REPLAY: Poo Bear

On this week's episode of The R&B Money Podcast, Tank and J Valentine welcome the prolific Poo Bear to the pod. This hitmaker behind some of R&B's biggest smashes opens up about his incredible journey, from his humble beginnings to crafting records that have shaped the genre. 
With unparalleled realness, Poo Bear shares never-before-heard stories about working with legendary artists and overcoming personal challenges in the industry. He reflects on how staying true to his sound and putting family first have been the keys to his longevity.
Tank and J Valentine dive deep with Poo Bear for an intimate, eye-opening conversation full of wisdom and inspiration that no R&B fan will want to miss. Poo Bear's passion for the music and dedication to his craft shine through as he offers unprecedented insight into his creative process and the stories behind some of his biggest hits.

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https://www.youtube.com/RnBMoneyPodcast

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Podcast: @RnbMoneyPodcast

 

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Episode Transcript

Speaker 1 (00:01):
R and B Money, Honey, we are.

Speaker 2 (00:07):
Thanks take Valanti.

Speaker 1 (00:11):
We are the authority on all things R and B.

Speaker 2 (00:18):
Ladies and gentlemen. My name is tam Day Balancin. This
is the R and.

Speaker 1 (00:24):
B Money Podcast, the authority they know, they know on
all things, all.

Speaker 2 (00:31):
Things, all thing. Yeah, R and B. Yeah, don't get
caught up.

Speaker 1 (00:35):
Stop telling me you right here records, yeah yeah, stop.

Speaker 3 (00:40):
Being me telling me you right hit records, Hello, nigas,
they're right here, records.

Speaker 4 (00:48):
Every day, every day, because every day is what what
your birthday?

Speaker 2 (00:55):
Happy birthday himself.

Speaker 1 (00:56):
You ain't never gonna have a song stolen from you
at twelve on a million copies.

Speaker 3 (01:02):
About that happy birthday.

Speaker 2 (01:05):
I'm sorry, I'm yelling. I love it. Thanks having me, man,
Thanks for having me.

Speaker 3 (01:10):
You do this ship?

Speaker 2 (01:11):
Was that your year? That's not yeah, that's having me, bro.

Speaker 1 (01:18):
Bro, Like you know, our pod is is a flower
pod to give you the flowers you so right. I
don't know if we have enough flowers in here.

Speaker 4 (01:33):
Already said we didn't have enough room on we didn't
have enough he said, what.

Speaker 2 (01:46):
Bro.

Speaker 1 (01:48):
It's so much information and so much great musical conversation
that hopefully we can get to some of it. We ain't
gonna be able to get to most of it because
we would be here for a few days.

Speaker 2 (02:01):
Hopefully we should do a part two.

Speaker 1 (02:03):
Maybe that could be the first part to what we
should do, is we should do this.

Speaker 4 (02:07):
As hard as it was to get him to come
on this podcast, he don't do this ship he like
he already said, don't ye.

Speaker 3 (02:15):
But this is special. I think what you guys are doing,
it's such a magical environment. I think it's I just
think it's very important, it's very needed, and it's something
that's been missing, you know, for a while.

Speaker 2 (02:27):
So I applaud you guys.

Speaker 1 (02:28):
Thank you, thank you. I think we we I think
we do this. And then I think the other piece
of information is if you haven't even done it yet,
is people need to really see you at work.

Speaker 2 (02:41):
Oh yeah, I love that.

Speaker 1 (02:42):
The idea behind like like like like what Jason Joshua
Joshua does when people actually sit and get to watch.

Speaker 3 (02:50):
Him in action action. Yeah, I would love that because that's.

Speaker 2 (02:55):
Yeah, that's the magic. That's the magic that's different, and
that is exactly what you are. Brother. Oh thank you, man,
I'm saying that.

Speaker 3 (03:03):
Thank you.

Speaker 2 (03:03):
So let's get let's let's get into you know, let's
get the.

Speaker 4 (03:10):
Way you were able to invest something, which it starts
with Yes, listen, I want to go back to the beginning,
because what you the story of you rapping a song
at twelve? Yeah, having it, having the lyrics word for word,
bar for bar.

Speaker 3 (03:29):
Yeah, they borrowed them.

Speaker 2 (03:32):
You ever get the best soldier and and go platinum
with it?

Speaker 5 (03:37):
Yeah?

Speaker 3 (03:38):
Yeah, man, I was. I was twelve in a group
and the group it was hilarious. T w C together,
we chill, it was absolutely we had a song too
with the hook with that No, it was embarrassing. You
know why we embraced it as kids because Red from
ABC came up with it and I'm like, a b See.

(04:00):
TWC was like, okay, there's some letters. We got our
own letters, not thinking I'm like letter, I'm like this
is corny as shit. But in the moment, it was
the dude from ABC giving us a letter and cracking
it was pop. Yeah, I'm like it was eight years
old to twelve on SOULI Train performance. So I was inspired.
But you know, at that time, Chris Cross came out
dissing them with Jump Jump on Everybody. That was a

(04:23):
direct disc that was a battle wrap for kids.

Speaker 2 (04:27):
In what was that?

Speaker 3 (04:28):
Nineteen ninety three ninety two, I was twelve years old.
Read was thirteen, and Read was my manager. Strange enough, yeah,
thirteen year I had a thirteen year old manager and
I was twelve.

Speaker 4 (04:40):
Okay, all right, it's called big business man because I'm
forty eight, yeah and your forty five.

Speaker 2 (04:48):
You forty five. So when I was young, now your manager.

Speaker 3 (04:54):
Like, listen to me. I know I've been through the ropes.
I've been doing this shit half my life. Yeah yeah,
yeah man, yeah. So and I actually, you know, I mean,
I wrote a rap that was dissing Criss Cross and
because he was that's my homies. So I'm like, yeah,
just dissed them. And don't think you know what I'm
saying because they don't really. They were like, yeah songs
I e shared the playground like they weren't built for that.

(05:17):
So I wrote a rap, you know, dissing them, and
I wrapped it through Red and he was like, man,
do it again. He kept throughout the day, kept saying me, like,
have me recite this rhyme? Then Red disappears, ABC disappears
for six months, like, man, that was my manager now
he's just not.

Speaker 2 (05:32):
Even answering my calls.

Speaker 3 (05:34):
And then I go to seventh grade and my friend
Kevin is like, hey, man, remember that rap you recited
to me. He's like, I think it's on this album
that Michael Bivens put out on the Big ten compilation
All for One, One for All. That was the first
single off for It was like, oh for One and
one for All. I don't know if you guys remember that.
And he had the Boys de Men, ABC BBD, the

(05:57):
East Coast fan so that was the whole compilation. I
listened to it on a cassette player in Holmes homeroom
in the seventh grade and I hear it come on,
boom boom check us like a boot tick tactoe Chris
crossed him out the box, happy jumping, not just sign
and I'm like, and I was so confused because I
was so happy.

Speaker 2 (06:15):
Yeah, but I was sad because I'm like, wait.

Speaker 3 (06:18):
Let me open up the credits. And then I looked
at the credits and understood credits. I understood credits. Well, yeah,
I understood what the credits were because you know, as
I was making music, man, I sucked at it, but
I was making it enough to know that the people
in the credits were the ones that were behind the
you know, the magic. So I went to read the credits,
I'm looking for my name, and I'm like, well, where's

(06:40):
Red's name? And then I didn't get credit. Read didn't
credit the manager of the group at the time, like
I'm putting nobody out there. But they got the credit,
they got the publishing for it, and that was like
the first time actually had something like a copyright storming
from me. I just happened to be twelve years old.
It was a young lesson. Yeah, I was in the
seventh grade in the middle of College Park.

Speaker 2 (07:01):
Did you have.

Speaker 4 (07:02):
Any any ideas of like, I gotta get to somebody
to tell them that's my song.

Speaker 3 (07:10):
I I didn't even think about that because I just
was said I was twelve, man, I had no They
were my connection to the industry. It was Red, you know,
so outside of Red and in Row Row, those were
the only two people I knew the industry. Yeah, so
when they disappeared, I didn't have any I had no

(07:31):
other way. So I didn't even think to like, like,
how could I even try to fight to get credit.
I was just happy and hurt at the same time.
It was like the end of the Yang, and I
was like excited but disappointed. You know, It's like, man,
this is my like this is I can hear it,
but it's not. It's nobody gonna know, so you know,
I kept that. I kept that story secret awhile because

(07:52):
I was more embarrassed by at a younger age than
I was like using it to show people that, like, hey, man,
you could get ripped off at a young age. There's
no there's no age limit on on getting ripped off.
So but I didn't. I didn't tell anybody for a while, man,
And then I started thinking it was it was cool
to just be a voice for people who get ripped
off at a young age and be like, hey, you're

(08:13):
not the only one. You know what I'm saying, and
you learn from those things you learn had I learned
at a young age, like publishing is something I didn't
even know what it was, but I'm like, this is
something serious. And then it took my cousin, Courtney Bear.
I don't know if you guys know Big Big Bear
who discovered one twelve and Jagged Edge at one talent show.
My cousin how I got into the music business. My
cousin Courtney Bear seals he's working. He works with Killer

(08:37):
Mike right now. He discovered at one talent show Tri
Cities High School one twelve and Jagged Edge. One twelve's
name used to be called Forte. It was the name
of him, and then Jagged Edge. I forget what the
name was, but it wasn't jagged Ash. Then he went
on to introduced one twelve to Puff Daddy, and Puffed
Daddy gave him the name one twelve and Jagged Ash

(08:58):
went on to So So Death for Jamain de prie Man.
He went and managed One twelve, moved to New York.
They came out the first album, sold the million records.
Cupid only you big success. Yeah, came back and was
like poop be you know you can make money writing songs.

Speaker 2 (09:11):
I'm like wow.

Speaker 3 (09:12):
He was like, I'm gonna put you in with the
guys and see if you have a chemistry with any
synergy with with Doran and see how it goes. Maybe
he'll work with you. So he takes me over, drops
me over. Durn Jones shout out to durran Q was there,
you know, Quinnis Parker and we created the song Anywhere.
Duran had already started it and already was working on it,

(09:34):
and I just came and added to the record Anywhere
and that was my first hit.

Speaker 2 (09:37):
Anywhere is your first hit?

Speaker 3 (09:39):
Yeah yeah, man, yeah, I was in high school. I
was in the eleventh grade. Yeah yeah, And mind you
when that came out, it didn't sound like anything like,
it didn't sound like anything be what it was. What
sample is that? It's interpolation original. That was Iran Duran

(10:03):
didn't sample nothing. The only thing that you're talking about
the replay was.

Speaker 2 (10:06):
A wicked wicked, wicked.

Speaker 3 (10:08):
It's over now, It's over now. That was Mob Deep.
Wiga wiga wigga wiggle wiggle. That's the only we got
Anywhere was straight original. Yeah no, no, no, barn barn. But
the one they did rip was the that Mob Deep.
Remember that It's over now? Yeah? Yeah man, yeah yeah yeah,

(10:30):
he too hot to stop. Yeah man, that's your question.

Speaker 1 (10:33):
Yeah, if I can backtrack for a second, Okay, did
you hearing your rap, your lyrics on on that ABC song,
did that give you an indicator that you could really
do this ship or or did it take you just
a little while longer after that before you even settled

(10:53):
into the idea of being able to do that.

Speaker 3 (10:55):
Yeah, because I really that never really registered what happened
then that it was like, Wow, I did something that
came out that was good enough to come out and
generate a mile.

Speaker 2 (11:06):
Yeah.

Speaker 3 (11:06):
I wasn't. I didn't put two and two together then,
but it did do something to myself. Was standing this
a little bit to where it was like, well, it
must have been cool if they stole it. It must
have been good enough for them to steal. So that
did something. It gave me inspiration to be in a group.

Speaker 2 (11:23):
You know.

Speaker 3 (11:23):
I started a group called Young Harmony. I was My
name was Harmony. My friend's name was Young because I
used to harmonize. I couldn't sing really, but I had
a great year and we went on. We signed our
first deal like a few months after that happened. I
was still twelve years old. I signed my first record
deal with a label called Jungle Juice Records, and our friend.
Let me tell you what our advance was. We got

(11:44):
paid in advance.

Speaker 2 (11:45):
We got an advance though.

Speaker 3 (11:46):
Let me tell you what it was. It was a
gene suit. I got a green one and then my
homie got a yellow one. We looked like a sprit commercial. Yeah,
we looked like the Sprite.

Speaker 2 (11:55):
Comming because I've had actual Jungle Juice.

Speaker 3 (11:58):
Actually, I thought in the car, no, no, you're talking.
You're talking about the Jungle Jungle je I got you
got okay?

Speaker 2 (12:08):
Yeah yeah?

Speaker 3 (12:09):
Man said yeah, yeah, yeah, the Jungle day Yeah, Jungle
Jewey Yeah, love you man.

Speaker 2 (12:18):
I don't know how old.

Speaker 1 (12:23):
Were you were?

Speaker 2 (12:23):
You were you okay? It was okay. I would say
that's child abuse. But if you're an adult, this is
the abuse. You get a.

Speaker 3 (12:34):
Suit for an advance as you and our manager took
the whatever money it was that we were supposed to.

Speaker 2 (12:39):
It was some money.

Speaker 3 (12:40):
It probably was a little bit of money. But he
brought us Jeanie suits and and kept the difference, kept
the difference and then ended up and then he ran off.
He ran off this beard.

Speaker 2 (12:50):
And all this is said. Twelve I was twelve, yeah, man.

Speaker 3 (12:53):
And so we had a single out man because She's
turning me on. That was my first single. And we
had an album released party, a single release party on
there forget that. And we distributed through Jungle Juice Records,
and so it was it was an independent label. Yeah.
The guy, the owner's name was Michael Jackson, same as yeah,
Michael Jackson. And he used to lock us in the
studio and I never forget that, and I didn't realize

(13:15):
that that was a fire hazard till I got older.

Speaker 4 (13:17):
I'm like, wait, boy, I thought you were just using
the terms.

Speaker 3 (13:22):
He would go outside the door of the studio and
lock us in from the outside so we couldn't get out.
So it was me on the little last Yeah, I
guess that will follow under the field spectrum. I had
the little lease. He's with the little the a at.
So I was engineering, I was making I had an
SB twelve hundred and I was making beats, I was

(13:43):
writing songs, I was doing choreography. I was doing everything,
you know what I mean. And he would come back
in the sun to be down let us out, And
then I had to. My mom always let me go.
She was like, no matter what, you gotta go to school.
I don't care if you worked till four in the morning.
She was like, you just got to go to school.
So my mom always let me. She she used to
drop us off at the studio and my singing with

(14:04):
my group, and she's just like, look, you just gotta
go to school. I don't care. You can stat all night,
but by five o'clock you need to be coming home,
taking a shower and getting ready to go to school
at seven thirty. And so wow, yeah, so she let
me do that. I support my mom, you know what
I mean. Thank my mom for supporting me and dropping
us off. She was like our uber back before uber,
you know what I mean. And she believed and she

(14:25):
really was just a positive like she just always told
me I could do anything and be anything I wanted
to be. And I always told my mom I was
like and my grandma, I was like, man, I'm gonna
move us out of the hood, you know what I'm saying.
And my grandma was so at that age like bless
your heart, like you don't understand that black people.

Speaker 2 (14:43):
Don't move out of the hood, you know what I'm saying.

Speaker 3 (14:45):
But you could tell like energy. She never seen light
and buts she used to see me.

Speaker 2 (14:50):
Man.

Speaker 3 (14:50):
So I grew up. My dad left when I was
seven and a half eight. He left two weeks later.
It was a tornado, like the only tornado in Connecticut history.
And New Haven is like, you know, still one of
the poor. So you're originally from originally from New Haven, Connecticut,
one of the poorest cities in America, and the tornado
came tore up our apartment and then we were homeless.
So me and my mom and my brother were homeless

(15:10):
from I was homeless from like age eight until ten.

Speaker 2 (15:14):
So we slept everywhere, you know what I mean.

Speaker 3 (15:16):
We slept wherever we could sleep, and we ate when
we could eat. And the church did an offering one
day and they gave my mom like four thousand dollars.
I'll never forget that. And then we moved to Atlanta
and started over there, but we still, you know, were
struggling there, and we ended up living with my grandmother
and it was like eight of us in a two
bedroom apartment. So I slept on the floor till I

(15:39):
I probably slept on the floor till I was about sixteen.
I got I was when I started I started to
flo you were sixteen, Yeah, man, I started making my
first like after anywhere. I started getting a little ass
cap checks.

Speaker 2 (15:52):
And I need so what what ages.

Speaker 3 (15:55):
I was seventh sixteen, and then it came out when
I was seven. I did it with Deronda I was sixteen.
Came out when I was seven, going seventeen and then
it went in from like ninety seven to ninety eight.
We can do it anywhere. It was out. And then
I also worked with Pink when she was Burgundy. She
was making R and B music, So I don't call
her pink. She was black, she was Burgundy.

Speaker 2 (16:14):
Can't take Home she was pink. Yeah, her next album
she went pink.

Speaker 3 (16:17):
You know what I'm saying. I worked with I got
the Burgundy Pink, but those were you know. I told
my mom and my grandmother. Then I was like, I'm
gonna move us out of here. And I never forget, like,
get my first little ask cap check. I didn't have
a bank account. I went to the check cashing place
and they take four percent out. I never forget that.
I was like, went in there with a check and
came out with money, and I was like, wow, you

(16:38):
care about you? Yep, it was about four thousand, seven
hundred dollars. I bought a cell phone. I never forget
that that first thing. My first purchase was a cell phone.
And then I bought a bed because I was like
my first time. And then I started renting a room
from my cousin because I didn't want to sleep on
the floor in the two bedroom apartment with my It

(16:58):
was like it was eight of us. So ended up
renting the room from Bear who discovered once twelve. And
then I got my first I bought my first bag
and I was like sixteen, seventeen seventeen.

Speaker 4 (17:08):
So I had anybody in a position to move you forward,
had anybody identified it as far as like I'm invest.

Speaker 2 (17:17):
In him or not?

Speaker 3 (17:18):
Well you ever had enough? It was like it was
always like drug dealers, man, thank god for the drug
shout out to the dope boys.

Speaker 2 (17:26):
Listen, we all come from it.

Speaker 3 (17:27):
Yeah, yeah, because they was our first investors. Absolutely, you
know what I'm saying. They was the first hedge fund
dope the dope community with the first venture capitalist. Yes,
but yeah they got for that. And then yeah, what
happened was, I don't know, you guys know KP come on,
pray this. He gave me my first record deal in
a group I was in called Friction, and we signed

(17:50):
on the Face Records in nineteen ninety seven, nineteen ninety six. Actually,
so even with that, our then manager ran off with
our advents. He took our advances the second time.

Speaker 2 (18:00):
You're still not eighteen years old. You know this is
still a high school.

Speaker 3 (18:03):
I'm still a high school.

Speaker 2 (18:04):
Yeah, you don't fully understand what comes along with the business.

Speaker 3 (18:08):
Nah, I didn't even know. I didn't know what publishing was.

Speaker 2 (18:10):
You know.

Speaker 3 (18:11):
My cousin was like, you could make money. I'm like
how he was like, you write songs and you get publishing.

Speaker 2 (18:15):
And I'm like, are they showing you these contracts? Are
they showing your mother these contracts? No?

Speaker 3 (18:19):
No, no no. So it was no contract well my
record contract.

Speaker 2 (18:23):
No.

Speaker 3 (18:23):
I was just and it's so crazy how how it works. Man?
Like when I was signed as a as a twelve
year old, the person who signed us, he signed us
under a management deal and a production deal. You remember
those days, right, But they tried to. But I didn't know.
In my production contract he was taking fifty percent of
my publishing, and in my management contract he was taking
the other fifty percent of my publishing. So I didn't

(18:45):
have I didn't have one hundred percent. I didn't even own.
I didn't even know what publishing was, and I didn't
own it. But the way God works is like my
contract ran out with both of those when I turned sixteen,
So the second I actually had my first placement I
own my publishing and I didn't even know what it was.
But he was trying to get us to re sign.
And then this other this dope. It was like, nah, man,

(19:06):
he got your publishing and don't resign. Then we ended
up signing with my family with BMF Man. BMF was
like the first you know they gave me, you know, say,
they gave us a record deal. They paid us in cash.
That's my family. Yeah, Bro, I turned nineteen. DMF Man me,
I was there. Yeah, and me. She used to always
tell me like, look, we're all going to jail except

(19:29):
for you. He was like, He's like, look I should
have got He told us for years bro him pops
like Pops he did fourteen year he did a bid
for for BINGF you know. So it was like, when
we go to jail, I need you to help turn
my story into a movie. So he gave me so
Meach gave me his life rights, you know what I'm saying.

(19:50):
And I went I had no clue. He was like,
you already in the music business. And at that time
I had did Peaches and Cream danced with me, so
they were looking at me like you already in the
energy business. Them like they were just like you know,
oh well I was eighteen.

Speaker 2 (20:03):
That was like cracking.

Speaker 3 (20:10):
Yeah. But he was like, yo, we're going to jail.
You're going to be the one to bring this project
and make people understand, you know, our lifestyle and taken
see it. And I'm like, I don't know anybody in
the in the film or movie industry. He was like,
You're gonna figure it out. And I remember like just
taking meetings with people and I'm like, yeah, I got
meet his life rights. And then I met with James
the Bows. I don't know if you guys remember. So

(20:33):
I brought it to him and he was, yeah, man,
James Bow's happy birthday. Man. He was the first one
that wasn't afraid to entertain. Everybody was like, nah, I
want to I want to repercussions. I was like, there's
no percussions. Like they're not killers. They were. They were
the only crew to unite all the game bangers, like
they had you. Yeah, it was like Blue red you

(20:55):
know what I'm saying. Yellow, everybody just come and get
mad of you forget to leave your ego, leave your
colors behind and come get money. So you know that
right there, I got it. Brought it to James the
Bowls and then from there it took its channels to
fifty cent. So thank God. And Mitch's whole plan was
I want to pay taxes one to day. He's like,
when I get out, I want to pay taxes. He's like,

(21:17):
I don't want to live that life. And so, you know,
shout out to fifty the Curtis man for making that
that come true and sending little young young meats to
acting school. And you know what I mean, that was
it's been a blessing, And thank you fifty cent. You
know what I mean, because I used to sleep on
the floor at bemmth like out in out here, you

(21:38):
know what I'm saying, you know, in the valley. Then
we went to the Marino Valley and then you know
what I'm saying. Then it was a time when they separated.
The brother split up in two thousand, two thousand, they
split up, and Meach was like, whoever come with me,
come with me, whoever stay with my brother, stay with
my brother. And I stayed with me, and in my group,
I started getting real jealous because of my success as

(21:59):
a songwriter and never started calling me Hollywood. I was
never Hollywood, bro, I'm you know, I'm still same right now.
I got you know what I'm saying, shout shout out
to the fact. Yeah no, yeah no. But yeah, that
was like, you know, it's hard to write the record,

(22:20):
come on, man, ship that's you know, that's a bunch
of steps. But nonetheless, man, I like being f They
they were there for me. Man, we were you know,
we worked, we did. It took a minute. I was like, hey, man,
when we gonna record? He was like, you'll want to record?
He signed that record deal with you, so we didn't understand.
But we were kind of like a like a like

(22:41):
a flex almost like it was like it was a label.

Speaker 2 (22:44):
Yeah.

Speaker 3 (22:45):
But I was like, so wait, when are we gonna record?
Because I see y'all spending eighty thousand every night in
the strip club. We go to the strip club, they
would hand us money. I'd be like, I can't really
throw this, and I would throw like thirteen dollars. I
would thirt thirteen singles out of the hunt and be like,
all right, no that I ain't throw my whole hunted.

(23:07):
You know what I'm saying, going to my find, Yeah
I'm pocketed. Yeah, I did dedicated I invested thirteen dollars
into the dancers. But I just, man, they always liked
the shout out be a meth man and like the
image that they tried to paint. They weren't violent. You know,
everybody protects themselves no matter what you know, it doesn't

(23:28):
mean you're violent. And they were about you know, they
were the last you know, ones to do it on
that level. That brought all of our cultures together. Man,
like it's dope. It was an amazing example of like,
even though it was in that world, it just showed
unity and show how powerful we could be if we
come together, no matter what kang we're from. And I

(23:48):
just you know, I'm I'm I'm superly Like, I'm really
blessed that they were able to turn it and fifty
cent was able to make that a successful show man,
just because that was Meech's dream. That was all aways
Meet's dream was like, Yo, I want to I want
to want my story to be told the right way,
and I want to come out and pay taxes. So
everything set up for him to do just that.

Speaker 6 (24:09):
Man.

Speaker 3 (24:09):
So yeah, but that was the part. Like we go
back to the investment. It was the Dope Boys and
I was like, man, you spend man, I just seen
you spend five hundred thousand in this trip club last week.
Can we record? And he was like yeah, he's like
you want to record? I was like, yeah, that's where
we signed a recording contract with you guys. Right, So

(24:30):
he was like, all right, set up the studio. So
where did I go? What did I do? The first
session we did was Circle House, so I'm the first
ones to bring being Met down the Circle House and
then we booked it. Then that's when I never forget.
Diddy was there and he was walking. He was like, hey, man,
you like the studio. I was like, it's the only
mind you said. Circle House was my first session studio
ever worked at. When I was twelve years old. We

(24:51):
mixed down that music from Young Harmony at the Circle House.
So I was there in ninety two too to Miami too.
Well yeah, Michael with Michael Jackson with Jungle Juice took
us to Miami to mix with Lewis DS who discovered
pit Bull, Yes, Louis d Yes Brothers. Yes, So he
mixed down my first single. He mixed down our first
single when I was twelve, nineteen ninety two.

Speaker 2 (25:13):
It was.

Speaker 3 (25:14):
It was just mango trees and rock wellers back there.
No pool no, no, no house like pool house. So
I talked me to like, letting us go record there.
So I booked the tour bus, I bought the study sessions,
and then from there that's when I realized, like, man,
we might we might be up front. I was like,

(25:34):
when you realize, yeah, I was like, I don't think
we ever coming out. I was like, I think we
just looked good and they'd be like, I got a
group there Blue DAVENTI was rapping, you.

Speaker 2 (25:47):
Know what I'm saying. I'm like, maybe we never coming out. Yeah,
And then.

Speaker 3 (25:52):
All the you know, all the indictments started, and that's
when me was like, look, man, he always told me
this throughout the years, like we're all going to jail,
except for you ended up getting their time. Everybody got
their time, and you know, dude should be getting home
and uh in a few months. So that's a blessing.
And when he comes home, he's gonna come home exactly
the way he wanted to, with you know, his story

(26:12):
being out there and him being able to pay some taxes.

Speaker 2 (26:30):
As a publisher at the time. E Piopia is like.

Speaker 3 (26:33):
Yo, pool Beard, he called is about what happy birthday deal?
I never knew you felt like that about me. Thank
you from about on my heart, you know for real, bro.

Speaker 4 (26:44):
And when she started mentioning him on twelve Records, I'm like, oh, yeah,
I do whatever session Oh wow, because those are commercials
as young niggas like one twelve Jagget Edge, what they
were on.

Speaker 2 (26:57):
It was speaking to all of us.

Speaker 4 (26:59):
And to find out that someone our age also was
writing those.

Speaker 2 (27:03):
Songs, it was like, oh yeah, no, no, no, set that
s shu it up. Wow, man, you know what I mean.

Speaker 3 (27:09):
I had a head started. I was locked in the
studio at twelve, like they used to lock me in.
So I think I had a lot to do it,
you know, being able to do those You.

Speaker 2 (27:17):
Was gonna get your thousand hours no matter what.

Speaker 3 (27:20):
Yeah yeah, yep, locked me in.

Speaker 4 (27:23):
So so what do you now? You got these records? Yep,
You've done the artist thing a little bit, you dabbling.

Speaker 3 (27:30):
At that point, I made in my mind that I
didn't want to sing. That's when that happened, Yeah, because
I'm like I'm making All I wanted to do is
buy my mama house with my grandmama. After hood. So
thank god I turned nineteen and I did those records,
and then my cousin was like, look, you're gonna do
a co pubism deal, but wait till you got two
number ones. So when Peaches of Cream came out, that

(27:51):
was my second number one. I was nineteen and.

Speaker 2 (27:54):
I did a pub I didn't anything.

Speaker 4 (27:55):
Is the first number one anywhere was R and B
up on the R and B charts yep.

Speaker 3 (27:59):
Yep, and then on the R and B charts. So
you walked in. I was so crazy because I was
with La Read yesterday and I'm like, bro, you gave
me my first publishing deal when I was like nineteen
years old.

Speaker 2 (28:09):
He gave my first six figure check. You walked in.

Speaker 3 (28:12):
Yeah, and what year is this, uh ninety.

Speaker 1 (28:15):
Nine with two number one? Yeah at that time, yeah, yeah,
I can only imagine.

Speaker 2 (28:30):
You know.

Speaker 4 (28:30):
And they were already popping that ship about you though, bro,
Like this is the other part, right, because who was
popping shit? Billy Callaway, Billy Stewarts and like, cause you know,
it was this all family for me, Like sorry, that's bad,
so for like everybody. And that's the thing that most
of the writers and artists don't know. Sometimes the people

(28:51):
that are cheerleading for you and that I'm pushing.

Speaker 2 (28:54):
I never knew to.

Speaker 4 (28:55):
The rest of the industry. You know what I'm saying,
because like you said, you're keeping your head down, you work,
you're working.

Speaker 3 (28:59):
I never knew.

Speaker 4 (29:00):
But these people who I if they said somebody was gold, Yeah,
they was gold to make go right. So all of
these people are already like yo, poop be and poop
be and poop be.

Speaker 3 (29:10):
Bro your name Wow, it was moving wow. And that
was dead. That was ninety nine, two thousand.

Speaker 2 (29:15):
Yeah. Yeah, now you do to deal with hiccough. I
I did my first deal with Hiccolls telling Eli read yesterday,
I was.

Speaker 3 (29:21):
Like, man, thank you man for believing in me. You know,
that was my first deal. And I was able then
to go and move my mom and grandma out of
that that two bedroom apartment and move them into a
house in tenth on the tenth course, tenth hold of
a golf course.

Speaker 2 (29:35):
Yeah, and I've never did my grandma.

Speaker 3 (29:36):
I never forget moving her, was putting her a little
in her bed. I put by the hospital bed, moved
it right in there because I refused to put anybody
in an old folks home retirement whatever that was called.
And I put her right looking at the lake on
the tenth hole of a golf course. And then I
was like, I told you, and she was just like dying.
But she died in that house. She got a chance

(29:58):
to see my hard work, me standing out all night,
sleeping on the floor, me telling her like, I'm gonna
move us out of here.

Speaker 2 (30:05):
She got to see it happen.

Speaker 3 (30:06):
So for me, that was like I never really cared
about being famous or none of that. I just would
buy my mind as wanted to move my mom and
my grandma out the hood.

Speaker 2 (30:13):
So that's amazing, bro.

Speaker 3 (30:15):
So that was my whole thing. So once I did that,
I was like, okay, so now it's my new tribe.
Now what drives me now? And it was just like
they just don't people don't think I could do it again.
And it turned into I just got to prove this
to myself that I could do it again. Because the
average lifespan of a writer is two years. Producer writers
two years. You get it hit, you get hot, everybody

(30:37):
cheerleads you, then you start celebrating, you get caught up
in it, but it's somebody else working twice as hard
as you and they come out with two hits. Now
their sound is popping, and you're done forever. So in
my mind I was like, I don't want to be
done forever. And I always had this fear of like
what happens if my sound go? And I didn't even
realize that I was creating a sound. I wasn't allowed

(30:59):
to listen to secular music as a kid. So that's
why you can't compare my songs to anything like you
can't what the speeches and cream sound like nothing? But
it anywhere sound like nothing?

Speaker 2 (31:11):
What does what?

Speaker 3 (31:12):
Where are you now that I need you? Sound like nothing?
So and that happened because I wasn't allowed to listen
to secular music. So I wasn't I had zero influence.
I was allowed to listen to trumpet Christian trumpet music
by a guy named Phil Drisco. He was a trumpet
tear and so Christian Christian trumpet music that was all
I was allowed to listen to. That was the thing
because I ended up playing the trumpet in the market

(31:33):
in the band from a kid. So you understand you've
never heard of Christian trump Yeah, Phil Driscoll, look him up.
He's still out right now playing trump he got to
be like a hundred, but he playing the trumpet.

Speaker 2 (31:46):
Bill Drisco.

Speaker 3 (31:47):
He made me, and of course I ended up playing
the trumpet in the concert band, playing trumpet in the
marching band. So but it was because of my influence
that was all I was allowed to hear. So when
I was going to studio to make songs, they sound
it didn't sound like nothing else. So in my mind,
I'm like, this is garbage, you know what I'm saying.
So I was like, spend a year I thought I
was garbage because I couldn't make.

Speaker 2 (32:08):
A song that reminded us.

Speaker 3 (32:10):
And that's how people still to this day. Most people
they don't realize that they're doing this, but when they
listen to a song, they're subliminally comparing it to something
else in order for them to be like, I love that.
He's like, why it made me feel like that? Marvin
Garrol made me feel so knowing that it made it,
it was that much of an uphill battle because I

(32:31):
had zero influence. It helped me in the long rum
from lawsuits because nobody can ever say I stole that
melodies because it's all my own.

Speaker 2 (32:38):
I created my own melodies.

Speaker 3 (32:39):
But at the time, I was like, I suck, and
I was like, I just got to keep getting this
garbage out of my system because eventually something good is
gonna come.

Speaker 2 (32:47):
Nothing good really came.

Speaker 3 (32:49):
One twelfth Duran Jones started to believe in me and
he was like, nah, bro, you're good. I was like, nah, man,
it's like this sucks. And then that's where we can
do it anywhere. Pink Love is such a crazy thing
on that album when she was Burgundy, and it gave
me enough hope and I was like, well, maybe they
just tell me that because they're nice man. Like nah,
and then we worked on They brought me on tour.

(33:09):
I didn't graduate from high school. I went they used me, Bro.
I was singing all God bless a child every day
for everybody. You know how they used you to be
the representation for anybody. Then I get to the twelfth grade.
Mind you, I had already made a pe in summer
school in the eleventh grade. Yeah, so in my mind
I go to hit record already. I ain't tell anybody
that knows nah, but one twelve used to pick me up,

(33:31):
Like each one of them used to come and pick
me up in school. And they'd be like, hey, man,
I think I seen Slim pick you up yesterday. I
was like probably. And then I had a bad boy jacket.
You remember the bad boy jacket with the baby.

Speaker 2 (33:42):
I had one.

Speaker 3 (33:43):
You know what I'm saying for you, and they led
her by one twelve yeah. Yeah, And I still didn't
tell you by because I didn't want any of anybody
to feel like I thought I was all that because
I had a song on the radio.

Speaker 2 (33:55):
Yeah.

Speaker 3 (33:55):
Now, my science teacher, mister Block, rest in peace. I
guess he used to tell me you suck. He used
to say this verbatim. He's like, mister boyd, I need
you to start paying attention in my class because you
only one percent people make it in the music business,
and you're not that one percent. And he told me that.

Speaker 2 (34:14):
So this is why you said western piece.

Speaker 3 (34:15):
I guess because that's insane. Because as he's saying that
to me, anywhere was in heavy rotation. Every hour. I
could have told him like if he turned on B
one on three right now, yeah here anywhere, because it
was every hour, I don't know this, and I'm like,
I'm not it's not me, it's not in my place
to say this. But all right, I'd already been I
had already became the one percent while I was in school.

(34:37):
I had I had a record on the radio and
heavy rotation. I got ask Captain words while I was
in high school. You know what I'm saying.

Speaker 2 (34:43):
So he was saying this.

Speaker 3 (34:44):
And I never told anybody because I didn't want anybody
to feel uncomfortable. Because I had some success at a
young age. I kept it a secret. Nobody still nobody
knew until like later on, and people just found out.
But I never It wasn't a thing. It wasn't like
the rumor in school, like oh Pooper did that anywhere.

Speaker 2 (34:59):
So I never told.

Speaker 3 (35:00):
Anybody, and I just wanted to keep it a secret.
And I really just wanted to buy my mama house.
Like I wasn't doing it for any other reason.

Speaker 2 (35:08):
But I would have up in the bad boy Jack
take that, Take that yeah, yeah, yeah yeah, bad boy
bring my Concubine the writer of the records.

Speaker 3 (35:25):
Solemn Yeah, but that like that was like, man, I
definitely nineteen twenty. I wasn't so I was making songs
that when I was doing them, it was so hard
to place them. We know, as songwriters, like I used
to try to write songs for artists, but then I
would make songs for myself because I always pretended to

(35:45):
be an artist. So when I would play the songs
that I wrote for artists, they would be like, nah,
what else you got? Then when I play my songs
like I want all those want I want all that? Yeah,
I'm like, why don't they want the sh I'm writing
for them? And really I figured out, like artists, they
don't want what they already sound like, and yeah, here's

(36:09):
a here's a fact. Here's a fact. Guys, as a writer,
when you're going in, you know you grew up hearing
these artists, you don't really want to study what they're
working on, what they're doing, because they did that already.
So what I've learned is they want what you would
do for yourself. They don't want what you think they
would have done on their last sound, because that was
their last album. So even if that was a sound,

(36:31):
it's they don't want to go for that same sound
and the next sound. So the secret is make music
for yourself. Write songs for yourself that you love and
hopes that they can resonate with that.

Speaker 2 (36:42):
Don't try to make.

Speaker 3 (36:42):
Songs for the artists unless you're with them every day
and you know they're going through heartbreak.

Speaker 2 (36:48):
You know they're in love, you know their story.

Speaker 3 (36:51):
You can't really you're just getting in a car and
driving without having actual address to put in the in
the ways. So the ways, the actual address is the concept,
that's the idea.

Speaker 2 (37:02):
You know, ways to take you through the hood.

Speaker 3 (37:04):
They take you to the hood because now they're trying
to get you to buy stuff.

Speaker 2 (37:07):
They're advertising pop Eyes. You know what I'm saying. They're like,
you know you can start.

Speaker 3 (37:10):
Know you're hungry.

Speaker 2 (37:11):
Yeah, the way it's not the greatest in Miami. Might
have had you in the hood.

Speaker 4 (37:15):
And it took me to some dad is and I'm like,
oh man, let me go ahead and.

Speaker 2 (37:19):
Grab this pistol, get about it. Oh yeah, yeah, good ways.

Speaker 3 (37:25):
But now make records for yourself, man, because like you think,
you're writing songs for what they what you like, what
you're used to hearing, and they want what's next. They
don't want what they did already. So I learned that
with Usher, I learned that with Chris Brown, I learned
that with Justin Biebers. Like anytime I play songs that
I think would be for them. They're like no, no, no,
like quickly, and then I play. I'm like, well, I'm

(37:46):
just playing something i've been working on and I'm like
I want I love that. And I'm like, but that's
too mature for you. And they're like, no, that's where
we want to go.

Speaker 2 (37:54):
But that's mine.

Speaker 3 (37:56):
Yeah, my rug, but you I had a song on
the radio that this is how humble I am. I
had a song on the radio that was heating up
called Alone, and I never forget. I just met Justin
and you know, I wrote something called Recovery, and and

(38:16):
he absolutely he heard Alone. He was like, what's that.
I was like, that's my song, but it's on the
radio right now. He was like, yeah, I don't care
about that.

Speaker 2 (38:25):
What you mean that is a superstar comment here. I
was like no, I'm like, it's actually out, it's growing,
you know what I'm saying.

Speaker 3 (38:32):
It's building momental Yeah, yeah, it's like, how can I
say this to.

Speaker 2 (38:36):
Understand my my heart? Yeah? My heart is this, Yes,
get bigger?

Speaker 6 (38:41):
You know.

Speaker 2 (38:42):
It didn't matter.

Speaker 3 (38:43):
And then and then I was in my mind, I
was like what but really, I'm a songwriter and I
always just kept bringing myself back to I do this
so I can help provide a better life for my family,
and I'm like, man, you know what, you can have it.
So I gave him the record while it was on
while my version was on the radio, and they went
on the internet.

Speaker 2 (39:03):
They scrubbed it down, they put down.

Speaker 3 (39:04):
The crazy part is you can still find my version
on YouTube, which is crazy, but they literally took it
off and then he cut it. And that was like
me understanding, like, you know what, this is not about me, man,
It's about me getting my songs out there and getting
my melodies and being able to elevate my family.

Speaker 2 (39:22):
Man.

Speaker 3 (39:22):
And then if it's meant if I'm supposed to be
a singer and shy like I willingly, it'll happen. But
right now I want to I'm here, and I started
going through the rest of my album and then he
wanted certain songs. I was like, that's too.

Speaker 2 (39:35):
That's nasty, that's perverted.

Speaker 3 (39:37):
So then I have to think, like, instead of saying
grip tight, we all know what the grip tight is,
I was like, hold tight, So then grip type became
that hold on tight. Now I could be a hug
knowing what it really is. On the double untange grip.
So I started going in and he was like, I
want that. I was like, well, maybe I'll just started
pging all of my braided R songs. And that's where

(40:00):
journals came from.

Speaker 4 (40:04):
Those are like, yeah, you've given a real lesson and
a real manuscript to young songwriters.

Speaker 2 (40:17):
Yeah, man, and have it.

Speaker 4 (40:18):
I for one having an understanding that as a as
a songwriter, that's what you're doing.

Speaker 2 (40:23):
You got to be of service. Yes, you got to.
You gotta take your ego out of it. Take an
ego out of it. What is that artist? So what
is said? Artists need yep, yep to for all of us.

Speaker 4 (40:34):
To succeed in this thing. Yes, and for me to
take care of my family.

Speaker 3 (40:37):
That's what we're doing it for. I mean, you know,
some people want to do it to be famous. I
never I never wrote songs to become famous. It was
literally to create a better lifestyle.

Speaker 2 (40:46):
You know.

Speaker 3 (40:47):
I understood throughout the years the importance of having a platform.
You know what I'm saying, understand jumping on in the video.
I understand that later on, like why it was important
for creatives to put themselves out there with the world.
It became a thing Yeah, when the producer became the star.

Speaker 2 (41:05):
Before that, you had had your head down long.

Speaker 3 (41:09):
Yeah. Yeah, And I didn't tell I about was due.
It was and it was you know, I mean years
and years and years I worked. Yeah, I mean I went,
you know with Draymondow. They kidnapped me. They went to Philly,
and that's when I was working with Ryan Toby a
lot with.

Speaker 2 (41:24):
A lot of come on, come on, speak on this
Confessions album.

Speaker 4 (41:27):
Speak on these Confessions because you're part of something that
if you buried it and someone found it one hundred
years later, they would understand what that time was. Yeah,
that's the type of album that Confessions is that you
are a part of that you helped create with all
these amazing writers and producers and the artists himself Usher, Yeah.

Speaker 3 (41:47):
It was one of like for me, it was so
crazy being a songwriter trying to write songs for Usher
and then finally getting to work with him. I'm like,
I was. We were so off, Like when you think
you're writing something like you don't have no idea what
the artists like, you don't know what they're going through. Well,

(42:07):
you just get in the car and start driving, like
where are we going? Right? Now and so like just
learning that, Like, you know, the very first song that
that l A read demanded that Usher cut was Superstar
and Ryan had already composed this. I came in and
added whatever I added to it, you know. I mean
that's Ryan had already cut and created the whole, like
the majority of it, and I just came in and

(42:29):
put faith on the bridge and you know what I'm saying.
That was amazing. But that was the first song that
Usher cut on Confessions. Then it was Caught Up. Then
it was come following Me, but it was follow Me too, Yeah,
follow me, and that was for Yeah, that was that
was for Mario. Come Following Me was for Mario. And
then Mario passed on it, and so we played it

(42:51):
for Usher in New York at the studio and he
was like, he's like, what's that You came just in time?

Speaker 2 (42:58):
Ruinated and other girl tell me.

Speaker 3 (43:01):
He's like, low that up right now, and he cut
it immediately. That was like the first time I didn't
see Usher sit there and Twirler's ring and be like, man,
I don't know, like you never know, Usher, it was
you always had great years around you that known for you,
And that was the first time he heard a song
and was like boom, cutting immediately. But you know that

(43:22):
the process it was, it was frightening because it was
a two year window. We started with Usher in two
thousand and two. Confessions didn't come out to four, so
and we were making those records. I know, in my
mind when I was with Ryan, I was like caught up.
It was like this is like he's talking to Chili
and in my mind, I'm like, he's the new Michael Jackson.

(43:42):
So when we approached caught Up, we were like, what
would Michael Jackson do right now in two thousand and two?
And that's how that's absolutely yeah. So and then he
went on and did a video to match that, you know,
like the smooth criminal that always spent God, he spent
like a million two on that video. I never forget that.
But it was just interesting because in my heart I
knew we weren't going to make that album because I'm like,

(44:04):
the songs are all to you, and because and he
wasn't with they weren't together no more. So I'm like
we made these songs based on him being with Chili.
She was the superstar, he was the groupie. He was
caught up with her. You're not like the other girls
I meet every day. These were songs were about Chili
from TFC, so I'm like, he's not even gonna resonate
with this, so you know, thank god La was locked

(44:25):
in his mom shout out to Usher and mister Nettleman.
She was locked in to caught up. So we had
some emotional connections to those records. And then two years
later the album comes out and the songs made the project,
and I was like, unbelievable because he was confessing now.

Speaker 2 (44:42):
So I'm like it went from like being caught up
to I fucked up. It was a full story.

Speaker 3 (44:48):
It was a full story, and it's crazy enough. The
concept of the album didn't come until like almost the end.
So yeah, so it wasn't like we're like, oh, we
all know we need to be confessing some shit. We
didn't have a clue. And then that project, it was
like for me, it uh that I'm doing one man
at like one point one the first week and from

(45:12):
there it was like god Lee.

Speaker 2 (45:15):
Then I was sure didn't think we.

Speaker 3 (45:17):
Were gonna have a single because they put my boot
on the on the on the what do you call it?
When the deluxe and then that went the radyo. I'm like, well,
there goes our fourth single slide right there. Yeah, with Alicia.
Then we did like like somebody did a power move.
I don't know if Ryan told this, but Draana down

(45:40):
put p D crack, you remember, really put p D
crack and and did a yes and did a remase
of caught Up and released it and sent it to
funk Flex and funk Flex started dropping bombs on it,
so we forced them to so then it started the
report started coming in on the raddo and Mark Pitts

(46:01):
was like caught Up and spinning on the radio, and
then it forced them to make it the fifth single,
in his fifth and final single, and then they the
video question.

Speaker 1 (46:12):
Yeah yeah, because you you you you got the one
twelve records, you got, you got your two number ones,
you got yourve deal, You're writing, you're doing some great things,
and then you get on an album that sells one
point one in the first first week.

Speaker 3 (46:36):
Yeah how you.

Speaker 1 (46:39):
I'm sure you are already assault after writer, but is
there an elevation that is out of this world when
you sell one point one the first week? Because I
know there's I've experienced. Yeah, not close to one. Ain't

(47:00):
want more like six and fifty. And it was a
leap and you and you had a I got a Lamborghini.
That's what happened. I said, I need a Lamba along
with all of these others. When I had my turn,
I didn't buy it.

Speaker 2 (47:15):
Him buy Lambo. It was so sad for you. I
got a kid.

Speaker 3 (47:20):
Yeah, you gotta get those Lambo you gotta get the
Lambo out systems.

Speaker 2 (47:22):
I don't know, it's correct. I should have bought a Lamborghini. Yeah, wow,
So I didn't.

Speaker 3 (47:31):
I was. I bought like a seventh series BMW. But
I was like, what were the calls? Like, like, what
were there were?

Speaker 2 (47:37):
It was?

Speaker 3 (47:37):
It was interesting because true enough, man, even then, like
when you came out, I was like, man, I.

Speaker 2 (47:42):
Need you to not I need you to quit that
humble ship. Right.

Speaker 3 (47:46):
I was so used to being like hidden and tucked
away that it didn't really affect I didn't feel the
effect of it because at that time Usher gravitated to Ryan,
you know what I mean. So it more affected Ryan,
you know what I mean, than me because I was
like the fat guy that was I was doing a lot,

(48:06):
and I was doing it, but I was always in
the back of the room because I was like trying
not to be seen and like I were like still
doing vocal producing, still writing. But then it was like
all right, once I was done, I vanished, you know
what I mean. So I didn't really feel the effect
of it like I should have if I would have
been more you were avoiding the life. I wasn't because
I just felt like I was super I was insecure,

(48:29):
I was obese, and I just felt like I didn't
want anybody to feel like I was trying to I
was seeking attention because I wasn't. I just wanted to
continue to buy. I wanted to buy my mom another house.
At that time, I was on my second, second, second house,
so so it didn't really affect me as much as
I if I would have been, like, let me put
myself out there so people know that. I was like,

(48:52):
you didn't even know I did. Come found with me
to this day, was twenty years later, So I didn't.
I just wasn't putting myself out there enough to ride
that the way that other people were doing.

Speaker 4 (49:03):
Like you know, I have, bro I know you're never
still I know, I know niggas with records like you.

Speaker 2 (49:10):
Have yeah, better than me. People.

Speaker 3 (49:13):
Now, I could have easily been on every record life
Happy Birthday. You know what I'm saying.

Speaker 2 (49:30):
Yeah, now Tanked and tankeding loaded up the piano.

Speaker 3 (49:33):
I know, man, that's what I'm saying. We might have
to have so many man, it might have to be
a part two.

Speaker 2 (49:38):
I mean, listen, you are always invited to come hang
out with us, brother man.

Speaker 3 (49:41):
Thank you for having me.

Speaker 2 (49:42):
Man, we believe in you. It starts with the belief.
That's one of my texts.

Speaker 3 (49:48):
I got all my quotes, all my sayings tatted on
me man, Happy birthday, right there?

Speaker 2 (49:53):
What's the next one you said?

Speaker 3 (49:54):
You get nobody cares.

Speaker 2 (49:55):
Nobody cares.

Speaker 3 (49:57):
That's how you get through life without getting your feelings her,
nobody cares.

Speaker 1 (50:03):
Go so perfect with those chords, Brother Poop comes to
a special part of our pod where we get into
the mind of pool. Yes, the people want to know

(50:24):
what they want to know. You've written a lot of jams,
all the jams. You've written all the jams, man, But
the most important jams.

Speaker 2 (50:35):
Would be your mm hmm top fare Yeah, your top.

Speaker 6 (50:45):
Fivep fire, your top fasings. These songs.

Speaker 2 (51:03):
Were not this bore you go.

Speaker 5 (51:09):
Let's go, yes, everybody, top five.

Speaker 2 (51:26):
You top five? Come on right, come on now, come
on now, right, come.

Speaker 3 (51:43):
On with the diminishings. So do these top five need
to be They don't need to be my top.

Speaker 1 (51:49):
My songs or none, your top five, my top r
and bast singers right now.

Speaker 2 (51:55):
Singer yours? Man? Do we start from the yours? From
where you want to start?

Speaker 3 (52:01):
Five to one, don't.

Speaker 2 (52:03):
Matter, no order, no order, no orders, how you feel,
how you feel the five people?

Speaker 3 (52:12):
Donny hath to way come on now, mind you. I
wasn't allowed to listen to this, so I went back
later on and discovery. You know what I'm saying, singing
this song for you?

Speaker 2 (52:22):
You knew was trumpet music. Just go yeah, so we
got ninety half the way?

Speaker 3 (52:27):
Oh my god, I'll say that one because that's that
was the one that inspired me to even want to
be in a music You got, Donny, you got, I'm
I'm gonna say it man, Mario Man, yeah, I don't
know if anybody, no, everybody, Okay, okay, we've seen it

(52:49):
in that that that that versus yeah, we don't play
about Mario, Okay, okay, bout Mario. That sure is amazing.

Speaker 2 (52:58):
Why not yes, why not? Is it? Donny Mario?

Speaker 3 (53:07):
That's three?

Speaker 2 (53:07):
Yeah, m hm.

Speaker 3 (53:14):
Hm oh R and B though.

Speaker 2 (53:20):
Now I was thinking about Christians? Who you want throwing there?
Kim Burrell, I'm sorry because she has been such an
is icon. Yeah she is. Yeah, yeah, yeah, it's a whole.

Speaker 3 (53:36):
She got a little mini, little Mini's little mini Minnie Barel,
generations of Minnie Burrell, Yes, multiple generations. That's four.

Speaker 2 (53:47):
Stevie Wonder, Stevie Wonder. Come on, yeah, yeah, man.

Speaker 1 (53:52):
That's my five man, Okay, top five R and B songs.

Speaker 3 (53:59):
So crazy because I don't listen to music, Okay, R
and B songs, I really I may you know what
I'm gonna throw. I'm gonna throw something in there right
now that I hear in my mind a song called

(54:19):
Maybe I Deserve.

Speaker 2 (54:24):
It's just so fresh on my mind. I'm like, I
just remember having that you talk about a destination.

Speaker 3 (54:31):
I just remember that song sticking out so long and
like it's such a staple, like it's a part where
it's like that was to me.

Speaker 2 (54:38):
It was new. It was a new style of writing too.

Speaker 3 (54:42):
You know what I mean.

Speaker 2 (54:43):
So that's my that's my first one. I call that
that I lost my bitch.

Speaker 3 (54:46):
Anthem Man's looked at it like that. Maybe I deserve
yeah at that time like that, Yeah you want to
say about it?

Speaker 2 (55:00):
Yeah, I cover it back.

Speaker 3 (55:03):
I deserve we got.

Speaker 2 (55:05):
Oh oh.

Speaker 3 (55:08):
Cender, my loves Stevie Wonder, Yes, yeah, unbelievable and very
place alien yeah, super player. Oh, I'm gonna have to man.

(55:28):
I hate to say this, but all that matters, man,
I just I mean, I don't want to say because
I wrote it, but all that matters from journals for Beaver,
just because because you know that inside that humble thing,
I know, I know, I know I'm fighting it. It's
a battle, humble flast, humble battle. Nah, It's okay.

Speaker 2 (55:54):
So maybe I deserved all that matters.

Speaker 3 (56:02):
All that matters, man, And come on, man, oh, I'm
gonna have to go back to.

Speaker 2 (56:10):
Ah tripping.

Speaker 3 (56:16):
Mm hmmm mm hmmm, faith Evans as soon as I
get home, come on, I'm did. I'm going like I'm
diving in just like you know what I mean. No,
I don't really listen to music, so I'm leaving diving
in what I had that. Oh man, No, that just
made me think of Carl Thomas. I wish I never

(56:40):
met her. Man man, yeah, like both are the ones
where it was like a can you know what it was?
It's so hard for arm beating to live in the club.
So when you have an R and B song that
can live in club, it's a.

Speaker 2 (56:55):
Big deal to be soft and hard.

Speaker 3 (56:58):
It's a big deal. I smorrow, all right, I wish
it never met her. That's for It's fine, No no, no,
one more, one more, one more?

Speaker 2 (57:05):
You won't you got one more? That was five my
great account I'm really good accounting.

Speaker 4 (57:11):
Maybe I deserve all that matters as soon as I
get home.

Speaker 3 (57:16):
I wish, I wish that's it.

Speaker 2 (57:22):
I ain't saying no next. I ain't saying no names,
saying no names. I ain't saying no. We was yeah
what you need, don't see. I ain't saying yeah yeah

(57:45):
we at that part of the show.

Speaker 3 (57:48):
Is this a story?

Speaker 4 (57:49):
Will you tell us a story? I got so many
funny and funcked up? Are funny and fucked up?

Speaker 3 (57:55):
Yeah?

Speaker 2 (57:56):
And don't got no names?

Speaker 3 (57:58):
Amazing listen sold a story no names?

Speaker 2 (58:05):
Man.

Speaker 3 (58:06):
At my fastest, I was in Philadelphia working with an
artists and this artist was like.

Speaker 2 (58:17):
I love you, and I was like I love you too.

Speaker 3 (58:22):
But it was more like I love you too, as
like your music and what you've done and contributed to
our society. But I response like, yeah, I love you too,
such and such, such and such and such and such.
And then I was like and then there was like
I'm gonna cook for you. I was like, all right,

(58:42):
And then so we did. We did a record two
days later, come back and she brought food. She brought food,
and she brought hot sauce. It was her own hot sauce. Okay,
she had made the hot sauce or had a picture

(59:03):
on it.

Speaker 2 (59:03):
Yeah. And then she made apple pie.

Speaker 3 (59:06):
I'm not even in an apple pie, but she was like,
I peel these apples for you. And she was like,
I suppose in these leather pants for you. And I
was like I was starting to feel like wait, man,
Like I thought, you know what I'm saying, this was
a musical, you know what I'm saying. Yeah, And then
I walked by. She's drinking red wine. She was like,
you want some wine? I was like, nah, that makes

(59:27):
me sleepy, you know what I'm saying. We here to work,
like we hadn't even started the sessions. Feeding me and
macaroni and cheese with seven cheese. I don't even know
there was a macaroni cheese with seven cheeses at that time.
Even I couldn't name seven cheeses. And I'm walking by.
I feel something, mind you, I never had an ass.
So I walked by and she grabbed whatever I thought

(59:49):
was my ass, and I was like, I had never
had anybody actually grab my ass?

Speaker 2 (59:55):
Was my mom?

Speaker 3 (59:56):
Might not even have an ass to grab. I'm like,
what she's grabbing right now? Grab my ass? And I
was like that was uncomfortable. That was awkward. I'm like,
all right, try to play that off like that didn't happen.
Get upstairs in the room in the studio, and it
is hot, okay because the heat rises to the top,
so it's hot. It's shit. So I'm working me the artist,
the engineer, and the engineer was like, hey man, can

(01:00:19):
I take a quick break to go to the bathroom.
I'm like cool.

Speaker 2 (01:00:22):
As soon as he.

Speaker 3 (01:00:23):
Before he could leave the room, she was like, whoa,
it's shure is hot in here. Don't you want to
come out that shirt? And I mind you, I'm four thirty, bro,
I got titties, you know what I'm saying.

Speaker 2 (01:00:34):
This wasn't I.

Speaker 3 (01:00:36):
I was not proud of my titties. I used to
so I used to wear two shirts to try to
hide my titties. So I was like, it is hot,
So I pulled off a shirt, but I had on
another shirt.

Speaker 2 (01:00:48):
A while.

Speaker 3 (01:00:49):
Lie, how about that? You know what I'm saying about
them titties for calls? You know what I'm saying. So
then she kicks up. She comes and stands over me,
and she unzips her pants that she squlls into for me,
and I just see like these fits like net like
see you through panties. And I'm like, my heart's beating.

Speaker 6 (01:01:10):
Bro.

Speaker 3 (01:01:10):
Like, I'm like, I don't know what's going on. I
kind of have an idea what's happening, but it felt
like I was dreaming. It felt like it was surreal.

Speaker 2 (01:01:17):
You know what's happening.

Speaker 3 (01:01:18):
It's not even a good part of the store. So
then as she's standing in front of me with her
pants on zipper, the engineer walks in and then he
walked right back out. He did what he went on.

Speaker 2 (01:01:28):
He was like, oh my bad. He did the one
step and pivot back out, and I was like no.

Speaker 3 (01:01:32):
I was like, hey, no, we're ready.

Speaker 2 (01:01:34):
I was like, no, we're ready. He thought he was
saving you.

Speaker 3 (01:01:37):
I was like, no, we're ready to record, come back in,
cut the record. Then I get another two days ago
by I get a call from this assistant like, yeah,
su su such want to invite you to her birthday party?

Speaker 2 (01:01:49):
Is private.

Speaker 3 (01:01:50):
She was like, but don't. She was like, don't tell anybody.
She don't want no paparazzi there she wants. She's going
to invite the people that she wants. So I'm like, amazing,
So drammoned down. I was like, hey man, y'all gonna
be at the party, right.

Speaker 2 (01:02:00):
They're like what party?

Speaker 3 (01:02:01):
She's just oh, I can't even say, oh yeah, yeah yeah.
Definitely not dreaming that.

Speaker 2 (01:02:05):
She just told you oh yeah yeah yeah.

Speaker 3 (01:02:09):
No no, but you already I met this person them,
so but it wasn't.

Speaker 2 (01:02:16):
It was the assistant that told me.

Speaker 3 (01:02:18):
And in my mind, why wouldn't they know because they're
the whole reason why I even knew this person. So
I'm like, I'm gonna tell that. I want to tell
nobody else, but I'm gonna tell the people that introduced me.
And they're like, nah, we don't know about no party.
I'm like, don't worry. They're gonna call you, but I
can't tell.

Speaker 7 (01:02:33):
Nobody, Like you're gonna get the call, but you can't
tell nobody. All right, they're gonna call y'all, so you know,
and then so the days go by, days go by,
and then finally you know, they this person they she
flew me in.

Speaker 3 (01:02:50):
Oh, you gotta flew it out. She flew yeah, like
a girl.

Speaker 2 (01:02:53):
Bro.

Speaker 3 (01:02:53):
I was like, wait, I'm getting flowed out, blowed out.
It's a whole new way to say that.

Speaker 2 (01:02:58):
Ship.

Speaker 3 (01:02:59):
So I gotta go down. And they had like the
car I landed, and had me go straight to the
to the party where I thought was.

Speaker 2 (01:03:06):
I thought it was a party. Get to the party.
Open the door.

Speaker 3 (01:03:11):
It's a hundred candles burning and music like slow music playing,
and I'm.

Speaker 2 (01:03:17):
Just like, where's the people? Where's the party?

Speaker 3 (01:03:21):
And I'm like, it's real private, you know what I'm saying.
I'm like, yeah, it was super private, private privt I'm
like and my mom, I'm like, all right, maybe it's
a surprise party. So people are gonna jump out. So
I'm like, where are the people, Like, where are we
jumping out from? Where are the others? Where are the
others where are the others?

Speaker 2 (01:03:39):
And then then she comes out. Bro, she came out
and uh she came out by.

Speaker 3 (01:03:53):
You know, crying my left eye. Wait a minute, bro.

Speaker 2 (01:04:01):
Yeah.

Speaker 3 (01:04:02):
So now I'm at the surprise, the non the surpriseless
party with just me. I'm sweating because I'm like that
it's cattle.

Speaker 2 (01:04:13):
I'm getting hot. Sit there.

Speaker 3 (01:04:15):
Here she comes and a fucking see through rope, a
sheer nightgown, naked sheer with like fur fur naked birthday ankles,
so everything covered up with ship that we don't care
this like ankles was covered, her neck was covered.

Speaker 2 (01:04:35):
I'm like, naked.

Speaker 3 (01:04:37):
Come sits on my lap, rubbing my rubbing my pony
tail of course to the back, you know what I'm saying.
And she's like, hey, thank you for coming, Like, happy birthday.

Speaker 2 (01:04:50):
This is a happy birthday. Came No, I just said
happy birthday. Way before that I start having birthday. I
was like sixteen.

Speaker 3 (01:04:57):
But man, so I'm like she's like, thank you for coming.
I'm like, yeah, happy birthday. Where is everybody? She's like no,
it's just us, And I'm like, I'm so scared. Bro,
she's sitting on my lap. Yeah mine, she had already
asked me to call my mom before she told my
mom she loved me.

Speaker 2 (01:05:16):
I was like, it's weird, Mom.

Speaker 3 (01:05:20):
I can't say that that might give it away, but
it was, you know, it was a similarity in the
in the age my mom.

Speaker 2 (01:05:25):
So it was weird.

Speaker 3 (01:05:27):
So I tell you know, I'm like, I'm thinking, like
I gotta get out of this in my mind. So
she's like, you want something drink? You want to Hennessy
And I'm like, I don't for me Henny bro yeah
on some hoodshit.

Speaker 2 (01:05:41):
Super hood she wanted.

Speaker 1 (01:05:42):
Yeah.

Speaker 3 (01:05:42):
She was like I need to get him discombobulated, like
he needs to not be in his right mind to
get to this. So I'm like, man, I'm.

Speaker 2 (01:05:48):
Okay right now. And she was like, she's like, wait,
I got you something. And I was like, what do
you get me? Bruh. She came out with a jackiet Bro.
She got me at your.

Speaker 3 (01:05:59):
Chill like one from like a real store, the one
to do like sixty bands.

Speaker 2 (01:06:08):
She got me chill up.

Speaker 3 (01:06:10):
Yeah, And so I was like, oh no, I was like,
I can't you know what I'm saying. I'm like, what
is this. She's like, this is something for you, a gift.
I'm like your birthday. You know what I'm saying.

Speaker 2 (01:06:19):
I'm like no, she.

Speaker 3 (01:06:21):
Put it on my SHO was like, I'm like, man,
with all due respect, man I got I went to
the ship. I'm like, man, with all due respect, I
can't take this. It's just like, yeah you can. She's like,
I got it for you and I'm not. She's like,
I'm not keeping it here. She was like it's yours
and I'm like. I was like, I was like, you know,
what do you mind? I hear it with how girls

(01:06:41):
hit dudes. I was like, do you mind if I
go back to the hotels like a freshen up? You
know how the girl had to do. But I need
to do to go fresh. So I was like, do
you mind if I go back to the Soffie tails
I a freshen up And she was like, yea, as
long as you come back. I was like, yeah, I'll
be back. She was like, put the jacket on his
cold outside.

Speaker 2 (01:07:03):
Yeah, I'm gonna call you now. I was like, I'm
coming back.

Speaker 3 (01:07:06):
She was like, I'm gonna have the driver stay like
he's gonna he's gonna bring you and stay and waiting.
I was like, yeah, bruh, I was sweating bullets. Bro,
I've never been That was the first time I've ever
been in that scenario my whole life. Bro, I'm not
used to women like I wasn't coming on to me.
I was really obese, so I didn't get it. I
was confused, and I was engaged.

Speaker 2 (01:07:26):
I was engaged. That okay, okay, so sound like I'm gay.
I'm engaged.

Speaker 3 (01:07:30):
What's happening? So now I go to the hotel and
I'm like, damn it.

Speaker 2 (01:07:34):
I just felt embarrassed. I was like, should I call.

Speaker 3 (01:07:36):
The people that introduced me, like, because they clearly didn't
didn't getting get invited. So it was like I was
the only inviting invited, it was the only attendee, and
it yeah, And I didn't go back.

Speaker 2 (01:07:50):
I didn't go back.

Speaker 3 (01:07:51):
I actually stayed the night at the hotel and caught
my flight because I had a flight the next day
to go back to Atlanta, Georgia. I never went back, man.
And then it was so crazy because this was in
two thousand and one, two thousand and two, and this
was before the whole me Too movement, right, So I

(01:08:15):
had cut records on this artist, and because I didn't
sleep with her, she pulled all my songs off the album.
I was the first me too as a guy, and
I thought about it years and years later.

Speaker 2 (01:08:27):
I thought about a year.

Speaker 3 (01:08:28):
I guess, oh, you got me too too by a
woman hopefully right. Yeah, okay, okay, okay, yeah, how damn you?

Speaker 2 (01:08:41):
No?

Speaker 3 (01:08:41):
No, no, I know, hey man, but it was something
I remember, like when the me Too shit happened. I
called my homie who introduced I was like, hey, man,
I think I'm gonna come out with my story. He
was like no. I was like, yeah, man, they took
she took our songs off the album because I wouldn't
sleep with her. And he was like, yeah, well just
so just let it go.

Speaker 6 (01:08:58):
Man.

Speaker 3 (01:08:58):
I'm like, no, bro, look at this, the dude cruisers come,
all these people coming out. I'm like, I'm gonna be
the real first guy that had this happen from a
woman woman. Yeah, and I'm like.

Speaker 2 (01:09:08):
I'm coming out.

Speaker 3 (01:09:10):
He was like, nah, don't, man, he taught me off
the ledge.

Speaker 2 (01:09:12):
You know what I'm saying. But that was my I.

Speaker 3 (01:09:14):
Hope I didn't give away too many hints, but that
was my nameless story. I never saw her again. My
friends ran into her years later and the first question
that she didn't say, Hey, how y'all doing. Oh, it's
good to see y'all, she said.

Speaker 2 (01:09:27):
The first thing he said, she said was.

Speaker 3 (01:09:29):
Where's your friend with the ponytail? The pool bear guy.
That was the first day and this was three four
years later.

Speaker 2 (01:09:36):
He's still looking for you. Yeah, man, So that's my story.

Speaker 3 (01:09:39):
Man, I'm so glad I finally got to get that
on my chest and tell that without actually.

Speaker 2 (01:09:43):
Saying any names. Yeah, amazing story, Thank you man, that
really happened. And maybe it's a surprise. Took me out.

Speaker 3 (01:09:53):
Here right, Okay, we got a surprise.

Speaker 2 (01:10:00):
With all us with a macaroni and it's eight Jesus.

Speaker 4 (01:10:02):
Now I can't wait see the comments I can and
see who they think it is.

Speaker 2 (01:10:14):
Try to oh man, yeah, yeah, yeah, yeah, nameless.

Speaker 3 (01:10:20):
I was waiting on this opportunity. I wasn't gonna be
the one to reach. I was just like, man, I
would love to do that.

Speaker 2 (01:10:24):
Man.

Speaker 3 (01:10:25):
So thanks for having me and being so genuine and
never changing. Y'all are still the same motherfuckers.

Speaker 2 (01:10:32):
I appreciate that. I know.

Speaker 3 (01:10:34):
It's just I see a lot of people change. So
thanks for being being being the same man and giving
creating this platform for for R and B. Man, We've
never really had this spot like ever outside of what
Soul train. What was it done?

Speaker 2 (01:10:50):
Yeah? Video soul video soul right, but.

Speaker 3 (01:10:54):
That's like twenty So thank you for creating this platform
and I appreciate you now you both both kings and
your amazingly challenged as well. Thank you man, R and
B Money.

Speaker 4 (01:11:10):
R and B Money is a production of the Black
Effect Podcast Network. For more podcasts from iHeartRadio, visit the
iHeartRadio app, Apple Podcasts, or wherever you listen to your
favorite shows, don't forget to subscribe to and rate our show,
and you can connect with us on social media at
Jay Valentine and at the Real Tank. For the extended episode,

(01:11:32):
subscribe to YouTube dot com, forward Slash, R and B
Money