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Speaker 1: You feel a moment where it's like, oh shit is

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Speaker 1: happening and you see it and the people are, you know,

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Speaker 1: giving you so much love and support, and then your

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Speaker 1: family is kind of like, Okay, everything that he he

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Speaker 1: was chasing and he wanted, said he wanted to do,

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Speaker 1: he's doing it. It's happening. We're here, We're supporting and this,

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Speaker 1: you know, families crying, everybody's just happy to see that

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Speaker 1: you finally are doing what you set out to do.

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Speaker 1: I saw we were actually.

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Speaker 2: Mad at my family. That is a Rory ten years

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Speaker 2: of like what is he doing over there? Now they

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Speaker 2: load you, mom.

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Speaker 3: Now they love it.

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Speaker 1: Now they rave about your work.

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Speaker 4: Right none, everything about all.

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Speaker 1: Right. Welcome to a new episode of the new Rory

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Speaker 1: mal podcast. I am all, I'm edding and we are

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Speaker 1: bad for a new pod on nuts with a really

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Speaker 1: good friend of ours, fucking late, talented, very h articulate, gentleman, articulate.

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Speaker 2: Don't say his full name though, because he's still, you know,

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Speaker 2: trying to hide his identity.

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Speaker 3: He's a A. He just believe that a.

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Speaker 1: Boogie with the hoodies. We are with our friend, our guy, talented,

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Speaker 1: super cool, suave, suave gentleman, ad.

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Speaker 2: Anyone that wears a bubble coat on the couch of

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Speaker 2: a friend's house is pretty swall.

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Speaker 1: Listen, man, because he's so cool, you know what I mean?

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Speaker 1: You got to keep the puff on. Man, You know what,

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Speaker 1: you know what? It's freezing.

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Speaker 3: Good climate control in here. It's a beautifully climate controlled place.

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Speaker 5: I really appreciate it.

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Speaker 2: The lighting's great. You have sunglasses on a hat. Listen, man,

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Speaker 2: it's not covering your ears.

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Speaker 6: It's my first time in New York in two years. Really, yes,

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Speaker 6: since we had our Webster show back in fall of

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Speaker 6: twenty one, which actually is a year. But the pandemic

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Speaker 6: makes it feel like too how much Shirvice thrashed?

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Speaker 5: So I'm wearing.

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Speaker 3: It has been a while. How do you feel being

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Speaker 3: back here?

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Speaker 1: What's the energy like? You feel like the energy in

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Speaker 1: the city is totally different.

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Speaker 6: Last time I was here, I was in a you know,

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Speaker 6: a wonderful relationship. Okay, I haven't been single in New

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Speaker 6: York in like half a decade.

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Speaker 1: It's like a great record single in New York. That

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Speaker 1: should be to name of your next record.

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Speaker 6: Man.

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Speaker 2: There was a whole show it's called Sex in the City.

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Speaker 2: But I've seen this series.

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Speaker 6: No it feels giving me back in New York. The

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Speaker 6: energy is great. You know, we have our project coming

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Speaker 6: out on Friday.

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Speaker 1: Yep.

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Speaker 5: First time being independent and just grateful.

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Speaker 3: First time being independent, first time being single.

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Speaker 2: It's a lot of first Do you feel like Volume

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Speaker 2: three is more personal? Because I know you've you've written

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Speaker 2: things from other people's perspectives and you're that type of

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Speaker 2: writer that you don't necessarily have to be going through

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Speaker 2: it to write a song about it. Do you feel

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Speaker 2: like this is the first project that's fully emotionally about

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Speaker 2: your personal experience?

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Speaker 6: You know, me and vow were talking about that, where

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Speaker 6: this one is definitely a bit.

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Speaker 5: More of my personal story.

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Speaker 6: Yeah, Whereas on Volume one and Volume two, you know,

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Speaker 6: she was with my best friend that I grew up with,

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Speaker 6: and I was just kind of witnessing what was happening

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Speaker 6: and able to have just like this bird's eye perspective

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Speaker 6: as to what was going on, and that kind of

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Speaker 6: drove a lot of the creativity. Whereas now, yeah, definitely,

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Speaker 6: I mean I wrote like nine records in seven days

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Speaker 6: in Greece and were just able to experiment with a

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Speaker 6: whole bunch of different sounds that I feel like I

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Speaker 6: haven't in the past. And the short answer is yes, obviously.

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Speaker 6: You know, she helped me through every single kind of record,

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Speaker 6: and she helped, you know, elevate it and take it there.

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Speaker 6: But it's definitely the most personal of the four mixtapes.

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Speaker 3: No, it got reversed now. She had to channel your X.

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Speaker 3: She said that speak for her.

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Speaker 1: Bro.

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Speaker 6: She said that when she was singing this hook, when

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Speaker 6: we were writing it, she was like, damn, I really

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Speaker 6: got to take it there because I know this feeling

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Speaker 6: of like let me You know, if you scroll down,

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Speaker 6: you can see these lyrics like I'm so broken, you know,

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Speaker 6: let me go.

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Speaker 1: It's up a little bit, my walls painted up with

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Speaker 1: Nova Kane looking around. I don't feel the thing here. Yeah,

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Speaker 1: you're talking that. I like that type of shit as odd.

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Speaker 1: I can't hide that I'm into now. Every convo over

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Speaker 1: compensation selling dreams, No, that ain't my style.

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Speaker 6: Hey, there needs to be a series where it's just

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Speaker 6: small reciting my lyrics, and that is like.

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Speaker 1: This is do an audio book of the entire I recognized,

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Speaker 1: like just a cool way of saying, Yo, listen, I

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Speaker 1: know I fucked up, but what do you want me to?

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Speaker 1: This is this is the life I'm in. This is,

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Speaker 1: you know, the life chose me. I didn't choose this life,

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Speaker 1: you know what I mean? That's straight out yeah, tell

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Speaker 1: a girl something like listen, I didn't choose this life,

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Speaker 1: you know what I mean? Like they just woke up

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Speaker 1: and one day they were just outside.

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Speaker 6: Screaming my neighbors outside, we.

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Speaker 1: Want me to do you know what I mean.

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Speaker 6: I still love you, though, I will say this, this

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Speaker 6: is not one of those situations where like fools didn't

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Speaker 6: get you know, girls back in high school and then

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Speaker 6: all of a sudden caught a little break. Because that

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Speaker 6: that that, to me is just like the epitome of

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Speaker 6: I don't really respect or job with those kind of people.

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Speaker 6: And I've seen it happen a lot, especially in my city,

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Speaker 6: like ful Sol. You know, just catch a check and

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Speaker 6: then they'll start acting hella different.

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Speaker 1: Now that's corny.

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Speaker 5: I'm not into that.

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Speaker 6: And that's why I said this has very little to

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Speaker 6: do with her and everything to do with me and

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Speaker 6: just you know, all the ship that I carpeted for

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Speaker 6: all those years getting to the bottom of it.

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Speaker 2: So after that, hmmm, where do I want to go

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Speaker 2: with this? We'll get away from your personal I know.

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Speaker 2: That's why I'm trying to be very curious because I

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Speaker 2: do respect the person boundaries.

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Speaker 3: So all right, I'll pivot a little bit here.

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Speaker 2: Outside of being newly single, newly independent, and as someone

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Speaker 2: that's been in this business for shit, twelve thirteen.

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Speaker 5: Years, twelve years I was twenty one.

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Speaker 2: Yeah, been through the major label system. Now with the

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Speaker 2: independent system. What's been the difference was we have a

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Speaker 2: lot of creatives that are our listeners audience as well

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Speaker 2: as a lot of musicians. A lot of people that

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Speaker 2: are trying to break into the music industry don't fully

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Speaker 2: understand it.

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Speaker 1: Know that.

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Speaker 2: All right, if I catch a major label lick, I'll

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Speaker 2: get an advance and feel like I've made it. Ten

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Speaker 2: years later, feel like shit, what's been this process? Because

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Speaker 2: you've been on both sides of it.

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Speaker 6: Look, I want to say it's not like one size

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Speaker 6: fits all. And I really do give a big shout

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Speaker 6: out to especially our partners in the past, like when

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Speaker 6: we had Day and Glan going through Warner in twenty fifteen,

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Speaker 6: and then obviously when we did our shit with Darkest

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Speaker 6: in the Tree An Island in twenty nineteen. There was

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Speaker 6: a time and a place and they all did a

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Speaker 6: great job. But there comes a time where the cost

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Speaker 6: of doing business just isn't worth it anymore. And when

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Speaker 6: you got someone that's in their fifties or sixties that

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Speaker 6: doesn't speak the language of what you're working on communicating

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Speaker 6: your music or your art to these platforms, from that perspective,

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Speaker 6: it doesn't make sense.

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Speaker 5: And same goes for.

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Speaker 6: You know, when you talk about like a and ring

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Speaker 6: or marketing, it's like, well, if you don't live this,

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Speaker 6: and you're just like kind of ticking a box, I

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Speaker 6: don't need nineteen cooks in the kitchen. You know. I'm writing, producing,

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Speaker 6: mixing all this shit with our internal team, and I

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Speaker 6: actually enjoy that. It's not like a chore. It's like

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Speaker 6: a lot of people are like, oh, well, I got

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Speaker 6: to get in and do these sessions and then I

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Speaker 6: got to go and find a mixer. But these are

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Speaker 6: all experiences and shit that I really learned from. And

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Speaker 6: then when you bust it down to the business of it,

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Speaker 6: and I think this is where there's to me a

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Speaker 6: really high level of confusion. And for simple math, you know,

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Speaker 6: if you sign for a million dollars and you get

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Speaker 6: a great deal with these majors you do with eighty twenty,

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Speaker 6: you know, an eighty twenty royalty deal out the gates.

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Speaker 6: You're in for five million, And some people don't understand, well,

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Speaker 6: how did you get that number. It's like, well, for

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Speaker 6: every dollar that they gave you, you got to recoup

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Speaker 6: five x because twenty times five is one hundred. So

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Speaker 6: same goes to they give you tour support and all

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Speaker 6: of a suden one hundred grand tour support to go

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Speaker 6: on tour. That's five hundred thousand year in a hole.

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Speaker 6: And for the forty nine artists on that dart board,

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Speaker 6: or let's say there's like a major label and they

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Speaker 6: throw fifty darts to the board that one artist is

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Speaker 6: going to pay for the forty nine mistakes. But if

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Speaker 6: you're in that forty nine and you're not careful, you

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Speaker 6: may get to a place where not only like you

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Speaker 6: lose your passion or you lose your love for it,

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Speaker 6: but you also just get disillusion to the business.

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Speaker 5: And it's not the artist's fault.

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Speaker 6: It's not the major's fault because the people that are

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Speaker 6: at the majors running and have no controls in our

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Speaker 6: keg business model built by really old people that are

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Speaker 6: out of touch, and the new business model isn't educated

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Speaker 6: or there isn't a healthy form of educating the new

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Speaker 6: business model because there's not enough people winning in that regard,

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Speaker 6: and the ones that are catch a big generational bag,

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Speaker 6: you know, whether it's twenty thirty forty million to go

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Speaker 6: and do a deal after they've been independent, and they

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Speaker 6: don't talk about how they built that. So, by the way,

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Speaker 6: it's not cheap. Up until five days ago, I was

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Speaker 6: like shaking in my boots trying to figure out how

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Speaker 6: we're going to fund this tour, How I can keep

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Speaker 6: trying to make like orange textured vinyl and these candles

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Speaker 6: and all the flashit that we want to make, but

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Speaker 6: at the same time make sure the music gets heard,

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Speaker 6: Like it costs a quarter million to take a record

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Speaker 6: to radio. If you do that with the major out

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Speaker 6: the gates, you be in for whatever that is one

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Speaker 6: point twenty five. So you've got to pick your spots

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Speaker 6: a little different. And sure, being on a ninety ten

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Speaker 6: ninety ten profits split where you own, that's awesome, but

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Speaker 6: how are you incentivizing your partners? You know, my best

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Speaker 6: friend is my art director, my creative partner. He has

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Speaker 6: equity on shit that we work on. If I was

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Speaker 6: trying to give like a zero to one plan for

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Speaker 6: an artist, if you're just like somebody in the studio

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Speaker 6: making music and you're trying to build your team, find partners.

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Speaker 6: This is what I didn't learn when I was, you know,

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Speaker 6: failing in twenty three years old. It took me that

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Speaker 6: nine ten years because I didn't understand how do you

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Speaker 6: align your interests with these people? Well, you got to

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Speaker 6: treat them like fair partners. You know, our management partner, Britge.

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Speaker 5: She has equity.

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Speaker 6: She's effectively like the CEO of Emotional Oranges.

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Speaker 1: You know.

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Speaker 6: Rory is obviously doing a lot of the help A

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Speaker 6: and R marketing and Brandy, but somebody needs to run

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Speaker 6: the business. Rory has, you know, three full lass jobs.

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Speaker 6: I got three full last jobs. Well, who's gonna run it?

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Speaker 6: Brittany's incredible, you know so, But there's also those horror

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Speaker 6: stories then when you look at it and it's like,

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Speaker 6: well I managed such and such that got to X

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Speaker 6: level line on Coachella and they fired me. A couple

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Speaker 6: of my close friends did this to their managers. There's

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Speaker 6: no equity in that. So just like trying to reimagine, like,

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Speaker 6: how are you building your business to get to a

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Speaker 6: place where maybe in the beginning it makes sense to

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Speaker 6: take that funding from a major and do a lopside

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Speaker 6: of deal, But when you get out of that shit,

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Speaker 6: restructuring and making sure that everyone involved feels like like,

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Speaker 6: don't just say partners, because if you're paying them, they're

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Speaker 6: catching a wage on a first and a fifteenth or

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Speaker 6: not a partner. So that's why I was like hell

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Speaker 6: of passionate leaving the major. It's because I understood, I

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Speaker 6: got the information that I needed and was able to

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Speaker 6: apply it in real time.

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Speaker 5: Sorry for the rent, No.

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Speaker 1: No, that was dope. That was very.

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Speaker 2: And it's interesting because I do love that independent and

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Speaker 2: talking about independence has become so trending, and I don't

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Speaker 2: mean that in a bad way. What type of artists

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Speaker 2: do you think makes sense on a major as far

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Speaker 2: as what their business model would with the type of

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Speaker 2: music that they're trying to make or the audience they're

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Speaker 2: trying to get to, would make sense on a major

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Speaker 2: versus someone that would make sense independently, because obviously with EO,

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Speaker 2: everything for the most part is in house. Like, what

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Speaker 2: the fuck does a major outside of funding. What's the

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Speaker 2: point of a major.

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Speaker 6: I had to be really, really honest and check my

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Speaker 6: ego at the door and be a little like brutally

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Speaker 6: self aware maybe the shit that we're making. You know,

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Speaker 6: at the time with the DAL I was twenty nine,

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Speaker 6: Maybe I'm a little too old to pop off commercially

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Speaker 6: and be able to look myself in the mirror and go, well, shit,

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Speaker 6: I could still build an arena touring fan base. And

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Speaker 6: you know my favorite artist when you when I bust

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Speaker 6: it down to like, you know, Janet, Gorillas and Shade,

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Speaker 6: that's like my north Stars.

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Speaker 5: Shit.

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Speaker 6: Then I mean, Gorillas just caught their their second lick

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Speaker 6: this year with all the TikTok shit happening. I saw

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Speaker 6: Damon album perform at the Forum ten thousand tickets at

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Speaker 6: fifty four years old. It felt like he was thirty

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Speaker 6: four and he's making eight figures a year quietly and

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Speaker 6: he can go to the grocery store and still cop

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Speaker 6: shit and go back. So for me, it was really

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Speaker 6: hard to not be like I want to grow up

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Speaker 6: and be like the people that I saw on you know,

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Speaker 6: B T and MTV. And it's all good if I

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Speaker 6: create this really ill cult base with my family essentially

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Speaker 6: at this point, like y'all are fucking like my brothers

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Speaker 6: and sisters and shit, Like I prefer that I'm cool

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Speaker 6: with that. But that was that was really really challenging

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Speaker 6: to be honest, because you have to kind of like

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Speaker 6: let one dream, one dream die in order for another

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Speaker 6: one to kind of be born, if that makes sense.

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Speaker 1: But do you feel like it's a necessary thing, Like

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Speaker 1: you have to go through the having the deal to

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Speaker 1: learn the business, and then you say, Okay, I would

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Speaker 1: rather do this independently and give my friends and people

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Speaker 1: around me ownership and build this thing together. Like a

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Speaker 1: lot of people come in now to say they want

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Speaker 1: to be independent, they want to be independent out the gate.

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Speaker 1: Do you think that's a good thing or do you

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Speaker 1: think it's so some times necessary to you know, go

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Speaker 1: through the label thing and learn that part of it,

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Speaker 1: but then eventually get to a place where you own everything.

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Speaker 5: I completely agree.

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Speaker 6: And also you can just do more healthy deals now

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Speaker 6: it's like almost like the status quo to do licensing

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Speaker 6: deals with these majors. But even then make sure you

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Speaker 6: understand the business because sometimes it's better to have them

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Speaker 6: take more of the pie so they can bring to life,

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Speaker 6: your vision, I'll keep it super g with you. I

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Speaker 6: have no interest in waking up at six am and

304
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Speaker 6: getting on a phone call with a radio plugger in Singapore, Bro,

305
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Speaker 6: my talents are much better utilized in the studio here

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Speaker 6: with y'all, like you know, trying to think of some

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Speaker 6: creative merch shit. I have no interest in talking to

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Speaker 6: like old boy in Madrid trying to get my shit

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Speaker 6: on the radio.

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Speaker 5: I don't even know what.

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Speaker 6: I don't speak Spanish like that, so why would I

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Speaker 6: so understanding? Well, wait a second, if I do this

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Speaker 6: deal with such and such major, and if you really

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Speaker 6: have the leverage to do that, and your songs are

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Speaker 6: working and said places, that's where they can come in

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Speaker 6: and amplify at a real level. But if you're naive,

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Speaker 6: and you got to remember this is I thought about

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Speaker 6: not saying this, and I feel like I need to

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Speaker 6: because we're at this place right now. The way that

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Speaker 6: the music industry is built for everyone involved, not just

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Speaker 6: the major labels. It's incentivizing the short term bag. So

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Speaker 6: the business managers catching five percent, the lawyers catching five percent,

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Speaker 6: the manager's catching twenty percent. All this is upfront of

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Speaker 6: whatever you sign on the front end, but they're not

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Speaker 6: incentivized in the long run. So if some shit happens

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Speaker 6: to you, God forbid, they've already they might not even

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Speaker 6: finish the agreements for your album. If you do some

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Speaker 6: foul shit, they already made their money. But if they

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Speaker 6: were partners and it was in the long term or

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Speaker 6: your product, I promise you your business manager, your manager,

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Speaker 6: and your lawyer would want to own those rights for

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Speaker 6: the long term if they saw a future with you.

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Speaker 6: So bringing those people into the fold, out the gate

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Speaker 6: and making sure y'all see eye to eye all that

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Speaker 6: shit is like a relationship, and we have to level

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Speaker 6: the playing field financially an incentivising perspective for everyone involved.

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Speaker 6: That's just that's where I think this shit is fucked up.

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Speaker 6: It's not because the majors are doing bad deals. If

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Speaker 6: y'all had a good team, y'all wouldn't even be talking

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Speaker 6: to the majors to begin with unless you had a

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Speaker 6: like bro. If we catch a viral TikTok moment right now,

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Speaker 6: you think Rory wants to wake his ass ap at

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Speaker 6: five am and talk to Singapore.

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Speaker 5: No, No, they.

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Speaker 6: Want to get a tons. He wants to give us

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Speaker 6: ten million. He's like, Yo, you guys started something, you

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Speaker 6: built a great base. It's super cute. We're gonna go

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00:16:29,960 --> 00:16:31,800
Speaker 6: and make this thing a hit. We could just do

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Speaker 6: one project together, now, I gotcha. You could send us

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Speaker 6: to art, the songs, the no no no. But yeah,

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Speaker 6: but we're we're in our early thirties. Now we've already

352
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Speaker 6: we've seen the fuck shit. We're doing thirty eight hundred

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Speaker 6: tickets in la at the Palladium. We're doing Brooklyn Steels,

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Speaker 6: We're doing history in Toronto. But that's because it's been

355
00:16:49,760 --> 00:16:52,800
Speaker 6: three and a half years of rigorous touring. So if

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Speaker 6: you haven't done that and you're like on TikTok and

357
00:16:54,880 --> 00:16:57,920
Speaker 6: you catch your moment. Some people it's food and beverage,

358
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Speaker 6: and that's fine. If it's food and beat, and you

359
00:17:00,360 --> 00:17:04,119
Speaker 6: could be honest with yourself and everybody involved, cool, catch

360
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Speaker 6: your bag. But if you're in this because you want

361
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Speaker 6: to make great art and you want to create something

362
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Speaker 6: that lasts, that's a different conversation.

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Speaker 5: That's a whole different trajectory.

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Speaker 6: And as long as the people on your side, you know,

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Speaker 6: can disseminate the two, then your good money.

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Speaker 2: But I mean that's speaking from a deserved leverage standpoint,

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Speaker 2: because yeah, Sos, you could say I'll give you ten

368
00:17:22,680 --> 00:17:25,200
Speaker 2: mil because you've you've done this before, But a TikTok's

369
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Speaker 2: not going to give you leverage with a major and

370
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Speaker 2: for the most part, not really matter in the long run.

371
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Speaker 2: If your TikTok viral moment isn't based off publishing you

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Speaker 2: own to begin with. So I see what you're saying

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Speaker 2: with most artists don't go in with that leverage at all.

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Speaker 2: Do you think there is a world where walking and

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Speaker 2: taking the bullshit deal is worth it because you can

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Speaker 2: start to build with some capital, some leverage for the

377
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Speaker 2: next three projects.

378
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Speaker 6: So right now, if you go to Bank of America

379
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Speaker 6: and you have a credit score between six fifty and

380
00:17:58,840 --> 00:18:01,560
Speaker 6: eight hundred, you can get a bank loan of one

381
00:18:01,600 --> 00:18:05,919
Speaker 6: hundred thousand dollars for on average about eight percent. So

382
00:18:06,040 --> 00:18:07,560
Speaker 6: if I did the math for you right now, one

383
00:18:07,640 --> 00:18:09,560
Speaker 6: hundred thousand dollars deal, which I just did a on

384
00:18:09,600 --> 00:18:12,120
Speaker 6: an eighty twenty yeap. On that eighty twenty you owe

385
00:18:12,119 --> 00:18:14,760
Speaker 6: back five hundred thousand. If you go to Bank of America,

386
00:18:14,800 --> 00:18:16,439
Speaker 6: you owe back one hundred and eight thousand.

387
00:18:16,720 --> 00:18:19,200
Speaker 2: While scales up, you're not the first person that I've

388
00:18:19,240 --> 00:18:22,160
Speaker 2: heard talk about this bank loan shit. It's very difficult,

389
00:18:22,240 --> 00:18:25,600
Speaker 2: especially for bline that's usually eighteen, nineteen, twenty years old,

390
00:18:25,920 --> 00:18:27,719
Speaker 2: to be able to walk into a bank and be like, Yo,

391
00:18:27,840 --> 00:18:28,600
Speaker 2: my mixtape, bro.

392
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Speaker 3: It's very difficult to do.

393
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Speaker 2: That's why I don't blame a lot of these kids

394
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Speaker 2: for signing bullshit deals because they just don't know.

395
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Speaker 6: No, I don't blame the kids at all. I blame

396
00:18:35,520 --> 00:18:38,160
Speaker 6: the lack of information and the people involved. If y'all

397
00:18:38,200 --> 00:18:40,280
Speaker 6: got a fifty year old lawyer who said he's done

398
00:18:40,520 --> 00:18:43,440
Speaker 6: X amount of deals and he's encouraging you to do such,

399
00:18:43,920 --> 00:18:45,520
Speaker 6: ask him if he's listening to your music, Tell my

400
00:18:45,640 --> 00:18:48,240
Speaker 6: name's track seven on your tape, bro, Because.

401
00:18:47,960 --> 00:18:49,840
Speaker 2: We ask him how long he's been working for the

402
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Speaker 2: label that he's negotiating.

403
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Speaker 6: With, right, and then they build their deals in for

404
00:18:53,720 --> 00:18:55,159
Speaker 6: thirty five to fifty. By the way, I'm not here

405
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Speaker 6: to just shit on lawyers, but I'm saying once again,

406
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Speaker 6: if y'all are incentivized in the long run of my career,

407
00:19:01,840 --> 00:19:03,760
Speaker 6: you wouldn't want me to do that. If I told

408
00:19:03,760 --> 00:19:06,680
Speaker 6: you on STEM I'm giving you five percent in perpetuity

409
00:19:06,720 --> 00:19:09,840
Speaker 6: of X record you would fight for dear life to

410
00:19:09,880 --> 00:19:12,359
Speaker 6: make sure that we own that, so then act the

411
00:19:12,359 --> 00:19:14,840
Speaker 6: same way when it's time. Like That's just the way

412
00:19:14,840 --> 00:19:15,439
Speaker 6: that I look at it.

413
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Speaker 1: I want to know how much I like it. Had

414
00:19:20,720 --> 00:19:24,359
Speaker 1: we had a conversation years ago, how much trouble do

415
00:19:24,400 --> 00:19:26,399
Speaker 1: you think the record industry would be in if and

416
00:19:27,000 --> 00:19:31,879
Speaker 1: if artists like Drake, Rihanna and Adele went independent.

417
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Speaker 5: I want to just talk about Brent Fayaz for a second.

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Speaker 1: Okay.

419
00:19:36,960 --> 00:19:39,240
Speaker 6: I was looking at some weirdo stat on some R

420
00:19:39,280 --> 00:19:42,840
Speaker 6: and B blog page, and it said that Brent's gonna

421
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Speaker 6: have the highest grossing album.

422
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Speaker 5: Of the year in R and B in the US.

423
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Speaker 6: In the US, Okay, so let's say we're seeing on

424
00:19:52,480 --> 00:19:58,000
Speaker 6: average between Spotify and Apple four thousand dollars per million streams,

425
00:19:58,359 --> 00:20:00,480
Speaker 6: and he just posted his little joint he did billion

426
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Speaker 6: on Spotify. Would you, if you're someone like Brent faire As,

427
00:20:07,680 --> 00:20:10,240
Speaker 6: do the opposite? Would you go to the major? And

428
00:20:10,280 --> 00:20:12,080
Speaker 6: these are questions that I asked myself seeing this bad

429
00:20:12,119 --> 00:20:15,040
Speaker 6: bunny shit saying he's getting forty million per album and

430
00:20:15,080 --> 00:20:16,719
Speaker 6: he's on a ninety ten with The Orchard, which, by

431
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Speaker 6: the way, bro, if y'all are signed to an independent,

432
00:20:20,000 --> 00:20:22,400
Speaker 6: the ghost through one of the three majors. You were

433
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Speaker 6: not independent. Your music from a catalog perspective, from a

434
00:20:26,760 --> 00:20:30,240
Speaker 6: market share perspective, is owned by Sony. So but by

435
00:20:30,240 --> 00:20:32,800
Speaker 6: the way, here's what you're doing stadiums. He's my favorite,

436
00:20:33,160 --> 00:20:36,080
Speaker 6: just like creative right now in the space Brent no

437
00:20:36,200 --> 00:20:38,440
Speaker 6: a bad bunnyyah from a music from the music side.

438
00:20:38,480 --> 00:20:41,199
Speaker 5: Yeah, Brent for sure. And yeah, I mean look at

439
00:20:41,200 --> 00:20:42,679
Speaker 5: this shit that he's pulling up. You can see it.

440
00:20:43,359 --> 00:20:45,600
Speaker 6: He did what ninety five thousand first week. That shit

441
00:20:45,720 --> 00:20:50,600
Speaker 6: is fucking astronomical. Bro like Brent doing those numbers, the

442
00:20:50,640 --> 00:20:55,440
Speaker 6: infrastructure tying Jane built, that Stem helped build. That's something

443
00:20:55,440 --> 00:20:59,240
Speaker 6: that I strive for. How do I feel if Drake

444
00:20:59,280 --> 00:21:02,200
Speaker 6: and Ada and such and such one independent? The short

445
00:21:02,240 --> 00:21:04,800
Speaker 6: answer is they could probably right their own deal at

446
00:21:04,840 --> 00:21:08,160
Speaker 6: this point, they probably all already have, and it behooves

447
00:21:08,200 --> 00:21:10,920
Speaker 6: them not to do that because it's a that's actually

448
00:21:10,960 --> 00:21:14,280
Speaker 6: the button getting pressed. When your song goes out and

449
00:21:14,320 --> 00:21:16,080
Speaker 6: your name is Drake and you've had one hundred and

450
00:21:16,080 --> 00:21:20,399
Speaker 6: one top tens, you'd think future Oliver want to get

451
00:21:20,440 --> 00:21:21,720
Speaker 6: on the phone when Madrid and try to work the

452
00:21:21,760 --> 00:21:23,840
Speaker 6: shit in spain. No, bro, here's a ninety two to

453
00:21:23,920 --> 00:21:27,200
Speaker 6: eight for two hundred and fifty million. Whoever whatever Universal

454
00:21:27,240 --> 00:21:28,600
Speaker 6: label wants to do it, run it up.

455
00:21:29,480 --> 00:21:31,919
Speaker 2: But that's a leverage thing too, because Drake, Adell and

456
00:21:31,960 --> 00:21:33,639
Speaker 2: them are going to get a deal at a major

457
00:21:33,680 --> 00:21:35,880
Speaker 2: that no one else can get because the majors want

458
00:21:35,880 --> 00:21:38,600
Speaker 2: to make sure they keep them there because, like Maul

459
00:21:38,720 --> 00:21:40,960
Speaker 2: is saying, imagine if they went independent, it would fuck

460
00:21:41,000 --> 00:21:44,760
Speaker 2: up the entire ecosystem. So they're going to give Drake

461
00:21:44,840 --> 00:21:47,480
Speaker 2: a deal that no other person could get on a major.

462
00:21:47,840 --> 00:21:51,280
Speaker 2: But to your Brent point, outside of the money he's making,

463
00:21:51,520 --> 00:21:53,480
Speaker 2: let's talk what's the Drake and Brent record?

464
00:21:53,640 --> 00:21:54,600
Speaker 3: That the Neptune was produced?

465
00:21:54,800 --> 00:21:56,000
Speaker 5: Wast wasting time.

466
00:21:55,920 --> 00:21:58,760
Speaker 3: Wasting time, And I don't know how much we can

467
00:21:58,880 --> 00:21:59,800
Speaker 3: really say.

468
00:21:59,680 --> 00:22:01,360
Speaker 2: Because I fucked with tie in them and I don't

469
00:22:01,359 --> 00:22:02,640
Speaker 2: want to say too much.

470
00:22:02,800 --> 00:22:03,760
Speaker 3: Ship we're not allowed to.

471
00:22:04,359 --> 00:22:07,359
Speaker 2: The craziest part about that entire thing was not what

472
00:22:07,400 --> 00:22:11,320
Speaker 2: that record made. It was that Universal bowed down to

473
00:22:11,320 --> 00:22:16,280
Speaker 2: Stem hmm, Brent, Brent. Brent was able to show that

474
00:22:16,359 --> 00:22:19,280
Speaker 2: you can have leverage independently, that a major that was

475
00:22:19,359 --> 00:22:22,960
Speaker 2: threatening to take that song down because Drake hadn't cleared

476
00:22:23,000 --> 00:22:24,120
Speaker 2: it quote unquote.

477
00:22:24,880 --> 00:22:26,800
Speaker 6: Oh oh he did, but it was it was it

478
00:22:26,840 --> 00:22:28,520
Speaker 6: was a market share thing, right it was.

479
00:22:28,680 --> 00:22:33,400
Speaker 2: It wasn't for Universal's sake to make them feel good.

480
00:22:34,160 --> 00:22:35,480
Speaker 3: That's what we don't really talk about.

481
00:22:35,480 --> 00:22:38,480
Speaker 2: And now I wish Brent did more interviews and tied

482
00:22:38,520 --> 00:22:39,960
Speaker 2: it more interviews, because that's the.

483
00:22:39,920 --> 00:22:40,600
Speaker 3: Win right there.

484
00:22:41,119 --> 00:22:44,560
Speaker 2: Huge an independent artist made a major bow down with

485
00:22:44,640 --> 00:22:46,159
Speaker 2: the leverage that they had of saying we're going to

486
00:22:46,200 --> 00:22:46,840
Speaker 2: take this record down.

487
00:22:46,880 --> 00:22:48,560
Speaker 3: Know the fucking not, You're not taking it down.

488
00:22:48,920 --> 00:22:54,960
Speaker 6: Hmm. Hey, listen, I think it feels like the second

489
00:22:56,040 --> 00:22:58,720
Speaker 6: coming of like the Golden Era or whatever for our generation.

490
00:22:59,000 --> 00:23:03,119
Speaker 6: And I'm just really thinking to be at a place where, like,

491
00:23:03,560 --> 00:23:07,560
Speaker 6: to me, it all feels like it's an even playing

492
00:23:07,600 --> 00:23:10,520
Speaker 6: field and I understand it all, which that is the

493
00:23:10,520 --> 00:23:14,440
Speaker 6: most exciting shit is knowing, like, you know, we work

494
00:23:14,440 --> 00:23:18,040
Speaker 6: on an artist called Child obviously together and that felt

495
00:23:18,080 --> 00:23:22,080
Speaker 6: really appropriate to be upstream to Tanji Latrese and the

496
00:23:22,160 --> 00:23:25,880
Speaker 6: team because he has grandiose visions of how he wants

497
00:23:25,880 --> 00:23:29,920
Speaker 6: to tour, and when you want to have a nine

498
00:23:30,000 --> 00:23:33,800
Speaker 6: piece or whatever and you're like doing five hundred tickets,

499
00:23:34,480 --> 00:23:36,600
Speaker 6: then we need some support yeah, And if you have

500
00:23:36,720 --> 00:23:38,560
Speaker 6: an idea for a music video and you want to

501
00:23:38,560 --> 00:23:41,440
Speaker 6: shoot it back in your hometown Montreal, you probably need

502
00:23:41,800 --> 00:23:44,840
Speaker 6: seventy eighty ninety bands. But for us, when it's really

503
00:23:45,040 --> 00:23:48,480
Speaker 6: just like me Brando valbrit you like the internal team

504
00:23:48,840 --> 00:23:50,959
Speaker 6: coming up with the creative we're not burning cash on

505
00:23:51,080 --> 00:23:53,320
Speaker 6: videos and we're trying to get music out and put

506
00:23:53,320 --> 00:23:56,960
Speaker 6: on even cooler shows, Like I'm not really stressing over

507
00:23:57,200 --> 00:23:59,880
Speaker 6: some weirdo marketing budgets that I got to pay back

508
00:24:00,200 --> 00:24:04,600
Speaker 6: five hundred percent. I want to create. I want to

509
00:24:04,640 --> 00:24:06,600
Speaker 6: create something that's going to live longer than I am.

510
00:24:06,960 --> 00:24:10,920
Speaker 6: And I think that's the key of this whole thing

511
00:24:11,080 --> 00:24:14,000
Speaker 6: is being able to help educate the next generation so

512
00:24:14,040 --> 00:24:16,560
Speaker 6: that when they're making their decisions, at least they're looking

513
00:24:16,560 --> 00:24:18,400
Speaker 6: around and being able to be a little more creative

514
00:24:18,440 --> 00:24:22,000
Speaker 6: with how they structure their internal companies. Y'all can start

515
00:24:22,040 --> 00:24:24,639
Speaker 6: if you're an artist, you're eighteen, nineteen twenty, y'all can

516
00:24:24,680 --> 00:24:27,960
Speaker 6: start an LLC withich, your art or creative director. Y'all

517
00:24:28,000 --> 00:24:30,679
Speaker 6: can start one with your producer, with your manager. You

518
00:24:30,680 --> 00:24:32,400
Speaker 6: want to make sure that they spend time on you.

519
00:24:32,760 --> 00:24:35,240
Speaker 6: That's a really great way to do. So y'all wonder

520
00:24:35,320 --> 00:24:37,119
Speaker 6: why your manager has to go out and get two

521
00:24:37,200 --> 00:24:39,919
Speaker 6: or three other clients and take a paying job at

522
00:24:39,920 --> 00:24:41,760
Speaker 6: the label where it's they're not making shit off you,

523
00:24:41,800 --> 00:24:46,080
Speaker 6: and they're worried that, just like their contemporaries, they might

524
00:24:46,119 --> 00:24:48,560
Speaker 6: build you up and you might fire them. So I

525
00:24:48,600 --> 00:24:50,800
Speaker 6: think it's a really healthy discussion to have, Like if

526
00:24:50,880 --> 00:24:53,040
Speaker 6: y'all really rock with each other for the long run

527
00:24:54,119 --> 00:24:57,520
Speaker 6: and build something together, have ownership together, and that's just

528
00:24:57,840 --> 00:25:00,400
Speaker 6: to me, that's more sexy anyways, like this weird shit

529
00:25:00,440 --> 00:25:03,080
Speaker 6: of like building some ship with somebody and then oh,

530
00:25:03,200 --> 00:25:05,920
Speaker 6: but I've always been the artist I write the no no.

531
00:25:06,240 --> 00:25:08,600
Speaker 6: It takes some other fucking village to get your vision

532
00:25:08,640 --> 00:25:12,240
Speaker 6: out there, So treat people that. Yo, if you were

533
00:25:12,280 --> 00:25:14,440
Speaker 6: on the other side of that, would you be okay

534
00:25:14,480 --> 00:25:16,280
Speaker 6: with it? I highly doubt it.

535
00:25:17,600 --> 00:25:21,240
Speaker 1: Talk about the situation with Frank Ocean and what he

536
00:25:21,280 --> 00:25:25,360
Speaker 1: did a few years ago with his album and High,

537
00:25:25,400 --> 00:25:26,960
Speaker 1: because that, to me is still some of the most

538
00:25:27,000 --> 00:25:28,080
Speaker 1: phenomenal ship.

539
00:25:27,960 --> 00:25:28,520
Speaker 6: He was talking about.

540
00:25:28,560 --> 00:25:32,199
Speaker 2: David Blaine, that was some fucking magical talk about that

541
00:25:32,320 --> 00:25:35,000
Speaker 2: got out of his deal better than anyone I've ever

542
00:25:35,000 --> 00:25:35,680
Speaker 2: seen in my life.

543
00:25:35,840 --> 00:25:37,680
Speaker 1: How was how was Frank Ocean able to do that?

544
00:25:39,840 --> 00:25:43,280
Speaker 6: It's it's old you bring that up. I was looking

545
00:25:43,280 --> 00:25:46,879
Speaker 6: into that ship because you know, I think he's going

546
00:25:46,960 --> 00:25:49,800
Speaker 6: to be playing a festival that we're all really excited

547
00:25:49,840 --> 00:25:53,440
Speaker 6: about next year, and and we were on that same building.

548
00:25:53,480 --> 00:25:54,640
Speaker 5: I wish we would have played that day.

549
00:25:54,720 --> 00:26:01,600
Speaker 6: But that was some real magicians for sure, putting the

550
00:26:01,600 --> 00:26:03,280
Speaker 6: record out, because at the end of the day, it's

551
00:26:03,280 --> 00:26:05,280
Speaker 6: a recording, right. It's like you put out fifty minutes

552
00:26:05,280 --> 00:26:07,760
Speaker 6: of music as a visual and then twenty four hours

553
00:26:07,840 --> 00:26:11,160
Speaker 6: later put a shit out indie through Stem Shout Out Milana,

554
00:26:11,240 --> 00:26:15,560
Speaker 6: shout out the whole team. I think that's a prime

555
00:26:15,640 --> 00:26:18,560
Speaker 6: example of being able to do things on your own terms,

556
00:26:19,040 --> 00:26:24,280
Speaker 6: incentivizing the people appropriately, but also paying your dues.

557
00:26:29,480 --> 00:26:31,720
Speaker 2: Do you feel as someone that puts out a lot

558
00:26:31,720 --> 00:26:37,280
Speaker 2: of music? Do you judge artists like Frank that are

559
00:26:37,440 --> 00:26:39,920
Speaker 2: on a schedule of once every five years, we might

560
00:26:39,920 --> 00:26:43,480
Speaker 2: see them, because I think the music business has changed it.

561
00:26:43,560 --> 00:26:46,560
Speaker 2: To be relevant and respected to some degree, you have

562
00:26:46,600 --> 00:26:48,080
Speaker 2: to put out a lot of music. Like I love

563
00:26:48,119 --> 00:26:50,040
Speaker 2: what Nas is doing because he's still proving he's one

564
00:26:50,040 --> 00:26:52,520
Speaker 2: of the best because he can put volume out we're

565
00:26:52,560 --> 00:26:55,200
Speaker 2: in a volume world when as far as music goes,

566
00:26:55,240 --> 00:26:57,080
Speaker 2: you can't do the I put an album out, I

567
00:26:57,119 --> 00:26:59,280
Speaker 2: disappear for five years, and then I come back. It's

568
00:26:59,280 --> 00:27:02,120
Speaker 2: a different game as someone that puts out of shit

569
00:27:02,160 --> 00:27:02,720
Speaker 2: to on the music.

570
00:27:03,400 --> 00:27:04,880
Speaker 3: Do you look at Frank or shit?

571
00:27:04,960 --> 00:27:07,640
Speaker 2: Even Scissa's coming out this week, it's been another five years,

572
00:27:07,640 --> 00:27:10,760
Speaker 2: I think Sizza, right, Do you think that takes away

573
00:27:11,480 --> 00:27:13,840
Speaker 2: as how you view them as artists because they take

574
00:27:13,960 --> 00:27:15,480
Speaker 2: so much time to put music out.

575
00:27:18,320 --> 00:27:19,160
Speaker 5: I think it's just.

576
00:27:22,160 --> 00:27:24,480
Speaker 6: To each their own with that shit, Like you, you know,

577
00:27:24,520 --> 00:27:26,200
Speaker 6: if you have to go through if you're really writing

578
00:27:26,200 --> 00:27:28,920
Speaker 6: your records. And obviously Nas is writing all his shit,

579
00:27:29,400 --> 00:27:32,480
Speaker 6: but Nas had time to I want to say, he's

580
00:27:32,480 --> 00:27:35,280
Speaker 6: probably fifty right, fifty one? Yeah, yeah, so and that's like,

581
00:27:35,359 --> 00:27:38,120
Speaker 6: you know, my favorite, you know writer of all time

582
00:27:40,240 --> 00:27:47,879
Speaker 6: Nas Yeah, okay, dope, okay, fifty and uh yeah, to

583
00:27:47,920 --> 00:27:50,560
Speaker 6: each their own. I think Nas is obviously like him

584
00:27:50,560 --> 00:27:53,159
Speaker 6: and Hitter on some different I've never seen something like

585
00:27:53,200 --> 00:27:56,200
Speaker 6: this we're having the conversation because like from a from

586
00:27:56,240 --> 00:28:02,160
Speaker 6: a a mind perspective, from like from an entrepreneurial perspective,

587
00:28:02,200 --> 00:28:04,359
Speaker 6: I felt like him and Hover neck and neck in

588
00:28:04,400 --> 00:28:08,639
Speaker 6: the past three years have been something just otherworldly with

589
00:28:08,720 --> 00:28:09,080
Speaker 6: him in it.

590
00:28:09,960 --> 00:28:13,240
Speaker 1: And yeah, what they've been able to do is I mean,

591
00:28:14,440 --> 00:28:16,600
Speaker 1: at forty nine to fifty years old for him to

592
00:28:16,920 --> 00:28:19,080
Speaker 1: you know, be putting out this amount and then the

593
00:28:19,119 --> 00:28:22,479
Speaker 1: knock on him for all the years was his his

594
00:28:22,520 --> 00:28:24,040
Speaker 1: production was terrible.

595
00:28:24,960 --> 00:28:27,240
Speaker 3: Which I hate that, but this just don't think it's truth.

596
00:28:27,280 --> 00:28:27,440
Speaker 6: Bro.

597
00:28:27,560 --> 00:28:31,040
Speaker 5: I think for a long time, you know, not to Preme,

598
00:28:31,560 --> 00:28:33,040
Speaker 5: Like look since.

599
00:28:32,840 --> 00:28:34,800
Speaker 3: Two thousand, it didn't work with Prem that much.

600
00:28:35,840 --> 00:28:37,440
Speaker 6: I think he has about half a dozen records with

601
00:28:37,520 --> 00:28:39,000
Speaker 6: PREIM and are all pretty great.

602
00:28:39,600 --> 00:28:43,000
Speaker 3: New York State of Mind nas is like, what are

603
00:28:43,040 --> 00:28:43,920
Speaker 3: the pre records yet?

604
00:28:44,200 --> 00:28:46,480
Speaker 6: I mean, let's let's pull up Life's a Bitch. There

605
00:28:46,480 --> 00:28:48,600
Speaker 6: was a couple of there was a couple of Preem

606
00:28:48,640 --> 00:28:52,000
Speaker 6: records on there. I'm saying he's had Lucy's the entire time.

607
00:28:52,640 --> 00:28:57,040
Speaker 6: Maybe maybe not albums like you're saying, but to Tama's point,

608
00:28:57,240 --> 00:29:00,560
Speaker 6: having a consistent producer with one united perspective in hit

609
00:29:01,000 --> 00:29:02,800
Speaker 6: and someone who was of our generation, I think it's

610
00:29:02,840 --> 00:29:03,960
Speaker 6: probably a year or two older than.

611
00:29:03,920 --> 00:29:06,000
Speaker 1: Me, and that's what. But it's funny because that's what

612
00:29:06,080 --> 00:29:09,120
Speaker 1: RAP used to be. Exact producer being with one producer.

613
00:29:09,400 --> 00:29:12,200
Speaker 2: Matter of fact, Illmatic changed that. Yeah, Ellmatic was the

614
00:29:12,240 --> 00:29:14,800
Speaker 2: album where he grabbed a bunch of producers. And I

615
00:29:14,840 --> 00:29:16,880
Speaker 2: don't know, maybe I'm just defending NAS in that I

616
00:29:16,880 --> 00:29:20,240
Speaker 2: think that's become a stereotype that has been embellished a

617
00:29:20,240 --> 00:29:22,800
Speaker 2: bit that Nas just picks awful beats all the time,

618
00:29:22,840 --> 00:29:25,360
Speaker 2: because I could go through his whole desography.

619
00:29:24,800 --> 00:29:27,320
Speaker 6: And I don't think he picks awful beats at all.

620
00:29:27,400 --> 00:29:29,600
Speaker 6: I'm just saying I think this is the best or

621
00:29:29,720 --> 00:29:33,120
Speaker 6: the most consistent run he's had of grab production through

622
00:29:33,160 --> 00:29:36,800
Speaker 6: and through concepts on steroids, absolutely, the art.

623
00:29:36,960 --> 00:29:39,400
Speaker 3: Everything over those Yeah, thinking shit.

624
00:29:39,720 --> 00:29:41,560
Speaker 6: Wait, let's look at this run real quick at the

625
00:29:41,600 --> 00:29:45,880
Speaker 6: past three years. He did King's Disease August twenty one

626
00:29:45,880 --> 00:29:50,520
Speaker 6: of twenty twenty, number two, about a year later August sixth,

627
00:29:51,200 --> 00:29:53,680
Speaker 6: Magic that same year, three and a half months later

628
00:29:53,680 --> 00:29:57,600
Speaker 6: December twenty fourth, and King's Disease a year later, number

629
00:29:57,600 --> 00:30:00,160
Speaker 6: two on November eleven and three and a half off.

630
00:30:00,200 --> 00:30:02,440
Speaker 6: Here is either four of my favorite projects of his.

631
00:30:02,920 --> 00:30:05,160
Speaker 6: I saw that it was written in Illmatic. I will

632
00:30:05,200 --> 00:30:07,360
Speaker 6: put these four in the top six seven.

633
00:30:07,560 --> 00:30:08,040
Speaker 1: I'm with you.

634
00:30:08,840 --> 00:30:11,160
Speaker 6: I mean, obviously you can talk about Stillmatic being that combo,

635
00:30:11,200 --> 00:30:13,560
Speaker 6: but once again those to me, life.

636
00:30:13,400 --> 00:30:14,560
Speaker 3: As good as up there for me too.

637
00:30:15,120 --> 00:30:17,640
Speaker 6: Hell no where near King's Disease trilogy.

638
00:30:17,840 --> 00:30:19,880
Speaker 3: Well, all right, one album verse three is unfair.

639
00:30:19,960 --> 00:30:22,600
Speaker 6: Don't pick any one of them, any one of them.

640
00:30:23,520 --> 00:30:25,640
Speaker 6: I love Lost Tape, So we're not calling that album

641
00:30:25,960 --> 00:30:27,840
Speaker 6: for the sake of this conversation. Of course, it's lost

642
00:30:28,160 --> 00:30:29,520
Speaker 6: its top top five, top six.

643
00:30:29,560 --> 00:30:31,000
Speaker 3: To me, I agree, I agree with you.

644
00:30:31,440 --> 00:30:37,080
Speaker 2: I would put Life is Good over King's Disease one, No,

645
00:30:37,600 --> 00:30:37,920
Speaker 2: I would.

646
00:30:38,120 --> 00:30:39,800
Speaker 6: Can we see what's on Life is good real quick?

647
00:30:40,720 --> 00:30:43,080
Speaker 2: Life is good with four forty four before four forty four,

648
00:30:43,080 --> 00:30:45,360
Speaker 2: it's the first mature Yeah.

649
00:30:45,360 --> 00:30:48,440
Speaker 1: But with your album, I understand what you're saying.

650
00:30:48,440 --> 00:30:49,800
Speaker 3: Ever, like, are you kidding me?

651
00:30:49,880 --> 00:30:53,040
Speaker 5: This story is great, saying.

652
00:30:53,120 --> 00:30:56,480
Speaker 2: Accident murders is nuts, Daughters is amazing. Reach Out as

653
00:30:56,520 --> 00:31:00,400
Speaker 2: a Skip World's addition, like Summer on Smashes.

654
00:31:00,320 --> 00:31:04,760
Speaker 6: Nah nah, no, better than no Way, I can't do it.

655
00:31:04,920 --> 00:31:06,640
Speaker 6: Cherry Wine was great, but that was from two thousand

656
00:31:06,640 --> 00:31:06,960
Speaker 6: and six.

657
00:31:07,000 --> 00:31:09,560
Speaker 2: He his vocals, Stay is There's not one song on

658
00:31:09,640 --> 00:31:11,000
Speaker 2: Kings's He's one that's better than Stay.

659
00:31:12,040 --> 00:31:14,800
Speaker 6: I love to say to shalam REMYO all over that one.

660
00:31:15,360 --> 00:31:19,360
Speaker 2: And Life Is Good is to me personally a classic album.

661
00:31:19,720 --> 00:31:21,120
Speaker 2: And I know I said two skips in there.

662
00:31:21,000 --> 00:31:23,680
Speaker 5: But classes on here too. Okay, I didn't realize that.

663
00:31:23,760 --> 00:31:26,320
Speaker 3: Bye Baby, are you ros to like?

664
00:31:26,400 --> 00:31:26,719
Speaker 5: Come on?

665
00:31:26,880 --> 00:31:29,520
Speaker 6: No, I don't know if it's a classic, Baby had

666
00:31:29,680 --> 00:31:31,400
Speaker 6: at least for nas like it's a classic and for

667
00:31:31,440 --> 00:31:32,680
Speaker 6: anybody else's discography.

668
00:31:32,720 --> 00:31:34,600
Speaker 3: But it's it's a classic.

669
00:31:34,720 --> 00:31:38,120
Speaker 2: And I think this was the first album for us

670
00:31:38,160 --> 00:31:39,560
Speaker 2: to watch hip hop age.

671
00:31:40,840 --> 00:31:42,720
Speaker 3: It's a mature album.

672
00:31:43,040 --> 00:31:46,040
Speaker 2: It's not some older rapper looking corny trying to kill

673
00:31:46,800 --> 00:31:48,760
Speaker 2: his divorce. It was it was the first time we

674
00:31:48,800 --> 00:31:53,280
Speaker 2: saw a grown ass man rap album in this genre history.

675
00:31:53,120 --> 00:31:55,320
Speaker 6: So I think that was that was when you compare

676
00:31:55,360 --> 00:31:58,800
Speaker 6: it to four four four, My only issue is four

677
00:31:58,840 --> 00:32:02,000
Speaker 6: four four felt a bit more concise, is better, And

678
00:32:02,040 --> 00:32:04,719
Speaker 6: I don't get me wrong, no Id produced the majority

679
00:32:04,760 --> 00:32:07,720
Speaker 6: of the whole thing, so it had a more clear

680
00:32:07,800 --> 00:32:10,480
Speaker 6: perspective to me, and I connected to it a little more.

681
00:32:10,560 --> 00:32:12,880
Speaker 3: But I know we read the lyrics of your song.

682
00:32:12,960 --> 00:32:16,400
Speaker 6: Yes, we know you, oh man, oh Lord, have mercy.

683
00:32:17,000 --> 00:32:19,000
Speaker 2: No, I think four to forty four is better, but

684
00:32:20,160 --> 00:32:22,080
Speaker 2: I don't know if you get a four to forty

685
00:32:22,080 --> 00:32:23,960
Speaker 2: four the same way without Nah's doing.

686
00:32:24,040 --> 00:32:24,560
Speaker 1: Life is good.

687
00:32:24,640 --> 00:32:25,120
Speaker 5: That's fair.

688
00:32:25,640 --> 00:32:26,320
Speaker 3: That's that's all.

689
00:32:26,320 --> 00:32:29,360
Speaker 2: I'm saying, because okay with four forty four is there's

690
00:32:29,400 --> 00:32:32,240
Speaker 2: not a skip, It's ten ten flawless record.

691
00:32:32,320 --> 00:32:34,040
Speaker 5: This album is not good enough credit.

692
00:32:34,120 --> 00:32:36,360
Speaker 6: Man. I feel like this shit changed hip hop and

693
00:32:36,440 --> 00:32:40,560
Speaker 6: the twenty was it twenty fourteen, twenty seventeen, No.

694
00:32:40,640 --> 00:32:41,680
Speaker 3: It's about seventeen for sure.

695
00:32:41,680 --> 00:32:45,800
Speaker 5: Twenty seventeen. Okay, Oh damn, this shit feels like yesterday.

696
00:32:45,920 --> 00:32:50,360
Speaker 1: Fuck five years. Yeah, this album. I'm with you. This

697
00:32:50,400 --> 00:32:53,480
Speaker 1: album doesn't get talked about enough. I know a lot

698
00:32:53,480 --> 00:32:55,400
Speaker 1: of people were saying it was they didn't like the

699
00:32:55,480 --> 00:32:58,360
Speaker 1: way it was mixed shut in the third I mean

700
00:32:58,400 --> 00:32:59,640
Speaker 1: that was the thing. That was the thing when the

701
00:32:59,680 --> 00:33:02,200
Speaker 1: first came, people like, oh it's mixed. Uh, sounds like

702
00:33:02,520 --> 00:33:04,200
Speaker 1: they just got a rough mix on it. They didn't like.

703
00:33:04,240 --> 00:33:05,840
Speaker 1: I don't you know. People just find any reason to

704
00:33:05,880 --> 00:33:08,160
Speaker 1: picture it apart. But this album is one of those

705
00:33:08,200 --> 00:33:10,360
Speaker 1: albums I feel like that we don't talk about enough

706
00:33:10,920 --> 00:33:13,840
Speaker 1: in hip hop classics and they'll kill us because we

707
00:33:13,880 --> 00:33:16,560
Speaker 1: think everything Jay does is a classic. But this is

708
00:33:16,600 --> 00:33:19,040
Speaker 1: a really, really solid album top to bottom.

709
00:33:19,280 --> 00:33:21,160
Speaker 3: I have it number four in his desography.

710
00:33:21,160 --> 00:33:23,000
Speaker 5: I was gonna say it's number five for me, I

711
00:33:23,080 --> 00:33:23,960
Speaker 5: put it over Volume two.

712
00:33:24,000 --> 00:33:29,440
Speaker 6: Now, oh wow, I'm out the window. No way, what's

713
00:33:29,480 --> 00:33:30,640
Speaker 6: what's number three? For you?

714
00:33:30,880 --> 00:33:31,200
Speaker 3: Black?

715
00:33:32,080 --> 00:33:36,800
Speaker 2: I rotate between Blueprint and Black album Switch reason, that's

716
00:33:36,800 --> 00:33:39,280
Speaker 2: my favorite Blueprint and Black albums.

717
00:33:39,320 --> 00:33:42,720
Speaker 3: This is fourth. Yeah, I think one over this too.

718
00:33:43,200 --> 00:33:45,800
Speaker 6: I think Volume one might catch in my lifetime.

719
00:33:47,040 --> 00:33:49,200
Speaker 2: American Gangster might be over Volume two at this point

720
00:33:49,200 --> 00:33:50,760
Speaker 2: for me, as far as I was aged.

721
00:33:52,040 --> 00:33:53,560
Speaker 3: Personally, like my person you.

722
00:33:53,520 --> 00:33:55,200
Speaker 5: Guys are from New York, it's a lot different for y'all.

723
00:33:57,240 --> 00:34:00,880
Speaker 1: Yeah, I just think what Volume two did for him alone,

724
00:34:01,000 --> 00:34:02,480
Speaker 1: just superstar.

725
00:34:02,560 --> 00:34:05,880
Speaker 6: But yeah, also we talk about Blueprint two, if it

726
00:34:05,920 --> 00:34:10,120
Speaker 6: was if Blueprint two got cut down into one album. No,

727
00:34:10,800 --> 00:34:11,080
Speaker 6: that's a.

728
00:34:11,120 --> 00:34:14,360
Speaker 2: Top his face about he said, you have to do

729
00:34:14,360 --> 00:34:15,080
Speaker 2: a double album now.

730
00:34:16,360 --> 00:34:18,000
Speaker 1: All the time we say that, we like you just

731
00:34:18,080 --> 00:34:20,680
Speaker 1: condensed that Blueprint Class one.

732
00:34:20,760 --> 00:34:24,680
Speaker 2: Oh yeah, all right, Well, since we're talking about modern shit,

733
00:34:24,760 --> 00:34:27,319
Speaker 2: I guess where do you think R and B has

734
00:34:27,360 --> 00:34:30,560
Speaker 2: gotten a lot of slack lately, even though I think

735
00:34:30,640 --> 00:34:32,120
Speaker 2: R and B is probably in one of its better

736
00:34:32,160 --> 00:34:32,960
Speaker 2: places ever.

737
00:34:32,920 --> 00:34:34,239
Speaker 5: Than it's been in the past twenty years.

738
00:34:34,280 --> 00:34:36,480
Speaker 1: Yeah, how do you feel about not according to Diddy,

739
00:34:36,680 --> 00:34:37,520
Speaker 1: But well, yeah.

740
00:34:37,320 --> 00:34:38,880
Speaker 3: I'm not even talking about when Puff said about that.

741
00:34:38,920 --> 00:34:40,719
Speaker 2: I'm talking about more of like maybe the real R

742
00:34:40,760 --> 00:34:44,200
Speaker 2: and B purists that are involved with right now, because

743
00:34:44,200 --> 00:34:45,960
Speaker 2: I don't think Puff is involved in R and B

744
00:34:46,080 --> 00:34:47,759
Speaker 2: right now, so I don't think he's even allowed to

745
00:34:47,760 --> 00:34:48,920
Speaker 2: talk about it, to be quite.

746
00:34:48,680 --> 00:34:51,640
Speaker 1: Honest, here's a number one song that's not an R

747
00:34:51,640 --> 00:34:52,120
Speaker 1: and B song.

748
00:34:52,400 --> 00:34:55,719
Speaker 6: Oh yes it is that, Yes it is.

749
00:34:55,760 --> 00:34:56,439
Speaker 3: That's a pop song.

750
00:34:57,160 --> 00:34:59,160
Speaker 6: It's those are R and B drums. It's an R

751
00:34:59,200 --> 00:35:02,239
Speaker 6: and B top line and there's basically no bass. But

752
00:35:02,360 --> 00:35:06,360
Speaker 6: yet it's a pop song, bro, all right because it

753
00:35:06,440 --> 00:35:07,960
Speaker 6: popped off so it's a pop song.

754
00:35:08,040 --> 00:35:12,160
Speaker 3: Sure, but no, it's a song so pre it off

755
00:35:12,160 --> 00:35:12,960
Speaker 3: it would be a pop song.

756
00:35:13,000 --> 00:35:15,000
Speaker 5: Pre did he taking that that was an R and

757
00:35:15,040 --> 00:35:15,399
Speaker 5: B record?

758
00:35:15,440 --> 00:35:15,520
Speaker 6: Well?

759
00:35:15,560 --> 00:35:18,520
Speaker 2: Anyway, more so, the people that are involved in R

760
00:35:18,560 --> 00:35:20,960
Speaker 2: and B and are into the thank you and for

761
00:35:21,000 --> 00:35:23,480
Speaker 2: telling us the time in Spanish?

762
00:35:23,520 --> 00:35:25,800
Speaker 3: Next time take your birth control.

763
00:35:28,840 --> 00:35:32,560
Speaker 2: What do you think about the whisper singers, because that's

764
00:35:32,560 --> 00:35:33,479
Speaker 2: been that's been one.

765
00:35:34,160 --> 00:35:35,200
Speaker 5: Look, I'm gonna be real with you.

766
00:35:35,400 --> 00:35:36,959
Speaker 6: I think critique of R and.

767
00:35:36,880 --> 00:35:40,920
Speaker 2: B now that I can listen to someone's debate on that.

768
00:35:41,239 --> 00:35:42,759
Speaker 3: I like the Whisper singers.

769
00:35:42,600 --> 00:35:46,080
Speaker 2: But there are some purists that still champion R and

770
00:35:46,080 --> 00:35:48,000
Speaker 2: B but think the Whisper singers are killing it.

771
00:35:48,600 --> 00:35:51,480
Speaker 6: I think it's someone who, like personally myself, who like,

772
00:35:52,120 --> 00:35:54,520
Speaker 6: I'm not a singer by nature. I'm a writer, I'm

773
00:35:54,520 --> 00:35:57,520
Speaker 6: a producer, and I have a good tone that I

774
00:35:57,600 --> 00:35:59,920
Speaker 6: understand where it sits in the record. I feel like,

775
00:36:00,120 --> 00:36:04,000
Speaker 6: how you choose to uh bring that to life, how

776
00:36:04,040 --> 00:36:06,080
Speaker 6: you choose to articulate that, it's totally up to you.

777
00:36:07,880 --> 00:36:09,560
Speaker 6: But at the same time, I'm one of those I

778
00:36:09,560 --> 00:36:12,440
Speaker 6: don't love the bigger voices pause, like it's just not

779
00:36:13,239 --> 00:36:17,120
Speaker 6: really my speed, and I think it's just all about

780
00:36:17,120 --> 00:36:18,000
Speaker 6: taste at the end of the day.

781
00:36:18,040 --> 00:36:21,080
Speaker 5: I mean, I think of my favorite records of the year.

782
00:36:21,760 --> 00:36:24,880
Speaker 6: When you talk about Yeah, Wasteland, you talk about Steve

783
00:36:25,000 --> 00:36:29,520
Speaker 6: ship Gemini Rights, Lucky, Candy Drip, I would say he's

784
00:36:29,560 --> 00:36:33,720
Speaker 6: probably the biggest voice Sabrina Sabrina Claudio.

785
00:36:33,760 --> 00:36:36,239
Speaker 3: I would the big voice category, but no, I.

786
00:36:36,200 --> 00:36:37,440
Speaker 5: Was saying I was saying Lucky.

787
00:36:37,600 --> 00:36:41,640
Speaker 6: I'm saying Lucky is probably the biggest pause voice that

788
00:36:41,719 --> 00:36:42,399
Speaker 6: I fuck with.

789
00:36:43,440 --> 00:36:47,520
Speaker 5: But yeah, I really like Blast Blast. It was dope, Frank.

790
00:36:50,280 --> 00:36:51,880
Speaker 6: I mean, you're going through this list and I'm just like,

791
00:36:51,920 --> 00:36:54,640
Speaker 6: I think everyone on here, for the most part, outside

792
00:36:54,680 --> 00:36:58,200
Speaker 6: of Able and Mary probably fall into this category. I

793
00:36:58,200 --> 00:37:01,960
Speaker 6: mean Twigs falls into this category, Amber falls into this category.

794
00:37:03,760 --> 00:37:05,600
Speaker 2: What else we got, Well, I think there's a middle

795
00:37:05,760 --> 00:37:08,760
Speaker 2: There's like the whisper whisper and then the real singers,

796
00:37:08,920 --> 00:37:11,040
Speaker 2: like I think I think Mark falls in like the

797
00:37:11,080 --> 00:37:13,040
Speaker 2: middle ground. I don't think she's a whisper singer, but

798
00:37:13,080 --> 00:37:15,400
Speaker 2: I also don't think she's the big voice either.

799
00:37:15,920 --> 00:37:18,279
Speaker 6: Right, So I also have a partner who can like

800
00:37:18,400 --> 00:37:21,239
Speaker 6: sing you know, valc and sing all these people under

801
00:37:21,280 --> 00:37:23,719
Speaker 6: the table, So it's it is a little more of

802
00:37:23,840 --> 00:37:28,520
Speaker 6: like the duality for us. And I'm I've realized that

803
00:37:28,560 --> 00:37:31,080
Speaker 6: like the fact that I'm writing my parts or writing

804
00:37:31,520 --> 00:37:33,520
Speaker 6: you know, on this ship is like helping the dudes

805
00:37:33,520 --> 00:37:35,040
Speaker 6: that are the girls that are coming into the show

806
00:37:35,080 --> 00:37:37,920
Speaker 6: that don't sing. I stay within the four to five notes,

807
00:37:38,160 --> 00:37:40,240
Speaker 6: whereas like if you're out here just like singing somebody's

808
00:37:40,280 --> 00:37:42,799
Speaker 6: face off all song long, I don't like feeling like

809
00:37:42,800 --> 00:37:46,200
Speaker 6: I'm being yelled at, so it's not sexy.

810
00:37:46,719 --> 00:37:48,480
Speaker 5: I love Smeno's album. I think he's a singer.

811
00:37:48,520 --> 00:37:49,320
Speaker 1: He's the credit.

812
00:37:50,080 --> 00:37:51,839
Speaker 3: Uh, probably my favorite album of the year.

813
00:37:53,000 --> 00:37:57,719
Speaker 6: Yeah, outside of No I'm Not Out on Friday, I

814
00:37:57,719 --> 00:38:00,359
Speaker 6: would say, is the bruchit come up? Yeah? This year

815
00:38:00,360 --> 00:38:05,040
Speaker 6: I'll say brand Ship is top three Steve for sure.

816
00:38:05,520 --> 00:38:07,200
Speaker 6: I love Beyonce's album. I felt like it was more

817
00:38:07,200 --> 00:38:08,800
Speaker 6: of a dance record than the R and B Records.

818
00:38:09,239 --> 00:38:15,520
Speaker 2: Definitely dance Give You's album. I don't why don't no

819
00:38:15,560 --> 00:38:16,440
Speaker 2: one really talks about it?

820
00:38:17,320 --> 00:38:19,680
Speaker 1: Chris think that Chris Brown came up this year too,

821
00:38:20,200 --> 00:38:21,719
Speaker 1: Chris is amazing to.

822
00:38:21,680 --> 00:38:24,880
Speaker 2: Give you on album is good man, It just doesn't

823
00:38:24,880 --> 00:38:26,200
Speaker 2: get talked the way I thought it would.

824
00:38:26,440 --> 00:38:30,000
Speaker 1: How do you feel about honestly? Never mind the Drake Project?

825
00:38:30,239 --> 00:38:33,120
Speaker 6: Like I said, I'm Aronian, so like for me, all

826
00:38:33,160 --> 00:38:36,520
Speaker 6: the more like you know, dance and rhythmic grooves really

827
00:38:36,520 --> 00:38:38,680
Speaker 6: speak to me. And I grew up a lot of

828
00:38:38,719 --> 00:38:41,760
Speaker 6: my cousins are like, you know, half Germany and half French,

829
00:38:41,800 --> 00:38:44,160
Speaker 6: half Swedish and shit like that. So I've gone to

830
00:38:44,200 --> 00:38:47,400
Speaker 6: Europe a lot growing up, so it made a lot

831
00:38:47,400 --> 00:38:47,840
Speaker 6: of sense to me.

832
00:38:47,880 --> 00:38:50,120
Speaker 5: I think it's dope. I love Yeah.

833
00:38:50,120 --> 00:38:51,640
Speaker 6: I spent a lot of time in Greece this summer

834
00:38:51,640 --> 00:38:54,520
Speaker 6: and that's kind of all I heard out, And uh,

835
00:38:55,200 --> 00:38:56,879
Speaker 6: I don't I don't know why he got so much

836
00:38:57,400 --> 00:38:58,480
Speaker 6: slack what y'all expect?

837
00:38:58,520 --> 00:39:01,840
Speaker 5: He made fucking one dance like let him? Like let him?

838
00:39:02,120 --> 00:39:03,759
Speaker 6: Also, how many people on this list can go and

839
00:39:03,760 --> 00:39:06,319
Speaker 6: do that and have it feel seamless? Non get I

840
00:39:06,320 --> 00:39:08,799
Speaker 6: don't get the hate. I think it's corny people.

841
00:39:08,880 --> 00:39:10,319
Speaker 1: I don't know. They keep saying they want Drake the

842
00:39:10,400 --> 00:39:12,400
Speaker 1: rap rap rap. I mean, he does rap, but I

843
00:39:12,480 --> 00:39:14,480
Speaker 1: mean he's obviously, like you said, one dance, He's given

844
00:39:14,560 --> 00:39:17,680
Speaker 1: us glimpses and songs that shows that he can make

845
00:39:17,719 --> 00:39:20,040
Speaker 1: those type of records. And then I think he just

846
00:39:20,080 --> 00:39:22,680
Speaker 1: decided to give us a whole project of it and

847
00:39:22,800 --> 00:39:24,640
Speaker 1: have fun with it. And then you know, I mean

848
00:39:24,880 --> 00:39:26,680
Speaker 1: I thought the album was great, and like you said,

849
00:39:26,680 --> 00:39:29,320
Speaker 1: the fact that he's able to even make an album

850
00:39:29,400 --> 00:39:32,799
Speaker 1: like that and not sound like he's fortunate or it

851
00:39:32,840 --> 00:39:35,640
Speaker 1: doesn't sound weird, it just speaks to the caliber of

852
00:39:35,680 --> 00:39:36,360
Speaker 1: the artist.

853
00:39:36,120 --> 00:39:36,480
Speaker 5: That he is.

854
00:39:38,200 --> 00:39:42,080
Speaker 2: Where do we rank Where do we rank forty? He's

855
00:39:42,080 --> 00:39:45,959
Speaker 2: twenty twenty two. If we look through the desography that Forty's.

856
00:39:45,600 --> 00:39:49,000
Speaker 6: Done from a producer's perspective or like a beat like,

857
00:39:49,000 --> 00:39:51,120
Speaker 6: what is it just a.

858
00:39:51,080 --> 00:39:54,120
Speaker 2: Producer producer And because he EPs for the most part

859
00:39:54,719 --> 00:39:57,800
Speaker 2: all of these No, even if he doesn't produce everything,

860
00:39:57,840 --> 00:40:00,560
Speaker 2: Forty is the one that touches in everything.

861
00:40:00,800 --> 00:40:04,040
Speaker 6: This motherfucker that's his sound. He's I would say, he's

862
00:40:04,080 --> 00:40:08,719
Speaker 6: the He's the alpha to me in terms of for

863
00:40:08,800 --> 00:40:12,279
Speaker 6: our generation the past decade. You can put you know,

864
00:40:12,360 --> 00:40:14,840
Speaker 6: Ali in the conversation for sure, with other Kendrick and

865
00:40:14,920 --> 00:40:21,400
Speaker 6: TD shit, But from a sonic architects standpoint, I think

866
00:40:21,440 --> 00:40:25,200
Speaker 6: that Toronto shit has kind of bled into the globe

867
00:40:25,960 --> 00:40:32,040
Speaker 6: between him and Wonda T minus you know third, they're

868
00:40:32,040 --> 00:40:33,759
Speaker 6: incredible because if you if you.

869
00:40:33,760 --> 00:40:36,120
Speaker 2: Go through time stamp records that we love to one

870
00:40:36,200 --> 00:40:39,400
Speaker 2: dance to. Honestly never mind, is there another producer that

871
00:40:40,160 --> 00:40:41,280
Speaker 2: has that type of range.

872
00:40:42,040 --> 00:40:43,560
Speaker 6: This is a really good question for you. How many

873
00:40:43,600 --> 00:40:47,120
Speaker 6: records of forty producer? I would argue he did one

874
00:40:47,360 --> 00:40:53,000
Speaker 6: or none on this latest honestly never mind. But his

875
00:40:53,680 --> 00:40:55,080
Speaker 6: fingerprints are all.

876
00:40:54,920 --> 00:40:55,959
Speaker 1: Over, That's what I'm saying.

877
00:40:56,040 --> 00:40:57,920
Speaker 2: Yeah, even if he's not the direct producer, I think

878
00:40:57,920 --> 00:41:00,000
Speaker 2: he produced two of them, produced two.

879
00:40:59,840 --> 00:41:02,960
Speaker 6: Of okay, so usually that's that's what not even that's

880
00:41:02,960 --> 00:41:06,880
Speaker 6: like fifteen percent. Usually as motherfucker's done fifty percent.

881
00:41:07,080 --> 00:41:07,480
Speaker 5: Mm hmm.

882
00:41:07,920 --> 00:41:10,680
Speaker 2: Okay, so no, all right, forty only did two records

883
00:41:10,719 --> 00:41:15,600
Speaker 2: on honestly, never mind. But forty's the type, the amount

884
00:41:15,600 --> 00:41:17,759
Speaker 2: of hats that he wears, from an engineer to an

885
00:41:17,800 --> 00:41:20,520
Speaker 2: executive producer, to how he arranges all of Drake shit.

886
00:41:20,880 --> 00:41:23,400
Speaker 2: To me, he produced on every last one of these

887
00:41:23,440 --> 00:41:26,759
Speaker 2: records and every single Drake song period agreed, because I

888
00:41:26,960 --> 00:41:29,200
Speaker 2: think people get that fucked up, like, all right, forty

889
00:41:29,239 --> 00:41:31,360
Speaker 2: didn't make the beat on this, but forty produced this

890
00:41:31,440 --> 00:41:36,200
Speaker 2: fucking record. So I think he's probably, if not the

891
00:41:36,280 --> 00:41:39,640
Speaker 2: number one producer of the last twenty years.

892
00:41:40,440 --> 00:41:43,920
Speaker 6: Twenty I would say he who shall not be named

893
00:41:44,360 --> 00:41:48,480
Speaker 6: but ten forty.

894
00:41:47,360 --> 00:41:50,200
Speaker 2: What was twenty years ago, twenty twelve, ten years ago

895
00:41:50,640 --> 00:41:53,120
Speaker 2: or twenty twenty years to Kanye West, Okay.

896
00:41:52,920 --> 00:41:55,440
Speaker 6: That's that's who. That's who would sit in my number

897
00:41:55,440 --> 00:41:57,600
Speaker 6: one him or for production wise, yeah, okay, yeah.

898
00:41:58,080 --> 00:41:58,840
Speaker 5: Or Tim even.

899
00:41:59,120 --> 00:42:01,160
Speaker 6: I mean, look, Orge, I mean, we're coming out of

900
00:42:01,200 --> 00:42:05,520
Speaker 6: like Chronic era, We're coming out of Missy genuine Tim

901
00:42:05,680 --> 00:42:08,359
Speaker 6: Basement era, Virginia Shit, We're coming out. I mean we're

902
00:42:08,360 --> 00:42:09,840
Speaker 6: coming out of a lot of a lot in the

903
00:42:09,880 --> 00:42:11,920
Speaker 6: late nineties and other two thousands.

904
00:42:11,600 --> 00:42:15,960
Speaker 2: Two thousand and ten on I think Forty is the

905
00:42:16,040 --> 00:42:19,480
Speaker 2: best producer in music. I'm not saying hip hop in music.

906
00:42:20,160 --> 00:42:22,879
Speaker 1: From twenty to ten until now, huh.

907
00:42:23,239 --> 00:42:24,760
Speaker 3: I think Forty is the best producer.

908
00:42:25,480 --> 00:42:26,000
Speaker 1: I mean Drake.

909
00:42:26,160 --> 00:42:27,759
Speaker 2: I think a lot of the stuff that he got,

910
00:42:27,760 --> 00:42:29,560
Speaker 2: which we can be give past twelve years so.

911
00:42:29,719 --> 00:42:30,840
Speaker 3: We can bring up Kanye.

912
00:42:30,880 --> 00:42:33,120
Speaker 2: I think a lot of forty sound does come from

913
00:42:33,160 --> 00:42:36,480
Speaker 2: eight aways and heartbreaks, but the way Forty elevate.

914
00:42:36,239 --> 00:42:37,759
Speaker 5: Is completely different, though I agree.

915
00:42:37,800 --> 00:42:40,000
Speaker 2: I'm saying the way he took some of that moodier

916
00:42:40,080 --> 00:42:44,759
Speaker 2: sounds and some of that like eighties fucking shit, he

917
00:42:45,320 --> 00:42:46,239
Speaker 2: took to another place.

918
00:42:46,239 --> 00:42:48,720
Speaker 3: So to me personally, I don't think Forty's ever.

919
00:42:48,560 --> 00:42:50,400
Speaker 2: Talked about the way he should be talked about the

920
00:42:50,440 --> 00:42:53,480
Speaker 2: way we talk about Kanye. I think Forty is in

921
00:42:53,520 --> 00:42:56,759
Speaker 2: that conversation. Producer wise, I do.

922
00:42:57,440 --> 00:42:59,560
Speaker 6: I would say my favorite producer in the past ten

923
00:42:59,640 --> 00:43:03,360
Speaker 6: years is a guy called Dante Jones of Day because

924
00:43:03,360 --> 00:43:07,480
Speaker 6: I think to me, production is centered around perspective and

925
00:43:08,360 --> 00:43:09,680
Speaker 6: how your.

926
00:43:12,320 --> 00:43:16,040
Speaker 5: Kind of just helping produce a trajectory a career as

927
00:43:16,120 --> 00:43:18,560
Speaker 5: opposed to a beat.

928
00:43:18,719 --> 00:43:20,680
Speaker 6: And you know, when you grow up on shit like

929
00:43:20,760 --> 00:43:23,600
Speaker 6: Davonte Swing and you grow up on Jimmy jan and

930
00:43:23,680 --> 00:43:24,879
Speaker 6: Terry Lewis, and you grew up on.

931
00:43:24,840 --> 00:43:27,160
Speaker 3: These true producer producers.

932
00:43:27,600 --> 00:43:29,840
Speaker 6: He is my and obviously he's like one of my

933
00:43:29,880 --> 00:43:33,400
Speaker 6: best friends. I'm lucky enough to been. I've just like

934
00:43:33,480 --> 00:43:35,480
Speaker 6: I've learned kind of under his tutelage, whether it was

935
00:43:35,520 --> 00:43:39,279
Speaker 6: helping sign the Day Boys, or working with him on

936
00:43:39,360 --> 00:43:40,960
Speaker 6: some of my EO shit, or working with him on

937
00:43:41,000 --> 00:43:46,319
Speaker 6: some of your shit. Yeah, I think forty obviously in

938
00:43:46,360 --> 00:43:49,920
Speaker 6: terms of what he's done can't be discounted. But we're

939
00:43:49,960 --> 00:43:53,719
Speaker 6: talking about my favorite producer of the twenty tens. You know,

940
00:43:54,000 --> 00:43:55,960
Speaker 6: I would put him in the conversation. I think Hit

941
00:43:56,120 --> 00:43:57,399
Speaker 6: has to be in the combo now.

942
00:43:58,560 --> 00:44:01,080
Speaker 1: It is definitely in the conversation. Hit to me is

943
00:44:01,120 --> 00:44:06,440
Speaker 1: the most versatile producer probably in past five.

944
00:44:07,200 --> 00:44:09,480
Speaker 3: Where do y'all put Travis as a producer?

945
00:44:10,400 --> 00:44:13,880
Speaker 2: And can you explain better to I guess regular fans

946
00:44:14,440 --> 00:44:16,720
Speaker 2: the difference between something like a beat maker and a producer.

947
00:44:17,719 --> 00:44:20,640
Speaker 6: Yeah, I think a lot of it doesn't take away

948
00:44:20,800 --> 00:44:22,840
Speaker 6: from them, but a lot of people send out packs.

949
00:44:22,880 --> 00:44:25,920
Speaker 6: But to me, a producer is, you know, a creative

950
00:44:25,920 --> 00:44:28,560
Speaker 6: that sees a vision for an artist or a song,

951
00:44:29,280 --> 00:44:32,680
Speaker 6: and they produce the environment that they're coming to write into.

952
00:44:32,840 --> 00:44:37,160
Speaker 6: They whether it's they know well ship that candle and

953
00:44:37,200 --> 00:44:39,640
Speaker 6: that meal are really important to that artists that gets

954
00:44:39,680 --> 00:44:42,200
Speaker 6: them in the right headspace, whether they know you know,

955
00:44:42,239 --> 00:44:44,040
Speaker 6: I could play keys or I could play such and such,

956
00:44:44,080 --> 00:44:46,120
Speaker 6: but I know a better keys player, and I know

957
00:44:46,160 --> 00:44:49,080
Speaker 6: a better guitar player, and I'm going to create this

958
00:44:49,360 --> 00:44:51,560
Speaker 6: room that is going to bring the best out of

959
00:44:51,600 --> 00:44:55,440
Speaker 6: you and the best out of me. That's like, in short,

960
00:44:55,480 --> 00:44:58,160
Speaker 6: what I consider to be a producer versus.

961
00:44:57,880 --> 00:44:58,560
Speaker 5: A beat maker.

962
00:44:58,600 --> 00:45:02,279
Speaker 6: You know, I personally haven't played keys or guitar or

963
00:45:02,400 --> 00:45:05,360
Speaker 6: bass on any of the emotional orange of songs, but

964
00:45:05,400 --> 00:45:08,040
Speaker 6: I'd say on like eighty five to ninety percent of them,

965
00:45:08,239 --> 00:45:11,080
Speaker 6: whether it was us flipping a sample that I found

966
00:45:11,120 --> 00:45:14,920
Speaker 6: by sending it to my guitar player, whether it's shoeblus

967
00:45:15,080 --> 00:45:17,560
Speaker 6: drump loop, yeah, shout out to Mitch, coming up with

968
00:45:17,600 --> 00:45:19,279
Speaker 6: the drum loop that I wanted to build out with

969
00:45:19,400 --> 00:45:23,440
Speaker 6: Heay or with Yanni, or going a to z on

970
00:45:23,600 --> 00:45:26,160
Speaker 6: the musicians that I brought in and writing the music

971
00:45:26,200 --> 00:45:28,760
Speaker 6: for them to go in reference when they're adding parts.

972
00:45:29,239 --> 00:45:33,239
Speaker 6: That to me is producing a record, which is why

973
00:45:33,239 --> 00:45:35,759
Speaker 6: I don't like when people throw shade it, cal it

974
00:45:35,840 --> 00:45:36,520
Speaker 6: or puff if they.

975
00:45:36,440 --> 00:45:39,200
Speaker 5: Don't have context to whatever record it was.

976
00:45:40,560 --> 00:45:44,040
Speaker 6: I've never taken a record outside, so like a lot

977
00:45:44,040 --> 00:45:46,839
Speaker 6: of people will take a song that was sent to them,

978
00:45:47,080 --> 00:45:48,799
Speaker 6: and once again, there's no knock to that. If you're

979
00:45:49,160 --> 00:45:51,520
Speaker 6: a performer, if you're an incredible vocalist, but you're not

980
00:45:52,040 --> 00:45:53,840
Speaker 6: you don't feel like you have enough to write about

981
00:45:53,840 --> 00:45:56,759
Speaker 6: that point, well, take an outside song. But for me,

982
00:45:57,239 --> 00:46:00,799
Speaker 6: I've never done that, and I admire producers that are

983
00:46:00,800 --> 00:46:03,640
Speaker 6: building artists from scratch, which is why forty to me,

984
00:46:03,719 --> 00:46:06,640
Speaker 6: if he's not the one, he's probably the one a

985
00:46:06,800 --> 00:46:09,399
Speaker 6: of the past ten to fifteen years because he took

986
00:46:09,440 --> 00:46:12,000
Speaker 6: an artist that nobody knew about, nobody cared about, probably

987
00:46:12,080 --> 00:46:14,920
Speaker 6: counted out quite a bit, and took them all the

988
00:46:14,960 --> 00:46:16,719
Speaker 6: way to the finish line and.

989
00:46:16,719 --> 00:46:18,279
Speaker 3: More literally created this sound.

990
00:46:18,760 --> 00:46:20,839
Speaker 6: You got to put d mile in that conversation over

991
00:46:20,880 --> 00:46:24,680
Speaker 6: the past five years as well. I'm looking at this

992
00:46:24,719 --> 00:46:26,759
Speaker 6: list shot out on the board. I mean, but I'm

993
00:46:26,760 --> 00:46:29,920
Speaker 6: thinking about these artists who's in the conversation.

994
00:46:32,719 --> 00:46:36,960
Speaker 2: Yeah, drum Wise, R and B last five years Cardiac,

995
00:46:37,000 --> 00:46:40,719
Speaker 2: I would have to put Cardiac is there, specifically with drums.

996
00:46:40,840 --> 00:46:42,720
Speaker 3: I think a lot of people already starting to bite.

997
00:46:43,160 --> 00:46:44,600
Speaker 2: I hear a lot of records now that I could

998
00:46:44,600 --> 00:46:47,279
Speaker 2: tell people listening to what Cardiac does and R and

999
00:46:47,320 --> 00:46:48,279
Speaker 2: B in bites.

1000
00:46:48,239 --> 00:46:49,200
Speaker 3: Everything that he's doing.

1001
00:46:49,440 --> 00:46:53,719
Speaker 2: Absolutely because EO is so in house. Do you think

1002
00:46:53,760 --> 00:46:58,760
Speaker 2: you ever toy the idea of getting in with other producers?

1003
00:47:00,160 --> 00:47:03,480
Speaker 6: I think making music just writing in general, is such

1004
00:47:03,520 --> 00:47:06,200
Speaker 6: an intimate process that I'd have to have some kind

1005
00:47:06,239 --> 00:47:09,600
Speaker 6: of like relationship with someone else. I am cool with

1006
00:47:09,680 --> 00:47:10,880
Speaker 6: d MA and I do look up to him in

1007
00:47:10,920 --> 00:47:12,399
Speaker 6: a lot of ways. I think that'd be really dope.

1008
00:47:12,440 --> 00:47:14,800
Speaker 6: It will make a lot of sense. But like I said,

1009
00:47:14,840 --> 00:47:17,080
Speaker 6: like one of my best friends is my favorite producer

1010
00:47:17,320 --> 00:47:20,680
Speaker 6: of all time, arguably Dante Jones, and I think Yanni

1011
00:47:20,719 --> 00:47:23,920
Speaker 6: from Child is another incredible producer. So why would I

1012
00:47:24,000 --> 00:47:26,759
Speaker 6: look outside for what I feel like already have helped

1013
00:47:26,800 --> 00:47:27,560
Speaker 6: cultivate within.

1014
00:47:28,040 --> 00:47:29,120
Speaker 5: It just seems corny to me.

1015
00:47:29,239 --> 00:47:31,000
Speaker 6: Look, a lot of people, you know, wait their whole

1016
00:47:31,040 --> 00:47:32,520
Speaker 6: lives and they're like, well, when I get here, I'm

1017
00:47:32,520 --> 00:47:34,600
Speaker 6: gonna go and get such manager, I'm gonna get such

1018
00:47:35,000 --> 00:47:37,880
Speaker 6: art director. I feel like, you know, my best friends,

1019
00:47:37,880 --> 00:47:39,760
Speaker 6: you know Branda who does all the art and creative

1020
00:47:39,760 --> 00:47:44,480
Speaker 6: for us, You and brit and Dante, Yanni and then

1021
00:47:44,600 --> 00:47:47,160
Speaker 6: Valley as a singing and writing these are to me,

1022
00:47:47,239 --> 00:47:49,640
Speaker 6: this is the final level. I'm not like this shit

1023
00:47:49,680 --> 00:47:51,239
Speaker 6: doesn't turn me on, Like I feel like y'all can

1024
00:47:51,239 --> 00:47:52,800
Speaker 6: put me neck and neck with any of these people

1025
00:47:53,040 --> 00:47:54,640
Speaker 6: and let's look back in ten years and see what

1026
00:47:54,680 --> 00:47:56,760
Speaker 6: time it is, Like that's the shit I'm on. Yeah,

1027
00:47:56,800 --> 00:47:58,880
Speaker 6: and I'd rather build with people that I've felt like,

1028
00:48:00,760 --> 00:48:04,239
Speaker 6: I don't know, maybe maybe I'm nuts, maybe I'm not

1029
00:48:04,360 --> 00:48:08,759
Speaker 6: seeing something that's making these projects be more quote unquote successful,

1030
00:48:08,800 --> 00:48:13,040
Speaker 6: but like, I don't find myself enjoying sessions. I've done

1031
00:48:13,040 --> 00:48:16,160
Speaker 6: this session thing and I think it's, uh, it feels

1032
00:48:16,160 --> 00:48:19,040
Speaker 6: like speed dating. It's just lame as shit, Like what

1033
00:48:19,040 --> 00:48:20,160
Speaker 6: am I supposed to I don't even know.

1034
00:48:20,239 --> 00:48:20,960
Speaker 1: I don't like you.

1035
00:48:21,160 --> 00:48:22,719
Speaker 6: Yeah, I wouldn't go to dinner with you. Why am

1036
00:48:22,719 --> 00:48:23,359
Speaker 6: I gonna write a song?

1037
00:48:23,600 --> 00:48:25,160
Speaker 2: It's hard to write a song with someone like you're

1038
00:48:25,200 --> 00:48:27,759
Speaker 2: trying to get to know like at the same time.

1039
00:48:29,680 --> 00:48:32,560
Speaker 6: That's why that's why I've told Britain obviously Britt and

1040
00:48:32,719 --> 00:48:36,040
Speaker 6: my publishers Jeremy over At Concord have been super respectful

1041
00:48:36,360 --> 00:48:38,600
Speaker 6: for signing the level of deal that I signed. They

1042
00:48:38,640 --> 00:48:40,000
Speaker 6: should have been trying to horn me out to get

1043
00:48:40,040 --> 00:48:42,560
Speaker 6: in as many writing sessions as possible, but they've all

1044
00:48:42,600 --> 00:48:45,640
Speaker 6: really respected the process. It's not going to happen tomorrow

1045
00:48:45,760 --> 00:48:48,719
Speaker 6: for me or for us, but they've at least bought

1046
00:48:48,760 --> 00:48:52,279
Speaker 6: into the vision as a whole. And that's why I'm

1047
00:48:52,280 --> 00:48:54,319
Speaker 6: never turning my back on no one that I built

1048
00:48:54,320 --> 00:48:56,360
Speaker 6: this shit with, because even people like I look at

1049
00:48:56,440 --> 00:48:58,839
Speaker 6: Lucky on this listen, I'm like, I first heard about

1050
00:48:58,920 --> 00:49:01,640
Speaker 6: Lucky Day as a song writer in the early twenty tens.

1051
00:49:02,200 --> 00:49:04,960
Speaker 6: Stop running this ship that he popped off overnight. That

1052
00:49:05,080 --> 00:49:08,400
Speaker 6: man has put his work in. Absolutely, he's fucking incredible.

1053
00:49:08,400 --> 00:49:10,239
Speaker 6: And a lot of these people too on this list, bro, Like,

1054
00:49:11,440 --> 00:49:14,440
Speaker 6: I don't know it's Lancey Foe is amazing, you know,

1055
00:49:15,880 --> 00:49:17,120
Speaker 6: by the what is this list?

1056
00:49:17,360 --> 00:49:18,640
Speaker 5: Where did you get this from?

1057
00:49:18,960 --> 00:49:22,160
Speaker 3: Best RMB two? According to Google?

1058
00:49:22,239 --> 00:49:24,879
Speaker 6: Hey trendy, but this is the hip hop d X shit. Well, Trent,

1059
00:49:24,880 --> 00:49:27,560
Speaker 6: you better add us bro when this shit dropped?

1060
00:49:27,719 --> 00:49:29,160
Speaker 1: Is this hip hop? I just think it's like a

1061
00:49:29,239 --> 00:49:31,720
Speaker 1: general Releases release.

1062
00:49:31,840 --> 00:49:32,680
Speaker 5: Oh just over the year.

1063
00:49:32,719 --> 00:49:34,440
Speaker 6: I love Seatgirl too, but she's I don't think she's

1064
00:49:34,440 --> 00:49:36,799
Speaker 6: making an R and B. It's more like electronics shit

1065
00:49:36,880 --> 00:49:39,719
Speaker 6: suit an Archives is incredible too well.

1066
00:49:39,760 --> 00:49:41,200
Speaker 2: I mean, I think even to your point not to

1067
00:49:41,239 --> 00:49:43,239
Speaker 2: bring Drake and forty back up, but I saw them

1068
00:49:43,239 --> 00:49:46,680
Speaker 2: talk about Thank Me Later and how much they don't

1069
00:49:46,680 --> 00:49:49,040
Speaker 2: care for that album because Drake finally made it and

1070
00:49:49,080 --> 00:49:52,640
Speaker 2: they had the opportunity to work with every major producer

1071
00:49:52,920 --> 00:49:54,040
Speaker 2: and feature that.

1072
00:49:53,920 --> 00:49:55,600
Speaker 3: They could come up with, and they hated it.

1073
00:49:56,080 --> 00:49:58,040
Speaker 2: They're like, that's not our best album because we were

1074
00:49:58,080 --> 00:49:59,880
Speaker 2: finally like, all right, we get to work with Alesha,

1075
00:50:00,200 --> 00:50:03,719
Speaker 2: the dream Gez like and of course we all love them.

1076
00:50:03,760 --> 00:50:07,200
Speaker 2: But it's sometimes that's not the best recipe for you

1077
00:50:07,280 --> 00:50:10,279
Speaker 2: as an artist when you have access to everybody.

1078
00:50:10,480 --> 00:50:13,120
Speaker 3: Sometimes the in house team is what really works.

1079
00:50:13,160 --> 00:50:14,839
Speaker 6: But if you're twenty three and they gave you two

1080
00:50:14,880 --> 00:50:18,240
Speaker 6: million dollars him up under Wayne Carter three.

1081
00:50:18,080 --> 00:50:20,759
Speaker 3: Yeah, I'm hitting t swizz beats immediately.

1082
00:50:20,440 --> 00:50:23,959
Speaker 6: By the way they hit me now in my early thirties, Yeah,

1083
00:50:24,080 --> 00:50:27,400
Speaker 6: I like Jeff. I look up the Jeff Basker. You know,

1084
00:50:27,560 --> 00:50:29,440
Speaker 6: obviously I know Matt and Jordan. I don't know that

1085
00:50:29,560 --> 00:50:33,680
Speaker 6: worked on up all night. So yeah, Kanye is on

1086
00:50:33,719 --> 00:50:36,120
Speaker 6: here Francis from Francis and the lice is incredible, so

1087
00:50:36,239 --> 00:50:39,640
Speaker 6: good he lately I have no idea, but one of

1088
00:50:39,719 --> 00:50:43,960
Speaker 6: my favorite mixing just like the prismizer that he came

1089
00:50:44,080 --> 00:50:46,719
Speaker 6: up with, which is basically like it's like harmonizing from

1090
00:50:46,719 --> 00:50:50,480
Speaker 6: a vocal perspective, and he he ran it through from

1091
00:50:50,520 --> 00:50:54,560
Speaker 6: a midi and started kind of creating tracks out of

1092
00:50:54,600 --> 00:50:57,240
Speaker 6: it like he's on some ship. Yeah, the chance exactly,

1093
00:50:57,239 --> 00:50:58,959
Speaker 6: the chance to wrapper record man had to dance.

1094
00:50:59,040 --> 00:51:02,040
Speaker 2: Yeah, yep, I thought him them in chance we're going

1095
00:51:02,080 --> 00:51:04,360
Speaker 2: to do the whole project together. The last time I

1096
00:51:04,400 --> 00:51:07,160
Speaker 2: heard for instant Lice, and I know YEA was fucking

1097
00:51:07,160 --> 00:51:07,840
Speaker 2: with that.

1098
00:51:08,120 --> 00:51:11,000
Speaker 6: And if you were twenty three and your whole shit

1099
00:51:11,120 --> 00:51:13,399
Speaker 6: you looked up to yeah, t I.

1100
00:51:13,640 --> 00:51:17,080
Speaker 2: You have you know that a hoe of course, But

1101
00:51:17,280 --> 00:51:19,960
Speaker 2: I did like that perspective years later when Drake and

1102
00:51:20,000 --> 00:51:23,160
Speaker 2: Forty were like, yeah, we're not mad that we did that,

1103
00:51:23,320 --> 00:51:25,399
Speaker 2: but it wasn't what worked out best for us.

1104
00:51:25,440 --> 00:51:27,720
Speaker 3: It's at the bottom and their opinion of this catalog.

1105
00:51:28,239 --> 00:51:30,279
Speaker 1: You understand why, Yeah, I understand why. I get it,

1106
00:51:30,320 --> 00:51:33,040
Speaker 1: like internally, just knowing what they really want to do,

1107
00:51:33,080 --> 00:51:35,640
Speaker 1: what they really work on, that was just that they

1108
00:51:35,719 --> 00:51:37,279
Speaker 1: had to make that type of album they had to

1109
00:51:37,280 --> 00:51:39,279
Speaker 1: make that they had to stand next to those names.

1110
00:51:39,360 --> 00:51:42,120
Speaker 1: Drake had to be next to those artists on this album.

1111
00:51:42,160 --> 00:51:43,839
Speaker 1: I get it, But ultimately I think where they at

1112
00:51:43,880 --> 00:51:46,319
Speaker 1: now is this is what this ship that they really

1113
00:51:46,360 --> 00:51:46,960
Speaker 1: want to do. Now?

1114
00:51:48,960 --> 00:51:50,880
Speaker 2: All right, we can pivot again because I don't want

1115
00:51:50,920 --> 00:51:52,680
Speaker 2: to get too much more in personal stuff. Do you

1116
00:51:52,680 --> 00:51:54,279
Speaker 2: want to go back to our first conversation? I asked

1117
00:51:54,320 --> 00:51:56,879
Speaker 2: about your breakup again, but I leave that way, Lefe.

1118
00:52:00,719 --> 00:52:03,880
Speaker 2: Since you've been on the road for a while, have

1119
00:52:04,000 --> 00:52:07,440
Speaker 2: you ran into a lot of you you are Iranian?

1120
00:52:07,760 --> 00:52:08,040
Speaker 5: Iran?

1121
00:52:08,719 --> 00:52:09,520
Speaker 1: All right? Did I not?

1122
00:52:09,680 --> 00:52:14,319
Speaker 3: I'm from New York. That's damn.

1123
00:52:14,560 --> 00:52:15,799
Speaker 5: I'm definitely gonna correct Rory.

1124
00:52:15,840 --> 00:52:17,880
Speaker 6: I have to correct Iran.

1125
00:52:23,080 --> 00:52:26,200
Speaker 2: There's not a lot of artists, at least in our

1126
00:52:27,960 --> 00:52:35,759
Speaker 2: genre demographic where Iranian artists are seen. Have you run

1127
00:52:35,800 --> 00:52:39,160
Speaker 2: into two people within your culture that are happy that

1128
00:52:39,200 --> 00:52:42,800
Speaker 2: the type of current music they finally have a face

1129
00:52:42,960 --> 00:52:45,520
Speaker 2: that they can see and feel like they're represented.

1130
00:52:47,280 --> 00:52:49,359
Speaker 6: I'm really glad you asked. It's a big reason why

1131
00:52:49,440 --> 00:52:51,200
Speaker 6: I even wanted to come and chop it up with y'all.

1132
00:52:51,360 --> 00:52:56,440
Speaker 6: Is like just growing up there wasn't that that person

1133
00:52:56,680 --> 00:52:58,239
Speaker 6: for me that I could look up to that was

1134
00:52:58,280 --> 00:53:00,879
Speaker 6: like making soul full racks, whether it was hip hop

1135
00:53:00,960 --> 00:53:03,600
Speaker 6: or R and B shit that I could point to

1136
00:53:03,640 --> 00:53:07,000
Speaker 6: and be like, let me try to, you know, reverse

1137
00:53:07,040 --> 00:53:12,279
Speaker 6: engineer this. And look, you know, I can't explain it

1138
00:53:12,320 --> 00:53:14,680
Speaker 6: because when you grew up in this household where like

1139
00:53:14,680 --> 00:53:18,680
Speaker 6: you know, far SE's your first language, and your parents

1140
00:53:19,200 --> 00:53:25,320
Speaker 6: they're separated, but they've never seen anything quote unquote good

1141
00:53:25,520 --> 00:53:26,640
Speaker 6: monetarily successful.

1142
00:53:26,680 --> 00:53:27,600
Speaker 5: It's come out of the arts.

1143
00:53:29,000 --> 00:53:31,160
Speaker 6: It's challenging as shit not to like go down the

1144
00:53:31,200 --> 00:53:34,239
Speaker 6: path that every other Middle Eastern family is encouraging their

1145
00:53:34,320 --> 00:53:36,600
Speaker 6: kids to do, which is typically like be a doctor,

1146
00:53:36,920 --> 00:53:39,439
Speaker 6: be an engineer, be a lawyer, which is nothing wrong

1147
00:53:39,480 --> 00:53:42,960
Speaker 6: with that. We need way less artists and way more doctors, y'all.

1148
00:53:43,000 --> 00:53:45,319
Speaker 6: If y'all are trash, put your shit down, stop it.

1149
00:53:45,760 --> 00:53:46,280
Speaker 5: I'm kidding.

1150
00:53:47,320 --> 00:53:50,279
Speaker 3: But a few trash doctors though, oh that.

1151
00:53:50,200 --> 00:53:52,120
Speaker 6: Part, But that's also the system. That's a whole different thing.

1152
00:53:52,120 --> 00:53:54,400
Speaker 6: I'm not getting into that. Look, what I'll say is

1153
00:53:55,440 --> 00:53:58,720
Speaker 6: I see a whole lot of the Middle Eastern population

1154
00:53:58,800 --> 00:54:01,319
Speaker 6: showing up. Even when we were in Australia, I saw

1155
00:54:01,400 --> 00:54:04,400
Speaker 6: like eight women in hit jobs. Some of them are

1156
00:54:04,400 --> 00:54:07,480
Speaker 6: in Moroccans, some of them are Somali, some of them

1157
00:54:07,480 --> 00:54:10,640
Speaker 6: eat the Opian And I'm personally not Muslim, but my

1158
00:54:10,680 --> 00:54:15,719
Speaker 6: grandparents were Muslim, and I think it's really important to

1159
00:54:15,840 --> 00:54:20,799
Speaker 6: have someone that you connect with in this space for

1160
00:54:20,840 --> 00:54:23,040
Speaker 6: you to be able to point to it and be like, well,

1161
00:54:23,120 --> 00:54:26,040
Speaker 6: if he can do it and he's mediocre, I can

1162
00:54:26,080 --> 00:54:26,759
Speaker 6: definitely do it.

1163
00:54:27,320 --> 00:54:32,279
Speaker 2: Do you feel like you have any I guess that's funny.

1164
00:54:32,880 --> 00:54:34,080
Speaker 3: If that guy can do it.

1165
00:54:34,440 --> 00:54:36,640
Speaker 6: If he could do it two steven and singing his

1166
00:54:36,719 --> 00:54:38,880
Speaker 6: five note bullshit, I could definitely do it.

1167
00:54:39,560 --> 00:54:41,400
Speaker 3: Valley dancing, I'll just be in the back can make it.

1168
00:54:42,440 --> 00:54:45,600
Speaker 2: Do you feel like though now there is any responsibility?

1169
00:54:46,760 --> 00:54:47,799
Speaker 3: Are you nervous about that?

1170
00:54:48,040 --> 00:54:50,359
Speaker 2: Where like maybe you just want to make songs rather

1171
00:54:50,400 --> 00:54:54,400
Speaker 2: than be the face of probably a less represented culture

1172
00:54:54,600 --> 00:54:57,200
Speaker 2: within R and B. Is there some type of pressure

1173
00:54:57,200 --> 00:54:59,279
Speaker 2: where you feel like I have to be that guy

1174
00:54:59,360 --> 00:55:02,080
Speaker 2: now I have to focus on making sure I'm representing

1175
00:55:02,160 --> 00:55:04,520
Speaker 2: our culture the best way I can, rather than Hey,

1176
00:55:04,520 --> 00:55:06,040
Speaker 2: I just want to make good music and don't want

1177
00:55:06,040 --> 00:55:08,760
Speaker 2: to be identified as the face of this culture.

1178
00:55:09,239 --> 00:55:12,400
Speaker 6: I mean, luckily, I don't think we've done much, and

1179
00:55:13,239 --> 00:55:15,840
Speaker 6: I'm still kind of writing or helping write our history.

1180
00:55:17,160 --> 00:55:20,920
Speaker 6: But I decided, I feel like, probably in March when

1181
00:55:20,920 --> 00:55:24,560
Speaker 6: we got that drop letter, yeah, that I wanted to

1182
00:55:25,880 --> 00:55:29,640
Speaker 6: just help educate the youth more, not only on you

1183
00:55:29,640 --> 00:55:31,359
Speaker 6: could do this shit no matter where you're from, who

1184
00:55:31,440 --> 00:55:35,480
Speaker 6: you are, but even from the independent perspective, because I didn't.

1185
00:55:35,239 --> 00:55:36,080
Speaker 5: Feel like they would.

1186
00:55:36,200 --> 00:55:39,840
Speaker 6: Even if you if you know somebody, this independent artist,

1187
00:55:39,920 --> 00:55:41,520
Speaker 6: most of the time, they don't know what the fuck's

1188
00:55:41,560 --> 00:55:45,080
Speaker 6: going on. And I was like, those are two things

1189
00:55:45,120 --> 00:55:46,760
Speaker 6: that over the next five years I want to dedicate

1190
00:55:46,800 --> 00:55:49,560
Speaker 6: real time too. It's like helping give more opportunity to

1191
00:55:49,600 --> 00:55:52,960
Speaker 6: people that look and you know whatever looked like me and.

1192
00:55:53,560 --> 00:55:54,760
Speaker 5: Come from where I come from.

1193
00:55:55,239 --> 00:55:57,520
Speaker 6: But also I want to take maybe a different approach,

1194
00:55:58,120 --> 00:56:02,400
Speaker 6: a non traditional approach to building their business and releasing

1195
00:56:02,440 --> 00:56:03,000
Speaker 6: their music.

1196
00:56:03,920 --> 00:56:07,200
Speaker 5: And yeah, shout out to my mom.

1197
00:56:07,239 --> 00:56:11,440
Speaker 6: I feel like, you know, looking back, I'm really grateful

1198
00:56:11,480 --> 00:56:15,919
Speaker 6: that I had. My dad's a poet, he's a writer,

1199
00:56:16,640 --> 00:56:18,520
Speaker 6: and him and my mom split up when I was two,

1200
00:56:18,680 --> 00:56:20,799
Speaker 6: But my mom took me to piano classes for five

1201
00:56:20,880 --> 00:56:24,560
Speaker 6: years and then violent classes for another four and really

1202
00:56:24,640 --> 00:56:26,759
Speaker 6: encouraged the arts early on and even though he grew

1203
00:56:26,800 --> 00:56:28,319
Speaker 6: up Section eight type shit, Like.

1204
00:56:29,920 --> 00:56:31,480
Speaker 3: They've had really difficult lives.

1205
00:56:31,600 --> 00:56:35,279
Speaker 6: They gave me the tools that I needed and never

1206
00:56:35,360 --> 00:56:37,640
Speaker 6: fucking if anything, I think they put the battery in

1207
00:56:37,719 --> 00:56:41,560
Speaker 6: my back to go and pursue the creative shit. Whereas

1208
00:56:41,640 --> 00:56:44,200
Speaker 6: most people I know that were in my shoes, whether

1209
00:56:44,280 --> 00:56:47,480
Speaker 6: they grew up poor, middle class, rich, I think they

1210
00:56:47,520 --> 00:56:50,160
Speaker 6: were just shunned by their families if they decided they

1211
00:56:50,239 --> 00:56:53,479
Speaker 6: want to go down, even pursuing sports, Like, how many

1212
00:56:53,960 --> 00:56:55,920
Speaker 6: Iranians do you know in the league right now?

1213
00:56:55,920 --> 00:56:56,120
Speaker 1: Bro?

1214
00:56:56,719 --> 00:56:59,600
Speaker 6: Like I'm a fucking NBA fanatic, I can't name any

1215
00:57:00,080 --> 00:57:05,000
Speaker 6: mm hmm, yeah, that's a problem. So I think culturally

1216
00:57:05,120 --> 00:57:09,480
Speaker 6: like that shit is even designers. I know Melody's killing

1217
00:57:09,520 --> 00:57:14,680
Speaker 6: it right now. I just want to see more representation

1218
00:57:15,640 --> 00:57:18,600
Speaker 6: in the arts in general. So I want to try

1219
00:57:18,600 --> 00:57:21,800
Speaker 6: to lead by example and share. It's a big responsibility.

1220
00:57:21,800 --> 00:57:23,160
Speaker 6: But we ain't ship yet, so I got a lot

1221
00:57:23,160 --> 00:57:26,040
Speaker 6: of work to do and I'm gonna leave it at that.

1222
00:57:26,320 --> 00:57:28,200
Speaker 3: You don't say that, you guys. You guys have been

1223
00:57:28,200 --> 00:57:29,200
Speaker 3: all right. You still Coachella.

1224
00:57:29,440 --> 00:57:31,320
Speaker 1: Yeah, you've been doing something. You've been doing some shit, bro,

1225
00:57:32,000 --> 00:57:33,360
Speaker 1: you got a lot of shit done out here.

1226
00:57:33,440 --> 00:57:37,120
Speaker 2: What was the first first moment that your family was like,

1227
00:57:37,240 --> 00:57:38,080
Speaker 2: oh all right, I get it.

1228
00:57:39,560 --> 00:57:41,520
Speaker 1: What was one of those mom stopped telling you to

1229
00:57:41,520 --> 00:57:41,960
Speaker 1: get a job.

1230
00:57:42,040 --> 00:57:44,520
Speaker 3: Yeah, it's like, oh wait, this is this could work.

1231
00:57:44,640 --> 00:57:48,400
Speaker 2: Yeah, she Coachella.

1232
00:57:49,080 --> 00:57:50,800
Speaker 6: I'm gonna get more credit than that. She came to

1233
00:57:50,840 --> 00:57:54,480
Speaker 6: see me. We sold out the l Ray, which is

1234
00:57:54,480 --> 00:57:57,280
Speaker 6: where I saw Frank in twenty.

1235
00:57:59,040 --> 00:57:59,600
Speaker 5: Twelve.

1236
00:58:00,240 --> 00:58:00,640
Speaker 6: Mm hmm.

1237
00:58:02,000 --> 00:58:02,600
Speaker 5: We saw out that.

1238
00:58:02,640 --> 00:58:04,880
Speaker 6: We saw out the elwork like on the on sale right. Yeah,

1239
00:58:05,120 --> 00:58:06,880
Speaker 6: it was like day one or some shit. And she

1240
00:58:06,960 --> 00:58:09,360
Speaker 6: came and there was like it wasn't like some weird

1241
00:58:09,400 --> 00:58:11,280
Speaker 6: old industry shit that usually the first shows are. It

1242
00:58:11,320 --> 00:58:14,600
Speaker 6: was like eight hundred fan fans and we had announced

1243
00:58:14,600 --> 00:58:17,560
Speaker 6: the show with four songs out. I think she was

1244
00:58:17,560 --> 00:58:19,720
Speaker 6: in first of all, she was in tears, but second off.

1245
00:58:19,600 --> 00:58:21,600
Speaker 5: She was like, how it was day up?

1246
00:58:21,640 --> 00:58:23,680
Speaker 3: I don't even think right did we announce it Dale?

1247
00:58:24,600 --> 00:58:26,560
Speaker 5: It was four nine? You have no idea.

1248
00:58:26,560 --> 00:58:29,080
Speaker 6: It was so long ago. Then my dad, my dad

1249
00:58:29,160 --> 00:58:32,040
Speaker 6: came to San Francisco his girl. He's been with this

1250
00:58:32,080 --> 00:58:33,760
Speaker 6: girl for twenty years. His name is Wendy, and she

1251
00:58:33,880 --> 00:58:37,480
Speaker 6: brought him and you know, my dad's blind, and she

1252
00:58:38,080 --> 00:58:41,480
Speaker 6: escorted my dad backstage, and he was like, he's an

1253
00:58:41,520 --> 00:58:44,080
Speaker 6: incredible writer, incredible post so he's done readings, but he's

1254
00:58:44,080 --> 00:58:46,240
Speaker 6: never been to a concert concert for me like that,

1255
00:58:46,680 --> 00:58:51,840
Speaker 6: so she you know, we walked him upstairs and yeah,

1256
00:58:51,840 --> 00:58:54,880
Speaker 6: he was just he was just like hysterical, kind of

1257
00:58:54,920 --> 00:58:58,840
Speaker 6: like just in tears, being like they all came for you,

1258
00:58:58,840 --> 00:59:01,919
Speaker 6: you know, like how And he's like you really, He's

1259
00:59:01,920 --> 00:59:03,440
Speaker 6: like you did it. He's like this, this is the

1260
00:59:03,560 --> 00:59:05,479
Speaker 6: dream and have to kind of shake me a little

1261
00:59:05,480 --> 00:59:07,440
Speaker 6: bit and be like, you know, I know you're in

1262
00:59:07,480 --> 00:59:08,920
Speaker 6: your head like it didn't happen for you when you

1263
00:59:08,920 --> 00:59:10,800
Speaker 6: were twenty three. But I think at the time we

1264
00:59:10,840 --> 00:59:13,360
Speaker 6: did Great American Musical, it was probably like twenty nine thirty,

1265
00:59:13,640 --> 00:59:17,760
Speaker 6: and I felt I felt like it was hard to

1266
00:59:17,760 --> 00:59:22,040
Speaker 6: step into my power. It was just like I think

1267
00:59:22,160 --> 00:59:24,440
Speaker 6: it's in generous. It's hard to be like you know

1268
00:59:24,440 --> 00:59:25,560
Speaker 6: how it is. I mean, you guys are kind of

1269
00:59:25,560 --> 00:59:27,080
Speaker 6: the same. We don't want to fucking yeah.

1270
00:59:27,160 --> 00:59:30,520
Speaker 1: No, That's why I'm relating everything you're saying. Like when

1271
00:59:30,560 --> 00:59:33,520
Speaker 1: you feel a moment where it's like oh shit is

1272
00:59:33,560 --> 00:59:37,200
Speaker 1: happening and you see it and the people are, you know,

1273
00:59:37,240 --> 00:59:39,960
Speaker 1: giving you so much love, and support, and then your

1274
00:59:40,000 --> 00:59:43,080
Speaker 1: family is kind of like, Okay, everything that he he

1275
00:59:43,200 --> 00:59:44,880
Speaker 1: was chasing and he wanted, said he wanted to do,

1276
00:59:44,960 --> 00:59:47,760
Speaker 1: he's doing it. It's happening. We're here, we're supporting, and

1277
00:59:47,800 --> 00:59:50,560
Speaker 1: it's you know, families crying. Everybody's just happy to see

1278
00:59:50,920 --> 00:59:52,960
Speaker 1: that you finally are doing what you set out to do.

1279
00:59:54,080 --> 00:59:54,640
Speaker 1: Oh I saw.

1280
00:59:54,720 --> 00:59:58,160
Speaker 3: We were actually mad at my family. That is a

1281
00:59:58,240 --> 01:00:01,280
Speaker 3: ral fucking ten ten years, like what is he doing

1282
01:00:01,280 --> 01:00:01,600
Speaker 3: over there?

1283
01:00:01,720 --> 01:00:01,800
Speaker 1: Now?

1284
01:00:02,360 --> 01:00:03,960
Speaker 3: They load you, mom, Now they love it.

1285
01:00:05,560 --> 01:00:06,720
Speaker 1: Now they rave about.

1286
01:00:06,440 --> 01:00:09,360
Speaker 3: Your work, right rest in peace of my grandparents.

1287
01:00:09,440 --> 01:00:12,760
Speaker 2: At the Chicago show Emotional Oranges, my grandma was like,

1288
01:00:12,840 --> 01:00:17,040
Speaker 2: I think's doing like a Broadway play Chicago.

1289
01:00:17,240 --> 01:00:20,200
Speaker 3: Where did we even get that from nineteen?

1290
01:00:20,280 --> 01:00:21,640
Speaker 5: They were so fucking sweet man.

1291
01:00:21,760 --> 01:00:24,280
Speaker 2: They walked up like fucking how many flights of steps?

1292
01:00:24,400 --> 01:00:26,280
Speaker 2: And the whole time I think it's a Broadway play.

1293
01:00:26,280 --> 01:00:29,840
Speaker 1: I'm like, has nothing to do with bro nothing. They

1294
01:00:29,880 --> 01:00:32,240
Speaker 1: just see a stage in the theater. It must be

1295
01:00:32,320 --> 01:00:34,840
Speaker 1: he's on Broadway. No, mom, this is nothing like Broadway.

1296
01:00:34,880 --> 01:00:38,200
Speaker 1: But not doing that. I saw your show, the last

1297
01:00:38,240 --> 01:00:41,840
Speaker 1: Emotional Orange show in la at the Nova. I believe, yes, sir,

1298
01:00:41,960 --> 01:00:43,520
Speaker 1: that was a great show. And a great show. And

1299
01:00:43,560 --> 01:00:45,840
Speaker 1: I told Rory, I was like, I gotta come to

1300
01:00:45,880 --> 01:00:47,680
Speaker 1: small these live shows. And then I caught you all

1301
01:00:47,680 --> 01:00:50,080
Speaker 1: here in New York at Webster Hall, and I was

1302
01:00:50,160 --> 01:00:53,520
Speaker 1: the crowd is just a different, different type of crowd,

1303
01:00:53,560 --> 01:00:58,080
Speaker 1: different vibe. It's like everybody is. It's like a community. Yeah, man,

1304
01:00:58,160 --> 01:01:01,160
Speaker 1: everybody's on the same wave, the same drugs.

1305
01:01:01,480 --> 01:01:03,400
Speaker 3: You know, it's the drug of emotion.

1306
01:01:03,560 --> 01:01:06,320
Speaker 1: Yeah, it's just like everybody's on the same ship. But

1307
01:01:06,440 --> 01:01:10,680
Speaker 1: it's it's it's women, it's it's it's guys, it's different cultures.

1308
01:01:11,200 --> 01:01:13,400
Speaker 1: How does that make you feel? Looking out to audience

1309
01:01:13,400 --> 01:01:16,760
Speaker 1: and seeing your music and your words touched so many

1310
01:01:16,840 --> 01:01:21,000
Speaker 1: people from different parts of the world.

1311
01:01:21,960 --> 01:01:23,720
Speaker 5: First of all, I'm just super fucking grateful.

1312
01:01:24,120 --> 01:01:24,680
Speaker 1: Uh.

1313
01:01:25,600 --> 01:01:27,200
Speaker 6: There was a twelve year old at our show and

1314
01:01:27,240 --> 01:01:29,640
Speaker 6: there was their fifty two year old dad.

1315
01:01:29,840 --> 01:01:31,720
Speaker 1: Oh, we had a we had a three week old

1316
01:01:31,720 --> 01:01:33,080
Speaker 1: that I'll show, we beat you out on that one

1317
01:01:33,120 --> 01:01:33,640
Speaker 1: every week.

1318
01:01:33,520 --> 01:01:34,800
Speaker 3: So we had an actual fresh out.

1319
01:01:35,440 --> 01:01:39,280
Speaker 6: That's wish. I wish brit would have brought Dawson when

1320
01:01:39,280 --> 01:01:41,440
Speaker 6: she came to LA. Would we would have beatch out

1321
01:01:41,480 --> 01:01:41,919
Speaker 6: by a week?

1322
01:01:43,840 --> 01:01:44,040
Speaker 5: Nah?

1323
01:01:44,080 --> 01:01:44,280
Speaker 4: Man?

1324
01:01:44,520 --> 01:01:47,560
Speaker 6: I think Uh, Like I said, I'm trying to accept

1325
01:01:47,560 --> 01:01:50,440
Speaker 6: those like the love and the flowers a little more

1326
01:01:50,440 --> 01:01:54,080
Speaker 6: because I feel like it's a bit fleeting, and uh,

1327
01:01:54,960 --> 01:01:58,720
Speaker 6: it's ill. I never thought we helped cultivate such like

1328
01:01:58,760 --> 01:02:03,360
Speaker 6: a dope, diverse community where yeah, it just feels like

1329
01:02:03,440 --> 01:02:06,400
Speaker 6: high school again, except not with the toxic shit. You know,

1330
01:02:06,680 --> 01:02:08,800
Speaker 6: like everyone all different walks of life are kind of

1331
01:02:08,840 --> 01:02:12,880
Speaker 6: chilling at the kind of in that circle together and

1332
01:02:12,880 --> 01:02:15,440
Speaker 6: and no one's judging each other. You know, we have

1333
01:02:15,680 --> 01:02:23,320
Speaker 6: all types of different you know, whether it's you know, lesbian, gay, old, young, brown, white, black, everything.

1334
01:02:23,120 --> 01:02:26,919
Speaker 3: And Julian yeah, he's all those things.

1335
01:02:26,920 --> 01:02:29,160
Speaker 6: He's Lebanese and black, so he kind of falls into

1336
01:02:29,160 --> 01:02:29,920
Speaker 6: that mix perfectly.

1337
01:02:30,000 --> 01:02:32,040
Speaker 5: And fluid and fluid, Okay.

1338
01:02:32,160 --> 01:02:34,960
Speaker 3: Yeah, they think they called it sexual and gender fluid.

1339
01:02:36,600 --> 01:02:42,960
Speaker 2: He's sexually ambiguous in the control indible the progressive point

1340
01:02:42,960 --> 01:02:43,520
Speaker 2: you were making him.

1341
01:02:43,920 --> 01:02:45,560
Speaker 6: No, it's it's it's love. I think. Look at the

1342
01:02:45,600 --> 01:02:47,760
Speaker 6: end of the day, Uh, this ship feels like when

1343
01:02:47,760 --> 01:02:49,240
Speaker 6: we used to go to like house parties in the

1344
01:02:49,240 --> 01:02:51,919
Speaker 6: early two thousands, and that was intentional and I want

1345
01:02:51,920 --> 01:02:53,000
Speaker 6: that ship to keep.

1346
01:02:53,160 --> 01:02:54,800
Speaker 1: I want to definitely house party energy.

1347
01:02:54,920 --> 01:02:59,600
Speaker 2: Yeah, and shit, what I learned from the first show

1348
01:02:59,640 --> 01:03:03,520
Speaker 2: you guys ever did in Toronto was that the single

1349
01:03:03,720 --> 01:03:06,560
Speaker 2: is the least important part of a show.

1350
01:03:07,080 --> 01:03:08,200
Speaker 3: Remember when Corners.

1351
01:03:07,880 --> 01:03:10,080
Speaker 2: Of My mind went off and crazy after the show,

1352
01:03:10,120 --> 01:03:12,959
Speaker 2: We're like, wait, we didn't know that was the song

1353
01:03:13,000 --> 01:03:15,640
Speaker 2: that everyone fucking ran right.

1354
01:03:15,520 --> 01:03:16,640
Speaker 3: TOEO has been.

1355
01:03:16,840 --> 01:03:19,680
Speaker 2: I feel like a masterclass in B sides when it

1356
01:03:19,720 --> 01:03:20,520
Speaker 2: comes to live shows.

1357
01:03:20,520 --> 01:03:22,920
Speaker 6: And I have to be really clear here, this is

1358
01:03:23,240 --> 01:03:31,280
Speaker 6: impossible Without Valley. I could barely two step to some

1359
01:03:31,320 --> 01:03:35,760
Speaker 6: of these fucking drum grooves. She's out here making my

1360
01:03:35,880 --> 01:03:39,680
Speaker 6: job incredibly easy. This is the best performer outside of

1361
01:03:39,720 --> 01:03:42,280
Speaker 6: Prince that I've seen live. And to have her as

1362
01:03:42,280 --> 01:03:45,840
Speaker 6: my partner and someone who kind of pushes the boundaries

1363
01:03:45,840 --> 01:03:50,040
Speaker 6: and helps empower me, yeah, I just like I got

1364
01:03:50,080 --> 01:03:56,040
Speaker 6: it easy. She's unreal and I wish people knew. You know,

1365
01:03:56,080 --> 01:03:58,280
Speaker 6: I've cut so many vocalists in my life. I've written

1366
01:03:58,280 --> 01:04:00,800
Speaker 6: with so many people in my life. This it feels

1367
01:04:00,840 --> 01:04:02,960
Speaker 6: like water, Like we get in the room and it

1368
01:04:03,120 --> 01:04:06,280
Speaker 6: comes out like like pause, like nothing else I've ever

1369
01:04:06,360 --> 01:04:09,280
Speaker 6: worked on. And when something is that easy, usually it's

1370
01:04:09,320 --> 01:04:11,560
Speaker 6: the right thing to do. Yeah, you know, like if

1371
01:04:11,720 --> 01:04:14,680
Speaker 6: if y'all are that on that playing field and that

1372
01:04:14,760 --> 01:04:19,920
Speaker 6: kind of Wavelength together hm, and so we pushed through

1373
01:04:19,960 --> 01:04:21,800
Speaker 6: some wild shit obviously, you know, being signed to a

1374
01:04:21,840 --> 01:04:23,400
Speaker 6: major and not being able to put out shit for

1375
01:04:23,640 --> 01:04:25,840
Speaker 6: a year and a half was difficult, but like losing

1376
01:04:25,880 --> 01:04:28,600
Speaker 6: a quarter million on touring all these things that like,

1377
01:04:28,920 --> 01:04:31,480
Speaker 6: she's like nah, bro, like I believe in this wholeheartedly

1378
01:04:31,520 --> 01:04:34,680
Speaker 6: and kind of has given her, you know, her time

1379
01:04:34,720 --> 01:04:37,640
Speaker 6: in her life. So this just like Brittany has, like

1380
01:04:37,720 --> 01:04:40,040
Speaker 6: Brando has, like you, like a lot of people have.

1381
01:04:41,400 --> 01:04:43,040
Speaker 6: That's why I think we see the community that we do,

1382
01:04:43,120 --> 01:04:44,400
Speaker 6: and they got the love that they got. It's not

1383
01:04:44,440 --> 01:04:47,880
Speaker 6: because somebody sat in a room and fucking masterminded some

1384
01:04:47,920 --> 01:04:48,760
Speaker 6: shit like Magneto.

1385
01:04:48,840 --> 01:04:48,960
Speaker 2: Bro.

1386
01:04:49,040 --> 01:04:52,400
Speaker 5: It's like, yeah, you know, I.

1387
01:04:52,440 --> 01:04:54,400
Speaker 3: Used to go I used to go to Valley's job

1388
01:04:54,440 --> 01:04:55,400
Speaker 3: when she was waitressing.

1389
01:04:55,880 --> 01:04:59,320
Speaker 2: Like it's crazy. It's crazy to see the ship her

1390
01:04:59,400 --> 01:05:01,640
Speaker 2: on stage of Code and I'm like, you, I went

1391
01:05:01,680 --> 01:05:02,960
Speaker 2: to your job when he was a waitress.

1392
01:05:03,040 --> 01:05:05,000
Speaker 3: Like dope, this group is it?

1393
01:05:05,200 --> 01:05:07,240
Speaker 5: Yeah, shout out too. I really love you, man. This

1394
01:05:07,400 --> 01:05:10,840
Speaker 5: is like, you know, four years in the making, finally and.

1395
01:05:10,800 --> 01:05:12,560
Speaker 3: You guys aren't fucking because that's what the world wants

1396
01:05:12,560 --> 01:05:12,760
Speaker 3: to know.

1397
01:05:12,920 --> 01:05:16,520
Speaker 6: Absolutely not. It's one of my best friends people people.

1398
01:05:16,320 --> 01:05:20,240
Speaker 2: Still absolutely yeah, yeah, my mom is still convinced. Man,

1399
01:05:21,320 --> 01:05:22,439
Speaker 2: my mom was at Brooklyn Steel.

1400
01:05:22,440 --> 01:05:23,640
Speaker 3: Like there's too much chemistry.

1401
01:05:25,200 --> 01:05:27,600
Speaker 6: I think just because vows you know, an incredibly beautiful,

1402
01:05:27,640 --> 01:05:32,160
Speaker 6: attractive woman all across the board. Motherfuckers want to just yeah,

1403
01:05:32,480 --> 01:05:33,240
Speaker 6: I have no chance.

1404
01:05:33,560 --> 01:05:36,600
Speaker 3: Yeah, well we know that the fun question.

1405
01:05:37,520 --> 01:05:37,640
Speaker 1: All.

1406
01:05:37,680 --> 01:05:39,120
Speaker 3: You're good at closing these episodes out.

1407
01:05:39,200 --> 01:05:41,840
Speaker 1: Well, all listen, man, thank you for coming and kicking

1408
01:05:41,840 --> 01:05:44,240
Speaker 1: it with us for a few man, we appreciate it. Uh,

1409
01:05:44,280 --> 01:05:46,760
Speaker 1: this is dope. I feel like I got to learn

1410
01:05:46,760 --> 01:05:48,360
Speaker 1: more about you. I hear so much about you from

1411
01:05:48,400 --> 01:05:51,120
Speaker 1: Rory obviously. I love Emotional Oranges. I love what y'all

1412
01:05:51,160 --> 01:05:55,000
Speaker 1: are doing. I love the branding, I love the you

1413
01:05:55,000 --> 01:05:58,800
Speaker 1: know everything y'all doing, the candles, the it's just fly ship,

1414
01:05:58,880 --> 01:06:00,760
Speaker 1: it's just thank you. It's a certain level of taste,

1415
01:06:00,760 --> 01:06:03,760
Speaker 1: a certain level of class that y'all are moving with

1416
01:06:03,760 --> 01:06:05,920
Speaker 1: with your brand. And shout out to you, shout out

1417
01:06:05,960 --> 01:06:09,520
Speaker 1: the val and everybody with the Emotional Oranges team, avont

1418
01:06:09,600 --> 01:06:12,480
Speaker 1: team and this weekend, Man, I'm looking forward to the.

1419
01:06:12,480 --> 01:06:18,040
Speaker 5: Project Volume three. We're independent in this juice.

1420
01:06:18,080 --> 01:06:22,240
Speaker 1: Volume three support independent support art, support, great people, support,

1421
01:06:22,280 --> 01:06:23,480
Speaker 1: good energy man.

1422
01:06:23,880 --> 01:06:26,200
Speaker 3: And quickly Brando is the one that actually keeps us

1423
01:06:26,240 --> 01:06:27,840
Speaker 3: all related. If you think about.

1424
01:06:27,600 --> 01:06:32,320
Speaker 2: It, Brando is, Saint John, Biggs, Brando is and St.

1425
01:06:32,360 --> 01:06:33,640
Speaker 3: John are all related.

1426
01:06:33,680 --> 01:06:37,200
Speaker 1: Because of Brando behind some of the dopest merch images

1427
01:06:37,280 --> 01:06:39,919
Speaker 1: that we've seen in the last few years the game.

1428
01:06:40,000 --> 01:06:43,800
Speaker 6: Absolutely, that's the best creative mind in the game.

1429
01:06:43,880 --> 01:06:48,640
Speaker 1: Absolutely what you heard, huge fan, and suck my dick

1430
01:06:48,720 --> 01:06:50,920
Speaker 1: if you disagree. I was. I was actually happy to

1431
01:06:50,960 --> 01:06:53,040
Speaker 1: meet you at the Novo at the at the show

1432
01:06:53,080 --> 01:06:55,160
Speaker 1: at the Novo when I I heard so much about

1433
01:06:55,160 --> 01:06:57,280
Speaker 1: you from Biggs and from Saint John, and then you

1434
01:06:57,440 --> 01:06:59,919
Speaker 1: was just this cool, laid back I'm like, wait, don't

1435
01:07:00,040 --> 01:07:01,680
Speaker 1: sit here like you have. You would designed some of

1436
01:07:01,720 --> 01:07:04,400
Speaker 1: my favorite pieces that I wear every fucking day.

1437
01:07:04,480 --> 01:07:06,840
Speaker 2: Like And then I started resenting Brando because you would

1438
01:07:06,840 --> 01:07:08,960
Speaker 2: walk into the pot with all these Saint John sweatpants.

1439
01:07:09,000 --> 01:07:10,640
Speaker 2: I'm like, I know the guy that designed it, I

1440
01:07:10,720 --> 01:07:11,959
Speaker 2: just can't get them for some reason.

1441
01:07:12,080 --> 01:07:13,320
Speaker 1: No, Brando's amazing chef.

1442
01:07:13,360 --> 01:07:14,640
Speaker 5: I know Carlos and Branda really well.

1443
01:07:14,640 --> 01:07:16,240
Speaker 6: I still have a I don't have no Saint John

1444
01:07:16,280 --> 01:07:19,120
Speaker 6: shit outside of what four years ago, probably have.

1445
01:07:19,160 --> 01:07:21,200
Speaker 3: The Christian Club socks that's the only thing.

1446
01:07:21,080 --> 01:07:22,200
Speaker 6: I had asked.

1447
01:07:22,240 --> 01:07:25,400
Speaker 1: But yeah, yeah. Shout out to Brando so yes, man,

1448
01:07:25,400 --> 01:07:28,080
Speaker 1: thank you for coming about kicking with us. Appreciate you, brother,

1449
01:07:28,200 --> 01:07:30,720
Speaker 1: and I can't wait to see y'all on stage again soon.

1450
01:07:30,760 --> 01:07:32,000
Speaker 5: Man, thank you guys for having me.

1451
01:07:32,240 --> 01:07:34,880
Speaker 1: I'm that nigga. He's just ginger piece. No,