July 5, 2023 • 67 mins
On this week's episode of The R&B Money Podcast, Tank and J Valentine welcome the diversely gifted multi-instrumentalist, Masego. Jump into the origin story of his musical expedition, which took root in the jubilant rhythms echoing through his church. Captivated by the musicians, his passion was unmistakable and it didn't escape his parents' notice that their son had an uncanny knack for mastering musical instruments. From that pivotal moment, there was no reversing his ascent. As a trailblazer in his self-created genre 'TrapHouseJazz', Masego stands head and shoulders above his competition, and yet, he's only at the outset of his musical journey. Enjoy Masego Now on The R&B Money Podcast.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
R and B Money. Honey, we are thanks take valotility.
Speaker 2 (00:11):
We are the authority on all R and.
Speaker 1 (00:15):
B ladies and gentlemen.
Speaker 2 (00:18):
My name is Tank Valentine. This the R and B
Money Podcast. It's the authority on all things R and
B and instruments and instrumentation. See see see A lot
of y'all. Okay, are not well versed in the ways
of musicianship. Okay, you're standing on your drip. Huh you
(00:45):
you you might be standing on the tune. I ain't
mad at you stand on the tune. You know what
I'm saying. You know you you're standing on your social media's,
but you're not standing on uh the gifts that personify.
Speaker 1 (01:00):
The thing that we do. How many instruments do you play?
M No?
Speaker 3 (01:05):
Huh.
Speaker 1 (01:05):
Ladies out there was skin flut, that's all you play?
Huh nothing?
Speaker 3 (01:08):
Huh?
Speaker 1 (01:09):
This nigga's attacking, Yeah.
Speaker 2 (01:10):
This this this man right here, this gentleman right here.
Speaker 1 (01:14):
Okay, okay, you play pimping, that's all you do. That's
that's the don play paper. We did. We don't pause.
That's the only that's what we don't do. We don't pause.
Speaker 4 (01:22):
I'm not talking about you.
Speaker 1 (01:26):
We gotta fell in the building.
Speaker 3 (01:28):
Huh.
Speaker 2 (01:28):
He don't play about his musicianship, he don't play about
his artistry, and the damn should don't play by this name.
Speaker 4 (01:35):
Give it up for my brother. Yeah, my sack, my, yeah.
Speaker 1 (01:43):
How you doing, yo? This man's thumach.
Speaker 5 (01:55):
You Yeah, I got regular niggas.
Speaker 1 (01:59):
You have to start listen to your story was like this.
Speaker 5 (02:03):
That's a love language.
Speaker 3 (02:06):
Wow.
Speaker 5 (02:08):
That okay, I got it. So there's certain chords that
you play because you're you. Have we ever talked about that.
Speaker 3 (02:15):
In the show.
Speaker 2 (02:20):
Listen, man, my thumb is a lovel. It's gonna age. Well,
I'm getting ready to make a page from my yo
right here, right here.
Speaker 5 (02:38):
Wow, you better make the page before this shipbody somebody else.
Speaker 1 (02:42):
I got all kind of fake dumb as.
Speaker 2 (02:44):
Now, oh my brother. First of all, thank you man,
thank you for coming.
Speaker 3 (02:50):
Man.
Speaker 1 (02:50):
I appreciate you.
Speaker 5 (02:51):
I feel so comfortable. I'm gonna take my glass.
Speaker 6 (02:53):
Oh yeah, you've been doing some cool stuff, man, Thank you,
really cool stuff, like so cool that I had to,
you know, I had to.
Speaker 1 (03:08):
Be a part of it, and I appreciate that much.
Speaker 2 (03:10):
One, you know, I want to start there and then
we'll we'll go back to the beginning, get it and
get into all the intricacies of of where you're from,
how you got your name, all of that cool stuff.
Speaker 1 (03:19):
But that yams nigga when I say a vibe.
Speaker 2 (03:29):
Crazy Like a lot of people explore the nineties and
you know, they they you know, they figured you know,
they figure out their way to just kind of snatch
some of the nuance and you know and just like, Okay,
I get it. I get what you're trying to do.
I get dead on. I felt like I was in Heigho,
(03:50):
I was graduating high school all over again.
Speaker 5 (03:52):
That was a very authentic record. Oh many, thank you man,
Devin Morrison. I can't even take all of that compliment.
Speaker 1 (04:00):
Yeah no, no, absolutely absolutely he was the student.
Speaker 2 (04:02):
But it's like, what it made me realize is that
people are so hungry for that energy. Because just putting
out the word like y'all might need to sing this,
it just went crazy. Shout out to Charlie Wilson because
(04:23):
that was the first that was my first time here.
That that's what opened my ears. I was like, what
is Charlie singing? First of all, his voice is he's
out of control. I'm like his attitude, you know, what
I'm saying. But then to go back to the originally,
Oh shit, I said, oh, this needs to be a thing,
and you made it a thing. This needs to be
a thing.
Speaker 1 (04:43):
So I'm hoping that there were millions of you know,
interactions and sales and lots of show money.
Speaker 5 (04:50):
And uptick and uptick that's what they called it.
Speaker 2 (04:54):
So there was plenty of uptick for for you too,
my friend, because y'all did that.
Speaker 1 (04:59):
Yeah, how did that? How did that record come back?
Speaker 5 (05:03):
Something like this with just men talking and then making
music at the same time.
Speaker 1 (05:11):
Right.
Speaker 5 (05:11):
I used to make a lot of videos about my
observations when I travel, and I was like, in Africa
they got the yams that the women in America getting
surgery to get. That was the conversation, right, And so
I'm always talking about yams. And she got a yamtation
back there and a Yamborghini Green Eggs and Yam. That's
just been how I've spoken to that. You know, those
(05:35):
are past cars and Borghini right there. And so Devin,
being an equally hilarious young man, made an instrumental called
Yams and then we started to have a conversation over
this instrumental and you know, we were talking in tone,
and then we began to sing a little bit, and
then I guess eventually a song was birthed. You know,
(05:55):
I heard I'm supposed to do this when I talk
to people.
Speaker 1 (05:57):
I like that, but supposed to.
Speaker 5 (06:03):
Look left and right when you media training. That's all
these songs. Were just having fun, you know what I'm saying.
And like Devin is a student of commission in all
things nineties, you know, and you can absolutely he can
hear it's crazy, and so like usual, I'm just having fun,
(06:24):
you know what I'm saying. Like he left and then
he texts back a bridge. I text back a response
to the bridge. He texts back, uh damn colder or
something like that. And then I put a sax solo
on it, and then Max here is it, my bass
player friend, and he's like, you gotta put this out, bro,
And he's telling me for years.
Speaker 1 (06:41):
He's like, bro, cool seven years? What for three years? Maybe?
Oh yeah? Yeah?
Speaker 5 (06:47):
Every year we play it during Thanksgivings. Max, you know,
he would always do every Thanksgiving. Yes, He's like, bro, record,
He's like, come on, stop this drop this record. Just
it's like come on. We was having fun like, I
don't want to do all that. Finally, we just you
were taking yourself too serious.
Speaker 2 (07:05):
Yes, I was, because we fight musicianship, we fight for
the cool. It's the code of musicians just don't want
to seem outside of the realm of true create creativity.
But it's like, when you're having your most fun, you're
probably being your most creative because it's it's not overthinking anything,
(07:29):
it's just it's just flowing, allowing it to be whatever
the moment calls for.
Speaker 5 (07:34):
I think the first musician that I met that I
felt like was truly having fun was t Pain was
having a good time. Great example, when I met Tea
pay because at first I didn't realize how much of
a musician he was because nobody did, because you just
kind of wrote it off, just the public's ignorance of
what greatness really is. And then I meet him and
(07:57):
I'm in a studio with him, I'm like, oh shit,
this niggas amazing.
Speaker 1 (08:03):
He's just having a good fucking time.
Speaker 7 (08:06):
At no point was he serious at any moment during
the session, anytime I've ever run into him. He's just
a fun, loving guy having a good ass time making
amazing music. And I think that it gave me a
sense of understanding freedom musically to me when I when
(08:26):
I you know, when I met him, I was just like, damn,
this is he's in a very free space.
Speaker 2 (08:31):
I'm going to add a person to your statement that
it's just that are animal spirit spirit animals in Jazzy
fat Oh yeah, Jazzy.
Speaker 1 (08:40):
The Fizzle, the Fizzle Finz.
Speaker 2 (08:42):
Yeah yeah, Jazzy Fizzle been having a good time, great
respect always.
Speaker 1 (08:48):
Oh boy, he's always having a good time. Briefcase Jazzy always.
Speaker 2 (08:55):
But I even say that to to you and my
own self, like I've made great music under duress, but.
Speaker 1 (09:02):
When I've had fun making music, that's what.
Speaker 5 (09:05):
If you drop some of those fucking around records, we
probably go to the movie.
Speaker 1 (09:11):
We have a yeah challenge, go to the moon this video.
Speaker 5 (09:15):
Man, he drops these records thumb.
Speaker 1 (09:21):
So what happens?
Speaker 5 (09:24):
Okay, you put the record out and I've always liked your.
Speaker 1 (09:28):
Music, thank you.
Speaker 5 (09:29):
So I had heard the record before and then I
forgot about the record and heard it again in a
new light through.
Speaker 1 (09:38):
Fedy Yeah mm hmm. How does that process go though?
Speaker 8 (09:44):
Does is it?
Speaker 7 (09:45):
Is it literally just him taking the record and doing
his own thing. With it, or did he reach out
to y'all or like, you know, because this is just
a we're in a new music business. We're in a
I'll take care of it when it gets crack, you
know what I mean, or you know, we'll chase it
once it's cracking, whatever that is, you know what I mean?
(10:06):
So how did how was that process and were you
guys involved in his release of it?
Speaker 1 (10:13):
Well?
Speaker 5 (10:14):
I was on the road at the time, so all
I did was receive a text of the record and
I was like, oh, that's cool.
Speaker 1 (10:20):
Yeah, that's it.
Speaker 5 (10:22):
And so next thing I know, I get another text saying, YO,
is it cool if he drops it? I'm like sure,
cause again it's a record that we had fun with,
so I'm not it's not yes, you know what I mean.
It's not like it's not your baby. I was like, Yo,
have some fun with it. He had fun with it,
and even the cored choices he did, I thought it
was like hilarious the way he reinterpreted it. Me and
Devon having a good time, because Devon is more of
(10:42):
a stickler for you know, the arts, and he's like,
he didn't do the cord bir change seven should have
been a knife. I'm like, Yo, this is fire, you
know what I mean. So not to say Devin in
like it later on, but I feel like I'm always
down to just let art, just let it out, let
the people decide what happens to it. And people would
always ask me, we you but heard about it getting
(11:03):
even larger with Fetti. I'm just like, no, that's cool.
There's different audiences because I felt like it was a
huge record.
Speaker 2 (11:09):
I didn't know Feedti had that record out. You didn't
know Ship when I did it. When we started the
challenge and did all that. Mine was Charlie Wilson. And
then and then people I saw people started attacking me like, yeah,
you need to give Freeddi Wap his credit.
Speaker 1 (11:26):
I was like, oh, it got wild. I was like,
give Freddie Wap what credit? I was like, I was like,
this is day song. Yeah.
Speaker 5 (11:34):
I knew Fetty's version through my son, because you know
what I'm saying, Like it was yeah, the younger generation,
like I knew your record through me knowing your music.
I knew his version through my son, you know what
I mean. So that was like my rediscovery of it.
Speaker 1 (11:48):
And I'm like, oh, Ship, wait, I know the song
I was like, wait a minute, you know what I mean?
So they cuts you out. They thought they.
Speaker 2 (11:56):
Was like, you do you ain't you ain't tapping No, Fettie,
you ain't tapped in.
Speaker 1 (12:03):
I like Fetty Way. I like the boy.
Speaker 2 (12:06):
He got good songs, but he ain't not to originate
of this. His essence ain't why I fell in love
with this.
Speaker 1 (12:15):
That was your argument. That was my argument.
Speaker 5 (12:17):
Wastead of just been like, you know what, y'all wasn't
tapped in.
Speaker 1 (12:21):
I didn't know about the I was tapped into the sauce. Hallelujah.
Oh my my mind. There you go. Duplicators were replicators.
Speaker 3 (12:32):
Wow.
Speaker 2 (12:32):
But I went to the originator. I went to the sauce.
Look to the heels, from which comes my my god, so.
Speaker 5 (12:43):
The gold around my next to talk, Let's go back
to the beginning.
Speaker 2 (12:49):
Bro, Let's go back to the beginning, to this all
started for you, to where you know, I like to say,
when somebody looked at you and say that boy gonna
be some I'm like that boy got it?
Speaker 1 (13:01):
Or you even said you even said to yourself, I'm
kind of nice. Yeah, yeah, the beginning.
Speaker 5 (13:08):
Yeah, I think when I was eight years old, right,
this is back to the church days.
Speaker 1 (13:13):
Yeah, that's you go there, We're going to go there.
Speaker 5 (13:16):
I used to always ignore the sermon and watch the musicians. Yeah,
that was my whole bot because they had their own
little community, communicating with the hand signals and not dressing
in church clothes. And I was like, they're having fun.
I like this. I don't want to hear this. I'm
eight years old. Of course I want to play tag
at the in the church. And so my parents noticed
(13:38):
that I was only gravitating towards this, and we're saying, like,
we got to pray over your hands. If you want
to be in the music industry or the music you know, ministry,
let's make sure you're doing it right. So from there
they saw that I had an affinity for learning music. Quickly,
I'm hopping on the drums, I had natural rhythm. I
was hopping on the keys. I wasn't singing yet, but
(13:59):
I was just trying to play all the instruments, pick
the bass, pick it whatever. And They're like, Okay, he
gonna be somebody someday. That's when that started cool. And
so then the next iteration of that was when I
had to choose a related arts in middle school, meaning
you want to paint or you want to be in
a band. And so I was deciding. And we had
(14:20):
a class in our school that always had a subsidute teacher.
Because she never showed up in this particular subsidute teacher.
She had a little Yamborghini behind her.
Speaker 1 (14:29):
All right, made you more interested in the class. I said, yeah,
what's her story? So let's have a guy.
Speaker 5 (14:37):
I was like a seventh eighth story.
Speaker 1 (14:42):
Yeah, you want to know you know what I'm saying.
Speaker 5 (14:44):
I said something in my spirit she might have needed.
Speaker 1 (14:47):
She made need a management.
Speaker 5 (14:49):
I didn't even know that word back then, but I
wanted to manage something.
Speaker 2 (14:53):
For you to play over her hands from his hands.
Speaker 5 (14:57):
Yeah, we'll get there. I'm asking my boys, like, yo,
how do I get her heart? And he said, we
gotta do some research. I look at her binder. It's
a picture of Najie Davis and the binder. I hit
the Googles and I said, that's a saxophone player. I
want to be in the band.
Speaker 1 (15:16):
Cool.
Speaker 5 (15:17):
And so I'm in the band. I'm learning saxophone, like
I need to learn saxophone. Every Sunday, I'm like ear
pressed on the TV. Trying to like figure that out. Okay, cool,
I'm gonna rady all that. I get sweet a saxophone.
I get sweet enough to learn my first song on saxophone,
which was Naked Marcus Houston. Wow, easy scale and I
(15:41):
can learn that, learned it, played it for and she
was like, huh, young man, you played naked for. I
like this guy's savage. Yeah, savage. You know the niggas
who wrote naked is sitting right next to you. I
promise on everything.
Speaker 4 (16:01):
That's hilarious.
Speaker 1 (16:03):
I was just listening to this term.
Speaker 5 (16:04):
I'm like the nigga rot to produce the song that
you're talking about. Rhyme, that is cool. I'm putting my
chades back. This is too vulnerable. This is awesome, This
is too intimate. That hilarious.
Speaker 8 (16:19):
To be young, to be young, to.
Speaker 1 (16:21):
Be young man? What Yeah, that's the truth. You play
naked to the teacher I did.
Speaker 5 (16:27):
This is sick.
Speaker 1 (16:29):
You him, you are him? This is great. What a
good day.
Speaker 5 (16:35):
Fuck learn sex, and then I'm gonna play naked and
tell her exactly what I would.
Speaker 1 (16:42):
I would like to do. If there's any detention you
got for me, any extra credit? My next question is
she doing for the TN.
Speaker 2 (16:59):
Now think where his music and musicianship takes us, but
it takes your places.
Speaker 1 (17:19):
Around.
Speaker 5 (17:20):
I'll be reflecting, like, man, we can really do a lot.
Speaker 8 (17:23):
Man.
Speaker 5 (17:25):
Yeah, substitute teacher, wasn't there a lot? So cool? All
I was left with was the instrument. Continued to play.
It got kicked out of class a lot because I
wanted to learn other songs that you wrote unknowingly, and
so that's all I would do during class, Listen on
line wire whatever mixtape somebody brought me on the school.
(17:45):
You know what I mean, what's that? Okay, that's such
and such about.
Speaker 1 (17:49):
To learn that?
Speaker 5 (17:49):
That's all I did that a class cool. But then
I had a substitute teacher for band one day. It
was this dude, mister Hulkam, big black dude, listen to
Charlie Parker type of guy. And he was like, you
gonna be something. I'm not gonna kick you out today.
I'm gonna put you into jazz band. So he puts
me in the jazz band and it's way better for
me because I can improve. And the best part was
(18:11):
that partner sheet music and it was like make it up.
I said, oh this for me. So every day, I
get to just make a solo up. Then I can
stay in class and just get that out. And I
feel like from there it just kept progressing. I'm like,
I don't want a jazz band, I want my own band.
I don't want to go to this college. I want
to drop out of college. It just kind of kept
compounding from there.
Speaker 2 (18:32):
I feel like your generation was the generation that kind
of reshaped the idea of how you learn to play instruments,
because before your generation, it was always very much the
structure of Bach and Beethoven. It was just very much
fingers on the Middle Sea, thumb on the Middle Sea,
(18:54):
and you move from there. But I think your generation
started a thing where the music needed to meet the individual,
you know what I mean. Because like one of the
teachers that teaches my son, like, she was like, well,
what do you like And he's like, well, I like
Spider Man and she was like, okay, well let's learn
(19:14):
Spider Man. Yeah, And so he's he's excited. He's learning
the theory to Spider Man. But in his mind, he's
just learning Spider Man, learning Spider Man, but he's learning
all of the theory. He understands where the key.
Speaker 5 (19:33):
Is piquing someone's interest, and if they taught us that way,
we wouldn't learn so much more.
Speaker 2 (19:41):
But it was everything was this is how it's always been.
It was so much tradition, and I think your generation
was was the start of breath.
Speaker 5 (19:50):
And if you come across a Yamborghini, Yamborghinia making you
come across want.
Speaker 1 (19:55):
To learn, do wrong wrong.
Speaker 5 (20:08):
So you're at college, you're at college, you're not, but
you're at Yeah, I'm at there. I think I wouldn't
say I felt like the man, but I knew I
was an outlier. I used to longboard and play saxophone
at the same time.
Speaker 1 (20:22):
Hold on, man, that's.
Speaker 5 (20:23):
Like that image is around on the net. You were
andre three thousand as what you saying, we go now
we're painting it.
Speaker 1 (20:31):
Is he rich or homeless?
Speaker 4 (20:33):
Hey man, maybe he's both because it's.
Speaker 5 (20:38):
That is the dynamic this basketball photo you're making right now.
Oh yeah, it's just hilarious. Bron What's I supposed to
be six supposed to be brothers. I'm supposed to be
your height? As what's going on?
Speaker 1 (20:56):
He said? Quit the monkey coup? Oh Mann, I didn't
think it was gonna be like sorry, you had you
all had a question reaching home.
Speaker 2 (21:16):
I was longboarding, but it's like ro Virginia.
Speaker 5 (21:22):
Yeah, that's a hilarious line.
Speaker 2 (21:24):
But it's like those eclectic type things and guys like
all the girls are like, who's the guy to be
riding a skateboard playing the saxophone?
Speaker 1 (21:32):
You know what I'm saying. I don't know I got
practice right now. I don't know who that niggas, you
know what I'm saying.
Speaker 2 (21:36):
But this guy, Eric Benney kind of guy would get
all the yams.
Speaker 1 (21:43):
It used to be so mad at you. It wasn't
you the guy's like, wait a minute.
Speaker 5 (21:51):
I was just trying to find my way, man, you know,
and uh I think I found.
Speaker 2 (21:57):
So does that does that lead to any discovery and
that college space or is that after the fact in
terms of, you know, getting into the business or.
Speaker 1 (22:04):
Drop your own music.
Speaker 5 (22:05):
I did, but I think it was beautiful that I
could learn how trash it was, you know what I'm saying.
In my college humbled me because there were real artists
in college with clothing lines and with software to mix
their music and with just a lot of professional artistisms.
And so I was getting to college thinking I was
like the best in the world. All this like confidence
or whatever, but dropping music and losing talent competitions and
(22:30):
all that.
Speaker 1 (22:30):
I liked that. I was like, oh, this is oh,
you're taking ls too.
Speaker 5 (22:32):
I was taking so many l's, collecting them as I
was long, yeah, excuse me.
Speaker 1 (22:38):
Yeah.
Speaker 5 (22:38):
And so from that, the game theory and me activated
or I was like, I got to defeat you. I
got to not lose this talent competition. I need to
figure out my niche to figure out how to win.
And I credit college for that because I said, Okay,
I got to make beats from scratch because I'm really
good off the top of my head. Oh, I got
to show you how many instruments I can play. I
(22:59):
got to make a song about you right here, so
you know, no one else can do this. And after
that I got man comfortable. I was like, nobody can
do this because nobody is doing this. Then I started
to win, and then I was like, okay, I needed
those losses to appreciate this win.
Speaker 1 (23:14):
I think, yeah, yeah, because I was.
Speaker 2 (23:18):
I think I was singing baby faces songs. Girls would
ask me to sing to them.
Speaker 5 (23:24):
The timbre of your voice just told me a lot.
Speaker 2 (23:27):
Yeah, I mean you just you just went straight around.
I was only doing original gospel music at the time.
So if you wanted, if you wanted to know anything
about Jesus, I could hook you up.
Speaker 5 (23:37):
The movie makes sense.
Speaker 2 (23:39):
Now you want a little Holy GOLs right there for
you in a minute. You want to love song covers,
I hadn't hadn't even gotten to the space to where
I had even explored that part of my creativity.
Speaker 1 (23:57):
Yet, that's cool. I just I just didn't know.
Speaker 2 (24:00):
Like I wasn't until what two years out of high
school that I decided to try r and b.
Speaker 1 (24:07):
Let me try it. Church ain't paying me enough, and
I gotta eat the rail, gotta eat. They were starting
you out what one hundred and fifty a Sunday.
Speaker 5 (24:21):
They paid me in chicken. But I understand what you're saying, though, Wait,
hold on, hold on, you're a love offering. Yeah, but
the love was a chicken.
Speaker 2 (24:29):
Yes, it was dahn, that's real. I started out of
twenty five dollars a Sunday. I fought years to end
up at that one fifty.
Speaker 1 (24:39):
M What you're gonna do with these days? Yeah?
Speaker 2 (24:42):
They told me the Lord was gonna provide. I said, well,
when is that nigga coming through so I can talk
to him.
Speaker 5 (24:50):
I wouldn't even been able to sell you niggas no weed,
trying to by the weed with a piece of chicken. Now,
you know, I used to trade chicken for a parking space.
Speaker 1 (25:08):
Here go baring. You were getting a lot of chickens.
Speaker 5 (25:14):
I was getting the chicken and now I'm getting the
y Yeah.
Speaker 2 (25:28):
All right, so get so. So we did traded chicken
for parking spaces. We have been collecting l's on our
long board, and and and and building to our ws.
Speaker 1 (25:42):
Yes we have.
Speaker 2 (25:43):
And you know, putting out our music, trying to figure
out how to be a professional in this thing. What
is what is your what is your breaking point? What
is what is what is that pivotal moment that says
I'm in the music business now?
Speaker 8 (26:00):
Hmm?
Speaker 5 (26:01):
I think twenty eighteen was when I shifted from SoundCloud
to the streaming platforms like the main ones, and that
was my R and B album. You know, it was
me trying to say I'm an artist. I know I'm entertaining,
I know I am talented, but these are records and
people are going to play these records in the future,
(26:23):
and it's going to be the thing, And I feel
like the tour I went on in twenty eighteen solidified
that I have to be looked at as an artist
because I'm like, I'm selling out these venues. People are
tattooing the lyrics on them like it's all the you're
an artist ISM's happening and purely independent.
Speaker 1 (26:41):
Yeah at this point, yes.
Speaker 5 (26:42):
It's just you know, me and the people you meet
along the way. Okay, so yeah, the record deal came
maybe before you get before you get to the record deal,
how did you know where to go? Meaning it's tour
right and saying you know you're selling out these venues.
Were you using the analytics or were you just did
(27:02):
you even know about the analytics yet? Of Okay, I
have a thousand fans and such and such, so I
can probably do a spot that fits two fifty.
Speaker 1 (27:10):
Did you go through that process?
Speaker 7 (27:12):
Because we want to give these artists who are getting
into the game and understanding of how not to lose
your ass.
Speaker 1 (27:20):
You know what I'm saying.
Speaker 5 (27:20):
It's just like, oh, yeah, I'm gonna go do a
show in New York. Well, nigga, they don't know you
in New York. What are you talking about? Go figure
out or did you just take the chance.
Speaker 1 (27:29):
That's what I want to know.
Speaker 5 (27:30):
No, no, no, that's a great question. I always looked
at what the people were saying. Like SoundCloud, the way
it was structured was as that song is played, they
can comment if they like it, where they're from, whatever,
And so I would take that gather some data. I
was always trying to outsmart the system, right, and I
always would go where the love is. So to continue
(27:52):
with answering that, I would say I would do a
show and then figure out who was there, and from
that it would create the next show. And I think
I would just let that be deciding where I should go.
So my show on a rooftop in New York turned
into it a festival in DC because I was making
a beat and this dude was like, Yo, you should
(28:12):
do this thing called your Electro in DC. Then that
festival got me attention to say, yo, come do this
selection show in LA And I'm like, oh yeah, that
was mad Love in LA from the SoundCloud comments cool,
all right, it should be fine go to La. LA
is like Okay, there's a dude from the UK that
wants you to do this thing. I say, all right,
I'll go over there losing money. By the way, on
(28:32):
all of this, the plane ticket sucked up all that cash.
But I knew that people was the power. I've been
knew that because I was just like the only reason
that I was succeeding was because women championed me. They said, no, no, no,
he this a collected guy.
Speaker 1 (28:47):
We choose him.
Speaker 5 (28:48):
And so I always paid attention to what the people
liked and where they were at, and I just go there.
So I used to it was literally a non official tour.
It was like this show did this, and then I
was like, I've been on twelf for two years. Wow,
that was that was my story. So just paying attention
to people, I think it's good advice. I read the comments.
I organized the comments in a spreadsheet. I used to
(29:09):
like make my old older sistant, my best friend just
like categorize what type of songs they were responding to.
We looked at everything like game footage. Like I was
very calculated in the beginning and I'm still today. So
I think I answered that.
Speaker 1 (29:24):
I love that absolutely.
Speaker 2 (29:26):
But then at the other piece though, with the information
in terms of how you go from SoundCloud to the DSPs.
Speaker 5 (29:33):
Yeah, you gotta like, you gotta talk to people. You
have to almost harass people for information while you're not
in the in crowd yet, and you have to read
anything available and try to figure out the through line
that connects it all. Because it was definitely difficult at
first figuring out what does this mean, what it splits,
(29:54):
what's the publishing? How do you figure out how to
get this there? But I felt like trying to be
open to trying to understand it, being vocal about that,
whether it's social media, in your conversations, it was leading
to more answers, like I met the dude that created
the stem platform that allowed artists to upload things and
they put it on the DSPs. I met them early
(30:16):
on a beach in LA while I was doing my
little street musician thing. So I just feel like, again,
a lot of this.
Speaker 2 (30:22):
Is just he said, who I love that too though
the street streets.
Speaker 5 (30:26):
Yeah, yeah, you know, we'll get them going. That's a
lot of who I am. But I've always been It's
all it goes back to relationships or currency, you know
what I'm saying. I was just like, I haven't gotten
to where I want to get to it because I
haven't met the right person, and so I would always
just go outside or do something clever on social media
until I would get closer to the understanding that I
(30:48):
lacked at the time. So yeah, when it comes to
how did I get my stuff on DSPs, I used
to email everybody long, annoying paragraphs of questions. I used
to follow the person that this person and followed and like,
I used to try to do all the things, and
it led to a little bit more understanding, and oh
I shouldn't do that, and I should do that, and
(31:09):
I understand this one, and I would just compound it.
Speaker 1 (31:12):
Yeah, so wow, that now I love the due diligence though.
That's the hunger you gotta have. I was very hungry, Yeah,
because you have to be in.
Speaker 2 (31:28):
I mean, first, the people business is what we subscribe to.
We're in the people business. Everything else is a byproduct
of that. You got to get the people there, or
get to the people in some way, shape or form.
That's where you build. But to ask to to not
be afraid to ask those questions, to not be afraid
to take those chances, is a different kind of hunger,
(31:51):
because then you have to start chipping away at the
pride and ego that goes along with your feeling like
you're good at your but understanding you're not there yet.
Speaker 5 (32:05):
That's what Virginia did though. Yeah, like in terms of
joking ability, they're great in the DMV, Like they'll tell
you exactly how much they don't like what you're wearing
or what you're sounding, like the comments will cook you. Yeah,
it's all And I needed that because a lot of people,
this is what's in the way. They think they're so
amazing and untouchable. They don't need to go overseas because
(32:27):
America is only all that matters all that. If you
defeat that, I really feel like that's when you begin
to grow. And so once I got all of my
ego just just destroyed, then I got to build it
back up in a better way. I was like, Okay,
I know that I've spent ten thousand hours on being
in front of people making beats from scratch, So I'm
(32:49):
not scared about that. I'm not scared to talk to people.
I'm not scared of the nose. I don't care if
somebody thinks I'm annoying or lame. It's just like, you
know what I mean, I've already went through that so
I think that's why that that was that, you know,
that hyperbolic period of just building up my you know,
industry strength.
Speaker 1 (33:10):
Hyperbolic. You went to school a little bit, he went
to one of the classes.
Speaker 2 (33:14):
Hyperbolic is not like you know, you just walking and
chilling on the corner. This niggas just like, yeah, I
mean what you're doing with your hyperbolic today, Like, that's not.
Speaker 5 (33:24):
Done a lot of museum days.
Speaker 1 (33:27):
I've done a lot of music.
Speaker 5 (33:30):
Subsidiary my repertoire, my repertoire, Yeah yeah, trust me, that's
where you get the words from the museums. First big
record to me love Be like m hmm, it's from SoundCloud.
(33:52):
And that was what made me drop out of school
because it got one hundred thousand plays in a day.
Speaker 1 (33:57):
I'm out, this bitch, I'm out.
Speaker 5 (34:00):
I know I was here. I said, not no more communications,
one on one, a hundred thousand. I was coming here
for this. I dot it about you an't even give
me a scholarship peace, he said.
Speaker 1 (34:18):
Pe whoa like ten? Pe my repertoire? Are you kidding?
One hundred thousand and one day?
Speaker 5 (34:26):
That's all that to me? I was like, I'm famous.
That's what I told my and then when Girls That
Dance came out, I said, oh, it's over, I'm it,
give me the plaque. But I knew at that time
that I'm missing something to get this plaqu because if
I didn't here yet, we'll be all right. Between Lovely
Lick and Girls of Dance, like those are the ones
(34:46):
where I was like, Okay, this is what famous. And
then when I started to see it can just keep
getting redefined. And I've been trying to do this for
like months now. I'm trying to like find and a
way to compare the music industry to sports.
Speaker 1 (35:03):
I'm like, is it basketball? Is it football?
Speaker 5 (35:05):
Just so I can gauge the wins a little bit
better because it's so nuanced, and do we win this?
Is this the plaque that says we got the ring?
Are these your rings? Or is this like a trophy?
Is this the MVP Award? And so I tried to
do that, and I felt like if I had a
metric that I wanted to hit and I hit it,
that's the ring. And so love Be Like was the
first one, and I was like one hundred k like
(35:27):
that's it, and then it just kept increasing and increasing. Yeah,
I mean, it's it's multiple championships, absolutely, But the difference
is in music, you're truly competing with yourself.
Speaker 1 (35:40):
M m yeah, truly.
Speaker 5 (35:43):
Like we can say, oh, well, the Grammy and you know,
I won this award at the end of the year,
and I guess that would probably be perceived to be
what our super Bowl is and our you know, NBA championship.
But the truth of the matter is that you're you're
really competing with yourself of where you feel that you
know that success lies, like you said, for you to
(36:05):
see that one hundred thousand, that's your super Bowl, that was.
Speaker 1 (36:07):
Life changing for you.
Speaker 7 (36:10):
And I think with music, we put too much on
you know, everybody else's things, you know, instead of just
being like, this is what satisfies me, this is what
I believe is the greatest shit in the world, you.
Speaker 1 (36:31):
Know what I mean?
Speaker 7 (36:31):
Like that you even having that story and explaining that, like, yeah,
when you saw that one hundred thousand, because we can
have so many of those moments in the music business
that in you know, like in the NBA, you just
met you can make it to the league, and then
you try to get your contract, and then you try
to and then you but in music, every day you
can be satisfied by that song you just wrote or
(36:55):
this room being like maybe that's the one. There's satisfaction
in that that we have in music that we I
don't I don't think I personally that.
Speaker 1 (37:04):
I don't think that.
Speaker 7 (37:05):
You know, other forms have that, that that instant gratification.
Speaker 5 (37:12):
You know, I know how I feel. The dunk dunk,
the basketball cool, you.
Speaker 7 (37:16):
Know what I'm saying talk about, But you know, seeing
a record go the way that they go and then
seeing people react to it the same, you know what
I mean, or even crazier, like I've never always say this,
I've never seen a woman throw their panties at somebody
for dunk and a basketball. She might have thrown her
panties about the contract he signed talk about it, But
(37:41):
I've seen panties get.
Speaker 5 (37:43):
Thrown off of a Oh yeah, we haven't panty talk.
Speaker 1 (37:46):
We always have. This is the R and B Money Podcast.
Speaker 4 (37:51):
Come on, rustles a little, Come on.
Speaker 5 (37:56):
We haven't talk.
Speaker 1 (38:02):
That because him.
Speaker 5 (38:05):
The other thing about music too, though, is that we
can get it all broke. Okay, we can get it
all broke. I talk about it, you know what I mean.
We can dive into that, you know what I mean
when it's like, oh damn, you date him, that's cool.
Speaker 7 (38:25):
I probably can't afford to go to the game he
playing there. But you like this song rot, don't you?
Speaker 1 (38:29):
Absolutely?
Speaker 5 (38:31):
Because at the end of the day, talk about it.
It all comes down to the yams.
Speaker 1 (38:38):
Y'all good at what y'all do. This is a good show,
R and B.
Speaker 2 (38:43):
I don't care how you cut it, you know, I mean, okay,
how you slice it? Still a yam still yam man. Yeah, yeah,
you're freshly braided. I know her too. I know why,
just in case that yam is.
Speaker 1 (38:59):
Look, it's the playoffs right now, he said, you freshly break. Yeah,
we know why. It's always the playoffs for rest, as.
Speaker 2 (39:17):
In being in competition with yourself. It's just it's just
the progressions that make it all make sense. It's getting
a hundred more people in the building, it's getting a
hundred more spans that week. It's you know, I don't
I mean, I like the I love the award shows.
I love it. I get I get what it is.
(39:39):
But I've seen so many historians and even current artists
have so much success without it, great success. So it
goes back to what you're saying, like, yeah, it's it's
it's about you. It's about your progressions and your upgrades
and continuing to to be better and build that are
(40:00):
and that word continuing to spread of who you are
and what you're doing them then then venues getting bigger
and bigger, you know.
Speaker 5 (40:07):
Like I don't know you through the numbers. I know
you through the woman. Have you heard it now?
Speaker 1 (40:14):
Yes? I have m Yeah, I like that record.
Speaker 5 (40:18):
This man is dropping place today.
Speaker 7 (40:20):
Like but seriously though, and that that is something that
that you've established within your artistry and your career, that's special.
You said it earlier, you were like, you know, I
knew women were supporting me, you know what I mean?
And that that that you you you had your target audience.
You stuck to it, and they they become your introduction,
(40:44):
you know what I mean. It was It wasn't like
you know, the radio introduced me to you or some playlist.
Speaker 1 (40:49):
Or that it literally the woman. It was just he's dope.
He's dope. If you heard him, that's simple. And then
it became if you didn't hear him, think you don't
know about that?
Speaker 7 (41:02):
No painings for you, O, man, Like you've done, he bro, Listen,
you gott.
Speaker 1 (41:09):
Some fly ship, bro.
Speaker 5 (41:10):
I appreciate that some fly ship really shout out women,
man shout out to talk. Yeah.
Speaker 8 (41:15):
Yeah.
Speaker 5 (41:16):
What's been your most successful record?
Speaker 1 (41:19):
Successful?
Speaker 5 (41:20):
Definitely, okay, just because of the impact into places that
I wouldn't otherwise find myself, certain countries that I wouldn't
have been to, certain people wouldn't have discovered me. Like
it just opened up the most doors, and it's such
a great introduction when someone's trying to understand that I'm
(41:41):
a little left of center with my approach to R
and B. It's like, watch a video. You see exactly
what he be doing. He makes up songs, he's inspired
by women because you see her walking by the window.
The whole video plays a bunch of instruments and it's quick.
I was like, cool, if that's all you know me from,
fine by me. It's a good intro. What's the inspiration
(42:01):
of that record? The flight to Paris for the first
time because I hadn't been and when was that? When
was it twenty seventeen maybe? And the woman walking by
the window because I didn't think there were black people
in Paris at the time, and I was surprised. I
was like, oh, and so I got to show off
(42:22):
because I know you see me, see you see you.
So I'm about to play all these instruments and just
look at the window the whole time, glasses on. I'm
just like it's for that. Yeah, And everybody behind me
was just like just gasping, like what is what's happened?
Because I met old dude FKJ five minutes prior didn't
speak English.
Speaker 1 (42:42):
Well, he said five minutes. Yeah.
Speaker 5 (42:44):
So as we're getting introduced to each other, he's warming
his guitar up and that's the riff of the song.
And so I'm like, all right, we ain't got to talk. Then,
let's just come on. I got drums, start punching the
drum machine, and so yeah, it was just another in
the moment. So y'all got all my favorite things here, women, tea, instruments.
Speaker 1 (43:08):
Oh, let's give them. Let's just give him some backstory.
You know. He walks onto the pod. Uh, he's walking
in here, and we're like, man, you got we got water,
we got uh, we got libations. You know what I'm saying.
Speaker 2 (43:19):
We did we to tequila on that little whiskey aged whiskey.
You know what I'm saying. We like whiskey of age.
And he says, yeah, yeah, I feel all that, But
where's the tea? I said what he said, it's supposed
to be R and B money.
Speaker 1 (43:32):
You ain't got no tea. You know what I do
have tea, motherfucker.
Speaker 2 (43:37):
I got tea and I got a love cut trump
me think I ain't ready. I just bought throw coats
with limited incognesia and I got mint tea. I got
Camra meals that saying, I got ginger tea for digestions.
Speaker 1 (43:52):
Just in case you know what I'm saying, you bounce an.
I got tea, all right, So.
Speaker 2 (43:56):
This man loves tea every time you see him. Just
make sure maybe you'll come up with a brand of tease.
Speaker 1 (44:01):
Are we branding something right now? If they cutting the check? No, no,
no the check. If they start in the LLC, you
can find me. But you got beverages, don't you? You gets
you got some? You guess your don't think going right?
I got I.
Speaker 5 (44:19):
Don't know if I got nothing. What I got?
Speaker 3 (44:21):
What I got?
Speaker 5 (44:23):
Yeah, we got stuff closing opening, Okay, we can't talk
about it yet. Actually you're talking about the jont in
the overseas situation. Listen, man, I'm big for health, and
as a man that acquired a little bit more access,
I've noticed that white people got all the healthy things
just right next to themselves, and I was like, I
want black people to have this knowledge, these resources, all this,
(44:47):
And I think it comes down to affecting culture because
I think, yeah, I love all the plant based vegan talk,
because our interpretation, unfortunately, is just replacing comfort food with
just impossible meet. And I don't think that's the that's
the word. Do anybody know what's in that? It's it's
(45:09):
it ain't acgnesias.
Speaker 1 (45:11):
Real quick, you know it's not. You cannot put it in.
Speaker 5 (45:17):
The hold on, man, do you find a suspicious?
Speaker 4 (45:22):
Don't you find a suspicious that we don't get all
the help?
Speaker 5 (45:27):
Why it costs so much? Why fast foods so affordable
and near us?
Speaker 1 (45:32):
Yeah? Yeah, what you find a suspicious? I find it suspicious?
My brother? Can I call you brother Tank? You can
call me brother Tank.
Speaker 5 (45:39):
I find it suspicious. Then we can't even have nothing.
Speaker 2 (45:52):
Thumbs up to my rap career. Let's start there.
Speaker 5 (46:02):
Mm hmmm, h.
Speaker 2 (46:05):
M h.
Speaker 5 (46:16):
M hmmmm.
Speaker 3 (46:27):
Top five.
Speaker 1 (46:32):
Your top five.
Speaker 2 (46:35):
Top five, Your top five R and B easigga, all
the these songs.
Speaker 1 (46:49):
Yeah, great, bring.
Speaker 3 (46:50):
Let's tell a discus, tell these bussines, tackle tack. Yes, your.
Speaker 8 (47:16):
Top five, it's all types of off.
Speaker 1 (47:29):
Let's say I shut it tear your top five all singers,
all right.
Speaker 3 (47:39):
Uh.
Speaker 5 (47:40):
The first person that came to mind was DiAngelo. Yeah,
I'll start there, Okay, definitely, that's where I will start.
The second person popped my mind was j Moss. I
act like that out of control definitely.
Speaker 8 (47:56):
Mm hmm.
Speaker 5 (47:58):
Third, I'm gonna go with Jamie Fox. Yeah, definitely.
Speaker 1 (48:02):
Yeah, that's the cat, the Cat, the cat, musician, tip musicians.
Speaker 5 (48:11):
Impact, Mary J. Blige, Yeah, how to do it? And
then number five spot gotta go Stevie. Yeah, and see
defeated un defeated in the world. It's just multifaceted. Choose
multi everything and he can see so but we'll get
(48:32):
to that anyway. Your top five, top five R and
B songs. Okay, top five R and B songs. I
gotta access some cool to get this. They got you
both for this one.
Speaker 2 (48:53):
Excuse me, all right. Image, So it's like it's like
you ski, but you you have the Ten Commandments written.
Speaker 5 (49:07):
On your Ski Betray My Heart DeAngelo. I think that's
a good one.
Speaker 1 (49:12):
Mm. I think it's suspicious. We don't talk about that
song enough. That's just me. I would say, hmmmm.
Speaker 8 (49:26):
Was it?
Speaker 1 (49:26):
Was it? What you want to be? Y'all? Why a w?
Have you heard this record?
Speaker 5 (49:32):
No?
Speaker 1 (49:33):
Where's my cellular device? Can you pass it? I was
listening to it on the morning all the while? But yes,
it is very beautiful. It is Where would you be?
Why a w? Oh? I love that you don't know
this song. You should listen to it.
Speaker 5 (49:49):
It's very It could be a cover and I could
just be a youngster. We'll see later. Cool butterflies MJ
why not? Yes, have to Marshall fancy the Dream?
Speaker 3 (50:02):
Hmm.
Speaker 1 (50:04):
That's a good love song.
Speaker 8 (50:06):
That one. What a vibe?
Speaker 5 (50:09):
Yeah, Yeah, would love to hear liveh missed mm hmm.
And J Moss Florida, Yeah, let's go to Florida talks
about the Temptations.
Speaker 1 (50:22):
I really liked that one. It was an R and
B thing. It was a lot of controversy about him
singing that he should be able to sing whatever he
wants to. It's an instrument. It's an instrument, many keys,
and he's amazing, wanted.
Speaker 5 (50:36):
To be him growing up. I said, how many of
you is that in that choir? He just said, yes,
I understand.
Speaker 2 (50:46):
All right, we gotta we're gonna build. We're gonna build
you a perfect R and B artist. We call it
the R and B voltron. And you have to pick
artists where you're going to extract huh uh uh okay,
the necessities from the materials. We're gonna we're gonna see
(51:07):
who you're gonna get the vocal from, who you're going
to get the styling from, who you're going to get
the performance style from, and who you're going to get.
Speaker 1 (51:15):
The heart of the artists from the passion so good? Yeah,
So let's start with the vocal. If you're building your
perfect R and B artists, who are you going to
get the vocal from that one artist? Who the lead singer?
Speaker 2 (51:27):
Man, it ain't gonna be oltists who who they come
to see? I gotta be honest, give me the vocals from.
Speaker 1 (51:36):
Cals, lot of that of that.
Speaker 3 (51:40):
Yeah. Oh Now, if you don't want to find out
the hardway, hardway, now listen to the song is the record?
Speaker 1 (51:58):
Please? Well know all mom Mamma talked me a long
time ago, throw their lamb in there.
Speaker 2 (52:08):
Yeah, okay, wow, wow, Okay, I can tell a lie.
Robert Lee vocal, got it, got it? Who are you
getting the performance style.
Speaker 1 (52:17):
From that performance?
Speaker 5 (52:24):
Give me Maxwell hm hmm yeah, with the new Maxwell,
with the Meganes, with the Megan Thees Maxwell. Yeah, yeah,
I've seen. Yeah, I said, this has long jevity.
Speaker 1 (52:35):
Yeah, I don't want the first tour knees got out
of here, get that drop down and get your I'm
(52:55):
not I'm not not me lost me there, I respect
it thought. Okay, who you getting the styling from the
drip of the artists? The styling from get me on?
Speaker 5 (53:11):
No, no, no, no, no, no.
Speaker 3 (53:14):
Do that.
Speaker 5 (53:14):
No, the styling from the R and B because we're
we're an odd bunch with the outfits. Whatever artists you
want to throw in there, though you're making your perfect
R and B artist for you, it's yours.
Speaker 1 (53:30):
Who's got the drip? Mmm r n B. No, No,
that wasn't really doing it for me.
Speaker 5 (53:38):
Back in the news day, Okay, okay, give me those
threads from Jay Holiday, the flannel with the hoodie in
the back, the.
Speaker 1 (53:47):
Hoodie that come out of the flannel.
Speaker 5 (53:49):
Yeah yeah, yeah, uh suffocate, suffocate, I do exactly what?
Speaker 1 (53:56):
Come on? Now? You sure you know what I'm saying?
Your whole artist is gonna happen, Okay.
Speaker 5 (54:05):
Because that's when I'll know that the art is speaking,
because you're not here for the clothes.
Speaker 1 (54:12):
I need that. Ah Okay, it's kind of a dig
I'm roland.
Speaker 5 (54:19):
Oh but no, no, no, understand that for that combination,
it would be viewed in this day and time as lumberjackish.
But that doesn't mean it's not a style that people want.
Jack one hundred thw thousand.
Speaker 1 (54:38):
You know we can do this. You know it's crazy.
I'm thinking you're gonna say dred the whole time. I'm like,
you're gonna say dray. Yeah.
Speaker 2 (54:51):
That definitely came out of left Yep, none of wh
The passion of you threw this nigga off. He said,
for the drip, I love, I just didn't know he dripped, Okay,
Hey said three thousand for the drip.
Speaker 1 (55:12):
Yeah, okay. Passion of the artist, the heart of the artist,
the heart gotta do Michael God, who wanted more than that?
What is a nigga going through that? In between?
Speaker 5 (55:29):
And it's understanding and held on to that thing in
the air that holds you and said, what.
Speaker 1 (55:33):
About the elephants?
Speaker 8 (55:36):
What about the saying?
Speaker 5 (55:37):
You know what I'm saying, that's heard. You care about
the things that we can't even go see only you've
seen them elephants. We ain't got that type of money.
He was trying to put us up on Brazil, looking
to put us up. I've seen it's sad.
Speaker 8 (55:53):
Where you going?
Speaker 1 (55:57):
What about Derek? What about the mountain to love? It's
burning love? What about lava?
Speaker 5 (56:09):
What?
Speaker 1 (56:10):
What about ants? What about lying and tigers in bears?
Speaker 4 (56:17):
Don't have a chance.
Speaker 1 (56:22):
This is why you can't write songs with him, because
saying what about lava? He can make anything sound like
it's supposed to be cool.
Speaker 2 (56:32):
Michael doesn't care about lava. I can care about But
if you look at java, it's so much of it.
It swhere, does it go? Does any does it can
even help the lava? Can someone help us with the LoVa?
And then and then it and then it dries and dies?
Help us keep the lava, lava, keep the lava. And
(56:52):
those of you who are making lava laps, how dare you?
How dare you extract lava from its place, from its ois?
From its home, take it from It's must be stopped.
Speaker 1 (57:01):
Yeah, you have to be lover belongs with LoVa. None
in your lamps. M okay, Oh my god, that is
on his teeth.
Speaker 8 (57:16):
This guy, man, where are you going?
Speaker 1 (57:21):
Where are you going? Is this a little bill theme?
Is that about the record? You lost it? I think
I lost it? He throwing all I got it, I
(57:44):
got I got I got I got it, I got it,
I got it, I got it. I ain't saying no names.
Speaker 2 (57:52):
I ain't saying no names. Ain't saying no names. Saying
no name when you were who he was weird? Don't
say ship. I ain't saying no.
Speaker 5 (58:13):
It's a good show a lot. That's a very important segment. Okay,
very important to the rest of those seams, tears. There's
a question to be asked this segment of the show.
Speaker 1 (58:28):
I'm listening.
Speaker 5 (58:30):
God, I ain't saying no names. It's about your travels
and this ship music industry. Yeah, yeah, yeah, yeah. The
story can be funny. Are fucked up? Are funny? And
fucked up? Could be about your audit when you audited
label ship. The only rulee to this game and segment.
(58:53):
You just can't say no names.
Speaker 1 (58:56):
But this right here. I ain't saying no name. Okay, okay, man,
what all right? Take time? Can you just put me
in a minor for a seconds? I think musician nigga? Okay,
(59:18):
we could do that decent story, Max. You know I
got masked. I just got to figure out to clean
this up. No, no, we want a dirty story. Dirty.
We want to tell them dirt, dirt.
Speaker 5 (59:34):
All right, we'll do it. We'll keep it light for
the first ones. I think of the second one all right, boom.
It's my first time in l A searching for a
deal using my contacts that I have, and then I
land a meeting with a really well known executive and
his partner and they're like, yo, meet us at the
top of Soho House.
Speaker 1 (59:57):
You know, can I say names of place? You know?
I'm niggas be a man.
Speaker 5 (01:00:01):
Yeah, everybody there see the view all that my first
time being there. I used to be at the rallies.
That's where I would do.
Speaker 8 (01:00:10):
That's what I would do.
Speaker 5 (01:00:11):
Me a little different, a guy like me. Yeah, I'm
sure they don't have the trouble pizza, you understand, I
get it. Yeah, I just traded my longboard, so it's
a different stage. So I show up to this meeting
on time early actually, and at first they were asking
if I worked there, and I said, these are my
(01:00:34):
these are my famous clothes.
Speaker 1 (01:00:36):
No, I don't work here.
Speaker 5 (01:00:37):
But they said, sir, you know use your lakers, now
you understand. And I said, no, no, no, I don't
work here. I'm not here to park the cars. I'm
here to get a deal.
Speaker 1 (01:00:47):
So boom.
Speaker 5 (01:00:47):
After a lot of you know, ego taming, I make
my way up to the top of the top of
so's a beautiful view, nice layer of small and pollution
just to coat the clouds of l a and a
little hero and needle right there in the distance, just
being shared by a couple.
Speaker 1 (01:01:06):
Love. Wow.
Speaker 5 (01:01:07):
And So now I'm here with my manager and we're
just waiting thirty minutes our hour thirty. I've already consumed
the very expensive appetizers. I said, who's.
Speaker 1 (01:01:23):
Paying for this?
Speaker 5 (01:01:23):
Doesn't matter. Then two men, powerful men walk in. I said, oh,
there's the money walking in my deals here. Let me
just move my work clothes them see my chain from
Patrick Henry Mall And so I, oh, yes, the kiosk
I love that.
Speaker 8 (01:01:40):
I love.
Speaker 1 (01:01:41):
Yes, it's gotta fake it till you you understand.
Speaker 5 (01:01:47):
Well, so I'm I'm trying to talk to I'm like, yo,
so I'm gonna say go and I do this, and
I play out his instruments no dah, and I'm just
like I'm looking out at the sky like this is
my chance. I'm just telling him who I am and
why I am the one he should sign. And then
I looked down and one of them is sleeping, sleep, resting,
(01:02:10):
and the other one is.
Speaker 1 (01:02:11):
Just like, yeah, man, you know it's.
Speaker 5 (01:02:14):
Yeah, he's got back from London.
Speaker 1 (01:02:16):
You know how that is. I said, no, I don't
know how that is. I am broke. What is it? London?
But I'm not her American boy, well not her American.
Speaker 5 (01:02:30):
So he was sleeping and I was just like, well,
wake up, mister West, and uh he woke up and.
Speaker 1 (01:02:37):
He said yeah, yeah, yeah, yeah yeah. Can we do
this over email?
Speaker 5 (01:02:43):
And I said yes we can, and then he left
to go to the bathroom. And I had to pay
for this so on my father's credit card, this meal
that we all enjoyed.
Speaker 1 (01:02:54):
He ordered the what is the meal out here?
Speaker 5 (01:02:57):
The salmon with the here with the potatoes, yes, and
then those housemaid chips I believe, Yeah, two glasses of wine.
I think it was nineteen crimes at the time. Shout
out snoop, good partnership.
Speaker 1 (01:03:16):
Didn't know.
Speaker 5 (01:03:18):
And yeah, yeah, that was quite the bill. That took
a while to pay off. And then when I would
see him in the future, he would just say he's
proud of me, and I'd be like, guacamole, but I
ain't saying no names.
Speaker 1 (01:03:37):
I ain't saying no names. That's great, appreciate it, man,
that was really good. Had to clean it up. I
was like, he needed to take you to dinner, man,
he needed to take.
Speaker 5 (01:03:52):
You.
Speaker 1 (01:03:52):
Got brother, got to take you to dinner, just one dinner.
Speaker 5 (01:03:56):
It could be at rallies.
Speaker 1 (01:03:57):
I'd still show up. If anybody asked, you can we
do this over email? You say no, we cannot.
Speaker 3 (01:04:06):
Ship.
Speaker 1 (01:04:07):
Yeah, that's tough. We're gonna do this now, we ain't
gonna do it. It's good.
Speaker 2 (01:04:13):
That's a great story though. That's amazing, and it's it's real.
It's man, it's it's how this ship goes.
Speaker 1 (01:04:24):
You guys don't have to be the guacamole guy. You
don't have to be to guacamolea. I have to be
the guacamolea guy. You might be with me and I
might push the guacamole in your fucking face.
Speaker 5 (01:04:34):
Talk to talk, Come on, man, talk to talk. Ship,
Wake the funk up, right, Come on, guys. We don't
have to be those guys. Man, don't have to don't
have to be those guys. Man, you either like it
or you don't like it. Tell someone you don't like it.
It's it's okay, and move on. We don't have to
be disrespectful, brother, migo. That story is great, great story
(01:05:00):
top to bottom. And you you're you're still in the
beginning stages of writing some really cool ship. Man, writing
a really cool story for yourself. It's impressive.
Speaker 3 (01:05:09):
Man.
Speaker 1 (01:05:10):
We support you.
Speaker 3 (01:05:11):
Man.
Speaker 1 (01:05:12):
Suspicious that you haven't been here sooner, but that is suspicious.
You know, I'm gonna take your head.
Speaker 5 (01:05:21):
A different product.
Speaker 1 (01:05:22):
Ain't no product. Baby, You're gonna see a lot of.
Speaker 8 (01:05:33):
A lot of in Brazil.
Speaker 3 (01:05:36):
Hello, this is.
Speaker 1 (01:05:42):
He speaks Spanish.
Speaker 2 (01:05:43):
I know that.
Speaker 1 (01:05:45):
On the shoulders.
Speaker 3 (01:05:47):
Baby.
Speaker 2 (01:05:48):
Okay, uh you you're killing them. Man, you gonna keep you.
It's amazing, amazing things for you. Hopefully you know, we'll
get to be able to do some cool work with you.
Man sitting in the room and just I.
Speaker 1 (01:06:01):
Don't know how let the same background man ship have
fun that. You know.
Speaker 2 (01:06:07):
You don't want that. You don't want that because it's
get different. This is illegal in eight countries.
Speaker 1 (01:06:16):
You can't.
Speaker 2 (01:06:17):
They don't even let me burn this. Motherfucking sir. It's
stan Bull. Can't go right, just trying to let you know.
But thank you, brother. I really got to say that, man,
because you know, it's a it's a shortage of of
of truly talented people that are standing on it, you
(01:06:40):
know what I mean. The compromise is real. Ultimately, people
want to make money, they want to live, they want
to be in in the know in the now, and
it's a long road to be talented in today's time.
And you are doing it with style and grace, my brother,
and you've been very successful. So you salute you for
(01:07:00):
the thanks, appreciate you for it.
Speaker 1 (01:07:02):
Thank you. Lit. My name is Tank Valentine.
Speaker 2 (01:07:06):
This is the Army Money podcast, the authority on all
things R and B and Trap House Chat and trap
House Jass and this has been the brother himself Shaped
Shapes don't matter, do it All?
Speaker 5 (01:07:21):
My R and B Money. 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
(01:07:43):
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, subscribe to YouTube
dot com, Forward, slash r, and b Money
R and B Money. Honey, we are thanks take valotility.
Speaker 2 (00:11):
We are the authority on all R and.
Speaker 1 (00:15):
B ladies and gentlemen.
Speaker 2 (00:18):
My name is Tank Valentine. This the R and B
Money Podcast. It's the authority on all things R and
B and instruments and instrumentation. See see see A lot
of y'all. Okay, are not well versed in the ways
of musicianship. Okay, you're standing on your drip. Huh you
(00:45):
you you might be standing on the tune. I ain't
mad at you stand on the tune. You know what
I'm saying. You know you you're standing on your social media's,
but you're not standing on uh the gifts that personify.
Speaker 1 (01:00):
The thing that we do. How many instruments do you play?
M No?
Speaker 3 (01:05):
Huh.
Speaker 1 (01:05):
Ladies out there was skin flut, that's all you play?
Huh nothing?
Speaker 3 (01:08):
Huh?
Speaker 1 (01:09):
This nigga's attacking, Yeah.
Speaker 2 (01:10):
This this this man right here, this gentleman right here.
Speaker 1 (01:14):
Okay, okay, you play pimping, that's all you do. That's
that's the don play paper. We did. We don't pause.
That's the only that's what we don't do. We don't pause.
Speaker 4 (01:22):
I'm not talking about you.
Speaker 1 (01:26):
We gotta fell in the building.
Speaker 3 (01:28):
Huh.
Speaker 2 (01:28):
He don't play about his musicianship, he don't play about
his artistry, and the damn should don't play by this name.
Speaker 4 (01:35):
Give it up for my brother. Yeah, my sack, my, yeah.
Speaker 1 (01:43):
How you doing, yo? This man's thumach.
Speaker 5 (01:55):
You Yeah, I got regular niggas.
Speaker 1 (01:59):
You have to start listen to your story was like this.
Speaker 5 (02:03):
That's a love language.
Speaker 3 (02:06):
Wow.
Speaker 5 (02:08):
That okay, I got it. So there's certain chords that
you play because you're you. Have we ever talked about that.
Speaker 3 (02:15):
In the show.
Speaker 2 (02:20):
Listen, man, my thumb is a lovel. It's gonna age. Well,
I'm getting ready to make a page from my yo
right here, right here.
Speaker 5 (02:38):
Wow, you better make the page before this shipbody somebody else.
Speaker 1 (02:42):
I got all kind of fake dumb as.
Speaker 2 (02:44):
Now, oh my brother. First of all, thank you man,
thank you for coming.
Speaker 3 (02:50):
Man.
Speaker 1 (02:50):
I appreciate you.
Speaker 5 (02:51):
I feel so comfortable. I'm gonna take my glass.
Speaker 6 (02:53):
Oh yeah, you've been doing some cool stuff, man, Thank you,
really cool stuff, like so cool that I had to,
you know, I had to.
Speaker 1 (03:08):
Be a part of it, and I appreciate that much.
Speaker 2 (03:10):
One, you know, I want to start there and then
we'll we'll go back to the beginning, get it and
get into all the intricacies of of where you're from,
how you got your name, all of that cool stuff.
Speaker 1 (03:19):
But that yams nigga when I say a vibe.
Speaker 2 (03:29):
Crazy Like a lot of people explore the nineties and
you know, they they you know, they figured you know,
they figure out their way to just kind of snatch
some of the nuance and you know and just like, Okay,
I get it. I get what you're trying to do.
I get dead on. I felt like I was in Heigho,
(03:50):
I was graduating high school all over again.
Speaker 5 (03:52):
That was a very authentic record. Oh many, thank you man,
Devin Morrison. I can't even take all of that compliment.
Speaker 1 (04:00):
Yeah no, no, absolutely absolutely he was the student.
Speaker 2 (04:02):
But it's like, what it made me realize is that
people are so hungry for that energy. Because just putting
out the word like y'all might need to sing this,
it just went crazy. Shout out to Charlie Wilson because
(04:23):
that was the first that was my first time here.
That that's what opened my ears. I was like, what
is Charlie singing? First of all, his voice is he's
out of control. I'm like his attitude, you know, what
I'm saying. But then to go back to the originally,
Oh shit, I said, oh, this needs to be a thing,
and you made it a thing. This needs to be
a thing.
Speaker 1 (04:43):
So I'm hoping that there were millions of you know,
interactions and sales and lots of show money.
Speaker 5 (04:50):
And uptick and uptick that's what they called it.
Speaker 2 (04:54):
So there was plenty of uptick for for you too,
my friend, because y'all did that.
Speaker 1 (04:59):
Yeah, how did that? How did that record come back?
Speaker 5 (05:03):
Something like this with just men talking and then making
music at the same time.
Speaker 1 (05:11):
Right.
Speaker 5 (05:11):
I used to make a lot of videos about my
observations when I travel, and I was like, in Africa
they got the yams that the women in America getting
surgery to get. That was the conversation, right, And so
I'm always talking about yams. And she got a yamtation
back there and a Yamborghini Green Eggs and Yam. That's
just been how I've spoken to that. You know, those
(05:35):
are past cars and Borghini right there. And so Devin,
being an equally hilarious young man, made an instrumental called
Yams and then we started to have a conversation over
this instrumental and you know, we were talking in tone,
and then we began to sing a little bit, and
then I guess eventually a song was birthed. You know,
(05:55):
I heard I'm supposed to do this when I talk
to people.
Speaker 1 (05:57):
I like that, but supposed to.
Speaker 5 (06:03):
Look left and right when you media training. That's all
these songs. Were just having fun, you know what I'm saying.
And like Devin is a student of commission in all
things nineties, you know, and you can absolutely he can
hear it's crazy, and so like usual, I'm just having fun,
(06:24):
you know what I'm saying. Like he left and then
he texts back a bridge. I text back a response
to the bridge. He texts back, uh damn colder or
something like that. And then I put a sax solo
on it, and then Max here is it, my bass
player friend, and he's like, you gotta put this out, bro,
And he's telling me for years.
Speaker 1 (06:41):
He's like, bro, cool seven years? What for three years? Maybe?
Oh yeah? Yeah?
Speaker 5 (06:47):
Every year we play it during Thanksgivings. Max, you know,
he would always do every Thanksgiving. Yes, He's like, bro, record,
He's like, come on, stop this drop this record. Just
it's like come on. We was having fun like, I
don't want to do all that. Finally, we just you
were taking yourself too serious.
Speaker 2 (07:05):
Yes, I was, because we fight musicianship, we fight for
the cool. It's the code of musicians just don't want
to seem outside of the realm of true create creativity.
But it's like, when you're having your most fun, you're
probably being your most creative because it's it's not overthinking anything,
(07:29):
it's just it's just flowing, allowing it to be whatever
the moment calls for.
Speaker 5 (07:34):
I think the first musician that I met that I
felt like was truly having fun was t Pain was
having a good time. Great example, when I met Tea
pay because at first I didn't realize how much of
a musician he was because nobody did, because you just
kind of wrote it off, just the public's ignorance of
what greatness really is. And then I meet him and
(07:57):
I'm in a studio with him, I'm like, oh shit,
this niggas amazing.
Speaker 1 (08:03):
He's just having a good fucking time.
Speaker 7 (08:06):
At no point was he serious at any moment during
the session, anytime I've ever run into him. He's just
a fun, loving guy having a good ass time making
amazing music. And I think that it gave me a
sense of understanding freedom musically to me when I when
(08:26):
I you know, when I met him, I was just like, damn,
this is he's in a very free space.
Speaker 2 (08:31):
I'm going to add a person to your statement that
it's just that are animal spirit spirit animals in Jazzy
fat Oh yeah, Jazzy.
Speaker 1 (08:40):
The Fizzle, the Fizzle Finz.
Speaker 2 (08:42):
Yeah yeah, Jazzy Fizzle been having a good time, great
respect always.
Speaker 1 (08:48):
Oh boy, he's always having a good time. Briefcase Jazzy always.
Speaker 2 (08:55):
But I even say that to to you and my
own self, like I've made great music under duress, but.
Speaker 1 (09:02):
When I've had fun making music, that's what.
Speaker 5 (09:05):
If you drop some of those fucking around records, we
probably go to the movie.
Speaker 1 (09:11):
We have a yeah challenge, go to the moon this video.
Speaker 5 (09:15):
Man, he drops these records thumb.
Speaker 1 (09:21):
So what happens?
Speaker 5 (09:24):
Okay, you put the record out and I've always liked your.
Speaker 1 (09:28):
Music, thank you.
Speaker 5 (09:29):
So I had heard the record before and then I
forgot about the record and heard it again in a
new light through.
Speaker 1 (09:38):
Fedy Yeah mm hmm. How does that process go though?
Speaker 8 (09:44):
Does is it?
Speaker 7 (09:45):
Is it literally just him taking the record and doing
his own thing. With it, or did he reach out
to y'all or like, you know, because this is just
a we're in a new music business. We're in a
I'll take care of it when it gets crack, you
know what I mean, or you know, we'll chase it
once it's cracking, whatever that is, you know what I mean?
(10:06):
So how did how was that process and were you
guys involved in his release of it?
Speaker 1 (10:13):
Well?
Speaker 5 (10:14):
I was on the road at the time, so all
I did was receive a text of the record and
I was like, oh, that's cool.
Speaker 1 (10:20):
Yeah, that's it.
Speaker 5 (10:22):
And so next thing I know, I get another text saying, YO,
is it cool if he drops it? I'm like sure,
cause again it's a record that we had fun with,
so I'm not it's not yes, you know what I mean.
It's not like it's not your baby. I was like, Yo,
have some fun with it. He had fun with it,
and even the cored choices he did, I thought it
was like hilarious the way he reinterpreted it. Me and
Devon having a good time, because Devon is more of
(10:42):
a stickler for you know, the arts, and he's like,
he didn't do the cord bir change seven should have
been a knife. I'm like, Yo, this is fire, you
know what I mean. So not to say Devin in
like it later on, but I feel like I'm always
down to just let art, just let it out, let
the people decide what happens to it. And people would
always ask me, we you but heard about it getting
(11:03):
even larger with Fetti. I'm just like, no, that's cool.
There's different audiences because I felt like it was a
huge record.
Speaker 2 (11:09):
I didn't know Feedti had that record out. You didn't
know Ship when I did it. When we started the
challenge and did all that. Mine was Charlie Wilson. And
then and then people I saw people started attacking me like, yeah,
you need to give Freeddi Wap his credit.
Speaker 1 (11:26):
I was like, oh, it got wild. I was like,
give Freddie Wap what credit? I was like, I was like,
this is day song. Yeah.
Speaker 5 (11:34):
I knew Fetty's version through my son, because you know
what I'm saying, Like it was yeah, the younger generation,
like I knew your record through me knowing your music.
I knew his version through my son, you know what
I mean. So that was like my rediscovery of it.
Speaker 1 (11:48):
And I'm like, oh, Ship, wait, I know the song
I was like, wait a minute, you know what I mean?
So they cuts you out. They thought they.
Speaker 2 (11:56):
Was like, you do you ain't you ain't tapping No, Fettie,
you ain't tapped in.
Speaker 1 (12:03):
I like Fetty Way. I like the boy.
Speaker 2 (12:06):
He got good songs, but he ain't not to originate
of this. His essence ain't why I fell in love
with this.
Speaker 1 (12:15):
That was your argument. That was my argument.
Speaker 5 (12:17):
Wastead of just been like, you know what, y'all wasn't
tapped in.
Speaker 1 (12:21):
I didn't know about the I was tapped into the sauce. Hallelujah.
Oh my my mind. There you go. Duplicators were replicators.
Speaker 3 (12:32):
Wow.
Speaker 2 (12:32):
But I went to the originator. I went to the sauce.
Look to the heels, from which comes my my god, so.
Speaker 5 (12:43):
The gold around my next to talk, Let's go back
to the beginning.
Speaker 2 (12:49):
Bro, Let's go back to the beginning, to this all
started for you, to where you know, I like to say,
when somebody looked at you and say that boy gonna
be some I'm like that boy got it?
Speaker 1 (13:01):
Or you even said you even said to yourself, I'm
kind of nice. Yeah, yeah, the beginning.
Speaker 5 (13:08):
Yeah, I think when I was eight years old, right,
this is back to the church days.
Speaker 1 (13:13):
Yeah, that's you go there, We're going to go there.
Speaker 5 (13:16):
I used to always ignore the sermon and watch the musicians. Yeah,
that was my whole bot because they had their own
little community, communicating with the hand signals and not dressing
in church clothes. And I was like, they're having fun.
I like this. I don't want to hear this. I'm
eight years old. Of course I want to play tag
at the in the church. And so my parents noticed
(13:38):
that I was only gravitating towards this, and we're saying, like,
we got to pray over your hands. If you want
to be in the music industry or the music you know, ministry,
let's make sure you're doing it right. So from there
they saw that I had an affinity for learning music. Quickly,
I'm hopping on the drums, I had natural rhythm. I
was hopping on the keys. I wasn't singing yet, but
(13:59):
I was just trying to play all the instruments, pick
the bass, pick it whatever. And They're like, Okay, he
gonna be somebody someday. That's when that started cool. And
so then the next iteration of that was when I
had to choose a related arts in middle school, meaning
you want to paint or you want to be in
a band. And so I was deciding. And we had
(14:20):
a class in our school that always had a subsidute teacher.
Because she never showed up in this particular subsidute teacher.
She had a little Yamborghini behind her.
Speaker 1 (14:29):
All right, made you more interested in the class. I said, yeah,
what's her story? So let's have a guy.
Speaker 5 (14:37):
I was like a seventh eighth story.
Speaker 1 (14:42):
Yeah, you want to know you know what I'm saying.
Speaker 5 (14:44):
I said something in my spirit she might have needed.
Speaker 1 (14:47):
She made need a management.
Speaker 5 (14:49):
I didn't even know that word back then, but I
wanted to manage something.
Speaker 2 (14:53):
For you to play over her hands from his hands.
Speaker 5 (14:57):
Yeah, we'll get there. I'm asking my boys, like, yo,
how do I get her heart? And he said, we
gotta do some research. I look at her binder. It's
a picture of Najie Davis and the binder. I hit
the Googles and I said, that's a saxophone player. I
want to be in the band.
Speaker 1 (15:16):
Cool.
Speaker 5 (15:17):
And so I'm in the band. I'm learning saxophone, like
I need to learn saxophone. Every Sunday, I'm like ear
pressed on the TV. Trying to like figure that out. Okay, cool,
I'm gonna rady all that. I get sweet a saxophone.
I get sweet enough to learn my first song on saxophone,
which was Naked Marcus Houston. Wow, easy scale and I
(15:41):
can learn that, learned it, played it for and she
was like, huh, young man, you played naked for. I
like this guy's savage. Yeah, savage. You know the niggas
who wrote naked is sitting right next to you. I
promise on everything.
Speaker 4 (16:01):
That's hilarious.
Speaker 1 (16:03):
I was just listening to this term.
Speaker 5 (16:04):
I'm like the nigga rot to produce the song that
you're talking about. Rhyme, that is cool. I'm putting my
chades back. This is too vulnerable. This is awesome, This
is too intimate. That hilarious.
Speaker 8 (16:19):
To be young, to be young, to.
Speaker 1 (16:21):
Be young man? What Yeah, that's the truth. You play
naked to the teacher I did.
Speaker 5 (16:27):
This is sick.
Speaker 1 (16:29):
You him, you are him? This is great. What a
good day.
Speaker 5 (16:35):
Fuck learn sex, and then I'm gonna play naked and
tell her exactly what I would.
Speaker 1 (16:42):
I would like to do. If there's any detention you
got for me, any extra credit? My next question is
she doing for the TN.
Speaker 2 (16:59):
Now think where his music and musicianship takes us, but
it takes your places.
Speaker 1 (17:19):
Around.
Speaker 5 (17:20):
I'll be reflecting, like, man, we can really do a lot.
Speaker 8 (17:23):
Man.
Speaker 5 (17:25):
Yeah, substitute teacher, wasn't there a lot? So cool? All
I was left with was the instrument. Continued to play.
It got kicked out of class a lot because I
wanted to learn other songs that you wrote unknowingly, and
so that's all I would do during class, Listen on
line wire whatever mixtape somebody brought me on the school.
(17:45):
You know what I mean, what's that? Okay, that's such
and such about.
Speaker 1 (17:49):
To learn that?
Speaker 5 (17:49):
That's all I did that a class cool. But then
I had a substitute teacher for band one day. It
was this dude, mister Hulkam, big black dude, listen to
Charlie Parker type of guy. And he was like, you
gonna be something. I'm not gonna kick you out today.
I'm gonna put you into jazz band. So he puts
me in the jazz band and it's way better for
me because I can improve. And the best part was
(18:11):
that partner sheet music and it was like make it up.
I said, oh this for me. So every day, I
get to just make a solo up. Then I can
stay in class and just get that out. And I
feel like from there it just kept progressing. I'm like,
I don't want a jazz band, I want my own band.
I don't want to go to this college. I want
to drop out of college. It just kind of kept
compounding from there.
Speaker 2 (18:32):
I feel like your generation was the generation that kind
of reshaped the idea of how you learn to play instruments,
because before your generation, it was always very much the
structure of Bach and Beethoven. It was just very much
fingers on the Middle Sea, thumb on the Middle Sea,
(18:54):
and you move from there. But I think your generation
started a thing where the music needed to meet the individual,
you know what I mean. Because like one of the
teachers that teaches my son, like, she was like, well,
what do you like And he's like, well, I like
Spider Man and she was like, okay, well let's learn
(19:14):
Spider Man. Yeah, And so he's he's excited. He's learning
the theory to Spider Man. But in his mind, he's
just learning Spider Man, learning Spider Man, but he's learning
all of the theory. He understands where the key.
Speaker 5 (19:33):
Is piquing someone's interest, and if they taught us that way,
we wouldn't learn so much more.
Speaker 2 (19:41):
But it was everything was this is how it's always been.
It was so much tradition, and I think your generation
was was the start of breath.
Speaker 5 (19:50):
And if you come across a Yamborghini, Yamborghinia making you
come across want.
Speaker 1 (19:55):
To learn, do wrong wrong.
Speaker 5 (20:08):
So you're at college, you're at college, you're not, but
you're at Yeah, I'm at there. I think I wouldn't
say I felt like the man, but I knew I
was an outlier. I used to longboard and play saxophone
at the same time.
Speaker 1 (20:22):
Hold on, man, that's.
Speaker 5 (20:23):
Like that image is around on the net. You were
andre three thousand as what you saying, we go now
we're painting it.
Speaker 1 (20:31):
Is he rich or homeless?
Speaker 4 (20:33):
Hey man, maybe he's both because it's.
Speaker 5 (20:38):
That is the dynamic this basketball photo you're making right now.
Oh yeah, it's just hilarious. Bron What's I supposed to
be six supposed to be brothers. I'm supposed to be
your height? As what's going on?
Speaker 1 (20:56):
He said? Quit the monkey coup? Oh Mann, I didn't
think it was gonna be like sorry, you had you
all had a question reaching home.
Speaker 2 (21:16):
I was longboarding, but it's like ro Virginia.
Speaker 5 (21:22):
Yeah, that's a hilarious line.
Speaker 2 (21:24):
But it's like those eclectic type things and guys like
all the girls are like, who's the guy to be
riding a skateboard playing the saxophone?
Speaker 1 (21:32):
You know what I'm saying. I don't know I got
practice right now. I don't know who that niggas, you
know what I'm saying.
Speaker 2 (21:36):
But this guy, Eric Benney kind of guy would get
all the yams.
Speaker 1 (21:43):
It used to be so mad at you. It wasn't
you the guy's like, wait a minute.
Speaker 5 (21:51):
I was just trying to find my way, man, you know,
and uh I think I found.
Speaker 2 (21:57):
So does that does that lead to any discovery and
that college space or is that after the fact in
terms of, you know, getting into the business or.
Speaker 1 (22:04):
Drop your own music.
Speaker 5 (22:05):
I did, but I think it was beautiful that I
could learn how trash it was, you know what I'm saying.
In my college humbled me because there were real artists
in college with clothing lines and with software to mix
their music and with just a lot of professional artistisms.
And so I was getting to college thinking I was
like the best in the world. All this like confidence
or whatever, but dropping music and losing talent competitions and
(22:30):
all that.
Speaker 1 (22:30):
I liked that. I was like, oh, this is oh,
you're taking ls too.
Speaker 5 (22:32):
I was taking so many l's, collecting them as I
was long, yeah, excuse me.
Speaker 1 (22:38):
Yeah.
Speaker 5 (22:38):
And so from that, the game theory and me activated
or I was like, I got to defeat you. I
got to not lose this talent competition. I need to
figure out my niche to figure out how to win.
And I credit college for that because I said, Okay,
I got to make beats from scratch because I'm really
good off the top of my head. Oh, I got
to show you how many instruments I can play. I
(22:59):
got to make a song about you right here, so
you know, no one else can do this. And after
that I got man comfortable. I was like, nobody can
do this because nobody is doing this. Then I started
to win, and then I was like, okay, I needed
those losses to appreciate this win.
Speaker 1 (23:14):
I think, yeah, yeah, because I was.
Speaker 2 (23:18):
I think I was singing baby faces songs. Girls would
ask me to sing to them.
Speaker 5 (23:24):
The timbre of your voice just told me a lot.
Speaker 2 (23:27):
Yeah, I mean you just you just went straight around.
I was only doing original gospel music at the time.
So if you wanted, if you wanted to know anything
about Jesus, I could hook you up.
Speaker 5 (23:37):
The movie makes sense.
Speaker 2 (23:39):
Now you want a little Holy GOLs right there for
you in a minute. You want to love song covers,
I hadn't hadn't even gotten to the space to where
I had even explored that part of my creativity.
Speaker 1 (23:57):
Yet, that's cool. I just I just didn't know.
Speaker 2 (24:00):
Like I wasn't until what two years out of high
school that I decided to try r and b.
Speaker 1 (24:07):
Let me try it. Church ain't paying me enough, and
I gotta eat the rail, gotta eat. They were starting
you out what one hundred and fifty a Sunday.
Speaker 5 (24:21):
They paid me in chicken. But I understand what you're saying, though, Wait,
hold on, hold on, you're a love offering. Yeah, but
the love was a chicken.
Speaker 2 (24:29):
Yes, it was dahn, that's real. I started out of
twenty five dollars a Sunday. I fought years to end
up at that one fifty.
Speaker 1 (24:39):
M What you're gonna do with these days? Yeah?
Speaker 2 (24:42):
They told me the Lord was gonna provide. I said, well,
when is that nigga coming through so I can talk
to him.
Speaker 5 (24:50):
I wouldn't even been able to sell you niggas no weed,
trying to by the weed with a piece of chicken. Now,
you know, I used to trade chicken for a parking space.
Speaker 1 (25:08):
Here go baring. You were getting a lot of chickens.
Speaker 5 (25:14):
I was getting the chicken and now I'm getting the
y Yeah.
Speaker 2 (25:28):
All right, so get so. So we did traded chicken
for parking spaces. We have been collecting l's on our
long board, and and and and building to our ws.
Speaker 1 (25:42):
Yes we have.
Speaker 2 (25:43):
And you know, putting out our music, trying to figure
out how to be a professional in this thing. What
is what is your what is your breaking point? What
is what is what is that pivotal moment that says
I'm in the music business now?
Speaker 8 (26:00):
Hmm?
Speaker 5 (26:01):
I think twenty eighteen was when I shifted from SoundCloud
to the streaming platforms like the main ones, and that
was my R and B album. You know, it was
me trying to say I'm an artist. I know I'm entertaining,
I know I am talented, but these are records and
people are going to play these records in the future,
(26:23):
and it's going to be the thing, And I feel
like the tour I went on in twenty eighteen solidified
that I have to be looked at as an artist
because I'm like, I'm selling out these venues. People are
tattooing the lyrics on them like it's all the you're
an artist ISM's happening and purely independent.
Speaker 1 (26:41):
Yeah at this point, yes.
Speaker 5 (26:42):
It's just you know, me and the people you meet
along the way. Okay, so yeah, the record deal came
maybe before you get before you get to the record deal,
how did you know where to go? Meaning it's tour
right and saying you know you're selling out these venues.
Were you using the analytics or were you just did
(27:02):
you even know about the analytics yet? Of Okay, I
have a thousand fans and such and such, so I
can probably do a spot that fits two fifty.
Speaker 1 (27:10):
Did you go through that process?
Speaker 7 (27:12):
Because we want to give these artists who are getting
into the game and understanding of how not to lose
your ass.
Speaker 1 (27:20):
You know what I'm saying.
Speaker 5 (27:20):
It's just like, oh, yeah, I'm gonna go do a
show in New York. Well, nigga, they don't know you
in New York. What are you talking about? Go figure
out or did you just take the chance.
Speaker 1 (27:29):
That's what I want to know.
Speaker 5 (27:30):
No, no, no, that's a great question. I always looked
at what the people were saying. Like SoundCloud, the way
it was structured was as that song is played, they
can comment if they like it, where they're from, whatever,
And so I would take that gather some data. I
was always trying to outsmart the system, right, and I
always would go where the love is. So to continue
(27:52):
with answering that, I would say I would do a
show and then figure out who was there, and from
that it would create the next show. And I think
I would just let that be deciding where I should go.
So my show on a rooftop in New York turned
into it a festival in DC because I was making
a beat and this dude was like, Yo, you should
(28:12):
do this thing called your Electro in DC. Then that
festival got me attention to say, yo, come do this
selection show in LA And I'm like, oh yeah, that
was mad Love in LA from the SoundCloud comments cool,
all right, it should be fine go to La. LA
is like Okay, there's a dude from the UK that
wants you to do this thing. I say, all right,
I'll go over there losing money. By the way, on
(28:32):
all of this, the plane ticket sucked up all that cash.
But I knew that people was the power. I've been
knew that because I was just like the only reason
that I was succeeding was because women championed me. They said, no, no, no,
he this a collected guy.
Speaker 1 (28:47):
We choose him.
Speaker 5 (28:48):
And so I always paid attention to what the people
liked and where they were at, and I just go there.
So I used to it was literally a non official tour.
It was like this show did this, and then I
was like, I've been on twelf for two years. Wow,
that was that was my story. So just paying attention
to people, I think it's good advice. I read the comments.
I organized the comments in a spreadsheet. I used to
(29:09):
like make my old older sistant, my best friend just
like categorize what type of songs they were responding to.
We looked at everything like game footage. Like I was
very calculated in the beginning and I'm still today. So
I think I answered that.
Speaker 1 (29:24):
I love that absolutely.
Speaker 2 (29:26):
But then at the other piece though, with the information
in terms of how you go from SoundCloud to the DSPs.
Speaker 5 (29:33):
Yeah, you gotta like, you gotta talk to people. You
have to almost harass people for information while you're not
in the in crowd yet, and you have to read
anything available and try to figure out the through line
that connects it all. Because it was definitely difficult at
first figuring out what does this mean, what it splits,
(29:54):
what's the publishing? How do you figure out how to
get this there? But I felt like trying to be
open to trying to understand it, being vocal about that,
whether it's social media, in your conversations, it was leading
to more answers, like I met the dude that created
the stem platform that allowed artists to upload things and
they put it on the DSPs. I met them early
(30:16):
on a beach in LA while I was doing my
little street musician thing. So I just feel like, again,
a lot of this.
Speaker 2 (30:22):
Is just he said, who I love that too though
the street streets.
Speaker 5 (30:26):
Yeah, yeah, you know, we'll get them going. That's a
lot of who I am. But I've always been It's
all it goes back to relationships or currency, you know
what I'm saying. I was just like, I haven't gotten
to where I want to get to it because I
haven't met the right person, and so I would always
just go outside or do something clever on social media
until I would get closer to the understanding that I
(30:48):
lacked at the time. So yeah, when it comes to
how did I get my stuff on DSPs, I used
to email everybody long, annoying paragraphs of questions. I used
to follow the person that this person and followed and like,
I used to try to do all the things, and
it led to a little bit more understanding, and oh
I shouldn't do that, and I should do that, and
(31:09):
I understand this one, and I would just compound it.
Speaker 1 (31:12):
Yeah, so wow, that now I love the due diligence though.
That's the hunger you gotta have. I was very hungry, Yeah,
because you have to be in.
Speaker 2 (31:28):
I mean, first, the people business is what we subscribe to.
We're in the people business. Everything else is a byproduct
of that. You got to get the people there, or
get to the people in some way, shape or form.
That's where you build. But to ask to to not
be afraid to ask those questions, to not be afraid
to take those chances, is a different kind of hunger,
(31:51):
because then you have to start chipping away at the
pride and ego that goes along with your feeling like
you're good at your but understanding you're not there yet.
Speaker 5 (32:05):
That's what Virginia did though. Yeah, like in terms of
joking ability, they're great in the DMV, Like they'll tell
you exactly how much they don't like what you're wearing
or what you're sounding, like the comments will cook you. Yeah,
it's all And I needed that because a lot of people,
this is what's in the way. They think they're so
amazing and untouchable. They don't need to go overseas because
(32:27):
America is only all that matters all that. If you
defeat that, I really feel like that's when you begin
to grow. And so once I got all of my
ego just just destroyed, then I got to build it
back up in a better way. I was like, Okay,
I know that I've spent ten thousand hours on being
in front of people making beats from scratch, So I'm
(32:49):
not scared about that. I'm not scared to talk to people.
I'm not scared of the nose. I don't care if
somebody thinks I'm annoying or lame. It's just like, you
know what I mean, I've already went through that so
I think that's why that that was that, you know,
that hyperbolic period of just building up my you know,
industry strength.
Speaker 1 (33:10):
Hyperbolic. You went to school a little bit, he went
to one of the classes.
Speaker 2 (33:14):
Hyperbolic is not like you know, you just walking and
chilling on the corner. This niggas just like, yeah, I
mean what you're doing with your hyperbolic today, Like, that's not.
Speaker 5 (33:24):
Done a lot of museum days.
Speaker 1 (33:27):
I've done a lot of music.
Speaker 5 (33:30):
Subsidiary my repertoire, my repertoire, Yeah yeah, trust me, that's
where you get the words from the museums. First big
record to me love Be like m hmm, it's from SoundCloud.
(33:52):
And that was what made me drop out of school
because it got one hundred thousand plays in a day.
Speaker 1 (33:57):
I'm out, this bitch, I'm out.
Speaker 5 (34:00):
I know I was here. I said, not no more communications,
one on one, a hundred thousand. I was coming here
for this. I dot it about you an't even give
me a scholarship peace, he said.
Speaker 1 (34:18):
Pe whoa like ten? Pe my repertoire? Are you kidding?
One hundred thousand and one day?
Speaker 5 (34:26):
That's all that to me? I was like, I'm famous.
That's what I told my and then when Girls That
Dance came out, I said, oh, it's over, I'm it,
give me the plaque. But I knew at that time
that I'm missing something to get this plaqu because if
I didn't here yet, we'll be all right. Between Lovely
Lick and Girls of Dance, like those are the ones
(34:46):
where I was like, Okay, this is what famous. And
then when I started to see it can just keep
getting redefined. And I've been trying to do this for
like months now. I'm trying to like find and a
way to compare the music industry to sports.
Speaker 1 (35:03):
I'm like, is it basketball? Is it football?
Speaker 5 (35:05):
Just so I can gauge the wins a little bit
better because it's so nuanced, and do we win this?
Is this the plaque that says we got the ring?
Are these your rings? Or is this like a trophy?
Is this the MVP Award? And so I tried to
do that, and I felt like if I had a
metric that I wanted to hit and I hit it,
that's the ring. And so love Be Like was the
first one, and I was like one hundred k like
(35:27):
that's it, and then it just kept increasing and increasing. Yeah,
I mean, it's it's multiple championships, absolutely, But the difference
is in music, you're truly competing with yourself.
Speaker 1 (35:40):
M m yeah, truly.
Speaker 5 (35:43):
Like we can say, oh, well, the Grammy and you know,
I won this award at the end of the year,
and I guess that would probably be perceived to be
what our super Bowl is and our you know, NBA championship.
But the truth of the matter is that you're you're
really competing with yourself of where you feel that you
know that success lies, like you said, for you to
(36:05):
see that one hundred thousand, that's your super Bowl, that was.
Speaker 1 (36:07):
Life changing for you.
Speaker 7 (36:10):
And I think with music, we put too much on
you know, everybody else's things, you know, instead of just
being like, this is what satisfies me, this is what
I believe is the greatest shit in the world, you.
Speaker 1 (36:31):
Know what I mean?
Speaker 7 (36:31):
Like that you even having that story and explaining that, like, yeah,
when you saw that one hundred thousand, because we can
have so many of those moments in the music business
that in you know, like in the NBA, you just
met you can make it to the league, and then
you try to get your contract, and then you try
to and then you but in music, every day you
can be satisfied by that song you just wrote or
(36:55):
this room being like maybe that's the one. There's satisfaction
in that that we have in music that we I
don't I don't think I personally that.
Speaker 1 (37:04):
I don't think that.
Speaker 7 (37:05):
You know, other forms have that, that that instant gratification.
Speaker 5 (37:12):
You know, I know how I feel. The dunk dunk,
the basketball cool, you.
Speaker 7 (37:16):
Know what I'm saying talk about, But you know, seeing
a record go the way that they go and then
seeing people react to it the same, you know what
I mean, or even crazier, like I've never always say this,
I've never seen a woman throw their panties at somebody
for dunk and a basketball. She might have thrown her
panties about the contract he signed talk about it, But
(37:41):
I've seen panties get.
Speaker 5 (37:43):
Thrown off of a Oh yeah, we haven't panty talk.
Speaker 1 (37:46):
We always have. This is the R and B Money Podcast.
Speaker 4 (37:51):
Come on, rustles a little, Come on.
Speaker 5 (37:56):
We haven't talk.
Speaker 1 (38:02):
That because him.
Speaker 5 (38:05):
The other thing about music too, though, is that we
can get it all broke. Okay, we can get it
all broke. I talk about it, you know what I mean.
We can dive into that, you know what I mean
when it's like, oh damn, you date him, that's cool.
Speaker 7 (38:25):
I probably can't afford to go to the game he
playing there. But you like this song rot, don't you?
Speaker 1 (38:29):
Absolutely?
Speaker 5 (38:31):
Because at the end of the day, talk about it.
It all comes down to the yams.
Speaker 1 (38:38):
Y'all good at what y'all do. This is a good show,
R and B.
Speaker 2 (38:43):
I don't care how you cut it, you know, I mean, okay,
how you slice it? Still a yam still yam man. Yeah, yeah,
you're freshly braided. I know her too. I know why,
just in case that yam is.
Speaker 1 (38:59):
Look, it's the playoffs right now, he said, you freshly break. Yeah,
we know why. It's always the playoffs for rest, as.
Speaker 2 (39:17):
In being in competition with yourself. It's just it's just
the progressions that make it all make sense. It's getting
a hundred more people in the building, it's getting a
hundred more spans that week. It's you know, I don't
I mean, I like the I love the award shows.
I love it. I get I get what it is.
(39:39):
But I've seen so many historians and even current artists
have so much success without it, great success. So it
goes back to what you're saying, like, yeah, it's it's
it's about you. It's about your progressions and your upgrades
and continuing to to be better and build that are
(40:00):
and that word continuing to spread of who you are
and what you're doing them then then venues getting bigger
and bigger, you know.
Speaker 5 (40:07):
Like I don't know you through the numbers. I know
you through the woman. Have you heard it now?
Speaker 1 (40:14):
Yes? I have m Yeah, I like that record.
Speaker 5 (40:18):
This man is dropping place today.
Speaker 7 (40:20):
Like but seriously though, and that that is something that
that you've established within your artistry and your career, that's special.
You said it earlier, you were like, you know, I
knew women were supporting me, you know what I mean?
And that that that you you you had your target audience.
You stuck to it, and they they become your introduction,
(40:44):
you know what I mean. It was It wasn't like
you know, the radio introduced me to you or some playlist.
Speaker 1 (40:49):
Or that it literally the woman. It was just he's dope.
He's dope. If you heard him, that's simple. And then
it became if you didn't hear him, think you don't
know about that?
Speaker 7 (41:02):
No painings for you, O, man, Like you've done, he bro, Listen,
you gott.
Speaker 1 (41:09):
Some fly ship, bro.
Speaker 5 (41:10):
I appreciate that some fly ship really shout out women,
man shout out to talk. Yeah.
Speaker 8 (41:15):
Yeah.
Speaker 5 (41:16):
What's been your most successful record?
Speaker 1 (41:19):
Successful?
Speaker 5 (41:20):
Definitely, okay, just because of the impact into places that
I wouldn't otherwise find myself, certain countries that I wouldn't
have been to, certain people wouldn't have discovered me. Like
it just opened up the most doors, and it's such
a great introduction when someone's trying to understand that I'm
(41:41):
a little left of center with my approach to R
and B. It's like, watch a video. You see exactly
what he be doing. He makes up songs, he's inspired
by women because you see her walking by the window.
The whole video plays a bunch of instruments and it's quick.
I was like, cool, if that's all you know me from,
fine by me. It's a good intro. What's the inspiration
(42:01):
of that record? The flight to Paris for the first
time because I hadn't been and when was that? When
was it twenty seventeen maybe? And the woman walking by
the window because I didn't think there were black people
in Paris at the time, and I was surprised. I
was like, oh, and so I got to show off
(42:22):
because I know you see me, see you see you.
So I'm about to play all these instruments and just
look at the window the whole time, glasses on. I'm
just like it's for that. Yeah, And everybody behind me
was just like just gasping, like what is what's happened?
Because I met old dude FKJ five minutes prior didn't
speak English.
Speaker 1 (42:42):
Well, he said five minutes. Yeah.
Speaker 5 (42:44):
So as we're getting introduced to each other, he's warming
his guitar up and that's the riff of the song.
And so I'm like, all right, we ain't got to talk. Then,
let's just come on. I got drums, start punching the
drum machine, and so yeah, it was just another in
the moment. So y'all got all my favorite things here, women, tea, instruments.
Speaker 1 (43:08):
Oh, let's give them. Let's just give him some backstory.
You know. He walks onto the pod. Uh, he's walking
in here, and we're like, man, you got we got water,
we got uh, we got libations. You know what I'm saying.
Speaker 2 (43:19):
We did we to tequila on that little whiskey aged whiskey.
You know what I'm saying. We like whiskey of age.
And he says, yeah, yeah, I feel all that, But
where's the tea? I said what he said, it's supposed
to be R and B money.
Speaker 1 (43:32):
You ain't got no tea. You know what I do
have tea, motherfucker.
Speaker 2 (43:37):
I got tea and I got a love cut trump
me think I ain't ready. I just bought throw coats
with limited incognesia and I got mint tea. I got
Camra meals that saying, I got ginger tea for digestions.
Speaker 1 (43:52):
Just in case you know what I'm saying, you bounce an.
I got tea, all right, So.
Speaker 2 (43:56):
This man loves tea every time you see him. Just
make sure maybe you'll come up with a brand of tease.
Speaker 1 (44:01):
Are we branding something right now? If they cutting the check? No, no,
no the check. If they start in the LLC, you
can find me. But you got beverages, don't you? You gets
you got some? You guess your don't think going right?
I got I.
Speaker 5 (44:19):
Don't know if I got nothing. What I got?
Speaker 3 (44:21):
What I got?
Speaker 5 (44:23):
Yeah, we got stuff closing opening, Okay, we can't talk
about it yet. Actually you're talking about the jont in
the overseas situation. Listen, man, I'm big for health, and
as a man that acquired a little bit more access,
I've noticed that white people got all the healthy things
just right next to themselves, and I was like, I
want black people to have this knowledge, these resources, all this,
(44:47):
And I think it comes down to affecting culture because
I think, yeah, I love all the plant based vegan talk,
because our interpretation, unfortunately, is just replacing comfort food with
just impossible meet. And I don't think that's the that's
the word. Do anybody know what's in that? It's it's
(45:09):
it ain't acgnesias.
Speaker 1 (45:11):
Real quick, you know it's not. You cannot put it in.
Speaker 5 (45:17):
The hold on, man, do you find a suspicious?
Speaker 4 (45:22):
Don't you find a suspicious that we don't get all
the help?
Speaker 5 (45:27):
Why it costs so much? Why fast foods so affordable
and near us?
Speaker 1 (45:32):
Yeah? Yeah, what you find a suspicious? I find it suspicious?
My brother? Can I call you brother Tank? You can
call me brother Tank.
Speaker 5 (45:39):
I find it suspicious. Then we can't even have nothing.
Speaker 2 (45:52):
Thumbs up to my rap career. Let's start there.
Speaker 5 (46:02):
Mm hmmm, h.
Speaker 2 (46:05):
M h.
Speaker 5 (46:16):
M hmmmm.
Speaker 3 (46:27):
Top five.
Speaker 1 (46:32):
Your top five.
Speaker 2 (46:35):
Top five, Your top five R and B easigga, all
the these songs.
Speaker 1 (46:49):
Yeah, great, bring.
Speaker 3 (46:50):
Let's tell a discus, tell these bussines, tackle tack. Yes, your.
Speaker 8 (47:16):
Top five, it's all types of off.
Speaker 1 (47:29):
Let's say I shut it tear your top five all singers,
all right.
Speaker 3 (47:39):
Uh.
Speaker 5 (47:40):
The first person that came to mind was DiAngelo. Yeah,
I'll start there, Okay, definitely, that's where I will start.
The second person popped my mind was j Moss. I
act like that out of control definitely.
Speaker 8 (47:56):
Mm hmm.
Speaker 5 (47:58):
Third, I'm gonna go with Jamie Fox. Yeah, definitely.
Speaker 1 (48:02):
Yeah, that's the cat, the Cat, the cat, musician, tip musicians.
Speaker 5 (48:11):
Impact, Mary J. Blige, Yeah, how to do it? And
then number five spot gotta go Stevie. Yeah, and see
defeated un defeated in the world. It's just multifaceted. Choose
multi everything and he can see so but we'll get
(48:32):
to that anyway. Your top five, top five R and
B songs. Okay, top five R and B songs. I
gotta access some cool to get this. They got you
both for this one.
Speaker 2 (48:53):
Excuse me, all right. Image, So it's like it's like
you ski, but you you have the Ten Commandments written.
Speaker 5 (49:07):
On your Ski Betray My Heart DeAngelo. I think that's
a good one.
Speaker 1 (49:12):
Mm. I think it's suspicious. We don't talk about that
song enough. That's just me. I would say, hmmmm.
Speaker 8 (49:26):
Was it?
Speaker 1 (49:26):
Was it? What you want to be? Y'all? Why a w?
Have you heard this record?
Speaker 5 (49:32):
No?
Speaker 1 (49:33):
Where's my cellular device? Can you pass it? I was
listening to it on the morning all the while? But yes,
it is very beautiful. It is Where would you be?
Why a w? Oh? I love that you don't know
this song. You should listen to it.
Speaker 5 (49:49):
It's very It could be a cover and I could
just be a youngster. We'll see later. Cool butterflies MJ
why not? Yes, have to Marshall fancy the Dream?
Speaker 3 (50:02):
Hmm.
Speaker 1 (50:04):
That's a good love song.
Speaker 8 (50:06):
That one. What a vibe?
Speaker 5 (50:09):
Yeah, Yeah, would love to hear liveh missed mm hmm.
And J Moss Florida, Yeah, let's go to Florida talks
about the Temptations.
Speaker 1 (50:22):
I really liked that one. It was an R and
B thing. It was a lot of controversy about him
singing that he should be able to sing whatever he
wants to. It's an instrument. It's an instrument, many keys,
and he's amazing, wanted.
Speaker 5 (50:36):
To be him growing up. I said, how many of
you is that in that choir? He just said, yes,
I understand.
Speaker 2 (50:46):
All right, we gotta we're gonna build. We're gonna build
you a perfect R and B artist. We call it
the R and B voltron. And you have to pick
artists where you're going to extract huh uh uh okay,
the necessities from the materials. We're gonna we're gonna see
(51:07):
who you're gonna get the vocal from, who you're going
to get the styling from, who you're going to get
the performance style from, and who you're going to get.
Speaker 1 (51:15):
The heart of the artists from the passion so good? Yeah,
So let's start with the vocal. If you're building your
perfect R and B artists, who are you going to
get the vocal from that one artist? Who the lead singer?
Speaker 2 (51:27):
Man, it ain't gonna be oltists who who they come
to see? I gotta be honest, give me the vocals from.
Speaker 1 (51:36):
Cals, lot of that of that.
Speaker 3 (51:40):
Yeah. Oh Now, if you don't want to find out
the hardway, hardway, now listen to the song is the record?
Speaker 1 (51:58):
Please? Well know all mom Mamma talked me a long
time ago, throw their lamb in there.
Speaker 2 (52:08):
Yeah, okay, wow, wow, Okay, I can tell a lie.
Robert Lee vocal, got it, got it? Who are you
getting the performance style.
Speaker 1 (52:17):
From that performance?
Speaker 5 (52:24):
Give me Maxwell hm hmm yeah, with the new Maxwell,
with the Meganes, with the Megan Thees Maxwell. Yeah, yeah,
I've seen. Yeah, I said, this has long jevity.
Speaker 1 (52:35):
Yeah, I don't want the first tour knees got out
of here, get that drop down and get your I'm
(52:55):
not I'm not not me lost me there, I respect
it thought. Okay, who you getting the styling from the
drip of the artists? The styling from get me on?
Speaker 5 (53:11):
No, no, no, no, no, no.
Speaker 3 (53:14):
Do that.
Speaker 5 (53:14):
No, the styling from the R and B because we're
we're an odd bunch with the outfits. Whatever artists you
want to throw in there, though you're making your perfect
R and B artist for you, it's yours.
Speaker 1 (53:30):
Who's got the drip? Mmm r n B. No, No,
that wasn't really doing it for me.
Speaker 5 (53:38):
Back in the news day, Okay, okay, give me those
threads from Jay Holiday, the flannel with the hoodie in
the back, the.
Speaker 1 (53:47):
Hoodie that come out of the flannel.
Speaker 5 (53:49):
Yeah yeah, yeah, uh suffocate, suffocate, I do exactly what?
Speaker 1 (53:56):
Come on? Now? You sure you know what I'm saying?
Your whole artist is gonna happen, Okay.
Speaker 5 (54:05):
Because that's when I'll know that the art is speaking,
because you're not here for the clothes.
Speaker 1 (54:12):
I need that. Ah Okay, it's kind of a dig
I'm roland.
Speaker 5 (54:19):
Oh but no, no, no, understand that for that combination,
it would be viewed in this day and time as lumberjackish.
But that doesn't mean it's not a style that people want.
Jack one hundred thw thousand.
Speaker 1 (54:38):
You know we can do this. You know it's crazy.
I'm thinking you're gonna say dred the whole time. I'm like,
you're gonna say dray. Yeah.
Speaker 2 (54:51):
That definitely came out of left Yep, none of wh
The passion of you threw this nigga off. He said,
for the drip, I love, I just didn't know he dripped, Okay,
Hey said three thousand for the drip.
Speaker 1 (55:12):
Yeah, okay. Passion of the artist, the heart of the artist,
the heart gotta do Michael God, who wanted more than that?
What is a nigga going through that? In between?
Speaker 5 (55:29):
And it's understanding and held on to that thing in
the air that holds you and said, what.
Speaker 1 (55:33):
About the elephants?
Speaker 8 (55:36):
What about the saying?
Speaker 5 (55:37):
You know what I'm saying, that's heard. You care about
the things that we can't even go see only you've
seen them elephants. We ain't got that type of money.
He was trying to put us up on Brazil, looking
to put us up. I've seen it's sad.
Speaker 8 (55:53):
Where you going?
Speaker 1 (55:57):
What about Derek? What about the mountain to love? It's
burning love? What about lava?
Speaker 5 (56:09):
What?
Speaker 1 (56:10):
What about ants? What about lying and tigers in bears?
Speaker 4 (56:17):
Don't have a chance.
Speaker 1 (56:22):
This is why you can't write songs with him, because
saying what about lava? He can make anything sound like
it's supposed to be cool.
Speaker 2 (56:32):
Michael doesn't care about lava. I can care about But
if you look at java, it's so much of it.
It swhere, does it go? Does any does it can
even help the lava? Can someone help us with the LoVa?
And then and then it and then it dries and dies?
Help us keep the lava, lava, keep the lava. And
(56:52):
those of you who are making lava laps, how dare you?
How dare you extract lava from its place, from its ois?
From its home, take it from It's must be stopped.
Speaker 1 (57:01):
Yeah, you have to be lover belongs with LoVa. None
in your lamps. M okay, Oh my god, that is
on his teeth.
Speaker 8 (57:16):
This guy, man, where are you going?
Speaker 1 (57:21):
Where are you going? Is this a little bill theme?
Is that about the record? You lost it? I think
I lost it? He throwing all I got it, I
(57:44):
got I got I got I got it, I got it,
I got it, I got it. I ain't saying no names.
Speaker 2 (57:52):
I ain't saying no names. Ain't saying no names. Saying
no name when you were who he was weird? Don't
say ship. I ain't saying no.
Speaker 5 (58:13):
It's a good show a lot. That's a very important segment. Okay,
very important to the rest of those seams, tears. There's
a question to be asked this segment of the show.
Speaker 1 (58:28):
I'm listening.
Speaker 5 (58:30):
God, I ain't saying no names. It's about your travels
and this ship music industry. Yeah, yeah, yeah, yeah. The
story can be funny. Are fucked up? Are funny? And
fucked up? Could be about your audit when you audited
label ship. The only rulee to this game and segment.
(58:53):
You just can't say no names.
Speaker 1 (58:56):
But this right here. I ain't saying no name. Okay, okay, man,
what all right? Take time? Can you just put me
in a minor for a seconds? I think musician nigga? Okay,
(59:18):
we could do that decent story, Max. You know I
got masked. I just got to figure out to clean
this up. No, no, we want a dirty story. Dirty.
We want to tell them dirt, dirt.
Speaker 5 (59:34):
All right, we'll do it. We'll keep it light for
the first ones. I think of the second one all right, boom.
It's my first time in l A searching for a
deal using my contacts that I have, and then I
land a meeting with a really well known executive and
his partner and they're like, yo, meet us at the
top of Soho House.
Speaker 1 (59:57):
You know, can I say names of place? You know?
I'm niggas be a man.
Speaker 5 (01:00:01):
Yeah, everybody there see the view all that my first
time being there. I used to be at the rallies.
That's where I would do.
Speaker 8 (01:00:10):
That's what I would do.
Speaker 5 (01:00:11):
Me a little different, a guy like me. Yeah, I'm
sure they don't have the trouble pizza, you understand, I
get it. Yeah, I just traded my longboard, so it's
a different stage. So I show up to this meeting
on time early actually, and at first they were asking
if I worked there, and I said, these are my
(01:00:34):
these are my famous clothes.
Speaker 1 (01:00:36):
No, I don't work here.
Speaker 5 (01:00:37):
But they said, sir, you know use your lakers, now
you understand. And I said, no, no, no, I don't
work here. I'm not here to park the cars. I'm
here to get a deal.
Speaker 1 (01:00:47):
So boom.
Speaker 5 (01:00:47):
After a lot of you know, ego taming, I make
my way up to the top of the top of
so's a beautiful view, nice layer of small and pollution
just to coat the clouds of l a and a
little hero and needle right there in the distance, just
being shared by a couple.
Speaker 1 (01:01:06):
Love. Wow.
Speaker 5 (01:01:07):
And So now I'm here with my manager and we're
just waiting thirty minutes our hour thirty. I've already consumed
the very expensive appetizers. I said, who's.
Speaker 1 (01:01:23):
Paying for this?
Speaker 5 (01:01:23):
Doesn't matter. Then two men, powerful men walk in. I said, oh,
there's the money walking in my deals here. Let me
just move my work clothes them see my chain from
Patrick Henry Mall And so I, oh, yes, the kiosk
I love that.
Speaker 8 (01:01:40):
I love.
Speaker 1 (01:01:41):
Yes, it's gotta fake it till you you understand.
Speaker 5 (01:01:47):
Well, so I'm I'm trying to talk to I'm like, yo,
so I'm gonna say go and I do this, and
I play out his instruments no dah, and I'm just
like I'm looking out at the sky like this is
my chance. I'm just telling him who I am and
why I am the one he should sign. And then
I looked down and one of them is sleeping, sleep, resting,
(01:02:10):
and the other one is.
Speaker 1 (01:02:11):
Just like, yeah, man, you know it's.
Speaker 5 (01:02:14):
Yeah, he's got back from London.
Speaker 1 (01:02:16):
You know how that is. I said, no, I don't
know how that is. I am broke. What is it? London?
But I'm not her American boy, well not her American.
Speaker 5 (01:02:30):
So he was sleeping and I was just like, well,
wake up, mister West, and uh he woke up and.
Speaker 1 (01:02:37):
He said yeah, yeah, yeah, yeah yeah. Can we do
this over email?
Speaker 5 (01:02:43):
And I said yes we can, and then he left
to go to the bathroom. And I had to pay
for this so on my father's credit card, this meal
that we all enjoyed.
Speaker 1 (01:02:54):
He ordered the what is the meal out here?
Speaker 5 (01:02:57):
The salmon with the here with the potatoes, yes, and
then those housemaid chips I believe, Yeah, two glasses of wine.
I think it was nineteen crimes at the time. Shout
out snoop, good partnership.
Speaker 1 (01:03:16):
Didn't know.
Speaker 5 (01:03:18):
And yeah, yeah, that was quite the bill. That took
a while to pay off. And then when I would
see him in the future, he would just say he's
proud of me, and I'd be like, guacamole, but I
ain't saying no names.
Speaker 1 (01:03:37):
I ain't saying no names. That's great, appreciate it, man,
that was really good. Had to clean it up. I
was like, he needed to take you to dinner, man,
he needed to take.
Speaker 5 (01:03:52):
You.
Speaker 1 (01:03:52):
Got brother, got to take you to dinner, just one dinner.
Speaker 5 (01:03:56):
It could be at rallies.
Speaker 1 (01:03:57):
I'd still show up. If anybody asked, you can we
do this over email? You say no, we cannot.
Speaker 3 (01:04:06):
Ship.
Speaker 1 (01:04:07):
Yeah, that's tough. We're gonna do this now, we ain't
gonna do it. It's good.
Speaker 2 (01:04:13):
That's a great story though. That's amazing, and it's it's real.
It's man, it's it's how this ship goes.
Speaker 1 (01:04:24):
You guys don't have to be the guacamole guy. You
don't have to be to guacamolea. I have to be
the guacamolea guy. You might be with me and I
might push the guacamole in your fucking face.
Speaker 5 (01:04:34):
Talk to talk, Come on, man, talk to talk. Ship,
Wake the funk up, right, Come on, guys. We don't
have to be those guys. Man, don't have to don't
have to be those guys. Man, you either like it
or you don't like it. Tell someone you don't like it.
It's it's okay, and move on. We don't have to
be disrespectful, brother, migo. That story is great, great story
(01:05:00):
top to bottom. And you you're you're still in the
beginning stages of writing some really cool ship. Man, writing
a really cool story for yourself. It's impressive.
Speaker 3 (01:05:09):
Man.
Speaker 1 (01:05:10):
We support you.
Speaker 3 (01:05:11):
Man.
Speaker 1 (01:05:12):
Suspicious that you haven't been here sooner, but that is suspicious.
You know, I'm gonna take your head.
Speaker 5 (01:05:21):
A different product.
Speaker 1 (01:05:22):
Ain't no product. Baby, You're gonna see a lot of.
Speaker 8 (01:05:33):
A lot of in Brazil.
Speaker 3 (01:05:36):
Hello, this is.
Speaker 1 (01:05:42):
He speaks Spanish.
Speaker 2 (01:05:43):
I know that.
Speaker 1 (01:05:45):
On the shoulders.
Speaker 3 (01:05:47):
Baby.
Speaker 2 (01:05:48):
Okay, uh you you're killing them. Man, you gonna keep you.
It's amazing, amazing things for you. Hopefully you know, we'll
get to be able to do some cool work with you.
Man sitting in the room and just I.
Speaker 1 (01:06:01):
Don't know how let the same background man ship have
fun that. You know.
Speaker 2 (01:06:07):
You don't want that. You don't want that because it's
get different. This is illegal in eight countries.
Speaker 1 (01:06:16):
You can't.
Speaker 2 (01:06:17):
They don't even let me burn this. Motherfucking sir. It's
stan Bull. Can't go right, just trying to let you know.
But thank you, brother. I really got to say that, man,
because you know, it's a it's a shortage of of
of truly talented people that are standing on it, you
(01:06:40):
know what I mean. The compromise is real. Ultimately, people
want to make money, they want to live, they want
to be in in the know in the now, and
it's a long road to be talented in today's time.
And you are doing it with style and grace, my brother,
and you've been very successful. So you salute you for
(01:07:00):
the thanks, appreciate you for it.
Speaker 1 (01:07:02):
Thank you. Lit. My name is Tank Valentine.
Speaker 2 (01:07:06):
This is the Army Money podcast, the authority on all
things R and B and Trap House Chat and trap
House Jass and this has been the brother himself Shaped
Shapes don't matter, do it All?
Speaker 5 (01:07:21):
My R and B Money. 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
(01:07:43):
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, subscribe to YouTube
dot com, Forward, slash r, and b Money
Hosts And Creators
Tank
J. Valentine
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