REPLAY: Stevie Mackey

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

Speaker 2 (00:05):
We are.

Speaker 1 (00:07):
Thank you, Tavlotized. We are the authority on all things
R and B ladies and gentlemen. I am Tank and
this is the R and B Money Podcast, the authority
on all things R and B, all things, all things,

(00:28):
every single now some things, all things, because, as we say,
all things, it's not just the glitz and glamour.

Speaker 3 (00:38):
It's not what you see of.

Speaker 1 (00:39):
Armed It's not just what you see. It's also yeah, yes,
the people you don't see, you understand what I'm saying.
You here, what's just what you do? Close your eyes,
close eyes, Yeah, yeah, this is we have an educational
moment along with I mean one of the coldest of

(01:00):
voices I've ever heard, I mean period. And I always
tell him when I see him, I said, man, if
you don't put out a record and stop playing with
the universe gave you this gift leadership. Without further ado,
we have on Army Money Podcast, give it up a steam.

(01:21):
First of all, congratulations on the two piece. Okay, let's
start there.

Speaker 3 (01:28):
Start.

Speaker 1 (01:29):
He already started, he already started. Hook me up with you.
I need to drip. I just want the first. I
want to say thank you first for being here and
and just a little little history. I met you, and

(01:51):
we'll we'll we'll dive all the way back, right because
you know, we like to we like to go to
the beginning. But I met you with Jennifer Lopez, Yes,
and it was crazy because she was doing a residency
at Planet Hollywood and I go to this show me
and my wife was like gonna say, ye'll be fine.

(02:13):
She could perform, She sheds, she does her thing, and
j Lo got on that stage and sang sang, sang,
sang sang, and didn't miss. I said, who's this jay Loo?
She'd been doing some work, she killing. And then I

(02:38):
met you and we set it a piano in the
end of the in the suite of All has all
and and then I began to understand, Uh, the magic
is Stevie Mackett. I just wanted to give you all
a little bit of that. Okay, it starts, and then

(03:00):
we got a whole story to go to telling. But
I'm coming. We're gonna let him do the rest of
the storytelling. Brother. We like to go all the way
back to the beginning, right. And So when did you
know or when did somebody say you have a gift
you're special. When did that happen for you?

Speaker 2 (03:22):
I remember being about five and my parents were playing
Darryl Coley at home, and I whispered to one of
my relatives, I said I can do that. I was
little nothing. I was a little nothing, and I said
I can do that. And I was a quiet kid.
My parents are very social. I'm a little introvert, and

(03:43):
so I said to somebody whoever would listen, I said,
I can do that. Singing came like the ABC's to me.
It was very natural, and I would I would just
mimic everything, and my parents play some good music. They
would play the Clark Sisters, they'd play Commission, they'd play
the Wine in BBC.

Speaker 3 (03:58):
That's a very important game, know, parents playing. Yes, play
not even just the right music, but you just playing
good music, right, because right is relative, right, but good
music is not right.

Speaker 1 (04:11):
You're right. Good music is good music? Is good music?

Speaker 3 (04:14):
Play some good music for y'all kids.

Speaker 2 (04:16):
Yes, yes, it's what you're playing. When you don't think
they're listening, they are. I was a little thing, and
I would turn over the record to hear Jesus is
a love song, and like you know, these records, these
record we would my dad would play the records. My
parents would play them and try to pick out the
chords on the piano. They were they were musicians too,
and so I'd listen. I said, I can do that,
and I'd go around mimicking everything I heard, from cartoon

(04:37):
voices and sesame street voices to singers that they loved.
So I was I was mimicking. But I was still
too shy to sing in front of people. But you know,
as I got older, I started doing it.

Speaker 1 (04:49):
When was the first When was the breakout moment? I
mean it was church.

Speaker 2 (04:52):
It was church. I remember, get in front of the church.
I went a pretty conservative. I'm from Pasadena. I'm from LA,
born in LA.

Speaker 4 (04:59):
David got some legends, man, Yeah about Johnny was just
talking Jo. Yeah, I've worked with John. I love John Man.

Speaker 2 (05:08):
Pasadena is a hitting gym in LA and it's kind
of old LA and it's it's it focuses a lot.
The city focuses on art and it pushes art.

Speaker 3 (05:17):
It always. Now I realized why he said relatives earlier too,
But go ahead, relatives. I'm not from l A can
So you know, it's just a certain little things.

Speaker 2 (05:28):
Man.

Speaker 3 (05:28):
So you're relatives.

Speaker 2 (05:29):
Yep, growing up at pianos all over the house. Growing
up in La You know, I would I would go
to church.

Speaker 1 (05:34):
We go to church.

Speaker 2 (05:35):
We went to church on Saturdays. Raised Seventh day Adventists
grew up going to church on Saturday. A lot of
Adventists people grow up with harmony around them, less instruments,
more acapella harmonies. So I grew up listening and listening
to the acapella choirs and harmonies, and I would get
in church. I remember singing one time and hearing the audience,
like the church ladies and the audience going, oh oh

(05:58):
you hear the little gas from the audience when you
hit a note like haa, I had vibrato or something.

Speaker 1 (06:03):
They're judgy, you know, people are judgy. They're like when
they start.

Speaker 2 (06:08):
Going, oh you hear that noise, like, oh, maybe I'm
supposed to do this thing. So whenever you hear people
say whoa, oh man, you could do that, that's a
sign to go in that direction, whatever it is, go
in that direction. So I was like I never felt
that before. I was like, oh, I'm gifted in something,

(06:28):
you know. I thought I was going to be an
artist in draw and maybe make cartoons for Disney, and
I love doing that because I could do it alone.
But when I started getting reactions from people at twelve thirteen,
when I was singing, I knew I had a special
voice and I love to do it. I love to
mimic everybody. I turned to a lot of Adam C. C.
Whyden's fred Ham and all of it was I was

(06:49):
trying to become these people that I looked up to
so much. So, you know, teenage years were everything.

Speaker 1 (06:55):
My first time singing in church, it didn't go to say,
it didn't it didn't go as well. Tell us I
was that I was. I was. I was a kid,
you know. I was just trying to figure out my
run life, you know what I mean. And and it
was the State Baptist Convention. My grandmother was the dean

(07:16):
of the State Baptist Convention. And we have been rehearsing
Jesus is the Answer all week, Yes, And they have
been letting me practice the lead for one of the leads.
And it was me and like a couple of the
guys singing the lead. So Friday comes and it's time
to do it, and and the choir director he comes
over to me says, listen, we're gonna let the other

(07:38):
guys do the lead today. You know what I'm saying,
You're gonna, We're gonna, We're gonna just have you singing
singing the choir. And I threw a fit. I wasn't like,
not like a loud fit, but I was just like,
and I go to my grandmother and she's like, what's wrong, grandson?
And my grandmother is aggressive, that's wrong.

Speaker 5 (08:00):
I was like, had me rehearsing all week to do
the lead, and then he gonna come to me and say,
I ain't singing no lead, No, no, you singing the lead.

Speaker 1 (08:10):
Let's go, and we march on down to the choir,
thing the whole choir, my grandmother walking, what's calling?

Speaker 3 (08:16):
You got?

Speaker 1 (08:16):
My grandsonow rehearsing all we have seen no lead. He
was like this, well, I just want to know he's
singing the lead. He's singing the lead. And I'm like, yeah,
you don't mess with Mary Jane Johns. You will mess
with that. I was saying. The Dean here. So I'm
all excited to sing this this this Jesus as the lead.
And so I song starts and I start singing my

(08:38):
lead and I'm you know, I'm all in, you know
what I'm saying. And as I'm singing, it's just, you know,
there's no real reactions. It's kind of, you know, fairly quiet.
And and I hear this lady from my church is
to take your time, derell, and I was like, okay, yeah,
I'm I'm gonna take my time.

Speaker 2 (08:53):
Take your time is never really good. Take your time
means I love you, but you can do a lot
better than this.

Speaker 1 (08:59):
Come on, take your tail. So, as we're continuing to
sing the song, I'm noticing that the other guys who
were also singing lead a lot older than me, were
slowly but surely boxing me out of the microphone. So
by the end of the song, I was singing to
their shoulders. So I don't think nothing, but they were
saving you. They were saving you.

Speaker 3 (09:19):
Didn't realize I didn't know that in church.

Speaker 1 (09:21):
In church say come on, I talk, come on, Tappa Nacle.
You're doing You're starting to get your church. I started.
So after the after the you know, after the big service,
we walked into the car and my auntie Betty, who
was the choir director for our junior choir, you know,

(09:44):
so it's a sing with you know, I go to
Anti Betty because Auntie Betty gonna get the truth. And
I'm like, Auntie Betty, how I do She said you
was off, baby, you was real off, And I was like, okay,
all right, well back to the drum board. And that
made me go really study and lock in and so,

(10:08):
like you, I used to listen everybody. You know what
I'm saying. I wasn't totally allowed to listen to R
and B music, but I was mimic Stevie, you know
what I'm saying. But there was the Mississippi Mass Choir
that was Kimberly McFarland, and that's the one McFarland. And
then and then and then came along my studying of
the winings, and then that made me say I want

(10:30):
to be a great singer. And it pushed me into
the space to where I started learning from all of
those people. And the fact that at that point I
was trying to run running was everything to me. So
I started digging in the archives of who was running. Yeah,
it sounds like by the time you debuted, you had
it kind of figured out.

Speaker 2 (10:51):
I listened for a long time before I tried to sing.
I did, but also I was My parents played the
singers that did runs, because running were from similar generations.
I was born in eighty one. I'm forty.

Speaker 3 (11:04):
Now.

Speaker 2 (11:04):
Running has become a popular thing in pop music, but
back then you got just a few runs. Whitney was
doing a little Luther was doing a little Anita.

Speaker 3 (11:13):
You know you're straightforward. It was I think.

Speaker 2 (11:15):
You know when you talk about runs in like Sam
Cook and people who brought runs into popular music. I mean,
you know, the mother mother of Retha. Somebody don't talk
about James about to say you're about says cold gets.

Speaker 3 (11:34):
Overlooked because he was such an amazing dancer. The second
way that Michael Jackson gets.

Speaker 2 (11:39):
Overlooked, Yes, because singing gets overlooked because.

Speaker 3 (11:41):
They were so powerful and they were so great at
at being performers right that their vocals are secondary for
some odd reason. James, We're James cold Blooded, cold blooded,
Prince powerhouse. Yes, Oh yes, I don't think Prince gets
overlook He does too, though not not as much as

(12:02):
to me. James Brown is.

Speaker 2 (12:03):
The James Brown is. James Brown just just noticed people.

Speaker 3 (12:06):
When when they name when they named amazing vocalists, He's
never like on Nobody's Nus.

Speaker 2 (12:12):
It's like he's not there with Donny Hathaway and Marvin
Gaye was.

Speaker 1 (12:16):
Because it wasn't smooth. It wasn't James Brown was a
monster vocalist. Yeah, monster, I mean he was doing them high.
Mariah Carey, Yeah he was.

Speaker 2 (12:29):
He was like a preacher and a singer all in
one because he was half talking. Because what notice, notice
that's not get it changed.

Speaker 3 (12:39):
I still haven't heard anybody remake It's a man's world.

Speaker 2 (12:42):
Man.

Speaker 3 (12:44):
Very tough, very tough, very tough record to re sing.

Speaker 4 (12:48):
They'll they'll try all the rest, but that one's telling
you that.

Speaker 2 (12:54):
You're right with that. Stuff all came from the church,
of course, and a lot of it came from Detroit.
And you have a lot of groups out of Detroit
that were doing these runs. Like you said, the Winings
when you got into the Winings and Commission, you have
to give. We have to give the Winings and Commission
a lot of points absolutely, fred Ham and Stevie Wonder
and Steve Wonder, you know a lot that Detroit sound

(13:16):
is very important to what we do today in R
and B. Yeah, Mitchell, Mitchell, uh, you know all Keith
all the guys up there, you know.

Speaker 1 (13:24):
Keith Staton, who who kind of invented a sound.

Speaker 3 (13:28):
Yes, he.

Speaker 1 (13:36):
Like which is you? And then and then John p
Key yeahned around and and turned it into something else
that was like.

Speaker 2 (13:46):
It had electricity to yas. I know that that whole
Detroit thing needs to be studied and taught and tried to.
It needs to be analyzed. No one's paying attention that sound.
Anita Baker, you know she has that too, that Detroit sound.
The migration of blacks to the North and how the
freedom they felt there, that it got away from the
blues in the South but got more popular and like

(14:08):
gritty in the north, it has a whole different sound.
So that sound transferred as people as blacks migrated west,
you know, Oklahoma, Los Angeles, we got a lot of
that out here from listening to that, So we got
the California soul, which more Daryl Coley, the Hawkins, Andre Crouch,
that kind of gospel and so those kind of runs.
Growing up, I would listen to the chords and the

(14:28):
runs and try to mimic all of that. And it
was it was coming into popular music in the eighties
with you know d'bars and some of the R and
B groups, and you'd hear it, you'd hear more funds
and runs got faster, and I was like, who's doing it?
And then you know, I'd hear all kind of runs.
I was like, I got to copy this stuff. Karen Clark,
Vanessa Belle Armstrong doing stuff that. Vanessa Bell is one

(14:51):
of the cleanest runners of the time. So this is
outside of secular music. This is this was you know,
this is these are singers. A lot of people don't
know if Vanessa did the song to the Amen show, Yeah,
and she was soaking. She's still she's still amazing. But
Daryl her you know that kind of music. The people
who could do it were doing it. And I was
trying to do that because it was tricky and fun.

Speaker 3 (15:12):
And your discovery is around twelve thirteen point for that.

Speaker 2 (15:17):
Yeah, I was. I was carried away by as well.
I was scared to play. I didn't start playing until later,
like sixteen seventeen. Now I played out of just necessity.
I just wanted to play for myself, but now we
had pianos in my home. But I didn't take playing
series you play.

Speaker 1 (15:31):
I would have thought you started playing.

Speaker 3 (15:33):
At five oh man, I wish, I wish i'd be allowed.

Speaker 2 (15:36):
You can play anything, I can hear anything, but.

Speaker 1 (15:40):
No, you literally like you're like a jukebox. Like if
we're all sitting around a piano, you can dial up.

Speaker 3 (15:46):
Yeah. I've become that, like two hundred song.

Speaker 1 (15:48):
Yeah.

Speaker 2 (15:49):
I made myself when I coach, I make myself play
for everybody I work with so that it gives me
a lesson while I'm teaching a lesson.

Speaker 1 (15:55):
Okay, you slip, think, coach, we're gonna get to that
to the coach. Really, I've come to myself on the
piano over here.

Speaker 3 (16:01):
During these teenage years. For you, are you thinking in
your mind, I want to become an artist or I
just want to sing in the church and just play
in church.

Speaker 1 (16:10):
Uh?

Speaker 2 (16:11):
My biggest dream was to be a background singer. Those
are your dream? Biggest dream I could possibly dream. Either
be Mickey Mouse and Disneyland in the costumes.

Speaker 3 (16:20):
Okay, let's go.

Speaker 2 (16:23):
Or he put on Disneyland.

Speaker 1 (16:31):
Here we go.

Speaker 3 (16:35):
You don't know, so are you kidding me?

Speaker 1 (16:39):
So?

Speaker 3 (16:39):
You would you would everything, you would study Mickey Mouse.

Speaker 2 (16:42):
I loved Mickey MoU. I wanted to be Mickey Mouse.
I thought that was one of the highest jobs in
the world, being Mickey Mouse in the costume walking around
you know, so I love that, But second best would
be being a background singer.

Speaker 1 (16:54):
I don't want to skip over that. That that was
a great Yeah, that was great.

Speaker 3 (17:00):
I think you can still be making you want.

Speaker 1 (17:05):
I wouldn't stop everything today voiceover.

Speaker 2 (17:08):
I would stop everything. I wouldn't see nobody. I would
go be Mickey Mouse and y'all wouldn't see me again.
I'd go be Mickey Mouse somewhere and sit home and
record Mickey Mouse all day.

Speaker 1 (17:15):
Have you have you thought about I just just just sidebar.
Have you thought about auditioning for Mickey Mouse? Yeah? Yeah,
and what have you done?

Speaker 2 (17:23):
I They auditioned a new Mickey around the same time
I was graduating high school and this guy I coveted him.

Speaker 3 (17:30):
I was like, who got his voice?

Speaker 2 (17:32):
And I should have auditioned back then whatever, twenty years ago,
but I didn't. So I want to do it. And
so if if anybody's listening out there, I would love
to be Mickey Mouse. I'd be the first Mickey with
soul who can sing, and I will be Mickey. I
would have to be Mickey Mickey, Mickey so i'd be
Mickey so and he would have a tan, and he'd bet, man,

(17:54):
you have a little little good hair. Like it'd be
a whole thing like Mickey, I'm rolling all right, Oh okay,
where we at? I'd be okay.

Speaker 1 (18:04):
But in my life I was did not make it.

Speaker 2 (18:07):
I love background singers because they got to travel the
world without the stress of you got to sing this
or that. I didn't feel comfortable singing a lot of
secular music because I wasn't raised on it. I didn't
I didn't see myself out there doing this thing alone.
I like to sing with people, So I like background singer.
You get to travel the world, see the best places,
get treated well without the pressure of being number one,

(18:30):
and you get to sing with your friends. That's what
I really really liked, more than if it was my
last thing on earth. I'd like to be singing with
my friends. That's what I love the most. So that
was the highest calling as a teenager, become a background singer.
And I have a you know, my mom's good friend,
she's a family friend of ours, Lisa, who's a background singer.
She sang for Shaka for twenty years. She's she brought

(18:51):
me to rehearsals when I was a teenager. She bring
me to Earth, Wind and Fire Shaka Khan and see
the different rehearsals and say, got a chance to just
sit there and be quiet? She said, bring me this
inner stage and she would just say just sit there
and be quiet and just watch. So that was eye
opening for me that people got paid to sing rather
than singing for free in church like I was doing.
But I didn't know people got paid to sing and
have fun like that and harmonize. So that was the

(19:13):
highest thing I'd ever seen everything.

Speaker 1 (19:16):
And was that? Was that like an intro to you
getting an opportunity to do that? Yes? When what was
that first? Though?

Speaker 4 (19:24):
Like?

Speaker 1 (19:24):
What was your intro into that drink?

Speaker 3 (19:27):
I mean I I would follow the music.

Speaker 2 (19:30):
I follow singers around, and I'd show up at places
where the singers would go. I'd show up at shows
and I remember showing up at shows with no ticket
and no money, just showing up, sitting in my car
and just sitting in the parking lot. I remember doing
this at Laila Hathaway show and Layla Layla gave me
a chance early. I sang background for her early on

(19:51):
when I first got out of college and I was
sitting in the back of Yoshi's in I think Oakland.
I was living with my parents. I was not in
a good time. I think probably fire for my job
or something. I was just you know, trying to make it. Yeah,
your way up to the bank. So I was like
sitting in the back of this part no ticket, and
I knew somebody in the band or something. I would
just sit there and wait for them to come out
halftime in the show and then talk to them. I say,

(20:12):
you know, Stevie, I'm a singer. I'm a little Stevie.
I could sing. I could sing whatever you want. I
sing all the parts, and I would, and I caught myself, yeah, everything,
I'll sick at all. So I was like, whatever, I'll sing.
And then I seriously Laila was like, come up here
to come to my hotel, and then her friends were.
She was like to sing something, and I was so ready.
I think I sang, you know, hey, pretty baby with

(20:33):
the high heirs. I sang some Michael or something. She said,
do you want to work? I said, yeah, I want
to work. I thought it was gonna be just carrying
a bag or something. She said, you want to sing
I have a show coming up and you could be
my singer, and I I was so excited that it
was a bar to Lailah was one of the best singers.

Speaker 3 (20:51):
That's your first.

Speaker 2 (20:53):
This is like my first gig. And I was sucking
with my parents who had moved to San Jose and
I didn't want to live with them.

Speaker 1 (21:00):
Of them, but I didn't want to live with them.

Speaker 2 (21:01):
So I'm trying to get back to LA where I
grew up, where I had gone to college, and I
was in Alabama and I was like, Okay, let me
get back around to LA where the singers are, so
I get a shot to sing background here with her.
Then I get another call to sing background for Whitney
Houston for her Christmas album. Mervyn Warren had called me
to sing background on that and I could cite read.

Speaker 3 (21:22):
You go from Laila Hathaway to Whitney Houston. These are
your first first.

Speaker 2 (21:26):
And another session was Kanye West singing with Kanye and
dilated people's I can't live my life this way, so
certain calls I remember they were my first, and I
moved back to.

Speaker 3 (21:35):
LA singing on the choir on the iond of this.

Speaker 2 (21:38):
Yeah, I help arrange some of that. Yeah, I was
do an ad lib choir, were this way, this way this,
we were uh Google and some others were on that.
But that kind of stuff like back then was huge
because I got paid. I got two hundred dollars for
doing this stuff, like I'd never been paid to sing,
and I was living free here in LA with my
grandparents at that time.

Speaker 1 (21:56):
I was. I moved in to La.

Speaker 2 (21:56):
I'm be a singer, backup singer. I was so excited, man,
and so that was what I wanted to do. And
then eventually, you know, they kept evolving, but.

Speaker 3 (22:08):
Touring, so you were doing more session work.

Speaker 2 (22:12):
Yes, I stayed here and did session work. A lot
of my friends would go and tour, but I would
stay here. I would go to this spot called Cozy's
that would do open mic stuff, and you know out
here in the valley not far from here, and I
would go to different spots that help open mics, and
I would sing. I'd sing Maxwell, sing, you know, Everybeney,
all my favorite singers, and you know, I'd sing all
these guys that I would I could sing Hi and
I could, I would, I would learn. I would watch

(22:34):
them as like a game I'd see what everybody else
was doing, and I learned the good mic. I learned
what Mike was good and what everyone else had already done.
Then I'd come in and sing something different and make
everyone listen because they talk, and they put me on
last because I didn't I didn't know nobody yet, so
they put me on last at these spots. So I
remember just like people would be drunk by that time,

(22:54):
talking and stuff. But I remember singing and making everybody
be quiet. If I can get them to be quiet,
I want.

Speaker 1 (23:00):
Yeah.

Speaker 2 (23:00):
Yeah, So I knew that was the thing, to just
kind of quiet in.

Speaker 1 (23:03):
The In the beginning, I didn't know what that was.
It took Big j excuse me to tell me what
that was, because in my mind, can scare you. It
can scare you, because I was on the road with
Genuine where they just lose their mind in the entire show.

Speaker 3 (23:21):
You don't have curls.

Speaker 1 (23:22):
I don't have I don't have curls. I don't waving
parts the curls out here. Whatever. So anyway, so I'm
just I'm just like, if they're not screaming, it's not happening.

Speaker 3 (23:42):
You're not doing your thing.

Speaker 1 (23:43):
You're not doing your thing, right, And so that's what
I was programmed to believe until until one day because
I would like in those in those moments where there
was a lull in the in the scream, I would
I would not panic, but I would just like try
to do something, get to.

Speaker 3 (24:00):
Get the scream they get them to. We've watched so
many artists do that and lose. Like, Bro, there's no
reason for the pelvic thrust, right, you don't have to
Why did you hump the speaker?

Speaker 1 (24:12):
And I'm gonna go back to Genuine because Genuine wanted
to was so used to the screams that we're singing.
She's out of my life. He's like two thing for
two yeares and he goes, she was, you don't do
that there, that's not where that goes. But but that's
what she shout out to my brother Genuine two years ago.

(24:38):
That's what she.

Speaker 3 (24:40):
So.

Speaker 1 (24:41):
So when there was a lull in the in the
crowd activity, it would throw me off a little bit,
and Jason came to me, He's like, listen, Bro, you
don't have to overdo it. In those moments they're listening
to you, to Big Jason. Yeah, they're they're quiet because
they want to hear what you're doing, they want to

(25:02):
connect with you. Don't be scared of that silence. I
was like, wow, I never I never knew that in
church screaming and shout you.

Speaker 4 (25:11):
Better do it like it's always something, always.

Speaker 1 (25:14):
A sound, and so that was accustomed to and in
the beginning of my career, it took me a second
to adjust to the silence of people having a moment.

Speaker 3 (25:22):
With you, you.

Speaker 1 (25:23):
Know what I'm saying, and being able to set an atmosphere.

Speaker 3 (25:26):
But you have to be a different type of vocalist
for that.

Speaker 1 (25:29):
You do.

Speaker 3 (25:30):
That isn't made for everyone because that silence is deadly
on the flip side. But if you're not that type
of vocalist and that's not what your performance is about.
If you're not a flat foot stand at the mice singer,
it can get tricky for you. If you're more of
a performance based and you're jumping around or you it's

(25:52):
your clothes or whatever it is. It's the sparkles is
the shit going off the screens and nobody saying anything.

Speaker 1 (26:00):
That's when the sweat begins.

Speaker 3 (26:02):
The key sway.

Speaker 1 (26:07):
It's so quick.

Speaker 3 (26:09):
I I just didn't know.

Speaker 2 (26:19):
But it takes years to learn what not to sing. Yeah,
and I think with any good singer, it takes years
to learn what not to sing. And you find peace
in that silence and people are listening. You're like, Okay,
this is cool. How do I do this? I'm not
a performer like that. I ain't gonna dance for real.
I dance like Carlton Banks or something like. I'm just

(26:41):
gonna do that and give you a snazzy outfit or something.
But I'm not going to perform like that. But I'm
gonna give you a vocals. I'm gonna just make you
sit still and try to put you in a trance
and connect so deep you're just like, for sure, I
want to bring almost a tear or something. I'm trying
to get to that point. That was my that was
my party trick.

Speaker 1 (26:58):
I've seen you do it.

Speaker 2 (27:00):
No, I've seen you do that. I knew I could
do that, so I was all right, that's my thing.
So I watched singers and I come in that moment
and try to make an impact.

Speaker 1 (27:16):
How did you get from the session background singing? I mean,
you're you're living the dream. You're you're making money doing
exactly what you want to do to being now the
premier vocal coach. Two people who can really sing like
you're like like like for example, Jojo, yeah, who can sing.

(27:43):
But we'll sit at the piano with you and you'll yeah,
make adjustments all of these things. How did you get?
How did you transition from there to there or to here?

Speaker 2 (27:55):
I mean, just in short. My mom's a school teacher.
I come from a lot of school teachers and pastors.
Mom's school teaching. My dad has been a physical therapist
for many years growing up. That's what he did. I
understood the muscles and how they could recover. So I
understood the muscles man, I could teach.

Speaker 1 (28:16):
Some of the first stuff.

Speaker 2 (28:17):
I knew muscles and how they recovered and teaching so
little do we know we take a lot from our
parents and the people around were little, without trying to
or knowing it. I was that was an automatic thing
for me. I knew how to teach and break things
down because I learned how everything worked. I love history,
I love learning how everything works. I knew if I
could get someone to listen a certain way and become

(28:40):
a character, they could their voice would change. So I
taught people how to be characters and I love that.
So I was asked around, you know, after singing background
for some years, I was I was being asked to
put to help groups. Harmonize and Danny Kane at that
time was a group and I was asked to work
with them, and then it was it was another group,

(29:02):
another group, and uh, you know groups. It was just
a lot of different guys and girls groups. And I
knew that, like the back of my hand, harmony. So
I would have them become different characters, and then singers
would ask me to help prolong their voice, and I
knew how that would take place too. And I minored
in vocal performance and opera in school, and I majored
in graphic design at Oakwood University, so I had a

(29:22):
lot of experienced singing opera, but I didn't want to
sing it.

Speaker 3 (29:25):
Wait wait this this this oak Wood place. Oh it's magical.

Speaker 2 (29:29):
No, no, no, because that's where Chilea went oh wow, yeah,
and Brian McKnight and Little Richard and take six okay,
and I think Prince like it's like that weird out.
It's a it's a little gem. And this is in Alabama, Huntsville, Alabama,
singer and you go there today. Like singing is like basketball,
It's like a sport. There's so many choirs and singers

(29:50):
and everybody's just it's where like running, like if you
were if you can run, it takes off at Oakwood.
Oakwood loves or run. It's like you too. So it's
like even.

Speaker 1 (30:01):
Like Howard University.

Speaker 2 (30:02):
It's like how you know those hpcus when we have
a thing as people like, oh, it's gonna be real
sing Oh it's a sing off. It's like you buy
a ticket to go into the auditions of the single.
It's like that for real. So either you're gonna You're
gonna do it or you're not. So I went there.
I was singing. I was I wasn't perfect pitch or nothing.
When I started oak Wood, I was just trying and
I was fearless and I would.

Speaker 3 (30:22):
Sing or sing.

Speaker 2 (30:23):
So oak Wood got got a lot of gave me
a whole lot of you know, push and so this
place is incredible. They have the best choir, the Aolians
dynamic praise like these choirs are incredible. So coming out
of oak Wood, I still didn't have you know, you're
trying to make it and work and and I knew
that if I could teach people how to sing, I
could last a long time in this industry without having

(30:45):
to compromise anything. I believed, not trying to be you
know this or that, just I could make everyone happy,
including myself. I could teach people how to sing and
last forever because the people behind the scenes lasted the
longest time in this business. I knew that because I
would see people rise and fall. So it's like, if
I become a coach, i'd be young. But if I
do it differently, I can make it work. So I

(31:07):
started throwing little parties at my house, and I would
throw parties on Tuesdays with tacos and I'd a little
skillet and I would make tacos and as a recital,
because recitals were boring, I didn't want that. I wanted
to have a party. So we'd have taco Tuesdays at
my house where all my voice students would sing, and
we'd come together and just make some tacos and sing together.

(31:27):
And then at the same time, you have Instagram, and
I have to get a lot of credit to social media.
At that time, Instagram debuting video formats, so a ten
second video or a fifteen second video was a new thing,
and you can show videos of what was happening there.
So videos took off from that to show people how
I taught. And I would stop people in the middle performance,

(31:48):
say do it like this, and I'd go back and
forth with them and strengthen them in front of everyone,
to make teaching less scary, to make it more of
a group thing. We all sat around and learned together.
We harmonized together, and we're supportive together. So I go
back and forth and all right, do it again, let's
start over, let's get it right. And so it just
kind of like set a different tone for what a
recital was or a voice lesson and the session was,

(32:10):
and it I always did it at my house so
I wouldn't bite people over.

Speaker 1 (32:12):
And then those those those Tacos to Taco Tuesdays are
very famous. It's a life of its out now. It's
been some You've had some power houses. It's come through
Tackle Tuesdays. Aby Wilson.

Speaker 2 (32:26):
Yeah, some of the best singers in the world. Goodness,
I mean it's in y'all two.

Speaker 3 (32:30):
Oh yeah, that's insane. That's insane. Singing together is insane.
It's not fair.

Speaker 2 (32:38):
I every I told everyone was coming here.

Speaker 1 (32:40):
I was like, I can't wait, I can't wait.

Speaker 2 (32:43):
Yo, this is like but this, this is never talked about,
like what you're doing right now. Have to just give
it up for you guys. This is behind the scenes talking.
I never thought i'd be talking about this with you.

Speaker 1 (32:55):
This is amazing.

Speaker 2 (32:56):
But I think people are interested in hearing about the
behind the scene of what we.

Speaker 1 (33:00):
Do because it's it's it's the foundational things that are missing,
right because there is no more an R ing there
is now there's very little to none artists development and
so not less gatekeepers. People want to be R and
B singers. Right. We have to get back to the
basics of learning, just learning how to sing.

Speaker 3 (33:23):
And R and B needs to be polished.

Speaker 1 (33:25):
Yep.

Speaker 3 (33:25):
Yes, R and B is is a genre of music
that needs to be polished. It can't just be thrown
out there, and I think to to a certain degree
at times it has been just thrown out there because
of economics. When rap came along, rap, really, you could

(33:46):
do it for the low, best best term that I
can come up with. You can do rap for the low.
You can do it in your basement, you can do
it at the park. You get like R and B rehearsal, Yeah,
vocal coaches outfit, you know what I mean, Like I
I tell people all the time, Like in my opinion,
Jay Z was the first normal superstar, meaning he could

(34:09):
wear exactly what he wore to the interview, to the
stage and then to the party, and there may not
even be an outfit changed at any point. Maybe he
changes from a blue Yankee to but he was so
gifted and he's so talented at what he does. He

(34:32):
still became a superstar. But he didn't. He didn't he
there was no character. And R and B is always
like think of the names that we started this podcast
off with today. These were all characters. These were all
characters that they built. You know, Rick James wasn't the
same guy in the beginning when he first got out

(34:53):
there arm he had to find that Prince wasn't the
same guy in the beginning. If you go back and
see where he was. All of these you know, staple
superstar artists, especially from an R and B sense, all
had a character, right they all you know, and that
and that's what aren That's why R and B.

Speaker 2 (35:12):
Yeah, party and that came from the jazz days when
they would nickname themselves. They all had nicknames, you know,
they had they they didn't choose their regular they got
to choose their name. And that started in the early
jazz days. You know, some of the earliest jazz jazz
legends made up their own names. They'd have nicknames, and
that's from That's a lot of Black history were just oh,

(35:34):
that's a that's money making runner right there, you know,
that's this and they'd call each other different things, and
that that has led into what we do now with
you know, John Legend. Though we can you know, Bruno Mars, like,
this is the thing that we can. We can name
ourselves whatever, whatever we can be, whatever we recreate ourselves
and that helps us get a stage, give a stage presence,
and a and a personal life. That helps delineate that,

(35:56):
I think, and like when you think about R and
B itself, I think Jerry Wexler was the person I
think who coined the term R and B.

Speaker 3 (36:05):
And he worked with a reath.

Speaker 2 (36:06):
I think it discovered a Wreatha Franklin in that sense
as much as you can discover her. But he It
was called race music before that, and it was colored music,
race music, and then that word was getting kind of old,
and it's rhythm and blues R and B that changed things,
and it has split. It's like a tree that's split
into different ways, with neo soul and new soul, all
kinds of ways. But the roots of R and B,

(36:28):
like you said, are the same. These are the rules.
You got to be able to perform, you gotta be
able to sing. You got to have a character, right,
you got to have a character.

Speaker 3 (36:37):
You gotta put sports. So it's more expensive, it's more expensive,
and then they just kind of watered some of it
down by adding all the derivatives, by adding it's, oh,
it's neo sol, Oh it's trapped so oh yeah, it's
you know, it's not really And then when the artist

(37:00):
fall into that, that's the part that hurt me. I
don't give a fuck with the outsiders, name it what
the people you know, they put on it. When the
artists start buying into that though, and being like, I'm
not an R and B artist, Fuck, yeah, yes you are, bro.
They don't know. Like it hurt, but you know what

(37:22):
it was. It wasn't even that they didn't know. I
just think they didn't want to be put into a box,
which I respect. I respect that because they you know,
you see, why do you think that is because you
see your money shorter, your money shorter when they put
you in a box, you know what I mean, Like
you know it's it's that's why. That's why you know.
I've had the conversation with people when when people mentioned, well,

(37:45):
Michael Jackson called itself to king of pop. He did
that for a reason. He did that to ship on them.
That wasn't no I think I'm this no no, no,
no no. I am the most popular motherfucker on the
planet period. So I am the king of pop period,

(38:06):
not the king of white music or dance music or
no no, I'm still R and B. But I am
the king of any feller that's poetry. I'm the most
popular person.

Speaker 2 (38:18):
That's the words from population, whatever the population likes.

Speaker 3 (38:21):
But it got it became this thing within our culture
and with it within music that it was like if
you were an R and B artist, Oh you know,
the the executive shall remain nameless, but he called our
ship bathtub music. Caught our ship bathtub music, and it
is a very powerful motherfucker. But they were trying to

(38:45):
put things on it so that it wouldn't seem as
big as it truly is because everything it's R and B.
And that's a big reason why we have this podcast
and a big reason why we have artists and executives
and athletes and whoever the fuck we choose to have

(39:07):
on here, because R and B touches everybody, everybody in
one way or another. Rap right now is very melodic,
yep in our business, you know what I'm saying.

Speaker 2 (39:19):
And they all want to sing.

Speaker 4 (39:20):
Everybody wants everybody wants to see everything, and that's what
it comes down.

Speaker 2 (39:24):
I say that all the time. Everybody wants to sing,
from the President to everybody. Everybody would love to sing. Yes, Andy,
And I'm not to believe that everybody should be singing.

Speaker 3 (39:32):
Everybody, everybody. I'm glad you mentioned that because as the
amazing vocal coach that you.

Speaker 2 (39:42):
Are, I knew I was gonna get this question.

Speaker 3 (39:45):
Go can you help my sisters? They're gonna fight me. Listen,
my sisters can't sing. They can't sing, and they think
that can you Wow? And I'll actually pay for the
lesson and.

Speaker 1 (40:07):
Jump.

Speaker 3 (40:09):
These are my two sisters, very successful in their careers
with this music.

Speaker 2 (40:13):
She's just still want to sing a little bit.

Speaker 4 (40:14):
You know what, At every at every event, they kicking
off the happy birthday loud and different. But with you,
I hate a bad happy birth And I just can't
wait to tell me y'all was off man, stop, I
was off man. But you know, we think we have
a special gift as black people especially, we think we
have really say so in singing, you know, because we've

(40:34):
been through a lot to sound that's good.

Speaker 2 (40:36):
And that's what. It's the truth. We have been through
a lot. When everything's taken away from you, what do
you have left?

Speaker 1 (40:42):
You have?

Speaker 3 (40:43):
So can you with you? Can you get blood out
of the turnament?

Speaker 1 (40:47):
You know what? Let's do this, Let's do this, Let's
do this. Let's be very I want to be very specific. No, no, no,
yes in a sense, but not in a bad way,
not a bad way. I just I just want to
talk process. Right, because what you do right and and
and and Jy Low when she came on this right right?

Speaker 3 (41:09):
Right?

Speaker 1 (41:09):
Not not not revered as the greatest singer. Right, you
don't understand I'm saying, very much a performance driven artist. Right.
You got her to a place to where her vocal mattered? Right?
Was that process just so they can so understand, Like
how you went from yeah, you gotta you gotta make
a song meet you and you got to meet a song.

Speaker 2 (41:30):
There's just those two sides. A song has to be
adjusted to you. You have to adjust to the song
specifically give me yeah. So a lot of her early
songs that she's known for were not.

Speaker 1 (41:41):
Really in her key.

Speaker 3 (41:43):
They weren't in her key.

Speaker 2 (41:44):
They're not in her key, so she they were right.
There were great records and she knows it hit songs,
so she's like, I need that song. So she had
to sing it like like that and that, and she
she didn't realize at the time, you can how to
really make the song yours. And so by the time
I met her, she says, baby, I want to focus
on my voice.

Speaker 3 (42:03):
I want to focus on singing.

Speaker 2 (42:05):
And the amount of respect I have for her at
that moment it just went through the roof. I was like,
I got you, I understand, And she's willing to put
in the work because her early music, as catch as
it is, it doesn't it just didn't make her voice
shine like it should have because she's a singer. I
will tell you right now, she's a singer and she's
a very musical person. She knows notes and she knows key,

(42:26):
she knows if the chord is wrong. She's that involved
in her music. And so that process was really saying, Okay,
where's the golden part of her voice, the part that
just literally sounds good?

Speaker 1 (42:39):
Where is that?

Speaker 2 (42:40):
And so I find that point and she's already a storyteller,
She's already interesting. I don't have to teach that. You
can't teach that. I could teach you how to be
you know, fixed notes and stuff, but I can't teach
you how to be interesting. So she had all those
other elements, but the singing part. What part of your
voice sounds good? When do you need to go to falsetto?
When do you need to pull back? When do you

(43:01):
need to change the shape of your mouth to get
a different tone? And use air so you get a
balance of some air and some tone. You know how
to use the things we can do with our voice,
with your volume, pitch, vibrato, and air. There's four things
you can essentially do as a singer. So those things

(43:22):
we have to with those we have to create a masterpiece.
How are we going to create this masterpiece with those elements?
So I'm shaping the voice like a designer in that
sense and saying that sounded good. Let's do more of that.
That didn't sound good. Don't try to do that too much.
This was great right here? What did you do?

Speaker 3 (43:38):
Just now?

Speaker 2 (43:38):
What did you do? Let's do it again? So you
rehearse and rehear and make habits of the good things.
Muscle memory, muscle memory, just training the right things. And
so for somebody who works hard, it could work.

Speaker 1 (43:49):
For you, right, And she's a she probably the hardest,
working hard, work hardest. She'll work.

Speaker 3 (43:54):
You'll be a rehearsal after everybody.

Speaker 2 (43:57):
Let's go one more time, baby, I'm like, well, so you.

Speaker 3 (44:03):
Can't help China change.

Speaker 1 (44:06):
He cannot go.

Speaker 3 (44:08):
Whoop your ass to oh see, kick his ass too.

Speaker 1 (44:13):
Going down to the ship, were together. One question I've
always asked you, you know what before we get there,
Before we get there, I want to tell the Maxwell story.

Speaker 3 (44:28):
Mm hmm.

Speaker 1 (44:29):
As we're singing as we as we're at the j
Low party.

Speaker 3 (44:34):
I wasn't at the party. Yeah, I wasn'tations on your
your new nuptials. Congratulations.

Speaker 1 (44:48):
So so we're we're at J's perfect and you're one
of my favorite voices.

Speaker 2 (44:54):
She tells me that you're gonna be there, and I'm
tripping out. I'm tripping out because I knew you were
coming in Maxwell's con.

Speaker 1 (45:00):
So I didn't know Maxwell was coming. You told me, No,
Benny told you. Yeah, Benny told me that Maxwell was
coming to sing Happy Birthday and said, what the Maxwell? Maxwell?

Speaker 3 (45:13):
Maxwell?

Speaker 1 (45:13):
Yeah, Maxwell, Oh my god, don't you do this? So
it gets on my nerve. So Maxwell walks in and
I'm like, I've never met Maxwell in person. That was
your first time I met Max. That was my first
time meeting Maxwell. And I'm trying to put the story
to my meeting. So I'm sitting I'm sitting there and

(45:34):
Maxwell is singing Happy Birthday, and I'm filming it and
I don't really totally know how to work my social
media's and as I'm feeling it as i'm filming it,
it's done filming, and then it starts replaying real out
and it looks me. I'm like.

Speaker 3 (45:54):
I was, and they tell you him your phone, my
phone in the place.

Speaker 2 (46:02):
So this guy is like Maxwell, my mind, losing my mind,
on the floor, just falling out.

Speaker 1 (46:11):
Relax and on the showers, just relax. You're gonna be fine. Max,
I'm gonna you gotta.

Speaker 2 (46:16):
I don't know how to.

Speaker 1 (46:19):
Crazy. So the birthday, you know, the song is over,
the moment is over. And so I'm not sure where
Stevie was, but I'm walking over. I just I just
want to, you know, just shake Maxwell's hand. Man, I
just want to.

Speaker 3 (46:33):
You're having a family, having a family.

Speaker 1 (46:35):
And I walked with the Maxwell and he was like,
I love your music, and I'm like, don't do this,
not here, not now. Your niggas crying. This is like
your vocals, the wid you know how you talk and
jump saying the same thing, man like, but you but
you man. Yeah, so listen, listen. Just my first time

(47:08):
meeting Maxwell. So as I'm walking away from having this
moment with Maxwell, Stevie comes over to me says, you
have to introduce you to Maxwell. I said, oh, okay,
come on, I said, I said, Maxwell, this is Stevie,
one of the coldest vocalists I've ever heard. Vocal coach,
he says. Stevie just says, can I give you a hunk?

(47:34):
He was, he was listen, can we That was his first.

Speaker 2 (47:40):
I would listen to Maxwell my Sega genesis, I play his.

Speaker 3 (47:43):
Album over and over every night. I would play that album.

Speaker 2 (47:47):
It's just whenever, wherever I would listen the whole thing.
It was just like he had a high voice like mine.
He was this dreamy falsetto. And I was like, so
I never thought I met him. So here's the bark.
That was the moment, right they met. I mean, great moment.
J Lo is like, let's sing.

Speaker 1 (48:04):
Let's kick it off, j kick it off, keyboard out,
let's go there. So you know, everybody's doing their singing thing. Right.
Stevie looks at me. It's like he comes over me.
He's like, do you do you think it's cool if
I do a Maxwell's song? And I said, absolutely, go crazy.

Speaker 3 (48:29):
He didn't realize you was a full hype man.

Speaker 1 (48:33):
Battery and listen and water not that far off this bridge.
He's started singing. Stevie got on that piano and started
singing this woman's work and it was so intense, it
was so crazy that Maxwell had to start singing with him.

(48:54):
And it is Stevie, Mackie and Maxwell singing this woman's
work together and we're.

Speaker 3 (49:00):
All at this and you didn't know how to work
your goddamn camera.

Speaker 1 (49:03):
At that time. I couldn't even get to my I
couldn't even get to my camera for that. I don't
even know if anybody has this on tape. Everybody in
the room was just like, I have it. You have it.

Speaker 2 (49:15):
I have it on It's stored in my phone under favorites.

Speaker 1 (49:18):
I have it. He was giving Maxwell everything he needs
and Maxwell said I will not stand for this. I'm
going to give you something back, and in the hall
folk wood, Oh yeah, that's all.

Speaker 2 (49:39):
I'm ready for someone to sing it back at me.
I was so raised, honored.

Speaker 1 (49:43):
And I thought that that was just I thought that
that was an amazing moment and it was a testament
to how amazing you are. Excuse me, which leads me
into my next question where I've always every time I
see you, I pull you to the side and say,
there you going to put out a record? Or why
won't you put out a record? You have to answer

(50:04):
that right here on the R and B Money podcast.
We need to know. We the gifted with the talented
need to know.

Speaker 3 (50:15):
Is there a reason?

Speaker 1 (50:16):
Is there?

Speaker 3 (50:17):
Because I pay attention to shit? He said it earlier
about not being in the front of it. He said
that really early you discovered that for yourself really early
that that wasn't what you wanted then, and you were
just like, since there's no pressure, I can stay back here. Yeah,

(50:37):
I kind of, you know, I can. I can have
a good time doing what I'm doing. I don't have
to be the guy they waking up at six am
to do radio right, right right?

Speaker 2 (50:47):
I mean, you're exactly right, there's I never felt like
I was ready until now to actually put out my
own music. I released a Christmas album twenty twenty and
I loved it, and that actually opened the door for
me to actually say I want to do more. But
it's tricky though, like what what do I want to

(51:09):
do with that?

Speaker 1 (51:09):
I do?

Speaker 2 (51:09):
I wanted to just live? And do I want to
go on a tour? Do I want to where? Do
I want to sing? What do I really want to do?
And with this? So I have to think who am
I singing to? And in my head I like themes?
I like themes like Christmas. I would do a Disney
R and B album of just me singing my favorite
Disney songs that I love so much at the piano,

(51:30):
then I do my album.

Speaker 3 (51:36):
I would do.

Speaker 1 (51:37):
I would do a Sol Disney album.

Speaker 3 (51:38):
Somebody please please, oh man.

Speaker 2 (51:44):
I would also do album of Negro spirituals I love,
but no one does Nego spirits everybody loves what's so funny?

Speaker 3 (51:53):
Why is it so funny?

Speaker 1 (51:55):
It's not funny? Jay like?

Speaker 3 (52:03):
I like because I'm a cartoon.

Speaker 2 (52:05):
I like, I likes.

Speaker 1 (52:07):
I like. But you are we are we getting to
the space to where you're just why.

Speaker 2 (52:12):
The hardest part is to say, if I had to
do one project, what would be on it. That's the
toughest question of my life if I had to do
one because in my mind I want to do it
different a lot of different things. Put them all out.
They can live wherever they were going to live. But
it's hard for me to say, if I had to
do one project, what would be on that. It's tough.
It is tough, but just the process. You just haven't

(52:34):
I it would be all over the place. It'd be
all over the place.

Speaker 3 (52:37):
Why couldn't it be?

Speaker 2 (52:39):
I think now it can.

Speaker 3 (52:41):
The timing is perfect to do some Broadway ever you
want to do now you may not and this is
this is this is the reality into all of this ship.
You may not get the results that you want. If
there are certain results that you want by doing that
and by maybe it not being as cohesive in you know,
one project and top to bottom and this is what

(53:03):
it is, and instead of it just being like ensemble
and I just want to do everything and I'm just
gonna give y'all all of my gift, that ship might
actually click right. Like, we're in a different business now
than you've ever been in to where you can do
whatever you want. There's nothing in front of that. And

(53:27):
I completely understand where you come from because I am
also someone who people bother about making an album because
I've just I've kind of always done what i want,
even in the even when the industry that wasn't promoted
to do what you want. It was like no, no, no,
you the new usher. I'm not mean USh are two

(53:49):
different people? Are you the new such and such?

Speaker 1 (53:52):
Are you? You know what I mean?

Speaker 3 (53:53):
Like, you're gonna You're gonna do this type of music?

Speaker 1 (53:55):
Are you?

Speaker 3 (53:55):
I'm like, fuck if I am, I'll let you niggas,
you know what I'm say. So it's but the industry
that we're in now, shout out to the Bay Area.
I feel like we created the new music business by
making it accessible with the whole you know, with with
social media, with you're exactly right with you know, with streaming,

(54:19):
with digital, with all the things that come from the
Bay Area. We changed with the music business was about,
and we pushed a lot of the bullshit out, which
is crazy because that's the Bay Area is also where
independent music has flourished for generations, right right, we go

(54:39):
back to MC hammer and two Short and E forty
and RBO Posse and all these you know, hip hop
artists and even Tony Tony Tony, and you know what
I mean, like people that were doing it. We had
a thing out there called out the Trunk, But now
out the trunk is digital. All you gotta do is
upload this ship. Now it's out the bare room. It's

(55:00):
out the delivery right ex right, Someone like yourself, with
the gift that you have, there's no reason to just
do what you want. I'm gonna see.

Speaker 2 (55:11):
I'm gonna say it right here first, I'm about to
do this and it's and it's gonna be whatever. It's
gonna be all over the place. There's gonna be a
song for for this group, that group, that group, and
in this TikTok generation where people can consume whatever they
want to consume, go at it, go at it, and
you're you're exactly right, and so that it means a lot.

(55:32):
And it backs up what what I was like, kind
of doubting and but feeling at the same time. So
it means a lot. So yeah, I'm gonna do it.
I'm gonna go for it.

Speaker 1 (55:41):
B Yeah, that's the thing, especially when you have a gift. Yeah,
you have too much gift for any of it to.

Speaker 3 (55:46):
Be wrong because we got too many of the fuck it,
the non talented, Yeah, just doing whatever they want and
putting out as much as they want. We need the
talented people to do the same thing to combat that, right,
because it's free. Listen, it's free for you to be
able to do whatever you want, all of us. Some

(56:07):
of your niggas ain't talented.

Speaker 1 (56:09):
Yeah, it's not for everybody, come on, man.

Speaker 2 (56:12):
Yeah, the volume ship age thing is changing. There's not
like an age to it anymore. This is being young
and pop and all that.

Speaker 1 (56:21):
It's just great content.

Speaker 3 (56:22):
The music business is Peter Pan, it's the music business true.
Like for real, you go to an old school rap concert,
they're going to be dressed exactly.

Speaker 1 (56:35):
Like that.

Speaker 3 (56:39):
Was the most popular dangerous groups you know what I'm saying, like,
but it it's Peter Pan. We can be who we
want to be in this business. You can be Mickey.

Speaker 1 (56:49):
Mouse for sure, For damn sure.

Speaker 3 (56:53):
I'm about to trademark is going to be the interludes
in the album. I'm a trademark, Nigga Mouse and make
you That's the funniest thing I've heard.

Speaker 1 (57:03):
So Niga Mouse, Niga Mouse, and Nicky So Mickey So
I am selling T shirts.

Speaker 3 (57:16):
You wonder what does Mickey Soul do? Like?

Speaker 1 (57:17):
What is he flirty with every bottle? Mickey Solder? Are
you looking good?

Speaker 2 (57:27):
Oh gosh, no, that was happening down up in here, Nicky.

Speaker 1 (57:35):
Where I'm not going to cheese that many many mac
cheese time? Looking hungry? Man? Those gonna be interludes in
the album.

Speaker 2 (57:55):
You said this are going to be the Oh my gosh,
I'm crazy. I can't believe I got that. I was
trying to keep it together today.

Speaker 1 (58:07):
You can do it. Yeah, yeah, you are a friend
of the fan. So the album's coming, album's coming. He
just told us, he just announced it on the Army
Money podcast that the project is coming. You will have

(58:28):
nothing but love and support from you already know that
from us, period, point blank important. We're building, man. We
like to build things on this show, and we want you,
from your personal opinion, to build a vultron R and

(58:48):
B singer. We want to know where you would get
the vocals from, where you would get the styling from,
or let me say who who you would get the
vocals from, who you would get the styling from, who
you would get the performance from, and who you would
get the emotion from. So let's start with the vocal.

(59:11):
If you're building your your R and B voltron, who
what one person would you grab the vocal from? You
can say yourself to if you want to.

Speaker 2 (59:24):
No, no, they mean man, Michael Jackson, Marvin Gay, Jesus,
that's a I'm just missing one other element like you
in there, like that would be my third Like I
need someone who so you see, that's where that's why

(59:44):
I chosen because what they did lay the groundwork for
so many.

Speaker 1 (59:48):
I'm a piece of Marvin for sure.

Speaker 3 (59:50):
Yeah, yeah, I feel that.

Speaker 1 (59:52):
All right?

Speaker 2 (59:53):
All right, who are you getting the styling from? What
do you want your artists to look like? Because I'm
short and light skin, I don't have to say Prince
m M. Yeah you know he's he's he cares about style.
He's a stylist. You know, guys always at their place
and all that. He was just always you know.

Speaker 1 (01:00:10):
I mean yeah, like that we take that performance performance style.

Speaker 2 (01:00:23):
We already talked about James Brown, but I want to
take it away from soul little But like when I
think of R and B, like R and B performer,
I don't.

Speaker 3 (01:00:35):
Want to be all like old school, this is this
is your voultry. Got to give it to like he.

Speaker 2 (01:00:44):
I mean, the king is James Brown. A performance. The
king is James Brown. He had the elements that produced
what became popular music and R and B. So he's
going to perform like James. He's just gonna have every
little footstud he's gone. But you know, have all all
the movie Yeah yeah, yeah, band, you know.

Speaker 1 (01:01:02):
Yeah yeah, Okay. Who you get the emotion from.

Speaker 3 (01:01:07):
Babyface?

Speaker 2 (01:01:12):
Babyface knows his gift and he knows how to pull
emotion out more than I think any other R and
B writer that has ever lived. He is an R
and B writer, the architect of so much of what
we know as R and B. I really give it
a lot of credit to Babyface. Absolutely, he's gifted and

(01:01:33):
he knows emotion, he knows silence, and he knows how
to use his voice and to pull back. I love
and appreciate Babyface a lot for that.

Speaker 1 (01:01:40):
That's a great he's a great lessons more kind of yes, yep,
he's able to do small thing to this day, he'll
get up in that he cut. Okay, we're not done.

Speaker 5 (01:02:00):
Top five.

Speaker 1 (01:02:04):
R and B artists, no order. There's the nineties R
and B that I grew up.

Speaker 3 (01:02:10):
I know, I know, I know.

Speaker 2 (01:02:12):
But there's there's like, okay, okay, just because okay, okay,
there's the you Maxwell, Joe, like di'angelo like I have
to give that that that important pivot in R and
B A name just that's that's honorable mention for who

(01:02:33):
I'm about to name, you know, but I gotta say,
you Joe, aren't uh di'angelo Max. There's more in there.
I can't I can't think of it right now. Tevin Campbell,
you know so. But but but the the ogs. We
would not have this if it were not for Donnie Hathaway,

(01:02:55):
Stevie Wonder, Marvin Gay Prince, and I'll say, Michael.

Speaker 1 (01:03:02):
Gotta that's a very architectual Diegest absolutely absolutely that's.

Speaker 3 (01:03:09):
Where they had. That's where all they had a lot
of kids.

Speaker 1 (01:03:12):
You know what I'm saying.

Speaker 3 (01:03:14):
But now I'm about to trip you up, all right,
trip me up. I love mentioning any women. And we
didn't say man are one? No, you didn't. You didn't,
you didn't.

Speaker 1 (01:03:23):
And don't catch me on this camera. Don't catch me
in this because that's that's a whole different thing I need.

Speaker 3 (01:03:32):
When you gotta pick your five, this one is your five?

Speaker 1 (01:03:37):
Is your five? All right, here we go. We're gonna
continue it. Top five R and B songs.

Speaker 2 (01:03:44):
Up or solo, Al Green stayed Together. When I think
of R and B, Let's get it on. Come on, Marvin,
take it time. Yeah, Stevie wonders which one I'm to

(01:04:06):
choose some Steve, it's like trying to pick your favorite child. Uh, superwoman,
Where were you?

Speaker 3 (01:04:14):
I needed you?

Speaker 1 (01:04:14):
Right now?

Speaker 3 (01:04:15):
Uh?

Speaker 2 (01:04:15):
Marion wants to be that that's the song is just
R and B. The chords and everything is just beautiful.

Speaker 3 (01:04:21):
Where were you I needed to? Uh? Ain't no mountain
high enough written by you know, the.

Speaker 1 (01:04:32):
Late grades.

Speaker 3 (01:04:33):
I mean that's like, that's like.

Speaker 2 (01:04:38):
I would say, Diana's version is beautiful.

Speaker 1 (01:04:41):
Who's vers Marvin's is more R and B.

Speaker 2 (01:04:43):
But I would say what what Astrod and Simpson redid
with Diana's version is just beautiful.

Speaker 3 (01:04:48):
It brings out the.

Speaker 2 (01:04:50):
A high point in R and B music.

Speaker 3 (01:04:52):
That was just what I'm like.

Speaker 2 (01:04:53):
The orchestra and the classiness of it, the elegance of it,
and sweet love Anita Baker.

Speaker 3 (01:05:03):
Around that.

Speaker 2 (01:05:06):
Anita Baker is just She's She's R and B. She's
on my top five. I don't care if I can't count.
Anita Baker is on the top five R and B singers.

Speaker 1 (01:05:15):
Baker is R and B. She's R and B back
and forth. She's what I know as R and B music.
She's with my father, you still always yes, which is
what I sell them.

Speaker 2 (01:05:27):
Anita the cord.

Speaker 3 (01:05:28):
My house grew up on Anita Baker.

Speaker 2 (01:05:30):
Anita Baker, Anita Baker and her band too. Like there's
those guys in the back and the Paris Sisters that
saying with the band too, there was another group that
saying from Bakersfield, Paris Sisters saying they sing backing for Anita.

Speaker 3 (01:05:43):
They were in that group too. They were like right there.

Speaker 2 (01:05:45):
So, but Anita Baker is very special being from that
scene that that Detroit scene with her dad having the
club like she grew up in it. That's all she knows.
She does it to one hundred percent. Every little lick
she does, it's it's just perfect R and B. H
Ever record she chooses is you know, giving you the
best that I got.

Speaker 3 (01:06:04):
You know, that's just perfect army and with you being
this show what's the name? I've seen it a couple
of times, but the documentary about background singers.

Speaker 2 (01:06:18):
Uh, feet from twenty feet I think it's twenty feet
from starts, feet from.

Speaker 3 (01:06:23):
Start, Yeah, something like that. But that's Yeah, it's an
amazing documentary that needs a part two, that needs a
part to executive produce. That you should executive produce. That
you absolutely should, right because it's a very instrumental part
of our business. Yes, Yes, that people just don't talk
about because there are nights where the main person doesn't

(01:06:47):
have it right and those background singers are saving people.

Speaker 1 (01:06:52):
Yep.

Speaker 2 (01:06:53):
Background singers save saving people.

Speaker 3 (01:06:56):
Then the audience may not even know at times they
can usually do what the artist does. And more and
more and more you think about, you think about some
of the Luther Vandruss was the background singer. Yep, Tank
was a background singers, Ye yourself.

Speaker 2 (01:07:11):
Loved and loved every minute of it. If I could
afford to do it all the time and make a
living do it, I would still do. I love I
say background the Voice for many years and that's where
I got a lot of experience at the Voice, but
also learning behind the scenes. The same people that worked
at the Voice worked at the Grammys, worked at the
Academy Awards. To this day, the AMA's, they're working behind
the scenes and you see them, and your life is
easier when you see them, like, oh, I'm good, you're directing,

(01:07:33):
All right, good, we got you here, we got the cameraman,
I know all y'all. This is the crew that does
everything the best and you feel like you're in a
family like at home. These are the same people that
have been working this for years. The stars have come
and gone, but the same saying to.

Speaker 3 (01:07:46):
Do something that we've never done on this show. And
it could probably get tough for you, but I need
you to do this because we need to put that spotlight.
Can you shout out some of the dope background singers? Absolutely?
Absolutely absolutely. I know when I started with Chari for Payne,

(01:08:07):
who's amazing to me and she's always been amazing to
me and that's one of my favorite of all time.

Speaker 2 (01:08:12):
But I'm you know, there's a family, there's a there's
a family that people may not know about. That that's
pretty core in this business. And the session singers for
all the movies and everything. You talk about Dorian Holly,
who did backup from Michael Jackson who's still in the game,
and he sings with me and we do cold Play together,

(01:08:32):
and his daughter in Nayana. You have my cold Play
sing with cold Play and they're amazing. I love cold Play,
So that's that's I mean. You have Mike, my girl
that I sang with for many years of the Voice,
Kara White Girl, Alto, craziest alto in the world. She's amazing.
Love her, Shout her out. Denise, Denise, Denise. She's one

(01:08:55):
of the baddest sopranos ever. My boy Nelson, who I
grew up with, also went to Oakwood else and took
over for me at the Voice. You have you know,
and like even Avery saying background for a while too.
I k name Avery's is starting his own right. But
you have like like those you know, Jason Jason who
does directs the gospel choir Jason White, and he used

(01:09:15):
to call me for gigs years ago. He used to
be minister music at West Angelis. He was raised bringing
in the singers, you know he did. He created the
samples Kanye's choir. A lot of my friends who sing
in the samples have been in this business a long
time doing session work. Then you have like Edie Botaker
who puts the lot of the choir sessions together. You
have Jasper, you have Bobby Page. You have just a
few vocal contractors that put together Sally Stevens, who's still alive,

(01:09:40):
the people who put together the stuff for the movies,
and they sing in the old movies, like the Peter
Pan and the old stuff. They could you could put
a sheet of music in front of them and they
don't have to even know the song.

Speaker 1 (01:09:48):
They just go.

Speaker 2 (01:09:50):
And so these singers never get the credit. And there's
a whole room of them and there. They're beautiful, professional, kind,
friendly and they can sing anything. And I love working
with them. I love, I love it so much because
they're the core of what we hear in Hollywood. I
call it like the choir room of Hollywood. When we're
together at Center stage and one of these places where

(01:10:10):
you're rehearsing, sir, and you see your family in there,
and those are the people that you're like, Okay, I
know we're good now, I know this is going to
be good. So's there's a lot more, but those people,
those people, the ones I mentioned Ganash, I've mentioned her,
the people I mentioned I've worked with for many years.
But the session singers are magical. Those are the ones

(01:10:31):
that keep everything going. You don't even noticing.

Speaker 3 (01:10:34):
Man, you gotta have a shout out, man, that's right.
And our brother Lonnie Bareal.

Speaker 1 (01:10:39):
Lonnie Barrell, Lani Manani.

Speaker 2 (01:10:43):
Recently, after years years, I saw DJ Cassidy's birthday party.

Speaker 1 (01:10:48):
Luke jaw Jane.

Speaker 2 (01:10:50):
Luke Luke I coached Luke I coach Luke Luke came
to my house with this song called I Want You.
He's like, I gotta sing this song. I put him
in opera soprano lessons like we were one, that really
crazy high song. He came over and we started working
on that. That That was years for both of us.

Speaker 3 (01:11:09):
He's one of the baddest things around, one of the
badest singer and my brother.

Speaker 1 (01:11:14):
Did a lot of shows and he was little. That
would be a dangerous room. You loop avery. I used
to bring Lukenie to the front of my stage and
just let him go crazy, go crazy. You cannot stand
back there and just do that. You gotta put the
light on these guys.

Speaker 3 (01:11:34):
And he stopped bringing my brother to the front of
the stage because he would take your.

Speaker 1 (01:11:37):
Brother, your brother. Your brother wouldn't wait. Your brother didn't wait.
He just there's a time where my shirt comes off.
It's choreographed. I know there's a time and Bob, and
Bob anticipated the snap. He took his shirt off, no

(01:11:58):
four bars before me for your and I look and
the girls are the girls are screaming. I'm like, what's
my shirt? I look back and he's doing this. We
didn't shut up. I'm like, taking my shirt off. I
don't even feel good. Streams are all streamed out.

Speaker 5 (01:12:21):
So I have to let Bob go.

Speaker 1 (01:12:22):
You can't do that.

Speaker 2 (01:12:23):
You just no, Bob, Bob got fire. But now, how
often do you work out? How do you keep this up?
Sorry to turn the tables, but no, Tank, I don't know.
I'm just like, I work out as as often as
I can. If I can work out six seven days
a week, I'll work six seven days a week. Yeah,

(01:12:44):
I mean, because like it didn't scare me that women
were screaming take your shirt off. Like I was like, okay, cool.
Some of them came for the teas, some of them
came for the music. I'm going to take care of
them all.

Speaker 1 (01:13:01):
It's your job to make everybody. I'm going to take
care of them all. You never know why people fall
in love with you, you know what I mean? And
so I just listen and pay attention and being in
shape and being an athlete. That's just second nature for me.

Speaker 2 (01:13:15):
And it's also part of your job and responsibility. And
so they became part of my job and responsibility.

Speaker 3 (01:13:20):
And his name is Tank.

Speaker 1 (01:13:21):
His name is you got to show up with you.

Speaker 3 (01:13:23):
You can't show up with the bird chest?

Speaker 1 (01:13:26):
Yeah I can't. I'm not going can't show up his hank.
You ain't hang. You have to show up Tank, isn't
you yeah to bring mm hmm. I'm forty six years
old and my wife is like, when are you gonna
stop taking your shirt off? I'm gonna say when.

Speaker 3 (01:13:42):
I can't.

Speaker 1 (01:13:45):
You understand when it's any.

Speaker 2 (01:13:48):
Artists that has that, any art has any artists done that?
Until forty six, like twenty two years taking their shirt off. Now, no,
don't take your shirt off anymore. Think, I don't know,
but he's tired that part. I think you out ran No,
you've you've outran every one idol and you're not close
to finishing like this is still no no, no, no, no, no,

(01:14:08):
I'm still no.

Speaker 1 (01:14:10):
Yes, you're still going to another level.

Speaker 3 (01:14:12):
You have a whole other level to get to.

Speaker 1 (01:14:13):
I'm probably gonna ye wants to.

Speaker 3 (01:14:16):
Compete in fitness competitions.

Speaker 1 (01:14:18):
Crazy. I didn't know that.

Speaker 3 (01:14:20):
Crazy.

Speaker 1 (01:14:21):
I'll see you, so.

Speaker 3 (01:14:24):
I think we're gonna promote it like you were after party.

Speaker 2 (01:14:28):
Were you always genetically like blessed like that to have muscles?

Speaker 1 (01:14:33):
Did you always have? Yes?

Speaker 2 (01:14:35):
I was always kindy and I'm just still I just
think some people are born with muscle drug tests in
an R and B. Some people might be born with
some help. No good genetics you have goody was going
singing like I have a blessing of singing. But but
some people are born I go to the gym.

Speaker 1 (01:14:55):
Once a week and no, no, no, no, I mean
I was naturally cut, Okay, naturally you know, athletic and
all these things. But when it came time to put
on you know, some real muscle. You know what I'm saying.
The word my first stop was G n C. You
know what I'm saying. I'm in G and C and
I'm like, what you do? Just it's creating. There's a
loading phase, all right, all right, all right, all right, okay,

(01:15:17):
that says anabolic and so I would just I was
just try and safely figure out the concoction to help me,
you know, push and get to that next level. But
back to you, my brother, We're not done with you.

Speaker 3 (01:15:34):
We got very very important segment of the show, most important.
Next on. Some people say, some people it's called I
ain't saying no names. M hmm. Well, you tell us
a story that's either funny or fucked up or both.
The only rule you can't say the names. Come on,

(01:16:04):
come on, you know you guys, I know you've got
a lot of stories. Yeah, seen a lot of things
been in some rooms. Just don't say no no, no, no,
no no no. That's about to be our new intro
to it.

Speaker 1 (01:16:21):
No no no no, we gotta no no no no
no no no no no no, you gotta clean. They're
gonna call for a royal Hey, guys, all right, I
got a story. Here we go. Story.

Speaker 2 (01:16:41):
I can't say no name very well known person in
the industry that I was around for a while. At
one point I can say that he's a rapper. And
so I never knew this rapper love love singing so

(01:17:01):
much and so.

Speaker 3 (01:17:04):
Oh it's gonna be dangerous. You're almost this is there's.

Speaker 2 (01:17:10):
A point where I learned that rappers really love to sing. Yea, yeah,
they grew up listening to singers a lot of times
as much as they did other rappers. Like, so they
really want to sing. And so with the advancement of
technology and auto tune, they can they can now.

Speaker 3 (01:17:28):
Hearing notes, and so I did. I was like, you know,
I'm not.

Speaker 2 (01:17:32):
I'm not.

Speaker 3 (01:17:32):
I don't say I'm a rap listener.

Speaker 1 (01:17:34):
I'm not.

Speaker 3 (01:17:35):
I listened to singers.

Speaker 1 (01:17:37):
So I I was singing. I was doing what I do, jam,
jam jam.

Speaker 2 (01:17:43):
This rapper gets in the piano.

Speaker 3 (01:17:47):
Stop the music, stop the DJ, just stop stop everything.

Speaker 2 (01:17:51):
One more song, please, Stevie, one more song, and and
and uh, let me know if I can sing it,
let me let me know if I could do the lead.

Speaker 1 (01:17:59):
I get one.

Speaker 2 (01:18:00):
Mike's on, Mike Stude goes. I knew it was going
to go downhill a little bit, and I just remember
playing the chords really loud. It might have been like
can you stand the rain or something that we all love,
you know, and I'm playing drown autle was about to happen,
and I turned the reaverb on all the way on

(01:18:20):
his mic all the way, trying to tweak it, turned
mine up his down. I was like, you know, boom,
it's supposed to be on a perfect day. I don't
know what I thought I was gonna hear, but I had.
I hadn't been around non singers in a long time.

Speaker 3 (01:18:39):
But it went.

Speaker 2 (01:18:40):
It went south right there, and all all my, all, my,
if people even knew, if people even knew, like how
how if this moment was ever filmed and out, it
would just be a catastrophe.

Speaker 3 (01:18:56):
A catastrophe.

Speaker 2 (01:18:57):
It went down that fast, and I remember having kind
of stop and swerve that song back into it, but
just out of respect for the song, I had to
swerve it back into the lane, and I was like, okay,
because I need some bye. I remember just doing that
and like like yanking that mic. I took that xol
R and I kind of yanked it out at the
bottom of that. Remember yanking it out? And I said,

(01:19:19):
he was like, what happens? Remember something happened.

Speaker 1 (01:19:22):
I took my head.

Speaker 2 (01:19:23):
I just yanked it out, and I said, I can't
be associated with anything that if this ever gets out,
I can't be the one on the piano.

Speaker 1 (01:19:28):
I will not be singing around around bad vocals like this.
I can't.

Speaker 2 (01:19:34):
I have a reputation up pole. I cannot be I
won't be singing around.

Speaker 3 (01:19:37):
So you're a vocal snop?

Speaker 1 (01:19:40):
Is there ever was one?

Speaker 2 (01:19:41):
I have to say that I've become I've become friendlier, friendlier,
but I am definitely a vocal I don't enjoy concerts
like everybody else. Vocal coaches are like that, it's me,
look like, why doesn't it sound like this? Soundmen are
my worst enemies, you know. I'm like, why isn't this?

Speaker 1 (01:19:57):
And so I am.

Speaker 2 (01:19:58):
I am that guy I am, And I accept that
that's where my snobbery lives. It's the only place that
lives a rapper. So, but I understand it was a stretch, yes,
where you didn't want them. Yeah, just I don't see
why rappers don't rap in the space just after the singing.
There's a point where I would just play the piano
you freestyle like they did. And then when I was

(01:20:20):
growing up in the eighties and nineties, you just put
a cool rap in there and we're all like, oh,
that's amazing.

Speaker 1 (01:20:25):
That'd be great.

Speaker 2 (01:20:26):
But no, they want to be the singer too, and
so it's a whole different game now. And when they're
on the mic that has the auto tune, it's a
different mic. That's studio mic. This is live performance mic.
All we got is a little reverb in here. You
got to be able to hold it. If that well,
So that's that's my story. Yeah, you can take a
million guesses of who it is. But anyway, I ain't.

Speaker 1 (01:20:45):
Saying no name.

Speaker 3 (01:20:47):
I'm sure I ain't saying them names.

Speaker 1 (01:20:54):
Bro. First of all, you told us you're putting out
a project on the Army Money podcast. Yet exclusive we
got the exclusive we got no no, no, no, no, okay,
sample go along with I ain't saying no names and
just more flowers. Man you are you are one of
the coldest man and your gift keeps us on the level.

(01:21:19):
And so keep doing more of that, you know what
I'm saying. Continue to be excellent. Continue to have those
spaces and forums where people can come and perfect their excellence. Yes,
you know see what I'm saying. Yes, absolutely necessary and needed.
We're gonna be sending people to you. We're gonna come

(01:21:40):
see you too. Come on and God to continue the
legacy of just of just what you are man and
what you do. Man, you're really really dope. Do you
take E B t.

Speaker 3 (01:21:53):
Ye whatever? I know you need something that.

Speaker 1 (01:22:03):
I know you need someone that baby, let me stuck
your fridge. I'm Valentine and this has been the R
and B Money Podcast, the authority on all things R
and B and so we have been blessed to have Stevie, Mackie.

Speaker 2 (01:22:26):
You. I appreciate you, appreciate you, Tank, thank you, Jay
and crew. Like that's what we're talking about. People who
are in the background we don't see right now, that
are always working. This is this is you know, kind
of dedicated to you, this episode, This is for all
people that work in the synergy. Takes a lot of
people to make a star and so yep, I really

(01:22:48):
appreciate it.

Speaker 1 (01:22:48):
I love being here.

Speaker 2 (01:22:49):
Was like sitting down with my family getting grilled.

Speaker 1 (01:22:51):
I love it.

Speaker 2 (01:22:52):
This is everything everything keep working hard. If you're a singer,
put the work in, put the work in. If you
don't feel like you should sing, don't sing. There's a
lot of people in line to be singers. We don't
need we don't need more singers like that. If you
feel like there's something in you, go sing, Go figure
out how to do it.

Speaker 3 (01:23:08):
And listen. Listen.

Speaker 2 (01:23:09):
You're born listen. You're not born singing, you're not born talking.
You're born listening first, listening. So that's your gift. Listen,
and then take that and try to do what you
can with it. So say that, so speak you know, man,

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Episode Transcript

Hosts And Creators

Tank

J. Valentine

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