the headnodder session ep 54

Episode Transcript

Speaker 1 (00:00):
Because the radio show is doesn't mean it's over.

Speaker 2 (00:03):
After it's time for after the party.

Speaker 3 (00:08):
They had, not a session.

Speaker 4 (00:09):
Drop it down, Drop it down the radio show.

Speaker 5 (00:16):
I want to rock right now. I'm Rob Basing. I
came to get down. I'm not internationally known, but I'm
known throughout the microphone because I get stupid, I mean
not lazy me. Now that's that Rob bas and DJ
easy rock songs called it takes two all right, hurt
that the other day. I want to bring that to
the table as we always pay homage to the old
school artists right here on hopefully discovering the new school

(00:40):
artist if you bring you the head, not a session,
the after party, here for the radio show. This is
our music critiquing and submission portion of the show right here.
So if you got a song, you want to get
it to us right now, looking for the honest feedback
and construct the criticism through the direction of what you
need as far as getting the song out there before
you put it out, bring it to us right now,

(01:01):
all right. But if you can't have to constructive criticism,
if it does, if it's too much for you, don't
send your music to us right now, all right. So
if you need some help, this is the chance to
go ahead and send the music to us right now.
Are you gonna just go to our website www dot
The Radio Show dot com. Click on where it submit music,
all right, click on the folder, fill out the information,

(01:23):
upload your song. It'll get right over to me to
get ready for the after party, which is right now.
We got some songs that'll come in so far and
while Q those up, MB, go ahead and up give
them that disclaimer.

Speaker 6 (01:36):
Please all right, remember this portion the show. It's crotiquy.

Speaker 7 (01:44):
We only gonna cheat your production, how well you mixed it,
how well you produced it, and how well your artist
performed it, any any flawses in those components.

Speaker 6 (01:59):
Our music.

Speaker 7 (02:01):
Producers that we have a board here, and music professionals
we have on board. We're gonna go around the table
and let you know what you're missing, what you need
to critique production. Only we ain't talking about it's a
hot song and it's ready to be sold.

Speaker 6 (02:24):
We're talking about getting it ready to be sold. And
if we don't like what we say, hang up.

Speaker 7 (02:31):
You still don't like what we say, cut your computer off.
We don't like what we say, just cut your device off.
Because you don't have to hear it. We're here to
help you, not to hurt you. And let's get it on.

Speaker 5 (02:48):
All right. This is all done for entertainment purposes only,
all right. So first song we got is Renee Ortisse.
Song is called U kah mis me centino my buen
all right, Rene or Teas, I take it. The song
is in Spanish, all right, so let's check it out.

(03:11):
It's in Spanish right now. Let's check it out here
we go, Rene Ortiz me sorrento may buen a no,
but you that already. Let's check it out here we
go to the head now a session.

Speaker 6 (03:22):
We're not gonna understand.

Speaker 1 (03:24):
He's he's peas.

Speaker 8 (03:28):
As pro kopas for me yo study understand who you
have shing mi to yore gud.

Speaker 1 (03:47):
Borkno quyo so mad.

Speaker 9 (03:53):
I'm working noss master.

Speaker 8 (03:58):
Your mandos coltando.

Speaker 10 (04:04):
Is y'all?

Speaker 1 (04:06):
I could do no instance ya yes, dams superb your.

Speaker 8 (04:12):
Messiano movie ya ra cal No instance your yam yesterdama superb.

Speaker 5 (04:26):
J okay. That was uh, that's where ne ortis? Where

(04:54):
or Teas? What do you think about that one? Anybody
here speaks Spanish and comment on that one as well.
Tell us what they' this record right here? Mean what
you think about this one? Production wise?

Speaker 6 (05:07):
I can't really critique the song because it's not my
it's not my flavor.

Speaker 7 (05:12):
Uh what I'm hearing in production, they did a good
good job eq In and him performing, But I don't
know their format, how they how they they arrange their
music for Spanish people. They need to send that to
h to Snoop Dogg, death Ro. He's signing mariachi singers.

Speaker 5 (05:39):
Okay, yeah, I think this is a dude I met
the other night. If I'm not mistaking mistaken, Yeah, yeah,
they got let him the other day. It's supposed to
be a reggae tong song. I think that's what he's
supposed to what it's supposed to be, But it didn't
sound very reggae thong to me. Yeah, from what he talks.

Speaker 6 (05:55):
For a round, you have ice roll upon us.

Speaker 5 (05:57):
No, no, no, all right, we're gonna roll on to
the next song right here, coming up right down right
about now.

Speaker 6 (06:05):
This is uh.

Speaker 5 (06:08):
Uh, let's go to this one here. Nikki my Nikki
songs called My Arrival. Niki my Nikki songs called My Arrival.
Let's check this one out here we go, Yeah, my nikki.

Speaker 11 (06:27):
Hello, holdah, hold on, holo, hold up, hold.

Speaker 12 (06:40):
On, let's get it.

Speaker 1 (06:43):
Don't they call me hoppy?

Speaker 13 (06:44):
Thought up?

Speaker 12 (06:45):
Was it timid?

Speaker 14 (06:45):
Fred?

Speaker 12 (06:46):
You grow that they could?

Speaker 15 (06:47):
Yeah, I'm grown to a chosen one. That's geagely your patis?
Are you obfected by the protectives from the.

Speaker 1 (06:52):
Most like they do?

Speaker 15 (06:53):
So get you a mint to my promise, you you
go get hit, got electrician and delight to see. There
are no more illusions confusion, but this brokenness report, there's
no delusions. I'm number seven, call me love because this
the field, guys, and the field, I'm highly favoring none
to play with, break t getting the spear, the chasing ones,
awaken some now we the ones.

Speaker 14 (07:11):
You fear it?

Speaker 15 (07:12):
Yeah, I am. But just the figure in his figures
making figure and that young the working coma football who
went here.

Speaker 12 (07:18):
But defend the d and puberty. It's gallas.

Speaker 16 (07:20):
There's no pisiness.

Speaker 12 (07:21):
There's no demon slayer.

Speaker 15 (07:22):
Call me slay, yeah, because the stud getting looked up
for the fer league. It is not forsaken none to
play wakeness to play with. Yeah, let's get it. Yeah
we high I breaking. It's the time to be alive,
and we're a lot. Our lift showed up for them.

(07:44):
Seven trumples, we arrived. We alive, Legions and demons.

Speaker 17 (07:47):
They know.

Speaker 15 (07:47):
Seven casts them down O him, Yeah yes, seven, put
them down there, Yeah yeah yes, seven. Pack them out
and park might take the tracks out. By the time
that judge may come around. These niggas hadn't one the
ground because I gotta snatch back fast on the crown.
They'll grow ben Wait, you know Kevin got them sure
it's out loud. I got the ear bringing out here.
I know they feel it in the cloud here. I'm active, baby,
but there no escape it here. My father ain't nothing
to play with. Play video came escape it. My mother

(08:10):
got you mixed. And when that made the Chosen one thing,
break the Chosen one thing, break the freak.

Speaker 1 (08:16):
Now, let me can you say about that? Cause you
vacate here, you no longer stay here.

Speaker 12 (08:20):
The damn the ain't no vacation.

Speaker 15 (08:21):
I said, chosen wasn't crazy, you know. Don't mistake here
about that because you vacated. Now, let me can you
say it? Let me can you say it?

Speaker 7 (08:29):
Yeah?

Speaker 5 (08:30):
All right, that's nicky Nikki Nikki my Nikki said, Nikki
my Nikki, Nikki, my Nikki song is called my Arrival.
Nikki my Nikki song is called my uh rival. Indeed,
you thinking about that one?

Speaker 7 (08:45):
It's yeah, it needs a lot of development. You know,
I had no contrasts. They don't have no chemistry.

Speaker 17 (08:55):
She just.

Speaker 6 (08:57):
Rolling off the tongue. You know, you don't have no art,
no nothing. But the drums ain't doing her, uh doing her.

Speaker 7 (09:07):
No justice to get her artistic value out to the
next level. She's just freestyling, bullshitting and having fun.

Speaker 5 (09:19):
Okay, all right, all right, Eric, what do you think
about it?

Speaker 18 (09:25):
Uh?

Speaker 19 (09:26):
I wasn't feeling it at all.

Speaker 5 (09:28):
Mkay, what we want you to? I want to know?

Speaker 19 (09:32):
I mean just everything. The music was all right, but
the rap was seeing a little dated. Music was cool,
just didn't capture me.

Speaker 5 (09:44):
Okay.

Speaker 6 (09:45):
Do you think you need development?

Speaker 3 (09:47):
Yeah? Definitely.

Speaker 5 (09:49):
Okay.

Speaker 7 (09:50):
See that's what we need to hear from you guys.
If you need development, she need a co writer. Okay,
That's what I'm talking about.

Speaker 5 (10:00):
Okay, all right, Britt, what do you think about the Ruggord?

Speaker 20 (10:05):
I thought it was cool?

Speaker 5 (10:07):
Okay, Yeah, I like the track. I did like the
track though, it was cool. I like the track on
one track, Uh, Kelly, good, what do you think about
the ruggord?

Speaker 13 (10:19):
I like the track? I was actually popping in my head.
She got a cool voice. It was some parts of
the rap that I was really feeling, you know, I'd
like to hear something else summer. It seemed like some
some other parts. Towards the end it got away from
me a little bit, But overall, you know, I thought
it was decent.

Speaker 5 (10:38):
Okay.

Speaker 6 (10:39):
My question to you, Kelly, would you buy it?

Speaker 13 (10:43):
Yeah? Would I buy it?

Speaker 12 (10:47):
No?

Speaker 13 (10:47):
I would not buy it.

Speaker 5 (10:52):
That's what we're talking about. Okay. Uh who is I
am faying? Who is I am fan? I love the honesty? Okay,
all right, Dundee.

Speaker 6 (11:04):
Just this is something I can say though.

Speaker 20 (11:08):
Just because I wouldn't buy a song, don't mean I
wouldn't listen to it, Okay, Okay.

Speaker 13 (11:14):
All right, I say that too, because it's a lot
of people's music I'm just not gonna buy. But it's
a lot of people music that I wouldn't listen to
and do a song with. I don't mean that I might,
you know, spend my get harder money though.

Speaker 5 (11:28):
Okay, that's what's up. Yeah, Like the first time we
played it. I wouldn't buy it, but I'd listened to it.
That was a Spanish song. I'm with that. All right.
Let's check out another song right here, Uh, brit you
just end it Black Molly, okay, all right, well listen,
this is a good time to play it. This is
a listen to only song only right now, but a

(11:48):
jump to it. Black Molly for now, Black Molly for now,
rest in peace. We play this in your honor as
a que The next record.

Speaker 3 (11:57):
Getting ready here.

Speaker 12 (12:00):
True gangster still listen back.

Speaker 21 (12:02):
I got here a couple of places and they play
each point her brother, now Tex start wake up on
my mark to punter ticket, shoes off these temporal courts
and they're talking and night her you be on your shop.
I stand little black. Then live with a little conflict,
then I live. There's that decision to be made by this.
And if you too, the wrong wonder glisten go mean.

(12:22):
So you see, I'm telling you because I got your
back left then right or body soul letting moth no
spells now, I ain't even to his back for a
fortnight or mo befolk lease time time, well everything I
speak big back, buy you fool, Maybe you can't.

Speaker 12 (12:39):
Eat or last drink that juice and me each back.
Take this news and do what you're with with that.
But I'm here.

Speaker 16 (12:48):
For that.

Speaker 12 (12:51):
I'm here.

Speaker 16 (12:54):
For that.

Speaker 1 (12:57):
I'm here.

Speaker 14 (13:00):
For that.

Speaker 12 (13:02):
And look I'm here for that right now, right now.
Look you the bank going there, make your plates.

Speaker 21 (13:12):
I got your plate and cut but doc my burden
this safe brightly in the lace for good course the
whole new plane you in New York cat.

Speaker 12 (13:19):
Your red and eye this way.

Speaker 21 (13:20):
My far rick got better on me, like like, don't
wrap my left ear bringing not to spell the bush
fo times your fault, you know you should They hit
mine now Crystal Zone leave us from my spot downtown
knocked on trip this like I'm gonna live now it
remit Reight toldly I'm that band new whip to crst
get my dot too blick to hey what.

Speaker 12 (13:42):
Say what drop a t roan this but down here.

Speaker 22 (13:47):
For that.

Speaker 12 (13:50):
I'm here here.

Speaker 17 (13:52):
For that.

Speaker 12 (13:54):
I'm here.

Speaker 17 (13:58):
For that.

Speaker 12 (14:00):
Look, I'm here.

Speaker 3 (14:04):
For that.

Speaker 6 (14:07):
On my shop so like on my shoe shop.

Speaker 21 (14:11):
Because I can't walk that shoe. Got that pit that
got them up, righteous talk them pit sitting up. We
don't press bout this, we said, eyes on which mass
to breaking. Maybe sometimes on much loss to break your
tender got me thinking about which loss to break come? Really,
I'm about that. It's the loss of taking baby. Let's

(14:31):
face it, not the one to play with. If you
want to take a chance, go onhead that take it
if I get the dough.

Speaker 12 (14:38):
But everything I came with it to be your past,
like taking to the great for that, I'm here.

Speaker 14 (14:51):
For that.

Speaker 12 (14:53):
I'm here.

Speaker 5 (14:56):
Black Molly right there, that's a record for now. Yeah,
she passed away, performed, uh.

Speaker 6 (15:08):
Like two weeks ago.

Speaker 5 (15:09):
Two weeks ago, okay, and you performed at the show
that tried to lost money for her burial.

Speaker 19 (15:13):
Right.

Speaker 20 (15:15):
Right right, We had a fundraiser for to make some
money for her funeral, which her funeral would be on
the eighth.

Speaker 5 (15:23):
Okay, yeah, yeah, she was pretty good, right there, Madills. Yeah,
rest in peace to Black Molly for sure.

Speaker 6 (15:33):
Smooth. And I know they got another.

Speaker 23 (15:35):
Version of that with music, you said, with music, yeah,
like a baseline and stuff like that some others because
I hear it.

Speaker 7 (15:46):
I hear some some stuff was jumping out while you
were wrapping it. That's just now just a drum. They
got another version of that. They probably didn't put it out,
but they got in the studio.

Speaker 6 (15:59):
I feel like the only verse and they got as
the one with the cursing on there.

Speaker 7 (16:04):
It's another version of that with music, you know, with
a bassline, a little bit of keys. Because the way
she was flowing, she would ride with some music. She
wouldn't ride with just the drum beat.

Speaker 6 (16:19):
Yeah, it took all.

Speaker 7 (16:20):
They just muted all the music out, ran the drum
beat and her because I've done that before.

Speaker 5 (16:30):
All right, we're gonna check out the next record right now. Uh,
Kelly Good, okay, Kelly Good, you sent this to usread
what is this? Kelly Good? Record? Kelly Good? What's this record?

Speaker 24 (16:41):
There?

Speaker 16 (16:41):
By?

Speaker 6 (16:41):
Your connected?

Speaker 25 (16:48):
My boy?

Speaker 13 (16:49):
It's called.

Speaker 6 (16:54):
Can you hear?

Speaker 12 (16:54):
No?

Speaker 5 (16:55):
No, we can't hear? I got you now.

Speaker 6 (16:59):
Yeah, now this is me.

Speaker 13 (17:01):
Listen, this is we featuring my home boy friend the
bock Boys. His name is Petroke and this song is
called Rick.

Speaker 5 (17:08):
Okay, let's shake it out here we go.

Speaker 16 (17:14):
I see you need you need to tweak it, Barty
us pulling off all my.

Speaker 5 (17:33):
Niggas turned down, Hollid all the big you send a.

Speaker 26 (17:36):
Motherfucker thirty were going uther for the s motherfucker you
get a motherfucker Callige CALLI. Then I sound him a
dollar nick and we don't give a fuck about longey,
but we don't give a fuck about your nigga.

Speaker 27 (17:51):
Dokay't tell you know. I forgot the sweet soul, got
the block on life. You get asked me mother, send
him shout. A couple spots me up peg mom shying
out the thin one two three, pret got a couple
does up on the bus and they bother not turned
up up and.

Speaker 16 (18:05):
P bust it over, turning down, got it out.

Speaker 1 (18:08):
I got to coming home with me and I'm not
getting out.

Speaker 16 (18:11):
Park starts pulling off you to hurry.

Speaker 5 (18:13):
All my niggas turned up.

Speaker 26 (18:15):
How all they send a smatherfucker parody, were going up
beer for the smallfucker.

Speaker 16 (18:20):
Dirty starts pulling off you. Hurry all my niggas turned down?

Speaker 26 (18:25):
How all the y send a s motherfucker thirty, were
going uber for.

Speaker 6 (18:29):
This smallfucker girl.

Speaker 16 (18:32):
I don't mean to turn you out. I just know
what makes you hot.

Speaker 28 (18:37):
Grinding on your pussy, make you holiday, you know, got
you freaking on that poem, coming out your fucking clothes.

Speaker 29 (18:47):
I don't mean to tear you out, but that's what
our mother pole.

Speaker 30 (18:51):
Gotta keep the punching popping right to caculate the niggas
say they do, would like me, didn't make you simitated
three to three like two or three that warrant sheep
regulators getting it in like me. Support champions can name body.

Speaker 16 (19:02):
Bus pulling off?

Speaker 11 (19:02):
You need to hurry.

Speaker 5 (19:04):
All my niggas turned down.

Speaker 26 (19:05):
How all the bitches in this motherfucker parody were going.

Speaker 16 (19:09):
Up for the smallfucker hurry?

Speaker 17 (19:13):
Alright, going up a for the motherfuckers, right, alright, we're
going up if the motherfuckers right, alright, alright, bang you
hood and this motherfucker rid all right.

Speaker 1 (19:28):
All right, I'm saying this motherfucker Rick.

Speaker 16 (19:32):
Barty boys pulling off.

Speaker 19 (19:33):
You need to hurry.

Speaker 5 (19:34):
All my niggas turned down.

Speaker 26 (19:37):
All the bitches in this motherfucker parody, we're going up
for the smallfucker.

Speaker 16 (19:42):
Party bas pulling off?

Speaker 5 (19:43):
You h all my niggas turned down?

Speaker 26 (19:45):
How all the bitches in this motherfucker's parody we're going
umber for the smallfucker hurd.

Speaker 5 (20:04):
It's kally good right there? Eerie eerie?

Speaker 13 (20:10):
Right?

Speaker 5 (20:10):
Is that what the record is called?

Speaker 3 (20:11):
Eerie? Yeah?

Speaker 21 (20:17):
Is it?

Speaker 5 (20:17):
It's called erie? Can you hear call get what's the
record called? No, we can't hear him.

Speaker 3 (20:32):
Yeah, for some reason, it's not picking up.

Speaker 6 (20:34):
Okay, Yeah, he's a matrix. Okay, he's in the matrix.

Speaker 5 (20:40):
It's called what.

Speaker 16 (20:42):
Rick?

Speaker 5 (20:43):
Okay, Rick Rick? Okay, Rick? All right, So let's get
some feedback on this record real quick here. Indeed, what
you think.

Speaker 6 (20:53):
Is it's clar Alcadia style for the hood.

Speaker 7 (20:58):
Commercially, it's not gonna it's not gonna make no head
waves on a commercial level. Those words no money, but
everybody in the hood would love it. Come on, I'll
get you rich. You know they're gonna keep you. On
the social service level, it's it's I say, yeah.

Speaker 29 (21:23):
Who.

Speaker 6 (21:25):
Okay, but only for the hood, okay, commercially diverse.

Speaker 5 (21:35):
Okay, uh.

Speaker 7 (21:38):
Ry, except if you want to go commercial because they
they're fitting. Yeah, it's what they's fitting is not gonna
get them commercially.

Speaker 3 (21:50):
All right?

Speaker 5 (21:52):
Big Sleep's going on? Man? How you doing?

Speaker 14 (21:55):
What's going on?

Speaker 31 (21:55):
Heavy Labor Day?

Speaker 5 (21:58):
Happy Labor Day, Big Sleep? So what do you think
about the record.

Speaker 31 (22:04):
That's not just this from what I heard?

Speaker 32 (22:06):
I don't I don't even I don't even know, like
I don't know it was it was no paper. When
I heard one thing, my my question was he is like, uh,
what what's the politics?

Speaker 25 (22:22):
Like if you saying that that's a bub blave, that's
a slang put out the world, Like that's that's gonna think.

Speaker 31 (22:31):
I was, that's gonna take that was I would yeah, yeah, okay,
like I don't I don't know. I don't know that
I really like gave me like the last.

Speaker 33 (22:43):
Okay, I don't know the flag and thats someth like,
like I don't know if it was like you know,
that's that's something trying to put putting people onto.

Speaker 31 (22:55):
Are you trying to put on that plan?

Speaker 4 (22:58):
Uh?

Speaker 31 (22:58):
Just some slaves just say already you know what I'm saying,
Like that's that's that And then I probably didn't give
you bore the.

Speaker 3 (23:12):
Uh boy, better you feel.

Speaker 12 (23:17):
Okay, it's a what is it? It's a hood called.

Speaker 5 (23:28):
Okay, so it's a hood. It's a hood called hood.
Right so if it's okay, well known and watch okay,
that's why that's great.

Speaker 16 (23:40):
That's great.

Speaker 31 (23:41):
So okay, yeah, so yeah that's.

Speaker 19 (23:42):
What it is.

Speaker 6 (23:43):
So yeah, that was like it's Alcadeena hood, but like
hood sauce.

Speaker 34 (23:50):
Can blow up they can't blow up. It's just high
clean like it's a real clean version to it. This
is how make sure why you're trying to make it
because because you got niggas that claim they from Washington, Tennessee, Jersey.

Speaker 31 (24:07):
You know, you know what I'm saying, like.

Speaker 7 (24:10):
Cleaning up, That's what I was saying, because it's right
now it's Alcadena could.

Speaker 5 (24:19):
Okay, Okay, that's what's up.

Speaker 6 (24:22):
It's after DNA hood. You know what I mean by Alcadena?

Speaker 14 (24:26):
Right, y'all, I know what you saying. I know what
you say, right yeah, okay.

Speaker 35 (24:38):
So what I'm saying that what I'm saying like that
what I'm saying, man like you know what I'm saying,
like like if just if you're just speaking out to
the to the to the Washington. You know what I'm
saying that Tennessee, like bers you pick up on it,
Tennessee picking up on it.

Speaker 6 (24:53):
Uh, he's still he's still pick up on it.

Speaker 31 (24:56):
You know what I'm saying.

Speaker 25 (24:57):
But but like you to make it something why well
like they got no toys the you know what I'm saying, like, oh,
everybody everybody said or open up.

Speaker 31 (25:12):
The wrong when I heard.

Speaker 6 (25:14):
Right wasn't it wrong Other than the language, that's it.

Speaker 7 (25:19):
But they were spending perfect you know, I said, That's
why I labeled it Alcaredina Hood.

Speaker 5 (25:27):
Okay, all right, h Eric, man, when you thinking about
the Rugged.

Speaker 3 (25:33):
It's cool.

Speaker 19 (25:35):
Listen to it a couple of times. Okay, all like
you said, like empt said, it's more of a Hood
classic than anything.

Speaker 5 (25:43):
Okay, that's what's up.

Speaker 6 (25:45):
Hey, hey, Eric, don't forget they're not just hood Alcardina Hood.

Speaker 5 (25:50):
Okay. Uh who we got here? This is Steve Smith's
how you doing?

Speaker 36 (25:56):
Man?

Speaker 3 (25:57):
Oh dang man, you don't remember me.

Speaker 5 (25:59):
I gotta go about the name. Man, I just see
Steve here. You know, what's up?

Speaker 14 (26:03):
Man?

Speaker 5 (26:04):
How you doing?

Speaker 3 (26:04):
So? So I gotta go all the way and long.

Speaker 5 (26:08):
Yeah, man, you gotta you gotta, you gotta. You know,
you come up with an a ka tonight.

Speaker 16 (26:13):
Man.

Speaker 5 (26:13):
That's that's why I didn't recognize you. I heard the voice.

Speaker 3 (26:17):
Yeah yeah, yeah, yeah, yeah, Well what again?

Speaker 37 (26:21):
I think I like the record, and you know, just
understanding business now far as like with success you know
to me, and this is just my personal opinion, and
it might just be right like far as like commercial
success of record. That's the business you got behind it.
So if you got good business even behind a record

(26:43):
that's not so good, not saying this one was not.
I actually liked the record that the record can go
just on having good business behind it alone.

Speaker 3 (26:53):
So I would say, you know.

Speaker 37 (26:55):
Get the business part right, because I do think it's
a good song, whether it's hood or not, and you
can make it commercially successful just having good business behind
the record.

Speaker 7 (27:08):
Yeah, because when your Knight had duff Rope, he had
his artist clean their lyrics up.

Speaker 6 (27:16):
You know, so it ain't none of it.

Speaker 7 (27:19):
If you're an artist, you're able to adjust. You know,
you're able to adjust. That's why you're recording artists.

Speaker 6 (27:27):
It's a professional.

Speaker 13 (27:29):
Hold up and be you keep talking about Sugar and Stoop.
They got so many hits that cuts they asshole.

Speaker 6 (27:37):
Of course, of course storm, of course that is.

Speaker 13 (27:41):
The wrong references.

Speaker 3 (27:43):
Yeah, going crazy.

Speaker 13 (27:45):
I can go back to back with no.

Speaker 6 (27:47):
Yeah, we know that.

Speaker 7 (27:50):
But when they made a single for radio, they clean
it up, Like when Snoop had that song with Dre
and he kept that they had the lyrics. I said
what he said one eight seven with a dick in
your mouth. But on the single for radio he said
one eight seven with a yammy in your mouth. See

(28:10):
and Sugar had had them do that to keep the
continently there of the song and clean it up without
having any beeps or mutes to break.

Speaker 6 (28:22):
The song up, because the song sounds.

Speaker 16 (28:26):
It sucks when.

Speaker 13 (28:29):
That song Bob Mass pushing that everybody loves. But it
never got radio play. But it's still was, it's still
a classic and everybody loved it. But I cain't what
you're saying.

Speaker 38 (28:40):
Yeah, but but but even though it got radio play,
it wasn't actually a physical single.

Speaker 19 (28:45):
It got played on when in DJ sets.

Speaker 16 (28:48):
It didn't get it didn't.

Speaker 6 (28:49):
Get played on the radio, single on the radio right
in the clubs.

Speaker 13 (28:54):
You heard, not on the radio, not on the radio.

Speaker 3 (28:58):
It's your favorite. Oh yeah, definitely.

Speaker 5 (29:02):
We're gonna move on to the next song. Right here.
This is uh Andy. You sent this one to me.
This is Kenny Kenny Shi Stanford put me on.

Speaker 6 (29:13):
Yeah, emailed me people, email me music to my email
and I just forwarded to you.

Speaker 5 (29:18):
All right, Well, let's check this one out. Here's one
right here.

Speaker 39 (29:33):
I should have never let you touch me. Now, all
my emotions are crazy.

Speaker 36 (29:44):
I knew, well, not too close finn now I'm all
in my head ash and we never did. The passion
between us cannot be naggive. I felt so hot to
describe it.

Speaker 1 (30:04):
If I had just one wish, boy, it would be
that you mistake.

Speaker 39 (30:13):
A very moment you touched me. I feel different, So baby,
come on, you gotta put me on baby.

Speaker 40 (30:23):
Come on, you gotta put me on baby. Come Ona said,
you gotta put me on baby. Come on, you gotta
put me on baby. Come Ona said, you gotta put
me on baby. Come on, you gotta put me on baby.
Come o, Ona said, you gotta put me on baby.

Speaker 31 (30:39):
Come on, you gotta put.

Speaker 1 (30:40):
Me on baby, Baby, Baby. I'm trying to be the
one begging. No your fath this cake, Evan.

Speaker 39 (30:57):
If you can see, I'm owning match you. But the
space in my mind occupies just you and I. It's
like when you hold me, you're hugging muscle. When you
come bumble and lose our control. Your question of the

(31:19):
day is what you got to say?

Speaker 36 (31:21):
Two things.

Speaker 12 (31:23):
Say that you needed?

Speaker 40 (31:24):
I got crazy prophyletic, so far would be like my
sol baby, come on, you gotta put me on, You
gotta put me own baby. Comona Sage got it with me, baby. Comeon,
you gotta with me, baby, Comeona Sage, you gotta put

(31:46):
me on, baby, comeon, you gotta put me own baby.
Comona Saige got up with me, baby, comeon, you gotta
put me own, baby, baby, baby.

Speaker 10 (32:15):
You just heard this record.

Speaker 5 (32:17):
Now, let's get some feedback. You're the man right there.
That's uh put me on. That's the dry call quest instrumental.
She just kind of sung over, uh Kinisha Kensha Stanford,
Kensha Stanford put me on. All right, let's get some
feedback on the record real quick here, Eric, what do

(32:39):
you think about it?

Speaker 19 (32:43):
Total?

Speaker 38 (32:45):
I don't fact that they didn't take no crazity. You
just took the instrumental of the songs and then just
sung on it. No creativity that case, just took the
original right daylight and put a twist on it and
put it at the same velocity or what that was.

Speaker 3 (33:03):
Second of all, it's she didn't have nobody direct her
in the song. There's no eq on her voice. It's
no no reverb, nothing like.

Speaker 38 (33:14):
She needs to take that song and redo it all
over and has somebody like really produce her and and
need to have more creativity with the hook too.

Speaker 5 (33:30):
Yeah, I guess you're not really feeling that one. Indeed,
what do you think? All right, go ahead, m D.

Speaker 11 (33:40):
M D.

Speaker 5 (33:41):
H Okay, now I can hear you.

Speaker 17 (33:47):
M D.

Speaker 5 (33:50):
Unmut I meet you, I meet yourself.

Speaker 11 (33:52):
M D.

Speaker 5 (33:57):
All right, try it again. All right, we're gonna come
back to and be big sleep. What do you think?

Speaker 34 (34:07):
I feel like I feel like she need to give
us with somebody that can do it acust of guitar.
She didn't find a producer and redo the song because
that was like the sample the song that she used,
the beat that she used, that's a really big song.
That's a that's like a it's a general it's a
generationalve like that. That means that's son means something to

(34:28):
me and my generation. So you do know what I'm saying,
Like you have to make it. You gotta make it
stand that way you do you step on beats like.

Speaker 31 (34:36):
That, and I feel like I feel like she didn't.
She didn't stand that on the beat like the beat.

Speaker 34 (34:43):
I still want to hear believe Apple, you did know
what I'm saying, Like she need try feel like that
can do some adustily with her voice to that song, Like.

Speaker 31 (34:51):
I'm pretty much when with my man nuddy.

Speaker 3 (34:56):
They need they need to redo the song. They need
to redo it.

Speaker 31 (35:00):
A lot of producers that can really produce produce her
song with their boys.

Speaker 3 (35:03):
For her voice, I ain't gonna lot of it.

Speaker 31 (35:06):
Probably it probably might slap though if she do the
right thing. Though it wasn't. It wasn't like it was
a horrible song, just she she.

Speaker 14 (35:15):
The beat was bigger than her.

Speaker 3 (35:16):
The beat was bigger than her.

Speaker 5 (35:19):
Eight away a way, it'd be an easy record to
mix in and out of right, but uh, your thoughts
on it otherwise? Head away, I can't hear him, he's
hear me, No, hear me. I can hear you now
and be okay, I'll talk about to eight away. What
do you think about it? And go ahead?

Speaker 7 (35:40):
You know that's she she she did that for showcase,
for showcase or something that. No, that's not even ready.
Whoever try to mix it. They didn't know they was doing.
The engineers suck. The producer he sucked because they know
how to guide her to sing the song right. She
was out of key a lot of times. You know,

(36:01):
she needs somebody that's more experienced to help her out,
because the one that was helping her out, they didn't
you know, justice unless.

Speaker 5 (36:08):
She did that all by herself, Okay, Randy Randy on
by way About, he says, singer needs a vocal coach
for real. Okay, okay, so he rolling with you.

Speaker 6 (36:20):
Yeah, all be a good try. It was a good try,
but she needs help. She needs a lot of help.

Speaker 35 (36:28):
Okay, uhm, it'll be I feel I feel like I
feel like she was trying to she was trying to
follow the beat.

Speaker 3 (36:38):
She was trying to carry her to the beat.

Speaker 31 (36:40):
And yeah, but she did her song.

Speaker 6 (36:43):
Didn't fit that beat.

Speaker 7 (36:45):
Well, her vocals didn't fit it because the vocal because
that music wasn't designed for her and her key and
her key.

Speaker 6 (36:54):
That's why she was out of key.

Speaker 5 (36:56):
Uh eight the way, that's what you call it.

Speaker 6 (36:59):
Broke ass production.

Speaker 5 (37:03):
Are you there? Okay, all right, we'll come back to
Ada White Britt. What do you think about the record?

Speaker 20 (37:11):
I thought that, like he said, it could be mixed
in well, you know, like with the other song, it
didn't really stand out like that, like she was real
just mellow. I mean, it was cool, you know. I
just wish that they could make it more futuristic.

Speaker 2 (37:28):
You know.

Speaker 5 (37:29):
It was all right, Okay, all right, Kelly Good, what
do you think about the song?

Speaker 13 (37:37):
I think she got some potential. Man, she gave me
some America up by Duke type bond. It was just
something that it reminded me too much of Anita alvapoone
You Gotta put Me on And then they had that
similar beat and then she had a similar hook to
I think she could have strayed away from being some

(37:58):
similar to that song and that made a real nostagistic
and you know, but I think she got a lot
of potential of all right, Mike y'all was saying that
she just get a little direction, you know, a little
bit of different production. Somebody got her. I like to
hear something else trouble all right.

Speaker 7 (38:16):
Yeah, she definitely needs she had. She has a good
she has a potential, good vote voice. But when you're
dealing with amateurs, that's trying. And I'm not taking away
nothing from them because they were probably trying to help
her to be noticed. And if you're listening, you got
her notice. Now get her producer and an engineer to

(38:39):
take her to the next level.

Speaker 5 (38:41):
Yeah, get get all around, Get all around movie?

Speaker 16 (38:47):
All right?

Speaker 5 (38:48):
All well, go roll onto the next one. This is
uh that Active and Tracy Green songs called feeling on
your feeling on your booty, That Active and Tracy Green
feeling on your booty.

Speaker 6 (39:03):
Okay, we got some perversese.

Speaker 5 (39:06):
Let's shut it out. Let's see what we got.

Speaker 11 (39:15):
Feeling on your.

Speaker 14 (39:18):
Feeling on your.

Speaker 1 (39:21):
Feeling on your.

Speaker 2 (39:25):
Boiling good shots in y'all, mon chest that forgets what
you've been talking about.

Speaker 1 (39:32):
When you gotta does go to l howsie. See that
I'm feeling on your I.

Speaker 16 (39:40):
Could buy your polish. Then keep it on the hush.

Speaker 7 (39:42):
Bray, don't tail, but tell you don't get your ears.

Speaker 16 (39:45):
Low side of your jill kill your face.

Speaker 28 (39:47):
Card, never do clob Come let me kiss your feet,
your thoughts they tap my name when you stop. Let
me see what I hear from behind. She called me
your face tom, I got her blush. It won't spending nothing,
father attachments. I love be up in the streets. Some
dougie FuG my food ready, I'm coming because she got
an attitude.

Speaker 1 (40:04):
She funny when I'm licking and she busted your nigga.

Speaker 16 (40:07):
Don't pay no bills, no like going through your phone.

Speaker 6 (40:10):
I can take you straight to the d I can
take you straight to the mart.

Speaker 28 (40:14):
Bay shot a car. Let me see you take it
all off. Can make a nigga want to buy it off.
Damn your vessel soft phone shots.

Speaker 1 (40:23):
In your chef gets. You've been talking up about.

Speaker 12 (40:29):
The last outside something.

Speaker 33 (40:30):
Guys.

Speaker 1 (40:32):
I'm feeling on your.

Speaker 16 (40:35):
Or you like that dark niggage. You don't do no
spirit flights, baby, you put get too a fisher. I'm
trying to be fucking you crazy.

Speaker 28 (40:42):
Bring your psychostrious which just put your last tech baby,
pull up and get your wishes. I'm talking you climbing
on top of meats on up balcony, maw y'all beating
it like a fellow in the opening the BLUs so
they could see you.

Speaker 16 (40:56):
You're your phone but he so they could see ya.

Speaker 3 (41:00):
You'll be coming something.

Speaker 1 (41:01):
I'm gonna think your body.

Speaker 29 (41:03):
Think you got I'm a think to that pretty little
n spell your name with marc so you came, oh.

Speaker 2 (41:16):
Linco shots ah, think y'all mount chest that freaking what
you've been talking about? How to do?

Speaker 1 (41:23):
Drop the lad how's that sing? Little pass shot looking
on that. I'm feeling on your boy.

Speaker 28 (41:32):
This is my son.

Speaker 10 (41:41):
I know you.

Speaker 24 (41:44):
Put your hands up, depend on your ship.

Speaker 12 (41:48):
Put your hands up.

Speaker 5 (41:57):
It's missing archide the end of that. Then that's that's
on we you know, strictly he is right there, definitely,
big shout out of that r Kelly slip right there.
I'm sure he's in jail happy getting paid off that one.
It's so good. Indeed, your thoughts go ahead.

Speaker 6 (42:13):
Yeah, a couple of Yeah. I like his voice now.
He reminded me of that league saying, you know he's
gone now, but.

Speaker 31 (42:23):
Don't say high vibe.

Speaker 6 (42:25):
Yep, yep, you caught me.

Speaker 5 (42:30):
Yeah, it is kind of kind of a high kind
of he does sound like I can't king think of
that dude's name. What's his name? Oh my god, you're right,
you know what's his name?

Speaker 6 (42:39):
Uh yeah, I forgot that. His name is Tony, Yeah, yeah, him.

Speaker 5 (42:46):
He kind of sound like him, right yeah.

Speaker 6 (42:49):
And it's nothing wrong with that, nothing wrong with it.

Speaker 7 (42:53):
You just need you just need the right producers and
and and write people to work behind him now and
get him on the get him on his track.

Speaker 6 (43:01):
You know, don't don't sing nobody else.

Speaker 7 (43:06):
Bullshit, do his own something that would would relate to
his vocals the way he sound. You know, he ain't
got to try to sound tough. You know, like he's
the player and he got all the girls and he
ain't got to go that direction with his voice. You
know he can, he can, he can see it. Really

(43:26):
it should flip that song. The rappers should be a
feature artist on his ship.

Speaker 5 (43:31):
Yeah. I like he did it though. They did a
good job with it and the rap The singer name
was Tony Thompson. That's his name, Tony Thompson. Yeah, yeah, yeah, yeah,
Tony Thompson.

Speaker 39 (43:41):
Eric.

Speaker 5 (43:41):
What do you think of the record?

Speaker 14 (43:44):
Uh, it's cool.

Speaker 41 (43:45):
I'm not a big fan, but I could see that
that that'll be one of those songs that just blow.

Speaker 19 (43:50):
Up out the water.

Speaker 5 (43:52):
Hmm.

Speaker 4 (43:52):
Yeah, that's one of those type of songs that'll just
blow up, especially especially in the South Midwest.

Speaker 19 (44:00):
That song blow up.

Speaker 12 (44:02):
Even down South.

Speaker 6 (44:03):
Yeah yeah, okay, East coast, West coast.

Speaker 19 (44:06):
Nah No, that don't mean definitely the south of the Midwest.

Speaker 3 (44:11):
All right?

Speaker 5 (44:12):
Uh dja are you there?

Speaker 16 (44:14):
Man?

Speaker 3 (44:14):
I can't believe I don't put that on the South,
like we won't just anything.

Speaker 6 (44:21):
Southern people they know how to those blacks know how
to have.

Speaker 19 (44:24):
Fun, know what I'm saying.

Speaker 3 (44:28):
And our DJ in the South with it, we like quality.

Speaker 19 (44:31):
Man. I'm sorry, it kind of reminds me of some
some early flies or something like that.

Speaker 4 (44:37):
But my opinion, like two thousand flies back in like
two thousand and ten or something like that.

Speaker 5 (44:44):
Mm hmm, what we're going, what we're saying.

Speaker 37 (44:47):
My opinion on the record honestly that it's not a
smart business move to you know, attack a song that's
already solidified that it's a mega smash already. Right then
you got to think about they.

Speaker 5 (45:06):
Well, I mean, you know, the last record we just
played was the Benita applebaand single. You know that that
attack to make it hit there, So this one did
it too, back to back, so you know, that's what
you're doing that.

Speaker 37 (45:18):
I mean, you gotta be careful with that, even if
it do go with you know, and the Marvin Gaye
family warned that that they didn't make any money off
that record, so it can be the same thing.

Speaker 3 (45:31):
I just don't think that's the smartest business move.

Speaker 37 (45:36):
And you know, far as comparing the two, because you
can't help but compare it and it doesn't compare to
the original at all.

Speaker 5 (45:44):
M okay all right.

Speaker 19 (45:47):
Also also with the Council culture with our.

Speaker 5 (45:49):
Kevit Yeah, well that's true. I didn't. I didn't think
about that, ERICI right about that. I didn't think about
the council culture at all. Nine Uh, Britt, what do
you think about the record?

Speaker 20 (46:01):
Before I say how I feel about the record, and
we're talking about cancel culture? With R Kelly, I've been
playing with R Kelly lately and not like literally him,
but like lately I've been doing I Believe I Can
Fly and like, I love to sing that song and
I stopped singing it for years after everything that happened,
and I'm like, bro, like I don't care about Robert,

(46:23):
Like this is a good song and I'm gonna sing
it so lately or I've done it maybe like four
or five times in the past, like I don't know
five months, like if I do like a community event
or something like that, Like right now, that's my to
go to song. And I really haven't had nobody say nothing,

(46:43):
which I think is interesting, Like I haven't had anybody
have any remarks about it.

Speaker 6 (46:49):
But besides, let's go back to the song.

Speaker 20 (46:53):
When I first heard it, I was like, just sound
familiar and it didn't give it give me any new vibes,
you know, it's it had a nostalgic vibe to it.

Speaker 16 (47:04):
I was just like, I just feel like I.

Speaker 20 (47:05):
Heard this before, regardless regardless of the beat, you know,
like the vocals, it just sound like so familiar. It
sounded really familiar, like I just heard it before, like
it came out already.

Speaker 16 (47:19):
I really liked the.

Speaker 6 (47:20):
Song though, you know, but I don't know if it
was his.

Speaker 20 (47:24):
Like you said, his voice sounded familiar, and the music,
you know, we already know the music, so all of
it just sound like crazy familiar.

Speaker 11 (47:33):
You know.

Speaker 16 (47:35):
It was a good song.

Speaker 20 (47:36):
I agree with him too, like it reminded me applies,
you know, like all of it just was something familiar,
you know. So that's all I gotta say about it.

Speaker 6 (47:44):
Yeah, it was a good song.

Speaker 7 (47:46):
But you know, he remind remind of that artist, which
is nothing wrong with that, because that artist is deceased.
You know, somebody gotta take somebody's place sooner or later
anyway to get October London, you know, he he made
it happen sound like Marvin Yate, you know, and somebody's

(48:07):
gonna sound like somebody in the past, because.

Speaker 6 (48:10):
There's no way, there's no way around that it's not.

Speaker 7 (48:14):
But you don't want to duplicate it, you know, note
for note you want to you want to put a
twist to the way you do it now to separate
yourself from that original person.

Speaker 5 (48:25):
Well you gotta remember this too, him dwy q up
the next record that you sent me here. Uh, there's
a whole generation I've never heard of, whoever you heard of?
Whoever you you you sound like under that generation that
sounds like that, So you know you're introduced them to
something new.

Speaker 7 (48:44):
Yeah, that's from Well that's what I'm coming to say
with October London.

Speaker 6 (48:47):
That's what it is.

Speaker 7 (48:48):
You know, only only older people that are forty five up.
It's gonna know that they sound like somebody back in
the days who were there.

Speaker 6 (48:58):
They wasn't there. They can get away with it.

Speaker 7 (49:01):
But what he really have to remember those there are
some people still here living that heard it. And you
don't want to skip They money. You want all the money.
You don't want only a percentage of the money. You
don't want fifteen percent or twenty percent or twenty five
percent of money.

Speaker 6 (49:19):
You want one. You want everybody's money. Old, young, don't matter.
You want everybody.

Speaker 3 (49:26):
Everybody might be absolutely right, MD, because.

Speaker 37 (49:30):
Juice World, let's just say with him his biggest song,
Lucid Dreams. They didn't make any money off of that
record because of sample and influence of the record, so
somebody else the originator of the song. Again, let's just
cut all that. It just is not smart business to

(49:51):
do that. Yeah, it's not smart business to make only
ten percent on the megahead.

Speaker 20 (49:57):
Right, But some people feel that they'll lose out on
like you're saying, it's not a smart business move at all.

Speaker 12 (50:05):
It's not.

Speaker 20 (50:05):
And some people feel like sometimes they need to take
that chance because nobody didn't pay attention at first, but
since they dropped this, people paying attention now and they
can ride this wave and create something else. But no,
business wise, it's not it.

Speaker 7 (50:19):
Right And going with you, Brett, you said you see
I can fly. Yeah, I believe I can fly. Well,
you can get away with that because it was a
man that did it. Now you're doing a woman's version.
It's a whole different element.

Speaker 5 (50:36):
It's still.

Speaker 6 (50:38):
Yeah, it's still that's just like, that's just like October London.

Speaker 7 (50:43):
If he would have sung or reached a freak of
the song, he could have got away with it because
we ain't never heard a man sing it before you know,
we used to a female voice, not a male's voice,
but r Kelly, we were used to a male voice.

Speaker 6 (50:58):
When they hear you sung I Can Believe, I Can Fly.

Speaker 7 (51:00):
It was something totally new, but they ain't never thought
a woman would able to have enough nerves to sing
a man's song. And that's how women can get away
with some ship on remakes. Remember Luca van Dross, all
his album had remakes, but he did a twist to him.

Speaker 5 (51:20):
That's why he went. That's why all his albums were platinum.
You know, let's go ahead and check out the Let's
go ahead and check out another one right another one
right here. This is Neat Martinez songs called like that.
Neat Martinez songs called like that. Let's check it out
there we go.

Speaker 12 (51:41):
Hey, look at the feedback on the songs after the song's.

Speaker 24 (51:45):
Over preloading the low west side, Connu dundee, you're not

(52:08):
dag and they are like did like diloading the side
solons the bars in Nkanda and like.

Speaker 37 (52:21):
Like A.

Speaker 12 (52:27):
Maybe I like that baby, like.

Speaker 24 (52:32):
A like a IMG have black Vis Calena.

Speaker 1 (52:36):
You know I'm like that. I know you like the
Louivisional career I know she like that.

Speaker 24 (52:47):
Like below Ma masba plan Coral Bernard and scenario loading
the low west side. Connu, dundee, You're not the dog
and they are like that. I like Dad to the
locate the lost side, she alone less the betas in
main Canta.

Speaker 14 (53:07):
I like that.

Speaker 12 (53:08):
Did I like the.

Speaker 24 (53:10):
Did Canny and Blicky and Mode and Laddy. Yeah, little
Mama water ship she one nervis.

Speaker 22 (53:20):
He the treges Kislam Lady Domitia losing Miami, yourselamdest.

Speaker 11 (53:38):
You are.

Speaker 1 (53:40):
Looking on the now west side.

Speaker 24 (53:45):
I like that Dad, like dad to the loading the
lost side, she alone less the betas in main Conta.

Speaker 1 (53:55):
I liked I like di Dad.

Speaker 5 (54:01):
You know, you know it is.

Speaker 13 (54:06):
Young young and she stopped playing.

Speaker 19 (54:11):
I don't like that day should I.

Speaker 14 (54:14):
Like it too?

Speaker 3 (54:15):
Him?

Speaker 5 (54:16):
All right? That's the Neat Martinez. Like that Neat Martinez
like that get up thoughts on this record right here? Uh,
we're just living next to human chinleyer. What you think
about that one?

Speaker 3 (54:27):
I really like that one.

Speaker 16 (54:28):
I like that one a lot.

Speaker 5 (54:30):
I like he was different, you know, it was pretty cool.
I like that. You like the.

Speaker 20 (54:35):
Spanish in the beginning there, Yes, I love the Spanish.

Speaker 5 (54:42):
Okay, sounds good. Sounds good, Kelly good. What you think
about it?

Speaker 3 (54:48):
Yeah?

Speaker 13 (54:49):
I thought it was DC had Bob Jordan.

Speaker 5 (54:53):
All right, that's what's up. That's what's up, big sleep?
What you think?

Speaker 21 (55:00):
So?

Speaker 11 (55:00):
Oh?

Speaker 31 (55:01):
That was that was a bot right there?

Speaker 16 (55:03):
Who was it?

Speaker 4 (55:04):
What was it?

Speaker 31 (55:04):
What was the artist that?

Speaker 5 (55:06):
His name was? Neat Martinez?

Speaker 34 (55:09):
Need Martinez. If you listening or you're gonna come back
and listen to this, I'm better gonna find your song.
It's out right now, better gonna play that. I'm gonna
play that. I'm gonna send that to my people in Miami.

Speaker 12 (55:22):
We like not like that?

Speaker 5 (55:25):
All right, that's what's up. That's what's up.

Speaker 8 (55:27):
Eric?

Speaker 5 (55:27):
What you think.

Speaker 16 (55:33):
Eric?

Speaker 5 (55:34):
Are you there?

Speaker 26 (55:35):
Yeah?

Speaker 12 (55:36):
Go ahead, It's cool.

Speaker 19 (55:37):
It's a it's a cool little vibe.

Speaker 6 (55:39):
But I'll probably listen to it a couple of times. Okay,
all right?

Speaker 5 (55:43):
Indeed, what you think?

Speaker 31 (55:45):
It was good?

Speaker 6 (55:46):
It was tricky too.

Speaker 7 (55:47):
I like how they used their auto reverse to try
to hide his Latino accent.

Speaker 6 (55:53):
That that was you know, that was pretty school, but
they was doing there. It was a nice smooth song.
I would like here another version, but with the majority
of the verses the.

Speaker 7 (56:04):
Reverb out I want to hear what you sound like
doing the verse without the reverb.

Speaker 6 (56:09):
I like the hook with the reverb.

Speaker 7 (56:10):
I mean with the auto tune that played perfect. I
would like to hear the verse without the AutoTunes.

Speaker 5 (56:17):
All right, okay, DJA, what do you think a way?

Speaker 3 (56:27):
Okay, all right, yeah, yeah, I'm here. I'm here.

Speaker 37 (56:30):
Honestly, I think the way they tuned that record kind
of took away from it because the beat and everything
was very, very smooth, but just that tune.

Speaker 39 (56:44):
Uh.

Speaker 37 (56:44):
And I'm not going to say that's a bad way
to tune it. It's just depend on the production around it.
Because again, the voice is the instrument too, and it
wasn't mixing well to me.

Speaker 7 (56:59):
Okay, yeah, that's the reason why I said I'd like
to hear it first without the auto tunes, and that
would make the majesty the hook with the auto tunes.
But see, that's that's on the part of an engineer
who's who probably you know, it's not that experience of
using that toy the correct way, and they didn't have

(57:21):
to they didn't really have to hide them, you know,
because it sounds like he had a good he had
vocal structure, you know, it sounds you know, he sounds
so authentic. You know, but when you put your song
in the hands of a uh not a DJ, but
a engineer who's inexperience, then that's what.

Speaker 6 (57:44):
You come out with.

Speaker 5 (57:49):
Ot to sleep you in the bad area, care you.

Speaker 37 (57:55):
It would definitely like blame it on the alcohol if
we talk about reference. Of course, he did his own
thing to it, and I think that's the direction they
was going for. But if they were that they needed
another production. Again, that beat was very, very smooth, and
again I.

Speaker 3 (58:13):
Do like far as the lyrics.

Speaker 37 (58:15):
It's just you know, the if this is the finished
product or if they're still working on it, that's what
I would work on that. You know, if you want
to keep the productions, move out the tune. It's an
easy fix. I think it's a vibe and I think
people like it, but just the tune as it is
is just make it hard to follow the record.

Speaker 34 (58:37):
Yeah, I just don't like it in the I don't
like it in the versus like on his spots like
like uh we said they was they had in his accent.

Speaker 31 (58:47):
They you know what I'm saying, Like it's it's just
you know what.

Speaker 34 (58:51):
I'm saying like you know what I'm saying, Like, that's
a vibe, that's all a vibe. I could literally listen
to that, you know, said at the store in Miami
with with a bunch of you know what I'm saying people,
and we all, we all, everybody vibe to it the same,
you know what I'm saying. We all get the gist
of what's going on.

Speaker 7 (59:12):
Yeah, he could be a crossover artist, you know, but
the engineer took that from him, you know, he he
gave us another He gave us.

Speaker 6 (59:24):
The engineer gave us what he he want to sound like.
He didn't.

Speaker 7 (59:29):
He didn't go with the audience. He did it himself.
And he just needs he needed he needed experience. He
needs somebody experienced engineer to really get him out there
with the sayings, production of that song, the music and
all that.

Speaker 6 (59:46):
That ship was fly.

Speaker 7 (59:48):
He was just the vocals that got screwed up in
the auto tunes. He didn't he didn't need, he didn't
need that diverse.

Speaker 6 (59:55):
The hook was cool, The hook was cool, but the verses.

Speaker 7 (01:00:00):
Now, unless he really can't shame that see it like that,
And that's why I want to hear I want to
hear him sing the verse without auto tunes.

Speaker 5 (01:00:12):
Okay, all right, big Sleep, you sent us this record
right here. We're about to play this about you. You
sent us uh sweet cold, yeah.

Speaker 31 (01:00:20):
The sweets cold. Just send me this.

Speaker 12 (01:00:23):
I don't know.

Speaker 3 (01:00:24):
I know, I ain't been in here in a while, but.

Speaker 17 (01:00:29):
She was.

Speaker 34 (01:00:29):
She wanted me, she wanted me to listen to this.
But I know this is this is this how I
listen this homeless music.

Speaker 6 (01:00:37):
H you did the right thing.

Speaker 5 (01:00:43):
Monday, exactly what that's That's what this is. That's what
this show is for.

Speaker 31 (01:00:46):
That's I just ain't gonna give from my opinion. I
give everybody exactly.

Speaker 16 (01:00:53):
That's why.

Speaker 6 (01:00:54):
That's why we designed this, this particular show.

Speaker 5 (01:00:57):
Okay, well let's let's check this out. We give our
opinion on the record real quick. This is how I
listen to music too, right here, which called balcony.

Speaker 12 (01:01:08):
I mean, I know you missed me, just not in
the line.

Speaker 18 (01:01:14):
Will be on Hope you don't take a ride, h
me get over to can't listen to music a movie?

Speaker 1 (01:01:23):
Don't you don't call it nema? I said that. Don't
you don't call it nema?

Speaker 9 (01:01:32):
I said that way, babe, GiMA, I can't call it
ema I see that way.

Speaker 18 (01:01:46):
I want to tell your baby the change is eyes
come with through messen you listen, you see you come
be with me?

Speaker 1 (01:02:02):
To you take a ride with me?

Speaker 10 (01:02:05):
Yeah?

Speaker 1 (01:02:07):
Do you come fivee with me? That's what I ain't
gonna do.

Speaker 41 (01:02:14):
Yeah, open up, baby.

Speaker 1 (01:02:17):
I'm gonna know Bonn your door open up, baby, I'm
gonna know bn your door open up? Baby?

Speaker 2 (01:02:28):
Baby?

Speaker 1 (01:02:29):
Are you gonna rive with me? Will you listen? Never
lie to me? Spend a little time with me? I say,
are you now you know you want to take a
ride with me? Listen to some music? Fav me? You
spend a lot of time with me?

Speaker 10 (01:02:47):
Are you down?

Speaker 17 (01:02:49):
No?

Speaker 31 (01:02:49):
You don't?

Speaker 2 (01:02:51):
I hon you.

Speaker 1 (01:02:56):
In the job. I'm roll. Don't you love me till
you come back to me? That's what I'm gonna do.
You can you pick me up until you will come
back to me?

Speaker 7 (01:03:17):
I want you.

Speaker 1 (01:03:20):
I want you to want me to baby. Happen up baby,
I'm gone night by YadA happen that baby?

Speaker 24 (01:03:34):
And then shame said saving baby, and then change it
said same.

Speaker 1 (01:03:44):
Until you come vibe with me?

Speaker 5 (01:03:49):
All right, it's a big sleep. You heard the record this,
So what are you gonna tell her? I want to
hear it. I can't hear hold on. I'm sorry. I'm sorry.

(01:04:10):
I'm sorry I said it against I'm sorry. Go ahead.

Speaker 31 (01:04:12):
I said, that's that's her whole tone, that's her whole vibe.

Speaker 34 (01:04:15):
I'm really kind of biased anyway, because that's her whole
that's like the way she sung that.

Speaker 31 (01:04:21):
She sounds like that, she talks like that, So I'm
kind of biased anyway.

Speaker 34 (01:04:26):
But I mean as far as it not being like
the the mix of stuff, you know what I'm saying,
like the production needs to be tightened up. Other than that, though,
I mean, as long as you can get it clean,
long as she gett clear, I don't sit wrong with it.

Speaker 6 (01:04:41):
No, she ain't. She ain't got clear of that because
she ain't using it for a sample. She actually singing
a song.

Speaker 16 (01:04:46):
You know.

Speaker 7 (01:04:46):
She just make sure the writers is on there and
the publicy company is on there. She ain't put that
out that. That's not no problem. It ain't nothing to
clear because it's she's not doing nothing taken away from
the original song Reache Franklin did and with Steve because
Steffy Wonder did.

Speaker 5 (01:05:05):
It too well. Yeah, okay, you know Stevey did it
too well well Randy think it's the problem. He says,
terrible idea to use all those classic song lyrics and
all that out of out of key.

Speaker 7 (01:05:20):
Well that that's a whole different show to he's talking production. Now,
I'll get ready to jump on that, you know, go
ahead and jump on it. Yeah, that bassline that they
were using, that that that bass guitar, he didn't keep
it at a at at at a at a mode
that can keep keep her flow right. He was jumping

(01:05:42):
all over the place. He was trying to do a
lead thing and he didn't have to do no lead thing.
He's supposed to have a simple groove to keep her
on track, and he didn't do it. He was trying
to play like you trying to play a lead on
a bass guitar. And that was that was all unnecessary.
That was through her off because when when he put
those extra notes inside and outside, she was trying to

(01:06:05):
keep up with that, and that ain't to foretade that
she's supposed to have been doing. People have had a
regular groove to keep her in a regular groom. Then
jump to the hook. But until you come back with me,
that's what I'm going to do. And the baseline was thrown.
He was all over the place. No, they had a

(01:06:28):
good idea. I liked her vocals. I like how the
way she sees, but she needs somebody that was that's
good and producing vocals, you know. Keep her in the
right groove, you know, and don't let her go all
over the place, because that baseline made her go all
over the place.

Speaker 6 (01:06:46):
I heard.

Speaker 7 (01:06:47):
That's the first thing I heard, you know, when I
heard when when I heard the hook, I knew what
she was trying to do, you know. And there's nothing
wrong with that, but it got to be done right.
When you go do a classic, you got to do
it right. And it's only two people did it right,
Stevie Wanda and uh and Reta Franklin, you know. And

(01:07:08):
I think Stevie wrote it, you know, so she had
to write. They had the right idea, but they just
did it wrong.

Speaker 5 (01:07:22):
That's all.

Speaker 13 (01:07:23):
Eric.

Speaker 5 (01:07:23):
What do you think about the record?

Speaker 19 (01:07:28):
I Love Me Some Sweets?

Speaker 5 (01:07:31):
You like you like that song by.

Speaker 3 (01:07:32):
Sweets, Sweet Sweets?

Speaker 4 (01:07:34):
She she do mashups, okay, so what she she combines
multiple songs in the one song.

Speaker 19 (01:07:41):
So that's her thing. That's what she does.

Speaker 4 (01:07:44):
And I think I think the off pitch on her
voices is cool because Aretha didn't singing perfect pitch either.
Aretha tells you she said God did. God didn't make
my voice to be perfect if I sing a key off. No,
God made me sing it like that. So I kind

(01:08:04):
of look at her like that, and and uh and
and I like the twang in her voice is kind
of authentic, like nobody can't do like her.

Speaker 3 (01:08:13):
Got you?

Speaker 5 (01:08:14):
Okay? All right? All right? Hey, the way what you think, I.

Speaker 37 (01:08:19):
Ain't about to get me into drama on this app
so sweets, that's the homie.

Speaker 5 (01:08:27):
I'll tell you both at your boss know or tell her,
tell her to send us another record. I want to
check another sweet reggord out.

Speaker 19 (01:08:32):
Oh yeah, well I'm about to. I'm about to actually
work with on some stuff.

Speaker 5 (01:08:36):
Okay, but when you get that done, send it to us.
And I want to shut it out. Okay, Well send it,
send it next week, send the next week.

Speaker 6 (01:08:46):
All right, I got you?

Speaker 5 (01:08:47):
Okay? Uh.

Speaker 6 (01:08:49):
I think lu Luther is the only one could do
her do a remake that don't sound like the original.
He's the only one who did that. He was perfect
at that. He did the Temptation song Since I Lost
My Baby, He wouldn't nowhere close to what the Temptation did. Yeah,
we're close.

Speaker 7 (01:09:09):
When when he did a lot of that stuff, when
he did a lot of his remakes, he wouldn't nowhere
close to the Old Ridge.

Speaker 13 (01:09:15):
You know.

Speaker 6 (01:09:16):
He did it his way, and that's what you gotta do.
You gotta do it your way.

Speaker 7 (01:09:21):
You can hear a little bit of looser doing Old
Ridge of somebody else's, but he did it his way,
and that's for the artists.

Speaker 6 (01:09:31):
Got to learn how to do it.

Speaker 3 (01:09:33):
Do it your way.

Speaker 7 (01:09:34):
You gotta have an ear for that, you know, do
it you And plus he had an excellent producer, Marcus Miller.
You know, I mean they was made. They was made
for one for each other.

Speaker 5 (01:09:47):
That's good. That's good. Britt, What do you think about
the record?

Speaker 16 (01:09:51):
I thought it was cool.

Speaker 20 (01:09:52):
I thought it was different. I really like her voice
and I liked the instrument it was well, and I
also liked them separate U. I would like to hear
a remix with another track to that as well. Her
voice was really cool. I like the the mashups, I
like the idea that you know she was going for,

(01:10:12):
and I really like to hear more from her.

Speaker 5 (01:10:15):
Okay, Well, next week. We'll get another record from us
a week. We can hear what's up.

Speaker 31 (01:10:21):
I ain't gonna lie.

Speaker 3 (01:10:23):
I would like to hear you do stuff like that.

Speaker 31 (01:10:25):
I ain't gonna lie.

Speaker 12 (01:10:26):
I do do stuff like that.

Speaker 10 (01:10:28):
I want to, I want.

Speaker 6 (01:10:31):
He said recording.

Speaker 20 (01:10:34):
No, No, I got stuff recorded where I do stuff
like that. I yet, Yeah, y'all don't play everything.

Speaker 31 (01:10:42):
YoY yo know I don't.

Speaker 16 (01:10:44):
I don't know.

Speaker 34 (01:10:44):
I don't know how many. But Britt loving she gotta.
Oh that's somebody to work with. That's somebody to work with.

Speaker 5 (01:10:54):
Man three reasons.

Speaker 31 (01:10:57):
Huh, people, that's somebody to work with. Okay, for sure,
I ain't even know. I ain't even gonna lie. I
can't even push that up music because because she already acted.

Speaker 7 (01:11:11):
Like she got her ninety three reasons, I'll put an
extra reason in there.

Speaker 5 (01:11:25):
It should be ninety three, but we can go to
ninety two.

Speaker 16 (01:11:28):
Send me afol.

Speaker 5 (01:11:30):
Okay, all right, we need we need to make y'all
connect like that. We're going over to the last song
of the evening right here, this is coming up. I
stayed a little over because I like what's going on
here tonight, and uh I was off to day so
let's go ahead and jump into this one right here.
This is black Diamond h live in the field. I'm sorry,
live in the field, Black Diamond live in the field.

(01:11:51):
All right, let's check it out.

Speaker 29 (01:12:01):
Whoa I.

Speaker 2 (01:12:07):
He?

Speaker 1 (01:12:09):
We're going live?

Speaker 10 (01:12:10):
Then I bill he he fel, he's he's deal, he's
still he's still deal.

Speaker 42 (01:12:20):
We're going live in the fill. Feel feel feel pill
feel pheel.

Speaker 1 (01:12:26):
But we got an a D D F right side
of time. I refer my corw so you know where
he gotta lie. Then this is a deal.

Speaker 10 (01:12:33):
He feel feel, he's deal deil, he's deal.

Speaker 42 (01:12:36):
These feel jog guy throwing brown stuff coming through with
out hot it talk what you wanna do?

Speaker 21 (01:12:43):
I'm gonna dens with my fed I ain't trying to
throw them hens were out here having fun, so don't
ruin the playing.

Speaker 10 (01:12:48):
That that's looking in my cup with us? What should
roll up?

Speaker 1 (01:12:51):
A couple of betties in the cut so you know
we're hitting up. Stop stop stalk stalk stalk.

Speaker 12 (01:12:56):
Shake that boot that man, stop stop stalk stark.

Speaker 1 (01:12:58):
Start showing your ring what your hand said. Let me
get a band shack, make it cut up.

Speaker 10 (01:13:03):
Let me mad.

Speaker 42 (01:13:04):
I had your band dams in a feel, feel feel
steel steel steel steel.

Speaker 21 (01:13:10):
When we got an ATV side right side by side.

Speaker 10 (01:13:13):
I'm wrapping from my cruise, so you know we got
in the field.

Speaker 42 (01:13:17):
You feel, you feel steel, steal seal, feels gone.

Speaker 10 (01:13:22):
Guys, I have a brother, I'm coming through without how
get it to what.

Speaker 11 (01:13:26):
You want to know?

Speaker 5 (01:13:32):
Oh it's over, Oh it's over. Write that song Live
in the field, okay, Live in the field, black Downing. Okay, Oh,
hold on a minute and thirty Oh that's why that's wrong.
The short, all right, minute in thirty eight seconds, Live
in the field. That was cool, Okay, it was a
good idea. Okay, well that yeah, that was a whole
song right there.

Speaker 6 (01:13:51):
Yeah, I got a whole song.

Speaker 7 (01:13:53):
It would it would it's what everybody need to do
for the head and out of session or something like that.

Speaker 5 (01:13:57):
Oh that's what that's what was sent to me. I
don't know that that's good.

Speaker 7 (01:14:01):
No, I would like I would like everybody sitting their
music that short. It don't take professionals like us that
if we what is the production is good or bad,
we don't need to hear it for three minutes figure
anything out.

Speaker 5 (01:14:13):
But what did you figure out that when you heard it.

Speaker 12 (01:14:16):
She said, it was just a sample in the check.

Speaker 31 (01:14:18):
Yeah, there you go.

Speaker 6 (01:14:19):
Okay, I like that, Yeah, I like that.

Speaker 7 (01:14:22):
The only problem is the intro is a little bit
too long. Okay, you know intros, it was way too long.
It was I think the intro is about sixteen bars.
Yeah there, you know that intro should have been only
about four bars, and damn jump right into it, you know.

(01:14:44):
And other than that, but I like them. I liked
her style or his style of rapping. You know, he
had a little he had a little he had a
little smunking to his what he how he was spending
her her he or whatever it is.

Speaker 16 (01:14:58):
You know.

Speaker 7 (01:14:58):
You know, today's worlds hold dif familiar ward Back in
the days, it's hard to identify who's who were here recording.

Speaker 6 (01:15:05):
Okay, So therefore she was good. It was that she
she was good, you know. But now they got to
structure it. Because when she came on her verse.

Speaker 7 (01:15:15):
She came in on the on the on the seat one, two, three, four,
she came on the sixth count, and that was awkward.

Speaker 6 (01:15:25):
She came on an awkward count.

Speaker 13 (01:15:27):
You know.

Speaker 7 (01:15:28):
So but she had to she had the right idea
how to how to spit. So I'm thinking that she
would freestyle it he gave He gave me the impressions
she would freestyle it on that. She wasn't keep it up,
She wasn't keeping up with the bars and the counts
and nothing. She was just trying to show her talent.

Speaker 5 (01:15:47):
All right, Eric, what's your thig of it?

Speaker 41 (01:15:52):
I just think, you know, clapping and moody jiggling. I
see that that that'll go. That'll go good the strip
club to big goodding club. But they cut in the
strip club too.

Speaker 5 (01:16:04):
Okay. Now, like Kelly, uh, what you think?

Speaker 3 (01:16:18):
Man, You're all gonna make me be the one hunt.

Speaker 37 (01:16:25):
I'm gonna say, if you're gonna do trail riding mohead
type music, like, really study that, like and understand what
the makeup of that is. I understand what was attempted,
but I think, uh, that needs to go back into
the studio. Question, no question, and again like study what

(01:16:50):
it is that you're doing. I actually do trail rides,
you know, and everything. Again, I'm from Mississippi, so we
do a lot of that stuff. We've been doing on
it for years. So I'm going to say, if you're
gonna do trail ride Mohead type music, like, definitely do
your homework.

Speaker 5 (01:17:10):
And that's what she said. You said the song was
opening for a trail ride. Okay, okay, that's what's up.

Speaker 7 (01:17:19):
She gave the impression that she was freestyling. She's just
throwing it out there to see. Well, she's on the
right track. Yes, you are on the right track. But
now you got to structure it. Now, develop it, get
it right. Like my man just said, study up of
now what you want to do, you know, and and

(01:17:39):
and then go in the studio.

Speaker 6 (01:17:40):
And drop it.

Speaker 5 (01:17:43):
All right. Uh, Britt, what do you think about it?

Speaker 13 (01:17:47):
God?

Speaker 6 (01:17:48):
God, you know, excuse me, excuse me.

Speaker 16 (01:17:50):
I don't know what trail ride is.

Speaker 20 (01:17:54):
But I like the song though, but I can't judge
it because I don't know what trail ride is. But
I did like the song and shout out to shout
out to black Dim.

Speaker 22 (01:18:04):
You know.

Speaker 3 (01:18:06):
I can help you.

Speaker 37 (01:18:07):
You can think about like everybody knows boots on the ground.
So you type that in like maybe on YouTube, and uh,
group it in with other music that they do line
dances too, the trail ride.

Speaker 3 (01:18:21):
Yeah, that's pretty much what that is.

Speaker 5 (01:18:23):
Okay. In fact, Britt, the artist we had on last
week h what's her face?

Speaker 17 (01:18:30):
Uh?

Speaker 5 (01:18:32):
Yeah, her song, her song was trailed was a trail
ride record. No, no, the one we had on last week,
the young Lady we had on NAIRA. Her song was
with a trail ride song, that girl with the short haircut. Yeah, yeah,
that's that's the stepping records is kind of what they're
calling them now down there, that's a that's the second Yeah,

(01:18:54):
southern so all that down that way. Yeah, that's what
it is.

Speaker 3 (01:18:57):
It's different. It's not southern, so get but it's under
that banner. But right, yeah, it's not so but let's
not get it twisted.

Speaker 6 (01:19:08):
Yeah, okay, I didn't want to get a Twitter, but
since she didn't know, I was trying to leave. Yeah, yeah, yeah,
I'm glad.

Speaker 3 (01:19:15):
You told that. Yeah. They're trying to jam that under
the under umbrella.

Speaker 37 (01:19:19):
Like soun and sold the beats and the writing is
different than trail riding and mohead.

Speaker 36 (01:19:25):
Uh.

Speaker 37 (01:19:26):
They they're more like party songs, like to get people
going and stepping in things like that.

Speaker 6 (01:19:32):
So their high energy songs, old school players singing it.

Speaker 5 (01:19:36):
Okay, all right, well I guess that we're going have
to get some some more clarification on that for next
week because uh, we're out of time for this week. Again,
we're here every week making this happen here with the
head and out of session tennical Pacific center time when
am Eastern. If we didn't get to your song tonight,
I apologize, but your song will be first next week,
as we do this each and every week every Monday

(01:19:57):
night technical specific center time when it Eastern with the
head nod of session. Before that, we got the radio
show every Monday night, nine o'clock Pacific extent of time,
one a m Eastern. What's another exciting guest and everything
and much more work with the radio show. All right,
So on that note, we're gonna wrap this one up
for tonight. I want to thank everybody for being a
guest here tonight, everybody being a part of the head

(01:20:17):
nod of session AOA, Eric Sleep nd Kelly Good. We
all here for another week. See you all next week
with some more songs that we're gonna critique, and uh
we're gonna go from there.

Speaker 6 (01:20:31):
Remember Thursday night begin.

Speaker 5 (01:20:34):
The NFL begins Thursday night for all all the football
fans that are here. Now, We'll see you all next week. Man,
same bad time saying back channel were gone for another week. Y'all.
Take care.

Speaker 29 (01:20:47):
Hey the radio show so far, Make sure you follow
us on all social platforms at the Radio Show