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Speaker 1: Of Course. I Love Supreme is a production of I

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Speaker 1: Heart Radio. This classic episode was produced by the team

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Speaker 1: at Pandora. Ladies and gentlemen, welcome back to q l

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Speaker 1: S Classic with I'll be Sure. So many stories about

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Speaker 1: him coming up from Mount Vernon from an international superstar,

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Speaker 1: rubbing elbows with all the great Quincy Jones, to uh

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Speaker 1: showing Diddy Combs to Heavy d to working with Joe

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Speaker 1: to see and Timberland, you know, just everybody, so many

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Speaker 1: crazy stories. I hope you guys enjoy Part two of

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Speaker 1: q LS Classic with the great I'll be shooting the

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Speaker 1: rapping tip Rapper five times? Okay, private times in the

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Speaker 1: whole nine all right? So why I did like that

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Speaker 1: would have been a single? Do? Okay? Why was it?

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Speaker 1: Why was it? Why wasn't that a single? And why

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Speaker 1: did they go with misunderstanding as the up temple rather

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Speaker 1: than had enough? Or uh was the side too that

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Speaker 1: was had enough? You excite me? Like those just for

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Speaker 1: the moment, Like those were the records? Like what well

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Speaker 1: at that point, um, because of the success of an

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Speaker 1: effect mode, Um, what happens is the building becomes really

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Speaker 1: smart all of a sudden, suddenly we have the end

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Speaker 1: we know. Wait, even before you give that answer, did

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Speaker 1: you have a relationship with Moe Austin at all or actually, actually,

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Speaker 1: you know what I did phasing out? No, no, no,

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Speaker 1: I had great relationship with my Austen, Lenny Waronker and

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Speaker 1: and all the executives at at Warner Brothers and great guys,

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Speaker 1: Michael Austin, brilliant record guys. But I don't think they

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Speaker 1: wo were necessarily involved with the day to day. I

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Speaker 1: think they just kind of looked at the budgets and

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Speaker 1: so and so forth. So it was Benny your wall, Benny,

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Speaker 1: Benny was my guy, and Benny Benny was actually Benny's

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Speaker 1: a smart record guy. To like, Benny's a an organic

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Speaker 1: kind of like he can see. He's like no tadamas,

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Speaker 1: you know, he's got the he can kind of he

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Speaker 1: can see, you know, what's in front of him. And

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Speaker 1: he's always been that brilliant cat. But in terms of UM,

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Speaker 1: in terms of the the record selection, um again, almost

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Speaker 1: the same concept of what happened when we all went

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Speaker 1: to Motown. You had a lot of chefs on this

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Speaker 1: stool and a lot of stuff, people trying to make

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Speaker 1: certain decisions like um, so yeah, and so with you

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Speaker 1: to answer your question, it was obviously I had different

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Speaker 1: ideas about what I wanted to do and what singles

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Speaker 1: to release, but you know, you've got to kind of

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Speaker 1: roll with the Red Company because you know they did

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Speaker 1: support you and and say again that that's the politics

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Speaker 1: of of the record industry with you know, with uh,

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Speaker 1: you know, them really getting behind and pushing a record,

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Speaker 1: and you know you're in the in the trenches making

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Speaker 1: this record, so you're so close to it. So sometimes

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Speaker 1: as an artist you kind of want to step away

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Speaker 1: from it and you just have to be able to

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Speaker 1: have those around you you trust their ears, um, and

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Speaker 1: you know for the most part, you know, obviously I

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Speaker 1: would trust Andres years and but I know that they

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Speaker 1: would go back and forth as well in terms of

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Speaker 1: you know, exactly what you just said about which single

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Speaker 1: should be released and the other because I know Andre

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Speaker 1: probably wanted this record, and Benny wanted this record, and

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Speaker 1: then the staff wanted this record. Um, so those things,

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Speaker 1: you know, again, that's the roll of the dice. You know,

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Speaker 1: it's like a crapshoot. You just don't you don't know,

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Speaker 1: and you know in your heart, you know you feel it.

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Speaker 1: You know which joint should be out and then then

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Speaker 1: what was your joint of the album? Like if you

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Speaker 1: could have had to pick, like what would you came first? Special? No,

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Speaker 1: that was the jam that was there. That's the one. Okay,

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Speaker 1: all right, fire question, my my and my mind. The

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Speaker 1: greatest contribution. Well, I just want to thank you for

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Speaker 1: this record along with You by Tevin Cambell, do dude, Okay,

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Speaker 1: Casey and Joe Joe. How was because they're singing background

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Speaker 1: on at least in the credits it says they are. Yeah,

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Speaker 1: that's that's that's so we'll talk about that session. Wow.

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Speaker 1: So at the time, we were, oh, interesting story. So

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Speaker 1: we were working on I think we were doing some

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Speaker 1: of the stuff I guess working on the Jodac project

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Speaker 1: as well. And so my demo singers again, the reason

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Speaker 1: some of the production sounded so magical, very specifically as

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Speaker 1: you know, you know, whether it be Usher or whether

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Speaker 1: it's Tevin Campbell, because those are my my demo singers

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Speaker 1: is faith faith, you know. So I'm just coaching them saying, Okay,

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Speaker 1: we're gonna sing this, these are this the melody, then

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Speaker 1: they will bring so much flavor to it. So if

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Speaker 1: you listen in fact, I'm going to give you a

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Speaker 1: copy of Confused. Um, and it's all. It's all in

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Speaker 1: the box, every every everything is right there. And and

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Speaker 1: uh what it is is so I remember us cutting

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Speaker 1: the demo. So we cut about four or five songs.

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Speaker 1: We cut Confused, Goodbye Alone with You, Alone with You, um,

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Speaker 1: and then and then we did Lately by Stevie Wonder

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Speaker 1: not mind You Casey and Joe Joan had never heard

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Speaker 1: this song before. Wait, so this is where we're going.

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Speaker 1: I didn't hear until they covered it because Aunties that

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Speaker 1: had how did it July? But the only one that

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Speaker 1: got played was master Blaster and um, what was the other?

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Speaker 1: All I do Happy Birthday? Well, yeah, of course that

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Speaker 1: was the happy birthday for Martin Luther King. But no,

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Speaker 1: my first time here in Lately was when they did it. Okay,

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Speaker 1: so right, so the story is. And so I remember

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Speaker 1: at this point when we were cutting, I built the

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Speaker 1: studio because I was trying to hide away. Um, So

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Speaker 1: we built a studio. I brought my mother house in Dumont,

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Speaker 1: New Jersey, and we had a little room set up

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Speaker 1: in in this little room and we put you know,

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Speaker 1: I had sp twelve and then all the keyboards. He

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Speaker 1: set up all the keyboards and we were programming and stuff.

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Speaker 1: So that particular day we had cut all these demos,

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Speaker 1: tracked everything because and actually me and Kyle and I

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Speaker 1: this is the Kyle and I record, So it wasn't

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Speaker 1: me and DeVante at that point, um, but Casey and

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Speaker 1: Jojo was singing the demos. So we got to the

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Speaker 1: song Lately because I thought it would be a perfect remake.

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Speaker 1: So we did the songs. We did all songs, sent

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Speaker 1: the cassette to Quincy, had Tevin's study everything, and then

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Speaker 1: we flew out to l A to think Lara By

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Speaker 1: or something. And then because you know, it was myself

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Speaker 1: and Prince and not to Michael Walden and Mike Monty,

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Speaker 1: you know, the collective effort of t and Tevin's record.

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Speaker 1: So that's how serious they were about this debut record

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Speaker 1: of his. Like yeah, because Quincy when he was actually

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Speaker 1: like yeah, Quincy hand picked He killed the caban, you know,

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Speaker 1: baby face, so he hand picked him. So so then

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Speaker 1: I remember us doing the song, and then I got

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Speaker 1: the news that they weren't going to use the Lately song. Now,

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Speaker 1: mind you, it was funny teaching them because they were

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Speaker 1: singing farmer frequently wear so we got the whole thing

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Speaker 1: down Pat Boon when it was like, yo, the song

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Speaker 1: is dope. We found out that Quincy wasn't going to

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Speaker 1: use lately, and I was given a few different stories.

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Speaker 1: But it's funny. I don't even asked him, but I

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Speaker 1: kind of figured out because he didn't own the publishing

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Speaker 1: so he did. Why have him to do somebody else's

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Speaker 1: song that he doesn't know? Quincy Quincy Quincy is the

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Speaker 1: genius publisher. You know, he is Westinghouson you know um

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Speaker 1: but uh you know so, yes, So they didn't use it,

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Speaker 1: and so the song was just there. Now mind you,

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Speaker 1: I am somewhere. I think I'm in the house in Jersey.

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Speaker 1: I'm watching television oncomes m t V unplugged. Oh body

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Speaker 1: is wait a minute? With exact arrangement everything that the

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Speaker 1: whole and DeVante but obviously did. First of all, Big

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Speaker 1: Shotow did an incredible job and then with them doing

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Speaker 1: it live, which become became one of their signature songs.

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Speaker 1: But that's the identical song we did and producted on

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Speaker 1: production that we did on Tevin Campbell. Actually, so the

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Speaker 1: question the video version, because there's like a studio version

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Speaker 1: that was used for the video version? Is that what

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Speaker 1: the original version? No, I didn't do that. What I

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Speaker 1: did was I taught them the song we did it

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Speaker 1: on Tevin Campbell, which it's in your box, you'll have

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Speaker 1: it and but yeah, but when I turned on the TV,

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Speaker 1: I was remember the big old you know, I remember

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Speaker 1: these had the big screen TVs with real I was

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Speaker 1: sitting up flo when I was watching the MTV Unplugged

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Speaker 1: and mm hmmm, I was like, now, mind you. Initially

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Speaker 1: I was just happy because like, oh wow, that's dope.

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Speaker 1: But it was the exact arrangement that we did, which

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Speaker 1: neither here nor there. The point was that they did

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Speaker 1: a brilliant job on it, because that's that's my mentality.

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Speaker 1: Did a brilliant job. But later on everybody's like, you know,

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Speaker 1: didn't didn't you did do that on the tip And

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Speaker 1: I said, well, now, mind you. It would be great

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Speaker 1: if it was an original song by me, but no,

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Speaker 1: it's a remix. I have no claims to it. But

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Speaker 1: they killed it and they smashed it. I love the

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Speaker 1: fact that they just they really made it their own. Okay.

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Speaker 1: I just thought about something seven and it's just yeah, album.

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Speaker 1: It was not one right, Tevin's whattensive video cute? You

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Speaker 1: know you got Luke No. But the thing is is

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Speaker 1: that if Joe to see is demoing for Tevin Campbell,

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Speaker 1: who still has a young voice, Like, wouldn't you to

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Speaker 1: have either a female or someone that's in Tevin's range

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Speaker 1: see see Yeah, But what you're saying is yeah, but

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Speaker 1: see Tevin. His nickname at which I gave him was

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Speaker 1: eighth one of the World. This child can sing a

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Speaker 1: parking ticket. He could sing anything. And what happened was,

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Speaker 1: so as I was doing the stuff, I would have

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Speaker 1: Casey and Jojo interchange. So if you listen to Tevin's versus,

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Speaker 1: you'll hear Casey and you'll hear Jojo. So they did

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Speaker 1: bridge verse half verse and then me singing you know

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Speaker 1: so uh and me talking ship and everything. So you know,

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Speaker 1: the King of Talks show. You're right, So, oh my god,

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Speaker 1: I'm glad you Yeah, I forgot Okay, I gotta ask

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Speaker 1: a question about the soldier in awards. Okay, So so then, uh,

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Speaker 1: you know, for the most part, it was I mean

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Speaker 1: I wanted to make the again my approaches, make a movie,

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Speaker 1: make a four minute movie. How do we do this

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Speaker 1: the for minute movie, and I wanted to make sure

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Speaker 1: those records are that strong, now, mind you. The funny

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Speaker 1: part was this, So we get in the studio and

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Speaker 1: I think, like Dada and rashid it all hanging out,

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Speaker 1: you know, just trying to keep him all festive. And

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Speaker 1: you know, Katheran, girls around you, this is a nice

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Speaker 1: and the kid, you know, we put the track on

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Speaker 1: and the kid gets in booth and he sings it

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Speaker 1: identical one time down and what song is this? This

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Speaker 1: was alone with you now, mind you? Just okay this

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Speaker 1: one up. He studied to the point where he did

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Speaker 1: every Joe Joe run and every case he runs Joe

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Speaker 1: Joe and Casey went to the pay phone, yeah, I

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Speaker 1: said it, went to the studio pay phone, call their

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Speaker 1: mama and Charlotte and Monroe excuse me, mama. This little

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Speaker 1: boy did all of our runs, both of them, both

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Speaker 1: of us. They were so impressed by his vocal ability

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Speaker 1: that and then he was, okay, what's next, what do

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Speaker 1: you do next? Like he did so obviously I made

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Speaker 1: him do it again and I'm giving different inflections. And

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Speaker 1: then I wanted to comp the vote, you know, I mean,

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Speaker 1: technically I wanted to comp come to vocalan but to

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Speaker 1: get them, you know, to get the maximum performance out

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Speaker 1: of him, to see, you know, to make sure it

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Speaker 1: was right. But the kid sang both of their parts

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Speaker 1: by himself, one time down and nailed every run. Now

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Speaker 1: mind you, nobody's doing Casey and Jojo runs in. I

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Speaker 1: don't care unless you unless you're Fred Hammond or you

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Speaker 1: are you know, Donnie Hathaway or Stevie one of himself.

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Speaker 1: To the point where I remember watching our senior Hall

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Speaker 1: when when they went and did Lately and Stevie came out,

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Speaker 1: and then Jojo got Stevie. I don't know if you

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Speaker 1: ever noticed that Stevie did something just something crazy, Joejoe.

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Speaker 1: So every time I see Jojo, I said, you know,

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Speaker 1: that was your magical moment the entire career he made

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Speaker 1: Stevie went go. But you know it's amazing, I mean,

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Speaker 1: just an amazing time. But just to see this this

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Speaker 1: kid and then and then basically what we did was

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Speaker 1: as we gave him these demos, you know, he would

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Speaker 1: he would be so prepared and ready and he would

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Speaker 1: just he would knock these vocals up. But then what

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Speaker 1: happened was I didn't want to be. We had such

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Speaker 1: a magical like the demos came out so magical. Then

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Speaker 1: again we ride around the hood playing these demos and

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Speaker 1: this Casey and jose In minded and the Jodice record

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Speaker 1: wasn't out yet, I don't think so. So it was

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Speaker 1: just sounded so crazy with the harmonies in this and

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Speaker 1: it was basically even what we tried to do with

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Speaker 1: the Jodice record. It was basic. It was the gospel

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Speaker 1: gap pan because the entire Jodesee record. When I would

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Speaker 1: drive to the studio to Unique studios or too Hit

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Speaker 1: factory from growing on the huts into the city every day,

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Speaker 1: I was listening to a group called Commission, So all

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Speaker 1: I wanted to hear that. So, so that's if you

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Speaker 1: listen to the influence in terms of all the harmony

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Speaker 1: and the structures and the and the harmonic structures and

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Speaker 1: all of those progressions harmonically, that's what I was being

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Speaker 1: influenced by. So all I'm listening to is the windings

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Speaker 1: and I'm listening to Commissions. So that's why it sounds

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Speaker 1: like a gospel super like NERD question, what reverbs were

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Speaker 1: you using at that time? Because they y'all had you

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Speaker 1: always had like the biggest, brightest sounding fucking verbs, like

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Speaker 1: the way y'all put on the background because you made

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Speaker 1: their vocals sounds so big. I had the privilege of

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Speaker 1: working with the jail. What happened was I called Quincy

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Speaker 1: and I said, I said, I got this new group

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Speaker 1: and I need an engineer, like can we use Bruce

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Speaker 1: with Dean back? So you just laughed at there. I

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Speaker 1: tried to go there. Damn well, I didn't know. I

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Speaker 1: just said he's the best in the business. That's what

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Speaker 1: I need. So that's the mount Verne encouraged. It's so

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Speaker 1: so I asked in Quincy was like, I have somebody

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Speaker 1: I slow downing, I'll be slow down. So but but

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Speaker 1: what happened was, but he made a recommendation for me

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Speaker 1: and he says, I want you to do. He gave

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Speaker 1: me a recommendation to an engineer and that's in an

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Speaker 1: asthmas that well, what you know, what has he done?

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Speaker 1: He said, uh, he makes earth win and file. That's

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Speaker 1: the one I wanted because because it was vote, because

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Speaker 1: because he wanted to know what kind of what is

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Speaker 1: its vocals? I said, yah, I said, God as vocal heavy,

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Speaker 1: as as harmony, as this, I need this, I need

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Speaker 1: frequencies I need I need forty hurts and then also

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Speaker 1: I need this top end and I need a middle

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Speaker 1: and I just explained Mick Gazowski and we went out

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Speaker 1: to Conway Studios in l A And they just got

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Speaker 1: the brand new flying faders board as a cl straight

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Speaker 1: from London and so it's a whole brand new thing.

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Speaker 1: But long story short, it was amazing because, um, me

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Speaker 1: having the background of engineering and understanding frequencies, this was

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Speaker 1: a perfect time me because I was learned so much

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Speaker 1: from this guy. To answer you a question. Mitzowski had

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Speaker 1: toys like you would not believe. Like he had this

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Speaker 1: reverb that would sit up. It looked like my mother's

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Speaker 1: furnace radiator that would you know, like back in the

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Speaker 1: day with real cold and you put it near the

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Speaker 1: windows so the draft from the window didn't make you cold,

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Speaker 1: and it was like and then he had something underground

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Speaker 1: and there was a reverb that was underground that would

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Speaker 1: it was so he had all these you know, it

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Speaker 1: wasn't even about rack mounts at that point, outside of

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Speaker 1: the SEC base and whatever else we're using. But it

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Speaker 1: was just more of a just these TC electronics and

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Speaker 1: and just all type of look like Jurassic Park and

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Speaker 1: they're like electronically you know, and just and he would

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Speaker 1: just create this stuff. But his his arsenal was so

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Speaker 1: brilliant to the point and then when I listened to it,

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Speaker 1: it was so clean. I was like, oh man. So

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Speaker 1: when Mick would leave the studio, go back and I

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Speaker 1: would turn up the big turned up the all the

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Speaker 1: kick drums, I would that would that would move it

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Speaker 1: and did write it and then lit it right and

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Speaker 1: it so so basically he mixed it sonically perfectly. And

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Speaker 1: then I address the US keep working with him for

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Speaker 1: the Sexy Versus album. Yeah, yeah, and then I started

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Speaker 1: working with him begin Um, but let me tell you

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Speaker 1: how this went about. What happened was so the guys.

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Speaker 1: So once you know, they got signed and they started

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Speaker 1: working on the album. Um, I remember I get a

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Speaker 1: call from Andre Andrew said, yo, I need to meet

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Speaker 1: with you. I was like, okay. DeVante was so amazing

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Speaker 1: on the production, like you know he and it's funny

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Speaker 1: because Joda see didn't want to be like a guy

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Speaker 1: Joda see DeVante that wanted to be like bb D.

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Speaker 1: That's all. That's all. I used to talk about BBD,

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Speaker 1: but obviously DeVante had a Teddy Riley esque style and

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Speaker 1: field to him. Um and I remember, I mean in

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Speaker 1: a brilliant, brilliant musician. Uh and I remember so Puff

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Speaker 1: and Dre came to the house in Jersey. Was sitting

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Speaker 1: on the green leather couch. I think that's let the

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Speaker 1: plastic on the couch came over. They were like, listen, okay,

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Speaker 1: listen to Fellas. You know came up with the stuff

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Speaker 1: and it's alott You know, it's Alottle. You know it's

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Speaker 1: not there, He's not ready yet, but to all the ideas,

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Speaker 1: everything is right there. He said, I need you to

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Speaker 1: take this ship and do that Quincy Jones ship. You do,

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Speaker 1: He said, take the Masters, and I want you to

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Speaker 1: go to l A and I want you to flip

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Speaker 1: this whole thing. So what I did first was I

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Speaker 1: grabbed Davante, brought him to the house in Jersey, locked

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Speaker 1: up everything, and we sat there and reprogrammed the entire album.

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Speaker 1: Did everything you know from scratch. I took all the

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Speaker 1: everything and know all that. That's why if you listen

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Speaker 1: to it's the same sounds on on the Tivin Campbell album.

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Speaker 1: It's the same kid, that's all jealousy thing. So I

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Speaker 1: just used the same my same disc, my floppy disc

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Speaker 1: from the SP twelve and so oh you did. Yeah,

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Speaker 1: we used the SP most of that stuff too, like

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Speaker 1: come and talk to me and all that, because all

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00:19:02,840 --> 00:19:04,359
Speaker 1: that stuff is the sample. Now, I just took the

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00:19:04,440 --> 00:19:06,200
Speaker 1: nine of nine kit and the eight away kit and

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00:19:06,359 --> 00:19:08,359
Speaker 1: combined them and then made my own sounds like taking

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Speaker 1: a bat like the one on right now, like it's

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00:19:10,600 --> 00:19:13,479
Speaker 1: a it's a bat hitting the tree. And then I

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00:19:13,520 --> 00:19:19,639
Speaker 1: just drunk d yeah. So yeah, because right now when

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Speaker 1: alone with you were like pretty much right. And then

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Speaker 1: if you think about it, the Ussher record too and

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Speaker 1: many so so now what happened was so when Puff

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Speaker 1: and Drake came over to listen, you know, take this

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Speaker 1: stuff and you know, do that Quincy Jones thing to it,

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Speaker 1: and you know went down, you know, like I said, printed,

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Speaker 1: you know, did all the stuff like that, took it

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Speaker 1: to Hipactory, Times Square, printed everything may show was you know,

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Speaker 1: this was my thriller. I took this so seriously because

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Speaker 1: this was my thriller. This was my opportunity to show

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Speaker 1: myself as a producer. And I wasn't necessarily thinking like that.

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Speaker 1: Then it was just more of this project. It's so

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Speaker 1: important to me because I want to make them into im,

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Speaker 1: make a group, you know, and we did it and

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Speaker 1: then they said okay, then they shipped me out because

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Speaker 1: they didn't want nobody suppose, so they told me go

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Speaker 1: to l A. So, you know, the guys are mad

359
00:20:09,800 --> 00:20:12,040
Speaker 1: at me. They hated some Elvy Short because they were

360
00:20:12,040 --> 00:20:14,720
Speaker 1: mad because I went out and and it was so

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00:20:14,720 --> 00:20:19,040
Speaker 1: funny because outside it was like a celebrity tournament because

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Speaker 1: every day in the studio, you know, I'd be in

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Speaker 1: the mixing, and then outside in Colma, you know, you

364
00:20:23,320 --> 00:20:25,560
Speaker 1: get the little basketball court outside, so it was Mike

365
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Speaker 1: Tyson and Martin Lawrence and Chris Rock and you know,

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Speaker 1: it just like the whole family that Christopher Waite, everybody

367
00:20:31,000 --> 00:20:33,960
Speaker 1: just hanging out playing basketball, coming and out, Jamie Fox

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00:20:34,000 --> 00:20:36,199
Speaker 1: and and it was just fun. It was just a

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Speaker 1: great time. But it was so important. People don't realize

370
00:20:39,440 --> 00:20:42,000
Speaker 1: put yourself in the right environment when you're doing a record,

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Speaker 1: like don't put don't isolate yourself, because when your record's

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Speaker 1: gonna sound isolated, keep yourself in your your environment. Okay,

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Speaker 1: So I have a question, Short, leads back to Tevin

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Speaker 1: and actually connects to you, and I'm at it. I'll

375
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Speaker 1: feel Printing there as well, Um what I mean, as

376
00:21:02,280 --> 00:21:05,800
Speaker 1: as diplomatic or as explicit or truthful you want to

377
00:21:05,840 --> 00:21:10,960
Speaker 1: be with it? What was going on with Warner between

378
00:21:12,480 --> 00:21:19,359
Speaker 1: two and that, I feel like the expectations that were

379
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Speaker 1: there for Tevin Campbell to be the next God, Like

380
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Speaker 1: I mean everyone basically just said like okay verse specifically

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Speaker 1: because he came from Quincy, right, there's our new Michael Jackson.

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Speaker 1: So even though yes, he had hits and made classics

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Speaker 1: and all that stuff, I felt like the expectations for

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Speaker 1: him to be God whatever exaggerated things that I mean,

385
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Speaker 1: I guess the perception and I don't know if Warner

386
00:21:46,600 --> 00:21:50,919
Speaker 1: dropped the ball to push it further, but on the

387
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Speaker 1: second album or well, just I mean that was yeah,

388
00:21:54,960 --> 00:21:59,160
Speaker 1: that was that was after Graffiti. Yeah, but even with

389
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Speaker 1: print complaining about Warner Brothers, like what what was happening

390
00:22:03,680 --> 00:22:09,680
Speaker 1: with Warner at the time that a lot of black

391
00:22:09,800 --> 00:22:12,679
Speaker 1: artists on that label between the first half of the

392
00:22:12,760 --> 00:22:18,119
Speaker 1: nineties were sort of like kind of like we learned

393
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Speaker 1: excellent question, we learned what an urban budget is and

394
00:22:23,240 --> 00:22:30,200
Speaker 1: a pop budget is Black music department. So the Black

395
00:22:30,200 --> 00:22:33,320
Speaker 1: Business Department was an incredible department, and we would you know,

396
00:22:33,359 --> 00:22:35,119
Speaker 1: pretty much we were paying the rent as well, and

397
00:22:35,160 --> 00:22:37,840
Speaker 1: we're doing it, um, but the budgets were just a

398
00:22:37,880 --> 00:22:40,040
Speaker 1: little different than Madonna. And you know, as soon as

399
00:22:40,040 --> 00:22:43,439
Speaker 1: it was so even and my only honestly my I

400
00:22:43,560 --> 00:22:46,280
Speaker 1: enjoyed working with Benny so much because we rocked together

401
00:22:46,359 --> 00:22:50,159
Speaker 1: in terms of just you know, we're traditionally on the

402
00:22:50,160 --> 00:22:51,959
Speaker 1: same page in terms of musically and things we want

403
00:22:52,040 --> 00:22:55,320
Speaker 1: to do. But um, the probably the only complaint that

404
00:22:55,359 --> 00:22:58,679
Speaker 1: I would have m even as the artist who was

405
00:22:59,359 --> 00:23:02,040
Speaker 1: all the attention and was paid to, you know, very

406
00:23:02,040 --> 00:23:06,240
Speaker 1: specifically because of the exists of the first album organically, UM,

407
00:23:06,280 --> 00:23:07,760
Speaker 1: and I don't even think they knew what they had

408
00:23:07,960 --> 00:23:12,760
Speaker 1: outside of that. Um, they didn't really even with my records,

409
00:23:13,080 --> 00:23:16,199
Speaker 1: they didn't push them pop, just like you know, I

410
00:23:16,240 --> 00:23:19,320
Speaker 1: wasn't in that right space for the pop records because

411
00:23:19,400 --> 00:23:22,919
Speaker 1: Night and Day did it on its own. But just

412
00:23:23,000 --> 00:23:25,080
Speaker 1: even like right now, there's no reason why Night and

413
00:23:25,200 --> 00:23:27,199
Speaker 1: Day off on your own, girl, where it's not an

414
00:23:27,280 --> 00:23:29,240
Speaker 1: a T and T at Verizon commercial right now, you

415
00:23:29,240 --> 00:23:32,840
Speaker 1: know what I'm saying, So maximize on the moment on

416
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Speaker 1: the moment um. I remember I used to sit in

417
00:23:34,920 --> 00:23:36,480
Speaker 1: there and I would go in in a sales meeting

418
00:23:36,520 --> 00:23:39,040
Speaker 1: and I would say, hey, listen, um, you know, I

419
00:23:39,080 --> 00:23:40,800
Speaker 1: saw there was a new commercial out and it was

420
00:23:41,320 --> 00:23:43,600
Speaker 1: it was for deodorant, and I would say, well, you know,

421
00:23:43,640 --> 00:23:46,560
Speaker 1: products and music should go hand in hand in fashion,

422
00:23:46,800 --> 00:23:49,000
Speaker 1: because remember we came from a school of Puffy, so

423
00:23:49,040 --> 00:23:51,560
Speaker 1: everything was you know, how do you put this song

424
00:23:51,640 --> 00:23:54,520
Speaker 1: with this sneaker and this You know, it's a branding thing,

425
00:23:54,520 --> 00:23:56,440
Speaker 1: but we were always thinking that anyway, so I wanted

426
00:23:56,480 --> 00:24:01,760
Speaker 1: to you got it. So I was like, now, now,

427
00:24:01,840 --> 00:24:04,080
Speaker 1: mind you if you notice in the opening of the

428
00:24:04,160 --> 00:24:08,560
Speaker 1: video of Rescue Me and when the two guitar plays

429
00:24:08,880 --> 00:24:10,800
Speaker 1: beside me and we were rocking, do you want to

430
00:24:10,840 --> 00:24:14,119
Speaker 1: do boom? And right in the beginning of video the

431
00:24:14,160 --> 00:24:19,680
Speaker 1: first thing I had them do as well, oh his hands, yeah, me,

432
00:24:19,720 --> 00:24:23,200
Speaker 1: thinking that they're gonna see that when you run DMC,

433
00:24:27,440 --> 00:24:32,320
Speaker 1: I'll be sure you said the show to his my

434
00:24:32,359 --> 00:24:40,520
Speaker 1: Idida's moment or his local j M plug moment with them. Okay,

435
00:24:40,560 --> 00:24:46,840
Speaker 1: wait real quick, I gotta know when you guys are

436
00:24:46,880 --> 00:24:50,880
Speaker 1: performing the Secret Garden at the Soul Train Awards. What

437
00:24:50,960 --> 00:24:53,600
Speaker 1: was going on between Barry White and El de Barge?

438
00:24:54,560 --> 00:25:01,800
Speaker 1: Do you know? Can you divulge? You like you something?

439
00:25:01,880 --> 00:25:05,359
Speaker 1: All right, here's the deal. I don't know what was

440
00:25:05,400 --> 00:25:09,240
Speaker 1: going on in between Barry White and that debars. But

441
00:25:09,240 --> 00:25:10,720
Speaker 1: this is back in the day when I used to

442
00:25:11,080 --> 00:25:15,919
Speaker 1: videotape everything and watch it like ten or twelve eleven times.

443
00:25:16,760 --> 00:25:19,200
Speaker 1: If I were a betting man, I would say that

444
00:25:19,480 --> 00:25:24,080
Speaker 1: something tense was happening between those two because there's a

445
00:25:24,119 --> 00:25:29,240
Speaker 1: look that Barry White gives l De Barte that I'm like,

446
00:25:30,080 --> 00:25:33,800
Speaker 1: I thought, maybe I'm reading into something. Was something? Alright,

447
00:25:33,840 --> 00:25:36,080
Speaker 1: just answer yes or no? What's something happening between them

448
00:25:36,080 --> 00:25:40,240
Speaker 1: two that I don't know about? Well, I can't not know.

449
00:25:40,520 --> 00:25:43,439
Speaker 1: Well I can't say too much because Uncle Barry's not

450
00:25:43,520 --> 00:25:46,479
Speaker 1: here too to verify. But so I was onto something.

451
00:25:46,720 --> 00:25:51,680
Speaker 1: But I would think very specifically, like any great superstar,

452
00:25:53,200 --> 00:26:04,560
Speaker 1: don't sing over me, yo ie. If you were to

453
00:26:04,600 --> 00:26:09,800
Speaker 1: look for you're brilliant. If you were to look at

454
00:26:09,880 --> 00:26:12,080
Speaker 1: the VHS tape I had like that. You know the

455
00:26:12,119 --> 00:26:22,560
Speaker 1: lines to the cracking, there's this, there's there's just a

456
00:26:22,680 --> 00:26:28,000
Speaker 1: three second moment where I saw a looking frustration. The

457
00:26:28,040 --> 00:26:30,880
Speaker 1: only person I knew I could even lead to that

458
00:26:31,000 --> 00:26:33,280
Speaker 1: was at the time like Allen Leeds was was toward

459
00:26:33,359 --> 00:26:36,800
Speaker 1: managing bar White, but he couldn't. He's like, yo, dude,

460
00:26:37,040 --> 00:26:40,320
Speaker 1: it could have happened, but he couldn't verified. But I

461
00:26:40,440 --> 00:26:43,360
Speaker 1: knew something was up with that performance. But don't sit

462
00:26:43,520 --> 00:26:45,479
Speaker 1: right with me. But I remember, first of all, that

463
00:26:45,560 --> 00:26:50,520
Speaker 1: was probably for me again, one of the scariest times

464
00:26:50,960 --> 00:26:54,320
Speaker 1: on planet Earth, very specifically because now mind you he's

465
00:26:54,359 --> 00:27:00,080
Speaker 1: from yeah, oh absolutely, and Uncle Barry was gangster. I

466
00:27:00,160 --> 00:27:03,520
Speaker 1: think Uncle Jim to Jim Brown and Barry White, those

467
00:27:03,560 --> 00:27:08,960
Speaker 1: two and and Dick Griffy, that's that's those are those

468
00:27:09,000 --> 00:27:11,439
Speaker 1: are my Those are my uncle's big big brothers, uncle's

469
00:27:11,480 --> 00:27:17,480
Speaker 1: godfather always been stories. Dick Griffy first of all. Um,

470
00:27:18,000 --> 00:27:20,879
Speaker 1: his widow is like my other mother. She lives in

471
00:27:20,960 --> 00:27:24,520
Speaker 1: Vegas and and uh and and Carolyn Griffy as well,

472
00:27:24,520 --> 00:27:27,159
Speaker 1: who's like my sister. She's in London right now. So

473
00:27:27,280 --> 00:27:30,439
Speaker 1: I'm very close with family. And I have the last

474
00:27:30,480 --> 00:27:33,360
Speaker 1: and only interview of Dick Griffy when I was doing

475
00:27:33,400 --> 00:27:37,600
Speaker 1: Secret Garden over there the other yo. Seriously, yeah, and

476
00:27:37,600 --> 00:27:39,119
Speaker 1: I got I got all the traps. We have so

477
00:27:39,119 --> 00:27:41,919
Speaker 1: many Griffy stories. All the artists that have been on

478
00:27:42,000 --> 00:27:44,640
Speaker 1: this late on this on the show, I'm really trying

479
00:27:44,640 --> 00:27:48,840
Speaker 1: to convince a Smith to do a Dick Griffy unsung

480
00:27:49,760 --> 00:27:52,680
Speaker 1: or a solar On song because that's one. Again, that's

481
00:27:52,680 --> 00:27:55,120
Speaker 1: another one of the stories that is untold, like enough

482
00:27:55,119 --> 00:28:00,280
Speaker 1: to no no. So the closest they got with Lamar

483
00:28:00,760 --> 00:28:03,679
Speaker 1: Yeah yeah, but but again that was his, that was

484
00:28:03,720 --> 00:28:07,040
Speaker 1: his baby and and uh something that did Griffy lived

485
00:28:07,080 --> 00:28:10,720
Speaker 1: by There was a documentary on a VHS that he

486
00:28:10,800 --> 00:28:14,239
Speaker 1: just created on his own called Slaveship to Ownership and

487
00:28:14,240 --> 00:28:16,000
Speaker 1: this was that entire That's what I was telling people

488
00:28:16,000 --> 00:28:19,680
Speaker 1: about doing that anal part of Donald Parmer type of

489
00:28:19,720 --> 00:28:22,439
Speaker 1: business as opposed to just being the face of something.

490
00:28:22,440 --> 00:28:24,760
Speaker 1: You know, have an equity stake have, you know, be

491
00:28:24,800 --> 00:28:27,280
Speaker 1: a part of the excess strategy of whatever that thing

492
00:28:27,320 --> 00:28:30,320
Speaker 1: you're endorsing, that product you're endorsing, so that you know

493
00:28:30,440 --> 00:28:33,760
Speaker 1: you it's worth your while. Come on, Michael Jordan, Nike,

494
00:28:34,560 --> 00:28:40,640
Speaker 1: you know it is what it is. Okay. I got

495
00:28:40,640 --> 00:28:45,520
Speaker 1: a question party tonight, where are they now? And how

496
00:28:45,520 --> 00:28:50,560
Speaker 1: did you discover them? Um? They were actually again little

497
00:28:50,600 --> 00:28:53,560
Speaker 1: Tone and Brian and all the guys they were in

498
00:28:53,600 --> 00:28:55,760
Speaker 1: the mix already. They were kind of but they were.

499
00:28:55,800 --> 00:28:59,120
Speaker 1: They were working with my cousin Joe, Joe Brim and

500
00:28:59,200 --> 00:29:01,640
Speaker 1: Jimmy Jimmy may This who now manages Salt and Pepper.

501
00:29:02,080 --> 00:29:05,880
Speaker 1: So I was brought they were brought to light by

502
00:29:06,120 --> 00:29:08,680
Speaker 1: Jimmy Manus and Joe Joe and then in that camp.

503
00:29:08,720 --> 00:29:10,480
Speaker 1: And then I had an opportunity when I just got

504
00:29:10,480 --> 00:29:13,160
Speaker 1: a deal at Motown to bring them in to be

505
00:29:13,200 --> 00:29:15,880
Speaker 1: able to do that whole, you know, put their project together.

506
00:29:16,440 --> 00:29:19,320
Speaker 1: That project, if you ever have an opportunity listen to

507
00:29:19,360 --> 00:29:21,840
Speaker 1: that project was my second job, my second coming of

508
00:29:21,920 --> 00:29:24,680
Speaker 1: Joe to See. And what I and this is probably

509
00:29:24,960 --> 00:29:26,680
Speaker 1: the most thing I can say about it is it

510
00:29:26,720 --> 00:29:28,880
Speaker 1: was so well crafted in terms of because I had

511
00:29:28,920 --> 00:29:32,080
Speaker 1: practice doing Joe to See figuring out you know, vocalists

512
00:29:32,080 --> 00:29:34,160
Speaker 1: that way I mean. And then after I start working

513
00:29:34,200 --> 00:29:36,800
Speaker 1: with Dave Hollis and fair so when I took those

514
00:29:36,840 --> 00:29:39,840
Speaker 1: young men and put that project together, and again there

515
00:29:39,920 --> 00:29:42,200
Speaker 1: was so many chefs in the stewart at Motown that

516
00:29:42,240 --> 00:29:44,400
Speaker 1: we didn't even get a chance to release it properly

517
00:29:44,480 --> 00:29:46,200
Speaker 1: because that they would have been the next Joe to

518
00:29:46,280 --> 00:29:48,560
Speaker 1: See for lack of better terms, you know, they were

519
00:29:48,560 --> 00:29:50,760
Speaker 1: their own. I got a copy of that CD somewhere

520
00:29:51,640 --> 00:29:54,280
Speaker 1: I got when I was working at Universal, and there's

521
00:29:54,280 --> 00:29:56,640
Speaker 1: a big circle that says archive copy, do not remove

522
00:29:56,720 --> 00:30:02,880
Speaker 1: from office, and now it's in my house cart there. Okay,

523
00:30:02,880 --> 00:30:04,719
Speaker 1: So we talked a little bit about, you know, you're

524
00:30:04,760 --> 00:30:07,480
Speaker 1: doing the voiceovers for one song. But I learned something

525
00:30:07,480 --> 00:30:11,160
Speaker 1: today that I didn't know. You did a TV pilot. Yeah,

526
00:30:11,360 --> 00:30:14,959
Speaker 1: we uh Private Times in the Whole Nine, which was

527
00:30:16,000 --> 00:30:21,760
Speaker 1: produced by the late George Jackson UM and also Henry

528
00:30:22,760 --> 00:30:26,760
Speaker 1: Douging and Henry George Jackson and UM and also also

529
00:30:27,200 --> 00:30:29,560
Speaker 1: Eric Van Lowe, who was, you know, producer of The

530
00:30:29,600 --> 00:30:32,800
Speaker 1: Cosby Show. You know here's of the Consby Show as well. UM.

531
00:30:32,840 --> 00:30:37,040
Speaker 1: But just it was an amazing time. It was myself, UM,

532
00:30:37,880 --> 00:30:46,280
Speaker 1: Chebb Rock, Martin Martin, Lawrence Michael Michelle, Michael Wright. So

533
00:30:46,320 --> 00:30:48,520
Speaker 1: it was a nice ensemble and it was my debut,

534
00:30:49,120 --> 00:30:51,800
Speaker 1: uh screen test for Warner Brothers. What was the premise

535
00:30:51,920 --> 00:30:55,600
Speaker 1: of um, two kids trying to make it out of

536
00:30:55,600 --> 00:30:59,320
Speaker 1: the hood following their fathers the uncle's foot footsteps and

537
00:30:59,560 --> 00:31:02,160
Speaker 1: there was a club like the Cotton Club downtown in Harlem,

538
00:31:02,200 --> 00:31:03,600
Speaker 1: and we just wanted to get a chance, because if

539
00:31:03,640 --> 00:31:05,240
Speaker 1: you get a chance to play there, you made it.

540
00:31:05,760 --> 00:31:08,200
Speaker 1: And uh, we're just on a hustle and grind and

541
00:31:09,080 --> 00:31:14,480
Speaker 1: written by Barry Michael Cooper. Is that name again Small World?

542
00:31:14,520 --> 00:31:18,040
Speaker 1: Because now Michael Michael, I say, Michael Michelle's Michael Michelle,

543
00:31:18,040 --> 00:31:21,920
Speaker 1: Michael Michael, Michael Michelle. She's in the show with Quincy

544
00:31:21,920 --> 00:31:28,760
Speaker 1: on star on Empire. Yeah really yeah, I mean same director,

545
00:31:28,880 --> 00:31:35,160
Speaker 1: the same creator Daniels situation to genius Lee Daniels. Um,

546
00:31:35,200 --> 00:31:38,200
Speaker 1: I've I've sort of an off the wall question. Doesn't

547
00:31:38,200 --> 00:31:39,800
Speaker 1: have anything to do with you, but it has to

548
00:31:39,840 --> 00:31:42,360
Speaker 1: do with Quincy. And you mentioned how he was sort

549
00:31:42,360 --> 00:31:47,200
Speaker 1: of a publishing um icon. Yeah, okay, I guess that's

550
00:31:47,320 --> 00:31:49,360
Speaker 1: that's one way of putting I think part of what

551
00:31:49,400 --> 00:31:54,280
Speaker 1: you were saying so well, we interviewed him up for

552
00:31:54,320 --> 00:31:58,400
Speaker 1: the show about a year ago or something. But um uh,

553
00:31:58,400 --> 00:32:00,280
Speaker 1: And I'm like a humongous fan of the We Are

554
00:32:00,360 --> 00:32:05,160
Speaker 1: the World project, right, So, um what I noticed about

555
00:32:05,440 --> 00:32:08,040
Speaker 1: forty five of that is that the B side is

556
00:32:08,080 --> 00:32:11,800
Speaker 1: a song called Grace and it's written by Quincy Jones.

557
00:32:12,400 --> 00:32:15,440
Speaker 1: And I know that everybody on the project for the

558
00:32:15,560 --> 00:32:18,280
Speaker 1: out for the Way of the World Album, donated a

559
00:32:18,320 --> 00:32:21,960
Speaker 1: song for the record and donated the proceeds. I don't

560
00:32:22,080 --> 00:32:25,880
Speaker 1: want did they donate the publishing, because here's my question.

561
00:32:25,920 --> 00:32:31,000
Speaker 1: That's a question because if Quincy, Quincy puts his own

562
00:32:31,040 --> 00:32:34,600
Speaker 1: song like he did with Strawberry Strawberry Letter, instead of

563
00:32:35,280 --> 00:32:38,720
Speaker 1: uh Stevie wonder, Um, he puts Grace on the back

564
00:32:38,760 --> 00:32:41,920
Speaker 1: of a forty five that he knows for sure is

565
00:32:41,960 --> 00:32:46,120
Speaker 1: going to sell a gazillion copies. So now unless he

566
00:32:46,800 --> 00:32:50,520
Speaker 1: donated not only the song but the publishing to USA

567
00:32:50,640 --> 00:32:53,880
Speaker 1: for Africa, then he's then he's kind of pulling a

568
00:32:53,920 --> 00:33:01,720
Speaker 1: fast one there. So I'm USA for Africa was damn well.

569
00:33:01,800 --> 00:33:06,160
Speaker 1: I'd like to I'd like to call it. I'd like

570
00:33:06,280 --> 00:33:14,400
Speaker 1: to call it innovative business. Please fix this because you know,

571
00:33:14,440 --> 00:33:16,719
Speaker 1: I love Quincy and I'm not trying to think poorly

572
00:33:16,760 --> 00:33:19,360
Speaker 1: of them, not like but think about it. No, listen,

573
00:33:20,040 --> 00:33:24,120
Speaker 1: it's the same concept as the Godfather who put this together? Me?

574
00:33:24,600 --> 00:33:31,640
Speaker 1: Who do I trust? Me? Who wrote the song? Me? No?

575
00:33:31,760 --> 00:33:33,640
Speaker 1: But it's just you know, it's a smart move because

576
00:33:33,680 --> 00:33:36,040
Speaker 1: what happens is very specifically, as you know, with you know,

577
00:33:36,080 --> 00:33:38,960
Speaker 1: the B side and um wherever that travels, the B

578
00:33:39,080 --> 00:33:41,360
Speaker 1: side must go. Well, he could have put the instrumental

579
00:33:41,480 --> 00:33:43,120
Speaker 1: if We're the World, or it could have you know,

580
00:33:43,920 --> 00:33:47,360
Speaker 1: uh and and Grace, but Grace is not on the record,

581
00:33:47,400 --> 00:33:49,280
Speaker 1: on the full record with all the other songs. It's

582
00:33:49,280 --> 00:33:53,160
Speaker 1: only on the B side of it becomes a commodity. Look,

583
00:33:53,200 --> 00:33:55,840
Speaker 1: I don't know what it is. I'm trying to figure

584
00:33:55,840 --> 00:33:58,520
Speaker 1: out what's going on, you know, like because he should

585
00:33:58,640 --> 00:34:03,640
Speaker 1: you know, he's uh no, I mean, it's just I'm

586
00:34:03,680 --> 00:34:06,040
Speaker 1: just curious from a publishing standpoint what he did. Both

587
00:34:06,040 --> 00:34:09,000
Speaker 1: from a publishing standpoint, it's a smart move because let's

588
00:34:09,080 --> 00:34:13,200
Speaker 1: let's just say that from the standpoint of it not

589
00:34:13,360 --> 00:34:17,560
Speaker 1: being released as a single per se, it probably made

590
00:34:17,560 --> 00:34:22,040
Speaker 1: a shipload of money anyway, So it becomes a valuable aspect,

591
00:34:22,120 --> 00:34:25,279
Speaker 1: like any of that intellectual properties, it becomes valuable through

592
00:34:25,320 --> 00:34:27,880
Speaker 1: the roof so um, just like you know with the

593
00:34:27,920 --> 00:34:30,920
Speaker 1: Tevin Campbell situation with him doing Strawberry Letter, which is

594
00:34:31,160 --> 00:34:34,399
Speaker 1: his composition. Um, it's just a smart move. And and

595
00:34:35,080 --> 00:34:37,160
Speaker 1: knowing now what I know, I wish I would have

596
00:34:38,600 --> 00:34:40,920
Speaker 1: taken the bull by the horns even more so because

597
00:34:41,000 --> 00:34:44,279
Speaker 1: there's so many songs and so much production that I've

598
00:34:44,320 --> 00:34:47,200
Speaker 1: assisted in that I didn't take credit for it because

599
00:34:47,520 --> 00:34:50,120
Speaker 1: and I'm not mad. I'm not the angry rapper right

600
00:34:50,120 --> 00:34:52,640
Speaker 1: now where I'm you know, I should know. So I

601
00:34:53,760 --> 00:34:56,840
Speaker 1: got it, and I understand it. I have enough publishing

602
00:34:56,880 --> 00:35:01,799
Speaker 1: to the point where I'm happy and related, but not

603
00:35:01,960 --> 00:35:05,399
Speaker 1: understanding how important that intellectual property is at this moment.

604
00:35:05,400 --> 00:35:08,640
Speaker 1: You know. Back then, Um, yeah, okay, but USA for

605
00:35:08,719 --> 00:35:14,319
Speaker 1: Africa was a charity organization, you know. Can I share

606
00:35:14,320 --> 00:35:18,840
Speaker 1: something with you about the United Nations? Okay? So do

607
00:35:18,880 --> 00:35:22,759
Speaker 1: you realize that there are certain organizations that everyone eats

608
00:35:22,760 --> 00:35:25,360
Speaker 1: and gets paid before the starving people who are supposed

609
00:35:25,400 --> 00:35:28,279
Speaker 1: to get this stuff? Uh? You know, so there's certain

610
00:35:28,320 --> 00:35:31,520
Speaker 1: organizations that operate in that capacity, and that's you know,

611
00:35:32,000 --> 00:35:35,439
Speaker 1: that's a travesty to me. Yeah. Uh, but I don't

612
00:35:35,440 --> 00:35:39,759
Speaker 1: necessarily think I think that um Quincy's philanthropic footprint is

613
00:35:39,800 --> 00:35:47,719
Speaker 1: so tremendous glue. I don't want to. I just don't.

614
00:35:48,160 --> 00:35:50,000
Speaker 1: That's something I just don't want to know. You can't

615
00:35:50,000 --> 00:35:54,759
Speaker 1: talk about Quincy really. I had a question regards to like,

616
00:35:54,760 --> 00:35:57,440
Speaker 1: because after Sexy Versus ex Versus was like ninety two

617
00:35:58,239 --> 00:36:01,360
Speaker 1: and then um, after that, you didn't come back again

618
00:36:01,719 --> 00:36:06,799
Speaker 1: until oh, eight or nine. It was oh nine and nine.

619
00:36:06,960 --> 00:36:11,320
Speaker 1: So how did you support yourself financially through those years?

620
00:36:11,560 --> 00:36:13,640
Speaker 1: You know what I'm saying, like, what do you? Because

621
00:36:13,680 --> 00:36:16,040
Speaker 1: I admire like cats that can do that, that you

622
00:36:16,040 --> 00:36:17,680
Speaker 1: can walk away from the game and just be like,

623
00:36:17,719 --> 00:36:20,160
Speaker 1: you know what, I need some time for whatever, and

624
00:36:20,280 --> 00:36:22,320
Speaker 1: you know, you know you you still can eat and

625
00:36:22,400 --> 00:36:25,360
Speaker 1: future family. Yeah, but you know what, I am the

626
00:36:25,480 --> 00:36:30,239
Speaker 1: king of believing in entular revenue stream. So um so,

627
00:36:31,120 --> 00:36:33,440
Speaker 1: besides still right, besides doing people and people trying to

628
00:36:33,440 --> 00:36:36,279
Speaker 1: figure out why you're doing radio, Well, let me share

629
00:36:36,320 --> 00:36:39,040
Speaker 1: something with you. I'll just give you a small example.

630
00:36:39,160 --> 00:36:43,960
Speaker 1: Let's say Tom Joyner, right, and I'm being I'm being facetious.

631
00:36:43,960 --> 00:36:48,240
Speaker 1: Obviously Tom Joyner, you know put maybe he was netting

632
00:36:48,239 --> 00:36:50,839
Speaker 1: ten million dollars a year sitting in his bedroom during

633
00:36:50,880 --> 00:36:54,120
Speaker 1: the morning show. You know, um so, I learned the

634
00:36:54,320 --> 00:36:58,239
Speaker 1: syndicated radio game. In addition to I probably made one

635
00:36:58,280 --> 00:37:01,120
Speaker 1: of the most lucrative deals at Motown um um with

636
00:37:01,200 --> 00:37:06,960
Speaker 1: my attorney then um Mr London, I had five deals

637
00:37:07,000 --> 00:37:09,759
Speaker 1: that Motown had an executive deal and artist deal, a

638
00:37:09,760 --> 00:37:12,880
Speaker 1: production deal and label deal, in a publishing deal and

639
00:37:13,840 --> 00:37:21,759
Speaker 1: so love me long time so the Motown that was

640
00:37:21,800 --> 00:37:24,880
Speaker 1: during the Andre Herrel years, Yes, okay, and and and

641
00:37:24,880 --> 00:37:27,160
Speaker 1: and and for the most part, I mean, I think

642
00:37:27,160 --> 00:37:31,160
Speaker 1: it was a great opportunity. Um, the kind and generous

643
00:37:31,200 --> 00:37:34,759
Speaker 1: heart that Andre Horrell has. Uh, and that's why you

644
00:37:34,760 --> 00:37:36,880
Speaker 1: could never say anything bad about Andrea told to me.

645
00:37:36,920 --> 00:37:41,040
Speaker 1: I mean, he he made sure that everyone eat, um,

646
00:37:41,080 --> 00:37:44,319
Speaker 1: everyone eats at the table. And uh. You know. Now,

647
00:37:44,360 --> 00:37:46,600
Speaker 1: the only issue I think I had with the entire

648
00:37:46,640 --> 00:37:52,799
Speaker 1: Motown circumstance and opportunity is that because of that, um,

649
00:37:53,120 --> 00:37:55,719
Speaker 1: there were too many chefs in the kitchen in terms

650
00:37:55,760 --> 00:37:57,120
Speaker 1: of there was a hundred A and R s and

651
00:37:57,120 --> 00:37:59,320
Speaker 1: it was a hundred you know so so but again

652
00:37:59,560 --> 00:38:02,200
Speaker 1: it was Andres kind of heart making sure that all

653
00:38:02,200 --> 00:38:05,960
Speaker 1: of his folks, everybody ate, everybody was in the kitchen, everybody,

654
00:38:06,000 --> 00:38:09,360
Speaker 1: you know. So, but it was just so many opinions

655
00:38:09,400 --> 00:38:12,520
Speaker 1: and so many that it just became a little bit convoluted. Uh.

656
00:38:12,680 --> 00:38:16,359
Speaker 1: And to the point where after a while, you know,

657
00:38:16,840 --> 00:38:19,520
Speaker 1: and no record companies people have this veil and they

658
00:38:19,560 --> 00:38:21,440
Speaker 1: really feel like it's just a red company and some

659
00:38:21,640 --> 00:38:25,720
Speaker 1: vinyl but their shareholders to answer to. As it relates

660
00:38:25,760 --> 00:38:27,640
Speaker 1: to budgets and things in the nature. So you know,

661
00:38:27,760 --> 00:38:29,600
Speaker 1: after a while there the numbers when they don't start

662
00:38:29,640 --> 00:38:32,719
Speaker 1: to balance out and you can't you know, you don't

663
00:38:32,719 --> 00:38:37,840
Speaker 1: have an answer for you know, we spent close to

664
00:38:38,120 --> 00:38:42,320
Speaker 1: eighty million, I think eighty million dollars without a release,

665
00:38:43,120 --> 00:38:46,040
Speaker 1: Oh my goodness. So I think it was prior to

666
00:38:46,080 --> 00:38:49,680
Speaker 1: any releases, any official record releases in terms of the

667
00:38:49,719 --> 00:38:53,960
Speaker 1: marketing and the chair and the sweats cigar and so

668
00:38:53,960 --> 00:38:56,920
Speaker 1: so we you know, I believe that. And don't quote me,

669
00:38:56,960 --> 00:38:58,600
Speaker 1: but I think quote me, but I think it was

670
00:38:58,640 --> 00:39:01,080
Speaker 1: somewhere in the realm of eight and dolls. It relates to,

671
00:39:01,200 --> 00:39:03,759
Speaker 1: you know, just the overall he had to add in

672
00:39:03,800 --> 00:39:06,279
Speaker 1: the source where he was in the chair and like

673
00:39:06,360 --> 00:39:09,359
Speaker 1: you know, the cigar and ship. But no records ever

674
00:39:09,440 --> 00:39:11,640
Speaker 1: came out. When did you know that radio was an

675
00:39:11,640 --> 00:39:20,920
Speaker 1: option for you? Um? It was the second nature. I

676
00:39:20,960 --> 00:39:24,239
Speaker 1: believe only because anytime I go and do radio, it

677
00:39:24,400 --> 00:39:26,279
Speaker 1: was always a joke with people would come to me

678
00:39:26,280 --> 00:39:30,640
Speaker 1: and say, how the hell do you sing so damn

679
00:39:30,719 --> 00:39:35,640
Speaker 1: high and you sound like Barry White's uh you know,

680
00:39:35,920 --> 00:39:38,719
Speaker 1: DNA and UM, And I said, I don't know. I said.

681
00:39:38,719 --> 00:39:40,600
Speaker 1: The only reason I saying highs because I was just

682
00:39:40,680 --> 00:39:44,480
Speaker 1: emulating Smokey Robinson and Marvin Gay. So I would practice

683
00:39:44,520 --> 00:39:46,719
Speaker 1: and and and like the stylistics and stuff that I

684
00:39:46,719 --> 00:39:51,799
Speaker 1: would practice those songs and I learned to develop a falsetto. Um.

685
00:39:51,840 --> 00:39:55,960
Speaker 1: I just had a great conversation with Maxwell, and I

686
00:39:56,080 --> 00:39:59,480
Speaker 1: was so surprised when I'm I'm surprised to hear when

687
00:39:59,480 --> 00:40:01,239
Speaker 1: I hear these things when I speak to artists who

688
00:40:01,239 --> 00:40:05,040
Speaker 1: I truly admire and I look up to and you know, um,

689
00:40:05,040 --> 00:40:08,880
Speaker 1: you know he was telling me about how, you know,

690
00:40:08,920 --> 00:40:11,880
Speaker 1: how much of an influence I was on him. Um.

691
00:40:11,920 --> 00:40:15,080
Speaker 1: And I think Maxwell's falsetto is just genius. I mean this,

692
00:40:15,080 --> 00:40:18,520
Speaker 1: this cat is just brilliant. Um. See that's my figured.

693
00:40:18,560 --> 00:40:20,600
Speaker 1: A few falsetto folks that must have reached out to

694
00:40:20,640 --> 00:40:22,880
Speaker 1: you at some point. There are so many derivatives, from

695
00:40:22,920 --> 00:40:25,960
Speaker 1: Adam Levine to Jason. I mean, of course Michael too,

696
00:40:26,480 --> 00:40:35,640
Speaker 1: well with m Adam Levine. Come on, man, whatever, we'll

697
00:40:35,680 --> 00:40:40,400
Speaker 1: probably the most impressive story for me because obviously anyone

698
00:40:40,440 --> 00:40:42,680
Speaker 1: who knows me or anything close to my circle that

699
00:40:42,719 --> 00:40:47,000
Speaker 1: I'm the biggest Michael Jackson appreciator on planet Earth. Because

700
00:40:47,000 --> 00:40:48,879
Speaker 1: it's not about just being a fan of a fan

701
00:40:49,239 --> 00:40:52,160
Speaker 1: you know, obviously, but the appreciative of his craft and

702
00:40:52,200 --> 00:40:55,400
Speaker 1: his technique and his recording technique, and and and then

703
00:40:55,560 --> 00:40:58,480
Speaker 1: the way Quincy would you know, it's just this there's

704
00:40:58,520 --> 00:41:01,960
Speaker 1: a certain just organic nature to what he what he did.

705
00:41:02,840 --> 00:41:06,319
Speaker 1: So Teddy was working on Michael and I get a

706
00:41:06,360 --> 00:41:09,839
Speaker 1: call from Teddy one day and Teddy's saying, Yo, You're

707
00:41:09,840 --> 00:41:12,759
Speaker 1: not gonna believe this. And I was like, what he says?

708
00:41:12,880 --> 00:41:15,840
Speaker 1: You know. So We're in the studio and Michael says

709
00:41:15,920 --> 00:41:19,960
Speaker 1: to him, um, can we have like, you know, one

710
00:41:19,960 --> 00:41:22,600
Speaker 1: of those Albie Short type songs? Now you know, I

711
00:41:22,640 --> 00:41:28,520
Speaker 1: didn't passed out, I said, Teddy stop lying. He says, yeah,

712
00:41:28,520 --> 00:41:30,440
Speaker 1: I swear. He said he wants to you know, like

713
00:41:30,480 --> 00:41:32,719
Speaker 1: that night, and you know, he started singing it and

714
00:41:32,760 --> 00:41:36,799
Speaker 1: I was so, oh boy, good boy. So you know,

715
00:41:36,880 --> 00:41:40,120
Speaker 1: so so then I'm good. I can just put beyond

716
00:41:40,160 --> 00:41:44,840
Speaker 1: the novacaine whatever. But yeah, just you know, but stuff

717
00:41:44,880 --> 00:41:48,160
Speaker 1: like that, I mean, because with me, I've always maintained

718
00:41:49,480 --> 00:41:53,759
Speaker 1: a this side of defence viewership of what music is

719
00:41:53,800 --> 00:41:56,120
Speaker 1: in terms of being able to appreciate it because I'm

720
00:41:56,160 --> 00:41:59,160
Speaker 1: a fan of of of the craft first and foremost,

721
00:41:59,200 --> 00:42:01,360
Speaker 1: and I'm a fan of the music and then innovative

722
00:42:01,400 --> 00:42:04,480
Speaker 1: music even more so. So you know, i'd like one

723
00:42:04,520 --> 00:42:08,000
Speaker 1: of my favorite artists on Planet Earth is sting um,

724
00:42:08,080 --> 00:42:10,279
Speaker 1: you know, including the Police as well, but just you

725
00:42:10,280 --> 00:42:13,720
Speaker 1: know his work there. Um, you know Greg filling Games.

726
00:42:13,800 --> 00:42:16,200
Speaker 1: You know, there's certain cats who were just who were cats.

727
00:42:16,280 --> 00:42:18,000
Speaker 1: That's what we call them. They're just cats who were

728
00:42:18,080 --> 00:42:23,279
Speaker 1: just Rochelle Farrell, you know obviously Layla Layla hath the way, um,

729
00:42:23,320 --> 00:42:27,439
Speaker 1: you know those things. Harmony with herself, you know, Um,

730
00:42:27,480 --> 00:42:30,920
Speaker 1: you know a certain exception of Lettacy. You know, like

731
00:42:30,960 --> 00:42:34,400
Speaker 1: there's certain the vocalists that are you know, just have

732
00:42:34,640 --> 00:42:41,200
Speaker 1: that thing, um that special you know, Faith obviously, you know,

733
00:42:41,280 --> 00:42:43,400
Speaker 1: just like when I tried to bring it was so

734
00:42:43,440 --> 00:42:46,120
Speaker 1: funny because when I was working with Faith and and

735
00:42:46,120 --> 00:42:47,800
Speaker 1: then this is I can share this because this is

736
00:42:47,840 --> 00:42:50,000
Speaker 1: in her book. Um. And then at that point, I

737
00:42:50,040 --> 00:42:52,200
Speaker 1: think Faith was on section eight. She was going to

738
00:42:52,280 --> 00:42:53,880
Speaker 1: church in Jersey, so on and so forth, and I

739
00:42:53,960 --> 00:42:55,480
Speaker 1: used to have her come down. I used to just

740
00:42:55,520 --> 00:42:57,600
Speaker 1: pay every day to put some money in the pocket

741
00:42:57,600 --> 00:43:00,799
Speaker 1: and come sing demos for me. And she's probably one

742
00:43:00,800 --> 00:43:03,640
Speaker 1: of the few artists who never forgets it. I mean

743
00:43:03,880 --> 00:43:05,440
Speaker 1: when I when she saw I was in the hospital.

744
00:43:05,480 --> 00:43:07,960
Speaker 1: Boom Her and Stevie J. They busy running around t MC,

745
00:43:08,120 --> 00:43:11,560
Speaker 1: chasing around whatever, and they call me at home. Hey,

746
00:43:11,640 --> 00:43:13,520
Speaker 1: you're right, big bro. Everything good. You know, I saw

747
00:43:13,560 --> 00:43:15,520
Speaker 1: you and I whatever. You know. It's like, but she

748
00:43:15,640 --> 00:43:20,760
Speaker 1: always she's always been that the most wonderful, most talented

749
00:43:20,840 --> 00:43:23,600
Speaker 1: artists that I've been around. Like she was my Whitney

750
00:43:23,600 --> 00:43:27,080
Speaker 1: Houston for lack of better terms. And she's strictly my sister.

751
00:43:27,200 --> 00:43:32,840
Speaker 1: Like you know, I love like there's a special spiritual

752
00:43:32,840 --> 00:43:35,920
Speaker 1: love affair between myself and Faith Evans, like meaning we

753
00:43:36,040 --> 00:43:38,799
Speaker 1: in the Mutual Admiration Club, meaning like I love that

754
00:43:38,880 --> 00:43:42,200
Speaker 1: woman as a person, China and the god I'm a godfather,

755
00:43:42,280 --> 00:43:44,759
Speaker 1: you know, like just you know, the daughter China. So

756
00:43:45,000 --> 00:43:48,400
Speaker 1: I just think, but she's just such a talented and

757
00:43:48,600 --> 00:43:54,080
Speaker 1: cool from the bricks, you know, just just organic and

758
00:43:54,080 --> 00:43:56,800
Speaker 1: and and just she's a prodigy and she's so humble

759
00:43:56,880 --> 00:43:59,080
Speaker 1: with it, like she just in her nickname. If you

760
00:43:59,120 --> 00:44:01,800
Speaker 1: ever see Faith that and just called the doctors, you know,

761
00:44:01,920 --> 00:44:06,439
Speaker 1: he's like, where's the alb? Yeah? So is that why

762
00:44:06,480 --> 00:44:09,319
Speaker 1: she was on all the backgrounds for Ushers? Yet that's

763
00:44:09,640 --> 00:44:12,200
Speaker 1: still my favorite us Your album thank you, Thank you

764
00:44:12,320 --> 00:44:15,400
Speaker 1: very much, appreciate it. And and and I enjoyed working

765
00:44:15,600 --> 00:44:19,759
Speaker 1: uh you know, love was here here and that's the

766
00:44:19,880 --> 00:44:21,640
Speaker 1: same thing we did with you know, and and again.

767
00:44:22,040 --> 00:44:24,000
Speaker 1: But that was the whole purpose. The reason I got

768
00:44:24,040 --> 00:44:26,319
Speaker 1: that called because puff would call me to do all

769
00:44:26,320 --> 00:44:28,560
Speaker 1: of the you know, like so one I did once

770
00:44:28,760 --> 00:44:31,480
Speaker 1: was first record, and I did Ushers first. So those

771
00:44:31,520 --> 00:44:34,920
Speaker 1: are Puffy projects. So puffic for the bad boy? Did

772
00:44:34,960 --> 00:44:37,839
Speaker 1: you once we have you did this is Your Day? Yeah,

773
00:44:37,920 --> 00:44:39,200
Speaker 1: and we did some other and then I have a

774
00:44:39,280 --> 00:44:41,359
Speaker 1: duet with Faith in one twelve two that was never

775
00:44:41,360 --> 00:44:44,040
Speaker 1: at least I said, I'll put that in there. Just

776
00:44:44,160 --> 00:44:46,600
Speaker 1: remember those stept Tony put him in the drop write

777
00:44:46,600 --> 00:44:49,680
Speaker 1: it down like yeah, we need that, um. And then

778
00:44:49,719 --> 00:44:51,719
Speaker 1: we did it. We did a song called make You

779
00:44:51,800 --> 00:44:56,120
Speaker 1: Sweat with Tony Thompson. So's it was on the sixth season.

780
00:44:56,200 --> 00:44:58,799
Speaker 1: Was only solo album, right right. That was the last

781
00:44:58,800 --> 00:45:02,880
Speaker 1: song we recorded. Yeah, and um Cassis soul. What a

782
00:45:02,960 --> 00:45:04,880
Speaker 1: talent did you talked about the vocalist too? That was

783
00:45:04,880 --> 00:45:09,240
Speaker 1: another one that kid right there. When you got signed,

784
00:45:09,640 --> 00:45:11,799
Speaker 1: How did the deal come about with Hidden Beach? Um?

785
00:45:12,200 --> 00:45:14,080
Speaker 1: How did how did you sign with that before you

786
00:45:14,120 --> 00:45:17,279
Speaker 1: before you get to that was was there anything after

787
00:45:17,360 --> 00:45:20,359
Speaker 1: Sexy Versus? Like? Was there? Like I remember, I feel

788
00:45:20,400 --> 00:45:22,120
Speaker 1: like I had seen something on the release schedule at

789
00:45:22,120 --> 00:45:25,520
Speaker 1: some point in like maybe yeah, you know. What what

790
00:45:25,680 --> 00:45:31,920
Speaker 1: happened was after Sexy Versus Um, Warners did a major shift,

791
00:45:32,160 --> 00:45:35,759
Speaker 1: an executive change, and I didn't have what's called a

792
00:45:35,880 --> 00:45:39,360
Speaker 1: key man clause in my contract, which one guy left

793
00:45:39,400 --> 00:45:41,960
Speaker 1: and right like if there the head executives who signed

794
00:45:42,000 --> 00:45:44,560
Speaker 1: you leaves, you know you can go with him, you know.

795
00:45:44,600 --> 00:45:46,240
Speaker 1: So there was nothing like that. But I really enjoyed

796
00:45:46,239 --> 00:45:50,000
Speaker 1: working with Benny medina Um and just his professionalism and

797
00:45:50,040 --> 00:45:52,719
Speaker 1: his understanding of what entertainment is. Obviously now as you

798
00:45:52,760 --> 00:45:54,880
Speaker 1: see with old J Low's whole career, like what what

799
00:45:55,000 --> 00:45:57,840
Speaker 1: this man can do is it relates to sculpting and crafting,

800
00:45:58,080 --> 00:46:02,240
Speaker 1: taking a budding diamond and and shining and just creating

801
00:46:02,280 --> 00:46:07,160
Speaker 1: something and creating a miracle. Um and he you know,

802
00:46:07,239 --> 00:46:10,680
Speaker 1: so at that point I think they makes they just

803
00:46:10,719 --> 00:46:15,480
Speaker 1: started moving stuff around executives and Benny was was going

804
00:46:15,560 --> 00:46:17,680
Speaker 1: at that time, and they hired a lawyer to be

805
00:46:17,760 --> 00:46:20,920
Speaker 1: the A and R person, And so I got dropped

806
00:46:20,960 --> 00:46:24,120
Speaker 1: like hot potato because what happens is, as you know,

807
00:46:24,640 --> 00:46:28,800
Speaker 1: when new executives come, they bring along their own regime,

808
00:46:29,239 --> 00:46:32,160
Speaker 1: and I wasn't a part of that. So I literally

809
00:46:32,400 --> 00:46:34,640
Speaker 1: was like, you know, when we were getting raised out

810
00:46:34,680 --> 00:46:36,960
Speaker 1: the new album, I couldn't get anybody on the phone.

811
00:46:37,520 --> 00:46:42,160
Speaker 1: I was like, wow, I said, I generated close to

812
00:46:42,200 --> 00:46:45,480
Speaker 1: a quarter of a billion dollars with you know, my

813
00:46:45,560 --> 00:46:47,640
Speaker 1: production and my record sales and all. You know, just

814
00:46:47,760 --> 00:46:49,120
Speaker 1: one of my guys of Wall Street kind of did

815
00:46:49,120 --> 00:46:50,680
Speaker 1: an analysis for me just in terms of, you know,

816
00:46:50,719 --> 00:46:53,800
Speaker 1: all this stuff collectively. But but mind you, I sold

817
00:46:53,840 --> 00:46:57,239
Speaker 1: a significant amount of units for for Warner Brothers at

818
00:46:57,320 --> 00:47:00,000
Speaker 1: that point, and you know, you look at it now

819
00:47:00,000 --> 00:47:01,520
Speaker 1: out and you you know, like I said, I'm never

820
00:47:01,560 --> 00:47:03,880
Speaker 1: going to be the bitter Artists or anything else like that,

821
00:47:03,920 --> 00:47:05,960
Speaker 1: because you know I do. I do okay, you know,

822
00:47:06,400 --> 00:47:10,880
Speaker 1: I'm okay and very okay. But but but at the

823
00:47:10,960 --> 00:47:13,319
Speaker 1: end of the day, what has happened is, you know,

824
00:47:13,360 --> 00:47:19,800
Speaker 1: when you realize as an artist how much revenue you generate.

825
00:47:19,840 --> 00:47:22,040
Speaker 1: I mean that's why you know, people to understand with

826
00:47:22,080 --> 00:47:24,560
Speaker 1: these three sixty deals because basically it's just an insurance policy.

827
00:47:24,560 --> 00:47:26,560
Speaker 1: If I'm investing you, I need to be a party

828
00:47:26,600 --> 00:47:29,600
Speaker 1: of merchandise and social media everything you know, and and

829
00:47:29,600 --> 00:47:33,399
Speaker 1: if you're in a position like like with Quincy when

830
00:47:33,440 --> 00:47:36,200
Speaker 1: he was working on when he start first started to

831
00:47:36,200 --> 00:47:40,160
Speaker 1: do his deal, um is for television stuff. Um, there

832
00:47:40,200 --> 00:47:43,520
Speaker 1: was no involved only because he wasn't He's not in

833
00:47:43,520 --> 00:47:45,479
Speaker 1: a position to have to give up all his music

834
00:47:45,560 --> 00:47:47,440
Speaker 1: rights and its publishing because you know, they wanted to

835
00:47:47,480 --> 00:47:50,000
Speaker 1: own everything and he don't have to do that. So

836
00:47:50,520 --> 00:47:53,239
Speaker 1: thank you for coming out. God bless and let's let's

837
00:47:53,280 --> 00:47:55,640
Speaker 1: make it nothing then he he he's very patient. There's

838
00:47:55,640 --> 00:47:58,760
Speaker 1: no nepotism involved. He consults with me and Sean and

839
00:47:58,960 --> 00:48:03,120
Speaker 1: you know, his his surrounding team. Um. But you know,

840
00:48:03,160 --> 00:48:06,640
Speaker 1: he's a very smart businessman. Um. And it's it's it's

841
00:48:06,640 --> 00:48:12,839
Speaker 1: significant too ah to to watch the the navigation that

842
00:48:12,880 --> 00:48:15,920
Speaker 1: he's kind of creating on his own as well. Obviously,

843
00:48:16,719 --> 00:48:19,399
Speaker 1: Um yeah, around the time, because you got when when

844
00:48:19,400 --> 00:48:22,320
Speaker 1: you left, like after Sexy Versus, there was a period

845
00:48:22,360 --> 00:48:26,320
Speaker 1: of time where Warner they just didn't get black music

846
00:48:26,360 --> 00:48:28,240
Speaker 1: like they was like they were just putting out bullshit.

847
00:48:28,360 --> 00:48:30,520
Speaker 1: Well they had that rep where it's just like if

848
00:48:30,520 --> 00:48:32,719
Speaker 1: you saw Warner Brothers record, if you were like a

849
00:48:32,960 --> 00:48:35,840
Speaker 1: head and you saw Warner Brothers logo, like you just

850
00:48:35,960 --> 00:48:37,960
Speaker 1: knew it was gonna be whacked. Like that was kind

851
00:48:38,000 --> 00:48:40,480
Speaker 1: of the thing. Again, that's the switch show when my

852
00:48:40,680 --> 00:48:44,279
Speaker 1: you know, Benny and that whole regime left. Um, you

853
00:48:44,320 --> 00:48:46,880
Speaker 1: know we were we were that clue and that melting

854
00:48:46,880 --> 00:48:49,600
Speaker 1: pot that that created because remember we had club new vote,

855
00:48:50,280 --> 00:48:56,479
Speaker 1: we had you know, Tevin myself, Um, I was about

856
00:48:56,760 --> 00:49:01,640
Speaker 1: this post time or is this this is? But do

857
00:49:01,719 --> 00:49:04,520
Speaker 1: you know the real story of what the entire thing

858
00:49:04,560 --> 00:49:08,040
Speaker 1: with Prince was because what people have a little bit

859
00:49:08,040 --> 00:49:10,879
Speaker 1: of a misconception. The only way the reason that came

860
00:49:10,920 --> 00:49:13,799
Speaker 1: about is because of Again and I don't want to

861
00:49:13,800 --> 00:49:20,080
Speaker 1: go to business, but intellectual property is everything, and if

862
00:49:20,080 --> 00:49:22,400
Speaker 1: you're an attorney or you're a lawyer, you understand that.

863
00:49:23,239 --> 00:49:27,360
Speaker 1: So Warner Brothers basically felt as though they put a

864
00:49:27,400 --> 00:49:33,279
Speaker 1: tremendous amount of money behind Roger. They put you know,

865
00:49:33,760 --> 00:49:38,359
Speaker 1: they put all this money behind Prince and made him

866
00:49:38,480 --> 00:49:41,399
Speaker 1: who he was. Now they didn't give him credit that

867
00:49:41,440 --> 00:49:43,759
Speaker 1: he made him who he was, but he did the work.

868
00:49:43,840 --> 00:49:45,399
Speaker 1: But it's it's almost kind of is even like how

869
00:49:45,400 --> 00:49:48,200
Speaker 1: the Disney machine works and so and so forth. You know,

870
00:49:48,600 --> 00:49:50,560
Speaker 1: when I was doing radio for many, many years. I

871
00:49:50,600 --> 00:49:55,719
Speaker 1: started a show call a Secret Garden, and and I

872
00:49:55,840 --> 00:49:58,719
Speaker 1: waited nine months to get paid because of the negotiation,

873
00:49:58,800 --> 00:50:01,200
Speaker 1: because they wanted to own Secret Garden. I was like,

874
00:50:01,239 --> 00:50:04,840
Speaker 1: you can't only secret No no, no, no, no, but no,

875
00:50:04,920 --> 00:50:07,080
Speaker 1: not even that. It's just more that what had to

876
00:50:07,080 --> 00:50:10,399
Speaker 1: do with these are our airways. It's the most valuable things.

877
00:50:10,480 --> 00:50:13,200
Speaker 1: So this is our product. And you know I had

878
00:50:13,239 --> 00:50:16,280
Speaker 1: to tell him, no, that's not. This particular works because

879
00:50:16,320 --> 00:50:17,920
Speaker 1: if you live, this is a brand that we built,

880
00:50:17,960 --> 00:50:20,960
Speaker 1: you know, Quincy and you know so. But going back

881
00:50:21,000 --> 00:50:27,160
Speaker 1: to it, um related to Prince because Warner Brothers felt

882
00:50:27,160 --> 00:50:30,960
Speaker 1: as though that they made Prince into who he was.

883
00:50:32,600 --> 00:50:35,959
Speaker 1: We've invest we made this investment. You can't just walk

884
00:50:35,960 --> 00:50:39,000
Speaker 1: away with our investment. So you can leave, but just

885
00:50:39,120 --> 00:50:43,560
Speaker 1: leave the name. Uh yeah, And people don't understand. So

886
00:50:43,880 --> 00:50:47,560
Speaker 1: I got it conceptually, but it made no sense because

887
00:50:47,800 --> 00:50:51,560
Speaker 1: just like any trademark, you can say you don't you

888
00:50:51,600 --> 00:50:54,080
Speaker 1: can't say, just like in Vegas, right now, you have

889
00:50:54,160 --> 00:50:57,880
Speaker 1: all these Michael Jackson shows, right the Tribute to Michael Jackson,

890
00:50:58,160 --> 00:51:00,920
Speaker 1: you can use that because it's not Michael Jackson. The

891
00:51:01,000 --> 00:51:04,400
Speaker 1: Tribute to Michael Jackson. Michael Jackson presents, you know, like

892
00:51:04,440 --> 00:51:07,440
Speaker 1: you can attend to derivatives of it, but at the

893
00:51:07,520 --> 00:51:09,719
Speaker 1: end of the day, the intellectual property and what do what?

894
00:51:10,280 --> 00:51:15,080
Speaker 1: You know, they what they own. This is Michael Jackson.

895
00:51:15,520 --> 00:51:20,560
Speaker 1: So again, Prince was allowed to leave. That was his sacrifice. Okay,

896
00:51:20,600 --> 00:51:23,040
Speaker 1: I'm going to leave Warner Brothers, but I can't take

897
00:51:23,040 --> 00:51:25,240
Speaker 1: my name with me. Okay, so I'm the artists fumerly

898
00:51:25,320 --> 00:51:32,479
Speaker 1: known as Prince. Isn't that crazy? Conceptually? Is funny because

899
00:51:32,600 --> 00:51:35,520
Speaker 1: if I'm an attorney, Yeah, it works if I'm a human,

900
00:51:36,160 --> 00:51:38,880
Speaker 1: you know, if I'm a human buying records, you know,

901
00:51:38,960 --> 00:51:40,440
Speaker 1: just how long you take for him to get his

902
00:51:40,520 --> 00:51:42,719
Speaker 1: name back. He had to wait till his publishing deal

903
00:51:42,760 --> 00:51:47,520
Speaker 1: with Warner expired. But but again, you know, it's not

904
00:51:47,560 --> 00:51:49,600
Speaker 1: like you don't recognize them when you see him. But

905
00:51:49,920 --> 00:51:54,120
Speaker 1: you know, so I was all right, and and and

906
00:51:54,200 --> 00:51:57,200
Speaker 1: and to be honest with you, it was just a

907
00:51:57,200 --> 00:52:00,440
Speaker 1: part of the mystique of Prince. And you know, I

908
00:52:00,440 --> 00:52:02,400
Speaker 1: mean he was. He's a genius as it is. So,

909
00:52:02,520 --> 00:52:05,600
Speaker 1: I mean, you know, there's certain artists you just can't

910
00:52:05,640 --> 00:52:07,239
Speaker 1: hold back that you know they're going to be who

911
00:52:07,239 --> 00:52:09,319
Speaker 1: they are. And I guess the misconception that was that,

912
00:52:09,640 --> 00:52:12,000
Speaker 1: as at least for me as a fan, I thought

913
00:52:12,000 --> 00:52:15,080
Speaker 1: Prince had made that like a creative decision, like I'm

914
00:52:15,080 --> 00:52:16,719
Speaker 1: going to stop using that. But that was like the

915
00:52:16,719 --> 00:52:20,160
Speaker 1: public explanation, which which is which is great because you know,

916
00:52:20,239 --> 00:52:23,520
Speaker 1: every it's just like anything with art, we all see

917
00:52:23,520 --> 00:52:26,800
Speaker 1: it differently, so it's just like, okay, yeah, this is

918
00:52:26,800 --> 00:52:29,359
Speaker 1: what happened. Then the room was starting, you know, yeah,

919
00:52:29,520 --> 00:52:31,319
Speaker 1: so how did you? And I don't know if it

920
00:52:31,320 --> 00:52:32,880
Speaker 1: was anything you want to ask, but I was going

921
00:52:32,920 --> 00:52:35,040
Speaker 1: to hit the beach, So yeah, how did that deal

922
00:52:35,080 --> 00:52:41,480
Speaker 1: come about? Um? So after the you know, the three

923
00:52:41,520 --> 00:52:45,719
Speaker 1: albums with Warner Brothers and you know, doing the executive

924
00:52:45,719 --> 00:52:47,839
Speaker 1: thing in Motown and so and so forth, and that

925
00:52:47,920 --> 00:52:52,480
Speaker 1: kind of ended around nineties six. Um, I remember working

926
00:52:52,520 --> 00:52:57,800
Speaker 1: with um my I call him a brother, um David

927
00:52:57,840 --> 00:53:01,000
Speaker 1: memorand Savage Records. That's how I start working with David Bowie,

928
00:53:01,080 --> 00:53:03,239
Speaker 1: and I just wanted to go to another level and

929
00:53:03,239 --> 00:53:06,920
Speaker 1: really just take this obviously my core and my sweet

930
00:53:06,920 --> 00:53:09,960
Speaker 1: spot as it relates to my my my I call

931
00:53:10,000 --> 00:53:11,360
Speaker 1: it friend base and I don't like to use the

932
00:53:11,360 --> 00:53:13,960
Speaker 1: word fans, So my friend base, um and those who

933
00:53:13,960 --> 00:53:16,560
Speaker 1: are supporting me or now in social media, my followers,

934
00:53:17,800 --> 00:53:21,080
Speaker 1: my albs, big shout out to all of my alb's.

935
00:53:21,120 --> 00:53:25,040
Speaker 1: I got but love for you, babe. Um. You know,

936
00:53:25,120 --> 00:53:28,120
Speaker 1: so what happens is it was, you know, quite a

937
00:53:28,200 --> 00:53:32,319
Speaker 1: step away from my core audiences. It relates to you know,

938
00:53:32,320 --> 00:53:34,399
Speaker 1: because that's all I've ever wanted to do. I wanted

939
00:53:35,360 --> 00:53:37,399
Speaker 1: as much as I was. I'm a straight hip hop

940
00:53:37,440 --> 00:53:40,960
Speaker 1: head from Mount Vernon. All I wanted to do was

941
00:53:41,200 --> 00:53:44,640
Speaker 1: work with Diana Ross and Al Green and and Smokey

942
00:53:44,719 --> 00:53:46,719
Speaker 1: Robinson like that was what I grew up with. And

943
00:53:46,800 --> 00:53:49,839
Speaker 1: Stevie Wonder. So you and I A Green, you'all got

944
00:53:49,840 --> 00:53:54,839
Speaker 1: it which together? And then oh oh I love you

945
00:53:56,360 --> 00:53:57,960
Speaker 1: because I thought it was good just be to love.

946
00:53:59,440 --> 00:54:01,319
Speaker 1: And then what and what I did was and what

947
00:54:01,360 --> 00:54:06,279
Speaker 1: I did was I remade um, spending my day you

948
00:54:06,280 --> 00:54:11,279
Speaker 1: know for the I'm still love with you now. Now

949
00:54:11,400 --> 00:54:14,200
Speaker 1: What's what's crazy is that So I've read in so

950
00:54:14,280 --> 00:54:18,440
Speaker 1: many different places, um that I was nominated for three Grammys.

951
00:54:19,200 --> 00:54:23,439
Speaker 1: It's actually four, and I want a Grammy because that's

952
00:54:23,480 --> 00:54:25,760
Speaker 1: a duet I did with Al Green. It just again,

953
00:54:26,080 --> 00:54:28,279
Speaker 1: I just never said anything. It's a duet with he

954
00:54:28,360 --> 00:54:32,480
Speaker 1: and I and it's not it's not a catalog that way.

955
00:54:32,600 --> 00:54:36,280
Speaker 1: So I got a Grammy for producing the gospel record,

956
00:54:36,400 --> 00:54:38,640
Speaker 1: which is as long as We Together, and I was

957
00:54:38,680 --> 00:54:45,200
Speaker 1: nominated for the others, so it's actually four. Um yeah,

958
00:54:45,239 --> 00:54:48,279
Speaker 1: what was what was working with Diana Ross? Like, like,

959
00:54:48,800 --> 00:54:52,960
Speaker 1: were you guys in the same studio? Was absolutely I

960
00:54:53,040 --> 00:54:58,239
Speaker 1: have an affinity to fabulous. I have an affinity to

961
00:54:58,920 --> 00:55:14,400
Speaker 1: class too, mature women. Yeah you no matter what I

962
00:55:14,480 --> 00:55:17,920
Speaker 1: was thinking about some other but you know, um and

963
00:55:18,000 --> 00:55:23,440
Speaker 1: so so, but but very specifically, Um, Diana Ross was

964
00:55:23,719 --> 00:55:28,319
Speaker 1: just everything to me, I mean just growing up. So

965
00:55:29,239 --> 00:55:37,640
Speaker 1: the first opportunity that I had to um work with her, no,

966
00:55:43,000 --> 00:55:44,680
Speaker 1: just you know what it is when you grow up

967
00:55:44,719 --> 00:55:48,400
Speaker 1: and and and let's just say this, as much as

968
00:55:48,440 --> 00:55:54,239
Speaker 1: I loved Michael Jackson, I love Diana Ross. So it

969
00:55:54,400 --> 00:55:56,080
Speaker 1: was just, you know, all jokes aside. It was just

970
00:55:56,120 --> 00:55:59,600
Speaker 1: such an honor and privilege like just and then what

971
00:55:59,719 --> 00:56:03,520
Speaker 1: was really cool was Diana Ross was so cool that

972
00:56:04,360 --> 00:56:07,160
Speaker 1: I remember studio I think maybe we didn't hit factory

973
00:56:07,239 --> 00:56:11,240
Speaker 1: or maybe yeah, And I remember, excuse me, Mrs Ross

974
00:56:11,360 --> 00:56:14,399
Speaker 1: coming in the door and guess what she had on

975
00:56:16,560 --> 00:56:22,120
Speaker 1: the denim and the halls and the gene she was

976
00:56:22,120 --> 00:56:29,799
Speaker 1: looking like the working overtime she had the day. But

977
00:56:29,800 --> 00:56:33,200
Speaker 1: but yeah, just I mean just an incredible, incredible talent

978
00:56:33,400 --> 00:56:38,239
Speaker 1: um and um just she represents so much as it

979
00:56:38,280 --> 00:56:43,000
Speaker 1: relates to just music, and people don't realize how important

980
00:56:43,080 --> 00:56:47,239
Speaker 1: Diana Ross is like to the whole frame of you know,

981
00:56:47,640 --> 00:56:51,680
Speaker 1: like to be honest with you love me some Beyonce.

982
00:56:51,920 --> 00:56:55,720
Speaker 1: I was just about some Rihanna. But they wouldn't exist,

983
00:56:56,040 --> 00:56:58,120
Speaker 1: right with those artists, you know, they would exist, but

984
00:56:58,160 --> 00:57:00,680
Speaker 1: they just but there's a certain well, you know, just

985
00:57:00,760 --> 00:57:06,279
Speaker 1: like anything else we learned from our predecessors, you know,

986
00:57:06,320 --> 00:57:08,960
Speaker 1: the art before us. You know, we're influence. Um and

987
00:57:09,000 --> 00:57:15,080
Speaker 1: it's just like the closest thing too bad and class

988
00:57:15,239 --> 00:57:21,440
Speaker 1: and fly but still gotta is B because B keeps

989
00:57:21,440 --> 00:57:25,720
Speaker 1: it one two eighteen, you know. But she's so incredibly

990
00:57:25,800 --> 00:57:29,160
Speaker 1: classy and she's got the whole package and the whole thing,

991
00:57:29,280 --> 00:57:32,440
Speaker 1: and her and Jay's movement and navigation is just crazy

992
00:57:32,560 --> 00:57:34,400
Speaker 1: just so you just like to see it. It's like

993
00:57:34,440 --> 00:57:36,720
Speaker 1: the King and the Queen, you know, just tell me

994
00:57:36,760 --> 00:57:41,080
Speaker 1: Diana had a gutter side to her. Well, you know,

995
00:57:41,240 --> 00:57:45,480
Speaker 1: but I'm not, but I'm not and I'm talking about

996
00:57:45,520 --> 00:57:48,040
Speaker 1: because what happens I'm talking about just like just the

997
00:57:48,120 --> 00:57:52,040
Speaker 1: homie like she's cool, like just like you really like

998
00:57:52,400 --> 00:57:54,120
Speaker 1: what was was there a moment you had with Diana

999
00:57:54,160 --> 00:57:56,760
Speaker 1: Ross Like I'm really we're talking about this, I'm doing

1000
00:57:56,800 --> 00:58:02,800
Speaker 1: this with her? Mm hmmm, well going to this reut

1001
00:58:04,640 --> 00:58:07,000
Speaker 1: never mind, you know what, let me tell you that. No,

1002
00:58:07,080 --> 00:58:08,520
Speaker 1: first of all, just I mean she's just one of

1003
00:58:08,520 --> 00:58:13,439
Speaker 1: the classiest, like just beautiful, classy, and just I love

1004
00:58:13,480 --> 00:58:16,080
Speaker 1: hearing a voice unless she talks. He just got this.

1005
00:58:16,160 --> 00:58:19,320
Speaker 1: She's you know, you can't even call her an artist.

1006
00:58:19,400 --> 00:58:23,120
Speaker 1: She's more of an icon. And and and just there's

1007
00:58:23,120 --> 00:58:28,000
Speaker 1: no title for her, you can't. She's the blueprint for

1008
00:58:28,040 --> 00:58:32,160
Speaker 1: all of the girls following and women and just all

1009
00:58:32,160 --> 00:58:34,680
Speaker 1: of them. I mean, I don't and and and take

1010
00:58:34,760 --> 00:58:38,000
Speaker 1: nothing away from you know, greatha Franklin garrest Soul, take

1011
00:58:38,040 --> 00:58:41,640
Speaker 1: nothing away from the other iconic female artists. But Diana

1012
00:58:41,800 --> 00:58:47,000
Speaker 1: Russ exuded I'm gonna make up my own word, exudable.

1013
00:58:47,200 --> 00:58:50,720
Speaker 1: Just he was just, you know, just she just had

1014
00:58:50,800 --> 00:58:53,560
Speaker 1: that every she had everything. She had the grace, the style,

1015
00:58:53,680 --> 00:58:58,120
Speaker 1: the class, you know, um, her exudability was off the charts,

1016
00:58:58,520 --> 00:59:03,320
Speaker 1: stop playing and you know and it is what it is.

1017
00:59:03,360 --> 00:59:07,120
Speaker 1: So so again, my dream and my goal was to

1018
00:59:07,280 --> 00:59:12,080
Speaker 1: work with the greats Um And a lot of times,

1019
00:59:12,360 --> 00:59:14,720
Speaker 1: you know, my peer group wouldn't understand that. In my

1020
00:59:14,760 --> 00:59:16,960
Speaker 1: perier group, they're like, yo, what are you working on

1021
00:59:17,040 --> 00:59:19,360
Speaker 1: this and this person? Ever? And I'm like, no, you

1022
00:59:19,440 --> 00:59:21,640
Speaker 1: just don't get it. I said, this is these are

1023
00:59:21,680 --> 00:59:23,880
Speaker 1: my dreams. I'm gonna I gotta dream it to you know,

1024
00:59:23,960 --> 00:59:28,280
Speaker 1: dream to fruition. So who who uh proposed the collaboration

1025
00:59:28,360 --> 00:59:33,360
Speaker 1: with David Bowie one black tie UM actually the president

1026
00:59:33,400 --> 00:59:38,240
Speaker 1: of Savage Records, Mr David Memoran, UM, very prominent businessman

1027
00:59:39,280 --> 00:59:41,240
Speaker 1: and my big brother is like a big brother to me.

1028
00:59:42,560 --> 00:59:46,840
Speaker 1: That's that's the first time I learned that. Um. The

1029
00:59:47,000 --> 00:59:50,800
Speaker 1: private jets came in the size of seven seven you know,

1030
00:59:51,040 --> 00:59:57,280
Speaker 1: I mean just just phenomenal, but the most kind and humble,

1031
00:59:58,600 --> 01:00:01,800
Speaker 1: you know, just knowledgeable, just I mean just amazing and

1032
01:00:01,800 --> 01:00:04,480
Speaker 1: and and gave me such an opportunity because he saw it.

1033
01:00:04,480 --> 01:00:12,760
Speaker 1: And then this is the gentleman who also was someone

1034
01:00:12,760 --> 01:00:15,440
Speaker 1: who was concerned about me because what he did was

1035
01:00:15,480 --> 01:00:17,520
Speaker 1: he looked at he took the time to get all

1036
01:00:17,560 --> 01:00:20,800
Speaker 1: of my contracts and was looking through all of the

1037
01:00:20,920 --> 01:00:24,280
Speaker 1: stuff and said, no, this isn't you know he speaks

1038
01:00:24,320 --> 01:00:26,080
Speaker 1: friends and said, this is not right. This is none

1039
01:00:26,120 --> 01:00:28,400
Speaker 1: of the publishing. And then he went and tried to

1040
01:00:28,400 --> 01:00:30,480
Speaker 1: help me fix all of that stuff from the past

1041
01:00:30,520 --> 01:00:32,200
Speaker 1: so that I would have something in the future. So

1042
01:00:32,240 --> 01:00:35,200
Speaker 1: I attribute a lot of the that, you know, being

1043
01:00:35,200 --> 01:00:37,760
Speaker 1: able to maintain, you know, just my publishing. And there's

1044
01:00:37,800 --> 01:00:40,880
Speaker 1: all this stuff too to uh to him and just

1045
01:00:41,200 --> 01:00:43,600
Speaker 1: and then he just gave me an opportunity because I

1046
01:00:43,640 --> 01:00:46,760
Speaker 1: guess he saw as well that I was positioning myself

1047
01:00:46,800 --> 01:00:49,400
Speaker 1: as a citizen of the world, so he would give

1048
01:00:49,400 --> 01:00:55,439
Speaker 1: me um opportunities to work with Richie Sambora and with

1049
01:00:55,640 --> 01:00:59,880
Speaker 1: you know, you know Taylor Dane just the artist that

1050
01:01:00,240 --> 01:01:03,640
Speaker 1: just just just so we had a nice staple of

1051
01:01:03,680 --> 01:01:08,320
Speaker 1: of artist um um that just you know, it was amazing.

1052
01:01:08,360 --> 01:01:10,600
Speaker 1: And then spending that much time and then I moved

1053
01:01:10,640 --> 01:01:13,640
Speaker 1: to Switzerland and legends stopped and you know, and just

1054
01:01:13,720 --> 01:01:19,560
Speaker 1: working with David and uh and people don't realize, um,

1055
01:01:19,560 --> 01:01:23,120
Speaker 1: you know who produced that record, who produced black Tie

1056
01:01:23,120 --> 01:01:29,160
Speaker 1: White Noise. There's a gentleman who plays guitar on a

1057
01:01:29,200 --> 01:01:34,680
Speaker 1: song called good Times. I just now Rogers, that's a

1058
01:01:34,760 --> 01:01:40,800
Speaker 1: bad man. That's a bad We gotta get him. Yeah,

1059
01:01:40,840 --> 01:01:42,640
Speaker 1: we had him. We interviewed him like it's been a

1060
01:01:42,640 --> 01:01:46,800
Speaker 1: minute ago. We just started. We had finish it. But yeah,

1061
01:01:46,840 --> 01:01:49,040
Speaker 1: so so you know now Rogers and you know, and

1062
01:01:49,080 --> 01:01:53,000
Speaker 1: this it was just great because spending it was more

1063
01:01:53,000 --> 01:01:56,560
Speaker 1: of an experience. Like we did the record together and

1064
01:01:56,600 --> 01:01:58,520
Speaker 1: I did. It's funny because okay, so we gotta get

1065
01:01:58,840 --> 01:02:00,640
Speaker 1: the remixes. So Kyl and I did the R and

1066
01:02:00,640 --> 01:02:04,800
Speaker 1: B remixes to the record. In addition to we had

1067
01:02:05,040 --> 01:02:08,240
Speaker 1: so much more fun because David and Dimond taught me

1068
01:02:08,280 --> 01:02:11,720
Speaker 1: to ski like stuff like that. We'd be out on

1069
01:02:11,720 --> 01:02:14,240
Speaker 1: the slopes in Switzerland and just you know, and it

1070
01:02:14,320 --> 01:02:21,439
Speaker 1: was funny because I'm every moment, I'm always thinking if

1071
01:02:21,480 --> 01:02:28,320
Speaker 1: Mount Burning could see me, that that makes sense everything

1072
01:02:28,320 --> 01:02:30,080
Speaker 1: I go. I'd be somewhere on the planet and I

1073
01:02:30,120 --> 01:02:34,200
Speaker 1: would find myself with the King of so and so

1074
01:02:34,400 --> 01:02:38,840
Speaker 1: in some foreign country like and you know, just what

1075
01:02:40,000 --> 01:02:43,520
Speaker 1: severe wealth and seeing and this is what made me

1076
01:02:43,640 --> 01:02:48,920
Speaker 1: understand because the way to achieve anything of that nature

1077
01:02:49,000 --> 01:02:52,000
Speaker 1: is to see it and to be around it. And

1078
01:02:52,000 --> 01:02:54,480
Speaker 1: then I started to understand it. Man, every time there's

1079
01:02:54,520 --> 01:03:01,280
Speaker 1: a level, there's another level. There's Lebron James. And then

1080
01:03:01,320 --> 01:03:05,520
Speaker 1: there's the guy that pays Lebron James, you know, like

1081
01:03:05,880 --> 01:03:08,760
Speaker 1: like meaning like I'm so proud when I see Lebron James,

1082
01:03:08,800 --> 01:03:14,840
Speaker 1: like just that guy that brand. He's about his business,

1083
01:03:14,840 --> 01:03:19,080
Speaker 1: his family, Like that's that makes me so happy to

1084
01:03:19,200 --> 01:03:23,720
Speaker 1: see that existing in this day and time with all

1085
01:03:23,760 --> 01:03:28,000
Speaker 1: the the demise and separation and all of the chaos

1086
01:03:28,000 --> 01:03:30,720
Speaker 1: and turmoil going on in the world with you know,

1087
01:03:31,080 --> 01:03:33,120
Speaker 1: with politics and things in the nature, and tend to

1088
01:03:33,200 --> 01:03:38,680
Speaker 1: see this young man from very humble beginnings thriving at

1089
01:03:38,680 --> 01:03:43,040
Speaker 1: the highest level with no bs and giving and and

1090
01:03:43,040 --> 01:03:45,920
Speaker 1: and and not just he's walking the walk, he's running

1091
01:03:45,920 --> 01:03:48,520
Speaker 1: the walk. He's marathon and the walk. You know, so

1092
01:03:48,640 --> 01:03:52,120
Speaker 1: kudos to Mr James and his family and just it's

1093
01:03:52,120 --> 01:03:54,320
Speaker 1: a blessing that he's able to do this and he's

1094
01:03:54,400 --> 01:03:57,000
Speaker 1: he's doing it at the highest level. Are you one

1095
01:03:57,040 --> 01:04:00,160
Speaker 1: of these rare individuals that technically you have created it

1096
01:04:00,360 --> 01:04:03,920
Speaker 1: with all of whom you consider right great? Like mostly

1097
01:04:04,040 --> 01:04:07,520
Speaker 1: like who is no one is anyone left? Yeah? I

1098
01:04:07,560 --> 01:04:09,800
Speaker 1: did so many that I I mean, I want to

1099
01:04:09,800 --> 01:04:12,600
Speaker 1: work with you know. It's so funny because even with

1100
01:04:12,720 --> 01:04:16,640
Speaker 1: my new album, I wanted huh, And I told Mr Quest,

1101
01:04:16,760 --> 01:04:20,680
Speaker 1: I said, uh, we need some of his rhythm breaking

1102
01:04:20,720 --> 01:04:24,000
Speaker 1: with the President. I voted for Shirley chiselm you know,

1103
01:04:24,040 --> 01:04:26,840
Speaker 1: like like this is gonna be the Alby Show, Kyle West,

1104
01:04:27,160 --> 01:04:31,280
Speaker 1: you know, Chaos, Okay, bring Pete Rock. What I'm doing,

1105
01:04:31,400 --> 01:04:34,680
Speaker 1: I'm doing an EP with maybe six, you know, six

1106
01:04:34,720 --> 01:04:37,560
Speaker 1: songs the most six seven, maybe eight songs. Like maybe

1107
01:04:37,560 --> 01:04:39,840
Speaker 1: that's whole album, I guess, but but I just want

1108
01:04:39,880 --> 01:04:42,680
Speaker 1: to do, you know, an EP and just make six

1109
01:04:42,800 --> 01:04:45,840
Speaker 1: movies meaning you know, I want to do like a

1110
01:04:45,920 --> 01:04:48,400
Speaker 1: joint request. I want to do a joint with Chaos.

1111
01:04:48,440 --> 01:04:50,120
Speaker 1: Who want to do a joint with Pete Rock. I'm

1112
01:04:50,160 --> 01:04:54,160
Speaker 1: going to do a joint with Kyle West, Dave Hole, Um,

1113
01:04:54,200 --> 01:04:57,560
Speaker 1: you know, just easy mobi like all the cats I've

1114
01:04:57,560 --> 01:05:01,000
Speaker 1: ever worked with. And it's not about features and having

1115
01:05:01,000 --> 01:05:03,120
Speaker 1: every rapper, none of that. Just I want to do

1116
01:05:03,160 --> 01:05:06,480
Speaker 1: an organic record, but with with my journeyman who are

1117
01:05:07,160 --> 01:05:09,520
Speaker 1: who were from the beginning and iconic. And this is

1118
01:05:09,560 --> 01:05:12,440
Speaker 1: what I told them all. I said, listen, what I

1119
01:05:12,520 --> 01:05:16,320
Speaker 1: need from you. Don't try to make anything new. I

1120
01:05:16,400 --> 01:05:19,480
Speaker 1: want you to go into your archives and find that

1121
01:05:19,600 --> 01:05:24,320
Speaker 1: one record that you said, yeah, this is a ship,

1122
01:05:25,440 --> 01:05:27,919
Speaker 1: and and take that, take that particular song, and let's

1123
01:05:27,920 --> 01:05:30,680
Speaker 1: develop from there. Let's don't tell a clean anything newde on.

1124
01:05:30,720 --> 01:05:32,720
Speaker 1: I don't even want you to think about it. Just you.

1125
01:05:32,840 --> 01:05:35,560
Speaker 1: There's a joint you got in your on your debt

1126
01:05:35,800 --> 01:05:40,040
Speaker 1: somewhere on a cassette. Have they been receptive today? Absolutely? Yeah,

1127
01:05:40,120 --> 01:05:42,320
Speaker 1: So you know I'm looking forward to that. And then

1128
01:05:42,440 --> 01:05:44,439
Speaker 1: slowly I'm collecting, you know stuff, and I've been talking

1129
01:05:44,440 --> 01:05:47,160
Speaker 1: to Pete and so I told Pete, I just want

1130
01:05:47,200 --> 01:05:49,960
Speaker 1: to straight give me some horns with but give me

1131
01:05:50,000 --> 01:05:53,720
Speaker 1: that groove so I could just make that, you know,

1132
01:05:54,080 --> 01:05:57,600
Speaker 1: and uh and yeah, and then and then the exciting part,

1133
01:05:57,680 --> 01:06:00,520
Speaker 1: especially working with Kyle West again because he is breaking

1134
01:06:00,560 --> 01:06:07,600
Speaker 1: it down. Man Dante always breaking it down for real.

1135
01:06:12,560 --> 01:06:15,320
Speaker 1: Speaking of Davante, the first time I ever heard Davante

1136
01:06:15,440 --> 01:06:18,000
Speaker 1: was on Private Times in the whole night with touch You.

1137
01:06:18,480 --> 01:06:21,120
Speaker 1: So how did how did they? Were they already signed

1138
01:06:21,120 --> 01:06:24,240
Speaker 1: to Uptown before when that happens? Yeah? So, um, like

1139
01:06:24,280 --> 01:06:28,040
Speaker 1: I said, after the any Heartbreak tour experience and then

1140
01:06:28,080 --> 01:06:31,760
Speaker 1: going to Uptown and um getting signed and you know,

1141
01:06:31,840 --> 01:06:36,000
Speaker 1: started doing some work in production. Now mind you people,

1142
01:06:36,320 --> 01:06:39,919
Speaker 1: you know obviously this group here knows, but Davante came

1143
01:06:40,000 --> 01:06:46,760
Speaker 1: with a plethora of organic musicians and artists. You know.

1144
01:06:46,800 --> 01:06:53,520
Speaker 1: Every the reason the labels were so producer intense for

1145
01:06:53,800 --> 01:06:56,200
Speaker 1: time periods because what happened was this is where the

1146
01:06:56,480 --> 01:07:00,600
Speaker 1: N R became obsolete because the producer, let's it's Germaine

1147
01:07:00,680 --> 01:07:04,040
Speaker 1: dupri or, let's say it's uh, you know, DeVante Swing

1148
01:07:04,120 --> 01:07:06,520
Speaker 1: or Albie Shore. You know, what happens. What happens is

1149
01:07:07,080 --> 01:07:13,400
Speaker 1: the producer who's creating the music, finding the artists, bringing

1150
01:07:13,440 --> 01:07:16,720
Speaker 1: the entire package. We become the A n R. So

1151
01:07:16,800 --> 01:07:21,000
Speaker 1: what happens is we are now you know, so DeVante

1152
01:07:21,520 --> 01:07:32,160
Speaker 1: in the camp, Missy elliotte um static and uh, the

1153
01:07:32,160 --> 01:07:35,640
Speaker 1: players smokey, yeah, black and everything. And so so what

1154
01:07:35,720 --> 01:07:38,520
Speaker 1: happens is, you know, the A and R position became

1155
01:07:38,560 --> 01:07:42,880
Speaker 1: obsolete because boom, you give Teddy Riley a label. Teddy's

1156
01:07:42,880 --> 01:07:45,200
Speaker 1: gonna have the artist. All the artists want to work

1157
01:07:45,200 --> 01:07:48,720
Speaker 1: with Teddy. He'll find the best of the group, you know,

1158
01:07:48,760 --> 01:07:51,040
Speaker 1: so it'll be you know, and then you know, obviously

1159
01:07:51,080 --> 01:07:52,800
Speaker 1: you dressed them and you do the whole thing, and

1160
01:07:52,840 --> 01:07:57,560
Speaker 1: you do so it's it became very significant that the

1161
01:07:57,640 --> 01:08:00,120
Speaker 1: artist became and that's sold when the whole Artists Executive

1162
01:08:00,160 --> 01:08:04,840
Speaker 1: came out. That's where Puff thrived so well, because you

1163
01:08:04,840 --> 01:08:07,720
Speaker 1: know Puff was an artist himself, you know, period, and

1164
01:08:07,960 --> 01:08:11,040
Speaker 1: but he just his grind was like none other. I mean,

1165
01:08:11,080 --> 01:08:14,320
Speaker 1: as it relates to his navigation. He was gonna figure

1166
01:08:14,320 --> 01:08:17,640
Speaker 1: it out. He was gonna figure it out regardless, I

1167
01:08:17,640 --> 01:08:19,800
Speaker 1: don't care what else was going on. He was gonna

1168
01:08:19,840 --> 01:08:24,479
Speaker 1: make it happen. So who found Joe was? It was Andre?

1169
01:08:24,680 --> 01:08:26,680
Speaker 1: They found him. You know, I will that they came

1170
01:08:26,680 --> 01:08:29,960
Speaker 1: in audition for me, because then I have to give

1171
01:08:29,960 --> 01:08:33,559
Speaker 1: you the credit for this. You changed like the state

1172
01:08:33,600 --> 01:08:36,280
Speaker 1: of black music, because as we've noted, you know, it

1173
01:08:36,400 --> 01:08:39,840
Speaker 1: was it was you. And then you found Davante, and

1174
01:08:39,840 --> 01:08:42,320
Speaker 1: the Davante had Tim and Missy well they had they

1175
01:08:42,360 --> 01:08:44,799
Speaker 1: had they already had a group. There was the Haley Brothers,

1176
01:08:44,800 --> 01:08:47,439
Speaker 1: you know, the gospel group. They put the Josie together

1177
01:08:47,439 --> 01:08:50,280
Speaker 1: and they put them together in the Carolinas. I just

1178
01:08:50,320 --> 01:08:52,639
Speaker 1: happened to come about them because they came in audition

1179
01:08:52,720 --> 01:08:54,479
Speaker 1: and then I made the call, and so I wanted

1180
01:08:54,520 --> 01:08:57,720
Speaker 1: them to go see Andre. But so this as you

1181
01:08:57,800 --> 01:09:00,080
Speaker 1: did this, you know, I just have such I you

1182
01:09:00,120 --> 01:09:01,920
Speaker 1: know I have you know, maybe it's just me. I

1183
01:09:02,000 --> 01:09:06,560
Speaker 1: just have such a problem saying I discovered anything. I

1184
01:09:06,640 --> 01:09:08,920
Speaker 1: understand what. I understand that, but I'm a Barry Michael

1185
01:09:08,920 --> 01:09:12,160
Speaker 1: Coopers say, but like if you trace it back, it

1186
01:09:12,200 --> 01:09:15,760
Speaker 1: goes back to you, and like everything that's happening now

1187
01:09:15,920 --> 01:09:19,760
Speaker 1: is is a direct response. But also but I have

1188
01:09:19,800 --> 01:09:23,559
Speaker 1: to say Teddy Riley too, because so so so it

1189
01:09:23,640 --> 01:09:26,040
Speaker 1: takes a village. I'll just say that. So so this

1190
01:09:26,120 --> 01:09:27,880
Speaker 1: is like our own version of twenty three and me

1191
01:09:33,600 --> 01:09:36,360
Speaker 1: so just a question note because I wanted to. I

1192
01:09:36,360 --> 01:09:38,040
Speaker 1: think I might asked you this in private, but it

1193
01:09:38,120 --> 01:09:40,360
Speaker 1: was a moment for some of us who were watching

1194
01:09:40,640 --> 01:09:46,200
Speaker 1: pose when we watched that episode and it was all

1195
01:09:46,240 --> 01:09:50,599
Speaker 1: about these guys auditioning for this album. I just wanted

1196
01:09:50,920 --> 01:09:53,200
Speaker 1: and that that quote that you gotta get the quote

1197
01:09:53,880 --> 01:09:57,519
Speaker 1: the Marvin Gay. Mar be sure it is Marvin Gay

1198
01:09:57,520 --> 01:10:00,920
Speaker 1: of our generation. See, I didn't even put the old

1199
01:10:00,960 --> 01:10:03,720
Speaker 1: that's crazy. But this is what's And again this is

1200
01:10:03,720 --> 01:10:07,519
Speaker 1: where I'm far beyond honor to even hear something like that.

1201
01:10:07,560 --> 01:10:10,000
Speaker 1: But it's been happening so much to the point where

1202
01:10:11,520 --> 01:10:15,679
Speaker 1: I'm humbled by the association. But now that, like I said,

1203
01:10:15,760 --> 01:10:17,680
Speaker 1: you know, I've been doing this whole mind, body, and

1204
01:10:17,760 --> 01:10:23,519
Speaker 1: spirit thing. I would love to interpolate his story on

1205
01:10:23,560 --> 01:10:25,439
Speaker 1: the big screen to be able to do that, and

1206
01:10:26,320 --> 01:10:29,240
Speaker 1: because I think I'm prepared enough to do that, and

1207
01:10:29,439 --> 01:10:33,559
Speaker 1: I'm I'm the biggest Marvin Gay appreciator out there. I mean,

1208
01:10:33,600 --> 01:10:35,920
Speaker 1: he's one of the outside of Michael Jackson. Marvin Gay

1209
01:10:36,000 --> 01:10:38,160
Speaker 1: is that you know. But what did it feel like

1210
01:10:38,160 --> 01:10:41,240
Speaker 1: watching that episode and seeing it being celebrated in that way? Well,

1211
01:10:41,240 --> 01:10:42,840
Speaker 1: it was funny. It's Quincy sent it to me on

1212
01:10:42,920 --> 01:10:45,479
Speaker 1: my what'sapp He says, you know, Bobs, they're talking about

1213
01:10:45,520 --> 01:10:48,200
Speaker 1: you again, so so and and it's like four or

1214
01:10:48,200 --> 01:10:51,640
Speaker 1: five different So it's either it's funny because we'll have

1215
01:10:51,760 --> 01:10:55,920
Speaker 1: Tony send you. Also, so the clips everywhere, there's always

1216
01:10:55,920 --> 01:10:58,000
Speaker 1: a reference, whether it's Light's getting currently here, you know,

1217
01:10:58,080 --> 01:11:03,960
Speaker 1: have the show looking at or or something related to um.

1218
01:11:04,000 --> 01:11:11,800
Speaker 1: You know, it's like I'm watching ESPN and uh they're

1219
01:11:11,800 --> 01:11:14,840
Speaker 1: referencing they calling Steph Curry or that's the Albu short

1220
01:11:14,840 --> 01:11:18,679
Speaker 1: the NBA or or this whole Drake situation, which I'm

1221
01:11:18,680 --> 01:11:23,280
Speaker 1: the major major Drake fan, um, and they were you know,

1222
01:11:23,479 --> 01:11:26,599
Speaker 1: I see it all over you know, No, no, just

1223
01:11:26,760 --> 01:11:30,479
Speaker 1: talking about he's the Albis remix. But I don't, you know,

1224
01:11:30,520 --> 01:11:32,000
Speaker 1: I don't look at it like that. Look like yo,

1225
01:11:32,080 --> 01:11:34,559
Speaker 1: that's the that cat is incredible and he keeps coming

1226
01:11:34,600 --> 01:11:37,000
Speaker 1: with the heat like you know. But but again, you know,

1227
01:11:37,080 --> 01:11:39,280
Speaker 1: just because of the generations and the light skinned thing

1228
01:11:39,320 --> 01:11:41,200
Speaker 1: and is it. But you know, like I'm a big

1229
01:11:41,200 --> 01:11:43,160
Speaker 1: I'm a fan of the music, like I'm a fan

1230
01:11:43,240 --> 01:11:45,360
Speaker 1: of the work. I'm a fan of you know. So

1231
01:11:45,960 --> 01:11:47,920
Speaker 1: you know, I don't get caught up. I don't you

1232
01:11:47,960 --> 01:11:49,479
Speaker 1: don't get caught up in all this stuff I read

1233
01:11:49,520 --> 01:11:51,479
Speaker 1: and stuff like that. But I just think it's I

1234
01:11:51,560 --> 01:11:54,559
Speaker 1: am on and I have to give you this too.

1235
01:11:54,640 --> 01:12:00,559
Speaker 1: I am on eighty something hip hop Records, Trap called

1236
01:12:00,640 --> 01:12:09,120
Speaker 1: Crash the Roots Trap quest Uh rock him? Who you

1237
01:12:09,160 --> 01:12:12,080
Speaker 1: had on your record? Yeah? Oh man? Just what a

1238
01:12:12,240 --> 01:12:15,200
Speaker 1: what an honor? Again, like I said, the great, I

1239
01:12:15,240 --> 01:12:20,040
Speaker 1: just wanted to be I wanted to be around and

1240
01:12:20,040 --> 01:12:24,160
Speaker 1: and just work with. I got a couple of final

1241
01:12:24,240 --> 01:12:27,599
Speaker 1: questions from me. Um, Let's take it back to sexy

1242
01:12:27,720 --> 01:12:30,599
Speaker 1: versus real quick. The song died for you. She's not

1243
01:12:30,640 --> 01:12:32,599
Speaker 1: credited in the liner notes. Who was singing with you

1244
01:12:32,680 --> 01:12:36,720
Speaker 1: on that song? Tabitha Brace, thank you for answering that

1245
01:12:36,800 --> 01:12:39,160
Speaker 1: been trying to figure that out for twenty six years.

1246
01:12:39,479 --> 01:12:48,000
Speaker 1: Tabitha brace Um and she's also in the group. Yes, yes,

1247
01:12:48,800 --> 01:12:51,280
Speaker 1: So actually we talked about this a little bit earlier.

1248
01:12:51,400 --> 01:12:54,679
Speaker 1: Um off Mike, but um yeah it was Key West,

1249
01:12:54,760 --> 01:12:57,080
Speaker 1: like were they supposed to have an album? Yeah, they've

1250
01:12:57,080 --> 01:12:59,880
Speaker 1: had an amazing, amazing project. In fact, it would be

1251
01:12:59,880 --> 01:13:01,920
Speaker 1: a dressing if you talk to Kyle, because Kyle is

1252
01:13:01,960 --> 01:13:04,639
Speaker 1: another one who just he's I called him the Silences

1253
01:13:04,640 --> 01:13:06,800
Speaker 1: ass and he, you know, he doesn't like all the

1254
01:13:06,840 --> 01:13:08,720
Speaker 1: fan face. He said, he loves He's like I love

1255
01:13:08,800 --> 01:13:12,639
Speaker 1: doing what I do and and you know he doesn't

1256
01:13:12,640 --> 01:13:14,120
Speaker 1: want to be famous. It's gonna be inty of day.

1257
01:13:14,160 --> 01:13:16,040
Speaker 1: He's just, you know, he loves just creating. He just

1258
01:13:16,080 --> 01:13:18,600
Speaker 1: loves being creative. So I mean, does he know how

1259
01:13:18,680 --> 01:13:20,360
Speaker 1: much people are willing to pay for the Girls album

1260
01:13:20,360 --> 01:13:23,719
Speaker 1: on CD? Trust me? I saw a copy on eBay

1261
01:13:23,800 --> 01:13:27,639
Speaker 1: is like five. Like I'm holding onto my tape tight,

1262
01:13:28,000 --> 01:13:30,879
Speaker 1: like that ship is never gonna leave like crazy. Yeah.

1263
01:13:31,120 --> 01:13:34,720
Speaker 1: But okay, last question to have is it's a true

1264
01:13:34,800 --> 01:13:42,479
Speaker 1: or false question? Okay, did you date Omar Rossa? Is

1265
01:13:42,920 --> 01:13:50,240
Speaker 1: that is that real? Is that real? I know I

1266
01:13:50,280 --> 01:13:52,439
Speaker 1: know one of your sons was on the one of

1267
01:13:52,479 --> 01:13:55,240
Speaker 1: the shows, a reality show that she hosted. Now was

1268
01:13:55,320 --> 01:13:58,280
Speaker 1: me that was you. Oh you did the single weight

1269
01:13:59,320 --> 01:14:08,240
Speaker 1: the single Donald Trump's Ultimate Merger, the derivative of got It. OK.

1270
01:14:08,760 --> 01:14:14,360
Speaker 1: So what happened was he put together twelve moves and

1271
01:14:14,400 --> 01:14:18,280
Speaker 1: shakers from different entities, you know, commodities, broken lawyer, singer,

1272
01:14:19,240 --> 01:14:22,799
Speaker 1: NFL baseball player, and he wanted to create this ultimate merger.

1273
01:14:22,960 --> 01:14:25,720
Speaker 1: And then they bring in m Rosa and then it

1274
01:14:25,840 --> 01:14:32,160
Speaker 1: was almost like, uh, they're you know, looking for no look, no,

1275
01:14:32,320 --> 01:14:34,880
Speaker 1: just looking for you know, someone to uh you know,

1276
01:14:35,520 --> 01:14:37,920
Speaker 1: is there anyone that she actually, you know, really likes

1277
01:14:38,000 --> 01:14:39,880
Speaker 1: and that that she would want to court and to

1278
01:14:40,040 --> 01:14:41,720
Speaker 1: date and so and so both it was. It was

1279
01:14:41,800 --> 01:14:43,960
Speaker 1: It was actually a fun show to do because I

1280
01:14:44,080 --> 01:14:46,400
Speaker 1: said no to every reality show that you know, they

1281
01:14:46,400 --> 01:14:49,800
Speaker 1: have color, just it's not my thing. But I thought

1282
01:14:49,800 --> 01:14:52,120
Speaker 1: it was a great It was a great format only

1283
01:14:52,200 --> 01:14:56,800
Speaker 1: from the standpoint that I was able to show the O.

1284
01:14:56,960 --> 01:14:59,000
Speaker 1: G side of how to handle things, because you know,

1285
01:14:59,040 --> 01:15:01,280
Speaker 1: you had some cats jumping the hot tub and get

1286
01:15:01,360 --> 01:15:03,280
Speaker 1: naked and all this, and you know, I'm like, I'm

1287
01:15:03,320 --> 01:15:06,040
Speaker 1: little was just later just you know, I just laid

1288
01:15:06,120 --> 01:15:07,600
Speaker 1: lay in the cut and just kind of, you know,

1289
01:15:07,720 --> 01:15:11,160
Speaker 1: I handled it differently. Everybody's you know, hunting and you know,

1290
01:15:11,680 --> 01:15:13,439
Speaker 1: it's like it. So so it's just nice to see

1291
01:15:13,479 --> 01:15:15,479
Speaker 1: just all the you know, the different and in fact,

1292
01:15:15,720 --> 01:15:17,920
Speaker 1: that was probably the highest way to show on the

1293
01:15:17,960 --> 01:15:20,360
Speaker 1: network that year, and they tried to do it again

1294
01:15:20,400 --> 01:15:24,960
Speaker 1: and it failed miserably. Um. But but well no, no,

1295
01:15:25,040 --> 01:15:28,519
Speaker 1: I mean because it went into what it's called soft

1296
01:15:28,560 --> 01:15:31,400
Speaker 1: scripted um, in terms of just setting up setting up

1297
01:15:31,400 --> 01:15:35,839
Speaker 1: the scenarios. But but the the dialogue, the dialogue was natural,

1298
01:15:36,160 --> 01:15:38,759
Speaker 1: like the exchange, the courtroom scenes, all the other stuff,

1299
01:15:39,840 --> 01:15:42,679
Speaker 1: and it was it was it was interesting. It's very interesting, uh,

1300
01:15:43,000 --> 01:15:47,880
Speaker 1: show to do. Did I have a date Amarosa? No,

1301
01:15:49,240 --> 01:15:52,439
Speaker 1: We've actually been friends for a very very long time,

1302
01:15:53,000 --> 01:15:55,000
Speaker 1: and that's why it was a little strange when we

1303
01:15:55,000 --> 01:15:57,640
Speaker 1: were you know, when the show was brought to my

1304
01:15:57,680 --> 01:16:00,120
Speaker 1: attention to do it as though you know, we were

1305
01:16:00,160 --> 01:16:05,280
Speaker 1: going to be together. Um um and uh yeah, so

1306
01:16:05,560 --> 01:16:08,439
Speaker 1: it's very interesting. Um, what's it been like? This was

1307
01:16:08,520 --> 01:16:12,839
Speaker 1: like seeing her in the news all this lately? Should

1308
01:16:12,840 --> 01:16:14,640
Speaker 1: we let her back in? Okay, hold on, let me

1309
01:16:14,680 --> 01:16:17,920
Speaker 1: let me tell you something. Let's let's have this conversation.

1310
01:16:19,960 --> 01:16:23,040
Speaker 1: Just recently, I've been contacted by a number of news

1311
01:16:23,040 --> 01:16:26,280
Speaker 1: outlets and to talk about this thing because they know

1312
01:16:26,360 --> 01:16:28,439
Speaker 1: that I've I've did the show with her, and you know,

1313
01:16:28,479 --> 01:16:30,160
Speaker 1: I went to the end and so on the worts

1314
01:16:30,160 --> 01:16:33,160
Speaker 1: and and I've known Mr Trump since I was a kid,

1315
01:16:33,800 --> 01:16:36,080
Speaker 1: uh many many years ago, when he was just doing

1316
01:16:36,080 --> 01:16:39,799
Speaker 1: real estate in New York. None of this was going on.

1317
01:16:42,840 --> 01:16:44,280
Speaker 1: Well you know what I'm telling you, Like I said,

1318
01:16:44,280 --> 01:16:46,080
Speaker 1: I didn't know this side of any of it all.

1319
01:16:46,640 --> 01:16:51,120
Speaker 1: All I knew was that, um uh, he was a

1320
01:16:51,680 --> 01:16:54,479
Speaker 1: he was a cool cat. You know I need if

1321
01:16:54,479 --> 01:16:56,479
Speaker 1: I needed some advice or on something like there was

1322
01:16:56,520 --> 01:16:59,280
Speaker 1: a time I think my oldest was acting out, you know,

1323
01:16:59,320 --> 01:17:02,000
Speaker 1: in school, and I gave him a call and I

1324
01:17:02,000 --> 01:17:04,519
Speaker 1: asked him, I said, what is that the school? You know?

1325
01:17:04,840 --> 01:17:07,880
Speaker 1: And he suggested King's Academy. So I put my kid

1326
01:17:07,920 --> 01:17:10,680
Speaker 1: in King's Academy. So that type of stuff. So so

1327
01:17:10,800 --> 01:17:12,479
Speaker 1: it was just more of a And I think I

1328
01:17:12,479 --> 01:17:16,920
Speaker 1: did my twenty one birthday party on his yacht. So

1329
01:17:17,040 --> 01:17:22,240
Speaker 1: he is so he's acting. I don't. I'm just because

1330
01:17:22,240 --> 01:17:24,880
Speaker 1: you know, I don't know. The only thing that I

1331
01:17:24,920 --> 01:17:28,639
Speaker 1: can say about this entire situation is this. I don't

1332
01:17:28,680 --> 01:17:31,080
Speaker 1: get involved with the politics of of of any of it.

1333
01:17:31,360 --> 01:17:34,080
Speaker 1: But what I will say is, because you know, I've

1334
01:17:34,120 --> 01:17:36,600
Speaker 1: been there's been several requests for me to speak on this,

1335
01:17:37,520 --> 01:17:43,600
Speaker 1: and my concern is my five year old grandson. I

1336
01:17:43,600 --> 01:17:48,240
Speaker 1: don't have an opinion either way as it relates to, um,

1337
01:17:48,360 --> 01:17:51,320
Speaker 1: who I like or who I don't like, But I

1338
01:17:51,400 --> 01:17:54,560
Speaker 1: love my grandson and what I don't want my grandson

1339
01:17:54,880 --> 01:17:57,400
Speaker 1: is to be to live in fear. I don't want

1340
01:17:57,400 --> 01:18:02,800
Speaker 1: my grandson to see turmoil, distress, separation. I don't want

1341
01:18:02,840 --> 01:18:05,160
Speaker 1: to see those things. I don't want that to be

1342
01:18:05,200 --> 01:18:10,960
Speaker 1: the example division. UM. You know, so whatever is transpiring

1343
01:18:11,080 --> 01:18:14,400
Speaker 1: right now, I don't I'm not happy with my grandson

1344
01:18:14,800 --> 01:18:19,920
Speaker 1: and hopefully he's filtered and and and sheltered from seeing

1345
01:18:20,520 --> 01:18:25,160
Speaker 1: the divisiveness of all of it as as a as

1346
01:18:25,200 --> 01:18:29,160
Speaker 1: a whole, because it's got to be scary for someone

1347
01:18:29,200 --> 01:18:32,479
Speaker 1: not to know what their future is or what's coming next.

1348
01:18:33,080 --> 01:18:35,680
Speaker 1: So that's my opinion about it. But my opinion is

1349
01:18:35,720 --> 01:18:40,080
Speaker 1: just is directed to my grandson and what he's seeing

1350
01:18:40,080 --> 01:18:43,559
Speaker 1: and feeling, and because he's a little prodigy, but he's

1351
01:18:43,600 --> 01:18:47,559
Speaker 1: also very intelligent, and I don't think that. Um, I

1352
01:18:47,600 --> 01:18:54,679
Speaker 1: don't think necessarily that children are ignorant. They're very smart.

1353
01:18:55,280 --> 01:18:57,280
Speaker 1: And I don't want I never want him to feel

1354
01:18:57,320 --> 01:19:00,240
Speaker 1: like he doesn't know what's going on tomorrow or he's

1355
01:19:00,240 --> 01:19:02,160
Speaker 1: in fear of not knowing his future. I want him

1356
01:19:02,160 --> 01:19:04,479
Speaker 1: to feel very solid within his future and what's going

1357
01:19:04,520 --> 01:19:09,640
Speaker 1: on with him moving forward. And I trust that this

1358
01:19:09,680 --> 01:19:13,519
Speaker 1: will come to fruition when when, when it needs to

1359
01:19:13,520 --> 01:19:18,160
Speaker 1: come to fruition, don't don't tell him about that, Quincy

1360
01:19:18,240 --> 01:19:28,479
Speaker 1: Jones b side, that's bad news, bad news. Anyway. I

1361
01:19:28,520 --> 01:19:30,160
Speaker 1: want to thank you for coming on the show. This

1362
01:19:30,240 --> 01:19:33,240
Speaker 1: has been an eye opening experience and a dream of ours.

1363
01:19:34,240 --> 01:19:38,960
Speaker 1: Please give it up? Yeah for album? Sure ours will

1364
01:19:39,040 --> 01:19:49,240
Speaker 1: come true, very very thank you. Yes, yes, And do

1365
01:19:49,240 --> 01:19:50,960
Speaker 1: you know what I would like to do though, I

1366
01:19:51,000 --> 01:19:54,519
Speaker 1: mean ended off the right way, um, being that I'm

1367
01:19:54,560 --> 01:19:57,519
Speaker 1: now in shape, body, mind and spirit and in sync,

1368
01:19:58,400 --> 01:20:00,920
Speaker 1: I would love to play Marvin Gay in the movie

1369
01:20:03,560 --> 01:20:07,360
Speaker 1: is that they have? But I'm telling you that's meat

1370
01:20:08,400 --> 01:20:15,120
Speaker 1: who put this together met for a minute. It's been

1371
01:20:15,160 --> 01:20:18,080
Speaker 1: in development. Hell like I've seen the previous to it,

1372
01:20:18,400 --> 01:20:21,760
Speaker 1: but that was like eight years ago. Yeah, yeah, I

1373
01:20:21,800 --> 01:20:25,639
Speaker 1: mean you know Ramba State, and that's what happens when

1374
01:20:25,640 --> 01:20:28,840
Speaker 1: you have like twelve states. Because there's another one. There's

1375
01:20:28,840 --> 01:20:32,720
Speaker 1: another script that focuses just on his time in Belgium,

1376
01:20:33,080 --> 01:20:35,600
Speaker 1: right with him living with the nuns. Yeah, just the

1377
01:20:35,640 --> 01:20:38,360
Speaker 1: Columbia stuff. I think that would be interesting though, just

1378
01:20:38,439 --> 01:20:41,519
Speaker 1: him singing to them none. Yeah, which are are you

1379
01:20:41,520 --> 01:20:44,880
Speaker 1: gonna do? You know, it's interesting. A lot of layers

1380
01:20:44,880 --> 01:20:47,360
Speaker 1: in that story. It really is um and it's great.

1381
01:20:47,439 --> 01:20:51,280
Speaker 1: Is his sister, uh Ciola is a dear friend of

1382
01:20:51,320 --> 01:20:53,080
Speaker 1: mine who lives in Las Vegas as well as I

1383
01:20:53,120 --> 01:20:55,479
Speaker 1: see her weekly, you know, until I come off the

1384
01:20:55,520 --> 01:20:56,960
Speaker 1: road on the weekend, I go listen to go to

1385
01:20:56,960 --> 01:20:59,680
Speaker 1: a little jazz but at Tilly Village, and that she's

1386
01:20:59,720 --> 01:21:02,600
Speaker 1: always there and it's nice and nice, but he's I

1387
01:21:02,680 --> 01:21:04,639
Speaker 1: just love it. And and the reason I was saying

1388
01:21:04,640 --> 01:21:07,960
Speaker 1: that is because for some reason in the last few years,

1389
01:21:08,080 --> 01:21:15,920
Speaker 1: I've seen very significant references to Benny said it also too,

1390
01:21:15,960 --> 01:21:17,680
Speaker 1: I think on the end song, and then I think

1391
01:21:17,720 --> 01:21:23,400
Speaker 1: Andre and said that I left um a signature signature

1392
01:21:23,439 --> 01:21:27,920
Speaker 1: that marked time very specifically, like what Marvin Gay would leave.

1393
01:21:28,280 --> 01:21:30,200
Speaker 1: And when I heard that, I was very touched because

1394
01:21:30,320 --> 01:21:32,800
Speaker 1: obviously I don't put myself on that level of that

1395
01:21:32,920 --> 01:21:35,559
Speaker 1: skill set at all, but my passion is in that

1396
01:21:35,640 --> 01:21:39,040
Speaker 1: skill setting that level. So that's something I think that

1397
01:21:39,080 --> 01:21:42,400
Speaker 1: I would do justice to in terms of being a

1398
01:21:42,400 --> 01:21:45,799
Speaker 1: true fan and appreciating someone who's actually that I mimicked

1399
01:21:45,800 --> 01:21:48,240
Speaker 1: and tried to copy because it was between Smokey and

1400
01:21:48,280 --> 01:21:50,760
Speaker 1: Marvin and and all. You know, any of that Falsettle

1401
01:21:50,840 --> 01:21:53,639
Speaker 1: was like, have any speaking of that, speaking of mimicking,

1402
01:21:53,680 --> 01:21:57,599
Speaker 1: have any of these young Falsetto brothers and others had

1403
01:21:57,640 --> 01:21:59,400
Speaker 1: any moments with you when they reach out to you

1404
01:21:59,600 --> 01:22:01,639
Speaker 1: in a way I hear. Let me tell you something

1405
01:22:01,640 --> 01:22:04,360
Speaker 1: that the greatest thing is just hearing you know, you

1406
01:22:04,400 --> 01:22:08,360
Speaker 1: know the references to the Bruno Mars and and and

1407
01:22:08,640 --> 01:22:10,680
Speaker 1: you know, just honest of that nature or just how

1408
01:22:10,720 --> 01:22:15,000
Speaker 1: that influence like every even if it wasn't just about

1409
01:22:15,080 --> 01:22:20,000
Speaker 1: the i'l be sure um campaign, um, when even when

1410
01:22:20,000 --> 01:22:23,880
Speaker 1: I was doing the Jodasie campaign, every record company wanted

1411
01:22:23,880 --> 01:22:27,120
Speaker 1: a Joda see, so it said something. It said something

1412
01:22:27,280 --> 01:22:29,880
Speaker 1: in terms of we're in the right path, We're in

1413
01:22:29,920 --> 01:22:32,000
Speaker 1: the right you know, so we're we're being were We

1414
01:22:32,000 --> 01:22:33,680
Speaker 1: didn't know we were trend setting at the time, but

1415
01:22:34,160 --> 01:22:36,360
Speaker 1: now you look at it with the we're trailblazing at

1416
01:22:36,400 --> 01:22:38,439
Speaker 1: that at that moment, But it was just just this

1417
01:22:38,680 --> 01:22:42,040
Speaker 1: organic feeling of just you know, let's let's let's make

1418
01:22:42,080 --> 01:22:45,200
Speaker 1: something new, let's make something different, or let's interpretate this

1419
01:22:45,760 --> 01:22:49,080
Speaker 1: from the history of what we've learned well from your years.

1420
01:22:49,200 --> 01:22:51,479
Speaker 1: I hope that happens anyway. Thank you all for doing

1421
01:22:51,520 --> 01:22:53,720
Speaker 1: this show. I appreciate it. Thank you so much. We

1422
01:22:53,760 --> 01:22:56,040
Speaker 1: have a team Supreme. Yeah, if I take a little

1423
01:22:56,040 --> 01:23:00,880
Speaker 1: about EA unpaid Bill Boss Bill and Sugar Steve CEO

1424
01:23:01,040 --> 01:23:04,880
Speaker 1: and founder of the Everything to to That network. Yes,

1425
01:23:04,920 --> 01:23:07,080
Speaker 1: you are, you are everything. This is Quest Love. This

1426
01:23:07,120 --> 01:23:09,640
Speaker 1: is Quest Love Supreme, only on Pandora. We'll see you

1427
01:23:09,680 --> 01:23:24,120
Speaker 1: on the next ground. Leads and Jumping m What's Love

1428
01:23:24,200 --> 01:23:27,439
Speaker 1: Supreme is a production of My Heart Radio. This classic

1429
01:23:27,479 --> 01:23:33,280
Speaker 1: episode was produced by the team at Pandora. For more

1430
01:23:33,320 --> 01:23:36,200
Speaker 1: podcasts for My Heart Radio, visit the I Heart Radio app,

1431
01:23:36,439 --> 01:23:39,479
Speaker 1: Apple podcast, or wherever you listen to your favorite shows.