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Speaker 1: R and B Money, Honey, we are.

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Speaker 2: Thanks.

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Speaker 1: Take out of chat. We are the authority on all

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Speaker 1: R and B ladies and gentlemen. My name is Tanking Valentine.

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Speaker 1: This is the R V Money podcast, your thought, your

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Speaker 1: authority for all things R and B.

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Speaker 2: Tell her what it is.

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Speaker 1: I'm talking big ship today, hundred percents, timeless.

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Speaker 3: All timers catalog.

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Speaker 2: Yeah, yeah, you wanna break the artists. You want to

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Speaker 2: break something.

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Speaker 4: Yeah, you might get a week, you might get weak, breaking.

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Speaker 2: Some You want somebody to sample your ship in years

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Speaker 2: later because it was so good. Come on, come on,

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Speaker 2: let it rain, let it ring.

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Speaker 1: I don't like them niggas do good.

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Speaker 3: Too good, too good.

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Speaker 2: You guys, I love it man.

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Speaker 3: Thank you guys, fans, I'm a fan first, Thank you both.

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Speaker 3: Appreciate're just happy to be here this. You guys are killing.

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Speaker 3: What are we talking about over here?

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Speaker 1: At the reason, the reason why we even have a platform,

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Speaker 1: the reason why we were even inspired to have this

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Speaker 1: conversation is because this is one of those conversations that

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Speaker 1: needed to be had. We're talking music that that shaped

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Speaker 1: generations of music, that's wow like in real life. Appreciate

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Speaker 1: music that that drops right now and it's sang word

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Speaker 1: for word, note for note, copying your flow. It's a blessing, bro, Yeah,

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Speaker 1: better huge blessing, Yes it is. And we're gonna we're

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Speaker 1: gonna get into those blessings and let you talk your talk.

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Speaker 1: You know as a musician, you know what I mean.

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Speaker 1: Like for me, it's like it's like, wow, you know

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Speaker 1: what I'm saying. It's the same reference I give Davante,

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Speaker 1: you know what I'm saying where it's like, Okay, that's

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Speaker 1: that's a different type of musicianship that you're adding into, Like,

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Speaker 1: that's different to be able to get that off like

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Speaker 1: the first person we ever seen like go crazy like

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Speaker 1: that from a music musician standpoint, to make musicians go

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Speaker 1: crazy with Stevie wonder Where, it was like, how do

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Speaker 1: he do all of that but make it digestible to

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Speaker 1: where anybody could write anybody could understand it?

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Speaker 2: Right? Right?

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Speaker 3: That's it's not easy, No, not at all. It's complicated

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Speaker 3: and simple at the same.

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Speaker 1: At the same at the same. All right man, Yeah,

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Speaker 1: let's let's go back to the beginning. Where is where is?

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Speaker 1: Where is Brian Alexander Morgan born? And who who who

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Speaker 1: passed these gifts down? Or where do who did you

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Speaker 1: sit under to to to find this magic born in Wichita? Wichita?

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Speaker 1: What are they doing in which town?

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Speaker 3: Oh my god? Well, you know, not.

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Speaker 5: A lot, not a whole lot at.

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Speaker 2: Least doing that.

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Speaker 3: But I always like to say this Wichita is landlocked.

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Speaker 3: Not a whole lot to do outside.

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Speaker 2: Okay.

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Speaker 3: So there's no ocean to go to like in the

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Speaker 3: Bay or East Coast, and we ain't running the no

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Speaker 3: beach doing nothing. And all the lakes were where the

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Speaker 3: white boys were, so they drowned every year. So we

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Speaker 3: wasn't doing that. So that leaves church and the club.

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Speaker 3: So it's Wichita, like it's black enough, but it's very segregated,

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Speaker 3: segregated because how far is They're from Kansas City, like

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Speaker 3: two hours okay, so that's the closest we have to

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Speaker 3: we go two hours before we get to a real city,

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Speaker 3: a big city, any kind of big city. So which

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Speaker 3: the unlike Chicago, were just talking about that to Mahomie,

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Speaker 3: like twenty minutes is Gary, aiandas twenty minutes from Chicago,

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Speaker 3: you know what I'm saying, there's nothing like that. So

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Speaker 3: when you landlocked, as we were, the competition in the

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Speaker 3: church circuit is so heavy, and I know you can

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Speaker 3: relate to this between. Okay, so you got two tiers.

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Speaker 3: You got your Baptist competition stuff and what they're doing,

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Speaker 3: and you got your church Got in Christ stuff and

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Speaker 3: what they're doing. Well, what I learned early, because I

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Speaker 3: had lots of church, you got in Christ friends.

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Speaker 2: Right.

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Speaker 3: So when my young ear was listening to when I'm

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Speaker 3: coming up trying to figure out how to play Stevie stuff,

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Speaker 3: but I really want to play Herbie stuff. I really

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Speaker 3: want to be Herbie or Patrice Russian. I'm ten and

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Speaker 3: I'm twelve, and I can't comprehend all that complicated stuff.

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Speaker 3: So I noticed that my Baptist this is note this

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Speaker 3: at all, but my Baptist folks was very very straight

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Speaker 3: ahead and very straight and traditional. You're James Cleveland, You're

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Speaker 3: Andre Crouch, You're very straight ahead. But when I would

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Speaker 3: go just a couple of blocks down to my church

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Speaker 3: Got in Christ folks, they was playing the complicated, funky

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Speaker 3: chords that I needed to know. For example, at offering,

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Speaker 3: my man would play on the order the Hammer. He

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Speaker 3: would play the theme from Mash.

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Speaker 5: And I was like, what he was like knocking, Wait

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Speaker 5: a minute, wait a minute, it is just offering hold

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Speaker 5: out and.

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Speaker 3: Then they might do a cheer. I mean, I'm sorry, taxi.

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Speaker 3: So that's really about James. So I'm like, you feel

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Speaker 3: in church, yes, but.

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Speaker 2: They were sneaking them in.

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Speaker 3: I was like, you know what, but what? So I

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Speaker 3: was like, I'm at the wrong church. So I start

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Speaker 3: dipping into those eat services and understanding the difference between

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Speaker 3: just a how we just worshiped. Right, So all the

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Speaker 3: all the all the praise music and the shop music

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Speaker 3: and all those things, those things didn't really happen at

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Speaker 3: my church. They happened in a different way. Like, so

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Speaker 3: I started I started to get them. That was like

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Speaker 3: seventy seventy I was like twelve but old when nineteen

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Speaker 3: seventy nine hit when I was fourteen thirteen and the

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Speaker 3: very first Clark Sisters.

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Speaker 2: Thing hit big, It.

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Speaker 3: Is my living in vain. That was That was a

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Speaker 3: watershed moment for people like me who was in straddling

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Speaker 3: both those worlds Baptist coaching.

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Speaker 2: So all of a.

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Speaker 3: Sudden, the coaching people was like, oh you ain't y'all,

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Speaker 3: ain't never doing nothing like this. It's my living what

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Speaker 3: And so once tweaking them start doing anything. It was

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Speaker 3: a rap. And then by eighty one, when I was

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Speaker 3: fifteen sixties, you brought the sunshine went crazy. So then

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Speaker 3: I was like, Okay, now she's combining my hero Stevie

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Speaker 3: Wonder with the church thing, and I just I knew

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Speaker 3: that was it. That was my calling. I was like, well,

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Speaker 3: then and now and then that just leads us to commission,

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Speaker 3: which we'll get to. But I'm just saying what he

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Speaker 3: was saying. I was playing, Yeah, absolutely, playing in my

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Speaker 3: own church, Saint James. I was playing my Baptist church.

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Speaker 3: But then they weren't really paying like I thought.

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Speaker 2: There's always so, but this particular one was thirteen.

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Speaker 3: But I was looking at the I was looking at

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Speaker 3: the game, and I was like, hmmm, so how much

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Speaker 3: work he was putting in? And I need a stereo equipment.

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Speaker 3: I needed stuff. I needed to rent a drum machine.

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Speaker 3: I needed to sound like I needed to sound like

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Speaker 3: Jimmy Jame Terry Lewis all of a sudden like Prince,

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Speaker 3: I need to program. I need that Len drum, you do.

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Speaker 3: I need to rent these joints on the weekend. And

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Speaker 3: so look, so this one Kochic Church needed the player

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Speaker 3: one and I just took took it. So I left

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Speaker 3: my church and started playing exclusively for this other particular church,

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Speaker 3: which out of my denomination, but I didn't care. So

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Speaker 3: they let me put my drum machine in the pool

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Speaker 3: pit and I would play and I would program the

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Speaker 3: whole performances, like when I did Your at the Sunshine.

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Speaker 3: It was the drummers doing this in eighties. In the

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Speaker 3: early aces. No no, no, this is like no, I said,

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Speaker 3: like eighty two, eighty three, So now I'm like sixteen seventeen,

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Speaker 3: and that's what I was doing, So I would program

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Speaker 3: all the fields on the drum machine. It was really

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Speaker 3: a training ground. So by the time, and that's early

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Speaker 3: so mid eighties, when Commission came like a eighty five

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Speaker 3: with that first album, then I was like, Okay, now

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Speaker 3: I see it's possible to have these pop sensibilities on it.

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Speaker 3: That's what Commission is to me. It's what I don't

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Speaker 3: hear people talk about a lot. So what I heard

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Speaker 3: Michael Fred Hammond and those guys do is that they

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Speaker 3: took records because I'm from the Midwest, so Chicago and

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Speaker 3: bands like that were huge. So Peter Setera and heavily

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Speaker 3: melody based things like let's see, uh.

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Speaker 2: You say your loves man to me?

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Speaker 3: All the open, the open tones, that is that Commission

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Speaker 3: church thing. So I made the connection between the Chicago

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Speaker 3: pop joints and black gospel cords. So then I was like, oh, well,

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Speaker 3: this is the thing I wonder because that was so

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Speaker 3: different from the Winings, the other previous family that had

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Speaker 3: been killing it. But we can't ignore the Winings contribution

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Speaker 3: and what Bill Maxwell, the producer, had my ear because

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Speaker 3: when he would do these productions, they were sounding like

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Speaker 3: earth Wind and Fire productions. I remember andre Craft, It's

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Speaker 3: going to rain. I was like, ooh, I feel like

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Speaker 3: serpentine fire kind of like they was nasty. I was like,

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Speaker 3: whoa these tracks are. So that's Bill. Bill Maxwell, the producer,

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Speaker 3: the drummer did those records. So that aesthetic came into

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Speaker 3: play when commissioned. When drum machines became more prevalent than drummers,

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Speaker 3: then commission took it over. And now you're hearing program

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Speaker 3: and live drums together, because they would have live drums too.

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Speaker 3: But the point was they putting these pop melodies on

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Speaker 3: these gospel joints. So running back to you, on all

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Speaker 3: those joints that we loved. Had to me Peter Setera vibes,

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Speaker 3: and I love that because I always loved Chicago. So

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Speaker 3: that's how it all started. As far as my development,

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Speaker 3: when I'm leading up to getting out of Wichita, I

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Speaker 3: got out of Wichita because there's a man j King

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Speaker 3: from Club New Vaux Sacramental legend came through Wichita. I

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Speaker 3: had a demo at this point because now we now

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Speaker 3: I thought I was the clark Sitsens, and we thought

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Speaker 3: we were all these things. So I had a demo

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Speaker 3: that returched it Church. No, it was a it was

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Speaker 3: a okay, let me, I gotta I gotta interject. Tremaine

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Speaker 3: Hawkins had came out in eighty five with a joint

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Speaker 3: called fall Down on A and M Records. Now that

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Speaker 3: was to me the hierarchy, I mean the high the

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Speaker 3: high burd for what I wanted to do. It was

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Speaker 3: a message joint, but as funky as hell was hitting

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Speaker 3: in the clubs what Clarks had done when you're about

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Speaker 3: to sunshine, but now in a new way. So it's

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Speaker 3: like four on the floor kind of housey. So that

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Speaker 3: was crazy. If you look up fall Down by tremainn

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Speaker 3: Hawkins nuts, uh and so that, and then combined with

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Speaker 3: the wine is we're doing message music through Quincy and

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Speaker 3: his labels. I was like, man, I think that's what

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Speaker 3: I want to do. I want to have through what

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Speaker 3: we do, the message thing. But I wanted to be

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Speaker 3: through a mainstream label. So I start submitting this demo

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Speaker 3: that we had to all the labels and then we

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Speaker 3: got turned out everywhere. But when Jay Kane came through town, Uh,

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Speaker 3: I had a groupie buddy that loved. He was a

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Speaker 3: groupie of Club Mebo and I just never was me

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Speaker 3: and you know, we know he's vocal snobs. All of

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Speaker 3: us could be vocal snobs. So when they came out

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Speaker 3: with that, I was completely.

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Speaker 2: Who's this guy singing flat like a laud.

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Speaker 3: And trying to sound like this person that.

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Speaker 2: All that? So what?

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Speaker 3: So in this instance, my friend who was that groupie

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Speaker 3: of them, he went to their show, he followed them

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Speaker 3: to their hotel, like crazy groupie ship. But he always

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Speaker 3: had a tape of my stuff on his person. He

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Speaker 3: gave he gave that tape to JK. Jay King listened

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Speaker 3: to it. Now this is at the era of Guy.

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Speaker 2: Now.

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Speaker 3: Remember Guy is out now now we're talking eighty eight,

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Speaker 3: so it groove me and all that stuff was out.

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Speaker 3: So now Jay King, here's the tape. Now, this is

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Speaker 3: like two in the morning at Mama. I'm still with

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Speaker 3: my mom at my mama house. Right, get a phone call.

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Speaker 3: She was like, I'm here with Jay King and he

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Speaker 3: wants to take your tape. Now. I had just seen

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Speaker 3: a Word Up magazine at an article talking about how

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Speaker 3: he was beefing with time Ax Social Club because the

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Speaker 3: rumors and all they was fighting and legal. I was like, ah,

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Speaker 3: not that dude. Don't get that dude my tape. And

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Speaker 3: at the exact same time I had told you I

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Speaker 3: wanted to be on A and M. John McClain was

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Speaker 3: killing with Janet with control was out. John McClain was

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Speaker 3: the guy he had, he had done fall down with

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Speaker 3: Tremainso I was like, John McClain gets it. We can

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Speaker 3: do what we do through A and M. And so

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Speaker 3: I'm telling j King and this Jay King is like, what,

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Speaker 3: I will get you a deal at Warner Brothers in

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Speaker 3: two weeks if you let me take this tape.

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Speaker 2: And I was like, oh, man, I don't know.

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Speaker 3: And I was like, he's why.

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Speaker 2: They have a legal problems. So are you telling him,

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Speaker 2: I'm telling rocking him. We didn't neither know.

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Speaker 3: I'm telling you, I'm not sure in this moment, I'm

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Speaker 3: not sure. Then I'm looking around at my mom's little

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Speaker 3: two hundred square foot little shack I'm in, and you know,

248
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Speaker 3: I'm like, and I'm also getting older. I want to

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Speaker 3: get the hell out of my mom's house.

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Speaker 2: Right. So Jay King's he said, I promise.

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Speaker 3: You, Benny Medina will sign this if you just let

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Speaker 3: me take this tape.

253
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Speaker 2: I said, all right, man, all right.

254
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Speaker 3: And he took it and literally, in two weeks, I'm

255
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Speaker 3: washing dishes in my mama's kitchen. J King phone onto

256
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Speaker 3: one one of those schools, put put it on my head.

257
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Speaker 3: Jak's like, you ready to get the hell out of

258
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Speaker 3: winch Tar. I was like, what he said, Benny Medina

259
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Speaker 3: is signing, y'all. It's a wrap. Make it, make a

260
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Speaker 3: list of all your bills, pay your mama bills, and

261
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Speaker 3: you out of there. And I moved to Sacramento for

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Speaker 3: in nineteen eighty seve So what's the name of the group.

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Speaker 3: The name of the group was Cache Cache.

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Speaker 2: It was me and ok, okay, don't don't forget that

265
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Speaker 2: what's the what's the whole name?

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Speaker 3: Cachet?

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Speaker 2: Dave? Why? Okay, what why Nigga?

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Speaker 3: Because here's why because we was we was trying right,

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Speaker 3: trying to fit into the friends thing. They was doing

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Speaker 3: New Baux.

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Speaker 2: So it was just me trying to feed it to

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Speaker 2: other people else. You didn't really want you didn't really

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Speaker 2: want to fuck with JK, but you want.

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Speaker 3: To take it and once you get it, and once

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Speaker 3: you get in, you coming.

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Speaker 2: In.

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Speaker 3: And he thought it was cool perspect I just had

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Speaker 3: it that cache, but he was like, we added to

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Speaker 3: Dave why because it was like, oh, it's French still.

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Speaker 2: You feel it's French still?

281
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Speaker 3: Wow? Yeah, yeah, it's supposed to be a unique voice.

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Speaker 2: Yeah yeah right.

283
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Speaker 3: So and I have that album by the way, that

284
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Speaker 3: never came out. I have a whole CD. Okay, so

285
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Speaker 3: y'all signed the Benn but then we signed through Benny Okay.

286
00:14:36,200 --> 00:14:39,120
Speaker 3: Jay had an imprint King J so we signed through

287
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Speaker 3: my come on you feel my Daddy Man come out?

288
00:14:43,040 --> 00:14:44,520
Speaker 3: So he signed and then and then I did a

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00:14:44,520 --> 00:14:49,240
Speaker 3: whole album for Warner and it never came out, and

290
00:14:49,280 --> 00:14:50,760
Speaker 3: it was on CD. Right now, I have the whole

291
00:14:50,760 --> 00:14:53,840
Speaker 3: CD and everything I wrote every single song written produced

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Speaker 3: by me, and I'm twenty one.

293
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Speaker 2: Now.

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Speaker 3: The weirdest thing is we got dropped a couple of

295
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Speaker 3: years later, like eighty nine.

296
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Speaker 2: You're Always was signed for Oh for You.

297
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Speaker 3: I did the whole record for you, and then we

298
00:15:03,640 --> 00:15:06,240
Speaker 3: got drop because Jay pissed off the wrong people and

299
00:15:06,280 --> 00:15:08,600
Speaker 3: we got dropped. His whole thing got dropped when we

300
00:15:08,640 --> 00:15:09,120
Speaker 3: got dropped.

301
00:15:09,160 --> 00:15:09,760
Speaker 2: Now check this.

302
00:15:09,840 --> 00:15:12,840
Speaker 3: Now I'm struggling to just work and maintain any type

303
00:15:12,840 --> 00:15:16,440
Speaker 3: of presence, and you're scrimental. I mean Sacramento, so thank god,

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00:15:16,480 --> 00:15:17,760
Speaker 3: people like Derek Allen.

305
00:15:17,520 --> 00:15:19,720
Speaker 2: Are there, Raphaelsa Dik is there.

306
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Speaker 3: So it's a lot of energy, a lot of energy

307
00:15:21,400 --> 00:15:23,960
Speaker 3: and Wayman Tisdale think God was there Sacramento King and

308
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Speaker 3: base based play.

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Speaker 2: Oh I was.

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Speaker 3: We got dropped in nineteen eighty nine from Warner and

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Speaker 3: I was devastated because now I'm the boy from Kansas

312
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Speaker 3: that was.

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00:15:32,160 --> 00:15:34,160
Speaker 2: Supposed to let's let's go into dropped.

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Speaker 1: I mean that because was that because you guys had

315
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Speaker 1: tried to put out music and it didn't work. It

316
00:15:39,640 --> 00:15:42,360
Speaker 1: was just a relation. He came out, he came out,

317
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Speaker 1: it was unreleased. So the relationship.

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Speaker 3: Relationship with the head person and charge, uh went since

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Speaker 3: went back, and then he and they dropped his whole thing.

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Speaker 3: And Jay was a real high head at the time.

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Speaker 3: He'll tell you himself. He was like he was you know,

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Speaker 3: you know what Jay can be like. Hell, he was

323
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Speaker 3: just threaten to beat your asses.

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Speaker 2: Period.

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Speaker 3: It would be like, I'll beat your fucking ass right

326
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Speaker 3: in here right now. He was one of them dudes,

327
00:16:04,320 --> 00:16:07,640
Speaker 3: and so but said it to the wrong person, dropped

328
00:16:07,680 --> 00:16:09,640
Speaker 3: the whole thing. So now I'm like, oh shit, I'm

329
00:16:09,680 --> 00:16:12,400
Speaker 3: just out here in Sacramento, two thousand miles away from home,

330
00:16:12,840 --> 00:16:15,600
Speaker 3: you know, broke with no deal, no nothing. So I

331
00:16:15,640 --> 00:16:18,120
Speaker 3: started panicking and going like what am I gonna do

332
00:16:18,400 --> 00:16:21,000
Speaker 3: to stay in this business at all? So I started

333
00:16:21,000 --> 00:16:24,080
Speaker 3: trying to do business, record business adjacent shit. So I

334
00:16:24,120 --> 00:16:27,600
Speaker 3: was like, I love Charlie. Let me write something for

335
00:16:27,640 --> 00:16:29,920
Speaker 3: Charlie Wilson. Because at the time they had just had

336
00:16:29,960 --> 00:16:31,440
Speaker 3: out the record of the Year before, they had out

337
00:16:31,400 --> 00:16:33,800
Speaker 3: into song on there called Wednesday Lover. You know that one,

338
00:16:34,360 --> 00:16:36,920
Speaker 3: Holy shit the guy bands Wednesday Lover. If y'all don't

339
00:16:36,920 --> 00:16:39,000
Speaker 3: know it, look it up. One of the coldest songs

340
00:16:39,000 --> 00:16:41,560
Speaker 3: ever and it stills classics sounding right now, So I

341
00:16:41,600 --> 00:16:43,600
Speaker 3: say I can write something in that vein of Wednesday

342
00:16:43,640 --> 00:16:44,480
Speaker 3: Lover for Charlie.

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Speaker 2: That's when I start writing Week.

344
00:16:47,320 --> 00:16:50,880
Speaker 3: But at the exact same time, Chante Boord was in

345
00:16:50,920 --> 00:16:53,120
Speaker 3: the camp because she had been signed to Warner Brothers

346
00:16:53,120 --> 00:16:55,360
Speaker 3: through Bennie too, So we all lived in Sacramento in

347
00:16:55,400 --> 00:16:57,240
Speaker 3: the same place. This and I got kicked out of

348
00:16:57,240 --> 00:17:00,800
Speaker 3: my apartment for reasons because of maybe cheated on somebody

349
00:17:00,800 --> 00:17:02,240
Speaker 3: that was I was close to.

350
00:17:02,560 --> 00:17:06,640
Speaker 1: And then so so you were you're in a relationship

351
00:17:07,000 --> 00:17:09,480
Speaker 1: kind of that involved lodging.

352
00:17:09,200 --> 00:17:11,880
Speaker 3: Girl that was in the group that we was in CAE.

353
00:17:12,200 --> 00:17:14,760
Speaker 3: We grew up together, so she was like my childhood but.

354
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Speaker 2: She was she was handling the lodging.

355
00:17:18,119 --> 00:17:20,119
Speaker 3: No, we both were because we were both signed together.

356
00:17:20,280 --> 00:17:21,400
Speaker 3: So we were in that situation.

357
00:17:21,440 --> 00:17:23,080
Speaker 2: But at a certain point, your money ran out.

358
00:17:23,880 --> 00:17:26,040
Speaker 3: And I met a new person and she caught me

359
00:17:26,080 --> 00:17:28,440
Speaker 3: with that person, so I was instantly out the house,

360
00:17:28,880 --> 00:17:29,840
Speaker 3: so boom.

361
00:17:29,680 --> 00:17:34,600
Speaker 2: Because to kick you out the the man, I'm out.

362
00:17:35,640 --> 00:17:51,560
Speaker 6: She had a job, Jacon, she was.

363
00:17:51,080 --> 00:17:55,800
Speaker 3: At that moment. Here's literally did not have a job.

364
00:17:56,160 --> 00:17:59,800
Speaker 2: He also cheated without a job out of.

365
00:18:02,200 --> 00:18:06,640
Speaker 3: Without a job, you can't, So that's how I ended

366
00:18:06,680 --> 00:18:11,040
Speaker 3: up without a place to stay. And that's so now

367
00:18:11,040 --> 00:18:13,040
Speaker 3: that looks who took me in though it all goes

368
00:18:13,080 --> 00:18:16,359
Speaker 3: back to Jay again because rumors was by his TIMEX

369
00:18:16,440 --> 00:18:17,000
Speaker 3: Social Club.

370
00:18:17,040 --> 00:18:18,200
Speaker 2: But how rumors.

371
00:18:18,520 --> 00:18:20,880
Speaker 3: So the guy that actually wrote that did the music

372
00:18:20,920 --> 00:18:23,480
Speaker 3: on that, his name is Alex Hill. Alex Hill was

373
00:18:23,520 --> 00:18:26,280
Speaker 3: my best friends. He let me literally move in with

374
00:18:26,359 --> 00:18:28,000
Speaker 3: him in this in this apartment in a place called

375
00:18:28,040 --> 00:18:30,480
Speaker 3: Park Cities. Shantey lived in the same apartment Chante. More

376
00:18:30,720 --> 00:18:32,840
Speaker 3: so I lived there and I wrote Week in his

377
00:18:32,960 --> 00:18:35,440
Speaker 3: bedroom using his equipment.

378
00:18:36,080 --> 00:18:38,439
Speaker 2: Okay, so it's.

379
00:18:37,920 --> 00:18:41,120
Speaker 3: All crazy, but I'm writing it for Charlie, but I'm

380
00:18:41,119 --> 00:18:43,879
Speaker 3: writing it about Chante because that's the whole scenario that

381
00:18:43,960 --> 00:18:46,080
Speaker 3: was happening, Like there's no way in the world I

382
00:18:46,080 --> 00:18:48,440
Speaker 3: could ever get with her, but the energy was there.

383
00:18:48,640 --> 00:18:53,040
Speaker 3: So the Week is about not getting with her, whereas

384
00:18:53,160 --> 00:18:58,920
Speaker 3: Shirley Murdoch's uh as We Lay is about after Mine

385
00:18:59,000 --> 00:19:03,280
Speaker 3: is about ain't never. So that's the difference between those

386
00:19:03,280 --> 00:19:05,360
Speaker 3: two joints. But I writing again from the same did

387
00:19:05,400 --> 00:19:05,879
Speaker 3: you ever?

388
00:19:06,080 --> 00:19:08,639
Speaker 2: Does she know the song was about her cards? She

389
00:19:08,800 --> 00:19:10,160
Speaker 2: talked about it on a Quest Loves podcast.

390
00:19:10,280 --> 00:19:13,000
Speaker 3: Okay, okay, okay, so this is no no oh yeah,

391
00:19:13,320 --> 00:19:15,240
Speaker 3: but it's coming from a real place, and now I'm devastated.

392
00:19:15,280 --> 00:19:17,240
Speaker 3: And then also I don't have to play say it's

393
00:19:17,240 --> 00:19:18,960
Speaker 3: all bad, so I'm just trying to get on Charlie's joint.

394
00:19:19,240 --> 00:19:22,920
Speaker 3: So that didn't happen. I don't know. I never submitted

395
00:19:22,960 --> 00:19:24,879
Speaker 3: it to Charlie. I was maybe fearful that he wouldn't

396
00:19:24,880 --> 00:19:26,439
Speaker 3: like it. I couldn't take the rejection from one of

397
00:19:26,440 --> 00:19:29,400
Speaker 3: my heroes, so I just never submitted it. In that interim,

398
00:19:29,720 --> 00:19:35,560
Speaker 3: waiting on that to happen, Martha Wash did a couple

399
00:19:35,640 --> 00:19:38,160
Speaker 3: of Martha Washing the dance Steva amazing. She had done

400
00:19:38,160 --> 00:19:42,480
Speaker 3: a couple of records that I absolutely loved everybody. Everybody

401
00:19:42,680 --> 00:19:48,600
Speaker 3: what her voice, So I loved her. I always loved her.

402
00:19:49,080 --> 00:19:52,800
Speaker 3: And then C and C had their problems with her

403
00:19:52,800 --> 00:19:54,760
Speaker 3: where they didn't use her in the video and she

404
00:19:54,800 --> 00:19:56,800
Speaker 3: got you know, she sued them. She won, she won

405
00:19:56,840 --> 00:19:58,879
Speaker 3: a record deal out of it. She was on RCA,

406
00:19:59,000 --> 00:20:01,400
Speaker 3: so I said, uh, oh, there goes my opening. I've

407
00:20:01,440 --> 00:20:03,360
Speaker 3: always loved Mark to watch. I can write for her.

408
00:20:03,720 --> 00:20:06,480
Speaker 3: But you knew her, You didn't know, didn't know it all,

409
00:20:06,840 --> 00:20:08,840
Speaker 3: but I had. When I was twelve years old, I

410
00:20:08,920 --> 00:20:10,639
Speaker 3: used to DJ for the white kids in my school

411
00:20:10,640 --> 00:20:13,040
Speaker 3: in lunchtime. One of my biggest records I played in

412
00:20:13,040 --> 00:20:15,200
Speaker 3: seventy eight and when I was twelve was Disco Heat

413
00:20:15,200 --> 00:20:19,119
Speaker 3: by Sylvester. Martha was in the background on that record, killing,

414
00:20:19,440 --> 00:20:21,680
Speaker 3: killing the background. So I was like, I always wonder

415
00:20:21,680 --> 00:20:23,000
Speaker 3: who was that voice in the back, and it was

416
00:20:23,040 --> 00:20:25,720
Speaker 3: all it was her, and so it just stuck with me.

417
00:20:25,760 --> 00:20:27,919
Speaker 3: So I always felt her spiritually in my heart. I

418
00:20:27,920 --> 00:20:30,320
Speaker 3: felt her. And then with everybody dance. Now I was

419
00:20:30,359 --> 00:20:33,760
Speaker 3: so huge in ninety everybody. I was like, Okay, I'm

420
00:20:33,800 --> 00:20:36,000
Speaker 3: about to write some joints for her, just to try

421
00:20:36,040 --> 00:20:39,600
Speaker 3: to have an income, right, So I wrote five joints

422
00:20:40,119 --> 00:20:41,639
Speaker 3: and I sent them and now I did them on

423
00:20:41,680 --> 00:20:44,359
Speaker 3: the demo. Little Cassette sent them to her management.

424
00:20:44,800 --> 00:20:45,680
Speaker 2: I get a phone call.

425
00:20:45,800 --> 00:20:48,560
Speaker 3: It's her manager, Doug Kibble. Rest in peace. Doug Kimble

426
00:20:48,600 --> 00:20:50,760
Speaker 3: called me and goes, somebody wants to talk to you.

427
00:20:51,119 --> 00:20:53,119
Speaker 3: He puts Martha watching on the phone. She goes, I

428
00:20:53,160 --> 00:20:55,880
Speaker 3: don't know who you are or where you are. She said,

429
00:20:55,880 --> 00:20:58,159
Speaker 3: but them five songs you sent, can you come to

430
00:20:58,200 --> 00:21:02,800
Speaker 3: New York And we're recording off those? And my whole

431
00:21:02,840 --> 00:21:05,640
Speaker 3: life changed right in that moment. So I went from

432
00:21:05,680 --> 00:21:08,080
Speaker 3: being dropped out, dropped from Warner till now all of

433
00:21:08,080 --> 00:21:10,960
Speaker 3: a sudden, I'm a producer, I guess, and I'm a

434
00:21:10,960 --> 00:21:13,040
Speaker 3: writer and I'm being flown to New York.

435
00:21:13,359 --> 00:21:16,240
Speaker 4: Technically even know what that is at that moment, and

436
00:21:16,760 --> 00:21:20,879
Speaker 4: is just like the actual occupation of being a producer,

437
00:21:20,920 --> 00:21:22,680
Speaker 4: because yes, you come from the group and you're writing

438
00:21:22,720 --> 00:21:24,639
Speaker 4: and producings for the group, but that's just part of

439
00:21:24,680 --> 00:21:25,000
Speaker 4: the group.

440
00:21:25,320 --> 00:21:27,200
Speaker 2: Right now, we're talking about you going.

441
00:21:27,040 --> 00:21:29,720
Speaker 3: To an individual who is a star, a huge star

442
00:21:30,240 --> 00:21:32,840
Speaker 3: with a high profile at that moment, because this is

443
00:21:32,840 --> 00:21:34,680
Speaker 3: her joint she's doing after she suits to see and

444
00:21:34,680 --> 00:21:36,119
Speaker 3: see music factor, So I know it had to be

445
00:21:36,160 --> 00:21:38,560
Speaker 3: one hundred percent on point. So yeah, and I was

446
00:21:38,600 --> 00:21:41,639
Speaker 3: ready because A I was broke.

447
00:21:41,640 --> 00:21:43,159
Speaker 7: B B.

448
00:21:43,720 --> 00:21:46,760
Speaker 3: I loved her like with my heart and soul. So

449
00:21:46,800 --> 00:21:48,719
Speaker 3: I was like, if she likes those songs that I'm

450
00:21:48,720 --> 00:21:50,000
Speaker 3: gonna get in here and just kill it with her.

451
00:21:50,000 --> 00:21:52,240
Speaker 3: I don't care what the hell happened. I'm going. I've

452
00:21:52,240 --> 00:21:53,920
Speaker 3: never been to New York in my life, by the way.

453
00:21:54,160 --> 00:21:56,280
Speaker 3: So I took the engineer that from Kansas that I

454
00:21:56,280 --> 00:21:58,199
Speaker 3: had originally done my original demo with.

455
00:21:58,760 --> 00:21:59,080
Speaker 2: I took.

456
00:21:59,119 --> 00:22:00,919
Speaker 3: His name is Larry Funk. I love him right now.

457
00:22:00,920 --> 00:22:02,760
Speaker 3: He's hope he's listening to this, Larry, I love you.

458
00:22:03,520 --> 00:22:06,000
Speaker 3: So Larry and I went to New York, the two

459
00:22:06,080 --> 00:22:10,040
Speaker 3: country Bumpkins in Manhattan all of a sudden recording this

460
00:22:10,119 --> 00:22:13,280
Speaker 3: dance diva that's the legend and that one of the

461
00:22:13,359 --> 00:22:14,879
Speaker 3: songs I did on her is called give It to

462
00:22:14,920 --> 00:22:17,000
Speaker 3: You is a video. The first single went to the

463
00:22:17,080 --> 00:22:19,480
Speaker 3: number one on Billboard's Dance chart. That was my first

464
00:22:19,560 --> 00:22:22,719
Speaker 3: chart ever, a whole year before I ever even heard

465
00:22:22,760 --> 00:22:26,719
Speaker 3: about STBV. So that's how I got into the RCA world.

466
00:22:27,400 --> 00:22:30,000
Speaker 3: The A and R guy for her album was Kenny

467
00:22:30,080 --> 00:22:33,680
Speaker 3: or Tez, the guy who had who had this demo

468
00:22:33,760 --> 00:22:35,800
Speaker 3: of these girls that he told me, Hey, b I

469
00:22:35,840 --> 00:22:36,840
Speaker 3: got these girls and.

470
00:22:36,760 --> 00:22:37,879
Speaker 2: It was stabb.

471
00:22:51,920 --> 00:22:55,160
Speaker 3: So when he sent me those the girls, he was like, hey,

472
00:22:55,760 --> 00:22:57,880
Speaker 3: I've been trying to get these girls signed. I haven't

473
00:22:57,880 --> 00:23:00,840
Speaker 3: had any. Look they've been you know, been shopped around

474
00:23:00,920 --> 00:23:03,680
Speaker 3: and no luck. He said, I got a feeling with

475
00:23:03,720 --> 00:23:07,800
Speaker 3: your style. That's gonna be what they need. I was like, okay, cool.

476
00:23:07,800 --> 00:23:10,080
Speaker 3: So Simmony so back in the day's Federal expressed it

477
00:23:10,119 --> 00:23:13,760
Speaker 3: a cussat I put the cassette on and the first thing,

478
00:23:13,920 --> 00:23:16,840
Speaker 3: I'm struck by his Coco's voice. That tone. I was like, ohoo,

479
00:23:17,000 --> 00:23:19,760
Speaker 3: because I love Gwyen Guthrie. That was the closest thing

480
00:23:19,800 --> 00:23:22,880
Speaker 3: to Gwenguthrie I had ever heard. And Shirley Murdoch. Yes,

481
00:23:22,920 --> 00:23:25,520
Speaker 3: it's kind of like a cross between Shirley Mirock and Gwnguthrie.

482
00:23:25,520 --> 00:23:27,520
Speaker 3: So I was like, ooh, that tone. I could work

483
00:23:27,560 --> 00:23:28,840
Speaker 3: with that. I know I could work with that. But

484
00:23:28,880 --> 00:23:30,960
Speaker 3: then she was really sharp singing over the notes all

485
00:23:31,000 --> 00:23:32,800
Speaker 3: the time, like super sharp singing. So it was like, really,

486
00:23:33,119 --> 00:23:35,520
Speaker 3: this is too much. And she was singing really big

487
00:23:35,560 --> 00:23:38,239
Speaker 3: and loud all the time, so churchy, churchy. She used

488
00:23:38,240 --> 00:23:40,400
Speaker 3: to singing in choirs type of thing. I said to him,

489
00:23:40,440 --> 00:23:43,320
Speaker 3: I said, man, if I can get her under control,

490
00:23:43,800 --> 00:23:44,720
Speaker 3: like I think.

491
00:23:44,720 --> 00:23:47,200
Speaker 2: You got something. So he said, okay, dope now.

492
00:23:47,240 --> 00:23:50,600
Speaker 3: And remember I purposely hadn't played him weak or nothing

493
00:23:50,640 --> 00:23:53,120
Speaker 3: like that yet, So I played him right here.

494
00:23:53,440 --> 00:23:54,440
Speaker 2: And I played him.

495
00:23:54,560 --> 00:23:56,160
Speaker 3: I think I played him always on my mind.

496
00:23:56,200 --> 00:23:58,720
Speaker 2: One of the He's like, yeah, yeah, cut those, let's

497
00:23:58,720 --> 00:24:00,000
Speaker 2: cut those. You'd already have them.

498
00:24:00,200 --> 00:24:02,560
Speaker 3: I had those just sitting around in the cut Yeah,

499
00:24:03,040 --> 00:24:05,560
Speaker 3: and so because the Charlie thing was from way back

500
00:24:05,560 --> 00:24:09,080
Speaker 3: in eighty nine, Charlie Records. No, the week was Charlie Records.

501
00:24:09,400 --> 00:24:12,000
Speaker 3: But the other stuff was just me doing stuff. And

502
00:24:12,080 --> 00:24:13,520
Speaker 3: right here was definitely just an idea.

503
00:24:13,560 --> 00:24:15,040
Speaker 2: I didn't know. I have no idea what that was,

504
00:24:15,080 --> 00:24:15,960
Speaker 2: how that was gonna land.

505
00:24:16,280 --> 00:24:18,960
Speaker 1: But those are the records I had, and I missed

506
00:24:19,000 --> 00:24:23,360
Speaker 1: those days when I used to just have records, right

507
00:24:23,520 --> 00:24:25,159
Speaker 1: I was just going to the studio and just we

508
00:24:25,160 --> 00:24:26,800
Speaker 1: would we would just make records.

509
00:24:27,040 --> 00:24:29,359
Speaker 2: Yeah, we have nobody in mind, are just doing some

510
00:24:29,400 --> 00:24:30,040
Speaker 2: deu we have.

511
00:24:30,320 --> 00:24:33,320
Speaker 3: We would just make records every day and feel good

512
00:24:33,440 --> 00:24:36,359
Speaker 3: doing it. All felt great, and it translates because the

513
00:24:36,400 --> 00:24:38,920
Speaker 3: truth of that translates when you're just doing something that's

514
00:24:39,000 --> 00:24:42,800
Speaker 3: not contrived and you just feeling it. I think that's

515
00:24:42,840 --> 00:24:44,760
Speaker 3: the well, that's the answer to why they keep using

516
00:24:44,800 --> 00:24:46,840
Speaker 3: the stuff if you really want to. Yeah, because it

517
00:24:46,920 --> 00:24:50,119
Speaker 3: was from a real place. But in that instance, I

518
00:24:50,160 --> 00:24:52,120
Speaker 3: played those things for him he said, oh hell yeah.

519
00:24:52,160 --> 00:24:54,360
Speaker 3: So he asked me, he said, when you come back

520
00:24:54,400 --> 00:25:00,520
Speaker 3: to mix the Martha, can you record now? I said yes,

521
00:25:01,160 --> 00:25:03,159
Speaker 3: thinking okay, she's dope, it's gonna be cool. But in

522
00:25:03,200 --> 00:25:07,400
Speaker 3: the interim something happened. Kenny Ortez came from New York,

523
00:25:07,920 --> 00:25:10,760
Speaker 3: from RCA and New York to a meeting at RCA

524
00:25:10,840 --> 00:25:13,560
Speaker 3: here in LA with the head guy, Skip Miller rest

525
00:25:13,600 --> 00:25:16,520
Speaker 3: in Peace. When he went to this meeting, he was

526
00:25:16,520 --> 00:25:19,080
Speaker 3: walking through the creepicles that you do at a record

527
00:25:19,080 --> 00:25:22,320
Speaker 3: company and boo boo, and he heard a demo playing

528
00:25:22,520 --> 00:25:24,359
Speaker 3: and it was this guy, Jeff Bowenes, who used to

529
00:25:24,359 --> 00:25:28,080
Speaker 3: work at King J Records as a like a cleaning

530
00:25:28,160 --> 00:25:32,119
Speaker 3: up the place, vacum men cleaning that guy. So now

531
00:25:32,200 --> 00:25:34,880
Speaker 3: that same person is an A and R person at RCA.

532
00:25:34,960 --> 00:25:39,000
Speaker 3: Now this this many years later. He's playing week my

533
00:25:39,160 --> 00:25:43,080
Speaker 3: demo that I had done in eighty nine. Kenny or

534
00:25:43,080 --> 00:25:46,400
Speaker 3: Ts walked by. He says, I know that voice, that's

535
00:25:46,400 --> 00:25:49,280
Speaker 3: Brian Morgan. What the fuck? What the fuck is that?

536
00:25:49,680 --> 00:25:51,160
Speaker 3: And so Jeff played the rest of the song.

537
00:25:51,320 --> 00:25:51,879
Speaker 2: Kenny called me.

538
00:25:51,920 --> 00:25:55,120
Speaker 3: He's like, how the hell you gonna not send me this?

539
00:25:55,480 --> 00:25:57,719
Speaker 3: When I asked you to send me shit for them girls,

540
00:25:57,800 --> 00:26:00,840
Speaker 3: I said, cause I want that for myself. Maybe he's like, na, bro,

541
00:26:01,359 --> 00:26:03,480
Speaker 3: you got to record this when you come to New York.

542
00:26:03,600 --> 00:26:05,320
Speaker 3: Fuck that, I said, I don't know.

543
00:26:05,400 --> 00:26:08,240
Speaker 2: Kenny's still an artist. Mo too. I'm thinking, I am.

544
00:26:08,160 --> 00:26:11,000
Speaker 3: Okay, right, and so he goes. I said, I don't know, man,

545
00:26:11,160 --> 00:26:14,480
Speaker 3: I'll give you ten g's just a demo it, I said.

546
00:26:14,480 --> 00:26:14,720
Speaker 2: Cool.

547
00:26:17,520 --> 00:26:21,560
Speaker 3: So we were there. So we were there because I'm finishing Martha.

548
00:26:21,680 --> 00:26:24,800
Speaker 3: I just decided we cut weak. And that's the famous

549
00:26:24,840 --> 00:26:26,560
Speaker 3: thing you hear Coco talk about. She didn't like it,

550
00:26:26,640 --> 00:26:29,200
Speaker 3: and it was really she really hated it. Coco did

551
00:26:29,320 --> 00:26:31,359
Speaker 3: not get it. She didn't understand what it was about.

552
00:26:31,640 --> 00:26:33,879
Speaker 3: She did. She was like, I don't like it. So

553
00:26:33,920 --> 00:26:36,600
Speaker 3: I was like, I got I started to get at first.

554
00:26:36,600 --> 00:26:39,120
Speaker 3: I tried to be cool, and then it got ridiculous

555
00:26:39,160 --> 00:26:41,520
Speaker 3: and she hid herself in the bathroom and wouldn't come out.

556
00:26:41,640 --> 00:26:44,679
Speaker 3: And I was like, oh my, she did not like it,

557
00:26:44,880 --> 00:26:46,919
Speaker 3: for she ain't lying when she says it. And so

558
00:26:47,000 --> 00:26:50,040
Speaker 3: I told Kenny, I said, man, I'm cool, bro't I

559
00:26:50,080 --> 00:26:50,880
Speaker 3: don't need to do this.

560
00:26:50,920 --> 00:26:52,480
Speaker 2: I'm good. I don't have to. I'm not trying to

561
00:26:52,520 --> 00:26:55,560
Speaker 2: force nobody to do my shit. She came out. He did.

562
00:26:55,600 --> 00:26:55,919
Speaker 2: I don't know.

563
00:26:55,920 --> 00:26:58,080
Speaker 3: He's sweet talked for some kind of way. She came out,

564
00:26:58,240 --> 00:27:00,560
Speaker 3: and so when she finally got on, I'm like to

565
00:27:00,600 --> 00:27:04,320
Speaker 3: cut it. It was such through such an attitude, but

566
00:27:04,359 --> 00:27:06,280
Speaker 3: I didn't care at that point. I was just like,

567
00:27:06,440 --> 00:27:09,240
Speaker 3: I'm not letting a single line go unless it's exactly

568
00:27:09,320 --> 00:27:12,520
Speaker 3: what I want, because now you tried me out here,

569
00:27:12,760 --> 00:27:15,240
Speaker 3: so every line is what I wanted. And if you

570
00:27:15,280 --> 00:27:17,199
Speaker 3: hear the demo, which I will play for you, the

571
00:27:17,280 --> 00:27:20,840
Speaker 3: demo is exactly what she did. It's like everything on

572
00:27:20,880 --> 00:27:23,160
Speaker 3: the demo is just this there. So when I played

573
00:27:23,160 --> 00:27:25,120
Speaker 3: that demo for people, they're like, holy shit, like it's

574
00:27:25,160 --> 00:27:27,760
Speaker 3: everything is there, the ad libs, every single thing. Because

575
00:27:27,760 --> 00:27:29,880
Speaker 3: she wasn't an ad liber she didn't like the add limb,

576
00:27:30,119 --> 00:27:31,560
Speaker 3: so I was like, there's no reason for me to

577
00:27:31,640 --> 00:27:33,840
Speaker 3: pull teeth. Let me just let her do what I did,

578
00:27:34,000 --> 00:27:37,399
Speaker 3: all the ad libs. So that's how that happened, and

579
00:27:37,440 --> 00:27:39,480
Speaker 3: then we get the million sellar number.

580
00:27:40,720 --> 00:27:42,600
Speaker 2: So they're signed at this point though.

581
00:27:42,480 --> 00:27:44,680
Speaker 3: There no we cut it when you do it, and

582
00:27:44,800 --> 00:27:45,960
Speaker 3: they got so.

583
00:27:45,560 --> 00:27:47,320
Speaker 2: So Kenny or Tees is paying all this out of

584
00:27:47,320 --> 00:27:47,960
Speaker 2: his pocket.

585
00:27:48,119 --> 00:27:49,760
Speaker 3: I think that I don't know how much he paid

586
00:27:49,760 --> 00:27:51,200
Speaker 3: out of the pocket, but I think in that moment

587
00:27:51,240 --> 00:27:53,200
Speaker 3: he had done lots of demos with lots of people

588
00:27:53,520 --> 00:27:57,440
Speaker 3: and stuff, So how I think they got signed after

589
00:27:57,480 --> 00:27:58,959
Speaker 3: that for sure. I knew that they were signed. All

590
00:27:58,960 --> 00:28:01,880
Speaker 3: I know is once that had happened and we was recorded,

591
00:28:02,400 --> 00:28:05,159
Speaker 3: they was they were signed in for sure. And then

592
00:28:05,200 --> 00:28:07,000
Speaker 3: then we started having they had a real budget. Then

593
00:28:07,040 --> 00:28:08,920
Speaker 3: they came out to Sacramento and we did I'm Swearing

594
00:28:08,960 --> 00:28:11,919
Speaker 3: to You in Sacramento, and and and a couple other

595
00:28:11,960 --> 00:28:13,400
Speaker 3: things sisters and voices in the House and a couple

596
00:28:13,400 --> 00:28:15,600
Speaker 3: of other things in Sacramento, and then we went back

597
00:28:15,640 --> 00:28:17,359
Speaker 3: and I finished. I think I did always on my

598
00:28:17,400 --> 00:28:20,359
Speaker 3: mind in New York. I did, So it depends on

599
00:28:20,400 --> 00:28:22,080
Speaker 3: what it was. But some things got done in Sack,

600
00:28:22,240 --> 00:28:24,040
Speaker 3: some things got done in New York, but it all

601
00:28:24,080 --> 00:28:24,760
Speaker 3: got done.

602
00:28:25,359 --> 00:28:28,240
Speaker 2: What were you what were you programming.

603
00:28:27,720 --> 00:28:30,680
Speaker 3: On OOO at that time? Now that's funny you asked,

604
00:28:30,680 --> 00:28:33,200
Speaker 3: because on the Martha Watch stuff, I didn't have hardly

605
00:28:33,240 --> 00:28:34,440
Speaker 3: anything because I was so broke.

606
00:28:34,640 --> 00:28:36,240
Speaker 2: So I had a like a.

607
00:28:36,080 --> 00:28:39,000
Speaker 3: Nine o nine drum machine and we used to mediate

608
00:28:39,080 --> 00:28:45,479
Speaker 3: with this leasis six minute eleases. So you want your

609
00:28:45,480 --> 00:28:48,840
Speaker 3: percussion and live acoustic, you sound and ship from that,

610
00:28:49,080 --> 00:28:50,720
Speaker 3: and then you're hard hitting ship with the nine on

611
00:28:50,800 --> 00:28:53,080
Speaker 3: nine because that's what house kids music. They was poop

612
00:28:53,160 --> 00:28:55,160
Speaker 3: poop that thing. So then we had that, and then

613
00:28:55,400 --> 00:28:58,440
Speaker 3: that's how did all my Martha watch stuff. But after Martha,

614
00:28:59,080 --> 00:29:03,680
Speaker 3: the MPC sixty came out. Sixty the very first NPC

615
00:29:03,720 --> 00:29:06,360
Speaker 3: sixty was what I did all the SWB's first album

616
00:29:06,400 --> 00:29:09,240
Speaker 3: stuff on Right Here. I had to remake that because

617
00:29:09,240 --> 00:29:10,880
Speaker 3: I had already done them eight way back of Stay

618
00:29:10,920 --> 00:29:12,840
Speaker 3: in my friend's apartment when I still lived there. I

619
00:29:12,840 --> 00:29:14,720
Speaker 3: had to recreate right Here, and I had to recreate

620
00:29:14,760 --> 00:29:17,840
Speaker 3: Week from eighty nine. So I had to recreate that

621
00:29:17,880 --> 00:29:20,120
Speaker 3: demo a year we in there, we in ninety one,

622
00:29:20,720 --> 00:29:22,560
Speaker 3: in ninety, couple years, a couple of years, so I

623
00:29:22,600 --> 00:29:24,480
Speaker 3: had to recreate Week all of that, and I did,

624
00:29:24,680 --> 00:29:26,600
Speaker 3: and then I created I'm So Into You. The funny

625
00:29:26,600 --> 00:29:29,200
Speaker 3: thing about I'm Soon to You was it got reduced

626
00:29:29,480 --> 00:29:31,719
Speaker 3: down to what you hear because I was such a

627
00:29:31,760 --> 00:29:33,920
Speaker 3: fan of people like Eric Sermon and the.

628
00:29:34,000 --> 00:29:36,000
Speaker 2: Hip hop guys. I'm a hip hop head period.

629
00:29:36,440 --> 00:29:38,040
Speaker 3: People don't really know how much of people here I

630
00:29:38,040 --> 00:29:39,960
Speaker 3: am so much, so that when I was in New York,

631
00:29:39,960 --> 00:29:41,239
Speaker 3: It's like, I'm not gonna be in New York and

632
00:29:41,240 --> 00:29:43,240
Speaker 3: not go see Eric Sermon. So I went to his

633
00:29:43,320 --> 00:29:45,560
Speaker 3: joints and watch what he was doing on that workstation,

634
00:29:45,880 --> 00:29:46,800
Speaker 3: the Cork workstation.

635
00:29:46,880 --> 00:29:48,680
Speaker 2: How he asked r ten he was just going and

636
00:29:48,720 --> 00:29:49,360
Speaker 2: finding people.

637
00:29:49,440 --> 00:29:51,640
Speaker 3: Oh, Bro, I was like, I just like to be around.

638
00:29:52,080 --> 00:29:53,920
Speaker 3: I went to meet Bob Power because I love the

639
00:29:53,920 --> 00:29:56,680
Speaker 3: way he mixed the tribe called Quest records. I'm such

640
00:29:56,720 --> 00:29:59,960
Speaker 3: a sonics and for you're a scientist, Oh my god.

641
00:30:00,160 --> 00:30:01,360
Speaker 3: So when I just want to be in the space,

642
00:30:01,520 --> 00:30:03,720
Speaker 3: I'm like them Tried records are brilliant as far as

643
00:30:03,720 --> 00:30:06,080
Speaker 3: how they sound. I was like, I got it. Come on, man,

644
00:30:06,240 --> 00:30:09,760
Speaker 3: So Eric Hermon, I was so in awe of him

645
00:30:09,800 --> 00:30:11,920
Speaker 3: and how he put his ship down. I had went

646
00:30:11,960 --> 00:30:13,960
Speaker 3: back home and did this whole I'm swing to you

647
00:30:14,040 --> 00:30:16,760
Speaker 3: that sounds more like Eric Hermon, Like what he the mob,

648
00:30:17,280 --> 00:30:20,120
Speaker 3: crazy heavy big drums, kenyr T's heard it and he

649
00:30:20,120 --> 00:30:22,920
Speaker 3: said mm hm, take all that ship back out. He said,

650
00:30:22,920 --> 00:30:25,600
Speaker 3: I like what you had before. Take all that ship out,

651
00:30:25,880 --> 00:30:27,480
Speaker 3: just leave it the way it was. And I was like,

652
00:30:27,520 --> 00:30:28,720
Speaker 3: and that's what I'm swing to you.

653
00:30:28,760 --> 00:30:32,280
Speaker 2: Is strep I just too talented.

654
00:30:32,480 --> 00:30:34,640
Speaker 3: I was trying to be other people ship on top

655
00:30:34,680 --> 00:30:35,920
Speaker 3: of my ship and He's like, just be you.

656
00:30:36,080 --> 00:30:36,760
Speaker 2: That's a lot of ship.

657
00:30:37,120 --> 00:30:39,640
Speaker 3: It was right, and I'm so glad, he said, that

658
00:30:39,680 --> 00:30:41,360
Speaker 3: because when I stripped it back down, it was just

659
00:30:41,360 --> 00:30:43,040
Speaker 3: the basic, straightest, straight as fuck.

660
00:30:44,080 --> 00:30:45,320
Speaker 2: What keys were you using that?

661
00:30:45,560 --> 00:30:48,160
Speaker 3: That's a cord, that cored road, That roads is a

662
00:30:48,240 --> 00:30:53,880
Speaker 3: cord d W. What was it called one depth? That's

663
00:30:53,880 --> 00:30:57,960
Speaker 3: the cord, Yeah, right, cork I one W. And then

664
00:30:58,080 --> 00:31:00,040
Speaker 3: my base on I'm swing to you. I used this

665
00:31:00,320 --> 00:31:02,720
Speaker 3: sh one oh one from nineteen eighty one. It was

666
00:31:02,760 --> 00:31:05,520
Speaker 3: pre midy old as fuck, and I had painted it

667
00:31:05,680 --> 00:31:07,760
Speaker 3: and I was just that was just my little base joint.

668
00:31:07,760 --> 00:31:09,560
Speaker 3: That's the same base one always in my mind. I

669
00:31:09,600 --> 00:31:11,360
Speaker 3: was always been in my baseline. That was my kind

670
00:31:11,360 --> 00:31:16,000
Speaker 3: of signature. So boom, ohn ben and shit.

671
00:31:16,280 --> 00:31:17,960
Speaker 2: I said, let me put this eight o eight in here. Though.

672
00:31:18,080 --> 00:31:19,800
Speaker 3: Let these kids know we still you know, I'm still

673
00:31:19,800 --> 00:31:22,040
Speaker 3: it's still street and still fucking you know, to play

674
00:31:22,080 --> 00:31:23,600
Speaker 3: in the clubs. So I put the eight o eight

675
00:31:23,640 --> 00:31:25,760
Speaker 3: in there. But the biggest thing I compliment I ever

676
00:31:25,800 --> 00:31:28,400
Speaker 3: got was from Rodney Jerkins when he said, and you

677
00:31:28,400 --> 00:31:30,040
Speaker 3: can look at this on YouTube. It's on YouTube an

678
00:31:30,040 --> 00:31:33,760
Speaker 3: interview him interview with me. He said, the reason why

679
00:31:34,240 --> 00:31:36,400
Speaker 3: I'm swimming you changed the game in R and B

680
00:31:36,640 --> 00:31:41,239
Speaker 3: for him was because it was different from Jimmy jam

681
00:31:41,360 --> 00:31:43,920
Speaker 3: and Terry Lewis's approach, which was just a play and

682
00:31:44,040 --> 00:31:46,960
Speaker 3: they're playing straight through, no samples. Teddy Ridy was playing

683
00:31:47,160 --> 00:31:49,560
Speaker 3: mostly no samp with some hits, maybe some one off hits,

684
00:31:49,600 --> 00:31:52,200
Speaker 3: but it's still playing. He said, I was the first

685
00:31:52,200 --> 00:31:58,640
Speaker 3: producer that chopped shit. For example, the high hat, that's

686
00:31:58,680 --> 00:32:01,000
Speaker 3: a that's a sample from a record, but I chopped

687
00:32:01,040 --> 00:32:02,680
Speaker 3: it and let that be my high had instead of

688
00:32:02,680 --> 00:32:05,080
Speaker 3: playing the high hat on sound, I want that loop

689
00:32:05,160 --> 00:32:07,120
Speaker 3: to be the high hat because it made it dirtier

690
00:32:07,160 --> 00:32:09,880
Speaker 3: and nastier. And then and then when I did play

691
00:32:09,920 --> 00:32:15,520
Speaker 3: my in order to keep it more like a sample,

692
00:32:15,600 --> 00:32:18,600
Speaker 3: I just sampled myself. So every time you hear it's

693
00:32:18,600 --> 00:32:20,320
Speaker 3: the same thing, it's not me playing it in different

694
00:32:20,320 --> 00:32:23,880
Speaker 3: in different velocity. No, it's a sample because I sampled myself.

695
00:32:24,080 --> 00:32:27,200
Speaker 3: But that NPC made that possible. So now I'm chopping

696
00:32:27,240 --> 00:32:29,320
Speaker 3: my own keys, putting them back in the thing, and

697
00:32:29,360 --> 00:32:31,920
Speaker 3: I'm playing I'm producing my I'm playing myself like like

698
00:32:31,920 --> 00:32:34,600
Speaker 3: I'm a hip hop producer, sampling my own self. And

699
00:32:34,720 --> 00:32:36,960
Speaker 3: that made that sound sound different than Teddy and them,

700
00:32:37,200 --> 00:32:38,640
Speaker 3: And so all of a sudden, you had a record

701
00:32:38,640 --> 00:32:41,080
Speaker 3: that's not New Jack's Wing coming out of the New

702
00:32:41,160 --> 00:32:43,480
Speaker 3: Jack Swing era with a in a big hit record,

703
00:32:43,600 --> 00:32:45,520
Speaker 3: was a gold single, number six pop record, and a

704
00:32:45,680 --> 00:32:50,840
Speaker 3: number one Black record. That's absolutely straight as hell, no

705
00:32:51,200 --> 00:32:53,280
Speaker 3: New Jack, I'm nowhere. And then when I get to

706
00:32:53,360 --> 00:32:58,240
Speaker 3: that break, you're not. I want to remind them, I say,

707
00:32:58,600 --> 00:33:01,280
Speaker 3: remind them I'm still and shit. So that was breaking.

708
00:33:01,600 --> 00:33:03,920
Speaker 3: That was different for R and B's that with a

709
00:33:03,960 --> 00:33:06,280
Speaker 3: straight ahead girl group R and B song that had

710
00:33:06,280 --> 00:33:08,880
Speaker 3: that element in it. I think people perceived it as, oh,

711
00:33:09,000 --> 00:33:10,760
Speaker 3: what kind of street nigga?

712
00:33:10,800 --> 00:33:12,800
Speaker 2: Shit? Is this okay? With some real singing?

713
00:33:12,800 --> 00:33:14,520
Speaker 3: It's some church Wait a minute, this girl can really say.

714
00:33:14,640 --> 00:33:16,560
Speaker 3: So it's kind of like what I said about you.

715
00:33:16,560 --> 00:33:19,760
Speaker 3: You represented a real voice from what I know as

716
00:33:19,800 --> 00:33:23,760
Speaker 3: the church and commission, but on these ridiculously hot urban beats.

717
00:33:24,080 --> 00:33:26,520
Speaker 3: That's what you were to me. When I heard you,

718
00:33:26,560 --> 00:33:28,800
Speaker 3: I was like, yeah, this is there. We go YouTube

719
00:33:29,000 --> 00:33:33,200
Speaker 3: same thing you guys. Your beats were properly done. This

720
00:33:33,280 --> 00:33:35,400
Speaker 3: is what I'm trying to say, like, and then you

721
00:33:35,440 --> 00:33:37,880
Speaker 3: still got the truth of the voice on it right now.

722
00:33:37,960 --> 00:33:41,520
Speaker 4: It was I mean like when SWV came out, it

723
00:33:41,760 --> 00:33:44,520
Speaker 4: just like you said, I mean from she just her

724
00:33:44,640 --> 00:33:49,280
Speaker 4: voice cut through, her voice cut through, And now it

725
00:33:49,360 --> 00:33:53,360
Speaker 4: all makes sense with you know, you being from the Midwest, yes, sir,

726
00:33:53,520 --> 00:33:56,880
Speaker 4: moving to the West coast and then kind of moving

727
00:33:56,920 --> 00:33:58,160
Speaker 4: again to the East.

728
00:33:57,880 --> 00:33:58,720
Speaker 2: Coast to produce.

729
00:33:58,920 --> 00:34:01,920
Speaker 4: Yeah, so you getting all of these different mixes, and

730
00:34:01,960 --> 00:34:04,600
Speaker 4: of course you're you're not going to produce the same

731
00:34:04,600 --> 00:34:08,200
Speaker 4: way that Teddy, who's from Harlem exactly, is going to produce.

732
00:34:08,239 --> 00:34:10,799
Speaker 4: You're going to produce with a little bit of the

733
00:34:10,840 --> 00:34:17,279
Speaker 4: club nouveau, with the church absolutely and kind of being

734
00:34:17,320 --> 00:34:20,399
Speaker 4: a transplant in New York, right, you know what I mean?

735
00:34:20,400 --> 00:34:22,759
Speaker 4: So your hip hop is going to be different, and

736
00:34:22,840 --> 00:34:26,080
Speaker 4: it was, and it was, and it makes so much

737
00:34:26,120 --> 00:34:27,080
Speaker 4: more sense now.

738
00:34:27,000 --> 00:34:29,719
Speaker 3: Yeah, yeah, because that's the truth of it. Yeah, that's

739
00:34:29,719 --> 00:34:30,280
Speaker 3: just the facts.

740
00:34:30,520 --> 00:34:32,120
Speaker 2: I mean, that's the exact facts.

741
00:34:32,160 --> 00:34:35,200
Speaker 3: That's why it happened the way and when all the

742
00:34:35,239 --> 00:34:37,000
Speaker 3: ad libs she does and all those things like that,

743
00:34:37,000 --> 00:34:40,799
Speaker 3: that was me dialing back the church. Like everything can

744
00:34:40,880 --> 00:34:43,680
Speaker 3: be you know, if it's very specific. If you listen

745
00:34:43,760 --> 00:34:46,719
Speaker 3: to the ad libs that she's doing, I want, placement

746
00:34:46,840 --> 00:34:50,279
Speaker 3: was really important with me, Like every single ad lib.

747
00:34:50,960 --> 00:34:55,560
Speaker 1: Well, that's just a science of that's a science of

748
00:34:55,680 --> 00:34:59,759
Speaker 1: old school records that it's tough to figure out in

749
00:34:59,800 --> 00:35:02,560
Speaker 1: an new age because now we're in the age of

750
00:35:03,080 --> 00:35:06,399
Speaker 1: no adlibs, you know what I'm saying, right, But back

751
00:35:06,440 --> 00:35:15,680
Speaker 1: in that day, the ad libs were just as important.

752
00:35:14,000 --> 00:35:20,320
Speaker 4: Especially towards people are singing the ad libs word for words.

753
00:35:20,719 --> 00:35:23,680
Speaker 2: Because of the science of how they're placed.

754
00:35:24,160 --> 00:35:27,160
Speaker 3: Right, It's a part of it. It's a structure. It's

755
00:35:27,280 --> 00:35:29,960
Speaker 3: part of the structure for sure. For sure that we

756
00:35:30,000 --> 00:35:33,160
Speaker 3: are missing in today's time.

757
00:35:33,200 --> 00:35:35,880
Speaker 1: And I think it's just only because music is moving

758
00:35:35,920 --> 00:35:39,920
Speaker 1: so much faster and the pieces of the record.

759
00:35:40,320 --> 00:35:44,920
Speaker 3: Yesterday, yesterday, somebody sent me this image instagram of this

760
00:35:44,960 --> 00:35:48,120
Speaker 3: little Asian kid. He's got to be like four five

761
00:35:48,200 --> 00:35:51,919
Speaker 3: year old kid, and he's running through these all these

762
00:35:51,920 --> 00:35:54,279
Speaker 3: classic songs, hip hop and R and B songs, right,

763
00:35:54,520 --> 00:35:56,319
Speaker 3: and he does gets the umps on to you, And

764
00:35:56,360 --> 00:36:00,719
Speaker 3: that little boy does the ad libs when his mom

765
00:36:00,800 --> 00:36:01,400
Speaker 3: is prompting him.

766
00:36:01,400 --> 00:36:03,279
Speaker 2: She sings, she sings the thing she's prompting him.

767
00:36:03,360 --> 00:36:06,239
Speaker 3: She goes h so to you and then he does

768
00:36:06,239 --> 00:36:10,680
Speaker 3: the ad libs. I was so done that he did

769
00:36:10,760 --> 00:36:13,840
Speaker 3: the ad list. I was dead almost almost moved me

770
00:36:13,880 --> 00:36:16,160
Speaker 3: to tears. I'm like he could have done any part

771
00:36:16,160 --> 00:36:17,800
Speaker 3: of that. He's doing her ad lists. So if you

772
00:36:17,840 --> 00:36:20,200
Speaker 3: look at my Instagram, it's that little kids doing that

773
00:36:20,480 --> 00:36:23,000
Speaker 3: and that's going crazy on that. It's viral because he's

774
00:36:23,000 --> 00:36:25,080
Speaker 3: so cute. It's like a little five year old. And

775
00:36:25,120 --> 00:36:27,799
Speaker 3: when when she says come and talk to me, he

776
00:36:27,840 --> 00:36:32,120
Speaker 3: goes really one of me. He's answering every single thing

777
00:36:32,160 --> 00:36:35,200
Speaker 3: that she prompts him. It's great, it's amazing. So again

778
00:36:35,320 --> 00:36:38,600
Speaker 3: full circle, the little the new generation is they still

779
00:36:38,640 --> 00:36:40,560
Speaker 3: own it. Maybe because these kids are taking it to

780
00:36:40,600 --> 00:36:43,480
Speaker 3: their kids. And Jimmy jam told me his son did

781
00:36:43,520 --> 00:36:45,680
Speaker 3: a paper on me in college.

782
00:36:46,120 --> 00:36:46,800
Speaker 2: What the hell?

783
00:36:48,400 --> 00:36:50,360
Speaker 3: Bobby Rossa Villa called me with his kid in the

784
00:36:50,400 --> 00:36:52,799
Speaker 3: car because the kid that did a playlist and it's

785
00:36:52,880 --> 00:36:55,360
Speaker 3: almost all SWV. He's like, b I didn't tell this

786
00:36:55,440 --> 00:37:00,719
Speaker 3: boy nothing. But look he's eleven. So I'm saying, holy crap, man,

787
00:37:01,040 --> 00:37:04,319
Speaker 3: Like this is insane. This is insane. That's three generations

788
00:37:04,360 --> 00:37:06,719
Speaker 3: in yeah, two thousand and five now on Jojo, when

789
00:37:06,719 --> 00:37:08,560
Speaker 3: I did the Week on Jojo, that's a whole couple

790
00:37:08,600 --> 00:37:11,640
Speaker 3: of generations. You know, that's crazy. Now she's in her thirties,

791
00:37:12,280 --> 00:37:15,120
Speaker 3: but she was fifteen whatever when we did that. Bro

792
00:37:15,760 --> 00:37:17,800
Speaker 3: Usher fifteen when they brought him to me at my

793
00:37:17,840 --> 00:37:19,399
Speaker 3: house in Sacramento. I did a song on his first

794
00:37:19,440 --> 00:37:21,480
Speaker 3: album called Crazy.

795
00:37:21,600 --> 00:37:22,280
Speaker 2: It's a lot.

796
00:37:22,640 --> 00:37:25,360
Speaker 3: It's a lot, It's a feeling, like the weight of

797
00:37:25,360 --> 00:37:27,279
Speaker 3: it all. Now like holy crap.

798
00:37:27,040 --> 00:37:30,520
Speaker 2: Man, come on man, Rain Okay.

799
00:37:29,880 --> 00:37:32,120
Speaker 3: So thank God of two thousand Excel came out in

800
00:37:32,239 --> 00:37:34,080
Speaker 3: ninety six, so I got that.

801
00:37:34,200 --> 00:37:36,319
Speaker 2: Now Rain is a product. When I got that, but

802
00:37:36,560 --> 00:37:37,880
Speaker 2: you said, to what the two thousand.

803
00:37:38,000 --> 00:37:39,560
Speaker 3: NPCO, I said, now we're done to upgrade it to

804
00:37:39,560 --> 00:37:42,960
Speaker 3: the Excel, keeping it, keeping it, keeping a musician, you

805
00:37:42,960 --> 00:37:45,400
Speaker 3: feel what you feel. It a little box right in

806
00:37:45,440 --> 00:37:47,360
Speaker 3: the little and it's had another little sound to it.

807
00:37:48,719 --> 00:37:52,400
Speaker 3: But Layla Hathaway is the reason why that exists because

808
00:37:52,840 --> 00:37:55,279
Speaker 3: in ninety four I had always want to work with

809
00:37:55,280 --> 00:37:56,600
Speaker 3: related and one of my best friends, one of my

810
00:37:56,640 --> 00:37:58,680
Speaker 3: best friends and my current manager is Jane as A

811
00:37:58,880 --> 00:38:03,440
Speaker 3: James m two Mays, her brother, Jeff Foreman and too

812
00:38:03,480 --> 00:38:05,480
Speaker 3: Many's younger brother. Jeff is like one of the most

813
00:38:05,600 --> 00:38:07,960
Speaker 3: musical dope people ever. He was in them sessions with

814
00:38:08,239 --> 00:38:10,120
Speaker 3: Teddy Pendergrass and Stephanie and he was in there as

815
00:38:10,160 --> 00:38:13,160
Speaker 3: a kid watching his brother produce those records. So that's

816
00:38:13,200 --> 00:38:16,479
Speaker 3: my guy and he's a househead, huge house had so look.

817
00:38:16,960 --> 00:38:21,200
Speaker 3: So he signed Layla to Virgin in eighty nine ninety

818
00:38:21,719 --> 00:38:25,000
Speaker 3: and I had always said I want to work with Layla.

819
00:38:25,080 --> 00:38:27,440
Speaker 3: So when the girls s TOBV blew up, Layla was

820
00:38:27,480 --> 00:38:29,319
Speaker 3: a fan, and then we got back together and I

821
00:38:29,320 --> 00:38:30,480
Speaker 3: was like, yo, I got to do something it. So

822
00:38:30,520 --> 00:38:31,799
Speaker 3: I did this song called let Me Love You.

823
00:38:31,840 --> 00:38:32,319
Speaker 2: Have you heard it?

824
00:38:32,800 --> 00:38:35,880
Speaker 3: Layla Crazy? And I'm in the background. Sleayla came to Sacramento,

825
00:38:36,480 --> 00:38:39,680
Speaker 3: Uh knocked it out in one take, insane. She played

826
00:38:39,680 --> 00:38:41,560
Speaker 3: the whole game, Galag. I had a Gallica machine the

827
00:38:41,600 --> 00:38:44,560
Speaker 3: stand up time. She beat my high score winning and

828
00:38:44,600 --> 00:38:46,480
Speaker 3: did the vocal and got back on the plane.

829
00:38:46,920 --> 00:38:47,680
Speaker 2: Gallagher is.

830
00:38:49,280 --> 00:38:52,040
Speaker 1: Such an important part story because that's my ship.

831
00:38:52,280 --> 00:38:58,799
Speaker 2: Come on, gal you gotta make sure grab you so

832
00:38:58,840 --> 00:39:00,160
Speaker 2: you can get the double man.

833
00:39:00,760 --> 00:39:05,759
Speaker 3: Now you got two guns. Come on, man, come on.

834
00:39:06,160 --> 00:39:08,720
Speaker 2: We actually made a song shout out to Charlie Barrell.

835
00:39:09,040 --> 00:39:09,520
Speaker 2: We did a.

836
00:39:09,600 --> 00:39:10,040
Speaker 3: Song to.

837
00:39:13,480 --> 00:39:17,520
Speaker 1: My Gosh songs in a Jamie's house love See Crazy,

838
00:39:17,680 --> 00:39:19,040
Speaker 1: And I don't even thought I was gonna even tell

839
00:39:19,040 --> 00:39:20,000
Speaker 1: that part of the story, but that was.

840
00:39:21,640 --> 00:39:22,880
Speaker 2: Let Me Love You. Please look it up.

841
00:39:23,560 --> 00:39:25,719
Speaker 3: She murdered that and so, and she just added it

842
00:39:25,760 --> 00:39:29,200
Speaker 3: to her set recently, and so that happened. But while

843
00:39:29,200 --> 00:39:32,359
Speaker 3: we were vibing before we recorded, I came to see

844
00:39:32,360 --> 00:39:34,840
Speaker 3: her at her apartment in La. She started playing me records.

845
00:39:34,960 --> 00:39:38,759
Speaker 3: She pulls out Jocko and this is ninety four, nineteen

846
00:39:38,800 --> 00:39:39,200
Speaker 3: ninety four.

847
00:39:39,840 --> 00:39:42,080
Speaker 2: I never heard of Jocko, didn't know who he was.

848
00:39:42,280 --> 00:39:43,000
Speaker 2: She pulls it out.

849
00:39:43,120 --> 00:39:44,680
Speaker 3: I'm struck by the cover because I'm like, Wow, this

850
00:39:44,719 --> 00:39:45,920
Speaker 3: is crazy that I'm flipping over.

851
00:39:45,920 --> 00:39:47,880
Speaker 2: I realized Herbie Hancock is doing the line of those

852
00:39:48,160 --> 00:39:49,320
Speaker 2: he's introducing Jocko.

853
00:39:49,640 --> 00:39:51,279
Speaker 3: I was like, oh, you got my hero and it

854
00:39:51,280 --> 00:39:52,640
Speaker 3: so I had to listen. So we put it on.

855
00:39:52,840 --> 00:39:57,200
Speaker 3: We dropped it on portrait of Tracy and I was like,

856
00:39:57,200 --> 00:40:00,560
Speaker 3: oh shit, what is that? She said, that's poor trace it.

857
00:40:00,560 --> 00:40:02,600
Speaker 3: But he goes into all these crazy other things. They

858
00:40:02,640 --> 00:40:05,239
Speaker 3: don't have no tempo at all. Right, So I just

859
00:40:05,320 --> 00:40:06,040
Speaker 3: put it in the back.

860
00:40:05,880 --> 00:40:06,200
Speaker 2: Of my mind.

861
00:40:06,239 --> 00:40:08,439
Speaker 3: I say, if I ever ever used that, Lord, that's

862
00:40:08,440 --> 00:40:10,640
Speaker 3: gonna be crazy. That was in ninety four. So three

863
00:40:10,719 --> 00:40:13,880
Speaker 3: years later, I'm in my shower. I had came up

864
00:40:13,920 --> 00:40:17,640
Speaker 3: with this hook to rain and it had been you know,

865
00:40:17,719 --> 00:40:19,160
Speaker 3: high bounced around your head for a few days.

866
00:40:19,160 --> 00:40:20,880
Speaker 2: You're like, I keep this hook, won't let me go

867
00:40:21,280 --> 00:40:21,879
Speaker 2: rain down.

868
00:40:21,960 --> 00:40:23,960
Speaker 3: I mean, so when I was in the shower in

869
00:40:24,040 --> 00:40:28,040
Speaker 3: this moment, for some reason, some light bulb went off.

870
00:40:28,080 --> 00:40:28,839
Speaker 2: I was like, wait a.

871
00:40:28,800 --> 00:40:33,120
Speaker 3: Minute, If I fucking use that Jocko hear on this hook,

872
00:40:33,800 --> 00:40:37,120
Speaker 3: Oh my god, if those go together, that's gonna be crazy.

873
00:40:37,239 --> 00:40:38,640
Speaker 3: So I put on my towel. I didn't even wait

874
00:40:38,680 --> 00:40:40,279
Speaker 3: to drive now. I just put on my towel, ran

875
00:40:40,320 --> 00:40:42,960
Speaker 3: to my studio. I had bought the record, pulled out

876
00:40:43,000 --> 00:40:45,360
Speaker 3: the vinyl, put the thing on the needle. It was

877
00:40:45,480 --> 00:40:47,040
Speaker 3: the exact key I was hearing my hook, and I

878
00:40:47,080 --> 00:40:48,719
Speaker 3: was like, I'm gonna take that as a sign because

879
00:40:48,760 --> 00:40:50,640
Speaker 3: it was it went do do do do doude what

880
00:40:50,760 --> 00:40:57,080
Speaker 3: I was like. So I said, okay, so let me

881
00:40:57,120 --> 00:40:59,839
Speaker 3: do this beat right now. So I did that beat

882
00:40:59,880 --> 00:41:01,919
Speaker 3: in the spirit right in the moment. I did not wait.

883
00:41:02,000 --> 00:41:03,920
Speaker 3: I did that beat right then and there. When I

884
00:41:03,960 --> 00:41:06,080
Speaker 3: put the beat together and played the keys, I was like,

885
00:41:06,160 --> 00:41:09,360
Speaker 3: I think the Jocko part has to be the verses because.

886
00:41:09,160 --> 00:41:10,000
Speaker 2: I already had the hook.

887
00:41:10,480 --> 00:41:12,600
Speaker 3: The hook already existed, so I was like, I just

888
00:41:12,600 --> 00:41:14,239
Speaker 3: got to make those two things work, So I just

889
00:41:14,280 --> 00:41:17,200
Speaker 3: figured out how to do the transitions from the hook

890
00:41:17,360 --> 00:41:20,279
Speaker 3: into and back and forth. So that's how I had

891
00:41:20,280 --> 00:41:21,919
Speaker 3: to add cords to it because they're not there those

892
00:41:23,320 --> 00:41:25,480
Speaker 3: there's two bars of the jocko. It's not even two

893
00:41:25,480 --> 00:41:27,040
Speaker 3: whole bars, it might be a bar and a half.

894
00:41:27,280 --> 00:41:30,120
Speaker 3: So I had to make connect those dots with cords

895
00:41:30,160 --> 00:41:32,759
Speaker 3: that weren't there. So that's what you got all these

896
00:41:32,800 --> 00:41:34,360
Speaker 3: other cords that connected to it.

897
00:41:34,560 --> 00:41:36,479
Speaker 2: You feel me? Was that a hard sample to clear?

898
00:41:37,000 --> 00:41:40,640
Speaker 3: I never sampled it, no sample it. I just played

899
00:41:40,640 --> 00:41:41,640
Speaker 3: every played it.

900
00:41:41,719 --> 00:41:44,000
Speaker 4: Yeah, so okay, So even the clearance of that, No,

901
00:41:44,080 --> 00:41:47,080
Speaker 4: it wasn't because at that time, because I know he

902
00:41:47,160 --> 00:41:52,880
Speaker 4: was kind of you know, like JACKO document and it's like,

903
00:41:53,080 --> 00:41:55,319
Speaker 4: since did they hear it?

904
00:41:55,440 --> 00:42:00,200
Speaker 2: Or you were just like you can hear it? Yeah?

905
00:42:00,239 --> 00:42:02,400
Speaker 3: Yeah, there's no way in hell. Yeah yeah, there's no

906
00:42:02,400 --> 00:42:02,759
Speaker 3: way in hell.

907
00:42:03,280 --> 00:42:05,200
Speaker 4: So I gotta asked you a question too, though, because

908
00:42:05,680 --> 00:42:08,640
Speaker 4: in the midst of these things and these records that

909
00:42:08,680 --> 00:42:10,919
Speaker 4: you guys are doing and this new group and they're

910
00:42:10,920 --> 00:42:16,239
Speaker 4: blowing up now, people are remixing your records too though,

911
00:42:16,320 --> 00:42:20,719
Speaker 4: right right, because you're like right here, right here, ends

912
00:42:20,800 --> 00:42:22,879
Speaker 4: up getting remixed that was.

913
00:42:22,840 --> 00:42:23,359
Speaker 2: In real time.

914
00:42:23,800 --> 00:42:26,400
Speaker 4: That's what I'm saying. No, I'm talking about real time. Yeah,

915
00:42:26,440 --> 00:42:29,000
Speaker 4: where you got these records going. And I'm going backward

916
00:42:29,040 --> 00:42:30,880
Speaker 4: a little bit because obviously the rank came later. But

917
00:42:31,120 --> 00:42:34,520
Speaker 4: I wanted to mention you know, that's always a tricky

918
00:42:34,600 --> 00:42:39,279
Speaker 4: thing for producers when when someone else comes in and

919
00:42:39,360 --> 00:42:41,880
Speaker 4: does a remix right and the remix hits, and the

920
00:42:41,960 --> 00:42:44,920
Speaker 4: remix hits, you know what I'm saying, and it's like, Okay,

921
00:42:45,000 --> 00:42:47,640
Speaker 4: well I did the record, but they then they.

922
00:42:47,800 --> 00:42:49,759
Speaker 3: I was cool with it because I'm like, all that's

923
00:42:49,800 --> 00:42:51,840
Speaker 3: doing is is making me more money, because that's now.

924
00:42:52,040 --> 00:42:52,640
Speaker 2: Here's the deal.

925
00:42:52,880 --> 00:42:54,840
Speaker 3: When right Here came out as the original joint, it

926
00:42:54,880 --> 00:42:56,239
Speaker 3: only went to like twenty something on the R and

927
00:42:56,280 --> 00:42:58,400
Speaker 3: B chart and never even the ninety something on the

928
00:42:58,400 --> 00:43:00,279
Speaker 3: pop chart. So I felt like that was a other

929
00:43:00,719 --> 00:43:03,279
Speaker 3: life of giving my the first single a chance to

930
00:43:03,280 --> 00:43:04,480
Speaker 3: do what it's supposed to do. And it went to

931
00:43:04,560 --> 00:43:07,480
Speaker 3: number two pop, kept out only by Maria's dream Lover,

932
00:43:07,760 --> 00:43:11,520
Speaker 3: which I remixed myself that year, So it was I

933
00:43:11,560 --> 00:43:12,839
Speaker 3: remixed dream Lover for her.

934
00:43:13,320 --> 00:43:15,120
Speaker 2: She called me specifically said would you.

935
00:43:15,120 --> 00:43:17,040
Speaker 3: So she was number one with dream Lover and I

936
00:43:17,080 --> 00:43:21,080
Speaker 3: was number two, and right here human nature.

937
00:43:28,760 --> 00:43:30,719
Speaker 4: I was meticulous in a lot of those types of

938
00:43:31,000 --> 00:43:34,479
Speaker 4: man Through all of it, I always had my father

939
00:43:34,560 --> 00:43:36,880
Speaker 4: in my head. Who was who was my first manager?

940
00:43:36,960 --> 00:43:37,600
Speaker 4: You know what I'm saying?

941
00:43:37,600 --> 00:43:39,000
Speaker 2: Who? Really?

942
00:43:40,719 --> 00:43:43,319
Speaker 4: He really just didn't take no ship. So I was

943
00:43:43,320 --> 00:43:45,800
Speaker 4: trying to find a happy medium between that, you know

944
00:43:45,840 --> 00:43:48,399
Speaker 4: what I mean. But you know I had I had

945
00:43:48,400 --> 00:43:51,440
Speaker 4: managers in management that that that worked with me along

946
00:43:51,480 --> 00:43:54,600
Speaker 4: the way. But even when even when I had management,

947
00:43:55,440 --> 00:43:57,800
Speaker 4: I managed us, you know what I mean, because I

948
00:43:57,840 --> 00:43:59,880
Speaker 4: just understood the business from such a young age.

949
00:44:00,080 --> 00:44:00,160
Speaker 2: Right.

950
00:44:01,080 --> 00:44:03,120
Speaker 4: But I also, like I said, when I look back

951
00:44:03,160 --> 00:44:05,040
Speaker 4: on it, sometimes I look back on it like, damn,

952
00:44:05,080 --> 00:44:07,799
Speaker 4: maybe I should have done that deal, or maybe I

953
00:44:07,840 --> 00:44:11,279
Speaker 4: should have written in that session instead of it being

954
00:44:11,360 --> 00:44:14,279
Speaker 4: like you know, but but you know, like Tank said,

955
00:44:14,800 --> 00:44:17,600
Speaker 4: you gotta you gotta take what comes along with making

956
00:44:17,640 --> 00:44:20,839
Speaker 4: that decision. And I just as the young niggas will

957
00:44:20,840 --> 00:44:23,080
Speaker 4: say now and certain things I just stood on business.

958
00:44:24,239 --> 00:44:26,440
Speaker 4: I ain't make some millions that I probably should have

959
00:44:26,440 --> 00:44:28,400
Speaker 4: made though by being a little.

960
00:44:28,120 --> 00:44:31,319
Speaker 3: Too extra with that ship. Yeah, So I watched a

961
00:44:31,360 --> 00:44:32,400
Speaker 3: media I watched.

962
00:44:32,160 --> 00:44:34,280
Speaker 2: When people be like, oh, well, you know, I didn't

963
00:44:34,280 --> 00:44:36,160
Speaker 2: do this and you have a choice.

964
00:44:36,920 --> 00:44:39,799
Speaker 3: When he did, it cost me my whole ship for

965
00:44:39,840 --> 00:44:41,520
Speaker 3: that first time out. But it was but I wasn't

966
00:44:41,520 --> 00:44:44,680
Speaker 3: supposed to come out at that moment. But you couldn't

967
00:44:44,680 --> 00:44:45,719
Speaker 3: tell me that then I was.

968
00:44:45,719 --> 00:44:48,240
Speaker 2: Like, you just destroyed my whole shit from.

969
00:44:48,000 --> 00:44:51,160
Speaker 3: One fucking outburst, right. I was never stated to the

970
00:44:51,160 --> 00:44:53,440
Speaker 3: point where like fetal position, crying like a baby, like

971
00:44:53,440 --> 00:44:55,839
Speaker 3: what am I gonna do? We just I just made

972
00:44:55,840 --> 00:44:57,640
Speaker 3: this whole album and if nobody's ever seen this, not

973
00:44:57,640 --> 00:44:59,319
Speaker 3: gonna see the light a day. I could have never

974
00:44:59,360 --> 00:45:01,440
Speaker 3: predicted what gonna happen in the next four years, you know.

975
00:45:01,440 --> 00:45:01,799
Speaker 2: What I mean.

976
00:45:02,360 --> 00:45:03,880
Speaker 3: So, I mean those are the things I really like

977
00:45:03,920 --> 00:45:05,960
Speaker 3: sharing with you guys, because A we can share those

978
00:45:05,960 --> 00:45:09,640
Speaker 3: war stories. B we survived them, right, and so hopefully

979
00:45:09,680 --> 00:45:12,720
Speaker 3: we're on the other side of it with some knowledge.

980
00:45:13,239 --> 00:45:17,600
Speaker 2: We are not. Hopefully That's what we're here to do, right.

981
00:45:17,920 --> 00:45:18,160
Speaker 2: You know.

982
00:45:18,680 --> 00:45:20,640
Speaker 1: The music part of it is, you know, of course

983
00:45:20,640 --> 00:45:23,560
Speaker 1: we have that, we do that, But the information.

984
00:45:23,200 --> 00:45:27,000
Speaker 2: Is it's everything. It's everything, every god and that's why

985
00:45:27,040 --> 00:45:27,439
Speaker 2: we're here.

986
00:45:28,000 --> 00:45:33,239
Speaker 3: Yeah, the more you.

987
00:45:33,160 --> 00:45:53,640
Speaker 1: Know, Morgan, because I played this Superman, it's what you are,

988
00:45:53,719 --> 00:46:00,640
Speaker 1: my brother. The people want to know a lot of

989
00:46:00,640 --> 00:46:06,040
Speaker 1: your music has been and a lot of our favorite peoples.

990
00:46:07,360 --> 00:46:10,640
Speaker 2: What is been? But now we want to know yours.

991
00:46:12,160 --> 00:46:16,160
Speaker 1: Okay, you have a lot of musical information, a lot

992
00:46:16,160 --> 00:46:17,200
Speaker 1: of musical gifts.

993
00:46:17,000 --> 00:46:27,640
Speaker 2: And talents, and we're asking m h m hmmm five

994
00:46:30,960 --> 00:46:39,360
Speaker 2: your top five time five? I mean not talking about remixes,

995
00:46:39,480 --> 00:46:50,520
Speaker 2: your whe Do you want to know?

996
00:46:50,760 --> 00:46:50,960
Speaker 5: Yeah?

997
00:46:51,480 --> 00:46:55,480
Speaker 3: Pop on you tall? Which time we'll go go.

998
00:47:00,760 --> 00:47:01,040
Speaker 4: Wow?

999
00:47:11,600 --> 00:47:24,239
Speaker 2: Okay, alright, yes, sir, that's that's why you went over

1000
00:47:24,280 --> 00:47:26,120
Speaker 2: to the Church of God, to Christ. Do you want

1001
00:47:26,160 --> 00:47:26,440
Speaker 2: to hear that?

1002
00:47:27,440 --> 00:47:30,480
Speaker 3: That's what you want to hear it? Okay, right, deliver

1003
00:47:31,520 --> 00:47:34,279
Speaker 3: all right? Top five in no particular order?

1004
00:47:34,600 --> 00:47:36,480
Speaker 2: Still playing course, you know what?

1005
00:47:36,719 --> 00:47:38,719
Speaker 3: Of course he is, he's still playing courts.

1006
00:47:47,160 --> 00:47:47,560
Speaker 2: You know what?

1007
00:47:51,520 --> 00:47:57,040
Speaker 1: Brown Morgan, Yep, thanks, I'm here all week, all week.

1008
00:47:57,120 --> 00:48:01,560
Speaker 1: I play so fine, don't you agree? Your top five

1009
00:48:02,400 --> 00:48:07,120
Speaker 1: R and B artists artists? So he first, he said,

1010
00:48:07,160 --> 00:48:07,919
Speaker 1: sing is not artist.

1011
00:48:08,360 --> 00:48:08,680
Speaker 2: Artists.

1012
00:48:08,840 --> 00:48:13,360
Speaker 1: Artists listen listen, singers. Artists is the whole thing. Okay,

1013
00:48:14,440 --> 00:48:16,800
Speaker 1: Can I do? Can I I'm asking for?

1014
00:48:17,320 --> 00:48:20,120
Speaker 2: Can I do Top five male and then Top five female?

1015
00:48:20,600 --> 00:48:21,120
Speaker 2: Can I do that?

1016
00:48:21,320 --> 00:48:21,440
Speaker 5: Or no?

1017
00:48:21,760 --> 00:48:23,440
Speaker 2: If you would like to, I think I would like

1018
00:48:23,480 --> 00:48:30,759
Speaker 2: to do top five. That's your top Okay, got it

1019
00:48:30,920 --> 00:48:31,239
Speaker 2: all right?

1020
00:48:31,280 --> 00:48:34,920
Speaker 3: So top five male? Obviously, Stevie wonder my first influence?

1021
00:48:34,920 --> 00:48:36,920
Speaker 3: Why not Michael Jackson?

1022
00:48:37,040 --> 00:48:37,320
Speaker 2: Why not?

1023
00:48:37,920 --> 00:48:40,680
Speaker 3: Because he's the only person that's ever had three different

1024
00:48:40,760 --> 00:48:42,799
Speaker 3: voices and had hits and all the talk to talk

1025
00:48:43,200 --> 00:48:46,040
Speaker 3: talk to three voices. And for those who don't believe,

1026
00:48:46,400 --> 00:48:48,800
Speaker 3: I like to name the joints. Uh, there's there I

1027
00:48:48,880 --> 00:48:50,920
Speaker 3: want your back voice, and then there's the dance machine

1028
00:48:50,920 --> 00:48:53,000
Speaker 3: get it together voice, and then you're off the wall

1029
00:48:53,000 --> 00:48:54,080
Speaker 3: and the rest of his stuff voice.

1030
00:48:54,120 --> 00:48:56,719
Speaker 2: That's three differ go four with them with the bad voice,

1031
00:48:56,719 --> 00:48:57,600
Speaker 2: but keep going all right?

1032
00:48:57,680 --> 00:49:05,960
Speaker 4: Boom so Butterfli's voice here, yes, Uh, Stevie, Michael sly.

1033
00:49:06,760 --> 00:49:13,640
Speaker 3: For the Deacon, the layo's own deacon soul, brilliant messages

1034
00:49:13,800 --> 00:49:16,640
Speaker 3: and lyrics and melody that I still with to this day.

1035
00:49:16,880 --> 00:49:19,319
Speaker 3: I just finished his book this morning. I was reading

1036
00:49:19,360 --> 00:49:21,760
Speaker 3: that for the last couple of weeks. His autobiography is amazing.

1037
00:49:22,280 --> 00:49:22,400
Speaker 5: Uh.

1038
00:49:23,440 --> 00:49:27,640
Speaker 3: Donnie Hathaway for the vibration of his that is some

1039
00:49:27,840 --> 00:49:34,680
Speaker 3: kind of otherworldly spiritual thing. And and I gotta go

1040
00:49:34,960 --> 00:49:40,120
Speaker 3: with Luther because of just how he just did a

1041
00:49:40,239 --> 00:49:42,759
Speaker 3: thing that nobody had done, and it was a thing

1042
00:49:42,840 --> 00:49:43,480
Speaker 3: that was his own.

1043
00:49:43,840 --> 00:49:46,000
Speaker 2: I think he was the He was the cleanest straight

1044
00:49:46,040 --> 00:49:47,160
Speaker 2: ahead singer.

1045
00:49:47,080 --> 00:49:52,160
Speaker 3: That ever just was all tone. It was all grace tone.

1046
00:49:52,560 --> 00:49:53,239
Speaker 3: So that's my fot.

1047
00:49:53,320 --> 00:49:58,560
Speaker 2: That was my guys, my ladies. Okay, uh ritha, you

1048
00:49:58,640 --> 00:49:59,960
Speaker 2: start with the Queen. You gotta start the Queen.

1049
00:50:00,560 --> 00:50:09,520
Speaker 3: Shaka oh Gladys Kim Morell's in there, and I'm gonna

1050
00:50:09,560 --> 00:50:11,520
Speaker 3: put for the old school classic Ella.

1051
00:50:13,400 --> 00:50:19,560
Speaker 2: Yeah, this is my five. The Lady list is crazy.

1052
00:50:19,600 --> 00:50:24,520
Speaker 7: You feel me listen because I'm so real, you feel

1053
00:50:24,560 --> 00:50:25,719
Speaker 7: me a lot of the because a lot of the

1054
00:50:25,800 --> 00:50:28,560
Speaker 7: other people that came are derivatives of one of those things,

1055
00:50:28,680 --> 00:50:30,480
Speaker 7: for sure in some kind of way.

1056
00:50:31,280 --> 00:50:33,759
Speaker 1: All Right, So they're my top ten, your top five,

1057
00:50:33,960 --> 00:50:37,560
Speaker 1: if if we could do five, your top five R

1058
00:50:37,560 --> 00:50:38,440
Speaker 1: and B songs?

1059
00:50:38,880 --> 00:50:42,759
Speaker 3: Oh oh, rock with you?

1060
00:50:43,760 --> 00:50:50,520
Speaker 2: Mhy not uh oh.

1061
00:50:53,160 --> 00:50:58,360
Speaker 3: I love Golden Lady Stevie hm hmm so much, but

1062
00:50:58,440 --> 00:51:04,040
Speaker 3: then I also love as mm hmm b Stevie, and

1063
00:51:04,160 --> 00:51:05,640
Speaker 3: also love knocks me off my feet.

1064
00:51:06,920 --> 00:51:11,040
Speaker 2: Man, you know, I know, are you trying to pick

1065
00:51:11,160 --> 00:51:11,719
Speaker 2: one of those?

1066
00:51:12,000 --> 00:51:13,480
Speaker 3: Are you just so torn?

1067
00:51:13,840 --> 00:51:15,160
Speaker 2: Because five is too short?

1068
00:51:16,160 --> 00:51:19,239
Speaker 3: I gotta go with I love stand by slide for

1069
00:51:19,360 --> 00:51:23,520
Speaker 3: what it's saying, love stand There's a midget beside him

1070
00:51:23,640 --> 00:51:26,640
Speaker 3: like he's got just the metaphors and stand are just ridiculous.

1071
00:51:28,880 --> 00:51:31,640
Speaker 3: There's a midget standing tall and a giant beside him

1072
00:51:31,640 --> 00:51:35,200
Speaker 3: about the fall. I love couples like that. Let's say

1073
00:51:35,239 --> 00:51:36,319
Speaker 3: so much with so little.

1074
00:51:37,880 --> 00:51:40,600
Speaker 2: I guess that would be my top five of those

1075
00:51:40,760 --> 00:51:44,439
Speaker 2: R and B songs. Yeah three, Stevie, Yeah, because that's

1076
00:51:44,440 --> 00:51:46,640
Speaker 2: how impactful. Yeah, he's.

1077
00:51:47,960 --> 00:51:52,360
Speaker 1: He's lord Lord Stevie for sure. Let's make a vultron,

1078
00:51:52,480 --> 00:51:55,080
Speaker 1: let's make a super R and B artist. What we're

1079
00:51:55,120 --> 00:51:57,960
Speaker 1: gonna do is we're gonna get the vocal from somebody,

1080
00:51:58,800 --> 00:52:03,360
Speaker 1: the performance style from somebody, the styling from somebody, the

1081
00:52:03,480 --> 00:52:08,359
Speaker 1: passion from somebody. Are you talking to drip? And then

1082
00:52:08,880 --> 00:52:10,400
Speaker 1: and then we want to know who's gonna write and

1083
00:52:10,480 --> 00:52:12,759
Speaker 1: produce for this artists? When to add this for you?

1084
00:52:13,160 --> 00:52:18,920
Speaker 1: So yeah, sometimes we do that. Who you're getting the

1085
00:52:19,000 --> 00:52:22,280
Speaker 1: vocal from for your super R and B artists, Twinkie

1086
00:52:22,320 --> 00:52:28,080
Speaker 1: Clark ship Wow, Twinkie Clark for the vocal, I mean

1087
00:52:28,160 --> 00:52:28,680
Speaker 1: not ship.

1088
00:52:32,440 --> 00:52:35,759
Speaker 2: That don't go together? And what was the next thing?

1089
00:52:36,480 --> 00:52:42,279
Speaker 1: Performance style Michael perform Twinkie voice, Michael okay, Michael moves,

1090
00:52:42,360 --> 00:52:48,839
Speaker 1: Michael moves Okay. The styling Diana Ross m Yeah, yes, yes,

1091
00:52:49,040 --> 00:52:50,520
Speaker 1: I'm not you're gonna dance in that gown, but I

1092
00:52:50,560 --> 00:52:50,800
Speaker 1: get it.

1093
00:52:51,800 --> 00:52:52,920
Speaker 3: And she's doing runs in it too.

1094
00:52:55,440 --> 00:52:56,239
Speaker 2: Had that ship on.

1095
00:52:58,360 --> 00:53:03,359
Speaker 3: Always the top dollar twice in the last five years,

1096
00:53:03,520 --> 00:53:06,560
Speaker 3: still blew me away. Oh my god, seventies and the

1097
00:53:06,600 --> 00:53:08,479
Speaker 3: seventies killing by.

1098
00:53:08,560 --> 00:53:14,880
Speaker 2: Passion of the artist the heart uh by Marley? Mmmm

1099
00:53:16,120 --> 00:53:19,479
Speaker 2: yeah yeah by Marley because I just saw that movie.

1100
00:53:20,280 --> 00:53:23,479
Speaker 2: My god, you watched him original videos. He was giving

1101
00:53:23,480 --> 00:53:28,399
Speaker 2: it all totally. He los hisself and lose itself my god.

1102
00:53:28,840 --> 00:53:31,200
Speaker 2: Yeah yeah. And who's writing and producing for this artist?

1103
00:53:31,880 --> 00:53:36,239
Speaker 2: Us three? Hey, come on, we.

1104
00:53:36,280 --> 00:53:40,920
Speaker 1: Made the cut, a gentleman, We made the cut, Thank

1105
00:53:40,960 --> 00:53:42,760
Speaker 1: you sir, and we will be actually producing.

1106
00:53:50,160 --> 00:53:51,040
Speaker 3: This was great.

1107
00:53:56,200 --> 00:53:58,359
Speaker 2: Love love love love.

1108
00:53:59,480 --> 00:54:03,480
Speaker 3: Wow. Yeah, you got me with that. I've never heard

1109
00:54:03,560 --> 00:54:06,720
Speaker 3: that set up before. That's an incredible setup. That's crazy.

1110
00:54:07,360 --> 00:54:10,080
Speaker 3: Could you even imagine that, Voltron? That's crazy.

1111
00:54:15,520 --> 00:54:22,000
Speaker 2: We got something special for you though, A saying no

1112
00:54:23,239 --> 00:54:27,080
Speaker 2: saying no name, saying no names, no names.

1113
00:54:27,120 --> 00:54:27,719
Speaker 1: Who was.

1114
00:54:30,160 --> 00:54:48,200
Speaker 2: What you need? He's saying no name. Yeah, we've come

1115
00:54:48,280 --> 00:54:48,719
Speaker 2: to that part.

1116
00:54:49,040 --> 00:54:52,520
Speaker 4: Come to the segment special, very special party show, very

1117
00:54:52,560 --> 00:54:53,399
Speaker 4: pensive part of the show.

1118
00:54:53,640 --> 00:54:54,320
Speaker 2: What's that?

1119
00:54:54,520 --> 00:54:57,560
Speaker 4: So we're here now and you know we need we

1120
00:54:57,640 --> 00:55:01,040
Speaker 4: need you to give us a story, funnier, fucked up

1121
00:55:02,360 --> 00:55:04,400
Speaker 4: and your travels. I mean, you already told us the

1122
00:55:04,440 --> 00:55:05,239
Speaker 4: ship that was wild.

1123
00:55:05,680 --> 00:55:06,279
Speaker 2: You know what I mean it was.

1124
00:55:06,320 --> 00:55:08,319
Speaker 4: You know, this time you gotta say without saying nobody name.

1125
00:55:09,360 --> 00:55:12,480
Speaker 4: You know what I'm saying, you know, and in the times,

1126
00:55:12,560 --> 00:55:17,120
Speaker 4: in the life and time Brian Alexander Morgan, ship you've seen,

1127
00:55:18,480 --> 00:55:20,759
Speaker 4: I mean, you know, maybe a story maybe on.

1128
00:55:20,800 --> 00:55:24,080
Speaker 2: The field of which it maybe funny, fucked up or both.

1129
00:55:24,440 --> 00:55:26,719
Speaker 4: Yeah, yeah, they can be funny, are fucked up or

1130
00:55:26,760 --> 00:55:27,839
Speaker 4: funny and fucked up.

1131
00:55:29,239 --> 00:55:30,879
Speaker 2: The only rude to the game is you can't say

1132
00:55:30,920 --> 00:55:31,440
Speaker 2: no names.

1133
00:55:35,680 --> 00:55:41,839
Speaker 3: Huh, that's interesting. I think one of so many things

1134
00:55:41,880 --> 00:55:43,759
Speaker 3: are going through my head, but like random stuff that

1135
00:55:43,840 --> 00:55:49,560
Speaker 3: has iconic moments that were weird. I walked onto the

1136
00:55:49,680 --> 00:55:54,879
Speaker 3: set of the video for Missy's The Rain already I'm sorry,

1137
00:55:56,080 --> 00:55:58,040
Speaker 3: damn fucked up, but.

1138
00:55:58,360 --> 00:55:58,799
Speaker 2: It's not her.

1139
00:55:58,920 --> 00:56:04,640
Speaker 3: But it's not about her though, That is where I was, OK. Yeah, uh,

1140
00:56:05,960 --> 00:56:07,640
Speaker 3: I can't do this then, because I can't say that's

1141
00:56:07,640 --> 00:56:08,239
Speaker 3: too many names.

1142
00:56:09,320 --> 00:56:11,839
Speaker 2: How am I gonna convey? You can do, you can

1143
00:56:11,960 --> 00:56:15,840
Speaker 2: plain the situation, can't say today, man, I think I

1144
00:56:15,880 --> 00:56:20,680
Speaker 2: gotta switch through descriptive that story is. I can't even O.

1145
00:56:20,760 --> 00:56:21,480
Speaker 2: Can't let me change.

1146
00:56:21,560 --> 00:56:23,400
Speaker 3: Okay, So no names, it's.

1147
00:56:26,280 --> 00:56:29,879
Speaker 2: So let me get this wreck. You you don't want

1148
00:56:29,920 --> 00:56:36,720
Speaker 2: no names? Okay.

1149
00:56:37,400 --> 00:56:42,080
Speaker 3: Oh this is a management issue.

1150
00:56:42,520 --> 00:56:44,280
Speaker 2: Okay. So when.

1151
00:56:45,840 --> 00:56:50,960
Speaker 3: I got signed, didn't have management. When things fell apart,

1152
00:56:52,440 --> 00:56:54,800
Speaker 3: we got management trying to think that we're going to

1153
00:56:54,880 --> 00:57:00,080
Speaker 3: fix what was falling apart. It was a crook. We

1154
00:57:00,120 --> 00:57:02,120
Speaker 3: got a crook as a manager. That was a person

1155
00:57:02,200 --> 00:57:05,200
Speaker 3: who was a criminal, and we didn't know that so

1156
00:57:07,000 --> 00:57:10,280
Speaker 3: too late after you already signed to the management.

1157
00:57:10,320 --> 00:57:12,680
Speaker 2: Oh you signed to the criminal, to the criminal okay, okay.

1158
00:57:13,160 --> 00:57:13,239
Speaker 6: And.

1159
00:57:14,920 --> 00:57:18,600
Speaker 3: That almost got me killed in real life because that

1160
00:57:18,760 --> 00:57:21,720
Speaker 3: criminal tried to come up against the powers that be

1161
00:57:22,400 --> 00:57:25,720
Speaker 3: and it all went bad. So that was scary for

1162
00:57:25,880 --> 00:57:28,160
Speaker 3: a young person like me at that time, in my

1163
00:57:28,200 --> 00:57:32,440
Speaker 3: early twenties that had never been confronted with Oh I.

1164
00:57:32,480 --> 00:57:33,160
Speaker 2: Could die.

1165
00:57:34,760 --> 00:57:37,840
Speaker 3: Like holy crap, Like what do I What the hell?

1166
00:57:37,920 --> 00:57:43,440
Speaker 3: I didn't sign up for violence. So that was a

1167
00:57:43,560 --> 00:57:48,720
Speaker 3: life lesson that I learned that loyalty can be more

1168
00:57:48,760 --> 00:57:50,360
Speaker 3: important than.

1169
00:57:50,280 --> 00:57:51,880
Speaker 2: An immediate.

1170
00:57:53,440 --> 00:57:59,480
Speaker 3: Gratifact. Gratification like ultimate loyalty is important when if you

1171
00:57:59,640 --> 00:58:03,000
Speaker 3: have to have somebody like in your corner that absolutely

1172
00:58:03,120 --> 00:58:06,440
Speaker 3: got your back back even when business might be afft

1173
00:58:06,520 --> 00:58:10,480
Speaker 3: up this I learned that the hard way I had

1174
00:58:10,520 --> 00:58:12,760
Speaker 3: went with some other people that I thought had my back,

1175
00:58:13,160 --> 00:58:17,000
Speaker 3: but it almost cost me my life. Literally, Yeah, it

1176
00:58:17,160 --> 00:58:19,440
Speaker 3: was bad because the person who's I should have had

1177
00:58:19,520 --> 00:58:24,040
Speaker 3: my loyalty too, was so offended that I brought this

1178
00:58:24,280 --> 00:58:29,640
Speaker 3: outside person in who was absolutely a criminal, the kind

1179
00:58:29,720 --> 00:58:32,240
Speaker 3: of shit you can't even make up like, And I

1180
00:58:32,320 --> 00:58:34,040
Speaker 3: didn't know any of those things, so I was learning

1181
00:58:34,080 --> 00:58:35,920
Speaker 3: all of it in real time, like whoa what what?

1182
00:58:36,120 --> 00:58:37,240
Speaker 2: What you know?

1183
00:58:37,440 --> 00:58:40,640
Speaker 3: So that it's probably not the story you was looking for,

1184
00:58:40,800 --> 00:58:41,800
Speaker 3: But that's that happened.

1185
00:58:42,360 --> 00:58:42,880
Speaker 2: That happens.

1186
00:58:43,520 --> 00:58:46,680
Speaker 3: It's scary, scary. So I say to any people in

1187
00:58:46,760 --> 00:58:48,880
Speaker 3: this game or when you're doing what you're doing, and

1188
00:58:48,960 --> 00:58:51,280
Speaker 3: I've heard horror stories. We talked about people hanging people

1189
00:58:51,280 --> 00:58:52,960
Speaker 3: out windows, all that stuff that all those things that

1190
00:58:52,960 --> 00:58:55,320
Speaker 3: have happened to certain people. When I hear those kind

1191
00:58:55,360 --> 00:58:58,800
Speaker 3: of stories, I'm like, I died the bullet for compared

1192
00:58:58,800 --> 00:59:05,760
Speaker 3: to those stories. So I don't take my being alive

1193
00:59:06,360 --> 00:59:09,160
Speaker 3: for granted. Nice Ever, maybe that changed my life. I

1194
00:59:09,240 --> 00:59:11,280
Speaker 3: think it might have changed my life my perspective on

1195
00:59:11,560 --> 00:59:14,480
Speaker 3: just being alive and being grateful for being in the

1196
00:59:14,520 --> 00:59:16,960
Speaker 3: position that you are in, even when it looks fucked up.

1197
00:59:17,360 --> 00:59:19,240
Speaker 3: Like every day I wake up, I'll be like, I'm

1198
00:59:19,280 --> 00:59:23,440
Speaker 3: not in Gaza. That's just how I think I'm grateful

1199
00:59:23,520 --> 00:59:25,400
Speaker 3: or humble. And sometime I had it, y'all. Tell me

1200
00:59:25,400 --> 00:59:27,200
Speaker 3: if this is y'all, I can have a moment where

1201
00:59:27,200 --> 00:59:30,720
Speaker 3: I just absolutely lose it and cry just for pure gratefulness,

1202
00:59:31,800 --> 00:59:34,120
Speaker 3: just lose it and just being thankful. I don't have

1203
00:59:34,160 --> 00:59:36,760
Speaker 3: a moment of praise by myself. Nobody needs to know,

1204
00:59:37,440 --> 00:59:40,200
Speaker 3: just me being thankful. I don't know if I'm the

1205
00:59:40,240 --> 00:59:42,400
Speaker 3: only one that does that, but I do. And to me,

1206
00:59:42,560 --> 00:59:45,760
Speaker 3: it's you talk about a cleansing, that's a cleansing.

1207
00:59:45,880 --> 00:59:46,080
Speaker 2: To me.

1208
00:59:46,600 --> 00:59:48,720
Speaker 3: When I have those moments, I call them my private

1209
00:59:48,800 --> 00:59:52,960
Speaker 3: spiritual moments where I'm just like, let it out, whatever

1210
00:59:53,080 --> 00:59:55,960
Speaker 3: it is, thank the universe, thank God, whatever it is

1211
00:59:56,040 --> 00:59:58,640
Speaker 3: you pray to. I do all of that as a

1212
00:59:59,520 --> 01:00:04,360
Speaker 3: as a weekly thing because it helps me keep myself grounded,

1213
01:00:04,880 --> 01:00:09,120
Speaker 3: be honest with myself and spiritual.

1214
01:00:09,320 --> 01:00:11,320
Speaker 2: I still like you if you follow my page.

1215
01:00:11,400 --> 01:00:14,040
Speaker 3: I talk so much shit against organized religion and because

1216
01:00:14,160 --> 01:00:17,120
Speaker 3: the way I came up, and there's a whole other stories,

1217
01:00:17,160 --> 01:00:20,360
Speaker 3: there's a lot, and I have really bad feelings about

1218
01:00:20,440 --> 01:00:22,360
Speaker 3: organized religion and people trying to tell you how to

1219
01:00:22,440 --> 01:00:25,280
Speaker 3: do your connection with your higher power. So I spend

1220
01:00:25,280 --> 01:00:26,960
Speaker 3: a lot of time on my page trying to tell

1221
01:00:27,000 --> 01:00:29,200
Speaker 3: people you don't have to do it some other person's

1222
01:00:29,280 --> 01:00:33,920
Speaker 3: kind of way. You can do your connection direct and keep.

1223
01:00:33,800 --> 01:00:36,880
Speaker 2: The middle stuff, middle people out. That's what I do.

1224
01:00:38,400 --> 01:00:40,280
Speaker 2: I don't know why I went there, but I don't know.

1225
01:00:40,920 --> 01:00:41,960
Speaker 2: Somebody needs to hear. Yeah.

1226
01:00:41,960 --> 01:00:43,280
Speaker 3: I want to share that with you because that really

1227
01:00:43,320 --> 01:00:49,160
Speaker 3: is real, Like that's one hundred percent like for real,

1228
01:00:49,480 --> 01:00:52,880
Speaker 3: And so all my praise happens privately. I don't need

1229
01:00:52,960 --> 01:00:54,200
Speaker 3: to do it in front of folks. I don't need

1230
01:00:54,240 --> 01:00:56,920
Speaker 3: to impress nobody with nothing. But it's very real.

1231
01:00:56,960 --> 01:00:59,360
Speaker 2: And since I lost my mom at in two thousand

1232
01:00:59,400 --> 01:01:00,920
Speaker 2: and six.

1233
01:01:01,520 --> 01:01:03,560
Speaker 3: Lost my sister in two thousand and four, lost my

1234
01:01:03,600 --> 01:01:05,680
Speaker 3: mom in six and so I feel like when those

1235
01:01:05,720 --> 01:01:11,800
Speaker 3: moments happened, it's her reconnecting with me and re reminding

1236
01:01:12,000 --> 01:01:15,760
Speaker 3: me of what she taught me about gratefulness and humbleness

1237
01:01:15,880 --> 01:01:17,840
Speaker 3: and all the things. I learned to have nothing to

1238
01:01:17,920 --> 01:01:20,960
Speaker 3: do with any of this business stuff. So I carry

1239
01:01:21,000 --> 01:01:23,200
Speaker 3: it with me. You mentioned when you said your father,

1240
01:01:23,640 --> 01:01:27,800
Speaker 3: it made it instantly made me feel that about my mother. Yeah,

1241
01:01:27,880 --> 01:01:30,600
Speaker 3: my father still lied. We cool, But when I lost her,

1242
01:01:31,080 --> 01:01:34,080
Speaker 3: she was the force that kept me one hundred percent real,

1243
01:01:34,840 --> 01:01:37,240
Speaker 3: you know. So she was super proud of me for

1244
01:01:37,360 --> 01:01:39,880
Speaker 3: doing what we like. Her son was working with Aretha.

1245
01:01:39,920 --> 01:01:41,040
Speaker 3: I'm in Detroit with Aretha?

1246
01:01:41,200 --> 01:01:43,760
Speaker 2: What her son? What do you do? What? You know?

1247
01:01:44,040 --> 01:01:46,120
Speaker 2: She grew up on Aretha, so like that's crazy.

1248
01:01:48,600 --> 01:01:52,080
Speaker 4: Yeah, this music does for us. That's what it does

1249
01:01:52,120 --> 01:01:54,240
Speaker 4: for us, man. It takes us expenses in places that

1250
01:01:54,640 --> 01:01:55,960
Speaker 4: we never imagine.

1251
01:01:55,840 --> 01:01:58,800
Speaker 3: Right right, right right, And again, I'm still thankful to

1252
01:01:58,920 --> 01:02:01,760
Speaker 3: be here, just to be here, thankful for you guys,

1253
01:02:01,880 --> 01:02:04,200
Speaker 3: with your platform that I made it on.

1254
01:02:05,280 --> 01:02:08,080
Speaker 2: Because everybody watched this. Do they love this? They love y'all? Man,

1255
01:02:08,240 --> 01:02:10,680
Speaker 2: they do. I know that for a fact. Everybody.

1256
01:02:10,720 --> 01:02:12,040
Speaker 3: You know, I mean, people have been asking what you're

1257
01:02:12,040 --> 01:02:12,680
Speaker 3: gonna do on there?

1258
01:02:14,280 --> 01:02:17,000
Speaker 2: I don't do that, don't want that pressure.

1259
01:02:18,080 --> 01:02:20,320
Speaker 3: I really got to know, like they see me on

1260
01:02:20,520 --> 01:02:23,040
Speaker 3: other people's things, like when you're going through the real

1261
01:02:23,120 --> 01:02:23,760
Speaker 3: joint out.

1262
01:02:25,840 --> 01:02:27,280
Speaker 2: That I'm not even joking.

1263
01:02:28,560 --> 01:02:30,880
Speaker 3: And I was felt bad because like when I tried

1264
01:02:30,880 --> 01:02:32,520
Speaker 3: to reschedule that first time when it wouldn't work.

1265
01:02:32,400 --> 01:02:34,040
Speaker 2: I was like, oh they with me, Oh my god,

1266
01:02:34,120 --> 01:02:36,840
Speaker 2: I know, No, you're a guy.

1267
01:02:38,440 --> 01:02:41,400
Speaker 4: Appreciate you that we have the most respectful for what

1268
01:02:41,520 --> 01:02:43,360
Speaker 4: you've done man, and what you're doing and just you know,

1269
01:02:43,520 --> 01:02:44,080
Speaker 4: just your just.

1270
01:02:44,120 --> 01:02:45,200
Speaker 2: Your presence in this music.

1271
01:02:45,240 --> 01:02:48,000
Speaker 4: GANI coming in here with with that type of energy

1272
01:02:48,080 --> 01:02:49,720
Speaker 4: man that you know you've been in this game for

1273
01:02:49,960 --> 01:02:51,560
Speaker 4: as long as you've been in it and still love

1274
01:02:51,640 --> 01:02:55,240
Speaker 4: it man, you know, because you know we we're around everybody.

1275
01:02:56,080 --> 01:02:58,280
Speaker 2: Everybody don't love it no more. Facts, you know what

1276
01:02:58,280 --> 01:02:58,520
Speaker 2: I mean.

1277
01:02:58,720 --> 01:03:00,880
Speaker 4: And I when I when I'm I'm around people who

1278
01:03:00,920 --> 01:03:04,840
Speaker 4: have been in it who don't love it anymore. It's disheartening. Yeah,

1279
01:03:05,240 --> 01:03:07,240
Speaker 4: you know what I mean, because this is obviously something

1280
01:03:07,320 --> 01:03:10,320
Speaker 4: we do from our heart. This is something that it's

1281
01:03:10,680 --> 01:03:13,120
Speaker 4: really been embedded in all of us and has, like

1282
01:03:13,160 --> 01:03:15,080
Speaker 4: I said, taking us places and put us in, you know,

1283
01:03:15,720 --> 01:03:16,600
Speaker 4: situations that we.

1284
01:03:16,720 --> 01:03:18,000
Speaker 2: Never could even even imagine.

1285
01:03:18,960 --> 01:03:21,880
Speaker 4: So when we get that and we get here, I

1286
01:03:22,080 --> 01:03:24,320
Speaker 4: just hope they remember, you know, how good it is

1287
01:03:24,520 --> 01:03:27,120
Speaker 4: to be in this position, right, you know what I mean,

1288
01:03:27,200 --> 01:03:29,240
Speaker 4: and to see you and to see you still enjoying

1289
01:03:29,280 --> 01:03:31,720
Speaker 4: it the way you do and still you can still.

1290
01:03:31,520 --> 01:03:34,240
Speaker 2: Call it all up and it is this that it's amazing, bro,

1291
01:03:34,760 --> 01:03:36,640
Speaker 2: that's amazing. Amazing. Course.

1292
01:03:36,760 --> 01:03:38,320
Speaker 3: So Wayne was just at my house two days and

1293
01:03:38,360 --> 01:03:40,480
Speaker 3: two nights ago. So I have a whole other side

1294
01:03:40,480 --> 01:03:42,880
Speaker 3: of me that I do house music, like very religiously

1295
01:03:42,920 --> 01:03:45,040
Speaker 3: and seriously. Really, I'm a real student of house music.

1296
01:03:45,360 --> 01:03:47,560
Speaker 3: So Wayne and I are doing a partnership with here

1297
01:03:47,680 --> 01:03:51,160
Speaker 3: Terry Hunter, the DJ for Chiciago. He's amazing. So I'm

1298
01:03:51,200 --> 01:03:54,160
Speaker 3: doing a whole separate house music thing with those guys.

1299
01:03:54,640 --> 01:03:56,920
Speaker 3: So I just am thankful that I have all these

1300
01:03:57,000 --> 01:03:59,320
Speaker 3: outlets to do these things like and then my hip hop.

1301
01:03:59,200 --> 01:04:02,240
Speaker 2: Stuff is like with I also sing on house tracks.

1302
01:04:04,880 --> 01:04:07,120
Speaker 3: I hope y'all really come over, like, don't dun't.

1303
01:04:09,560 --> 01:04:11,240
Speaker 2: I need those guys.

1304
01:04:12,880 --> 01:04:17,400
Speaker 3: Hills please, because I'm telling you, like, I want nothing

1305
01:04:17,480 --> 01:04:19,360
Speaker 3: more than to get you guys's ears on some of

1306
01:04:19,440 --> 01:04:22,560
Speaker 3: these things I'm working on because I'm excited about them

1307
01:04:22,600 --> 01:04:24,400
Speaker 3: and I want I just want to see what gets

1308
01:04:24,400 --> 01:04:27,720
Speaker 3: some feedback from you absolutely and some huge business wise

1309
01:04:27,880 --> 01:04:30,000
Speaker 3: like there's I have a couple of people are trying

1310
01:04:30,000 --> 01:04:32,760
Speaker 3: to do some things with me, heads from people right now,

1311
01:04:32,880 --> 01:04:35,360
Speaker 3: some things with these records, and I'm trying to figure

1312
01:04:35,400 --> 01:04:37,520
Speaker 3: out the best way to move to get these records

1313
01:04:37,560 --> 01:04:39,200
Speaker 3: out because I know I'm sitting on gold.

1314
01:04:39,320 --> 01:04:39,720
Speaker 2: I know it.

1315
01:04:40,280 --> 01:04:43,280
Speaker 3: I haven't felt this way about certain these particular records

1316
01:04:43,400 --> 01:04:45,080
Speaker 3: like in a long time as far, and I know

1317
01:04:45,160 --> 01:04:47,680
Speaker 3: there's this particular audience that's waiting for these records. Is

1318
01:04:47,840 --> 01:04:50,920
Speaker 3: they are ready, big time ready, especially after verses and

1319
01:04:51,000 --> 01:04:52,800
Speaker 3: after all these things. Right, So, I'm sitting on these

1320
01:04:52,840 --> 01:04:55,160
Speaker 3: records and I need to get them out, but I'm

1321
01:04:55,600 --> 01:04:59,320
Speaker 3: weighing a couple of situations and I feel very alone

1322
01:04:59,400 --> 01:05:01,360
Speaker 3: and trying to make the decisions. It's good that I

1323
01:05:01,440 --> 01:05:03,040
Speaker 3: have these options, but I need to have people to

1324
01:05:03,120 --> 01:05:05,200
Speaker 3: bounce some options off of them. And you guys are

1325
01:05:05,240 --> 01:05:08,080
Speaker 3: the perfect guys because you've been in multiple, multiple situations

1326
01:05:08,160 --> 01:05:10,640
Speaker 3: and deals like there's ways to do these records and

1327
01:05:10,680 --> 01:05:12,440
Speaker 3: get them out, you know what I mean. So after

1328
01:05:12,560 --> 01:05:14,520
Speaker 3: y'all hear what I got and when I'm sitting on

1329
01:05:14,960 --> 01:05:17,200
Speaker 3: I want to y'all want you guys to really share

1330
01:05:17,240 --> 01:05:18,800
Speaker 3: with me what you guys how y'all think I should move.

1331
01:05:19,840 --> 01:05:20,280
Speaker 2: I need that.

1332
01:05:20,480 --> 01:05:22,760
Speaker 3: It's easy because every time I talk to other certain

1333
01:05:22,800 --> 01:05:25,400
Speaker 3: people about it, they don't understand it like y'all do

1334
01:05:26,080 --> 01:05:28,400
Speaker 3: they more approaching it more like if they're not approaching

1335
01:05:28,440 --> 01:05:30,760
Speaker 3: it all the way from a hedge fund only perspective,

1336
01:05:31,000 --> 01:05:32,720
Speaker 3: or they're approaching it from Okay, you need to do

1337
01:05:32,800 --> 01:05:35,360
Speaker 3: this or do that with your catalog. Well, I already

1338
01:05:35,360 --> 01:05:37,280
Speaker 3: did the thing with my catalog. I got that part

1339
01:05:37,360 --> 01:05:39,000
Speaker 3: or that so, and I haven't sold my old catalog

1340
01:05:39,040 --> 01:05:40,440
Speaker 3: like a lot of people. I still got most of

1341
01:05:40,440 --> 01:05:42,320
Speaker 3: my catalog. But I did do a little piece and

1342
01:05:42,640 --> 01:05:43,520
Speaker 3: it got me what I wanted.

1343
01:05:44,440 --> 01:05:46,440
Speaker 2: But here's the deal. At this juncture with.

1344
01:05:46,480 --> 01:05:49,480
Speaker 3: These things I'm sitting on, it's time for me to

1345
01:05:49,600 --> 01:05:52,680
Speaker 3: figure out how to leverage the physical stuff I have too,

1346
01:05:52,960 --> 01:05:56,320
Speaker 3: not just my intellectual property. You feel me so in

1347
01:05:56,440 --> 01:05:57,920
Speaker 3: that way, I feel like you guys are going to

1348
01:05:57,960 --> 01:05:59,840
Speaker 3: be a good asset to tell me, Hey, be.

1349
01:06:01,760 --> 01:06:02,320
Speaker 2: A B or c.

1350
01:06:02,600 --> 01:06:04,560
Speaker 3: Yeah, in the moment where I'm trying.

1351
01:06:04,400 --> 01:06:06,760
Speaker 2: To make the decision because I'm keep all the way

1352
01:06:06,800 --> 01:06:08,520
Speaker 2: a thousand, it's crazy. I know you will.

1353
01:06:08,640 --> 01:06:11,120
Speaker 3: That's what one hundred percent love, And I just want

1354
01:06:11,160 --> 01:06:12,840
Speaker 3: you guys to hear it as musicians and singers and

1355
01:06:12,840 --> 01:06:14,600
Speaker 3: writers and the kind of ship you guys.

1356
01:06:14,560 --> 01:06:16,680
Speaker 2: Know, erfect perfect Boo boo.

1357
01:06:16,720 --> 01:06:19,280
Speaker 3: Bring some sushi over, bring like I don't need sushi,

1358
01:06:19,320 --> 01:06:29,040
Speaker 3: but go ahead. Anything Midwest cabbage dreams, I said, cabbage

1359
01:06:29,040 --> 01:06:29,720
Speaker 3: and green that white.

1360
01:06:31,720 --> 01:06:34,640
Speaker 2: Ur don't know. No, we went and we went everywhere.

1361
01:06:34,680 --> 01:06:41,720
Speaker 2: Anything but what you think you know, some soulfu ship

1362
01:06:41,960 --> 01:06:44,640
Speaker 2: just ponders. You want me to go down to duelings.

1363
01:06:50,080 --> 01:06:50,640
Speaker 3: With the greed?

1364
01:06:51,000 --> 01:06:56,040
Speaker 2: Keep it we that's perfect. So look, I swear you're

1365
01:06:56,080 --> 01:06:59,840
Speaker 2: going to close, you know, like all right, I'm just

1366
01:07:00,040 --> 01:07:03,720
Speaker 2: it up. Ladies. First of all, I love you brother.

1367
01:07:04,400 --> 01:07:08,000
Speaker 1: We appreciate you, you know, as a brother, as a musician,

1368
01:07:09,520 --> 01:07:12,760
Speaker 1: as a great Yes, you are thank you you are that.

1369
01:07:13,040 --> 01:07:15,360
Speaker 2: You know what I mean? This is this is this

1370
01:07:15,560 --> 01:07:17,000
Speaker 2: is your flower day, my brother. Hey.

1371
01:07:17,120 --> 01:07:19,520
Speaker 1: So if people can't understand who and what you are, wow,

1372
01:07:19,720 --> 01:07:21,880
Speaker 1: and you get to talk that talk and share that

1373
01:07:21,960 --> 01:07:23,440
Speaker 1: good energy with Was this a good show?

1374
01:07:23,600 --> 01:07:27,880
Speaker 2: Did we do? It's great? It's great? Yea.

1375
01:07:31,360 --> 01:07:33,640
Speaker 1: And this is the R by Money podcast, your story

1376
01:07:33,960 --> 01:07:35,240
Speaker 1: on all things R and B.

1377
01:07:35,560 --> 01:07:39,160
Speaker 2: And this has been a good episode. What our brother more?

1378
01:07:42,320 --> 01:07:42,720
Speaker 3: Amen?

1379
01:07:43,280 --> 01:07:44,360
Speaker 2: R and B Money.

1380
01:07:45,520 --> 01:07:47,280
Speaker 4: R and B Money is a production of the Black

1381
01:07:47,320 --> 01:07:51,919
Speaker 4: Effect Podcast Network. For more podcasts from iHeart Radio, visit

1382
01:07:52,000 --> 01:07:55,800
Speaker 4: the iHeartRadio app, Apple Podcasts, or wherever you listen to

1383
01:07:55,880 --> 01:07:59,439
Speaker 4: your favorite shows. Don't forget to subscribe to and rate

1384
01:07:59,480 --> 01:08:01,920
Speaker 4: our show, and you can connect with us on social

1385
01:08:02,040 --> 01:08:05,600
Speaker 4: media at Jay Valentine and at the Real Tank. For

1386
01:08:05,760 --> 01:08:10,880
Speaker 4: the extended episode, subscribe to YouTube dot com or slash

1387
01:08:11,200 --> 01:08:11,880
Speaker 4: R and B Money