 Check it, check it, check it, it's a unique hustle, it's your boy E-C-E-O and I'm here with the lovely official Mr. Mako. What's going on? Not my day, I'll 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 just be tripping, but today is special, I ain't gonna tell you to me. You know what, it's 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 it day by day. Man, hey man, you know, 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, hey, I like that shirt. Thank you, thank you, I made it, I made it. I know my daughter going on one of those. Oh man, she knows it, hey man, when she came here the other week, man, hey, I fell in love when I follow them all the way to Old Cliff, man, wherever they want me to go, whatever y'all want me to do, we shut down, we jumped in the truck and followed them. Because they wanted that Dallas chicken, so we got to take them over to Rudy's. They got a chicken spot called Rudy's Chicken, man, shout out Rudy's Chicken man. Man, Rudy, I got to come see y'all, and what I'm hearing right now must be some good chicken. Man, that's what everybody's about to say, but I like it. He loves the salt. I like it. It's not real salt. They're not from the country, you know what I'm saying? When you're from the country, you know. Everything's salty. Everything's salt and pepper and lyre seasoning, you know, she's Jamaican, so they like it. Say, man, 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 to you for a long time and didn't even realize what's going on. I didn't even realize it. Why you always got to put that out there? Man, it looks bad. I remember driving down the road, listening to that song, we were doing research on Renetta, and that song came up with, because he's a big Pimpsy fan, like 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're 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'm telling you what I thought. Everybody think it was Ronald Eisley. But now I'm going to tell you something that they don't realize it was a Ronald Eisley 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 Eisley. And what I did was just rewrote the words and sung it the way that I felt, you know, that I 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, you know, know pretty much what to say on the song if you're listening 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 knew it was somewhere. Look, because 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 in his name. Yeah. I was mad about that man. I could might be wrong. Well, I thought Rap came out. Should we hear again? 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, I'm your mama. Yeah, yeah, yeah. DJ Cool Herk. Yeah, he was Jamaican. DJ Cool Herk. But what you just said, come on, tell your story. Because when you Googled it, he said it. Yeah. It's Google it. Google it. Google it. Do you remember what you said about Curtis Mayfield? Mayfield was the one to me. Yeah. I could be wrong, but Mayfield is the one to me that really got people to kind of jump in on Rap because he kind of did singing rap. Okay. You know, actually I did a song over with Mayfield. See that? Yeah. It's like, then that's when I guess the Sugar Hill gang and all these other ones started coming up with, you know, with Rap music and boom, I think it just blow it up. But, you know, the real hip hop artists out there, maybe I shouldn't say it like that. It was like Carol S. Warren. Yeah, yeah, yeah. That was real hip hop. 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 his hip hop. Do we want to, you want to go back? I know you always miss a little people. She got to stay and she do. No, 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, I 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. 4212 Almedo Mitchell's Lounge back in Houston. They did have a band back there. Okay. So I guess that's where I got my singing from playing instruments. My daddy played a beat three Hammond organ. So, you know, it's picked a lot of stuff up from him, like the hats and stuff like that. Because it was all back in the day. That's how they wore it was, you know, dog, car fathers and hats like that. They all dressed up and kept me coaching stuff on. Oh, yeah. That's just. Turn on markers. Man, I just, yeah. 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. Okay. So I was raised with my mama. She had four of us. So there'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 the only one had 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. The baby boy. So you just pull up. Whoa. Go on and say it. Whoa. Whoa. You say the spa brand. Yeah. That's why he was a mama boy. She must have played by that boy, not that little one. No. Just like you. Same thing. It's just a different term. Yeah. She can't say nothing you got on that one. I got her. I already know, 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. 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, people 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 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. Okay. No problems. First I thought it was, you know. Joking. Joking. But he never was joking. He was serious. So one day we had a big basketball meeting out there. A 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. I'm started 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 say, 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 wants you 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? I got $3,000, man. He really wants you 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 me. I didn't know, you know, I just said, okay. And 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. You can follow us. I said, okay, cool. 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 of 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. 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 a 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, you know, 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, you know, radio, they put another sound to, you know, your voice. So I started sounding professional. I said, you know, professional. So I got to, you know, I got to check into this. So it blew it up. And then, you know, 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 DJing at Almeida Skating Ring. Okay. And everybody was calm. The place used to be packed on Sundays. Sundays we probably have about 12, 13-hundred people in that skating. Skating ring was big back then. It was big back then. So everybody listened to Grooze and hip-hop and rap and, you know, screw was doing his thing. He was slowing up music. Yeah, yeah, yeah. So I said, okay, you know, and I would play the song and they would, they would skate to it. I'm like, okay, I think I'm gonna be some here. So what I used to do, I used to always sing. And I would play songs like Ozzley 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 it. 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. But 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 going to be singing. And I never knew she had told them that. Told them that. So it's a couple of Rona Oz's songs. Come on. I got the going hard. You know, I'm singing. I think I played smooth sailing by Rona 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 caught me. Nothing but smooth sailing tonight. So I just kept singing it. 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 start clapping. Wow. I raised up. I said, oh man, these people. This is crazy. This is crazy. Did you get nervous at that time? That's when I got nervous. 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 Rona Oz. But I played the instrumental. Yeah. Wow. And then you. But see the only instrumental 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. So by me not knowing that I sound so identical like him, they was amazed. They was just stopping, just stop skating. So when they started 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 amazing. I'm like, man, this is crazy. Wow. That's crazy. 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 says, Scrooge, man, who's this guy sound like the Ozley brothers? So Scrooge said, that's my goddad. He said, no, man. He said, yeah. And when you get him, he said, yeah, call me come right over. As a matter of fact, he just left. Wow. He said, man, I got a song. So he played the song, Ain't I 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, but 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 you know, I can kind of, you know, 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. I said, man, let's record it. Let's go to Skip Holman in the morning and record it. So I said, okay. So when he said Skip Holman, 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? Man, this man had a mixing console probably wall-to-wall and they're 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. And now I realize. Now this is the one. The one. This is one day. Yeah. So I realized that, man, you can't sing. You can't sing. Y'all trying to tell me how to sing. Exactly. So Skip Holman said, I like that. Can everybody get out of the studio, let him do what he do. He 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. I was sitting outside by the pool. And I hear all this screaming and hollering and jumping, man. And I said, oh, come outside. I said, man, come back up. 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 mounted 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. Renata was saying something like that about which song was it? Barbeday. Barbeday came out like that too. Nobody does that anymore. Not in the same day. How does that, how is that possible? Man, these guys was 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 Bumby was incredible. That's all I could say about those guys. Special Balmby. He was type of guy. He could write his verse. And read and ball it up and throw it in trash go to sleep. And wake up. Pimp said, Bum, 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 Balm was for his time because he was so good with words. And he could write, write stuff and just. Kill it. Man, kill it. You want that one day? You want to hit that one? Please. One day? Y'all, you want to hit it. Alka-Pella? You want to hit it? Alka-Pella. You know I want Alka-Pella. 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 Bob's Talk 101. There you go. One day you hear. And then you go. Yeah. One day you hear, baby. And then you go. One day you hear, baby. And then you go. You made a tear come to my eye. I don't do that. Why are you being that old cat like I had, boy? I would come down through there, boy, when I had that thing rumbling. You'll understand, man. Say, when I come through there, man, you could tell me nothing, man. And I was going to get in some trouble back then. 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 effortless when 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 craziest thing. When she was born, I was really waiting to see, because I wanted to be the boy or girl. Yeah. And it really, 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 got to worry about nobody. Yeah, yeah, yeah, yeah. And when she was born, started her hollering when the doctor spanked her. She hit a note. No. Wow. Yeah, she hit a note. Really? Yeah, she hit a note. That scream was so unique. And my ears just rested. I said, my daughter finna sing. I got a singer. So I said, run, run, run. So they looking. So they said, we thought you didn't want a girl. I ain't giving my baby. So she got it. And everybody was looking at me like I was retarded. 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. Yeah. 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 say, 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. Okay. So I'm like, she kind of made a beat while she was singing. I thought I was on one. Wow. So when I recorded one day, note D is the one of the producers say, man, he beatbox when he sing. And when Skip Holman, he say, take all the music out and just play right in his vocals. So when he did, that's what was going on when I was singing one time. Wow. So they clean it out. I said, we got to clean it out later. Because he beatbox. They think it's an instrument. And I said, no, man, he beatbox when he sing. 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. 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. Oh. The measures of the music. Yeah. I 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 was a natural gift. So I've been doing it since I've been doing music. How did it sound? Give me a song. It's kind of like, I'm going to sing the 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. You know, I'm going to sing his part. You might can hear it. Oh, 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. Yeah. Yeah. Oh, 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. You got to stay true to what you do. And everything going to be all right. Boy, boy, boy. Man, you, Ronald Island, you sound, I couldn't tell the difference, man. You had to put that song out. We heard about you being romantic with it. We got an archive full of it. You got an archive full of stuff and you won't even give it to her. Yeah, I'm finna give y'all some stuff today. I'm gonna give y'all some stuff today. Because that's inspirational. 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. So, I mean, I love it. And the best part of that song, we did the song. The name of 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 Ronald in St. Louis, Missouri at this home, this 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, it's mastered, and I just have my release. Run a studio. How was that experience? That day, when you did that with Ronald, 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 Miller-Fernpile picture, laughing. And I get a phone call and say, hey man, this is Rick. I say, what's going on? Everything all right? He say, yeah, man, Ronald Osley is at the Reno Tower wall. He got a show tonight, and he want to meet you. And I say, oh 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 called again and said, 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, Ronald Osley want to see you, you want to talk to you, you want to hear you. He agreed to do the song. So I said, okay. 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 7 o'clock. And they want to see you before they hit the stage. So I said, oh, okay, man, all right. And the doorbell rang. And when I opened the door, it was a direct. 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 stairs in about 5, 10 minutes. So I got cleaned up. And he said, no, you don't need to get cleaned. 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. All right. So I left. So we gone down the stairs. We getting in the car. We go. And sure enough, in the Reno theater tower, he was there. So it was him, Ernie Osley, Angela Wynne Bush, and a couple more people. Then he had his hair dresser there. He walked around in a football. You know, he always fly. Yeah, he fly. That's what I like about me. And he and his little fooboo robe and the hair dresser curling his hair as he walked. And he turned around and said, all I heard you sound like me. So I said, I guess that's what they say, you know. And he said, yeah, that's what's been the talk in the town and the talk in St. Louis, Missouri that you sound like me. And there 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 sound. So I guess they thought, I guess they thought I was just going, you know, freeze up. So I said, OK, what you want to hear? You say anything. Then Ernie said, do hello. So I said, hello. How you hit that thing, Bobby? 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, girl. Hello, hello. Hello, hello, hello, hello. So he's like, where's that? Hey, wait a minute. So wait a minute, man, 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. I said, man, stop. He said, 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 Angela say, is that your son? So Louis Bush. He said, no, wrong. He said, no, he's not my son. So, so Ernest said, man, you've been messing around. It's something that you can't tell him. It's got to be your son because he hit in every note. Right. But 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. He said, okay, let's do the song. We're going to do the song. What do 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 want to go with the big boys. So they all looked at me and said, Ron says, cool, that'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 playing tickets you need? So I say, well, no D-Rick and me. He said, cool. He said, I will have y'all round trip playing 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 floating. My heart was just floating. I said, man, I'll leave this happening. This is when I wished that I had my daughter and my mom with me. Yeah. 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, it looked like a big brass trash can, but it wasn't. Wow. And you got to put the head, every sneaker. Sneak in there. You got to put them shoes in there. You got to take your shoes off. That's right. Put them in that basket, that little brass basket. And when you get in on, 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 had a house shoe. He got a house shoe for him. So that's what 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 Winbush, I just love her voice to hear her sing. So they taking us around. And so it's natural. Man, Ronald just started singing. And then like the song that we were singing, we just singing and harming it and it fit so perfect. And they was all looking at it and saying, you see this? They act the same. They walk the same thing. So I'm like, man. So I veered off and went around a corner. The house was so big and singing. And Angela Winbush thought it was her husband. And she turned around and looked at him and just grabbed him. She said, oh my God, I'm thinking you're wrong. I said, no, I'm just singing. Y'all sound amazing. 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 would erase Ronald's verse, thinking it's mine. And they would erase my verse, thinking it's 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 quick, it was just, it was unbelievable. OK. 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. Just to get it where as you can tell who's who. Tell the difference. But some people right today, most people out of 100%, 95% still can't tell. Wow. So that's the sighted part when I get a chance to see people's expressions and how they look, and I'll be like, I don't see if he, and some of them say, oh, that's wrong. No, that's wrong. No, that's wrong. So they go to all and 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. 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 really won't. Wow. That'd be dope. That'd be real cool. And that's what I really want to do and I'm going to talk to Pup and Impile 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 the difference. Ron can tell the difference. And he's the first one saying, now 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 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. 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 to be. 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. And what I love about Ronald Eisley is that he reinvented himself and stayed current. Right, where a lot of artists can't. A lot of the older artists is still doing their... And I give credit to Art Kelly on that because Art Kelly, that was a smart move he did and him and Ronald is a real good partners and friends. It is hard to work with Kelly, which that's the good people. When you start working with people that really know music, you have to really humble yourself to see where they want the song and how they want it 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 they get 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, court's got what they got to say, but I still treat him like a celebrity, a human, you know, a good person, you know. They always going to attack the blacks for some reason. Exactly. Come on, man. 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, what this man have did in music. And I say, you don't know who Kelly wrote songs with. He wrote songs to Michael Jackson. A whole bunch of people. That's right. 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. Yeah, 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 men, 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 field, 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 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're going to 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 learn how to control your voice.