Relationships Worth More Than Money Podcast
Conversations about relationships being valuable and worth more than money! its a heartwarming podcast that delves into the profound value of connections, friendships, and love that transcend the monetary realm. Hosted by Tweezy & a diverse range of guests, including athletes, artists, entrepreneurs, engineers and everyday people, each episode explores the immeasurable worth of relationships in our lives. Through compelling stories and thought-provoking discussions, the podcast inspires listeners to cherish the bonds they share with others, reminding us that the wealth of a meaningful relationship is far more precious than any currency. Tune in to "Relationships worth more than money" to discover the true treasure in life.
Relationships Worth More Than Money Podcast
The Raw Truth
Become a Relative & send some love
Ever wondered what happens when raw talent meets unfiltered truth? Taz's upcoming project "Confessional" answers that question with summer anthems that will have you rolling down your windows and turning up the volume.
When people kept asking Taz to "tell the truth," she decided to do exactly that – on her own terms. The result is an eight-track collection that showcases her unique perspective and undeniable talent. "I'm going to tell my side. I'm going to tell how I'm living, how I see it, what my experience is," she explains, giving listeners a glimpse into the authenticity that drives her music.
The journey to "Confessional" took Taz to Houston, where she collaborated with acclaimed producer Bigg Cuz (known for working with Mo3, Kentheman, and Erica Banks) in marathon studio sessions running from 6PM to 1AM for three consecutive days. Rather than working with pre-made beats, Bigg Cuz challenged Taz to create in real-time, pushing her artistry to new heights. "He was like, 'I want to make the beat right now, and I want you to write right now,'" Taz shares, describing the intense creative process that gave birth to tracks like "This How I'm Comin'" – her favorite song and the first single from the project.
What sets "Confessional" apart is its versatility. From songs addressing relationship dynamics to personal reflections (including a track dedicated to her son) to unapologetically "freaky" anthems, Taz delivers a sound she describes as "different from what you heard in the city." Her music stands out in the DMV scene while remaining universally relatable – perfect for summer drives, pre-gaming with friends, or anytime you need that confidence boost.
Mark your calendars for May 23rd, when "Confessional" drops alongside a special listening party. This isn't just another music release – it's an introduction to an artist who refuses to compromise her vision. As Taz puts it, "When I come on this project, I'm coming harder than what you ever heard before."
Relationships Worth More Than Money by Tweezy Kennedy & Marcus Alland
available on all streaming platforms!
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Make sure this drain straight. Oh, it went away. Put it on um on. Uh, do not disturb, I did.
Speaker 2:Yeah, so they don't. But it's still gonna go to sleep if you don't touch it. Oh, you gotta turn the whistle name off.
Speaker 1:Then what? Take the uh, sleep off how?
Speaker 2:you do that.
Speaker 1:Go to your settings.
Speaker 2:How do I work in IT and I don't know how to do it.
Speaker 1:Uh, go to your settings.
Speaker 2:I don't work in IT. I don't know how to do it Right.
Speaker 1:Uh-huh Go to, uh what is it display?
Speaker 2:I work in accounts.
Speaker 1:Honey Display it said display and auto lock. Auto lock.
Speaker 2:Never, never, uh-huh, yup, yup, yup.
Speaker 1:My nigga we good man this nigga gave me double shot. He did yeah we good, we good. I'm not gonna complain cuz I got a little girl shot the confessional. Is it bright?
Speaker 2:Yeah, but they blocking something else. Why you try sipping that what it taste?
Speaker 1:like oh yeah.
Speaker 2:Did it do?
Speaker 1:that, nope, it's about to, though, oh shit, I'm scared. What is that? That's the one we had last time.
Speaker 2:That bottle looks dangerous.
Speaker 1:That one is it recording right there. Yes, it is All right bet.
Speaker 2:I'm scared Sheesh, give that shot for me. I took a shot already.
Speaker 1:Okay, so we uh, ooh, yeah, uh-huh.
Speaker 2:Put some hair on your chest, mm-hmm yeah.
Speaker 1:Yep, yep, I'm not a drinker. I do it, mm-hmm. Yeah, yep, yep, I'm not a drinker.
Speaker 2:I do it for the fun sometimes.
Speaker 1:Yeah so look. New location New location. This joint dope, I like it.
Speaker 2:I like it Shout out to Pure Space. Pure Space.
Speaker 1:Yeah, Pure Space. We here back with my homie Taz, but this time we're talking about Confessions, Confessions. Let's get right into it, man, because we ain't going to cut all the extra stuff out. We're going to get right into it. What made you come up with this album title?
Speaker 2:That's funny. So, as you know, a little back story of like some of my situations I was experiencing with people, they just was basically asking me to tell the truth. So that motivated me to like confess, you want me to tell the truth? I'm going to tell my side. I'm going to tell, like you know, how I'm living, how I see it, what my experience is.
Speaker 1:So, so when you told me the name of it, I was like we about to get like an R&B joint, I feel like it gave a little.
Speaker 2:Um, none of the songs are really R&B. I might have got two, maybe three slow songs, but um, all the songs turned up.
Speaker 1:Yeah, the reason why I said that? Because you know Confessions by Usher.
Speaker 2:Uh-huh.
Speaker 1:You know that one about him. What was it about? It was about JD. That's what happened with the JD. That like was real life and he wrote it and put it on the song.
Speaker 2:Yeah, Usher sing it.
Speaker 1:That's why I, like you know in the video, you know everybody thinking like damn, he done messed off on Chili. Oh, remember, but it was really about JD and his issues. He was telling his story, yeah he was telling his story on the song.
Speaker 2:Oh.
Speaker 1:So what you? This is like your first big project, right, Mm-hmm. What is it like to like go like? What's the background of it? Like, how does it take, what does it take to get into that mode? You know what I'm saying, like the expectations?
Speaker 2:um, going into this project, I didn't know what to expect. Um, because when I was working with cuz this was my first time actually working in the studio with him, like we did a song real bitch, but it was more like him send me to be. I booked my session at home. This time I flew down there in houston and um he literally I think I came with like six beats already, like drafted up done, but he was like nah, like we'll take two of those, you can do those, lay them down, but everything else you gotta be raw, like I want to make the beat right now and I want you to write right now, right, so it was different, so I ain't expect that. How was how?
Speaker 1:was the sessions? Was it like long sessions? Or was it because I know you when you get in that mode and you start writing, it come it was a vibe.
Speaker 2:So I was really nervous at first because I'm like I don't know what I'm gonna say, like I don't know what, what feeling I'm feeling right now to even put towards you know, this project. Um, because I'm no. I'm normally like if you send me the beat, I listen to it, I might finish it in a day or I might finish it at the end of the week. But this time was like on site, like it had to be right now. So as soon as we got in there, we had to take shots instantly.
Speaker 1:Right.
Speaker 2:So that kind of warmed me up. Then some of his people came in and everybody started talking a little bit. It kind of made me feel a little bit more comfortable with my setting and he just started cooking.
Speaker 2:He started making the beats and I'm like, as we all like talking mid-conversation, it just like dawned on me like this beat fire as shit. So now I'm just like in my zone, like okay, so I get my phone out and I just start like writing the first thing, like whatever the beat made me feel like. Like it might make me feel like I feel like talking some shit about some niggas, I might talk some shit about some bitches, right. But that was like the whole process of how we like turn up vibe, talk out and then he start cooking.
Speaker 1:Now, did you knock the whole tape out in a day, or was it like?
Speaker 2:No, so I think I flew down there Friday and we left Monday, but Monday we didn't work. But Friday, saturday and Sunday we was in the studio from 6 pm to 1 am every night. Yeah, it was long.
Speaker 1:How did you link with Big Kuz?
Speaker 2:Instagram. I reached out to him. Yeah, I think I was just on like a. I was going through a phase like either you can reach out, at least you say you tried, you can get a yes, or you can get a no, but at least I tried, right, and I used to always listen to like kinder man music and I would hear the tag you can ask big cousin. And I was like who is that? So I like Mo3, ken Erica Banks. And I was like, oh, he worked with a lot of females and I'm like the sound that he's working with sounds familiar like mine. So I reached out and was like, hey, how much for a beat. And he told me the price and I was like I could do that. He sent me the beat, I did the song to Real Bitch, did the video and we put it out and from there we just kept in touch and always talked. So this project kind of came about of us just talking and vibing on Instagram. And then he was like you need to drop a mixtape.
Speaker 1:That need to be your next step.
Speaker 2:And I was like okay.
Speaker 1:So we're getting tutelage from Big Cuz. How does that differ from like other people that you work with? Like, what was the Like? How was the vibe?
Speaker 2:I feel like Now with other people Like I worked with you before and a lot of times you'll be like, nah, I don't like how this sound Like, fix this. Yeah, but I think you catered more. You was more sensitive to my feelings because we were friends.
Speaker 1:No, I'm definitely like.
Speaker 2:You would be on me, but you wouldn't be hard on me.
Speaker 1:Because you know what I'm saying. Like me personally, it's the feeling so like when I hear your music I'm like, oh, you got to go hard. When I first heard your first song I'm like oh you got to go hard every time.
Speaker 2:But you believed in it. I didn't even know my sound of it for real, no, but you gave me a blueprint of how your process or how you do shit.
Speaker 1:So like when you recording you writing everything is like you going hard. So it's like I got to be on you like that, like I had to, but it wasn't like I ain't going to be too crazy on you. You know what I'm saying.
Speaker 2:Like what the fuck? He wasn't like cussing. He wasn't like cussing, because cuss don't cuss.
Speaker 1:But you know how some people Would be like no, do that shit again, do that. You know what I mean. Like nah.
Speaker 2:It was like that, but it wasn't like that yeah. He was like I would. I guess I would feel myself Just getting tired, like because from 6 o'clock To 1 am, that's a lot.
Speaker 1:That's a long hours, and then we had to like it wasn't no breaks.
Speaker 2:You probably I mean you already taking a break, you're sitting down and you're rapping and there's no breaks. Um, it would be like times where I would be rapping like one of the lines you know, this pussy got power when the niggas finna check and I would I wouldn't be standing with the energy I'm supposed to come. When he was like, nah, again he's like you need to, you need to feel it. How do we feel when you, this pussy, got power and the nigga need to check and I would be like, all right, I would feel a way. I would be like, damn, why he hard on me like this. Then you got to think about it. He care about the project, like you putting money and time into it and he putting his time and his name on it.
Speaker 1:Yeah, yeah, I think too is when I envision stuff for any artist, but like even for you, it's like you want these people to recite everything you're saying and you want them to feel like damn, this shit is power. Like where the money at. You know what I'm saying and that's how you got to do it, so I know exactly what he was doing. You know what I mean. But it's definitely like sometimes you got to bring it out of that artist because they like just Like, nah, like you can be chill on certain songs.
Speaker 2:I learned from another producer that I was working with before I just named. But he would always tell me like when you get nervous and like you don't feel comfortable with what you're saying or how you're saying it, like just keep saying it over and over and over again on the mic until you feel like this one is it and you keep that flow. So we had to do it a few times and then he was like you got it do it again and then I would just be like fuck, and I would just yell that shit out.
Speaker 1:Was you standing up or sitting down recording? I was sitting down.
Speaker 2:He asked me. He was like you want to do it sitting down in the booth with everybody out here, or you want to go in the back, private? And I was like nah, that's vibe out.
Speaker 1:That's good right here. What's some of the pros and cons that you experienced?
Speaker 2:so far through your journey of recording, Trying to get my sound right. That's a con Because you know, working with different people, everybody ear not the same. Like sometimes I will go home with songs that's supposed to be first draft, supposed to be mixed and everything, but you can still hear no errors in it. And it depends on the engineer finding the best engineer to work with. That's a con, a pro. The networking I done met some good people along the way that helped me get into places that I wasn't in before.
Speaker 1:That's always a plus, and I think a lot of people fall off of the network and it's like they'll meet the person and then forget the person the next day. Like instead of like following up.
Speaker 2:I'm a contact. Hey how you doing. Have a good day, Good morning Good afternoon.
Speaker 1:The follow up is the most important part. When you, after you network, you gotta to do a follow-up, because if you don't, and you got to be consistent about networking, it's not just you don't do a meet and greet today and then it's like, oh God, I met this person.
Speaker 2:Like you keeping in contact, it's like a friendship. You got to build it.
Speaker 1:Because a lot of times man, like for me, like artists come to me all the time, like yo, I want to work with you, but I be like okay.
Speaker 2:You won't hear nothing else and I won't hear nothing else. Like you know what I'm saying, like I'm not going to reach out. You want to work with me?
Speaker 1:Yeah, you want to work with me, but I'm not reaching out to you. You got to tell me why they make me want to work back with you. Show me, unless you got going on like your joint legit, then I'll reach out, but other than that, like it's like yo man, it's a two-way street. You know what I'm saying? You want to work, but you got to pull up.
Speaker 2:Some people I used to be one of them people Well, no, I was, but I wasn't. I would always reach out and then, like, I'll tell somebody I'd be like, all right.
Speaker 2:I can book it right there, and if I don't, I'd be like, all right, I'll use this for later and I'll come back to you. But some people just reach out because they just want to know like how much you willing to charge me for this if I want to get in the studio with you or do a podcast interview. But they don't think to keep going.
Speaker 1:You got to do it every day. Not only be consistent, be persistent, because, like you can be consistent, all you want.
Speaker 2:Don't change it up. People change it up. They kind of get blindsided, like today I want to be a singer and tomorrow I know how to rap a little bit too. But what's the main?
Speaker 1:focus. Keep the main thing, the main thing you got to Focus on, that, push that, yeah, what you think is bad for business in the industry that we deal with music-wise and hold on music and acting-wise because you do be acting a little bit, I do.
Speaker 2:You know what I'm saying, so what's?
Speaker 1:bad for business.
Speaker 2:What's bad for business?
Speaker 1:Not doing your part. Not doing your part not doing your part.
Speaker 2:Not doing your part, like if you know you working with somebody and you getting something lined up with somebody. Like, say, if we doing music and we got a studio session today and cancel because you can't make it or you forgot that's important. I don't want to work with you no more. It's Right, or you forgot that's important.
Speaker 2:Now, I don't want to work with you. No more, right, it's bad for your business. You're making it look bad for yourself Like you selling yourself short. Yeah, what's another one? Stop trying to finesse artists and creators out of like what they do. Yeah, you don't win that way. Nah, that's bad for business too. That's definitely bad, you're going to mess up your name doing that.
Speaker 1:This industry, is small and everybody knows everybody. The way the circle comes back and forth. Yeah, they be like how you know this person in Atlanta, how you know this person, how you know this person. I'm like, look man, I've been around these areas multiple times.
Speaker 2:This group, here know this group, everybody knows somebody and I build relationships with these people here, that know these people there. And you think you dogging out this one person.
Speaker 1:but this one person know the same people you know and that's why I'm trying to tell people like, be careful who you work with and be careful who you do business with, because if that person ain't good, the person ain't gonna be like yo who you work with. Oh no, I'm straight.
Speaker 2:I just kind of had a similar situation like that the other day. I walked in the room and I was like, uh-oh, bad for business in here, yeah, and it was just like these, my people.
Speaker 1:Right.
Speaker 2:You a visitor.
Speaker 1:Right, you in my territory. Yeah, exactly, a lot of times, man, you know, a lot of times it's a lot of groupie stuff that be happening too. I would say for me that's bad for business, like I can't bring you to somebody and you turn out being a groupie when I brought you to this person.
Speaker 2:You've had that happen.
Speaker 1:Man, yeah, and the sad part, it wasn't a female.
Speaker 2:It was a man. Yeah, men are groupies. Yeah, men groupies, yeah.
Speaker 1:And the sad part, it wasn't a female, it was a man, yeah.
Speaker 2:Men are groupies. Yeah, men groupies too. I'm not surprised. Yeah, they're groupies too so it's like they do just as much female stuff.
Speaker 1:You know what I mean. You forget who you was loyal to, and then you go to, you go over there, and then now it's like how is it over?
Speaker 2:there Is the grass greener.
Speaker 1:If the grass greener, hey, let it be greener. But hey you know what helps me though.
Speaker 2:What.
Speaker 1:That's one less thing I got to worry about.
Speaker 2:Next, you know what I'm saying you just keep pushing on like.
Speaker 1:Yeah, just keep moving, Like I ain't got time for that.
Speaker 2:Like, but the groupie and studio etiquette Hmm studio etiquette.
Speaker 1:Studio etiquette is like if we in the club or we in the studio and my boy P, he in there too, he chilling you know what I'm saying. And then he just come up to the artist or the engineer or the producer and be like yo, yo, yo.
Speaker 2:you should say it like this or hey, hey, hey, oh, no, no, no, you got to stay yeah you got to stay in the back. The only time you can tap into when an artist needs to make a correction is once I'm done and I'm doing a playback, like let me hear that If I'm not feeling it and I'm like hmm, should I give more energy?
Speaker 1:Then you can chime in and be like Now you're asking everybody else, yeah.
Speaker 2:I'm asking for your input.
Speaker 1:Then you could be like, yeah, you might want to say it a little harder, because you kind of found some yeah, I had that happen a couple times Like it was just one cat, he was an R&B singer too, and like I was working at the studio and the crazy part is the manager was that I knew, shout out to Miko Miko, he brought him in and, like this, dude thought he was like Trey Jones and dude thought he was like Trey Jones and he thought it was big time. So he like sitting on the on the uh, the table like he, you know, I'm saying like hey, now play this song, play this song, turn and turning up the volume and I'm like bro is this my session.
Speaker 1:On your session I'm looking like bro, I'm trying to listen to what. If I want to work with you, like what you doing, he like you know doing all this his producer like chilling, you know, saying he chilling, but he peeping the scene and he just like yeah, yeah, yeah, this the song right here, this the song right here. And turning up the volume and sitting on the things Trying to sing the songs and stuff, and I'm just like. I'm just sitting there like what am I doing? Wasting my time?
Speaker 2:Yeah, what we doing, you letting me hear it, and sure enough he recorded like once. That was it.
Speaker 1:He recorded once and then went on about his way. You know what I mean. But shout out to him Like he was talented. But that's the etiquette stuff that'll get you thrown out the studios. Because, like what, if you're walking up in Future and them joint, like that?
Speaker 2:And you're telling them you touching the knob. Comfortable here, but you were no better there.
Speaker 1:Yeah, you turning up the dang on controls and stuff, like bro, what we doing, you know what I'm saying. But yeah, studio etiquette groupies and stop trying to smash everybody you work with Please.
Speaker 2:We don't all want to be fucked on.
Speaker 1:Stop, like just stop. If she come on you, that's on you, bro, like pause, you know she come to you with some with her energy, that's on you.
Speaker 2:I've had producers, slash engineers. They'll work with me for the longest time and, like once, I put you in the friend zone, that's it. You can't climb out, especially if you're working together. I'm not fucking people I'm working with. That's bad, yeah, and they would just find their way like try to climb out the friend zone. Like you know, I be into threesomes and shit. Like I'm freaking, I don't care, did I ask?
Speaker 1:you.
Speaker 2:I don't care.
Speaker 1:Coming out of nowhere. What the fuck? What's up with it?
Speaker 2:It wasn't an option.
Speaker 1:Yeah.
Speaker 2:What we talking about.
Speaker 1:That's crazy. Now here this one right here, that we gonna do. We gotta do take a shot. We're going to do the Q&A game. Q&a game. Look, p got his shot, I got mine. I had a double, you got to get another one.
Speaker 2:I'm scared. Please don't make it a double.
Speaker 1:Yeah, you got to get another one. I got to drop back Q&A. Top five artists your top five artists in a DMV.
Speaker 2:Oh, I'm fine In the DMV.
Speaker 1:Yeah, no around here. Yeah, it could be no Around here. Yeah, it can be all time.
Speaker 2:I mean, I know a couple I'm not going to lie to you. Dmv.
Speaker 1:Yeah, yeah.
Speaker 2:I don't.
Speaker 1:You don't listen to them.
Speaker 2:I used to listen to Wale. Is it bad that I never made I used to listen to Wale. Is it bad that I never made? I used to listen to Wale, but, like coming up, I will always listen to Shot Glizzy or Fat Trail.
Speaker 1:Yeah, they trail code. Shot Glizzy code, he still fly, he still fly. Yeah, fat Trail.
Speaker 2:I haven't heard no new Shot Glizzy because he been.
Speaker 1:Shout out to Phone too. I did a, we did a song, but I think he still liked that Free phone, big phone. He was a. We did a song, but he did a video to it and everything.
Speaker 2:Was he a part of Trell's group With.
Speaker 1:Trell yeah.
Speaker 2:Short yeah, muslim.
Speaker 1:Tatted up Light skin. Yeah, yeah, yeah, okay.
Speaker 2:So yeah, trail glizzy.
Speaker 1:That's two. No, no, pass, pass. Okay, so three, you got three, you're missing two.
Speaker 2:Who else? Oh, you know what Rico Nasty.
Speaker 1:Fire Rico, fire, god damn. Yeah, fire Rico, nasty Rico, super Fire.
Speaker 2:That fire, God damn Fire.
Speaker 1:Rico nasty.
Speaker 2:Rico super fire. That's four. I don't know. Give me one Wale. I'm not going to shit on Wale. Wale had a good upcoming.
Speaker 1:Yeah.
Speaker 2:I remember seeing Wale as one of his performances when he really had no name.
Speaker 1:Oh Brent, oh Brent, brent, fias.
Speaker 2:He's from here.
Speaker 1:Yeah.
Speaker 2:I didn't know that. Oh, you know another one. What's her name? You know girl from here. It's a girl. What's her name? It's a girl, what's her name? She sings R&B.
Speaker 1:She was with Dreamville Ari Lennox.
Speaker 2:Ari Lennox.
Speaker 1:She ain't with Dreamville, no more.
Speaker 2:She not. Oh yeah, she's independent now.
Speaker 1:They just like just you know, separated, but they did it on good terms.
Speaker 2:They still good Right after the Dreamville, the Dreamville, they make me a little scared to sign to a label, Like everybody go independent now.
Speaker 1:Well, I think what it is is because the contracts that they signing it don't be feasible for them. But they do. They turn to whatever year that it is, and then they want to go independent. They figure the rules I mean the game out. They figure the business out.
Speaker 2:I wonder what it's like if I figured out the game now, before I get there. Yeah, I still going to want that label.
Speaker 1:I think to me honestly, if it works for you, go to a major, you know what I mean. And then, once you done there, you know how to do it independently. Go independent like Boosie and them. You know what I'm saying, but like what makes you independent, though?
Speaker 2:Like because you're doing your own shows and dropping stuff? You have to book everything marketing. That's what I'm doing now.
Speaker 1:Dolph was doing all of that. Like you know what I'm saying. He had big record labels trying to sign him, but he was but he wasn't. I thought he independent, because that's just the publishing deal you know what I'm saying. Like you're not signed to an actual label, you're doing everything on your own. The publishing is your. You know what I mean.
Speaker 2:Whatever publishing deal you got on the side, okay, and then you know, like when you when you in that type of game you know what I'm saying, Because you- got it. Costs to pay to play it costs to be recording. It costs to travel.
Speaker 1:It costs to everything Like you know what I'm saying the marketing Like, if you want, if you want your joint to go crazy on the reels, you got to pay Instagram, facebook.
Speaker 2:You got to pay them. You got to TikTok. What's them little Instagram accounts that be doing promo?
Speaker 1:Yeah, the promo accounts, the little promo pages. Like you know what I'm saying, it's so much out there. And then the only. Thing is like what's real and what's fake.
Speaker 2:Oh, the ones who be buying followers and likes and those going to be real.
Speaker 1:Now you done wasted your money and they only be having like two likes. Uh-huh, one of them don't always match. Yeah, some don't match.
Speaker 2:I always check the followers first. They'll always be fake. People get a blue check and be having 12K followers they're not even real people and then you could tell by the likes. It'd be like 40 likes. I'd be like oh damn, it's a fake page.
Speaker 1:Yep, all right, so we got the five where the shots come in at. I do. I think I owe you a shot because I couldn't get some. No, this is, I still got mine. This is where the shots come in at. You got to pick between two artists, right, you ready? Okay, kendra Mann, meg Thee Stallion.
Speaker 2:Meg again.
Speaker 1:Meg. Okay. Ari Lennox or SZA, sza. Okay, wale or J Cole Damn, you can take a shot if you plead the fifth Shout out to Drink Champs too, because this was the dopest thing that they ever did. Like on they show Cool.
Speaker 2:Damn. Everybody's gonna say J Cole. Yeah, I like them both, but if I had to say who I listen to more, it would probably be Wale More than it has been J Cole. I'm not like everybody else.
Speaker 1:I mean she from here, though I'm from here, though you, cole, I'm not like everybody else. I mean she from here, though I'm from here, though you know what I mean I like.
Speaker 2:J Cole Some songs I know and, but I came up on Wale.
Speaker 1:I heard him more than I did J Cole. I understand that. I understand that it go a hard one though.
Speaker 2:Uh-oh.
Speaker 1:It go a hard one. R R&B singers.
Speaker 2:Right, I like R&B. Come on Tank and we.
Speaker 1:Or Trey Songz.
Speaker 2:I'm going to say Trey.
Speaker 1:Trey.
Speaker 2:Because Trey had me singing my heart out back in the day.
Speaker 1:Okay, yeah, you going to say, tank, what you was going to ask? Oh, there's no, we just this Q&A, this Q&A.
Speaker 2:Who got more hits?
Speaker 1:We ain't talking about hits, we just Q&A, q&a who you, and if you don't wanna pick, you just take the shot.
Speaker 2:I think the old Trey he ain't got no new music.
Speaker 1:Yeah, he ain't got no new music. I'm sorry he don't. He don't got no new music. I mean, do he really he can live off that?
Speaker 2:He's living off of what he had back then. Yeah, cause all them shit Was hit.
Speaker 1:They were I'm going to hit you with an underground one. Sauce Walker, you ready, sauce Walker?
Speaker 2:or Thug.
Speaker 1:Or.
Speaker 2:Thug, yeah, thug.
Speaker 1:Thug. Sauce Walker cold. Though, hey, sauce Walker cold, he ain't going to take it from me, right, all right. Sonswalker Code. Sonswalker Code. I ain't gonna take it from you alright, so here going one more JD, jermaine, dupri or Diddy oh go ahead, man, go ahead.
Speaker 1:Why the fuck would you do that to me? Go ahead, man, go ahead. Why the fuck would you do that to me? Hey, you told me to come up with this Q&A. Now I'm going to hit you with a curveball. Oh my God, you taking a shot, or are you picking?
Speaker 2:Wait, what's the JD?
Speaker 1:Or Diddy. That's all I'm saying Like best producer, jd or Diddy. That's all I'm saying Like best producer, jd or Diddy, because my personal I'll tell you after, but my personal opinion on it is it's going to be far to this side.
Speaker 2:I'm not going to end my career before it gets started, so I'm just going to take a shot, take a shot, all right take a shot. Take a shot. Alright, take a shot.
Speaker 1:I hit you with that one. Here we go. Another curveball. I only got a little bit left. Gotta go with the times. So we're going to go with 90s, 90s R&B or 2000s R&B, from 90 to 99? 2000.
Speaker 2:2000 to 2009.
Speaker 1:2000s Okay, all right, so you know who Aaron Hall is. No, okay, so I ain't gonna get you the Aaron Hall is.
Speaker 2:No.
Speaker 1:Okay, so I ain't going to get you the Aaron Hall one I don't take it too bad what about Aaliyah or you ready. Who you going to do.
Speaker 2:Who you going Erykah Badu, aaliyah, or Erykah Badu that lady? I'm going with Erykah Erykah, all right, one more, one more.
Speaker 1:This one might be the one of them all. Do I want to go R&B or do I want to go hip-hop?
Speaker 2:Well, I mean, if you're saying 2000s, you might as well say R&B, because we really had too much hip-hop in 2000s. We had a plet too much hip-hop in 2000s.
Speaker 1:We had a plethora of hip-hop in 2000s.
Speaker 2:I'm trying to think, wayne.
Speaker 1:Mixtape Wayne. Okay, wayne, jeezy Gucci. That right there. That's all you need.
Speaker 2:I'm still a Gucci fan. You know what you might be right, gucci, or?
Speaker 1:Jeezy Gucci TI 50.
Speaker 2:Ti was oh okay, we did, we did, we did. Maybe it's the alcohol. So you gonna go with Joe. Joe who Fat Joe.
Speaker 1:No, the singer. Who the fuck is Joe? You don't know Joe. Who is Joe? Nah, you don't know who Joe is. You gotta know who Joe is I don't know who. Joe is. You gotta know who Joe is. I don't know. God knows who Joe is.
Speaker 2:Who is Joe?
Speaker 1:Sing. I'm gonna play it.
Speaker 2:I wanna know him. You gotta at least sing the song.
Speaker 1:Yeah, but you know that song right, yes, or R Kelly, r Kelly.
Speaker 2:Piss my.
Speaker 1:Huh.
Speaker 2:R Kelly.
Speaker 1:R Kelly, it's chaos. Ain't nobody messing with Robert dog Chaos?
Speaker 2:He done, did some fucked up shit, but his pen is undefeated Artistically. He's creative.
Speaker 1:R&B wise.
Speaker 2:Musically.
Speaker 1:He's up there. Like he's there, I agree. You know what I mean. All right, so that was our Q&A. Take a shot. Name the artist or take a shot. Let's talk about this project, what you expect out of it, how many tracks you got.
Speaker 2:I think I got eight.
Speaker 1:Eight tracks. Eight tracks what audience, or what are you trying to give to the audience?
Speaker 2:What you trying to give, I want this project to be like a summer anthem for the women. Ladies.
Speaker 1:So it's a bunch of anthems on there. It is. You got a listening party coming up, right.
Speaker 2:I do. What date is that? May 23rd? So far for my event, I've only sent out personal invites for my RSVPs, but I think I'm going to drop the—.
Speaker 1:You got to send one to him too. Okay, you coming, you got to send one to P.
Speaker 2:P, I mean Sammy aka P. Okay, For sure.
Speaker 1:May 23rd, you got this listening party. I'm mad, because normally you would send me something, so it's like I'm waiting to hear what it sound like too.
Speaker 2:I want y'all to be surprised.
Speaker 1:But I'm okay with that.
Speaker 2:The reason I want everybody to be surprised is because y'all heard Pretty Bitch and you heard Real Bitch and every other song, but you ain't heard nothing like this. I tapped into something different.
Speaker 1:What's um? What are the eight songs you got on here, Mm-hmm? What's your favorite one and why?
Speaker 2:Um, I'll say the first one I'm gonna drop, which is this how I'm Comin'. It's lettin', you know, like I ain't been puttin' music out in a minute y'all, but when I come on this project, I'm coming harder than what you ever heard before. It's a different energy. It's different from what you heard in the city.
Speaker 2:I don't really ever compare my music to anybody from out here, no disrespect intended. It's different. It's a disrespect intended, it's different. It's a different vibe. It's a fun vibe. It's just something that nobody heard from me and I have different things going on on each track. Like I got some talking about niggas. I got some talking about niggas and females. I got personal songs on there. I got freaky songs on there. I got all types of shit You're going to vibe either way, but it's all anthems for the summer.
Speaker 1:It's all anthems, I think so, for the summer and beyond, when you drop your top down, you're going to be cranky. Now the question Because I'm real big on, like you know, I love music, but what songs do you feel like you can see on TV? Because I'm big on like sync, I love sync. I'm still pushing to get into sync, right.
Speaker 2:I have one.
Speaker 1:Just one out of eight? I beg to differ. I already know there's going to be some drinks. I'm like yo.
Speaker 2:this definitely can be on Each song can go on TV depending on the platform. Like, if you put me on some P-Valley or put me on some baddies intros like that.
Speaker 1:So look, here's the crazy part.
Speaker 2:I definitely kill that with this project you ever seen the Recruit?
Speaker 1:No, what's that? It's on Netflix. I've been watching it. I'm on season two.
Speaker 2:Okay.
Speaker 1:They. I always put it like this don't ever underestimate your sound. Yeah, because P-Valley. Yes, that definitely fit, but the Recruit is about, like CIA agents and lawyers.
Speaker 2:But they have, like when they about to go to work and go see.
Speaker 1:Yeah, and I'm listening. I'm like hold on, Are you playing Billie?
Speaker 2:Eilish, it don't make sense. Sometimes I be looking at that too, like when I watch certain shows or like movies. When they got like gun scenes and they about to go hard on the scene, I'm like, damn, my song would sound fire on this part. When they come through the door, like. Yeah that's what I'm saying. I like shit like that, like Power that would be fire it goes Mm-hmm, because you might only think P-Valley. I think that because they're like fun songs for girls.
Speaker 1:They're fun records.
Speaker 2:I do got a personal song on there. It's one that's catered to my son. Yeah, I feel like that can go for different types of things too, but mainly this project is fun.
Speaker 1:Well, before we get out of here, let's do. You know, I always do my tools, the gems, but before we do the gems, let's do. It's called like Build-A-Bear, like Build-A-Artist.
Speaker 2:Okay.
Speaker 1:Let's Build-A-Artist. So from lyrics like if you was to build an artist, it could be anybody. It can be anybody that you want to write the song, anybody you want to produce the song. You know what I mean?
Speaker 2:I'm going to go down the line of building an artist Like.
Speaker 1:the first thing is who would you want to write the song? Any artist, or you, even you.
Speaker 2:If he was still living, I'd say Young Dolph who Young Dolph?
Speaker 1:Dolph Okay. Great writer Dolph to write the song. Who is the style to perform the song? Who going to perform it?
Speaker 2:Hmm, female, I'm going to go with Megan.
Speaker 1:Meg Mm-hmm.
Speaker 2:All right.
Speaker 1:So you got Dolph as the writer, Meg as the performer.
Speaker 2:Mm-hmm.
Speaker 1:Who's the style, who's styling that person Like? Who's style you taking from?
Speaker 2:Tiana Taylor.
Speaker 1:Tiana, yeah, tiana Taylor fire.
Speaker 2:I love the tomboy look.
Speaker 1:Yeah, with the Jordan ones Her body fire.
Speaker 2:Yeah, her body fire. That's more my style. I feel more comfortable dressed like that. Yeah, okay.
Speaker 1:So Tiana Taylor, with the style, who is the producer of the record?
Speaker 2:Hmm, she Big Cuz, big Cuz All right, big Cousin, big Cousin.
Speaker 1:All right, big Cousin, shout out to Big Cousin, shout out to him. So we got, we got Dolph writing it.
Speaker 2:Uh-huh.
Speaker 1:Meg performing it Uh-huh, tiana Taylor styling it Uh-huh and Big Cousin producing it Made the artist. That's a tough artist, right there, right, that's how you build a test that's a tough all right before we get out of here. You know we always got the gym class, no matter where we at um also shout out to kitchen. The kitchen, dmv yes this dope area.
Speaker 1:Um for the podcast. Um, what is a gym that you learned from doing this album that you can give to the other artists out there female artists, male artists, any artists out there to store in their toolbox?
Speaker 2:Keep going. You're going to come across a lot of complicated things in your process that might feel like it's slowing you down or you might feel like you don't want to do it anymore, but just to keep going. Every, every day, literally since I've started this project, I have had so many downs and I just be like there's no way. I'm gonna see this through, like I'm not gonna get this project done, but like the more I keep going, the more I see it's getting accomplished off my checklist, off my whiteboard, and I'm like, all right, we almost there. Just keep pushing because you don't know what the end is going to be. It could be a good ending Like I'll come.
Speaker 1:That's a fact. Keep going, Don't. I think Pharrell said it. I seen it on Instagram a couple weeks ago. He was like just keep going, Keep creating.
Speaker 2:It sounds easier Because when you got life going on and you trying to focus on like your dream, it's like it don't really reality, don't seem like this.
Speaker 1:It's like where can I place my dream with all of this, With?
Speaker 2:all of this. You got bills, you got kids. You got this coming to you left and right Family, friends, foes. We got a lot of shit going on, so it's hard to keep going.
Speaker 1:But if you stay focused and just keep going like, like see you through alright, so Taz we got May 23rd, the listening party. We got confessionals dropping when we dropping it. May 23rd are we dropping it on May 23rd too?
Speaker 2:the listening party and the drop is May 23rd album drop.
Speaker 1:May 23rd. Go get that. Make sure y'all go get that. Like comment, share, subscribe and follow me and follow Taz we gonna put that down here.
Speaker 2:It's gonna be, it's gonna be down there. It's gonna be down there like that.
Speaker 1:L-o-v-e-t-a-z we gone like that.
