Speaker 1: Of Course. I Love Supreme is a production of I
Speaker 1: Heart Radio. This classic episode was produced by the team
Speaker 1: at Pandora. Ladies and gentlemen, welcome back to q l
Speaker 1: S Classic with I'll be Sure. So many stories about
Speaker 1: him coming up from Mount Vernon from an international superstar,
Speaker 1: rubbing elbows with all the great Quincy Jones, to uh
Speaker 1: showing Diddy Combs to Heavy d to working with Joe
Speaker 1: to see and Timberland, you know, just everybody, so many
Speaker 1: crazy stories. I hope you guys enjoy Part two of
Speaker 1: q LS Classic with the great I'll be shooting the
Speaker 1: rapping tip Rapper five times? Okay, private times in the
Speaker 1: whole nine all right? So why I did like that
Speaker 1: would have been a single? Do? Okay? Why was it?
Speaker 1: Why was it? Why wasn't that a single? And why
Speaker 1: did they go with misunderstanding as the up temple rather
Speaker 1: than had enough? Or uh was the side too that
Speaker 1: was had enough? You excite me? Like those just for
Speaker 1: the moment, Like those were the records? Like what well
Speaker 1: at that point, um, because of the success of an
Speaker 1: effect mode, Um, what happens is the building becomes really
Speaker 1: smart all of a sudden, suddenly we have the end
Speaker 1: we know. Wait, even before you give that answer, did
Speaker 1: you have a relationship with Moe Austin at all or actually, actually,
Speaker 1: you know what I did phasing out? No, no, no,
Speaker 1: I had great relationship with my Austen, Lenny Waronker and
Speaker 1: and all the executives at at Warner Brothers and great guys,
Speaker 1: Michael Austin, brilliant record guys. But I don't think they
Speaker 1: wo were necessarily involved with the day to day. I
Speaker 1: think they just kind of looked at the budgets and
Speaker 1: so and so forth. So it was Benny your wall, Benny,
Speaker 1: Benny was my guy, and Benny Benny was actually Benny's
Speaker 1: a smart record guy. To like, Benny's a an organic
Speaker 1: kind of like he can see. He's like no tadamas,
Speaker 1: you know, he's got the he can kind of he
Speaker 1: can see, you know, what's in front of him. And
Speaker 1: he's always been that brilliant cat. But in terms of UM,
Speaker 1: in terms of the the record selection, um again, almost
Speaker 1: the same concept of what happened when we all went
Speaker 1: to Motown. You had a lot of chefs on this
Speaker 1: stool and a lot of stuff, people trying to make
Speaker 1: certain decisions like um, so yeah, and so with you
Speaker 1: to answer your question, it was obviously I had different
Speaker 1: ideas about what I wanted to do and what singles
Speaker 1: to release, but you know, you've got to kind of
Speaker 1: roll with the Red Company because you know they did
Speaker 1: support you and and say again that that's the politics
Speaker 1: of of the record industry with you know, with uh,
Speaker 1: you know, them really getting behind and pushing a record,
Speaker 1: and you know you're in the in the trenches making
Speaker 1: this record, so you're so close to it. So sometimes
Speaker 1: as an artist you kind of want to step away
Speaker 1: from it and you just have to be able to
Speaker 1: have those around you you trust their ears, um, and
Speaker 1: you know for the most part, you know, obviously I
Speaker 1: would trust Andres years and but I know that they
Speaker 1: would go back and forth as well in terms of
Speaker 1: you know, exactly what you just said about which single
Speaker 1: should be released and the other because I know Andre
Speaker 1: probably wanted this record, and Benny wanted this record, and
Speaker 1: then the staff wanted this record. Um, so those things,
Speaker 1: you know, again, that's the roll of the dice. You know,
Speaker 1: it's like a crapshoot. You just don't you don't know,
Speaker 1: and you know in your heart, you know you feel it.
Speaker 1: You know which joint should be out and then then
Speaker 1: what was your joint of the album? Like if you
Speaker 1: could have had to pick, like what would you came first? Special? No,
Speaker 1: that was the jam that was there. That's the one. Okay,
Speaker 1: all right, fire question, my my and my mind. The
Speaker 1: greatest contribution. Well, I just want to thank you for
Speaker 1: this record along with You by Tevin Cambell, do dude, Okay,
Speaker 1: Casey and Joe Joe. How was because they're singing background
Speaker 1: on at least in the credits it says they are. Yeah,
Speaker 1: that's that's that's so we'll talk about that session. Wow.
Speaker 1: So at the time, we were, oh, interesting story. So
Speaker 1: we were working on I think we were doing some
Speaker 1: of the stuff I guess working on the Jodac project
Speaker 1: as well. And so my demo singers again, the reason
Speaker 1: some of the production sounded so magical, very specifically as
Speaker 1: you know, you know, whether it be Usher or whether
Speaker 1: it's Tevin Campbell, because those are my my demo singers
Speaker 1: is faith faith, you know. So I'm just coaching them saying, Okay,
Speaker 1: we're gonna sing this, these are this the melody, then
Speaker 1: they will bring so much flavor to it. So if
Speaker 1: you listen in fact, I'm going to give you a
Speaker 1: copy of Confused. Um, and it's all. It's all in
Speaker 1: the box, every every everything is right there. And and
Speaker 1: uh what it is is so I remember us cutting
Speaker 1: the demo. So we cut about four or five songs.
Speaker 1: We cut Confused, Goodbye Alone with You, Alone with You, um,
Speaker 1: and then and then we did Lately by Stevie Wonder
Speaker 1: not mind You Casey and Joe Joan had never heard
Speaker 1: this song before. Wait, so this is where we're going.
Speaker 1: I didn't hear until they covered it because Aunties that
Speaker 1: had how did it July? But the only one that
Speaker 1: got played was master Blaster and um, what was the other?
Speaker 1: All I do Happy Birthday? Well, yeah, of course that
Speaker 1: was the happy birthday for Martin Luther King. But no,
Speaker 1: my first time here in Lately was when they did it. Okay,
Speaker 1: so right, so the story is. And so I remember
Speaker 1: at this point when we were cutting, I built the
Speaker 1: studio because I was trying to hide away. Um, So
Speaker 1: we built a studio. I brought my mother house in Dumont,
Speaker 1: New Jersey, and we had a little room set up
Speaker 1: in in this little room and we put you know,
Speaker 1: I had sp twelve and then all the keyboards. He
Speaker 1: set up all the keyboards and we were programming and stuff.
Speaker 1: So that particular day we had cut all these demos,
Speaker 1: tracked everything because and actually me and Kyle and I
Speaker 1: this is the Kyle and I record, So it wasn't
Speaker 1: me and DeVante at that point, um, but Casey and
Speaker 1: Jojo was singing the demos. So we got to the
Speaker 1: song Lately because I thought it would be a perfect remake.
Speaker 1: So we did the songs. We did all songs, sent
Speaker 1: the cassette to Quincy, had Tevin's study everything, and then
Speaker 1: we flew out to l A to think Lara By
Speaker 1: or something. And then because you know, it was myself
Speaker 1: and Prince and not to Michael Walden and Mike Monty,
Speaker 1: you know, the collective effort of t and Tevin's record.
Speaker 1: So that's how serious they were about this debut record
Speaker 1: of his. Like yeah, because Quincy when he was actually
Speaker 1: like yeah, Quincy hand picked He killed the caban, you know,
Speaker 1: baby face, so he hand picked him. So so then
Speaker 1: I remember us doing the song, and then I got
Speaker 1: the news that they weren't going to use the Lately song. Now,
Speaker 1: mind you, it was funny teaching them because they were
Speaker 1: singing farmer frequently wear so we got the whole thing
Speaker 1: down Pat Boon when it was like, yo, the song
Speaker 1: is dope. We found out that Quincy wasn't going to
Speaker 1: use lately, and I was given a few different stories.
Speaker 1: But it's funny. I don't even asked him, but I
Speaker 1: kind of figured out because he didn't own the publishing
Speaker 1: so he did. Why have him to do somebody else's
Speaker 1: song that he doesn't know? Quincy Quincy Quincy is the
Speaker 1: genius publisher. You know, he is Westinghouson you know um
Speaker 1: but uh you know so, yes, So they didn't use it,
Speaker 1: and so the song was just there. Now mind you,
Speaker 1: I am somewhere. I think I'm in the house in Jersey.
Speaker 1: I'm watching television oncomes m t V unplugged. Oh body
Speaker 1: is wait a minute? With exact arrangement everything that the
Speaker 1: whole and DeVante but obviously did. First of all, Big
Speaker 1: Shotow did an incredible job and then with them doing
Speaker 1: it live, which become became one of their signature songs.
Speaker 1: But that's the identical song we did and producted on
Speaker 1: production that we did on Tevin Campbell. Actually, so the
Speaker 1: question the video version, because there's like a studio version
Speaker 1: that was used for the video version? Is that what
Speaker 1: the original version? No, I didn't do that. What I
Speaker 1: did was I taught them the song we did it
Speaker 1: on Tevin Campbell, which it's in your box, you'll have
Speaker 1: it and but yeah, but when I turned on the TV,
Speaker 1: I was remember the big old you know, I remember
Speaker 1: these had the big screen TVs with real I was
Speaker 1: sitting up flo when I was watching the MTV Unplugged
Speaker 1: and mm hmmm, I was like, now, mind you. Initially
Speaker 1: I was just happy because like, oh wow, that's dope.
Speaker 1: But it was the exact arrangement that we did, which
Speaker 1: neither here nor there. The point was that they did
Speaker 1: a brilliant job on it, because that's that's my mentality.
Speaker 1: Did a brilliant job. But later on everybody's like, you know,
Speaker 1: didn't didn't you did do that on the tip And
Speaker 1: I said, well, now, mind you. It would be great
Speaker 1: if it was an original song by me, but no,
Speaker 1: it's a remix. I have no claims to it. But
Speaker 1: they killed it and they smashed it. I love the
Speaker 1: fact that they just they really made it their own. Okay.
Speaker 1: I just thought about something seven and it's just yeah, album.
Speaker 1: It was not one right, Tevin's whattensive video cute? You
Speaker 1: know you got Luke No. But the thing is is
Speaker 1: that if Joe to see is demoing for Tevin Campbell,
Speaker 1: who still has a young voice, Like, wouldn't you to
Speaker 1: have either a female or someone that's in Tevin's range
Speaker 1: see see Yeah, But what you're saying is yeah, but
Speaker 1: see Tevin. His nickname at which I gave him was
Speaker 1: eighth one of the World. This child can sing a
Speaker 1: parking ticket. He could sing anything. And what happened was,
Speaker 1: so as I was doing the stuff, I would have
Speaker 1: Casey and Jojo interchange. So if you listen to Tevin's versus,
Speaker 1: you'll hear Casey and you'll hear Jojo. So they did
Speaker 1: bridge verse half verse and then me singing you know
Speaker 1: so uh and me talking ship and everything. So you know,
Speaker 1: the King of Talks show. You're right, So, oh my god,
Speaker 1: I'm glad you Yeah, I forgot Okay, I gotta ask
Speaker 1: a question about the soldier in awards. Okay, So so then, uh,
Speaker 1: you know, for the most part, it was I mean
Speaker 1: I wanted to make the again my approaches, make a movie,
Speaker 1: make a four minute movie. How do we do this
Speaker 1: the for minute movie, and I wanted to make sure
Speaker 1: those records are that strong, now, mind you. The funny
Speaker 1: part was this, So we get in the studio and
Speaker 1: I think, like Dada and rashid it all hanging out,
Speaker 1: you know, just trying to keep him all festive. And
Speaker 1: you know, Katheran, girls around you, this is a nice
Speaker 1: and the kid, you know, we put the track on
Speaker 1: and the kid gets in booth and he sings it
Speaker 1: identical one time down and what song is this? This
Speaker 1: was alone with you now, mind you? Just okay this
Speaker 1: one up. He studied to the point where he did
Speaker 1: every Joe Joe run and every case he runs Joe
Speaker 1: Joe and Casey went to the pay phone, yeah, I
Speaker 1: said it, went to the studio pay phone, call their
Speaker 1: mama and Charlotte and Monroe excuse me, mama. This little
Speaker 1: boy did all of our runs, both of them, both
Speaker 1: of us. They were so impressed by his vocal ability
Speaker 1: that and then he was, okay, what's next, what do
Speaker 1: you do next? Like he did so obviously I made
Speaker 1: him do it again and I'm giving different inflections. And
Speaker 1: then I wanted to comp the vote, you know, I mean,
Speaker 1: technically I wanted to comp come to vocalan but to
Speaker 1: get them, you know, to get the maximum performance out
Speaker 1: of him, to see, you know, to make sure it
Speaker 1: was right. But the kid sang both of their parts
Speaker 1: by himself, one time down and nailed every run. Now
Speaker 1: mind you, nobody's doing Casey and Jojo runs in. I
Speaker 1: don't care unless you unless you're Fred Hammond or you
Speaker 1: are you know, Donnie Hathaway or Stevie one of himself.
Speaker 1: To the point where I remember watching our senior Hall
Speaker 1: when when they went and did Lately and Stevie came out,
Speaker 1: and then Jojo got Stevie. I don't know if you
Speaker 1: ever noticed that Stevie did something just something crazy, Joejoe.
Speaker 1: So every time I see Jojo, I said, you know,
Speaker 1: that was your magical moment the entire career he made
Speaker 1: Stevie went go. But you know it's amazing, I mean,
Speaker 1: just an amazing time. But just to see this this
Speaker 1: kid and then and then basically what we did was
Speaker 1: as we gave him these demos, you know, he would
Speaker 1: he would be so prepared and ready and he would
Speaker 1: just he would knock these vocals up. But then what
Speaker 1: happened was I didn't want to be. We had such
Speaker 1: a magical like the demos came out so magical. Then
Speaker 1: again we ride around the hood playing these demos and
Speaker 1: this Casey and jose In minded and the Jodice record
Speaker 1: wasn't out yet, I don't think so. So it was
Speaker 1: just sounded so crazy with the harmonies in this and
Speaker 1: it was basically even what we tried to do with
Speaker 1: the Jodice record. It was basic. It was the gospel
Speaker 1: gap pan because the entire Jodesee record. When I would
Speaker 1: drive to the studio to Unique studios or too Hit
Speaker 1: factory from growing on the huts into the city every day,
Speaker 1: I was listening to a group called Commission, So all
Speaker 1: I wanted to hear that. So, so that's if you
Speaker 1: listen to the influence in terms of all the harmony
Speaker 1: and the structures and the and the harmonic structures and
Speaker 1: all of those progressions harmonically, that's what I was being
Speaker 1: influenced by. So all I'm listening to is the windings
Speaker 1: and I'm listening to Commissions. So that's why it sounds
Speaker 1: like a gospel super like NERD question, what reverbs were
Speaker 1: you using at that time? Because they y'all had you
Speaker 1: always had like the biggest, brightest sounding fucking verbs, like
Speaker 1: the way y'all put on the background because you made
Speaker 1: their vocals sounds so big. I had the privilege of
Speaker 1: working with the jail. What happened was I called Quincy
Speaker 1: and I said, I said, I got this new group
Speaker 1: and I need an engineer, like can we use Bruce
Speaker 1: with Dean back? So you just laughed at there. I
Speaker 1: tried to go there. Damn well, I didn't know. I
Speaker 1: just said he's the best in the business. That's what
Speaker 1: I need. So that's the mount Verne encouraged. It's so
Speaker 1: so I asked in Quincy was like, I have somebody
Speaker 1: I slow downing, I'll be slow down. So but but
Speaker 1: what happened was, but he made a recommendation for me
Speaker 1: and he says, I want you to do. He gave
Speaker 1: me a recommendation to an engineer and that's in an
Speaker 1: asthmas that well, what you know, what has he done?
Speaker 1: He said, uh, he makes earth win and file. That's
Speaker 1: the one I wanted because because it was vote, because
Speaker 1: because he wanted to know what kind of what is
Speaker 1: its vocals? I said, yah, I said, God as vocal heavy,
Speaker 1: as as harmony, as this, I need this, I need
Speaker 1: frequencies I need I need forty hurts and then also
Speaker 1: I need this top end and I need a middle
Speaker 1: and I just explained Mick Gazowski and we went out
Speaker 1: to Conway Studios in l A And they just got
Speaker 1: the brand new flying faders board as a cl straight
Speaker 1: from London and so it's a whole brand new thing.
Speaker 1: But long story short, it was amazing because, um, me
Speaker 1: having the background of engineering and understanding frequencies, this was
Speaker 1: a perfect time me because I was learned so much
Speaker 1: from this guy. To answer you a question. Mitzowski had
Speaker 1: toys like you would not believe. Like he had this
Speaker 1: reverb that would sit up. It looked like my mother's
Speaker 1: furnace radiator that would you know, like back in the
Speaker 1: day with real cold and you put it near the
Speaker 1: windows so the draft from the window didn't make you cold,
Speaker 1: and it was like and then he had something underground
Speaker 1: and there was a reverb that was underground that would
Speaker 1: it was so he had all these you know, it
Speaker 1: wasn't even about rack mounts at that point, outside of
Speaker 1: the SEC base and whatever else we're using. But it
Speaker 1: was just more of a just these TC electronics and
Speaker 1: and just all type of look like Jurassic Park and
Speaker 1: they're like electronically you know, and just and he would
Speaker 1: just create this stuff. But his his arsenal was so
Speaker 1: brilliant to the point and then when I listened to it,
Speaker 1: it was so clean. I was like, oh man. So
Speaker 1: when Mick would leave the studio, go back and I
Speaker 1: would turn up the big turned up the all the
Speaker 1: kick drums, I would that would that would move it
Speaker 1: and did write it and then lit it right and
Speaker 1: it so so basically he mixed it sonically perfectly. And
Speaker 1: then I address the US keep working with him for
Speaker 1: the Sexy Versus album. Yeah, yeah, and then I started
Speaker 1: working with him begin Um, but let me tell you
Speaker 1: how this went about. What happened was so the guys.
Speaker 1: So once you know, they got signed and they started
Speaker 1: working on the album. Um, I remember I get a
Speaker 1: call from Andre Andrew said, yo, I need to meet
Speaker 1: with you. I was like, okay. DeVante was so amazing
Speaker 1: on the production, like you know he and it's funny
Speaker 1: because Joda see didn't want to be like a guy
Speaker 1: Joda see DeVante that wanted to be like bb D.
Speaker 1: That's all. That's all. I used to talk about BBD,
Speaker 1: but obviously DeVante had a Teddy Riley esque style and
Speaker 1: field to him. Um and I remember, I mean in
Speaker 1: a brilliant, brilliant musician. Uh and I remember so Puff
Speaker 1: and Dre came to the house in Jersey. Was sitting
Speaker 1: on the green leather couch. I think that's let the
Speaker 1: plastic on the couch came over. They were like, listen, okay,
Speaker 1: listen to Fellas. You know came up with the stuff
Speaker 1: and it's alott You know, it's Alottle. You know it's
Speaker 1: not there, He's not ready yet, but to all the ideas,
Speaker 1: everything is right there. He said, I need you to
Speaker 1: take this ship and do that Quincy Jones ship. You do,
Speaker 1: He said, take the Masters, and I want you to
Speaker 1: go to l A and I want you to flip
Speaker 1: this whole thing. So what I did first was I
Speaker 1: grabbed Davante, brought him to the house in Jersey, locked
Speaker 1: up everything, and we sat there and reprogrammed the entire album.
Speaker 1: Did everything you know from scratch. I took all the
Speaker 1: everything and know all that. That's why if you listen
Speaker 1: to it's the same sounds on on the Tivin Campbell album.
Speaker 1: It's the same kid, that's all jealousy thing. So I
Speaker 1: just used the same my same disc, my floppy disc
Speaker 1: from the SP twelve and so oh you did. Yeah,
Speaker 1: we used the SP most of that stuff too, like
Speaker 1: come and talk to me and all that, because all
Speaker 1: that stuff is the sample. Now, I just took the
Speaker 1: nine of nine kit and the eight away kit and
Speaker 1: combined them and then made my own sounds like taking
Speaker 1: a bat like the one on right now, like it's
Speaker 1: a it's a bat hitting the tree. And then I
Speaker 1: just drunk d yeah. So yeah, because right now when
Speaker 1: alone with you were like pretty much right. And then
Speaker 1: if you think about it, the Ussher record too and
Speaker 1: many so so now what happened was so when Puff
Speaker 1: and Drake came over to listen, you know, take this
Speaker 1: stuff and you know, do that Quincy Jones thing to it,
Speaker 1: and you know went down, you know, like I said, printed,
Speaker 1: you know, did all the stuff like that, took it
Speaker 1: to Hipactory, Times Square, printed everything may show was you know,
Speaker 1: this was my thriller. I took this so seriously because
Speaker 1: this was my thriller. This was my opportunity to show
Speaker 1: myself as a producer. And I wasn't necessarily thinking like that.
Speaker 1: Then it was just more of this project. It's so
Speaker 1: important to me because I want to make them into im,
Speaker 1: make a group, you know, and we did it and
Speaker 1: then they said okay, then they shipped me out because
Speaker 1: they didn't want nobody suppose, so they told me go
Speaker 1: to l A. So, you know, the guys are mad
Speaker 1: at me. They hated some Elvy Short because they were
Speaker 1: mad because I went out and and it was so
Speaker 1: funny because outside it was like a celebrity tournament because
Speaker 1: every day in the studio, you know, I'd be in
Speaker 1: the mixing, and then outside in Colma, you know, you
Speaker 1: get the little basketball court outside, so it was Mike
Speaker 1: Tyson and Martin Lawrence and Chris Rock and you know,
Speaker 1: it just like the whole family that Christopher Waite, everybody
Speaker 1: just hanging out playing basketball, coming and out, Jamie Fox
Speaker 1: and and it was just fun. It was just a
Speaker 1: great time. But it was so important. People don't realize
Speaker 1: put yourself in the right environment when you're doing a record,
Speaker 1: like don't put don't isolate yourself, because when your record's
Speaker 1: gonna sound isolated, keep yourself in your your environment. Okay,
Speaker 1: So I have a question, Short, leads back to Tevin
Speaker 1: and actually connects to you, and I'm at it. I'll
Speaker 1: feel Printing there as well, Um what I mean, as
Speaker 1: as diplomatic or as explicit or truthful you want to
Speaker 1: be with it? What was going on with Warner between
Speaker 1: two and that, I feel like the expectations that were
Speaker 1: there for Tevin Campbell to be the next God, Like
Speaker 1: I mean everyone basically just said like okay verse specifically
Speaker 1: because he came from Quincy, right, there's our new Michael Jackson.
Speaker 1: So even though yes, he had hits and made classics
Speaker 1: and all that stuff, I felt like the expectations for
Speaker 1: him to be God whatever exaggerated things that I mean,
Speaker 1: I guess the perception and I don't know if Warner
Speaker 1: dropped the ball to push it further, but on the
Speaker 1: second album or well, just I mean that was yeah,
Speaker 1: that was that was after Graffiti. Yeah, but even with
Speaker 1: print complaining about Warner Brothers, like what what was happening
Speaker 1: with Warner at the time that a lot of black
Speaker 1: artists on that label between the first half of the
Speaker 1: nineties were sort of like kind of like we learned
Speaker 1: excellent question, we learned what an urban budget is and
Speaker 1: a pop budget is Black music department. So the Black
Speaker 1: Business Department was an incredible department, and we would you know,
Speaker 1: pretty much we were paying the rent as well, and
Speaker 1: we're doing it, um, but the budgets were just a
Speaker 1: little different than Madonna. And you know, as soon as
Speaker 1: it was so even and my only honestly my I
Speaker 1: enjoyed working with Benny so much because we rocked together
Speaker 1: in terms of just you know, we're traditionally on the
Speaker 1: same page in terms of musically and things we want
Speaker 1: to do. But um, the probably the only complaint that
Speaker 1: I would have m even as the artist who was
Speaker 1: all the attention and was paid to, you know, very
Speaker 1: specifically because of the exists of the first album organically, UM,
Speaker 1: and I don't even think they knew what they had
Speaker 1: outside of that. Um, they didn't really even with my records,
Speaker 1: they didn't push them pop, just like you know, I
Speaker 1: wasn't in that right space for the pop records because
Speaker 1: Night and Day did it on its own. But just
Speaker 1: even like right now, there's no reason why Night and
Speaker 1: Day off on your own, girl, where it's not an
Speaker 1: a T and T at Verizon commercial right now, you
Speaker 1: know what I'm saying, So maximize on the moment on
Speaker 1: the moment um. I remember I used to sit in
Speaker 1: there and I would go in in a sales meeting
Speaker 1: and I would say, hey, listen, um, you know, I
Speaker 1: saw there was a new commercial out and it was
Speaker 1: it was for deodorant, and I would say, well, you know,
Speaker 1: products and music should go hand in hand in fashion,
Speaker 1: because remember we came from a school of Puffy, so
Speaker 1: everything was you know, how do you put this song
Speaker 1: with this sneaker and this You know, it's a branding thing,
Speaker 1: but we were always thinking that anyway, so I wanted
Speaker 1: to you got it. So I was like, now, now,
Speaker 1: mind you if you notice in the opening of the
Speaker 1: video of Rescue Me and when the two guitar plays
Speaker 1: beside me and we were rocking, do you want to
Speaker 1: do boom? And right in the beginning of video the
Speaker 1: first thing I had them do as well, oh his hands, yeah, me,
Speaker 1: thinking that they're gonna see that when you run DMC,
Speaker 1: I'll be sure you said the show to his my
Speaker 1: Idida's moment or his local j M plug moment with them. Okay,
Speaker 1: wait real quick, I gotta know when you guys are
Speaker 1: performing the Secret Garden at the Soul Train Awards. What
Speaker 1: was going on between Barry White and El de Barge?
Speaker 1: Do you know? Can you divulge? You like you something?
Speaker 1: All right, here's the deal. I don't know what was
Speaker 1: going on in between Barry White and that debars. But
Speaker 1: this is back in the day when I used to
Speaker 1: videotape everything and watch it like ten or twelve eleven times.
Speaker 1: If I were a betting man, I would say that
Speaker 1: something tense was happening between those two because there's a
Speaker 1: look that Barry White gives l De Barte that I'm like,
Speaker 1: I thought, maybe I'm reading into something. Was something? Alright,
Speaker 1: just answer yes or no? What's something happening between them
Speaker 1: two that I don't know about? Well, I can't not know.
Speaker 1: Well I can't say too much because Uncle Barry's not
Speaker 1: here too to verify. But so I was onto something.
Speaker 1: But I would think very specifically, like any great superstar,
Speaker 1: don't sing over me, yo ie. If you were to
Speaker 1: look for you're brilliant. If you were to look at
Speaker 1: the VHS tape I had like that. You know the
Speaker 1: lines to the cracking, there's this, there's there's just a
Speaker 1: three second moment where I saw a looking frustration. The
Speaker 1: only person I knew I could even lead to that
Speaker 1: was at the time like Allen Leeds was was toward
Speaker 1: managing bar White, but he couldn't. He's like, yo, dude,
Speaker 1: it could have happened, but he couldn't verified. But I
Speaker 1: knew something was up with that performance. But don't sit
Speaker 1: right with me. But I remember, first of all, that
Speaker 1: was probably for me again, one of the scariest times
Speaker 1: on planet Earth, very specifically because now mind you he's
Speaker 1: from yeah, oh absolutely, and Uncle Barry was gangster. I
Speaker 1: think Uncle Jim to Jim Brown and Barry White, those
Speaker 1: two and and Dick Griffy, that's that's those are those
Speaker 1: are my Those are my uncle's big big brothers, uncle's
Speaker 1: godfather always been stories. Dick Griffy first of all. Um,
Speaker 1: his widow is like my other mother. She lives in
Speaker 1: Vegas and and uh and and Carolyn Griffy as well,
Speaker 1: who's like my sister. She's in London right now. So
Speaker 1: I'm very close with family. And I have the last
Speaker 1: and only interview of Dick Griffy when I was doing
Speaker 1: Secret Garden over there the other yo. Seriously, yeah, and
Speaker 1: I got I got all the traps. We have so
Speaker 1: many Griffy stories. All the artists that have been on
Speaker 1: this late on this on the show, I'm really trying
Speaker 1: to convince a Smith to do a Dick Griffy unsung
Speaker 1: or a solar On song because that's one. Again, that's
Speaker 1: another one of the stories that is untold, like enough
Speaker 1: to no no. So the closest they got with Lamar
Speaker 1: Yeah yeah, but but again that was his, that was
Speaker 1: his baby and and uh something that did Griffy lived
Speaker 1: by There was a documentary on a VHS that he
Speaker 1: just created on his own called Slaveship to Ownership and
Speaker 1: this was that entire That's what I was telling people
Speaker 1: about doing that anal part of Donald Parmer type of
Speaker 1: business as opposed to just being the face of something.
Speaker 1: You know, have an equity stake have, you know, be
Speaker 1: a part of the excess strategy of whatever that thing
Speaker 1: you're endorsing, that product you're endorsing, so that you know
Speaker 1: you it's worth your while. Come on, Michael Jordan, Nike,
Speaker 1: you know it is what it is. Okay. I got
Speaker 1: a question party tonight, where are they now? And how
Speaker 1: did you discover them? Um? They were actually again little
Speaker 1: Tone and Brian and all the guys they were in
Speaker 1: the mix already. They were kind of but they were.
Speaker 1: They were working with my cousin Joe, Joe Brim and
Speaker 1: Jimmy Jimmy may This who now manages Salt and Pepper.
Speaker 1: So I was brought they were brought to light by
Speaker 1: Jimmy Manus and Joe Joe and then in that camp.
Speaker 1: And then I had an opportunity when I just got
Speaker 1: a deal at Motown to bring them in to be
Speaker 1: able to do that whole, you know, put their project together.
Speaker 1: That project, if you ever have an opportunity listen to
Speaker 1: that project was my second job, my second coming of
Speaker 1: Joe to See. And what I and this is probably
Speaker 1: the most thing I can say about it is it
Speaker 1: was so well crafted in terms of because I had
Speaker 1: practice doing Joe to See figuring out you know, vocalists
Speaker 1: that way I mean. And then after I start working
Speaker 1: with Dave Hollis and fair so when I took those
Speaker 1: young men and put that project together, and again there
Speaker 1: was so many chefs in the stewart at Motown that
Speaker 1: we didn't even get a chance to release it properly
Speaker 1: because that they would have been the next Joe to
Speaker 1: See for lack of better terms, you know, they were
Speaker 1: their own. I got a copy of that CD somewhere
Speaker 1: I got when I was working at Universal, and there's
Speaker 1: a big circle that says archive copy, do not remove
Speaker 1: from office, and now it's in my house cart there. Okay,
Speaker 1: So we talked a little bit about, you know, you're
Speaker 1: doing the voiceovers for one song. But I learned something
Speaker 1: today that I didn't know. You did a TV pilot. Yeah,
Speaker 1: we uh Private Times in the Whole Nine, which was
Speaker 1: produced by the late George Jackson UM and also Henry
Speaker 1: Douging and Henry George Jackson and UM and also also
Speaker 1: Eric Van Lowe, who was, you know, producer of The
Speaker 1: Cosby Show. You know here's of the Consby Show as well. UM.
Speaker 1: But just it was an amazing time. It was myself, UM,
Speaker 1: Chebb Rock, Martin Martin, Lawrence Michael Michelle, Michael Wright. So
Speaker 1: it was a nice ensemble and it was my debut,
Speaker 1: uh screen test for Warner Brothers. What was the premise
Speaker 1: of um, two kids trying to make it out of
Speaker 1: the hood following their fathers the uncle's foot footsteps and
Speaker 1: there was a club like the Cotton Club downtown in Harlem,
Speaker 1: and we just wanted to get a chance, because if
Speaker 1: you get a chance to play there, you made it.
Speaker 1: And uh, we're just on a hustle and grind and
Speaker 1: written by Barry Michael Cooper. Is that name again Small World?
Speaker 1: Because now Michael Michael, I say, Michael Michelle's Michael Michelle,
Speaker 1: Michael Michael, Michael Michelle. She's in the show with Quincy
Speaker 1: on star on Empire. Yeah really yeah, I mean same director,
Speaker 1: the same creator Daniels situation to genius Lee Daniels. Um,
Speaker 1: I've I've sort of an off the wall question. Doesn't
Speaker 1: have anything to do with you, but it has to
Speaker 1: do with Quincy. And you mentioned how he was sort
Speaker 1: of a publishing um icon. Yeah, okay, I guess that's
Speaker 1: that's one way of putting I think part of what
Speaker 1: you were saying so well, we interviewed him up for
Speaker 1: the show about a year ago or something. But um uh,
Speaker 1: And I'm like a humongous fan of the We Are
Speaker 1: the World project, right, So, um what I noticed about
Speaker 1: forty five of that is that the B side is
Speaker 1: a song called Grace and it's written by Quincy Jones.
Speaker 1: And I know that everybody on the project for the
Speaker 1: out for the Way of the World Album, donated a
Speaker 1: song for the record and donated the proceeds. I don't
Speaker 1: want did they donate the publishing, because here's my question.
Speaker 1: That's a question because if Quincy, Quincy puts his own
Speaker 1: song like he did with Strawberry Strawberry Letter, instead of
Speaker 1: uh Stevie wonder, Um, he puts Grace on the back
Speaker 1: of a forty five that he knows for sure is
Speaker 1: going to sell a gazillion copies. So now unless he
Speaker 1: donated not only the song but the publishing to USA
Speaker 1: for Africa, then he's then he's kind of pulling a
Speaker 1: fast one there. So I'm USA for Africa was damn well.
Speaker 1: I'd like to I'd like to call it. I'd like
Speaker 1: to call it innovative business. Please fix this because you know,
Speaker 1: I love Quincy and I'm not trying to think poorly
Speaker 1: of them, not like but think about it. No, listen,
Speaker 1: it's the same concept as the Godfather who put this together? Me?
Speaker 1: Who do I trust? Me? Who wrote the song? Me? No?
Speaker 1: But it's just you know, it's a smart move because
Speaker 1: what happens is very specifically, as you know, with you know,
Speaker 1: the B side and um wherever that travels, the B
Speaker 1: side must go. Well, he could have put the instrumental
Speaker 1: if We're the World, or it could have you know,
Speaker 1: uh and and Grace, but Grace is not on the record,
Speaker 1: on the full record with all the other songs. It's
Speaker 1: only on the B side of it becomes a commodity. Look,
Speaker 1: I don't know what it is. I'm trying to figure
Speaker 1: out what's going on, you know, like because he should
Speaker 1: you know, he's uh no, I mean, it's just I'm
Speaker 1: just curious from a publishing standpoint what he did. Both
Speaker 1: from a publishing standpoint, it's a smart move because let's
Speaker 1: let's just say that from the standpoint of it not
Speaker 1: being released as a single per se, it probably made
Speaker 1: a shipload of money anyway, So it becomes a valuable aspect,
Speaker 1: like any of that intellectual properties, it becomes valuable through
Speaker 1: the roof so um, just like you know with the
Speaker 1: Tevin Campbell situation with him doing Strawberry Letter, which is
Speaker 1: his composition. Um, it's just a smart move. And and
Speaker 1: knowing now what I know, I wish I would have
Speaker 1: taken the bull by the horns even more so because
Speaker 1: there's so many songs and so much production that I've
Speaker 1: assisted in that I didn't take credit for it because
Speaker 1: and I'm not mad. I'm not the angry rapper right
Speaker 1: now where I'm you know, I should know. So I
Speaker 1: got it, and I understand it. I have enough publishing
Speaker 1: to the point where I'm happy and related, but not
Speaker 1: understanding how important that intellectual property is at this moment.
Speaker 1: You know. Back then, Um, yeah, okay, but USA for
Speaker 1: Africa was a charity organization, you know. Can I share
Speaker 1: something with you about the United Nations? Okay? So do
Speaker 1: you realize that there are certain organizations that everyone eats
Speaker 1: and gets paid before the starving people who are supposed
Speaker 1: to get this stuff? Uh? You know, so there's certain
Speaker 1: organizations that operate in that capacity, and that's you know,
Speaker 1: that's a travesty to me. Yeah. Uh, but I don't
Speaker 1: necessarily think I think that um Quincy's philanthropic footprint is
Speaker 1: so tremendous glue. I don't want to. I just don't.
Speaker 1: That's something I just don't want to know. You can't
Speaker 1: talk about Quincy really. I had a question regards to like,
Speaker 1: because after Sexy Versus ex Versus was like ninety two
Speaker 1: and then um, after that, you didn't come back again
Speaker 1: until oh, eight or nine. It was oh nine and nine.
Speaker 1: So how did you support yourself financially through those years?
Speaker 1: You know what I'm saying, like, what do you? Because
Speaker 1: I admire like cats that can do that, that you
Speaker 1: can walk away from the game and just be like,
Speaker 1: you know what, I need some time for whatever, and
Speaker 1: you know, you know you you still can eat and
Speaker 1: future family. Yeah, but you know what, I am the
Speaker 1: king of believing in entular revenue stream. So um so,
Speaker 1: besides still right, besides doing people and people trying to
Speaker 1: figure out why you're doing radio, Well, let me share
Speaker 1: something with you. I'll just give you a small example.
Speaker 1: Let's say Tom Joyner, right, and I'm being I'm being facetious.
Speaker 1: Obviously Tom Joyner, you know put maybe he was netting
Speaker 1: ten million dollars a year sitting in his bedroom during
Speaker 1: the morning show. You know, um so, I learned the
Speaker 1: syndicated radio game. In addition to I probably made one
Speaker 1: of the most lucrative deals at Motown um um with
Speaker 1: my attorney then um Mr London, I had five deals
Speaker 1: that Motown had an executive deal and artist deal, a
Speaker 1: production deal and label deal, in a publishing deal and
Speaker 1: so love me long time so the Motown that was
Speaker 1: during the Andre Herrel years, Yes, okay, and and and
Speaker 1: and and for the most part, I mean, I think
Speaker 1: it was a great opportunity. Um, the kind and generous
Speaker 1: heart that Andre Horrell has. Uh, and that's why you
Speaker 1: could never say anything bad about Andrea told to me.
Speaker 1: I mean, he he made sure that everyone eat, um,
Speaker 1: everyone eats at the table. And uh. You know. Now,
Speaker 1: the only issue I think I had with the entire
Speaker 1: Motown circumstance and opportunity is that because of that, um,
Speaker 1: there were too many chefs in the kitchen in terms
Speaker 1: of there was a hundred A and R s and
Speaker 1: it was a hundred you know so so but again
Speaker 1: it was Andres kind of heart making sure that all
Speaker 1: of his folks, everybody ate, everybody was in the kitchen, everybody,
Speaker 1: you know. So, but it was just so many opinions
Speaker 1: and so many that it just became a little bit convoluted. Uh.
Speaker 1: And to the point where after a while, you know,
Speaker 1: and no record companies people have this veil and they
Speaker 1: really feel like it's just a red company and some
Speaker 1: vinyl but their shareholders to answer to. As it relates
Speaker 1: to budgets and things in the nature. So you know,
Speaker 1: after a while there the numbers when they don't start
Speaker 1: to balance out and you can't you know, you don't
Speaker 1: have an answer for you know, we spent close to
Speaker 1: eighty million, I think eighty million dollars without a release,
Speaker 1: Oh my goodness. So I think it was prior to
Speaker 1: any releases, any official record releases in terms of the
Speaker 1: marketing and the chair and the sweats cigar and so
Speaker 1: so we you know, I believe that. And don't quote me,
Speaker 1: but I think quote me, but I think it was
Speaker 1: somewhere in the realm of eight and dolls. It relates to,
Speaker 1: you know, just the overall he had to add in
Speaker 1: the source where he was in the chair and like
Speaker 1: you know, the cigar and ship. But no records ever
Speaker 1: came out. When did you know that radio was an
Speaker 1: option for you? Um? It was the second nature. I
Speaker 1: believe only because anytime I go and do radio, it
Speaker 1: was always a joke with people would come to me
Speaker 1: and say, how the hell do you sing so damn
Speaker 1: high and you sound like Barry White's uh you know,
Speaker 1: DNA and UM, And I said, I don't know. I said.
Speaker 1: The only reason I saying highs because I was just
Speaker 1: emulating Smokey Robinson and Marvin Gay. So I would practice
Speaker 1: and and and like the stylistics and stuff that I
Speaker 1: would practice those songs and I learned to develop a falsetto. Um.
Speaker 1: I just had a great conversation with Maxwell, and I
Speaker 1: was so surprised when I'm I'm surprised to hear when
Speaker 1: I hear these things when I speak to artists who
Speaker 1: I truly admire and I look up to and you know, um,
Speaker 1: you know he was telling me about how, you know,
Speaker 1: how much of an influence I was on him. Um.
Speaker 1: And I think Maxwell's falsetto is just genius. I mean this,
Speaker 1: this cat is just brilliant. Um. See that's my figured.
Speaker 1: A few falsetto folks that must have reached out to
Speaker 1: you at some point. There are so many derivatives, from
Speaker 1: Adam Levine to Jason. I mean, of course Michael too,
Speaker 1: well with m Adam Levine. Come on, man, whatever, we'll
Speaker 1: probably the most impressive story for me because obviously anyone
Speaker 1: who knows me or anything close to my circle that
Speaker 1: I'm the biggest Michael Jackson appreciator on planet Earth. Because
Speaker 1: it's not about just being a fan of a fan
Speaker 1: you know, obviously, but the appreciative of his craft and
Speaker 1: his technique and his recording technique, and and and then
Speaker 1: the way Quincy would you know, it's just this there's
Speaker 1: a certain just organic nature to what he what he did.
Speaker 1: So Teddy was working on Michael and I get a
Speaker 1: call from Teddy one day and Teddy's saying, Yo, You're
Speaker 1: not gonna believe this. And I was like, what he says?
Speaker 1: You know. So We're in the studio and Michael says
Speaker 1: to him, um, can we have like, you know, one
Speaker 1: of those Albie Short type songs? Now you know, I
Speaker 1: didn't passed out, I said, Teddy stop lying. He says, yeah,
Speaker 1: I swear. He said he wants to you know, like
Speaker 1: that night, and you know, he started singing it and
Speaker 1: I was so, oh boy, good boy. So you know,
Speaker 1: so so then I'm good. I can just put beyond
Speaker 1: the novacaine whatever. But yeah, just you know, but stuff
Speaker 1: like that, I mean, because with me, I've always maintained
Speaker 1: a this side of defence viewership of what music is
Speaker 1: in terms of being able to appreciate it because I'm
Speaker 1: a fan of of of the craft first and foremost,
Speaker 1: and I'm a fan of the music and then innovative
Speaker 1: music even more so. So you know, i'd like one
Speaker 1: of my favorite artists on Planet Earth is sting um,
Speaker 1: you know, including the Police as well, but just you
Speaker 1: know his work there. Um, you know Greg filling Games.
Speaker 1: You know, there's certain cats who were just who were cats.
Speaker 1: That's what we call them. They're just cats who were
Speaker 1: just Rochelle Farrell, you know obviously Layla Layla hath the way, um,
Speaker 1: you know those things. Harmony with herself, you know, Um,
Speaker 1: you know a certain exception of Lettacy. You know, like
Speaker 1: there's certain the vocalists that are you know, just have
Speaker 1: that thing, um that special you know, Faith obviously, you know,
Speaker 1: just like when I tried to bring it was so
Speaker 1: funny because when I was working with Faith and and
Speaker 1: then this is I can share this because this is
Speaker 1: in her book. Um. And then at that point, I
Speaker 1: think Faith was on section eight. She was going to
Speaker 1: church in Jersey, so on and so forth, and I
Speaker 1: used to have her come down. I used to just
Speaker 1: pay every day to put some money in the pocket
Speaker 1: and come sing demos for me. And she's probably one
Speaker 1: of the few artists who never forgets it. I mean
Speaker 1: when I when she saw I was in the hospital.
Speaker 1: Boom Her and Stevie J. They busy running around t MC,
Speaker 1: chasing around whatever, and they call me at home. Hey,
Speaker 1: you're right, big bro. Everything good. You know, I saw
Speaker 1: you and I whatever. You know. It's like, but she
Speaker 1: always she's always been that the most wonderful, most talented
Speaker 1: artists that I've been around. Like she was my Whitney
Speaker 1: Houston for lack of better terms. And she's strictly my sister.
Speaker 1: Like you know, I love like there's a special spiritual
Speaker 1: love affair between myself and Faith Evans, like meaning we
Speaker 1: in the Mutual Admiration Club, meaning like I love that
Speaker 1: woman as a person, China and the god I'm a godfather,
Speaker 1: you know, like just you know, the daughter China. So
Speaker 1: I just think, but she's just such a talented and
Speaker 1: cool from the bricks, you know, just just organic and
Speaker 1: and and just she's a prodigy and she's so humble
Speaker 1: with it, like she just in her nickname. If you
Speaker 1: ever see Faith that and just called the doctors, you know,
Speaker 1: he's like, where's the alb? Yeah? So is that why
Speaker 1: she was on all the backgrounds for Ushers? Yet that's
Speaker 1: still my favorite us Your album thank you, Thank you
Speaker 1: very much, appreciate it. And and and I enjoyed working
Speaker 1: uh you know, love was here here and that's the
Speaker 1: same thing we did with you know, and and again.
Speaker 1: But that was the whole purpose. The reason I got
Speaker 1: that called because puff would call me to do all
Speaker 1: of the you know, like so one I did once
Speaker 1: was first record, and I did Ushers first. So those
Speaker 1: are Puffy projects. So puffic for the bad boy? Did
Speaker 1: you once we have you did this is Your Day? Yeah,
Speaker 1: and we did some other and then I have a
Speaker 1: duet with Faith in one twelve two that was never
Speaker 1: at least I said, I'll put that in there. Just
Speaker 1: remember those stept Tony put him in the drop write
Speaker 1: it down like yeah, we need that, um. And then
Speaker 1: we did it. We did a song called make You
Speaker 1: Sweat with Tony Thompson. So's it was on the sixth season.
Speaker 1: Was only solo album, right right. That was the last
Speaker 1: song we recorded. Yeah, and um Cassis soul. What a
Speaker 1: talent did you talked about the vocalist too? That was
Speaker 1: another one that kid right there. When you got signed,
Speaker 1: How did the deal come about with Hidden Beach? Um?
Speaker 1: How did how did you sign with that before you
Speaker 1: before you get to that was was there anything after
Speaker 1: Sexy Versus? Like? Was there? Like I remember, I feel
Speaker 1: like I had seen something on the release schedule at
Speaker 1: some point in like maybe yeah, you know. What what
Speaker 1: happened was after Sexy Versus Um, Warners did a major shift,
Speaker 1: an executive change, and I didn't have what's called a
Speaker 1: key man clause in my contract, which one guy left
Speaker 1: and right like if there the head executives who signed
Speaker 1: you leaves, you know you can go with him, you know.
Speaker 1: So there was nothing like that. But I really enjoyed
Speaker 1: working with Benny medina Um and just his professionalism and
Speaker 1: his understanding of what entertainment is. Obviously now as you
Speaker 1: see with old J Low's whole career, like what what
Speaker 1: this man can do is it relates to sculpting and crafting,
Speaker 1: taking a budding diamond and and shining and just creating
Speaker 1: something and creating a miracle. Um and he you know,
Speaker 1: so at that point I think they makes they just
Speaker 1: started moving stuff around executives and Benny was was going
Speaker 1: at that time, and they hired a lawyer to be
Speaker 1: the A and R person, And so I got dropped
Speaker 1: like hot potato because what happens is, as you know,
Speaker 1: when new executives come, they bring along their own regime,
Speaker 1: and I wasn't a part of that. So I literally
Speaker 1: was like, you know, when we were getting raised out
Speaker 1: the new album, I couldn't get anybody on the phone.
Speaker 1: I was like, wow, I said, I generated close to
Speaker 1: a quarter of a billion dollars with you know, my
Speaker 1: production and my record sales and all. You know, just
Speaker 1: one of my guys of Wall Street kind of did
Speaker 1: an analysis for me just in terms of, you know,
Speaker 1: all this stuff collectively. But but mind you, I sold
Speaker 1: a significant amount of units for for Warner Brothers at
Speaker 1: that point, and you know, you look at it now
Speaker 1: out and you you know, like I said, I'm never
Speaker 1: going to be the bitter Artists or anything else like that,
Speaker 1: because you know I do. I do okay, you know,
Speaker 1: I'm okay and very okay. But but but at the
Speaker 1: end of the day, what has happened is, you know,
Speaker 1: when you realize as an artist how much revenue you generate.
Speaker 1: I mean that's why you know, people to understand with
Speaker 1: these three sixty deals because basically it's just an insurance policy.
Speaker 1: If I'm investing you, I need to be a party
Speaker 1: of merchandise and social media everything you know, and and
Speaker 1: if you're in a position like like with Quincy when
Speaker 1: he was working on when he start first started to
Speaker 1: do his deal, um is for television stuff. Um, there
Speaker 1: was no involved only because he wasn't He's not in
Speaker 1: a position to have to give up all his music
Speaker 1: rights and its publishing because you know, they wanted to
Speaker 1: own everything and he don't have to do that. So
Speaker 1: thank you for coming out. God bless and let's let's
Speaker 1: make it nothing then he he he's very patient. There's
Speaker 1: no nepotism involved. He consults with me and Sean and
Speaker 1: you know, his his surrounding team. Um. But you know,
Speaker 1: he's a very smart businessman. Um. And it's it's it's
Speaker 1: significant too ah to to watch the the navigation that
Speaker 1: he's kind of creating on his own as well. Obviously,
Speaker 1: Um yeah, around the time, because you got when when
Speaker 1: you left, like after Sexy Versus, there was a period
Speaker 1: of time where Warner they just didn't get black music
Speaker 1: like they was like they were just putting out bullshit.
Speaker 1: Well they had that rep where it's just like if
Speaker 1: you saw Warner Brothers record, if you were like a
Speaker 1: head and you saw Warner Brothers logo, like you just
Speaker 1: knew it was gonna be whacked. Like that was kind
Speaker 1: of the thing. Again, that's the switch show when my
Speaker 1: you know, Benny and that whole regime left. Um, you
Speaker 1: know we were we were that clue and that melting
Speaker 1: pot that that created because remember we had club new vote,
Speaker 1: we had you know, Tevin myself, Um, I was about
Speaker 1: this post time or is this this is? But do
Speaker 1: you know the real story of what the entire thing
Speaker 1: with Prince was because what people have a little bit
Speaker 1: of a misconception. The only way the reason that came
Speaker 1: about is because of Again and I don't want to
Speaker 1: go to business, but intellectual property is everything, and if
Speaker 1: you're an attorney or you're a lawyer, you understand that.
Speaker 1: So Warner Brothers basically felt as though they put a
Speaker 1: tremendous amount of money behind Roger. They put you know,
Speaker 1: they put all this money behind Prince and made him
Speaker 1: who he was. Now they didn't give him credit that
Speaker 1: he made him who he was, but he did the work.
Speaker 1: But it's it's almost kind of is even like how
Speaker 1: the Disney machine works and so and so forth. You know,
Speaker 1: when I was doing radio for many, many years. I
Speaker 1: started a show call a Secret Garden, and and I
Speaker 1: waited nine months to get paid because of the negotiation,
Speaker 1: because they wanted to own Secret Garden. I was like,
Speaker 1: you can't only secret No no, no, no, no, but no,
Speaker 1: not even that. It's just more that what had to
Speaker 1: do with these are our airways. It's the most valuable things.
Speaker 1: So this is our product. And you know I had
Speaker 1: to tell him, no, that's not. This particular works because
Speaker 1: if you live, this is a brand that we built,
Speaker 1: you know, Quincy and you know so. But going back
Speaker 1: to it, um related to Prince because Warner Brothers felt
Speaker 1: as though that they made Prince into who he was.
Speaker 1: We've invest we made this investment. You can't just walk
Speaker 1: away with our investment. So you can leave, but just
Speaker 1: leave the name. Uh yeah, And people don't understand. So
Speaker 1: I got it conceptually, but it made no sense because
Speaker 1: just like any trademark, you can say you don't you
Speaker 1: can't say, just like in Vegas, right now, you have
Speaker 1: all these Michael Jackson shows, right the Tribute to Michael Jackson,
Speaker 1: you can use that because it's not Michael Jackson. The
Speaker 1: Tribute to Michael Jackson. Michael Jackson presents, you know, like
Speaker 1: you can attend to derivatives of it, but at the
Speaker 1: end of the day, the intellectual property and what do what?
Speaker 1: You know, they what they own. This is Michael Jackson.
Speaker 1: So again, Prince was allowed to leave. That was his sacrifice. Okay,
Speaker 1: I'm going to leave Warner Brothers, but I can't take
Speaker 1: my name with me. Okay, so I'm the artists fumerly
Speaker 1: known as Prince. Isn't that crazy? Conceptually? Is funny because
Speaker 1: if I'm an attorney, Yeah, it works if I'm a human,
Speaker 1: you know, if I'm a human buying records, you know,
Speaker 1: just how long you take for him to get his
Speaker 1: name back. He had to wait till his publishing deal
Speaker 1: with Warner expired. But but again, you know, it's not
Speaker 1: like you don't recognize them when you see him. But
Speaker 1: you know, so I was all right, and and and
Speaker 1: and to be honest with you, it was just a
Speaker 1: part of the mystique of Prince. And you know, I
Speaker 1: mean he was. He's a genius as it is. So,
Speaker 1: I mean, you know, there's certain artists you just can't
Speaker 1: hold back that you know they're going to be who
Speaker 1: they are. And I guess the misconception that was that,
Speaker 1: as at least for me as a fan, I thought
Speaker 1: Prince had made that like a creative decision, like I'm
Speaker 1: going to stop using that. But that was like the
Speaker 1: public explanation, which which is which is great because you know,
Speaker 1: every it's just like anything with art, we all see
Speaker 1: it differently, so it's just like, okay, yeah, this is
Speaker 1: what happened. Then the room was starting, you know, yeah,
Speaker 1: so how did you? And I don't know if it
Speaker 1: was anything you want to ask, but I was going
Speaker 1: to hit the beach, So yeah, how did that deal
Speaker 1: come about? Um? So after the you know, the three
Speaker 1: albums with Warner Brothers and you know, doing the executive
Speaker 1: thing in Motown and so and so forth, and that
Speaker 1: kind of ended around nineties six. Um, I remember working
Speaker 1: with um my I call him a brother, um David
Speaker 1: memorand Savage Records. That's how I start working with David Bowie,
Speaker 1: and I just wanted to go to another level and
Speaker 1: really just take this obviously my core and my sweet
Speaker 1: spot as it relates to my my my I call
Speaker 1: it friend base and I don't like to use the
Speaker 1: word fans, So my friend base, um and those who
Speaker 1: are supporting me or now in social media, my followers,
Speaker 1: my albs, big shout out to all of my alb's.
Speaker 1: I got but love for you, babe. Um. You know,
Speaker 1: so what happens is it was, you know, quite a
Speaker 1: step away from my core audiences. It relates to you know,
Speaker 1: because that's all I've ever wanted to do. I wanted
Speaker 1: as much as I was. I'm a straight hip hop
Speaker 1: head from Mount Vernon. All I wanted to do was
Speaker 1: work with Diana Ross and Al Green and and Smokey
Speaker 1: Robinson like that was what I grew up with. And
Speaker 1: Stevie Wonder. So you and I A Green, you'all got
Speaker 1: it which together? And then oh oh I love you
Speaker 1: because I thought it was good just be to love.
Speaker 1: And then what and what I did was and what
Speaker 1: I did was I remade um, spending my day you
Speaker 1: know for the I'm still love with you now. Now
Speaker 1: What's what's crazy is that So I've read in so
Speaker 1: many different places, um that I was nominated for three Grammys.
Speaker 1: It's actually four, and I want a Grammy because that's
Speaker 1: a duet I did with Al Green. It just again,
Speaker 1: I just never said anything. It's a duet with he
Speaker 1: and I and it's not it's not a catalog that way.
Speaker 1: So I got a Grammy for producing the gospel record,
Speaker 1: which is as long as We Together, and I was
Speaker 1: nominated for the others, so it's actually four. Um yeah,
Speaker 1: what was what was working with Diana Ross? Like, like,
Speaker 1: were you guys in the same studio? Was absolutely I
Speaker 1: have an affinity to fabulous. I have an affinity to
Speaker 1: class too, mature women. Yeah you no matter what I
Speaker 1: was thinking about some other but you know, um and
Speaker 1: so so, but but very specifically, Um, Diana Ross was
Speaker 1: just everything to me, I mean just growing up. So
Speaker 1: the first opportunity that I had to um work with her, no,
Speaker 1: just you know what it is when you grow up
Speaker 1: and and and let's just say this, as much as
Speaker 1: I loved Michael Jackson, I love Diana Ross. So it
Speaker 1: was just, you know, all jokes aside. It was just
Speaker 1: such an honor and privilege like just and then what
Speaker 1: was really cool was Diana Ross was so cool that
Speaker 1: I remember studio I think maybe we didn't hit factory
Speaker 1: or maybe yeah, And I remember, excuse me, Mrs Ross
Speaker 1: coming in the door and guess what she had on
Speaker 1: the denim and the halls and the gene she was
Speaker 1: looking like the working overtime she had the day. But
Speaker 1: but yeah, just I mean just an incredible, incredible talent
Speaker 1: um and um just she represents so much as it
Speaker 1: relates to just music, and people don't realize how important
Speaker 1: Diana Ross is like to the whole frame of you know,
Speaker 1: like to be honest with you love me some Beyonce.
Speaker 1: I was just about some Rihanna. But they wouldn't exist,
Speaker 1: right with those artists, you know, they would exist, but
Speaker 1: they just but there's a certain well, you know, just
Speaker 1: like anything else we learned from our predecessors, you know,
Speaker 1: the art before us. You know, we're influence. Um and
Speaker 1: it's just like the closest thing too bad and class
Speaker 1: and fly but still gotta is B because B keeps
Speaker 1: it one two eighteen, you know. But she's so incredibly
Speaker 1: classy and she's got the whole package and the whole thing,
Speaker 1: and her and Jay's movement and navigation is just crazy
Speaker 1: just so you just like to see it. It's like
Speaker 1: the King and the Queen, you know, just tell me
Speaker 1: Diana had a gutter side to her. Well, you know,
Speaker 1: but I'm not, but I'm not and I'm talking about
Speaker 1: because what happens I'm talking about just like just the
Speaker 1: homie like she's cool, like just like you really like
Speaker 1: what was was there a moment you had with Diana
Speaker 1: Ross Like I'm really we're talking about this, I'm doing
Speaker 1: this with her? Mm hmmm, well going to this reut
Speaker 1: never mind, you know what, let me tell you that. No,
Speaker 1: first of all, just I mean she's just one of
Speaker 1: the classiest, like just beautiful, classy, and just I love
Speaker 1: hearing a voice unless she talks. He just got this.
Speaker 1: She's you know, you can't even call her an artist.
Speaker 1: She's more of an icon. And and and just there's
Speaker 1: no title for her, you can't. She's the blueprint for
Speaker 1: all of the girls following and women and just all
Speaker 1: of them. I mean, I don't and and and take
Speaker 1: nothing away from you know, greatha Franklin garrest Soul, take
Speaker 1: nothing away from the other iconic female artists. But Diana
Speaker 1: Russ exuded I'm gonna make up my own word, exudable.
Speaker 1: Just he was just, you know, just she just had
Speaker 1: that every she had everything. She had the grace, the style,
Speaker 1: the class, you know, um, her exudability was off the charts,
Speaker 1: stop playing and you know and it is what it is.
Speaker 1: So so again, my dream and my goal was to
Speaker 1: work with the greats Um And a lot of times,
Speaker 1: you know, my peer group wouldn't understand that. In my
Speaker 1: perier group, they're like, yo, what are you working on
Speaker 1: this and this person? Ever? And I'm like, no, you
Speaker 1: just don't get it. I said, this is these are
Speaker 1: my dreams. I'm gonna I gotta dream it to you know,
Speaker 1: dream to fruition. So who who uh proposed the collaboration
Speaker 1: with David Bowie one black tie UM actually the president
Speaker 1: of Savage Records, Mr David Memoran, UM, very prominent businessman
Speaker 1: and my big brother is like a big brother to me.
Speaker 1: That's that's the first time I learned that. Um. The
Speaker 1: private jets came in the size of seven seven you know,
Speaker 1: I mean just just phenomenal, but the most kind and humble,
Speaker 1: you know, just knowledgeable, just I mean just amazing and
Speaker 1: and and gave me such an opportunity because he saw it.
Speaker 1: And then this is the gentleman who also was someone
Speaker 1: who was concerned about me because what he did was
Speaker 1: he looked at he took the time to get all
Speaker 1: of my contracts and was looking through all of the
Speaker 1: stuff and said, no, this isn't you know he speaks
Speaker 1: friends and said, this is not right. This is none
Speaker 1: of the publishing. And then he went and tried to
Speaker 1: help me fix all of that stuff from the past
Speaker 1: so that I would have something in the future. So
Speaker 1: I attribute a lot of the that, you know, being
Speaker 1: able to maintain, you know, just my publishing. And there's
Speaker 1: all this stuff too to uh to him and just
Speaker 1: and then he just gave me an opportunity because I
Speaker 1: guess he saw as well that I was positioning myself
Speaker 1: as a citizen of the world, so he would give
Speaker 1: me um opportunities to work with Richie Sambora and with
Speaker 1: you know, you know Taylor Dane just the artist that
Speaker 1: just just just so we had a nice staple of
Speaker 1: of artist um um that just you know, it was amazing.
Speaker 1: And then spending that much time and then I moved
Speaker 1: to Switzerland and legends stopped and you know, and just
Speaker 1: working with David and uh and people don't realize, um,
Speaker 1: you know who produced that record, who produced black Tie
Speaker 1: White Noise. There's a gentleman who plays guitar on a
Speaker 1: song called good Times. I just now Rogers, that's a
Speaker 1: bad man. That's a bad We gotta get him. Yeah,
Speaker 1: we had him. We interviewed him like it's been a
Speaker 1: minute ago. We just started. We had finish it. But yeah,
Speaker 1: so so you know now Rogers and you know, and
Speaker 1: this it was just great because spending it was more
Speaker 1: of an experience. Like we did the record together and
Speaker 1: I did. It's funny because okay, so we gotta get
Speaker 1: the remixes. So Kyl and I did the R and
Speaker 1: B remixes to the record. In addition to we had
Speaker 1: so much more fun because David and Dimond taught me
Speaker 1: to ski like stuff like that. We'd be out on
Speaker 1: the slopes in Switzerland and just you know, and it
Speaker 1: was funny because I'm every moment, I'm always thinking if
Speaker 1: Mount Burning could see me, that that makes sense everything
Speaker 1: I go. I'd be somewhere on the planet and I
Speaker 1: would find myself with the King of so and so
Speaker 1: in some foreign country like and you know, just what
Speaker 1: severe wealth and seeing and this is what made me
Speaker 1: understand because the way to achieve anything of that nature
Speaker 1: is to see it and to be around it. And
Speaker 1: then I started to understand it. Man, every time there's
Speaker 1: a level, there's another level. There's Lebron James. And then
Speaker 1: there's the guy that pays Lebron James, you know, like
Speaker 1: like meaning like I'm so proud when I see Lebron James,
Speaker 1: like just that guy that brand. He's about his business,
Speaker 1: his family, Like that's that makes me so happy to
Speaker 1: see that existing in this day and time with all
Speaker 1: the the demise and separation and all of the chaos
Speaker 1: and turmoil going on in the world with you know,
Speaker 1: with politics and things in the nature, and tend to
Speaker 1: see this young man from very humble beginnings thriving at
Speaker 1: the highest level with no bs and giving and and
Speaker 1: and and not just he's walking the walk, he's running
Speaker 1: the walk. He's marathon and the walk. You know, so
Speaker 1: kudos to Mr James and his family and just it's
Speaker 1: a blessing that he's able to do this and he's
Speaker 1: he's doing it at the highest level. Are you one
Speaker 1: of these rare individuals that technically you have created it
Speaker 1: with all of whom you consider right great? Like mostly
Speaker 1: like who is no one is anyone left? Yeah? I
Speaker 1: did so many that I I mean, I want to
Speaker 1: work with you know. It's so funny because even with
Speaker 1: my new album, I wanted huh, And I told Mr Quest,
Speaker 1: I said, uh, we need some of his rhythm breaking
Speaker 1: with the President. I voted for Shirley chiselm you know,
Speaker 1: like like this is gonna be the Alby Show, Kyle West,
Speaker 1: you know, Chaos, Okay, bring Pete Rock. What I'm doing,
Speaker 1: I'm doing an EP with maybe six, you know, six
Speaker 1: songs the most six seven, maybe eight songs. Like maybe
Speaker 1: that's whole album, I guess, but but I just want
Speaker 1: to do, you know, an EP and just make six
Speaker 1: movies meaning you know, I want to do like a
Speaker 1: joint request. I want to do a joint with Chaos.
Speaker 1: Who want to do a joint with Pete Rock. I'm
Speaker 1: going to do a joint with Kyle West, Dave Hole, Um,
Speaker 1: you know, just easy mobi like all the cats I've
Speaker 1: ever worked with. And it's not about features and having
Speaker 1: every rapper, none of that. Just I want to do
Speaker 1: an organic record, but with with my journeyman who are
Speaker 1: who were from the beginning and iconic. And this is
Speaker 1: what I told them all. I said, listen, what I
Speaker 1: need from you. Don't try to make anything new. I
Speaker 1: want you to go into your archives and find that
Speaker 1: one record that you said, yeah, this is a ship,
Speaker 1: and and take that, take that particular song, and let's
Speaker 1: develop from there. Let's don't tell a clean anything newde on.
Speaker 1: I don't even want you to think about it. Just you.
Speaker 1: There's a joint you got in your on your debt
Speaker 1: somewhere on a cassette. Have they been receptive today? Absolutely? Yeah,
Speaker 1: So you know I'm looking forward to that. And then
Speaker 1: slowly I'm collecting, you know stuff, and I've been talking
Speaker 1: to Pete and so I told Pete, I just want
Speaker 1: to straight give me some horns with but give me
Speaker 1: that groove so I could just make that, you know,
Speaker 1: and uh and yeah, and then and then the exciting part,
Speaker 1: especially working with Kyle West again because he is breaking
Speaker 1: it down. Man Dante always breaking it down for real.
Speaker 1: Speaking of Davante, the first time I ever heard Davante
Speaker 1: was on Private Times in the whole night with touch You.
Speaker 1: So how did how did they? Were they already signed
Speaker 1: to Uptown before when that happens? Yeah? So, um, like
Speaker 1: I said, after the any Heartbreak tour experience and then
Speaker 1: going to Uptown and um getting signed and you know,
Speaker 1: started doing some work in production. Now mind you people,
Speaker 1: you know obviously this group here knows, but Davante came
Speaker 1: with a plethora of organic musicians and artists. You know.
Speaker 1: Every the reason the labels were so producer intense for
Speaker 1: time periods because what happened was this is where the
Speaker 1: N R became obsolete because the producer, let's it's Germaine
Speaker 1: dupri or, let's say it's uh, you know, DeVante Swing
Speaker 1: or Albie Shore. You know, what happens. What happens is
Speaker 1: the producer who's creating the music, finding the artists, bringing
Speaker 1: the entire package. We become the A n R. So
Speaker 1: what happens is we are now you know, so DeVante
Speaker 1: in the camp, Missy elliotte um static and uh, the
Speaker 1: players smokey, yeah, black and everything. And so so what
Speaker 1: happens is, you know, the A and R position became
Speaker 1: obsolete because boom, you give Teddy Riley a label. Teddy's
Speaker 1: gonna have the artist. All the artists want to work
Speaker 1: with Teddy. He'll find the best of the group, you know,
Speaker 1: so it'll be you know, and then you know, obviously
Speaker 1: you dressed them and you do the whole thing, and
Speaker 1: you do so it's it became very significant that the
Speaker 1: artist became and that's sold when the whole Artists Executive
Speaker 1: came out. That's where Puff thrived so well, because you
Speaker 1: know Puff was an artist himself, you know, period, and
Speaker 1: but he just his grind was like none other. I mean,
Speaker 1: as it relates to his navigation. He was gonna figure
Speaker 1: it out. He was gonna figure it out regardless, I
Speaker 1: don't care what else was going on. He was gonna
Speaker 1: make it happen. So who found Joe was? It was Andre?
Speaker 1: They found him. You know, I will that they came
Speaker 1: in audition for me, because then I have to give
Speaker 1: you the credit for this. You changed like the state
Speaker 1: of black music, because as we've noted, you know, it
Speaker 1: was it was you. And then you found Davante, and
Speaker 1: the Davante had Tim and Missy well they had they
Speaker 1: had they already had a group. There was the Haley Brothers,
Speaker 1: you know, the gospel group. They put the Josie together
Speaker 1: and they put them together in the Carolinas. I just
Speaker 1: happened to come about them because they came in audition
Speaker 1: and then I made the call, and so I wanted
Speaker 1: them to go see Andre. But so this as you
Speaker 1: did this, you know, I just have such I you
Speaker 1: know I have you know, maybe it's just me. I
Speaker 1: just have such a problem saying I discovered anything. I
Speaker 1: understand what. I understand that, but I'm a Barry Michael
Speaker 1: Coopers say, but like if you trace it back, it
Speaker 1: goes back to you, and like everything that's happening now
Speaker 1: is is a direct response. But also but I have
Speaker 1: to say Teddy Riley too, because so so so it
Speaker 1: takes a village. I'll just say that. So so this
Speaker 1: is like our own version of twenty three and me
Speaker 1: so just a question note because I wanted to. I
Speaker 1: think I might asked you this in private, but it
Speaker 1: was a moment for some of us who were watching
Speaker 1: pose when we watched that episode and it was all
Speaker 1: about these guys auditioning for this album. I just wanted
Speaker 1: and that that quote that you gotta get the quote
Speaker 1: the Marvin Gay. Mar be sure it is Marvin Gay
Speaker 1: of our generation. See, I didn't even put the old
Speaker 1: that's crazy. But this is what's And again this is
Speaker 1: where I'm far beyond honor to even hear something like that.
Speaker 1: But it's been happening so much to the point where
Speaker 1: I'm humbled by the association. But now that, like I said,
Speaker 1: you know, I've been doing this whole mind, body, and
Speaker 1: spirit thing. I would love to interpolate his story on
Speaker 1: the big screen to be able to do that, and
Speaker 1: because I think I'm prepared enough to do that, and
Speaker 1: I'm I'm the biggest Marvin Gay appreciator out there. I mean,
Speaker 1: he's one of the outside of Michael Jackson. Marvin Gay
Speaker 1: is that you know. But what did it feel like
Speaker 1: watching that episode and seeing it being celebrated in that way? Well,
Speaker 1: it was funny. It's Quincy sent it to me on
Speaker 1: my what'sapp He says, you know, Bobs, they're talking about
Speaker 1: you again, so so and and it's like four or
Speaker 1: five different So it's either it's funny because we'll have
Speaker 1: Tony send you. Also, so the clips everywhere, there's always
Speaker 1: a reference, whether it's Light's getting currently here, you know,
Speaker 1: have the show looking at or or something related to um.
Speaker 1: You know, it's like I'm watching ESPN and uh they're
Speaker 1: referencing they calling Steph Curry or that's the Albu short
Speaker 1: the NBA or or this whole Drake situation, which I'm
Speaker 1: the major major Drake fan, um, and they were you know,
Speaker 1: I see it all over you know, No, no, just
Speaker 1: talking about he's the Albis remix. But I don't, you know,
Speaker 1: I don't look at it like that. Look like yo,
Speaker 1: that's the that cat is incredible and he keeps coming
Speaker 1: with the heat like you know. But but again, you know,
Speaker 1: just because of the generations and the light skinned thing
Speaker 1: and is it. But you know, like I'm a big
Speaker 1: I'm a fan of the music, like I'm a fan
Speaker 1: of the work. I'm a fan of you know. So
Speaker 1: you know, I don't get caught up. I don't you
Speaker 1: don't get caught up in all this stuff I read
Speaker 1: and stuff like that. But I just think it's I
Speaker 1: am on and I have to give you this too.
Speaker 1: I am on eighty something hip hop Records, Trap called
Speaker 1: Crash the Roots Trap quest Uh rock him? Who you
Speaker 1: had on your record? Yeah? Oh man? Just what a
Speaker 1: what an honor? Again, like I said, the great, I
Speaker 1: just wanted to be I wanted to be around and
Speaker 1: and just work with. I got a couple of final
Speaker 1: questions from me. Um, Let's take it back to sexy
Speaker 1: versus real quick. The song died for you. She's not
Speaker 1: credited in the liner notes. Who was singing with you
Speaker 1: on that song? Tabitha Brace, thank you for answering that
Speaker 1: been trying to figure that out for twenty six years.
Speaker 1: Tabitha brace Um and she's also in the group. Yes, yes,
Speaker 1: So actually we talked about this a little bit earlier.
Speaker 1: Um off Mike, but um yeah it was Key West,
Speaker 1: like were they supposed to have an album? Yeah, they've
Speaker 1: had an amazing, amazing project. In fact, it would be
Speaker 1: a dressing if you talk to Kyle, because Kyle is
Speaker 1: another one who just he's I called him the Silences
Speaker 1: ass and he, you know, he doesn't like all the
Speaker 1: fan face. He said, he loves He's like I love
Speaker 1: doing what I do and and you know he doesn't
Speaker 1: want to be famous. It's gonna be inty of day.
Speaker 1: He's just, you know, he loves just creating. He just
Speaker 1: loves being creative. So I mean, does he know how
Speaker 1: much people are willing to pay for the Girls album
Speaker 1: on CD? Trust me? I saw a copy on eBay
Speaker 1: is like five. Like I'm holding onto my tape tight,
Speaker 1: like that ship is never gonna leave like crazy. Yeah.
Speaker 1: But okay, last question to have is it's a true
Speaker 1: or false question? Okay, did you date Omar Rossa? Is
Speaker 1: that is that real? Is that real? I know I
Speaker 1: know one of your sons was on the one of
Speaker 1: the shows, a reality show that she hosted. Now was
Speaker 1: me that was you. Oh you did the single weight
Speaker 1: the single Donald Trump's Ultimate Merger, the derivative of got It. OK.
Speaker 1: So what happened was he put together twelve moves and
Speaker 1: shakers from different entities, you know, commodities, broken lawyer, singer,
Speaker 1: NFL baseball player, and he wanted to create this ultimate merger.
Speaker 1: And then they bring in m Rosa and then it
Speaker 1: was almost like, uh, they're you know, looking for no look, no,
Speaker 1: just looking for you know, someone to uh you know,
Speaker 1: is there anyone that she actually, you know, really likes
Speaker 1: and that that she would want to court and to
Speaker 1: date and so and so both it was. It was
Speaker 1: It was actually a fun show to do because I
Speaker 1: said no to every reality show that you know, they
Speaker 1: have color, just it's not my thing. But I thought
Speaker 1: it was a great It was a great format only
Speaker 1: from the standpoint that I was able to show the O.
Speaker 1: G side of how to handle things, because you know,
Speaker 1: you had some cats jumping the hot tub and get
Speaker 1: naked and all this, and you know, I'm like, I'm
Speaker 1: little was just later just you know, I just laid
Speaker 1: lay in the cut and just kind of, you know,
Speaker 1: I handled it differently. Everybody's you know, hunting and you know,
Speaker 1: it's like it. So so it's just nice to see
Speaker 1: just all the you know, the different and in fact,
Speaker 1: that was probably the highest way to show on the
Speaker 1: network that year, and they tried to do it again
Speaker 1: and it failed miserably. Um. But but well no, no,
Speaker 1: I mean because it went into what it's called soft
Speaker 1: scripted um, in terms of just setting up setting up
Speaker 1: the scenarios. But but the the dialogue, the dialogue was natural,
Speaker 1: like the exchange, the courtroom scenes, all the other stuff,
Speaker 1: and it was it was it was interesting. It's very interesting, uh,
Speaker 1: show to do. Did I have a date Amarosa? No,
Speaker 1: We've actually been friends for a very very long time,
Speaker 1: and that's why it was a little strange when we
Speaker 1: were you know, when the show was brought to my
Speaker 1: attention to do it as though you know, we were
Speaker 1: going to be together. Um um and uh yeah, so
Speaker 1: it's very interesting. Um, what's it been like? This was
Speaker 1: like seeing her in the news all this lately? Should
Speaker 1: we let her back in? Okay, hold on, let me
Speaker 1: let me tell you something. Let's let's have this conversation.
Speaker 1: Just recently, I've been contacted by a number of news
Speaker 1: outlets and to talk about this thing because they know
Speaker 1: that I've I've did the show with her, and you know,
Speaker 1: I went to the end and so on the worts
Speaker 1: and and I've known Mr Trump since I was a kid,
Speaker 1: uh many many years ago, when he was just doing
Speaker 1: real estate in New York. None of this was going on.
Speaker 1: Well you know what I'm telling you, Like I said,
Speaker 1: I didn't know this side of any of it all.
Speaker 1: All I knew was that, um uh, he was a
Speaker 1: he was a cool cat. You know I need if
Speaker 1: I needed some advice or on something like there was
Speaker 1: a time I think my oldest was acting out, you know,
Speaker 1: in school, and I gave him a call and I
Speaker 1: asked him, I said, what is that the school? You know?
Speaker 1: And he suggested King's Academy. So I put my kid
Speaker 1: in King's Academy. So that type of stuff. So so
Speaker 1: it was just more of a And I think I
Speaker 1: did my twenty one birthday party on his yacht. So
Speaker 1: he is so he's acting. I don't. I'm just because
Speaker 1: you know, I don't know. The only thing that I
Speaker 1: can say about this entire situation is this. I don't
Speaker 1: get involved with the politics of of of any of it.
Speaker 1: But what I will say is, because you know, I've
Speaker 1: been there's been several requests for me to speak on this,
Speaker 1: and my concern is my five year old grandson. I
Speaker 1: don't have an opinion either way as it relates to, um,
Speaker 1: who I like or who I don't like, But I
Speaker 1: love my grandson and what I don't want my grandson
Speaker 1: is to be to live in fear. I don't want
Speaker 1: my grandson to see turmoil, distress, separation. I don't want
Speaker 1: to see those things. I don't want that to be
Speaker 1: the example division. UM. You know, so whatever is transpiring
Speaker 1: right now, I don't I'm not happy with my grandson
Speaker 1: and hopefully he's filtered and and and sheltered from seeing
Speaker 1: the divisiveness of all of it as as a as
Speaker 1: a whole, because it's got to be scary for someone
Speaker 1: not to know what their future is or what's coming next.
Speaker 1: So that's my opinion about it. But my opinion is
Speaker 1: just is directed to my grandson and what he's seeing
Speaker 1: and feeling, and because he's a little prodigy, but he's
Speaker 1: also very intelligent, and I don't think that. Um, I
Speaker 1: don't think necessarily that children are ignorant. They're very smart.
Speaker 1: And I don't want I never want him to feel
Speaker 1: like he doesn't know what's going on tomorrow or he's
Speaker 1: in fear of not knowing his future. I want him
Speaker 1: to feel very solid within his future and what's going
Speaker 1: on with him moving forward. And I trust that this
Speaker 1: will come to fruition when when, when it needs to
Speaker 1: come to fruition, don't don't tell him about that, Quincy
Speaker 1: Jones b side, that's bad news, bad news. Anyway. I
Speaker 1: want to thank you for coming on the show. This
Speaker 1: has been an eye opening experience and a dream of ours.
Speaker 1: Please give it up? Yeah for album? Sure ours will
Speaker 1: come true, very very thank you. Yes, yes, And do
Speaker 1: you know what I would like to do though, I
Speaker 1: mean ended off the right way, um, being that I'm
Speaker 1: now in shape, body, mind and spirit and in sync,
Speaker 1: I would love to play Marvin Gay in the movie
Speaker 1: is that they have? But I'm telling you that's meat
Speaker 1: who put this together met for a minute. It's been
Speaker 1: in development. Hell like I've seen the previous to it,
Speaker 1: but that was like eight years ago. Yeah, yeah, I
Speaker 1: mean you know Ramba State, and that's what happens when
Speaker 1: you have like twelve states. Because there's another one. There's
Speaker 1: another script that focuses just on his time in Belgium,
Speaker 1: right with him living with the nuns. Yeah, just the
Speaker 1: Columbia stuff. I think that would be interesting though, just
Speaker 1: him singing to them none. Yeah, which are are you
Speaker 1: gonna do? You know, it's interesting. A lot of layers
Speaker 1: in that story. It really is um and it's great.
Speaker 1: Is his sister, uh Ciola is a dear friend of
Speaker 1: mine who lives in Las Vegas as well as I
Speaker 1: see her weekly, you know, until I come off the
Speaker 1: road on the weekend, I go listen to go to
Speaker 1: a little jazz but at Tilly Village, and that she's
Speaker 1: always there and it's nice and nice, but he's I
Speaker 1: just love it. And and the reason I was saying
Speaker 1: that is because for some reason in the last few years,
Speaker 1: I've seen very significant references to Benny said it also too,
Speaker 1: I think on the end song, and then I think
Speaker 1: Andre and said that I left um a signature signature
Speaker 1: that marked time very specifically, like what Marvin Gay would leave.
Speaker 1: And when I heard that, I was very touched because
Speaker 1: obviously I don't put myself on that level of that
Speaker 1: skill set at all, but my passion is in that
Speaker 1: skill setting that level. So that's something I think that
Speaker 1: I would do justice to in terms of being a
Speaker 1: true fan and appreciating someone who's actually that I mimicked
Speaker 1: and tried to copy because it was between Smokey and
Speaker 1: Marvin and and all. You know, any of that Falsettle
Speaker 1: was like, have any speaking of that, speaking of mimicking,
Speaker 1: have any of these young Falsetto brothers and others had
Speaker 1: any moments with you when they reach out to you
Speaker 1: in a way I hear. Let me tell you something
Speaker 1: that the greatest thing is just hearing you know, you
Speaker 1: know the references to the Bruno Mars and and and
Speaker 1: you know, just honest of that nature or just how
Speaker 1: that influence like every even if it wasn't just about
Speaker 1: the i'l be sure um campaign, um, when even when
Speaker 1: I was doing the Jodasie campaign, every record company wanted
Speaker 1: a Joda see, so it said something. It said something
Speaker 1: in terms of we're in the right path, We're in
Speaker 1: the right you know, so we're we're being were We
Speaker 1: didn't know we were trend setting at the time, but
Speaker 1: now you look at it with the we're trailblazing at
Speaker 1: that at that moment, But it was just just this
Speaker 1: organic feeling of just you know, let's let's let's make
Speaker 1: something new, let's make something different, or let's interpretate this
Speaker 1: from the history of what we've learned well from your years.
Speaker 1: I hope that happens anyway. Thank you all for doing
Speaker 1: this show. I appreciate it. Thank you so much. We
Speaker 1: have a team Supreme. Yeah, if I take a little
Speaker 1: about EA unpaid Bill Boss Bill and Sugar Steve CEO
Speaker 1: and founder of the Everything to to That network. Yes,
Speaker 1: you are, you are everything. This is Quest Love. This
Speaker 1: is Quest Love Supreme, only on Pandora. We'll see you
Speaker 1: on the next ground. Leads and Jumping m What's Love
Speaker 1: Supreme is a production of My Heart Radio. This classic
Speaker 1: episode was produced by the team at Pandora. For more
Speaker 1: podcasts for My Heart Radio, visit the I Heart Radio app,
Speaker 1: Apple podcast, or wherever you listen to your favorite shows.