the headnodder session ep 61

Episode Transcript

Speaker 1 (00:00):
Get song.

Speaker 2 (00:01):
Just because the radio show is doesn't mean it's over.

Speaker 3 (00:05):
After it's time for after the party.

Speaker 4 (00:10):
They had not a session.

Speaker 5 (00:11):
Drop it down, drop it down the radio show, I
shan't any meaning mini moe o mic like a pimp
pimps holes, that's how it goes.

Speaker 4 (00:24):
And am a genius? You mean this all right?

Speaker 6 (00:27):
That song right there that was a gang star and
nicest smooth songs called Dwitch all right, hip hop song,
hip hop legends right there, that record's you know, been
begging for many many years. We always pay how much
of the old school artists as we bring you the
new school artists right here?

Speaker 4 (00:45):
The heading not a session, which we're doing right.

Speaker 6 (00:47):
Now, And this is a song where we give that
honest feedback and constructive criticism to independent artists that send
their music to us.

Speaker 4 (00:57):
All right.

Speaker 6 (00:57):
So if you're working on a production of a record
right now and you hit production work, this is the
place that we can bring your music to us and
our panelists of folks will give you that constructive criticism
and honest feedback. But if you cannot handle constructive criticism,
please do not send your music to us right now.
Do not waste but the Eliven x to human channelier time.
Don't send them song to us if you can't handle

(01:19):
deconstructive criticism. But if you can and you want to
get your music played right now, go to our website
www Dotthorradio show dot com. Click on where says submit
music photo, click on the link upload the song as well.
Let's fill out the information and the finest way over
to me to be played during the after party, which

(01:40):
we're about to get into right now. M D you
eble to make the disclaimer or you still fixing the mic?
I think you broke You broke.

Speaker 2 (01:48):
That, man, you broke that thing.

Speaker 4 (01:51):
Yeah, you broke that thing. I'll tell you now. You
broke that. You've been fixing.

Speaker 3 (01:55):
Fix it?

Speaker 4 (01:57):
Yeah, man, broke that.

Speaker 2 (02:00):
It is what it is.

Speaker 6 (02:02):
Yeah, man, Well, while you work on that, I will
say this is for entertainment purposes only, and you go
ahead make a disclaimer.

Speaker 2 (02:10):
Yeah, this is a disclaimer.

Speaker 7 (02:13):
The disclaimer is that this is a session that we
critique music production, and we not specific saying we don't
like it or we do like it. We're just saying
that there are some flaws in your production and you
need to correct them. If you want to put this
up for sale and downloads and have the public start

(02:34):
liking your music. And who knows, if you do it right,
you might end up getting commercials and film placement. So
that's what this is about. We're not about sing we
like it. We're telling you that there's a few things
you need to tweak, all right, So you have to
tweak it and return it back to us. We'll play

(02:55):
it again. If everybody say, you got a green light,
you're ready for the big time, then let's make it happen,
all right.

Speaker 4 (03:05):
We're gonna make it happen right now now. This artist
right here, I did say.

Speaker 6 (03:08):
And by the way, it is all for entertainment purposes only,
all right, entertainment purposes only around here. So this artist
right here was happy last week we played this record.
He straight from Indiana. I don't know if you guys
remember GTS. He came on by way of Indiana and
he sent this music and we played it.

Speaker 4 (03:26):
I gave him a.

Speaker 6 (03:27):
Homework assignment, and homework assignment for him was to provide
a clean version. So he did that. He said the
clean version to us. We played it during the pre show.
We're gonna play it right now, and I'm gonna let
you know, and I'm gonna ask you what's wrong with
this tune when we're done with it.

Speaker 4 (03:43):
All right, let's check out here we go.

Speaker 8 (03:44):
Talk to him?

Speaker 9 (03:45):
So, yeah, for sure, I talked to him a two
days ago or something like.

Speaker 10 (03:49):
That about it.

Speaker 4 (03:50):
Yeah, oh you did? You talked to him?

Speaker 8 (03:51):
To him too?

Speaker 6 (03:52):
Yeah, okay, okay, okay, all right, that's good. Are you
working with him or are you just talk to him?

Speaker 8 (03:57):
No, No, just talking to him.

Speaker 9 (03:58):
And I was tellinghim that he needs to send it,
you know, so and you told him you need to
be clean.

Speaker 8 (04:03):
So I don't know what his clean berson sound like,
but you know all right?

Speaker 6 (04:08):
Oh okay, well that's what's up. So well I didn't
know that part of the story, all right, So talk
to him. Okay, Well there is a right all right.

Speaker 10 (04:16):
I like that.

Speaker 4 (04:17):
I like that.

Speaker 10 (04:17):
I like that.

Speaker 4 (04:20):
All right, let's check out what he said us. Here
we go.

Speaker 11 (04:37):
They're telling me I'm up next, but I already know
this just got it hate, I'm kno gonna mind my
fuckus No. No, I'm trying to figure out if I
could trust my own home. And I'm just trying to
figure out if I can make some money and she's
just trying to figure out if she's come and touching.

(04:58):
I'm just trying to figure out that I.

Speaker 10 (05:00):
Can bluff and public rap.

Speaker 11 (05:02):
Ain't in the holdn't got no time to let it bringe.

Speaker 2 (05:05):
Hey, c the e f G.

Speaker 11 (05:06):
Don't forget the last later that's me.

Speaker 10 (05:08):
Drugs be filled up to the top on this. He
popped the bullets.

Speaker 11 (05:10):
Leg it's gunna be filled up to the top to
stick a little frying the strike grow up with hustlers.

Speaker 10 (05:16):
Don't make me toush.

Speaker 11 (05:17):
You don't make your torush came from Russia, ain't from Russia.

Speaker 10 (05:22):
Make me Russia shugger. I gotta keep the tech.

Speaker 11 (05:27):
I know they're waiting on me to look, treating me
like I can wrap. I guess I got something to like.
Who the hell told you you snapped and turned down
out of out off so comprehend on. I understand how
she keeps shaking it to this tone. Gun hand underpends
in case somebody coming through.

Speaker 10 (05:41):
I delay.

Speaker 11 (05:41):
When it comes to cake, I'm gonna stack past the
morrow saw. The tree stands like it's a plate. When
he ain't gotten no way to fun. I know you
ain't picturing me this way, but now you gotta see it.

Speaker 10 (05:49):
Throw smoked. Then our zoo.

Speaker 11 (05:51):
Don't they feel doing for you? Two times about that zoo?
Right now, I'm going in in the boat, she say,
trolls my mouth. One got a cloak me for some shoes.
It's gonna set you a little broke. I know because
that was on the notes. They act like they don't
know what they do. Just about a book back and
it's blowing. That spelled out Jimmy chill. The first time
I ever hear that. You know, I was getting would
for some trucking out there, you know, like I do know.

(06:12):
I'm up next to he's rappings. I'm smoking noodle. This
will blow your after the love what you want to
puddle before we get back.

Speaker 10 (06:19):
On them more. I was instillars.

Speaker 11 (06:20):
That was photos acting like that there was no about
to blow it. They said, they know it's saint, know
you When I was telling me I'm up next, but
I already know this.

Speaker 10 (06:28):
That just got to hate.

Speaker 11 (06:30):
I'm knocking to mit my focus, nonmous. I'm a truth
just trying to figure out if I could trust my
own home.

Speaker 12 (06:37):
Man.

Speaker 11 (06:38):
Man, I'm just trying to figure out if I can
make some money. She's just trying to figure out how
she's come and touch it. I'm just trying to figure
out if I can blot in public. I'm just trying
to figure out if I can make some money. She's
just trying to figure out how she's come and touch it.

(06:58):
I'm just trying to figure out if I can block
the public.

Speaker 4 (07:03):
That gts.

Speaker 6 (07:08):
Every week right here, making it happen with the radio
show as well as the heading out of session which
we're in right now. So what do you think about
that record? Let's get some honest feedback and construct the
criticism on that record. So I will say I'll kick
it off by saying that sounds like me editing the joint.

Speaker 10 (07:24):
That was me.

Speaker 6 (07:24):
That was me practically editing. That's how I'm editing some
of these songs to the best of my ability. So
uh m d go ahead and uh let them know
what's up?

Speaker 2 (07:35):
Yeah, I sure do. Wow, young man, where can I
start at? First?

Speaker 7 (07:46):
Your radio version is not going to make it. We
chopped it up music, musically and everything. You need to
get your engineer, pay an engineer to.

Speaker 10 (08:02):
Do it for you.

Speaker 2 (08:04):
But your best bed is to go in the studio.

Speaker 7 (08:09):
Write the same song where all your cuss words are
Exchange those cuss words with clean words. Go that route,
because you had too much cussing in it, and that
would let promoters know that you're not ready for stage,
you know, for a big stage. I ain't talking about
a parking lot stage. Come about a big stage, you know.

Speaker 2 (08:33):
Because uh, I mean, that was a good try.

Speaker 7 (08:39):
I know you did it on your own because that
I'm not gonna even think that was an engineer that
did that.

Speaker 2 (08:45):
No way, I wouldn't blame that on an engineer at all.

Speaker 7 (08:50):
So go back and rewrite the song and clean it
up with clean, lyrical contents. When you say a nasty word,
you replace it with a clean word that says the
same thing. Don't change the storyline, just change the word,

(09:10):
you know, not all the words, just the custom words.
You don't have to change nothing else because if you,
if you, if you don't know how to do that,
find your songwriter, let him help you.

Speaker 2 (09:25):
But no, that's not gonna that's not gonna fly, okay
at all?

Speaker 4 (09:34):
Okay, that's what's up? Uh big sleep, What do you
think sir?

Speaker 10 (09:41):
It's okay, you're gonna right. I read a lot with
whatever said. My My biggest thing was just.

Speaker 13 (09:54):
What was whatever was going on with his voice, with
that auto tune or whatever they had on his voice,
that was That was probably my biggest name.

Speaker 10 (10:02):
I didn't even mind the.

Speaker 13 (10:05):
Like how they had it cleaned up because it gave
me a break from whatever was going on with his voice.

Speaker 7 (10:11):
Okay, okay, I didn't want to touch on the auto thing.
I knew Sleeper was gonna do it.

Speaker 6 (10:18):
Oh, I got you, okay, okay, Uhri leven next to
year the chandelier, what do you think?

Speaker 9 (10:26):
What I think is he might have been the one
to do the edit. So I have two different different
things to say about the edit. When you edit, you
you just cut the vocal and not the instrumental. But
maybe he didn't have access to the vocal from whoever
he recorded with and the instrumental. You know, I really

(10:48):
don't know what the situation is. I also wanted him
to turn the music up, you know, so we can
hear the music more. You know, the vocal was a
little loud, and I feel like if he turns the
music up, you know, I feel like it's a pretty
cool song.

Speaker 12 (11:05):
Now.

Speaker 9 (11:05):
I see how you guys are talking about the auto tune.
He could turn down an auto tune like ten percent.
But if he really likes autotune and that's his sound,
then I'm like, go for it.

Speaker 8 (11:16):
Just turn the music up more so you know, we
can hear more of the the face and you know,
like the five of the song.

Speaker 9 (11:25):
But I feel like he got something, you know, and
I feel like he should keep going and I wouldn't
hear more from him.

Speaker 4 (11:31):
Okay, that's what's up, Kelly, Kelly, you gotta do this.

Speaker 7 (11:33):
Tweak the song, you know, take take the advice, constructive criticism, uh,
and make those necessary changes and he'll be all right,
you know, might you might not get it. Usually, your
first couple of songs that you go in the studio
and do, it's not gonna be your best. It's gonna

(11:57):
pourt you in the right direction. And when people start
criticizing your your music and start criticizing it on the
constructed side, then you'll start understanding more about what you need.
If you need a producer, find your producer, you need

(12:18):
an engineer, get your engineer. Don't listen to your home
either say you ain't got to pay no money to
do this business, because that's not a true statement. It
takes a team to make a hit record. Artists don't
do it by himself. And I know some people say,
well Prince did, Man, that was the pioneer days. Those

(12:40):
days are gone now you.

Speaker 2 (12:42):
Don't need a team now, and Prince went to school
and learn music.

Speaker 10 (12:48):
I can say that's a different day.

Speaker 7 (12:52):
Right, Yeah, the game, the music get business today. Ain't
monkey see monkey do no more. Monkey gotta know what
he's doing for himself now.

Speaker 14 (13:03):
Yeah.

Speaker 9 (13:04):
Well, before I let Kelly go say something, I just
want to say this, like, ah, that's true. But if
that's all you got, little bro, and that's your best
that you can do, run with it and shoot for
the stars, because it'll lead you to your next situation.
Because if you do nothing, you ain't gonna get nothing.
You got to you gotta start from somewhere. So if

(13:24):
you got access to what he's saying then, or access
to what we're asking you to do, then make it happen.
But if not, run with it until you can get
to your next situation or your next song, cause it'll
show people what you're doing, and they help people to
believe in you. And if somebody can help you, how
can they help you if you have nothing to show okay,
so you know I'm here for the support.

Speaker 8 (13:46):
Kelly good what you got to say for y'all here, No.

Speaker 10 (13:56):
Dan't here say it again?

Speaker 12 (14:03):
Yeah, okay. As far as the editing, Iboudy even gonna
get into all that. The cussing man, you know, just
just for them and for you, just to prove to
them and to prove to yourself that you could do
a song without no cussin replace some of the words
with the cuss words, you know. And if you want

(14:24):
to say nigga, say hit it, you know, and you know,
so on and so on. You know, you can still
make a finger without doing that. But I'm other than that, man.
You are. You hard as the motherfucker.

Speaker 10 (14:35):
Man.

Speaker 12 (14:35):
I like how you coming. You sound like like like
the NBA young boy and a Kodak black that for
their head out of chest that I'm bothering my head.
That's the first time in a long time I heard
a rapper come on here independent that's really spitting like
you spit you got you got a cold swag, man,
And I'm interested in doing something with you. I want
to do a song with that young dude.

Speaker 10 (14:55):
Man.

Speaker 12 (14:56):
He hard, he wrought out. Hear how he's coming. He
got it, that young dude, he got potentially raw emotion.
Calie good Man with Cally good on Instagram. Man, I'm
gonna do something.

Speaker 4 (15:07):
With That's what's up. That's what's up. I'm looking to
see if he's checking us out on the IG.

Speaker 8 (15:12):
I don't or I don't say I'm gonna hit him
and let him know.

Speaker 12 (15:15):
You know, I like this song a lot.

Speaker 8 (15:17):
I just wanted him to turn the music up a
little more, you know.

Speaker 7 (15:21):
Yeah, And I want all the custom words out with
clean words, like like Kelly good.

Speaker 10 (15:25):
Say, it's not nothing major wrong with a song, it's
a minor things. You know what I'm saying, Like right, everything,
everything to be pleased.

Speaker 4 (15:36):
That's why we got to show the head not a session.

Speaker 7 (15:38):
You know, he don't have to keep it real. You know,
you don't have to prove nothing to his homies. You're
trying to be diverse. You want everybody to like yourself.
You want Asians, Latino's, black, white, every you want everybody
like your music. But if you only focus towards your

(15:58):
your homies and you're putting yourself in a small market,
I mean you don't want to do that.

Speaker 2 (16:06):
You want to put yourself in a large market by Indiana.

Speaker 6 (16:09):
Indiana stand up man definitely represented with GTS Britt. Keep
working with him and uh, next week, Hey, haven't seen
something else, We'll check him out.

Speaker 7 (16:18):
No, don't send nothing else. Tell him to go and
make those corrections on that song and send it back
to us.

Speaker 6 (16:23):
Well that too, you can do that as well. Just
move on to the next song. Right here, man, this
is a big seas, big seas.

Speaker 14 (16:32):
Uh.

Speaker 6 (16:34):
He has a song with John Michaels songs called make
make It Home, Big C's make it Home.

Speaker 4 (16:41):
Let's check it out.

Speaker 2 (16:41):
There we go.

Speaker 15 (17:00):
Thinking to let him going.

Speaker 10 (17:02):
As soon as I come.

Speaker 3 (17:05):
I got him in my way back. I got him
in my way.

Speaker 8 (17:16):
You gonna get sex tonight.

Speaker 10 (17:19):
Smoke six? What is what?

Speaker 8 (17:22):
I make it home?

Speaker 16 (17:27):
And wait to see you when you're rotch right? Shoot,
you said it the picture so much to see you
winning far away girl.

Speaker 3 (17:33):
I gotta make your vegging you. It's like a mable
SOOKI I'm dodging police saying I'm dodging Lukes. I got
him bout it for the bride mine. I got you
blinging And this is talking to you run a bride
line and stay.

Speaker 16 (17:43):
They're talking about how they wait to get your to
this hole talking to beat you back the poor tuck it.

Speaker 3 (17:48):
They wait to make it homeless like doctor streets the
earthly this back to brain the not No, my joy
is getting money. Then wait to make it home so
you can run and gets it hook me and then
me see that puts it right before I hit the tuppet.
But right you got to slip.

Speaker 10 (18:06):
So as I.

Speaker 8 (18:09):
I got him.

Speaker 3 (18:10):
I gotta make my way bag home. I just gotta
pike my way back home. I got I gotta pick
my way bag hold. I just gotta make my way back.
Game game mail.

Speaker 16 (18:31):
You know what from the bottle anything like a kind
of model canuck the bottle white you brother st I
just got at get the highway.

Speaker 3 (18:38):
You do papricating. I just got a couple of hours in.
Look at your missages.

Speaker 2 (18:43):
I pushed the cot.

Speaker 3 (18:44):
Just say you're gonna pole. Say you beat the grandma,
don't I be the cop? I beat the fashion.

Speaker 2 (18:48):
Then you bring it.

Speaker 3 (18:49):
You bring the pussy and I bring the cop.

Speaker 16 (18:51):
Y'all leave your shi getting on the bed tooling looking
like you get your shot shot, then touch before we
take a shot.

Speaker 3 (18:56):
I got you batting up the dead and the time
my feet I hit the spike.

Speaker 2 (19:00):
I'm got to leave.

Speaker 3 (19:00):
I'm pulling that the parking lot yee thing. Creg, you
got me.

Speaker 14 (19:09):
As that.

Speaker 10 (19:12):
I cut him in my way.

Speaker 3 (19:13):
I gotta be my weight big Home. I just got
him be my way big.

Speaker 8 (19:17):
I cut him.

Speaker 3 (19:19):
I gotta pick my weight bag. I just gotta make
my weight bag.

Speaker 10 (19:25):
Sex game ma sound.

Speaker 3 (19:34):
Thinking. Creg, you got me hold on Jesus that candle.

Speaker 10 (19:44):
I got him my pay.

Speaker 3 (19:45):
I gotta be my weight big Home. I just gotta
be big. I cut him up. I gotta pick my
weight bag, and I just gotta make my weight bag.

Speaker 10 (19:57):
Big.

Speaker 4 (19:57):
See's feature and John Michaels make it home, Make it home.
What do you think about?

Speaker 14 (20:03):
That?

Speaker 4 (20:03):
Is your head nodding and making you move right there?
Let us know your thoughts on that one. If you
don't want to respond on the air, lead that comment
would read that if you do, hit that Commo button
on the platform and checking us out on right now,
we'll bring you on. You can talk live.

Speaker 6 (20:18):
We're hearing the head out of Session Power by the
radio show, and we're just going through plans of records
giving that honest feedback and constructed criticism.

Speaker 4 (20:26):
With that Kelli Good, what do you think about that record?

Speaker 10 (20:30):
Man?

Speaker 12 (20:32):
Oh man, I'll definitely hand my head down every time
the chorus came on. I'd say it was DC. You know,
my favorite part of it was the chorus. I really
liked the hook, man, that was a dope.

Speaker 4 (20:46):
Puk got you, Britt, What do you think?

Speaker 8 (20:50):
Yeah, I agree, I agree. I really liked the hook.
It was nice. The burst had a really nice vibe
to it. So yeah, I really liked it. Thought it
was nice.

Speaker 4 (21:02):
Okay, okay, MD and deep thought over the record, what
do you think?

Speaker 7 (21:07):
Well, it was awesome, right. He had that Tupop flavor,
you know, I felt liked about that. And I heard
the reverse.

Speaker 2 (21:20):
The reverse was cleaning up the bat. The profanity, I
don't think that song means any profanity. Not that style.
You know, his flow was it was a Tupop flow.

Speaker 12 (21:38):
You know.

Speaker 7 (21:38):
He didn't have the same tone to Tupop had, but
he had the same this not identically, he had the
same approach. How he delivered. He delivered it like Tupop
would deliver. The only thing I felt that he on
his forced bar. He should have put a little bit

(22:00):
more energy on those last couple of syllables that he
was rapping to each other. Put something to show action,
you know, to those words, you know, make it, make
those words stand out, like putting the spotlight on it,
you know.

Speaker 2 (22:19):
But that was a damn good song.

Speaker 12 (22:22):
You know.

Speaker 2 (22:22):
Production was great. You know, I like the music. Production,
it was on point.

Speaker 4 (22:30):
Got you, all right, big sleeve?

Speaker 10 (22:32):
What do you think?

Speaker 12 (22:34):
All right?

Speaker 10 (22:34):
First off, I'm a big big scene. That's probably that's
probably like one of the best songs I've heard out
of your catalog.

Speaker 13 (22:45):
I don't know if you pay for that Teacher or
y'all y'aga collab.

Speaker 10 (22:50):
But what I would tell you is I would fix
that song. I would think. I would listen to the
critique you got as far as the curses, and I
would do a ninety day roll out on that. And
I wouldn't let that song drop till bring Break. That's
a that's a free break, summer summer vibe, very commercial song.

Speaker 17 (23:14):
That That's That's pretty much all I I can tell you, Like,
if you if you spend money for the if you
spend money for that feature, need to go ahead and
really invest in that song and do that and do
it right right.

Speaker 4 (23:28):
Got you?

Speaker 7 (23:29):
Because he didn't he didn't need to cuss it on
that hook because that hook would have got him probably
a placement for commercials or for a movie.

Speaker 10 (23:40):
Yeah, anything, because anything possible with that. That's that's definitely
telling me something I would hear on to me anywhere.

Speaker 2 (23:47):
Yeah, because the customer bring break song though right it
was spring break.

Speaker 7 (23:52):
Yeah, the custom the custod on that on the hook
would have took him out of the running for for
a commercial, you know, for commercial placement, because you know,
you can't have no custom in commercials. You can't tell
nobody to buy that. God damn, you know, product can't
say it like that, you.

Speaker 4 (24:13):
Know, yeah, you don't want to do that.

Speaker 2 (24:15):
But he had the flow. The flow was there, melody,
all that was there.

Speaker 7 (24:20):
You know, he just he just had you don't you
have just a little, a little adjustment, you know, the
profanity because he got a shot. He got a shot
at commercials with that. You know, people product placement, they
can use it, you know, seven Up and all those
companies like that, they can use that.

Speaker 4 (24:42):
Okay, that's what's up. That's what's up. Let's go on
to the next song of Kelly Good This is overthinking.
Tell me about this record. Kelly Good, he's overthinking.

Speaker 2 (24:55):
Now I can't.

Speaker 12 (25:00):
He's say it again, Okay, call over to overthinking. It's
by being Kelli Good and Britty Levan next to Human Chandelier.
The concept behind this song songs you know when you
you know, in life we overthink. Sometimes we always wonder,
you know, what if I would have did this? What

(25:20):
if I would have did that? Where would I be
at today? You know what I'd be here in this
place or when I be somewhere else. You know what
my life's trajectory would have been different. So, you know,
we just wanted to come on something different for you man,
it's called overtinking My thirty levenex to Human Chandelier and
Kelly Good.

Speaker 6 (25:36):
All right, let's make it happen. To shake it out
there heading out of session. Power about the radio show.

Speaker 18 (25:41):
Rock That look at the feedback on the song after
the song's over, give your feedback, ah Man.

Speaker 19 (26:25):
Sometimes I say and think about what if life was different?
Like what if I stayed in school and listened.

Speaker 4 (26:31):
To my parents?

Speaker 19 (26:32):
And what if I never got to bang it or
got married? What what if my mama never took me
out the Jersey? I could if I could go back
and time? Would it be different? Would I still be myself?
A be somebody different? Would I be with the chick
I'm with with lots of children? And will somebody else

(26:54):
be me? And beat the really.

Speaker 18 (27:00):
Over?

Speaker 12 (27:01):
They ain?

Speaker 3 (27:03):
Wonder?

Speaker 20 (27:03):
And how lie would be.

Speaker 11 (27:08):
If I made.

Speaker 21 (27:13):
What if never goot with that man that drove me crazy?
Would if I never chose the Roman and got merried?
What if I stayed in college right after graduateation? What
if I focused on my dreams? Would not be famous?

Speaker 22 (27:29):
What if I was ten years younger with the say
not man? What if I didn't just my man and
told him loved them?

Speaker 14 (27:41):
Wait?

Speaker 21 (27:41):
But that?

Speaker 3 (27:42):
Will we be married?

Speaker 4 (27:44):
And ever?

Speaker 3 (27:46):
Man over?

Speaker 22 (27:49):
They all lie?

Speaker 2 (27:54):
Would be?

Speaker 8 (27:56):
If I'm mad?

Speaker 19 (28:17):
Sometimes I said, think about what if life was different?
And what if I stayed in school and listen to
my parents? Sometimes I said, think about what if life
was different? Sometimes I said, think about what if life
was different?

Speaker 10 (28:39):
All right?

Speaker 6 (28:39):
I was curly good featuring British living next to human
chandelier a song It's called overthinking all right?

Speaker 4 (28:46):
Indeed? What you think about it?

Speaker 10 (28:49):
I kind of like it.

Speaker 7 (28:50):
I think Kelie should have that second half of that
first verse. I think he should have kind of kind
of chopped up, chop it up on his delivery, you know,
like Britt did on her second half of her her line.

Speaker 4 (29:10):
She she went with the with the.

Speaker 7 (29:14):
With the long notes first when she sung it. Then
when she went to the second half of the verse,
she kind of chopped it up. She took it another
little different direction, put a little feeling to it. I
think Callie Good should have did the same thing. He
started off great because he went with the flow. Then

(29:36):
he should have just took it another direction on his delivery,
but chopping it up a little bit, not a lot,
just a little bit to show the distinguished.

Speaker 12 (29:50):
You know.

Speaker 4 (29:51):
Right, Okay, a big sleep. What do you think about
the record?

Speaker 10 (29:56):
All right? That was a It was a really it
was a really really good song, like.

Speaker 17 (30:04):
I ain't I ain't even gonna hold Rick Britt really
doing her things, missing these songs, now, y'all.

Speaker 10 (30:11):
She doing her thing is the crack.

Speaker 13 (30:16):
But the only the only thing, like, the only thing
I would say is like I feel like the bass
the base was kind of kind of overpowering.

Speaker 10 (30:27):
Kelly Kelly's voice as long as the birds goes. Other
than that, though, it was it was a great song,
like I could see to Dad like that was that
was a really it was. It was a song with
a message like that's that's it felt like some after school.

Speaker 13 (30:43):
Spial was like like they had that after type, like
you can get your message across, like you touched the
youth with that boy.

Speaker 4 (30:52):
Okay right, yeah all right.

Speaker 7 (30:55):
Another thing could you could do, brit with that when
Kelly is have to tell you do the first half
of the verse.

Speaker 2 (31:03):
You could also get a piano sound playing the chords,
so that can fill in the gaps.

Speaker 10 (31:14):
For Kelly.

Speaker 2 (31:16):
Yeah, you know.

Speaker 3 (31:19):
He was he was too much, too.

Speaker 7 (31:21):
Much gaps that he was trying to carry on his
own and he didn't have to. I think a piano
voice playing the chords, nothing fancy, just you know, don't.

Speaker 2 (31:37):
Don't don't, don't.

Speaker 10 (31:40):
Do no no, no no no whatever you do.

Speaker 13 (31:58):
That that's remind me of uh Prodigy. So like that
what Nina skot And that's that's what they did throughout
the whole song.

Speaker 10 (32:09):
Oh they just did that through the whole song.

Speaker 7 (32:13):
Oh wow, sometime your piano could help vocals real good God,
that that that's a trip.

Speaker 6 (32:20):
You guys just like talked to music on me because
I had no idea he was going with it, indeed,
but everybody seemed to understand it but me, And I'm like, oh,
what is all good?

Speaker 4 (32:28):
I'm glad you guys understood it.

Speaker 2 (32:30):
That's right now.

Speaker 8 (32:31):
I see where you're going.

Speaker 9 (32:31):
I wish my dad was still alive because I shoot
it over to him, like hey, like.

Speaker 2 (32:39):
And and just for for experiment, you can.

Speaker 7 (32:45):
Put some strings, some chord strings in there, kind of
low like beola's a viola sound, chord sound, and to
get underneath CALLI mm hmm will be on top of them,
and the violas will be under them, and you can

(33:06):
do some attract astract licks with with a cello's out
you know, m like something something like that here and there,
not a lot, just here and there.

Speaker 10 (33:21):
It'll work like a live it'll work like a live.

Speaker 8 (33:26):
Right accidently right situation.

Speaker 4 (33:29):
It'll do that.

Speaker 7 (33:30):
Yeah, it'll do the answering for him, because he was
right in the pocket. And I like how he started
off with his low tone, you know, like you're serious,
and that's where it's supposed to been, Becauuse it was
what deep thinking of overthinking, that's that's just like saying,

(33:53):
you know you're thinking real deep, right, yeah, h uh yeah,
just just you know, just add a little bit more
instrumental voices, strings, vilolas, violas and cello licks here and there,
you know, on the hook, especially on the hook, you know,

(34:18):
something that give it flavor.

Speaker 2 (34:19):
You know, it's cool to eat potatoes and and have
salt on it.

Speaker 7 (34:25):
But then you might get the chance you might say,
why I want to put salt when I put season
of salt on it? Because they have some other herbs
in there that have some chive to it, right, you know.
And that's what the cello and the violas would do,
and the key and the piano keyboard would do. He
would it would take the music production up to another level.

(34:49):
Now it's gonna make him want to go back and
re record his vocals because he's gonna say, oh ship, now.

Speaker 2 (34:56):
It's gonna put me in the right pocket.

Speaker 10 (35:00):
You know.

Speaker 7 (35:00):
When you got raw music, it puts the artist in
a raw, raw status, and he'll perform it raw. When
you start adding flavor to it, they want to go
back in because now they hear other notes that they
could have done because those instruments, those new voices, instruments

(35:21):
expired them to go that role. And that's what producers
are supposed to find. They're supposed to see those things.
You know, you hear it raw first producers supposed to
take it home, study it and say, Okay, instrumentally, I
need to add this, this and this.

Speaker 2 (35:39):
Then I'll make him go back it.

Speaker 10 (35:40):
Do it this way.

Speaker 2 (35:43):
Put a little bit more flavor to what he's trying
to say, you.

Speaker 10 (35:48):
Know, matter of fact.

Speaker 13 (35:49):
Uh, the song the song I was talking about, that
will remind me of it? Uh, it's prodigy, hold me down.
That that's a that's the rep.

Speaker 10 (35:59):
That would be a good reference tract for that song
to see how to see what m Be's talking about.

Speaker 2 (36:04):
Mm hmm.

Speaker 8 (36:06):
Okay, I'll go listen to it right.

Speaker 4 (36:09):
All right, let's move on to the next record right here,
Big Sleep, you sent this one to us. This is
ray j.

Speaker 10 (36:14):
Okay, you got you got both of them right. I
needed to play that split one. Don't don't play the
clean the first one, said cleek, I send you both
of them.

Speaker 4 (36:24):
Though you want the dirty.

Speaker 10 (36:26):
Let me see here, y'all wanted dirty.

Speaker 2 (36:29):
Okay, let me getty McNasty.

Speaker 8 (36:31):
Huh you want dirty?

Speaker 2 (36:32):
You wanted dirty, filty McNasty nasty.

Speaker 4 (36:37):
All right, Well, this is the this is the Okay,
so this is the dirty version of it, Ray j
And who is truth? Stripper bowl?

Speaker 10 (36:46):
Stripper bowl?

Speaker 4 (36:47):
All right, let's let's take a listen to this one.

Speaker 2 (36:50):
He's throwing, He's throwing gunk, get it.

Speaker 23 (36:52):
Yeah, kandin the heel is where the bitches go.

Speaker 2 (36:59):
I don't want to love.

Speaker 23 (37:00):
I just hitting go. I just want to fuck a friend.
As what I hit it, folk nigga, settle them for silver, rama,
get the gold. Hit the niggas falling over bitches on
the stripper bowl. I'll be fucking all the dangers like
a stripper bowl.

Speaker 10 (37:13):
I fell in love.

Speaker 23 (37:15):
Stripper nigga got so hot. I'm sweating in the snow,
dunking on these niggas off the pick and roll. Yet,
I'll be fucking bitches off the mikelo I just bought
another thousand dollars. Goodjee, I make one hundred thousand dollars
every twenty four. Yeah, I'll be fucking models on my kippie,
throwing all green.

Speaker 12 (37:34):
Got this.

Speaker 23 (37:34):
Jack Jordan's going sick on mold and baby bounce the
ass like.

Speaker 10 (37:38):
A six like a six goal, y'all.

Speaker 23 (37:40):
Managine in Miami fifty four kind of when the heels
as little bitches, gold, bitches gold.

Speaker 10 (37:46):
I don't want to love, I can't go.

Speaker 23 (37:48):
I just want to fuck a friend as what I
hit Nigga, settle them for silver, Rama, get the gold,
get the gods, falling other bitches on the stripping bowl.
I'll be fucking all the dansil like a stripper bowl.

Speaker 10 (38:00):
I fell in love with Nigga. Got so hot.

Speaker 8 (38:04):
I'm sweating in the snow.

Speaker 23 (38:06):
Dunking on these niggas off the pick and roll got
I'll be fucking bitches of the nickelods. I just bought
another thousand dollars, one hundred thousand dollars at the TV show. Yeah,
I'll be fucking models on my tippy toe allred go this.

Speaker 3 (38:21):
Jack Jordan's going sick.

Speaker 23 (38:23):
Wall I fucked her full time. She a nimpho nimphug,
got her duckskin on nokling, looking like Kelly Rolls.

Speaker 3 (38:29):
She just drives through the gig fucks. Take the dick
the gold, Goji, take the dick the gold.

Speaker 10 (38:35):
Yeah, I fell in love.

Speaker 24 (38:38):
Grabbing shit, fresh up the man and can bring the
cameras in.

Speaker 10 (38:41):
Cocaine white is a rambit can.

Speaker 24 (38:43):
What I'm had to land probate fiolds what I'm laying
in going Hamleton.

Speaker 8 (38:47):
And that he beat the niggas get done.

Speaker 24 (38:48):
You know I'm damnite and black line ambulance.

Speaker 10 (38:51):
The niggas gets rambling.

Speaker 24 (38:52):
They're swimming with the fishes like you were eating out
and flying against the Tolchi. I could pull a couple
of strings like the Mando, lin them all about.

Speaker 10 (38:59):
My gold fucking silver.

Speaker 12 (39:00):
I ain't there.

Speaker 3 (39:01):
Fell in love with a stripper. I caught out a
booby trapped baby.

Speaker 24 (39:05):
I'm a dog on my mud wearing my scoopy snatch
second floor too, but I rarely do the shoulder rubs.
I'd be in the backroom where they never know the
sugs Hall of Famer. They should hang my jerseys and
the rafters passed down session.

Speaker 10 (39:17):
Hope.

Speaker 24 (39:17):
Few niggas got you fast, dropped out of school, but
I still got my master's, graduating with the brick of
snow like the last stuff.

Speaker 3 (39:25):
Fuck all of that small talk.

Speaker 4 (39:26):
Try and see what that mouth though I.

Speaker 24 (39:28):
Know it she like, baby, I know all about you
switching the positions from the bed to the living room,
mansion in Miami, baby fucking in the swimming bowl.

Speaker 10 (39:37):
And mention in Miami, caught fifty. I don't want to
love it.

Speaker 21 (39:45):
I just didn't go.

Speaker 3 (39:46):
I just want to fucking previous.

Speaker 23 (39:47):
What I need nigga settling for silver.

Speaker 2 (39:50):
I'ma get to go and get the go.

Speaker 23 (39:52):
Niggas fall in love of bitches on the stripper bowl,
I'll be fucking on the danger like a stripper bowl.

Speaker 10 (39:58):
I fell in love with the strippers strip on the

(40:27):
stripper pod.

Speaker 21 (40:28):
That is is.

Speaker 14 (40:34):
Yeah.

Speaker 2 (40:34):
I know one thing, man, that's so, that's it's a
good it's a great song.

Speaker 8 (40:41):
Did she takes a kick to go?

Speaker 12 (40:43):
Yeah?

Speaker 4 (40:43):
Man, I know one thing, my my, my mama just
burnt her radio up.

Speaker 12 (40:47):
Man.

Speaker 6 (40:47):
If you hear all that, so it wasn't a man
for my mama to hear that one. Sorry, mom, it's
all good man.

Speaker 2 (40:54):
For radio, you already have to clean it up. But
for the stripping, the scripper color, it's a smash.

Speaker 10 (41:02):
Yeah.

Speaker 6 (41:03):
The versions, yeah, I'm curious to hear what he did
with the clean and I bet that's like an instrumental
on sleep.

Speaker 2 (41:13):
At Yeah. Yeah, the radio version instrumental.

Speaker 4 (41:19):
Yeah, I guess, so it got to be an instrumental,
but that that would.

Speaker 7 (41:25):
Be a stripper club song for for the dance for
whoever the the best dancer in that stripping club.

Speaker 12 (41:34):
Yeah.

Speaker 6 (41:34):
In fact, on on the way out, we're gonna play
the Clinton the radio version. I'm just curious. I wonder
what it sounds like.

Speaker 2 (41:41):
It's half instrumental.

Speaker 4 (41:42):
It's like what it will play the instrumental version is.

Speaker 10 (41:46):
I haven't had a chance to listen to it. But
when I when, I when when I when it was
when it was given to me, I just listened. I
always listen to the deer version present.

Speaker 8 (41:59):
It's far for the stripping clubs, dirty version always popping.
You know what I'm saying, The dirty person give me
the feeling.

Speaker 12 (42:05):
You know.

Speaker 7 (42:08):
But if you call yourself a recording art, he's supposed
to be able to vote. Yeah, you're right, because snooped
them and Cube and all of them.

Speaker 2 (42:15):
They didn't.

Speaker 10 (42:18):
You couldn't get about. I don't know what he's really
doing with that, Like I know he's getting ready for
this put his song by the way he's doing with Mario,
and I guess that's supposed to be one of the
songs that.

Speaker 25 (42:30):
He's pushing, because he's really pushing the pack.

Speaker 13 (42:32):
That he's an independent artist right now, Okay, you know
what I'm saying like I don't.

Speaker 10 (42:38):
I don't really know if it's really clean or not.
Like I said, I don't if I get both of them,
I'm not listening to the clean version. I ain't got
no REGI to.

Speaker 8 (42:46):
Right right the dirty version where it says, shout up
to ray J. You know what I'm saying, right, cut
up a ray J.

Speaker 7 (42:53):
But a clean version would be great if they knew
how to substitute the.

Speaker 2 (42:58):
Clean words with for the dirty words, because.

Speaker 13 (43:04):
I don't know if he was even prepared to give
give the dirty version, like to make a clean version,
or like he wanted to play it on the radio.

Speaker 10 (43:12):
Like you know some people like you know, he got
a status of if he ain't playing it ain't got
to be played on the radio. You know, he got
a so so he's gonna he's gonna you know, he's
gonna get his streams or whatever.

Speaker 8 (43:25):
Anyway, So one hundred yeah for sure, Like whether it's
clean or not.

Speaker 2 (43:33):
If if you go to the strip clubs, it's gonna
make people go to the Yeah.

Speaker 10 (43:37):
Oh for sure, because that's what I'm streaming. That's the
first that's the first thing I heard when I heard.

Speaker 2 (43:44):
But unfortunately, you ain't gonna make no money on streaming.

Speaker 10 (43:49):
Well, now you know they just passed along with they
getting a penny, You get a penny now stream it's
a penny of stream.

Speaker 9 (43:54):
Now he got enough fans to where you know he
could actually actually make some money off of it.

Speaker 8 (44:01):
You know, it ain't like he uh, somebody that just
came out. You know, like he been out for years.

Speaker 9 (44:07):
You know his sister Brandy, so you know, like he
always doing stuff for ky What is a kyn Is
that how you say his name?

Speaker 2 (44:15):
He got people looking. So they gave the artists a
raised one sent.

Speaker 25 (44:21):
They passed, They passed the bill. They passed upatory billing.
I believe that goes in a p next month. Uh
artists sorry, getting at least a pennion of.

Speaker 7 (44:34):
A penny of stream. Okay, well that means something they
up to something for urban music. They're gonna start saying
they're not accepting.

Speaker 2 (44:43):
Uh dirty versions.

Speaker 10 (44:47):
Something like that.

Speaker 2 (44:48):
Yeah, because I just can't see him giving a raise without.

Speaker 4 (44:53):
A trick the price to the concern.

Speaker 10 (44:58):
You got to learn the business.

Speaker 6 (44:59):
Yeah, they got up, or they're gonna up the price
to the consumer. Those who want to buy Spotify to
use that price might go up. The monthly fee that
might go up.

Speaker 2 (45:08):
It's gonna it's gonna be something, but it ain't gonna
be in our favor.

Speaker 4 (45:11):
Yeah, they're not gonna uh yeah, Kelly Good, what you
think about the record?

Speaker 8 (45:19):
Kelly Good? What you think about the record?

Speaker 2 (45:22):
H he's breaking up?

Speaker 12 (45:28):
Man, Yeah, I said, shout out to ray J. You know,
I think that's a good record. Man. He's got enough
fans where you know, he can push it just all
dirty version, you know, and he can go ahead and
give us the low and dirty, the dirty video, you
know what I'm saying. And there's a not clean video.
You know, we want to see the shaken. You can

(45:49):
put them on a movie like the Jennifer Lopez saying,
the Hustlers movie with Cardi B a movie like that.
But if he wants to, he can even clean it up,
even though it's gonna be hard because there's so much
fucking and fucking and fucking going on that he keeps saying.
And you know him promoted, but he wouldn't have to
if he didn't want you. Because he's ray J. He's
got a name already, and he can come out with

(46:10):
another hit while that just got got traction going. You know,
they're like all ray J's man, you hear what he got.
He got some Roschie. He was like, you might hear
that on T M B if he pushing, If he
pushing good enough, you know they might be talking about
that next week. He shout out to.

Speaker 7 (46:26):
Okay because remember when ball when when when victorious b
I G. When he did that song that R Kelly
wrote from I'm Fucking You Tonight?

Speaker 12 (46:37):
Oh, that was it.

Speaker 2 (46:38):
Yes, you see how they did it for radio. They
changed the lyrics. They stood him saying fucking he said
what I love?

Speaker 7 (46:49):
Yeah, exactly, and it's and you didn't feel you didn't
feel nothing takeaway?

Speaker 2 (46:55):
Yeah, yeah, it didn't hurt.

Speaker 4 (46:57):
It didn't hurt the song. It didn't hurt the song.

Speaker 2 (47:02):
Did you see that Facebook thing on R Kelly in
prison singing?

Speaker 14 (47:07):
No?

Speaker 4 (47:07):
I didn't see that one. Was that AI generator? Was
that really? No?

Speaker 20 (47:10):
No, he was in it.

Speaker 7 (47:11):
He was singing a cappello. Oh okay, somebody was filming
them into prison singing it.

Speaker 4 (47:17):
Did he look like older? Older and fat or whatever?

Speaker 2 (47:19):
They did?

Speaker 4 (47:20):
He look older.

Speaker 2 (47:21):
I don't think you get fat in prison.

Speaker 6 (47:24):
Well, I'm saying, as long as you look older, that's all.
I'm gonna make sure what AI generated.

Speaker 4 (47:30):
That's all. I'm trying to make sure you know.

Speaker 7 (47:33):
I ain't surprised they ain't. Somebody didn't do no AI
on him.

Speaker 4 (47:39):
That's what's up.

Speaker 6 (47:39):
We're gonna go on to the next record right here
that we got about three more songs we're gonna play,
gonna roll through these really quick, all right down the
stretch we come. This right here is a very quick
listen to. This is gonna be a future guest at
the radio show. So he wanted to see if he
can get on. So I want to see what he got.
This is viper songs called act up Viper act up.

Speaker 10 (47:59):
Here we go, h.

Speaker 3 (48:10):
Turn me, I'm in a different bad for really?

Speaker 20 (48:16):
Are you crazy for this.

Speaker 3 (48:18):
Post?

Speaker 8 (48:19):
Some he could been my heck and don't know.

Speaker 1 (48:20):
How to hang heym jemas saying is driving we go
back to back and thy clips, I'm wiler what was
that is that?

Speaker 5 (48:27):
And all these.

Speaker 1 (48:28):
Bitches they be childish and it's infects.

Speaker 26 (48:30):
Running back jumping number free waide, dammit, shine on journy
gang put that cat out on my face.

Speaker 3 (48:35):
But going with on nowhere name and she glad that.

Speaker 26 (48:37):
I came passive boy, I got aang for Corowa Game
Game Gang.

Speaker 10 (48:42):
It can't I can't jumping Knucker free waide dam in shointe.

Speaker 26 (48:45):
On John didn't Dane put that cat out on my face?

Speaker 3 (48:47):
But go on on nowhere?

Speaker 26 (48:48):
Name is she glad that I can't? Puss boy?

Speaker 10 (48:51):
I got ag for Corow with my game game Gang.

Speaker 11 (48:54):
Don't go on talk, cannot do walking, tell him sending
me in biting.

Speaker 3 (48:57):
But my work, my lads, name is after thinger Men.

Speaker 26 (49:00):
I'm gonna change your wits and they dashing like Ben
ten Ben's five stars before a rather fucking I being ten.

Speaker 8 (49:06):
I'm gonna jump a buck roof with no pair of shoes.

Speaker 3 (49:09):
Niggas set them scats head or when some scared over. Okay,
maybe God believe the nigga.

Speaker 10 (49:14):
I scatter of you.

Speaker 18 (49:15):
Man.

Speaker 8 (49:15):
If you know me, then you know we clapping, always gathering.

Speaker 3 (49:18):
You go to Ben heat over bow with Casley.

Speaker 1 (49:20):
See what cash you do me.

Speaker 26 (49:21):
This lady, And I'm not smashing hello little bit, I ain't.

Speaker 3 (49:24):
Seen it right beside my side.

Speaker 1 (49:26):
You're gonna catch me lacking a whole no bag ice
trash tapoi there it's fantastic jumping number free way dummy, shine.

Speaker 26 (49:33):
O, Johnny and dang put that cat out on my blades.

Speaker 8 (49:35):
But ones don't know what name.

Speaker 10 (49:37):
And she glad that I can't put the boy I got.
I ain't for go around with my skin.

Speaker 3 (49:41):
Gang Yon, your cane know something. It could have been
my eching.

Speaker 1 (49:44):
Don't know how to act, am jeems saying that's driving,
and we go back to back and they clipsy, I'll
be wiling, but what that is that? And all these
bitches they be childish and that's affect for.

Speaker 26 (49:54):
An mack jumping number free way dummy, shine on, Johnny
Dang put that cat out along my fades for went
on no one name, And she.

Speaker 3 (50:01):
Glad that boy I.

Speaker 26 (50:05):
Came jumping knuckle free way you dumb and shout put
that cut out on my name on nowhere names. She
gat that boy I ain for corow with my came.

Speaker 3 (50:18):
Can hang.

Speaker 10 (50:21):
All right?

Speaker 4 (50:22):
I was viper, act up, Viper act up. Shout off
the viper with that one right there, this one, every
one real quick you no more YouTube, no more YouTube, all.

Speaker 8 (50:32):
Right, yeah, shout out the viper.

Speaker 3 (50:34):
That was dope.

Speaker 4 (50:34):
Yeah, that was pretty dope right there.

Speaker 12 (50:36):
Man.

Speaker 6 (50:36):
The viper gonna be a future guest on the radio
show coming up sooner than later. So I just wanted
to see where he was coming from with that.

Speaker 4 (50:42):
So that was up. We're gonna go on to the
next record.

Speaker 2 (50:46):
And uh, this one that wasn't for That wasn't for
a critic.

Speaker 6 (50:50):
No, that was that was that was just just a
little listen to real quick because he wants to be
a guest. I just wanted to see what he was
working with.

Speaker 10 (50:59):
You need a panel, these ladies.

Speaker 4 (51:02):
Okay, Okay, that's a club record, not read.

Speaker 2 (51:05):
For no interview material. That material is not gonna.

Speaker 4 (51:09):
Oh you didn't like it, No, keep it real, okay,
you didn't like it?

Speaker 7 (51:16):
Okay it so it sounded like he never had no
schooling in music at all. You know that loops didn't
fit right, The music didn't go right. He didn't wrap
with the with the with the beat. He would That's
the reason why I hear itself behind the auto tune.

Speaker 6 (51:39):
Oh well, I was sitting there looking at the video,
so because he had a video to walking to the video.

Speaker 7 (51:44):
Okay, we looking at no video. We listened to him
and now that ain't happening, Okay, all right, you're not
an amateur. Amateur okay, now, Yeah, he's been doing this
thing for a while. Okay, yeah, but that one when
that if he been doing me for a while. I
hope all his music wasn't what we just heard. I

(52:05):
hope that was one of the bad ones. Because every
artist have now and then a bad song that just
don't work for him, Okay, Stevie, Wanda, los Van, Draws,
you name it. Everybody have one song or two songs,
and he's not three songs. Depends how much they put out.

(52:26):
It wouldn't good song. Even on the album that I
did with these artists, there are only about four songs
that were really good that the Billboard magazine took.

Speaker 2 (52:36):
A liking to.

Speaker 7 (52:37):
All the rest of it was ship and I helped
producing rad But I didn't feel bad because but I did,
I wouldn't tweaked it, right, Okay.

Speaker 2 (52:48):
I understood what they was telling me right.

Speaker 4 (52:52):
Right, Okay. I thought the record was cool, Kelly good.
What do you think about it?

Speaker 12 (53:04):
Yeah?

Speaker 2 (53:04):
Go ahead, can't hear him.

Speaker 12 (53:09):
No, boy hard, he's spragging, man. It sounded like he
got potential, you know. It sound like he's somebody, you know.
It's sounds like he already got a little bit of traction.
He don't sound like he knows beginner or nothing. He
got that sound, you know, he got that. He know
what he's doing. Man, he's all or something, you know,
you know, for the for the show purposes. He might

(53:30):
want to clean it up so you can't play him
at that certain hour, you know, or come with a
different song so you can play him. But I think
I think he'd go crazy. I would work with him.

Speaker 7 (53:42):
He needs somebody to He needs somebody to work with him,
because I could bet you he did that by himself.

Speaker 2 (53:49):
M hm, And there's nothing wrong with that.

Speaker 7 (53:52):
I'd rather work with artists and tried it by himself
and fuck up, then pay a bunch of people's to
fuck up for you, you know.

Speaker 2 (54:03):
So he did the right thing, just like me.

Speaker 7 (54:06):
When I first started, I did a lot of things
by myself, and big time producers that I knew listened
to it, told me it.

Speaker 4 (54:14):
Was a good song.

Speaker 7 (54:15):
But they laughed at me a little bit, said you're
gonna have to get a clean up. You're gonna have
to bring some musicians in that can really play, because
your ass can't play. And so I had people it
was like Anita Baker produce a keyboard player, come in
and play the song for me. Brought a white boy
in to help play put the music to the songs

(54:35):
that we wrote. Then you saw you saw it night
and day, you know, like, oh, okay, see what they
talking about. See that's the reason why back in those
days we used to call it a songwriter songwriting session.
Then you bring the real musicians in, because real musicians
come and listen to what you already got and say

(54:56):
I know what you need now.

Speaker 27 (54:58):
And they'll and they'll play it for you. Okay, let's
get it, and that I make your singers sing better. Okay,
let's just check out the next record because they're running
out of time.

Speaker 10 (55:09):
Man.

Speaker 6 (55:09):
First next record is uh Poggy Smith. Poggy Smith sounds
called love My I'm sorry, lose my breath, Poggy Smith,
Lose my breath. Let's shake it out.

Speaker 21 (55:38):
Midnight.

Speaker 28 (55:39):
N Juice see himself, wish what's new. I was just
protective both of you. I was just selected with the juice.
I gave you one direction enough the group on your neck.
Yeah that's a noose. Your step floated with the school
sham God left to the hoop while you're showing all
my checks in the group. Getting choked up might loose

(56:02):
my breath. Got a cup full of SE Season one
two step play, so many games might need her raft
Got so far you need a text. Getting choked up
might loose my breath. Breath got a cup full of

(56:22):
SE Season one two step play, so many games might
need her. Wrath, got so fare you need her? I
need to love it your own soul food, kneel along.
I need to keep you from belly. I need a
one that's gonna ride to the wheels, fall off like
thrown can petty. I need a one that's gonna slide
every time sitting That added when I know that she

(56:43):
ready late nights neck flix, glasses on the floor have
wrapped up all white petty. Getting choked up might loose
my breath. Got a cup full of SE Season.

Speaker 10 (56:56):
One two step.

Speaker 28 (56:58):
Play, so many games might need herriff got so far
you need a text? Getting choked up? Might lose my breath,
Like b got a couple full of C Season one
two steps play, So many games might need her. Ref

(57:20):
Got so far you need a text?

Speaker 12 (57:39):
All right?

Speaker 6 (57:39):
That's pog Rogie Smith, Please my breath, Paji Smith, lose
my breath?

Speaker 4 (57:46):
All right, Britt, what do you think about this record here?

Speaker 10 (57:50):
I thought it was great.

Speaker 8 (57:51):
I really liked it a lot. It gave me Drake
vibes the music. I was feeling it.

Speaker 4 (58:00):
Okay, cool, cool, Kelly good. What do you think ye
say it again?

Speaker 2 (58:10):
You know, play so many games, Mike, I got you
go ahead.

Speaker 12 (58:17):
Okay, yeah, yeah. I was saying, you know, it was cool,
play so many games. I might need a ref. You know,
it said it so much and sting becoming a little
too repetitive. But I liked it. I liked where he
was going with it. He was talking about Keisha from
Belly and it was you know it was it was.
It was soft for the you don't want to put
nobody to sleep. So when I meet my dad is

(58:37):
he couldn't used like a brint on there, like there
was so many paulses. It was mellow. But in some
of those pulses in their pockets, I think you could
have been like a female coming in, oh, you know,
singing something in between, just to help amplifying just a
little more. So you don't go to sleep on the track,
because this ain't DJ screw no more. You know, when
they screw up to beat you know you sip and

(58:59):
lean and you know you're finding off going sleep to
the music. You know, you know you want to keep
us up while we're still buying with you at the
same time. But you know, I think the songs got
a lot of potential. You know, I think you got
cant of the show. I just think you missed that
that female botun uh. I already gave my earlier speelity. Yeah,
I think it was cool to I just think a

(59:20):
little bit of just a little bit of help and
give it. That book.

Speaker 4 (59:25):
Got you, okay, indeed what you think.

Speaker 2 (59:31):
I see a lot of potential in it. It needs
more music production.

Speaker 7 (59:36):
I hear another again, a concert type keyboard licks on that.

Speaker 2 (59:46):
I hear strings on there.

Speaker 7 (59:52):
I hear a little extra percussion on it, you know, man,
because it sounded like sounds like a funeral, you know,
the argan type song, I mean argent type voice playing,

(01:00:16):
you know, like people's walking in through the church, you know,
the recession everybody's coming in or the park session.

Speaker 4 (01:00:27):
Right, I mean.

Speaker 7 (01:00:30):
It's it's it was something, you know, but I just
can't put my finger ontil here. A little bit more
instruentation on the song, like the like a piano, you know,
planing some I'm gonna say thirty seconds or sixty four licks,

(01:00:56):
you know, real smooth light, so he can kind of
so he can fill in the gaps like Kelly Love said,
there's too many gaps, you know, and yeah, female vocals
put her in reverb, reverb like an angel or something.

Speaker 2 (01:01:19):
Like that effect that could be over overcasting what he's saying.

Speaker 4 (01:01:28):
You know, right, got you?

Speaker 2 (01:01:30):
You know you got that.

Speaker 7 (01:01:31):
You gotta play, you gotta play, you gotta play play
around with it. Okay, got to play around with more instruments,
you know, pixel cotta.

Speaker 2 (01:01:42):
You know that's when you're vy nan say that kind
of stuff.

Speaker 4 (01:01:49):
You gotta play instruments. Okay, I got you? Now, uh,
big sleep, what do you think about it?

Speaker 10 (01:01:57):
And I ain't gonna lie man, he gotta he got
a really good way to do the song. I just
feel like he didn't deliver it well like it was
it was it was missing energy right the.

Speaker 13 (01:02:08):
Way he delivered it, because because he gave me like
a ball breathing vibe, like the way he wrapped the
way his voice sounds gave me like a ball by
like like it could have been more energetic like that
was like it was kind of the song was kind
of boring. It was kind of boring, like the way
he was doing it. It wasn't like it wasn't like
he believed in his own lyrics.

Speaker 10 (01:02:29):
I feel like he didn't believe in his own lyrics.
Like he just went to the studio, he got a
song and I'm gonna I'm just gonna do it and
I'm gonna see what happens.

Speaker 7 (01:02:40):
Okay, Sleep, you can call that a songwriting session. He
was he was trying to find a direction without feeling. Right,
you gotta put feeling into it. Now you got your direction.
I go back and put feeling to that direction.

Speaker 10 (01:03:02):
All right.

Speaker 6 (01:03:03):
Well, let's check out this last record of the night.
This will be the last one. This is Shawnee songs
called featuring Shawnee featuring Jay Riders songs called Baseline. Shawnee
featuring Jay Riders songs called Baseline.

Speaker 4 (01:03:23):
Let's check it out.

Speaker 10 (01:03:24):
There we go.

Speaker 3 (01:03:27):
You just heard this record.

Speaker 4 (01:03:29):
Now let's get some feedback you guys in here. Yeah,
I meant to play this one.

Speaker 3 (01:03:39):
On the head Nutter session.

Speaker 14 (01:03:44):
Mund the base.

Speaker 15 (01:04:04):
But take your time, a swim the court.

Speaker 14 (01:04:09):
Come by.

Speaker 15 (01:04:11):
Then something more that drump that makes me down numb
from the kicks to the step. I'm gonna lose it everywhere.
Mysing never scam of the baby, lost myself in music.
Game playing gave me my blun to my moldy.

Speaker 10 (01:04:36):
The mylady.

Speaker 3 (01:04:42):
Hit me one.

Speaker 20 (01:04:44):
I'm gonna pull up round two, trying to play some
vibes that will help you set the move. I was
cruising in a ride then I had to swarm though
when I played the first line. You know what had
you like them base slines and their melodies, It's like, yeah,
you need them, hating them, drum fills in them. Go
ahead and play your back one time for me from

(01:05:04):
right there.

Speaker 10 (01:05:06):
This that good music.

Speaker 3 (01:05:07):
Don't make no mose type bred.

Speaker 10 (01:05:25):
Cut.

Speaker 12 (01:05:27):
You just heard this record.

Speaker 4 (01:05:29):
Now, let's get some Feedback's.

Speaker 6 (01:05:33):
Get some feedback on that record right there, Shinee featuring
Jay Writer's songs called Baseline.

Speaker 4 (01:05:40):
All right, so what do we think?

Speaker 2 (01:05:41):
Okay, go ahead, he can go ahead.

Speaker 7 (01:05:45):
You can go back in the studio and finish it. Now,
go go go do it right now, because she didn't.
When he finishes rap, she that that was a that
was a cut. They paced that when the rat was
over with and she came in that was a cut.

Speaker 2 (01:06:05):
That was a cutting pace.

Speaker 7 (01:06:07):
That wouldn't her leading into it. But you can hear,
you can hear how abrupt it she came in, you know,
so and so, Yeah, they gotta go go back in
and don't change nothing, just perform it right now. You know.

Speaker 2 (01:06:28):
His wrap delivery was was was fired. It was five
and her and her singing was far too.

Speaker 7 (01:06:37):
But whoever put it together, they did a lot of
cutting past and you can if you got the right ears,
you can hear the abrupt as those pieces came in.
It was other words, they wasn't lined up right, you know.
So I'd rather have an artist come and sing lead

(01:06:58):
into it, you know. But if they was cutting pastes
so they can show them how they wanted to where
they wanted to perform it at, that's another thing.

Speaker 2 (01:07:11):
But that's not ready to go to the public.

Speaker 4 (01:07:15):
Oh okay, he's ready.

Speaker 2 (01:07:17):
He's ready to go to the public. But now they
got to fix the song.

Speaker 4 (01:07:21):
Oh got you, got you, got you?

Speaker 2 (01:07:24):
He got to fix the song.

Speaker 12 (01:07:25):
Song.

Speaker 2 (01:07:25):
Song was done Tiki tack. That was the engineer, wasn't them?

Speaker 4 (01:07:32):
Oh okay, Britt, what do you think.

Speaker 8 (01:07:36):
I thought it was cool?

Speaker 26 (01:07:38):
You?

Speaker 8 (01:07:38):
I already had nothing to say. I thought it was cool.
I like the rapper a lot.

Speaker 10 (01:07:43):
Got you.

Speaker 4 (01:07:44):
Okay, Kelly, good what you think?

Speaker 12 (01:07:48):
Oh yeah, man, that first will start with the band.
That wasn't for the club, that wasn't for the streets,
that wasn't for the bedroom, and I wasn't for you
working out. That really was for no setting, wasn't even
for the radio. I could see that for like a
new Foody Loops program, whereas TC he goes, that's you

(01:08:12):
hear that the beginning of that song to teach you
how to play, to make an instrumental or put some
bass lines and melodies like page a melody. That's all
that I got from that. His glow was real old
school man. It's not like rig Ross, but you can older,
and I'm more and more older than rig Ross, and
I'm the early rig Ross. So you know, the girl

(01:08:34):
had a nice voice. But I couldn't really take this
serious as a as a song. And I was just,
you know, putting my MP three and just want to
listen to before a Foody Loops type, you know, some
type of beat program or something. It's like right before
you learn how to make the beats that come in.
I could see it going for something like that.

Speaker 10 (01:08:54):
But yeah, it really wasn't for me, gotcha?

Speaker 6 (01:08:57):
Okay, all right, what do you think? Yeah, get get
a little closer to the to the micitleep.

Speaker 10 (01:09:10):
It felt like it was just a bunch of noise.
Everywhere sound. It felt like it was just a bunch
of noise. Uh, nobody was really on beat. The girl
could sing in the dude corrap, but they just they
wasn't matching the beat. They was not messing the beat.
Like that's the sounding everywhere meat sounds like a mess.

Speaker 4 (01:09:31):
Wow. Okay, all right, man, I'm sorry we have to
end the show on that note. All right, it happens. Yeah,
that's the way it is.

Speaker 6 (01:09:40):
Well, we're here every Monday night ten ocl of specific
center time one am Eastern with the head nine of
sessions where we could teach the songs.

Speaker 4 (01:09:48):
So if you want to send submit your music to
you can go ahead and submit your music to her
right right now.

Speaker 6 (01:09:52):
You can go ahead and do that and to be
early for next week though, because we're about to get
out of here for the night. Go to our website www.
After Radio Show dot com. Go to where it says
submit music, click on that photo upload the song, fill
out the information and it'd be just in time for
next week's show, all right. And by the way, speaking
of this show, this show will be on the iHeart

(01:10:14):
app at keyworda radio show. The iHeart app as well
as the radio show also will be on there. And
this is a milestone, milestone show. This is show number
seventy of the head nod of session, so I just
a little round the play off like that show number seventy,

(01:10:35):
So that's a milestone for that. Congratulations to us for
all that for the head and out of session. And
also speaking of the show radio show, which is on
the iHeart app and on KLBP ninety nine point one
out of Long Beach tonight for the radio show makes
show number two hundred on that as well.

Speaker 4 (01:10:57):
Wow, Damn Brett, you'd have done a lot a lot
of shows.

Speaker 6 (01:11:03):
Damn two hundred episodes on klbpiece A big shout out
to that as well. So little milestones will celebrate the
winds as we roll along here right exactly, So.

Speaker 4 (01:11:14):
We're gonna get up out of here.

Speaker 10 (01:11:16):
We out of here.

Speaker 6 (01:11:16):
Don't forget to check us out next week and we'll
see you next week with another exciting guess.

Speaker 10 (01:11:23):
Exciting.

Speaker 2 (01:11:24):
Hopefully I have my microphone thing fixed it.

Speaker 4 (01:11:26):
Yeah, hopfully your mic could be fixed. MD, go ahead
to start working on it.

Speaker 2 (01:11:29):
Now I gotta do a little song. Now I'll see
what the problem was. Yeah, I put these I put
what they called.

Speaker 7 (01:11:40):
The borders on my shelves, and they're they're not flush,
they're around. They had a little design on it that
didn't allow the clamp the clamp down.

Speaker 4 (01:11:53):
I'm about to come over and take a look at it.
When I when I was over there, I put that
thing on there and that was it.

Speaker 2 (01:11:57):
So oh no, no, that was that other table.

Speaker 23 (01:11:59):
No.

Speaker 2 (01:12:00):
I brought my laptop in here, the laptop shell.

Speaker 4 (01:12:04):
Oh, okay, you got something else. I don't know.

Speaker 7 (01:12:06):
Yeah, I got something else now. Yeah, the other shelf
worked perfect. Yeah, but you know now I got a
place to put the mixer.

Speaker 4 (01:12:14):
Oh, I got you.

Speaker 2 (01:12:15):
I got not on the key it's not on my
computer keyboard shelf. He's on is on the thing on his.

Speaker 6 (01:12:22):
Own now, okay, well, hopefully we'll figure it out. Man,
let's get up out of here. Thank everybody for another week.
We see everybody next week, same bad time, same bat channel.

Speaker 4 (01:12:32):
We gown. Oh, by the way, I was gonna tell
you that's it.

Speaker 11 (01:12:40):
Hey radio show so far, make sure you follow us
on own social platforms.

Speaker 10 (01:12:45):
Three Radio Show