September 13, 2023 • 70 mins
On this week's episode of The R&B Money Podcast, Tank and J Valentine sit down with the legendary Lil Ronnie to discuss the Kansas City producer's decorated catalog of hit records spanning his over 20 years in music, get the inside stories behind some of his biggest tracks, and chop it up about how he was able to successfully transition from hitmaker to mogul-in-the-making by making smart investments and building his own studio. From playing saxophone and selling $50 beats in middle school, to having multiple homes and facilities, to R Kelly's method-writing —this one is for the books! Lil Ronnie on The R&B Money Podcast!
Extended Episodes on YouTube:
https://www.youtube.com/RnBMoneyPodcast
Follow The Podcast:
Tank: @therealtank
J Valentine: @JValentine
Podcast: @RnbMoneyPodcast
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
R and B Money.
Speaker 2 (00:05):
We are thank you, Jake Valentine. We are the authorities
on all R and B.
Speaker 1 (00:18):
Ladies and gentlemen. My name is Tank Valentine.
Speaker 3 (00:21):
This is the R and B Money Podcast.
Speaker 4 (00:24):
The authority tell him what it is on all things.
Speaker 1 (00:30):
R and B. Can I add family to that?
Speaker 4 (00:33):
R and B Ribs and Barbie and family.
Speaker 1 (00:35):
Ribs and barbecue. Yeah?
Speaker 3 (00:39):
Uh today, m hmm. This is the start of a
beautiful day, mister Valentine. We are in Atlanta.
Speaker 1 (00:49):
I love it.
Speaker 2 (00:50):
We're on the soil. Yeah, we got we got our
feet in the grass. You see what I'm saying. We
are at Enore Studios. Now, you't know what's special about
Eni Studio. Especial about this studio.
Speaker 3 (01:01):
Man me, there's a boy, he little boy.
Speaker 1 (01:09):
Boy been raising his little boy.
Speaker 3 (01:13):
Yeah, A songwriter, a producer, a businessman.
Speaker 1 (01:22):
Sir, you haven to see what I'm saying.
Speaker 3 (01:25):
Because when you get the credits and you get the money,
you gotta do something with it. Yeah, you gotta turn
into something larger than life. The legacy has to be
something tangible that you can pass down to your chip.
Speaker 2 (01:43):
H oh.
Speaker 1 (01:44):
I don't want to dwell too much on the intro.
I want to get to the.
Speaker 2 (01:47):
Nigga grety of what the fuck is going on?
Speaker 1 (01:51):
We are in this man's studio, E.
Speaker 2 (01:54):
Norse Studios in Atlanta, our Forrida Georgia, and he's here
in the building.
Speaker 1 (02:01):
We're gonna talk that ship. Give it up a little,
Ronnie and.
Speaker 2 (02:06):
Yeah, welcome to Atlanta, baby, Yeah, welcome to Atlanta.
Speaker 5 (02:11):
Bro.
Speaker 2 (02:11):
Thank you for having us, brother man, thank you guys
for coming.
Speaker 4 (02:17):
I couldn't wait for this. Yeah, I couldn't wait for this.
Speaker 1 (02:20):
How long have you been there?
Speaker 4 (02:22):
We go back, man, it's a long time.
Speaker 6 (02:25):
Man.
Speaker 1 (02:26):
We go back to your first bends.
Speaker 2 (02:27):
Yeah, yeah, the one I got kicked out. We got back.
We go back to your first bends. You fremendous for
having that.
Speaker 1 (02:35):
Look get that, We get this. Wait a minute, my sons,
where was he?
Speaker 4 (02:46):
Now?
Speaker 1 (02:47):
Wow?
Speaker 2 (02:48):
Listen, bro, you've you've always been up to something. That's
a great way to put it. Always always, always, yeah.
Speaker 3 (02:59):
And you've always seen that thing through yeah m hmm.
Speaker 1 (03:06):
Always. Somebody always say, oh, you ain't seen a little
right such much? Are you tripping?
Speaker 3 (03:12):
You ain't been a little right such and such? No,
I ain't even know you have those like them. You
ain't like You've always been that.
Speaker 4 (03:20):
Ryannie's the living boom boom room.
Speaker 1 (03:24):
You ain't been a raised boom boom you heard about razoo.
Speaker 2 (03:27):
Oh, everybody was up in there last night. That was
the Quaver was in there.
Speaker 1 (03:37):
I know you.
Speaker 2 (03:38):
It's one of them things like you have to, like
my dad just put in me. If you say you
go do something, do it.
Speaker 4 (03:45):
And even matter if you you got to take the loss,
if it comes out your mouth, you need to stick
stick to it and do it, you know what I mean.
So I've just always had big dreams and I just,
you know, wanted to make it happen.
Speaker 2 (04:00):
Isn't there wasn't there an event at your house? What
was that at your house? That was at your house?
Speaker 1 (04:07):
That was little? Yeah, at your house? Yeah? It was
crazy first of all, So why is Rodney's house so big? Yeah?
Speaker 4 (04:22):
That I was stupid, man. It was a it was
a blessing. I mean, how can I say this.
Speaker 2 (04:30):
I just always wanted to make money, enjoy what I
would I do, But also seeing all the people that
blew money and got to a certain level then didn't
have it anymore, right, nothing to show for it. So
I always just wanted to, Like you said, keep the
legacy going, like do something with the money. Anytime I
(04:52):
had a hit record, I would put some money over
to invest to go to another level.
Speaker 3 (04:58):
You know what I mean is some money at that
party too. At that party, yeah, yeah, I shot some
some NBA guys thought you sho did?
Speaker 2 (05:08):
Uh?
Speaker 3 (05:08):
The only shooters in the building with Kennith for Reid. Yeah,
you have to name them.
Speaker 2 (05:15):
You'll hear this, and like to what else was it?
Speaker 1 (05:19):
Was it? Everybody?
Speaker 6 (05:20):
You had?
Speaker 1 (05:20):
Somebody? It was one of the what's my guy was
a ballaholic? Or was it hot sauce or no.
Speaker 2 (05:28):
It was like like three or four guys, you know
Overseas league guys, you know, and one and then they
and they didn't know that the R and B guy.
Speaker 3 (05:37):
Had a set shot.
Speaker 1 (05:40):
Oh you want to you don't want to play five
from here? From here?
Speaker 3 (05:44):
No problem? I see anybody with my set shot. I
want good money at your house, man. That's that's I
remember that day.
Speaker 2 (05:51):
Finally, that was the goal of that house was just
to have great memories and a lot of fun.
Speaker 4 (05:56):
Yeah.
Speaker 1 (05:57):
I walked through the house. I was like that house insane,
Bro was insane? You live here?
Speaker 6 (06:02):
Yeah?
Speaker 1 (06:03):
Yeah, doo doing pool?
Speaker 4 (06:14):
You saying that right. The funniest thing is when that
episode happened with ray J.
Speaker 1 (06:19):
He had just left my house, no way on everything.
Speaker 4 (06:23):
He literally was at my house for a couple of weeks,
and it was like white Rose Royce, black Rose Royce.
Speaker 1 (06:29):
That's when I had a white woman and a black one.
Speaker 2 (06:31):
That's when I had a white yeah, And it was okay,
we're not talking about a woman. We're talking about yeah
he was. And then he went with Mayweather and had
that whole I was like, Okay, ray get it baby,
popping it. Listen, I don't I don't care where you go
(06:53):
in the world. If there are three people in the
room having a conversation, they all had a moment with
ray J.
Speaker 1 (06:59):
Yeah, right.
Speaker 4 (07:02):
Now, it's funny to have a new thing called threads.
Speaker 1 (07:04):
Ray J is a threat. Ray J is the three
red is a thread.
Speaker 4 (07:09):
Everybody can be attached to something.
Speaker 2 (07:12):
Ray Yet absolutely be in this game. If you're not,
you don't know Ja, you ain't.
Speaker 1 (07:17):
You ain't really got ray Jack A little Ronnie.
Speaker 3 (07:21):
So let's get into the Let's get into the music,
all right, Let's get into the music, bro, Like, let's.
Speaker 4 (07:28):
Go back city.
Speaker 2 (07:29):
You know what I'm saying ribs and barbecue, ribs, barbecue.
Speaker 1 (07:34):
You know it's okay, I think it's Barbara. Don't do that.
Don't do that. It's cool now.
Speaker 2 (07:38):
It's everything from the everything, everything like everything. What are
you saying it's another barbecue plays in Kansas City. Are
you trying to go like barbecue or something is better
or something?
Speaker 3 (07:51):
I'm just saying, like, listen, I'm from Milwaukee, man, there
was a little.
Speaker 1 (07:55):
Never heard anything Milwaukee barbecue. You got Milwaukee Bucks, you
got Milwaukee barbecue.
Speaker 2 (08:03):
Because beer, y'all got bird, we got got bird, we
got bir AND's rib tips.
Speaker 1 (08:09):
It was second to none.
Speaker 3 (08:10):
And then well we had those into my My great
grandfather Paul Lewis used to get on that grill. Un
Norman used to get on that grill. I would roll
with you with that, I believe that. And they got
so by the time you know, you know, I go
to the famous places that you know, say they have
this city? Did they speak if they speak of the
barbecause I'm like I've had some home grown.
Speaker 2 (08:31):
Yeah, home is different. Is it from anything that's an
actual like establishment? Because your uncle, my brother ron Ryn,
little black ass get to work and I will say this.
I've been a lot of places and people that know me. No,
y'all both know I love to eat. I mean Gates, Fireman,
(08:53):
Gates fire I like Gates fire Man.
Speaker 3 (08:56):
I can't front on Gates. Maybe they had just pumped
it up so crazy for me that when I.
Speaker 1 (08:59):
Find got it, I was like, No, it's that thing?
Is that? Let me let you hold on to that.
Then yeah, let's go there. Let's let's go there.
Speaker 4 (09:08):
You want some sauce, because I got some sauce. You
go home with it and everything and put it on
your Memphis barbecue. I'm older, Let's get to Kansas City.
When was the moment?
Speaker 3 (09:21):
When was when did you figure out that you know
that you could do this and and possibly do it
at a high level.
Speaker 1 (09:33):
It was real early for me.
Speaker 4 (09:34):
I went to performing arts schools. So I went to
uh performing arts middle school. Then I went to see
high school. I actually went to performing arts schools my
whole really yeah, grade school, middle school, in high school.
Speaker 1 (09:47):
What was kind of like your major? I guess in
the sense music?
Speaker 3 (09:49):
Just music, yeah, musicians right alto sex yeah, okay, all state?
Speaker 4 (09:57):
Oh huh, middle school, high school, first year state.
Speaker 1 (10:01):
About the church, it's really band can't.
Speaker 4 (10:06):
And you know, Kansas City is known for jazz of course,
you know, so we had one of the top bands
in the nation.
Speaker 1 (10:13):
Can you beat Cosion playing the sacks. I will let
Cosion have sacks off, but I let him live. He said,
you live live, Let Coach live. Bring my sacks out.
Speaker 4 (10:31):
I'll be like Coach out there, you know, doing national anthems.
Speaker 5 (10:34):
Bro he.
Speaker 1 (10:36):
Don't want, don't want, he don't want that.
Speaker 2 (10:42):
Yeah, we'll get to that. Yeah, okay, performing, come on me.
Speaker 1 (10:48):
We actually had First of all.
Speaker 2 (10:51):
I'm a church nigga said that because I'm a church
nigga too.
Speaker 1 (10:55):
Yeah, before school in church.
Speaker 3 (10:59):
We just a badass church.
Speaker 4 (11:03):
So growing up, you gotta play whatever to make it
through Sunday service, you know what I mean. My dad's
incredible pianist, organist, father's a preacher, uncles or bishop's grandmother,
church state.
Speaker 1 (11:17):
Mother. It's all official. You know what I'm saying. Ko Church,
you know, so I had to had to play.
Speaker 4 (11:25):
What was great is my family is a pretty big
family in Kansas City, well known. So my teachers knew
my family and they wouldn't let me play the instruments
I played at church. So it was like, no, you
can't play. You got you gotta do something different. So
that was instilled in me and I started playing all
the wood winds. And then middle school we had a
(11:47):
program called Applied Technology Music Theory. We were basically making
beats on kate walk m.
Speaker 1 (11:54):
Hmm in middle school. So in a performing our.
Speaker 4 (11:58):
School, everybody got a group. Everybody's a rapper, everybody's a singer. Man,
somebody's like, yo, we heard you. You're making beats. Can
we get some stuff?
Speaker 1 (12:07):
Man?
Speaker 4 (12:07):
I sold my first beat for fifty dollars when in
middle school, I said, oh, this is popping.
Speaker 1 (12:14):
I made this in five minutes.
Speaker 4 (12:15):
You're gonna give me whole fifty.
Speaker 1 (12:21):
You was at the corner store acting up with that
fifty dollars. Man. It was honey on me, hub above,
honey buns on me.
Speaker 4 (12:28):
Well, you know it's an extra money because we already
made money playing at church.
Speaker 1 (12:32):
You know what I mean. Of the people that come
on the podcast, my pops.
Speaker 4 (12:38):
Pops did not play that, Like my pops will be like,
however you go in, that's how you go in. So
if you go in free, don't ever think about getting paid.
But if you negotiate from the beginning and get what
you feel is comfortable and they agree to it. You'll
be said, I should have played at your father. Yeah,
what wasn't no free baby do that?
Speaker 1 (12:59):
This church we do that. I got a bunch of
slave labor out of me.
Speaker 4 (13:02):
Yeah yeah, So I mean after I was doing all
that stuff for schoolmates and stuff like that, I never
forget my homeboy, Romeo Rondell. Here's a big barber in
the city. But he also had a label, and man,
he started buying all my beats, all of them.
Speaker 1 (13:23):
It's called barber shop records. Start buying records. I get it.
Speaker 4 (13:28):
Shout out to Romeo round now, Like he was the
first one that was.
Speaker 1 (13:31):
Like, yo, man, you gonna make it.
Speaker 4 (13:34):
He was like, your your music is musical. It's not
the regular stuff that's going on out here. He's like, man,
you're putting music in it.
Speaker 1 (13:41):
Like what year is this? This is.
Speaker 4 (13:46):
I graduated in two thousand and one, so this is nineteen.
Speaker 1 (13:52):
Who you in middle school? School?
Speaker 2 (13:56):
High school? All your yeah, buying beats? Are you making?
Speaker 4 (14:01):
I'm making him at Katewalk at this time?
Speaker 1 (14:03):
Right?
Speaker 4 (14:04):
So then what ends up happening again? Another when your
father plants seeds and do well with people.
Speaker 1 (14:13):
It was a cat named don Juan. He's a big producer.
Speaker 4 (14:16):
He did all Tech nine stuff, like he still do
a lot of people's a lot of Western as well.
So don Juan, my daddy put him on as a
drummer when he was younger, and he used to travel
with my father Sore was like intertwined family and everything.
So he was one of my favorite people, like who
I used to try to be, like playing drums and stuff.
(14:37):
So middle school, I asked one his cousin, I'm like, yo, Where'sdwan.
He was like, yo, bro, that's don Juan. Like he's
working with QD three Quincy Jones.
Speaker 2 (14:48):
Tech nine is his artist. I'm like, what he making beats?
So he gives me his number. I call him.
Speaker 4 (14:56):
I'm like, Dwan is this little Ronnie? He was like
big Ronnie Son like little little Ronnie. I was like yeah.
Speaker 1 (15:05):
I was like, man, I'm making beats. And then he
just like got silent, and I.
Speaker 4 (15:10):
Was like, what's wrong. He was like, Nigga, I didn't
put it two and two together. I've been hearing your
name around the city and I just didn't put it together.
He was like, tell your daddy brings you out to
my house right now, right now, right now.
Speaker 1 (15:28):
And he was in the suburbs. He was making making money.
Speaker 4 (15:31):
That bad Take nine, he's killing fifty seventh Street road dogs.
Speaker 1 (15:36):
Go out to his crib studios and home studio.
Speaker 4 (15:39):
Incredible MPC, three thousands, tritons, trinities, dat machines, everything you
can imagine, right And he looked at me his like, Yo,
Pops did wonders for my life. I'm gonna help you
out do the same thing. This is what you need
to do. I'm give you all my sounds to my MPC.
Speaker 1 (16:02):
You're gonna have.
Speaker 4 (16:03):
All the you know, that's a big thing starting out
as a producer, trying to use trying to use the
the trit and drums or something like that.
Speaker 1 (16:12):
I hate it.
Speaker 3 (16:13):
Sound bro gave me. He was like, you have to
pay for those sounds. The people were selling sound packs.
No it was it was crazy. So he basically gave
me the blueprint. He's like, get you a trite and
get you this, get you that. And then I was like, yo,
this shit is spensive. So I had to get a job.
Speaker 4 (16:32):
I worked at white Castle's churches.
Speaker 1 (16:34):
Chicken they was all at one was a.
Speaker 4 (16:37):
Lifeguard and that was the difference too, Like all your
friends be like, bro, why are you why are you working?
It's like, man, how I'm supposed to pay for this equipment?
So just start hustling.
Speaker 3 (16:48):
But that's where the hustle starts, right, And that's where
you identify whether you're serious about this ship or not,
whether you really got passion for what you're willing to do.
You know what I'm saying in terms of doing what
you have to do to get to what you want
to do, right.
Speaker 4 (17:00):
I tell producers all the time how easy they have
it right now, like that you can just.
Speaker 1 (17:06):
Go get some drums off of a website, like you
don't have so accessible.
Speaker 4 (17:12):
You don't have to hook no many time piece up
to your MPC and started with your triton and try
to figure out it's insane.
Speaker 3 (17:21):
I bought a music store was going out of business
and was selling like all of their CDs for like
on like fifty cent or something like that. I bought
like four moving boxes of CDs from them, and I
would just have sampling days all day.
Speaker 1 (17:44):
I would just sample from no CDs.
Speaker 2 (17:47):
Trying to find an open spot for that that snare
or just or just a sound or just an eight
bar thing that nobody had ever heard before.
Speaker 1 (17:56):
Like just getting that, trying to get that.
Speaker 3 (18:03):
Yeah, not on the mouse and dragging it and dropping
it in and it just automatically sinks up formats to
the to the tempo.
Speaker 1 (18:15):
What came from a different day. It's crazy, super crazy.
Well it wasn't.
Speaker 3 (18:20):
You couldn't just put it in another key, yeah, because you.
Speaker 1 (18:25):
Felt like you know what I was talking about.
Speaker 4 (18:27):
To one of my interns, I was like, bro, y'all,
y'all got YouTube, y'all can look something up and someone
else will tell you how to.
Speaker 1 (18:36):
We had to open up the manual and read all
the words. We didn't even know.
Speaker 2 (18:41):
What they meant or know somebody and go to their
house and sup with them for a week. But but
the older guy that'll be irritated if you're trying to
call them, like he's like, hey, bro, read the book.
Speaker 1 (18:52):
First, like that, that's on like the first two pages.
Speaker 3 (18:57):
I'm talking my daughter the other day because we're just
talking about like just things that she wants to do,
like on social media, and I said, you are so
blessed to live in an age. First of all, I'm
happy that you're asking these questions. I'm saying, you want
the information. I was like, unfortunately, some of this information
I don't have. I said, but guess what, there are tutorials,
(19:19):
thousands of tutory on how to do anything.
Speaker 1 (19:25):
Yeah you kidding me? Yeah, it's crazy. I say.
Speaker 3 (19:28):
You are young, you are still absorbing. Search out the
information you want and download that information. Yeah, I wish,
I wish we have, man.
Speaker 1 (19:45):
What that's how our pers were talking to us.
Speaker 2 (19:48):
If y'all had right now, this is the truth though,
it is it is if I could take this information.
Speaker 1 (19:56):
Back then the twenty four year old me, it's crazy.
Speaker 3 (20:03):
Or if I could bring the twenty four year old
me with that talent and that drive and that space
to this space right now, I was a maniac.
Speaker 1 (20:12):
Yeah yeah, it's super crazy.
Speaker 4 (20:15):
So after don Jan gave me the game, then it's
just like I think, while me and Jay became like brothers,
because like Kansas City and the Bay are like intertwined.
For sure, It's it's crazy, like the city is a
West Coast mob beat tight, you know what I mean?
(20:39):
So what ended up happening like Young Mouth of be
over my house, Mac dre oh bro I had like
Pops had to come to me one day, it's like niggas.
You selling drugs like these niggas coming in with all
the gold teeth and slanging beats.
Speaker 3 (20:57):
You get your jobs right, you get your money together right. Okay,
what equipment did you buy?
Speaker 4 (21:02):
MPC three thousand was my second purchase. First purchase was
the Triton. Did you did you try to learn the
sequence on the tripe? Had to had to. My setup
was sequence in the Triton and basically have it control
the MPC trigger, so when I pushed start on my Triton,
(21:24):
it'll triggered up my drums.
Speaker 1 (21:27):
Yeah, so you just have to have a little for
the eight bar loop on the drum, and like you
set up you.
Speaker 4 (21:35):
Know, then you you elevate this a little bit more money,
get that Proteus two thousand and more.
Speaker 2 (21:40):
Fat, but you just got the regular stock. Yet you
can't afford them.
Speaker 3 (21:49):
We used to kill me as you start talking about
those modules. When I first met Timberland, I understood why
he was well. I mean, of course his brain works different,
but I also understood the other advantage he had over
all of us.
Speaker 4 (22:06):
He got everything first unlimited.
Speaker 1 (22:08):
I didn't know this was a until I would buy
a rack.
Speaker 3 (22:15):
That came out maybe two years later that Timberland had
already used the sounds.
Speaker 1 (22:22):
You used all the good sounds already. It already used
the good sounds.
Speaker 3 (22:26):
I'm like, man, I wasted money. It's like two sounds
in here. But you got the racks going and so
and so when it okay, he gave you the game.
You were already selling fifty dollars beats. When do you
get to that next level where these guys are coming over,
because the guys you're naming our guys.
Speaker 1 (22:46):
Yeah, they the five hundred dollars level. They give you
that five hundred How did you get there? Though? How
did they know? How did they hear about you? Just
basically through the connections.
Speaker 2 (22:57):
Yeah, been in the city because you know, you got
a small city. So all the rappers start and all
the rappers from the Bay they go to Kansas City
to perform.
Speaker 4 (23:05):
It's a huge market for Bay Area artists.
Speaker 2 (23:08):
So if you got a record that's breaking in the Bay,
it's breaking in Kansas City.
Speaker 1 (23:13):
It's just a.
Speaker 2 (23:13):
Sister city in Kansas City and Detroit. Me from the Bay,
you know what I'm saying, Like Eve forty two short
be legit every saying Quinn, all of these artists that
were huge in the Bay and were staples there.
Speaker 4 (23:33):
Kansas City was an immediate.
Speaker 5 (23:35):
Go to, okay, like.
Speaker 4 (23:48):
You had to go there because our two big rappers
at the time was Tech nine and Risk the Factor.
Speaker 1 (23:54):
So they were like everywhere, you know what I mean.
Speaker 2 (23:57):
And they do shows together they like it really is
they sister cities for the most point, I mean for
the most part.
Speaker 4 (24:02):
Yeah, so it got it got jumping pretty fast.
Speaker 2 (24:06):
But like they had money, so it wouldn't they would
come by one beat, They'll come by ten at a time.
Speaker 4 (24:14):
Because at that independent game, they told you at this point,
I'm like sixteen.
Speaker 1 (24:21):
Tell them five dollars beats. I'm rich.
Speaker 2 (24:24):
Yeah, yeah, you in the bundle as a bundle too though,
I'm rich ten of them, so five thousand, sixteen, I'm
killing them.
Speaker 1 (24:32):
Oh yeah, he was cooking. I'm rich. They can't tell
me nothing.
Speaker 2 (24:36):
What was your first outside music purchase? J was getting
to ask you to beat them to.
Speaker 4 (24:40):
It because you ain't got no rent, no, And I was.
I was scared because because Pops was like, okay, if
you ain't selling drugs, like how much money you making?
Speaker 1 (24:53):
Right?
Speaker 4 (24:53):
So I got scared I'm like, man, this nigga ba.
Speaker 2 (24:55):
Take my money tation Yeah, And he was like, nah,
just show it to me. So I showed him like
ten fifteen thousand, and he was like, man, I'm proud
of you.
Speaker 1 (25:05):
I ain't gonna ask you for the rank. I want
you to be here safe. You know what I mean.
Speaker 4 (25:08):
It's like keep on going. It's like, as long as
you're getting your money support.
Speaker 2 (25:13):
Who would you buy bro more No outside outside of
you bought nothing outside of music.
Speaker 1 (25:20):
No, because Kansas City is dangerous.
Speaker 4 (25:22):
I could Yeah, it is what you about to do, right,
Like no, I would just buy more equipment than you
got digit double O one And that was like that
that that till Macintosh.
Speaker 1 (25:36):
Yeah, fat back, which fa back? What I'm saying with that,
did you double one? Did you get the inbox two?
You got the inbox pro to inbox? Wasn't it was?
Speaker 5 (25:45):
It was?
Speaker 1 (25:45):
It was digit double? What it was? That was like
the first two channel you know, you had your mic
do it and everything.
Speaker 4 (25:54):
Then I started the studio business. It's fifty dollars an hour.
Where was it at the house?
Speaker 1 (26:01):
So you were you was you was engineering the whole thing, man,
mac dre all of them in there. I'm engineering and
probably just letting you do your thing.
Speaker 4 (26:11):
It was a musical house, so it was always loud music.
Speaker 2 (26:14):
Yeah, so rap music different. It's different and the element
is different.
Speaker 1 (26:19):
But when popsy, you're making money.
Speaker 4 (26:21):
Money that's coming in, make it to get to it.
I'd rather you be here in my house and I'm
making sure everybody good, you know what I mean.
Speaker 1 (26:29):
Then you be going to their studio, have them come
to the house.
Speaker 4 (26:33):
Yeah, And where are y'all living in Kan City suburbs?
Speaker 1 (26:37):
In the hood.
Speaker 4 (26:38):
Wasn't no suburbs. We didn't get out of suburbs. So
I started making some money.
Speaker 1 (26:42):
Where's in the hood?
Speaker 4 (26:44):
Straight up? Niggas was pulling up that they need that.
Speaker 1 (26:50):
That's crazy. Need that heatga, that's crazy.
Speaker 2 (26:54):
So you're doing all this middle Kansas City in the
hood sixteen seventeen. Yeah, Are you already focused on getting
out of KC and kind of going to the big
leagues onto some LA Miami, New York, Atlanta play yet?
(27:18):
Or are you still just like, you know what, I'm
getting money in KC. I'm not focused on that. Yeah,
I was.
Speaker 4 (27:24):
You always have that in your head, but you don't
have to know how and you don't have the connections
just yet.
Speaker 1 (27:32):
So it's like, if I keep.
Speaker 4 (27:33):
On building up, niggas go hear about me, you know
what I mean. So I kept on building, kept on building.
And then when you build yourself up in your city,
you start getting favor from people, you know what I mean,
the security guards.
Speaker 1 (27:48):
You can get backstage. Oh that's a little Ronnie.
Speaker 4 (27:51):
Then that started giving me opportunity to meet the celebrities
when they would come in. And then I had the
advantage of having cousins that were signed to R. Kelly, Oh, Keith,
because Keith Forrell, you got Marlin, you got Bishop Young down,
you know what I mean, Ernest Dixon, you know, so
(28:13):
they had already had that experience, but then they were
back in the city, like you got to understand Bishop
Ernest Dixon wrote.
Speaker 1 (28:23):
Stutter yeah, you know.
Speaker 4 (28:25):
For Joe, yeah, he wrote, liar, You're a cheater, you
know what I'm saying.
Speaker 1 (28:30):
So it was like bro Idea.
Speaker 4 (28:32):
When he would pull up, he had that. That's when
the navigator first came out. You spent that one hundred thousand.
I'm doing this.
Speaker 1 (28:40):
He rich for real. So you had that right and
they will.
Speaker 4 (28:47):
Always come over, you know, what I'm saying, and we
would make music and do different stuff.
Speaker 1 (28:53):
And what's crazy is they were R. Kelly fanatics. I
didn't even like R. Kelly his music then.
Speaker 4 (29:01):
I mean I didn't get it, you know what I'm saying.
I was like, bro, he all right, how are you
six things?
Speaker 1 (29:09):
Yeah?
Speaker 2 (29:10):
And I really didn't listen to secular music like that,
not because my parents were strict and said you couldn't
listen to it. The guy had to rehearse, so I
would just be listening to gospel music or playing jazz
or playing classical. So we're in the same place, yuh,
except he was doing music for the Bay Area rappers to.
Speaker 1 (29:29):
That, right. I mean he had that element. But I
know why he didn't get R.
Speaker 3 (29:33):
Kelly at first because he was still a purist as
a musician, you know what I'm saying. And he was
still very much in that element. So when I first
heard Kelly, I was like, this is dude's singing flat,
sure's all over the place. What is this like?
Speaker 1 (29:47):
It didn't.
Speaker 3 (29:48):
I didn't catch it at first, and then one day
I was like, oh, he's awesome.
Speaker 1 (30:00):
Yeah, he's that guy.
Speaker 4 (30:01):
He's that guy.
Speaker 1 (30:03):
And I used to.
Speaker 4 (30:06):
Listen to a lot of unreleased records because they would
have you you know what I mean, Like, man, it
was a version of I Believe I Can Fly that
I don't even think people have ever heard like it
just went to ten different places and was like a
full story. So with them having that experience, you know
(30:26):
what I mean, they would come in and write with me.
So with me and everything they had got out they
deal with R. Kelly, they were back home. Then that's
when the opportunity came with Jermaine Duprix, So basically JD.
Speaker 1 (30:40):
We ended up getting backstage. It was a screen tour
and my cousins they sung for JD.
Speaker 2 (30:47):
JD was like, Yo, niggas called the niggas called talent.
Speaker 1 (30:51):
Yeah, talent niggas called you know they on the what
the tupacs on. That's just the way it is. That's talent.
Speaker 4 (30:59):
And Jermaine was in between his deals at the time.
He had just left Sony and then he ended up
getting this deal at Aristo right with La, So he
was like, man, it's my word.
Speaker 1 (31:10):
Once I get my next deal, I'm gonna come back
and rock with y'all.
Speaker 2 (31:14):
And he was like, and we forgot the shout out
earl Oh we forgot Yes, yeah, to me, he was
he was the jojo of their group. Absolutely, he was
the jojo of their group in my opinion. So yeah,
I got guy too.
Speaker 4 (31:28):
So we go through that whole situation and Jermaine actually
comes back and he was like, who's doing all your music?
Speaker 2 (31:35):
It's like our cousin and that that's what put put
me on to that next level. Now, when I got
on that website as a social dead producer went up
that that's what happened.
Speaker 4 (31:49):
That's what happened.
Speaker 1 (31:50):
Okay, so they added your name to the production crew
they had.
Speaker 4 (31:55):
So now I'm in Kansas City, Yes, signed to So
So Dead. Yeah you want be so Death?
Speaker 1 (32:01):
You walking around different?
Speaker 4 (32:02):
Oh it's different you walking around You still an eighteen
year No, I love it.
Speaker 1 (32:09):
Shout out to my man Chuck.
Speaker 4 (32:11):
Two for five Yeah, you know yeah, two for five,
two for five, it was it was yeah, it was
two pictures for five dollars. I'm telling you, man, you
gotta learn how to hustle.
Speaker 1 (32:24):
You gonna be all right, You're gonna be all right. Yeah.
Speaker 4 (32:30):
So it was like, man, my family had did so
many solids for a lot of people. Like when I
was coming up. Everybody just wanted to help and support,
you know what I mean. So that's the that's the
Karnas City, just man.
Speaker 3 (32:44):
But yeah, so let's get me whereas Jay's trying to
get to how do you get out of Kansas? What
is that move? Is there is there a record or
some success that prompts you to make that move or
is it just like I'm feeling like I need to
be in a space where bigger things are happening.
Speaker 4 (33:05):
No, that that move came naturally. But once we got
the deal with JD, it was like, oh, we got
to figure out you know, Atlanta.
Speaker 1 (33:14):
It was more or less. So you went to Atlanta
first before you came to La. Yeah.
Speaker 4 (33:18):
Remember I had already bought a house here.
Speaker 1 (33:21):
Oh yeah, you did have your spoty.
Speaker 4 (33:23):
Yeah, I had a house even before I came out
to La.
Speaker 1 (33:26):
Yeah.
Speaker 4 (33:27):
Yeah, My first house was like two hundred and fifty thousand.
Speaker 3 (33:30):
You know, I remember when houses was that. I remember
because Karen and Jimmy, you know, when they was playing
with the Falcons, they both they both had those houses.
Speaker 2 (33:41):
I was like, man, I want you believe in these houses. Yeah,
this was like two somethings and it.
Speaker 4 (33:44):
Was like what Yeah what Yeah, yeah.
Speaker 1 (33:48):
Like four thousand square for the houses. I was saying,
what is what? It's crazy?
Speaker 4 (33:54):
Yeah, so this is part of that. Now you're trying
to figure out how to move, move and beat down
where because now you have access absolutely. And that's how
me and Bao became so close because we was the youngest.
Niggas said so so deaf, you know what I'm saying.
And he'll be in there mad JD in there with
Usher and Mariah and he's like, man, nigga won't give
(34:15):
me no beats. I'm trying to write my own songs.
I'm like, bro, I make beats. He like, you got
studio too? Yeah, then we got to it. So that
was the So what was your studio when you got
you got when you got to Atlanta? It was in
my house. In the house, I had a nice bread
Yeah I remember, it's nice. Got the studio, I already
(34:38):
got all my equipment.
Speaker 3 (34:39):
Yeah you know what I mean. So now it's just
a beautiful beat maker, engineer song.
Speaker 1 (34:44):
Right, let's go.
Speaker 2 (34:46):
So how much time do you spend in Atlanta before
you come to l A Atlanta?
Speaker 4 (34:52):
It was just working, having having a place and the
connection again Damon. Tomman comes in the picture because he
knows my cousins right.
Speaker 2 (35:03):
Because he they were they were with Damon before they
were with R Kelly.
Speaker 1 (35:08):
Correct.
Speaker 2 (35:08):
So that story is, you know, I was at the
house today they dated car service came.
Speaker 1 (35:14):
I was there, So you go tell the story.
Speaker 4 (35:16):
I'm gonna let you.
Speaker 1 (35:18):
You jump in. Yeah, yeah, it was great, was great.
Speaker 4 (35:21):
There was a battle between signing with Babyface or signing
with R Kelly.
Speaker 2 (35:27):
Yeah, somehow R Kelly wins. A car pulls up in.
Speaker 1 (35:32):
The middle of the middle of the night, in the
middle of the night. I woke up. The niggas was
gone because we're all there.
Speaker 2 (35:40):
We are studio house. It's a whole niggas boys club
that we when when working.
Speaker 4 (35:46):
This is ninety.
Speaker 1 (35:52):
Something like that. Yeah.
Speaker 4 (35:52):
Yeah, this had been the second time in La at
Damon's house.
Speaker 2 (35:56):
Yeah, and they about to sign, They about to sign
with Babyface, and you know it's deal is done.
Speaker 1 (36:04):
It was done. But them is my niggas.
Speaker 2 (36:09):
We didn't created our own friendship bond as brothers.
Speaker 1 (36:13):
Niggas like nig KALs doll.
Speaker 4 (36:18):
You know, Nigga Country can't see nigga.
Speaker 2 (36:21):
The nigga kells dog kill I'm like, y'all really about
to just y'all about to go to Chicago. Y'all out
like man, that car cup Nigga we count I'm like, nigga,
y'all about this pretty much signed tomorrow, Like y'all pretty
much about to sign y'all deal tomorrow. Y'all have met
with baby Face. Baby Face love y'all. It's a rap nigga.
(36:44):
He about to he ain't or killy nigga. You know,
they was gone, car came. Nigg I woke up, I
probably you know, I rise early, Nigga. I'm up early,
(37:04):
no matter what time I go to sleep. By the
time I woke up cracking dawn, them niggas was out.
Speaker 1 (37:11):
I'm looking around. I'm like, and I already know what's up. Nigga.
Speaker 4 (37:16):
Damon, He's like, nigga, who the boys asking?
Speaker 1 (37:19):
They gone bro out cold.
Speaker 4 (37:25):
So there was probably on a six a m to Chicago.
Speaker 1 (37:28):
Left left at fall, left to get there two hours before.
Speaker 2 (37:32):
Yeah, they gone, they gone. Next time I talked to him,
they called me. They did in Chicago, laughing.
Speaker 4 (37:39):
We just hooped, Nigga.
Speaker 1 (37:40):
We just finished rub Nigga gone gone. So that's the
that's the connection. From from Damon.
Speaker 4 (37:49):
So you know, they like, oh little Ronnie, he popping
in the city like it's going down.
Speaker 5 (37:57):
Ye know.
Speaker 1 (37:58):
He was so so deaf, blah blah blah.
Speaker 4 (38:00):
Damon calls me and he like talking shit, Damon, Man,
how you go be from the hometown in Kancity and
you're supposed to be the hottest nigga.
Speaker 1 (38:10):
Nigga, I'm the hottest nigga. I'm from Kansas City. He like,
you need to be down here with me, nigga. I'm like, bro,
what you be be down there with you? He was like,
I'm like, bro, I'm with j D. Look at the charts.
You need to be down here.
Speaker 2 (38:27):
I was like, all right, man, I'll fly down there.
So I end up flying down there. Nigga didn't come back.
Speaker 1 (38:34):
You just didn't come back.
Speaker 4 (38:35):
Well, I had a house here, you know what I mean.
Speaker 1 (38:38):
Yeah. It was just like once you got there, you
was like, okay.
Speaker 4 (38:41):
It was a different experience, man. It was like, and
this is how I met Ja, Like my first day
up there. Jade the youngest nigga there.
Speaker 1 (38:52):
Right, I'm his.
Speaker 4 (38:52):
Little country nigga for Kansas City. I'm coming in and
Damon immediately says Jay I need you to.
Speaker 1 (38:58):
Take care of him. Yeah.
Speaker 2 (39:01):
So from then, you know, we fire heat from the
bab I'm like, nigga, everybody be at my house, all
the niggas. I'm like, oh, man, that's the homie, that's
the homie, that's my cousin.
Speaker 1 (39:12):
Yeah.
Speaker 2 (39:13):
So it's like we instantly became and then I also
knew the group that's his actual cousins, so we just
had an immediate bond.
Speaker 1 (39:23):
Yeah. Yeah, so it just kind of it kind of
went from there.
Speaker 2 (39:27):
Is that when I met him or was that after
now you met you met him around the same time
to the same time, Yeah, right, the same time.
Speaker 4 (39:33):
Yeah, yeah, that's what man. That that building was amazing.
It was amazing.
Speaker 1 (39:39):
It's amazing. Listen.
Speaker 4 (39:41):
I remember going there because I was making money but
I hadn't had any major hits yet, right, And I
was just in there talking to Tony one day, Tony Dixon, man,
and I was just looking at his plaques and looking
at everybody stuff, and I was like, bro, I just
want a plack.
Speaker 1 (39:58):
I just need one.
Speaker 4 (40:00):
And I'm telling you, if I get one, I know
how to make it.
Speaker 1 (40:04):
You know what I'm saying.
Speaker 4 (40:05):
I'm a multiplied I know how to do it, and
Tony looked at me and started laughing. He was like,
be more concerned with the business. Your plaques are gonna come.
Take care of your business.
Speaker 1 (40:19):
And that stuck with me.
Speaker 4 (40:21):
Wow, like all this them plaques, Nigga. You can have
a plaquea and no money. You can have a lot
of plaquesa no money, a.
Speaker 1 (40:29):
Lot of plaques and no money.
Speaker 4 (40:30):
But if you take care of your business, you will
survive longer than anybody. And that's that's really been my model.
I ain't never even told Tony that, Like, that's been
my whole model.
Speaker 1 (40:41):
Wow. Yeah, you have to watch your business man.
Speaker 2 (40:47):
I tell people every day I'm not in the music,
and that's what got him kicked out watching this business.
Speaker 1 (40:52):
Watch.
Speaker 4 (40:54):
So yeah, let's let's let's let's let's move along to.
Speaker 2 (40:58):
Because when you've got there, because here there are to
be money podcasts.
Speaker 5 (41:02):
We like to give.
Speaker 1 (41:05):
The truth, the whole truth, and nothing but the truth.
Absolutely so helped me.
Speaker 2 (41:09):
So help God God, because I can, I can, I
can attest for this. You showed up with Sorry two
thousand and four.
Speaker 1 (41:18):
Yeah, fully done.
Speaker 2 (41:20):
I remember this because I was like, that record is crazy,
this little because that Nigga had that record. And that's
what Damon was like, Nigga, you gotta hear this record.
Speaker 1 (41:35):
He got Nigga pushed player. I said, man, what the fuck?
Who wrote that? Eric Dawkins, Tony Dixon, He had the
whole the whole crew. Yeah, the whole crew. I had.
Speaker 2 (41:51):
The beat was made. Had the beat made? Yeah, so
not that I'm sorry, Yeah, the beat of it was.
And then the guys got to it and did that
ship to it because you noticed that didn't sound like
an underdog record. It's a little bit, a little bit different.
Speaker 1 (42:07):
It became it was a shift. It was a shift.
Speaker 3 (42:12):
It became the sonic though, it became part of the sonic,
you know what I'm saying, Like, wherever you brought to it,
it was now, okay, we're gonna move forward with this,
just saying with.
Speaker 1 (42:25):
Just saying, but that's also that's also smart business for.
Speaker 2 (42:32):
The team itself, for the underdogs themselves and ourselves to
being able to adjust and you know too, where music
was going. And it took yeah, and it took an
eighteen nineteen year old to come in there who really
didn't know. Yeah, you didn't know.
Speaker 4 (42:50):
You gotta be got some music making beats in the hood.
Speaker 2 (42:55):
You know what I'm saying, but it and damon being
able to identify sonically day man, Harvey, Damon identifying you,
Harvey identifying the sonic of it, and like you said,
that turning into a shift into how the building sounded
after that, because it definitely was. It definitely was a shift.
(43:16):
There was a shift that happened. It's crazy, said, it's crazy.
Speaker 1 (43:23):
It's crazy. Give us that process, give us that process.
Speaker 2 (43:33):
You come in there, you got this track, and now
these songwriters that you've heard their songs, you heard, you know,
things that they've been doing. These producers, they hear this song,
and now everybody wants to help you finish this.
Speaker 4 (43:48):
This was the most amazing experience I had ever had
because you're just not used to seeing people work together,
like bounce off each other, you know what I mean.
Speaker 1 (44:01):
You got Eric Dawkins and you're from the church too,
so yeah, this need to know some monster in the building.
I was like, monster, bro, you you write R and
B two. I didn't know.
Speaker 4 (44:17):
I knew who he was, but I didn't know the
position he played. And seeing everybody and what was cool? Right,
everybody in there were basically hybrids could write songs and
make beats everybody. Everybody had their niggas could really finish
(44:39):
the songs by themselves.
Speaker 1 (44:40):
But it was this thing.
Speaker 4 (44:42):
You walked past somebody's room and you heard that, and
then all of a sudden, the group was just everybody migrate,
migrate to.
Speaker 1 (44:49):
The room like this one. This one was yeah, yeah,
pull up some bells.
Speaker 7 (44:56):
Yeah.
Speaker 1 (44:57):
Like it was like the craziest collaboration was.
Speaker 4 (45:00):
It was so cool, bro it was the coolest thing
I had ever seen because you're just not used to
seeing people collaborate like that. And everybody had they had
their positions, you know what I mean. So I was
just like, brodymon gave me, gave me a room. I'm like,
oh my underg it's all. And then just to see
the star power that was going through there.
Speaker 1 (45:22):
Yeah, and I had that first room.
Speaker 4 (45:26):
So a lot of them will hear something, just peep
in and I'm like, oh, ship, that's Tony, b.
Speaker 1 (45:31):
Oh, oh, that's Jojo Oh. Tanky's up here every day,
like and we're playing Halo.
Speaker 2 (45:42):
Absolutely Halo that she used to make my head hurt.
I'm like, you niggas, yeah, no.
Speaker 1 (45:47):
It's crazy. And I just seen Tyree in the parking lot, right,
it was. It was nuts.
Speaker 4 (45:54):
Every artist you could think of, everybody you.
Speaker 1 (45:56):
Can think of, so man, that time it was crazy.
Speaker 4 (46:01):
But the experience I tell anybody, the underdog situation really
taught me how to make songs.
Speaker 1 (46:12):
I went a beat maker. By the time I was done,
I was a full producer and a songwriter. Speaking of
your time, time wasn't very long. It wasn't what happened, Jay.
Speaker 2 (46:31):
It was so.
Speaker 1 (46:34):
Back to the business.
Speaker 4 (46:37):
Sorry, two thousand and four had came out, and at
that time, what it was only the second American idol.
Ruby was the same. So it was the biggest thing
in life, biggest thing in life. And after they seen
my percentage on the record, every publisher in the world
(47:01):
was on my phone. And I had a brother that
I could.
Speaker 1 (47:05):
Talk to him right there.
Speaker 4 (47:08):
It was him who was was it Chuck?
Speaker 1 (47:10):
He was in a position, Chuck Chuck.
Speaker 4 (47:14):
So I had all these people to bounce off of,
like I mean, because I wasn't signed to the Underdogs,
you know what I mean. I was actually signed to
JD but they never gave me advance or anything like that.
So that had a time period which I didn't care
because I was able to do what I needed to
do just off the name, like and some people need
(47:37):
to realize that too. Sometimes it ain't about the money,
It's about the position you put in to make money,
you know. So everybody's calling, I'm talking to Jay. I'm like, bro,
they trying to get me such and such and this
and that, And then just so happened. Probably the next day.
Eric Dawkers is in a room and he just had
(47:59):
a check, like just laying on the table, and this
was the biggest check I had ever seen in my
entire life.
Speaker 1 (48:07):
And I was like, bro, what is that check from?
Speaker 4 (48:12):
He was like, oh, Christina Aguilera, I you can make
that type of money off music. He's like, yeah, man,
just just stay focused and.
Speaker 5 (48:21):
Keep on going.
Speaker 2 (48:33):
But nigga, you got records and you've done some great things.
And this is the R and B Money Podcast, and
yes there's money in that, and yes we've we've established
that you've done well for yourself. But let's tell these
people about these records and these stories behind these records.
Speaker 1 (48:48):
Let's go.
Speaker 2 (48:49):
Let's get we talked about sorry two thousand and four,
let's get into Uh, I'm a flirt, Okay, I'm a
flirt because there's some you know, I'm a flirt was
on multiple artists.
Speaker 1 (49:04):
It was how the fuck did you get multiple checks?
Let's talk about that. Let's talk about all right.
Speaker 4 (49:16):
So, like I explained, Bow Wow was my ace right,
still still my brother at the time, Like I said,
We're making beats, were making songs, were finishing his album,
and I ended up getting a relationship with R.
Speaker 1 (49:35):
Kelly, Like got those calls you know what I mean.
Speaker 2 (49:38):
Well, my managers at the times the best friends with him,
Rocky Bivins, Latasha Scott's husband, and he was great friends
with him.
Speaker 4 (49:48):
Hooked us up and Rob fell in love on my
production and he was like, let's let's go right. The
first track I sent him was I'm a Flirt.
Speaker 1 (50:00):
So I asked Bow. I was like, Yo, you want
to do a song with R. Kelly. He's like hell yeah, right.
So I send the track to Rob.
Speaker 4 (50:10):
He literally hits me back in like three hours and
he was like, it's a boy, said nigga, Nigga, what
what are you talking about?
Speaker 1 (50:22):
It's a boy? Nigga. I called Hit Records my children,
and it's a boy. He said, I'm gonna have able
send it to you right now, Nigga, I play that song,
I fall out on the floor.
Speaker 2 (50:43):
So when he sends it, is does he send a
full song or does he just send the hook back?
Speaker 1 (50:48):
He said, he sends the hook.
Speaker 4 (50:51):
And he says, give him another couple of hours.
Speaker 1 (50:54):
Uh he no, he asked. He said, do you want
me to put a verse on it?
Speaker 5 (50:59):
Hell?
Speaker 4 (50:59):
Yeah, I want you to put a verse on it.
He's like, all right, give me a couple of hours.
Speaker 1 (51:03):
Nigga I called Bao. I was like, Bro, he did it.
He's like, Nigga, you line.
Speaker 4 (51:10):
I was like, nah, bro, he did it. I was like,
I'm headed over to the house. I'm about to play
it for you.
Speaker 1 (51:15):
Nigga playing for bow.
Speaker 4 (51:17):
This Nigga like, Nigga, is it this a motherfucker single?
And he's he's proud because now this is a moment
that JD didn't do the beat. JD didn't write the song,
like he's bringing a hit record to the table. So
Bao drop his Uh, I'm gonna get into details, Bao
(51:39):
drop his verse.
Speaker 1 (51:40):
We sent it back for Rob for approval. Bow Wow
says a line that Rob said.
Speaker 4 (51:49):
On his part right and that nigga Rob called me
and said, hey, man, tell that nigga write his own shit.
Speaker 1 (51:56):
That's my goddamn line. Tell him he write it. Ship.
Speaker 4 (52:02):
Hey, niggas reference me, Hey, yeah, yeah, go ahead and
rewrite that part.
Speaker 1 (52:06):
So rewrite it. Rob like cool, It's like it's a smash.
Speaker 4 (52:11):
It's like congratulations, young niggas like y'all, y'all got what
We take it back to.
Speaker 1 (52:18):
Jd uh KP and they just kind of like like
kind of it's cool.
Speaker 4 (52:27):
It's cool, right, So I'll go into his superstar mode
called Mom's managers like these niggas hating this is the
fucking single.
Speaker 1 (52:38):
This is what I want my single to be.
Speaker 4 (52:39):
Boom boom boom boom and the powers to be was
just like no, said no, and end up putting the
song on a hidden bonus track on a Walmart version
because you know you used to have version. We know,
we know I got I got a hidden bonus on
(53:02):
my way.
Speaker 1 (53:07):
Hitting bonus track was the target version or our best.
Speaker 2 (53:10):
You know, I don't like my verse, niggas, Do you
like that bro's you know these niggas right, niggas, partition
is up right now man, Walmart version, Walmart version, So
let let the manager sing on your record, and it's
(53:32):
the treat grateful you let her retired niggas sing on
your song. I should have called him and said, niggas
a boy. So it's on a hidden bonus track on
the Walmart verse.
Speaker 4 (53:52):
Put an R Kelly record on a hitting R Kelly's height.
Speaker 1 (53:58):
That wasn't the worst part about it.
Speaker 4 (54:01):
After you put this man he has a side protection one.
Speaker 1 (54:03):
You can't even do that.
Speaker 2 (54:06):
The nigga hit me like, first of all, they didn't
put the shit out as a single because at that
time I didn't know, you know how it goes.
Speaker 1 (54:16):
He was about to have a single out, so Rob
fuck with me so much. He was like, Hey, I'm
gonna get them to push that out.
Speaker 4 (54:23):
Just make sure it's a single because my single is
about to come out, and after that comes out, ain't
gonna be no more features, you know what I'm saying
for that time period, so records are not compete with records.
So I was like, cool, So the powers would be
do they thing put it on a Hitten bonus track.
I love saying that hitting bonus track Walmart version and
(54:45):
that nigga Rob loses it, And he only didn't lose
it because they did that they didn't send a man
his money, they didn't pay R Kelly.
Speaker 1 (54:57):
He was like, man, I ain't got my money. These
is disrespectful. I'm gonna show him what it is.
Speaker 4 (55:04):
And that nigga took baw Wow off called tea pain Uh.
Speaker 1 (55:10):
Ended up being collateral damage in a sense.
Speaker 4 (55:12):
Yeah it wasn't It wasn't his, but but the fucked
up part was like, they try to put that shit
on me like I did something like I went and
sold the record twice to R Kelly And it was
like for a while, man, like they had put a
big dent in me and balace relationship because you got
(55:35):
somebody that he's been with his whole career put him on.
Speaker 2 (55:39):
You get what I'm saying, I'm the new nigga. Like
we best friends. But as somebody telling you something.
Speaker 1 (55:45):
So how was he able to record the record and
put it out? This is the remix?
Speaker 6 (55:56):
Ah?
Speaker 4 (55:57):
Not only that it worked out that R c A
and Sony is the same, it was the job and
Sony they're all up the Umberella. So nigga, this is
an internal call of and he is R Kelly is
who he is?
Speaker 1 (56:14):
Our bow wow? What do you mean? And it's just
a hidden record on there. Anyway, y'all didn't use it.
This is the remix now.
Speaker 2 (56:26):
Hm, and it's my single and he wrote the record
anyway now because it was a new master, I did
get paid again because it was two separate masters, Yeah,
I did. And that one was a lot different, a
lot different. When we has no drama behind it. There's
(57:03):
no drama behind when we is it now outside of
them telling us that is it gonna work?
Speaker 1 (57:12):
Yeah, I guess that's some drama.
Speaker 2 (57:13):
No, that's big drama because now you're fighting, you arguing,
you are out on the limb, basically alienating yourself and
going against the grain.
Speaker 1 (57:23):
Yeah, that's true. That's drama because if it don't work, yeah,
so you're going with it.
Speaker 8 (57:42):
Just look at that nigga like princey. Shit, this is
the this is the remix.
Speaker 4 (58:00):
Oh now, oh Yo Shan's ship, the drama.
Speaker 6 (58:06):
Comes mm hmmm.
Speaker 1 (58:12):
Oh Roddies.
Speaker 7 (58:18):
Tarfire m hm tarfire mm hmm oh you're to fire,
oh tarfa.
Speaker 1 (58:37):
Horribies.
Speaker 9 (58:39):
Singers are and be songs, little roddies, Tapa.
Speaker 6 (59:03):
F ho ly singer who.
Speaker 1 (59:14):
Hardly So.
Speaker 6 (59:20):
I know you have some. I know you have one.
I know you've heard a lot of songs that you like,
just a lot of songs that you know. I heard
a lot of songs that you've seen, heard a lot
of songs that you wrote.
Speaker 1 (59:37):
Top five, Mmm, your top fog. You think that nigga
tink better than me?
Speaker 4 (59:57):
You think that nigga could sing top even better than me?
Speaker 1 (01:00:02):
For Ronnie? Your top five R and B singers, so hard?
Bro Yah? R Kelly number one? Start then start, started off?
Then number one kick it off. I'm a case and
(01:00:24):
Jojo You're gonna make them number two together? Joe Yeah,
just a whole brother, Yeah, Marvin Gaye. Then that's a
flip between Stevie Wonder.
Speaker 4 (01:00:41):
Okay, I like what you're doing, brother, and then who
else fits in that?
Speaker 1 (01:00:49):
I'm a babyface nigga too though?
Speaker 4 (01:00:51):
Come on, come on, that's that's my top five.
Speaker 1 (01:00:55):
That's exciting. Okay? Your top five.
Speaker 4 (01:01:00):
R and B songs that ain't right? I can't you
better do it? I mean, I must say the songs
of my top five?
Speaker 1 (01:01:09):
Why not? You know what I'm saying? Why not? And
R Kelly is hard? It's too many? You know what
I believe? I can fly? I love Let's get it on. Yeah. Well,
wouldn't you.
Speaker 4 (01:01:24):
Well, I won't talk about that real fast because I'm
trying to still confused on how they lost that lawsuit. Yeah,
that's I really want to talk about that because it's
R and B right, Yeah, come on, How in the
hell did they lose a lawsuit that? The Ed Sheering
song was not like, let's get it on. Soon as
(01:01:48):
I heard it, I was like, oh, Marma, gay got
another one.
Speaker 1 (01:01:52):
That's what I thought. You know what's crazy?
Speaker 3 (01:01:55):
I'm gonna ask the musicologists over Atlantic. Yeah, because he's
Borderlina genius. Yeah, he's he's he catches everything right, Yeah,
take you just you know you your two notes and
and right there at the end of the fourth stands
of that syncopation. You're You're on it, man, Like I
(01:02:16):
just changed it like four times. Yeah, you gotta.
Speaker 1 (01:02:19):
He's on it. So I'm gonna ask him to get
past him.
Speaker 3 (01:02:22):
How did's even possible? I'm asking forever, my lady, why not?
Speaker 6 (01:02:31):
I just call.
Speaker 1 (01:02:34):
I love you that babyface? Which one do you pick?
Speaker 2 (01:02:42):
That's hard because it's just like, I don't know if
I want to pick one he wrote or one song
because I wanted to say the Boys to Men's.
Speaker 4 (01:02:49):
Song but not gonna lose either way.
Speaker 2 (01:02:52):
No, but you can say you kind of took the
easy way out and just let you know that you're
my brother'na keep it funky with you took the easy
way out by taking songs from the same singers that
you said. It was top five singers, but he took
the it's your five, so whatever.
Speaker 4 (01:03:08):
Hard for somebody to be your favorite singer and they
don't have your favorite song.
Speaker 1 (01:03:11):
I don't agree.
Speaker 2 (01:03:13):
I don't agree because I don't know if all my
favorite singers got all my favorite songs.
Speaker 4 (01:03:17):
I agree and disagree. Fair fair, Yeah, but I get it.
I know what you're doing, though I know you.
Speaker 1 (01:03:29):
Give it your nigga.
Speaker 2 (01:03:30):
I was like something about this keyboard. It's been transposed
this whole time. I was like, something, ain't right.
Speaker 3 (01:03:35):
I got read out the pitch, so so you was
cheating and no, y'all have me singing higher than normal.
I was like, well, I can normally hit this, let's go.
Speaker 1 (01:03:44):
I didn't do it.
Speaker 4 (01:03:44):
I thought of reset every time, you know, set me up. Yeah,
he wrote it, but boyster Man end of the row.
Speaker 3 (01:03:56):
Perfect song singing out of the Talent Show once, although
we've come I sang it at at my ex girl,
well she was my girlfriend at the time, at her
high school with some guys that were in the group there.
Speaker 4 (01:04:07):
That was probably the wrong song to sing to your girlfriend, because.
Speaker 1 (01:04:09):
No, I didn't sing it to her.
Speaker 2 (01:04:10):
I sang it at her school, but still in the
group that was there was a dope group, you know
what I'm saying, And they signed. They sang first on
the Talent Show high school Talent Show because my cousin
was a teacher there, and then they were singing that
and that was from I was from another high school.
It was like, you know, get up here, because a
lot of people from my church went to that school.
It's like, like, do girl, get up here and sing
(01:04:31):
and sing with this end of the Road.
Speaker 1 (01:04:32):
So I got up on.
Speaker 3 (01:04:32):
Stage and sang with them on the End of the Road.
And I remember that song so vividly in that moment,
so vividly because she was actually cheating on me with
one of the guys in the group.
Speaker 4 (01:04:41):
So it was you spoken into existence. It actually was
the end of the road.
Speaker 2 (01:04:47):
It wasn't just yet because I didn't find out ti later,
but then I was like, that's that's my fond memory
of the end of the road. We was hung together
and I know that. No, that's how you felt though.
She played with my heart and she was knocking down.
Speaker 1 (01:05:04):
The niggas who sang it? Why do you play with
my mind? Why do you.
Speaker 4 (01:05:08):
Mm hmmm mm hmm.
Speaker 1 (01:05:11):
It hurt to find that out.
Speaker 2 (01:05:13):
That's crazy because I'm sure she's probably asked for tickets. No,
m hm, she took her air. I listen, I respect
the ones that take their air.
Speaker 1 (01:05:25):
Don't come back. I respect them ones tough. Yeah, don't
come back. It's still sting a little bit.
Speaker 6 (01:05:33):
I think.
Speaker 1 (01:05:33):
I think so.
Speaker 2 (01:05:35):
I just think this some thirty years ago, some residual
trauma ship. You know, you be locked in. You're like,
I ain't do nothing.
Speaker 1 (01:05:43):
Y'all need to do call in. She need to call
and apologize. I kept it. Holy look where he got
you report it to my music? All right, here we go.
You lived the black slack my brother.
Speaker 4 (01:06:01):
I have and I honestly believe in phil is just
the beginning, because it is mm hmmm.
Speaker 2 (01:06:15):
Church.
Speaker 1 (01:06:15):
I ain't saying no. Next ain't saying I ain't saying
no names, say no name? Who is what you did?
You don't say s I ain't saying no names.
Speaker 2 (01:06:36):
Man, we've come to that time, all right. You gotta
tell us a story funny, fucked up, are funny and
fucked up?
Speaker 1 (01:06:47):
You hear me.
Speaker 2 (01:06:48):
The only rule to this game, m you can't say
no names. I won't tell you a funny story, and
I'll just say his name.
Speaker 1 (01:06:58):
Say any names. I ain't saying no noames. What you
know who it is? That's fine.
Speaker 4 (01:07:06):
Interesting funny story is when I got hold on, hold on,
hold on, hold on. This is little Rindy got kicked
out of the Underdog building. I left with him to
flirt himself, to flirt himself, messing.
Speaker 1 (01:07:28):
With the same girl.
Speaker 4 (01:07:30):
Please excuse his hands.
Speaker 1 (01:07:32):
Excuse his hands, man, I ain't saying no names. I
ain't saying no names. So I get a call from
a good friend.
Speaker 4 (01:07:46):
And he tells me that these he's in a certain
place and he's playing these this record that had just
came out, and people are dancing around the studio saying
how amazing this record is, and he ends up telling
them that I.
Speaker 1 (01:08:05):
Did the record and it was just crickets in the
room after they were just dancing.
Speaker 4 (01:08:16):
Saying how amazing the record was and saying how incredible
the artist was, and how they always.
Speaker 1 (01:08:22):
Wanted to work with them, and my little name came
back up. My God, I put you in my session.
That's a story. Cool and I closed my chapter there.
(01:08:43):
The cool that was you'll get back man. He didn't
say no names. I didn't say no names.
Speaker 3 (01:08:55):
Ship well, my brother love Ronnie. What else can we say? Man,
You're family? So hey, man, you know this is this
is light work. This is easy, man, But we are
proud of you.
Speaker 4 (01:09:10):
I appreciate y'all because you know, y'all just don't move
for anybody, and y'all just don't go anywhere.
Speaker 1 (01:09:19):
So I appreciate y'all coming to the at L man
like this is. This is beautiful.
Speaker 4 (01:09:26):
I appreciate y'all work. I'm proud of y'all. Y'all really
doing something for the R and B community.
Speaker 6 (01:09:33):
Man.
Speaker 1 (01:09:33):
I don't I know anybody else that can do what
y'all doing.
Speaker 5 (01:09:38):
We appreciate that.
Speaker 1 (01:09:39):
So, Bro, we love you man.
Speaker 2 (01:09:46):
This is the podcast authority on all things R and
This is and will always be Little.
Speaker 1 (01:09:56):
Love y'all.
Speaker 6 (01:09:59):
Money.
Speaker 2 (01:10:00):
R and B Money is a production of the Black
Effect Podcast Network. For more podcasts from iHeartRadio, visit the
iHeartRadio app Apple podcasts, or wherever you listen to 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. For the extended episode,
(01:10:22):
subscribe to YouTube dot com, Forward, slash r, and b
Money
R and B Money.
Speaker 2 (00:05):
We are thank you, Jake Valentine. We are the authorities
on all R and B.
Speaker 1 (00:18):
Ladies and gentlemen. My name is Tank Valentine.
Speaker 3 (00:21):
This is the R and B Money Podcast.
Speaker 4 (00:24):
The authority tell him what it is on all things.
Speaker 1 (00:30):
R and B. Can I add family to that?
Speaker 4 (00:33):
R and B Ribs and Barbie and family.
Speaker 1 (00:35):
Ribs and barbecue. Yeah?
Speaker 3 (00:39):
Uh today, m hmm. This is the start of a
beautiful day, mister Valentine. We are in Atlanta.
Speaker 1 (00:49):
I love it.
Speaker 2 (00:50):
We're on the soil. Yeah, we got we got our
feet in the grass. You see what I'm saying. We
are at Enore Studios. Now, you't know what's special about
Eni Studio. Especial about this studio.
Speaker 3 (01:01):
Man me, there's a boy, he little boy.
Speaker 1 (01:09):
Boy been raising his little boy.
Speaker 3 (01:13):
Yeah, A songwriter, a producer, a businessman.
Speaker 1 (01:22):
Sir, you haven to see what I'm saying.
Speaker 3 (01:25):
Because when you get the credits and you get the money,
you gotta do something with it. Yeah, you gotta turn
into something larger than life. The legacy has to be
something tangible that you can pass down to your chip.
Speaker 2 (01:43):
H oh.
Speaker 1 (01:44):
I don't want to dwell too much on the intro.
I want to get to the.
Speaker 2 (01:47):
Nigga grety of what the fuck is going on?
Speaker 1 (01:51):
We are in this man's studio, E.
Speaker 2 (01:54):
Norse Studios in Atlanta, our Forrida Georgia, and he's here
in the building.
Speaker 1 (02:01):
We're gonna talk that ship. Give it up a little,
Ronnie and.
Speaker 2 (02:06):
Yeah, welcome to Atlanta, baby, Yeah, welcome to Atlanta.
Speaker 5 (02:11):
Bro.
Speaker 2 (02:11):
Thank you for having us, brother man, thank you guys
for coming.
Speaker 4 (02:17):
I couldn't wait for this. Yeah, I couldn't wait for this.
Speaker 1 (02:20):
How long have you been there?
Speaker 4 (02:22):
We go back, man, it's a long time.
Speaker 6 (02:25):
Man.
Speaker 1 (02:26):
We go back to your first bends.
Speaker 2 (02:27):
Yeah, yeah, the one I got kicked out. We got back.
We go back to your first bends. You fremendous for
having that.
Speaker 1 (02:35):
Look get that, We get this. Wait a minute, my sons,
where was he?
Speaker 4 (02:46):
Now?
Speaker 1 (02:47):
Wow?
Speaker 2 (02:48):
Listen, bro, you've you've always been up to something. That's
a great way to put it. Always always, always, yeah.
Speaker 3 (02:59):
And you've always seen that thing through yeah m hmm.
Speaker 1 (03:06):
Always. Somebody always say, oh, you ain't seen a little
right such much? Are you tripping?
Speaker 3 (03:12):
You ain't been a little right such and such? No,
I ain't even know you have those like them. You
ain't like You've always been that.
Speaker 4 (03:20):
Ryannie's the living boom boom room.
Speaker 1 (03:24):
You ain't been a raised boom boom you heard about razoo.
Speaker 2 (03:27):
Oh, everybody was up in there last night. That was
the Quaver was in there.
Speaker 1 (03:37):
I know you.
Speaker 2 (03:38):
It's one of them things like you have to, like
my dad just put in me. If you say you
go do something, do it.
Speaker 4 (03:45):
And even matter if you you got to take the loss,
if it comes out your mouth, you need to stick
stick to it and do it, you know what I mean.
So I've just always had big dreams and I just,
you know, wanted to make it happen.
Speaker 2 (04:00):
Isn't there wasn't there an event at your house? What
was that at your house? That was at your house?
Speaker 1 (04:07):
That was little? Yeah, at your house? Yeah? It was
crazy first of all, So why is Rodney's house so big? Yeah?
Speaker 4 (04:22):
That I was stupid, man. It was a it was
a blessing. I mean, how can I say this.
Speaker 2 (04:30):
I just always wanted to make money, enjoy what I
would I do, But also seeing all the people that
blew money and got to a certain level then didn't
have it anymore, right, nothing to show for it. So
I always just wanted to, Like you said, keep the
legacy going, like do something with the money. Anytime I
(04:52):
had a hit record, I would put some money over
to invest to go to another level.
Speaker 3 (04:58):
You know what I mean is some money at that
party too. At that party, yeah, yeah, I shot some
some NBA guys thought you sho did?
Speaker 2 (05:08):
Uh?
Speaker 3 (05:08):
The only shooters in the building with Kennith for Reid. Yeah,
you have to name them.
Speaker 2 (05:15):
You'll hear this, and like to what else was it?
Speaker 1 (05:19):
Was it? Everybody?
Speaker 6 (05:20):
You had?
Speaker 1 (05:20):
Somebody? It was one of the what's my guy was
a ballaholic? Or was it hot sauce or no.
Speaker 2 (05:28):
It was like like three or four guys, you know
Overseas league guys, you know, and one and then they
and they didn't know that the R and B guy.
Speaker 3 (05:37):
Had a set shot.
Speaker 1 (05:40):
Oh you want to you don't want to play five
from here? From here?
Speaker 3 (05:44):
No problem? I see anybody with my set shot. I
want good money at your house, man. That's that's I
remember that day.
Speaker 2 (05:51):
Finally, that was the goal of that house was just
to have great memories and a lot of fun.
Speaker 4 (05:56):
Yeah.
Speaker 1 (05:57):
I walked through the house. I was like that house insane,
Bro was insane? You live here?
Speaker 6 (06:02):
Yeah?
Speaker 1 (06:03):
Yeah, doo doing pool?
Speaker 4 (06:14):
You saying that right. The funniest thing is when that
episode happened with ray J.
Speaker 1 (06:19):
He had just left my house, no way on everything.
Speaker 4 (06:23):
He literally was at my house for a couple of weeks,
and it was like white Rose Royce, black Rose Royce.
Speaker 1 (06:29):
That's when I had a white woman and a black one.
Speaker 2 (06:31):
That's when I had a white yeah, And it was okay,
we're not talking about a woman. We're talking about yeah
he was. And then he went with Mayweather and had
that whole I was like, Okay, ray get it baby,
popping it. Listen, I don't I don't care where you go
(06:53):
in the world. If there are three people in the
room having a conversation, they all had a moment with
ray J.
Speaker 1 (06:59):
Yeah, right.
Speaker 4 (07:02):
Now, it's funny to have a new thing called threads.
Speaker 1 (07:04):
Ray J is a threat. Ray J is the three
red is a thread.
Speaker 4 (07:09):
Everybody can be attached to something.
Speaker 2 (07:12):
Ray Yet absolutely be in this game. If you're not,
you don't know Ja, you ain't.
Speaker 1 (07:17):
You ain't really got ray Jack A little Ronnie.
Speaker 3 (07:21):
So let's get into the Let's get into the music,
all right, Let's get into the music, bro, Like, let's.
Speaker 4 (07:28):
Go back city.
Speaker 2 (07:29):
You know what I'm saying ribs and barbecue, ribs, barbecue.
Speaker 1 (07:34):
You know it's okay, I think it's Barbara. Don't do that.
Don't do that. It's cool now.
Speaker 2 (07:38):
It's everything from the everything, everything like everything. What are
you saying it's another barbecue plays in Kansas City. Are
you trying to go like barbecue or something is better
or something?
Speaker 3 (07:51):
I'm just saying, like, listen, I'm from Milwaukee, man, there
was a little.
Speaker 1 (07:55):
Never heard anything Milwaukee barbecue. You got Milwaukee Bucks, you
got Milwaukee barbecue.
Speaker 2 (08:03):
Because beer, y'all got bird, we got got bird, we
got bir AND's rib tips.
Speaker 1 (08:09):
It was second to none.
Speaker 3 (08:10):
And then well we had those into my My great
grandfather Paul Lewis used to get on that grill. Un
Norman used to get on that grill. I would roll
with you with that, I believe that. And they got
so by the time you know, you know, I go
to the famous places that you know, say they have
this city? Did they speak if they speak of the
barbecause I'm like I've had some home grown.
Speaker 2 (08:31):
Yeah, home is different. Is it from anything that's an
actual like establishment? Because your uncle, my brother ron Ryn,
little black ass get to work and I will say this.
I've been a lot of places and people that know me. No,
y'all both know I love to eat. I mean Gates, Fireman,
(08:53):
Gates fire I like Gates fire Man.
Speaker 3 (08:56):
I can't front on Gates. Maybe they had just pumped
it up so crazy for me that when I.
Speaker 1 (08:59):
Find got it, I was like, No, it's that thing?
Is that? Let me let you hold on to that.
Then yeah, let's go there. Let's let's go there.
Speaker 4 (09:08):
You want some sauce, because I got some sauce. You
go home with it and everything and put it on
your Memphis barbecue. I'm older, Let's get to Kansas City.
When was the moment?
Speaker 3 (09:21):
When was when did you figure out that you know
that you could do this and and possibly do it
at a high level.
Speaker 1 (09:33):
It was real early for me.
Speaker 4 (09:34):
I went to performing arts schools. So I went to
uh performing arts middle school. Then I went to see
high school. I actually went to performing arts schools my
whole really yeah, grade school, middle school, in high school.
Speaker 1 (09:47):
What was kind of like your major? I guess in
the sense music?
Speaker 3 (09:49):
Just music, yeah, musicians right alto sex yeah, okay, all state?
Speaker 4 (09:57):
Oh huh, middle school, high school, first year state.
Speaker 1 (10:01):
About the church, it's really band can't.
Speaker 4 (10:06):
And you know, Kansas City is known for jazz of course,
you know, so we had one of the top bands
in the nation.
Speaker 1 (10:13):
Can you beat Cosion playing the sacks. I will let
Cosion have sacks off, but I let him live. He said,
you live live, Let Coach live. Bring my sacks out.
Speaker 4 (10:31):
I'll be like Coach out there, you know, doing national anthems.
Speaker 5 (10:34):
Bro he.
Speaker 1 (10:36):
Don't want, don't want, he don't want that.
Speaker 2 (10:42):
Yeah, we'll get to that. Yeah, okay, performing, come on me.
Speaker 1 (10:48):
We actually had First of all.
Speaker 2 (10:51):
I'm a church nigga said that because I'm a church
nigga too.
Speaker 1 (10:55):
Yeah, before school in church.
Speaker 3 (10:59):
We just a badass church.
Speaker 4 (11:03):
So growing up, you gotta play whatever to make it
through Sunday service, you know what I mean. My dad's
incredible pianist, organist, father's a preacher, uncles or bishop's grandmother,
church state.
Speaker 1 (11:17):
Mother. It's all official. You know what I'm saying. Ko Church,
you know, so I had to had to play.
Speaker 4 (11:25):
What was great is my family is a pretty big
family in Kansas City, well known. So my teachers knew
my family and they wouldn't let me play the instruments
I played at church. So it was like, no, you
can't play. You got you gotta do something different. So
that was instilled in me and I started playing all
the wood winds. And then middle school we had a
(11:47):
program called Applied Technology Music Theory. We were basically making
beats on kate walk m.
Speaker 1 (11:54):
Hmm in middle school. So in a performing our.
Speaker 4 (11:58):
School, everybody got a group. Everybody's a rapper, everybody's a singer. Man,
somebody's like, yo, we heard you. You're making beats. Can
we get some stuff?
Speaker 1 (12:07):
Man?
Speaker 4 (12:07):
I sold my first beat for fifty dollars when in
middle school, I said, oh, this is popping.
Speaker 1 (12:14):
I made this in five minutes.
Speaker 4 (12:15):
You're gonna give me whole fifty.
Speaker 1 (12:21):
You was at the corner store acting up with that
fifty dollars. Man. It was honey on me, hub above,
honey buns on me.
Speaker 4 (12:28):
Well, you know it's an extra money because we already
made money playing at church.
Speaker 1 (12:32):
You know what I mean. Of the people that come
on the podcast, my pops.
Speaker 4 (12:38):
Pops did not play that, Like my pops will be like,
however you go in, that's how you go in. So
if you go in free, don't ever think about getting paid.
But if you negotiate from the beginning and get what
you feel is comfortable and they agree to it. You'll
be said, I should have played at your father. Yeah,
what wasn't no free baby do that?
Speaker 1 (12:59):
This church we do that. I got a bunch of
slave labor out of me.
Speaker 4 (13:02):
Yeah yeah, So I mean after I was doing all
that stuff for schoolmates and stuff like that, I never
forget my homeboy, Romeo Rondell. Here's a big barber in
the city. But he also had a label, and man,
he started buying all my beats, all of them.
Speaker 1 (13:23):
It's called barber shop records. Start buying records. I get it.
Speaker 4 (13:28):
Shout out to Romeo round now, Like he was the
first one that was.
Speaker 1 (13:31):
Like, yo, man, you gonna make it.
Speaker 4 (13:34):
He was like, your your music is musical. It's not
the regular stuff that's going on out here. He's like, man,
you're putting music in it.
Speaker 1 (13:41):
Like what year is this? This is.
Speaker 4 (13:46):
I graduated in two thousand and one, so this is nineteen.
Speaker 1 (13:52):
Who you in middle school? School?
Speaker 2 (13:56):
High school? All your yeah, buying beats? Are you making?
Speaker 4 (14:01):
I'm making him at Katewalk at this time?
Speaker 1 (14:03):
Right?
Speaker 4 (14:04):
So then what ends up happening again? Another when your
father plants seeds and do well with people.
Speaker 1 (14:13):
It was a cat named don Juan. He's a big producer.
Speaker 4 (14:16):
He did all Tech nine stuff, like he still do
a lot of people's a lot of Western as well.
So don Juan, my daddy put him on as a
drummer when he was younger, and he used to travel
with my father Sore was like intertwined family and everything.
So he was one of my favorite people, like who
I used to try to be, like playing drums and stuff.
(14:37):
So middle school, I asked one his cousin, I'm like, yo, Where'sdwan.
He was like, yo, bro, that's don Juan. Like he's
working with QD three Quincy Jones.
Speaker 2 (14:48):
Tech nine is his artist. I'm like, what he making beats?
So he gives me his number. I call him.
Speaker 4 (14:56):
I'm like, Dwan is this little Ronnie? He was like
big Ronnie Son like little little Ronnie. I was like yeah.
Speaker 1 (15:05):
I was like, man, I'm making beats. And then he
just like got silent, and I.
Speaker 4 (15:10):
Was like, what's wrong. He was like, Nigga, I didn't
put it two and two together. I've been hearing your
name around the city and I just didn't put it together.
He was like, tell your daddy brings you out to
my house right now, right now, right now.
Speaker 1 (15:28):
And he was in the suburbs. He was making making money.
Speaker 4 (15:31):
That bad Take nine, he's killing fifty seventh Street road dogs.
Speaker 1 (15:36):
Go out to his crib studios and home studio.
Speaker 4 (15:39):
Incredible MPC, three thousands, tritons, trinities, dat machines, everything you
can imagine, right And he looked at me his like, Yo,
Pops did wonders for my life. I'm gonna help you
out do the same thing. This is what you need
to do. I'm give you all my sounds to my MPC.
Speaker 1 (16:02):
You're gonna have.
Speaker 4 (16:03):
All the you know, that's a big thing starting out
as a producer, trying to use trying to use the
the trit and drums or something like that.
Speaker 1 (16:12):
I hate it.
Speaker 3 (16:13):
Sound bro gave me. He was like, you have to
pay for those sounds. The people were selling sound packs.
No it was it was crazy. So he basically gave
me the blueprint. He's like, get you a trite and
get you this, get you that. And then I was like, yo,
this shit is spensive. So I had to get a job.
Speaker 4 (16:32):
I worked at white Castle's churches.
Speaker 1 (16:34):
Chicken they was all at one was a.
Speaker 4 (16:37):
Lifeguard and that was the difference too, Like all your
friends be like, bro, why are you why are you working?
It's like, man, how I'm supposed to pay for this equipment?
So just start hustling.
Speaker 3 (16:48):
But that's where the hustle starts, right, And that's where
you identify whether you're serious about this ship or not,
whether you really got passion for what you're willing to do.
You know what I'm saying in terms of doing what
you have to do to get to what you want
to do, right.
Speaker 4 (17:00):
I tell producers all the time how easy they have
it right now, like that you can just.
Speaker 1 (17:06):
Go get some drums off of a website, like you
don't have so accessible.
Speaker 4 (17:12):
You don't have to hook no many time piece up
to your MPC and started with your triton and try
to figure out it's insane.
Speaker 3 (17:21):
I bought a music store was going out of business
and was selling like all of their CDs for like
on like fifty cent or something like that. I bought
like four moving boxes of CDs from them, and I
would just have sampling days all day.
Speaker 1 (17:44):
I would just sample from no CDs.
Speaker 2 (17:47):
Trying to find an open spot for that that snare
or just or just a sound or just an eight
bar thing that nobody had ever heard before.
Speaker 1 (17:56):
Like just getting that, trying to get that.
Speaker 3 (18:03):
Yeah, not on the mouse and dragging it and dropping
it in and it just automatically sinks up formats to
the to the tempo.
Speaker 1 (18:15):
What came from a different day. It's crazy, super crazy.
Well it wasn't.
Speaker 3 (18:20):
You couldn't just put it in another key, yeah, because you.
Speaker 1 (18:25):
Felt like you know what I was talking about.
Speaker 4 (18:27):
To one of my interns, I was like, bro, y'all,
y'all got YouTube, y'all can look something up and someone
else will tell you how to.
Speaker 1 (18:36):
We had to open up the manual and read all
the words. We didn't even know.
Speaker 2 (18:41):
What they meant or know somebody and go to their
house and sup with them for a week. But but
the older guy that'll be irritated if you're trying to
call them, like he's like, hey, bro, read the book.
Speaker 1 (18:52):
First, like that, that's on like the first two pages.
Speaker 3 (18:57):
I'm talking my daughter the other day because we're just
talking about like just things that she wants to do,
like on social media, and I said, you are so
blessed to live in an age. First of all, I'm
happy that you're asking these questions. I'm saying, you want
the information. I was like, unfortunately, some of this information
I don't have. I said, but guess what, there are tutorials,
(19:19):
thousands of tutory on how to do anything.
Speaker 1 (19:25):
Yeah you kidding me? Yeah, it's crazy. I say.
Speaker 3 (19:28):
You are young, you are still absorbing. Search out the
information you want and download that information. Yeah, I wish,
I wish we have, man.
Speaker 1 (19:45):
What that's how our pers were talking to us.
Speaker 2 (19:48):
If y'all had right now, this is the truth though,
it is it is if I could take this information.
Speaker 1 (19:56):
Back then the twenty four year old me, it's crazy.
Speaker 3 (20:03):
Or if I could bring the twenty four year old
me with that talent and that drive and that space
to this space right now, I was a maniac.
Speaker 1 (20:12):
Yeah yeah, it's super crazy.
Speaker 4 (20:15):
So after don Jan gave me the game, then it's
just like I think, while me and Jay became like brothers,
because like Kansas City and the Bay are like intertwined.
For sure, It's it's crazy, like the city is a
West Coast mob beat tight, you know what I mean?
(20:39):
So what ended up happening like Young Mouth of be
over my house, Mac dre oh bro I had like
Pops had to come to me one day, it's like niggas.
You selling drugs like these niggas coming in with all
the gold teeth and slanging beats.
Speaker 3 (20:57):
You get your jobs right, you get your money together right. Okay,
what equipment did you buy?
Speaker 4 (21:02):
MPC three thousand was my second purchase. First purchase was
the Triton. Did you did you try to learn the
sequence on the tripe? Had to had to. My setup
was sequence in the Triton and basically have it control
the MPC trigger, so when I pushed start on my Triton,
(21:24):
it'll triggered up my drums.
Speaker 1 (21:27):
Yeah, so you just have to have a little for
the eight bar loop on the drum, and like you
set up you.
Speaker 4 (21:35):
Know, then you you elevate this a little bit more money,
get that Proteus two thousand and more.
Speaker 2 (21:40):
Fat, but you just got the regular stock. Yet you
can't afford them.
Speaker 3 (21:49):
We used to kill me as you start talking about
those modules. When I first met Timberland, I understood why
he was well. I mean, of course his brain works different,
but I also understood the other advantage he had over
all of us.
Speaker 4 (22:06):
He got everything first unlimited.
Speaker 1 (22:08):
I didn't know this was a until I would buy
a rack.
Speaker 3 (22:15):
That came out maybe two years later that Timberland had
already used the sounds.
Speaker 1 (22:22):
You used all the good sounds already. It already used
the good sounds.
Speaker 3 (22:26):
I'm like, man, I wasted money. It's like two sounds
in here. But you got the racks going and so
and so when it okay, he gave you the game.
You were already selling fifty dollars beats. When do you
get to that next level where these guys are coming over,
because the guys you're naming our guys.
Speaker 1 (22:46):
Yeah, they the five hundred dollars level. They give you
that five hundred How did you get there? Though? How
did they know? How did they hear about you? Just
basically through the connections.
Speaker 2 (22:57):
Yeah, been in the city because you know, you got
a small city. So all the rappers start and all
the rappers from the Bay they go to Kansas City
to perform.
Speaker 4 (23:05):
It's a huge market for Bay Area artists.
Speaker 2 (23:08):
So if you got a record that's breaking in the Bay,
it's breaking in Kansas City.
Speaker 1 (23:13):
It's just a.
Speaker 2 (23:13):
Sister city in Kansas City and Detroit. Me from the Bay,
you know what I'm saying, Like Eve forty two short
be legit every saying Quinn, all of these artists that
were huge in the Bay and were staples there.
Speaker 4 (23:33):
Kansas City was an immediate.
Speaker 5 (23:35):
Go to, okay, like.
Speaker 4 (23:48):
You had to go there because our two big rappers
at the time was Tech nine and Risk the Factor.
Speaker 1 (23:54):
So they were like everywhere, you know what I mean.
Speaker 2 (23:57):
And they do shows together they like it really is
they sister cities for the most point, I mean for
the most part.
Speaker 4 (24:02):
Yeah, so it got it got jumping pretty fast.
Speaker 2 (24:06):
But like they had money, so it wouldn't they would
come by one beat, They'll come by ten at a time.
Speaker 4 (24:14):
Because at that independent game, they told you at this point,
I'm like sixteen.
Speaker 1 (24:21):
Tell them five dollars beats. I'm rich.
Speaker 2 (24:24):
Yeah, yeah, you in the bundle as a bundle too though,
I'm rich ten of them, so five thousand, sixteen, I'm
killing them.
Speaker 1 (24:32):
Oh yeah, he was cooking. I'm rich. They can't tell
me nothing.
Speaker 2 (24:36):
What was your first outside music purchase? J was getting
to ask you to beat them to.
Speaker 4 (24:40):
It because you ain't got no rent, no, And I was.
I was scared because because Pops was like, okay, if
you ain't selling drugs, like how much money you making?
Speaker 1 (24:53):
Right?
Speaker 4 (24:53):
So I got scared I'm like, man, this nigga ba.
Speaker 2 (24:55):
Take my money tation Yeah, And he was like, nah,
just show it to me. So I showed him like
ten fifteen thousand, and he was like, man, I'm proud
of you.
Speaker 1 (25:05):
I ain't gonna ask you for the rank. I want
you to be here safe. You know what I mean.
Speaker 4 (25:08):
It's like keep on going. It's like, as long as
you're getting your money support.
Speaker 2 (25:13):
Who would you buy bro more No outside outside of
you bought nothing outside of music.
Speaker 1 (25:20):
No, because Kansas City is dangerous.
Speaker 4 (25:22):
I could Yeah, it is what you about to do, right,
Like no, I would just buy more equipment than you
got digit double O one And that was like that
that that till Macintosh.
Speaker 1 (25:36):
Yeah, fat back, which fa back? What I'm saying with that,
did you double one? Did you get the inbox two?
You got the inbox pro to inbox? Wasn't it was?
Speaker 5 (25:45):
It was?
Speaker 1 (25:45):
It was digit double? What it was? That was like
the first two channel you know, you had your mic
do it and everything.
Speaker 4 (25:54):
Then I started the studio business. It's fifty dollars an hour.
Where was it at the house?
Speaker 1 (26:01):
So you were you was you was engineering the whole thing, man,
mac dre all of them in there. I'm engineering and
probably just letting you do your thing.
Speaker 4 (26:11):
It was a musical house, so it was always loud music.
Speaker 2 (26:14):
Yeah, so rap music different. It's different and the element
is different.
Speaker 1 (26:19):
But when popsy, you're making money.
Speaker 4 (26:21):
Money that's coming in, make it to get to it.
I'd rather you be here in my house and I'm
making sure everybody good, you know what I mean.
Speaker 1 (26:29):
Then you be going to their studio, have them come
to the house.
Speaker 4 (26:33):
Yeah, And where are y'all living in Kan City suburbs?
Speaker 1 (26:37):
In the hood.
Speaker 4 (26:38):
Wasn't no suburbs. We didn't get out of suburbs. So
I started making some money.
Speaker 1 (26:42):
Where's in the hood?
Speaker 4 (26:44):
Straight up? Niggas was pulling up that they need that.
Speaker 1 (26:50):
That's crazy. Need that heatga, that's crazy.
Speaker 2 (26:54):
So you're doing all this middle Kansas City in the
hood sixteen seventeen. Yeah, Are you already focused on getting
out of KC and kind of going to the big
leagues onto some LA Miami, New York, Atlanta play yet?
(27:18):
Or are you still just like, you know what, I'm
getting money in KC. I'm not focused on that. Yeah,
I was.
Speaker 4 (27:24):
You always have that in your head, but you don't
have to know how and you don't have the connections
just yet.
Speaker 1 (27:32):
So it's like, if I keep.
Speaker 4 (27:33):
On building up, niggas go hear about me, you know
what I mean. So I kept on building, kept on building.
And then when you build yourself up in your city,
you start getting favor from people, you know what I mean,
the security guards.
Speaker 1 (27:48):
You can get backstage. Oh that's a little Ronnie.
Speaker 4 (27:51):
Then that started giving me opportunity to meet the celebrities
when they would come in. And then I had the
advantage of having cousins that were signed to R. Kelly, Oh, Keith,
because Keith Forrell, you got Marlin, you got Bishop Young down,
you know what I mean, Ernest Dixon, you know, so
(28:13):
they had already had that experience, but then they were
back in the city, like you got to understand Bishop
Ernest Dixon wrote.
Speaker 1 (28:23):
Stutter yeah, you know.
Speaker 4 (28:25):
For Joe, yeah, he wrote, liar, You're a cheater, you
know what I'm saying.
Speaker 1 (28:30):
So it was like bro Idea.
Speaker 4 (28:32):
When he would pull up, he had that. That's when
the navigator first came out. You spent that one hundred thousand.
I'm doing this.
Speaker 1 (28:40):
He rich for real. So you had that right and
they will.
Speaker 4 (28:47):
Always come over, you know, what I'm saying, and we
would make music and do different stuff.
Speaker 1 (28:53):
And what's crazy is they were R. Kelly fanatics. I
didn't even like R. Kelly his music then.
Speaker 4 (29:01):
I mean I didn't get it, you know what I'm saying.
I was like, bro, he all right, how are you
six things?
Speaker 1 (29:09):
Yeah?
Speaker 2 (29:10):
And I really didn't listen to secular music like that,
not because my parents were strict and said you couldn't
listen to it. The guy had to rehearse, so I
would just be listening to gospel music or playing jazz
or playing classical. So we're in the same place, yuh,
except he was doing music for the Bay Area rappers to.
Speaker 1 (29:29):
That, right. I mean he had that element. But I
know why he didn't get R.
Speaker 3 (29:33):
Kelly at first because he was still a purist as
a musician, you know what I'm saying. And he was
still very much in that element. So when I first
heard Kelly, I was like, this is dude's singing flat,
sure's all over the place. What is this like?
Speaker 1 (29:47):
It didn't.
Speaker 3 (29:48):
I didn't catch it at first, and then one day
I was like, oh, he's awesome.
Speaker 1 (30:00):
Yeah, he's that guy.
Speaker 4 (30:01):
He's that guy.
Speaker 1 (30:03):
And I used to.
Speaker 4 (30:06):
Listen to a lot of unreleased records because they would
have you you know what I mean, Like, man, it
was a version of I Believe I Can Fly that
I don't even think people have ever heard like it
just went to ten different places and was like a
full story. So with them having that experience, you know
(30:26):
what I mean, they would come in and write with me.
So with me and everything they had got out they
deal with R. Kelly, they were back home. Then that's
when the opportunity came with Jermaine Duprix, So basically JD.
Speaker 1 (30:40):
We ended up getting backstage. It was a screen tour
and my cousins they sung for JD.
Speaker 2 (30:47):
JD was like, Yo, niggas called the niggas called talent.
Speaker 1 (30:51):
Yeah, talent niggas called you know they on the what
the tupacs on. That's just the way it is. That's talent.
Speaker 4 (30:59):
And Jermaine was in between his deals at the time.
He had just left Sony and then he ended up
getting this deal at Aristo right with La, So he
was like, man, it's my word.
Speaker 1 (31:10):
Once I get my next deal, I'm gonna come back
and rock with y'all.
Speaker 2 (31:14):
And he was like, and we forgot the shout out
earl Oh we forgot Yes, yeah, to me, he was
he was the jojo of their group. Absolutely, he was
the jojo of their group in my opinion. So yeah,
I got guy too.
Speaker 4 (31:28):
So we go through that whole situation and Jermaine actually
comes back and he was like, who's doing all your music?
Speaker 2 (31:35):
It's like our cousin and that that's what put put
me on to that next level. Now, when I got
on that website as a social dead producer went up
that that's what happened.
Speaker 4 (31:49):
That's what happened.
Speaker 1 (31:50):
Okay, so they added your name to the production crew
they had.
Speaker 4 (31:55):
So now I'm in Kansas City, Yes, signed to So
So Dead. Yeah you want be so Death?
Speaker 1 (32:01):
You walking around different?
Speaker 4 (32:02):
Oh it's different you walking around You still an eighteen
year No, I love it.
Speaker 1 (32:09):
Shout out to my man Chuck.
Speaker 4 (32:11):
Two for five Yeah, you know yeah, two for five,
two for five, it was it was yeah, it was
two pictures for five dollars. I'm telling you, man, you
gotta learn how to hustle.
Speaker 1 (32:24):
You gonna be all right, You're gonna be all right. Yeah.
Speaker 4 (32:30):
So it was like, man, my family had did so
many solids for a lot of people. Like when I
was coming up. Everybody just wanted to help and support,
you know what I mean. So that's the that's the
Karnas City, just man.
Speaker 3 (32:44):
But yeah, so let's get me whereas Jay's trying to
get to how do you get out of Kansas? What
is that move? Is there is there a record or
some success that prompts you to make that move or
is it just like I'm feeling like I need to
be in a space where bigger things are happening.
Speaker 4 (33:05):
No, that that move came naturally. But once we got
the deal with JD, it was like, oh, we got
to figure out you know, Atlanta.
Speaker 1 (33:14):
It was more or less. So you went to Atlanta
first before you came to La. Yeah.
Speaker 4 (33:18):
Remember I had already bought a house here.
Speaker 1 (33:21):
Oh yeah, you did have your spoty.
Speaker 4 (33:23):
Yeah, I had a house even before I came out
to La.
Speaker 1 (33:26):
Yeah.
Speaker 4 (33:27):
Yeah, My first house was like two hundred and fifty thousand.
Speaker 3 (33:30):
You know, I remember when houses was that. I remember
because Karen and Jimmy, you know, when they was playing
with the Falcons, they both they both had those houses.
Speaker 2 (33:41):
I was like, man, I want you believe in these houses. Yeah,
this was like two somethings and it.
Speaker 4 (33:44):
Was like what Yeah what Yeah, yeah.
Speaker 1 (33:48):
Like four thousand square for the houses. I was saying,
what is what? It's crazy?
Speaker 4 (33:54):
Yeah, so this is part of that. Now you're trying
to figure out how to move, move and beat down
where because now you have access absolutely. And that's how
me and Bao became so close because we was the youngest.
Niggas said so so deaf, you know what I'm saying.
And he'll be in there mad JD in there with
Usher and Mariah and he's like, man, nigga won't give
(34:15):
me no beats. I'm trying to write my own songs.
I'm like, bro, I make beats. He like, you got
studio too? Yeah, then we got to it. So that
was the So what was your studio when you got
you got when you got to Atlanta? It was in
my house. In the house, I had a nice bread
Yeah I remember, it's nice. Got the studio, I already
(34:38):
got all my equipment.
Speaker 3 (34:39):
Yeah you know what I mean. So now it's just
a beautiful beat maker, engineer song.
Speaker 1 (34:44):
Right, let's go.
Speaker 2 (34:46):
So how much time do you spend in Atlanta before
you come to l A Atlanta?
Speaker 4 (34:52):
It was just working, having having a place and the
connection again Damon. Tomman comes in the picture because he
knows my cousins right.
Speaker 2 (35:03):
Because he they were they were with Damon before they
were with R Kelly.
Speaker 1 (35:08):
Correct.
Speaker 2 (35:08):
So that story is, you know, I was at the
house today they dated car service came.
Speaker 1 (35:14):
I was there, So you go tell the story.
Speaker 4 (35:16):
I'm gonna let you.
Speaker 1 (35:18):
You jump in. Yeah, yeah, it was great, was great.
Speaker 4 (35:21):
There was a battle between signing with Babyface or signing
with R Kelly.
Speaker 2 (35:27):
Yeah, somehow R Kelly wins. A car pulls up in.
Speaker 1 (35:32):
The middle of the middle of the night, in the
middle of the night. I woke up. The niggas was
gone because we're all there.
Speaker 2 (35:40):
We are studio house. It's a whole niggas boys club
that we when when working.
Speaker 4 (35:46):
This is ninety.
Speaker 1 (35:52):
Something like that. Yeah.
Speaker 4 (35:52):
Yeah, this had been the second time in La at
Damon's house.
Speaker 2 (35:56):
Yeah, and they about to sign, They about to sign
with Babyface, and you know it's deal is done.
Speaker 1 (36:04):
It was done. But them is my niggas.
Speaker 2 (36:09):
We didn't created our own friendship bond as brothers.
Speaker 1 (36:13):
Niggas like nig KALs doll.
Speaker 4 (36:18):
You know, Nigga Country can't see nigga.
Speaker 2 (36:21):
The nigga kells dog kill I'm like, y'all really about
to just y'all about to go to Chicago. Y'all out
like man, that car cup Nigga we count I'm like, nigga,
y'all about this pretty much signed tomorrow, Like y'all pretty
much about to sign y'all deal tomorrow. Y'all have met
with baby Face. Baby Face love y'all. It's a rap nigga.
(36:44):
He about to he ain't or killy nigga. You know,
they was gone, car came. Nigg I woke up, I
probably you know, I rise early, Nigga. I'm up early,
(37:04):
no matter what time I go to sleep. By the
time I woke up cracking dawn, them niggas was out.
Speaker 1 (37:11):
I'm looking around. I'm like, and I already know what's up. Nigga.
Speaker 4 (37:16):
Damon, He's like, nigga, who the boys asking?
Speaker 1 (37:19):
They gone bro out cold.
Speaker 4 (37:25):
So there was probably on a six a m to Chicago.
Speaker 1 (37:28):
Left left at fall, left to get there two hours before.
Speaker 2 (37:32):
Yeah, they gone, they gone. Next time I talked to him,
they called me. They did in Chicago, laughing.
Speaker 4 (37:39):
We just hooped, Nigga.
Speaker 1 (37:40):
We just finished rub Nigga gone gone. So that's the
that's the connection. From from Damon.
Speaker 4 (37:49):
So you know, they like, oh little Ronnie, he popping
in the city like it's going down.
Speaker 5 (37:57):
Ye know.
Speaker 1 (37:58):
He was so so deaf, blah blah blah.
Speaker 4 (38:00):
Damon calls me and he like talking shit, Damon, Man,
how you go be from the hometown in Kancity and
you're supposed to be the hottest nigga.
Speaker 1 (38:10):
Nigga, I'm the hottest nigga. I'm from Kansas City. He like,
you need to be down here with me, nigga. I'm like, bro,
what you be be down there with you? He was like,
I'm like, bro, I'm with j D. Look at the charts.
You need to be down here.
Speaker 2 (38:27):
I was like, all right, man, I'll fly down there.
So I end up flying down there. Nigga didn't come back.
Speaker 1 (38:34):
You just didn't come back.
Speaker 4 (38:35):
Well, I had a house here, you know what I mean.
Speaker 1 (38:38):
Yeah. It was just like once you got there, you
was like, okay.
Speaker 4 (38:41):
It was a different experience, man. It was like, and
this is how I met Ja, Like my first day
up there. Jade the youngest nigga there.
Speaker 1 (38:52):
Right, I'm his.
Speaker 4 (38:52):
Little country nigga for Kansas City. I'm coming in and
Damon immediately says Jay I need you to.
Speaker 1 (38:58):
Take care of him. Yeah.
Speaker 2 (39:01):
So from then, you know, we fire heat from the
bab I'm like, nigga, everybody be at my house, all
the niggas. I'm like, oh, man, that's the homie, that's
the homie, that's my cousin.
Speaker 1 (39:12):
Yeah.
Speaker 2 (39:13):
So it's like we instantly became and then I also
knew the group that's his actual cousins, so we just
had an immediate bond.
Speaker 1 (39:23):
Yeah. Yeah, so it just kind of it kind of
went from there.
Speaker 2 (39:27):
Is that when I met him or was that after
now you met you met him around the same time
to the same time, Yeah, right, the same time.
Speaker 4 (39:33):
Yeah, yeah, that's what man. That that building was amazing.
It was amazing.
Speaker 1 (39:39):
It's amazing. Listen.
Speaker 4 (39:41):
I remember going there because I was making money but
I hadn't had any major hits yet, right, And I
was just in there talking to Tony one day, Tony Dixon, man,
and I was just looking at his plaques and looking
at everybody stuff, and I was like, bro, I just
want a plack.
Speaker 1 (39:58):
I just need one.
Speaker 4 (40:00):
And I'm telling you, if I get one, I know
how to make it.
Speaker 1 (40:04):
You know what I'm saying.
Speaker 4 (40:05):
I'm a multiplied I know how to do it, and
Tony looked at me and started laughing. He was like,
be more concerned with the business. Your plaques are gonna come.
Take care of your business.
Speaker 1 (40:19):
And that stuck with me.
Speaker 4 (40:21):
Wow, like all this them plaques, Nigga. You can have
a plaquea and no money. You can have a lot
of plaquesa no money, a.
Speaker 1 (40:29):
Lot of plaques and no money.
Speaker 4 (40:30):
But if you take care of your business, you will
survive longer than anybody. And that's that's really been my model.
I ain't never even told Tony that, Like, that's been
my whole model.
Speaker 1 (40:41):
Wow. Yeah, you have to watch your business man.
Speaker 2 (40:47):
I tell people every day I'm not in the music,
and that's what got him kicked out watching this business.
Speaker 1 (40:52):
Watch.
Speaker 4 (40:54):
So yeah, let's let's let's let's let's move along to.
Speaker 2 (40:58):
Because when you've got there, because here there are to
be money podcasts.
Speaker 5 (41:02):
We like to give.
Speaker 1 (41:05):
The truth, the whole truth, and nothing but the truth.
Absolutely so helped me.
Speaker 2 (41:09):
So help God God, because I can, I can, I
can attest for this. You showed up with Sorry two
thousand and four.
Speaker 1 (41:18):
Yeah, fully done.
Speaker 2 (41:20):
I remember this because I was like, that record is crazy,
this little because that Nigga had that record. And that's
what Damon was like, Nigga, you gotta hear this record.
Speaker 1 (41:35):
He got Nigga pushed player. I said, man, what the fuck?
Who wrote that? Eric Dawkins, Tony Dixon, He had the
whole the whole crew. Yeah, the whole crew. I had.
Speaker 2 (41:51):
The beat was made. Had the beat made? Yeah, so
not that I'm sorry, Yeah, the beat of it was.
And then the guys got to it and did that
ship to it because you noticed that didn't sound like
an underdog record. It's a little bit, a little bit different.
Speaker 1 (42:07):
It became it was a shift. It was a shift.
Speaker 3 (42:12):
It became the sonic though, it became part of the sonic,
you know what I'm saying, Like, wherever you brought to it,
it was now, okay, we're gonna move forward with this,
just saying with.
Speaker 1 (42:25):
Just saying, but that's also that's also smart business for.
Speaker 2 (42:32):
The team itself, for the underdogs themselves and ourselves to
being able to adjust and you know too, where music
was going. And it took yeah, and it took an
eighteen nineteen year old to come in there who really
didn't know. Yeah, you didn't know.
Speaker 4 (42:50):
You gotta be got some music making beats in the hood.
Speaker 2 (42:55):
You know what I'm saying, but it and damon being
able to identify sonically day man, Harvey, Damon identifying you,
Harvey identifying the sonic of it, and like you said,
that turning into a shift into how the building sounded
after that, because it definitely was. It definitely was a shift.
(43:16):
There was a shift that happened. It's crazy, said, it's crazy.
Speaker 1 (43:23):
It's crazy. Give us that process, give us that process.
Speaker 2 (43:33):
You come in there, you got this track, and now
these songwriters that you've heard their songs, you heard, you know,
things that they've been doing. These producers, they hear this song,
and now everybody wants to help you finish this.
Speaker 4 (43:48):
This was the most amazing experience I had ever had
because you're just not used to seeing people work together,
like bounce off each other, you know what I mean.
Speaker 1 (44:01):
You got Eric Dawkins and you're from the church too,
so yeah, this need to know some monster in the building.
I was like, monster, bro, you you write R and
B two. I didn't know.
Speaker 4 (44:17):
I knew who he was, but I didn't know the
position he played. And seeing everybody and what was cool? Right,
everybody in there were basically hybrids could write songs and
make beats everybody. Everybody had their niggas could really finish
(44:39):
the songs by themselves.
Speaker 1 (44:40):
But it was this thing.
Speaker 4 (44:42):
You walked past somebody's room and you heard that, and
then all of a sudden, the group was just everybody migrate,
migrate to.
Speaker 1 (44:49):
The room like this one. This one was yeah, yeah,
pull up some bells.
Speaker 7 (44:56):
Yeah.
Speaker 1 (44:57):
Like it was like the craziest collaboration was.
Speaker 4 (45:00):
It was so cool, bro it was the coolest thing
I had ever seen because you're just not used to
seeing people collaborate like that. And everybody had they had
their positions, you know what I mean. So I was
just like, brodymon gave me, gave me a room. I'm like,
oh my underg it's all. And then just to see
the star power that was going through there.
Speaker 1 (45:22):
Yeah, and I had that first room.
Speaker 4 (45:26):
So a lot of them will hear something, just peep
in and I'm like, oh, ship, that's Tony, b.
Speaker 1 (45:31):
Oh, oh, that's Jojo Oh. Tanky's up here every day,
like and we're playing Halo.
Speaker 2 (45:42):
Absolutely Halo that she used to make my head hurt.
I'm like, you niggas, yeah, no.
Speaker 1 (45:47):
It's crazy. And I just seen Tyree in the parking lot, right,
it was. It was nuts.
Speaker 4 (45:54):
Every artist you could think of, everybody you.
Speaker 1 (45:56):
Can think of, so man, that time it was crazy.
Speaker 4 (46:01):
But the experience I tell anybody, the underdog situation really
taught me how to make songs.
Speaker 1 (46:12):
I went a beat maker. By the time I was done,
I was a full producer and a songwriter. Speaking of
your time, time wasn't very long. It wasn't what happened, Jay.
Speaker 2 (46:31):
It was so.
Speaker 1 (46:34):
Back to the business.
Speaker 4 (46:37):
Sorry, two thousand and four had came out, and at
that time, what it was only the second American idol.
Ruby was the same. So it was the biggest thing
in life, biggest thing in life. And after they seen
my percentage on the record, every publisher in the world
(47:01):
was on my phone. And I had a brother that
I could.
Speaker 1 (47:05):
Talk to him right there.
Speaker 4 (47:08):
It was him who was was it Chuck?
Speaker 1 (47:10):
He was in a position, Chuck Chuck.
Speaker 4 (47:14):
So I had all these people to bounce off of,
like I mean, because I wasn't signed to the Underdogs,
you know what I mean. I was actually signed to
JD but they never gave me advance or anything like that.
So that had a time period which I didn't care
because I was able to do what I needed to
do just off the name, like and some people need
(47:37):
to realize that too. Sometimes it ain't about the money,
It's about the position you put in to make money,
you know. So everybody's calling, I'm talking to Jay. I'm like, bro,
they trying to get me such and such and this
and that, And then just so happened. Probably the next day.
Eric Dawkers is in a room and he just had
(47:59):
a check, like just laying on the table, and this
was the biggest check I had ever seen in my
entire life.
Speaker 1 (48:07):
And I was like, bro, what is that check from?
Speaker 4 (48:12):
He was like, oh, Christina Aguilera, I you can make
that type of money off music. He's like, yeah, man,
just just stay focused and.
Speaker 5 (48:21):
Keep on going.
Speaker 2 (48:33):
But nigga, you got records and you've done some great things.
And this is the R and B Money Podcast, and
yes there's money in that, and yes we've we've established
that you've done well for yourself. But let's tell these
people about these records and these stories behind these records.
Speaker 1 (48:48):
Let's go.
Speaker 2 (48:49):
Let's get we talked about sorry two thousand and four,
let's get into Uh, I'm a flirt, Okay, I'm a
flirt because there's some you know, I'm a flirt was
on multiple artists.
Speaker 1 (49:04):
It was how the fuck did you get multiple checks?
Let's talk about that. Let's talk about all right.
Speaker 4 (49:16):
So, like I explained, Bow Wow was my ace right,
still still my brother at the time, Like I said,
We're making beats, were making songs, were finishing his album,
and I ended up getting a relationship with R.
Speaker 1 (49:35):
Kelly, Like got those calls you know what I mean.
Speaker 2 (49:38):
Well, my managers at the times the best friends with him,
Rocky Bivins, Latasha Scott's husband, and he was great friends
with him.
Speaker 4 (49:48):
Hooked us up and Rob fell in love on my
production and he was like, let's let's go right. The
first track I sent him was I'm a Flirt.
Speaker 1 (50:00):
So I asked Bow. I was like, Yo, you want
to do a song with R. Kelly. He's like hell yeah, right.
So I send the track to Rob.
Speaker 4 (50:10):
He literally hits me back in like three hours and
he was like, it's a boy, said nigga, Nigga, what
what are you talking about?
Speaker 1 (50:22):
It's a boy? Nigga. I called Hit Records my children,
and it's a boy. He said, I'm gonna have able
send it to you right now, Nigga, I play that song,
I fall out on the floor.
Speaker 2 (50:43):
So when he sends it, is does he send a
full song or does he just send the hook back?
Speaker 1 (50:48):
He said, he sends the hook.
Speaker 4 (50:51):
And he says, give him another couple of hours.
Speaker 1 (50:54):
Uh he no, he asked. He said, do you want
me to put a verse on it?
Speaker 5 (50:59):
Hell?
Speaker 4 (50:59):
Yeah, I want you to put a verse on it.
He's like, all right, give me a couple of hours.
Speaker 1 (51:03):
Nigga I called Bao. I was like, Bro, he did it.
He's like, Nigga, you line.
Speaker 4 (51:10):
I was like, nah, bro, he did it. I was like,
I'm headed over to the house. I'm about to play
it for you.
Speaker 1 (51:15):
Nigga playing for bow.
Speaker 4 (51:17):
This Nigga like, Nigga, is it this a motherfucker single?
And he's he's proud because now this is a moment
that JD didn't do the beat. JD didn't write the song,
like he's bringing a hit record to the table. So
Bao drop his Uh, I'm gonna get into details, Bao
(51:39):
drop his verse.
Speaker 1 (51:40):
We sent it back for Rob for approval. Bow Wow
says a line that Rob said.
Speaker 4 (51:49):
On his part right and that nigga Rob called me
and said, hey, man, tell that nigga write his own shit.
Speaker 1 (51:56):
That's my goddamn line. Tell him he write it. Ship.
Speaker 4 (52:02):
Hey, niggas reference me, Hey, yeah, yeah, go ahead and
rewrite that part.
Speaker 1 (52:06):
So rewrite it. Rob like cool, It's like it's a smash.
Speaker 4 (52:11):
It's like congratulations, young niggas like y'all, y'all got what
We take it back to.
Speaker 1 (52:18):
Jd uh KP and they just kind of like like
kind of it's cool.
Speaker 4 (52:27):
It's cool, right, So I'll go into his superstar mode
called Mom's managers like these niggas hating this is the
fucking single.
Speaker 1 (52:38):
This is what I want my single to be.
Speaker 4 (52:39):
Boom boom boom boom and the powers to be was
just like no, said no, and end up putting the
song on a hidden bonus track on a Walmart version
because you know you used to have version. We know,
we know I got I got a hidden bonus on
(53:02):
my way.
Speaker 1 (53:07):
Hitting bonus track was the target version or our best.
Speaker 2 (53:10):
You know, I don't like my verse, niggas, Do you
like that bro's you know these niggas right, niggas, partition
is up right now man, Walmart version, Walmart version, So
let let the manager sing on your record, and it's
(53:32):
the treat grateful you let her retired niggas sing on
your song. I should have called him and said, niggas
a boy. So it's on a hidden bonus track on
the Walmart verse.
Speaker 4 (53:52):
Put an R Kelly record on a hitting R Kelly's height.
Speaker 1 (53:58):
That wasn't the worst part about it.
Speaker 4 (54:01):
After you put this man he has a side protection one.
Speaker 1 (54:03):
You can't even do that.
Speaker 2 (54:06):
The nigga hit me like, first of all, they didn't
put the shit out as a single because at that
time I didn't know, you know how it goes.
Speaker 1 (54:16):
He was about to have a single out, so Rob
fuck with me so much. He was like, Hey, I'm
gonna get them to push that out.
Speaker 4 (54:23):
Just make sure it's a single because my single is
about to come out, and after that comes out, ain't
gonna be no more features, you know what I'm saying
for that time period, so records are not compete with records.
So I was like, cool, So the powers would be
do they thing put it on a Hitten bonus track.
I love saying that hitting bonus track Walmart version and
(54:45):
that nigga Rob loses it, And he only didn't lose
it because they did that they didn't send a man
his money, they didn't pay R Kelly.
Speaker 1 (54:57):
He was like, man, I ain't got my money. These
is disrespectful. I'm gonna show him what it is.
Speaker 4 (55:04):
And that nigga took baw Wow off called tea pain Uh.
Speaker 1 (55:10):
Ended up being collateral damage in a sense.
Speaker 4 (55:12):
Yeah it wasn't It wasn't his, but but the fucked
up part was like, they try to put that shit
on me like I did something like I went and
sold the record twice to R Kelly And it was
like for a while, man, like they had put a
big dent in me and balace relationship because you got
(55:35):
somebody that he's been with his whole career put him on.
Speaker 2 (55:39):
You get what I'm saying, I'm the new nigga. Like
we best friends. But as somebody telling you something.
Speaker 1 (55:45):
So how was he able to record the record and
put it out? This is the remix?
Speaker 6 (55:56):
Ah?
Speaker 4 (55:57):
Not only that it worked out that R c A
and Sony is the same, it was the job and
Sony they're all up the Umberella. So nigga, this is
an internal call of and he is R Kelly is
who he is?
Speaker 1 (56:14):
Our bow wow? What do you mean? And it's just
a hidden record on there. Anyway, y'all didn't use it.
This is the remix now.
Speaker 2 (56:26):
Hm, and it's my single and he wrote the record
anyway now because it was a new master, I did
get paid again because it was two separate masters, Yeah,
I did. And that one was a lot different, a
lot different. When we has no drama behind it. There's
(57:03):
no drama behind when we is it now outside of
them telling us that is it gonna work?
Speaker 1 (57:12):
Yeah, I guess that's some drama.
Speaker 2 (57:13):
No, that's big drama because now you're fighting, you arguing,
you are out on the limb, basically alienating yourself and
going against the grain.
Speaker 1 (57:23):
Yeah, that's true. That's drama because if it don't work, yeah,
so you're going with it.
Speaker 8 (57:42):
Just look at that nigga like princey. Shit, this is
the this is the remix.
Speaker 4 (58:00):
Oh now, oh Yo Shan's ship, the drama.
Speaker 6 (58:06):
Comes mm hmmm.
Speaker 1 (58:12):
Oh Roddies.
Speaker 7 (58:18):
Tarfire m hm tarfire mm hmm oh you're to fire,
oh tarfa.
Speaker 1 (58:37):
Horribies.
Speaker 9 (58:39):
Singers are and be songs, little roddies, Tapa.
Speaker 6 (59:03):
F ho ly singer who.
Speaker 1 (59:14):
Hardly So.
Speaker 6 (59:20):
I know you have some. I know you have one.
I know you've heard a lot of songs that you like,
just a lot of songs that you know. I heard
a lot of songs that you've seen, heard a lot
of songs that you wrote.
Speaker 1 (59:37):
Top five, Mmm, your top fog. You think that nigga
tink better than me?
Speaker 4 (59:57):
You think that nigga could sing top even better than me?
Speaker 1 (01:00:02):
For Ronnie? Your top five R and B singers, so hard?
Bro Yah? R Kelly number one? Start then start, started off?
Then number one kick it off. I'm a case and
(01:00:24):
Jojo You're gonna make them number two together? Joe Yeah,
just a whole brother, Yeah, Marvin Gaye. Then that's a
flip between Stevie Wonder.
Speaker 4 (01:00:41):
Okay, I like what you're doing, brother, and then who
else fits in that?
Speaker 1 (01:00:49):
I'm a babyface nigga too though?
Speaker 4 (01:00:51):
Come on, come on, that's that's my top five.
Speaker 1 (01:00:55):
That's exciting. Okay? Your top five.
Speaker 4 (01:01:00):
R and B songs that ain't right? I can't you
better do it? I mean, I must say the songs
of my top five?
Speaker 1 (01:01:09):
Why not? You know what I'm saying? Why not? And
R Kelly is hard? It's too many? You know what
I believe? I can fly? I love Let's get it on. Yeah. Well,
wouldn't you.
Speaker 4 (01:01:24):
Well, I won't talk about that real fast because I'm
trying to still confused on how they lost that lawsuit. Yeah,
that's I really want to talk about that because it's
R and B right, Yeah, come on, How in the
hell did they lose a lawsuit that? The Ed Sheering
song was not like, let's get it on. Soon as
(01:01:48):
I heard it, I was like, oh, Marma, gay got
another one.
Speaker 1 (01:01:52):
That's what I thought. You know what's crazy?
Speaker 3 (01:01:55):
I'm gonna ask the musicologists over Atlantic. Yeah, because he's
Borderlina genius. Yeah, he's he's he catches everything right, Yeah,
take you just you know you your two notes and
and right there at the end of the fourth stands
of that syncopation. You're You're on it, man, Like I
(01:02:16):
just changed it like four times. Yeah, you gotta.
Speaker 1 (01:02:19):
He's on it. So I'm gonna ask him to get
past him.
Speaker 3 (01:02:22):
How did's even possible? I'm asking forever, my lady, why not?
Speaker 6 (01:02:31):
I just call.
Speaker 1 (01:02:34):
I love you that babyface? Which one do you pick?
Speaker 2 (01:02:42):
That's hard because it's just like, I don't know if
I want to pick one he wrote or one song
because I wanted to say the Boys to Men's.
Speaker 4 (01:02:49):
Song but not gonna lose either way.
Speaker 2 (01:02:52):
No, but you can say you kind of took the
easy way out and just let you know that you're
my brother'na keep it funky with you took the easy
way out by taking songs from the same singers that
you said. It was top five singers, but he took
the it's your five, so whatever.
Speaker 4 (01:03:08):
Hard for somebody to be your favorite singer and they
don't have your favorite song.
Speaker 1 (01:03:11):
I don't agree.
Speaker 2 (01:03:13):
I don't agree because I don't know if all my
favorite singers got all my favorite songs.
Speaker 4 (01:03:17):
I agree and disagree. Fair fair, Yeah, but I get it.
I know what you're doing, though I know you.
Speaker 1 (01:03:29):
Give it your nigga.
Speaker 2 (01:03:30):
I was like something about this keyboard. It's been transposed
this whole time. I was like, something, ain't right.
Speaker 3 (01:03:35):
I got read out the pitch, so so you was
cheating and no, y'all have me singing higher than normal.
I was like, well, I can normally hit this, let's go.
Speaker 1 (01:03:44):
I didn't do it.
Speaker 4 (01:03:44):
I thought of reset every time, you know, set me up. Yeah,
he wrote it, but boyster Man end of the row.
Speaker 3 (01:03:56):
Perfect song singing out of the Talent Show once, although
we've come I sang it at at my ex girl,
well she was my girlfriend at the time, at her
high school with some guys that were in the group there.
Speaker 4 (01:04:07):
That was probably the wrong song to sing to your girlfriend, because.
Speaker 1 (01:04:09):
No, I didn't sing it to her.
Speaker 2 (01:04:10):
I sang it at her school, but still in the
group that was there was a dope group, you know
what I'm saying, And they signed. They sang first on
the Talent Show high school Talent Show because my cousin
was a teacher there, and then they were singing that
and that was from I was from another high school.
It was like, you know, get up here, because a
lot of people from my church went to that school.
It's like, like, do girl, get up here and sing
(01:04:31):
and sing with this end of the Road.
Speaker 1 (01:04:32):
So I got up on.
Speaker 3 (01:04:32):
Stage and sang with them on the End of the Road.
And I remember that song so vividly in that moment,
so vividly because she was actually cheating on me with
one of the guys in the group.
Speaker 4 (01:04:41):
So it was you spoken into existence. It actually was
the end of the road.
Speaker 2 (01:04:47):
It wasn't just yet because I didn't find out ti later,
but then I was like, that's that's my fond memory
of the end of the road. We was hung together
and I know that. No, that's how you felt though.
She played with my heart and she was knocking down.
Speaker 1 (01:05:04):
The niggas who sang it? Why do you play with
my mind? Why do you.
Speaker 4 (01:05:08):
Mm hmmm mm hmm.
Speaker 1 (01:05:11):
It hurt to find that out.
Speaker 2 (01:05:13):
That's crazy because I'm sure she's probably asked for tickets. No,
m hm, she took her air. I listen, I respect
the ones that take their air.
Speaker 1 (01:05:25):
Don't come back. I respect them ones tough. Yeah, don't
come back. It's still sting a little bit.
Speaker 6 (01:05:33):
I think.
Speaker 1 (01:05:33):
I think so.
Speaker 2 (01:05:35):
I just think this some thirty years ago, some residual
trauma ship. You know, you be locked in. You're like,
I ain't do nothing.
Speaker 1 (01:05:43):
Y'all need to do call in. She need to call
and apologize. I kept it. Holy look where he got
you report it to my music? All right, here we go.
You lived the black slack my brother.
Speaker 4 (01:06:01):
I have and I honestly believe in phil is just
the beginning, because it is mm hmmm.
Speaker 2 (01:06:15):
Church.
Speaker 1 (01:06:15):
I ain't saying no. Next ain't saying I ain't saying
no names, say no name? Who is what you did?
You don't say s I ain't saying no names.
Speaker 2 (01:06:36):
Man, we've come to that time, all right. You gotta
tell us a story funny, fucked up, are funny and
fucked up?
Speaker 1 (01:06:47):
You hear me.
Speaker 2 (01:06:48):
The only rule to this game, m you can't say
no names. I won't tell you a funny story, and
I'll just say his name.
Speaker 1 (01:06:58):
Say any names. I ain't saying no noames. What you
know who it is? That's fine.
Speaker 4 (01:07:06):
Interesting funny story is when I got hold on, hold on,
hold on, hold on. This is little Rindy got kicked
out of the Underdog building. I left with him to
flirt himself, to flirt himself, messing.
Speaker 1 (01:07:28):
With the same girl.
Speaker 4 (01:07:30):
Please excuse his hands.
Speaker 1 (01:07:32):
Excuse his hands, man, I ain't saying no names. I
ain't saying no names. So I get a call from
a good friend.
Speaker 4 (01:07:46):
And he tells me that these he's in a certain
place and he's playing these this record that had just
came out, and people are dancing around the studio saying
how amazing this record is, and he ends up telling
them that I.
Speaker 1 (01:08:05):
Did the record and it was just crickets in the
room after they were just dancing.
Speaker 4 (01:08:16):
Saying how amazing the record was and saying how incredible
the artist was, and how they always.
Speaker 1 (01:08:22):
Wanted to work with them, and my little name came
back up. My God, I put you in my session.
That's a story. Cool and I closed my chapter there.
(01:08:43):
The cool that was you'll get back man. He didn't
say no names. I didn't say no names.
Speaker 3 (01:08:55):
Ship well, my brother love Ronnie. What else can we say? Man,
You're family? So hey, man, you know this is this
is light work. This is easy, man, But we are
proud of you.
Speaker 4 (01:09:10):
I appreciate y'all because you know, y'all just don't move
for anybody, and y'all just don't go anywhere.
Speaker 1 (01:09:19):
So I appreciate y'all coming to the at L man
like this is. This is beautiful.
Speaker 4 (01:09:26):
I appreciate y'all work. I'm proud of y'all. Y'all really
doing something for the R and B community.
Speaker 6 (01:09:33):
Man.
Speaker 1 (01:09:33):
I don't I know anybody else that can do what
y'all doing.
Speaker 5 (01:09:38):
We appreciate that.
Speaker 1 (01:09:39):
So, Bro, we love you man.
Speaker 2 (01:09:46):
This is the podcast authority on all things R and
This is and will always be Little.
Speaker 1 (01:09:56):
Love y'all.
Speaker 6 (01:09:59):
Money.
Speaker 2 (01:10:00):
R and B Money is a production of the Black
Effect Podcast Network. For more podcasts from iHeartRadio, visit the
iHeartRadio app Apple podcasts, or wherever you listen to 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. For the extended episode,
(01:10:22):
subscribe to YouTube dot com, Forward, slash r, and b
Money
Hosts And Creators
Tank
J. Valentine
Popular Podcasts
Crime Junkie
Does hearing about a true crime case always leave you scouring the internet for the truth behind the story? Dive into your next mystery with Crime Junkie. Every Monday, join your host Ashley Flowers as she unravels all the details of infamous and underreported true crime cases with her best friend Brit Prawat. From cold cases to missing persons and heroes in our community who seek justice, Crime Junkie is your destination for theories and stories you won’t hear anywhere else. Whether you're a seasoned true crime enthusiast or new to the genre, you'll find yourself on the edge of your seat awaiting a new episode every Monday. If you can never get enough true crime... Congratulations, you’ve found your people. Follow to join a community of Crime Junkies! Crime Junkie is presented by audiochuck Media Company.
24/7 News: The Latest
The latest news in 4 minutes updated every hour, every day.
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.