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Speaker 1: R and B Money than take Valoti. We are the

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Speaker 1: authorities all things R and B.

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Speaker 2: Ladies and gentlemen.

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Speaker 3: My name is Tank Valentine and this is the R

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Speaker 3: and B Money Podcast.

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Speaker 4: Come on the authorities. Oh no things, all things, whole

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Speaker 4: things R and B.

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Speaker 2: There's so many hits.

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Speaker 4: Mm my god, my god, it's too many.

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Speaker 3: Oh much success.

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Speaker 2: Yeah yeah, yeah.

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Speaker 3: The craftmanship and the skill that it takes to qualify

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Speaker 3: for what to even be nominated to be in a

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Speaker 3: whole of things.

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Speaker 2: We know.

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Speaker 3: I don't think everybody should be there. Everybody should what

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Speaker 3: this man not only should he'd be in there. Yes,

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Speaker 3: in there, gentlemen, Yeah, yes, thank you, Yes, that was amazing.

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Speaker 5: Brother, welcome, thank you man, thank you all for having me.

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Speaker 2: Listen.

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Speaker 3: Man, I want to start there. I mean normally we

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Speaker 3: go way back and then move up. Yes, we gotta

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Speaker 3: start at the Hall of Fame because this is the

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Speaker 3: first platform.

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Speaker 2: Did you are gonna speak on?

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Speaker 5: Speak on?

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Speaker 2: Yeah? This is this day is very very special.

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Speaker 6: You know, it's like it's not what it's like one

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Speaker 6: of those things that you don't know that you you

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Speaker 6: didn't you didn't think it was possible, but then it

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Speaker 6: happens and You're just like, the nomination was gonna be incredible,

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Speaker 6: just to be like, I've done something that quantifies being

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Speaker 6: thought of this way, but to actually get in, to

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Speaker 6: actually be first ballot was crazy. And I'm just like,

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Speaker 6: I'm on cloud gazillion. Like everybody's like, you know, you're

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Speaker 6: gonna celebrate to that, I'm like, this is I'm gonna

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Speaker 6: celebrate this for the rest of my fucking life. Seriously,

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Speaker 6: you're the rest of my life.

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Speaker 3: So I've never I've never been called and nominated, So

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Speaker 3: I just want to I just want to understand the

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Speaker 3: process of it. Is it like the NFL Hall of

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Speaker 3: Fame where you walk in and you walk into a

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Speaker 3: house and somebody's like, hey man, and then one of

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Speaker 3: your family members is there and they're like, hey.

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Speaker 6: Man, absolutely, and that has that magnitude to it. And

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Speaker 6: mine was done by none other than John Platt, the chairman.

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Speaker 4: Oh so.

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Speaker 2: You know to get that call, because what.

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Speaker 6: Happens is, you know, John and I we've known each

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Speaker 6: other for a long time, but we know each other

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Speaker 6: as people, not as in the business. We don't have

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Speaker 6: business relations like that. But the way that I could

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Speaker 6: tell he was smiling, it was like they knew who

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Speaker 6: to sin, like you know what I mean, they knew

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Speaker 6: who to sin because he's so much about his artists,

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Speaker 6: about publishing, about what he's put into the game. And

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Speaker 6: so I know I always knew that he had respect

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Speaker 6: for me. But whoever made the call to say John

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Speaker 6: should be the person to make that call from me.

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Speaker 2: That was it.

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Speaker 6: And so we just we have that moment that is

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Speaker 6: really really special and unique that I just feel like

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Speaker 6: they whoever whoever came up with notifying him notifying me,

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Speaker 6: kudos to them.

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Speaker 4: When you get like a jacket, you like what they

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Speaker 4: call it, a busk.

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Speaker 3: It's just like when when they make it like this.

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Speaker 2: I know, I know there's a museum.

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Speaker 6: I'm not exactly sure what it's going to be, but

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Speaker 6: the the ceremonies in June, June eleventh and New York,

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Speaker 6: I believe it is. And so I remember going to

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Speaker 6: this when Ralph Pierre, when I was signing a Pure

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Speaker 6: Music it was there.

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Speaker 5: And this is a major, major deal, you know, And

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Speaker 5: this is not a lot.

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Speaker 6: It's less than four hundred people in this club, right,

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Speaker 6: and so this is a this is just something to

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Speaker 6: be what you think of all the songwriters that people

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Speaker 6: that write songs and to just get included in a nomination.

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Speaker 5: It's just it's an unbelievable feeling. Dude, thank you, thank you.

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Speaker 2: And she's amazing to see one of us. Yeah, you

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Speaker 2: know what I'm saying.

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Speaker 6: Like, man, Yeah, and it's you know, obviously, I think,

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Speaker 6: you know, in the idea of getting things in an

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Speaker 6: inclusive manner, like, there's definitely some I can feel that

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Speaker 6: there's you know, with Jermaine going in recently, the Dallas

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Speaker 6: going in, Rodney Jerkins was just acknowledging. It feels good

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Speaker 6: to know that our music is reaching the masses, being

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Speaker 6: accepted by the masses, and then you're being able to

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Speaker 6: tell that there's a craftsman, there's a there's a craft

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Speaker 6: that goes here. And so I look forward to I

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Speaker 6: think there's a lot of people that are going to

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Speaker 6: get in into this to the Hall of Fame. Now

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Speaker 6: that the that it's a little bit more diverse, I.

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Speaker 3: Think, yeah, I mean, I think, well, I don't know

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Speaker 3: about a lot of people, but.

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Speaker 2: I mean you.

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Speaker 5: Would have to see some of the people who aren't

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Speaker 5: on there.

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Speaker 3: You know what I'm saying of people, You know what

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Speaker 3: I'm saying, But I but I but as you say

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Speaker 3: the word in inclusion, you know what I'm saying. I

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Speaker 3: think there we we've come to a place to where

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Speaker 3: the respect and the appreciation and the acknowledged acknowledgment of

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Speaker 3: who we are and what we've done like this. It's

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Speaker 3: a real thing. And we've fought for that for so

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Speaker 3: long in so many different avenues of entertainment.

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Speaker 6: Absolutely, and I think from my perspective, I could be

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Speaker 6: completely wrong on this, but I think Nole Rogers being

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Speaker 6: there as the chairman has a lot to do with it.

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Speaker 6: Nile Rogers for in you know, overall context of our

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Speaker 6: relationship and how that ties in when the catalog sales

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Speaker 6: started going crazy and everybody started selling and we did

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Speaker 6: our I did it my catalog deal. I did it

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Speaker 6: with hypnosis, which was now Rogers and mercuriatis right, and

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Speaker 6: so they are part of I believe in the sense

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Speaker 6: of they started giving black music top dollar, right, top dollar,

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Speaker 6: like people were not selling in distress, people were not

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Speaker 6: selling because they were broke. There was you know, that

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Speaker 6: was a kind of a vibe of why a lot

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Speaker 6: of times black copyrights ended up in other people's hands.

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Speaker 6: And this is what was the first time where they

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Speaker 6: were coming around going these multiples. They we were getting

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Speaker 6: paid with those songs actually meant to the generation having

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Speaker 6: Beyonce cuts, Rihanna cuts, Justin Bieber cuts.

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Speaker 2: It wasn't it was right. It had to be.

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Speaker 6: They were paying for the songs of the generations like

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Speaker 6: people paid for the rolling Stones, and they weren't making

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Speaker 6: a differential between the artistry being And so I think

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Speaker 6: that kind of influence has helped, you know, this whole,

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Speaker 6: this moment that I'm going to be able to say

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Speaker 6: became possible. It's just having someone that understood what I did,

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Speaker 6: that came up and then ended up as as in

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Speaker 6: that room as the chairman, so super excited and thank

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Speaker 6: you to everybody that voted in there.

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Speaker 2: Yeah that's incredible, bro. Yeah, is he like? Is he like?

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Speaker 2: Is Big John like the.

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Speaker 3: I mean, especially for all three of us in this room,

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Speaker 3: we can speak to it. He's been important for all

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Speaker 3: of us. Big John's Yoda's Big Yoda.

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Speaker 4: Big John is Yoda.

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Speaker 5: Bro that his influence is crazy.

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Speaker 4: And his aura, Yes right, because he's such.

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Speaker 3: He's such a good person in a business that is

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Speaker 3: painted in such a dark way. Yep, Big John is

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Speaker 3: a light and it's always been a light every single

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Speaker 3: time I've met him, when I had no accolades at all,

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Speaker 3: to maybe having a placement then getting some more things

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Speaker 3: going in just throughout the process of my career personally,

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Speaker 3: he's always been the same, gracious, an amazing guy to me.

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Speaker 5: Absolutely well.

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Speaker 6: Let me tell you one of the things that he's

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Speaker 6: done with us that has just made it amazing is

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Speaker 6: that one day a couple I don't even know, maybe

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Speaker 6: seven years ago now, we were out here. I was

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Speaker 6: out here during this time like Grammy week, and we

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Speaker 6: were just talking. I was like, you said, John, you know,

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Speaker 6: they're really pulling the investment out of Atlanta, Like you know,

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Speaker 6: like it's like it's we're not a rap town.

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Speaker 5: We got pop songs.

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Speaker 6: I was like, this is the home of we Belong Together,

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Speaker 6: an umbrella and fireworks and all these great songs.

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Speaker 5: And I was like, we're not. We don't have anybody there.

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Speaker 6: So the street influence is really like taking y'all think

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Speaker 6: we can rap, and so I'm like, no, it's so John.

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Speaker 5: John came.

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Speaker 6: He came down there because you know, he has so

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Speaker 6: much success early with Dallas and Jermaine in that region.

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Speaker 6: He came down there, we walked the space and the

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Speaker 6: place that people talk about red Zone that is now

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Speaker 6: Sony Music Publishing in Atlanta.

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Speaker 2: Oh wow.

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Speaker 6: And so he's been down there planning seeds with songwriters,

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Speaker 6: brought the investment back to Atlanta, uh, brought there and

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Speaker 6: and at the same time put us in a position

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Speaker 6: to be like, hey, we have a corporate we have

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Speaker 6: a corporate relationship in Atlanta. These these are like huge

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Speaker 6: things that you know, if not you, then who you

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Speaker 6: know what I mean. And so John understands that responsibility.

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Speaker 6: It's just been great to have those types of in

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Speaker 6: these types of connections with him because it hasn't you know,

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Speaker 6: I haven't you know, I've always been with the team

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Speaker 6: that I've been with from a publishing standpoint, so our

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Speaker 6: worlds don't cross, but that respect has always been mutual.

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Speaker 2: Absolutely, that's I mean, bringing bringing industry. Yeah. Yeah.

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Speaker 3: It's funny though, because he's like, yeah, you know, because

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Speaker 3: it's it's.

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Speaker 4: R and B and popular. Man, you did.

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Speaker 2: Who that I'm going to say? You can't put j

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Speaker 2: T money?

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Speaker 4: Yes, yes, listen man, problem.

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Speaker 2: That No, no, no, that was I was talking recently, of course.

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Speaker 6: Yes, my first my first hit was who that Like,

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Speaker 6: that was my major hit and I love that record,

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Speaker 6: Thank you man. That was a man that was just

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Speaker 6: the old days, just coming from the Strip club and

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Speaker 6: having too much to drake.

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Speaker 2: And that song was part of my show. Yeah.

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Speaker 3: So when I used to have radio songs in my

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Speaker 3: show who, that was one of the radio songs in

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Speaker 3: my show.

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Speaker 2: You know what's on that? So you have to.

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Speaker 3: Program it programming and it just was what it was

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Speaker 3: once you got there, no changing when.

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Speaker 2: You turned crazy. You kill your boy. I read that today.

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Speaker 2: I know you did that. Yes, you know that.

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Speaker 4: You know that's dirty South than Yeah, yeah, he got

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Speaker 4: he got dirty.

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Speaker 2: Shout out to j.

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Speaker 6: All of it, you know, and Dallas us to put

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Speaker 6: that record off for me, him and Tony Mercedes. That

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Speaker 6: was an independent record, like they put the money up

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Speaker 6: and eventually put it out with a priority over at Capitol,

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Speaker 6: but they started that whole thing independent. They would allow

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Speaker 6: me to break Sole off of that. That's how Sole

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Speaker 6: ended up becoming my first artist.

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Speaker 2: Oh yeah, was your first artist.

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Speaker 6: Yeah, that was the first thing that you know, I

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Speaker 6: put out on my label, like with Gerald Busby and

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Speaker 6: dream Works when they went over there to start and

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Speaker 6: so yeah, and then.

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Speaker 3: Listen, I've been around you but not been in front

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Speaker 3: of you for so long. Yeah, because I remember all

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Speaker 3: the dream Work stuff because I was at DreamWorks with

225
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Speaker 3: Jason and Terry and with Dreno. Yeah, I'm there at

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Speaker 3: DreamWorks every day, just walking around and just never ran

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Speaker 3: into you.

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Speaker 6: I'm never in the label. I'm always in the studio, okay.

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Speaker 6: And it's one of the things that kind of works

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Speaker 6: for me and it works against me. It's like I've

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Speaker 6: been in a studio my whole life, but at the

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Speaker 6: same time, I've always built my own studio, and so

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Speaker 6: I don't have a lot of cross polonization with people

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Speaker 6: just naturally of like, you know, I've always built a world.

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Speaker 6: I've always been into world building and signing and finding

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Speaker 6: and discovery, and so, you know, some of the time

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Speaker 6: sometimes people think you don't know this person. I'll be like,

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Speaker 6: you're not gonna believe this, but I don't. We've never met,

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Speaker 6: and it's not it hasn't been intentional. But after making

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Speaker 6: records for thirty years in rooms by yourself, you know,

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Speaker 6: or just with a person or two, Because even as

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Speaker 6: it pertains to like collaboration, I'm not like a two

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Speaker 6: to three person like I'm a me and you like,

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Speaker 6: you know, it's like it's always just been me and

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Speaker 6: the other person, you know, or maybe just a third party.

246
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Speaker 6: But it's always been a very intimate process for me

247
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Speaker 6: being a creative because I don't know, it feels like

248
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Speaker 6: it feels like a real thing when I'm in the room.

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Speaker 6: So it's like it just feels It's always been a

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Speaker 6: situation where I felt like I'm not giving this shit

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Speaker 6: out to everybody. I honestly don't even like letting people

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Speaker 6: watch me work, and you know, so that's kind of

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Speaker 6: how that all started. And so I wish we knew

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Speaker 6: each other, brother, because you're from Milwaukee. I've always rooted

255
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Speaker 6: for you. I've always loved your records. There's records that

256
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Speaker 6: you've made that I've studied, like just like that I

257
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Speaker 6: deserve record in particular. I remember when I came out

258
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Speaker 6: and I would just be in my hotel room. I

259
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Speaker 6: would just get super hoth and just listen to that

260
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Speaker 6: record about at least like thirty or forty times in

261
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Speaker 6: a row before I would just go make a record,

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Speaker 6: like you know what I mean, Just like that was

263
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Speaker 6: just part of my process, like being in Las Vegas.

264
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Speaker 6: When we live in Vegas, people talk about that era

265
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Speaker 6: of trick and Dream and all that, like that was

266
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Speaker 6: part of the process. Just smoking a lot in the

267
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Speaker 6: bathroom because I love the way the reflections of music

268
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Speaker 6: sounds and them big ass marble bathrooms. But that was

269
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Speaker 6: that record in that time period. And also obviously you

270
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Speaker 6: know that the remake that you did I Can't Make

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Speaker 6: You Love Me, that's just like you know, those are

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Speaker 6: those are just like you know, two of the I mean,

273
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Speaker 6: I think those are two of the best records, you know,

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Speaker 6: from my personal taste.

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Speaker 3: Like well, we've been talking about it and going back

276
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Speaker 3: and forth about it, and I feel like since I'm

277
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Speaker 3: I'm part of your Hall of Fame career, and yes,

278
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Speaker 3: it's time it's time to actually get on the books

279
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Speaker 3: and have and have some Hall of Fame Tricky Stewart

280
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Speaker 3: music in my repertoire.

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Speaker 2: You understand what I'm saying.

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Speaker 5: Yeah, it's time I called you.

283
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Speaker 2: Remember, I know, I know it's I know it's gonna

284
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Speaker 2: be expensive.

285
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Speaker 3: If there's a you know, but it's no way, Let's

286
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Speaker 3: do it, man, It's no way, It's time. It's no

287
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Speaker 3: let's let's go. Let's let's go to early tricky. Yeah,

288
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Speaker 3: let's get to Chicago. Let's go to Chicago, because let's

289
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Speaker 3: go to where you you decided, Uh, this is what

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Speaker 3: I'm going to do.

291
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Speaker 6: When I decided what I was going to do, I

292
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Speaker 6: was a football player, right like, and so I'm everything

293
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Speaker 6: for the red zone. It's all football references. I play

294
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Speaker 6: quarterback my whole life.

295
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Speaker 2: You play quarterback, yeah, life.

296
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Speaker 6: And so what ended up happening was I was getting

297
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Speaker 6: recruited by like I got recruited to high school. It

298
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Speaker 6: was starting to get to that point. It was freshman year.

299
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Speaker 6: Everybody came back after freshman year. Everybody was six fourth,

300
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Speaker 6: We was all the same height. Everybody was six three,

301
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Speaker 6: six four. Everything changed, Yeah, And it was just one

302
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Speaker 6: of those things that I was like, Okay, chances of

303
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Speaker 6: me making it at quarterback, we're gonna be slim. I

304
00:16:01,160 --> 00:16:02,760
Speaker 6: was probably good enough, you know, it would have been

305
00:16:02,800 --> 00:16:04,120
Speaker 6: one of those things that they'd be like, we changed

306
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Speaker 6: the position.

307
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Speaker 5: I turned out a corner.

308
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Speaker 6: I didn't want to do anything other than the quarterback,

309
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Speaker 6: right And so it was just a very instant, instant change.

310
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Speaker 5: And that led me to why I quit high school.

311
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Speaker 2: That led me to.

312
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Speaker 4: Quit quit high school, not just football.

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Speaker 5: I quit high school in football simultaneously.

314
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Speaker 2: Excuse me, h, I mean, just think about my parents, Like,

315
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Speaker 2: how are you love?

316
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Speaker 6: The thing is my brother, my brother Laney was had

317
00:16:35,400 --> 00:16:41,240
Speaker 6: started like moving downtown records and doing records at night

318
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Speaker 6: and writing commercials during the day and all that kind

319
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Speaker 6: of stuff. So him and Kook had started like breaking

320
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Speaker 6: out doing their thing, and so ultimately, I mean, I

321
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Speaker 6: have to say, you know, as far as like quitting

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Speaker 6: school in Chicago, that's not it's not a good thing.

323
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Speaker 6: It's but it's not that uncommon because there's some very

324
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Speaker 6: terrible things about going to school in Chicago that when

325
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Speaker 6: I went to school, Like, for instance, your first period,

326
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Speaker 6: you have to you had to go to swimming class. Right,

327
00:17:15,520 --> 00:17:18,399
Speaker 6: if you could imagine your first you know, you're not

328
00:17:18,440 --> 00:17:22,320
Speaker 6: gonna graduate unless you unless you unless you go to

329
00:17:22,680 --> 00:17:25,639
Speaker 6: Now if you can imagine at six oh five in

330
00:17:25,680 --> 00:17:27,879
Speaker 6: the morning when school would start for an athlete, that

331
00:17:28,000 --> 00:17:31,040
Speaker 6: my first period would be me jumping in this pool

332
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Speaker 6: after the thirty below or twenty below or ten below.

333
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Speaker 6: But let's do this first hair all dried out for

334
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Speaker 6: the rest of the day, looking crazy.

335
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Speaker 5: So like I was like, as soon as it didn't

336
00:17:43,520 --> 00:17:43,880
Speaker 5: make sense.

337
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Speaker 6: As soon as the sacrifice, the juice wasn't gonna be

338
00:17:46,040 --> 00:17:48,440
Speaker 6: worth the squeeze, I was gonna get out of there,

339
00:17:48,480 --> 00:17:52,560
Speaker 6: and so well, not once football wasn't the carrot anymore. Yea,

340
00:17:52,800 --> 00:17:56,280
Speaker 6: the music quickly because I grew up in church. My

341
00:17:56,320 --> 00:17:59,840
Speaker 6: mom's a choir director, we like, I played drums in church.

342
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Speaker 6: My whole family does music like and so I was

343
00:18:02,720 --> 00:18:06,000
Speaker 6: just a round music in every possible way that you

344
00:18:06,000 --> 00:18:08,560
Speaker 6: could think, from the Ohio players producing my mother and

345
00:18:08,600 --> 00:18:12,000
Speaker 6: her and her sister's albums like at my house to

346
00:18:12,359 --> 00:18:15,639
Speaker 6: just being at in sessions just you know, That's the

347
00:18:15,680 --> 00:18:18,080
Speaker 6: way I grew up. And then between quir rehearsal and

348
00:18:18,160 --> 00:18:21,359
Speaker 6: secular music, just kind of being integrated in both.

349
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Speaker 2: And so when I found out.

350
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Speaker 6: It wasn't gonna grow, it was like it was a

351
00:18:26,320 --> 00:18:31,199
Speaker 6: race against time for me, right because I knew I

352
00:18:31,200 --> 00:18:35,680
Speaker 6: had a extreme, extreme focus, right, like as a quarterback,

353
00:18:35,720 --> 00:18:37,960
Speaker 6: like as an athlete, if you can imagine like somebody

354
00:18:38,000 --> 00:18:40,240
Speaker 6: just having an extreme focus and just putting it on

355
00:18:40,320 --> 00:18:42,760
Speaker 6: something else, like it was just it was just a

356
00:18:43,600 --> 00:18:44,080
Speaker 6: was sure.

357
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Speaker 5: I just transferred the thing.

358
00:18:47,119 --> 00:18:52,280
Speaker 6: And so by the time I was sixteen and seventeen

359
00:18:52,359 --> 00:18:57,080
Speaker 6: years old, Laney had things going on back and forth

360
00:18:57,119 --> 00:19:00,240
Speaker 6: between Los Angeles and you know, coming out here working

361
00:19:00,280 --> 00:19:03,600
Speaker 6: for Little Silas Junior, working on the early Chante More albums,

362
00:19:03,640 --> 00:19:06,840
Speaker 6: working on Aaron Hall's album, you know, the record where

363
00:19:06,840 --> 00:19:08,879
Speaker 6: that I Miss You and all that, Like I saw

364
00:19:09,160 --> 00:19:12,439
Speaker 6: that was I saw those records happen like you know,

365
00:19:12,920 --> 00:19:14,879
Speaker 6: that was the stuff I was coming out here for.

366
00:19:15,000 --> 00:19:17,560
Speaker 6: And it's like during those days, in the early days,

367
00:19:17,800 --> 00:19:20,760
Speaker 6: you know, once I finally got put on that, I

368
00:19:20,800 --> 00:19:23,640
Speaker 6: got put on and I got my salary. Forty five

369
00:19:23,680 --> 00:19:26,640
Speaker 6: dollars a week, come on, forty five ninety dollars every

370
00:19:26,680 --> 00:19:28,520
Speaker 6: two weeks, one hundred and eighty dollars a month.

371
00:19:28,600 --> 00:19:29,879
Speaker 2: That's what That's what it added up.

372
00:19:29,920 --> 00:19:30,040
Speaker 3: You know.

373
00:19:30,400 --> 00:19:33,240
Speaker 4: Yeah, listen, hey, I see you doing your numbers.

374
00:19:33,480 --> 00:19:33,600
Speaker 7: Now.

375
00:19:33,840 --> 00:19:38,400
Speaker 6: Now, hey, you didn't quit school too early because because

376
00:19:38,440 --> 00:19:42,480
Speaker 6: there's a relative point too. It's like I remember Laney

377
00:19:42,560 --> 00:19:44,919
Speaker 6: was coming out here to do a McDonald's commercial for BBD.

378
00:19:45,119 --> 00:19:48,920
Speaker 6: This is when poison is out right, and so no, no, no, no,

379
00:19:49,400 --> 00:19:53,000
Speaker 6: a guy. Yeah yeah, and so lady at this time

380
00:19:53,160 --> 00:19:56,480
Speaker 6: is like twenty two and we're eight years apart.

381
00:19:56,520 --> 00:19:59,000
Speaker 5: So whatever that is, you know, he's twenty three and.

382
00:19:59,040 --> 00:20:03,640
Speaker 6: So ultimate I'm doing everything i can to not miss

383
00:20:03,680 --> 00:20:07,400
Speaker 6: a session. I'm taking the train, everything like I'm I'm

384
00:20:07,440 --> 00:20:10,280
Speaker 6: just making it happen. And I also want to say,

385
00:20:10,320 --> 00:20:12,560
Speaker 6: during that time, it was tricky and suck. So I'm

386
00:20:12,600 --> 00:20:14,879
Speaker 6: doing these things. And the other part that happened was

387
00:20:15,400 --> 00:20:17,840
Speaker 6: me and my cousin we quit school together.

388
00:20:18,680 --> 00:20:21,280
Speaker 3: Tricky in suck, like my you know what I'm saying

389
00:20:21,320 --> 00:20:25,560
Speaker 3: by myself. Yeah, so I had like a partner. What's

390
00:20:25,560 --> 00:20:28,639
Speaker 3: that accountability something like we quitting together? Yeah, I had

391
00:20:28,680 --> 00:20:29,080
Speaker 3: a partner.

392
00:20:32,080 --> 00:20:33,840
Speaker 6: No, it was actually, believe it or night, it was

393
00:20:33,840 --> 00:20:35,880
Speaker 6: actually my mother and my brothers that took me out

394
00:20:35,880 --> 00:20:38,159
Speaker 6: of school. I say that I quit, but I actually

395
00:20:38,160 --> 00:20:39,959
Speaker 6: didn't quit. I got up to go to school one

396
00:20:40,040 --> 00:20:42,960
Speaker 6: day and my mother was like, there's nothing else up.

397
00:20:42,920 --> 00:20:43,320
Speaker 2: There for you.

398
00:20:44,280 --> 00:20:46,560
Speaker 6: She's like, we took you to school. Yeah, She's like,

399
00:20:46,600 --> 00:20:47,600
Speaker 6: we took you out of school.

400
00:20:48,240 --> 00:20:48,600
Speaker 2: Wow.

401
00:20:48,640 --> 00:20:51,040
Speaker 6: And so from that point on, I started going to

402
00:20:51,080 --> 00:20:54,680
Speaker 6: the studio every single every single day. And it was

403
00:20:54,800 --> 00:20:57,840
Speaker 6: about an hour away, you know, like in the cold,

404
00:20:57,960 --> 00:21:00,199
Speaker 6: doing all that. But it's like they would pick me

405
00:21:00,280 --> 00:21:02,240
Speaker 6: up eight o'clock. I was still a kid, so I

406
00:21:02,240 --> 00:21:06,119
Speaker 6: didn't have the discipline or anything to really understand like

407
00:21:06,480 --> 00:21:08,919
Speaker 6: getting up and being prepared. So I would literally just

408
00:21:09,000 --> 00:21:11,439
Speaker 6: get in my in the back of the car like

409
00:21:11,520 --> 00:21:14,280
Speaker 6: in a robe and just close, like you know, just

410
00:21:14,440 --> 00:21:18,639
Speaker 6: completely dishovel, just trying to get there, but not really

411
00:21:18,680 --> 00:21:21,080
Speaker 6: taking the I knew to get there, but I wasn't

412
00:21:21,119 --> 00:21:24,040
Speaker 6: like professional in any sort of way. So I just

413
00:21:24,040 --> 00:21:26,600
Speaker 6: started getting my ass to the studio and I realized

414
00:21:27,000 --> 00:21:29,960
Speaker 6: that I loved it. It was something that I could do,

415
00:21:30,200 --> 00:21:32,240
Speaker 6: like because I had just been around it so much,

416
00:21:32,240 --> 00:21:35,800
Speaker 6: and I love music like I've just always loved music

417
00:21:35,840 --> 00:21:40,280
Speaker 6: so much. And it's if it wasn't going to be football,

418
00:21:40,480 --> 00:21:42,919
Speaker 6: it was gonna be this. And so now I've just

419
00:21:43,000 --> 00:21:46,640
Speaker 6: dedicated my life to both equally, even though I don't

420
00:21:46,640 --> 00:21:50,320
Speaker 6: play football. You would be surprised. People are surprised at

421
00:21:50,520 --> 00:21:53,600
Speaker 6: how much that plays a part in mind in my

422
00:21:53,600 --> 00:21:54,320
Speaker 6: brother's lives.

423
00:21:54,520 --> 00:21:57,840
Speaker 2: Yeah read z, Yeah it makes sense. I did not

424
00:21:58,119 --> 00:22:10,159
Speaker 2: prefet to get you said that. So now you're going

425
00:22:10,200 --> 00:22:11,679
Speaker 2: back and forth to LA with Laney.

426
00:22:12,480 --> 00:22:15,200
Speaker 6: I'm tagging along. I'm not going back and forth. I'm

427
00:22:15,240 --> 00:22:18,359
Speaker 6: not necessarily being given the invite. I'm just not being

428
00:22:18,400 --> 00:22:22,120
Speaker 6: told no, right like it's not it's not like I'm

429
00:22:22,160 --> 00:22:22,880
Speaker 6: being invited.

430
00:22:22,960 --> 00:22:25,480
Speaker 2: It's the crazy thing is the reason why.

431
00:22:25,520 --> 00:22:28,920
Speaker 6: The reason why Mama said, the reason why I referenced

432
00:22:28,960 --> 00:22:31,320
Speaker 6: that that amount of money is because I remember I

433
00:22:31,359 --> 00:22:34,320
Speaker 6: had to go to my kitty, Jason Weaver's mom, and

434
00:22:34,440 --> 00:22:37,000
Speaker 6: I was like, Jason Weaver, my cousin.

435
00:22:37,680 --> 00:22:42,040
Speaker 3: Okay, yeah, who also negotiated to make sure her son?

436
00:22:42,440 --> 00:22:45,000
Speaker 3: Yeah yeah, yeah, yeah, okay, this is okay. I love

437
00:22:45,240 --> 00:22:48,120
Speaker 3: I love what these mothers are doing. Yeah, our mothers.

438
00:22:48,160 --> 00:22:54,200
Speaker 6: Listen, our mother's kitty, mary Anne and Vivian, like Cooch's mom,

439
00:22:54,320 --> 00:22:58,240
Speaker 6: Vivian rest Our soul Kitty and my mom kitty and

440
00:22:58,280 --> 00:23:01,320
Speaker 6: the Heywoods, yeah, like giving something he can feel and

441
00:23:01,359 --> 00:23:04,199
Speaker 6: all that. That's them with Aretha Franklin, all the Curtis

442
00:23:04,200 --> 00:23:07,520
Speaker 6: Mayfield records, like all that stuff, like you know, you're

443
00:23:07,560 --> 00:23:11,680
Speaker 6: not just flying, you're flying the friendly skies like Jason's moms. Yeah,

444
00:23:12,600 --> 00:23:15,440
Speaker 6: like Coke is it my uncles and my cousin Throke,

445
00:23:15,560 --> 00:23:18,320
Speaker 6: all those like spots, like we were heavy in jingles

446
00:23:18,359 --> 00:23:21,960
Speaker 6: before jingles was the main business in Chicago. That's why,

447
00:23:22,280 --> 00:23:25,080
Speaker 6: Like so, I mean, this story goes on and on

448
00:23:25,160 --> 00:23:25,760
Speaker 6: and on, like.

449
00:23:25,760 --> 00:23:27,840
Speaker 4: If they had the agencies in Chicago.

450
00:23:27,960 --> 00:23:30,440
Speaker 5: Yeah, so the stories go on and on and on.

451
00:23:30,480 --> 00:23:33,960
Speaker 6: But you know, the story of the record business starts

452
00:23:34,119 --> 00:23:39,439
Speaker 6: with Laney and Mark and Judy and that team like

453
00:23:39,560 --> 00:23:43,720
Speaker 6: really starting to get Laney's career. You know, we were all,

454
00:23:44,359 --> 00:23:47,600
Speaker 6: you know, just trying to catch the wave like with Laney,

455
00:23:47,640 --> 00:23:52,000
Speaker 6: because Laney was like Lady was like a phenom. Like

456
00:23:52,040 --> 00:23:56,080
Speaker 6: you remember like when Brodney Jerkins came out. It was

457
00:23:56,160 --> 00:23:57,760
Speaker 6: like that at that time.

458
00:23:57,800 --> 00:23:58,360
Speaker 5: You know what I'm saying.

459
00:23:58,359 --> 00:24:00,280
Speaker 3: You unders saying, I come from a kid group, right,

460
00:24:00,280 --> 00:24:04,639
Speaker 3: and we were signing records, which Little Silas signed our deal. Okay,

461
00:24:04,680 --> 00:24:09,320
Speaker 3: so we were waiting to get in with Laney Stewart

462
00:24:09,359 --> 00:24:10,639
Speaker 3: at one point, you know what I mean when we

463
00:24:10,720 --> 00:24:12,720
Speaker 3: you know what I mean, like the whole So all

464
00:24:12,760 --> 00:24:14,680
Speaker 3: of this for me, I'm like I'm listening as you're talking.

465
00:24:14,720 --> 00:24:19,359
Speaker 3: I'm like, yeah, yeah, Laney Stewart, Yeah Yeah, it's a lot.

466
00:24:19,480 --> 00:24:20,719
Speaker 2: It's a lot to the story.

467
00:24:21,400 --> 00:24:24,840
Speaker 6: And I've just been you know, I've been blessed to

468
00:24:24,880 --> 00:24:27,960
Speaker 6: just keep keep moving, you know what I mean. It's

469
00:24:28,040 --> 00:24:30,840
Speaker 6: it's a lot of crossroads and doing it for as

470
00:24:30,880 --> 00:24:34,359
Speaker 6: long and as as much as it's changed. But you know,

471
00:24:34,840 --> 00:24:37,760
Speaker 6: the love of it and the ability to focus. I

472
00:24:37,800 --> 00:24:40,280
Speaker 6: think really just has made it where.

473
00:24:40,480 --> 00:24:40,679
Speaker 2: You know.

474
00:24:40,720 --> 00:24:42,160
Speaker 5: I was telling somebody I worked.

475
00:24:42,000 --> 00:24:42,600
Speaker 2: With the other day.

476
00:24:42,640 --> 00:24:44,480
Speaker 6: I can't remember who exactly, but I was just like, man,

477
00:24:44,920 --> 00:24:46,800
Speaker 6: I feel like I have never made a record before.

478
00:24:46,840 --> 00:24:49,159
Speaker 6: It's like I have that type of energy like and

479
00:24:49,240 --> 00:24:51,760
Speaker 6: I don't know, I don't know where it came from.

480
00:24:51,840 --> 00:24:54,400
Speaker 2: I didn't have it like that like eight years ago.

481
00:24:55,040 --> 00:24:57,480
Speaker 6: But it's like I'm like, I feel like I haven't

482
00:24:57,520 --> 00:24:59,160
Speaker 6: done this yet, Like you know what I mean. It's

483
00:24:59,200 --> 00:25:02,680
Speaker 6: like I'm like, I'm capable after.

484
00:25:03,560 --> 00:25:05,280
Speaker 3: Hit the Hall of Fame, after you hit the Hall

485
00:25:05,320 --> 00:25:07,200
Speaker 3: of Fame, I'm capable of a run.

486
00:25:07,280 --> 00:25:11,359
Speaker 5: I'm capable of I'm capable. I mean, I'm capable of

487
00:25:11,400 --> 00:25:11,720
Speaker 5: a run.

488
00:25:11,800 --> 00:25:14,479
Speaker 6: I feel I feel very good saying that, just because

489
00:25:14,480 --> 00:25:16,399
Speaker 6: I know what I'm doing. I know what I'm working on,

490
00:25:17,000 --> 00:25:19,960
Speaker 6: Like you know, it's been it's been. I mean we've

491
00:25:19,960 --> 00:25:21,920
Speaker 6: been doing We've been doing stuff, you know what I mean.

492
00:25:21,960 --> 00:25:25,439
Speaker 6: And it's like, you know, whether it's the stuff that

493
00:25:25,440 --> 00:25:27,920
Speaker 6: I did on Money Longs last record, I think, really.

494
00:25:27,720 --> 00:25:31,159
Speaker 3: Don't take me yeah, because we got to get to

495
00:25:31,160 --> 00:25:36,440
Speaker 3: the first Yeah, yeah, take me from Okay, you you

496
00:25:36,440 --> 00:25:37,600
Speaker 3: your Lady's Cotel.

497
00:25:37,800 --> 00:25:40,200
Speaker 2: Yeah, you know you you're.

498
00:25:40,000 --> 00:25:43,320
Speaker 3: Finding it, you're figuring it out, you know what I'm saying,

499
00:25:43,880 --> 00:25:47,680
Speaker 3: working on your professionalism, your studio etiquette. All the coolsnted

500
00:25:47,720 --> 00:25:53,520
Speaker 3: eighty a month and eighty a month. Yeah, when when

501
00:25:53,560 --> 00:26:00,760
Speaker 3: does it become you where it's like, oh, it's time

502
00:26:00,800 --> 00:26:04,600
Speaker 3: for me to either take the lead and whatever this is,

503
00:26:05,080 --> 00:26:07,439
Speaker 3: or kind of step out on my own and do something.

504
00:26:09,560 --> 00:26:11,679
Speaker 5: Oh well, let's see.

505
00:26:12,760 --> 00:26:13,520
Speaker 2: I think.

506
00:26:15,040 --> 00:26:17,639
Speaker 6: I think there was some There was some circumstances that

507
00:26:17,760 --> 00:26:19,600
Speaker 6: led to that, like in the sense when we got

508
00:26:19,600 --> 00:26:22,879
Speaker 6: out here to La, when we moved out here, like

509
00:26:23,200 --> 00:26:25,280
Speaker 6: we had some deals fall through. And when I say we,

510
00:26:25,400 --> 00:26:28,240
Speaker 6: I mean particularly Laney had some deals fall through. And

511
00:26:29,040 --> 00:26:32,080
Speaker 6: there was there was some drama with a company that

512
00:26:32,200 --> 00:26:35,720
Speaker 6: kind of had promised, you know something when we got here,

513
00:26:35,960 --> 00:26:38,800
Speaker 6: and they kind of snatched the rug by the time

514
00:26:38,840 --> 00:26:40,560
Speaker 6: we got here, and it was basically, you know, there's

515
00:26:40,560 --> 00:26:43,200
Speaker 6: no cell phones or anything, and so we're moving across

516
00:26:43,200 --> 00:26:46,840
Speaker 6: the country and they're like, I'm seventeen at this point.

517
00:26:47,160 --> 00:26:50,639
Speaker 6: We got three U hauls in about ten cars of

518
00:26:50,840 --> 00:26:52,679
Speaker 6: people coming and we get out here, the rug kind

519
00:26:52,680 --> 00:26:55,200
Speaker 6: of gets pulled from under us, and so what ended

520
00:26:55,280 --> 00:26:58,480
Speaker 6: up happening is it kind of got into a situation

521
00:26:58,600 --> 00:27:01,800
Speaker 6: where it was like it went from we were all

522
00:27:01,840 --> 00:27:06,560
Speaker 6: working too, we had to kind of figure it out.

523
00:27:07,480 --> 00:27:11,280
Speaker 6: And so what ended up happening because when we left Chicago,

524
00:27:12,359 --> 00:27:18,359
Speaker 6: ultimately it was a situation where we were all working

525
00:27:18,400 --> 00:27:23,320
Speaker 6: for Laney still, but when we got out here, things

526
00:27:23,400 --> 00:27:28,280
Speaker 6: kind of they changed. And so when they got here,

527
00:27:28,880 --> 00:27:32,800
Speaker 6: that's when the birth of Tricky and sept happened. And

528
00:27:32,840 --> 00:27:37,359
Speaker 6: that's when Judy and Mark really joined the team because

529
00:27:37,400 --> 00:27:39,640
Speaker 6: we were all just kind of figuring it out. But

530
00:27:39,880 --> 00:27:42,280
Speaker 6: Lady wasn't in a position with the thing that just

531
00:27:42,520 --> 00:27:45,119
Speaker 6: that kind of kind of happened. He wasn't in a

532
00:27:45,119 --> 00:27:48,080
Speaker 6: position to really take care of us the way that

533
00:27:48,560 --> 00:27:50,280
Speaker 6: he was going to take care of us, you know,

534
00:27:50,440 --> 00:27:53,040
Speaker 6: as if we had a studio. The studio situation that

535
00:27:53,080 --> 00:27:55,560
Speaker 6: we had went away. He said, we had to figure

536
00:27:55,600 --> 00:27:57,560
Speaker 6: out a studio, and that's how we ended up at

537
00:27:57,600 --> 00:28:01,119
Speaker 6: back Room, and that's where the you know, some of

538
00:28:01,160 --> 00:28:03,920
Speaker 6: that stuff starts with my relationship with Brian McKnight and

539
00:28:04,000 --> 00:28:05,720
Speaker 6: Robin Think and all that kind of stuff, but it

540
00:28:05,760 --> 00:28:08,640
Speaker 6: really started from the idea that when we got out here,

541
00:28:08,720 --> 00:28:11,520
Speaker 6: it kind of had to grow up quickly. And you

542
00:28:11,600 --> 00:28:13,680
Speaker 6: know it was it was rough. When I first got

543
00:28:13,680 --> 00:28:16,919
Speaker 6: out here. It was you know, I went from like

544
00:28:17,000 --> 00:28:18,800
Speaker 6: it wasn't that I was living good, but I was

545
00:28:18,840 --> 00:28:19,680
Speaker 6: living protected.

546
00:28:19,760 --> 00:28:21,480
Speaker 2: And then I just remember at one.

547
00:28:21,280 --> 00:28:23,879
Speaker 6: Point, you know, I used to live up here on

548
00:28:23,960 --> 00:28:28,360
Speaker 6: seventy five seventy thirty five Woodley with two prostitutes.

549
00:28:28,440 --> 00:28:30,119
Speaker 5: You know, when I first got out here. You know

550
00:28:30,160 --> 00:28:31,040
Speaker 5: what I mean, like you do.

551
00:28:31,200 --> 00:28:34,720
Speaker 8: What you know, It's like I just yeah, yeah, you

552
00:28:34,760 --> 00:28:36,360
Speaker 8: know that's you know, that's the take.

553
00:28:36,840 --> 00:28:37,879
Speaker 2: You don't wait to change.

554
00:28:37,920 --> 00:28:38,160
Speaker 7: Man.

555
00:28:38,520 --> 00:28:40,760
Speaker 2: Well, no, I just lived there. That's what I'm saying.

556
00:28:41,320 --> 00:28:43,040
Speaker 3: You know, we had to figure it out. That's what

557
00:28:43,120 --> 00:28:44,640
Speaker 3: Tank said too. I just lived there.

558
00:28:48,480 --> 00:28:50,280
Speaker 2: It was rough. It was rough.

559
00:28:50,960 --> 00:28:51,520
Speaker 5: It was rough.

560
00:28:51,800 --> 00:28:54,360
Speaker 4: I mean it's a different type of three company right there.

561
00:28:56,080 --> 00:28:59,840
Speaker 2: But Sean was there too. You know that is a movie. Yeah,

562
00:29:00,200 --> 00:29:01,160
Speaker 2: it was. It was a lot.

563
00:29:01,200 --> 00:29:05,120
Speaker 6: And so you know what ended up happening is, you know,

564
00:29:05,160 --> 00:29:07,160
Speaker 6: we were going through some rough patches. We had just

565
00:29:07,200 --> 00:29:09,760
Speaker 6: signed our first deals. We had signed with Famous Music.

566
00:29:10,360 --> 00:29:12,360
Speaker 6: I signed my first deal for I think I got

567
00:29:12,400 --> 00:29:15,800
Speaker 6: fifteen come on fifteen k It was either ten or

568
00:29:15,840 --> 00:29:18,240
Speaker 6: fifteen I had before I left. I cashed the whole

569
00:29:18,320 --> 00:29:21,320
Speaker 6: check came out. Here, you're trying to get apartment at

570
00:29:21,320 --> 00:29:24,760
Speaker 6: you seventeen years old. Each application is seventy five dollars.

571
00:29:24,920 --> 00:29:27,800
Speaker 6: You don't have any like, and so I'm like, I'm

572
00:29:27,880 --> 00:29:30,520
Speaker 6: up against the wall, Like as soon as I touched

573
00:29:30,600 --> 00:29:35,480
Speaker 6: down their yeah and so, and then my dumbass is

574
00:29:35,520 --> 00:29:38,240
Speaker 6: like thinks I'm a leader. So it's like the people

575
00:29:38,280 --> 00:29:40,360
Speaker 6: that he couldn't take care of, or that we couldn't

576
00:29:40,720 --> 00:29:44,920
Speaker 6: collectively be together, it's like I'm doing I'm still like

577
00:29:45,080 --> 00:29:47,480
Speaker 6: I'm trying to be like him, you know what i mean.

578
00:29:47,560 --> 00:29:50,320
Speaker 6: I'm still like that's how I grew up. Like Laney

579
00:29:51,160 --> 00:29:52,920
Speaker 6: took care of shit, you know what I mean. Like

580
00:29:52,960 --> 00:29:57,240
Speaker 6: he was He's the gatherer and the finder of the people,

581
00:29:57,280 --> 00:29:59,160
Speaker 6: and he would put it together and he would take

582
00:29:59,160 --> 00:29:59,800
Speaker 6: care of everything.

583
00:29:59,840 --> 00:30:00,520
Speaker 5: So I'm like.

584
00:30:00,720 --> 00:30:03,360
Speaker 6: Big brother, like, well he can't do it all, let

585
00:30:03,400 --> 00:30:05,960
Speaker 6: me do something. And so it's like it's one of

586
00:30:06,000 --> 00:30:08,040
Speaker 6: those things where the lifting is kind of going on

587
00:30:08,120 --> 00:30:10,720
Speaker 6: and you figure it out. But there was some very

588
00:30:11,760 --> 00:30:16,080
Speaker 6: crazy times during that period. And you know, we had

589
00:30:16,120 --> 00:30:19,840
Speaker 6: just signed this deal and Mark called Laney and Laney

590
00:30:19,880 --> 00:30:22,240
Speaker 6: call Famous Music at the time and was like yo.

591
00:30:23,080 --> 00:30:27,000
Speaker 6: I know the guys just signed, but can they get

592
00:30:27,040 --> 00:30:30,920
Speaker 6: an advance because now we got to buy equipment because

593
00:30:30,960 --> 00:30:32,920
Speaker 6: now we don't have a studio, so we don't have equipment,

594
00:30:32,960 --> 00:30:34,120
Speaker 6: so we have to buy equipment.

595
00:30:34,640 --> 00:30:39,520
Speaker 5: So and back then equipment, you know, equipment ain't it.

596
00:30:39,400 --> 00:30:40,160
Speaker 2: Ain't a laptop.

597
00:30:40,240 --> 00:30:45,520
Speaker 6: It's thirty five hundred dollars per keyboard, per drum machine.

598
00:30:45,560 --> 00:30:49,800
Speaker 6: So as soon as we get here, not only did

599
00:30:49,800 --> 00:30:51,560
Speaker 6: I just sign a deal, but now I got to

600
00:30:51,600 --> 00:30:54,440
Speaker 6: sign an extension for more years before I even started

601
00:30:54,480 --> 00:30:56,800
Speaker 6: making records, just to guarantee it's just not gonna give

602
00:30:56,800 --> 00:30:59,520
Speaker 6: you money within the within the you know what I'm saying.

603
00:31:00,080 --> 00:31:03,600
Speaker 6: So the irony of the story of what Sony being

604
00:31:03,680 --> 00:31:08,400
Speaker 6: my tenant right now is that in there, I left

605
00:31:08,480 --> 00:31:10,480
Speaker 6: one letter in there. It's from Famous Music, and it

606
00:31:10,520 --> 00:31:13,080
Speaker 6: says I'm sorry that our offer will not be enough.

607
00:31:13,120 --> 00:31:16,160
Speaker 6: But that's Sony is the company that had me and

608
00:31:16,280 --> 00:31:19,280
Speaker 6: my deal. That was like, you know, everybody's talking about

609
00:31:19,360 --> 00:31:21,840
Speaker 6: hit Boy, like I had a hit Boy deal, you know,

610
00:31:21,920 --> 00:31:23,880
Speaker 6: at one time, but I just never talked about it.

611
00:31:23,920 --> 00:31:25,880
Speaker 6: But I was just I was I was at Famous

612
00:31:25,960 --> 00:31:29,560
Speaker 6: Music to the to the point where nobody was there

613
00:31:29,640 --> 00:31:34,320
Speaker 6: that was ever there. Besides, there was not one person there.

614
00:31:34,560 --> 00:31:36,840
Speaker 6: And the one thing that they could decide on, no

615
00:31:36,880 --> 00:31:40,200
Speaker 6: matter how many different change of errors, was is we

616
00:31:40,320 --> 00:31:41,280
Speaker 6: not letting that nigga go?

617
00:31:41,600 --> 00:31:42,000
Speaker 2: Period?

618
00:31:42,440 --> 00:31:46,200
Speaker 5: But be you not going anywhere not in that deal.

619
00:31:46,360 --> 00:31:48,800
Speaker 6: And it wasn't until they signed Eminem and Brian p

620
00:31:49,040 --> 00:31:52,840
Speaker 6: came over there, and Brian Pastel came there and he

621
00:31:52,960 --> 00:31:54,720
Speaker 6: was like, yeah, this isn't good.

622
00:31:54,840 --> 00:31:57,360
Speaker 4: He gave me my first real money.

623
00:31:57,760 --> 00:32:00,240
Speaker 6: And so but that's why I say, it's all is

624
00:32:00,240 --> 00:32:03,200
Speaker 6: important to have inclusion, to have somebody that comes in,

625
00:32:03,880 --> 00:32:06,720
Speaker 6: you know, to to somebody. It only takes one person

626
00:32:06,840 --> 00:32:09,680
Speaker 6: into to just change one little thing. But they were

627
00:32:09,760 --> 00:32:12,760
Speaker 6: gonna be content with over and over just letting me

628
00:32:12,800 --> 00:32:14,880
Speaker 6: stay in a deal where I couldn't, like, you know,

629
00:32:15,080 --> 00:32:16,680
Speaker 6: take care of myself, you know what I mean. And

630
00:32:16,760 --> 00:32:21,160
Speaker 6: so but with all that we here, you know what

631
00:32:21,200 --> 00:32:24,160
Speaker 6: I mean. But it's you know, those days are you know,

632
00:32:24,520 --> 00:32:26,280
Speaker 6: it's funny that y'all bring that up because I don't

633
00:32:26,280 --> 00:32:28,920
Speaker 6: even think about those days because it's like, you know,

634
00:32:29,280 --> 00:32:31,960
Speaker 6: it's there's side effects from it, like I could play

635
00:32:32,000 --> 00:32:35,720
Speaker 6: the hell out of ping pong, but it's because I'm

636
00:32:35,720 --> 00:32:38,080
Speaker 6: a great I'm a great ping pong player because when

637
00:32:38,080 --> 00:32:40,400
Speaker 6: I was living with the prostitutes, all we have with

638
00:32:40,440 --> 00:32:43,120
Speaker 6: the ping pong table, and I became really good.

639
00:32:43,040 --> 00:32:46,600
Speaker 4: At the work in a ping pong.

640
00:32:48,880 --> 00:32:50,720
Speaker 2: So yeah, it's no lot.

641
00:32:52,360 --> 00:32:58,120
Speaker 6: Yeah, it's side effects to it.

642
00:32:58,240 --> 00:32:58,400
Speaker 1: You know.

643
00:33:02,280 --> 00:33:03,080
Speaker 2: Then it is what it is.

644
00:33:03,120 --> 00:33:04,880
Speaker 5: You want to talk about the story, that's the story.

645
00:33:04,920 --> 00:33:06,240
Speaker 4: That's the story.

646
00:33:06,440 --> 00:33:09,840
Speaker 3: So okay, so you're in LA You're getting your deals,

647
00:33:09,840 --> 00:33:11,440
Speaker 3: you got your studio getting set up.

648
00:33:11,960 --> 00:33:13,680
Speaker 4: How long does it take for you to get your

649
00:33:13,760 --> 00:33:14,640
Speaker 4: first record?

650
00:33:14,680 --> 00:33:17,440
Speaker 2: Though? What do you mean my first record?

651
00:33:18,160 --> 00:33:22,800
Speaker 3: Place something that's like, okay, well it's making a turn

652
00:33:22,880 --> 00:33:23,160
Speaker 3: for me.

653
00:33:23,720 --> 00:33:26,160
Speaker 6: Well, I think the first turn because when we came

654
00:33:26,200 --> 00:33:29,760
Speaker 6: out here, we were being first off, we had a

655
00:33:29,800 --> 00:33:33,200
Speaker 6: studio in LA, I mean in Chicago. So Aaron Hall,

656
00:33:34,160 --> 00:33:38,000
Speaker 6: Keith Washington, Chante Moore, all those artists, they were flying there.

657
00:33:38,280 --> 00:33:39,440
Speaker 4: Okay, you know what I'm saying.

658
00:33:39,720 --> 00:33:42,080
Speaker 6: So we weren't coming out here cold, you know what

659
00:33:42,120 --> 00:33:43,840
Speaker 6: I'm saying. And if you remember, this is the Kissing

660
00:33:43,880 --> 00:33:48,520
Speaker 6: You album, so this say so this is like serious production,

661
00:33:49,040 --> 00:33:52,200
Speaker 6: Like so we're okay. Lake Laney's being looked at on

662
00:33:52,960 --> 00:33:57,080
Speaker 6: from the top, top tier levels because that's Quincy Jones artists.

663
00:33:57,120 --> 00:33:57,840
Speaker 2: You know what I'm saying.

664
00:33:58,000 --> 00:34:01,080
Speaker 6: That's Quincy Jones, that's Jay Brown, that's those guys. That's

665
00:34:01,280 --> 00:34:06,440
Speaker 6: Bennie Medina, that's Quest Records, right, and so that stuff's happening.

666
00:34:06,520 --> 00:34:09,000
Speaker 6: We come out here, and so I got a little

667
00:34:09,000 --> 00:34:11,000
Speaker 6: bit of stuff going on because I'm working through Laney.

668
00:34:11,040 --> 00:34:12,400
Speaker 5: But I started working.

669
00:34:12,440 --> 00:34:15,840
Speaker 6: The very first project that we did was a song

670
00:34:15,920 --> 00:34:18,000
Speaker 6: that I had that I did with my cousin Jason

671
00:34:18,000 --> 00:34:21,840
Speaker 6: Weaver called Be My Girl. Be My Girl, was cut

672
00:34:22,120 --> 00:34:26,560
Speaker 6: by the very first person that ever put us on

673
00:34:26,600 --> 00:34:29,680
Speaker 6: a plane to do a record for me personally, was

674
00:34:29,960 --> 00:34:32,359
Speaker 6: a gentleman by the name of Darryl Sutton and Chris

675
00:34:32,400 --> 00:34:37,680
Speaker 6: Stokes to work with immature, with the original immature, like

676
00:34:37,719 --> 00:34:39,960
Speaker 6: you know what I mean, like the very first like

677
00:34:40,200 --> 00:34:44,719
Speaker 6: I met markus. Yeah, eight years late, eight nine years old.

678
00:34:44,760 --> 00:34:48,520
Speaker 6: I'm producing Marcus Houston's first album, and so that's how I.

679
00:34:48,480 --> 00:34:52,239
Speaker 5: Know him and ray J and Brandy and all them.

680
00:34:52,280 --> 00:34:54,160
Speaker 6: I've known them all since they were, like, you know,

681
00:34:54,640 --> 00:34:57,520
Speaker 6: very young, and so that was the very first time.

682
00:34:58,600 --> 00:35:01,280
Speaker 6: But I would say the most significan thing that happened

683
00:35:01,400 --> 00:35:04,399
Speaker 6: was we had done remixes and things like that because

684
00:35:04,440 --> 00:35:06,680
Speaker 6: Loul has started throwing us work. So we had started mixing,

685
00:35:06,760 --> 00:35:10,239
Speaker 6: remixing La and Babyface records. We had remixed that Don't

686
00:35:10,239 --> 00:35:13,200
Speaker 6: Be Afraid record off of the Juice sound track and

687
00:35:13,239 --> 00:35:18,359
Speaker 6: all that for Aaron Hall. But then Louis was like, like,

688
00:35:18,480 --> 00:35:20,839
Speaker 6: loul gave us a budget and these were back then

689
00:35:20,920 --> 00:35:23,560
Speaker 6: it was all ends, Like we got a twenty three

690
00:35:23,600 --> 00:35:27,000
Speaker 6: thousand dollars budget, which because it didn't really go by

691
00:35:27,400 --> 00:35:32,200
Speaker 6: producer fees, it went by what the costs were and

692
00:35:32,280 --> 00:35:36,360
Speaker 6: what the producer managed, what deal he cut, which was

693
00:35:36,480 --> 00:35:40,920
Speaker 6: left was your feet and so depending on how much

694
00:35:40,920 --> 00:35:43,160
Speaker 6: your guitar player was, how much the studio costs. So

695
00:35:43,200 --> 00:35:44,880
Speaker 6: you were coming as the producer, you would come in

696
00:35:44,920 --> 00:35:47,440
Speaker 6: and go, well, listen, how like what deal can I

697
00:35:47,440 --> 00:35:49,919
Speaker 6: cut on the studio? You're cutting deals everywhere to walk

698
00:35:49,960 --> 00:35:54,600
Speaker 6: in to ultimately go yeah. So but back then, the

699
00:35:54,719 --> 00:35:58,760
Speaker 6: average producer fee was three thousand dollars pretty much across

700
00:35:58,800 --> 00:36:01,520
Speaker 6: the board that you were bringing down, and then you

701
00:36:01,640 --> 00:36:05,040
Speaker 6: had people that was getting like closer to seventy five hundred,

702
00:36:05,120 --> 00:36:08,239
Speaker 6: you know, and so but the producer would get all

703
00:36:08,280 --> 00:36:12,320
Speaker 6: the money and then make the deals with each background singer,

704
00:36:12,440 --> 00:36:16,279
Speaker 6: each person. So twenty three thousand dollars gave us the

705
00:36:16,280 --> 00:36:18,839
Speaker 6: most flexibility. We knew we were going to be able

706
00:36:18,880 --> 00:36:22,360
Speaker 6: to make probably at least half of that at the

707
00:36:22,440 --> 00:36:26,040
Speaker 6: time of what was happening. So that was probably like

708
00:36:26,120 --> 00:36:28,840
Speaker 6: we were gonna pull down about twelve or thirteen thousand

709
00:36:28,880 --> 00:36:31,640
Speaker 6: on a record that we did on Shante call Searching,

710
00:36:31,760 --> 00:36:34,799
Speaker 6: and it was her very first there's the very first

711
00:36:34,840 --> 00:36:37,920
Speaker 6: song on that album, Love Supreme, Like that is a

712
00:36:38,080 --> 00:36:41,279
Speaker 6: very iconic album she had that loves taking over our

713
00:36:42,120 --> 00:36:45,520
Speaker 6: record on there, like and so these are people in

714
00:36:45,640 --> 00:36:49,960
Speaker 6: relationships and memories that like really just like changed the

715
00:36:50,040 --> 00:36:54,200
Speaker 6: game in that sense of like, you know, Louel looking

716
00:36:54,239 --> 00:36:55,879
Speaker 6: at us like that and being.

717
00:36:55,840 --> 00:36:57,120
Speaker 2: Who he is in music.

718
00:36:57,600 --> 00:37:01,880
Speaker 6: You know, that's Bell Bivdevou, that's La and Babyface, that's

719
00:37:01,960 --> 00:37:05,040
Speaker 6: Jimmy jam and Terry Lewis, that's any Heartbreak, That's that's

720
00:37:05,080 --> 00:37:08,040
Speaker 6: Bobby Brown. So for him to be looking at us

721
00:37:08,120 --> 00:37:11,520
Speaker 6: at sixteen to seventeen years old and putting us on

722
00:37:11,560 --> 00:37:15,880
Speaker 6: his very first artist was just like an anointing that

723
00:37:15,920 --> 00:37:18,719
Speaker 6: we could never you know, could have never expected because

724
00:37:18,800 --> 00:37:22,720
Speaker 6: there's levels to who you work for and I think,

725
00:37:23,000 --> 00:37:25,239
Speaker 6: you know, part of my attraction for whatever reason, I

726
00:37:25,280 --> 00:37:28,440
Speaker 6: think I just knew how to get with people and

727
00:37:28,480 --> 00:37:30,160
Speaker 6: stick with them. I was just never one of those

728
00:37:30,160 --> 00:37:32,480
Speaker 6: people that wanted to be all things to everybody, and

729
00:37:32,560 --> 00:37:34,360
Speaker 6: Louis was just one of those people that put me

730
00:37:34,400 --> 00:37:37,120
Speaker 6: in position, and he put me in position to meet

731
00:37:37,280 --> 00:37:41,440
Speaker 6: la Yeah, and then those are like if you look

732
00:37:41,480 --> 00:37:46,080
Speaker 6: at my career, that's who I worked for. But that's

733
00:37:46,080 --> 00:37:48,279
Speaker 6: who I work for. And then there's all the low

734
00:37:48,320 --> 00:37:51,840
Speaker 6: answllary things. But somehow this circle that you guys are

735
00:37:51,880 --> 00:37:55,319
Speaker 6: talking about, you know, it's all it's all happened for

736
00:37:55,400 --> 00:37:58,719
Speaker 6: me in the in the nineties, and you know, like

737
00:37:58,960 --> 00:38:01,000
Speaker 6: I haven't. I haven't been turned out too much.

738
00:38:09,960 --> 00:38:12,840
Speaker 3: So soon did you you get your own place or

739
00:38:12,920 --> 00:38:16,600
Speaker 3: did you stay with it? You're crazy with them because

740
00:38:16,600 --> 00:38:18,520
Speaker 3: I know what I was, what she was gonna do,

741
00:38:18,560 --> 00:38:23,280
Speaker 3: You was gonna was just gonna expand it. Ah yeah,

742
00:38:23,400 --> 00:38:26,520
Speaker 3: I mean yeah, no, No.

743
00:38:27,600 --> 00:38:29,680
Speaker 6: That leads to the next part because we got away

744
00:38:29,680 --> 00:38:32,160
Speaker 6: from them, and then the next thing I knew, we

745
00:38:32,160 --> 00:38:35,520
Speaker 6: were living in over here in Burbank, where I had

746
00:38:35,520 --> 00:38:41,439
Speaker 6: a one bedroom with thirteen roommates. What now you're living

747
00:38:41,480 --> 00:38:44,719
Speaker 6: in a hostel. But now I think I'm building. I'm

748
00:38:44,760 --> 00:38:48,799
Speaker 6: always building, so even though I don't have nothing, I've

749
00:38:48,840 --> 00:38:50,920
Speaker 6: got I've always had something.

750
00:38:50,960 --> 00:38:52,400
Speaker 5: I've always had a coordinator.

751
00:38:52,440 --> 00:38:55,160
Speaker 6: I've always had an assistant, I've always had engineers, I've

752
00:38:55,200 --> 00:38:56,120
Speaker 6: always had producer.

753
00:38:56,120 --> 00:38:57,840
Speaker 4: It's the one bedroom you had an assistant.

754
00:38:58,440 --> 00:39:03,839
Speaker 6: I always always we were always trying because of how

755
00:39:03,880 --> 00:39:08,360
Speaker 6: our family does. Yes, that's what we knew. We knew

756
00:39:08,400 --> 00:39:12,920
Speaker 6: that you need eighteen. Okay, we've never seen someone be

757
00:39:13,000 --> 00:39:15,480
Speaker 6: successful and not build a team. So just because you

758
00:39:15,520 --> 00:39:18,000
Speaker 6: don't have one doesn't mean you don't need one. So

759
00:39:18,080 --> 00:39:19,360
Speaker 6: you have to find people.

760
00:39:19,440 --> 00:39:22,040
Speaker 3: That you said all the time for the people that's listening,

761
00:39:22,719 --> 00:39:23,759
Speaker 3: just because just because you.

762
00:39:23,719 --> 00:39:26,120
Speaker 6: Don't have one doesn't mean you don't need one. One,

763
00:39:26,880 --> 00:39:30,279
Speaker 6: And so you take the team at the level that

764
00:39:30,320 --> 00:39:32,560
Speaker 6: you can play. It's not it's it's but yeah, I

765
00:39:32,640 --> 00:39:36,080
Speaker 6: mean every level. Yes, there's teams on every look vision.

766
00:39:36,200 --> 00:39:36,480
Speaker 2: Yeah.

767
00:39:37,239 --> 00:39:41,000
Speaker 6: So I knew that, and so we you know, we

768
00:39:41,000 --> 00:39:45,080
Speaker 6: were buying equipment, we were buying microphones. It wasn't like

769
00:39:45,400 --> 00:39:47,520
Speaker 6: we were busy, like we getting ten for a remix,

770
00:39:47,640 --> 00:39:50,840
Speaker 6: seventy five for this, Like we have money, but the

771
00:39:50,920 --> 00:39:56,000
Speaker 6: keyboards are twenty eight hundred, thirty five hundred, forty six hundred,

772
00:39:56,320 --> 00:40:00,879
Speaker 6: like and we're buying everything, every microphone, every know, like

773
00:40:00,960 --> 00:40:06,239
Speaker 6: we're not buying anything but what you need you Yeah,

774
00:40:06,400 --> 00:40:08,319
Speaker 6: and where you walk into the studio and we have

775
00:40:08,600 --> 00:40:11,840
Speaker 6: racks in racks six feet tall of stuff. We don't

776
00:40:11,880 --> 00:40:15,880
Speaker 6: have anything like and even like going back to red Zone,

777
00:40:15,960 --> 00:40:18,080
Speaker 6: like red zone I had.

778
00:40:18,160 --> 00:40:19,719
Speaker 2: I didn't have a place to live, but I had

779
00:40:19,760 --> 00:40:20,160
Speaker 2: Red Zone.

780
00:40:20,360 --> 00:40:23,439
Speaker 6: I got the we had the building before, we had

781
00:40:23,680 --> 00:40:26,400
Speaker 6: before I really had, Like I didn't really start sleeping

782
00:40:26,400 --> 00:40:29,080
Speaker 6: in beds and stuff until I was like twenty eight,

783
00:40:29,680 --> 00:40:33,080
Speaker 6: twenty nine years old, like in the studio, the couch

784
00:40:33,239 --> 00:40:35,479
Speaker 6: in the studio, like it's like, all right, let's let's

785
00:40:35,480 --> 00:40:40,000
Speaker 6: get it. Like it was just an obsession of music,

786
00:40:40,120 --> 00:40:41,880
Speaker 6: you know what I mean, It was just I don't know.

787
00:40:41,920 --> 00:40:44,360
Speaker 4: That's why you're in the Hall of Fame, brother, this

788
00:40:44,440 --> 00:40:44,719
Speaker 4: is why.

789
00:40:45,200 --> 00:40:49,040
Speaker 3: And I love that that you're so open and honest

790
00:40:49,080 --> 00:40:51,840
Speaker 3: with us to tell us that story, right, because I

791
00:40:51,840 --> 00:40:56,799
Speaker 3: think sometimes people skip over that process of what it

792
00:40:57,160 --> 00:40:59,400
Speaker 3: or what it took for you, right, And that's not

793
00:40:59,400 --> 00:41:01,319
Speaker 3: saying what it takes for everyone, but what it took

794
00:41:01,360 --> 00:41:05,279
Speaker 3: for you. And with someone, especially the younger generation, having

795
00:41:05,320 --> 00:41:09,080
Speaker 3: an understanding of like listen, the sacrifices that this man

796
00:41:09,160 --> 00:41:10,799
Speaker 3: made to get to this point.

797
00:41:10,800 --> 00:41:13,000
Speaker 4: You saying I didn't sleep in a.

798
00:41:13,160 --> 00:41:19,560
Speaker 3: Bed during my journey till twenty eight, right. And it's

799
00:41:19,600 --> 00:41:21,839
Speaker 3: funny because I tell a story of when I first

800
00:41:21,840 --> 00:41:23,799
Speaker 3: came to LA and I slept on the floor for

801
00:41:23,880 --> 00:41:27,000
Speaker 3: nine months, right, And I thought nine months was a

802
00:41:27,000 --> 00:41:27,520
Speaker 3: long time.

803
00:41:28,040 --> 00:41:30,800
Speaker 4: You talk about nine years, you know, saying.

804
00:41:30,640 --> 00:41:33,200
Speaker 2: When you had a couch, I sleep on the floor.

805
00:41:33,239 --> 00:41:34,160
Speaker 4: Yeah, I was on the floor, doll.

806
00:41:34,320 --> 00:41:36,160
Speaker 5: Yeah, I didn't have that. I had enough for it,

807
00:41:36,239 --> 00:41:37,719
Speaker 5: but I just didn't have one.

808
00:41:37,840 --> 00:41:39,680
Speaker 6: I couldn't buy two, so it one's gonna be one

809
00:41:39,760 --> 00:41:40,840
Speaker 6: net and one net.

810
00:41:41,040 --> 00:41:42,759
Speaker 5: You know, it was gonna be at the studio so

811
00:41:42,800 --> 00:41:43,600
Speaker 5: I could sleep funt.

812
00:41:43,760 --> 00:41:48,840
Speaker 3: But you were also hyper focused on on the main thing. Yeah,

813
00:41:49,000 --> 00:41:52,160
Speaker 3: you were like, everything's going to go into this.

814
00:41:52,480 --> 00:41:55,399
Speaker 2: Yeah for sure, me early, Like.

815
00:41:55,840 --> 00:41:57,719
Speaker 3: I guess part of me being an artist too, you

816
00:41:57,800 --> 00:41:58,960
Speaker 3: know what I mean. I was a writer and a

817
00:41:59,000 --> 00:42:04,240
Speaker 3: producer of course, but I was able to reap different

818
00:42:04,280 --> 00:42:09,080
Speaker 3: benefits early because I was an artist, right, That kind

819
00:42:09,120 --> 00:42:12,960
Speaker 3: of could take me off path. I was only an

820
00:42:13,000 --> 00:42:16,160
Speaker 3: artist to get off the floor. Yeah, well I wasn't

821
00:42:16,160 --> 00:42:18,200
Speaker 3: even trying to be No artists I'm like, but wait,

822
00:42:18,239 --> 00:42:19,960
Speaker 3: they'll give me a record do and I go get

823
00:42:20,000 --> 00:42:20,399
Speaker 3: it bed?

824
00:42:21,080 --> 00:42:23,959
Speaker 6: Yeah, well, I mean I started as an artist too.

825
00:42:24,360 --> 00:42:27,799
Speaker 6: In a sense it's really funny. But what ended up

826
00:42:27,800 --> 00:42:29,759
Speaker 6: happening is I don't know how you know if you

827
00:42:29,840 --> 00:42:33,399
Speaker 6: know how, I know Tab and Sam Salter and Robin Thick.

828
00:42:33,480 --> 00:42:37,000
Speaker 6: But it goes back to Little Solace again. He had

829
00:42:37,040 --> 00:42:39,720
Speaker 6: a woman that worked for him. Her name was Madeline Randolph,

830
00:42:39,719 --> 00:42:43,400
Speaker 6: his like right hand person. And so I was in

831
00:42:43,440 --> 00:42:45,600
Speaker 6: a group called Flight with me and my cousins who

832
00:42:45,600 --> 00:42:50,439
Speaker 6: were producers set and then two white guys that when

833
00:42:50,440 --> 00:42:52,280
Speaker 6: I went to high school with we were like friends.

834
00:42:52,640 --> 00:42:54,359
Speaker 2: YEA was calling me bad before colling me back.

835
00:42:54,440 --> 00:42:56,919
Speaker 5: Well, this is how I ended up producing colored me back.

836
00:42:59,200 --> 00:43:03,160
Speaker 6: And so what is happening is it's it's the economic

837
00:43:03,160 --> 00:43:10,960
Speaker 6: boom of the interracial group. And it was it was,

838
00:43:11,080 --> 00:43:14,440
Speaker 6: it was, it was that time. And so we met

839
00:43:14,440 --> 00:43:20,040
Speaker 6: with Madeline Randolphin and she was like, yeah, y'all's group

840
00:43:20,120 --> 00:43:22,319
Speaker 6: is kind of whack with the production is crazy, but

841
00:43:22,360 --> 00:43:24,359
Speaker 6: I have this other group and.

842
00:43:25,800 --> 00:43:26,959
Speaker 5: Y'all should produce them.

843
00:43:28,080 --> 00:43:30,560
Speaker 6: And that other group was a group called Common Ground,

844
00:43:31,760 --> 00:43:36,000
Speaker 6: and it was tabbed. Robin Thick is Sam Salter and

845
00:43:36,080 --> 00:43:39,880
Speaker 6: another dude named Corey, I believe, and we look at

846
00:43:39,880 --> 00:43:44,000
Speaker 6: I'm looking at them, and I'm like, but obviously Robin

847
00:43:44,000 --> 00:43:46,440
Speaker 6: Thick is sing Sam Salter casing I was the lead

848
00:43:46,480 --> 00:43:48,000
Speaker 6: singer of our group. So that'll let you know how

849
00:43:48,080 --> 00:43:52,319
Speaker 6: much trouble we were in. Uh So, And so it

850
00:43:52,360 --> 00:43:54,960
Speaker 6: wasn't a hard sell for me to give away my production.

851
00:43:55,120 --> 00:43:55,439
Speaker 4: I didn't.

852
00:43:55,520 --> 00:43:57,320
Speaker 5: I wasn't born with what you guys have.

853
00:43:58,520 --> 00:44:02,040
Speaker 6: But with that being said, I'm looking at them because

854
00:44:02,080 --> 00:44:06,960
Speaker 6: I'm into esthetics though, and I'm like, this motherfucker's six.

855
00:44:06,960 --> 00:44:11,200
Speaker 2: Three, he's five six, he's black as hell. I'm like, this,

856
00:44:11,360 --> 00:44:11,920
Speaker 2: what comes?

857
00:44:12,239 --> 00:44:13,799
Speaker 7: What group is this?

858
00:44:14,120 --> 00:44:14,319
Speaker 4: You know?

859
00:44:14,560 --> 00:44:14,640
Speaker 3: Like?

860
00:44:14,800 --> 00:44:17,319
Speaker 6: And so we end up going to the studio with them,

861
00:44:17,640 --> 00:44:20,000
Speaker 6: made made some dope records over the weekend at that

862
00:44:20,120 --> 00:44:22,160
Speaker 6: I mean, they gave us like a Friday, Saturday, Sunday,

863
00:44:22,440 --> 00:44:25,759
Speaker 6: and we just hit it off really really well. Ended

864
00:44:25,880 --> 00:44:28,640
Speaker 6: up becoming best friends, you know, Tavis still to this day.

865
00:44:29,000 --> 00:44:32,560
Speaker 6: I mean we're still super locked in always like really

866
00:44:32,719 --> 00:44:35,759
Speaker 6: real brothers. Robin think is the their dear friend, Like

867
00:44:35,920 --> 00:44:38,320
Speaker 6: you know, every every time he touches down in Atlanta,

868
00:44:38,840 --> 00:44:41,120
Speaker 6: he's gonna come through. We're gonna see each other. Yeah,

869
00:44:41,239 --> 00:44:42,840
Speaker 6: you know, I mean you always see me when y'

870
00:44:42,840 --> 00:44:46,480
Speaker 6: all on tour together. You know, I'm always there. But

871
00:44:46,600 --> 00:44:49,400
Speaker 6: and obviously Sam rest in peace. You know, he's not

872
00:44:49,520 --> 00:44:52,920
Speaker 6: here with us. And Sam is such a huge part

873
00:44:53,000 --> 00:44:57,480
Speaker 6: of Red Zone and in the the story of the

874
00:44:57,560 --> 00:45:01,640
Speaker 6: Tentacles of where everybody he comes from and what the

875
00:45:01,680 --> 00:45:05,400
Speaker 6: thing was when we got to Atlanta was with Sam,

876
00:45:06,120 --> 00:45:08,040
Speaker 6: because Sam is what.

877
00:45:08,000 --> 00:45:11,080
Speaker 5: Opened the door to La as an artist.

878
00:45:11,360 --> 00:45:14,440
Speaker 6: Yeah, and so Sam was the vehicle of the guy

879
00:45:14,520 --> 00:45:17,120
Speaker 6: that wanted to build in la that had to rebuild

880
00:45:17,120 --> 00:45:21,719
Speaker 6: in Atlanta, bringing the kid from Compton, you know, to Atlanta.

881
00:45:22,320 --> 00:45:26,600
Speaker 6: And Sam was a very just beautiful person, beautiful spirit,

882
00:45:27,400 --> 00:45:32,600
Speaker 6: super talented sing anybody. You know, no disrespected nobody, but

883
00:45:32,920 --> 00:45:35,120
Speaker 6: not a lot of people had it like Sam. And

884
00:45:35,200 --> 00:45:38,279
Speaker 6: that's just the truth of the matter. And he was

885
00:45:38,640 --> 00:45:43,440
Speaker 6: such a he was a gracious vessel of people's first

886
00:45:44,400 --> 00:45:46,400
Speaker 6: like you know what I mean, it's like my first

887
00:45:46,440 --> 00:45:51,799
Speaker 6: executive productions, like Katie's first mixes, you know, first time

888
00:45:51,880 --> 00:45:55,319
Speaker 6: doing strings, you know, like we all like JQ comes

889
00:45:55,320 --> 00:45:57,759
Speaker 6: from here, like Zeke. This is how I all know

890
00:45:57,840 --> 00:46:01,280
Speaker 6: them because these are the people that Sam brought as

891
00:46:01,320 --> 00:46:04,720
Speaker 6: his attraction as an artist brought us so many people

892
00:46:05,360 --> 00:46:08,080
Speaker 6: into into what we call red zones.

893
00:46:08,120 --> 00:46:11,120
Speaker 3: Sam was the Sam was the first person to cut

894
00:46:11,160 --> 00:46:12,760
Speaker 3: the first Underdog record.

895
00:46:13,520 --> 00:46:15,799
Speaker 2: Which one was it you know that I don't like

896
00:46:15,880 --> 00:46:19,360
Speaker 2: them girls? Wow, that was the first place that I actually

897
00:46:19,400 --> 00:46:20,600
Speaker 2: cut it because it was my song.

898
00:46:20,800 --> 00:46:24,000
Speaker 3: I wrote the record and he killed that cut it on,

899
00:46:24,120 --> 00:46:25,160
Speaker 3: cut it on Sam first.

900
00:46:25,400 --> 00:46:26,480
Speaker 2: That's crazy.

901
00:46:26,600 --> 00:46:30,239
Speaker 3: It was started with Sam, which is and that's how

902
00:46:30,239 --> 00:46:33,640
Speaker 3: I end up meeting him. I'm eighteen years old at

903
00:46:33,640 --> 00:46:35,960
Speaker 3: the time, and I'm like, oh, yeah, I know him

904
00:46:36,000 --> 00:46:38,160
Speaker 3: from the you know what I'm saying, from the record

905
00:46:38,239 --> 00:46:41,000
Speaker 3: he had before, and I'm thinking, Okay, well, it's gonna

906
00:46:41,000 --> 00:46:43,440
Speaker 3: be like my first because they were with that record,

907
00:46:43,440 --> 00:46:45,560
Speaker 3: we knew it was going to be somebody single, you

908
00:46:45,560 --> 00:46:47,440
Speaker 3: know what I mean, Like from the from the from

909
00:46:47,480 --> 00:46:49,359
Speaker 3: the rip when we wrote the record, but like, this

910
00:46:49,400 --> 00:46:50,719
Speaker 3: is going to be a single. So I'm like, okay,

911
00:46:50,719 --> 00:46:53,280
Speaker 3: because I had had like two placements but they weren't singles.

912
00:46:53,719 --> 00:46:55,760
Speaker 4: But I'm like, this is going to be a single,

913
00:46:55,800 --> 00:46:56,200
Speaker 4: and it was.

914
00:46:56,280 --> 00:46:58,040
Speaker 2: It was. Sam Salter was the first person to cut

915
00:46:58,040 --> 00:46:58,960
Speaker 2: that record, sir.

916
00:46:59,600 --> 00:47:02,400
Speaker 6: But that that's just indicative of that spirit that time.

917
00:47:02,520 --> 00:47:07,800
Speaker 6: But you know, we It all spawned from that same circle.

918
00:47:07,960 --> 00:47:10,280
Speaker 6: You see what I'm saying like, it's all that same circle.

919
00:47:10,400 --> 00:47:14,440
Speaker 6: And how I even got to Atlanta was I was

920
00:47:14,480 --> 00:47:17,479
Speaker 6: working with this group, Black Girl, that was down there

921
00:47:17,760 --> 00:47:21,440
Speaker 6: in Atlanta. But they used to they used to sing

922
00:47:21,480 --> 00:47:24,719
Speaker 6: backgrounds with the girl tyvee Urman used to sing backgrounds

923
00:47:25,320 --> 00:47:29,960
Speaker 6: and demos for Lain Babyface, and they were working on

924
00:47:30,520 --> 00:47:32,319
Speaker 6: stuff and I was working on They were coming out

925
00:47:32,360 --> 00:47:37,360
Speaker 6: here working with with us. Because Alison from with RCA.

926
00:47:37,600 --> 00:47:39,040
Speaker 6: I don't want to mess up her last name because

927
00:47:39,040 --> 00:47:41,279
Speaker 6: I can't remember it, but she's remaining, so I don't

928
00:47:41,280 --> 00:47:42,279
Speaker 6: want to put it out there wrong.

929
00:47:42,360 --> 00:47:44,160
Speaker 5: But it's Alison.

930
00:47:44,200 --> 00:47:46,880
Speaker 6: I just did the something we Could Fill record with

931
00:47:47,000 --> 00:47:49,920
Speaker 6: Laney Lady just did that record with Aribine and Tamar

932
00:47:50,160 --> 00:47:54,120
Speaker 6: and so we that same that's the same relationship. Long

933
00:47:54,160 --> 00:47:59,480
Speaker 6: story short, That's how I met La. That's what really connected.

934
00:47:59,560 --> 00:48:00,920
Speaker 2: It was the singer.

935
00:48:01,400 --> 00:48:04,200
Speaker 6: It was her singing backgrounds and me producing her and

936
00:48:04,239 --> 00:48:05,040
Speaker 6: her coming back on.

937
00:48:05,400 --> 00:48:07,280
Speaker 2: It's these producers.

938
00:48:06,800 --> 00:48:09,160
Speaker 6: In La that you got to meet l A and

939
00:48:09,280 --> 00:48:13,719
Speaker 6: so La. It was like, all right, cool that comes

940
00:48:13,719 --> 00:48:16,760
Speaker 6: out here, meets we meet. We meet at four Seasons

941
00:48:16,760 --> 00:48:17,840
Speaker 6: on Donheeny.

942
00:48:17,560 --> 00:48:22,680
Speaker 3: Of course, of course, that's where you meet l Yeah,

943
00:48:23,920 --> 00:48:27,759
Speaker 3: this is a regular day.

944
00:48:27,560 --> 00:48:31,160
Speaker 6: And I'm not brunch material. So so let me be clear.

945
00:48:31,280 --> 00:48:37,239
Speaker 6: This meeting, this meeting happens in a car. This meeting

946
00:48:37,239 --> 00:48:39,719
Speaker 6: happens in a car, and I we don't have the

947
00:48:39,719 --> 00:48:42,799
Speaker 6: ability to record because recording is so expensive. Everything is

948
00:48:42,800 --> 00:48:44,880
Speaker 6: three thousand a day getting a piece of tape, this

949
00:48:44,960 --> 00:48:48,280
Speaker 6: five hundred or the four hundred a day. So we're

950
00:48:48,680 --> 00:48:52,959
Speaker 6: singing every last record we got on the spot. Oh ship,

951
00:48:53,840 --> 00:48:54,840
Speaker 6: hold on, here go on.

952
00:48:56,960 --> 00:48:59,680
Speaker 2: What we got? All we got is this.

953
00:48:59,640 --> 00:49:03,440
Speaker 4: Is how you playing your demo? You're the demo.

954
00:49:03,560 --> 00:49:07,359
Speaker 6: We're walking around in LA We're singing our songs on

955
00:49:07,400 --> 00:49:09,839
Speaker 6: the spot being shan like, this is how and so

956
00:49:10,600 --> 00:49:14,040
Speaker 6: that led us. He was like, oh, y'all are crazy,

957
00:49:14,320 --> 00:49:16,759
Speaker 6: And we ended up doing this song called Little Something

958
00:49:16,800 --> 00:49:20,839
Speaker 6: on a group called Few Good Men. We go down

959
00:49:20,880 --> 00:49:26,040
Speaker 6: there and I just fall in love with Atlanta. The studio,

960
00:49:26,120 --> 00:49:29,040
Speaker 6: Bobby Brown studio is called Bostown Now, which is now,

961
00:49:31,680 --> 00:49:35,160
Speaker 6: and we go down there cut this record that sounds

962
00:49:35,200 --> 00:49:37,520
Speaker 6: like an absolute missile at the time, Like, you know,

963
00:49:37,600 --> 00:49:41,600
Speaker 6: we're starting to we're starting to make better records at

964
00:49:41,600 --> 00:49:45,080
Speaker 6: this point, but La, he just believed in us, like

965
00:49:45,360 --> 00:49:49,319
Speaker 6: you know, he believed from the very beginning and to

966
00:49:49,400 --> 00:49:52,560
Speaker 6: this day when people look at when they look at Sony,

967
00:49:53,960 --> 00:49:56,760
Speaker 6: when they look at sessions, the stuff that I show online.

968
00:49:56,880 --> 00:49:57,680
Speaker 5: The building.

969
00:49:58,920 --> 00:50:03,799
Speaker 6: La got us that building to move to Atlanta in

970
00:50:04,000 --> 00:50:05,520
Speaker 6: order to sign us.

971
00:50:06,280 --> 00:50:08,280
Speaker 2: So the building came with it. It didn't.

972
00:50:08,320 --> 00:50:11,880
Speaker 6: It didn't come with it because we wanted to we

973
00:50:11,920 --> 00:50:14,200
Speaker 6: didn't want to be signed and Mark, Mark didn't want

974
00:50:14,280 --> 00:50:17,080
Speaker 6: us to sign. So Mark at the time was just

975
00:50:17,120 --> 00:50:19,319
Speaker 6: like and Mark was very young, so he's just going

976
00:50:19,360 --> 00:50:21,600
Speaker 6: toe to toe and this is you know, this is

977
00:50:22,000 --> 00:50:25,759
Speaker 6: like La has had one hundred hits. It's La and Babyface, right,

978
00:50:26,480 --> 00:50:28,799
Speaker 6: but somehow he gets the audacity. He's just like, look,

979
00:50:28,840 --> 00:50:31,879
Speaker 6: they don't want to be signed, but they do want

980
00:50:31,880 --> 00:50:34,080
Speaker 6: to come to Atlanta. He's like, but if you give

981
00:50:34,160 --> 00:50:36,080
Speaker 6: us the money, because La had offered us a bunch

982
00:50:36,120 --> 00:50:39,359
Speaker 6: of like cars and a mansion and ship. And Mark

983
00:50:39,480 --> 00:50:43,480
Speaker 6: was like, Nah, give us the money. We're gonna build

984
00:50:43,480 --> 00:50:45,359
Speaker 6: a studio and we're gonna pay you back, but we're

985
00:50:45,360 --> 00:50:46,560
Speaker 6: never going to be exclusive.

986
00:50:47,239 --> 00:50:48,600
Speaker 2: We're never going to be exclusive.

987
00:50:48,640 --> 00:50:56,680
Speaker 6: And what ended up happening was bright there like and

988
00:50:56,680 --> 00:51:00,960
Speaker 6: and that single put that single negotiation from my management

989
00:51:01,120 --> 00:51:05,200
Speaker 6: at that time changed everything. Not only I mean the

990
00:51:05,520 --> 00:51:08,000
Speaker 6: biggest thing that I think it changed is that it

991
00:51:08,200 --> 00:51:10,799
Speaker 6: allowed me to build a relationship with LA that was

992
00:51:10,920 --> 00:51:14,600
Speaker 6: always built in business, real business, Like you know what

993
00:51:14,600 --> 00:51:17,000
Speaker 6: I'm saying. Not oh, he took the cards and he

994
00:51:17,000 --> 00:51:20,480
Speaker 6: took the house. No, it's like, no, they wanted they

995
00:51:20,520 --> 00:51:23,439
Speaker 6: wanted that from the beginning. So from that point when

996
00:51:23,480 --> 00:51:27,080
Speaker 6: we started, when he started giving it to us, we

997
00:51:27,200 --> 00:51:29,120
Speaker 6: never had to look back and we never had to

998
00:51:29,160 --> 00:51:32,000
Speaker 6: feel like we weren't in the ownership position ever again,

999
00:51:32,560 --> 00:51:34,880
Speaker 6: you know what I mean, because someone had already given

1000
00:51:34,960 --> 00:51:39,040
Speaker 6: us ownership of whether it was buildings, publishing.

1001
00:51:39,239 --> 00:51:39,440
Speaker 5: You know.

1002
00:51:39,600 --> 00:51:43,800
Speaker 6: So we've after we got free from the original publishing,

1003
00:51:44,480 --> 00:51:48,080
Speaker 6: I've never like I haven't had to sign a publishing deal,

1004
00:51:48,480 --> 00:51:51,520
Speaker 6: you know, since that time, you know, from the standpoint

1005
00:51:51,520 --> 00:51:58,400
Speaker 6: of really understanding, really understanding, like, hey, I'm we're doing

1006
00:51:58,440 --> 00:52:02,839
Speaker 6: something that's unique, that special, And ultimately, I think it's

1007
00:52:02,840 --> 00:52:07,440
Speaker 6: that singular move that let me know because before that

1008
00:52:07,520 --> 00:52:10,760
Speaker 6: we were kind of I would say we were figuring

1009
00:52:10,760 --> 00:52:14,040
Speaker 6: it out, but it was that move right there in particular,

1010
00:52:14,160 --> 00:52:17,440
Speaker 6: I think let me know that I knew.

1011
00:52:17,200 --> 00:52:19,040
Speaker 5: And I know that I have the best manager in

1012
00:52:19,080 --> 00:52:19,480
Speaker 5: the world.

1013
00:52:19,520 --> 00:52:21,080
Speaker 2: And it wasn't that. He was my brother.

1014
00:52:21,360 --> 00:52:24,840
Speaker 5: And I was like, this shit is crazy, and that move.

1015
00:52:25,360 --> 00:52:28,280
Speaker 6: When you have equity, you build something, you buy something, right,

1016
00:52:28,400 --> 00:52:31,359
Speaker 6: Like the building is worth a lot of money. We

1017
00:52:31,400 --> 00:52:34,239
Speaker 6: didn't pay what it's worth, but it's like it's a

1018
00:52:35,040 --> 00:52:38,880
Speaker 6: you know that kind of thing can cement your life,

1019
00:52:40,000 --> 00:52:42,680
Speaker 6: you know, having an asset, you know, fifteen twenty thousand

1020
00:52:42,680 --> 00:52:46,680
Speaker 6: square foot asset can cement your life at nineteen years old.

1021
00:52:46,760 --> 00:52:47,800
Speaker 5: Like I've had that building.

1022
00:52:47,840 --> 00:52:51,640
Speaker 6: I've been in that building for thirty years, over thirty years,

1023
00:52:51,680 --> 00:52:53,520
Speaker 6: every record I've ever made.

1024
00:52:53,480 --> 00:52:56,520
Speaker 3: Like building now, yes it still is building, but now

1025
00:52:56,560 --> 00:52:57,759
Speaker 3: but Sony is ringing it.

1026
00:52:57,960 --> 00:53:01,400
Speaker 5: Sony's ringing five thousand, six thousand square feet up.

1027
00:53:01,480 --> 00:53:04,359
Speaker 4: We still got ten more thousands, yeah yeah yeah.

1028
00:53:04,400 --> 00:53:05,399
Speaker 5: And then the other you need.

1029
00:53:05,560 --> 00:53:08,080
Speaker 6: And left over square footage. And then the other part

1030
00:53:08,239 --> 00:53:13,560
Speaker 6: is sessions, sessions ATLNA And so that's what we do

1031
00:53:13,680 --> 00:53:17,440
Speaker 6: all our you know, all our music events and listening sessions.

1032
00:53:17,600 --> 00:53:17,960
Speaker 2: Crazy.

1033
00:53:18,000 --> 00:53:21,080
Speaker 3: We've never been there. Have you been there? I haven't

1034
00:53:21,080 --> 00:53:23,239
Speaker 3: been there. This is crazy, But they's gonna change all that.

1035
00:53:23,400 --> 00:53:25,160
Speaker 4: Today on today.

1036
00:53:25,480 --> 00:53:28,200
Speaker 2: Yeah, that's all the week.

1037
00:53:28,600 --> 00:53:30,720
Speaker 6: Yeah, there's no way that y'all should come to Atlanta

1038
00:53:30,800 --> 00:53:33,080
Speaker 6: and record any place else other.

1039
00:53:32,960 --> 00:53:35,279
Speaker 2: Than next week.

1040
00:53:35,360 --> 00:53:38,479
Speaker 3: But Jay, what are you doing here? What Tricky just saying.

1041
00:53:41,000 --> 00:53:44,200
Speaker 3: He's telling me to pick up a key man. He said,

1042
00:53:44,239 --> 00:53:46,480
Speaker 3: I got an extra thousand square foot and I can

1043
00:53:46,520 --> 00:53:48,360
Speaker 3: hang out here couch.

1044
00:53:49,080 --> 00:53:53,960
Speaker 4: I ain't getting no hotel. I'm not above I'm not a.

1045
00:53:55,480 --> 00:53:55,840
Speaker 2: Couch.

1046
00:53:56,719 --> 00:53:58,680
Speaker 5: It's a lot harder to get in nowadays. You won't

1047
00:53:58,680 --> 00:54:00,920
Speaker 5: be able to do that. But but but I put

1048
00:54:00,920 --> 00:54:02,280
Speaker 5: your name on the list.

1049
00:54:06,080 --> 00:54:06,680
Speaker 2: I gotta say.

1050
00:54:06,719 --> 00:54:07,080
Speaker 5: They don't.

1051
00:54:07,480 --> 00:54:10,839
Speaker 6: They don't play down there because honestly, we really just

1052
00:54:11,400 --> 00:54:13,000
Speaker 6: we specialize in privacy.

1053
00:54:13,200 --> 00:54:15,280
Speaker 2: Yeah, we specialize in privacy.

1054
00:54:15,320 --> 00:54:18,640
Speaker 6: Our clients do not want to be known, and we

1055
00:54:18,680 --> 00:54:19,760
Speaker 6: don't show you anything.

1056
00:54:20,200 --> 00:54:21,120
Speaker 2: I show you what I do.

1057
00:54:21,320 --> 00:54:24,000
Speaker 4: I won't be there, No, you'll you'll be there.

1058
00:54:24,000 --> 00:54:26,680
Speaker 5: It's just we won't be showing anything unless you want

1059
00:54:26,760 --> 00:54:27,440
Speaker 5: to be telling.

1060
00:54:27,239 --> 00:54:28,920
Speaker 4: The people that I'm not there. But I'm here, So

1061
00:54:28,920 --> 00:54:32,439
Speaker 4: I won't be there. Go ahead. Tank won't be there either.

1062
00:54:32,560 --> 00:54:33,360
Speaker 5: We keep it quiet.

1063
00:54:35,160 --> 00:54:35,840
Speaker 2: We won't beat it.

1064
00:54:41,800 --> 00:54:45,279
Speaker 4: He got the hooks on the hook he leave that

1065
00:54:45,440 --> 00:54:49,680
Speaker 4: first apartment. Yeah, we just it was just a.

1066
00:54:49,760 --> 00:54:54,400
Speaker 3: Great setup like that right there.

1067
00:54:53,480 --> 00:54:57,640
Speaker 2: It's as good whether it wasn't as great as you think. No,

1068
00:54:58,160 --> 00:54:59,200
Speaker 2: wasn't as great as you think.

1069
00:54:59,400 --> 00:55:02,759
Speaker 3: How do you get to how do you get to

1070
00:55:02,800 --> 00:55:06,080
Speaker 3: who that? How do you get to that record? Because

1071
00:55:07,000 --> 00:55:08,760
Speaker 3: I've hurt so many of your records?

1072
00:55:09,120 --> 00:55:15,120
Speaker 6: Yes, well you want to know the truth. I was frustrated.

1073
00:55:15,920 --> 00:55:21,520
Speaker 6: I was frustrated because I'm in Atlanta for time preference.

1074
00:55:21,560 --> 00:55:23,880
Speaker 6: All this story is great, but what's going on around

1075
00:55:23,920 --> 00:55:30,440
Speaker 6: me is what about your friends? It's Jermaine, It's Waterfall,

1076
00:55:30,520 --> 00:55:36,680
Speaker 6: It's it's the biggest record I've seen, and hearing things.

1077
00:55:37,400 --> 00:55:40,239
Speaker 6: The first night I get there, I hear it ain't

1078
00:55:40,239 --> 00:55:42,319
Speaker 6: no thing but a chicken way but Outcast stayed in

1079
00:55:42,360 --> 00:55:46,160
Speaker 6: the studio in LA's basement. That's how that's my introduction

1080
00:55:46,280 --> 00:55:50,040
Speaker 6: to Atlanta. And then you walk over here Dallas is

1081
00:55:50,080 --> 00:55:51,880
Speaker 6: working on what about your friends? And I don't know,

1082
00:55:52,080 --> 00:55:53,799
Speaker 6: just as a point of reference, I don't know when

1083
00:55:53,840 --> 00:55:57,279
Speaker 6: the last time you've listened to that song, But do

1084
00:55:57,360 --> 00:55:59,880
Speaker 6: yourself a favor and listen to that song, and remember

1085
00:56:00,880 --> 00:56:05,600
Speaker 6: that was my introduction to Atlanta. Okay and so and

1086
00:56:05,640 --> 00:56:08,560
Speaker 6: then then there's Jermaine. But I knew Jermaine because now

1087
00:56:08,600 --> 00:56:13,399
Speaker 6: criss crosses out before Jermaine left maybe before I came there.

1088
00:56:13,480 --> 00:56:15,839
Speaker 6: Jermaine and I had actually produced. We did a song

1089
00:56:15,920 --> 00:56:18,839
Speaker 6: with Criss Cross and Immature together on the Bay Based

1090
00:56:18,920 --> 00:56:21,560
Speaker 6: Kids soundtrack out Here, so I knew Jermaine. So when

1091
00:56:21,560 --> 00:56:23,719
Speaker 6: I got to Atlanta for the first time on my

1092
00:56:23,800 --> 00:56:26,120
Speaker 6: recruiting trip, because it used to be like college down there,

1093
00:56:26,360 --> 00:56:29,160
Speaker 6: Jermaine was the person that picked me up and like

1094
00:56:29,320 --> 00:56:31,600
Speaker 6: picked me up and took me to his to his

1095
00:56:31,640 --> 00:56:32,720
Speaker 6: studio which was at.

1096
00:56:32,560 --> 00:56:33,319
Speaker 5: His mom's house.

1097
00:56:33,760 --> 00:56:36,040
Speaker 6: And I'm just like, man, look at all these cars

1098
00:56:36,040 --> 00:56:39,239
Speaker 6: and motorcycles and stuff he got, and I'm just like, like,

1099
00:56:39,400 --> 00:56:41,479
Speaker 6: you know, I mean, like I said, and I'm coming

1100
00:56:41,520 --> 00:56:44,759
Speaker 6: from out here and it's Jermaine. And then I go

1101
00:56:44,800 --> 00:56:46,960
Speaker 6: to LA's house and Country Club of the South at

1102
00:56:46,960 --> 00:56:47,360
Speaker 6: the time.

1103
00:56:47,239 --> 00:56:50,600
Speaker 2: And it's like, oh, yeah.

1104
00:56:49,600 --> 00:56:52,880
Speaker 6: I'm moving right, like there's no there's no question. And

1105
00:56:52,920 --> 00:56:58,719
Speaker 6: so the frustration because I hadn't found a music identity

1106
00:56:59,560 --> 00:57:02,279
Speaker 6: because I'm from the Midwest, and I think it's an advantage,

1107
00:57:02,600 --> 00:57:05,080
Speaker 6: but it's also a disadvantage.

1108
00:57:05,160 --> 00:57:09,160
Speaker 4: Right, there's no defining sound, right, and so.

1109
00:57:09,160 --> 00:57:11,680
Speaker 6: I didn't have a defining sound. I knew how to

1110
00:57:11,680 --> 00:57:14,880
Speaker 6: make records, but I didn't have a defining sound and

1111
00:57:15,000 --> 00:57:17,840
Speaker 6: who that was made because I was like, man, this

1112
00:57:17,960 --> 00:57:21,320
Speaker 6: rap shit is easy. I could do rap in my sleep.

1113
00:57:22,600 --> 00:57:25,160
Speaker 6: And so one night I just came back to the

1114
00:57:25,200 --> 00:57:28,320
Speaker 6: studio and I was like, I'm gonna make some rap songs.

1115
00:57:28,360 --> 00:57:30,480
Speaker 6: That was the first one I made. It was a

1116
00:57:30,560 --> 00:57:33,120
Speaker 6: joke to start. It was me and my boy DeAndre

1117
00:57:33,240 --> 00:57:35,800
Speaker 6: Davis and Tad. We came back from the strip club.

1118
00:57:35,840 --> 00:57:38,520
Speaker 6: We was probably I think we were probably drinking or whatever.

1119
00:57:39,200 --> 00:57:41,040
Speaker 6: Brought a whole bunch of people back to the studio.

1120
00:57:41,480 --> 00:57:44,400
Speaker 6: I let everybody that was at the studio rap on

1121
00:57:44,440 --> 00:57:46,200
Speaker 6: the song. We came up with the hook me Dre

1122
00:57:46,400 --> 00:57:49,360
Speaker 6: Let's us on the hook. I let everybody that was

1123
00:57:49,400 --> 00:57:54,080
Speaker 6: at the studio get a verse. The song had fifteen

1124
00:57:54,160 --> 00:57:56,920
Speaker 6: verses on it. Jason Weaver was out the song, whoever

1125
00:57:57,080 --> 00:58:02,760
Speaker 6: was at the club, and I was like, okay, this

1126
00:58:02,880 --> 00:58:05,200
Speaker 6: is a this I don't know how it went from

1127
00:58:05,240 --> 00:58:08,680
Speaker 6: a joke to like and you start to resent it,

1128
00:58:08,760 --> 00:58:11,080
Speaker 6: like you know, you resent it because I'm not getting

1129
00:58:11,160 --> 00:58:13,520
Speaker 6: attention that I want for myself. Salter, I'm you know,

1130
00:58:13,560 --> 00:58:16,560
Speaker 6: I'm doing We're doing strings, We're doing Oregon's le, You're

1131
00:58:16,560 --> 00:58:21,160
Speaker 6: doing everything. But this song is making the people go crazy.

1132
00:58:21,200 --> 00:58:23,640
Speaker 6: But it's not JT Money and so Lee ain't on

1133
00:58:23,720 --> 00:58:24,840
Speaker 6: it yet.

1134
00:58:25,080 --> 00:58:27,880
Speaker 5: It's just people. But I got the hook, you know

1135
00:58:27,920 --> 00:58:28,240
Speaker 5: what I mean.

1136
00:58:28,320 --> 00:58:31,720
Speaker 6: I just got the hook, and so, you know, my

1137
00:58:31,840 --> 00:58:34,360
Speaker 6: mind is kind of you know, I don't I don't

1138
00:58:34,360 --> 00:58:38,520
Speaker 6: remember like super details, but I know that tab brought

1139
00:58:38,520 --> 00:58:45,120
Speaker 6: me sole okay, and Tony Mercedes had JT. Money, And

1140
00:58:45,160 --> 00:58:48,080
Speaker 6: I can't remember whose idea it was to get them

1141
00:58:48,080 --> 00:58:50,959
Speaker 6: involved or how it got involved. They got on the song,

1142
00:58:51,560 --> 00:58:55,000
Speaker 6: cut all the rest of them mess away, and then

1143
00:58:55,840 --> 00:58:59,480
Speaker 6: Tony Mercedes and Dallas heard the song, they got involved

1144
00:58:59,480 --> 00:58:59,959
Speaker 6: with the song.

1145
00:59:00,200 --> 00:59:02,360
Speaker 2: Yeah, well they got involved with.

1146
00:59:02,280 --> 00:59:06,040
Speaker 6: The song after the fact that I went everywhere making

1147
00:59:06,080 --> 00:59:08,760
Speaker 6: the rounds trying to get the song, trying to get

1148
00:59:09,240 --> 00:59:11,480
Speaker 6: somebody put the song out, and they was like you

1149
00:59:11,560 --> 00:59:14,360
Speaker 6: were shopping the record, but with them, they were like

1150
00:59:14,360 --> 00:59:16,080
Speaker 6: this shit is whack, Like you know what I mean.

1151
00:59:16,440 --> 00:59:18,640
Speaker 6: They didn't like it, and so nobody really liked it,

1152
00:59:18,680 --> 00:59:21,760
Speaker 6: and so it ended up in the independent space and

1153
00:59:22,040 --> 00:59:23,560
Speaker 6: it was just one of those things.

1154
00:59:23,560 --> 00:59:24,040
Speaker 2: I remember.

1155
00:59:24,800 --> 00:59:27,920
Speaker 5: The record came out in December and I didn't really know.

1156
00:59:27,880 --> 00:59:31,400
Speaker 6: How records work, but I hadn't you know, nothing was

1157
00:59:31,440 --> 00:59:33,720
Speaker 6: happening as far as I was concerned, Like I wasn't

1158
00:59:33,720 --> 00:59:35,320
Speaker 6: hear this in the club when I was going And

1159
00:59:36,040 --> 00:59:41,600
Speaker 6: next ding got knew that summer that thing just took

1160
00:59:41,640 --> 00:59:46,800
Speaker 6: a turn and that I had never felt anything like

1161
00:59:46,880 --> 00:59:50,520
Speaker 6: that from the standpoint of just like an impact record,

1162
00:59:50,640 --> 00:59:54,400
Speaker 6: and I realized I started to realize, like that was

1163
00:59:54,480 --> 00:59:56,360
Speaker 6: I guess when I realized that it's not about what

1164
00:59:56,400 --> 00:59:59,400
Speaker 6: I want, it's about it's about what the people want.

1165
01:00:00,040 --> 01:00:04,240
Speaker 6: And from that standpoint, I was that was the turning

1166
01:00:04,240 --> 01:00:06,760
Speaker 6: point I think in me really understanding how to make

1167
01:00:06,840 --> 01:00:09,920
Speaker 6: records differently, going from making music and writing songs and

1168
01:00:09,960 --> 01:00:13,000
Speaker 6: going through themotions but really looking for impact and so

1169
01:00:13,120 --> 01:00:16,480
Speaker 6: that really that's really changed my life because that's when

1170
01:00:16,480 --> 01:00:19,400
Speaker 6: I realized that, you know, people always think, oh, you

1171
01:00:19,400 --> 01:00:20,960
Speaker 6: got to have the money, you got to have the money.

1172
01:00:21,840 --> 01:00:24,360
Speaker 6: They didn't have the money. The Janet Jackson record and

1173
01:00:24,440 --> 01:00:27,280
Speaker 6: Buster rhymeins want to be record out with delight at

1174
01:00:27,280 --> 01:00:30,520
Speaker 6: the time as the producer, like making all those crazy records.

1175
01:00:30,520 --> 01:00:32,560
Speaker 6: They had the two million dollar video, they had. All

1176
01:00:32,600 --> 01:00:35,480
Speaker 6: that we med was that was a number one record

1177
01:00:35,600 --> 01:00:38,760
Speaker 6: on all four mets, that song of the Year, number

1178
01:00:38,760 --> 01:00:42,160
Speaker 6: one R and B, number two pop like you know

1179
01:00:42,160 --> 01:00:45,000
Speaker 6: what I mean like it and I was like oh,

1180
01:00:45,320 --> 01:00:48,600
Speaker 6: and that kind of became my seat my motivating factors,

1181
01:00:48,640 --> 01:00:52,160
Speaker 6: like if I have a hit record, is can it

1182
01:00:52,200 --> 01:00:55,800
Speaker 6: be number one on all the charts at the same time?

1183
01:00:56,480 --> 01:00:59,040
Speaker 5: And so every record that we've ever had.

1184
01:00:58,880 --> 01:01:01,680
Speaker 6: At Red Zone, I think what we do that's different

1185
01:01:01,680 --> 01:01:05,160
Speaker 6: than everybody is that even if it's breaking my soul,

1186
01:01:05,520 --> 01:01:07,640
Speaker 6: break my soul, one number one rap too, like it

1187
01:01:07,680 --> 01:01:10,160
Speaker 6: was the number one hip hop record, number one Dan's record,

1188
01:01:10,280 --> 01:01:12,480
Speaker 6: number one pop record, No One R and B record,

1189
01:01:12,560 --> 01:01:15,240
Speaker 6: Like if it whatever it was, what it's an umbrella,

1190
01:01:15,480 --> 01:01:16,400
Speaker 6: any record.

1191
01:01:16,160 --> 01:01:22,920
Speaker 3: Like oh we oh, break out this sham babe. If

1192
01:01:22,960 --> 01:01:30,320
Speaker 3: it's break my soul, if it's umbrella, if it's baby.

1193
01:01:28,760 --> 01:01:32,080
Speaker 6: Yeah, baby, The baby wasn't a hit though, What baby

1194
01:01:32,160 --> 01:01:32,680
Speaker 6: wasn't a hit?

1195
01:01:33,160 --> 01:01:34,080
Speaker 5: Baby became a hit?

1196
01:01:34,120 --> 01:01:34,320
Speaker 2: Okay?

1197
01:01:34,360 --> 01:01:36,200
Speaker 4: I about to say okay, became came a hit.

1198
01:01:36,240 --> 01:01:37,160
Speaker 2: Baby was a hit.

1199
01:01:37,200 --> 01:01:40,520
Speaker 6: Baby was a radio fail. It just so, it's so

1200
01:01:40,760 --> 01:01:43,520
Speaker 6: seventeen million or sixteen million however minute you know, but

1201
01:01:43,560 --> 01:01:45,400
Speaker 6: it never charted because there's no kid.

1202
01:01:45,440 --> 01:01:48,120
Speaker 4: Did you hear what you said or whatever? Sixteen seventy

1203
01:01:48,240 --> 01:01:48,920
Speaker 4: or whatever it.

1204
01:01:49,680 --> 01:01:50,840
Speaker 5: I don't know where it stopped.

1205
01:01:51,480 --> 01:01:54,520
Speaker 6: It hasn't, but I mean it because it's generational, like

1206
01:01:54,680 --> 01:01:58,200
Speaker 6: every kid finds it somehow, and so you know it's

1207
01:01:58,240 --> 01:01:59,880
Speaker 6: a hit now. It feels like a hit now, but

1208
01:02:00,320 --> 01:02:04,320
Speaker 6: very much not in the moment. Was not like some breakout.

1209
01:02:04,680 --> 01:02:07,280
Speaker 2: You mean in terms of chart position. It wasn't a hit.

1210
01:02:07,680 --> 01:02:10,320
Speaker 6: I don't I don't even know. Yeah, it didn't do

1211
01:02:10,360 --> 01:02:12,960
Speaker 6: nothing on the radio. You never heard baby on the radio.

1212
01:02:13,640 --> 01:02:15,800
Speaker 2: I just heard it so much. I don't know where

1213
01:02:15,840 --> 01:02:16,280
Speaker 2: I heard it.

1214
01:02:16,320 --> 01:02:17,960
Speaker 4: You heard and it's one of those records where you

1215
01:02:18,000 --> 01:02:18,800
Speaker 4: don't know where you heard it.

1216
01:02:18,880 --> 01:02:21,200
Speaker 6: But they don't play they have a rule they don't

1217
01:02:21,200 --> 01:02:22,200
Speaker 6: play kids on the radio.

1218
01:02:22,360 --> 01:02:26,280
Speaker 2: Impact record though about hit from Impact.

1219
01:02:26,000 --> 01:02:26,920
Speaker 5: Yeah, yeah, of course.

1220
01:02:26,960 --> 01:02:28,880
Speaker 6: But he wasn't coming from Disney to see all those

1221
01:02:28,920 --> 01:02:31,040
Speaker 6: other people breathing and all them they come from Disney.

1222
01:02:31,480 --> 01:02:35,760
Speaker 6: He just came out of nowhere, nowhere, nowhere. So adult

1223
01:02:35,840 --> 01:02:38,720
Speaker 6: radio wasn't you know. They were like, we're not playing this,

1224
01:02:39,400 --> 01:02:41,280
Speaker 6: and so it was. It was never on radio. It

1225
01:02:41,400 --> 01:02:44,600
Speaker 6: just kept growing. It was I mean, first record to

1226
01:02:44,640 --> 01:02:47,400
Speaker 6: a billion on YouTube, first one to two billion on YouTube,

1227
01:02:47,480 --> 01:02:50,000
Speaker 6: like it was breaking records. That's how I knew that

1228
01:02:50,080 --> 01:02:52,520
Speaker 6: YouTube wasn't where I want my records to be because

1229
01:02:52,560 --> 01:02:54,120
Speaker 6: there was no check that ever came with it.

1230
01:02:54,920 --> 01:02:57,080
Speaker 2: Hmm. That was early. Huh yeah.

1231
01:02:57,200 --> 01:02:59,320
Speaker 6: I figured that out because I was like, this is

1232
01:02:59,360 --> 01:03:02,280
Speaker 6: the YouTube, Like, this is the YouTube.

1233
01:03:03,720 --> 01:03:04,120
Speaker 2: I'll take.

1234
01:03:04,320 --> 01:03:07,600
Speaker 6: I'll take number seven, you know on radio on the

1235
01:03:07,720 --> 01:03:13,080
Speaker 6: chart over over a billion dreams over over having many billions.

1236
01:03:14,000 --> 01:03:28,040
Speaker 8: Wow, Blue Cantrail, Yeah, oh my god, yeah many a show.

1237
01:03:28,760 --> 01:03:33,360
Speaker 5: Yes, that was a single?

1238
01:03:34,160 --> 01:03:40,160
Speaker 2: Different, Yes, what made you go there? Once again?

1239
01:03:40,200 --> 01:03:42,400
Speaker 5: That's Tab. You know most people don't know.

1240
01:03:42,520 --> 01:03:45,880
Speaker 6: Like the relationship that I have with Tab is he

1241
01:03:46,040 --> 01:03:48,040
Speaker 6: finds stuff like it's the same person that brought me

1242
01:03:48,120 --> 01:03:53,520
Speaker 6: Frank Ocean. Like, you know, Blue was just a voice.

1243
01:03:54,240 --> 01:03:58,400
Speaker 6: She was a voice that that that that was incredible

1244
01:03:58,400 --> 01:04:03,920
Speaker 6: because she had jazz gospel, she had scats, she had power,

1245
01:04:04,320 --> 01:04:09,560
Speaker 6: she had falsetto, she had loaves, she had highs and

1246
01:04:09,640 --> 01:04:14,480
Speaker 6: she just knew how to work it all. And that

1247
01:04:14,520 --> 01:04:17,160
Speaker 6: whole situation happened. She was her sister, I believe it

1248
01:04:17,200 --> 01:04:20,080
Speaker 6: got in a car accident and she came to Atlanta

1249
01:04:20,080 --> 01:04:21,919
Speaker 6: because she was up from New Jersey and New York

1250
01:04:22,000 --> 01:04:25,840
Speaker 6: or something. And Tab and I think another guy that

1251
01:04:25,920 --> 01:04:29,040
Speaker 6: I work with named Javon Simms brought her in like

1252
01:04:29,120 --> 01:04:32,040
Speaker 6: my mind like on certain things, I just can't recall

1253
01:04:32,080 --> 01:04:35,840
Speaker 6: it that much. But I ended up with her. She

1254
01:04:35,960 --> 01:04:38,040
Speaker 6: came to the studio and I just fell in love

1255
01:04:38,040 --> 01:04:41,440
Speaker 6: with her voice, and we did this record called Till

1256
01:04:41,480 --> 01:04:44,640
Speaker 6: I'm Gone off of her first record, and we just

1257
01:04:44,640 --> 01:04:48,120
Speaker 6: spent We spent the next seven days. We spent the

1258
01:04:48,120 --> 01:04:53,240
Speaker 6: next seven days basically just making records. And by the

1259
01:04:53,240 --> 01:04:55,760
Speaker 6: time we got done, we had everything that's on the

1260
01:04:55,800 --> 01:04:58,800
Speaker 6: first album except for hit Him Up Style. I had

1261
01:04:58,920 --> 01:05:02,919
Speaker 6: just done who that of Dallas. He had just broke

1262
01:05:02,960 --> 01:05:05,360
Speaker 6: that record for me. I was like, I just signed

1263
01:05:05,400 --> 01:05:08,360
Speaker 6: an artist. I took her over there. He wrote hit

1264
01:05:08,400 --> 01:05:08,960
Speaker 6: Him Up Style?

1265
01:05:09,720 --> 01:05:10,000
Speaker 2: You know.

1266
01:05:11,480 --> 01:05:16,680
Speaker 6: That track is just yeah, super super super crazy like

1267
01:05:17,040 --> 01:05:20,680
Speaker 6: and I mean Dallas, that's you know, Dallas is a fool.

1268
01:05:21,160 --> 01:05:24,160
Speaker 6: That is a complete fool. You know, Dallas is the scariest,

1269
01:05:24,520 --> 01:05:26,840
Speaker 6: one of the scariest producers I've ever been around. You know,

1270
01:05:26,920 --> 01:05:29,320
Speaker 6: It's it's crazy that we are friends now, But I

1271
01:05:29,800 --> 01:05:33,960
Speaker 6: legit used to be like, you know, scared of him,

1272
01:05:34,200 --> 01:05:36,400
Speaker 6: Like producers used to be scary, you know what I mean,

1273
01:05:36,480 --> 01:05:39,720
Speaker 6: Like you know, you go see you go watch Rodney

1274
01:05:39,800 --> 01:05:42,880
Speaker 6: Jerkins work back in the day, you'll question your life period.

1275
01:05:43,520 --> 01:05:44,680
Speaker 5: Do we have the same job?

1276
01:05:45,400 --> 01:05:47,160
Speaker 4: Do we have to say?

1277
01:05:47,200 --> 01:05:47,440
Speaker 5: Are we?

1278
01:05:47,560 --> 01:05:48,920
Speaker 2: Are we fine? For the same thing?

1279
01:05:49,080 --> 01:05:52,000
Speaker 6: They'll change your life, And so I don't That's why

1280
01:05:52,080 --> 01:05:54,600
Speaker 6: I don't like to watch people work up close like that,

1281
01:05:54,720 --> 01:05:57,400
Speaker 6: because it could fuck you up watching, you know, Like

1282
01:05:57,800 --> 01:06:01,240
Speaker 6: I'm I'm I'm committed to getting it right. I don't

1283
01:06:01,240 --> 01:06:04,600
Speaker 6: get it right at first all the time, but I

1284
01:06:04,640 --> 01:06:06,800
Speaker 6: just want to win more than most people though, you

1285
01:06:06,840 --> 01:06:09,960
Speaker 6: know what I'm saying. But when you see somebody go

1286
01:06:10,080 --> 01:06:14,320
Speaker 6: from soup to nuts and like, you what the fuck

1287
01:06:14,720 --> 01:06:18,440
Speaker 6: just happened here? And like and I've witnessed that stuff,

1288
01:06:18,480 --> 01:06:19,760
Speaker 6: and I'll just be like, you know, I don't want

1289
01:06:19,760 --> 01:06:22,439
Speaker 6: to play that game, you know, Like you know, that's

1290
01:06:22,560 --> 01:06:24,560
Speaker 6: I think it's still it's still part of the reason

1291
01:06:24,600 --> 01:06:27,200
Speaker 6: why I think I'm not like the best collaborator, because

1292
01:06:27,200 --> 01:06:29,720
Speaker 6: I'm just seen shit that I'm like, I don't ever

1293
01:06:29,760 --> 01:06:32,800
Speaker 6: want to see that again because it's like it's intimidating.

1294
01:06:32,920 --> 01:06:38,440
Speaker 6: But with that being said, the blue stuff was just magic,

1295
01:06:38,920 --> 01:06:41,040
Speaker 6: you know, when it happened those types of things, when

1296
01:06:41,040 --> 01:06:46,760
Speaker 6: it happens, it happens quickly. And once again, at that time,

1297
01:06:48,280 --> 01:06:53,520
Speaker 6: LA was leaving le face. You just exitent new chairman

1298
01:06:54,880 --> 01:06:59,000
Speaker 6: that Arista Records, just taking Clive Davis's job. We just

1299
01:06:59,040 --> 01:07:01,480
Speaker 6: give just we had just done the No Scrubs record,

1300
01:07:01,520 --> 01:07:06,080
Speaker 6: because Shakespeare was our producer, Mark was managing him. He

1301
01:07:06,160 --> 01:07:08,200
Speaker 6: had just done the No Scrubs record, which Dallas was

1302
01:07:08,200 --> 01:07:11,680
Speaker 6: an executive producer of all those TLC records. So their

1303
01:07:11,720 --> 01:07:14,520
Speaker 6: synergy and friendship is building and projects.

1304
01:07:14,520 --> 01:07:15,040
Speaker 2: But we're just.

1305
01:07:15,040 --> 01:07:18,920
Speaker 6: Friends, like just exchanging songs back and forth to each other.

1306
01:07:19,920 --> 01:07:24,560
Speaker 6: And so we go to our friend La check this out,

1307
01:07:24,600 --> 01:07:26,440
Speaker 6: you know what I mean? And Blue Can Travel was

1308
01:07:26,440 --> 01:07:32,480
Speaker 6: his first signing. Uh okay, like I'm pretty sure in

1309
01:07:32,920 --> 01:07:36,080
Speaker 6: number one, pop, number one, R and B number one,

1310
01:07:36,080 --> 01:07:39,160
Speaker 6: everything across the world once again once again again, yeah,

1311
01:07:39,160 --> 01:07:43,880
Speaker 6: once again. And so you know that's the that's the

1312
01:07:44,080 --> 01:07:45,960
Speaker 6: you know, and I think that's something it's something in

1313
01:07:46,000 --> 01:07:48,680
Speaker 6: the water to that with, you know, like with or

1314
01:07:48,720 --> 01:07:50,840
Speaker 6: I should say, in our case, in the Red Clay.

1315
01:07:51,440 --> 01:07:54,520
Speaker 6: They taught us that Atlanta taught us that Jermaine taught

1316
01:07:54,560 --> 01:07:57,840
Speaker 6: us that like Jermaine influence on music.

1317
01:07:58,800 --> 01:08:01,240
Speaker 5: Let me know that all your.

1318
01:08:01,120 --> 01:08:03,760
Speaker 6: Records could be big, you know what I mean, Like

1319
01:08:04,040 --> 01:08:07,240
Speaker 6: regardless of what he did, like if he did a

1320
01:08:07,240 --> 01:08:09,960
Speaker 6: slow song, he would give you let's get married, and

1321
01:08:09,960 --> 01:08:11,600
Speaker 6: then he will give you a remix that would take

1322
01:08:11,640 --> 01:08:13,080
Speaker 6: over the world. Like you know what I mean, Like

1323
01:08:13,480 --> 01:08:16,880
Speaker 6: whatever the record was, It's like that was the expectation

1324
01:08:16,960 --> 01:08:20,600
Speaker 6: from Atlanta. Because we don't have no friends. We are outsiders.

1325
01:08:20,640 --> 01:08:23,320
Speaker 6: We don't have no checks. We have to write fuck

1326
01:08:23,360 --> 01:08:25,680
Speaker 6: it smashes to get in. We don't go up to it.

1327
01:08:25,760 --> 01:08:28,160
Speaker 6: We don't have no there's no voice to get a check.

1328
01:08:28,160 --> 01:08:30,960
Speaker 2: In Atlanta. All we got ist studios.

1329
01:08:31,320 --> 01:08:35,160
Speaker 6: This ain't Nashville, it ain't Miami, and it ain't La right,

1330
01:08:35,200 --> 01:08:37,360
Speaker 6: and it ain't New York. So all we have is

1331
01:08:37,400 --> 01:08:38,160
Speaker 6: the smash game.

1332
01:08:38,479 --> 01:08:38,599
Speaker 2: Right.

1333
01:08:39,000 --> 01:08:41,240
Speaker 6: That's how we became the reference CD to the most

1334
01:08:41,240 --> 01:08:44,679
Speaker 6: things that people are usually trying to chase. I believe,

1335
01:08:44,920 --> 01:08:49,479
Speaker 6: because we have to have we belong together, we have

1336
01:08:49,600 --> 01:08:52,880
Speaker 6: to have creep, we have to have girls running the world.

1337
01:08:52,920 --> 01:08:55,600
Speaker 6: You know what I'm saying, Love on top. That's the

1338
01:08:55,640 --> 01:08:58,639
Speaker 6: price of entry down there. And so when you don't

1339
01:08:58,640 --> 01:09:01,720
Speaker 6: have one, you just keep going until you get one.

1340
01:09:01,840 --> 01:09:05,320
Speaker 6: But I've never seen nobody not get one. They'll figure

1341
01:09:05,320 --> 01:09:06,320
Speaker 6: it out.

1342
01:09:06,560 --> 01:09:07,120
Speaker 2: A lot of his.

1343
01:09:08,840 --> 01:09:14,800
Speaker 3: Well, man, man, you just named some records that's my city.

1344
01:09:16,439 --> 01:09:18,200
Speaker 4: And you said you've been there, you said for thirty years.

1345
01:09:18,200 --> 01:09:21,360
Speaker 6: Now, I moved there in ninety five. You know, I've

1346
01:09:21,439 --> 01:09:23,800
Speaker 6: moved back and forth. I've never moved from Atlanta. But

1347
01:09:24,040 --> 01:09:26,120
Speaker 6: there's I believe there's always a time to be in

1348
01:09:26,240 --> 01:09:29,720
Speaker 6: La This is the entertainment capital, will and nothing you

1349
01:09:29,720 --> 01:09:32,120
Speaker 6: can do about that, you know, but there is a

1350
01:09:32,200 --> 01:09:33,920
Speaker 6: time to be here, and there's a time to go home.

1351
01:09:34,560 --> 01:09:37,800
Speaker 6: And I was out here and check some things off

1352
01:09:37,840 --> 01:09:39,960
Speaker 6: the boxes, you know. I wanted to get into movies

1353
01:09:40,000 --> 01:09:43,760
Speaker 6: and did burlesque and some stuff with Christina Aguilera and

1354
01:09:43,880 --> 01:09:46,160
Speaker 6: did to Think Like a Man and all those like

1355
01:09:46,360 --> 01:09:49,080
Speaker 6: film productions and score it and all that.

1356
01:09:49,320 --> 01:09:51,839
Speaker 5: And then it was time to.

1357
01:09:51,840 --> 01:09:54,720
Speaker 6: Figure out because I was losing my voice a little bit,

1358
01:09:54,760 --> 01:09:56,760
Speaker 6: like what do I sound like? You know, what do

1359
01:09:56,800 --> 01:09:58,120
Speaker 6: I sound like? And I had to go back to

1360
01:09:58,160 --> 01:09:59,880
Speaker 6: Atlanta to figure out what I sound like again?

1361
01:10:00,320 --> 01:10:00,679
Speaker 2: Gotcha?

1362
01:10:01,439 --> 01:10:05,920
Speaker 3: So while you're in Atlanta, is that when Tad brings

1363
01:10:05,960 --> 01:10:08,639
Speaker 3: you Frank Ocean or at this point he's not Frank

1364
01:10:08,680 --> 01:10:09,280
Speaker 3: Ocean yet.

1365
01:10:10,680 --> 01:10:13,320
Speaker 6: Yeah, he brought me him out here because I was

1366
01:10:13,360 --> 01:10:16,120
Speaker 6: at the Boom Boom Room. You know, I locked that

1367
01:10:16,200 --> 01:10:18,720
Speaker 6: place out for some time when we were really out

1368
01:10:18,720 --> 01:10:22,879
Speaker 6: here and was doing a bunch of stuff doing Mariah

1369
01:10:22,880 --> 01:10:25,960
Speaker 6: and some other stuff, and Mark and Tad brought him

1370
01:10:26,000 --> 01:10:28,920
Speaker 6: through because they wanted me to write with him, and

1371
01:10:29,000 --> 01:10:32,639
Speaker 6: I was working with Dream at the time. Then Dream

1372
01:10:32,800 --> 01:10:37,040
Speaker 6: what It seems very natural now, but at the time

1373
01:10:37,120 --> 01:10:42,080
Speaker 6: it was very hard to It was capturing his essence

1374
01:10:42,120 --> 01:10:46,040
Speaker 6: of his songs with making the artists feel like it

1375
01:10:46,120 --> 01:10:48,760
Speaker 6: is their song. But capturing the essence is a challenging

1376
01:10:48,880 --> 01:10:51,719
Speaker 6: job because his voice sits in the middle of people's voices.

1377
01:10:52,560 --> 01:10:55,880
Speaker 6: And so Frank had the same thing going on, and

1378
01:10:55,920 --> 01:10:58,080
Speaker 6: I was like, the hell, I I don't want to

1379
01:10:58,120 --> 01:11:00,400
Speaker 6: hear I don't want to spend this time I'm doing

1380
01:11:00,400 --> 01:11:04,880
Speaker 6: this because he had such a unique, amazing tone and

1381
01:11:04,960 --> 01:11:09,840
Speaker 6: perspective and everything. And ultimately I said, look, bro, in

1382
01:11:09,840 --> 01:11:12,160
Speaker 6: real life terms, I love what you do. These songs

1383
01:11:12,280 --> 01:11:15,000
Speaker 6: you just play me are incredible. But I was like,

1384
01:11:15,080 --> 01:11:16,960
Speaker 6: I got no interest in writing with you, but if

1385
01:11:17,000 --> 01:11:19,479
Speaker 6: you'll be an artist, then I'll be interested.

1386
01:11:19,760 --> 01:11:22,160
Speaker 4: So he didn't come to you as an artist purely

1387
01:11:22,200 --> 01:11:22,839
Speaker 4: as a songwriter.

1388
01:11:22,960 --> 01:11:24,360
Speaker 5: Yeah, he came as a songwriter.

1389
01:11:24,600 --> 01:11:27,479
Speaker 3: And you're like you, yeah, I'll do it if you're

1390
01:11:27,479 --> 01:11:29,960
Speaker 3: an artists. Yeah, and he was like, I'll do it.

1391
01:11:30,560 --> 01:11:32,960
Speaker 6: Yeah, Like he was like, I'll do it, and I

1392
01:11:32,960 --> 01:11:35,680
Speaker 6: mean we was in a doorway like like that over there,

1393
01:11:35,800 --> 01:11:39,120
Speaker 6: like this conversations happened in the doorway and he's like,

1394
01:11:39,160 --> 01:11:41,599
Speaker 6: I'll do it, and then like a couple of minutes

1395
01:11:41,680 --> 01:11:45,080
Speaker 6: go by and you know whatever, we're talking and he's like,

1396
01:11:45,280 --> 01:11:50,280
Speaker 6: the only thing is He's like, and you got to understand,

1397
01:11:51,360 --> 01:11:54,640
Speaker 6: I heard some smashes from this dude, like records that

1398
01:11:54,680 --> 01:11:57,880
Speaker 6: you would be like like Bruno Mar's level, right, because

1399
01:11:57,920 --> 01:12:00,320
Speaker 6: he's writing for other people. He's writing to win, like

1400
01:12:00,400 --> 01:12:04,000
Speaker 6: he's writing for the industry. He said, okay, I'll be

1401
01:12:04,080 --> 01:12:08,439
Speaker 6: an artist. But the only thing is I hate every

1402
01:12:08,560 --> 01:12:15,200
Speaker 6: song I've ever written, and meaning those weren't going to

1403
01:12:15,280 --> 01:12:19,120
Speaker 6: be his songs. And from that point, the birth of

1404
01:12:19,120 --> 01:12:21,479
Speaker 6: Frank Ocean, I think in his mind happened. And that

1405
01:12:21,600 --> 01:12:26,120
Speaker 6: sound that he created, that's his sound. Sound, that's his sound, right,

1406
01:12:26,240 --> 01:12:29,000
Speaker 6: and he created that like you know, you know that

1407
01:12:29,040 --> 01:12:31,200
Speaker 6: doesn't have a whole lot to do with me other

1408
01:12:31,320 --> 01:12:35,439
Speaker 6: than creating and fostering the right stewardship, if you will.

1409
01:12:35,800 --> 01:12:39,840
Speaker 6: I produced overcame this one of you know, the breakout single,

1410
01:12:39,960 --> 01:12:42,400
Speaker 6: you know you mean you need you still need the

1411
01:12:42,520 --> 01:12:45,439
Speaker 6: sauce of what you don't know? But ever since then

1412
01:12:45,479 --> 01:12:49,000
Speaker 6: and everything since then, it's pretty bit after Nostalgia Ultra,

1413
01:12:49,160 --> 01:12:52,439
Speaker 6: the original mixtape, Like we went crazy with that thing,

1414
01:12:52,560 --> 01:12:55,959
Speaker 6: just getting it to everybody. We like, we were passing

1415
01:12:56,040 --> 01:12:58,200
Speaker 6: out every CD. If I was on a flight with

1416
01:12:58,280 --> 01:13:01,879
Speaker 6: you, you were gonna get it. We were having listening party after.

1417
01:13:01,880 --> 01:13:03,960
Speaker 4: I forgot who gave me the CD, but I still

1418
01:13:04,000 --> 01:13:04,599
Speaker 4: have it somewhere.

1419
01:13:04,760 --> 01:13:08,240
Speaker 6: It was a girl, trust me, it was a girl.

1420
01:13:08,400 --> 01:13:10,080
Speaker 6: If you got a straight coace and CD, it came

1421
01:13:10,080 --> 01:13:11,400
Speaker 6: from a girl and she was back.

1422
01:13:13,640 --> 01:13:16,000
Speaker 2: You know I love that.

1423
01:13:16,720 --> 01:13:20,760
Speaker 3: Yeah, let's kip over that party. Yes, you know it's

1424
01:13:20,760 --> 01:13:29,480
Speaker 3: just my life. Yeah, amazing, Broy, amazing.

1425
01:13:29,800 --> 01:13:35,360
Speaker 2: Can we talk about the tricky and Dream? Yes? Yes, please? Yes,

1426
01:13:35,479 --> 01:13:44,439
Speaker 2: that is uh fucking magic. Yes, it's magic. How man?

1427
01:13:45,680 --> 01:13:49,280
Speaker 6: I think I think what it is right that makes

1428
01:13:49,400 --> 01:13:54,800
Speaker 6: us have a magic of real magic. I think we

1429
01:13:55,000 --> 01:13:59,799
Speaker 6: value two different things within the songwriting and production process,

1430
01:13:59,800 --> 01:14:06,280
Speaker 6: and I think the rub of our influences and the

1431
01:14:06,400 --> 01:14:10,280
Speaker 6: rub of our value what we value at our core

1432
01:14:11,080 --> 01:14:16,760
Speaker 6: creates next level shit. You know, Like Dream is very

1433
01:14:16,800 --> 01:14:18,759
Speaker 6: much into lyrics.

1434
01:14:18,760 --> 01:14:21,200
Speaker 2: Storytelling. He listens to country music.

1435
01:14:21,280 --> 01:14:24,799
Speaker 6: He listens to old music all the time, like oldest

1436
01:14:24,840 --> 01:14:29,160
Speaker 6: Redding and motown, and got a lot of crazy influences

1437
01:14:29,160 --> 01:14:34,080
Speaker 6: and I am a Quincy Jones, David Foster, Teddy Riley

1438
01:14:34,600 --> 01:14:39,200
Speaker 6: La and Babyface. Like marriage, the marriage of his ability

1439
01:14:40,600 --> 01:14:46,120
Speaker 6: to write songs, like really write and craft from a lyrical,

1440
01:14:46,400 --> 01:14:52,400
Speaker 6: lyrical connection mixed with somebody who's obsessed about finishing and

1441
01:14:52,479 --> 01:14:59,120
Speaker 6: about sonics and about how things get recorded. Like I'm

1442
01:14:59,160 --> 01:15:03,400
Speaker 6: like microphones, mike placement, all these things.

1443
01:15:03,600 --> 01:15:05,559
Speaker 4: I like all the stuff you were investing in.

1444
01:15:05,640 --> 01:15:06,160
Speaker 2: Yeah, all the.

1445
01:15:06,160 --> 01:15:08,240
Speaker 6: Stuff, Like that's why I have so many studios and

1446
01:15:08,280 --> 01:15:11,599
Speaker 6: stuff Like it's like that stuff matters. I believe that's

1447
01:15:11,680 --> 01:15:16,160
Speaker 6: why we've been successful. You can't polish a turn, obviously,

1448
01:15:16,200 --> 01:15:18,400
Speaker 6: but if we get what we want, If we get

1449
01:15:18,439 --> 01:15:20,080
Speaker 6: what we want, I don't want to get it all,

1450
01:15:20,280 --> 01:15:23,160
Speaker 6: you know the meaning. If we got the special song,

1451
01:15:23,800 --> 01:15:26,160
Speaker 6: I don't want it recorded on the wrong microphone because

1452
01:15:26,200 --> 01:15:28,200
Speaker 6: I'm just like, we're probably not going to win the

1453
01:15:28,200 --> 01:15:30,200
Speaker 6: Grammy because I know what they really based on. Like

1454
01:15:30,240 --> 01:15:31,840
Speaker 6: when you sit in those rooms and you play it

1455
01:15:31,880 --> 01:15:35,080
Speaker 6: and you're like, yeah, that sounds good relative to the

1456
01:15:35,120 --> 01:15:38,559
Speaker 6: sound that you've made. But now you're sitting in front

1457
01:15:38,600 --> 01:15:43,280
Speaker 6: of people like me, it's a recording academy, and you

1458
01:15:43,280 --> 01:15:45,360
Speaker 6: don't change the volume when you're listening to it, and

1459
01:15:45,400 --> 01:15:47,960
Speaker 6: your volume just went way down. So you think you

1460
01:15:48,280 --> 01:15:50,240
Speaker 6: don't know the difference between this mixed engineer and that

1461
01:15:50,280 --> 01:15:52,400
Speaker 6: mixed engineer. But when you sit in front of a

1462
01:15:52,479 --> 01:15:54,640
Speaker 6: room of people who really.

1463
01:15:54,400 --> 01:15:58,920
Speaker 4: Know, right, like, they're like, oh, that's where you are spinning.

1464
01:16:01,560 --> 01:16:07,080
Speaker 3: Super take notes please, and instead of saying they just

1465
01:16:07,160 --> 01:16:10,280
Speaker 3: hate because they love that one.

1466
01:16:10,479 --> 01:16:11,000
Speaker 5: They don't know.

1467
01:16:11,280 --> 01:16:12,760
Speaker 6: They don't know what they're You know, a lot of

1468
01:16:12,760 --> 01:16:16,120
Speaker 6: people want to granty. They just don't know it's the recording.

1469
01:16:16,240 --> 01:16:17,160
Speaker 6: They don't know what they're.

1470
01:16:17,240 --> 01:16:19,960
Speaker 4: Aad me, what is your recording sound like?

1471
01:16:20,400 --> 01:16:23,280
Speaker 6: It's not a it's not a it's not a popularity game.

1472
01:16:23,320 --> 01:16:25,679
Speaker 6: If it was a popularity game, Britney Spears will have them, right,

1473
01:16:26,439 --> 01:16:29,240
Speaker 6: you know, you know a lot of people that don't have.

1474
01:16:29,439 --> 01:16:31,240
Speaker 2: Yeah, yeah, no, for sure.

1475
01:16:31,120 --> 01:16:33,960
Speaker 6: It's a recording, you know, but when you look at

1476
01:16:33,960 --> 01:16:37,200
Speaker 6: who has them, they value it. But it's always a

1477
01:16:37,280 --> 01:16:38,960
Speaker 6: lot of the same people. Like if you look at

1478
01:16:39,000 --> 01:16:41,519
Speaker 6: somebody like salam Remi, you go back and go, well,

1479
01:16:41,560 --> 01:16:43,360
Speaker 6: the guy that did Lauren Hill is the same guy

1480
01:16:43,360 --> 01:16:46,439
Speaker 6: that did Amy Winehouse, Like, you know, the same guy

1481
01:16:46,560 --> 01:16:48,519
Speaker 6: Rick Rubin, the same guy that did the Dixie Chicks

1482
01:16:48,640 --> 01:16:50,000
Speaker 6: is the same guy that's doing y Z.

1483
01:16:50,479 --> 01:16:51,240
Speaker 2: They're valuating.

1484
01:16:51,280 --> 01:16:53,880
Speaker 6: Now there's people that's benefiting from things that That's why

1485
01:16:53,880 --> 01:16:56,280
Speaker 6: you have to have a team. You gotta have Like

1486
01:16:56,439 --> 01:16:59,680
Speaker 6: you may not know, Like ty Dollar Sign just came

1487
01:16:59,680 --> 01:17:01,120
Speaker 6: over me some records the other day.

1488
01:17:01,160 --> 01:17:04,000
Speaker 2: I was like, who recorded this? Because whoever did they

1489
01:17:04,040 --> 01:17:04,360
Speaker 2: get it?

1490
01:17:05,520 --> 01:17:09,639
Speaker 6: I'm like, this is meant to this, this is meant

1491
01:17:09,680 --> 01:17:12,599
Speaker 6: to be respected, you know, in a different way, and

1492
01:17:12,640 --> 01:17:15,160
Speaker 6: so you can hear it when people know what they're

1493
01:17:15,200 --> 01:17:17,320
Speaker 6: doing and you know, in a world where everyone can

1494
01:17:17,360 --> 01:17:20,160
Speaker 6: do it, Yes, you do have a really good relative

1495
01:17:20,200 --> 01:17:22,720
Speaker 6: sound to what it is that your ear is listening to.

1496
01:17:23,120 --> 01:17:24,719
Speaker 6: But when I have to compare you to the best

1497
01:17:24,720 --> 01:17:27,679
Speaker 6: of the best for recording, that's kind of what that

1498
01:17:27,680 --> 01:17:29,479
Speaker 6: That's where the rubber meets the road a little bit.

1499
01:17:30,160 --> 01:17:34,799
Speaker 3: What's your what's your first are you guys first hit together?

1500
01:17:35,240 --> 01:17:38,160
Speaker 2: And dream it was Umbrella?

1501
01:17:38,240 --> 01:17:38,439
Speaker 7: Right?

1502
01:17:38,720 --> 01:17:40,000
Speaker 4: Is that your first hit together?

1503
01:17:40,200 --> 01:17:42,160
Speaker 5: That's like one of the first runes we ever wrote together.

1504
01:17:43,200 --> 01:17:46,080
Speaker 5: We never really wrote like good.

1505
01:17:46,040 --> 01:17:49,639
Speaker 6: Lord I'm trying to think, Yeah it was Umbrella, right, Yeah,

1506
01:17:49,720 --> 01:17:51,519
Speaker 6: everything happened after Umbrella, like.

1507
01:17:51,840 --> 01:17:54,040
Speaker 4: But I didn't know that I had another record that.

1508
01:17:54,840 --> 01:17:59,920
Speaker 5: No, because what happened was when Dream was developed by like.

1509
01:18:01,640 --> 01:18:05,439
Speaker 6: Myself, like we all come from Laney, like that school

1510
01:18:05,479 --> 01:18:09,559
Speaker 6: of like teaching of the craft, right, and so Laney

1511
01:18:09,680 --> 01:18:13,160
Speaker 6: signed Dream to a publishing deal. Okay, and then they

1512
01:18:13,200 --> 01:18:15,800
Speaker 6: had stopped working together for a while, like they I mean,

1513
01:18:16,400 --> 01:18:17,320
Speaker 6: they had stopped working.

1514
01:18:17,560 --> 01:18:19,840
Speaker 5: Dream kind of went off on his own. They did

1515
01:18:19,880 --> 01:18:20,720
Speaker 5: an album.

1516
01:18:21,280 --> 01:18:23,479
Speaker 6: He was gone and done an album in Japan, and

1517
01:18:23,520 --> 01:18:26,120
Speaker 6: he came back and he's like, man, I want to

1518
01:18:26,120 --> 01:18:28,800
Speaker 6: play something. And he played me this album that he

1519
01:18:28,840 --> 01:18:30,920
Speaker 6: had done on Nivea, and I was like, man, this

1520
01:18:31,160 --> 01:18:34,240
Speaker 6: these songs are really good because I never really like

1521
01:18:34,920 --> 01:18:38,160
Speaker 6: was like tapped in because at the time that this time,

1522
01:18:38,240 --> 01:18:41,840
Speaker 6: Red Zone was pretty crazy because we had Rico Love

1523
01:18:41,920 --> 01:18:43,600
Speaker 6: and the Corner Boys in the back, we had p

1524
01:18:43,800 --> 01:18:45,720
Speaker 6: Magnet in my room, we had Esther Dean and the

1525
01:18:45,760 --> 01:18:50,320
Speaker 6: other one. We had Tyle Cruise, so I had like

1526
01:18:50,680 --> 01:18:53,559
Speaker 6: I had everybody there and Dream was like kind of

1527
01:18:53,600 --> 01:18:54,719
Speaker 6: like the new kid on the block.

1528
01:18:55,200 --> 01:18:57,679
Speaker 5: He wasn't like he's not the type to hang around.

1529
01:18:58,200 --> 01:19:00,000
Speaker 6: He's not a he wants to come in, he wants

1530
01:19:00,000 --> 01:19:01,639
Speaker 6: to do what he's gotta do, and he's gonna dip.

1531
01:19:01,800 --> 01:19:04,680
Speaker 5: Like he's not a he's not like a you.

1532
01:19:04,640 --> 01:19:05,599
Speaker 2: Know, a social butterfly.

1533
01:19:06,080 --> 01:19:08,680
Speaker 5: He's not a he just don't hang like that, like

1534
01:19:08,720 --> 01:19:09,360
Speaker 5: you know what I'm saying.

1535
01:19:09,600 --> 01:19:13,040
Speaker 6: And so he's always been like whether it's going to

1536
01:19:12,800 --> 01:19:16,080
Speaker 6: a movie or interested in something of the fashion, he's

1537
01:19:16,080 --> 01:19:17,439
Speaker 6: just interesting like that.

1538
01:19:17,520 --> 01:19:18,880
Speaker 5: Like you know, Dream does a lot.

1539
01:19:18,760 --> 01:19:22,080
Speaker 4: Of things, lived his life beyond music, Yeah.

1540
01:19:21,920 --> 01:19:24,080
Speaker 6: For sure, Like that's I think that's where a lot

1541
01:19:24,120 --> 01:19:27,840
Speaker 6: of the inspiration comes from. And so you know, there

1542
01:19:27,880 --> 01:19:30,120
Speaker 6: was a time and I was just kind of like

1543
01:19:30,720 --> 01:19:33,280
Speaker 6: I was making these incredible records and I had incredible

1544
01:19:33,320 --> 01:19:37,880
Speaker 6: writers around, and I was like, hey, guys, like because

1545
01:19:37,920 --> 01:19:41,040
Speaker 6: I started not getting placements, but this is this is

1546
01:19:41,080 --> 01:19:43,639
Speaker 6: the blessing in disguise, but because I now I'm starting

1547
01:19:43,640 --> 01:19:44,519
Speaker 6: to find my sound.

1548
01:19:44,840 --> 01:19:47,120
Speaker 5: But when you find a sound, sometimes they ain't no.

1549
01:19:47,160 --> 01:19:52,639
Speaker 6: Customers, right, And so I had like started making records

1550
01:19:52,680 --> 01:19:56,320
Speaker 6: that were hit records like who that like one of

1551
01:19:56,439 --> 01:20:01,000
Speaker 6: one type things, but like I had mastered the art

1552
01:20:01,479 --> 01:20:06,599
Speaker 6: bullshit R and B as a producer of getting cuts

1553
01:20:07,840 --> 01:20:08,040
Speaker 6: like you.

1554
01:20:08,040 --> 01:20:08,599
Speaker 5: Know what I'm saying.

1555
01:20:08,920 --> 01:20:10,000
Speaker 4: You know how to place records.

1556
01:20:10,360 --> 01:20:12,320
Speaker 6: Anybody could play some record if you go do what

1557
01:20:12,360 --> 01:20:14,559
Speaker 6: the people is looking for. But that's the difference between

1558
01:20:14,560 --> 01:20:16,680
Speaker 6: making hits and that. You can't be making something that

1559
01:20:16,760 --> 01:20:19,800
Speaker 6: sounds like something that somebody else did like And so

1560
01:20:19,880 --> 01:20:21,960
Speaker 6: your thought is gonna have to be an original one

1561
01:20:22,040 --> 01:20:24,120
Speaker 6: in order for you to make a name for yourself.

1562
01:20:24,160 --> 01:20:25,080
Speaker 2: But it might get dry.

1563
01:20:25,520 --> 01:20:28,000
Speaker 6: Yeah, it'll get dry, and if you're in it and

1564
01:20:28,000 --> 01:20:32,160
Speaker 6: long enough, it'll get dry several times. But all that

1565
01:20:32,240 --> 01:20:36,680
Speaker 6: just comes with it. But ultimately, when we were when

1566
01:20:36,720 --> 01:20:41,439
Speaker 6: we were like trying to find our niche or I

1567
01:20:41,479 --> 01:20:46,120
Speaker 6: was trying to get more songs that I could get money.

1568
01:20:45,840 --> 01:20:46,960
Speaker 5: For because I got overhead.

1569
01:20:46,960 --> 01:20:48,880
Speaker 6: I got it, but I'm getting incredible stuff and I

1570
01:20:48,960 --> 01:20:52,920
Speaker 6: got this incredible energy going on around, but I don't

1571
01:20:52,960 --> 01:20:57,000
Speaker 6: have the I'm not getting the cuts. Long story short,

1572
01:20:57,720 --> 01:20:59,920
Speaker 6: kind of ask people to start calling before they come.

1573
01:21:01,240 --> 01:21:04,760
Speaker 6: Everybody got offended pretty much like you know it was

1574
01:21:04,920 --> 01:21:08,200
Speaker 6: this is like around Christmas time, like everybody was like, Okay, cool,

1575
01:21:08,240 --> 01:21:08,559
Speaker 6: you're on.

1576
01:21:08,560 --> 01:21:12,559
Speaker 2: Some bullshit before you come call to the studio, Like

1577
01:21:12,640 --> 01:21:14,400
Speaker 2: you can't just pull up because people used to just

1578
01:21:14,439 --> 01:21:14,760
Speaker 2: be pulling.

1579
01:21:14,840 --> 01:21:16,559
Speaker 6: They would just pull up. This is before the gates

1580
01:21:16,560 --> 01:21:18,400
Speaker 6: and all that stuff, so they could just pull up.

1581
01:21:18,680 --> 01:21:21,720
Speaker 6: And ultimately we're writing songs, but I got artists in,

1582
01:21:21,800 --> 01:21:25,760
Speaker 6: but I'm not getting what I need. And so Dream

1583
01:21:26,080 --> 01:21:30,640
Speaker 6: was the only person that wasn't offended. He came and

1584
01:21:30,680 --> 01:21:32,960
Speaker 6: it was our very first time that we had ever

1585
01:21:32,960 --> 01:21:37,559
Speaker 6: been alone simultaneously while this is going on, because I

1586
01:21:37,560 --> 01:21:40,320
Speaker 6: had done the Britney Spears in the Zone album, where

1587
01:21:40,880 --> 01:21:43,360
Speaker 6: I was expected to have a lot of success because

1588
01:21:43,400 --> 01:21:45,280
Speaker 6: I was pretty much executive producer of it.

1589
01:21:45,840 --> 01:21:46,639
Speaker 5: And then we got a.

1590
01:21:46,600 --> 01:21:50,479
Speaker 6: Song from Bloodshey and a Front that I fought for

1591
01:21:50,760 --> 01:21:51,759
Speaker 6: to get on the album.

1592
01:21:51,760 --> 01:21:52,879
Speaker 5: But that song was toxic.

1593
01:21:53,520 --> 01:21:58,400
Speaker 6: Okay, toxic dorfs my whole Britney Spears life right, and

1594
01:21:58,439 --> 01:22:01,120
Speaker 6: so it's like that, like that was all the whole thing.

1595
01:22:01,160 --> 01:22:03,680
Speaker 6: So I had the first single with Brittany and Madonna

1596
01:22:03,800 --> 01:22:06,160
Speaker 6: that Kissed on American Music Bar. They're supposed to have

1597
01:22:06,200 --> 01:22:08,920
Speaker 6: all this hype, but this song comes out and steals

1598
01:22:08,920 --> 01:22:14,280
Speaker 6: the show. Long story short. Now, Dream is the person

1599
01:22:14,320 --> 01:22:15,960
Speaker 6: that comes to the studio and it's really one of

1600
01:22:16,000 --> 01:22:17,800
Speaker 6: the first times that we really got a chance to

1601
01:22:17,880 --> 01:22:21,040
Speaker 6: just be We're in the building alone and simultaneously because

1602
01:22:22,160 --> 01:22:24,559
Speaker 6: I'm not able to pay the engineers that are my

1603
01:22:24,680 --> 01:22:27,679
Speaker 6: top engineers because at this time, day rates is probably

1604
01:22:28,400 --> 01:22:31,479
Speaker 6: you know, twelve fifteen, sixteen hundred dollars a day for

1605
01:22:31,560 --> 01:22:34,599
Speaker 6: an engineer, and I, you know, I'm doing three sessions

1606
01:22:34,640 --> 01:22:37,719
Speaker 6: a day, right, like in three different rooms all the time.

1607
01:22:38,720 --> 01:22:41,800
Speaker 6: And so that's how Cook reinterrouced the picture. And so

1608
01:22:41,920 --> 01:22:45,240
Speaker 6: while Cook is coming back because Kook and I hadn't

1609
01:22:45,240 --> 01:22:49,400
Speaker 6: worked together since I had left California, Like Cook, these

1610
01:22:49,400 --> 01:22:50,120
Speaker 6: guys are killing me.

1611
01:22:50,160 --> 01:22:51,479
Speaker 5: Man, I need my family.

1612
01:22:51,840 --> 01:22:55,479
Speaker 6: I need somebody to come down here and record and

1613
01:22:55,920 --> 01:22:59,880
Speaker 6: help me put that and pull this together. And he came,

1614
01:23:00,400 --> 01:23:03,080
Speaker 6: and you know, and we spend time and we just

1615
01:23:03,160 --> 01:23:05,519
Speaker 6: kind of got back in our groove. And during this time,

1616
01:23:05,560 --> 01:23:09,000
Speaker 6: it's the Christmas time, it's very slow, nobody's in the building,

1617
01:23:10,200 --> 01:23:13,080
Speaker 6: and me and Cook are like hooking up the equipment.

1618
01:23:13,160 --> 01:23:15,800
Speaker 6: He's rewiring the room. Cooker is really like OCD with

1619
01:23:15,800 --> 01:23:18,240
Speaker 6: this kind of stuff. So he's wiring everything up, making

1620
01:23:18,280 --> 01:23:20,800
Speaker 6: sure it sounds great and all this stuff. He's like, man,

1621
01:23:20,800 --> 01:23:23,439
Speaker 6: you're messing. You're messing with this logic stuff at all. Man,

1622
01:23:23,560 --> 01:23:25,719
Speaker 6: Like you know, He's like, you know, I ain't messing

1623
01:23:25,760 --> 01:23:29,200
Speaker 6: with this, but you know, you know, this stuff is

1624
01:23:29,200 --> 01:23:32,000
Speaker 6: pretty cool. They got some cool loops. So we're putting

1625
01:23:32,040 --> 01:23:36,799
Speaker 6: up the the the equipment and everything right, and Dreams

1626
01:23:37,000 --> 01:23:38,960
Speaker 6: Dreams like can I come through? I'm like, yeah, come through,

1627
01:23:40,160 --> 01:23:45,880
Speaker 6: Dream comes through, and Cook, I don't know how this

1628
01:23:45,960 --> 01:23:49,080
Speaker 6: part happens, but we're trying to test the mic.

1629
01:23:49,960 --> 01:23:54,559
Speaker 5: We're trying to get the mic tested. I'm playing around

1630
01:23:54,560 --> 01:23:55,360
Speaker 5: with logic.

1631
01:23:58,200 --> 01:24:02,000
Speaker 6: Part and play like this, playing the bass on the

1632
01:24:02,080 --> 01:24:06,559
Speaker 6: left and Kok's got the loop. Mind you, I've never

1633
01:24:06,600 --> 01:24:11,679
Speaker 6: seen Dream record before. Never, I've only heard him record

1634
01:24:12,120 --> 01:24:15,479
Speaker 6: and at this time, back to these days, we we

1635
01:24:15,520 --> 01:24:18,559
Speaker 6: always used to sit down and write the lyrics, you know,

1636
01:24:18,680 --> 01:24:21,360
Speaker 6: Like so I knew that he was a ball of

1637
01:24:21,479 --> 01:24:24,320
Speaker 6: energy and always had things that sounded whatever. But most

1638
01:24:24,320 --> 01:24:27,280
Speaker 6: of the time, because like I said, his personality was

1639
01:24:27,320 --> 01:24:29,960
Speaker 6: like I did this, and he would leave me being

1640
01:24:30,040 --> 01:24:33,320
Speaker 6: this smart guy or Laney in certain cases, they're going

1641
01:24:33,400 --> 01:24:35,400
Speaker 6: back going now, let's get the writers.

1642
01:24:35,040 --> 01:24:37,080
Speaker 2: In here to put the words to the energy. Right.

1643
01:24:37,800 --> 01:24:39,200
Speaker 6: So this is one of the first time that I

1644
01:24:39,240 --> 01:24:43,040
Speaker 6: ever heard Dream write lyrics. We're testing the equipment right,

1645
01:24:44,200 --> 01:24:49,280
Speaker 6: we're recording straight down Coopcasse the loop, I'm playing the

1646
01:24:49,360 --> 01:24:52,840
Speaker 6: keys live and Dream is writing the song on the spot.

1647
01:24:53,520 --> 01:24:55,200
Speaker 2: That's the umbrella that everybody heard.

1648
01:24:57,880 --> 01:25:01,080
Speaker 4: That was the first thing, the pretty much freestyle that record.

1649
01:25:01,560 --> 01:25:01,600
Speaker 2: It.

1650
01:25:01,840 --> 01:25:06,719
Speaker 5: No, that's I thought that. I thought that. Okay, damn,

1651
01:25:06,720 --> 01:25:08,480
Speaker 5: I got me a lot emotional.

1652
01:25:08,640 --> 01:25:23,479
Speaker 2: Mm hm yes, sir, okay brother.

1653
01:25:25,360 --> 01:25:30,040
Speaker 6: So so it's the three of us in that room

1654
01:25:30,320 --> 01:25:33,240
Speaker 6: and that's what came out, and then the next day

1655
01:25:34,560 --> 01:25:38,639
Speaker 6: Suffocate and then the next day like it just yeah,

1656
01:25:38,720 --> 01:25:42,200
Speaker 6: like it just kept happening, and it like, I mean,

1657
01:25:42,240 --> 01:25:45,320
Speaker 6: we wrote, we used to write songs like every day,

1658
01:25:45,720 --> 01:25:52,559
Speaker 6: you know, and I think that one was just like

1659
01:25:53,360 --> 01:25:59,000
Speaker 6: what happened. And so ultimately after we write that song,

1660
01:26:00,840 --> 01:26:04,439
Speaker 6: because like I said, the part that's going on in

1661
01:26:04,479 --> 01:26:07,960
Speaker 6: the building is that now instead of it just being me,

1662
01:26:08,760 --> 01:26:10,960
Speaker 6: I have to I have other people in the building.

1663
01:26:11,240 --> 01:26:14,719
Speaker 6: I brought it in some other people and so to

1664
01:26:14,760 --> 01:26:17,559
Speaker 6: help me pay rent and keep up with stuff, so

1665
01:26:17,800 --> 01:26:19,040
Speaker 6: I've brought in Jazzy Fay.

1666
01:26:19,520 --> 01:26:23,000
Speaker 5: Jazzy Fay is in now, Ta is in Okay.

1667
01:26:23,560 --> 01:26:29,519
Speaker 6: Ta has a producer named Los Los Right, Jazzy, This

1668
01:26:29,560 --> 01:26:32,000
Speaker 6: is how Jess fine and Me and Jazzy do just fine.

1669
01:26:32,000 --> 01:26:34,439
Speaker 6: And Los does bed and all this is now, this

1670
01:26:34,600 --> 01:26:38,400
Speaker 6: is now everybody's coming back, but Dream and I We've

1671
01:26:38,479 --> 01:26:40,840
Speaker 6: kind of locked in, and I'm like, this dude is incredible.

1672
01:26:41,479 --> 01:26:44,599
Speaker 6: And so at that point, I was like, this has

1673
01:26:44,640 --> 01:26:46,920
Speaker 6: to kind of be about Dream, Like we had all

1674
01:26:46,960 --> 01:26:52,120
Speaker 6: these other writers and different things going on, and it

1675
01:26:52,200 --> 01:26:52,880
Speaker 6: all worked out.

1676
01:26:52,960 --> 01:26:54,479
Speaker 2: It's a beautiful story today.

1677
01:26:54,880 --> 01:26:56,600
Speaker 6: But the truth of the matter is we had to

1678
01:26:56,720 --> 01:26:59,400
Speaker 6: check in to Dream in a different way and that

1679
01:26:59,439 --> 01:27:03,680
Speaker 6: affected Yester Dean, you know, like, and that's how Esther

1680
01:27:04,240 --> 01:27:07,400
Speaker 6: and Polo became so locked in because.

1681
01:27:07,600 --> 01:27:10,320
Speaker 5: I'm like, I ain't this right here.

1682
01:27:10,520 --> 01:27:13,479
Speaker 3: I haven't seen this. I haven't seen what I'm doing

1683
01:27:13,560 --> 01:27:14,439
Speaker 3: every day now.

1684
01:27:14,880 --> 01:27:18,200
Speaker 6: Yeah, And so that just became the focal point for

1685
01:27:18,240 --> 01:27:31,800
Speaker 6: real and so ultimately, you know, we had this song.

1686
01:27:32,439 --> 01:27:35,519
Speaker 6: It was around this time we were cold as ice.

1687
01:27:36,120 --> 01:27:38,240
Speaker 6: Like I said, the Britney Spears thing is like being

1688
01:27:38,400 --> 01:27:41,240
Speaker 6: really held against me. That's like the pinnacle. Like if

1689
01:27:41,280 --> 01:27:43,599
Speaker 6: you don't get the hit with Brittany, it's like it's

1690
01:27:43,640 --> 01:27:45,960
Speaker 6: a it's a gift and a curse to good opportunities

1691
01:27:46,360 --> 01:27:48,640
Speaker 6: that are big, because if they don't work, it's like

1692
01:27:48,880 --> 01:27:52,439
Speaker 6: directing Spider Man, you know what I'm saying, like, and

1693
01:27:52,479 --> 01:27:55,439
Speaker 6: so it's like, so you're coming off of that thing,

1694
01:27:55,680 --> 01:28:00,639
Speaker 6: and ultimately, like I'm out. Now I'm have people. I'm

1695
01:28:00,680 --> 01:28:05,679
Speaker 6: having Jazz send the record, going sending us to Karen Clark.

1696
01:28:06,040 --> 01:28:07,880
Speaker 5: He's talking to markets, like, but whatever you.

1697
01:28:07,840 --> 01:28:12,280
Speaker 6: Do, don't tell La that Tricky produced it. I'm like,

1698
01:28:12,360 --> 01:28:15,040
Speaker 6: don't tell them that I did it, because La, you know,

1699
01:28:15,080 --> 01:28:17,960
Speaker 6: that's my friend. Like and I could say, like, La,

1700
01:28:18,080 --> 01:28:20,240
Speaker 6: I love you to death, but he's hot and cold.

1701
01:28:20,479 --> 01:28:23,600
Speaker 6: He likes hits and when he don't, and if you

1702
01:28:23,640 --> 01:28:28,760
Speaker 6: don't have them, it's like ultimately it's like it kind

1703
01:28:28,760 --> 01:28:31,920
Speaker 6: of goes away, you know. And not that, not the relationship,

1704
01:28:32,520 --> 01:28:36,960
Speaker 6: but the access, you know. And so at that point

1705
01:28:37,000 --> 01:28:40,719
Speaker 6: it was really about like him just hearing the song

1706
01:28:40,760 --> 01:28:44,040
Speaker 6: for the song and Jazz sent it, Mark sen it.

1707
01:28:44,080 --> 01:28:47,120
Speaker 6: They both sent it to Karen Quat. Karen was kind

1708
01:28:47,120 --> 01:28:50,640
Speaker 6: of going crazy over it, I believe, and then she

1709
01:28:50,720 --> 01:28:54,920
Speaker 6: played it for La. La loved it and and as

1710
01:28:54,960 --> 01:28:58,800
Speaker 6: they say, the rest is kind of history. And that

1711
01:28:58,920 --> 01:29:01,800
Speaker 6: led to us being able to you know, like I said,

1712
01:29:01,800 --> 01:29:05,960
Speaker 6: we were building insular. So now I got this amazing

1713
01:29:06,040 --> 01:29:09,599
Speaker 6: vocal producer and Coop and you know, and now the

1714
01:29:09,640 --> 01:29:15,040
Speaker 6: thing got smaller more yeah, and so now we're now

1715
01:29:15,040 --> 01:29:18,360
Speaker 6: we're ultimately like we're kind of giving the opportunity to

1716
01:29:19,800 --> 01:29:22,880
Speaker 6: however it ended up happening, Like people are hearing Bed

1717
01:29:23,200 --> 01:29:25,320
Speaker 6: right and Dreams voices on Bed and if you ever

1718
01:29:25,360 --> 01:29:28,040
Speaker 6: heard Dreams original version of Bed, it's just like the

1719
01:29:28,080 --> 01:29:31,559
Speaker 6: biggest smash ever, like No No shade to Jay Holliday,

1720
01:29:31,560 --> 01:29:33,839
Speaker 6: but it was just like a runaway train.

1721
01:29:33,800 --> 01:29:36,559
Speaker 2: Right, and it's like you just knew what that was.

1722
01:29:36,640 --> 01:29:39,080
Speaker 6: Yeah, it's probably like like the records that you had,

1723
01:29:39,120 --> 01:29:41,640
Speaker 6: like them girls, You're just like this somebody's single, right, you.

1724
01:29:41,680 --> 01:29:42,120
Speaker 2: Know what I mean?

1725
01:29:42,680 --> 01:29:49,160
Speaker 6: And so now it's like that's what led to Dream

1726
01:29:49,240 --> 01:29:52,720
Speaker 6: becoming an artist, because like I said, at this time,

1727
01:29:52,800 --> 01:29:55,439
Speaker 6: it's like there's not that many voices out there, so

1728
01:29:55,479 --> 01:29:58,479
Speaker 6: you're like, is this for Acon or who like.

1729
01:30:00,200 --> 01:30:00,479
Speaker 2: Voice?

1730
01:30:00,720 --> 01:30:02,240
Speaker 5: And so what we got? What we got to do?

1731
01:30:02,320 --> 01:30:05,439
Speaker 6: Love Hate that was kind of like I still can't

1732
01:30:05,479 --> 01:30:07,479
Speaker 6: get away from that album, bro.

1733
01:30:08,720 --> 01:30:14,280
Speaker 3: Love Hate is one of those albums man, where it

1734
01:30:14,280 --> 01:30:17,320
Speaker 3: don't matter if it's you and the homies, are you

1735
01:30:17,439 --> 01:30:21,200
Speaker 3: and your girl? This album plays through because you know,

1736
01:30:21,320 --> 01:30:23,360
Speaker 3: we all do music. There's certain alms where you're like

1737
01:30:23,439 --> 01:30:25,240
Speaker 3: yeah this, Me and my girl just ride to this.

1738
01:30:25,960 --> 01:30:27,720
Speaker 3: And if certain Robbins was like, yeah, me and the

1739
01:30:27,720 --> 01:30:35,760
Speaker 3: homies we ride this. Y'all covered ground. Love Hate is special, Bro.

1740
01:30:35,800 --> 01:30:39,000
Speaker 3: I just wanted to tell you that, thank you. When

1741
01:30:39,120 --> 01:30:41,599
Speaker 3: dream sits down with this, I'm gonna tell him that too.

1742
01:30:42,560 --> 01:30:50,120
Speaker 3: Love Hate, Bro is a generational album. I think so too,

1743
01:30:50,680 --> 01:30:53,320
Speaker 3: so please proceed. I had to tell you that.

1744
01:30:53,439 --> 01:30:56,040
Speaker 6: Yeah, I mean that album. That album changed our life.

1745
01:30:56,080 --> 01:30:59,280
Speaker 6: I think just making it led us to another level

1746
01:30:59,280 --> 01:31:03,640
Speaker 6: of creativity. You know it was it was basically just

1747
01:31:03,720 --> 01:31:10,280
Speaker 6: the four of us him, myself, Lows engineer named Tech

1748
01:31:10,760 --> 01:31:16,360
Speaker 6: that was the recording engineer, and then Dave Pincido and Jason.

1749
01:31:16,920 --> 01:31:20,680
Speaker 6: That's all the hands that touched that project. It was

1750
01:31:20,800 --> 01:31:23,760
Speaker 6: just it was magic. And then what people don't you know,

1751
01:31:24,479 --> 01:31:27,639
Speaker 6: I see people always want to segue their albums. Well,

1752
01:31:27,680 --> 01:31:30,639
Speaker 6: I don't think what people understand is that we created

1753
01:31:30,640 --> 01:31:32,040
Speaker 6: the album in the same session.

1754
01:31:33,320 --> 01:31:33,799
Speaker 2: You can't.

1755
01:31:33,840 --> 01:31:36,080
Speaker 6: You can't do it after the fact. The session was

1756
01:31:36,120 --> 01:31:38,280
Speaker 6: that long. We wrote the songs in order it could

1757
01:31:38,320 --> 01:31:43,920
Speaker 6: not be changed. What oh shit, we could not write

1758
01:31:43,920 --> 01:31:47,559
Speaker 6: it was one session, so every we were automating the

1759
01:31:47,680 --> 01:31:52,240
Speaker 6: key changes and everything like every aspect of that. And

1760
01:31:52,360 --> 01:31:54,000
Speaker 6: you know that's why I say Tech is a part

1761
01:31:54,160 --> 01:31:56,120
Speaker 6: is an important part of that because Tech was the

1762
01:31:56,160 --> 01:32:00,400
Speaker 6: most technical, smartest engineer that I thought I could get

1763
01:32:00,400 --> 01:32:01,040
Speaker 6: my hands on.

1764
01:32:01,880 --> 01:32:02,080
Speaker 2: That.

1765
01:32:02,280 --> 01:32:05,080
Speaker 6: Really, when I was like, we got to do something crazy,

1766
01:32:05,120 --> 01:32:08,960
Speaker 6: and I need somebody that's like next levelage, I didn't

1767
01:32:09,000 --> 01:32:11,200
Speaker 6: know what I didn't know what language I needed to speak,

1768
01:32:11,200 --> 01:32:13,120
Speaker 6: but I knew I needed somebody that had spent a

1769
01:32:13,160 --> 01:32:18,680
Speaker 6: lot of time messing with stuff, messing with stuff. I

1770
01:32:18,760 --> 01:32:20,519
Speaker 6: knew I wanted to mess with stuff, and that's what

1771
01:32:20,600 --> 01:32:23,040
Speaker 6: that's what led me Todave, Pinsido and Jason. It's like

1772
01:32:23,360 --> 01:32:26,880
Speaker 6: I knew, I knew who mixed, like what right?

1773
01:32:26,960 --> 01:32:27,120
Speaker 2: You know?

1774
01:32:27,160 --> 01:32:29,320
Speaker 6: I had been doing records and I knew I knew

1775
01:32:29,320 --> 01:32:33,400
Speaker 6: how to send a mix to one of the guys

1776
01:32:33,479 --> 01:32:35,800
Speaker 6: and get back a really good version when I got

1777
01:32:36,080 --> 01:32:38,800
Speaker 6: But I was looking for somebody and for people.

1778
01:32:38,520 --> 01:32:41,400
Speaker 2: To add layers.

1779
01:32:42,000 --> 01:32:45,040
Speaker 6: You did it, y'all did it, and so you know

1780
01:32:45,120 --> 01:32:48,600
Speaker 6: that was that one was amazing. That that's my I

1781
01:32:48,600 --> 01:32:52,599
Speaker 6: would say, that's my crown jewel of everything that I've done,

1782
01:32:52,600 --> 01:32:55,200
Speaker 6: as far as it's like being the most proud of

1783
01:32:55,600 --> 01:32:57,720
Speaker 6: as a as a whole album.

1784
01:32:58,040 --> 01:33:00,680
Speaker 2: Do you think I been part of us?

1785
01:33:00,680 --> 01:33:03,960
Speaker 3: Should say do you think and I know this is

1786
01:33:03,960 --> 01:33:05,840
Speaker 3: gonna be a tough question. I know it's gonna be

1787
01:33:05,840 --> 01:33:08,479
Speaker 3: a tough question, but do you think you get enough

1788
01:33:08,600 --> 01:33:11,200
Speaker 3: credit as an executive?

1789
01:33:13,520 --> 01:33:14,040
Speaker 5: I don't know.

1790
01:33:14,280 --> 01:33:18,759
Speaker 6: Uh, it's not credit as something that I really seek,

1791
01:33:19,479 --> 01:33:20,240
Speaker 6: you know, or.

1792
01:33:20,240 --> 01:33:20,960
Speaker 4: Just recognize that.

1793
01:33:21,000 --> 01:33:26,479
Speaker 6: But validation, I think is something that can happen without credit.

1794
01:33:26,960 --> 01:33:27,240
Speaker 2: Okay.

1795
01:33:28,280 --> 01:33:31,720
Speaker 5: Uh, sometimes I still feel invalidated.

1796
01:33:31,920 --> 01:33:32,320
Speaker 2: Okay.

1797
01:33:32,520 --> 01:33:36,840
Speaker 3: And I asked that because we're going down the line

1798
01:33:37,120 --> 01:33:40,360
Speaker 3: and you were a part of a lot of new

1799
01:33:40,520 --> 01:33:46,200
Speaker 3: artists becoming staples in icons and you know people that

1800
01:33:46,240 --> 01:33:49,160
Speaker 3: we look to. It's like, oh, this is amazing. Wait,

1801
01:33:49,360 --> 01:33:52,919
Speaker 3: it just keeps going back to Tricky Steward.

1802
01:33:54,479 --> 01:33:56,240
Speaker 4: Hey, it finds its way back.

1803
01:33:56,640 --> 01:33:59,240
Speaker 2: Yeah. I think breaking artists is difficult.

1804
01:33:59,280 --> 01:33:59,519
Speaker 7: Man.

1805
01:34:00,320 --> 01:34:01,280
Speaker 2: That's what I like to do.

1806
01:34:01,880 --> 01:34:04,000
Speaker 6: That's what I like to do, and it's been part

1807
01:34:04,040 --> 01:34:05,960
Speaker 6: of the I just think it's like, you know, I

1808
01:34:06,000 --> 01:34:07,800
Speaker 6: have two parts of the shit, Like I got the

1809
01:34:07,840 --> 01:34:08,639
Speaker 6: business shit.

1810
01:34:08,840 --> 01:34:13,320
Speaker 5: Mine, and I have the creative mind. I've always looked.

1811
01:34:13,040 --> 01:34:18,960
Speaker 6: At it like Towers Scott the skyline, like being part

1812
01:34:18,960 --> 01:34:24,000
Speaker 6: of Lehanna's skyline. There was no Baber before there was us.

1813
01:34:24,080 --> 01:34:27,760
Speaker 6: There was no Frank Ocean like dream like whatever. It

1814
01:34:27,840 --> 01:34:31,120
Speaker 6: is like like I didn't join the careers, I helped

1815
01:34:31,160 --> 01:34:34,680
Speaker 6: make them. And so it's like that I spend my

1816
01:34:34,760 --> 01:34:38,800
Speaker 6: time working with the artists that are developing because not

1817
01:34:38,920 --> 01:34:44,200
Speaker 6: that I want the credit. I do want the credit internally, okay,

1818
01:34:44,640 --> 01:34:46,519
Speaker 6: like because that's the way that I.

1819
01:34:46,520 --> 01:34:47,559
Speaker 5: Can challenge myself.

1820
01:34:47,840 --> 01:34:51,800
Speaker 6: I believe most can do a good job working on

1821
01:34:52,320 --> 01:34:55,680
Speaker 6: beyonce seventh album if you get the call. But to

1822
01:34:55,720 --> 01:34:58,920
Speaker 6: do what Rich Harrison did, I think it's completely different,

1823
01:34:59,400 --> 01:35:01,880
Speaker 6: and so shout out to Rich Harrison. And so I

1824
01:35:01,880 --> 01:35:04,559
Speaker 6: think to do that is where I like to live

1825
01:35:04,640 --> 01:35:06,920
Speaker 6: my life as a creative and if it doesn't, if

1826
01:35:06,920 --> 01:35:08,639
Speaker 6: it doesn't tie me all the way through. I haven't

1827
01:35:08,640 --> 01:35:11,679
Speaker 6: worked with Bieber since the very I did one time

1828
01:35:12,800 --> 01:35:19,840
Speaker 6: did Baby and Kook executive produced to his Christmas albums

1829
01:35:19,840 --> 01:35:21,920
Speaker 6: and we did all that and I haven't worked with

1830
01:35:22,000 --> 01:35:27,280
Speaker 6: him since. But I would rather be at that part

1831
01:35:27,320 --> 01:35:31,760
Speaker 6: of the story then be on the story right right now,

1832
01:35:31,960 --> 01:35:35,160
Speaker 6: even with whatever the latest single is that he's going

1833
01:35:35,200 --> 01:35:37,240
Speaker 6: to the Grammys fort like, I would rather have that

1834
01:35:37,280 --> 01:35:44,880
Speaker 6: moment and be connected to that mentally for me, Yeah, yeah, yeah, yeah,

1835
01:35:45,320 --> 01:35:48,719
Speaker 6: that I'm the reason that I'm part of the Eye

1836
01:35:48,760 --> 01:35:52,200
Speaker 6: of Discovery. I believe you have to know which one

1837
01:35:52,240 --> 01:35:54,879
Speaker 6: is right for you. You know, it's a lot of artists,

1838
01:35:54,880 --> 01:35:57,519
Speaker 6: and I try to pick the ones that are right

1839
01:35:57,600 --> 01:35:59,680
Speaker 6: for me and right for us.

1840
01:36:00,160 --> 01:36:03,080
Speaker 4: What I've done, You've done an amazing job, my brother.

1841
01:36:03,360 --> 01:36:09,640
Speaker 3: Thank you of picking and choosing because oh man, so

1842
01:36:09,760 --> 01:36:12,200
Speaker 3: many careers have been launched.

1843
01:36:13,479 --> 01:36:16,200
Speaker 6: It's my favorite part. That's the part that still has

1844
01:36:16,240 --> 01:36:18,880
Speaker 6: me like the most motivated. That's why I feel like

1845
01:36:18,920 --> 01:36:22,920
Speaker 6: if I was going in to work on you know,

1846
01:36:23,360 --> 01:36:26,599
Speaker 6: the same stuff or just like a continuation, that wouldn't

1847
01:36:26,760 --> 01:36:29,160
Speaker 6: that wouldn't have me with the mindset and the spirit

1848
01:36:29,760 --> 01:36:32,320
Speaker 6: that I have. But it's like, it's the relationships that

1849
01:36:32,400 --> 01:36:35,080
Speaker 6: I've had and you know, with Tyler and just going

1850
01:36:35,120 --> 01:36:38,920
Speaker 6: to Africa and find it, introducing her to believe and

1851
01:36:39,520 --> 01:36:42,280
Speaker 6: you know, just helping her find that sound and what

1852
01:36:42,479 --> 01:36:44,880
Speaker 6: her and Sammy Sosa and with Water turned into and

1853
01:36:44,920 --> 01:36:48,680
Speaker 6: that whole movement and really like Zeke put me in

1854
01:36:48,720 --> 01:36:52,080
Speaker 6: that play and he was like, look like, Zeke was like,

1855
01:36:52,200 --> 01:36:53,639
Speaker 6: I don't even know if I want you to produce

1856
01:36:54,280 --> 01:36:55,320
Speaker 6: this needs you to figure it out.

1857
01:36:55,600 --> 01:36:57,439
Speaker 2: Oh, just go to Africa.

1858
01:36:57,479 --> 01:37:00,559
Speaker 6: He's like, I got a house, I got all the

1859
01:37:00,600 --> 01:37:04,719
Speaker 6: dopest producers in Africa coming just figured out, just sort

1860
01:37:04,760 --> 01:37:06,400
Speaker 6: of like just figured it out. And I went over

1861
01:37:06,400 --> 01:37:10,759
Speaker 6: there and fell in love with her team, Collin from

1862
01:37:10,960 --> 01:37:14,680
Speaker 6: the African Agency and everybody, and you know, it's just

1863
01:37:15,320 --> 01:37:17,400
Speaker 6: we we figured it out. And as you can see,

1864
01:37:17,400 --> 01:37:21,200
Speaker 6: it's it's it's continuous. It's continuing to figure yourself out.

1865
01:37:21,400 --> 01:37:22,840
Speaker 5: And now they got it and they run.

1866
01:37:22,880 --> 01:37:28,479
Speaker 6: But but I still my part, you know. And I

1867
01:37:28,520 --> 01:37:33,240
Speaker 6: think also it's about mindset, right. You know, there's so

1868
01:37:33,280 --> 01:37:36,719
Speaker 6: many people that get bitter because they think just because

1869
01:37:36,760 --> 01:37:38,960
Speaker 6: you do something with somebody some one time, that you're

1870
01:37:38,960 --> 01:37:43,200
Speaker 6: supposed to cart it's not listen, just be do your part,

1871
01:37:44,479 --> 01:37:45,120
Speaker 6: do your part.

1872
01:37:45,400 --> 01:37:46,280
Speaker 5: I like development.

1873
01:37:46,600 --> 01:37:49,040
Speaker 6: I can't look at if I write umbrella, I can't

1874
01:37:49,040 --> 01:37:51,120
Speaker 6: be looking at you, going damn, she got an umbrella deal.

1875
01:37:52,080 --> 01:37:54,600
Speaker 5: She's you.

1876
01:37:56,720 --> 01:37:58,040
Speaker 2: Don't let people's money.

1877
01:37:58,200 --> 01:38:01,040
Speaker 5: Yeah, Like, man, like, what part? What part do you like?

1878
01:38:01,160 --> 01:38:03,200
Speaker 2: You don't even bring me what I like?

1879
01:38:03,400 --> 01:38:04,960
Speaker 4: I don't want any umbrella.

1880
01:38:05,520 --> 01:38:07,519
Speaker 2: Bring me like.

1881
01:38:07,800 --> 01:38:08,439
Speaker 5: I like the part.

1882
01:38:08,600 --> 01:38:10,519
Speaker 6: I like the part that we've played, you know, and

1883
01:38:11,840 --> 01:38:14,000
Speaker 6: I play it better by design as I get older,

1884
01:38:14,160 --> 01:38:16,600
Speaker 6: you know, Like I do realize that there's an opportunity,

1885
01:38:16,920 --> 01:38:19,000
Speaker 6: and I am going into the publishing game this year.

1886
01:38:19,160 --> 01:38:21,280
Speaker 6: You know, I had left publishing alone for a while,

1887
01:38:21,400 --> 01:38:24,320
Speaker 6: just because you know, at the end of the day,

1888
01:38:24,360 --> 01:38:28,320
Speaker 6: it's you're you're taking on people's lives, and I know

1889
01:38:28,640 --> 01:38:31,960
Speaker 6: how seriously I take that, and it's a focus, and

1890
01:38:32,560 --> 01:38:35,799
Speaker 6: I want to focus on having and create a place

1891
01:38:35,840 --> 01:38:40,639
Speaker 6: for people that need to be advocated for for somebody

1892
01:38:40,640 --> 01:38:43,120
Speaker 6: that's going to scream your name at the top of

1893
01:38:43,160 --> 01:38:46,479
Speaker 6: their lungs doesn't need anybody else's validation. I didn't need

1894
01:38:46,520 --> 01:38:48,760
Speaker 6: anybody's validation to tell me that the people that I

1895
01:38:48,840 --> 01:38:51,439
Speaker 6: picked were it. I just had to keep saying that

1896
01:38:51,479 --> 01:38:54,200
Speaker 6: they were, keep putting them in an environment to flourish.

1897
01:38:54,320 --> 01:38:56,479
Speaker 6: And I feel like I can do that better than

1898
01:38:56,520 --> 01:38:59,600
Speaker 6: anybody in the world. I don't know that I've let

1899
01:38:59,640 --> 01:39:02,479
Speaker 6: anybody know from an executive standpoint that that's what I

1900
01:39:02,479 --> 01:39:05,040
Speaker 6: want to do, but I think that's the next move

1901
01:39:05,760 --> 01:39:08,479
Speaker 6: for us, you know, is doing it for real, not

1902
01:39:08,560 --> 01:39:11,920
Speaker 6: just doing it because I'm a producer in a vehicle

1903
01:39:11,960 --> 01:39:14,559
Speaker 6: for it, but actually go you know what, I'm going

1904
01:39:14,600 --> 01:39:19,080
Speaker 6: to try to identify the next ones and don't give

1905
01:39:19,080 --> 01:39:22,240
Speaker 6: them the same personality that I have, which is insular

1906
01:39:22,680 --> 01:39:25,880
Speaker 6: behind the door, like you know not you know, these

1907
01:39:25,920 --> 01:39:28,600
Speaker 6: people like to collaborate, really help them get into the

1908
01:39:28,640 --> 01:39:31,040
Speaker 6: room that they really want to get into. Yes, And

1909
01:39:31,560 --> 01:39:33,800
Speaker 6: I think I have enough favor throughout the industry and

1910
01:39:33,840 --> 01:39:37,320
Speaker 6: relationships to give some people some advantages in that.

1911
01:39:37,240 --> 01:39:39,640
Speaker 2: Way so that they could be hot heard at the

1912
01:39:39,720 --> 01:39:40,400
Speaker 2: highest levels.

1913
01:39:40,400 --> 01:39:42,720
Speaker 6: And so in twenty twenty six and beyond, I think

1914
01:39:42,760 --> 01:39:46,160
Speaker 6: that's what myself, Mark and Judy will be doing in

1915
01:39:46,200 --> 01:39:46,960
Speaker 6: a real way.

1916
01:39:47,200 --> 01:39:50,040
Speaker 5: Because it has been by it has been a little bit.

1917
01:39:50,120 --> 01:39:52,120
Speaker 2: You know, you've announced it today.

1918
01:39:52,960 --> 01:39:55,240
Speaker 6: Yeah hear that, Yeah, yeah, hear this. It would be

1919
01:39:55,280 --> 01:39:58,360
Speaker 6: announced soon. But we're really we're really focused on it.

1920
01:39:58,400 --> 01:40:02,240
Speaker 6: We've changed our our company structure to get in position.

1921
01:40:02,800 --> 01:40:04,800
Speaker 6: You know, you have to you have to be in

1922
01:40:04,840 --> 01:40:06,680
Speaker 6: the positions that you have to be in. And so

1923
01:40:07,000 --> 01:40:09,559
Speaker 6: you know, I know I'm like behind the scenes, but

1924
01:40:09,600 --> 01:40:11,960
Speaker 6: as you know, if you guys watch my social media,

1925
01:40:12,400 --> 01:40:15,760
Speaker 6: doing a lot more socials like yeah, I'm you know,

1926
01:40:17,439 --> 01:40:19,800
Speaker 6: I'm coming out, you know, like I'm just you have

1927
01:40:19,840 --> 01:40:22,960
Speaker 6: to tell your story. It's like, you know, we'll all

1928
01:40:23,160 --> 01:40:25,479
Speaker 6: as great as the Songwriters Hall of Fame is in

1929
01:40:25,600 --> 01:40:28,519
Speaker 6: all that listen, we'll all be forgotten.

1930
01:40:28,720 --> 01:40:29,280
Speaker 2: Truthfully.

1931
01:40:29,400 --> 01:40:31,840
Speaker 6: You know, it's why I speak about Loui Silace so much,

1932
01:40:31,960 --> 01:40:35,639
Speaker 6: because you know, Louis has been largely has not been

1933
01:40:35,720 --> 01:40:38,000
Speaker 6: you talk about not being given credit. He has not

1934
01:40:38,040 --> 01:40:42,160
Speaker 6: been given the credit for any heartbreak and for Bobby

1935
01:40:42,200 --> 01:40:44,479
Speaker 6: Brown and for l A and Face and jam and

1936
01:40:44,600 --> 01:40:47,080
Speaker 6: Lewis and just all that whole m c A and

1937
01:40:47,080 --> 01:40:49,920
Speaker 6: Andre Herrel and those guys at m c A, the

1938
01:40:50,080 --> 01:40:52,919
Speaker 6: m c A that we know they now call universal,

1939
01:40:52,960 --> 01:40:54,840
Speaker 6: But it's really built off of the it was built

1940
01:40:54,880 --> 01:40:58,120
Speaker 6: off of the black music that came from seven seven

1941
01:40:58,200 --> 01:40:59,599
Speaker 6: seven Lincashire world right.

1942
01:40:59,680 --> 01:41:04,360
Speaker 3: Because let's be honest, Before Louile really got in position

1943
01:41:04,400 --> 01:41:07,840
Speaker 3: to do what loul ended up doing, it was you

1944
01:41:07,880 --> 01:41:12,800
Speaker 3: know throughout the industry called the Music Cemetery of America,

1945
01:41:14,080 --> 01:41:17,280
Speaker 3: Like that was like a term because when we did

1946
01:41:17,280 --> 01:41:18,960
Speaker 3: our deal there people are like, way, y'all signed to

1947
01:41:19,040 --> 01:41:22,920
Speaker 3: the Music Cemetery. Yep, Like no, no, no, no, Little Silace

1948
01:41:22,960 --> 01:41:25,280
Speaker 3: over there cracking he getting this thing going.

1949
01:41:25,400 --> 01:41:26,360
Speaker 2: And had their music.

1950
01:41:27,080 --> 01:41:30,960
Speaker 6: Joe put Jolie Wattley, Pebbles BBD, the things that you

1951
01:41:31,040 --> 01:41:33,160
Speaker 6: hear today when you hear poison, just know that that

1952
01:41:33,320 --> 01:41:38,519
Speaker 6: happened like that. Ain't some novelty record. They came, They came,

1953
01:41:39,080 --> 01:41:41,720
Speaker 6: they that record was made and he put it out.

1954
01:41:41,880 --> 01:41:44,519
Speaker 6: You know what I'm saying on a group that the

1955
01:41:44,560 --> 01:41:46,160
Speaker 6: world was not looking for no time.

1956
01:41:46,479 --> 01:41:50,240
Speaker 3: No, really by accident. That group is by accident. So

1957
01:41:51,920 --> 01:41:53,439
Speaker 3: you know you got it, you know that.

1958
01:41:53,680 --> 01:41:54,479
Speaker 2: And then that's why we.

1959
01:41:54,439 --> 01:41:57,840
Speaker 3: Have this platform though, right, so that we can we

1960
01:41:57,880 --> 01:42:02,400
Speaker 3: can't highlight sometimes the forgotten in this whole thing, right,

1961
01:42:02,400 --> 01:42:04,920
Speaker 3: but we haven't forgotten them, you know, they haven't had

1962
01:42:04,960 --> 01:42:07,760
Speaker 3: their chance where somebody put a spotlight on them. So

1963
01:42:07,920 --> 01:42:10,400
Speaker 3: you know, you coming here and being who you are

1964
01:42:10,439 --> 01:42:12,680
Speaker 3: and being able to say this and be able to

1965
01:42:12,720 --> 01:42:15,160
Speaker 3: talk about this and us to have these conversations is

1966
01:42:15,520 --> 01:42:19,800
Speaker 3: so important, bro. So we so we're glad that you're outside. Man,

1967
01:42:22,400 --> 01:42:25,400
Speaker 3: Why say you outside? But I'm not outside, I'm here.

1968
01:42:25,640 --> 01:42:26,240
Speaker 2: Yeah.

1969
01:42:26,760 --> 01:42:27,200
Speaker 4: But you know.

1970
01:42:31,240 --> 01:42:36,880
Speaker 3: One last thing, segment portion of what we do. We

1971
01:42:36,880 --> 01:42:38,599
Speaker 3: we we have something in common.

1972
01:42:38,680 --> 01:42:39,599
Speaker 4: What you'all got in common?

1973
01:42:39,640 --> 01:42:42,840
Speaker 2: Man? You know I am you know doctor.

1974
01:42:42,920 --> 01:42:45,559
Speaker 4: Here we go here we go and.

1975
01:42:47,840 --> 01:42:51,639
Speaker 3: A doctor her and give me money college of Art

1976
01:42:51,720 --> 01:42:54,840
Speaker 3: and Design. Yes, I just want to salute you for that,

1977
01:42:54,920 --> 01:42:58,160
Speaker 3: my brother. Uh, the time that you have put in

1978
01:42:58,800 --> 01:43:01,760
Speaker 3: the work that you have done, the art that you have.

1979
01:43:01,880 --> 01:43:10,360
Speaker 2: Created, has awarded you this doctorate. Yes, make super proudly, make.

1980
01:43:10,360 --> 01:43:13,880
Speaker 4: No mistake about it. You earned this.

1981
01:43:14,200 --> 01:43:16,360
Speaker 2: Are you talking to me as you're talking to him? Yes,

1982
01:43:17,200 --> 01:43:19,240
Speaker 2: Man Towers.

1983
01:43:21,320 --> 01:43:23,680
Speaker 4: Countless man hours.

1984
01:43:23,720 --> 01:43:26,439
Speaker 5: Absolutely, huh absolutely.

1985
01:43:26,120 --> 01:43:26,920
Speaker 2: On the count.

1986
01:43:27,080 --> 01:43:31,080
Speaker 4: Listen here helping a fellow drop out like me. Man, okay,

1987
01:43:31,920 --> 01:43:33,040
Speaker 4: all that's.

1988
01:43:34,439 --> 01:43:41,120
Speaker 6: Absolutely I'm doctor, mister my wife, mister my wife is

1989
01:43:41,200 --> 01:43:43,360
Speaker 6: making so funny because he's like, you got so many names.

1990
01:43:43,360 --> 01:43:43,880
Speaker 5: I don't know what.

1991
01:43:47,120 --> 01:43:51,960
Speaker 3: The doctor Tricky Steward ladies, and that's just a fellow doctor.

1992
01:43:52,040 --> 01:43:53,960
Speaker 4: I'm not going to a doctor named tricky.

1993
01:43:54,000 --> 01:43:54,240
Speaker 2: Man.

1994
01:43:54,640 --> 01:43:58,439
Speaker 3: When they tell you doctor Tricky, I be like, nope,

1995
01:43:58,520 --> 01:44:00,120
Speaker 3: I think he used to live in two proper to

1996
01:44:01,000 --> 01:44:01,360
Speaker 3: going to.

1997
01:44:01,640 --> 01:44:05,479
Speaker 7: The tricky I'm down the trigger.

1998
01:44:05,560 --> 01:44:07,400
Speaker 2: I was like, you might be up there, he might

1999
01:44:07,439 --> 01:44:08,800
Speaker 2: be onto something. I'm gonna go over there, and she

2000
01:44:09,000 --> 01:44:10,679
Speaker 2: was going on like that.

2001
01:44:10,920 --> 01:44:13,760
Speaker 4: You never know, you never know, it could get triggy.

2002
01:44:13,479 --> 01:44:14,160
Speaker 2: You could get tricky.

2003
01:44:14,200 --> 01:44:14,720
Speaker 4: You never know.

2004
01:44:15,560 --> 01:44:16,240
Speaker 5: Yohazy.

2005
01:44:16,320 --> 01:44:20,200
Speaker 4: I'm all right, all right, then go ahead, be talented, dog.

2006
01:44:22,000 --> 01:44:25,719
Speaker 2: Ship. This is great.

2007
01:44:28,160 --> 01:44:37,720
Speaker 9: Hold on, let me get my gotta hm, why are

2008
01:44:37,720 --> 01:44:38,880
Speaker 9: you looking at my cassio like that.

2009
01:44:38,920 --> 01:44:40,080
Speaker 2: Bro, come on, man, it's me, ain't you?

2010
01:44:40,800 --> 01:44:43,400
Speaker 3: This don't look like when I'm thirty eight dollars. Key

2011
01:44:43,439 --> 01:44:47,479
Speaker 3: Moore assists that Tricky was buying this. This is just

2012
01:44:47,479 --> 01:44:49,360
Speaker 3: to remind us of pumble beginnings.

2013
01:44:51,560 --> 01:44:54,960
Speaker 2: I'm just trying to get it the way we live. Yeah, yeah, yeah,

2014
01:44:55,000 --> 01:44:56,679
Speaker 2: out the park. What was that one hundred and eighty

2015
01:44:56,680 --> 01:44:57,240
Speaker 2: dollars a month?

2016
01:44:57,280 --> 01:45:00,559
Speaker 6: Were just trying to forty five dollars a week do

2017
01:45:00,600 --> 01:45:01,599
Speaker 6: what we can afford.

2018
01:45:02,840 --> 01:45:09,519
Speaker 3: Brother, Tricky Stewart, you have written and produced and and

2019
01:45:09,600 --> 01:45:14,600
Speaker 3: put together some orchestration orchestrated songs and music.

2020
01:45:14,400 --> 01:45:17,719
Speaker 2: History we all still know he'd be doing it that

2021
01:45:17,840 --> 01:45:19,360
Speaker 2: you have been inspired.

2022
01:45:21,320 --> 01:45:24,640
Speaker 3: Yeah, a lot of songs from the past president in

2023
01:45:24,640 --> 01:45:28,439
Speaker 3: the future. We want to know, come on week what

2024
01:45:28,560 --> 01:45:32,080
Speaker 3: those songs are. And here on the R and B

2025
01:45:32,160 --> 01:45:36,840
Speaker 3: Money podcast and our community, we like to call this

2026
01:45:37,360 --> 01:45:38,320
Speaker 3: what were you all the champ?

2027
01:45:39,000 --> 01:45:39,760
Speaker 2: That what we call it?

2028
01:45:41,080 --> 01:45:42,519
Speaker 7: Top five?

2029
01:45:45,720 --> 01:45:48,320
Speaker 2: Your top five? We want to.

2030
01:45:49,760 --> 01:45:57,560
Speaker 3: Top five your top five open peas.

2031
01:46:00,200 --> 01:46:01,799
Speaker 2: Wrote the songs?

2032
01:46:04,000 --> 01:46:04,439
Speaker 7: Where not?

2033
01:46:06,320 --> 01:46:06,800
Speaker 2: Are you.

2034
01:46:08,600 --> 01:46:09,080
Speaker 3: This true?

2035
01:46:10,160 --> 01:46:47,080
Speaker 7: He wants to know you? Yes, rah you uh oh

2036
01:46:47,479 --> 01:46:48,360
Speaker 7: wow wow?

2037
01:46:49,760 --> 01:46:54,839
Speaker 2: Your top five R and B singers?

2038
01:46:55,160 --> 01:46:56,600
Speaker 5: All right, now you know this R and B.

2039
01:46:56,720 --> 01:47:00,479
Speaker 2: Thing is subject to opinion. Something is your word?

2040
01:47:01,360 --> 01:47:04,559
Speaker 6: Yes, okay, my top five R and B singers in

2041
01:47:04,560 --> 01:47:05,599
Speaker 6: no particular order.

2042
01:47:07,120 --> 01:47:08,520
Speaker 5: I'm gonna have Stevie Wonder.

2043
01:47:08,280 --> 01:47:11,280
Speaker 2: On that list, on living in this guy himself.

2044
01:47:11,479 --> 01:47:13,080
Speaker 5: I'm gonna have Brian McKnight on that list.

2045
01:47:13,080 --> 01:47:16,320
Speaker 2: Come on, yes sir, yes sir.

2046
01:47:16,640 --> 01:47:20,759
Speaker 5: I'm gonna have el de Barge on that list. Charlie

2047
01:47:20,800 --> 01:47:21,479
Speaker 5: Wilson's on that.

2048
01:47:21,439 --> 01:47:24,599
Speaker 2: List, yes sir, yes, sir.

2049
01:47:26,840 --> 01:47:31,000
Speaker 5: And in their prime, I have Jojo and Casey.

2050
01:47:31,280 --> 01:47:40,120
Speaker 4: Say who yeah.

2051
01:47:38,560 --> 01:47:42,559
Speaker 3: Oh yeah, I say this all the time. There is

2052
01:47:42,800 --> 01:47:49,920
Speaker 3: no other Jojo in Casey. There is. There are people

2053
01:47:50,320 --> 01:47:53,439
Speaker 3: trying to be like there are people who sound a

2054
01:47:53,479 --> 01:47:58,240
Speaker 3: little bit like there is no other Jojo and Casey.

2055
01:47:58,720 --> 01:47:58,920
Speaker 2: Yeah.

2056
01:47:59,680 --> 01:48:03,120
Speaker 6: Nope, were talking R and B, R and B voices.

2057
01:48:06,080 --> 01:48:09,000
Speaker 6: Those those are some of the ones that popped off.

2058
01:48:09,040 --> 01:48:11,120
Speaker 6: I love I love a lot of people.

2059
01:48:11,960 --> 01:48:15,360
Speaker 3: You can try Joe to see harmonies, but they're not

2060
01:48:15,560 --> 01:48:20,040
Speaker 3: gonna be Joe to harmonies without Jojo and Casey.

2061
01:48:20,800 --> 01:48:23,040
Speaker 4: I mean, your list is technically technically six.

2062
01:48:27,280 --> 01:48:29,479
Speaker 3: Tried to put them as a group. They're attached that

2063
01:48:29,479 --> 01:48:32,840
Speaker 3: to hip. That's Casey Jojo. Okay, your top five R

2064
01:48:32,880 --> 01:48:33,880
Speaker 3: and B songs.

2065
01:48:34,800 --> 01:48:39,280
Speaker 5: Oh well, that's a little bit more complicated. Let me go,

2066
01:48:43,080 --> 01:48:44,000
Speaker 5: let me get.

2067
01:48:48,720 --> 01:48:51,000
Speaker 4: You can name one of yours too? Are five of yours?

2068
01:48:51,000 --> 01:48:52,439
Speaker 4: I mean you got it?

2069
01:48:52,479 --> 01:48:52,679
Speaker 7: Ain't.

2070
01:48:56,320 --> 01:49:06,040
Speaker 5: Let's go through the fire. Yes, yes, let's go Stevie Wonder.

2071
01:49:06,400 --> 01:49:07,280
Speaker 5: I'm drawing Blank.

2072
01:49:07,680 --> 01:49:15,719
Speaker 6: That's so, let's go Stevie Wonder. What's the song Joy?

2073
01:49:15,800 --> 01:49:19,200
Speaker 6: What's the title I'm drawing. I'm drawing a black man.

2074
01:49:21,360 --> 01:49:23,960
Speaker 6: I'm drawing to complete Blake. I don't have my phone on.

2075
01:49:24,120 --> 01:49:30,240
Speaker 2: We've been getting for and with joy, but not overjoyed. Yeah,

2076
01:49:33,439 --> 01:49:33,920
Speaker 2: look at me.

2077
01:49:34,080 --> 01:49:42,639
Speaker 6: Yeah, overjoyed by Stevie Wonder. I'm gonna go with come

2078
01:49:42,680 --> 01:49:43,200
Speaker 6: and talk to.

2079
01:49:43,160 --> 01:49:50,800
Speaker 3: Me, yeah yeah, yeah, original remix original Okay, okay, okay.

2080
01:49:50,960 --> 01:49:53,240
Speaker 4: It's not your list. But I'm asking him, bro.

2081
01:49:54,200 --> 01:49:57,400
Speaker 3: I know y'all both doctors, but come on, I'm talking

2082
01:49:57,400 --> 01:49:58,800
Speaker 3: to doctor Mster tricky right now.

2083
01:49:59,080 --> 01:50:04,680
Speaker 10: Man, Uh, I'm gonna have to say. I don't have

2084
01:50:04,720 --> 01:50:09,200
Speaker 10: to say, uh, this is a different type of ARB song,

2085
01:50:09,200 --> 01:50:12,000
Speaker 10: but I'm gonna have to go with uh, like man

2086
01:50:12,000 --> 01:50:13,439
Speaker 10: in the mirror, Like.

2087
01:50:13,880 --> 01:50:17,120
Speaker 2: What's different about it? It's just man.

2088
01:50:17,280 --> 01:50:19,479
Speaker 6: Yeah, but sometimes people like because even with Mike, like

2089
01:50:19,520 --> 01:50:21,479
Speaker 6: I didn't put him an ARMB singer, But Mike is

2090
01:50:21,520 --> 01:50:23,240
Speaker 6: like my favorite, Like you know what I'm saying. Like,

2091
01:50:23,680 --> 01:50:27,400
Speaker 6: but you know, people forget, they forget because of the

2092
01:50:27,479 --> 01:50:30,240
Speaker 6: career was so even though it was short, it was

2093
01:50:30,320 --> 01:50:33,360
Speaker 6: so long when people forget howe.

2094
01:50:32,920 --> 01:50:35,400
Speaker 5: How amazing his his vocals were.

2095
01:50:36,200 --> 01:50:42,960
Speaker 6: Absolutely how many have I done so far? I gotta

2096
01:50:43,000 --> 01:50:43,799
Speaker 6: go Purple Rain.

2097
01:50:44,200 --> 01:50:47,160
Speaker 2: Come on, come on, Purple Rain, Come on, Purple Rain.

2098
01:50:50,040 --> 01:50:58,480
Speaker 5: And then I'm gonna go Ronie by Brown.

2099
01:51:01,640 --> 01:51:09,360
Speaker 3: Life Changing Records one of my favorite all times.

2100
01:51:12,600 --> 01:51:15,000
Speaker 4: Come on, come on listen, come on doctor.

2101
01:51:15,040 --> 01:51:18,720
Speaker 2: If it isn't, I'm sorry, life Changing.

2102
01:51:19,040 --> 01:51:21,920
Speaker 6: I'm tripping.

2103
01:51:22,400 --> 01:51:24,040
Speaker 2: I'm tripping if it isn't.

2104
01:51:24,120 --> 01:51:27,520
Speaker 3: Love can be put in the R and B dictionaryas

2105
01:51:27,600 --> 01:51:29,040
Speaker 3: just so if you want to say what an R

2106
01:51:29,080 --> 01:51:31,760
Speaker 3: and B song is, play that record.

2107
01:51:31,680 --> 01:51:37,200
Speaker 2: An R and B up tempo record, just just.

2108
01:51:38,640 --> 01:51:41,280
Speaker 3: If someone has never heard R and B music, they

2109
01:51:41,280 --> 01:51:46,280
Speaker 3: should hear. If it isn't from production, everything, everything, prestige.

2110
01:51:47,600 --> 01:51:52,840
Speaker 6: Yes, yeah, that's my Listen, I'm sticking to it on five,

2111
01:51:52,880 --> 01:51:55,880
Speaker 6: but you know I can I can do five. No,

2112
01:51:56,240 --> 01:51:59,560
Speaker 6: But the truth is I can do five with everybody

2113
01:51:59,560 --> 01:52:02,120
Speaker 6: that I have respect for him, everybody off the list

2114
01:52:03,000 --> 01:52:05,679
Speaker 6: for sure, I have a top five for every single

2115
01:52:05,840 --> 01:52:10,240
Speaker 6: percenario because because there's just so many people who've done

2116
01:52:10,479 --> 01:52:14,519
Speaker 6: such great work and dedicated themselves to being amazing. I mean,

2117
01:52:15,360 --> 01:52:17,639
Speaker 6: you know, it's like if all I had, I could

2118
01:52:17,680 --> 01:52:22,160
Speaker 6: do just babyface and never never touch another person.

2119
01:52:23,479 --> 01:52:29,120
Speaker 3: Absolutely absolutely, Okay, let's make a vultron, doctor, Trickie Stewart.

2120
01:52:29,360 --> 01:52:31,920
Speaker 3: We're gonna make a vultron. We're gonna get the characteristics

2121
01:52:31,960 --> 01:52:37,600
Speaker 3: from any artists since the existence of time. No, you

2122
01:52:37,680 --> 01:52:40,800
Speaker 3: can get the vocal from performance style, styling, passion of

2123
01:52:40,840 --> 01:52:42,920
Speaker 3: the artist. And who's going to produce for this artist?

2124
01:52:43,720 --> 01:52:46,559
Speaker 3: What one vocal are you going to get for your

2125
01:52:46,600 --> 01:52:47,080
Speaker 3: super R.

2126
01:52:47,080 --> 01:52:47,879
Speaker 2: And B artists?

2127
01:52:49,840 --> 01:52:57,120
Speaker 3: Whitney mm hmmm, we're gonna We're gonna power global, massive,

2128
01:52:57,439 --> 01:53:04,519
Speaker 3: flat budded Whitney's voice. Yes, we don't start with the voice.

2129
01:53:04,720 --> 01:53:13,000
Speaker 2: The voice, Yeah, performance style on stage saying like Whitney

2130
01:53:13,000 --> 01:53:13,639
Speaker 2: and dancing.

2131
01:53:15,240 --> 01:53:18,599
Speaker 6: Okay, you're saying no, No, you're saying, build an artist. Yes,

2132
01:53:18,960 --> 01:53:23,280
Speaker 6: that's a cohesive artist, not like my favorite person.

2133
01:53:23,560 --> 01:53:26,400
Speaker 3: Like you're putting all the characteristics together, Okay, able to

2134
01:53:26,400 --> 01:53:28,840
Speaker 3: make your super R and B artists. So it's it's

2135
01:53:29,160 --> 01:53:31,600
Speaker 3: it's your it's your super R and B artist Like

2136
01:53:31,640 --> 01:53:35,160
Speaker 3: you're making like you playing two K and you're building

2137
01:53:35,680 --> 01:53:36,280
Speaker 3: your player.

2138
01:53:36,920 --> 01:53:40,559
Speaker 2: What character? This is the creative player. Okay, okay, okay, okay,

2139
01:53:40,880 --> 01:53:43,320
Speaker 2: let's strike that. What else we got next? You said, strike, Michael,

2140
01:53:43,439 --> 01:53:44,680
Speaker 2: No strike, We're gonna start over.

2141
01:53:46,080 --> 01:53:47,960
Speaker 5: We're gonna start over now that I know.

2142
01:53:48,640 --> 01:53:59,160
Speaker 6: Okay, I'm gonna start with Beyonce's voice. We'll start with

2143
01:53:59,160 --> 01:53:59,960
Speaker 6: Beyonce's voice.

2144
01:54:00,280 --> 01:54:01,519
Speaker 2: No argument. Why did that?

2145
01:54:01,920 --> 01:54:05,240
Speaker 5: Because just for me, the person has to like I

2146
01:54:05,360 --> 01:54:06,120
Speaker 5: like it on the stage.

2147
01:54:06,160 --> 01:54:10,440
Speaker 2: I get what you're doing. So with style.

2148
01:54:11,120 --> 01:54:20,200
Speaker 5: Performance style, Michael, Yeah.

2149
01:54:20,120 --> 01:54:25,320
Speaker 2: Okay hmm. Styling drip of the artist.

2150
01:54:29,760 --> 01:54:31,360
Speaker 5: Chris Brown mm hmm.

2151
01:54:31,720 --> 01:54:38,200
Speaker 2: Fly, young brother, stay fly. It's like internationally fly. Oh look,

2152
01:54:38,240 --> 01:54:41,520
Speaker 2: he's fly everywhere he goes. Everywhere he goes the passion

2153
01:54:41,560 --> 01:54:50,600
Speaker 2: of the artists. Who donna mean it? Prince mm hmmm.

2154
01:54:50,680 --> 01:54:53,800
Speaker 3: Yeah, you know it rained at the super Bowl for him,

2155
01:54:53,640 --> 01:54:56,760
Speaker 3: I supposed to. It's never rained ever at the super

2156
01:54:56,840 --> 01:55:00,280
Speaker 3: Bowl during the halftime show ever, But it rained.

2157
01:55:00,320 --> 01:55:03,919
Speaker 4: For him, for him, It didn't rain on him during Purple.

2158
01:55:04,520 --> 01:55:07,600
Speaker 2: It rained for I like the way you put that.

2159
01:55:07,840 --> 01:55:12,560
Speaker 6: And and he practiced in the rain for the moment,

2160
01:55:12,640 --> 01:55:14,040
Speaker 6: and he was ready for the moment.

2161
01:55:14,560 --> 01:55:21,760
Speaker 2: How about that Prince Prince, and who's producing this artist?

2162
01:55:28,440 --> 01:55:33,120
Speaker 6: I'm gonna go with timbling, Timbo to king, I'm gonna

2163
01:55:33,160 --> 01:55:36,080
Speaker 6: go with timbling, my favorite all.

2164
01:55:36,520 --> 01:55:41,840
Speaker 4: I wanted to be like aggressive, different, futuristic.

2165
01:55:42,360 --> 01:55:47,640
Speaker 5: I want to get paid exact side kick you.

2166
01:55:50,040 --> 01:55:53,600
Speaker 4: Yeah, yeah, I want to get paid. I want to

2167
01:55:53,640 --> 01:55:55,640
Speaker 4: get paid, Timple, gonna get.

2168
01:55:55,480 --> 01:56:02,960
Speaker 2: You paid paid. He's a monster my list. I love

2169
01:56:03,000 --> 01:56:07,320
Speaker 2: the way you curated that. Yeah, who you are? What

2170
01:56:07,360 --> 01:56:10,200
Speaker 2: else you got for him? Come on? Come on? What

2171
01:56:10,320 --> 01:56:10,840
Speaker 2: you got for him?

2172
01:56:14,040 --> 01:56:16,560
Speaker 4: Saying no nick to pay a saying no names?

2173
01:56:16,920 --> 01:56:22,920
Speaker 2: Ain't saying no names at Saying no names was what

2174
01:56:23,120 --> 01:56:29,360
Speaker 2: you did? Don't say? She said.

2175
01:56:37,360 --> 01:56:38,920
Speaker 3: So we had a very important part of the show,

2176
01:56:38,960 --> 01:56:43,400
Speaker 3: my brother, Will you tell us a story funny or

2177
01:56:43,400 --> 01:56:47,880
Speaker 3: fucked up? Are funny and fucked up? But the only

2178
01:56:47,960 --> 01:56:50,760
Speaker 3: rude to the game is you can't say no names.

2179
01:56:54,080 --> 01:56:56,640
Speaker 6: My story is gonna be so obvious because I have

2180
01:56:56,880 --> 01:56:59,120
Speaker 6: so few collaborators.

2181
01:57:00,880 --> 01:57:08,960
Speaker 2: Just case say today, let me see. I think.

2182
01:57:10,240 --> 01:57:13,360
Speaker 6: One of the craziest things I've ever really experienced was

2183
01:57:15,600 --> 01:57:20,080
Speaker 6: being with one of the biggest artists in the world

2184
01:57:21,320 --> 01:57:30,000
Speaker 6: and like, oh no, here it is.

2185
01:57:28,720 --> 01:57:32,440
Speaker 2: The story is, I'm.

2186
01:57:32,240 --> 01:57:35,240
Speaker 5: Working with one of the biggest artists in the world, and.

2187
01:57:36,800 --> 01:57:40,400
Speaker 6: At this time, when I fly into New York, I

2188
01:57:40,840 --> 01:57:46,120
Speaker 6: get car sick sometimes. So I opted to take to

2189
01:57:46,200 --> 01:57:51,080
Speaker 6: this artist session a layover from LA to New York.

2190
01:57:51,200 --> 01:57:55,200
Speaker 6: Like I stopped, and so something happened. The flate plane

2191
01:57:55,280 --> 01:57:58,840
Speaker 6: was late. Then the plane was late again. But at

2192
01:57:58,880 --> 01:58:00,720
Speaker 6: this time in my life, I used to sleep on

2193
01:58:00,760 --> 01:58:03,480
Speaker 6: the plane all the time. I don't do that anymore.

2194
01:58:03,480 --> 01:58:05,680
Speaker 6: But I was exhausted. I slept on the plane, got

2195
01:58:05,720 --> 01:58:09,920
Speaker 6: on the next plane, and we're super late. But I'm asleep,

2196
01:58:09,960 --> 01:58:11,960
Speaker 6: so I don't really know that we didn't take off,

2197
01:58:12,000 --> 01:58:13,160
Speaker 6: like we literally sat.

2198
01:58:12,960 --> 01:58:17,120
Speaker 4: On the I'm just you know, so.

2199
01:58:19,320 --> 01:58:26,000
Speaker 6: I'm landing in New York now, I think, but I

2200
01:58:26,040 --> 01:58:29,240
Speaker 6: didn't hear that we weren't landing in New York. So

2201
01:58:29,400 --> 01:58:33,800
Speaker 6: my phone's going off. They're like, where are you? Everybody's here,

2202
01:58:34,080 --> 01:58:40,880
Speaker 6: where are you. I'm like, I just landed, you know,

2203
01:58:40,960 --> 01:58:44,280
Speaker 6: I'm not in New York. I don't know where I landed.

2204
01:58:44,360 --> 01:58:51,520
Speaker 6: So so so I have to call back and I

2205
01:58:51,560 --> 01:58:53,320
Speaker 6: get like, so I have to call back and go

2206
01:58:53,480 --> 01:58:54,800
Speaker 6: You're not gonna believe us.

2207
01:58:55,280 --> 01:58:56,760
Speaker 2: But I got diverted to Buffalo.

2208
01:58:57,760 --> 01:59:02,880
Speaker 6: I'm not in New York, and so I was like,

2209
01:59:03,120 --> 01:59:04,320
Speaker 6: I don't know what I'm gonna be there. When I'm

2210
01:59:04,320 --> 01:59:07,920
Speaker 6: gonna be there, I get so, now another hour goes by.

2211
01:59:07,960 --> 01:59:10,760
Speaker 6: I get there, I get there, rush to the studio.

2212
01:59:12,720 --> 01:59:17,120
Speaker 6: When I get to the studio, when I say, everybody's there.

2213
01:59:18,120 --> 01:59:21,360
Speaker 6: This is one of the biggest artists. Yeah, and everybody

2214
01:59:21,360 --> 01:59:26,080
Speaker 6: who cares about this artist is there, and all the

2215
01:59:26,120 --> 01:59:33,000
Speaker 6: biggest the producers that there's a producer like producers there

2216
01:59:33,240 --> 01:59:40,879
Speaker 6: that are on fire. And I'm coming in late as

2217
01:59:40,880 --> 01:59:45,080
Speaker 6: like late as half hours late. And I went into

2218
01:59:45,160 --> 01:59:47,840
Speaker 6: the studio. I didn't even say hi, because it was

2219
01:59:47,920 --> 01:59:48,400
Speaker 6: just like the.

2220
01:59:48,480 --> 01:59:49,760
Speaker 5: Energy was so thick.

2221
01:59:51,920 --> 01:59:56,680
Speaker 6: And I went in the studio and I did one

2222
01:59:56,760 --> 02:00:00,480
Speaker 6: quick track like in about three minutes, and I did

2223
02:00:01,280 --> 02:00:04,240
Speaker 6: another track really really quickly.

2224
02:00:05,480 --> 02:00:09,440
Speaker 5: And that first track that I did came in.

2225
02:00:10,440 --> 02:00:11,880
Speaker 2: It changed everything.

2226
02:00:11,880 --> 02:00:17,040
Speaker 6: Because it was a song that everybody started waving their

2227
02:00:17,080 --> 02:00:21,360
Speaker 6: hand to eventually and they started going like this.

2228
02:00:22,120 --> 02:00:24,800
Speaker 3: Yeah, but one of the songs that got you to

2229
02:00:24,800 --> 02:00:30,280
Speaker 3: the Hall of Fame, and so saying is when you

2230
02:00:30,320 --> 02:00:33,160
Speaker 3: do this record with Tank, we need to make sure

2231
02:00:33,200 --> 02:00:35,160
Speaker 3: you get first.

2232
02:00:36,480 --> 02:00:40,120
Speaker 6: But when I tell you the energy was stick. I

2233
02:00:40,120 --> 02:00:47,480
Speaker 6: mean from the management label head, anybody that you can

2234
02:00:47,520 --> 02:00:50,440
Speaker 6: imagine is sitting there waiting.

2235
02:00:51,800 --> 02:00:52,160
Speaker 2: For me.

2236
02:00:53,400 --> 02:00:56,640
Speaker 5: Yeah, until the pressure's on, and to do this.

2237
02:00:56,560 --> 02:00:58,720
Speaker 6: In front of them, I mean I was just went.

2238
02:00:58,760 --> 02:01:02,480
Speaker 6: I went directly in the room and then hey man.

2239
02:01:03,200 --> 02:01:05,480
Speaker 4: And then that was we're going to think his name out.

2240
02:01:05,760 --> 02:01:10,720
Speaker 2: Yeah. You walked into the where they was set up

2241
02:01:11,200 --> 02:01:12,200
Speaker 2: and got the cooking.

2242
02:01:12,000 --> 02:01:13,520
Speaker 5: And I went in the other room. I went in

2243
02:01:13,560 --> 02:01:14,040
Speaker 5: the low room.

2244
02:01:14,520 --> 02:01:15,920
Speaker 3: Was like, you know what, I don't deserve to be bro,

2245
02:01:16,240 --> 02:01:18,640
Speaker 3: hold one, give me two minutes, guys.

2246
02:01:18,760 --> 02:01:21,520
Speaker 2: Yeah, actually, seriously, it was.

2247
02:01:21,560 --> 02:01:24,640
Speaker 6: It was the first one, you know, the first one

2248
02:01:24,680 --> 02:01:26,760
Speaker 6: was just to make sure you were sick.

2249
02:01:27,640 --> 02:01:30,320
Speaker 5: Hey, listen, it was game It was game time. I

2250
02:01:30,440 --> 02:01:32,680
Speaker 5: was going home, right, and I knew that.

2251
02:01:34,360 --> 02:01:42,080
Speaker 3: It was talking about you are sick, head. It was yeah,

2252
02:01:42,120 --> 02:01:48,120
Speaker 3: you're like, bro, you you're different, You're tricky, You're different.

2253
02:01:48,160 --> 02:01:49,960
Speaker 2: Bro. That was a lot. That was a lot.

2254
02:01:50,440 --> 02:01:52,320
Speaker 5: I've had some moments. That's a lot, but.

2255
02:01:52,200 --> 02:01:55,240
Speaker 2: You're different, Bro, that was a lot. I was about

2256
02:01:55,240 --> 02:02:04,200
Speaker 2: to throw up. You threw it. You threw it. Hit up. Bro.

2257
02:02:05,480 --> 02:02:08,520
Speaker 3: We are first of all glad that we were finally

2258
02:02:08,560 --> 02:02:09,280
Speaker 3: able to do this.

2259
02:02:10,040 --> 02:02:11,960
Speaker 2: I think the timing of it is just perfect. Man.

2260
02:02:12,080 --> 02:02:14,360
Speaker 3: You know, you're getting into this Hall of fame and

2261
02:02:14,400 --> 02:02:16,760
Speaker 3: being able to have that conversation here with us on

2262
02:02:16,920 --> 02:02:19,879
Speaker 3: Army money. It's just it's really dope, really awesome.

2263
02:02:19,920 --> 02:02:24,000
Speaker 2: Man. As you can tell, we are fans as well

2264
02:02:24,040 --> 02:02:26,760
Speaker 2: as peers, but you're you're you're one of them.

2265
02:02:26,600 --> 02:02:30,080
Speaker 3: Ones man, and so we we we respect you. We

2266
02:02:30,160 --> 02:02:32,720
Speaker 3: respect everything that you've accomplished, we respect all that you

2267
02:02:32,720 --> 02:02:35,880
Speaker 3: will continue to do. And this place is your place.

2268
02:02:36,560 --> 02:02:39,879
Speaker 3: Whatever you ever need from us, man, period.

2269
02:02:40,120 --> 02:02:40,720
Speaker 5: Thank you, brother.

2270
02:02:41,080 --> 02:02:45,440
Speaker 6: I appreciate and I appreciate you guys like creating this platform.

2271
02:02:45,520 --> 02:02:48,080
Speaker 6: It's important to get these stories out there.

2272
02:02:48,120 --> 02:02:48,280
Speaker 2: Man.

2273
02:02:48,400 --> 02:02:50,160
Speaker 6: You know, I don't like to talk, you know, I

2274
02:02:50,360 --> 02:02:51,960
Speaker 6: like to let the music do to talking. But at

2275
02:02:52,000 --> 02:02:53,880
Speaker 6: the same time, there is a time when you need

2276
02:02:53,960 --> 02:02:55,800
Speaker 6: to be heard in your own words. You know, I

2277
02:02:55,840 --> 02:03:00,520
Speaker 6: can't interpolate always through other people, and so you know

2278
02:03:00,640 --> 02:03:02,280
Speaker 6: I will One of the things I wanted to let

2279
02:03:02,320 --> 02:03:04,240
Speaker 6: you guys know too, I will be doing an album

2280
02:03:04,280 --> 02:03:06,720
Speaker 6: this year, my own album. Like it's the first time

2281
02:03:07,640 --> 02:03:10,640
Speaker 6: that I've ever like not singing, but just like doing

2282
02:03:10,840 --> 02:03:13,680
Speaker 6: you know how producers do your albums utilizing you know, and

2283
02:03:13,720 --> 02:03:15,720
Speaker 6: I would love to maybe do something with you, like

2284
02:03:15,760 --> 02:03:16,400
Speaker 6: it's just good.

2285
02:03:18,400 --> 02:03:24,960
Speaker 3: Maybe, you know, don't don't maybe.

2286
02:03:23,280 --> 02:03:25,160
Speaker 5: Check our check our text change.

2287
02:03:25,280 --> 02:03:29,560
Speaker 2: Yes, secure my slot. I'll see you. I'll see you

2288
02:03:29,560 --> 02:03:32,720
Speaker 2: on the sixteenth, all right. Yeah, you're performing down there

2289
02:03:32,760 --> 02:03:36,080
Speaker 2: on the fifteenth, Okay, at the arena. I'll be there. Yeah,

2290
02:03:36,160 --> 02:03:38,440
Speaker 2: I'll come down done. All right.

2291
02:03:38,600 --> 02:03:40,840
Speaker 3: You'll see a picture of us on Instagram because he's

2292
02:03:40,880 --> 02:03:42,000
Speaker 3: on the ground now, he's out.

2293
02:03:42,000 --> 02:03:42,760
Speaker 2: On the ground like this.

2294
02:03:43,120 --> 02:03:46,440
Speaker 6: Yeah, I'm outside so I can stay inside.

2295
02:03:47,560 --> 02:03:49,560
Speaker 2: Love that, ladies and gentlemen. My name is Tank.

2296
02:03:49,640 --> 02:03:51,720
Speaker 3: I'm J Valentine, and this is the R and B

2297
02:03:51,800 --> 02:03:58,040
Speaker 3: Money Podcast, the authority on all things R and B

2298
02:03:59,000 --> 02:03:59,360
Speaker 3: and the.

2299
02:03:59,320 --> 02:04:00,520
Speaker 7: Whole of than.

2300
02:04:01,920 --> 02:04:03,720
Speaker 2: Doctor Trickie Steward.

2301
02:04:03,800 --> 02:04:06,640
Speaker 5: Yes, sir, Yes, thank you.

2302
02:04:08,880 --> 02:04:09,360
Speaker 7: William