Million Dollaz Worth Of Game - MILLION DOLLAZ WORTH OF GAME EPISODE 182: FEATURING BABYFACE

Episode Date: August 28, 2022

FEAT. BABYFACEYou can find every episode of this show on Apple Podcasts, Spotify or YouTube. Prime Members can listen ad-free on Amazon Music. For more, visit barstool.link/mworthofgame

Hey, million dollars worth of game listeners. You can find every episode on Apple Podcasts, Spotify, or YouTube. Prime members can listen ad-free on Amazon Music. Right. Got to get my energy back. Yeah. See, that's when you know you're real old old. When you throw that snap in there like that.

But you got to let it really snack. That's how you know you're a real, I'm a real legend. Somebody told me. Hold up. There's been trouble at home. You heard my little bit in my voice. I heard you. I never talk a lot when we spend time alone.

Yeah. I'm supposed to know. Know that something is wrong. Because we got a right to communicate. Keeps a happy home And no one Does it like me I know

It's young Have the kind of whip a beadle on me Keep on me Whip on me Whip on me He tried to out do me Lift on that sweet Is it loving on me

Keep on whipping on me Now we're going to get straight to this right man We're not even playing We got a legend in the house right We got baby face in the house You're now tuned into Meem, me, me, me, me, me, me, me, me, me, me, million dollars worth the game

Now we're going to hear Who could sing better and who would you sign? We're going to get to the point. Wow, that's hard. Now it's hard, thank you. No, sorry, it's hard because, like, y'all wasn't saying, the words weren't right all the way

But I don't get past that. and uh i'm talking about all right well body language mannerism showing shit both of you were very passionate okay you that um my passion just came off a little different didn't it it came off yeah i don't i can't i can't really say i don't think i would sign either of you at this point yeah not not yet damn i'd probably tell you go back of work out a little bit more can we be background singers you know the background singers that can lip sync all right cool that's cool but that's cool

today listen man y'all look passionate that's the whole point the whole thing it's cool though it's all about the look it's all about the look the look is the hook

but today we got the legend in here baby face you know what I mean and it's funny let me tell you the story I thought baby face Ray was coming

when they said baby face was coming I get a text from Dante 3 o'clock in the morning they say the OG baby face I said damn I thought baby face Ray was coming

you know what baby face Ray is yeah Detroit but he he made it shout out to all the babies. He made it possible for you to call yourself baby. Yes, he did. You got little baby, the baby, baby king, baby face Ray. You got the baby from Cashman. You got a bunch

of babies, right? He made it possible. So we got to do the album called babies. Baby. That's going to be the album. I just need two, three percent for like just putting it together. That's all I'm saying. Like, we're going to do this album. We got to do some songs with these cats, you know what I mean? But you got the new album,

right? And I want to say something. I got to say this before we get started. This episode of me and I was worth a game is brought to you by a new Amsterdam Vaca. Now, life's not going your way. Shout a new Amsterdam Vaca. Caught your woman cheating the day. Shout a new Amsterdam Vaca.

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doing the cocktails with the girlfriends, living it up, man. So shout out to the guy he just bought us a whole truckload of New Hampshire. Yeah, I'm a bunch of, listen. It was a moment in my life where it was, though, I was beefing with you.

I didn't know you, but I was beefing with you because I had an issue. And the issue was this. I used to use your music to set it off. Your music was mood music. To me, I'm coming up, I had the basement hooked up.

I had all the color lights, red, blue, green, I was a basement warrior. I was a basement warrior. You know what that? there's a dude that just live in the basement. So I would bring the ladies down there. I had this couch, you know what I mean?

My home boy, mom was going to throw it away. I got it through it in the basement. I hooked it up. I got the couch and I will play your music. I'll play your music and put a different color light on. Do you know it didn't close the deal? I thought your music was deal closing music to where you're going to get some action. I played your music 15 to 20 times and I had it set up and I didn't get no ass.

It was like, damn. It wasn't the music. It was you, brother. No, what happened? What do you think went wrong? Because I'm asked you this. Was there any other? music that you played where the deal happened.

No, I was just set it off. Basically, most of my losses came from, I didn't play no. It sounds like, it wasn't the music. It was you. It was you. They didn't like you. They didn't like the smell of that goddamn basement. No, I used to spray.

Like the Eagles locker room at the Monday night game. I used to have some Muslim incidents and stuff now. I used to have some instances down there. It was nice. It was cool. The couch was a little rough. But the scene of you, I'm like, damn, I got baby face on. I'm young so it's like I got a baby face

You got a ring light so you can't see all the roof Yeah I throw a little Acapella on some of the joints So it was just it was just crazy But I see you got you know The new album coming out girls now you got Ari Lennox Alamee you know me Kalani Queen Naja 7th Streeter

What came about to the album? Why? The album I did came up after I did Versus. Okay So Versus was you know It was just so powerful I went from I could 300,000 follow was on Instagram up to a million overnight. And it was like, and then I remember going to a drug,

I went to Walgreens or something like that, and then a young girl said she saw it and said she was a fan. She didn't know my stuff before that, but she was a fan. So I just realized I started, I started reaching a, you know, a younger crowd, and I thought I should start trying to do music that also touches them as well. So their verses, I really appreciate the verses, just for, you know, like commending a legend.

Shout out the Swiss Beets and Tim. You know what I mean? Shout out the Swiss Beets and Tim because it really, every time they do one of them verses, it just take people back to a time that, you know, it was a great time in their life, you know what I mean?

Or they was going through something and the music is so memorable that, you know, you forget, like, you be sitting there like, God damn, I forgot Babyface had all of these records. Yeah, yeah. You know what I mean? Yeah, yeah.

And it's just a reminder to, to, how great you was and how great these artists are when they do these verses, man. So I just commend them for even coming up with verses because we went through some trials and tribulations through COVID. But one of the best things that came out of COVID

was versus. I agree. And it gave you a chance to remember how many, you know, you had some live fans out there. You know what I'm saying? Because there's a lot of a lot of times, you know, artists they be just going into their life and they forget that people like, it's a, it's an abandoned audience out there.

that there's like they still like please please like where you at we want to see you we want to hear from you they really be like because you'll see people still playing your old stuff like damn i wish you you know mean and they still be holding on because they don't have nobody to service them based off of the type of music they grew up listening to yeah you so they miss you know what you got certain artists they didn't even know they was there like him they didn't even know he had music out back in the day like nobody knew like he had so people say like hey you the guy from instagram they don't know nothing about no music they're not going say oh we miss you do it do an album

do song they never gonna say that he was in your bar I got people that miss me no anybody miss you you was doing shows and bars for drinks come on man come on don't try to lie he's a lesson he performed the fun of arenas and stuff like that like a real libel he's a real performer this dude's the entertaining the star

you're not you're not even in the cloud you know what I'm saying you might be a fly like flying around or something like that you're not no star but like how do it go you get in the game you you roll for everybody I'm I'm all everybody from Madonna, Beyonce, Usher, Whitney. Who was the greatest person?

Who was the greatest moment that you can remember creating in the studio with somebody that you work with? Who was that person? The greatest. That's hard to say because it's like, you know, I have been in with a lot of great artists and Stevie Wonder to Whitney. So it's probably lean towards those that aren't here anymore, you know, that you think of more.

So I think of Whitney a lot, you know. in the early days and working with her. And we always had a good time. It was a lot of fun. She was silly. She was incredible in terms of just get behind that mic and just sounded like Whitney. And then also working with Aretha Franklin,

going from Whitney to Aretha Franklin, who was like, I just say, I call the greatest singers in the world ever. And so for me to be able to be behind the mic or behind the board and telling them how to sing or what to sing, That was, you know, I pinch myself each time just thinking that I was even there doing it.

Who has the greatest voice that you ever heard? I would have to say, for me, I would have to say Whitney Houston without a doubt. I was on with Whitney, but I'd have to go with Aretha Franklin. Okay. You listen to earlier, Aretha Franklin. It's nobody could do what she does.

And I had the passion that she had and to sit at the piano and play what she plays. People don't, I don't think people really realized how much talent she had in her and how much she could move you. The best way would be if you had to put either of those, anybody in the church, and you sit down on the piano and sing, you put Aretha there, no one's going to. No one's going to. No one's going to touch that.

And I don't think there's any singer alive that would ever say that, they would be outdo Aretha so Whitney as well Whitney had her thing and she was it so I give Whitney number two for me what about as far as other than yourself as far as talent wise when you go playing instruments writing music performing music um as an artist as an artist yeah but also as they might do any everything you know what I mean It was the baddest? Yes. Do I think of the baddest?

Prince. And why was that? Because Prince could play everything. He could, he recorded everything himself. He didn't need anybody to do it. He could go from rock to R&B to alternative. He could, he was just a hell of a musician.

Sometimes you have people that are just stars. Yeah. And, but when you're just talking about time, and the ability to do something, it's hard to, you can't really compete with Prince on that. That's impossible. There used to always be the argument about

who was it between Prince and Michael Jackson. Two different things. You can't, you can't, it's apples and oranges. You can't really. Because Prince done everything. Because Prince did everything. But that doesn't make them better because he does everything.

Okay. Michael Jackson, the thing about Michael Jackson, and I knew Michael was, well but he had besides his music there was something magical about him and something magical that

that lasts forever because to this day kids when they see a Michael Jackson video he picks up new fans that doesn't happen to very many hours at this point we're fans we keep on picking fans every every generation and that's where Michael was special

Michael always wanted to be like the They called himself the King of Popping It always bothered him when they called Elvis Presley the King of Rock and Row or whatever Because it was kind of like everything But Michael, he went beyond Elvis You know, he Because he didn't just have the adults

He had the kids And kept getting kids to the adults He had every fan Everybody at every age group And that's not easily done I don't know who else does that As a fan at every age group you and Mike was close

I wouldn't say close close I'd definitely spend some time with them You got a story about you and Mike That nobody ever heard I don't know I've told Michael's story so many times Well they didn't hear him on this platform I mean I met Michael when he was I guess we were both

14 years old I figured out how to meet him Because I was such a big fan And I wanted to meet them so bad that I called I figured out this thing where I could I saw they were coming to the show coming to Indianapolis that's where I'm from

and so I looked in the newspaper and to see who the promoter was promoter's name was Charles Williams and so I looked up in the phone book looked up every Charles Williams and found Charles Williams number and then I called him and I pretended to be my

journalist's teacher Mr. Clayton and I used to have a I used to do this impersonation to Jimmy Stewart. They acted Jimmy Stewart, and that was my adult voice. And so I talked to call Charles and use that voice. And I said, my name is Mr. Clayton from Wesleyan Junior High School. And I'd love to see if I could, you'd have some band coming in town, the Jackson something.

I don't know. He goes to Jackson 5. And he said, yes, that's the guy. So I had this idea. My students wanted to interview them. Would it be okay if one? one of my students interviewed them. He said, that's a great idea.

Let me try to reach out for the Jackson 5 and see if that can happen. And he said, let me get it. Can I get a number that I can call you back, Mr. Clayton? I said, no, don't call me back. I'm going to give you Kenny Edmund's phone number. You can call him, and Kenny can set the whole thing up. And that's how it happened. So you get down there, you meet them.

I get down there. I meet them. I'm trying to think I'm going to ask the coolest questions, the questions they never add. They've never heard before. I froze up and asked him what his favorite color was and stuff like that because I couldn't think anything. I was in such awe because when I walked inside the room,

you know, they were inside a, just a hotel room, double beds in there. Germain and Jackie were on the first bed and then Marlon and Tito and then Michael was sitting in the corner. And I went straight up to Michael and said hello. And he said hello to me and asked me, he didn't have the his voice wasn't as high as that point um and then he asked me what um you know who i was doing the interview for i just told him it was like my high school and uh he thought i was in college and i don't know i thought that because i had a a letter

jacket from my brother so but it was weird because it was like he was he was very very shy i was very shy myself, but he was extremely shy at that point. And so, we didn't talk very much. I took a picture of it and a little Polaroid of it. And then when I

got home and went on the bus the next day and showed the picture, the girls went crazy and the picture got tore up. So, were you singing then? Let me see, yeah. I was in a little bands then at the point.

Little bands around the neighborhood and stuff. Yeah, yeah. I had a bunch of groups. Well, what was the first group? First group was Indy-5. Indy-five. Indy-five, yeah. Could you sing better than I just were singing at that time?

I think so, probably. Because you're from Indiana. Right. Shout up to Naphtown. You got Mike Epps. Gary, Indiana. No, Gary, Indiana. Oh, you said Gary, not Indianapolis.

Indianapolis, yeah. You got Mike Epps, you got Coach K. people down, you know, from you know, Vivica Fox. A bunch of people from Indianapolis. Yeah, that's what's up.

But go away, so you say, you had, what you were saying about Indy 5. That was like the first group Indy 5 and then. Where you go from there?

What was it next? It was a, Gemini 8. Gemini 8. You were just naming all these names. You just had a bunch of different joints, huh? He was trying to find,

listen, he was trying to fight his weight until he ran into Busy College. He said, You look, you're a baby face. Exactly. Now, it's an interesting question. Why would R&B never die?

Because a lot of people would say, oh, it ain't this, it ain't that, no more, it's dead. I think even he said it was dead one time. But go ahead. I don't know how it could ever die. Okay. And it depends on what are you calling R&B. What is R&B?

Define that for me. It's rhythm and blues. It's rhythm and, and it's a you can hear it you can feel it everybody does R&B whether it no matter like when I hear that when I hear that question about R&B is dead you know you got Kailani that's out there you know selling out everywhere yeah with R&B music and by the way hasn't even doesn't really hit the charts but her stuff streams like crazy and and she's selling out places that this is that a show with Philly yeah

And so, and I love Kalani. Shout out to David Lee. David Ali, I mean, her manager. Oh, it's cool. So you're saying she's selling out, she's doing that thing? So you got Kalani, you have Summer Walker, you know, you got Sizzling. You got R&B that's alive and well and a lot of young artists that are still doing R&B. It's different than the way we were doing it then, but all music changes over the years.

And it's not always Exactly how we remember it The R&B music that we were doing In the 90s Wasn't the same as what Teddy Pendergrass Right Temptations were doing It changes

So it changes this form to a certain extent So I think as it relates to the charts There's always a question with that Between what is pop and what isn't Yeah And that's what I said It's dead I'm talking about as far as how

The record companies Look at it far as selling and chart and then you know the music is great though they have traditionally done that always like um i remember years ago dick griffy told me who was uh over the solar records sold the record so he was on the board of the r iAA and um tell these guys what the ria is for they don't understand it's the recording i think it even uh yeah but it's recording industry association American Association so

I think that's right don't quote me on it but bottom lines they would kind of look at all the records and everything that was coming out and they tried to label what things were well initially when Michael Jackson came out with off the wall it was R&B but when it started selling more than

R&B they tried to take it from R&B and then suddenly he became pop and you didn't want to and people think that being labeled R&B is a bad thing because they make R&B seem like it's secondary to pop because if it sells more, then it can't be R&B. But in all reality, it sounds the same, feels the same, it's still R&B.

When you have artists that, even like Justin Bieber, that are doing very R&B records, it's not pop, it's R&B. Right. And why do you think the companies did that? To take it away from us. To take that thing that we created. and say, no, in order for you to go so far, it got to be this. It can be y'all thing. This episode of million dollars worth a game is bought to you by Two Loss.

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I just think that if something is R&B you say it's R&B no matter what whether there's a white artist performing it or not and you keep it you call it put it in its genre for what it feels like I think that you just get in trouble whenever you start

you try to categorize what something is and what something feels like because then that becomes you know subjective so what white artist was considered R&B John B John B Robin Thick Robin Thick

Way back in the day Bobby Caldwell Okay Certain artists Tina Marie Tina yeah Tina Marie for sure But

Who could say that How can you say that Some of the things that Justin Timberlake Was it got to be R&B Cry me a river That's R&B right there

You know, the feeling with that else, how can you say that it isn't? Right. You know, being produced by Timberlin. Right. Come on. You know, that's, but it's called pop because it's, because it sells a lot.

I think the whole idea of pop is popular. So the more it sells than they. But you take it out of it. So you R&B to you hit four million. Didn't R&B no more. This is pop. We got to protect, as we goes on full. We got to protect R&B.

That's our shit. That's ours. Because right now I see Puff, I see everybody online saying Saying R&B is dead No they're saying it's not dead R&B is popping Puff didn't say that he didn't say it was dead No I did say what he was saying R&B was

Not all right Not dead Okay It's back like it's back they're saying Okay But what I'm saying is We got to protect R&B from what he's saying Because they try to take it out and say

Oh no they can't do that That's some shit we created That's our music We're gonna be I'm just saying like And I'm saying and not you saying I'm just saying it, baby. I'm just saying it. Like, we created this, but as soon as you go a certain level, oh, no, it's not there.

It's that. No, that's our stuff. We got to protect R&B. How about that? I think it, if it was R&B to begin with it, if it was R&B at a half a million, then it's not, it's R&B at 10 million. It's ain't no more. No matter who does it.

Period. But they try to say it crosses over because it's so, so many records. I think ultimately, look, it's interesting because in the 90s, um, that's where the argument could be because in the 90s it was the R&B was as much pop records as well Whippapill was a top 10 pop record

on the Hot 100 normally I think that's just pure R&B yes but that was it was of the top 100 so in the top 10 so and there were a lot of records but all of the Bobby Brown stuff I did and and all of the

songs that I wrote back in the day they were all going and, you know, at the hot one, top ten as well. So it was easier to get, easier to get there at that point. It wasn't as divided. Right. And I think that as we kind of keep creating genres, like the whole movement of hip-hop,

I think that helped them split it up as well. Because there was rap, and then hip-hop just started to kind of come in, And then it started becoming more, there was more singing with it. So that became the same new R&B, so to say. So you either got to pick one, whether it's, is it hip hop or because they don't put, they don't put R&B and they put R&B and hip hop against each other in terms of like that. And they won't put those in the pop genre either. So it's, it all gets like just kind of mixed up, you know.

what's the what's the biggest song you've written to date the biggest song I've written to date I don't I think I mean one of the ones

would probably end of the road you know boy's the mission Philly shout out to Philly yes he put them

got them Philly boys popping too that was the biggest one yeah that's so yeah yeah that one That sold a bunch.

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dollars off your first purchase or whatnot. $10 off your first purchase. What are you waiting for? What not? Bars through sports. Now, let me ask you this. The face records, right?

Because, you know, you have things out here with artists, right? A lot of artists, you want to know about advances in getting into the music game, right? Outcast is some of the biggest artists in the history when it comes to our music, right?

Yeah. They got a low event. They got a nice couple dollars for a van. to get in. If you're talking to artists, right? And advice is you get to these artists because you've got a lot of talented artists, but some of them miss the moment

because they won't sign or they think, I need this large amount. What is your advice to artists when it comes to advances and signing a record deal? I'd say that today, that's a really hard question to answer now

because it's so different today. in some cases artists don't need the labels as much because you actually can you know you don't depend on the charts the same way your streaming is like at this point there

for artists that kind of like like Drake just announced he's putting the album out you said take months to it's about it's about to let somebody know right now you can just a handful of them out i'm out tomorrow and everybody's there right you're selling them right there's streaming it's immediate you don't used to have to have the label right to do that you don't need the label to do that anymore um you need the label to become a star back in the day completely and and and in some cases

you still do today to become a star yes in some cases but then in some cases not because you know just as social media alone. And if you get a little, you got something going, you can build it perhaps by yourself and not really need the traditional things that the labels do. And the whole thing is, you know, when you get in advance,

you got to pay that back. So the bigger advance you get, then... And I think the knowledge of the game today is so far advanced from back then. like back then a lot of them a lot of the older guys they had to take crumbs back then they didn't know the game they didn't they couldn't go

to Google they couldn't just you know what I mean so it was just like either you had somebody good on your team that knew what they were doing or you went through the ringer am I pretty much right I think so but what happened was that um

I think what really started changing the game is when hip hop changed the game. They changed the game in the sense of that they start to figure out how to make money

beyond the music. And so where you have Puff and you have Jay-Z and to where they took what they were doing and took it outside of the music. Brand deals and clothing lines and vodka liquor.

Rihanna and Beyonce they started taking it places where R&B artists wouldn't do the same. even the big pop artists weren't doing the same they really start saying like okay I'm out to make some money I'm figure out how to make some money

and they became bigger than their music and I think that there was the difference and a lot of artists younger artists today they don't need the record companies as much they don't have to go to them for advances because they may get all these kind of deals

separate from them because of the internet because of streaming and everything they're in a different position so if you are if you got a thing if you're a star and you got and your brand is hot it can be a whole different game for you so it is as much about being a star as it is about even just the music alone you know at this point um there are a lot of great artists that just are great artists and and they have to depend on going out on the road to make a living

and hopefully people will still go out there and see them and still support them. It's just one of those things where I saw everything change when I was watching these kids to me at the time just coming in and owning it and changing the game, not just expecting what

the labels were giving us and just telling us what we could make or what we couldn't make. They came in, and said, no, that's not going to work for me. And they started changing the game there. So. Do you think, how important is publishing? Very important.

Like, important to what, you know, because, you know, you get your deal. You might get advance over here, but you still got the publishing right here, the administrative deal or the publishing itself, if you don't sign it away. How important is retaining your publishing? If you can hold on to your publishing, that's everything. There's always deals, and the deals have changed now where people don't give away their publishing as much, but initially back in the

day, signed to a label, certain labels, the publishing was like you had to give it up, just to even be to be signed. Just to even get an opportunity. At least 50%, you know, and some labels, I won't say names,

they took 100%. You know, so the game has changed today. So that basically put the artist solely and I got to do shoes in order to eat or I got to sell a lot

of records. It's a lot of records and some some were able to keep their writers and that's a and some work you know. Holding your publishing is the most important thing that you can do especially if you're a great writer

and you're a prolific writer and you write for a lot of people not just yourself but also other people and because you know you can make a living with that. Because all all the documentaries that you ever see from the OGs, from the they all got the same story, man.

They all were super talented. They all was selling a shitload of records and they all was getting robbed. That's, I mean, that's the case and that would not just be, that wasn't just on publishing a record companies. A lot of times that would be managers and accountants and people that were in the game.

That just was everybody just was out to steal. Did you ever have a bad experience in the game? Like growing up and coming into the game, did you ever have a bad thing? Oh, yeah, we went through a lot of things. Just starting off with, you know, having to give away the publishing in the beginning, you know, signing to a label. So how much publishing did you have to give away in the beginning? 50%. Damn.

Or, you know, when you signed to a label, it was like. So whip a pill, is that 50%? That was, it's not no longer now, but initially, you know, that was part of the whole part of the thing. I think that came trying to think that was when I did that was I off of Solar I was still with Solar I can't remember at this particular point

but there were early songs when you signed up to when you sign up to when you sign up to a label and you had to that was part of the deal you gave up 50% they had 50% of the publishing

you still had some of your publishing but they had 50%. So which basically comes down to you had you had 75 cents out of the dollar so they had 25 cents and so and that was just that was something that was something that

you didn't even get an advance for you know in most cases with a publishing company they'll give you an advance for it and today depending on what kind of advance you can get if you can get something really really good then it might make sense you're talking about advance on the publishing

yes shout out to shout out to Ryan Press Big John Platten on them. Shout up to them. You know, publishing guys. But I want to ask you a question also. If me, you and Gil,

right, we sit right here, we create a record. I do the beat, which would be the sound. I do the beat. And you're all too right. How do the publishing

get broken down? You get 50% off the top. No, I'm asking him. I'm not too. I'm telling you, it's the same shit he's going to answer. No,

the only reason I'm saying that because you never got no publishing money. But go ahead. So, um there's legally there's no it doesn't mean that you get 50% because you did the drums if all three of us are in the room legally i could claim whatever equal percentage but usually in today's climate if you do the beat you get 50% of the public if if if you if that's what you agree that's what you agree so we agree with anything so so the point is a lot of times what

people that are people that write all the time if they go in a room together they say okay let's just split equally because at some point somebody's going to do more and somebody's going to do this right right so those are people that kind of work together on a consistent basis the beat someone can argue that

okay you created the beat but that's not the most catchy part the song that's not the part that's not the part that sold the song could be the hook could be the melody so what's to say that your beat is more important than what I just did what I put on top of it

it wouldn't mean anything without what I put on top of it so I'm not going to go with letting the beat be the main thing so we could say we get 33 and the third if we're doing it all the time we're going in there working for it we're like yo we're going to bust it down this way

do the artists get some do the say if we just write do the artists get a percentage to in some cases the artist depending on how large that artist is you know they could say oh I want a piece of it that happens even though they didn't write nothing

even though they didn't write anything even they have nothing to do with this song being a hit record but in some cases you know if if it's that kind of artist that is going to help sell that record then he's yeah I'm gonna give up percentage you're like yeah hell yeah it's like you know

you want a piece of this and you're gonna support it I'll give up it it makes more sense to give up a piece of it rather than to just say now I'm gonna hold on to this and put it on somebody that don't work so you have to figure it's a song by song basis. All right, so when, when, when, is the most important part of this music thing is the

publishing or the masters? I think, the, the masters are important, too, but the publishing is what, um, they, there's a whole lot more formats where the publishing goes, you know, because it goes in streaming. If it plays on TV shows, if it plays on, that's the master's. you know um the publishing state exists even when someone else someone else redos the song does a song over still get published of it still get publishing of it masters don't have anything to do with that so the publishing lives forever the masters are only what for that performance so the masters only matter if you're hot right if you're

hot or you could be the masters could be great for an artist that you know years later that you're still fine or something, but it's still, once again, the publishing means that can be a lifetime of, you know, making money on. And I'd be hearing people be,

like a lot of companies be coming trying to buy a publishing. If they come to buy your publishing, how do they evaluate, how do they evaluate your publishing? They say, hey, baby face, we want to buy your publishing. They evaluated by looking how much,

how much it makes and how, how, um, how many times it's played on, You know, whether it's still on radio or how much it streams, how many times it gets played on, whether it's TV shows, it gets picked up.

There's a way to look at it and see what kind of money it generates per year, you know, and they kind of do that by a multiple. What's the multiple? It can vary. It can vary from, you know, 10 times to 20 times. It varies. There's no set number. I know they stay coming at you.

They stay office. Well, there's no, I mean, they're always, they're always looking at it, and they come at, and a lot of people have been, um, when selling because they've been coming out with really, you know, big multiples because, and they're doing that because they, because, um, you know, where everybody was scared of streaming before and what it, what it, what it, what it put, potentially meant for the writers and for people that are publishing, you thought that you weren't going to get paid, but in fact, it's turning out. to be a better thing than that and so the future of publishing still looks great and so it's not like that's so they're banking on the fact that it's going to get better so if you sell today you're still taking the chance that you could have maybe made more later so you have to figure that out with some people like the bruce springsteins things and they when they cash it in for what they're they cashing in you know shit well i got now now by you telling me that it even could be five so that's a that's 5,000 10,000 so if I give you this and this is what I'm

gonna do I'm gonna give you a multiple of 20 on your joint so I'm gonna give you $10,000 so I've got it at 500 500 I was going so like it only make like 500 a year so if I give you 10,000 that's a multiple that's why I was trying to figure it out because I made you offer you was like no then so I give you 10,000 cash I give you cash I matter of fact I throw another thousand I give you 1100 11000 cash money just signed it, give me your publisher. See what you that did? I just wanted to know because I'm like, hold up.

I'm going to buy his stuff. This episode of a million dollars worth of game is brought to you by National Highway Traffic Safety Administration. You're hanging out with some friends putting back a few drinks. A few became, a few too many. And as the evening come to end, people start their head out. You think calling for a ride, no. You live nearby so you can make it home. No.

And it's no big deal. To you, you think it's no big deal. It is a big deal. It is. We are at the odds. What are the odds? You'll get poured over. I'm talking about anyway.

You're going to get pulled over. Even so, what's the worst that can happen? Your insurance goes up. You lose your license. You lose your job. You total, your car. Or you kill somebody. And that's the worst.

That's the worst thing that can happen, you know? Everyone knows about the risk of driving drunk. The results are tragic and often daily. However, that still doesn't stop everyone from getting behind the wheel. why under the influence. That's why police officers out there right now looking for impaired drivers on the road to save lives. That's what they did is try to save lives.

So if you think you're okay after, you know, to drive after a few drinks, think again, play a safe, plan ahead, get a ride. Only take one mistake to change your life or someone else's forever. Drive sober or get poured over. This is sponsored by National Highway, Traffic, Safety, administration. Now, let me ask you a question. And Whippapill, right?

Yes. No, now I know. Now, I know how to ask when I go for people publishing, because I want to start buying publishing. Now, Whippoor, who was you talking to? Who was that girl? Who was the woman? No, no. Who was you talking to it? No, I'm never keeping secrets and I'm never telling

lies. And did you keep a secret? I want to make it up to you. Who was you talking to on that song? Nobody. Oh, man. I thought he was talking to. I mean, I didn't talk to nobody on whippapill. Whippapill was something that a word I heard

Pebble say. And when she said that, I said, oh, that's a good idea. I'm going to go write that. And what did she say? Like, but in the conversation, she was talking about Whippel? Well, I don't even said I said that's a good idea.

I'm going to go right that. I just thought in my head. That's a good idea and when I wrote it. But I gave her credit. I put that Whippa pill on his ass last night. He said, oh. You know, she wasn't talking about me. Let's get that clear Have it ever been a situation

I try to clean in us Because I don't get whipped Has it ever been a station where you ran into a whip a pill effect Where it happened to you? Like oh shit She put the whippoor pill on Was it ever a moment of your life A moment in my life

No I never thought of it that way You ain't think of that that way Was it actually that? It happened He's like that shit happened though I'm not to think about that See, that was a smooth answer. Because I can imagine some of the relationships he had.

Did you ever felt like a relationship you was in was going to be forever? And then it was like, ah, and you kind of was like, damn, I thought this was going to be forever. You always think something going to be forever. You know, that's life. And it's not forever. And you think the next one, I don't know that I put it forever on anything. thing at this particular point. You do the best you can do.

See, because for me, I knew, I knew a few of them was just for the night. I understand. I knew they wasn't for life. They was for the night. Well, yeah, I'm not saying that everything was. No, I'm not on that page.

Not on that page. Now, if I'm a young guy out there, and I want to take a lovely young lady on a date, what advice would you have for me? If I'm a young guy watching this and I'm trying to impress a woman and I want to be a gentleman, you know? I want to be smooth about it, too.

Be smooth? Yeah. Where should I take her? Where should I get it? You take her where she wants to go first? Mm-hmm. And you have conversation and you listen. See, listen.

No, shut up. You need to listen. That's the big part. And what else? Well, look, I'm not by any means an expert. So I can only say, you baby feet, man. No. I can only.

The whole, the whole idea. idea. I'm always asked this question. How do I write songs for women? And how have I been able to write these songs? When I was growing up, I was like, I didn't have a bunch of girlfriends. I didn't have any of that because I was like, I was completely shy. I didn't know what to say. I had no idea what anything was. When I first started to get a French kiss, I didn't know how it was actually happening. And then I thought she was just sticking the tongue out at me and and so I lost that French kiss um and so I didn't know anything and so and I but I would like kind of fall in love and get my heart broke because you know they weren't really interested in me so I was like writing songs I was writing sad songs eighth grade from eighth grade on sad as songs and they were like so I kind of knew what what it felt like to be hurt you know And so the reality is that we're no different than women in terms of you. When you get hurt, it hurts.

And so I just wrote down, I would write down how that would feel and wouldn't be any different. So I just started looking at it from the perspective. If they were getting hurt the same way, I felt I could kind of tell how it was. And you kind of write from that perspective. And he turned it. That was legend. He turned some ivory hurt into some platinum rights, man. Now, when you say.

About the date, you say, listen to her, like, you know, take her where she want to go. Do you street, ask her, like, where you want to go? Are you surprised and do something magical stuff? You know, like I said, there's no magic answer because, like, she also might say, I want you to take me somewhere where you want to go. I want to see what you do. I want to see whether you know me. Or she might want something exciting.

She might want something slow. She might just want to go on a walk. You know, it's hard to, it's hard to say. It's different with it. each person. You have to figure out the person. But what is the greatest date you ever took a woman on? Was it a date that just was out of this

world? It had to be one. No, so y'all trying to make me like Superman. Because you baby face like this. Yeah, that's what you were thinking. I was thinking like, like, oh, we see him talking a baby face. He was like, I didn't have new girls. We're like, wait, hold on a fuck of your lie. You got to be telling the story.

You baby face. No, you don't get disappointed. thoroughly there because in order to be a writer and when you're writing songs about pain stuff like that that's not going to be the dude that's getting all the girls

he is not going to be writing those kind of songs well you might could have got all the girls you just might just have been you know sensitive you know I'm a little emotional they do the wrong thing I write about them I think the guys that get all the girls are going to be writing songs more about sex about love oh okay okay that's a that's a deep dream and so i wrote more about love than i wrote about

sex whippapill's probably the only song that i wrote about sex and wasn't even about me it's because somebody said it but most of the time it was really just about love you know so and i think that um some things can feel sexy but it's not necessarily that's that's not what that's not the point yeah but i'm gonna say this though you remix whipapill yeah it was a remix for the new album for the new album we're gonna get y'all little snippet over here

right we're gonna let you out here a little bit of this this is the new album oh oh oh oh

yeah does it like me me man man man man

yeah oh we've got a different feel too yeah yeah yeah What's really want to give you my attention, but it's hard.

This right here. Tuesday, I'm just moving for a loser. Boy, you can't have been a pisser-all. Wednesday's here to miss. I'm back on the fence. Don't know what you'll get. A Thursday, Thursday. Leading up to Friday.

A party up in my place. Whatever you want. This sounds good, too. Listen, we can't give you all of that You're just going to give you a little sample With that, we can't do you all that And that's on the new album And who was that?

That was Tink. That was Tink. Who's all featured on this, this record right here? I'm on that record with her in Tink and that's worked with a Dizzy on the producer. Oh, that's great. And like, it's just magical. Is you going to be shooting visuals?

Is you going to be shooting visuals for this album? We've done a video already for the, keeps on falling with LMA that's coming out actually next Wednesday Okay that's just great man That's what it's about That's beautiful man So y'all be looking for the legend

For the legend new album That's updated man You got Queen Naja you said Queen Naja Also another record's out right now Seemless with Kealani And there's You gotta go through the names

Gotta keep on figuring You got Ari Lennox We got Seven Streeter You got Queen Naja She was on May Nile's River game You know what I mean? was shout out to the queen you got all them you know what queen was on it that's good she was here yeah queen's cool how was it working with the with the younger people and the energy and the

and the vibes how was it um they were good everybody kind of knows was it a difference though like what yeah like from how you do it and then how it is now you know how you was coming up to how it is now is it like was it like a culture shock like oh like different I think the difference is that the girls today seem more sure of themselves about who they are. What they want to say

and what they ain't going to say. Whereas before you kind of could write whatever you would I just write the songs and give it to them. I wrote the songs on this project I wrote the songs with them so it wasn't like

Excel where I wrote everything and just handed it to him. This song I wrote it with them And I had to Right Because they They look at things differently And you needed An up-to-date feel

I needed And not just up-to-date But just who they are Right Because I didn't know who they are Right I didn't know how they would Be thinking

They're feeling And so And they say things In a different way Right That's the change And where R&B has changed How

How you say What you say And when I say Up to date That's what I mean Like the language It's the language It's the culture

Of it right the delivery but the culture of it because like women are are stronger today than they were before they ain't looking for the guy to come sweep them off their feet right the same way they like we we make our own money no it's like so it's like it's a different it's it's a different day there and and i i think it's great because i think you know they're stronger because of it um and so it made it enjoyable for me to kind of be around there and be be around that kind of energy I think that the day of like

I said this before but the day of people wanting to be the biggest star in the world is not everybody's not that way at this point

everybody kind of like one they'll get there their crowd and they stick with it they feel good with they can make their living and do good no one's one like Michael Jackson

he always wanted to be the biggest artist in the world I don't see a lot of that I see people just wanting to stay in their pocket and they're like listen if I can get my pocket of people that love me and I could go and do my shows and I could feed my family I'm

comfortable with that exactly and people really once they get to that point they're not really trying to elevate to the next level they like listen I do I hit my 20 cities up that love me I get my money they make my living

I make my living and because there's so many more people out here in today's society that's making a living off of music than it was back then. True. You know, we got kids every day. Now, you can go on the internet. He got a whole arena rocking, and you never heard of him. You like, wait, wait, then you go to his page.

He got 900,000 followers. You're like, I've never heard of this kid in my life. And then as you're on his page, and you're scrolling down, you're like, wait, he has arenas rocking every night. Yes. And I never heard of this kid. Right. So for today's climate, it's so much easier to become a winner in this music game, to become a winner in life.

You know, you got kids that's blowing up every day from their living room just off of content where they're making content and a content taking off. And they're becoming millionaires overnight. So the climate that we live in is beautiful for the come up. You know what I mean? If you've really got talent, you really can do something. You don't have to depend on record labels. Now, you could just go to social media and you could blow up that way. You can't blow up that way.

And I think the one thing that helps with the record labels is like you get to a certain point and you can't really go beyond that. Sometimes the label can help you go all the way. It depends on if you want to go all the way. Right. Because that's where the difference is a lot of those people get there. And they're like, I don't need you. I'm really making more than enough.

Because you got to start dealing with the label. Yeah, because they tell you to do. Well, they also, they want their piece of it. And, like, why do I want to give up my piece now? Because I'm already making it. Right. I'm doing very well here. So, and it's not important to me to be the biggest artist in the world.

Whereas back in the day, yet people, they wanted to be the biggest thing ever. And the one person that's getting affected the most is the people who just got great music. you know because you got a lot of artists who they didn't have the personality outside of the music they just made great music this is all I want to do I just want to make great music I just want to go in the studio I just want to record and I just want to go play at but now the record labels aren't signing those people anymore because if you don't have some proof of concept if I can't look at your Instagram and you don't have 50,000 followers and you only got 1,600 followers. Forget the fact that your music is unbelievable. It's like, no, no, no, no, no.

We're going, we're going, we're going. Because you've got to have proof of concept. You've got to show us that you're doing something out here. You know what I mean? And a lot of kids, they don't have their personality. They just got the great music. Right. It's, it's, record companies don't have time to develop artists anymore.

That's the bottom of mind. They can't afford it. that's because they can't take the same because they can't take everything like they used to take everything right so and they can't invest in the same way that they used to invest in

because there was so much game and putting out albums and putting out CDs they don't have that they don't have that to play with anymore right so it's straight streaming so they can only help so much but for those that they do help it it works very well so

for that artist that does music that is a very talented artist your best route at this particular point is to try to keep putting things out yourself and trying to make that connection or even you have a lot of artists that are people that are great artists in terms of writing songs that want to sing the songs themselves aren't necessarily

particular stars well consider placing it on somebody that you got that somebody that can make it happen you know because that's that's the thing is that so many times over the years I've seen that happen where you don't want to give up your song and I think of that myself if I had to kept all these songs

that I gave to everybody else I wouldn't have been able to pull it off right you know I've got asked that all the time why didn't you keep into the road because I couldn't have done into the road right right right I could write into the road

but into the road was meant for for wine yeah yeah exactly I couldn't have wine you ate it so and at the end of the day that's when an artist got to determine whether they want light or whether they want money. You know, a lot of them don't give the record up because they think this is going to get me the light.

This is the record that's going to get me the shine, going to get me the credibility when at the end of the day, I just want the money for me personally. So if Beyonce come or Rihanna come or somebody come that I know can make this record go out of here, to me it's a no-brainer. giving a record up well i i would just say to that that artist that young writer is that give that song up because the light will find you yes because you know if you can if you have that talent

you can do it for many other artists then the reality is that's a much better place to be when you can because i can tell you i get just as much enjoyment if i'm doing a concert myself and singing my songs but if i i get just as much enjoyment if i go to mary jay and sing her singing one of my songs, you know, and seeing everybody sing along. Absolutely. Or whether it's Boystamian or whether it's Madonna or whether, you know, any artist that I've worked with to actually see people singing your song with that artist and that artist is singing your song.

That's, there's nothing better than that. And a lot of times, that's how art is getting the door because you just need, you just need the record labels to understand your talent. So a lot of times when you get a record up and they go here, they got a record label, who wrote that? Now they all want a record from you They all want the next record from you Now you get a record leave

But I was willing to give you a shot It's sometimes Sometimes that's true Sometimes it's not A lot of times it's not true And a lot of times There have been artists that have gone in there With that intention

And there's a couple people That I've only seen it work for Where they actually become artist Like Missy Elliott Yeah That would be Neo as well Neal You know

And the more recent one It would be money long Who's You know Written for a lot of people and now she's finally doing it herself so it doesn't happen

that often but it's something that you know when you got that bug when you want to be an artist it's hard to beat that it's hard to definitely yeah because like he wanted to be one

he didn't get nowhere you know what I'm saying it was like he was chasing the thing he was like I could be this I could be great and he's like it didn't it didn't go nowhere like it was like I told him like yo chill man right for somebody Be mad while I was out of you doing shoes, he was in prison during karaoke night.

Y'all saw the cover of his songs at karaoke night in the joint, but it was, you know, it went a little crazy year too. But I would say this, you sign, you know, when you think about, when you think about Laface, you know, Atlanta, you're always doing your thing, y'all, I'm talking a historical record label, y'all did this unimaginable numbers, y'all established a lot. I'm going to say this first, one of my favorite artists you ever had on Atlantic Records and one of my favorite songs ever, nobody knows by Tony Rich project that was legendary to me now when you look at Atlanta now so many labels has popped up

QC different people but like it seemed like Atlanta they're more on the business side of everybody the artist Reverend 21 Brevard Gucci everybody is on some business side of it did you see Atlanta becoming that did you see that Germain DePri Dallas organized noise did you see all that

well when we first went there there wasn't that I mean Dallas was like a producer that was working with Motown and working with Joyce Irby I think and so he was like a young up-and-comer and

so was Jermaine and so we were lucky that we were able to you know get them early as producers with our label because that's the whole thing of any label you can't just do it yourself you have to depend on a number of producers and kids they're out there you know

doing new stuff and so and we're organized noise because of the face wouldn't be wouldn't have been LaFace without you know Germain, Dallas organized noise that

that whole movement we were able to feed off of that and so because we came in with our own hits and our own thing that we had been doing but it really took all those other ingredients to kind of help make

you know make it happen you know we would have never who would have ever thought that you know LaFace at the time would have come with Outcast You know And Outcast would become what they became TLC

Um Hey So So uh You had a lot From Usher to Tony Braxton Mm-hmm We signed

We signed Pink Yeah You know So there's a There's a lot of history that came with That came with LaFace And being the Being the ones to start

Start it back up Because I think In Atlanta there were labels there before You know Curtis Mayfield was there Way before us So I think that our journey there helped open up the doors to where everybody that's there, you know, they kind of, it started a lot because, I think LaFace started it back up again, you know. And I think that's a, we're proud of that, proud to know that we were part of that, you know,

the legacy to kind of get everything started. And then you look up 25, 30 years later, Atlanta still running. Yeah. You went in. So that's a big compliment to you and everything that y'all had going on and just giving the young kids opportunities, man. Yeah. You know what I mean?

That was like, that's huge. You know what I mean? All the people that's connected, all the greatness that's connected to you and your label and you know what I'm saying, the things that y'all was doing, that's unbelievable, man. So we just want to commend you on that, number one. And being able to pick talent, number two, because you pick some talent. I don't know who was the process of picking it, but y'all picked some talented people. You know what I mean?

That really changed the course of music, not just, you know, in Atlanta. I'm talking about it in the world, you know what I mean? So shout out to you and everything you got you had going on from back then, but you got the album out now, right? It's coming out in October. Coming out in October 21st. October 21st. Y'all make sure y'all get tuned in. Who some of the people we got on there?

R.E. Lennox. Ella Mae, Queen Najee, Kalani, 7th Streeter You know what I mean? Tink is going down, man And one thing you can guarantee These are going to be some really good Well-written records Because that's what he does Yes

Man, we want to just commend you, man For being a legend And, you know, coming and sitting on the couch with us, man We truly appreciate this Truly appreciated, man Truly appreciate it, my pleasure Truly appreciate it And it's just like that

Right! Thank you.