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Speaker 1: Morning. Everybody is DJ Envy, Angela Yee, Charlomagne the guy.

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Speaker 1: We are to Breakfast Club. We got a special guest

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Speaker 1: in the building, an icon, a legend, baby Face. Welcome, Yo.

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Speaker 1: What's up man? How's it feeling good man? I'm good.

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Speaker 1: He worked in with a guitar, so that feels like

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Speaker 1: we're gonna get something special. They told me to bring one.

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Speaker 1: I don't know. I mean they told you to do it. Yeah,

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Speaker 1: they told me. It's not like I said, I want

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Speaker 1: to bring a guitar that you said around, I bring it.

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Speaker 1: But you got Girls Night Out. Now I'm excited for this.

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Speaker 1: So you started off with Angie Martinez, Girls not Out,

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Speaker 1: makes sense, Ladies night and I'm Lalla and they're getting

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Speaker 1: ready to go out, and that's how the album starts.

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Speaker 1: What made you decide to do that with Lalla? Well,

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Speaker 1: it was it was fun because it's girls night out

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Speaker 1: and we just wanted something to, you know, start off

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Speaker 1: the project and make it a party to begin with.

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Speaker 1: It's all about the girls anyway, so I want to

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Speaker 1: I want to back it up if you don't mind

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Speaker 1: for people like you don't know who baby Faces. Of course,

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Speaker 1: I grew up on baby Face my mother did, my

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Speaker 1: father the day my parents did. What got baby Face

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Speaker 1: into music? Let's start from the beginning for people that

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Speaker 1: don't know who baby Face is. What got me into music?

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Speaker 1: First song I wrote because I fell in love with

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Speaker 1: this girl in sixth grade, so I wanted her to

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Speaker 1: know that, you know, I was in love with her.

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Speaker 1: I never played her the song, but that didn't matter.

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Speaker 1: It's just that I wrote the song for us. So

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Speaker 1: that made me want to pick up a guitar. My

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Speaker 1: brother had a guitar in the house, and so I started.

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Speaker 1: I picked up the guitars specifically to learn how to

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Speaker 1: write this song. And I wrote this song called Here

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Speaker 1: I Go falling in Love and that started it? And

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Speaker 1: how did it continue on? Because I mean, we all

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Speaker 1: like I wrote a rap but I didn't want to

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Speaker 1: be a rapper. You did put out some rap albums. Well,

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Speaker 1: I was actually rapping. I was DJ. But so what

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Speaker 1: made you want to take it to see it? To

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Speaker 1: be a musician at the time with so much going on,

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Speaker 1: It was just it was kind of in my blood.

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Speaker 1: I started there. And then my brother Melvin, who was

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Speaker 1: in after seven. He's not with the same one, but

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Speaker 1: he was a great singer and he had a band

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Speaker 1: and I just kind of used to watch him in

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Speaker 1: his band play and then he asked me to sing

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Speaker 1: Who's Loving You one time and a homecoming that he

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Speaker 1: had a high school and I did that and it

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Speaker 1: kind I kind of kind of got in my blood.

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Speaker 1: And the first act I saw it was Jackson five

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Speaker 1: saw them through the coming Back to Indiana tour or

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Speaker 1: going back to Indiana, and I saw them on stage

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Speaker 1: and it was over at that point because at that point,

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Speaker 1: you know, they were big as hell, and it was

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Speaker 1: just like seeing them in my hometown and which was Indianapolis,

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Speaker 1: and to see them on that stage, it was something

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Speaker 1: that I wanted to do. And most musicians, a lot

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Speaker 1: of musicians, I should say, they're artists mode all the time, right.

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Speaker 1: They want to be an artist. They want to be

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Speaker 1: in front of the camera, on the stage, in front

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Speaker 1: of the lights. But you also took a taken into

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Speaker 1: writing as well. What made you say, you know what,

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Speaker 1: I'm gonna write for some of these people and produce

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Speaker 1: with some of these people because you could have kept

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Speaker 1: it all for yourself and your brothers and your bad

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Speaker 1: I never felt like the star anyway. I just kind

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Speaker 1: of felt like it was I only wanted to do

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Speaker 1: it for the love of music and to write it

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Speaker 1: in the first place, So I wasn't trying to be

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Speaker 1: the main one. Even when I saw the Jackson five,

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Speaker 1: I didn't want to necessarily be up on that stage.

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Speaker 1: I just wanted to have a piece of it, be

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Speaker 1: a part of it somehow. Is it hard when you

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Speaker 1: write songs for other people and they don't sing it

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Speaker 1: like how you kind of interpreted it or how you

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Speaker 1: feel like you heard it. Well, Usually, since I get

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Speaker 1: to produce and I can usually get them to do

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Speaker 1: it the way I kind of imagine, and they usually will.

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Speaker 1: They usually take it up a little bit further than

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Speaker 1: I would have. I saw you said another role you

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Speaker 1: originally were going to keep that record? Yeah, you magine

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Speaker 1: to keep the record? Nah? I mean that was huge. Yeah,

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Speaker 1: it's huge, But if it wouldn't have been a huge

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Speaker 1: if I did so, you know, Na, how do you

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Speaker 1: tell an artist like a Michael or Boys to Man

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Speaker 1: or anybody else that you work with, like, nah, do

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Speaker 1: that over? Because you know, artists are sensitive, they're sensitive

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Speaker 1: about this shit. It depends on how you tell them,

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Speaker 1: you know, because as long as you're giving them praise

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Speaker 1: on the other things they do, then they'll they'll trust

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Speaker 1: you enough to try something else. Who was the most

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Speaker 1: difficult to tell them that you had to sing again,

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Speaker 1: or that they were wrong or something didn't sound right.

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Speaker 1: Who was the most difficult because they just knew they

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Speaker 1: were great? Damn? I don't know. I usually don't get fights,

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Speaker 1: but I can't most people. Some people you don't even

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Speaker 1: you don't even get the chance to say they're difficult

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Speaker 1: because they end up doing it themselves, so like it's

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Speaker 1: not really um. And if I usually run into that problem,

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Speaker 1: I would rather they do them do it themselves and

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Speaker 1: then then kind of critique it, you know, long distance

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Speaker 1: got You know what happens when you write a song

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Speaker 1: that is um, You write a song, but more than

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Speaker 1: one person wants it, Like how do you decide? Okay,

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Speaker 1: I'm gonna let because some of the songs I'm sure

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Speaker 1: that you've written, like maybe you give it to this

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Speaker 1: person they didn't respond fast enough and then someone else

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Speaker 1: got it in They're like, no, I want that song. Well,

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Speaker 1: there was one song, um in the beginning that I

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Speaker 1: ended up, you know, giving to another artist. It was

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Speaker 1: an actually la got blamed for it, but I was

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Speaker 1: the one that actually did it. Nope, that uh it

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Speaker 1: was Girlfriend Pebbles. Yep. That was so. Initially we had

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Speaker 1: a deal. We were supposed to do a thing with

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Speaker 1: Vanessa Williams. We had three songs that we're gonna do

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Speaker 1: on Vanessa Williams. And then um, we met with this

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Speaker 1: lady Cheryl Dickerson at UM a Universal at the time MCA.

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Speaker 1: She said, you guys shouldn't meet the boys and you

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Speaker 1: should meet Pebbles. And we went over and met Pebbles,

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Speaker 1: and Pebbles played um Mercedes Boy. Y Couples had you

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Speaker 1: know what great about Pebbles. She had like she was

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Speaker 1: very I don't even want to use this weird it

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Speaker 1: sounds corny, but sassy. She was sassy, and we thought

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Speaker 1: she was rich because she had um champagne and stuff

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Speaker 1: in her session. We never had champagne in our sessions,

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Speaker 1: and she had fruits and stuff like, and so we

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Speaker 1: looked at her and so I thought, wow, she's like

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Speaker 1: famous already. And so then she played Mercedes Boy, which

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Speaker 1: was like just so good. And as she was talking

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Speaker 1: I she was planning that I thought the song Girlfriend

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Speaker 1: was already written and it wasn't written for anybody specifically,

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Speaker 1: but already I had already written it. And then I

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Speaker 1: said to La, I said, she's girlfriend. That is, that's

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Speaker 1: who that's who girlfriend is. And he was like, yeah,

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Speaker 1: but we already we already put it on Vanessa. I said, yeah,

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Speaker 1: but this song belongs to her. And I've always been

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Speaker 1: a believer that the song comes first and the song

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Speaker 1: should go where the best starterists, and I thought that

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Speaker 1: she was the best starterst for it. She she was girlfriend.

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Speaker 1: So ultimately we snatched the song back. Um La started

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Speaker 1: dating Pebbles, so they just figured that Pebbles in La.

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Speaker 1: You know, it must have happened that way, But it

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Speaker 1: was actually my father, I take I take the blame. Well,

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Speaker 1: it was a good call. It was a good call.

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Speaker 1: It was it was the right call. The song was

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Speaker 1: supposed to go where it was supposed to go. I

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Speaker 1: wanted to ask, like, what a song like? Can we

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Speaker 1: talk right? Huge records to this day, right old John

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Speaker 1: Young made old whatever doesn't matter. Yep. So when you're

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Speaker 1: working with a new artist and you have that record,

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Speaker 1: and I'm sure when you did that record, you're like, oh,

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Speaker 1: this is it. Do you have any reservation like, maybe

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Speaker 1: we shouldn't give it into this young whipper Snapple, which

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Speaker 1: Tevin Campbell was at the time, Maybe we should give

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Speaker 1: it to somebody that's already season. Do you ever have

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Speaker 1: those reservations? Um, not really. It all depends on the voice.

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Speaker 1: If somebody has that voice and and has that gives

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Speaker 1: it a good feeling, then then you think that's ultimately

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Speaker 1: that's ultimately what you want. You can get give it

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Speaker 1: to somebody that season, but doesn't necessarily mean they're gonna

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Speaker 1: pull it off the same way. And that song was

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Speaker 1: just kind of right for Tevin at the time, and

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Speaker 1: I know there's this whole thing on us here and

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Speaker 1: supposed to be us your song. And the reality is

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Speaker 1: I wrote it specifically for Tevin because Quincy Jones had

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Speaker 1: asked me to, you know, work on this project, and

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Speaker 1: I had already did one song called I'm Ready, and

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Speaker 1: then he would called me. Quincy Jones called me and

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Speaker 1: he was excited and said can I get another one?

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Speaker 1: I was like, I'm gonna give Quincy Jones an a

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Speaker 1: song because it was Quincy to So I ultimately wrote

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Speaker 1: wrote that and wrote that with Darryl Simmonson. We wrote Um,

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Speaker 1: can we talk. And it was for Tevin from the

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Speaker 1: get go um and the whole stories that kind of

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Speaker 1: happened around it not true. Just it was specifically for

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Speaker 1: Tevin at that time, and that's that the rumor has it.

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Speaker 1: It was supposed to be for Usha and I should

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Speaker 1: never got it over for whatever. Yeah, yeah, I know,

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Speaker 1: and that went for a very long time. Is not

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Speaker 1: the truth, Vital, That's not the truth. It was ultimately

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Speaker 1: from the beginning written for Tevin and went on Tevin.

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Speaker 1: I think after the fact that it was done, I

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Speaker 1: think La definitely wanted to have it on Ushi, but

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Speaker 1: it was it was too late. It was already done.

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Speaker 1: Do you remember how much you were charging back then

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Speaker 1: for records to write records? Nope, I know for the

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Speaker 1: whole Um Vanessa thing. But three songs. I think we're

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Speaker 1: gonna get twelve Grandpa Pelgram for three songs. We was happy.

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Speaker 1: Guys were excited for that. Was excited. We was excited

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Speaker 1: about that. And then but Um perhaps manager at the time,

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Speaker 1: he offered us fifteen for one, so you know that

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Speaker 1: up thinking about it, Jake recently posted, like his um

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Speaker 1: opening for Ice cub we got one hundred dollars he posted,

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Speaker 1: Yeah recently that that um you know that check. That's amazing,

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Speaker 1: like to see where you started. And then as the

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Speaker 1: money starts to like increase increase, you know, two levels

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Speaker 1: that you never would think imaginable. Yeah, no question. Well,

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Speaker 1: you know, coming to music, and in the first place,

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Speaker 1: I wasn't even thinking about money. It was just I

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Speaker 1: just wanted to hear my songs on the radio. That's

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Speaker 1: all you thought about. You didn't think about buying no house,

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Speaker 1: about no cars or anything like that. It wasn't that

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Speaker 1: wasn't the thought. It was really just about the music.

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Speaker 1: And I think it's changed nowadays. It's really about like

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Speaker 1: it's about the money, and there ain't nothing wrong with

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Speaker 1: that though. It was two occasions. The first big song,

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Speaker 1: or I think the first big song placed in terms

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Speaker 1: of that I did, was a song called slow Jam

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Speaker 1: that was with Midnight Star. And then after that, the

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Speaker 1: first like charting song was probably rock Steady that we

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Speaker 1: did with The Whispers. I was gonna ask you know then,

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Speaker 1: you know you were so popular, hip hop artists on

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Speaker 1: calling you and ask you to do record for them.

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Speaker 1: Do you remember your first rapper hip hop artist that

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Speaker 1: called and said do a record? And what were your

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Speaker 1: thoughts when they called? Um, I don't clearly remember. I

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Speaker 1: just know I did this one record for this artist

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Speaker 1: I wasn't very familiar with. And they said he was

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Speaker 1: gonna be really big, and you think he had an

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Speaker 1: album out already, but he said there's gonna be really big,

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Speaker 1: and I did this hook for him, Sunshine exactly. You didn't.

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Speaker 1: You didn't know who JAYZ was. I wasn't really familiar with.

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Speaker 1: But did you want a studio, want him to record

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Speaker 1: that record? Yeah? I went in and uh and um,

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Speaker 1: And honestly, I don't I think he was there. I'm

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Speaker 1: not sure it was it because I didn't really know him. Yeah,

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Speaker 1: I do this. It was a favor. So who called you?

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Speaker 1: If you heard? I think I feel like Andrew Harrel

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Speaker 1: called again and you were a baby face at that time,

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Speaker 1: so he was like, who is this call? What rapp? No? No,

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Speaker 1: I never had this. I was never baby face, if

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Speaker 1: you know what I'm saying. I never looked at myself

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Speaker 1: as like baby face. So it never so if I

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Speaker 1: if I knew somebody and they called want me to

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Speaker 1: do something, that I do it. You know. Now, let's

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Speaker 1: talk about the iconic waiting to Exhale soundtrack and how

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Speaker 1: that happened because that soundtrack and I really think in

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Speaker 1: particular back then like soundtracks are so important, but that's

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Speaker 1: probably one of the best soundtracks to this day ever,

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Speaker 1: So how did you work on that? How did it

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Speaker 1: all of that happen? What was the process? Um? I

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Speaker 1: got a call from Forrest Whittaker and who called me?

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Speaker 1: And I think everybody was everybody just called you baby face,

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Speaker 1: you know, or you gotta do is call you'll do it? No,

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Speaker 1: But I was surprised. I got a call from Forrest Whittaker,

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Speaker 1: and I was excited that he wanted to meet with me,

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Speaker 1: and everybody was chomping at the bit to do waiting

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Speaker 1: to excel, you know. But as a soundtrack, everything about it,

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Speaker 1: everybody was hoping to get it. Then Forrest whitter could

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Speaker 1: call me and I didn't know he was directing the

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Speaker 1: movie at the time, and he told me, I'm getting

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Speaker 1: ready through this project and ware your excel. I said, really,

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Speaker 1: And he said, I'd love you to do music, and

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Speaker 1: I'd also love you to score it as well, and

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Speaker 1: I hadn't done that scored it and are written all

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Speaker 1: the music for film, which was. I was glad to

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Speaker 1: definitely write the music for the scoring. I was a

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Speaker 1: little afraid of and he said, Nanna, you know, you

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Speaker 1: know you can do it, and I'll walk you through

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Speaker 1: it and we'll get this done. And so it was

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Speaker 1: really for us that kind of called it for me

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Speaker 1: to do it, and then as we were doing it

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Speaker 1: that I thought it made a lot of sense support

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Speaker 1: us to be all girls. And initially Whitney, since it

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Speaker 1: was a Whitney film, you thought, okay, great, we get Whitney.

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Speaker 1: The same with Whitney. Initially wasn't gonna sing. It wasn't

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Speaker 1: any guarantee that she was gonna be on it. But

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Speaker 1: then she knew it was you, and I know she

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Speaker 1: trust you. Yes, she trust But even then because I

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Speaker 1: had met with and I ask her, you're gonna saying,

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Speaker 1: he's I don't know bay all if I'm gonna do

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Speaker 1: this yet. So I was like, I wasn't writing any

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Speaker 1: writing anything for her. So everything initially was all songs

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Speaker 1: written for every all the other artists. And then finally

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Speaker 1: she had said she would sing, and that's how Excel

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Speaker 1: ultimately was written, and that I had started writing, but um,

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Speaker 1: I didn't finish it, and that's how it ended up

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Speaker 1: with shoop shoot instead of a full course set it

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Speaker 1: because I hadn't really thought it all the way through.

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Speaker 1: Very catchy. Now, you know, I want to go back

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Speaker 1: to versus, right, Yeah, Versus opened you up to a

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Speaker 1: whole younger demographic. Yeah, So how has that been? Because

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Speaker 1: I mean, I remember the first day, you know, you

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Speaker 1: and Teddy y'all were trying to figure out your WiFi

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Speaker 1: problems getting going and yeah, WiFi was good, yeah yeo,

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Speaker 1: why Teddy's was a little crazy. So how has that

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Speaker 1: been opening up to a whole new demographical people that

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Speaker 1: probably didn't know who you were at the time but

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Speaker 1: now or so into you. Yeah. I think that was

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Speaker 1: no question the turning point. I think that it was

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Speaker 1: doing it first. I was scared as hell, a nervous

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Speaker 1: as hell anyway doing that as we were doing that,

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Speaker 1: because I didn't you know, it's the weirdest thing, because

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Speaker 1: you know, you're sitting here watching the phone and ain't

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Speaker 1: nobody else in there, and so why should you be

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Speaker 1: nervous because you don't know any you know, you don't

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Speaker 1: know if anybody's on the other side or not. But

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Speaker 1: the whole idea of going up against Teddy because Teddy

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Speaker 1: had a catalog. Teddy got a catalog. He just didn't

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Speaker 1: He just didn't plan it out right. He could have

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Speaker 1: got me. He just didn't plan it, you know. And

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Speaker 1: I was like, I was prepared. We were prepared to

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Speaker 1: come at him. You know, every song people, okay, you

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Speaker 1: got that, I got this, got this, got this, and

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Speaker 1: so you know, that's how I ended up doing the

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Speaker 1: I knew one song he would play. I knew I

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Speaker 1: couldn't beat it. That's what why I ended up pulling

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Speaker 1: the guitar out and did the wing Can I See You?

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Speaker 1: Because I knew I couldn't beat When he went to

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Speaker 1: the remix with s WV, It's like I ain't gonna

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Speaker 1: be able to beat that. So it was it was

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Speaker 1: fun in that sense, but I didn't I didn't want

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Speaker 1: to do it in the first place, um because I

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Speaker 1: didn't want to compete like that. I thought that was

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Speaker 1: I didn't like the idea of that. And it was

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Speaker 1: Andre Horrell who talked to me once again. Andre called

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Speaker 1: me again and talked me into it, and uh, I was,

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Speaker 1: I was. I'm glad that I did it, because when

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Speaker 1: I did it, it did it changed everything because it's UM.

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Speaker 1: I went from like you know, Instagram follows from over

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Speaker 1: overnight from three hundred thousand and two over a million,

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Speaker 1: and US and and everything. It just it kind of

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Speaker 1: changed to where UM, I started seeing younger people that

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Speaker 1: were into me. I went to Walgreens and was in there.

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Speaker 1: This is they were during COVID times. I had a

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Speaker 1: mask on it, and girl says, I know who you are.

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Speaker 1: I can see you under that. I said, I watched

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Speaker 1: verses and and I just want to tell you I'm

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Speaker 1: a big fan. And she was like eighteen years old,

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Speaker 1: and I said, okay, that's that's interesting. So um, which

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Speaker 1: came which brought up the idea, you know, Rica, who's

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Speaker 1: my partner in this UM On Girls Night Out, she

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Speaker 1: kind of came to me and said, what you need

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Speaker 1: to do is do another project, not exactly ex Hell,

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Speaker 1: but a project with the younger R and B girls again,

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Speaker 1: and this time you should write it with them and

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Speaker 1: they write what you collaborate so it can be feeling

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Speaker 1: natural in that sense. And so that's what I ended

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Speaker 1: up doing. And how was that? Getting all those different attitudes,

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Speaker 1: all those different people, all these different moments. It was

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Speaker 1: it was great, because like every girl had their own thing,

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Speaker 1: and everybody wrote on the song. We actually collaborated together.

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Speaker 1: So we just walk in the studio and then I say, so,

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Speaker 1: what's going on in your life? What's going to be?

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Speaker 1: You're happy, you said you're in love, you're not in love,

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Speaker 1: and everybody kind of will talk about whatever's going on. Man.

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Speaker 1: I thought about that right while I listened to the album,

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Speaker 1: and there's a lot of things like what would you

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Speaker 1: say when it comes to what's going on in women's lives?

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Speaker 1: Kind of a theme in this album because I feel

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Speaker 1: like Lama and Love, yes, you know, butterflies, yeah. But

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Speaker 1: then I listened to some of the other songs and

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Speaker 1: I'm like Coco Jones. You know, she's jaded, yea, she

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Speaker 1: doesn't believe in love. And then you're here at Kalani

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Speaker 1: and she's like, you're mad at me for breathing yea,

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Speaker 1: you know. And then you hear baby take don't even

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Speaker 1: think about it, and you hear stuff like that, and

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Speaker 1: she's got problems with commitment. Do you feel like you know? Um,

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Speaker 1: Sometimes when you're getting creative and writing in the studio,

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Speaker 1: it's easier to tap into more of those type of emotions.

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Speaker 1: I mean, that's that's true. But this is also a

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Speaker 1: sign of where we are today because like you know,

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Speaker 1: it was a time when you know, we would sing

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Speaker 1: about love and when we would sing about love and

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Speaker 1: being in love. And now it's it's a little bit.

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Speaker 1: Everybody's more independent and and these girls they got their

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Speaker 1: own They're like, I ain't taking this and I'm not

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Speaker 1: gonna and I'm gonna say how I feel, what I

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Speaker 1: feel and how I feel. And that was the cool

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Speaker 1: part about the process because every girl that came in

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Speaker 1: it was very independent and very strong and a lot

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Speaker 1: different than before. And you know, plus I was writing

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Speaker 1: the songs before, so it was completely what I imagined

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Speaker 1: they might say, So they were saying exactly how they felt,

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Speaker 1: Like this is how women really feel. Yeah, like you know,

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Speaker 1: you might have thought it was love or nine. I

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Speaker 1: learned that, you know, besides musically, just learning how how

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Speaker 1: to flow differently, how to how the lyrics flow, how

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Speaker 1: how the melodies flow of everything's not on top of

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Speaker 1: the beat, it's behind the beat. It's it's everywhere. It's

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Speaker 1: it's all about phil at this particular point, and just

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Speaker 1: from the their perspective of life, is. Um, it's a

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Speaker 1: lot different than it was, say in the nineties girls,

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Speaker 1: our nineties people period, um relationships period. Everything's a lot

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Speaker 1: more toxic. But that's like it's not access like Money

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Speaker 1: long and her song the recipe. Yes, you know she's

387
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Speaker 1: going through your phone. You don't have to worry about

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Speaker 1: that back in the day, Like well, yeah, there's a

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Speaker 1: lot of things you do. But Money came in and

390
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Speaker 1: killed it too, she did. But I like about her,

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Speaker 1: like it's not so surfaced like what she's saying because

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Speaker 1: she's like going to even but at the same time

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Speaker 1: she's like I don't want to leave though, right, you know,

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Speaker 1: like I still want to work it out. I don't

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Speaker 1: want to be here without you. But yeah, that's the

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Speaker 1: real thing. Um, Money is a great writer and she's

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Speaker 1: and that was, like I said, that was a great

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Speaker 1: one to do, But every everybody that came in was

399
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Speaker 1: writing great so And the funny thing is that we

400
00:19:35,080 --> 00:19:38,800
Speaker 1: really just did it every song in one day, so

401
00:19:38,840 --> 00:19:43,159
Speaker 1: we basically came in, wrote it and recorded drum that

402
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Speaker 1: same day. Who surprised you the most in the studio,

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Speaker 1: I don't know all that she worked with there was

404
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Speaker 1: that kept on being surprises like I knew Money Long

405
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Speaker 1: was great, but I didn't know that she was that great.

406
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Speaker 1: I didn't know she could blow like she could blow um,

407
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Speaker 1: and I knew that some surprises were Tiana Major nine.

408
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Speaker 1: I heard her voice before, and then when she came in,

409
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Speaker 1: I realized how richer voice really is. It's like, this

410
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Speaker 1: girl's really good. And then Coco Jones surprised me, like

411
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Speaker 1: where'd this come from? Baby Chate, who was more of

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Speaker 1: a rapper who came in singing to I know, I

413
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Speaker 1: was surprised with that one that was dope. I was like,

414
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Speaker 1: baby Tate and her song is dope, So it's it's

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Speaker 1: a lot of There were surprises with everyone because everyone

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Speaker 1: came came strong and it was honest. You know. You

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Speaker 1: know what I think? Did you film like any of

418
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Speaker 1: your conversations. Oh, we've filmed it off because I feel

419
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Speaker 1: like it sounds like a podcast series because, like you said,

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Speaker 1: they come in, they talk about what's going on in

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Speaker 1: their lives right now. I even think about you and

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Speaker 1: Ry Lennox on Live Service and you kind of making

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Speaker 1: her think about her responsibility and relationships ye not working

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Speaker 1: out and reflect on those things. But just to hear

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Speaker 1: what they have to say where they are in their life.

426
00:20:58,040 --> 00:21:01,479
Speaker 1: I'm sure that's also kind of therapeutic. And Annie, you're

427
00:21:01,480 --> 00:21:04,879
Speaker 1: talking to baby Face about it. Yeah, I don't know

428
00:21:04,920 --> 00:21:06,840
Speaker 1: about the baby face part, but I'll just say that

429
00:21:07,080 --> 00:21:08,560
Speaker 1: if you just get in there, you just start having

430
00:21:08,600 --> 00:21:11,960
Speaker 1: conversation and you just chill. Every everybody gets chill and

431
00:21:12,000 --> 00:21:14,280
Speaker 1: just kind of just start talking about it. Then you know,

432
00:21:14,359 --> 00:21:16,760
Speaker 1: you relax. Then it just opens up and you can

433
00:21:16,800 --> 00:21:19,440
Speaker 1: get a sense of where you should go musically or not,

434
00:21:19,560 --> 00:21:21,760
Speaker 1: you know, or what you should talk about. Some people

435
00:21:22,200 --> 00:21:24,200
Speaker 1: want to talk about things and some people don't. First

436
00:21:24,200 --> 00:21:26,760
Speaker 1: time I work with Whitney, I remember I played her

437
00:21:26,880 --> 00:21:28,919
Speaker 1: the song why has It Hurt So Bad? And she

438
00:21:29,040 --> 00:21:31,639
Speaker 1: heard that she goes, I can't sing that. It's like,

439
00:21:31,920 --> 00:21:34,359
Speaker 1: I don't I don't know anything about that. I would

440
00:21:34,400 --> 00:21:36,760
Speaker 1: never be that kind of person, so that's there's there's

441
00:21:36,800 --> 00:21:38,879
Speaker 1: no reason for me to sing that, and then she

442
00:21:38,960 --> 00:21:43,800
Speaker 1: sang on Excel. Years later, unfortunately she learned about it.

443
00:21:44,520 --> 00:21:49,320
Speaker 1: But but initially it is about you know, whether you

444
00:21:49,359 --> 00:21:51,119
Speaker 1: know whether it's something you can feel or not, or

445
00:21:51,119 --> 00:21:54,240
Speaker 1: whether and how honest you want to be. And I

446
00:21:54,280 --> 00:21:59,000
Speaker 1: think for the most Partum most of the artists, they

447
00:21:59,000 --> 00:22:01,080
Speaker 1: want to be honest about their truth to who they are.

448
00:22:01,720 --> 00:22:05,400
Speaker 1: No one's no one's hiding from me anything. At this point,

449
00:22:05,440 --> 00:22:07,359
Speaker 1: they're just kind of like just just giving it for

450
00:22:07,440 --> 00:22:09,760
Speaker 1: whatever it is now. You know, did he recently came

451
00:22:09,760 --> 00:22:11,320
Speaker 1: out and said R and B was dead and it

452
00:22:11,400 --> 00:22:13,720
Speaker 1: was trending and people were mad. R and B artists

453
00:22:13,720 --> 00:22:16,000
Speaker 1: were mad. Yeah, what are your thoughts on it, especially

454
00:22:16,000 --> 00:22:18,439
Speaker 1: since you just did a whole Girls That Out album

455
00:22:18,560 --> 00:22:20,879
Speaker 1: R and B album. Yeah, you know, R and B

456
00:22:21,080 --> 00:22:24,800
Speaker 1: is is never dead. R and B is even It's

457
00:22:24,800 --> 00:22:29,200
Speaker 1: in everything that we do, and it's in every new artist.

458
00:22:29,240 --> 00:22:32,199
Speaker 1: I mean, Kayla has been killing it for for a

459
00:22:32,320 --> 00:22:35,719
Speaker 1: very long time. You have Giveon, you have Um, you

460
00:22:35,720 --> 00:22:38,520
Speaker 1: have pieces of R and B and in Lucky Day,

461
00:22:38,560 --> 00:22:42,160
Speaker 1: you have R and B and Steve Steve killing. Yeah.

462
00:22:42,560 --> 00:22:45,320
Speaker 1: R and B is everywhere. And also you have R

463
00:22:45,359 --> 00:22:48,359
Speaker 1: and B and and pop artists too. It's like, don't

464
00:22:48,359 --> 00:22:50,800
Speaker 1: think that justin Bieber, you know that that's not R

465
00:22:50,880 --> 00:22:54,600
Speaker 1: and B, that that's not those those producers, those people

466
00:22:54,600 --> 00:22:56,760
Speaker 1: that give those songs. That's still part of R and B.

467
00:22:56,960 --> 00:22:59,360
Speaker 1: R and B will never die because it's always it's

468
00:22:59,400 --> 00:23:02,760
Speaker 1: in it's in so many things, so I disagree with

469
00:23:02,800 --> 00:23:04,760
Speaker 1: that wholeheartedly. You just named a lot of R and

470
00:23:04,840 --> 00:23:06,520
Speaker 1: B guys, So does that mean there's gonna be like

471
00:23:06,560 --> 00:23:09,960
Speaker 1: a Guy's Not Out. I don't know. Maybe you should

472
00:23:10,000 --> 00:23:13,719
Speaker 1: do a Guy's Not Out absolutely positive hang over And

473
00:23:13,760 --> 00:23:15,320
Speaker 1: I was gonna ask, is there any song that you

474
00:23:15,520 --> 00:23:17,600
Speaker 1: wish you redid that you here? Now? I'm like, I

475
00:23:17,680 --> 00:23:19,720
Speaker 1: wish I did this different order. That's why I don't

476
00:23:19,720 --> 00:23:22,440
Speaker 1: listen to the radio when when songs come out, I

477
00:23:22,520 --> 00:23:25,479
Speaker 1: usually won't listen to it because I will reproduce it

478
00:23:25,480 --> 00:23:26,919
Speaker 1: in my head and be like, damn, I should have

479
00:23:26,960 --> 00:23:29,240
Speaker 1: did this. That that could have went for this note,

480
00:23:29,280 --> 00:23:31,720
Speaker 1: could have made it a little bit better. So I

481
00:23:32,080 --> 00:23:35,040
Speaker 1: try not to listen to things, and I'll turn the

482
00:23:35,080 --> 00:23:38,359
Speaker 1: station if I hear something, or if somebody's listen to stuff,

483
00:23:38,359 --> 00:23:40,800
Speaker 1: then I just don't try not to pay attention. When

484
00:23:40,800 --> 00:23:43,159
Speaker 1: you and La read had um the Face and you

485
00:23:43,200 --> 00:23:46,520
Speaker 1: guys had so much success, why did you guys say, Okay,

486
00:23:46,520 --> 00:23:52,280
Speaker 1: we're done with the label? M The label ultimately was

487
00:23:54,760 --> 00:23:58,520
Speaker 1: in terms of the label part, it was just that

488
00:23:58,640 --> 00:24:00,520
Speaker 1: kind of time for La. He wanted to move on

489
00:24:01,080 --> 00:24:04,639
Speaker 1: and he got an offer to run Arista and we

490
00:24:04,800 --> 00:24:08,439
Speaker 1: ultimately built uh, we were building the Face to hopefully

491
00:24:08,480 --> 00:24:11,879
Speaker 1: one day sell it, you know, and we got that

492
00:24:11,960 --> 00:24:14,840
Speaker 1: chance because La was able to go run Arista. I

493
00:24:14,880 --> 00:24:16,879
Speaker 1: think that's why we were able to actually sell it

494
00:24:16,920 --> 00:24:18,480
Speaker 1: at that point. I don't know if we would have

495
00:24:18,480 --> 00:24:21,240
Speaker 1: been been able to do it any sooner than that,

496
00:24:21,520 --> 00:24:24,760
Speaker 1: but it ultimately, um, we altim We put it there

497
00:24:24,840 --> 00:24:28,080
Speaker 1: and he was he went on and ran Arista and

498
00:24:28,080 --> 00:24:30,359
Speaker 1: and other things as well. All the artists that you

499
00:24:30,440 --> 00:24:33,280
Speaker 1: signed on the face who was some of your favorites

500
00:24:33,320 --> 00:24:36,600
Speaker 1: because you just really found that raw talent and really

501
00:24:36,600 --> 00:24:39,120
Speaker 1: made him to who they are today. Say again, though,

502
00:24:40,040 --> 00:24:41,920
Speaker 1: all the artists that you signed on the face was

503
00:24:41,960 --> 00:24:44,440
Speaker 1: one of the your favorite artists that you found and

504
00:24:44,960 --> 00:24:47,560
Speaker 1: you know you love watching that that journey to who

505
00:24:47,560 --> 00:24:55,080
Speaker 1: they are today. I think that, Um, it's uh, it's

506
00:24:55,119 --> 00:24:57,920
Speaker 1: a little hard to answer because it's so many artists

507
00:24:57,960 --> 00:25:02,000
Speaker 1: that we we touched where you didn't imagine that their

508
00:25:02,040 --> 00:25:05,640
Speaker 1: careers would go where it would go, you know, um,

509
00:25:07,200 --> 00:25:11,160
Speaker 1: from even starting with with TLC, where you know those

510
00:25:11,200 --> 00:25:13,560
Speaker 1: girls what gave you the vision for TILSA. We're gonna

511
00:25:13,600 --> 00:25:15,399
Speaker 1: go through something like TLC when they came to you

512
00:25:15,440 --> 00:25:18,399
Speaker 1: the way that they looked at different clothes, singing, rapping

513
00:25:18,400 --> 00:25:22,040
Speaker 1: all together. What made you say that is the group? Well,

514
00:25:22,040 --> 00:25:26,280
Speaker 1: TLC was TLC was actually brought brought in through pebbles

515
00:25:27,119 --> 00:25:31,119
Speaker 1: and that was and she had a vision for them,

516
00:25:31,200 --> 00:25:32,800
Speaker 1: and then when she brought them it was kind of

517
00:25:32,880 --> 00:25:36,560
Speaker 1: clear to see. And at that point Chile wasn't even

518
00:25:36,640 --> 00:25:39,640
Speaker 1: in the group yet, and Chile actually was a background

519
00:25:39,680 --> 00:25:42,320
Speaker 1: d answer for Damian Dame. And when when the three

520
00:25:42,320 --> 00:25:44,160
Speaker 1: of them came together, then it looked it just seemed

521
00:25:44,240 --> 00:25:45,960
Speaker 1: kind of obvious. It was. It just felt new, it

522
00:25:45,960 --> 00:25:50,680
Speaker 1: felt fresh, and and um, Dallas Austin kind of worked

523
00:25:50,720 --> 00:25:52,480
Speaker 1: on the first part of the first records with them,

524
00:25:52,480 --> 00:25:54,800
Speaker 1: and it was so clear that there was something there.

525
00:25:54,840 --> 00:25:58,439
Speaker 1: And then Dallas doing the work helped it helped me,

526
00:26:00,000 --> 00:26:01,560
Speaker 1: I have to make it easier for me to see

527
00:26:01,600 --> 00:26:05,159
Speaker 1: what kind of music to do on them as well. Um.

528
00:26:05,240 --> 00:26:08,720
Speaker 1: And then there was obviously Tony Braxton, which was in

529
00:26:09,680 --> 00:26:14,000
Speaker 1: Tony was in the Girls, she was in had the

530
00:26:14,040 --> 00:26:17,399
Speaker 1: group herself with the Braxton's. We pulled her out of

531
00:26:17,440 --> 00:26:20,160
Speaker 1: the Braxtons because she had this voice and how difficult

532
00:26:20,200 --> 00:26:22,639
Speaker 1: was that a lea? It was? It was kind of difficult.

533
00:26:23,040 --> 00:26:26,520
Speaker 1: It was a family affair and they didn't really want

534
00:26:26,560 --> 00:26:30,960
Speaker 1: that to happen. But I felt like she was She

535
00:26:31,160 --> 00:26:35,720
Speaker 1: was a star by herself. Initially, she perfect pairing musically.

536
00:26:36,359 --> 00:26:39,720
Speaker 1: I think that the thing that hit Tony, hit me

537
00:26:39,720 --> 00:26:41,679
Speaker 1: about Tony was all this pain that she had in

538
00:26:41,720 --> 00:26:45,160
Speaker 1: a voice. And I loved to write from pain. So

539
00:26:45,680 --> 00:26:47,480
Speaker 1: when I heard her voice, I said, oh, listen to

540
00:26:47,480 --> 00:26:50,840
Speaker 1: that pain. It's like, you know, that's something great, something

541
00:26:50,840 --> 00:26:54,680
Speaker 1: to work with, and um, and we just it just

542
00:26:54,800 --> 00:26:57,520
Speaker 1: all the things kind of fell together, right because you know,

543
00:26:57,560 --> 00:26:59,960
Speaker 1: Tony ended up getting songs that weren't actually even meant

544
00:27:00,040 --> 00:27:02,359
Speaker 1: for her that she you know, they were written for

545
00:27:02,400 --> 00:27:05,120
Speaker 1: Anita Baker first. At first from the Boomerang sound check,

546
00:27:05,160 --> 00:27:07,159
Speaker 1: we wrote love should have brought you Home, should have

547
00:27:07,200 --> 00:27:10,800
Speaker 1: bought your ass home. Yep, and that's exactly and that

548
00:27:10,880 --> 00:27:14,280
Speaker 1: was written for We wrote that for Anita Baker, and

549
00:27:14,400 --> 00:27:17,399
Speaker 1: she turned it down and said, y'all should let that

550
00:27:17,400 --> 00:27:19,320
Speaker 1: little girl do with it. That little girl do it,

551
00:27:19,400 --> 00:27:21,679
Speaker 1: a little girl that did the demo. Why did she

552
00:27:21,720 --> 00:27:25,080
Speaker 1: turn it down? I don't know. She didn't like it.

553
00:27:25,160 --> 00:27:29,000
Speaker 1: I guess um it didn't hit her, didn't hit it

554
00:27:29,000 --> 00:27:30,600
Speaker 1: it didn't seem like it was something that she wants

555
00:27:30,640 --> 00:27:32,840
Speaker 1: to sing. And then I think we said her another

556
00:27:32,880 --> 00:27:36,800
Speaker 1: one like, um, you mean the world to man, and

557
00:27:36,920 --> 00:27:38,760
Speaker 1: she turned that one down too, So Tony got that

558
00:27:38,800 --> 00:27:41,679
Speaker 1: one too. She's no, baby, I don't want to do that.

559
00:27:42,280 --> 00:27:44,680
Speaker 1: Let that little girl singing. Do you ever get did

560
00:27:44,680 --> 00:27:46,680
Speaker 1: you ever get offended? Like when you like, this is

561
00:27:46,720 --> 00:27:49,080
Speaker 1: a hit? I got turned down. Now I got turned

562
00:27:49,080 --> 00:27:51,280
Speaker 1: out many times sending a song. So never you never

563
00:27:51,320 --> 00:27:54,360
Speaker 1: get offended. That's good. That's a good ego lesson for

564
00:27:54,560 --> 00:27:57,800
Speaker 1: people to understand that even baby Face might submit a

565
00:27:57,840 --> 00:28:01,960
Speaker 1: song that it's not it's not personal that that little

566
00:28:02,000 --> 00:28:06,960
Speaker 1: girls sing it exactly. There's some other little girls sing it. Um.

567
00:28:07,000 --> 00:28:10,040
Speaker 1: But yeah, I mean you it's been a good piece

568
00:28:10,040 --> 00:28:13,199
Speaker 1: of your career. People turning down things that songs they

569
00:28:13,240 --> 00:28:16,160
Speaker 1: don't think it works for them, and that that's fine.

570
00:28:16,480 --> 00:28:20,160
Speaker 1: Now you have the Clear Burner Boys last last what's that? Yeah,

571
00:28:20,200 --> 00:28:24,480
Speaker 1: the Clear Burner Boys record uh African artists that redid

572
00:28:24,960 --> 00:28:27,960
Speaker 1: Tony racks the song over right, So when they brought

573
00:28:28,000 --> 00:28:29,720
Speaker 1: it to you, do you automatically care about like what's

574
00:28:29,760 --> 00:28:34,240
Speaker 1: your process and clearing records? Um? For the most part,

575
00:28:34,320 --> 00:28:39,200
Speaker 1: when people are trying to sample or do any any

576
00:28:39,320 --> 00:28:44,200
Speaker 1: piece of your records. You initially you could you could

577
00:28:44,240 --> 00:28:45,920
Speaker 1: have an ego out and saying no, no, I don't,

578
00:28:46,000 --> 00:28:48,960
Speaker 1: I don't think that's happening. That's but at this particular point,

579
00:28:48,960 --> 00:28:51,560
Speaker 1: I think that you let you let creativity go and

580
00:28:51,680 --> 00:28:53,880
Speaker 1: let everybody go for it, as long as it's not junk.

581
00:28:54,640 --> 00:28:57,120
Speaker 1: You know. But sometimes how do you know what's junk

582
00:28:57,160 --> 00:29:00,320
Speaker 1: and what's not jump? Because there would be some things

583
00:29:00,640 --> 00:29:02,800
Speaker 1: I would hear in my whole life where out here

584
00:29:02,800 --> 00:29:05,920
Speaker 1: I said, why did why is this a hit? And uh?

585
00:29:06,800 --> 00:29:09,200
Speaker 1: And rather than being judgment on it, I just listened

586
00:29:09,240 --> 00:29:11,240
Speaker 1: to it harder to figure out what everybody loves about it,

587
00:29:11,280 --> 00:29:13,720
Speaker 1: and I think, Okay, that's what it is. Y'all played

588
00:29:13,760 --> 00:29:15,440
Speaker 1: that record that y'all know who burn a Boy was?

589
00:29:15,440 --> 00:29:17,440
Speaker 1: Did you know? It was an African autist? So which record?

590
00:29:17,560 --> 00:29:20,200
Speaker 1: That's see? That wasn't actually my record? It was on

591
00:29:20,240 --> 00:29:22,960
Speaker 1: the face, but it wasn't one too. Didn't write the record,

592
00:29:22,960 --> 00:29:26,000
Speaker 1: so I didn't have to clear that one. And then

593
00:29:26,040 --> 00:29:29,640
Speaker 1: sometimes you get surprised where someone does a record what

594
00:29:29,840 --> 00:29:39,000
Speaker 1: was that? U? Blue Blueberry Vey go um blue um?

595
00:29:39,280 --> 00:29:43,000
Speaker 1: What was it? Um? There was a huge tongue a

596
00:29:43,040 --> 00:29:45,320
Speaker 1: couple of years ago that they did in my mind,

597
00:29:45,840 --> 00:29:48,440
Speaker 1: pulled in my mind, mind sample out and it became

598
00:29:48,960 --> 00:29:53,440
Speaker 1: it was crazy and I never I never approved it.

599
00:29:53,520 --> 00:29:55,480
Speaker 1: I didn't know I did, and I found like I

600
00:29:55,480 --> 00:29:58,000
Speaker 1: didn't approve it. You didn't know. So do you just

601
00:29:58,040 --> 00:29:59,360
Speaker 1: wait for it to get bigging like, oh, I'm gonna

602
00:29:59,400 --> 00:30:02,440
Speaker 1: get this money back? Well, yeah, somebody, somebody, the publishing

603
00:30:02,440 --> 00:30:06,240
Speaker 1: company they used to go get it, handle it. You

604
00:30:06,240 --> 00:30:07,560
Speaker 1: know what I want to ask you this since you

605
00:30:07,640 --> 00:30:10,720
Speaker 1: just about a publishing because people always have these conversations

606
00:30:10,720 --> 00:30:14,200
Speaker 1: about publishing deals. Should you sign them? Should you not? Um?

607
00:30:14,240 --> 00:30:16,959
Speaker 1: You know, and we see a lot of these artists getting,

608
00:30:17,520 --> 00:30:19,720
Speaker 1: you know, hundreds of millions of dollars the big ones

609
00:30:20,120 --> 00:30:22,920
Speaker 1: to do these deals. What are your thoughts on signing

610
00:30:22,960 --> 00:30:27,720
Speaker 1: publishing deals? On signing publishing if if a beginning artists

611
00:30:27,720 --> 00:30:32,960
Speaker 1: signing it's hard to call um in some cases. If

612
00:30:33,040 --> 00:30:36,640
Speaker 1: if you're if you're a prolific writer, it's great if

613
00:30:37,040 --> 00:30:39,360
Speaker 1: you can hold on and not do a big deal

614
00:30:39,400 --> 00:30:41,520
Speaker 1: with someone because it could be worth a lot. But

615
00:30:41,640 --> 00:30:45,480
Speaker 1: you know, you never know, and at this particular point,

616
00:30:45,560 --> 00:30:47,680
Speaker 1: you know, cash is king. So if you can grab

617
00:30:48,000 --> 00:30:52,320
Speaker 1: grab that money at this particular point, then it's okay. Um,

618
00:30:52,360 --> 00:30:55,040
Speaker 1: but know that that's it. You know, if you uh,

619
00:30:55,080 --> 00:30:56,800
Speaker 1: you gotta roll with it for a little bit. So

620
00:30:57,280 --> 00:31:01,360
Speaker 1: it's um. It's changed over the year, and in some

621
00:31:01,400 --> 00:31:03,040
Speaker 1: cases people get a lot of money for it, in

622
00:31:03,080 --> 00:31:05,640
Speaker 1: some cases they don't. So it's hard to call. What

623
00:31:05,680 --> 00:31:09,959
Speaker 1: was your first publishing deal? Like, didn't have one to

624
00:31:10,040 --> 00:31:13,240
Speaker 1: begin with. Our publishing was just taken because we signed

625
00:31:13,280 --> 00:31:16,200
Speaker 1: up to the record company, so it was like they

626
00:31:16,240 --> 00:31:18,440
Speaker 1: take it automatically. You didn't get any evans or anything.

627
00:31:18,440 --> 00:31:20,720
Speaker 1: So we've been through it all the whole. Damn that

628
00:31:20,760 --> 00:31:23,480
Speaker 1: sounds because I was listening to you talking, I'm like,

629
00:31:23,520 --> 00:31:26,400
Speaker 1: I wonder if being that you have family that was

630
00:31:26,440 --> 00:31:28,840
Speaker 1: already doing music, you know, your brother wasn't after seven,

631
00:31:29,080 --> 00:31:34,240
Speaker 1: did you have more knowledge about the business? Yeah, I

632
00:31:34,320 --> 00:31:36,760
Speaker 1: was in it before. Actually I was in the business

633
00:31:36,760 --> 00:31:40,320
Speaker 1: before my brother was officially, and so I had ended

634
00:31:40,400 --> 00:31:44,040
Speaker 1: up bringing after seven into the business. But I think

635
00:31:44,040 --> 00:31:47,720
Speaker 1: initially back in those days, when you start out, you know,

636
00:31:47,800 --> 00:31:50,120
Speaker 1: you kind of go. You gotta roll with what happens,

637
00:31:50,560 --> 00:31:52,520
Speaker 1: and so if the record company's gonna take calf, then

638
00:31:52,680 --> 00:31:54,000
Speaker 1: you know, and you want to get a deal, then

639
00:31:54,040 --> 00:31:56,680
Speaker 1: that's what it is. And everybody went it. I'm sure

640
00:31:56,760 --> 00:31:58,600
Speaker 1: Teddy and every We can all give your horror stories

641
00:31:58,600 --> 00:32:01,560
Speaker 1: on publishing things so as it started back in the day.

642
00:32:01,600 --> 00:32:05,000
Speaker 1: But it's scotten. Um, it's gotten a lot better these days.

643
00:32:05,440 --> 00:32:09,520
Speaker 1: And um and kids, you know, they they it's a

644
00:32:09,600 --> 00:32:11,600
Speaker 1: it's a whole different game at this particular point. And

645
00:32:11,600 --> 00:32:14,360
Speaker 1: it's not even all about the music. If you're a star,

646
00:32:14,440 --> 00:32:16,320
Speaker 1: then you can make so many money so many other

647
00:32:16,360 --> 00:32:19,160
Speaker 1: places and and it's not really just about the music.

648
00:32:19,240 --> 00:32:22,200
Speaker 1: So it's a it's a whole different game today. Ever

649
00:32:22,240 --> 00:32:24,160
Speaker 1: in the industry, did was there ever a time where

650
00:32:24,440 --> 00:32:27,200
Speaker 1: money was low or you became broke? Did that ever

651
00:32:27,240 --> 00:32:29,600
Speaker 1: happened after you were successful industry? Because you always hit

652
00:32:29,640 --> 00:32:32,400
Speaker 1: those stories where money is low, and maybe you should.

653
00:32:32,400 --> 00:32:34,240
Speaker 1: We went too much, too many private jets, too many

654
00:32:34,280 --> 00:32:40,680
Speaker 1: Louis Baton sunglasses. Who knows, bloody chicks, you're buying tweet bad?

655
00:32:40,880 --> 00:32:43,440
Speaker 1: You know, you never know there a point like that. Yeah,

656
00:32:43,440 --> 00:32:45,240
Speaker 1: there's a point where you don't make as much as

657
00:32:45,280 --> 00:32:47,080
Speaker 1: you used to make, and so you got to keep

658
00:32:47,120 --> 00:32:49,960
Speaker 1: that in mind. Um, and then you then you were

659
00:32:49,960 --> 00:32:52,440
Speaker 1: a hard to keep to make more. I always whenever

660
00:32:53,040 --> 00:32:55,600
Speaker 1: um someone asked that question, I say, well, you just

661
00:32:55,600 --> 00:32:58,040
Speaker 1: got to start writing more hits, you know, and and

662
00:32:58,160 --> 00:33:01,680
Speaker 1: uh put in the time that happener, and be smarter

663
00:33:01,880 --> 00:33:04,920
Speaker 1: and what you put your money into. But I think

664
00:33:05,000 --> 00:33:10,400
Speaker 1: initially it always changes and people should always look at

665
00:33:10,400 --> 00:33:13,400
Speaker 1: the money doesn't always keep coming. At some point people

666
00:33:13,400 --> 00:33:14,959
Speaker 1: don't play the songs as much as they do, so

667
00:33:15,000 --> 00:33:17,760
Speaker 1: you don't get the same performance. You know, the same

668
00:33:17,760 --> 00:33:20,400
Speaker 1: money doesn't come at it. So you have to always

669
00:33:20,440 --> 00:33:26,320
Speaker 1: consider that. And that is a forever thing. And there

670
00:33:26,360 --> 00:33:28,360
Speaker 1: are some kids that when they come out, they come

671
00:33:28,360 --> 00:33:30,320
Speaker 1: out hitting it so hard they don't realize that one

672
00:33:30,400 --> 00:33:33,240
Speaker 1: day it slows down. It might not stop altogether, but

673
00:33:33,280 --> 00:33:36,040
Speaker 1: it slows down, so you should you should be careful.

674
00:33:36,440 --> 00:33:39,480
Speaker 1: And I wanted to know too, like how much time

675
00:33:39,480 --> 00:33:41,240
Speaker 1: do you spend in the studio. Did you ever get

676
00:33:41,280 --> 00:33:43,200
Speaker 1: to a point where you're feeling yourself so much right

677
00:33:43,200 --> 00:33:45,040
Speaker 1: everything's coming in be like, oh I'm taking a month

678
00:33:45,080 --> 00:33:47,080
Speaker 1: off of the studio. I'm gonna do I'm gonna enjoy

679
00:33:47,160 --> 00:33:49,400
Speaker 1: the fruits of my labor. Has that ever happened or

680
00:33:49,440 --> 00:33:52,760
Speaker 1: you always were like a studio rap. I've always I've

681
00:33:52,800 --> 00:33:55,959
Speaker 1: always worked, and always because I didn't look at it

682
00:33:56,040 --> 00:33:59,520
Speaker 1: like work, so it was always a joy to be

683
00:33:59,600 --> 00:34:01,480
Speaker 1: in the student on right, And it's not always. You

684
00:34:01,520 --> 00:34:03,560
Speaker 1: don't always have to be in the studio to write,

685
00:34:03,560 --> 00:34:06,440
Speaker 1: so you can always do that, but there's never a

686
00:34:06,480 --> 00:34:10,759
Speaker 1: point where, um, you feel like you can just take

687
00:34:10,880 --> 00:34:13,279
Speaker 1: off off. So if you're not in studio, then you're

688
00:34:13,320 --> 00:34:15,640
Speaker 1: actually you're out on the road or doing other things.

689
00:34:15,640 --> 00:34:19,399
Speaker 1: But always something musical, something attached. It's it's just part

690
00:34:19,400 --> 00:34:21,239
Speaker 1: of as a musician. It's kind of one of the

691
00:34:21,280 --> 00:34:24,359
Speaker 1: things you want to do. You know, how big are you? One?

692
00:34:25,160 --> 00:34:27,440
Speaker 1: Always writing for yourself? Do other artists write for you

693
00:34:27,520 --> 00:34:31,960
Speaker 1: when you put out your own projects? Sometimes people write

694
00:34:31,960 --> 00:34:35,359
Speaker 1: for me. I don't. Usually I'll write together, but when

695
00:34:35,400 --> 00:34:37,839
Speaker 1: somebody hands me a song, I don't usually do that.

696
00:34:38,080 --> 00:34:40,040
Speaker 1: Have you ever done a song that someone just handed you?

697
00:34:40,120 --> 00:34:42,080
Speaker 1: Teddy calls you up and I got the song for you,

698
00:34:43,080 --> 00:34:47,239
Speaker 1: or you know Quincy or Andrew Harrels. Yeah, it's so

699
00:34:47,280 --> 00:34:52,799
Speaker 1: hard for me to just do that. Wow, that's and

700
00:34:53,760 --> 00:34:58,160
Speaker 1: that's hard. Now. I usually have to collaborate because because

701
00:34:58,200 --> 00:35:01,680
Speaker 1: people they'll they'll think they know exactly what it is

702
00:35:01,719 --> 00:35:05,120
Speaker 1: that I'm supposed to do and and and I don't

703
00:35:05,120 --> 00:35:08,319
Speaker 1: feel the same. So that's the one place it's weird

704
00:35:08,360 --> 00:35:10,040
Speaker 1: for me to be behind the mic and if someone's

705
00:35:10,040 --> 00:35:12,880
Speaker 1: trying to produce me and it's hard for me too.

706
00:35:13,200 --> 00:35:15,560
Speaker 1: That's a rough one. I did that with a couple

707
00:35:15,560 --> 00:35:22,280
Speaker 1: of people, and um, I got through it. Has anybody

708
00:35:22,280 --> 00:35:24,319
Speaker 1: ever have you ever felt like you wanted to experiment

709
00:35:24,400 --> 00:35:27,240
Speaker 1: and like, let me try this different you know sound

710
00:35:27,400 --> 00:35:30,400
Speaker 1: and yeah, you know, through the years, I've done different

711
00:35:30,400 --> 00:35:34,160
Speaker 1: things that It was different when I worked with Pharrells

712
00:35:34,200 --> 00:35:39,400
Speaker 1: when we did um, uh, what what song did we do?

713
00:35:39,960 --> 00:35:43,720
Speaker 1: Lost my song? We did a song I'm spacing all together?

714
00:35:43,880 --> 00:35:48,279
Speaker 1: What was the song within that time? Oh yeah, see,

715
00:35:48,320 --> 00:35:58,080
Speaker 1: y'all know it either, um, there she goes um. That

716
00:35:58,200 --> 00:36:01,959
Speaker 1: was that was a different experience for me to work

717
00:36:01,960 --> 00:36:05,320
Speaker 1: with Pharrell. I enjoyed it because I was able to

718
00:36:05,360 --> 00:36:08,640
Speaker 1: see how Pharrell worked and how he and I was

719
00:36:08,680 --> 00:36:11,120
Speaker 1: surprised because he was doing everything all this one little

720
00:36:11,200 --> 00:36:14,760
Speaker 1: keyboardisty you created all this with that. It was amazing

721
00:36:14,840 --> 00:36:17,920
Speaker 1: just to kind of see everybody's work work ethic and

722
00:36:18,200 --> 00:36:21,840
Speaker 1: how they put things together. And I knew at that

723
00:36:21,920 --> 00:36:23,840
Speaker 1: particular point that was way back in the day, and

724
00:36:23,880 --> 00:36:25,320
Speaker 1: I knew at the point that Pharrell was going to

725
00:36:25,440 --> 00:36:28,080
Speaker 1: just be you know, usually gonna blow up. He's gonna

726
00:36:28,080 --> 00:36:30,520
Speaker 1: be amazing. I think about it. Steve Lacy, when he

727
00:36:30,600 --> 00:36:33,719
Speaker 1: was doing music earlier, he was doing everything on his iPhone, Yeah,

728
00:36:33,760 --> 00:36:36,400
Speaker 1: and with plugins and everything. Have you done things like

729
00:36:36,440 --> 00:36:38,719
Speaker 1: that with technology or are you more like I got

730
00:36:38,719 --> 00:36:41,040
Speaker 1: to be in the studio or no. No. I believe

731
00:36:41,040 --> 00:36:43,880
Speaker 1: in that. I believe that you know, whatever inspires you

732
00:36:43,920 --> 00:36:46,319
Speaker 1: and how you get it done, that's it. So I

733
00:36:46,360 --> 00:36:50,200
Speaker 1: think it can come from anywhere, anything, and that that's

734
00:36:50,239 --> 00:36:52,200
Speaker 1: inspiring to me to know that he could do that.

735
00:36:52,440 --> 00:36:55,040
Speaker 1: But for you personally, me personally, have I do I

736
00:36:55,080 --> 00:36:57,200
Speaker 1: mess around with Yeah, like, have you tried some of

737
00:36:57,239 --> 00:37:03,880
Speaker 1: those I phone? I would. I'm not saying I wouldn't,

738
00:37:03,920 --> 00:37:06,799
Speaker 1: but you know I'm not. I haven't yet, Okay, because

739
00:37:06,840 --> 00:37:09,200
Speaker 1: I can act like that endorsed by a baby face

740
00:37:09,920 --> 00:37:12,439
Speaker 1: that you really use, that could go crazy. I'm just saying,

741
00:37:12,760 --> 00:37:13,960
Speaker 1: it's like, come me in check and then we could

742
00:37:14,000 --> 00:37:18,120
Speaker 1: talk about it. I was thinking about it all right, Well,

743
00:37:18,160 --> 00:37:20,200
Speaker 1: you do have the guitar hair, you do have a guitar. Here,

744
00:37:20,200 --> 00:37:22,760
Speaker 1: it's Monday morning. People would you know, people are driving

745
00:37:22,800 --> 00:37:26,279
Speaker 1: to work it stuck in. I think it's only right

746
00:37:26,320 --> 00:37:28,640
Speaker 1: we should give him a little so we don't want

747
00:37:28,640 --> 00:37:30,720
Speaker 1: you to have this here. You know, I was excited.

748
00:37:30,760 --> 00:37:32,400
Speaker 1: I thought I was like, I don't know why, you know,

749
00:37:32,600 --> 00:37:34,440
Speaker 1: give it something. I was gonna play it. But you know,

750
00:37:34,440 --> 00:37:35,719
Speaker 1: I don't think you want me to play at all.

751
00:37:35,719 --> 00:37:37,640
Speaker 1: I know it's O mcdonnald had a phone. Yeah, yeah,

752
00:37:37,640 --> 00:37:42,319
Speaker 1: I don't know that. I got um, what am I doing?

753
00:37:47,000 --> 00:37:50,239
Speaker 1: And what time in the seven? It's about seven? If

754
00:37:50,280 --> 00:37:57,080
Speaker 1: this is not you know, warning voice, it's not the

755
00:37:57,200 --> 00:38:09,120
Speaker 1: easy one. Win? Can my heart beat again? When does

756
00:38:09,200 --> 00:38:18,040
Speaker 1: the pain never? When do the tear star running over?

757
00:38:18,960 --> 00:38:26,480
Speaker 1: When does you get over? Ray again? You seem safeyving

758
00:38:27,440 --> 00:38:33,680
Speaker 1: If it's not mebe saying, so? When can I see

759
00:38:33,800 --> 00:38:41,040
Speaker 1: you lugging? Wing? Gain? I see you ugging the winding

760
00:38:41,239 --> 00:38:48,520
Speaker 1: back car beat again, wing gain, I see you again

761
00:38:51,239 --> 00:39:04,759
Speaker 1: wing gad I breathe won't stare Yeah and win gain again.

762
00:39:07,000 --> 00:39:10,839
Speaker 1: Thank you? That's it. Yeah, that was amazing. That usually

763
00:39:10,880 --> 00:39:13,640
Speaker 1: costs millions of dollars to get something like that. That's

764
00:39:13,680 --> 00:39:15,960
Speaker 1: what that is to all of our listeners. That was

765
00:39:16,000 --> 00:39:20,600
Speaker 1: definitely amazing. I know I know this might be a stretch, Norn,

766
00:39:21,320 --> 00:39:23,319
Speaker 1: but me and you will help you with this one. No,

767
00:39:23,480 --> 00:39:25,760
Speaker 1: can we just do? Can we talk? Just one good time?

768
00:39:26,040 --> 00:39:28,560
Speaker 1: We're helping. See, we're helping me singing. I can remember.

769
00:39:28,800 --> 00:39:45,520
Speaker 1: I usually play on the keyboard. It's really high. Why too,

770
00:39:46,040 --> 00:39:53,759
Speaker 1: can little talk to? You want me to do? Yeah? Yeah,

771
00:39:53,760 --> 00:40:02,960
Speaker 1: you should be saying I want to go too. I'm

772
00:40:05,760 --> 00:40:17,759
Speaker 1: your true. Okay, we're gonna have to work a little

773
00:40:17,760 --> 00:40:23,640
Speaker 1: bit by dream come true. I just want to say

774
00:40:23,680 --> 00:40:26,239
Speaker 1: we can fix that. We can fix that and let congratulations.

775
00:40:26,280 --> 00:40:28,800
Speaker 1: That happen to one single from off the album Lmake

776
00:40:29,719 --> 00:40:31,600
Speaker 1: video star An Tiffany had it. It looks like a

777
00:40:31,640 --> 00:40:36,520
Speaker 1: Bridgetin theme. Oh yeah, that's a situation. What do you

778
00:40:36,560 --> 00:40:38,040
Speaker 1: want to play from the album? Hold on, hold on,

779
00:40:38,080 --> 00:40:41,200
Speaker 1: let's think about this again. Let's see what could what

780
00:40:41,520 --> 00:40:43,319
Speaker 1: would you heard it? What would you like to play?

781
00:40:43,520 --> 00:40:45,560
Speaker 1: Oh man, let's see what song? You know what we

782
00:40:45,600 --> 00:40:48,640
Speaker 1: talked about the song with baby take. Yeah, so let's

783
00:40:48,640 --> 00:40:50,839
Speaker 1: do that. One can think about it, don't even think.

784
00:40:50,920 --> 00:40:53,920
Speaker 1: Let's do it all right. It's baby Face, the icon legend,

785
00:40:54,640 --> 00:40:57,040
Speaker 1: It's the Breakfast Club. Thank you for joining us, Thank you,

786
00:40:57,160 --> 00:40:59,400
Speaker 1: good morning. Let me try. It's so hard to be

787
00:40:59,440 --> 00:41:03,080
Speaker 1: on that boys right out albums. He wouldn't be on

788
00:41:03,120 --> 00:41:06,600
Speaker 1: the Answer because where We're going, Where we going? His

789
00:41:06,760 --> 00:41:07,400
Speaker 1: voice blight in