September 20, 2023 • 30 mins
Skyler Lexx is the quintessential Music Producer. He’s worked with the greats and knows the how to when it comes to creating musical excellence. And he’s dies most of it from his house. Let’s talk about it.
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Speaker 1 (00:00):
M hm, y'all ready, let's go. Well, so missus, Michael
called this world, started doing venice peach. Now he reached
in the world. He'll make you left. Take the stomach cars, superfly,
nice guys, Prady, you need to work. Trust to old
he ain't ready for the stars.
Speaker 2 (00:19):
Hearts winner and oh g three times this ling on beginning.
Speaker 1 (00:22):
Whether you win now house, you want your brother out
to dinner on your job and your brother, I mean,
he's a reb. Call Michael Faux said, everybody I call
Michael Taus that everybody I call. Yes, Michael Taus say everybody,
you know what shint called Michael fuck to everybody called
Michael chous to everybody Michael Fox say my body, everybody,
(00:44):
everybody don't call dude, do do but by by by bah.
That's right, y'all. Michael talks to everybody today. I have
a musical artist who's actually his is his actual claim
to famous. The brother is a producer. He's a music
(01:06):
executive and just a cold, cold brother. And I read
something they called him a super cool producer and they
used the letter K when it says super cool producer.
I've been my friend for years and some of his
artists have even performed on my morning show. We had
got one coming up soon. His name is Skyler Lex.
(01:28):
Skyler Lex in the house. Wootie woo woo. Hey brother,
how you feel?
Speaker 2 (01:33):
I feel like a bag full of money, my brother.
Speaker 1 (01:36):
Oh man. And you know what, you always maintained that positive,
wonderful attitude. That's gotta be one of your gifts is
that you're just a really positive dude.
Speaker 2 (01:46):
Man, I got it from you.
Speaker 1 (01:49):
From me, I wish I could claim that. First of all,
you're an executive executive producer of music, a music execut
but also a music creator. You was playing a piece
of thing for me that you said you're trying to
prepare for Arianda Grande.
Speaker 3 (02:04):
That is correct, and it's about a week old. It's
up to the artists to accept it. But getting it
over to my boys in Universal and crossing my fingers
a lot and pray every day.
Speaker 1 (02:17):
So all those albums and folks at home. This is
not visual, y'all, just hearing me. So you can't see
his home. His ceilings are so tall. The living room,
the ceiling about three stories up and all the way
up the wall. He has the gold and the platinum
albums of all types of artists, which I presume you've
(02:39):
worked on each of those projects, Is that right?
Speaker 3 (02:42):
I either worked on it or has something with the
business own it, whether it be entertainment attorneys or getting
the writers shares for them. Okay, I've even done some
stuff for Micky Ross, who we both know, the guitar
player Micky.
Speaker 1 (02:53):
Ross love Ricky Ross probably one of the greatest living
guitar players on the planet.
Speaker 2 (02:59):
Hands down, absolutely wow.
Speaker 1 (03:02):
So did you discovery have you discovered in the art? Well,
you know, folks, I didn't even talk about what the
topic he is. I'm calling it self made producer?
Speaker 3 (03:09):
Are your self made? Only had me in a food
staff when I started.
Speaker 1 (03:18):
I love it, I love it? And you Pollard look
where you are? Now started from the bottom. Now you
here and so named some of the artists that you've
had something to do with their musical, with their albums
and so the lists with which pieces.
Speaker 3 (03:31):
Well, it started back with I think the first first
label meeting I had was with Motown in like nineteen
eighty six, with the vice president Steve Buckley, and he
had signed a cousin to the group d Bars, a
guy named Georgio, and that was my first time going
(03:51):
to Paramount Studios in Hollywood, and I worked on Georgio's
stuff and he later got signed and I didn't get
paid and I didn't get credit, and I brought it
to Steve's attention, and Steve said, you know, we're having
some issues with ourselves right now, and the artists may
(04:13):
be a memory sometime soon, you know, the long and short.
Speaker 2 (04:16):
You know, I don't wish no bad on nobody.
Speaker 1 (04:18):
So Giorgio didn't last long.
Speaker 2 (04:20):
Yeah, you have to google it.
Speaker 3 (04:22):
I think he did an album of two and even
went to another label after that. But after the first album,
I think that was the best album that he did.
And then you know, I ran into him a few
years later now, actually about five or six years ago
in Ray and Dion Warwick's son was working on some
(04:43):
songs for one of his artists, artists called ru and
then I did a remix for that, brought in some
rappers and completely killed it.
Speaker 2 (04:52):
And Georgia was at that meeting. I was surprised.
Speaker 1 (04:54):
So what took him? What took him out of the game?
Do we know life the life take over and music
went away or whatever?
Speaker 2 (05:03):
You know.
Speaker 3 (05:04):
I won't say this specifically about him. But you know,
the way you treat people, whether be at the label
or anything else, it comes back to you.
Speaker 2 (05:13):
You know. I had set up a meeting and.
Speaker 1 (05:15):
Say that one more time, please, the way you treat
people come on.
Speaker 2 (05:19):
It comes back to you, you know.
Speaker 3 (05:21):
And to give you an example, I'm not saying that's
what happened to him, but you know, what goes around
comes around two entred percent. But I took a couple
of guys that were producing music to set them up
a meeting with the senior vice president at Universal Music.
Speaker 2 (05:38):
So I'm typed with security there.
Speaker 3 (05:40):
Most of them are off duty sheriffs with the blue blazer,
but they got guns in their jacket, all of that.
But the people are so cool. If you just sit
there and talk to them, make a friend, you know
what I mean. So these particular guys are invited to
meet with the senior VP. They started talking slick to
the receptionists and receptionists as my mobile and everything else.
(06:02):
So they got there before me. They talking down to her.
And this is this girl that's in college. She's trying
to get buying really nice to everybody. So I just
canceled that meeting and we were gonna go to Warner
Brothers after that, and I canceled that one too, Wow,
And I contacted my guy.
Speaker 2 (06:17):
At the label and told him what was happening.
Speaker 3 (06:19):
And the moral of the story is this, You don't
know if the person you're talking to might have a
relationship with the president to the label.
Speaker 2 (06:28):
Or something like that, but exactly, you have to go
out of your way to be rude, you know what
I mean. It's so much time, you know, so.
Speaker 1 (06:37):
It's either to be kind. It's not natural to be rude.
You really do have to go out of your way.
It takes twelve muscles of smile and thirty four of
the frown, so you really have to put your work
into be an asshole. That's story, oh man, Okay, cause
you know, it's so many stories out there because so
(06:57):
many artists get a good take off and I think
it goes to some of their heads, you know, and
they forget that we're all humans at the end of
the day. And we were just in the front room
watching one of my favorite shows, The Andy Griffith Show,
and we're looking at little Ronnie Howard run around playing Opie,
you know, and now Ryan Howard Opie is one of
(07:18):
the most powerful men in all of Hollywood right now,
huge round. You never know who you're talking to, so
it's just important to be kind and at least respectful
to everybody you know.
Speaker 3 (07:30):
That's correct, And if they being cool with you, just
walk away exactly.
Speaker 1 (07:34):
Don't stay and participate in the nonsense.
Speaker 3 (07:37):
Man, but food party of one your table is waiting,
because I ain't enjoying it.
Speaker 1 (07:46):
I love that food party. One your table's waiting. That's
fair to name another one of your artists that you've
worked with that you're proud of working with.
Speaker 2 (07:54):
Fast forward a few years later.
Speaker 3 (07:55):
I worked with Rome and he was a huge.
Speaker 2 (08:00):
R and B artist.
Speaker 3 (08:01):
He said that he was with RCA Records a lot
of ballots, but the roller was really really dope, and
he said that RCA dropped him so they could sign R. Kelly,
and R Kelly basically took place. So a short version
of the story. I had a friend, they called him
the Lamborghini Brothers. They owned a couple of hot spots
(08:21):
in Hollywood and stuff like that, and they got distribution
with a record label through Sony, and they asked me
to be the president.
Speaker 2 (08:30):
So since I knew Room was looking for a new label.
Speaker 3 (08:33):
I told Broom, why don't you come get on the
roster with them?
Speaker 2 (08:37):
The bottom line is this. He said he had to
get five million.
Speaker 3 (08:42):
And this was after I basically begged them to give
him three hundred thousand yikes. And the brother he wouldn't
take it, would not take it, you know, And some
people need to know when it's you know, you know,
you could be famous five years.
Speaker 2 (08:58):
Ago, three years ago, even if year ago.
Speaker 3 (09:00):
But if somebody giving you a second chance at the
spotlight and you didn't fell off. And I don't mean
anybody specifically, but if you don't fell off, and you
know you fell off, you ain't getting the money you
used to on touring and concerts and everything else.
Speaker 2 (09:12):
And you can only sell a record at a family reunion.
Speaker 1 (09:15):
You better take that, you know what I mean? Your
ego and keep you here it level. You have to
put your hit down, keep you here level, you know,
and do the right thing that's right.
Speaker 2 (09:25):
But the ego is the destroyer of many careers in
this town. My brother.
Speaker 1 (09:28):
Okay, let me do this. Define a musical producer. What
is that? So many people here in Hollywood say there
music producers? What exactly is that?
Speaker 2 (09:39):
You know?
Speaker 3 (09:39):
It's funny that you ask that question, especially since we
haven't pre planned any of this.
Speaker 2 (09:44):
But that is a brilliant question, my brother.
Speaker 3 (09:47):
And there's some people that I ran into that I
wanted to hire to work on different records, and they
told me they want to producers credit and they want
to be known as the producer of the record, and
I'm the one that's producing it. And if you want
to break it down to a person, Quincy Jones is
a real producer, Doctor Drink is a real producer, Teddy
Rolling is a real producer.
Speaker 2 (10:08):
Jimmy jam Terry. All those people are producers for real.
Speaker 3 (10:12):
But I got this brother that was coming in and
all he did was some drum machine programming and use
some samples, and he said, well, I want production.
Speaker 2 (10:21):
On the record. I said, but how am I going
to give you that?
Speaker 3 (10:24):
When I produced the guitar player, you have to keep
them in check to make the record right. You know,
do this part, do do that part, and arrange it,
and then I produce the singer's vocals. The harmony is
the placement of those and everything. But in today's climate,
those are the functions of a real producer. Some guys
just walking around taking a few samples and making beats
and calling themselves a producer. You asked him to give
(10:45):
you a third or a fifth for a harmony or
even an optave, which is simple. They don't know what
you're talking about. They trying to google it.
Speaker 2 (10:54):
If it's that serious, what are you producing? You know
what I mean?
Speaker 3 (10:58):
A producer is kind of the architect of the entire record. Plans, yes,
symbols everything and make sure it goes together. Sometimes he
hires a general contractor to build the house, right, if
that makes sense you much.
Speaker 1 (11:11):
That's the same as like with film too. The producer
pulls it all together, helps a pan of money, you know,
agrees to what the story will be, brings in the
directors and you know, lays out that part and then
science people to put the rest of it together. Okay,
go ahead.
Speaker 3 (11:25):
Well, considering you've been in a little less than ten
thousand movies, you get it.
Speaker 1 (11:30):
Yeah, and we.
Speaker 3 (11:31):
Won't include the television as well. We just saw you
on TV the other night.
Speaker 1 (11:35):
Wow. Well, I mean I'm a producer. I'm a producer,
but you could buy in with me, see, because you know,
I'm doing my indiego go, so I'm doing my one
man concert this summer coming up real quick.
Speaker 2 (11:49):
Let me ask you tell me about the Indiego Go.
Speaker 1 (11:52):
Well, I saw I was telling you now, is that
you can be produced on that. The indieg go is
a crowd funder, a crowd source where you ask the
public to help you realize your dream and a lot
of people will be looking for that type of thing.
They want to help folks who's doing something for society
or doing something for themselves as positive, you know, and
so they'll jump in and help you. Right, So we
(12:14):
put an Indiego Go up for our show called The
King of Nnis Beach, which is a one hour comedy
special I'm shooting on Venus And I mentioned it because
when you have crowd sources like that, you also create
perks that people get when they putenty in certain amounts
to encourage people to put in more. So like if
you put it in one hundred in mind, you get
(12:35):
the Love Package, which is my three first books, which
are off the jain knowing about my president for anything
happened on the way to the White House. I knocked
on the door and the brother answered about Barack Obama.
It's more like a children's book. And then there's one
on motivation Michael Goes Motivational, which is motivational speaking from
a comedic point of view. And then it's a poetry
book called Missus Ennison goes to Cool School and other
(12:56):
silly stuff. So you will get all three of those
signed and send to you if you put it in
just as little as one hundred. If you put in
a thousand, you can get on screen credit as a producer.
So if you want to say, hey, I produce the
show in Hollywood, and they said, well you want producers,
I produced by Kaya's when I was specially on beach.
You mean an award winning Michael Kley show. Yep, yep,
(13:19):
I man, you have portshit. Look at the credits and
then your name go rule it right on up. If
you want to be an associate producer, it's twenty five
hundred dollars, you know. So so far we have one
of those. I won't give a shout out to Sheena Arnold.
She sent over three k and said mister Kylee that
I just want me and my company want you to
(13:39):
know we believe in you and we're looking forward to
the project. It's gonna be great. So that's what we're doing.
But in that sense, a person get to be a
producer because you could be a producer on projects but
just put money in, you know, but you got to
put something in. Sometimes you'll see a sometimes you'll see
an artist who will get a producer credit because they
don't have enough money to pay that artist what that
(14:01):
artist want, you know, And they said, well, look, we
ain't got but one hundred thousand dollars. We know you
wont four hundred thousand, but hey, take a producer's credit.
Maybe the back end will get you a point or something,
so you know, you can get the deals that you
can make, you know, And I think people should always
give as much as they can. I remember when he
was crying the blues about Denzel when he first got
(14:22):
the twenty million dollars. You know, they went crazy. Nobody
got twenty million dollars for a film. It's going to
destroy the industry. You have to spend twenty million for
the star. The budget's going to go through the ceilings.
We can't shoot film. Then you turn around and almost
every white actor who's close to his range was getting
twenty fifteen.
Speaker 2 (14:42):
Wait didn't say it was groundbreaking with that?
Speaker 1 (14:45):
Oh yeah, and they didn't want to give it up.
They were like, but I don't know, I don't know.
We could research that, but I didn't because I was
researching musical producers. It was a big story. It was
a big story, Denzil twenty million.
Speaker 2 (15:05):
Not Michael.
Speaker 1 (15:05):
While you're looking okay, you know what, wait a minute,
while I'm looking at that, I gotta go to a
quick break. Hold that thought. When you come back. Were
coming back from part two And Michael talks to everybody
with the awesome Skylight Alex producer to the stars. He's
so flying, so can and he's really got together. I
wish I could see the studio in his home. It's crazy.
We'll be right back in the past second. We got
(15:26):
to sell something to the man. I'll be back see you.
Michael talks to everybody one second and we're black. Hey, y'all,
is Michael talks to everybody today. I'm talking to a
musical producer because I'm curious about what it takes to
(15:48):
create a man really produce great albums, great music, great artists.
And I'm talking to one of the best. And you know,
we're talking about the question of twenty million. And my
information was wrong. So I don't man correct them myself.
He did not get the first twenty million dollars. Jim
Carrey got it for Cable Guy. He got twenty million
(16:09):
and a film only had a forty seven million dollar budget,
so half the budget was was his. Denzel, however, did
get twenty million for Equalizer. He got one for each
of the three, so he had sixty million on that.
So I just I just think you're supposed to get
what you can get, and you get what you get
by your deal, and your deal is made up really
(16:31):
great by what is your team. Your team knowing right
that contract not much that he can get. I remember
when I went to bet to do the talk show
be Et Live from LA. When I went to do that, man,
I thought I was going to be getting nickels compared
to what my attorney got me. He got me crazy money.
And what I didn't expect is he got me all
(16:51):
the suits and the shoes. So I walked the way
with eighty eight suits and four to four pass shoes
and a driver that picked me up from the house
every day bring me to the set. If I was
negotiating on my own, I wouldn't even know to ask
for that kind of stuff. I would have been, Oh,
you give me that amount, all right? Do I get
a sandwich too? Thank you? So yeah, it comes down
to what you can negotiate. But you had another question
(17:14):
for me. What was that?
Speaker 2 (17:15):
Yeah?
Speaker 3 (17:16):
I wanted to brush up on the upcoming thing about
the producer participation on the movie that you were talking about,
and you had referenced that it was going to be
on Venice Beach and a lot of people may not
know about your history on Venice, but I was coming
to see you since the late eighties on Venice, which
was a thousand years go. I'm still nineteen with fake ID,
(17:37):
but it was the late eighties and you were killing
it every Saturday and Sunday. And can you give them
a brief synopsis about your Venice Beach history?
Speaker 1 (17:47):
Well, I'm glad you asked. I almost feel like I
set you up to ask, but I did not people.
I sweated in those answers questions. But now that you
mentioned at first, I want to say you started in
eighty six. Two brother, You mentioned eighty six, and that
was the year that I came to LA to do comedy,
and I just started doing comedy in eighty five. I
did it that summer. I done it that summer as
(18:10):
a street perform on State Street. And then winter came
with nobody trying to hear that no damn jokes in
December on State Street. So I packed up everything that
would fit in my car. I sold everything else, and
I drove to California and I set up camp at
Venice Beach and spent comedy. Did comedy there for nine
years from eighty six to ninety five, and you know,
became quite legendary. That's why we're going back to shoot
(18:32):
the special. What does that sound to give you?
Speaker 2 (18:34):
It's the dog.
Speaker 1 (18:35):
My dog is over that tap, and you know, we
be we go out of our way to try to
get perfect sound because it's the audio system and my
dog over there. You know how you take your fingers
and you thump them on the table, you know, you know,
you roll your fingers on my dog doing like she
bored or something. You know, she's no that that's her.
Speaker 2 (18:51):
Way, that's her way of clapping. She's backing you up.
Speaker 1 (18:54):
That's what it is. You know, it's always how you
look at a thing that makes the difference. And you know,
with you to say, you always see the sunny side
of things, man, And I love that brother about you,
and I liked that about your wife man, You know
I do because I don't want to go too much
further without mentioning her. You guys are one two punch.
How long you been together?
Speaker 2 (19:13):
Oh?
Speaker 3 (19:14):
We started dating in two thousand and five and got
married in seventeen.
Speaker 2 (19:19):
I'm sorry two thousand and seven.
Speaker 1 (19:21):
Two thousand and seven. Okay, big difference, dude. So that's
ten for fourteen years.
Speaker 3 (19:27):
According to my history class, it was four score and
seven years ago.
Speaker 1 (19:36):
And she is so instrumental in working with you.
Speaker 2 (19:38):
I like that.
Speaker 1 (19:39):
I mean, you've guys brought a couple of musicians to
the Mike Cayo Morning Show already, and she was like
my contact for them. And I remember a few years
ago I came to the house and there was some
young young lady that she was helping learn the ropes
getting her in. She's all. Both of you have always
been so professional what you do, but you also seem
like you do it as a team.
Speaker 2 (20:01):
Is that true? It's two hundred percent accurate.
Speaker 3 (20:04):
She's my left end, my right hand when I can't
find my gloves, you know what I mean. And the
thing with me is teamwork is everything you know. There
is no I in team And that's so true. And
what you were referencing earlier, the general public may not know.
But when you say your attorney got you so much
more to you could have gotten if you do negotiate
(20:25):
it on your own, everything, especially in this town, is
about your mouthpiece.
Speaker 2 (20:31):
And I got four acts signed to A and M Records.
Speaker 3 (20:35):
One of them got dropped because the manager kept calling
the an R dude blowing them up.
Speaker 2 (20:41):
When we're gonna get back in the studio, man, we're
gonna when you're.
Speaker 3 (20:43):
Going release this purchase order and you know, authorize this
for recording and everything else, until the an R dude
just got so said he was just true. But the
manager went a step further after they wasn't calling them back.
We're talking over a matter of two or three days.
This wasn't like it was week or a month or anything.
(21:05):
The manager called him one day and said, and the
artist I got the sign was with A and M Records.
Speaker 2 (21:10):
And the manager said.
Speaker 3 (21:12):
If y'all don't call me back by tomorrow, I'm gonna
hire somebody to do a drive by on the label.
Speaker 2 (21:18):
Why did he say that? And then I normally went
to go see the label like her dad, serious dead
serious out of Phoenix.
Speaker 3 (21:28):
So he told him this, and the dude from an
R was the VP of an R. He said, Skolet
checked us out and then he put his phone on
the speaker and played that message for me and he said,
do you believe this? If an idiot? And he said,
we got armed security all around here. Those blue blazers.
Don't let him fool you. They're off duty sheriffs.
Speaker 2 (21:47):
Wow. And I was like wow.
Speaker 3 (21:48):
And then he said that artist is so dropped she
don't even know it, and we're not gonna tell her.
Speaker 2 (21:54):
So I fly to Phoenix about two.
Speaker 3 (21:56):
Weeks after that, and I ran it to the artist
and I said, how you being? And then she said
the label won't call me back. They won't do nothing.
Speaker 2 (22:03):
Funny. I don't know what happened. And then I said,
have you considered new management? And she said what do
you mean? I said, I said, oh nothing, oh nothing.
Speaker 3 (22:17):
It just might be a good idea, because I don't
want to get in the middle of that mess, you
know what I mean.
Speaker 2 (22:21):
And I got my direction able to preserve.
Speaker 3 (22:23):
But I tried to give her heads up and you know,
she didn't listen and they dropped her. But that goes
back to what we were discussing about it being your mouthpiece.
Your mouthpiece can make or break you, manager or agent, whatever.
Speaker 1 (22:36):
Or most importantly yourself. Bill talk yourself soon. Shit you
say yourself can can sink you in this industry, especially
in the entertainment. And she calls, it's so small. I
mean it looks like it's huge. But everybody know everybody.
I mean, when you get to a certain level, all
those producers know, all those producers, all those directors know
(22:58):
all those directors, and everybody.
Speaker 2 (23:00):
Talk to everybody.
Speaker 1 (23:01):
So if you come through like a little tornado of
negative energy, they gonna let everybody else know that and
warn them. Man, I don't fuck with him. Man oh man,
that's enough to till other people not to fuck with you,
you know. So yeah, it's important to carry yourself accordingly,
you know, to behave accordingly.
Speaker 3 (23:20):
I two roll on positive and positive out. You know,
if I'm running, are somebody to tell me about their
eight thousand problems?
Speaker 2 (23:28):
I got nine thousand? Do you want to hear those?
You know what I mean? Mistery Vop's company is true. Man,
I am not down with the negative.
Speaker 1 (23:35):
My brother, answer me this, what is your greatest accomplishment
as a musical producer. What out of all the things
you've got done, what is the thing you're most proud of?
Speaker 2 (23:44):
A feature with twenty one Savage.
Speaker 1 (23:46):
You did a feature with twenty one Savage.
Speaker 3 (23:49):
I got my girl in Epic Records to get it done.
It cost us one hundred and seventy thousand dollars to
get it done. And this is on an unknown artist.
One don't work with unknown artists. He's Grammy winning artists,
you know what I mean. And I got another feature
through my guy at he was at Atlantic Records at
(24:11):
the time that signed Ty donas sign. I got ty
Donald sign to do a feature for the same artists.
She's not famous though nothing, And he don't work with
unsigned people. Post alone looks up to ty Donald time
and they all did that stuff for me, you know.
Speaker 2 (24:26):
So I consider first.
Speaker 3 (24:29):
Of all the mouthpiece and the relationship thing we referenced earlier.
Everything is relationships. And the people that I have at
the labels have known me for decades. Once again, I'm
not that old. I'm nineteen with fake ID, but they
know and we don't talk about straight up business. We
(24:49):
just talk about things, you know, life in general, like friends,
how you doing. I tell bad jokes, they tell me
bad jokes. And then we started talking about what artists
I got, what tracks I might have may fit their artists,
and just everything is cool when you talk to people
like they're your friend exactly.
Speaker 1 (25:06):
People want to spend money with their friends. I'm sorry,
I just wanted to say that people want to spend
money with their friends. You know, That's what the game
of golf is such a big game. If you really
want to do some business, go out for four hours
with somebody, drinking beer and hitting that little ball. By
the time you've been with somebody for four hours, you
had real conversation. You run out the superficial shit that
(25:27):
runs out after about thirty minutes twenty minutes. Now you
end up actually talking about stuff that's important to you,
like your family and your dreams and your visions, and
so everything comes back to the same thing, relationships and communications.
Speaker 3 (25:40):
That's what rubber means to road. My brother and some
people are you know, they come up short on a
the own, and it's not because they don't have anything
to talk about.
Speaker 2 (25:50):
But and I look to you to be an expert
at this.
Speaker 3 (25:54):
You bring out the good in people and you help
them develop their good points and to feel at home
when they talk to you. I watch you do it
the other day when you interview my artists Romeo b
Out of New York.
Speaker 2 (26:07):
Flawless. But you guys were talking.
Speaker 3 (26:09):
Like you had known each other for years, and I
consider that to be a huge asset my brother.
Speaker 1 (26:13):
Thank you, brother. Okay, I only have time for one
last question. What is the thing you want to do
in music that you haven't accomplished yet?
Speaker 3 (26:22):
The biggest thing to me, and the most important thing,
was to be make new best friends that count, people
that ain't looking to use you and they don't want.
Speaker 2 (26:32):
Something from you.
Speaker 3 (26:33):
Because when if people approach me on that level, I
do something for them automatic whether they pay or not. Wow,
I've been I've done that a lot of charity cases,
my brother. But to meet new best friends that ain't
trying to get something out of you is probably the
most important thing to me.
Speaker 1 (26:47):
Give me is your thing. That's I have to say
about your loans. I've known you and you know I
brought several artists to you and you try to help
them too. But people be on their own shit, you know.
And you know, you can't make people do the right thing,
and you can't make people do the thing that works
for them. They have to take the initiative and they
have to have some faith and open their hearts and
(27:09):
follow the people who are making this stuff happen, you
know what I'm saying. A lot of people just want
to talk to their friends, you know. But if you
get in a position where someone is actually doing this
and they willn't take a meeting with you, you got
to figure out how to maximize that. You know. So
I know you're a great artist.
Speaker 3 (27:26):
I have a saying that summarizes exactly what you just said,
and it's very simply this. You can lead a horse
to water, but you can't make them think.
Speaker 1 (27:38):
I think it's you could lead a horse to water,
but you can't make them drink. Like that's like the
definition for hortor culture. You could lead a horror culture,
but you can't make a think.
Speaker 3 (27:49):
Wait a minute, this brother still Michael crazy.
Speaker 1 (27:58):
You're a fantast to listen. What's so good? As you've
also agreed to come and drop in and do my
morning show so people get a chance to actually see
the face behind these words, and I wanted to see
that studio yours, and so we got to get you
on here. I think, are you coming this week? Early
next week?
Speaker 2 (28:13):
Is it tomorrow?
Speaker 1 (28:14):
Tomorrow's even better? Yeah, come tomorrow.
Speaker 3 (28:17):
I got some artists influences that just connected with him.
I want to send you a few pictures on them
and talk about them as well.
Speaker 1 (28:23):
All right, well let's get them all on the show,
because you know the Mike Kye Morning Show, we bring
on all the stars, and Michael talked to everybody over
here on iHeart and You're one of the great everybodies
that I spoke to, and I really appreciate you, brother.
Can you tell people how to find you if they
want to get information on maybe get something produced by
a genius.
Speaker 3 (28:42):
Yes, my instagram is skyler Lex. It's at Skyler lex
and that's s k y l e.
Speaker 2 (28:48):
R l e x x.
Speaker 3 (28:52):
Or you can email me at famous Music at iCloud
dot com.
Speaker 1 (28:57):
I love you, brother, I appreciate you. Much love and
respect to you and Ashley and I will send you
a link later. We'll get you on the morning show. Hey, y'all,
this has been Michael talks to everybody. I've been talking
to Skylarles, a real boty five music producer, and he's
off the channel though. I drove over to his house.
It's like you got to drive like nine hours to
(29:18):
get to his house. What is it called? It ain't
even cast A Calabasas, It's something else. Anyway, I drove
past the Coyote road runner everybody trying to get to
his house. But when you get there, it's beautiful, magnificent,
just like him his wife and their philosophies on life.
It's beautiful, magnificent. I appreciate you, sir, and thank you again.
(29:39):
You know, we do these shows three days a week,
three new ones every Monday, Wednesday, Friday. Tell you Mama, Pooky, run,
run to get off the couch and tune into iHeart.
Michael talks to everybody. Ain't no telling who I'll be
talking to today. God is great and you ain't too
bad yourself. I'll see you on the next one. I
(30:00):
had a good time today. I hope y'all did too. Man,
Thank y'all for checking us out here at Michael talks
to everybody. Hey, you can follow me, man, I'm easy
to follow. I'm on Instagram just under act. Michael Kaya.
I'm on TikTok. That's Michael Kaya one three five. I
have a very sexy web page called the Realmichael Kaye
dot Com. You know, you go over there you can
find out about my merchandise and what I'm doing and
(30:21):
with all my shows. Our airthing is right there. Or
if you really love me, you can go to my cashapp.
That's dollar Sign Michael Kaya's money. I'm playing with y'all,
but I accept green Stand foods, the Canadian money. I'll
take your bus transfer if it's got some time left
on it. And my morning show, oh my, Michael kya
morning show that's seven eight m Pacific time, yo, five
(30:42):
days a week. This has been a ray Lock Group production.
I see y'all later
M hm, y'all ready, let's go. Well, so missus, Michael
called this world, started doing venice peach. Now he reached
in the world. He'll make you left. Take the stomach cars, superfly,
nice guys, Prady, you need to work. Trust to old
he ain't ready for the stars.
Speaker 2 (00:19):
Hearts winner and oh g three times this ling on beginning.
Speaker 1 (00:22):
Whether you win now house, you want your brother out
to dinner on your job and your brother, I mean,
he's a reb. Call Michael Faux said, everybody I call
Michael Taus that everybody I call. Yes, Michael Taus say everybody,
you know what shint called Michael fuck to everybody called
Michael chous to everybody Michael Fox say my body, everybody,
(00:44):
everybody don't call dude, do do but by by by bah.
That's right, y'all. Michael talks to everybody today. I have
a musical artist who's actually his is his actual claim
to famous. The brother is a producer. He's a music
(01:06):
executive and just a cold, cold brother. And I read
something they called him a super cool producer and they
used the letter K when it says super cool producer.
I've been my friend for years and some of his
artists have even performed on my morning show. We had
got one coming up soon. His name is Skyler Lex.
(01:28):
Skyler Lex in the house. Wootie woo woo. Hey brother,
how you feel?
Speaker 2 (01:33):
I feel like a bag full of money, my brother.
Speaker 1 (01:36):
Oh man. And you know what, you always maintained that positive,
wonderful attitude. That's gotta be one of your gifts is
that you're just a really positive dude.
Speaker 2 (01:46):
Man, I got it from you.
Speaker 1 (01:49):
From me, I wish I could claim that. First of all,
you're an executive executive producer of music, a music execut
but also a music creator. You was playing a piece
of thing for me that you said you're trying to
prepare for Arianda Grande.
Speaker 3 (02:04):
That is correct, and it's about a week old. It's
up to the artists to accept it. But getting it
over to my boys in Universal and crossing my fingers
a lot and pray every day.
Speaker 1 (02:17):
So all those albums and folks at home. This is
not visual, y'all, just hearing me. So you can't see
his home. His ceilings are so tall. The living room,
the ceiling about three stories up and all the way
up the wall. He has the gold and the platinum
albums of all types of artists, which I presume you've
(02:39):
worked on each of those projects, Is that right?
Speaker 3 (02:42):
I either worked on it or has something with the
business own it, whether it be entertainment attorneys or getting
the writers shares for them. Okay, I've even done some
stuff for Micky Ross, who we both know, the guitar
player Micky.
Speaker 1 (02:53):
Ross love Ricky Ross probably one of the greatest living
guitar players on the planet.
Speaker 2 (02:59):
Hands down, absolutely wow.
Speaker 1 (03:02):
So did you discovery have you discovered in the art? Well,
you know, folks, I didn't even talk about what the
topic he is. I'm calling it self made producer?
Speaker 3 (03:09):
Are your self made? Only had me in a food
staff when I started.
Speaker 1 (03:18):
I love it, I love it? And you Pollard look
where you are? Now started from the bottom. Now you
here and so named some of the artists that you've
had something to do with their musical, with their albums
and so the lists with which pieces.
Speaker 3 (03:31):
Well, it started back with I think the first first
label meeting I had was with Motown in like nineteen
eighty six, with the vice president Steve Buckley, and he
had signed a cousin to the group d Bars, a
guy named Georgio, and that was my first time going
(03:51):
to Paramount Studios in Hollywood, and I worked on Georgio's
stuff and he later got signed and I didn't get
paid and I didn't get credit, and I brought it
to Steve's attention, and Steve said, you know, we're having
some issues with ourselves right now, and the artists may
(04:13):
be a memory sometime soon, you know, the long and short.
Speaker 2 (04:16):
You know, I don't wish no bad on nobody.
Speaker 1 (04:18):
So Giorgio didn't last long.
Speaker 2 (04:20):
Yeah, you have to google it.
Speaker 3 (04:22):
I think he did an album of two and even
went to another label after that. But after the first album,
I think that was the best album that he did.
And then you know, I ran into him a few
years later now, actually about five or six years ago
in Ray and Dion Warwick's son was working on some
(04:43):
songs for one of his artists, artists called ru and
then I did a remix for that, brought in some
rappers and completely killed it.
Speaker 2 (04:52):
And Georgia was at that meeting. I was surprised.
Speaker 1 (04:54):
So what took him? What took him out of the game?
Do we know life the life take over and music
went away or whatever?
Speaker 2 (05:03):
You know.
Speaker 3 (05:04):
I won't say this specifically about him. But you know,
the way you treat people, whether be at the label
or anything else, it comes back to you.
Speaker 2 (05:13):
You know. I had set up a meeting and.
Speaker 1 (05:15):
Say that one more time, please, the way you treat
people come on.
Speaker 2 (05:19):
It comes back to you, you know.
Speaker 3 (05:21):
And to give you an example, I'm not saying that's
what happened to him, but you know, what goes around
comes around two entred percent. But I took a couple
of guys that were producing music to set them up
a meeting with the senior vice president at Universal Music.
Speaker 2 (05:38):
So I'm typed with security there.
Speaker 3 (05:40):
Most of them are off duty sheriffs with the blue blazer,
but they got guns in their jacket, all of that.
But the people are so cool. If you just sit
there and talk to them, make a friend, you know
what I mean. So these particular guys are invited to
meet with the senior VP. They started talking slick to
the receptionists and receptionists as my mobile and everything else.
(06:02):
So they got there before me. They talking down to her.
And this is this girl that's in college. She's trying
to get buying really nice to everybody. So I just
canceled that meeting and we were gonna go to Warner
Brothers after that, and I canceled that one too, Wow,
And I contacted my guy.
Speaker 2 (06:17):
At the label and told him what was happening.
Speaker 3 (06:19):
And the moral of the story is this, You don't
know if the person you're talking to might have a
relationship with the president to the label.
Speaker 2 (06:28):
Or something like that, but exactly, you have to go
out of your way to be rude, you know what
I mean. It's so much time, you know, so.
Speaker 1 (06:37):
It's either to be kind. It's not natural to be rude.
You really do have to go out of your way.
It takes twelve muscles of smile and thirty four of
the frown, so you really have to put your work
into be an asshole. That's story, oh man, Okay, cause
you know, it's so many stories out there because so
(06:57):
many artists get a good take off and I think
it goes to some of their heads, you know, and
they forget that we're all humans at the end of
the day. And we were just in the front room
watching one of my favorite shows, The Andy Griffith Show,
and we're looking at little Ronnie Howard run around playing Opie,
you know, and now Ryan Howard Opie is one of
(07:18):
the most powerful men in all of Hollywood right now,
huge round. You never know who you're talking to, so
it's just important to be kind and at least respectful
to everybody you know.
Speaker 3 (07:30):
That's correct, And if they being cool with you, just
walk away exactly.
Speaker 1 (07:34):
Don't stay and participate in the nonsense.
Speaker 3 (07:37):
Man, but food party of one your table is waiting,
because I ain't enjoying it.
Speaker 1 (07:46):
I love that food party. One your table's waiting. That's
fair to name another one of your artists that you've
worked with that you're proud of working with.
Speaker 2 (07:54):
Fast forward a few years later.
Speaker 3 (07:55):
I worked with Rome and he was a huge.
Speaker 2 (08:00):
R and B artist.
Speaker 3 (08:01):
He said that he was with RCA Records a lot
of ballots, but the roller was really really dope, and
he said that RCA dropped him so they could sign R. Kelly,
and R Kelly basically took place. So a short version
of the story. I had a friend, they called him
the Lamborghini Brothers. They owned a couple of hot spots
(08:21):
in Hollywood and stuff like that, and they got distribution
with a record label through Sony, and they asked me
to be the president.
Speaker 2 (08:30):
So since I knew Room was looking for a new label.
Speaker 3 (08:33):
I told Broom, why don't you come get on the
roster with them?
Speaker 2 (08:37):
The bottom line is this. He said he had to
get five million.
Speaker 3 (08:42):
And this was after I basically begged them to give
him three hundred thousand yikes. And the brother he wouldn't
take it, would not take it, you know, And some
people need to know when it's you know, you know,
you could be famous five years.
Speaker 2 (08:58):
Ago, three years ago, even if year ago.
Speaker 3 (09:00):
But if somebody giving you a second chance at the
spotlight and you didn't fell off. And I don't mean
anybody specifically, but if you don't fell off, and you
know you fell off, you ain't getting the money you
used to on touring and concerts and everything else.
Speaker 2 (09:12):
And you can only sell a record at a family reunion.
Speaker 1 (09:15):
You better take that, you know what I mean? Your
ego and keep you here it level. You have to
put your hit down, keep you here level, you know,
and do the right thing that's right.
Speaker 2 (09:25):
But the ego is the destroyer of many careers in
this town. My brother.
Speaker 1 (09:28):
Okay, let me do this. Define a musical producer. What
is that? So many people here in Hollywood say there
music producers? What exactly is that?
Speaker 2 (09:39):
You know?
Speaker 3 (09:39):
It's funny that you ask that question, especially since we
haven't pre planned any of this.
Speaker 2 (09:44):
But that is a brilliant question, my brother.
Speaker 3 (09:47):
And there's some people that I ran into that I
wanted to hire to work on different records, and they
told me they want to producers credit and they want
to be known as the producer of the record, and
I'm the one that's producing it. And if you want
to break it down to a person, Quincy Jones is
a real producer, Doctor Drink is a real producer, Teddy
Rolling is a real producer.
Speaker 2 (10:08):
Jimmy jam Terry. All those people are producers for real.
Speaker 3 (10:12):
But I got this brother that was coming in and
all he did was some drum machine programming and use
some samples, and he said, well, I want production.
Speaker 2 (10:21):
On the record. I said, but how am I going
to give you that?
Speaker 3 (10:24):
When I produced the guitar player, you have to keep
them in check to make the record right. You know,
do this part, do do that part, and arrange it,
and then I produce the singer's vocals. The harmony is
the placement of those and everything. But in today's climate,
those are the functions of a real producer. Some guys
just walking around taking a few samples and making beats
and calling themselves a producer. You asked him to give
(10:45):
you a third or a fifth for a harmony or
even an optave, which is simple. They don't know what
you're talking about. They trying to google it.
Speaker 2 (10:54):
If it's that serious, what are you producing? You know
what I mean?
Speaker 3 (10:58):
A producer is kind of the architect of the entire record. Plans, yes,
symbols everything and make sure it goes together. Sometimes he
hires a general contractor to build the house, right, if
that makes sense you much.
Speaker 1 (11:11):
That's the same as like with film too. The producer
pulls it all together, helps a pan of money, you know,
agrees to what the story will be, brings in the
directors and you know, lays out that part and then
science people to put the rest of it together. Okay,
go ahead.
Speaker 3 (11:25):
Well, considering you've been in a little less than ten
thousand movies, you get it.
Speaker 1 (11:30):
Yeah, and we.
Speaker 3 (11:31):
Won't include the television as well. We just saw you
on TV the other night.
Speaker 1 (11:35):
Wow. Well, I mean I'm a producer. I'm a producer,
but you could buy in with me, see, because you know,
I'm doing my indiego go, so I'm doing my one
man concert this summer coming up real quick.
Speaker 2 (11:49):
Let me ask you tell me about the Indiego Go.
Speaker 1 (11:52):
Well, I saw I was telling you now, is that
you can be produced on that. The indieg go is
a crowd funder, a crowd source where you ask the
public to help you realize your dream and a lot
of people will be looking for that type of thing.
They want to help folks who's doing something for society
or doing something for themselves as positive, you know, and
so they'll jump in and help you. Right, So we
(12:14):
put an Indiego Go up for our show called The
King of Nnis Beach, which is a one hour comedy
special I'm shooting on Venus And I mentioned it because
when you have crowd sources like that, you also create
perks that people get when they putenty in certain amounts
to encourage people to put in more. So like if
you put it in one hundred in mind, you get
(12:35):
the Love Package, which is my three first books, which
are off the jain knowing about my president for anything
happened on the way to the White House. I knocked
on the door and the brother answered about Barack Obama.
It's more like a children's book. And then there's one
on motivation Michael Goes Motivational, which is motivational speaking from
a comedic point of view. And then it's a poetry
book called Missus Ennison goes to Cool School and other
(12:56):
silly stuff. So you will get all three of those
signed and send to you if you put it in
just as little as one hundred. If you put in
a thousand, you can get on screen credit as a producer.
So if you want to say, hey, I produce the
show in Hollywood, and they said, well you want producers,
I produced by Kaya's when I was specially on beach.
You mean an award winning Michael Kley show. Yep, yep,
(13:19):
I man, you have portshit. Look at the credits and
then your name go rule it right on up. If
you want to be an associate producer, it's twenty five
hundred dollars, you know. So so far we have one
of those. I won't give a shout out to Sheena Arnold.
She sent over three k and said mister Kylee that
I just want me and my company want you to
(13:39):
know we believe in you and we're looking forward to
the project. It's gonna be great. So that's what we're doing.
But in that sense, a person get to be a
producer because you could be a producer on projects but
just put money in, you know, but you got to
put something in. Sometimes you'll see a sometimes you'll see
an artist who will get a producer credit because they
don't have enough money to pay that artist what that
(14:01):
artist want, you know, And they said, well, look, we
ain't got but one hundred thousand dollars. We know you
wont four hundred thousand, but hey, take a producer's credit.
Maybe the back end will get you a point or something,
so you know, you can get the deals that you
can make, you know, And I think people should always
give as much as they can. I remember when he
was crying the blues about Denzel when he first got
(14:22):
the twenty million dollars. You know, they went crazy. Nobody
got twenty million dollars for a film. It's going to
destroy the industry. You have to spend twenty million for
the star. The budget's going to go through the ceilings.
We can't shoot film. Then you turn around and almost
every white actor who's close to his range was getting
twenty fifteen.
Speaker 2 (14:42):
Wait didn't say it was groundbreaking with that?
Speaker 1 (14:45):
Oh yeah, and they didn't want to give it up.
They were like, but I don't know, I don't know.
We could research that, but I didn't because I was
researching musical producers. It was a big story. It was
a big story, Denzil twenty million.
Speaker 2 (15:05):
Not Michael.
Speaker 1 (15:05):
While you're looking okay, you know what, wait a minute,
while I'm looking at that, I gotta go to a
quick break. Hold that thought. When you come back. Were
coming back from part two And Michael talks to everybody
with the awesome Skylight Alex producer to the stars. He's
so flying, so can and he's really got together. I
wish I could see the studio in his home. It's crazy.
We'll be right back in the past second. We got
(15:26):
to sell something to the man. I'll be back see you.
Michael talks to everybody one second and we're black. Hey, y'all,
is Michael talks to everybody today. I'm talking to a
musical producer because I'm curious about what it takes to
(15:48):
create a man really produce great albums, great music, great artists.
And I'm talking to one of the best. And you know,
we're talking about the question of twenty million. And my
information was wrong. So I don't man correct them myself.
He did not get the first twenty million dollars. Jim
Carrey got it for Cable Guy. He got twenty million
(16:09):
and a film only had a forty seven million dollar budget,
so half the budget was was his. Denzel, however, did
get twenty million for Equalizer. He got one for each
of the three, so he had sixty million on that.
So I just I just think you're supposed to get
what you can get, and you get what you get
by your deal, and your deal is made up really
(16:31):
great by what is your team. Your team knowing right
that contract not much that he can get. I remember
when I went to bet to do the talk show
be Et Live from LA. When I went to do that, man,
I thought I was going to be getting nickels compared
to what my attorney got me. He got me crazy money.
And what I didn't expect is he got me all
(16:51):
the suits and the shoes. So I walked the way
with eighty eight suits and four to four pass shoes
and a driver that picked me up from the house
every day bring me to the set. If I was
negotiating on my own, I wouldn't even know to ask
for that kind of stuff. I would have been, Oh,
you give me that amount, all right? Do I get
a sandwich too? Thank you? So yeah, it comes down
to what you can negotiate. But you had another question
(17:14):
for me. What was that?
Speaker 2 (17:15):
Yeah?
Speaker 3 (17:16):
I wanted to brush up on the upcoming thing about
the producer participation on the movie that you were talking about,
and you had referenced that it was going to be
on Venice Beach and a lot of people may not
know about your history on Venice, but I was coming
to see you since the late eighties on Venice, which
was a thousand years go. I'm still nineteen with fake ID,
(17:37):
but it was the late eighties and you were killing
it every Saturday and Sunday. And can you give them
a brief synopsis about your Venice Beach history?
Speaker 1 (17:47):
Well, I'm glad you asked. I almost feel like I
set you up to ask, but I did not people.
I sweated in those answers questions. But now that you
mentioned at first, I want to say you started in
eighty six. Two brother, You mentioned eighty six, and that
was the year that I came to LA to do comedy,
and I just started doing comedy in eighty five. I
did it that summer. I done it that summer as
(18:10):
a street perform on State Street. And then winter came
with nobody trying to hear that no damn jokes in
December on State Street. So I packed up everything that
would fit in my car. I sold everything else, and
I drove to California and I set up camp at
Venice Beach and spent comedy. Did comedy there for nine
years from eighty six to ninety five, and you know,
became quite legendary. That's why we're going back to shoot
(18:32):
the special. What does that sound to give you?
Speaker 2 (18:34):
It's the dog.
Speaker 1 (18:35):
My dog is over that tap, and you know, we
be we go out of our way to try to
get perfect sound because it's the audio system and my
dog over there. You know how you take your fingers
and you thump them on the table, you know, you know,
you roll your fingers on my dog doing like she
bored or something. You know, she's no that that's her.
Speaker 2 (18:51):
Way, that's her way of clapping. She's backing you up.
Speaker 1 (18:54):
That's what it is. You know, it's always how you
look at a thing that makes the difference. And you know,
with you to say, you always see the sunny side
of things, man, And I love that brother about you,
and I liked that about your wife man, You know
I do because I don't want to go too much
further without mentioning her. You guys are one two punch.
How long you been together?
Speaker 2 (19:13):
Oh?
Speaker 3 (19:14):
We started dating in two thousand and five and got
married in seventeen.
Speaker 2 (19:19):
I'm sorry two thousand and seven.
Speaker 1 (19:21):
Two thousand and seven. Okay, big difference, dude. So that's
ten for fourteen years.
Speaker 3 (19:27):
According to my history class, it was four score and
seven years ago.
Speaker 1 (19:36):
And she is so instrumental in working with you.
Speaker 2 (19:38):
I like that.
Speaker 1 (19:39):
I mean, you've guys brought a couple of musicians to
the Mike Cayo Morning Show already, and she was like
my contact for them. And I remember a few years
ago I came to the house and there was some
young young lady that she was helping learn the ropes
getting her in. She's all. Both of you have always
been so professional what you do, but you also seem
like you do it as a team.
Speaker 2 (20:01):
Is that true? It's two hundred percent accurate.
Speaker 3 (20:04):
She's my left end, my right hand when I can't
find my gloves, you know what I mean. And the
thing with me is teamwork is everything you know. There
is no I in team And that's so true. And
what you were referencing earlier, the general public may not know.
But when you say your attorney got you so much
more to you could have gotten if you do negotiate
(20:25):
it on your own, everything, especially in this town, is
about your mouthpiece.
Speaker 2 (20:31):
And I got four acts signed to A and M Records.
Speaker 3 (20:35):
One of them got dropped because the manager kept calling
the an R dude blowing them up.
Speaker 2 (20:41):
When we're gonna get back in the studio, man, we're
gonna when you're.
Speaker 3 (20:43):
Going release this purchase order and you know, authorize this
for recording and everything else, until the an R dude
just got so said he was just true. But the
manager went a step further after they wasn't calling them back.
We're talking over a matter of two or three days.
This wasn't like it was week or a month or anything.
(21:05):
The manager called him one day and said, and the
artist I got the sign was with A and M Records.
Speaker 2 (21:10):
And the manager said.
Speaker 3 (21:12):
If y'all don't call me back by tomorrow, I'm gonna
hire somebody to do a drive by on the label.
Speaker 2 (21:18):
Why did he say that? And then I normally went
to go see the label like her dad, serious dead
serious out of Phoenix.
Speaker 3 (21:28):
So he told him this, and the dude from an
R was the VP of an R. He said, Skolet
checked us out and then he put his phone on
the speaker and played that message for me and he said,
do you believe this? If an idiot? And he said,
we got armed security all around here. Those blue blazers.
Don't let him fool you. They're off duty sheriffs.
Speaker 2 (21:47):
Wow. And I was like wow.
Speaker 3 (21:48):
And then he said that artist is so dropped she
don't even know it, and we're not gonna tell her.
Speaker 2 (21:54):
So I fly to Phoenix about two.
Speaker 3 (21:56):
Weeks after that, and I ran it to the artist
and I said, how you being? And then she said
the label won't call me back. They won't do nothing.
Speaker 2 (22:03):
Funny. I don't know what happened. And then I said,
have you considered new management? And she said what do
you mean? I said, I said, oh nothing, oh nothing.
Speaker 3 (22:17):
It just might be a good idea, because I don't
want to get in the middle of that mess, you
know what I mean.
Speaker 2 (22:21):
And I got my direction able to preserve.
Speaker 3 (22:23):
But I tried to give her heads up and you know,
she didn't listen and they dropped her. But that goes
back to what we were discussing about it being your mouthpiece.
Your mouthpiece can make or break you, manager or agent, whatever.
Speaker 1 (22:36):
Or most importantly yourself. Bill talk yourself soon. Shit you
say yourself can can sink you in this industry, especially
in the entertainment. And she calls, it's so small. I
mean it looks like it's huge. But everybody know everybody.
I mean, when you get to a certain level, all
those producers know, all those producers, all those directors know
(22:58):
all those directors, and everybody.
Speaker 2 (23:00):
Talk to everybody.
Speaker 1 (23:01):
So if you come through like a little tornado of
negative energy, they gonna let everybody else know that and
warn them. Man, I don't fuck with him. Man oh man,
that's enough to till other people not to fuck with you,
you know. So yeah, it's important to carry yourself accordingly,
you know, to behave accordingly.
Speaker 3 (23:20):
I two roll on positive and positive out. You know,
if I'm running, are somebody to tell me about their
eight thousand problems?
Speaker 2 (23:28):
I got nine thousand? Do you want to hear those?
You know what I mean? Mistery Vop's company is true. Man,
I am not down with the negative.
Speaker 1 (23:35):
My brother, answer me this, what is your greatest accomplishment
as a musical producer. What out of all the things
you've got done, what is the thing you're most proud of?
Speaker 2 (23:44):
A feature with twenty one Savage.
Speaker 1 (23:46):
You did a feature with twenty one Savage.
Speaker 3 (23:49):
I got my girl in Epic Records to get it done.
It cost us one hundred and seventy thousand dollars to
get it done. And this is on an unknown artist.
One don't work with unknown artists. He's Grammy winning artists,
you know what I mean. And I got another feature
through my guy at he was at Atlantic Records at
(24:11):
the time that signed Ty donas sign. I got ty
Donald sign to do a feature for the same artists.
She's not famous though nothing, And he don't work with
unsigned people. Post alone looks up to ty Donald time
and they all did that stuff for me, you know.
Speaker 2 (24:26):
So I consider first.
Speaker 3 (24:29):
Of all the mouthpiece and the relationship thing we referenced earlier.
Everything is relationships. And the people that I have at
the labels have known me for decades. Once again, I'm
not that old. I'm nineteen with fake ID, but they
know and we don't talk about straight up business. We
(24:49):
just talk about things, you know, life in general, like friends,
how you doing. I tell bad jokes, they tell me
bad jokes. And then we started talking about what artists
I got, what tracks I might have may fit their artists,
and just everything is cool when you talk to people
like they're your friend exactly.
Speaker 1 (25:06):
People want to spend money with their friends. I'm sorry,
I just wanted to say that people want to spend
money with their friends. You know, That's what the game
of golf is such a big game. If you really
want to do some business, go out for four hours
with somebody, drinking beer and hitting that little ball. By
the time you've been with somebody for four hours, you
had real conversation. You run out the superficial shit that
(25:27):
runs out after about thirty minutes twenty minutes. Now you
end up actually talking about stuff that's important to you,
like your family and your dreams and your visions, and
so everything comes back to the same thing, relationships and communications.
Speaker 3 (25:40):
That's what rubber means to road. My brother and some
people are you know, they come up short on a
the own, and it's not because they don't have anything
to talk about.
Speaker 2 (25:50):
But and I look to you to be an expert
at this.
Speaker 3 (25:54):
You bring out the good in people and you help
them develop their good points and to feel at home
when they talk to you. I watch you do it
the other day when you interview my artists Romeo b
Out of New York.
Speaker 2 (26:07):
Flawless. But you guys were talking.
Speaker 3 (26:09):
Like you had known each other for years, and I
consider that to be a huge asset my brother.
Speaker 1 (26:13):
Thank you, brother. Okay, I only have time for one
last question. What is the thing you want to do
in music that you haven't accomplished yet?
Speaker 3 (26:22):
The biggest thing to me, and the most important thing,
was to be make new best friends that count, people
that ain't looking to use you and they don't want.
Speaker 2 (26:32):
Something from you.
Speaker 3 (26:33):
Because when if people approach me on that level, I
do something for them automatic whether they pay or not. Wow,
I've been I've done that a lot of charity cases,
my brother. But to meet new best friends that ain't
trying to get something out of you is probably the
most important thing to me.
Speaker 1 (26:47):
Give me is your thing. That's I have to say
about your loans. I've known you and you know I
brought several artists to you and you try to help
them too. But people be on their own shit, you know.
And you know, you can't make people do the right thing,
and you can't make people do the thing that works
for them. They have to take the initiative and they
have to have some faith and open their hearts and
(27:09):
follow the people who are making this stuff happen, you
know what I'm saying. A lot of people just want
to talk to their friends, you know. But if you
get in a position where someone is actually doing this
and they willn't take a meeting with you, you got
to figure out how to maximize that. You know. So
I know you're a great artist.
Speaker 3 (27:26):
I have a saying that summarizes exactly what you just said,
and it's very simply this. You can lead a horse
to water, but you can't make them think.
Speaker 1 (27:38):
I think it's you could lead a horse to water,
but you can't make them drink. Like that's like the
definition for hortor culture. You could lead a horror culture,
but you can't make a think.
Speaker 3 (27:49):
Wait a minute, this brother still Michael crazy.
Speaker 1 (27:58):
You're a fantast to listen. What's so good? As you've
also agreed to come and drop in and do my
morning show so people get a chance to actually see
the face behind these words, and I wanted to see
that studio yours, and so we got to get you
on here. I think, are you coming this week? Early
next week?
Speaker 2 (28:13):
Is it tomorrow?
Speaker 1 (28:14):
Tomorrow's even better? Yeah, come tomorrow.
Speaker 3 (28:17):
I got some artists influences that just connected with him.
I want to send you a few pictures on them
and talk about them as well.
Speaker 1 (28:23):
All right, well let's get them all on the show,
because you know the Mike Kye Morning Show, we bring
on all the stars, and Michael talked to everybody over
here on iHeart and You're one of the great everybodies
that I spoke to, and I really appreciate you, brother.
Can you tell people how to find you if they
want to get information on maybe get something produced by
a genius.
Speaker 3 (28:42):
Yes, my instagram is skyler Lex. It's at Skyler lex
and that's s k y l e.
Speaker 2 (28:48):
R l e x x.
Speaker 3 (28:52):
Or you can email me at famous Music at iCloud
dot com.
Speaker 1 (28:57):
I love you, brother, I appreciate you. Much love and
respect to you and Ashley and I will send you
a link later. We'll get you on the morning show. Hey, y'all,
this has been Michael talks to everybody. I've been talking
to Skylarles, a real boty five music producer, and he's
off the channel though. I drove over to his house.
It's like you got to drive like nine hours to
(29:18):
get to his house. What is it called? It ain't
even cast A Calabasas, It's something else. Anyway, I drove
past the Coyote road runner everybody trying to get to
his house. But when you get there, it's beautiful, magnificent,
just like him his wife and their philosophies on life.
It's beautiful, magnificent. I appreciate you, sir, and thank you again.
(29:39):
You know, we do these shows three days a week,
three new ones every Monday, Wednesday, Friday. Tell you Mama, Pooky, run,
run to get off the couch and tune into iHeart.
Michael talks to everybody. Ain't no telling who I'll be
talking to today. God is great and you ain't too
bad yourself. I'll see you on the next one. I
(30:00):
had a good time today. I hope y'all did too. Man,
Thank y'all for checking us out here at Michael talks
to everybody. Hey, you can follow me, man, I'm easy
to follow. I'm on Instagram just under act. Michael Kaya.
I'm on TikTok. That's Michael Kaya one three five. I
have a very sexy web page called the Realmichael Kaye
dot Com. You know, you go over there you can
find out about my merchandise and what I'm doing and
(30:21):
with all my shows. Our airthing is right there. Or
if you really love me, you can go to my cashapp.
That's dollar Sign Michael Kaya's money. I'm playing with y'all,
but I accept green Stand foods, the Canadian money. I'll
take your bus transfer if it's got some time left
on it. And my morning show, oh my, Michael kya
morning show that's seven eight m Pacific time, yo, five
(30:42):
days a week. This has been a ray Lock Group production.
I see y'all later
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