the headnodder session ep 51

Episode Transcript

Speaker 1 (00:00):
Not a session, drop it down the radio show.

Speaker 2 (00:08):
Time past fire in God's creation. I knew someday I
would rock the next so I gave up my mind
just what to do, and I do with the jam
Off production crew. We go crazy, We go crazy. Add
don't let your boy to be lazy, I say, don't
stop your body rock to the ice. I sighted to
get Hey, jad that right there is a very old
song right there. Y'all need to be really really really

(00:29):
really hip hop heads.

Speaker 3 (00:31):
You know what that is?

Speaker 2 (00:32):
That right there is. The song is called jam on It.
Back back when, another lifetime ago, when I used to
call myself a breakdancer and I broke everything. It just
wasn't dancing, but that was that was. The record is
called jam on It. The group is called Nucleus. So
you have to be really a hip hop here to
know that. I thought about that because I found some

(00:53):
of my old breaking stuff and I realized I was
just breaking bones. It was not a breakdancer, man. Anyway,
we make it happen before you right here, man, the
heading out of session, as we always paying how much
to the old school bringing up and hopefully paying how
much to the new school, as we help those artists
out take their music to us to the next level
and helping you to not put out any black ish

(01:15):
before it gets out to everybody else. This is the
place where you bring your music to us, get these
music professionals to get that honest feedback and construct the
criticism before you put something out that should not be out.
So we're here to help you. So if you want
to go ahead and submit your music to us, we
got a couple of music professionals here for you tonight.
Oh yeah. Gotta do is send your music to us.

(01:35):
That is, you can go to our social media platforms
at ig. The email is in is pinned by all
the other social media platforms. The link is in the chat.
So go ahead and send your music to us right now.
We've got a couple of songs we're gonna check out
tonight again. We're kind of music lights. You want to
get your music to us again, go ahead and do

(01:56):
that right now. Send it to us as fast as
humanly possible. MD let them know what's up walking up
the first song.

Speaker 4 (02:03):
Well, we're letting you know. We don't want no songs
that you guys got on Spotify.

Speaker 5 (02:07):
If you release it already.

Speaker 4 (02:09):
This is the wrong place to send it, but you
can still send it because if it ain't done right,
we're gonna let you know it wasn't done right and
you shouldn't have put it on that platform.

Speaker 5 (02:19):
However, if the feelings are hurt, we.

Speaker 4 (02:22):
Don't give a d ass cause we try to guide
you in the right the right track, and we don't want.

Speaker 6 (02:28):
You to look like a food in the future.

Speaker 4 (02:30):
So sit back, RELATX and get ready for the ride
of your life. New music from new artists at the
only spot we called the hit.

Speaker 6 (02:41):
Not a session.

Speaker 2 (02:43):
Yes, and also let you know this is also available
here for entertainment purposes only. All right, So let's go
ahead jump in to the first one. This is the
first one that was sent to us yesterday, So I'm
gonna go ahead and jump into this one. Javier Goodwin
songs called against my Soul, I've here a good wind,
songs called against myself.

Speaker 7 (03:02):
We are good, good good?

Speaker 2 (03:04):
How you good?

Speaker 8 (03:06):
Yes?

Speaker 2 (03:07):
Sir? Okay to check it out out.

Speaker 9 (03:18):
I can see anywhere you like trees.

Speaker 10 (03:25):
And yes my soul?

Speaker 2 (03:30):
Hey, what happened there? I mean, we go ahead and
let me go and download the whole song. Maybe I'll
just do it that we're the leading to doing tonight. Man,
we causing destruction. I guess so. I guess so, and
try the second time to make it happen.

Speaker 10 (04:00):
And see you can buy trees pain.

Speaker 8 (04:03):
And how you feels like treating dance my soul, treating
a kiss past, that's all.

Speaker 10 (04:15):
I can see.

Speaker 11 (04:16):
And cheese in with How you feels like cheesing against
my soul, chasing a.

Speaker 10 (04:26):
Cans That's all because any sheree steak imagine.

Speaker 9 (04:32):
How to turn so then he goes me you will know,
but can buy you everything you like.

Speaker 10 (04:42):
Then you don't hacking buy my love.

Speaker 12 (04:44):
God know you had it done hard times A fig
read there with me, but.

Speaker 11 (04:54):
Lat me with us and going the w I can
see you and my chosen fell.

Speaker 8 (05:06):
You feels like cheesing against my soul, treating a car
against my soul, treating a calcause I can see you
begin my cheese in fee you feels like cheasing against my.

Speaker 12 (05:25):
Soul, chasing against my soul.

Speaker 10 (05:36):
Maybe m M.

Speaker 11 (05:47):
Babe tachan campaign you don't pay at paty.

Speaker 10 (05:57):
We got your I don't feel the pain should have
went with me?

Speaker 12 (06:01):
Man it you coulda who.

Speaker 8 (06:09):
Deals like.

Speaker 13 (06:11):
Listening treats mycast treating.

Speaker 10 (06:18):
Like you fails like chees danced my.

Speaker 12 (06:27):
Song Jesus not sogainst my soul.

Speaker 14 (06:32):
Jesus.

Speaker 2 (06:37):
Yeah, that's how he here, gooding against my soul.

Speaker 15 (06:45):
All right.

Speaker 2 (06:46):
John looked like this record here might be already out,
and I'm looking at this here and I noticed it. No,
he had some uh yeah, yeah, some some background, I'm sorry,
some artworking out of Yeah, I think it is already
out anyd. What do you think about it? In the way.

Speaker 5 (07:01):
It was a nice song, but it's not ready for
the public.

Speaker 16 (07:04):
Uh.

Speaker 4 (07:05):
The chant that they was doing, uh, at least I
think that was a chant, but it was it was.
It was out of contrast. It didn't meet the criteria
for that song, you know, and it needed background. That
song needed background. He didn't have no background in it
at all. Unless he considered that chant his background. That's

(07:28):
if that was his call, the chant being his background,
then he screwed up.

Speaker 5 (07:35):
No, But he sung it.

Speaker 4 (07:37):
He sung it nice, but he's missing a couple of elements,
you know in that song. It sounded like a sound
like a good demo, but it's not no finished product.
Because I could have took that song as a producer
I could have took that song two other directions.

Speaker 5 (08:01):
Using it sane D vocals.

Speaker 2 (08:04):
Okay, all right, dj OA, So are you are you
familiar with the Javier Gooden?

Speaker 7 (08:09):
Yeah, yeah, yeah, familiar with Yvier.

Speaker 17 (08:13):
Met Javier actually on the clubhouse at when he was
thirteen years old, him and his father DJ mister Dirty
Fingers probably who actually submitted that with Funk Nation Records.

Speaker 2 (08:30):
Okay, yeah, let me see who who is send this
over to me. I'm sure that was Dirty Fingers Funk Nation.

Speaker 6 (08:39):
That was.

Speaker 2 (08:44):
Uh Roberto Gooden, that's who sent to whoever that is?

Speaker 17 (08:51):
Yeah, yeah, that's Dirty finger Yeah, that's Pops. That's Pops.
So yeah, it's son and Pops. It's a family business
that they have over there. I'm not gonna go too
hard on it. The Dirty Fingers know some of the
things that I mentioned, but it definitely to me, was
not ready or was it a good song?

Speaker 6 (09:12):
To me?

Speaker 17 (09:12):
Yeah, he sung it pretty well. There's some things that
could have been done a little different. Yeah, especially on
the engineering side. I don't think that was the best
possible mixing master that record. But again, as far as
having a good canvas, it's definitely a good canvas.

Speaker 7 (09:35):
But it needs some work.

Speaker 2 (09:37):
Okay, yeah, all right, all right, living next to human chandelier.
What do you think about it?

Speaker 18 (09:46):
I thought that.

Speaker 19 (09:48):
I thought it was a great song. I like the vibe,
you know, it's set, the tone, especially like when it
went off. I like the vibe that is set when
it was going off. I thought it was a pretty
cool song.

Speaker 2 (10:00):
Okay, that's what's up. H Kelly, Good. What do you
think about the record?

Speaker 20 (10:07):
I love No Hate Man. I like when he was
saying in my soul that was it was a catchy hook.
You know, he had a cool voice. I like it.

Speaker 2 (10:17):
Okay, all right, that's what's up. Cool beans. All right,
we're gonna roll on to the next record right here.
The next one is Hollywood Turk, Hollywood Turk em. This
came by way with Angels Clubhouse, Hollywood Turk songs called
uh Paradise, Hollywood Turk sounds called paradise. Let's shake it out,

(10:53):
very and I.

Speaker 21 (10:55):
That's been a champagne.

Speaker 22 (10:57):
It's a day party, glue full of drinks and were
rolling up the stink. I got sent up in my fiend,
grew up in the country. I was playing in the
creek now Mina. Kelly never thought the swear I been
venus with the team every day. Light sweare used to
be a dream. Now when you know him, y'alls with
some pretty things things southern California where it never rains.

(11:18):
If I've been so cool, I came out and do
that on an islands, including in Paradise. I'm in Paradise,
Key Paradise, and them I'm in Paradise.

Speaker 5 (11:40):
Yeah, yeah, every day it being sunshine.

Speaker 3 (11:44):
I'm saying, why don't reach out.

Speaker 23 (11:45):
I ain't got no Wi Fi, so I don't hear
my life heard hies you said, got on with my
life like a parentized Jain said.

Speaker 24 (11:51):
Then if I got an ice hunk in the minions
they give.

Speaker 23 (11:53):
In advice, I'm over. How long as I got defending
at night? I mean location, I run to the man.
They ain't wait, and I ain't got no patient. And
this what I'm nice, I would say, I've been crying up.
I live every day on my life like vacation.

Speaker 21 (12:05):
Paradise, in Paradise, Paradise.

Speaker 2 (12:25):
That's Hollywood Turk songs called paradise, Hollywood Turk so songs
called paradise. All right, what do we think about that? One?

Speaker 6 (12:32):
M D?

Speaker 2 (12:34):
What you think.

Speaker 4 (12:36):
It was a nice demo, too much auto tune. He's
missing some elements in that song. Man engineering with that good,
you know, mm hmm. From one to ten, I give
it about a four.

Speaker 25 (12:56):
Five.

Speaker 4 (12:57):
I'm nice, h And that's on the that's on the
that's on the production side. As an overall as as
a potential good song, it can be a potentially it's
a potential good song, but it has to.

Speaker 5 (13:13):
Be engineered right.

Speaker 6 (13:15):
It has to be.

Speaker 4 (13:16):
It has to be a rage and they're gonna have
to do the music from scratch. That was a that
was a beat maker beat that they took off a
two track mix that he song on top of it.
That music wouldn't wasn't designed for him, We designed for
somebody else. Or it was a it was a track
that he was selling to selling to everybody. You can

(13:39):
tell the way it was muff.

Speaker 2 (13:44):
Well it was.

Speaker 5 (13:45):
It was a nice demo, nice but not ready for
the big time.

Speaker 2 (13:51):
DJ. Wait is it a demo or is it something he.

Speaker 8 (13:54):
Could work with?

Speaker 17 (13:57):
I was probably scraped the whole thing. Honestly, it didn't
even make it the demo to me. Okay, it wasn't
real well written at all. Then for the type of
production that it was all that pitch bending with the tune.

(14:19):
It wasn't very smooth like the production, so I know
what they were going for, but it just wasn't it
for me.

Speaker 2 (14:28):
Hmm okay, all right, all right, all right, Brita Lavinaxe
to Human Chandelier? Did this so move you in?

Speaker 16 (14:34):
He?

Speaker 24 (14:36):
Yeah?

Speaker 18 (14:36):
I thought it was cool. I honestly feel like it
needs a way better mix, but I thought it was cool.

Speaker 2 (14:44):
Okay, that's what's up, Kelly Good? What do you think
about it?

Speaker 20 (14:52):
Did a track? It was kind of difficult for me
to hear, so it sounded like a lot was going on,
so I can't get my full on it.

Speaker 2 (15:02):
Mm hmm okay, cool, all right, all right, well let's uh,
let's go ahead and check out another one. All right,
this is gonna be a listen to record only because
this artist is already out. I've seen her around La,
so we're gonna play a little bit of this. We're
gonna take you to church chash for a little bit
right here. This is LaTrece Lawrence. Song is called here.

(15:24):
It starts with me, LaTrece Lawrence.

Speaker 18 (15:26):
It starts with me for sure?

Speaker 2 (15:28):
What's it again?

Speaker 18 (15:29):
I said? I had a conversation with her earlier. That's
what's up.

Speaker 2 (15:32):
Oh okay, all right, we're gonna play your record right quick. Here,
play a little bit of this record right here. We're
gonna take you to church. Let's make it happen.

Speaker 7 (15:38):
Here we go.

Speaker 24 (15:40):
I knew ya, and remember that.

Speaker 26 (15:43):
You have to concentrate on you because there's a greater
reward waiting just for you.

Speaker 10 (15:53):
It starts with you. I look in the mean, but
I don't recognize when I see searching for the pieces.

Speaker 27 (16:08):
The uniquely created.

Speaker 12 (16:12):
So the peace and the live side?

Speaker 10 (16:15):
And I know is if drifting away?

Speaker 12 (16:20):
How can I buy what's truly a side?

Speaker 27 (16:24):
When I can make it through the day.

Speaker 6 (16:29):
To lean on?

Speaker 10 (16:32):
Who can see me?

Speaker 28 (16:37):
To my call?

Speaker 10 (16:38):
When I lost it all?

Speaker 2 (16:40):
Will I ever be.

Speaker 17 (16:50):
To get away from the special?

Speaker 26 (16:59):
I need to break, freeze, to get away from the
space me. He reface is heavy on my spear.

Speaker 10 (17:20):
Wave and on my heart. Picking at the pacess. It's
where I need to stop. Damn, my heart is bleededing.

Speaker 27 (17:36):
God, this truly.

Speaker 10 (17:40):
Confused from the beginning, torn upon.

Speaker 29 (17:45):
From the fiery.

Speaker 10 (17:52):
Will I ever see me.

Speaker 12 (17:57):
Call?

Speaker 10 (17:58):
When I lost it off?

Speaker 13 (18:00):
Will I.

Speaker 10 (18:02):
Be free? Who to rat? I need to brave free,

(18:27):
stay away in fromt of masery.

Speaker 12 (18:32):
Who I'm down on.

Speaker 27 (18:37):
My knees beg can you please Lord, can you.

Speaker 10 (18:41):
Get my car? I'm gonna stand Tom's I'm passing in.
I will die. I have a fire, I cherish my mouth.

Speaker 26 (18:54):
I'm gonna start right down being reconfessional.

Speaker 9 (18:58):
He asked me, I'm going to my bas and follow
my heart me reconfessions of me?

Speaker 10 (19:08):
He old to my jes that's hot?

Speaker 8 (19:11):
Is it?

Speaker 11 (19:11):
See me?

Speaker 10 (19:13):
Reconfessions of me?

Speaker 27 (19:15):
He's my eyes on surprise, my head is it high?

Speaker 26 (19:20):
Almost lost it all, but I didn't fall, stayed on
my ride and win in.

Speaker 12 (19:27):
On my mind.

Speaker 2 (19:29):
It starts with you, Latrice Lawrence. It starts with Meatrice Lawrence.
It starts with me, all right, what's missing?

Speaker 18 (19:50):
Who are you talking to? Accent? What's missing?

Speaker 2 (19:55):
What you say that?

Speaker 4 (19:58):
Yeah, she needed a piano to help her with a
combination of quarter and thirty two notes played behind her.
They needed to take some of that reverb off of
her because her voice is two nights for all that
reverb through the whole song. Reverb aren't supposed to come
in in certain parts of the song. You know, highlighted

(20:20):
reverb is a highlight thing. She didn't need to reverb
to make her sound good. She already sounded good. A
good producer would recognize that, and she needed like a
grand piano playing alone her chords to get keep her.

Speaker 5 (20:36):
And check of her her delivery. That's I said, she's
missing todays.

Speaker 10 (20:43):
Too much reverb.

Speaker 5 (20:46):
And she needed acousta.

Speaker 4 (20:48):
Not acousta, but a grand piano sound on that song.
It was a range right, It was a range right,
just missing. They're just missing those elements, see everybody, Because
the engineer really half that, I'm gonna say the majority
of that mistakes is on the engineering part.

Speaker 5 (21:10):
You know, that was the engineer. But for a producer,
he should have had a grand piano in that, okay, okay, and.

Speaker 4 (21:19):
They should have been on a on a format of
quarter notes with a mixture of thirty second notes.

Speaker 5 (21:29):
If you guys understand, If you guys understand.

Speaker 2 (21:31):
That, okay, personally no, but I'm sure somebody else do.

Speaker 4 (21:37):
And I'm only talking on the standpoint as a producer,
got you, I would have never let that got out
of the studio until I would have made those corrections,
and I would have brought an engineer that knew how
to mix it and and what the experimented with the reverb. See,
a lot of engineers don't recognize a great voice when
they hear it. That's why the producer is supposed to

(21:59):
be there to control that element.

Speaker 2 (22:03):
Okay, uh, DJ DJ A O White. What do you think.

Speaker 7 (22:08):
Personally?

Speaker 17 (22:10):
I think vocally she played it like really really safe
and it took away from the song. They did minimum
instruments to showcase the vocal talent, but it it just
didn't happen for me.

Speaker 10 (22:23):
Uh.

Speaker 7 (22:23):
It was supposed to be soulful and she just she
missed because she played it too safe.

Speaker 2 (22:31):
Gotcha? Okay, living next to you, Michelle, what do you think?

Speaker 19 (22:35):
I think she has a beautiful voice. I've heard her
sing live before like she is, she is amazing live.
I think it was a great song at the end.
I wish the I wish it ended up a little differently,
not with her, but like with the music at the end,
like you know, she she's doing her thing.

Speaker 18 (22:56):
But again like she has a really great voice and
she's a great person.

Speaker 2 (23:01):
Mm hmmm, Kelly Good, what do you think?

Speaker 20 (23:06):
A lot of four things? One not so much. The
first one now very seasoned, like a seasoned queen. It
was giving me her voice gives me like a gospel
type of feeling. So you know she has a lot
of confidence. You can hear it when she's singing, so
you know she's getting the party cause. But it was

(23:28):
the last thing. It was just something was a little
off with her voice. I couldn't really tell. It was
just something that was just throwing me off with the singing.
But I can hear this. You know, the potential in
her and what she's got.

Speaker 2 (23:43):
Yeah, she's really a gospel artist.

Speaker 5 (23:47):
Well she can go R and B two. You can
hear it. You can hear it.

Speaker 4 (23:51):
And like I said, the only reason why, like Ato
eight said, she was a fan of Stafe, the only
riot I think she was fan of Safe because she
didn't have that grand piano plan the thirty second quarter
notes to keep her in check of using her vocals
the correct way. You know it was it was like
it to me, it was like a demo. We've got

(24:12):
an idea, that's take it. As a producer, he's supposed
to he's supposed to recognize her talent instantaneously.

Speaker 18 (24:21):
Yeah, I feel like I understand the whole plan is
Safe thing because she has.

Speaker 19 (24:25):
A really big voice like voice and you know like
sometimes you know, like you try to put that voice
in a box just to like get the song done.

Speaker 18 (24:35):
Like she has a great voice. I mean, like her
voice is big.

Speaker 19 (24:39):
You know how you said Jennifer Hudson's voice is big,
Like she has a a big voice. You know, like
you really didn't hear like what she can one hundred percent,
do you know? Like I'm telling you, like i've heard
her live before.

Speaker 4 (24:57):
Well you can blame you blame that on the producer
if she had to produce her well, whoever was the
vocal producer.

Speaker 17 (25:05):
I definitely say that pushing her to make that song
the best possible product or representation of her right. And
that's why I said she played it safe. I can
hear that she she can sing and has a big voice.
That's why I said vocally it was played safe.

Speaker 7 (25:24):
On that song.

Speaker 4 (25:25):
She didn't want to She didn't want to steal second
base or third base. She just stayed at first until
somebody had a hit. Yeah, and then she and then
she moved freely, untouched. That's why I said she was
missing that that peep that piano going in quarter and
thirty second notes to bring her range out, and she

(25:50):
was missing.

Speaker 7 (25:52):
That reverb.

Speaker 4 (25:55):
It spread her out too much. It spread her out
too much. She didn't need no re or only in
certain spots when she probably hold a note, you can
put a quick reverb on and off real quick to
go along with the with the note that she was
doing it.

Speaker 5 (26:10):
But other than that, yeah, she got a great voice.
You can hear it.

Speaker 4 (26:14):
Unfortunately, artists like that get with engineers and producers who
don't know what they're doing, and people like me and
eight o eight and you guys, we pick up on
it quick, you know, and it's it's no, it's it's no.

Speaker 5 (26:30):
It's no fault to her.

Speaker 6 (26:32):
You know.

Speaker 5 (26:33):
I fought the producer and I fought the engineer.

Speaker 19 (26:36):
Right now, I think the I think the producer is cool.
But I feel like what you saying, I'd like to
hear that too. I'd like to hear like what you're
saying should have been there.

Speaker 5 (26:48):
M hm, and you and you hear the difference.

Speaker 3 (27:00):
I don't know if I don't know if you guys
carry at.

Speaker 13 (27:02):
All, I don't know.

Speaker 18 (27:05):
You hit it out.

Speaker 2 (27:07):
That never made that was I was trying to turn
turn it off right there.

Speaker 18 (27:11):
But shout out to her though she she's a great art.

Speaker 2 (27:13):
Yeah, yeah, yeah, definitely shout out to her, Low Dead.
It's how you doing tonight?

Speaker 20 (27:17):
Man?

Speaker 1 (27:19):
I'm man, I'm recover from this road right here. You know,
you know, been been driving my butt offs. But I
definitely agree with m D. The basis of it is
she's less chords and more composition.

Speaker 3 (27:37):
Composition.

Speaker 1 (27:40):
There's artist arrangement and then there's songs arrangement, and you
have to have that in a composition. This is a
this is a record that she's supposed to become an
instrument in, not become a voice over. And I think

(28:02):
that makes all the difference.

Speaker 10 (28:03):
In the world.

Speaker 2 (28:05):
Okay, I don't know, I don't know what you're coming
in on, but right now it doesn't sound too good,
Low Dig, so uh on the role if you can
as soon as you get home, get back on here,
because you sound horrible tonight on here. So I don't
know what's going on, but I'll continue to work on
a Mayan.

Speaker 3 (28:21):
You're being minute, you're being mint. I'll up a little bit.

Speaker 2 (28:24):
Okay, maybe hop back on hot back off when we
get home. Okay, all right, man, that's Low Digs right
there checking in.

Speaker 5 (28:30):
With Tonight's sound like you're going through the mountains.

Speaker 2 (28:33):
Yeah, he's going through something where he's not sounding too well. Uh,
Eric Dale Olavera, Olavera pronounced that right, sir? If I
did miss miss bounce.

Speaker 3 (28:43):
Now that wrong?

Speaker 2 (28:45):
I apologize. How do you pronounce that, sir, Olavera, I
got it right? Okay, all right, all right, Eric, how
you doing tonight?

Speaker 6 (28:54):
Man?

Speaker 2 (28:55):
I'm good, We're good, We're good man. We just played
the record out there by Latre LaRence. What did you
think about it?

Speaker 6 (29:01):
Oh?

Speaker 30 (29:01):
I just I just came in, so I didn't even
get to listen to it.

Speaker 2 (29:05):
Man, Okay, it's all good. Well you late for that one,
but you early for the next one. About to get
you right.

Speaker 3 (29:09):
Now, Okay, definitely, let's go.

Speaker 2 (29:11):
All right, artist a boy the name of Kaya sounds
called hard times. Kaya sounds called hard times. All right,
let's check it out.

Speaker 12 (29:36):
Don't cry.

Speaker 13 (29:39):
I know you've been down in Just know you suffer.

Speaker 31 (29:46):
I know you hate to X for help, but you
so time pride for But all right, annoy, you're so well,

(30:09):
excite me, you smoke, You're just fine knowing you're so
far fun.

Speaker 12 (30:19):
Just having a hard time.

Speaker 14 (30:24):
Take your day by day, lego with it.

Speaker 13 (30:27):
A field ride.

Speaker 32 (30:31):
You have been knitting far away, just having a hard time.

Speaker 25 (30:39):
Some marbles another day, ain't gonna readwine.

Speaker 14 (30:46):
Best of you comes out of your heart time, don't change,

(31:08):
Promise your more than enough.

Speaker 10 (31:11):
Don't believe what they say.

Speaker 25 (31:15):
Of the pain wake you down. But you gotta remain
more than what you be through. Oh know you so well?

Speaker 12 (31:38):
Ax?

Speaker 14 (31:38):
How you bit yours?

Speaker 12 (31:40):
Fawn? You just fine? Know any you're so far from
fun hard time.

Speaker 32 (31:53):
Take a day, bad day, They go with it a
feel bride ye be missing far away, just having a
hot time.

Speaker 12 (32:07):
Some day.

Speaker 14 (32:10):
She ain't got a bad one. The best of you
comes out of your heart time.

Speaker 2 (32:25):
He recommend me feel like crying. I don't know why
I'm crying. Just it's a sad recommend. But it's all good.

Speaker 7 (32:34):
Kaya.

Speaker 2 (32:36):
You're gonna tear it up. You're gonna tear it up, man, alright,
remember go ahead, let me stop, let me wipe these
tears out my face.

Speaker 16 (32:42):
Man.

Speaker 2 (32:42):
That's Kaya, hard times, Kaya, hard times. All right, man,
I'm ready for you. Go ahead and uh apartment.

Speaker 17 (32:50):
Yeah. Vocally, she can sing whoever was the engineer on
that for the notes that she missed, and let that.

Speaker 7 (33:00):
After studio for us to hear.

Speaker 17 (33:02):
Yeah, they should have never done that, like, because she
can really sing, and if somebody heard that and they
wanted to offer her something best based on that, they
might pull the plug because she miss notes more than
a few times, and it definitely took away from the

(33:23):
song from me. Like like okay, man, I said, I
was gonna slay everything, but I'm liking this song. And
you know, to a credit, I still like the song,
but just vocally. Who whoever didn't clean that up in
the studio, Yeah, they dropped the ball.

Speaker 2 (33:43):
Oh okay, all right, all right, MD, do you feel
the same way or you feel something different?

Speaker 5 (33:50):
Yeah, no question.

Speaker 4 (33:52):
Like I said, artists with a good voice, they always
get with engineers and producers who don't know the game.
You know, it makes an artist, make an artist look
not bad, but make them like their amateurs. And that's
a shame because it's like Youtoate said, I would never

(34:16):
I heard about at least of seven seven bad notes
that she was saying.

Speaker 5 (34:21):
She was trying to she was trying to stay there.

Speaker 4 (34:24):
But it was a lot of punches they should have
did to go back correct what she messed up at See,
they could have did punches to fix it up, but
they didn't. They thought they had something because that's how
good they ear, is they ear.

Speaker 5 (34:41):
Ain't that good? You know, they don't hear it.

Speaker 4 (34:45):
So unfortunately, good artists like that get with bad producers
and bad engineers.

Speaker 5 (34:51):
But once she hook up with the right people's she's
gonna be a monster.

Speaker 2 (34:58):
Okay, got you, Eric? What do you think about the record?

Speaker 30 (35:03):
I like the record, but, like Adoy said, could have
been a couple of spots that that they fixed. That
was really the laziness of the engineer because they could
have He could have just been some melodine and just
corrected the her vocals with it. It don't take that
long even do that. He could have just fixed the

(35:24):
pitch uh computerly on there, So yeah, he could have.

Speaker 2 (35:29):
He could have did that. So it was just lazy
on his part.

Speaker 3 (35:32):
Other than that, the song is not a bad song,
you know, it just needs some some polishing on some
certain parts.

Speaker 2 (35:39):
Got you Okay?

Speaker 4 (35:40):
And it's all it's all good dundee for them to
send that to the not a session, yeah, because now
they understand where they have to go and correct their mistakes, right,
you know, unless unless they feelies got hurt and they
don't want to go in and do it now, you know,
because they mad at eight or eight mad at me

(36:00):
and the other gentleman just said something. You know, they
got their feelings hurt as a engineer and a producer.

Speaker 5 (36:08):
Like we care, like we care.

Speaker 2 (36:11):
Yeah, okay, low digs, you happen to be in a
better area now.

Speaker 3 (36:15):
Yeah, I think so. I might be in an echo
area and I'll drop down and come back.

Speaker 2 (36:21):
And from that cow go ahead, try let's try it
out and say what you think about it?

Speaker 3 (36:25):
All right?

Speaker 2 (36:31):
Okay, I guess he's gonna try to come back on
the next one. It's all good. We're living next to
human chandelier. What'd you think about it?

Speaker 18 (36:37):
I thought she had a really great voice, Like you said,
songs very touching.

Speaker 19 (36:41):
It was very raw, and I appreciated the song for
being raw like unplugged.

Speaker 33 (36:48):
I like that.

Speaker 2 (36:51):
Okay, got you got you Kelly?

Speaker 6 (36:53):
Good?

Speaker 2 (36:53):
What you think?

Speaker 6 (37:01):
Hm?

Speaker 2 (37:03):
Got it good? You're there?

Speaker 7 (37:06):
All right?

Speaker 3 (37:06):
I think I'm.

Speaker 20 (37:08):
I think she had a beautiful voice. I think it
was good. Did a good job?

Speaker 2 (37:14):
Okay?

Speaker 7 (37:14):
All right?

Speaker 2 (37:15):
Cool cool, cool? Right right, low ds? What do you think?
Real quick?

Speaker 3 (37:23):
All right?

Speaker 34 (37:25):
I thought the artist was a good artist. I definitely
think that they cased the Canarian. I mean they cased
the Canary with the keys that was. The engineer could
have done a lot a little better of a job,
for sure. But I love the pain in the record.
Some of the some of the flaws were I think brilliant.

(37:50):
I think they they made the record extremely humane, and
I think we're.

Speaker 3 (37:56):
Missing laws right now. We missed the flaws song we like.
I get it, I get whatever what I'm saying, but.

Speaker 15 (38:06):
We need.

Speaker 3 (38:08):
And I think that's what we want the record. Okay,
like cod was extremely flaid, and we pulled her right in.
Uh you know what I mean. Shanti had a whole
career of remakes. We pulled her right in. So I
think this, I think this deserves a shot.

Speaker 2 (38:28):
Okay, all right, this low dish chiming in right there.
Let's go ahead and roll on to the next one.
Next one, right here, this is uh uh Nike Alexander,
Nike Alexander song. It's called Loved, Loved, all right, Nike

(38:49):
Alexander songs called love. Let's check it out.

Speaker 18 (38:52):
Hey, look at the feedback on the songs after the
song's over.

Speaker 3 (38:57):
Give your feedback.

Speaker 27 (39:21):
Caestionnaire Repairs, I but not like mine.

Speaker 6 (39:26):
What is a man to do when he stuck on you?

Speaker 21 (39:32):
What are you trying to do?

Speaker 10 (39:34):
I'm trying to think out this out lie.

Speaker 6 (39:38):
I think I know.

Speaker 27 (39:39):
I think I'm ready full.

Speaker 13 (39:51):
I think, my.

Speaker 35 (39:59):
God, what she got me doing things I don't want
to do for so nessa been in her bike that
I can't let go?

Speaker 27 (40:13):
Girl, I think die I got it waiting all alone
for me to say her, I.

Speaker 10 (40:21):
Can't got eyes.

Speaker 35 (40:23):
It is a sound and the idea of being you
getting together, that I got this filling baby that.

Speaker 27 (40:30):
You keep pumping and out thinking up me. So I said,
what's trying to do?

Speaker 13 (40:40):
Can?

Speaker 27 (40:41):
I think nothing of it?

Speaker 12 (40:55):
My bad?

Speaker 13 (41:02):
Like lost like that.

Speaker 27 (41:10):
I think she laughs like that, like.

Speaker 12 (41:22):
Loves, like god.

Speaker 32 (41:26):
I'm thinking bats like sobs like last.

Speaker 36 (41:34):
Like thinkbody right now, think I'll be about it right now.
I think I'm beatby right now. I think I beat you,
got you right now. I think I beg you ready
bank now, think you ready right now? I think I
beg you goaty right now.

Speaker 37 (41:54):
I think I think I beg you goody right now.

Speaker 12 (42:17):
I'm so good.

Speaker 2 (42:30):
I was love Mike, Alexander loved night. Alexander loved Okay well,
I'm going hey, man, look, I only I only lay
the records in order that I received them, So they
just happen to be in order for you to be
evil with tonight. That's all. So I'm not manipulating anything.

(42:56):
I'm just going down the road. The next record that
was send to me, I played. That's it, So go
ahead and be evil on this one.

Speaker 6 (43:04):
DJ O eight.

Speaker 17 (43:06):
I'm not gonna go too hard because it'd be easy
to just say some very very mean things. So I'll
say this in the nicest way possible that I think
the song that he wanted to sing was just out
of his vocal rings and the production for the song

(43:27):
that he wanted to sing that just wasn't the right
production for the song that was written.

Speaker 7 (43:34):
And I'm going to pass to the m D.

Speaker 2 (43:38):
All right, well MD, you can go ahead and tear
it up. Go ahead, m D.

Speaker 24 (43:42):
Yeah.

Speaker 5 (43:42):
Man, that that those albums that hook was too busy.

Speaker 4 (43:46):
It was just a little bit too busy, had too
much background, and it was cluttered up, you know. I
couldn't understand what they was trying to say, you know.
And then some of his some of his notes that
he was doing his lead, they were they was out
of key here and there.

Speaker 5 (44:03):
It was a good it's a good concept.

Speaker 4 (44:05):
Theo it was a it was a good concept, but
you got to go back in the lap and clean
it up, or you need to get them another producer
to get him straight. Because if he had a producer,
you know, he know what he kind of want to do,

(44:26):
but he's not an expert of doing it. He need
he needed a cold producer that that knew about vocals
and a little bit because the music arranging was that
was pretty, That was that was good.

Speaker 5 (44:40):
The music arranging was good, but the vocals it was
all over the place.

Speaker 17 (44:45):
Come on, that beat sounded like Cassio eighty six. Well
that was a song there, Well not.

Speaker 5 (44:53):
Really see what what I what I'm learning now.

Speaker 4 (44:57):
At this era, now it ain't no where you can
go without you're gonna you're gonna hear.

Speaker 5 (45:03):
An old song.

Speaker 4 (45:05):
And it's only thirteen fourteen chords and then music.

Speaker 7 (45:12):
Come on, do you heard that same beat?

Speaker 9 (45:14):
Yeah?

Speaker 7 (45:16):
And you pressed the demo and that was that beat.

Speaker 4 (45:19):
Well, you can't, you can't, you can't help it. I mean,
you're not gonna hear nothing original no more. Everything's taken musically,
everything is taken. Period, everything's taken. You're gonna hear something.
You're gonna hear old Bobby Brown, You're gonna hear a temptation,
you're gonna hear You're gonna hear something back in the

(45:42):
past in these new songs because there's only fourteen chords
in the music arrangements. And we didn't hit we didn't
hit it, we didn't hit the We hit the top
of the jar of chords. And you're gonna hear an
old song now and every now and then. Now you
have no choice, no more choice. You can go to

(46:05):
music school if you want to and try to find
some new chords, but you're not gonna find it. I
got the book with all the chords in it, from
from a major all the way down to F short chords.

Speaker 5 (46:19):
There's only there's only.

Speaker 4 (46:21):
About fourteen thirteen, fourteen, fifteen chords in instrumental arrangements. And
now we're started hearing old stuff simply because they have
no choice, you know at all.

Speaker 5 (46:34):
You know, it's really because when I first heard that song,
it was something. It was ringing my head.

Speaker 7 (46:40):
I heard this song before. Yeah, the demo beat on
the keyboard when you.

Speaker 17 (46:44):
Fired up right, and also the drums, the drums on
the keyboard when you fired up in press play.

Speaker 4 (46:54):
But you're gonna hear old stuff now. Nobody's not gonna
bring that out new, no more. No, that's the way
it's gonna be.

Speaker 20 (47:02):
Now.

Speaker 5 (47:03):
If you're doing from scratch, you're not gonna find nothing.

Speaker 38 (47:06):
You know.

Speaker 4 (47:06):
That's that's totally different than the old than the old
school waves. Well, we're repeating now, we're at the stage
where we're repeating, uh, these chords again, and you're gonna
sound like somebody Your music gonna sound like somebody else's
music now, and there's no way in the world you
can get around it.

Speaker 5 (47:26):
Unfortunately.

Speaker 4 (47:27):
But hey, over one hundred years in past, and you
should have known who's gonna run out sooner or later?

Speaker 2 (47:35):
Yeah, Uh, Eric, what do you think about the record?

Speaker 6 (47:40):
Whoever put that song out? That is not a new song?

Speaker 7 (47:43):
That song is about twenty years old?

Speaker 5 (47:46):
Who and and and it screamed the cadence of case,
like when case is a thing like that?

Speaker 30 (47:53):
Yeah, you're right exactly, and that and that song is old.
There's no way that that person did that on recently.
That's an old song and they put that out. You
can hear the instrumentation. You can hear everything that is
not a new song that the person put up.

Speaker 2 (48:08):
So you're saying that that person that will put this
song on probably what forty years old, forty plus may.

Speaker 5 (48:16):
His voice on his voice don't sound forty.

Speaker 18 (48:20):
He knew, he just stuck in his error. You know
how you stuck in your era?

Speaker 6 (48:24):
You like that sound.

Speaker 19 (48:24):
For example, I wur miscalled nostalgia and like, I give
you today's sound, but I'll also try to give you
the sound from like when Brandy and Monica and stuff
like that.

Speaker 7 (48:34):
So that's before Brandy.

Speaker 6 (48:37):
Well I know that brand.

Speaker 18 (48:38):
That's like, no, I feel like it was before ninety
six or ninety seven.

Speaker 30 (48:45):
I'm just giving ninety two, but no, that's now, that's
about ninety six ninety seven.

Speaker 18 (48:51):
That's the old cadence.

Speaker 7 (48:52):
That whole cadence that he sung.

Speaker 30 (48:54):
Is a cadence from Case and Case cadence was ninety
six ninety seven.

Speaker 5 (48:58):
That whole vibe right right right.

Speaker 19 (49:00):
I feel like, yeah, he did get that and also
gave you like that era of that Luther the Luther
van draws error like I feel like it was a mixture.

Speaker 7 (49:09):
No, it ain't working.

Speaker 19 (49:11):
Yeah, yeah, I would have if it was working or not.
I'm just saying, like the ara that I just popped, like,
oh yeah, definitely, it's definitely that era of the nineties.

Speaker 6 (49:23):
But yeah, that's that's But you.

Speaker 5 (49:25):
Can't get around it.

Speaker 4 (49:26):
If I don't tell you guys, you can't get around
the music is getting very repeat because we're we'll be.

Speaker 5 (49:33):
Doing we have been doing music for almost fifty years now.
There's only thirteen fourteen coins in the music. Yeah, but
even though MD the drums is, oh, that's not a
new song.

Speaker 30 (49:44):
I can hear that them drums, even with today's drums,
you could come with a with a vaster, better drums
than that.

Speaker 5 (49:52):
But if that, but if you're a producer, you come up.

Speaker 7 (49:54):
With I am I am a producer.

Speaker 19 (49:58):
But until you don't feel like an old school producer
like somebody somebody else that that you know, like he
couldn't have produced something that sound like it came out
from that time.

Speaker 17 (50:08):
Nah, you could.

Speaker 30 (50:09):
You The cadence says to give it the old field
with new days, with new days field. So what he
should have did is you had an old school cadens
become with the new vibrant set of drums. So it
appeals that that that didn't work. It's like he got
whoever it was, got stuck in that error. They didn't
They didn't come with nothing new. It just did some
old stuff.

Speaker 5 (50:29):
What I'm looking at as a young singer with a
bunch of old producers.

Speaker 30 (50:34):
Well, I'm an old producer and you can listen to
my whole new album and it don't sound nothing like that.

Speaker 7 (50:39):
Like, Okay, I tell you what, I still got.

Speaker 5 (50:41):
A young vibe. Well have you stuck your neck out?

Speaker 6 (50:44):
Now?

Speaker 7 (50:45):
I stuck out my neck.

Speaker 5 (50:46):
I have no problem. Well, hey, you sent us. You
sent us one of your artists who you produced.

Speaker 7 (50:54):
We played something on last week actually from him.

Speaker 10 (50:57):
We did.

Speaker 7 (50:58):
Oh yeah, we liked it.

Speaker 2 (51:00):
Okay, which which song was that?

Speaker 5 (51:02):
Yeah?

Speaker 2 (51:02):
I was on the way beats. Oh okay, all right, remember.

Speaker 7 (51:07):
Take my next yot.

Speaker 2 (51:08):
I'll stand I'll stand firm on what I put down.

Speaker 6 (51:10):
Okay.

Speaker 5 (51:11):
Uh, you you're one of you want him in a thousand?

Speaker 17 (51:17):
Yeah?

Speaker 2 (51:18):
Literally one of the thousand? Lo di What do you
think about? The record.

Speaker 3 (51:24):
Was was new Jack swing?

Speaker 8 (51:26):
Man?

Speaker 3 (51:27):
You cannot do new Jack swing in twenty twenty five.

Speaker 6 (51:30):
It just won't work.

Speaker 2 (51:33):
Okay, got you up? Enough said real quick, Kelly, good?
What do you think about the record.

Speaker 20 (51:40):
I'm gonna just say I like to beat.

Speaker 2 (51:43):
Okay, that's it.

Speaker 7 (51:44):
Enough said, yeah, he said vocally. The dude didn't there.

Speaker 20 (51:48):
Yeah, Yeah, I'm gonna keep it nice.

Speaker 2 (51:50):
I like to be okay, all right, all right, we're
gonna roll on to the next one. And uh, this
one right here is uh Brandon Burton. I'm sorry, Brent
brand B. Brand B's what he's going by. Brand B.
Song is called just Gotta Go brand B just gotta go.

(52:13):
All right, let's check out brand B.

Speaker 5 (52:15):
We see if he gonna go.

Speaker 10 (52:17):
Yeah, ain't no goodbye, just let it go.

Speaker 33 (52:31):
One door open, another will close. Ain't no good bye,
Just let it go.

Speaker 27 (52:38):
Can't run in hide when your dreams at your door.

Speaker 10 (52:42):
You just got up, just got just got you, just
got a butt of.

Speaker 12 (52:56):
You said, I don't.

Speaker 27 (52:57):
Need you don't see it's better keep up for me.

Speaker 34 (53:02):
I let go.

Speaker 33 (53:04):
I ain't got no love in it, no time for you,
no bumble ropes and no comfort changing out things you.

Speaker 15 (53:11):
Do, went on.

Speaker 27 (53:16):
Trying out, iving on it. That's my beason, go bag
bo got hope for me.

Speaker 10 (53:25):
You know what I'm saying.

Speaker 27 (53:28):
They can't see what I do. Look afreshion, look a
brand brand new. You can put it in a ganggang too.
They can't do what I do. Rand a brand brandow.

Speaker 10 (53:38):
I don't set on through.

Speaker 12 (53:40):
It ain't no good bye.

Speaker 10 (53:42):
Just let it go.

Speaker 33 (53:44):
One door we'll open, another we'll close. Ain't no good bye,
Just let it go.

Speaker 27 (53:51):
Can't run in hide when your dreams at your door.
You has got, just got, just got you just got.

Speaker 10 (54:03):
I don't go.

Speaker 27 (54:09):
Your baby. Close your eyes. Baby, you are gold, baby,
Monna shine. You can't shine inside a home.

Speaker 10 (54:16):
We've a mister flies.

Speaker 33 (54:18):
Spread your wings and flow baby, you and nat you
got this devil on the floor.

Speaker 27 (54:24):
Just get the bim gonna let you dine or no.

Speaker 33 (54:27):
You brought me back to life when I couldn't live
without your soul.

Speaker 12 (54:31):
You gave your hair for mine.

Speaker 27 (54:33):
I m my soul will always be together, even when
I gotta go. This baby want more time.

Speaker 10 (54:40):
Just let it go.

Speaker 27 (54:42):
One do we alone, and another will close. There ain't
no good bye.

Speaker 21 (54:48):
Just let it go.

Speaker 27 (54:49):
You can't run in hide when your dreams at your door.

Speaker 10 (54:53):
You just got her, I mean just not.

Speaker 14 (54:58):
Just got.

Speaker 27 (55:00):
You're just out of.

Speaker 2 (55:04):
All right, all right, that's uh, just gotta go. Brand
be just gotta go brand b all right, just get
our thoughts on that one. Uh don dude, you say
you're not doing this on purpose? Nah, man, I'm just
I'm just playing by in order it is perceived. That's
all I'm doing. That's all I'm doing. I don't I

(55:26):
don't do no manipulating, no nothing order that is perceived.
So hey, it could be.

Speaker 6 (55:32):
It could be.

Speaker 2 (55:32):
Weeks we've been on here it's been nothing but hot
hot songs. Other weeks it's been I just play in
order that I get that's it. Yeah, this is one
of those weeks.

Speaker 5 (55:48):
But your right age this week.

Speaker 10 (55:50):
Yeah.

Speaker 2 (55:51):
And what makes it hard is play it the sligh.
It's very difficult to choose from it because I try
to choose player the Slave from this and I haven't
heard anything for playing the slave for next week. So
it's gonna be really difficult next week. So I'm gont
to try to find something. It's not good at all,
not good at all.

Speaker 17 (56:06):
All right, We're gonna give you some nut beats. That's
that's all good. We got you, You got me, all right?

Speaker 2 (56:10):
Well, I hope you go ahead hurt up and get
me real quick, hurry up and get me hurry up
and get me, save me, save me. You know I'm hanging, man,
I'm hanging.

Speaker 7 (56:17):
I'm hanging.

Speaker 2 (56:18):
I'm hanging the whole detail all right, let me see.
Let me go ahead and pull it up. While I'm
pulling the record up there, anybody got any positive feedback
to say about this record?

Speaker 16 (56:32):
Here?

Speaker 2 (56:33):
Anything positive? Hey, bless go ahead, low Diggs.

Speaker 29 (56:38):
All right, this record is a record that should be
sold as a sample with a hook and a bridge.
This is not a record, but it can be done
as a sample a hook and a bridge for a wrapper.

Speaker 3 (56:59):
That's the positive. Because the beat is not bad at all.
But he's but his timing is bad.

Speaker 28 (57:06):
But you know, you could take the you could take
the vocals and put him on the right timing, and
then take everything else, find the good moments and make
them samples, and then find the good.

Speaker 39 (57:18):
Section and make it a bridge. It would work for
the right MC, and it will be a whole new
It would actually be a record for an MC. But
by itself, this is not a record.

Speaker 5 (57:33):
That's too much work.

Speaker 6 (57:34):
Yeah, I agree, I agree.

Speaker 7 (57:36):
And also I feel that.

Speaker 30 (57:39):
Uhh, and these these artists need to start going to engineers.
I'm tired of people that call themselves engineers and all
they are is recorders.

Speaker 6 (57:49):
That's all they're doing.

Speaker 30 (57:51):
I mean, because that man was not he was not
bouncing with that beat.

Speaker 33 (57:56):
He was.

Speaker 5 (58:00):
He's supposed to be like he's been amount of my time,
I've been a man of my.

Speaker 18 (58:07):
He supposed to bounce on that ship, right, bounce.

Speaker 30 (58:10):
So that shows that the engineer don't even have no
enthusiasm and don't know how to try to orchestrate him
to really get on that track like how he's supposed.

Speaker 5 (58:19):
To right, And or the producer didn't know he was doing.

Speaker 24 (58:23):
Yeah, either or.

Speaker 4 (58:28):
Because the artist the artist does. Artists just take orders
to do what a producer want him to do. Yeah,
you know, don't ever expect the artists to go in
there and do it right on his own. He ain't
gonna happen. It's gonna happen.

Speaker 2 (58:48):
Yeah, Hold big feeds, how you doing to night man?

Speaker 6 (58:52):
What's up?

Speaker 21 (58:53):
Brad?

Speaker 6 (58:55):
My mic and talking about Uh, I'm in the.

Speaker 2 (59:02):
Live Okay, that's what's up. Okay, I got I got
something from you on from.

Speaker 16 (59:10):
Platform, the platform, your TikTok, Instagram, your Facebook.

Speaker 6 (59:15):
Okay, hey, y'all sound absolutely amazing.

Speaker 2 (59:20):
That's what's up. That's what's up.

Speaker 6 (59:21):
Every platform, Like, wow, it's clear. You can hear m D.
You can hear uh.

Speaker 2 (59:29):
Uh everybody, everybody.

Speaker 16 (59:33):
You can hear uh low low digs.

Speaker 6 (59:35):
Is it low digs?

Speaker 40 (59:37):
Yeah?

Speaker 6 (59:38):
Yeah, low digs. Did you ever used to sing R
and B.

Speaker 5 (59:44):
He's still there, yeah, logs.

Speaker 16 (59:49):
Did you ever used to record at a studio called
Hall Wax?

Speaker 6 (59:54):
Yeah?

Speaker 3 (59:55):
I remember Wax Studios of course.

Speaker 40 (59:58):
Yeah, that's why I know you from with proper doc No.

Speaker 6 (01:00:01):
Them Thompson over there, I watch right count.

Speaker 16 (01:00:07):
Yeah, I'm the one that brung I'm big Field. I've
brung Black Thompson and got him signed the big Z.

Speaker 6 (01:00:13):
Yeah, I remember that. I remember that.

Speaker 16 (01:00:16):
Yeah, like I know that land because I remember, say
you you got this kind of Kelly thing going when
you was gold though, Thank you bro appreciation.

Speaker 2 (01:00:27):
Yeah wow man, what a small world, man, small world.

Speaker 6 (01:00:31):
That's all worked, you know, I go, we've been in here,
We've been in the business for a minute. Yeah, I
remember Lord did Lord? What a long time? Bro.

Speaker 2 (01:00:45):
That's what's up, man, Well, you know the whole time.
We're gonna play this record right here, Man, get in
this nutty fee. I gotta I gotta commercial something from
you as well. I'll just played that just because. All right,
so we gonna go ahead it up. Play this nutty
p uh uh Eric, this is your artist, right this
did you?

Speaker 6 (01:01:05):
That's me?

Speaker 2 (01:01:06):
Okay?

Speaker 30 (01:01:07):
You put a compilation called the Foundation and and all
the artists are from clubhouse.

Speaker 2 (01:01:13):
Okay, all right, well let's check it out. This is
uh nutty p and what is how do you pronounce this?

Speaker 7 (01:01:18):
They called me dog?

Speaker 2 (01:01:19):
They called me dog, okay they called me and all right,
let's check it out.

Speaker 10 (01:01:25):
Here we go.

Speaker 11 (01:01:26):
Time you think of body kind of man away outside
you can bring your friends.

Speaker 13 (01:01:35):
And shout.

Speaker 5 (01:01:39):
I got you and so.

Speaker 13 (01:01:47):
Something what you're doing.

Speaker 6 (01:01:54):
With me?

Speaker 12 (01:01:57):
Linked?

Speaker 13 (01:01:58):
Everybody dress with me?

Speaker 2 (01:02:05):
You I like you and I need a wife to
let me cut you every day in double one a
night too.

Speaker 13 (01:02:11):
All you're gonna do is tell me everything you want
to do.

Speaker 6 (01:02:13):
A promise.

Speaker 13 (01:02:13):
I could try to make it happen. Time bank a party,
dull away.

Speaker 8 (01:02:20):
House side, you can bring your friends away, cancel.

Speaker 10 (01:02:25):
Lie up, drink and you lie so get some.

Speaker 13 (01:02:34):
Today was a good day to hit the gang up.

Speaker 5 (01:02:36):
What's the moves though?

Speaker 13 (01:02:37):
Money coming in and worry by the thing to you
only can tell for a nice white and guy forever
with You're trying to get you out of this party,
towat and get it jumping with you.

Speaker 41 (01:02:45):
Maybe you don't want which time I've been holding up
the small like I'm standing in the line.

Speaker 16 (01:02:49):
I'm a slick gas figgure you the beddest fun around
and we got that ship done?

Speaker 5 (01:02:53):
Can we wipe each other down?

Speaker 21 (01:02:55):
Dolls?

Speaker 2 (01:02:55):
I like you and I need a wife to let
me cut you every day in double one.

Speaker 3 (01:02:59):
A night too.

Speaker 13 (01:03:00):
All you gotta do is tell me everything you want
to do. A promise you to try.

Speaker 5 (01:03:03):
To make it happy.

Speaker 12 (01:03:04):
Time you think a body girl the mud.

Speaker 13 (01:03:08):
Away, how inside you can.

Speaker 34 (01:03:10):
Bring your friends?

Speaker 13 (01:03:12):
How you Wendy came, it's a live road up, take
a shine. I got drink and we lie, so it's
night straight by the.

Speaker 10 (01:03:24):
Time you think a body girl of mud away?

Speaker 13 (01:03:28):
How inside you can bring your friends?

Speaker 10 (01:03:31):
How be Wendy came, it's.

Speaker 13 (01:03:34):
Li up to take a shot. I got a drink
and we lie so so it's night straight.

Speaker 15 (01:03:45):
And he's nuddy p shin.

Speaker 2 (01:03:56):
They called me dog and Reese on the way. On
the way Okay, I like that. Yeah, I think that
saved the night right there was Yeah, I like that.

Speaker 13 (01:04:09):
I like that.

Speaker 7 (01:04:11):
Yeah, I gotta be on my hater's ball. Stuff leads
in a dune. I wouldn't know it.

Speaker 24 (01:04:21):
Perfect example, how old school vibe with.

Speaker 6 (01:04:23):
New school sound? You know what I'm saying?

Speaker 2 (01:04:28):
Okay, all right, got you, got you? Got you? Uh
MD you like the ruggort?

Speaker 18 (01:04:35):
Yeah, it was nice.

Speaker 5 (01:04:36):
It was nice. What he's talking about?

Speaker 2 (01:04:39):
Okay, got you? That's what's up. He's almost good as me.

Speaker 24 (01:04:47):
I take that.

Speaker 2 (01:04:49):
That's all good, man, I take that. I take that
right there, that's all good. Lo Did you like the rugged.

Speaker 7 (01:04:56):
Is high?

Speaker 38 (01:04:57):
The only thing I disagree with about the record is
the arrangement, and that's just because I like a smooth
flight to a great landing and I felt like they
just blasted off and then came crashing down, you.

Speaker 6 (01:05:13):
Know, like parachute almost. But the record and it's.

Speaker 3 (01:05:17):
Every all the elements are there. I just don't agree
with the arrangement.

Speaker 2 (01:05:20):
Okay, all right, all right, big Fieve. You know the
record's cool.

Speaker 6 (01:05:24):
Yeah. I think the director is dope, you know.

Speaker 16 (01:05:28):
And one thing about records is, you know, records is
like food, you know, you know, it's sonically mixed.

Speaker 6 (01:05:37):
The hook is catchy, the beat is mixed. Properly. You know,
it's I hear the pants in there. They sat in
the right in the right setting, you know.

Speaker 16 (01:05:49):
And so I tell people all the time, you know,
it's some people that want tomatoes and then some people don't,
you know. So it's really just based on a record.
It finds its own audience. So low Diggs are saying
it is a great example.

Speaker 6 (01:06:06):
He was saying he didn't like.

Speaker 16 (01:06:07):
The arrangement on it, and and then maybe million other
millions of people that may not like the arrangements, but
then they maybe five million other people that.

Speaker 6 (01:06:20):
Loved the arrangement.

Speaker 16 (01:06:21):
So as long as you sonically correct and your lyrics,
your lyrics is.

Speaker 6 (01:06:30):
Muhm tangib tangible and up to date. And as far
as the record.

Speaker 16 (01:06:37):
Being an old school new school, you only say that
if you old, because young people, you know, a lot
of times they you know, at this point, they don't
know it was old, you know, because that wasn't there
when when all you guys started it that sound and

(01:06:58):
that style.

Speaker 6 (01:07:00):
But to them it is new.

Speaker 30 (01:07:02):
That makes sense, that's what it makes perfect since purpose
since I am older, but they're younger, right right, You know.

Speaker 16 (01:07:10):
Your ship you've been around for a minutes. So you
watch the history of the music go up and down
and change, and you know, because we all know that
music from a stop perspective, it just three repeats in sound.
You know, kids wearing bail violence now.

Speaker 30 (01:07:35):
Oh yeah, And that was one of the things. You know,
I've been able to bounce with the changes. You know,
a lot of a lot of us older producers and
stuff aren't able to do that. But you know, just
being around for another generation, just taking in what they
what they what they have, and not thinking, I know
everything helped me to be able to keep that balance

(01:07:56):
into the new generation of music.

Speaker 2 (01:07:59):
That's what's I think.

Speaker 5 (01:08:00):
I think a big, a big probably as making music.

Speaker 4 (01:08:04):
The newer generation, they took the art of music out
of schools, high schools and junior high schools, and it's
not given us opportunity to learn the value of music correctly.

Speaker 5 (01:08:17):
So we're freestyling a lot. The new generation is freestyling.

Speaker 6 (01:08:22):
You know.

Speaker 16 (01:08:23):
I can respect that and understand it and can relate
to it because with MD saying and then I'm giving
a great example of what this man just said.

Speaker 6 (01:08:31):
He's just dropped a whole bunch of nuggets today. If
you listen to music, and.

Speaker 16 (01:08:36):
You guys, ask yourself, how many times do you hear horns?

Speaker 6 (01:08:39):
Section? I ain't talking about You got horns that were
in school.

Speaker 16 (01:08:44):
Who played the tube, who played the car net, who
paid the trumpet, who played the clarinet, you know what
I'm saying, Who played the french on, who played the trombone,
you know what I'm saying. So that element of music
you know has has has kind.

Speaker 6 (01:08:57):
Of left the school, you know.

Speaker 2 (01:09:00):
Yeah, well you got a point strong.

Speaker 6 (01:09:02):
As it used to be.

Speaker 16 (01:09:03):
It's still there, but it's not as as strong as
it used to be. So I understand what MD is
talking about. It made perfect sense. But you listen to
a record today that no horror section.

Speaker 2 (01:09:18):
Yeah, that's true all the big fever. I gotta play
this about you. You send something and I'm gonna slide
this inn in the second here, But real quick, Britt,
what did you think about the record? I thought it
was cool.

Speaker 18 (01:09:29):
I could feel up, I can hear music soul child
singing the song.

Speaker 6 (01:09:33):
I thought it was great.

Speaker 2 (01:09:35):
Okay, Kelly, good what you think about it?

Speaker 20 (01:09:40):
Man? Good jam and had me tapping my feet and
bobbing my head. It was cool.

Speaker 2 (01:09:46):
Got you okay? All right? All right, now, big Feet,
you sent something to me. I don't know what this is,
Like I said, I want to I get it when
it's received and I play it in order I received it.
So you just sent something today. Now what is this
here that we about the player?

Speaker 16 (01:10:00):
It's just a commercial. It's a commercial or out in
South Carolina. Uh, the DJ cyclone, he runs the Nerve.
DJ's president out there, and he's also partnered with Sleep
DJs as well. We'll be out in conference on the sixteen.
A lot of a lot of artistsans to get out

(01:10:22):
the conferences too, so we'll be out there in the
sixteen to the twenty two second And yeah, he just
sent the commercial.

Speaker 2 (01:10:29):
Oh this is a commercial. Oh okay for for the
g So, oh okay. So you're trying to replace the
other one that we've been playing for like three years.

Speaker 6 (01:10:38):
That one.

Speaker 2 (01:10:38):
You're trying to replace that one.

Speaker 6 (01:10:39):
You know what?

Speaker 16 (01:10:40):
Hey, what I said you said? I know it to
be true, but you know him d had asked, you
know that if we want to kind of get that going.

Speaker 2 (01:10:49):
Okay, let's let's let's hear this deal what he was
asked to do. All right, first commercial, Let's see what
it sounds like man like I said, I'm murder yet
it's right out stand up.

Speaker 41 (01:11:02):
Just be a g movement with seventeen artists across the country.
Mike All City b comes to Big to the Boys,
Stacey G The Ruler, Queen Jink Goddess, Little Kano, Shade
a Ball, God.

Speaker 17 (01:11:18):
With the God Kill the Q, Pollegro two times Pie
smooths out of the Southwest Royal Rush.

Speaker 10 (01:11:26):
Ain't more now, just be a ge.

Speaker 13 (01:11:29):
It's more than just a sign.

Speaker 15 (01:11:32):
It's a movement.

Speaker 37 (01:11:34):
Dundee m D. We're living next year, Michee to live
ye show in the building, Big Fee Fee.

Speaker 2 (01:11:45):
You forgot to mention us man, got everybody else but
us man. Come on now, come on now, feed.

Speaker 6 (01:11:51):
The co record from that had the lead track and
co record. I want to do it.

Speaker 30 (01:11:58):
All right, that had the I mean nineteen ninety nine
or two thousand, what the rugged now that when you
was doing all that the vocals, Oh yeah, yeah, because
remind me of j clue.

Speaker 6 (01:12:11):
Oh that was clue.

Speaker 2 (01:12:11):
Yeah, that was clue. Yeah, that was clue.

Speaker 37 (01:12:13):
There.

Speaker 2 (01:12:13):
That's my clue right there, that's my clue. Shout out
the DJ clue man, shout out the clue. Yeah, that
was my, my, my poor impression of DJ Clue. That's
that's what's up. You got it, you got it right there,
you get it on the head, all right. So well,
I guess that was the end of the night right there.
I thought that was a song, but it's all good Man's.
I guess that's that wraps it up for the night.
So again, if you got a reggit, please get it

(01:12:36):
to us for next week again. Go to our website www.
Dot Radio show dot com. Go to says submit me
see go to where it says submit music. Send your
music to us. We're here next week, same time, same channel.
Make sure you hear and your song we played then.
So I want to thank everybody for coming through hend
what's up?

Speaker 18 (01:12:54):
Earlier I had set the song for some reason, it
didn't go through.

Speaker 19 (01:12:57):
I had reset it whatever, but for some reason I
don't know, like why I didn't go through, but I
had sent it earlier.

Speaker 2 (01:13:03):
Uh, let's check and see, uh, let's see. Okay, let
me refresh. Okay, let me go to spam right quick,
and we'll let you said something. Because I didn't, I
don't see anything. Let me go to let me go
to spam. Maybe that's over there.

Speaker 6 (01:13:21):
It was. It was your email.

Speaker 2 (01:13:24):
It's your song.

Speaker 18 (01:13:26):
God, it was kind of good song.

Speaker 2 (01:13:29):
Okay, let me go back. Oh, I said spam. That's
why there it is, all right, Well that's why I
wasn't spam, all right, I got it right.

Speaker 18 (01:13:37):
I was tripping the night.

Speaker 21 (01:13:38):
I'm like, what's good?

Speaker 2 (01:13:40):
So Kelly good? Uh, bell on right, bell on them. Okay,
all right, well let's stink to sing real quick. Kelly good,
ball on them. Let's check it out.

Speaker 5 (01:13:54):
It's good.

Speaker 40 (01:13:55):
All I know was ball, no lack and knackle, halet, worried,
domino ball, worry about no bitch, go bigg and never small,
stay cutting, nothing like sauce, feel nothing.

Speaker 10 (01:14:05):
But lord, I ain't fan shit kill.

Speaker 24 (01:14:08):
I know how to play the game. Play the win.
Coach put me in. I got hella. I ain't never pressed,
never stressed.

Speaker 6 (01:14:14):
Ball.

Speaker 40 (01:14:14):
I got hella, game passed the rock, comfort Glinda clutter,
I got hella.

Speaker 19 (01:14:18):
Ram.

Speaker 24 (01:14:19):
I ain't worried about your squad. All you niggas suck
get that coin, screws me Duck Milwaukee. I'm getting buck.
Saw some nigga up put him in a twist. I
bang on.

Speaker 40 (01:14:28):
They like CALLI you on this shit had. They're trying
to stain all the swim. I'm switching lanes on them,
pass them up.

Speaker 2 (01:14:33):
I'm trying to win.

Speaker 24 (01:14:34):
We stay running game on them. All I know is
get it in.

Speaker 40 (01:14:38):
I see niggas steady losing all they worries, by the bitch,
all these bitches, steady choosing on a nigger, all this shit.

Speaker 24 (01:14:44):
I'm on that paper good I know. I stay focused
on my chips, stay on off and some. I'm a shooter.

Speaker 40 (01:14:49):
I stay coming off the hill. I got a lame
as fuck. They pass it to you while you shoots bridge. Man,
they kicked you off the ten.

Speaker 6 (01:14:55):
You went away.

Speaker 24 (01:14:56):
I'm getting rich, little bitch.

Speaker 27 (01:14:58):
It's good.

Speaker 40 (01:14:59):
All I know is fall, no lacking, not go hard.
Ain't worried about no blow. I ain't worried about no dish.
Go big, you're never small. Stay cutting up like sauce.
Feel nothing, blood lord, I ain't fin shit. Kept back
up on my shit again, full court pressing niggas, popping
like I spent the being bopping on these niggas, drake
mambo bopping them on the chin, sock them just fit,

(01:15:20):
talking like they tough and do that shit and hit
I ain't with no whole shit. That show shit, that's
show shit brought on from a plug. He got ghosted,
He yodas. These niggas ain't thugs. They some hostess. What
the fuck I look like showing love to some whole
I ain't ball of the rocious. When it comes to
posting up, trapping hard like, it's no small I stay
going up.

Speaker 24 (01:15:41):
You can count on me every time. I stay showing up.

Speaker 40 (01:15:44):
Ain't no doubt me hard lining hit that buzzer bigger,
got them going nuts and touched down like Cooper cup
just that part like drug love, red and blue fitted
like Chicago cubs, blew up with a stick like a
hockey puff shooting never missed.

Speaker 24 (01:15:58):
I just surf them on to the drugs.

Speaker 2 (01:16:00):
Oh good, good, all right, that's Kelly, good ball on them, Kelly,
good ball on them. All right, quick feedback on listening

(01:16:22):
real quick, uh and then go ahead.

Speaker 5 (01:16:27):
Mm hmm.

Speaker 4 (01:16:29):
It's it's different too much, bitch. I think you should
use the term beach more than just take bitch. Don't
get too don't get too vogal when you when you
slang out the word bitch, you know, put a little
put a little accent to it.

Speaker 7 (01:16:51):
I'm about to jump out the window.

Speaker 2 (01:16:53):
Bro mm hm, I jump out the window.

Speaker 10 (01:17:00):
If you kill every right there.

Speaker 4 (01:17:02):
If you do, if you jump out the window, make
sure you have a crash helping. I would have to
hear it again, you know, I will have to listen
to it a few times. It's something I feel, something
that's missing, but I can't put my finger on it.
Maybe somebody else can, but I'm feeling I know the

(01:17:28):
word bitch, that's that's the that's the that's the right direction.
But I think a little accents on the word bitch
makes it a little bit more creative, you know, don't
it won't it don't sound so anger? You know, it
sounds it sounds a little bit different than anger.

Speaker 6 (01:17:52):
You know.

Speaker 5 (01:17:52):
Well, it'll have to the anger condition on it. But
you don't want to sound.

Speaker 4 (01:17:59):
Like, you know, you ready to throw down, you know.
Make it sound artistic, you know, that's why you know,
that's you know, that's what you try to do. Create
certain words for the creative side, you know, put flavor
to the song. But I have to hear, you know,

(01:18:23):
a couple of more times and relative for me to
really assess it.

Speaker 2 (01:18:29):
Okay, yeah, all right, eight away what you think.

Speaker 17 (01:18:34):
I honestly think that it should have been a little
raw without the It could have did without the auto tune.

Speaker 7 (01:18:42):
I know there was a Memphis sounding beat.

Speaker 17 (01:18:45):
And yeah, it would have been a little better than
me without all of the effects on the vocal team.
Uh yeah, it being raw and regged would have matched
the tone of the beat a lot more for me.
But other than that, man, Kelly, I know your situation. Man,
keep grinding and doing what you do. I know when

(01:19:07):
when you get out, you definitely gonna be I doing
your thing. But you're doing a lot more than most
even having the situation that you do, So I sue
could grind.

Speaker 10 (01:19:20):
Yeah, ain't no way.

Speaker 19 (01:19:20):
I see what you're saying about the the effects on
the voice, but like from where he at, like just
to like clean up, like if you would hear the
actual like uh, like the the raw vocal of from
where he at it like sound crazy and like we
just be trying to like clean up the sound, you know,
like we recording over a wall phone, you know what

(01:19:42):
I'm saying. So like we really just be trying to
clean the sound up. That's why it'd be like effects
on the voice.

Speaker 17 (01:19:48):
You know, No, I understand. I just felt like it
didn't need the auto tune, not for that style of production.

Speaker 5 (01:19:58):
You know what, I don't truly right?

Speaker 19 (01:20:01):
Well, for some reason, uh, it like it cleans out
a lot of the noise in the background, you know,
like he in the day room, so like you know,
we just be trying to clean out that that back,
that noise in the background, you know, or like that
that fan that's real loud and the air conditioned like

(01:20:22):
and that effect for some reason like cleans out the background.

Speaker 17 (01:20:27):
Oh yeah, I would say put a D D S
er on there and put a compressor on there and
uh you know, just see what the sweet spot would
be to get some of those background noises out of there.
Or if you do have to use the tune, get

(01:20:47):
it sounding more natural. Dollar down, turn it down?

Speaker 7 (01:20:51):
Yeah, absolutely, Bro.

Speaker 2 (01:20:55):
What do you use to clean the audio clean the
vocals up with? What do you use?

Speaker 19 (01:21:00):
It's like this program and it has a voice cleaner
on there, So I do a deep noise a voice
cleaner and then like that effect like helps clean it
out too.

Speaker 2 (01:21:12):
Okay, got you? Okay, Uh.

Speaker 5 (01:21:17):
She putting some work on those vocals.

Speaker 2 (01:21:19):
Oh yeah, definitely, Eric, What do you think about the record,
I think for him of it behind the walls, I mean,
it's good, but I think.

Speaker 30 (01:21:28):
Once you get out, I don't know how much time,
but whenever you get up, I think a lot of
your stuff will probably get better because you'd have somebody
that could really you know, engineered the vocals and and
and be there with you to sit down while you're
doing it.

Speaker 7 (01:21:42):
But for you to be, you know, doing it where
you're at.

Speaker 30 (01:21:46):
I'll give you mad props because sound better than a
lot of these cats already.

Speaker 2 (01:21:50):
Exactly, yeah, exactly, who's not in? That's real? All right,
you guys. I gotta go, but we got through it.
Thank y'all for coming through. And again we hear every
Monday night, so make sure you come through next Monday night.
Let technacle o specific standard time one a m Eastern,
So come through. Make it happen again next week. Thanks Eric,

(01:22:12):
Thanks day.

Speaker 6 (01:22:13):
The way man.

Speaker 2 (01:22:13):
See you guys then, are right, a lot of you guys,
Kelly good, see Britt see you.

Speaker 4 (01:22:21):
Go ahead and me I'm gonna let everybody know music
retail stores will open up across the country now.

Speaker 5 (01:22:28):
The organization is called association, is.

Speaker 4 (01:22:30):
Called FAM that means forever a store music store and
so forth. It got something like thirty two record stores
across the country open up for Black music only. Black
music record stores, ye're reopening for a physical product.