INTERVIEW: Leon Thomas Talks 'Mutt,' Acting, Music, Working With Drake, Ye, SZA , 'Quiet On Set,' + More

The Breakfast Club Sits Down With Leon Thomas To Discuss 'Mutt,' Acting, Music, Working With Drake, Ye, SZA , 'Quiet On Set.' Listen For More!

See omnystudio.com/listener for privacy information.

Episode Transcript

Speaker 1 (00:00):
Wake that ass up in the morning. Breakfast Club Morning.
Everybody is the j n V.

Speaker 2 (00:07):
Jess Hilarious, Chelamaane the guy. We are the Breakfast Club
Laura La Rossa Field in for just today.

Speaker 1 (00:12):
We got a special guest in the building.

Speaker 3 (00:14):
Yes, indeed we have the brother Leon Thomas.

Speaker 1 (00:16):
Welcome, Bro. It's good, it's good. Hey y'all feeling how
you feeling?

Speaker 4 (00:18):
Bless Black and Holly favorite Leon.

Speaker 5 (00:19):
You are by far the greatest new male R and
B singer doing it today.

Speaker 1 (00:24):
Man, thank you so much.

Speaker 4 (00:25):
That shouldn't even be up with debate.

Speaker 1 (00:27):
Man, Man, I really appreciate that.

Speaker 4 (00:29):
Man, how do you receive it?

Speaker 1 (00:31):
I mean, you know, to be honest, I try to
just take it one step at a time, you know,
I try to stay humble with everything. But I'm glad
to be a new voice in R and B. You know,
it's a genre that I love. You know, I'm trying
to bring back live musicianship, real songs. You know, writing
with the team that I have has been in an
amazing pleasure and you know, just bringing like that that

(00:53):
organic feeling back to the live stage is like a
big thing for me.

Speaker 3 (00:56):
You know, one of your biggest fans who's a produce.

Speaker 2 (01:00):
Sit up here. He put us on to you years ago.
His name is Brandon, but he's actually this is the
funniest thing. He's actually in Africa right.

Speaker 1 (01:06):
Now, really Vietnam.

Speaker 2 (01:09):
But he's a huge fan of y'alls. He goes to
all your shows and all your concerts. Put us on
to you early, but he would have he would have
loved to see you here.

Speaker 1 (01:16):
For people that.

Speaker 3 (01:16):
Don't know Leon Thomas, you know you started on Broadway.

Speaker 2 (01:19):
Tell everybody how you got your start and your way
into being this R and B star.

Speaker 1 (01:24):
Well, listen, I grew up in New York, started on Broadway.
Out here. I did three Broadway plays from Lion King
the Carolina changed the color purple. You assembled like, yeah, yeah,
I was resembled in Lion King. And then you know,
I started booking movies and TV show.

Speaker 3 (01:38):
But how how was that? I just took my kids
to see it. It was insane. I was that training
because it's.

Speaker 1 (01:42):
A lot of shows, a lot of people.

Speaker 3 (01:45):
In his lives. So you can't mess up.

Speaker 1 (01:46):
No, no, you can't mess up. It's eight shows a week.
I was ten years old when I did my first
Broadway play. Shout out to my mom and my family
for you know, supporting me through that whole journey. And
and yeah, man, I went from being a regular kid
to starring on Broadway and a matter of months.

Speaker 2 (02:01):
You know, Now, how was that because it's it's not
the typical thing New York kids do, right, So you're singing,
you're dancing, you're doing it. So how did you get
it to that point of no, because you don't go
I don't know anybody it went to Brow It's very
different kids.

Speaker 1 (02:18):
I don't know. I had a couple of homies who
ended up in different plays, but for the most part, yeah, yeah,
it was definitely like a bit of an anomaly for
my neighborhood in Brooklyn. It was. It was kind of
weird explaining it to my homies at school, like, yeah,
I was just doing the show last night. They're like,
what was going on?

Speaker 5 (02:33):
Yeah, yeah, we're not from New York, from the hoods
of New York.

Speaker 1 (02:38):
Okay, But no, it was definitely a real pleasure, you know.
But but but from there, I ended up doing a
lot of TV and film. You know. I shot my
first movie out here with Robin Williams and Terrence Howard
called August Rush which was an amazing pleasure, and that
kind of brought me into a lot of a lot
of TV after that with Nickelodeon and Victoria Victorious. Yeah yeah,

(03:02):
Ariana Grande and you know, that was a big journey.
That was the number one show on the network at
the time. We were beating out American Idol, and it
was a way for the rest of the world to
kind of really tap into who I am as a creative.
But it it took years of really honing in on
who I am as an artist to get to this point,
producing and writing for a bunch of different artists, winning

(03:23):
a Grammy, working with Sissa and Babyface, Drake, a bunch
of different people. It's been a real actually produced for Drake.
But but you know, shout out to him and yeah,
allegedly man, but you know, from me, I don't think
there's anything wrong with it either. But it was a
blessing to I mean, it's interesting because I'm an artist

(03:44):
and people see me as a singer, they kind of
forget that I also produced a lot of big records.
You know, my production game is pretty tight. So but yeah,
all purpose.

Speaker 5 (03:54):
Lyrics like that of a rap But that's why when
I see Freddie Gibbs on your records, but it makes
so much it SEMs to.

Speaker 1 (04:00):
Be anybody from Victoria's absolutely man. You know, I chop
it up with Ari Avan, Joe Gia is a really
good friend of mine. You know, Matt Bennett, a lot
of the casts. We all hang out and do lunch.
It's kind of like my last two years of high
school were with them, so that's like my graduating class. Essentially.
We were all in school together, so you know, we filmed,

(04:22):
but we also went to school, so those are It
was my really good friends.

Speaker 5 (04:24):
To Victoria and her mom. I did a host of
the New Year's Eve specially with them for real.

Speaker 1 (04:29):
Oh that's dope, that's dope.

Speaker 4 (04:30):
People. You ever wrote for Ariana?

Speaker 1 (04:32):
Yeah? Actually I worked with her on her first album.
That was my first time going number one with an album.
I did about like four songs on her first album,
Yours truly Wow. So that was a real, real pleasure. Yeah.

Speaker 6 (04:45):
I was about to say like how did you know
so young? And like just being like Okay, I can act,
I can dance, I can sing, but I can also
go produce over here, like how because a lot of
people wait to diversify until they're like, you know, exposed.

Speaker 1 (04:56):
I mean, shout out to Jermaine Duprix. He used to
have this YouTube series called Living of Life. It was
a Jermaine Dupris and Brian Michael Cox, and they were
always in the studio like filming their process, and you know,
I saw them being rich black men, you know, also
being able to be creative every day, and I wanted
to kind of recreate that lifestyle for myself. Ryan Leslie
as well, like seeing a lot of his YouTube videos

(05:17):
inspired me to you know, open up logic and try
to produce myself.

Speaker 2 (05:20):
You know, did you know you always wanted to be
an R and B singer? Like it was that the
goal as a kid growing up, always want to be
an actor. Like and when did you pivot? When he
was like, this is what I want to do.

Speaker 1 (05:29):
Listen. I feel like I did this role with Catherine Bigelow.
She's an Oscar Award winning director, but I had to
cut my dreads for it, and that was kind of
like my last straw in acting. You know. I did
this role for Detroit and I felt like, you know,
I need to kind of tap back into who I
am as an artist. And you know, grew my dreads back,

(05:50):
really got into my internal self, meditating, really like tapping
into who I am as a human being, and a
lot of great music came out of that. You know,
I always I wanted to be uh a singer, but
I knew for a fact I needed to really present
myself as who I truly was. It's so easy to
play a character when you're always acting. You know, I

(06:11):
needed to come to the world as my true self.

Speaker 5 (06:14):
Now you are timas the third Yeah, first to leon
to have any background in music, not really.

Speaker 1 (06:20):
You know, but my grandfather. I didn't get a lot
of time with my grandfather, but but my dad always
told me that he was a real lover of music.
And my dad sings, but he's an assistant principal now.
But my grandfather, who actually recently just passed, God bless
his soul, John Anthony, was an opera singer and was
on Broadway and Hello Dolly, and used to be the

(06:42):
music director for One Life to Live out Here in
New York all of the soap operas back in the day.
So you know, I was definitely surrounded by music just
through through my mom and her side of the family
was musician. Yeah, yeah, yeah, yeah, so so so my
mom John Anthony, she she had a club day being
in New York, used to play it, used to be
the house band for the World Trade Center, you know,

(07:04):
played a lot of the big clubs out here, and
I just grew up backstage with her and you know,
just really hanging out, you know, learning, learning music. So
what was so the Black Rock Coalition. There was clubs
like CBGB's and a rare of different clubs where it
was kind of awkward at a certain point in the
nineteen eighties where you know, rock was created by us,

(07:28):
but there was definitely elements of prejudice within that genre.
And all of the black rock stars decided to come together,
you know, the cats from Living Color, a bunch of
them just all came together to really protect each other
through through through moments of you know, turmoil, through through
that season of the eighties and early nineties, and it's
just good to have each other's back, especially in the

(07:49):
genre where you're not always celebrated.

Speaker 7 (07:51):
When you were on.

Speaker 6 (07:52):
The like the sets when you like even with like
Victoria's and stuff like that, was your mom and like
your parents there often oh yeah, my mom on they
talked a lot about that too, Like parents were close.

Speaker 1 (08:03):
Now they were there, they were there. You know, my
mom was never like a mamager like over my over
my shoulder kind of mom. But she was also very
protective of my piece and met health and sure that
just like in a good, good space while I'm while
I'm trying to create something timeless and you know, shout
out to her always, you know, crean safe spaces for

(08:24):
me throughout that journey, you.

Speaker 4 (08:26):
Know, from getting slimmed.

Speaker 1 (08:30):
It was definitely nuts, definitely nuts, you know, seeing seeing
how definitely it's definitely definitely insane.

Speaker 4 (08:39):
Don't say that. Definitely nuts.

Speaker 1 (08:41):
Yeah, I know, I know, you know it's crazy. It's
crazy because you know, I just saw the dock not
too long ago. It's not the eye opening and and
a lot of my castmates we we hopped on a
zoom call. We all wanted to talk about it. I mean,
luckily during during our seasons it was it was very
wholesome and sip. But you know, shout out to anybody

(09:03):
who dealt with anything bad. I mean, I you know,
my heart definitely goes out to them.

Speaker 2 (09:08):
Did you have a childhood growing up like were you
able to do things that normal kids did or was
it always I'm on set, I'm working.

Speaker 1 (09:15):
Yeah, I mean, you know, to be completely real with you,
I had a great childhood. My mom made sure that,
you know, I had a good group of friends. I
went to public school up until my last two years
of high school. You know, I feel like having that
grounded energy was definitely important for even me as a
songwriter and a producer now and an artist. You know,

(09:38):
I feel like, you know, I come from a very
human place. It's not like I try to detach from
who I am organically. You know.

Speaker 5 (09:44):
The thing I love about your music too is number
one I can tell you, Ben, you got a sense
of freedom.

Speaker 1 (09:49):
Yeah.

Speaker 5 (09:50):
So did that come with money or does that come
with just how you came up? You know, with your
mom doing music? So you always felt free as an artiste?

Speaker 1 (09:57):
Yeah, I mean, you know, I think the greatest thing
about being an artist is at it's a It's a
great representation of being a free black man, you know, like,
you know, being able to wear what I want, you know,
say what I want on on record is really important
to me. You know. I try to stay as grounded
and as real to who I am as I can be.
I mean, I think it's it's it's really easy to

(10:19):
want to be an artist and play a character who
you think people want you to be. But I'm doing
my best to just like kind of just say what
I want, do what I want.

Speaker 6 (10:27):
You know, when you come up with songs with like
I like feelings on Silent with I Love Valle, but
songs like that, like when I listen to it, each
time I get something different from it. So the first
time I listened to I was like, oh, this is
like guys just being like we keep her feeling to herself.
And then the second time I listened, I'm like, this
is the trauma that they deal with because like he
mentions PTSD and a bunch of other things, like how
do you first of all, sitting back you wrote that, yeah, yeah, yeah,

(10:50):
sitting back and writing with him, how do you be like, Okay,
here's all the things that we want people to get
when they hear this, or do you guys just write
and whatever people get they get like where you dealing
with something yourself then?

Speaker 1 (11:01):
Or you know, the way I wrote that record was
really interesting. I was in I was in Italy actually,
I was working with Ya and Todd Dollars on the
Vultures one project, and we were at the Medici estate,
which is really beautiful four seasons that they have out there,
beautiful garden, and I'm listening to the instrumental from Conductor

(11:22):
walking through the Garden and I just had some lyrics
kind of you know, bubbling up in my head. Went
back and we recorded it, but I think it was
one of those moments that it was just kind of
stream of consciousness. I didn't really think too hard on
my sections. That was like my second take that you're
hearing there. It wasn't like me like kind of really
punching in a bunch of different ideas. It was just

(11:43):
kind of flowing. And when Wilee heard it, that was
probably the hardest verse to get because we did probably
we did like five sessions to get that one verse.
But Yo, he's so talented and seeing how he crafted
his verse, I mean he would do like five bars
at the time, and he really cared about the poetry
of it all, you know, And it's why I really

(12:04):
respect him as an artist.

Speaker 4 (12:06):
He's just a true lyricist.

Speaker 1 (12:08):
You signed the time, Yeah I am yeah, okay, yeah yeah,
easy money and uh, it's in conjunction with Motown Records
and just you know, between legacy and a new imprint.
I think it's been really cool to to kind of
break around in R and B right now. It's been
a real special thing.

Speaker 5 (12:23):
Do I feel like mot Town Records is doing enough
for you? I don't know why Leon Thomas is not
in heavy rotation on every radio station off the planet.
Whatever that button is that they need to push, it
needs to be pushed.

Speaker 1 (12:35):
No, I appreciate it. Man. Well, I feel like opportunities
like this are really helpful. I feel like radio stations
are definitely looking at at platforms like this to say, okay, yeah,
we feel comfortable, you know, trusting this new name and
new face. You know, I've been doing this a long time,
but I still look at this as a new artist
journey because I really just started like taking the artist

(12:57):
journey serious these these last five years. So I'm really
thankful for the growth. I'm thankful for the wins. And
there's you know, it's people working really hard at those
labels with actually a lot of underfunding and collapsing of
of uh you know, labels into one. It's it's it's
just a lot of work and a lot of people
are losing jobs, so people are afraid to push that button.
Sometimes it could be the demise of their entire you know, careers.

(13:21):
So I really respect the work that they're doing. I
just know that this year is going to be really
special for me man. I mean, I've been doing a
lot of praying and manifesting for just new things, and
you know, this was definitely on my bucket list. So
I'm just appreciative to be here.

Speaker 5 (13:34):
Really, have any program directors the DJ's approached you and said, hey,
if you slide me this under the table.

Speaker 1 (13:38):
Nah, Nah, definitely, Yeah, I got a new HOMIEI homie.

Speaker 2 (13:44):
We got to congratulate you on your GRAMM. Yeah, we
tell everybody that we helped with that because we played
Snooze every morning four times.

Speaker 1 (13:53):
Did you wrote Snooze produced on Snooze? Man? First of all,
let's clear this up. Shout out to Scissors for writing that.
We were producing in a separate room and she heard
the instrumental and was like, yo, what is that? And
you know there is something that I do where I
like take my voice and I chop it up like
a sample because clearance samples is really expensive and cuts
into the publishing, so rather than it's like actually doing

(14:17):
a sample, I'll just you know, sing a little something, right.
So she really liked that and then took it into
the other room and wrote an amazing song and being
a part of the production on that with Babyface legendary
baby Face was a true pleasure man. I mean it
was a real journey to see that song go from
like a crowd favorite to a Grammy Award winning R

(14:37):
and V song. Man, that was that was definitely life
changing for me.

Speaker 4 (14:40):
You got a deduction team, right, Yeah.

Speaker 1 (14:42):
Yeah, the Rascal was me, Me and and Chris tians Man.
We've been working together since we were like eighteen, so
it's really cool to see the growth. I mean we
started off, you know, a little shaky when it came
to production, but it's nice to see us, you know,
really develop into the producers we are now. We had
great mentors.

Speaker 7 (14:58):
Man, You have such you have such big moments.

Speaker 6 (15:00):
Like I thought I was tripping, but you just said
these last what like five years is when you feel
like things.

Speaker 7 (15:04):
That are really moving for you as an artist.

Speaker 6 (15:07):
Yeah, Because I'm like, I know you outside of being
an artist, but you have such big moments even before
that and during that, but it's like, I don't know,
like when do you feel like things started like to
click finally where people were like, oh, shoot, Leon like
we get it now.

Speaker 1 (15:20):
It's really interesting. I like to call it the Drake
effect when I was working When I was working with Drake,
all of a sudden, label executives who have known me
for years were like, eh, I think you could be
an artist, you know, And I was like, okay, So
I kind of peeped that and I said, okay, well
let's just start. Let's start kind of building this out.
But I knew I wanted that that same formula that

(15:43):
Drake had with a little Wayne and and you know,
working with Todd dallas signe was a really smart move,
not only because he's just an amazing artist, but because
it was just nice to have a mentor who had
done it already. So he's he's just like kind of like, yo,
try this, make sure the look as this, or you know,
even when it came to the music, like here's how
you really format an album, and you know, I'm definitely

(16:07):
doing a lot of studying, you know, shout out to
Todd dallas On for sure. He definitely you know saw
something in me that a lot of label executives were
not sure about, and it's cool to see it developing.

Speaker 3 (16:17):
How did you?

Speaker 4 (16:18):
How did you me?

Speaker 1 (16:19):
I was actually working on his album as a producer
on featuring Todd Dallas Sign. I was like one of
I think nine producers on a song with Kanye and
Thundercat and a bunch of other people.

Speaker 4 (16:30):
Nine producers on one record.

Speaker 1 (16:32):
Yeah, because it's like it was when it it was
like point five, Like I was just there out of
this or that vocal and like some bass or something.
And then but but he had everybody play like their
unreleased records and I played them some of my first
album as like demos, and Todd was like, yo, you
really You're really tight, you know as an artist, he
was like man, And he was originally trying to record

(16:55):
one of the songs that I had, but I was like, nah,
I want you to feature on it. And uh. Over
the years became really good friends. I was working with
them a lot and just kind of developed into a
into a whole situation with Sean Baron. Sean Barron is
the guy who officially like put it all together with
easy Money in Motown.

Speaker 6 (17:11):
Is it tough navigating because people are getting to know
you now and there Airboy's fall in love with your
music now, and like you have such a close association
with Drake, you have to like pick and choose where
you go musically and what you do musically with who
you know.

Speaker 4 (17:22):
Honestly, can you work with Kendrick Lamar if you wanted to?

Speaker 1 (17:26):
Yeah, yeah, yeah, I know that's what she's asking. I mean,
the way, the way I really look at it is
just like on a political level, I make R and B.
You know, obviously I make hip hop too, but I'm
really focused on my artist's journey. So I mean, Kendrick
is such a huge artist. I don't really foresee us
working together in the near future. And even with Drake,
you know, I still want to take my steps to

(17:48):
really build on my own two feet as an artist.
So I'm doing what i have to do right now
to really like grow my own business. Touring is a
big thing for me. I'm really focused on that. I'm
hitting the road all this year and working on more records.
So I mean, shout out to everybody, but I'm definitely
focused on me.

Speaker 5 (18:04):
I want to ask you a buggess question about the
production before we get into both of these great albums.
But you when you are part of the Rascals, Yeah,
if you all produced, but then you write, how do
y'all do you get another check for writing? Is that
two different checks?

Speaker 1 (18:17):
Or you know, publishing is interesting because you want to
leave room for the artist. But I would definitely ask
for more percentages if we were really heavily involved in
the writing as well. But it's it's it's just an
interesting thing, you know. I try to we try to
keep it pretty even on the most part when it

(18:37):
comes to production, especially if everybody who's in the room
from the beginning of the record.

Speaker 5 (18:41):
What if it's your pin, it's everybody's production with your
pin or.

Speaker 1 (18:47):
I mean it's like fifty to fifty, so you know,
you have the first fifty is the production side, and
the way I look at it is melody and drums,
you know, uh, And then the second fifty is, you know,
just the writing side, and it's just based off of
how much you ended up writing of the song. Because
a lot of artists are very involved with their storyline
and lyrics and hook ideas. So I have no problem

(19:10):
splitting that twenty five there. And then if I got
fifteen on the production or twenty five on the production.
Now I got fifty percent of a record.

Speaker 2 (19:15):
Y'all talk about that while y'all doing its.

Speaker 1 (19:22):
Trust me, we've definitely been through some things, you know,
after the fact that people get amnesia. But I think,
you know, it's it's really easier when you figure that
out the day it happens. You know. We used to
have split sheets there at the studio, which I thought
was a really good practice, but we kind of let
go of that.

Speaker 6 (19:42):
So talking about your phone and just in your notes,
be like I put this there, Like, how do you
keep up?

Speaker 7 (19:46):
Because you just eat.

Speaker 1 (19:48):
It's just way easier and I think smarter to just
split everything even you know, if you can.

Speaker 7 (19:54):
Doing that though, people want to keep it thinking.

Speaker 1 (19:56):
Yeah, yeah, I mean some artists with us, they are
especially if you write and producing the song.

Speaker 3 (20:01):
You know, how is it with Kanye when you do
splits and stuff like that?

Speaker 1 (20:04):
Oh lord, it's a little interesting, man, But you know,
shout out to him. I feel like that experience was
like more so just school for me on a production level.
I've never seen anybody be so magical with their imagination.
He would have these ideas and It was so cool
to see teams of people make that a reality. And
I think that's what I could take from that. I mean,

(20:25):
publishing is important, but you know, it's the it's the
true life experience from from seeing a free black man
put stuff together was like, really tight.

Speaker 4 (20:35):
How old were you when you realize Vibes Don't Lie?

Speaker 5 (20:37):
One of my favorite records, When you first realized Vibes
Don't Live?

Speaker 1 (20:43):
I think that was that was definitely early twenties. I
think LA is filled with facades and people who are
pretending to be something they aren't, people who moved from
their hometown and create a whole new persona. So I
think for me, just really studying folks, especially a lot
of them. I mean, you deal without their you know,
it's really important to study their actions and out their words.

Speaker 5 (21:04):
I love the fact that you are encouraging women women
to keep their pussy healthy.

Speaker 4 (21:10):
Did you ever want to be a collegist?

Speaker 5 (21:12):
No?

Speaker 1 (21:15):
No, no, no, I wasn't on the list. I just listen, Yeah,
I just listen. I just listen. Man.

Speaker 4 (21:20):
So they tell you, like, HEYY is not feeling the
best of this.

Speaker 1 (21:23):
No, I mean, I just think balance is a conversation
you know, I just listencause.

Speaker 5 (21:31):
You was very very specific. He said, uh, she only
drink water.

Speaker 4 (21:35):
She keep that pussy healthy.

Speaker 6 (21:38):
Sat on Twitter, you'd be talking crazy like that, but
you sing it so people can't be you had that
conversation in real life, which your home, like you're not
your home.

Speaker 1 (21:47):
Honestly, I'm just big on shock value. I think songs,
especially R and B songs, have gotten a bit not boring.
But I think we've we've kind of already hit the
golden era of R and B. So I'm just finding
new ways to make people's years, you know, perk up
and their minds move. I think social media and podcasts
are really interesting to me. You know, these phone mics

(22:08):
bring out so many conversations, and I think as an
R and B artist, I want to find ways to
let that live on the record, and it doesn't always
have to be like verbatim of what I'm going through
in real life. I think it's important to create the drama.
You know, I kind of see music as you know,
script and the score. So sometimes the records are just

(22:29):
like really good dramatizations of like what I'm seeing, don't
you never think.

Speaker 7 (22:34):
Everybody, but but like, w how does that go for
you now?

Speaker 1 (22:38):
I mean I don't think. I don't think it's now.

Speaker 6 (22:41):
Expecting you to be like, all right, here's the check,
Like how do you because you got the songs?

Speaker 1 (22:44):
Like yeah, yeah, you know, I definitely got the songs.
But I think it's just important to be honest with
your partner, you know, communicate. But but I think it's
it's a it's a pretty interesting conversation. I try to
stay out of if I don't have to. You know
what I'm saying. No, I don't even know what that is.
You put me all right now at a little.

Speaker 5 (23:03):
Bit, a little wax on it, a little pinky, put
the pinky inside of hold on, jump you got something?

Speaker 4 (23:11):
Try to putting in his health. It should be you listen.

Speaker 1 (23:16):
You should do it on yourself. I don't know where you.

Speaker 4 (23:20):
Do.

Speaker 2 (23:21):
That is nothing that South Carolina the same road thing
that they do.

Speaker 3 (23:25):
It doesn't.

Speaker 1 (23:26):
I do not try that.

Speaker 7 (23:28):
He that doesn't.

Speaker 6 (23:30):
Your mom never told you that you guys to make
it go drink ginger ales.

Speaker 7 (23:34):
Were talking about ginger up everything, not ear wax. Don't
listen to him.

Speaker 5 (23:46):
That's why you say, that's what's crazy.

Speaker 7 (23:49):
Locomol used to be like go get some ginger and
lay down.

Speaker 1 (23:51):
Wow about We love ginger ale around here.

Speaker 5 (23:58):
One thing I don't respect is what you did on
how fast though?

Speaker 1 (24:02):
What's up? What's up on?

Speaker 4 (24:03):
People? In Honda?

Speaker 1 (24:04):
No, No is one of the most reliable. I love
a good Honda. My dad has a Honda. I love Hondas.
Here's the deal. It was a quick bar, you know.
I was just in the booth wildy. I don't really
have a problem with it. I think it was just
more so I was just flowing, you know. And and
I'm I'm big on not doing too many edits, like
like when I when I record a record, it's like,

(24:25):
what's coming to my mind on the first or second
take is what's it's going to be there, you know.
And I like to stand on my my you know,
first mind. And it was more so just talking about
the competition being slower than I am because moving at
such a fast paced uh you know. The metaphor was
about that. It had nothing to do with Honda, but Honda,
you know, compared to a Lamborghini, is pretty you know,
pretty slow.

Speaker 5 (24:45):
No, civics are more reliable civics to stick with you,
like her bees.

Speaker 4 (24:50):
Bro. Yeah, what was your first car.

Speaker 1 (24:53):
My first car was Bene.

Speaker 6 (24:54):
Okay, you've been getting money for We just talked about
his career.

Speaker 1 (25:00):
Ultimately, like, no, no, no, that was my first one.

Speaker 5 (25:03):
Yeah, did your therapist really tell you that you're too detached.

Speaker 4 (25:10):
You don't commit?

Speaker 1 (25:11):
Nah, I think I think you know that bar for me.
I have a co writer, Busy Krug, and he lives
in Miami, great rapper. That was a bar that came
from him. He's very deep into therapy. But I'm glad
that we talked about it on record because I mean
it's something that I definitely did try out over the pandemic,
and it's something that I actually really respect you a
lot for a champion, you know. But but but yeah,

(25:34):
that was a that was a bar from Busy. But
I thought it was important to add in there.

Speaker 7 (25:37):
You know, don't try to blame Busy now, Nah.

Speaker 1 (25:40):
I mean it's you know, that's my co writer, you know,
shout out to him, you know what I'm saying. Like,
we we write a lot of our songs together, and
I really respect a lot of a lot of the
perspectives he brings to a lot of my poignant records.
You know.

Speaker 6 (25:52):
Yeah, some great bars for Dancing with When I listen
to Dancing with the Demons, do you.

Speaker 7 (25:57):
Ever get like Miguel references sometimes.

Speaker 1 (26:00):
Absolutely listening, I'm like, oh.

Speaker 7 (26:02):
My gosh, Like I wonder if like that, Like, are
y'all do you know him?

Speaker 4 (26:06):
Yeah?

Speaker 1 (26:06):
Yeah, that's like my big bro. We actually did a
movie together. He was in Detroit when I had to
cut my hair for he was. He was an amazing,
amazing mentor for me for some years. And you know
that bridge between R and B and rock and roll,
He's traveled across that bridge many a time. I definitely
look up to him when it comes to that. And

(26:27):
you know, for me, because I played multiple instruments, you know,
I definitely try to just embody a lot of that energy.
But but I think we both have the same influences
as well.

Speaker 5 (26:36):
I agree with Lauren on that Miguel to me before
you was the last great R and B male R
and B singer. To me, I'm just talking about the
new guy, right, Yeah, you know I'm talking about he
was the last one, uh to me. And I felt
the same way when I heard Dancing with the Demons.
I feel like I feel like you're talking to yourself
on that record.

Speaker 1 (26:56):
I am, I am, you know it was MI. I
was microdosing on shrooms for a lot of like those
batch of records, and it's it's it's like a very
interesting thing because it connects your neuro pathways in a
certain way and and you kind of start looking inward
a lot more. And you know, that record was was
was definitely like an internal conversation. Just on wax.

Speaker 5 (27:19):
You said you can't seem to save yourself or never
learn to ask for help, going out all night searching
for a feeling. Mm hm, So so what what what
have you learned to ask for help?

Speaker 7 (27:29):
And so what I thought, because I took it as
it wasn't talking about a woman at.

Speaker 1 (27:33):
Some point, well, I mean it's it's it's interesting for me,
like that record. When I wrote it, I wrote it
in two different days. The first day I was, you know,
micro dosing on shrooms, so it's a bit of a haze.
The next day I listened to it and I was like, man,
this is really poignant stuff. I mean, it's just really
talking about being up all night and searching for a feeling,
and it's trying to fill voids. I feel like as uh,

(27:56):
you know, when you're in your single journey, you can
you can try to fill a void with a with
a stranger, and that's not always very healthy. And it
could be fun. It could be fun, for sure, But
but but and then especially when you're when you're in
the limelight. The second verse is more so talking about
being in the limelight and trying to fill voice. Nobody
really talks about the darkness that comes with the flashing lights.

(28:18):
And yeah, that that that record was very deep and
very personal for me. You know, I'm glad that people
resonate with it.

Speaker 4 (28:24):
You said never learned to ask for help?

Speaker 1 (28:26):
Yeah, well, I mean I think it's It's really interesting
because one of the experiences I had with therapy was
I was with a therapist and I'm talking about all
this deep stuff in my life and you know, trying
to unpack things, and at the end of it, he's like,
have you ever been to a basketball game courtside? What's that?

Speaker 4 (28:44):
Like?

Speaker 1 (28:45):
He just started asking like all this stuff about like
like being being famous essentially, And I don't know. It
was just like an awkward moment for me, a place
where I thought I could be safe in that one instance.
Since then, I've found a really good therapist. But in
that moment, it was that finely one of those things
where it's like, damn, it's hard to ask for help
because even when you ask for it, sometimes you don't

(29:06):
get the right kind.

Speaker 5 (29:07):
I think when you're a black man, especially a black
man in your position, it's hard to find culturally competent
therapist because there's a lot of things that you're going
to deal with that you're going to want somebody to understand.

Speaker 1 (29:19):
Right, Yeah, yeah, yeah, yeah, absolutely, man. But you know,
shout out to the great therapists out there, you know, definitely,
it's definitely an amazing journey that that I'm trying to
dig back into a lot more as as I continue
to grow as a human being.

Speaker 2 (29:33):
Now you're talking about micro dosin on shrooms, But what
does that put your mind? And do you always do
that to produce and write?

Speaker 1 (29:38):
Nah? Nah, I mean, I think I think for this
this album, it was an interesting opportunity to kind of unplug.
I mean, I wasn't doing as many shows around that
time too, so it was really helpful to to kind
of just get into my own head and try to
figure out who I am. You know, I definitely did
a lot of manifest and a lot of just like

(29:59):
writing who I wanted to be as a human being
around that time, a lot of journaling, you know, and
looking back at that season in my life, it was
it was a journey for me to evolve into who
I am right now. I wouldn't suggest people just go
super crazy on shrooms or anything, but I think microdosing,
you know, a small amount could be healthy if you're
trying to just find yourself, you know, And at that time,

(30:21):
I was trying to find myself, you know.

Speaker 4 (30:23):
Yeah, microdose.

Speaker 5 (30:25):
Yeah, I don't really do nothing for me do it
just makes me it feels like everything is an HD.

Speaker 1 (30:29):
Right, Yeah, But I mean if you got real things
that you're trying to deal with internally, I think it
can you know, put that in HD as well.

Speaker 4 (30:35):
In Washington.

Speaker 1 (30:36):
Yeah, now see that that I mean, you know, I
feel like I need to go down and live some
more life before I really hit that that that will
Smith journey. You know, he always talks about eye and stuff, but.

Speaker 4 (30:46):
You only do it when it calls you.

Speaker 5 (30:49):
Yeah, exactly, Like for me, I was calling me for
like six I say, about six years, seven years it
was calling me.

Speaker 4 (30:53):
I did it for the first time last year.

Speaker 1 (30:55):
Oh wow, wow, wow, how was that for you?

Speaker 4 (30:57):
Incredible? I did a three day, three day journey man.

Speaker 1 (31:00):
Yeah, yeah, my boy, his dad runs like a whole
situation and I think Mexico or something, uh for like
ayahuasca and stuff. So I don't know.

Speaker 7 (31:09):
Maybe one day you said you were trying to find yourself.
Did you find yourself?

Speaker 3 (31:12):
Yeah?

Speaker 1 (31:12):
But I mean I feel like that's a constant journey.
That's like the whole part of finding yourself. You realize it.
It never stops because we're always evolving, you know. But
it's it's great that I was able to do it
through music. That that that was like a version of
musical therapy for me. And I'm glad that people are
resonating with it, you know.

Speaker 5 (31:28):
And I love how you're normalizing dogs on but I'm
not a dog anymore. There is a young, unhealed version
of me that would have really appreciated that that record,
because you make it sound so fun. It's almost like
women are just gonna bring you in, like me domesticate you.

Speaker 7 (31:46):
Nah.

Speaker 1 (31:47):
I mean, I was really just documenting what I saw,
but nah, nah nah, it's definitely it's definitely to me.
You post, you know, post breakup where where I just
had to I just had to figure it out. But
I think that's all a part of living, you know.
Do you get nervous though this was a post breakup album. Yeah,

(32:11):
this is a post breakup album. So this is me documenting,
you know, finding myself. First off, like you know, you
you're you're kind of broken after that, and then you
got to you gotta put the pieces back together.

Speaker 4 (32:20):
Her fault.

Speaker 1 (32:21):
Yes, No, that's not her faults, our fault.

Speaker 4 (32:24):
It's her fault that you ended up being a dog.
You went through your whole figure.

Speaker 6 (32:30):
Wait, so when you did Electric Dust, you said that
you were happily single during that project too.

Speaker 7 (32:34):
Yeah, you saw the relationship after that.

Speaker 1 (32:36):
Here's a deal. When I was when I was making Mutt.
When I was making Mutt, it was at the same
time that I had released Electric Dust. Like I started
Mutt at the exact same time that I was releasing
the Electric Dust. So we were at our tail end
when I was doing how Fast of our relationship and

(32:56):
then everything after that was breakup. So the first record
was like the only season where we were still together,
and then like after that was me just kind of
you know, coming through my brain trying to figure things out,
nights in La wilding out, you know what I'm saying.
But I think it it all turned into great music,
So you know, I'm glad I'm here to tell the story.

Speaker 4 (33:17):
Did a woman ever tell you that?

Speaker 1 (33:18):
For real?

Speaker 4 (33:18):
Like, take your time? Don't you rushing?

Speaker 1 (33:20):
Yeah? Well, I mean, you know, I don't know. I
think that's a that's a that's an interesting bar because yeah,
yeah it was. It was definitely a time, you know,
take your time. That's low down baby.

Speaker 7 (33:31):
Yeah.

Speaker 5 (33:31):
I think I think everybody should go through their whole phases,
men and women. You should go through that phase where
you get to just be free and be who you
are or who you want to lay down.

Speaker 3 (33:40):
We get it, that whole phase with brothers Man's.

Speaker 1 (33:42):
Yeah, it's nasty that.

Speaker 6 (33:46):
You're super famous. Your face, everything about your super recognizable.
So how do you like? I don't know if you
out the whole phase yet or not, but yeah, yeah,
how how did you because we hear about you?

Speaker 1 (33:55):
Yeah? Yeah, No, I mean I think it's just important
to really stay focused on being grounded and nice to
people and communicate, you know, that was the biggest thing.
But I'm definitely in the journey of you know, trying
to find my person right now. I know that may
sound corny to certain people, but I think, you know,
for me, I've seen so many examples of a huge artists,
very rich people who don't necessarily have love and a

(34:19):
support system around them outside of their family, and I
want to build that for myself in my thirties. You know,
I'm thirty one right now, so I'm looking forward to
like having that. You know, at the end of it all.

Speaker 4 (34:29):
You got about five more years.

Speaker 1 (34:30):
Yeah, yeah, but I mean, you know, when trying to
figure it out, Yeah, when I find the right person
on that down.

Speaker 5 (34:36):
It's gonna be hard for you to find that right
person because of who you are, you know what I'm saying, Like,
I know my woman for twenty six years, they've been
with this woman for.

Speaker 4 (34:43):
What thirty thirty is, you know what I mean.

Speaker 5 (34:45):
It's like it's gonna be hard for you just because
you are Leon Thomas.

Speaker 4 (34:49):
You don't even know if girls like you for you
for real?

Speaker 1 (34:51):
Yeah, yeah, I don't know. I'll figure it out. Yeah.

Speaker 5 (34:55):
I think it's very commendable too that on the song
safe Place, you let the person you're deal with No
this isn't a safe place.

Speaker 1 (35:01):
Yeah, yeah, I mean I think knowing that I wasn't
necessarily ready to settle down. I think that conversation definitely
came up a lot during I guess you were calling
my whole face, you know, just understanding like, yo, I'm
I'm not trying to settle down. This is a this
is a fun place, you know. This is a time
period where I'm just figuring me out. Work is crazy,

(35:23):
it's ecnic, you know. And I think having that conversation
was important to to, like you said, just avoid people
not understanding what it was at the time, you.

Speaker 5 (35:34):
Feel, Lauren, Like if you when you're a woman and
a guy comes you and the guy says, I'm a dog,
I'm a mutter a god said, look baby, we can
kick it.

Speaker 4 (35:40):
But just in the same place.

Speaker 7 (35:41):
I think it depends on the type of woman you are.

Speaker 3 (35:44):
You know, she's that person, she's the one.

Speaker 6 (35:45):
That tells don't listen to them, don't listen to them, No,
you are lying. I think that you can appreciate honesty,
but I also think that the honest it's unrealistic on
both sides, because eventually, if you're spending enough time together
regardless of what space is not you kind of get
in the habit even if you're not attached.

Speaker 7 (36:07):
No, not of lying, but like of wanting to be
with that person.

Speaker 5 (36:10):
Yeah, yea.

Speaker 6 (36:12):
Then emotions and feelings come that you both said in
the beginning, weren't it doesn't work out, the safe space
becomes it's exploding it like everybody's all over the place emotions.

Speaker 1 (36:20):
That's something I didn't really you know, identify in the song.

Speaker 2 (36:23):
But yeah, she's it's a person because you're honest in music.
But it's difficult to be face to face with somebody
and be like it's very it's very difficult.

Speaker 1 (36:31):
It's very difficult. But I try, you know, I really
try my best to be as honest as I can,
you know. But yeah, those are hard conversations, man. You know,
I can't sit here and say I've always done it
right or I'm perfect or anything. But I try. I
try to be like real, you know. I try to
explain myself. But even when you explain yourself, sometimes wires
get crossed, you know. So I'm packing it and communicating,

(36:53):
you know, it's an important thing.

Speaker 4 (36:54):
Later on, No woman won't hear that after she just
lets you hit ro.

Speaker 6 (36:58):
Yeah, it's yeah, it's not as a woman ever said
that to you when you were trying to like create,
Like all right, maybe this is like a thing.

Speaker 1 (37:04):
She's like, Yo, remember I.

Speaker 7 (37:06):
Don't want to do that.

Speaker 1 (37:08):
Yeah. Actually yeah yeah. In my in my early twenties,
I was talking to this amazing artist and yeah, she
was just like listen baby, the same safe place kind
of thing. You know, anybody know now She's like, no, no, no,
I don't think you can tear it up a little bit.
Yeah no, no, no. It was all good for me at
that point.

Speaker 3 (37:29):
A little bit.

Speaker 1 (37:30):
But yeah, yeah, you know, it was definitely you know,
it was definitely a realization for me. I was like, oh,
it can happen on that side too. I was like
twenty maybe twenty one, you know. Yeah, yeah, so I
was like real young, you know, green Like, oh okay, alright, cool.

Speaker 3 (37:44):
So you're all looking for a relationship now if the
right person.

Speaker 1 (37:46):
Yeah, yeah, I'm definitely I'm definitely in that mode right now.

Speaker 6 (37:49):
Are you would you date other like artists, celebrities or
do you like, how does that work?

Speaker 7 (37:53):
Are you doing?

Speaker 1 (37:54):
It's just tactic. I mean, you're kind of inviting the
media into your life, like the one safe place you have.
But I mean, who knows if I really catch a
vibe with somebody who happens to be fan. I mean,
I don't really care about that side of things, you know.
I've been in the game a long time. I've met
some beautiful women who are amazing artists. But it's just
about the human being, you know, And it can be

(38:15):
tough to to really build something if both of your
schedules are super hectic. So I don't know.

Speaker 5 (38:21):
Even that's difficult though, because you could be dating a
female artist who may be using you for your pen using.

Speaker 1 (38:27):
For you never know, You never know. But I mean, regardless,
I feel like there's it doesn't matter. There's always an
ebb and flow of like people using you for something.
You know, it's it's a given take no matter how
you really look at it. I think it's just important
to at least be with somebody who genuinely cares and
unpacking enough to get behind the facade. That is the

(38:47):
first six month filter I like to call it, when
people are acting all upright and righteous. You know, after
those six months you can really usually unpack and find
like a good idea of who that person is.

Speaker 4 (38:58):
So what does a safe place look like?

Speaker 1 (39:00):
For Leon Thomas, A safe place, you know, for me
is being able to be honest with that person. And
I'm goofy in real life, you know, so I want
to have fun. You know, life can be kind of serious,
So so I like my partner to be able to
have a good time with me, you know, watch movies,
go kick it, run around, you know, like like be

(39:20):
a big kid with me.

Speaker 5 (39:21):
You also, you had an interesting line in the song
where in a Safe Place where you say you put
that on your trauma, and like.

Speaker 4 (39:28):
Trauma is something that we're all trying to heal.

Speaker 5 (39:30):
From, right Like you like a badge honor almost, like
you put that on my mom, put that on my
mom on the home.

Speaker 4 (39:37):
Why do you put that on the trauma? Like what
does that mean?

Speaker 1 (39:39):
I mean, I think it all kind of plays into
the reasoning for why it's not a safe place, you know.
But but but it was a bit of a badge
of honor in that record for sure, for sure, because
I think we should we should be able to wear
our traumas in a way of being survivors of epic
things and being able to move move past that and

(40:02):
evolve from that. You know, m.

Speaker 3 (40:05):
Well, let's you want to get into a joint.

Speaker 5 (40:07):
I don't want to ask him a question too about
another record on far Affetched. Yeah, you said, because he
was having a big conversation to speak about tricking, because
you know, Skip Bail is a legendly Oh my god,
over somebody one point five and you say paid for
my mistakes and benzes and diamonds too, fifty fronted like
you was my artist. Five g's just across the Atlantic.
We sat in silence for almost two hours.

Speaker 7 (40:27):
Yeah, that's a horrible BACA.

Speaker 4 (40:28):
Quarter million dollars. Yeah, benzes and diamonds.

Speaker 1 (40:32):
Well, listen, when I wrote that record, it was not
for me. That was not a joint that I was
originally gonna use for me. It was for somebody really
famous and really rich. But I just love the way
it sounded, and I was like, well, you know what,
I love to speak in a world where I can
actually afford that, why not let's manifest that.

Speaker 5 (40:50):
Don't you feel as an R and B artist though,
when you write records for other people, but then you
sing to yourself, you're setting an expectation that's not real
for you.

Speaker 4 (40:58):
Because if I'm here, it's.

Speaker 1 (41:00):
It's hard, you know, like like I mean, I look
at artists like Black Sabbath, Ozzy Osmore really wasn't eating
thats like, but it's like it's it's so funny because
like in like in and well accidentally but but but
the whole thing is is that in rock and roll
and pop, they get to live in these fantasy worlds.

(41:21):
But it's so interesting in R and B and hip hop,
it's it's like, so it has to be so really
based and it's like, nah, I think it's important for
us to be able to imagine and dream and create
worlds that don't exist sometimes because I think that won't
stifle new artists from continuing to do the same thing,
like dream up the biggest thing. You know. Drake even

(41:43):
said in some of his bars back in the day
he was talking about rolls voices and Bentley's and shit
he just didn't have you know at the time. So
it's essentially me doing the same thing. And I always
speak you know, future future focused, you know, abundance mindset.
You know, I'm trying to build a world where you know,
I can definitely definitely afford that.

Speaker 4 (42:02):
So why not so you would trick, you would give
a girl.

Speaker 1 (42:04):
You know what, That's not how I be spending my money,
Charlot Mane, but just the fact that I could afford it.

Speaker 5 (42:10):
You know, let's go in Lucid Dreams, you talk about
just significant other leaving things behind.

Speaker 1 (42:16):
Yeah, that was a that was a fun record with
Massego after a breakup.

Speaker 4 (42:19):
Why do you think that topic is taboo?

Speaker 1 (42:22):
I don't really consider it taboo necessarily, but I think
it's just like it's just funny because for me, I
was living with my ex for like a couple of years,
so she just had like a closet filled with clothes
at my crib and it had been like a year
and a half since we were broken up, so we
were we were in the in the studio talking about
different things. Uh. The guitarist and producer on that song

(42:44):
Freaky Rob his girl left a flat screen at the
house that he had to use to watch Netflix, and
he was like, man, when's she gonna take this flat screen?
And uh, you know, Massego also had a similar situation
like that at his crib with the couch. So we
were all just kind of using all of our different
experiences putting it into a song, and you know, just

(43:04):
locking it in.

Speaker 4 (43:05):
It's different when it's closed.

Speaker 1 (43:06):
Yeah, did you clear you cleared out the yeah, definitely
clears out the Yeah, yeah, clear out the closet.

Speaker 7 (43:10):
Did you move out of the apartment or you just
cleared out the closing.

Speaker 1 (43:13):
Nah, I'm still at the crib, you know what I mean,
still at the crib. You know, there's definitely a certain
interior design choices I'm gonna switch up.

Speaker 6 (43:19):
So but it's like real recent yeah, yeah, yeah, yeah, yeah.

Speaker 4 (43:24):
You think these labels know how to market R and
B nowadays, especially Male RB.

Speaker 1 (43:27):
I think it's it's kind of it's kind of interesting
because we used to have one O six in park.
We used to have like a different perspective on R
and B, and I feel like the fantasy could be
alive in a different way. You know, a lot of
the music is driven by culture recently, which I think
is dope. But but but R and B is definitely
a place of fantasy, you know, Jodasy in the desert

(43:49):
and leather, like, you know, it's like it's like a
very ethereal place sometimes when you really look at it.
So I think it's really tough for labels to find
that that balance and especially because most and b artists
are like really inspired by by alternative music. So you know,
you got you know, your babies of Scissor and of
you know, Brand and Miguel even and it's it's kind

(44:11):
of hard. It's not the same thing they used to
have to market and a lot of those same.

Speaker 2 (44:14):
Executive as options, right because you think about it, before
the label gave people what they wanted to hear, oh
for sure, But now it's like you put out an
album and it's almost like they wait to see what's
on connects first, exactly what connects We're gonna go with Mutt,
you know, dance with Demons connects.

Speaker 3 (44:27):
So I think you give people of an option and
allow people to pick their.

Speaker 4 (44:30):
Own when they connect, they still don't know what the
hell to do.

Speaker 1 (44:33):
Yeah, I mean, it's it's it's tough. It's tough, man,
it's tough. I definitely don't envy their seat right now,
trying to figure out how to navigate through nine different platforms, uh,
social media, a TikTok that's about to go away in
a couple of months, and like Frank McCort, you think, so, Frank,
all right, bet, But regardless of ship's fucking nuts, like
everybody trying to figure it out. Like it's really hard,

(44:56):
it's really hard to deal with, you know.

Speaker 5 (44:58):
So yeah, and it I don't feel like it's a
separation either, right because if I look at Leon Thomas,
he looks like a rapper cunty, you know what I mean,
Like like there there used to be a look to
R and B sing.

Speaker 6 (45:09):
But your aesthetic is like fashion your shows, like the lighting.
I don't know if you did that a purpose, but
like the light shoes and stuff like that, it all
gives like an art creative like it's the vibe.

Speaker 7 (45:18):
But like, yeah, I'm.

Speaker 1 (45:20):
Saying what I want. No, I mean, I'm doing what
i want. Man, you know, I'm really just I'm really
just rocking, you know. I mean I think for those
of us out there in the R and B world
who want to have, you know, the six pack and
do the gy rating and the baby oil and shit,
like you know, do you think? But no, But what
I'm saying is is that like like like the whole
vibe of it is is is a that's its own thing.

(45:43):
I think what I'm creating creatively is my own world
and it's it's it's rooting and rock and roll. It's
rooting and doing what I want to do, you know,
and and I'm I'm glad I have the creative control
to go there. You know.

Speaker 5 (45:56):
That's the beauty of R and B artists though, because
there's so many RNs B artists that are just ugly,
but their music is so good that women love them.

Speaker 7 (46:06):
I mean like actually ugly, not.

Speaker 5 (46:07):
Just like cosmetically challenged cosmetically, but they get on stage
and they do that the deflexing and the singing, and
women they freaking mind.

Speaker 1 (46:17):
Right right, right, right, right right. What you're not calling
I was about to say, I'm.

Speaker 3 (46:21):
Like beauty because there's so many ugly not at all.

Speaker 4 (46:25):
For sure, It's not my place to say, for real,
la is the ugly?

Speaker 1 (46:30):
All right? Thank you, thank you, Lauren.

Speaker 3 (46:32):
Can we get into a song of that album?

Speaker 1 (46:33):
What you want to would be amazing this morning?

Speaker 4 (46:35):
What you want to hear? Right now?

Speaker 1 (46:36):
Let's play? Yes it is? It would be really cool?

Speaker 3 (46:38):
All right, Well, let's get into it right now. Yes
it is. The album is out right now, make sure
you pick it up. And we appreciate you for joining us.

Speaker 1 (46:44):
Thank you so much for having me. Man, it's a
big opportunity.

Speaker 3 (46:47):
Thank you so much.

Speaker 2 (46:47):
It's Leon Thomas the album What is out Now, and
it's The Breakfast Club, Good Morning.

Speaker 1 (46:51):
Wake that ass up in the morning.

Speaker 4 (46:54):
Breakfast Club