The Hitmaker Behind Exposé Shares His Blueprint for Success | Felix Sama Podcast #2

Episode 2 of The Felix Sama Podcast features Lewis Martinee, the super producer behind the creation of Exposé and one of the architects of the freestyle and dance music sound.

In this episode, Felix sits down with Lewis to talk about his early beginnings, his creative process, and the mindset behind building records that moved dance floors and shaped music history.

Lewis shares stories from his journey as a producer, songwriter, and hitmaker, including his work connected to artists such as Jermaine Jackson, Pet Shop Boys, Ricky Martin, Elvis Crespo, and many others.

This conversation gives you an inside look at the discipline, workflow, humility, and vision behind a true music legend.

The Felix Sama Podcast, where music, legacy, business, and greatness meet.

Transcript

SPEAKER_01 0:00

The Felix Sama! Dropping it right about now.

SPEAKER_09 0:08

So, yeah, I'm real excited because it's the Felix Sama podcast. It's what I love doing. And I I took a little hiatus, but now I'm back. You know, I did the Stevie B and produced the Stevie B freestyling show for a while. And uh, you know, now it's time to do what I do best, and that's interview people that are interesting and got something to say. So in the studio today, I got the one and only Louis Martinet, the super producer. How you doing, man? Good, man. What's happening? Ah, loving life, man. So we got a lot to talk about. So let's get right into it. Just a little history on how you get started because I don't really like doing the whole, you know, from the beginning and all that stuff. But there are people there that really don't know you. So just give them a little synopsis on how you got into the music business.

SPEAKER_08 1:00

So I started by playing drums and percussion in a in a rock band, uh, and then quickly went on to DJing, and then I went on to recording, and there was producers uh around town that liked what I was doing. They'd have me come in and help them out with mixes and uh additional production and remixes, and that's how I started doing um you know the studio work.

SPEAKER_09 1:22

Now, have you always lived in Miami? Were you born in Cuba?

SPEAKER_08 1:25

I was I was born in Cuba, then uh went to California in uh uh in the beginning and then moved to Miami about five or six years later. So I've been pretty much all my life here in Miami.

SPEAKER_09 1:37

Do you miss LA?

SPEAKER_08 1:38

I love LA. I go I go all the time. So, you know, Miami and LA, those are you know my my two favorite cities.

SPEAKER_09 1:44

Yeah. So what what happened when you were producing music in the very beginning? I know that Expose wasn't your first group. What was your first introduction to dance music?

SPEAKER_08 1:55

Uh well, when I was DJing, I was DJing dance music, and uh um, like I said, for other producers would come and like what I was doing, and I would start going into the studio and learning how to get around the studio. Back then it was not digital, so it you had to know what you were doing.

SPEAKER_09 2:10

Who was your mentor? Like you're my mentor, but who was your mentor?

SPEAKER_08 2:13

Uh well, probably Ray Martinez. You know, he's uh he had some uh club hits back in the day, and uh he started bringing me into the studio, so he's the one that introduced me to the uh uh recording studios.

SPEAKER_09 2:25

Who what what hits did he have? I don't even know who he is.

SPEAKER_08 2:27

Uh he had a song called uh um If There's Love. Another one is called In New York. Um In New York? That one? Wow, okay. He did he did also Matchmade Up in Heaven. You remember that one?

SPEAKER_09 2:40

Yeah, by Jill, yeah.

SPEAKER_08 2:41

Jill he's the writer-producer.

SPEAKER_09 2:43

No shit. Wow. Matchmade Up in Heaven. I used to play that actually on the radio. Yeah, yeah. I forgot the name of the record label, it was a local Miami. Yeah, local Miami records.

SPEAKER_08 2:53

I did his logo. I do artwork too, so I I did his logo, Paris International. Wow. Just like Joey Boy Records. I did that logo too. Yeah.

SPEAKER_09 3:01

Now, did you ever get a chance to work with like the likes of uh Gloria Stefan? No, no.

SPEAKER_08 3:07

I mean, I know we were actually working a lot in the same studio. Like I would leave and she would come in uh studios like International and Criteria Studios.

SPEAKER_09 3:15

Yeah.

SPEAKER_08 3:16

Um, but I know I never did work with her. I I know Emilio and and her real well, you know, and whenever we see them, we're you know, we catch up a little bit. Um but yeah, I'd love to work with them, you know, one time. That would be great.

SPEAKER_09 3:30

How did you know that you finally like were headed in the right direction? Was it when you first heard Point of No Return on the radio? No.

SPEAKER_08 3:38

When did you know like you were like on your way? Well, uh before Point of Return, I had a song that was uh a hit uh really big here in uh Florida. It's called Woman by a group called that I made Oh you did that song by Safari, Wild Safari?

SPEAKER_09 3:54

Technolost, Technolust, that was it, yeah. Yeah, yeah.

SPEAKER_08 3:56

So there was Woman and Wild Safari both. See, I knew, I knew and it was uh uh two songs, but then I made one. Every time I see that woman. Technology's uh so that was your first hit record. Yeah, and when when I heard it on the radio, I go, okay, yeah, this is what I want to do.

SPEAKER_09 4:18

Now, what made you put that song together? Like, like how did that come about? That that was like in '82.

SPEAKER_08 4:25

I just you know, I just started. Uh I mean, I've always let me start.

SPEAKER_09 4:30

Was like Cerone, was Cerone an influence for you? Like, what disco producers were you besides the the guy you just mentioned, Ray uh guy, but uh who else was an influence? Like, was it?

SPEAKER_08 4:42

Alec, Alec Costadinos, uh Cerone, uh um, you know, just uh the producers at that time that were big. Bonnie M, the producer for Bonnie M. He also produced Nilly Vanilli. Wow. I can't remember his name right now, but him, you know, I liked his music a lot.

SPEAKER_09 5:01

All right, so you heard you heard um the woman on the radio, and you were like, okay, this is what I want to do. What was the next steps that happened after that?

SPEAKER_08 5:09

So I before that and after that, I was always writing songs, you know, and and and putting music together, and I write lyrics and write music, and and uh I did a bunch of demos, and then uh this one started standing out. Everybody that would listen to it, hey, that's a really good song, and it was Point of Return.

SPEAKER_09 5:25

Yeah.

SPEAKER_08 5:26

And at the time, my girlfriend was doing my demos, and and I liked how she sounded, so I started looking for a girl that sounded like her, and then uh and then you know I thought, well, why find a girl that sounds like her when I have her? So I put her in the group. And this was Allie? Allie, and then Lori was in the group. Uh she was she was uh she did all the styling and uh choreography and the look and she still does the styling, and yeah. So so now together with Lori Miller, we have a group called Old Baby, yeah that's uh we're redoing some of the my old songs and plus new ones. We got a new one coming out too much.

SPEAKER_09 5:58

What happened back then, man? Because the 80s was a wild time. What happened? When was it the point that the the group didn't get along anymore and you had to start replacing uh people?

SPEAKER_08 6:08

No, yeah, it wasn't that they didn't get along anymore, just that Lori uh uh wanted to go on her own uh in Ali. Also, it was Lori that wanted to go on her own. Mostly Sandra. Sandra was uh the one that wanted to go out on her own, and then uh Ali didn't want to do shows anymore, and Lori, you know, I I I she was having problems with uh her boyfriend, and so you know, I decided actually Lori and Ali helped me find uh Jeanette. So so they were they were into you know moving on, and they helped me find Jeanette in California, and and I went to see her in the city.

SPEAKER_09 6:41

Were you close with all the girls? Oh yeah, very close.

SPEAKER_08 6:44

Yeah, like I said, Lori Miller was still excellent friends. We got a new group, you know, call O Baby, that's uh starting to buzz buzz. So yeah.

SPEAKER_09 6:52

Did what did you learn from that experience? Like, you know, moving forward, did you want to not work with with groups anymore?

SPEAKER_08 6:59

Or what did it did it No, no, there's not yeah, there's nothing no, nothing, nothing wrong with that. I mean, uh I'm still doing groups on, you know, uh it's just part of life, right?

SPEAKER_09 7:09

Yeah, you win something, you lose something. Yeah, yeah. It happens. Yeah, definitely. Now, like I said, the 80s was a wild time. I remember I was working at the Miami Playboy Club, I was working at G. Welleker's, staying up till five, six o'clock, sometimes two days in a row. I I like we we had a wild life.

SPEAKER_08 7:26

Yeah, and I was working at Katz and Studio One and uh a bunch of other collections. I can't tell you how many drug dealers I knew back then. Yeah, I knew a lot, and they would bring me drugs, and I swear to my mother that I've never touched it. I always give it a.

SPEAKER_09 7:39

Now, did they ever have like girls that they wanted to form a group with and then wanted you to produce it? And you know what I'm saying? Did you get into that scene? Because I had some of those scenarios play out as well.

SPEAKER_08 7:49

I never, never, never had that, that, that question of somebody that with money, yeah, produce my album. No, never, never happened to me. Really?

SPEAKER_09 7:59

So no drug dealer ever wanted to start a record label and have you be the producer. Nope, nope. Wow, you're lucky. Yeah, yeah, yeah. You know, probably kept me out of the way. With all the fame you got, that never happened. Really? Wow. Yeah. I guess that's amazing. I guess I was lucky. Yeah, so so you you you had your you know, your partners or whatever, like we all had, you know, with different, you know, business negotiations um moving moving on with with with the 80s. When was it that things were just not working with Expose anymore? And how did you make the pivot to want to work with other people like Ricky Martin, the Pet Shop Boys, and and everybody else that used to be a good one?

SPEAKER_08 8:37

Yeah, no, I'm well while while working with uh my the group that I put together, Expose, I was working with other groups, Paris by Air, Voice in Fashion, uh Cover Girls, uh Jermaine Jackson. Uh so I'm I was always working with other groups and other performers. And also in the Latin market, I was working with uh uh Elvis Crespo, uh Grupo Mania, Song by Four. So yeah, so I'm always I always got my there's a gold album right there. I'm always I'm always um working with a lot of groups, and you know, I I I don't choose to stop working with one group, it just kind of happens, you know?

SPEAKER_09 9:13

Yeah, yeah, yeah. You kind of move on with everything. Now, when it comes to freestyle, what do you think about the genre as a whole now? Do you think that these new freestyle artists doing new music, is there is there a void for them to fill? Or should that genre just be what it was back then with the hit records and and just leave it alone archiving it? Or what what what how do you feel about the freestyle genre?

SPEAKER_04 9:45

We want an explosion!

SPEAKER_08 10:45

I think it should m move, you know, move up and move on and and do uh new artists, new songs, you know. Uh uh, I think the So that's what's happening. Yeah, but the audience kind of like they want to hear the old stuff only. I I wish they were a little bit more open-minded to to for new music, new songs, new artists. There's, you know, a lot of young artists that that want to do freestyle uh style of music, and uh uh, but they're not expecting it.

SPEAKER_09 11:11

Old school that have their legends don't want to listen to new freestyle music. That's not really what they're into. They want to stay with the old old school style, but not to say that the new freestyle artists can't build a whole new audience base.

SPEAKER_08 11:24

That that's what that's what we need, yeah. Right? That's that that would be.

SPEAKER_09 11:28

And then freestyle can live on. Yeah, yeah. For in a sense, right? Because it's always been a kind of like a niche. It you know, it had some fame, you know, with the Stevie B's and the Expose's, you know, and the Johnny O's and the TKA's. Well, Freestyle was kind of popular.

SPEAKER_08 11:45

Yeah, they were there, no, there were there was there was artists that crossed over to the pop market, like Shannon, Expose, Stevie B, uh you know, and uh some other artists that I can't think of now, and he crossed over to the pop, and and you know, and and uh, you know, uh I we had ballads that were hit. Uh and those are not freestyle, they're ballads.

SPEAKER_09 12:08

Yeah. Yeah, so you know, it did get quite famous, you know, and it did get radio play across the country.

SPEAKER_08 12:17

Yeah, yeah, yeah.

SPEAKER_09 12:18

You know, but um, you know. International. International. It got to a point where it was like almost freestyle went dark. You know, and they took it off the radio.

SPEAKER_08 12:28

Yeah, they took it. I mean, well, what happened is that uh some it happens in cycles. Uh, you know, the dance music is on the radio and then it's off, and then it'll come back, you know, like it's coming back now a little bit with with Dualipa and Billy Eilish and these new artists, uh, you know. So it's coming back, you know, and then we we gotta try to, you know, see where we can fit in, you know, where we can, you know, modernize freestyle the Latin, the Latin uh sound and and you know, get it back on the radio.

SPEAKER_09 12:56

I I truly enjoyed remixing Point of No Return. Yeah, you know, uh going into the studio and getting the vocals from you and being able to interpret it my way and spit it out on a break beat version and the house version that I did, I I enjoyed myself, and you guys were gonna play a little piece of that so you can take a listen to it. Yeah. I don't know how you feel about doing that.

SPEAKER_08 14:41

Well, no, I mean a lot of artists are doing that. Purple disco machine is uh doing it. Uh I mean uh Tiesto's done some of the old songs. They're yeah, so a lot of DJs are are doing that. They're re redoing the songs, you know, newer style, but they're still the old songs.

SPEAKER_09 14:58

Yeah, no, I know you're a big fan of new disco, right? So I guess one of the questions is when it comes to new disco, there's the new disco and the demographics of the people that listen to new disco. And then you've got disco, that's obviously the traditional 70s disco. Yeah. Now, when it comes to playing out, how do you Well, there's a big problem combine the two, or do you just stick to one?

SPEAKER_08 15:28

Let me explain what happens. Yeah. So what happens then when you play the uh traditional disco, then you get the older crowd. Uh, they don't want to hear new disco. Yeah. Or the future disco. Yeah. Uh and then the the future disco, new disco, you know, they don't want to hear the old stuff. They're young. They're young, so they don't want to hear the old stuff. But what I what I do and other uh producers do, like Purple Disco Machine, they get the old song and revamp it so that the younger people will uh will uh enjoy it. So that's that's the way to get around that, you know. And it's uh, you know, just remixing it and and making it sound more current.

SPEAKER_09 16:01

Yeah. Now, when it comes to making music, do you always think mainstream when you're producing, or do you have another mindset when you want to produce like more club underground tracks?

SPEAKER_08 16:17

When I write the song, I always write them pop sounding. I I you know, I think they're very that's the way I write. I write so it sounds like a radio song, uh, and then I go and and think of ways of making it more club oriented.

SPEAKER_09 16:33

Yeah. Yeah. I I think that's a good way of looking at it. What would you say is, aside from the expose uh success that you've had, what would you say was one of your bigger records?

SPEAKER_08 16:44

Uh probably voice and fashion. We had a lot of success, and uh with only an eye, give me your love, and domino dancing and uh Pesha Boys with Domino Dancing, because I did it with Pesha Boys first, with the voice and fashion doing the backgrounds, and then I just last year re-released it with the voice and fashion doing the leads and the backgrounds. So, you know, it's kind of like a little play on the on the song. Uh and it's new disco, so maybe you can play it for the audience, see if they like it.

SPEAKER_09 17:15

Yeah. Now, on the pop charts, there were times where your songs were really like with a bullet reaching some high numbers. I think that at one point you even beat Michael Jackson with a it's a songwriter, yeah.

SPEAKER_08 17:28

And uh we we you can show that picture as a songwriter. I was on top of you two, Michael Jackson. Uh how did that feel? Well, that that actually it was a surprise because I'm in the studio working, and then uh a couple of um uh other people that were working in the other studio, um, they came to me and they said, Look at this. And I go, what is that? I didn't even know what it was. And it's uh I was Billboard songwriter of the year. Yeah, on top of Prince, on top of uh um George Michael, uh yeah, everybody. You two, everybody that was Michael Jackson, everybody that was somebody uh at the time that was number one. And and and the funny thing is that in the Billboard, everybody has professional pictures because they're all artists. I was the only producer that was uh, you know, just a like a like a camera shot from a regular camera there next to all these professional looking uh artists. Did you treat yourself to a Lamborghini? No, I just went right back to work.

SPEAKER_09 18:29

Now, uh we we all, you know, in the past were young, dumb, and full of you know what. Did you did you make a lot of money mistakes back then that you wish you would have had? Huge mistakes.

SPEAKER_08 18:40

Views, which everybody did you overspend? Is that no, not me, not me. Other people in the past. Yeah, other people spent my money without me knowing I'm in the studio working and and people to be were spending the money left and right, you know. Yeah, yeah. Do you wish you would have uh Yeah, if knowing what I know now, I would just not even have partners. You know, maybe put a hit on them next time. No, no, no, I wouldn't ever do that.

SPEAKER_09 19:08

Uh now you're I'll write a hit. That's what I'll do. There you go. That's how you get back at him. Now, your son, DJ Silhouette, he uh he's also following your footsteps and producing music. Now, do you feel like his style is is uh emulation of your style, or does he have his own style?

SPEAKER_08 19:25

No, he has his own style. He does uh, you know, the the the the future bass and uh the uh how would I say it? If you want to check him out, he has a group that that's uh did real well. It's called SMLE, Smile Without the Eye, SMLE. You can check out his work there.

SPEAKER_09 19:42

Do you ever critique his work or do you just bounce back and forth all the time?

SPEAKER_08 19:47

I I give him some some uh pointers. Did you say oh daddy? No, no, no. He gives me pointers too. No, no, because uh when it comes to music, we're on the same wavelength. You know, we're that's cool. Yeah.

SPEAKER_09 20:42

Do you think he learned a lot watching you, like overshadowing you in the studio, or did he pick up a lot of his technique on his own or from other producers?

SPEAKER_08 20:52

All together, because uh he's just naturally talented. He plays more instruments than I do. He so so he's really yeah, he plays violin, guitar, bass, you know. Banjo, everything. Yeah, banjo, any anything has a string he can play, you know. So does it make you proud? Oh yeah, yeah. My son is, you know, he's uh how far do you think he's away from getting some platinum uh records? Well, oh he actually has a song in the uh XO. Uh it's on Netflix, XO something, XO By My Side, that's what it's called. Yeah, so it's called By My Side, XO Kitty. So check that out. That's uh his song with uh a couple other songwriters together.

SPEAKER_09 21:31

Nice.

SPEAKER_08 21:31

Now he played the guitar and all that, so yeah.

SPEAKER_09 21:34

That's great, that's great. Well, you know, we obviously the Apple doesn't fall far from the tree, you know what I'm saying? So that's a good look, man. I have a son that's also goes by the name of Santana. All right. No pun intended, but uh he's also interested in being a producer, so we'll see how far that goes. You know, I always encourage my kids to do what they love to do. Yeah, me too.

SPEAKER_08 21:51

I I I actually paid for his college to do something else like business administration or something, but you know, he chose music.

SPEAKER_09 21:57

So is it is there anything that you're doing to give back? The community, maybe teaching.

SPEAKER_08 22:02

Yeah, no, I al I always do foundations. I'm doing uh uh uh one now on May 30th. Uh I'm doing uh a big uh uh physical ball, and uh it's going to a couple of foundations.

SPEAKER_09 22:14

Um I think it's important to give back to the community. You know, we have all this knowledge from all the experience of producing and DJing and me being on the air. Uh it would be a crying shame if I were trying to mentor the next wave of future producers and DJs and social influencers.

SPEAKER_08 22:35

Yeah, so like I said, I'm working with Share Your Heart and uh Iman's light uh foundations uh to you know for their causes. It's it's it's great. There one is for feeding the poor, the other one's for bringing up to light the uh that bad drug. What is it called? Uh the uh fentanyl. Fentanyl. Yeah, so you know, it's uh bringing that to light, going through the schools, and and uh Maddie Maddie Maddie talks about it. She's the one that's uh behind the foundation.

SPEAKER_09 23:04

Yeah, that's important. We gotta we gotta get these kids focused so that they uh wrap their time up doing positive things like music, uh mentorship is important to be playing a big role in that. So I I'm all I'm an advocate, a big time advocate for that and and and believing in in Christ and uh and using that as a vehicle to stay positive as well. So you've had a chance to work with all the big ones. Is there any artist that comes to mind that was an experience that you'll never forget?

SPEAKER_08 23:35

Yeah, I was in California working with Jermaine Jackson in uh in Studio B, and in Studio A is Keeping it 100, most venues do not have a location problem.

SPEAKER_09 23:47

They have an entertainment problem. The night feels slow, the music misses the crowd, the lighting feels flat, the promotion is weak, the room has no clear identity. That is where Sama Entertainment Consulting comes in. I'm Felix Sama. We help nightclubs, lounges, restaurants, and venues turn slow nights into signature nights. We study the room, we identify the right audience, we build stronger theme nights, we bring in the right DJs, live bands, hosts, and entertainment. We improve the sound, lighting, visuals, music, programming, marketing, promotion, and customer experience because a great night is not one thing, it's the right mix of energy, strategy, talent, production, and promotion. When the room feels alive, people stay longer, they spend more, they come back, and they bring their friends. Sama Entertainment Consulting gives your venue a real entertainment strategy. Now, guess what? If your venue has slow nights, empty dance floors, weak themes, or no reason for people to return, let's fix it. Book a venue strategy call today. Sama Entertainment Consulting. Let's pack your place.

SPEAKER_08 25:01

Michael Jackson recording thriller. What? Yeah, yes. No way. So I go to get some coffee, and then right behind me walks uh Michael Jackson, gets uh water from the refrigerator, and I'm like speechless. I should have taken a picture or something. I'm like, what?

SPEAKER_09 25:16

You were right in the same room with Michael Jackson.

SPEAKER_08 25:18

Same room, we literally rub shoulders. And you didn't say anything to him at all? I was speechless. I was I was that's the only time, and I've seen a lot of big stars, the only time I was Star Trek was uh with Michael Jackson.

SPEAKER_09 25:32

Bro, you could have been in a thriller video.

SPEAKER_08 25:34

Yeah, yeah, look at that.

SPEAKER_09 25:34

I could have been one of the dancers there. So, well, I I've been blessed to be able to work with you on many projects. Um, some that come to mind are uh recently with Tony Cruz. We did uh a nice little uh record called You Should Be Dancing. And um I think it's gonna be the bomb. Um I already mentioned point and no return. Uh what else have we worked on? I know that the stunt man did uh a point and no return uh feature on.

SPEAKER_08 26:04

Yeah, yeah, I had him do a rap on uh on one of the point and return versions.

SPEAKER_09 26:08

Yeah, yeah.

SPEAKER_08 26:09

We did like 18 remixes, I don't know, something crazy.

SPEAKER_09 26:12

Yeah, yeah. And then I had another song called Orita, which you helped me mix down, which came out to be super cool. And we've got some future projects on the way.

SPEAKER_08 26:21

I know come go with me has been kind of like that'll be coming out, but the new song with Old Baby is gonna be called Dance Now, so that's gonna be the third release week. I released I Know You Know with Old Baby. Yeah. I released Point or Return with Old Baby, and now the next song is gonna be called Dance Now.

SPEAKER_09 26:37

Yeah, oh we we also working with uh like-minded artist by the name of Saray. Saray just did a pop record that that I'm gonna remix. What's the name of the original record? The dance, the Latin dance ranker that Saray just did.

SPEAKER_08 26:51

Uh I Wanna Dance.

SPEAKER_09 26:52

Yeah. Okay.

SPEAKER_08 26:53

Okay. Okay, we're good. Okay.

SPEAKER_09 26:55

I wanna dance. Yes. So I wanna dance, very cool record. I think that is gonna be a pop hit. Uh it's got some great sounds, and the remix is gonna be unbelievable. So I'm looking forward to uh finishing that track up with you. What's next for Louis Martinet? What other projects are you working on?

SPEAKER_08 27:12

Well, I got a song out that I wish you would play it. See what uh feedback you get. It's called um I Only Miss You. It's uh Louis Martinet and this uh artist, uh Melee Apca.

SPEAKER_09 27:22

Is it out locally? It's out it's out in the I mean out on the stream platforms?

SPEAKER_08 27:26

All the platforms you can get it. It's uh Louis Martinay and Melee Apca, and it's uh I Only Miss You. Really good song. I I feel really good about it. Uh just came out, and so uh go ahead, pop it up.

SPEAKER_09 27:37

Let's play a little piece of it. Well, I I like it. I like it. I wish you would have told me earlier I would have done a remix. I did tell you. You just didn't have time. Yeah, yeah, you're busy, man. When did you send me the vocals, Louis? Yeah, you're busy. You're never gonna work on the next one with me, Sonic. Okay, yeah, yeah, yeah. Promises, promises, promises.

SPEAKER_08 29:34

Yeah, it's called Love is Like Dancing. Remember, you already said you're gonna do a remix. You're gonna be a remote.

SPEAKER_09 29:38

So, in this world that we live in now, you know, you got Suno, you got Automy, you got all these AI programs. How are you leveraging these programs to take your producing to the next level level? Or are you doing that?

SPEAKER_08 29:53

Yeah, I'm not I'm not using a lot of AI. I mean, I I still do my own melodies, uh, lyrics and and and chord progressions. What I use the AI for is uh like if I need a guitar part, I'll I'll ask for a guitar part and and get that, or a bass part, you know, and and take that. Uh so I use it like an like if I were to be hiring a musician.

SPEAKER_09 30:13

Yeah, I get a lot of ideas, you know. I input, you know, I prompt it, and then when I get the production, I I listen to it and I'm like, oh, this gave me a great idea to take it this way, you know what I mean, and and redo the sounds or whatnot. But I, you know, I I embrace it. I'll be honest with you. It's not going anywhere, and if anything, it could be a great tool. And as long as you know how to use it, it can't use you. Exactly. So that's my take on it. What are you doing?

SPEAKER_08 30:41

No, just uh getting something ready so when uh next time you can uh put it in your podcast. What do you want me to put in my podcast? No, no, no. This is not out yet, so you can't put it.

SPEAKER_09 30:51

Oh, so I can't share this on the podcast. Okay, all right, that's fine. So you're gonna be working on it. Lewis is playing he's playing gatekeeper right now. I don't know what to do. Hey man, I want to be here. I want to thank you for the exclusive interview. I much appreciate it. I, you know, I hold you high on a pedestal. You know, you've you've been a friend, first and foremost, and and a mentor. You know what I mean? And I that really means a lot to me because most of my life I spent it in radio, you know, and kind of, you know, behind the scenes, yeah. Doing that career, but I've always wanted to produce full time. And now that I've had the opportunity to do it, you know, it's good to surround myself with the people that I respect.

SPEAKER_08 31:36

Yeah, yeah.

SPEAKER_09 31:37

I mean, so and you know, launching the podcast is is a beautiful thing. So big shouts going out to all our sponsors. So, hey, listen, man, I I had to bring the best on onto the scene, and there you go. The DJ Sama podcast. Tune in because every Tuesday at 7 a.m. we debut a brand new podcast.

SPEAKER_01 31:55

The Felix Sama! Dropping it right about now.

SPEAKER_03 32:06

We're bringing a flash back for the buttons to the disco!

SPEAKER_06 32:10

From the beach to the sitter, everybody's got a big boom.