Speaker 1: R and B Money, Honey, we are.
Speaker 2: Thanks.
Speaker 1: Take out of chat. We are the authority on all
Speaker 1: R and B ladies and gentlemen. My name is Tanking Valentine.
Speaker 1: This is the R V Money podcast, your thought, your
Speaker 1: authority for all things R and B.
Speaker 2: Tell her what it is.
Speaker 1: I'm talking big ship today, hundred percents, timeless.
Speaker 3: All timers catalog.
Speaker 2: Yeah, yeah, you wanna break the artists. You want to
Speaker 2: break something.
Speaker 4: Yeah, you might get a week, you might get weak, breaking.
Speaker 2: Some You want somebody to sample your ship in years
Speaker 2: later because it was so good. Come on, come on,
Speaker 2: let it rain, let it ring.
Speaker 1: I don't like them niggas do good.
Speaker 3: Too good, too good.
Speaker 2: You guys, I love it man.
Speaker 3: Thank you guys, fans, I'm a fan first, Thank you both.
Speaker 3: Appreciate're just happy to be here this. You guys are killing.
Speaker 3: What are we talking about over here?
Speaker 1: At the reason, the reason why we even have a platform,
Speaker 1: the reason why we were even inspired to have this
Speaker 1: conversation is because this is one of those conversations that
Speaker 1: needed to be had. We're talking music that that shaped
Speaker 1: generations of music, that's wow like in real life. Appreciate
Speaker 1: music that that drops right now and it's sang word
Speaker 1: for word, note for note, copying your flow. It's a blessing, bro, Yeah,
Speaker 1: better huge blessing, Yes it is. And we're gonna we're
Speaker 1: gonna get into those blessings and let you talk your talk.
Speaker 1: You know as a musician, you know what I mean.
Speaker 1: Like for me, it's like it's like, wow, you know
Speaker 1: what I'm saying. It's the same reference I give Davante,
Speaker 1: you know what I'm saying where it's like, Okay, that's
Speaker 1: that's a different type of musicianship that you're adding into, Like,
Speaker 1: that's different to be able to get that off like
Speaker 1: the first person we ever seen like go crazy like
Speaker 1: that from a music musician standpoint, to make musicians go
Speaker 1: crazy with Stevie wonder Where, it was like, how do
Speaker 1: he do all of that but make it digestible to
Speaker 1: where anybody could write anybody could understand it?
Speaker 2: Right? Right?
Speaker 3: That's it's not easy, No, not at all. It's complicated
Speaker 3: and simple at the same.
Speaker 1: At the same at the same. All right man, Yeah,
Speaker 1: let's let's go back to the beginning. Where is where is?
Speaker 1: Where is Brian Alexander Morgan born? And who who who
Speaker 1: passed these gifts down? Or where do who did you
Speaker 1: sit under to to to find this magic born in Wichita? Wichita?
Speaker 1: What are they doing in which town?
Speaker 3: Oh my god? Well, you know, not.
Speaker 5: A lot, not a whole lot at.
Speaker 2: Least doing that.
Speaker 3: But I always like to say this Wichita is landlocked.
Speaker 3: Not a whole lot to do outside.
Speaker 2: Okay.
Speaker 3: So there's no ocean to go to like in the
Speaker 3: Bay or East Coast, and we ain't running the no
Speaker 3: beach doing nothing. And all the lakes were where the
Speaker 3: white boys were, so they drowned every year. So we
Speaker 3: wasn't doing that. So that leaves church and the club.
Speaker 3: So it's Wichita, like it's black enough, but it's very segregated,
Speaker 3: segregated because how far is They're from Kansas City, like
Speaker 3: two hours okay, so that's the closest we have to
Speaker 3: we go two hours before we get to a real city,
Speaker 3: a big city, any kind of big city. So which
Speaker 3: the unlike Chicago, were just talking about that to Mahomie,
Speaker 3: like twenty minutes is Gary, aiandas twenty minutes from Chicago,
Speaker 3: you know what I'm saying, there's nothing like that. So
Speaker 3: when you landlocked, as we were, the competition in the
Speaker 3: church circuit is so heavy, and I know you can
Speaker 3: relate to this between. Okay, so you got two tiers.
Speaker 3: You got your Baptist competition stuff and what they're doing,
Speaker 3: and you got your church Got in Christ stuff and
Speaker 3: what they're doing. Well, what I learned early, because I
Speaker 3: had lots of church, you got in Christ friends.
Speaker 2: Right.
Speaker 3: So when my young ear was listening to when I'm
Speaker 3: coming up trying to figure out how to play Stevie stuff,
Speaker 3: but I really want to play Herbie stuff. I really
Speaker 3: want to be Herbie or Patrice Russian. I'm ten and
Speaker 3: I'm twelve, and I can't comprehend all that complicated stuff.
Speaker 3: So I noticed that my Baptist this is note this
Speaker 3: at all, but my Baptist folks was very very straight
Speaker 3: ahead and very straight and traditional. You're James Cleveland, You're
Speaker 3: Andre Crouch, You're very straight ahead. But when I would
Speaker 3: go just a couple of blocks down to my church
Speaker 3: Got in Christ folks, they was playing the complicated, funky
Speaker 3: chords that I needed to know. For example, at offering,
Speaker 3: my man would play on the order the Hammer. He
Speaker 3: would play the theme from Mash.
Speaker 5: And I was like, what he was like knocking, Wait
Speaker 5: a minute, wait a minute, it is just offering hold
Speaker 5: out and.
Speaker 3: Then they might do a cheer. I mean, I'm sorry, taxi.
Speaker 3: So that's really about James. So I'm like, you feel
Speaker 3: in church, yes, but.
Speaker 2: They were sneaking them in.
Speaker 3: I was like, you know what, but what? So I
Speaker 3: was like, I'm at the wrong church. So I start
Speaker 3: dipping into those eat services and understanding the difference between
Speaker 3: just a how we just worshiped. Right, So all the
Speaker 3: all the all the praise music and the shop music
Speaker 3: and all those things, those things didn't really happen at
Speaker 3: my church. They happened in a different way. Like, so
Speaker 3: I started I started to get them. That was like
Speaker 3: seventy seventy I was like twelve but old when nineteen
Speaker 3: seventy nine hit when I was fourteen thirteen and the
Speaker 3: very first Clark Sisters.
Speaker 2: Thing hit big, It.
Speaker 3: Is my living in vain. That was That was a
Speaker 3: watershed moment for people like me who was in straddling
Speaker 3: both those worlds Baptist coaching.
Speaker 2: So all of a.
Speaker 3: Sudden, the coaching people was like, oh you ain't y'all,
Speaker 3: ain't never doing nothing like this. It's my living what
Speaker 3: And so once tweaking them start doing anything. It was
Speaker 3: a rap. And then by eighty one, when I was
Speaker 3: fifteen sixties, you brought the sunshine went crazy. So then
Speaker 3: I was like, Okay, now she's combining my hero Stevie
Speaker 3: Wonder with the church thing, and I just I knew
Speaker 3: that was it. That was my calling. I was like, well,
Speaker 3: then and now and then that just leads us to commission,
Speaker 3: which we'll get to. But I'm just saying what he
Speaker 3: was saying. I was playing, Yeah, absolutely, playing in my
Speaker 3: own church, Saint James. I was playing my Baptist church.
Speaker 3: But then they weren't really paying like I thought.
Speaker 2: There's always so, but this particular one was thirteen.
Speaker 3: But I was looking at the I was looking at
Speaker 3: the game, and I was like, hmmm, so how much
Speaker 3: work he was putting in? And I need a stereo equipment.
Speaker 3: I needed stuff. I needed to rent a drum machine.
Speaker 3: I needed to sound like I needed to sound like
Speaker 3: Jimmy Jame Terry Lewis all of a sudden like Prince,
Speaker 3: I need to program. I need that Len drum, you do.
Speaker 3: I need to rent these joints on the weekend. And
Speaker 3: so look, so this one Kochic Church needed the player
Speaker 3: one and I just took took it. So I left
Speaker 3: my church and started playing exclusively for this other particular church,
Speaker 3: which out of my denomination, but I didn't care. So
Speaker 3: they let me put my drum machine in the pool
Speaker 3: pit and I would play and I would program the
Speaker 3: whole performances, like when I did Your at the Sunshine.
Speaker 3: It was the drummers doing this in eighties. In the
Speaker 3: early aces. No no, no, this is like no, I said,
Speaker 3: like eighty two, eighty three, So now I'm like sixteen seventeen,
Speaker 3: and that's what I was doing, So I would program
Speaker 3: all the fields on the drum machine. It was really
Speaker 3: a training ground. So by the time, and that's early
Speaker 3: so mid eighties, when Commission came like a eighty five
Speaker 3: with that first album, then I was like, Okay, now
Speaker 3: I see it's possible to have these pop sensibilities on it.
Speaker 3: That's what Commission is to me. It's what I don't
Speaker 3: hear people talk about a lot. So what I heard
Speaker 3: Michael Fred Hammond and those guys do is that they
Speaker 3: took records because I'm from the Midwest, so Chicago and
Speaker 3: bands like that were huge. So Peter Setera and heavily
Speaker 3: melody based things like let's see, uh.
Speaker 2: You say your loves man to me?
Speaker 3: All the open, the open tones, that is that Commission
Speaker 3: church thing. So I made the connection between the Chicago
Speaker 3: pop joints and black gospel cords. So then I was like, oh, well,
Speaker 3: this is the thing I wonder because that was so
Speaker 3: different from the Winings, the other previous family that had
Speaker 3: been killing it. But we can't ignore the Winings contribution
Speaker 3: and what Bill Maxwell, the producer, had my ear because
Speaker 3: when he would do these productions, they were sounding like
Speaker 3: earth Wind and Fire productions. I remember andre Craft, It's
Speaker 3: going to rain. I was like, ooh, I feel like
Speaker 3: serpentine fire kind of like they was nasty. I was like,
Speaker 3: whoa these tracks are. So that's Bill. Bill Maxwell, the producer,
Speaker 3: the drummer did those records. So that aesthetic came into
Speaker 3: play when commissioned. When drum machines became more prevalent than drummers,
Speaker 3: then commission took it over. And now you're hearing program
Speaker 3: and live drums together, because they would have live drums too.
Speaker 3: But the point was they putting these pop melodies on
Speaker 3: these gospel joints. So running back to you, on all
Speaker 3: those joints that we loved. Had to me Peter Setera vibes,
Speaker 3: and I love that because I always loved Chicago. So
Speaker 3: that's how it all started. As far as my development,
Speaker 3: when I'm leading up to getting out of Wichita, I
Speaker 3: got out of Wichita because there's a man j King
Speaker 3: from Club New Vaux Sacramental legend came through Wichita. I
Speaker 3: had a demo at this point because now we now
Speaker 3: I thought I was the clark Sitsens, and we thought
Speaker 3: we were all these things. So I had a demo
Speaker 3: that returched it Church. No, it was a it was
Speaker 3: a okay, let me, I gotta I gotta interject. Tremaine
Speaker 3: Hawkins had came out in eighty five with a joint
Speaker 3: called fall Down on A and M Records. Now that
Speaker 3: was to me the hierarchy, I mean the high the
Speaker 3: high burd for what I wanted to do. It was
Speaker 3: a message joint, but as funky as hell was hitting
Speaker 3: in the clubs what Clarks had done when you're about
Speaker 3: to sunshine, but now in a new way. So it's
Speaker 3: like four on the floor kind of housey. So that
Speaker 3: was crazy. If you look up fall Down by tremainn
Speaker 3: Hawkins nuts, uh and so that, and then combined with
Speaker 3: the wine is we're doing message music through Quincy and
Speaker 3: his labels. I was like, man, I think that's what
Speaker 3: I want to do. I want to have through what
Speaker 3: we do, the message thing. But I wanted to be
Speaker 3: through a mainstream label. So I start submitting this demo
Speaker 3: that we had to all the labels and then we
Speaker 3: got turned out everywhere. But when Jay Kane came through town, Uh,
Speaker 3: I had a groupie buddy that loved. He was a
Speaker 3: groupie of Club Mebo and I just never was me
Speaker 3: and you know, we know he's vocal snobs. All of
Speaker 3: us could be vocal snobs. So when they came out
Speaker 3: with that, I was completely.
Speaker 2: Who's this guy singing flat like a laud.
Speaker 3: And trying to sound like this person that.
Speaker 2: All that? So what?
Speaker 3: So in this instance, my friend who was that groupie
Speaker 3: of them, he went to their show, he followed them
Speaker 3: to their hotel, like crazy groupie ship. But he always
Speaker 3: had a tape of my stuff on his person. He
Speaker 3: gave he gave that tape to JK. Jay King listened
Speaker 3: to it. Now this is at the era of Guy.
Speaker 2: Now.
Speaker 3: Remember Guy is out now now we're talking eighty eight,
Speaker 3: so it groove me and all that stuff was out.
Speaker 3: So now Jay King, here's the tape. Now, this is
Speaker 3: like two in the morning at Mama. I'm still with
Speaker 3: my mom at my mama house. Right, get a phone call.
Speaker 3: She was like, I'm here with Jay King and he
Speaker 3: wants to take your tape. Now. I had just seen
Speaker 3: a Word Up magazine at an article talking about how
Speaker 3: he was beefing with time Ax Social Club because the
Speaker 3: rumors and all they was fighting and legal. I was like, ah,
Speaker 3: not that dude. Don't get that dude my tape. And
Speaker 3: at the exact same time I had told you I
Speaker 3: wanted to be on A and M. John McClain was
Speaker 3: killing with Janet with control was out. John McClain was
Speaker 3: the guy he had, he had done fall down with
Speaker 3: Tremainso I was like, John McClain gets it. We can
Speaker 3: do what we do through A and M. And so
Speaker 3: I'm telling j King and this Jay King is like, what,
Speaker 3: I will get you a deal at Warner Brothers in
Speaker 3: two weeks if you let me take this tape.
Speaker 2: And I was like, oh, man, I don't know.
Speaker 3: And I was like, he's why.
Speaker 2: They have a legal problems. So are you telling him,
Speaker 2: I'm telling rocking him. We didn't neither know.
Speaker 3: I'm telling you, I'm not sure in this moment, I'm
Speaker 3: not sure. Then I'm looking around at my mom's little
Speaker 3: two hundred square foot little shack I'm in, and you know,
Speaker 3: I'm like, and I'm also getting older. I want to
Speaker 3: get the hell out of my mom's house.
Speaker 2: Right. So Jay King's he said, I promise.
Speaker 3: You, Benny Medina will sign this if you just let
Speaker 3: me take this tape.
Speaker 2: I said, all right, man, all right.
Speaker 3: And he took it and literally, in two weeks, I'm
Speaker 3: washing dishes in my mama's kitchen. J King phone onto
Speaker 3: one one of those schools, put put it on my head.
Speaker 3: Jak's like, you ready to get the hell out of
Speaker 3: winch Tar. I was like, what he said, Benny Medina
Speaker 3: is signing, y'all. It's a wrap. Make it, make a
Speaker 3: list of all your bills, pay your mama bills, and
Speaker 3: you out of there. And I moved to Sacramento for
Speaker 3: in nineteen eighty seve So what's the name of the group.
Speaker 3: The name of the group was Cache Cache.
Speaker 2: It was me and ok, okay, don't don't forget that
Speaker 2: what's the what's the whole name?
Speaker 3: Cachet?
Speaker 2: Dave? Why? Okay, what why Nigga?
Speaker 3: Because here's why because we was we was trying right,
Speaker 3: trying to fit into the friends thing. They was doing
Speaker 3: New Baux.
Speaker 2: So it was just me trying to feed it to
Speaker 2: other people else. You didn't really want you didn't really
Speaker 2: want to fuck with JK, but you want.
Speaker 3: To take it and once you get it, and once
Speaker 3: you get in, you coming.
Speaker 2: In.
Speaker 3: And he thought it was cool perspect I just had
Speaker 3: it that cache, but he was like, we added to
Speaker 3: Dave why because it was like, oh, it's French still.
Speaker 2: You feel it's French still?
Speaker 3: Wow? Yeah, yeah, it's supposed to be a unique voice.
Speaker 2: Yeah yeah right.
Speaker 3: So and I have that album by the way, that
Speaker 3: never came out. I have a whole CD. Okay, so
Speaker 3: y'all signed the Benn but then we signed through Benny Okay.
Speaker 3: Jay had an imprint King J so we signed through
Speaker 3: my come on you feel my Daddy Man come out?
Speaker 3: So he signed and then and then I did a
Speaker 3: whole album for Warner and it never came out, and
Speaker 3: it was on CD. Right now, I have the whole
Speaker 3: CD and everything I wrote every single song written produced
Speaker 3: by me, and I'm twenty one.
Speaker 2: Now.
Speaker 3: The weirdest thing is we got dropped a couple of
Speaker 3: years later, like eighty nine.
Speaker 2: You're Always was signed for Oh for You.
Speaker 3: I did the whole record for you, and then we
Speaker 3: got drop because Jay pissed off the wrong people and
Speaker 3: we got dropped. His whole thing got dropped when we
Speaker 3: got dropped.
Speaker 2: Now check this.
Speaker 3: Now I'm struggling to just work and maintain any type
Speaker 3: of presence, and you're scrimental. I mean Sacramento, so thank god,
Speaker 3: people like Derek Allen.
Speaker 2: Are there, Raphaelsa Dik is there.
Speaker 3: So it's a lot of energy, a lot of energy
Speaker 3: and Wayman Tisdale think God was there Sacramento King and
Speaker 3: base based play.
Speaker 2: Oh I was.
Speaker 3: We got dropped in nineteen eighty nine from Warner and
Speaker 3: I was devastated because now I'm the boy from Kansas
Speaker 3: that was.
Speaker 2: Supposed to let's let's go into dropped.
Speaker 1: I mean that because was that because you guys had
Speaker 1: tried to put out music and it didn't work. It
Speaker 1: was just a relation. He came out, he came out,
Speaker 1: it was unreleased. So the relationship.
Speaker 3: Relationship with the head person and charge, uh went since
Speaker 3: went back, and then he and they dropped his whole thing.
Speaker 3: And Jay was a real high head at the time.
Speaker 3: He'll tell you himself. He was like he was you know,
Speaker 3: you know what Jay can be like. Hell, he was
Speaker 3: just threaten to beat your asses.
Speaker 2: Period.
Speaker 3: It would be like, I'll beat your fucking ass right
Speaker 3: in here right now. He was one of them dudes,
Speaker 3: and so but said it to the wrong person, dropped
Speaker 3: the whole thing. So now I'm like, oh shit, I'm
Speaker 3: just out here in Sacramento, two thousand miles away from home,
Speaker 3: you know, broke with no deal, no nothing. So I
Speaker 3: started panicking and going like what am I gonna do
Speaker 3: to stay in this business at all? So I started
Speaker 3: trying to do business, record business adjacent shit. So I
Speaker 3: was like, I love Charlie. Let me write something for
Speaker 3: Charlie Wilson. Because at the time they had just had
Speaker 3: out the record of the Year before, they had out
Speaker 3: into song on there called Wednesday Lover. You know that one,
Speaker 3: Holy shit the guy bands Wednesday Lover. If y'all don't
Speaker 3: know it, look it up. One of the coldest songs
Speaker 3: ever and it stills classics sounding right now, So I
Speaker 3: say I can write something in that vein of Wednesday
Speaker 3: Lover for Charlie.
Speaker 2: That's when I start writing Week.
Speaker 3: But at the exact same time, Chante Boord was in
Speaker 3: the camp because she had been signed to Warner Brothers
Speaker 3: through Bennie too, So we all lived in Sacramento in
Speaker 3: the same place. This and I got kicked out of
Speaker 3: my apartment for reasons because of maybe cheated on somebody
Speaker 3: that was I was close to.
Speaker 1: And then so so you were you're in a relationship
Speaker 1: kind of that involved lodging.
Speaker 3: Girl that was in the group that we was in CAE.
Speaker 3: We grew up together, so she was like my childhood but.
Speaker 2: She was she was handling the lodging.
Speaker 3: No, we both were because we were both signed together.
Speaker 3: So we were in that situation.
Speaker 2: But at a certain point, your money ran out.
Speaker 3: And I met a new person and she caught me
Speaker 3: with that person, so I was instantly out the house,
Speaker 3: so boom.
Speaker 2: Because to kick you out the the man, I'm out.
Speaker 6: She had a job, Jacon, she was.
Speaker 3: At that moment. Here's literally did not have a job.
Speaker 2: He also cheated without a job out of.
Speaker 3: Without a job, you can't, So that's how I ended
Speaker 3: up without a place to stay. And that's so now
Speaker 3: that looks who took me in though it all goes
Speaker 3: back to Jay again because rumors was by his TIMEX
Speaker 3: Social Club.
Speaker 2: But how rumors.
Speaker 3: So the guy that actually wrote that did the music
Speaker 3: on that, his name is Alex Hill. Alex Hill was
Speaker 3: my best friends. He let me literally move in with
Speaker 3: him in this in this apartment in a place called
Speaker 3: Park Cities. Shantey lived in the same apartment Chante. More
Speaker 3: so I lived there and I wrote Week in his
Speaker 3: bedroom using his equipment.
Speaker 2: Okay, so it's.
Speaker 3: All crazy, but I'm writing it for Charlie, but I'm
Speaker 3: writing it about Chante because that's the whole scenario that
Speaker 3: was happening, Like there's no way in the world I
Speaker 3: could ever get with her, but the energy was there.
Speaker 3: So the Week is about not getting with her, whereas
Speaker 3: Shirley Murdoch's uh as We Lay is about after Mine
Speaker 3: is about ain't never. So that's the difference between those
Speaker 3: two joints. But I writing again from the same did
Speaker 3: you ever?
Speaker 2: Does she know the song was about her cards? She
Speaker 2: talked about it on a Quest Loves podcast.
Speaker 3: Okay, okay, okay, so this is no no oh yeah,
Speaker 3: but it's coming from a real place, and now I'm devastated.
Speaker 3: And then also I don't have to play say it's
Speaker 3: all bad, so I'm just trying to get on Charlie's joint.
Speaker 3: So that didn't happen. I don't know. I never submitted
Speaker 3: it to Charlie. I was maybe fearful that he wouldn't
Speaker 3: like it. I couldn't take the rejection from one of
Speaker 3: my heroes, so I just never submitted it. In that interim,
Speaker 3: waiting on that to happen, Martha Wash did a couple
Speaker 3: of Martha Washing the dance Steva amazing. She had done
Speaker 3: a couple of records that I absolutely loved everybody. Everybody
Speaker 3: what her voice, So I loved her. I always loved her.
Speaker 3: And then C and C had their problems with her
Speaker 3: where they didn't use her in the video and she
Speaker 3: got you know, she sued them. She won, she won
Speaker 3: a record deal out of it. She was on RCA,
Speaker 3: so I said, uh, oh, there goes my opening. I've
Speaker 3: always loved Mark to watch. I can write for her.
Speaker 3: But you knew her, You didn't know, didn't know it all,
Speaker 3: but I had. When I was twelve years old, I
Speaker 3: used to DJ for the white kids in my school
Speaker 3: in lunchtime. One of my biggest records I played in
Speaker 3: seventy eight and when I was twelve was Disco Heat
Speaker 3: by Sylvester. Martha was in the background on that record, killing,
Speaker 3: killing the background. So I was like, I always wonder
Speaker 3: who was that voice in the back, and it was
Speaker 3: all it was her, and so it just stuck with me.
Speaker 3: So I always felt her spiritually in my heart. I
Speaker 3: felt her. And then with everybody dance. Now I was
Speaker 3: so huge in ninety everybody. I was like, Okay, I'm
Speaker 3: about to write some joints for her, just to try
Speaker 3: to have an income, right, So I wrote five joints
Speaker 3: and I sent them and now I did them on
Speaker 3: the demo. Little Cassette sent them to her management.
Speaker 2: I get a phone call.
Speaker 3: It's her manager, Doug Kibble. Rest in peace. Doug Kimble
Speaker 3: called me and goes, somebody wants to talk to you.
Speaker 3: He puts Martha watching on the phone. She goes, I
Speaker 3: don't know who you are or where you are. She said,
Speaker 3: but them five songs you sent, can you come to
Speaker 3: New York And we're recording off those? And my whole
Speaker 3: life changed right in that moment. So I went from
Speaker 3: being dropped out, dropped from Warner till now all of
Speaker 3: a sudden, I'm a producer, I guess, and I'm a
Speaker 3: writer and I'm being flown to New York.
Speaker 4: Technically even know what that is at that moment, and
Speaker 4: is just like the actual occupation of being a producer,
Speaker 4: because yes, you come from the group and you're writing
Speaker 4: and producings for the group, but that's just part of
Speaker 4: the group.
Speaker 2: Right now, we're talking about you going.
Speaker 3: To an individual who is a star, a huge star
Speaker 3: with a high profile at that moment, because this is
Speaker 3: her joint she's doing after she suits to see and
Speaker 3: see music factor, So I know it had to be
Speaker 3: one hundred percent on point. So yeah, and I was
Speaker 3: ready because A I was broke.
Speaker 7: B B.
Speaker 3: I loved her like with my heart and soul. So
Speaker 3: I was like, if she likes those songs that I'm
Speaker 3: gonna get in here and just kill it with her.
Speaker 3: I don't care what the hell happened. I'm going. I've
Speaker 3: never been to New York in my life, by the way.
Speaker 3: So I took the engineer that from Kansas that I
Speaker 3: had originally done my original demo with.
Speaker 2: I took.
Speaker 3: His name is Larry Funk. I love him right now.
Speaker 3: He's hope he's listening to this, Larry, I love you.
Speaker 3: So Larry and I went to New York, the two
Speaker 3: country Bumpkins in Manhattan all of a sudden recording this
Speaker 3: dance diva that's the legend and that one of the
Speaker 3: songs I did on her is called give It to
Speaker 3: You is a video. The first single went to the
Speaker 3: number one on Billboard's Dance chart. That was my first
Speaker 3: chart ever, a whole year before I ever even heard
Speaker 3: about STBV. So that's how I got into the RCA world.
Speaker 3: The A and R guy for her album was Kenny
Speaker 3: or Tez, the guy who had who had this demo
Speaker 3: of these girls that he told me, Hey, b I
Speaker 3: got these girls and.
Speaker 2: It was stabb.
Speaker 3: So when he sent me those the girls, he was like, hey,
Speaker 3: I've been trying to get these girls signed. I haven't
Speaker 3: had any. Look they've been you know, been shopped around
Speaker 3: and no luck. He said, I got a feeling with
Speaker 3: your style. That's gonna be what they need. I was like, okay, cool.
Speaker 3: So Simmony so back in the day's Federal expressed it
Speaker 3: a cussat I put the cassette on and the first thing,
Speaker 3: I'm struck by his Coco's voice. That tone. I was like, ohoo,
Speaker 3: because I love Gwyen Guthrie. That was the closest thing
Speaker 3: to Gwenguthrie I had ever heard. And Shirley Murdoch. Yes,
Speaker 3: it's kind of like a cross between Shirley Mirock and Gwnguthrie.
Speaker 3: So I was like, ooh, that tone. I could work
Speaker 3: with that. I know I could work with that. But
Speaker 3: then she was really sharp singing over the notes all
Speaker 3: the time, like super sharp singing. So it was like, really,
Speaker 3: this is too much. And she was singing really big
Speaker 3: and loud all the time, so churchy, churchy. She used
Speaker 3: to singing in choirs type of thing. I said to him,
Speaker 3: I said, man, if I can get her under control,
Speaker 3: like I think.
Speaker 2: You got something. So he said, okay, dope now.
Speaker 3: And remember I purposely hadn't played him weak or nothing
Speaker 3: like that yet, So I played him right here.
Speaker 2: And I played him.
Speaker 3: I think I played him always on my mind.
Speaker 2: One of the He's like, yeah, yeah, cut those, let's
Speaker 2: cut those. You'd already have them.
Speaker 3: I had those just sitting around in the cut Yeah,
Speaker 3: and so because the Charlie thing was from way back
Speaker 3: in eighty nine, Charlie Records. No, the week was Charlie Records.
Speaker 3: But the other stuff was just me doing stuff. And
Speaker 3: right here was definitely just an idea.
Speaker 2: I didn't know. I have no idea what that was,
Speaker 2: how that was gonna land.
Speaker 1: But those are the records I had, and I missed
Speaker 1: those days when I used to just have records, right
Speaker 1: I was just going to the studio and just we
Speaker 1: would we would just make records.
Speaker 2: Yeah, we have nobody in mind, are just doing some
Speaker 2: deu we have.
Speaker 3: We would just make records every day and feel good
Speaker 3: doing it. All felt great, and it translates because the
Speaker 3: truth of that translates when you're just doing something that's
Speaker 3: not contrived and you just feeling it. I think that's
Speaker 3: the well, that's the answer to why they keep using
Speaker 3: the stuff if you really want to. Yeah, because it
Speaker 3: was from a real place. But in that instance, I
Speaker 3: played those things for him he said, oh hell yeah.
Speaker 3: So he asked me, he said, when you come back
Speaker 3: to mix the Martha, can you record now? I said yes,
Speaker 3: thinking okay, she's dope, it's gonna be cool. But in
Speaker 3: the interim something happened. Kenny Ortez came from New York,
Speaker 3: from RCA and New York to a meeting at RCA
Speaker 3: here in LA with the head guy, Skip Miller rest
Speaker 3: in Peace. When he went to this meeting, he was
Speaker 3: walking through the creepicles that you do at a record
Speaker 3: company and boo boo, and he heard a demo playing
Speaker 3: and it was this guy, Jeff Bowenes, who used to
Speaker 3: work at King J Records as a like a cleaning
Speaker 3: up the place, vacum men cleaning that guy. So now
Speaker 3: that same person is an A and R person at RCA.
Speaker 3: Now this this many years later. He's playing week my
Speaker 3: demo that I had done in eighty nine. Kenny or
Speaker 3: Ts walked by. He says, I know that voice, that's
Speaker 3: Brian Morgan. What the fuck? What the fuck is that?
Speaker 3: And so Jeff played the rest of the song.
Speaker 2: Kenny called me.
Speaker 3: He's like, how the hell you gonna not send me this?
Speaker 3: When I asked you to send me shit for them girls,
Speaker 3: I said, cause I want that for myself. Maybe he's like, na, bro,
Speaker 3: you got to record this when you come to New York.
Speaker 3: Fuck that, I said, I don't know.
Speaker 2: Kenny's still an artist. Mo too. I'm thinking, I am.
Speaker 3: Okay, right, and so he goes. I said, I don't know, man,
Speaker 3: I'll give you ten g's just a demo it, I said.
Speaker 2: Cool.
Speaker 3: So we were there. So we were there because I'm finishing Martha.
Speaker 3: I just decided we cut weak. And that's the famous
Speaker 3: thing you hear Coco talk about. She didn't like it,
Speaker 3: and it was really she really hated it. Coco did
Speaker 3: not get it. She didn't understand what it was about.
Speaker 3: She did. She was like, I don't like it. So
Speaker 3: I was like, I got I started to get at first.
Speaker 3: I tried to be cool, and then it got ridiculous
Speaker 3: and she hid herself in the bathroom and wouldn't come out.
Speaker 3: And I was like, oh my, she did not like it,
Speaker 3: for she ain't lying when she says it. And so
Speaker 3: I told Kenny, I said, man, I'm cool, bro't I
Speaker 3: don't need to do this.
Speaker 2: I'm good. I don't have to. I'm not trying to
Speaker 2: force nobody to do my shit. She came out. He did.
Speaker 2: I don't know.
Speaker 3: He's sweet talked for some kind of way. She came out,
Speaker 3: and so when she finally got on, I'm like to
Speaker 3: cut it. It was such through such an attitude, but
Speaker 3: I didn't care at that point. I was just like,
Speaker 3: I'm not letting a single line go unless it's exactly
Speaker 3: what I want, because now you tried me out here,
Speaker 3: so every line is what I wanted. And if you
Speaker 3: hear the demo, which I will play for you, the
Speaker 3: demo is exactly what she did. It's like everything on
Speaker 3: the demo is just this there. So when I played
Speaker 3: that demo for people, they're like, holy shit, like it's
Speaker 3: everything is there, the ad libs, every single thing. Because
Speaker 3: she wasn't an ad liber she didn't like the add limb,
Speaker 3: so I was like, there's no reason for me to
Speaker 3: pull teeth. Let me just let her do what I did,
Speaker 3: all the ad libs. So that's how that happened, and
Speaker 3: then we get the million sellar number.
Speaker 2: So they're signed at this point though.
Speaker 3: There no we cut it when you do it, and
Speaker 3: they got so.
Speaker 2: So Kenny or Tees is paying all this out of
Speaker 2: his pocket.
Speaker 3: I think that I don't know how much he paid
Speaker 3: out of the pocket, but I think in that moment
Speaker 3: he had done lots of demos with lots of people
Speaker 3: and stuff, So how I think they got signed after
Speaker 3: that for sure. I knew that they were signed. All
Speaker 3: I know is once that had happened and we was recorded,
Speaker 3: they was they were signed in for sure. And then
Speaker 3: then we started having they had a real budget. Then
Speaker 3: they came out to Sacramento and we did I'm Swearing
Speaker 3: to You in Sacramento, and and and a couple other
Speaker 3: things sisters and voices in the House and a couple
Speaker 3: of other things in Sacramento, and then we went back
Speaker 3: and I finished. I think I did always on my
Speaker 3: mind in New York. I did, So it depends on
Speaker 3: what it was. But some things got done in Sack,
Speaker 3: some things got done in New York, but it all
Speaker 3: got done.
Speaker 2: What were you what were you programming.
Speaker 3: On OOO at that time? Now that's funny you asked,
Speaker 3: because on the Martha Watch stuff, I didn't have hardly
Speaker 3: anything because I was so broke.
Speaker 2: So I had a like a.
Speaker 3: Nine o nine drum machine and we used to mediate
Speaker 3: with this leasis six minute eleases. So you want your
Speaker 3: percussion and live acoustic, you sound and ship from that,
Speaker 3: and then you're hard hitting ship with the nine on
Speaker 3: nine because that's what house kids music. They was poop
Speaker 3: poop that thing. So then we had that, and then
Speaker 3: that's how did all my Martha watch stuff. But after Martha,
Speaker 3: the MPC sixty came out. Sixty the very first NPC
Speaker 3: sixty was what I did all the SWB's first album
Speaker 3: stuff on Right Here. I had to remake that because
Speaker 3: I had already done them eight way back of Stay
Speaker 3: in my friend's apartment when I still lived there. I
Speaker 3: had to recreate right Here, and I had to recreate
Speaker 3: Week from eighty nine. So I had to recreate that
Speaker 3: demo a year we in there, we in ninety one,
Speaker 3: in ninety, couple years, a couple of years, so I
Speaker 3: had to recreate Week all of that, and I did,
Speaker 3: and then I created I'm So Into You. The funny
Speaker 3: thing about I'm Soon to You was it got reduced
Speaker 3: down to what you hear because I was such a
Speaker 3: fan of people like Eric Sermon and the.
Speaker 2: Hip hop guys. I'm a hip hop head period.
Speaker 3: People don't really know how much of people here I
Speaker 3: am so much, so that when I was in New York,
Speaker 3: It's like, I'm not gonna be in New York and
Speaker 3: not go see Eric Sermon. So I went to his
Speaker 3: joints and watch what he was doing on that workstation,
Speaker 3: the Cork workstation.
Speaker 2: How he asked r ten he was just going and
Speaker 2: finding people.
Speaker 3: Oh, Bro, I was like, I just like to be around.
Speaker 3: I went to meet Bob Power because I love the
Speaker 3: way he mixed the tribe called Quest records. I'm such
Speaker 3: a sonics and for you're a scientist, Oh my god.
Speaker 3: So when I just want to be in the space,
Speaker 3: I'm like them Tried records are brilliant as far as
Speaker 3: how they sound. I was like, I got it. Come on, man,
Speaker 3: So Eric Hermon, I was so in awe of him
Speaker 3: and how he put his ship down. I had went
Speaker 3: back home and did this whole I'm swing to you
Speaker 3: that sounds more like Eric Hermon, Like what he the mob,
Speaker 3: crazy heavy big drums, kenyr T's heard it and he
Speaker 3: said mm hm, take all that ship back out. He said,
Speaker 3: I like what you had before. Take all that ship out,
Speaker 3: just leave it the way it was. And I was like,
Speaker 3: and that's what I'm swing to you.
Speaker 2: Is strep I just too talented.
Speaker 3: I was trying to be other people ship on top
Speaker 3: of my ship and He's like, just be you.
Speaker 2: That's a lot of ship.
Speaker 3: It was right, and I'm so glad, he said, that
Speaker 3: because when I stripped it back down, it was just
Speaker 3: the basic, straightest, straight as fuck.
Speaker 2: What keys were you using that?
Speaker 3: That's a cord, that cored road, That roads is a
Speaker 3: cord d W. What was it called one depth? That's
Speaker 3: the cord, Yeah, right, cork I one W. And then
Speaker 3: my base on I'm swing to you. I used this
Speaker 3: sh one oh one from nineteen eighty one. It was
Speaker 3: pre midy old as fuck, and I had painted it
Speaker 3: and I was just that was just my little base joint.
Speaker 3: That's the same base one always in my mind. I
Speaker 3: was always been in my baseline. That was my kind
Speaker 3: of signature. So boom, ohn ben and shit.
Speaker 2: I said, let me put this eight o eight in here. Though.
Speaker 3: Let these kids know we still you know, I'm still
Speaker 3: it's still street and still fucking you know, to play
Speaker 3: in the clubs. So I put the eight o eight
Speaker 3: in there. But the biggest thing I compliment I ever
Speaker 3: got was from Rodney Jerkins when he said, and you
Speaker 3: can look at this on YouTube. It's on YouTube an
Speaker 3: interview him interview with me. He said, the reason why
Speaker 3: I'm swimming you changed the game in R and B
Speaker 3: for him was because it was different from Jimmy jam
Speaker 3: and Terry Lewis's approach, which was just a play and
Speaker 3: they're playing straight through, no samples. Teddy Ridy was playing
Speaker 3: mostly no samp with some hits, maybe some one off hits,
Speaker 3: but it's still playing. He said, I was the first
Speaker 3: producer that chopped shit. For example, the high hat, that's
Speaker 3: a that's a sample from a record, but I chopped
Speaker 3: it and let that be my high had instead of
Speaker 3: playing the high hat on sound, I want that loop
Speaker 3: to be the high hat because it made it dirtier
Speaker 3: and nastier. And then and then when I did play
Speaker 3: my in order to keep it more like a sample,
Speaker 3: I just sampled myself. So every time you hear it's
Speaker 3: the same thing, it's not me playing it in different
Speaker 3: in different velocity. No, it's a sample because I sampled myself.
Speaker 3: But that NPC made that possible. So now I'm chopping
Speaker 3: my own keys, putting them back in the thing, and
Speaker 3: I'm playing I'm producing my I'm playing myself like like
Speaker 3: I'm a hip hop producer, sampling my own self. And
Speaker 3: that made that sound sound different than Teddy and them,
Speaker 3: And so all of a sudden, you had a record
Speaker 3: that's not New Jack's Wing coming out of the New
Speaker 3: Jack Swing era with a in a big hit record,
Speaker 3: was a gold single, number six pop record, and a
Speaker 3: number one Black record. That's absolutely straight as hell, no
Speaker 3: New Jack, I'm nowhere. And then when I get to
Speaker 3: that break, you're not. I want to remind them, I say,
Speaker 3: remind them I'm still and shit. So that was breaking.
Speaker 3: That was different for R and B's that with a
Speaker 3: straight ahead girl group R and B song that had
Speaker 3: that element in it. I think people perceived it as, oh,
Speaker 3: what kind of street nigga?
Speaker 2: Shit? Is this okay? With some real singing?
Speaker 3: It's some church Wait a minute, this girl can really say.
Speaker 3: So it's kind of like what I said about you.
Speaker 3: You represented a real voice from what I know as
Speaker 3: the church and commission, but on these ridiculously hot urban beats.
Speaker 3: That's what you were to me. When I heard you,
Speaker 3: I was like, yeah, this is there. We go YouTube
Speaker 3: same thing you guys. Your beats were properly done. This
Speaker 3: is what I'm trying to say, like, and then you
Speaker 3: still got the truth of the voice on it right now.
Speaker 4: It was I mean like when SWV came out, it
Speaker 4: just like you said, I mean from she just her
Speaker 4: voice cut through, her voice cut through, And now it
Speaker 4: all makes sense with you know, you being from the Midwest, yes, sir,
Speaker 4: moving to the West coast and then kind of moving
Speaker 4: again to the East.
Speaker 2: Coast to produce.
Speaker 4: Yeah, so you getting all of these different mixes, and
Speaker 4: of course you're you're not going to produce the same
Speaker 4: way that Teddy, who's from Harlem exactly, is going to produce.
Speaker 4: You're going to produce with a little bit of the
Speaker 4: club nouveau, with the church absolutely and kind of being
Speaker 4: a transplant in New York, right, you know what I mean?
Speaker 4: So your hip hop is going to be different, and
Speaker 4: it was, and it was, and it makes so much
Speaker 4: more sense now.
Speaker 3: Yeah, yeah, because that's the truth of it. Yeah, that's
Speaker 3: just the facts.
Speaker 2: I mean, that's the exact facts.
Speaker 3: That's why it happened the way and when all the
Speaker 3: ad libs she does and all those things like that,
Speaker 3: that was me dialing back the church. Like everything can
Speaker 3: be you know, if it's very specific. If you listen
Speaker 3: to the ad libs that she's doing, I want, placement
Speaker 3: was really important with me, Like every single ad lib.
Speaker 1: Well, that's just a science of that's a science of
Speaker 1: old school records that it's tough to figure out in
Speaker 1: an new age because now we're in the age of
Speaker 1: no adlibs, you know what I'm saying, right, But back
Speaker 1: in that day, the ad libs were just as important.
Speaker 4: Especially towards people are singing the ad libs word for words.
Speaker 2: Because of the science of how they're placed.
Speaker 3: Right, It's a part of it. It's a structure. It's
Speaker 3: part of the structure for sure. For sure that we
Speaker 3: are missing in today's time.
Speaker 1: And I think it's just only because music is moving
Speaker 1: so much faster and the pieces of the record.
Speaker 3: Yesterday, yesterday, somebody sent me this image instagram of this
Speaker 3: little Asian kid. He's got to be like four five
Speaker 3: year old kid, and he's running through these all these
Speaker 3: classic songs, hip hop and R and B songs, right,
Speaker 3: and he does gets the umps on to you, And
Speaker 3: that little boy does the ad libs when his mom
Speaker 3: is prompting him.
Speaker 2: She sings, she sings the thing she's prompting him.
Speaker 3: She goes h so to you and then he does
Speaker 3: the ad libs. I was so done that he did
Speaker 3: the ad list. I was dead almost almost moved me
Speaker 3: to tears. I'm like he could have done any part
Speaker 3: of that. He's doing her ad lists. So if you
Speaker 3: look at my Instagram, it's that little kids doing that
Speaker 3: and that's going crazy on that. It's viral because he's
Speaker 3: so cute. It's like a little five year old. And
Speaker 3: when when she says come and talk to me, he
Speaker 3: goes really one of me. He's answering every single thing
Speaker 3: that she prompts him. It's great, it's amazing. So again
Speaker 3: full circle, the little the new generation is they still
Speaker 3: own it. Maybe because these kids are taking it to
Speaker 3: their kids. And Jimmy jam told me his son did
Speaker 3: a paper on me in college.
Speaker 2: What the hell?
Speaker 3: Bobby Rossa Villa called me with his kid in the
Speaker 3: car because the kid that did a playlist and it's
Speaker 3: almost all SWV. He's like, b I didn't tell this
Speaker 3: boy nothing. But look he's eleven. So I'm saying, holy crap, man,
Speaker 3: Like this is insane. This is insane. That's three generations
Speaker 3: in yeah, two thousand and five now on Jojo, when
Speaker 3: I did the Week on Jojo, that's a whole couple
Speaker 3: of generations. You know, that's crazy. Now she's in her thirties,
Speaker 3: but she was fifteen whatever when we did that. Bro
Speaker 3: Usher fifteen when they brought him to me at my
Speaker 3: house in Sacramento. I did a song on his first
Speaker 3: album called Crazy.
Speaker 2: It's a lot.
Speaker 3: It's a lot, It's a feeling, like the weight of
Speaker 3: it all. Now like holy crap.
Speaker 2: Man, come on man, Rain Okay.
Speaker 3: So thank God of two thousand Excel came out in
Speaker 3: ninety six, so I got that.
Speaker 2: Now Rain is a product. When I got that, but
Speaker 2: you said, to what the two thousand.
Speaker 3: NPCO, I said, now we're done to upgrade it to
Speaker 3: the Excel, keeping it, keeping it, keeping a musician, you
Speaker 3: feel what you feel. It a little box right in
Speaker 3: the little and it's had another little sound to it.
Speaker 3: But Layla Hathaway is the reason why that exists because
Speaker 3: in ninety four I had always want to work with
Speaker 3: related and one of my best friends, one of my
Speaker 3: best friends and my current manager is Jane as A
Speaker 3: James m two Mays, her brother, Jeff Foreman and too
Speaker 3: Many's younger brother. Jeff is like one of the most
Speaker 3: musical dope people ever. He was in them sessions with
Speaker 3: Teddy Pendergrass and Stephanie and he was in there as
Speaker 3: a kid watching his brother produce those records. So that's
Speaker 3: my guy and he's a househead, huge house had so look.
Speaker 3: So he signed Layla to Virgin in eighty nine ninety
Speaker 3: and I had always said I want to work with Layla.
Speaker 3: So when the girls s TOBV blew up, Layla was
Speaker 3: a fan, and then we got back together and I
Speaker 3: was like, yo, I got to do something it. So
Speaker 3: I did this song called let Me Love You.
Speaker 2: Have you heard it?
Speaker 3: Layla Crazy? And I'm in the background. Sleayla came to Sacramento,
Speaker 3: Uh knocked it out in one take, insane. She played
Speaker 3: the whole game, Galag. I had a Gallica machine the
Speaker 3: stand up time. She beat my high score winning and
Speaker 3: did the vocal and got back on the plane.
Speaker 2: Gallagher is.
Speaker 1: Such an important part story because that's my ship.
Speaker 2: Come on, gal you gotta make sure grab you so
Speaker 2: you can get the double man.
Speaker 3: Now you got two guns. Come on, man, come on.
Speaker 2: We actually made a song shout out to Charlie Barrell.
Speaker 2: We did a.
Speaker 3: Song to.
Speaker 1: My Gosh songs in a Jamie's house love See Crazy,
Speaker 1: And I don't even thought I was gonna even tell
Speaker 1: that part of the story, but that was.
Speaker 2: Let Me Love You. Please look it up.
Speaker 3: She murdered that and so, and she just added it
Speaker 3: to her set recently, and so that happened. But while
Speaker 3: we were vibing before we recorded, I came to see
Speaker 3: her at her apartment in La. She started playing me records.
Speaker 3: She pulls out Jocko and this is ninety four, nineteen
Speaker 3: ninety four.
Speaker 2: I never heard of Jocko, didn't know who he was.
Speaker 2: She pulls it out.
Speaker 3: I'm struck by the cover because I'm like, Wow, this
Speaker 3: is crazy that I'm flipping over.
Speaker 2: I realized Herbie Hancock is doing the line of those
Speaker 2: he's introducing Jocko.
Speaker 3: I was like, oh, you got my hero and it
Speaker 3: so I had to listen. So we put it on.
Speaker 3: We dropped it on portrait of Tracy and I was like,
Speaker 3: oh shit, what is that? She said, that's poor trace it.
Speaker 3: But he goes into all these crazy other things. They
Speaker 3: don't have no tempo at all. Right, So I just
Speaker 3: put it in the back.
Speaker 2: Of my mind.
Speaker 3: I say, if I ever ever used that, Lord, that's
Speaker 3: gonna be crazy. That was in ninety four. So three
Speaker 3: years later, I'm in my shower. I had came up
Speaker 3: with this hook to rain and it had been you know,
Speaker 3: high bounced around your head for a few days.
Speaker 2: You're like, I keep this hook, won't let me go
Speaker 2: rain down.
Speaker 3: I mean, so when I was in the shower in
Speaker 3: this moment, for some reason, some light bulb went off.
Speaker 2: I was like, wait a.
Speaker 3: Minute, If I fucking use that Jocko hear on this hook,
Speaker 3: Oh my god, if those go together, that's gonna be crazy.
Speaker 3: So I put on my towel. I didn't even wait
Speaker 3: to drive now. I just put on my towel, ran
Speaker 3: to my studio. I had bought the record, pulled out
Speaker 3: the vinyl, put the thing on the needle. It was
Speaker 3: the exact key I was hearing my hook, and I
Speaker 3: was like, I'm gonna take that as a sign because
Speaker 3: it was it went do do do do doude what
Speaker 3: I was like. So I said, okay, so let me
Speaker 3: do this beat right now. So I did that beat
Speaker 3: in the spirit right in the moment. I did not wait.
Speaker 3: I did that beat right then and there. When I
Speaker 3: put the beat together and played the keys, I was like,
Speaker 3: I think the Jocko part has to be the verses because.
Speaker 2: I already had the hook.
Speaker 3: The hook already existed, so I was like, I just
Speaker 3: got to make those two things work, So I just
Speaker 3: figured out how to do the transitions from the hook
Speaker 3: into and back and forth. So that's how I had
Speaker 3: to add cords to it because they're not there those
Speaker 3: there's two bars of the jocko. It's not even two
Speaker 3: whole bars, it might be a bar and a half.
Speaker 3: So I had to make connect those dots with cords
Speaker 3: that weren't there. So that's what you got all these
Speaker 3: other cords that connected to it.
Speaker 2: You feel me? Was that a hard sample to clear?
Speaker 3: I never sampled it, no sample it. I just played
Speaker 3: every played it.
Speaker 4: Yeah, so okay, So even the clearance of that, No,
Speaker 4: it wasn't because at that time, because I know he
Speaker 4: was kind of you know, like JACKO document and it's like,
Speaker 4: since did they hear it?
Speaker 2: Or you were just like you can hear it? Yeah?
Speaker 3: Yeah, there's no way in hell. Yeah yeah, there's no
Speaker 3: way in hell.
Speaker 4: So I gotta asked you a question too, though, because
Speaker 4: in the midst of these things and these records that
Speaker 4: you guys are doing and this new group and they're
Speaker 4: blowing up now, people are remixing your records too though,
Speaker 4: right right, because you're like right here, right here, ends
Speaker 4: up getting remixed that was.
Speaker 2: In real time.
Speaker 4: That's what I'm saying. No, I'm talking about real time. Yeah,
Speaker 4: where you got these records going. And I'm going backward
Speaker 4: a little bit because obviously the rank came later. But
Speaker 4: I wanted to mention you know, that's always a tricky
Speaker 4: thing for producers when when someone else comes in and
Speaker 4: does a remix right and the remix hits, and the
Speaker 4: remix hits, you know what I'm saying, and it's like, Okay,
Speaker 4: well I did the record, but they then they.
Speaker 3: I was cool with it because I'm like, all that's
Speaker 3: doing is is making me more money, because that's now.
Speaker 2: Here's the deal.
Speaker 3: When right Here came out as the original joint, it
Speaker 3: only went to like twenty something on the R and
Speaker 3: B chart and never even the ninety something on the
Speaker 3: pop chart. So I felt like that was a other
Speaker 3: life of giving my the first single a chance to
Speaker 3: do what it's supposed to do. And it went to
Speaker 3: number two pop, kept out only by Maria's dream Lover,
Speaker 3: which I remixed myself that year, So it was I
Speaker 3: remixed dream Lover for her.
Speaker 2: She called me specifically said would you.
Speaker 3: So she was number one with dream Lover and I
Speaker 3: was number two, and right here human nature.
Speaker 4: I was meticulous in a lot of those types of
Speaker 4: man Through all of it, I always had my father
Speaker 4: in my head. Who was who was my first manager?
Speaker 4: You know what I'm saying?
Speaker 2: Who? Really?
Speaker 4: He really just didn't take no ship. So I was
Speaker 4: trying to find a happy medium between that, you know
Speaker 4: what I mean. But you know I had I had
Speaker 4: managers in management that that that worked with me along
Speaker 4: the way. But even when even when I had management,
Speaker 4: I managed us, you know what I mean, because I
Speaker 4: just understood the business from such a young age.
Speaker 2: Right.
Speaker 4: But I also, like I said, when I look back
Speaker 4: on it, sometimes I look back on it like, damn,
Speaker 4: maybe I should have done that deal, or maybe I
Speaker 4: should have written in that session instead of it being
Speaker 4: like you know, but but you know, like Tank said,
Speaker 4: you gotta you gotta take what comes along with making
Speaker 4: that decision. And I just as the young niggas will
Speaker 4: say now and certain things I just stood on business.
Speaker 4: I ain't make some millions that I probably should have
Speaker 4: made though by being a little.
Speaker 3: Too extra with that ship. Yeah, So I watched a
Speaker 3: media I watched.
Speaker 2: When people be like, oh, well, you know, I didn't
Speaker 2: do this and you have a choice.
Speaker 3: When he did, it cost me my whole ship for
Speaker 3: that first time out. But it was but I wasn't
Speaker 3: supposed to come out at that moment. But you couldn't
Speaker 3: tell me that then I was.
Speaker 2: Like, you just destroyed my whole shit from.
Speaker 3: One fucking outburst, right. I was never stated to the
Speaker 3: point where like fetal position, crying like a baby, like
Speaker 3: what am I gonna do? We just I just made
Speaker 3: this whole album and if nobody's ever seen this, not
Speaker 3: gonna see the light a day. I could have never
Speaker 3: predicted what gonna happen in the next four years, you know.
Speaker 2: What I mean.
Speaker 3: So, I mean those are the things I really like
Speaker 3: sharing with you guys, because A we can share those
Speaker 3: war stories. B we survived them, right, and so hopefully
Speaker 3: we're on the other side of it with some knowledge.
Speaker 2: We are not. Hopefully That's what we're here to do, right.
Speaker 2: You know.
Speaker 1: The music part of it is, you know, of course
Speaker 1: we have that, we do that, But the information.
Speaker 2: Is it's everything. It's everything, every god and that's why
Speaker 2: we're here.
Speaker 3: Yeah, the more you.
Speaker 1: Know, Morgan, because I played this Superman, it's what you are,
Speaker 1: my brother. The people want to know a lot of
Speaker 1: your music has been and a lot of our favorite peoples.
Speaker 2: What is been? But now we want to know yours.
Speaker 1: Okay, you have a lot of musical information, a lot
Speaker 1: of musical gifts.
Speaker 2: And talents, and we're asking m h m hmmm five
Speaker 2: your top five time five? I mean not talking about remixes,
Speaker 2: your whe Do you want to know?
Speaker 5: Yeah?
Speaker 3: Pop on you tall? Which time we'll go go.
Speaker 4: Wow?
Speaker 2: Okay, alright, yes, sir, that's that's why you went over
Speaker 2: to the Church of God, to Christ. Do you want
Speaker 2: to hear that?
Speaker 3: That's what you want to hear it? Okay, right, deliver
Speaker 3: all right? Top five in no particular order?
Speaker 2: Still playing course, you know what?
Speaker 3: Of course he is, he's still playing courts.
Speaker 2: You know what?
Speaker 1: Brown Morgan, Yep, thanks, I'm here all week, all week.
Speaker 1: I play so fine, don't you agree? Your top five
Speaker 1: R and B artists artists? So he first, he said,
Speaker 1: sing is not artist.
Speaker 2: Artists.
Speaker 1: Artists listen listen, singers. Artists is the whole thing. Okay,
Speaker 1: Can I do? Can I I'm asking for?
Speaker 2: Can I do Top five male and then Top five female?
Speaker 2: Can I do that?
Speaker 5: Or no?
Speaker 2: If you would like to, I think I would like
Speaker 2: to do top five. That's your top Okay, got it
Speaker 2: all right?
Speaker 3: So top five male? Obviously, Stevie wonder my first influence?
Speaker 3: Why not Michael Jackson?
Speaker 2: Why not?
Speaker 3: Because he's the only person that's ever had three different
Speaker 3: voices and had hits and all the talk to talk
Speaker 3: talk to three voices. And for those who don't believe,
Speaker 3: I like to name the joints. Uh, there's there I
Speaker 3: want your back voice, and then there's the dance machine
Speaker 3: get it together voice, and then you're off the wall
Speaker 3: and the rest of his stuff voice.
Speaker 2: That's three differ go four with them with the bad voice,
Speaker 2: but keep going all right?
Speaker 4: Boom so Butterfli's voice here, yes, Uh, Stevie, Michael sly.
Speaker 3: For the Deacon, the layo's own deacon soul, brilliant messages
Speaker 3: and lyrics and melody that I still with to this day.
Speaker 3: I just finished his book this morning. I was reading
Speaker 3: that for the last couple of weeks. His autobiography is amazing.
Speaker 5: Uh.
Speaker 3: Donnie Hathaway for the vibration of his that is some
Speaker 3: kind of otherworldly spiritual thing. And and I gotta go
Speaker 3: with Luther because of just how he just did a
Speaker 3: thing that nobody had done, and it was a thing
Speaker 3: that was his own.
Speaker 2: I think he was the He was the cleanest straight
Speaker 2: ahead singer.
Speaker 3: That ever just was all tone. It was all grace tone.
Speaker 3: So that's my fot.
Speaker 2: That was my guys, my ladies. Okay, uh ritha, you
Speaker 2: start with the Queen. You gotta start the Queen.
Speaker 3: Shaka oh Gladys Kim Morell's in there, and I'm gonna
Speaker 3: put for the old school classic Ella.
Speaker 2: Yeah, this is my five. The Lady list is crazy.
Speaker 7: You feel me listen because I'm so real, you feel
Speaker 7: me a lot of the because a lot of the
Speaker 7: other people that came are derivatives of one of those things,
Speaker 7: for sure in some kind of way.
Speaker 1: All Right, So they're my top ten, your top five,
Speaker 1: if if we could do five, your top five R
Speaker 1: and B songs?
Speaker 3: Oh oh, rock with you?
Speaker 2: Mhy not uh oh.
Speaker 3: I love Golden Lady Stevie hm hmm so much, but
Speaker 3: then I also love as mm hmm b Stevie, and
Speaker 3: also love knocks me off my feet.
Speaker 2: Man, you know, I know, are you trying to pick
Speaker 2: one of those?
Speaker 3: Are you just so torn?
Speaker 2: Because five is too short?
Speaker 3: I gotta go with I love stand by slide for
Speaker 3: what it's saying, love stand There's a midget beside him
Speaker 3: like he's got just the metaphors and stand are just ridiculous.
Speaker 3: There's a midget standing tall and a giant beside him
Speaker 3: about the fall. I love couples like that. Let's say
Speaker 3: so much with so little.
Speaker 2: I guess that would be my top five of those
Speaker 2: R and B songs. Yeah three, Stevie, Yeah, because that's
Speaker 2: how impactful. Yeah, he's.
Speaker 1: He's lord Lord Stevie for sure. Let's make a vultron,
Speaker 1: let's make a super R and B artist. What we're
Speaker 1: gonna do is we're gonna get the vocal from somebody,
Speaker 1: the performance style from somebody, the styling from somebody, the
Speaker 1: passion from somebody. Are you talking to drip? And then
Speaker 1: and then we want to know who's gonna write and
Speaker 1: produce for this artists? When to add this for you?
Speaker 1: So yeah, sometimes we do that. Who you're getting the
Speaker 1: vocal from for your super R and B artists, Twinkie
Speaker 1: Clark ship Wow, Twinkie Clark for the vocal, I mean
Speaker 1: not ship.
Speaker 2: That don't go together? And what was the next thing?
Speaker 1: Performance style Michael perform Twinkie voice, Michael okay, Michael moves,
Speaker 1: Michael moves Okay. The styling Diana Ross m Yeah, yes, yes,
Speaker 1: I'm not you're gonna dance in that gown, but I
Speaker 1: get it.
Speaker 3: And she's doing runs in it too.
Speaker 2: Had that ship on.
Speaker 3: Always the top dollar twice in the last five years,
Speaker 3: still blew me away. Oh my god, seventies and the
Speaker 3: seventies killing by.
Speaker 2: Passion of the artist the heart uh by Marley? Mmmm
Speaker 2: yeah yeah by Marley because I just saw that movie.
Speaker 2: My god, you watched him original videos. He was giving
Speaker 2: it all totally. He los hisself and lose itself my god.
Speaker 2: Yeah yeah. And who's writing and producing for this artist?
Speaker 2: Us three? Hey, come on, we.
Speaker 1: Made the cut, a gentleman, We made the cut, Thank
Speaker 1: you sir, and we will be actually producing.
Speaker 3: This was great.
Speaker 2: Love love love love.
Speaker 3: Wow. Yeah, you got me with that. I've never heard
Speaker 3: that set up before. That's an incredible setup. That's crazy.
Speaker 3: Could you even imagine that, Voltron? That's crazy.
Speaker 2: We got something special for you though, A saying no
Speaker 2: saying no name, saying no names, no names.
Speaker 1: Who was.
Speaker 2: What you need? He's saying no name. Yeah, we've come
Speaker 2: to that part.
Speaker 4: Come to the segment special, very special party show, very
Speaker 4: pensive part of the show.
Speaker 2: What's that?
Speaker 4: So we're here now and you know we need we
Speaker 4: need you to give us a story, funnier, fucked up
Speaker 4: and your travels. I mean, you already told us the
Speaker 4: ship that was wild.
Speaker 2: You know what I mean it was.
Speaker 4: You know, this time you gotta say without saying nobody name.
Speaker 4: You know what I'm saying, you know, and in the times,
Speaker 4: in the life and time Brian Alexander Morgan, ship you've seen,
Speaker 4: I mean, you know, maybe a story maybe on.
Speaker 2: The field of which it maybe funny, fucked up or both.
Speaker 4: Yeah, yeah, they can be funny, are fucked up or
Speaker 4: funny and fucked up.
Speaker 2: The only rude to the game is you can't say
Speaker 2: no names.
Speaker 3: Huh, that's interesting. I think one of so many things
Speaker 3: are going through my head, but like random stuff that
Speaker 3: has iconic moments that were weird. I walked onto the
Speaker 3: set of the video for Missy's The Rain already I'm sorry,
Speaker 3: damn fucked up, but.
Speaker 2: It's not her.
Speaker 3: But it's not about her though, That is where I was, OK. Yeah, uh,
Speaker 3: I can't do this then, because I can't say that's
Speaker 3: too many names.
Speaker 2: How am I gonna convey? You can do, you can
Speaker 2: plain the situation, can't say today, man, I think I
Speaker 2: gotta switch through descriptive that story is. I can't even O.
Speaker 2: Can't let me change.
Speaker 3: Okay, So no names, it's.
Speaker 2: So let me get this wreck. You you don't want
Speaker 2: no names? Okay.
Speaker 3: Oh this is a management issue.
Speaker 2: Okay. So when.
Speaker 3: I got signed, didn't have management. When things fell apart,
Speaker 3: we got management trying to think that we're going to
Speaker 3: fix what was falling apart. It was a crook. We
Speaker 3: got a crook as a manager. That was a person
Speaker 3: who was a criminal, and we didn't know that so
Speaker 3: too late after you already signed to the management.
Speaker 2: Oh you signed to the criminal, to the criminal okay, okay.
Speaker 6: And.
Speaker 3: That almost got me killed in real life because that
Speaker 3: criminal tried to come up against the powers that be
Speaker 3: and it all went bad. So that was scary for
Speaker 3: a young person like me at that time, in my
Speaker 3: early twenties that had never been confronted with Oh I.
Speaker 2: Could die.
Speaker 3: Like holy crap, Like what do I What the hell?
Speaker 3: I didn't sign up for violence. So that was a
Speaker 3: life lesson that I learned that loyalty can be more
Speaker 3: important than.
Speaker 2: An immediate.
Speaker 3: Gratifact. Gratification like ultimate loyalty is important when if you
Speaker 3: have to have somebody like in your corner that absolutely
Speaker 3: got your back back even when business might be afft
Speaker 3: up this I learned that the hard way I had
Speaker 3: went with some other people that I thought had my back,
Speaker 3: but it almost cost me my life. Literally, Yeah, it
Speaker 3: was bad because the person who's I should have had
Speaker 3: my loyalty too, was so offended that I brought this
Speaker 3: outside person in who was absolutely a criminal, the kind
Speaker 3: of shit you can't even make up like, And I
Speaker 3: didn't know any of those things, so I was learning
Speaker 3: all of it in real time, like whoa what what?
Speaker 2: What you know?
Speaker 3: So that it's probably not the story you was looking for,
Speaker 3: But that's that happened.
Speaker 2: That happens.
Speaker 3: It's scary, scary. So I say to any people in
Speaker 3: this game or when you're doing what you're doing, and
Speaker 3: I've heard horror stories. We talked about people hanging people
Speaker 3: out windows, all that stuff that all those things that
Speaker 3: have happened to certain people. When I hear those kind
Speaker 3: of stories, I'm like, I died the bullet for compared
Speaker 3: to those stories. So I don't take my being alive
Speaker 3: for granted. Nice Ever, maybe that changed my life. I
Speaker 3: think it might have changed my life my perspective on
Speaker 3: just being alive and being grateful for being in the
Speaker 3: position that you are in, even when it looks fucked up.
Speaker 3: Like every day I wake up, I'll be like, I'm
Speaker 3: not in Gaza. That's just how I think I'm grateful
Speaker 3: or humble. And sometime I had it, y'all. Tell me
Speaker 3: if this is y'all, I can have a moment where
Speaker 3: I just absolutely lose it and cry just for pure gratefulness,
Speaker 3: just lose it and just being thankful. I don't have
Speaker 3: a moment of praise by myself. Nobody needs to know,
Speaker 3: just me being thankful. I don't know if I'm the
Speaker 3: only one that does that, but I do. And to me,
Speaker 3: it's you talk about a cleansing, that's a cleansing.
Speaker 2: To me.
Speaker 3: When I have those moments, I call them my private
Speaker 3: spiritual moments where I'm just like, let it out, whatever
Speaker 3: it is, thank the universe, thank God, whatever it is
Speaker 3: you pray to. I do all of that as a
Speaker 3: as a weekly thing because it helps me keep myself grounded,
Speaker 3: be honest with myself and spiritual.
Speaker 2: I still like you if you follow my page.
Speaker 3: I talk so much shit against organized religion and because
Speaker 3: the way I came up, and there's a whole other stories,
Speaker 3: there's a lot, and I have really bad feelings about
Speaker 3: organized religion and people trying to tell you how to
Speaker 3: do your connection with your higher power. So I spend
Speaker 3: a lot of time on my page trying to tell
Speaker 3: people you don't have to do it some other person's
Speaker 3: kind of way. You can do your connection direct and keep.
Speaker 2: The middle stuff, middle people out. That's what I do.
Speaker 2: I don't know why I went there, but I don't know.
Speaker 2: Somebody needs to hear. Yeah.
Speaker 3: I want to share that with you because that really
Speaker 3: is real, Like that's one hundred percent like for real,
Speaker 3: And so all my praise happens privately. I don't need
Speaker 3: to do it in front of folks. I don't need
Speaker 3: to impress nobody with nothing. But it's very real.
Speaker 2: And since I lost my mom at in two thousand
Speaker 2: and six.
Speaker 3: Lost my sister in two thousand and four, lost my
Speaker 3: mom in six and so I feel like when those
Speaker 3: moments happened, it's her reconnecting with me and re reminding
Speaker 3: me of what she taught me about gratefulness and humbleness
Speaker 3: and all the things. I learned to have nothing to
Speaker 3: do with any of this business stuff. So I carry
Speaker 3: it with me. You mentioned when you said your father,
Speaker 3: it made it instantly made me feel that about my mother. Yeah,
Speaker 3: my father still lied. We cool, But when I lost her,
Speaker 3: she was the force that kept me one hundred percent real,
Speaker 3: you know. So she was super proud of me for
Speaker 3: doing what we like. Her son was working with Aretha.
Speaker 3: I'm in Detroit with Aretha?
Speaker 2: What her son? What do you do? What? You know?
Speaker 2: She grew up on Aretha, so like that's crazy.
Speaker 4: Yeah, this music does for us. That's what it does
Speaker 4: for us, man. It takes us expenses in places that
Speaker 4: we never imagine.
Speaker 3: Right right, right right, And again, I'm still thankful to
Speaker 3: be here, just to be here, thankful for you guys,
Speaker 3: with your platform that I made it on.
Speaker 2: Because everybody watched this. Do they love this? They love y'all? Man,
Speaker 2: they do. I know that for a fact. Everybody.
Speaker 3: You know, I mean, people have been asking what you're
Speaker 3: gonna do on there?
Speaker 2: I don't do that, don't want that pressure.
Speaker 3: I really got to know, like they see me on
Speaker 3: other people's things, like when you're going through the real
Speaker 3: joint out.
Speaker 2: That I'm not even joking.
Speaker 3: And I was felt bad because like when I tried
Speaker 3: to reschedule that first time when it wouldn't work.
Speaker 2: I was like, oh they with me, Oh my god,
Speaker 2: I know, No, you're a guy.
Speaker 4: Appreciate you that we have the most respectful for what
Speaker 4: you've done man, and what you're doing and just you know,
Speaker 4: just your just.
Speaker 2: Your presence in this music.
Speaker 4: GANI coming in here with with that type of energy
Speaker 4: man that you know you've been in this game for
Speaker 4: as long as you've been in it and still love
Speaker 4: it man, you know, because you know we we're around everybody.
Speaker 2: Everybody don't love it no more. Facts, you know what
Speaker 2: I mean.
Speaker 4: And I when I when I'm I'm around people who
Speaker 4: have been in it who don't love it anymore. It's disheartening. Yeah,
Speaker 4: you know what I mean, because this is obviously something
Speaker 4: we do from our heart. This is something that it's
Speaker 4: really been embedded in all of us and has, like
Speaker 4: I said, taking us places and put us in, you know,
Speaker 4: situations that we.
Speaker 2: Never could even even imagine.
Speaker 4: So when we get that and we get here, I
Speaker 4: just hope they remember, you know, how good it is
Speaker 4: to be in this position, right, you know what I mean,
Speaker 4: and to see you and to see you still enjoying
Speaker 4: it the way you do and still you can still.
Speaker 2: Call it all up and it is this that it's amazing, bro,
Speaker 2: that's amazing. Amazing. Course.
Speaker 3: So Wayne was just at my house two days and
Speaker 3: two nights ago. So I have a whole other side
Speaker 3: of me that I do house music, like very religiously
Speaker 3: and seriously. Really, I'm a real student of house music.
Speaker 3: So Wayne and I are doing a partnership with here
Speaker 3: Terry Hunter, the DJ for Chiciago. He's amazing. So I'm
Speaker 3: doing a whole separate house music thing with those guys.
Speaker 3: So I just am thankful that I have all these
Speaker 3: outlets to do these things like and then my hip hop.
Speaker 2: Stuff is like with I also sing on house tracks.
Speaker 3: I hope y'all really come over, like, don't dun't.
Speaker 2: I need those guys.
Speaker 3: Hills please, because I'm telling you, like, I want nothing
Speaker 3: more than to get you guys's ears on some of
Speaker 3: these things I'm working on because I'm excited about them
Speaker 3: and I want I just want to see what gets
Speaker 3: some feedback from you absolutely and some huge business wise
Speaker 3: like there's I have a couple of people are trying
Speaker 3: to do some things with me, heads from people right now,
Speaker 3: some things with these records, and I'm trying to figure
Speaker 3: out the best way to move to get these records
Speaker 3: out because I know I'm sitting on gold.
Speaker 2: I know it.
Speaker 3: I haven't felt this way about certain these particular records
Speaker 3: like in a long time as far, and I know
Speaker 3: there's this particular audience that's waiting for these records. Is
Speaker 3: they are ready, big time ready, especially after verses and
Speaker 3: after all these things. Right, So, I'm sitting on these
Speaker 3: records and I need to get them out, but I'm
Speaker 3: weighing a couple of situations and I feel very alone
Speaker 3: and trying to make the decisions. It's good that I
Speaker 3: have these options, but I need to have people to
Speaker 3: bounce some options off of them. And you guys are
Speaker 3: the perfect guys because you've been in multiple, multiple situations
Speaker 3: and deals like there's ways to do these records and
Speaker 3: get them out, you know what I mean. So after
Speaker 3: y'all hear what I got and when I'm sitting on
Speaker 3: I want to y'all want you guys to really share
Speaker 3: with me what you guys how y'all think I should move.
Speaker 2: I need that.
Speaker 3: It's easy because every time I talk to other certain
Speaker 3: people about it, they don't understand it like y'all do
Speaker 3: they more approaching it more like if they're not approaching
Speaker 3: it all the way from a hedge fund only perspective,
Speaker 3: or they're approaching it from Okay, you need to do
Speaker 3: this or do that with your catalog. Well, I already
Speaker 3: did the thing with my catalog. I got that part
Speaker 3: or that so, and I haven't sold my old catalog
Speaker 3: like a lot of people. I still got most of
Speaker 3: my catalog. But I did do a little piece and
Speaker 3: it got me what I wanted.
Speaker 2: But here's the deal. At this juncture with.
Speaker 3: These things I'm sitting on, it's time for me to
Speaker 3: figure out how to leverage the physical stuff I have too,
Speaker 3: not just my intellectual property. You feel me so in
Speaker 3: that way, I feel like you guys are going to
Speaker 3: be a good asset to tell me, Hey, be.
Speaker 2: A B or c.
Speaker 3: Yeah, in the moment where I'm trying.
Speaker 2: To make the decision because I'm keep all the way
Speaker 2: a thousand, it's crazy. I know you will.
Speaker 3: That's what one hundred percent love, And I just want
Speaker 3: you guys to hear it as musicians and singers and
Speaker 3: writers and the kind of ship you guys.
Speaker 2: Know, erfect perfect Boo boo.
Speaker 3: Bring some sushi over, bring like I don't need sushi,
Speaker 3: but go ahead. Anything Midwest cabbage dreams, I said, cabbage
Speaker 3: and green that white.
Speaker 2: Ur don't know. No, we went and we went everywhere.
Speaker 2: Anything but what you think you know, some soulfu ship
Speaker 2: just ponders. You want me to go down to duelings.
Speaker 3: With the greed?
Speaker 2: Keep it we that's perfect. So look, I swear you're
Speaker 2: going to close, you know, like all right, I'm just
Speaker 2: it up. Ladies. First of all, I love you brother.
Speaker 1: We appreciate you, you know, as a brother, as a musician,
Speaker 1: as a great Yes, you are thank you you are that.
Speaker 2: You know what I mean? This is this is this
Speaker 2: is your flower day, my brother. Hey.
Speaker 1: So if people can't understand who and what you are, wow,
Speaker 1: and you get to talk that talk and share that
Speaker 1: good energy with Was this a good show?
Speaker 2: Did we do? It's great? It's great? Yea.
Speaker 1: And this is the R by Money podcast, your story
Speaker 1: on all things R and B.
Speaker 2: And this has been a good episode. What our brother more?
Speaker 3: Amen?
Speaker 2: R and B Money.
Speaker 4: R and B Money is a production of the Black
Speaker 4: Effect Podcast Network. For more podcasts from iHeart Radio, visit
Speaker 4: the iHeartRadio app, Apple Podcasts, or wherever you listen to
Speaker 4: your favorite shows. Don't forget to subscribe to and rate
Speaker 4: our show, and you can connect with us on social
Speaker 4: media at Jay Valentine and at the Real Tank. For
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Speaker 4: R and B Money