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Speaker 1: R and B Money.

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Speaker 2: Honey, we are.

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Speaker 3: Thanks take valoti. We are the authorities R and B

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Speaker 3: ladies and gentlemen. My name is Tank. This is the

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Speaker 3: R and B Money Podcast, the authority on all things

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Speaker 3: R and B.

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Speaker 1: Yeah, it starts somewhere. Come on, Bishop bad There is

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Speaker 1: an origin.

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Speaker 3: Yeah, the Bible says in the beginning, that's what we

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Speaker 3: have here on today. Yes, I'm talking about my beginning

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Speaker 3: where the love, just where the love began for this

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Speaker 3: thing right here. We got some guys in the building.

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Speaker 3: That's what I want to get straight to him. Man,

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Speaker 3: come on Mitchel Jones and call red of commission.

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Speaker 2: Thank you.

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Speaker 1: Listen the reasons, the reason for nineties R and B.

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Speaker 3: Yeah, yeah, yeah, we have foundational building blocks.

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Speaker 1: Sean Stockman says his regards. Yes he does.

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Speaker 3: John's got off the phone with him. Sit there here

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Speaker 3: since it's love. Wow, excellent, excellent, Like okay, you know

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Speaker 3: I get it. You were you were commissioned, you were

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Speaker 3: called to do what you do, and you accepted that

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Speaker 3: call and you move, You moved in such a way

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Speaker 3: that you know that lives were changed, you know what

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Speaker 3: I mean, Like lives literally lives were changed without you

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Speaker 3: even being there. Like like, I am one of those

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Speaker 3: kids who in ninth grade discovered Commission. I joined this

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Speaker 3: this gospel group called Brotherhood. And I've been in church,

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Speaker 3: you know, all my life. But you know, I moved

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Speaker 3: to Maryland, new surroundings, new everything, new school, and I

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Speaker 3: meet these two guys in inquired class and they sing.

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Speaker 1: I'm like, well, I say we should be a group.

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Speaker 1: Let's be a group.

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Speaker 3: It's like, we got two other guys in a group

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Speaker 3: with or whatever at the church down the way. So

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Speaker 3: I joined the group with them, their Brotherhood, and you know,

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Speaker 3: they're heavy whinings, love the wine and shout out to

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Speaker 3: the ones, love the ones right and and they're like,

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Speaker 3: have you heard Commission. I was like, no, I have

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Speaker 3: not heard commission. And they put on Commission. It's a rap.

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Speaker 3: I had found somebody I wanted to be and his

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Speaker 3: name was Mitchell Jones. Wow. We would argue, like you

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Speaker 3: know how you like when you be a superhero from

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Speaker 3: a cartoon, when you go outside the play it's Marvel characters.

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Speaker 3: I was like, I'm Mitchell, you can't be you were

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Speaker 3: Mitchell yesterday. It doesn't matter. I'm better at me. That's

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Speaker 3: what we were doing. Wow, we're fighting to be Mitchell Jones.

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Speaker 4: Man, I just want to say I appreciate all the

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Speaker 4: love that you've showing us over the last few years, man,

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Speaker 4: and all the people that came on and you know

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Speaker 4: and said some of about Commission. Is just good to

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Speaker 4: know that Commission Music is still blessing people. Man, and

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Speaker 4: you know, these gifts that God has given us. You know,

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Speaker 4: all we did was yielded back to God. Because it's

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Speaker 4: one thing to use your gift for God, use your

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Speaker 4: gift for them. See you get performance, but when you

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Speaker 4: yielded to him, you get presents. And we just thank

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Speaker 4: God for how we just yielded to Him. And we

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Speaker 4: just want to love people with our gifts. That's all

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Speaker 4: we did.

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Speaker 3: Man.

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Speaker 4: We love people with our gifts, and that's that's what

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Speaker 4: it's all about, man, still sharing the love of God.

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Speaker 4: We were commissioned to do this, you know, we were

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Speaker 4: sent by God, and we just thank God. I want

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Speaker 4: to thank God for you guys again, and for all

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Speaker 4: the guys in Commission that answered the call, because if

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Speaker 4: they didn't answer the call, it wouldn't be no commission.

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Speaker 4: I wouldn't be here, you know, So I thank God

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Speaker 4: for Fred Michael Brooks, Keith Staates, Uh, Carl Reed, Jones,

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Speaker 4: Park Stuart, Yeah, phenomenal songwriter singer.

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Speaker 3: Yeah, and uh who else we got here?

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Speaker 2: Yeah, you forgot Michael.

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Speaker 4: Williams, Michael Williams, all those guys as the call man,

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Speaker 4: and I just thank God for that.

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Speaker 3: Like I said, we wouldn't be here if it wasn't

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Speaker 3: for those guys.

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Speaker 4: Man, Just thank God for like I said, all the

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Speaker 4: people that showed love to us, man, you, Jamie and

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Speaker 4: all the other people that came on.

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Speaker 3: And it's been a blessing to know. Man.

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Speaker 4: Like I said again that our music is still blessing people,

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Speaker 4: still still blessing.

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Speaker 3: Still.

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Speaker 1: I still play it. I thank you in my car. Period.

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Speaker 5: It was my introduction to church music, to the gospel. Really, yeah,

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Speaker 5: I never I didn't grow up on it, obviously, I'm

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Speaker 5: sure you guys the podcast. But the first gospel artist

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Speaker 5: I had ever heard was commissioned ever like before, I mean,

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Speaker 5: like you know, i'd heard names, but to actually listen

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Speaker 5: to it, and I think I might have been like

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Speaker 5: maybe fourteen or fifteen, and it just and my whole life.

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Speaker 5: Actually I grew up on as I would call it,

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Speaker 5: not even just r and B music. I grew up

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Speaker 5: on Cadillac music, you know what I mean.

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Speaker 1: It was just pimps playing music they listened to. So

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Speaker 1: that's what I grew up on.

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Speaker 5: And for me, the first time hearing Commission, it wasn't

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Speaker 5: a shock because I felt like it was R and B.

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Speaker 1: Saying to God for me personally.

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Speaker 5: You know, it was love songs to God more so

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Speaker 5: than it was I guess worship. It was more like

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Speaker 5: if you close your eyes. In my opinion, they felt

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Speaker 5: like R and B records to God.

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Speaker 1: For me, just me personally.

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Speaker 5: So I think it was an easy It was an

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Speaker 5: easy transition for me to just go from you know,

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Speaker 5: the R and B music that I was listening to,

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Speaker 5: to listening to Commission as well, especially with the harmonies right.

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Speaker 5: And by this point Jodysy was already going, so I'm like, oh,

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Speaker 5: this is where it comes from.

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Speaker 4: Yeah, I didn't grow up in the gospel per se.

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Speaker 3: You know.

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Speaker 4: My father he introduced me to Niking Cole and through

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Speaker 4: the early the late sixties, there was a contest who

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Speaker 4: can sound like Niking Cole and they paid five hundred

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Speaker 4: dollars and my father won that. He introduced me to

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Speaker 4: Na King Cole and night. King Cole was the kind

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Speaker 4: of guy that very technical, smooth, you know, you learn

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Speaker 4: how to when to use vibrada, when not to use vibrada,

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Speaker 4: Very melodic you know what I'm saying. Just phenomenal singer.

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Speaker 4: So that's where it started for me. Then my brother

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Speaker 4: who used to sing with dramatics, he introduced me to

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Speaker 4: Stevie Wonder, Donnie Hathaway, Michael Jackson and see, doub you

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Speaker 4: don't see that, I don't know see that.

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Speaker 3: No, come on, man, you know see that man, Charlie

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Speaker 3: Wilson that I had to do that you're doing to

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Speaker 3: see out there like you know, this is really you

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Speaker 3: did that like he did.

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Speaker 1: And that's you know, that's that's that's the guy. I

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Speaker 1: just did a show with Charlie. So yeah, yeah, he

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Speaker 1: called me into the office.

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Speaker 3: Yeah, and we say we got on the stage together

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Speaker 3: and and and and thank.

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Speaker 1: God together with with the crowd crowds going crazy, really dope.

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Speaker 3: I think there was such a like as he spoke

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Speaker 3: on and I know, normally we like to go all

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Speaker 3: the way back to the beginning, like origin, and then

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Speaker 3: you went there, you started going in that King Cole

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Speaker 3: and all of that, and then you got the smooth

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Speaker 3: criminal sitting next to you, who just this is a

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Speaker 3: smooth criminal, silky school, silky and smooth, don't miss, just

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Speaker 3: right in there. And it was such an amazing balance

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Speaker 3: because everything was placement, like you guys were in you

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Speaker 3: guys were in the right places, doing the right things

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Speaker 3: on every song.

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Speaker 1: Yeah, that's hard.

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Speaker 2: We tried. We all of the musical backgrounds from all

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Speaker 2: the guys, Fred Michael Books, Mitchell, myself, Keith singing in choirs,

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Speaker 2: singing in carls and gospel choirs in high school. A

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Speaker 2: month for high school. We all went there and we

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Speaker 2: had some amazing teachers and our background in Detroit. I

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Speaker 2: mean I lived like maybe seven blocks away from Stevie

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Speaker 2: Wondon in Detroit, and that was one of my first concerts.

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Speaker 2: He came to Badley like in sixty nine. It's like,

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Speaker 2: it's gonna be Stevie Wonder. I said, man, oh crazy,

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Speaker 2: Stevie Wonder ain't gonna come to know Bagley Elementary. And

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Speaker 2: the curtain opened and he's sitting there with the world

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Speaker 2: is too and he's singing.

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Speaker 3: You're like, it is, Stevie, that's your elementary school.

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Speaker 2: At elementary school, that's correct.

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Speaker 1: And how old is he at this point?

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Speaker 2: Though, man, Stevie probably was around twenty twenty two somewhere

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Speaker 2: right in there. I'm like, Stevie came to school, Well

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Speaker 2: he was right up the street on Rose Line, so

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Speaker 2: because it was from saconof but he came to school,

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Speaker 2: and You're like, everything went through your mind about singing.

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Speaker 2: That was perfect because it was Stevie And then.

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Speaker 3: Who was it?

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Speaker 2: And Motown? And you know Motown is in the same

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Speaker 2: time we went, so we just you know, grew up

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Speaker 2: listening to all the Motown sound, I mean listening to

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Speaker 2: all of the gospel sounds. You know. We had a

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Speaker 2: radio station called wor gpr DFQ that played a collose

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Speaker 2: of music that was from soft rock to hard to

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Speaker 2: regular gospel to whatever it was. And we learned and

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Speaker 2: gleaned from people, because everybody learns from everybody. Nobody just

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Speaker 2: shows up and said this is who I am. It

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Speaker 2: doesn't happen that way. You listening to somebody. And I

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Speaker 2: think we have a collection of stuff. Fred's background, Mitchell's

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Speaker 2: hearing and learning and listening and being in groups. And

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Speaker 2: I started singing when I was in elementary school, you know,

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Speaker 2: Hollywood's Singers was one of my first tunes. And they

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Speaker 2: wasn't singing it right, and I got a masked sayd man,

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Speaker 2: y'all ain't singing this. I got to get this right.

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Speaker 2: And so from that point to middle school, joining the

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Speaker 2: glee club, and then only is the high school, and

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Speaker 2: then singing in the choir, doing solos and stuff like that,

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Speaker 2: playing drums and you just the music stuff started coming

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Speaker 2: out of you, man. So I think our experience brought

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Speaker 2: us to where we are now. And then all that

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Speaker 2: stuff we learned. Because when you hear stuff, it's inside you.

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Speaker 2: It's getting in there, and you take it and you

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Speaker 2: use yourself to interpret what you're hearing. It helps mold

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Speaker 2: you in shape you. So that's when we came. That's

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Speaker 2: why we came to what we were doing.

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Speaker 3: So how does it get from you know, the beginnings

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Speaker 3: of you know, Nat King Cole and and Hollywood Hollywood

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Speaker 3: Swingers and all of this to commission?

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Speaker 1: How does that even business? In high school?

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Speaker 2: School together? We went in high school.

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Speaker 4: You tell me, tell what my little part, you can

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Speaker 4: tell you you got the biggest part. Fred and I

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Speaker 4: was in high school together. So I remember meeting him.

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Speaker 4: He came to my church one day and he was

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Speaker 4: playing the bass, and uh, I didn't know. I didn't

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Speaker 4: talk to him at that time, but I saw him

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Speaker 4: in school again. I said, man, you played the bass

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Speaker 4: with grace. He said yeah.

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Speaker 3: So you know, he said you you go to that church?

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Speaker 4: I said, yeah, I go to I started the Church

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Speaker 4: of God in Christ And so one day a friend

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Speaker 4: of a friend of mine named Tony Clarkston said, have you.

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Speaker 3: Heard Fred sing? He said, come here, Fred, come here.

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Speaker 3: So when Fred sang, I said, wow, Man, you played

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Speaker 3: the bass and you sing, I said, man, you should

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Speaker 3: be singing. Man.

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Speaker 4: He said, Fred don't sing much, but he's because he

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Speaker 4: was playing the bass. A lot said you should be singing,

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Speaker 4: and so Fred and he told Freddy, say Fred, you

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Speaker 4: need to listen to Mitchell.

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Speaker 3: So I sang something.

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Speaker 4: He sang, I think one of the Donnie song and

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Speaker 4: I sang on the Dney song and I said wow.

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Speaker 5: I said, man, we need to do we need to

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Speaker 5: do something. So we singing in talent show and it

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Speaker 5: went pretty good. Did you sing a gospel record in

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Speaker 5: town show? Everything was changed okay and it went well.

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Speaker 5: So we said, man, we gotta do something. So from

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Speaker 5: that point, I knew Fred and I was going to

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Speaker 5: be together, you know, no matter what. And I just

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Speaker 5: feel like at that time we were probably answering the

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Speaker 5: call but didn't know it yet, you know what I'm saying.

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Speaker 5: And so later on we had another group called Apostles,

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Speaker 5: me Tony Harn, Tony Claxton and Fred, and we didn't

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Speaker 5: sing much around the city, but we sing in church

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Speaker 5: in our church. Then we started singing a group called Saved,

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Speaker 5: and that we did our first forty five and that

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Speaker 5: was a phenomenal experience to hear yourself, you know, when

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Speaker 5: you sing and you get a chance to see what

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Speaker 5: see what it sounds like on table, and that was

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Speaker 5: a phenomenal experience.

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Speaker 4: And we was excited about that forty five we did.

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Speaker 4: But then that group broke up. So Fred started playing

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Speaker 4: with the Winings.

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Speaker 1: I didn't know that.

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Speaker 4: Oh yeah, he started playing bass with the one and

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Speaker 4: he was singing with him a little bit too right,

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Speaker 4: and so he said, hey, man, listen, just hold up, man.

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Speaker 4: You know we're gonna do We know we're gonna do something.

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Speaker 4: So Keith and Carr was singing in the group and

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Speaker 4: they did something in high school as well. I'm gonna

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Speaker 4: let him tell that. But I started singing with them, okay,

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Speaker 4: And I said, when I started singing with them, guys,

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Speaker 4: I was like, we started singing around the city.

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Speaker 3: I was like, oh man, they're gonna be like the

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Speaker 3: New Winings, or they're gonna be like the Winings. I said, man,

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Speaker 3: I can't wake to Fred. I can't wait to Fred

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Speaker 3: get in this. Yeah, And they was like, who is Fred?

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Speaker 3: I said, you know Fred, you know she's singing with

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Speaker 3: me and safe, he said, And I knew it. I

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Speaker 3: didn't even ask him could he be in it? Because

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Speaker 3: I knew you know what I'm saying. Because because I

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Speaker 3: knew and Fred was gonna be together, we got God

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Speaker 3: was gonna be together.

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Speaker 4: So when I said, you know, man, I can't wait

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Speaker 4: till Fred getting this, they said, oh yeah. So when

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Speaker 4: Creid came and he heard the band, the band wasn't

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Speaker 4: real good.

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Speaker 3: It was okay.

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Speaker 4: But Fred had a group called the Unit Michael Brooks,

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Speaker 4: Michael Williams, Wow, Mike Right, and Fred and they used

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Speaker 4: to play.

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Speaker 3: Around the city, you know, weddings and things like that.

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Speaker 3: So Fred kind of connected the band together. And I

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Speaker 3: remember the first time we sang Michael Brooks came and

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Speaker 3: played the song called the City, and we learned it. Man,

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Speaker 3: when we sang it's a city in the distance, we

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Speaker 3: couldn't even finish. Man, we ran out of there, like

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Speaker 3: right in the world, right in the world. So we

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Speaker 3: knew it was something that God put together. You know

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Speaker 3: what I'm saying. We all That's why I say at

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Speaker 3: the beginning, I'm glad everybody answered the call, because if

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Speaker 3: everybody didn't answer the call wouldn't be no commission.

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Speaker 4: So even in the word commission. I remember when Fred

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Speaker 4: we was talking one day and he said, Man, we

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Speaker 4: got to think of a name. I said, He said, uh,

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Speaker 4: you know, we commission office. You cause we went to

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Speaker 4: the service together. He said, you like commission offices. I said, hmm,

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Speaker 4: that sounded like a good name right there. And then

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Speaker 4: the name it says right there. God chosen us and

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Speaker 4: he sent us. He's the one put it together.

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Speaker 3: And man, we from then on, Man, we just went

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Speaker 3: around the city, went around the world, and just began

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Speaker 3: to share the love of God. Man, it was been

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Speaker 3: a blessing ever since. I'm let Carl finish that.

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Speaker 2: Yeah, I don't know what else. No, my experience was

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Speaker 2: the same church, singing to church. Keith and I went

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Speaker 2: to the same church. I mean we were friends as

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Speaker 2: as almost like toddlers of Bethlehem Temple. And so when

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Speaker 2: his dad started the church, my family means to help

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Speaker 2: start the church with him. But uh, in high school,

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Speaker 2: you know, I was in the glee club, singing and stuff,

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Speaker 2: and then we were singing church. So one day after service,

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Speaker 2: we stood around the piano and started singing, and I'm like,

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Speaker 2: kid man, we should start a crew. You know, let's

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Speaker 2: do that. Cause my cousin played like classic piano, so

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Speaker 2: he was playing and so we started singing songs. So

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Speaker 2: we would sing Andrew Kraut songs, stuff like that. And

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Speaker 2: the next thing, you know, we started the group Sounds

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Speaker 2: of Joy, and we were trying to get his brother joined,

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Speaker 2: but his brother wanted to do preaching, so he didn't.

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Speaker 2: You know, preaches either got to sing or they got

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Speaker 2: to preach, and so he preached, Oh, you can't do both.

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Speaker 2: You can do both, but it's not gonna work for you.

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Speaker 2: You gotta go a whole hog one way or another.

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Speaker 1: And so he went preaching.

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Speaker 2: So Keith was auditioning for a group called Blessed and

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Speaker 2: Mitchell went to the rehearsal, and when he went to

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Speaker 2: the rehearsal, he was hearing Keith singing. He's like like, man,

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Speaker 2: you can really sing. And he's like, man, we got

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Speaker 2: a group called Sounds. Joey should come check us out.

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Speaker 2: And so Mitchell came over. Now, mind you, I knew

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Speaker 2: Mitchell from high school and seeing him at church. So

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Speaker 2: it was high school and church for us. Fred, Michael Williams,

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Speaker 2: all those guys, and so he invited him to warn

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Speaker 2: our rehearsals. So Mitchell came in, he listened to us

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Speaker 2: and then everybody's noble. Mitchell plays and writes songs, so

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Speaker 2: he sat on the panther to sing this. So he

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Speaker 2: started playing and me and Keith started singing. The party

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Speaker 2: gave us and we was like, oh my god, Mitchell,

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Speaker 2: do you want to be with us? And he's like,

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Speaker 2: oh yeah, playing And they said, man, I can't wait

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Speaker 2: to Fred get in here. We're like, Fred, yeah, that'd

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Speaker 2: be the fourth got cool. Cool. So from that point

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Speaker 2: Mitchell was a liaison to get us connected with Fred.

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Speaker 2: Fred hooks us up with the unit, and that's what

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Speaker 2: what commission was. Those seven guys started the group Commission

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Speaker 2: back in nineteen eighty two, eighty two. Now, I know

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Speaker 2: some of y'all probably wasn't born in but that's how

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Speaker 2: long it was we saw doing what were doing. I

342
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Speaker 2: was I was six, but that's how long ago it was.

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Speaker 2: And so we started pursuing to get a manager right,

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Speaker 2: and we had some crazy experiences getting the managers and

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Speaker 2: working doing gigs, putting money together and get in the

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Speaker 2: studio because that was the goal. We got to get

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Speaker 2: in the studio and do a record. We got to

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Speaker 2: get a manager.

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Speaker 3: And so.

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Speaker 2: Fred knew the Winings manager, Derrick Dirkson, and so he

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Speaker 2: went to say, man, would you like the manager? He's like,

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Speaker 2: I'm managing the winers, Why would I manage y'all? So

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Speaker 2: he said, he gave him a note, but we kept going.

354
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Speaker 2: We met some other managers. Didn't turn out to be that.

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Speaker 2: It was probably maybe two months later he was dismissed

356
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Speaker 2: from the Winings and he put that phone call in said, hey,

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Speaker 2: listen you guys, STI elevate on. He's like, yeah, I

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Speaker 2: guarantee you. I'll get you a record deal, just give

359
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Speaker 2: me two weeks. Sure enough, two weeks later he had

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Speaker 2: a record deal with Light Records, went through Larry Strauss,

361
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Speaker 2: and they gave us a lease agreement, right, which ain't

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Speaker 2: a record deal. It's just if this one works, y'all

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Speaker 2: get some more on. So we put that one out.

364
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Speaker 2: I'm Going On came out July thirteenth, nineteen eighty five,

365
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Speaker 2: hit on the radio like were on the radio, were

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Speaker 2: on the radio. Plan I'm going on next thing, you know,

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Speaker 2: But that's three years. That's three years. It took us

368
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Speaker 2: three years to get from meeting, rehearsing together, getting to

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Speaker 2: know everybody, meeting the manager, and getting a record deal.

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Speaker 2: That was three years July thirteenth, you know, you don't

371
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Speaker 2: forget those dates, and then we the rest is history,

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Speaker 2: man song after song. So they came back maybe six

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Speaker 2: months later and said, listen, we want to sign y'all

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Speaker 2: to a real contract. Can we get four more options?

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Speaker 3: And we was like four more?

376
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Speaker 2: Oh yeah, So we signed for four more with that

377
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Speaker 2: Light Records. So we did actually just six with the

378
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Speaker 2: Light Records.

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Speaker 1: They put they gave six options, they gave us.

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Speaker 2: We did the one and it gave us five more. Yeah.

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Speaker 5: In the in the gospel world, yes, the business side

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Speaker 5: of it, How different is it from the R and

383
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Speaker 5: B side? I mean, I mean, obviously you guys have

384
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Speaker 5: always done gospel. But I'm saying as far as just

385
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Speaker 5: the points structure, the money structure is.

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Speaker 3: Like, is it.

387
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Speaker 1: Better? Is it worse? Is it like? Did y'all make

388
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Speaker 1: some real money off of you know, these first deals

389
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Speaker 1: or how does that go?

390
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Speaker 2: Absolutely? No?

391
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Speaker 1: Right, okay, okay, so doing it for the Lord, doing

392
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Speaker 1: it for the Lord.

393
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Speaker 3: Absolutely.

394
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Speaker 2: It's a world of difference in the gospel than it is.

395
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Speaker 2: The budgets are a lot bigger, even how they do radio.

396
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Speaker 2: Everything is different in gospel than when they do it

397
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Speaker 2: in the secular radio.

398
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Speaker 1: As far as so it's bigger in gospel, you said

399
00:20:28,480 --> 00:20:31,760
Speaker 1: it's bigger in R and B always way bigger than RB.

400
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Speaker 2: You know everybody's once we got going, we really want, man,

401
00:20:35,480 --> 00:20:37,600
Speaker 2: we really want to get a secular deal because they

402
00:20:37,640 --> 00:20:39,960
Speaker 2: got the budgets, they got the marketing. Oh that's a

403
00:20:40,000 --> 00:20:40,480
Speaker 2: different world.

404
00:20:40,560 --> 00:20:43,159
Speaker 1: So if you remember, do you remember what y'all signed for?

405
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Speaker 2: What we signed for. Yeah, we didn't get nothing. We

406
00:20:47,200 --> 00:20:50,960
Speaker 2: just signed huh, we got nothing. We just signed for

407
00:20:51,040 --> 00:20:55,119
Speaker 2: the more options period. I think our first but not

408
00:20:55,240 --> 00:20:58,160
Speaker 2: more money, No, I think I think probably our first

409
00:20:58,200 --> 00:21:01,600
Speaker 2: budget may have been like twenty five thousand, maybe.

410
00:21:01,600 --> 00:21:04,399
Speaker 1: To make the record to finish y'all to eat for everything.

411
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Speaker 2: Yeah, yeah, because in gospel you only make your money

412
00:21:07,720 --> 00:21:11,800
Speaker 2: if you travel Rodney road money. You know, the budgets

413
00:21:11,800 --> 00:21:13,760
Speaker 2: for marketing and all that stuff for radio and everything.

414
00:21:14,000 --> 00:21:18,200
Speaker 2: It's nowhere near secular, right, So we just had to

415
00:21:18,280 --> 00:21:22,440
Speaker 2: go with the flow. And you know, to answer your question,

416
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Speaker 2: my friend, absolutely not. You had to keep your day

417
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Speaker 2: job to sing.

418
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Speaker 1: And that's the part. So it's like the old NBA

419
00:21:29,560 --> 00:21:33,040
Speaker 1: days and I didn't score forty, you still have to

420
00:21:33,080 --> 00:21:33,800
Speaker 1: go be a fireman.

421
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Speaker 3: That's that's the part that bothered me, you know so

422
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Speaker 3: much when I was in gospel about the industry is

423
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Speaker 3: because you know I was, I was kind of dabbling

424
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Speaker 3: in the R and B as a writer and a producer.

425
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Speaker 1: But you know, we had our group called Psalms.

426
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Speaker 3: Yeah everything y'all been saying, it's all things I've seen

427
00:22:01,160 --> 00:22:06,000
Speaker 3: the Bible, bless say Psalms. It's all in some way,

428
00:22:07,760 --> 00:22:10,120
Speaker 3: it's got some fire with related to the church offer.

429
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Speaker 3: So rout one, I just I went into this space

430
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Speaker 3: where like and I told this story before, where I

431
00:22:22,040 --> 00:22:26,120
Speaker 3: went and saw I went and saw immature perform when

432
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Speaker 3: I was writing and producing for this girls group and

433
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Speaker 3: and at that time we had the hottest group in

434
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Speaker 3: the city with DC Maryland Virginia.

435
00:22:33,880 --> 00:22:34,199
Speaker 2: Like we were.

436
00:22:34,320 --> 00:22:39,199
Speaker 1: We were the guys, right, and.

437
00:22:41,440 --> 00:22:44,480
Speaker 3: You know, I thought we were doing something as we would,

438
00:22:44,560 --> 00:22:47,280
Speaker 3: you know, kind of set up our mics and sing

439
00:22:47,400 --> 00:22:50,159
Speaker 3: our songs and have our band playing. I thought we

440
00:22:50,280 --> 00:22:52,840
Speaker 3: were We're doing something, I thought. I thought we weren't.

441
00:22:54,000 --> 00:22:58,760
Speaker 3: And I watched immature, three little kids put on a

442
00:22:59,000 --> 00:23:03,560
Speaker 3: show in an arena. I watched them go crazy. I'm

443
00:23:03,560 --> 00:23:07,560
Speaker 3: watching the musicians. I'm like, those are church guys. I'm

444
00:23:07,680 --> 00:23:10,680
Speaker 3: listening to the tracks play, I'm hearing the effects the back.

445
00:23:10,760 --> 00:23:14,960
Speaker 3: I'm like, what is that he's playing? The MP secret you.

446
00:23:15,400 --> 00:23:16,920
Speaker 1: You guys are the first guys I saw do that though,

447
00:23:17,200 --> 00:23:18,159
Speaker 1: But I'm watching.

448
00:23:18,200 --> 00:23:22,680
Speaker 3: I'm like, and I thought to myself, I was like,

449
00:23:23,160 --> 00:23:25,920
Speaker 3: with with with this, with this amazing message that we have,

450
00:23:26,880 --> 00:23:30,600
Speaker 3: right and and we're such a great singers, we wouldn't

451
00:23:30,600 --> 00:23:33,720
Speaker 3: be able to follow these three little kids because we're

452
00:23:33,800 --> 00:23:38,639
Speaker 3: missing something. Why can't we be as Why can't we

453
00:23:38,760 --> 00:23:41,159
Speaker 3: have as much show for God as they have for

454
00:23:41,400 --> 00:23:42,399
Speaker 3: whoever they have it for?

455
00:23:54,760 --> 00:23:57,399
Speaker 1: Why can't we? And I was on a mission.

456
00:23:58,119 --> 00:24:01,960
Speaker 3: I had dancers, I had lights, I had the tracks,

457
00:24:02,080 --> 00:24:05,680
Speaker 3: I had everything, and the church couldn't handle the power

458
00:24:05,800 --> 00:24:06,800
Speaker 3: and the power went out.

459
00:24:12,880 --> 00:24:15,159
Speaker 1: It was like we was coming out and everybody was

460
00:24:15,240 --> 00:24:22,520
Speaker 1: like everybody couldn't believe what was happening? Is alot?

461
00:24:22,600 --> 00:24:25,840
Speaker 3: Like you smelled something bad. It was bad, and so

462
00:24:26,000 --> 00:24:27,920
Speaker 3: we you know, we gotta I gotta get on the piano.

463
00:24:28,000 --> 00:24:30,359
Speaker 3: We gotta just finish it out and just you know.

464
00:24:31,400 --> 00:24:34,960
Speaker 3: And in my mind, I'm like, okay, okay, that just

465
00:24:35,080 --> 00:24:38,479
Speaker 3: means we have work to do. But in everybody else's

466
00:24:38,560 --> 00:24:42,399
Speaker 3: mind it was, no, that's not of God. And I'm like,

467
00:24:44,080 --> 00:24:47,920
Speaker 3: how does something being difficult become not of God? Like

468
00:24:47,960 --> 00:24:50,680
Speaker 3: how does that work? Like this is our first time

469
00:24:50,800 --> 00:24:53,000
Speaker 3: doing this, and this is you know, all that dancing

470
00:24:53,080 --> 00:24:55,480
Speaker 3: and all that outfitting and showbolding. I said, it's not

471
00:24:55,560 --> 00:24:57,719
Speaker 3: show bolding. These are the gifts he gave us, gave us.

472
00:24:58,359 --> 00:25:01,360
Speaker 3: I'm trying to use my gifts to the acts for him.

473
00:25:01,560 --> 00:25:05,760
Speaker 3: What is wrong with that? And and I got kicked

474
00:25:05,800 --> 00:25:07,720
Speaker 3: out of that group, not kick, maybe they left me

475
00:25:07,840 --> 00:25:09,520
Speaker 3: in the group. And I was in the group by

476
00:25:09,560 --> 00:25:16,560
Speaker 3: myself at that, you know, because I really had but

477
00:25:16,920 --> 00:25:19,520
Speaker 3: I had a desire to do something big for God,

478
00:25:20,560 --> 00:25:23,960
Speaker 3: and everywhere I went, nobody wanted to do that. So

479
00:25:24,080 --> 00:25:25,800
Speaker 3: I started dabbling R and B where I knew they

480
00:25:25,800 --> 00:25:29,680
Speaker 3: wanted to do big things and outcomes. Kirk Franklin would

481
00:25:29,720 --> 00:25:35,399
Speaker 3: stomp and I'm pissed. I'm up at arms. I told you,

482
00:25:37,680 --> 00:25:38,439
Speaker 3: I told you.

483
00:25:41,640 --> 00:25:45,400
Speaker 1: That we can celebrate God as big as we want.

484
00:25:46,240 --> 00:25:49,040
Speaker 1: That's right, but it comes down to the money.

485
00:25:49,960 --> 00:25:52,399
Speaker 3: But what I'm saying is that, what I'm saying is

486
00:25:52,440 --> 00:25:56,159
Speaker 3: that and it all comes down to consumer right, consumption right,

487
00:25:56,280 --> 00:25:58,520
Speaker 3: and how many people who's consuming the product and how

488
00:25:58,600 --> 00:26:01,000
Speaker 3: many people are consuming and that kind of dictates the

489
00:26:01,080 --> 00:26:03,600
Speaker 3: market right. But I just felt like, I'm just giving

490
00:26:03,640 --> 00:26:05,600
Speaker 3: you my my path. I just felt like with such

491
00:26:05,640 --> 00:26:09,240
Speaker 3: a powerful message, they they should. There should be millions

492
00:26:09,280 --> 00:26:12,679
Speaker 3: for marketing, there should be hundreds of thousands for budget.

493
00:26:12,720 --> 00:26:15,000
Speaker 3: You know what I'm saying. It's just my thinking because

494
00:26:15,080 --> 00:26:18,879
Speaker 3: of what we're representing, and it just wasn't the case

495
00:26:19,520 --> 00:26:24,000
Speaker 3: even now now that they've seen we're breakout artists like

496
00:26:24,040 --> 00:26:27,280
Speaker 3: a Mary Mary, you know what I mean, tight tript

497
00:26:27,600 --> 00:26:29,240
Speaker 3: all these breakout moments.

498
00:26:29,320 --> 00:26:33,160
Speaker 1: You see that it's possible, you see it. They're doing

499
00:26:33,280 --> 00:26:38,159
Speaker 1: arenas they're doing. I don't know.

500
00:26:38,760 --> 00:26:42,119
Speaker 3: I get, I get, I get passionate, Yeah, because I

501
00:26:42,280 --> 00:26:45,320
Speaker 3: just you know, I don't know, but those budgets are

502
00:26:45,359 --> 00:26:46,440
Speaker 3: so different, and I just don't.

503
00:26:46,520 --> 00:26:46,840
Speaker 1: I don't.

504
00:26:46,920 --> 00:26:50,359
Speaker 3: I don't think. I don't think that it's fair. No,

505
00:26:51,080 --> 00:26:53,040
Speaker 3: I don't think you should give up though. You know,

506
00:26:53,160 --> 00:26:56,000
Speaker 3: for people that's coming up in the music, when they

507
00:26:56,080 --> 00:26:59,199
Speaker 3: have a dream, you know, a vision and what they

508
00:26:59,280 --> 00:27:01,200
Speaker 3: feel God when I'm do, don't stop.

509
00:27:01,280 --> 00:27:02,800
Speaker 4: You know what I'm saying, Just because you had you've

510
00:27:02,840 --> 00:27:06,000
Speaker 4: been discouraged, you might be discouraged by the people that

511
00:27:06,080 --> 00:27:06,680
Speaker 4: don't accept it.

512
00:27:07,000 --> 00:27:08,119
Speaker 3: You got to keep on pushing it.

513
00:27:08,200 --> 00:27:08,320
Speaker 2: You know.

514
00:27:08,400 --> 00:27:10,240
Speaker 4: That's why Kirk Franklyn come out. I'm pretty sure he

515
00:27:10,359 --> 00:27:13,359
Speaker 4: got rid cue for some things he did commission. When

516
00:27:13,359 --> 00:27:15,440
Speaker 4: we first started and they were talking about, man, that

517
00:27:15,480 --> 00:27:17,960
Speaker 4: ain't gonna work, but we kept going. We didn't stop.

518
00:27:18,200 --> 00:27:21,560
Speaker 4: And I think for anybody's coming into the gospel, don't stop,

519
00:27:21,720 --> 00:27:24,720
Speaker 4: you know, keep going and find some support, find somebody

520
00:27:24,840 --> 00:27:25,879
Speaker 4: to misupport you.

521
00:27:26,240 --> 00:27:28,439
Speaker 3: I think that's more of a testament of you guys

522
00:27:28,520 --> 00:27:33,120
Speaker 3: being able to break through without having the same resources

523
00:27:33,359 --> 00:27:36,200
Speaker 3: needed to do such a thing. Like y'all were really

524
00:27:36,800 --> 00:27:40,480
Speaker 3: y'all were really in the streets with this music, like

525
00:27:40,720 --> 00:27:44,040
Speaker 3: church to church, door to door. Like I saw you

526
00:27:44,119 --> 00:27:50,080
Speaker 3: guys at evangel Church, Central Avenue, okay, kid, and I'm

527
00:27:50,200 --> 00:27:53,919
Speaker 3: just like, I'm trying to worship God and not worship

528
00:27:54,000 --> 00:27:56,800
Speaker 3: you guys. But I'm like they look like.

529
00:27:56,800 --> 00:28:00,919
Speaker 1: This is like for Jesus, Jesus.

530
00:28:02,760 --> 00:28:03,080
Speaker 3: But see.

531
00:28:03,160 --> 00:28:07,440
Speaker 2: But see, what what you probably recognized was is that

532
00:28:08,880 --> 00:28:10,639
Speaker 2: you were the person that we were doing that for.

533
00:28:11,400 --> 00:28:15,240
Speaker 2: Because we didn't get to support like the quartet or

534
00:28:15,320 --> 00:28:18,000
Speaker 2: the choir the stuff like that. We had a purpose

535
00:28:18,040 --> 00:28:19,840
Speaker 2: in our hearts that we were gonna do it. Because

536
00:28:20,520 --> 00:28:23,400
Speaker 2: we didn't have to just do quartet. We could give

537
00:28:23,600 --> 00:28:25,920
Speaker 2: music to where if a person just came out of

538
00:28:25,920 --> 00:28:28,360
Speaker 2: the street and wanted to come to church, they could

539
00:28:28,359 --> 00:28:32,320
Speaker 2: hear our music and Saya waite that gospel that relates

540
00:28:32,359 --> 00:28:35,560
Speaker 2: to me, you know, feel that that relates to me.

541
00:28:35,680 --> 00:28:38,240
Speaker 2: And so what we did was if they were playing

542
00:28:38,440 --> 00:28:41,760
Speaker 2: the profit on stage, we wanted the profit on stage.

543
00:28:42,200 --> 00:28:44,320
Speaker 2: If they had the DX seven, we want DX seven

544
00:28:44,480 --> 00:28:49,400
Speaker 2: back in the day. If they had lights, we got lights.

545
00:28:50,120 --> 00:28:52,960
Speaker 2: If they had smoke, we're gonna do smoke. And we

546
00:28:53,120 --> 00:28:55,840
Speaker 2: did our first concert and we had smoke, lights, glitter,

547
00:28:56,320 --> 00:28:57,920
Speaker 2: you name it. We had because we felt like we.

548
00:28:57,960 --> 00:29:00,080
Speaker 5: Had to be excellent for God the power and go

549
00:29:00,120 --> 00:29:02,040
Speaker 5: out on y'all. Though the power didn't go out because

550
00:29:02,040 --> 00:29:06,000
Speaker 5: we were an older church. This is why they're commissioning.

551
00:29:07,760 --> 00:29:11,720
Speaker 5: Why are you doing R and B now, Well.

552
00:29:11,600 --> 00:29:13,320
Speaker 2: We didn't do that at church. And see what we did.

553
00:29:16,400 --> 00:29:18,280
Speaker 2: We had we had to go to the venues and

554
00:29:18,640 --> 00:29:21,360
Speaker 2: had the power for us and you sell tickets and

555
00:29:21,920 --> 00:29:24,360
Speaker 2: sometimes we did venues and they were selling alcohol in

556
00:29:24,480 --> 00:29:27,560
Speaker 2: the in the Vestibu or whatever like Fox Theater, places

557
00:29:27,680 --> 00:29:31,400
Speaker 2: like that State Theater. We wanted to be there because

558
00:29:31,440 --> 00:29:34,440
Speaker 2: we thought that gospel people deserve to have the best.

559
00:29:35,400 --> 00:29:37,800
Speaker 1: And so we yeah, I took it outside of the church.

560
00:29:37,840 --> 00:29:40,880
Speaker 2: We took it outside the church. Wherever they have in concerts,

561
00:29:41,120 --> 00:29:42,360
Speaker 2: that's where we want to have a concerts.

562
00:29:42,680 --> 00:29:44,720
Speaker 1: Oh wow, and so it.

563
00:29:44,960 --> 00:29:47,240
Speaker 2: You know, it took a while for the catch on, right.

564
00:29:47,720 --> 00:29:49,760
Speaker 2: You know, when you a trailblazer, and I think we

565
00:29:49,840 --> 00:29:52,640
Speaker 2: trail blazers and somedays first people that went out west

566
00:29:52,680 --> 00:29:54,160
Speaker 2: and get to live and all the good stuff, they

567
00:29:54,240 --> 00:29:56,760
Speaker 2: had to trail blaze a lot of stuff that they're

568
00:29:56,800 --> 00:30:00,200
Speaker 2: doing now riding on tour buses fly in places. Man,

569
00:30:00,240 --> 00:30:03,840
Speaker 2: we were on vans with smoke coming through the bottom

570
00:30:04,480 --> 00:30:06,760
Speaker 2: going to do gigs because we knew we had a purpose.

571
00:30:07,080 --> 00:30:09,520
Speaker 2: We're gonna break this ceiling. We're gonna we're gonna take

572
00:30:09,600 --> 00:30:12,880
Speaker 2: this professional stuff to where it needs to go and

573
00:30:13,080 --> 00:30:15,760
Speaker 2: raise raise the awareness of the people. Y'all. We deserve

574
00:30:15,880 --> 00:30:19,360
Speaker 2: more than just have a church. It's an organ, the

575
00:30:19,480 --> 00:30:23,200
Speaker 2: keyboard won't play, the lights go out. We felt like, man,

576
00:30:23,240 --> 00:30:25,120
Speaker 2: we want to show how much them, like, how much

577
00:30:25,160 --> 00:30:26,720
Speaker 2: to do does it cost to bring the trust in

578
00:30:26,840 --> 00:30:29,000
Speaker 2: for lights? Oh, that's coming to be, bring it in,

579
00:30:29,120 --> 00:30:31,080
Speaker 2: give them two more thousand and bringing in. And that's

580
00:30:31,080 --> 00:30:33,160
Speaker 2: what we aspired to. It took us a while to

581
00:30:33,240 --> 00:30:35,880
Speaker 2: get it going, but after a while it started catching on,

582
00:30:36,120 --> 00:30:38,280
Speaker 2: not just for us, but it started catching on for

583
00:30:38,360 --> 00:30:41,560
Speaker 2: other people and they started wanting the same thing because

584
00:30:41,600 --> 00:30:43,720
Speaker 2: they saw us do it. We probably didn't get paid

585
00:30:43,760 --> 00:30:48,120
Speaker 2: that night, right, but they saw a show, so they

586
00:30:48,240 --> 00:30:50,760
Speaker 2: went home and said, man, I'm going to the next one.

587
00:30:51,000 --> 00:30:53,080
Speaker 2: So we were building something, and it takes a while

588
00:30:53,080 --> 00:30:54,920
Speaker 2: to build something, and that's what we did. We took up.

589
00:30:55,000 --> 00:30:57,520
Speaker 2: We took our time building something, and it's where if

590
00:30:57,520 --> 00:31:00,200
Speaker 2: you see people doing stuff now. They were the first

591
00:31:00,280 --> 00:31:03,840
Speaker 2: ons did that back in the eighties and maybe not

592
00:31:04,000 --> 00:31:06,080
Speaker 2: sorry if that we had to suffer, but somebody got

593
00:31:06,200 --> 00:31:09,760
Speaker 2: to somebody else, somebody got in R and bright way,

594
00:31:09,840 --> 00:31:12,080
Speaker 2: somebody had to suffer. We don't get there.

595
00:31:13,600 --> 00:31:17,560
Speaker 3: We know, we know it. You answered my next question

596
00:31:17,600 --> 00:31:19,160
Speaker 3: because it was I was getting ready to go to

597
00:31:19,280 --> 00:31:25,160
Speaker 3: the place where what was behind the design of orchestrating

598
00:31:25,240 --> 00:31:29,840
Speaker 3: the music in such a way, because like for me,

599
00:31:29,920 --> 00:31:31,880
Speaker 3: it was the first time I had heard a first

600
00:31:31,960 --> 00:31:34,280
Speaker 3: person point of view, like you were singing from God's

601
00:31:34,280 --> 00:31:37,920
Speaker 3: point of view, like I am here, you know what

602
00:31:37,920 --> 00:31:40,440
Speaker 3: I'm saying, or you know, in the reverse hold me

603
00:31:40,760 --> 00:31:43,360
Speaker 3: like like you're like you're singing to God. But it's

604
00:31:43,440 --> 00:31:45,720
Speaker 3: like I definitely thought I'm here was an R and

605
00:31:45,840 --> 00:31:49,560
Speaker 3: B jam. Yeah, it's like it's like these are songs.

606
00:31:49,560 --> 00:31:52,200
Speaker 3: These are like let's say you're in a marriage or something,

607
00:31:52,480 --> 00:31:55,080
Speaker 3: you sing these to your wife like or you know,

608
00:31:55,480 --> 00:31:58,280
Speaker 3: like what what made you do that?

609
00:31:58,840 --> 00:32:00,480
Speaker 2: Well? Mitchell is the secular really.

610
00:32:05,200 --> 00:32:09,280
Speaker 4: My partner, uh, part partner of my writer writing partner,

611
00:32:09,360 --> 00:32:12,200
Speaker 4: Park Stewart. Such a phenomenal to me. He's one of

612
00:32:12,240 --> 00:32:16,560
Speaker 4: my top ten writers. Yeah, phenomenal lyricists. I mean number one,

613
00:32:16,760 --> 00:32:22,960
Speaker 4: number one, my number one guy, you know, so yeah,

614
00:32:23,320 --> 00:32:26,640
Speaker 4: not one guy, oh yeah, oh yeah. Phenomenal lyricists man

615
00:32:26,720 --> 00:32:29,880
Speaker 4: and singer too, you know, very melodic.

616
00:32:30,120 --> 00:32:30,280
Speaker 1: You know.

617
00:32:31,200 --> 00:32:34,640
Speaker 3: Sam Cook was this guy, you know, phenomenal, and uh,

618
00:32:34,880 --> 00:32:35,560
Speaker 3: we got together.

619
00:32:35,680 --> 00:32:35,840
Speaker 2: Man.

620
00:32:36,040 --> 00:32:39,400
Speaker 4: I remember somebody somebody was telling, man, you gotta meet Parks.

621
00:32:40,040 --> 00:32:41,920
Speaker 4: You gotta meet Parks man, y'all so much alike.

622
00:32:42,440 --> 00:32:45,040
Speaker 3: And somebody was telling him, you gotta make Mitch. You

623
00:32:45,080 --> 00:32:48,800
Speaker 3: gotta make meet Mitch. So we met, and man, we met.

624
00:32:48,880 --> 00:32:50,000
Speaker 3: We hit it off so well.

625
00:32:50,200 --> 00:32:50,320
Speaker 1: Man.

626
00:32:50,360 --> 00:32:52,680
Speaker 3: I found out that he hoped and I hooped. So

627
00:32:52,800 --> 00:32:56,920
Speaker 3: we did a lot of a lot of things we go.

628
00:32:57,600 --> 00:32:58,520
Speaker 1: Now we got the gospel.

629
00:33:00,440 --> 00:33:03,240
Speaker 6: You know, John used to who things have a hoop

630
00:33:03,320 --> 00:33:07,080
Speaker 6: after the concert and everybody everybody say, who listen, we

631
00:33:07,160 --> 00:33:11,520
Speaker 6: all get you know, a couple of John I'm sure

632
00:33:12,520 --> 00:33:18,280
Speaker 6: you know that's Isaac Isaac to save his life, I

633
00:33:18,680 --> 00:33:21,800
Speaker 6: want to ask him, and that's take six, okay.

634
00:33:21,960 --> 00:33:23,600
Speaker 3: And Brian mcni oh.

635
00:33:23,600 --> 00:33:34,160
Speaker 1: Yeah, he runned it off. What he's saying, ask about me? Yeah?

636
00:33:35,200 --> 00:33:37,280
Speaker 4: And so you know, we hit it off, man, and

637
00:33:38,160 --> 00:33:40,520
Speaker 4: a lot we a lot of things we are in common,

638
00:33:41,040 --> 00:33:43,800
Speaker 4: and so Parks brought I am here to me and uh,

639
00:33:44,200 --> 00:33:46,280
Speaker 4: you know it comes out of our experience with God.

640
00:33:46,400 --> 00:33:49,440
Speaker 4: You know, our relationship with God, and it was more

641
00:33:49,480 --> 00:33:53,200
Speaker 4: than relationship with fellowship. You think about relationship a marriage

642
00:33:53,280 --> 00:33:56,360
Speaker 4: without love, It's no, it's no marriage. You know what

643
00:33:56,360 --> 00:33:59,040
Speaker 4: I'm saying. So you got to have this relationship is

644
00:33:59,080 --> 00:34:02,600
Speaker 4: a love and loverlylationship with God. And God wants to

645
00:34:02,640 --> 00:34:04,320
Speaker 4: share his love with us. He wants us to know

646
00:34:04,440 --> 00:34:06,520
Speaker 4: that he loves us, and he want to love us

647
00:34:06,560 --> 00:34:08,520
Speaker 4: on a personal level. So when we see that kind

648
00:34:08,560 --> 00:34:11,040
Speaker 4: of love coming to us, we say, man, God want

649
00:34:11,080 --> 00:34:11,719
Speaker 4: to share.

650
00:34:11,480 --> 00:34:12,799
Speaker 2: This love with everybody.

651
00:34:13,320 --> 00:34:16,359
Speaker 3: What kind of love is? It's a perfect God love

652
00:34:16,400 --> 00:34:19,839
Speaker 3: and imperfect people perfectly. And that's what commission is all about.

653
00:34:19,880 --> 00:34:21,880
Speaker 3: We want to let everybody know we all, none of

654
00:34:21,960 --> 00:34:25,000
Speaker 3: us are perfect, but this perfect God loves these imperfect

655
00:34:25,040 --> 00:34:27,520
Speaker 3: people perfectly. We want to share that same love. And

656
00:34:27,600 --> 00:34:31,080
Speaker 3: God has uh, he is love. So therefore he's expressing

657
00:34:31,160 --> 00:34:34,440
Speaker 3: himself through us. When we give ourselves to him fully,

658
00:34:35,640 --> 00:34:37,680
Speaker 3: then he has full possession of us. He can have

659
00:34:37,840 --> 00:34:41,200
Speaker 3: full expression through us. God want to tell you how

660
00:34:41,320 --> 00:34:43,200
Speaker 3: much he loves you, So he want to tell us

661
00:34:43,239 --> 00:34:45,960
Speaker 3: all he want to show us all. So we got

662
00:34:46,000 --> 00:34:48,000
Speaker 3: together and wrote them songs man like I am here,

663
00:34:48,280 --> 00:34:50,720
Speaker 3: hold me, you know crying, Let's.

664
00:34:50,640 --> 00:34:58,680
Speaker 1: Let's die, Let's let's starve too fast? I am here.

665
00:34:58,880 --> 00:35:04,480
Speaker 1: Let's start there. We'll start dissecting some things. Did you

666
00:35:04,640 --> 00:35:12,759
Speaker 1: you did this? I was loved that song?

667
00:35:15,960 --> 00:35:23,160
Speaker 3: What was going into the melody? Right? Was it just

668
00:35:23,320 --> 00:35:27,160
Speaker 3: because of the dynamics in your voice that those things

669
00:35:27,280 --> 00:35:27,680
Speaker 3: came out?

670
00:35:30,080 --> 00:35:35,400
Speaker 1: Or was that the melody? That was the melody?

671
00:35:38,080 --> 00:35:38,720
Speaker 2: Mm hmm.

672
00:35:44,040 --> 00:35:45,080
Speaker 3: That that them in there?

673
00:35:45,360 --> 00:35:46,720
Speaker 1: Yeah, that's the melody.

674
00:35:46,800 --> 00:35:47,160
Speaker 3: Oh yeah.

675
00:35:47,200 --> 00:35:52,640
Speaker 4: What's important is as interpretation. Of course, we have to

676
00:35:52,760 --> 00:35:56,640
Speaker 4: write songs where the melody matches the lyrics. You know

677
00:35:56,680 --> 00:35:59,200
Speaker 4: what I'm saying. If we have dark chords, then we

678
00:35:59,280 --> 00:36:02,040
Speaker 4: might want to talk about, you know, situation trouble, different

679
00:36:02,080 --> 00:36:03,759
Speaker 4: situations like that. If it's right, we want to talk

680
00:36:03,800 --> 00:36:08,520
Speaker 4: about joyful situations. So interpretation everything. I give you an example,

681
00:36:08,600 --> 00:36:11,120
Speaker 4: and I don't want to swell nobody, but it's a

682
00:36:12,800 --> 00:36:14,920
Speaker 4: it's a song called uh. I don't want to say that.

683
00:36:16,280 --> 00:36:17,320
Speaker 4: If I'm if I'm.

684
00:36:18,760 --> 00:36:21,960
Speaker 3: Saying I want to fly away, why would I sing

685
00:36:22,000 --> 00:36:25,960
Speaker 3: a melody like I don't want to fly away? No,

686
00:36:26,120 --> 00:36:28,759
Speaker 3: I would say I want to fly away. You see

687
00:36:28,760 --> 00:36:31,920
Speaker 3: what I'm saying, because I'm taking off. So interpretation is everything.

688
00:36:32,080 --> 00:36:35,000
Speaker 3: So when we writing a song, we want to make

689
00:36:35,040 --> 00:36:38,960
Speaker 3: sure not that you hear will hear me, but that

690
00:36:39,080 --> 00:36:40,960
Speaker 3: you hear what I'm saying, because the message is more

691
00:36:41,000 --> 00:36:42,680
Speaker 3: important than me. Of course, you see what I'm saying.

692
00:36:42,760 --> 00:36:44,600
Speaker 3: Sometimes we as sing as we get in the way

693
00:36:45,080 --> 00:36:49,120
Speaker 3: we do too many things. We get distracted by trying

694
00:36:49,160 --> 00:36:51,120
Speaker 3: to get me over rather than the message over me,

695
00:36:51,520 --> 00:36:53,480
Speaker 3: and so parks and now that's that's the way we

696
00:36:53,600 --> 00:36:55,480
Speaker 3: do it. When we're writing, we're trying to find the

697
00:36:55,560 --> 00:36:57,600
Speaker 3: right melody to go with this song. We're trying to

698
00:36:57,640 --> 00:37:00,319
Speaker 3: make sure that the melody is matching the words right.

699
00:37:00,280 --> 00:37:06,800
Speaker 1: And I feel you. But there was subtle difficulties within

700
00:37:07,000 --> 00:37:07,960
Speaker 1: those melodies.

701
00:37:09,239 --> 00:37:12,640
Speaker 3: When you say difficulties, what you mean just just little

702
00:37:13,320 --> 00:37:16,680
Speaker 3: little cliques right, just that fast that were just like

703
00:37:16,840 --> 00:37:21,000
Speaker 3: those tastes, those tasty little more souls. Well, my brother,

704
00:37:21,239 --> 00:37:23,920
Speaker 3: my brother told me, he said, when he introduced me

705
00:37:23,960 --> 00:37:31,120
Speaker 3: to Stevie, Donnie, Michael Jackson and Charlie, he said, listen,

706
00:37:31,600 --> 00:37:35,560
Speaker 3: what you want to do is you want to imitate them.

707
00:37:36,640 --> 00:37:41,800
Speaker 3: First thing is imitate the second thing is assimilate. The

708
00:37:41,920 --> 00:37:44,560
Speaker 3: third thing is master.

709
00:37:45,840 --> 00:37:48,480
Speaker 4: The fourth thing, I'm sorry, the third thing is what

710
00:37:48,640 --> 00:37:55,480
Speaker 4: I say, imitation, simulation, master, and innovation innovator. So when

711
00:37:55,520 --> 00:37:59,279
Speaker 4: you talk about it, well, when you learn those you

712
00:37:59,360 --> 00:38:01,960
Speaker 4: first get it and you try to you know, you're imitating,

713
00:38:02,000 --> 00:38:06,120
Speaker 4: you're taking it in those Michael Jackson, Stevie wanted Donny Hathaway.

714
00:38:06,200 --> 00:38:08,759
Speaker 4: Learning those little things, then you assimilated, you kind of

715
00:38:09,040 --> 00:38:11,040
Speaker 4: perfected a little bit. Then you make it your own.

716
00:38:11,160 --> 00:38:15,120
Speaker 4: You master it, then you become an innovator. Not everybody

717
00:38:15,480 --> 00:38:16,400
Speaker 4: becomes an innovator.

718
00:38:16,760 --> 00:38:17,120
Speaker 1: They don't.

719
00:38:17,280 --> 00:38:21,400
Speaker 4: Some people imitating, They may imitate the next person, the

720
00:38:21,480 --> 00:38:23,480
Speaker 4: next person next, and they never find their style.

721
00:38:23,960 --> 00:38:25,120
Speaker 1: Okay, so let's break it down.

722
00:38:25,320 --> 00:38:30,439
Speaker 3: The crack here. This guy that's Michael is the crack Michael. Well, yeah,

723
00:38:32,280 --> 00:38:33,960
Speaker 3: Stevie do the crack too, Yeah.

724
00:38:36,239 --> 00:38:37,400
Speaker 1: Riding on the rocket.

725
00:38:41,680 --> 00:38:44,000
Speaker 3: Yeah absolutely, absolutely, absolutely, Stevie there too.

726
00:38:45,480 --> 00:38:47,239
Speaker 1: Absolutely, I don't like your attitude.

727
00:38:49,680 --> 00:38:55,120
Speaker 3: Yeah, that's okay, absolutely, And then I know that I

728
00:38:55,239 --> 00:38:58,400
Speaker 3: know the fast switches in the middle are are Stevie

729
00:38:58,640 --> 00:39:01,200
Speaker 3: and Charlie and Donnie and Donnie too. But the but

730
00:39:01,440 --> 00:39:05,880
Speaker 3: but the vibrado is like a mix of Donnie, I

731
00:39:05,960 --> 00:39:10,040
Speaker 3: think in Charlie, Okay, that's what I think.

732
00:39:10,120 --> 00:39:11,480
Speaker 2: Don't leave that King co out of that.

733
00:39:11,560 --> 00:39:16,640
Speaker 1: Now that that is not.

734
00:39:16,840 --> 00:39:19,040
Speaker 3: What that teaches you is the importance of melody and

735
00:39:19,120 --> 00:39:25,920
Speaker 3: tone and articulation. He had phenomenal tone and melody, and

736
00:39:26,120 --> 00:39:28,480
Speaker 3: he would interpret the song right. He wouldn't get in

737
00:39:28,560 --> 00:39:31,000
Speaker 3: the way so that the message. When the message get over,

738
00:39:31,080 --> 00:39:32,759
Speaker 3: we all get over. But when I get over, the

739
00:39:32,800 --> 00:39:38,080
Speaker 3: message get lost. Yeah, so important thing is, and musicians

740
00:39:38,160 --> 00:39:40,560
Speaker 3: do the same thing. They might overplay and play before

741
00:39:40,600 --> 00:39:43,880
Speaker 3: you know it, it's crowded keyboards. Gonna have a spot,

742
00:39:44,120 --> 00:39:46,759
Speaker 3: the base, gonna have a spot, a good time, gonna

743
00:39:46,760 --> 00:39:48,600
Speaker 3: have a spot. But when they all just doing stuff,

744
00:39:48,600 --> 00:39:50,640
Speaker 3: it's all in the way. The message is no longer clear.

745
00:39:51,239 --> 00:39:55,480
Speaker 3: The message gott to be clear and understood. Melody is

746
00:39:55,520 --> 00:39:59,480
Speaker 3: so important. We never lost the message. And even through

747
00:40:00,640 --> 00:40:05,400
Speaker 3: what I would dare to say, the innovative melodic choices

748
00:40:05,960 --> 00:40:08,759
Speaker 3: that you guys made, we never lost them and made

749
00:40:08,800 --> 00:40:12,239
Speaker 3: the message that not much more powerful because it was

750
00:40:12,360 --> 00:40:14,520
Speaker 3: like we were receiving the message in a way we

751
00:40:14,640 --> 00:40:19,440
Speaker 3: hadn't heard it before, which just blew our minds completely.

752
00:40:20,440 --> 00:40:22,640
Speaker 1: And an end from a perspective, we hadn't heard it

753
00:40:23,000 --> 00:40:25,279
Speaker 1: from before. Did you guys have to fight for that?

754
00:40:26,280 --> 00:40:30,239
Speaker 5: As far as creative from a creative standpoint, either with

755
00:40:30,360 --> 00:40:32,600
Speaker 5: the label or even just within the church.

756
00:40:33,520 --> 00:40:36,600
Speaker 2: Almos so much about the label didn't really fight us

757
00:40:37,280 --> 00:40:39,240
Speaker 2: unless they didn't like, you know, you had the session

758
00:40:39,239 --> 00:40:42,600
Speaker 2: sit down, know this song that we're pitching songs. If

759
00:40:42,600 --> 00:40:45,560
Speaker 2: they didn't like a song, it wasn't that they didn't

760
00:40:45,840 --> 00:40:48,160
Speaker 2: don't do it. Don't do the song and maybe go

761
00:40:48,280 --> 00:40:50,600
Speaker 2: back to the table and do something else. And so

762
00:40:52,080 --> 00:40:55,000
Speaker 2: they left the creative stuff to the producers and they

763
00:40:55,080 --> 00:40:57,960
Speaker 2: left the interpretation up to the singers or what we did,

764
00:40:58,239 --> 00:41:00,800
Speaker 2: because it kind of like look, we kind of like

765
00:41:00,880 --> 00:41:02,880
Speaker 2: looked like we know what was doing and we did

766
00:41:02,960 --> 00:41:04,759
Speaker 2: what we did because when we brought something to you

767
00:41:04,840 --> 00:41:06,880
Speaker 2: it was that, but we just sent stayed there. We

768
00:41:07,040 --> 00:41:12,000
Speaker 2: evolved to more and more stuff, you know. So but

769
00:41:12,120 --> 00:41:13,920
Speaker 2: it was like I said, it's a collage of all

770
00:41:14,000 --> 00:41:17,719
Speaker 2: the stuff we heard and then making sure you stick stuff. See,

771
00:41:17,800 --> 00:41:21,080
Speaker 2: discipline singing is hard to do if you don't have

772
00:41:21,200 --> 00:41:24,640
Speaker 2: nobody around you that makes you be disciplined. Mitchell Jones

773
00:41:24,719 --> 00:41:26,839
Speaker 2: is like, do this, non do that, do this, Fred,

774
00:41:26,880 --> 00:41:28,560
Speaker 2: don't do this. Do it, And so you have to

775
00:41:28,640 --> 00:41:31,000
Speaker 2: have a little bit of a challenge because if you

776
00:41:31,080 --> 00:41:34,520
Speaker 2: hang around with mediocre people, you're gonna be some mediocre.

777
00:41:34,840 --> 00:41:37,719
Speaker 2: So you got to have somebody that's gonna challenge and

778
00:41:38,000 --> 00:41:42,239
Speaker 2: pick stuff out. Like I didn't really sing false when

779
00:41:42,239 --> 00:41:44,560
Speaker 2: I was in the first group. I didn't start singing

780
00:41:44,560 --> 00:41:47,680
Speaker 2: false until we started a commission. Now that's all I

781
00:41:47,760 --> 00:41:50,440
Speaker 2: do is sing false. I know I'm singing false. What's

782
00:41:50,480 --> 00:41:54,040
Speaker 2: the thing is? Okay, okay, I'm doing false cruising. So

783
00:41:54,640 --> 00:41:58,920
Speaker 2: it's people have the ability. Talented people have the ability

784
00:41:59,000 --> 00:42:01,879
Speaker 2: to pull stuff out to you. A great producer mintioned,

785
00:42:01,920 --> 00:42:04,239
Speaker 2: a great producer pull stuff out of you you didn't

786
00:42:04,239 --> 00:42:08,040
Speaker 2: think you had, right, So a producer makes a real

787
00:42:08,160 --> 00:42:11,880
Speaker 2: big difference where you're going, how you sound, how you

788
00:42:12,040 --> 00:42:15,440
Speaker 2: evolve into a singer. Yeah, so you got to surround

789
00:42:15,480 --> 00:42:17,120
Speaker 2: yourself with people that challenge you.

790
00:42:17,239 --> 00:42:17,640
Speaker 1: Oh yeah.

791
00:42:18,080 --> 00:42:20,279
Speaker 4: One of the things we Parks and Now would do

792
00:42:20,880 --> 00:42:27,000
Speaker 4: would be like if we sing a verse here, we

793
00:42:27,200 --> 00:42:30,760
Speaker 4: make sure that the next the next line would compliment

794
00:42:30,840 --> 00:42:33,600
Speaker 4: the last line, you know what I'm saying, and then

795
00:42:33,640 --> 00:42:35,680
Speaker 4: the next line will set up the next line so

796
00:42:35,880 --> 00:42:37,520
Speaker 4: that it's going somewhere.

797
00:42:37,560 --> 00:42:39,920
Speaker 1: It's making you great stories feel it.

798
00:42:40,000 --> 00:42:43,920
Speaker 4: Yeah, absolutely, So it's important that each line compliments the

799
00:42:44,000 --> 00:42:46,759
Speaker 4: next line. Just don't sing anything, you know what I'm saying,

800
00:42:46,800 --> 00:42:49,160
Speaker 4: but make sure the melody is right, make sure the

801
00:42:49,239 --> 00:42:49,879
Speaker 4: message is clear.

802
00:42:50,000 --> 00:42:51,920
Speaker 3: We listen back and say is that is that clear enough?

803
00:42:52,520 --> 00:42:55,080
Speaker 3: Is it a better melody? Because when you play a chord,

804
00:42:55,440 --> 00:42:57,480
Speaker 3: there's certain notes in that chord that I can sing.

805
00:42:58,080 --> 00:43:00,719
Speaker 3: It's one melody in there that'll make the chord sent out, Yeah,

806
00:43:00,920 --> 00:43:02,719
Speaker 3: of course, and there's some notes I can sing that

807
00:43:02,800 --> 00:43:05,239
Speaker 3: don't make that because we want to make sure that

808
00:43:05,680 --> 00:43:08,360
Speaker 3: the course, the melody, all that fits so that the

809
00:43:08,480 --> 00:43:11,960
Speaker 3: message become more clear. It kind of like invites you

810
00:43:12,040 --> 00:43:14,640
Speaker 3: more into it. And I think there's a thing that

811
00:43:15,000 --> 00:43:18,120
Speaker 3: that you know you said earlier about presence any vocal,

812
00:43:18,560 --> 00:43:20,600
Speaker 3: they're not having to do a lot if you truly

813
00:43:20,719 --> 00:43:23,440
Speaker 3: have presence, Yeah, within your vocal. Let's get to you,

814
00:43:23,600 --> 00:43:29,680
Speaker 3: carl uh. Secret place? Is that what we're doing? Can

815
00:43:29,760 --> 00:43:30,239
Speaker 3: we go there?

816
00:43:30,480 --> 00:43:33,040
Speaker 1: Can can we talk about that?

817
00:43:33,200 --> 00:43:34,759
Speaker 2: Let's talk about it a little bit.

818
00:43:35,680 --> 00:43:37,960
Speaker 3: We can get ready for just a little bit of

819
00:43:38,000 --> 00:43:48,360
Speaker 3: secret place. Yeah. Yeah, please.

820
00:43:53,800 --> 00:43:57,560
Speaker 2: From the pen of some very good writers. I grew

821
00:43:57,640 --> 00:43:59,719
Speaker 2: up listening to some a lot of different people on

822
00:43:59,840 --> 00:44:05,960
Speaker 2: the favorite singers was Bibby cole Well got got rested,

823
00:44:06,000 --> 00:44:09,680
Speaker 2: so he just passed away. Great singer interpretating and the

824
00:44:09,760 --> 00:44:12,279
Speaker 2: songs and stuff. And uh, I used to all we

825
00:44:12,760 --> 00:44:14,879
Speaker 2: did a lot of Van Riot and stuff. Everybody brought

826
00:44:14,960 --> 00:44:18,200
Speaker 2: their own music. I brought my music. I brought Chicago,

827
00:44:19,160 --> 00:44:22,600
Speaker 2: I brought Bibby coy Well. Sometimes you reach back and

828
00:44:22,600 --> 00:44:25,600
Speaker 2: get a little Toto, you know. I used to list

829
00:44:25,880 --> 00:44:29,040
Speaker 2: like Phil Barry, I like gods. They didn't do a

830
00:44:29,120 --> 00:44:30,759
Speaker 2: whole they didn't do a whole bunch of running, but

831
00:44:30,840 --> 00:44:34,400
Speaker 2: they you felt, you felt as you you felt them

832
00:44:34,400 --> 00:44:36,200
Speaker 2: when they did it, and they interpreted the song. So

833
00:44:36,880 --> 00:44:39,400
Speaker 2: you know, I tried to pride myself on singing, you know,

834
00:44:39,560 --> 00:44:42,200
Speaker 2: songs like that. My brothers used to was in a

835
00:44:42,320 --> 00:44:45,560
Speaker 2: rock band, if you can believe it, and uh doing rock.

836
00:44:45,800 --> 00:44:47,919
Speaker 2: I know y'all probably never heard of Acre Winning, Johnny Winning,

837
00:44:48,400 --> 00:44:51,560
Speaker 2: old rock and rollers, and uh, you know you hear them.

838
00:44:51,640 --> 00:44:54,040
Speaker 2: You you you downstairs listening to under the Door. They

839
00:44:54,160 --> 00:44:55,600
Speaker 2: listening to that music because you too little, You aren't

840
00:44:55,600 --> 00:44:57,359
Speaker 2: supposed to be down in no way, but you're hearing

841
00:44:57,400 --> 00:44:59,840
Speaker 2: those things. So what you're hearing will have an influence

842
00:44:59,880 --> 00:45:01,880
Speaker 2: on help you develop your style and all that stuff.

843
00:45:02,280 --> 00:45:04,160
Speaker 2: So I listened to all that kind of stuff, and

844
00:45:04,280 --> 00:45:07,520
Speaker 2: so Secret Place was birthed out of us listening to

845
00:45:07,640 --> 00:45:10,880
Speaker 2: some styles. And when they heard that, they wrote that

846
00:45:11,000 --> 00:45:15,359
Speaker 2: song Secret Place kind of sounds like a heart of mine.

847
00:45:18,040 --> 00:45:22,960
Speaker 2: The style was more of an adult contemporary you're saying it,

848
00:45:23,440 --> 00:45:26,200
Speaker 2: And so that's why I was the adult contemporary guy.

849
00:45:26,280 --> 00:45:28,759
Speaker 2: Fred wrote songs like that. Mitchell will put me on.

850
00:45:29,040 --> 00:45:30,719
Speaker 2: I think Mitchell man because he let me sing some

851
00:45:30,800 --> 00:45:32,600
Speaker 2: of those R and B songs like I Am here.

852
00:45:32,600 --> 00:45:34,840
Speaker 2: He let me sing a verse on that. I appreciate

853
00:45:34,960 --> 00:45:37,680
Speaker 2: him put me in the R and B vein so.

854
00:45:39,320 --> 00:45:39,640
Speaker 1: Clean.

855
00:45:40,120 --> 00:45:43,160
Speaker 2: But you take somebody to pull us up out of

856
00:45:43,200 --> 00:45:46,280
Speaker 2: you know what I'm saying the coach and so Secret

857
00:45:46,280 --> 00:45:48,319
Speaker 2: Place is one of the signature songs that we did.

858
00:45:48,920 --> 00:45:52,400
Speaker 2: And but it was the thing about that one is melodic.

859
00:45:52,640 --> 00:45:54,360
Speaker 1: You were floating it's and.

860
00:45:54,400 --> 00:46:00,239
Speaker 2: You gotta float with its floating on place. You know, Man,

861
00:46:00,239 --> 00:46:02,600
Speaker 2: I ain't never heard no heavy false like yours. I'm like,

862
00:46:03,000 --> 00:46:05,320
Speaker 2: I'm just singing man, we're talking about oh yeah, Because

863
00:46:05,320 --> 00:46:07,200
Speaker 2: you know, when you're singing false, it's always a break

864
00:46:07,239 --> 00:46:11,440
Speaker 2: line between natural and Uh, so a lot of time.

865
00:46:11,520 --> 00:46:14,319
Speaker 2: I had to sing it hard to do false. Menchell Man,

866
00:46:14,400 --> 00:46:16,160
Speaker 2: he got that head false. He can sing in his

867
00:46:16,280 --> 00:46:20,480
Speaker 2: head that false and make them notes. But it was interpretation,

868
00:46:20,640 --> 00:46:23,359
Speaker 2: interpretation song for me doing the secret place.

869
00:46:23,680 --> 00:46:24,720
Speaker 1: So we're the false guys.

870
00:46:25,360 --> 00:46:27,759
Speaker 2: Things falter because when you get older, that's all you

871
00:46:27,800 --> 00:46:31,000
Speaker 2: can do is yeah, my falsest is.

872
00:46:31,080 --> 00:46:38,120
Speaker 3: The last man standing. Listen my chest voice to give

873
00:46:38,200 --> 00:46:41,000
Speaker 3: me issues, right, but my false you don't want this

874
00:46:41,160 --> 00:46:44,000
Speaker 3: work false nasty and.

875
00:46:44,239 --> 00:46:47,520
Speaker 2: And the people feel it. The people can really feel

876
00:46:47,520 --> 00:46:49,239
Speaker 2: the false. When you do the false, you do it

877
00:46:49,280 --> 00:46:52,279
Speaker 2: because it fools on a certain heart stream that it's

878
00:46:52,280 --> 00:46:56,319
Speaker 2: almost like crying almost when you do the false. That's

879
00:46:56,360 --> 00:46:59,800
Speaker 2: what commission being in the commission pulled out those talents

880
00:47:00,000 --> 00:47:02,040
Speaker 2: and pulled out those gifts that you didn't know you had.

881
00:47:02,320 --> 00:47:03,600
Speaker 1: Yeah, that's crazy.

882
00:47:03,719 --> 00:47:05,399
Speaker 3: And I was singing false the whole time in my group,

883
00:47:05,480 --> 00:47:07,399
Speaker 3: and a guy in my group could actually sing first

884
00:47:07,440 --> 00:47:10,279
Speaker 3: apron and it's natural. Wow. And I looked at him

885
00:47:10,360 --> 00:47:13,000
Speaker 3: like and we didn't know for years or even know,

886
00:47:13,120 --> 00:47:16,120
Speaker 3: we didn't even know it. One day we just testing

887
00:47:16,239 --> 00:47:17,719
Speaker 3: range and he starts doing them. Look at him like this,

888
00:47:18,719 --> 00:47:19,400
Speaker 3: I'm not going there.

889
00:47:19,480 --> 00:47:23,120
Speaker 1: So you got me getting light headed all concerts and

890
00:47:23,280 --> 00:47:28,080
Speaker 1: you do this in your chest right right.

891
00:47:28,239 --> 00:47:40,480
Speaker 2: So we brought up we had a lot to contind with,

892
00:47:40,640 --> 00:47:42,520
Speaker 2: but we knew we were supposed to be here, yeah,

893
00:47:42,719 --> 00:47:45,879
Speaker 2: and do what we did. We did it for God

894
00:47:46,000 --> 00:47:47,560
Speaker 2: wanted us to do it, and we knew we would hope,

895
00:47:47,640 --> 00:47:50,720
Speaker 2: hopefully would influence people to do what they were supposed

896
00:47:50,719 --> 00:47:53,840
Speaker 2: to do, to be called to do. Yeah, and I

897
00:47:54,640 --> 00:47:55,959
Speaker 2: think we inspired a few people.

898
00:47:56,040 --> 00:48:00,600
Speaker 1: Boys to me Joosy Jagged Edge Tank.

899
00:48:02,040 --> 00:48:02,080
Speaker 2: Like.

900
00:48:02,160 --> 00:48:04,400
Speaker 5: You can just go down the list of everything that

901
00:48:04,600 --> 00:48:08,320
Speaker 5: came after y'all in R and B music was attached

902
00:48:08,400 --> 00:48:15,120
Speaker 5: some way, some way, wow, some way melodically one way

903
00:48:15,160 --> 00:48:17,960
Speaker 5: or another, a couple of artists that probably stole some

904
00:48:18,239 --> 00:48:19,040
Speaker 5: melodies and lyrics.

905
00:48:19,239 --> 00:48:23,400
Speaker 2: Still you know, still that's amazing.

906
00:48:23,680 --> 00:48:29,640
Speaker 1: Yeah, I'm shook. She got over there.

907
00:48:33,840 --> 00:48:45,440
Speaker 3: Of y'all listen to R and B music sometimes, as

908
00:48:45,480 --> 00:48:47,719
Speaker 3: you allude to some of your influences from back in

909
00:48:47,760 --> 00:48:53,360
Speaker 3: the day, Oh yeah, we would like to.

910
00:49:00,360 --> 00:49:00,880
Speaker 1: No yor.

911
00:49:03,000 --> 00:49:12,480
Speaker 3: Top fun, your top five, top f.

912
00:49:15,960 --> 00:49:19,279
Speaker 1: The top five by sings.

913
00:49:20,040 --> 00:49:22,640
Speaker 3: We want to know it already be so.

914
00:49:25,320 --> 00:49:30,120
Speaker 1: We are to know it's not just church. Sometimes it's

915
00:49:30,200 --> 00:49:32,320
Speaker 1: the bomb and we want to know.

916
00:49:36,760 --> 00:49:58,399
Speaker 7: Yes, raw, yeah, no time be crazy man funnic.

917
00:49:59,760 --> 00:50:01,640
Speaker 1: You singing the wild notes in front of Commissioner.

918
00:50:03,960 --> 00:50:08,520
Speaker 3: Hit every nast note, you hit it right. Let's start

919
00:50:08,560 --> 00:50:13,200
Speaker 3: with you, Mitchell Jones, your top five R and B

920
00:50:13,400 --> 00:50:22,080
Speaker 3: singers down here haway mm hm, Stevie Wonder yeah see

921
00:50:22,160 --> 00:50:25,279
Speaker 3: do see do not gonna get that off again. I

922
00:50:25,360 --> 00:50:25,880
Speaker 3: know who that is.

923
00:50:29,560 --> 00:50:35,720
Speaker 5: Charlie Wilson. If y'all started late, is Charlie Wilson Aretha

924
00:50:36,280 --> 00:50:40,400
Speaker 5: mm hmmm, Michael, yeah, Michaelchael.

925
00:50:39,960 --> 00:50:46,160
Speaker 3: Jackson, Yeah, yeah, yeah, Michael had grown men trying to

926
00:50:46,239 --> 00:50:47,959
Speaker 3: sing like him at nine.

927
00:50:49,760 --> 00:50:53,799
Speaker 8: Yeah, that's different. You want you want some of this car?

928
00:50:54,880 --> 00:50:58,719
Speaker 8: I want to take some of it. Mine might be

929
00:50:59,200 --> 00:51:02,239
Speaker 8: I won't have to take Mitchell's too a little bit.

930
00:51:04,680 --> 00:51:05,760
Speaker 8: I'm gonna have to say.

931
00:51:07,239 --> 00:51:13,160
Speaker 2: Stevie because he's the first secular artist I ever seen

932
00:51:13,400 --> 00:51:19,200
Speaker 2: saw sing live when I was about eleven, and he

933
00:51:19,239 --> 00:51:22,880
Speaker 2: from your neighborhood, and he from the hood, from the hood.

934
00:51:25,280 --> 00:51:29,480
Speaker 2: I'm despired going to catch you off by surprise people, Bryson.

935
00:51:29,400 --> 00:51:31,440
Speaker 3: What do you mean people's people?

936
00:51:31,800 --> 00:51:32,120
Speaker 1: People?

937
00:51:35,880 --> 00:51:38,880
Speaker 2: I was studying and short listening. I'm like people got

938
00:51:38,960 --> 00:51:41,720
Speaker 2: a twin because he doubled in his vocal.

939
00:51:42,960 --> 00:51:45,759
Speaker 1: People sold that, any of them people.

940
00:51:45,560 --> 00:51:52,920
Speaker 2: Bryson love that, I gotta say, Charlie Wilson, man, I

941
00:51:53,160 --> 00:51:55,000
Speaker 2: loved Whitney Houston.

942
00:51:55,800 --> 00:51:56,200
Speaker 1: Oh yeah.

943
00:51:56,280 --> 00:51:59,040
Speaker 2: The voice Whitney Houston was like it was amazing. I

944
00:51:59,160 --> 00:52:04,280
Speaker 2: loved her. And if I have to say old school,

945
00:52:05,800 --> 00:52:07,279
Speaker 2: I really did like Marvin Gaye.

946
00:52:08,120 --> 00:52:09,799
Speaker 3: Yeah, because he was.

947
00:52:09,800 --> 00:52:14,560
Speaker 2: A crooner, soulful crooner. He was very passionate when you

948
00:52:14,600 --> 00:52:18,480
Speaker 2: hear him singing. And he lived in the hood, same

949
00:52:18,520 --> 00:52:23,400
Speaker 2: neighborhood he lived on out of Drive. He was actually

950
00:52:23,440 --> 00:52:29,200
Speaker 2: recorded Let's Make Up Tonight in his living room on

951
00:52:29,360 --> 00:52:33,200
Speaker 2: out of Drive. Marvin gay He's right in the hood.

952
00:52:34,640 --> 00:52:39,800
Speaker 2: So those are my top five that right there, and

953
00:52:40,040 --> 00:52:46,080
Speaker 2: uh got to get it up. Keep on. Backyard party.

954
00:52:46,360 --> 00:52:47,920
Speaker 2: Wasn't supposed to be there because I'm a church boy,

955
00:52:48,440 --> 00:52:51,279
Speaker 2: but I was. I'll go over there, I'll go over there.

956
00:52:53,920 --> 00:52:54,440
Speaker 1: What do.

957
00:53:02,520 --> 00:53:04,040
Speaker 3: You see the Lord? You tell him I'm not here,

958
00:53:05,560 --> 00:53:09,520
Speaker 3: Tell him I'm not here, alright. Top five R and

959
00:53:09,640 --> 00:53:10,320
Speaker 3: B songs.

960
00:53:11,360 --> 00:53:17,000
Speaker 4: Mister Jones, Ribbon in the Sky, m hm speak wonder

961
00:53:17,440 --> 00:53:20,040
Speaker 4: m h Donnie has the Way a song for you,

962
00:53:24,640 --> 00:53:27,520
Speaker 4: Charlie Wilson, keep running m hmm.

963
00:53:29,280 --> 00:53:35,160
Speaker 1: Luther Houses not on mm hm do do do do do? Okay, okay, And.

964
00:53:37,280 --> 00:53:42,480
Speaker 3: So I know I know that earthwork the Fire is

965
00:53:42,680 --> 00:53:43,400
Speaker 3: not a solo.

966
00:53:43,520 --> 00:53:47,560
Speaker 2: But let's go.

967
00:53:49,120 --> 00:53:49,799
Speaker 1: Hm hm.

968
00:53:51,920 --> 00:53:55,560
Speaker 3: Oh yeah, that's my fire. That's musicianship at its finest.

969
00:53:55,920 --> 00:53:59,160
Speaker 3: Oh yeah, earth wind and fire. Mm hmmm, it's finest.

970
00:54:00,920 --> 00:54:05,320
Speaker 3: You Carl, what you can, what you want? Do?

971
00:54:07,000 --> 00:54:07,799
Speaker 2: Do for love?

972
00:54:08,840 --> 00:54:12,080
Speaker 1: Bill some thought of a bridle right there, and he's doing.

973
00:54:15,480 --> 00:54:16,240
Speaker 2: I like Stevie.

974
00:54:18,480 --> 00:54:22,480
Speaker 3: I liked Peter so Terra have the sing song.

975
00:54:22,560 --> 00:54:24,719
Speaker 1: The song is huh Stevie's song? What song is Stevie?

976
00:54:24,840 --> 00:54:25,000
Speaker 3: There?

977
00:54:25,400 --> 00:54:25,680
Speaker 1: She said?

978
00:54:25,680 --> 00:54:31,359
Speaker 9: Song songs over joy? Oh my goodness, come on, man,

979
00:54:31,560 --> 00:54:35,360
Speaker 9: Stevie anything he did? I mean, I just called to

980
00:54:35,520 --> 00:54:37,239
Speaker 9: say I love you.

981
00:54:37,360 --> 00:54:38,719
Speaker 2: I sing it to a girl one time.

982
00:54:40,120 --> 00:54:42,080
Speaker 1: That could have been a commissioned song. Starting to come out,

983
00:54:43,880 --> 00:54:47,800
Speaker 1: starting to come out. He said, No, that wasn't a

984
00:54:47,920 --> 00:54:54,680
Speaker 1: Pennies now come to find out.

985
00:54:58,160 --> 00:54:58,840
Speaker 3: Uh, and I.

986
00:55:00,360 --> 00:55:04,960
Speaker 2: We always love you. That's like one of the all times,

987
00:55:04,960 --> 00:55:09,680
Speaker 2: because you kid, I got one more. Yeah, and I

988
00:55:09,840 --> 00:55:11,560
Speaker 2: love this song as a little boy.

989
00:55:12,320 --> 00:55:16,680
Speaker 9: I'm going to knock on your doing your window pain

990
00:55:17,440 --> 00:55:20,319
Speaker 9: Usa mm hm oh yeah.

991
00:55:20,360 --> 00:55:21,240
Speaker 2: I can't go wrong.

992
00:55:22,719 --> 00:55:27,120
Speaker 3: At all. Y'all are naming all historical at a high level.

993
00:55:28,680 --> 00:55:32,200
Speaker 3: Let's do the Let's let's do a voltron. Let's put

994
00:55:32,239 --> 00:55:34,640
Speaker 3: together your ultimate R and B artists. We're gonna mix

995
00:55:34,680 --> 00:55:37,520
Speaker 3: it between the both of y'all. Okay, So what we're

996
00:55:37,520 --> 00:55:39,720
Speaker 3: gonna do is you're gonna build your arm b artists.

997
00:55:39,760 --> 00:55:43,400
Speaker 3: Who you're gonna get the vocal for the artists, the

998
00:55:43,520 --> 00:55:47,520
Speaker 3: performance style for the artists, the styling of the artists,

999
00:55:48,640 --> 00:55:54,560
Speaker 3: the passion of the artists. And you know, since we

1000
00:55:54,680 --> 00:55:58,959
Speaker 3: have so much creative excellence in the building, who's gonna

1001
00:55:58,960 --> 00:56:03,680
Speaker 3: write and produce for that artist? So we'll start with you, Mitch,

1002
00:56:03,760 --> 00:56:06,960
Speaker 3: who's gonna get the vocal from for that artist? Donny

1003
00:56:07,560 --> 00:56:15,160
Speaker 3: mm hmm, donnay real fast with that Carl who you

1004
00:56:15,200 --> 00:56:17,200
Speaker 3: don't get the performance style from.

1005
00:56:18,120 --> 00:56:25,520
Speaker 2: Man showmanship, It's got to be Michael mm hm Yes, sir, Yeah,

1006
00:56:26,640 --> 00:56:29,520
Speaker 2: and singing like what he's come on?

1007
00:56:30,000 --> 00:56:31,400
Speaker 3: Yes, passion.

1008
00:56:31,560 --> 00:56:34,719
Speaker 1: Who are you gonna get the styling from? Yes? Since

1009
00:56:34,760 --> 00:56:37,239
Speaker 1: you started, since you started the gumby, Yeah, you got

1010
00:56:37,280 --> 00:56:37,680
Speaker 1: the gumby.

1011
00:56:37,719 --> 00:56:41,200
Speaker 3: You know what I'm saying, y'all brought the street culture

1012
00:56:41,239 --> 00:56:43,360
Speaker 3: to the church, and you know them threads and the

1013
00:56:43,440 --> 00:56:47,280
Speaker 3: party shirts, guess jeans, pencil pocket. Marvin had the style.

1014
00:56:52,920 --> 00:56:53,359
Speaker 2: To this day.

1015
00:56:53,480 --> 00:56:59,719
Speaker 1: He still got today. This is Marvel, the passion of

1016
00:56:59,800 --> 00:57:02,759
Speaker 1: the artists, the heart of the artists. Mm hmmm, who

1017
00:57:02,920 --> 00:57:03,160
Speaker 1: mean it?

1018
00:57:03,880 --> 00:57:09,440
Speaker 2: They really mean it? Oh man, Mitchell took the last one, Marvin.

1019
00:57:09,480 --> 00:57:11,160
Speaker 2: I thought Marvin minute when he's saying.

1020
00:57:11,239 --> 00:57:12,279
Speaker 1: You can you can double up.

1021
00:57:12,400 --> 00:57:20,880
Speaker 2: You can double up on Marvin, who you said you

1022
00:57:20,960 --> 00:57:23,480
Speaker 2: can't lose, can't lose?

1023
00:57:24,040 --> 00:57:31,200
Speaker 1: Okay, the first course collaboration, that's what we see all.

1024
00:57:32,800 --> 00:57:33,680
Speaker 2: I'm gonna go to reatha.

1025
00:57:35,760 --> 00:57:39,680
Speaker 1: Yeah, that's that's that's that's that's pretty fire. That's pretty fire.

1026
00:57:41,880 --> 00:57:44,440
Speaker 1: Who's writing for this artist?

1027
00:57:46,600 --> 00:57:47,360
Speaker 3: I got two people?

1028
00:57:47,400 --> 00:57:51,800
Speaker 1: But yeah, I'm looking. I'm looking at you. But I'm

1029
00:57:52,040 --> 00:57:55,160
Speaker 1: gonna see what you say, Peter.

1030
00:57:56,720 --> 00:57:57,680
Speaker 2: You want David Foster.

1031
00:57:57,800 --> 00:57:58,360
Speaker 3: David Foster.

1032
00:57:59,240 --> 00:58:06,200
Speaker 6: Mm hmmm, David Foster phenomena, phenomenal, phenomenal Yeah, mm hmm.

1033
00:58:08,680 --> 00:58:12,920
Speaker 1: I mean, how do you argue David do a really

1034
00:58:12,960 --> 00:58:13,600
Speaker 1: big name out.

1035
00:58:13,640 --> 00:58:15,680
Speaker 3: He's right, I mean, he's a phenomenal, right of man,

1036
00:58:16,240 --> 00:58:19,320
Speaker 3: phenomenon right love Parks. But I mean you can.

1037
00:58:22,600 --> 00:58:25,240
Speaker 1: Have no qualm with you saying David Foster, I have

1038
00:58:25,360 --> 00:58:34,840
Speaker 1: no qualm you definitely should have real what you got

1039
00:58:34,960 --> 00:58:36,640
Speaker 1: laying in the stands and I can tear it into

1040
00:58:36,920 --> 00:58:37,840
Speaker 1: Oh no, he gots up.

1041
00:58:38,120 --> 00:58:42,720
Speaker 3: You know he got gospel gospel only parts and I

1042
00:58:42,760 --> 00:58:46,000
Speaker 3: could turn off some worldly pass r V.

1043
00:58:46,920 --> 00:58:52,440
Speaker 1: Oh yes he's doing who's producing?

1044
00:58:53,640 --> 00:58:55,640
Speaker 2: Where's my term? No?

1045
00:58:55,800 --> 00:58:59,840
Speaker 3: No, get the producer? Did know you did the writer?

1046
00:59:00,080 --> 00:59:04,040
Speaker 3: You said, I can do both, but you can separate them.

1047
00:59:04,760 --> 00:59:05,800
Speaker 3: I'm not get in the middle of that.

1048
00:59:07,080 --> 00:59:08,120
Speaker 2: Go ahead, well.

1049
00:59:10,200 --> 00:59:10,600
Speaker 3: You can.

1050
00:59:10,640 --> 00:59:13,880
Speaker 2: You gonna tell me what I'm gonna tell him. I

1051
00:59:14,040 --> 00:59:16,840
Speaker 2: have to go with Terry Lewis and Jimmy Jane.

1052
00:59:17,040 --> 00:59:20,760
Speaker 1: Yeah, I mean I don't.

1053
00:59:20,840 --> 00:59:24,280
Speaker 2: I don't think I've heard nothing bad they put out

1054
00:59:24,760 --> 00:59:29,480
Speaker 2: only Yeah, I mean they did everything. You know what

1055
00:59:29,520 --> 00:59:32,400
Speaker 2: I'm saying saying you get them into that doc with

1056
00:59:32,520 --> 00:59:33,920
Speaker 2: the hats on too while they producing.

1057
00:59:34,400 --> 00:59:39,520
Speaker 1: Yeah, man, they were maniacs. Yes, yes, the many.

1058
00:59:39,480 --> 00:59:45,520
Speaker 3: Absolutely absolutely phenomena. Like it's still not to this day.

1059
00:59:46,360 --> 00:59:52,880
Speaker 3: Nothing close yep, yeah, no not then nothing close. You

1060
00:59:53,000 --> 00:59:57,280
Speaker 3: go see Janeting concert. Oh yeah, you're like, oh, got it,

1061
00:59:58,320 --> 01:00:01,120
Speaker 3: got it producing, got it, got it?

1062
01:00:02,360 --> 01:00:06,360
Speaker 2: Man, we were we we came up listening to Time

1063
01:00:07,440 --> 01:00:10,680
Speaker 2: and uh, you know Prince and that era. That's when

1064
01:00:10,960 --> 01:00:13,800
Speaker 2: stuff was really changing. I think for everybody stripting come

1065
01:00:14,200 --> 01:00:18,800
Speaker 2: from from disco that era. Man, it's jamm and Lewis

1066
01:00:19,720 --> 01:00:29,600
Speaker 2: Lewis Monsters the time. And oh, I gotta say, it

1067
01:00:29,720 --> 01:00:32,320
Speaker 2: was hard for me to stay in church because a

1068
01:00:32,440 --> 01:00:37,280
Speaker 2: song came out called Flashlight. We're all right George Clinton

1069
01:00:37,400 --> 01:00:37,880
Speaker 2: Last Light.

1070
01:00:39,480 --> 01:00:40,960
Speaker 1: Last Light almostran about the church.

1071
01:00:43,560 --> 01:00:44,280
Speaker 3: How are you gonna go to?

1072
01:00:44,640 --> 01:00:47,880
Speaker 2: How they gonna play that? And then you gotta go singing, uh,

1073
01:00:48,680 --> 01:00:52,520
Speaker 2: come down Jesus on the main, like wouldn't you.

1074
01:00:57,960 --> 01:01:03,320
Speaker 1: All last like to be? Like I figured it out.

1075
01:01:03,800 --> 01:01:07,280
Speaker 1: I was that guy. I played everything in church I

1076
01:01:07,400 --> 01:01:08,120
Speaker 1: was supposed to play.

1077
01:01:08,240 --> 01:01:10,360
Speaker 2: I was that guy you pushed it, you pushed push,

1078
01:01:11,360 --> 01:01:13,200
Speaker 2: did the pastor that would stop you and say he.

1079
01:01:13,360 --> 01:01:16,680
Speaker 3: Was with all of the Shenanigans. He wanted all this,

1080
01:01:16,840 --> 01:01:19,280
Speaker 3: But do you passed a REFERENTI room Petty saved my life.

1081
01:01:20,600 --> 01:01:21,680
Speaker 3: I was going a whole nother.

1082
01:01:21,560 --> 01:01:24,960
Speaker 2: Direction, save your life life. But he was.

1083
01:01:25,200 --> 01:01:26,919
Speaker 3: He met me where I was. He is the street

1084
01:01:26,960 --> 01:01:30,640
Speaker 3: guy too from d C. So he understood me. And

1085
01:01:31,320 --> 01:01:32,880
Speaker 3: you know my connection to all of it, which is

1086
01:01:32,920 --> 01:01:35,960
Speaker 3: how I got connected to y'all. Like it just all

1087
01:01:36,120 --> 01:01:38,320
Speaker 3: made sense at the at the right time. You.

1088
01:01:38,600 --> 01:01:42,560
Speaker 2: You're saying exactly the reason why I believe Commission what

1089
01:01:42,640 --> 01:01:46,320
Speaker 2: they did. We were able to reach people that other

1090
01:01:46,360 --> 01:01:50,760
Speaker 2: people weren't reaching, like the Quartet a Quiet people for

1091
01:01:50,920 --> 01:01:53,080
Speaker 2: that purpose. We were able to reach people because we

1092
01:01:53,120 --> 01:01:56,520
Speaker 2: were trying to do Time and Prince. You know, we

1093
01:01:56,600 --> 01:01:57,920
Speaker 2: were trying to we were trying to get to those

1094
01:01:58,000 --> 01:02:00,280
Speaker 2: people that we just got saved that an feel like

1095
01:02:00,280 --> 01:02:01,720
Speaker 2: they had an outlet because they didn't want to sing

1096
01:02:01,760 --> 01:02:03,920
Speaker 2: the old heymns. We're trying to give them something they

1097
01:02:03,960 --> 01:02:06,600
Speaker 2: can sing. And that's what we did. A lot of

1098
01:02:06,680 --> 01:02:10,080
Speaker 2: old hymns we took and turned into commissions on right,

1099
01:02:10,640 --> 01:02:13,280
Speaker 2: so they'd be like, oh man, that's old hinder. But

1100
01:02:13,400 --> 01:02:17,320
Speaker 2: the testimonies that we had for us about people in college,

1101
01:02:17,560 --> 01:02:20,080
Speaker 2: struggling in college, in your dorm room, don't know where

1102
01:02:20,080 --> 01:02:22,680
Speaker 2: the next meal coming from, trying to take your life. Ye,

1103
01:02:22,960 --> 01:02:26,800
Speaker 2: the testimonies My roommate left your album and I never

1104
01:02:26,880 --> 01:02:28,360
Speaker 2: listened to gospel, and I.

1105
01:02:28,400 --> 01:02:32,480
Speaker 3: Put it Onst Atheists and I listened to it after God.

1106
01:02:32,480 --> 01:02:35,720
Speaker 2: And that changed my life. I started running. So when

1107
01:02:35,760 --> 01:02:38,400
Speaker 2: people tell us stories like that, that's the reason why

1108
01:02:38,480 --> 01:02:41,600
Speaker 2: we did this, to get that because we saved some

1109
01:02:42,080 --> 01:02:46,520
Speaker 2: people turn their life around, didn't kill themselves testimony like that. Man,

1110
01:02:46,600 --> 01:02:51,280
Speaker 2: Come on, man, what's better than that billion dollars being streams?

1111
01:02:51,320 --> 01:02:54,960
Speaker 2: What's better than that? Yeah, nothing saved somebody's life. We

1112
01:02:55,400 --> 01:02:59,640
Speaker 2: we we live for those moments, man's and so we

1113
01:02:59,800 --> 01:03:02,760
Speaker 2: know that we're leaving that mark, not just the music mark,

1114
01:03:03,080 --> 01:03:05,880
Speaker 2: because we know that's gonna be there, but the mark

1115
01:03:05,920 --> 01:03:08,640
Speaker 2: of people looking back and saying, Wow, we looked back

1116
01:03:08,680 --> 01:03:11,520
Speaker 2: and said, man, we did this, and God was able

1117
01:03:11,560 --> 01:03:13,720
Speaker 2: to get glory out of this, and people's lives were

1118
01:03:13,840 --> 01:03:17,720
Speaker 2: spared and saved. That right there when we can just

1119
01:03:17,760 --> 01:03:21,200
Speaker 2: about finish it up right there with that save lives

1120
01:03:21,560 --> 01:03:27,480
Speaker 2: people now who are doctors performing surgeries in their careers.

1121
01:03:27,880 --> 01:03:30,080
Speaker 2: And if it hadn't been for y'all, I wouldn't have

1122
01:03:30,080 --> 01:03:34,640
Speaker 2: made it. So those type of testimonies, Man, listen, how

1123
01:03:34,720 --> 01:03:37,240
Speaker 2: much of cars we pay for ourselves and go to

1124
01:03:37,360 --> 01:03:40,760
Speaker 2: get that testimony to save somebody and get their life together, man,

1125
01:03:40,760 --> 01:03:41,800
Speaker 2: because that's what it's about for.

1126
01:03:41,880 --> 01:03:44,600
Speaker 3: Us, you know, getting the ministry to the places where

1127
01:03:44,640 --> 01:03:46,960
Speaker 3: they need it. That's right, That's what I've always been

1128
01:03:46,960 --> 01:03:49,840
Speaker 3: an advocate for. Streets needed, and that's why you was

1129
01:03:49,920 --> 01:03:52,520
Speaker 3: pushing you want the lights and the lights went out.

1130
01:03:52,600 --> 01:03:53,320
Speaker 2: That's why you did that.

1131
01:03:56,640 --> 01:03:57,640
Speaker 1: He came back you.

1132
01:04:00,520 --> 01:04:00,880
Speaker 2: Excellent.

1133
01:04:01,600 --> 01:04:03,479
Speaker 3: We got one more segment for you, gentlemen. We're gonna

1134
01:04:03,480 --> 01:04:06,880
Speaker 3: hold you long man, but you know and all of

1135
01:04:06,960 --> 01:04:13,520
Speaker 3: your and all of your travels, we have one more segment.

1136
01:04:15,200 --> 01:04:16,320
Speaker 1: Gonna bless our soul.

1137
01:04:20,680 --> 01:04:23,320
Speaker 10: I ain't saying no nicks. Yeah, I ain't saying no names.

1138
01:04:23,680 --> 01:04:26,480
Speaker 10: I ain't saying no names. Ain't saying no niggas. Where

1139
01:04:26,560 --> 01:04:34,560
Speaker 10: you was, what you did, don't say, don't say, I

1140
01:04:34,600 --> 01:04:35,200
Speaker 10: ain't saying no.

1141
01:04:42,520 --> 01:04:42,760
Speaker 3: Yeah.

1142
01:04:44,240 --> 01:04:48,120
Speaker 2: I've watched you'll segments on that one, and I'm trying

1143
01:04:48,160 --> 01:04:51,480
Speaker 2: to figure out. We've been racking our brain on that.

1144
01:04:51,640 --> 01:04:54,640
Speaker 2: You're trying to figure out what we could tell.

1145
01:04:56,560 --> 01:04:57,040
Speaker 3: That funny.

1146
01:04:57,280 --> 01:04:58,520
Speaker 1: That's what's crazy.

1147
01:04:58,840 --> 01:05:01,440
Speaker 5: Yeah for us, for y'all will be a funny or foolish,

1148
01:05:01,800 --> 01:05:02,920
Speaker 5: a rightish.

1149
01:05:07,440 --> 01:05:08,520
Speaker 1: We're changing words.

1150
01:05:09,800 --> 01:05:10,280
Speaker 3: Make it through this.

1151
01:05:14,880 --> 01:05:18,520
Speaker 1: I said a bad way, you did say a word one,

1152
01:05:19,720 --> 01:05:24,800
Speaker 1: but God knows my heart. An atmosphere here, love it,

1153
01:05:25,000 --> 01:05:28,600
Speaker 1: love it, no condemnation, no.

1154
01:05:31,320 --> 01:05:35,040
Speaker 2: No judging, judge, none of that.

1155
01:05:35,280 --> 01:05:38,720
Speaker 5: So this segment, y'all watched the show called I Ain't

1156
01:05:38,720 --> 01:05:41,240
Speaker 5: saying no names. Tell us a story funny or foolish.

1157
01:05:41,720 --> 01:05:42,720
Speaker 5: A funny and foolish.

1158
01:05:43,560 --> 01:05:45,560
Speaker 1: The only rules of the game. You just can't say

1159
01:05:45,600 --> 01:05:46,120
Speaker 1: no names.

1160
01:05:46,600 --> 01:05:48,560
Speaker 5: We know it's some funny and foolish things going on

1161
01:05:48,680 --> 01:05:53,680
Speaker 5: in the gospel world too. Yeah, y'all can tell us

1162
01:05:53,680 --> 01:05:56,480
Speaker 5: some stories. Listen if you want to tell us the

1163
01:05:56,600 --> 01:05:58,560
Speaker 5: stump down Detroit stories, y'all can tell.

1164
01:05:58,520 --> 01:06:03,160
Speaker 3: Us we went all of it.

1165
01:06:05,080 --> 01:06:10,000
Speaker 2: Uh, Parks, don't look at me like that. Okay, you

1166
01:06:10,080 --> 01:06:17,880
Speaker 2: want me do it, we do it. This is nice, Okay.

1167
01:06:18,000 --> 01:06:21,880
Speaker 2: So one of our first flights, we were flying out,

1168
01:06:22,520 --> 01:06:25,800
Speaker 2: Uh commission, We're going somewhere on the airplane and uh,

1169
01:06:26,400 --> 01:06:28,640
Speaker 2: you're not probably get set up. The light goes on, Dean,

1170
01:06:29,200 --> 01:06:30,800
Speaker 2: you mean I'll move out to the camping blah blah

1171
01:06:30,800 --> 01:06:34,360
Speaker 2: blah blah, go to the bathroom. So I ain't saying

1172
01:06:34,400 --> 01:06:38,320
Speaker 2: no names. When somebody went to the bathroom in the group,

1173
01:06:39,640 --> 01:06:43,520
Speaker 2: and when they came out, they had a long string

1174
01:06:43,600 --> 01:06:46,160
Speaker 2: of tallert people out the back.

1175
01:06:46,000 --> 01:06:46,160
Speaker 3: Of the.

1176
01:06:48,720 --> 01:06:50,320
Speaker 1: Not on the foot, but at the back of the pass.

1177
01:06:51,800 --> 01:06:54,640
Speaker 2: No, I thought it was the foot, It was pants.

1178
01:06:55,000 --> 01:06:59,240
Speaker 2: Oh No, I ain't saying no names.

1179
01:06:59,520 --> 01:06:59,680
Speaker 3: Who.

1180
01:07:01,040 --> 01:07:03,160
Speaker 2: But he didn't know until he got back to the

1181
01:07:03,280 --> 01:07:06,800
Speaker 2: seat that he had that home and it was like,

1182
01:07:07,000 --> 01:07:08,120
Speaker 2: oh my god.

1183
01:07:08,840 --> 01:07:10,439
Speaker 3: To that. You can't.

1184
01:07:10,680 --> 01:07:12,840
Speaker 1: You can't blow up the airplane.

1185
01:07:12,360 --> 01:07:17,000
Speaker 3: Bad man. Listen, I can't, I can't, I can't. You

1186
01:07:17,080 --> 01:07:25,080
Speaker 3: got I'm gonna go wherever I go. No, I'm many

1187
01:07:25,160 --> 01:07:28,880
Speaker 3: airplanes and whooped them. And it's scary too because like

1188
01:07:29,360 --> 01:07:31,600
Speaker 3: some of those airplanes got the it's got the suction.

1189
01:07:32,040 --> 01:07:32,560
Speaker 1: You know what I'm saying.

1190
01:07:32,640 --> 01:07:38,040
Speaker 3: You gotta hold yourself. What happens that my little lady

1191
01:07:38,160 --> 01:07:43,040
Speaker 3: is waiting show. You don't want to go in because

1192
01:07:43,080 --> 01:07:45,280
Speaker 3: I'm in here. I'm in here because you know I'm

1193
01:07:45,320 --> 01:07:49,360
Speaker 3: in there. I'm settled in. You wasn't with commission at

1194
01:07:49,400 --> 01:07:55,360
Speaker 3: that time. In the last row. I had to get

1195
01:07:55,440 --> 01:07:55,920
Speaker 3: that all of me.

1196
01:08:06,880 --> 01:08:11,240
Speaker 2: But that's one of the things we entertained ourselves with.

1197
01:08:11,360 --> 01:08:12,120
Speaker 2: Crazy stuff.

1198
01:08:13,600 --> 01:08:15,240
Speaker 3: You mention I won't go to for two you just

1199
01:08:16,520 --> 01:08:16,800
Speaker 3: come on.

1200
01:08:18,280 --> 01:08:18,880
Speaker 1: I agree with that.

1201
01:08:21,640 --> 01:08:25,960
Speaker 3: The toilet paper, yeah, I whoop any bathroom. I don't care,

1202
01:08:26,040 --> 01:08:30,680
Speaker 3: white house plane, I don't care. My stomach is not

1203
01:08:30,760 --> 01:08:31,719
Speaker 3: gonna be eroding.

1204
01:08:32,000 --> 01:08:33,800
Speaker 2: So you believe it's more room out than.

1205
01:08:33,960 --> 01:08:39,160
Speaker 1: Absolutely absolutely, like this is natural, This flows naturally. Wait

1206
01:08:39,200 --> 01:08:41,720
Speaker 1: until you get off the plane. Man, No bathroom have

1207
01:08:41,840 --> 01:08:45,679
Speaker 1: you seen the bathrooms and the new Delta airplanes they're

1208
01:08:45,720 --> 01:08:47,599
Speaker 1: really nice. Fire they're not that nice.

1209
01:08:47,600 --> 01:08:49,880
Speaker 3: They got enough room. No they don't, Yes they do.

1210
01:08:50,400 --> 01:08:51,960
Speaker 3: So you did it in the old one though, too.

1211
01:08:52,200 --> 01:08:54,720
Speaker 3: I didn't know. I didn't like.

1212
01:09:01,120 --> 01:09:01,519
Speaker 1: He did.

1213
01:09:01,560 --> 01:09:11,160
Speaker 3: You wipe your head, you know, and I keep my

1214
01:09:11,280 --> 01:09:16,200
Speaker 3: wife's only just in case anybody's still dry wiping in

1215
01:09:16,280 --> 01:09:17,040
Speaker 3: twenty twenty three.

1216
01:09:17,320 --> 01:09:19,600
Speaker 1: You are out of control now that I agree with.

1217
01:09:19,720 --> 01:09:20,320
Speaker 3: You are out of.

1218
01:09:20,400 --> 01:09:22,559
Speaker 1: Bounds, and you probably stink.

1219
01:09:22,760 --> 01:09:27,000
Speaker 2: They wouldn't let me bring mine to security WI. Yeah. No,

1220
01:09:27,320 --> 01:09:30,200
Speaker 2: when when I was going through they put through my base. Oh,

1221
01:09:30,240 --> 01:09:32,600
Speaker 2: we gotta gona they're gonna take over the plane with

1222
01:09:32,680 --> 01:09:40,439
Speaker 2: some wet worms. They would not let this plane. I said,

1223
01:09:40,439 --> 01:09:42,040
Speaker 2: what do you think you got? I got some cocaine

1224
01:09:42,080 --> 01:09:43,120
Speaker 2: in there, soaked in or something.

1225
01:09:43,160 --> 01:09:43,759
Speaker 3: It's just wipes.

1226
01:09:43,880 --> 01:09:45,840
Speaker 1: Okay, you just gave him the whole suggestion right there.

1227
01:09:46,479 --> 01:09:47,080
Speaker 1: It can happen.

1228
01:09:47,479 --> 01:09:53,240
Speaker 2: It can Yeah, yeah, I.

1229
01:09:53,280 --> 01:09:54,800
Speaker 1: Knew he's gonna get some Detroit playing.

1230
01:09:55,760 --> 01:10:06,439
Speaker 3: You know. It was this one time they put you know, oh, brothers, listen, man.

1231
01:10:07,400 --> 01:10:09,519
Speaker 3: I can't tell you how much we appreciate you, man,

1232
01:10:09,840 --> 01:10:16,400
Speaker 3: and thank you for making the trip, you know, thank

1233
01:10:16,479 --> 01:10:22,160
Speaker 3: you for thank you for the information. Thank you for

1234
01:10:22,439 --> 01:10:25,679
Speaker 3: the music you've made. Thank you for the lives you've

1235
01:10:25,800 --> 01:10:31,280
Speaker 3: lived and continue to live. Thank you personally for me

1236
01:10:32,080 --> 01:10:36,360
Speaker 3: for changing my life, for blessing me in more ways

1237
01:10:36,400 --> 01:10:40,080
Speaker 3: than you could ever imagine, you could ever imagine. And

1238
01:10:40,240 --> 01:10:43,560
Speaker 3: still to this day, I still play them songs and

1239
01:10:43,640 --> 01:10:48,160
Speaker 3: play them albums to this day, and it still makes

1240
01:10:48,160 --> 01:10:52,519
Speaker 3: me feel the same way, the same way. I'm still

1241
01:10:52,600 --> 01:10:57,880
Speaker 3: that kid in ninth grade, like, Wow, listen to this.

1242
01:11:00,320 --> 01:11:03,120
Speaker 3: I can't thank you enough. We can't thank you enough, man,

1243
01:11:03,520 --> 01:11:06,320
Speaker 3: guys for helping us. Man, we really appreciate it. Love

1244
01:11:06,360 --> 01:11:09,000
Speaker 3: you guys to showing us. Man, we really appreciate it. Man.

1245
01:11:09,080 --> 01:11:09,640
Speaker 1: That's really do.

1246
01:11:10,000 --> 01:11:13,439
Speaker 2: As opening the doors Dot and allow us to sit

1247
01:11:13,520 --> 01:11:14,519
Speaker 2: here and tell some stories.

1248
01:11:14,600 --> 01:11:14,760
Speaker 5: Man.

1249
01:11:14,840 --> 01:11:18,519
Speaker 2: And you know it encourages us to hear stories from

1250
01:11:19,080 --> 01:11:22,439
Speaker 2: people like like yourself, artists doing your own thing out there. Man,

1251
01:11:22,479 --> 01:11:26,760
Speaker 2: it's encouraging. So we appreciate you. Really do appreciate you, guys, man.

1252
01:11:27,000 --> 01:11:30,880
Speaker 2: And uh, We're gonna continue to watch segments and everything

1253
01:11:30,920 --> 01:11:31,240
Speaker 2: you're doing.

1254
01:11:31,320 --> 01:11:31,479
Speaker 3: Man.

1255
01:11:31,800 --> 01:11:33,519
Speaker 2: I get something good out of every time I look

1256
01:11:33,560 --> 01:11:35,880
Speaker 2: at the shows. Man, it's y'all doing your thing.

1257
01:11:35,960 --> 01:11:41,120
Speaker 1: Man, words I control sometimes.

1258
01:11:41,400 --> 01:11:44,320
Speaker 2: Don't say you can't cuss. It says you can't curse.

1259
01:11:45,360 --> 01:11:47,000
Speaker 2: The big difference.

1260
01:11:49,439 --> 01:11:53,200
Speaker 3: There's a difference. Come on, we're getting technical now, spoken

1261
01:11:53,240 --> 01:11:56,560
Speaker 3: from the man himself. More comments.

1262
01:11:59,439 --> 01:12:06,760
Speaker 1: Enough cos I like it?

1263
01:12:07,240 --> 01:12:13,640
Speaker 3: Yeah, Please to your money. And this is the R

1264
01:12:13,640 --> 01:12:15,920
Speaker 3: and B Money Podcast, the authority on all things R

1265
01:12:15,960 --> 01:12:20,200
Speaker 3: and B and this has been a life changing pod

1266
01:12:20,520 --> 01:12:22,439
Speaker 3: and one of the best days of my life. Y'all

1267
01:12:22,520 --> 01:12:25,440
Speaker 3: make some noise for Mitchell Jones, Callsey.

1268
01:12:28,680 --> 01:12:29,240
Speaker 1: Good to be here.

1269
01:12:31,240 --> 01:12:32,320
Speaker 3: R and B Money.

1270
01:12:33,479 --> 01:12:35,240
Speaker 5: R and B Money is a production of the Black

1271
01:12:35,280 --> 01:12:40,040
Speaker 5: Effect Podcast Network. For more podcasts from iHeartRadio, visit the

1272
01:12:40,160 --> 01:12:43,960
Speaker 5: iHeartRadio app, Apple Podcasts, or wherever you listen to your

1273
01:12:44,000 --> 01:12:47,880
Speaker 5: favorite shows. Don't forget to subscribe to and Radar Show

1274
01:12:48,240 --> 01:12:50,840
Speaker 5: and you can connect with us on social media at

1275
01:12:50,920 --> 01:12:55,120
Speaker 5: Jay Valentine and at the Real Tank. For the extended episode,

1276
01:12:55,280 --> 01:12:59,439
Speaker 5: subscribe to YouTube dot com or slash R and B

1277
01:12:59,560 --> 01:12:59,800
Speaker 5: Money