QLS Classic: Marsha Ambrosius

Episode Transcript
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Speaker 1 (00:00):
Of course.

Speaker 2 (00:00):
Love Supreme is a production of iHeartRadio. This classic episode
was produced by the team at Pandora.

Speaker 3 (00:09):
Hey, what's going on y'all? This is Fante Fonticelo. This
week's QLs classic is with none other than my homegirl,
my friend, singer songwriter Marsha Ambrocious.

Speaker 1 (00:18):
She stopped by. We talked about.

Speaker 3 (00:20):
Everything from working with Michael Jackson, writing Butterflies, doctor dre
Flow a Tree, and most importantly, how we've been pronouncing
her name wrong and fucking it up for all these years.
This episode was from January nine to twenty nineteen, and
this is this week's cure Less Classic. It was an
incredible time and we hope you enjoyed. Catch out next week,
I Get Peaceful.

Speaker 1 (00:47):
Here we go.

Speaker 4 (00:49):
Supremo Supremo, Roll Call, Suprema, Sun Supremo, Roll Call Supremo,
su Subprimo ro looking.

Speaker 1 (01:00):
Scared se roll Chameleon.

Speaker 5 (01:05):
Yeah, Karma Karma, Karma, Yeah, I'm sorry, jan Yeah, Marcia Marshall, Suprema.

Speaker 3 (01:20):
My name is Fantee and I would listen to Flow
Yeah back in the day when I was doing my
hole with you.

Speaker 1 (01:32):
Supremo Supremo. My name is Sugar. Yeah, I know John Mayer. Yeah,
so she cheated on me. Yeah with John Mayer.

Speaker 6 (01:48):
Yeah, pay Bill, Yeah, I hope you're hearing. Yeah, I
wish you could see. Yeah, like he is hearing.

Speaker 7 (02:02):
My right, it's been years since. Yeah, Boss Bill was
in England. Yeah, I had a real chill time.

Speaker 8 (02:13):
Yeah.

Speaker 1 (02:13):
My idea of fun Brollie gets up.

Speaker 9 (02:18):
Supremo roll Suprema Son Supremo roll Ye.

Speaker 10 (02:25):
Yeah and Marcia yes, Yeah, was like a beast.

Speaker 1 (02:29):
Yeah.

Speaker 10 (02:29):
And she sings the best.

Speaker 9 (02:31):
Whoa Suprema Son Supremo roll.

Speaker 1 (02:35):
Call, Suprema son So Sopremo roll call.

Speaker 11 (02:40):
My name is Marsha. Yeah, and I'm on this mic. Yeah,
I'm with my husband. Yeah, I'm so high.

Speaker 9 (02:50):
Supremo roll call, Suprema So Supremo, roll call, Suprema Son
Son Supremo roll call.

Speaker 11 (03:09):
And I sound like Mary Puffins.

Speaker 1 (03:14):
Might have everyone bodied their verse. Y'all.

Speaker 10 (03:17):
Man, Wait, I didn't know that my godmother ear rings.

Speaker 1 (03:23):
Shout the jeans hanging. I know you had a scar
for the repurpose some parasuco.

Speaker 8 (03:33):
I believe these came from the stable collective. Shout out
Toterrina Scott. I'm just saying I don't.

Speaker 12 (03:37):
Know Scott's wife.

Speaker 1 (03:39):
Okay, there's some funked up earrings. Edit. I'm so happy
about everything. I'm so happy to be back. Raight up.
It's all right, man. My stomach hurts my side. I

(04:03):
know I don't show.

Speaker 12 (04:06):
Yeah, I'm here quest Love and we're with Teams Supreme
and there's unpaid Bill. Yeah, you're back. I'm back, thank you.
I was on my walk about you. I did like,
were you three weeks working up your bathroom as well?

Speaker 6 (04:23):
Or no? I am renovating the basement. There's no matt
finish or waterless heater, waterlessankless tanklas water heater, but there
are some walls.

Speaker 8 (04:35):
Probably got some cool job ship going on, Bill that
you try and make jokes, but you probably got some
real cool shit going on while you missed us.

Speaker 1 (04:40):
Right.

Speaker 6 (04:40):
Oh yeah, Sesme Street was filming season fifty. Wow, fifty
years of Sesame Street.

Speaker 1 (04:46):
Fifty years? That's crazy. Am I say anything about that?
Or do I just wait until it happens? Or I
think you should say something?

Speaker 12 (04:54):
Okay, Well, I'd like to thank you for finally it's
been a lifelong more than soul trained and to come
on Sesame Street that I can help.

Speaker 1 (05:04):
So you so you actually only you made it on
I'm Battling Grover.

Speaker 8 (05:07):
Yeah.

Speaker 1 (05:09):
Yeah, it's quite amazing man, all right.

Speaker 12 (05:12):
And it's weird because like when you get in front
of the muppets, you start talking to the muppets like
they're real people.

Speaker 6 (05:19):
Also, Amir was like, legit flustered on the set. It
was pretty funny. Yeah, he usually can't stop talking. He
was like it was it was like, I'm just gonna
play the drums cause I don't know how to talk.

Speaker 12 (05:28):
Because like even even when they yell cut, Grover's still
talking to me.

Speaker 1 (05:35):
Jimmy, Well, you know, I just kept on it and
then like you realize, forty seconds later talking to a
band and talk to it having a whole conversation.

Speaker 12 (05:45):
Yeah, I was getting analytical everything about my creative process.

Speaker 1 (05:51):
And I was like, wait a minute, gets to the
heart of the matter. Yeah, yeah, sugar, Steve, how's it going?
Welcome to your Yeah yeah, well how you I have
a whole network? Actually, how's your network doing? Network is blossoming? Really? Yeah,
that's driving. That's great. Thank you for asking. H bost Gardens.

(06:14):
Are you are you happy as or Yeah? I'm good.
I haven't been getting in again. This is not a pun.
I haven't been getting any headaches lately, So amen, amen
to that. First listen to music.

Speaker 10 (06:28):
It just smell.

Speaker 11 (06:31):
We we know, we know, we know, Mars, So don't
bring up old stuff.

Speaker 10 (06:41):
She's a mod and.

Speaker 1 (06:44):
I'm good man, I'm glad March is here.

Speaker 8 (06:46):
Man.

Speaker 3 (06:46):
I haven't want to do this on a long time yet.

Speaker 1 (06:51):
Our guest today.

Speaker 12 (06:52):
She made her mark in the music world as one
half of the pioneering neo soul outfit entitled Floatry. Her
reputation as a songwriter, I'll say, uh, grew after the
creation of what many, including myself, will probably say, Okay,
how big of a hyper bulwick movement can I make this?

Speaker 1 (07:13):
You're pretty good.

Speaker 12 (07:14):
I personally think that Butterflies is maybe one of Michael
Jackson's finest vocal performances in the last ten years of
his life. Without without, without, without a diet. It's actually enunciating,
yeah and not gritting. I'll ask you, how did you
not get into yell at the So there's a take

(07:34):
where he just let me actually say your name first.
You will be in the show? Yeah, yeah, all right.
So she collabed with all of our favorites. Uh now,
Salem village. Uh buster rhymes the game earth within and
fire common. Uh oh, of course doctor dre while a

(07:58):
Kanye Robert Glas everybody, everybody your credits of course.

Speaker 1 (08:04):
Late nights in early mornings.

Speaker 8 (08:06):
Uh.

Speaker 12 (08:06):
The very strong friends and lovers, extremely strong friends of lover.
Her husband's in the room right now.

Speaker 13 (08:18):
He knows all the stories, respectful, and the latest being Nyla,
which is not for New York LA.

Speaker 12 (08:29):
It's not about you being bicoast. It is, yeah, but
I would like to think that it's also named after your.

Speaker 14 (08:37):
My daughter daughter, who was also named after my husband,
was born in LA and raised in Buffalo.

Speaker 11 (08:45):
New York, n y Laka. And that's our tour schedule.

Speaker 12 (08:49):
I literally I thought that you wanted to correct a
thirty five year wrong in which another famous person from
the U k uh once had her version of coast
to coast only being elert to Chicago.

Speaker 11 (09:09):
I still laughed about that even in school.

Speaker 14 (09:12):
I was like, geography, this is amazing because it's not
coast to coast. But I love that she's my favorite
and she allowed me to cover strong on the pride
to so right, that's crazy, So yeah, coast to.

Speaker 12 (09:25):
Straight straight out of Liverpool, marsh and.

Speaker 11 (09:36):
What's up?

Speaker 3 (09:37):
Yeah, this is gonna be like all times, it's not
even you know, so now I'm thinking Late to Chicago
western Maine.

Speaker 10 (09:43):
Is that the western may right, Western Lane.

Speaker 3 (09:48):
Was absolutely clear because that's the don't know, late to
Chicago to Maine.

Speaker 14 (09:54):
Yeah, that's a that's like a Bermuda tribal with South
Dakota el south.

Speaker 1 (09:59):
To it's western Male.

Speaker 14 (10:03):
I just wanted to express the world. It wasn't about
a coast to coast thing. It was we're lyrically going
to infuse places.

Speaker 1 (10:10):
Okay, do.

Speaker 12 (10:18):
You guys realize that there's three versions of that song
in rotation otor Really when you buy the single version,
it's I inquired this to Stewart.

Speaker 1 (10:29):
They did. They did, like.

Speaker 12 (10:31):
Stewart what's his name, Matthew, Matthew Man. I was about
to say Jamaica last Stewart Zendad Right, Yeah, they they
did like five takes of it. But the version on
the album of Day is like night and Day. I
don't know why didn't notice it earlier, Like I thought
it was just a regular smooth operator that we've always known.

(10:53):
But if you compare the album version to the single version,
that's on radio and whatnot.

Speaker 1 (10:58):
It's night and day like.

Speaker 12 (11:00):
Yeah, her vocal performance everything. So the things you learned question, yes, exactly.

Speaker 10 (11:06):
You know what you saying Western Maine?

Speaker 1 (11:09):
Yeah, Western Male. Google I think was wrong on this one.
It says Western Mail m a l e.

Speaker 11 (11:14):
Oh yeah no that oh wait that context.

Speaker 12 (11:18):
That's oh yeah, it could have been mm hmm. Let's
just spend the whole episode.

Speaker 1 (11:24):
Figure out.

Speaker 11 (11:29):
And say, you know what.

Speaker 1 (11:31):
Anyone, Drake, I don't not no more. That's the whole number.

Speaker 3 (11:39):
Oh man, that number was like eight eight numbers. Yeah,
he didn't throw his wire phone away.

Speaker 1 (11:46):
How are you doing, Mar?

Speaker 11 (11:47):
I'm great?

Speaker 1 (11:48):
How are you fine? I'm fine. Wait, that's what I
did not know that you were born in Liverpool. I
thought you were just straight up London.

Speaker 14 (11:56):
No, born in Liverpool and we moved when I was
about five years old, so I only really went to
school in London and went back for every holiday. So
I guess how your semester's work. It would be what
easter break, summer?

Speaker 1 (12:13):
When you think of home, it's Liverpool.

Speaker 10 (12:15):
I think of the place.

Speaker 1 (12:17):
Really, I was thinking of Surelle.

Speaker 11 (12:22):
Nah No, not not really.

Speaker 14 (12:25):
I think of Liverpool, but I do reference London because
that was the you know, trying times. It was parents separating.
It was okay, I'm going to play basketball, I'm going
to do music. I'm going to do everything to keep
myself occupied and then go.

Speaker 1 (12:40):
Back to Liverpool. How old are you when your parents
have read it like six? Wow?

Speaker 14 (12:45):
So that picture on the cover of Nylo, that's I'm
about eight there, yes, seven or eight. So it was
my dad's base in the background with his giant amplifier
that I used to just switch on and off in
the middle of the night so you can hear.

Speaker 11 (12:57):
That, like go back to sleep.

Speaker 1 (13:01):
So that was my that was my upbring was a musician.

Speaker 11 (13:05):
Yeah.

Speaker 14 (13:06):
He was in a seventies band called super Charge signed
to Virgin Records back.

Speaker 1 (13:11):
In the day.

Speaker 11 (13:11):
And if you google that, yeah, well if you do
find the YouTube footage of said things.

Speaker 14 (13:21):
He's doing the Robot in nineteen seventy six on live
television in Australia.

Speaker 11 (13:27):
Somewhere there's footage of this is incredible.

Speaker 1 (13:31):
I can't.

Speaker 14 (13:35):
You can't, but it's it's definitely googleaball and just being
brought up in a household where music was everything.

Speaker 11 (13:42):
My mother has more Vinyl than you.

Speaker 14 (13:43):
She does like it's not even like, oh my mom's
got no she does like where she keeps crazy.

Speaker 11 (13:51):
We have like a storage unit. My uncle has some
and she has.

Speaker 1 (13:54):
Some at the house in Liverpool. She was just a
Vinyl lover or yeah, like from radio station there.

Speaker 14 (14:03):
No, but that was very popular in the UK and
she could she may as well have done at that point.
But I remember, you know that pivotal point when you
realize what music actually is. And for me, that turning
point was Purple Rain. Purple Raining. Off the wall did
it for me personally where I was like, you know what,
I know what makes me feel really really happy? And

(14:23):
it was I can't help it, And it was take
Me with You the drum intro in the beginning and
Computer Blue that outro, and.

Speaker 1 (14:31):
Those records were just as big over there as they
were in the state. Absolutely, even though he didn't tour.
And yeah, it wasn't.

Speaker 11 (14:39):
Really about that.

Speaker 14 (14:40):
Yeah, like I didn't see Prince Live until my latter years.

Speaker 11 (14:46):
Thankfully I did. But were you allowed to watch?

Speaker 8 (14:50):
No?

Speaker 1 (14:50):
But we did.

Speaker 11 (14:54):
I realized that I watched what was it the thing?
John Carpenter is the thing? When I was like five?
Who does that? But I loved it.

Speaker 14 (15:03):
When the spider the head gets detached and it's great.
I was a horror movie junkie, like the house on
the cover of the Night album that had to be haunted.

Speaker 11 (15:13):
It was definitely we were living in a very haunted group.

Speaker 1 (15:16):
Really, yeah, it had to be. Are you the only
Do you have any siblings? Yeah?

Speaker 14 (15:22):
My brother and my dad remarried, so I have a
little sister. Now that was way late, So it was
me and my brother growing up.

Speaker 1 (15:28):
Are they musically inclined as low Yeah.

Speaker 11 (15:30):
My brother riots, he plays instruments.

Speaker 14 (15:33):
But we were torn in this very, very crazy place
between basketball and music, and it was my dad was
also a ball player and a coach, so it was
every weekend go to the outdoor, call ball out. We
were both Division one, both played for England two. It

(15:55):
was really two three over there.

Speaker 12 (15:56):
And then I realized that, yeah, it's weird because I
think that anybody in the UK is just all about
football and really help me that thumbs their nose up at.

Speaker 14 (16:06):
American No, it was a lot bigger than I guess
you would think basketball.

Speaker 11 (16:14):
Over in the year.

Speaker 1 (16:14):
Where did you start playing ball as.

Speaker 11 (16:16):
Soon as I could touch a ball?

Speaker 1 (16:18):
Really?

Speaker 14 (16:19):
Yeah, my dad had me and my brother playing like
from early so once I got incredible, if I must say,
I had relaship. Yeah, I was actually going to play
for Georgia Tech. And my friend was playing basketball in
New Jersey. And it's crazy how life works. He actually

(16:40):
had a demo of a performance that I did at
Jazz Cafe in the UK and played it for like
some promoter in Philly.

Speaker 11 (16:48):
I'd say that was yamine or tone or something that how.

Speaker 14 (16:51):
I probably, I mean, and that's how I got to
Philadelphia by ways of the guy that was going to
get me to play basketball at their high school, and
then we were all going to go to Georgia Tech.

Speaker 1 (17:01):
But I.

Speaker 14 (17:04):
Well, I mean, didn't I tore ligaments two years prior
to that happening. And then this friend that still played
ball had my demo played it for for you, I mean,
and then I was already in Atlanta doing ying Yang
Cafe open mics and stuff. I'm sure, I mean, I'm
just it's like black Lily. No, like, no, that's a

(17:27):
real R.

Speaker 11 (17:28):
I P Black Lily.

Speaker 1 (17:33):
Yeah, just like, so you were what position? Did you were?
You afford two and three? I'm a musician, so I
don't know about that.

Speaker 14 (17:47):
I was like, okay, yeah, uh So I was bawling,
bawling until I tore ligaments and then it was like
Plan B had to be music. So I watched Michael
Joy didn't come fly with me every day?

Speaker 1 (18:02):
Wow h.

Speaker 11 (18:05):
And I was like, come fly with me because I
couldn't walk.

Speaker 1 (18:07):
So I used to rent that from the video store.
She never would.

Speaker 8 (18:15):
With me.

Speaker 11 (18:15):
It was like a Michael Jordan's documentary. I haven't seen
it for ages, but I literally watched it watching like yeah,
Jordan's really yeah, wait wait.

Speaker 12 (18:27):
Can I skip a little bit because technically, were you
guys under Hidden Beach at all or were you just
straight up it was.

Speaker 11 (18:36):
Not even epic.

Speaker 14 (18:37):
So we did a meeting with Hidden Beach and then
it was like nah, and then we ended up with DreamWorks.

Speaker 12 (18:47):
Because people know that Hidden Beaches Jordan kind of story
of Michael Jordan's label.

Speaker 14 (18:53):
He's the money, right, So that was kind of there
was plugs there because Jill was already there, and we
kind of did the whole you know, Steve.

Speaker 11 (19:05):
Had the whole house in Malibu. Cute touch and it's
very l a, it's very oh my god, the ocean.
I'm not signing here.

Speaker 12 (19:16):
I'm also means that Steve uh caraculously uh re release
Jill Scott compilation over and over.

Speaker 1 (19:28):
When it did.

Speaker 11 (19:28):
This is two thousands, So yeah.

Speaker 1 (19:31):
Got collaborations. I mean we're past that. I mean like
it's literally like the same thing over and over. It's
like the sixth version of the same.

Speaker 11 (19:42):
If it's not that they unwrapped, that's my worst nightmare.

Speaker 1 (19:50):
Unwrapped the roots unwrapped happened, happ.

Speaker 12 (20:00):
Yeah, the intro that you got me was us making
fun of him rapped if we decided just to keep
it on there for sits and giggles. But yeah, James
Poyser is notoriously obsessed with taking songs that sound good
and putting them in like major chords so they sound
like it's it's bing Crosby.

Speaker 14 (20:22):
So I met James Poyser before I met any of
you guys in the UK, before I even came to
the States. Him and uh Shape Hope together really in
like ninety eight ninety.

Speaker 1 (20:35):
Nine, Pope, yeahs, yeah.

Speaker 11 (20:40):
Well yeah, basically, so it's crazy how life works.

Speaker 14 (20:43):
And then Foster war would I run into what is
Philadelphia at the time, and it's Black Lily and you
guys are abandoned.

Speaker 1 (20:50):
So you literally came to in state of y'all means
crib and then like.

Speaker 10 (20:55):
Well people two different people taking credit to for this
era of your life.

Speaker 1 (20:59):
Yeah, means always taking credit.

Speaker 11 (21:04):
But oh, this is a long.

Speaker 1 (21:09):
They didn't meet yet, how did you? How did you meet?

Speaker 14 (21:13):
So now and myself met through basketball in the UK,
so it will be basketball tournaments in South London, and
I guess played against her older sister, and I don't know,
it just became cool. You go to summer camps and
it's oh, now we go to the same performing art school.
Fast forward to that and we're teenagers. Now I'm like, oh, yeah,

(21:34):
I remember you cool. Our parents knew each other. It
was my dad works with your mom in the same building.

Speaker 1 (21:40):
And we were just cool, okay, And then was it
just like okay, we got a dream.

Speaker 12 (21:47):
Do you know what?

Speaker 14 (21:49):
Absolutely by a very very well incredible accident. I was
doing music over there, but in the UK it's like
it's hit all miss literally for black music. So you're
only allowed maybe a handful of five people that can
be successful at the same time. So I was the
up and coming writer producer that at sixteen seventeen I'd

(22:12):
written Butterflies, but I have Warner Brothers over there telling
me that it's not good enough, it's not a good song,
and I'm just disencouraged, Like.

Speaker 11 (22:20):
You know what, this is not for me?

Speaker 14 (22:22):
I quit music because what I'm hearing in my head
is excellence, and if you think it's trash, then I
don't think I can do this for a second.

Speaker 1 (22:29):
I hold you say you were when you wrote.

Speaker 11 (22:30):
Butterflies sixteen seventeen.

Speaker 1 (22:32):
Wow.

Speaker 14 (22:33):
So I kind of hung up music for a little bit,
went back to basketball for a couple of seasons. Fast
forward to graduating from performing art school, and I heard
that Natalie was doing poetry.

Speaker 11 (22:47):
So I was like, you know what will be dope.

Speaker 14 (22:49):
I have this song called Fantasized, and if a poet
was on it, let me see. I'm a here so
a hair up, yo, put some poetry to this song.

Speaker 1 (22:58):
This is the hook.

Speaker 14 (22:59):
I'm a beat bucks beat you know, come in when
you come in. So she wrote her ass and we
performed it and there was Flowtry.

Speaker 12 (23:06):
Now, even though you were not of club age at
that timement. Yeah, I know you're laughing, like, yeah, okay,
mere wink.

Speaker 11 (23:16):
Well eighteen over there it was never twenty one.

Speaker 1 (23:18):
Oh okay, so you were of club age, were you?

Speaker 12 (23:23):
Because all the ideas that the roots ever had as
far as jam sessions were concerned, and all that stuff
that we brought to the States. I mean, we literally
stole living in London between ninety three and ninety six.

Speaker 1 (23:35):
So was anything like Ici or any of those clubs
in London when they are on your radar.

Speaker 11 (23:42):
No, not even a little bit.

Speaker 1 (23:44):
So none of like Jazzy Bees and Nelly. No.

Speaker 14 (23:48):
I worked with Jay Zibe in his camp for a
year or so, maybe a little less than that, and
it was just very much in the studio. You'd do
an R and B song and it'll be great in
the moment and it would only go so far, or
it will be sign your life away here, kid, and
we'll own ninety percent of this because we gave you
the studio time. And it's like, that's not how this works.

Speaker 11 (24:09):
I'm sure. I went to school for that part.

Speaker 14 (24:12):
So nah, I'm good. And I was always on that like,
I don't need this for the bread. I want to
be creative. So I always kind of created and chucked
the deuces when it just didn't feel like it was
done for the right reasons.

Speaker 1 (24:26):
So nobody that was popping at the time in London was.

Speaker 11 (24:30):
Ever gave me a ali nah. I mean it was.

Speaker 14 (24:39):
You know what was big over there. I think he
went to jail because he was driving without a license.

Speaker 11 (24:45):
Is still that fear into me that if you drive
without a license, you're going to be this guy?

Speaker 1 (24:52):
And I never did. I never believe that.

Speaker 12 (24:55):
I always felt because he did an interview like after
he got out of jail whatever, and.

Speaker 1 (25:02):
I was like, you know, I feel like a lot
of the stories in Bellish like.

Speaker 14 (25:06):
Over here, because I remember it being about a license,
and I think my mother told me that.

Speaker 1 (25:11):
I remember we defin knew jail, but I can't remember.
Probably just ripped the pillow off, but let the candid license.

Speaker 11 (25:19):
I'm pretty sure if you google it that was what
it was.

Speaker 1 (25:22):
But wait, do you remember there was a there was
a hip hop crew that was like no, no, no,
to keep on.

Speaker 11 (25:29):
That was my joint, right, I'm grown, I'm grown. I
would admit this to you know that what's her name,
Buffalo Nina.

Speaker 1 (25:49):
Cherry without a record.

Speaker 11 (25:51):
I was like, oh, this is good old time. You
don't know ya though this is cute.

Speaker 1 (26:01):
I don't think you know what show we have your
social Security numbers.

Speaker 12 (26:11):
But there was there was a there was an up
and coming crew that obviously you know, they took their
cue from Wu Tang. It was them on like steroids
and they were part I mean, it was like they
were part drumming bassed.

Speaker 1 (26:27):
They were part.

Speaker 11 (26:28):
Also the whole garage that.

Speaker 1 (26:31):
Yeah, but I mean it was a cruise there that era.

Speaker 14 (26:37):
I actually got to Philadelphia when that really popped off
and took off because I was more into the club scene,
like going to party to it, not necessarily making it,
so I kind of missed the whole wave of let's
do a house and garage track, like when Craig David
became the pop version of what was going on, because
so much of that was going on in the UK.

(26:58):
But when Craig David came in smashed it and took
it to a whole other level with that, but so
solid with the authentic you know London that.

Speaker 11 (27:09):
Were you know.

Speaker 1 (27:15):
The thing with who's the d J O with the
oh no, not real? Tim is definitely the white from
Master Flex. Yeah that's that.

Speaker 11 (27:29):
Yeah, that's a good way to put it.

Speaker 14 (27:30):
I actually pretty much well, speaking of being too young,
to be in the club. I was too young to
be at a biggie show in the UK, but me
and my best friend K at the time, we definitely
went Yeah, So I'm glad I got to see Biggie Life.

Speaker 1 (27:43):
So you were those guys like two seven nine and all.

Speaker 11 (27:47):
Those jigs choice f M.

Speaker 14 (27:50):
Yeah, Trevor Nelson Nelson still doing like BBC B at
that time.

Speaker 1 (27:56):
Was he was he doing it?

Speaker 3 (27:58):
He was?

Speaker 1 (27:59):
He was like, well he was really Giles Peterson's apprentice.

Speaker 12 (28:05):
So when I first met Benji b like ninety six,
ninety seven, he was like, you know, doing answering phones
and that sort of thing. Like he really started coming
up in ninety nine to like when we started coming up. Yeah, No,
I was only asking because I always wanted to know
if so solid was I remember that, uh Westwood got shot?

Speaker 1 (28:29):
Yeah, which if you get shot in London?

Speaker 10 (28:32):
Like Tim what got shot?

Speaker 1 (28:34):
Yeah?

Speaker 11 (28:34):
Remember remember that?

Speaker 1 (28:37):
Yeah.

Speaker 11 (28:39):
I'm not saying no, no, no, he got shot.

Speaker 1 (28:47):
I remember I remember that. I remember that.

Speaker 12 (28:49):
I mean, I mean for guns to even be in
London was like yeah, because they don't sounds like Canad
did to me, So it wasn't happening.

Speaker 1 (28:57):
I just wanted to know how solid was that crew?
They were so silent.

Speaker 11 (29:04):
No, it was UK Love, but he kept the gangster.

Speaker 1 (29:07):
He never stitched on who shot him?

Speaker 11 (29:09):
So yeah, anyway on London.

Speaker 12 (29:17):
Like Peterson, No he like, I mean, but I'm just
starting like Flex was always on his show.

Speaker 1 (29:25):
If anything, I feel like Flex really nuanced.

Speaker 12 (29:29):
His relationship with Tim Westwood to let the world know,
like hey, worldwide, like yeah, every that's how no funk
Master Flex like him coming to London, America's own from Master.

Speaker 10 (29:40):
I was living in London, okay, because you know that's
that's how you know.

Speaker 1 (29:43):
Yeah, Like I'm not in New I wasn't in New
Yorker then.

Speaker 14 (29:46):
So I had this crazy manager back then, Danny Gale
his name was, and I was. I was a kid
at the time, and he was trying to make me
do the whole second and do all these demos. And
I opened for boys to men and be man.

Speaker 11 (30:01):
Think about that Bill.

Speaker 10 (30:05):
Who closed because I.

Speaker 1 (30:09):
Grew open. Well me.

Speaker 14 (30:13):
Me in like a Adidas track suit. I have my
short Hallie bay tony Oho, and yeah it was. It
was a hot mess, but I just knew I was
about to blow up the Hippodrome, a place called the Hippodrome.

Speaker 1 (30:29):
I remember the.

Speaker 11 (30:31):
Right on the corner, Yeah, by the tube, literally right
in the corner.

Speaker 14 (30:36):
And that's crazy. So that manager at the time trying
to get my parents to fire him because I was
under age. Really it was like, Bro, you're not taking
me to this next level that I see for myself,
and you've got to go and claim that I will
never be ish ever in life. It's never going to happen.
You're trash. I wish death point you like I'm seventeen, sixteen, seventeen, Yes,

(31:01):
Christ it is, but you know what you can't like
years later, in hindsight, I have to go you know what,
whatever was going through your head, you had to have
seen me as this crazy, huge star for you to
even feel like I was taking.

Speaker 11 (31:16):
That away from you. I'm seventeen. I don't know what
I'm going to do.

Speaker 1 (31:19):
I don't know what I'm going to be.

Speaker 11 (31:20):
You had it in your head that I was really
about to be something, so.

Speaker 10 (31:24):
You had the fort right that he wasn't going to
take you the place that you need to.

Speaker 12 (31:27):
Take age that kind of There's one question I didn't
ask your voice when was it fully developed?

Speaker 11 (31:35):
Still developing? I don't really I get it.

Speaker 14 (31:38):
But when I started the Martian Nuances was roughly around
sixteen or seventeen, maybe younger than my mum will probably
say younger than that, but like fifteen sixteen, and that
was really.

Speaker 12 (31:51):
No, no, no, So you say you're sixteen when people
started taking you serious as a singer.

Speaker 11 (31:56):
No, When I started taking myself serious as a singer.

Speaker 1 (31:59):
Oh okay, So I'm saying.

Speaker 14 (32:06):
When I knew I was Marsha was when I started
to sing the synth solo that you know, Teddy Riley
would do in the middle of a guy record.

Speaker 11 (32:14):
So it was very much new Jack Swing. Was like,
oh my god, I'm gonna do this.

Speaker 1 (32:21):
Why am I trying to Stanley Brown.

Speaker 11 (32:25):
Exactly do this?

Speaker 14 (32:27):
But I listened to weather Report my whole life, and
I'm like, straight widow.

Speaker 1 (32:32):
Best moment of my life. Side note.

Speaker 12 (32:35):
I was at the Blue Note. I don't know who
I was drumming for, but Stanley Brown got up on stage.
I'm losing the audience, don't know who Stanley Brown is.
I'm losing my mind. James Boyce just like Stanley Brown,
and I was like, I lost my mind.

Speaker 1 (32:53):
I'm giving it to my holy Stanley Brown. Stanley Brown
was the church I'm just.

Speaker 10 (32:58):
As I'm gonna beat the one. I'm gonna beat the
one he was.

Speaker 1 (33:00):
Go on YouTube and watch the video for run him
some pause.

Speaker 12 (33:03):
But I mean he was also the go to keyboard guy.
He would be the James Boys of the eighties. Okay,
So during during that R and B period of New
York when Teddy Riley's really starting to get established, like
mid eighties, you know, eighty six. You know, Stanley Brown

(33:25):
is the guy that like was playing you know, Alison Williams, Orange,
ju S Jones and he, Stanley Stanley Brown was the man.

Speaker 1 (33:35):
He's doing church stuff now. But like I gotta get
for him that that saxophone patch.

Speaker 11 (33:45):
Oh like on JM.

Speaker 12 (33:47):
Yeah, but it's like it it's so artificial sounding, but
it's so vintage now, Like you need the solo.

Speaker 1 (33:56):
The way that people felt like you remember when Amy
Wineouse came aunt, like it was so old sounding. But
like now that cheesy.

Speaker 12 (34:05):
Saxophony sound is to me, that's that's my Like, yeah,
I'm I'm trying to get him more like something I
played on before I die.

Speaker 1 (34:16):
You might have to have Roy Lee produce a track.

Speaker 10 (34:19):
Look, well wait, Marshall, you said you don't sing. What
did you mean when you said that? You said you
know it wasn't singing.

Speaker 11 (34:26):
I was like, k new Jack Swing moving into what
was then?

Speaker 1 (34:30):
You know?

Speaker 8 (34:31):
Joe, you said you still haven't When Emir asked you,
you know how your voice is matured and grown, you
were like, it's still You're still not done.

Speaker 10 (34:37):
You still don't sing to your fullest yet.

Speaker 14 (34:40):
No, what is it mm hmm, because it's more so
an instrument. It's like what solo am I going to
do today? I don't think like a singer. I think
like what calls for the moment.

Speaker 12 (34:51):
I think real singers think as an instrument. Algio definitely
thought he was an instrument. Anita Baker says she's an instrument. Yeah,
like real singers are.

Speaker 1 (35:02):
You know everyone else is struggling struggle everybody else, a.

Speaker 11 (35:08):
Lot of people. Yeah, Well, I enjoy making sounds.

Speaker 1 (35:15):
I do.

Speaker 14 (35:16):
I enjoy picking parts that make sense to me and
all of the the heavily New Jack Swing era, It's
a Bad Boy era. It was oh my gosh, Faith Evans,
Oh my gosh, One's twelve and like singing along to
that album every day. Jodicy and all the inflections of
those harmonies and having one almost be off key and

(35:37):
if you pan them left and right, they're not doing
the same thing. And that was okay. I didn't know
that until I went in the studio. I was like, oh, layered,
this sounds amazing, and I don't know, I just like
to create.

Speaker 1 (35:49):
I missed off key singing, Like I seriously.

Speaker 11 (35:53):
Everything it's too tuned.

Speaker 14 (35:55):
I think that one is failing to the point where,
oh my gosh, I believe that you want to right now.
It's very you know, in an industry talk for hey,
they got one is oh, you have a song that
sounds the same pitch, same tempo, and has a hook
that possibly belongs to something else already.

Speaker 12 (36:13):
Probably the worst case example of that to me is
both the New Edition and Bobby Brown biopics, Like all
the singing done on there, yeah, yeah.

Speaker 11 (36:23):
The race, It's like, do you realize what Bobby Brown
was really doing?

Speaker 1 (36:26):
Now?

Speaker 14 (36:27):
And I feel like, I'm glad this happens so you
can reference what was really going on at that time
where melodyne and auto tune wasn't a choice for you.

Speaker 11 (36:36):
I wasn't going in the studio go and take that again. Okay,
we'll fix it. Ain't no fix it? Be it again
and yeah, and that's it.

Speaker 14 (36:44):
So it's a it's also an appreciation of, you know,
what's actually been done.

Speaker 12 (36:50):
Well, you're the you're the first uh Black Louie graduate
or class of whatever two.

Speaker 1 (37:00):
That I've had on the show.

Speaker 12 (37:02):
So I have to ask, well, I mean, it's hard
to describe to people how magical the five spot was.

Speaker 1 (37:11):
And when it was in its zone where.

Speaker 12 (37:16):
Every week you would get prime Jaguar, all right, Prime
Jill Scott, Prime Fluwatry.

Speaker 1 (37:26):
Jasmine Sullivan waking up, you know, coming up to do yeah,
like the right exactly how much was was it ever
a thing in your head like Okay, this is a.

Speaker 12 (37:43):
Movement or we gotta we gotta come with it, because
I know, at least with I know that with Jag
and Jill, there was always.

Speaker 1 (37:52):
A hmm, okay, all right, next week, I'm gonna have something, and.

Speaker 12 (37:58):
They would you know, you got six days to think
of how you top what you saw? Yeah, So I
don't mean from competition sick, but was it just like okay,
what we got.

Speaker 1 (38:09):
To do there?

Speaker 14 (38:11):
Well, I think the the initial first show was what
defined what we were going to do every week because
it was weighing, Oh, we've got these two British chicks
in town that they called themselves flow a Tree. Well
International was like, oh my god, like these farms showed up.

Speaker 1 (38:30):
Nubians. Also time it was like, yo, we gotta come
to the States. And suddenly I was like, we're gonna
do it in French.

Speaker 10 (38:40):
It ain't work for them like they it was different,
didn't that was over there.

Speaker 14 (38:45):
Yeah, when they can understand is going to Philly and
being at the Black Lily and getting into that building
and seeing Jill Scott and seeing music Soul Child and
seeing Blao, seeing the roots of the house band, Like
that's overwhelming, but it's also okay, I'm in here now,

(39:07):
I have to bring it. But that first show, it's
waiting until two in the morning to do it, and
it's who stays, And that sweat Box was just okay,
we want it. We don't want to miss anything because
Jill might come up and do that one or Kindred.

Speaker 11 (39:20):
They used to kill any so right, rhythm of life
and then we'll be all jumping up and down and
out of breath. Then it will be a moment.

Speaker 14 (39:29):
But then it was okay, we're going to get on
and it was hey, we're flower Tree and there's fantasize
that first time and everyone's like, oh okay, okay, and
I was like, okay, next week, this is what we're
gonna do and straight Planet. So if we do get
an earlier slut, there's going to be more people there.
The word has gone around town. There's these two girls.

(39:51):
They do this thing fantasize.

Speaker 1 (39:54):
You gotta start off with the Late shift.

Speaker 8 (39:56):
Yeah.

Speaker 1 (39:56):
See, we were on tour. We were on the Late
Show to reach advance.

Speaker 11 (40:00):
Sorry listen right, but we.

Speaker 14 (40:03):
Remember blue Funky, Blue Funk John Barbers Show first, and
at that time it was Jeff Bradshaw was doing like
the band and stuff.

Speaker 11 (40:12):
I think Terry Tribbett might have been on base. Yeah,
so it's spoiled.

Speaker 1 (40:22):
Wait, I hate to go for it. Go for it.

Speaker 11 (40:25):
I think I know where this is going, but go
for it.

Speaker 1 (40:27):
Was it your tour bus yet?

Speaker 8 (40:30):
No?

Speaker 1 (40:30):
No no no no no no no no no no
no no no.

Speaker 11 (40:33):
There's two stories.

Speaker 14 (40:34):
Are you talking about the stolen one or are you
talking about Canada?

Speaker 1 (40:39):
I'm talking about.

Speaker 3 (40:41):
That.

Speaker 1 (40:45):
You got it. Back it up, back it up, back
back it up. Yeah, I've been waiting to hear the
official story.

Speaker 14 (40:51):
Okay, once upon a time, Flowstry, we're opening for Alicia Keys.
What happens is when people are going into Canada and
you don't have visas nor you have issues to get
across that border.

Speaker 11 (41:07):
You are left in Buffalo, New York.

Speaker 14 (41:10):
So these tour buses round about let's say load out
was midnight the prior show.

Speaker 11 (41:16):
We get to Buffalo.

Speaker 14 (41:18):
However, long after that, drop everybody off that said, you
know what, I'm gonna have some issues at the border.
So I'm a role I'm not coming through. You guys
do the show and come right back. So granted I'm
asleep on this tour bus at the time, wake up
at the border, and we are asked to get off
and present our passports to make sure everything is good.

(41:38):
So we're now sitting curbside and we're waiting for our
passports to be brought back to us.

Speaker 11 (41:45):
So there's the.

Speaker 14 (41:47):
Inspector and a dog continuously going on and off of
our tour bus. So I'm looking at each other because
at the time, I wasn't smoking weed like that, especially
on the bus. If we were, it was definitely on
some dressing room shit.

Speaker 11 (42:00):
So I'm like, well, who mm mmm. I was like, nah, no,
no one's smoking.

Speaker 1 (42:04):
On the bus.

Speaker 11 (42:05):
I was like, we have Paris at the time, and
like I was like, we charged, We're good, We're good.

Speaker 8 (42:11):
Oh man.

Speaker 14 (42:13):
So then the inspector is getting continuously frustrated with all
of us who claim that we have nothing tied. So
now I'm getting scared. I'm like, well, what's about to
go down? Because he looks really upset. Roughly around twenty
minutes after this debucle this inspector and two dogs, now

(42:35):
with two other people.

Speaker 11 (42:38):
Are carrying off.

Speaker 14 (42:41):
Our drummer at the time, ah who was on the bus,
and they found him in you know the back cabinets
that have mirrors and you can kind of crawl up.

Speaker 11 (42:55):
He was smoking a joint up there, and that's why he.

Speaker 1 (42:59):
Was smoking at the border. I heard that.

Speaker 14 (43:05):
Okay, you know when stories get because the Chinese whisper,
is this what happened?

Speaker 1 (43:11):
We heard?

Speaker 10 (43:13):
Is he in a big family?

Speaker 12 (43:15):
Yes, okay, he's in the big family, and sometimes he
takes you on an emotional roller coaster.

Speaker 10 (43:20):
Okay, well, actually that could be away.

Speaker 7 (43:29):
You know.

Speaker 10 (43:35):
A couple of rolling around.

Speaker 11 (43:38):
Your account of this story is, well, how it ends his.

Speaker 12 (43:42):
In the that he somehow inserted himself inside of the
back of the couch of the tour bus.

Speaker 11 (43:49):
Well if anywhere, it's.

Speaker 14 (43:52):
Yeah, well it would have been four hours because we
would have left Buffalo and you know, did a rest up,
and you know, we were so by the time you
get to the border, it is what it is. So
now we're all detained and questioned.

Speaker 11 (44:05):
Did we know he was there?

Speaker 14 (44:06):
Were we trying to bring drugs into Canada? I'm like,
why would we do that? Your weed is way better?

Speaker 1 (44:12):
Why would we play our own?

Speaker 11 (44:14):
This is two thousand and what two at the time,
two thousand and three.

Speaker 1 (44:18):
So I'm like, you know what shot I didn't even
know was y'all. I thought it was maybe Jill.

Speaker 10 (44:25):
Then he goes in the bus business.

Speaker 1 (44:26):
I love it.

Speaker 11 (44:28):
Well, get to a bus.

Speaker 1 (44:30):
Yeah, then became a bus. First thing was like, hey,
can I drive out to a bus? He was like, nah,
we call it. So there was a story. Never mind,
So Michael Jackson.

Speaker 14 (44:46):
Right fast forwarding too. Yeah, we were detained. It was
bad and questioned and.

Speaker 12 (44:52):
Yeah, this was a shot in the dark. I swear
the guy didn't even know y'all. He said, we didn't
do the show, and I was like, have you heard that.

Speaker 1 (44:59):
Story about I didn't know. Yeah, oh that's crazy. Okay
to our stories? How easy is it when you're in
a partnership.

Speaker 12 (45:13):
Now it's weird because with me and Tarique, like on music,
he's lyrics or whatever. But in the fluw try situation,
how do you guys come? Who navigates? Who's fifty one
to forty nine?

Speaker 8 (45:29):
Who?

Speaker 14 (45:31):
Well, this is the thing. It's like chicken or the egg.
And I never claimed it even though I initiated. Look,
I have this buddy of music and song that if
you paired up some poetry to this fantasize, it will
make Tadah Flowa try so even in the studio, it's
She'd never been in the studio at the time, so
it was early touch jazzed. It was early what's the

(45:53):
back room at Larry's Axis, it's doing bunches of demos
with James and Victor and whoever else will come along
and try and shape what was going through our heads.
So me, I'd always been musically inclined, had already been
writing songs, Like I said, If I was a Bird
was written because of comply with me. Michael Jordan's like repeat,

(46:14):
So all of these things that I'm showing up to
these studios with, like Yo, I got this song called Sunshine,
I have this, I have this, and we would go
up and down. But a touch of jazz at that
time had its own magic. So it was like fusing
what we were so fresh in creating with other people's magic.
So fresh off of Jill's first album, fresh off of

(46:36):
Music's first album.

Speaker 11 (46:37):
So you have the Way Long Walk, just.

Speaker 14 (46:39):
Friends in one day, and I'm going okay, ABC rooms,
bouncing from room to room and doing floetic the first day,
do it headache, after that, running to Dray and Ye
and going okay, videal play those chords again. Oh yeah,
it's Ganley. Yeah that's all I'm gonna say. I'm a
singer this hook and then you come in and it.

Speaker 11 (46:57):
Will literally be that.

Speaker 14 (47:00):
So I'd never even controlled It's it was always fifty
to fifty to me. But everyone's like, as you wrote
this whole song, she came in and did eight bar poem.
I'm like, that part doesn't matter to me, you know.
So as far as the magic of Flower Try, it
was more than just about us when it came to

(47:20):
a controlled studio environment on stage, it's the same dynamic.
I could stand stage left and closed my eyes and
sing for two hours, like, oh my god, that was amazing.

Speaker 11 (47:31):
I'm like, I didn't do anything.

Speaker 12 (47:32):
I meant I know that I know that someone's going
to play an alpha role in I know that one
should be diplomatic and it's a compromise and into relationship.
It's almost it's like a marriage where how much power
you have doesn't matter.

Speaker 1 (47:50):
Or more equal than others.

Speaker 11 (47:53):
So I mean, because there were other factors to this.

Speaker 14 (47:56):
So the people that were there, whether that is dre
and VI, whether is carbon Ivan or Keith, they're just
going to be like Marlesh. You were in the studio grinding,
you were writing and playing this music every day, coming
with these ideas, every day, coming with a concept. So
if that chimed in with a title cool, it will
take on a life form of its own. Does that
mean I own seventy thae?

Speaker 1 (48:18):
Maybe? Okay, all right, No, I just wanted to know how.

Speaker 14 (48:23):
But yeah, that's the dynamic only because I'm the musical,
melodic end of it.

Speaker 11 (48:28):
But what comes with that is.

Speaker 12 (48:29):
Because I always think it's it's hard as hell starting
business with someone that you were friends with first.

Speaker 11 (48:37):
Oh, it's horrific.

Speaker 14 (48:39):
It's horrific, and there's so much you don't take into account,
thus it turning out the way it does for many,
hopefully not for most, but for me it was the
growing pains of oh, I have to live.

Speaker 11 (48:54):
Adult life dolo.

Speaker 14 (48:57):
Now I moved away from the UK, I've got to
rely on my surroundings. And when people morph and changed
into unrecognizable people, both spiritually and all the above, it's
it's kind of like takes you back a little bit.

Speaker 8 (49:16):
And it was working with Touch of Jazz kind of
like interesting in the sense that everybody in a Touch
of Jazz is broken off into duos anyway, right, right,
So then you get to kind of observe their dynamic too,
Like you get to observe the dynamic of Dre and
Vidal and what each one brings.

Speaker 11 (49:30):
Yeah, so, and they were also a unit.

Speaker 14 (49:33):
It's supposed to be a touch of Jazz to six
of you, but you were two's anyway, so it was
two splitting off into twos. So if one vibe with
just Videal, it's just Vau or just Ray or you know,
it was whatever, but you can press play on that
music of that era, not only with Flow a Try,
but with Jill's album, with Music's album, and hear what

(49:54):
everyone was doing collectively like it's it was, Philly was
on some shiit and I wasn't gonna leave like I
was sold on Philly.

Speaker 1 (50:05):
So where what was your reaction when you first got
the news that Michael Jackson was interested in one of
your songs?

Speaker 11 (50:16):
Didn't believe it? You want to believe it? The thing
was Jeff.

Speaker 14 (50:22):
We all went to Jeff had that other room opposite
the sea room and the office, and I guess we'd
all missed a phone call from MJ. They were referring
to this guy as I like, who's MJ? First of all,
not Michael Jackson. I'm not even putting that in my head.
So Jeff is like, YO, you have to come listen
to this. You have to come listen to this. So

(50:43):
I listened to the answering machine that is Michael Jackson
requesting that he work with whoever wrote this song. I'm
in love with this song, Butterflies. It's my like, I
really want this for my new project. You know, paraphrasing,
of course, But did it?

Speaker 1 (50:58):
How did he hear?

Speaker 11 (51:00):
John McLean is like, but he's like, I don't know.
It's like a viking, like.

Speaker 1 (51:11):
Like you're about the ninth John McQueen story.

Speaker 14 (51:14):
He's like a shadow but appears and creates magic and
then disappears once again. So John McLean has a hold
of this flow demo that gets us signed to DreamWorks,
and he hears say yes and butterflies and goes those
two are the two that are going to catapult this
thing into the stratus fare. Mike wants this one though,

(51:36):
and Denzel Washington at one point had say yes on repeating,
was going to do something to it. I don't know,
going to be going to be it was fresh off
of giving me bleak Gillian vibes.

Speaker 11 (51:53):
But he had that he had to say yes before
anybody has say yes.

Speaker 14 (51:58):
He was like, I don't care rights to my songs
and say yes. Drey and myself did that. We wasn't
even supposed to go to the studio. Jeff is like,
I'm shutting the studio down. No, we can go, Dre,
you get the key.

Speaker 11 (52:15):
Cool, let's go.

Speaker 14 (52:16):
And then that happens to be room in two minutes like, sorry,
I'm not playing them cards again, all right, I'm gonna
just go cut it and then there's that.

Speaker 12 (52:26):
But if songs are your kids, were you slow to
give it up or was it just like, Michael.

Speaker 11 (52:36):
Can adopt my kid?

Speaker 14 (52:39):
Michael absolutely can take this because I guess when I
when I wrote Butterflies, Initially it was just piano based.
I didn't add the you know, the Philly very dragged snack,
you know, the behind the beat, which you hey, I'm
never never gonna stay on this one. I'm gonna always
be a millisecond behind, don't care. But when Dre added

(53:01):
that flare to it, I'm like, Okay, I have this.
I don't know I had the bridge cause like I
played on it, and then Drey does what he does
to it, so it's it's now Philadelphian.

Speaker 1 (53:11):
To me.

Speaker 14 (53:12):
It made me feel like everything that I led up
to get into Philadelphia, this is the demo that I wanted.
So when Mike wants to do it, you give it
to Mike, you do. And I thought this entire time
that Jeff is playing as this answering machine. I thought
it was Dre playing like yeah, I was like he
played too much.

Speaker 11 (53:32):
I was like, you're lying.

Speaker 14 (53:33):
This is the best impression of Michael Jackson. I've ever
heard in my life, and you shouldn't played.

Speaker 11 (53:39):
Yeah, I don't know. You'd have to ask Jeff. Yeah,
Jeff with him anyways.

Speaker 1 (53:47):
Yeah, I didn't even get fresh Yeah the first album.

Speaker 11 (53:53):
Yeah, Yeah, Jeff is the Yeah.

Speaker 1 (53:56):
So so how long was it from you getting that message?
What happened? Yeah?

Speaker 12 (54:07):
How long was it from the phone call until when
you're actually cutting his vocals?

Speaker 14 (54:12):
Well, he was recording with Rodney and yeah, from I
guess that demo was done in September two thousand, so
we worked March two thousand and one when he was
finishing the album. Like Teddy Wiley's bus is parked outside
the Hit factory here and when I was here in
New York and I get there.

Speaker 11 (54:34):
And I'm telling Michael Jackson what to do Bar for bar.

Speaker 14 (54:38):
The only he ever hit was at the outro the
outro ad libs on two outro ad lib tracks, and
the first thing he did was Whisper Butterflies. He was
so meticulous in wanting it to sound like the demo
that he made me like, how do you do this?
What was the harmony for this?

Speaker 1 (54:57):
Well?

Speaker 11 (54:57):
How did you make it sound like that?

Speaker 1 (54:58):
And I remember when I heard the when I heard
the dimmer. I was shocked. I was like, he pretty
much did it like d lib note for note, I.

Speaker 14 (55:06):
Can say I vocally produced Michael Jackson into What Questlove
Deans is one of his finest works of us.

Speaker 1 (55:16):
How long did that take?

Speaker 11 (55:17):
It was a week even. No, No, it's like the
most worst. It's not a good job.

Speaker 1 (55:26):
I hate it.

Speaker 11 (55:27):
I do hate it.

Speaker 14 (55:28):
But that watching him so excited and doing every layered harmony,
having me do my harmonies over again, having Matt Cappy,
Jeff Bradshaw do those horns again.

Speaker 1 (55:40):
It was just fun.

Speaker 14 (55:41):
It didn't feel like a week like we were with
the kids. Paris and Prince were like yay high at
the time, and we had Jezebel's sore food every day.

Speaker 1 (55:49):
It was great with you.

Speaker 14 (55:51):
Yeah, he's it's like Santa Claus, like warms my heart.
And he kept calling me his sang and heifer Mike
hear me. Mike kept saying, Michael Ja, Mike, you know you're.

Speaker 11 (56:06):
Calling her a cow, calling her a cow. Half is
a cow? Stop calling her half?

Speaker 1 (56:13):
Bruce.

Speaker 11 (56:14):
I'm like, you can call me anything here. Yeah, that
was just magic, Bruce and Mike in one studio.

Speaker 12 (56:22):
I know, he's a perfectionist, but can you even be
objectionable when you're Can you say that was flat?

Speaker 1 (56:29):
Or yeah?

Speaker 14 (56:31):
Well, once I got into the groove of things, and
at that time, it was the talk back button, and
it was one more time, Mike, you're dragging.

Speaker 11 (56:38):
It's a little flat, little sharp time is straight?

Speaker 1 (56:41):
All right?

Speaker 11 (56:41):
Breathe into that one elongate the note.

Speaker 1 (56:44):
It was, I was on it.

Speaker 10 (56:46):
If you look at you like okay, told.

Speaker 14 (56:48):
Michael Jackson, he asked me for permission to leave the
studio one day or miss a day because he was
being inducted into the Rock and Roll Hall of Fame.

Speaker 11 (57:02):
Didn't tell me that's why he couldn't make it. It
was like, myrs, I just wanted to let you know
that I just can't come into the studio today. Is
that okay?

Speaker 14 (57:09):
And we have a lot of work to do. I
was like, Mike, you can do whatever you want to
do in life. You do not have to ask me
permission for anything. And then he said he had this
thing and then.

Speaker 1 (57:21):
So I'm going to score record.

Speaker 11 (57:24):
Excuse me. So I'm staying at you know, the Hudson Hotel.
So those rooms are like lug cabin, wooden.

Speaker 14 (57:30):
Walls, and because of the lead up on VH one,
they're showing everything Mike, so they're showing you know, James Brown,
impersonating Mike through and through to remember the time, through
and through to anything.

Speaker 11 (57:43):
I'm looking at, I'm like, this is the same.

Speaker 14 (57:46):
I go to the studio every day with this guy
and a bit at that time, been in the studio
with him every day for five days. And I the
tears that I like, there's no tears of joy that
I can express that I haven't cried like that. I
don't even know what cry that was. But I was like,
I'm not worthy. This makes me Quincy Jones, this makes
me Paul McCartney. There's only a halful of people that

(58:06):
can say they've done that, they've done something. But that though,
and I always said I wanted to be Quincy Jones and.

Speaker 1 (58:17):
Not shade to the R word. Were you allowed to
do it alone or were people over your shoulder as well?

Speaker 5 (58:24):
No?

Speaker 11 (58:25):
We were Dolo, was me, Dre and Chris. Yeah, I
got the picture of him.

Speaker 14 (58:32):
I see them had a car, remember the two other engineers,
but they were really Bruce, this is right hands but no,
it was straight us.

Speaker 1 (58:41):
Nobody there the man's spleen or or.

Speaker 11 (58:46):
Nothing.

Speaker 8 (58:47):
How long did you talk to him afterwards? Like how
does that relationship dissipate? Like it was cool, she was cool.

Speaker 14 (58:54):
So we were in New York for two weeks and
then we mixed in l a spent you know, a
couple of days on that that. He listens to everything
way too loud. I couldn't handle it. Like see speakers vibrating,
imagine your.

Speaker 11 (59:07):
Eyeballs doing that. That's how loud it was.

Speaker 14 (59:09):
Him and doctor Dre the loudest like playback I've ever
experienced in my life.

Speaker 10 (59:15):
Michael Jackson and Dre.

Speaker 1 (59:17):
And that's just like.

Speaker 11 (59:19):
There's a lot going on. It's a lie.

Speaker 10 (59:22):
So got I had a moment because you don't be
having a moment you were.

Speaker 8 (59:29):
You just step aside for a second and understand what
you're doing and be present in the moment, Like, oh,
you don't.

Speaker 1 (59:34):
Hate being sentimental. I know you think you're gonna break
me on it's gonna break me down on.

Speaker 6 (59:41):
His own show in those earrings.

Speaker 14 (59:43):
That was my way of giving I can't be sensitive
in the moment because I'm a parent now.

Speaker 11 (59:48):
No, seriously, it's emotional. It is highly emotional and.

Speaker 12 (59:55):
I think that's a that's awesome I think for him.
I mean, of course, yeah, I wish he was still
here making music. But if that has to be his
swan song of a single, I mean that's his last
living single it is, then that's that's a way to
go out for me.

Speaker 10 (01:00:15):
Yeah, justin nothing, justin John, I'm just.

Speaker 8 (01:00:22):
He was.

Speaker 1 (01:00:22):
I like that song. But he did that in nineteen
eighty one.

Speaker 10 (01:00:26):
And not to Drake one either because whatever.

Speaker 12 (01:00:28):
Okay, yeah, that's posthumous, like Butterflies is his last released
single as he's living on his last album. When did
the Acon Joints come out? But that was going to
be starting something the whole my hand. Yeah, it takes
it official. Yeah, I'm not trying to take anything away from.

Speaker 14 (01:00:47):
You know what, between Mike and Prince, there was the
most unrealistic like deaths as far as celebrities that I
just never saw life without them.

Speaker 7 (01:01:01):
Me and Fante were in Atlanta or no, you weren't there.
I wasn't there, so you called me. I was in
Atlanta to do a Prints party and it ended up
turning to a Michael Jackson party.

Speaker 1 (01:01:10):
Really crazy because he came because Michael was I don't know, yeah, yeah,
Mike died he was there. Nice s wrong the whole deeper, deeper.

Speaker 11 (01:01:31):
J that's what you said.

Speaker 1 (01:01:40):
Okay, So.

Speaker 12 (01:01:42):
What were your what were the the moves uh that
prompted you to finally come with your your your solo
phase of your career?

Speaker 11 (01:01:56):
Mm hmm too many things.

Speaker 12 (01:01:59):
Is this something that you can step away from and
maybe we'll get back together in three.

Speaker 11 (01:02:03):
Years or oh no, it was split dead done so when.

Speaker 3 (01:02:08):
We did so when we did the show, because we
did a show together like this was like twenty fifteen. Yeah,
was that just a show and then.

Speaker 1 (01:02:13):
That was it?

Speaker 14 (01:02:14):
That was crazy. But the reuniting of what was dead
end of six. So flow Tree really only existed from
what nineteen nine, ninety eight, ninety nine till two thousand
and six, officially and making our mark clearly in Philadelphia
where it catapulted, but by ways of Atlanta of course,

(01:02:37):
Ying Yang Cafe, Black Lily gets signed wherever Mike in
two thousand and one, Floet It comes in two thousand
and two. We tour four years, but then we did
two albums, well technically three because we did the live
album Fluicism in two thousand and three. Then Flowology comes
two thousand and five, two thousand and six, it was dead.

Speaker 1 (01:02:57):
So then what was the Amanda, are you going to
why you're looking why you're looking at I'm ready are
going to ask I forgot about that question.

Speaker 14 (01:03:12):
So that happened by ways of management. So I'm still
signed that Geffen DreamWorks dissolved, and that turns into Okay,
we'll keep these three artists from that label and turn
you over to Geffen into Scope, one of which was Flowistry,
So we're now we're into Scope. I have the relationship

(01:03:35):
that I have with One Fair and Jimmy Ivan, and
they're very much into Okay, Flowology is this album. Superstar
is the single What's next? So I'm like, we'll make
going to and make another album.

Speaker 11 (01:03:50):
Cool.

Speaker 14 (01:03:52):
Fast forward to management on r N. Jay Irving, who
was Flow choose manager that entire time. Nat doesn't want
him to manage her anymore. She's now got this boyfriend
at the time managing her, who poses, so it's kind
of like, you know, it's like, you know where they

(01:04:19):
So we're talking about being young women that have come
up in this industry.

Speaker 11 (01:04:24):
You think it's going to be one way.

Speaker 14 (01:04:25):
People have their own agendas, and he was clearly steering
her in the wrong way. So once he gave an
ultimatum with Geffen that if they don't offer.

Speaker 11 (01:04:38):
Her a solo deal, they're walking.

Speaker 14 (01:04:41):
Jimmy I been and Rounfair say okay, yeah, which is
kind of what I mean. It was no one was
there was there was no room to call any bluffs here,
like you didn't have a leg to stand on going
in there for that what that was we're talking about
Gwen Stefani here.

Speaker 11 (01:04:56):
This is nothing that they were checking for.

Speaker 14 (01:04:58):
There were ways to go about whatever it is that
you wanted, and it was just done the absolutely wrong way.
So once management was one sided for Flower Try it
was okay walk. Now we're no longer. Now we're missing
a member. I'm still signed and obligated. Well, what I
thought at the time was obligated to fulfill this contract

(01:05:19):
in order to get out of it.

Speaker 11 (01:05:20):
So I'm stuck with Geffen and they want to do
a to all.

Speaker 14 (01:05:28):
So the idea was get a standing, So management says, well,
a friend of a management thanks, Ryan says, I know
this chick. Amanda Will was a manager at the time.
Amanda Sales and we meet hit it off immediately. I'm
like all right, cool, this is what it's about to be.
But the layers too, That is, you don't have a

(01:05:52):
level of understanding of what you what effect you have
on people until you're presented with that. So when you're
on tour and you're standing there with what was people's flowatry,
and it's like, well, who's this? I can't help what people.

Speaker 1 (01:06:07):
Do to that.

Speaker 14 (01:06:07):
So it was a lot of negativity from fans at first.
That turns into Amanda turning on me.

Speaker 11 (01:06:13):
It's your phone. I'm like, listen, do you know what
happened in order for you to stand there right now?

Speaker 14 (01:06:18):
I know your tears are warranted on your end, but
you don't have a floaty tier to drop right now.
You don't understand what I've been through to do this.
So it's like I kind of want to I wanted
to pull out hair. I'm ready to fight.

Speaker 8 (01:06:34):
It was.

Speaker 14 (01:06:34):
It was bad, but it was bad for several reasons,
and that was just that one summer tour. So oh no, no, no, no, Well,
because me and Amanda were recorded a bunch of songs
like just they wanted to hear flowtry songs too, so
it was like exactly, So the tour was very much
Flowerty songs embellished a little bit, and then that was that.

(01:06:57):
So that was two thousand and seven Flower Try Remixed Tour.
And after that was deaded, I had to get legal
to step in to make sure that my paperwork was
straight and I wasn't obligated to get a R in
the scope anymore on that end, And once that was cool,
I was done.

Speaker 1 (01:07:14):
And then.

Speaker 14 (01:07:16):
Good old Peter Edge that was then A and r
J Records and a fellow brit I felt like the
right move and I.

Speaker 11 (01:07:25):
Was welcomed with open arms. And there's late nights and
early mornings.

Speaker 1 (01:07:29):
Wow. So the very strong hope she cheat on you
with the basketball? Oh about that?

Speaker 11 (01:07:38):
I you streamed.

Speaker 14 (01:07:41):
One late night and I freestyled that I was playing
the chords and we were joking about something and I
was like, oh, you should record it.

Speaker 1 (01:07:49):
So I did.

Speaker 14 (01:07:49):
Came to New York and KNI by ways of just
Blaze did that record together, and before I knew it
was on the radio. I didn't even know that was
going to.

Speaker 8 (01:08:00):
What do you think about all those theories about what
the song was about, because you know, the blogs were
talking there were theories about I hope she teaches you
on you with a basketball player.

Speaker 10 (01:08:07):
Yeah, there was a theory that it was a boat
on shoot. Now I'm going to put people's how do.

Speaker 1 (01:08:13):
You do this?

Speaker 10 (01:08:13):
How do the quest level?

Speaker 8 (01:08:15):
There was a theory that it was about an artist
that you knew that you were affiliated, who had cheated
with your a friend of your These are two males
and they were friends, and they were working with each
other and once slept with the others. That's the facts, okay,
And then they had to fight at your at your
gym session, grabar party.

Speaker 10 (01:08:33):
Oh, it was a whole thing.

Speaker 1 (01:08:35):
Oh wow, I need to smoke signals. I need I'm lost.

Speaker 10 (01:08:44):
Because I know you know.

Speaker 14 (01:08:49):
You on stage and you gave me the look because
that was the year you wanted to infuse.

Speaker 11 (01:08:53):
I think I did like a Josy feen in Mary
j f or something like.

Speaker 1 (01:08:59):
I didn't eyes that that was inspired from that. What
was going on?

Speaker 11 (01:09:04):
That was age.

Speaker 1 (01:09:04):
It was scary. It was scary.

Speaker 8 (01:09:07):
It was It was scary because you know your boy
from Baltimore. You know what I'm saying, your other boy,
he not knowing the fight, So I was like, please
don't kill him, like.

Speaker 1 (01:09:14):
Because and he was just a friend.

Speaker 10 (01:09:16):
Yes, he was just a friend. Don't you say a name.

Speaker 1 (01:09:22):
I was just.

Speaker 10 (01:09:24):
Yes, Mario who fought.

Speaker 11 (01:09:30):
Stories.

Speaker 14 (01:09:31):
And everyone's like, oh, mysh, what happened with such and such.
It's just it's not only just me that was there.
That didn't happen, you lion, No, we were all all
saw it.

Speaker 10 (01:09:41):
So you can google it, just look up Mario.

Speaker 11 (01:09:45):
But that's exactly what really.

Speaker 1 (01:09:48):
It was on YouTube.

Speaker 10 (01:09:48):
It was on it was news.

Speaker 1 (01:09:50):
I didn't know that. Okay, let me see Christmas time
with and this is what happens.

Speaker 14 (01:09:59):
I I call people anytime I'm doing an interview. I
was like, you know, I run my mouth like, this
is this is all of it. It's not about you.
This is never shade. This is just facts.

Speaker 11 (01:10:08):
So if you want to heal, you can't heal what
you don't reveal.

Speaker 10 (01:10:13):
You cannot heal if you don't reveal, So.

Speaker 1 (01:10:20):
Then don't heal. Just don't reveal keyloids.

Speaker 14 (01:10:28):
My mother almost tortured me with pictures of keyloids, saying
that I would never get my ears pissed and fear
that that.

Speaker 11 (01:10:33):
Was going to happen to me.

Speaker 10 (01:10:35):
I got something from the chicken pox.

Speaker 11 (01:10:36):
I see, it's not right.

Speaker 1 (01:10:38):
It's really where this conversation, I don't know. He out
Keloyds is what happened when you heal too much. Don't
gossip about other people's business right.

Speaker 10 (01:10:49):
Here, I'm sorry late nice early mornings.

Speaker 1 (01:10:54):
So that's how Late Night Chasing Clouds is.

Speaker 14 (01:10:57):
Like Science Michigan produced I record, and I remember hearing
Science and all of his production and I was like,
I want that. It was so cinematic and it makes
me cry. I can't even perform that song. It's just
so like never ending story on top of foul call.

Speaker 3 (01:11:15):
I remember, I wish I remember before it, before the
album came out, we were doing the show. It was
for an exchange and we were doing the show and
maybe it was Baltimore, but anyway, we were doing the
show and we were all hanging out at the hotel
and you were playing me early stuff late night, like
before I came out. You had all these jams on

(01:11:36):
your laptop and you had a jam called first Position.

Speaker 1 (01:11:42):
This is how Petty Marsh is and I love it.

Speaker 3 (01:11:44):
She has a jam like she would be playing her
I think you said that you were playing your cousin
brother like with like brand.

Speaker 11 (01:11:55):
PlayStation.

Speaker 3 (01:11:56):
So it's a racing game and so she beat the
nigga and she recorded a jam called First Position.

Speaker 1 (01:12:02):
So she be.

Speaker 14 (01:12:13):
Like, it's like, it's like if Freddie Mercury with Phil
Collins drum intro came and just did like Bohemian rats, straight,
very loud harmony in flash Gordon's about to.

Speaker 11 (01:12:33):
Marry Dale or something.

Speaker 1 (01:12:34):
It's just like a short little snippet you'll play with.
It was like.

Speaker 11 (01:12:39):
My favorite, so putting it out there.

Speaker 14 (01:12:41):
I don't know what video game it could be synonymous with,
but First Position.

Speaker 1 (01:12:46):
Is He'll make you feel like.

Speaker 11 (01:12:51):
Place.

Speaker 1 (01:12:52):
I love that. I never forgot that.

Speaker 11 (01:12:54):
That is incredible.

Speaker 1 (01:12:57):
Wait. Also Far Away was on the Yeah, that was Yes,
that's late.

Speaker 11 (01:13:02):
Night morning to that video. Yeah, shut and where was
that across the wall Edgewood, New Jersey.

Speaker 10 (01:13:10):
Yeah, I was proud when you did that video. That
was dope for the community.

Speaker 1 (01:13:13):
Just curious, how did you look up Sterling Sterling Sims
for that record?

Speaker 5 (01:13:17):
You know what?

Speaker 14 (01:13:18):
I'd known Sterling through Ivan Barias, who introduced when he
was doing Yeah, I never noticed.

Speaker 1 (01:13:26):
I never knew.

Speaker 14 (01:13:29):
Because ambrosious, but I don't know sounds right to me.

Speaker 1 (01:13:33):
Wait you're ambrosius? Wait wait wait, I'm getting it was
five seconds old when I just.

Speaker 11 (01:13:41):
Learned, so you've been saying ambrocious, that's the merit.

Speaker 1 (01:13:50):
Guy, Ambrosia.

Speaker 11 (01:13:52):
Well, this lady in the mall called me, I'm Burrows,
you know again.

Speaker 1 (01:14:03):
I was just like, wow, I've been saying it right
for ten years, thinking I've been saying it wrong.

Speaker 11 (01:14:13):
He got it here with it.

Speaker 1 (01:14:15):
Wow.

Speaker 11 (01:14:15):
Atarling was in what was Mike MacArthur in them studio
home cooking, Home Cooking.

Speaker 14 (01:14:23):
Yeah, it was a home cooking upstairs and they had
that basketball court in there, and I was like, oh,
Philly kids work with him. Then when I went to Atlanta,
we were working together, and then we just ended up
doing a whole bunch of sessions and we're in la
at the time, and.

Speaker 8 (01:14:38):
I was like, well in La.

Speaker 1 (01:14:41):
Yeah.

Speaker 14 (01:14:42):
So I was like far Away, I have a hook,
I have a verse one. I was like, hit this
verse two, hit verse two, and then tell that far Away.

Speaker 1 (01:14:49):
How did you you covered? Uh? Well, I knew if
Lauren's version lose myself, how did how did that? So?

Speaker 14 (01:14:58):
I love the song and I remember Peter Rech and
myself had the conversation. It was like I need to
hear this song, and I was like, I know it.
I said, you're talking about Lauren Hill happy. I said,
you listening to this lyrically? He was like, yo, if
you slow this down kind of sold it out to
do an uptemper version of it.

Speaker 11 (01:15:14):
I was like yeah. I was like, I'd love Lauren
to do that. I said, no, you do that, and
I was like okay.

Speaker 14 (01:15:20):
And then I went through a bunch of production ideas,
and because CANi and I had, you know, built a
rapport at that time doing hope she cheats and you
know other things, it was okay, let's do let's do this.

Speaker 11 (01:15:33):
Ended up doing this myself.

Speaker 1 (01:15:34):
So how did you develop your relationship with doctor dre So?
And I feel like.

Speaker 12 (01:15:42):
I've heard the story from a comrade of ours shoringy
shout out to Schorngy.

Speaker 1 (01:15:48):
He was just like, yo, man, doctor dre is like
obsessed with Marshall. That's his favorite singer of all time? Like, so,
how did how did? How did?

Speaker 14 (01:16:00):
It's crazy because of other people that have worked with him,
it was like I might be the only artist period
that can go in there and do what I want.

Speaker 11 (01:16:08):
I'm like, dre this is good.

Speaker 1 (01:16:09):
He's like, okay, no, I've heard that. I've heard it
from other people.

Speaker 3 (01:16:12):
This, yeah, so you'll make everybody do something like a
million times with Marsh's like okay, like it's good.

Speaker 14 (01:16:17):
It's like just add more backgrounds in there. A couple
of others like cool. So he came to a Flowatry show.
He came to the Roxy in La on Sunset, small
little dingy Roxy and we were doing a double gig. Oh,
this was a wild night. So it's doctor Dre, Swizz Beats,
A couple of other people came to the first half,

(01:16:39):
and Prince comes to the second show.

Speaker 11 (01:16:41):
So it was just a wild night. But we get
back on the tour bus and I get Jay.

Speaker 14 (01:16:48):
Jay Irving says, you know, You've got a phone call
and it's Dre's people saying they want me to come.

Speaker 11 (01:16:54):
Through to the studio. So this is like oh earlier six.
So I'm like, you know what, Sure go over there
and I cut a record called Mama's House. Like one take.

Speaker 14 (01:17:05):
He played me this beat him and Mark Batson. Yeah,
Mark Batson and him did this track.

Speaker 11 (01:17:10):
And I was like, what is this?

Speaker 14 (01:17:12):
Put me in the booth because I felt like I
had something to prove it's Dre. I was like, I'm
not about to fund this up, put me in the
booth and he was like, you got something already to this.

Speaker 1 (01:17:22):
Oh yeah.

Speaker 14 (01:17:27):
So then after that, after that demo, we were just
cool and then clearly did the stuff with the game
with Bus and then it turns into do a project
over there. I'm like, yeah, But from that I built
the relationships that I have with you know, his other

(01:17:50):
team of producers, one of which Focus, And that's how we.

Speaker 1 (01:17:57):
Got how many people in Jay's Dre's click Like, is
it steroids?

Speaker 8 (01:18:05):
No?

Speaker 11 (01:18:05):
Not really.

Speaker 14 (01:18:06):
He's very contained and it will be like, okay, I'm
banging with this sonically and stay there. So it's really
two or three people that will stay in rotation at
one time. But Focus has been and still is and
will remain to be the most consistent.

Speaker 1 (01:18:21):
Yeah, Focuses, that was how I really.

Speaker 3 (01:18:24):
I mean because I knew you of course, like from
Floydri and stuff, but like when you and Focus started
working together, me and him was doing stuff at the
time and he was playing me stuff. It was the
first mixtape y'all did, right, yours truly, yours truly.

Speaker 14 (01:18:34):
We have a ten year anniversary coming out. That's ten
years ago. Yeah, that's crazy, but yeah, what the fuck.
So I still bump that mixtape still Sunshine.

Speaker 1 (01:18:45):
Oh yeah, damn. We did do something that record. Yeah,
we did it, a little Brother Marshall record called Sunshine.
This was God.

Speaker 14 (01:18:52):
That was ten years That was ten years ago and
still bangs like yeah, So that's how that happened.

Speaker 1 (01:18:59):
And then who's the conceptualizer of friends and Lovers? Because me,
I do all of my albums songs. That's my favorite.
That's the one for me.

Speaker 14 (01:19:16):
Pop and oak Well Pop oak Flip produced that. We
did that at Sigma Sounds in Philly. Well, what was
Sigma Sounds?

Speaker 11 (01:19:23):
That's so sad.

Speaker 14 (01:19:26):
And the music just got me gone, right the building,
I think it's gone. The building is gone twelve and
what's that twelve?

Speaker 10 (01:19:33):
And racing was gone?

Speaker 1 (01:19:36):
So you and I was, I don't know.

Speaker 11 (01:19:38):
The music just sounded sad. It sounded very throwback.

Speaker 14 (01:19:42):
I pictured the Jackson five singing the hook and then
this chick on a train like I'm gonna go tell
him I love him, but I know he about to
get married.

Speaker 11 (01:19:51):
But I'm just have to tell him to get off
of my chest.

Speaker 14 (01:19:53):
Repercussions and repercussions, and I did so conceptually, that was
the story that I wanted to have for that.

Speaker 1 (01:20:00):
But I love that song Thank You.

Speaker 8 (01:20:04):
It's this is the real story of y'all two getting together,
as as interested as all these songs.

Speaker 11 (01:20:08):
Oh yeah, our stories.

Speaker 10 (01:20:09):
We're talking.

Speaker 1 (01:20:12):
Song?

Speaker 8 (01:20:12):
Is it?

Speaker 10 (01:20:12):
I'm like, which song I thought we were.

Speaker 1 (01:20:16):
Not?

Speaker 10 (01:20:19):
Sorry?

Speaker 11 (01:20:20):
Sorry, you have to know how to get there?

Speaker 1 (01:20:23):
So yeah, sorry, other songs on the album, you go
for it?

Speaker 10 (01:20:31):
What else is on that? We spend all my time?
Oh my god, Charlie.

Speaker 14 (01:20:38):
Now my aunt passed away from cancer, and I remember
my cousins hitting me like, oh, she's good, she's doing good,
she's in remission. Oh it came back, but it's not
that bad. And over a two month, three month period,
it went from being okay to really know being okay,
Like in the blink of an I felt like and
I was like, you know what, you can't get time back.

(01:20:59):
Everyone's like, I don't want to spend all my time
with you. So it was never about there's no money
for this. I don't have the budget that would take
to heal you from cancer. You haven't and there's nothing
we could do. Whether I had a trillion dollars or
a buck in the account, there was nothing I could
do so it was like, you know, I just want.

Speaker 11 (01:21:15):
To spend all my time with you.

Speaker 10 (01:21:16):
Charlie Wilson was your.

Speaker 14 (01:21:19):
Yeah, only choice. It was original, just just me on
the track. I was like, if I had someone has
to be uncle Charlie.

Speaker 12 (01:21:27):
You ever watching warm up his voice before he listen?
Have you ever seen him do this person? He did
a little bit.

Speaker 1 (01:21:36):
He love it.

Speaker 14 (01:21:39):
Yeah, but that's that's maintenance, Like he plays no games,
like he sounds like records on records on records.

Speaker 3 (01:21:45):
And he don't sing in the session unless it's at
least seventy two degrees something. We don't sing, no air conditioning,
Charlie Wilson, session.

Speaker 1 (01:21:52):
Everything, Charlie.

Speaker 14 (01:22:00):
So yeah, I spend all the time. They're the emotional songs.
So what are we getting at here? What's this going?

Speaker 10 (01:22:05):
It was a point.

Speaker 1 (01:22:13):
Take care shoes sixty nine.

Speaker 10 (01:22:15):
You want to do a freaking one? Yeah, we do
a freaky one?

Speaker 1 (01:22:19):
So what is the story?

Speaker 3 (01:22:20):
Where's the story with you and your husband? And then
we can kind of feel in Yeah, yeah, I think
sixty NFL good segue.

Speaker 14 (01:22:28):
We don't know martial like sex like it's cool. No,
I had a wild dream that I was a stripper, okay.
Within that week that I was recording with the interns
so Too and Coase. At the time, we're on this
very much sexual wave and I.

Speaker 11 (01:22:50):
Was like, you know what, I have something for that
I don't think people expected from me.

Speaker 1 (01:22:54):
So it was.

Speaker 11 (01:22:57):
Six ten nine, but it was really like, I don't know.

Speaker 14 (01:23:07):
I was like, if Vanity six or Apolloni six did
a song in what was that twenty fourteen, I think
it would have been.

Speaker 11 (01:23:13):
At six Tina.

Speaker 1 (01:23:15):
It was just like cute. I just thought it was cute.

Speaker 11 (01:23:18):
It was very light work.

Speaker 1 (01:23:19):
Yeah, it was very cute.

Speaker 11 (01:23:20):
It was it was nice kissing fuck, it was amazing.

Speaker 1 (01:23:23):
Yeah.

Speaker 11 (01:23:23):
I didn't want it to be an interlude. It was
an entire song.

Speaker 14 (01:23:26):
And then they were like, oh, it's two acoustic guitar
is because it's an acoustic guitar and vocalist.

Speaker 11 (01:23:34):
Why does it have to do anything else other than
But I was like, you know what, I'll make it
a universe and.

Speaker 1 (01:23:41):
Yeah, that was cute.

Speaker 12 (01:23:42):
So talk about the transition, because I know that this
album was released on is it this your own.

Speaker 1 (01:23:49):
Label or yeah?

Speaker 14 (01:23:50):
So have our own situation Human Resources jeving our label,
and we partnered with E one for NYLA. So transitioning
from what we're friends of Lovers on A well, I
wanted it to be Jay Records, and then that dissolves
and it becomes RCA, and then half the industry assigned
to that label, and it's I don't I can't do
Hamster Wheels anymore. And I remember Prince just being like, yo,

(01:24:13):
we just go independent.

Speaker 11 (01:24:14):
I'm like, I don't know, I'm scared.

Speaker 14 (01:24:16):
Go independent. Yeah, going, so thank you Prince. Then once
I was cleared, I was like, you know what, now
I can just create. Now I don't have to I
want to. And that spawned the idea for NYLA because
Friends and Lovers I was in a before I met you, bab.

(01:24:38):
Friends of Lovers was tough because I had to admit
that nothing was good for me, nothing, whether that was
the relationship I was in the things that I was
holding onto.

Speaker 11 (01:24:48):
This industry that's full of.

Speaker 14 (01:24:52):
Yes men and women and full of open bars and
anything that's to you, you can have it. And if
you just say yes to everything, like who are you really?
So I was struggling. Yeah, I was definitely struggling a

(01:25:12):
little bit. And then I had to center myself and
go you know what, whatever I really want, I just
want to be happy. The one I was decided on
my own happiness is when everything fell into place. More importantly,
forgiveness and the whole flowtry situation was something that was
deaded at such a step in two thousand and six.
It weighed heavy on me throughout that entire time between

(01:25:36):
six and twenty fourteen. So twenty fourteen rolls around and
I say, you know what, I'm gonna forgive. So reached
out to Nat, said, look what's up. It would be
good for the fans. Let's just reconnect. And that was
my way of getting that weight off of my back.
And once we did twenty fifteen, that first tour, that's

(01:25:56):
when we did the show. My husband though here it
was a part of the tour, and I didn't know.
I just kept seeing this very consistent, fine chocolate face
and body, and it's like, who.

Speaker 8 (01:26:11):
Is out?

Speaker 1 (01:26:12):
Let's anyway?

Speaker 11 (01:26:15):
No keep that going?

Speaker 1 (01:26:15):
Sorry?

Speaker 11 (01:26:16):
I was like, he's fine, fine, like Ralph Angel, Queen Sugar, fine,
Like who is that?

Speaker 1 (01:26:25):
But can he talk louder than Ralph Angel? Yeah?

Speaker 11 (01:26:28):
It's very very.

Speaker 1 (01:26:32):
Watch everything subtitles, you.

Speaker 11 (01:26:35):
Know what I say?

Speaker 14 (01:26:36):
The other day he's like you know Christian Bell does
his Batman voy ye that he's gonna stopped, but I
think it's good for that current Don Ralph angels that.

Speaker 11 (01:26:48):
Anyway. Desmond, Yeah, back to dead let's go.

Speaker 14 (01:26:53):
He was wearing this red fitted and I was backstage
and I was like, who is this? It's like, oh,
my role managem. Mitch was like, I told you, I'm
bringing someone else on the tour, you know you and
I was traveling separately, like he's gonna cover that side
of things. I'm gonna cover you. I was like, oh,
so he's on the tour, so I'm gonna see him
married day.

Speaker 1 (01:27:13):
Okay. Cool.

Speaker 14 (01:27:16):
So that's what right about this last week of June
apparently twenty fifteen, So apparently we met in an elevator
in Cleveland, Ohio, and I didn't say hello or I
kind of gave him the brush up.

Speaker 1 (01:27:29):
Y'all did the whole tour and didn't Oh no, no.

Speaker 11 (01:27:32):
Wait wait wait, So June fifteen it was because he
was Game six.

Speaker 14 (01:27:42):
Okay, I was going to Game six Caves versus worries.

Speaker 11 (01:27:47):
That was on my mind.

Speaker 14 (01:27:48):
I wasn't taking no one, no, no, no. So I
am still having issues with the whole flowtry situation. I
was like, Wow, nothing will ever change, but you know
what this is for me. This isn't about nothing else
but for me. So I'm gonna go through it. Watch
game six caves lose worries when Andrea goodal MVPs very bizarre.

(01:28:11):
Fast forward to that last week and I'm like, you
know what, I'm just gonna say, what's up? So I approached, Yeah,
look at the risks.

Speaker 10 (01:28:24):
Still there.

Speaker 1 (01:28:25):
So so.

Speaker 14 (01:28:30):
I initiated the conversation and it was very much you know,
yes or no answers, and I'm like, okay, we get
to Norfolk, Virginia.

Speaker 12 (01:28:39):
Though uh.

Speaker 11 (01:28:43):
Yeah, Virginia is for loving Virginia.

Speaker 14 (01:28:56):
I love you because at the North the actual venue,
they have a basketball court upstairs and a spar jakoozie
and a great upright piano in the room, but more
importantly a basketball court. And I saw him taking a
couple of shots and I was like, oh, I.

Speaker 11 (01:29:12):
Play, you know exactly exactly.

Speaker 1 (01:29:30):
So that night.

Speaker 11 (01:29:33):
Everything in Norfolk was closed. Why is everything closed eleven
or something crazy? So I wanted to.

Speaker 14 (01:29:39):
Grab a bite to eat. I texted him and said, Yo,
you wanted me to be down in the lobby off.

Speaker 10 (01:29:44):
Did you beat him the game?

Speaker 14 (01:29:46):
No, we didn't play, said no, and our holds up
there and all of my show outfit and high heels.
Was like, oh, so he checked the form and stuff
and then rolled and then I texted him and said, yeah,
you want to go grab something to eat?

Speaker 11 (01:30:01):
Everything's closed, mind you. So we walk from what is
downtown It's that more right there next to the river.

Speaker 14 (01:30:08):
We ended up with the cookout listen to cookout, Milkshakeshake.

Speaker 1 (01:30:22):
Cookout.

Speaker 14 (01:30:24):
It was it was like a three hour, four hour walk,
but it was corny too. We ran through sprinklers. It
was very, very wrong com made for TV. Lifetime could
have got a Netflix still would have been like a
you know, a limited series and HBO.

Speaker 11 (01:30:39):
We went X rated. So that night I remember calling
my mother. He broke me back to my room.

Speaker 14 (01:30:47):
We got the burgers and talked about love life, god, everything, believes, dreams, aspirations,
and I was like, Mom, I've met the one.

Speaker 11 (01:30:55):
He's the one I'm telling you. She was like, well,
what happened?

Speaker 1 (01:30:58):
I was like, we kissed.

Speaker 11 (01:31:00):
She was like a memoir. I was like, that's it.
I was like, who do you think I am waiting for?
This elaborate, dirty story.

Speaker 14 (01:31:08):
I was like, this is the date, this is like
the first date, so technically, and then by the time
we go to Philly a week later, we were doing it.

Speaker 1 (01:31:20):
Well I'm sorry, sorry, sorry.

Speaker 11 (01:31:25):
It's just the most wonderful time of the wonderful So yeah,
but we can.

Speaker 14 (01:31:33):
We get to Philly and we're doing it, and I
guess at that point the whole tour, you know, every musician,
every bad memory.

Speaker 1 (01:31:41):
Gentlemen, you have to understand that he's literally sitting like
a yard heard.

Speaker 12 (01:31:51):
He knows it's the most wonderful time of the year.
I can this platform to talk about microphone quar.

Speaker 1 (01:32:07):
It. No, no, I don't want to you know, infrared
uh beam.

Speaker 14 (01:32:15):
Well, we finished that tour on my birthday actually, and
August eighth, we were in Maryland a thing, or might
even Baltimore. So do that show and find out that,
you know, we both live in LA and said, when
we get back to LA, you know, let's not make
this just a tour, like make this the thing thing.
So my dad was in town. I flew my dad
out and my sister and my stepmother and they're staying

(01:32:41):
at my place in l A. And I was like, Dad,
I have someone I want you to meet already, but
it just happened that my dad was staying in LA
for that couple of days.

Speaker 11 (01:32:51):
So I was like, do you know what is going
to happen?

Speaker 14 (01:32:53):
I'm a fall in love and what's going to be
weird is if I come home for Christmas. You know,
from August eighth through to December. I said, I don't
want to come home in December with someone. You guys,
what's this guy wanting to meet him now? Because I
just know so, Daddy, but that's weird and weird. He
wasn't weird, no, because I met his mother day one

(01:33:16):
because we were picking her up and his other auntie
from a concert.

Speaker 11 (01:33:20):
I remember what concert that was, like the o Jays.

Speaker 1 (01:33:22):
Something said, aunt.

Speaker 14 (01:33:36):
We walk around the house just just periodically, like blurting out,
like you have to for anybody's auntie.

Speaker 11 (01:33:43):
So yeah, shout outs to Ken and yeah.

Speaker 14 (01:33:46):
We moved in about September fifteen and went home for Christmas.
We went back to the UK for like a month
because we did a floaty show out there, and then
he met my entire family, like straight Liverpool strong scouse accents,
like it was this marshal you moved to America eighteen

(01:34:08):
years ago and we haven't seen one fellow.

Speaker 11 (01:34:10):
Who's this I'm still I put on an accent just
to make you.

Speaker 10 (01:34:22):
Give us a proper version.

Speaker 14 (01:34:24):
This is like a hybrid I've lived in I used
to live. I hate marm anyway, I hate I hate football,
and well I'm from Liverpool, so Liverpool, come on, you
Reds can't be Everton.

Speaker 11 (01:34:43):
It's not gonna happen.

Speaker 14 (01:34:44):
But yeah, I'm I'm I'm okay, No, not really, because
I do mince pies at Christmas.

Speaker 11 (01:34:51):
I love that.

Speaker 14 (01:34:52):
I love a good old custard with a nice sponge cake.
I love tea and biscuits, bangers and bank as a mash.
I love Shepherd's pie.

Speaker 1 (01:35:04):
A mash see is good night?

Speaker 11 (01:35:23):
So we have nothing else?

Speaker 10 (01:35:24):
Do we get what we so?

Speaker 1 (01:35:26):
Yeah?

Speaker 14 (01:35:26):
And then well fast forward to after that Christmas. We
get back April. We're about to go on the second
reuniting a flowtry because popular demand wants us to go
on tour again. Those guarantees came in. I looked at
them and said that we can do this within the year.
What about house babe, Let's go went back out on tour.
Because it's our job and our career and against everything

(01:35:50):
I wanted to do. Yeah, yeah, So we did flow
Try again twenty sixteen, which would be the last.

Speaker 11 (01:35:57):
But one week into that tour we find out we're pregnant.
So if you've played at Yoshi's before in Oakland, so
you do two shows a night.

Speaker 14 (01:36:08):
We did two shows the night at Yoshi's, four days
back to back to start the tour. So the first
date was in Sacramento and we were on a flight
on the way there and Des, my husband collapsed on
this flight, like we had an early Black Girl's work
was in New Jersey. We taped that got on an

(01:36:30):
early flight to get to the first Floaty show.

Speaker 11 (01:36:33):
Hadn't really eaten. I think that's what it was. We
just didn't eat.

Speaker 14 (01:36:35):
But he collapsed on this plane that they were about
to land. It in the middle of nowhere, and I
guess there was a nurse on the flight that assisted
kind of made sure everything was okay. They took us
blood pressure and when we googled it, pregnant women come up.
So I'm like, whatever, and this is early, so this
is like the first couple of days Aprils might have

(01:36:58):
been April second so we do that showing Sacramento. He's
now healthy, everything is okay. We do Yoshi's four days
back to back, get to l A, and we're playing
The Wilton that night. So what it was we were
flying for the first week, and then we were getting
on a tour bus. So I decided to do a
pregnancy test for fear that I would just be on
this tour bus stick out on my mind if I

(01:37:19):
was pregnant. I wasn't taking it, like I'm pregnant, just
check it. So we did an interview with a popular
blog site, I'll say that and they leave the house
and I'm like, okay, I'm just going to take this test, babe,
I'm paying on it. I'm just gonna check I'm pregnant.
I didn't say it like that, but that's how quick

(01:37:40):
it said.

Speaker 1 (01:37:41):
I was.

Speaker 11 (01:37:42):
I paid on it and it said pregnant. So I'm
waiting for the not to come up, like I was like,
how does this work?

Speaker 1 (01:37:48):
Does it? Just? That was good?

Speaker 11 (01:38:04):
That was good.

Speaker 1 (01:38:05):
That's right.

Speaker 10 (01:38:06):
I was created, and.

Speaker 11 (01:38:11):
Then Dyla was created and we're pregnant.

Speaker 14 (01:38:14):
And it was so early on I didn't want to
tell anybody on the tour, but I didn't want to
not do the tour. So by ways of the doctor,
They're like, you're fine, you know it's early if you're healthy.
Let's just see how this goes. So I booked doctor's
appointments throughout the tour.

Speaker 11 (01:38:30):
My first one was.

Speaker 14 (01:38:31):
In Phoenix and if you played at the venue, the
celebrity arena stage, oh my god, I was going to die.

Speaker 11 (01:38:41):
I was like, I'm so dizzy.

Speaker 14 (01:38:43):
I couldn't wear the high heels that I anticipated wearing
for that tour and I'm now wearing these low what
the SB golgedes No, but I had chucks on my Nikes,
my sb's and I'm like, I'm dizzy.

Speaker 11 (01:39:00):
This is weird. I don't like it. So we get
to the doctor's like, yep, you are pregnant about you know,
five or six weeks. I'm like, oh, I'm on tour
for like another month and a half or so, and
I'm like, you know, just just see how you feel
sow it goes.

Speaker 14 (01:39:14):
So I get to Pensacola, Florida, and I almost throw
up on the front row.

Speaker 1 (01:39:19):
Whoa.

Speaker 14 (01:39:20):
It was rough because it was like one hundred and
ten degrees and humid, and I could smell everything. It
was like the bar and it had like the lemons
and like that citrus smell. Anything sweet. I'm a dessert fanatic,
and when I was pregnant, I couldn't touch sugar without
throwing up. It was so it wasn't fair, Like nothing

(01:39:41):
I was straight. I needed lazed potato chips and like
bacon double cheeseburgers. I stopped eating red meat for seven years,
and as soon as I was pregnant, I needed steak.

Speaker 11 (01:39:49):
But I guess your body just tells you what you need.
And it was ridiculous. But yeah, So by the time
you know, we get off tour, everybody were pregnant. Peace
by love you. And then December nineteenth, Nithera's here, She's
I love already. You kept say.

Speaker 1 (01:40:10):
I still love her.

Speaker 14 (01:40:11):
My grandma comes on that kind of cuspy, but she's
definitely a saggy so tell us.

Speaker 3 (01:40:18):
So you were saying a couple of questions. So you
were saying, when you did that floaty tour, you knew
that was going to be like your last one. Oh yeah,
and what was how did you know?

Speaker 1 (01:40:30):
When?

Speaker 11 (01:40:33):
Not even about that?

Speaker 14 (01:40:34):
Because Nat and myself could do a floaty show with
our eyes closed, like we could have had a whole
fight and been on stage and given you the whole show,
and you would know no different. The creativity part of
it that will never well, hoping never will, but never die.

Speaker 11 (01:40:48):
Personally could not tolerate.

Speaker 14 (01:40:54):
Not only past, but if you're someone else's trigger for
what just didn't happen for you, you can't help that.

Speaker 11 (01:41:00):
You can forgive everything.

Speaker 14 (01:41:02):
But if I'm the one that remained in the US
and still doing what I'm doing, I'm a constant reminder
of what happened in two thousand and six, I'm a
constant reminder of reasons why things went left or right,
and there's nothing you can do to heal that other person.
So I feel once we got to the end of
that tour and there's still smoking weed on the bus,

(01:41:23):
you know I'm pregnant.

Speaker 11 (01:41:23):
Though it's the end.

Speaker 14 (01:41:25):
It's then I was like, you don't wish well for
my life, and I don't care if it was done
out of well. This is because in two thousand and
six you said, I'm like, I did this for right now.
I know what I've done, I know what I've said,
I know things that I've possibly done that have killed
you in some ways. And if you, like I said,
if you can't heal what you don't reveal, if you

(01:41:46):
can't tell me what it is, I don't know.

Speaker 11 (01:41:49):
I don't know.

Speaker 14 (01:41:50):
It's like saying, you know, I'm okay now, Well I'm
not like you don't when you like break up with
someone or you're you're mad at someone and you try
and reconcile. I'm not ready to reconcile. And I guess
for twenty fifteen, twenty sixteen. Initially with the twenty fifteen,
we both were. But you've also shown me who you
still are and still will be. And I'm cool on that.

Speaker 11 (01:42:10):
And that's okay too. Wish you well on everything that
you do, but I don't.

Speaker 14 (01:42:17):
I'm collectively we've all been in group situations where it's
a lot of See I didn't think of that, but
you know what it is. It's it's it's micro managing

(01:42:39):
personal lives. Because the music is that's your first hand.
We knew, we knew that part. It's everything else you
have to deal with that comes with that. So so
Nyla's out in stores, Nyler is out unavailable.

Speaker 1 (01:42:53):
Yeah, actually let's not. I do have a question about
the music, Okay, go for it.

Speaker 7 (01:42:58):
Are we ever going to get an officially released version
of Yes, indeed, the team recover that you did.

Speaker 14 (01:43:04):
Dre and I discussed this and hopefully when it calls
for the moment it deserves, it shall be. But that
was a tough one to tackle about Tina Marie be
and one of my.

Speaker 7 (01:43:15):
Said, right, oh yeah, yeah, and I remember you played
it at that show and it's on YouTube and everything.

Speaker 1 (01:43:20):
Good God, I played it like five six times in
a row.

Speaker 11 (01:43:22):
You can't it crazy? But yeah, one day, one day
I'll hit Dre.

Speaker 1 (01:43:26):
Also, uh, first position and we still what happened.

Speaker 11 (01:43:38):
First position when you gave said the text I want
to see.

Speaker 1 (01:43:43):
Can't wait see. I wanted to ask about Cloud nine, but.

Speaker 14 (01:43:50):
So well, I will say about Cloud nine live, played
it live, You're the only drama I have seen that
on the planet.

Speaker 12 (01:44:01):
Because I wasn't going to be embarrassed by my first
gospel chops challenge.

Speaker 1 (01:44:07):
Have you heard Cloud Yeah, yeah, yeah, it's it's straight godless,
It's I was like, never again.

Speaker 12 (01:44:16):
I went I went to that's the first night I
spent the night at fallon my first night ever.

Speaker 1 (01:44:23):
I was like, no, I'm not going to get embarrassed.
On stage because I don't know how the gospel chop.
I went on YouTube learn how to play the drums. Yes,
I typed in gospel chops for dummies.

Speaker 12 (01:44:41):
Yeah, it's eleven year old, like Filipino kid with his
own pate dog.

Speaker 1 (01:44:47):
It's YouTube, it's the Internet.

Speaker 10 (01:44:49):
Why not just call a tribute.

Speaker 1 (01:44:54):
Anyway? Oh f is this episode? To get there? Yeah?
And I had to shed for like five hours straight.

Speaker 12 (01:45:10):
Wow.

Speaker 1 (01:45:11):
Wow, that's how hard.

Speaker 14 (01:45:12):
It's a tough one, but it's it's so good. Another focus, Yes,
shout out the focus.

Speaker 1 (01:45:19):
That's the homie. I really yeah, I have great chemistry. Yeah.
I was so happy to see y'all work together for
like a whole.

Speaker 14 (01:45:25):
That's my brother for real. It's definitely a musical assault mate.
He I mean, he's music woralty like it's in the
DNA like your dad is chic.

Speaker 11 (01:45:35):
Yeah, so crazy.

Speaker 1 (01:45:38):
Before we wrap up the show, what are your future plans? Mars?

Speaker 11 (01:45:44):
My future plans are creatively yo.

Speaker 10 (01:45:47):
I asked you that question four years ago. You said
I just want to get married and have babies.

Speaker 11 (01:45:51):
So here we are four years later and now crusted
TV and film horror being my favorite genre.

Speaker 1 (01:46:05):
Yeah, I would love to see you in a horror film.
I think you were about to say you.

Speaker 12 (01:46:12):
Okay, yeah, okay, yeah, So what level are we talking
like round zombie level or are we talking well.

Speaker 14 (01:46:20):
The zombie stuff is just Gore for Gore's sake. For me,
sometimes it's it's I love it.

Speaker 1 (01:46:27):
I'm about because he's like, it's that.

Speaker 11 (01:46:32):
Yeah, never mind, it's the things that you don't see,
the scary.

Speaker 8 (01:46:38):
And you.

Speaker 1 (01:46:44):
So you you like thriller, psychological thrillers, Yeah, I love Okay, we.

Speaker 11 (01:46:48):
Added like horror.

Speaker 14 (01:46:51):
I'm gonna go, well, go on a whim and say
and you can say, this is my original idea and
I gave you here for it's gonna happen.

Speaker 1 (01:47:01):
Okay.

Speaker 11 (01:47:03):
Picture of the movie.

Speaker 14 (01:47:06):
Elm Street, And it's really about the suburban area of
Elm Street and the parents that pluck to kill this man,
Freddy Krueger, who allegedly sexually abused a kid.

Speaker 11 (01:47:18):
That's why he dies.

Speaker 14 (01:47:20):
So it's the horror that you see in normal people
that you just go to the supermarket with. And they've
decided that this missing kid is his responsibility and we're
gonna kill him. And then Freddy has to like then
declare his soul to the devil and says, you know what,
I'm gonna come back and haunt your kids and your
kids kids. That entire flick is creeping me out thinking

(01:47:42):
about it. Has to happen, though, prequel it is telling
you that's my artist name.

Speaker 1 (01:47:58):
Now be in six years mark over them so you
got time to write them.

Speaker 11 (01:48:04):
It's done.

Speaker 1 (01:48:04):
There you go, Marsha. I thank you for coming on.

Speaker 11 (01:48:11):
Thank you, thank you, thank you, thank you.

Speaker 1 (01:48:15):
Sugar Steve, what'd you learn today? You haven't done this
in a while. Man, Wow, her entire story essentially. Okay,
even her you've known her and that I'm the only
one here. Ironically, I suppose you've been pronouncing her name correctly.

Speaker 12 (01:48:35):
Yes, uh, unpaid Bill Man. Good people make good music. Okay,
you just learned that.

Speaker 1 (01:48:44):
I learned that Matt Cappy is on a Michael Jackson song. Yeah.
I was a low key jealous Matt Cappy. And then
you learn how to drum on? Yeah, I learned that
that eleven year old boys out of drump on the
on the buckets.

Speaker 7 (01:49:02):
I didn't know you were in the basketball so much,
so I thought that's pretty awesome. And as well as
the horror flicks. That's that's pretty awesome. So two unrelated
to music, things that I think are really awesome about
you awesome, Like where'd.

Speaker 1 (01:49:13):
You learn today?

Speaker 8 (01:49:14):
Learned that dev is seven years younger and looking for
a younger man. No, but you know it's that it works.
I still think it works more than a female's favor
because of that. You know about the physical anyway, and
I what they he would be still ready to go
ahead it when she hits her peak, you'll know.

Speaker 10 (01:49:32):
I'm all about the sexual peak. You wouldn't think about Okay,
I know you did anyway. And I learned that Marsha
is gonna write the prequel for Nightmare on Elm Street.

Speaker 1 (01:49:44):
Yes, she's got a good idea for idea, man.

Speaker 3 (01:49:49):
I learned that Marsha is like healthy and happy and
like it's still like from the last time we saw
each other, like your life has just gotten better cause
and like I'm just happy to see you. I mean
because we've had conversations just before about the game and
the industry and like just kind of finding your way.
So when I saw you come back with Nyla and
you were doing indie and you were doing with Focus

(01:50:10):
and like we talked, I was just like yeah, this
is it, and so I'm just happy to see you
in the space that you're in because I know, just
as artists art like, I know how that how.

Speaker 1 (01:50:18):
Crazy this ship can be.

Speaker 3 (01:50:19):
So to see you still here, still doing it and
be able to do it on your own terms, that's
really uh, it's really smart business moves.

Speaker 1 (01:50:27):
Like having kids can be positive, having kids can't be positive.
Learned to start risking it all I've learned.

Speaker 12 (01:50:35):
I've learned how to use one's own podcasts to deflect
any love life.

Speaker 1 (01:50:42):
I appreciate you see all that go around. Of course,
love Supreme.

Speaker 2 (01:50:58):
Courts loved Supreme. It's a production of iHeartRadio. This classic
episode was produced by the team at Pandora. For more
podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or
wherever you listen to your favorite shows.

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Hosts And Creators

Laiya St. Clair

Questlove

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}QLS Classic: Marsha Ambrosius