 Check it, check it, check it. It's a unique hustle. It's your boy ECEO and I'm here with the lovely official mr. maker. What's going on? My dad walk on man. Hey man. Listen man. We got a special guest in here today man. I'm gonna be honest with you. When I say special, a lot of times I'll be, I'll just be tripping, but today is special. I ain't gonna tell you to me. You know what is special to me? It's a whole another level of special. Check it man. We got my boy man, the legendary man running spaces in the building. What's going on my brother? Nothing much man. Just taking it easy taking day by day. Man. Hey man, you know, uh, yeah, I could write a book about what I've been going through, but I ain't gonna say nothing. What's up with you man? You, you, I like that shirt. Thank you. Thank you. I made it. I made it. I know my daughter gonna want one of those. Oh man. She knows, hey man, when she came here the other week, man, hey, I fell in love with, I follow them all the way, the whole cliff, man, wherever they want me to go, whatever y'all want to do, we shut down, we jumped in the truck and followed them. That's a lot of love. Because they wanted that, um, Dallas chicken. So we have to take them over to Rudy's. I love Dallas chicken. Yeah, they got the chicken spot I call Rudy's chicken, man. Shout out Rudy's chicken, man. Man, where Rudy, I got to come see y'all. And what I'm hearing right now, it must be some good chicken. Man, that's what everybody's about to say. Well, I like it. I like it. I like it. It's not real salty. They just, they, they're not from the country. You know what I'm saying? When you're from the country, you, you, you know, everything's salty. Everything's salt and pepper and lyre seasoning. You know, she's a Jamaican. So thank you for coming on the show, man. Yeah. Anytime. Man, I sure appreciate it, man. Hey man, hey, this legendary for me anyway, because I'm a big fan, man. And I've been listening at you for a long time. It didn't even realize it. And didn't even realize it. Why you always got to put that out there? It made me look bad. I mean, I remember driving on the road, listening to that song, we were doing research on Renetta. And that song came up with, because he's a big pimps, pimpsy fan, huge pimpsy fans. And that song came on and he was like, no, let's look up another song of his and see, and we matching the voices to try to see if it was really you. That's what I thought. He could not believe it. That was what I thought. I tell him what I thought. Everybody think it was Ronald Izzley. But now I'm going to tell you, I'm going to tell you, I'm going to tell you something that they don't realize it was a Ronald Izzley song. Really? That's why you got me. Yeah, the world don't know. So the song is called, it's on the Live It Up album. And the song is called And I've Been Good To You by Ronald Izzley. And what I did was just rewrote the words and sung it the way that I felt, that you felt like it needed to be. Because music talked to you. So if you just sit down and listen to the track, you can pretty much know pretty much what to say on the song if you listen real good. Man, I tell you, when I first heard it, this was in 19, I believe 95. I'm going to say 95, 94. Whenever it came out, that riding dirt out. 96. 96. I know it was somewhere, look, because I, you know, I ain't going to tell you all my age, but you know, I kind of remember when rap first started. Don't even think about it. When it first started out, like when it wasn't no, you know, it was just R&B and me. I was good with that too. And when rap first started, was it Jamaican who started it? No, we don't want to go there. This is the part I don't like right there. You know, this is what I get. They say that a Jamaican started rap. And I researched it and they said, yeah, I was mad about that man. I could make me wrong. Well, I thought rap came out. Sugar Hill games? No, I think rap started, and this young particular man was real good. He go by the name of Curtis Mayfield. Curtis Mayfield. When he first did, uh, I'm your mama. Yeah, yeah, yeah, yeah. No, DJ Cool Herk. Look, he's a Jamaican, DJ Cool Herk, but what you just said, come on, tell yourself. Because when you Google it, it said it. Yeah, it's Google line. Google line. Tell me about what you about to say about Curtis Mayfield. Mayfield was the one to me. I could be wrong, but Mayfield is the one to me that really got people to kind of jumping on rap, because he kind of did singing rap. Actually, I did a song over with Mayfield, but it's like, uh, then that's when I guess the Sugar Hill gang and all the other ones started coming up with, you know, with rap music and then boom, I think it just blow it up. But, you know, the real hip hop audiences out there, maybe I shouldn't say it like that. It was like Carol S1. Yeah, yeah, yeah, yeah. It was real hip hop. They was the original, you know, the original stuff out there. So I got to give it to the New York people. They was, they was on it, you know, for us. So do, do we want to, you want to go back? I know you always miss old people. I like, I like to know because a lot of times I like to go back in someone's history because a lot of times when people get into know each other, know themselves really, they go through the ups and downs and that can help a lot of our viewers to know that they're going through something that you already went through and how you overcame it. You see what I mean? So tell me about you before the music. Well, I was a church boy. You know, mama kept me in church. So, you know, sung in the choir or St. Emmanuel. And I just used to walk around the house and sing, you know. And how old were you at that time? Six. Wow. Six and just didn't know I was singing just. Did you get it from your mama? My mama did play in a band. Okay. Forty to twelve. I made on Mitchell's Lounge back in Houston. I did have a band back there. So I guess that's where I got my singing from. Playing instruments. My daddy played a beat three Hamlin organ. So I, you know, picked a lot of stuff off of me. I'm like the hats and stuff like that. Because they was all back in the day. That's how they wore was, you know, dog, Godfathers and hats like that. They all dressed up and kept me coaching stuff on. So yeah, that's just Tom Marcus, man. I just, yeah, I just, yeah, I just picked it up. And were you raised in the house with your mom and your dad? I was raised in the house with my mom. I was more of a mama boy than I was a dad boy. So I was raised with my mama. You know, she had four of us. So it's three boys and one girl, my lovely sister by the name of Rachel Spencer, my oldest brother, Richard Spencer, my other brother, Raughton Barrett. He don't want to have the last name of my father, but everybody else had Spencer. Oh, okay. Okay. So you fell in the middle of all of those kids. I'm the baby boy. The baby boy. So you just pull up. Whoa, go on and see. Whoa, whoa. You say to spoil Brad. He that's why he's a mama boy. She must have played about that boy, not that little one. Just like you. Same thing. It's just a different term. She can't say nothing. You got on that already. No, man. So just when you was coming up, when did you realize like, I'm going to do music professionally? Was that later on? That was later on. That was later on. I used to play a lot of sports. Played a lot of basketball, basketball and that's how I really got discovered on the basketball court. Really? Were you singing on the basketball court? I was used to singing and shoot the ball in the hoop. No. And I got so good at it to people. It was like, he can't man. He can't do this and then there's a guy by the name of L.D. Okay. Really? I used to always tell me, hey man, when I do my album, you got to be on it. I want you to sing on it. I said, okay, no problems. First, I thought it was, you know, joking, but he never was joking. He was serious. So one day we was playing. We had a big basketball meeting out there. Bunch of us playing basketball and this limousine pull up. And it was two big guys got out of it. We still playing basketball. And I'm waiting and I'm steady shooting the ball and singing on them. And they were just standing there looking and then one of the guys say, say, man, you know, these guys are over here. I said, no. So L.D., you know, he had told them where I was and this type of stuff. And I said, man, we jammed down records and we need you on a project. We got a project that we're doing on L.D. We just signed him and he won't show on his album. And I was like, oh, man, I was just playing games. You know, I didn't take it serious. So he said, well, man, I got $3,000, man. That money make you take it serious? Yeah, he said, I got $3,000, man. He really won't show on the song if you want to do it. I mean, that's what we'll pay you, you know. By then, I didn't know nothing about music. And I didn't know, you know, I just said, okay. You said three racks. I said, okay, let's go. See that money? Yeah, that money. So I even got in the limousine and talked to these cats and he said, well, man, we'll take you to your house so you can follow us. I said, okay, cool. And I was right around the corner from the park and I followed them off a telephone road and jammed down studio. And they played a song called Let Me Blow. That's the name of the song that I got on the album. The name of the album was Home on the Freak. And that's your first one. And that was my first song. So I did the song and they loved it. It took me probably about five minutes. And I'm like, I really don't know what I'm doing because they're in the studio and you got engineers and they just kept saying putting their thumb up. I said, okay, I guess that's it. So he said, yeah. And how old were you at that time? I was about, probably about 20, 21, 22. So I guess running that area. Okay. And the song blew up. And I'm like, man, so I guess I do sound good. But how did you feel the first time you heard the song on the radio? When I heard the song on the radio, I was amazed about it. I was like, man, is that really me? Because radio, they put another sound to your voice. I started sounding professional. I said, I'm a professional, so I got to check into this. So it blew it up. And then I had been knowing screw. And he got the song. He said, man, you sound so good on that song. I got a lot of work for you. I said, okay, cool. We was cool. You know, we're both DJs. So you DJed at first? Yeah. That's what I was about to ask. What were you doing at that time career-wise before that? I was a DJ and it had me the skating rink. Okay. And everybody was calm. That place used to be packed on Sundays. And Sundays we probably had about 12, $13 people in that skate rink. The skating rink was big back then. It was big back then. So everybody listened to Grooze and hip-hop and rap and screws doing his thing. He was slowing up music. Yeah, yeah, yeah. So I said, okay, and I will play the song and they will skate to it. I'm like, okay, I think I'm gonna be something here. So what I used to do, I used to always sing. And I would play songs like Osley Brothers, Al Green, Marvin Gaye. And I would be singing with the song, Why They Skating. Wow. And they wouldn't know. They wouldn't know. Wow. Because I could change my voice like that. They wouldn't know. I would have turned it off one time, just one time and just start singing just to see the response. Well, there was a young lady like yourself skating and she stopped. And she kind of got over in a corner and she was just watching me. And she come up there and she said, you really singing this song? I said, yeah. She said, I think you need to sing professionally, but she never knew that I did the song without you. Yeah. And she would skate to it. She never knew it, but she thought it was wrong. That's what I'm telling you, man. So it tricked me. Yeah, it just kept going and going. And so one day she told a lot of people in Skating, Ronnie's singing up there, man. That ain't, y'all tripping. He's singing up there. And I said, man, next Sunday, y'all watch. He's going to be singing. And I never knew she had told them that. So it's a couple of Ronnie Oz's songs. Come on, I got to going hard. You know, I'm singing. I think I played smooth sailing by Ronnie Oz. It did. And man, the song, come on. And it's just going. And so I got into it and I said, she looked up and she covered nothing but smooth sailing tonight. So I just kept singing. And the next thing I know, everybody stopped skating. And they're looking at me. And I'm so often to the music, you know, I'm not paying them attention. And then all of a sudden, they just started clapping. When they clapping, I raised up. I said, oh man, these people. This is crazy. This is crazy. Did you get nervous at that time? Last one, I got nervous. So, man, this is crazy. And I couldn't get to smile off my face. And they was like, man, you sound so good. Man, we thought that was, you knew it was Ronnie Oz, but I played the instrumental. Milo. Yeah. And when he said, you see the only instrumental was smooth sailing. They have the background on there. Yes. But they don't have a lead part. So I did the lead part. Rocking. So when the background came in, I knew they wouldn't know it was the Ozley Brothers. Yeah, yeah, yeah. You know what I'm saying? So, but by me not knowing that I'm sound so identical like him, they was amazed. They was just stopping, just stop skating. So when they start clapping, I'm like, everybody ain't skating no more. They was listening to me. They were listening to you. And I had so many people come to the booth. Man, I want you to do this on my album. You never knew. I never knew of so many people in there that was doing projects and albums. And it was just, it was amazing. I'm like, man, this is crazy. So that's it. Wow, that's crazy. So how long after that did you meet, how did you end up linking with UGK? UGK heard Aldi's album. Okay. And he was going to do some stuff with Scrooge. Okay, PMC. Yeah, PMC was. He was going to do some stuff with Scrooge. So he said, Scrooge, man, who's this, who's this guy sound like the Ozley Brothers? So Scrooge said, that's my goddad. He said, no, man. He said, yeah, can you get him? He said, yeah, I'll call him. He'll come right over. As a matter of fact, he just left. Wow. He said, man, I got a song. So he played the song, and I've been good to you by the Ozley Brothers. Okay. And I listened to it. I said, yeah, I know that whole song, you know. So he said, oh, man, I got a track that I want you to do. And he had sampled the Live It Up song. I mean, ain't I been good to you on the Live It Up album? Okay. And I said, yeah. He said, you think you can do something with that? I said, sure. I said, well, don't play it because I don't want to get in trouble with Ronald. I said, we'll come up with the right words. And I can kind of do it. He said, okay. So it took me about five minutes. And I sung what I thought would go on the track. Yeah. And they loved it. UGK loved it. They jumped. I said, man, let's record it. Let's go to Skip Hoffman in the morning and record it. So I said, okay. So when he said Skip Hoffman, I'm thinking it's just a studio in the house or something like that. When I got out there, it was a million dollar studio. Oh, wow. So now I get nervous. I'm like, whoa, man, what is this? This man had a mixing console, probably wall-to-wall in there. Probably over 150 tracks on the board. So I'm like, okay, this is the big lead. Wow. This is what they're shooting for. Yeah, man. So now I kind of get a little cocky. And I say, so all right. So I'm singing the song so everybody's telling me how to do it. So now I realize. Now this is the one. The one. This is one day. Yeah. So I realized that, man, UK sing. UK sing. Y'all trying to tell me how to sing. Exactly. So Skip Hoffman said, I like that. Can everybody get out of the studio and let him do what he do? Pam, she said, that's the best thing to do. Let him do him. I like that. So I did the song. And it was like in probably about three or four minutes, I finished the song. That's cool. And they was all gone to lunch. And when they came back. It was a wrap. I was sitting outside by the pool. And I hear all this screaming in the hall and then jumping, man. I said, oh, come outside. I said, man, come over here. Come up out. I said, what's going on? I said, I don't like it. He said, no, it's a hit. We love it. So I'm like, OK, I guess it's going to be official. Well, some kind of way that song got out. OK. You know, because they mouse it right then. Some kind of way that song got out. And me and Pimp Ride, and we going home. And the song come on the radio. That same day? That same day. That's one thing. I don't know. Renetta was saying something like that about which song was it? Bar Baby. Bar Baby. Bar Baby that came out like that too. Nobody does that anymore. Not in the same day. How does that, how is that possible? Man, these guys were professional. They knew how to do them play, call a playlist now. And Pimp was just incredible in the studio working with him. So he already pretty much knew what he wanted. Oh, so? And him and Bumbi was incredible. That's all I could say about those guys. Especially Bumbi. He was the type of guy. He could write his verse and read it. And ball it up and throw it in trash, go to sleep. And wake up. Pimp said, Bumb, go lay your verse. And he go one take and it's done. So he was one of the guys that first seen do that. And I was like, that young man is amazing. That young man got a gift. So I always said Bumb was for his time because he was so good with words. And he could write stuff and just kill it. Man, kill it. You want that one day? You want me to hit that one? Please. One day? Y'all, you want to hear the acapella? You want to hear the music? Acapella. Acapella. All right. You know I want an acapella. Don't do that. I thought you wanted it with an orchestra. I want to hear your voice. You want to hear my voice? Okay, here it is. I'm going to do it for Boss Talk 101. Hey. Here it is. You made a tear come to my eye. Don't do that. I used to be in that old town like I had boy. I would come down through that bar when I had that thing rumbling. You all understand, man. Say, when I come through there, man, you couldn't tell me nothing, man. And I was going to get in some trouble back then. You were going to get in some trouble, man. Oh, man. Oh, yeah. You know, I was a young cat there, you know. So, yeah, I was going to jail or something that day. Your voice is, I'm speechless. But it comes down in Renetta. Her voice was so efferent. That's what she sang. It was just so effortless. And that's the same thing with your voice. You hit those notes and it's like there's no fault in your voice. No, thank you. So, I'm like, when did you realize that you passed it down in your gene to her? When she was born. Now, this is the greatest thing. When she was born, I was really waiting to see because I wanted to be the bar girl. Yeah. And really true, I wanted a boy. I already know. And I said, I want a boy. I said, I don't want a girl. And when her mother was pregnant, she said, well, we having a girl. I said, I don't want a girl. You can have a boy. And I didn't hold Renetta for like six months. Really? I was really serious. I wanted a dude. I said, I want a boy because I ain't gotta worry about nobody. Yeah, yeah, yeah, yeah. And when she was born, started her hollering when the doctor spanked her. She hit a note. Wow. Yeah, she really. Yeah, she hit a note. That scream was so unique. And my ears just rested. I say, my daughter finna sing. I gotta sing it. So I started running around. So they looking. So they said, we thought you didn't want a girl. I ain't giving my baby. She got it. And everybody was looking at me like I was talking. And nobody heard it, but you. Nobody heard it, but me. Or recognized it really. So one day she started doing all the stuff. So when I sing sometimes my big box and don't know I'm doing it. Wow. You know what I'm saying? And I'll show y'all that in a minute. Sing and don't know I'll be doing it. And when I heard her, she just come to me and she say, dad. And she did say, I said, what's up? She said, look at this A. B. C. And I passed out. That's what I used to do. When you were younger. When I was younger. And she didn't even know that. That put it on the hotline. And how old was she at that time? She was like about four. So I'm like, she kind of made a beat while she was singing. I thought I was on one. Wow. And when I record it one day, note D is the one of the producers. Say, man, he beat Bach when he's singing. And when Skip Holman, he say, take all the music out and just play Ryan's vocals. So when he did, that's what was going on when I was singing one day. Wow. So they clean it out. I said, we got to clean out of that because he beat Bach. Because they think it's an instrument. And I said, no, man, he beat Bach's when he's singing. You've been doing it ever since you was little. And I still do it as today and don't know when I'm doing it. You don't realize it. I don't realize. It comes out. So what it was like the snare is probably on the one or the two, you know, the four downbeat. I always was on the one. And it would just come out when I do it. And that's what kept my count on the bars of music, the measures of the music. Yeah, got it. And they try for days. I don't do that. I don't know what you're talking about because it was just natural. It's a natural gift. So I've been doing it since I've been doing music. How did it sound? Give me something. It's kind of like, I'm a single part on the new song that me and Ronald Isaac got. Yeah, I suppose I got that already. So the name of this song is, it's an inspiration song and it's called, hell I forgot. It's been so long since I did it. I'm going to sing it. I'm going to sing his part. OK. And you might can hear it. Excuse me. You might can hear it in my voice. He's going to say, listen up, son. I heard you back in the day. It was a song by UGK. I think you call it one day. You hear, then you're gone. All my life goes on. Cause the day you prayed for is the day we did this song. You got to hold on, be strong, and never give up the fight. You got to stay true to what you do. Everything going to be all right. You got to hold on, be strong, never give up the fight. Never give up the fight. You got to stay true to what you do. And everything going to be all right. Boy, boy, boy. Man, you run our eyes and then you sound, I couldn't tell the difference, man. You used to put that song out. Yeah, we heard about you being romantic with it. That's what it was. Yeah, and then go, we got an archive full of it. You got an archive full of stuff and you won't even give it to it. Yeah, I'm going to give y'all some stuff today. I'm going to give y'all some stuff today. I told my, yeah, you're romantic with it. I love, because hanging on to every word that you were saying, I believe, I'm like, I believe that it's going to be okay. Yeah, it's going to be okay. Yeah. So, I mean, I love it. And the best part of that song, we did the song, name the song is Hold On. We did that song and my mother was living. Wow. So she got a chance to hear it. She got a chance to see some of the video footage of me and Rona in St. Louis, Missouri at this home in the studio. And to me, I know when I put it out, it's going to be a touching moment when I put that out because she knew that's who I wanted to meet in my career. And you did. And I thank Derek, Dixon, Derek for putting that together and make that happen with us. The song is Done Is Mastered and I just have my release. Rona's through the day, that day when you did that with Rona when y'all made this happen. Well, it was crazy on that day because I was at home. I had just left the studio. I was at home and I was chilling, looking at that Miller vampire picture, laughing. And I get a phone call and say, hey, man, this is Rick. I say, what's going on? You're everything all right? He say, yeah, man, Rona Isle is at the Reno Tower. He got a show tonight and he want to meet you. Well, I say, man, you playing, I hung the phone up. Quick plan, man. I hung the phone up. Sometime them cats play a lot. You know, joke a lot. So he call again and say, hey, man, you need to get ready. We need to have you at the Reno. I said, man, what are you talking about? Man, he say, I told you, Rona Isle want to see you, want to talk to you, want to hear you. He agreed to do the song. So I said, OK, so I said, well, all right, man, I guess I, you know, get ready. He said, man, you need to hurry up. Because he going to be performing probably around seven o'clock. And they want to see you before they hit the stage. So I said, oh, OK, man, all right. And the doorbell rang. And when I opened the door, it was a D-ring. Wow. He outside. He said, man, I'm ready for you to come. So now I know it's serious. So I said, all right, I'll be down starting about five, 10 minutes. I got cleaned up. And he said, no, you don't need to get clean. I don't want you to get clean. I just need you to come on now. We need to go now. You just need your voice. So my mom said, get your ass out of here. No. All right, so I left. So we going down the stairs, we getting in the car. We going. And sure enough, in the Reno Theatre Tower, he was there. So it was him, Ernie Osley, Angela Wynne Bush, and a couple of more people. Then he had his hair dresser there. He walked around in a fooboo. OK, now he always flies. Yeah, he flies. That's what I like about me. He and his little fooboo robe and the hair dresser curling his hair as he walked. He turned around and said, oh, I heard you sound like me. So I said, I guess that's what they say. And he said, yeah, that's what's been the talk in the town and talking St. Louis, Missouri that you sound like me. And ain't nobody sound like me in 30 years. So I like, OK. So he said, well, since you sound like me. Let me hear you sound. Let me hear you something. So I guess they thought I was just going to freeze up. So I said, OK, what you want to hear? He said, anything. Then Ernie said, do hello. I said, hello. He said, yeah. I said, OK. I hit that thing. I know that, yeah. I know that, yeah. So they all standing there. Ernie playing with his guitar, you know, getting in tune. So I'm like, OK. So all of a sudden, I said, here we go. Hello, hello, hello, hello, hello, hello, hello, hello, hello, girl, hello, hello, oh, hello, hello, hello, hello. So he's like, wait a minute, hold on, wait a minute. So wait a minute, wait a minute. So I said, OK. So he said, well, do smooth sailing. I said, nothing but smooth sailing tonight. Anything that you want from me is my delight tonight. So he said, OK, man, stop. He said, I'll tell you what. He said, man, do summer breeze. Summer breeze. And then he, he like, wait a minute, hold up. So I had to say, is that your son? So he said, no, wrong. I said, no, he's not my son. So so Ernie said, man, you've been messing around. That's something you ain't telling us. It's got to be your son because he hit in every note that you hit. He sounded identical. Man, this man is off the chain. You sure that ain't your son? I say, hmm. So he asked me, he say, is that your dad? I said, no, my dad deceased. He passed. And they all looked at each other and say, OK, let's do the song. We're going to do the song. Where you want to do the song? And I say, we can do it at your place. Wow. I was ashamed of my studio. I get it, I get it. So I said, I don't want to hear that. I don't want to go with the big boys. So they all looked at each other and said, Ron, say, it's cool, it's cool. And he was so, he was so, man, he was just so pleasant. And just, yeah, you can tell he had a good heart. Wow. And he said, I'll tell you what. He said, how many plane tickets you need? So I say, well, no, D-Rick and me. He said, cool. He said, I will have y'all round trip plane tickets in about two weeks. We can do it at my studio. And that was the best news I could hear. Wow. So it's like my heart was just flowing. You were smiling for next. Yeah, my heart was just flowing. I said, man, I'll leave this happening. This is when I wished that I had my daughter and my mom with me. But, you know, it was just so, it happened so quick. So quick. And then I, we waited two weeks. Next Sunday we get to go to the airport. We fly to St. Louis, Missouri. And I have it all on film. And it was, it was just nice. Wow. But he had this, he had a big mansion. And one of his mansions was in a quarter-sec. And his was the biggest one. And when we got to the door, he had this big brass, looked like a big brass trash can, but it wasn't. Wow. And you got to put, you had every sneaker. Sneaker in there. You got to put them shoes in there. You got to take your shoes off, put them in that basket. That little brass basket. When you get in the inside, there's real marble floors. And he got every house shoe for anybody coming there, even the shack came through there. He, he had a house shoe for. So that's what you, you, you walked around in the house with. So we in the house and it was so natural for me to sing and hear him sing. And Angela Wynnebis, I just love her voice to hear her sing. So they taking us around. And so as natural men, Ronald just started singing. And it looked like the song that we were singing, we just singing in harmony and it fit so perfect. And they was all looking and saying, you see this, they act the same, they walk the same way. So I'm like, man. So I veered off and went around the corner. The house was so big and singing. Angela Wynnebis thought it was her husband. And she turned around and looked at me and just grabbed me. She said, oh my God, this, I'm thinking you're wrong. I said, no, I'm just singing. She said, y'all sound amazing. And he said, man, I can't wait to go to the studio to do it. And she was so strong and unique. She could hear every wrong note from me or Ronald. So the engineers was messing up because we both sounded so delight. And they were Erase Ronald's verse, thinking it's mine. And they were Erase my verse, thinking it was Ronald. So Angela didn't like that. She says, I got to get this together. We ain't supposed to be here these long. Both of these guys are professional. So I'll tell you what, Mark, my vocals on these tracks, put them in yellow with a piece of tape, put his in orange. Now you won't get confused. And when we did that, we did the song so fast and quickly, it was just unbelievable. But then what the amazing thing, the reason why I can't wait for it to come out, I can't wait to hear to see if I can tell the difference in both of y'all's voices. Well, you're going to be able to tell the difference because I had to sing in another octave. Just to get them to even be interesting. To get it where it is, you can tell the difference. But some people write today, most people out of 100%, 95% still can't tell. So that's the exciting part when I get a chance to see people's expressions and how they look. And I'll be like, I don't see a fee. And some of them say, oh, that's Ronald. No, that's Ronald. So they go to the audience. I'm like, man, this is crazy. So I can't wait to do it. And I'm really trying to do the song and put it out before anything happened to me or him. That's it. That's it. So I think the world, if my vision is, I think we need to be in King Chills, the back of people and sing. And then one up, turn around. And it's not the person that you think. And when I turn around, it's not, you go, whoa, that'd be real cool. And that's what I really want to do. And I'm going to talk to Pup and Empire, because that's who I'm going to release this next album with. And I'm going to talk to him and see if we can make that happen. My question is, if, okay, say you go in the studio and both of you sing, can you tell the difference? Yeah. I can tell a difference. Ron can tell a difference. And he's the first one saying, no, I know the difference because Ron is a little more higher than me, believe it or not. Ron can hit some notes. And I can go in there and hit some of his notes, but I can't hit all of his notes. And I know how far I can go. And, you know, I'm following a legend, so he don't have to. That's right. I'm following him so he can just do his thing. And I heard him hit some notes. I mean, a high tenor note is just off the chain. And I'm like, man, I hit that note. For his age, his voice is phenomenal. It is. It's right today. Even the new stuff that he's got out right now. At his age, I don't think a single out here can do what he have did in the music industry for singing. Well, what I love about Ronald Eisley is the fact that he reinvented himself and stayed current. As Mr. Dick. Right. Where a lot of artists can't. A lot of the older artists is still doing their, you know. And I give credit to to R. Kelly on that. Because R. Kelly, that was a smart move he did. And him and Ronald is a real good partners and friends. And it is hard to work with Kelly, which, you know, that's the good people. When you start working with people that really know music, you have to really humble yourself and listen to see where they want the song and how they wanted to sound because they wrote it. So they kind of pretty much know what it needs to be like. So he said, other than that, Kelly's a good dude. And yeah, he's very talented. They did a lot of hits together. I can't wait till you get out because I want to do a song with Kelly. You want to do one with him when he get out? Oh, yeah. Kelly's all right. I mean, I think, you know, you know, courts got what they got to say. But I still treat him like a celebrity, a person, a human, you know, a good person. You know, they always going to attack the blacks for some reason. Come on, man. Come on, man. But, you know, just like what they did to Michael Jackson, same thing, same thing. But they can't take away his legend from him. They can't take away his talent. Exactly. And I tell people that and they look at me and say, oh, no, man, he washed up. I said, that's just your stupidity. I say, well, if this man have did in music, and I say, you don't know who Kelly wrote songs with. He wrote songs to Michael Jackson and a whole bunch of people. That's right. And so I say, and trust me, that man probably have so much music when he come out, and it's going to shock the world. Exactly. And I want to be one of the first ones to really work with him because I really feel that I can do a lot of stuff with that. See, and that's one of the things I had, one of the questions I had is, who would you want to work with? But you already answered that. I got, it's a lot of them I want to work with. You know, I want to work with a lot of different rappers. I want to work with a lot of different R and B ladies and men. I think me and Charlie Wilson can do something. That's my guy. Yeah, I think we can do something together. I think me and, believe it or not, I'd say me and Lady Gaga. Really? Yeah. I would have never guessed Lady Gaga. Yeah, because my daughter, I'd do a lot of pop stuff for her. So I didn't got into that feel, kind of doing a lot of pop stuff with her. Singing is very easy. A lot of people don't know that. They think it's hard, but it's, you just have to take your time. And it's a lot of breath takes that you have to take. You got to know how to use your diaphragm or your voice. So when I was in church, those are the, to me, the king singles because they gonna, they gonna beat your voice up until you get it right. You feel what I'm saying? So it's like pretty much that type of stuff. So you'll learn how to control your voice. Let me ask you about Big Mo, man. Because I know you guys did a lot of, you know, work together. I just want to try to understand that song and the process that Rinella and you guys done when y'all, when y'all had made that Barbie song. Barbie. Because she was, what, six? She was six. She was six. What happened was, I was in the studio with them one night and a guy by the name of, I forgot the name of the producer. Sally. Sally was making that track. And I heard it. And I said, man, that's, that's, that's a nice track. You say, yeah, he say, uh, yeah, me and Nope gonna come up with something. Me and Nope D gonna come up with something. So, Nope call me and say, hey, man, uh, can you bring your baby to the studio? I said, it's two in the morning. What do you mean, man? He said, well, can you bring your baby? We got C note. No, Nope D. No D. Okay. I said, okay, man, I'll bring it. You know, so I said, you want to go to the studio? She said, yeah, daddy, I want to go to the studio. I said, all right, come on, let's go. She was up anyway. So we get to the studio and he said, man, I got a track that I think a little girl should sing. I said, okay, what's the hook? He says, the hook is, the bar, it's the bar, baby, the bar, baby, the bar, baby. I said, okay. And he said, I think your daughter can do it. You think your daughter can do it? Well, she in my arm, so when I'm singing, her head is doing this. So I'll say, you think you can sing it? She said, yeah, dad, I'll say sing it. She said, it's the bar, baby, the bar, baby. And she was doing it, but the last note struck us all at the end and I didn't tell her to do it. Note didn't tell her to do it. She said, it's the bar, baby, baby, baby. And she did it again. So everybody looked at each other and said, man, we got to do it. I said, okay, I say, we're going to do it here? He said, no, we're going to do the skip holdman in the morning, big studio. Okay. So be there at seven o'clock. So I was down on that was dad. She was excited and she just kept singing it at home. But she was in note and I was like, man, this is incredible. And I get praise of Jesus, man, this is incredible. So when I got the skip holdman, she was so little. So when I got the skip holdman, we had to build up some chairs and a table to sit her on the table. To get to the mic. So she can get to the mic. Wow. So when she got to the mic, she said, y'all ready? And they all looked at me and I looked at them. I said, man, she said y'all ready? She said, okay, we're going to play the track. Well, now I'm in the studio. She said that? They said, we're going to play the track. We're going to play the track. And normally in the studio, I'm like, okay, I know they're going to do a little rehearsal. But I told Skip, I said, you push record regardless. Yeah, I could. He said, okay. So the track came on and they didn't have to tell her where to sing the song. Wow. She heard it. She heard it. That song came on. She just she was like this. She was bobbing her head. But she knew when to start. And she said, it's the ball, man. And it went right on the ball. Wow. And she finished it. One take? One take. And then they stacked it. And when they stacked it, it was just unbelievable. And they was all in the studio jumping up and down. And I said, well, I guess like like daddy, like daughter. So I guess she and she nailed it. And it's been a good hit for her ever since it started her career. That's amazing. I wanted to go back because I know you said that at four, she was doing the beat box at ABC. And I know you did that song with her, Renetta at four. I did that song with Renetta. She was probably five. Oh, probably five. So it was soon after that. Soon after that. Because once you heard that, you're like, I got to do this. So I did it and Blue Note did the track. And this was a phenomenal producer, man. He probably taught everybody in here. He's pretty much out of the blues, but he did the track. We did the track at my studio in our house. And man, she just, just, just a natural. And I pretty much had to tell her what to say on that, you know. And she just listened to the song with me. And we was just doing what we do. And she just did it. And I was like, man. So she got batter and batter and batter and batter. Which you're coaching, of course. With my coaching. So I start now getting off more into her. So I start teaching her how to sing notes. I would get the piano and I would hit this note. And I said, that's your note for the day. And she said, okay, my note for the day. I said, your note for the day. Hit that key. And she hit it. The key is saying, no. And she, everything in the day is, no. So I can do it all around. That's such a blessing to have a child that loves to do what you do. Because as parents, especially when we build a brand or a foundation, we want to build it for our kids. But a lot of times our kids don't want to do what we do. So it's such a blessing to, you know, to have a child grow up in your footsteps and actually create her own path. Right. So that made me get more deeper off into music. So I started listening to Nat King Cole. I remember when they did, they did they darling father thing. So that's what made me run that as finna do. We finna do, I have them like that, kind of like in the 60s, kind of sound, but kind of give it a little update. And we finna do some stuff like that. Nat and Natalee Cole. Yeah, I seen you, when I seen you do that song, I went back and looked and you, yeah, I got real jealous, man. I said, man, she's right here, man. He said the bar real high, you know what I'm saying? Him and his daughter singing to sound good. I gotta step my game up. You hear that Shamari, you gotta sing with your daddy. Yeah, you gotta figure out how to sing or something. Because I'm telling you right now, I'm not gonna let y'all just do your thing and not leave us behind. Yeah, we gotta work. We gotta work. That's what it is. I love that song y'all did when she was real, when you were saying, I love, run that, I love you. Oh man, that, hey, we listen to that this woman here. We was down in Causley and Texas. East Texas. Drive in and listen to. Oh man, I gotta do something. I just love the way how she sang that part. Yeah, him too, both of them. I know. It was crazy. I was laughing and that wasn't supposed to be in the track because I'm listening to her, but it was funny the way she said it, you know, oh man, I love it. Yeah, I love it. So I say, man, I love you too and I gotta laugh, but they thought it was unique. They kept it in the song, so I say cool. Because it's genuine, it sounds genuine. Made you proud, didn't it? It made me very proud. I'm very proud of my daughter. I can do probably like six or seven part harmonies where I know that I can do 11 or 12. Man, she sung on here. So she can go. She can actually really go. She can actually change her voice to Jamaica. Really? Yeah, we should have gotten it. I didn't get that from her. She didn't do it. She didn't seem wet me feet for you. No. Oh my goodness. We got to get her. We got to get her. She's a watcher when I see her. You know, she's a watcher when I see her. As a matter of fact, I'm going to see if we can pull it up and perform it. Okay. She needs to do wet me feet for you. When you hear that, I swear to God, it sounds like she's an island from now on. Like an island girl. And I'm going to tell. Because I hate when I watch movies. And you know, you have those people who play a Jamaican role. And I'm like, that is the fakest joke I've ever heard. I'm like, no, don't do it. I'm telling her best, the lady used to be my mother's best friend. I'm her, my mother passed. But she used to do Rannetta's Herald. And she's from the island. She's the best she can take. So when that family come around, they used to watch my daughter when I'm going to work or something. And Rannetta was a type of young lady. She would listen to everything they say. I want to ask you a question. Like on the, like going back to PMC, Rannetta told a story about y'all going to the zoo together. Now I want to hear a story from you about something that nobody else would know that you and Pimp C did. Something together that unknown. Well, something together that's unknown. I know Pimp as Chad Butler. Okay. Now, this is the thing that Pimp did that he didn't do around a lot of people. When we were, when I was on the tour with him, we would, you know, do our music and get off the stage and do. He would always call me and say, and I was marking. She said that. She would always, he would always come in. Hey, Ryan, what you doing? I said, man, I'm just, man, come on down here. Let's go to the Waffle House. I need to eat some steak and eggs. I said, okay, steak and eggs. I said, yeah, we're going to get steak and eggs. I don't want nobody else with us just going to be me and you. So he still got his Pimp feel talking to me. And I would laugh and I'm like, he's a character, but he's a really good. So that was him all the time. He never turned on and off? He turned on and off. So it's like, when he get ready to go to the show, well, I put it this way, when we together, he's like real calm and just say, hey, man, come on, man, let's go, go chill, go to the mall or something, buy some stuff and you know, for the next show or something. Cool. The character ain't out yet, but soon as we get off the call, the character kick in. So we getting ready to go to the mall, we don't realize how early it is. It ain't over. So the security come to the door and this is the first time he's talked. So he say, I wonder why y'all don't open the door for me? I'm Pimp C. Y'all don't open this damn door. I'm trying to spend some money. So I'm looking and I'm saying he didn't change, you know? He say, you know who I am? I'm Pimp C. Open the door. I got money. So he said, man, we ain't open. He said, man, I don't give a damn about you. Open the door, open it. So I'm like, man, so I'm just sitting back and saying, what you waiting on? Come on in. So I said, all right, see, come on in. I come on in and he kind of, he said, we just going to win the shot. And so he got his hands and he do his mouth like that. We just going to win the shot. I'm looking for some shit tonight. Because I'm performing. I'm like, man. So he say, Ronnie, what you want? I say, man, whatever you need me to be in. He said, get what you want because I'm paying for it. I got money. So I'm like, man, so the security, okay, yes, sir, oh, yes, sir, we're going. I'm going to go get my manager so we open the door. Go get him. So I said, man, I'm looking at this cat. I'm like, man. What city we all in? He really, we was in Chicago. I'm chilling. I'm like, man, he really in myself. I'm sending myself. He really is then turning to the character again. So you know what I'm saying? So after we got all our stuff and then we get back in the car, he said, all right, man. I said, we're going to eat it. He said, yeah, whatever you want, we're going to eat it. All right. So I look at him. I say, well, why you ain't that character anymore? He said, this is the thing. I don't, my name is Pem C. That's my, my stage name and that's who I am. So I hop to have the Pimpish talk when I'm out because that's what they know me by. Yeah. He said, man, when I get home and get with somebody real that ain't on the, the bullshit he said then I turn into Chad Butler. And he will only turn into Chad Butler for as long as I'm concerned with me because I didn't, I don't smoke. I don't drink. So he knew I was always focused. So he like, and you cool, you laid back. And it's funny. Mama West's mother, she had a cock or spaniel. Okay. And the cock or spaniel will only come to me. Really? Everybody else, that dog's going to bite. If it don't know him. So she was, I'm the only one that she would let hold a cock or spaniel. And she kept him clean. And she, he, that dog got groomed more than some dudes to come back. All like, man. And she had him at every show. And she, she come and she come and say, Ronnie, come down there. I need you to walk, watch my dog. And I got to go to the store. So, okay, cool. And I will, I will go down now. And she was just. Did she go to all of his shows? Mama West went pretty much every show that I know. The industry didn't like her because she was real. Yeah. Because she didn't play no games with Pimp and Barnes. She said, my two boys, y'all going to pay them. With, regardless of what's going on, this is what it costs. This is what they want. This is what they're going to get away. Leave. Now I learned a lot from Mama West. She said, when they come in, you know, you, you, you send them their deposit. That's non-recruable. Yeah. When they get there, they're going to call. I'm going to call you and say, my boy's here. Y'all need to have their money. Oh, they're not performing. You're going to lose that deposit. Straight business. She was straight. And she didn't care who is your little bit of thing. She didn't care who you was. This one promoter come and said, we're not paying nothing. She said, nigga, who is you? So he said, well, I'm the one on the club. She said, I don't care how many clubs you're on. If you want my boys to perform, you need to have that money. You need to go get it. Are we going back and forth offer? Now feel that. I said, lady. So I'm like, man, she powerful. Dude came back, call her and say, Ms. West, we have your money. That's what she does. She said, I thought you would have it because it's sold out. So that promoter probably made $80, $90,000 back then. You know, a family that was big. Yeah. You know, they did two shows. They did a kid show in the morning. And we did an adult show at night. So he. So she's who he got his personality. He's outspoken. Oh, man. She was outspoken. Outspoken. And he loved his mom, man. And they stayed together a lot on the road. And I give it to his mama. If it wasn't for her, no telling where a pimp would have been. But when she stepped in his life and took over managed position and stuff like that, man, they just took off. Took off. Did you ever do any, do you ever do anything rap a lot? I did some stuff with Scarface and, you know, back in the day, a rap a lot is rap a lot. I love him. Jay Prince is a businessman. A lot of people talk crazy about him. But I don't because it's a business. It's business. And, you know, he's going to present you a contract. And it's up to you. You don't let you, you know, let you go take it to your law or whatever you want to do. But a lot of those guys was so never had money like that. Yeah. So when you get a guy coming, say, well, I'm going to get 250,000, you know, I'm going to sign. They ain't reading. They just want the money. So they're going to buy them a car, some jeers, some swangles or whatever they got to do. And they're rolling with their partners. But they never look at the fine print. That's not Jay's fault. Yeah. Did you have an opportunity to sign with him? Or you never did. I never had an opportunity to sign with him. But I mean, if he came to me and say, run and sign, I get the contract and I let my law you look at it and if it's available, right. Yeah, I don't have no problem with Jay Powell for, you know, your business, man. You know, he can get you or you need to get you. You need to do is that you may can't get him. Yeah. And I pretty, pretty much sure that he probably asked you, you know, who you want to be with or who you want on your album, who, you know, what's your goal in life and his music. I'm most certain that he'd do that. Yes. But a lot of the youngsters was young and they don't, they don't think it about that. They're not trying to say, I'm going to take it home to my mom. I'm going to take it home to my dad. I'm going to give me a lobby. They weren't on that because they feel, well, if I take it to the lobby, I got to give them some of this money. I ain't trying to give them a lot of this money. That's right. See, that's the thing with, with the rap a lot thing on a lot of the artists that signed that. They're not going to tell you that, but that's the thing. I get it. I get it. They took it home to mom and dad. Mom and dad don't know nothing about that stuff anyway. Most of them don't. Right. They're like, they happy that you signed probably. Right. But most mothers going to say, hey man, you need to get a lawyer. Yes. That's right. I like the way how he said that. Most mothers would say. Yeah, but the kids. Lord, have mercy. Do you hear this? What's going on over here? Because that's what my mama said. Let me see that contract. Yeah. And I ain't going to lie to you. I didn't let us see the rex shop contract. You're going to see it. Back then I was broke. We're going to get you 10 rex. All right, man. I'm going to sign and I'm going to do what I got to do. Yeah. So you have claws in those contracts. That's right. You understand? Let me ask somebody, ESG man, because that guy right there, I, it's just swinging and banging. I've been following that guy a long time, man. So how did you, how did you and him meet? And what made you guys, because I know you guys have worked together? Well, me and ESG ended up on the same label. Okay. So that was rex shop. Okay. So ESG is incredible. You know, I don't really have nothing bad to say about him. He's very incredible, talented, and he can write and he can freestyle. So he's one of the biggest freestyles out there in Houston, but he can write. We, me and him have a good relationship. We never really just got in tour with each other. He always looked out for me on shows. He always, you know, say, hey, Ronnie, I got this. Think about this track, you know, blah, blah, blah, blah. I said, okay, cool. And it always worked out good. I did a lot of songs with ESG on all these projects, most of all these projects. And he's, he's a good artist. He's a good artist. When I say, I can, I've seen ESG going to studio and freestyle for probably four hours straight. Wow. Four hours straight? Just going hard. Just going hard. Love it. Just going hard. I'm talking about, and you can, you can probably pick, probably buy three albums out of it. He's, he's off to change. How did you end up on Wreck Shop? I ended up on Wreck Shop. I was already on a, getting off the UGK tool. Okay. And direct call screwing, screw told direct some things about me and they called me to come talk to me. And that's how that happened. Screw told me, you know, I think Wreck Shop want to sign you. You know, I said, okay. And I had already got a wind of it, but I didn't really take it serious, but because they was having a lot of artists over, there was a lot of artists. It was ESG, D Gotti, Sean Peay, Tight Eyes. It was Big Mo. It was Polky. Big Polky. Yeah. Who else was over there? Isis Ray was over there. There's a lot of artists over there. You know what I'm saying? And we all came together. A lot of producers. Chicken Hall, WD, Blue Note. A lot of them over there. Yeah, I was saying. How did you, did you feel like you may get lost in the sauce over there? Or did you feel like? No, I pretty much knew what they wanted from me. Hooks and? Pretty much hooks. I pretty much knew they wanted hooks for me. And cause my hooks was hot. I was real hot then moving. A lot of numbers. Me and UGK had just went diamond, 10 million. So, you know, one day was moving. Riding Dirty Album was moving. Oh, that went on. Pretty much everything. PMC and Bumby Touch was moving. So, it's like, they knew I was with them cats. They knew I had a lot of experience then. So, they figured, you know, we can get them over here to sing some music. We can move some stuff. But it turns out that everybody over there was so telling to what I got on a hook or not, their records was moving. They did like, I think, 20 or 10 albums in one year. That was unheard of for the Rex Shop family. And every album had hits on it. You know, not just songs with me on it. I mean, they got a bunch of hits over there. So, it opened up a door for me. And like I said, I appreciate, you know, the D-Rex family and the Rex Shop, you know, all this family over there. So, I'll always be a part of them. But, you know, it comes a time in your life. Sometimes you've got to move forward and do what you do. Cause I was really hard to be due. You sure was. What about the, you was blessed cause you didn't deal with the sip and serve and all that. I let them do their own category. Yeah. No sip and serve and the weed smoking and whatever they wanted to talk about. How did you deal with that? Being in the midst of it, but not being on it, you wasn't on it, but you was in the midst of it. And they didn't understand that. They, like, we don't understand how this guy can come in here and do what he do and bounce and don't get a contact or don't get, you know, don't, never drink no serve. He never do this, you know. Yeah. We don't even see them with a women's woman sometimes. Yeah. You just come in and go out. Well, my mind was on pretty much building my studio and building my legacy the way I need to build it. Yeah. So I knew I was on the label and I knew it was going to take me long to, you know, single hook. Yeah. Most of the time, sometimes they have a right to hook, you know, and just say, you know, I can't sing, but do it like this. Yeah. I was like, okay, cool. And I do it. And I said, yeah. So your part didn't take that long. So my part didn't take that long. So they always waited the last minute before I even get on the albums. Like some albums, they say, you know, we got three songs we want you to sing on. And they just wait till everybody's done. And they called me to skip over and then note D and a couple of writers are coming there and we'll sit down and we'll figure it out and I'll go in and knock it out. Wow. Back in the day, I used to always think about Houston because they had, when they had a heck of a run and you remember when that was going on, it was a screw tape. And then it was a regular tape. They was double dib and I called it. And then in my eyes, it seemed like they started trying to be like everybody else instead of shaking and what was, they was doing better than everybody else to me. And nobody else was selling like double the music like these guys was doing. I seen it influence Dallas too, the same way. What do you think made them get away from that? Well, when screw died, everything went downhill if you ask me. That's what I mean by act going down hill is a lot of the people were so excited about the way he did the screw sound. It was still just moving. They didn't think about, well, the man is dead. What you going to do next? How are you going to keep it moving? Yeah. And they didn't have the answer to that. And I've been wanting to tell the world this. They didn't have the answer to that. Well, the answer to it, whoever takes screw spotter, whatever DJ, you got to go back where it started. Okay. So it's just like if you get married and you got a bad relationship now and you and your wife is not getting along. But what you got to do is go back to day one. What? How did you get her? That's right. You feel me? So you got to go back that. So when you go back there and then you come back and do the same thing you did to catch her, everything will come back together like a puzzle. That's the same thing wrong with the screw culture right now. So whoever's taken over it need to go back to what a mic is in the middle of the flow. You're wrapping everybody, getting a piece of the wrap and getting on the tape and he mixing it and chopping the screw. That's what started it. That's what needs to go back to. So that's what they need to go back to. So if they go back to whoever go back to that, then. You'll start to see it redevelop. You'll start seeing it redevelop. You feel me? And it's going to always be said chopped and screwed because that's the brand. Yeah. You feel me? And so it's that's what I think need to happen. When I thought about him, it was more like Michael Watts after he passed. So I'm like, okay, Michael Watts will be the next one that, you know, kind of kind of keep it going. Keep it going. But it went so far. I had Mike Jones on here. Mike Jones, you know, he talked about his run and everything I pretty much how because I was more like, you know, he was a marketing genius the way he was putting this stuff out during that time. But what those guys did was the same kind of like what pimping them was doing. They had a screw in the background, a screwed portion of a song they did the same exact thing that that pimping them was doing. Right? Right. So, and I think people are still now migrating back to putting the old song, you know, just taking a look for something for the old song. We're hearing that now. So it's going back a little bit, but I just don't know if it's going to have the same impact or how long it's going to run this time. It's not going to have a same impact because once they're not using 1200 technique turntables. Okay. They're using the digital sounds. That's going to take away from the field. And see screw was screw was actually mixing six to seven songs into one. Yeah. Including R&B. And that's what I taught him how to do is mix R&B with hip hop. Okay. So a lot of people don't know how to talk. Didn't teach him really play turntables, but showed him some things about the turntables. It's what I did. You feel me? And when he put that together, he like, man, you off to change. I said, yeah, this is all you need. You know, so when I grab R&B records and taught him how to blend R&B with hip hop, that's what gave him the sound that he been looking for. Wow. So yeah. And so when you when you look at the music and where it's at today versus where it used to be, when it went digital and it messed some money up for a lot of people because you know, crates and taking the boxes. Yeah. Going to different records. That way it was before. But like I told you, I was around before rap started too. So I've been watching this process. You know what I'm saying? So used to they would come to the city with the CDs or with the set or whatever they was pushing records, whatever. Now everything's been digitized. How do you how? First of all, how do you how did you transition? Is that been a problem for you? No, it didn't be a problem for me because I gave screw the first DJ job that he had. That was a skating rink. Okay. So then that made me free to do what I needed to do. But once they stopped the 1200s, now you ain't listening to the fudge on the needle. You're missing that. Correct. I've missed that count to be honest with you. That's what people is like. I like that. Yes, see digital, it ain't gonna do that. No, it's not. It's just gonna be clean in general. But when you're planning on Technique 1200s, you get the fudge on the needle, you get some scratches sometime. That's good stuff. And it gave you a big analog sound. Yeah. And that's what they are missing. That's what the feel like he said. Albums is coming back because people is like, man we missed the, you know, the needle on the Marvin Gaye record, the Ronald Osley record, and you can hear the Earl Green record, you know what I'm saying? And that's what's missing. That's the feel. That's the reason most of all the DJs is talking to companies and saying, man bring back Panasonic 1200s. That's what we need them back. Gotta have them back. They all coming back now. So I think it's some company, I forgot the name of, about Panasonic. Okay. They're building the 1200s back. So it's like, that's what was missing. Yeah. And I don't know if you know it or not, but a lot of DJs, a lot of DJs and producers are going back to the analog gear because now they realize and this is what a sound is. Yeah, they gotta have it. If you don't have that, it's not going to be authentic or organic. Yeah, you know, back in the days, we used to sing on real orals. Yeah. You know, to my, you know, Needle Baker and Rob Caron and, you know, Aretha Franklin and all of them, they sung on real orals. And it was one tape. You know what I'm telling you, it wasn't like today, you can fix it. It wasn't on fixing back in them days. No, it wasn't. It was a band. You get on that tape and that's it. That's the music. That's, and it wasn't no going back. But it was analog and it had a big sound and people are missing that. Now the youngsters are growing up. They, they see in it. They're like, are they doing their research? They say, well, you know what, we're not going to get this sound unless and we get the 1200s. We go back and get the analog gear and the big mixing consoles. You're right. That's what you're going to get it. You're right. And that's so crazy that you say that because then in life, when you think about the younger folks and when we're older and tell them certain things, they're like, no, that's old folks. We do it more in a digital. We're going to figure it out. We're going to figure out how to get it that way but use it in a digital way to get that way. So that's what I would think that they would do. So when I hear you say, oh, they're going back to this. That's good. They're going back to us. A lot of studios that I've been going to here lately, they buying their compressors. They buying big mixing consoles. Man, we didn't know a mixing board can do this yet because the companies, they're going to fool you. They're going to put a lot of lights on this beat machine and a lot of this stuff to make it pretty and sound good and you're going to go for it. I think if they bring all of that back, they'll probably bring it back but modernize it. You see what I mean? It won't be the same exactly like how it used to be. They'll add some stuff to it to make it. Yes. They'll never make those keyboards like that. I have all my own keyboards. So they'll never make those keyboards do what they do today. It's going to be digital. It's going to be a bunch of lights on it and it's going to satisfy the new generation and that's where they're going with it. That's where all the people that make these keyboards and stuff companies, that's what they're going for. They're going for the eye. If you like it, you buy. But everything new is not always better because my daughter, she had gotten into records. You can find record players almost anywhere now but I remember my record player back home was the big table where when you lift it up and you had all of them. I mean, we had so many vinyls like old school vinyls and that played so well. For Christmas time, we would play it all the time as David Jr., the Dean Martin. I mean, everything. We had them all. My daughter, I bought her one and in no time, probably in less than a year, it stopped working. The needle, it'll work but the needle didn't work good on the newer vinyls. It's like, in today's society is a money making venture. They make, when they come up with newer stuff it makes you want to go buy another one just to play this. I'm like, it don't make no sense. And the reason it don't sound like that because it was digital. All digital was an analog. So they just go press it on the new vinyl machines. So it's going, what it's going to sound like, it's going to sound like the digital. That's right. But if you do it in a studio that got analog, you're in it and you mouse it through analog, you go get that, that sound pressed on the album it's going to sound like the old album. Album again. But even better because it's going to be so unique because sound change. Sound change. Beats is more, you know, bigger, bass is more bigger, everything is more bigger. And when you talked about sound, I remember coming to Texas for the first time and my roommate, she was from Vegas, right? And I, in college. And she was listening to screw and I'm like, what is that music? And I'm like, this is so slow. I'm like, what are they saying? It's slow and she would be bumping it. And I'm like, did you ask to see was she drunk or high? She wasn't either. But she loved it. And she was from Vegas. Well, I'm going to tell you why she probably loved it then that she wasn't drunk or high. She could hear the words. That's why they slowed it down. But I can even hear the words. You had people like Buster Ryan all of these guys that, that rap real, real fast. Jay-Z too. Jay-Z rap for, he rap fast when he first came out. All these guys. Can't you know? All these rappers, twister, all these guys. What's his name out of Louisiana? Mystical? Mystical. Yeah. When they slowed their stuff down, you could hear exactly what they said. That's the reason. If you get drunk, it's like kind of you like, well, I'm laid back. So when you lay back, you really is listening. Your mind is really into the music. So now you can hear it. You can hear the sound. You can hear everything. That's why they did it. That's why they drink. They used to drink lean. It was too slow for me though, because I would, the beat, because for me, I listened to the beat before I hear any words of the song. Now why you listen to the beat? I bet you listen to the beat because you want to dance. You want to dance. I do, I do. See, Jamaican, they dance all in the trees. But they dance, they dance all over. They dance everywhere. I do want to hear the message. You know what I mean? But for me, for some reason, every time a song comes on, I can hear the beat. And I listen to the song. I love the song for the longest. And I can't tell you one word the song says, except from the hook. And you know how to dance to it because you didn't hear it to beat. And that makes sense. You feel what I'm saying? So that's another reason they slowed the music down because females wanted to hear what the rap was saying. Right. Even me. I want to hear, you know, you get somebody like, you don't know what it's saying, you just slow it down. It might be saying, girl, you're so fine and pretty. You know, that type of stuff. So that's the only thing that I liked it when he slowed it down. But screw, slow music down for me. He didn't slow it. Slow it, slow it, slow it. He just slowed it enough for me to hear it. Let me ask you. Top three artists of all time dead or alive. Any genre? Top three. We do that here. Number one. Any genre? Any genre. We do what? Top three artists of all time. Your top three. Your top three. Is major people? Whatever you want to do. The people that your top three, however you want to lace and dice it, that's up to you. The legendary running Spencer gives us his top three of all time on Boss Talk 101. Number one. Rona Isley. Oh, that makes sense. Rona Isley, number one. Number two. Marvin Gaye. That's dope. Marvin Gaye. We never got a Marvin Gaye. Number three. Number three. Don't that one get them every time? Number three. Because they be like, who am I fitting that slot? I know. Can it be a girl? Yeah, it can be a girl. Anybody. You know, that one KLC had a whole notebook here. He had been writing stuff down before he got here. He always got on his phone. I don't know what that was about. I'm like, how in the hell is he got it? It didn't, we never told him he was asking the question. He's like, I was just thinking about that. I'm like, dang. Number three. Number three. What half to be. Man, I got so many though. Uh-huh. Now we're down. Michael Jackson. Michael Jackson. That's a good one. They always fit either Michael or Tupac in there. A lot of people say Michael Jackson. They say Chris Brown better than Michael Jackson there. He youngsters and flipped it. I'm going to tell you about Mike. I never missed none of his shows that came in Houston. You spent it raw. Now I'm going to tell you, I learned Michael, I studied him not dancing. I studied the way he did music. Really? The way he did his concerts, the way the band he had. I studied that part of Mike in the business part. I studied that from Mike. Wow. Mike is the coldest in that. Yes. Or as I'm concerned, people might be around the world, oh, you tripping. But now. Mike the coldest. If you look at his stadiums when he filled them up, it ain't too many artists did that for people like you, too. A lot of rock stars. Yes, sir. For us in the black culture, the dancing movement, I think Mike started that. Yes. Talking about a subject for us, a woman, a story, I think Mike did that. Bands, he went to so many band members because he wanted top of the line band players. And if you, I got a film on him where he just talked to the keyboard artists, the drama, and he like, you know, you need to play it like the way I wrote it. And you need to play it like it's supposed to be played. So if you got something you need to play it like that. And which he was right. He would tell you that. He would tell you that. If the bass needs to be... You need to play it like that. And he would tell him. He knew it. He would stop. He said, well, what about this when it's explosion? He said, don't worry about that. I have to feel that. Wow. You feel what I'm saying? So stuff like that makes me re-run and listen, really listen to what he's talking about. And what he's doing. He's talking about it. He's talking about it. And what he's doing. And it helped my career because I would do the same thing now with my producers. Now I'm going to play this bass line like this. So you got to get the sound right. I might be playing it out of key on this keyboard, but I'm not playing it out of key in my mind. So I'm going to do it. I will get the mic and do what I just did. Can you play it like that? He said, okay. Yeah, I'll play it like that. So he played like that. I said, I'll go octave lower. Then there he feel it. Then he said, okay. See what I said. That's what we need to record. And then I'll do the bass. I'll do the drums. I'll do the screens because I can sing. So I can hit, you know, keyboard notes. You're saying that it reminds me of the Aretha Franklin movie I just watched the other day. And she was another one. And she did that in, you know, in the studio. And she started with a piano. And she was like, now follow this and do this. And she was listening and, you know, and then she added this part. And she's like, no, take that one out. And that's what she did a lot. See, a lot of people don't know she only played black keys. Really? Really? Aretha Franklin. She started out just playing black keys because they already know the white keys is, it's another whole different kind of like a note and a half. So if you go get a keyboard and you just play the black keys, you can do a song. Most of the rappers, that's what they do. Really? Yeah. You very seldom find a rapper can play white and black keys. And black keys. Because when you do that, now you into R&B structure. Okay, okay. If you're a rapper, it's just one, if you notice just one loop. Yeah. That's it, one loop. And it's no change. R&B, you got key changes. You know what I'm saying? You got a rhythm part. You got a straight part. So it takes a keyboard artist to really just come in, come in the studio and say, okay, man, we can do it this way or we can do it this way. Now, those are producers. When they sit down and I sit down with a lot of them when they say, okay, we're going to produce a track. Okay, we're going to produce a track. The engineer pretty much know what to give you because he going to listen to your voice and he going to put those cards in your voice. Now, when I get an engineer like that that can play a keyboard artist and they can, they know what note I sing in. The song is done real quick. Wow, let me ask you this. So what young, younger guy down there just in the music in general, don't have to be in Houston either. Just who, who do you like on the young, the young side that you've seen that came up here recently are within the last five to seven years? The new youngsters. The new young, one of the new young, yeah. New youngsters. Somebody that you like because I value your opinion. I just want to. I listen to young Thug. Okay. And I kind of listen to what he's talking about and his character. Okay. As I kind of, I kind of like. You like the young Thug. And I don't too much listen to a lot of them. Yeah, I'm pretty sure. But when I listen to him, my daughter put me on him. Okay. She put me on a rich, homey, Quan. Yeah. Yeah. Yeah. Yeah. You know, a lot of those new. New, the new artist. Some of them I can't even remember their names. And some of them is them. I don't take nothing from none of them. Yeah. I don't take no, I don't give none of no criticism about music because music is an art. And in who's for me to say, you're not, you don't sound good. Yeah. It's a treat of people out here. So you don't know who's going to like it. And some people, I see a lot of older artists and man, I ain't with that. I ain't with that young stuff. Yeah. I think like this. What if somebody said that about me? That's what I was going to ask you, like when you and you was in the studio, you and Big Monit, like when it first started, you should be able to see a reflection of what's going on with them. And where you was at when you was at age is what I was thinking. Yeah, because I don't, I don't diss no artists. I think area artists because that's what it's about, art of music. Now, I can say, well, a young guy don't have, don't know the theory of music. That's a lot of them don't know that. Okay. That's a true, you know, statement. But I can't say he's not an artist. I can't say that. No, you can't say that. Because the ones that you think is not moving numbers, hell, some are moving more numbers than I ever moved in my career. Correct. But that's not that. I don't know about that. Yeah. It's different. The reason I say that because they're scaling it different. It's a totally different ball game the way they're doing it now versus when you was doing it. Well, when I was doing it, it's a it's a different grind. So I can't measure the two. A lot of people be saying that and trying to figure out ways to make cause a lot. Now you got a million streams that equate to a four thousand dollars. You know what I mean? So you're right about that. It's a different grind. You're right about that. Because when I was moving units, you had to scan the bar code. That's right. The internet wasn't. So we did 10 million on going people going in that. That's why I said I can't equate it to what what you done versus what's happening today. I can't even level at the same way. It's totally different to me. Right. So that's my opinion. I always I always think the internet is the numbers is not real anyway. So a lot of I don't think it's real. A lot of people buy by each by views. By right. I don't buy nothing. Yeah. It comes to my music. I don't buy. So I don't do nothing. It's what you see. It's what you get. Well, I have a question. Um, how do you feel about the artist who is more theatrical than actually the talent? Because I've seen more artists coming up that they have. You talking about that little boy Nas X? Not only him, but you have a lot of other artists who are doing all of these crazy things to get the views to get the fans and not actually be, you know. Artistic. Artistic. That's the new stuff. That's different. That's that's that's kind of like a talk show. People the world is nosy. People want to see what you can do. Now, if you can get on the stage and and half your face is white and half is black. Kiss did that. You remember the kiss? Exactly. You feel what I'm saying? And do that. They got probably out of 100 percent, 75 percent, came just to see them looking like characters. That's what happened here. So this is what the kids are doing now. They say, you know what? I'm going to make this part of my hair green, this part gold, and this part pink, and and and I don't have nothing back here. And and I'm going to have my fingernails black on one hand and on the other hand he's going to be right. And I'm going to have a bunch of gold on it. Well, okay. That's something different. And this is what the majors and the world throw up on. Well, it's different and he jamming. You know, the Jews up there, if it's got bass in it, if it's sound real good and the cars banging and they can dance to it. We abide because this is what's happening for them. The new up and coming generation of music. But it's a big twist. Music goes around all the time. So what's happening is Disco, R&B, all that's coming back because those lanes are opening music right now. All pretty much most of the great seventy five percent of them is dead. So now R&B lane is wide open. Softlock name brand is wide. That's what somebody else said that R&B is the next around. Because it is. They doing it now. That's why they're doing it now. You see Rod Wave, like Rod Wave, all those guys are singing. No threes they were singing. They just trying to, but they want to make it like it's rap, but it's really singing. And they're just moving it. And it's still getting closer back to R&B. Boom, it's going to be R&B. It's going to be Disco. You're going to start hearing sounds like Evelyn Champagne King. You're going to start hearing sound like the Porn of Sisters. You're going to start hearing that sound again. You're going to start hearing Luther Vandross. Rick James and all of these type of people. You know, Marvin Gaye and Teddy Pinner and stuff. You finally start hearing it. Wow. My album that I got right now is in that field right now. That's the reason I sit on it. Because I know when the lane open up, I can feel my part in. There you go. If Lord let me live to see it. Hey, he's going to let you live to see it. So it's like, that's what it is. You know what I'm saying? The songs that I'm going to give y'all tonight, y'all want to see. Oh yeah, oh yeah. I'm going to give you some music tonight where you can play on your radio and do what you got to do. Man, we going to enjoy it. We just ride. We just going to ride to it. And that way you're going to say, now I see where it coming from. And it's a little bit, I took a little bit from every artist that I like. And I sent out to me what I do. I sent out to listen to life. I want to do a Marvin Gaye song. I'm going to listen to it for about a month. Just all his music. Now I can get his diaphragm. Yeah, yeah. The way he uses wind and breath to get notes. So a lot of people don't know when Marvin Gaye did songs. He would take a rake. Remember the time? Yeah, come on man. You know about that rake. Had the little hand on it like that right there. Y'all know that? Yeah. What he did, he took a spoon. And he'd get in front of the mic and he'd hit that rake like that. I don't know if you know the song, Live It Up? Yeah. It's in that song. It's in that song. And I got a video on him where he would just do stuff with his mouth. Like I used to say, Now Marvin would say, I seen him do that in concert. Wow. So when you sit down and you see these artists, I sit down and learn from them. I don't sit down and say, Okay, I'm looking at all the people and the girls and no, I'm looking at the artists. You're taking it to the artist's house. I'm taking the artist's house. You know, he used to do stuff with his mouth like. Yeah. And you're taking all that out. I'm taking it out. I'm like Marvin is off the change. They're missing it. And James did the same thing. This notes that I can never hear James Brown do it. He got the unique his holler and scream and anybody. And it had a raspy with it. And I'm like, man, I'm like, how you do that? You know, I'm still right today trying to learn some of James' lyrics. Mike Jackson loves James Brown too. Who has the highest pitch out of all of the old school artists that you can think of? Because you need Prince. Prince has a very high pitch. It might be Prince. It might be Prince. James or either Philip Bailey. I don't know who that is. They sing reasons. Yeah, yeah, yeah. Yeah, that's who Stone Mecca. He knew that's who Stone Mecca. He was friends with him. And the Bee Gees, they was off the change. So it's a lot of those kind of groups that really, really, I say, same. Same, same. So it's a lot of them up there. It's about seven or eight of them that I give credit to that kid. Because I love when people can hit that. I can't let them get off the show. It just gives me shivers. I'm like, I love it. They got one guy in the temptations can do it. It's a guy in the temptations can do it. It's one in the OJs can do it. I know Marvin Gaye can do it. Prince can do it. Mike can do it. It can matter to everybody. James Brown certainly can do it. They up there. Yeah, all the greats. Do you think that what? Houston seemed like an owl, to be honest with you. And we about to wrap it up. But Houston, to me, it always seemed like it didn't seem like it's in Texas. But when it came down to the music and stuff, when you get somebody in Dallas that'll hit, and it'll be a Dallas thing, Houston will have a Houston thing. And that's about the only two. San Antonio, they would do it, but it wasn't like Houston and that. But man in Houston, Houston like an owl, man. To me, Houston catch on before the last people to catch on. Why I don't know, but that's what a talent at. Snooper tell you that. I mean, there's a lot of major rappers that tell you, man, you need to go. 50 Cent will tell you that. Houston. Houston got a ton of talent. But it's just like you say there on the island, it's like they can't get out. But it's why it's not a Texas thing and not just the separation. Why is it just Houston or Dallas? Why is not they don't come together and become a Texas thing? That's an opinion. It need to be because that's the biggest thing on the map. Right. And this is what I like about Atlanta. They stick together. Oh, man, we go down there. I see it. It's not even like it's a Georgia thing or it's a. You know, I'm giving shout out to Lana. I'll got y'all shit together. They they do. Man, I'm telling you, I had some guys that down there wanted to do some stuff. And you know what they told me? They said we'll do the music, but we want to write it. We want to produce it. We want to put it on the radio. Everything out there. Yeah, we want to put you in the magazines. We want to get you on some tools. And we want to make sure that you are up and running. Just do one song. Wow, because they have reliable people there. Exactly. And that's why they are moving. Yeah, they're working together. I hate to say Atlanta stick together like the Mexicans do. So that's true. I'm just being real with you. And I would love to go down there and work with some of those guys. You know what I'm saying? And in the future, I'm pretty sure. You're going to do it. But yeah, man. Hey, man, we love you, brother. How can people get a hold of you if they're looking for you? Just look on the Internet. I tell everybody that they laugh. They look on there. And what's their name? They look a running spencer. The legendary. You're on Instagram. You're on TikTok yet? I'm on that part of the time. She's like TikTok. She's like TikTok. I'm going to tell you, there's nothing wrong with it, but I'm just not really a social media guy. Never was. And my daughter handles all this stuff. You got to get with it. She went viral the other day. She went viral the other day. She went viral the other day. You got to get with it. You got to get with it. And it's just like, I just, you know, my eyes are bad. I don't have time. I'm just like, man, you know what? I'm going to do it. And thank you to me. All my friends and partners. Well, don't worry about that, man. So you're only on Facebook and Instagram? I'm on Facebook, Instagram, Twitter, you know. As the, as Ronnie Spencer. As Ronnie Spencer. The legendary or the official, just Ronnie Spencer. You can say the legendary Ronnie Spencer. No, I'm saying, what is that on there? You can talk on there. That's what I'm saying. They do it both. They already, yeah. You can look it up in the pop up. Some of them say, I'll pull up the legendary Ronnie Spencer there. I am. I'll just say pull up Ronnie Spencer. But my daughter got it hooked up through Facebook and everything is tied to it. That's right. When you look me up at Facebook, you can get into everything. Yeah, man. I'll tell you. When she got me on, I had no clue. You have no idea, but that's good. She told us about the letters that when you was going through a, when you went away for a while, she wrote you a lot of songs and would send them to you. Oh man. And she said you wouldn't, you won't give them back. No, she just, no, I give them back, but she still my music all the time. So by she, by she being my daughter, I just let her have it. I said, you know, you're younger than me. You're going out there, whatever in the studio you want, you can have it. Man. She just took advantage of that. So I'm glad because everything right now to have been touching here lately. Man, I love her, man. It's been, you know, people love it. And she's right now rapping Rapples albums. I've seen the rap. I've seen, she's, she's, let me hear that, the bum beat and the front back. Yeah. Man, I love that. And I got another song that man Pym did. What? Yeah. I got that, man. I got about two things that he never put out. But now look. Man. She got one of those and won't give it back to me. I bet. I wouldn't give it back to Eva. She performed it on the stage and they loved it. Wow. And then she passed me off. Said, daddy, you ain't getting that one back. Wow. I said, okay, you can have it. Save, man. Thank you so much for coming on the show, man. We love you, brother. Yes, sir. I love y'all for having me. I love y'all. Check it, man. Save, man. We love you, brother. Run this, run this pencil. Hey, we're going to be coming to Houston. Mm-hmm. Very soon. We're going to be linking up with you again. We're coming down here. Because I want to do something for you. So we'll be coming down there to put our stuff up there. Okay, cool. So we're going to come down. I told Chos and Blackboard Stevo I didn't link them with a lot of them down there. I'm going to come set up. I want to do something down there. Yeah, man. Y'all come to the studio, man. I'll come through. Maybe you can do something on a song. Hey, I'll get on there. When you get your wife out, she got to do a scream. That's all right. I can scream. I can sing. I can scream, though. That's good. That's all we need. He can sing. I'll do a little bit, man. I ain't no running special. And it ain't got to be. I want you to be you and I'm going to be me. And we're going to make a classic. I sure will come do it. They didn't say no one keeps sweating. We're on the other side of the song. Hey, man. But they talked about keep sweating. Yeah. But hey, sweat's something else. He's going to whine and get his done. You know what I'm saying? Yeah, he's going to get his done. I think, yeah, sweat. We went to his concert. And I heard a lot of people say. I'm not going to go there. A lot of people said, man, he too old to be doing all of that now. Man, he doing his thing, man. That boy doing his thing. He whined better than anybody. But he be crying and whining. Yeah, man. But see, that comes back. He is on the artist. Man, I ain't going to lie. He just got an artist. Some of his music got me through back in the day. He ain't going to lie. I made a lot of babies back in the day. I'm going to tell you. Well, I ain't going to baby off tonight. Oh. Oh. You know what I'm saying? Yeah. Ha, ha, ha, ha. Thank you so much, man. We love you, bro. We love you, too. Man, this has been another great segment of Boss Talk 101. And we out.