1 00:00:01,560 --> 00:00:04,960 Speaker 1: Every day a week ago, clicks up the Breakfast Club 2 00:00:05,480 --> 00:00:06,600 Speaker 1: finish for y'all done. 3 00:00:07,440 --> 00:00:09,600 Speaker 2: Yep, it's the world's most dangerous morning show to Breakfast Club. 4 00:00:09,680 --> 00:00:12,560 Speaker 2: Charlamagne the God, DJ NB and Jess Hilarius aren't here today, 5 00:00:12,600 --> 00:00:14,640 Speaker 2: but LLL Cool Bay Lauren Lerossa is and we got 6 00:00:14,640 --> 00:00:18,799 Speaker 2: a very special guest celebrating thirty years Man thirtieth anniversary 7 00:00:18,800 --> 00:00:21,600 Speaker 2: of his ri I double, A certified gold debut album, 8 00:00:21,720 --> 00:00:22,520 Speaker 2: bona Fide. 9 00:00:22,800 --> 00:00:23,960 Speaker 1: John b is here. Man. 10 00:00:24,320 --> 00:00:25,040 Speaker 3: What's going on? 11 00:00:25,120 --> 00:00:26,240 Speaker 1: Man? 12 00:00:26,280 --> 00:00:28,120 Speaker 3: I'm blessed man. Good to be with you, guys, man, 13 00:00:28,160 --> 00:00:28,800 Speaker 3: thanks for having me. 14 00:00:28,800 --> 00:00:29,440 Speaker 1: You know, it's so funny. 15 00:00:29,440 --> 00:00:31,639 Speaker 2: I saw you say somewhere I might have been blad TV, 16 00:00:32,280 --> 00:00:34,040 Speaker 2: Well you were the first white R and B singer, 17 00:00:34,040 --> 00:00:35,599 Speaker 2: And I'm like, damn you right? 18 00:00:36,200 --> 00:00:39,120 Speaker 1: And I remember imber between you and color me back. 19 00:00:39,520 --> 00:00:42,280 Speaker 3: I remember, you know, other people being in R and B, 20 00:00:42,440 --> 00:00:45,440 Speaker 3: but I don't remember any of them claiming R and 21 00:00:45,479 --> 00:00:48,879 Speaker 3: B the way I have. Like Michael McDonald, you know, 22 00:00:49,640 --> 00:00:53,559 Speaker 3: you know he's very soulful. You know, Allan Oates, very soulful. 23 00:00:53,600 --> 00:00:56,640 Speaker 3: The bgs, you know, Liz, you know Tina Marie was 24 00:00:56,680 --> 00:00:57,160 Speaker 3: an R and B. 25 00:00:58,120 --> 00:00:58,600 Speaker 1: You know what I mean? 26 00:00:58,640 --> 00:01:01,440 Speaker 3: And she claimed R and B. So that's that's all 27 00:01:01,480 --> 00:01:03,560 Speaker 3: I basically was saying, is I feel like I was 28 00:01:03,640 --> 00:01:05,520 Speaker 3: one of the first ones to really claim R and B. 29 00:01:05,760 --> 00:01:08,120 Speaker 3: You know, George Michaels, he was soulful, but he wasn't 30 00:01:08,319 --> 00:01:08,959 Speaker 3: an ring. 31 00:01:09,000 --> 00:01:09,720 Speaker 1: They were R and B O. 32 00:01:10,319 --> 00:01:12,200 Speaker 2: I wonder if that was because they were white, and 33 00:01:12,240 --> 00:01:14,360 Speaker 2: so the labels probably like, don't say you're RM because 34 00:01:14,360 --> 00:01:15,080 Speaker 2: that would limit you. 35 00:01:15,800 --> 00:01:16,240 Speaker 3: There you go. 36 00:01:16,360 --> 00:01:17,200 Speaker 1: Did they tell you that? 37 00:01:18,080 --> 00:01:21,000 Speaker 3: Not tell me that? They showed me in their own way, 38 00:01:21,160 --> 00:01:23,880 Speaker 3: like we want you to work with Diane Warren, David 39 00:01:23,880 --> 00:01:26,480 Speaker 3: Foster make a pop record, And I'm like, I don't 40 00:01:26,520 --> 00:01:29,240 Speaker 3: really want to do that, but I'm gonna do it 41 00:01:29,319 --> 00:01:31,520 Speaker 3: to satisfy you guys. I don't want to look like 42 00:01:31,560 --> 00:01:34,560 Speaker 3: a difficult artist, you know. But I was like more 43 00:01:34,560 --> 00:01:36,680 Speaker 3: interested in work with Tupac, you know, more interested in 44 00:01:36,720 --> 00:01:39,640 Speaker 3: working with Babyface. Warrant is you know, real R and 45 00:01:39,680 --> 00:01:42,000 Speaker 3: B and hip hop not doing pop music? 46 00:01:42,400 --> 00:01:45,000 Speaker 1: What about colling Me Bad? What would they be considered R. 47 00:01:45,000 --> 00:01:47,240 Speaker 3: And B but more like Latin R and B because 48 00:01:47,240 --> 00:01:50,120 Speaker 3: they were more like, you know, kind of with the 49 00:01:50,240 --> 00:01:52,200 Speaker 3: Latin mixed up. You know what I'm saying a little 50 00:01:52,200 --> 00:01:53,880 Speaker 3: bit about that. Yeah, they had the me and more, 51 00:01:54,000 --> 00:01:56,880 Speaker 3: I door, me and more they were saying. So they 52 00:01:56,920 --> 00:02:00,440 Speaker 3: had that old kind of cross genre thing going on, 53 00:02:00,440 --> 00:02:04,120 Speaker 3: which is cool because that was new too international you know, 54 00:02:04,880 --> 00:02:09,040 Speaker 3: everybody involved. No, that's uh it was. It was a 55 00:02:09,040 --> 00:02:11,920 Speaker 3: great time to see that growing up because I was 56 00:02:11,919 --> 00:02:13,920 Speaker 3: trying to have groups growing up in high school. And 57 00:02:13,960 --> 00:02:15,799 Speaker 3: when we saw Comedy Bad, I was like, oh man, 58 00:02:15,840 --> 00:02:19,040 Speaker 3: they took our idea. We had a Filipino homie and 59 00:02:19,680 --> 00:02:22,120 Speaker 3: black homie and me and we used to sing at 60 00:02:22,200 --> 00:02:24,600 Speaker 3: at lunchtime. So when we saw Colored Be Bad, we 61 00:02:24,639 --> 00:02:27,040 Speaker 3: were like, oh man, you know, they took our ideas. 62 00:02:27,760 --> 00:02:30,079 Speaker 1: If Envy was here, he would say, where'd you get 63 00:02:30,080 --> 00:02:31,840 Speaker 1: your start? I want to go back? I want to 64 00:02:31,840 --> 00:02:33,680 Speaker 1: go back. Where did you get your start? 65 00:02:33,720 --> 00:02:37,800 Speaker 3: John by Man? You know, just singing in in Altadena, 66 00:02:37,919 --> 00:02:41,600 Speaker 3: Pasadena and talent shows and you know basically just really 67 00:02:41,639 --> 00:02:45,200 Speaker 3: loving the music and being around other guys who loved 68 00:02:45,200 --> 00:02:48,799 Speaker 3: it too, and demoing, you know, basically you know, getting 69 00:02:48,800 --> 00:02:51,359 Speaker 3: equipment at at an early age enough to be able 70 00:02:51,360 --> 00:02:54,200 Speaker 3: to make demos. You know, not everybody had a keyboard, 71 00:02:54,240 --> 00:02:56,520 Speaker 3: not everybody had a you know, multi track recorder, so 72 00:02:57,480 --> 00:02:59,240 Speaker 3: those things were tools. Back in the day, and I 73 00:02:59,320 --> 00:03:02,040 Speaker 3: just rather and being outside playing ball or whatever else 74 00:03:02,200 --> 00:03:04,280 Speaker 3: everybody else was doing. I was in there writing records 75 00:03:04,280 --> 00:03:07,400 Speaker 3: and making making songs. And by the time I was sixteen, 76 00:03:07,440 --> 00:03:10,239 Speaker 3: I had a full, you know, demo ready and just 77 00:03:10,280 --> 00:03:12,760 Speaker 3: trying to shop it around, and by eighteen I had 78 00:03:12,800 --> 00:03:13,119 Speaker 3: a deal. 79 00:03:13,320 --> 00:03:15,200 Speaker 2: You think that's a lost art, like having to make 80 00:03:15,240 --> 00:03:17,600 Speaker 2: an actual demo tape. 81 00:03:17,400 --> 00:03:19,240 Speaker 1: Like more than one song that defines you. 82 00:03:19,520 --> 00:03:22,640 Speaker 3: Absolutely, I think that, you know, now we just go 83 00:03:22,720 --> 00:03:24,760 Speaker 3: straight to making records. You know, we don't even make 84 00:03:24,800 --> 00:03:27,280 Speaker 3: demos anymore. I think the demo is the record now, 85 00:03:27,400 --> 00:03:32,160 Speaker 3: So which is which is? You know, it's cutting a 86 00:03:32,160 --> 00:03:34,839 Speaker 3: lot of a lot of red tape out of the way. 87 00:03:35,000 --> 00:03:38,000 Speaker 3: You know. We had to do a whole lot, you know, 88 00:03:38,280 --> 00:03:40,800 Speaker 3: to get noticed and to get heard. So we were 89 00:03:40,800 --> 00:03:41,600 Speaker 3: out there hustling. 90 00:03:43,120 --> 00:03:43,280 Speaker 1: You know. 91 00:03:43,320 --> 00:03:45,560 Speaker 3: I remember my eighteen you know, I turned eighteen my 92 00:03:45,640 --> 00:03:48,200 Speaker 3: senior year in high school. I was checking myself out 93 00:03:48,200 --> 00:03:50,280 Speaker 3: of school and going to shop my demo tape, you know, 94 00:03:50,320 --> 00:03:53,800 Speaker 3: in Hollywood, because I had time. You know, I was like, man, 95 00:03:53,840 --> 00:03:55,800 Speaker 3: I'm not going to college, you know, I'm getting a 96 00:03:55,800 --> 00:03:56,280 Speaker 3: record deal. 97 00:03:56,600 --> 00:03:58,600 Speaker 4: You know what was demo tape? John be the same 98 00:03:58,600 --> 00:04:01,000 Speaker 4: as like bona fide John, Did you know a lot 99 00:04:01,040 --> 00:04:01,280 Speaker 4: of the. 100 00:04:01,280 --> 00:04:04,240 Speaker 3: Same records were on my demo? A lot were on 101 00:04:04,280 --> 00:04:07,640 Speaker 3: my first album. Actually, one of the songs I wrote 102 00:04:09,760 --> 00:04:12,400 Speaker 3: on my first demo was called I Do What You 103 00:04:12,480 --> 00:04:15,160 Speaker 3: Say Boo, which was on my second album. We held 104 00:04:15,280 --> 00:04:17,720 Speaker 3: we held that off for some reason. It didn't make 105 00:04:17,720 --> 00:04:20,720 Speaker 3: my first album. We just kept that in the wings waiting, 106 00:04:20,760 --> 00:04:23,200 Speaker 3: and then the second album came and then Sony was like, 107 00:04:23,200 --> 00:04:24,680 Speaker 3: we want to put that out as a single one. 108 00:04:24,720 --> 00:04:26,800 Speaker 1: I was like, yes, because. 109 00:04:26,520 --> 00:04:28,640 Speaker 3: That was the first song I sort of wrote and 110 00:04:28,640 --> 00:04:31,640 Speaker 3: produced one hundred percent myself that was released, But that 111 00:04:31,720 --> 00:04:32,720 Speaker 3: was on my original demo. 112 00:04:32,920 --> 00:04:34,440 Speaker 4: That's crazy to think about because I feel like to 113 00:04:34,520 --> 00:04:36,840 Speaker 4: a lot of artists now do so much different stuff 114 00:04:36,880 --> 00:04:40,560 Speaker 4: because they don't know who they are, like feeling wise 115 00:04:40,560 --> 00:04:43,039 Speaker 4: and sound wise. But you came in strong out the gate, 116 00:04:43,120 --> 00:04:44,719 Speaker 4: like yeah, knowing that well. 117 00:04:44,760 --> 00:04:47,600 Speaker 3: I mean, I was looking up to all my favorite producers, 118 00:04:47,680 --> 00:04:50,320 Speaker 3: you know, Jimmy jam and Terry Lewis, Babyface of course, 119 00:04:51,360 --> 00:04:55,560 Speaker 3: and baby Face you know, I'm Teddy Riley, anybody who 120 00:04:55,600 --> 00:04:58,200 Speaker 3: was making noise at the time. I was trying to 121 00:04:58,240 --> 00:05:00,800 Speaker 3: reverse engineer what they were doing, how they get that 122 00:05:00,800 --> 00:05:02,640 Speaker 3: snare sound. How did he get that? You know, and 123 00:05:02,640 --> 00:05:04,640 Speaker 3: try to you know, make my own sort of version 124 00:05:04,720 --> 00:05:08,480 Speaker 3: of that. And you know, you always start off imitating someone, 125 00:05:08,600 --> 00:05:11,359 Speaker 3: you know, That's the I think all of the greatest artists, 126 00:05:11,400 --> 00:05:13,400 Speaker 3: I've always had a you know, sort of a muse 127 00:05:13,520 --> 00:05:17,400 Speaker 3: or someone that they use as an example. And you 128 00:05:17,440 --> 00:05:20,000 Speaker 3: know those guys with that for me, Babyface, you know, 129 00:05:20,040 --> 00:05:22,479 Speaker 3: Jimmy James, Terry Lewis. So I just wanted to, you know, 130 00:05:22,560 --> 00:05:25,520 Speaker 3: basically follow in their footsteps, you know, and learn the chords, 131 00:05:25,600 --> 00:05:27,719 Speaker 3: learn how to make the beats. And that's what I 132 00:05:27,760 --> 00:05:30,200 Speaker 3: spent you know, my time doing at sixteen. 133 00:05:30,600 --> 00:05:30,800 Speaker 1: Yeah. 134 00:05:30,920 --> 00:05:33,040 Speaker 2: Yeah, I've heard you talk about working with Baby Faith 135 00:05:33,040 --> 00:05:35,000 Speaker 2: and how that helped to shape your career early. What's 136 00:05:35,040 --> 00:05:38,520 Speaker 2: the most important creative or even life lesson he gave 137 00:05:38,560 --> 00:05:40,520 Speaker 2: you that you still guide you right now. 138 00:05:41,240 --> 00:05:44,440 Speaker 3: Man, keep it honest, Man, just be honest. The more 139 00:05:44,480 --> 00:05:46,719 Speaker 3: honest you are, I think that's the special stuff that 140 00:05:47,000 --> 00:05:47,760 Speaker 3: is hard to get. 141 00:05:48,120 --> 00:05:48,320 Speaker 1: You know. 142 00:05:48,400 --> 00:05:51,400 Speaker 3: It takes time to kind of you know, write those 143 00:05:51,440 --> 00:05:54,320 Speaker 3: type of records. It's not just a throat, throw together thing. 144 00:05:54,520 --> 00:05:54,719 Speaker 1: You know. 145 00:05:55,680 --> 00:05:57,520 Speaker 3: Sometimes you'll have a train of thought and it'll just 146 00:05:57,560 --> 00:05:59,080 Speaker 3: come out in that moment, it's boom. 147 00:05:59,360 --> 00:05:59,560 Speaker 1: You know. 148 00:06:00,240 --> 00:06:02,159 Speaker 3: I did that one time on this this new album 149 00:06:02,200 --> 00:06:05,680 Speaker 3: I just released this called Waiting On You, And the 150 00:06:05,720 --> 00:06:08,680 Speaker 3: title track Waiting on You is actually a song I 151 00:06:08,720 --> 00:06:11,039 Speaker 3: sat down I wrote in one instance. You know, it's 152 00:06:11,080 --> 00:06:13,200 Speaker 3: probably about a couple of hours I had this writ 153 00:06:13,240 --> 00:06:15,400 Speaker 3: you know. But it doesn't always happen like that. But 154 00:06:15,440 --> 00:06:17,760 Speaker 3: when you have a feeling that you're really trying to 155 00:06:17,760 --> 00:06:20,560 Speaker 3: convey and your focus, you know, I know exactly what 156 00:06:20,600 --> 00:06:24,159 Speaker 3: this is about, boom, It's like laser focus. You just 157 00:06:24,160 --> 00:06:26,440 Speaker 3: get it done. What about from Jimmy Sam, Terry Lewis, 158 00:06:26,640 --> 00:06:31,000 Speaker 3: Jimmy James, Terry Lewis, don't be afraid to be as 159 00:06:31,040 --> 00:06:33,159 Speaker 3: exotic as you want to be with with R and B. 160 00:06:33,480 --> 00:06:35,599 Speaker 3: You know, R and B is so vast of a style. 161 00:06:35,640 --> 00:06:38,320 Speaker 3: It's not just one thing. You can't put it in 162 00:06:38,360 --> 00:06:40,799 Speaker 3: a box. And they showed me that. You know, they've 163 00:06:41,360 --> 00:06:45,680 Speaker 3: incorporated so many different you know, textures in their music, 164 00:06:45,800 --> 00:06:48,200 Speaker 3: and I love that about them. They really really helped 165 00:06:48,200 --> 00:06:51,800 Speaker 3: me kind of find my own style through theirs. 166 00:06:51,839 --> 00:06:53,720 Speaker 2: You know, I always wonder, man, I guess this is 167 00:06:53,760 --> 00:06:56,680 Speaker 2: a question for Jimmy jam and Terry Lewis, and baby Face, 168 00:06:56,760 --> 00:06:58,560 Speaker 2: but even I guess you're you're an R and B autist, 169 00:06:58,560 --> 00:07:00,280 Speaker 2: So you could add, how do y'all feel. 170 00:07:00,080 --> 00:07:01,200 Speaker 1: About this news sound? 171 00:07:01,200 --> 00:07:02,600 Speaker 2: To where there was a point where R and B 172 00:07:02,680 --> 00:07:05,240 Speaker 2: and hip hop blended so much you couldn't tell what 173 00:07:05,360 --> 00:07:07,560 Speaker 2: was what The hip hop waters was sounding like the singers. 174 00:07:07,880 --> 00:07:10,160 Speaker 2: The singers would sounding like the rappers. I wonder how 175 00:07:10,240 --> 00:07:11,720 Speaker 2: y'all how'd y'all feel about that? 176 00:07:12,200 --> 00:07:17,840 Speaker 3: It was kind of a transition to hear like novice singers, 177 00:07:18,360 --> 00:07:22,160 Speaker 3: you know, sing and be accepted for that, because back 178 00:07:22,200 --> 00:07:23,440 Speaker 3: in the day and the nightso'd be like, oh, you 179 00:07:23,520 --> 00:07:25,360 Speaker 3: can't sing, you know what I mean if you try 180 00:07:25,400 --> 00:07:28,000 Speaker 3: to do something like that. But now it's like, you know, 181 00:07:28,160 --> 00:07:30,080 Speaker 3: because if you flip it, and you know, you turn 182 00:07:30,160 --> 00:07:32,600 Speaker 3: the singer who you used to you know, hearing sing 183 00:07:32,640 --> 00:07:34,480 Speaker 3: into a rapper and he was to try to rap 184 00:07:34,560 --> 00:07:37,720 Speaker 3: and do a whole rap song, you know, I don't know, 185 00:07:38,800 --> 00:07:41,120 Speaker 3: I don't know if that would work. Yeah, So you know, 186 00:07:41,240 --> 00:07:44,200 Speaker 3: the fact that we were able to accept the singing 187 00:07:44,320 --> 00:07:46,240 Speaker 3: from the rappers. I remember back in the day, R 188 00:07:46,280 --> 00:07:49,320 Speaker 3: and B and hip hop didn't really they didn't really 189 00:07:49,400 --> 00:07:51,560 Speaker 3: gel like that all the way in the nineties, we 190 00:07:51,560 --> 00:07:54,120 Speaker 3: were still saying, oh, man, you know you dress an 191 00:07:54,200 --> 00:07:54,480 Speaker 3: R and B. 192 00:07:54,800 --> 00:07:56,400 Speaker 1: You know what I mean? You look at real R 193 00:07:56,400 --> 00:07:57,160 Speaker 1: and B over there. 194 00:07:57,280 --> 00:07:59,160 Speaker 3: This is hip hop over here, and you couldn't really 195 00:07:59,200 --> 00:08:02,120 Speaker 3: play hip hop music at the same time of day 196 00:08:02,120 --> 00:08:04,240 Speaker 3: as you played R and B. It was not mixed up. 197 00:08:04,840 --> 00:08:06,880 Speaker 3: So when we did are you still down? You know, 198 00:08:07,040 --> 00:08:09,360 Speaker 3: it was very very much against the grain. We were 199 00:08:09,440 --> 00:08:12,200 Speaker 3: doing something that was sort of taboo, you know, and 200 00:08:12,520 --> 00:08:14,400 Speaker 3: but we were doing it because we wanted to, you know, 201 00:08:14,400 --> 00:08:18,280 Speaker 3: we wanted that to, you know, be the meeting of 202 00:08:18,720 --> 00:08:19,400 Speaker 3: two worlds. 203 00:08:19,480 --> 00:08:21,200 Speaker 1: You know. How did that collaboration even happen? 204 00:08:21,640 --> 00:08:24,160 Speaker 3: Man, just some mutual friend you know, was at the 205 00:08:24,240 --> 00:08:26,160 Speaker 3: video shoot for how Do You Want It? With Tupac 206 00:08:26,240 --> 00:08:29,280 Speaker 3: and he's like, Man, he mentioned my name and he's like, man, 207 00:08:29,320 --> 00:08:31,960 Speaker 3: you know him, hit him up. Pop said, hit him up. 208 00:08:32,000 --> 00:08:35,080 Speaker 3: So he called me and man put him on the 209 00:08:35,080 --> 00:08:36,920 Speaker 3: phone and he's like, get down here, man, you know. 210 00:08:37,000 --> 00:08:40,120 Speaker 3: So I came down there and he's cool, cool as ever. 211 00:08:40,200 --> 00:08:40,360 Speaker 1: Man. 212 00:08:40,400 --> 00:08:43,000 Speaker 3: We just hit it off. It was chemistry right from 213 00:08:43,080 --> 00:08:44,920 Speaker 3: the walking through the door, you know, because I was 214 00:08:44,960 --> 00:08:47,679 Speaker 3: playing my beats for him and he started freestyling right 215 00:08:47,720 --> 00:08:50,839 Speaker 3: away and just you know, Casey and Jojo was there 216 00:08:50,880 --> 00:08:54,559 Speaker 3: as well, and I remember there being like, oh, you guys, 217 00:08:54,880 --> 00:08:56,640 Speaker 3: get that in the studio. You guys got to get 218 00:08:56,679 --> 00:08:58,640 Speaker 3: that down right there. That sounded like something, you know, 219 00:08:58,760 --> 00:09:01,839 Speaker 3: And sure enough to weeks later he hit me up 220 00:09:01,880 --> 00:09:04,040 Speaker 3: and we made are you still down man? 221 00:09:04,280 --> 00:09:05,199 Speaker 1: You'all recorded together? 222 00:09:05,480 --> 00:09:08,240 Speaker 3: Yeah in the studio, man, I mean I pulled up 223 00:09:08,280 --> 00:09:10,679 Speaker 3: and my my CD was right there in his in 224 00:09:10,679 --> 00:09:13,839 Speaker 3: his car, my first CD, bona Fide. He had it 225 00:09:14,000 --> 00:09:16,800 Speaker 3: like just right there in the front where I could 226 00:09:16,800 --> 00:09:19,640 Speaker 3: see what he was playing, you know, and I said, oh, man, 227 00:09:19,679 --> 00:09:21,800 Speaker 3: you might you might have been listening to my music 228 00:09:21,880 --> 00:09:23,679 Speaker 3: or whatever. You know. So when I walked in, I 229 00:09:23,960 --> 00:09:27,760 Speaker 3: felt real good about that. Like, you know, he was 230 00:09:27,880 --> 00:09:29,960 Speaker 3: he was there early, you know, he was he was 231 00:09:30,000 --> 00:09:32,240 Speaker 3: there before I was there, so he you know, he 232 00:09:32,320 --> 00:09:34,880 Speaker 3: looked forward to working with me and everybody that came 233 00:09:34,920 --> 00:09:37,200 Speaker 3: into the session. You know, he made sure they knew, like, 234 00:09:37,440 --> 00:09:39,400 Speaker 3: you know who that is, that's John b Up in there. 235 00:09:39,440 --> 00:09:41,600 Speaker 3: So it wasn't it wasn't the type of situation where 236 00:09:41,600 --> 00:09:44,079 Speaker 3: I was coming into the death robe. You know, all 237 00:09:44,120 --> 00:09:46,840 Speaker 3: these guys in the studio and I didn't matter. He 238 00:09:47,000 --> 00:09:50,200 Speaker 3: was like nah, this is he told me. He's like, 239 00:09:50,240 --> 00:09:51,760 Speaker 3: this is my crossover joint. 240 00:09:52,280 --> 00:09:54,760 Speaker 4: Was it all love every time you met? Because he 241 00:09:54,800 --> 00:09:57,199 Speaker 4: embraced you, but internally, like with other artists, was it 242 00:09:57,280 --> 00:09:59,079 Speaker 4: always all love or was it like who was this 243 00:09:59,160 --> 00:10:02,959 Speaker 4: white guy with the arm and be like how audition artists? 244 00:10:03,000 --> 00:10:06,600 Speaker 3: When I so one of my prerequisites I told I 245 00:10:06,640 --> 00:10:09,760 Speaker 3: told Babyface, I said, so, you know, if I signed 246 00:10:10,280 --> 00:10:12,560 Speaker 3: you know this deal, I gotta work with New Addition 247 00:10:12,640 --> 00:10:15,079 Speaker 3: and I gotta work with Tony Braxton that that has 248 00:10:15,160 --> 00:10:18,200 Speaker 3: to happen. He's like, I can make that happen. So 249 00:10:18,240 --> 00:10:21,160 Speaker 3: he put me in first with New Addition. And I 250 00:10:21,200 --> 00:10:24,840 Speaker 3: remember coming to this the studio session with New Addition 251 00:10:25,240 --> 00:10:28,880 Speaker 3: and being such a New Addition fan that they were 252 00:10:28,920 --> 00:10:31,360 Speaker 3: all sitting outside of the studio just chopping it up, 253 00:10:31,440 --> 00:10:33,080 Speaker 3: you know what I mean That before we go in 254 00:10:33,120 --> 00:10:35,240 Speaker 3: and do the work whatever, we parked our cars and 255 00:10:35,280 --> 00:10:39,080 Speaker 3: everybody's outside of the studio. But I was so starstruck 256 00:10:39,200 --> 00:10:41,120 Speaker 3: that I just walked straight past them and I didn't 257 00:10:41,120 --> 00:10:44,320 Speaker 3: even say hello, why And I walk into the studio 258 00:10:44,440 --> 00:10:48,000 Speaker 3: and I'm like like, oh man, you know, because I 259 00:10:48,000 --> 00:10:51,319 Speaker 3: was a little I was like nineteen, you know, and 260 00:10:51,520 --> 00:10:53,200 Speaker 3: just these you know, these are my heroes. 261 00:10:53,440 --> 00:10:54,199 Speaker 1: They didn't know who you were. 262 00:10:54,679 --> 00:10:57,560 Speaker 3: They didn't know who I was an engineer. They thought 263 00:10:57,559 --> 00:11:03,199 Speaker 3: I was an engineer undercovered. But yeah, man, So I'm 264 00:11:03,200 --> 00:11:04,920 Speaker 3: in there and they think it I'm the engineer and 265 00:11:05,200 --> 00:11:07,600 Speaker 3: so I you know, and they come in and I 266 00:11:07,679 --> 00:11:10,000 Speaker 3: was like, hey, guys, what's up man, you know, and 267 00:11:10,040 --> 00:11:12,800 Speaker 3: I'm talking to him and I'm John B. You know 268 00:11:13,559 --> 00:11:18,000 Speaker 3: your John B. I'm like, yeah, man, So like wow, 269 00:11:18,080 --> 00:11:20,800 Speaker 3: we we didn't know he was white, you know. And 270 00:11:20,800 --> 00:11:23,800 Speaker 3: it's all good because I wrote the record for him 271 00:11:23,840 --> 00:11:26,840 Speaker 3: and produced it and everything, and they loved it and 272 00:11:26,840 --> 00:11:29,560 Speaker 3: they wanted to cut it. So we were already good. 273 00:11:29,720 --> 00:11:32,280 Speaker 3: You know. We knew the music meant. That's what you know, 274 00:11:32,600 --> 00:11:36,600 Speaker 3: we were there for. It was a song called Hey Girl. 275 00:11:36,800 --> 00:11:39,920 Speaker 3: It never came out, but but the song is dope. 276 00:11:40,000 --> 00:11:42,800 Speaker 3: And every time I see those guys, we always ask 277 00:11:43,040 --> 00:11:44,439 Speaker 3: we always ask each other about it. What are we 278 00:11:44,480 --> 00:11:45,360 Speaker 3: gonna do with that record? 279 00:11:45,400 --> 00:11:45,600 Speaker 1: Man? 280 00:11:45,760 --> 00:11:47,560 Speaker 3: You know, because it was actually one of the on 281 00:11:47,640 --> 00:11:50,440 Speaker 3: the Reunion album. It was for the Reunion album. All 282 00:11:50,480 --> 00:11:51,200 Speaker 3: of them was on. 283 00:11:51,120 --> 00:11:53,400 Speaker 1: There, so why didn't come out? You know? 284 00:11:53,920 --> 00:11:56,040 Speaker 3: It was there was a lot of records for that album. 285 00:11:56,080 --> 00:11:57,959 Speaker 3: That everybody. You know, they were working with just about 286 00:11:57,960 --> 00:11:59,959 Speaker 3: everybody on that album. So I was really honored to 287 00:12:00,240 --> 00:12:03,760 Speaker 3: have just gotten a chance to collaborate. But yeah, you 288 00:12:03,800 --> 00:12:05,280 Speaker 3: never know, it probably will come out. 289 00:12:05,520 --> 00:12:06,880 Speaker 2: I want to go back to the Tupac thing for 290 00:12:06,920 --> 00:12:09,080 Speaker 2: a second, because you know, I didn't grow up in 291 00:12:09,080 --> 00:12:11,720 Speaker 2: that era, so to me, Tupac is like a mythical. 292 00:12:11,480 --> 00:12:12,480 Speaker 3: Yeah, I feel it. 293 00:12:12,760 --> 00:12:15,200 Speaker 1: How was he when you was around him? Like what 294 00:12:15,280 --> 00:12:15,960 Speaker 1: was his presence? 295 00:12:16,000 --> 00:12:18,880 Speaker 3: Like energy, just like you know when you see DMX, 296 00:12:19,000 --> 00:12:21,480 Speaker 3: Like how he just kind of glowed as a person 297 00:12:21,960 --> 00:12:26,160 Speaker 3: around his presence. He just had that just that that 298 00:12:26,280 --> 00:12:28,400 Speaker 3: thing he did to the atmosphere of the room when 299 00:12:28,440 --> 00:12:31,319 Speaker 3: he walked in. He just felt his presence. A lot 300 00:12:31,360 --> 00:12:33,560 Speaker 3: of it was the motivation that he had. He was 301 00:12:33,600 --> 00:12:37,280 Speaker 3: such a motivation type of guy, you know, motivating. His 302 00:12:37,880 --> 00:12:40,480 Speaker 3: energy was about all right, man, let's get this done. Like, 303 00:12:40,559 --> 00:12:43,839 Speaker 3: let's let's be be present and be in the moment. 304 00:12:44,000 --> 00:12:46,199 Speaker 3: Like I don't care if we're drinking Hennessy and we're smoking, 305 00:12:46,240 --> 00:12:48,240 Speaker 3: it don't matter, Like you better be in the moment, 306 00:12:48,360 --> 00:12:51,320 Speaker 3: really really putting your best foot forward. That's what he 307 00:12:51,360 --> 00:12:54,200 Speaker 3: was really about. And I remember one of the things 308 00:12:54,200 --> 00:12:56,080 Speaker 3: he said was, Man, if you're not doing like three 309 00:12:56,080 --> 00:12:57,800 Speaker 3: records a day, you're not really doing this. 310 00:12:57,880 --> 00:12:59,959 Speaker 1: Man. You know, you need to be productive. 311 00:13:00,120 --> 00:13:03,480 Speaker 3: So productivity I think was his main his main sort 312 00:13:03,520 --> 00:13:07,000 Speaker 3: of like, uh, that was one of his superpowers. 313 00:13:07,040 --> 00:13:10,120 Speaker 2: You know when you debuted with Bonafire, speaking of motivation, 314 00:13:10,280 --> 00:13:12,200 Speaker 2: what was the sound you were chasing? 315 00:13:12,240 --> 00:13:13,720 Speaker 1: What was your motivation? 316 00:13:14,320 --> 00:13:16,480 Speaker 3: Well, I mean, I will say my first album was 317 00:13:16,640 --> 00:13:21,679 Speaker 3: very heavily Babyface influenced, and wanted to be one of 318 00:13:21,720 --> 00:13:24,959 Speaker 3: the guys that he was, you know, collaborating with. You know, 319 00:13:25,000 --> 00:13:28,240 Speaker 3: I saw how he collaborated with Tony Braxton and with 320 00:13:28,320 --> 00:13:32,120 Speaker 3: TLC and with Bobby Brown and with so many different 321 00:13:32,160 --> 00:13:35,720 Speaker 3: other you know artists after seven and all my favorite 322 00:13:35,760 --> 00:13:38,040 Speaker 3: are and be growing up. So I thought, what would 323 00:13:38,080 --> 00:13:40,160 Speaker 3: it be like if I allowed him to produce me? 324 00:13:40,400 --> 00:13:42,439 Speaker 3: You know, what does that sound like? What is our sound? 325 00:13:42,520 --> 00:13:44,920 Speaker 3: What our what would our voices sound like? We blended 326 00:13:44,920 --> 00:13:47,960 Speaker 3: them together on one record. So Someone to Love was 327 00:13:48,000 --> 00:13:51,000 Speaker 3: our first time getting to do that. And uh, you know, 328 00:13:51,160 --> 00:13:53,920 Speaker 3: it's it's one thing to be a fan, but then 329 00:13:53,960 --> 00:13:56,160 Speaker 3: when you get to actually work with the person and 330 00:13:56,280 --> 00:13:59,880 Speaker 3: you know, and hear all of the lessons learn how 331 00:14:00,160 --> 00:14:03,120 Speaker 3: how do you put a course together. Oh damn, that's 332 00:14:03,160 --> 00:14:05,440 Speaker 3: how many notes you have to do on the on 333 00:14:05,480 --> 00:14:08,240 Speaker 3: the stack of the backgrounds. Like I remember stacking that 334 00:14:08,480 --> 00:14:11,480 Speaker 3: course up so many tracks and I had never done 335 00:14:11,480 --> 00:14:14,720 Speaker 3: anything like that before as a vocalist, so it taught 336 00:14:14,720 --> 00:14:16,800 Speaker 3: me a lot. You know, just that first session with 337 00:14:16,840 --> 00:14:18,640 Speaker 3: with with Kenny. 338 00:14:18,760 --> 00:14:20,680 Speaker 4: I saw somewhere you turned down a ton of like 339 00:14:20,840 --> 00:14:24,200 Speaker 4: million dollar deals to stay signed with the baby and 340 00:14:24,240 --> 00:14:27,200 Speaker 4: his wife. Talk about your loyalty to him, and you 341 00:14:27,240 --> 00:14:29,560 Speaker 4: know what the decision to be loyal to him, but 342 00:14:29,600 --> 00:14:30,960 Speaker 4: also how that paid off for you. 343 00:14:31,800 --> 00:14:34,120 Speaker 3: Well, I tell you, loyalty when you say you're gonna 344 00:14:34,160 --> 00:14:36,120 Speaker 3: do something. I'm the type of guy that when I 345 00:14:36,120 --> 00:14:37,840 Speaker 3: say I'm gonna do something, I'm gonna do it. You 346 00:14:37,880 --> 00:14:40,640 Speaker 3: know it's not I'm gonna do it if this is 347 00:14:40,760 --> 00:14:43,560 Speaker 3: you know, if if if I show up and I 348 00:14:43,680 --> 00:14:46,920 Speaker 3: say that I'm down with you, that I'm down with you, 349 00:14:46,920 --> 00:14:48,440 Speaker 3: you know, I mean, you're gonna have to do something 350 00:14:49,720 --> 00:14:53,800 Speaker 3: pretty pretty crucially crazy, like for me to think I 351 00:14:53,880 --> 00:14:55,600 Speaker 3: get it for the burn the bridge. Like I'm a 352 00:14:55,680 --> 00:14:58,760 Speaker 3: very very loyal person. I'm a scorpio. I mean we're loyal, 353 00:14:58,800 --> 00:15:03,280 Speaker 3: but I mean will say that it feels good to 354 00:15:03,360 --> 00:15:08,600 Speaker 3: be thirty years and still have gratitude, you know, not 355 00:15:08,640 --> 00:15:11,160 Speaker 3: only for what I'm getting to do right currently, right 356 00:15:11,200 --> 00:15:13,480 Speaker 3: now with you guys and everything, this new album and 357 00:15:13,560 --> 00:15:16,520 Speaker 3: everything and the support and all the collaborations I have 358 00:15:16,600 --> 00:15:18,640 Speaker 3: on the new album, but everything I've gotten to do, 359 00:15:19,000 --> 00:15:21,840 Speaker 3: you know, the thirty year career and what that would be. 360 00:15:22,480 --> 00:15:24,640 Speaker 3: I don't know what that would look like if Kenny 361 00:15:24,680 --> 00:15:26,920 Speaker 3: and Tracy didn't give me that opportunity. And I've never 362 00:15:27,000 --> 00:15:29,680 Speaker 3: lost sight of that. You know, the business and the 363 00:15:31,040 --> 00:15:33,920 Speaker 3: patience that it takes to be in this business, it's 364 00:15:33,960 --> 00:15:37,160 Speaker 3: never it's never changed. You know, You're either going to 365 00:15:37,240 --> 00:15:41,080 Speaker 3: have the patience or not. You know, and certain people 366 00:15:41,200 --> 00:15:45,600 Speaker 3: just they it's like, you know, I could feel it. 367 00:15:45,600 --> 00:15:48,800 Speaker 3: It's like the energy, the love for the music doesn't 368 00:15:48,840 --> 00:15:52,240 Speaker 3: supersede how much they hate the business, so they don't 369 00:15:52,280 --> 00:15:54,960 Speaker 3: continue with the music. And I don't want to be 370 00:15:55,000 --> 00:15:57,520 Speaker 3: one of those guys. I don't want the music to 371 00:15:58,040 --> 00:16:01,040 Speaker 3: be overshadowed by the business what it is, because the 372 00:16:01,080 --> 00:16:04,480 Speaker 3: business is a messed up business. Let's let's who has 373 00:16:04,520 --> 00:16:07,520 Speaker 3: like the story that that needs to be told with 374 00:16:07,680 --> 00:16:11,200 Speaker 3: as far as like the business is going good, the. 375 00:16:11,160 --> 00:16:13,360 Speaker 2: Whole time, the whole times at the time I came 376 00:16:13,400 --> 00:16:16,160 Speaker 2: in with fantastic you know who. 377 00:16:16,000 --> 00:16:20,400 Speaker 3: Has that story? But I think that, you know, that's 378 00:16:20,400 --> 00:16:23,360 Speaker 3: what That's when it comes down to having the passion 379 00:16:23,400 --> 00:16:26,360 Speaker 3: for what you do. You know, do you really do 380 00:16:26,440 --> 00:16:28,920 Speaker 3: you believe it still? Because if you don't believe it, 381 00:16:28,920 --> 00:16:31,760 Speaker 3: why should we as the listeners, you know. So I 382 00:16:31,800 --> 00:16:36,000 Speaker 3: hope that what I'm doing currently now with my music 383 00:16:36,920 --> 00:16:39,080 Speaker 3: conveys the point that, you know, I still love what 384 00:16:39,120 --> 00:16:40,440 Speaker 3: I do. I have a passion for what it. 385 00:16:40,600 --> 00:16:43,080 Speaker 1: Well, you know one thing about loyalty, like you know, 386 00:16:43,480 --> 00:16:45,280 Speaker 1: you can stand on that. 387 00:16:45,920 --> 00:16:49,840 Speaker 3: What is it returned? Yeah, that's the thing, is the 388 00:16:49,880 --> 00:16:54,320 Speaker 3: return part is that that's where I put it out 389 00:16:54,480 --> 00:16:57,720 Speaker 3: to the universe. I'd rather put good energy out and 390 00:16:57,760 --> 00:17:00,680 Speaker 3: because I know that it'll be good coming back. If 391 00:17:00,720 --> 00:17:03,560 Speaker 3: it doesn't come back, that's where the patience comes in, 392 00:17:03,880 --> 00:17:05,520 Speaker 3: you know, because I know what it's like to be 393 00:17:05,560 --> 00:17:08,040 Speaker 3: the guy to sit to, you know, sit and sort 394 00:17:08,040 --> 00:17:12,560 Speaker 3: of wait for your shot, you know. And I never 395 00:17:12,680 --> 00:17:14,800 Speaker 3: also wanted to be the sort of the main dude. 396 00:17:14,880 --> 00:17:17,040 Speaker 3: I wanted to be a part of the nuts and 397 00:17:17,040 --> 00:17:19,800 Speaker 3: bolts of what makes this thing, put this thing together. 398 00:17:19,840 --> 00:17:21,679 Speaker 3: But I'm always been. I've always been sort of a 399 00:17:21,720 --> 00:17:24,879 Speaker 3: team player. That's where producing really comes in. Is really 400 00:17:25,200 --> 00:17:27,560 Speaker 3: if you don't need to be the main guy shining 401 00:17:27,600 --> 00:17:31,400 Speaker 3: all the time, then you can also, you know, make 402 00:17:31,440 --> 00:17:34,720 Speaker 3: yourself felt in other ways, like produce the track, you know, 403 00:17:36,400 --> 00:17:39,080 Speaker 3: write the lyrics. You know what I'm saying, Like maybe 404 00:17:39,560 --> 00:17:42,040 Speaker 3: just fall in that way, you know. And I've been 405 00:17:42,080 --> 00:17:45,639 Speaker 3: able to be a part of different amazing projects just 406 00:17:45,720 --> 00:17:49,680 Speaker 3: doing that, and that's just it's just as fulfilling. 407 00:17:49,760 --> 00:17:52,560 Speaker 4: Really, I was gonna say, while we're talking about things 408 00:17:52,600 --> 00:17:54,160 Speaker 4: being returned, I know that there was like a bit 409 00:17:54,200 --> 00:17:55,880 Speaker 4: of a back and forth at one point a couple 410 00:17:55,880 --> 00:17:57,919 Speaker 4: of years ago with you and Babyface over like you 411 00:17:57,960 --> 00:17:59,679 Speaker 4: were saying that you weren't paid for certain things he 412 00:17:59,760 --> 00:18:01,560 Speaker 4: was saying and that it wasn't his duty to pay you, 413 00:18:01,880 --> 00:18:03,800 Speaker 4: and he was kind of like disappointed. He said that 414 00:18:03,840 --> 00:18:06,640 Speaker 4: you let the narrative go. Where does that conversation stand 415 00:18:06,640 --> 00:18:07,640 Speaker 4: now with you guys. 416 00:18:08,840 --> 00:18:13,080 Speaker 3: Well, it's interesting that he would say that because I 417 00:18:13,160 --> 00:18:16,840 Speaker 3: was signed to his production if you want to not 418 00:18:16,960 --> 00:18:20,160 Speaker 3: call it a label. I was signed to his production company, 419 00:18:20,240 --> 00:18:24,200 Speaker 3: which was called Edmund's Record Group. So that's the deal 420 00:18:24,280 --> 00:18:26,800 Speaker 3: that you talk about me passing up the other deals 421 00:18:27,040 --> 00:18:29,680 Speaker 3: so I could sign with baby Face. You know, that's 422 00:18:29,720 --> 00:18:32,440 Speaker 3: the company that I signed with. Now, they were distributed 423 00:18:32,760 --> 00:18:38,200 Speaker 3: and they had they were a subsidiary label of Epic Records, 424 00:18:38,520 --> 00:18:41,280 Speaker 3: So I had basically half my deal with Epic and 425 00:18:41,359 --> 00:18:45,720 Speaker 3: half my deal with Kenny and Tracy. But the deal 426 00:18:45,760 --> 00:18:49,200 Speaker 3: that I signed was a cross collateralized deal with all 427 00:18:49,280 --> 00:18:52,560 Speaker 3: of the other artists that they had signed to their label. Now, 428 00:18:52,600 --> 00:18:57,800 Speaker 3: cross collateralized means that basically, whatever those artists spent, whatever 429 00:18:57,840 --> 00:19:02,879 Speaker 3: they were given advance, any money, I'm responsible for that 430 00:19:04,200 --> 00:19:08,280 Speaker 3: under my budget to recoup that. So basically none of 431 00:19:08,320 --> 00:19:11,440 Speaker 3: those artists ever really came out, but they all got 432 00:19:11,440 --> 00:19:15,399 Speaker 3: recording budgets and they all got living stipings and whatever. 433 00:19:15,480 --> 00:19:16,760 Speaker 3: So at the end of the day, it's a lot 434 00:19:16,760 --> 00:19:21,119 Speaker 3: of money, right. So basically what it was is that 435 00:19:21,320 --> 00:19:25,159 Speaker 3: I'm in a situation where I'm not only recouping what 436 00:19:25,320 --> 00:19:30,560 Speaker 3: I'm spending myself, I'm recouping what this entire label was spending, 437 00:19:30,920 --> 00:19:33,520 Speaker 3: you know what I'm saying, And that's I think that's 438 00:19:33,560 --> 00:19:36,000 Speaker 3: a great responsibility to put on a nineteen year old 439 00:19:36,080 --> 00:19:40,479 Speaker 3: kid who's writing, producing everything pretty much himself. But just 440 00:19:40,520 --> 00:19:42,440 Speaker 3: wants to work with his hero. You know, that was 441 00:19:42,480 --> 00:19:48,320 Speaker 3: a great deal to you know, to have to you know, 442 00:19:48,400 --> 00:19:50,840 Speaker 3: to sign that deal was it wasn't the greatest deal, 443 00:19:51,160 --> 00:19:54,360 Speaker 3: let's put it like that, but to work with Babyface, 444 00:19:54,600 --> 00:19:57,040 Speaker 3: you know, that was what I really had my mind 445 00:19:57,119 --> 00:19:59,439 Speaker 3: set on. So all of the money part, all of 446 00:19:59,480 --> 00:20:02,200 Speaker 3: the sort of like the business part, I really let 447 00:20:02,240 --> 00:20:05,680 Speaker 3: that kind of like be not as important. So that's 448 00:20:05,720 --> 00:20:08,439 Speaker 3: why it's taken so long to get to come full circle. 449 00:20:08,560 --> 00:20:12,080 Speaker 3: But it's been so long that they have to come 450 00:20:12,119 --> 00:20:14,959 Speaker 3: full circle now and that's where that's where we're currently 451 00:20:14,960 --> 00:20:18,080 Speaker 3: at right now. It's unfortunate that he didn't really have 452 00:20:18,240 --> 00:20:20,840 Speaker 3: my back, and seeing how loyal I've been all this 453 00:20:20,920 --> 00:20:23,399 Speaker 3: time by not speaking on none of this, you know 454 00:20:23,400 --> 00:20:25,520 Speaker 3: what I mean, and people being like, where you been? 455 00:20:25,880 --> 00:20:29,040 Speaker 3: What's held you back all this time? Well? Really I 456 00:20:29,080 --> 00:20:32,040 Speaker 3: didn't allow the financial part to hold me back because 457 00:20:32,080 --> 00:20:35,760 Speaker 3: if I did, I wouldn't continue putting music out independently, 458 00:20:35,920 --> 00:20:38,600 Speaker 3: you know, I mean, I'm funding all this myself. So 459 00:20:39,520 --> 00:20:42,160 Speaker 3: you know, it hasn't been easy. But what really hasn't 460 00:20:42,200 --> 00:20:45,359 Speaker 3: been easy is to be so supportive of him and 461 00:20:45,400 --> 00:20:49,120 Speaker 3: then have it not be returned like in a sense 462 00:20:49,160 --> 00:20:52,719 Speaker 3: of him just knowing what everything that I've sort of 463 00:20:52,800 --> 00:20:56,440 Speaker 3: like you know, did to have that opportunity to work 464 00:20:56,440 --> 00:20:57,119 Speaker 3: with him, you know. 465 00:20:57,320 --> 00:20:59,240 Speaker 2: And that's what I meant when I said the loyalty 466 00:20:59,320 --> 00:21:01,600 Speaker 2: being returned. Know about that situation in particular, but just 467 00:21:01,600 --> 00:21:04,280 Speaker 2: being a loyal person. Yeah, sometimes you sacrifice a lot 468 00:21:04,320 --> 00:21:06,720 Speaker 2: for yourself, but it don't never come back to the 469 00:21:06,720 --> 00:21:07,720 Speaker 2: person you're being loyal to. 470 00:21:08,080 --> 00:21:08,960 Speaker 1: Don't give it back to you. 471 00:21:09,200 --> 00:21:11,080 Speaker 3: And that's on him, you know what I mean. If 472 00:21:11,200 --> 00:21:14,800 Speaker 3: if that's how he wants to address the situation, that's 473 00:21:14,840 --> 00:21:17,160 Speaker 3: on him. You know. When we when we've seen each 474 00:21:17,200 --> 00:21:19,320 Speaker 3: other out in public and stuff like that, when we 475 00:21:19,400 --> 00:21:21,840 Speaker 3: do shows together, it's not the same, you know what 476 00:21:21,880 --> 00:21:23,879 Speaker 3: I mean, And we're not we're not really. I mean, 477 00:21:23,920 --> 00:21:25,639 Speaker 3: we're cordial, but we're not. 478 00:21:27,040 --> 00:21:27,199 Speaker 1: You know. 479 00:21:27,280 --> 00:21:31,119 Speaker 3: It's the relationship hasn't really blossomed, you know, into what 480 00:21:31,200 --> 00:21:33,320 Speaker 3: I thought it would be after all of that that 481 00:21:33,400 --> 00:21:35,800 Speaker 3: I sacrificed in my in my in my career. I 482 00:21:35,800 --> 00:21:39,600 Speaker 3: would have definitely wanted to see him at my wedding, definitely, 483 00:21:39,680 --> 00:21:42,359 Speaker 3: one would want to see him to you know, introduce 484 00:21:42,440 --> 00:21:48,680 Speaker 3: him to my kids. So yeah, like he doesn't even 485 00:21:48,720 --> 00:21:51,120 Speaker 3: know my kids. We don't know each other anymore. So 486 00:21:51,160 --> 00:21:53,720 Speaker 3: it's like that that part of it hurts me, the 487 00:21:53,760 --> 00:21:58,199 Speaker 3: fact that we can't go on tour together because I 488 00:21:58,200 --> 00:22:00,639 Speaker 3: don't really know that Kenny even really likes me as 489 00:22:00,680 --> 00:22:05,040 Speaker 3: a person. Actually, you know, it's it's interesting, but I 490 00:22:05,040 --> 00:22:09,720 Speaker 3: don't really care because I did what I I did 491 00:22:09,720 --> 00:22:13,560 Speaker 3: what I got to do with. I care because I 492 00:22:13,600 --> 00:22:16,760 Speaker 3: love the guy, But I don't care if a person's 493 00:22:16,800 --> 00:22:19,320 Speaker 3: going to be negative just to be negative and tell 494 00:22:19,359 --> 00:22:22,439 Speaker 3: a negative story or sort of like not respond to 495 00:22:22,480 --> 00:22:25,280 Speaker 3: what the truth is, because the truth is a lot 496 00:22:25,320 --> 00:22:28,919 Speaker 3: of people sacrifice a lot to work with Babyface and 497 00:22:29,840 --> 00:22:32,480 Speaker 3: their stories. I don't really get. I don't really think 498 00:22:32,520 --> 00:22:35,480 Speaker 3: that they get to tell their story. That story hasn't 499 00:22:35,480 --> 00:22:38,880 Speaker 3: really been told for the respect of what it was 500 00:22:39,359 --> 00:22:44,600 Speaker 3: to uphold the you know the you know what, the 501 00:22:44,640 --> 00:22:46,960 Speaker 3: magic that we were able to create together and to 502 00:22:47,119 --> 00:22:49,760 Speaker 3: respect that and to leave that alone. Nobody wants to 503 00:22:49,800 --> 00:22:52,200 Speaker 3: tank the story with like, oh but the business wasn't 504 00:22:52,240 --> 00:22:53,959 Speaker 3: you know what I mean, and that type of stuff. 505 00:22:54,040 --> 00:22:56,600 Speaker 3: So I've never been this is the most I've ever 506 00:22:56,640 --> 00:23:00,600 Speaker 3: talked about in my entire career. Right now, actually, in 507 00:23:00,640 --> 00:23:04,520 Speaker 3: this moment, the information I've devoted I said, I wasn't 508 00:23:04,720 --> 00:23:07,440 Speaker 3: really talk about, but I think it's important for people 509 00:23:07,480 --> 00:23:12,080 Speaker 3: to understand what kind of deals we're signed back in 510 00:23:12,119 --> 00:23:15,000 Speaker 3: the nineties, you know, and what kind of deals can 511 00:23:15,040 --> 00:23:18,000 Speaker 3: still be signed now if you're you know, if you're 512 00:23:18,000 --> 00:23:21,080 Speaker 3: not careful, just be careful to I will say, as 513 00:23:21,119 --> 00:23:24,240 Speaker 3: advice to the kids coming up, be careful not to 514 00:23:24,240 --> 00:23:27,159 Speaker 3: put all your eggs in one basket, you know, because 515 00:23:27,200 --> 00:23:30,119 Speaker 3: that's what that's what I did. I put all my 516 00:23:30,160 --> 00:23:33,000 Speaker 3: eggs in one basket instead of being like, you know, 517 00:23:33,080 --> 00:23:36,040 Speaker 3: a little bit more patient and just okay, I'll work 518 00:23:36,080 --> 00:23:38,800 Speaker 3: with you on a couple of records, but I'm gonna 519 00:23:38,800 --> 00:23:41,480 Speaker 3: have this over here, publishing deal over here, a production 520 00:23:41,560 --> 00:23:43,560 Speaker 3: company over here. I have my own label from the 521 00:23:43,680 --> 00:23:46,800 Speaker 3: very beginning, you know. It's basically what I had anyway, 522 00:23:47,200 --> 00:23:51,040 Speaker 3: because I was paying for everybody's stuff with my own budget, basically, 523 00:23:51,119 --> 00:23:51,760 Speaker 3: you know whatever. 524 00:23:51,760 --> 00:23:54,200 Speaker 2: It's interesting because I wonder about stuff like that because 525 00:23:54,200 --> 00:23:56,080 Speaker 2: when I think about you know, of course, I think 526 00:23:56,080 --> 00:23:58,639 Speaker 2: about the face, and then I think about, you know, 527 00:23:58,680 --> 00:24:02,560 Speaker 2: the TLC situation, right, and I just wonder was that 528 00:24:03,800 --> 00:24:06,679 Speaker 2: intentional or was that just the business? 529 00:24:06,760 --> 00:24:08,200 Speaker 1: Like I don't know, if these people wake up. 530 00:24:08,119 --> 00:24:11,000 Speaker 2: And say, hey, we're gonna take advantage of these people financially. 531 00:24:11,040 --> 00:24:12,360 Speaker 2: I don't know, or was that just the way record 532 00:24:12,359 --> 00:24:14,040 Speaker 2: contracts were structured, Like I don't. 533 00:24:13,880 --> 00:24:17,080 Speaker 3: Know, I can't really speak on anyone else's like sort 534 00:24:17,080 --> 00:24:21,600 Speaker 3: of why they you know, make contracts the way they do, 535 00:24:22,280 --> 00:24:25,160 Speaker 3: because really what it does is it just it delays 536 00:24:25,200 --> 00:24:27,679 Speaker 3: the process of the artist being able to have you know, 537 00:24:28,760 --> 00:24:33,840 Speaker 3: you know, being compensated for their art. You know, and 538 00:24:33,840 --> 00:24:37,320 Speaker 3: it's thirty years later and we're you know, we're still 539 00:24:37,320 --> 00:24:40,440 Speaker 3: addressing all of this. So it's but it's a wonderful 540 00:24:40,480 --> 00:24:42,879 Speaker 3: process to watch it happen because I know there's a 541 00:24:42,960 --> 00:24:44,520 Speaker 3: light at the end of the tunnel that's just getting 542 00:24:44,520 --> 00:24:47,520 Speaker 3: closer and closer and closer. As far as really was 543 00:24:47,560 --> 00:24:49,760 Speaker 3: that light, Like well, just getting paid man, you know 544 00:24:49,800 --> 00:24:51,439 Speaker 3: what I mean at the end of the days, the 545 00:24:51,520 --> 00:24:54,320 Speaker 3: checks coming, you know what I mean, Oh, from from 546 00:24:54,359 --> 00:24:59,399 Speaker 3: from epic, from God. Yeah, they're the they're there. The 547 00:24:59,440 --> 00:25:01,480 Speaker 3: company that all of this was under, that's where all 548 00:25:01,520 --> 00:25:04,400 Speaker 3: the money came from. But the fact is that all 549 00:25:04,440 --> 00:25:08,760 Speaker 3: the money that was spent by the label all was 550 00:25:08,800 --> 00:25:09,800 Speaker 3: recoupable by me. 551 00:25:10,000 --> 00:25:11,600 Speaker 4: You say, by the label you're talking about the label 552 00:25:11,600 --> 00:25:12,320 Speaker 4: with Babyface and. 553 00:25:13,240 --> 00:25:16,000 Speaker 3: Baby Face and Tracy Edmonds, the Edmunds Record Group where 554 00:25:16,400 --> 00:25:20,000 Speaker 3: that was the production company Slash label that I was 555 00:25:20,040 --> 00:25:25,440 Speaker 3: signed to under Epic. Epic funded their whole thing, see 556 00:25:25,480 --> 00:25:27,520 Speaker 3: what I'm saying. So all the artists that they were 557 00:25:27,600 --> 00:25:31,719 Speaker 3: signed signing, the money would come from Epic, right, but 558 00:25:31,760 --> 00:25:36,080 Speaker 3: the money was also charged to my account. So John 559 00:25:36,160 --> 00:25:36,760 Speaker 3: B paid for. 560 00:25:36,720 --> 00:25:42,160 Speaker 2: Everything, every water, every everything, artists, every studio time, Hey, 561 00:25:42,400 --> 00:25:45,320 Speaker 2: such and such needs to get a living stipend because 562 00:25:45,320 --> 00:25:46,800 Speaker 2: they need to get their rent paid. 563 00:25:46,840 --> 00:25:49,359 Speaker 3: So the group that signed to them, I'm paying for 564 00:25:49,400 --> 00:25:52,440 Speaker 3: all of that, recoup all of that. So all those 565 00:25:52,760 --> 00:25:55,879 Speaker 3: all those budgets have to be paid back before I 566 00:25:55,920 --> 00:25:59,720 Speaker 3: can see anything. That's the deal that I signed. So 567 00:26:00,440 --> 00:26:03,200 Speaker 3: that's why it's taken so long. So but I knew 568 00:26:03,240 --> 00:26:05,800 Speaker 3: what I was signing. My attorney told me, you know 569 00:26:05,840 --> 00:26:08,200 Speaker 3: what I'm saying, Yeah, he said, he said, listen, it's 570 00:26:08,200 --> 00:26:09,240 Speaker 3: gonna take a long time. 571 00:26:09,400 --> 00:26:12,080 Speaker 1: You're gonna have to sell a lot of records for 572 00:26:12,200 --> 00:26:12,600 Speaker 1: this to. 573 00:26:12,680 --> 00:26:14,000 Speaker 3: You know, for you to come on top. 574 00:26:14,240 --> 00:26:15,280 Speaker 4: How many on top? 575 00:26:15,840 --> 00:26:20,879 Speaker 3: And you know we've sold you know, if I'm going 576 00:26:20,960 --> 00:26:24,920 Speaker 3: to count the singles, it's over ten million, easy because 577 00:26:24,960 --> 00:26:30,040 Speaker 3: I've sold you know, multiple platinum singles, but the albums 578 00:26:30,040 --> 00:26:33,560 Speaker 3: have gone multiple platinum as well. So my my second album, 579 00:26:33,560 --> 00:26:38,520 Speaker 3: care Relax I Believe is quaduple platinum. And you know 580 00:26:38,560 --> 00:26:41,280 Speaker 3: what's cool about saying that is that we don't sell 581 00:26:41,440 --> 00:26:45,040 Speaker 3: records anymore. So it's like that means that people actually 582 00:26:45,040 --> 00:26:49,600 Speaker 3: went out and lot stood in line and people. So 583 00:26:49,600 --> 00:26:51,720 Speaker 3: when you think about a million people going out by 584 00:26:51,720 --> 00:26:53,720 Speaker 3: a record, that's like, that's kind of cool for me, 585 00:26:53,840 --> 00:26:57,359 Speaker 3: you know, and I still celebrate that, you know, just 586 00:26:57,400 --> 00:27:00,320 Speaker 3: knowing that those albums are part of people's lives, lives, 587 00:27:00,320 --> 00:27:04,080 Speaker 3: and you know, evidently if I don't play a certain songs, 588 00:27:04,240 --> 00:27:06,280 Speaker 3: theyn't want their money back in the show. You know, 589 00:27:06,320 --> 00:27:07,840 Speaker 3: if I don't play that on no, do you think 590 00:27:07,840 --> 00:27:08,560 Speaker 3: they did that to you? 591 00:27:08,600 --> 00:27:12,600 Speaker 1: Because of how white executives have gotten over on black artists. 592 00:27:12,680 --> 00:27:18,159 Speaker 1: It's a little payback probably, right. Oh, you want to 593 00:27:18,160 --> 00:27:25,280 Speaker 1: be an R and B artist? You want to be artist? 594 00:27:21,920 --> 00:27:28,200 Speaker 1: You want to be an R and B artist? Okay, 595 00:27:28,480 --> 00:27:29,919 Speaker 1: damn old. 596 00:27:31,600 --> 00:27:34,720 Speaker 3: A lot? Wow a lot? 597 00:27:34,840 --> 00:27:35,080 Speaker 1: Wow? 598 00:27:35,280 --> 00:27:38,000 Speaker 3: So yeah, and the and the beautiful thing is it's like, 599 00:27:38,240 --> 00:27:43,560 Speaker 3: you know, the money is a byproduct of being as 600 00:27:43,840 --> 00:27:46,960 Speaker 3: successful you can't hide that kind of that type of 601 00:27:47,040 --> 00:27:50,119 Speaker 3: you know, because that's how successful it was. It was 602 00:27:50,720 --> 00:27:55,120 Speaker 3: and and still is. It's you know, still being sampled 603 00:27:55,119 --> 00:27:57,919 Speaker 3: all the time. The records of the Weekend just sample 604 00:27:58,040 --> 00:27:59,920 Speaker 3: the actually someone to Love. 605 00:28:01,720 --> 00:28:03,960 Speaker 2: Oh we gotta I gotta text from my producer. He's 606 00:28:03,960 --> 00:28:07,440 Speaker 2: an ov ho O v ho and he said, where 607 00:28:07,480 --> 00:28:11,040 Speaker 2: is it that? Where's that? I just saw it? What 608 00:28:11,119 --> 00:28:13,679 Speaker 2: was it? He just texted to me, send it to 609 00:28:13,720 --> 00:28:14,119 Speaker 2: me again? 610 00:28:14,200 --> 00:28:14,480 Speaker 1: He said. 611 00:28:14,560 --> 00:28:17,560 Speaker 4: Drake sample John B's Calling on a track off of 612 00:28:17,640 --> 00:28:20,080 Speaker 4: Take Care called Cameras the Good Ones Go interlude. 613 00:28:20,280 --> 00:28:24,480 Speaker 2: Yeah. Yeah, anybody that's been near Drake or been sampled, 614 00:28:24,520 --> 00:28:26,080 Speaker 2: he goes crazy, Yeah. 615 00:28:25,960 --> 00:28:28,679 Speaker 3: No, it's it's it's been cool. Chris Brown sample they 616 00:28:28,680 --> 00:28:31,960 Speaker 3: don't know as well, Gonna and Chloe sample they don't know. 617 00:28:32,080 --> 00:28:36,640 Speaker 3: Not too long ago. Yeah we we we won't go there, 618 00:28:37,359 --> 00:28:40,560 Speaker 3: but but yeah, you know, it's just cool to see 619 00:28:40,680 --> 00:28:43,560 Speaker 3: the music existing in this time, in this era and 620 00:28:43,600 --> 00:28:45,960 Speaker 3: be I never thought I'd be the guy that got sampled. 621 00:28:46,000 --> 00:28:49,360 Speaker 3: You know. I was always sampling like old seventies records 622 00:28:49,360 --> 00:28:54,200 Speaker 3: and eighties records and you know, and thinking, man, you 623 00:28:54,200 --> 00:28:57,360 Speaker 3: know that's where you get your samples from. I never 624 00:28:57,440 --> 00:29:01,920 Speaker 3: thought I'd be part of someone's out selections, So however, 625 00:29:02,120 --> 00:29:05,080 Speaker 3: I get flipped. You know, it's a beautiful thing to 626 00:29:05,240 --> 00:29:07,880 Speaker 3: just yeah, be a part of the times. 627 00:29:08,040 --> 00:29:10,600 Speaker 1: How How did it feel to hear your fingerprints? 628 00:29:11,600 --> 00:29:15,880 Speaker 3: That's cool, man? I mean something about that song they 629 00:29:15,880 --> 00:29:19,520 Speaker 3: don't know has really you know, it's resonated with people, 630 00:29:20,280 --> 00:29:24,240 Speaker 3: and not only the song, but the track too. So 631 00:29:24,280 --> 00:29:26,520 Speaker 3: I got to give Tim Kelly and Bob robertson their 632 00:29:26,640 --> 00:29:29,600 Speaker 3: their props for such an amazing track because that they 633 00:29:29,680 --> 00:29:32,400 Speaker 3: keep sampling that track even if they don't take the hook, 634 00:29:32,440 --> 00:29:36,440 Speaker 3: they love that that track. So yeah, man, I think 635 00:29:36,720 --> 00:29:39,120 Speaker 3: that's the one we we we just we got that one. 636 00:29:39,200 --> 00:29:41,400 Speaker 3: We got we got it right with that one, you know, 637 00:29:41,560 --> 00:29:43,920 Speaker 3: and if you can have one of those in your career, 638 00:29:44,720 --> 00:29:47,720 Speaker 3: you know. And yeah, I penned that record myself. So 639 00:29:49,040 --> 00:29:51,880 Speaker 3: that's one of the songs I'm probably most proud of you. 640 00:29:52,320 --> 00:29:55,840 Speaker 2: After bona Fide and you started leaning into your own vision. 641 00:29:55,880 --> 00:29:58,440 Speaker 2: Did the did the industry understand your vision? 642 00:29:58,960 --> 00:29:59,200 Speaker 1: Yeah? 643 00:29:59,640 --> 00:30:02,800 Speaker 3: I think so. I think that what most what really 644 00:30:02,800 --> 00:30:05,240 Speaker 3: showed me was even if the labels don't really understand 645 00:30:05,280 --> 00:30:09,280 Speaker 3: what was going on, and they're kind of like going 646 00:30:09,320 --> 00:30:11,800 Speaker 3: with the flow, and they're kind of trusting my creativity 647 00:30:11,840 --> 00:30:14,959 Speaker 3: but not really knowing how to necessarily market it or 648 00:30:15,720 --> 00:30:17,480 Speaker 3: you know, they just I was signed to Epics, so 649 00:30:17,520 --> 00:30:19,760 Speaker 3: they were rolling out the red carpetfore me. Don't don't 650 00:30:19,760 --> 00:30:21,840 Speaker 3: get it twisted. We were having like three or four 651 00:30:22,000 --> 00:30:24,320 Speaker 3: rec you know, records on be et playing at the 652 00:30:24,320 --> 00:30:27,680 Speaker 3: same time. Like they knew they had to they had 653 00:30:27,680 --> 00:30:30,080 Speaker 3: to do something. They just had never done it before. 654 00:30:30,800 --> 00:30:34,960 Speaker 3: So I was sort of the guinea pig for you know, 655 00:30:35,640 --> 00:30:38,160 Speaker 3: this this thing now that's you know, sort of like 656 00:30:39,400 --> 00:30:42,000 Speaker 3: you see it all the time now, you know, But 657 00:30:42,080 --> 00:30:48,000 Speaker 3: I was I was definitely like a you know, definitely trailblazing. 658 00:30:48,440 --> 00:30:51,040 Speaker 3: Put it like that. At that time. Nobody expected me 659 00:30:51,120 --> 00:30:54,040 Speaker 3: to be accepted right away. And I think that was 660 00:30:54,080 --> 00:30:57,840 Speaker 3: sort of like the Shocker was by the second album, 661 00:30:58,200 --> 00:31:01,680 Speaker 3: you know it. A lot of that went into the 662 00:31:01,720 --> 00:31:04,240 Speaker 3: reason why I wrote a hook like don't listen to 663 00:31:04,280 --> 00:31:05,040 Speaker 3: what people say. 664 00:31:05,880 --> 00:31:08,720 Speaker 1: You know. It was like, you know, it's sort of. 665 00:31:08,680 --> 00:31:12,080 Speaker 3: Like me, like literally like it was more than just 666 00:31:12,120 --> 00:31:13,920 Speaker 3: hear saying it was like, no, I think I have 667 00:31:14,040 --> 00:31:17,320 Speaker 3: a feeling now, like I know what I'm doing, y'all. 668 00:31:17,360 --> 00:31:19,800 Speaker 3: You know what I mean, so there was a little 669 00:31:19,800 --> 00:31:23,680 Speaker 3: bit of that that that confidence starting to show itself 670 00:31:23,720 --> 00:31:26,320 Speaker 3: a little bit more on this second album. I remember 671 00:31:26,800 --> 00:31:29,040 Speaker 3: the first the first thing I did on that album 672 00:31:29,120 --> 00:31:31,520 Speaker 3: was cut all my hair off. I just went straight 673 00:31:31,720 --> 00:31:34,160 Speaker 3: buzzed it off and did the fade because they were 674 00:31:34,200 --> 00:31:36,560 Speaker 3: trying to, you know, they wanted me to be. 675 00:31:36,480 --> 00:31:37,320 Speaker 1: A pop star. 676 00:31:37,440 --> 00:31:39,960 Speaker 3: They wanted me to grow my hair longer and get 677 00:31:40,080 --> 00:31:42,200 Speaker 3: streaks and all this stuff, and I'm like, that's not me, 678 00:31:42,360 --> 00:31:44,880 Speaker 3: you know, straighten it out and do all this parted 679 00:31:44,920 --> 00:31:48,360 Speaker 3: in the side, and I'm like, look, you're making me 680 00:31:48,400 --> 00:31:52,240 Speaker 3: look a little too, you know, I don't know, it 681 00:31:52,360 --> 00:31:55,680 Speaker 3: just wasn't my look. And so I buzzed it off 682 00:31:55,720 --> 00:32:00,640 Speaker 3: and Coo relax was or had the season cut, you know, 683 00:32:00,680 --> 00:32:03,200 Speaker 3: and the beer whatever. And so I just did that 684 00:32:03,280 --> 00:32:03,840 Speaker 3: on my own. 685 00:32:03,960 --> 00:32:04,120 Speaker 1: You know. 686 00:32:04,200 --> 00:32:06,880 Speaker 3: That was kind of like how I grew myself when 687 00:32:06,880 --> 00:32:08,680 Speaker 3: I was in high school. So I just kind of 688 00:32:08,720 --> 00:32:11,400 Speaker 3: went back to my old style and that was that 689 00:32:11,520 --> 00:32:13,360 Speaker 3: was a big move because I remember the labels pissed 690 00:32:13,360 --> 00:32:16,840 Speaker 3: as hell when they saw I cut my hair off. Yeah, 691 00:32:17,360 --> 00:32:19,800 Speaker 3: just a shape up real quick, and that was more 692 00:32:20,080 --> 00:32:22,480 Speaker 3: authentic for me, you know, it's just doing me but. 693 00:32:22,680 --> 00:32:24,280 Speaker 2: It's crazy to even think back in the day how 694 00:32:24,360 --> 00:32:27,360 Speaker 2: much image matters, especially when you see everybody not just 695 00:32:27,400 --> 00:32:28,000 Speaker 2: doing whatever. 696 00:32:28,480 --> 00:32:31,080 Speaker 3: Oh yeah, your board shorts and the T shirt. Now 697 00:32:31,080 --> 00:32:33,640 Speaker 3: you rock a stage, you know, look like you just 698 00:32:34,240 --> 00:32:38,240 Speaker 3: going to the beach or something Coachella, you know, after 699 00:32:38,800 --> 00:32:41,360 Speaker 3: not even dressed for a show. I mean, no, I 700 00:32:41,400 --> 00:32:45,240 Speaker 3: think it's uh, it's different times, you know, we're living it. 701 00:32:45,320 --> 00:32:46,960 Speaker 3: But one thing I love about R and B is 702 00:32:46,960 --> 00:32:50,560 Speaker 3: we we are unapologetically slick, you know. We we just 703 00:32:50,640 --> 00:32:54,680 Speaker 3: keep the you know, the fashion going. You know, I've 704 00:32:54,720 --> 00:32:56,600 Speaker 3: always loved R and B and hip hop for that 705 00:32:56,840 --> 00:32:59,800 Speaker 3: because we've been sort of the leading on the leading 706 00:33:00,360 --> 00:33:02,240 Speaker 3: edge of that all of that, I think all the 707 00:33:02,280 --> 00:33:05,160 Speaker 3: other genres of music sort of followed the lead of that, 708 00:33:05,880 --> 00:33:11,200 Speaker 3: you know, and just every culture, whether you're whether you 709 00:33:11,200 --> 00:33:14,080 Speaker 3: even like R and B or hip hop, is influenced 710 00:33:14,120 --> 00:33:16,680 Speaker 3: by the culture of hip hop and R and B, 711 00:33:16,800 --> 00:33:19,000 Speaker 3: whether they like it or not. It's probably the most 712 00:33:19,880 --> 00:33:21,920 Speaker 3: influential style. 713 00:33:21,760 --> 00:33:25,280 Speaker 2: Absolutely, you know, we have When you look at each 714 00:33:25,360 --> 00:33:28,000 Speaker 2: album of your career, because you got what ten albums, Yeah, damn, 715 00:33:29,120 --> 00:33:32,480 Speaker 2: where do you feel the biggest artistic evolution happened for you? 716 00:33:34,320 --> 00:33:34,600 Speaker 1: Well? 717 00:33:34,720 --> 00:33:38,200 Speaker 3: I think the biggest you know, probably evolution was probably 718 00:33:38,320 --> 00:33:41,640 Speaker 3: making the record with Tupac because it was the most 719 00:33:41,680 --> 00:33:46,000 Speaker 3: revolutionary and kind of risk taking. I remember, I felt 720 00:33:46,040 --> 00:33:49,640 Speaker 3: like I was treading in water that you know, like 721 00:33:49,680 --> 00:33:52,560 Speaker 3: I couldn't feel the bottom of the the sand no more. 722 00:33:52,600 --> 00:33:56,240 Speaker 3: I was you know, you when you when you tread 723 00:33:56,240 --> 00:33:58,320 Speaker 3: out on the beach and you just you know, you're 724 00:33:58,360 --> 00:34:01,880 Speaker 3: no longer walking on the on the You're like treading 725 00:34:01,920 --> 00:34:04,959 Speaker 3: water now, you know. So it's sort of like, all right, 726 00:34:05,000 --> 00:34:07,880 Speaker 3: you better float or you're gonna sink. You better swim 727 00:34:07,920 --> 00:34:08,760 Speaker 3: where you're gonna sink. 728 00:34:09,160 --> 00:34:09,319 Speaker 1: You know. 729 00:34:09,360 --> 00:34:12,560 Speaker 3: I wasn't really in my element with Tupac Shakur and 730 00:34:12,960 --> 00:34:16,040 Speaker 3: the Death Row scene. That was very much like I 731 00:34:16,120 --> 00:34:18,600 Speaker 3: was the Babyface R and B element and working with 732 00:34:18,640 --> 00:34:21,320 Speaker 3: new Addition and Tony Braxton all of a sudden, you know, 733 00:34:21,320 --> 00:34:24,319 Speaker 3: I'm you know with Tupac. But what it felt like 734 00:34:24,520 --> 00:34:26,200 Speaker 3: was it was I was in the right place at 735 00:34:26,200 --> 00:34:28,680 Speaker 3: the right time. We were we had the right energy. 736 00:34:29,160 --> 00:34:31,319 Speaker 3: And so what that taught me was just you know, 737 00:34:31,800 --> 00:34:34,319 Speaker 3: step outside your norm and don't be afraid to do 738 00:34:34,400 --> 00:34:36,600 Speaker 3: things that haven't been done. Next thing, you know, I'm 739 00:34:36,600 --> 00:34:38,640 Speaker 3: in the studio with nas, you know, and we're making 740 00:34:38,640 --> 00:34:41,680 Speaker 3: the record together and jay Z and you know, and 741 00:34:42,400 --> 00:34:46,520 Speaker 3: so it's it's just been. It's been really first of all, 742 00:34:46,600 --> 00:34:48,960 Speaker 3: really dope to be one of the first ones to 743 00:34:49,040 --> 00:34:52,560 Speaker 3: really trailblaze that sort of collaboration between hip hop and 744 00:34:52,680 --> 00:34:54,680 Speaker 3: R and B, because there wasn't a lot of that 745 00:34:54,760 --> 00:34:56,759 Speaker 3: going on. And when I started ninety five. 746 00:34:56,880 --> 00:34:59,960 Speaker 1: You know, how did you feel when they named Tupac's 747 00:35:00,040 --> 00:35:01,320 Speaker 1: whole album. 748 00:35:01,239 --> 00:35:06,240 Speaker 3: You still down right? His mother? Yeah, his mother, after 749 00:35:06,680 --> 00:35:10,200 Speaker 3: you know, his passing. I got to meet her actually 750 00:35:10,640 --> 00:35:14,640 Speaker 3: at his memorial and uh, I sang at his memorial 751 00:35:14,800 --> 00:35:19,120 Speaker 3: and yeah, she she felt it necessary because she's like, 752 00:35:19,280 --> 00:35:21,319 Speaker 3: I'm the you know. I told her thank you so 753 00:35:21,400 --> 00:35:23,560 Speaker 3: much for allowing the song to come out, because she 754 00:35:23,680 --> 00:35:27,399 Speaker 3: was the main reason why the record got released. She said, Yeah, 755 00:35:27,440 --> 00:35:30,480 Speaker 3: my son played that song for me. You know, he 756 00:35:30,480 --> 00:35:32,640 Speaker 3: didn't play a lot of his music because of you know, 757 00:35:33,760 --> 00:35:37,120 Speaker 3: you know, he didn't the lyrics, and but that song 758 00:35:37,200 --> 00:35:39,560 Speaker 3: he felt really confident about and he's like, this is 759 00:35:39,560 --> 00:35:41,440 Speaker 3: my song. I know you're gonna like this, mom, you know, 760 00:35:42,040 --> 00:35:44,719 Speaker 3: And she loved it, of course, and that was the 761 00:35:44,800 --> 00:35:49,440 Speaker 3: last song that he recorded. So Dan the least it 762 00:35:49,480 --> 00:35:53,680 Speaker 3: was two weeks, three weeks before he went to Vegas. Man, wow, yeah, 763 00:35:53,719 --> 00:35:57,000 Speaker 3: I remember because I went to England to go finish 764 00:35:57,040 --> 00:36:02,440 Speaker 3: my album and and I found out out in England 765 00:36:02,440 --> 00:36:05,520 Speaker 3: when when he got shot. And I I remember when 766 00:36:05,560 --> 00:36:07,480 Speaker 3: it happened because I thought, you know, because he had 767 00:36:07,480 --> 00:36:10,680 Speaker 3: already been shot, you know, and lived, shot in the 768 00:36:10,719 --> 00:36:15,160 Speaker 3: head and lived. So there was this feeling of like, oh, 769 00:36:15,239 --> 00:36:18,120 Speaker 3: he's gonna be all right. That's Tupac, you know, it's 770 00:36:18,160 --> 00:36:21,840 Speaker 3: like he's superhuman. So there was this like I remember, 771 00:36:21,960 --> 00:36:25,440 Speaker 3: it was about four or five days of not knowing 772 00:36:25,640 --> 00:36:29,440 Speaker 3: what was what was happening, right, It was about I 773 00:36:29,480 --> 00:36:31,279 Speaker 3: don't know how many days, it seemed like long. 774 00:36:32,480 --> 00:36:37,280 Speaker 1: Seven. He died on the seventh day, I believe. Man thirteen. 775 00:36:37,520 --> 00:36:40,360 Speaker 3: Oh my god. Yeah, we were, we were, you know. 776 00:36:40,400 --> 00:36:43,200 Speaker 3: I'm trying to work in the studio that's basically like 777 00:36:43,239 --> 00:36:47,640 Speaker 3: an old renovated Catholic church. It was called Air Studios 778 00:36:47,680 --> 00:36:53,680 Speaker 3: in England's George Martin the Beatles Engineers Studios, And it's 779 00:36:53,760 --> 00:36:58,200 Speaker 3: got these cathedral you know walls, you know, it's like 780 00:36:58,239 --> 00:37:00,720 Speaker 3: an old church with the you know, stangle glass windows. 781 00:37:00,719 --> 00:37:05,279 Speaker 3: And I'm working in this in this room and my 782 00:37:05,320 --> 00:37:08,200 Speaker 3: assistant comes in and say, Pop got shot and he's 783 00:37:08,200 --> 00:37:11,040 Speaker 3: in the hospital. I'm just like, we gotta call him, 784 00:37:11,120 --> 00:37:12,680 Speaker 3: we gotta you know, I'm trying to get in touch 785 00:37:12,719 --> 00:37:14,640 Speaker 3: with them and can't get in touch with him. Of 786 00:37:14,640 --> 00:37:17,759 Speaker 3: course he can't get through, and uh yeah, we just 787 00:37:17,880 --> 00:37:22,120 Speaker 3: it was it was really really horrible to go through 788 00:37:22,160 --> 00:37:24,440 Speaker 3: that because it was like everything that I was looking 789 00:37:24,480 --> 00:37:27,440 Speaker 3: forward to doing with him. We were talking about wearing 790 00:37:27,520 --> 00:37:30,080 Speaker 3: suits in the video. You know, we were just, man, 791 00:37:30,080 --> 00:37:31,880 Speaker 3: we're gonna be so clean. This is about to be 792 00:37:33,040 --> 00:37:35,280 Speaker 3: you know, this is think about it. This is before 793 00:37:35,400 --> 00:37:38,960 Speaker 3: doctor Dren and Eminem had even done a collaboration. No, 794 00:37:39,200 --> 00:37:43,680 Speaker 3: there's been There was no collaboration really like this ever done. 795 00:37:43,800 --> 00:37:45,880 Speaker 3: And we both felt like we were doing something special. 796 00:37:46,120 --> 00:37:48,799 Speaker 3: You know. He invited me after we recorded the song, 797 00:37:48,840 --> 00:37:52,120 Speaker 3: he invited me to come watch him work on his 798 00:37:52,200 --> 00:37:53,880 Speaker 3: other tune. He was recording in the other room and 799 00:37:53,920 --> 00:37:55,759 Speaker 3: he was doing to Live and Die in La in 800 00:37:55,800 --> 00:38:00,400 Speaker 3: the other room, and I'm sitting there like he's going 801 00:38:00,440 --> 00:38:01,759 Speaker 3: to play it for him. I think he's just gonna 802 00:38:01,760 --> 00:38:03,960 Speaker 3: play it for me. But he presses record and he 803 00:38:04,000 --> 00:38:06,560 Speaker 3: goes in there and he does a double vocal right 804 00:38:06,600 --> 00:38:09,200 Speaker 3: over his vocal that he already had laid and it 805 00:38:09,239 --> 00:38:12,719 Speaker 3: sounded like a xerox copy. It was. I was like, 806 00:38:14,040 --> 00:38:17,359 Speaker 3: he's got like photographic memory of what he did, because 807 00:38:17,400 --> 00:38:20,040 Speaker 3: he just did it exactly the same, right in front 808 00:38:20,040 --> 00:38:21,719 Speaker 3: of me. And I was like, you just record that 809 00:38:21,840 --> 00:38:24,479 Speaker 3: right now. He's like yeah, man, you know, just gotta 810 00:38:24,520 --> 00:38:25,040 Speaker 3: get it done. 811 00:38:25,040 --> 00:38:25,279 Speaker 1: Man. 812 00:38:25,360 --> 00:38:29,440 Speaker 3: I'm like, god, you are. I've never heard any rapper 813 00:38:29,840 --> 00:38:32,600 Speaker 3: double his voice like that precise. 814 00:38:32,760 --> 00:38:32,960 Speaker 1: You know. 815 00:38:33,480 --> 00:38:34,319 Speaker 3: It's incredible. 816 00:38:34,480 --> 00:38:35,239 Speaker 1: That's why I'm sitting there. 817 00:38:35,440 --> 00:38:37,239 Speaker 2: I'm like, yo, you know, he told you that he 818 00:38:37,280 --> 00:38:40,240 Speaker 2: wanted He said, you should always record three songs a day. Yeah, 819 00:38:40,280 --> 00:38:42,160 Speaker 2: Well he recorded with you, and then he didn't record 820 00:38:42,200 --> 00:38:45,120 Speaker 2: for two weeks, and then I wonder what was going 821 00:38:45,160 --> 00:38:46,800 Speaker 2: on in his life in those two weeks that he 822 00:38:46,840 --> 00:38:48,320 Speaker 2: didn't even want to record. 823 00:38:48,520 --> 00:38:50,319 Speaker 3: I don't know, man, I don't know. I know that 824 00:38:50,520 --> 00:38:53,680 Speaker 3: he was doing a lot of collaborating with a lot 825 00:38:53,680 --> 00:38:56,360 Speaker 3: of people at that time, because I had heard that 826 00:38:56,440 --> 00:38:58,919 Speaker 3: he was working on a project where he was trying 827 00:38:58,920 --> 00:39:01,160 Speaker 3: to unify the East and the West. 828 00:39:03,200 --> 00:39:04,000 Speaker 1: For the one nation. 829 00:39:04,200 --> 00:39:09,440 Speaker 3: Yeah, the one Nation, that's right, that's right. And so yeah, 830 00:39:09,480 --> 00:39:11,680 Speaker 3: he was doing some things. I mean, there was rumored 831 00:39:11,680 --> 00:39:14,879 Speaker 3: that he was working with Atlantis more set, Oh wow 832 00:39:15,440 --> 00:39:17,359 Speaker 3: on something. I mean a lot. I heard a lot 833 00:39:17,360 --> 00:39:23,719 Speaker 3: of different things, but but our collaboration, man was to 834 00:39:23,800 --> 00:39:24,959 Speaker 3: say the least that was. 835 00:39:25,080 --> 00:39:28,759 Speaker 1: That was the groundbreaking classic record, groundbreaking movement for me. 836 00:39:29,080 --> 00:39:31,279 Speaker 1: When you think about records like they don't know you know, 837 00:39:31,840 --> 00:39:35,680 Speaker 1: are you still do? Just having those big classics create 838 00:39:35,880 --> 00:39:38,120 Speaker 1: pressure when you approach new music or does it free 839 00:39:38,160 --> 00:39:41,520 Speaker 1: you knowing you already contributed something that's timeless. 840 00:39:41,080 --> 00:39:43,480 Speaker 3: Well you're grateful for it because if the new music 841 00:39:43,560 --> 00:39:50,239 Speaker 3: doesn't catch on, absolutely no. I mean you know what, 842 00:39:50,360 --> 00:39:52,440 Speaker 3: it's a It's a great thing to shoot for that. 843 00:39:52,600 --> 00:39:54,680 Speaker 3: You know. It's like if you have a template that 844 00:39:55,000 --> 00:39:57,759 Speaker 3: you know works with people, then I feel like that's 845 00:39:57,760 --> 00:39:59,520 Speaker 3: a good feeling. And if I could just get back 846 00:39:59,560 --> 00:40:01,720 Speaker 3: to that fear, I have an inkling of that feeling. 847 00:40:02,280 --> 00:40:04,279 Speaker 3: But getting back to what Babyface says, and I'm gonna 848 00:40:04,320 --> 00:40:06,640 Speaker 3: take it back to the positive about baby Face because 849 00:40:06,640 --> 00:40:08,680 Speaker 3: I love that that man. Don't get it twisted. That's 850 00:40:08,719 --> 00:40:11,960 Speaker 3: my father to the game. So but one thing he 851 00:40:12,000 --> 00:40:15,960 Speaker 3: will say to you is keep it honest. That's all 852 00:40:16,000 --> 00:40:18,360 Speaker 3: I'm trying to be is honest. You know that was 853 00:40:18,400 --> 00:40:21,239 Speaker 3: his own advice he gave me. So, you know, I 854 00:40:21,280 --> 00:40:23,600 Speaker 3: feel like this this album is very honest. You know, 855 00:40:24,200 --> 00:40:27,400 Speaker 3: I turned fifty on fifty one now, but you know 856 00:40:27,800 --> 00:40:29,680 Speaker 3: the year I put the album, you know, March I 857 00:40:29,719 --> 00:40:32,279 Speaker 3: was fifty and it is my tenth album. It felt 858 00:40:32,320 --> 00:40:34,400 Speaker 3: it felt very much like this is the album that 859 00:40:34,440 --> 00:40:36,560 Speaker 3: I want to be making at fifty. You know, we 860 00:40:36,640 --> 00:40:38,520 Speaker 3: got Rick Ross on the album, and we have Tank 861 00:40:38,600 --> 00:40:41,520 Speaker 3: on the album. Donelle Jones is on the album, Alex 862 00:40:41,560 --> 00:40:44,440 Speaker 3: Eisley is on the album. And to be independent and 863 00:40:44,520 --> 00:40:46,759 Speaker 3: have all that support like that people coming to my 864 00:40:46,840 --> 00:40:49,720 Speaker 3: aid and want to bless me like that with their 865 00:40:49,800 --> 00:40:53,759 Speaker 3: features was Yeah, it was incredible. 866 00:40:53,840 --> 00:40:55,800 Speaker 4: Were you ever worried because it took thirteen years for 867 00:40:55,840 --> 00:40:57,680 Speaker 4: the album to come that you talk about being honest, 868 00:40:57,680 --> 00:41:00,000 Speaker 4: that you weren't going to be able to be as honest? 869 00:41:00,120 --> 00:41:02,840 Speaker 4: Is because your life has changed so much or be like, 870 00:41:02,880 --> 00:41:05,080 Speaker 4: you wouldn't get that feeling or that sound again that 871 00:41:05,120 --> 00:41:06,520 Speaker 4: you would had in the music prior. 872 00:41:06,680 --> 00:41:09,719 Speaker 3: Yeah. I think that when you mature and you get 873 00:41:10,040 --> 00:41:12,000 Speaker 3: a lot more added to your life in terms of 874 00:41:12,040 --> 00:41:14,239 Speaker 3: your actual what's happening in your life. In this case, 875 00:41:14,440 --> 00:41:17,720 Speaker 3: I've been married for eighteen years get chills to protect. 876 00:41:17,719 --> 00:41:19,560 Speaker 3: Now there's a lot more to protect, So there's a 877 00:41:19,600 --> 00:41:21,960 Speaker 3: lot more I think that goes into the crafting of 878 00:41:22,000 --> 00:41:27,560 Speaker 3: these songs. Like actually the lyrics, there's responsibility behind those lyrics. Now, 879 00:41:27,680 --> 00:41:29,400 Speaker 3: you know, as a as a grown man, I know 880 00:41:29,440 --> 00:41:31,799 Speaker 3: what I don't want to say. I know what's sort 881 00:41:31,800 --> 00:41:34,319 Speaker 3: of out of my lane to say, like I'm not 882 00:41:34,360 --> 00:41:37,560 Speaker 3: going to go in there and and and for the 883 00:41:37,640 --> 00:41:39,600 Speaker 3: song live the plight of a single dude in the 884 00:41:39,640 --> 00:41:41,640 Speaker 3: club trying to holler for the night and just let's 885 00:41:41,640 --> 00:41:44,239 Speaker 3: get this done, and then and then go back to 886 00:41:44,280 --> 00:41:46,840 Speaker 3: being like a married man on the next song, Like 887 00:41:46,880 --> 00:41:48,640 Speaker 3: you're not going to get that on this album. You're 888 00:41:48,680 --> 00:41:52,440 Speaker 3: going to get one plight, which is basically me just compliment, 889 00:41:52,480 --> 00:41:57,120 Speaker 3: you know, being complimentary and romantic and celebrating relationships. You know, 890 00:41:58,040 --> 00:42:02,719 Speaker 3: that's what this album is really celebrating. But I'm an 891 00:42:02,719 --> 00:42:05,720 Speaker 3: atmosphere creator, so I'm always gonna have those sexy joints 892 00:42:05,719 --> 00:42:08,800 Speaker 3: and joints said, you know, the baby makers. 893 00:42:08,960 --> 00:42:11,799 Speaker 1: Hopefully you know what's part of your journey that you 894 00:42:11,800 --> 00:42:14,080 Speaker 1: think people don't talk about it enough, Like something behind 895 00:42:14,120 --> 00:42:16,640 Speaker 1: the scenes that even shake the John b We know 896 00:42:16,680 --> 00:42:16,960 Speaker 1: to day. 897 00:42:17,880 --> 00:42:24,120 Speaker 3: I think it goes back to just really being a 898 00:42:24,160 --> 00:42:28,400 Speaker 3: fan of R and B that I would really continue 899 00:42:28,600 --> 00:42:32,200 Speaker 3: to do this like for free, Like even if I 900 00:42:32,280 --> 00:42:35,000 Speaker 3: didn't make money doing this, that this would be my 901 00:42:35,080 --> 00:42:38,440 Speaker 3: first choice, you know, Like like this is the music 902 00:42:38,480 --> 00:42:40,880 Speaker 3: I listened to at home when I'm cleaning up my place, 903 00:42:40,960 --> 00:42:44,319 Speaker 3: you know what I mean. And this is the these 904 00:42:44,320 --> 00:42:46,640 Speaker 3: are the clothes I put on when I'm chilling around 905 00:42:46,640 --> 00:42:48,759 Speaker 3: the house, Like this is the life I live. Like 906 00:42:48,800 --> 00:42:51,799 Speaker 3: I'm raising young black women, you know, I'm married to 907 00:42:51,840 --> 00:42:54,279 Speaker 3: a black woman. This is the life that I live, 908 00:42:54,480 --> 00:42:56,560 Speaker 3: you know. So it's like whether you see it in 909 00:42:56,600 --> 00:42:59,839 Speaker 3: the video and you think, oh, that's cool, that's that's 910 00:42:59,840 --> 00:43:03,240 Speaker 3: a cool like look, or she's she's pretty for the video, 911 00:43:03,920 --> 00:43:06,399 Speaker 3: it's kind of representing my life, yo. And I mean 912 00:43:06,520 --> 00:43:08,839 Speaker 3: my music is representing my life in a real way. 913 00:43:08,920 --> 00:43:11,960 Speaker 3: It's not for show. You know. This is who I've 914 00:43:12,000 --> 00:43:15,319 Speaker 3: been for thirty years, and I'm just I'm glad to 915 00:43:15,400 --> 00:43:18,319 Speaker 3: have been accepted for who I am, you know, and 916 00:43:18,400 --> 00:43:21,080 Speaker 3: really being able to stay true to that is really 917 00:43:22,400 --> 00:43:24,520 Speaker 3: it's been really not even a challenge. It's just been 918 00:43:24,560 --> 00:43:26,640 Speaker 3: an honor to do so and to sort of be 919 00:43:26,800 --> 00:43:29,920 Speaker 3: the one who shows up to the gigs that I 920 00:43:29,960 --> 00:43:32,800 Speaker 3: see my counterparts sort of like avoiding like the plague. 921 00:43:32,840 --> 00:43:33,040 Speaker 1: You know. 922 00:43:33,760 --> 00:43:36,839 Speaker 3: The places I go are like where real R and 923 00:43:36,880 --> 00:43:39,440 Speaker 3: B is being felt and real R and B is 924 00:43:39,520 --> 00:43:42,839 Speaker 3: being you know, celebrated. So that's where I'm going to, 925 00:43:43,040 --> 00:43:45,320 Speaker 3: you know, and I'm going to continue that walk. 926 00:43:45,360 --> 00:43:47,279 Speaker 2: So yeah, I don't think it's enough spaces for it. 927 00:43:47,360 --> 00:43:48,960 Speaker 2: I know you got Tank on the new album. You 928 00:43:49,000 --> 00:43:51,520 Speaker 2: know that I think is a great dude. And like 929 00:43:51,560 --> 00:43:53,239 Speaker 2: even just creating, like you know, tank I thing I 930 00:43:53,239 --> 00:43:56,160 Speaker 2: did for this R and B Money Award show. I 931 00:43:56,160 --> 00:43:58,799 Speaker 2: want to see, you know, come to Fruition just because 932 00:43:58,800 --> 00:44:00,799 Speaker 2: I don't feel like number one, there's not a lot 933 00:44:00,800 --> 00:44:02,480 Speaker 2: of places that celebrate R and. 934 00:44:03,120 --> 00:44:06,200 Speaker 3: That's right, that's right. We don't have the venues. We 935 00:44:06,239 --> 00:44:08,120 Speaker 3: don't have we don't have the venues. We don't have 936 00:44:08,160 --> 00:44:11,920 Speaker 3: the shows we need an R and B celebration show, 937 00:44:12,080 --> 00:44:14,279 Speaker 3: you know what I mean. We have Soul Trained. We've 938 00:44:14,280 --> 00:44:16,400 Speaker 3: had the Soul Train Awards, which has been our only 939 00:44:17,160 --> 00:44:22,319 Speaker 3: real venue for that, and I mean that's really been 940 00:44:22,320 --> 00:44:24,440 Speaker 3: an honor to be a part of the Soule Train Awards, 941 00:44:24,440 --> 00:44:27,719 Speaker 3: you know, to to that's how me and Donell linked up. 942 00:44:27,760 --> 00:44:31,400 Speaker 3: We both got honored that night, the same night, and 943 00:44:31,480 --> 00:44:33,600 Speaker 3: it was a pleasure to see in backstage and to 944 00:44:33,680 --> 00:44:36,080 Speaker 3: be like, Man, you nervous. I'm nervous too, Man. We 945 00:44:36,120 --> 00:44:37,960 Speaker 3: have been on stage for so long, man, you know, 946 00:44:38,680 --> 00:44:40,680 Speaker 3: let's go have fun with this, you know, celebrate. These 947 00:44:40,680 --> 00:44:43,719 Speaker 3: people are here for us, you know. So yeah, just 948 00:44:43,880 --> 00:44:45,719 Speaker 3: you know, getting to you know, have that moment and 949 00:44:46,000 --> 00:44:48,320 Speaker 3: then say hey, let's let's collab man, let's do something, 950 00:44:48,360 --> 00:44:51,080 Speaker 3: you know, and we make the song understand from my 951 00:44:51,160 --> 00:44:54,440 Speaker 3: album and yeah, he's a he's a great guy. And 952 00:44:54,520 --> 00:44:56,640 Speaker 3: same with Tank. You know, get to be on the 953 00:44:56,760 --> 00:44:59,279 Speaker 3: R and B Money podcast and just chop it up. 954 00:44:59,280 --> 00:45:01,680 Speaker 3: And I'm like, hey, man, and you know you you're 955 00:45:01,680 --> 00:45:03,799 Speaker 3: the guy. Man, you've been the guy for quite some time. 956 00:45:03,840 --> 00:45:07,759 Speaker 3: And that's not our first time working together. We've collaborated 957 00:45:07,760 --> 00:45:09,959 Speaker 3: in the past. But but I was just like, man, 958 00:45:10,000 --> 00:45:11,920 Speaker 3: you know, you've really really been like one of my 959 00:45:12,040 --> 00:45:16,359 Speaker 3: main influences over the last ten you know, ever long's been. 960 00:45:19,040 --> 00:45:21,360 Speaker 3: And uh, yeah, let me play this record because I 961 00:45:21,400 --> 00:45:23,600 Speaker 3: think you're going to hear a little bit of that influence. 962 00:45:23,640 --> 00:45:25,040 Speaker 3: And then I played it for him and he was like, 963 00:45:25,200 --> 00:45:28,279 Speaker 3: I gotta be on that. I was just like, I 964 00:45:28,320 --> 00:45:30,759 Speaker 3: was blown away because I wasn't expecting him to say 965 00:45:30,800 --> 00:45:32,400 Speaker 3: that he was going to sing on the record. And 966 00:45:33,239 --> 00:45:35,239 Speaker 3: you know, it's one thing when someone says they're going 967 00:45:35,280 --> 00:45:36,840 Speaker 3: to do something, and another thing when they pull up 968 00:45:36,880 --> 00:45:39,440 Speaker 3: to the studio and they're there and then you know, 969 00:45:39,480 --> 00:45:41,719 Speaker 3: he's like, I don't want to change nothing. You did 970 00:45:41,800 --> 00:45:43,839 Speaker 3: you body them, versus like I'm just going to add 971 00:45:43,840 --> 00:45:47,040 Speaker 3: the bridge, play some piano on it, and it's a 972 00:45:47,120 --> 00:45:49,600 Speaker 3: rap and that's a hit. And I was like, man, 973 00:45:49,840 --> 00:45:52,600 Speaker 3: I mean, the most confident I've felt in a very 974 00:45:52,640 --> 00:45:53,160 Speaker 3: long time. 975 00:45:53,400 --> 00:45:55,640 Speaker 1: Wow, you lost it for a minute. 976 00:45:55,760 --> 00:45:57,719 Speaker 3: Well, I mean, it's just it's one of those things 977 00:45:57,760 --> 00:45:59,800 Speaker 3: where you're hoping to get one again, you know. And 978 00:46:00,200 --> 00:46:03,399 Speaker 3: uh and when someone like, you know, the likes of Tank, 979 00:46:03,520 --> 00:46:08,360 Speaker 3: you know, comes along and co signs for you. Especially 980 00:46:08,360 --> 00:46:10,120 Speaker 3: in this day and age, there's so much music, so 981 00:46:10,200 --> 00:46:12,279 Speaker 3: much more music being released than it was when I 982 00:46:12,320 --> 00:46:15,799 Speaker 3: first came out. The volume of artists that come out 983 00:46:15,840 --> 00:46:19,319 Speaker 3: every month is insane. So just to be somebody to 984 00:46:19,440 --> 00:46:22,680 Speaker 3: even be considered, but you know, it was it was 985 00:46:22,719 --> 00:46:24,600 Speaker 3: really lovely to wake up in the morning and see 986 00:46:24,640 --> 00:46:26,920 Speaker 3: my video playing on b Et in the morning again, 987 00:46:27,000 --> 00:46:29,319 Speaker 3: you know, with all the other new videos coming out 988 00:46:29,400 --> 00:46:32,480 Speaker 3: and just the support that b Et has shown me 989 00:46:32,600 --> 00:46:34,960 Speaker 3: all my career. Man, without b ET, I wouldn't be 990 00:46:35,680 --> 00:46:36,600 Speaker 3: John B. Period. 991 00:46:36,800 --> 00:46:37,000 Speaker 1: You know. 992 00:46:37,120 --> 00:46:40,279 Speaker 3: I remember the funny story. I was in Jamaica with 993 00:46:40,440 --> 00:46:42,960 Speaker 3: Beanie Man. I was working out there and we got 994 00:46:43,000 --> 00:46:45,879 Speaker 3: pulled over by the police and I thought, oh man, 995 00:46:45,880 --> 00:46:48,000 Speaker 3: we're gonna go to jail in Jamaica. Man, it was 996 00:46:48,200 --> 00:46:50,919 Speaker 3: you know, and they were like, who the white boy 997 00:46:50,960 --> 00:46:54,080 Speaker 3: in the car with you the policeman and he's like, 998 00:46:54,120 --> 00:46:56,799 Speaker 3: that's John B. And they go John B from b 999 00:46:56,920 --> 00:47:00,360 Speaker 3: E T. John B. Yeah, can we take a picture? 1000 00:47:00,440 --> 00:47:00,719 Speaker 1: Come on? 1001 00:47:01,080 --> 00:47:03,040 Speaker 3: So I get out and I'm taking pictures with the 1002 00:47:03,080 --> 00:47:06,239 Speaker 3: police and they let us go. But that's you know, 1003 00:47:06,280 --> 00:47:08,040 Speaker 3: I mean, it just shows you man, people know me 1004 00:47:08,080 --> 00:47:10,600 Speaker 3: from that you know, and that that that era, and 1005 00:47:11,640 --> 00:47:14,359 Speaker 3: without them, I wouldn't be, you know, wouldn't be where 1006 00:47:14,400 --> 00:47:16,239 Speaker 3: I'm at. So I got a big up beet for shure. 1007 00:47:17,040 --> 00:47:20,080 Speaker 4: How is John B as a dad to his girls 1008 00:47:20,120 --> 00:47:22,000 Speaker 4: like explaining like now you've got your music out and 1009 00:47:22,040 --> 00:47:24,279 Speaker 4: you explained to them like okay, this is what daddy does, 1010 00:47:24,320 --> 00:47:26,720 Speaker 4: and you know, like how are you in space. 1011 00:47:26,960 --> 00:47:30,359 Speaker 3: My eighteen year old is really just now really I 1012 00:47:30,400 --> 00:47:32,400 Speaker 3: feel like raped her. It's taking her this long to 1013 00:47:32,440 --> 00:47:35,520 Speaker 3: wrap her head around what I do. And now she's 1014 00:47:35,600 --> 00:47:39,360 Speaker 3: part of the team, you know, she's It's funny because 1015 00:47:39,360 --> 00:47:41,160 Speaker 3: like when we do videos and stuff, she'll be the 1016 00:47:41,160 --> 00:47:43,400 Speaker 3: one doing my makeup on the side. She'll you know, 1017 00:47:43,800 --> 00:47:45,799 Speaker 3: give me a little powder or whatever, and you know, 1018 00:47:46,200 --> 00:47:48,279 Speaker 3: telling me, Dad your hair straight or you know, or 1019 00:47:48,320 --> 00:47:50,839 Speaker 3: you need to fix this or whatever, or don't wear 1020 00:47:50,920 --> 00:47:51,359 Speaker 3: that like that. 1021 00:47:51,400 --> 00:47:51,600 Speaker 1: You know. 1022 00:47:51,680 --> 00:47:53,600 Speaker 3: She's sort of like a stylist for me. At the 1023 00:47:53,640 --> 00:47:56,560 Speaker 3: same time, she's a little bit of helping up with travel, 1024 00:47:56,680 --> 00:47:58,720 Speaker 3: you know, with booking all the travel because we do everything. 1025 00:47:58,760 --> 00:48:02,239 Speaker 3: My wife's the manager. Everything's all in the house, so 1026 00:48:02,280 --> 00:48:03,359 Speaker 3: everybody's helping out. 1027 00:48:03,400 --> 00:48:03,600 Speaker 1: You know. 1028 00:48:03,760 --> 00:48:06,320 Speaker 3: My eleven year old, she's still wrapping her head around 1029 00:48:06,360 --> 00:48:09,239 Speaker 3: what I do. I think that it's still nice for 1030 00:48:09,280 --> 00:48:10,960 Speaker 3: her to sort of be naive to it, you know. 1031 00:48:11,040 --> 00:48:14,399 Speaker 3: And she sees the shows and I'm sure it's intimidating 1032 00:48:14,440 --> 00:48:16,680 Speaker 3: seeing all those people standing on the side of the 1033 00:48:16,680 --> 00:48:20,680 Speaker 3: stage and Madison Square Garden being you know, but but 1034 00:48:20,840 --> 00:48:24,120 Speaker 3: at the end of the day, it's it's wonderful to 1035 00:48:25,320 --> 00:48:27,359 Speaker 3: come back to them and to know that, you know 1036 00:48:28,239 --> 00:48:30,719 Speaker 3: they're there waiting for me at home. It's it's incentive 1037 00:48:30,760 --> 00:48:32,239 Speaker 3: to go out there and want to work real hard though, 1038 00:48:32,400 --> 00:48:34,319 Speaker 3: you know, give them a good life, you know. 1039 00:48:34,480 --> 00:48:35,799 Speaker 4: And you're and your wife have been together since two 1040 00:48:35,800 --> 00:48:38,520 Speaker 4: thousand and seven, yes, the right, Okay, so she's been 1041 00:48:38,560 --> 00:48:41,200 Speaker 4: along for the journey for a long time. Oh yeah, 1042 00:48:41,239 --> 00:48:43,319 Speaker 4: this unfolding of the career part is like easy for her. 1043 00:48:43,360 --> 00:48:44,719 Speaker 4: She's probably just like doing it in her sleep. 1044 00:48:45,000 --> 00:48:47,879 Speaker 3: Well, it's it's not easy for us. I mean, it's 1045 00:48:47,920 --> 00:48:50,799 Speaker 3: a lot of responsibility. It's only on us, so it's 1046 00:48:51,120 --> 00:48:54,480 Speaker 3: no one you know, there's no labels involved. So it's 1047 00:48:54,560 --> 00:48:56,719 Speaker 3: it's really about But you know, that's why I want 1048 00:48:56,760 --> 00:48:59,440 Speaker 3: to come in my fans and thank the fans. Without 1049 00:48:59,480 --> 00:49:02,520 Speaker 3: the fans, I would not be here, y'all. I wouldn't. 1050 00:49:02,640 --> 00:49:05,080 Speaker 3: You wouldn't hear me on the radio right now, you know, 1051 00:49:05,200 --> 00:49:08,520 Speaker 3: without the people coming to the shows to make it all, 1052 00:49:08,560 --> 00:49:11,720 Speaker 3: Because the shows is what's kept me alive all this time, 1053 00:49:12,480 --> 00:49:14,920 Speaker 3: because I wasn't making money from the records, but I 1054 00:49:15,080 --> 00:49:17,319 Speaker 3: was making money from the shows, and so you got 1055 00:49:17,320 --> 00:49:18,880 Speaker 3: to go out and get that show money, you know, 1056 00:49:19,040 --> 00:49:21,279 Speaker 3: stay on the road man, that's all of them. I've 1057 00:49:21,280 --> 00:49:24,080 Speaker 3: been one of the hardest working R and B guys 1058 00:49:24,080 --> 00:49:26,319 Speaker 3: in the game. Like really, it was me for a 1059 00:49:26,320 --> 00:49:29,840 Speaker 3: long time. It was like me genuine and like Case 1060 00:49:30,120 --> 00:49:32,600 Speaker 3: and like Jagged Edge and one twelve. We were like 1061 00:49:32,640 --> 00:49:35,720 Speaker 3: the hardest working guys in the games. I was always 1062 00:49:35,719 --> 00:49:37,640 Speaker 3: out in the road with them everywhere we go. H 1063 00:49:37,719 --> 00:49:39,719 Speaker 3: Town two. I mean, I got to give all my 1064 00:49:40,120 --> 00:49:44,399 Speaker 3: guys from the nineties, we stay working because People that's 1065 00:49:44,400 --> 00:49:46,600 Speaker 3: some of the music, that's some of the most celebrated music. 1066 00:49:48,840 --> 00:49:49,839 Speaker 1: Soundtrack to People Live. 1067 00:49:50,040 --> 00:49:52,960 Speaker 3: Man, it's just a wonderful thing. Me and Joe and 1068 00:49:53,120 --> 00:49:55,879 Speaker 3: Case are going to perform in Jersey actually tomorrow, we're 1069 00:49:55,880 --> 00:49:56,720 Speaker 3: going to be in Jersey. 1070 00:49:56,760 --> 00:49:57,080 Speaker 1: Wow. 1071 00:49:57,200 --> 00:50:03,560 Speaker 3: Yeah, right, what We're going to be in Elizabeth, New 1072 00:50:03,640 --> 00:50:07,520 Speaker 3: Jersey at the Rich Yeah. So that's gonna be a 1073 00:50:07,560 --> 00:50:11,480 Speaker 3: dope show. And you know, it's just it's it's such 1074 00:50:11,480 --> 00:50:15,600 Speaker 3: a beautiful thing to be included with that that line 1075 00:50:15,680 --> 00:50:17,480 Speaker 3: up right there. First of all, I'm such a Joe 1076 00:50:17,560 --> 00:50:20,120 Speaker 3: fan and I'm such a Case fan, so you know, 1077 00:50:21,200 --> 00:50:23,120 Speaker 3: and both of those brothers are good, good friends of mine. 1078 00:50:23,160 --> 00:50:25,040 Speaker 3: We known each other for years, and yeah, that's. 1079 00:50:24,920 --> 00:50:27,719 Speaker 1: The night we're gonna play on Friday. That's a night 1080 00:50:27,760 --> 00:50:31,399 Speaker 1: of R and B with Joe and Live Band and Yes, 1081 00:50:31,480 --> 00:50:33,319 Speaker 1: Case and John B. How hell I ain't know this 1082 00:50:34,480 --> 00:50:34,960 Speaker 1: new Jersey. 1083 00:50:36,080 --> 00:50:40,120 Speaker 3: Yeah, gotta come on out man, R and B lovers. 1084 00:50:40,360 --> 00:50:41,680 Speaker 3: You know it's going to be a good night. 1085 00:50:42,239 --> 00:50:43,960 Speaker 1: How you know you're married to a black woman? 1086 00:50:44,080 --> 00:50:44,319 Speaker 3: Yes? 1087 00:50:45,040 --> 00:50:47,919 Speaker 1: How do you great? Great choice? By the way, yes, 1088 00:50:48,440 --> 00:50:50,840 Speaker 1: how do you and your wife feel about doctor Umar Johnson? 1089 00:50:56,440 --> 00:50:56,640 Speaker 1: That is? 1090 00:50:57,520 --> 00:50:58,239 Speaker 3: I don't know who that is. 1091 00:50:58,360 --> 00:50:59,800 Speaker 1: I don't worry about it. 1092 00:51:00,840 --> 00:51:02,040 Speaker 4: Brought our question over here. 1093 00:51:05,040 --> 00:51:05,680 Speaker 1: I'm sorry. 1094 00:51:06,200 --> 00:51:08,040 Speaker 4: It's totally fine that you don't know who that is. 1095 00:51:08,200 --> 00:51:11,640 Speaker 4: I guess speaking of so you talk. We talked a 1096 00:51:11,680 --> 00:51:13,640 Speaker 4: bit about your daughters. I know, he said, you don't 1097 00:51:13,640 --> 00:51:15,240 Speaker 4: want to talk a lot about it. But the Chloe 1098 00:51:15,280 --> 00:51:18,239 Speaker 4: moment when Chloe was here and she reacted to you 1099 00:51:18,320 --> 00:51:21,160 Speaker 4: talking about her song. You seeing her moment here made 1100 00:51:21,160 --> 00:51:23,000 Speaker 4: you like kind of rethink about how you said things 1101 00:51:23,000 --> 00:51:25,840 Speaker 4: when you were asked about her covering they don't know 1102 00:51:26,000 --> 00:51:28,759 Speaker 4: and you mentioned it's because you're raising black you know, 1103 00:51:28,880 --> 00:51:31,799 Speaker 4: daughters that He wanted to be more careful talk about 1104 00:51:31,840 --> 00:51:34,359 Speaker 4: that realization in real time because the world was like, 1105 00:51:34,480 --> 00:51:35,200 Speaker 4: what is happening? 1106 00:51:36,680 --> 00:51:38,920 Speaker 3: I mean, it's interesting to have an opinion in this 1107 00:51:39,040 --> 00:51:42,360 Speaker 3: day and age, because it's it's a responsibility. 1108 00:51:42,719 --> 00:51:42,920 Speaker 1: You know. 1109 00:51:44,080 --> 00:51:47,279 Speaker 3: Sometimes you can say what you think is the way 1110 00:51:47,320 --> 00:51:49,560 Speaker 3: that you say it that can be misconstrued, you know, 1111 00:51:50,960 --> 00:51:54,440 Speaker 3: because everybody doesn't have to like everything. You know, obviously, 1112 00:51:54,520 --> 00:51:57,600 Speaker 3: we live in a canceled culture like society now where 1113 00:51:57,600 --> 00:51:59,680 Speaker 3: if you say something the wrong way, you can be 1114 00:51:59,719 --> 00:52:04,400 Speaker 3: cancer very fast means. But you know, in whatever it means, 1115 00:52:04,640 --> 00:52:08,000 Speaker 3: I think it's the people lose respect for you and 1116 00:52:08,080 --> 00:52:11,560 Speaker 3: so they they don't mess with you as much. And 1117 00:52:11,640 --> 00:52:16,560 Speaker 3: for me, it's like I'm count on people to continue 1118 00:52:16,600 --> 00:52:19,200 Speaker 3: to you know, to support me, so I'm never I 1119 00:52:19,200 --> 00:52:21,319 Speaker 3: don't want to mess my chance up of that. And 1120 00:52:21,520 --> 00:52:24,600 Speaker 3: first of all, I'm a mature man. I know when 1121 00:52:24,640 --> 00:52:28,240 Speaker 3: to take an l and say my you know, my bad, 1122 00:52:28,520 --> 00:52:31,239 Speaker 3: I didn't mean that. The worst part about is raising 1123 00:52:31,360 --> 00:52:35,240 Speaker 3: daughters and seeing when they get disappointed, how their facial 1124 00:52:35,320 --> 00:52:38,960 Speaker 3: expressions look and how their voices changed, and they you know, 1125 00:52:39,440 --> 00:52:40,600 Speaker 3: to see that happen with her. 1126 00:52:40,760 --> 00:52:44,000 Speaker 4: Your eighteen year old is a Chloe fan, well yeah. 1127 00:52:43,880 --> 00:52:46,600 Speaker 3: I mean she you know, she she could feel her 1128 00:52:46,760 --> 00:52:49,480 Speaker 3: energy when she was reacting to it, so could I 1129 00:52:49,560 --> 00:52:51,920 Speaker 3: being that I'm raising an eighteen year old, right and 1130 00:52:52,000 --> 00:52:54,080 Speaker 3: she's not that much older. I mean, you know, but 1131 00:52:54,200 --> 00:52:57,120 Speaker 3: she's a young girl. So to see that I made 1132 00:52:57,160 --> 00:52:59,960 Speaker 3: her feel that way, you know, made me feel bad 1133 00:53:00,480 --> 00:53:03,200 Speaker 3: because I never want to insult anyone or make them 1134 00:53:03,239 --> 00:53:07,279 Speaker 3: feel bad, especially when they're incredibly talented like that. I 1135 00:53:07,320 --> 00:53:10,680 Speaker 3: guess what I want to say is, come collaborate with 1136 00:53:10,760 --> 00:53:13,360 Speaker 3: me for real, you know, come collaborate. Let me have 1137 00:53:13,440 --> 00:53:16,120 Speaker 3: a chance to really work with you. She's so incredibly 1138 00:53:16,160 --> 00:53:19,319 Speaker 3: talented that I just don't feel like that showed the 1139 00:53:19,400 --> 00:53:22,040 Speaker 3: real you know what I want to see us, how 1140 00:53:22,080 --> 00:53:26,160 Speaker 3: I want to see our styles collaborate together. I think, 1141 00:53:26,320 --> 00:53:28,640 Speaker 3: you know, it worked for what they did for it 1142 00:53:28,680 --> 00:53:30,919 Speaker 3: was just kind of like a jump to put out. 1143 00:53:30,920 --> 00:53:33,320 Speaker 3: But I don't know if I could really get behind 1144 00:53:33,320 --> 00:53:36,400 Speaker 3: that and say that I like that joint, you know 1145 00:53:36,400 --> 00:53:38,799 Speaker 3: what I mean. I felt like my song is very 1146 00:53:38,960 --> 00:53:43,640 Speaker 3: very deep and meaningful, and when you turn a meaningful 1147 00:53:43,680 --> 00:53:46,600 Speaker 3: record into sort of like a record that's just sort 1148 00:53:46,640 --> 00:53:49,239 Speaker 3: of like, oh, I just want to I just want 1149 00:53:49,280 --> 00:53:52,239 Speaker 3: to have sex with you and let's do it good 1150 00:53:52,239 --> 00:53:54,759 Speaker 3: and then later, you know what I mean, kind of 1151 00:53:55,000 --> 00:53:57,120 Speaker 3: that's fair, you know what I mean? It's just kind 1152 00:53:57,120 --> 00:53:58,640 Speaker 3: of like, that's not what I want to tell my 1153 00:53:58,680 --> 00:54:01,080 Speaker 3: eleven year old, you know, on them right now, you 1154 00:54:01,120 --> 00:54:02,960 Speaker 3: know what I mean. So it just kind of made 1155 00:54:03,000 --> 00:54:05,200 Speaker 3: me feel like speaking on it and be like they're 1156 00:54:05,200 --> 00:54:07,319 Speaker 3: like you like it, I'm like, nah, I don't like it. 1157 00:54:08,080 --> 00:54:10,480 Speaker 3: But now I'm like I feel bad about saying that, 1158 00:54:10,600 --> 00:54:12,680 Speaker 3: you know, because I know that, you know, we're for 1159 00:54:12,760 --> 00:54:16,719 Speaker 3: every action, there's a reaction, and I'm trying to put 1160 00:54:16,760 --> 00:54:18,680 Speaker 3: good positive energy out in the where I'm trying to 1161 00:54:18,680 --> 00:54:20,879 Speaker 3: build people up, not break them down. 1162 00:54:21,080 --> 00:54:22,439 Speaker 1: You got a joint for her? You got a record 1163 00:54:22,480 --> 00:54:22,719 Speaker 1: for her? 1164 00:54:23,040 --> 00:54:26,200 Speaker 3: Definitely got a record for her. I her and if 1165 00:54:26,239 --> 00:54:29,319 Speaker 3: I don't, I will make it for it. No, She's 1166 00:54:29,680 --> 00:54:33,800 Speaker 3: She's amazing. They're so They're so talented and so beautiful, 1167 00:54:33,880 --> 00:54:38,479 Speaker 3: you know, I mean, they got the full package. It's yeah, 1168 00:54:38,520 --> 00:54:40,920 Speaker 3: it's just a matter of us getting in the studio 1169 00:54:41,239 --> 00:54:42,760 Speaker 3: and just making some magic happen. 1170 00:54:43,680 --> 00:54:46,640 Speaker 1: How does John be want to be remembered. 1171 00:54:47,160 --> 00:54:53,400 Speaker 3: I want to be remembered as an atmosphere creator, somebody 1172 00:54:53,400 --> 00:54:58,280 Speaker 3: who was really honest with his emotions and somebody who's 1173 00:54:58,280 --> 00:55:00,360 Speaker 3: just made a baby maker music. 1174 00:55:02,440 --> 00:55:07,600 Speaker 1: Definitely made that Well that's it. 1175 00:55:07,840 --> 00:55:12,480 Speaker 3: Yeah, Yeah, we want know, I mean I think that 1176 00:55:12,560 --> 00:55:13,920 Speaker 3: you know, at the end of the day, I want 1177 00:55:13,960 --> 00:55:15,680 Speaker 3: I want to be remembered as a guy who was 1178 00:55:15,840 --> 00:55:18,400 Speaker 3: you know, uh, you know, he gave us all, you know, 1179 00:55:18,600 --> 00:55:21,200 Speaker 3: in terms of like everything I do really, from being 1180 00:55:21,239 --> 00:55:24,120 Speaker 3: a father to you know, husband to a songwriter and 1181 00:55:24,160 --> 00:55:26,960 Speaker 3: a performer. I sing my heart out on stage every 1182 00:55:26,960 --> 00:55:30,640 Speaker 3: show I do, you know, whether they're giving it up 1183 00:55:30,719 --> 00:55:33,680 Speaker 3: and giving me the energy I want to have or not. 1184 00:55:34,000 --> 00:55:38,520 Speaker 3: You know, it's because it's the passion for what I do, 1185 00:55:38,600 --> 00:55:41,000 Speaker 3: you know, So yeah, I want to be remembered for that. 1186 00:55:41,160 --> 00:55:41,480 Speaker 1: Really. 1187 00:55:42,120 --> 00:55:43,319 Speaker 3: Yeah. 1188 00:55:43,360 --> 00:55:45,759 Speaker 1: Well, John b you're doing a phenomenal job. Man. We 1189 00:55:45,880 --> 00:55:48,160 Speaker 1: here talking about thirty the thirty fan a Brest. 1190 00:55:48,000 --> 00:55:50,640 Speaker 2: You a bona fide, So that means, yes, sir, man, 1191 00:55:51,040 --> 00:55:52,680 Speaker 2: you and Babyface can reconcile too. 1192 00:55:52,719 --> 00:55:52,919 Speaker 1: Man. 1193 00:55:53,120 --> 00:55:53,759 Speaker 3: Yeah, me too. 1194 00:55:53,840 --> 00:55:54,000 Speaker 1: Man. 1195 00:55:54,360 --> 00:55:58,799 Speaker 3: I think that things are coming full circle regardless and 1196 00:55:58,880 --> 00:56:01,920 Speaker 3: because of that, you know, I think it's just it's 1197 00:56:02,560 --> 00:56:06,320 Speaker 3: you know, it's a matter of just us literally chopping 1198 00:56:06,320 --> 00:56:09,360 Speaker 3: it up one day and just letting each other know 1199 00:56:09,400 --> 00:56:12,680 Speaker 3: how we feel. But that's that that definitely needs to 1200 00:56:12,719 --> 00:56:14,600 Speaker 3: happen in a in a private setting and not on 1201 00:56:14,680 --> 00:56:17,759 Speaker 3: a public forum. You know where it's said I heard 1202 00:56:17,760 --> 00:56:19,360 Speaker 3: you say this, and you know what I mean, and 1203 00:56:19,440 --> 00:56:21,520 Speaker 3: then I'm reacting to that on on this thing, on 1204 00:56:21,520 --> 00:56:24,279 Speaker 3: this public forum over here. It's gonna go tip tip 1205 00:56:24,320 --> 00:56:27,520 Speaker 3: for tap forever until we just sit down as grown 1206 00:56:27,560 --> 00:56:30,879 Speaker 3: ass men and being like, hey, listen, still got love 1207 00:56:30,920 --> 00:56:31,239 Speaker 3: for you? 1208 00:56:31,040 --> 00:56:32,359 Speaker 1: You never tried to just call him? 1209 00:56:33,120 --> 00:56:35,000 Speaker 3: I feel like at this at this point, the only 1210 00:56:35,040 --> 00:56:37,640 Speaker 3: time that I've ever been able to get in touch 1211 00:56:37,680 --> 00:56:40,200 Speaker 3: with him is by going and contacting him. That's all 1212 00:56:40,239 --> 00:56:42,520 Speaker 3: it's ever been is me get reaching out to him. 1213 00:56:42,880 --> 00:56:46,920 Speaker 3: It's never been the other way. So and I just 1214 00:56:46,920 --> 00:56:48,759 Speaker 3: feel like there's only so much you can give to 1215 00:56:48,840 --> 00:56:51,400 Speaker 3: something before if it's not like you said, if you're not, 1216 00:56:51,480 --> 00:56:54,719 Speaker 3: it's like you showed loyalty, but it's the loyalty being 1217 00:56:54,760 --> 00:56:59,160 Speaker 3: shown back. In fact, I feel like from the truth 1218 00:56:59,200 --> 00:57:02,000 Speaker 3: that I've told, how I've been honest, it's only got 1219 00:57:02,080 --> 00:57:05,560 Speaker 3: it's only made him sort of more angry because you know, 1220 00:57:05,600 --> 00:57:08,359 Speaker 3: he doesn't want people to know those ins and outs 1221 00:57:08,400 --> 00:57:11,200 Speaker 3: of the business, which I understand. But in no way 1222 00:57:11,239 --> 00:57:15,200 Speaker 3: have I defamed him or talked you know, said Babyface 1223 00:57:15,280 --> 00:57:17,360 Speaker 3: did this to me, He he wronged me, you know, 1224 00:57:17,520 --> 00:57:21,040 Speaker 3: No it's not that at all. He only gets praised 1225 00:57:21,080 --> 00:57:24,240 Speaker 3: by me and get that's all I do is praise babyface. 1226 00:57:24,680 --> 00:57:28,920 Speaker 3: But it would be nice also to see him, you know, 1227 00:57:29,080 --> 00:57:32,800 Speaker 3: return in this day and age right now. Uh, that 1228 00:57:32,960 --> 00:57:36,240 Speaker 3: same kind of energy back my way. You know. 1229 00:57:37,080 --> 00:57:39,439 Speaker 1: You gotta Valentine's Day cruise having a tour. 1230 00:57:40,400 --> 00:57:44,360 Speaker 3: Yeah, Valentine's Day Cruise. Yeah, trying to do something I 1231 00:57:44,400 --> 00:57:46,640 Speaker 3: think it's fitting for the album and waiting on you. 1232 00:57:46,640 --> 00:57:48,520 Speaker 3: You know, it's what better way to take in the 1233 00:57:48,560 --> 00:57:52,200 Speaker 3: new album than to h you know, play it on 1234 00:57:52,240 --> 00:57:54,320 Speaker 3: a cruise ship, you know, and go We're gonna go 1235 00:57:54,400 --> 00:57:58,440 Speaker 3: sell to uh Encinata, Mexico, and we're gonna go to Catalina. 1236 00:57:59,880 --> 00:58:01,800 Speaker 3: Just a little mini cruise, you know, three day John. 1237 00:58:01,960 --> 00:58:04,560 Speaker 3: But it's uh, it's gonna be fun and up closer 1238 00:58:04,600 --> 00:58:08,680 Speaker 3: person with the fans, and you know it's a grown 1239 00:58:08,720 --> 00:58:09,040 Speaker 3: up thing. 1240 00:58:09,360 --> 00:58:12,400 Speaker 1: Let's do it. Well. It's John B. Thank you for coming, 1241 00:58:12,440 --> 00:58:13,160 Speaker 1: My brother. 1242 00:58:13,000 --> 00:58:14,040 Speaker 3: Charle Man, Thank you, sir. 1243 00:58:14,120 --> 00:58:16,240 Speaker 1: I appreciate you man. It's the Breakfast Club. 1244 00:58:16,960 --> 00:58:18,600 Speaker 3: Hold up every. 1245 00:58:18,440 --> 00:58:21,520 Speaker 1: Day I wake click yours up, the Breakfast Club. 1246 00:58:22,040 --> 00:58:22,960 Speaker 3: Finish for y'all. Done