Checking In With Miguel

Rory and Mal check in with Miguel to discuss his new album "CAOS", how he evolved as an artist during his album hiatus, and what he regrets about working with Pharrell #volume

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Episode Transcript

Speaker 1 (00:01):
The volume.

Speaker 2 (00:07):
All right, Ry, we are back today. We are joined
by a very very special guest, somebody that we are
both huge fans of. Happy to see him back. Did
not realize until he told us that the last album,
Warren Leisure, came out twenty seventeen, seven years ago. Eight
years ago. I thought it was for COVID that scrambled
our minds, brains everything. Tom is a construct though, right

(00:29):
but today we are joined by the talented, the creative,
the iconic R and B. I'm not gonna say R
and B because I'm not going to box them into that.
He's just an incredible musician back with his new album Chaos.
Miguel Clap, Miguel.

Speaker 1 (00:48):
Thank you, Thank you, guys.

Speaker 3 (00:49):
Thank Already embarrassed me off, Mike of how excited I was.

Speaker 2 (00:55):
That Miguel was coming by to see us today. But
rightfully so. We've been fans of Miguel and supporting them
for years, so it's good to see him. A good
dab im here today. How you feeling it?

Speaker 1 (01:02):
I feel great, man, I'm fans of your guys. I'm
appreciated that. Like be on here man, it's stop listen,
He's stop keeping. But the thing is is like when
you're able to come and talk to people who love music.

Speaker 2 (01:16):
It's just it's a different conversations, a who different we
were talking about all. So we were listening to the
album over the weekend. Yesterday, I listened to it in
the crib and I was just telling you that it
inspired me to clean the dishes, clean the crib. The
album sounds incredible. The music is great, but that's it's
not I mean, it's no surprise you've been doing this
for years, making incredible music. But how does it feel

(01:36):
personally after eight years to just get back into the
swing of artists mode.

Speaker 1 (01:43):
Yeah, it's it's a lot. It's a lot to be like, Okay, get.

Speaker 2 (01:48):
Back to it.

Speaker 1 (01:50):
Yeah, save this talk ship. Yeah the song is about this.
Yeah by the album. Right, it's like eight years though
it took time. I mean we were talking earlier, and
I mean parenthood is a big one, but I mean

(02:11):
I didn't become a parent eight years ago. It was
more recent. I think that was the kind of final, like, Okay,
it's time. I think I just was really looking for
a reason because I was getting I was I was
kind of burnt. I was burned a lot of things
that I needed to like really just deal with you know,
I went on a pretty long run, and I think

(02:34):
it was it was time. It was time to start
dealing with my me shit, because I did a lot
of my growing up like adult growing up in the
in the middle of it. You know, it all kind
of happened in my adult years, and which is a blessing,
but it also means you gotta you you know, holding

(02:55):
oneself accountable is a vigilant ordeal. You know, I'm saying,
you gotta really be paying attention. And I just didn't have.
I didn't have the bandwidth at the time or just
the self awareness to be straight up, and I wasn't
really paying attention to like the me of it. And
I need to do some some like reflecting and just

(03:18):
get get in touch with my values really and so
it took some time, but it was the right amount.
I think I feel. I feel coming back. I'm a
I feel so much more like, all right, I'm good,
Like I can do this for some time, and you know,
it's gonna take some maintenance, but I feel really good

(03:39):
coming back.

Speaker 3 (03:40):
Was there like a specific aha moment in that eight
years that it was like, I need to get back
to the studio or were you always working just nothing
really connected the way you wanted to.

Speaker 1 (03:51):
Man, you know when you get in and you're like,
I'm here, but nothing is coming. Man. It felt like
a drought for some time. If it took time, I
think because I had put so much like of the
the value are my value and like the success of
what I was doing or whatever my perceived success was,

(04:15):
and then like looking at others success and then comparing
and you're like, damn, like I'm doing all this work,
but I'm not getting this. And then you start you
start to chip away at that the moment looking yeah, everything.
So I needed to really go lock in, you know,
I needed to lock in and like figure out, Okay, well,
what what is it that I love about this? What

(04:35):
do I still love and what can be recovered? What
has changed? And like figure it out and decide if
I really wanted to do it and to continue to
do that the dom to do this rather to do music,
and and yeah, I'm really happy that I found founded again.
And I think I became really like protective this time around.

(04:59):
I'm really protective about you know, this is about It's
like there's purpose behind it. And then I really want
to connect with my audience. Before it was like get
the big song, do the big thing, have a big moment,
flag pictures taken, go walk the carpet. It was like
that part of it was a big It was a
big thing, you know. This time it's about how am I?

(05:24):
How am I having a real conversation that I can
continue to have with my audience. Is they're the only
ones that's really been writing for me and the ones
that is going to still play my music where I
can provide for my son, for my family and it's
a sustainable thing. So yeah, the objective is different.

Speaker 2 (05:39):
Yeah, but twenty seventeen, I mean eight years, so much
has changed with the business of music, sound, the audience.
A lot of your audience has grown as well as
you have there. Yeah, you have families now, so so
in writing and making music. With that gap of seven years,
how much of the music on this new project was

(06:02):
like closer to twenty seventeen than twenty twenty five. O
was it all like new current right now? Where Miguel
is today?

Speaker 1 (06:09):
This is a it was like I was. That's also
a part of what took a long time, because in
the beginning you know when you're like, man, I don't know.
You meet somebody and you're like I don't know what
it was, but I just don't fuck with them, like
I don't know. I would say the beginning of twenty
seventeen twenty eighteen, there was a feeling about myself. I

(06:31):
was like, something's not right okay, And the beginnings of
that are still on that album. I think it took
eight years to really identify, like what are the things
that are really important and that have continued to They
say something about the overall me coming to terms with
me and also the value of hitting a point where

(06:56):
good enough isn't good enough. You feel me when you're like, actually,
like I have something that is important to refine and
where I want to go. That's not going to work,
you know, not refining it isn't going to work. And
so this album is like the main points of the

(07:19):
last eight years that kind of tell the story of like,
oh man, I hit a point where I'm I'm really
trying to like get my shit together. And what I
found out was, you know, change and growing. It's like
it's not it's not a linear half, right, you know,
and it's I feel I think along the way. There
are many times like I got it, Yeah, like bet

(07:40):
I'm going and you know four months later. Yeah.

Speaker 3 (07:48):
Sonically this album does kind of feel like your entire
desography in one project.

Speaker 1 (07:55):
What's their pressure? Kind of? I feel like the catch.

Speaker 3 (07:58):
Twenty two of making a class album is that everyone
is going to want it again. And even going from
Wildheart to Warren Leisure, you did steer away from trying
to make Kaleidoscope Dreams too. Yeah, what was the thought
going into this because there's a lot of like alternative
almost like TRL blink on two type style in.

Speaker 1 (08:19):
This crazy love Thank you, Thanks, Yeah, thanks coming back?

Speaker 3 (08:23):
Was there a pressure of thinking like, damn, should I
just go back to what I know my core maybe
once for me, which is more traditional R and B?

Speaker 1 (08:30):
Or should I keep this path of evolving my sound
was That's always It's always the question, right, But you
have to we have to remember that, and I remind
myself this when all I Want is you came out.
What that sounded like in the songwriting, That's not what

(08:51):
was happening at the time. Yeah, and my core core
audience from that album when Kaleidoscope dream came, that's also
not what the that's not what they were expecting or
what it sounded like in the time and Kaleidoscope dream.
That core audience is not the core audience from wild

(09:13):
Heart and so on and so forth. And I think
to answer your question, I would consider myself more like
a restaurant tour than no. Every album is like its
own restaurant, you know what I mean. There's gonna be
some there's gonna be a core principle in the in

(09:35):
the approach, but the cuisine may be a little different.
I'm also the head chef, so you're still gonna feel
me in the in the dishes. That's all my personality,
all where I come from. But you know, I might
bring in some new flavors. It's gonna be some new
technique even, you know. And so each album is its
own restaurant and cuisine experience, dining experience. This album, this

(10:02):
experience is personally, I think for my fans, for my audience,
it will be a classic album. Now whether or not
it becomes a classic album for you know, a broad audience,
it's not really my I have no say in that.

Speaker 2 (10:18):
You know.

Speaker 1 (10:18):
That's that's timing, and that's all kinds of things. What
I will say is that on this one is my
most aggressive album for sure, and I think in that
it's fitting for the times, because what I've learned is
that when you're going through some like refining, you've got
to be aggressive. You can't be passive, you can't be

(10:43):
lacks of daisical, and you can't sleep on any of it.
You start to veer back into your into the old,
your comfort zone. And I think it happened naturally because
of what we're seeing, Like we're in a time where
overall I feel like there's a lot of anger and aggression,

(11:04):
and it dawned on me that we need to be
in this is the mode, this is this is not
a time for us to be honky dory. You feel
me like it is the time to be like, no,
I'm not. I don't like this. We need and and

(11:24):
I don't like it today and I don't like it tomorrow,
and I'm not gonna be okay with it until it's right.
And that's the I think that at the core of
this one, there's a real there's a real need for change,
you know, there's a there's a drive to change, and
I think that's what makes it relevant there's that None

(11:44):
of my other albums have ever had that at the core,
you know.

Speaker 2 (11:47):
It the electric guitar, because the electric guitar can kind
of feel aggressive, Yeah, at times, But is that the
reason why there's more of that on this project is
because of the energy and the mold that you're in.

Speaker 1 (12:00):
I would say most of my I mean, I think
that's the most. The electric guitar throughout my albums has
always been always driving, always a driver. I think that
live drums on this album, I think there's a lot
of even temple wise, there's a few records on others

(12:20):
more than any of my other albums that feel like
they're driving and they're aggressive, and even on the mid
tempo side New Martyrs, it still feels.

Speaker 2 (12:30):
Yeah, you know.

Speaker 1 (12:31):
I mean, there's there's songs. There's a song called Better
the Man, which is like I lose myself and that
feels like there's just the something in there. So I
would say that and the drums, but just the spirit
of the whole thing is really coming from me feeling
like I'm not okay with just being okay anymore. And yeah,

(12:53):
you know, and I really I'm demanding of myself to
figure it out. Yeah, and that's yeah, that's that's that's
where aproaching.

Speaker 3 (13:03):
Yeah, yeah, But where would you say that I guess
new form of aggression derived from was that? I mean,
in the eight years of you finding yourself in different situations,
is there a core point where you think that aggression started.

Speaker 1 (13:16):
It's probably just been building. If I'm and and also
I realized in the process that I have I haven't
always been I haven't considered that my anger and aggression
needs to be dealt with in a in a I've
never needed to. It wasn't always like something that was
like forward facing, you know, I think because it was

(13:39):
building for sure. Look, you this this industry, In any industry, man,
you start to deal with people, and people think they
could take advantage of you, or you get taken advantage
of and and you learn your lessons a hard way sometimes,
but that just starts to pile up, and you know,
you want to take the high road you want to
be on, you know, and on top of that, you're considering, uh,

(14:06):
things that people say, you know, when you're in the
when you're forefacing, it's like people say things that they
have no insight on. So you're dealing with that and
then you've got the regular ship life. I definitely feel
it was just building. Yeah, I just was like, man,
I need to I need to get this out. Start
telling like it didn't matter. I mean, what what was

(14:28):
like the first hard lesson? You felt like you learned
in the music industry to deal with people one on one.
To not do that in this business will come at
the cost of money and a lot of time. I
think being being direct with people and dealing with people directly,

(14:50):
and you know, I'm I'm old enough now, where in
the past it was very much like let your lawyers
handle or let the man handle that. It's always somebody
that they would like to put in front of in order.
At the time, it was like to you know, protect you.
But what ends up happening is like other people's egos

(15:12):
get in the way, people misrepresent your position or even
sometimes inadvertently color a message in their own way that
changes the outcome, and that can go both ways positive
and negative sometimes. You know, in my case, I've learned
that dealing with people directly is way more effective, and

(15:34):
I think that's why even now the things move faster
because we're dealing with people. It's a dm you know
what I mean, like I don't want, I don't need
to talk to you.

Speaker 2 (15:41):
You know you can talk.

Speaker 1 (15:42):
Yeah, let's just let's just do it. And also as
a man, dealing with things directly is way more effect
just straight just get to the point, let's go to
the source and let's handle it, and we can squash it,
we can get on the same page and everything move forward.
So I think that's the biggest one, not to not
to hide behind people or teams, I think, being very

(16:05):
politics of it all. Yeah, listen, get that out the way. Yeah.

Speaker 3 (16:09):
I mean even on an artist level too, because I feel,
you know, outside of you being on classic hooks with
your music, you've been very particular on who you collab with,
Like there hasn't been many features in your desography like that.

Speaker 1 (16:21):
Yeah. You know what, though, I would say in the future,
I would I would do way more, but I would
preface it like I don't want I'm not doing no
features with nobody that I haven't had some food or
coffee or a conversation with.

Speaker 2 (16:34):
Why is that? But a lot of artists don't do that,
like they just like he's hot or she's hot right now,
need to get a joint.

Speaker 1 (16:41):
Let me do this, I'll sell you the session.

Speaker 2 (16:42):
Miguel wants to go to dinn Let's go have lunch
at least, let's sit down.

Speaker 1 (16:45):
Let's kick it, man, because I I this is like
my life. I'm I put my heart into everything I do.
It's really personal. None of this is like business. I mean,
it's business, you know, there's that part of it. But
when it comes to the music part, like I'm really trying,
it's really effort. And then on top of that, then

(17:07):
you're gonna ask me to post about it and then
show for the video and then do you a favor
over here if if I if any of that happens,
and then like the person is an asshole and I
find it out too late it's happened, But like, I
don't ever want to be around that person, you know
what I'm saying, Like.

Speaker 2 (17:23):
I'm not collabing with somebody that puts ketchup on eggs.
We can't do we can't do nothing together, Like I
don't need anything else. It's like, you know what, I'm booked.
It's not I'm that verse, but I just can't get
on the same level. I'm sorry, bro, No, but that

(17:44):
makes sense tho, because a lot of people. You know,
we're talking about collab and now it's so easy to collab,
like you said a DM, but if you don't sit
down and connect with somebody, it's like you don't really
feel like the energy is not like even to an extent,
like the things that Rory and I do would guess
like we say, damn, I hate meeting, Like I hate
that we're having this conversation with you on camera for

(18:07):
the first time. I would rather meet Miguel like.

Speaker 1 (18:11):
A Chinese food spot or we had a drink or whatever.

Speaker 2 (18:14):
It just makes everything is different. After energy, everything is different.
But as far as making music, it's a whole different
level of just chemistry when you're able to really sit
down and get to know somebody to connect with them.

Speaker 1 (18:27):
Yeah. I did get lucky though, Like Cole Cole is
one of those people where it was like it just
we just locked in and and he's actually a good person,
you know, he's just a good person. I got lucky.
And there's there's a couple of like really significant points,
and I have to say I'm very I've been very
lucky where I've actually really connected with like my significant

(18:49):
you know, like collaborators, mentors are good people. I got
lucky like that. There's a lot of people who don't
get that. And at this point, I'm like, I've had
it happen where I do a collab and you know,
it was the it was it was the right thing
in terms of this was a name at the time

(19:10):
or they were having a moment or whatever, and then
later on I'm just like, I don't yeah, you know really, yeah,
we don't really connect like that, not really, you know
what I mean, like wish no, no, no, ill will
at all just like this, I don't really ever want to. Yeah,
I'm like I definitely feel that though.

Speaker 3 (19:30):
It's interesting too that like rappers kind of get the
the rap no pun intended that they're the ones that
are stand offisher or won't work with each other.

Speaker 1 (19:39):
R and B artists are that times ten.

Speaker 3 (19:41):
Like if you go with the Coles, Kendricks, Drake, Big
Sean wile A like that class, they've all collaborated with
each other. Now if you would go with your class,
which i you frank weekend party next door, Like yeah,
R and P people even with their graduating class, it
never really fuck with each other like that.

Speaker 1 (20:01):
It's it's a trip it's a trip. I was just
having this conversation too, I was we were talking about
the difference in support also because I can hear that
class in the music and you know, and it's like
I can look at it and be like, damn, like
I did my thing, We did our thing. Like it's
it's like I can hear how my approach is like

(20:24):
really actually kind of affected, and it's it's such a
it's a dope thing to see and to see everyone else,
you know, see everyone else's influence and the shaping of
the sound. I mean, we started alternative R and B.
There was no category for that, you know, it was
like we did that. Yeah, there was no blog R
and B. Yeah, we were the ones R it was
and and it is a shame to kind of to

(20:46):
think that we actually never really did. And I don't
know what that what that's about. I think about historically,
you know, when when soul music was in Detroit, when
it was Philly or Detroit, there was a hub of
in a scene where writers and artists were working together.

(21:06):
Stevie's all over all the Motimer, you know what I mean.
Marvin Gaye was in you know, he was in a band,
he was they were all working together, travel together, on
tours together. I still don't have an answer for why
it doesn't happen.

Speaker 3 (21:21):
I mean, I think with a lot of them they
had similar producers in common, so they would be in sessions.
Everyone was kind of running through the same system. Where
that's different now, and I think rappers also, it's a
bit easier if we both walk into a studio and
agree on a beat, something can easily come out of that.
Where I feel like some of the greater R and

(21:43):
B artists are so in tune with their production like
they are producers as well, that can get weird, Like
if you and Frank walk into a studio, you're both
going to have different directions as far as the production goes.

Speaker 1 (21:55):
The approach are the sonic or the sonic whereas.

Speaker 3 (21:58):
You know, a loop beat with a fucking old sample
cole and while I'd be like.

Speaker 1 (22:03):
This is great, yeah, like banger, I agree, it's gonna
go crazy.

Speaker 3 (22:07):
So I think maybe that's where it could derive from,
just on the production side, because everyone's so hands.

Speaker 1 (22:12):
On, especially before too, we're talking about songwriters, Yeah, crafters
like I write and produced like I produced it. Yeah,
I wrote that song. You know what I mean, I
wrote short thing and they're not. It's not a verse. Also,
it's also the approach like a crazy verse from an

(22:33):
MC is gonna be like can kill the whole song.
It's like, man like, let me think like Nicki Minaj
verse on Monster like her verse won the song. You
know what I'm saying. Two of the greatest rappers of
all time on that. But it's like a verse can
go crazy for MC, but for for singing for I

(22:55):
don't know how, you know, I think it can stick.
I think now it's evolved where we could approach it
that way, and I think it'd be interesting to explore
it like that. But I know in the past it
was about we're singer songwriters, you know, and we're producers,
so it was about the song. It was the whole
thing and artists. So I wonder if there's something interesting there, though,

(23:16):
you know, it's like what if we just approach it
as versus right?

Speaker 2 (23:20):
You know, have you ever had to meet any of
your idols or people that you looked up to and
were like disappointed and like heartbroken, like oh this person
is not really a good person, or like not.

Speaker 1 (23:31):
What I thought it would be definitely ones where I
wish we would have got on like it, like we
could have found some like Okay, I funk with you
like I'm a personal Uh who did I not? Really?
You know what? Honestly, I would almost say I would
wager that more was like me, that it was like, oh,

(23:55):
am I the problem. This was the eight years of
disappearing to go do something.

Speaker 2 (24:01):
I was the problem. I am happened trauma.

Speaker 3 (24:07):
So we'll tell you that you felt that way that
he looked back like.

Speaker 2 (24:11):
You know what, Damn, I'm like I fucked that up. Yeah.

Speaker 1 (24:13):
No, no, I'll say this. I'll say this. This is
when I like I wish it would and it wasn't
because anyone was was when we were doing when I
was doing Klaudoscope Dream, I was here at at Platinum Sound.
I was over there for a long time when Platinum
Sound was over on in Midtown. Shout out to Jerry One,
Jerry One. I mean what happened in that studio in

(24:36):
terms of just like the amount of fun and the
songs and all that was incredible. And I was we
finally had momentum and a Dorn was was having a
moment and we were finishing the album. I got to
work with Pharrell finally, and Farrell came and he spent
some days with me, and and I still look at
those sessions and I'm like, man, I really wish we

(24:57):
would have found one. What we did doesn't fit the album.
It doesn't it like it would have never worked on
Kaleidoscope Dream. And I'm I'm I'm clear about that, but
also like I just wish I would have locked in
with him more because he's a hero of mine, you know.
And I always like, just like, damn, I wish like

(25:19):
was it me? Like was I just like too? And
I was really adamant too. I was like I knew
what I wanted, yeah, and I was really sure.

Speaker 4 (25:29):
Yeah.

Speaker 2 (25:29):
It's like it's a bad thing because it has to
be commendable and respectable, especially for Forarrell to see a
young artist so fixed on who they are and what
they want and the sound that they want to create.
I know what you mean though, because it's like this
is for real's big.

Speaker 1 (25:44):
But I will say this though he did he had.
I mean, look, he's a visionary and he came in
and we cut this record that is a banger. I
don't even I can't find like the hard drive that
has the session on and it's like it's somewhere in
storage somewhere, but but it it's very much feels like
a Prince record. But if I were, if I but

(26:06):
me still you know, but he came in with such
a vision, and I don't think I was ready for that.
I was liked to clear out a clear different vision.
And I've seen in subsequent interviews of his they've asked
some questions like, I mean, you could tell I've thought
about this. I really thought about this. Oh bro, it's
been on my like man, like why like why didn't

(26:29):
we I know it was all that, like damn didn't.

Speaker 3 (26:33):
If Kaladscope Dreams wasn't a classic, I'd say this should
keep you.

Speaker 2 (26:38):
But you.

Speaker 3 (26:41):
Would that have worked maybe more on Wild I mean
that was kind of the stereotypical fan perspective of like,
all right, is he about to do his Princes thing?

Speaker 1 (26:50):
He's going yeah, he's going no no. I think on
the contrary, this was this well I don't even know
where this record would have fit, but I do think
it would have probably at the time it probably would
have hit. I think he was right, and I think
based on what what fans wanted what's known about me

(27:13):
and my taste and who I'm drawing from my inspirations
and whatnot. It would have made a lot of sense,
and the record was a great record, but I just
wanted to go a different direction. And he spoke about
it in interviews as well. No, No, he talked about
other He's talked about other situations where he's been in
a room and he's like, you know, not everybody's ready
to hear my vision, and the ones that do have listened,

(27:38):
you know, he's like, more often than not have had
great moments with him, and he didn't.

Speaker 3 (27:44):
He's talking about you watch YouTube, that's about me.

Speaker 1 (27:49):
This is about me. Yeah. No, No, he definitely wasn't.
And I think it might have been an interview before,
even before I worked with him. But but I think
he was referring to like maybe Justin or something at
the time, and he's like, you know, not every time
I go in and they're ready to hear what I
what I'm seeing, But when they trust me to just

(28:13):
do the thing, it's like, that's where that's how we
get this and that. And I think he was talking
about Justin and whatnot. He might have mentioned Kendrick or
something in it. But that is one of those ones
where it wasn't either of us. It just didn't happen,
and I always look at it and I'm like, he
would have it again. I think that speaks more to

(28:33):
greatness and your vision.

Speaker 3 (28:34):
Like for example, we definitely we were talking when j
I D dropped his record with eminem and was like,
this isn't on the album, and it made me go, oh,
this JID album has to be great. That if he's
so stuck on his vision that this eminem or is
not what I'm trying to do with a project, it
made me more excited about it to just leave off

(28:56):
of eminem.

Speaker 1 (28:57):
Versus oh yeah, album is like vision. Yeah, the same
way of.

Speaker 3 (29:01):
Like damn, I really about to just leave a Farell
session and be like nah, yeah the fuck.

Speaker 1 (29:06):
We did a couple other ones, and I've been meaning
to hit him because he was telling me earlier that
I should be leaning into just being Latino and like
he's like, bro, who can do it. He was definitely
like he was coaching, you know, he was like, and
I wasn't in the place at the time. Also, I
didn't feel like I had done the work to feel

(29:29):
doing music in Spanish felt organic. It just it was
too big of a leap at the time. But he's like,
he's like a whole I mean maybe ten years actually,
because after my sessions for Kalaudscope Dream, we worked in
like Nashville during like Bonu or some shit like that,
and he was like, bro, you gotta get on your

(29:50):
Latin shit hard and he cooked up some like you
know those rhythms. Yeah, and I just wasn't ready for it.

Speaker 2 (29:59):
Yeah.

Speaker 1 (30:00):
But then fast forward eight years later this on this album,
Kyle was like, I'm definitely intro am. I yeah, yeah,
I'm in it and I've been waiting for for the
time when I see him and I'm like, you're right, bro,
I just wasn't ready. Yeah, yeah, because this album definitely
got you still have that loaded up in your MPC,
the shit you cooked up in that ship. I'm like,

(30:22):
now I'm telling this storage up like fucking hard drive.

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Speaker 2 (30:46):
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Speaker 1 (30:48):
It can get messy.

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Speaker 3 (32:26):
Do you think at in twenty twenty five, something like
in the Doring could work or do you think the
landscape has just changed? Like I feel like timeless records
pre COVID were the definition timeless. This could have been
at any time and it would have worked. I feel
like that is kind of left, and I'm not sure
if it's an algorithm thing. I don't know, if it's

(32:47):
an attention span thing. I don't know if it's just
a lack of feeling in music. But those timeless records,
I don't know if you can place them in this
time now and they would get the same reaction, Like
would a Dorn just be just a that's an amazing record,
But is it getting the legs that it would deserve
in this time.

Speaker 1 (33:05):
I have I kind of have given up on analy
I think there's so many variables, and like the timing
of wreck of songs, and like it has so much
to do with all of all of these different variables.

Speaker 2 (33:18):
Could it, Sure it could? Would it?

Speaker 1 (33:21):
I don't fucking know. Yeah, I know, I know, sure thing.
I put that record out when I wrote I wrote
short thing when I was eighteen, eighteen years old nineteen.

Speaker 2 (33:32):
You know what I wrote when I was eighteen or
fucking my principals, my bad eighteen.

Speaker 1 (33:40):
Apology to the judge, What the fuck? I will not
that's crazy eighteen wrote the record, yeah, you know, and
it did good at the time. But I was on
a record label called Jive Records at the time. The
promo department didn't work record from black artist black music

(34:02):
in the way that maybe, and also R and B
music was not necessarily a pop genre. Yeah so, and
I was a new artist, so I said, I'm giving
you all these like variables. I'm like, that record went
number one two years ago, a whole decade more after
it was written and published and out in the in

(34:24):
the thing, and even though it did it did numbers
when it came out, the variables didn't line up for
it to be a number one record or what have you.
And then all of a sudden, you know, random TikTok
person does this thing with the video does it puts
it in a song? And then another person hir like
I could I can't put like, how.

Speaker 2 (34:46):
Does that make you feel as an artist?

Speaker 1 (34:47):
Though?

Speaker 2 (34:47):
Like for some random TikTok girl to be doing a
makeup tutorial with your record playing and then now it's
going crazy on the charts again after like you don't.

Speaker 1 (34:55):
Look at that, Like, bro, it wasn't even the original
video that shit went crazy on. I don't even it
doesn't make sense to me. It's like a it's like
a girl in a van, like if she was getting
kidnapped has nothing to do.

Speaker 2 (35:09):
That wasn't your vision at all.

Speaker 3 (35:10):
Bro.

Speaker 1 (35:11):
It makes no sense, Like if I was ever getting
kidnapped or kid never thought it was a short thing. Yeah,
And somehow that's the that's the video that made someone
else create something. And I'm like, okay, I don't I
don't know if.

Speaker 3 (35:25):
A darn, which is kind of nuts because it's like
it's the Steve Lacey effective. I mean, man, should I
be upset or should I be happy?

Speaker 1 (35:34):
Like?

Speaker 3 (35:35):
Yes, I'm happy that now my music is out there,
but it's bringing in an audience that doesn't particularly care
about my artist.

Speaker 1 (35:41):
They show up and they're like, we just want that song. Yeah, yeah,
I throw somebody's phoning off stage the same you know
what I'm saying, you better know my lyrics?

Speaker 3 (35:50):
No, I mean, do you think that may happen in
the upcoming tour with this project, that you'll get maybe
some younger kids that know the older songs.

Speaker 1 (35:59):
Yeah, they'll be like, play sure thing, Yeah, for sure,
it's gonna happen. It's gonna happen. Uh. I kind of
I am kind of lucky in this way though, that
I do have a core audience that have been with me.
Since since all I want is you, since you know enough,
so that'll that I feel like we'll fill in the gaps.

(36:24):
The crazy thing I wonder is if a dorn will
have a moment coming back, think yeah, I'm like coming back.
I'm like, oh ship, They're just they're just discovering. All
I want is you wait till they get to Kaleidos coaching,
Wait till you know it's like, wait till they get
to So.

Speaker 3 (36:37):
It's gonna take one like royal wedding exactly, it's some
Saudi wedding. But I mean, your team is here now,
and you guys can have this one for free on
a on the tour. Maybe you set up some type
of thing. You know, Chris Brown brings like a fan

(36:59):
on stage. Maybe you can nap a fan at the
end of every show in the van and like that
just becomes a thing. Just rickety van drives on stage
and then you kidnap child.

Speaker 1 (37:09):
I think the Ricky van just all the just anything
that looks real, suss and we put somebody tie them up.
It's gonna go.

Speaker 2 (37:17):
It's gonna.

Speaker 3 (37:19):
I know your intentions were not this at all in
the song how Many Drinks, But in twenty twenty five,
how do you.

Speaker 1 (37:28):
Think that is a consent?

Speaker 2 (37:33):
We know that consent record.

Speaker 1 (37:36):
That in twenty twenty five, how many drinks? It was
a question, take you how many are we talking? Three?
Are we talking two? That is posing a question even.

Speaker 3 (37:51):
I started to get everyone's mind warped into hyper sensitive
shit because when Gladysgow Dreams came out, that would have
never even crossed my mind that would come across that.

Speaker 1 (38:00):
But then through COVID when your mind changes, and yeah,
you've been everybody's internalizing everything, being sensitive.

Speaker 2 (38:06):
Everybody's a victim.

Speaker 1 (38:07):
I go back to this shit.

Speaker 3 (38:08):
I'm like, well, this could be misconstrued, it could be
definitely twisted.

Speaker 1 (38:13):
It was twisted for a second. It's not quite Rick
Ross I dropped a million or drink yet, No, it's
not that.

Speaker 2 (38:18):
Yeah, no, it definitely was that. It's not that. It
wasn't that. But in twenty twenty five. I mean it
almost like when Rory said it early, I was like,
you know, it's crazy. It almost feels it's almost like
should I even play this record? Like if I'm in
the car with some girls, put this on, because it's
just a different world. It's everybody nobody understands context, or

(38:40):
even if they do understand it, they don't care. They
want to be upset, They want victims, they want to
know this is we cannot listen to this. It's like,
but that's not what this song is about.

Speaker 1 (38:48):
That it's not.

Speaker 2 (38:49):
No, I think I think you performed that song on tour.
Hell yeah, I mean.

Speaker 1 (38:52):
Are you still in contact with the woman that you
drop kicked? Oh my goodness, No, I haven't. I have not.
You know, where is she? Check in with her? Though
we need to check in. I do know that that
she was okay, you know after I think it is.
It's been ample time to check in.

Speaker 2 (39:11):
But you are going back on the road.

Speaker 1 (39:13):
We'll be back on tour in February for sure. I'll
play the Forum for the first time in my hometown.
Oh yeah, yeah, we do the Forum in La So
I'm excited.

Speaker 2 (39:24):
Which city is your favorite, like your favorite city to
perform in.

Speaker 1 (39:27):
Like on tour. It's hard to say. I would say
New York has always been a special place for me.
My my career really starts on the East Coast. Yeah,
they weren't playing They didn't play any of my records
on the West coast. My first album. Really none of
those songs were on the radio in LA. In the

(39:49):
Bay they did, though, big shout out to the Bay
Bay area may be one of my my my top ones.
And look, I am born and raised in LA. I
will always wrap Los Angeles that's my city, or we're
have you. But we're just not known for having great
shows like crowd the crowds in LA.

Speaker 2 (40:05):
Because we say that when we did some shows and
at least like the crowd is just a little more
laid back and quiet and kind of just staring at
you and call like why is that is that? We
always say, We always joke and say everybody's high, but
everybody's high in the Bay too, though, Yeah, everybody's high everywhere.
Yeah at a show, yeah gotta be high. But it's

(40:27):
just something about La Tho where it's just like the
energy is always more reserved.

Speaker 1 (40:32):
I believe you will find more than any artists upset
at their shows, like video of them being like this
is like y'all better, like come on, like get up. Yeah,
in Los Angeles. I just think it's it's just a
cultural like laid back thing. I guess about it, because even.

Speaker 3 (40:47):
I feel like New York has the stereotype of like
the too cool crowd, but I always felt that was.

Speaker 1 (40:52):
Misjudged, Like I think New York Crown, New York was crazy.

Speaker 2 (40:55):
Yeah, New York is LA.

Speaker 1 (40:56):
Maybe only stereotype, but I think it's true with crowds.

Speaker 3 (40:59):
Yeah, and rap shows, R and B shows, rock shows,
podcast like everyone is just fucking standing there.

Speaker 1 (41:04):
Watch you buy a ticket? Yeah, I don't want to dance. Actually,
the last show I went to an LA that was
that cracked was a turnstile show. Okay, and I was
in the pit for the most of that show, but
that was a dope one. And this is before the
newest album actually great album. Also, anyone in the pit
go oh shit? Is that Miguel? Hell no, No, like

(41:24):
Miguel Miguel. They're just like go hard.

Speaker 2 (41:27):
I often do you go, like see other artists like
to their live shows. Yeah, as a fan, just kind
of like look at the set and yes, yes, And
I don't I prefer to be in it, Like I
don't want to be.

Speaker 1 (41:39):
I'm not trying to be. I don't want to do
that side of stage sound is trash. Yeah, I want
to go listen and like absorb and enjoy the show
and like really feel it. You know, that's just the
I mean, I mean we forget, like that's the beauty
of getting together and listening to great ship is like
around people. You're around people enjoying a moment. That's what

(42:01):
the the they just brought me on and I've been
I've been excited about this. I'm Scotland Residents at n
y U this semester. Yeah, I'm doing a course entitled
Speaking Chaos of Power, which is which is just about
across the board, taking you know, all of our endeavors
and making sure that we're using it in a way

(42:23):
that's equitable, which I feel like is the right It's
the right time for that, but especially in music and
across the arts, across all mediums, I think really being
intentional about how we're organizing and molding and shaping the
industries of i P and utilizing i P, and how

(42:44):
that i P should remain in the power of the creators,
and and also the systems by which that i P
get distributed and monetized should be owned and operated by
the creators. I think it's that time where it's no
longer other entrepreneurs than you know, building businesses off of
IP I think it should be artists owned is important,

(43:07):
so anyway built a whole course around that. But this,
uh should don't even know we were talking about. Oh oh,
it's the moments of getting together and organizing. I mean,
these are the beginnings of it. Are shows like go
to your like, support your art, go to your artist shows,
enjoy them. That is the function of art. Art brings

(43:29):
people together around emotion, which erasist change the differences creed, color,
religious belief, ethnic background, all of that completely disappears where
you're in the presence of art. That's why you'll go
look at the painting and sit and just stare at that.
But it's just be like, I don't I don't know
who this artist somebody, but this is like I fuck

(43:51):
with this. Or you listen to a poet who's from
a completely different walk of life and you're like, this
is just I feel this. Last night I was at
the Blue Note said I watched a poet by my
name of Queen Shiba. She's from she's from Atlanta, and
she did an amazing piece last night moving and I'm like, man,

(44:13):
how often do we go see poetry anymore? And like,
how often are we going so I think about that
just to say, like, no, like I go to shows
to enjoy and absorb the fucking emotion. That's like, that's
what it's about.

Speaker 3 (44:28):
Yeah, Like, average live music beats good recorded music any day.
Just if you would just walk past somebody and watch
the square park and they just playing, that's going to
feel better than good recorded music.

Speaker 1 (44:41):
That's not any moment of professionals. Also, I love New Orleans.

Speaker 3 (44:45):
I love being one of the greatest, one of my
favorite cities, and it's the only city in the States
where you feel like you're not in the States.

Speaker 1 (44:51):
Yeah, exactly, it feels like a whole other, whole other place.
So to answer your question, New Orleans is one of them.
New York for sure, London's been really good to me.
South Africa is great. Australia okay, yeah, Australia is always
really good. Those are some big ones.

Speaker 3 (45:10):
Now that I know your career started in New York
more or lesson recording out here. What were some of
the spots you were going to in two thousand and
ten in New York. Yeah, I'm curious what the Miguel
like club run was like, Like, was he at Up
and Down?

Speaker 2 (45:25):
I was I was going to say up and down
downy Like, I've walked past mcguil a few times in
the club.

Speaker 1 (45:31):
I'm like, is that Miguel. He's just like up and down,
up and down.

Speaker 2 (45:38):
That was like, that's the legendary. I've definitely seen Miguel,
Like maybe even Compella one night getting something to eat.

Speaker 1 (45:45):
Compella for sure was the go to late night always.
We still go there. I still get the tacos there.
They had to bring them back. Yeah, they got rid
of them a second. Yeah, you've never been a Copella
and you've been in the citygether. Yeah, I think like
a Vashti Santos set. Maybe I've seen you for sure,
seen you at for sure?

Speaker 2 (46:00):
Where have we been? New York is so little.

Speaker 1 (46:04):
You don't have these things.

Speaker 2 (46:04):
You don't have these things anymore.

Speaker 1 (46:06):
Yeah, it's kind of it's kind of changed.

Speaker 2 (46:09):
Outside.

Speaker 1 (46:10):
People are still outside though, like, like, what.

Speaker 2 (46:12):
What are people doing outside in New York.

Speaker 1 (46:14):
It's not the same. It's it's not the same.

Speaker 2 (46:16):
They're bringing one oh back because New York is so
terrible now.

Speaker 1 (46:19):
Yeah, I feel like New York is kind of transitioned
to more like private parties. It's like it's kind of
more like the private ship.

Speaker 2 (46:26):
Yeah, members clubs like you know, the Soho houses and
things like that. Yeah, like that's not just people do
I guess I.

Speaker 1 (46:32):
Went to a spot. I'm trying to think. The last
dinner we did was that the I just had dinner
with Nikki over there. It was one of my best friends.
What was that spot? But yes, the private the private
clubs is going crazy, the private spots. How's how's fatherhood

(46:56):
changed your brain in the last year? I for bro
me too? Why should is just? And they The weird
thing is they come and they go, It's like they're
in and then they'll be like, all right, I'm chilling
somebody as I wake up with more grades and then
they disappear. Yeah, yeah, they'd be like I'm coming.

Speaker 3 (47:14):
Like the more my daughter kicks me in the face
at night, the more the grays cious.

Speaker 1 (47:18):
I'm getting that right now a big time. They wake
up with a slap.

Speaker 2 (47:21):
Yeah.

Speaker 1 (47:22):
I never thought I'd appreciate it so much, but I
love it best. Wake up.

Speaker 2 (47:28):
Dad.

Speaker 1 (47:28):
Brain is a real thing. Yeah, I'm forgetting all the
ship all the time. I didn't know I could be
this tired and just still be like all right, well
make it work. I have a tremendous appreciation for my
parents in a very different for sure. We were talking
about this in the kitchen. It's like people do say that,
it's like you you do feel that way. It's like

(47:50):
the most life changing thing, but it is scary. Yeah,
I look at the world differently. I feel I feel
a big response to ability to both like try and
do something about what I see because it's going to
be his. Yeah. And I also am like the most
angry and protective that I've ever been, which I think

(48:12):
it's a it's a sign of maturity. Oddly, I'm like, oh, no,
you actually it's not all good out here, and everything
is going to be all right, just because it's going
to be all right, you know. And I think I
took that. I was very much in that, like manifested
it's going to be good. Yeah. For it's like, nah,
you're gonna have to make that shit happen. Yeah.

Speaker 3 (48:32):
It's crazy that the feelings of going from feelings so
insignificant once you have a child, because this is the
most important thing too. While I am the most important
person because I'm teaching my dumb ass is teaching you
everything you need to know, and it's like should I
be doing that?

Speaker 1 (48:48):
Yeah, it'll have you questioning. I was tripping that they
just gave us the baby after he was born, like
all right, go home. I was like, that's is You're
not going to show me how to get him into
this like how do Yeah? Like I'm like, am I
gonna break him? Like YoY? Like is it? It's me?

Speaker 3 (49:08):
They brought us to like our you know, the room
after she gave birth, and they just put amar in
the ship and close the door. We was like, wait,
it's like peace, no, no, no come back questions?

Speaker 1 (49:22):
Yeah yeah, yeah, how did you wrap them up like that? Okay?
Can you at least show me that one time? Yeah,
it's it's I do feel and I don't want to
say the word that I was going to say is inadequate.
But it's not that I feel inadequate. I feel I'm
aware that I don't have the answers. Yeah, you know,

(49:44):
And we were talking about that like damn ship because
because my son is one, so he's going to be
out and you're saying too, yeah, yeah, he when he
starts asking those questions, I don't know.

Speaker 2 (49:57):
I don't know, I really don't know.

Speaker 1 (50:00):
But you know what, though, I will say that, I
will feel comfortable saying I don't know, son, let me,
let's look it up. You know, Like I do feel
good about that. I don't feel like I have to
have the answer yeah.

Speaker 3 (50:11):
To that place because for the first like few months,
where you know, she was really starting to have like
real thoughts and questions, I was so insecure of like
I don't know anything. Like she's asking simple and profound questions.
I'm like, I don't fucking know. Yeah. Now I've gotten
more comfortable with saying I don't know. Yeah, like I

(50:32):
have no and I feel like that prepares them as well,
because she's not gonna know shit.

Speaker 1 (50:36):
Sometimes you'll be like I don't know, Yeah, let's figure
it out, let's find out. Yeah. I think that's the opportunity.
I will probably be hitting chat GBT though. I'll be like, so,
why is the moon so big today? And like, I
don't know, that's a good question. Yeah.

Speaker 2 (50:52):
So listening to this, this this project, well back to
the you know, the lack of features. I don't know
if were there any features on this.

Speaker 1 (51:00):
Just George Clinton in the very end, which is a.

Speaker 2 (51:03):
Dream he just threw, you know, he just threw George Clinton.

Speaker 1 (51:05):
Just only not just I'm sorry only George Clinton. Yeah,
I'm that's intentional for sure. Good Thoughts, Bad Thoughts has
been a big It had a big impact in my life.
Has had a big impact in my life. And because
this album kind of like represents I feel like a
turning point for me. It's it's personal. I wanted I

(51:31):
wanted it to be just about the overarching the where
I'm at, you know, and just George is just his words.
And in that song, if you never listen heard Good
Good Thoughts, Bad Thoughts, the first the first two and
a half three minutes is just soloing and then the
second half is George Clinton just speaking deep deep truth,

(51:57):
the kind of truth that's like a breath of fresh
air and also like feels like it's ominous. It's like
an ominous truth that's stuck with me since the very
first time I heard it. And a lot of those
a lot of that is a core is like core
belief for me. Travel, travel like a king. You know,

(52:19):
it's like your thoughts, like careful of the plant seeds
you plant in your mind, because seeds grow according to
their kind. You know. It's like deep things that resonate
with me and things that I, you know, want to
instill in my son. And I think it is those
core beliefs that really helped push me push through some
of the change in this album that I was. I

(52:42):
just it was a dream to have him on the album,
and and it all the more makes him being on
the last song, which is called a beautiful I'm sorry
Kama Karma, Uh, it makes it even more important. So yeah,
he blessed me, blessed me there.

Speaker 2 (52:57):
As a as a as a as a musician and songwriter.
What is Miguel's what is your greatest one song? Greatest?
Not yours and just the heard.

Speaker 1 (53:10):
I'm telling you, this is my favorite song of all time.
So Good Thoughts, Bad Thoughts by Funkadelic Great one of
the greatest songs of all time, one of my top
and it's it's not just the second half it is.
The first half feels it's like transcend. It's transcending. You know,
it's your you can close your eyes and it's going

(53:33):
to take you to a whole other place. Yeah, and
then the second half is like a double down on
like just belief systems. And and to think that it
came at a time, in the time that it came.
It's just like just so far ahead, you know. You know,
George is a visionary and I mean he's made just
shit that's going to last for ever and ever and ever.

Speaker 3 (53:54):
So yeah, that makes so much sense though that that
would be because I feel like Kaleidoscope Dreams even is
like like a continuation of Maggot Brain. Yeah. Yeah, it
very much Funkadelic Maggot Brain to me would be Kaleidoscope
Dreams of that time. So that does make a lot
of sense. How did that whole you know, relationship with
him even?

Speaker 1 (54:15):
How did that happen? Bro? How did that with George?
Did they just reach out because he was working on something?

Speaker 2 (54:24):
Yeah, that's crazy.

Speaker 1 (54:27):
Yeah, it was just kind of wow. It was one
of those you know, like is this a prank call
type of moment.

Speaker 2 (54:34):
Yeah, it was.

Speaker 1 (54:35):
It was like that, it's like, really, are you sure, George? Right? Yeah?
So so yeah, it just came about that he was
working on a project and his team reached out and
I was like, tell him good Thoughts. Bad Thoughts is
like one of my favorite songs of all time and
it's like changed my life. And I told him the

(54:55):
story of how I heard the song the first time
I was at Coachella. I was driving, windows down. I
don't know who left this CD in my car back
This is back before when Coachella was still an electronic music,
music and arts. You know, it's like an electronic festival.

Speaker 2 (55:09):
Something totally different.

Speaker 1 (55:11):
Yeah, it's very different, very different, very different. And I
was coming from a long night. I did all kind
of shit and I was driving back to my little
shitty motel that I found last minute, and uh, and
I popped the CD in just because I was like,
windows are down, I'm high. Do not advise anyone doing this.

(55:33):
You know, it's a wild night when you don't even
know who left the CD in your car. Oh, I
don't know. I still to this day don't know who
left that citty in my car. But I put this
and the first thing that came came on was this
and it it comes in kind of soft, it kind
of creeps in, and after a long night, it was
like your high, windows down, the sun is coming up.
I've got like the mountains on my on my right

(55:53):
and the sun is coming up on the left and
I'm just like the wind is blowing, but it's hot
because you're in you know, Indio. Yeah, and this guitar
comes in and it's like magic, and I'm just going
and I'm driving. It's taken a long time to get there.
I'm driving for some time and it feels good. And
all of a sudden traveled like a king and I'm like,

(56:17):
I swerved. I'm like because it's jarring. It's kind of scary,
but I get I gained control of the car almost,
you know, I crash almost crash out, get control of
the car and I, you know, tighten up. And in
that time, I must have been really too high, so
it sowered me up one but it also locked me in.

(56:39):
And I listened to to just George Clinton just speaking
that just deep deep truth, and that shit hit me
so hard and it's still to this day again. It's
something that I'll play for my son and it's one
of those songs that I'll just always be like.

Speaker 2 (56:53):
It's yeah, it stuck with you.

Speaker 1 (56:54):
Yeah, yeah, No, that's that's beautiful.

Speaker 3 (56:57):
Are you a miss Rachel family or you? What's what's
your go to with screen time? Screen time for him?

Speaker 1 (57:04):
Yeah? No screen time? Love it right now? No screen time?
You say that? No, I know no, I'm counting down
the days. I'm like, how when can we start doing
screen time?

Speaker 2 (57:16):
Please?

Speaker 3 (57:17):
Because yeah, sometimes until you're in Holland tunnel traffic, it's
like take that pad. Yeah, here, here, this is here
to take it.

Speaker 1 (57:24):
Take it. Yeah, he's he's definitely trying. I need to
get like a disguise, like a book like something to
make it not look like it's a phone, because he
knows exactly what this is. And he's like just crazy,
Oh my god, he's like I mean, he picks it
up and moves his his thumb around like he knows
what he's doing. I'm like, all right, yeah, yeah.

Speaker 3 (57:42):
Before we let you go, I have kind of a random,
yet nerdy question, what is your relationship with Blue like
these days?

Speaker 1 (57:49):
Man? Blue is for those of you that don't know,
Blue and I go back to high school. Yeah, we
went to high school together, and I mean and we
talk on text here and there, but we actually haven't
kicked it in a long time. But that's my brother,
like he's that's my brother getting on almost talented. This

(58:11):
is a ever if you have not listened to below,
the Heavens called do yourself a favor and listen to
a classic album called Below the Heavens Man. He's still
crushing with exile and an exile. You know, we're like
it's just online text message kind of kind of like
keeping up, but there's always like one or two things

(58:31):
in a year of that i'll catch him at. It's
either an anniversary that we get to kick it, or
it'll be like a little family hang. It'll be me
be our boy B. He's like kind of like our
bigger brother figure growing up. But yeah, we'll have a
we'll have a hang once or twice in a year,
but we haven't kicked it in a long long time.

Speaker 3 (58:51):
Yeah, as a fan, I would love for a Blue
and Miguel EP at some point.

Speaker 2 (58:57):
I honestly Phil, you know what.

Speaker 1 (59:00):
Too, Like, I think that would be incredible, especially in
this time. I absolutely was like we we've been, you know,
just like keeping keeping up a little more regular. I
feel like it's like when it's supposed to happen with timing.
Also also because you know when when he when he

(59:20):
found out that I was, you know, having a son
or whatever, he was just he has some kids as well.
That that's a whole other thing too, when your friends
become parents and you're also parents, it's like okay, yeah, level, Yeah,
you just start to and you look at life different,
you know, you look at the journey you like, ah,
so it makes you want to lock in even more.

Speaker 2 (59:38):
Who gave us kids?

Speaker 3 (59:39):
Like?

Speaker 1 (59:41):
How did they let us do this? It's crazy? It's crazy.
So yeah, I would love I would love that. Yeah,
I think it would be really special. Yeah, it would
be really special.

Speaker 3 (59:50):
Is there any producers that you haven't worked with that
you do want to work with outside of you and
for real working again at some point?

Speaker 1 (59:56):
Yeah, right, right, there's a lot. Man. I've been blessed
to be able to do this kind of self sustainably
and and and then work with a lot of incredible,
you know, incredible producers along the way. Already, I've never
done any music with Shit. I want to do something

(01:00:17):
with Trent Okay, fly Low, we've been talking about doing
music for some time. I think fly Low is one
I've already like Dave Knows Dave Sidik is on my
last two albums. He's we've done work together and he
was really integral and helping me get my mind around
this album. But I'd love to do a full project
with Dave Sidik Jeff. I love to do a lot

(01:00:43):
more with Jeff Basker. That's that's also a brother and
like friend and he's just incredible. I want to do
something like Primo. Gotta do it. We got to do
a full one. Yeah, because he's been gracious enough to
have me on some stuff before. And that's why I

(01:01:06):
love because Primo would lock a week.

Speaker 3 (01:01:08):
Out into and that's crazy. He's a legend. But also
will be like, Yo, let's just work for me.

Speaker 1 (01:01:13):
Just do it. Yeah, yeah, Prem will do that. He'll
for sure, for sure to do that. Yeah, we have
yet to do that, Prem, I know, I know we
need to do that.

Speaker 3 (01:01:22):
Have you worked with fifteen hundred and nothing like rans
and just like being an La Native, I feel like
that's such a no brainer that you would be you
and rants like that is That's that is one of
those ones where I'm like, Yeah, why hasn't that happened?

Speaker 1 (01:01:35):
Why hasn't it You're You're right, That's actually one of
those ones that I always forget. It's crazy because when
you're at home you forget. It's kind of like going
to like fashion week, you like run into everybody. You're like, damn,
but we live in the same every day, but we're
kicking it the hardest out here. Yeah, you know, but
that is a yes, yes, fifteen hundred or nothing we have.

(01:01:55):
We haven't done a single record together, which is it's crazy.
We need to change that. We need to change that.

Speaker 3 (01:02:02):
Yeah, and I mean even just you and James on
the writing side as well would be incredible.

Speaker 1 (01:02:05):
That's one of those. That's another one. And I think
James the reason why is because I always catch James
like a one like one off kind of vibe and
it's like, let's let's get one in and what happens,
what needs to happen is to lock in with James
like early and like the whole process, be like okay,
we're working together through the whole process. I think that'd

(01:02:26):
be the better one. We said that the last time.

Speaker 3 (01:02:28):
We Yeah, you gotta you have to catch them at
like a convention where you buy samurai swords or so.

Speaker 2 (01:02:32):
Oh yeah yeah, yeah, yeah, yeah, you got in this world.

Speaker 1 (01:02:36):
It's very very true. I got to catch him on
in Japan trip or something.

Speaker 4 (01:02:40):
Yeah.

Speaker 3 (01:02:40):
Absolutely, yeah, I think you know, I d would be
incredible too. That's something that I also have, Like, why
is Miguel no idea, never no id.

Speaker 1 (01:02:49):
Fuck, I'm I'm there's there's people that I'm not thinking
of right now. Again, dad brain is a real thing.
But we've we've also talked. We've also spoke before like
no idea, like we've been in the same said, I'm
a massive fan. I'm like, we've been in touch, just haven't.
It just hasn't happened yet. Would love that to happen

(01:03:10):
because artists are too stubborn.

Speaker 3 (01:03:11):
Man, they don't want to send the first text of like, hey,
let's follow up and actually work.

Speaker 1 (01:03:15):
You know, it's true though, it's true, it's true. It's yeah,
I wouldn't. I wouldn't for me, I wouldn't say ego.
It's just that I forget. I mean seriously, I literally forget.
And you know what, I have a thing about asking
people to do anything, Like I hate to ask people
for any.

Speaker 2 (01:03:31):
Of my burden. You know, I'm the same.

Speaker 1 (01:03:34):
I don't.

Speaker 2 (01:03:34):
I don't want to ask like I feel bad.

Speaker 1 (01:03:36):
I'm like ah, because I never want to make anyone
feel uncomfortable. And then also it's all super personal. And
then so there's like a little bit of like everybody else's.

Speaker 2 (01:03:45):
Asking for something and you're just like I don't want
to add to that.

Speaker 1 (01:03:48):
Yeah, yeah, so but I but I'm working on it
for sure, I am yeah. Yeah.

Speaker 3 (01:03:54):
Do we think the R and B rap hook combo
will come back? Everything reinvents itself. I feel like that
sixteen R and B hook sixteen R and B hook
has kind of disappeared.

Speaker 2 (01:04:07):
It's gone.

Speaker 1 (01:04:09):
Oh no, I think it's still I think it's still room. Excuse,
I think it's still room for that.

Speaker 2 (01:04:13):
Oh, I definitely watch. I think just don't do it.

Speaker 1 (01:04:16):
Yeah, that's that's kind of disappeared. Well, look, selfishly, I'll
say that to a degree, I'm not I'm not the
I'm not the most for that, only because it sort
of relegates the R and B part and the singer
part is like you just do the hook and then
we do the verse. Yeah fuck that. But I do
miss some of it, you know, I do miss some

(01:04:37):
of it. So yeah, I think an iteration of that
is necessary. It's going to come back. I might be
behind it. I don't know.

Speaker 4 (01:04:43):
I just see you've had a few good ones like
I've I've definitely like floated the idea of like just
executive producing an entire album with all female MC's and
where I just do the hook or we're bringing people
to do the hook, and just like.

Speaker 3 (01:05:00):
Yeah, I like that, and I mean, even if it's
not as structured as inverse here, yeah, but I seeah,
I think it's needed.

Speaker 1 (01:05:08):
Right, that's interesting. I think it was a bang. Yeah, absolutely, yeah.

Speaker 2 (01:05:11):
All right. The album October twenty third.

Speaker 1 (01:05:13):
October twenty third, Kyles the album my fifth studio album,
and we'll go out on the road in February. So
so pull up, yeah, get.

Speaker 2 (01:05:22):
Your tickets to see Miguel, one of the most talented.
We got to support real musicians, real artists. Miguel. It
was a pleasure of meeting you, talking to you. Finally
we've I've crossed, we've crossed, but this was like our
first official hang. Yeah yeah, like so it's it's good
to see you. Album sounds incredible. Thank you for helping
me clean the crib last night. I appreciate that.

Speaker 1 (01:05:45):
Spotless, Now Spotless, I can have everybody. For eight years,
I've been waiting for Migel.

Speaker 2 (01:05:50):
I'm sorry it's been eight years, but now with Spotless,
thanks to Miguel. Miguel, thank you, and I'm definitely gonna
catch you when you're on the road. Got to come
to see the show.

Speaker 1 (01:05:58):
Yes, love to have you guys.

Speaker 2 (01:06:00):
That nigga, he's just Ginger. That's Miguel.

Speaker 1 (01:06:02):
He no will he had now