Bryan-Michael Cox

Yo, yo, yo, should boy, Brian Michael Cox.

Ten time, Grammy, World Winner, Songwriter,

all these different things, you know what I'm saying?

Low key flex.

And you are now watching on that note with Sean Stockman.

Welcome everybody to another episode of on that note.

Of course, as you know, this is the place

where we speak in language we all understand.

And that is music.

My guest today, I always give flowers here.

All right, so just sit back if it's uncomfortable.

No worry about it.

We'll get through it.

We'll get through it.

Okay, all right.

My guest today has produced so many hit records.

It's a guarantee you have at least some of its songs

in your playlist.

You can't even know it.

Like, I know you got some of his records in your phone.

From Jagged Edge, Bow Wow, Urcher, Mariah, Mary, Tony, Justin

Bieber.

Money Long, Kalani, Ariletics, I can keep going, but I'm

going to stop because we'll be here all day.

He's responsible for over 35, 35, over 35, excuse me.

Number one hits on the Billboard charts.

Name producer up the year by Billboard breaking the Beatles

record for the most consecutive hits on the top Billboard

charts.

This guy, she's crazy.

Name one of Billboard's top 10 producers of the decade.

Georgia Music Hall of Fame recipient.

This man has been involved in selling roughly 200 to 250

million records.

Does that bug you out?

Bugs me out because we're just the money part.

We got to figure out.

Okay, right.

Let me go talk about that.

But yes, but the decoration is there, none the less.

He's your favorite producer's favorite producer, period.

Any producer that's out there that's been out 10 years or more, especially in the R&B

space knows about this man has studied this man, has emulated his style, has tried to

write records like him.

And this is no cat.

I'm not blowing this dude up like that is just straight up truth.

I've heard a couple of copies and he has to.

He's a father, a son, an amazing and one of the most consistent musicians this business

has ever seen and one of the coolest, nicest men I know most consistent.

Like one of the, he's never changed for all the years that I've known this man.

This man has never changed.

He has always been the coolest dude, the nicest man, the most sincere guy ever in the industry.

And that's hard to find.

That's hard.

Yeah.

That's hard to find.

Ladies and gentlemen, please give it up for my friend, Talo.

To check out.

You didn't think I knew that, did you?

Oh, we're going to get into that, sir.

I've been doing Taylor's story.

I love it.

I've been doing my research.

As you know, this is what we do with this podcast.

We dig deep.

Let me tell you a little bit.

Give it up for my friend.

I appreciate that.

My mom's going to appreciate that.

I told you mom.

Okay.

So we got it.

We got a couple of questions from moms about that.

So we're going to get into that.

Let's do it.

Let me give it up for Brian, Michael Paul Cox, AKA Brian, Michael Cox.

I love it.

Thank you, man.

Thank you.

Thank you.

Thank you.

It's good, Taylor.

I'm good.

How's everything?

Everything is great, man.

I mean, you know, it's, uh, I'm just in a, in a, in a great season of my life of, you

know, I feel like, you know, I'm just at peace with a lot of things.

You know what I mean?

That's important.

And I'm in a great space.

You know what I mean?

Yeah.

You know, peace is important.

You know, I'm not calling you age out, but you know, we are getting older now.

Yeah, I know.

I'm like, exactly.

You can talk about it.

You know what I mean?

When you understand what peace means, it really regulates more than

just your spirit, but your body after a while, you start to realize that your body just

can't take stress like it used to, exactly.

So peace becomes a, a mandate like you component.

You gotta have it.

Like you, you gotta have, I was just telling Brian that, uh, on my tour bus, yeah, with

with this tour, like if you ever go on my tour bus, it'll probably be the most Zen bus

you'll ever hear.

I believe it.

You're going to hear John Coltrane.

You're going to smell candles.

You're going to have healthy snacks in the family.

Like the whole night, bro, like, like, like it's, is I'm really on just trying to stay

in that nucleus just, just to not be and be around any chaos to implement peace wherever

I'm at, especially if it's my environment, because it's important for our health, not

even just mental health.

I was just off physical health.

Yeah.

It's so important.

Yeah.

Um, it's funny.

I was talking to, uh, uh, my manager Chris Higgs yesterday.

I called him after the, after the brunch and after the show, and he was like, we were just

talking about, you know, the past and just the journey, and he said to me that, that

actually made me laugh.

He was like, yo, I, I'd be seeing you in pictures now.

He was like, man, I could count, I can count your teeth.

You just, you look happy.

Yeah.

You're like, you know, he's like, I can, you know, he's like, I, you look like, you

know, we, we, we go through trials and tribulations, but he was like, overall, yeah.

You are probably, like, Chris has known me the longest, you know, I mean, as far as, and

you've been his business, he's the first person, you know, my first manager, he's still,

you know, with me to this day.

And he was just as long as I've known you, you know, like, at this point, it is just,

I love the seed that you're in this space, you know, you know, I was just like, in fact,

he can see that pictures.

Yeah.

He has a lot about where my life is.

Yeah.

You are what you eat.

Yeah.

And that's talking about spiritually, too.

100%.

If, if you consume in a bunch of negative, it's going to show on your face.

Yeah.

If you're meditating and if you're, you know, smelling roses and if you're eating

better and if you're around friends that make you laugh and you, you know, if you're in

a relationship and that, that person makes you feel a certain way about yourself and

about life and things that nature.

It's going to permeate.

Yeah.

And so God bless you on that, man, let's, let's keep it poppin.

Yeah.

Let's keep that going.

Yeah.

So all right.

Take it low.

We're going, we're going to get into that nickname later on in the end of the day.

But I like to do a segment in every show called, we're going to go back way back, back in

a time because you know, it's important for people to understand who you are.

Like someone, I heard, I think John Mayer say, if, if you want to know, if you want to

know about your heroes, learn about their heroes.

Yeah.

All right.

Yeah.

So, so we're going to go back to, let's say, 10 years old, I like to go to 10 because it's

kind of those formative years where you're no longer really a child, child, you know,

you're kind of growing into what you're going to end up becoming as an adult.

You don't have your own taste.

Yes.

Yes.

Specifically with music.

Yeah.

You're in, what is it, Dallas Houston Houston Houston, Houston, Texas, 10 years old.

What music was being played?

What did Mama play in the house that inspired you that that made you, I guess fallen love

with music?

Who are those artists?

What is that music?

Well, so interesting.

By the time we get to 10, I'd already fallen in love with music.

Okay.

I already had a very clear idea that music was going to be my thing, you know, I mean,

by the time I got to 10, so the 10, I would say, we were listening to everything.

Like I, you know, like my mother, it was a huge contemporary jazz thing.

Okay.

So, I do not hear George Howard and Jonathan Butler, you know, I look very young and George

Duke.

You know, I would hear all of that, right?

And then my mother also was a huge, you know, a huge funk fan, like a huge fan of the

funk.

So, like, parliaments and prints and, you know, yeah, in the Ohio play as a confunction and

things like that.

And it's like, I had a very, very full and diverse musical palette from, you know, my

mother had seven sisters and one brother who spent a lot of time together and each one

of my aunts had a different, a different taste in the music, right?

So I would say I got a lot of like my gospel and all of that from Vivian who was really,

really into, you know, the word and into that kind of thing.

So I heard, you know, were you a church kid?

Yes.

Okay.

Okay.

I heard the wine dance which is small with all of some of the things to do her.

My mother had a very diverse, like, a timbre of music also from like, my mom was a huge

Dubie Brothers fan, but she also was a huge, you know, like I said, Jonathan Butler, a huge

parliament in the late 80s, early 90s.

My mother still was like, you know, we've got to look at the age range, right?

So if I was 10 and 87, my mother was, my mother was 31, you know, I mean, 30 or whatever.

It's still a young, you know, it's still very young.

Yeah.

So you have, you know, hip hop is becoming like prevalent, you know, you have the big daddy

canes and the, you know, the Duggy Freshers after my mom was rocking it at then, you know,

then, of course, there was a new addition, you know, late 80s is a new addition.

And then my mom was huge, huge, you know, Jimmy and Terry was like everything.

So like that from SOS band to, you know, Janet's records, I was on O'Neal, like, I was on

it was like a huge thing in our house, you know what I mean?

So all these, all these different styles of music, you know, came in fruition.

And my any Adrian, who's also one of my godmother's, her, her thing was more smooth.

Like, she liked, like, shoddy, shoddy, and, you know, Michael Franks and Michael Franks,

you know, things that had nature, I got, like, I got that from her in Spauja run.

Yeah.

All that.

I got that from my house.

Yeah, they're right.

Exactly.

Exactly.

You know what I mean?

Yeah.

So, and, like, so each, each one of my aunts, I could say, I mean, the Jackie, who was not

with it anymore, but mine, the Jackie, her style was like, very, very, like, Donald Fagan

and Stilly Dan, Hall of Notes, but then she was a huge Salamar fan, just a lot of records

fans.

All from this, from the silvers, when they signed us so long, you know, you know, all records

that was in her collection, right?

That's great.

She's a huge earth one and five fans.

So, you know, we had all earth with five records, and one thing that's with a comedy,

and I'm a, from everybody's eyes, so yeah, so, yeah, you know, we keep going down, we

keep going down, and I have my, I name Nisa, who is six years older than me.

He's more like a big sister than me.

Yeah.

So we grew up together.

Okay.

You know, being kids in the early 80s or mid 80s, you know, she, she, she turned me

on the records, your music, she liked, she liked to ran to ran, that's that plan, and,

you know, all good stuff.

That's because I, it's the influences all over the place, because we listened to a lot

of music at all times, back then you had to really sit still, right, and experience it.

Yeah.

You know what I mean?

Yeah.

Listen to music wasn't experienced.

Yeah.

So, by the time we get to a place where like, like you said, I'm starting to develop

a more taste, I have this wide vast knowledge already about these different styles, and

crazy.

You know what I mean?

By the time I started to develop a more taste.

Right.

Right.

So I always give this as a great example, right?

Christmas 1990.

Okay.

My mother bought me a portable CD player.

This is back in the, we have to see the plate, put the CD, put the CD, put the CD, put the

CD, put the CD, put the CD, put the CD, put the CD, put the CD, put the CD, put the CD,

and she wanted me three CDs, and this actually shows you the actual range of, well, she knew

my actual palette was.

She borrowed me, Alex Williams head over heels album.

She borrowed me 20, 20 tones to re-bible, and she borrowed me keep sweats, I'll give

her my love to you.

That's a good diet.

So there were the three songs, the three albums that she borrowed me, that for my, my,

to start my CD collection.

You know what I mean?

I mean, my mom was crazy.

Like with my, with my six birthday, she borrowed me with James co-blooded, that was the album

she didn't have such a lot of money, and my first actual album ever in my life was

with James co-blooded.

Yeah.

That's a deep dive right there.

That's, that's heavy for six years.

Yeah, that's heavy.

Yeah.

You know what I'm saying?

Heavy album.

Right.

Right.

Shout out to moms, girl.

Yeah.

So I got to say about a time I was 10, man, you know, like my aunts were already buying

me records for my, like I want to records for my birthday for Christmas.

You know, there was like, you know, I mixed straight A's, we go to the record store, like

I was already, by the time I got to 10, I was already in this, already in this world

of like imagination, it came to music.

Yeah.

Well, shout out to moms, mother knows best.

Yeah.

For real.

Okay.

Cause this always interested me, what came first, vocals of the piano?

Uh, I would say singing came first.

Singing came first.

Yeah.

I would say, I mean, I was super young, but I was a singer came first, like, you know,

when you, when you, when I live with my grandparents and my grandfather's and minister, you

know, you hear somebody singing around the house and he's like, okay, you know, you, you

know, I'm about to put you in quiet.

You got to sing in quiet.

You know, you know, you're going to do something around this church around this house,

you know what I mean?

So it started with that and then, you know, um, I, where, where piano became a thing for

me.

Yeah.

Cause when did you start?

I started.

I'll say roughly around five or six.

And what happened was my, I was a little my grandparents for a year, well, I lived in

Miami for a year and, um, shout out to my cousin, Kendrick Dane, me and Kendrick kids together

and his, his father, his great, his grandfather was the pastor of the church.

To my grandfather was like elder, right?

Wow.

Okay.

Uh, church got a prophecy.

Miami number one.

That's, that was, that's, uh, Bishop Dean.

That was his church.

And in fact, his son actually still just, you know, passes the church.

Yeah.

And there was a guy.

There was a guy, like a young man, but that we call Sebastian, right?

Okay.

He was, if me and Kendrick were like six, Sebastian had him, and I mean, he was like a

nieces Asian.

I mean, 13.

Okay.

Six years older than us.

Yeah.

1213.

He was just, uh, just a incredible piano player.

Yeah.

Organ piano.

You know, instantly a person that you like as a kid, like, man, I don't want to sit by

Sebastian.

Yeah.

I'm going to sit behind him and hear him play.

Yeah.

So me and Kendrick were like, sit next to Sebastian.

And he will let us, you know, because his, you know, church is like that, but like a family.

Exactly.

So, you know, his father was like, you know, like, like an uncle to us and things like

nature.

So Sebastian, and by his, his name, he goes by, everybody knows now he's, he's re-angry,

re-angry.

Mm-hmm.

So re-angry is like a legendary piano player now, he, he, you know, MD, he was the, he was

the angelos band god.

Wow.

He's, you know, he's, uh, he's a legend.

Yeah.

And when he was a kid, he was just, you know, in church playing.

Right.

You know, in there and that was, he was the person that I saw.

I was like, I want to be like him.

Mm-hmm.

I want to play piano.

Mm-hmm.

And then my grandmother, my grandmother already had, Nisa was already in lessons.

Yeah.

My aunt was with, so they just put me in lessons with Nisa.

Right.

Now I wanted to do it.

Okay.

I just started going, we heard it.

Yeah, because it's how it started.

What made you go to Atlanta?

I mean, I always tell the story of my girlfriend at the time was graduating high school.

I graduated.

I graduated.

I was a year out and, uh, she and Robert was graduating the following year.

And I'd already started producing.

I'd already kind of like started the journey.

I was working with Greg Curtis who's not going to be like, you know, huge influence on

me, like a mentor of mine.

And we were planning on moving to LA.

Like the plan was, okay, y'all, you know, I'm going to get as many demos up and you

know, I was going to move to LA and move to New York because Rob was a new Rob was coming

to New York.

Mm-hmm.

And then Greg was coming to LA, so I'm like, and I got to figure out what's what.

And, uh, the last minute Greg was like, yo, you should come to LA with me.

And I was going to come, but, you know, Greg was married, he had children and, you know,

whole family.

I felt like, man, I don't want to, you know, I'm going to be another kid.

Yeah, yeah, yeah.

You know what I mean?

I don't want to be another mouth, another kid.

I want to bring something, I want to do something and bring something to the tape, it was

invaluable.

And I didn't want to feel like I was like mooching off of him.

Right.

And his family.

So, uh, my girlfriend at the time, who I was madly loved with, she got, I mean, she got

accepted to a couple of schools in Atlanta and decided to go to Clark and was like, I'm

going to Clark.

So, I remember, I, you know, I did application, you know, sent off on a stuff, I need to

sit up, a transcript, all that stuff.

I called that midnight train to Georgia and they accepted me and I, and I got my set

this letter and I was off to Atlanta.

And I remember saying to myself, Atlanta is going to be a good, a good balance for me

because I was very intimidated by LA, you know, I had no understanding, you know, only

that I knew about Los Angeles was misted society and boys and hood, you know, I had no,

no, I had no concept of LA.

All I knew it was like gang culture and earthquakes and definitely beach and palm trees.

Yeah.

Right.

I didn't, you know, granted, I started coming out, but I saw a love LA.

But at the time, I didn't, you know, I didn't have any concept and the New York felt overwhelming.

I felt like, this thing is going to be too busy, it's going to be too much going on.

It's going to be, you know what I mean, Atlanta felt like the right decision, just felt

like, okay, I'm, I'm, you know, I was, my family's from Miami and Houston.

So Atlanta's a great mid-middle point.

So if I got to go to Miami, I could take a, you know, go to Miami, whatever it just felt

like Atlanta's a good place.

Make sense.

I was a girl friend at the time was going and I was like, I don't want my girlfriend

to go to Miami.

I'm going to go to Atlanta and get a new boyfriend running.

You know, so I was like, you know, a little bit of that young love, a little bit of that.

And but it felt right when I got to Atlanta, I never get it, you know, I was, I kind of

hit the ground running.

I kind of hit the ground like, okay, I'm here, I'm here, what am I going to do with my

time here?

You know what I mean?

What year was that?

This was 1997.

So I was at Clark at a band scholarship, I was a piano scholarship.

So I was able, my school was taking care of it.

So I did that for my mom, my aunts and then my y'all and I just, you know, I'm on a college

and I'm going to school, you know, and I hit the ground running, you know, luckily that

year that I was in Houston with Greg, you know, he always encouraged me to make demos

every day.

But even if it's not good, man, finish, finish the demo for so by the time I left Atlanta,

I had accumulated all these demos, you know, all these beat, you know, beat tapes and beat,

you know, that's and I was writing songs, I was writing, well, all these ideas and demos.

Yeah.

So I was like, yo, you know, I got hit the ground running.

I called up, you know, back in the day, we had to, you know, the white pages, you know,

the white pages, and of course, as a student of this game, you know, I knew all the studios

I knew the name of studios and engineers names, I knew because I'm going to re-credits,

you open up, re-credits.

Yeah.

Real tough.

So I'm like Atlanta, I, what albums were made in Atlanta, you know, so, okay, cool here,

Herman was made in Atlanta, TLC's, you know, albums were made in Atlanta, so I'm like,

I'm just, I got all these CDs anyway, let me just go through and I wrote out every studio

that I saw in Atlanta, so it was Doppler, Darip, you know, Cedar Lococo, Purple Dragon,

Boss Tan, I was just right, you know, and I went through the white pages and got all these

numbers.

They were all listed.

The only thing that was not listed was Lococo because I found that the Lococo was actually

LA's house.

Yeah, this is house, yeah.

So that's the only, you know, and crosswire wasn't listed because that was Germain's

house.

You know what I'm saying?

But all the other studios were listed, so I just started calling, calling studios like

yo, I want to come in time, we're taking me to the internship.

Right.

I also need an entry point.

I wasn't going to go to a studio and be like, yo, I'm the hottest producer in the

game.

Yeah, yeah.

Right.

I need an entry point.

So I'm like my entry points, I'm going to go.

I'm going to sweep floors.

I'm going to make coffee.

I'm going to do all the things I can do to just get in a room, you know what I'm saying?

And I remember, you know, I would have my routine once a week, which is called the studios,

you know, like I said, every Tuesday, I would call the studios and I remember I saw

fly on the ground.

It was a new time music.

Yeah.

And new time music had, it was like all, you know, our new time, you know, producers,

the hottest producer in the game and the hottest producer was like, Jay Dub, Dent, Jazzy

Faye, you know, all these names.

And it was like, if you're looking for banging beats, you know, call this number and it

was like, you know, singles by and it was like, brandy, what's the man, like, you know,

I was like, well, I don't need to call these, yeah, right.

And I would call them just put them on my list.

So every week, call these numbers every week and new time call me back in the, a lady

name April of call me back and I was supposed to have a meeting and then it never, never

followed up.

So I got, I went back to my list call, call me a week, you know, and then finally, I guess

April had moved on and worked, went to another company.

That's why I didn't get the call back because she moved on.

So I called one time and it's actually Chris's cell phone.

So basically, Dia had all the office numbers or all the calls forwarded to a cell phone.

So I pick up the phone, I call, he picks up the phone.

Wow.

I don't want a cell phone this moment.

Yo, so I'm like, yo, man, Brian, my cox, I mean, you know, calling, you know, for a few

months, trying to get an internship, I talked to April love and then she set up a meeting

and it didn't, you know, I didn't hear back and said, oh, yeah, April moved on.

What, when can you come down to the studio?

So I can come down whenever, you know, so I can meet me at the studio Wednesday.

So I was always, whatever, but cool.

Go meet Chris at the studio.

And at the time, there was another producer by the name of K fam, who was in shot out

the cave.

He was like, my brother, the kid in the fan bro, K fam was in the studio working on something

and kind of working on an idea like, while I'm waiting for Chris to come in, so I'm sitting

on the couch and K fam is working on his beat is ridiculous, he's, you know, he's working

on something crazy, but he's trying to find a chord.

He's trying to be working on the bridge and trying to find a chord and I'm sitting on

the couch.

And I'm like, I know he's trying to play, yeah, I know exactly what he's trying to play

up.

And I want to say it out loud, but I'm not going to say nothing to him.

Chris, right?

And I don't know if he could feel my energy.

He turned out, he said, hey, man, I'm trying to figure this chord out, man, do you play

piano?

And I was like, oh my god, yes, I know the chords.

You know what I'm saying?

And then I went out and I showed him the chords, he's like, yeah, man, that's why I wanted,

man, play that.

I'm about to play that.

Right.

And then so when Chris comes in, we're talking about the internship and I'm telling my

school hours, it's their third and when I could come.

And K fam was like, yo, man, the boy got an ear, though, man, I was trying to find, you

know, trying to find this chord, I couldn't hear it, he heard it, he played the whole sequence

damn, you know, but Chris made it very clear at that time, I'm not looking for no more

producers.

Like, I don't know producers.

Right.

Basically, y'all are already enough.

Right, right, right.

Because I was like, no, I don't want to, you know, no, I just want to get in the room.

Right.

And once I was in the room, one of the first things I did, I was like a co, like a assistant

engineer for Eric Robus' session, that's how Eric Robus' son met my bunch of hair.

That's how I met.

You know what I mean?

That's how all of that kind of happened.

You know what I mean?

And then from there, I was kind of like Eric's engineer and I was making a little money.

And then I saved up, like maybe $1,200 or $1,300, you know, we had kind of kids,

$1,300.

That's a big money.

You know?

Yeah.

I said $1,300.

I was like, y'all get all around my noodles.

You know what I mean?

Yeah, yeah, yeah.

And I was like, yo man, you don't have to pay me no more.

Like I saved up $1,300.

What I want is just access to the studio when nobody's here, you know, can I just want

a key, you know, a security code, you know, I'll do all the work, the same work I'm doing

now.

But I just want to be able to, you'll focus, and it was like, you gave me the keys, I got

to pay you the keys, the code and all that.

And then that's really how, because I didn't know how to use an NPC.

When I was producing with Greg, we were using computers.

So become Atlanta and everybody was using an NPC and I was like, man, I got a lot of

use this thing.

And of course, no studio has an NPC manual anywhere.

No.

So you got to basically cut it on, you threw out of way when you opened up the box, you

got to cut it on, you got to just kind of like go for it, you know, it's how we all did

it.

And there was an NPC 3000, they had a help button.

So you could go through each thing and press help and it would give you a general two

sentence, three sentences of what each region did.

So that's how I learned how to use a drum machine.

And then as time went by, Teddy Bishop and Jazzy Faye, they were, you never know, I think

there's nothing to a lesson is you never know who's watching you.

Yeah.

You never know who's actually saying, oh, something's up with this kid.

Yeah.

Let me keep my eye on him.

Yeah.

Yeah.

Teddy and Jazzy, Teddy Bishop and Jazzy Faye was watching me.

And Jazzy went to noon like, yo, man.

This kid is developing like at a fast, alarming rate.

You know what I'm saying?

You might want to scoop him up right now, because he's going to get good.

And when he gets good, you're going to want to have him in a day, right?

You're not going to want him to get good and then he's going to go, you know what I mean?

And I remember that's what happened, you know, and about the time Jazzy and Teddy would

show me pointers too.

You know, you know, don't have your sample time to that long to get it this way.

Yep.

You should, you know, so they would give me tips.

So you, that's how I knew that I was on or something because they didn't have to do that.

Yeah.

But Jazzy and Teddy are coming like, yo, man, do it this way.

Nice, don't you?

I like that little man, but this how you lock it to sympathy or this how you know, they

would just tell me that's that community that you were talking about earlier.

It's all about community.

It's being inside the ecosystem where people help each other out and they just become

greater.

All right.

Cool.

Jameen.

How did you guys meet up?

Jagged Edge.

Okay.

So Brian and Brennan Casey, the twins.

Yep.

They were not the J.E.

Yep.

They were obviously in Jagged Edge, but also they were being managed or co-managed by a new

time as songwriters.

So there would be a new time all the time, writing the Jazzy beats, writing the J.D.

beats, writing to, you know what I mean?

Everybody's beat Stevie J, but not every now and again, they write to Stevie's beats.

You know what I mean?

Like John Tay.

Yeah.

John Tay and Jagged, you know, John Tay and the twins that would be down here.

John Tay.

You know, that's how we all kind of met, right?

And I remember Chris called me one day, just after I signed, and Chris said, call me, like,

yo, man, I want to, I want to have a meet with you coming out of the studio, I was like,

bet.

He was like, man, I'm going to put you with the twins, like they're asking about you

to want to work with you.

So I was like, oh, yeah, we know what we're, you know, and we started working together.

We were working every day.

So what happened was we just kind of like got joined at the hip because John Tay and

Teddy Bishop was working together a lot.

So they were like a team per se.

It's kind of like what new time was going to do it.

Yeah.

You know, Jazzy kind of bounced around with everybody because Jazzy also wrote his own

stuff.

So Jazzy would work with pretty much everybody, right?

Teddy and John Tay were kind of joined at the hip and then me and the twins were ended up

being like joined at the hip.

Yeah.

I mean, so we work every day.

Yeah.

The twins were signed up, Jameh's published company too.

Okay.

At the time, they were like, yo, we want to submit songs for escape and for, you know,

Jameh didn't just give me the stuff.

I was going to usher album.

I was like, we just want to, he has a list of things he's working on.

We want to make songs to submit for this.

So that's kind of where it started.

Yeah.

You know, it just start like us making an album and start us trying to submit songs to

Jameh for placement of the projects and from how I heard the meeting went, they went

to go sit with them and they're playing the songs for them and he's like, yo, who's

making all these songs, which are, you know, so it's his kid, B Cox on a new time, you

know, they just, he was just in a room making beats and nobody's writing them his beats.

We want to, we just started playing with him and he was like, this sound like y'all

album.

And this don't, these songs, we don't need to sell these songs.

These songs need to be, you know, so that's kind of how it happened.

And it was like, I want to finish the album with him.

So that's how the Jameh happened.

No, not Jagger, it was a J Heartbreak.

J Heartbreak.

A J Heartbreak kind of.

Because Jagger, Jagger came out, got to be, was already kind of like a hit already.

That's what actually saved him at Columbia.

Got to be became a hit.

So Columbia had to kind of like hold off on dropping him because it was like, well, they've

got to hit record now.

We got to, you know what I mean?

Because Jameh last, this year for it was like, he put some money behind the record and

it went, you know, went crazy.

Yeah.

So this next album, that's how J Heartbreak happened.

Right.

And he's, I want my finished album with, with, with Brian.

Yeah.

So I remember, I didn't have no car.

I remember.

Right.

I remember we, Noony and Chris and Ryan took me down to Jameh's house.

And so I met Jameh, he was working on, he was already saying Mona Lisa, he was working

on a remix for Mona Lisa.

And, and that's how I met him in the process of this.

And he's like, well, man, can you come to do them?

Can you come tomorrow?

Yeah.

Because I finished it.

I was like, bet.

Yeah.

The next day, come to the studio, the very first song we write is Keyes to the Range.

That's how, that's how we start.

You know what I mean?

So it was like, and he's like, yeah, I'm doing this, I'm in this film called Into Deep

and Writing Song for the Soundtrack.

You know what I mean?

The main was, it was a Melvin, scamming Melvin in Into Deep.

And he was like, they need a song, I'm gonna put a song on.

Right.

He wasn't in Into Deep.

Right.

Exactly.

Yeah.

Yeah.

That's how.

That's how.

That's how.

That's how.

Yeah.

Yeah.

Yeah.

Yeah.

Yeah.

Yeah.

Yeah.

So that was the first, the very first song we wrote together was Keyes to the Range.

And then, so that's kind of, it comes out, Keyes to the Range as a being a hit.

We get, let's get married.

That's how we get promised.

That's how we get.

Wow.

To those songs.

You know what I'm saying?

So.

And I'll give you an impression that we want to do one, one album.

Right.

I didn't think I didn't know that we were going to be like, be still working together.

You, you, you did a few promise.

Yeah.

He can't love you.

He can't love you.

My favorite is, um, I walked out of heaven.

Walked out of heaven.

Yeah.

That's my favorite J.E.

Yeah.

Um, you said, let's get married.

Yeah.

And we're the party.

Yeah, yeah.

Great.

Tell us the story about that.

Cause I heard some things.

By the way, yes.

That ran radio.

Yeah.

Oh, my God.

Oh, my every other song was ridiculous.

Yeah.

We're the party.

It's so funny, man.

It's so.

It's such a nightmare.

Like for real, for real.

Because.

Got to stand.

Jagged engines coming off the Leskin Mary Remix.

The Remix was huge, right?

Yeah.

Yeah.

So when you have, they got a taste to like, up tempo success with that remix.

Yeah.

They you come back on this next album, they they want to they wanna

They want to attempt up a sample reckon, you know, a man's��or maybe than

Like,

Now we should stay in our lane, you know what I mean?

And, you know, but it was like, no, we got to.

So what a party at How It Even Happened Was initially the first version of the way the

party at featured a dog pan.

Right.

So the first version was done at noon time.

I did the first version using the New York New York beat the DJ, DJ.

Jay Poo, you know, example in New York, New York.

And it was really like gangster.

You know what I mean?

It was like, you know, Dazzle Corrupt is rapping on it.

It's just, it was super, it was way harder, right?

So I remember I went to play it for Jamana.

Like, Yo, JD, I think we did something and I played it for him.

And JD was like, oh, man, this is too hard.

It was like, it's too hard.

It song is too hard.

You know what I mean?

You know, I like it, but it's too hard.

And granted, hindsight's 2020, that wasn't right.

It was like 2000, 2001.

Yeah, like, oh, one, yeah.

So I think that it was still, we were still too close

to the, the shit night thing.

I think I think we might still be in hindsight.

He didn't say that to me at the time, but at hindsight,

that East West, we were still kind of too close.

It was still too, it was still fresh.

You know what I mean?

So I think maybe you may be like, I don't want that energy.

It was still kind of fresh, you know what I'm saying?

So we just, you know, we scrapped the song, scrapped it.

You know, so we're working on other songs.

Me and Jermaine made that beat.

And we were going to write to it.

Jermaine was going to write to it.

And we were like, I'm going to come back tomorrow

and we do something, you know what I mean?

Come back the next day, the twins here to beat.

And they're like, we got something for that.

You know, they were always good for taking songs

that we wrote before and putting them on other.

You know, they always have a stock pile of songs

that we, you know, you know, and they started singing

where the party at on this beat.

And I was just like, this does work.

You know what I'm saying?

This does work.

And the elements of it, I know Das has spoken on this before.

The elements where it's like in the, in the, in the,

in that part, Das and Em did kind of come up with that part.

You know what I'm saying?

Yeah, yeah, yeah.

But it, it jagged, changed the words.

But it was that the cadence was as a dash cadence.

You know what I mean?

You know what you mean?

It was like, you know, we got to put somebody on it.

Right.

The only person at the time that made any sense

was Nelly.

It was like, there's no way we're going to go.

We're going to go.

We're going to, you know, we got to go with the biggest.

Nelly was the hottest thing since the brand at that point.

Yeah, ridiculous.

Yeah.

And I know Nelly from before, because Nelly was

on the BMG Publishing.

And I met him through a guy named Derek Thompson,

who was his, who was his publisher at the time.

And we had put him on, I did a song for some artist.

And we wanted a different perspective.

And Nelly's perspective writing was like just a new fresh thing.

Yeah.

They were like, we'll send that land and have him write with you.

And that's how I mean, I mean, Nelly meant before, you know,

all of that before he blew up, you know, he was,

Chris Gremmer was about to come out.

It was like run on the verge and so by the time we do

where the party at, he's two, she's the biggest

star in the world, you know, and, you know, they pay.

He got paid, he paid him, you know, it was, it was a, it was a nice

figure.

He talked about it somewhere in an interview.

I saw it.

Yeah.

He got a bag for it.

They paid him for the cold, Chris.

Even if he got, if you don't, but it was ROI though.

And it was worth it.

It was, I mean, I say it was a hell of worth.

Yeah.

I mean, Jermaine, Jermaine, I think knew, like, oh, no, I was

pan, because we know this song's something.

100%.

And I was very, always tell people that song, I knew was, you know,

we knew it was something, but how big it was, it really blew

my mind.

Like, I didn't realize, you know, I mean, it was, like, it was

really blew my mind.

Like, it was undeniable.

Yeah, it really blew my mind.

How big that record ended up becoming like, I was like, yo,

we really, I remember hearing it for the first time.

I was like, oh, man, this go, go.

Yeah.

I wanted those records.

Now, we've always applied this, but I never heard it articulate

it, like you, you're the first person that I heard say that the

song is in the conversation, right?

Yeah.

A prime example of that, I believe you use, when you were working

with Jermaine and us, you got a bad, yeah, we got a bad, you

got a bad, you got a bad, that was the first one though.

You got a bad was my first time working with Usher, inside bar,

like Usher was really the only artist I wanted to work with.

Like, you know what I mean?

Like, like, that was 87 to 1.

Yeah, 87 to 1's out, right?

So since then, right?

Like, I was grateful to work with every artist I worked with,

right?

But like, I was a real Usher fan.

Like, I was a fan of him as an artist, as a, you know what I mean?

I was hoping that I would get that call, because Jermaine had a couple

of people in the arsenal, you know, you have Manuel Seal, you know,

El Rock, you got, you know, we got his crew, you know, couple of

people he used for different things.

So I thought clearly because him and Manuel had success with Usher

on my way, that clearly he's probably going to call Manuel for

this man.

Sure.

And I, you know, and my thing is I was prepared for that and was

like, even if he calls Manuel for him, I at least want to be in

the room.

Sure.

You know, just on the side, no, maybe I would press record

on something.

You know, I just wanted to be, I really thought, I think, still

think that highly of him as an artist, you know what I mean?

So I got the call, when I got the call, like, yo, hey,

Jermaine, what should I come to studio?

You know, we're going to start Usher.

I was like, oh, it's the call, it's the call I wanted.

Yeah.

So I was, I was, oh, I was overly prepared.

Like, I basically prepared, you know, I had like a week to

prepare.

So I was overly prepared, you know what I mean?

To go into studio and work with him.

And we getting the studio and we spent like three and a half

hours just talking, you know, and the first hour, I'm like, okay,

you know, just cool, you know, hour and a half goes by two, I was

going to be like, are we going to ever start working on some

music?

You know what I mean?

You were, you were getting anxious to work.

Yeah, I was going to answer.

And then like the last hour, it dawned on me what they were

doing.

Yep.

You know, they were basically talking, they were writing the song,

but they were talking it through.

So basically Jermaine and Usher have this thing where they'll,

they'll, you know, Usher called Jermaine and he'll give him like,

an ideal, give him like a scenario.

Like a subject matter.

Right?

You know, might be something he's personally going through,

might be something he not, but he'll give him a scenario and

he'll tell him what's going on, whatever, whatever, whatever.

And then we'll get in the studio and I,

an unbeknownst to me, I, they've already started having a

conversation.

I didn't know that he, you know what I mean?

And, but when we get in the studio, this is, this conversation

starts playing itself out in real life.

And how we got to, you got it bad was based on that scenario.

Whatever that scenario was and at the end of the conversation,

Jermaine was like, man, you got it bad.

And that's how we talked about it.

We started playing steveys, you got it bad.

And was like laughing at him and, because that in the third

of the end, Jermaine was like, man, we need to just write this song.

Yeah.

You know what I mean?

And that's how, and that kid is how hit record to me.

You have to start with the conversation first.

It has to be an organic, real theme in order for people to feel it.

Because if it's a real scenario and that,

we're reenacted by real people, then people are going to relate

to it immediately, put a nice melody to it, and put two geniuses

in the room like Jermaine and Brian, and they, we whip it up, man.

Well, now see, this is the bad thing about having a gentleman

like him on, on, on the show.

Because we, you got to come back.

You got to come back.

We have so many, you, well, I haven't even touched on the other song.

We just, we just, we just scratched the surface.

I haven't touched on more, Mariah, I haven't touched on money long,

I haven't touched on Ari, I haven't, like, there's a million things

that I gotta ask.

We do one more song with him.

Yeah.

Is there a song that you really love that we can jump into for five minutes?

I think you should get another.

Yeah.

Give us one that I think we talked, we should talk about Mary.

Okay.

We're going to talk about it.

We should talk about that one.

Yeah.

The one that you, yeah.

Yeah.

Yeah.

Yeah.

Let's talk about that Mary record.

Be without you.

So, be without you is a product of, I think, you know,

Johnny and I, I'm a Mary J.

I'm a Mary J.

Tom Mary J.

Speaking of Mary J.

But you would assume that when we say Mary, and you know who we talk about it is,

you know, that, you know, it's not Mary Magdalene.

Yeah.

So, I think that you, with me and Johnny, we're in a real frustrated place.

You know, kind of unspoken to, like, we hadn't, we didn't speak about our frustration

with the music business.

I feel like we had done a lot of things up to that point.

And we still wouldn't get in, like, the respect, you know,

I felt like Johnny Tey had been a done genius work

up to that point.

And the greatest thing right as ever.

Yeah.

And still hadn't got as a respect.

And I feel like we had done a lot of work together.

And, you know, we were kind of getting played still

by executives.

And, you know, when we sent our voice in, you know,

we know people trying to undercut us and try to just felt

we were just in a weird space.

So, you know, in the industry shit.

And luckily, you know, Chris was always our guy, so Chris Hicks was always

there fighting, you know, fighting for our respect, you know.

And we had an opportunity, you know, to do Mary with the call happened

and it happened at a very, very interesting time for both me and Johnny Tey.

And we were just, we were like, okay, like, up for the challenge.

You know what I'm saying?

And I remember we got the call from Ken Doe and Jimmy

and Chris and Damon was on the phone and we

talked through what they wanted.

And I said, okay, I'm, you know, I'm going to figure it out today.

And I always tell people, like, I can make tracks pretty fast.

Like, sometimes they come fast, sometimes it comes slow.

But this track came so fast.

Like, it was like, what is it?

What is the science or how to hit record?

Right?

I was like, Brian, we're not going to play like full lush chords on this.

We're going to write this thing like,

basic elementary things.

What is the three, what is the, what is the, what is the first chord?

What's the basic chords you could play?

You know what I'm saying?

Play it in C major?

Play it in C major?

You know what I mean?

I got rid of, these, I got rid of all my fingers.

I did this.

I'm trying to find the three chords that sound good together.

Like this.

And I can come up with the chord progression.

It's okay.

Now this chord needs to be, it needs to be a melody.

Yeah, so you're opinionated.

So now I got to figure it out.

So basically, I was like, it's so basic.

But it was literally like, what is the most basic thing I could come up with?

What's the most basic drum pattern I come up with?

Boom.

Clap, you know what I mean?

Yeah.

What would, you know, what's the basic I had?

Like literally is the most, I was trying to go as a basic as possible.

Let me pause in for a second.

For a musical genius like him, where music swirls in his head.

Basic is one of the hardest things to do.

It's so hard.

It's so hard.

It's so very difficult.

Yeah.

Because you want to play sevenths and ninths.

Exactly.

You know what I mean?

Very difficult.

But go ahead.

Now I wanted to just add that.

So I come up with the track fast.

My cousin Jason Perry was walking by the room.

I need a bridge.

You know what I mean?

For me, I'm like, I know I'm going to go to left.

So I said, Jason, I need your perspective on a bridge.

So Jason comes in.

I said, I needed to be a little more lush than what I just played.

But basic.

He comes up with the progression.

Now we change it.

Me and Ron Fair change it for the final thing.

But it's still the actual core progressions.

Yeah.

He comes up with the progression.

Exactly.

Four bars.

So I need.

We do it.

I call Jon's on the phone.

Like, Jon Tay.

I think I got the track.

I'm going to play it for it.

I'm going to play a little bit of it over the phone.

Play your phone.

Jon Tay says.

I'm on my way.

I got it.

I'm on my way.

Jon Tay walks in the studio.

I said, play it again.

Play the track.

I'm on my way.

I'm on my way.

Jon Tay walks in the studio.

I said, play it again.

Play the track twice for him.

He said, I'm ready.

Did the whole song.

So I don't know if he was writing on the way to the studio.

I don't know.

You know what I mean?

Whatever it was.

It came so fast.

And I was like, okay.

And then we send a song to Chris.

Chris is like, this is just a smash.

One of my favorite.

And then they play it for Mary and Kendu.

And she cuts the song that night.

Like she hears the song.

She cuts it.

At her house.

You know what I mean?

You know what I mean?

And then.

So now the song gets all the way to Jimmy.

Jimmy who admittedly is like, I'm not really a huge R&B fan.

So I don't know how to gauge this.

Yeah.

Ron Faire is the president, chairman of Geffen at the time.

He's a legendary producer.

And a music guy.

Yeah.

Straight up.

Ron Faire is the song is like.

This song is just a smash.

I can help it get to the finish line for you, Jimmy, right?

Did he mix it?

No, he can be mixed.

You know, they've decided to mix it.

But what Ryan did was he took my strings andbellished a string arrangement.

Took a vocal.

Really got it all the way.

Yeah.

We sped it up a little bit.

He turned me on to new technology at the time.

So I don't even think it was.

It wasn't auto tune.

It was a.

Melody.

It was like new.

Melody.

Melody.

You know what I'm saying?

This has been a little slow through that.

Like literally and he writes, I mean, he brings it up.

We change the bridge, you know, we give it a little more of a hump.

You know, Ronnie's a bronze brilliant.

Yeah.

It was an amazing.

And I was offended initially when they told me that it went around when he took

the record.

I was actually angry because I was like, here I'm about to have a moment and y'all

trying to take it away from me.

It was your baby.

Yeah.

You know what I mean?

I don't want strings.

Okay.

Let me write the strings.

Right.

Chris, Chris Hicks, I keep people like Chris is showing around me because it's a voice

reason. Chris called me and was like, look man, it's going to be the first single.

Right.

We know the song's a smash.

Right.

Get out of the way.

Right.

Knock it off.

Let.

Knock it off.

Knock it off, man.

Knock it off.

Okay, I know you and your feelings, you got your little ego and all that.

You know, because I knew, I knew what the record was and I'm like, man, here y'all go.

Yeah.

You know, I have to share all my other big records with one of the biggest producers

in the world.

So, you know, I never, you know, the credit, the credit, the credit part was always being

shared.

It was always being shared.

And I'm really overshadowed.

I mean, you made the pre, you made the pre, he's a legend.

So, and when you have to knowingly say, I'm going to, this is for the, I'm not bigger

than the program.

The program is your main to pre.

Yeah.

And I'm willingly going with the program.

Now, I'm about to have my moment and I had a few moments in between a little mold, Tony

Braxton.

You know, I had some big moments on my own also.

But, you know, coming off a usher, coming off a Mariah, about to, you know, go into the

Mariah say, this Mary thing was important for me.

Yes.

You know what I mean?

Yes.

And I remember Chris Coleman.

I mean, I knock it off, man.

We're going to, we're going to make sure the credits are right.

We're going to make sure that you are a primary producer, because you are, you know, you're

a primary, you're, you're, you're publishing, you're going to make on this record.

It's going to be ridiculous like shut up.

Yeah.

Well, you know, on a previous episode, we had Eric Bellinger on and we Googled the top

bridges of all time.

Yeah.

And we ended with this conversation and I know you saw it because you commented on it.

Yeah.

Yeah.

What does that make you feel like?

Anything that any list that I'm on, especially the past few years, it feels like a lot of

lists popping up.

You know what I mean?

Yeah.

I'm just, man, it's beyond grateful, bro, like I'm, I'm blessed because it's like, yo,

like, like, to be in the conversation, yeah.

To sit down, you know, next to Sean and be able to have this conversation to sit down

with Babyface at the Billboard House of Hits and be able to say, like, I'm in the conversation

with Babyface.

Yeah.

You are.

You are.

What, what, what a life, man.

Yeah.

You know, feel like we don't just, to be able to call Jimmy and Terry, be able to call

Terry Riley.

Yeah.

These people are about, to be able to call Dallas, like to go, to be able to go to Dallas's

house, to be able to go hang out at a restaurant that one is his nephew owns and we

mean, Dallas is sick to net the bar, take his shots, you know what I mean?

Like, there are perks to this business that doesn't necessarily constitute money, but

it constitutes moments and memories and, and, and cachet and, and those types of things

that, which is, which is what a life, what a life, man, to have, you know, to have intimate

conversations with like a Ron Eisley and Ernie and asked him about certain songs, have

Ernie tell himself, what, what is that, Lannis was about?

Yes.

You know what I mean?

Like, to me, those, those are the moments I live for.

Yeah.

Amazing.

You know?

I'm a, I'm a save my other questions from the part to come back, I will, I will ask you

this because I always like to leave on this note, you see tomorrow, I'm always like to

leave it on this note.

Um, what's your favorite restaurant, be just anywhere, yeah, it don't, it don't, it don't

matter.

Just give me one.

You might have a few, give me one.

I would say, I'm, I'm a huge fan of Mr. Chao, Mr. Chao, me too.

We always talk.

Mr. Chao has probably been mentioned 20 times.

Yeah.

Yeah.

I love Mr. Chao.

Okay.

So you're, you're Mr. Chao, um, in Beverly Hills.

Yeah.

What's your name?

Uh, Mr. Chao.

I'll take my name too.

Okay.

Cool.

All right.

All right.

Um, so you're eating your chicken, Joanna and, yeah.

Yeah.

You're letting it scratch.

You're going to be amazing.

Yeah.

You know, all that.

Uh, nice little glass or something.

Yeah.

You know, the entryway and in walks a younger table, mm-hmm.

He's been looking for you.

All right.

He wants to know what to expect in his future.

Yeah.

He needs some advice.

He needs some jewels of wisdom in order for him to make sure that he's on the right

trajectory.

Yeah.

To get to where you are now.

So it sits across from you.

He grabs one of your chicken sort of tays and, and he's looking to hear you say something.

What would the older becocks tell the younger becocks?

I would tell him that, um, don't sacrifice yourself, a lot of your friends are not going

to understand it, they're not going to understand what you're going to go through in this business.

You're going to try to bring a lot of your friends with you and a lot of them are going to make it.

And you can't, you can't sacrifice your, your life.

I made a lot of mistakes in my younger years, when I first got on at first thought I make money.

I didn't respect the money, I didn't respect or understand what I want to bring all of my guys with me.

And if thing is this, if they don't have the same tenacity and the same, like eagerness to work, you know what I mean?

Like eagerness is one thing to be talented, you know what I mean?

It's going to have to have the eagerness to work and do what it needs to be done.

If that means if you're an artist, you know what I'm saying?

And I got you, you know, I bring you with me, you're older than me, but I believe in you and I bring you with me.

You look, you know the competition, you know, I'm looking at the competition, the same way you look at the competition.

We got to compete.

If you're not committed to your artist, if you're not committed to being healthy and going to the gym, to look like something.

So when we try to sell you, or sell your album, people want to buy it.

If you're not committed to taking care of your voice and taking care of your mindset, when it comes to writing songs, when taking care of your body, you know what I mean?

You know, like everybody's not going to see it the way you see it.

Yeah.

I would say respect the money, because you're going to go broke four times.

You know what I'm saying?

Respect the money.

Sure.

And the friends that have the same amount of tenacity and ambition that you have, take them with you.

Okay.

People who know that you are the program, and they want to help build that program, and then they can branch up a psych with LeBron with his team.

Yes.

Like, if I could do it again, I would have, I would be building, I would have built what I'm trying to build now.

As far as the group of like-minded, ambitious, goal-oriented, you know, go-getters that want to get to the finish line for all costs and not looking for me to hand it to them.

The circle's everything.

You know, the circle's everything.

We have to spy each other.

And I remember, man, a young Brian, I, I got trained, not only emotionally, the money,

you know, people will drain you of your energy, and I, to still, I was still making here records in the moments.

Like, I was telling Chris this other day, I was like, look back on my yo, just imagine if I wasn't like, burn, do you know what I would have been saying?

Like, I was, I was still making, making history in moments where I didn't have nothing to get.

You know what I'm saying?

Like, giving it all to the homies.

You know what I mean?

Or to whatever situation I was in.

Or whatever.

You know what I mean?

So, I would tell you, I would tell them that.

Respect the money.

Be more aware of, you know, when you're in relationships, you know, be aware of the person you're with.

You know what I'm saying?

Don't be so caught up in your own space that you don't even really know what's happening on this other side of the split.

But, you know, I've had some, some really great relationships in the past that went south because there was a level of selfishness that I felt like I had to have to come.

You know, you know.

So, I would, I would either, I willingly accept that selfishness and let that person know that I have to be selfish now.

Or be a little more, have a little more grace with that person.

You know what I'm saying?

Yeah.

Those are the two things I would tell my whole self.

My young self.

Beautiful thing.

Just know that as a fan, I mean, it's a bug out that you're my friend.

But as a fan, like in our circle, you've always been a part of that conversation.

I wish that, and I mean, it's not too late.

I wish that me and my guys were able to work with you more.

Yeah.

Yeah.

We can make that happen now.

Yeah.

You know, I hope that we do.

Yeah.

And even on the side note, there's other things that we can do to help build what we briefly discussed.

As far as the culture, as far as the awareness of good music and good artistry and what it looks like and what it sounds like.

And being able to provide a actual place, a hub, you know, you have it in Atlanta, which is amazing.

It's time to do it elsewhere.

I agree.

It's time to do another places, and it is time to spread it in a way where it's organized, where it's formulated, and it's curated.

Not just within the interim of what we think is is demable good music, but just like you mentioned in the community, what's good in those local areas, what's good and filling.

Yeah.

What's popping in Atlanta?

What's popping in New York?

Exactly.

That's popping in LA.

What's popping in which it all can.

Yeah.

It's wherever it is.

You know what I'm saying?

But to be able to establish the culture again, is where I believe the music changes, and it will change, and the music industry will change, and it'll start when men like yourself.

You've always been a part of the conversation.

You wanted a baddest motherfuckers.

I appreciate you, brother.

You've always created some of the greatest songs that we all sing and dance to, whether in arenas and stadiums and clubs.

Biggest small.

Yes, sir.

You all that dude.

My man, I appreciate you.

Just understand that.

I appreciate you saying.

And understand that you've always been that cat.

Yes, sir.

Because you've established it.

We just briefly went over his discography.

We haven't even touched a surface on what this man has done.

So again, as a friend is my honor.

But as a fan, it is double my honor.

Yes, sir.

That you sound his couch, and you talk to us today.

Ladies and gentlemen, please give it up for Taylor.

Thank you.

Thank you, my brother.

Thank you.

Yes, sir.

Hey y'all.

And that was on that note.

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