:11,560 --> 01:19:14,559
Speaker 4: here in l a start a gym.

1498
01:19:14,960 --> 01:19:17,679
Speaker 1: Okay, yeah, I'm.

1499
01:19:17,520 --> 01:19:20,040
Speaker 4: Looking at like you guys are gonna be on stage.

1500
01:19:21,800 --> 01:19:22,479
Speaker 1: Just like this male.

1501
01:19:23,000 --> 01:19:31,200
Speaker 4: Yeah, like I'm getting helready knows that if we're gonna

1502
01:19:31,240 --> 01:19:33,120
Speaker 4: do that moment. But everyone comes on stage.

1503
01:19:36,240 --> 01:19:41,360
Speaker 1: You're you're freaking upe bro. Thank you very much, freking dope, bro.

1504
01:19:43,960 --> 01:19:46,400
Speaker 3: I'm excited. I love the journey on, I love the

1505
01:19:46,400 --> 01:19:49,320
Speaker 3: space you're in. It all makes sense, bro.

1506
01:19:49,200 --> 01:19:49,880
Speaker 1: Thank you very much.

1507
01:19:49,920 --> 01:19:50,679
Speaker 4: You got to play something.

1508
01:19:50,920 --> 01:19:53,679
Speaker 1: Yeah, yeah, you know you gotta go be talented.

1509
01:19:53,760 --> 01:19:54,760
Speaker 4: I was excited for this.

1510
01:19:55,160 --> 01:19:57,080
Speaker 1: I'm so excited if it is at some point, we

1511
01:19:57,160 --> 01:19:57,800
Speaker 1: gotta Yeah.

1512
01:19:57,840 --> 01:19:58,240
Speaker 4: I used to.

1513
01:19:58,320 --> 01:19:58,680
Speaker 1: I used to.

1514
01:19:58,760 --> 01:20:01,120
Speaker 4: I studied the video of you doing Maybe I Deserve

1515
01:20:01,200 --> 01:20:05,160
Speaker 4: at this like weird little party, and it was just

1516
01:20:05,479 --> 01:20:07,400
Speaker 4: probably like ten thousand years. It just it was just

1517
01:20:07,439 --> 01:20:09,280
Speaker 4: you sat there and then I think your kids.

1518
01:20:09,040 --> 01:20:12,120
Speaker 1: Were there probably a long time. I think I know exactly.

1519
01:20:12,120 --> 01:20:14,840
Speaker 4: Fourteen years ago or something exactly in New York.

1520
01:20:14,960 --> 01:20:19,200
Speaker 3: How many little I think joy did it? Enjoy brow together?

1521
01:20:19,880 --> 01:20:21,040
Speaker 3: And I think I know exactly what.

1522
01:20:21,400 --> 01:20:45,080
Speaker 10: I saw somebody every night. Don't go I notice this, brother,

1523
01:20:45,120 --> 01:20:45,759
Speaker 10: He'll mean.

1524
01:20:49,800 --> 01:20:50,200
Speaker 4: You have.

1525
01:20:52,160 --> 01:20:59,759
Speaker 3: Been inspired. Been studying music and poetry for quite sometime.

1526
01:21:00,120 --> 01:21:01,640
Speaker 4: You at university.

1527
01:21:01,880 --> 01:21:02,960
Speaker 1: It's the university.

1528
01:21:03,080 --> 01:21:05,880
Speaker 4: Yes, yes, yes, are the essence.

1529
01:21:05,520 --> 01:21:06,559
Speaker 1: Of music itself.

1530
01:21:08,600 --> 01:21:13,439
Speaker 3: People from the R and B Money podcast community would

1531
01:21:13,479 --> 01:21:19,720
Speaker 3: love to know the songs artists that have shaped your way.

1532
01:21:19,800 --> 01:21:29,160
Speaker 1: We need the information, and we call that information. We

1533
01:21:29,240 --> 01:21:40,040
Speaker 1: go your top.

1534
01:21:43,439 --> 01:21:54,480
Speaker 7: Your top five, top five, your top.

1535
01:21:57,120 --> 01:22:01,559
Speaker 2: Long song, we got to.

1536
01:22:03,360 --> 01:22:07,559
Speaker 4: You go wrong issue, everybody wasn't no.

1537
01:22:07,960 --> 01:22:22,639
Speaker 10: Gay my.

1538
01:22:26,520 --> 01:22:26,840
Speaker 6: Five?

1539
01:22:40,760 --> 01:22:41,439
Speaker 3: Mm hmm.

1540
01:22:46,760 --> 01:22:49,120
Speaker 4: Is that the same in every in every video that song?

1541
01:22:49,360 --> 01:22:50,160
Speaker 1: Try to mix it up.

1542
01:22:51,360 --> 01:22:55,880
Speaker 4: Top five, your top five was good, my top five.

1543
01:22:55,800 --> 01:23:02,120
Speaker 1: Your top five R and B sing, Oh my god,

1544
01:23:02,920 --> 01:23:03,160
Speaker 1: m M.

1545
01:23:04,280 --> 01:23:04,639
Speaker 4: I know.

1546
01:23:06,479 --> 01:23:07,160
Speaker 1: It is yours.

1547
01:23:08,400 --> 01:23:13,880
Speaker 4: I know, I know in there, I'm gonna say them

1548
01:23:13,880 --> 01:23:14,880
Speaker 4: all that, I'm gonna try to rank them.

1549
01:23:14,920 --> 01:23:16,920
Speaker 13: Maybe you don't have to rank them, No, no, no, you

1550
01:23:17,000 --> 01:23:27,360
Speaker 13: have just top five Okay, incredible order, Okay, incredible. Donny Hathaway, Yeah, yeah, yeah,

1551
01:23:27,680 --> 01:23:29,680
Speaker 13: Donny Hathaway, the incredible, the.

1552
01:23:29,640 --> 01:23:34,679
Speaker 4: Incredible, top one tone of any time to ever record

1553
01:23:34,720 --> 01:23:38,599
Speaker 4: anything in existence. His tone is all times immaculate.

1554
01:23:38,560 --> 01:23:41,840
Speaker 1: Ridiculous, perfect. If we would, yeah, I'll.

1555
01:23:41,720 --> 01:23:44,080
Speaker 4: Generally say like Donny's Donnie's Live album is my favorite

1556
01:23:44,120 --> 01:23:46,439
Speaker 4: Donny album. And it's just from front of I don't

1557
01:23:46,439 --> 01:23:48,360
Speaker 4: even know what's going on anyway.

1558
01:23:48,520 --> 01:23:52,599
Speaker 14: You are an encyclopedia. My god, I love it. Donny Hathaway.

1559
01:23:52,600 --> 01:23:55,559
Speaker 14: Stevie Wonder, Yes, isn't there? Stevie is then there? I've

1560
01:23:55,560 --> 01:23:57,840
Speaker 14: seen some videos that really pissed me off. I don't

1561
01:23:57,840 --> 01:24:00,519
Speaker 14: play by Stevie. People saying Stevie can't say. I can't

1562
01:24:00,520 --> 01:24:01,439
Speaker 14: handle that conversation.

1563
01:24:01,800 --> 01:24:02,320
Speaker 4: I've seen it.

1564
01:24:03,800 --> 01:24:06,559
Speaker 3: That's this is the social media. I hate the social

1565
01:24:06,600 --> 01:24:07,719
Speaker 3: This is the rage bait.

1566
01:24:07,960 --> 01:24:10,120
Speaker 4: I hate it because I get baited. If it's like Stevie,

1567
01:24:10,160 --> 01:24:12,200
Speaker 4: I'm bait. I'm about to attack.

1568
01:24:13,320 --> 01:24:16,280
Speaker 1: Don't do it. Don't fall want to engage.

1569
01:24:17,000 --> 01:24:23,240
Speaker 4: Stevie Wonder, Donny Hathaway, the greats. I would put my

1570
01:24:23,360 --> 01:24:26,559
Speaker 4: top five singers. I'm put Dina from Eastown.

1571
01:24:26,960 --> 01:24:27,400
Speaker 1: Mmmm.

1572
01:24:28,800 --> 01:24:34,000
Speaker 4: That's my personal king right there. Wherever he sits, Like

1573
01:24:34,000 --> 01:24:35,080
Speaker 4: if we're talking about the turn.

1574
01:24:34,920 --> 01:24:40,960
Speaker 3: It's here, it's it's in crazy space, crazy place because it's.

1575
01:24:40,840 --> 01:24:46,639
Speaker 1: Donnie a little more. It's it's Donnie with some more

1576
01:24:46,680 --> 01:24:47,240
Speaker 1: dirt on it.

1577
01:24:47,360 --> 01:24:48,639
Speaker 4: Yes, it's the growl.

1578
01:24:49,360 --> 01:24:50,000
Speaker 1: Yeah man.

1579
01:24:50,120 --> 01:24:51,479
Speaker 4: And so he used to He used to like the

1580
01:24:51,520 --> 01:24:54,720
Speaker 4: way he pronounced his syllables, like he told me about this,

1581
01:24:54,920 --> 01:24:59,360
Speaker 4: emoting the way he used to do it. Rest in

1582
01:24:59,400 --> 01:25:02,040
Speaker 4: peace man, absolutely king of me?

1583
01:25:02,200 --> 01:25:02,960
Speaker 1: Is that? Do you know?

1584
01:25:04,439 --> 01:25:06,959
Speaker 4: The other two are put in there luther.

1585
01:25:06,920 --> 01:25:10,200
Speaker 1: Man cleanliness next to gods.

1586
01:25:10,240 --> 01:25:13,680
Speaker 4: The coldest it does. This list is cold. It just

1587
01:25:14,080 --> 01:25:19,839
Speaker 4: Luther's and I'll put number five. I'm my all time singers.

1588
01:25:21,640 --> 01:25:22,639
Speaker 4: I have to put stokely.

1589
01:25:23,160 --> 01:25:25,080
Speaker 1: I was waiting. I was waiting.

1590
01:25:25,600 --> 01:25:27,840
Speaker 4: I have to put stokely the thing.

1591
01:25:28,280 --> 01:25:29,040
Speaker 1: Let me tell you something.

1592
01:25:29,680 --> 01:25:35,560
Speaker 5: Stokely another world from another world, My god.

1593
01:25:35,680 --> 01:25:40,240
Speaker 4: Stoke it's he hits that point and it's like me

1594
01:25:40,360 --> 01:25:42,479
Speaker 4: doing that is almost a detriment to describing how amazing

1595
01:25:42,479 --> 01:25:44,519
Speaker 4: he is because that's only one out of his like

1596
01:25:44,560 --> 01:25:47,280
Speaker 4: seventeen faces. Because then he brings it down.

1597
01:25:47,520 --> 01:25:52,559
Speaker 1: Listen, you're not wrong, It's ridiculous. I was just telling him.

1598
01:25:52,640 --> 01:26:00,160
Speaker 5: I said to me, I said, Ellen, is stokely and

1599
01:26:00,360 --> 01:26:01,960
Speaker 5: static major.

1600
01:26:03,800 --> 01:26:05,839
Speaker 1: To like your trail offs.

1601
01:26:06,120 --> 01:26:08,760
Speaker 5: Yeah, at the end of at the end of your notes, yea,

1602
01:26:09,000 --> 01:26:09,920
Speaker 5: a very static.

1603
01:26:10,520 --> 01:26:13,080
Speaker 4: Oh my god, the way I love stack majors. I

1604
01:26:13,240 --> 01:26:14,639
Speaker 4: cry right now. I love that guy so much.

1605
01:26:14,680 --> 01:26:18,000
Speaker 5: Bro, when I listen to you, that is That's what

1606
01:26:18,080 --> 01:26:20,960
Speaker 5: I hear Personally, I'm like, oh, this is static and

1607
01:26:20,960 --> 01:26:22,400
Speaker 5: and stokely mixed.

1608
01:26:22,720 --> 01:26:24,559
Speaker 4: This is crazy.

1609
01:26:24,800 --> 01:26:27,520
Speaker 1: Stokely was the people. I just wouldn't tell people about.

1610
01:26:28,960 --> 01:26:29,599
Speaker 4: What you mean.

1611
01:26:30,000 --> 01:26:31,200
Speaker 1: That was my secret ingredient.

1612
01:26:31,439 --> 01:26:37,280
Speaker 3: Wow, they're black because they like you just you do

1613
01:26:37,360 --> 01:26:41,439
Speaker 3: this instrument thing where you sing like an instrument and

1614
01:26:41,520 --> 01:26:46,200
Speaker 3: you do this these weird syncopations and hun, that's crazy.

1615
01:26:46,200 --> 01:26:49,559
Speaker 1: I'll be doing that stokely.

1616
01:26:51,120 --> 01:26:56,439
Speaker 3: My secret my secret ingredient. You're cooking, and like JB cooking,

1617
01:26:57,360 --> 01:26:58,360
Speaker 3: you'd be cooking good.

1618
01:26:59,760 --> 01:26:59,920
Speaker 4: Good.

1619
01:27:00,120 --> 01:27:03,360
Speaker 3: He may have some ingredients. He made an impossible work

1620
01:27:03,360 --> 01:27:05,360
Speaker 3: on one time. That's the nigga. You need to open

1621
01:27:05,400 --> 01:27:05,960
Speaker 3: up a rest of it.

1622
01:27:07,040 --> 01:27:10,800
Speaker 6: It's an impossible but that's crazy. It's hard to make impossible.

1623
01:27:11,760 --> 01:27:14,439
Speaker 6: Where he went crazy? Wow, it took him seven minutes

1624
01:27:14,479 --> 01:27:23,280
Speaker 6: to do the nigga? Who is you secret ingredios?

1625
01:27:24,080 --> 01:27:25,240
Speaker 1: That's how five? It's crazy.

1626
01:27:26,520 --> 01:27:28,759
Speaker 4: Ecstatics, harmonies. I can't even.

1627
01:27:30,800 --> 01:27:33,160
Speaker 1: Your top five R and B songs?

1628
01:27:33,560 --> 01:27:37,479
Speaker 4: Oh, okay, I know one is guaranteed to be in

1629
01:27:37,520 --> 01:27:38,880
Speaker 4: The War Runs Dry?

1630
01:27:39,520 --> 01:27:41,599
Speaker 1: Yeah, this is what a song?

1631
01:27:42,000 --> 01:27:42,200
Speaker 6: Oh?

1632
01:27:42,520 --> 01:27:46,200
Speaker 4: What is his top? Baby faces? It's stress.

1633
01:27:46,479 --> 01:27:49,120
Speaker 1: It's excellent, It's fucking excellent.

1634
01:27:49,160 --> 01:27:54,559
Speaker 4: It's just excellent. War Runs Dry. I just babyface songs.

1635
01:27:55,000 --> 01:28:00,160
Speaker 4: Water Runs Dry another one greatest R and B songs

1636
01:28:00,520 --> 01:28:03,360
Speaker 4: I would have to put would you send me sing

1637
01:28:03,360 --> 01:28:06,240
Speaker 4: in men condition to put that in there?

1638
01:28:06,439 --> 01:28:06,639
Speaker 1: Yeah?

1639
01:28:07,000 --> 01:28:11,360
Speaker 4: That what kind of man would I be? Is one

1640
01:28:11,400 --> 01:28:15,200
Speaker 4: of the two. It's just ridiculous songs. Absolutely ridiculous and

1641
01:28:15,720 --> 01:28:17,160
Speaker 4: I can even put in this break in my heart.

1642
01:28:17,400 --> 01:28:23,320
Speaker 3: I'm just my problem with men condition is that it's

1643
01:28:23,320 --> 01:28:28,320
Speaker 3: not like they can't do what it can mm hm.

1644
01:28:28,600 --> 01:28:31,760
Speaker 3: As a as a men conditioned fan, Yeah, the combination

1645
01:28:31,880 --> 01:28:36,360
Speaker 3: of all of those guys, I long for that to

1646
01:28:36,600 --> 01:28:37,320
Speaker 3: happen again.

1647
01:28:37,920 --> 01:28:39,920
Speaker 1: I crave it.

1648
01:28:40,080 --> 01:28:44,280
Speaker 4: It's just like, what is like this that whatever magic

1649
01:28:44,520 --> 01:28:47,519
Speaker 4: was caught within those songs, It's just like it's not

1650
01:28:47,560 --> 01:28:50,479
Speaker 4: like anything else you hear in that era, even it's

1651
01:28:50,560 --> 01:28:56,320
Speaker 4: not Jack One, You're like, what is this? It's incredible?

1652
01:28:56,400 --> 01:28:59,280
Speaker 1: And a band. Yeah, they're a band in that era too.

1653
01:28:59,320 --> 01:29:01,919
Speaker 3: Like all these guys the great individual, they the individual,

1654
01:29:02,640 --> 01:29:07,880
Speaker 3: but together different, they are unlike anything I've ever heard before.

1655
01:29:07,880 --> 01:29:11,320
Speaker 4: My last of the best music, what's it? The number

1656
01:29:11,520 --> 01:29:16,360
Speaker 4: number three I would put out of all the Stevie records.

1657
01:29:17,920 --> 01:29:21,400
Speaker 4: There's so many loves and you the love today?

1658
01:29:21,960 --> 01:29:22,360
Speaker 3: Mm hmm.

1659
01:29:23,439 --> 01:29:26,760
Speaker 4: That's my favorite song of all time period. And then

1660
01:29:27,479 --> 01:29:32,200
Speaker 4: so what's it been? It was Wall Runs Dry? What

1661
01:29:32,280 --> 01:29:35,040
Speaker 4: kind of man? All you send me? Swig in Losing

1662
01:29:35,080 --> 01:29:38,639
Speaker 4: your love today? Another one? I want you Marvin Gay,

1663
01:29:40,720 --> 01:29:42,759
Speaker 4: Oh soon I'll be loving you again.

1664
01:29:44,840 --> 01:29:49,400
Speaker 1: I Want You is a trance.

1665
01:29:52,120 --> 01:30:00,080
Speaker 4: Number five number. Oh, Mark, Oh, it's so hot. I

1666
01:30:00,160 --> 01:30:03,160
Speaker 4: have so many, but I think Teddy Riley has to

1667
01:30:03,439 --> 01:30:04,120
Speaker 4: make an appearance.

1668
01:30:04,160 --> 01:30:09,080
Speaker 5: Mmmm, it's Teddy Riley and I would have to say

1669
01:30:09,360 --> 01:30:11,680
Speaker 5: where we're going before.

1670
01:30:11,400 --> 01:30:13,920
Speaker 4: I let you go far, I let you go. It's

1671
01:30:13,960 --> 01:30:18,120
Speaker 4: so good, turn the line down. Oh my god, songs, brother,

1672
01:30:18,240 --> 01:30:19,040
Speaker 4: that's top five.

1673
01:30:19,760 --> 01:30:21,519
Speaker 3: Let's make a let's make a let's make a super

1674
01:30:21,600 --> 01:30:24,439
Speaker 3: R and B artist. Let's make your vultron where you're

1675
01:30:24,439 --> 01:30:28,800
Speaker 3: going to get the vocal from the performance style, styling,

1676
01:30:29,600 --> 01:30:30,799
Speaker 3: the passion of the artist.

1677
01:30:31,120 --> 01:30:32,839
Speaker 1: Who's going to write for this artist?

1678
01:30:33,040 --> 01:30:36,720
Speaker 3: Yeah, the vocal, one vocal for your super R and

1679
01:30:36,720 --> 01:30:37,639
Speaker 3: B artist, Donny.

1680
01:30:38,800 --> 01:30:42,519
Speaker 1: That's that was fast, Like Donny is.

1681
01:30:42,920 --> 01:30:45,599
Speaker 4: He's the biggest tragedy I think in music history that

1682
01:30:45,600 --> 01:30:49,680
Speaker 4: we lost in that early Yeah, because I can't believe it.

1683
01:30:50,080 --> 01:30:52,519
Speaker 4: I can't believe him. With Steve, you never did. Like

1684
01:30:52,800 --> 01:30:56,040
Speaker 4: when I heard Donny do Superwoman. He did a live

1685
01:30:56,120 --> 01:31:00,200
Speaker 4: version of Superwoman, he says from the Blackpool the genius

1686
01:31:01,080 --> 01:31:04,760
Speaker 4: right like Donnie did. And me seeing a glimpse of

1687
01:31:04,760 --> 01:31:06,960
Speaker 4: Donnie singing a Stevie song was too much for me.

1688
01:31:07,360 --> 01:31:11,680
Speaker 1: Donnie's voice, performing style on stage, performing.

1689
01:31:11,320 --> 01:31:16,080
Speaker 4: Style on stage, I'm musa say Stevie for When I

1690
01:31:16,120 --> 01:31:17,840
Speaker 4: watched Stevie live, I was for the first time at

1691
01:31:17,920 --> 01:31:23,520
Speaker 4: Hyde Park last year and seeing how he works his band,

1692
01:31:24,160 --> 01:31:27,759
Speaker 4: I noticed on while he was performing, he would start

1693
01:31:27,800 --> 01:31:32,280
Speaker 4: playing whatever could be part Time Lover, and he'd stop

1694
01:31:32,560 --> 01:31:34,479
Speaker 4: and he's stopping a different song and his band were

1695
01:31:34,479 --> 01:31:36,640
Speaker 4: following the whole time, and I went, does he have

1696
01:31:36,680 --> 01:31:37,280
Speaker 4: a set list?

1697
01:31:39,200 --> 01:31:40,240
Speaker 1: He is the set list?

1698
01:31:40,280 --> 01:31:42,720
Speaker 4: And then I went backstage and I was talking to

1699
01:31:42,800 --> 01:31:46,320
Speaker 4: his daughter Aisha, who sings for him, and I went,

1700
01:31:46,439 --> 01:31:51,280
Speaker 4: what's happening. She went, there's no setlist. We know every

1701
01:31:51,520 --> 01:31:55,760
Speaker 4: single there's brass and like there's a band. She said,

1702
01:31:55,800 --> 01:31:59,880
Speaker 4: we all know every single song everything, and he and that.

1703
01:32:00,000 --> 01:32:01,800
Speaker 4: That's when I was like, wow, that's the peak of

1704
01:32:01,880 --> 01:32:04,519
Speaker 4: music because the dynamics of like you know, when you're

1705
01:32:04,560 --> 01:32:06,760
Speaker 4: on stage, sometimes you look at the set list and like,

1706
01:32:06,760 --> 01:32:08,920
Speaker 4: this ain't cutting it for what the feeling is right now.

1707
01:32:09,680 --> 01:32:12,240
Speaker 4: I need to pivot. I need to The fluidity is

1708
01:32:12,240 --> 01:32:15,160
Speaker 4: super important, and like usually I go, that's only to you.

1709
01:32:15,280 --> 01:32:17,800
Speaker 4: But if it's just me and the keys, when I went, oh,

1710
01:32:17,880 --> 01:32:21,040
Speaker 4: you can have that with the brass and the band

1711
01:32:21,080 --> 01:32:23,400
Speaker 4: and the whole So like that's the kind of show

1712
01:32:23,520 --> 01:32:25,080
Speaker 4: that I would want for my super artists to be

1713
01:32:25,120 --> 01:32:28,760
Speaker 4: able to just like and then to have the discography

1714
01:32:28,800 --> 01:32:32,759
Speaker 4: that would cater to that. I would that's a whole different.

1715
01:32:32,880 --> 01:32:35,839
Speaker 4: That's why the writer who would I say, well.

1716
01:32:35,800 --> 01:32:37,080
Speaker 1: Jo don't jump, don't jump, dont jump.

1717
01:32:37,080 --> 01:32:41,559
Speaker 4: Oh go and carry on styling of the actual artists,

1718
01:32:42,600 --> 01:32:43,519
Speaker 4: because we noticed that.

1719
01:32:43,560 --> 01:32:44,960
Speaker 5: You always got you know what I mean, you got

1720
01:32:44,960 --> 01:32:46,719
Speaker 5: your own statue.

1721
01:32:47,160 --> 01:32:51,559
Speaker 1: You keep al me, you feel me. I'm gonna start

1722
01:32:51,600 --> 01:32:59,040
Speaker 1: calling ail me with me. You keep on full top

1723
01:32:59,120 --> 01:33:01,320
Speaker 1: the bottom of your you got.

1724
01:33:01,080 --> 01:33:06,400
Speaker 4: Tole you do the whole thing you do. I one

1725
01:33:07,160 --> 01:33:16,479
Speaker 4: styling wise, Oh hilarious with James Brown, mm hmm.

1726
01:33:16,720 --> 01:33:20,439
Speaker 1: James Brown was cald and stay with a fit. Y'all

1727
01:33:20,760 --> 01:33:22,080
Speaker 1: used to have a cut here.

1728
01:33:23,920 --> 01:33:26,920
Speaker 15: It was kind of what he's kind of a little

1729
01:33:27,160 --> 01:33:28,719
Speaker 15: like the workout outfit for the girls.

1730
01:33:28,960 --> 01:33:29,280
Speaker 1: It is.

1731
01:33:30,560 --> 01:33:33,120
Speaker 4: It's like there's taking.

1732
01:33:32,920 --> 01:33:37,000
Speaker 15: James Brown all these instagram this girl that look like

1733
01:33:37,080 --> 01:33:38,240
Speaker 15: James Brown, like.

1734
01:33:38,280 --> 01:33:43,080
Speaker 4: James Brown lo him with a heel on it because

1735
01:33:43,120 --> 01:33:45,439
Speaker 4: if if some if a mind steps on stage with that,

1736
01:33:45,600 --> 01:33:48,240
Speaker 4: he's serious. He can't be he can't be anywhere else

1737
01:33:48,280 --> 01:33:51,439
Speaker 4: but the stage dressed like that. That calls to something

1738
01:33:51,560 --> 01:33:53,280
Speaker 4: that's like some sort of like it puts him in

1739
01:33:53,280 --> 01:33:56,400
Speaker 4: the superhuman mother be here what.

1740
01:33:58,120 --> 01:34:00,160
Speaker 5: James Brown, he used to put the little all the

1741
01:34:00,200 --> 01:34:01,760
Speaker 5: paper stuff on your here.

1742
01:34:01,600 --> 01:34:03,920
Speaker 1: They hold it that night too. And part of the

1743
01:34:03,960 --> 01:34:06,680
Speaker 1: style is the sweat.

1744
01:34:06,840 --> 01:34:08,760
Speaker 4: Him having that sweat is part of the style. I

1745
01:34:08,760 --> 01:34:13,040
Speaker 4: need the sweat. Yeah, yeah, so I need to glisten

1746
01:34:13,200 --> 01:34:15,120
Speaker 4: and the fair because you know, you knew he was

1747
01:34:15,200 --> 01:34:15,720
Speaker 4: hard at work.

1748
01:34:16,160 --> 01:34:20,040
Speaker 1: Listen, not just do it that.

1749
01:34:20,080 --> 01:34:20,639
Speaker 4: I want that.

1750
01:34:21,920 --> 01:34:27,000
Speaker 1: The passion of the artists, the artist Michael.

1751
01:34:26,800 --> 01:34:31,120
Speaker 4: Jackson, when you hear the stories. What he used to

1752
01:34:31,160 --> 01:34:35,600
Speaker 4: write in the mirror. Who he's going to do is

1753
01:34:35,680 --> 01:34:37,880
Speaker 4: like I'm going to beat this person and beat this

1754
01:34:38,200 --> 01:34:41,240
Speaker 4: the obsessiveness, Michael. I don't think anyone else has ever

1755
01:34:41,280 --> 01:34:44,599
Speaker 4: been that level of because also to be in the

1756
01:34:44,600 --> 01:34:47,120
Speaker 4: industry from the age of five or whatever, you have

1757
01:34:47,200 --> 01:34:50,240
Speaker 4: to be a ridiculous monster level of passionate about this. Right,

1758
01:34:50,360 --> 01:34:52,360
Speaker 4: do you want to do it by the time you're twenty,

1759
01:34:52,360 --> 01:34:53,559
Speaker 4: You've got fifteen years in the game.

1760
01:34:54,439 --> 01:34:55,559
Speaker 1: But you don't.

1761
01:34:55,880 --> 01:34:58,920
Speaker 3: You can lose inspiration, you can lose you can lose

1762
01:34:58,960 --> 01:35:02,519
Speaker 3: every reason, right, Michael. At that point, and at that

1763
01:35:02,520 --> 01:35:04,760
Speaker 3: point he was just getting started insane.

1764
01:35:04,840 --> 01:35:06,640
Speaker 5: So we called it now that that's about to be

1765
01:35:06,680 --> 01:35:10,040
Speaker 5: the greatest movie, greatest music movie ever, the Michael Movie.

1766
01:35:10,040 --> 01:35:10,760
Speaker 1: What do you think?

1767
01:35:11,040 --> 01:35:13,799
Speaker 4: I don't like biopics. No biopicks.

1768
01:35:13,800 --> 01:35:16,360
Speaker 1: I don't like biopick No, you have none. I don't

1769
01:35:16,400 --> 01:35:19,160
Speaker 1: like any of them apart from Ray. I will go

1770
01:35:19,240 --> 01:35:20,080
Speaker 1: say the next adn't one?

1771
01:35:20,080 --> 01:35:20,240
Speaker 3: You know?

1772
01:35:20,320 --> 01:35:24,080
Speaker 4: You know that they'll clip that. Oh No, apart from Ray.

1773
01:35:25,000 --> 01:35:27,120
Speaker 4: But and this isn't like I watched them and didn't

1774
01:35:27,160 --> 01:35:28,519
Speaker 4: like them. I don't watch them.

1775
01:35:28,880 --> 01:35:29,240
Speaker 1: Okay.

1776
01:35:29,840 --> 01:35:34,439
Speaker 4: I don't like the concept of biopics because I always

1777
01:35:34,479 --> 01:35:38,640
Speaker 4: appreciate more documentary than the biopic. I appreciate the dramaticized

1778
01:35:38,720 --> 01:35:41,120
Speaker 4: version of things and making it and making it for

1779
01:35:41,200 --> 01:35:43,679
Speaker 4: the big screen. But I really want to hear the

1780
01:35:43,720 --> 01:35:46,560
Speaker 4: stories because usually they're even more fantastical than what a

1781
01:35:46,640 --> 01:35:50,280
Speaker 4: drama could make it even more incredible. So I like

1782
01:35:50,360 --> 01:35:52,880
Speaker 4: to hear people tell that were there telling us the story,

1783
01:35:52,920 --> 01:35:57,720
Speaker 4: like Luther Andros documentary was incredible. I would enjoy that

1784
01:35:57,800 --> 01:35:59,479
Speaker 4: way more than if they turned around and went, we

1785
01:35:59,600 --> 01:36:02,760
Speaker 4: just cost this actor to act as Luthor androids, because

1786
01:36:02,760 --> 01:36:04,320
Speaker 4: you can't be Luthor no matter who you are, you

1787
01:36:04,320 --> 01:36:05,000
Speaker 4: cannot be Luther.

1788
01:36:05,920 --> 01:36:09,120
Speaker 1: I think Michael got it there, he does.

1789
01:36:09,320 --> 01:36:12,880
Speaker 3: I think there are once in a lifetime moments where

1790
01:36:13,560 --> 01:36:19,599
Speaker 3: where biopicts with a land like talking about what's love

1791
01:36:19,680 --> 01:36:20,519
Speaker 3: got to do with it?

1792
01:36:21,520 --> 01:36:25,639
Speaker 1: Oh? Yeah, what's love? Yeah with Jesus chrast rethink that one, bro,

1793
01:36:25,840 --> 01:36:28,479
Speaker 1: You think, like me, what's love got to do with it?

1794
01:36:28,600 --> 01:36:29,160
Speaker 1: Michael together?

1795
01:36:31,200 --> 01:36:33,880
Speaker 3: Right, I can tell you Michael is going to be ridicious.

1796
01:36:34,479 --> 01:36:39,599
Speaker 3: It's going it's going to be ridiculous. I'm dressing up

1797
01:36:40,000 --> 01:36:45,000
Speaker 3: as Michael Jackson to go change my mind and you're going,

1798
01:36:45,080 --> 01:36:49,920
Speaker 3: You're we're going together, and I'm wearing I'm wearing the

1799
01:36:50,080 --> 01:36:53,639
Speaker 3: bad uniform. I'm gonna have tights and buckles on my thighs.

1800
01:36:54,360 --> 01:36:57,240
Speaker 3: I'm going crazy. I was gonna which not going to

1801
01:36:57,560 --> 01:37:00,400
Speaker 3: know Michael Jackson movie without no Michael Jackson and ship

1802
01:37:00,439 --> 01:37:04,320
Speaker 3: on you tripping. You better wear a thriller jacket or

1803
01:37:04,360 --> 01:37:05,599
Speaker 3: a beating jacket or something.

1804
01:37:05,720 --> 01:37:08,120
Speaker 4: I'm coming the rock my world? Do you rock my

1805
01:37:08,120 --> 01:37:08,639
Speaker 4: World outfit?

1806
01:37:08,720 --> 01:37:17,960
Speaker 1: With the hat to and you know what and the

1807
01:37:18,000 --> 01:37:19,080
Speaker 1: other what's What's what what?

1808
01:37:19,280 --> 01:37:24,360
Speaker 4: Freddie Mercury, Oh yeah, Quinte, it is always I never

1809
01:37:24,520 --> 01:37:26,200
Speaker 4: it just never clicked them out I'm always like, I

1810
01:37:26,200 --> 01:37:30,280
Speaker 4: would prefer if this was a really well like amazing

1811
01:37:30,360 --> 01:37:33,160
Speaker 4: interviews with very important pivotal people documentary.

1812
01:37:33,200 --> 01:37:33,800
Speaker 1: Get what you're saying.

1813
01:37:33,800 --> 01:37:36,240
Speaker 3: I know, I'm not You're not wrong, I'm just saying

1814
01:37:37,080 --> 01:37:40,600
Speaker 3: level sometimes enactment, especially when I if I if I

1815
01:37:40,680 --> 01:37:45,040
Speaker 3: wasn't there and as a performer bohemian boheman to get

1816
01:37:45,080 --> 01:37:49,519
Speaker 3: to see them performing, to hear the music and put it,

1817
01:37:49,640 --> 01:37:49,920
Speaker 3: you know.

1818
01:37:50,040 --> 01:37:53,400
Speaker 1: Like like and put the crowd to see like I'm like,

1819
01:37:53,439 --> 01:37:54,439
Speaker 1: oh my god.

1820
01:37:54,360 --> 01:37:56,040
Speaker 4: I think that's what biopic houses. That you makes you

1821
01:37:56,080 --> 01:37:58,880
Speaker 4: feel like you are the artist. Yeah, you're as opposed

1822
01:37:58,920 --> 01:38:01,920
Speaker 4: to watching it where it's like, yeah, I'm Michael Jackson,

1823
01:38:02,240 --> 01:38:02,960
Speaker 4: and it gives.

1824
01:38:02,800 --> 01:38:06,040
Speaker 5: You a little more conversation, right, yeah, the dialogue of it,

1825
01:38:06,040 --> 01:38:08,800
Speaker 5: because documentars don't really give you the dialogue of it, right,

1826
01:38:08,920 --> 01:38:10,760
Speaker 5: They just give you, you know, whatever they're sitting and

1827
01:38:10,800 --> 01:38:13,640
Speaker 5: talking to the people and stuff when you feel like,

1828
01:38:13,680 --> 01:38:14,360
Speaker 5: oh so ship.

1829
01:38:14,439 --> 01:38:17,280
Speaker 1: So when he got off the stage and.

1830
01:38:17,320 --> 01:38:22,160
Speaker 3: This, hey listen, I gotta I gotta give Chris Robertson

1831
01:38:22,160 --> 01:38:24,920
Speaker 3: a shout out on that new addition story.

1832
01:38:25,120 --> 01:38:26,200
Speaker 4: I've heard that was incredible.

1833
01:38:26,280 --> 01:38:26,760
Speaker 1: He was in it.

1834
01:38:27,720 --> 01:38:30,799
Speaker 4: Oh, that was amazing.

1835
01:38:30,880 --> 01:38:33,599
Speaker 5: You should see that one too, So now we're changing that. Okay,

1836
01:38:34,520 --> 01:38:39,200
Speaker 5: who's right for writing for the artists? Come on, who's

1837
01:38:39,200 --> 01:38:40,360
Speaker 5: the songwriter for this artist?

1838
01:38:40,360 --> 01:38:46,400
Speaker 1: Man? Yeah, cold sweat, Instagram model outfit.

1839
01:38:47,000 --> 01:38:51,120
Speaker 4: Colased to come out. He's got Stevie's baying, he got

1840
01:38:51,200 --> 01:38:52,280
Speaker 4: Donnie's voice.

1841
01:38:52,800 --> 01:38:55,559
Speaker 1: And Michael Jackson's past. He was writing these songs.

1842
01:38:55,560 --> 01:38:58,000
Speaker 4: He was writing these songs for this man. I think

1843
01:38:58,000 --> 01:38:58,960
Speaker 4: I'm gonna let baby.

1844
01:38:58,840 --> 01:39:01,720
Speaker 1: Don the face, let the baby do it.

1845
01:39:01,800 --> 01:39:04,000
Speaker 4: I think I'm let the baby, let the baby do

1846
01:39:04,520 --> 01:39:04,840
Speaker 4: the baby.

1847
01:39:04,880 --> 01:39:06,479
Speaker 1: That is that what we call a face? Now?

1848
01:39:06,520 --> 01:39:08,040
Speaker 4: The baby? The baby.

1849
01:39:10,479 --> 01:39:13,960
Speaker 3: Fighters at this age, you fighter, don't call me no baby.

1850
01:39:15,120 --> 01:39:18,200
Speaker 3: He definitely can throw a bunch of two. I'm gonna

1851
01:39:18,280 --> 01:39:18,600
Speaker 3: try it.

1852
01:39:22,920 --> 01:39:26,840
Speaker 4: What's happening? Baby? Could baby mine any any?

1853
01:39:27,080 --> 01:39:27,839
Speaker 1: Yeah? Anything?

1854
01:39:28,280 --> 01:39:31,840
Speaker 4: Because I think the range the two songs perfect from

1855
01:39:31,840 --> 01:39:34,479
Speaker 4: Warren's Right to Can't We Talk? Is the perfect range

1856
01:39:34,479 --> 01:39:37,880
Speaker 4: of like you can hear every single I.

1857
01:39:37,800 --> 01:39:38,759
Speaker 1: Mean every little step.

1858
01:39:39,280 --> 01:39:43,280
Speaker 3: Oh Mynie, what is happening when I get home?

1859
01:39:43,280 --> 01:39:47,960
Speaker 1: As soon as I get home from work? Superwoman?

1860
01:39:48,280 --> 01:39:50,680
Speaker 4: Oh my god, I.

1861
01:39:50,640 --> 01:39:55,400
Speaker 3: Gotta go back to soon as he worked, he did

1862
01:39:55,560 --> 01:39:58,599
Speaker 3: all that and then came home and did that.

1863
01:39:58,560 --> 01:40:02,519
Speaker 1: To Yeah, that was crazy. It's it's crazy. We got

1864
01:40:03,479 --> 01:40:05,320
Speaker 1: we got Yeah, we got one more thing for you. God,

1865
01:40:05,400 --> 01:40:06,200
Speaker 1: We'll let you got here.

1866
01:40:06,920 --> 01:40:08,479
Speaker 4: I told you're gonna tell me talking too much. I

1867
01:40:08,520 --> 01:40:10,000
Speaker 4: told you Let you do your thing.

1868
01:40:10,120 --> 01:40:12,360
Speaker 1: Bro, this has been a pleasure.

1869
01:40:12,400 --> 01:40:14,000
Speaker 4: I mean, the longest steps in history.

1870
01:40:14,439 --> 01:40:23,800
Speaker 1: No mind is I'm saying no nicks. Can come on

1871
01:40:24,280 --> 01:40:29,040
Speaker 1: saying no names. Ain't saying no names. Saying no nes was.

1872
01:40:31,400 --> 01:40:32,160
Speaker 4: What you did?

1873
01:40:32,880 --> 01:40:47,000
Speaker 1: Don't say she saying no names? Yeah, oh ship, we

1874
01:40:47,040 --> 01:40:48,840
Speaker 1: have a very important part of the show.

1875
01:40:48,960 --> 01:40:53,200
Speaker 5: Okay, will you tell us a story? Funnier fucked up?

1876
01:40:53,920 --> 01:40:55,479
Speaker 5: Are funny and fucked up?

1877
01:40:55,560 --> 01:40:59,400
Speaker 1: Okay? The only rule to the game. You can't say

1878
01:40:59,400 --> 01:40:59,920
Speaker 1: no names.

1879
01:41:00,400 --> 01:41:03,800
Speaker 4: Okay, I got this.

1880
01:41:03,800 --> 01:41:05,080
Speaker 1: This guy can't wait too quickly.

1881
01:41:05,800 --> 01:41:11,280
Speaker 4: A rapper that I cannot name, okay, Okay, came to

1882
01:41:11,400 --> 01:41:14,479
Speaker 4: London to work with me. Very long in my career.

1883
01:41:16,800 --> 01:41:22,360
Speaker 4: I didn't yet understand the general rules and understandings of

1884
01:41:22,400 --> 01:41:24,320
Speaker 4: how hotel works. I've not been in many hotels in

1885
01:41:24,320 --> 01:41:28,200
Speaker 4: my life. My first hotel I went in was for music. Okay,

1886
01:41:28,360 --> 01:41:31,760
Speaker 4: So he came and at the time I was going

1887
01:41:31,800 --> 01:41:34,519
Speaker 4: back and forth from Oxford to London to works. I

1888
01:41:34,520 --> 01:41:36,240
Speaker 4: go from Oxford get on the train for an hour

1889
01:41:36,280 --> 01:41:38,439
Speaker 4: and a half, work in the studio, and then do

1890
01:41:38,520 --> 01:41:40,920
Speaker 4: the same thing back. But obviously the train and the bus,

1891
01:41:40,960 --> 01:41:42,840
Speaker 4: I'll do like a three hour journey get to the

1892
01:41:42,840 --> 01:41:45,040
Speaker 4: studio every day. And he was down, and he was

1893
01:41:45,080 --> 01:41:47,559
Speaker 4: working with us for a week and he was like, man,

1894
01:41:49,360 --> 01:41:51,320
Speaker 4: how can we got to leave early? So every time

1895
01:41:51,479 --> 01:41:54,960
Speaker 4: you leave at like seven thirty eight o'clock, Like, what's

1896
01:41:55,000 --> 01:41:58,200
Speaker 4: good man, I got to go back to Oxford. I

1897
01:41:58,240 --> 01:41:59,960
Speaker 4: live at my mom's house. And din of the day he was,

1898
01:42:00,000 --> 01:42:01,519
Speaker 4: I don't worry about it. I'm put you in a hotel,

1899
01:42:02,360 --> 01:42:06,479
Speaker 4: got cool, brilliant. Really yeah, yeah, I got you. Put

1900
01:42:06,560 --> 01:42:10,000
Speaker 4: me in a hotel, the standard King's Cross, brilliant hotel.

1901
01:42:10,400 --> 01:42:12,200
Speaker 4: I'm amazed. I've never been a hotel about this for

1902
01:42:12,280 --> 01:42:16,920
Speaker 4: in my life. Oh my god, they've got showers. This

1903
01:42:17,120 --> 01:42:19,559
Speaker 4: is crazy. Where are you from?

1904
01:42:20,880 --> 01:42:23,360
Speaker 1: Ship?

1905
01:42:24,000 --> 01:42:26,360
Speaker 4: I only know, like from an early game of throw.

1906
01:42:27,800 --> 01:42:29,880
Speaker 4: I only know the showers where like the bottom is

1907
01:42:29,920 --> 01:42:31,880
Speaker 4: a bathtub, you know. But it was like, oh, the

1908
01:42:31,920 --> 01:42:34,559
Speaker 4: whole thing is there's a shower here and there's a

1909
01:42:34,600 --> 01:42:38,080
Speaker 4: bathtub here, and it's separate and I can just like

1910
01:42:38,160 --> 01:42:40,120
Speaker 4: if I want to shower, I can shower one of whoa,

1911
01:42:41,240 --> 01:42:43,559
Speaker 4: I ain't got this limited space where like my feet

1912
01:42:43,680 --> 01:42:45,920
Speaker 4: curve like this, because I'm still in a bathtub where

1913
01:42:45,920 --> 01:42:50,280
Speaker 4: it curves, and I'm walking like all crowsy here, what

1914
01:42:50,280 --> 01:42:52,680
Speaker 4: are you talking about? Like I'm selling like yo, like,

1915
01:42:53,320 --> 01:42:56,679
Speaker 4: oh man, the whole floor is flat. This is amazing

1916
01:42:57,240 --> 01:43:00,400
Speaker 4: little things. So I was there, I was having a

1917
01:43:00,400 --> 01:43:02,640
Speaker 4: great time. I called my mom. I'm like, Mom, it

1918
01:43:02,720 --> 01:43:06,240
Speaker 4: is crazy. I'm here. They got bath robes, they got

1919
01:43:06,360 --> 01:43:09,200
Speaker 4: chocolate in the drawers, they got like juice, they have

1920
01:43:09,520 --> 01:43:13,360
Speaker 4: like ointments, they have everything. What do you want?

1921
01:43:15,479 --> 01:43:16,520
Speaker 1: I noticed discovered?

1922
01:43:16,640 --> 01:43:18,760
Speaker 4: I said, what do you what do you want? She

1923
01:43:18,920 --> 01:43:20,880
Speaker 4: was like, what you mean? It's free? I was like,

1924
01:43:20,920 --> 01:43:23,320
Speaker 4: it's all free. It must be free because like how

1925
01:43:23,400 --> 01:43:25,320
Speaker 4: much of this room? It's like what four hundred and

1926
01:43:25,360 --> 01:43:27,559
Speaker 4: fifty pounds, five hundred pounds? What the hell else are

1927
01:43:27,560 --> 01:43:31,960
Speaker 4: you paying for? She goes, Oh my god, incredible, get

1928
01:43:32,000 --> 01:43:34,800
Speaker 4: me everything. I go, I've got you, I got you.

1929
01:43:34,960 --> 01:43:38,200
Speaker 4: So I'm literally I'm doing my little backpack and I'm

1930
01:43:38,240 --> 01:43:40,640
Speaker 4: empty out my I'm just packing everything I see. It

1931
01:43:40,640 --> 01:43:43,600
Speaker 4: doesn't matter what it is. Pills like I damn, the

1932
01:43:43,640 --> 01:43:46,760
Speaker 4: almost got the condoms, like everything that I could take.

1933
01:43:46,840 --> 01:43:50,800
Speaker 4: I took everything and the bathrobe. She was like, she

1934
01:43:50,840 --> 01:43:52,080
Speaker 4: was like, I want the bathroom. It looks nice. I

1935
01:43:52,120 --> 01:43:53,439
Speaker 4: was like, I don't know how many fites in the backpack.

1936
01:43:53,520 --> 01:43:56,360
Speaker 4: I'll figure it out. I'm like putting the bart and

1937
01:43:56,400 --> 01:43:58,120
Speaker 4: the tower walls like I'm like, I might as well.

1938
01:43:58,160 --> 01:44:01,800
Speaker 4: Are you everything in there? Eminem's what I can't? I

1939
01:44:02,160 --> 01:44:03,960
Speaker 4: need to eat something to make space because I can't

1940
01:44:03,960 --> 01:44:06,799
Speaker 4: fit the emina. I'm eating the eminem's and I'm putting

1941
01:44:06,840 --> 01:44:10,559
Speaker 4: ship in the pringles and even I don't even like razors.

1942
01:44:10,600 --> 01:44:13,360
Speaker 4: I put the razins in it and the nature bars

1943
01:44:13,400 --> 01:44:15,960
Speaker 4: the boost. So I do all that and I leave.

1944
01:44:16,040 --> 01:44:18,479
Speaker 4: My bag is heavy and I need to meet our

1945
01:44:18,479 --> 01:44:21,840
Speaker 4: managers the next day. So I go with chilling meeting

1946
01:44:21,920 --> 01:44:23,840
Speaker 4: up and then he goes, take off your bag, man,

1947
01:44:23,880 --> 01:44:25,519
Speaker 4: I got you, and he picks up. He goes, yo,

1948
01:44:25,560 --> 01:44:27,599
Speaker 4: what the fuck is in this bag? It's so heavy?

1949
01:44:28,600 --> 01:44:30,040
Speaker 1: Oh go on, man, like.

1950
01:44:31,800 --> 01:44:35,479
Speaker 4: You mean tell I just took everything? What do you mean?

1951
01:44:36,120 --> 01:44:39,240
Speaker 4: And he opens the bag and he sees what is

1952
01:44:39,280 --> 01:44:43,160
Speaker 4: inside my bag? Oh no, he goes, yo. He starts laughing.

1953
01:44:43,439 --> 01:44:45,320
Speaker 4: He goes, I love you man. I'm like, what do

1954
01:44:45,360 --> 01:44:47,960
Speaker 4: you mean? He was like, brother, you know you got

1955
01:44:48,040 --> 01:44:51,840
Speaker 4: to pay for every single bit everything he just took.

1956
01:44:52,520 --> 01:44:56,200
Speaker 4: He paid for ohent Oh shit, I thought it was free.

1957
01:44:56,800 --> 01:44:59,919
Speaker 4: And I never talked Hi about it since I was embarrassed,

1958
01:45:00,000 --> 01:45:02,080
Speaker 4: I couldn't bring it up and be like, yo, man,

1959
01:45:02,080 --> 01:45:04,360
Speaker 4: I'm so sorry. I didn't know. I wasn't trying to

1960
01:45:04,400 --> 01:45:06,599
Speaker 4: run you up like I was doing. Like, it's not.

1961
01:45:08,880 --> 01:45:10,559
Speaker 1: My head, you know, it's in my head.

1962
01:45:10,600 --> 01:45:15,519
Speaker 4: This is woody, this is a sting. Was like, I

1963
01:45:15,560 --> 01:45:18,960
Speaker 4: didn't know. I didn't know this was what But that's

1964
01:45:19,000 --> 01:45:20,960
Speaker 4: the it's kind of that. That was the story. I

1965
01:45:21,000 --> 01:45:23,680
Speaker 4: still haven't I just still haven't talked talked hibout it.

1966
01:45:23,840 --> 01:45:25,880
Speaker 1: You talked to him. I've talked to him since, and

1967
01:45:25,920 --> 01:45:26,640
Speaker 1: he ain't brought it up.

1968
01:45:26,640 --> 01:45:29,479
Speaker 4: He had brought up he put it. Don't know he knows,

1969
01:45:29,800 --> 01:45:31,120
Speaker 4: he knows really.

1970
01:45:31,280 --> 01:45:32,880
Speaker 1: Oh yeah he got the bill.

1971
01:45:33,320 --> 01:45:35,639
Speaker 4: Yeah, I go ask him. I got damn. I'm sorry man,

1972
01:45:35,680 --> 01:45:36,479
Speaker 4: I took everything.

1973
01:45:38,320 --> 01:45:42,040
Speaker 5: Hey bro, this is a great story to all you

1974
01:45:42,560 --> 01:45:45,680
Speaker 5: graphic designers out there, y'all can take this and.

1975
01:45:45,240 --> 01:45:48,920
Speaker 1: Have fun with recreating this. This was great.

1976
01:45:49,280 --> 01:45:51,559
Speaker 4: Him eating the eminem to make the bag liars.

1977
01:45:51,800 --> 01:45:55,799
Speaker 5: I just didn't know if that works but that story

1978
01:45:55,960 --> 01:45:58,160
Speaker 5: is amazing. It was why I just didn't. I felt

1979
01:45:58,200 --> 01:45:59,960
Speaker 5: so bad, But that's what it is. It was like

1980
01:46:00,280 --> 01:46:01,760
Speaker 5: what I said earlier, like when you don't know what

1981
01:46:01,800 --> 01:46:02,839
Speaker 5: money is, money scary.

1982
01:46:03,240 --> 01:46:05,519
Speaker 1: You're not alone. Bro.

1983
01:46:06,920 --> 01:46:13,080
Speaker 3: One of my background singers in two thousand, he was like,

1984
01:46:14,160 --> 01:46:17,320
Speaker 3: he's like, man, that hotel was fire man. I was like, yeah, no,

1985
01:46:17,560 --> 01:46:20,040
Speaker 3: there's this duf hotel. And he's sticking around. He's like,

1986
01:46:20,200 --> 01:46:25,960
Speaker 3: he said, what y'all get? It's like, what you what

1987
01:46:26,040 --> 01:46:28,639
Speaker 3: you mean? What do we get? He said, I got robes?

1988
01:46:30,439 --> 01:46:32,400
Speaker 1: What do you mean? You got ropes? The ropes in

1989
01:46:32,400 --> 01:46:35,479
Speaker 1: the room? I got, I got robes. Where are the

1990
01:46:35,560 --> 01:46:38,479
Speaker 1: ropes in my back? You took the ropes?

1991
01:46:40,439 --> 01:46:48,800
Speaker 4: Yeah, y'all rope.

1992
01:46:45,720 --> 01:46:47,400
Speaker 1: Man, y'all, but you don't know.

1993
01:46:47,400 --> 01:46:48,880
Speaker 4: It's what you don't know, just don't know.

1994
01:46:49,000 --> 01:46:51,680
Speaker 1: I just want. I ain't got no money. I'm a

1995
01:46:51,800 --> 01:46:55,679
Speaker 1: struggle gonna promo to and I got nigga stealing robes.

1996
01:46:59,280 --> 01:47:02,280
Speaker 4: See what it's on your bill. You understand quickly that

1997
01:47:03,800 --> 01:47:04,559
Speaker 4: I had no idea.

1998
01:47:04,840 --> 01:47:06,799
Speaker 1: He's like, I thought I thought the roads were hours.

1999
01:47:06,840 --> 01:47:08,519
Speaker 4: They just don't tell you. The don't tell you these things.

2000
01:47:08,600 --> 01:47:10,360
Speaker 4: They didn't tell you what things are worth and what

2001
01:47:10,400 --> 01:47:12,080
Speaker 4: they're not. I don't know. What do you tell me?

2002
01:47:12,080 --> 01:47:13,880
Speaker 4: Five hundred pounds? I'm like, that's more than I've seen

2003
01:47:13,920 --> 01:47:16,400
Speaker 4: in my life that I'm like the quid like for

2004
01:47:16,479 --> 01:47:16,920
Speaker 4: a day.

2005
01:47:17,040 --> 01:47:18,960
Speaker 1: All of this has to be included, All of.

2006
01:47:18,920 --> 01:47:19,439
Speaker 4: This has to be.

2007
01:47:19,560 --> 01:47:21,120
Speaker 5: This just makes sense on her, the fact that she

2008
01:47:21,200 --> 01:47:23,240
Speaker 5: told your mom that. You were like, Mom, it has

2009
01:47:23,280 --> 01:47:26,200
Speaker 5: to be we did it, We did it, we made it.

2010
01:47:26,600 --> 01:47:27,160
Speaker 1: What do you want?

2011
01:47:27,720 --> 01:47:29,599
Speaker 4: Literally, I was like showing her the view, like look

2012
01:47:29,840 --> 01:47:33,760
Speaker 4: like on the seventeenth floor. She was like everything. I

2013
01:47:33,800 --> 01:47:35,920
Speaker 4: was like, yeah, because my mom's also the same. It's like,

2014
01:47:36,040 --> 01:47:36,920
Speaker 4: don't waste nothing.

2015
01:47:37,040 --> 01:47:38,680
Speaker 1: Mom was a coke and spiraitor.

2016
01:47:38,920 --> 01:47:41,519
Speaker 4: Yeah, she was like, I don't waste nothing. She didn't

2017
01:47:41,520 --> 01:47:43,040
Speaker 4: even know I even thought that. She feels so bad

2018
01:47:43,320 --> 01:47:45,519
Speaker 4: if I told her right now, But she was like,

2019
01:47:45,640 --> 01:47:48,600
Speaker 4: don't waste She's always been like, don't waste nothing. You

2020
01:47:48,680 --> 01:47:50,680
Speaker 4: have it, take it, Like why wouldn't you? Why are

2021
01:47:50,680 --> 01:47:51,320
Speaker 4: you going to leave it?

2022
01:47:52,800 --> 01:47:57,479
Speaker 1: I understand you owe us some noble. Iad it up.

2023
01:47:57,960 --> 01:47:59,519
Speaker 4: I need to like cleanse my camerace.

2024
01:47:59,600 --> 01:48:04,000
Speaker 3: Yeah, aweso, noble help me when we when we so

2025
01:48:04,040 --> 01:48:06,479
Speaker 3: you you're you moved right, I moved here.

2026
01:48:07,280 --> 01:48:08,720
Speaker 1: O can't trying to figure how to run up a

2027
01:48:08,720 --> 01:48:09,559
Speaker 1: hotel bill on.

2028
01:48:09,520 --> 01:48:13,360
Speaker 4: You when you when you Yeah, I was gonna say,

2029
01:48:13,360 --> 01:48:14,559
Speaker 4: I was gonna say when you come to London, But

2030
01:48:14,600 --> 01:48:19,880
Speaker 4: we're gonna get you.

2031
01:48:20,040 --> 01:48:30,080
Speaker 3: Everybody up, tell I got him. Ship brother, Listen, man,

2032
01:48:30,200 --> 01:48:33,880
Speaker 3: you are. You're dope, brother, You're really dope.

2033
01:48:34,720 --> 01:48:35,519
Speaker 1: Amazing. Yeah.

2034
01:48:35,520 --> 01:48:37,519
Speaker 3: We love, we love where you're going, We love what

2035
01:48:37,560 --> 01:48:41,720
Speaker 3: you're doing, you are. We have our whatever you need

2036
01:48:41,760 --> 01:48:45,479
Speaker 3: from uslf much. We're a phone call away, text away,

2037
01:48:45,600 --> 01:48:49,160
Speaker 3: whatever you need to supporting you, promoting you, letting the

2038
01:48:49,160 --> 01:48:51,240
Speaker 3: world know that, uh, you're him.

2039
01:48:51,400 --> 01:48:52,760
Speaker 4: You guys brought me here.

2040
01:48:52,600 --> 01:48:52,880
Speaker 1: You're hi.

2041
01:48:53,400 --> 01:48:55,679
Speaker 4: I'm not talking about like to this couch, like your music,

2042
01:48:55,960 --> 01:48:58,760
Speaker 4: but if your music brought me here, how could you?

2043
01:48:58,800 --> 01:49:01,799
Speaker 4: And you're right When I was twelve on the bus

2044
01:49:02,760 --> 01:49:07,599
Speaker 4: twelve wyo, Yo, I'm telling you, I'm watching your videos

2045
01:49:07,600 --> 01:49:10,600
Speaker 4: in the little events playing your daughters come up and

2046
01:49:10,600 --> 01:49:12,519
Speaker 4: you go, oh yeah this is a song for the

2047
01:49:12,600 --> 01:49:16,479
Speaker 4: mother that I was like, Wow, what are you talking about?

2048
01:49:16,479 --> 01:49:19,600
Speaker 4: I studied you guys. This is amazing.

2049
01:49:22,320 --> 01:49:22,559
Speaker 1: Town.

2050
01:49:22,680 --> 01:49:25,000
Speaker 4: Yes, anytime, if there's any space in the crew, I

2051
01:49:25,040 --> 01:49:27,240
Speaker 4: might want to come work here anytime. Just to see

2052
01:49:27,240 --> 01:49:29,320
Speaker 4: who else the couch because I can.

2053
01:49:29,120 --> 01:49:33,040
Speaker 1: Not how much just handing you the keyboard, you're gonna

2054
01:49:33,040 --> 01:49:34,000
Speaker 1: do all the musical part.

2055
01:49:40,760 --> 01:49:42,720
Speaker 4: I'm ready because I guess you have on here. I

2056
01:49:42,720 --> 01:49:45,200
Speaker 4: would love to have a chance to make the best.

2057
01:49:45,160 --> 01:49:46,880
Speaker 1: Beautiful, beautiful. I don't know what to say.

2058
01:49:47,080 --> 01:49:49,719
Speaker 3: My name is Tank Valentine and this is the Army

2059
01:49:49,760 --> 01:49:55,280
Speaker 3: Money Podcast, the authority on all things man R and B. Yes,

2060
01:49:58,880 --> 01:50:02,479
Speaker 3: he's worth it, man, he's He's worth all of the

2061
01:50:03,439 --> 01:50:08,400
Speaker 3: all of the snacks, at least two bathroom drinks, bath

2062
01:50:08,479 --> 01:50:12,719
Speaker 3: roll eminem slippers, and the new and the new.

2063
01:50:12,600 --> 01:50:17,240
Speaker 4: Town and and the nice shower situation flat shower.

2064
01:50:17,920 --> 01:50:20,960
Speaker 3: He's worth it, man, like that and some room surface. Yes,

2065
01:50:20,960 --> 01:50:22,320
Speaker 3: please throw that in form too.

2066
01:50:23,040 --> 01:50:28,280
Speaker 4: Sure, sure steak steak. I didn't even know what it was.

2067
01:50:28,520 --> 01:50:29,240
Speaker 4: There was normal steak.

2068
01:50:31,880 --> 01:50:32,839
Speaker 1: Ladies and gentlemen.

2069
01:50:33,360 --> 01:50:33,840
Speaker 4: Help me,