# Marc Byers

An episode of [R&B Money](https://invisiblenetwork.ai/podcast/1623212249), 22 Jan 2026, 1 h 44 min.

Audio: https://pdrl.fm/78a38e/podtrac.com/pts/redirect.mp3/traffic.omny.fm/d/clips/e73c998e-6e60-432f-8610-ae210140c5b1/ffd06750-9c13-4998-b266-ae90010bb2af/8babea94-0c53-4c0e-bdd5-b3da0014e108/audio.mp3?utm_source=Podcast&in_playlist=240a7ed2-a685-4bc6-91de-ae90010c6176

Executive and A&R strategist Marc Byers sits with Tank & J. Valentine to map the relationships, instincts, and timing behind era-defining R&B and hip-hop moments—from internships under Kenny Gamble, to early wins with Maurice Wilcher, to linking artists, producers, and labels that shaped the sound of a generation. See omnystudio.com/listener for privacy information.

## Transcript

[0:01] Speaker 1: R and B Money, honey, thanks take Valentini.
[0:11] Speaker 2: We are the.
[0:12] Speaker 3: Authorities on all.
[0:16] Speaker 1: Ladies and gentlemen. My name is Tank Valentine.
[0:19] Speaker 2: This is the R and BY Money Podcasts, the authority, yes, sir,
[0:25] Speaker 2: on all things R and B.
[0:28] Speaker 1: Yeah, and business, big business.
[0:31] Speaker 2: The man comes from the place where soul resides. If
[0:41] Speaker 2: you ever touched the soil in Philadelphia, the tales of
[0:47] Speaker 2: a man who's had his hand and input on all
[0:54] Speaker 2: things musicality in the city and the scene, you probably
[1:01] Speaker 2: love a Yeah. This man is considered and uncle to everyone,
[1:09] Speaker 2: a family member to everyone, a brother to us. Yes, sir,
[1:16] Speaker 2: ladies and gentlemen, we're gonna get right to the ship.
[1:18] Speaker 2: Come on, there's a lot of information we got to
[1:20] Speaker 2: get to on. Let's get I'm not gonna hold it
[1:22] Speaker 2: up any longer. Ladies and gentlemen. We call him uncle Mark.
[1:26] Speaker 1: But right here Mark, thanks for having me, brother, thanks
[1:32] Speaker 1: for having me. Absolutely man. Welcome, welcome, thank you, thank you.
[1:36] Speaker 2: Talking about our age of the h at the game,
[1:39] Speaker 2: and I was he's just a little bit. He's a
[1:42] Speaker 2: little bit older than me. He's not like that much
[1:44] Speaker 2: older than me. This isn't true, but but uh, when
[1:48] Speaker 2: we're getting down on the bleachers and now. And I
[1:50] Speaker 2: looked at him. I'm like, I'm like, man, maybe I
[1:52] Speaker 2: should help my uncle Mark get off. He looked at me, said,
[1:57] Speaker 2: I wish you would.
[1:59] Speaker 4: Said this respectful, so disrespectful, so disrespect You know that,
[2:03] Speaker 4: like the fight in the city of almost.
[2:05] Speaker 5: Walked away from I know if I didn't love my
[2:08] Speaker 5: walk away from this young disrespectful he crossed the threshold.
[2:12] Speaker 5: Want to talk to me different? Listen, just I was
[2:15] Speaker 5: just checking the temperature. You know what I'm saying is
[2:17] Speaker 5: still the same.
[2:17] Speaker 2: No, he wants and he wanted. He wants to fight too.
[2:20] Speaker 2: He wanted to fight you know who. That's off the
[2:25] Speaker 2: pot and over here.
[2:28] Speaker 5: I was just kidding.
[2:31] Speaker 1: I just wanted to see if he was awake. We
[2:35] Speaker 1: all want to get up, brother.
[2:38] Speaker 5: I haven't feeling amazing man, Man, And I'm proud of y'all. Man.
[2:42] Speaker 5: I love this podcast. Thank you, brother, thanks for having me.
[2:45] Speaker 1: This is this is this is why we have it.
[2:47] Speaker 2: You know, we we we feel like there are just
[2:50] Speaker 2: so many cool conversations that that have to be highlighted
[2:56] Speaker 2: so that people can truly see the inner workings of
[3:00] Speaker 2: how this thing works. Man, and the people responsible you
[3:05] Speaker 2: know what I mean, Like, because you you everybody gets
[3:09] Speaker 2: to see the finished product. Man, I say this all
[3:11] Speaker 2: the time, but you never you never see those those people.
[3:16] Speaker 5: What's in the kitchen. You're a visible architect.
[3:20] Speaker 2: You don't see the person going going shopping for the
[3:23] Speaker 2: you know what I'm saying, for the materials.
[3:26] Speaker 1: Yeah, none of that.
[3:27] Speaker 2: The meetings that take place before you even put the
[3:29] Speaker 2: list together to go to go grab the essentials.
[3:32] Speaker 1: Yeah, like who's doing who's doing that?
[3:35] Speaker 2: We need to know who those people are while you're
[3:37] Speaker 2: in mark one.
[3:40] Speaker 1: We need to know the stirs.
[3:42] Speaker 2: You know.
[3:43] Speaker 5: Look, it helps. I think it helps, especially the next generation.
[3:46] Speaker 5: It helps them to kind of see the full story
[3:48] Speaker 5: and the how to. Yes, you know, yes, so this
[3:51] Speaker 5: is this is the how it happened session.
[3:54] Speaker 2: Because because I'm listen, I'm I'm for technology. I understand
[3:59] Speaker 2: all of it. But you know, there's this manpower. It's
[4:02] Speaker 2: just it's undefeated. It's true, man, And I.
[4:06] Speaker 5: Don't think that technology will ever outdo God's creation that
[4:11] Speaker 5: creates it's did that come from us, will forever be
[4:15] Speaker 5: ahead of it. It's just that because not everybody are
[4:19] Speaker 5: true creatives, and so our business everybody claims to be because.
[4:25] Speaker 1: It's the creative industry.
[4:26] Speaker 5: But you know, we've seen over the years people that
[4:30] Speaker 5: have a gift of making records and the gift of
[4:33] Speaker 5: finding talent and developing talent and stuff like that.
[4:36] Speaker 2: It's like, we can't allow that to be a loss
[4:39] Speaker 2: art and we have to listen. The track record has
[4:46] Speaker 2: to tell the story. You can't tell me you do this.
[4:53] Speaker 5: And yeah, and you don't have the stripes. I want
[4:57] Speaker 5: to see the stripes.
[5:00] Speaker 1: I want to see the time.
[5:00] Speaker 4: I think we should start doing that, like like the military,
[5:05] Speaker 4: you should.
[5:05] Speaker 2: You should have to start wearing strip your stripes. Man,
[5:09] Speaker 2: you strike see a jacket, to see a jacket?
[5:12] Speaker 5: Yeah, man, Because the stripes can't be followers.
[5:16] Speaker 1: Mm hmm.
[5:16] Speaker 5: The stripes can't be followers. It's just true. It's like
[5:20] Speaker 5: a lot of people can sit online all day and
[5:22] Speaker 5: figure out a way to get followers. But what's the talent?
[5:27] Speaker 5: What's your gift to the business?
[5:29] Speaker 1: Yeah, your contribution?
[5:30] Speaker 5: What made per se?
[5:33] Speaker 1: Yeah, let's let's let's get into that.
[5:35] Speaker 4: Let's get into that, man, Let's let's let's get back
[5:37] Speaker 4: into them, into those original days for you, and you'll
[5:41] Speaker 4: start really in this business. Young Mark Young, Mark Young
[5:47] Speaker 4: I'm talking about like young mar because you know, you
[5:49] Speaker 4: and I have had those conversations up you know when
[5:52] Speaker 4: when you got into the game and you're really a teenager.
[5:56] Speaker 5: It's funny, man, Like you know, up in the neighborhood,
[6:00] Speaker 5: there was music wrapped around this piece of a dream
[6:03] Speaker 5: was across the driveway from me, so I could see
[6:05] Speaker 5: them rehearsing, you know, in their garage. Yeah, and then
[6:09] Speaker 5: I would my my middle school. No, yeah, my middle school.
[6:14] Speaker 5: I had to walk past Patt of the Bell's house
[6:16] Speaker 5: every day. What so I'm deeply entrenched. And it was
[6:20] Speaker 5: you know, and it was just people. I used to
[6:22] Speaker 5: shovel snow on the other side, on the bigger houses,
[6:26] Speaker 5: and that's where like Grove of Washington and all those
[6:28] Speaker 5: guys lived. So we were I was, I was in
[6:30] Speaker 5: the mix of hard. You know. I'd be at the
[6:34] Speaker 5: barbershop Teddy Pendergrass be riding down the street with a
[6:37] Speaker 5: fur on and a Rose Royce with the top down
[6:39] Speaker 5: in the winter because you.
[6:41] Speaker 4: Have wait, wait, top down in the winter. In the
[6:45] Speaker 4: winters you have you're gonna see me. Yeah, You're gonna
[6:50] Speaker 4: stay warm though, Yeah, he's gonna stay warm.
[6:52] Speaker 5: Yeah, because you know, all of the entrepreneurs, the jewelry
[6:56] Speaker 5: store owners and all those guys. They lived in my neighborhood,
[6:58] Speaker 5: so it was it was a lot of energy that
[7:01] Speaker 5: came our way. So I would, you know, It was
[7:04] Speaker 5: just I didn't know that I was going to be
[7:07] Speaker 5: in the music business. My uncle played for McFadden and
[7:10] Speaker 5: white Head, so he was a guitar player. Ain't no
[7:12] Speaker 5: stopping this now. He played the delphonics and all that stuff.
[7:16] Speaker 5: I used to go to rehearsals with him, but I
[7:18] Speaker 5: didn't look at it as I'm gonna be in the business.
[7:21] Speaker 5: It kind of ended up that way.
[7:23] Speaker 1: Later.
[7:24] Speaker 5: I veered off in different paths until music, you know,
[7:29] Speaker 5: found me or I found it, you know.
[7:32] Speaker 1: Yeah, man, was music a lifesaver for you?
[7:35] Speaker 5: It was one main for Center Lifesaver.
[7:37] Speaker 1: Yeah?
[7:37] Speaker 5: Yeah, it was one Maine for Centered Lifesaver. That's why
[7:40] Speaker 5: I don't treat it like it's, you know, this so
[7:43] Speaker 5: called side piece or anything.
[7:45] Speaker 1: You know.
[7:45] Speaker 5: If I don't feel like I can do it at
[7:49] Speaker 5: his best level, I just don't do it, you know
[7:51] Speaker 5: what I mean. I don't shop a bunch of talent,
[7:54] Speaker 5: I don't wrap a bunch of people if it's not
[7:57] Speaker 5: special I could sit on this eeline to do something else,
[8:01] Speaker 5: something special come along, I'll do it. But I'm not
[8:05] Speaker 5: just doing anything just to hustle cash.
[8:09] Speaker 2: That I mean, I speaks, that speaks more to love
[8:11] Speaker 2: than anything love the game. But what how do you
[8:15] Speaker 2: even after you hit these veers that you speak of how.
[8:20] Speaker 1: We're going, we're not going to speak, how do you ultimately.
[8:27] Speaker 2: Make that take that first step into what it's called
[8:30] Speaker 2: the music business.
[8:31] Speaker 5: It's funny.
[8:32] Speaker 1: I was like.
[8:35] Speaker 5: Going in and out of the studios like just somehow
[8:39] Speaker 5: for some reason, and I ended up meeting Getny Gamble
[8:45] Speaker 5: and I would go to their spot a lot and
[8:47] Speaker 5: just sit in the corner while they were like remaking
[8:51] Speaker 5: their masters. So they would bring new vocalists in, new musicians,
[8:54] Speaker 5: stuff like that, and they were remaking their masters. And
[8:57] Speaker 5: then one day it's just like, you'll find me keyboard player.
[9:02] Speaker 5: And I was like, I'm in what you just told
[9:06] Speaker 5: you to find him a keyboard find a keyboard player.
[9:08] Speaker 5: So it was a kid named Maurice Wolcher. That what
[9:11] Speaker 5: that was like incredible that we bought him to the
[9:14] Speaker 5: session and then he started playing on all of the
[9:18] Speaker 5: all of those projects and stuff like that. And then
[9:22] Speaker 5: you know, over time, we just started moving him around
[9:25] Speaker 5: as a producer, and that's when we ended up working
[9:28] Speaker 5: with Freddie Jackson and a bunch of other folks, and
[9:30] Speaker 5: then we ended up meeting Sylvia Wrong. Sylvia introduced us
[9:35] Speaker 5: to Dreel LeVert and Jerrol was recording in Philly all
[9:38] Speaker 5: his albums, the Rule Boy albums. I was there when
[9:40] Speaker 5: they did written all over your Face all of that stuff,
[9:42] Speaker 5: all the Druel's albums, and then you know, Jerro was like, yo, man.
[9:47] Speaker 5: One day, we just in the studio. He's like, yo, man,
[9:49] Speaker 5: want you get in the booth and singing this background?
[9:52] Speaker 5: I'm like what, I'm like, Nah, We're not doing that, bro.
[9:55] Speaker 5: He said, come on, man, just come on. We just
[9:57] Speaker 5: need a note. So I ended up going and doing
[9:59] Speaker 5: a not and ironically he was like, man, I think
[10:02] Speaker 5: we could make you an artist. I said, now, we're
[10:04] Speaker 5: not doing that, you know. And then over time, when
[10:10] Speaker 5: we really got to know each other, he was like,
[10:12] Speaker 5: you know what, man, it's a lot of people in
[10:13] Speaker 5: this business that you know, they need people that know
[10:17] Speaker 5: how to collect money, you know, And he was like,
[10:20] Speaker 5: I think you could do a good job managing cats
[10:24] Speaker 5: and help him collect money. So then he introduced us
[10:27] Speaker 5: to Frank McCone and Frank mccoone was the keyboard player
[10:31] Speaker 5: for them and the Roople Boys. And then we start
[10:34] Speaker 5: managing Frank and you know, moved into Philly, started getting
[10:39] Speaker 5: his package together, had him playing with on Kenny Gamble
[10:42] Speaker 5: and them stuff as well. And it's just like progressed
[10:45] Speaker 5: in the stuff. And we're going to DC a lot,
[10:46] Speaker 5: my brother and I and we met Teddy Riley down there,
[10:50] Speaker 5: and I think that's when it really sparked that this
[10:53] Speaker 5: could be it because Teddy was our age, you know
[10:56] Speaker 5: what I'm saying. So it's a difference when you were
[10:57] Speaker 5: in there with the og. But then you're in there,
[10:59] Speaker 5: you know, you see somebody it's your peer, and they
[11:02] Speaker 5: got the same stuff you got.
[11:03] Speaker 1: You're like, man, what's going on? I just got to
[11:05] Speaker 1: get this.
[11:05] Speaker 5: Car, yeah, you know. And then Teddy started telling us,
[11:09] Speaker 5: you know, his production and he would invite us to
[11:11] Speaker 5: you know, the studio and stuff like that, and I
[11:13] Speaker 5: was like, all right, this is it.
[11:15] Speaker 1: Yeah, you know.
[11:17] Speaker 5: Then after the Maurice stuff, I ended up getting a
[11:22] Speaker 5: gig at Atlantic because we were shopping this music really
[11:25] Speaker 5: heavy and I was flying to Atlanta to the face
[11:28] Speaker 5: and stuff like that, and met Brian and La Reid,
[11:32] Speaker 5: and then Brian ended up getting a president's job at Atlantic,
[11:36] Speaker 5: so he in turn called me. I was like, yo, man,
[11:38] Speaker 5: why don't you come over here and do an R.
[11:41] Speaker 5: So I kind of didn't know what the gig.
[11:43] Speaker 1: Was for real.
[11:46] Speaker 5: This was ninety three. Oh yeah, yeah, heyday, yeah yeah,
[11:51] Speaker 5: very early budgets. Yeah yeah. So there I ended up
[11:56] Speaker 5: an R and Intro's album. Yeah yeah, not the first one.
[12:01] Speaker 5: This is the second one. Eddie f did the first one.
[12:04] Speaker 5: But I met Eddie during those days. Yeah, man, and
[12:08] Speaker 5: Mony Love. I was a and on her project. I
[12:10] Speaker 5: was an R and the Bracton sisters as well. This
[12:13] Speaker 5: is when they were a group, you know, it was
[12:16] Speaker 5: the three sisters minus Tony. Yeah yeah and yeah man.
[12:20] Speaker 5: And then it was time to shot Maurice's artist deal Atlantic.
[12:25] Speaker 5: I mean didn't want to do it because they were
[12:26] Speaker 5: so focused on Atlanta and his publish His publisher at
[12:31] Speaker 5: the time was Johnston Cooper and Jocelyn was the publisher
[12:34] Speaker 5: that signed di'angelo. Angie Stone Raphael Sadig like a bunch
[12:39] Speaker 5: of cats, and she was his publisher. Also, we did
[12:41] Speaker 5: the deal with her for him, and she was like, look,
[12:44] Speaker 5: when I asked the guy if he'll let you shop
[12:46] Speaker 5: it somewhere. So I asked him, he was like, yeah,
[12:49] Speaker 5: go ahead. So one thing leads to another. I called
[12:52] Speaker 5: her back. She was like, I was like, look, he said, cool,
[12:55] Speaker 5: just how I'll call you back.
[12:57] Speaker 1: I'm like, all right.
[12:58] Speaker 5: She called me back, maybe three or four days later.
[13:01] Speaker 5: She got Jimmy Ivan on the phone. He's like, look,
[13:04] Speaker 5: I want to do this project. I want to give
[13:07] Speaker 5: you guys a million dollars. I want to give you
[13:09] Speaker 5: some extra cash so you can finish the project because
[13:12] Speaker 5: I don't know when could make this project the way
[13:14] Speaker 5: it's sounding, and so on and so forth. And he
[13:17] Speaker 5: was like, give me your lawyer's information. I want to
[13:19] Speaker 5: fly you, the artist and the lawyer out.
[13:22] Speaker 1: So he flew us out.
[13:24] Speaker 5: Well, actually before that, I had to call the artist
[13:29] Speaker 5: let him know what the deal was. He in turn,
[13:31] Speaker 5: then they flew us out. Once they flew us out,
[13:34] Speaker 5: Jimmy to the guy, he's like, look, man, take my security.
[13:38] Speaker 5: He handed them an envelope with some cash in it.
[13:40] Speaker 5: He was like, go take a ride and we'll we'll
[13:43] Speaker 5: call the security bring you back. When we've done the deal.
[13:45] Speaker 5: So we actually negotiated the deal in the conference room.
[13:49] Speaker 5: It was myself, a lawyer named Brad Rubin, David Cohen
[13:53] Speaker 5: that was the lawyer for Jimmy and Jimmy. We negotiated
[13:55] Speaker 5: the deal in the conference room, called the kid back
[13:58] Speaker 5: to the to in the scope, signed off on the deal.
[14:02] Speaker 5: They gave us our check and we went home. Jimmy
[14:06] Speaker 5: cut another check for a recording studio to make sure
[14:08] Speaker 5: the kid had equipment. Then he introduced us to Dre
[14:12] Speaker 5: and he was like, look, and then Dre really liked him.
[14:14] Speaker 5: They started getting in the studio together, and Jimmy at
[14:17] Speaker 5: that time he was like, look, I think this is
[14:19] Speaker 5: going to be dynamite, this relationship with me, Dre, so
[14:22] Speaker 5: on and so forth. And he was like, look, I
[14:23] Speaker 5: want to bring Mick Jagger for Dre and Maurice to do.
[14:28] Speaker 5: I'm just like, what is going on? Yeah, I'm like,
[14:31] Speaker 5: what's going on in here?
[14:32] Speaker 1: You know?
[14:33] Speaker 5: Because this kid was like extremely prolific, you know what
[14:36] Speaker 5: I mean, probably one of the best musicians I've ever met,
[14:40] Speaker 5: you know, But he was also a producer that knew
[14:42] Speaker 5: how to calm down in the studio and like get
[14:45] Speaker 5: the record done too, so you know, lo and Behold.
[14:48] Speaker 5: I think it just got too heavy for him. You know,
[14:51] Speaker 5: people back home that wanted to be a part of
[14:53] Speaker 5: his life his career was getting in his head, acting
[14:56] Speaker 5: like people are going to steal from him, and.
[14:58] Speaker 1: This, that and the other. You got to watch them.
[15:00] Speaker 5: It was la people and they're going to record company
[15:02] Speaker 5: to go to the front of me, and the kids
[15:03] Speaker 5: just kind of kind of lost it a little bit.
[15:06] Speaker 5: So we ended up pulling that down and then we
[15:11] Speaker 5: ended up managing this other group named Brother.
[15:13] Speaker 1: His brother was signing to Vincent Herbert. Yeah you know,
[15:16] Speaker 1: I know the guys, Yeah.
[15:19] Speaker 5: He was signing. They were signed to Vincent Herbert. And
[15:21] Speaker 5: there was a kid in that group named Butter, and
[15:24] Speaker 5: Butter was the producer for the group, and he was
[15:27] Speaker 5: actually really doing good music for the group. So I
[15:30] Speaker 5: had to meet when Silly's like, look, we should get
[15:32] Speaker 5: this kid some equipment so he could actually do most
[15:35] Speaker 5: of the music from the house and save money. So
[15:37] Speaker 5: she gave us a budget. We took him to Maryland
[15:40] Speaker 5: to a music store, got them all his equipment, sized
[15:44] Speaker 5: it up, took it to his crib in his room.
[15:46] Speaker 5: He lived in the hood, he had a full studio
[15:49] Speaker 5: in his bedroom in the hood and it's probably was
[15:52] Speaker 5: like the most expensive thing that was in the crib.
[15:55] Speaker 5: And Butter ultimately ended up doing some records that I'll
[15:59] Speaker 5: be sure. Then they also ended up doing you remind
[16:02] Speaker 5: me for usure sure where?
[16:04] Speaker 1: Yeah?
[16:05] Speaker 5: Yeah.
[16:06] Speaker 4: So so each each what's happening is is more so
[16:12] Speaker 4: than you were you even knowing these people from anywhere else.
[16:16] Speaker 4: You're meeting him through each situation, each client is leading.
[16:21] Speaker 5: Because what's happening in Philly was that it wasn't a
[16:24] Speaker 5: lot of people at that time doing anything. So anybody
[16:29] Speaker 5: that was that was remotely making checks happen. The people
[16:33] Speaker 5: that wanted to get in they find you somehow. Sure
[16:38] Speaker 5: he's not that big, right, you know what I mean?
[16:40] Speaker 5: So they find you, you know. And during that time
[16:43] Speaker 5: when we were working with Butter, our lawyer introduced us
[16:46] Speaker 5: to Rodney Jerkins. Rodney is probably about maybe fourteen fifteen
[16:51] Speaker 5: years old.
[16:51] Speaker 1: She's a monster.
[16:53] Speaker 5: And we would go back and forth to pick Rodney
[16:58] Speaker 5: up and take them to New York shop to me music,
[17:00] Speaker 5: and we had him doing records on brother as well,
[17:03] Speaker 5: and that was Rodney got his first check in the
[17:06] Speaker 5: business from working with brother, and you know, we were
[17:10] Speaker 5: going to manage him. You know, the parents were letting
[17:13] Speaker 5: us take him back and forth. And his father was like, yeah,
[17:15] Speaker 5: well you know, his father as a pastor. So he
[17:17] Speaker 5: was like, I don't know if I need to be
[17:20] Speaker 5: involved in secular music, this, that and the other end.
[17:23] Speaker 5: Right after the check came, Pop changed his mind. He
[17:25] Speaker 5: was just like, you know, I got to look after
[17:28] Speaker 5: my son and I could respect it. You got a
[17:31] Speaker 5: kid that's fifteen, sixteen years old and he's getting corporate
[17:34] Speaker 5: money and these type of checks, especially the checks that
[17:38] Speaker 5: were moving. Then it's like I would have came and
[17:40] Speaker 5: got my son too, you know what I mean. So
[17:42] Speaker 5: we didn't have any hard feelings. And Rodney still like
[17:45] Speaker 5: a little brother today. But you know, his story now
[17:47] Speaker 5: is just you know what I mean, you know, Hall
[17:50] Speaker 5: of Famer now, you know what I mean?
[17:53] Speaker 1: Did you do you feel like you saw that then?
[17:59] Speaker 5: Because this d man Rodney as a kid, bro, I
[18:03] Speaker 5: don't know. When we would go down there and visit him, man,
[18:05] Speaker 5: he might make ten tracks in an hour. Wow, it
[18:10] Speaker 5: was just running off, running off.
[18:13] Speaker 4: But real compositions though, not like just ten beats, no, like.
[18:17] Speaker 5: Real no, no.
[18:18] Speaker 4: Yeah, yeah, yeah, because now somebody would be like, oh yeah,
[18:22] Speaker 4: I did.
[18:23] Speaker 5: But but the other part of it is also is
[18:26] Speaker 5: what you have to consider with Rodney is that he
[18:29] Speaker 5: had a sound. Yes, yeah, fifteen he had a sound.
[18:32] Speaker 5: You know what I'm saying, Like most kids are copying people.
[18:38] Speaker 1: A good question for him? How did he get that?
[18:41] Speaker 5: Like?
[18:42] Speaker 1: What made him do that?
[18:43] Speaker 5: Bro was passion. Man. Rodney would never like he had
[18:46] Speaker 5: to set up in the basement and Rodney wouldn't even
[18:49] Speaker 5: come upstairs, like they put his food downstairs to him.
[18:52] Speaker 1: Everything he just was cranking. Bro.
[18:54] Speaker 5: It's just it was unbelievable. It's like seeing the passion
[18:58] Speaker 5: of like a basketball player in middle school. Everybody invested
[19:02] Speaker 5: in him, and he invested like you got to show
[19:05] Speaker 5: up every day. So he was there every day on
[19:09] Speaker 5: it Bro, like it was nothing else to do in
[19:11] Speaker 5: life and go and behold look at the results. Rodney
[19:16] Speaker 5: might have had his ten thousand hours in by the
[19:18] Speaker 5: time he was sixteen.
[19:20] Speaker 1: That's right.
[19:21] Speaker 5: You know, the work ethic was out the roof and
[19:26] Speaker 5: its times. I would visit them while he was working
[19:28] Speaker 5: on other stuff. Man and Rodney might have three different
[19:32] Speaker 5: studios running at the same time, with three different artists cranking,
[19:38] Speaker 5: absolutely absolutely cranking hit.
[19:41] Speaker 1: I've been in one of those rooms.
[19:42] Speaker 5: Yeah, not like I'm just busy, yeah, just collected money. No,
[19:46] Speaker 5: I'm busy and I'm making hits. There's a different ball
[19:49] Speaker 5: game this kid. I've never seen nothing like Rodney in
[19:52] Speaker 5: my life. Yeah, it's just you know, Teddy was Teddy
[20:04] Speaker 5: was a monster. Watching Teddy, Yeah, watching Teddy in his
[20:08] Speaker 5: day was it was incredible to watch. But also watching
[20:12] Speaker 5: like people literally pull up down Virginia beach Man and
[20:16] Speaker 5: sit in the hotel rooms to wait for that slot.
[20:20] Speaker 5: It's crazy. I remember we went to Jack the Rapper,
[20:24] Speaker 5: I think it was in Atlanta and he was being
[20:27] Speaker 5: managed by Gene Griffin at the time, and Teddy was
[20:30] Speaker 5: so hot that you know how, he had a valet
[20:33] Speaker 5: area and at the hotel, Jean had his range rover
[20:37] Speaker 5: pulled up at the valet area and all the managers
[20:40] Speaker 5: and A and r's were down the sidewalk waiting to
[20:43] Speaker 5: sit in the passenger seat to take a meet to
[20:46] Speaker 5: get their artists in the studio with Teddy.
[20:48] Speaker 1: He's taking meetings from the valet from a rangebrow.
[20:56] Speaker 5: Unbelievable.
[20:57] Speaker 1: Teddy.
[20:58] Speaker 5: Teddy ever's Teddy was like the first super producer. Yeah, yeah,
[21:07] Speaker 5: you know what I'm saying, the first super producer. He
[21:11] Speaker 5: was the first super producer that they had anymore records
[21:14] Speaker 5: leading his voice and he had a presence inside of it.
[21:18] Speaker 5: But also he just shocked the business because his sound
[21:21] Speaker 5: took over so much that it transformed what other producers
[21:26] Speaker 5: were doing. It's a lot of people didn't do Jack.
[21:30] Speaker 1: I can't Yeah, the first producer.
[21:33] Speaker 2: Standpoint like, it's it wouldn't be and I'm just you know,
[21:38] Speaker 2: it wouldn't be Face or Jimmy, Jimmy and Terry.
[21:44] Speaker 5: It was all in the same time.
[21:47] Speaker 1: It was it was early. I'm not sure.
[21:49] Speaker 5: I'm not have to remember Teddy been rocking bro since
[21:53] Speaker 5: since the show, you know what I'm saying.
[21:56] Speaker 2: So, but his breakout in terms of like that, what
[22:01] Speaker 2: do you feel like that was?
[22:03] Speaker 5: But it would be guy, it would be it will
[22:06] Speaker 5: be Guy heavy, all of that stuff.
[22:09] Speaker 1: But look, man, I'm trying to I want to give
[22:14] Speaker 1: it to you. I'm just I'm just.
[22:15] Speaker 5: Yeah, because you gotta remember, like you know, Face, Face
[22:18] Speaker 5: was La and Face at that time. Right, it wasn't
[22:22] Speaker 5: just Face, it was Jimmy and Terry. Right, this is
[22:27] Speaker 5: Teddy Riley and not Teddy and to most of the
[22:32] Speaker 5: stuff before that with duos Gamble Health was duos, this that,
[22:35] Speaker 5: the other, this guy, this guy first super producer, I
[22:41] Speaker 5: didn't say superducers listen.
[22:44] Speaker 2: But the fun bad as motherfuckers ever. So yeah, it's
[22:48] Speaker 2: just that that goes without question and work.
[22:50] Speaker 5: I think it was crazy.
[22:51] Speaker 2: But it's like when I'm when I'm hearing Babyface's backgrounds,
[22:54] Speaker 2: but I'm also hearing what you're saying in terms of
[22:56] Speaker 2: like like I think Babyface was he was the work,
[23:02] Speaker 2: but he wasn't necessarily trying to put himself.
[23:06] Speaker 5: But also but also like we're talking about cultural impacts
[23:09] Speaker 5: and were talking the Ryan Stone Jackets to the life
[23:13] Speaker 5: just the presence in your culture, Teddy sat different with
[23:16] Speaker 5: faces a little.
[23:17] Speaker 1: Older, you know what I mean. Teddy's in three groups.
[23:20] Speaker 5: Yeah at one time.
[23:21] Speaker 2: Guy, Black Street and Rex in effect exactly, and I
[23:25] Speaker 2: might be forgetting one.
[23:28] Speaker 5: Group two yeah, and not to mention, I mean I
[23:31] Speaker 5: think Black Street did Diamond out the Gate, did they? Yeah?
[23:38] Speaker 5: Yeaht did a lot of numbers.
[23:42] Speaker 1: I remember when the album first came out, remember exactly
[23:45] Speaker 1: where I was.
[23:46] Speaker 5: I mean, but he also he also had the right
[23:48] Speaker 5: executive like Jimmy pushed the button he wasn't scared to
[23:53] Speaker 5: like if he believed that he wasn't scared. I mean,
[23:55] Speaker 5: how many people do you see would have taken like
[23:58] Speaker 5: Dre that commercial. A lot of the labels would have
[24:03] Speaker 5: left it like no disrespect. They'd left it like we're
[24:05] Speaker 5: rock him and other things where they's like, okay, there's
[24:08] Speaker 5: some street music, this, that and the other. But it's
[24:11] Speaker 5: just Dre snoop. All that stuff went super commercial. So
[24:17] Speaker 5: it's just you know, different era, different executives too, you know,
[24:22] Speaker 5: not scared, but also they understood what they's listening to. Yeah,
[24:26] Speaker 5: I'm not exactly sure if everybody knows what they're listening
[24:29] Speaker 5: to today too, we get through the weeds. But I
[24:32] Speaker 5: don't think they also had the distraction of streaming either.
[24:36] Speaker 5: You know, it's a lot of distractions right now. Yeah,
[24:38] Speaker 5: I mean, you know, streaming let the amateurs in the
[24:40] Speaker 5: pro business.
[24:41] Speaker 2: It's so many ways to monetize to where you know it.
[24:47] Speaker 2: It's created so many great areas, but.
[24:50] Speaker 5: It's the noise. I think, the noise of streaming and
[24:55] Speaker 5: social as the executive is not understanding the how to
[25:00] Speaker 5: just rely on your taste.
[25:04] Speaker 1: Right, everything's a number now.
[25:05] Speaker 5: And then also, like you looked at the labels back
[25:08] Speaker 5: in the day, they were known for things. Now it's
[25:13] Speaker 5: like a hosh pots of stuff that just kind of
[25:15] Speaker 5: triggers off of TikTok or this, that.
[25:17] Speaker 1: And the other.
[25:17] Speaker 5: It's like, what's your thing? Yeah, you know, because if
[25:21] Speaker 5: you establish your thing, then the hotness of those things
[25:26] Speaker 5: will come your way. You'll heat in those sectors. That's
[25:31] Speaker 5: why Motown was so great, So Uptown was so great,
[25:34] Speaker 5: death Jam was so great, so and so forth. It
[25:37] Speaker 5: wasn't they were brands bro and they and they had
[25:39] Speaker 5: it was very specific and what they drove they were
[25:42] Speaker 5: either very specific in R and B, very specific in rap,
[25:46] Speaker 5: certain type of rap, this, that and the other. No
[25:48] Speaker 5: different than how Blue Note was WHI jazz right? Yea
[25:51] Speaker 5: death row death row right. No, one's looking at the
[25:56] Speaker 5: environment the same way.
[25:57] Speaker 1: Look it.
[25:58] Speaker 5: Uptown with Andre they were lifestyle artist, whether it was
[26:01] Speaker 5: rap or R and B, they all had this performance
[26:05] Speaker 5: flair to them, heavy d rather them see and so
[26:09] Speaker 5: it was a flare, but also a mix of R
[26:13] Speaker 5: and B with all of them, you know what I mean.
[26:15] Speaker 5: So you know now I feel like it's got to
[26:19] Speaker 5: get back.
[26:20] Speaker 4: How do we say, and that was that's my question,
[26:22] Speaker 4: in your opinion, how do we get back to taste?
[26:26] Speaker 5: I think the people that notate should come together and
[26:30] Speaker 5: support at the highest level the artists that they believe in. Right, So,
[26:35] Speaker 5: if you have an artist, or you have an artist,
[26:38] Speaker 5: I think it's my duty to get you records. And
[26:41] Speaker 5: it shouldn't have nothing to do with money. It should
[26:45] Speaker 5: have something to do with what's going to represent us,
[26:49] Speaker 5: what's going to represent our quality, what's going to represent
[26:51] Speaker 5: our taste, our lifestyle, or what are we backing TD
[26:56] Speaker 5: TD is doing it great, but the TD is on
[26:59] Speaker 5: that same brand. Thesis says the Uptowns and the death
[27:02] Speaker 5: Roads they all look like they would hang out together. Yeah,
[27:06] Speaker 5: you know what I mean, that's why it fit so well.
[27:08] Speaker 5: You look at the features stuff like that. It's no,
[27:11] Speaker 5: it doesn't feel like it's forced.
[27:12] Speaker 1: We got to bring back the motown picnic.
[27:14] Speaker 5: Gott to bring it all back, right, got to bring
[27:16] Speaker 5: it all back. And also it's just like yeah, but
[27:19] Speaker 5: also it's like people got to start telling the truth,
[27:22] Speaker 5: like if it ain't hot, it ain't hot. I think
[27:25] Speaker 5: that'll help the kids more if they feel like they
[27:28] Speaker 5: got to go back to the drawing board. You know,
[27:31] Speaker 5: no bridges in R and B songs. Well that's the climax.
[27:36] Speaker 5: Well what are we talking about, Like how as a
[27:39] Speaker 5: part of the story, you reach your peak in the bridge.
[27:43] Speaker 5: So where these bridges? You know?
[27:48] Speaker 4: I think cause most artists, we're trying to figure out
[27:51] Speaker 4: the algorithm, right, and they're trying to figure out like, oh,
[27:54] Speaker 4: if this song is only a minute and a half,
[27:56] Speaker 4: two minutes, that's actually two streams.
[27:59] Speaker 5: But the algorithm is feel right, Leon Thomas will prove that. Yes, sir,
[28:05] Speaker 5: you know I remember I was in Motown, man we knew.
[28:09] Speaker 5: I knew Leon from repend Dranva. He was signed to
[28:12] Speaker 5: Sony or Columbia. An executive named Maria Egan had signed him.
[28:18] Speaker 5: She brought him the Philly for us to meet. I
[28:20] Speaker 5: wasn't necessarily an agreeance to the direction, but he was
[28:23] Speaker 5: an extremely talented kid. So when I ended up in Motown,
[28:28] Speaker 5: Fuzzy took me to Leon and reconnected us. And at
[28:33] Speaker 5: the time, he wasn't in a great deal, so I
[28:37] Speaker 5: helped put his management team together that could help him
[28:41] Speaker 5: get out of that deal. Because I thought Leon would
[28:43] Speaker 5: be great for us at Motown, but it needed a
[28:46] Speaker 5: little bit of mechanics to happen, to get him out
[28:49] Speaker 5: of a bad situation, to get it, for us to
[28:52] Speaker 5: get him and ultimately, I mean, look at him now,
[28:55] Speaker 5: but it's like sticking behind it. I don't manage Leon.
[28:58] Speaker 5: I don't make a do I'm off for Leon know nothing,
[29:02] Speaker 5: but he's talented.
[29:04] Speaker 1: You were of service.
[29:06] Speaker 5: You have to be like, what are we in the
[29:09] Speaker 5: in this business with our service? Like I came up
[29:11] Speaker 5: in this and it was about service. Like if people
[29:13] Speaker 5: felt like you had it, they put you on, they
[29:16] Speaker 5: introduced you to stuff. They'd be like, Nah, your guitar,
[29:19] Speaker 5: play it cool, let me introduce you to this guy
[29:22] Speaker 5: that's you know.
[29:24] Speaker 1: A lot of kids that call that hating now and
[29:28] Speaker 1: that developed, but.
[29:30] Speaker 5: That developed weakness too, right, Like they had that word
[29:33] Speaker 5: just flail across things because you don't like rebuttal is
[29:38] Speaker 5: a problem, right, and it makes the environment weak. So
[29:42] Speaker 5: I don't I don't believe in that word hating. I
[29:44] Speaker 5: think it destroyed a lot of things. You know, it
[29:48] Speaker 5: took it took the honesty away from the business and
[29:50] Speaker 5: the music and critiquing you to be great. There's a
[29:53] Speaker 5: lot of artists out here could be better. But because
[29:56] Speaker 5: the bar is so low, nobody's like critique them in
[30:00] Speaker 5: a manner that they say me, let me keep back
[30:02] Speaker 5: home and tighten this up. They're not gonna tell me
[30:04] Speaker 5: that you know what I'm saying. What happened to that part?
[30:07] Speaker 4: I think a big part for you, And something I've
[30:09] Speaker 4: always noticed in my years of knowing you is that
[30:13] Speaker 4: you can explain your opinion.
[30:15] Speaker 1: Everyone can.
[30:17] Speaker 5: I mean, but and.
[30:18] Speaker 1: Sometime I won't even take the time too right.
[30:21] Speaker 4: They'll use their tenures as they'll weaponize their tenure.
[30:27] Speaker 5: But but I'm also I'm not trying to be hierarchy
[30:30] Speaker 5: over no youngster. So I'm not gonna I'm gonna think
[30:34] Speaker 5: before I speak so they can actually retain the information.
[30:38] Speaker 5: I'm not trying to bully you into my way, and
[30:42] Speaker 5: I'm not giving you information that is going to service me.
[30:45] Speaker 5: It's not servicing me. Most of the information I give
[30:47] Speaker 5: away I had nothing to do with coming back to me.
[30:50] Speaker 5: It's like, how can you be great? And either you
[30:52] Speaker 5: got it or you don't, you know, I mean dravied
[30:56] Speaker 5: I was an example of that, you know. Managing them,
[31:00] Speaker 5: there was some trials to like get them here. They
[31:05] Speaker 5: were very talented. We cannot take that away. But there
[31:09] Speaker 5: was trials of things that really put them at a
[31:13] Speaker 5: place of competitive market because when they were they were
[31:16] Speaker 5: working to touch a jazz everything was homegrown, so the
[31:20] Speaker 5: competition was within, but it wasn't with the world. Once
[31:24] Speaker 5: you leave a production house that is signing artists, now
[31:29] Speaker 5: your competition is with the world. So now you're competing
[31:31] Speaker 5: against Tembland, Forell, this person, that person. Before you're competing
[31:36] Speaker 5: against in house producers. So coming out of that when
[31:41] Speaker 5: I started managing them was when we signed Glynn. We
[31:44] Speaker 5: actually we signed Glen Lewis, brought him to Philly.
[31:49] Speaker 2: To write, not to he wasn't He wasn't He wasn't
[31:52] Speaker 2: brought to Philly to be artists evert he was aught.
[31:54] Speaker 5: To Philly to introduce him to Philly because we knew
[31:57] Speaker 5: Philly would give him the music that he needs it right.
[32:02] Speaker 5: So when we got him there, he wrote Don't You
[32:05] Speaker 5: Forget It was the first record that he wrote. That
[32:08] Speaker 5: record was supposed to be for Stevie m the same
[32:12] Speaker 5: that that same week or during that same time, they
[32:16] Speaker 5: also did Butterflies, but I wasn't repping them at this time.
[32:21] Speaker 5: They were just my youngsters. Yeah, I wasn't repping them
[32:24] Speaker 5: at the time. Then they ended up the partying touching
[32:28] Speaker 5: jazz and they called me. It's like, look, you know,
[32:31] Speaker 5: we want you to represent us, to say what's really
[32:33] Speaker 5: Vidal And then I went up to the house and
[32:37] Speaker 5: suppose to be that. He's like, y'all, I really need
[32:38] Speaker 5: you to talk to Dre. And at the time, it
[32:41] Speaker 5: was this place called Valley Green. I would get up
[32:42] Speaker 5: and I would jog this park every day, and I
[32:45] Speaker 5: was like, look, Dre, we're gonna jog tomorrow. We're gonna talk.
[32:50] Speaker 5: So went and drogged and talked because I had to
[32:52] Speaker 5: fill him out and see what he wanted. And I'm like, man,
[32:55] Speaker 5: I'm not going to manage these guys separate because they
[32:57] Speaker 5: lived in the same house. I'm like, it doesn't make sense.
[33:00] Speaker 1: Right down there. They're not they're not a duo at
[33:02] Speaker 1: this time.
[33:03] Speaker 5: But they but they're best friends. You know. They their
[33:06] Speaker 5: uncles played in church. They played in church. They both
[33:09] Speaker 5: with drummers, you know, two different type of drummers. So
[33:12] Speaker 5: I knew them well, but I didn't look to represent
[33:17] Speaker 5: them ever. But I always gave him advice when first
[33:20] Speaker 5: got his equipment in the crib he went over like
[33:22] Speaker 5: I got a studio, he got a keyboard, and he
[33:26] Speaker 5: got a microphone hanging from one of the water pipes.
[33:29] Speaker 1: You know, you know what I'm saying.
[33:32] Speaker 5: But he was young. It was a studio and he
[33:36] Speaker 5: was getting it done, and you know, I would go
[33:37] Speaker 5: over there and like give him game on how the
[33:39] Speaker 5: layer of drums and all of that kind of stuff,
[33:42] Speaker 5: and you know, one thing lead to another. They end
[33:46] Speaker 5: up departing Touch of Jazz, and I was like, so
[33:50] Speaker 5: we start managing my brother and I start managing them.
[33:53] Speaker 5: And I was like, you know.
[33:54] Speaker 1: What, they came together.
[33:56] Speaker 5: They came separately, but as best friends. But I couldn't
[34:04] Speaker 5: see managing them separate. I was like, from a marketing standpoint,
[34:07] Speaker 5: it will make more sense for y'all to be this
[34:10] Speaker 5: generation's gambling huff. So we put them together, turned around,
[34:16] Speaker 5: gave them Glenn's album as for the proof of concept,
[34:20] Speaker 5: and after that, you know that success Glenn inner critically acclaimed.
[34:25] Speaker 5: And then between having Glenn's record out and the Butterflies
[34:29] Speaker 5: record out.
[34:30] Speaker 2: You can expound on Butterflies if you could for the people,
[34:33] Speaker 2: for the people, because you.
[34:34] Speaker 4: Just said butterflies like it's just some random ass record.
[34:37] Speaker 5: I'm not, but you can are. I'm actually not. It's
[34:41] Speaker 5: not a random record. It's a Michael Jackson record.
[34:43] Speaker 2: Yeah, okay, yeah, because right now we're in the Michael
[34:46] Speaker 2: Jackson room.
[34:47] Speaker 5: Yeah, I know, you know. But what I do have
[34:50] Speaker 5: to admit is that I actually had nothing to do
[34:53] Speaker 5: with the record.
[34:54] Speaker 2: But that was that was That was four times yeah,
[34:58] Speaker 2: but that was that was.
[34:59] Speaker 5: That was like an opportunity that Jazzy Jeff put together
[35:04] Speaker 5: for them with John McClain. Right they had John had
[35:07] Speaker 5: signed Flow a Try, and that relationship started through there
[35:11] Speaker 5: and John and Mike worked together, and so he was like, Yo,
[35:16] Speaker 5: I need a record for Mike. And they played the
[35:18] Speaker 5: record over the phone from what I understand, and he
[35:21] Speaker 5: was like, Mike's cutting that record, and they was like, yeah, okay,
[35:25] Speaker 5: right record and he kind of said it as a
[35:27] Speaker 5: matter of fact from what I understand. And then you know,
[35:30] Speaker 5: kind of fast forward and we're in Toronto cutting Glenn's
[35:33] Speaker 5: album and I get a phone call from John mcclan's
[35:36] Speaker 5: office and he was like, I got to put John
[35:38] Speaker 5: on the phone and she's like, Yo, we need to
[35:40] Speaker 5: finish this Mike stuff. Man, I hear the guys with
[35:42] Speaker 5: you now and sold on and so forth. Laud of
[35:44] Speaker 5: I was like, when do you need it done? He's
[35:46] Speaker 5: like this weekend. Now we're in Toronto cutting Glenn's album.
[35:51] Speaker 5: But I'm just like, this is too big for y'all.
[35:53] Speaker 5: We gotta y'all gotta leave and go cut this record.
[35:56] Speaker 5: So I stayed in Toronto and with Glenn, and I
[36:00] Speaker 5: sent them to LA to get the record done. They stayed,
[36:04] Speaker 5: they came here for three or four days, and then
[36:05] Speaker 5: came back to Toronto with the record done. And the
[36:10] Speaker 5: rest is history. And that those two songs kind of
[36:13] Speaker 5: drove everything to come in the door because you got
[36:18] Speaker 5: these two examples. You got a superstar with a cracking record,
[36:22] Speaker 5: and you got a brand new nobody with a cracking record.
[36:25] Speaker 5: That makes the business be like, man, who are these guys?
[36:28] Speaker 1: Yeah?
[36:28] Speaker 5: You know what I mean. So then we get a
[36:31] Speaker 5: phone call from Justin Timberlay. This's his first solo album,
[36:35] Speaker 5: and he's like, I want to work with the guys.
[36:38] Speaker 5: I want them to do the album. This, that and
[36:39] Speaker 5: the other was there was he had another guy call
[36:42] Speaker 5: and I forgot the an r's name, but he had
[36:45] Speaker 5: hired a an R. He had his own like team
[36:48] Speaker 5: and Johnny Wright was in the picture as well, and
[36:53] Speaker 5: they sent them to Philly. We started recording them. The
[36:57] Speaker 5: guys are doing some really incredible records, but they weren't
[37:00] Speaker 5: aren't in the direction that Justin was. They were kind
[37:04] Speaker 5: of just breaking the mold from like the neo soul stuff,
[37:08] Speaker 5: and Justin was like coming out of boy band on tempo, this,
[37:13] Speaker 5: that and the other.
[37:14] Speaker 2: So you know we're in there they working cutting records.
[37:18] Speaker 2: Farrell's calling me.
[37:20] Speaker 5: He called the first time, sitting next to Justin on
[37:22] Speaker 5: the couch, and I can hear a call Forrell's playing
[37:24] Speaker 5: the music on the phone and it's all tempo. I'm
[37:27] Speaker 5: telling the guys like, yo, you got to pick it up.
[37:30] Speaker 1: I said, He's coming.
[37:34] Speaker 5: It's coming. But it's like but it's like know where
[37:37] Speaker 5: you are right and mind you, this is the first
[37:41] Speaker 5: swing into the public air. Right now you out of
[37:47] Speaker 5: this small camp and now you're out in the public
[37:49] Speaker 5: air and its fitsts being swung thrown everywhere, right because
[37:55] Speaker 5: these are top projects. So long and behold. Second time
[38:01] Speaker 5: Pharrell called man. First time, He's like, yoah, I just
[38:03] Speaker 5: got a phone call from Farrell. Maybe three four days
[38:07] Speaker 5: later he calls again. He's like, Yo, I just got
[38:12] Speaker 5: off the phone with my boy Farrell, and I was like,
[38:15] Speaker 5: did y'all hear that? He's like what I said? He
[38:18] Speaker 5: went for Farrell to my boy for I said, he
[38:20] Speaker 5: got him. I said he got him. I said, y'all
[38:22] Speaker 5: got to step it up. He got him. And you know,
[38:26] Speaker 5: at this time, I'm not exactly sure if they understood
[38:30] Speaker 5: what it meant. But I think every artist, every producer,
[38:34] Speaker 5: every writer has a project. You know, even athletes, right,
[38:38] Speaker 5: they have a moment that you miss that makes you
[38:43] Speaker 5: never want that feeling again.
[38:44] Speaker 1: Yeah.
[38:45] Speaker 5: Right, So fast forward, we end up going to Justin's
[38:49] Speaker 5: album release party and I'm standing near the bar and
[38:55] Speaker 5: Justin comes out. The guys are already deep in the party.
[38:58] Speaker 5: He comes out and he sees me. He's like, yo,
[39:00] Speaker 5: what's up. He's like, where's the guys? I'm like that
[39:03] Speaker 5: over there, and he had this concerned look on his face,
[39:05] Speaker 5: and I was like, what's up. He's like, yo, man,
[39:07] Speaker 5: did anybody tell you? I'm like what He's like, they
[39:10] Speaker 5: didn't make the American album, but they're on the international album.
[39:14] Speaker 5: I was like, cool, we're gonna stay here, I mean, yeah,
[39:19] Speaker 5: we ain't leaving. So he went and talked to the
[39:22] Speaker 5: guys and then they came to me and we talked.
[39:24] Speaker 5: I said, Yo, bro, we're gonna have to take it
[39:25] Speaker 5: on the chin. We're gonna stay here and we're gonna
[39:28] Speaker 5: party with everybody else and we're gonna look this in
[39:30] Speaker 5: the eye. And fast forward. Next project is Usher. He
[39:38] Speaker 5: missed them, so I'm like, fella, So I get a
[39:43] Speaker 5: phone call letting us know that Usher is working, because
[39:46] Speaker 5: that's when they was passing those sheets around and I'm like,
[39:50] Speaker 5: this is if we miss Justin, we ain't missing this one.
[39:55] Speaker 5: So they were writing songs in the apartment. They ended
[39:59] Speaker 5: up getting Superstar done with Ryan. I'm like, well, we
[40:06] Speaker 5: got one. So I ended up going to New York
[40:08] Speaker 5: asking meetings with Clive and then leaving there and Clive
[40:12] Speaker 5: was like, USh is working. I didn't play him the record,
[40:15] Speaker 5: so I called ironically, I called Mark Pitts first, he
[40:18] Speaker 5: didn't pick up. I called Daryl Jones. He picked up,
[40:22] Speaker 5: and I was like, yo, I got a record for Usher,
[40:25] Speaker 5: and Dad was like, yo, you called just in time.
[40:26] Speaker 1: I'm like wow.
[40:27] Speaker 5: He was like, LA, just put me on the project.
[40:30] Speaker 5: He was like, but I don't know his security guard.
[40:32] Speaker 5: I don't know his homies. I don't know nobody in there,
[40:35] Speaker 5: so I don't know how to I'm trying to figure
[40:36] Speaker 5: out how to get in there like that right, So
[40:38] Speaker 5: I'm like, look, I'm walking over, so get there. I
[40:43] Speaker 5: turned the record on. As soon as the record came on.
[40:45] Speaker 5: In the first few bars.
[40:46] Speaker 1: He was like, oh my god.
[40:48] Speaker 5: He turned to us, like can I get a copy?
[40:49] Speaker 5: I said absolutely not. I said, we don't do copies.
[40:52] Speaker 1: You know that.
[40:52] Speaker 5: I said, but if you tell La that I'm here
[40:56] Speaker 5: and we got a smash for Usher, I'll stay and
[40:58] Speaker 5: I'll wait. So he was like, hold on. He went
[41:01] Speaker 5: and went to LA's office. He's like, man, it's going
[41:04] Speaker 5: to take him forty minutes. Like all right, I'm be
[41:06] Speaker 5: here for that. Well, and played on the record. Same
[41:09] Speaker 5: thing happened. He called Usher. He's like, yo, you got
[41:12] Speaker 5: to get in the studio with Tran Vidall. And I
[41:14] Speaker 5: was just like, who's that you know? And he was
[41:18] Speaker 5: like the guys that did Chill and this, that and
[41:19] Speaker 5: the other. And I was just like, you think they
[41:22] Speaker 5: can do me? He didn't. He didn't know I could
[41:24] Speaker 5: hear it. He didn't know nobody was there, and La
[41:28] Speaker 5: was at him and he's like, now you're going to
[41:29] Speaker 5: see you gotta cut this record. So we ended up
[41:32] Speaker 5: going down there and we packed up Ryan and we
[41:37] Speaker 5: packed up Poober, which we met from a previous session
[41:40] Speaker 5: with with Ironica with Puff because we went to Miami
[41:46] Speaker 5: and worked on all puffs groups, New Addition and Carl
[41:49] Speaker 5: and all recorded all of his groups. And while we
[41:52] Speaker 5: were down there, you know, Poopber had this thing and
[41:56] Speaker 5: it's like, you know, my responsibility was to make sure
[42:00] Speaker 5: that we had the writers that could compete with what
[42:03] Speaker 5: was happening. So I had to understand my guys talent
[42:07] Speaker 5: and where they could go and how whatever writers I
[42:10] Speaker 5: bring into the environment can help elevate it and make
[42:14] Speaker 5: something like who can reach what they can do? But
[42:17] Speaker 5: also who can push them? Like once you start that
[42:21] Speaker 5: first song, who can push them even further? Because the
[42:24] Speaker 5: beauty of Drane vidals that they were both two different
[42:27] Speaker 5: tilestyle drummers. So the magic was whoever started the track,
[42:33] Speaker 5: it may be a different outcome. So Dre started Superstar
[42:38] Speaker 5: and Vidal started Caught Up. Vd Al is a pounder
[42:43] Speaker 5: and Dre's got that bounce right, So yeah, one thing
[42:49] Speaker 5: leads to another. Weend there putting pressure because at this
[42:52] Speaker 5: time they didn't have a direction for us. So we
[42:54] Speaker 5: just keep going down and keep going down there. And
[42:57] Speaker 5: I remember listening to the interview with you guys, and
[42:59] Speaker 5: Ryan was right. I didn't like the record, but I
[43:02] Speaker 5: think Usher was influenced because we the new Cats, So
[43:05] Speaker 5: Usher was influenced by other people as we were applying
[43:08] Speaker 5: pressure to Like, you know, I don't know if those
[43:13] Speaker 5: records this, that, and the other, but La knew Jammi
[43:15] Speaker 5: Lewis heard those records. He was like, Yo, we ain't
[43:19] Speaker 5: never heard this boy singing like this. We were pushing
[43:22] Speaker 5: because I told the guys, I'm like, look, this guy's
[43:25] Speaker 5: going in to be twenty five years old. There's gonna
[43:27] Speaker 5: be a thoat women looking at him. He got to sing,
[43:31] Speaker 5: So we didn't really give him rappy, melodic records. We
[43:35] Speaker 5: gave him real you got to sing the records like
[43:39] Speaker 5: you look at his performance on Caught Up, Oh, stuff
[43:42] Speaker 5: like that's insane. Yeah, it's insane, you know. So that
[43:45] Speaker 5: was that, and then we ended up doing Anthony Hamilton
[43:49] Speaker 5: and all of the kids from the American Idol, the
[43:53] Speaker 5: Black Kids, the Ruben Stutters and the Fantasies and all
[43:55] Speaker 5: of them. Then we did Old Sierra. She was we
[43:59] Speaker 5: got a phone call from Ethiopia and Flana Felana was managing,
[44:04] Speaker 5: and so it's like, look, Sierra's going to be in
[44:09] Speaker 5: Philly recording to R. Kelly record. But R Kelly was
[44:13] Speaker 5: going through his problems. So Carvin from Touching Jazz is
[44:17] Speaker 5: coaching the vocals, so he want us to go over
[44:20] Speaker 5: listen to what they were doing so we could get
[44:21] Speaker 5: an idea. And they were talking about, you know, crunk
[44:24] Speaker 5: and Bee, and that record wasn't crunking B.
[44:27] Speaker 1: The R.
[44:27] Speaker 5: Kelly record wasn't what they claim it was. It was good,
[44:31] Speaker 5: but it wasn't crunk and B.
[44:32] Speaker 1: It was an R.
[44:33] Speaker 5: Kelly R and B record, So you know, we listened
[44:36] Speaker 5: to it. We go back to the studio, but we
[44:38] Speaker 5: only had a day to get a record done. And ironically,
[44:43] Speaker 5: what people don't realize with Draa vy Dow is that
[44:46] Speaker 5: the only record that they that the only records that
[44:49] Speaker 5: they had done in advance of the entire run was
[44:53] Speaker 5: Butterflies and Superstar. Every other record was done in front
[44:57] Speaker 5: of the artists on the spot, you know, because the
[45:01] Speaker 5: whole objective is you get to know the artists and
[45:04] Speaker 5: then you tell him make that suit, you know. So
[45:08] Speaker 5: we we grabbed Blayel Mohammed, and we grabbed this kid
[45:12] Speaker 5: named Sugar Tongue Slim. He was a rapper from Atlanta,
[45:15] Speaker 5: but he lived in Philly. Was a rapper and a poet.
[45:18] Speaker 5: Because Balaywa could give the melody, but somebody had to
[45:22] Speaker 5: talk Atlanta, you know what I'm saying. Somebody had to
[45:24] Speaker 5: have those references. So I put them two together to
[45:29] Speaker 5: write that record, and then we shot the record down there.
[45:34] Speaker 5: Ethiopia got the record and she got Luda Records, and
[45:38] Speaker 5: then Luda Luda John Luda jumped on the record same
[45:41] Speaker 5: day and.
[45:42] Speaker 1: He's like, we got to cook her.
[45:44] Speaker 5: You know, we knew we had a cook, you know
[45:46] Speaker 5: what I'm saying. So then then here comes to Chris
[45:49] Speaker 5: Brown project. So Tina Davis was on his first It
[45:55] Speaker 5: was in transition and she ended up getting doing the
[45:57] Speaker 5: deal over at Jive. Mark called us and then spoke
[46:02] Speaker 5: to Tina again after that and he's like, look, if
[46:07] Speaker 5: if we can develop him, send them, but give him
[46:13] Speaker 5: to us a couple of days early so we can
[46:14] Speaker 5: really see who the kid was. So when we got
[46:17] Speaker 5: we got him in I told you I like, take
[46:19] Speaker 5: him to the mall, taking the basketball, take him anywhere
[46:22] Speaker 5: where you think young people are so we can figure
[46:24] Speaker 5: out who he is.
[46:25] Speaker 1: And he's like, yo, man, hello, hello, g.
[46:29] Speaker 5: You know what I'm saying cooling? And what cats is thinking?
[46:32] Speaker 5: You know what I'm saying. All these girls this, that,
[46:34] Speaker 5: and the other. He could run by this like you're
[46:36] Speaker 5: running it down. So I'm okay, cool. So I called
[46:39] Speaker 5: Chris Hicks, I say, I need Johntay in here tomorrow.
[46:43] Speaker 5: We got John Ay in pop excuse me, miss? Got
[46:46] Speaker 5: done the same day.
[46:50] Speaker 1: I did an excuse me miss.
[46:52] Speaker 5: Yeah. We gave John Tay to the directional orders like
[46:56] Speaker 5: this is who this kid is. He kind of eyed
[46:59] Speaker 5: him down and then he heard the music. John Tate
[47:02] Speaker 5: got in that booth and got busy. And then after that, man,
[47:05] Speaker 5: I was like, yo, Mark, send him to Scott. Scott
[47:08] Speaker 5: don't know what to do from here. And then Scott
[47:10] Speaker 5: ended up doing run It in another record with Sean.
[47:13] Speaker 5: You know, but again unselfish, Yeah, you know.
[47:16] Speaker 4: Because you had already been in business with Storch Roots,
[47:22] Speaker 4: right well. I knew Storts through the Roots. I helped
[47:24] Speaker 4: get the Roots their first deal, so I knew stores
[47:28] Speaker 4: through that and ironically the first kid, Maurice Wilcher, was
[47:32] Speaker 4: in the a room in Sigma Sound studio and Scott
[47:38] Speaker 4: was in like a like an office room with his equipment.
[47:42] Speaker 5: So I knew Scott. So when Scott was making his
[47:44] Speaker 5: money from the Roots he bought his first car from
[47:46] Speaker 5: my father, I knew Scott, like you know what I'm saying.
[47:50] Speaker 5: So I knew Scott very well. So how Scott ended
[47:53] Speaker 5: up with Dre is that when I managed an Eve
[47:57] Speaker 5: during the Dre period, he called her, knowing her from
[48:01] Speaker 5: the roots because she was under you got me record
[48:03] Speaker 5: for the Roots. So one thing leads to another. She's like, yo,
[48:07] Speaker 5: Scott called and wanted to see if we could, you know,
[48:10] Speaker 5: if I could, let you know, introduce him to Dre.
[48:13] Speaker 5: But like, I don't know him, that's your friend like that.
[48:15] Speaker 5: I was like, man, take them with you to the studio.
[48:18] Speaker 5: He's from Philly, like, and he was bad. So I
[48:21] Speaker 5: was like, let's see what happens. So she took him in.
[48:25] Speaker 5: The rest is history, and even in that I never
[48:27] Speaker 5: asked got to manage him. Derek Jackson ended up managing
[48:31] Speaker 5: Derek was one of the people we took the roots
[48:33] Speaker 5: to because Derek worked for Russell with Franz Barrow, they
[48:37] Speaker 5: ran the management company. So you know, when we were
[48:40] Speaker 5: working on stuff with Russell with Maurice, the first guy,
[48:43] Speaker 5: Maurice was the torch lighter, you know, And when we
[48:46] Speaker 5: were working with them with Maurice, they was like, what
[48:50] Speaker 5: else is down in Philly which are working on? Because
[48:52] Speaker 5: we was blowing out that GM R and B star.
[48:54] Speaker 5: They were trying to get in the R and B
[48:55] Speaker 5: and we were blowing it out the door. And you know,
[48:59] Speaker 5: next thing Lee to they come to Philly. There comes
[49:01] Speaker 5: to Philly, ends up late and I run him across
[49:04] Speaker 5: the park to see the Roots while they're performing in
[49:06] Speaker 5: the park. And then after that we went to want
[49:08] Speaker 5: them to the radio station and we kicked it with
[49:10] Speaker 5: them a little bit, and then the meeting came for
[49:13] Speaker 5: them to go to New York and me at Russell's office,
[49:18] Speaker 5: and then that's how the Wendy Goldstings ended up in there.
[49:22] Speaker 5: But you know, the story is often told without the
[49:25] Speaker 5: inclusion of that part because I never claimed it, I
[49:29] Speaker 5: never got a check from it, I never pushed an it.
[49:32] Speaker 5: We had the same lawyer, Rich that was the Roots
[49:35] Speaker 5: manager ended up being a good friend, you know, may
[49:38] Speaker 5: rest in peace. So it's just like you're doing stuff
[49:41] Speaker 5: for the environment. Because while Scott is up in one room,
[49:45] Speaker 5: the roots, Maurice is in the big room. Scott's in
[49:48] Speaker 5: another room, the roots are downstairs in the room about
[49:51] Speaker 5: the half size of this room, maybe a courter size
[49:54] Speaker 5: of this room. This got David Ivy's room, and all
[49:56] Speaker 5: of them are lined up down the hallway because you
[49:59] Speaker 5: could only get one or two people in the room
[50:01] Speaker 5: at the time, So you got cats with bagpipes and
[50:04] Speaker 5: horns and all sorts of stuff. Real talk it was
[50:07] Speaker 5: it was a cat that played backpipes. I'm serious as
[50:10] Speaker 5: a heart attack. They had a guy that played the bagpipe.
[50:12] Speaker 5: I don't know what he played on or if he
[50:14] Speaker 5: played on anything, or if they kept it, but it
[50:16] Speaker 5: was definitely a guy that played the bagpipe. That was
[50:19] Speaker 5: in case that was down there as well, and you
[50:21] Speaker 5: know they was in this tiny room. Make it magic
[50:25] Speaker 5: and lo and behold.
[50:26] Speaker 2: Yeah, the roots, the Roots, Roots, the legendary the legendary
[50:31] Speaker 2: Roots Crew, The legendary Roots Crew, which ironically thought.
[50:39] Speaker 5: Partially grew up in my in my neighborhood up in
[50:41] Speaker 5: mine area because I would see him in the playground
[50:44] Speaker 5: or we were like teenagers, you know what I mean.
[50:46] Speaker 5: I would se him in the playground sometimes. Then later on,
[50:49] Speaker 5: you know he was the guy, yeah, the guy with
[50:54] Speaker 5: the rats.
[51:03] Speaker 1: How was it? So Philly? Was there ever like this.
[51:13] Speaker 4: Rivalry in a sense musically with Philly and Detroit because
[51:19] Speaker 4: the Motown sound obviously, and yeah, the soul of Philly
[51:23] Speaker 4: and the thing and like just you think of all
[51:26] Speaker 4: of the great artists, producers, writers, was there.
[51:29] Speaker 1: Like a thing with Philly and no, there was.
[51:32] Speaker 5: Well, talking to Kenny Gamble, it was respect thing because
[51:35] Speaker 5: you got to realize, man like Barry Gordy was the
[51:38] Speaker 5: godfather of infrastructure for all of them, so they respected it.
[51:43] Speaker 5: But they were the ones that got the run. After
[51:47] Speaker 5: Gordy's run started coming down, Philly International got their run.
[51:51] Speaker 5: So they were the first cats to do an album
[51:54] Speaker 5: on the Jackson's post Motown, you know what I mean.
[51:58] Speaker 5: If you look there's an album on C yes, Philly
[52:01] Speaker 5: International that had Enjoyed Yourself and all that.
[52:04] Speaker 1: That's a Philly International record.
[52:06] Speaker 5: So if you listen to that record, right, that record
[52:10] Speaker 5: lent to what Quincy ended up doing on Mike with
[52:15] Speaker 5: a little less Soul. But if you listen to it,
[52:19] Speaker 5: that album was the blueprint.
[52:21] Speaker 2: Yeah wow, yeah, yeah, you know what I'm saying. I'm
[52:25] Speaker 2: hearing the records in my area.
[52:26] Speaker 5: Yeah, that album is the blueprint, man. So and you
[52:29] Speaker 5: look at their run, the theme song for Soul Trained,
[52:31] Speaker 5: and so on and so for the Greatest Love of
[52:33] Speaker 5: All like that Master hits Bro. But the difference between
[52:39] Speaker 5: Kenny Gamble and Leon Huff and Barry was Barry was
[52:43] Speaker 5: about his songs that anybody could do them, where Gamble
[52:47] Speaker 5: and Huff was about this is your record. We're going
[52:51] Speaker 5: to tell him make your suit. So if you listen
[52:53] Speaker 5: to Teddy, he's a player all throughout the album. Yeah,
[52:56] Speaker 5: Lou Ross couldn't do Teddy's records. Phillis Hymen couldn't do
[53:00] Speaker 5: Tyler Bell's records, the OJ's couldn't do the Delphonics records,
[53:03] Speaker 5: and so on and so forth. It was all individual
[53:06] Speaker 5: craftsmanship that happened around each one of these artists because
[53:09] Speaker 5: they like, we want to put who you are to
[53:11] Speaker 5: the world, you know what I mean. So beautiful times, bro, Yeah,
[53:17] Speaker 5: beautiful times a lot, you know sit I mean, look
[53:23] Speaker 5: Usher alone, man, I think I have placed two album titles.
[53:31] Speaker 2: With Usher with here I Stand that rel from Rockefeller wrote.
[53:38] Speaker 5: I remember we were in New York in the studio.
[53:39] Speaker 5: I think it was either Hit Factor of Sony I
[53:42] Speaker 5: called was like, y'all come to the studio. He comes
[53:45] Speaker 5: to the studio with a backpack on. He walks in,
[53:50] Speaker 5: the track is playing. He's like, mike me up. So
[53:53] Speaker 5: he goes into the booth backpack still on, bro and
[53:56] Speaker 5: he freestyled here I stand no shit. When he started
[54:02] Speaker 5: laying out the melody, bro we and there I was like,
[54:04] Speaker 5: this guy just fucking now did it. I'm like, it
[54:11] Speaker 5: came out and we drve you down and now we
[54:14] Speaker 5: just looking at each other like this this joke. It
[54:15] Speaker 5: just killed this record, you know. He cleaned it up eventually,
[54:19] Speaker 5: like it was some clean up that happened, but the
[54:20] Speaker 5: base of that record, Bro, he freestoted that record.
[54:24] Speaker 1: I couldn't believe it.
[54:25] Speaker 5: And then I gave Usher ruin on the last album
[54:31] Speaker 5: by a kid, Phils, that I was doing his album.
[54:34] Speaker 5: That was like my stint into African music. So I
[54:38] Speaker 5: did two Tea with Savages album, two Ta with Savage albums,
[54:41] Speaker 5: and a Phils project. So during the time, Phil is
[54:46] Speaker 5: also one of the top producers in Nigeria. So you know,
[54:50] Speaker 5: I had Usher was doing Global Citizens and he was
[54:57] Speaker 5: telling me about how what they were doing, and I
[55:00] Speaker 5: was like, you can't go to Africa with that plan.
[55:04] Speaker 5: I'm like, if you go there, like you got to
[55:06] Speaker 5: get entrenched in the culture, Like you can't go and
[55:08] Speaker 5: go to the schools that aren't making it'll go in poverty.
[55:11] Speaker 5: And it said was like, you got to go to
[55:12] Speaker 5: the culture. So I ended up making some phone calls
[55:16] Speaker 5: to make sure that there was room set up for him.
[55:19] Speaker 1: To meet all the creatives of Africa.
[55:22] Speaker 5: And then also I put the artists on the stage
[55:26] Speaker 5: that he should have on the stage. So it was
[55:28] Speaker 5: Tea with Savage, it was ox Slade and it was Phills.
[55:32] Speaker 5: Ox Slade and Phills was two new artists and Tea
[55:35] Speaker 5: was Savage. At that time, she was like the young
[55:37] Speaker 5: queen of Africa, especially Nigeria. And the guys have been overused,
[55:43] Speaker 5: the burner's been used. The cats come in, they want
[55:45] Speaker 5: to get burned, and they want to get ways, they
[55:47] Speaker 5: want to get David. But nobody called at Tiva, you
[55:50] Speaker 5: know what I mean. So put Tea on the stage
[55:51] Speaker 5: as well, and ironically man I was home sick while
[55:58] Speaker 5: I was doing it. I was in bed sick. The
[56:00] Speaker 5: phone calls to get him set up. So by the
[56:04] Speaker 5: time he finished that Global Citizens, You're like, look, man,
[56:07] Speaker 5: you got a footprint, you gotta get a record with them.
[56:11] Speaker 5: It makes sense now for you to do an African record.
[56:14] Speaker 5: So it gave him ruin and that record, Like if
[56:18] Speaker 5: you'd have seen the data on that record, and where
[56:21] Speaker 5: to pick up is because Africa gets Europe first, like
[56:25] Speaker 5: outside of before they get America, they get Europe. So
[56:29] Speaker 5: you get in Germany, you get in France, you getting
[56:31] Speaker 5: this and that and the other London and the data
[56:33] Speaker 5: was like crazy on the other side of the world.
[56:36] Speaker 5: And I remember as a producer called me, he was
[56:38] Speaker 5: like afro beats played out. I'm like, you don't have
[56:43] Speaker 5: no idea what you're talking about, I said, but this
[56:46] Speaker 5: record is smash you know what I mean. And it helped, Yeah,
[56:53] Speaker 5: you know, it helped tremendously. If you just saw the
[56:56] Speaker 5: streams and then the territories, those other records from America
[57:01] Speaker 5: wasn't in those territories the way this record was, right,
[57:04] Speaker 5: you know what I mean, Global record and strategy right,
[57:08] Speaker 5: It's like, you know, every record that was given to
[57:11] Speaker 5: him from us. It was a strategy for growth. It
[57:14] Speaker 5: wasn't about changing them. It was about what wasn't there.
[57:18] Speaker 5: You know, if you look at all the records that
[57:20] Speaker 5: he did with your main what wasn't there was the
[57:23] Speaker 5: records that Dram v Dowd did. If you look after that,
[57:26] Speaker 5: what wasn't there was the records that Feels did, because
[57:30] Speaker 5: did that record and did the record with Berner, the
[57:33] Speaker 5: record that Burner Boys on as well, and I co
[57:35] Speaker 5: wrote that record with Phils.
[57:37] Speaker 4: So yeah, man, I know, you know, I know the
[57:42] Speaker 4: R and B side right, but you know you know me,
[57:45] Speaker 4: I love I love it.
[57:47] Speaker 1: I love the streets street.
[57:49] Speaker 4: So I can't let you be here and not talk
[57:54] Speaker 4: about there was a moment where.
[57:57] Speaker 1: You literally had Eve.
[58:01] Speaker 2: At Roughrider, Eve Beanie Sieg, Beanie Siegel at Rockefeller.
[58:07] Speaker 5: And Philly's most Wanted at Atlantic.
[58:09] Speaker 2: And oh yes, yeah, our company was called Black Friday.
[58:15] Speaker 1: How were you managing that?
[58:18] Speaker 5: Well, it's funny, man, I remember we were We were
[58:23] Speaker 5: before I got Eve off of Dre's label, which that
[58:27] Speaker 5: was mutual, it wasn't really off, which I'll tell you
[58:31] Speaker 5: that story. We were going in the studio, we met
[58:35] Speaker 5: Rough Riders producers Dan Greece and stuff through Mike Lynn,
[58:39] Speaker 5: who was at the time of president for DRE. So
[58:42] Speaker 5: we're getting records from them, but I don't know them, right,
[58:47] Speaker 5: So it's no. One day we're in the studio, man
[58:50] Speaker 5: and DMX comes in the studio. I get there. He's
[58:54] Speaker 5: there already with her in the studio, believe right. So
[59:00] Speaker 5: I get a phone call from the front thatsk clerk. Ironically,
[59:03] Speaker 5: the front that's clerk is Jessica Rivera. That soundtrack studio
[59:08] Speaker 5: Rough Riders is downstairs. Roust Riders wants to.
[59:11] Speaker 1: Talk to you.
[59:12] Speaker 5: So I come in the lobby.
[59:13] Speaker 1: Nobody's there. She says, oh no, they're downstairs.
[59:17] Speaker 5: So I'm like, all right, cool, I go downstairs, like
[59:19] Speaker 5: twenty guys downstairs, Like, you got an artist in the studio.
[59:25] Speaker 5: So it's a little heat, right, you got you got
[59:28] Speaker 5: our artists in the studio, which I didn't know. Dude,
[59:30] Speaker 5: he's chasing Eve. I didn't put him in the studio.
[59:34] Speaker 5: He was there when I got there, and I said, yo, man,
[59:36] Speaker 5: this guy was in there before we got there. I said,
[59:39] Speaker 5: but if you want to come up and hear what
[59:41] Speaker 5: he doing, come on up. Put only two y'all can
[59:46] Speaker 5: come up.
[59:47] Speaker 1: Okay, take off.
[59:47] Speaker 5: We're not taking everybody. So you know, they wasn't comfortable,
[59:51] Speaker 5: they wasn't happy, and you could feel the tension like
[59:54] Speaker 5: they wanted to jump on me. And I'm just I'm
[59:56] Speaker 5: out there. I'm like, man, I'm sitting here with these
[59:58] Speaker 5: cats and they looking at me. I come on food,
[1:00:02] Speaker 5: And the just happened to say where you from? And
[1:00:06] Speaker 5: I said, I'm from Philly. He got on the phone,
[1:00:09] Speaker 5: he called somebody from Philly because long behold, they also
[1:00:12] Speaker 5: a part of their life. They lived in Philly, ironically,
[1:00:16] Speaker 5: two neighborhoods over from me. So they called one of
[1:00:19] Speaker 5: my homies up that they grew up on the block with.
[1:00:23] Speaker 5: And I'm looking at the tone change on the phone
[1:00:28] Speaker 5: and he's like, yo, hold on, and he hands me
[1:00:31] Speaker 5: the phone. It's my man Bernie. He's like, yo, man.
[1:00:35] Speaker 1: He's like, I told some texts that she was a
[1:00:37] Speaker 1: solid dude man, and this that and the other. The
[1:00:39] Speaker 1: pot of die.
[1:00:40] Speaker 5: Hey, my boys, man, we grew up together like that.
[1:00:44] Speaker 5: So the phone call ends, I handle back the phone,
[1:00:48] Speaker 5: I take dn wib stairs. We get cool after that.
[1:00:53] Speaker 5: So you know Dre's trying to like get this aftermath
[1:00:59] Speaker 5: thing together. But at the same time, he's like running
[1:01:01] Speaker 5: out of money a little bit. So Dre and I
[1:01:03] Speaker 5: ended up having a conversation. He said, call Jimmy. So
[1:01:06] Speaker 5: I end up calling Jimmy. Jimmy's like, look, well, let's
[1:01:09] Speaker 5: give you a deal and you can put it on
[1:01:10] Speaker 5: your company. And I was like, nah, I don't have
[1:01:13] Speaker 5: the guys to like do this, like you know what
[1:01:16] Speaker 5: I mean at that time, you needed mail rappers around.
[1:01:19] Speaker 5: It's like, why don't you just let's put it on
[1:01:21] Speaker 5: Rough Riders. He's like, I can't tell them what to do.
[1:01:22] Speaker 5: I just did the deal. I can't let him come
[1:01:25] Speaker 5: in the door. I mean, just tell them what to do.
[1:01:27] Speaker 5: So I said I have a relationship with him. He said, well,
[1:01:29] Speaker 5: you get him to do it, we'll figure it out.
[1:01:31] Speaker 5: So I called here. I was like, yo, you want
[1:01:32] Speaker 5: to eve. He said, man, stop playing. So I play
[1:01:35] Speaker 5: him Like now it's is serious. I said, but you
[1:01:36] Speaker 5: got to answer this question right now because I gotta
[1:01:38] Speaker 5: get Jimmy back on the phone. So he's like, we
[1:01:41] Speaker 5: in So I said, hold on, we called Jimmy. I said, Jimmy,
[1:01:45] Speaker 5: I got Dal on the line. Rough Riders is in,
[1:01:48] Speaker 5: Jimmy again called David Cohen, the same lawyer from earlier.
[1:01:52] Speaker 5: He said, Yo, David, let's do a rollover deal. Let
[1:01:55] Speaker 5: let dre and and rough Riders share Eve put her
[1:01:59] Speaker 5: on rough Riders, and then after that we had to
[1:02:02] Speaker 5: get her to meet the rest of the rappers. So
[1:02:05] Speaker 5: ended up taking her up in the in the pit bulls. Then,
[1:02:09] Speaker 5: so you go into this studio in New York, in
[1:02:11] Speaker 5: this building, Bro up and up in Yonkers. It's dogs
[1:02:15] Speaker 5: in there. I mean you said, I was like literally
[1:02:20] Speaker 5: literally pit bulls in the studio. Bro, it's cats, Like
[1:02:24] Speaker 5: I mean, this is this was like I'm like, man,
[1:02:28] Speaker 5: all right, we gotta go do our thing. I just
[1:02:30] Speaker 5: kept her hyped up the whole way, like you got
[1:02:32] Speaker 5: to kill this. This is the shot. And all the
[1:02:35] Speaker 5: guys after she finished wrapping in the trap with the guys,
[1:02:38] Speaker 5: there was like all of the rappers kissing all the
[1:02:40] Speaker 5: guys that, Yo, this is we need to keep her.
[1:02:44] Speaker 5: So then you know, we switched everything over, move her
[1:02:47] Speaker 5: to New York because at that point she had gotten
[1:02:49] Speaker 5: moved out of LA and back to Philly. She's a
[1:02:52] Speaker 5: little depressed. Get her up there and we move it
[1:02:54] Speaker 5: in New York. Now she like in the thick of it.
[1:02:57] Speaker 5: And you know, then Greece is like, is the one
[1:03:01] Speaker 5: at this time at Rough Riders on the production side,
[1:03:04] Speaker 5: and Swizz is the young buck like Eve. They both
[1:03:07] Speaker 5: so they end up cooking in the room. And this
[1:03:11] Speaker 5: is when Eve's I mean, when Swiss starts just like
[1:03:14] Speaker 5: cutting through with the Rough Riders compilation album and he
[1:03:18] Speaker 5: did jagging my nigga and people don't know that's Eve
[1:03:20] Speaker 5: On jaging my nigga. I didn't know that, Yeah, yeah, yeah, yeah,
[1:03:27] Speaker 5: and lo and behold. Then after that they did what
[1:03:30] Speaker 5: y'all want and he was true and uh yeah, man.
[1:03:38] Speaker 5: So then it was time to like grow the company
[1:03:42] Speaker 5: a bit because we had you know, Beans on on
[1:03:47] Speaker 5: Rockefeller and Beans got on that label freestyling.
[1:03:52] Speaker 1: He didn't have any demos.
[1:03:54] Speaker 5: Ironically, none of our artists, none of the rappers had
[1:03:58] Speaker 5: demos to get their deals. Eve rapped for Mike Lynn
[1:04:01] Speaker 5: in my mother's living room to a beat tape, Beans
[1:04:06] Speaker 5: wrapped in the studio for Jay in New York Phillies
[1:04:10] Speaker 5: most wanted rapped for Risk Christina and in New York
[1:04:14] Speaker 5: at Atlantic. I wasn't managing them at the time as
[1:04:17] Speaker 5: a guy by the name is Stevie g'es that was
[1:04:19] Speaker 5: managing them. But we shot the deal, and you know,
[1:04:25] Speaker 5: and what people don't know is that the first like
[1:04:28] Speaker 5: probably full album that the Neptunes did was on Phillis.
[1:04:35] Speaker 1: Yeah.
[1:04:36] Speaker 5: Yeah, And you know, I think Buboniic like was such
[1:04:41] Speaker 5: an incredible MC. You know, I think like the j
[1:04:45] Speaker 5: and a few other cats that rapped street rap learned
[1:04:48] Speaker 5: what to do to Pharrell's music off of Bubonic, off
[1:04:54] Speaker 5: of Phillies most wanted because they had a full body
[1:04:56] Speaker 5: of work. And it's it's these street records, like you
[1:04:59] Speaker 5: know what I mean, it's Sila Street Records hits too.
[1:05:01] Speaker 5: But so we had please Don't Mind That record took
[1:05:04] Speaker 5: off and these guys that we got them out on
[1:05:07] Speaker 5: tour with uh cash money and a few other folks.
[1:05:11] Speaker 5: They probably was like some of the first rappers to
[1:05:13] Speaker 5: do south By Southwest because they hit rhythmic crossover radio
[1:05:18] Speaker 5: before they got Irban. It was all right, It was
[1:05:21] Speaker 5: weird how it happened, and you know, and then Beans
[1:05:25] Speaker 5: and then we had the Beefs that was happening. So
[1:05:29] Speaker 5: I got an artist on both labels. I got Eve
[1:05:31] Speaker 5: at Rocket at Roughriders.
[1:05:33] Speaker 1: Beans and those two labels on at the time, not
[1:05:36] Speaker 1: sing out of I.
[1:05:38] Speaker 5: You know, I remember we had the you know, I
[1:05:40] Speaker 5: remember rough Riders cleared Eve for Beans and then Rockefeller
[1:05:46] Speaker 5: didn't want to clear Eve, I mean Beans for Eve.
[1:05:52] Speaker 5: So we end up having to have a meeting. I'm like, yo, bro,
[1:05:54] Speaker 5: we all got to talk because we don't have nothing
[1:05:56] Speaker 5: to do with y'all problem. So I remember it was
[1:05:59] Speaker 5: my self, d why this guy Boondo on the rough
[1:06:05] Speaker 5: Rider side, and it was Dane and Big on the
[1:06:08] Speaker 5: other side, and we met up uptown in New York
[1:06:12] Speaker 5: on the corner and we talked it out.
[1:06:14] Speaker 1: It's like, we don't have anything to do with y'all problem.
[1:06:18] Speaker 5: These two artists were Philly, they both our artists, and
[1:06:21] Speaker 5: y'all can't include us in whatever y'all got going on.
[1:06:24] Speaker 5: You can't include my artists in that. And got it
[1:06:28] Speaker 5: cleared and that became the Philly Philly Record, you know. Yeah, man.
[1:06:33] Speaker 5: So it's been a lot of twists and turns and
[1:06:35] Speaker 5: magics and streets and this that and the other. And
[1:06:38] Speaker 5: the reason why even the beans and kiss stuff never
[1:06:43] Speaker 5: like elevated because I was in between with the relationship
[1:06:47] Speaker 5: with rough Riders.
[1:06:49] Speaker 2: You know.
[1:06:49] Speaker 5: I remember they had Beans had to do something in Harlem,
[1:06:53] Speaker 5: and I got a phone call. They had Beans surrounded,
[1:06:55] Speaker 5: and I got a phone call because you know, Beans
[1:06:57] Speaker 5: was rough on New York and they had this surround.
[1:07:00] Speaker 5: They thought it's coming up on some you know, some
[1:07:03] Speaker 5: dumb stuff because that was like rough Riuters territory. And
[1:07:06] Speaker 5: I was like, nah, bro, he up there to do
[1:07:08] Speaker 5: a shoot him back? And I call it being as
[1:07:10] Speaker 5: I said, Yo, be careful because they all wrapped around
[1:07:14] Speaker 5: the territory.
[1:07:15] Speaker 1: Just do what you gotta do and get.
[1:07:16] Speaker 5: Out, you know, And he did, you know, But yeah, man,
[1:07:22] Speaker 5: but it's just you know, we were able to keep
[1:07:24] Speaker 5: the peace and just allowed to be friendly competition, you know,
[1:07:30] Speaker 5: instead of turning into what it could have been.
[1:07:40] Speaker 1: Did you did you prefer or do you prefer.
[1:07:45] Speaker 4: In the label or outside of the label, Because you've
[1:07:48] Speaker 4: had you know, you've been general manager of Motown and
[1:07:51] Speaker 4: our Atlantic, like you've worked at different at different labels,
[1:07:55] Speaker 4: but then you also have had you know, your companies
[1:07:57] Speaker 4: like Friday.
[1:07:58] Speaker 5: You know what I mean. I enjoyed my freedom right,
[1:08:01] Speaker 5: but at the same time, I feel like the systems
[1:08:05] Speaker 5: need a bit of entrepreneurial expertise. In partnership that can
[1:08:12] Speaker 5: help them with different things. Right, So consulting could be good, right,
[1:08:18] Speaker 5: but not going back in like full time. I feel
[1:08:21] Speaker 5: like it's a bit of a handcuff, you know what
[1:08:23] Speaker 5: I mean. And you know, I'm used to owning my stuff,
[1:08:27] Speaker 5: so it's a different story when you don't own it,
[1:08:30] Speaker 5: and then you got to listen to so many different
[1:08:33] Speaker 5: people's perspectives and ideas on what they see or deem
[1:08:37] Speaker 5: as the win and all of that kind of stuff,
[1:08:39] Speaker 5: you know. So I like the freedom, but I would
[1:08:43] Speaker 5: love to always consult the executives, you know, and some
[1:08:48] Speaker 5: of the managers and stuff like that, resources and whatever
[1:08:52] Speaker 5: it takes to help them win, whether it's business development
[1:08:54] Speaker 5: stuff or its records.
[1:08:55] Speaker 1: You know what I mean. So what's next for you?
[1:08:59] Speaker 5: Man? I'm thinking through it now, to be honest, you
[1:09:03] Speaker 5: know what I mean. I have plans that I just
[1:09:05] Speaker 5: at this point I don't want to discuss, okay, you know,
[1:09:08] Speaker 5: to be honest, it's lining up really well. But you know,
[1:09:14] Speaker 5: I was taught to talk about it when it's done,
[1:09:17] Speaker 5: you know. But I am putting a book out, which
[1:09:20] Speaker 5: I ironically I just got the feedback from Amazon today.
[1:09:26] Speaker 5: I got to read the final manuscripts on the plane tonight.
[1:09:29] Speaker 5: But it's called the Invisible Architects, and it's about just that, right,
[1:09:33] Speaker 5: the people that are kind of been in the shadows,
[1:09:36] Speaker 5: holding like the business down in various different ways, whether
[1:09:40] Speaker 5: it was the gambling hubs or the Garrig Gordy's, and this,
[1:09:44] Speaker 5: that and the others. Like these folks that these tools
[1:09:48] Speaker 5: and these skill sets that need to be reapplied to
[1:09:51] Speaker 5: the business. And I kind of got a breakdown from
[1:09:55] Speaker 5: the days at Motown really looking at what could make
[1:10:00] Speaker 5: these businesses better and what hinders the businesses. And it's
[1:10:06] Speaker 5: just kind of giving a blueprint that if somebody was
[1:10:08] Speaker 5: in this opportunity, how they should really see the parts
[1:10:13] Speaker 5: coming together and you know, what they should actually.
[1:10:17] Speaker 1: Do with the parts.
[1:10:18] Speaker 5: So it's not necessarily my story. It's like an infrastructure layout.
[1:10:23] Speaker 5: It's very short. I feel like people don't have long
[1:10:27] Speaker 5: attention span to learn reading, so I kept it down
[1:10:30] Speaker 5: to fifty pages, ten chapters, and that's the first book,
[1:10:35] Speaker 5: and then the next one is going to be the
[1:10:37] Speaker 5: story of you know, the real story of kind of
[1:10:40] Speaker 5: stuff that we talked about today and even stuff that
[1:10:44] Speaker 5: we miss because you can't get a fit at all
[1:10:46] Speaker 5: inside of this because there's executives that I put in place,
[1:10:49] Speaker 5: you know, there's managers that are put in place, like
[1:10:54] Speaker 5: you know, so it's I want to really talk about
[1:10:58] Speaker 5: the journey way, but where I actually own it. Yeah,
[1:11:03] Speaker 5: you know what I mean. It's like certain stuff you
[1:11:06] Speaker 5: just don't give away. You got to own it so
[1:11:09] Speaker 5: people can really understand the impact that you put into
[1:11:12] Speaker 5: this business and the passion that you put into it.
[1:11:15] Speaker 5: So you know, the one thing that I say about
[1:11:18] Speaker 5: the executives now, and ironically I hate to say it,
[1:11:22] Speaker 5: but it's like the black executives, a lot of them
[1:11:24] Speaker 5: have terrible phone habits. You know, they're calling response is
[1:11:30] Speaker 5: not the way it should be, you know, when it
[1:11:33] Speaker 5: comes to help and resources. I think a lot of
[1:11:37] Speaker 5: them feel like they have it. Whatever executives in the
[1:11:40] Speaker 5: past they didn't feel like they had it. They felt like,
[1:11:45] Speaker 5: if you call them, I want to know what you
[1:11:46] Speaker 5: feel like, you're not. And I feel like now they
[1:11:49] Speaker 5: feel like they got it, and I feel like it's
[1:11:52] Speaker 5: the easiest way to either get you booted out, you know,
[1:11:57] Speaker 5: because that's not the you think it's the safer out,
[1:11:59] Speaker 5: but it's not. You know, just kind of sitting back
[1:12:02] Speaker 5: standing on this thing and not taking any risk or this,
[1:12:07] Speaker 5: that and the other. The best thing that you could
[1:12:08] Speaker 5: do is get with some vets and match those those
[1:12:12] Speaker 5: wits up, just like vesity to get with young people,
[1:12:15] Speaker 5: match those wits up. It's like there's no lineage inside
[1:12:20] Speaker 5: of the mechanism that we see that is working. But
[1:12:23] Speaker 5: we're watching it with other genres. We see African music,
[1:12:28] Speaker 5: those guys they still in it. Platinos they still in it,
[1:12:32] Speaker 5: and so on and so forth. They're still in it.
[1:12:34] Speaker 5: We're here, We're like, we're like this when it should
[1:12:38] Speaker 5: be more together because there's information that everybody could share
[1:12:42] Speaker 5: that can ultimately make this system like consistently crank with quality.
[1:12:48] Speaker 5: So you just need to get back to it. You know,
[1:12:51] Speaker 5: I'm waiting to see, you know, who's going to invite
[1:12:55] Speaker 5: that kind of energy in. You know, I'm excited to
[1:12:58] Speaker 5: see Ethiopia back in the saddle, you know what I mean.
[1:13:01] Speaker 5: So you know, whatever help she needs, we're gonna give
[1:13:05] Speaker 5: it to her. We want to see her win, you
[1:13:07] Speaker 5: know what I mean. You know, she gambled on QC
[1:13:11] Speaker 5: early and they had a heck of a run, and
[1:13:14] Speaker 5: look where they ended.
[1:13:14] Speaker 1: Up.
[1:13:15] Speaker 5: So it's like now it's like, you know, how do
[1:13:17] Speaker 5: you pour into her? You know, I don't want a gig,
[1:13:21] Speaker 5: but I would definitely consult, you know what I mean?
[1:13:24] Speaker 5: Those wins. I just want to see people win, bro,
[1:13:27] Speaker 5: And I want to see the music in the environment
[1:13:29] Speaker 5: get better. You know, we can't just be you know,
[1:13:32] Speaker 5: you look at rap. They got us killers and hoes.
[1:13:37] Speaker 5: It's too much, you know, it has no balance, Bro,
[1:13:40] Speaker 5: It's like, what's the family listening to?
[1:13:44] Speaker 2: You know?
[1:13:44] Speaker 5: Now I'm watching people with little babies, two three four
[1:13:47] Speaker 5: year old babies with stacks of money in their hands
[1:13:49] Speaker 5: and chains on and stuff like that. I'm like, okay,
[1:13:52] Speaker 5: well if you have this now, what will you appreciate
[1:13:55] Speaker 5: when you're twenty one, when you're out on your own?
[1:13:58] Speaker 5: And what if that can't come? Then now you're going
[1:14:02] Speaker 5: to be going in the wrong direction. This is where
[1:14:05] Speaker 5: you end up depressed on drugs, in jail, this, that
[1:14:07] Speaker 5: and the other. There's a time and the place for everything,
[1:14:11] Speaker 5: and I just don't feel like that is the place
[1:14:13] Speaker 5: for children, you.
[1:14:15] Speaker 1: Know what I mean?
[1:14:15] Speaker 5: I don't feel like the language is the place. Know nothing,
[1:14:18] Speaker 5: And we got to tighten up. We got to tighten up, bro,
[1:14:22] Speaker 5: because R and B music, black music has always led
[1:14:28] Speaker 5: the way for every genre. The flavors come off of
[1:14:31] Speaker 5: that influence, whether it's rock and roll, whether it's jazz,
[1:14:34] Speaker 5: hip hop, whatever, and right now it's not at that
[1:14:38] Speaker 5: place and it's gotta get back. That's why a champion
[1:14:42] Speaker 5: the leons, he wants to be great and he's parting
[1:14:47] Speaker 5: of them, bro, you know, going to the shows and
[1:14:50] Speaker 5: watching the shows, just watching his kids, just like Craank
[1:14:54] Speaker 5: night after night and he's singing, sanging, actually singing, he sang.
[1:15:00] Speaker 5: So you know, look, man, it's a I don't think
[1:15:05] Speaker 5: it's at a loss, but I just feel like, you know,
[1:15:10] Speaker 5: people need to work more together to get it together,
[1:15:13] Speaker 5: you know, and if that happens, because it's not like
[1:15:17] Speaker 5: it's not talent out here. I think that there's a
[1:15:20] Speaker 5: lack of skill sets to see real talent. And I'm
[1:15:27] Speaker 5: watching people grab singers that they can sing, but they're
[1:15:30] Speaker 5: not stars. And we know that, like not always. It's
[1:15:34] Speaker 5: the greatest singers, the ones that make it over singing
[1:15:38] Speaker 5: and how many runs you can do, Man, this is
[1:15:41] Speaker 5: about a ton of story, you know. You know that
[1:15:44] Speaker 5: as a singer, it's like you could run if you want,
[1:15:47] Speaker 5: but you know, you got to tell that story. I
[1:15:50] Speaker 5: got to save all that extra candy for this place
[1:15:52] Speaker 5: in that place orful live, but not throughout the song.
[1:15:57] Speaker 5: And I'm listening to people misplaced runs. You know, they
[1:16:01] Speaker 5: got them in places that Oh you just thought that
[1:16:03] Speaker 5: that would be cool right there, So you said, hold up,
[1:16:07] Speaker 5: punch that in. Let me hit that. You just like
[1:16:11] Speaker 5: didn't feel it, you know.
[1:16:13] Speaker 1: So it's it's it's some cool It's some cool talent, man,
[1:16:16] Speaker 1: some cool talent. I want.
[1:16:18] Speaker 4: I want to say, man, thank you for for pouring
[1:16:21] Speaker 4: in us like Tanking and I have both known you
[1:16:24] Speaker 4: for two decades. But that's not always a thing that
[1:16:31] Speaker 4: a lot of executives do, you know what I mean?
[1:16:34] Speaker 4: Like but I just saying it as like, oh yeah,
[1:16:36] Speaker 4: you're my guys, but a lot of people are people's
[1:16:39] Speaker 4: guys and they still don't pour in.
[1:16:40] Speaker 5: But I mean, but you know what though, man, to
[1:16:42] Speaker 5: be honest with you, man, I never bought into me
[1:16:46] Speaker 5: being like this music business person like this is this
[1:16:51] Speaker 5: just happened to be what I love to do. But
[1:16:53] Speaker 5: if you notice Jay Tank two, you've never seen me
[1:16:56] Speaker 5: in parties and this, that and the other.
[1:16:59] Speaker 1: What I got to do. I go home.
[1:17:01] Speaker 5: All of the other stuff, man, is the distraction from
[1:17:04] Speaker 5: learning and studying what you're doing to be great? Like,
[1:17:08] Speaker 5: it's not about how popular you are, it's how great
[1:17:11] Speaker 5: you are. And it's also about you, know, what have
[1:17:15] Speaker 5: you done as a service. Everybody can eat on their own,
[1:17:19] Speaker 5: everybody can do for themselves, but like, have you put
[1:17:22] Speaker 5: yourself as you've gained in this business, have you also
[1:17:26] Speaker 5: put yourself out there as a service to others? That's
[1:17:30] Speaker 5: the key anybody could do for yourself. You gain bro
[1:17:36] Speaker 5: by dropping debt here. I can drop debt over here
[1:17:39] Speaker 5: knowing that he gonna pay it off when you get
[1:17:42] Speaker 5: on the stage, when you're getting the studio, I could
[1:17:44] Speaker 5: drop that here and I know you're going to work
[1:17:47] Speaker 5: to get it done. A lot of times the debt
[1:17:49] Speaker 5: is being dropped in the wrong places because people don't
[1:17:54] Speaker 5: have great choices, or they got some more weird other
[1:17:58] Speaker 5: things going on in their mind, and that they want
[1:18:00] Speaker 5: to take over people. I don't want to take over nobody, bro.
[1:18:03] Speaker 5: I don't want your credit, I don't want nothing. I
[1:18:07] Speaker 5: just want you to be good.
[1:18:09] Speaker 1: That's it. We've been knowing each other a long time.
[1:18:11] Speaker 5: I never stepped you be like, yo, man, Jay, let
[1:18:13] Speaker 5: me manage you. I never hit you, joke. Let me
[1:18:15] Speaker 5: manage you for what it's just messy. Just be a
[1:18:20] Speaker 5: part of the community, bro, and serve.
[1:18:22] Speaker 1: That's it.
[1:18:23] Speaker 5: Everything else is chump stuff, man, real chump stuff.
[1:18:29] Speaker 1: Bro.
[1:18:29] Speaker 5: So you know coming back, you know, coming back to
[1:18:35] Speaker 5: Motown leaving the business for ten years, bro, Well, coming
[1:18:40] Speaker 5: to Motown after leaving the business for ten years, it's
[1:18:43] Speaker 5: like going back to your old neighborhood after you left
[1:18:48] Speaker 5: and you came back, it's been completely gentrified and rearranged,
[1:18:53] Speaker 5: and you're like that, what happened to this cookie store?
[1:18:56] Speaker 5: Things that made this thing great? It's no longer there.
[1:19:00] Speaker 5: Everybody is a star, so it's.
[1:19:03] Speaker 1: Like, how you a star?
[1:19:05] Speaker 5: You ain't making nothing even the way the stars. Everybody's
[1:19:09] Speaker 5: in the way of stars. Everybody's an influencer. The executives
[1:19:14] Speaker 5: are influencers, this, that and the other. It's okay, if
[1:19:17] Speaker 5: you got so much attention on how to make your image,
[1:19:20] Speaker 5: how much energy are you putting into these artists. I
[1:19:25] Speaker 5: see more pictures of you on your socials than I
[1:19:27] Speaker 5: do of artists that you're working on. I see you
[1:19:30] Speaker 5: with these titles, but I don't see the work that
[1:19:35] Speaker 5: got you there. I can't see you worked on this, this, this,
[1:19:38] Speaker 5: and this. Now I see why you're there. These are
[1:19:42] Speaker 5: like social credits. Yeah, and it's sad to say, but
[1:19:46] Speaker 5: it's true. Before I got the first gig, bro, I
[1:19:51] Speaker 5: landed some real records and set some careers up where
[1:19:55] Speaker 5: people looking like, Yo, this dude is on the South.
[1:19:57] Speaker 5: You know what I'm saying.
[1:19:58] Speaker 1: Now, I'm not looking at that onto something thing. We
[1:20:02] Speaker 1: got to get back to that. It can't salute it.
[1:20:07] Speaker 1: It's bad. Bro.
[1:20:08] Speaker 5: You look around, You're like, Okay, it can't be this.
[1:20:10] Speaker 5: Many people claim that they're doing this stuff and we're
[1:20:13] Speaker 5: here versus here. Before it was less people doing it,
[1:20:17] Speaker 5: more success success. Now it's more people doing it's less success.
[1:20:22] Speaker 5: It's like it's a playground. Gotta get rid of the playground.
[1:20:29] Speaker 5: Get back to the work, get back to the stars,
[1:20:31] Speaker 5: get back to quality music, get back to the real songwriting.
[1:20:43] Speaker 5: It's AI stuff that I'm hearing people talk about ain't
[1:20:46] Speaker 5: go outright, no human being, Bro, you can hear it.
[1:20:51] Speaker 1: I have people sending me AI saws. I call them back.
[1:20:53] Speaker 1: Somebody sent me one today. I said, hell, you did
[1:20:55] Speaker 1: that on AI huh So, how'd you know?
[1:20:57] Speaker 5: It's because it has no soul. It's nothing there. I
[1:21:00] Speaker 5: can feel it, and it does certain things. It takes
[1:21:03] Speaker 5: certain routes, it does certain things consistently, no matter the
[1:21:08] Speaker 5: drawing that you listen, just like, yeah, you ain't even
[1:21:12] Speaker 5: go in once you got the sauce from it. At
[1:21:15] Speaker 5: least go in and tweak it to make it something
[1:21:17] Speaker 5: like you're settling in on this because you think you
[1:21:21] Speaker 5: got one. It's like it ain't one.
[1:21:24] Speaker 1: I tell the guy today, I'm like, Okay, I hear
[1:21:26] Speaker 1: this right here.
[1:21:27] Speaker 5: But where's the hook? This feels like the pre hook.
[1:21:32] Speaker 1: But where's the.
[1:21:35] Speaker 5: You know what I'm saying, It wasn't there. He was like,
[1:21:37] Speaker 5: I never even thought about it like that. I said, Wow,
[1:21:40] Speaker 5: very interesting.
[1:21:41] Speaker 1: That you did it. Then the computer do all the thinking.
[1:21:44] Speaker 1: Huh man.
[1:21:47] Speaker 5: I like the oven, bro. Yeah, that microwave ain't cool.
[1:21:53] Speaker 5: I can go to the bathroom, come back. That food
[1:21:55] Speaker 5: for the microwave be cold. Yeah, I could go wash
[1:21:58] Speaker 5: my car and run to the story real quick. Yeah
[1:22:03] Speaker 5: that other food still at least gonna be warm. Ye, yes,
[1:22:06] Speaker 5: got to get back to that.
[1:22:07] Speaker 1: Yeah, so you know I love it. That's my story, bro,
[1:22:12] Speaker 1: I'm sticking to it. I like your story, brother, I
[1:22:16] Speaker 1: like that we're part of it, bro.
[1:22:18] Speaker 5: Yeah percent. But y'all worked at it though, man, Like,
[1:22:21] Speaker 5: you can't be in it this long and not have
[1:22:25] Speaker 5: done the work, right. That's where we come from, you know. Yeah,
[1:22:29] Speaker 5: that is our why, that is our reason. Yeah, you
[1:22:32] Speaker 5: know see what I'm saying, like and and and ultimately
[1:22:35] Speaker 5: you know there is a sept there will be a separation.
[1:22:40] Speaker 5: Like you you you see the artists who are really
[1:22:44] Speaker 5: what they say they are. Oh yeah, what they do
[1:22:48] Speaker 5: and the way they do it. Yeah, I mean, look,
[1:22:50] Speaker 5: Bruno is like a crazy example that right where people
[1:22:54] Speaker 5: are like, yeah, just keep putting up music every year,
[1:22:57] Speaker 5: how many to a year?
[1:22:58] Speaker 1: And this, that and the other.
[1:22:59] Speaker 5: It's like, man, I ain't nothing to blowout if you
[1:23:03] Speaker 5: put quality out. This guy proved that you can take
[1:23:07] Speaker 5: off eight years i think ten years without the project
[1:23:10] Speaker 5: and come back and they're waiting for you. But what's
[1:23:13] Speaker 5: even crazier is that he's doing larger venues than he
[1:23:16] Speaker 5: did before that, and he's taking us waiting.
[1:23:20] Speaker 1: Come on, man, Leon, come on Victoria. Yeah, man, yeah,
[1:23:24] Speaker 1: the people, man, Ray.
[1:23:26] Speaker 5: Come on, Yeah, it's happening. Yeah, it's happening. So that's
[1:23:31] Speaker 5: the quality we speak of that again, that it should
[1:23:35] Speaker 5: be should be notes, should be taken. Well, I'm hoping
[1:23:38] Speaker 5: copycat culture makes people look at these examples and say, wow,
[1:23:42] Speaker 5: I got to step it up because it is copycat
[1:23:45] Speaker 5: culture right now of course. So you know, we'll see, Yeah,
[1:23:49] Speaker 5: we'll see, we'll see. I'm waiting.
[1:23:51] Speaker 4: I know what they can't copycat tanking this damn Cassio,
[1:23:54] Speaker 4: that's what they can't copy cat. Yeah, I say, you
[1:24:00] Speaker 4: know what, they heard some little hate about your your
[1:24:04] Speaker 4: keyboard lately.
[1:24:05] Speaker 1: Man, there's been people that's just been you know, maybe
[1:24:07] Speaker 1: in the comments they talking about your little keyboard. I said,
[1:24:10] Speaker 1: let my guy be great man with those sep keys, Dad,
[1:24:14] Speaker 1: go ahead and take this out.
[1:24:16] Speaker 2: If they can beat me, beat me, you know what
[1:24:20] Speaker 2: I'm saying, saying, they can't beat you. Chance, if they
[1:24:22] Speaker 2: can beat me, they can't beat you. Chaning the Casio.
[1:24:26] Speaker 2: It's like my like my brother Mark said, I'm just
[1:24:30] Speaker 2: trying to be.
[1:24:30] Speaker 1: Of service, me and Casio. Uncle Mark.
[1:24:40] Speaker 2: I'm gonna attempt something after Long Vegas weekend with what
[1:24:48] Speaker 2: little vocal I have left. But I'm not gonna let
[1:24:51] Speaker 2: you leave here.
[1:24:52] Speaker 1: We're around there say septeenth ding no sleep, no sleep.
[1:24:56] Speaker 5: No sleep. We we.
[1:25:03] Speaker 1: The time. If you get an opportunity to let the
[1:25:04] Speaker 1: people know, we're gonna let him know you. You're mm
[1:25:12] Speaker 1: hmm you got top five, your top five?
[1:25:22] Speaker 3: Yeah five, you're top fellow beasing are and these songs.
[1:25:37] Speaker 5: We got to know?
[1:25:39] Speaker 1: Thought you going around this show for nobody?
[1:25:43] Speaker 2: Want to know.
[1:25:47] Speaker 1: Everybody else?
[1:25:50] Speaker 2: Right?
[1:25:52] Speaker 1: No? You top five? H should I say Stevie your
[1:26:28] Speaker 1: top five?
[1:26:30] Speaker 5: I'm giving you R and B singers Top five R
[1:26:34] Speaker 5: and B singer Let's go. Let's go Stevie, Teddy Pendergrass,
[1:26:39] Speaker 5: Gladys Knight, Shaka Khan and ironically, man, I really love
[1:26:49] Speaker 5: Maurice White.
[1:26:51] Speaker 1: What do you mean ironic?
[1:26:52] Speaker 5: Really? Like you know, I really love like most time
[1:26:56] Speaker 5: people picked like these solo singers, right, but like Maurice
[1:27:01] Speaker 5: was cold and just what he was singing about.
[1:27:04] Speaker 1: Man, it's some people have voices like that just define
[1:27:10] Speaker 1: generations in a sense.
[1:27:11] Speaker 2: It's he's one of those. It's a voice, well, man,
[1:27:15] Speaker 2: it's just a voice in itself.
[1:27:18] Speaker 1: Is just the gift. You don't have to do a
[1:27:21] Speaker 1: whole bunch of nothing, not a whole bunch just as
[1:27:23] Speaker 1: soon as you hear that voice.
[1:27:25] Speaker 2: Yeah, there we go now Mary's Rights be cruising. Now
[1:27:28] Speaker 2: we just cruising. We're there now yeah yeah, and Gladys
[1:27:33] Speaker 2: like I love that you named artists that that recorded
[1:27:39] Speaker 2: records from top to bottom.
[1:27:43] Speaker 1: Mm hmm. These are no punches, no punches, no pro tools.
[1:27:48] Speaker 1: This ain't no pro so when you see him live,
[1:27:51] Speaker 1: they sound exactly like the record. Man.
[1:27:52] Speaker 5: Listen, bro, you hear Gladys singing one of us.
[1:27:56] Speaker 1: Bro. Come on, man, come on.
[1:27:59] Speaker 2: I worked on song We're Gladys when my very first
[1:28:02] Speaker 2: opportunities to produce and write for Gladys knight.
[1:28:06] Speaker 5: Wow.
[1:28:07] Speaker 2: And I watched that woman sing. I let's watch she
[1:28:11] Speaker 2: listened to the song for about twenty gonna repeat send
[1:28:15] Speaker 2: in the back of all right, all right, I'm ready.
[1:28:20] Speaker 2: She went in that booth top two bottom, and I'm
[1:28:28] Speaker 2: talking perfection. I'm talking perfection.
[1:28:33] Speaker 1: Bro.
[1:28:35] Speaker 5: I know you're telling me.
[1:28:36] Speaker 1: I get it. My desire to try and produce her
[1:28:43] Speaker 1: my only the only thing. My only critique was I
[1:28:49] Speaker 1: just need another one. Yeah, that's it. Let me get
[1:28:54] Speaker 1: back your hair again.
[1:28:56] Speaker 2: Let me just yeah, just do one more track? Please, please,
[1:29:02] Speaker 2: actually pretty please? Come on, man, I get it.
[1:29:06] Speaker 1: That was the first time I've ever seen that done
[1:29:09] Speaker 1: and it made me want to do that.
[1:29:13] Speaker 5: Yeah, I've got a couple. I know you mentioned. I
[1:29:18] Speaker 5: know you mentioned songs too, songs. Yet I'm wont to
[1:29:23] Speaker 5: stay at that five okay because we could go all
[1:29:27] Speaker 5: into that and you want to get the songs. Okay, songs,
[1:29:31] Speaker 5: your top five R and B songs. Let's go, man,
[1:29:34] Speaker 5: I don't know if I can go in five. Well, yeah,
[1:29:37] Speaker 5: I think I like After the Love Is Gone. It's incredible,
[1:29:43] Speaker 5: incredible as Stevie's incredible, incredible. I like my favorite record
[1:29:49] Speaker 5: actually is Wonderful World.
[1:29:52] Speaker 1: Mm hmm. It's my favorite record bro all time. Yeah,
[1:29:57] Speaker 1: that's my favorite record.
[1:29:58] Speaker 5: Bro, funny man because you know, I guess because it
[1:30:03] Speaker 5: was also in Disney when you and a kid, and
[1:30:06] Speaker 5: this record, bro, just like kind of defines life, you
[1:30:11] Speaker 5: know what I mean. So Wonderful World has always stood out,
[1:30:15] Speaker 5: you know, to me, just like one of those records
[1:30:19] Speaker 5: that feel like as things progress, like it's really a
[1:30:22] Speaker 5: part of you, you know what I mean? Man, It's
[1:30:28] Speaker 5: a I like the Children record for Marvin gay M
[1:30:40] Speaker 5: big fan of that record. He's in that list, But
[1:30:44] Speaker 5: I like that record.
[1:30:48] Speaker 1: One more.
[1:30:49] Speaker 5: No, Man, I know the Ojys Make Love. M M. Yeah,
[1:30:56] Speaker 5: you know what I'm talking about.
[1:31:00] Speaker 1: Crush that record. He crushed that. Oh, Jason was nasty broh.
[1:31:06] Speaker 5: They man, they trust.
[1:31:09] Speaker 4: Their two voices together, him and Walter bro perfect marriage, unbelievable, perfect,
[1:31:15] Speaker 4: one smooth and one aggressive.
[1:31:16] Speaker 3: Man.
[1:31:18] Speaker 1: I got to question him every night. Yeah, is that
[1:31:21] Speaker 1: the original Casey and Jojo?
[1:31:25] Speaker 5: Might be?
[1:31:26] Speaker 1: Might be? Yeah, you go back listen to that record
[1:31:31] Speaker 1: on your way home because they they definitely stayed in
[1:31:34] Speaker 1: their lane.
[1:31:35] Speaker 5: I tell you that record is gonna be ringing through
[1:31:37] Speaker 5: your car. Yeah, it's nighttime too. The sound really good
[1:31:43] Speaker 5: at night, absolutely, you know what I mean. Just like
[1:31:46] Speaker 5: you know in the East Coast, music sounds extremely good
[1:31:48] Speaker 5: when it's snow on the ground and it's snowing in
[1:31:51] Speaker 5: your car, it's just all boxes muted, you know what
[1:31:54] Speaker 5: I'm saying. It's like your car is like soundproof. Ice
[1:31:58] Speaker 5: to love getting riding and listening to you're sick in
[1:32:00] Speaker 5: the snow, so you didn't have your tip down with
[1:32:02] Speaker 5: a fur No, Teddy, I've never been you know, keep
[1:32:11] Speaker 5: it classic and I've never been one for flash. But
[1:32:13] Speaker 5: he did it. Yeah, he did it.
[1:32:15] Speaker 1: In my next video, top down, it happen. That's a
[1:32:22] Speaker 1: cold scene.
[1:32:23] Speaker 5: I'll be at the studio wherever you're doing the box
[1:32:26] Speaker 5: checking the box of snow down on you.
[1:32:31] Speaker 2: Let's make a voltroying Uncle Mark. Let's make your super
[1:32:35] Speaker 2: R and B artists. Okay, In building your artists, want
[1:32:40] Speaker 2: to know who you're gonna get the vocal from, the
[1:32:43] Speaker 2: performance style, the styling, the passion of the artists, and
[1:32:55] Speaker 2: who's going to produce for that artist and right producing
[1:32:58] Speaker 2: right for that artist. Yeah, wow, I've done a lot
[1:33:01] Speaker 2: to put together, putting it together. Okay, one vocal to
[1:33:04] Speaker 2: make your super R and B artist, one vocal.
[1:33:06] Speaker 1: One vocal. Who's a vocal?
[1:33:15] Speaker 5: Levi's style hm hmm on the fourth times, Yes, that's
[1:33:23] Speaker 5: your I love that, leave us, I love that.
[1:33:26] Speaker 1: I love that. That is a first.
[1:33:28] Speaker 5: There's no there is no heavier voices out here.
[1:33:32] Speaker 4: And le Levi was like, he's a monster. He took
[1:33:36] Speaker 4: on the temptations by itself, by himself. When they had
[1:33:38] Speaker 4: they sang.
[1:33:40] Speaker 5: Just like really really really go back, really really take
[1:33:44] Speaker 5: the time, go back.
[1:33:44] Speaker 2: And Levi like, yeah, you know, I love Levi and
[1:33:50] Speaker 2: I love Felipe went it's just one vocal, It's just
[1:33:55] Speaker 2: one vocals. So We're gonna go with Levi performance style,
[1:33:58] Speaker 2: performance style.
[1:34:01] Speaker 5: On stage, killing the crowd. Sam Cook. Mm hmmm, yeah,
[1:34:12] Speaker 5: Sam Cook, because not everybody could be like the Ushers
[1:34:16] Speaker 5: and the Crises in the in the James Brown's and
[1:34:22] Speaker 5: cats like that, but you can learn to have presence.
[1:34:26] Speaker 5: So yeah, Sam Cook, what's my next one? I feel
[1:34:31] Speaker 5: like you came here in the buick. The styling of
[1:34:38] Speaker 5: the artists, the drip of the artists, drip. I think
[1:34:43] Speaker 5: it could range.
[1:34:44] Speaker 1: Is this a show showtime, showtime, showtime?
[1:34:48] Speaker 5: Yeah, I think it should range. I think they should
[1:34:51] Speaker 5: be a the range from streetwear to being super clean.
[1:34:56] Speaker 1: You know what I mean.
[1:34:56] Speaker 5: You know you're singing the ballad in the sweatsuit.
[1:35:00] Speaker 1: No, put that thing on? Yeah, come back out. What
[1:35:04] Speaker 1: artists do you think has that that that has that range? Styling?
[1:35:09] Speaker 5: And of all time, of all time, Teddy Pendogras was
[1:35:15] Speaker 5: cold right now? I don't know if I see it
[1:35:20] Speaker 5: in full.
[1:35:21] Speaker 2: We're going We're going to Teddy b Yeah, still in
[1:35:25] Speaker 2: our bleab compa.
[1:35:26] Speaker 1: The passion you.
[1:35:27] Speaker 2: Can still ride. It bends with that though. Baby listen,
[1:35:31] Speaker 2: I'm just saying you're going deep into the crates. It
[1:35:35] Speaker 2: wasn't it you know Benzes wasn't going crazy. You got
[1:35:38] Speaker 2: to our neighborhood.
[1:35:39] Speaker 5: You gotta know where you came from to know where
[1:35:43] Speaker 5: you're so I feel like people not going far back
[1:35:46] Speaker 5: in there to that.
[1:35:49] Speaker 2: Yeah, that's why, that's why I wanted to put you
[1:35:51] Speaker 2: in the Buick or you know it's a big body Cadillac.
[1:35:54] Speaker 1: I'm saying, yeah, the white baby blue white gud there
[1:36:05] Speaker 1: you go right there.
[1:36:08] Speaker 5: My pop had my hogging the fleetwood bro bro we
[1:36:13] Speaker 5: call it bro Ham with with with the with the
[1:36:16] Speaker 5: with tires white white, yeah, clean. I wish I missed.
[1:36:24] Speaker 2: I know the passion of the artist who mean it?
[1:36:28] Speaker 2: James Brown, easy and that's sweat, no sweat that that
[1:36:32] Speaker 2: that thing. I ain't gonna get up on that thing. Yeah,
[1:36:37] Speaker 2: that's what you want to do with there. You want
[1:36:39] Speaker 2: to get up on that thing.
[1:36:41] Speaker 1: You got to do it. That's that's it for me,
[1:36:44] Speaker 1: all James All. And what producer you're gonna put this
[1:36:48] Speaker 1: producer writer combo to work with this artist.
[1:36:52] Speaker 5: Producer writer combo.
[1:36:53] Speaker 1: Yep, wow, is you good at that? Mm hmm.
[1:37:02] Speaker 5: I will put a few writers in the producer. I
[1:37:14] Speaker 5: would take the lead of gambling huff, but I would
[1:37:17] Speaker 5: put the dramve dials under him, like Camp wise, I
[1:37:23] Speaker 5: would put I like the kid that that does Lucky Day.
[1:37:30] Speaker 5: What's his name he did Lucky Day? I think he
[1:37:32] Speaker 5: did Bruno two uhh, I mean I know Philip Lawrence.
[1:37:37] Speaker 5: That's Bruno, not camp What's he did Lucky's first album? Yes, yes, yeah, yes, yes, yeah,
[1:37:47] Speaker 5: because you know is because I want the arc to
[1:37:55] Speaker 5: be able to be there when you've got the tempo,
[1:37:58] Speaker 5: you got, the madge you got, but it all feel
[1:38:00] Speaker 5: like it belong together. So I would I would let
[1:38:03] Speaker 5: that be like the crew. Yeah you know what I'm
[1:38:06] Speaker 5: saying that that could run the gamut.
[1:38:08] Speaker 1: I like to we put that together.
[1:38:10] Speaker 5: Yeah, writers, man, babyface Leon I would use as a writer.
[1:38:28] Speaker 5: Then to create I would use as a writer.
[1:38:31] Speaker 2: Yeah.
[1:38:38] Speaker 5: And this could be controversial, but we're just talking talent,
[1:38:42] Speaker 5: like just.
[1:38:43] Speaker 1: The pen come on, come on, Robert Kelly. We know
[1:38:46] Speaker 1: where you're going. Yeah you're going.
[1:38:48] Speaker 5: Yeah, I know, yeah, I know he's got his his
[1:38:53] Speaker 5: you know, these flaws and everything, but we just talking
[1:38:56] Speaker 5: talent and talent only. It's probably got one of the
[1:38:59] Speaker 5: most incredible depends of of his time of history. Yeah, yeah,
[1:39:04] Speaker 5: and can do can reign? So you can get that
[1:39:06] Speaker 5: temple record out of him too.
[1:39:08] Speaker 1: Yeah. So that said for me, fellas like, you have
[1:39:12] Speaker 1: one more thing before we let you get on this plank,
[1:39:13] Speaker 1: because we know we never listen what time we got
[1:39:16] Speaker 1: your time keeping time? Come up?
[1:39:18] Speaker 5: You really?
[1:39:19] Speaker 4: Yeah, we're gonna keep you out of here, get you okay,
[1:39:22] Speaker 4: you're gonna make your flight?
[1:39:23] Speaker 2: You sure, Yeah, you're gonna make your flat, all right.
[1:39:31] Speaker 2: Ain't saying no names. I ain't saying no names. I
[1:39:34] Speaker 2: ain't saying no names. I ain't saying no name.
[1:39:37] Speaker 5: Where he was?
[1:39:40] Speaker 2: What you need?
[1:39:41] Speaker 1: Don't say she? I ain't saying no.
[1:39:55] Speaker 4: That version is you tell us a story, funny, fucked up.
[1:40:01] Speaker 4: I'm funny and fucked up. The only rude to the
[1:40:03] Speaker 4: game is you can't say no names.
[1:40:10] Speaker 1: Let me think that's a good one.
[1:40:18] Speaker 5: Oh damvy dollars in the studio.
[1:40:23] Speaker 1: But don't Yeah, I won't say no old names.
[1:40:28] Speaker 5: Dram vy dollars in the studio. They called me. They're like, yo,
[1:40:32] Speaker 5: this person is laying their engineer out, then this, that
[1:40:36] Speaker 5: and the other, And I said, leave, she's session. She
[1:40:44] Speaker 5: would have took him in the hallway. Please do they leave?
[1:40:48] Speaker 5: It said, coming the hotel at the hotel. I get
[1:40:50] Speaker 5: a phone call. It's like, we need the guys to
[1:40:55] Speaker 5: come back.
[1:40:56] Speaker 1: Where are they?
[1:40:56] Speaker 5: I say, the sessions over today. Then I get another
[1:41:01] Speaker 5: phone call. iPod's missing. I said, really, it's just so now,
[1:41:06] Speaker 5: I said, I have my own. They're like, who, we
[1:41:12] Speaker 5: still want you to come back? I said, now you
[1:41:13] Speaker 5: missed both sessions because now the guys ain't coming back
[1:41:17] Speaker 5: at all. That was disrespect. Then we get a phone call,
[1:41:21] Speaker 5: be like, hell, is possible that we can meet? I'm
[1:41:24] Speaker 5: so sorry, Like this apply to that? Can we just
[1:41:26] Speaker 5: sit down and talking this, that and the other. And
[1:41:29] Speaker 5: we went up and talked and they offered all this
[1:41:31] Speaker 5: stuff and he's like, now we're cool. Thanks, but no thanks.
[1:41:36] Speaker 5: And there's so many things in between. For finding the
[1:41:38] Speaker 5: funny that I can't say the name of. But just
[1:41:42] Speaker 5: imagine you losing a session because of your mouth. We've
[1:41:48] Speaker 5: seen so many, so many, so many, you know, but
[1:41:54] Speaker 5: you have to protect your guys. So if in fact
[1:41:58] Speaker 5: it's happening on their watch, shut it down, start fresh tomorrow.
[1:42:03] Speaker 5: He killed the vibe even though it was nothing against them,
[1:42:07] Speaker 5: You know what I mean? It is, Yeah, environment got
[1:42:11] Speaker 5: to go. So I don't know how funny I could
[1:42:15] Speaker 5: make that story without really getting in because there's a
[1:42:17] Speaker 5: lot of details that definitely made it funny. But I
[1:42:20] Speaker 5: can't tell it because if I tell it, then you
[1:42:23] Speaker 5: understand because you know what I'm saying, You'd be like, now,
[1:42:28] Speaker 5: who could have been this? Right? Yeah, it would definitely
[1:42:31] Speaker 5: fell out. So you just got to imagine the funny.
[1:42:33] Speaker 1: Take it, and you take it.
[1:42:35] Speaker 2: Brother, Mark Held the buyers been doing this thing for
[1:42:39] Speaker 2: a long time, man, and your contributions are heard and
[1:42:43] Speaker 2: felt all over this universe. Man, So we we thank
[1:42:48] Speaker 2: you for your time. We appreciate your brotherhood.
[1:42:51] Speaker 5: I appreciate the call.
[1:42:52] Speaker 2: Yeah, yeah, you know, and we uh we support your
[1:42:57] Speaker 2: continued contributions.
[1:43:00] Speaker 5: I'm supporting y'all.
[1:43:01] Speaker 1: You know what I'm saying.
[1:43:02] Speaker 5: I'm supporting y'all.
[1:43:04] Speaker 1: It's with baby, this is what we do.
[1:43:06] Speaker 5: I take it.
[1:43:07] Speaker 1: You know what I'm saying.
[1:43:08] Speaker 5: I take it.
[1:43:08] Speaker 1: So that being said, I'm gonna need y'all for Charity.
[1:43:14] Speaker 5: Yes, yes, you know. Yes, it's a new artist, young artist.
[1:43:17] Speaker 5: I've been helping need y'all for her, super challenged. Definitely
[1:43:22] Speaker 5: one of the ones I feel like what was predicted
[1:43:25] Speaker 5: on Leon. I think charity has that same opportunity as
[1:43:30] Speaker 5: a girl.
[1:43:31] Speaker 1: Wow.
[1:43:31] Speaker 5: So that's just for me for the night.
[1:43:33] Speaker 1: Gentlemen, love it.
[1:43:34] Speaker 5: I appreciate you.
[1:43:36] Speaker 2: Listen, we're gonna sign you up, sign you off the
[1:43:39] Speaker 2: right way. My name is Tank Valentine and Everybody podcast
[1:43:46] Speaker 2: on all things R, R and B. This man never
[1:43:50] Speaker 2: slows down.
[1:43:51] Speaker 1: Is you here? Our brother?
[1:43:54] Speaker 5: I just joined as the third member.
[1:43:56] Speaker 1: This is our first seeks, y'all. Okay, so Goodenoughensiam

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