the headnodder session ep 52

Episode Transcript

Speaker 1 (00:00):
They had not a session.

Speaker 2 (00:01):
Drop the radio show, not just sagging waving my flag in.

Speaker 3 (00:14):
Man stick to the wrap.

Speaker 2 (00:16):
Ah, that was C man dove c Yeah, you trying
to sing it? Well, I was trying to do a
Gangsters make the world go around? You know that that
That's that's what I was trying to do.

Speaker 1 (00:32):
You know.

Speaker 2 (00:32):
I had to pay homage to the West Side connection,
ice Que mac ten and dub C.

Speaker 1 (00:38):
That's that's the where I was going with it.

Speaker 4 (00:40):
But uh, are you're supposed to come out like dumb
dub du du dud Yeah, yeah, yeah, I supposed to
have done that one.

Speaker 2 (00:49):
That's right. It's all good. We'll do it next time.
I had to be the group that we were supposed
to be paying how muche to. I did a poor
job with that tonight, but it's all good, man. This
is the head now the session. We are here right
now to give that honest feedback and constructive criticism to
new artists because we are like we always pay how

(01:10):
much to the old artists. We want to show love
and hopefully one day pay how much to the new
artists as well.

Speaker 1 (01:17):
We'll go That.

Speaker 2 (01:19):
Was the record I was supposed to be doing and
there there you go, Gangsous Make the World Go Round.

Speaker 3 (01:24):
Yeah, YadA, YadA, YadA.

Speaker 2 (01:30):
Yeah, that was the record I was I had in
mind right there was Gangsous make the World Go Round
because I heard it. I heard it on the radio
the other day. That's why I was like, hey, we
can do that one. It's all good man. So hey,
we're here to not get that constructive criticism on his
feed back to the new artists that are out right now.

Speaker 1 (01:50):
So this is the time.

Speaker 2 (01:51):
If you got a record to send us and you
would like to have some constructive criticism and some honest feedback,
you can send the music to us right now. We
would give you that to you with our panel who
is here now to make it happen. All right, So
we have a couple of records. We don't have too
many songs in nice, so that means it's more room
for you to send in your record right now. Go
to our website www. Dot the radio show dot com.

(02:13):
That's DZ and David A is an Apple radioshow dot com.
Click where it says mit forms mid music. Fill off
the form upload your song come right over here to us.
So we'll go ahead and play it and give that
honest feedback and construct the criticism on your record right now.
So we're gonna take the first one while I get
it qued up. MD, go ahead and give that uh disclaimer.

Speaker 5 (02:34):
Please, we gotta take your music to the forest.

Speaker 3 (02:40):
We're not here to satisfy your mind.

Speaker 5 (02:43):
We're here to guide you to the right track of
success in this music business. So if we hurt your feeling,
we don't give a rad as. We make your song
sound bad, we still don't give a rad as. But
what we do care if you do something good the
next time around. So radio across the country playing your music.

Speaker 1 (03:07):
News stopped bashing. It's all the money the rest. Yeah, okay,
all right, I shot out the first one.

Speaker 3 (03:17):
This is uh doubling up figure it out?

Speaker 1 (03:19):
Yeah yeah, yeah, yeah yeah.

Speaker 2 (03:20):
I was trying to figure the record that I was
queuing it up here. Yeah, I was queuing that.

Speaker 1 (03:25):
I was.

Speaker 2 (03:25):
I was, I was uh trying to figure out games
to make the world go around?

Speaker 1 (03:29):
Why did I forget that record?

Speaker 3 (03:31):
Like you're trying to hit the seven seeds?

Speaker 2 (03:32):
Yeah, give me seven seeds?

Speaker 1 (03:39):
And what m D.

Speaker 3 (03:42):
Damn made me forget that quick?

Speaker 1 (03:44):
I know?

Speaker 2 (03:47):
Ah, boy, shout out to them man, all right, shot
out this doubling up songs called made something, doubling up
made something.

Speaker 1 (03:54):
Let's make it up and there we go. Yeah, doubling up,
finding finding rocket like that. You don't want to talk about.

Speaker 6 (04:04):
Don't need.

Speaker 1 (04:08):
Uchi Gucci tell you how you do me?

Speaker 7 (04:10):
Nowadays, I just want to just be me, dumping up beach.
Just maintain't get it, Just do it for my kids
like I just did not No, Dad, I know that's sad,
but now days I just wake up playing, Just smile
in the mirror, just make it.

Speaker 1 (04:27):
Just be focused, just stay.

Speaker 7 (04:29):
On my ten toes. Now days, I just don't understand
other people's lane. I just get it like opposed to
ain't no, do you understand? I just want to just
don't understand you. I just don't understand you. I just
want to just sit back and play Nick Knack, Patty
wat give a.

Speaker 6 (04:49):
Dog a bone.

Speaker 3 (04:50):
Y'all need to leave ball down.

Speaker 1 (04:51):
But now alone, I sit.

Speaker 6 (04:54):
Back, try and paint my mention.

Speaker 7 (04:56):
Everybody want to talk about how I think I that's true.
Just like a plan, I'm like it prove. I just
had to wrench off. I just didn't fall off. I
just got up. I had to just take punches, just
roll with it. Everybody want to talk about how you
got a lot of scars. They like stories. Do you

(05:19):
want me to tell you life? I am the man.
I'm doubling beats. I just try to tell you. I
just try to tell you. Just sit back, just listen,
get your fee ups. Just just paul l. Sometimes I
don't even know where too late. Sometimes I don't even
know where to go to listen. I listened to myself,

(05:42):
so I just want to turn on my music. I
just want to just figure out how to use it,
figure out life. I didn't have it me for but
I am here now. I just gotta figure out how
I got to use it, work it, get it planning.
I just got to beat up man. I got kids

(06:02):
to take care of. I didn't have no dad. But
it's cool. That's sad, but I'm up here, I'm cool,
I'm living. I'm trying to show.

Speaker 8 (06:12):
You OCHI Gucci, tell you how you do me.

Speaker 7 (06:16):
Nowadays, I just want to just mean me, dumping up
each just maintain't get it. Just do it for my kids,
like I just didn't not no dad. I know that sad,
but nowadays I just wake up blad just smaller in
the mirror.

Speaker 6 (06:32):
Just make it.

Speaker 7 (06:33):
Just be focused, just stay on my ten toes now days,
I just don't understand other people's lane. I just get
it like I'm posed to. Ain't no, do you understand?
I just want to just don't understand you. I just
don't understand you. I just want to just sit back
and play not Patty watch give a dog a bone.

(06:55):
Y'all need to leave balled up, but now belonging.

Speaker 6 (06:59):
As come in. I just learned some things.

Speaker 1 (07:01):
I just learned me.

Speaker 7 (07:03):
I just want to just be good. I just really
got to gout heart now this. I just really just
really don't talk. I let my music speak for myself.
I just do it. I just using people just feel
back on me. I don't understand. I just need to
understand what's going on before I go. I ain't even

(07:25):
gonna go before I just go. I'm gonna just know
what's going on. I feel vibe. I'm just that god.
I just sit back and just listen and just listen
and just look. I just be like shit, ain't cool.
So I just look as shit Like Stevee's wonder, I

(07:47):
just wonder.

Speaker 9 (07:48):
So I just say do low solo pull O.

Speaker 7 (07:51):
I don't understand if you know love, I understand though,
I just be in the don't joke, so I just
can't be at my craft, so I can set back.

Speaker 4 (08:01):
I might fucking around a can y'all ask this.

Speaker 1 (08:05):
Double or up? Then? All right?

Speaker 10 (08:14):
Man?

Speaker 2 (08:14):
That was dubbing up songs called may something, doubbling up
songs called may something. All right, get some feedback on
that record real quick here, MD, go ahead, give me
feedback on them.

Speaker 3 (08:25):
There was no record at all.

Speaker 5 (08:27):
That was an idea. Nice idea. Now you gotta go
develop it. Kill the auto tunes. You don't need that.
You know, gotta go develop a song. You don't have
a song yet. You got an idea without a song,
and you gonna find you a keyboard player.

Speaker 3 (08:43):
I can corroll.

Speaker 5 (08:45):
On that bass, right, sound like an amateur on that bass,
playing that on the keyboard. Here playing on the keyboard,
wasn't on no bass guitar. You know, great idea, you
got something. Now gotta go developed it.

Speaker 1 (09:01):
That's all.

Speaker 5 (09:03):
I can't put too much analysis on it other than
go develop it. Now, add a little bit more production
to it, you know. Kill the auto tunes. You don't
need that.

Speaker 1 (09:17):
You didn't really care for it like that with the auto.

Speaker 3 (09:18):
Tunes, right, it didn't do nothing for his voice.

Speaker 5 (09:24):
You know, I don't know why people want to hide
behind the auto tune auto tunes effect. It's not to
try to enhance your talent. It's there for effect for
certain spots of this song, not the whole entire song.
You put it in certain spots, like part of the

(09:46):
hook or a add lib. You're doing a question or
answer in the auto tune. It shouldn't be no more
than about four notes, you know, more than four notes
if you know what notes are?

Speaker 11 (10:04):
You know, after I heard the first first two verses
actually a verse of a half, I knew he needed development.

Speaker 5 (10:15):
You needed you had played that that much. Yeah, you
got an idea. But he ain't ready for no song.
He's not ready to be released or nothing like that.
He'd be a food to do that.

Speaker 2 (10:30):
Yeah, all right, all right, living next to human shadow there?

Speaker 1 (10:33):
What do you think about it?

Speaker 4 (10:35):
You know? But I like the chorus. I like the
chorus of the song. I thought the chorus was pretty catchy, So,
you know, like I'd like to hear more music from him.

Speaker 1 (10:47):
Okay, got you got you got youa Kelly good? What
you think about it.

Speaker 12 (10:53):
And I love the fact that he was very brave.
I love the confidence he came to the stage, you know,
with his chest outing, his head up, but he wasn't swagging,
he wasn't dripping. And he said, I just way too
many times. And it was like, you know, it's like
when you go to a studio and say, somebody just

(11:13):
be like, uh, I got I got a I got
fifty dollars for an hour and they just started rapping
for the whole hour. Like he didn't like you sound
like he didn't right down and he just started rapping,
and hy said he did. Now that's my case. I
think you need to go back in there and you know,
take your time, you know, develop a little bit of swag.
Want to come with that confidence, you know, in that brightness,

(11:38):
and then you know, hit it, hit it a little
better man, you know, just just swag it out a
little more.

Speaker 3 (11:44):
Yeah, they call that development. You need to go development.

Speaker 12 (11:47):
Song.

Speaker 5 (11:48):
Now you got the idea, ain't nothing wrong song, I
got it. Now you gotta developed to a better production.
Presentation the presentation shoot for the public eight there the
presentation for a producer is there so a real producer

(12:08):
could take that song and you hear a big old difference. Okay,
even the bass line, the base line will be will
be similar to what he's doing, but it would have
some action. The player would have little little action. It
sound like he was playing it, you know. He went

(12:29):
on there and on a keyboard to play his best
line base line. First he did the drums on track one.
Then he went to track two and did the bass,
then went to track three and he had started rapping.
The reason why he couldn't get get no art no
artists feeling because the music was dragging. So he dragged

(12:52):
along with the music. Now he brought somebody that knows
to play the keyboard, and I took the baseline. Now
he have a lot of other notes to go behind,
you know, and he can then he can find his
feel and his flow the correct way.

Speaker 3 (13:10):
But the idea is there.

Speaker 5 (13:11):
And then the way he was flowing it was good too,
But there wasn't no energy behind the music to get
him the energy to put.

Speaker 3 (13:19):
Behind the lyrical content.

Speaker 5 (13:21):
And like Cally said, he.

Speaker 3 (13:26):
He was in the studio, and I'm not gonna say
he was in the studio.

Speaker 5 (13:29):
I think he was at home in the bedroom somewhere
and he did that.

Speaker 3 (13:34):
That's what he did. We were in the bedrooms.

Speaker 5 (13:38):
He went in the studio because I hear some of
the tracks was muffed, you know, you know, it was
like a second third generation recording.

Speaker 1 (13:50):
Okay, well, let's check out this next artist right here.
This is uh.

Speaker 2 (13:54):
Uh young Corey sounds called thinking bout you already think
about you.

Speaker 1 (14:01):
Let's check it out. Here we go.

Speaker 10 (14:03):
When I wake up Benom morning, I'm thinking about you.
When I'm sleeping through the night. I can't stop dreaming
about you. You the I love my eye. I don't
see life without you when I'm going through it. Are
you running through my mind?

Speaker 1 (14:16):
Oh? That's the a compella right there. Okay, my bad.

Speaker 5 (14:20):
I say that was gonna be a nice setup the music. Yeah,
count right there. Let's see this is the one.

Speaker 8 (14:38):
Hold on.

Speaker 1 (14:41):
Up here. These are not labeled. Okay, this is the instrumental.
So I went from the compeller is the instrumental? Okay.

Speaker 10 (14:51):
When I wake up Benom morning, I'm thinking about you.
When I'm sleeping through the night. I can't stop dreaming
about you. You the Apple love my eye. Don't see
life without you when I'm going through it. Never do
I want to be without you. You my number one,
no number two.

Speaker 9 (15:06):
It's like a place.

Speaker 8 (15:07):
No not you, girl.

Speaker 10 (15:07):
You're bursting through my mind that nigh your love, and
I do motivated yet you got me, girl, I'll busting
moves all that chases you.

Speaker 9 (15:15):
You my my world.

Speaker 10 (15:16):
There's nothing now I'll be thinking about you through my mind.

Speaker 8 (15:23):
But they sent me take it.

Speaker 4 (15:25):
Then I got you was in my mind.

Speaker 10 (15:29):
You know they you like, that's all broke nigga moves,
tricking diff your way, you got, That's what broke niggas do.
Over around pres A little different me and you should removed.
I invest something and you invest in me too. We
invest the reals life. I help a live man to
you maybe to just what we do. Kick constraps in
the kind of boring one a little tough you might do.

(15:52):
Can't you win to cut a tool?

Speaker 3 (15:54):
You deserve something new.

Speaker 10 (15:55):
When I wake up in the morning, Ya, I'm thinking
about you when I'm sleeping through the right.

Speaker 9 (16:00):
I can't stop tray advise you. You the apples in
my eye.

Speaker 10 (16:03):
Don't see like fell without you when I'm going through it.
Never do I want to be without you, You my
number one, no number two, that's know, not you girl.
You're racing through my mind that Nie, you're the other
not you motivated yet you got me girl, IBus and
moves or all that chases you.

Speaker 6 (16:19):
You one my world.

Speaker 10 (16:20):
That's nothing new and you always know my mom Like God, damn,
I think about you. I can't gotta spell on me.
You yo, got afraid to show you because you my lady,
shoot my boot. I'm in love with you and never
everything that you doing, I ain't you got me smiling.
That's one thing that that I don't do. I'm beaning
it with your mom and them cuddle steal them too.
What's be and you with your little brothers. They can't

(16:42):
stop nothing that we do. I'll never let you go
to the end. We're seeing it through.

Speaker 8 (16:47):
I'll bet you can't go on day without your loving
and my God and nothing going.

Speaker 6 (16:53):
No way.

Speaker 10 (16:54):
No, I never put back on my promise to say
he ain't we don't play them games.

Speaker 8 (17:02):
You not like the mother girls are a little different.

Speaker 6 (17:05):
Like to beg you.

Speaker 8 (17:07):
It's me and you find a way about it.

Speaker 10 (17:10):
Kept us outing that and find it when I wake
up betting the morning you I'm thinking about you when
I'm sleeping through the night I came. Stop dreaming about you,
You the I love my eye. I don't see life
with without you when I'm going through it. Never do
I wanna be without you? You my number one, no
number two.

Speaker 9 (17:27):
It's like a place.

Speaker 10 (17:27):
Don't not you, girl, You're racing through my mother.

Speaker 8 (17:29):
Need your love and I do motivated.

Speaker 10 (17:32):
Yeah you got me, girl, I'll bust in moods all
that chases you, you my my world, that's nothing, norm
and I'll wake up betting the morning you. I'm thinking
about you when I'm sleeping through the night. I can
stop dreaming about you. You the IPLE love my eye.
Don't see life without you when I'm going through it.
Never do I wanna be without you. You my number one,
no number two. It's like a place. Don't not your girl.

(17:54):
You're racing through my man. Do need your love and
I do? Motivated. Yeah you got me, girl, I'll bust in.
Oh chases you and you.

Speaker 9 (18:01):
On my world.

Speaker 1 (18:02):
That's nothing now, girl, Nah like find so like that
was SWV right? That was that where the simple came from?

Speaker 8 (18:14):
Yes, s WV Okay, that's.

Speaker 2 (18:16):
What I thought. I was sitting there thinking about that too.
I know the song in my head and I was
singing it along. I just didn't figure out who it was.
But it wasn't the guy song. It was SWV song.
WV Okay, you're always on my mind.

Speaker 1 (18:30):
I like that song. I am.

Speaker 2 (18:32):
That's right, that's what's up. That's what's up, all right?
So what do ya think about this record? We'll start
with you when you think about this one.

Speaker 4 (18:39):
I thought the record was amazing. This is what I
am going to say. It sounds like you played a
performance track because like his lead vocal was lower than
his his chorus and his backgrounds. And if that's not
the case, then you know, he needs to turn his
lead up or whatever. But the song was dope, Like
I loved it, loved the energy and everything, really great song.

(19:01):
I just felt like his lead was a couple of
notches lower than the chorus and his backgrounds, and it
made me think that it was a performance track.

Speaker 2 (19:09):
Well, you know what you would you would actually be correct,
you would be correct. That was the performance track. Yep,
that was the show mix right there.

Speaker 1 (19:21):
You will be correct, you know.

Speaker 4 (19:24):
I know, I know, like it just sounds like that
because sometimes like I sing like with nothing in the background,
but then sometimes with the effects that I use. I'll
turn my lead up like twenty percent so I could
sing with it, so it beats me up a little more.
So that's what it was given.

Speaker 1 (19:42):
Oh okay, yeah, you will be correct.

Speaker 2 (19:45):
You will be correct there. Yeah, this is the single
that came in. It's got to be a super single
because it has an instrumental to acapella, the acapoco, the
show mixed the clean version, the dirty version.

Speaker 4 (20:00):
Right right. So that's what I said, because when you
said that this was an acapella and then this was
the instrumental, in my head, I said it must be
a show mixed in this pack that he sent, the
DJ pack that he sent, you know, yeah, uh.

Speaker 2 (20:11):
Huh yeah, he got had all those songs in there.
You're absolutely correct, right there.

Speaker 3 (20:16):
Man, he's supposed to do that.

Speaker 2 (20:18):
Well, that's how I came and in fact, it's another song.
We're gonna check this other song out by him in
the second ear because I'm curious to do that.

Speaker 3 (20:26):
Yeah.

Speaker 4 (20:26):
Yeah, so that's what a lot of artists do now technically, MD,
that is what they're supposed to do. But me as
a radio DJ, I hate when they do that. I
hate when they send that whole pack, and they got
all this.

Speaker 5 (20:36):
If the radio you got to sit in your package, right,
they don't have no time to go through all your
ship to see which one they're gonna play.

Speaker 3 (20:43):
On the radio.

Speaker 4 (20:44):
But then look, look usually they most DJs do like
the DJ pack because they like to mix in and
mix out, and they got your instrumental and they got
the regular version, you know, the acapella. Like some DJ's
like to like to mix your song a certain way
when they playing it and they DJing at parties. It
helps them to go in and out of other people's music.

(21:07):
So again, like for a DJ pack, for a DJ
at a station that's really sitting there like DJing your music,
that is great. But for somebody like us, how we
just putting it in the system. We just need the song.

Speaker 2 (21:21):
Yeah, yeah, I actually know, to be honest with you,
I do like the DJ pack as well. I don't
have a problem with it. On My only thing with
how he sent these songs to me, I wish you
would have had the single and or in the regular
regular version at the top and not at the bottom right,
and not the last song. So other than that, I
mean I like the record. I thought it was cool.
I hain't no problem with it at all.

Speaker 3 (21:43):
No, the record, the record was, the record was great.

Speaker 1 (21:46):
Mm.

Speaker 5 (21:47):
It's like I was like, I was trying to figure
it out too. I was saying the mix was bad
because I thought that was the only track that you had,
because you didn't say it was in the DJ pack yeah,
DJ pat. Then you said the DJ pack after you
had a capo.

Speaker 1 (22:06):
Yeah, I'll tell you that.

Speaker 3 (22:07):
Then you mentioned then you said, oh this is this
is a DJ peck. You got everything on here.

Speaker 1 (22:12):
Yeah, you know.

Speaker 2 (22:13):
Uh let me let me in fact, uh hold on
real quick, Kelly, good, what you think about the record
for I played this one again here.

Speaker 12 (22:23):
Than JD's music, j I D's music, and then the word, man,
that's that that's boyfriend music. So that was a that
was cool man. I think that that that that song
right here will motivate this girl, motivate some women, you
know what, make you move your head tied to shide.
I thought it was decent, man. I like it.

Speaker 1 (22:43):
Okay, that's cool.

Speaker 2 (22:44):
And here's what I'm gonna do with that record real
quick here, I'm gonna give us a little bit of
of the actual version. Whether I guess with all the
bells and whistles.

Speaker 1 (22:52):
This is the uh what version of this?

Speaker 2 (22:56):
I guess it's the master version right here. Let's just
check a little bit of this out and see if
you can know what's the difference in the sound.

Speaker 10 (23:01):
When I wake up in the morning. Ya, I'm thinking
about you when I'm sleeping through the night. I came
stop dreaming about you. You the I belyve my eye.
I don't see life without you when I'm going through it.
Never do I want to be without you. You my
number one, no number two, it's second place.

Speaker 8 (23:17):
No, not you girl.

Speaker 10 (23:18):
You're racing through my mind. I need your love. It
not do motivated.

Speaker 8 (23:21):
Yeah, you got me, girl.

Speaker 10 (23:23):
I'll busting moves all that chases you.

Speaker 9 (23:25):
You on my world.

Speaker 10 (23:26):
There's nothing new and not go to sleeping night. I'll
be thinking about you running through my mind.

Speaker 4 (23:31):
I can't stop there, and I'm painting for you.

Speaker 10 (23:33):
Fuck about what they saying mean nothing to get there?

Speaker 9 (23:35):
And I got you.

Speaker 10 (23:37):
Always been my round, stuck around my wreathed at my
blue Did.

Speaker 1 (23:40):
You guys notice the difference in the sound there?

Speaker 4 (23:43):
Definitely?

Speaker 2 (23:46):
Okay, okay, so that was it. That was the actual
version I was supposed.

Speaker 4 (23:50):
To play, for sure, definitely, the levels were even, Yes, definitely.

Speaker 2 (23:57):
Okay, And this is another song by same I'm going
down with the DJ pack and we might as to
check the other one out. This is another one by
the same artists, Uh Young Corey songs called Yo Yo Thinking,
Yo Thinking. I'm sorry, why C Thinking? Why C Thinking?
All right, let's check out why C Thinking?

Speaker 4 (24:28):
It's not like another version version Yeah yeah, oh.

Speaker 1 (24:33):
Man, okay, let's okay, that's the same record.

Speaker 4 (24:39):
Like you need to learn how to label your DJA
young man?

Speaker 1 (24:42):
Yeah, Yo yo thinking? So I mean why C Thinking?

Speaker 2 (24:46):
And then he had thinking as the title as the
thinking about Thinking about was the first eight songs, and
then y C Thinking was the last three songs.

Speaker 4 (24:59):
Maybe his feature and y see.

Speaker 2 (25:01):
No, that's him, Young Corey, that's him. He's the he's
the he's the lead artist.

Speaker 5 (25:06):
Yeah, yeah, it's.

Speaker 10 (25:08):
Right, right.

Speaker 4 (25:09):
I guess he needs to learn how to label with
DJ pack. So we know what's what you know?

Speaker 3 (25:14):
Yeah, he's new at it.

Speaker 1 (25:15):
Oh yeah, I guess so, I guess.

Speaker 5 (25:18):
So at least you know, you gotta send a DJ
package in right, right, we'll give him a beefer, yeah
for sure, put it together. Now, he needs to got
he got phase one taking care of m J. Now
you gotta take care of phase two. Which one to
put on the DJ pack? It should be just It

(25:40):
should be the single that's released for the radio. Second
one should be the club version if he got one.
Third one should be.

Speaker 1 (25:51):
For a little Savings specialist Miller bison.

Speaker 2 (25:54):
Ball on YouTube commercial Lot of Savings.

Speaker 1 (26:00):
Me neither exactly. I don't have it.

Speaker 2 (26:05):
Okay, you come from well, I was queuing up the
next record while you guys are talking.

Speaker 1 (26:10):
So this is the next artist song. Queen Saltana.

Speaker 3 (26:16):
Oh you had you at the time.

Speaker 1 (26:17):
Boy, They sent me a YouTube link, that's why.

Speaker 3 (26:20):
Oh yeah, first thing comes on the commercial.

Speaker 1 (26:24):
Yeah, so this is uh, they gotta get paid.

Speaker 2 (26:26):
Queen sent Queen Saltana songs called we Like the Party.
Queen Saltana songs called we Like the Party. All right,
let's check this out.

Speaker 3 (26:37):
I'm using.

Speaker 13 (26:42):
Get them girls on the flow, Get them girls on
the flow, get them girls on ry.

Speaker 14 (27:23):
Let's go to stay in my lady on my grandad,
in my bag, don't waste my time. I'm bout my bag,
I'm bout my goals. All I want to do is
take a break and get low count this money bag brow,
don't bow on my swag and try said not just
on my cake if you're gone. But the next game
I want to do with my party's getting loose for
a barn.

Speaker 3 (27:43):
Stop the summer time.

Speaker 14 (27:45):
We're gonna start the next bring make me six.

Speaker 6 (27:47):
Days to bros. Game if you hate things, broking with me.

Speaker 8 (27:49):
But if you got to handle, go do your things.

Speaker 14 (27:52):
They didn't everything explain making work, playing body like a
walking body.

Speaker 15 (27:57):
Nobody.

Speaker 8 (28:00):
Yeah, come on everywhere, we like you. We like you Brown,
No so buddy, everywhere, wait like soop, we like.

Speaker 6 (28:23):
Brown, hold up Brown, colder.

Speaker 14 (28:27):
Stay stays stay So I'm playing no key, I stay on, sweet,
I stay on.

Speaker 8 (28:33):
That's what you might set.

Speaker 14 (28:35):
A queen on the map waiting for dondo. Know those
copping a second, they're being those copings, keeping forty pockets,
wording up the pocket. Body take cocky, I got the
boys copy, give.

Speaker 8 (28:44):
Respect everywhere I go. Anybody got a follow.

Speaker 1 (28:47):
My don't you know he into the dunk.

Speaker 14 (28:49):
No rider's wave queen in California, No one, nay. I
keep it on, saxty cheep the knowledge hal me you
know how to have for spot they pity, don't get
dirty cause I roll with me and my.

Speaker 8 (28:58):
Girls want to do on.

Speaker 1 (29:33):
Alight.

Speaker 2 (29:34):
That was a Queen sal Tanna songs called we Like
the Party. Queen salt Tana songs called we Like the Party,
that said lesz one.

Speaker 1 (29:46):
All right, so what do we what do you think
of that? What do we think about that? One?

Speaker 2 (29:50):
That was a track itself kind of mommy of a
record in a long time ago, long time ago called
Voe Madonna Vogue Madonna, So one of those Voguan songs
house songs?

Speaker 1 (30:05):
Uh, Kelly good? What you think about the record?

Speaker 12 (30:10):
You know she was churned up, you know, she was
troubling herself. Uh, she stepped out there. You know she
was bold for that. You know what's called angela telephone
number where they monitored and recorded cool at that house flavor.
You know it was cool energy. You know, I'll be
her an ad for Refford Man.

Speaker 1 (30:30):
It was decent.

Speaker 2 (30:31):
Okay, that's what's up. That's what's up for sure, bro,
living next to human Chandelira. What do you think about it?

Speaker 4 (30:38):
I liked it a lot. It had a lot of energy.
I just I would like a better mix for the song.
But like, definitely like the song is hot. I could
I could see it going crazy in the nightclub, like
crazy in the nightclub.

Speaker 1 (30:51):
Right, Okay, that's what's up, m D. What you think?

Speaker 5 (30:57):
Yeah, I know I'm on the fence on this one.
When they were said when they were doing the hook party,
they didn't have no instructure to that. They were like
they were screaming in hollowod.

Speaker 3 (31:09):
You know, it wasn't it was cool, but it was
something missing, you know, it was something missing.

Speaker 15 (31:20):
You know.

Speaker 5 (31:21):
They had their old disco and horse music feel, you know,
but it was just and I think the lead vocals
they didn't need to be double They could have went
singular on that. You know, they didn't have to double up.
They didn't have to develop her track to make her

(31:42):
sound good. I think she probably got a unique style
of tone and they didn't exploit it right. They were
scared that she didn't sound good enough, so they doubled
her voice. I didn't think they need to double for it.
That they needed to let her go out on the

(32:03):
limb to hear herself.

Speaker 3 (32:05):
You know, that was her. But they had her doublin
herself and the dublin wasn't perfect.

Speaker 1 (32:15):
It wasn't perfect.

Speaker 3 (32:17):
It was done by some amateurs.

Speaker 1 (32:20):
So okay, all right, all right, it was a cool song.

Speaker 3 (32:26):
It'll get the it'll get the club rolling. If they
still dance.

Speaker 1 (32:30):
Yeah, that's another thing. Don't really dance no more.

Speaker 4 (32:33):
Right, So it's on live with their phones out.

Speaker 1 (32:37):
Exactly and pretending like they party, but they're not.

Speaker 4 (32:41):
You look like you know what it made me think of,
even though it sounds nothing like it. It made me
think of Eddie Murphy. Eddie Murphy, I like to party, y'all.

Speaker 3 (32:50):
That with Rick James.

Speaker 1 (32:59):
It's it's all good.

Speaker 2 (33:01):
Uh man, I'm good brother, I didn't have but yourself,
oh we good man, can't complain, can't complain? What you
thinking about the last song?

Speaker 16 (33:12):
I'm not to go with brit I think I think
it needs a better mix because and I think everybody
basically said that in their own words way of saying it,
it does need to mix. In terms of the devils
is not on on point. It's too busy, it's not structured.
It's just so many things we do.

Speaker 9 (33:34):
Like the high energy.

Speaker 1 (33:35):
They got high, so they got to aid for high energy.

Speaker 16 (33:39):
So but at over, I think they need to mute
out some vocals, drop some vocals, stuff.

Speaker 17 (33:48):
Like that to have this song a lot more structure.

Speaker 9 (33:50):
It just needed.

Speaker 17 (33:51):
I think it just needs another mix on it, a
better mix, and then probably after that, so yeah, I
will go.

Speaker 1 (34:01):
We're basically saying the same thing.

Speaker 17 (34:03):
You just really need another mix, all right, in a
professional setting.

Speaker 1 (34:08):
In a professional setting.

Speaker 5 (34:09):
Okay, artists, if you're listening, this what happened when you
let some inexperienced engineer mix, sure, mix your ship, take
a good.

Speaker 3 (34:21):
Song and fuck it up.

Speaker 2 (34:23):
Well, I'm sorry you missed the guts him because the
guests we had on the night that was Chuck Platinum.
He he mastered his own music.

Speaker 4 (34:30):
So I heard it.

Speaker 1 (34:31):
I heard Okay, fuck that up too, Okay, all right.

Speaker 3 (34:35):
Yeah, I guess that's the reason about the computer to
let me on.

Speaker 2 (34:39):
Okay, he knew like you didn't like to mix on
that either or the master. Okay, okay, but.

Speaker 3 (34:46):
It was a it was a nice song.

Speaker 1 (34:47):
Yeah.

Speaker 3 (34:49):
But see it's all in the mix.

Speaker 5 (34:51):
A lot of independent labels and artists don't understand that
it's about the mix.

Speaker 3 (34:57):
It ain't the production. But actually gonna be great.

Speaker 5 (35:01):
If you bring an inexperienced mixer in on your ship,
he ain't gonna sound the same.

Speaker 2 (35:09):
Okay, all right, so good We're go ahead and try
this one out on Umn. This is a Nike Anderson
Alexander Nike Nike. I said, all right, well we can
go with this one, Nick Alexander, because NYK is that
Nick Nyk?

Speaker 1 (35:25):
Nick Alexander.

Speaker 3 (35:27):
Yeah, that's what he's probably trying to say.

Speaker 1 (35:29):
That's a ghetto that's.

Speaker 3 (35:30):
A ghetto name.

Speaker 12 (35:31):
Yeah.

Speaker 2 (35:31):
Nick Alexander's song is called let's say it's a ghetto
spell love Like I Love you, Love Like I Love you. Yeah, okay,
let's check it out.

Speaker 1 (35:43):
Here we go.

Speaker 6 (36:08):
Catchnaiir prepairs I but not like my.

Speaker 9 (36:13):
What is a man to do when he's stuck on you?

Speaker 14 (36:19):
What to do?

Speaker 18 (36:21):
I'm trying to think of this out girl. I think,
I know, I think I'm ready full. My especially got

(36:51):
me doing things I don't want to do. But sonsson
in a vibe that I can't go.

Speaker 6 (37:00):
Gotta think I got it, waiting not love for me
to say.

Speaker 8 (37:06):
Her ida, I can't got I. It's astounding.

Speaker 18 (37:12):
I did everything and you get it together that I
got this filling baby that.

Speaker 3 (37:17):
You keep pumping and no backing up?

Speaker 6 (37:20):
Baby?

Speaker 1 (37:23):
So I said, what're trying to do?

Speaker 14 (37:27):
Got?

Speaker 8 (37:28):
I think nothing of the thought, think my bad.

Speaker 15 (37:49):
Not like.

Speaker 8 (37:53):
Laughs like dot.

Speaker 3 (37:57):
I think she laughs like Dola.

Speaker 2 (38:09):
Was like.

Speaker 6 (38:28):
Now now I think I be right now, I think
I now think about now.

Speaker 1 (38:42):
You just heard this record. Now let's get some feedback,
all right there?

Speaker 2 (38:49):
That was Love Language by Nick and Nick Alexander. Love
Language by Nick Alexander. All right, so what do we
think about that one.

Speaker 1 (39:03):
Of a good try? Okay, yeah, yeah, yeah, okay.

Speaker 2 (39:10):
That that track that sounds like something that was in
the late eighties right there, so like something you know,
New Edition would have had.

Speaker 4 (39:18):
I was gonna say, like nineteen ninety five or something
like that, but I'll see it. I didn't know nineteen
ninety two, nineteen ninety five, Okay, if it be like
it's given me one twelves first album, you know, like
before way before Peaches and Cream, like before anywhere I

(39:41):
forget I forgot what they what they single was off
that year, but yeah, like take it. It's back like
when I was like in elementary or something like that.
Like geez, like it sounded like that error like not
today at all.

Speaker 1 (39:53):
No, No, it's not today.

Speaker 8 (39:55):
I'm you know what know what single it was?

Speaker 4 (40:01):
Cupid? You know that's so Cupid doesn't.

Speaker 9 (40:04):
Love But we won't know, un Let you give.

Speaker 4 (40:08):
It a try. It sounds like that error.

Speaker 2 (40:14):
I think it's a little older than That's why I
was saying late eighties, early nineties.

Speaker 1 (40:18):
Up in there, late eighties, I got you, Oh, MD, go.

Speaker 3 (40:20):
Ahead, it was high see. I like the way you
love me.

Speaker 1 (40:25):
See, I like the way you love me. That's the run.

Speaker 3 (40:27):
Yeah, he did a remake. He did a remake.

Speaker 8 (40:31):
And what year was that, Joe, Oh?

Speaker 2 (40:33):
That was that.

Speaker 1 (40:34):
I'm gonna see here may it's so.

Speaker 3 (40:36):
Rest in peace? That was what ninety one? Ninety two?

Speaker 1 (40:42):
Okay he said, I said ninety two.

Speaker 4 (40:44):
I said nineteen ninety five.

Speaker 3 (40:46):
Right up in there, I see I like just for
the death row era.

Speaker 1 (40:54):
I like the way you.

Speaker 9 (40:55):
I love the way you kiss me.

Speaker 5 (40:58):
When you think the name of the song is called
I like the way you love me. I like the
way you love Platinum. You wouldn't platinum you love me
for five?

Speaker 3 (41:12):
It was number one for about about seven to eight weeks.

Speaker 1 (41:15):
Isn't that It's high five?

Speaker 9 (41:17):
Right?

Speaker 3 (41:18):
Right?

Speaker 9 (41:20):
I see?

Speaker 1 (41:21):
Okay, Well listen, let me listen. It was a group.
I don't don't sound like that rege. No, I don't
sound like that regular slice. Let me let me, let
me let's play this year. Let me let me get
to the bottom of this.

Speaker 4 (41:35):
Love me snacking made easy, that's the name of it.

Speaker 8 (41:39):
I see, I like to know you make.

Speaker 3 (41:43):
See we did it overdo.

Speaker 5 (41:51):
That's it.

Speaker 1 (41:57):
The groups called High five. I used to like the group.

Speaker 9 (42:02):
That was.

Speaker 1 (42:07):
You think this song? You think this song sound like that?

Speaker 6 (42:11):
Yeah?

Speaker 12 (42:14):
No, John, that.

Speaker 1 (42:20):
For sure, okay, but yeah, that's that's the difference. Yeah,
it was in this era. It was in this era.
Now what year was this record done?

Speaker 2 (42:35):
And I should notice because it's I'm a High C fan,
so I should notice everybody that had to be that ninety.

Speaker 9 (42:42):
There.

Speaker 4 (42:44):
Yeah, yeah, that definitely definitely was a demo from nineteen
ninety two.

Speaker 1 (42:51):
Yeah, that was something that Yeah, that's what that was.
It was a demo. Yeah, yeah, he o d at
least on it tonight. Oh my god, we're all on
the same link.

Speaker 16 (43:03):
I mean, y'all hold it every night, but tonight we
like saying the same exact thing, because I think my mind.

Speaker 1 (43:09):
I'm like, that's a demo?

Speaker 4 (43:11):
What's that? Big thieve?

Speaker 16 (43:14):
Sometime me But all the time you're trying to be
a superstar like you you ay, I'm a gritty loving said, man,
you was some star too.

Speaker 2 (43:26):
Okay, Britt, you would be right on it. I like
the way how far came out of nineteen ninety one.

Speaker 3 (43:35):
Okay there just before the death Row era.

Speaker 2 (43:40):
Okay, yeah, see I had a late eighties early nineties,
so okay, so we was all kind of in the
same era, same time.

Speaker 3 (43:47):
From eight ninety right, you know, eras eras every five years.

Speaker 2 (43:53):
Right, Okay, so we was all kind of music kind
of kind of in that. But any of y'all like
the song here, what do we think about it?

Speaker 3 (44:01):
I'm like, he went out on a limb.

Speaker 1 (44:05):
He might have to mix it.

Speaker 5 (44:07):
He probably have to go and do a little bit
more lead production, really put his heart in it. Sound
like he was just dizzy and dazzling into it. He
didn't know really what he really wanted to do. Like
it sounded like that was a one or two take.

Speaker 12 (44:23):
You know.

Speaker 3 (44:24):
I think you need to go back and take a
couple of more takes and.

Speaker 5 (44:27):
Really memorize his lines without reading it off the paper,
off the off the lyrical sheet, you know. But for
a remake, it was it was good because it wasn't
exactly like the original, but you hear the similarities in it,
and that's what that's what counts, you know.

Speaker 3 (44:49):
No different what October London did with At My Place.

Speaker 5 (44:53):
He took Marvin Jay Distant Lover music and sung it
his way, but he sounded like Marv Get.

Speaker 3 (45:02):
Yeah. At My Place he used the music for dising Lover.

Speaker 1 (45:07):
Okay, big Free, What do you think about it? Everybody
basically said it.

Speaker 16 (45:14):
It's a it's a demo song from the nineties, resembling
High five. There's nothing else to say. I mean, that's
basically it. It's a demo song. He's a good singer,
you can tell, you can sing, you know, he just
you know, it's one of those songs you say, he
got some talent, let's make him into Let's let's do

(45:36):
something with him, you know.

Speaker 5 (45:37):
Yeah, let's see what Yeah, And they need to tell
what to do, and they need to take him back
to the studio and redo that, not the production but
the vocals. Let him do his lead vocals again and
really put his effort because radio will play that because
it's from another era of thirty years ago or twenty

(45:58):
years ago, actually thirty years now, and and radio like remake.
That's why October London went so big with at my
place because he took an old song of Marvin Gaye
and took it his way and made marn too exactly

(46:20):
and as another guy sounded like Marvin gay Now we
played him last week.

Speaker 3 (46:26):
Really, yeah, we played him last week, and.

Speaker 5 (46:31):
Yeah he's on He's on last week's show. We did
the hit Nay, we played it. Everybody loved it.

Speaker 3 (46:37):
You remember that song Dundee?

Speaker 14 (46:40):
Uh?

Speaker 1 (46:41):
Which who was it?

Speaker 3 (46:43):
I forgot his name.

Speaker 4 (46:44):
I forgot his name too. I don't know if it
was no name, no number or something like that whatever,
private name.

Speaker 1 (46:51):
Yeah, yeah, okay, something like that.

Speaker 6 (46:54):
I think.

Speaker 1 (46:56):
Okay, I'm gonna have to go back and listen to
some of the older shows.

Speaker 5 (46:59):
Yeah, got the name because I remember I said that
was Tina Turner's album name.

Speaker 3 (47:05):
Okay, yeah, private something? God remember mm hmm your name question?

Speaker 16 (47:15):
Because I want to hear Britty Levins underwe.

Speaker 2 (47:19):
Well, I'm glad you mentioned that because I think we're
gonna be playing something by her coming up in a
few moments.

Speaker 1 (47:29):
Kelly good Kelly Good, Well, what will.

Speaker 2 (47:32):
We playing Kelly Goods record a little bit here, But
first we have this one by Legacy song called Ain't
About This Legacy ain't about this.

Speaker 1 (47:47):
Let's ship she's gonna be mad? All right, Well, let's
check it out and see if she's gonna be mad.

Speaker 19 (48:00):
You tire rest of streamed out to the p J
hustle hard, Let's get it, mag man want to be
a king?

Speaker 9 (48:13):
Never saw one peasant?

Speaker 19 (48:14):
Check is the sixth guy that makes me the seven
thousand and one storm.

Speaker 9 (48:17):
Bet you know what made it to the top for
the charge.

Speaker 6 (48:20):
Come on, bro bettt.

Speaker 4 (48:22):
Climbing for the thorm while I touching on the ground.
Same inn a G nine never running out.

Speaker 20 (48:27):
Say you started from the bum going keep that bit
my way up, bought my mouth underneath.

Speaker 8 (48:32):
That challenges the buffet competition.

Speaker 6 (48:34):
Entre group is doing avertire.

Speaker 15 (48:36):
Now I need a side phrase right above hell at
the top for the cor need I say more, follow harder.

Speaker 1 (48:41):
When I prayed, de.

Speaker 15 (48:42):
Mant my ankle, devil spitting me, his best script still
came hold me back, never make me quick quick.

Speaker 4 (48:47):
Got be with his best.

Speaker 15 (48:49):
Script dedication to the most tied there sudden they put my.

Speaker 6 (48:53):
Last day on the run and went and shall on
my life on the strip.

Speaker 9 (48:56):
That going one way?

Speaker 6 (48:57):
Could that rain ynd just because they ain't about this,
that the most time.

Speaker 15 (49:01):
I mean with the dedications living post time, I mean
with they got me let me dedications living post time.
I mean, hey, he got me hitt feeling untouchable back
up on my dean.

Speaker 8 (49:14):
When they went through the city running power plays.

Speaker 15 (49:16):
No team number play, stay fool, grunning.

Speaker 9 (49:18):
Leum starving, never done affecting.

Speaker 15 (49:20):
My craft forever shopping uncle for success task. They said
on the runway on a straight path going one way,
sudden that the same as a co running all the
same altrometo on the summertime streets of space. Used to
be skillable, full for anything said, standing for something greater
my life. They've been the same coupercent life ships got
a little deeper over on the fast lane, racing from

(49:41):
the set alone.

Speaker 19 (49:43):
With postal child misspit never been a follower.

Speaker 6 (49:45):
For me, that is saying it.

Speaker 15 (49:47):
Bruble outlaw with the rest, I never fitt get them
street the most like.

Speaker 8 (49:53):
He got mean it so the most I got me it.

Speaker 15 (49:57):
Bruble outlaw with the rest, I never fit stut get
them street to the most.

Speaker 6 (50:01):
I got me lit.

Speaker 19 (50:04):
Wow, sending the sending there put my left day on
the running with inshall on my life on the strict
that going one.

Speaker 15 (50:09):
Way to down on the brown because they ain't about
this dedication to the most time.

Speaker 6 (50:13):
I mean the dedication to the most time.

Speaker 1 (50:16):
I mean.

Speaker 15 (50:18):
Yeah, got me, the dedications to the most time.

Speaker 6 (50:21):
I mean yeah yeah, gum me the Lita.

Speaker 5 (50:28):
Got me, the got me.

Speaker 1 (50:37):
The beat Maker's track, all right, So what do we
think about that their legacy ain't.

Speaker 3 (50:43):
About this day maker's track maker track?

Speaker 1 (50:48):
Beat maker track.

Speaker 5 (50:49):
Yeah, I heard the girl with her footnote on there. Oh,
so I don't tell the honey people got the track?

Speaker 3 (51:00):
Yeah, got that track, you know.

Speaker 2 (51:02):
Uh.

Speaker 3 (51:03):
His his rat was kind of lazy, uh huh, and
sounded like he got tired at the end.

Speaker 5 (51:09):
And I think they did a lot of cutting past
with his lead vocals, but they didn't bring the the
the kadis the way they punched, the way they they
paced it. Katian was off. You can you can hear
like a jerk. You can tell he didn't float through
it himself. They was back in the old day we

(51:32):
used to call that punch in punch out. Yeah, but
with the condechnology is pace. You know, he did a
lot of cutting past, a lot of.

Speaker 1 (51:47):
It to hear it all, so you didn't really care
for another word I.

Speaker 3 (51:50):
Like the idea, but he's gonna have to go and
and and do it himself. You know himself. And if
you reading the lyrical chet you need to get what
you need to throw that sheet away.

Speaker 5 (52:01):
You learn it shit by heart so you can get
an attitude because you have no attitude.

Speaker 2 (52:08):
At all all for y'all checking us out on by
way of TikTok. This is the radio show. We're on
a keyword the radio show every Monday night right here.
This part of it called the head and out of session.
So if you got a song you want to send
to us, go to our website www dot the radioshow
dot com as DZ and David as a appleradioshow dot com.
Send us your music right now. Go to this where

(52:29):
it says submit music, click on the picture uploads your song.
It'll find its way over to us. No, we're not
playing any Tyler creator right now. This is for independent
up andcoming artists. This is their show, so we're here
for that. So if you got to ask for major,
of course, and people always ask for majors, but it's
all good. It's all good, Joe. Yeah, this is for
independent artists. So if you want to go here. If

(52:50):
you know an independent artist, and which I'm sure everybody
knows someone that rapp or single whatever. This is the
place right now where you can send it to us
and we'll give it that on its feedback, that constructive criticism.
See if you got a hot record or not. All right,
it's off the head, out of session. We do it
every Monday night at ten o'clock specific standard time, uh,

(53:12):
one am Eastern, every Monday night.

Speaker 1 (53:15):
Right here. So we're gonna play another record right now.
Uh cally Good.

Speaker 2 (53:20):
We're gonna play your record right now featuring four CG
no songs called no Good.

Speaker 4 (53:25):
So it's featuring four CG. I'm gonna get.

Speaker 12 (53:35):
Okay, this is me and my son for CG No Good.
We're working on a joint collabo project, you know, a
joint album together, and it's called how could You. I'm
gonna let them four CG No Good tell y'all what hey,
how you guys doing? Yeah, So basically attacked. This basically

(53:59):
is about the aftermath a lil like a relationship. How
you know, how you can still think of think about
it after it's even over.

Speaker 1 (54:11):
Well, okay, yeah, we're gonna check it out right now
let' see what you guys got here we go? How
could you? How could you all right? How could you write?
Is that what's called?

Speaker 12 (54:23):
Yeah?

Speaker 1 (54:24):
Okay? How could you? Let's check it out? Here we go?

Speaker 9 (54:37):
That's m h How you let me? Second guess you
got me on your stress? Of this shire? Really so there?

Speaker 21 (55:00):
I told you all my feelings. You just knew that
I was realless. I told you all my feelings. I'm
just I here smoking pop pillsfiget about my blessings. I'm
just out here dealing with these women's till I'm thinking
about you. I shut them on my love?

Speaker 9 (55:15):
Or you know how we do? You know how we do?
How you be so evil when all us so good
to you? What's good to you? How you lucky?

Speaker 14 (55:27):
You?

Speaker 21 (55:27):
Second guess you got me out of her stress? This
shit really sowed the place. I told you all my feelings.
You just knew that I was realless. I told you
all my feelings. I'm just I here, smoking pop pillsfig
get about my blessings. I'm just out here dealing with
these women's till I'm thinking about you. I shut them
on my love?

Speaker 9 (55:46):
Or you know how we do? You know how we do?

Speaker 21 (55:51):
How you be so evil when all us so good
to you? What's good to you? I still thinking about you.
I'm hoping let you hit my feelings. Hope you son.

Speaker 20 (56:06):
I was your better half, thought we would last. You
dim me back, made sure to be a tendant. I
gave you full attention. I'll let you have my heart.
You had some meal intentions, you never took a serious
You left me out here wigging, dripping, and stole my pride,
left me so hurting side. You look me in my eyes,
so innocent, and tell the line.

Speaker 9 (56:28):
You cheat.

Speaker 1 (56:29):
I take you back. Mom told me leave you alone.

Speaker 9 (56:32):
I've seen it.

Speaker 20 (56:32):
I mean she saw ry. I should have listened for
I taught your heart was pure. How could you be
so cold? I thought we had a happy home. You
left me all along. I hope you played this song
so you could feel the way I felt cul you
did me wrong. I could you be so evil? You
went and told them people done me and think above.

(56:55):
I thought that you was too huntret you really changed
my mind. I was young, dumby. I should have saw
the signs.

Speaker 9 (57:02):
How you lucky?

Speaker 21 (57:03):
Second guess you got me out her stresses. This shit
really sow the press. I told you all my feelings.
You just knew that I was realist. I told you
all my feelings. I'm just i here smoking pillsig get
up all my blessings. I'm just out here dealing with
these women's till I'm thinking about you.

Speaker 9 (57:20):
I show them all my love.

Speaker 12 (57:22):
Girl?

Speaker 9 (57:22):
You know how we do?

Speaker 4 (57:24):
You know how we do?

Speaker 9 (57:26):
How you be so evil when all's so good to you?
I was good to you.

Speaker 21 (57:34):
How you let me second guess? You got me out
her stresses? This shit really sow the press. I told
you all my feelings.

Speaker 9 (57:41):
You just knew that I was really I told you
all my feelings.

Speaker 21 (57:44):
I'm just out here smoking pills for get up all
my blessings. I'm just out here dealing with these women's
till I'm thinking about you.

Speaker 9 (57:52):
I show them all my love, girl. You know how
we do? You know how we do.

Speaker 17 (58:00):
That?

Speaker 9 (58:01):
Wash? I could?

Speaker 2 (58:03):
I could you Kelly good four CG no good as
well making that happen here? All righty, So how do
y'all feel about this record? That gets some feedback on
that real quick here? All right, let's go uh uh
a big feed What do you think about it?

Speaker 16 (58:21):
This record reminds me of when when when somebody come
to me with a dope idea and they be like, man,
I got to see you listen to this man, it's dope, man.

Speaker 1 (58:31):
And so they play the track.

Speaker 16 (58:33):
So they play the track and then they start rapping
it right or they start singing it, and I'm like, oh, yeah,
that's dope your ship, and now go record that.

Speaker 1 (58:41):
Bro go later.

Speaker 16 (58:43):
So when I listened to the record, I'm like, Okay,
great idea. Now let's go record it.

Speaker 1 (58:51):
Okay, that's what's up. That's what's up.

Speaker 16 (58:53):
Let's go put let's go put some doubles on it.
Let's go put some harmonies on it. Let's go you know,
let's go payed some vocals.

Speaker 1 (59:03):
You know what I'm saying, Uh uh.

Speaker 16 (59:05):
Yeah, Let's go in the studio and record it. Let's now,
let's go make it a record. It sounds like an idea,
a great idea right now, but let's go.

Speaker 3 (59:16):
It just sounds like the talent is there and now
let's go make it a record.

Speaker 1 (59:21):
You see what I'm saying.

Speaker 16 (59:22):
Let's go double here, Let's let's go have some poise here,
Let's have some breathers in here between this lyric and
that lyric. You know, let's let's let's triple that. Let's uh,
you know this ad lib on this right here, So
it sounds like it's an idea that need to go,

(59:43):
that need to be recorded and turn into a dope record.

Speaker 9 (59:49):
That's my that's my take on it.

Speaker 1 (59:51):
That's what's up MD. What you think, Well, he.

Speaker 3 (59:57):
Couldn't sit it no better. And back in old they
be called that the songwriting the songwriting session.

Speaker 5 (01:00:04):
We just put an idea together just to see do
the half potential song got potential. Now you gotta find
the right the right principles, right the right key peoples
to help you put this project together at a upscale

(01:00:25):
the level. Okay, the idea is there, but not paying
here Now, okay, you gotta go in the studio. If
you did this in your bedroom or your kitchen with your.

Speaker 3 (01:00:39):
iPhone, it's not gonna work, all right. It's gotta spend
money to make money.

Speaker 5 (01:00:47):
Go find your keyboard player, musician or something like that
to put the track instrumental track down that meets your
talent and nobody else's. Other words, it's customized for you
and you own. That's how you make records, and you

(01:01:07):
customize it for you. All these major groups that you
hear that has classic hits. They have producers orchestrated their
music that said that was them and nobody else. You
got a good idea, Now you gotta go develop it.

(01:01:28):
Find the right key peoples to come in and help
you put it together.

Speaker 3 (01:01:32):
You know you can't. You can't do it on a.

Speaker 5 (01:01:37):
Welfare level. Do a lot of free shit, a lot
of free people just to do something, you know, just
to be doing it. You gotta find you some professional guys.
Back in the old days, they call them studio rats,
musicians that lived in the studio. That's all they did,
studio recording. They know how to record, that's all they do.
Every now and then you might catch them at a

(01:01:57):
concert plan for that same artist, but the majority of
the time there in the studio, and they're out there.
Then college is junior college is. You might even find
your high school a high school keyboard player who can
play the keyboard blindfolded. You're looking for talent that good.

(01:02:17):
You can't go with the one finger instrumental version. You
gotta go with the real deal. That was a good,
good songwriting session. Now you got your idea, now go
develop it. That's gonna make you rap. That's gonna make
you perform better when you get the better when you
get the best music behind me, it'll make you perform better.

Speaker 3 (01:02:38):
Right now, you went along with the music. Music drag,
you drag.

Speaker 1 (01:02:42):
All right.

Speaker 2 (01:02:43):
Let's let's let's go to the next one right here.
This is the last one for tonight. Here, this is
uh Candice Dent Denise U, Candice Denise. Yeah, everyone is
validd Candice Denise, Everyone is valid.

Speaker 1 (01:03:03):
Let's chuck it out. Yeah, hey, look at the feedback
on the songs.

Speaker 4 (01:03:14):
After the song's over, give your feedback.

Speaker 1 (01:03:29):
Look at the feedback on the songs.

Speaker 4 (01:03:32):
The songs over.

Speaker 2 (01:04:00):
Reme Okay, I didn't know that was a clarinet deal

(01:05:16):
there playing along the track Candice Denise.

Speaker 1 (01:05:21):
Song is called everyone is Valid? All right? So what
do we think about that? May mean what you think
about it.

Speaker 3 (01:05:29):
She was cool, but she showed me nothing that put
me on the edge of my seat.

Speaker 5 (01:05:37):
She when she did the first four bars, she should
have broke out with the solo the right way.

Speaker 1 (01:05:41):
She just played.

Speaker 3 (01:05:42):
She just went up and down to scale. That's how
she did.

Speaker 5 (01:05:45):
Went up and down to scale, back and forth, back
and forth, back and forth. Nothing fantastic about it.

Speaker 1 (01:05:53):
Okay, nothing, nothing at all. Okay.

Speaker 2 (01:05:56):
I thought I thought it was cool because remmy of
it was a it was a record. I don't know
they still make them now, but it was a project
out uh in the early two thousands called Unwrapped, and
that's when they took hip hop joints. The instrumentals and
jazz artists played played the Uh.

Speaker 5 (01:06:14):
I'm not yeah, I'm not saying it's not jazz song
or anything with that nature. I'm just saying she didn't
she didn't do no highlight. She just went up and
down this. She just went up and down the scale.

Speaker 1 (01:06:26):
Okay, that's all.

Speaker 5 (01:06:27):
She just went down, she said, you know, that's all
she did. I thought you're gonna do something like all that,

(01:06:49):
you know, took in another direction after the after the
what eighth bar? It sounds like a long ass intro.
I'm waiting for some the same take the truth.

Speaker 2 (01:07:02):
Okay, all right, what she says here? Okay, yes, yes,
that's my Yes, that's my bread and butter. It's an instrumental, okay.

Speaker 1 (01:07:14):
And she is a cl cl clarinet, yes, clarinet. Okay,
she's a clarinet.

Speaker 5 (01:07:23):
Okay, yeah, clarinet, yeah, Okay, But it don't make a different.
So that she went up and down the scales, back
and forth, back and forth, and she was afraid to
leave the scale. Okay, she only she only played sixteen six,
not sixteen, but quarter notes. That's how she did play
quarter notes throughout the whole song. And she's a if

(01:07:45):
she's she know I played, man, you know what the
quarter note is. Okay, that's all she did. She didn't
put those thirty seconds in it. She didn't putting noose
sixty fourds in it. She she just went straight up,
you know, for a maybe eight every now and then.
But it's not like a long ass intro. I was

(01:08:08):
looking for a breakaway, you know, and start running and
carrying on.

Speaker 1 (01:08:14):
Okay, it's just she said, thank you for the feedback.
It's noted all right, but can you hear me? Yes?

Speaker 22 (01:08:22):
You, oh, I know you can hear me. Okay, yes, sweetheart,
get off the scale. Do the scale for the first
four bars, then jump into a solo. Just go so
now show your talent going up down the scale and
showing me no talent. And I'm speaking on the producer standpoint,

(01:08:46):
not as a fan, but as a producer.

Speaker 3 (01:08:49):
You know, get off that scale. You hung on that
scale for.

Speaker 1 (01:08:54):
Eight eight.

Speaker 5 (01:08:57):
I think that was twenty four bars. You stayed on
the scale and you ain't supposed to be on the
scale for only about four bars. Then you supposed to
win solo. You supposed to did a solo thing, running
sixty four thirty two's you spost have been all you
supposed to have been. You supost have been, man, You're

(01:09:18):
Sposta took off, but you didn't take off.

Speaker 3 (01:09:21):
You stayed. You stayed on the on on the take
off field.

Speaker 4 (01:09:27):
You just you just.

Speaker 3 (01:09:30):
You're just cruising.

Speaker 5 (01:09:32):
You're doing Snooper said said rolling down the street, smoking
in dough, stiffing old gin and juice, laid back your
mind on your money and your music on your mind.

Speaker 3 (01:09:43):
You can't do that.

Speaker 5 (01:09:44):
You gotta take off, gotta those some sixty four. You know,
you know, you gotta, man, you got you gotta. You
gotta go for it. Whether you hit some bad notes
or not, you gotta go for it. You gotta show
your your tech meat how good you really are right now?
It sounds like a beginner. Won't be real with you, sound.

Speaker 2 (01:10:05):
Like a beginner all right, living next to human chandelier
where you think about it, I thought it was cool.

Speaker 4 (01:10:12):
I liked it. I could hear it on the wave.
I can hear it playing on the wave all day,
you know. I thought it was nice. It was it
was extra calm. It gave you a good vibe, a
good feeling, you know, when you're just trying to mellow out.
It wasn't it wasn't too much going on, and I
thought it was great.

Speaker 1 (01:10:30):
Mm hmm. Okay, Kelly, good, what do you think about it?

Speaker 12 (01:10:39):
The car and I'll be in the back and even
be playing the wave and he can come for it.
Of the whole time it was very new, and then
I got out for him and that was nice time.

Speaker 6 (01:10:51):
I thought it was.

Speaker 1 (01:10:54):
Okay. She said, Okay, that's cool. No, she says, here,
uh that was the intent.

Speaker 9 (01:11:04):
To cruise.

Speaker 1 (01:11:06):
But yes, I love it.

Speaker 2 (01:11:08):
Gonna revamp okay, all right, I guess she's gonna revamp
the song. And when you do revamp the song, send
it back to us. But yeah, yeah, definitely send it
back to.

Speaker 5 (01:11:17):
See what direction, See what direction you take it now
that you got an idea of how you want to
take this. The way you started it was cool, right,
but let that last only four bars didn't take off.
We all take off, take it another direction, get all

(01:11:38):
over that scale. Don't go no quarter notes, go go.

Speaker 3 (01:11:43):
Sixteen sixty four thirty two. Just just just do runs.

Speaker 4 (01:11:48):
Just do runs.

Speaker 5 (01:11:50):
Then't chill for a moment, then go back to runs,
you know, then take it out with a chill.

Speaker 3 (01:11:59):
Yeah, that's cool and you'll feel that, you'll see the difference.

Speaker 1 (01:12:04):
Yeah.

Speaker 2 (01:12:04):
But on that note, we're gonna wrap this one up
for tonight. That was the last song of the night
right there. So a big shout out to everybody that's
been a part of us tonight. We want to think
everybody for coming through again. We have another one next
week's another show saying bat channel bat time and we
go have another exciting guest on next week as well.
Big shout out to Chuck Platinum again he came out

(01:12:27):
earlier during the radio show. Again, if you can request
his record Hustler, make that number one. You can go
ahead and request it now at Keyword d a radio
show and our social media platforms. Also you could request
it at the radio show dot com, speaking of which
you can go there and submit your music to be
played next week during the head and out of session.
Go to www dot the radioshow dot com. It's Das

(01:12:49):
and David As and Apple Radio show dot com and
fill out all the information uploads your song and it'll
bring itself right over to me. And speaking of the
radio show, if you like what's going on on that end,
you can go to our Rocoul and Amazon Fire channels
at KEYWORDDA Radio Show on both click on the icon,
download it on there, and then you could binge watch

(01:13:12):
the radio show which is on there some episodes as
well as Spotlight three sixty Media. Also, if you want
to go ahead and check out all the previous shows
that we've done, we've done over one hundred I'm sorry, oh,
at least five hundred shows.

Speaker 1 (01:13:25):
That's on iHeart the iHeart app.

Speaker 2 (01:13:28):
So you can check out all five hundred episodes there
of the radio show, and we're on number fifty five
of the heading out of session that we put up
as well. On that on the page for the iHeart
app under the keyword DA Radio Show under the iHeart app.
We're there all right. On that note, were about to

(01:13:49):
get up out of here again. Thank you all for
listening tonight, See you all later.

Speaker 22 (01:13:54):
Man