1
00:00:02,680 --> 00:00:13,160
Speaker 1: Money. We are thank take val. We are the authority

2
00:00:13,800 --> 00:00:19,040
Speaker 1: on all things R and Ladies and jentlemen, what's going on?

3
00:00:19,079 --> 00:00:28,800
Speaker 1: My name is Tank. I gave Alain this who It's

4
00:00:28,880 --> 00:00:34,160
Speaker 1: the R and B Money Podcast, the authority on all

5
00:00:34,400 --> 00:00:41,000
Speaker 1: things RB. Yeah. Oh man, oh, y'all have messed up

6
00:00:41,040 --> 00:00:45,480
Speaker 1: to day. You messed up today? Yeah. The real shit

7
00:00:45,560 --> 00:00:48,320
Speaker 1: is in the building. But my frends pastor, the real

8
00:00:49,720 --> 00:00:54,920
Speaker 1: is in building it. I'm talking about play every instrument

9
00:00:56,120 --> 00:01:05,000
Speaker 1: on a level, high level, high level, write it, sing it. Uh.

10
00:01:05,200 --> 00:01:08,840
Speaker 1: Then he gonna he gonna design the clothing for you

11
00:01:08,920 --> 00:01:13,200
Speaker 1: to wear on it. And then if your heart ain't

12
00:01:13,280 --> 00:01:16,400
Speaker 1: right while you're wearing the clothes, he gonna preach you.

13
00:01:16,920 --> 00:01:20,560
Speaker 1: It saved your soul. Yeah, I'm talking about twenty seven

14
00:01:20,920 --> 00:01:28,600
Speaker 1: Grammy nominees, nine time winning award, winning warden by du Yes.

15
00:01:29,640 --> 00:01:32,520
Speaker 1: Why am I screaming, I don't go, mister my block

16
00:01:32,640 --> 00:01:38,040
Speaker 1: him himself. You're going to cut myself. Yeah, Joe blood,

17
00:01:38,160 --> 00:01:40,080
Speaker 1: I love how you how you so hype, but he's

18
00:01:40,120 --> 00:01:50,000
Speaker 1: not giving you anything better? Yeaz um. First of all,

19
00:01:50,760 --> 00:01:53,760
Speaker 1: first of all, I mean your family, so man, well,

20
00:01:54,040 --> 00:01:55,840
Speaker 1: thanks thank you for giving us shi because I know

21
00:01:55,880 --> 00:01:58,240
Speaker 1: this is you know your time is precious. Listen, man,

22
00:01:58,280 --> 00:02:00,800
Speaker 1: thank y'all for having me. This is Anna and listen.

23
00:02:00,840 --> 00:02:03,400
Speaker 1: I hadn't seen everybody sitting this year. I feel like

24
00:02:03,440 --> 00:02:12,560
Speaker 1: I'm somebody. It's like the Woody d Yeah. Yeah, I'm

25
00:02:12,600 --> 00:02:15,200
Speaker 1: a little upset that, you know, you let me retire

26
00:02:15,600 --> 00:02:18,919
Speaker 1: without giving me a hit record. You know, no discography

27
00:02:19,040 --> 00:02:21,959
Speaker 1: is vast you you know you can't do it take

28
00:02:22,200 --> 00:02:24,680
Speaker 1: you know, you know we can't speed down like we

29
00:02:24,919 --> 00:02:30,000
Speaker 1: you know, we we we talked, we listen interacting. We're

30
00:02:30,000 --> 00:02:32,520
Speaker 1: gonna we're gonna do a record now. Nobody might never hear.

31
00:02:32,560 --> 00:02:33,920
Speaker 1: You might not want to put it out because you

32
00:02:33,960 --> 00:02:35,760
Speaker 1: were tired, but we're gonna do this record. I can't

33
00:02:35,760 --> 00:02:37,400
Speaker 1: and it's gonna be so good. You're gonna be like

34
00:02:37,440 --> 00:02:40,600
Speaker 1: everybody got to hear. I can't. I can't do a record,

35
00:02:40,600 --> 00:02:43,040
Speaker 1: but you and not put it out. It's gonna be

36
00:02:43,080 --> 00:02:44,840
Speaker 1: that good. Like, Okay, people need to hear it this.

37
00:02:44,919 --> 00:02:48,320
Speaker 1: They got to hear this. Um, thank you bro again.

38
00:02:48,360 --> 00:02:52,080
Speaker 1: Absolutely man, and you know, and we need to do

39
00:02:52,080 --> 00:02:55,560
Speaker 1: it at Marvin's room too. That's why we need to

40
00:02:55,600 --> 00:02:59,200
Speaker 1: do that in the Marvin Gay studio. I'm serious, We're

41
00:02:59,200 --> 00:03:04,520
Speaker 1: gonna do that. Yeah, it's just it's becoming a moment.

42
00:03:05,080 --> 00:03:06,840
Speaker 1: Yeah yeah, yeah. Oh you know what I saw on

43
00:03:06,840 --> 00:03:10,080
Speaker 1: your discography nothing anything cut you off. I saw that

44
00:03:10,200 --> 00:03:15,839
Speaker 1: one of your wins was you Know Where I'm Going

45
00:03:16,360 --> 00:03:21,359
Speaker 1: was Jennifer Hudson R and B Album of the Year. Yeah, yeah,

46
00:03:21,440 --> 00:03:23,960
Speaker 1: I was on that album. But then I have you

47
00:03:24,000 --> 00:03:26,160
Speaker 1: to think because my songs. I don't even know how

48
00:03:26,200 --> 00:03:29,880
Speaker 1: good my song was. And they told me that I

49
00:03:29,919 --> 00:03:35,680
Speaker 1: didn't qualify for hardware, only a certificate. Well, here's the

50
00:03:35,760 --> 00:03:39,000
Speaker 1: thing which is wrong. Talk to me and I can

51
00:03:39,080 --> 00:03:41,440
Speaker 1: speak to it. I served on the board of governors

52
00:03:41,440 --> 00:03:43,680
Speaker 1: at the Nearest for a two times and we had

53
00:03:43,680 --> 00:03:48,080
Speaker 1: this argument over and over again about hardware versus statue

54
00:03:48,200 --> 00:03:54,000
Speaker 1: being valid as an actual Grammy and the it's really

55
00:03:54,040 --> 00:03:56,240
Speaker 1: split down the mill. Some people say, no, the statue

56
00:03:56,320 --> 00:04:00,240
Speaker 1: is the heart, the certificate is a Grammy up or

57
00:04:00,280 --> 00:04:02,360
Speaker 1: some people know the hardware is grammself. If you count

58
00:04:02,400 --> 00:04:06,360
Speaker 1: the certificates, I'm like, I got twenty Grammys, but hardware wise,

59
00:04:06,760 --> 00:04:10,040
Speaker 1: I only got what was that last year I won

60
00:04:10,160 --> 00:04:19,159
Speaker 1: for Best Rap Song and that was my fifth hardware hardware,

61
00:04:19,400 --> 00:04:22,640
Speaker 1: So you can consider that plaque because it's a win

62
00:04:23,400 --> 00:04:25,360
Speaker 1: it says she got best R and B Album of

63
00:04:25,400 --> 00:04:28,720
Speaker 1: the Year. I didn't get it. I didn't get hardware.

64
00:04:28,720 --> 00:04:30,440
Speaker 1: I got a plaque just like you. Why don't we

65
00:04:30,520 --> 00:04:34,800
Speaker 1: get hardware because you have to? Why do other other

66
00:04:34,839 --> 00:04:37,200
Speaker 1: genres of music? No? No No, no, no genre does you

67
00:04:37,240 --> 00:04:39,640
Speaker 1: have to be as a producer? You would You would

68
00:04:39,640 --> 00:04:43,320
Speaker 1: have to have produce or more of that album to

69
00:04:43,520 --> 00:04:49,520
Speaker 1: get does that other genres? Everybody does so? Like so

70
00:04:49,800 --> 00:04:52,760
Speaker 1: for instance, my wife when she put out her first

71
00:04:52,760 --> 00:04:56,760
Speaker 1: solo album, uh, she won for best Gospel Album, Right,

72
00:04:57,720 --> 00:04:59,359
Speaker 1: I get it. I got a hardware because I produced

73
00:04:59,400 --> 00:05:10,320
Speaker 1: the entire thing. Well, you're her husband or or or yeah,

74
00:05:10,360 --> 00:05:13,880
Speaker 1: that's true. The married Mary joints. You know, I get

75
00:05:13,960 --> 00:05:22,360
Speaker 1: hardware for that a husband and brother. And let's say

76
00:05:22,400 --> 00:05:24,720
Speaker 1: if I do you know Tank got ten songs on

77
00:05:24,720 --> 00:05:27,800
Speaker 1: an album, you win, I produced seven of them. I'm

78
00:05:27,839 --> 00:05:31,120
Speaker 1: getting hardware, I know. But that's that's really tough fa

79
00:05:31,440 --> 00:05:35,120
Speaker 1: urban space now though, yeah really does especially like on

80
00:05:35,160 --> 00:05:38,880
Speaker 1: an album like Kanye's last album Dona, there is twenty

81
00:05:38,920 --> 00:05:41,520
Speaker 1: seven producers on one song. It's a game of people

82
00:05:41,560 --> 00:05:43,919
Speaker 1: on there, like when it's a lot, so how are

83
00:05:43,920 --> 00:05:47,240
Speaker 1: they gonna split that up? But music is collaborative. So

84
00:05:47,360 --> 00:05:49,320
Speaker 1: my thing is, I mean, if you played a part,

85
00:05:50,960 --> 00:05:53,880
Speaker 1: let gets something for It's all them, it's all the

86
00:05:53,920 --> 00:05:56,560
Speaker 1: reason why it's album of the year. So the actual

87
00:05:57,760 --> 00:05:59,720
Speaker 1: money to make. Man, it costs more money to make,

88
00:06:00,000 --> 00:06:02,279
Speaker 1: but album of the Year gets everybody get a statue

89
00:06:02,279 --> 00:06:03,359
Speaker 1: for album of the year, you know what I mean?

90
00:06:03,520 --> 00:06:05,080
Speaker 1: R and B album, Oh yeah, and then we just

91
00:06:05,080 --> 00:06:08,719
Speaker 1: get the plaus And I think that if it's what's

92
00:06:08,760 --> 00:06:12,120
Speaker 1: so different, I get it that it's across all genres, right,

93
00:06:12,440 --> 00:06:16,000
Speaker 1: but that's really unfair to everybody who contributes to the

94
00:06:16,160 --> 00:06:19,360
Speaker 1: entire body of work to not be able to participate

95
00:06:19,360 --> 00:06:21,560
Speaker 1: in now. And I think, you know, being that we

96
00:06:21,600 --> 00:06:24,680
Speaker 1: now have as a president fellow R and B you know,

97
00:06:24,880 --> 00:06:28,599
Speaker 1: const constituent, he could help change some of that because

98
00:06:28,800 --> 00:06:31,720
Speaker 1: it is, it is a thing. It's unfair. We should

99
00:06:31,760 --> 00:06:34,880
Speaker 1: be getting them. We should be getting them. Statues. Need

100
00:06:34,920 --> 00:06:37,920
Speaker 1: some man, we need some hardware around here. I can't

101
00:06:37,920 --> 00:06:42,599
Speaker 1: even get a nomination. Shit, I gotta start. Listen, man,

102
00:06:42,640 --> 00:06:44,559
Speaker 1: you look like a Graham. Look at that brod skin.

103
00:06:47,160 --> 00:06:56,000
Speaker 1: What are you drinking? You know, sixty three years old?

104
00:06:56,560 --> 00:06:58,320
Speaker 1: Just like that. When I mess you, I might have

105
00:06:58,320 --> 00:07:02,599
Speaker 1: been a teenager did my god do it actually was

106
00:07:02,640 --> 00:07:11,400
Speaker 1: when we met. Joe Lewis is now one of my guys.

107
00:07:11,400 --> 00:07:16,400
Speaker 1: The other day he said, what what's going on? Man?

108
00:07:16,400 --> 00:07:21,760
Speaker 1: You drinking tomato juice? Everyone? I don't ak ho Lewis

109
00:07:22,280 --> 00:07:35,960
Speaker 1: Lewis did he go that one? Baby dub sir. Let's

110
00:07:36,120 --> 00:07:40,120
Speaker 1: let's go back to the beginning a long time ago. Yeah,

111
00:07:40,280 --> 00:07:43,240
Speaker 1: let's start. I think I'm older than everybody here. Yeah,

112
00:07:43,400 --> 00:07:46,080
Speaker 1: you sure you got you have grab That doesn't mean anything.

113
00:07:46,280 --> 00:07:48,760
Speaker 1: I mean, I can it could be black. It was

114
00:07:48,760 --> 00:07:52,320
Speaker 1: black last month because I'm a good I just turned

115
00:07:52,320 --> 00:07:54,320
Speaker 1: forty seven. You know what I'm saying? Things really happening

116
00:07:54,360 --> 00:07:57,559
Speaker 1: for me? Were I don't. I'm so forty seven. When's

117
00:07:57,560 --> 00:08:01,280
Speaker 1: your birthday? August? I'll turn forty eighth this year. Okay,

118
00:08:01,280 --> 00:08:05,000
Speaker 1: you got me by about three months. Wow? Yeah, but

119
00:08:05,120 --> 00:08:07,320
Speaker 1: I thought you was about two three years younger than me.

120
00:08:07,800 --> 00:08:13,440
Speaker 1: I am. Maybe it's the pictorial muscle, baby jay, baby

121
00:08:13,520 --> 00:08:15,720
Speaker 1: jaw gonna you learn how to count to man, because

122
00:08:16,360 --> 00:08:18,160
Speaker 1: she ain't way to August. It's not three or four

123
00:08:18,200 --> 00:08:23,360
Speaker 1: months older than me. He turns, He turns in there,

124
00:08:23,640 --> 00:08:28,040
Speaker 1: and then I turned forty eight, So August September October

125
00:08:28,200 --> 00:08:33,720
Speaker 1: November December. That's four months. Oh you turned your birthday, dreamer,

126
00:08:35,880 --> 00:08:43,360
Speaker 1: Yeah it's not three months, but somebody to count for. Yeah, well,

127
00:08:43,480 --> 00:08:49,960
Speaker 1: don't do that no more. Man, We're gonna man what

128
00:08:50,559 --> 00:08:53,440
Speaker 1: dub Let's go to the beginning, man um. I feel

129
00:08:53,480 --> 00:08:58,160
Speaker 1: like I feel like there was a church involved. I

130
00:08:58,240 --> 00:09:00,720
Speaker 1: feel like you might not even have been born in

131
00:09:00,840 --> 00:09:04,080
Speaker 1: the hospital. I feel like you were born at the church.

132
00:09:04,160 --> 00:09:06,120
Speaker 1: You really a native too, You really a la name

133
00:09:06,240 --> 00:09:11,880
Speaker 1: yea yea through Like where when did somebody to say

134
00:09:11,920 --> 00:09:17,319
Speaker 1: to you that boy special, that boy man? Or when

135
00:09:17,320 --> 00:09:19,760
Speaker 1: did you and went and when did it click for

136
00:09:19,840 --> 00:09:26,240
Speaker 1: you that? Okay, I do something different. So I'm born

137
00:09:26,760 --> 00:09:29,040
Speaker 1: born in Watts Me and Tiree is born in the

138
00:09:29,040 --> 00:09:33,880
Speaker 1: same hospital, raised in South Central. I'm what you call

139
00:09:33,960 --> 00:09:39,040
Speaker 1: a pew baby because I you know, they brought me

140
00:09:39,120 --> 00:09:40,840
Speaker 1: home from the hospital and we went straight to church

141
00:09:40,920 --> 00:09:45,120
Speaker 1: after that. But then I was raised you know, uh

142
00:09:45,280 --> 00:09:47,199
Speaker 1: a street car fifty second in the city, second of

143
00:09:47,280 --> 00:09:51,080
Speaker 1: Normandy right in the hood. Uh gang culture five Duce

144
00:09:51,160 --> 00:09:54,400
Speaker 1: Hoover Crips was was the neighborhood I grew up in.

145
00:09:55,000 --> 00:09:58,280
Speaker 1: So I had both things happening. Are you a five duce,

146
00:09:58,720 --> 00:10:00,280
Speaker 1: I'm a I'm a I'm what you call a writer,

147
00:10:00,960 --> 00:10:02,720
Speaker 1: so you know we can get into that. You know.

148
00:10:02,760 --> 00:10:04,520
Speaker 1: I really wanted to be jumped in so bad. My

149
00:10:04,600 --> 00:10:07,960
Speaker 1: dad said, if I catch you, I hear that. She

150
00:10:07,960 --> 00:10:09,679
Speaker 1: didn't got jumped in and put on I'm gonna kill

151
00:10:09,720 --> 00:10:11,400
Speaker 1: you myself. And I was much more afraid of him

152
00:10:11,400 --> 00:10:18,720
Speaker 1: than anybody on that block. Yeah, I was like, yeah,

153
00:10:18,760 --> 00:10:22,000
Speaker 1: I take my chances. Yeah, yeah, but yeah. So my

154
00:10:22,160 --> 00:10:26,480
Speaker 1: family um in the small church that I was raised

155
00:10:26,520 --> 00:10:29,959
Speaker 1: in was called King's Chapel Apostolic church on the east

156
00:10:30,000 --> 00:10:35,199
Speaker 1: side of la Um was a very very liberal Black

157
00:10:35,280 --> 00:10:39,360
Speaker 1: church because the bishops daughters were R and B singers.

158
00:10:40,480 --> 00:10:43,240
Speaker 1: One was my godmother. Her name was Eton the Right Perry.

159
00:10:43,400 --> 00:10:45,520
Speaker 1: She passed a couple of years ago. She was the

160
00:10:45,600 --> 00:10:48,560
Speaker 1: lead singer in the band the group the Honeycomb going

161
00:10:48,640 --> 00:10:51,319
Speaker 1: to put it on the one as the leads leading

162
00:10:51,640 --> 00:10:55,680
Speaker 1: and the their father was our pastor. Her Her older

163
00:10:55,720 --> 00:10:58,800
Speaker 1: sister's name is Darlene Love. She's known all over the

164
00:10:58,800 --> 00:11:00,920
Speaker 1: world for being the Christmas Latest, the Christmas Songs of

165
00:11:01,000 --> 00:11:04,880
Speaker 1: Phil Specter, that that that that documentary Twenty Feet from

166
00:11:04,880 --> 00:11:06,319
Speaker 1: Scars start them. She was the start of that she

167
00:11:06,480 --> 00:11:10,000
Speaker 1: on an oscar. Those were their sisters, their sisters wow,

168
00:11:10,440 --> 00:11:12,400
Speaker 1: and so I grew up in their father's church. So

169
00:11:13,000 --> 00:11:16,680
Speaker 1: and then my family and their family was the music department.

170
00:11:16,720 --> 00:11:20,160
Speaker 1: My dad played bass and directed the choir and singing

171
00:11:20,200 --> 00:11:22,320
Speaker 1: the choir. My uncle was played the oregon. My cousin

172
00:11:22,360 --> 00:11:25,360
Speaker 1: played the drums. I played piano and drums. And the

173
00:11:25,480 --> 00:11:27,960
Speaker 1: choir was my mom and my cousins and it was everybody.

174
00:11:28,360 --> 00:11:30,559
Speaker 1: And then my uncle was a director in the same lead.

175
00:11:30,640 --> 00:11:34,360
Speaker 1: He's a guy that singing, Uh, I'm going to sing

176
00:11:34,440 --> 00:11:40,400
Speaker 1: the song for you. That's my uncle Michael. He passed

177
00:11:40,400 --> 00:11:42,720
Speaker 1: away in eighty seven. He was on Broadway. So in

178
00:11:42,840 --> 00:11:44,640
Speaker 1: our little church that it was only like a hundred

179
00:11:44,679 --> 00:11:47,280
Speaker 1: people in this church. He was all his music. Everybody

180
00:11:47,280 --> 00:11:49,199
Speaker 1: would come to my church. Ever the barge would come,

181
00:11:50,400 --> 00:11:53,880
Speaker 1: Bonno would come, Diane Warwick would come, just Andre. People

182
00:11:53,880 --> 00:11:57,280
Speaker 1: will just come because the music at that church was crazy.

183
00:11:57,600 --> 00:12:00,000
Speaker 1: And I'm the church musician. I plus started playing drum.

184
00:12:00,040 --> 00:12:05,120
Speaker 1: I'm at four in the church and so, yeah, four

185
00:12:05,200 --> 00:12:08,080
Speaker 1: years old, four years old, Yeah, I was holding it down.

186
00:12:08,679 --> 00:12:12,040
Speaker 1: By nine. By six, I was playing bass. By nine,

187
00:12:12,080 --> 00:12:14,839
Speaker 1: I'm playing piano. And the thing is you better know

188
00:12:14,840 --> 00:12:18,600
Speaker 1: how to play. You can't be whack, you know, because

189
00:12:18,640 --> 00:12:22,040
Speaker 1: because there's no shoulder, there's no embarrassment like church embarrassment

190
00:12:22,040 --> 00:12:23,599
Speaker 1: when you up there playing and then the sing go

191
00:12:23,720 --> 00:12:26,640
Speaker 1: like this, like like don't don't stop. I'm a saying

192
00:12:26,679 --> 00:12:29,000
Speaker 1: acapella because you mess them yet or they or they

193
00:12:29,040 --> 00:12:32,439
Speaker 1: say and somebody hit you with them. Yeah, they move

194
00:12:32,520 --> 00:12:34,360
Speaker 1: you over or that scoot or that scoot you over,

195
00:12:34,880 --> 00:12:38,040
Speaker 1: like watch, I got you in for an and everybody

196
00:12:38,040 --> 00:12:43,959
Speaker 1: look at you a hot You don't want that. I've

197
00:12:43,960 --> 00:12:47,199
Speaker 1: been scooted off to be three piano player and I

198
00:12:47,280 --> 00:12:52,400
Speaker 1: couldn't quite get my feet together. You could get the choreography,

199
00:12:52,720 --> 00:12:56,000
Speaker 1: the choreography, and the preacher was hooping and I knew

200
00:12:56,040 --> 00:12:58,800
Speaker 1: I was nailing it up here. I wasn't quite nail

201
00:13:00,000 --> 00:13:03,719
Speaker 1: He looked at the other organs. That's when they do this.

202
00:13:03,880 --> 00:13:06,880
Speaker 1: The switch side was somebody playing wrong. This is the sign.

203
00:13:07,960 --> 00:13:11,160
Speaker 1: That was the sign church switch like, get some somebody else,

204
00:13:11,200 --> 00:13:16,160
Speaker 1: get up there. I didn't even get that. I got, yeah,

205
00:13:16,200 --> 00:13:22,719
Speaker 1: that's I felt some arms school profiles. That's that East

206
00:13:22,760 --> 00:13:29,560
Speaker 1: Coast embarrassment. You yeah you're white, but that's where I was.

207
00:13:29,679 --> 00:13:32,040
Speaker 1: You know, so much music and it's all at this

208
00:13:32,080 --> 00:13:35,880
Speaker 1: point you are you even listening to secular music? Yeah,

209
00:13:36,040 --> 00:13:38,640
Speaker 1: but you're listening. Oh yeah, yeah, because my you know,

210
00:13:38,679 --> 00:13:41,360
Speaker 1: like I said, all that was happening in our church.

211
00:13:41,360 --> 00:13:44,280
Speaker 1: I mean, the bishop's daughters were R and B stars,

212
00:13:45,040 --> 00:13:47,000
Speaker 1: you know what I'm saying. Like, I mean, they were

213
00:13:47,040 --> 00:13:49,520
Speaker 1: doing it, and all these people was around. Even when

214
00:13:50,120 --> 00:13:52,520
Speaker 1: they needed, like people, somebody need to acchoire some kids,

215
00:13:52,520 --> 00:13:55,240
Speaker 1: they would come get us. We'll sing on all records

216
00:13:55,240 --> 00:13:57,920
Speaker 1: and all kinds of stuff. So you know when my

217
00:13:58,000 --> 00:14:01,880
Speaker 1: other friends whose fathers were pastors and preachers, like you know,

218
00:14:01,960 --> 00:14:05,480
Speaker 1: like Nissan rapping them, they could not listen shoutouton the

219
00:14:05,640 --> 00:14:09,079
Speaker 1: Nissan Stewart raptor Stewart. Uh, they couldn't even they couldn't

220
00:14:09,120 --> 00:14:12,200
Speaker 1: do none of that. And you know, because I was,

221
00:14:12,360 --> 00:14:15,480
Speaker 1: I was super progressive for that time. Yeah. My dad,

222
00:14:15,520 --> 00:14:17,080
Speaker 1: let me tell you what He's help to him. One time.

223
00:14:17,240 --> 00:14:21,520
Speaker 1: I never I met Mario Winans when I was fourteen.

224
00:14:21,920 --> 00:14:25,000
Speaker 1: He was out here playing drums for his moms at

225
00:14:25,040 --> 00:14:31,520
Speaker 1: some church. Little Mario or no Mario. Yeah, yeah, this

226
00:14:31,640 --> 00:14:35,440
Speaker 1: sun Yeah, before he became you know, big hit hit man. Yeah,

227
00:14:35,480 --> 00:14:39,120
Speaker 1: he was one of the coldest drummers in the world, right, Yeah.

228
00:14:39,560 --> 00:14:41,880
Speaker 1: So I'm talking to him. He was telling me about

229
00:14:41,960 --> 00:14:44,400
Speaker 1: how he don't food with secular music, and I was

230
00:14:44,440 --> 00:14:47,480
Speaker 1: so enamored by him. I was about fourteen, he's a

231
00:14:47,520 --> 00:14:49,960
Speaker 1: little bit older than me. He had just produced this

232
00:14:50,240 --> 00:14:52,960
Speaker 1: some some uh, this gospel group and it was killing.

233
00:14:53,440 --> 00:14:55,720
Speaker 1: I just thought I wanted to be Mario. He's like, y'all,

234
00:14:55,720 --> 00:14:57,920
Speaker 1: don't fool was secular. So I said, okay, shoot, that's

235
00:14:57,920 --> 00:15:01,440
Speaker 1: what I'm doing. I ain't a secondary. So I go

236
00:15:01,560 --> 00:15:05,080
Speaker 1: home to my dad, just trying to impress my dad. Really,

237
00:15:05,760 --> 00:15:07,640
Speaker 1: you know, a dad, you know I'm not ever gonna

238
00:15:07,680 --> 00:15:09,360
Speaker 1: do no. Secondly, because my dad said, man said, now,

239
00:15:09,440 --> 00:15:11,480
Speaker 1: let me talk to you. He said, you don't do

240
00:15:11,520 --> 00:15:14,040
Speaker 1: construction like me. You don't type, you don't take dictation.

241
00:15:14,200 --> 00:15:17,800
Speaker 1: You are a musician. That's your occupation. I see all

242
00:15:17,840 --> 00:15:20,000
Speaker 1: this music, you like this R and B. I don't

243
00:15:20,000 --> 00:15:21,560
Speaker 1: really like all that custom because I was heavy in

244
00:15:21,560 --> 00:15:24,200
Speaker 1: the n W at the time. But you do the

245
00:15:24,320 --> 00:15:26,320
Speaker 1: music in your heart that you like because music is

246
00:15:26,360 --> 00:15:30,440
Speaker 1: your occupation. Now you got your occupation and your salvation.

247
00:15:30,480 --> 00:15:32,200
Speaker 1: What you don't want to do is let your occupation

248
00:15:32,560 --> 00:15:36,000
Speaker 1: run all over your salvation. You gotta have standards, and

249
00:15:36,120 --> 00:15:38,400
Speaker 1: that's what my dad told me at fourteen. You don't

250
00:15:38,440 --> 00:15:46,320
Speaker 1: want to let your occupation your salvation. Yeah yeah, and

251
00:15:46,400 --> 00:15:48,880
Speaker 1: so at that you know, so I just I went

252
00:15:48,880 --> 00:15:57,720
Speaker 1: to death row. Welcome to death, Welcome to death Row.

253
00:15:58,200 --> 00:16:02,200
Speaker 1: Yeah yeah, And I think your video after this conversation.

254
00:16:02,760 --> 00:16:04,880
Speaker 1: I mean, obviously it's some time, but yeah, no, but

255
00:16:05,040 --> 00:16:07,640
Speaker 1: you know, it was some time. But my father and

256
00:16:07,760 --> 00:16:09,920
Speaker 1: at that time, we weren't in that little church anymore.

257
00:16:09,960 --> 00:16:12,960
Speaker 1: Now my father's the pastor now and I'm the musician

258
00:16:13,000 --> 00:16:15,040
Speaker 1: at the church. And you know, my dad sent me

259
00:16:15,080 --> 00:16:16,720
Speaker 1: out to do this. He was like, no, you do

260
00:16:16,800 --> 00:16:20,880
Speaker 1: what you do and come back. At that point, yeah,

261
00:16:20,920 --> 00:16:24,440
Speaker 1: I remember we talked about my friend Nissan Stewart going

262
00:16:24,760 --> 00:16:27,120
Speaker 1: to his dad and saying, Bishop Stewart man this letting

263
00:16:27,160 --> 00:16:30,640
Speaker 1: nisignd come with me to do this gig Rest in

264
00:16:30,640 --> 00:16:34,920
Speaker 1: Peace Puff Johnson Rmby singer. She hadn't put a band together.

265
00:16:35,000 --> 00:16:37,440
Speaker 1: We went to go do y'all remember the Impact Convention. Yeah,

266
00:16:37,440 --> 00:16:40,200
Speaker 1: absolutely absolutely. Nissan came with me. He played and was

267
00:16:40,400 --> 00:16:41,760
Speaker 1: we was trying to get her and get back, get

268
00:16:41,920 --> 00:16:43,960
Speaker 1: Ni something back for church. It was late, so he

269
00:16:44,040 --> 00:16:46,480
Speaker 1: got into the airport landed in La get to the house.

270
00:16:46,480 --> 00:16:48,560
Speaker 1: Bitch was sitting in the kitchen. Y'all didn't make it

271
00:16:48,600 --> 00:16:52,000
Speaker 1: back to church. I said, Bishop Nissan, make eight hundred dollars.

272
00:16:52,000 --> 00:16:55,400
Speaker 1: He said, eight hundred dollars. We'll take him again next

273
00:16:55,440 --> 00:16:59,600
Speaker 1: time too. He opened, now Nissa, he opened and rapture.

274
00:16:59,640 --> 00:17:02,160
Speaker 1: He started doing stuff, you know. But my dad was like,

275
00:17:02,280 --> 00:17:04,359
Speaker 1: really like on some No, you go and do what

276
00:17:04,400 --> 00:17:06,440
Speaker 1: you got to do. Like, this is your job, make money,

277
00:17:06,520 --> 00:17:09,800
Speaker 1: do it. It doesn't affect how you live your life. No, no,

278
00:17:09,920 --> 00:17:12,200
Speaker 1: he was like, you you can be saved into your job.

279
00:17:12,280 --> 00:17:15,120
Speaker 1: He says, I'm a pastor, and when I leave church,

280
00:17:15,720 --> 00:17:17,200
Speaker 1: I go to work. What do I work? My dad

281
00:17:17,200 --> 00:17:19,480
Speaker 1: worked at the brewery. He worked at anne Hauser Bush

282
00:17:19,520 --> 00:17:22,560
Speaker 1: for thirty five years. Wow, I'm the pastor. I make beer,

283
00:17:23,040 --> 00:17:25,080
Speaker 1: so they don't pay my bills. I paid my bills.

284
00:17:25,640 --> 00:17:30,480
Speaker 1: I said, Okay, that's your occupation. Two different things. So

285
00:17:30,640 --> 00:17:42,399
Speaker 1: that's that's how I lived my life. Now. My my

286
00:17:44,119 --> 00:17:49,840
Speaker 1: um north star in music is Quincy Jones. Yeah, and

287
00:17:49,920 --> 00:17:52,359
Speaker 1: everything that Quincy Jones did I just tried. I would

288
00:17:52,400 --> 00:17:54,320
Speaker 1: read all about them whatever I wanted to do. That

289
00:17:54,320 --> 00:17:56,640
Speaker 1: that's the reason why I went to work for Electration

290
00:17:56,680 --> 00:17:58,800
Speaker 1: Records to do an R and when I got there,

291
00:17:59,080 --> 00:18:01,479
Speaker 1: I read that Quincy Jones wouldn't take a black title

292
00:18:02,680 --> 00:18:04,399
Speaker 1: VP of A and R of Black Music. I was like,

293
00:18:04,440 --> 00:18:06,560
Speaker 1: I'm not taking the black title, So I want to

294
00:18:06,560 --> 00:18:09,680
Speaker 1: be involved in the conversations, you know, with everything. So

295
00:18:09,840 --> 00:18:11,800
Speaker 1: with Silvia Rong, she I'm in the room when she's

296
00:18:12,200 --> 00:18:13,760
Speaker 1: I'm at I'm with her. When she goes to see

297
00:18:13,840 --> 00:18:16,159
Speaker 1: Jet and she signs Jet, I'm in the room she

298
00:18:16,200 --> 00:18:18,840
Speaker 1: signs Jason Murras, or when she's working on a Metallica

299
00:18:18,840 --> 00:18:21,719
Speaker 1: and Staying album, I'm like in the conversations because I

300
00:18:21,760 --> 00:18:24,040
Speaker 1: want to be involved in all that because Quincy Jones

301
00:18:24,080 --> 00:18:27,960
Speaker 1: did it. Quincy Jones was scoring absolute and if you go,

302
00:18:27,960 --> 00:18:29,560
Speaker 1: I'm talking about in the Heat, in the Heat of

303
00:18:29,600 --> 00:18:32,000
Speaker 1: the Night, the Palm Broker, and then the sixties, the movies,

304
00:18:32,440 --> 00:18:36,320
Speaker 1: the Italian Job, the original Quincy and he did it

305
00:18:36,880 --> 00:18:39,120
Speaker 1: on paper like this. Yeah, So I'm like, I gotta

306
00:18:39,160 --> 00:18:42,200
Speaker 1: do that. Like I'm like, I wanted to emulate that guy.

307
00:18:42,280 --> 00:18:48,359
Speaker 1: So you know, oh yeah yeah, my dad man shout

308
00:18:48,400 --> 00:18:50,960
Speaker 1: up to my pops. He told me. When I started playing,

309
00:18:50,960 --> 00:18:52,880
Speaker 1: he realized I had a gift. You know, he says, Listen,

310
00:18:52,880 --> 00:18:54,720
Speaker 1: I don't want you to be another dime a dozen

311
00:18:55,200 --> 00:18:58,720
Speaker 1: church musician. That's exactly what he said, because everybody can play.

312
00:18:58,840 --> 00:19:01,800
Speaker 1: Listen listening to church. Everybody in his church play. Everybody

313
00:19:01,840 --> 00:19:04,960
Speaker 1: I played, play, did everybody play? But what you're gonna

314
00:19:04,960 --> 00:19:06,919
Speaker 1: do with it? After that? I need you to go.

315
00:19:07,080 --> 00:19:08,840
Speaker 1: I'm gonna send you that he sent me the lessons.

316
00:19:08,880 --> 00:19:12,240
Speaker 1: I was in Artie Colburn Conservatory. It was at usc

317
00:19:12,880 --> 00:19:16,200
Speaker 1: Um School at twelve, learning classical music, learning to play

318
00:19:16,240 --> 00:19:19,320
Speaker 1: classical piano. By the time I was fourteen, I was

319
00:19:19,359 --> 00:19:22,760
Speaker 1: in music composition in classes. He took me a guy

320
00:19:22,840 --> 00:19:24,600
Speaker 1: named Herb Mickman who was a bass player and an

321
00:19:24,680 --> 00:19:27,359
Speaker 1: m d. For Sara Van who taught me jazz composition

322
00:19:27,440 --> 00:19:30,040
Speaker 1: and in theory and things of that nature. And I

323
00:19:30,200 --> 00:19:32,560
Speaker 1: learn how to write from piccolos all the way down

324
00:19:32,560 --> 00:19:34,320
Speaker 1: to double basses in orchestrate, you know what I mean?

325
00:19:34,400 --> 00:19:39,120
Speaker 1: So um, you know? And I didn't student, yeah, yeah,

326
00:19:39,119 --> 00:19:40,439
Speaker 1: And I didn't, Like I tell people all the time,

327
00:19:40,440 --> 00:19:41,880
Speaker 1: I didn't do that just to play with eight away

328
00:19:41,920 --> 00:19:44,200
Speaker 1: to make high hats go fast like I really want

329
00:19:44,200 --> 00:19:49,040
Speaker 1: to do it. I could do that. Talk, Yeah, can

330
00:19:49,040 --> 00:19:52,720
Speaker 1: we stop. Yeah, yeah, can we pause the pot for

331
00:19:52,760 --> 00:19:54,920
Speaker 1: a minute. I don't know, I don't know who needed

332
00:19:55,000 --> 00:19:59,920
Speaker 1: to hear that. I don't know, I don't know who

333
00:20:00,040 --> 00:20:06,240
Speaker 1: needed to feel that, floss Man, but my god, Okay,

334
00:20:06,720 --> 00:20:10,080
Speaker 1: you know we were in the time now where you know,

335
00:20:10,840 --> 00:20:14,520
Speaker 1: we talked about earlier the sounds and how that was,

336
00:20:14,640 --> 00:20:21,000
Speaker 1: you know, um, a part of the the sonic identification

337
00:20:21,040 --> 00:20:24,840
Speaker 1: of a producer. Now everybody the reason why the radio

338
00:20:24,880 --> 00:20:28,080
Speaker 1: sounds like one long song because everybody's getting the same

339
00:20:28,080 --> 00:20:30,240
Speaker 1: sounds from the same places they go. You can go

340
00:20:30,320 --> 00:20:32,520
Speaker 1: a line download sounds and everybody's doing the same thing.

341
00:20:33,080 --> 00:20:35,320
Speaker 1: When we were digging through records to crates and I,

342
00:20:35,560 --> 00:20:37,960
Speaker 1: oh man, I found a snare from Blah blah blah,

343
00:20:38,000 --> 00:20:39,920
Speaker 1: oh Man, and I had my own little thing with that,

344
00:20:40,280 --> 00:20:43,840
Speaker 1: and that was my sound. You know, nowadays I like

345
00:20:43,920 --> 00:20:46,200
Speaker 1: to keep with that. So it may take me a

346
00:20:46,200 --> 00:20:48,800
Speaker 1: little longer to do a record. That's okay. But when

347
00:20:48,800 --> 00:20:51,440
Speaker 1: it comes sonically, you don't know it's me, You're gonna

348
00:20:51,480 --> 00:20:54,000
Speaker 1: know it's something different. You know, you're hurt, you're hearing

349
00:20:54,040 --> 00:20:56,359
Speaker 1: something different than what you hear normally. You know what

350
00:20:56,400 --> 00:20:59,399
Speaker 1: I'm saying, I wish I'm teaching my son. Now he's twelve.

351
00:21:00,080 --> 00:21:04,720
Speaker 1: He's playing bass and programming and stuff like that. He's

352
00:21:04,720 --> 00:21:07,679
Speaker 1: in a program called YOLA, the Youth Orchestra of Los Angeles.

353
00:21:07,720 --> 00:21:10,240
Speaker 1: It's like the farm team from the La Philharmonic. He's

354
00:21:10,240 --> 00:21:13,240
Speaker 1: playing upright bass and stuff like that. But I'm I'm

355
00:21:13,280 --> 00:21:15,520
Speaker 1: showing him things like how to like I put him

356
00:21:15,520 --> 00:21:19,119
Speaker 1: on an NPC sixty three thousand, teach him that, like

357
00:21:19,200 --> 00:21:21,080
Speaker 1: learn how to make sounds for yourself, Like I'm not

358
00:21:21,160 --> 00:21:23,639
Speaker 1: giving you sounds that everybody else got. You're gonna learn

359
00:21:23,640 --> 00:21:26,280
Speaker 1: how to work with thieves, you know. And so even

360
00:21:26,280 --> 00:21:29,359
Speaker 1: though he's twelve, like he doesn't know nothing else. He

361
00:21:29,400 --> 00:21:32,280
Speaker 1: don't know if he never heard the future, he never

362
00:21:32,320 --> 00:21:34,600
Speaker 1: heard you know, whatever's happening right now, he hain't heard it.

363
00:21:35,240 --> 00:21:38,280
Speaker 1: He has he has no idea. He's listening to Body

364
00:21:38,359 --> 00:21:42,160
Speaker 1: Heat by Quincy Jones. He's listening off the wall. He's

365
00:21:42,200 --> 00:21:44,480
Speaker 1: listening to classical stuff, like stuff that I'm trying to

366
00:21:44,520 --> 00:21:47,520
Speaker 1: like because he's gonna get to that, yeah, generically by himself.

367
00:21:47,920 --> 00:21:50,560
Speaker 1: But when he gets there, he's gonna have all this stuff.

368
00:21:51,280 --> 00:21:53,239
Speaker 1: Because I eventually got to the hip hop and all

369
00:21:53,240 --> 00:21:54,800
Speaker 1: that stuff. But I had so much stuff in me

370
00:21:55,280 --> 00:21:57,000
Speaker 1: that my father instilled in me. By the time I

371
00:21:57,080 --> 00:21:58,560
Speaker 1: got to it, I just thought about it differently, you

372
00:21:58,600 --> 00:22:00,159
Speaker 1: know what I mean? Yeah, I see what you're doing

373
00:22:00,200 --> 00:22:06,919
Speaker 1: A love our ball See what you're doing over there. Yeah,

374
00:22:07,560 --> 00:22:10,879
Speaker 1: big baller, big baller brand. Yeah. So you so you

375
00:22:10,880 --> 00:22:14,679
Speaker 1: get this. You have this label now, successful label? When

376
00:22:14,720 --> 00:22:17,960
Speaker 1: when when did Mary Dropped? Mary? Mary Drop Memory came out,

377
00:22:18,320 --> 00:22:24,959
Speaker 1: Uh May two thousand the first album, That's exactly why.

378
00:22:25,320 --> 00:22:27,280
Speaker 1: And at the time we won a label, yet we

379
00:22:27,280 --> 00:22:30,960
Speaker 1: were still night Raw Productions, Narrow Entertainment. It was my

380
00:22:31,080 --> 00:22:34,000
Speaker 1: name backwards. I remember that. I remember that, I've seen,

381
00:22:34,080 --> 00:22:36,239
Speaker 1: I've seen Oprah had Harpa was her name backward. I'm

382
00:22:36,240 --> 00:22:38,840
Speaker 1: gonna do ni Raw didn't didn't make sense at all,

383
00:22:38,880 --> 00:22:41,600
Speaker 1: but I did it. And by the third album, which

384
00:22:41,800 --> 00:22:47,320
Speaker 1: was the album with UH, had a song called Yesterday's

385
00:22:47,359 --> 00:22:51,199
Speaker 1: big song called Yesterday and there heaven Um I changed it.

386
00:22:51,280 --> 00:22:53,880
Speaker 1: We flipped everything to actual labels. That was two thousand

387
00:22:53,880 --> 00:22:56,960
Speaker 1: and six, So we became a label once two thousand

388
00:22:56,960 --> 00:22:59,240
Speaker 1: and six, and they were the only people signed to

389
00:22:59,240 --> 00:23:01,560
Speaker 1: the label them. When I had a little sister, I

390
00:23:01,680 --> 00:23:06,800
Speaker 1: had I have a little Joy, so Joy Joy starts.

391
00:23:07,760 --> 00:23:09,720
Speaker 1: She's still one of the coldest singers and writers ever.

392
00:23:10,640 --> 00:23:12,520
Speaker 1: We just did a deal for her through our label

393
00:23:12,760 --> 00:23:16,480
Speaker 1: with Clive and um, you know that was happening. So

394
00:23:16,520 --> 00:23:18,760
Speaker 1: she was like the second person signed that I had married, married,

395
00:23:18,800 --> 00:23:20,960
Speaker 1: and you know, it kept going and going, and we

396
00:23:20,960 --> 00:23:24,040
Speaker 1: signed Kelly Price and did that. That the only time

397
00:23:24,119 --> 00:23:27,080
Speaker 1: she was nominated for that many grand She was nominated

398
00:23:27,080 --> 00:23:30,200
Speaker 1: for three Grammys that year. It was a great album

399
00:23:30,320 --> 00:23:33,920
Speaker 1: called Um Kelly, I think it was just called Kelly.

400
00:23:33,960 --> 00:23:38,000
Speaker 1: She had a song called not My Daddy stokely Yeah, Um,

401
00:23:38,040 --> 00:23:43,280
Speaker 1: that was ours. We signed my Daddy, Yeah, uh, Not

402
00:23:43,320 --> 00:23:49,400
Speaker 1: my Daddy is produced by Yes, I did produce because

403
00:23:49,440 --> 00:23:53,919
Speaker 1: I was gonna say I did, but but like I

404
00:23:54,000 --> 00:23:55,880
Speaker 1: played it on the piano senter to them. They that's

405
00:23:56,040 --> 00:23:58,520
Speaker 1: that's me condition playing all the stuff though, but I'm

406
00:23:58,560 --> 00:24:01,119
Speaker 1: producing it. So but yeah, do that album. And then

407
00:24:01,320 --> 00:24:03,520
Speaker 1: we signed music Soul Child. We did an album on him.

408
00:24:03,600 --> 00:24:06,520
Speaker 1: And of course I remember not to cut you off.

409
00:24:06,760 --> 00:24:12,560
Speaker 1: I remember coming by your studio and you know, you

410
00:24:12,680 --> 00:24:14,240
Speaker 1: know I used to just pop in on you. Yeah,

411
00:24:14,240 --> 00:24:16,800
Speaker 1: because it's it's funny, like you said, you and take

412
00:24:16,880 --> 00:24:19,639
Speaker 1: work once together. I don't think we've ever worked together.

413
00:24:19,840 --> 00:24:22,720
Speaker 1: I think we just always homies because you you was

414
00:24:22,720 --> 00:24:25,960
Speaker 1: with Damon in them. Yeah, and I lived in the house,

415
00:24:26,080 --> 00:24:28,920
Speaker 1: the little the thing next door, y'all was in Running Springs.

416
00:24:28,960 --> 00:24:32,280
Speaker 1: I was in Blackham State right there. Yeah, yeah, so

417
00:24:32,760 --> 00:24:34,919
Speaker 1: and we were just I mean, I don't we probably

418
00:24:35,000 --> 00:24:37,880
Speaker 1: twenty years at this point, being friends, play a little basketball,

419
00:24:38,000 --> 00:24:41,000
Speaker 1: play basketball, didn't hand out, but never work. But you

420
00:24:41,000 --> 00:24:43,240
Speaker 1: know me and in Tank always says it takes us

421
00:24:43,240 --> 00:24:46,760
Speaker 1: always just like Jay just he'd be checking on people.

422
00:24:46,840 --> 00:24:49,600
Speaker 1: He would pop in and I just come by the studio.

423
00:24:50,119 --> 00:24:52,760
Speaker 1: I think one day I came by. No, I think,

424
00:24:52,800 --> 00:24:54,640
Speaker 1: I know I came by one day and you're working

425
00:24:54,680 --> 00:24:59,200
Speaker 1: with music social and I just, you know, you would

426
00:24:59,240 --> 00:25:00,320
Speaker 1: just let me sit there, you know what I mean.

427
00:25:00,320 --> 00:25:02,000
Speaker 1: You you was never wanting something like, oh yeah, man,

428
00:25:02,040 --> 00:25:04,560
Speaker 1: we got a session and if you come back. But

429
00:25:04,680 --> 00:25:07,320
Speaker 1: we all know, Daryl just you know there are people

430
00:25:07,520 --> 00:25:09,240
Speaker 1: I've never been like that. But your working space is

431
00:25:09,280 --> 00:25:11,440
Speaker 1: your working space to right, So I see I see

432
00:25:11,440 --> 00:25:15,439
Speaker 1: both sides of that. UM. And I just came and

433
00:25:15,480 --> 00:25:19,240
Speaker 1: I set in and I'm watching you work with him.

434
00:25:19,320 --> 00:25:22,399
Speaker 1: And this is the first time I've seen someone be

435
00:25:24,000 --> 00:25:30,720
Speaker 1: um next level perfectionist music soulio Oh yeah, yeah, yeah, yeah, yeah, different.

436
00:25:30,920 --> 00:25:34,720
Speaker 1: And I'm sitting there listening to him do the same

437
00:25:34,760 --> 00:25:38,840
Speaker 1: thing perfectly a hundred times, a hundred times over, and

438
00:25:38,880 --> 00:25:42,840
Speaker 1: I'm like, this is insane. He would not stop. You

439
00:25:42,840 --> 00:25:45,840
Speaker 1: know what I would do, I go go back, len,

440
00:25:45,920 --> 00:25:48,560
Speaker 1: get down. You know you finished, you can seeking some

441
00:25:48,600 --> 00:25:51,560
Speaker 1: more if you want done? All right, that's exactly when

442
00:25:51,560 --> 00:25:53,359
Speaker 1: he don't. I go back to the very first thing

443
00:25:53,400 --> 00:25:55,840
Speaker 1: he did. Okay, that's the one I wanted the whole time.

444
00:25:55,880 --> 00:25:58,760
Speaker 1: But you know that's just way process. No, no, no.

445
00:25:58,800 --> 00:26:03,360
Speaker 1: It was amazing. But I also appreciated your patience as

446
00:26:03,359 --> 00:26:06,879
Speaker 1: a producer, because there are producers who get in the

447
00:26:06,960 --> 00:26:12,400
Speaker 1: way of the artist's creativity and what the artist wants

448
00:26:12,440 --> 00:26:15,280
Speaker 1: and not and not understanding that it's the artist wreck,

449
00:26:15,480 --> 00:26:18,159
Speaker 1: it's their wreck. Their pictures going on there. This I

450
00:26:18,200 --> 00:26:19,760
Speaker 1: got a little line in the back with my name.

451
00:26:19,960 --> 00:26:22,920
Speaker 1: This is listen, that's a that's tank on there. Yeah. Yeah,

452
00:26:23,080 --> 00:26:25,040
Speaker 1: but there are a little there aren't a lot of producers,

453
00:26:25,119 --> 00:26:29,399
Speaker 1: especially at a high level. Yeah that's still allowed that,

454
00:26:29,760 --> 00:26:32,760
Speaker 1: you know, because the producer became like an artist. They

455
00:26:32,800 --> 00:26:37,879
Speaker 1: were big, like like there's a reason why I don't

456
00:26:39,000 --> 00:26:43,560
Speaker 1: have as an identifiable sound like we've mentioned Timbo, we

457
00:26:43,680 --> 00:26:48,760
Speaker 1: mentioned Frell and all these guys, Dre even Bank. Yeah,

458
00:26:48,880 --> 00:26:51,000
Speaker 1: they got these sounds like when you when the record

459
00:26:51,000 --> 00:26:53,360
Speaker 1: come on, you know, I mean that's a dress blaze record. Yeah,

460
00:26:54,080 --> 00:26:56,520
Speaker 1: that's a yeah. I never had to pick out a

461
00:26:56,520 --> 00:27:00,000
Speaker 1: Warran camp. I never had the camp because they are

462
00:27:01,080 --> 00:27:07,360
Speaker 1: Gucci Louis Vaton like a brand. I'm a tailor. It's

463
00:27:07,400 --> 00:27:10,119
Speaker 1: a difference when artist comes to me, I'm gonna Taylor

464
00:27:10,160 --> 00:27:12,440
Speaker 1: make the suit to you is it's gonna be at

465
00:27:12,440 --> 00:27:14,399
Speaker 1: the level of Gucci, but it's gonna be only yours.

466
00:27:14,800 --> 00:27:16,520
Speaker 1: And when you get done what we get done doing this,

467
00:27:17,119 --> 00:27:19,159
Speaker 1: we're gonna break the mode because nobody is gonna have

468
00:27:19,200 --> 00:27:22,440
Speaker 1: that sound but you. Yeah, and that's it. And I'd

469
00:27:22,600 --> 00:27:26,600
Speaker 1: rather do that because I don't know if I even

470
00:27:26,640 --> 00:27:31,720
Speaker 1: have the bandwidth or it ain't the bandwidth. It's the

471
00:27:34,680 --> 00:27:37,239
Speaker 1: it's not it's not necessarily add but I can't just

472
00:27:37,320 --> 00:27:40,200
Speaker 1: do one thing. Yeah, So what I'm saying, like, well,

473
00:27:40,240 --> 00:27:42,399
Speaker 1: everybody in music or entertainment has a little bit of

474
00:27:42,400 --> 00:27:46,679
Speaker 1: add We are what you know, like these are my

475
00:27:46,840 --> 00:27:48,720
Speaker 1: this is my sound? What I do that would I

476
00:27:48,720 --> 00:27:50,560
Speaker 1: would go crazy. I gotta do something different all the time.

477
00:27:50,640 --> 00:27:52,960
Speaker 1: Like one day I might do a whole record. I'm

478
00:27:53,000 --> 00:27:54,880
Speaker 1: never gonna I'm just played the guitar the whole time.

479
00:27:55,119 --> 00:27:56,600
Speaker 1: Next thing's gonna be the arms, it's gonna be I

480
00:27:56,640 --> 00:27:58,600
Speaker 1: gotta do something different. So so that goes to my

481
00:27:58,720 --> 00:28:01,440
Speaker 1: question then, because I had this experience, and I want

482
00:28:01,480 --> 00:28:03,200
Speaker 1: to know if if either one of y'all I'm sure

483
00:28:03,240 --> 00:28:08,760
Speaker 1: y'all did, had the same experience. My first quote unquote

484
00:28:08,840 --> 00:28:13,320
Speaker 1: hit record would be Tyres I like them girls, right.

485
00:28:13,359 --> 00:28:15,520
Speaker 1: I have placement before that, but that's my first hit

486
00:28:15,560 --> 00:28:17,960
Speaker 1: record where people were like, oh shit, like this is

487
00:28:18,000 --> 00:28:19,560
Speaker 1: a this is a this is a record. That's one

488
00:28:19,560 --> 00:28:23,199
Speaker 1: who wrote it? This? Who that? Who that? And I

489
00:28:23,280 --> 00:28:27,480
Speaker 1: remember the frustration of taking these label meetings and then

490
00:28:27,640 --> 00:28:30,520
Speaker 1: then wanting me to write that same song again. See that.

491
00:28:30,520 --> 00:28:33,479
Speaker 1: That's what I'm talking about. I like it really and

492
00:28:33,560 --> 00:28:35,840
Speaker 1: I'm a baby I'm I wrote that record when I

493
00:28:35,880 --> 00:28:40,560
Speaker 1: was eighteen, I think eighteen or nineteen years old, and

494
00:28:40,560 --> 00:28:43,640
Speaker 1: and I don't really understand it. And I still had

495
00:28:43,680 --> 00:28:48,160
Speaker 1: young arrogance too. They don't want these other hunted you

496
00:28:48,240 --> 00:28:55,480
Speaker 1: hit ease. What they want pieces of that same song

497
00:28:55,640 --> 00:28:59,000
Speaker 1: so they can put it around the industry. And that's

498
00:28:59,000 --> 00:29:01,880
Speaker 1: what I didn't understand, you know. And me and my

499
00:29:01,880 --> 00:29:06,040
Speaker 1: man R. J. Rodney, we had these long conversations like no, man, like,

500
00:29:06,600 --> 00:29:09,360
Speaker 1: just take the same you gotta hit record take and

501
00:29:09,400 --> 00:29:11,400
Speaker 1: just do five hundred of those like he was good.

502
00:29:11,520 --> 00:29:14,320
Speaker 1: I was like, I can't do it. I can't. He

503
00:29:14,440 --> 00:29:16,840
Speaker 1: was so brilliant at that. I was like, this is

504
00:29:17,200 --> 00:29:19,360
Speaker 1: there's a gift to that too, though it is. He

505
00:29:19,400 --> 00:29:21,600
Speaker 1: was like, man, this one hit record, it's gonna make

506
00:29:21,600 --> 00:29:24,840
Speaker 1: me way more money because I'm just I was like,

507
00:29:25,000 --> 00:29:27,960
Speaker 1: I don't mind. Executives are going to ask for that

508
00:29:28,000 --> 00:29:29,640
Speaker 1: same song. But you know how many times I got

509
00:29:29,720 --> 00:29:33,200
Speaker 1: asked for can't we get a UM take you out tonight?

510
00:29:33,200 --> 00:29:35,920
Speaker 1: Can I get a shackles? I want? I want the shackles.

511
00:29:35,920 --> 00:29:38,120
Speaker 1: I'm like, this is this is my comeback, and this

512
00:29:38,200 --> 00:29:42,120
Speaker 1: is real answer. This is what I believe. I tell everybody,

513
00:29:42,360 --> 00:29:48,600
Speaker 1: I didn't write that song. God writes songs. I take dictation.

514
00:29:49,520 --> 00:29:52,520
Speaker 1: That's it. It's a download. Like I didn't come up

515
00:29:52,520 --> 00:29:54,239
Speaker 1: with that. I didn't sit down and so letbe come

516
00:29:54,280 --> 00:29:55,840
Speaker 1: with a song. To know it was a download Like

517
00:29:55,840 --> 00:29:57,360
Speaker 1: I was walking around my boom and just hit me

518
00:29:57,440 --> 00:30:00,320
Speaker 1: like oh, and I just do it. I I can't.

519
00:30:00,400 --> 00:30:02,000
Speaker 1: I can't come up with that on my own. I

520
00:30:02,000 --> 00:30:03,320
Speaker 1: can't wake up in the morning, so let me think

521
00:30:03,320 --> 00:30:05,600
Speaker 1: of something and just no, it's not gonna happen that way.

522
00:30:05,920 --> 00:30:08,920
Speaker 1: It's always I'm minding my business and a just like

523
00:30:08,960 --> 00:30:11,320
Speaker 1: a like a left hook, I'm like, oh, that's the idea.

524
00:30:11,400 --> 00:30:13,560
Speaker 1: Let me go write it down real quick. Yeah, I'm

525
00:30:13,560 --> 00:30:16,200
Speaker 1: taking dictations. It's a download to me, so like, don't

526
00:30:16,200 --> 00:30:18,920
Speaker 1: expect me to reproduce that. I can't. But I could

527
00:30:18,960 --> 00:30:21,200
Speaker 1: do something and it's gonna be dope, but it's gonna

528
00:30:21,200 --> 00:30:22,920
Speaker 1: be something different. I just think it's like for me,

529
00:30:23,000 --> 00:30:26,880
Speaker 1: it's always like time and space, and so when you're

530
00:30:27,080 --> 00:30:30,800
Speaker 1: when you're making music in a time and space, it

531
00:30:30,960 --> 00:30:37,040
Speaker 1: completely represents that time and space and true for me,

532
00:30:37,120 --> 00:30:41,240
Speaker 1: it's just hard to go back to that life, whatever

533
00:30:41,320 --> 00:30:44,280
Speaker 1: point in life that was. I'm not. I'm just not

534
00:30:44,440 --> 00:30:46,920
Speaker 1: going through that anymore. As bad as people want you

535
00:30:46,960 --> 00:30:49,080
Speaker 1: to do it, I can't. I wish I could, you know,

536
00:30:49,200 --> 00:30:53,560
Speaker 1: like I've I've I've read, I've recycled some drums like

537
00:30:53,720 --> 00:30:55,760
Speaker 1: two or three times that I thought was cool. The

538
00:30:55,920 --> 00:30:59,080
Speaker 1: under drums, emergency drums, because I was like, this could

539
00:30:59,120 --> 00:31:00,960
Speaker 1: be no connected record. Just you know what I'm saying,

540
00:31:00,960 --> 00:31:03,719
Speaker 1: there's connected records. But for the most part, I was like,

541
00:31:03,760 --> 00:31:07,200
Speaker 1: I just never want to be picked out of the bunch. Yeah,

542
00:31:07,320 --> 00:31:10,920
Speaker 1: I just want to be able to continue to make

543
00:31:11,040 --> 00:31:14,160
Speaker 1: music without people feeling like they're getting something that I

544
00:31:14,240 --> 00:31:18,440
Speaker 1: gave somebody else. That's a co financial decision, though it is, Yeah,

545
00:31:18,440 --> 00:31:23,880
Speaker 1: because I left millions on the table flat out, like

546
00:31:24,040 --> 00:31:26,160
Speaker 1: I know for a fact, Yeah, I lot millions of

547
00:31:26,160 --> 00:31:29,720
Speaker 1: dollars on the table by wanting to be creative. For me,

548
00:31:30,200 --> 00:31:32,680
Speaker 1: it wasn't that I would not do it. I could

549
00:31:32,800 --> 00:31:35,040
Speaker 1: not it. Yeah, I didn't want to. I didn't want it.

550
00:31:37,760 --> 00:31:40,720
Speaker 1: Used to listen I'm talking and they'll list your record. Yeah,

551
00:31:40,760 --> 00:31:42,600
Speaker 1: if you just give us one of those, maybe I deserves.

552
00:31:42,600 --> 00:31:46,360
Speaker 1: And I'm like, just like, man, I don't even date

553
00:31:46,440 --> 00:31:49,520
Speaker 1: her anymore. For me, it's like I can't remember how

554
00:31:49,560 --> 00:31:52,680
Speaker 1: I put that because, like you said, time, I wasn't

555
00:31:52,720 --> 00:31:56,440
Speaker 1: doing something like the song was in conversation. The song

556
00:31:56,680 --> 00:32:00,000
Speaker 1: wasn't like I was just having a conversation. I said,

557
00:32:00,720 --> 00:32:06,640
Speaker 1: wait a minute, right, Oh. The assumption is that I

558
00:32:06,880 --> 00:32:10,120
Speaker 1: happened to the song. No, the song happened to me. Yeah,

559
00:32:10,520 --> 00:32:11,920
Speaker 1: it came out of it just happened to me. I

560
00:32:11,920 --> 00:32:15,600
Speaker 1: don't know, I can't. I cannot tell you now. I

561
00:32:15,640 --> 00:32:19,760
Speaker 1: do have good command of my instrument. You're you're pro. Yeah,

562
00:32:19,800 --> 00:32:22,600
Speaker 1: I know what I'm doing, so I can do some things.

563
00:32:22,600 --> 00:32:26,640
Speaker 1: But it's not gonna be that's gonna be another you know, no,

564
00:32:26,720 --> 00:32:29,040
Speaker 1: because I mean when you listen, will you listen to

565
00:32:29,080 --> 00:32:34,080
Speaker 1: your music? Honestly, bro? Like, will you go? It's just

566
00:32:35,080 --> 00:32:38,360
Speaker 1: it's amazing, man, it's amazing. Like you said to do

567
00:32:38,400 --> 00:32:41,520
Speaker 1: a take take you out to a shackles, but then

568
00:32:41,600 --> 00:32:44,360
Speaker 1: to do a just a friend for Mario and then

569
00:32:44,400 --> 00:32:46,040
Speaker 1: you know what I mean, then do what God is

570
00:32:46,640 --> 00:32:50,880
Speaker 1: for Kanye homecoming for Kanye come home bro, Like, yeah,

571
00:32:51,920 --> 00:32:55,360
Speaker 1: those records, that's one of my favorite ones. Yeah, An

572
00:32:55,400 --> 00:32:59,080
Speaker 1: you never say the same guy. No way you're gonna

573
00:32:59,080 --> 00:33:01,800
Speaker 1: say the same guy. That's just listening to a whole

574
00:33:01,800 --> 00:33:03,840
Speaker 1: bunch of different kind of music all the time. Think

575
00:33:04,040 --> 00:33:06,240
Speaker 1: chot out again to my dad. He had all to

576
00:33:06,320 --> 00:33:11,400
Speaker 1: do just yeah, being well versed and not being one dimensional. Yeah,

577
00:33:11,640 --> 00:33:14,720
Speaker 1: listening to everything, I just never know. You just never

578
00:33:14,800 --> 00:33:18,440
Speaker 1: know what's going to die out and things happened, like

579
00:33:18,520 --> 00:33:20,640
Speaker 1: you know, I wrote a record. I never get this

580
00:33:22,200 --> 00:33:25,400
Speaker 1: Black Streets Nothing lasted only I think it's the second album.

581
00:33:25,560 --> 00:33:29,280
Speaker 1: I can't remember. I did this record Call in a Rush, right,

582
00:33:29,480 --> 00:33:32,840
Speaker 1: it was the third album. I was in a movie

583
00:33:32,880 --> 00:33:41,040
Speaker 1: theater watching this movie called sling Blade. Yeah right. John

584
00:33:41,160 --> 00:33:44,360
Speaker 1: Riddard before he passedes in this movie, and he Billy

585
00:33:44,400 --> 00:33:47,959
Speaker 1: Bob plays a special needs guy. And then John Ridderd's

586
00:33:48,040 --> 00:33:50,120
Speaker 1: character gets him together with this other special needs girl.

587
00:33:50,120 --> 00:33:52,440
Speaker 1: He's gonna set him up on a date. He cooks

588
00:33:52,480 --> 00:33:56,200
Speaker 1: dinner for him and he gets overwhelmed. He says it

589
00:33:56,320 --> 00:33:59,479
Speaker 1: came over me in a rush. And those that when

590
00:33:59,480 --> 00:34:01,920
Speaker 1: he said that, I said it hit me in a rush.

591
00:34:03,040 --> 00:34:05,400
Speaker 1: I was like, oh man, I left the theater. I ran,

592
00:34:05,640 --> 00:34:08,200
Speaker 1: I ran, I ran to my car. They want I

593
00:34:08,200 --> 00:34:10,160
Speaker 1: don't want to lose. I wrote it down, drove as

594
00:34:10,200 --> 00:34:12,600
Speaker 1: fast as I could in the studio. Came over me

595
00:34:12,640 --> 00:34:15,400
Speaker 1: to rush. By the time I got to the studio,

596
00:34:15,480 --> 00:34:17,279
Speaker 1: it wasn't it hit me in a rush. It was

597
00:34:17,360 --> 00:34:19,759
Speaker 1: it came over me in a rush. And I started

598
00:34:19,800 --> 00:34:22,680
Speaker 1: it came over me in a rush. When I realized

599
00:34:22,719 --> 00:34:26,040
Speaker 1: that I love you so much that sometimes I cried,

600
00:34:26,040 --> 00:34:28,840
Speaker 1: but I can't tell you why why I feel what

601
00:34:28,920 --> 00:34:31,360
Speaker 1: I feel inside? And I was like, things hit you,

602
00:34:31,440 --> 00:34:35,440
Speaker 1: they happen to It's like when Jeffrey Osborne came on,

603
00:34:35,520 --> 00:34:37,279
Speaker 1: he was telling us about on the Wings of Love,

604
00:34:38,200 --> 00:34:40,360
Speaker 1: you know what I mean, and I get chills that

605
00:34:40,440 --> 00:34:47,560
Speaker 1: record right there, special. You have a record that to

606
00:34:47,800 --> 00:34:52,680
Speaker 1: me like, yes, your records have they're they're in different spaces.

607
00:34:52,719 --> 00:34:54,799
Speaker 1: But there's one record to me that just does not

608
00:34:54,920 --> 00:34:57,200
Speaker 1: feel like a Warren Campbell record to me at all.

609
00:34:58,440 --> 00:35:01,680
Speaker 1: It's a big record for you too, which one Drew Hill?

610
00:35:02,120 --> 00:35:04,960
Speaker 1: How Deep is Your Love for Me? Oh? That does

611
00:35:05,080 --> 00:35:07,439
Speaker 1: not feel like a Warren Campbell record to me. Well,

612
00:35:07,440 --> 00:35:11,439
Speaker 1: that's because it's the collaboration on that. Okay, Okay, it's

613
00:35:11,600 --> 00:35:18,120
Speaker 1: me Dutch, Dutch and no Kio. Yeah. So what happened

614
00:35:18,239 --> 00:35:22,520
Speaker 1: was we were that's just my guy too. I'm sorry,

615
00:35:22,600 --> 00:35:28,000
Speaker 1: Rick Kuzinn. That's said. It's the light skin version of

616
00:35:29,760 --> 00:35:33,720
Speaker 1: that Dutch. And so we were doing Drew Hill. Remember

617
00:35:33,800 --> 00:35:36,440
Speaker 1: the old Laraby West of course had two studios in

618
00:35:36,520 --> 00:35:38,840
Speaker 1: that so I'm we're doing Drew Hill. He's in one studio.

619
00:35:39,280 --> 00:35:41,680
Speaker 1: I'm in another studio working with Woody doing his ballot,

620
00:35:41,719 --> 00:35:43,879
Speaker 1: and I have a cello player in there writing out

621
00:35:43,880 --> 00:35:47,640
Speaker 1: parts for the cello player. Our manager Kenneth Creer campeon

622
00:35:47,680 --> 00:35:51,040
Speaker 1: and says, Yo, they need a song for Rush Hour.

623
00:35:52,520 --> 00:35:55,279
Speaker 1: The night before that, I had just recorded on a

624
00:35:55,280 --> 00:36:00,880
Speaker 1: cassette tape because this idea was but these little chords,

625
00:36:01,000 --> 00:36:03,319
Speaker 1: and I recorded them on a cassette because I wanted

626
00:36:03,320 --> 00:36:05,520
Speaker 1: to remember that I had it with me. I played

627
00:36:05,560 --> 00:36:07,960
Speaker 1: that for Dutch like that's dope. So Dush did the

628
00:36:08,040 --> 00:36:10,200
Speaker 1: drums and I played that stuff on top of it,

629
00:36:10,200 --> 00:36:12,520
Speaker 1: and it's a base and I brought the cello play

630
00:36:12,600 --> 00:36:17,920
Speaker 1: over and I wrote some cello partes. Dude. But she

631
00:36:17,960 --> 00:36:27,200
Speaker 1: did that and then writing, and people didn't know how

632
00:36:27,280 --> 00:36:30,560
Speaker 1: dope of a producer Nokio was. Nokios a beast man,

633
00:36:31,560 --> 00:36:35,799
Speaker 1: super talented. So those three brain powers. That probably doesn't

634
00:36:35,840 --> 00:36:40,000
Speaker 1: sound like me by myself, because you know, the backbeat

635
00:36:40,120 --> 00:36:42,840
Speaker 1: usually gives the identity of the drums, you know, for

636
00:36:42,920 --> 00:36:45,000
Speaker 1: R and B, it's like, you know that's Dutch, that's

637
00:36:45,040 --> 00:36:48,279
Speaker 1: that's Dutch all day. I just picked that out of

638
00:36:48,280 --> 00:36:50,640
Speaker 1: the records, of all the records, I was just like

639
00:36:51,080 --> 00:36:54,839
Speaker 1: that one. It feels less. Yeah, it's like, you know,

640
00:36:55,000 --> 00:36:58,879
Speaker 1: it's it's an amalgamation of three brains. And then when

641
00:36:58,920 --> 00:37:00,960
Speaker 1: you get to the part where there's Red Man on

642
00:37:01,000 --> 00:37:04,800
Speaker 1: that record, on the original Red Band's on the original

643
00:37:04,840 --> 00:37:07,239
Speaker 1: record when they shot the video. They shot the video

644
00:37:07,280 --> 00:37:09,040
Speaker 1: in the Hong Kong because that album was on the

645
00:37:09,280 --> 00:37:12,799
Speaker 1: the Rush Hour contract. For whatever reason, red Man at

646
00:37:12,840 --> 00:37:15,799
Speaker 1: the time couldn't leave a country for something. I don't

647
00:37:15,800 --> 00:37:18,800
Speaker 1: know what was going on. Most rappers clean lyad the

648
00:37:18,800 --> 00:37:24,040
Speaker 1: country for whatever reason. Now this is ninety eight, remember

649
00:37:24,239 --> 00:37:28,200
Speaker 1: remember so they called me at that time. Yeah, that's right.

650
00:37:28,280 --> 00:37:30,279
Speaker 1: Kenneth Cree used to come. I want to say he

651
00:37:30,560 --> 00:37:33,080
Speaker 1: might have been halfway managing Damon for Minnie because he

652
00:37:33,120 --> 00:37:34,879
Speaker 1: used to always pop in. That's when Sugar to come

653
00:37:34,920 --> 00:37:39,960
Speaker 1: to the gate before that's before that. Yeah, I remember.

654
00:37:40,000 --> 00:37:46,560
Speaker 1: I remember driving by and something like Simon. Yeah, he

655
00:37:46,680 --> 00:37:48,960
Speaker 1: was the standard. He was standing outside his car talking

656
00:37:49,000 --> 00:37:51,399
Speaker 1: to somebody, was like, I just kept driving. I don't

657
00:37:51,440 --> 00:37:54,120
Speaker 1: know what's going on. What's going because I live right

658
00:37:54,160 --> 00:37:56,920
Speaker 1: next door. I'm like, I'm gonna keep driving. H Then

659
00:37:57,000 --> 00:38:00,239
Speaker 1: Damon told me later what happened anyway out of the

660
00:38:00,320 --> 00:38:05,319
Speaker 1: Dame Thomas and Harvey Mason, but they go to Hong

661
00:38:05,400 --> 00:38:09,239
Speaker 1: Kong to shoot the video and Red Man can't go,

662
00:38:09,280 --> 00:38:11,520
Speaker 1: so they need a bridge. So they called himself, we

663
00:38:11,560 --> 00:38:12,879
Speaker 1: need you to come to Hong Kong. I was like,

664
00:38:13,520 --> 00:38:17,960
Speaker 1: Hong Kong, okay, are you? They flew me to Hong

665
00:38:18,000 --> 00:38:24,399
Speaker 1: Kong to do the bridge to Hong Kong. We come

666
00:38:24,440 --> 00:38:30,600
Speaker 1: to home. You know, I got a couple of kids

667
00:38:30,600 --> 00:38:33,960
Speaker 1: over there, Homekong, I got. I got a couple of

668
00:38:34,000 --> 00:38:36,840
Speaker 1: younger home. Definitely got an uncle that Mike got. I

669
00:38:36,920 --> 00:38:42,719
Speaker 1: was in a bushing Hong Kong sixty seven over there,

670
00:38:42,840 --> 00:38:49,480
Speaker 1: spends a couple of tours in Hong Kong. Y'all went

671
00:38:49,480 --> 00:38:51,799
Speaker 1: over there did the bridge. That was an amazing time,

672
00:38:52,320 --> 00:38:56,400
Speaker 1: you know, and it was just you know, that record

673
00:38:57,400 --> 00:39:01,200
Speaker 1: was my first number one and it just what it

674
00:39:01,280 --> 00:39:04,920
Speaker 1: did was a set off in my mind who I

675
00:39:05,160 --> 00:39:07,040
Speaker 1: was or who I could be in the industry. That

676
00:39:07,160 --> 00:39:09,040
Speaker 1: they gave me a sense of value like that they

677
00:39:09,080 --> 00:39:11,919
Speaker 1: would call me to come over there because Dutch was there,

678
00:39:12,520 --> 00:39:15,279
Speaker 1: you know, No, that was all there, and I guess

679
00:39:15,440 --> 00:39:17,279
Speaker 1: maybe they left for me. I don't know, because they

680
00:39:17,280 --> 00:39:18,480
Speaker 1: didn't need me for that, but it was like, no,

681
00:39:18,640 --> 00:39:20,439
Speaker 1: you gotta come and do it. I was like, y'all

682
00:39:20,520 --> 00:39:22,640
Speaker 1: need me I was like, oh cool, So I felt needed.

683
00:39:23,320 --> 00:39:25,840
Speaker 1: I realized like, oh, people need me for certain things,

684
00:39:26,800 --> 00:39:29,799
Speaker 1: you know. And being that I was young, I might

685
00:39:29,800 --> 00:39:31,239
Speaker 1: have took that a little too far because it went

686
00:39:31,320 --> 00:39:34,680
Speaker 1: from that to being just everybody goes to this arrogant phase,

687
00:39:34,880 --> 00:39:38,080
Speaker 1: especially when money comes into play. I'm twenty three at

688
00:39:38,080 --> 00:39:40,000
Speaker 1: the time, and I'm twenty three and I just made

689
00:39:40,040 --> 00:39:42,960
Speaker 1: my first million. You know what I'm saying. I'm like,

690
00:39:44,040 --> 00:39:45,960
Speaker 1: it's a different thing happening in my life, you know.

691
00:39:46,000 --> 00:39:49,919
Speaker 1: So I walked in rooms going, yeah, I'm probably better

692
00:39:49,920 --> 00:39:53,439
Speaker 1: than everybody here. I would never say it. I don't

693
00:39:53,440 --> 00:39:57,480
Speaker 1: even act like that, but in my mind, yeah, I'm

694
00:39:57,520 --> 00:40:10,359
Speaker 1: the best there is. She got she got cheap. He's

695
00:40:10,400 --> 00:40:14,560
Speaker 1: trying to add sauce because warn Campbell here, you don't

696
00:40:14,640 --> 00:40:18,000
Speaker 1: usually be you don't usually be doing all that. Take

697
00:40:18,080 --> 00:40:19,400
Speaker 1: Take a boy, his hands on him. They got their

698
00:40:19,400 --> 00:40:23,240
Speaker 1: hands with you. The dance team is here, man good

699
00:40:23,239 --> 00:40:29,360
Speaker 1: he flat. I know you have perfect pitch. Thinks I

700
00:40:29,400 --> 00:40:36,520
Speaker 1: have relative picture, just out of control. Top five? How

701
00:40:36,520 --> 00:40:41,120
Speaker 1: do you like that? Enough? Top five? You see you

702
00:40:41,160 --> 00:40:48,719
Speaker 1: see my wife? You're top five? You're top five? Oh

703
00:40:48,840 --> 00:40:54,279
Speaker 1: your Toper's Billy Joels on us he gonna go there,

704
00:40:54,280 --> 00:41:06,240
Speaker 1: he's gonna go there. I who'll toper top your two? Five?

705
00:41:09,120 --> 00:41:18,200
Speaker 1: That's saucy. That's saucy right there? You top? Oh, top five?

706
00:41:22,719 --> 00:41:27,880
Speaker 1: Did you say, finn, it's top five? What it's top what?

707
00:41:28,000 --> 00:41:29,880
Speaker 1: I wanted to hit that? I said five, because five

708
00:41:30,200 --> 00:41:32,520
Speaker 1: is the fifth degree in that key to be flat.

709
00:41:34,360 --> 00:41:40,720
Speaker 1: Let's be flat five. Yeah, that's that's the fifth. Yeah,

710
00:41:40,760 --> 00:41:44,160
Speaker 1: I have no that's the flat. I have no idea

711
00:41:44,200 --> 00:41:49,239
Speaker 1: what someone is e flat and kind of go to

712
00:41:49,320 --> 00:41:52,240
Speaker 1: go to make skill up one to three four? Five?

713
00:41:53,320 --> 00:41:55,600
Speaker 1: You said top five. I said five. That's why I

714
00:41:55,600 --> 00:41:57,680
Speaker 1: hate that note, because it's the fifth, the fifth. Agree,

715
00:41:58,239 --> 00:42:06,200
Speaker 1: that's nerd crab man. Sorry, y'all speaking alien. Look at

716
00:42:07,400 --> 00:42:10,880
Speaker 1: I ain't said nothing. You look at him like I

717
00:42:10,880 --> 00:42:13,279
Speaker 1: just cussed you out because you took me back to

718
00:42:13,360 --> 00:42:16,200
Speaker 1: a time where I was in Uh. I was at

719
00:42:16,239 --> 00:42:18,840
Speaker 1: Morgan State. Uh. And we'll give you to five. It

720
00:42:18,920 --> 00:42:21,280
Speaker 1: is in Morgan State. And I got a full scholarship

721
00:42:21,280 --> 00:42:24,920
Speaker 1: from doctor Carter. Like doctor Carter Morgan State. That's in Baltimore.

722
00:42:25,760 --> 00:42:32,080
Speaker 1: Did you know Machicacha. Oh yeah, yeah, big big classical school. Yeah, absolutely,

723
00:42:32,080 --> 00:42:36,040
Speaker 1: so we did, right, And so I have it doctor

724
00:42:36,080 --> 00:42:38,120
Speaker 1: Carter talking like James Brown, what you want to mine there?

725
00:42:38,440 --> 00:42:42,560
Speaker 1: I was like mina po I guess. So he put

726
00:42:42,600 --> 00:42:46,520
Speaker 1: me in class with a doctor Conway. M So doctor

727
00:42:46,520 --> 00:42:49,960
Speaker 1: Conway was like, play something from me. I'm in there,

728
00:42:51,920 --> 00:42:57,360
Speaker 1: oh oh bad farm and everything, and I'm and I

729
00:42:57,400 --> 00:43:00,560
Speaker 1: think I'm jazzing him out right, I'm killing him, Like, yeah,

730
00:43:00,640 --> 00:43:02,680
Speaker 1: you ain't got none of this. He gets on, Hey

731
00:43:02,719 --> 00:43:05,840
Speaker 1: looks he's oh nice nice, not oh nice, nice nice,

732
00:43:05,880 --> 00:43:07,560
Speaker 1: he said, and he says nices. So you went from

733
00:43:07,600 --> 00:43:13,160
Speaker 1: an eight nine nineteenth to a forty eighth and then

734
00:43:13,320 --> 00:43:15,520
Speaker 1: if you would have added an eighth right over top

735
00:43:15,520 --> 00:43:17,319
Speaker 1: of your ninety, I would have really killed and then

736
00:43:17,400 --> 00:43:24,879
Speaker 1: you cool down. I hate this place. I hated this place.

737
00:43:24,920 --> 00:43:28,279
Speaker 1: I was gone in two months. I was like two

738
00:43:28,280 --> 00:43:33,160
Speaker 1: months gone. So anyway, your top five dead are alive,

739
00:43:34,600 --> 00:43:38,920
Speaker 1: R and B singers male or female, dead or alive

740
00:43:39,600 --> 00:43:48,080
Speaker 1: no order. M uh well, I'm gonna have to talk

741
00:43:48,080 --> 00:43:51,120
Speaker 1: about a need a baker. You better talk about it. Yeah,

742
00:43:51,560 --> 00:43:56,520
Speaker 1: I have to talk about needing um and I'm talking

743
00:43:56,520 --> 00:44:00,440
Speaker 1: about top five. I'm I'm to talk to the I'm

744
00:44:00,440 --> 00:44:05,920
Speaker 1: gonna have to go talk to Sam Cook. Top five

745
00:44:09,000 --> 00:44:10,719
Speaker 1: not just because I did the record on it. But

746
00:44:10,719 --> 00:44:13,880
Speaker 1: I mnna have to talk to Luther. You gotta talk.

747
00:44:13,920 --> 00:44:15,840
Speaker 1: I've recently seen something on him yesterday that made me

748
00:44:15,880 --> 00:44:19,400
Speaker 1: come at Luther was cold. He was without doing all

749
00:44:19,440 --> 00:44:21,120
Speaker 1: that because he was different. He did to do all

750
00:44:21,160 --> 00:44:23,600
Speaker 1: the runs that he just had the tone that the presence.

751
00:44:26,480 --> 00:44:34,600
Speaker 1: You gotta go Stevie mm hmm yeah um. And I

752
00:44:34,600 --> 00:44:37,600
Speaker 1: want to go to another female and just say Eretha.

753
00:44:37,760 --> 00:44:40,720
Speaker 1: But there's more. But because you can't Ereth, you can't

754
00:44:40,920 --> 00:44:49,560
Speaker 1: you know, because there's there's there's there's levels under that. Yeah. Yeah,

755
00:44:49,680 --> 00:44:54,480
Speaker 1: you can't sing together put together that two hundred Greatest

756
00:44:54,480 --> 00:44:59,640
Speaker 1: Singers list. Yeah, yeah. I don't get called for stuff

757
00:44:59,680 --> 00:45:04,360
Speaker 1: like that, None of us do. Yeah, the phone calls

758
00:45:04,400 --> 00:45:08,640
Speaker 1: actually go there are no phone calls list. Somebody said,

759
00:45:08,680 --> 00:45:12,680
Speaker 1: I think those are researchers, right, Those aren't people from

760
00:45:12,680 --> 00:45:16,200
Speaker 1: the cloth. They're looking at streams and stuff. They're they're

761
00:45:16,239 --> 00:45:19,160
Speaker 1: looking at something. Those are being counters. Yeah, they are not.

762
00:45:19,280 --> 00:45:23,200
Speaker 1: They are not part. They don't know them about this here. No,

763
00:45:23,520 --> 00:45:26,680
Speaker 1: and I'm sure somebody on that on that on that board.

764
00:45:26,760 --> 00:45:29,759
Speaker 1: Watch the R and B Money Podcast You need your

765
00:45:29,800 --> 00:45:36,880
Speaker 1: ass kick, all right? Top five R and B songs.

766
00:45:37,280 --> 00:45:43,200
Speaker 1: M that's tough because you are a writer, top and

767
00:45:43,320 --> 00:45:47,920
Speaker 1: a producer, label owner, a label owner too. It's one

768
00:45:47,960 --> 00:45:50,319
Speaker 1: of them is going to be and and I'm not

769
00:45:50,360 --> 00:45:56,200
Speaker 1: talking about hits on the radio, great songs, your top five.

770
00:45:59,120 --> 00:46:01,760
Speaker 1: One of us gonna be some or soft by Stevie

771
00:46:01,800 --> 00:46:05,720
Speaker 1: Wonder on the song to Kill Life album Summer Soft.

772
00:46:08,200 --> 00:46:15,120
Speaker 1: Um that I'm gonna have to say. Um. I think

773
00:46:15,120 --> 00:46:20,160
Speaker 1: it's called try something new, Smokey Robinson, look it up,

774
00:46:20,760 --> 00:46:26,000
Speaker 1: try something new. If that don't do, I'll try something new.

775
00:46:26,040 --> 00:46:30,320
Speaker 1: You never heard that one. I can build you a tower.

776
00:46:31,000 --> 00:46:34,479
Speaker 1: I have your own castle. Yeah, I don't do. I'll

777
00:46:34,520 --> 00:46:37,360
Speaker 1: try something new. Mmmmm. Oh yeah, it's called record. I

778
00:46:37,520 --> 00:46:41,480
Speaker 1: know exactly a record. Talk about uh, because I was

779
00:46:41,520 --> 00:46:42,920
Speaker 1: gonna say that one of tears of a clown. But

780
00:46:42,920 --> 00:46:56,640
Speaker 1: I'm gonna try something new amazing. You know you can't.

781
00:46:56,640 --> 00:46:57,800
Speaker 1: I don't know if I can call us. R and

782
00:46:57,920 --> 00:47:05,239
Speaker 1: B started out as um, a Leon Russell song, and

783
00:47:05,280 --> 00:47:07,239
Speaker 1: then Donnie had the Way did it? And I think

784
00:47:07,360 --> 00:47:09,680
Speaker 1: I want to say George's been somebody that did it too.

785
00:47:09,760 --> 00:47:13,000
Speaker 1: Call the song for you. You're not calling that R

786
00:47:13,040 --> 00:47:16,560
Speaker 1: and V. Well, because in the origin of Leon Russell's

787
00:47:16,600 --> 00:47:21,640
Speaker 1: you know pop rock guy. Um oh yeah, I'll be

788
00:47:21,719 --> 00:47:23,279
Speaker 1: knowing my history about all the I'm a I'm a

789
00:47:23,440 --> 00:47:30,120
Speaker 1: geek with this music. Um then I can go a

790
00:47:30,160 --> 00:47:32,319
Speaker 1: little current. It's one of my favorites of all time

791
00:47:33,480 --> 00:47:47,719
Speaker 1: is um uh do you believe in Love? And the Bninis?

792
00:47:48,520 --> 00:48:01,520
Speaker 1: I not love you Belave Caulve Yeah, those guys, Jodas

793
00:48:02,800 --> 00:48:05,840
Speaker 1: and then I'm gonna say because this is just this

794
00:48:06,000 --> 00:48:08,640
Speaker 1: is something I will listen to. I'll never get tired

795
00:48:08,640 --> 00:48:18,640
Speaker 1: of hearing. Is de Angelo's version of cruising to production

796
00:48:18,760 --> 00:48:25,680
Speaker 1: him has not been duplicated. No, no, yeah, no one

797
00:48:25,840 --> 00:48:35,400
Speaker 1: has touched that. Man. You rock with Smokey, one of

798
00:48:35,440 --> 00:48:37,800
Speaker 1: the best songwriters to ever do. Yeah, you got a

799
00:48:37,840 --> 00:48:40,880
Speaker 1: smoky thing? Can I can I add a new section

800
00:48:40,960 --> 00:48:43,640
Speaker 1: for him? I was gonna ask me that. Did he like, uh,

801
00:48:43,840 --> 00:48:47,279
Speaker 1: you know what I ain't ain't noways bringing something back.

802
00:48:48,840 --> 00:48:51,800
Speaker 1: You're gonna be at the gas. I was gonna go

803
00:48:51,920 --> 00:48:59,920
Speaker 1: go back to what he was, gang bag smoking smoking.

804
00:49:01,000 --> 00:49:13,800
Speaker 1: He was a king thing. You're I'm gonna get you.

805
00:49:14,000 --> 00:49:16,719
Speaker 1: This is a new segment just for you. This is

806
00:49:16,880 --> 00:49:19,480
Speaker 1: Warren Cambus. This is a Warren Campbell. I need y'all

807
00:49:19,520 --> 00:49:21,800
Speaker 1: to say it when the next person comes. So so,

808
00:49:21,960 --> 00:49:26,879
Speaker 1: anytime we ask about this segment, this war cambun ask

809
00:49:26,960 --> 00:49:29,279
Speaker 1: me nothing about it. I'm not about it now. It

810
00:49:29,480 --> 00:49:32,120
Speaker 1: just it just just slapped me in the face, the

811
00:49:32,280 --> 00:49:40,120
Speaker 1: new Warren Campbell segment. Your top five R and B producers. Oh,

812
00:49:43,680 --> 00:49:49,840
Speaker 1: I'm rolling now. He has information, a lot of it.

813
00:49:50,520 --> 00:49:52,719
Speaker 1: I'm gonna gonna downlow. This is not the first one's out.

814
00:49:52,840 --> 00:49:56,120
Speaker 1: Number one, all right, there's gonna be Quincy Johnson. Of

815
00:49:56,239 --> 00:50:01,560
Speaker 1: course you can, of course you are anytime hmm. A

816
00:50:01,719 --> 00:50:05,440
Speaker 1: producer who does not not produce how we do when

817
00:50:05,480 --> 00:50:09,400
Speaker 1: we physically are. He produces from his roller decks and

818
00:50:09,480 --> 00:50:17,560
Speaker 1: his pen. You play this, you play that roller decks.

819
00:50:17,600 --> 00:50:19,520
Speaker 1: I'm gonna call this person and you get the same

820
00:50:19,560 --> 00:50:25,759
Speaker 1: result every time, even the same sound sonically. He's just

821
00:50:25,840 --> 00:50:29,719
Speaker 1: done too much right under him. It's gonna be a

822
00:50:29,800 --> 00:50:35,160
Speaker 1: Reef Martin, our ref my Dean Martin from Turkish, from Turkey.

823
00:50:35,239 --> 00:50:40,319
Speaker 1: He's passed on. He started out as an arranger, big

824
00:50:40,400 --> 00:50:44,799
Speaker 1: band arranger, worked at at an Atlantic for years under

825
00:50:44,880 --> 00:50:49,440
Speaker 1: Jerry reck Wexler and Aland Ernigan. Went on to produce

826
00:50:49,640 --> 00:50:55,360
Speaker 1: songs like I Feel for You, Brown to get what

827
00:50:55,600 --> 00:51:00,480
Speaker 1: because Shaka Khan Autumn, What are you Gonna do? Fun Day?

828
00:51:01,320 --> 00:51:05,799
Speaker 1: That that that album I Love You. That's a Reef Martin. Yes,

829
00:51:06,520 --> 00:51:11,600
Speaker 1: come on, come on, get come home Old Turkeys Reef.

830
00:51:11,960 --> 00:51:14,880
Speaker 1: You know it's probably right now, he'd be in his

831
00:51:15,040 --> 00:51:17,719
Speaker 1: he'd probably be in his nineties right now. A Reef

832
00:51:17,880 --> 00:51:22,600
Speaker 1: was the man. So you gotta red Wow. After that,

833
00:51:24,320 --> 00:51:32,480
Speaker 1: it's gonna be uh um, oh God, I'm gonna say

834
00:51:32,520 --> 00:51:36,560
Speaker 1: Bernard Edwards, but it's it's uh the other one. Oh

835
00:51:36,680 --> 00:51:43,200
Speaker 1: Lord Jesus. Now Rogers and Chic thank you. Uh because

836
00:51:43,239 --> 00:51:45,840
Speaker 1: the bass players. Bernard I got the bass player in

837
00:51:45,880 --> 00:51:53,360
Speaker 1: my head, but now Rogers unmatched the consistency for decades.

838
00:51:56,800 --> 00:51:59,759
Speaker 1: Then let's move up into our era. Okay, it's going

839
00:51:59,800 --> 00:52:06,279
Speaker 1: to have to be Teddy Riley still now. Now, we

840
00:52:06,400 --> 00:52:09,040
Speaker 1: just talked about him doing that record with me, so

841
00:52:09,440 --> 00:52:11,000
Speaker 1: let me just get into that just a little bit.

842
00:52:11,120 --> 00:52:15,160
Speaker 1: With the Walls Group, first song on the album they

843
00:52:15,239 --> 00:52:17,040
Speaker 1: wanted the nineties. You know, these kids are really in

844
00:52:17,080 --> 00:52:19,520
Speaker 1: the nineties music right now. So on their last album,

845
00:52:19,520 --> 00:52:21,040
Speaker 1: I did like a nineties record for him. They loved

846
00:52:21,040 --> 00:52:23,359
Speaker 1: thatsel to another one, so I did this. I worked

847
00:52:23,400 --> 00:52:25,840
Speaker 1: up this new jack swing drink that I did, and

848
00:52:25,920 --> 00:52:27,600
Speaker 1: they loved that. They wrote a song to it. I said,

849
00:52:27,719 --> 00:52:30,200
Speaker 1: let me send it to Teddy and see. I'm thinking

850
00:52:30,200 --> 00:52:32,320
Speaker 1: he's gonna say, I'll play some talkbox on it. He

851
00:52:32,520 --> 00:52:34,279
Speaker 1: loved it so much he called me back and said,

852
00:52:35,080 --> 00:52:39,279
Speaker 1: how far can I go? I said, shoot, Teddy, go

853
00:52:39,360 --> 00:52:41,400
Speaker 1: as far as you want to go. He's sent it

854
00:52:41,480 --> 00:52:44,600
Speaker 1: back with like all the Teddy Roley stuff on it

855
00:52:45,040 --> 00:52:47,239
Speaker 1: and gave me a remix. That's that sounded like, keep

856
00:52:47,239 --> 00:52:48,839
Speaker 1: it in the closet on top of you ain't heard

857
00:52:48,880 --> 00:52:53,960
Speaker 1: that one yet? Up sparing up. Oh my god, it's crazy.

858
00:52:54,080 --> 00:52:58,399
Speaker 1: So Teddy Riley here is that? He's that dude. I'm

859
00:52:58,440 --> 00:53:00,799
Speaker 1: trying to see because now you're about be on your fifth.

860
00:53:00,960 --> 00:53:03,440
Speaker 1: You sang the fifth. Now you're about to be on

861
00:53:03,560 --> 00:53:08,360
Speaker 1: your fifth. And to me, there are two production teams

862
00:53:08,960 --> 00:53:11,080
Speaker 1: and I'm trying to see which one is gonna get

863
00:53:11,080 --> 00:53:12,719
Speaker 1: picked because I'm about kit I'm about to hit you

864
00:53:12,760 --> 00:53:16,359
Speaker 1: with it. I got I'm you know what, I'm sitting up, man,

865
00:53:17,080 --> 00:53:19,320
Speaker 1: sitting up, man, give me some cheese to say, Oh no,

866
00:53:19,440 --> 00:53:21,480
Speaker 1: we don't say their name. They ain't they paid us.

867
00:53:22,560 --> 00:53:27,320
Speaker 1: We're gonna oh yeah, no, no, no, it's gonna be

868
00:53:27,400 --> 00:53:35,800
Speaker 1: jamm and Lewis. It's gonna be Jamon Lewis. Um, I

869
00:53:35,840 --> 00:53:40,080
Speaker 1: can't argue Jammon Lewis. Yeah, but La and Face might

870
00:53:40,160 --> 00:53:42,719
Speaker 1: have an argument because I'm gonna tell you why I

871
00:53:42,760 --> 00:53:48,080
Speaker 1: didn't go La in face because I'm a musician, right

872
00:53:48,200 --> 00:53:51,920
Speaker 1: faces a musician. You know, La was a drummer, but

873
00:53:52,160 --> 00:53:54,960
Speaker 1: really that whole movement was more about Face and it's

874
00:53:55,000 --> 00:53:56,840
Speaker 1: what he was bringing to that thing, you know what

875
00:53:56,840 --> 00:54:00,680
Speaker 1: I'm saying. Yeah, And the writing, jamm and Lewis equal parts.

876
00:54:00,800 --> 00:54:05,919
Speaker 1: Like Jam can play the crap out that keyboard, Terry

877
00:54:05,960 --> 00:54:08,319
Speaker 1: can play the crap out that base I'm talking about,

878
00:54:08,360 --> 00:54:14,800
Speaker 1: like nasty, but then Terry is one writing and producing

879
00:54:14,840 --> 00:54:17,640
Speaker 1: the vocals too. Then Jam is mixing. It's just like

880
00:54:18,120 --> 00:54:25,439
Speaker 1: the the vision of labor. Yeah, there is of l Yeah,

881
00:54:25,480 --> 00:54:28,719
Speaker 1: it's like I respect that, Like you know, it's not

882
00:54:28,880 --> 00:54:31,600
Speaker 1: heavy on one side. It's like they both without each other.

883
00:54:31,680 --> 00:54:34,359
Speaker 1: That that doesn't work. You see where a baby Face

884
00:54:34,440 --> 00:54:39,120
Speaker 1: went on without La and still did everything. Here's here's

885
00:54:39,160 --> 00:54:40,879
Speaker 1: here's what I want from you. One Campbell. We're gonna

886
00:54:40,880 --> 00:54:43,560
Speaker 1: make an R and B voltron. Okay, I want to

887
00:54:43,600 --> 00:54:48,440
Speaker 1: know who you're getting the voice from, the performance style,

888
00:54:48,600 --> 00:54:53,680
Speaker 1: from the styling from and then the passion. So we're

889
00:54:53,719 --> 00:54:56,920
Speaker 1: gonna start with the vocal. Who's the vocal? Are you

890
00:54:57,040 --> 00:54:59,880
Speaker 1: still thing to make your voltron artists? And it has

891
00:55:00,040 --> 00:55:05,719
Speaker 1: to be an R and B artist. I mean, let's

892
00:55:05,840 --> 00:55:09,520
Speaker 1: up to you, brother. I mean, you're gonna make him

893
00:55:09,560 --> 00:55:11,279
Speaker 1: sing R and B because they're gonna sing R and

894
00:55:11,320 --> 00:55:13,200
Speaker 1: B because you are who you are. You can you know,

895
00:55:14,320 --> 00:55:19,799
Speaker 1: do it? Do it? Who got the votals? Whose voice

896
00:55:19,880 --> 00:55:28,120
Speaker 1: is it? I'm okay, I'm gonna go with the vampire.

897
00:55:29,920 --> 00:55:34,359
Speaker 1: Marvin whin EN's. They call him the vampire because he's

898
00:55:34,400 --> 00:55:37,399
Speaker 1: never met a vamp. He didn't like I'm talking about

899
00:55:37,440 --> 00:55:40,120
Speaker 1: on the spot, you go to a vamp. He got

900
00:55:40,239 --> 00:55:43,400
Speaker 1: ad libs for days. It's like he's just writing another

901
00:55:43,520 --> 00:55:45,920
Speaker 1: song on the spot. Like you you ever hear somebody

902
00:55:45,960 --> 00:55:49,839
Speaker 1: freestyle nice that that can spit. He's that dude. It's

903
00:55:49,880 --> 00:55:52,759
Speaker 1: a whole another song. I'm whing Marvin Wine is as

904
00:55:52,800 --> 00:55:58,920
Speaker 1: the voice. Jonathan Hall used to kick my ass. We

905
00:55:59,040 --> 00:56:02,840
Speaker 1: was on tour with Jinia one mm ad lipping and

906
00:56:02,960 --> 00:56:04,920
Speaker 1: I'm like, how do you know an ad lib like that?

907
00:56:05,160 --> 00:56:06,839
Speaker 1: I can add live. But what are you doing? He said,

908
00:56:06,880 --> 00:56:12,000
Speaker 1: Marvin whit Marvin Winners, You've never listened. You ain't never

909
00:56:12,080 --> 00:56:14,000
Speaker 1: seen thathing like this in your life. Used to whoop me,

910
00:56:14,480 --> 00:56:16,480
Speaker 1: I'm coming with a whole of the song on top

911
00:56:16,520 --> 00:56:19,239
Speaker 1: of the song, and you'd be like, this is crazy. Yeah,

912
00:56:19,280 --> 00:56:21,600
Speaker 1: so I'm gonna go. I'm gonna go with Marvin Winners.

913
00:56:21,719 --> 00:56:25,320
Speaker 1: Who who are you getting the styling from? With the

914
00:56:25,440 --> 00:56:28,480
Speaker 1: drip of the artists their aura? What does that look like?

915
00:56:28,640 --> 00:56:33,160
Speaker 1: They earnest Paul, Yeah, yeah, yeah, that that that's probably

916
00:56:33,280 --> 00:56:36,520
Speaker 1: going to be because now the artist is a man

917
00:56:37,400 --> 00:56:44,960
Speaker 1: drip wise, if you know what. Who I've always been

918
00:56:45,000 --> 00:56:51,600
Speaker 1: a fan of how they dressed on stage is uh

919
00:56:52,719 --> 00:56:57,800
Speaker 1: Marvin Gaye. M feel like Marvin gay will put glitter

920
00:56:57,920 --> 00:57:01,759
Speaker 1: on anything, head band hit hoodies. He had like glitter vest,

921
00:57:02,640 --> 00:57:06,000
Speaker 1: he wear boots with a pin striped jacket. He were

922
00:57:06,040 --> 00:57:07,680
Speaker 1: all kind of crazy stuff like that, I think. But

923
00:57:07,719 --> 00:57:10,440
Speaker 1: I think he was a king of signature like stuff

924
00:57:10,480 --> 00:57:12,359
Speaker 1: like like when he had when he wore to Beanie,

925
00:57:12,400 --> 00:57:16,880
Speaker 1: it became like that's that's the Marvin Gaye, the hiss

926
00:57:16,920 --> 00:57:19,840
Speaker 1: ability to make things, you know. So Marvin gave Yeah,

927
00:57:19,920 --> 00:57:24,840
Speaker 1: Marvin Gail d Marvin, Marvin, Marvin and Marvin, Marvin and

928
00:57:24,920 --> 00:57:28,440
Speaker 1: Marvin and then what was the other category you're getting

929
00:57:29,760 --> 00:57:35,800
Speaker 1: the performance style from? Oh? M hm yeah, listen man,

930
00:57:35,920 --> 00:57:41,920
Speaker 1: I'm always I've always been a fan of dramatic performers.

931
00:57:44,040 --> 00:57:46,240
Speaker 1: And but but this voice. I was gonna say, James

932
00:57:46,320 --> 00:57:49,160
Speaker 1: Brown would now, but that kind of voice, it's kind

933
00:57:49,160 --> 00:57:56,240
Speaker 1: of stock. You got to go al Green m h yeah, yeah,

934
00:57:56,520 --> 00:57:58,480
Speaker 1: he would. Al Green would go in the bag and go.

935
00:57:58,720 --> 00:58:01,720
Speaker 1: He would go in and leave y'all for a moment

936
00:58:02,640 --> 00:58:07,800
Speaker 1: and be singing to himself by himself. He'd be, man,

937
00:58:08,240 --> 00:58:12,320
Speaker 1: wotle thing, just be doing and you just measures like, oh,

938
00:58:12,360 --> 00:58:15,600
Speaker 1: he's singing to himself. Yeah. Have you watched the documentary

939
00:58:15,960 --> 00:58:19,520
Speaker 1: which one is the gospel? According to Al Green? When

940
00:58:19,560 --> 00:58:21,520
Speaker 1: he was in this little yeah like a like a

941
00:58:21,640 --> 00:58:24,320
Speaker 1: hall in a sense, and it looked like Rothils playing bad. Yes,

942
00:58:24,560 --> 00:58:26,080
Speaker 1: I asked Ray. He said, no, that ain't me. I've

943
00:58:26,080 --> 00:58:30,280
Speaker 1: said somebody looked just like you and his name was Ray. Wow. Yeah,

944
00:58:30,440 --> 00:58:33,360
Speaker 1: I see. You haven't seen that documentary Tank from the eighties.

945
00:58:34,160 --> 00:58:36,320
Speaker 1: Is that am I saying the name right? The gospel?

946
00:58:36,360 --> 00:58:39,200
Speaker 1: According to Al Green? I don't know he's talking about

947
00:58:39,240 --> 00:58:41,160
Speaker 1: going back and forth between gospel and R and B

948
00:58:41,240 --> 00:58:43,120
Speaker 1: and the S and they do they do videos of

949
00:58:43,200 --> 00:58:45,480
Speaker 1: him in the studio, in the studio talking to him. Yeah, no, no,

950
00:58:45,520 --> 00:58:49,640
Speaker 1: no special because he's having those moments where he's singing

951
00:58:49,680 --> 00:58:51,920
Speaker 1: to him. He's in front of people, but he's singing

952
00:58:52,000 --> 00:58:53,840
Speaker 1: for him to him and everybody in this band got

953
00:58:53,880 --> 00:59:01,520
Speaker 1: a Jerry Crew, all all the drummers Greece. So yeah,

954
00:59:01,720 --> 00:59:05,840
Speaker 1: al Green would be the perform the perform performance style.

955
00:59:06,080 --> 00:59:10,520
Speaker 1: What about the passion the heart of the artists. I'm

956
00:59:10,560 --> 00:59:16,440
Speaker 1: gonna have to go with the undying work ethic and

957
00:59:16,840 --> 00:59:22,600
Speaker 1: bulldog tenacity of Prince. Yeah, he was just passionate about

958
00:59:22,720 --> 00:59:26,240
Speaker 1: how he made music. You know, you can hear it.

959
00:59:27,480 --> 00:59:30,880
Speaker 1: He listened to the stuff he was doing. He was

960
00:59:30,960 --> 00:59:35,360
Speaker 1: completely creative though, he's just outside of anybody's box. Yeah, yeah,

961
00:59:35,440 --> 00:59:38,040
Speaker 1: that dude man had something. I went to his house

962
00:59:38,080 --> 00:59:40,400
Speaker 1: one time to do a not to do nothing, to

963
00:59:40,600 --> 00:59:43,880
Speaker 1: go to it like a little party or something. It

964
00:59:44,080 --> 00:59:47,920
Speaker 1: was after an Image Awards and said the principles like

965
00:59:48,000 --> 00:59:49,919
Speaker 1: the invite you guys to come to his house. It's

966
00:59:49,920 --> 00:59:53,520
Speaker 1: the house that he was written from. Carlos Boozer. I'll

967
00:59:53,560 --> 00:59:57,240
Speaker 1: get up there and it's like twenty people in there.

968
00:59:57,560 --> 01:00:01,160
Speaker 1: That's it. He had his full band. He's in some

969
01:00:01,360 --> 01:00:05,480
Speaker 1: silk pajamas playing all night. Then he left for a

970
01:00:05,560 --> 01:00:08,360
Speaker 1: minute and came back and changed into another color of

971
01:00:08,440 --> 01:00:11,760
Speaker 1: silk pajamas. Who kept playing all night long. I was like, man,

972
01:00:11,800 --> 01:00:13,720
Speaker 1: this dude, that's something else. He didn't even say hid

973
01:00:13,720 --> 01:00:17,440
Speaker 1: Nobody was playing, was he you know, food and crap?

974
01:00:17,600 --> 01:00:20,560
Speaker 1: You know that was just his audience. Yeah, how was it?

975
01:00:20,720 --> 01:00:24,400
Speaker 1: Chili was there playing, He wasn't talking to nobody was playing.

976
01:00:25,760 --> 01:00:30,520
Speaker 1: Like wow, is he gonna stop playing? It comes like said, hello, nah, No,

977
01:00:30,760 --> 01:00:32,959
Speaker 1: how to dude? I want to do that? You could

978
01:00:34,080 --> 01:00:35,640
Speaker 1: because he did it on top of his pool. He

979
01:00:35,840 --> 01:00:39,280
Speaker 1: covered the pool with a with a clear thing and

980
01:00:39,360 --> 01:00:41,440
Speaker 1: then we was out there dancing. I was dancing with

981
01:00:41,480 --> 01:00:45,480
Speaker 1: Angela Bassett. Yeah, we're gonna get out of there. Come on,

982
01:00:45,560 --> 01:00:49,720
Speaker 1: micro Fiber, Come on, Micropia, we're gonna go to next second.

983
01:00:50,160 --> 01:00:54,600
Speaker 1: She don't remember it, but I do. He started rubbing microphee,

984
01:00:54,680 --> 01:00:59,920
Speaker 1: still rubbing the microphile. I don't know what to correlate,

985
01:01:02,840 --> 01:01:08,080
Speaker 1: you know, don't you do it? So don't you do it?

986
01:01:10,520 --> 01:01:13,680
Speaker 1: Come on, Jake, what you got for listen going from

987
01:01:13,800 --> 01:01:18,160
Speaker 1: from from the friend's house to the micro fibers dancing

988
01:01:18,240 --> 01:01:21,240
Speaker 1: with you know who you know, I got another little

989
01:01:21,280 --> 01:01:28,080
Speaker 1: little church segment. Oh seeing no names, seeing no name,

990
01:01:29,880 --> 01:01:34,880
Speaker 1: who it was, got who you, what you did, and

991
01:01:35,000 --> 01:01:42,240
Speaker 1: what you was. We got a second part of the

992
01:01:42,320 --> 01:01:44,440
Speaker 1: show man. It's just you know, it can either be funny.

993
01:01:45,520 --> 01:01:47,320
Speaker 1: You passed the one right now, you just my pot

994
01:01:47,480 --> 01:01:49,760
Speaker 1: the one. I'm always the same guy every time. Okay,

995
01:01:50,240 --> 01:01:53,600
Speaker 1: started funny, fucked up? Yeah, okay, okay, sorry passed it

996
01:01:56,400 --> 01:02:00,480
Speaker 1: are both in your travels, in this music business, in

997
01:02:00,560 --> 01:02:03,240
Speaker 1: this church, in these church and the what you call

998
01:02:03,320 --> 01:02:07,680
Speaker 1: him chee in these cheeks. You know what I mean? Yeah,

999
01:02:09,480 --> 01:02:13,640
Speaker 1: what you've gone through in this name m hmm. Without

1000
01:02:13,720 --> 01:02:17,480
Speaker 1: saying no names, do I cannot? We need that story,

1001
01:02:17,640 --> 01:02:19,960
Speaker 1: we need one. So I can't say the name. No, no, no,

1002
01:02:20,160 --> 01:02:21,680
Speaker 1: no no. You can't see who you was with. You

1003
01:02:21,800 --> 01:02:24,120
Speaker 1: can't say who was dead. I can't say. I mean,

1004
01:02:24,160 --> 01:02:27,160
Speaker 1: you can explain things. Okay, you know what I'm saying.

1005
01:02:27,160 --> 01:02:31,439
Speaker 1: You know, because people have stand out you know, yeah, yeah, yeah, yeah,

1006
01:02:31,840 --> 01:02:34,040
Speaker 1: you know. But you can't say no names. You can't

1007
01:02:34,080 --> 01:02:36,920
Speaker 1: put no face with the case no face. I like

1008
01:02:37,040 --> 01:02:41,360
Speaker 1: that no face with the cake. I'm five dudes, baby,

1009
01:02:45,600 --> 01:02:51,960
Speaker 1: So this is Warren Campbell's baby dub my block. I

1010
01:02:52,040 --> 01:02:56,480
Speaker 1: ain't saying no names. I'm not saying no names. But

1011
01:02:57,080 --> 01:03:03,720
Speaker 1: it was nineteen ninety five timestap Okay, New York. It

1012
01:03:03,840 --> 01:03:10,680
Speaker 1: was cold, it was The place was uh Rockefeller Center Plaza,

1013
01:03:12,320 --> 01:03:19,760
Speaker 1: the Saturday night live stage. So I'm there with a

1014
01:03:19,880 --> 01:03:28,400
Speaker 1: certain rapper and we are doing the Friday night camera blocking.

1015
01:03:29,160 --> 01:03:34,640
Speaker 1: That's what they do, the rehearsal camera blocking. The entourage

1016
01:03:34,800 --> 01:03:40,440
Speaker 1: is thick. I'm talking. I'm talking about thick rapp. You

1017
01:03:40,560 --> 01:03:43,480
Speaker 1: know what rap entourages it like. It's yeah, you got

1018
01:03:43,520 --> 01:03:45,760
Speaker 1: about thirty dudes that don't do nothing. They just there

1019
01:03:46,360 --> 01:03:48,760
Speaker 1: in case, and another thirty dudes is just there for

1020
01:03:49,000 --> 01:03:53,160
Speaker 1: a whole other reason. You know what I'm saying. Walking

1021
01:03:53,200 --> 01:03:56,120
Speaker 1: down the hall was an older gentleman because there's work

1022
01:03:56,160 --> 01:03:58,800
Speaker 1: going on. There's their building sets and things of that nature.

1023
01:03:59,520 --> 01:04:02,800
Speaker 1: He's moved in a scaffold, rolling down the hallways, a

1024
01:04:02,880 --> 01:04:05,840
Speaker 1: narrow hallway. There's a young lady there who's part of

1025
01:04:05,880 --> 01:04:11,440
Speaker 1: the entourage, and he's rolling down the hallway and he

1026
01:04:11,680 --> 01:04:19,080
Speaker 1: bumps into this little lady. She is incensed that he

1027
01:04:19,160 --> 01:04:21,160
Speaker 1: would bump into her while he's doing his job. Though

1028
01:04:21,560 --> 01:04:24,080
Speaker 1: he's doing his job, she ain't doing nothing. I already

1029
01:04:24,160 --> 01:04:29,040
Speaker 1: know she, do you know? I'm called someone so telling

1030
01:04:30,760 --> 01:04:35,360
Speaker 1: And then and they the other guys grabbed this older gentleman,

1031
01:04:37,200 --> 01:04:40,480
Speaker 1: throw him in a closet in the hallway, lock him

1032
01:04:40,520 --> 01:04:43,880
Speaker 1: in there, and one guy stands in front of that closet,

1033
01:04:43,920 --> 01:04:47,320
Speaker 1: don't let him out the entire time, the whole time.

1034
01:04:48,920 --> 01:04:54,200
Speaker 1: So we leave and go to eat. After that, it's

1035
01:04:54,800 --> 01:04:57,320
Speaker 1: I don't know, it might be eleven o'clock at night.

1036
01:04:59,040 --> 01:05:03,840
Speaker 1: Somebody says, hey, we're so so he's still standing in

1037
01:05:03,960 --> 01:05:07,680
Speaker 1: front of the door, not letting that guy out. The

1038
01:05:07,720 --> 01:05:12,640
Speaker 1: other thing, ain't they go over there, because that's before

1039
01:05:12,760 --> 01:05:16,320
Speaker 1: nobody's cell phones. At the time they go getting that

1040
01:05:16,480 --> 01:05:20,280
Speaker 1: dude is in there past out. He's urinated on himself,

1041
01:05:21,120 --> 01:05:25,640
Speaker 1: he's defecated on himself. He's scared to death because he

1042
01:05:25,800 --> 01:05:29,680
Speaker 1: thinks the people that threw him in that closet, yeah,

1043
01:05:29,800 --> 01:05:32,040
Speaker 1: they're gonna do something to him because they're known him

1044
01:05:32,040 --> 01:05:38,280
Speaker 1: for doing something. I ain't saying the names, but that

1045
01:05:38,440 --> 01:05:44,160
Speaker 1: happened that Saturday Night Live. That's Saturday Night Live. Did

1046
01:05:44,240 --> 01:05:49,200
Speaker 1: that ever? That lartists ever get to perform here. No,

1047
01:05:52,200 --> 01:05:54,440
Speaker 1: I think only because that artists passed away that year

1048
01:05:55,360 --> 01:05:58,320
Speaker 1: hmm later that year, yeah so or the next year.

1049
01:05:59,720 --> 01:06:03,320
Speaker 1: But anyway, Yeah, but I ain't saying no names. You know,

1050
01:06:03,520 --> 01:06:13,800
Speaker 1: you know exactly what I'm talking about. It's crazy. I've

1051
01:06:13,840 --> 01:06:19,000
Speaker 1: had many of adventure, many of adventure. But listen, it

1052
01:06:19,040 --> 01:06:21,800
Speaker 1: wouldn't be the game it is without the adventures that's

1053
01:06:21,840 --> 01:06:26,920
Speaker 1: for sure come from. Man. Yeah, that's like the stories

1054
01:06:27,040 --> 01:06:32,920
Speaker 1: that that really kind of fuel the music sometimes what

1055
01:06:33,120 --> 01:06:37,200
Speaker 1: just happened before, what has happened after? Man, that that's

1056
01:06:37,480 --> 01:06:39,880
Speaker 1: that's what you know, that's what put the batteries in

1057
01:06:39,960 --> 01:06:43,200
Speaker 1: our back to get keep us going. Well, listen to

1058
01:06:43,200 --> 01:06:47,520
Speaker 1: my brother, I mean, what can we say, man, Well,

1059
01:06:47,600 --> 01:06:53,680
Speaker 1: let me say this. I want to give y'all. I'm

1060
01:06:53,680 --> 01:06:57,720
Speaker 1: not into the flowers. I give y'all kudos, give y'all

1061
01:06:57,800 --> 01:06:59,760
Speaker 1: what we call. Just want to give y'all some good language.

1062
01:07:00,480 --> 01:07:04,480
Speaker 1: Y'all are doing an amazing job with this podcast and

1063
01:07:04,680 --> 01:07:08,320
Speaker 1: bringing R and B to the forefront and letting people

1064
01:07:08,920 --> 01:07:13,040
Speaker 1: tell their stories who may not otherwise have much of

1065
01:07:13,120 --> 01:07:15,680
Speaker 1: a platform to tell their stories. Y'all are really doing

1066
01:07:15,800 --> 01:07:17,840
Speaker 1: something and I don't know if you know it or not,

1067
01:07:18,040 --> 01:07:23,080
Speaker 1: but you are literally in the middle of making history. Literally,

1068
01:07:23,320 --> 01:07:25,960
Speaker 1: history is being made every time you file these cameras

1069
01:07:26,080 --> 01:07:29,600
Speaker 1: up and sit on these premium blue couches, every time

1070
01:07:30,840 --> 01:07:35,160
Speaker 1: this premium microfibers. And I just want to give y'all.

1071
01:07:36,200 --> 01:07:38,840
Speaker 1: Give y'all that this man, give y'all some good language. Man.

1072
01:07:38,880 --> 01:07:42,760
Speaker 1: That that's like I've been watching, you know, just we

1073
01:07:42,880 --> 01:07:45,240
Speaker 1: I watch all all the episodes. This is amazing to

1074
01:07:45,280 --> 01:07:48,000
Speaker 1: see y'all. Just keep doing it, man, don't don't stop.

1075
01:07:48,760 --> 01:07:52,880
Speaker 1: That's that's my that's my my encouragement. Don't stop, man,

1076
01:07:52,960 --> 01:07:56,600
Speaker 1: just keep it going. Good language. Oh yeah, according to that,

1077
01:07:57,120 --> 01:08:00,840
Speaker 1: I say bad language, I apologize. I mean, you know,

1078
01:08:00,960 --> 01:08:04,000
Speaker 1: that's that's that's that's something I learned from C. S. Lewis.

1079
01:08:04,120 --> 01:08:06,120
Speaker 1: He was that old. This fella some good language. I

1080
01:08:06,160 --> 01:08:08,520
Speaker 1: want to say something nice about this guy. Wow, thank

1081
01:08:08,560 --> 01:08:10,960
Speaker 1: you brother. No, man, you're doing it, Thank you, bro.

1082
01:08:11,240 --> 01:08:14,640
Speaker 1: Absolutely well. Man. Listen, man, I'm Tank, I'm Jay Valentine

1083
01:08:14,720 --> 01:08:18,519
Speaker 1: and this is the RB Money Podcast, the authority on

1084
01:08:18,720 --> 01:08:21,400
Speaker 1: all things R and B. And in the building. Man,

1085
01:08:21,720 --> 01:08:24,800
Speaker 1: we've we've just had, you know, we've just experienced great

1086
01:08:25,479 --> 01:08:27,719
Speaker 1: you know what I mean, and I'm not as as

1087
01:08:27,720 --> 01:08:34,880
Speaker 1: a singer, songwriter, producer, performer. I'm not afraid by no means.

1088
01:08:35,600 --> 01:08:43,280
Speaker 1: Honor the man, the pastor uh baby down right in

1089
01:08:43,400 --> 01:08:50,479
Speaker 1: the building. I appreciate it. Man Money. R and B

1090
01:08:50,600 --> 01:08:53,439
Speaker 1: Money is a production of the Black Effect podcast Network.

1091
01:08:53,840 --> 01:08:59,280
Speaker 1: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1092
01:08:59,400 --> 01:09:02,280
Speaker 1: or wherever where you listen to your favorite shows. Don't

1093
01:09:02,320 --> 01:09:05,240
Speaker 1: forget to subscribe to and rate our show, and you

1094
01:09:05,360 --> 01:09:08,560
Speaker 1: can connect with us on social media at Jay Valentine

1095
01:09:08,840 --> 01:09:12,720
Speaker 1: and at the Real Tank. For the extended episode, subscribe

1096
01:09:12,800 --> 01:09:16,639
Speaker 1: to YouTube dot com, forward Slash, R and B Money