Jozzy

This week on The R&B Money Podcast, Tank and J Valentine welcome the phenomenal Jozzy. Growing up in Memphis, Jozzy got her start songwriting by working with local rappers and producers. She then connected with producer Wiz, who brought her to Miami to write hooks and songs with artists like Lil Wayne, Rocko, and Young Joc visiting the studio.

While in Miami, Jozzy also began working with producer Polow da Don, landing placements like Fergie's “Milf Money.” She later collaborated with Chris Brown, co-writing the song “Discover” on his album Royalty. Jozzy also spent formative time living and writing at Missy Elliott’s house in New Jersey during this period.

Constantly surrounding herself with established industry veterans, Jozzy soaked up knowledge from the likes of Timbaland and Missy while strategically putting herself in rooms to grow as a songwriter. From Memphis to Miami to LA, it’s clear Jozzy put in the work early on to become the phenomenal songwriter she is today - even co-writing one of the biggest hit songs in recent years. Enjoy Jozzy on The R&B Money Podcast!

 

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J Valentine: @JValentine

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Episode Transcript

Speaker 1 (00:01):
R and B Money.

Speaker 2 (00:03):
Honey, we are.

Speaker 1 (00:07):
Thanks take valotility. We are the authority on all things
R and B. Ladies and gentleman, My name is Tank.
This is the R and B Money podcast, authority on
all things R and B yesterday and today. We are

(00:31):
a current R and B conglomerate. H we know what's
going on with the youth, Yes, sir, put that on
and just know what I'm saying. It works, okay, uh.
I like to call this person one of the leaders
of the new school. I agree, Wavy beyond waves. I've

(00:55):
seen her read work. She's a problem and I like it.
Ladies and gentlemen in the building, give it up the
jobs right now, right now, Joz. I want to say this, Wow,
that was beautiful. It's good to meet you, right and

(01:19):
let me let me explain that. Not not as in
meeting you for the first time, but it is good
to meet you. In meeting you, I was like, oh
my god, she's so dope.

Speaker 2 (01:34):
Wow. You always say that this is, this is not,
this is this is always consistent.

Speaker 1 (01:39):
In meeting you, I was like, Wow, now, amazing energy, amazing,
how you my loved one off top. I wish your
nigga would about jos Zy, And as you say, consistency,
that's you. You're You're consistent in your presence, in your

(01:59):
demean in your work ethic every time, every time. And
that's why we're talking about you. That's why they're talking
about you. That's why you you know, that's why you've
done the things that you've done, and they're doing the
things that you're going to do. That's why you know,
I see you first of all, she don't have a

(02:21):
ship off time. It's I think.

Speaker 2 (02:26):
I think that's what's so good about like being like
an R and B artist, Like it was. It was
a fashion too. Everything was just the whole esthetic of
being an R and B nigga. It was just like
I love that, like I love when I used to
see like Carl Thomas and his fur like the like
you know, I love to see Donnelle Jones and his

(02:47):
glasses and his black turtle neck like that was just fly.
Like even with you, I told Tank, Bro, don't wear
no shirt, Bro, don't come white. This is the show.
Take the shirt off.

Speaker 3 (03:02):
You know that I'm not coming right there now.

Speaker 4 (03:05):
If you got to look across, okay, I don't see that.

Speaker 1 (03:11):
You know, we be in that place, get to you know,
after the fool.

Speaker 2 (03:16):
You know, I don't like y'all like that. We don't
like it like that. I can look at you like
you look good, but look good I can give you.
I don't like you like you can look good and
you know it's nothing like you know what I'm saying that.

Speaker 1 (03:32):
I heard y'all looking waste together and ship Now yeah games,
you know gangs got us on the program.

Speaker 2 (03:37):
Yeah, not literally, just changing my life around. I love
going to the gym. I didn't realize that I was
going to really enjoy seeing I like seeing the aftermath
and the results. Man, I'm a result person. That's why
it even took me a minute to come to R
and B Money because I was like, I don't got
enough results. I ain't ready, I don't got enough points

(03:59):
on the board in my eyes to be around you
all because I really look at you all at a
high level. So that's why I was afraid to come here.
But you know, now I'm here.

Speaker 1 (04:08):
You know what I'm saying, Well, you're supposed to be here. Yeah,
I want you to say that, like like while you're
in it, even with everything that you've done right at
a high level, but while you're in it, you know,
I think it's important for us, you know what I mean.
It's weird to say elders, but this is crazy.

Speaker 2 (04:23):
You're the eldest.

Speaker 1 (04:24):
Well I mean elder statesman.

Speaker 5 (04:26):
I like you and this shit.

Speaker 1 (04:32):
It's important to shine that light, you know what I'm saying, Like,
we gotta shine that light on you. If you don't know,
now you know, you know what I'm saying, because the
legacy continues with you. You don't see what I'm saying, Like,
we play our part in our pieces, but listen, we here,
we're throwing calls on the fire.

Speaker 6 (04:53):
Yeah, that's the reason why we have the platform ultimately,
I mean, obviously we're going to have you know, legends
and new legends, and people who have been a part
of the music business for a long time, and people
who are starting out and people who are just accomplished.

Speaker 3 (05:08):
But most of the most most importantly for us, it's
about what we respect, you know what I mean. That's
why when I ran into you and you said that
to me, I was like, no, you've been ready, I've
been loving records, you've done. You know what I'm saying
that if I can call out your records. That mean
I respect what you've done, you know what I mean.
So to us, it doesn't, we don't. We don't look
at it that way, right, we understand what you're saying.

(05:30):
We don't look at that way because we know how
hard it is to get these accomplishments. And you know, like,
I don't even like, I don't even respect when people
have those those conversations about one hit wonders, Well.

Speaker 5 (05:43):
That's one more hit than you may ever have in.

Speaker 1 (05:45):
Your life line.

Speaker 2 (05:47):
And I'm so glad I got my big hit out
the way, so I don't got worried about it.

Speaker 5 (05:56):
Yeah, I early.

Speaker 1 (06:02):
Let's let's let's let's now, let's get to the little
john Zie. Let's go back to Memphis. Let's go back
to Memphis where it all began. Give me, give me
the beginnings, give me the upbringer.

Speaker 2 (06:13):
Yeah. So born and raised in Memphis, Tennescy. Literally, my
mom was a teacher. But my mom used to be
in the group. She used to be signed to high
records with Willie Mitchell. She used to go on to
it and People's and see Johnson and al Green people.
So my mom had a group called Jenny and the
Jay's back in the sixties, they had a song on
the billboard on the charts like they was doing good.
They had a song called love what You're Doing in Me?

(06:34):
And but my mom had to liked she always tell
me she had to choose either the secular world or
back in the day, you had to choose a secular
world or you're gonna go to singing church. And I
don't know, like Willie Mitchell let her our contract and
she just starts singing in church and then yeah, I
was born.

Speaker 1 (06:53):
Uh.

Speaker 2 (06:54):
But my brother who's old, my older brother, he was
an artist back in Memphis, Like he was in his
croup called Children the Corn, and he was like it
was like them Skinny Pimp, Three Sins Mafia, one of
the first rappers who uh, Like so this is this
is like my life, this is what I'm around. So
like always like all the rap guys used to be

(07:14):
at at my crib like smoked out my mama not there. Uh.
But then my brother got locked up, and I think
this was changed my life. This was I was like
four years old and when he got locked up, I
went in his room. I remember that. I remember four
years old. I remember like it was just as I
went in his room, I took all his CDs and
cassettes and I snuck him under my bed. And at

(07:37):
four years old, I had the keys to every every
access to music that kids don't have access to. So
like I at at like at a young age, I was.
I took all my brother's stuff and I just took
it and I played it on my Fisher Price uh
they headphones and just listened and I promise you, like
I just absorbed so much music. But like that's kind
of like the bulk of where I started. And just

(07:59):
like my brother, it was locked up for like like
eight ten years. So like in between that, my whole
life was dedicated to showing him that I could be Yo,
I want to show I want to do what you
couldn't have done because he couldn't. He was about to blow. Yeah,
you know, he was about to be one of them
dudes in Memphis. But literally even Project Pet shot my
brother out in his and mister don't play like he
shout him. I was like, yeah, that's my brother, Yeah, yeah, yeah,

(08:22):
mister don't play album. Yeah my brother Lord Tyrek shout
out to my brother John. But yeah, so like that's
kind of where it started. So my mom's always supportive
of me doing music because she wanted to do it,
and uh, I was just doing a few talent shows.
I think my first probably when I was eleven years old,
a wrout my first song. I remember that and falling

(08:48):
in love. I ain't know none about love. I remember
that ship too week.

Speaker 1 (08:51):
But you heard love song the week keep was a
week that was good, you know, something like, yeah, man,
I've been good for the list.

Speaker 5 (08:58):
My first song was tracked.

Speaker 2 (09:01):
That was listen you but you had confidence. It was
a heartbreak song, confidence and so like. But that was
just kind of like my whole git Like I always
wanted to be a songwriter, even in high school. I
remember I went to Germantown and the talent show. Like
I remember my ninth grade year. This girl wanted me
to she wanted to do the talent show and she
was like, I was like, I write the song, and

(09:24):
literally she won the talent show and no. But then
I kind of I kind of got tired. I was like, yo,
niggas is she won? Musically inclined? I was like, hold on,
I was thinking on the year book and I was
just like, yeah, no, this ain't this on parallel and

(09:47):
that that was when I realized that being a being
a service, you probably not gonna have the all the
love and support service. Yeah, being a service to somebody,
you may not have all the love that you want,
the respect that you think you deserve. So but but
I was still you like honding on my craft, you
know what I'm saying. But that was like the first
time I realized high school Germantown that oh yeah, this

(10:10):
is what that was ugly. Yeah, so you know what
I'm saying.

Speaker 1 (10:15):
When you get in love in your high school as a.

Speaker 2 (10:17):
Songwriter, mad Love, I was playing tennis actually though I
was actually playing tennis. Yeah, I got a tennis scholarship
and everything. I was cold. What Yeah, I played tennis
in high school.

Speaker 1 (10:28):
Had a pickleball.

Speaker 2 (10:33):
It's something new, right talking about it, right, It's.

Speaker 3 (10:35):
Like it's for like non I always wanted to play. Yeah,
but it's weird, like floating in the air.

Speaker 1 (10:46):
All sorts of people play pickleball with big can actually
be too athletic. First of all, there's a lot of
skill involved, a lot of athletics. Is the involved. This
ship Okay in court, this big, it's not that big.
It's a full tennis court. There's only certain areas that

(11:08):
the ball can go in lies.

Speaker 2 (11:10):
Folks behind you shaking their head. I just at this
point pickleball.

Speaker 5 (11:15):
Not pickleball. You was playing tennis.

Speaker 2 (11:19):
Cod Yeah, playing tennis. But you know, I still love music,
like music was always in my in my in my bloodstream.
Literally when I was in high school, I was working
with I was working at this studio in Memphis. This
is where I kind of got my name as JOSSI.

Speaker 1 (11:37):
Uh, what were you doing at the studio.

Speaker 2 (11:39):
I was writing songs for all the chop niggas, paper
bag Money, you want hooks.

Speaker 1 (11:45):
And you going to the studio was just you saying
I need to be in here. Yes, I'm not getting
paid nothing. I was getting paid.

Speaker 2 (11:52):
I was getting paid.

Speaker 1 (11:53):
I'm just saying if you did, if you didn't place nothing,
you wasn't getting paid.

Speaker 2 (11:56):
No, Like, yeah, I wasn't getting paid. But the thing
is like, so you know DJ litt Larry, he's Yo.
Gotti's right here, man. He had this thing called trap
House and Traphouse, Shoe megas, like everybody was in this studio.
This just like two thousand and nine to two thousand
and it got raided twenty eleven and it was the
Saturday in my life it's over. And like I was

(12:17):
in school, literally but like I used to get mad,
but I used to get like a five hundred one
thousand for all the pimps, all the all the pimps
who want to turn their life around, be a rapper.
I would be there. I met young Jockta, I met
Rock over there, like young Doff used to be there before.
Dolph was like really, dof you know what I'm saying.

(12:39):
So he was all just you know, I was just
a kid in high school around all these folks, you
know what I'm saying. And literally like one day I
got a call, I'm bauck to go. They say, do
not pull up to the studio, bro, this shit is
getting raided right now. And like I was. It was
on the news. My mama like what you this? Ain't this?

Speaker 1 (12:59):
This were you?

Speaker 2 (13:00):
Oh? My thought? It was just like it was just crazy.
I cried, I was. I was sick.

Speaker 1 (13:05):
I was.

Speaker 2 (13:05):
I was really sick because that's all we had in
Memphis was was the trap House. Like if anybody knows
about Memphis, and like around that time, from like two
thousand and eight to two thousand and eleven twelve, like
that was all we had. That was it, and so
like I was super depressed, didn't know what I was
gonna do in my life. I was in school, didn't

(13:26):
want to be at school in college and uh well
didn't want to be in high school. I had to
go to college the next year. I hated it. But god, man, I'm.

Speaker 1 (13:35):
Telling you, did you go in your tennis scholarship?

Speaker 2 (13:37):
I went on a tennis scholarship college you show I
went to I went to college on my Tennessee on
my on my scholarship. Man, like I was cold. Stop
playing with me.

Speaker 7 (13:47):
Cold.

Speaker 2 (13:48):
I don't know. Somebody got to have some footage.

Speaker 1 (13:50):
Somewhere we got.

Speaker 2 (13:52):
Definitely, my mama didn't come in onto my games. It's
so bad, you know, mama dude, Like, but so she
was an English Yeah.

Speaker 3 (14:03):
Yeah, my mom was at work and my daddy thought
basketball was bullshit.

Speaker 1 (14:05):
Yeah.

Speaker 5 (14:05):
My pop mama usually selling double doing music. That's it.

Speaker 2 (14:09):
Yeah, that's crazyn. So nobody came to my game to recording,
which is crazy, you know what I'm saying. That was
just me, but but literally it was a I think,
Uh thanks to trap House, I got connected with my
boy Bug and Web but the machine they worked at
the studio at Trap House and they leave me with

(14:29):
this producer from VA who was signed to Timberland and
his name was wiz Dom and Wiz was looking for
a songwriter. And literally he called me. He met me
on Twitter. You dealing each other like he was like, yo,
I heard you. You called and Memphis. You know what
I'm saying, I need a writer.

Speaker 5 (14:48):
And I was like, yes, you are away at college
and that I was.

Speaker 2 (14:52):
I was, you know, I came back from h U
T Chat to come back to UM because some family
situation happened. I had come back home, so I went
to school that U M. I went to Memphis. Yeah,
I went to Chat one year. You know what I'm saying.
I came back like it was too much stuff going on.
I had to come back. And like you, if you
know anything about Chattanooga and Memphis, they do not. We

(15:14):
won't get along like Chatta. Like at the time when
you went to ut Chat, everybody wanted to fight. It
was just bad. Like I had a roommate got ran over.

Speaker 7 (15:23):
It was bad.

Speaker 2 (15:24):
Like it was just like you can't walk off the
campus because you about to like you can't you gotta
stay on the campus.

Speaker 5 (15:29):
Just beef between the two schools.

Speaker 2 (15:31):
It's no, not the schools, it's beef between the city.
Don't like Memphis niggas. They just they just think we
just boogie up at you know yea yeah, so yeah,
it was just kind of crazy. I had to get
up out of ut chat because it was a lot
of stuff going on. But UH went back home, did
University Memphis. I'm leaving school. This was twenty twelve. Got

(15:54):
a call from Wiz and Wiz was like, uh, y'all,
can you fly to Miami for a week? I need you?
I went home. I bet my parents. My pap was like, yep,
you can go. And I went out there and I
stayed there for six years and that was that was
That was it. That was the start of like who
Johnsy was week? I was supposed to be there for

(16:17):
a week. Yeah, from twenty twelve to twenty eighteen.

Speaker 1 (16:22):
Yeah, how did you fund that? Yeah?

Speaker 5 (16:27):
Let's talk about survival.

Speaker 1 (16:28):
Yeah, survival.

Speaker 2 (16:28):
I ain't go front my pop bless me, my pop,
bless me. My pop was like, yo, this is what
he said. He said, Yo. This is like He's like yo,
since I ain't paying for your college. This is your college.
He was like, he was like, I'm giving you four
years to make it. If you're like if you're doing
four years and all right, we were just what we're
gonna do, you know what I'm saying. So kind of

(16:49):
like that was him, that was that was his, that
was his. My pop John, My papa is cold. My
papa is super cold. N So my pap was like
he was and I just think he's just saw like
he saw it. He knew, he knew who his daughter was.
And I'm just like him, like I'm cold, like I'm
just in so many ways. So he was like, you know,
if this is what you want to do, this is

(17:10):
this is what you're gonna do now, Like I struggled,
like he I couldn't live the life that I wanted
out bro, Like he didn't give me a lot of money.
No well no no no no no so no no
no no. He just gave me money for gas and
good stuff like that. It was good and I was
blessed for that. But like, so Wiz got a pub

(17:30):
deal because he did Up Up and Away for Low
Way and he did a few other songs, and like
I said, he was with Timbland, So I'm around Timbling Timbling.
I think they had a house in Opa Loaca and
they let us stay there. So I'm in Opa Loaca.
So we was staying there and then we had to
start paying rent on it. But like for a few months,
we were just staying there. And so Wiz, like I said,

(17:51):
he really like he took me under his wings and
was like yo, he was like my big bro. So
he was like yo, Boom, like let's just let's just cook.
Were supposed to be like the new tim in miss
that was a whole life friend. We're gonna I'm gonna
write the songs you're gonna produce. And like literally like
Tim and MISSI just like took us under their wings.
I met Missy and she was like, yo, come stay
with me and boom. I stayed with Missy for a

(18:12):
few for a few weeks, stay you know. So it
was just kind of like a learning experience.

Speaker 1 (18:17):
Stay with me.

Speaker 6 (18:17):
Yeah.

Speaker 1 (18:18):
Nah, she let me come place. It will make room
for you, nah bro.

Speaker 2 (18:23):
Like literally, Missy, I remember my twenty first birthday, like
she got me shit faced. I remember that. But I
learned so much from Missy being you know, in that situation.
But as far as having money, nah, bro literally like
we was faking it till we made it.

Speaker 1 (18:37):
Bro.

Speaker 2 (18:37):
I would pull up, I would take wizards, jeep, take
it to South Beach, get girls, bring them to the
studio and we vibing at the studio. It's like Hit Factory.
I'm talking about Hit Factory in twenty thirteen fourteen. It
was just a different time. It was like popping. Everybody
was there, like you had like that's how I met Wayne.
You had the cash money over there. You would have

(18:58):
carry Hilson in one room, Polo had done to be
in the next room. Bibro would be upstairs with like
it was as what is James Posner. I was a
huge James Posner. He was an amazing songwriter. And I
was like James Posts upstairs. No, I was just like
such a kid and like I just wanted to just
be around all of this. And literally I didn't make

(19:20):
no songs, like literally no songs. But we probably I
mean because like we just was we had to sneak
studio times. So like think about this is when around
the time when Simbling was kind of he was I
was after the promiscuous girl, after the sexy back, so
he was in it was a weird time for him

(19:41):
and that that that little Tom, but he was always
in the studio so like we didn't have to like
we didn't We only could work when niggas went to sleep,
right Like so I'm talking about we would be in
the studio till four in the morning. I'm like, just
And that was how I became a people, like a
person that just everybody know, cause I was like, you know,
if I ain't working, niggas, gonn no, why am Yeah?

(20:02):
So I started going out. I started like hit in Miami,
like Super Tomboys stud like the only one in Miami,
and I'm in all the clubs.

Speaker 1 (20:11):
Niggas.

Speaker 2 (20:11):
It's like, oh the letter in like because I had
to figure out, like I'm not working, so let me
go outside and you know, use it in a network,
you know, build my network. But literally we would come
back to the I would come back to the studio,
whiz it's still there, banging on beats. I was like, nigga,
you have fun with that. I'm not just gonna sit
here and not work, you know what I'm saying. But

(20:34):
like we were like five or six in the morning,
we would get in and work, and that was kind
of like where I started honeing on my craft. But
like it was, it was a weird time. Literally we
would just be in the room just being like flies
on the wall. When so and so walks in or
Kugnye walks in, we just there. It's just not being
were able to work. It was just I hated it.
I hated that. Like I guess it's it was artists

(20:55):
development of like going who you are, but boy, I
hated that shit. Like just sit and they're like, hey,
I'm the one. You just want to get in cold,
like you should try me.

Speaker 5 (21:05):
It's tough waiting on your turn.

Speaker 3 (21:07):
That's not people and some people don't have the patience
for it and fuck up a lot of opportunities jumping
out there trying to prove that they're do one because
like you said.

Speaker 5 (21:17):
You already knew who you were and you knew what
you will become, and you knew, like.

Speaker 3 (21:21):
I can compete by your time and meaning that place
wasn't your time neither, because that that ship wasn't booked
for you, you know what I mean. Like, but that's
the thing people don't understand, uh, industry etiquette, right, I've
had plenty of you know who may be dope writers

(21:44):
come in there that came with somebody else that keep trying.

Speaker 5 (21:47):
To throw words in pop.

Speaker 2 (21:49):
If you don't get here, I tell you, and I
tell I tell one of my boys, you gotta get
them out of there. Bro, like you're doing a lot.
I'm quick to be like, bro, come on, bro, like
I'm not like, I hate that.

Speaker 5 (22:01):
But they don't understand that though.

Speaker 3 (22:02):
It's it's just ignorance to it more so than it's
about them being disrespectful.

Speaker 5 (22:06):
They just don't even know. They thinking, oh, I'm here now, shit,
let me show my talent.

Speaker 2 (22:12):
I remember one session, you know, Jim Beans. Jim Beans
was Jim Beans is a He did a lot of
vocal production for like he did like the Promiscutor, He
did all of that shit, and he did also the Empire.
But Jim Beans is one of the first people who
made me feel comfortable in the studio. Like literally, I
walked in the first day off the plane actually coming

(22:33):
to Miami. I walked into this session he was working
on and he was like, you want to write? And
I just sat there. I was quiet. I just sat
and paid attention. I wasn't trying to like overstep boundaries,
and he just looked at me and was like, you
want to help me, right? I was like, wow, yes, yes,
And I just thought that moment was so dope because
he like let me into his world because I'm like,

(22:54):
this is jim Beans like he did carry I know,
I know everybody. I'm a super friends for I know
every thing about Timbling and MISSI static if you ask
me any questions about how they started. I know everything
about these guys. I studied Missy, I studied till I
study Magou. I love these niggas like so it was
almost like I was just I knew who Jim Ban's was.

(23:17):
So it was just like oh my god. And h
just those moments where just people just want to like
include you, those are the times that I just cause
I wasn't gonna include myself. When I went to Missy's house,

(23:40):
she she had a studio in my house. So now
I can just wake up in the morning at work too. Yeah,
And the thing about Missy ain't nobody coming in our house.
So you have to teach yourself how to record. So
I had to learn pro tools and I'm so glad,
like she'd like, I learned how to record myself thanks
to Missy. She taught me a valuable thing because working

(24:01):
with Wiz. I didn't know. I was just I thought
I had to write to all his beats because he's
my producer, even if I didn't like it. I was like,
I can't stand his beat, but I'm gonna write to
it because it's my partner. You know what I'm saying.
She was she was chewing them now, like Nigga, this
ain't it. Nigga, this ain't good. She's like, nah, she
was eating whizz up because she was trying to Like.
She was like, this what I do to timbling? Like
you know how many times I told timbling? Nah, Nigga,

(24:22):
this ain't it. She's like Jozzi. She was like, you
don't got to write to every every song, every every beat,
because it's in your face. Like if a producer gives
you one beat and you don't like it, be like, YO,
play some more beats. You don't have to write. And
I was like word like I didn't know that. I
thought that, oh this is the beat, Oh this is
so and so this is a big producer, so he knows.

(24:44):
But no, like sometimes you may have to challenge your
producer and be like, Nah, this ain't it. What else
you got? It ain't it for me, you know what
I'm saying. So Missy taught me that like and after
that I was quick to telling Nigga, let me play
another one.

Speaker 1 (24:57):
But I think I think your reverence for the craft
in the beginning, you know, had you developing something that
you probably weren't realizing you were developing, just being ready
whatever it is right, Like I don't like to be
but I.

Speaker 5 (25:11):
Want to because it's two sides to that.

Speaker 3 (25:13):
It's two sides to that, because I mean, the reps
in itself gives you an opportunity to better yourself and
better you know what I mean, Like for when that
right record does come and the truth matters. As many
people say they know in this ship, no one really, no,
I don't know, we don't know. It could be something
that we could play in the car every day and
think is the greatest song in the world and nobody

(25:35):
gives a fuck. And being on the flip side, it
could be that throwaway record, throw away and Nigga be like,
the world loves it.

Speaker 2 (25:43):
Did you have a throw away joint that people like you.

Speaker 1 (25:51):
Lying that wasn't four or five artists passed on it,
just sitting there. I had one more day left in
the studio that was paid for, and I was like,
I was like, I was like, I record all the
songs I wanted to record. They was like, well, you
got one more day, so whatever you want to do.
I was like, I was like, got this one beat
and I'm gonna record this one right here, record that song.

(26:11):
When Nigga Lane comes to what you're working on that,
I'm like, this this bullshit you want to do? Want
to do the bridge? He dow the Bridge. I'm like,
all right, I'm just niggas call me. Two days later
the nigga you did it? I was like, what you want?

Speaker 2 (26:22):
Nigga?

Speaker 1 (26:22):
I started naming all sorts of records. No this, please
don't go. I said, what yo? I'm sure? Sure? Are
you sure? Guys? How'd you? I wrote and produced the
whole thing, but I was still like this kind of
trush you sure?

Speaker 2 (26:40):
That's crazy?

Speaker 1 (26:41):
I watched that. I watched that song go from three
spins to three thousand spins to six thousand. I was
in the office every day, like what's going on there?
Like you are it's happening. You got a hit record,
You have a hit record. I watched us come out
and sell more records than everybody.

Speaker 2 (26:56):
What you thought was the hit on that joint?

Speaker 1 (26:59):
On sex, Left and Pain?

Speaker 2 (27:00):
Which one would you go with?

Speaker 1 (27:02):
Everything was crazy.

Speaker 2 (27:03):
Now, but which one was you gonna go with?

Speaker 1 (27:04):
Over?

Speaker 2 (27:05):
Please don't go?

Speaker 1 (27:06):
I was just curious, Like, I mean, we had a
wedding song on there, it would have been crazy, and
we eventually went with Heartbreaker, But Heartbreaker was on there.
I was kind of into my tempo bag, so I
was thinking maybe the Coldest would have some play, you
know what I'm saying. I was like, we put out
this Coldest thing, I would be dancing a little bit.
I'd already you know, fucked up a video dancing and ship,

(27:26):
but I was I was willing to try another one.

Speaker 2 (27:34):
Hilarious, that's crazy.

Speaker 1 (27:37):
It was my body like through so many joints. The
label was like, nah, trust me, this is it.

Speaker 2 (27:44):
And then Motherfuckers was shout out to the an O
because I wish like, there's no an R. I don't
it's scary. A and R is a some there's a
few dopees, but like shout out to that an R.

Speaker 1 (27:54):
Well, thing from those days, like your executive was the
fucking an ore those days. Nigga Barry Hankerson knew music
like he wasn't no, he wasn't no lawyer or no.
You know what I'm saying. He knew music, you know
what I'm saying. He was with the Whinings. He wished

(28:15):
Gladys Knight. You know what I'm saying. Him R Kelly
Oliah like this, nigga knew music when when we put
out Freaky as my first single, don't look that up
and ship went bad? He said. He he listened to
the project, listen to all the songs, and he called
me in the office. He said, don't worry about it.

(28:37):
I'm gonna take control from here. We're gonna change your life.
I was like, I don't know what that means, but
do what you do. He said, this is the.

Speaker 7 (28:44):
Song I deserve and here that's his history.

Speaker 1 (28:53):
So we we missed those executives who understand music because
now it's numbers. Now, it's analytics. Now, it's chasing after fact.

Speaker 3 (29:05):
It's baseball all yeah, you know what I mean, it's
absolutely an analytic game. And that ain't no, there's no uh,
there's no heart in analytics.

Speaker 5 (29:17):
It's just numbers, you know what I mean.

Speaker 3 (29:19):
So if if you don't feel it, because that's all
this ship is. I'm not replaying a song I did
not feel. I'm the fuck what nobody else tell me?
I didn't feel it personally, it's just me my feeling.

Speaker 1 (29:33):
Oh it's gonna be the biggest that's cool.

Speaker 3 (29:36):
It's cool, and y'all push whatever button you think you're
gonna push it, and it may work. I'm willing to
stand behind and stand in front of what feels good
to me.

Speaker 2 (29:47):
That was, and that was one thing talking about Missy.
I didn't have structure in my songs. My songs, I
really didn't know. You know, that's one thing I love
about Max Martin. It's some Max Martin structure. You know,
you're going to get the AA, You're gonna get the A,
B A, you know what I'm saying. You're gonna get
a pop structure. You're gonna get the hook, big hook
off on the bot on the down beat. I ain't

(30:09):
none of that, So I was. It was just melodies
and feeling and she was just like loving it and
I was, and she she never really told me how
to structure a.

Speaker 1 (30:19):
Song because she didn't want to put those those barriers
she did.

Speaker 2 (30:24):
She didn't, Bro, she didn't, And like that's one thing
I learned, I know, like about like what helped me.
She she was like, yo, she wanted me to keep
that feeling. She wanted me to keep that substance and
just And I'm really a student, bro, I love to learn,
Like I still love to learn. If you can't teach
me nothing in the room, I be like, I'm I'm
all right to go to the club. And she if

(30:44):
I don't learn nothing, like I want to learn everything
and soak up. So just being around Missy she taught
me that. She she she taught me without telling me,
like nah, this is where the hooks supposed to go.
This that I learned that just really just just being
around just great, just being in the rooms and being
in flying the wall. Like nobody really just taught me
how to write a song. I had to just learn from. Oh,

(31:08):
ship Shun Garrett is in with timbling. Let me see
what he's doing. Oh he's very pop like with his ship.
So I'm okay, Oh that's where he goes. Oh so
the hook is higher than the pre hook. So I
got to go higher on the pre hug on the
hook than the pre you know what I'm saying. I was, Yeah,
I didn't know the build up, like I didn't know,

(31:28):
you know, It's just everything felt good. So like my
whole life was just literally learning. I was like just
in school of like learning this ship. I didn't get
paid until well I got Yeah, I got paid.

Speaker 5 (31:47):
That's not forget that money.

Speaker 2 (31:49):
Was gone when I got to Miami. That ship was done.
Because I thought I was gonna get.

Speaker 1 (31:54):
Some say that because it's more on the I thought
I was gonna be more.

Speaker 2 (32:00):
I was on the way to the studio. Who need
a right now?

Speaker 1 (32:05):
Okay, I know from him that's the that's the thousand
ju ju. I know he promised me four thousand of
other night because he means what it was, Bro, you
can spend this, but you had a you had a
different kind of hunger for this ship in order to
in order to in order to digest that information, like

(32:31):
you have to have a hunger for that.

Speaker 5 (32:33):
Everybody's not willing.

Speaker 1 (32:34):
Everybody's not and everybody can't sit in those sessions or
sit in those places and figure out what they're doing
there if they're not working they'll be sitting at anybody.
This ain't correct. No, hung, I'm out. But to be
able to sit there and say you might have said
to the whole session like this. It wasn't until the

(32:57):
transition out of the second verse into the second hook
you said what the fuck was that? Yeah, and that's
what you needed to go to that next place that
you're gonna go to. Yes because creative.

Speaker 2 (33:09):
No agree, bro, because I'm telling you. At the time
when I was around Timbling, he was doing real pop songs.
And I remember the day like it was yesterday. Uh,
they brought Bryson Tilla in the studio. This is before
Bryson dropped Chop Soul. They was like, Yo, you need
to sign this dude.

Speaker 7 (33:25):
Tim was like.

Speaker 2 (33:26):
Nah, And I looked at I was looking at Wiz
and I was like that nigga is cold like Bryce Tiller.
So he was playing all the shit that he was
about to drop, like the don't He was playing it
all and I was just like, oh, this shit is
so cold. So me and w said, Yo, we're FINSA
started ship called twenty nineties R and B. So the

(33:48):
twenty in the nineties, the two thousands, you know what
I'm saying. And then the nineties of the R and B,
so we was like, Yo, we're going to just do
R and B like the way we like it. And
literally we started making songs that sounded like classic Aliyah,
classic total all that shit. And then twenty fourteen that

(34:09):
Nigga Bites until the jop chopped so and we was
like it begins like we knew, like, oh man, this
is the sound, like this is what we here. The
sound was a little darker because you know, but it
was the chop soul, but it was R and B
and we was just like, damn, I didn't have a
voice on tip to timbling to be like, yo, bro,
you're crazy.

Speaker 5 (34:30):
This is crazy kicked the student.

Speaker 2 (34:34):
And we didn't just talk like that, you know what
I'm saying. So so I didn't want to like say that,
but I was just like, this is yo, this song
is gonna go. Yeah. I heard it, and so I
remember when we went back to Missy house and we
went to Jersey, they were Missy and I was like, Missy,
I'm working on my album and she was just like
you need to let you need to let him hear
this because she was like, I think this will help

(34:57):
Timbling get his stride back with like with that's with
R and B. She she heard something in it. So
I played a few songs for Timberland and that was
when he started working on twenty twenty Vision with Justin Timberlake.
And like, I really do feel like I helped influence
We helped influence Timbling to do some R and B
on that twenty twenty Vision because like I remember, he

(35:19):
was just like, Yo, this is crazy. He flew up
to La to work and we just we had a room.
He gave us a room that was beautiful. I was like, yeah,
nobody came in there.

Speaker 5 (35:31):
We had a room.

Speaker 2 (35:32):
I remember I saw James punl Roy for the first
song was like since I always called him since, and
he came in and showed love. But like we had
a room in the back and we were just like, oh,
we're here, like we we got our room. Tiana Taylor
that was the first artist I worked with. That was
my first artist I actually worked with was Tiana and
we did a song man Monster Bro and I felt
like Tiana, she was underrated, you know what I'm saying.

(35:56):
So yeah, we got in with her and we did
a few songs and I was like, Yo, this is it,
and yeah, it was just one of those moments. Was
just like I was around all of these people, like
justin Timber, like in the studio when he's doing twenty
twenty vision, I'm just like in the room if I
felt like little Michael like what is that?

Speaker 5 (36:12):
What do you do?

Speaker 1 (36:12):
Like?

Speaker 2 (36:12):
It was really it was really one of those moments
where I was just like, I'm ready put me in.
I wish one of these nigga would be like Jozzie,
what you got? Nobody? Nobody was like. I was just
like yo, y'all hello. It was the weirdest I remember
a few times. I probably like definitely like cry, you
know what I'm saying because I was just like, what

(36:34):
is like nobody's calling my name? And Polo to done.
He hit me up because I was kind of getting
fed up over the temper. But I was like, yeah,
niggas ain't y'all. Don't y'all ain't pouring into me like
I think y'all should. And Polo was like, yo, He's
like yo, con Orlando, he got a Johnny Right studio
that big comp him and Polo saw it. Polo was like, yo,

(36:58):
let me manage you. And I did Monica's whole first album,
I mean my first album, whole last album co read.
I wrote that entire album. Damn. I had like six
songs on the album and I did. I did her single.

Speaker 1 (37:14):
I can hear Polo right now. She wrote like fifteen
songs an.

Speaker 3 (37:22):
Hour could But Polo Polo, he identifies talent and has
been doing that for years.

Speaker 1 (37:33):
Polo got Polo has that gift. They don't give him
credit for his his mind.

Speaker 5 (37:38):
Absolutely not Jones. That niggas call and he's been.

Speaker 1 (37:43):
He knows that ship. He knows ship, and he knows
he knows back country and everybody.

Speaker 5 (37:51):
You know what I mean, niggas diving in over there.

Speaker 1 (37:55):
I remember that they call me nigga.

Speaker 2 (37:56):
Got one came around, Nigga came for sure around the world. Yeah,
that's a show, the show for show Like that was
the That was when I got my money, like I
got my like that was when I kind of, you
know what I'm saying.

Speaker 1 (38:09):
Got your real opportunity, my opportunity.

Speaker 2 (38:12):
You know what I'm saying. The horrible pub deal. We
didn't talk about that Marble pub.

Speaker 5 (38:16):
I mean, why not why not talk about it?

Speaker 1 (38:18):
We've all been there.

Speaker 5 (38:21):
But you know what I'm saying, did you get more
than seventy five?

Speaker 2 (38:23):
I got? You know I did? I did get more
than that, but like and I guess I'm no, you did?

Speaker 1 (38:29):
Right?

Speaker 2 (38:30):
I wish I would have the pub did what?

Speaker 1 (38:33):
Did you have an nbr C?

Speaker 2 (38:34):
Yes, what the pub deal was? Oh and it's still
Oh my god, so the ship is y'all you're ready
for this show?

Speaker 1 (38:42):
Yeah? All right?

Speaker 2 (38:43):
Got the PUB deal in twenty fifteen? When did Kanye
come out with?

Speaker 7 (38:47):
Uh?

Speaker 2 (38:49):
The album when the couple just didn't have no joints
on it?

Speaker 1 (38:53):
It was blank?

Speaker 2 (38:54):
What was that? What album?

Speaker 1 (38:55):
Was this?

Speaker 7 (38:55):
A couple of years ago?

Speaker 2 (38:56):
That was like twenty what?

Speaker 1 (38:58):
Yeah?

Speaker 5 (38:59):
He's this?

Speaker 2 (38:59):
When dropped bro? Twenty sixteen? All right, cool boom, all right?
I got the contract twenty fifteen twenty Like towards the
end of twenty sixteen, Kanye is and genius because he
already knew that album's albums were about to be done.
He knew that the streaming world was about to come crazy.
The MD the deal I was in said that no songs,

(39:19):
only one song counted, but they all had to be
on a CD. On album albums are extinct they're about
to be extinct in twenty sixteen, bro, So that means
anything that I did that was just going to go
on streaming platforms was not going to be counting. So
I was gonna be in this bitch forever my whole life.

Speaker 1 (39:38):
How many songs though, bro?

Speaker 2 (39:40):
It was like seven songs full song, yes, bro, like bro.

Speaker 3 (39:46):
I fourteen off the top top if you write the whole,
if you co write the top line. Now, ever'y talking
about twenty one twenty eight.

Speaker 1 (39:55):
Sounded cool because you only heard seven and then no.

Speaker 2 (39:59):
And not only that, I didn't know if the album, but.

Speaker 1 (40:02):
You figured you could get it all done and one.

Speaker 2 (40:04):
Not only that though, yeah, but not only that. It
was a lot of ship going on with the lawyer.
It was bad. It was I got I got a
swindled bad. But that's when I learned. I learned a
lot of shit from that. So you know what I'm saying.
We ain't gonna go too crazy, but I learned a lot.

Speaker 1 (40:20):
So you feel like you're a lawyer. Wasn't my lawyer?

Speaker 2 (40:23):
Was wasn't my lawyer. My lawyer was given to me
by somebody else. That wasn't that. That wasn't my lawyer.
So let's just say that you know your best interest,
they have my best interest, you know what I'm saying.
But at the end of the day, like I worked
so hard, I was like, that's cool. But but that's
the thing I thought it was gonna be on. I
didn't know the album part, Like I didn't know that.

Speaker 1 (40:43):
You couldn't have known that because that's in the future, right,
And nobody knew that the future was going to be
that crazy except for the people on the other side.
So we saw iTunes and we're like, okay, iTunes now
were separating songs. Now you can get a song without getting.

Speaker 3 (41:03):
Honestly, none of this ship is a surprise accident design.

Speaker 1 (41:07):
But the people writing the contracts you couldn't what I'm
saying that you couldn't have.

Speaker 2 (41:13):
And nobody told me, she's this is a great contract
you should do, you know what I'm saying. So I'm like, okay, cool,
I need this and I needed some money. When you're desperate,
that's what happens when you're desperate. And just why you
never be desperate for money. Just sit down and just
just don't go out. Just sit you ass down and
eat some.

Speaker 1 (41:32):
More, or you figure out your way to work for
the desperation, right exactly, because if you if you are desperate,
if you do need that money, then sometimes there's a
bullet that you just have to bite in the beginning
and you say, I'm going to be patient and work

(41:54):
through this and I'm just going to do bigger and
better on the other side.

Speaker 6 (41:57):
True.

Speaker 2 (41:58):
Yeah, that's true.

Speaker 3 (41:59):
Because most people that complain about the bad deal never
did nothing beyond that deal, right Like, honestly, like you're
not complaining about that deal, You're just like it was
fucked up.

Speaker 5 (42:10):
I made it through it.

Speaker 3 (42:11):
Most of the people that be jumping and hollering about
these man they fucked me over. And I would never
because they never did anything else, honestly, because the more
you do, the unless you think about the sacrifices that
you had to make to get to the spot that
you're talking about it.

Speaker 2 (42:27):
And some people really get Jaden really mentally. I know
people who really have lost their minds, like I've lost
their minds because because played with their money. You know
what I'm saying, Well, essence is playing with the which
is playing with their life.

Speaker 3 (42:43):
On God, I tell people all the time though, whenever
you know because I've had those conversations with a lot
of those same type people, maybe the same people, where
I tell them, I said, don't ever get it confused.
That contract will not outlast your talent.

Speaker 5 (42:58):
That sound good, but it's true, it's really the truth.

Speaker 3 (43:03):
Honestly, You're gonna go through the ship, and yes it's
gonna it's gonna get tough. But if you really got it,
if you really got it that ship, and especially as
you start putting up numbers, then there's this thing called
renegotiation and.

Speaker 1 (43:20):
Reversion, you know what I mean. All the reds, all
the reds.

Speaker 3 (43:25):
Like that is really what this business is about. Because
think about all the deals that people have done with artists,
with writers, with producers that never materialize and they never
got that money back.

Speaker 5 (43:40):
Imagine being on that side of the business. Because I've
been on that side of the business.

Speaker 1 (43:44):
Spend I just believed then nothing, nothing ever came back
and been accused of not being.

Speaker 5 (43:55):
Supportive when the bag was spent, you know what I mean.

Speaker 2 (43:59):
So there's two ways.

Speaker 5 (44:00):
Yeah, this R and B money thing, we give you
both sides.

Speaker 2 (44:04):
Of publishing, and I understand, like there's two s.

Speaker 5 (44:09):
I have.

Speaker 1 (44:10):
I have three albums, one two, three six uh fors
of nature one man pain. Ask me how many statements
I've seen already?

Speaker 2 (44:21):
Know how many STI I bet you like one? Two, none, one.

Speaker 1 (44:28):
I can believe that though one to how many artists
royalties I've ever received from those three albums.

Speaker 2 (44:35):
Not that that's crazy, that's crazy for.

Speaker 1 (44:40):
The course, when if I if I wallow in that,
if I lay in that and let that be the
end of me, we never get to know but one
hundred percent.

Speaker 2 (44:50):
But I'm sorry, bro, the industry is that's sick. I
just think people deserve like things should be fair. I
think it should be some type of la Let me.

Speaker 1 (45:00):
Tell you what the problem is, and we don't have
to go too far into it. But artists don't have unions.
I know, we don't have a governing or protective body
over us. It's designed to take advantage of us. The
entire business. I don't care if you're black, white, whatever
you are. This entire business is designed to to to

(45:22):
to take advantage of you until you know better to
do better. Now, what is great about it is that
one moment can change every motherfucking thing, right one.

Speaker 3 (45:33):
Record record, imagine being able to imagine, able to be
able to live your life and make money off of
one game winner. That one game win, nigga got lucky
here one Now you dancing and saying this motherfucker all
over the world for the rest of your life, for.

Speaker 7 (45:53):
The rest of your life.

Speaker 2 (45:55):
That's that's the thing about this music.

Speaker 3 (45:58):
Maybe you can hit the lottery any day you wake
up and this ship.

Speaker 5 (46:02):
Yeah, it's just what it is. You get the lottery.

Speaker 2 (46:07):
Not that true. I've definitely hit the lottery because because
first let's let's go to get to what's your first
placement and what's your first was it Demonica' stuff? My
first placement was Monica Baby, Baby Baby just right for
me with Little Wayne. I wrote that, and uh, I
did Fergie Milk Money Ship, I wrote, I wrote that

(46:32):
that was like, uh, that was like one of my
first big placements I did with Polo, So yeah, that
was that was it. And then literally I get a
call for my boy, business Boy. It was one of
my favorite producers.

Speaker 7 (46:46):
Yeah, he linked me with business Boys from the mill.

Speaker 2 (46:49):
Yeah, shout out to my next single. He's incredible. Shout
out to biz But literally that's my brother and like
he hit me. He gave this guy my number. Andy
Steinway who became my manager. He came for the publishing
world and he was He called me. He was like, yo,
I know you're in Miami. I can't do nothing with
I can't really help do nothing for you in Miami.

Speaker 5 (47:11):
But you in Miami.

Speaker 2 (47:13):
He was like, if you come to l A like
we can work. I was like, I got so many sessions.
I started working with a whole bunch of like rap
Like this was around the time extentation was popping, Like
the whole Miami was lit. Like I'm talking about all
the all those artists was at my Boys studio. We

(47:34):
was in Brickle at the top. It was like twenty
guns on the table. Yeah, but in Miami, you know
what I'm saying. But yeah, so like I'm talking about
Jimmy Duvall, who was amazing, but he didn't look at
me for triple for excentation. So like we all like
this was our whole crew. Like we was there and

(47:54):
I was just getting money. I get a call. This
was actually I'm a little sick, and I think there
was COVID before we knew what COVID was. Bro I
was sick as a dog. I'm laying in bed. My

(48:15):
manager hit me up, was like, Yo, you want to
work with this new artist Lelana's X. And I'm like
and he was like, Billy Ray Sorrus, I was like,
hell yeah, let's go. And I was like he was like,
they want you to work on this song. And I
was like, fuck yeah, I'm sick. But when tomorrow, I'm like,
fuck I'm sick. But I was like, fuck it, I'm

(48:37):
gonna going to this session. Like some just was like,
you gotta do this session. And so literally I go
to the session and they tell me the story about
this song, how this is how they do Black people
were so so fucked up. They took Lana's song X song,
which is old Time Road off the country charts because
they said it wasn't country, but it's because he was black.

(48:59):
You are we all know, well it really really what
it really was, right, So they did this. So now
Billy Ray's telling me the whole story about what happened
with Aki Breaky Heart. I didn't know about Achy breaking Heart.
I just know Billy Ray, Syris from and Molly Cyrus.
I used to love Hannah Montena and my mama, you know,
she thinks he a good looking white guy. Used to

(49:19):
always hear that he's good looking. You know what I'm saying,
that's just one of the things in the house. So boom.
So he's telling me, you know that the song actually
was number two. They would not let Achy Breaky Heart
go to number one, and they took it out the
country shots too. They did the boy dirty. They did
them dirty too. So he was like, I felt so bad.

(49:40):
I was like, damn, bro, the game is so crazy.
So I was just like, it's just like we're like underdogs.
It was like the underdogs of this shit. And so
literally I got an opportunity to be a part of
one of the biggest songs in the world and ever
bro ever, and then after that, shit just started going
like it was just I was on them. I was

(50:02):
on them.

Speaker 5 (50:03):
Before you go to that. What are the numbers on
that record at this point? Do you even know?

Speaker 2 (50:08):
God, I don't even know. You see what be the numbers?
Look at the numbers.

Speaker 5 (50:16):
Numbers absolutely passed. Look at the numbers for me, absolutely pastmad.

Speaker 2 (50:22):
Oh no, it's like fifteen times, sixteen times, it's fifteen times.
It's like fifteen, eighteen or eighteen million. It's crazy. It's
just crazy.

Speaker 4 (50:32):
Bro.

Speaker 2 (50:34):
That's it's crazy, bro, and like uh Airbnb, just like
we're constantly getting sinks on it. It's that that that
that just and I remember I was at Coachella when
it hit number one, and that ship was when I
felt like that, when I felt like that nigga, I
feel like that nigga that I was. It was crazy.

(50:54):
It was so crazy coach Schello with a number one,
like everybody niggas is on your ass. I never felt
that shit, and I didn't like it. After a minute,
I was like, all right, not these niggas. It was crazy.

Speaker 1 (51:07):
It's just what it is, just what I tell people
when you hot, bro, enjoy being hot.

Speaker 2 (51:14):
Bro. I realized, see, Bro, I don't really check. I'm
not a chart checker. I don't care about the charts.
But now that when I had all time I wrote,
I realized, like songs really only last like one week
on number one, and you don't bro, that shit was
nineteen weeks number one, So like after the third week,

(51:35):
you're just you're not taking it in. I wasn't processing
it like it just I like, I wish I could
have bottled that feeling in because like after the sixteenth
was like what the fuck is going Like we was
number one for nineteen weeks. That was the craziest shit
in the world, and like it made me realize, like, damn,
pop world is different. The pop world is just a

(51:59):
different beast. But I was also scared of the pop
world because I didn't want to be that. I knew
that I was so much more than that. I didn't
want to be caught up into Yeah, I didn't want
that what you said, the one hit Wonder. I was
scared of being the one wonder. That song was too
big and for some people, a song can be bigger

(52:20):
than the person and the artist is like, can't come
back from it, you know what I'm saying. So and
then Lemonade came with Don Tollivan Nafy. Yeah, that song
came and it brought and yeah, yeah, yeah yeah I
wrote that and literally that hit top ten Billboard charts.

(52:44):
So it was like hit number two, number five, number five,
number two, I think.

Speaker 3 (52:47):
And it's funny when you mentioned that song, I hear you,
I hear you.

Speaker 5 (52:52):
I damn it feel like you freestyled that man. It
was it was life.

Speaker 1 (52:56):
Because the way you sing, I just know the way
you sing, like you just like not having those barriers,
no barriers with how you right and how you flow melodically.

Speaker 2 (53:07):
I just be like, yes, bro, no barriers, No what
you never had, can't bag my bitch, can't miss what
you never had? Like yeah, but literally that was that
and then Boom missed the Right Now COVID hit, and
I thought I was gonna have a hit with with

(53:27):
twenty one Savage and Drake and I missed the Right
Now with Metro booming Me and my boy tape Ko
Bang did that, and I was like, this is gonna
be the biggest song. And then COVID hit and it
didn't do what it was supposed to do, but culturally
it was a big song, like that should have been
on the charts, Like I know that, Like if it
was no COVID, if Niggas is outside, missed the Right
Now would have been that joint. And after that everything

(53:50):
just started going. Then Summer Walker Body, and then then
it just started going crazy.

Speaker 5 (53:58):
That record, that record, Oh my.

Speaker 2 (54:00):
Gosh, it's so good. Special that jack Quee you, that
was one of my.

Speaker 5 (54:04):
Favorite Should we go into this story? Should we go
into this story?

Speaker 2 (54:09):
What story? What talking?

Speaker 1 (54:10):
No?

Speaker 5 (54:10):
No, no, you don't even know this story. Oh so Jack
Quees pulls.

Speaker 2 (54:14):
Up on us.

Speaker 3 (54:15):
Word, oh, like just you know, just pull up, just
came kicked it one time, right, and you know niggas,
you know, studio ship and.

Speaker 1 (54:25):
You're like, can I play this record for y'all?

Speaker 3 (54:28):
He's like, nigga, yeah, Nick passing the ox. He plays
that record and the studio stops.

Speaker 5 (54:35):
He plays you. The studio stops, and niggas was.

Speaker 1 (54:40):
Like, what the fuck is this?

Speaker 5 (54:42):
You're like, yeah, you know, you know, we've been thinking about.

Speaker 1 (54:45):
I said, thinking, we let that nigga hap it. This
record smash for you smash. So you call bird Man
and you tell him this is the single, this is
the video, nigga. This is your foot in the door, right, nigga,
this is planet nigga. Nigga, you are here. That record crazy,

(55:10):
cold bloody incredible. I write records like I rate records,
like if I'm mad, if I'm mad that I don't
have the record, if I'm mad that I that I
didn't produce it.

Speaker 2 (55:23):
I heard that record, I was like, I really went
through that. That happened to me. Like I wrote that
song in Miami with London on the ruck and shot.
I was talking to this girl and Shotty was hell bro,
and she hit my keys. She hit my keys. So
like when I say it was two thirty in the morning,
I got a car, it was literally two thirty in
the morning. Like London, we work late. In Miami, hit

(55:47):
hit factory. Niggas work late. He's like, Y'll pull up
to the studio and I can't find my keys. She
didn't want me to leave. I'm trying to get up
out of there, and like she just made it so
hard for me to go to that session. I was like,
show that you like fucking my whole vibe. Wrote that
song because I'd rather be with you and all your bullshit,
like I'm still with you, like I as soon as

(56:08):
I got back home col up. So it was just
like you know what I'm saying. So that song was
really about shot Is you know who it is? Every
time you hear she like this my song, like you crazy?
Are you happy? You happy that you brought me hell
all that day?

Speaker 3 (56:23):
Everything about that song is right now to me, Like
and I've told you this every time I see you,
how much I love your work.

Speaker 2 (56:31):
Thank you.

Speaker 5 (56:31):
That's my favorite song you've written that I've heard.

Speaker 2 (56:33):
Thank you.

Speaker 1 (56:34):
That means to this day.

Speaker 5 (56:35):
That means a lot of I love that today Alone
is close. Alone is close.

Speaker 2 (56:41):
Thank you, bro.

Speaker 3 (56:42):
So you know I looked at I looked at my
what the ship that they send you of, like.

Speaker 2 (56:47):
Oh, the Spotify rapper, Yeah, yeah, your wrap ups.

Speaker 3 (56:50):
You know everybody you know you have it for all
your Yeah, the platforms that you listen to. That record
was at the top.

Speaker 1 (56:58):
I love alone.

Speaker 2 (56:59):
I love to hear that.

Speaker 5 (57:00):
I love that record for you. That's my ship you.

Speaker 2 (57:04):
Yeah, I think everybody goes through that little moment and
that's what I love. I love writing songs that are personal,
like personal like you. I just feel like even when
I write songs for C B, like I love when
he sings when he's vulnerable.

Speaker 1 (57:20):
I don't he's untouchable, but R and B I want
him to be. Yeah, I want you to when he singing,
when he's singing in a vulnerable Paris at the at
the at the at the show in Paris, and he's
saying when he sang please don't judge me, and I'm
sitting there like, am I about to cry? I gotta

(57:41):
relax because when he's in that space, it's over. And
I'm watching the entire crowd, like that's my son on stage.

Speaker 7 (57:55):
He's just it's hard as good, as hard as good
as you know.

Speaker 2 (58:00):
No really talk. And that's why, like John Cuez was
it was such a perfect song film because it's like
you're you're being vulnerable, bro, like you're not trying to
say fuck these holes, none of this.

Speaker 1 (58:09):
It's just like literally to me, that song established him
as a true R and B artist. Thank you. That
means a lot, like and it's everything I think, you know,
it's those things where everything happens at the right time,
you writing the melody is all these things. But then
his delivery. He sounds impeccable on that record. He sounds
amazing on that record. I said, yeah, you're you're you're

(58:32):
exactly who you think you are. Damn Now he's torn
all over the place. And for me, I feel like
the foundation is that record. Foundation is that record because
because late at night, okay, where you are what you're
doing that one right there?

Speaker 2 (58:47):
You know, it'd be so crazy to me. Like that's
why I feel like it's sometimes we need to have
like oh cheese or like people around us who talk
to be like, yo, you need to get back in
the studio. With John Zy you and we need to
get back you know, somebody who's in our ears to
make that situation happen, because there was no way that

(59:07):
we just did you just do one, We just do one.
And I always say that to him. I'm like, there's
no way you could have used me anytime you want.
I'm here. I've always extended myself to them, and like, yo,
use me, just don't misuse me. Use me though, I'm
here to be used, like you know what I'm saying,
And like it's just so crazy because like that's what
this industry is. It's a it's a service industry where

(59:30):
we work, you make the hits. And the fact that
we only caught lightning one time and that was the
only time you work, it is so crazy that we
should have definitely.

Speaker 1 (59:39):
Definitely got to give definitely come on, two, three more,
come on, man, you gotta do it. He sent me
something to get on that I'm about to get on,
and when I send it back, I'm saying, also, JOSSI
said we gotta get back in, and we said catch
lightning again.

Speaker 2 (01:00:00):
God.

Speaker 1 (01:00:01):
Sure, that's when you're really really good when you just
make shoot they do a hook and sound good. Like,
now you just cheating. Now you now you're being disrespectful.
You trying to get sucked up because everybody can't do that.

Speaker 2 (01:00:24):
Everybody can't do it, all right, what the people have
been waiting for?

Speaker 1 (01:00:34):
People have been waiting for. In your journeys, you're studying
this music thing. I know you've come across to some

(01:00:57):
artists that have influenced you in a way. They become
your top five, your top five mm hm, top five? Hey,

(01:01:21):
your top five?

Speaker 4 (01:01:23):
Ay he singer already be song I know you're young,
but I know you know because I know your show
and your god and tell us ya.

Speaker 1 (01:01:43):
Yes, rapp.

Speaker 2 (01:01:52):
Man, it's crazy.

Speaker 7 (01:01:56):
Josey's tip. Fuck, I agree.

Speaker 1 (01:02:09):
We got to get this nigga better, piano man ship,
don't change this, don't.

Speaker 2 (01:02:13):
Change for nobody that nigga should have clapped in the back.

Speaker 1 (01:02:16):
And my god, sexual chocolate, Josie. Your top five R
and B singers, That is tough.

Speaker 2 (01:02:32):
That is tough. I thought you're gonna ask me the songwriters.

Speaker 1 (01:02:38):
Yeah, no, I'm just no, we'll get that.

Speaker 2 (01:02:41):
Alright. One twelve, I'm Carl Thomas. I'm sorry. Carl Thomas
is my that's know, Carl Thomas is I should get
himatted somewhere on me. I have like a thing of
like all of my favorite and I really would love
to get Carl Thomas tatted on me somewhere because he's
he's one of my favorite.

Speaker 1 (01:03:01):
That's my god. I'm gonna go ah.

Speaker 2 (01:03:06):
His voice just cuts through too good, and I just
love that her tonality. And I mean, what you was doing,
she's so bad.

Speaker 5 (01:03:17):
I'm not gonna look at the nigga.

Speaker 1 (01:03:18):
I was with Jamie Fox. I was with Jamie Fox
as a background singers.

Speaker 3 (01:03:24):
Afterwards, the background and that list, I'm saying, if I'm
talking to shout a little bank, ain't no bank.

Speaker 1 (01:03:33):
I was broke. He wasn't. I don't have the right words.
He wasn't money with Jamie Fox was in there the
Oscar Winner. He soaked up the room.

Speaker 5 (01:03:46):
That's even more.

Speaker 3 (01:03:48):
I knocked shot forgot that the conversation, right, yeah, you
know he was at this little thing, right, I knocked shot.

Speaker 1 (01:03:54):
Jamie was there too. He tried and I knocked it,
and I was well, I was at know what to say,
but I said, Hi, he's supposed to be from the
mid West. Listen, man, how was.

Speaker 2 (01:04:05):
The energy when you said that?

Speaker 1 (01:04:07):
She floated in Marvin gay you Better do it and
only you better do it.

Speaker 2 (01:04:12):
I hate to yeah, not Marvin gay Bro, like I
don't here. My Dear is my favorite album of Marvin
Gaye's and only because I loved like my pop used
to always tell me the story.

Speaker 5 (01:04:22):
The story behind it.

Speaker 2 (01:04:24):
Yes, I'm just gonna have to go with what I
listened to all the time, and it's Stevie Wonder. I'm sorry, Bro,
I'm sorry no, but only because because because like I know,
people probably expect me to say something else like, but.

Speaker 1 (01:04:38):
Yeah, if they know you, they get it.

Speaker 2 (01:04:40):
Stevie Bro.

Speaker 1 (01:04:41):
Your Top five R and B songs, M.

Speaker 2 (01:04:48):
God, damn oh ain't supposed to be easy. Top five
R and B song Number five Curtis may Feel Sweet Exorcists,
I think has to be what I'm the only one
you need. Oh you have to mean you had me?

Speaker 7 (01:05:07):
Uh uh?

Speaker 1 (01:05:08):
Mary J.

Speaker 2 (01:05:08):
Blige, I gave you my hunt to you. I love
that song. Number five, Number three Carl Thomas, I wish Sorry,
I gotta go there. Number two Stevie Wonder. Rocket Love
mm hmm, sorry that rocket love is crazy. It's between

(01:05:30):
rocket love or visions. Visions is cold. I love Visions
two though, but and my number one song, Damn don'g
I yo, my number one song. This is tough because
you can't. I feel like I'm disrespecting my people that

(01:05:51):
I love because I have so many grace like songs.
But I have to go. Can I can I do
like a one? Like a one a at one point?

Speaker 1 (01:06:00):
Will let you do that?

Speaker 7 (01:06:01):
All right?

Speaker 1 (01:06:02):
Let your top.

Speaker 2 (01:06:05):
Oestly brothers. Let me down easy? It's one of my
favorite R and B songs. Let Me down Easy? Is
I play that ship like on my my wrap up.
I was laughing like because it plays in the background.
I was like, damn oh that nigga dollars like that

(01:06:26):
ship was funny thog. But like, I just love old school.
I love some music like that. So let me down easy?
And probably can I say R Kelly?

Speaker 7 (01:06:38):
You can say whatever you want to say, yeah, podcast.

Speaker 2 (01:06:41):
Yeah, yeah, r r R Kelly. I can't breathe.

Speaker 1 (01:06:53):
What else? You got? What you got for? Mm hmm.
I ain't saying no neggs. Hey, ain't saying no names.
A saying no names?

Speaker 6 (01:07:08):
Weird?

Speaker 2 (01:07:09):
What you did?

Speaker 1 (01:07:10):
Don't say? I ain't saying no names.

Speaker 2 (01:07:16):
Hey, I got too many stories?

Speaker 5 (01:07:21):
Hey, come on come on, come on. Yeah, yeah, so listen,
so listen, listen.

Speaker 3 (01:07:26):
You here you are at the R and B Money podcast,
and we are at that section, were at that segment
of the show, so obviously you know you watched it.

Speaker 5 (01:07:38):
You watched the podcast.

Speaker 2 (01:07:39):
Definitely, no no, this is saying no names.

Speaker 3 (01:07:43):
Segment of the show. Will you tell us your story
funny or fucked up? Are funny and fucked up? In
the Travels in the Journey of Jossey.

Speaker 2 (01:07:55):
No names.

Speaker 5 (01:07:56):
That's the only rules of the game, and no other
rules of the game. Just don't say no names.

Speaker 2 (01:08:00):
Boy, I got so many stories.

Speaker 5 (01:08:02):
What a couple of niggas told us two or three.

Speaker 2 (01:08:06):
I'ma give you one. I gotta give you the best way.

Speaker 6 (01:08:07):
Now.

Speaker 2 (01:08:08):
I don't know why they think of this. When I
was driving, like, uh so I want to tell this story.
Fuck it so literally. It was this producer. I was
working with, a big producer. Uh he was in Miami

(01:08:29):
and I don't know why he had. We was working
and he he just felt obligated to tell me that
he didn't like his girl messing with girls. And he
was like, I don't like. He was like, I don't like,

(01:08:49):
I don't like gay girls around my girl and ship like.

Speaker 1 (01:08:54):
I was like, who all right?

Speaker 2 (01:08:58):
So now I'm this is my first time meeting this nigga,
like working with him. So I'm like, now I'm scared
because I'm like gay girl. I'm like, yo, not not
scared in the sist like he gonna but I'm like,
I'm like, I don't want him to feel like I
don't even want this nigga to feel like I'm trying
to talk to his girl. Shit boom, here we go.

Speaker 5 (01:09:17):
Okay, So.

Speaker 2 (01:09:20):
I walked out, get in the studio. We walk in
the room and we outside like playing ball, and he's
telling me this shit, and like, you know what I'm saying.
I think he's preparing me for when his girl comes.
I don't know what he's doing, but I'm like, this
is so weird. This is a weird conversation. So getting
the studio and his girl come in girl bad. I
remember this shit, and I was just trying to stay

(01:09:42):
far away from her because the whole time I'm in
my head, I heard this nigga say, yeah, like I
just don't like my girl when she like that's he's
kind of gifsty, And you know most niggas is really
cool with like girls on girls and all that shit.
But I don't. I just think he just he just
let me know right there his insecurity. It was crazy,
so cool. I'm like, literally, I'm on the other side

(01:10:06):
of the tap for some reason, this girl is just
wants to talk to me. No I'm talking about, wants
to have a conversation. And I'm like yeah, yeah, uh huh.
And like I'm back in my phone and like she's
like he's making the beat and I can just tell
he's paying attention, like side, and I'm just so scared.

(01:10:30):
She's like come here. It's like I'm over there, so
I sit. But like that moment, she was trying it,
and I was just thinking of myself, Yo, this girl
either this girl is not his girl, and he's just
like yo, I'm trying to get her, so don't touch her.
You know what I'm saying.

Speaker 1 (01:10:48):
We already know what she I already know what she's own.

Speaker 2 (01:10:52):
So bro, the whole session. Bro, I'm telling you, I've
never been so and that was like my first like
that was like a crazy yeah bro, yeah, So it was. Yeah,
that was a crazy moment and literally the yeah, I
ain't gonna talk about what else happened, But yeah, that was.

Speaker 1 (01:11:12):
Nothing.

Speaker 2 (01:11:13):
It was just the girl.

Speaker 5 (01:11:14):
She was on it.

Speaker 2 (01:11:15):
She was on it, bro, And so now I get it,
but like I don't. He didn't say anything, but I remember,
it's just that moment, and if I told you the
producer was it, you'd be like, oh word, it was
just crazy, Like mm hm.

Speaker 1 (01:11:25):
The question you don't have to answer. But I'm just
saying that I'm not gonna did she.

Speaker 2 (01:11:29):
Yeah, she definitely did. Yeah, Nah, she definitely. I didn't
do nothing with it. No, No, not at all. No,
Like definitely. I don't mess with niggas girls. Oh, I
don't give a fuck if I see you with her. Nah.

Speaker 1 (01:11:41):
And that was just a moral judgment calling your partner.

Speaker 2 (01:11:44):
Yeah, I'm not about to no, because like this industry
is so small and niggas do that, and niggas really
love that ship. I on the other hand, I'm very
big on like I respect whatever that ship whatever. Yeah,
And then to her it may not be that serial,
but to him it's serious or to her it's serious,
and to him it's not that serious. You know what

(01:12:04):
I'm saying. So I don't play with that. But I
just now I get, like I was like, oh, Shoty
was like choosing up and he just but no, I didn't.
I didn't know there's too many that's crazy. No, it
was it was like I don't want I don't want

(01:12:26):
to like, don't even want to sit. I don't even
want to talk to you for a long time. But
you know what I told myself, No nigga ever made
me feel like that again in a session, Like I
learned from that, like if you insecure, nigga, that show problem.
But you're not gonna give me out of my zone
to talk to nobody in the room because I'm not
I'm not coming with no ill intentions, Like I wasn't

(01:12:49):
coming on. But I was really scared to even talk
to the girl. But but that's that just show you
I was young and I was green to like the energies,
you know what I'm saying, But like like now I'm
like walking to my truth and then and you just
got to understand I ain't on that tight time, you
know what I'm saying. But yeah, that was crazy, bro.
That ship was such a I was sweating, like, Yo,
this nigga gonna really not fun with me.

Speaker 1 (01:13:10):
Came out the gate with it.

Speaker 2 (01:13:12):
Yeah, out the gate like he was like he was
warming me upon.

Speaker 7 (01:13:17):
Wow.

Speaker 3 (01:13:18):
Was no.

Speaker 2 (01:13:19):
It was so crazy, like the insecurity of this dude.
And I'll be seeing him to this day and I
always remember that session.

Speaker 1 (01:13:24):
My girl gonna see her and go crazy. I gotta
this in the bud early, Yo. That's sad because he
knew you had it on you.

Speaker 2 (01:13:38):
It was crazy and I wasn't even like that then.

Speaker 7 (01:13:41):
That was crazy.

Speaker 1 (01:13:42):
But Jose listen, man, man, I heard that heard we
we we love you up here. Yeah, sure, we love
you man. You you have, you have access, Thank you free,
thank you, you have support, you got brothers, you got

(01:14:03):
whatever you need.

Speaker 2 (01:14:04):
Thank you. I appreciate it. Thank you, thank you for sharing.

Speaker 1 (01:14:09):
The only rule is you must keep going. See that
us keep going. You know what I'm saying.

Speaker 2 (01:14:18):
Capable hands, Yeah, thank you, come on ye, thank you
to thank you.

Speaker 1 (01:14:27):
Name take And this is the rby Money podcast, the
authority on all things R and B, hits swag Leader,
the New School. You give us a Jobby R Money.

Speaker 3 (01:14:49):
R and B Money is a production of the Black
Effect podcast Network. For more podcasts from iHeart Radio, visit
the iHeartRadio app, Apple Podcasts, or wherever you listen to
your your favorite shows. Don't forget to subscribe to and
rate our show, and you can connect with us on
social media at Jay Valentine and at the Real Tank.

(01:15:09):
For the extended episode, subscribe to YouTube dot com or
slash r and b money