August 6, 2025 • 66 mins
This week on The R&B Money Podcast, Tank and J Valentine sit down with musical savant Patrick "J. Que" Smith. Together, they explore the captivating story behind the creation of Usher's undeniable hit, "Yeah", and the invaluable lessons J. Que learned in the process. Discover the remarkable origins of the legendary writing group, The Clutch, amidst the chaos of Hurricane Katrina in Miami. Que is truly one of the GOATs of our generation, penning smashes delivered by Beyonce, Ariana Grande, Chris Brown, Britney Spears, Ciara, Jennifer Lopez, and Omarion. Reminisce on the records that redefined our lives and celebrate J. Que's revolutionary contributions to R&B and the culture. Listen and Enjoy! Patrick "J. Que" Smith 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.
Speaker 2 (00:07):
Thanks. Take valotized. We are the authority on all things
R and B. Ladies and gentlemen.
Speaker 3 (00:18):
My name is Tank, I'm Valentine, and this is the
Army Money Podcast, the authority on all things R and B.
Speaker 1 (00:29):
Ah.
Speaker 2 (00:31):
There are men.
Speaker 3 (00:33):
There are men who are writers. There are men who
deliver melody. All of it there there. But there's a
certain type of man.
Speaker 4 (00:46):
They produced that vocal too.
Speaker 3 (00:47):
They produced that vocal. That vocal, not the vocal that
are the or the This particular kind of man is
a scientist. He weaves into the intricacies technician of a
record technician and takes a record from here to here.
(01:10):
He also has a beer, make some build what a picture,
rolly fingers. That's before your time.
Speaker 5 (01:26):
It might have been before my time because I don't
know what we're talking about.
Speaker 2 (01:29):
The baseball pictures with this here.
Speaker 4 (01:31):
He really feel like I can't grow ship bro. Bro.
He I already knew I couldn't.
Speaker 2 (01:36):
He keeps going. He's done.
Speaker 3 (01:38):
First of all, I want to say this, thank you
for coming right your family, But we never want to
take advantage of that.
Speaker 4 (01:46):
You know what I'm saying. We never want to take
light of that. We know you're busy man.
Speaker 2 (01:49):
We know you're a busy man.
Speaker 4 (01:51):
You know you're you're here in Korea.
Speaker 6 (01:54):
You hear me in Korea man, you know, as the
original Black Man would say, even over there Korean.
Speaker 2 (02:02):
Bleeding from the inside.
Speaker 5 (02:03):
You understand.
Speaker 2 (02:04):
I know, Jacob, if you grab crap, prap.
Speaker 4 (02:06):
That thing for me, this is a special day on
the R and B Money Podcast.
Speaker 2 (02:11):
You are a first. You are a first with this particular.
Speaker 4 (02:16):
I don't even know what's going on.
Speaker 2 (02:17):
You lied to me what you are half.
Speaker 3 (02:22):
Yeah, Okay, happy birthday, che you.
Speaker 7 (02:32):
Happy bad j hay bad cheez.
Speaker 5 (02:47):
Come on from even lied to me.
Speaker 4 (02:52):
You know it's gonna come out twelve months.
Speaker 2 (02:54):
From now.
Speaker 3 (02:58):
Actual sure birthday, brother, and I can't believe you're here
on your birthday.
Speaker 5 (03:03):
Thank you. I can't just there.
Speaker 2 (03:08):
I just want you to. I just wanted to be
part of you in this part.
Speaker 4 (03:11):
You know what I'm saying, So people know I appreciate it,
so they.
Speaker 6 (03:15):
Can see the happy birthday you want at birthday which one, however,
he wants to receive.
Speaker 2 (03:23):
You are.
Speaker 3 (03:24):
You are an awesome brother, one of the coolest human
beings ever. Since day one, your family day one, we
go all the way back to before all of the
ship right as you. Yeah, as you are the nicest
guy ever. You'd be smoking when you want to be. Yes,
(03:47):
we will take his kind we can't take his kindness
for weakness, because there's no weakness in this young man.
Speaker 4 (03:52):
Okay, he got in his garage, we've.
Speaker 3 (03:55):
Worked out together. Okay, all right, that strong I do.
But in any event, I want to start off with
the smoke JQ. You're so nice. I want to get
to the smoke who rocked.
Speaker 8 (04:16):
Yeah for Ussher Raymond who I want to know.
Speaker 3 (04:22):
Now, we will do the pod the way we know
what we're doing. After we talked about.
Speaker 5 (04:28):
This, that's how we started.
Speaker 2 (04:33):
I remember that everyone what movie was that with Jordan piel.
Speaker 3 (04:42):
Is.
Speaker 5 (04:43):
I've heard so many iterations of the story. It's wild
because I actually just not just maybe a year ago,
had this conversation in studio. I'm in the studio with
USh like be Cox called me Usher Usher. Okay, yeah, okay,
(05:07):
he don't he doesn't need the earth. Just to point
that out to you, I get a call from b
Cox and he's like, Yo, you know me jd uh Felly,
we're up, Keith, We're up here working with Usher. You
should fall through And I was like, oh yeah, and
this is the this is recent yes now, I was like,
(05:29):
oh yeah, easy, easy, I pull up. I pull up,
and you know, it's amazing seeing everybody and j D
and I you know, know each other, but we've never
worked together, you know. So I'm in the room and
(05:50):
the energy doesn't feel like I'm supposed to be in
the room writing and Brian's like, no, just jump in
wherever and I'm like okay. So, you know, first first day,
it's a little weird, but I tell Brian it's cool,
like I'll come back because I'm just trying to hang
out with you really, because he don't be here all
the time. So I pull up the second day and
(06:14):
we're talking and me, KP and Ussher are outside outside
sitting on the stairs, just chopping it up, and Keith
sticks his head out of the room and just goes, hey, JQ.
I was like, what's going on, bro? He said, you
(06:35):
wrote on yeah, didn't you? And I said what And
he said, nigga, I know, but you did, didn't you?
And I was like yes. Then he went back in
the room. Then he popped out again and He's like,
what did you write exactly? And I said I don't.
I said, I don't understand the question. What do you mean?
(06:56):
He said, what did you write? I said I wrote
half of it and he said okay, and he popped
back in the room. And then KP's looking at me
like this, and I was like, I don't know. And
then he comes out of the room and JD comes
out of the room and I'm like, what's going on?
And he was like, do me a favorite man, just
(07:17):
tell JD what you just told me. And I was like, well, yeah,
like Sean and I wrote it together, and he was
like for real, for real. I was like, yeah, absolutely,
Now let me say this. Over time, I don't know,
maybe people's recollection of what the story is changes. And
(07:41):
as you guys know, when you have management, you know,
a team, it's their job to make you larger than life.
So I expect niggas to tell whatever story that you
know it's going to help push the machine forward. But
they tell me that the story sorry that they've heard,
(08:02):
is that I was given some publishing for engineering. Like
they were just glad that I said, and I engineered
the demo, so they threw me some publishing. I was
like exactly, and I was like, no, that's not what's happened.
Speaker 4 (08:21):
What happened.
Speaker 5 (08:22):
So we start explaining it, and I tell, you know,
the entire story of how the matter of fact, matter
of fact, let me tell the story, and you know,
shout out to Sean for calling me. Like Sean and
I were both signed to LA Read, both signed a hit. Yeah,
(08:47):
and shake is really the one that was like, Yo,
you know, I think you guys. He was like, I
think you guys. Yeah, Shakier, he was like, I think
you know, you guys are the two writers that I
have here that really have a chance at really stepping
it up and taking it to the next level. So
(09:09):
it was like excited, let's go. So he's like, I'm
I'm thinking, if you guys can deliver me a hit
for Usher that I can make sure it's hurd. I
can't promise anything, but I can make sure that it
gets hurt. So we're like, cool, cool, Cool, let's let's
get to it. And it's Sean that actually pulls out
(09:31):
some tracks from Little John. Now, for me, personally, I
go way back with Little John, so I'm John, I
go back to ninety five maybe ninety five with Little John,
(10:00):
my first the first professional recording, first record that I
was ever part of. It was a song that went
viral maybe seven years ago Again and Night I Think
of You So yeah. Out of high school. This is
the first record that I'm ever part of in Little
(10:21):
John and Are that project, And that's that's where I
met John and we went on to do some other
stuff together. But when Sean plays the John track, I'm
amped because I fucking love Little John. Yeah, And at
the time, Little John was maybe one of my favorite
(10:42):
producers moving definitely one of favorites moving around Atlanta. So
Seawan is like, I think we should write to this.
So we're like, hell, yeah, let's do it. Let's do it.
So he mess around, puts in the track, track starts playing,
We get hype, and hell were about to write for us, nigga,
We're about to kill as we write for Usha. After
about two minutes, were just looking at each other going,
(11:03):
what do you what do you write to this? Ain't
nobody what this? So we look at it for a second.
I say, hold on one second. I run out to
the car, I come back in with the CD, put
it in and it's if you don't give a damn
will give a fuck. Hey, it was my favorite song
ever at the time. So we listened to that ship
(11:24):
and we're just we both amp. I curse a lot,
so I apologize Mama, my kids. When you see this
go crazy, I'm gonna go crazy. So we're hype as
fucking now. We're like, yeah, yeah, let's do it. Let's
do it. If it ain't this hurt, if it ain't
just grunk, if we ain't this hurt, then we don't
even need to do it. So we amped, we amp,
(11:44):
and then we just confused again and about what to do,
and Sean's like, play that ship one more time. So
we play it and it goes off, and it's like
it's got to be that hype or there's no point
into a John track, So hit play again. That shit
comes on and Sean goes yeah, and I go and
(12:12):
he looks at me and we're like, Nikka, we should
call this ship. Yeah, we should call it. So now
we I have been we're like, all right, what is
this going to be about? What is gonna be about?
And I got the call earlier to write for USh
because I had done this record with Marcus Houston. I
(12:33):
co wrote it with Neo what's the name. If I
wanted that girl I would be with. So La liked
the way that record felt. And because Usher'd come off
that you remind me that's what they had asked me
to write before, and nig I just fell short, like
(12:55):
it's it's hard for me to copy. I'm not really
really good at that. So we sit down and you know,
back this story. We sit down and we're like, all right, well,
let's just write what we want to write, what we
think being Usher is like. And Shake had played us
before we got started. He played US Caught Up, he
(13:16):
played US Confessions, he played US Superstar, and he played
us burn And we're sitting there and he's like, well,
you know what, what do these records have in common?
And I'm looking at I'm like, they're all very visual.
(13:38):
So we knew it needed to be visual. So we're like,
you know, let's make it. Let's make it that. Let's
talk about what we think. You know, being Usher is.
It's got to be in the club because of the
way the record is. So we sit down and start
writing and Sean hops in the booth and Sean is
(14:00):
melodically gifted Nigga like he's different. He's different. So he's
in the booth and he's I'm like and then he
keeps going, but it doesn't stop. So at a point
I'm like, hey, bro, that's it's too much, Like it's
too much. And he's like, Nigga, I'm telling you this
(14:23):
is what hot. And I'm like, I get it, but
it's too much. He's like, well what do you hear?
So I sing and my ship is slower and he's like, well,
that ship's boring. And back then I had a way
bigger ego, Like my personality is still kind of big,
but my ego, like Nigga, I thought I was the best,
(14:44):
and you better think I'm the best. So when Shawn's
got a big personality as well, so we argue, you know,
for a bid, we just screaming at each other and
then we kind of slow down and we just talking
with like, look, bro, we both because neither one of
us had a record that it changed our lives. So
(15:04):
we sat and we talked and we're like, look, they're
really giving us an opportunity to change shit for our families. Like, bro,
we gotta get past this and figure it out. So
he's like, I really just think that this ship that
I'm doing is the new shit. It's it. And I'm like, nigga,
I agree, you just do it for too long, like
(15:26):
people have to remember it, they need something to hold
on to. So he does this and he's like, well
what do you hear? And I'm like da da da
da da da da da da da da oh, and
he's like all right, I fuck with that. So we
(15:47):
do all of that shit, end up writing the whole thing,
write the verses, write the chorus, sing that bitch down,
you know, hype the ship. We like, we listened through it,
write the second verse. Then we're like, well, what do
we do for a bridge, because at the time US
was super musical, so we're like, we don't know if
John's could have put a change in it, if he's
(16:09):
gonna do whatever. So we're like, well, let's just do
a bridge with John. So our bridge was yay yale yale,
yal yeah usher yeah yah yeah, and we're like, all right,
that'll be the bridge for right now. So we listened
to the Shit Down again all the way and it
comes out of the second verse into the second hook.
(16:29):
Then ya ya ya yeah, and we're like, oh my god, nigga,
that has to happen every time. So we mess around
and fly that to where it needs to be and
we're sitting in the room and we're listening to it, bro,
and I remember Polo comes busting in the room, him
(16:50):
and and Bubba Sparks.
Speaker 4 (16:53):
That's great.
Speaker 5 (16:55):
Actually went to college with Sparks. Yeah. So he comes
in and and he's like, what's this and we're like, yo, said,
shitt we just there for us here and there gonna
be known. He was like, it's incredible, it's gonna be
It's gonna be the biggest record of his life. Y'all
just say that this is gonna be it. It's gonna
(17:16):
be the biggest working of his life. And we both
like yeah, cool. But we know that if Polo likes it,
we might be on the southing. So we're like, yo, okay,
here's the thing. Great musical, yeah, bro, genius. So we're like,
don't play it. We tell the engineer don't play it
for sake. We know he's gonna want to hear it
in the morning. We want to be here when you
(17:38):
play it. And he's like, absolutely, we won't play anything nigga.
I get woken up by a car I get it
who hooking up by a call from Shakir. It's like, yo,
listen to the record, get down to the studio, BRO
want you and shout down here and he talk to you,
get down here. So Sean and I get to the
studio and Shake is like, I think this hook is amazing.
(18:01):
I don't think La is gonna like these verses. You
guys need to rewrite the verses right quick. And Sean
and I kind of look at each other and we're
like no, and you know, Shake, Yeah, She's like no,
We're like, Noah, Bro, we rock with it the way
it is. So he's like, okay, okay, cool, and he
(18:24):
sends the record Bro, and we hear back. Actually, I
think Shawn's in New York working on something else. I'm
with Tricky working on some Backstreet board stuff. And I
get a call from Sean who said he sat and
talked to La and La told him that he really
(18:46):
liked the song, but he actually wasn't crazy about the hook.
He's like he felt like Sean's exact words is. He said,
La said the song was like bad sex. He was
like bad sex. He was like, yeah, the verses, you
get me all hyped up, you get me right there,
but then your hook, it don't really deliver. And the
(19:10):
hook that we had at the time was like, I
don't remember the hook that's that's on the actual album,
but the hook that we did came out. I don't
remember exactly how that hook goes, but yeah, all the
melodies are the same. So we were like it was like, uh, yeah, yeah,
(19:31):
shout it, get down low if you think you're ready.
Yeah yeah, I could turn you out baby if you
let me. Yeah yeah, I want to see if you
could back up what you told me. Yeah yeah, shout it,
get down low if you think you're ready. And then
LA was like the story of the verses, you got
(19:54):
me that hook, don't go nowhere, you know. And it's
one of the pluses of being signed to an amazing rite.
He was able to see that, like he it was
never enough for him that it felt good, like you
guys are onto something. Make it better. So we get
(20:15):
in and Sean gives me that call and I tell
Trick I gotta go. I head back to the apartment.
Sean hits to the studio in New York. We're on
like speakerphone, and we write like five more hooks and
he's not sure which one to pick. I'm not sure
which one to pick, So I go and I sing
(20:36):
them all for viv like I sing all the courses
Vivian my wife, because viv Is.
Speaker 6 (20:48):
Viv Is everything, Bro turned the provider real fast is.
Speaker 5 (20:58):
The reason, Like viv Is is the reason. It doesn't
matter what we're talking about. Vivis the reason. So we
sing viv the hooks and when I get to the one,
she was all up on me screaming, yeah, viv Is like,
oh my god, USh is fucking his girl's best friend. Now,
(21:19):
when we wrote it, we literally just meant she was
in the club dancing with that nigga screaming yeah, yeah, yeah.
And when she says he's fucking his best friend, I
was like, that's exactly what you do. And I run
back upstairs and I call Sean and I'm going, this
is the one. We gotta do this one right here,
and he's like you shure yes, because this is a
story I'm telling you. So Sean's like, fuck it. So
(21:41):
he goes and sings it plays that shit for La.
La is like cool, let's play it for everybody else.
Fun part is and our team didn't like the song,
like nobody really wanted Bro to have the song. You know,
even after talking to USh KP. USh didn't really like
(22:01):
the song. He was like, on first listen, I didn't
understand it, and.
Speaker 4 (22:06):
It doesn't it doesn't fit.
Speaker 5 (22:07):
It doesn't at all at all. And it was the
the album. The album was actually done. Burne was the
first single the.
Speaker 4 (22:17):
Video was and I was like, out of here here the.
Speaker 5 (22:22):
Ship was done and it was done, and we showed
up yeah record and we wrote we wrote it. Shout
out to KP. KP is really one of the people
that got USh to cut the record because he told
us because us was really unsure of it, and l
A wasn't crazy about it, and I was good, like
(22:44):
I understood LA's reasoning, you know what I mean. L
A's whole thing was USh has never really had up
until that point someone standing next to him. He was like,
that's by does we never put anybody next to him.
It's never Usher and someone else. So he's the star.
(23:07):
So I don't know if I want to start that
with Little John like and KP's whole thing was listen,
I don't know. All I know is that ship feel
like helly Atlanta. I fuck with it, like like cut
it an old thing, nigga. If you don't like it,
we don't keep it. But there's no problem with putting
(23:28):
your voice on it. Just sing it. Let's see what happens.
Speaker 3 (23:41):
I want to take you on a different path. What
were going now that you've now that you've started this path.
Speaker 4 (23:45):
Talk, let's go path talk.
Speaker 3 (23:49):
Make sure we make sure we call the lawyers path talk.
We said your first hit record was in the nineties. Yes,
and what was that record?
Speaker 5 (23:59):
My boom? Yes, give me my bool my Boo's fun. Uh.
For as long as I can remember, Like, I'm a
like I'm an army brat. So I was raised globally,
but I graduated high school in Alabama, like a small
town in Alabama called Aniston. And I've all like I'm
(24:24):
a Southern kid. I've always loved bass and ato waits
and you know all of that. And I remember being
a kid and trying to get my big brother Greg.
Shout out to Gregg, who is an amazing musician. I
wish I was the musician he was. And I remember
(24:45):
telling them all the time, Bro, we should sing over that,
Like I'm watching what happens when they play that ship
at the pep rallies because I play football, Like when
they played that ship at the pep rallies, when they
play that ship at the dance, when they play that,
that's what we should sing over. Ain't nobody singing over that?
(25:06):
And he used to clown me all the time that
ain't real music, boy, real music. And they start playing
the keys. This is real doing that thing y'all do
with the show.
Speaker 4 (25:15):
This real music.
Speaker 5 (25:17):
So I so like, fast forward. I get out of
high school, move to Atlanta, following my big brother, like
just literally trying to be like him. And I mess
around and you know, start meeting my own people, start
going to Art Institute of Atlanta, start meeting my own people.
(25:38):
And I met this, you know, one lady named Akima
day Achema.
Speaker 4 (25:44):
You know, of course I know Achema.
Speaker 5 (25:46):
Okay, so yeah, Achema would take me around. I would
I would, you know, arrange and do a lot of
the stuff on her her demos, and she would be like, yo,
so what do you think And I'd be like singing this,
do this, do this, do this. So she called me
one day and was like Yo, I gotta you know,
I got the song I gotta do. Will you come
with me to the studio? And I was like absolutely absolutely.
(26:10):
So we get to the studio and they start playing
the song and it's everything I've been waiting for.
Speaker 4 (26:19):
They're playing the track or they're playing a song.
Speaker 5 (26:21):
The track and the song, so they're playing it and
I'm sitting there like, Yo, this is fucking awesome. So
they're like, let's let's cut it. Let's get it. So
we're sitting there and we're cutting it, and I'm arranging
and I'm trying to help out the best as I
as best I can and and they're giving a Chema
(26:41):
hard time, but they're not really giving her a hard time.
They just keep saying it'shit suck, like this don't sound good.
And Kimma gets frustrated after a while because they really
go in and she's delivering what's written, so they're giving
her really hard time and she she ends up dipping.
(27:02):
And I'm not trying to dip because this is my
first professional session. So I'm like, well, what y'all want?
And Little John is there, and Little John looks at
me and goes, hey, Janny, you should sing it, and
I go, this is this is this is this song
for a girl? No disrespect, but you kind of sounded
(27:24):
like a bitch when you sing, so I'm like so
I'm like, I'm like, no, I can't sing it, but
I can call my girlfriend. So the girl that's singing
(27:45):
the song again, no, I don think was my girlfriend.
We met at a junior college in Alabama called Southern Union.
So I called Virgo and I'm like, yo, you should
get down here, like there's a there's a song. We
could sing the song. So she comes down and she
comes down with with THEO who she was doing a
lot of I think it was there who she's doing
(28:06):
a lot of work with at the time, and she
starts singing that and they kind of react the same way.
This ain't it. So immediately THEO is like, well, the
problem is like the melodies jacked up, like it's not
the song. So niggas start working on the melody. So
(28:27):
I'm just hopping in, hey, well what if you sing
it like this? Well what if we did this part
like this? So niggas mess around and changing and wed
the melodies sing the song like Virgo singing the song yes,
and I'm singing the backs on the record to this day.
To this day, Yeah, the only voices that you hear
(28:48):
on that song are Virgo and me. So we we
redo the song. And it's crazy because they had told me, like,
we'll give you guys one hundred and fifty bucks for
doing it, niggas out of high school trying to out.
Speaker 2 (29:03):
I was like, yes, so much, Taco bell.
Speaker 5 (29:09):
And fifty man what so we we we do the
first day and we come back the second day and
they haven't given us the money yet. So he's like,
let's just sing it, and I was like, no, Like
if we sing it, there's no reason for them to
pay us, Like it's one hundred dollars hundred and fifty bucks. Like,
I'll talk to them. So we go in there, nigga,
(29:31):
and I need you to understand, like y'all know me
for a long time, this is the pretty much the
biggest I've ever been in my entire life. Now out
of high school, nigga, I.
Speaker 4 (29:40):
Was a.
Speaker 5 (29:46):
And I'm like, yo, like getting the booth. We need
to finish this record because they are on the time,
matter of fact, right, and I'm like, we're not singing
anything until y'all pay us, like yall said, y'all was
gonna give us the money if we sing this. You
ain't got no reason to pay us. Bro said, oh,
you ain't singing like no. Man reaches in his bag,
(30:10):
pulls out a nine dressed that bitch on the table.
You know the name of the person that did this,
I absolutely do. I'm not gonna say I love it,
I love it, I love it.
Speaker 4 (30:21):
This nigga tank turned in the flag.
Speaker 5 (30:27):
Yeah, I know exactly what it was. And I'm like,
he look at me. I was like, now, I just
said I need a little water before us a little drive.
Fucking had night head night went in the booth, went
(30:50):
the booth, and we saying that bitch down. We're saying
that it's down, and then we dip. They never gave
us the money, and it was also the last song
that was being.
Speaker 2 (31:02):
Recorded, trying to thirsty.
Speaker 3 (31:05):
Y'all gotta give us at least some water before I
start singing any damn thing around here.
Speaker 5 (31:11):
Bro, So we sing, we sing it, and they end
up putting it out as the single, and it ends
up doing really well. Her just her voice and your Yeah,
they put it out as a single and it does
really well. They start trying to perform it and they're
getting booed, So who is this the social death? They
(31:32):
start trying to perform the song because it's in Atlanta
in the South. The ship just becomes a hit, but
Virgo's not performing it because they treated us like shit
and they're getting booed everywhere because the girl the singing
this ain't the girl that's on the record. So they
end up, you know, reaching out to us and like
(31:55):
I remember John calling me and being like where you
live And I told him where I lived, and Bro
pulled up with a gold plaque. This is my first
goal plaque. He was like, we straight. I'm looking at
this ship to say Q Smith. I'm like, hell yeah,
we straight? What hell yeah? And John and I end
(32:18):
up like doing like a remix for to me and
doing some other shit together. Like I just remember hanging
with John when because John started out as you know,
an executive, he like he was had a head an
an R Soso And I remember back then him going
that he just wanted to be like Uncle Luke. He
was like he was gonna do that. He was going
(32:38):
to figure out how to be a rapper and be
like Luke Skywalker like, and I'd be like okay, and
he was DJing and figuring it all out. I ended
up running in the in the Virgo later because we
broke up. But I ended up running in the Virgo
when we hooked back up and she was like, oh
my god, did they did you get your plaque? I
(32:59):
was like, hell, yeah, I got my plank. She's like,
how much money did they give you? I was like
what money?
Speaker 4 (33:11):
She was like, they never paid me.
Speaker 5 (33:17):
She was like, yeah, they gave me. Like they gave me.
I got twenty thousand.
Speaker 4 (33:22):
Oh.
Speaker 5 (33:24):
I was like watching, you should be outside. She takes
me outside. You take me outside to see the new
Purple Ultimate. I was like, what money. Yeah, a good story.
Don't learned a lot.
Speaker 4 (33:40):
Did you ever get paid? No?
Speaker 5 (33:44):
I still haven't been paid, and I still ain't been paid.
It's all good though, Like I messed around and I.
Speaker 2 (33:59):
Ended up.
Speaker 5 (34:00):
You know what, I ended up getting paid.
Speaker 4 (34:03):
I just.
Speaker 3 (34:07):
Give them two hundred, No, three hundred, one hundred and
fifty twice. I got two hundred. You got a hundred hundred.
Speaker 5 (34:11):
You know what, It's a good birthday present. I tell
I take I received this in the name.
Speaker 3 (34:17):
Of eppy birthday, every birthdayljahlujah, all of it, all of it.
Speaker 6 (34:23):
Man, Oh what a story. That is great. That is
a great story, bro. And now I will never be
able to listen to that record the same again every
time I hear it.
Speaker 4 (34:35):
I'm going to think of this story.
Speaker 5 (34:37):
Bro. You can hear me the clearest on that when
they get to the bridge. Boy, You've got all I need.
Back then, niggas couldn't use no autotune either. Niggas just
had to get it right.
Speaker 2 (34:52):
You heard that, didn't you?
Speaker 5 (34:53):
Okay, Oh for clarity, I ain't got no issue with
all the two, God bless you.
Speaker 3 (34:57):
No, no, no, no, But I'm just saying, yeah.
Speaker 4 (35:00):
We've been we've been doing this way before the plug
in boy, what from the tape?
Speaker 3 (35:05):
From the tape boy, what I'm from the tape days,
the VCR days, Hey, Dad's.
Speaker 5 (35:12):
They could never sink up there, they just could waiting
for your part.
Speaker 4 (35:17):
We talked about that flight of focals. You going to
lunch real quick.
Speaker 5 (35:20):
He'll figure it out.
Speaker 2 (35:21):
Let's go.
Speaker 4 (35:24):
I like you format today, man, Yeah, I.
Speaker 3 (35:27):
Like what I mean he's I love the way he
got to break come here.
Speaker 2 (35:33):
I love the way he's breaking it down.
Speaker 3 (35:36):
You know what I'm saying. And I want to get
in too. I want to get into his real moments
like a boy, which I thought was like a boy thought.
I think it is a crazy fun like.
Speaker 5 (35:48):
A boy about to be the shortest story ever. God, God,
bless the Clutch. I did like nothing on this record.
This is one of the records where you know, inside
the clutch when we start. The Clutch was a company
that I co founded, that carry and I and Zeke
(36:10):
and Ballewa and Candice Nelson co founded. Not that I
could that we co founded.
Speaker 4 (36:18):
Huh huh.
Speaker 6 (36:21):
Put Jack kick out the clutch before before became a
car and you put it in the car to make
the clutch.
Speaker 5 (36:27):
You know, you know there was one guy we didn't
kick We didn't kick him out though we didn't. Tab
was there in the beginning. We did not kick Tab out.
Tab just kind of walked his own path. But Tad
was there in the beginning.
Speaker 4 (36:44):
Uh, Tab got kicked out like me.
Speaker 5 (36:48):
You didn't get kicked out.
Speaker 3 (36:49):
You stop it, you stop it.
Speaker 6 (36:55):
I was never I was in Miami, imed.
Speaker 4 (37:03):
I was never in the first time.
Speaker 5 (37:04):
The first time we worked together was Miami. Was the
weekend of Hurricane Katrina.
Speaker 6 (37:08):
Yes, it was weekend of Hurricane remember.
Speaker 9 (37:14):
There ran like crazy, Yes, what what years two thousand
and five, two thousand and five, two thousand four or
five might have been four.
Speaker 2 (37:27):
It was wow.
Speaker 5 (37:29):
But we we went down there to work and like
Ethiopia and Fulan are really the masterminds. They put together
writing camp and they were like, he brought three people
from Universal fil Ay and brought three people from Hicco
and they stuck us in the studio. I think we're
a circle. Yeah, they stuck us in the studio for
(37:53):
like a weekend. We wrote six songs, recorded five by
the time we left Sunday. By Tuesday four them host
was placed.
Speaker 4 (38:03):
Yeah, I don't think this song I wrote with him
got placed.
Speaker 2 (38:08):
That's what I got kicked.
Speaker 4 (38:10):
But we can't place no records for him.
Speaker 5 (38:12):
We did it, and I want to say Epic Epic
had funded it, so all the four records got placed
with Epic and we were like, oh, that was cool.
But then we heard from Larry Jackson. It's like Jay
Records started asking, Yo, we heard you guys did this
thing and it was pretty cool. Why didn't we get
a call? So then Jay Records flew us out here
(38:34):
and we did it again. And during that time, me
and Zeke came up with the name the Clutch, and
and Antonio Reed Jr. Was there as well. And that's
just because we were at record Plant. Speaking of record plant,
(38:54):
I heard y'all talking. I can't remember who y'all were talking.
You might have been talking to Oh, you were talking
to somebody about how when it was when you was
popping that record plan, you got a little name plate
on the scooter and y'all saying ya never got I
just wanted you to know. Y'all know, I held on
to mine, you.
Speaker 4 (39:13):
Know what, gave my mother.
Speaker 6 (39:17):
Take it back and took our money. Can you look
out smash your cupcake?
Speaker 5 (39:25):
This was fine, man, I let this think shout up
even from California. Shout out to Pearl. When the Clutch
decided to move the home base really working in Atlanta,
we knew we wasn't gonna be out here so much.
So I asked Pearl if I could have my name plate,
and she gave it to me. So I've kept this
whole time. Stays in my studio. But yeah, bro, we
(39:49):
did it. We came back out and like did it
for Larry Jackson. Inside that session, we figured out how
we worked best. Carry and I were all were already
writing together all the time, Zeke and Candice were writing
together a lot. So you know what we started doing
early is they would split us into two rooms. Out
(40:11):
of those two rooms, we would do two to three
songs a day in each room. So we were turning
in anywhere between four and six songs a day, and
people would just book us for like five days or
a week and then just have thirty forty songs, you
know what I mean. So we're working. We worked that way,
and after stuff started picking up, what we decided to
(40:33):
start doing was all right, so that everybody eats fairly,
you know, whatever records are created. You know, on this trip,
we're splitting. We're splitting. So the crew showed up and
they murked like a boy. Funny thing is though we
actually wrote like a Boy for Kelly Rowland, wrote like
(40:57):
a Boy for Kelly Rowland, which is hilaire is because
like fast forward a long time. I end up in
session with Kelly Rowland maybe a year or so later
in Atlanta, and we're in session and she's like, JQ,
what I really want is a record like that, like
a boy song? And I was like stop and she
(41:19):
was like what. I was like, Kelly, stop and she
was like, I'm being serious.
Speaker 2 (41:25):
JQ.
Speaker 5 (41:26):
I was like, we wrote like a boy for you.
She was like, why didn't you let me hear it?
We did. Now the an R that we sent it
to happened to be in the room and we're like, we.
Speaker 7 (41:42):
Sent it to him.
Speaker 5 (41:43):
Oh yeah, yeah, I love that And it's the it's
the only time I've seen fire in Kelly's eyes, because
Kelly is actually the sweetest person. Yes, And Kelly turned
and looked at him and said, you don't make another
decision about it a record without me? And I was like, oh.
Speaker 2 (42:05):
Cause I like that. Wow, that is great because you
can never pinpoint who dropped the ball.
Speaker 3 (42:18):
There's always somebody in between the office or it got
to such it never made.
Speaker 4 (42:23):
It too until you start dealing directly with artists.
Speaker 3 (42:25):
Oh my gosh, that's beautiful. You didn't think you had
a great story that that piece right there? That doesn't
for me? Here we go, ice Box.
Speaker 5 (42:42):
Won't you? Icebox is actually my favorite song ever worked
on that's been released. Wow and quietly fucked quietly not quietly.
Oh Marion is my favorite artist to write for. Wow,
(43:05):
because when I write when Omrion sings it, it sounds
like it sounds in my head like his delivery, like
as not just as a songwriter, but as a vocal producer,
as a fan. I'm gonna be honest with you.
Speaker 2 (43:28):
I don't I don't.
Speaker 5 (43:29):
Care as much about your ability to get to the
notes as a lot of pure like musicians do. All
I care is that I believe you like music. To me,
music has one fucking job, and that's to make you
feel something. That's the only job you know. And inside
of that, I like, I believe that a music is
(43:51):
like a three four minute audible movie. It is my
job as the writer to give you the best script possible.
As a producer, it is your job to make sure
that the song, the record as a whole, comes to
fruition in the way it's supposed to. As an artist,
I don't care how fucking will you sing. I need
(44:13):
you to get in character and I need you to
deliver fuck singing it. I need you to deliver the
record the way that it needs to be delivered. And
when Oh sings shit, it has the urgency.
Speaker 2 (44:37):
My brother.
Speaker 5 (44:44):
Talk. You know, I understand how long I've been waiting
to hear this song live.
Speaker 1 (45:04):
Top five?
Speaker 4 (45:07):
What is it? JAKEU?
Speaker 1 (45:09):
Top five?
Speaker 7 (45:13):
Top f.
Speaker 2 (45:16):
What is not? Cap?
Speaker 1 (45:17):
Your top five are the sigles.
Speaker 2 (45:23):
Body?
Speaker 1 (45:24):
So yo, don't go, don't don't go. Top your top,
Paul your top.
Speaker 5 (45:34):
Your top five?
Speaker 8 (45:39):
Yeah yeah yeah, Jq's top.
Speaker 3 (45:53):
Fuck.
Speaker 5 (46:02):
It's better live, y'all.
Speaker 3 (46:05):
It's better live that that ship.
Speaker 1 (46:10):
Your top five.
Speaker 4 (46:14):
R and B singer. Come on, brother, I had to
write this down. You prepared?
Speaker 5 (46:21):
You want to slip up on the pod Top five
R and B singers. Okay, this is difficult because I
definitely got seven.
Speaker 4 (46:28):
I came prepared and I'm prepared.
Speaker 5 (46:33):
Okay, first and foremost, Well, I guess I got way
more than the same. If you break it down, Uh,
boys to men.
Speaker 4 (46:42):
M easy. You don't have to explain it. You don't
have to. We'll take off usher huh.
Speaker 5 (46:50):
I don't think there's anybody better than us, Beyonce.
Speaker 4 (47:01):
Right here, that's some time.
Speaker 5 (47:05):
Yeah, it's difficult.
Speaker 4 (47:10):
It's difficult to say the list you wrote exactly.
Speaker 5 (47:14):
I'm just trying to.
Speaker 2 (47:17):
Trying to go. Okay, were doing Okay, it's your birthday.
It is my birthday.
Speaker 5 (47:24):
Okay, boys and men, Prince yea m J, but specifically
Young m J, Young Usher, Beyonce, Jo, Desy, and Whitney.
Speaker 4 (47:43):
I don't have a gang because Niga said groups.
Speaker 5 (47:47):
That's just because I don't think. I don't think. I
don't think groups.
Speaker 4 (47:54):
Getting you're right, you're right. And as a person, if
you say yeah, you gotta say Sean. If you're gonna
say Casey, you gotta say Joe.
Speaker 5 (48:03):
I like, I get it, I love them both. I
would as a person, I would say Sean first. I
would say Sean. Then I would say one. Yeah, it's close.
Speaker 2 (48:12):
Here we go your top.
Speaker 4 (48:15):
R and B songs. Let's go see it. Mm hmm.
Speaker 5 (48:25):
Can you stand the ring Jesus? Mm hmmm, nay, who
can we talk?
Speaker 4 (48:34):
Mm? A lot of questions, A lot of questions, questions.
Speaker 5 (48:39):
Unbended m M and begging. Superwoman, Oh like Karen.
Speaker 4 (48:48):
Why what Karen?
Speaker 2 (48:49):
Why?
Speaker 4 (48:50):
Yeah?
Speaker 6 (48:52):
Master masterfully yeah, yeah yeah, show funny Superwoman out there
though it's funny.
Speaker 5 (48:59):
When I was when I was going over the list,
I was like, bro, every song, for the most part
is Kenny and Jimmy Lewis.
Speaker 4 (49:07):
They are no air mhm.
Speaker 5 (49:11):
They shut up on that and Vive brought this one
up and I had to go with it just because
it's the irony bro Janet. Let's wait a while.
Speaker 4 (49:25):
Mm hmmm.
Speaker 5 (49:27):
I'd love to know how many babies were made to
a song that was at that was about abstinence. It's
the sexiest song maybe ever.
Speaker 4 (49:38):
I think that's six too. I think you just it's
your birthday is back to it's your birthday.
Speaker 3 (49:45):
I should make a song about abstinence.
Speaker 4 (49:47):
Man, you can't this ship.
Speaker 5 (49:51):
You. They gonna know you don't know what you're talking about?
Speaker 3 (49:55):
Waited before when? So the next segment segment, We're gonna
make a volt trying an R and B volte trying
(50:16):
your artist you're.
Speaker 2 (50:18):
Starting with.
Speaker 3 (50:19):
We want to get the vocal performance style, the styling
of the artists, and the passion of the artists.
Speaker 4 (50:25):
Who are you getting the vocal from to make your
R and B artists audio top thirteen? Yeah usher mmmm,
he said, he said, yeah, go with him.
Speaker 5 (50:38):
If're going your ability to deliver tempo and deliver a ballot.
One of my favorite vocals ever recorded vocals ever might
be can you help me off the eighty seven on
one album?
Speaker 6 (50:57):
Like yeah, no, No, He's great both and everybody can't do
both absolutely right.
Speaker 4 (51:02):
You cannot cannot performance style.
Speaker 5 (51:11):
It should be getting difficult because I feel like i'd
be having answers. But then when I take the time
to look at the artists as a whole, I like Nigga.
That's a while looking at artists, I don't. I don't
understand on stage the way they perform. Oh yeah, no,
I understand. That's so difficult because I would say, I
(51:39):
would say Chris, I say CB but Marvin Marvin's ability
to make people move mm hmm, what's different?
Speaker 1 (51:58):
I like that.
Speaker 4 (52:02):
A combo guard.
Speaker 5 (52:03):
I'm gonna go. I'm gonna go Chris.
Speaker 4 (52:06):
Mm hmmm.
Speaker 5 (52:07):
I'm gonna go Chris because the energy.
Speaker 4 (52:13):
Is unmatched, unmatched, unmatched, unmatched. Love the Marvin reference, though
styling close artist rip Chris quick quick.
Speaker 5 (52:29):
I don't know anybody who's and I'd have to do
more homework. Has ever been more in touch then Chris?
And Chris has lived for a long.
Speaker 4 (52:42):
Time in the spotlight.
Speaker 5 (52:44):
Yeah, in the spotlight and somehow right in front whatever
the movement is.
Speaker 4 (52:51):
But he is globally flies. Yeah, he's not like he wants. Yeah,
demographic doesn't.
Speaker 5 (52:59):
Matter where you go and people respond, And I think
that's the job.
Speaker 4 (53:05):
The passion of the artist, the heart of the artists.
Speaker 3 (53:08):
Where you're getting that from.
Speaker 5 (53:12):
Yeah, don't be mad at me, y'all.
Speaker 2 (53:20):
Yeah for what upset about? What?
Speaker 4 (53:24):
Yeah, he'd be rocking.
Speaker 5 (53:25):
He mean it, yay is, yay is.
Speaker 4 (53:28):
I was at that.
Speaker 5 (53:29):
I don't how about saying I don't necessarily.
Speaker 4 (53:31):
Not doger stating it was colosseum.
Speaker 5 (53:35):
Mean, yeah, it's not necessarily And that's not always about
always agreeing with what everybody says. But I respect.
Speaker 6 (53:43):
Some of the this political ship man the nigga like
Kanye when he performed.
Speaker 4 (53:48):
No, I just mean, hey, listen, wherever you are, don't
do with your politics.
Speaker 5 (53:54):
How do I unplo? Okay, you're pretty, but your speaking britty.
You're over talking me speak of ship speak your ship.
Speaker 4 (54:06):
You said you weren't coming here to be political.
Speaker 5 (54:08):
Oh I'm not. I'm not. I expected some crazy question.
Speaker 4 (54:12):
No, no, we can do that.
Speaker 5 (54:15):
But we're here now though I didn't get none of
the kick out questions.
Speaker 4 (54:18):
You take me out. It's cool. It's it's here now.
Speaker 2 (54:25):
Though.
Speaker 4 (54:26):
It's here now though because you said a few names.
But what can he do?
Speaker 10 (54:30):
I ain't saying no names. Ain't saying the man. Ain't
saying no man when you was what you did, don't
say she.
Speaker 1 (54:45):
He saying no names.
Speaker 4 (54:57):
Are you ready, j Q?
Speaker 6 (54:58):
I already we need that story all right, funnier fucked up,
all right, funny and fucked up this story.
Speaker 3 (55:06):
Hold on, hold on, I didn't know, no.
Speaker 6 (55:13):
Got to introduce you, right because you're a j Q
swift Man and you are mother fucking legend, legend, nigga,
I apologize, and we want to introduce the legend and
what he's done and what he did.
Speaker 4 (55:25):
And he ain't saying ship.
Speaker 6 (55:27):
This is j Q mister icebox himself where his heart
used to be. You know who you know who you
are and broken his heart. He ain't gonna say he
already said your name whatever. Well on this segment right now,
he ain't saying no names.
Speaker 4 (55:44):
Ja.
Speaker 5 (55:46):
Okay, This this story happens over a few years, so
early early, and you know, in my journey, I was
in a group with my brothers, myself, my big brother Greg,
my younger brother Chuck, and my cousin Dre. Do those
(56:07):
names that's not the d Okay, Yeah, that was a
lot of names.
Speaker 4 (56:12):
This is birthday and birthday.
Speaker 5 (56:16):
Tough balance my names and me. But I was in
this group, and even back then, like I wanted to
be part, I wanted to help, I had ideas. So
(56:41):
and a lot of people may not know this about me.
I never wanted to be a songwriter, Like this was never,
never in my dream. But I'm in this group. We're
in the studio working with you know, these producers, and
we signed to these producers because they've got major backing
(57:03):
from a professional athlete. And we're like, yeah, bro, we're
about to do it. Were about to get it. And
I remember being in the studio and the producers and
songwriter writing. It was a production team. They're writing, writing, writing,
and I'd be like, oh, what if you said this,
and they just kind of turn around look at me.
They'll be trying to figure it out. Oh it would
(57:24):
be cool if we talked about this, and they look
at me again, maybe third or fourth time. And there's
a room full of people, so it's not just us,
it's us. And then because they're in this huge mansion
that the professional athlete has gotten for them, it's just
a gang of women, bunch of niggers, And I go, yo,
(57:47):
what if we say and Bro turns around. The songwriter
turns around and says, won't you shut your corny ass up.
I'm a songwriter, he's a producer. You the artist Alabama
and turns back around, and the whole room is cracking up.
(58:09):
I'm like, okay, cool coo goo goo goo goo goo Google.
You know, take time. We end up getting out of
that situation, you know, fighting trying to figure out my situation,
end up over at noontime. I'm over at noontime and
I've been working and writing there long enough to where
now I'm one of the guys that they call you'll
(58:32):
go too, And now they have this artist and I
co wrote the first single, I wrote the second single,
and we're tracking the second single. At the time, we
didn't know the second single, but we're tracking the song
and one of the partners come in and go, hey man,
(58:53):
we got some people that you know, wanna you know,
want to get up here and want to start doing
some work. I told him to come in here and
play this stuff for you, and I'm like, okay, well,
I need to get finished with Buddy Vocal, So if
I could have like ten minutes to just wrap this
part up, it'll be cool, and it was like, yeah,
I'll send him in there in ten minutes. I was like,
(59:15):
thank you, bro. So I'm sitting there and we're going
over trying to get all the backgrounds done. That was
back in the day when I thought more harmonies meant
a bigger hit, right, So every note I could think of, yeah,
I know, it's we already got that note in there.
Speaker 4 (59:30):
But this does a little bit different.
Speaker 5 (59:32):
Yeah, sing this one. So Bro singing and they come
in the room, Hey hey, and he's like, well, I'm
looking for JQ, and you know I'm JQ.
Speaker 8 (59:44):
Now.
Speaker 5 (59:44):
When I started, I was just cute. So I'm like, yeah,
just give me one minute, give me one minute. Yeah,
all right, perfect, bro, come on out. We'll get back
in and maybe like five minutes. So I spinned the
cheer around and nigga that called me corny and told
me to shut the fuck up is looking at me.
(01:00:06):
His eyes get big as ship and I'm like, what up, bro,
and he's like, uh, they just wanted me to come
in here and play, so you up here, you're up
here now. I was like, yeah, man's that's kind of
home now. I was like all right, yeah, yeah, bro, yeah, yeah,
so I was you might know these songs. This nigga
(01:00:30):
plays me my demo, plays me all the songs that
we cut. And I was like, yeah, fam, I appreciate
your time. We'll get back to you. Bro left. It
was petty, but I never felt so much joy ever.
(01:00:54):
Bro comes into the partner comes in the room, He's like,
what did you And I was just like, I don't
funk with him, no kind of way. He's untrustworthy, he's this,
he's that, This nigga is Bob. I don't funk with him.
And he was like, what did you think about the songs?
I said, he played me songs that I demoed four
years ago, and he was like, that's enough for me.
(01:01:16):
And then I turned back around and finished recording my
second single.
Speaker 1 (01:01:24):
My my mind.
Speaker 4 (01:01:26):
Be nice to be cool, you know what, may not
even have to just be nice, just be cordial.
Speaker 6 (01:01:34):
He just don't don't don't don't shoot on especially if
they don't deserve it.
Speaker 5 (01:01:39):
Bruh.
Speaker 4 (01:01:40):
You can, you know, pull pull a young man to
the side, shoes a young fello at the time and.
Speaker 6 (01:01:46):
We're gonna we might work you in, but you know,
let me focus a little bit. Even if it's said
that way.
Speaker 4 (01:01:51):
Yeah, and definitely don't don't don't diss where you're from
my father from.
Speaker 6 (01:01:59):
Oh but me, you know, because it could you could
very well be in the other chair at some point
around it was amazing.
Speaker 4 (01:02:10):
Oh it's you and on the other side of it.
Speaker 5 (01:02:12):
I'm gonna tell you another story. When the camera's off.
Speaker 3 (01:02:17):
We're gonna get these cameras out. Brother j Q, amazing man.
You are amazing man outside of all of this. Man
just an amazing brother. You know what I'm saying. Anytime
you know, and JA can attest to this man, anytime
your name comes up. It's just good energy all around,
you know what I'm saying. And then it's infectious, you
(01:02:38):
know what I'm saying.
Speaker 5 (01:02:38):
I love you guys. There's not it's crazy. I was
talking about this yesterday in the session. I was like,
I know a lot of people.
Speaker 4 (01:02:45):
You know.
Speaker 5 (01:02:45):
We all was like, but I don't think I have
a lot of friends, Like I don't trust a lot
of people around my I don't feel comfortable enough to
have them around my kids. Bere out. I love you guys.
You guys have been solid from the beginning. You made
me better. You make me better you also introduced me
to Sean Stockman. It's amazing that's my brother.
Speaker 4 (01:03:08):
Yeah, but all of us, Yes, yeah, he's been a
blessing to all of us.
Speaker 3 (01:03:13):
Christmas project that is coming out, Yeah, because I was
you know, yeah, yeah, yeah, I got the call. You know.
Speaker 4 (01:03:22):
But thank you, Bro for being who you are and
for being consistent.
Speaker 3 (01:03:26):
Bro.
Speaker 5 (01:03:27):
Absolutely, I appreciate it. Can I say one thing to
the creatives that may be looking, But I just want
to say this just because I feel like it needs
to be said, and I wish somebody would have told
me really early in my career. It is one thing
that I wanted to make sure I said. For those
creatives that are out here trying to figure it out,
understand that success it's easy. And when I say easy,
(01:03:55):
I'm not like it's going to fall out of the
sky into your lap. But it's not compleated. Like success
is a combination of good decisions.
Speaker 3 (01:04:06):
You know, learn.
Speaker 5 (01:04:09):
To make decisions that move you in the right direction.
You know, whenever you're about it, is this move me
closer to my goal or not closer to my goal.
I swear if you do that, you know you will
get to where you're trying to get like math is
math two plus two will always be four. If you
keep walking in the direction that you're supposed to be going,
(01:04:30):
eventually you will get there. You know, have the people
that fall flat now fall flat for a couple of reasons.
They have a very bad relationship with self discipline and
self sacrifice. Like there's too much. And I'm saying this
because I speak to a couple of young people now
(01:04:53):
and that's allway this thing. Everybody's scared of missing out
and all of that. Just understand that the real fucking
work gets done alone, you know, Floyd. When it's time
to get it in and they're preparing for a fight, bro,
don't go out and bring a bunch of people around.
They go into isolation. When Kobe was ready to really
(01:05:15):
ball out, he would say, I'm in a cage. When
I'm in that cage, don't fucking talk to me, don't
touch me. You learn who you are by your fucking self.
Learn to trust you. I'm sorry, I got a little
app but y'all fall into that. I swear I hate y'all.
Speaker 3 (01:05:37):
Ladies and gentlemen. My name is Tank Valentine. I'm JQ,
and this is the rmby Money podcast, the authority on
all things R and B. This episode has been.
Speaker 5 (01:05:52):
I'm gonna get y'all that picture. I'm gonna get a
picture of.
Speaker 2 (01:05:59):
Man, Thank you well.
Speaker 6 (01:06:01):
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 subscribe
to and rate our show, and you can connect with
us on social media at Jyvalentine and at the Real Tank.
(01:06:23):
For the extended episode, subscribe to YouTube dot com or
slash R and B Money
R and B money, Honey, we are.
Speaker 2 (00:07):
Thanks. Take valotized. We are the authority on all things
R and B. Ladies and gentlemen.
Speaker 3 (00:18):
My name is Tank, I'm Valentine, and this is the
Army Money Podcast, the authority on all things R and B.
Speaker 1 (00:29):
Ah.
Speaker 2 (00:31):
There are men.
Speaker 3 (00:33):
There are men who are writers. There are men who
deliver melody. All of it there there. But there's a
certain type of man.
Speaker 4 (00:46):
They produced that vocal too.
Speaker 3 (00:47):
They produced that vocal. That vocal, not the vocal that
are the or the This particular kind of man is
a scientist. He weaves into the intricacies technician of a
record technician and takes a record from here to here.
(01:10):
He also has a beer, make some build what a picture,
rolly fingers. That's before your time.
Speaker 5 (01:26):
It might have been before my time because I don't
know what we're talking about.
Speaker 2 (01:29):
The baseball pictures with this here.
Speaker 4 (01:31):
He really feel like I can't grow ship bro. Bro.
He I already knew I couldn't.
Speaker 2 (01:36):
He keeps going. He's done.
Speaker 3 (01:38):
First of all, I want to say this, thank you
for coming right your family, But we never want to
take advantage of that.
Speaker 4 (01:46):
You know what I'm saying. We never want to take
light of that. We know you're busy man.
Speaker 2 (01:49):
We know you're a busy man.
Speaker 4 (01:51):
You know you're you're here in Korea.
Speaker 6 (01:54):
You hear me in Korea man, you know, as the
original Black Man would say, even over there Korean.
Speaker 2 (02:02):
Bleeding from the inside.
Speaker 5 (02:03):
You understand.
Speaker 2 (02:04):
I know, Jacob, if you grab crap, prap.
Speaker 4 (02:06):
That thing for me, this is a special day on
the R and B Money Podcast.
Speaker 2 (02:11):
You are a first. You are a first with this particular.
Speaker 4 (02:16):
I don't even know what's going on.
Speaker 2 (02:17):
You lied to me what you are half.
Speaker 3 (02:22):
Yeah, Okay, happy birthday, che you.
Speaker 7 (02:32):
Happy bad j hay bad cheez.
Speaker 5 (02:47):
Come on from even lied to me.
Speaker 4 (02:52):
You know it's gonna come out twelve months.
Speaker 2 (02:54):
From now.
Speaker 3 (02:58):
Actual sure birthday, brother, and I can't believe you're here
on your birthday.
Speaker 5 (03:03):
Thank you. I can't just there.
Speaker 2 (03:08):
I just want you to. I just wanted to be
part of you in this part.
Speaker 4 (03:11):
You know what I'm saying, So people know I appreciate it,
so they.
Speaker 6 (03:15):
Can see the happy birthday you want at birthday which one, however,
he wants to receive.
Speaker 2 (03:23):
You are.
Speaker 3 (03:24):
You are an awesome brother, one of the coolest human
beings ever. Since day one, your family day one, we
go all the way back to before all of the
ship right as you. Yeah, as you are the nicest
guy ever. You'd be smoking when you want to be. Yes,
(03:47):
we will take his kind we can't take his kindness
for weakness, because there's no weakness in this young man.
Speaker 4 (03:52):
Okay, he got in his garage, we've.
Speaker 3 (03:55):
Worked out together. Okay, all right, that strong I do.
But in any event, I want to start off with
the smoke JQ. You're so nice. I want to get
to the smoke who rocked.
Speaker 8 (04:16):
Yeah for Ussher Raymond who I want to know.
Speaker 3 (04:22):
Now, we will do the pod the way we know
what we're doing. After we talked about.
Speaker 5 (04:28):
This, that's how we started.
Speaker 2 (04:33):
I remember that everyone what movie was that with Jordan piel.
Speaker 3 (04:42):
Is.
Speaker 5 (04:43):
I've heard so many iterations of the story. It's wild
because I actually just not just maybe a year ago,
had this conversation in studio. I'm in the studio with
USh like be Cox called me Usher Usher. Okay, yeah, okay,
(05:07):
he don't he doesn't need the earth. Just to point
that out to you, I get a call from b
Cox and he's like, Yo, you know me jd uh Felly,
we're up, Keith, We're up here working with Usher. You
should fall through And I was like, oh yeah, and
this is the this is recent yes now, I was like,
(05:29):
oh yeah, easy, easy, I pull up. I pull up,
and you know, it's amazing seeing everybody and j D
and I you know, know each other, but we've never
worked together, you know. So I'm in the room and
(05:50):
the energy doesn't feel like I'm supposed to be in
the room writing and Brian's like, no, just jump in
wherever and I'm like okay. So, you know, first first day,
it's a little weird, but I tell Brian it's cool,
like I'll come back because I'm just trying to hang
out with you really, because he don't be here all
the time. So I pull up the second day and
(06:14):
we're talking and me, KP and Ussher are outside outside
sitting on the stairs, just chopping it up, and Keith
sticks his head out of the room and just goes, hey, JQ.
I was like, what's going on, bro? He said, you
(06:35):
wrote on yeah, didn't you? And I said what And
he said, nigga, I know, but you did, didn't you?
And I was like yes. Then he went back in
the room. Then he popped out again and He's like,
what did you write exactly? And I said I don't.
I said, I don't understand the question. What do you mean?
(06:56):
He said, what did you write? I said I wrote
half of it and he said okay, and he popped
back in the room. And then KP's looking at me
like this, and I was like, I don't know. And
then he comes out of the room and JD comes
out of the room and I'm like, what's going on?
And he was like, do me a favorite man, just
(07:17):
tell JD what you just told me. And I was like, well, yeah,
like Sean and I wrote it together, and he was
like for real, for real. I was like, yeah, absolutely,
Now let me say this. Over time, I don't know,
maybe people's recollection of what the story is changes. And
(07:41):
as you guys know, when you have management, you know,
a team, it's their job to make you larger than life.
So I expect niggas to tell whatever story that you
know it's going to help push the machine forward. But
they tell me that the story sorry that they've heard,
(08:02):
is that I was given some publishing for engineering. Like
they were just glad that I said, and I engineered
the demo, so they threw me some publishing. I was
like exactly, and I was like, no, that's not what's happened.
Speaker 4 (08:21):
What happened.
Speaker 5 (08:22):
So we start explaining it, and I tell, you know,
the entire story of how the matter of fact, matter
of fact, let me tell the story, and you know,
shout out to Sean for calling me. Like Sean and
I were both signed to LA Read, both signed a hit. Yeah,
(08:47):
and shake is really the one that was like, Yo,
you know, I think you guys. He was like, I
think you guys. Yeah, Shakier, he was like, I think
you know, you guys are the two writers that I
have here that really have a chance at really stepping
it up and taking it to the next level. So
(09:09):
it was like excited, let's go. So he's like, I'm
I'm thinking, if you guys can deliver me a hit
for Usher that I can make sure it's hurd. I
can't promise anything, but I can make sure that it
gets hurt. So we're like, cool, cool, Cool, let's let's
get to it. And it's Sean that actually pulls out
(09:31):
some tracks from Little John. Now, for me, personally, I
go way back with Little John, so I'm John, I
go back to ninety five maybe ninety five with Little John,
(10:00):
my first the first professional recording, first record that I
was ever part of. It was a song that went
viral maybe seven years ago Again and Night I Think
of You So yeah. Out of high school. This is
the first record that I'm ever part of in Little
(10:21):
John and Are that project, And that's that's where I
met John and we went on to do some other
stuff together. But when Sean plays the John track, I'm
amped because I fucking love Little John. Yeah, And at
the time, Little John was maybe one of my favorite
(10:42):
producers moving definitely one of favorites moving around Atlanta. So
Seawan is like, I think we should write to this.
So we're like, hell, yeah, let's do it. Let's do it.
So he mess around, puts in the track, track starts playing,
We get hype, and hell were about to write for us, nigga,
We're about to kill as we write for Usha. After
about two minutes, were just looking at each other going,
(11:03):
what do you what do you write to this? Ain't
nobody what this? So we look at it for a second.
I say, hold on one second. I run out to
the car, I come back in with the CD, put
it in and it's if you don't give a damn
will give a fuck. Hey, it was my favorite song
ever at the time. So we listened to that ship
(11:24):
and we're just we both amp. I curse a lot,
so I apologize Mama, my kids. When you see this
go crazy, I'm gonna go crazy. So we're hype as
fucking now. We're like, yeah, yeah, let's do it. Let's
do it. If it ain't this hurt, if it ain't
just grunk, if we ain't this hurt, then we don't
even need to do it. So we amped, we amp,
(11:44):
and then we just confused again and about what to do,
and Sean's like, play that ship one more time. So
we play it and it goes off, and it's like
it's got to be that hype or there's no point
into a John track, So hit play again. That shit
comes on and Sean goes yeah, and I go and
(12:12):
he looks at me and we're like, Nikka, we should
call this ship. Yeah, we should call it. So now
we I have been we're like, all right, what is
this going to be about? What is gonna be about?
And I got the call earlier to write for USh
because I had done this record with Marcus Houston. I
(12:33):
co wrote it with Neo what's the name. If I
wanted that girl I would be with. So La liked
the way that record felt. And because Usher'd come off
that you remind me that's what they had asked me
to write before, and nig I just fell short, like
(12:55):
it's it's hard for me to copy. I'm not really
really good at that. So we sit down and you know,
back this story. We sit down and we're like, all right, well,
let's just write what we want to write, what we
think being Usher is like. And Shake had played us
before we got started. He played US Caught Up, he
(13:16):
played US Confessions, he played US Superstar, and he played
us burn And we're sitting there and he's like, well,
you know what, what do these records have in common?
And I'm looking at I'm like, they're all very visual.
(13:38):
So we knew it needed to be visual. So we're like,
you know, let's make it. Let's make it that. Let's
talk about what we think. You know, being Usher is.
It's got to be in the club because of the
way the record is. So we sit down and start
writing and Sean hops in the booth and Sean is
(14:00):
melodically gifted Nigga like he's different. He's different. So he's
in the booth and he's I'm like and then he
keeps going, but it doesn't stop. So at a point
I'm like, hey, bro, that's it's too much, Like it's
too much. And he's like, Nigga, I'm telling you this
(14:23):
is what hot. And I'm like, I get it, but
it's too much. He's like, well what do you hear?
So I sing and my ship is slower and he's like, well,
that ship's boring. And back then I had a way
bigger ego, Like my personality is still kind of big,
but my ego, like Nigga, I thought I was the best,
(14:44):
and you better think I'm the best. So when Shawn's
got a big personality as well, so we argue, you know,
for a bid, we just screaming at each other and
then we kind of slow down and we just talking
with like, look, bro, we both because neither one of
us had a record that it changed our lives. So
(15:04):
we sat and we talked and we're like, look, they're
really giving us an opportunity to change shit for our families. Like, bro,
we gotta get past this and figure it out. So
he's like, I really just think that this ship that
I'm doing is the new shit. It's it. And I'm like, nigga,
I agree, you just do it for too long, like
(15:26):
people have to remember it, they need something to hold
on to. So he does this and he's like, well
what do you hear? And I'm like da da da
da da da da da da da da oh, and
he's like all right, I fuck with that. So we
(15:47):
do all of that shit, end up writing the whole thing,
write the verses, write the chorus, sing that bitch down,
you know, hype the ship. We like, we listened through it,
write the second verse. Then we're like, well, what do
we do for a bridge, because at the time US
was super musical, so we're like, we don't know if
John's could have put a change in it, if he's
(16:09):
gonna do whatever. So we're like, well, let's just do
a bridge with John. So our bridge was yay yale yale,
yal yeah usher yeah yah yeah, and we're like, all right,
that'll be the bridge for right now. So we listened
to the Shit Down again all the way and it
comes out of the second verse into the second hook.
(16:29):
Then ya ya ya yeah, and we're like, oh my god, nigga,
that has to happen every time. So we mess around
and fly that to where it needs to be and
we're sitting in the room and we're listening to it, bro,
and I remember Polo comes busting in the room, him
(16:50):
and and Bubba Sparks.
Speaker 4 (16:53):
That's great.
Speaker 5 (16:55):
Actually went to college with Sparks. Yeah. So he comes
in and and he's like, what's this and we're like, yo, said,
shitt we just there for us here and there gonna
be known. He was like, it's incredible, it's gonna be
It's gonna be the biggest record of his life. Y'all
just say that this is gonna be it. It's gonna
(17:16):
be the biggest working of his life. And we both
like yeah, cool. But we know that if Polo likes it,
we might be on the southing. So we're like, yo, okay,
here's the thing. Great musical, yeah, bro, genius. So we're like,
don't play it. We tell the engineer don't play it
for sake. We know he's gonna want to hear it
in the morning. We want to be here when you
(17:38):
play it. And he's like, absolutely, we won't play anything nigga.
I get woken up by a car I get it
who hooking up by a call from Shakir. It's like, yo,
listen to the record, get down to the studio, BRO
want you and shout down here and he talk to you,
get down here. So Sean and I get to the
studio and Shake is like, I think this hook is amazing.
(18:01):
I don't think La is gonna like these verses. You
guys need to rewrite the verses right quick. And Sean
and I kind of look at each other and we're
like no, and you know, Shake, Yeah, She's like no,
We're like, Noah, Bro, we rock with it the way
it is. So he's like, okay, okay, cool, and he
(18:24):
sends the record Bro, and we hear back. Actually, I
think Shawn's in New York working on something else. I'm
with Tricky working on some Backstreet board stuff. And I
get a call from Sean who said he sat and
talked to La and La told him that he really
(18:46):
liked the song, but he actually wasn't crazy about the hook.
He's like he felt like Sean's exact words is. He said,
La said the song was like bad sex. He was
like bad sex. He was like, yeah, the verses, you
get me all hyped up, you get me right there,
but then your hook, it don't really deliver. And the
(19:10):
hook that we had at the time was like, I
don't remember the hook that's that's on the actual album,
but the hook that we did came out. I don't
remember exactly how that hook goes, but yeah, all the
melodies are the same. So we were like it was like, uh, yeah, yeah,
(19:31):
shout it, get down low if you think you're ready.
Yeah yeah, I could turn you out baby if you
let me. Yeah yeah, I want to see if you
could back up what you told me. Yeah yeah, shout it,
get down low if you think you're ready. And then
LA was like the story of the verses, you got
(19:54):
me that hook, don't go nowhere, you know. And it's
one of the pluses of being signed to an amazing rite.
He was able to see that, like he it was
never enough for him that it felt good, like you
guys are onto something. Make it better. So we get
(20:15):
in and Sean gives me that call and I tell
Trick I gotta go. I head back to the apartment.
Sean hits to the studio in New York. We're on
like speakerphone, and we write like five more hooks and
he's not sure which one to pick. I'm not sure
which one to pick, So I go and I sing
(20:36):
them all for viv like I sing all the courses
Vivian my wife, because viv Is.
Speaker 6 (20:48):
Viv Is everything, Bro turned the provider real fast is.
Speaker 5 (20:58):
The reason, Like viv Is is the reason. It doesn't
matter what we're talking about. Vivis the reason. So we
sing viv the hooks and when I get to the one,
she was all up on me screaming, yeah, viv Is like,
oh my god, USh is fucking his girl's best friend. Now,
(21:19):
when we wrote it, we literally just meant she was
in the club dancing with that nigga screaming yeah, yeah, yeah.
And when she says he's fucking his best friend, I
was like, that's exactly what you do. And I run
back upstairs and I call Sean and I'm going, this
is the one. We gotta do this one right here,
and he's like you shure yes, because this is a
story I'm telling you. So Sean's like, fuck it. So
(21:41):
he goes and sings it plays that shit for La.
La is like cool, let's play it for everybody else.
Fun part is and our team didn't like the song,
like nobody really wanted Bro to have the song. You know,
even after talking to USh KP. USh didn't really like
(22:01):
the song. He was like, on first listen, I didn't
understand it, and.
Speaker 4 (22:06):
It doesn't it doesn't fit.
Speaker 5 (22:07):
It doesn't at all at all. And it was the
the album. The album was actually done. Burne was the
first single the.
Speaker 4 (22:17):
Video was and I was like, out of here here the.
Speaker 5 (22:22):
Ship was done and it was done, and we showed
up yeah record and we wrote we wrote it. Shout
out to KP. KP is really one of the people
that got USh to cut the record because he told
us because us was really unsure of it, and l
A wasn't crazy about it, and I was good, like
(22:44):
I understood LA's reasoning, you know what I mean. L
A's whole thing was USh has never really had up
until that point someone standing next to him. He was like,
that's by does we never put anybody next to him.
It's never Usher and someone else. So he's the star.
(23:07):
So I don't know if I want to start that
with Little John like and KP's whole thing was listen,
I don't know. All I know is that ship feel
like helly Atlanta. I fuck with it, like like cut
it an old thing, nigga. If you don't like it,
we don't keep it. But there's no problem with putting
(23:28):
your voice on it. Just sing it. Let's see what happens.
Speaker 3 (23:41):
I want to take you on a different path. What
were going now that you've now that you've started this path.
Speaker 4 (23:45):
Talk, let's go path talk.
Speaker 3 (23:49):
Make sure we make sure we call the lawyers path talk.
We said your first hit record was in the nineties. Yes,
and what was that record?
Speaker 5 (23:59):
My boom? Yes, give me my bool my Boo's fun. Uh.
For as long as I can remember, Like, I'm a
like I'm an army brat. So I was raised globally,
but I graduated high school in Alabama, like a small
town in Alabama called Aniston. And I've all like I'm
(24:24):
a Southern kid. I've always loved bass and ato waits
and you know all of that. And I remember being
a kid and trying to get my big brother Greg.
Shout out to Gregg, who is an amazing musician. I
wish I was the musician he was. And I remember
(24:45):
telling them all the time, Bro, we should sing over that,
Like I'm watching what happens when they play that ship
at the pep rallies because I play football, Like when
they played that ship at the pep rallies, when they
play that ship at the dance, when they play that,
that's what we should sing over. Ain't nobody singing over that?
(25:06):
And he used to clown me all the time that
ain't real music, boy, real music. And they start playing
the keys. This is real doing that thing y'all do
with the show.
Speaker 4 (25:15):
This real music.
Speaker 5 (25:17):
So I so like, fast forward. I get out of
high school, move to Atlanta, following my big brother, like
just literally trying to be like him. And I mess
around and you know, start meeting my own people, start
going to Art Institute of Atlanta, start meeting my own people.
(25:38):
And I met this, you know, one lady named Akima
day Achema.
Speaker 4 (25:44):
You know, of course I know Achema.
Speaker 5 (25:46):
Okay, so yeah, Achema would take me around. I would
I would, you know, arrange and do a lot of
the stuff on her her demos, and she would be like, yo,
so what do you think And I'd be like singing this,
do this, do this, do this. So she called me
one day and was like Yo, I gotta you know,
I got the song I gotta do. Will you come
with me to the studio? And I was like absolutely absolutely.
(26:10):
So we get to the studio and they start playing
the song and it's everything I've been waiting for.
Speaker 4 (26:19):
They're playing the track or they're playing a song.
Speaker 5 (26:21):
The track and the song, so they're playing it and
I'm sitting there like, Yo, this is fucking awesome. So
they're like, let's let's cut it. Let's get it. So
we're sitting there and we're cutting it, and I'm arranging
and I'm trying to help out the best as I
as best I can and and they're giving a Chema
(26:41):
hard time, but they're not really giving her a hard time.
They just keep saying it'shit suck, like this don't sound good.
And Kimma gets frustrated after a while because they really
go in and she's delivering what's written, so they're giving
her really hard time and she she ends up dipping.
(27:02):
And I'm not trying to dip because this is my
first professional session. So I'm like, well, what y'all want?
And Little John is there, and Little John looks at
me and goes, hey, Janny, you should sing it, and
I go, this is this is this is this song
for a girl? No disrespect, but you kind of sounded
(27:24):
like a bitch when you sing, so I'm like so
I'm like, I'm like, no, I can't sing it, but
I can call my girlfriend. So the girl that's singing
(27:45):
the song again, no, I don think was my girlfriend.
We met at a junior college in Alabama called Southern Union.
So I called Virgo and I'm like, yo, you should
get down here, like there's a there's a song. We
could sing the song. So she comes down and she
comes down with with THEO who she was doing a
lot of I think it was there who she's doing
(28:06):
a lot of work with at the time, and she
starts singing that and they kind of react the same way.
This ain't it. So immediately THEO is like, well, the
problem is like the melodies jacked up, like it's not
the song. So niggas start working on the melody. So
(28:27):
I'm just hopping in, hey, well what if you sing
it like this? Well what if we did this part
like this? So niggas mess around and changing and wed
the melodies sing the song like Virgo singing the song yes,
and I'm singing the backs on the record to this day.
To this day, Yeah, the only voices that you hear
(28:48):
on that song are Virgo and me. So we we
redo the song. And it's crazy because they had told me, like,
we'll give you guys one hundred and fifty bucks for
doing it, niggas out of high school trying to out.
Speaker 2 (29:03):
I was like, yes, so much, Taco bell.
Speaker 5 (29:09):
And fifty man what so we we we do the
first day and we come back the second day and
they haven't given us the money yet. So he's like,
let's just sing it, and I was like, no, Like
if we sing it, there's no reason for them to
pay us, Like it's one hundred dollars hundred and fifty bucks. Like,
I'll talk to them. So we go in there, nigga,
(29:31):
and I need you to understand, like y'all know me
for a long time, this is the pretty much the
biggest I've ever been in my entire life. Now out
of high school, nigga, I.
Speaker 4 (29:40):
Was a.
Speaker 5 (29:46):
And I'm like, yo, like getting the booth. We need
to finish this record because they are on the time,
matter of fact, right, and I'm like, we're not singing
anything until y'all pay us, like yall said, y'all was
gonna give us the money if we sing this. You
ain't got no reason to pay us. Bro said, oh,
you ain't singing like no. Man reaches in his bag,
(30:10):
pulls out a nine dressed that bitch on the table.
You know the name of the person that did this,
I absolutely do. I'm not gonna say I love it,
I love it, I love it.
Speaker 4 (30:21):
This nigga tank turned in the flag.
Speaker 5 (30:27):
Yeah, I know exactly what it was. And I'm like,
he look at me. I was like, now, I just
said I need a little water before us a little drive.
Fucking had night head night went in the booth, went
(30:50):
the booth, and we saying that bitch down. We're saying
that it's down, and then we dip. They never gave
us the money, and it was also the last song
that was being.
Speaker 2 (31:02):
Recorded, trying to thirsty.
Speaker 3 (31:05):
Y'all gotta give us at least some water before I
start singing any damn thing around here.
Speaker 5 (31:11):
Bro, So we sing, we sing it, and they end
up putting it out as the single, and it ends
up doing really well. Her just her voice and your Yeah,
they put it out as a single and it does
really well. They start trying to perform it and they're
getting booed, So who is this the social death? They
(31:32):
start trying to perform the song because it's in Atlanta
in the South. The ship just becomes a hit, but
Virgo's not performing it because they treated us like shit
and they're getting booed everywhere because the girl the singing
this ain't the girl that's on the record. So they
end up, you know, reaching out to us and like
(31:55):
I remember John calling me and being like where you
live And I told him where I lived, and Bro
pulled up with a gold plaque. This is my first
goal plaque. He was like, we straight. I'm looking at
this ship to say Q Smith. I'm like, hell yeah,
we straight? What hell yeah? And John and I end
(32:18):
up like doing like a remix for to me and
doing some other shit together. Like I just remember hanging
with John when because John started out as you know,
an executive, he like he was had a head an
an R Soso And I remember back then him going
that he just wanted to be like Uncle Luke. He
was like he was gonna do that. He was going
(32:38):
to figure out how to be a rapper and be
like Luke Skywalker like, and I'd be like okay, and
he was DJing and figuring it all out. I ended
up running in the in the Virgo later because we
broke up. But I ended up running in the Virgo
when we hooked back up and she was like, oh
my god, did they did you get your plaque? I
(32:59):
was like, hell, yeah, I got my plank. She's like,
how much money did they give you? I was like
what money?
Speaker 4 (33:11):
She was like, they never paid me.
Speaker 5 (33:17):
She was like, yeah, they gave me. Like they gave me.
I got twenty thousand.
Speaker 4 (33:22):
Oh.
Speaker 5 (33:24):
I was like watching, you should be outside. She takes
me outside. You take me outside to see the new
Purple Ultimate. I was like, what money. Yeah, a good story.
Don't learned a lot.
Speaker 4 (33:40):
Did you ever get paid? No?
Speaker 5 (33:44):
I still haven't been paid, and I still ain't been paid.
It's all good though, Like I messed around and I.
Speaker 2 (33:59):
Ended up.
Speaker 5 (34:00):
You know what, I ended up getting paid.
Speaker 4 (34:03):
I just.
Speaker 3 (34:07):
Give them two hundred, No, three hundred, one hundred and
fifty twice. I got two hundred. You got a hundred hundred.
Speaker 5 (34:11):
You know what, It's a good birthday present. I tell
I take I received this in the name.
Speaker 3 (34:17):
Of eppy birthday, every birthdayljahlujah, all of it, all of it.
Speaker 6 (34:23):
Man, Oh what a story. That is great. That is
a great story, bro. And now I will never be
able to listen to that record the same again every
time I hear it.
Speaker 4 (34:35):
I'm going to think of this story.
Speaker 5 (34:37):
Bro. You can hear me the clearest on that when
they get to the bridge. Boy, You've got all I need.
Back then, niggas couldn't use no autotune either. Niggas just
had to get it right.
Speaker 2 (34:52):
You heard that, didn't you?
Speaker 5 (34:53):
Okay, Oh for clarity, I ain't got no issue with
all the two, God bless you.
Speaker 3 (34:57):
No, no, no, no, But I'm just saying, yeah.
Speaker 4 (35:00):
We've been we've been doing this way before the plug
in boy, what from the tape?
Speaker 3 (35:05):
From the tape boy, what I'm from the tape days,
the VCR days, Hey, Dad's.
Speaker 5 (35:12):
They could never sink up there, they just could waiting
for your part.
Speaker 4 (35:17):
We talked about that flight of focals. You going to
lunch real quick.
Speaker 5 (35:20):
He'll figure it out.
Speaker 2 (35:21):
Let's go.
Speaker 4 (35:24):
I like you format today, man, Yeah, I.
Speaker 3 (35:27):
Like what I mean he's I love the way he
got to break come here.
Speaker 2 (35:33):
I love the way he's breaking it down.
Speaker 3 (35:36):
You know what I'm saying. And I want to get
in too. I want to get into his real moments
like a boy, which I thought was like a boy thought.
I think it is a crazy fun like.
Speaker 5 (35:48):
A boy about to be the shortest story ever. God, God,
bless the Clutch. I did like nothing on this record.
This is one of the records where you know, inside
the clutch when we start. The Clutch was a company
that I co founded, that carry and I and Zeke
(36:10):
and Ballewa and Candice Nelson co founded. Not that I
could that we co founded.
Speaker 4 (36:18):
Huh huh.
Speaker 6 (36:21):
Put Jack kick out the clutch before before became a
car and you put it in the car to make
the clutch.
Speaker 5 (36:27):
You know, you know there was one guy we didn't
kick We didn't kick him out though we didn't. Tab
was there in the beginning. We did not kick Tab out.
Tab just kind of walked his own path. But Tad
was there in the beginning.
Speaker 4 (36:44):
Uh, Tab got kicked out like me.
Speaker 5 (36:48):
You didn't get kicked out.
Speaker 3 (36:49):
You stop it, you stop it.
Speaker 6 (36:55):
I was never I was in Miami, imed.
Speaker 4 (37:03):
I was never in the first time.
Speaker 5 (37:04):
The first time we worked together was Miami. Was the
weekend of Hurricane Katrina.
Speaker 6 (37:08):
Yes, it was weekend of Hurricane remember.
Speaker 9 (37:14):
There ran like crazy, Yes, what what years two thousand
and five, two thousand and five, two thousand four or
five might have been four.
Speaker 2 (37:27):
It was wow.
Speaker 5 (37:29):
But we we went down there to work and like
Ethiopia and Fulan are really the masterminds. They put together
writing camp and they were like, he brought three people
from Universal fil Ay and brought three people from Hicco
and they stuck us in the studio. I think we're
a circle. Yeah, they stuck us in the studio for
(37:53):
like a weekend. We wrote six songs, recorded five by
the time we left Sunday. By Tuesday four them host
was placed.
Speaker 4 (38:03):
Yeah, I don't think this song I wrote with him
got placed.
Speaker 2 (38:08):
That's what I got kicked.
Speaker 4 (38:10):
But we can't place no records for him.
Speaker 5 (38:12):
We did it, and I want to say Epic Epic
had funded it, so all the four records got placed
with Epic and we were like, oh, that was cool.
But then we heard from Larry Jackson. It's like Jay
Records started asking, Yo, we heard you guys did this
thing and it was pretty cool. Why didn't we get
a call? So then Jay Records flew us out here
(38:34):
and we did it again. And during that time, me
and Zeke came up with the name the Clutch, and
and Antonio Reed Jr. Was there as well. And that's
just because we were at record Plant. Speaking of record plant,
(38:54):
I heard y'all talking. I can't remember who y'all were talking.
You might have been talking to Oh, you were talking
to somebody about how when it was when you was
popping that record plan, you got a little name plate
on the scooter and y'all saying ya never got I
just wanted you to know. Y'all know, I held on
to mine, you.
Speaker 4 (39:13):
Know what, gave my mother.
Speaker 6 (39:17):
Take it back and took our money. Can you look
out smash your cupcake?
Speaker 5 (39:25):
This was fine, man, I let this think shout up
even from California. Shout out to Pearl. When the Clutch
decided to move the home base really working in Atlanta,
we knew we wasn't gonna be out here so much.
So I asked Pearl if I could have my name plate,
and she gave it to me. So I've kept this
whole time. Stays in my studio. But yeah, bro, we
(39:49):
did it. We came back out and like did it
for Larry Jackson. Inside that session, we figured out how
we worked best. Carry and I were all were already
writing together all the time, Zeke and Candice were writing
together a lot. So you know what we started doing
early is they would split us into two rooms. Out
(40:11):
of those two rooms, we would do two to three
songs a day in each room. So we were turning
in anywhere between four and six songs a day, and
people would just book us for like five days or
a week and then just have thirty forty songs, you
know what I mean. So we're working. We worked that way,
and after stuff started picking up, what we decided to
(40:33):
start doing was all right, so that everybody eats fairly,
you know, whatever records are created. You know, on this trip,
we're splitting. We're splitting. So the crew showed up and
they murked like a boy. Funny thing is though we
actually wrote like a Boy for Kelly Rowland, wrote like
(40:57):
a Boy for Kelly Rowland, which is hilaire is because
like fast forward a long time. I end up in
session with Kelly Rowland maybe a year or so later
in Atlanta, and we're in session and she's like, JQ,
what I really want is a record like that, like
a boy song? And I was like stop and she
(41:19):
was like what. I was like, Kelly, stop and she
was like, I'm being serious.
Speaker 2 (41:25):
JQ.
Speaker 5 (41:26):
I was like, we wrote like a boy for you.
She was like, why didn't you let me hear it?
We did. Now the an R that we sent it
to happened to be in the room and we're like, we.
Speaker 7 (41:42):
Sent it to him.
Speaker 5 (41:43):
Oh yeah, yeah, I love that And it's the it's
the only time I've seen fire in Kelly's eyes, because
Kelly is actually the sweetest person. Yes, And Kelly turned
and looked at him and said, you don't make another
decision about it a record without me? And I was like, oh.
Speaker 2 (42:05):
Cause I like that. Wow, that is great because you
can never pinpoint who dropped the ball.
Speaker 3 (42:18):
There's always somebody in between the office or it got
to such it never made.
Speaker 4 (42:23):
It too until you start dealing directly with artists.
Speaker 3 (42:25):
Oh my gosh, that's beautiful. You didn't think you had
a great story that that piece right there? That doesn't
for me? Here we go, ice Box.
Speaker 5 (42:42):
Won't you? Icebox is actually my favorite song ever worked
on that's been released. Wow and quietly fucked quietly not quietly.
Oh Marion is my favorite artist to write for. Wow,
(43:05):
because when I write when Omrion sings it, it sounds
like it sounds in my head like his delivery, like
as not just as a songwriter, but as a vocal producer,
as a fan. I'm gonna be honest with you.
Speaker 2 (43:28):
I don't I don't.
Speaker 5 (43:29):
Care as much about your ability to get to the
notes as a lot of pure like musicians do. All
I care is that I believe you like music. To me,
music has one fucking job, and that's to make you
feel something. That's the only job you know. And inside
of that, I like, I believe that a music is
(43:51):
like a three four minute audible movie. It is my
job as the writer to give you the best script possible.
As a producer, it is your job to make sure
that the song, the record as a whole, comes to
fruition in the way it's supposed to. As an artist,
I don't care how fucking will you sing. I need
(44:13):
you to get in character and I need you to
deliver fuck singing it. I need you to deliver the
record the way that it needs to be delivered. And
when Oh sings shit, it has the urgency.
Speaker 2 (44:37):
My brother.
Speaker 5 (44:44):
Talk. You know, I understand how long I've been waiting
to hear this song live.
Speaker 1 (45:04):
Top five?
Speaker 4 (45:07):
What is it? JAKEU?
Speaker 1 (45:09):
Top five?
Speaker 7 (45:13):
Top f.
Speaker 2 (45:16):
What is not? Cap?
Speaker 1 (45:17):
Your top five are the sigles.
Speaker 2 (45:23):
Body?
Speaker 1 (45:24):
So yo, don't go, don't don't go. Top your top,
Paul your top.
Speaker 5 (45:34):
Your top five?
Speaker 8 (45:39):
Yeah yeah yeah, Jq's top.
Speaker 3 (45:53):
Fuck.
Speaker 5 (46:02):
It's better live, y'all.
Speaker 3 (46:05):
It's better live that that ship.
Speaker 1 (46:10):
Your top five.
Speaker 4 (46:14):
R and B singer. Come on, brother, I had to
write this down. You prepared?
Speaker 5 (46:21):
You want to slip up on the pod Top five
R and B singers. Okay, this is difficult because I
definitely got seven.
Speaker 4 (46:28):
I came prepared and I'm prepared.
Speaker 5 (46:33):
Okay, first and foremost, Well, I guess I got way
more than the same. If you break it down, Uh,
boys to men.
Speaker 4 (46:42):
M easy. You don't have to explain it. You don't
have to. We'll take off usher huh.
Speaker 5 (46:50):
I don't think there's anybody better than us, Beyonce.
Speaker 4 (47:01):
Right here, that's some time.
Speaker 5 (47:05):
Yeah, it's difficult.
Speaker 4 (47:10):
It's difficult to say the list you wrote exactly.
Speaker 5 (47:14):
I'm just trying to.
Speaker 2 (47:17):
Trying to go. Okay, were doing Okay, it's your birthday.
It is my birthday.
Speaker 5 (47:24):
Okay, boys and men, Prince yea m J, but specifically
Young m J, Young Usher, Beyonce, Jo, Desy, and Whitney.
Speaker 4 (47:43):
I don't have a gang because Niga said groups.
Speaker 5 (47:47):
That's just because I don't think. I don't think. I
don't think groups.
Speaker 4 (47:54):
Getting you're right, you're right. And as a person, if
you say yeah, you gotta say Sean. If you're gonna
say Casey, you gotta say Joe.
Speaker 5 (48:03):
I like, I get it, I love them both. I
would as a person, I would say Sean first. I
would say Sean. Then I would say one. Yeah, it's close.
Speaker 2 (48:12):
Here we go your top.
Speaker 4 (48:15):
R and B songs. Let's go see it. Mm hmm.
Speaker 5 (48:25):
Can you stand the ring Jesus? Mm hmmm, nay, who
can we talk?
Speaker 4 (48:34):
Mm? A lot of questions, A lot of questions, questions.
Speaker 5 (48:39):
Unbended m M and begging. Superwoman, Oh like Karen.
Speaker 4 (48:48):
Why what Karen?
Speaker 2 (48:49):
Why?
Speaker 4 (48:50):
Yeah?
Speaker 6 (48:52):
Master masterfully yeah, yeah yeah, show funny Superwoman out there
though it's funny.
Speaker 5 (48:59):
When I was when I was going over the list,
I was like, bro, every song, for the most part
is Kenny and Jimmy Lewis.
Speaker 4 (49:07):
They are no air mhm.
Speaker 5 (49:11):
They shut up on that and Vive brought this one
up and I had to go with it just because
it's the irony bro Janet. Let's wait a while.
Speaker 4 (49:25):
Mm hmmm.
Speaker 5 (49:27):
I'd love to know how many babies were made to
a song that was at that was about abstinence. It's
the sexiest song maybe ever.
Speaker 4 (49:38):
I think that's six too. I think you just it's
your birthday is back to it's your birthday.
Speaker 3 (49:45):
I should make a song about abstinence.
Speaker 4 (49:47):
Man, you can't this ship.
Speaker 5 (49:51):
You. They gonna know you don't know what you're talking about?
Speaker 3 (49:55):
Waited before when? So the next segment segment, We're gonna
make a volt trying an R and B volte trying
(50:16):
your artist you're.
Speaker 2 (50:18):
Starting with.
Speaker 3 (50:19):
We want to get the vocal performance style, the styling
of the artists, and the passion of the artists.
Speaker 4 (50:25):
Who are you getting the vocal from to make your
R and B artists audio top thirteen? Yeah usher mmmm,
he said, he said, yeah, go with him.
Speaker 5 (50:38):
If're going your ability to deliver tempo and deliver a ballot.
One of my favorite vocals ever recorded vocals ever might
be can you help me off the eighty seven on
one album?
Speaker 6 (50:57):
Like yeah, no, No, He's great both and everybody can't do
both absolutely right.
Speaker 4 (51:02):
You cannot cannot performance style.
Speaker 5 (51:11):
It should be getting difficult because I feel like i'd
be having answers. But then when I take the time
to look at the artists as a whole, I like Nigga.
That's a while looking at artists, I don't. I don't
understand on stage the way they perform. Oh yeah, no,
I understand. That's so difficult because I would say, I
(51:39):
would say Chris, I say CB but Marvin Marvin's ability
to make people move mm hmm, what's different?
Speaker 1 (51:58):
I like that.
Speaker 4 (52:02):
A combo guard.
Speaker 5 (52:03):
I'm gonna go. I'm gonna go Chris.
Speaker 4 (52:06):
Mm hmmm.
Speaker 5 (52:07):
I'm gonna go Chris because the energy.
Speaker 4 (52:13):
Is unmatched, unmatched, unmatched, unmatched. Love the Marvin reference, though
styling close artist rip Chris quick quick.
Speaker 5 (52:29):
I don't know anybody who's and I'd have to do
more homework. Has ever been more in touch then Chris?
And Chris has lived for a long.
Speaker 4 (52:42):
Time in the spotlight.
Speaker 5 (52:44):
Yeah, in the spotlight and somehow right in front whatever
the movement is.
Speaker 4 (52:51):
But he is globally flies. Yeah, he's not like he wants. Yeah,
demographic doesn't.
Speaker 5 (52:59):
Matter where you go and people respond, And I think
that's the job.
Speaker 4 (53:05):
The passion of the artist, the heart of the artists.
Speaker 3 (53:08):
Where you're getting that from.
Speaker 5 (53:12):
Yeah, don't be mad at me, y'all.
Speaker 2 (53:20):
Yeah for what upset about? What?
Speaker 4 (53:24):
Yeah, he'd be rocking.
Speaker 5 (53:25):
He mean it, yay is, yay is.
Speaker 4 (53:28):
I was at that.
Speaker 5 (53:29):
I don't how about saying I don't necessarily.
Speaker 4 (53:31):
Not doger stating it was colosseum.
Speaker 5 (53:35):
Mean, yeah, it's not necessarily And that's not always about
always agreeing with what everybody says. But I respect.
Speaker 6 (53:43):
Some of the this political ship man the nigga like
Kanye when he performed.
Speaker 4 (53:48):
No, I just mean, hey, listen, wherever you are, don't
do with your politics.
Speaker 5 (53:54):
How do I unplo? Okay, you're pretty, but your speaking britty.
You're over talking me speak of ship speak your ship.
Speaker 4 (54:06):
You said you weren't coming here to be political.
Speaker 5 (54:08):
Oh I'm not. I'm not. I expected some crazy question.
Speaker 4 (54:12):
No, no, we can do that.
Speaker 5 (54:15):
But we're here now though I didn't get none of
the kick out questions.
Speaker 4 (54:18):
You take me out. It's cool. It's it's here now.
Speaker 2 (54:25):
Though.
Speaker 4 (54:26):
It's here now though because you said a few names.
But what can he do?
Speaker 10 (54:30):
I ain't saying no names. Ain't saying the man. Ain't
saying no man when you was what you did, don't
say she.
Speaker 1 (54:45):
He saying no names.
Speaker 4 (54:57):
Are you ready, j Q?
Speaker 6 (54:58):
I already we need that story all right, funnier fucked up,
all right, funny and fucked up this story.
Speaker 3 (55:06):
Hold on, hold on, I didn't know, no.
Speaker 6 (55:13):
Got to introduce you, right because you're a j Q
swift Man and you are mother fucking legend, legend, nigga,
I apologize, and we want to introduce the legend and
what he's done and what he did.
Speaker 4 (55:25):
And he ain't saying ship.
Speaker 6 (55:27):
This is j Q mister icebox himself where his heart
used to be. You know who you know who you
are and broken his heart. He ain't gonna say he
already said your name whatever. Well on this segment right now,
he ain't saying no names.
Speaker 4 (55:44):
Ja.
Speaker 5 (55:46):
Okay, This this story happens over a few years, so
early early, and you know, in my journey, I was
in a group with my brothers, myself, my big brother Greg,
my younger brother Chuck, and my cousin Dre. Do those
(56:07):
names that's not the d Okay, Yeah, that was a
lot of names.
Speaker 4 (56:12):
This is birthday and birthday.
Speaker 5 (56:16):
Tough balance my names and me. But I was in
this group, and even back then, like I wanted to
be part, I wanted to help, I had ideas. So
(56:41):
and a lot of people may not know this about me.
I never wanted to be a songwriter, Like this was never,
never in my dream. But I'm in this group. We're
in the studio working with you know, these producers, and
we signed to these producers because they've got major backing
(57:03):
from a professional athlete. And we're like, yeah, bro, we're
about to do it. Were about to get it. And
I remember being in the studio and the producers and
songwriter writing. It was a production team. They're writing, writing, writing,
and I'd be like, oh, what if you said this,
and they just kind of turn around look at me.
They'll be trying to figure it out. Oh it would
(57:24):
be cool if we talked about this, and they look
at me again, maybe third or fourth time. And there's
a room full of people, so it's not just us,
it's us. And then because they're in this huge mansion
that the professional athlete has gotten for them, it's just
a gang of women, bunch of niggers, And I go, yo,
(57:47):
what if we say and Bro turns around. The songwriter
turns around and says, won't you shut your corny ass up.
I'm a songwriter, he's a producer. You the artist Alabama
and turns back around, and the whole room is cracking up.
(58:09):
I'm like, okay, cool coo goo goo goo goo goo Google.
You know, take time. We end up getting out of
that situation, you know, fighting trying to figure out my situation,
end up over at noontime. I'm over at noontime and
I've been working and writing there long enough to where
now I'm one of the guys that they call you'll
(58:32):
go too, And now they have this artist and I
co wrote the first single, I wrote the second single,
and we're tracking the second single. At the time, we
didn't know the second single, but we're tracking the song
and one of the partners come in and go, hey man,
(58:53):
we got some people that you know, wanna you know,
want to get up here and want to start doing
some work. I told him to come in here and
play this stuff for you, and I'm like, okay, well,
I need to get finished with Buddy Vocal, So if
I could have like ten minutes to just wrap this
part up, it'll be cool, and it was like, yeah,
I'll send him in there in ten minutes. I was like,
(59:15):
thank you, bro. So I'm sitting there and we're going
over trying to get all the backgrounds done. That was
back in the day when I thought more harmonies meant
a bigger hit, right, So every note I could think of, yeah,
I know, it's we already got that note in there.
Speaker 4 (59:30):
But this does a little bit different.
Speaker 5 (59:32):
Yeah, sing this one. So Bro singing and they come
in the room, Hey hey, and he's like, well, I'm
looking for JQ, and you know I'm JQ.
Speaker 8 (59:44):
Now.
Speaker 5 (59:44):
When I started, I was just cute. So I'm like, yeah,
just give me one minute, give me one minute. Yeah,
all right, perfect, bro, come on out. We'll get back
in and maybe like five minutes. So I spinned the
cheer around and nigga that called me corny and told
me to shut the fuck up is looking at me.
(01:00:06):
His eyes get big as ship and I'm like, what up, bro,
and he's like, uh, they just wanted me to come
in here and play, so you up here, you're up
here now. I was like, yeah, man's that's kind of
home now. I was like all right, yeah, yeah, bro, yeah, yeah,
so I was you might know these songs. This nigga
(01:00:30):
plays me my demo, plays me all the songs that
we cut. And I was like, yeah, fam, I appreciate
your time. We'll get back to you. Bro left. It
was petty, but I never felt so much joy ever.
(01:00:54):
Bro comes into the partner comes in the room, He's like,
what did you And I was just like, I don't
funk with him, no kind of way. He's untrustworthy, he's this,
he's that, This nigga is Bob. I don't funk with him.
And he was like, what did you think about the songs?
I said, he played me songs that I demoed four
years ago, and he was like, that's enough for me.
(01:01:16):
And then I turned back around and finished recording my
second single.
Speaker 1 (01:01:24):
My my mind.
Speaker 4 (01:01:26):
Be nice to be cool, you know what, may not
even have to just be nice, just be cordial.
Speaker 6 (01:01:34):
He just don't don't don't don't shoot on especially if
they don't deserve it.
Speaker 5 (01:01:39):
Bruh.
Speaker 4 (01:01:40):
You can, you know, pull pull a young man to
the side, shoes a young fello at the time and.
Speaker 6 (01:01:46):
We're gonna we might work you in, but you know,
let me focus a little bit. Even if it's said
that way.
Speaker 4 (01:01:51):
Yeah, and definitely don't don't don't diss where you're from
my father from.
Speaker 6 (01:01:59):
Oh but me, you know, because it could you could
very well be in the other chair at some point
around it was amazing.
Speaker 4 (01:02:10):
Oh it's you and on the other side of it.
Speaker 5 (01:02:12):
I'm gonna tell you another story. When the camera's off.
Speaker 3 (01:02:17):
We're gonna get these cameras out. Brother j Q, amazing man.
You are amazing man outside of all of this. Man
just an amazing brother. You know what I'm saying. Anytime
you know, and JA can attest to this man, anytime
your name comes up. It's just good energy all around,
you know what I'm saying. And then it's infectious, you
(01:02:38):
know what I'm saying.
Speaker 5 (01:02:38):
I love you guys. There's not it's crazy. I was
talking about this yesterday in the session. I was like,
I know a lot of people.
Speaker 4 (01:02:45):
You know.
Speaker 5 (01:02:45):
We all was like, but I don't think I have
a lot of friends, Like I don't trust a lot
of people around my I don't feel comfortable enough to
have them around my kids. Bere out. I love you guys.
You guys have been solid from the beginning. You made
me better. You make me better you also introduced me
to Sean Stockman. It's amazing that's my brother.
Speaker 4 (01:03:08):
Yeah, but all of us, Yes, yeah, he's been a
blessing to all of us.
Speaker 3 (01:03:13):
Christmas project that is coming out, Yeah, because I was
you know, yeah, yeah, yeah, I got the call. You know.
Speaker 4 (01:03:22):
But thank you, Bro for being who you are and
for being consistent.
Speaker 3 (01:03:26):
Bro.
Speaker 5 (01:03:27):
Absolutely, I appreciate it. Can I say one thing to
the creatives that may be looking, But I just want
to say this just because I feel like it needs
to be said, and I wish somebody would have told
me really early in my career. It is one thing
that I wanted to make sure I said. For those
creatives that are out here trying to figure it out,
understand that success it's easy. And when I say easy,
(01:03:55):
I'm not like it's going to fall out of the
sky into your lap. But it's not compleated. Like success
is a combination of good decisions.
Speaker 3 (01:04:06):
You know, learn.
Speaker 5 (01:04:09):
To make decisions that move you in the right direction.
You know, whenever you're about it, is this move me
closer to my goal or not closer to my goal.
I swear if you do that, you know you will
get to where you're trying to get like math is
math two plus two will always be four. If you
keep walking in the direction that you're supposed to be going,
(01:04:30):
eventually you will get there. You know, have the people
that fall flat now fall flat for a couple of reasons.
They have a very bad relationship with self discipline and
self sacrifice. Like there's too much. And I'm saying this
because I speak to a couple of young people now
(01:04:53):
and that's allway this thing. Everybody's scared of missing out
and all of that. Just understand that the real fucking
work gets done alone, you know, Floyd. When it's time
to get it in and they're preparing for a fight, bro,
don't go out and bring a bunch of people around.
They go into isolation. When Kobe was ready to really
(01:05:15):
ball out, he would say, I'm in a cage. When
I'm in that cage, don't fucking talk to me, don't
touch me. You learn who you are by your fucking self.
Learn to trust you. I'm sorry, I got a little
app but y'all fall into that. I swear I hate y'all.
Speaker 3 (01:05:37):
Ladies and gentlemen. My name is Tank Valentine. I'm JQ,
and this is the rmby Money podcast, the authority on
all things R and B. This episode has been.
Speaker 5 (01:05:52):
I'm gonna get y'all that picture. I'm gonna get a
picture of.
Speaker 2 (01:05:59):
Man, Thank you well.
Speaker 6 (01:06:01):
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 subscribe
to and rate our show, and you can connect with
us on social media at Jyvalentine and at the Real Tank.
(01:06:23):
For the extended episode, subscribe to YouTube dot com or
slash R and B Money
Hosts And Creators
Tank
J. Valentine
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