Ryan Toby

Episode Transcript
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Speaker 1 (00:01):
R and B Money. Honey, we are.

Speaker 2 (00:07):
Thank you. Take volatility. We are the authority on all
things R and B.

Speaker 3 (00:18):
Ladies and gentlemen. This is the R and B Money Podcast,
the authority on all.

Speaker 2 (00:24):
Things R and B.

Speaker 1 (00:26):
Yeah, smile. Oh you know, today's a good day.

Speaker 3 (00:30):
We get to speak with the man of the cloth, uh,
the man of prestige. Yeah, a man of many uh,
curated gifts, man who knows his ship for real for us,
it's been doing it for quite some time. As a

(00:53):
small niggling. He was doing this ship on the high level.
You're see what I'm saying, high notes.

Speaker 1 (01:02):
Yeah, huh.

Speaker 3 (01:05):
It's been happy days, oh happy oh, happy days.

Speaker 4 (01:09):
Huh yeah yeah yeah yeah yeah man, yeah, man, you
did that.

Speaker 5 (01:21):
Yeah.

Speaker 2 (01:22):
But I'm just the guys here, man, guys here, bless
you right now.

Speaker 1 (01:27):
Heavily requested, heavily heavily requested.

Speaker 2 (01:30):
Bro, I don't know if you know this.

Speaker 1 (01:32):
Yeah, what the streets wanted to see you on here.

Speaker 2 (01:35):
I appreciate it. Thank you.

Speaker 3 (01:36):
We're still dancing in the streets celebrating.

Speaker 2 (01:44):
Yeah to your tunes. Appreciate it. Oh yeah, for sure,
appreciate that. Man. I don't know how that feels to you.
You know what I'm saying, I don't know how, you know, humbling,
very very humbling, very surreal. I'll be just in my
own little world and then I won't be on the
Grand for a couple of das whatever, and then I'll
check the Grand brand. You know you viral right now,

(02:06):
some whole something challenge, Superstar challenge, Oh, happy Day challenge.
You know, somebody be talking about City High. I'm like, God,
I've been in game thirty years.

Speaker 1 (02:15):
Yeah, so it's it's wow, it's very it's.

Speaker 2 (02:18):
An honor to be like, wow, are you I'm forty six?
You forty six? Yeah, I'm going to be forty seven
this year. You're a year older. I'm a year older. Yeah,
I'll be forty seven this year with November twenty sixth okay, Thanksgiving,
baby sad. She was almost a cap It's almost almost
the lord almost soft want that he had a choice, right, well,

(02:42):
I mean the word says, you know, before I formed
you in your mother's womb, he knew me. So we
had a conversation and now don't don't send me into
that capricorn.

Speaker 1 (02:50):
He knew you, he knew he was like, yeah, it's
thankful for me. He was like, they full over there
are not.

Speaker 3 (03:03):
Oh my god, the reason are clearly excluded.

Speaker 1 (03:06):
We are fine, we are good people, we are great, But.

Speaker 3 (03:16):
You have to have like I was reading stuff like
on this on this humble word, I was reading stuff
on it just you know, just going down the rabbit
hole and the word humble and humility, humility and.

Speaker 1 (03:28):
All these things.

Speaker 3 (03:29):
But at times you have to feel like or I
would like for you to feel like, yeah, I did that,
I did I mean not even I did I do that?

Speaker 2 (03:41):
Yeah, yeah sometimes sometimes.

Speaker 3 (03:43):
And it's okay to feel like that because when I
hear it and I see you, I tell you you
do that, you did that?

Speaker 2 (03:54):
But do you know when do you know when to like,
obviously you want to be humble. You was raised like
you know, but d da da dad. But then it's
like and we're in a business where it's like if
you don't talk your.

Speaker 1 (04:04):
Talk, it's almost like they forget it.

Speaker 2 (04:08):
Someone else will take credit for yeah you know what
I mean, or somebody maybe not as whatever is you.
They talk and they talk heavy, and then that's getting
them in all kinds of doors. Like I've always wanted
to be absolutely transparent. I struggled with that, like when
do you know? When do you well? And then when
do you know?

Speaker 3 (04:27):
I was having a new conversation with good friend, good
friend of mine, Big Jason, and he was like, you know,
he was having a conversation with you know, another one
of his artist friends it works with, and he's like,
you know, and it was kind of relaying the same
message to me. It's like when when you guys take
off or layoff, or you know, or are passive aggressive

(04:50):
or whatever in that kind of space, you leave too
much room for for the lesser two then become the
standard or the louder voice. And I'm not mad at balance,

(05:13):
you know what I mean. I believe that there's room
for the people who are uberly gifted and the people
who just have a little gift but go hustle. I
think there's room for all of that, but we fuck
up the balance when the truly gifted also don't do
the same hustling and talking.

Speaker 2 (05:38):
Absolutely, if you.

Speaker 3 (05:40):
Got that ship, you need to speak on it because honestly,
people need to know where exactly to go to get it.
This is where the fuck it is, and this is
how you know where it is. This is what I've done.
We can dial this ship up. Here's the charts. We
don't have to we don't have to guess anymore. The

(06:01):
analytic is a real game. Yeah, here's the ship with
my name on it.

Speaker 2 (06:05):
Call me back, or at least have somebody on your
team that talk like that, and if maybe then you
can you you just do the work and then you
got your talker that go on.

Speaker 3 (06:17):
Somebody gotta say something that's a fact. Somebody gotta say
something that's a fact.

Speaker 6 (06:23):
I mean, because honestly, do we do we know truly
who Jay Z is if he doesn't have Dame dash.

Speaker 2 (06:29):
Who he was early Sagittarius m because at that time,
you know, just that that business.

Speaker 1 (06:37):
Energy is real.

Speaker 6 (06:39):
Because because Jay was a quiet or is a quiet
guy from what I've seen. I don't know him, but
he seems to be a really quiet guy. He needed
someone boisterous to say.

Speaker 1 (06:49):
No, no, no, no no. Ain't nobody fuck with him? Nobody
with him? That question? Yeah, yeah, that's a very real question.

Speaker 3 (06:59):
Absolutely absolutely nobody fucking with my man.

Speaker 2 (07:02):
We're starting right here.

Speaker 1 (07:04):
Listen.

Speaker 6 (07:04):
I've been in the studio with him, I wrote songs
with him. Yeah, you ain't gonna out singing, yeah, talk
about it, and he got you know what I mean? He
got He's of the real cough too. I mean his
collar is right now, it's not popping.

Speaker 2 (07:18):
Its silky.

Speaker 1 (07:19):
It is silky.

Speaker 5 (07:20):
Nobody fucking with my man?

Speaker 3 (07:22):
Why you make making merch with my man's name on
it and he not getting none of the merch? Funk
all that trying to relive the death Gamen said them
his jackets. Oh you got a whole tour without his
name on it. The crazy I need to talk to

(07:42):
somebody higher.

Speaker 1 (07:43):
Up is a legend.

Speaker 2 (07:45):
Crazy, he's a llegend, a legend. Bro's y'all had damon?

Speaker 1 (07:48):
Very necessary?

Speaker 2 (07:49):
Not yet, Okay, we need it. We gonna get it.
We're gonna get it. We're gonna sit aside half a day.

Speaker 1 (07:58):
Y'all gonna get one question off set aside.

Speaker 5 (08:02):
It's gonna go.

Speaker 3 (08:05):
Right, Toby, since you're here, man, let's let's let's go
back to the beginning. If you you were a gifted
kid and you were able to tap in early as
a kid into a very professional space, how did this?

Speaker 1 (08:20):
How did this start for you? Who knew? How did
you get back in Jersey?

Speaker 7 (08:24):
Yeah?

Speaker 1 (08:25):
You call the new Jerusalem.

Speaker 2 (08:26):
That's like New Jersey. Man, that was the time. That
was the time we can call it New Jerusalem. I
think the Fujis might have coined that phrase. Mean you
you know you're part of the huh yeah, yeah, Well
they're from North Jersey. Jersey is split, it's North Jersey
and South Jersey. So you kind of got like this
little you know, North Jersey niggas is New Yorkers pretty
much South Jersey niggas. We grew up on Philly, but

(08:50):
we're only about an hour and a half apart. So
then you have that blending and that mixing. And that's
what made where I'm from Willingboro, New Jersey, same city
my city is from. Uh Ti tributes from uh yan
Ye Morris graduated from my high school. Uh Mike Zombie
who did started from the bottom for me, he's from Woollenboro.

Speaker 1 (09:12):
And the list goes on. I really can't like radalize list, right,
and you got this city.

Speaker 2 (09:18):
Yeah. So so something about that New York Philly mingling,
mixing whatever in this you know what I mean, this
this this water it just created like I don't know,
you got the hip hop, the street element, the grittiness
of New York. You got the soulfulness and the all
of that from Philly and then you just get talented

(09:41):
as motherfuckers, you know what I mean. And a lot
of athletes and football players. I can't even name all
the different like athletes that came out of my town.
But so yeah, willing Broough, New Jersey, it was. It
was great growing up there in the in the like
seventies and the eighties because cats, you you were, like
I said, you had the rough element, like you could

(10:02):
get your you know, your block knocked off. But then
it wasn't like you was dodging gangs to the point
where you couldn't focus on other things or be free
enough to play music in church and get nice. Yeah,
but it was there. It was definitely there, But it
wasn't like it was suffocating, you know what I mean.
Some kids really like are in a war zone. So

(10:26):
it just was like the perfect balance. Now it's kind
of is bad, but you know what I mean, But
back then, it was like just the perfect balance. So
the music aspect was it was like fire, like real fire.
Like my high school wasn't even a performing arts high school,
but you thought it was. We was known for having
like the baddest girls in like the dopest musicians and

(10:48):
the greatest athletes. Like so it was where city families
from the city could move to like this suburbs and
get like a good house and get a family like that.
You know that that tunity. But now you got this
city influence and this influx of like the swagger and
the vibe, you know what I mean. But kids was
able to steal, like harness their gifts and works on

(11:10):
work on their craft and stuff like that. And like
the music program in our high school was just like insane,
like our our Black Heritage choir that sang every Black
History Month, you know what I mean, the black it was.
It was insane. It was insane, like wan ye is
singing it like you know, this is like green boy.
Motherfucker was leaving school and getting record deals.

Speaker 1 (11:33):
It was real.

Speaker 2 (11:34):
Ty Trippet was like the band director in high school.
High school, motherfucking Adam Blackstone, Yeah, Willingborough High School. Adam
Blackstone who does the Super Bowl now, was like, yeah,
playing bass for the Black court, you know, the little heritage,
you know what I mean. Choir kids when I was

(11:55):
in school, that was so that just shows you, like
just the caliber level. So when you say who knew
all the teachers and the different people that was like,
you know, taking care of us and grooming us, and
our mothers and fathers that would buy us instruments and
let us make little, you know, little makeshift studios in
the garage because you know, we had garages. So it

(12:17):
was like a couple of cats had like studios in
their garage and it's like what the fuck, Like you
got studio equipment like a little four tracks and little
you know what I mean, a little real the reels
and like Niggas was cooking at a young age. It
was being cultivated. It was really being cultivated.

Speaker 8 (12:34):
Now.

Speaker 2 (12:35):
I don't know if it was if anybody knew anything
big was gonna come from it, but it was definitely
something that we were allowed to do. So it was
an aspiration very early on, you know what I mean.
Like Niggas had studio equipment that was like unheard of us.

Speaker 1 (12:54):
Keyboard, Yeah, keyboard, I make my little tracks on them.

Speaker 2 (12:57):
Yeah. He was hoping that Nigga had a video game.
It was like.

Speaker 1 (13:09):
He doing it and nobody had no npcnig.

Speaker 8 (13:12):
You know what that was.

Speaker 2 (13:14):
Yeah, So our parents knew for me, Uh my mother.
My mother could sing, so she would sit you know,
they would call her up to sing solos in church
and stuff on Sunday. And so she saw that I
had to give for her brother was a preacher. My uncle,
Lennard was a preacher. He could sing. So I think
I got it like from them too, you know, my

(13:34):
mom and my uncle. And so my mother started making
me sing solos in church and stuff.

Speaker 1 (13:39):
Like that, which I hated.

Speaker 2 (13:40):
I had extreme stage right kind of still do. I
think That's why I like stay in the studio a
lot and like fell back more and so on the
pen versus like going super duper hard as an artist,
because I always had this stage fight. It was crazy
like that, you know what I mean, knowing when to
like when do you be big and let the motherfucker
have it? But then it's like, you know, long nigga,
humble yourself, you know what I mean.

Speaker 1 (14:02):
It's like the church helped with that, because that's usually.

Speaker 2 (14:06):
Usually when you see you feel like the church is vicious.

Speaker 6 (14:08):
Man.

Speaker 2 (14:09):
But that's what I'm saying because because it's because it is.
It is take your time, they kill your dream real fast.

Speaker 1 (14:16):
It ain't on you.

Speaker 2 (14:18):
Like I was told, like, wait a minute, bro, well
that was the bar, right, that's how you got good too.

Speaker 1 (14:26):
But you shaken the whole time.

Speaker 2 (14:28):
There's no oil.

Speaker 1 (14:30):
Yeah what was that?

Speaker 2 (14:32):
What was that? Are you moving in your flesh and
you're like seven, I don't even understand it's vernacular. You're
talking about moving in my flesh operating under that? Like
what are you talking about? You haven't even grown my flesh? Yeah,
Like I'm ten years old. I just try not to
get a whooping, but like, let me about you give

(15:00):
me like estentral crisis about like my soul and where
my spirit is operating?

Speaker 1 (15:05):
Like lady, I grew up in the church is I
ain't gonna lie.

Speaker 2 (15:11):
They ran me out. That's why I got That's why
I went into like secular music. And I'm like, gosh,
there's too much pressure pressure.

Speaker 1 (15:20):
Hold in my flesh? Are you talking about.

Speaker 2 (15:31):
Confused?

Speaker 1 (15:32):
I was confused? So I hated it.

Speaker 3 (15:33):
Let mesu your question, is there a standout solo moment
from maybe your mom or your uncle did like you
can pinpoint to this day that you were like that
that moment like resonated so crazy with me that it
made me like go home, and start singing and practicing.

Speaker 2 (15:56):
Let me see a couple of moments because my so
like my uncle, his aunt, I mean his aunt, his wife,
my auntie. They preacher, preacher, they like, you know, the
All Night, seven Day Revival oil already. Oh my god,
you got it. It was a lot.

Speaker 1 (16:17):
It was a lot, you know what I mean. I
love him, but it was a lot.

Speaker 2 (16:20):
You as long as it takes, everything will get prayed
out as long as so it was a lot of that,
that heavy culture. And so then it would be like
you're gonna you're gonna preach, you know, I mean, so
now I gotta preach it. Yeah, you're gonna preach. You're
gonna stand up here and you're gonna preach the word
and like, and it would be cool and fun to
kind of do it in front of family a little

(16:40):
bit as a little kid. But then they would like
set up like I'm gonna preach on the like during service,
and it's like wait, wait, whoa, whoa whoa wait a minute,
Like I didn't I didn't sign up for that. And
then uh so those moments of having to preach something
about the audience and then they like come on, now,
come on, like you better kill it. The energy is

(17:03):
like this is best to be encouragement, but it's like
you better kill it, right, I get exactly And that's
when I learned very early on like what church was.
It was like, oh, this is a performance. This is
a performance. And that actually made me to your point
of want to go home and practice, but to not

(17:23):
want to be good there. I was like, I'd rather
go do it where Michael Jackson is doing it because
it just looked more fun and he get to make
videos and Prince get to do all kind of cool
ship and the bad bitches on the back of a motorcycle.
I was like, I want to do it there. I
want to get good, to.

Speaker 8 (17:41):
Go do it.

Speaker 1 (17:42):
You were in your flesh maybe.

Speaker 2 (17:46):
Clearly. I just seen him in a little preacher suit
on the motorcycle with Apolonia on the back because you
know why, no, no, no, let me let me. I'm
no listen, Let's stay on Prince for a secon. Let's
stay on Prince for a second. So imagine, right, this
is like eighty four the Purple Rain, eighty right, little

(18:08):
I'm just a jig time come home from church, where
like the pressure is on because it's pressure to like
you gotta be holy and don't sin, and the Lord
is coming back and that was out to kill you
and just like a lot of that, right, and that's
cool and you gotta sing now, sing and bring the
house down. And he's just like I thought, I'm just
supposed to be singing to the Lord, and it's like, no,
you gotta like move the crowd too, Like wait a minute, now,

(18:32):
imagine that. Then you come home from church and your neighbor,
one of your best friends' kid, his name is Dario Molina,
shout out to Poochi. We called him Poochi. He was
a little older Prince Fan Galore. He had the big
ass boombox ghetto blaster back in the day with the
double tape deck right, and he blast in purple rain

(18:52):
out the window. His window was broke, so he used
to put the radio in the window to prop up
the window, and the music be lasting in the neighborhood.
Drove my father crazy. We're coming home from church and
then I'm hearing Darling Nikki and like, you know, computer
Blue and like Wendy, Yes Lisa is the water warm yet,

(19:14):
yes Lisa, And like you know what I'm saying and
I'm the band on Earth and I'm like, I'm I'm
seven years old, Like what the fuck is that? What
it feel?

Speaker 9 (19:25):
That feel?

Speaker 1 (19:28):
His word record? Like absolutely listen, absolutely the Lord listeny.

Speaker 2 (19:32):
I'm asking Poochie, like, Brin's that song, Bambie, what is
that about?

Speaker 8 (19:37):
Oh?

Speaker 2 (19:37):
It's about a lesbian? The fuck? What is a lesbian?
Like a girl? You know, Bambi is much better than
you know, better with a man, babb dude, Like I can't, Like,
I'm like what my mind was blown? Like, you know,
so I had those You probably had to say two worlds.
It's like you got your foot in this, but then
it's like, man, you got this whole other sexual nature

(19:58):
ship boiling up inside of your little by and you don't.

Speaker 1 (20:00):
Know what the fuck to do.

Speaker 3 (20:01):
I just probably I lasted a lot longer than you. Yeah,
like I stayed Yeah, I stayed holy until until a
couple of years out of high school.

Speaker 1 (20:12):
Man, already talking about what you was doing in the
church basement.

Speaker 2 (20:15):
Man, No, no, I mean you would dabble.

Speaker 1 (20:18):
Don't know what I'm talking about.

Speaker 2 (20:22):
You would a week.

Speaker 1 (20:25):
The flesh is weak, You're gonna have cravings.

Speaker 2 (20:28):
But I didn't.

Speaker 1 (20:29):
I didn't truly have the You know, I didn't want
to get out of the world. Yet I didn't.

Speaker 2 (20:35):
I didn't have that. I didn't either, but it was
so I'm speaking from a from a sonic perspective, from
your music the same thing. The music just moved me different.
And so it was like in the church world, it
was well as a child, the way my brain was
processing it was like, so in church, I have to

(20:57):
try to like use this music of the Lord to
make y'all feel something like and if you ain't anointed,
if you ain't getting the whole, you know what I mean.
And I was equating that to like, wait, why is
I don't understand how am I supposed to make y'all feel?

Speaker 8 (21:11):
God?

Speaker 2 (21:11):
I didn't understand I was a child. But then when
I would hear Prince and Michael Jackson and see the
videos and see the whole spectacle of it all, even
Tina Turning What's Love? Got to dude, I'm like that
music makes me emotional, made me cry, it made me
I felt it more. I just felt it more. I
don't know why you call it flesh, call out, whatever
you want to call it, but that's what spoke to me.

(21:34):
So it was like, that's what I want to do. Yeah,
like that's what I want to do. I don't want
to do that. For some reason, I don't. I just
didn't connect to it as much. So I did it
because I had to, and maybe they had that's where
the gift came from. But R and B music, I
don't know that shit called. That shit was like hipnotype
from a very young age, and they look cool. The

(21:56):
clothes were cool, the hair was cool. Niggas had perms
and Jerry curls and could do shit. Michael Jackson was
magical nigga. The ground would light up when he would
walk on the ground with Billy Jean, Like I thought
this nigga was magic. A little homie of mine his

(22:24):
name was a Miror. I remember he rode up on
me one day on his bike and he was like, yo, man,
he knew I could sing because people would hear me sing.
I've been rapping and singing in beatboxing and break dancing
and shit since I was little. Even when my parents
was like he ain't listening to that music in my house,
you know what I mean, I still would do it,
gravitated towards it. So he was just like you should
sing for my dad. My dad knows people in New

(22:45):
York and they might they might be able to get
you in the music industry. And I wasn't even thinking
about no music or nothing like that at that time.
But I ran it to him and his dad at
a barbershop and sang for his dad. And I remember
his dad and his dad wasn't at the time. He
wasn't like no big manager or nothing. He was just
kind of like a you know, ex dope dealer, just

(23:08):
hustles and hustle man, you know what I mean.

Speaker 1 (23:12):
But he had to give the gap he was.

Speaker 2 (23:13):
He was the dame. He was that voice. Yeah, you
know what I mean. And he yo, man, little nigga,
no voice like that, you could make a million dollars.
I'll never forget. He told me that, and I was
like yeah. He was like yeah, So it's like money girls,
Prince Michael Jackson, shit, you know what I mean. And
Sol Marvin's start he came. He talked to my parents,

(23:34):
told me we wanted to start working with whatever they like,
whatever keep you, you know what I mean, out of
trouble type of thing. You could do that. So I
just would go to school, come home, do my little
chores whatever, and could go over Marvin's house and start
rehearsing and working. So he had me doing little vocal
lessons and singing Michael Jackson, and like you know what
I mean, He just started putting me through the whole
you know, little artist development, artist development. And he never

(23:56):
had no artists before or nothing. He just was a
hungry just a hungry young nigga. He was only about
twenty five and I was like fourteen, So shout out
to Marven two. And then he started taking me to Philly,
taking me the little talent contests and stuff, and I
started winning, like I was winning like little first prize,
little two hundred fifty dollars still five hundred dollars prize,

(24:17):
and then it, you know, and then I've seen how
the little girls are screaming, you know what I mean.
So it was like this is it. Then he started
taking me to New York, taking me to the Apollo.
I'll start performing at the Apollo. Showtime at the Apollo,
I was like special guest performance. Like I would go
on like after amateur night. They would do the Amateur
night and then they'd be like, now we have a

(24:38):
special guest.

Speaker 1 (24:39):
Yeah, what I'm saying, you never did the show.

Speaker 2 (24:42):
I never did the TV show, but I would go
like amateur night. Really was like every Wednesday at the
Apollo Theater, you know what I mean. And then they
started doing the TV show. But I was like just
going straight to the Apollo and just performing at the Apollo,
you know what I mean. And when you know, in
the little Jerry Carroll lady, she would be there, you
know what I mean, she in the front row, you know,

(25:03):
and I'm up there.

Speaker 1 (25:07):
Yeah, I was like, yeah, I'm here.

Speaker 2 (25:12):
Martin Marvin got me made this uh motherfucking red sequence
jacket sequence red early early. I was early early.

Speaker 1 (25:24):
I didn't even understand that.

Speaker 2 (25:26):
I'm like sequence Marvin like hit that when the light
spotlight it is, you know what I mean. So, and
Marvin was a fly. He was fly, you know what
I mean, always was fly. He knew how to So

(25:46):
it's like I learned. I learned that swagger from him,
you know what I mean. And then so I started
doing that, started performing. He started taking me around and
we started getting traction, and and I was going to
New York all the time, going to studio sessions, and
I really started falling in love with the process of
making songs. You know, walking in the studio and there's nothing,

(26:09):
and then like after a few hours there's something. That
whole concept to me was mind blowing. And Marvin would
be like, Ryan, you could write like he would hear
little songs, little raps. I had a little whatever. I
wasn't writing those stuff in the beginning, but he was like,
you should focus on your writing. And I didn't even understand.

(26:31):
I don't think so I just got a little song.
He was like, I'm telling you, Ryan, you got a gift.
You need to folks. You should focus on your writing.
So he planted that seed to me early, and then
I just fell in love with that process. Man Like,
like I said, people with studio equipment was amazing to me.
All these buttons and knobs and this and that and
what this doing? Compression?

Speaker 3 (26:49):
You know what I mean.

Speaker 2 (26:50):
It looked like you in a rocket shit. You know,
even if it was in somebody's basement or in somebody's bedroom,
it's still you know. So that was always fired to me.
And we started cutting, you know, started recording little songs
and ship like that, and then we just kept getting
more and more traction and Marvin He he was cold
man because he was the type of nigga he'll run
down on anybody. He don't give a fuck. We would
just go to New York and post up outside the

(27:12):
record labels, wait for people to come outside.

Speaker 1 (27:14):
Everybody needs a Marvin Man.

Speaker 2 (27:16):
Run up on him. Hey man.

Speaker 1 (27:19):
He talked his fast.

Speaker 2 (27:21):
He from Harlem, his whole family from Harlem, and they
was they was big dogs in Harlem. And he comes
from a long line of like you know, big niggas.
So even like he you know some of his like
you know people, They was like funding my little project
and it was it was lit like I was like,
so I fell in love with it real, yeah, what

(27:44):
it is exactly so that that whole life, you know
it just I started to love it. It was keeping
me out of trouble. My parents was happy, and I
was learning about myself. The music was sounding fire. Marvels
like a father to me. His two sons was like
family to me. His mom was you know, I was
with them all the time, you know what I mean. So,
so yeah, we started recording. He would run down on people,

(28:07):
get people's numbers, make me sing right, hit the thing right,
you know what I mean, subway whatever, walking down the
street me in New York, in Manhattan, anywhere, hit it
hit that thing. Mary and I used to hate it
because it was still triggered at like stage right there.
But I don't know Marvel's I don't know Marvel's cool.
So he was flying, so it was like I ain't
want to let him down, so I just would do it.

(28:28):
It was more fun with him, you know what I mean.
And my parents was letting me hang with this nag
like he was older, he was cool, he had girls.

Speaker 1 (28:41):
Say he had motion. Yeah, yeah, he had motion, you
know what I mean.

Speaker 2 (28:46):
So I was just I was just getting like a
real good, a good education in that. And then the
that's when it started getting more professional. That's when it
was like, all right, I'm different than my friends, Like
we go to school together, but like nigga, I'm even
at like me and Marvin going to New York after lunch,
I'm out here. Yeah, so I could leave school early,

(29:07):
and like you know what I mean, teachers was letting
you know, Marv was signing me out of school, and
we driving up to New York.

Speaker 1 (29:12):
That was the ship or taking the train.

Speaker 2 (29:14):
That was. It was nothing more fun than that. How
long does it take you to get a deal or
do you get the deal? No, I didn't get a deal.
I didn't get a deal. We started working with this
this jazz flowertist named Bobby Humphrey, right, She was managing artists.
She started working with Marvin. They started like co managing me.

(29:36):
So it was like levels, you know what I mean.
So Marv started making more better connections and then we
ended up meeting. I did sing with This is a
funny story. One day we had a meeting with Gerald Busby, right,
So we go to Motown. We had a meeting with

(29:57):
Jerrold and I think I forget the name of the
guy that was right up under him.

Speaker 6 (30:02):
So we in the meeting Motown or the MC at
the time, because if the guy that was under him
at that time, would.

Speaker 2 (30:09):
I feel like it was Motown because it wasn't bivten
with Motown. Yeah, yeah, yeah, yeah, this is a funny story.
We was in this meeting and this is when we
was going around the different labels. We was going around
the we met when Max Goo said giant, you know
what I mean.

Speaker 1 (30:26):
Like, so we was going to different labels. That was
our thing.

Speaker 2 (30:29):
We would go to labels. We would get Mark, you know,
get his get a little meeting situation set up, go
in the office, and I would do my thing. But
we never had no real demo, you know what I mean.
We never you know, we didn't have no real demo.
So they'd be like, man, won't you get some songs,
some real songs recorded on them and come back and then,
you know, because so that way they could play my
music for their bosses and stuff. Because Marvels just gutted

(30:50):
with it. Nah, he gonna come in and he just
gonna sing that ship and y'all gonna love it. But
that wasn't it. Never really like us, Yeah, it wasn't
the process. But this one particular time, the ain't our guy,
I forget his name. He was under Jerl Busby. He
walked out the office. So me and Marv sitting there
and we sitting there by the sid. He like, fell us,
I'll be right back, So he leaves. So Marv like,

(31:12):
watch the door. Ryan.

Speaker 1 (31:13):
I was like, what he's like, watch the door?

Speaker 2 (31:16):
So he got me onna look out. Marv goes around
the desk and goes through the niggas rolodex and start
writing down numbers This is how Cole marv was. He
going through the rolodecks. Write down the number, write down
the number right out right down there. Get he gets
Michael Bivens's number, write that ship down. Niggas start hitting

(31:36):
up Michael Biverins, Yeah, man, what's up?

Speaker 8 (31:38):
Mike?

Speaker 2 (31:38):
Yeah, you don't remember I met you at the you
remember it was at that party. I forget who party
it was. Remember you told me, man, you could bring
my artist. Mike Like, what's your name again?

Speaker 1 (31:49):
Like mar this is like Michael Vinnins. This is that
like this Marvin exactly.

Speaker 2 (31:56):
He like this is at the height like.

Speaker 1 (32:00):
Big ten ABC.

Speaker 9 (32:03):
Sign.

Speaker 2 (32:04):
Mind you graduated from he graduated with my brothers. So
like I'm fully aware of like yo, this right. He
talks Mike Michael Bivens into letting us pull up on
him at some restaurant in New York. Go to the restaurant.
He like, man, I don't remember you, man, I mean,

(32:25):
it don't even matter. Man, this is my artist. Ryan.

Speaker 7 (32:31):
He definitely do that to us, for sure, for sure,
you know what I mean saying for Michael Rivers in
the restaurant.

Speaker 2 (32:43):
You know, Mike was he was like he said he
would have signed me. He was like, but I'm gonna
keep it real with you. He's like, if I sign
you now, you're not coming out for like another two
years because I got, you know, some other people in
the lineup. He was like, when I signed boys Men
was signed for like two years before he dropped, So
you know, just little stories like that, like and then
we was doing all of that for a while, and

(33:05):
then we landed in the office of Kenny Ortiz, who
was an R at RCA Records. So Kenny was like
he was he was fucking with me heavy. But at
the time he was like, man, I got this this
young girl group called STBV. I'm working on them, you know,
and these three little black girls sitting on the couch.
You know what I mean, How you done? You know
what I'm saying. He's like, yeah, I'm working on their

(33:26):
project right now, developing these said yeah, you know, he
was at the time developing these young producers called the Neptunes,
you know what I'm saying.

Speaker 1 (33:35):
And so Kenny, he said, all.

Speaker 2 (33:38):
Right, just how we knew we was we was getting somewhere.
Kenny was like, you need a professional demo. So he says,
so I'm gonna sign you to a demo deal. You
remember demo deal. So he signs me to a demo deal,
twenty five hundred dollars, gave us twenty five hundred dollars. Said,

(33:58):
I want y'all to go make a demo. Go record
some songs, some professional producers, some professional writers, whatever, whatever, Okay, cool.
He sends us to Patterson, New Jersey. We go work
with a production crew. I think they were called black
Hand black Hand Productions. We go to the studio. Preachers
of the said, yeah, we got got our writer coming in.

(34:21):
He's gonna write you, you know, write the song for you.
Writer walks in the name something. My name's Joe. Joe
wrote my first demo. Wow, wow, wow, young fresh face,
young fresh face, and his name is just Joe. Yeah,
just Joe, yeah right, just young fresh face, cold ass singer.

(34:42):
He write the joint references it. I go in there.
I sing. Also learned too that that that game of
like you know, the song ain't yours, little nigga, you
know what I mean? I learned that game and learn
that rule real fast too.

Speaker 1 (34:54):
You watch something from your demo, go somewhere else.

Speaker 2 (34:56):
I mean that song that Yeah, my demo record was
on his album that next.

Speaker 1 (34:59):
Oh okay, yeah, because yeah.

Speaker 2 (35:02):
Yeah yeah, And I actually I fell in love with
that part of the game. I want to do that.
And I always knew that early too. I was like
it because because of the stage fright that I carried
when I would meet the Joel's, the Gerald Busby's, the
you know, the different the Divante's and you know what
I mean, I was like, I want to be that guy.

(35:24):
I want to be the guy on the other side
of the desk. I don't want to be the nervous
artist that got to sing and make you like me.
I want to be the nigga that swivel around in
the chair with you know, with the jewel and what something.

Speaker 8 (35:36):
You know.

Speaker 1 (35:37):
They like what you're doing.

Speaker 2 (35:38):
They all talk like this, you know, I mean yeah,
so you know what I mean, what you got is good.

Speaker 1 (35:41):
But like I was like, what is that tune? Executive niggas?

Speaker 2 (35:46):
You know, they fresh they got on like the you
know the night.

Speaker 1 (35:54):
I hate it.

Speaker 2 (35:54):
You know, I love I love what we was doing.
But it's like, man, you go to these big offices,
you know what I mean, and I'm just like the
artists trying to like I was like, fuck, that ship up.
I want to be that guy everywhere you're always auditioning. Yah, yeah,
you always gotta write. And I was like, so that
started welling up in me and with Marvin saying you

(36:16):
can be that because you can write, and I was like, yeah,
you know. And then like you know, even how you
know the young Joey walking to they just got a
certain bot to it, like I'm here to make make you,
make you nice. It's like, damn, how do I be
the guy that makes somebody nice? He's sitting at the
board forty eight track, you know what I mean, sitting

(36:38):
at the SSL And it's always about that swivel around
in that chair when they swivel around.

Speaker 1 (36:44):
Yes, I did. I couldn't wait to.

Speaker 2 (36:49):
Childhood all the time.

Speaker 1 (36:55):
I got this.

Speaker 2 (36:56):
I swivel.

Speaker 1 (36:59):
Got to say it like you know, that tone of voice.

Speaker 2 (37:02):
It was the swivel, It was the way it was
the nonchalant like I do this all day. You know,
you're like the tenth artists that's coming. The manager is
like begging me to you know, everybody's begging me to
let some of the magic. Some of the magic.

Speaker 7 (37:19):
Guy.

Speaker 1 (37:19):
Yeah, So I wanted to be that. I wanted to
be that you said, I wish I had more time.
I wish even even the Michael bibbins like, yeah, I
could work with you.

Speaker 2 (37:28):
But it was just like, Yo, these niggas are so
fucking what the do they have?

Speaker 8 (37:32):
Like what is that?

Speaker 2 (37:33):
I want that thing that they got, you know, and
this is in the nineties, so this is like the
dawn of like the black hocket. This is the Puffy era.
Now you know what I mean. It's not just stuffy dudes,
but it's not a young are the Michael Michael because
he was he was the poor He was Puff before Puff,
that's a fact.

Speaker 1 (37:53):
Mike Bibb was the guy to fly.

Speaker 2 (37:56):
So so whatever that young black power figure that's from
my era that looked like me. That's hip hop but
he's corporate somehow or.

Speaker 1 (38:08):
Executive, but hip hop but young. And you know what
I mean, I was like, I just I want that.

Speaker 9 (38:13):
I need that.

Speaker 2 (38:14):
I wanted that more than I wanted the stage, you
know what I mean. So but obviously to get there
with my route, it was like I was going to
stage route, which was fine. So moving from there after
Kenny saw me, we did the little demo and then
Boom a year later, those three little Black Girls had
the hottest song on the radio. Mind you when we

(38:38):
after the Michael Bivens meeting, Michael he invited us to
his birthday party that night. So we go to Michael
Bivens's birthday party and like all the celebrities, you know,
everybody there that's you know, the heavy ds and the
Sherry Carters and Donnie Simpson's and boys, the men and
grand Poobas. What's up shorty? Yeah, I'm fourteen years old?
Mind you in this club and this party, Marvin, you

(39:01):
know what I'm saying. A Grandpooba from Brand Nubians.

Speaker 1 (39:04):
Is like, so sure, are you having a good time?

Speaker 8 (39:07):
Yeah?

Speaker 2 (39:07):
Yeah, cool? Okay.

Speaker 1 (39:08):
He was like, hey, man, come here, I want you
to meet somebody.

Speaker 2 (39:10):
It's my home girl. Her name Mary. She's a singer too.
Hey how you doing okay, little black girl named Mary.
A year later, like so when I started, I was like,
what is this magical that happens where it's like you

(39:33):
meet somebody, it's just they, And then a year later
it's magic and everybody's young and black and fly and
the music is incredible. So that was when it was like, Okay,
I'm in it now. This is what we gotta we
gotta really turn this ship up. And I think it

(39:53):
was Yeah, Kenny Kenny found out about the auditions for
Sister that Disney and touched on We're looking for kids
that singing and dance, and originally they was I was
just auditioning to be in the just so or background shit.
And I ain't never acted before. I wasn't thinking about
no movies or nothing like that. I wanted, you know,
Tevin Campbell. I wanted to be Tevin Campbell. That was

(40:15):
another thing too. Everywhere we went, it's like, ah, man,
you're really dope, but we just signed this kid named Tevin,
And oh man, you're really dope, but we just signed
this kid named Jason Weaver.

Speaker 1 (40:26):
So it's like I kept you know what I'm saying,
you know what I mean.

Speaker 2 (40:33):
So so I'm watching all these little stars and starlets,
you know what i mean, pop off and h Kenny
was like, go to this audition. I was like, audition.
I don't want to be no actor, man, I'm trying
to get a music video, you know, Tevin Campbell. And
he's like, just go to the audition, try it out.
You'll see, all right. Cool. I ain't had no agent.

Speaker 1 (40:56):
I wasn't in sag you know what I mean.

Speaker 2 (40:58):
But that's how me and Marvin rolled when had ship.
We never gave a fuck. It was just like we
just you know, gorilla with it. So they got me
on the list and I went in there. All these
kids in there, you know, little actor kids, and you know,
ready you know, the whole thing, stretching ballet, and I'm like,
what the fuck looked like fame somebody, you know what

(41:18):
I mean.

Speaker 1 (41:22):
And now going to the audition. They even told me,
like Marvel's.

Speaker 2 (41:26):
Like, listen, if if if if, they're real cold and
short with you, you know, kind of like, you know,
all right, thank you. Next he was like, you know,
don't don't take that Noway, just just go in there
and do your thing, all right? Cool? So I go
in there. The lady I'll never forget she she was
sitting at her desk. She had a little tripod set
up with her camera. She never even looked up at me. Name, okay, age,

(41:48):
all right, stand on the X. Okay, you got you
got some line? They had some little generic lines. Read
the lines, Read the lines. Then she uh, okay, you
you got a song? You're gonna sing? So I sang
uh like I said, I feel like you know, I
feel I say that. I was singing that in in

(42:08):
Churchill Town, so I sing I feel like going on.

Speaker 1 (42:11):
So that's not just a song from five Part Beats.

Speaker 2 (42:16):
No, I grew up in a different kind of.

Speaker 1 (42:28):
Cooling on different Edi wrote that.

Speaker 2 (42:42):
Man came wrote, shout out to Eddie, shout out to Eddie.
I sang that song. And and the lady she stopped,
she stopped the camera, she took her classes off. She
started crying in the in the audition, and then she

(43:03):
was like, she said, oh my god, that voice. She said,
I gotta hug that voice. She come around from the
desks and the camera, come over to me and hugs
me tight, crying, oh my god, oh my god, that voice,
that voice, Oh my god. And so I'm standing there,
this lady squeezed me, and I'm like, is this how

(43:26):
auditions go?

Speaker 9 (43:29):
Like oil the oil?

Speaker 2 (43:34):
So yeah, So after that, I think I had about
seven callbacks, seven callbacks, and the last callback was in
l A. And mind you, when I'm coming to these callbacks, nigga,
I'm seeing that Tevin Campbell's coming in Tatiana, Ali like
all the all the hot motherfucking Tony Thompson from High

(43:55):
five like the guy. Yeah. So I'm thinking like, oh,
ain't no way, I'm getting this ship, you know what
I mean. And then uh, but no, they kept calling
me back, and then it got down to the last
two kids. Was me and this other kid named Chad
Shepherd who was actually a good friend of mine. And

(44:17):
during I never forget, like Bill Duke would be coming
up with the character in the auditions.

Speaker 1 (44:22):
I'd like, do little lines.

Speaker 2 (44:24):
Then they'll huddle Bill Duke and the producers and his
throw Laune hey man say this. So I'm thinking a
shot right where we can come down and we can
do and catch him with the coofy on Like they
was like developing this character, you know what I mean.
And that was going on every audition, and they underknownst
to me. They were like creating a role for me.

(44:57):
Then it was like, you know, we was really in
the game, and and uh, City House started toring like
crazy and singles and nominated for a Grammy and going
you know, around the world and stuff like that, and
then uh and then you know, we then we kind
of hit a pocket where it was like it wasn't
gonna work no more with the group when we started
working on the second album, so I decided to just
fall back on my pen game and me and me

(45:19):
and drean Dal link back up after like a number
of years or not not really talking, you know what
I mean. Then we linked back up and the first
song me and Dre did in the studio, the first
idea was Superstar.

Speaker 1 (45:33):
Hmm, I can already tell what's going to say. I
don't like you.

Speaker 2 (45:39):
Man, attitude is bad.

Speaker 6 (45:49):
We jumped there though, but did you write the City
High Records? So you wrote what would you do in Caramel?
Like the big records?

Speaker 1 (45:54):
From there?

Speaker 2 (45:54):
Absolutely? So I was writing all the songs.

Speaker 1 (45:59):
Wow, I was.

Speaker 2 (45:59):
Writing the songs, you know. And that was what was
That was one of the things that was problematic in
the group because if you remember how the group started,
he was a solo artist. Rob was a solo artist,
and then I come in as the as the writer.
And then now your solo deal is now a group deal,

(46:20):
which seems cool on paper, but it's like then if
your group member now is you know, clefting them is
loving me? I could write raps, I could write this,
and I'm writing, you know, in ten minutes and I'm
writing her parts Richardson, Yeah, exactly so, and I'm stunting,
I'm getting money from other things, and I'm coming to
the studio, you know what i mean, on my little

(46:42):
baby baby Stevie j. You know what I'm saying. But
but it's like and it was just kind of then
it's like the animosity started.

Speaker 1 (46:48):
To grow because now you're getting checks from the city
high stuff.

Speaker 2 (46:51):
Exactly exactly, just so much when their advances ran out
from the group, I'm still you know what i mean.
So then it was like that's when the competition started.
And that's when it like it was like the animosity started.

Speaker 1 (47:10):
And then uh and then.

Speaker 2 (47:13):
Him, you know, they little that little high school thing.
That was over because now we're professionals. We in the
real world, were adults now, so that was over. And
then like and I'm working with her now and like
I'm the older one and with the bag and we're
genuinely cool and I'm like, right, and I called her
five to five, she five to seven. But I'm like,

(47:39):
Nave does it doesn't translate.

Speaker 1 (47:43):
Exactly.

Speaker 2 (47:44):
I'm like, you know, sing this five five brown, now,
do sunrize it? We spend more and more time together
and so quite naturally, and so that only just built
more animosity and more drama. And then it was like,
you know, and I was at an age and stage
where you know, this is post Omar, like I'm.

Speaker 1 (48:04):
Omar now, I'm I'm the captain, I'm talking.

Speaker 2 (48:24):
You know, it was just different times.

Speaker 1 (48:26):
No, you can't use that as the excuse that it
was just different.

Speaker 2 (48:35):
No you yeah, I listen, But see that.

Speaker 1 (48:46):
When you're sharing that kind of space and that kind
of energy, that's different.

Speaker 2 (48:51):
And if and if and and this is the this
is the big part that people don't understand. Okay, y'all
are y'all are friends, right, it's my brother Okay, but
before y'all became brothers and y'all knew each other, Like,
did y'all immediately become brothers or where y'all working for

(49:12):
a while for each other? Now, Okay, so that ain't
the case for everybody for sure. Sometimes it's like, all right,
I know you, you know me. You know you're not
like that with everybody in the game, right, No.

Speaker 6 (49:25):
Sure, yeah, because you were in a group you didn't
ultimately even want to be in in the beginning. No, right, right, circumstances,
and even the whole plan was always like no, this
was like during the making the band era, So it's like,
what would just do, Like I'm making the band situation,
y'all get together.

Speaker 1 (49:43):
That was kind of like always the plan. They always
promised that, and not for nothing.

Speaker 2 (49:49):
But it's like if if you sort of like begged
me to be in this situation, this group with you,
and then you we put the girl in the group,
and I'm like, I don't really think this is a
good idea.

Speaker 1 (50:05):
It's like no, Na, Na, it'll be fine, it'll be fine,
And then you're.

Speaker 2 (50:10):
Out of pocket all the time because now you can't
handle the pressure of being on the same team with
somebody who's doing more, and so now you taking every
opportunity to wow out whenever the fuck you want to,
and Eddie Kane whenever you want to.

Speaker 3 (50:28):
Yeah, you's definitely you see what I'm saying. Yeah, yeah,
there's definitely nothing you can build on that.

Speaker 2 (50:34):
Like what then? The only reason I guess I was
asking y'all because I'm like, all right, y'all are brother,
So it's a little bit different. But even in a
brother situation, imagine if one of y'all. Let's if he
was like out of pocket all the time with his
lady and you like, bro, like yo, mo, fuck that nigga.

(50:54):
Fuck that nigga. Fuck you too, cause how.

Speaker 3 (50:58):
Many times do you put up with that before you say,
I'm just saying that you don't have to deal with.

Speaker 2 (51:06):
That no more. I'm just saying, like, I mean, nah nigga,
because you know, nigga drinking every day and like the
studio and like I'm the one writing all the songs.
Watch my chair swiffle.

Speaker 1 (51:21):
Eventually the chair swivels, Eventually the chair swifvels.

Speaker 2 (51:24):
But it wasn't even honestly, it wasn't even really. But
it's just one of them things. And I've been dealing
with it for so many years and people so it's
kind of like, well, Bill, well what do you want
to do? Like what am I supposed to do? What's
supposed to happen? Like I think you did, But if
you was already being like it's like if I don't

(51:46):
have countless conversations with you, if I'm like, bro, like
you're doing too much. My nigga, y'all met when she
was sixteen years old. The group popped off like she
was like seventeen eighteen years old. Like what you're wild,
my nigga. You don't treat no little girl like that.
You blacking out on her at parties, cussing around in
front of everybody, You're getting drunk. The nigga was a

(52:08):
cold piece of work way before the group. Don't let
the intervention show fool you. You feel what I'm saying. Yeah,
And that's the part that I would always save and
just be like, you know what, I'll just take the
scarlet letter. I'll be the bad guy. It's fine. I
ain't you know what I'm saying, but like that's just
the fact of the matter. Like you're doing too much, bro,
And I'm just not that. I ain't gonna be. I

(52:30):
wasn't raised like that. I got five older brothers, my nigga,
You feel what I'm saying, I'm raising a whole nother culture.
So me and you be different. And I'm just like
and if we and if you can't handle the pressure,
just say you can't handle the pressure, nigga, Like then, bro,
you like you outshining me. And it's like, nah, fuck

(52:50):
that fuck that nigga. Like you you're talking to me
like I wasn't already doing like I wasn't already working
before I even met you, like you acting like I
need I don't don't. I don't need this clearly right.
So it was just that, and I try to just
stay as cool and as friendly as possible. And then
after a while it just gets to a point where

(53:11):
I mean, you're leaving her at the studio we at
Kleff Studio and East Orange like that's the hood, bro
like and you bouncing and driving and leaving.

Speaker 1 (53:19):
Fuck that ride home with Ryan?

Speaker 2 (53:21):
How many nice is she gonna ride? My mama told me.
You know, my mama used to say, don't mix your
homeboys and your girlfriend. You keep them separate. You understand
what I'm saying, because human beings are just human beings.
And the more you get the mixing in, and the
more they start to feel a little too comfortable around

(53:41):
each other. You understand what I'm saying. Things can happen,
Feelings can occur. You understand what I mean, Especially if
you out of pocket, any woman is gonna start leaning
on your bro little one keep and you're just like, yeah,
it's cool, but I'll talk to him. No, he can't

(54:03):
be more like you and we in the studio all
the time, and we making hit records together. And I'm
older and like more mature, how many I mean, what
am I supposed to do? What was supposed to happen?
So and y'all, I mean I didn't take her, You

(54:26):
let her go, dropped your time, and I mean, I
honestly I don't regret it.

Speaker 1 (54:37):
We had a beautiful life together.

Speaker 2 (54:38):
I married her, I fell in love like it ain't
like a running dunder smuttered, y're out like na, Bro,
Like we was young, We was traveling the world. We
was having this experience and Bro was in a space
in his life where he was just on his He
was on his eddy. Came a nigga. It was like
and so I mean, we was all wilding and having

(54:59):
fun being young, you know, rock and roll life. But
it's like he his was like a lot different. So
after a while, it just kind of just happened that
the more time she and I spent together, and you
know what I mean, it was organic and it happened.
And I mean I apologize for me and him then
fought backstage about it. We don't you know, rowed up

(55:21):
and broke CRD together about it. Like we done did
all that already, so I don't have no regrets. She
and I had a beautiful family too, beautiful kids, Like
we're still good friends like so, but you know, it
just is what it is. And especially back then I
was at I was at a space of my life
where you know, I was I was kind of on
one too in that regard, like you're not just going

(55:43):
to like keep disrespecting me like that, bro, and like
not showing up to the studio, so just me and
her at the studio.

Speaker 1 (55:51):
So a second album never happened.

Speaker 2 (55:53):
It just got to a point where it was like, well,
we can't keep doing this, you know what I mean.
And then if me and her was gonna be together
and like it's like, let's just it just is what
it is. It was just one of those situations. So
and then it was.

Speaker 1 (56:08):
Funny because then years later.

Speaker 2 (56:11):
He's on TV telling like this whole other story, like
like they was like just these happy love birds, and
like I just came in and did, like, nigga, that
ain't what happened. Tell him about the Turner ship and
all that ed it came shit, Tell him about all
that other shit, my nigga, Like you know what I'm saying.
So it's all good now. The album never happened. She
didn't want to do it no more. She was pregnant

(56:33):
with our first son, and uh, and at that point
it was like, all right, well, I'm riding with my shorty.
And then it was like, you know, the group was
over pretty much. And then, like I said, me and
Dre have reconnected, y'all moved back.

Speaker 1 (56:51):
So y'all moved to Philly.

Speaker 2 (56:53):
No no, no, I lived in Miami at the time,
but we were recording the second album in New York. Okay, yeah,
And we were according the second album in New York.

Speaker 1 (57:01):
And then also to like the.

Speaker 2 (57:02):
Second album wasn't really sounding like we you know, like
there was there was something, there was something organic to
the music that Robbie and I was creating together because
Robbie's he's a great producer, musician and everything. You know,
when he's focused, you know what I'm saying, Like, and

(57:22):
so we was cooking up like like he produced what
would you do? You know what I mean? Why why?
Cleff and them told us like, nah, but uh, you
should put my name on as producer because so the
DJs will play it. And we were like, oh okay.
I was like, but you can't. You can't take my
publisher though. He's like no, no, no, no, you keep
your publishing. But so then I learnedable lesson about credit. Credit,

(57:46):
credit is everything. He was like, no, you can keep
the publishing. Need the credit, you know what I mean.
So he was like all right, he was like, Plus,
you know, like Funk Flex and all these DJs in
New York, they'll respect it more if we're walking in
there with a record that say, produced by White Cleft
but an actuality. Yeah, yeah, Robbie produced that. We did
that record in his bedroom. Me and Robbie did that.

(58:06):
And Robbie is he's super talented. But just it just
things got him focused. And so that was that and
uh and uh, you know what's funny, that was the
reason why I didn't want to, like, I don't want
to be in a group with a nigga and his
girlfriend because then if anything happened with them, and then
now I'm in the middle, and it was like it's

(58:28):
almost like it played out exactly was exactly how I
thought it would, you know what I mean, good, bad, whatever,
and different. It's a part of the story. It is
what it is. But everybody's okay. Now, everybody's happy and
healthy now and it's all good. But yeah, so the
album wasn't so we were going in to record the
second album at that point, Like Robbie wasn't even coming

(58:51):
to the studio like that no more, you know what
I mean. And he started making money. He had his
own little crew friends, you know what I mean. I
was living in Miami, like I had my own little
crew for now. We you know, it was like that
new addition shit, like you know what I mean. We
went from all riding in the same bus together, now
we got six different busses, like you know what I mean.
It was kind of like your classic group split after

(59:14):
success story. And then, uh, it was during that time
Drey and I reconnected because there was a time where
you know, I was off doing city high and they
were off being Dre and Vidal. So we had lost
contact for a while, and when we reconnected, Dre was like, yo, man,
I got this new crib, you know, twenty third and

(59:35):
Walnut got this loft. Man, come link, let's just link
up how we used to when we were just like
you know what I mean, just get up, just me
and you bro, let's link up like we used to.
So I go and he was like, come stay at
the crib. So I go stay at his house in Philly.
And literally the first night he's showing me the crib
and then he showing me the studio and then he
started working with the ASR and banging, hitting, sounding different samples,

(59:59):
and then he had do do do bo do do
do do domn down down down on that.

Speaker 1 (01:00:06):
Then he started going through other sound boom.

Speaker 2 (01:00:08):
I'm like no, no, no, no, no no no. I
was like, no, no, no, go back to that one.
Which one? This one here bump bump bump doom bom
bom bom b. I was like, that's it right there, Bro,
Like you sure I got more ship though I got
you know, nah that one. He's like, all right, looped
it up, cooked up a little bit to it, and
uh he gave me the gave me the I had

(01:00:30):
a he had this little eight track digital recorder, only
had like eight faders on it. This was you know,
pre poor tools. So I went up there. I went
up in the loft. He had this cool little loft
space in the in this apartment. Went up there with
that eight district eight track recorder and uh handheld. Sure, Oh.

Speaker 1 (01:00:56):
So that's yeah, the Superstar challenges on your demo.

Speaker 2 (01:00:59):
Yeah okay, all right, yeah yeah yeah levels. Yeah I
heard your stuff man, Yeah yeah yeah, that's so I said,

(01:01:22):
did the did the reference right there Dre's crib Dre
was then Dre said, Yo, this would be fire for Usher.
He said that, and I was like, you thinks So
He's like yeah, he said, La reeve been fucking with us,
you know, fucking with me and dal He was like,
this will be crazy for Usher. And funny thing is
this was in between eighty seven and one. Usher was

(01:01:44):
kind of quiet at the moment, and justin Timberlake was
going was you know what I mean, going crazy? And
so I was even thinking. I was like, Usher, you
sure like just you know, because Usher was quiet at
the moment.

Speaker 1 (01:01:56):
He was like, no, I'm telling you. I'm telling you
all right, bro?

Speaker 9 (01:01:59):
Cool?

Speaker 2 (01:01:59):
You know. He sends it to l A Read I
guess however, that worked out in about two weeks later,
like yo, La Read one flies to Atlanta and we
got to Atlanta. Usher was not fucking with us, boy,
that was nah. Usher wasn't fucking with us for like
a good week like. It took us a minute to
win him over, cause he ain't know us. He's like,

(01:02:22):
who these niggas? You know what I mean? And I
think he was he was also I think he told me.
He told me later on he was like he just
was like in a space where you know, he got
justin Timberlake, cracking off kind of like doing his ship,
you feel what I'm saying, and he's getting all this
like I remember Justin had to cover a rolling stone.
I think it said the new King of Pop, now

(01:02:43):
you feel.

Speaker 1 (01:02:44):
What I mean? And so, you know, Usher was like,
what like like the competition, like all this work I've.

Speaker 2 (01:02:51):
Been putting in, and he you're like, man, like, come on, man,
like all the dancing and all the you know what
I mean? Like he like, man, you know, so us
it was feeling some type of way and he just
was in this space. He was a little stand offish
and it took us a minute to get him to
warm up to us, but he finally warmed up to us.
He didn't like Caught Up at all. He didn't like

(01:03:13):
that record at all. He didn't like call Up. No,
he didn't like that song at all at all. That's
crazy he's like, I mean, it's cool. I don't know.
Caught up like that was like Philly slang. At that time,
nobody even talked like that. That was like some Philly
shit like oh, she got you caught up, she got
you caught up. He was like, we don't talk like
that in a shot. We don't talk like that. So

(01:03:33):
it was we kept playing it for him, working on
it a little more, playing it because he cut, he
cut Superstar, and then you know, we was like, all right,
we're gonna do some more. And then he was like
he was like, man, I need something I could dance too.
And then he left. He left the studio. So Medre
and down Pooper, we all put our heads together and

(01:03:53):
was like, we need to get something with some temple,
like some Michael Jackson shit, like three changes like versus
one thing and then the hook go somewhere, you know,
the three the stink movements, you know. And we cooked
the song up, wrote it, I referenced it, and uh,
he came back heard it. He's like, I don't know,
I don't know.

Speaker 1 (01:04:13):
He was hard man, he was not. He wasn't fucking
with it.

Speaker 2 (01:04:16):
It took us a minute. We took us a minute.
We kept playing it over and over again. Remember Mark
Pitts was Mark Pitts pulled me outside the room in
the hallway at the studio. Was like, nigga, you know
something I learned from Puffy. He was like, Man, I
learned this is show business, nigga. He was like, and
the show don't start when you hit the stage. Like

(01:04:37):
the show start now. He's like, man, that was Pete
Diddy in that room. Right now, he'll be standing on
the SSL horn, champagne on your head talking about playboy.
You ain't fucking with this play boy. You ain't with
this playboy, tzy plake boy. Nigga, ain't trying to get money.

Speaker 1 (01:04:55):
You ain't trying to get money.

Speaker 2 (01:04:58):
So Mark was like, man, I don't care what you
need to do. If you need to order some bottles,
calls some mention, whatever you need to do. You need
to sell this record. Wow, wow, come on, Yeah, Mark
gave me the.

Speaker 1 (01:05:14):
Game in your pursuit to.

Speaker 3 (01:05:28):
Two double diamonds, be prince to be prince uh to
liking the women folk.

Speaker 2 (01:05:36):
Yeah, that.

Speaker 1 (01:05:39):
Is the motivation to this thing. Man, Like the money
is cool, and we don't get into this thing for
the money. That you get into this R and B
thing for the woman that started.

Speaker 2 (01:05:50):
I started young.

Speaker 1 (01:05:56):
They tell you they heard yourself. Where you going with you?

Speaker 2 (01:06:02):
Playboy?

Speaker 6 (01:06:06):
Yeah, I'm about to pull that Champagne that publish that,
imagine it Champagne and public Corn.

Speaker 2 (01:06:11):
In the studio.

Speaker 9 (01:06:12):
Top five, your top five, Top five, your top.

Speaker 5 (01:06:30):
Singer.

Speaker 1 (01:06:32):
Yeah, R and B songs, Yeah, already.

Speaker 3 (01:06:39):
You've written some m Dombo Nman you got up, you
got it song you got yeah?

Speaker 9 (01:06:55):
Yeah, Top.

Speaker 8 (01:07:06):
Fi, Ryan Toby, Yes, sir, let me lean in your
top five R and B artists.

Speaker 2 (01:07:25):
Michael Jackson and Prince are at the top. Is that
one and two or one and one? I used to
wish that Michael Jackson played an instrument and I used
to wish that Prince could dance like Michael.

Speaker 6 (01:07:41):
It kind of evens them out, though it does to
a certain degree. Lauren Hill really put me.

Speaker 2 (01:07:46):
Up on Stevie Wonder, like deep cut Stevie, You know
what I mean. So Stevie Wonder, Yeah, I feel like Steve.
I discovered Stevie and Donnie Hathaway at the same time,
so they hold uh similar position for me a little bit.
Michael Prince, Stevie Donnie is like yeah, that's like, yes,

(01:08:10):
I'm gonna just do four and then the fifth one,
and I'm thinking about the females. I'm gonna I'm gonna
throw Lauren Hill as number five. When am I gonna
argue with you? Bar you up? I don't know what.
I don't really know who one of one? All right?
Your top five? Yeah, R and B songs millions by

(01:08:35):
the like, I still listen to that. Now. There's so
many commission songs, but like a commission running back to
you was very affected me.

Speaker 3 (01:08:51):
I've been buying the commission for like, yeah, the last
few weeks, just like tapping tapping back into my Mitchell
Jones come back, yes, really tapping into my I am
here and the.

Speaker 2 (01:09:03):
Old me, and those tones are what shaped us like
you know what I mean. So I'll go there. Then
I'm gonna go where we at. Number three, Let me
go with like Prince beautiful ones.

Speaker 9 (01:09:19):
Mm hmm.

Speaker 2 (01:09:19):
And then number four maybe love you for life, you
know what I'm saying.

Speaker 10 (01:09:29):
Number five go listen to that, right let me number five,
I'm trying to blink and I should sing it all
the time. I'll circle back to it.

Speaker 2 (01:09:40):
It'll come back to me. That will be number five.
These are songs that like I'll still go listen to,
like you know what I mean for me? So my
top five isn't necessarily the most popular songs. It's your
top five. Yeah yeah here t yeah, I already know
my vote.

Speaker 1 (01:09:59):
Tr okay, no no, no no.

Speaker 2 (01:10:02):
So with Voltron, because I watched on other episodes, it
would you how many is it you're taking four artists
to build one? Build one? See? Okay, My Voltron is
a little different. I would do a Voltron with Jodasy
minus Dalvin, with young Tank fucked up like that, because

(01:10:27):
I will I wonder I always wonder what Jodasy would
sound like with three singers.

Speaker 1 (01:10:34):
I know what they sounded like with two.

Speaker 2 (01:10:36):
And I always looked at Boys of Men like they
had more singers, more like lead singers, so that whole
boys the men Jodasy thing was always like dang and
the Dalvin Davante was you know, the cold producer or whatever,
and Dalvin was, you know, brought what he brought to
the table as well. But like I'm like like knowing,
like like you know how you saying, And I wondered

(01:10:58):
like just like three like dark skinned, fucking singing ass
like church ass niggas, Like I want to hear that ship,
Like what because I know you could get off with
the production. That would be like Diary of a Mad
Band Jodasy to let me be clear, Diary of a
Mad Band Jodas. It's like, yeah, yeah, young Tank, that's

(01:11:26):
what my dream. That's where I would do. I don't
really care about nobody else. I'll be like, I want
to see what that group sound like if a third
nigga could come in and.

Speaker 1 (01:11:35):
Get actually a group. Yeah, yeah, I love it though.
It's all those things though. It's it's the voice, it's
the styling, and you.

Speaker 2 (01:11:44):
Produce and you play so too, like like what does
that look like?

Speaker 11 (01:11:50):
Like like if Davante's on guitar and your old kids,
it's like what the fuck is happening and you're singing
and these niggas singing and then like you got the
one verse segment and then you coming on the I
don't know, like I just think that SHI would have
been super raw.

Speaker 2 (01:12:05):
Wow. Yeah, that's crazy. That's crazy.

Speaker 1 (01:12:07):
That's crazy. That is that a reach?

Speaker 2 (01:12:10):
No, that's nuts. That's sign right there.

Speaker 12 (01:12:14):
That's we got a man with a lot of stories,
man live whoa whoa, I.

Speaker 5 (01:12:32):
Ain't saying no nick. I ain't saying no names, no names,
don't say I ain't saying no.

Speaker 2 (01:12:55):
Yeah.

Speaker 6 (01:12:56):
So this segment, it's part of the show. It's called
I ain't saying no names. Will you tell us a story? Ooh,
funny or fucked up? We are funny and fucked up.

Speaker 2 (01:13:08):
Dang.

Speaker 6 (01:13:09):
I got a good one in the Travels Ryan Toby,
I got a good one.

Speaker 1 (01:13:14):
Okay, Okay, you're ready? Are you ready?

Speaker 2 (01:13:15):
Hold on? Hold on, okay, hold on, Okay, I got
no let me see. I'm gonna go aw when you're ready,
because he got announce you.

Speaker 1 (01:13:24):
You gotta be announced.

Speaker 6 (01:13:28):
M Okay, I'm ready. Okay, it's my camera right here,
right now. We're about to get into some real double
diamond ship though. You got Ryan Toby, old, happy motherfucking day.
I know nobody's ever said it that way. Oh, happy

(01:13:48):
motherfucking day. Toby here right now, and he ain't about to.

Speaker 2 (01:13:55):
Say no names. I ain't gonna say no names. I
ain't gonna say no no. But it was a writing session.
This is early. This is early in my writing career.
So this artist came down to touch a Jazz to

(01:14:18):
work with me. Drean Videll and this artist he was,
he was very well known, and uh, he came down.
And this is in two ninety This had to be
maybe ninety nine at the latest, probably before that ninety seven,

(01:14:40):
maybe maybe ninety eight ninety seven. All I know is
that the the Lexus land Cruiser was the hottest car
on the shoe. Lexus Lamb was the hottest car on
the street. And he had the newest one, whatever version
of it that was. He had the newest one. It

(01:15:00):
was white gold trimmed peanut butter guts by so fire
hot does Carl on the street. He come down, he
iced out. We're just like, you know what I'm saying,
this that this ding got this that bull as we said, Philly,
this that bull.

Speaker 1 (01:15:19):
And it was great.

Speaker 2 (01:15:20):
We vibbing, were chilling. We we we we're writing. And
then uh and then it's like, yo, man, let's let's
get out the studio. You know what I'm saying. Let's
let's go get a drink, Let's go, you know what
I mean, touch the town a little bit. So when
we dip out, we all jump in the truck and
we all we go some little spot. We go to
some little spot. Whatever woo. We in the spot were
chilling vibe all right, cool. We just wanted to get

(01:15:43):
out the studio for a second. Now we're about to
head back. We done had a couple of drinks whatever
Da da d were a little you know, we a
little rowdy. We're walking out, were about to leave. I'm like, hey, yo, man,
let me whip this ship.

Speaker 8 (01:15:56):
Man the.

Speaker 2 (01:16:00):
Ship, throw me the keys. All good, we all jumping
whip damn. We this.

Speaker 1 (01:16:13):
Movin.

Speaker 2 (01:16:15):
So we mash it through the city. So I do
that move where you know it was? It was it
was a red light, and it was a car, you know,
two cars in front. So you know, you pull up
just in time for when it turned green and dip
around the car in front of you. But you're not
supposed to do that. That that right turn, that right
pass on the right side. I do it.

Speaker 5 (01:16:38):
Whoo boo boo boo boop.

Speaker 2 (01:16:40):
Police, Oh ship police, damn as I'm pulling over the
police in the back.

Speaker 9 (01:16:48):
Oh.

Speaker 2 (01:16:48):
And it was me and for Dial in the front
and Dre and old boy in the bag. Old boy, guys,
I'm pulling over. He yo, fam my name Darryl. If
they asked like Daryl Brown or some ship. You're not
wait what, I'm looking in the rear, like what did

(01:17:10):
you say?

Speaker 1 (01:17:10):
Yeah?

Speaker 2 (01:17:11):
Bro, my name down and he pulled like a turn
to the side like I ain't in this type and
I ain't really care. It was so fast, and the
cop came, a thing came to the window. I'm like, wait, wait,
what did they just say? No licensed registration? I don't
know where anything is? Because you know what I mean?

(01:17:32):
And Homie got straight.

Speaker 9 (01:17:35):
This is a non non.

Speaker 2 (01:17:39):
Like he got straight silent Daryl Brown. So I'm like,
what the fuck? So I'm me and dal trying to
find We don't know where nothing's that. We hitting wind
shild wipers and dazard lights and clearly just say in

(01:18:00):
our cars, trying to find it, trying to find it,
glove compartment whatever. So then Darryl is like, it's in
the It's in the you know, in the thing under
the thing whatever. So I'm like, what the you know
what I'm saying, So go in, We get these little paperwork,

(01:18:20):
give it to the give it to the to the cop.
He go back ship right here, he go back run
everything cars hot as fish crease. The tags are from
one state. The ven number is from another state. The
name is like of a dead person. Like it's like

(01:18:43):
and he's not. This ain't a rapper. This is a singer,
a well known singer, and so at the time, so
I'm like, yo, but but so when the cop came back,
step out the car, Step out the car. For what
he tells you, this car is hot man. License plate

(01:19:05):
from one state, the vend number from another state. This
from another state. I'm like, oh, man, nah, come on, man, like,
I don't know we got this. This this ain't even
in my car. Bro for whose car is it? So Daryl,
I'm like, I'm waiting for Daryl to like say something.
So now everybody get we all giving out fake nay

(01:19:26):
oh name and my name is Tony and my name
is you know, Chico, and you know what I mean. Whatever.
So the cop be like, all right, that's well, get
out the car. So I'm like, all right, so I
opened the door. I mean, I get out the car.
That niggas still ain't say nothing. So now they trying
to alright, no, officer, ain't you know it's our friend car.
We work at the studio around the corner. He's back

(01:19:47):
there at the studio. He was like, well, you better
go get him, because not he's going to jail. This
niggas still ain't say nothing, so dreamed out trying to
Now we work at studio Jazzy Jeff. He trying to
throw any thing out there to get some love. We
ain't getting no love. We ain't getting no love. So
everybody get out the car and then they trying to

(01:20:10):
like kind of walk with me and negotiate with the cop.
And the cop and then he, you know, other units
them pulled up real fast, and uh, they get it.
You know, now they back up, get on the show
walk you know what I'm saying. You come over here.
You want to go to jail too. So it turned
into this whole fucking thing. So he made them all
walk on, get the fuck out, I'm telling you right now.
Took all your asses jail. Oh. Boys still ain't say nothing.

Speaker 1 (01:20:34):
So I'm trying to hold it down as long as
I can.

Speaker 2 (01:20:37):
Like, I'm like, I don't know. They put me in
the cuffs and everything. Bro put me in the back
of the squad car and I turned around and like
and he's like in front of them, walking in front
of them out.

Speaker 9 (01:20:50):
I'm like, nah, dog, hey, off.

Speaker 2 (01:20:58):
Ah No him right there, the one right there with
the blue coat with the jewelry on.

Speaker 5 (01:21:04):
This is his car.

Speaker 2 (01:21:05):
Fuck that. I'm not going to jail for this. Nigga.
No nigga, no nigga. So we get to talking this,
that and the third, and then the cop was like, well,
who's card man? I man, listen, I sang like a motherfucker.

Speaker 1 (01:21:19):
Listen, I sang several divon.

Speaker 2 (01:21:23):
I don't know you. This is my first day meeting you.
You feel me, and you be straight silient like you
and you walking off first what like even you know
jam Dow. They trying to linger, and they coming up
with most of the story, like yo, it was our
brother car. He had the studio with the studios right
around the corner.

Speaker 1 (01:21:43):
We could go, you know.

Speaker 2 (01:21:44):
Officers. They trying to plead a little case for me.
Cop trying to tell them to move. A home boy
is already walking down the strip. No man, no, no,
that's him. That's him. Aliens.

Speaker 5 (01:22:05):
He signed to.

Speaker 1 (01:22:07):
Exactly exactly heard it.

Speaker 2 (01:22:12):
I mean like I couldn't no, no, no, no, no no.
So I think what happened.

Speaker 1 (01:22:18):
I was in the car.

Speaker 2 (01:22:18):
They never they didn't take me down to the to
the precinct. He just told me what the situation was
with the car, and then he was like well, I
was like, well, it ain't my car, and you know,
like my name wasn't on nothing. And then he was
just like I don't know if I gave him. I
don't know what happened, but he was just like, well
I'm taking the car. I'm in pounding the car. That
was how it all somehow played out, or if they

(01:22:41):
told they was finally able to talk to the cop
and he said, well, tell your brother he can come
get it from the from the from the station something
like that. Tell him he can come get it from
the impound. So they was like, all right, we're gonna
go get him there. Can you can you let my
friend out that He was like hold on it old.
On the second, they just like made me sit in
the car for a minute. I thought they was about
to take me downtown. They ended up letting me get
out the car. I walked back to the studio, get

(01:23:02):
back to the studio. This niggas already at the studio,
like sitting in the studio. Of course, the fuck what yeah,
I ain't saying no names.

Speaker 1 (01:23:21):
Did y'all do the record? We had already did it.

Speaker 2 (01:23:24):
Matter of fact, That's why we went out because it
was kind of like the record was done.

Speaker 1 (01:23:28):
It was fire.

Speaker 2 (01:23:29):
It was just kind of like, all right, let's go out,
you know, a little celebrate type thing. So the record
was already done all the way. And then he hit
me with some man you know, I bought it from
my homie and such and such and man the paperwork
man like he hit me with nigga. You knew he
was riding round because this was back when niggas was
copping them. You know, get like the six hundred SIXD

(01:23:51):
for like twelve thousand.

Speaker 1 (01:23:53):
Niggas is buying you know, cars off the boat you
can get.

Speaker 2 (01:23:57):
Like I have not had car. I was like, so
who I make the payment to to him?

Speaker 1 (01:24:04):
So I'm I'm Duyl Brown.

Speaker 9 (01:24:06):
Right stop, what do I say?

Speaker 1 (01:24:09):
I got it? Okay, I guess what do I I've
had a few yeah.

Speaker 8 (01:24:14):
Yeah.

Speaker 2 (01:24:14):
This was this was during that I remember during that
time like because that was like that was like the
thing that was the thing, that was the thingig wish
numbers find them off the boat yeh D slow yeah, slow,
which which I'm like, bro, why you ain't just say
that when we like.

Speaker 1 (01:24:30):
You know what I mean, like yo, because that was
I funked up the flows.

Speaker 2 (01:24:33):
Yeah, funk up the flows to be like.

Speaker 1 (01:24:36):
You think it's one hundred and twenty, but it's this.

Speaker 2 (01:24:39):
This was early, Like I said, this was very early
in my working with artists, so I was green to artists.
You know that car, I ain't no niggas was stealing
cars or wearing fake jewelry or anything like that. I'm
I'm super young this nineteen ninety seven. I might have
been nineteen years old, twenty years.

Speaker 1 (01:24:57):
Old or whatever that was. So it's like and always
super sweet.

Speaker 2 (01:25:01):
I'm thinking, like, well, you're you're so and so.

Speaker 1 (01:25:04):
You used to sing with so and so, and you
did doing hot Car.

Speaker 2 (01:25:08):
You know what I'm saying, damn and you got the
newest damn nigga. You're getting it like I'm excited. This
might have been my second artist session. First artist session
was with Darius Rutger and uh and and that was
funny because he had to deal with Budweiser from who
He and the Blowfish, So Bud Riser trucks would up

(01:25:28):
to the studio drop drop Bud. Wow, fucking I'm with it.

Speaker 1 (01:25:37):
You guys.

Speaker 2 (01:25:37):
Party you guys party, so like that's artist number one,
and then like artist number two is this guy? So
that was that was my white nigga got a keg
a bud that buddy, because one party bud lights.

Speaker 3 (01:25:56):
You guys want to get wild weird. I gotta I
gotta kick him, but I don't take us anywhere we
want to go.

Speaker 2 (01:26:08):
It's just it.

Speaker 3 (01:26:09):
Yeah, listen, man, thank you, bro, thank you. I mean,
you know, we we we've been family for quite some time.

Speaker 2 (01:26:17):
So you know, for with Jesus do, which turned out
to be with Joe to See, I've been trying to
tell people it's not what would Jesus do?

Speaker 1 (01:26:30):
What Joe absolutely Joe to See to us is kind
of Jesus like.

Speaker 2 (01:26:38):
Jesus so absolutely absolutely.

Speaker 3 (01:26:41):
And you made me record my vocals over. I never
record my vocals over. And Ryan said, I just think
if you just get back in my pocket.

Speaker 1 (01:26:52):
You realized he was double diamond.

Speaker 13 (01:26:54):
He's double diamond when he said re record, re record, Yeah,
I got y'all should add a segment to the show
called Funny Tank Moments.

Speaker 1 (01:27:05):
Everyone has a funny Tank moment.

Speaker 2 (01:27:07):
You should add Funny Tank Moments and make your guess
tell some good, funny tank moments that they had in
their life.

Speaker 1 (01:27:15):
If they yeah, if they know you, I got, I
got a good three.

Speaker 2 (01:27:19):
I'm sure. I was debating on whether to use that
one or not because it's three. I was like, it's
gonna be too long, so I said, I just tell
them about that other guy. My tak moments are good though.
They're funny though.

Speaker 3 (01:27:30):
Ships, drinking, thanking my dad. I have a beverage too.
I would have a beverage to thank you brother for
coming by. Thank you fellows.

Speaker 2 (01:27:45):
Ship, tell me about it. I ain't know. M hmm,
telling me a bunch of ship.

Speaker 3 (01:27:49):
I ain't know, you said, I am telling you going
through the progressions of your story all that.

Speaker 2 (01:27:55):
You know what I'm saying.

Speaker 3 (01:27:56):
It's like, you know, I like, I like what this
is becau because although it is a thing that you know,
we end up you know, uploading or whatever that is,
from the business of it, Like it really gives us
an opportunity to dive, have those deep dive conversations with
our guys.

Speaker 2 (01:28:13):
You know what I'm saying.

Speaker 1 (01:28:14):
You know, our girls like like what you know what
I'm saying, Like, that's that's really cool.

Speaker 2 (01:28:22):
It's cool. It's cool too that the fans, the people
that watch that maybe aren't in the industry, they get
to see that industry, people, artists, whatever, are still human.
They just they have human stories and human situations because
I think a lot of times fans, you know, you
don't think niggas is human, like you did what oh

(01:28:43):
he did? You know what I mean? Or even you know,
like I'm the dude I'm talking about.

Speaker 14 (01:28:47):
He's just a nigga, just doing with nigga, you know
what I'm saying, with some type of those type of
guys doing so It's like it's not that you got
to hold these people in this almost like unrealistic, you know.

Speaker 1 (01:29:00):
And it's a platform like this allows people to see that.

Speaker 3 (01:29:06):
Just tell people all the time, my repossession is the
same as your repossession.

Speaker 1 (01:29:12):
Can the people that call you their money?

Speaker 6 (01:29:15):
Can we confirm that Tank ain't Daryl Brown?

Speaker 1 (01:29:20):
Can we at least confirm that that Tank is not
Daryl Brown?

Speaker 2 (01:29:23):
No?

Speaker 1 (01:29:23):
No, he would have he would have been broken, you
know what.

Speaker 2 (01:29:28):
That's why I didn't want to tell the Holy Great
and I'm like, he's gonna give it away.

Speaker 3 (01:29:35):
I'm not Brown, not bro Listen, man, I don't I
don't even know what else to say about you, man,
outside of you know, you're probably the only guy I know.

Speaker 2 (01:29:44):
It's double diamond.

Speaker 3 (01:29:45):
Oh man, I'm s we respect your craft, we respect
you and love you as a human being.

Speaker 2 (01:29:53):
And you know, we all we had our talking cheesecake.

Speaker 3 (01:29:56):
You know. You know, just retiring ship is bullship. You
know what I'm saying, I need a couple more. You
know what I'm saying, Man like that, you know, put
the double diamond pin and production hat back on.

Speaker 2 (01:30:07):
Absolutely, yeah, absolutely.

Speaker 1 (01:30:09):
I'm out of retirement. I'm going to make I made
my first debut album.

Speaker 2 (01:30:12):
Yeah, man, I'm saying. When I seen you on stage, man,
you know what I mean. You know you already know
my favorite song still is to this day. You know
you know that right that was he played me a
song fifteen years ago and I'm still talking about it
to this day, Like you feel me. So it's like
when I seen you on I said, wait a minute, yeah,

(01:30:33):
knowing when you went you know, you went to the
other side, You went to the corporate side. Things you
wanted to swivel chair. But then your ass is back
on the month on the stage with the motherfuck was
that future? What the color was that.

Speaker 1 (01:30:44):
I meant it was his here's here's a huge I
had the cream on I.

Speaker 2 (01:30:51):
Yeah, I said, man, that and and to know your
brotherhood and to know the journey and then now like
we just gonna go just snap and have fun.

Speaker 1 (01:31:00):
I was about, Bro, that's what's about.

Speaker 2 (01:31:02):
That's the time. Yeah, that gave me that that that
really blests my heart.

Speaker 1 (01:31:06):
Now we really thank you for coming Bro. Like people
don't know. Yeah, ran up on this man in the mall.

Speaker 2 (01:31:13):
This is my real friend in real life.

Speaker 1 (01:31:14):
I threatened him in the mall. Yeah, he was really good.

Speaker 2 (01:31:17):
I was really I was really good.

Speaker 1 (01:31:18):
I'm this is my guy. I've never been aggressive, but
I was very aggressive about that.

Speaker 6 (01:31:22):
And this is before the streets started asking, because we
talked about it a long time ago.

Speaker 1 (01:31:27):
Him coming on to show. He's a very business man.
I mean he's obviously he's double diamonds, so he's living
his best life. It took a minute to get him here.

Speaker 2 (01:31:35):
It's here now, man, now, shout out, shout out to Rube.
You know what I mean, Come on the schedule's right, man.
You didn't put you didn't put. You can't put it
out there now. That ain't gonna be looking up. So
if you want to come on money on this show. Listen, everybody, listen.
These two guys are just the face.

Speaker 9 (01:31:55):
They just the face.

Speaker 1 (01:31:56):
Don't be fooled.

Speaker 2 (01:31:56):
There is there a god.

Speaker 5 (01:31:59):
There's brains, brains the brain.

Speaker 2 (01:32:06):
Quick, let me bring this back. Poochy's daddy name was
Ruben man Ce. Wow, I just had of course Poochie's daddy.

Speaker 1 (01:32:14):
Of course, what else would his name be?

Speaker 2 (01:32:20):
My joke? Do you want to come on? You want
to baby?

Speaker 1 (01:32:26):
What you want to do?

Speaker 9 (01:32:26):
You want to talk to you want to talk to him?

Speaker 2 (01:32:30):
You want to talk to.

Speaker 7 (01:32:38):
Leman.

Speaker 3 (01:32:39):
My name is Time And this is the Army Money podcast,
the authority on all things R and B and one
of the greatest R.

Speaker 2 (01:32:47):
And B challenge of all time.

Speaker 3 (01:32:50):
This is our brother man, and that's the only way
to saying double dime in the building, right, That's fine.

Speaker 6 (01:33:01):
R and B Money is a production of the Black
Effect podcast Network. For more podcasts from iHeartRadio, visit the
iHeartRadio app, Apple Podcasts, or wherever you listen to your
favorite shows. Don't forget to subscribe to and rate our show,
and you can connect with us on social media at
Jy Valentine and at the real tank. For the extended episode,

(01:33:23):
subscribe to YouTube dot com Forward slash r and b
money

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Tank

J. Valentine

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