Blue Soul Ten Interview

In this episode of Deeper Than Music, we have a special guest Blue Soul Ten We also showcase Blue Souls' single "Different than I'm used to" Featuring Skyler Harris.

About Blue Soul Ten:

Blue Soul Ten has a musical career that spans over two decades.
Blue Soul Ten got his start as a radio deejay and would later go on to
study music production at Berklee College of Music for a brief time.
His sincere passion for his craft of choice can be heard through his
songwriting, production, and collaborations with international
vocalists and performers. Most agree the Blue Soul Ten sound is a
blend of jazz, soul, hip-hop, and EDM. His works have captured the
emotion and imagination of listeners around the world.

Come June, songwriter, and producer Blue Soul
Ten will drop yet another electrifying album “This
is worth it”, which is sure to add a soulful richness
to even the simplest occasions. Blue Soul Ten is
a seasoned songwriter and producer with a
sincere devotion to his work, which is clearly
evident in the forthcoming CD. “This is worth it”
is a full-length album with 13 soulful tracks that
take listeners into the beautiful world of soul,
jazz, and electronic music, and keep them asking
for more.

Website: www.bluesoulten.com
Facebook: /bluesoulten
Instagram: @bluesoulten

#deeperthanmusic #niousmedia #bluesoulten #hiphop #jazz #pop #r&b #edm #musicproducer #musicarranger #musican #musicalartist #bluesoulten #markivusnious

Become a supporter of this podcast: https://www.spreaker.com/podcast/deeper-than-music-with-markivus--2705530/support.

Episode Transcript

(00:00):
Hi, I'm singer, songwriter andactor Robert Vayennet, and you're tuning into
deeper than music, the core ofyou, the fans, the truth,
but the music simply. The truthis the leaked, the new, but
the meat sick. The core ofyou, the fans, the truth,

(00:23):
but the music simply. The truthis the leaked, the new, but
the music. Good morning, goodevening, good afternoon, wherever you are
in the world. Deeper than music, behind every great song, there's an
even great story. I like tosay, what's up to everybody listening to
What's on speaker, Spotify, Geo, SAVEN and also on out the Box

(00:47):
Radio and BFW. Shoutouts to Calid You can catch us every day four
thirty between four thirty and six pmthere Central Standard Time. And ladies and
gentlemen, we have a a veryspecial guests man. This dude got his
musical career expands over two decades andhe started as a radio DJ and then
he studied music production at Berkeley Collegefor a brief time. And ay,

(01:12):
if you haven't heard of him,I suggest whatever streaming platform you have,
please listen to him. You definitelywill be impressed. Ladies and gentlemen,
we have a blue a Blue Soulten artist, songwriter and producer here.
I'm deeper than music. How youdoing. I'm good, brother, I'm
good, but good man. Iappreciate the intro. Man, appreciate this

(01:32):
time spending time with you. Man, I'm doing great. Uh, no
worries. I guess the first question, man, which is kind of interesting
because I've done radio. I'm stilldoing well. I'm doing a podcasting and
also a radio station thing. Isee that you started off as a radio
DJ. So how did that allcome about? You know, it's a
great question. Man. I wasin school, you know, I was

(01:53):
in college, and you know,man, I always in some way,
shape or form and always love music. I was always around it, always
involved in it. So you know, I just got fascinated with the business
of music and just how it worked. And so the closest I could get
to that on not on the artistside of it, right, but the
closest I can get to that wasthe DJ. I just love music and

(02:15):
love to spend music, and soI started there and that's kind of kind
of what led me into this fullpath music. Wow. And I like
how you say that, because onething that I I always say, and
it's even so more so now too. Is music is the back door,
right A radio is the back doorand radio is the the gatekeeper. So

(02:36):
you got to see it from theback end side, like how how music,
how radio works, how it functions, the relationship between the artists,
the music business and radio. Iwant to say one thing that I was
forced to do, and I thinkthe old my old mentor arrest of piece
Ira Hatchet of WBSL was I waspart of a broadcasting academy and the first

(02:59):
thing they did was like what typeof do you listen to? Okay,
you're gonna work. You're gonna workradio opposite of what you like. So
I gonna be like in urban radio. You know, I got had to
do country for a little while,and I'm like, yo, this music
isn't all that bad? Yeah?Yeah. What what was your takeaways being
an average like a music lover ofbeing a musician. What was your takeaway

(03:21):
from working like being a DJ?Like what what lessons did you learn or
takeaways? You know, it's reallysimilar to what you just describe. Man,
just you know, just being involvedin the radio station, you get
to hear a lot of different typesof music. But I think, just
like a lot of kids growing up, man, my musical my musical taste
was dominated by whatever my parents listenedto. And you know, they were

(03:46):
not country, metal rock. Theyweren't that right. And so, man,
that's the one thing that I gotfrom music. Number one is just
getting a broader perspective because I wasI was the type of guy. Man,
even if my show wasn't on,I would just go hang out in
the radio station. And it was. It was college, so it wasn't
like a commercial station that's always dedicatedto R and B or hip hop.

(04:08):
It was like different shows in differenthours, Like you might have one show
from ten to twelve it's classical,the next show from twelve to two that's
hard rock. And so I wouldjust sit there all day, man,
And I remember hearing things sometimes andbe like, Man, what the heck
is that? That sounds really good? And and so you know, I
stuck in that. And then thebiggest takeaway from me, though, man,
was I got an approach. Iforget the guy's name now, Man,

(04:30):
if I heard his name, Iwould remember it, But he was
he got some some prominence in thepromotion at Death Jam at the time,
and he had reached out. Hehad reached out and he said, Hey,
I want to talk to whoever's incharge of the urban show, and
that just happened to be me andthey and he and I started talking,
man, and we started talking aboutradio promotion. And there was at the
time a group from Death Jam thatwas coming through the city and they said,

(04:51):
hey, man, listen, I'dreally love for you guys to promote
them and their show. And andand then man, I got I really
got into the business of music andlike, okay, well, this is
this is how these songs make itto the radio, and this is why
three four thousand people show up ata concert, and these are all the
things that happened in the back end. And once that happened, man,

(05:13):
and I kind of got that thatbug on the business side of it.
Man, it was over from me. I just I knew it was something
I was gonna be involved for therest of my life in some way,
shape or form. And I likehow you stress the business of music,
like music is a business. Asartists, we want to make our music
and this and leave it at that. But there is a business and it's

(05:33):
interesting to me. I mean,because like you like I had to like
as far as the placements and promotionand companies that help you get placed,
and then also you know, accountingfor the spins that you spend. How
important that sheet is to musicians becausethat's how they get paid. And then

(05:54):
how how promotions and ads are whatrun the radio station. My question to
you is, since you worked radio, do you think radio still has an
impact despite streaming and podcasts? Doyou think it's radio is still the same

(06:14):
or as it just your opinion onradio versus streaming and podcasts and stuff like
that. Yeah, I don't thinkit's the same, and I really don't.
And just just coming from where Ifrom, where I came from in
music and understanding the radio scene.You know, we we at the time,
man, this was before streaming,so we were the streaming right.
We were how people discovered music.We were how people found out about concerts

(06:39):
coming to town. We were,you know, that that entity that people
used to figure out music, wherenow it's so easy for them to go.
And you know, you got Spotifyfor example, and not only can
you find who you like on there, but then they give you recommendations to
people similar to them. Yeah,back in the day, that was us.
Right back in the day, itwould be like, oh, you
like that song, will wait tillyou hear the one I play right after

(07:01):
this, you know, and youjust don't have that anymore. Radio.
I think it's kind of lost thatprominence in that perspective. Yeah, I
would agree with you with that.And then it's like you said, I
think was it you just made methink of something for else said He's like,
look, the aggorithm does not haveany emotion. It's just numbers.
So yeah, it is. It'sjust numbers. There's nothing to it other

(07:21):
than that. And I'm not afan of streaming, right, I mean
I literally been. I took prettymuch my entire catalog down off of streaming
and you can only buy most ofit on my website now. And I
would say that's pretty smart because streaming, you, I mean, the money,
the money doesn't add up for oneand then it's just flooded. Man,
it just flooded with man, itreally is. And I'll tell you

(07:41):
the other reason, man is Iwent and looked online and streaming, and
you know, I'd see one ofmy songs placed in some playlists, like
I would never put my song they'reassociated with these three artists. And it's
not that I didn't like the artists, it's just like, that's not who
I'm targeting, you know, whichis it's cool because I think you get
a chance to get some other exposure, but it's not who I target and

(08:03):
and uh and so I get alittle frustrated with streaming, not only just
from a money perspective, but justhow the algorithm works. There's no heart,
there's no soul to it. Yeah. Yeah, So you went from
there and then you studied music fromBerkeley. How was that transition and what
was the what was the decision like, look, this is what I'm gonna
do. Yeah, it was youknow, radio for me, Man was
like okay, I got involved inthe business side of it. And you

(08:26):
know, fortunately for me, Man, my dad was an entrepreneur and so
I always you know, he wasalways wondering which they listen you know,
you gotta really learn about the businessside of things. And then one day,
Man, I had a mentor ofmusic and he came up to me
and he said, listen, Man, he said, you know, music
is great, he said, butI want you to pay attention to one

(08:46):
thing. And I said, what'sthat. And at the time I had
already expressed to him in interest tokind of get into music in somewhat shape
or form, and and he said, you know, he said, pick
up that that CD. And Ipicked up a CD and said I want
you to look at the front coverand I said, okay. I looked
at it. He said, turnit over, look at the back cover
and I said okay. I lookedat it. And he said, here's
what I want you to remember allthe time. He said, the person

(09:07):
with their name written in the biggestprint makes the smallest amount of money.
Man, people with their name andthe littlest print make all the money.
And man, listen, man,when he said that, I knew.
I knew. Okay, I wantto understand this business and how it works,
and I want to understand it.Take all these things that I had
learned about writing a song, whichI had already dabbled in writing and things

(09:30):
like that, but for me,Man, I wanted the creative side of
it. And as soon as assoon as he told me that, I
stopped wanting to be anywhere near beingan artist. I just wanted to be
the writer, the producer. Andthat's where my I think my heart was
anyway. But man, once hetold me that, Man, I was
stolen on being a part of themusic industry, and I was like,
okay, I got it. Thatwas like a magic a magic number,

(09:52):
right, And I just got itafter that, And that's what I started
chasing after that was the business sideof it first. You know, it's
funny you say that, say that. And if I remember when death Row
was at its peak, I reallydidn't know who shouldn't I was. But
if you look at the back ofthe album executive producer, now, like

(10:15):
after Dear Mama came out and theytalked about pocket when Pop died, everything
was in Sugar's name. So whatyou just said, Tupacs, no disrespect
the pop pockets on the front cover, Tupac all eyes on me. Back
of the album small letters, executiveproducer, shouldn't that moment? This is

(10:39):
like ah, yes, yes,And so he always told me that.
Man, he's like this. Youknow, he would make me look at
the liner note, you know's We'reback when CD's had liner notes. He
said, read whoever read, whoeverproduced it right, And he said,
you're gonna start to see patterns rightwhere you see the same producer on Tupac's
record, and you see that samename on Snoop Dogg's record, and then

(11:00):
you see that same name on DoctorDrey's record. It's like, this guy's
not in any music video. He'snot he's not in the scene, but
he's getting paid before all of themdo yes, yes, and and and
like I said, man, that'swhen I also learned that if I was
going to dabble in the creation ofmusic, I unapologetically had to own it

(11:22):
all. I just wanted to owneverything. I didn't want anybody to have
a piece of anything I did unlessI gave him a piece of them.
And you speak to another thing.Ownership is everything in this business. It's
the difference between the Whitney Houston andMichael Jackson. One of the one of
the greatest things Michael Jackson never didin his life that I didn't know about

(11:43):
until later on, was when hebought a TV publishing man. And then
with Whitney, Whitney was I mean, Whitney's the greatest voice in the world,
but she was a songwriter. DollyParton got paid I Will Always Love
You, Dolly Partner got paid offthat yes and I like how you like
you you own your own movement.Let's take for example, Pharrell and Chat

(12:09):
Hugo. Pharrell's the front front faceof the Neptunes any r D. But
you also have Chat in the backgroundcreative soul as well doing it. And
then also when you speak of youlook at the patterns like my favorite producers,
Uh besides Doctor dre Quincy Jones,like you said, he's on the

(12:31):
back of a lot of albums,Teddy Riley, He's on the back of
a lot of Jimmy jam and TerryLewis. I task anyone to look at
a majority of Jenny Jackson albums,look at those credits. Jimmy, this
is their name, it's their nameon everything, you know, and that's
the that's the you know. Inmy opinion, man, it's it's the

(12:52):
cool part of the music industry ifyou're on the right side of it.
But you know, I always say, man, it's some people just want
to be the start, and there'snothing wrong with that. You know,
they're gonna they're gonna find ways andhopefully they find ways to make it in
the industry, but hopefully they alsodon't run into a deal where somebody's just
taking advantage of them. Oh yeah, it's it's so easy to do.

(13:13):
And I wanted to ask you becauseI mean, like, who who influences
you? Like? Who are yourinfluences music? Man? Yeah? Man,
I'll tell you what biggest one man, hands down. I grew up
my parents dominated my radio with EarthWind and fire Oh my goodness, okay,
okay. And it was just andit was just, you know,
it was dominated. But what Iloved about them was I used to I

(13:35):
used to sit and listen to theirrecords, man, And I think I
was always different. Man, whenI was a kid. You know,
they were kids that would you know, you sit at a party and kids
are jumping around and dancing and recitingthe lyrics, and I was the kid
at the party in the corner tryingto get everybody to shut up because I
wanted to hear why the high hatwas panned to the left on this song

(13:58):
versus the baseline and it sounded likeit was over on the right. And
I was that kid. And soearth Winn and fire Man just presented so
much of that, in my opinion, in their music and the way they
mixed their records. And and thenthe way that they sang, in the
way that they wrote the lyrics,and and and you know, there was
a couple of writers I know thatwrote a lot of their hits as well.
I forget the guy's name now,but but but it was just phenomenal

(14:20):
how they would produce a song.Man, I just loved it and and
so I just I fell into thatmusic, man, so deep. I
was just picking apart every song,like, uh, it's like I would
have loved it been a fly inthe room with Dang, what's that Stevie
won the song? It's the sameover that, yeah yeah, yeah,

(14:41):
yeah yeah yeah. And Fantasy becauseit's like, how did these guys come
up with this song like that?A whole nother that song is he yeah,
you know, you know, Andwhat I used to do, man
is, here's the thing about EarthWinn and Fire song Fantasy. This was
how how much I was into it, man is is you know there were
two different albums. That was ontwo different albums, and it was two

(15:05):
different versions. I didn't know that. Yeah, the two different versions.
The structure is different. And man, I used to just go back and
forth between one and then play thenext and then play they will first play
the next place, and I wouldjust try to understand, like, how
did they play the song twice andit sounds perfect but it's different and that
just that used to man it justit just I don't know the right way

(15:28):
to put it. Man it.It just amazed me that they could play
that song like that and play ittwo different ways, but it sounds perfect
to say, it sounds like itwas meant to be both of them.
And that for me was like,Okay, this is music production is and
songwriting and structure is just something differentthan a lot of people don't understand.
Wow, And I loved it.I loved it, Yeah, because they

(15:48):
they man like they s like beyondthe stratosphere. And then another question I
wanted to ask, because I like, you hit the important cornerstones, like
people, you know, out withtechnology everything is easily accessible. What was
the importance of going to the musicschool, Like what foundational tools did it

(16:10):
give you? Because I feel SteveHarvey said it best, when you take
a shortcut, eventually you're gonna haveto take that long road, you may
exactly, So I feel like,yeah, I feel like some people like
they had the whole thing with theblurred lines lawsuit. Yea lawyer, I
kind of I felt bad for Pharrell, but there was an important lesson in

(16:30):
what this lawyer did. He puta sheet of music in front of Pharrell
and asked Pharrell to read it,and Farrell's like, I don't feel comfortable
reading it and slide it down.I was like, that lawyer just killed
his legitimacy as a producer right there, right right there. Yeah, But
the importance of going to music school, like what foundational tools did you learn?

(16:53):
Yeah? You know it was.It was a great experience, man,
and I wanted to do it.I actually went into it without the
intention of ever trying to enroll atBerkeley. I just wanted to go in
and take a couple of classes thingsthat I was interested in, because for
me, man is it really goesback to the previous question talking about Earth
Winning, fire Right, song structure, songwriting, and what I learned about

(17:14):
the class at Berkeley that I Theprimary class I took was was song production,
and I was asking the teacher beforeI ever signed up. I forget
the guy's name, but I askedhim. I said, well, what
kind of songs are we gonna talkabout? Right? How does this work?
And he said, well, we'regonna we're gonna look at some popular
songs and we're gonna talk about thesong structure. And I said, okay,
well which ones right? And hesaid, well there's a man,

(17:40):
I forget the name of the groupnow, Man, it's an older group,
but they had a song called MySharona Yes, yes, yes,
yes yea them. And then hesaid, we're also going to study U
Tina Turner, What's Love got todo in it? Okay? And and
he said what I And he saidduring the class, I remember, man,
he said, here's what I wanteverybody to listen to is when you

(18:00):
when you listen to What's Love Gotto Do with It? Man, the
song structure is not typical. Itdoesn't sound like it when you just listen
to the song. But there's likea and I forget the way that he
put it, but like after theverse, there's like a it's like an
eight bar break before the next verse. But they cut it off at seven.
It went right into the next verseright. And what that did for

(18:21):
me, man, was to realizethat song structure does not have to be
by the book, and the structureis just there to help guide you into
what feels right or what is importantfor the song. Yeah, And it
was just it was phenomenal for meto listen because I had never thought about
what's love got to do with itthat way? I just never did it.

(18:42):
Even the song My Sharona is thesame way. It's not the typical
structure. And once I heard thosethings, man, it was like it
was like a light bulb went off, and I thought, oh my god,
these people wrote these songs, andthere's songs that I liked that I
loved, And it just was amazingto learn that the impact of song structure

(19:03):
on songwriting and the impact of songstructure on the feeling that you get from
a song. I used to thinkit was all about the instruments and the
voice, but the song structure wasequally important in that and and and here's
the most important thing I learned,man, is that you know, the
voice, the voice and the instrumentscontrol the emotion of the listener, but

(19:26):
the song structure controls when you getthere. Gotcha? Okay that makes sense?
Yeah, And and so for meit was like, wow, that's
what made all these songs like fantasy, why they could rearrange the structure in
both versions of fantasy, and it'sjust getting getting the listener to the point
where they want them to be whenthey want them to be there. Once

(19:48):
I learned that, man, OnceI learned that, like I said,
I was hooked man at Berkeley,and that for me was like, oh
my god, I now I gottago right then I was like, okay,
now I'm going to get back onhis drums that I learned when I
was a kid, to get infront of this piano, because now I
realized that I already thought I hada good handle on creating the emotion with
the voice and the instruments, butnow it's like, now I can control

(20:10):
when the listener's gonna get there.Got you, Now you know how to
guide and navigate. Now I knowhow to guide them through that process right
where if you listen to some songs, man, it's just like you revving
up to five and emotion, andby the by the by the first minute
minute and a half, the listenerstired and they're like, man, I
can't take this right. But withsong structure and a section B, section
C, section, you can controlhow the listener listens. And that for

(20:33):
me was the best lesson I canlearn, because that's kind of like,
uh, you think about like aMichael Jackson thriller. They guide you.
He's telling you the story and thenyou get to the climax, right,
you get to the musically. Butthen it also worked in the video.
Hey, I'm a guide you storyand then we're gonna get to the climax.
Yeah, what is what is yourcreative process? I mean you're so

(20:56):
deep into the music, like howdo you and I'm it's pretty fluid,
but how do you? How doesit go from my idea to an actual
song? Yeah, it's you know, my process is typically I don't I
think, unlike some people in urbanmusic, I don't start with drums.
Drums for me are later. AndI think it's because I grew up playing

(21:18):
the drums that I realized that,okay, the drums are are a really
critically important piece. But but againgoing back to what I learned in production,
it's like the other instruments control theemotion. The drums add to the
emotion and can in some cases driveit. But for me, man,
I start off with some melody Ihear in my head and it sometimes it
might be a chorus, like justwords that flow together that I hear that

(21:44):
I'm like, oh man, that'sa that's a really great thought. And
sometimes it might just be a keyboardpart or maybe even a bassline, right,
And I might even hear the basslinein my head. Right. But
then for me, it's about shapingthe music, and I usually then shape
the music and kind of put togetherwith you. I think what most people
would typically call like an instrumental wheresomebody can top line it. And in

(22:06):
my case, I do the toplining, right, which is just writing
the lyrics to a foundation of instruments, and then I'll start filling in the
lyrics, man, and then fromthere I'll probably take about it. Probably
for a song to finish completely,man, it take me about two weeks
if I'm working fat. And thereason for that is like my process,

(22:27):
man, is like I'll write themusic at least some type some type of
structure to help me write. I'llstart putting structure to the music, like
do I want that person to gethere emotionally? And when do I want
them to get there? And howdo I want to tell the story.
Does it need a bridge? Doesit need a chorus? Does it need
a vamp section, and I'll startthinking about all those things and trying to
put the music down to help withthat. Once I write the first version

(22:49):
of the lyrics, I generally justdo some kind of scratch recording of the
lyrics so I hear how it flows. Yeah, Then I go Then I
go back and I update the musicagain, kind of evolving the music.
I'll start to get more serious aboutthe drum performance because I realized that,
you know, there's a lot oftransitional elements and a drum kit that a
lot of people use creatively to startsignifying to a listener to something going to

(23:12):
change. Like if you listen toWe'll talk about thriller. You listen to
that, right, I mean,the drummers are there and it sounds like
they're kind of in the background,but those drummers, man, and the
way Quincy Jones produces it, hewas a master at at transitioning the user
and signaling to the user that it'stime to start changing emotion. And he
could he was a master, inmy opinion, he could master that by

(23:34):
one Tom hit and it just signalsto the user like something's about to happen,
and it and again you kind ofthen you're like telling to you the
user, I'm sorry, the listeneris like you're telling the listener like it's
the emotions about to change. Andso I'll start adding in a drum performance
to start signaling when things are gonnahappen, like the like the typical beat

(23:56):
behind the verses, like okay,now you're riding with me, you're hearing
on this ride, and right beforeit goes to the hook, I need
to change something really quick in thedrums to let the listener know, Okay,
something is about to go. It'sgonna turn right or something like that.
And so I'll start putting in thatand then man, what I'll do
is then once I get to apoint where I want to record the vocalists
for real, I'll go get avocalist. The vocalist finishes, and then

(24:19):
I go back and update the musicagain and just keep tweaking the music.
So for me, for a lotof people, I think that and I'll
say this, and I don't meanthis in a disparaging way, but a
lot of people will write the music, then write the record the lyrics and
say I'm done. And to me, that's not a song producer. That's
not a producer. And I likehow you. I like how you say

(24:41):
because you make me think, like, especially in urban radio, especially with
hip hop, is like, hey, you know what Kanye West, phenomenal
producer. Hey, I did liketwenty beats this summer. It's like a
factory, right, But like youyou like, Hey, I I like
it. It's quality quantity to you, and I like your like your attention

(25:04):
to detail rather than Hey, I'mjust gonna kick out this beat. Okay,
the beat, the artist did this, and we're done. And to
me, it's like a great producerenhances the performance. And I like how
you say. I'll go back andchange it. Okay, I'll switch.
It's it's the details, the detailsand the music matter. And I like

(25:25):
that you speak to that. Yeah, And I'll tell you something very similar
to that too. Man. Thatthat bugs me about modern music. And
it bugs me not from it's notgood, right. I think a lot
of it's good. I think someof it's not. But that's in every
era. I could say that aboutany era of music, and some of
it's good, some of m Idon't like, some of I don't.
But here's the thing about music thatI target, Man, that I think
doesn't happen a lot today, isthat if you listen to a song,

(25:48):
I'm just gonna call out an artist, like a song by Drake Right,
if you take his lyrics off ofthe beat and you put Chris Brown on
there, it's gonna sound right,it's gonna sound like it can match.
Right. But if you go backand if you listen to that song Fantasy
by Earth Winn and Fire and youtry to put somebody else's voice on there

(26:10):
beside Philip Baillie Maurice White, itain't gonna work. It's not gonna work.
You can't, which is why theytried to reincarnate Earth Winn and Fire
with the Raphael City can em bombed. It's not gonna work, right,
You're just not. That's what Istrive for, Where if you listen to
one of my songs, like especiallyon the last album called This Is Worth

(26:30):
It, if you listen to anyof those songs, what I strive for
is a is a marriage between thevocalist and the music so tight that if
you took away the vocalist and putsomebody else on there, you'd say,
yeah, at that ain't right.Yeah, And that to me is music
production is making sure that this songis not gonna sound right with anybody else

(26:52):
on it and not to me.Is the measure of a great producer is
producing a song where you just can'tyou can't interchange any part of that song
and have it still be good.And like look at Quincy Jones. I
mean even with like Michael Jackson,is I mean this guy, this stuff
with Sinatra, you gotta give methe Night? You got the man has

(27:14):
done like any and like you said, it wouldn't work. It wouldn't work
with any artists. Like a badfor example, that was made from Michael
Jackson. That ain't gonna work withme, even though when you said give
me the night and give me thenight, you can't take anybody else's voice
and put it on that song exactly. And that is that again, that's
what I strive for a music production. I think that's that's what a music

(27:36):
producer is. I think that Here'swhat I'll say. I think that's the
difference between a producer and a beatmaker. Yeah right, I I could
see that, man, because Ifeel like a lot and even with popular
music, it's it's cookie cutter.Is here we go? It's like a
factory. But then you got thoseyou got those artists, like somebody told

(27:56):
me this a long time ago,like if you want to make an impact,
create a movement. And then yougot your musicians at our movement capable
of Coincy jones Is and people onthat level. So you mentioned, you
mentioned one of your albums for thelisteners that haven't that haven't heard any of
your music. And I'm pretty sureafter this, I gotta check this guy

(28:18):
out. Can you can you describeyour catalog? Can you give us your
catalog and your work? And Ican, Man, Yeah, it's it's
been a journey, man, it'sit's you know. At first, the
first three albums, I actually plannedthem at the same time. I actually
wrote most of the first three albumsat the same time. But I released
them one pretty much one every yearfor the first three years. And that

(28:41):
that was kind of like what happened, man, is I produced this record
and it was an instrumental and andI had I don't know, man,
sixty seventy instruments, much like mostpeople do that are in the music.
No, nothing different, but Ihad one in particular, and I don't
know why, man, but Ihad I had this, this company reached
out to me and said, hey, we want to use this instrumental.

(29:06):
I forget I had it posted somewhere. They said, we want to use
this for some commercial something. Idon't even remember what it was, man,
and I just, you know,kind of in a way. This
is before I actually did anything reallyserious of music and other than just writing
music. And I said, yeah, sure, whatever, right, because
I didn't really believe in it atthat time, whatever it was, and
so I gave it to him.They asked me to sign some deal,

(29:26):
and I just signed a contract withsmall and about nine months later, a
royalty check showed up at my houseand I thought, wow, they actually
did something with this song. Andso I started playing these songs for my
friends, these instrumentals, and theysaid, man, you're crazy if you
don't release these things. And sothe first three albums were a lot were

(29:47):
really dominated by instrumentals, but Ihad been writing lyrics all along, and
so, you know, I atthe time, I was using some live
instrumentation, some synthesis, things likethat. And I got through those first
three albums and then the fourth albumI kind of got tired of the instrumental

(30:07):
type of sound. I still lovedit, but I got tired of it,
meaning that I wanted to really havelyrics and more feeling and more personality
into the songs and be more relatable. So I started writing, writing with
other lyricists myself and then others,and so I put out another album called
ten Percent, which was a littlebit, I think, a little bit

(30:29):
less urban. It was somewhat urban. I think it would probably fit today
in what you hear on the radiomore often than not. And then after
that the journey continued, man,and then I just I kind of caught
the bug from a lyrics perspective becausein my journey I met a lot of
great vocalists. Man. And soI had a friend of mine who was

(30:49):
putting together he was an independent filmmaker, and he asked me to kind of
write, I guess if you wouldthe soundtrack for this independent film, and
I did, and it ended upbeing the album called Songs About You,
Ladies and Gentlemen. Stay tuned forpart two of this interview with my special
guests Blue Soul ten on Deeper thanMusic. Maybe I sound one kill gree

(31:40):
Maybe I sound weak to me,Maybe I found one love could be you
all that I can see. It'sbetter than a mule through. It's stronger

(32:01):
than I'm gilt too. It's greaterthan I'm goes to. This is different
than I'm doing a stool. Oh, different than I'm doing dool. Maybe
I found you trust for me,baby, I found love finely, Maybe

(32:30):
I found everything got me with youand I feel kindly you know. Oh,
it's better than I'm used to.It's stronger than I'm go too.

(32:50):
It's greater than I'm you too.It's different than I'm gos to, different
than i'm usue. Oh, thisis better than amused toe. Oh,

(33:29):
oh, better than a must Oh, it's better than ammusue. It's run

(33:51):
than on your o. It's plainerthan this is different than a goose to,
different than a tool. It's betterthan a goose too to lay day.

(34:17):
It's wait and I'm your This isso much stiffer, so much better
than a goose. Ex give mein your love, Just keep me in
your love. Excuse me, getyour love. Just give me get your

(34:46):
love. Ex give me getting yourlove. Excuse me, give your love.
Excuse me, give your love.Just give me in your love.
I don't want to get out ofyour love feels the food in your love.

(35:07):
I ain't never had it like thislove. Just keep begging your love.
Oh, give me in your love. Bad, give me, Give
me in your love. Baby,don't want to get out of your love. Mabe