1 00:00:00,040 --> 00:00:02,289 Jay Ray: Hey, Hey, y'all this episode of Queue Points may 2 00:00:02,289 --> 00:00:03,820 contain explicit language. 3 00:00:03,850 --> 00:00:05,890 Listener discretion is advised. 4 00:00:06,430 --> 00:00:07,500 Hey, what's up good people. 5 00:00:07,500 --> 00:00:09,520 It's Jay Ray, the co host of Queue Points. 6 00:00:09,540 --> 00:00:13,050 And I wanted to come to you because there are two really important 7 00:00:13,050 --> 00:00:14,490 ways that you can support our show. 8 00:00:14,870 --> 00:00:19,420 One is by subscribing to it, wherever you listen to, or watch your podcast. 9 00:00:19,780 --> 00:00:21,580 Queue Points is pretty much everywhere. 10 00:00:22,060 --> 00:00:25,870 The other thing that you can do is you can visit us on Apple podcasts. 11 00:00:26,325 --> 00:00:31,585 On Spotify and on pod chaser, and you can leave us a star rating, please 12 00:00:31,585 --> 00:00:37,185 rate us five stars because you know, you love Queue Points and on Apple 13 00:00:37,195 --> 00:00:41,275 podcasts and on pod chaser, you can actually leave us a written review. 14 00:00:41,610 --> 00:00:45,470 It's not required, but it really does help to spread the word about the show and it 15 00:00:45,470 --> 00:00:49,610 helps people to discover it as they're looking for new podcasts to listen to. 16 00:00:50,030 --> 00:00:52,620 We're always appreciative of you supporting Queue Points. 17 00:00:52,640 --> 00:00:56,980 We thank you so much for all that you've done for us so far and enjoy the show. 18 00:01:27,443 --> 00:01:30,843 DJ Sir Daniel: Greetings and welcome to another episode of Queue Points podcast. 19 00:01:30,883 --> 00:01:32,653 I am DJ Sir Daniel. 20 00:01:33,006 --> 00:01:35,426 Jay Ray: And my name is Jay Ray, sometimes known by my government 21 00:01:35,466 --> 00:01:39,856 as Johnny Ray Cornegay, the third, what's happening, people, 22 00:01:41,023 --> 00:01:42,953 DJ Sir Daniel: This is Queue Points podcast, dropping the 23 00:01:42,953 --> 00:01:45,303 needle on black music history. 24 00:01:45,803 --> 00:01:46,663 And guess what? 25 00:01:46,663 --> 00:01:47,253 J Ray? 26 00:01:47,976 --> 00:01:48,586 Jay Ray: what? 27 00:01:48,613 --> 00:01:52,613 DJ Sir Daniel: We've survived the AT& T blackout of 2020. 28 00:01:52,953 --> 00:01:53,803 24. 29 00:01:54,813 --> 00:01:55,603 We survived. 30 00:01:55,603 --> 00:01:56,553 I'm still here. 31 00:01:57,173 --> 00:02:00,223 I don't know who was trying to get in contact with me earlier today. 32 00:02:00,703 --> 00:02:02,793 Listen, but I'm here. 33 00:02:03,023 --> 00:02:05,053 I'm still here in the words of Fantasia. 34 00:02:05,406 --> 00:02:07,166 Jay Ray: So here's, what's interesting. 35 00:02:07,216 --> 00:02:10,436 I of course did not know that that happened today. 36 00:02:11,076 --> 00:02:17,206 There was apparently, uh, very recently to a T Mobile outage. 37 00:02:17,516 --> 00:02:19,646 It did not, it did not impact me. 38 00:02:19,706 --> 00:02:21,626 I did not know that it happened. 39 00:02:22,086 --> 00:02:24,136 Um, but apparently it did. 40 00:02:24,136 --> 00:02:26,236 So it leads me to wonder. 41 00:02:27,041 --> 00:02:29,281 What in the world is going on? 42 00:02:29,311 --> 00:02:32,731 Are the country people mad that Beyonce went to number one? 43 00:02:33,091 --> 00:02:33,791 I don't know. 44 00:02:33,831 --> 00:02:36,371 Are they getting in the internet and stopping people? 45 00:02:36,461 --> 00:02:37,051 I don't know. 46 00:02:38,373 --> 00:02:38,723 DJ Sir Daniel: I don't know. 47 00:02:38,723 --> 00:02:43,613 I obviously went straight to thinking about that Netflix movie with Mahershala 48 00:02:43,643 --> 00:02:48,193 Ali and Julia Roberts where all the phones went down and the next thing you 49 00:02:48,193 --> 00:02:50,873 know, nuclear bombs were being shot off. 50 00:02:50,873 --> 00:02:52,938 And so, We're not there. 51 00:02:52,968 --> 00:02:53,688 Thank God. 52 00:02:53,728 --> 00:02:54,798 So we're still here. 53 00:02:54,818 --> 00:02:58,338 We're, you know, no, we're not in black caves. 54 00:02:58,338 --> 00:03:02,258 We're not separated by city and state any like in the movie, 55 00:03:02,258 --> 00:03:03,868 but we're here for Queue Points. 56 00:03:04,698 --> 00:03:10,228 We're here to hear a lively discussion about black music and black music history 57 00:03:10,228 --> 00:03:12,588 and that's what Jayray and I do best 58 00:03:13,006 --> 00:03:16,376 a lot of there's a lot of overlapping in the conversation that we were 59 00:03:16,386 --> 00:03:19,746 having and the things that we want to talk about tonight and I can't 60 00:03:19,746 --> 00:03:23,566 think of anybody better to discuss that with than, um, tonight's guests. 61 00:03:23,566 --> 00:03:30,176 So Jerry, I'm going to let you do the honors and, um, I guess 62 00:03:30,419 --> 00:03:34,499 Jay Ray: Yeah, this is so exciting that we get to have this guest on the show. 63 00:03:34,819 --> 00:03:40,609 Uh, both DJ Sir Daniel and I are fans of the work that they do. 64 00:03:40,929 --> 00:03:44,839 Um, and so I'm going to read, uh, read his bio and then we'll bring them on and 65 00:03:44,859 --> 00:03:46,429 they were going to have, uh, some chat. 66 00:03:46,699 --> 00:03:50,269 So our guest tonight is a Brian Patrick Davis. 67 00:03:50,279 --> 00:03:54,349 Brian Patrick Davis is a full time digital artist and admitted nerd. 68 00:03:54,654 --> 00:03:58,564 With over 10 years experience working as a creative force in the music industry. 69 00:03:59,044 --> 00:04:00,944 I'm a just add true and true. 70 00:04:01,164 --> 00:04:01,834 What's up? 71 00:04:02,084 --> 00:04:03,584 Born and raised in Atlanta, Georgia. 72 00:04:03,594 --> 00:04:07,664 Brian got an early leg up into the city's tight knit creative community. 73 00:04:08,734 --> 00:04:12,014 Brian has a large variety of interests ranging from film, photography, 74 00:04:12,184 --> 00:04:13,434 creative writing, and cooking. 75 00:04:13,584 --> 00:04:18,304 He loves Starbucks, Thai food, karaoke, and is a proud studio rat, 76 00:04:18,314 --> 00:04:19,694 frequently writing, writing, writing. 77 00:04:19,744 --> 00:04:23,764 Recording and vocal producing with several producers and some of the 78 00:04:23,774 --> 00:04:28,194 industry's brightest songwriters as a digital artist and creative director. 79 00:04:28,194 --> 00:04:33,534 He is heavily inspired by and moved by music, the compositions and 80 00:04:33,534 --> 00:04:37,714 lyrics vividly paint pictures that he communicates visually with vibrant 81 00:04:37,714 --> 00:04:41,054 colors and provocative imagery with digital artwork and prints. 82 00:04:41,054 --> 00:04:42,274 He expresses the clear. 83 00:04:42,479 --> 00:04:44,929 Correlation between aesthetic and sound. 84 00:04:45,199 --> 00:04:48,689 Davis lives in Atlanta, Georgia, where he continues to work and innovate with his 85 00:04:48,689 --> 00:04:54,499 team, the creative collective, et cetera, production group, though known for his 86 00:04:54,499 --> 00:04:56,659 infectious personality and fast talk. 87 00:04:56,929 --> 00:05:00,779 Brian has always been a little camera shy, but he here, right? 88 00:05:01,029 --> 00:05:06,769 So joining, joining the ranks of amazing co hosts at the crew love show, 89 00:05:06,809 --> 00:05:10,059 ace, ace and HD has been welcomed. 90 00:05:10,514 --> 00:05:15,164 New and it has been a welcome new and exciting challenge and we are so 91 00:05:15,164 --> 00:05:21,034 excited Queue Points family to welcome Brian Patrick Davis to Queue Points. 92 00:05:21,054 --> 00:05:21,784 What's up? 93 00:05:21,994 --> 00:05:23,504 Brian Patrick Davis: So good to see you guys. 94 00:05:23,504 --> 00:05:25,776 Yes, 95 00:05:25,776 --> 00:05:30,006 DJ Sir Daniel: Brian, do you realize this almost been what, seven years since 96 00:05:30,076 --> 00:05:34,626 I made my first foray into podcasting with the shuffle and repeat podcast. 97 00:05:35,066 --> 00:05:40,686 And Brian was my very first guest, um, to talk about your book, your debut 98 00:05:40,686 --> 00:05:42,916 book at the time songs about boys. 99 00:05:42,916 --> 00:05:45,356 Can you believe that much time has gone by? 100 00:05:46,131 --> 00:05:49,561 Brian Patrick Davis: as I said earlier, I cannot believe that much time has passed. 101 00:05:49,561 --> 00:05:53,921 It does not feel like it's been seven years, but if you say a seven, then 102 00:05:53,941 --> 00:05:55,111 that's what we're going to go with. 103 00:05:57,134 --> 00:06:01,034 Jay Ray: Listen, um, I think one of the things that we talked about before 104 00:06:01,034 --> 00:06:05,954 coming on the air is how beautiful it is that seven years later we get to come 105 00:06:05,959 --> 00:06:10,784 back and just have some dialogue with you about this moment that you're in. 106 00:06:10,844 --> 00:06:14,684 And one of the first things that we want to do for is, is make sure that 107 00:06:14,864 --> 00:06:18,614 you get the opportunity to introduce yourself and your work to our folks. 108 00:06:18,614 --> 00:06:21,884 So tell us about your background in music. 109 00:06:21,884 --> 00:06:24,494 Tell us about, you know, et cetera productions. 110 00:06:25,034 --> 00:06:26,734 Fill us in on all the things. 111 00:06:26,744 --> 00:06:27,124 Brian 112 00:06:27,291 --> 00:06:27,461 Brian Patrick Davis: Okay. 113 00:06:28,321 --> 00:06:28,821 Okay. 114 00:06:28,891 --> 00:06:33,856 So, um, I have been, I'm born and raised in Atlanta. 115 00:06:33,866 --> 00:06:38,196 I know that's like a rarity, but I am born and raised in Atlanta. 116 00:06:38,566 --> 00:06:43,456 And, um, I've been around the music community for a really, really long time. 117 00:06:43,816 --> 00:06:48,786 Um, growing up, um, I was next door neighbors with, uh, my next 118 00:06:48,796 --> 00:06:52,986 door neighbor was best friends with like Jermaine Dupri and Da Brat. 119 00:06:52,986 --> 00:06:54,136 So I knew them. 120 00:06:54,571 --> 00:07:01,371 When I was a kid, um, I used to, like, go over, um, Chris Smith's house 121 00:07:01,381 --> 00:07:03,341 from Criss Cross when I was younger. 122 00:07:03,581 --> 00:07:06,661 They lived around the corner from me, so I've just always 123 00:07:06,691 --> 00:07:08,561 been around the music community. 124 00:07:09,031 --> 00:07:14,441 Um, I started interning at LaFace Records when I was, like, maybe 14 years old. 125 00:07:14,831 --> 00:07:21,166 And, um, From there, I just, I was just always around music. 126 00:07:21,166 --> 00:07:22,966 I was always around musicians. 127 00:07:23,256 --> 00:07:25,216 I knew a lot of recording artists. 128 00:07:26,186 --> 00:07:27,846 I knew a lot of people that were trying. 129 00:07:28,341 --> 00:07:29,321 recording artists. 130 00:07:30,181 --> 00:07:34,921 Um, and yeah, I was just super immersed in that culture and 131 00:07:34,921 --> 00:07:36,831 that community from a young age. 132 00:07:37,431 --> 00:07:40,501 Um, I went to Clark Atlanta University. 133 00:07:41,211 --> 00:07:49,041 And, um, as you all know, like, there's just a, uh, a wealth of, uh, musicianship 134 00:07:49,091 --> 00:07:51,401 and camaraderie at Clark Atlanta. 135 00:07:51,791 --> 00:07:57,501 And, um, I met people that were also songwriters and vocal producers 136 00:07:57,531 --> 00:08:01,711 and producers and just trying to, like, you know, find their way in. 137 00:08:02,231 --> 00:08:10,541 And at the time, um, right for this pretty popular black entertainment. 138 00:08:10,906 --> 00:08:12,696 publication called Concrete Loop. 139 00:08:13,326 --> 00:08:20,806 Um, and I was able to foster a lot of relationships with, um, producers, 140 00:08:20,816 --> 00:08:26,836 songwriters, executives, artists, um, any, anybody that I could touch in the 141 00:08:26,836 --> 00:08:28,826 music industry, I was touching them. 142 00:08:28,856 --> 00:08:30,666 A& R, just everybody. 143 00:08:31,646 --> 00:08:38,031 And it kind of, um, I was able to, um, form and build a lot 144 00:08:38,031 --> 00:08:39,561 of relationships through that. 145 00:08:39,821 --> 00:08:44,121 And that was kind of a way that I, um, moved into the creative sector 146 00:08:44,171 --> 00:08:49,611 of like, um, being a behind the scenes, creative in the music business 147 00:08:49,651 --> 00:08:57,111 when it came to, um, consulting, um, songwriting, um, doing creative 148 00:08:57,111 --> 00:09:00,121 direction, helping with photo shoots. 149 00:09:00,491 --> 00:09:06,711 Um, anything that was behind the scenes, creative. 150 00:09:07,191 --> 00:09:10,141 I wanted to be a part of, I wanted to have my hands in it. 151 00:09:10,751 --> 00:09:18,031 And, um, 2008 ish, I guess, I kind of like fell in love with the process of 152 00:09:18,041 --> 00:09:24,041 songwriting and being in the studio and just like, um, that energy is 153 00:09:24,051 --> 00:09:26,371 something that I still love to this day. 154 00:09:26,401 --> 00:09:28,291 Like, I love being in the studio. 155 00:09:28,761 --> 00:09:37,916 And so, um, Me and some, um, some classmates of mine, we formed this 156 00:09:37,916 --> 00:09:39,716 creative collective called Etc. 157 00:09:39,716 --> 00:09:43,856 Production Group, um, and we kind of like have coined ourselves as 158 00:09:43,856 --> 00:09:49,536 like a full service, um, artist development and production house. 159 00:09:50,261 --> 00:09:55,481 Um, and, um, really just, we've worked with a lot of people. 160 00:09:55,521 --> 00:10:00,311 I mean, we've worked with, um, Kelly Rowland, JoJo, Janet Jackson, 161 00:10:00,311 --> 00:10:06,371 Cassie, um, Janelle Monae, uh, we've worked with tons of people. 162 00:10:06,741 --> 00:10:11,391 Um, but our favorite thing to do is kind of like build our own projects. 163 00:10:11,781 --> 00:10:20,256 And so, um, as of the year 2022, like We had started getting back to that, um, 164 00:10:20,266 --> 00:10:24,656 you know, building something from the ground up from conception to fruition. 165 00:10:24,966 --> 00:10:26,626 That's something that we really like. 166 00:10:26,626 --> 00:10:28,546 That's our, that's kind of like our motto. 167 00:10:28,576 --> 00:10:32,096 Like we want to see things from conception to fruition. 168 00:10:32,426 --> 00:10:34,586 And so we've been really getting back to that. 169 00:10:34,966 --> 00:10:39,346 DJ Sir Daniel: the reason why listeners, why Brian, we asked Brian to be a part 170 00:10:39,346 --> 00:10:44,046 of this particular episode is because, um, you brought up Cassie, right. 171 00:10:44,606 --> 00:10:48,186 And, um, so Tiffany read. 172 00:10:49,246 --> 00:10:53,096 Not familiar is a music industry vet as a songwriter. 173 00:10:53,376 --> 00:10:58,636 She recently dropped a, uh, a very, a video that went viral where she 174 00:10:58,816 --> 00:11:05,156 was talking about songwriting and the disparities in the industry regarding 175 00:11:05,156 --> 00:11:11,816 songwriters and how they get credited or not get credited, um, as songwriters. 176 00:11:12,056 --> 00:11:12,896 And so. 177 00:11:13,166 --> 00:11:21,146 With she said a lot and but I want to hear from you Brian like What do songwriters 178 00:11:21,156 --> 00:11:25,946 need to do to protect themselves because that seems to be an ongoing theme not 179 00:11:25,946 --> 00:11:30,956 just with Tiffany But it's it's been said so many times over and over again. 180 00:11:31,246 --> 00:11:35,901 A lot of our legends have experienced You know, where they don't get full 181 00:11:35,911 --> 00:11:41,591 credit for the, the work that they put into a project, but, and here it is 182 00:11:41,591 --> 00:11:46,331 coming up again as a songwriter, what do y'all, what do they need to do? 183 00:11:46,331 --> 00:11:49,521 Because there's some songwriters listening right now to this podcast. 184 00:11:49,551 --> 00:11:51,851 What do you need to do to protect yourself? 185 00:11:52,472 --> 00:11:53,752 Brian Patrick Davis: I will say this. 186 00:11:53,862 --> 00:12:00,602 I think that as a songwriter, one, one thing that is very important to 187 00:12:00,602 --> 00:12:03,652 know is first who you're writing with. 188 00:12:04,872 --> 00:12:09,612 Um, I think a lot of times people think that they need to protect themselves 189 00:12:09,952 --> 00:12:16,152 just from artists and labels, but it is important that you protect yourself 190 00:12:16,382 --> 00:12:18,502 with other songwriters as well. 191 00:12:20,737 --> 00:12:22,647 Songwriting is one of those things. 192 00:12:22,687 --> 00:12:25,767 Okay, I like to, I like to describe it like this. 193 00:12:26,127 --> 00:12:30,557 And this is kind of like maybe an old, archaic way of looking at things, 194 00:12:30,557 --> 00:12:34,967 because, you know, like, contracts and the way that people negotiate 195 00:12:34,967 --> 00:12:38,436 their business and paperwork is a lot different than it was in the past. 196 00:12:38,577 --> 00:12:45,037 when I started out, but I like to think of songwriting as a song, as a pie. 197 00:12:45,547 --> 00:12:55,047 And so a pie is a 100 Um, in, in, in the beginning, 50 of that pie 198 00:12:55,142 --> 00:12:57,302 automatically goes to the producer. 199 00:12:57,872 --> 00:13:01,342 A producer is going to take 50 of the pie off top. 200 00:13:02,172 --> 00:13:06,122 The other 50 is for the songwriters. 201 00:13:06,852 --> 00:13:11,052 So that is why it's important to, like I said, to know who you're writing with 202 00:13:11,052 --> 00:13:16,402 and to have split sheets and to have conversations before you guys start to 203 00:13:16,402 --> 00:13:19,932 work on something together, especially if you're working with somebody that 204 00:13:19,932 --> 00:13:24,717 you don't know, because a studio can be a very, it's a collaborative setting. 205 00:13:24,727 --> 00:13:26,457 There can be people coming in and out. 206 00:13:26,697 --> 00:13:29,407 You might write with somebody that you've never met before. 207 00:13:29,607 --> 00:13:32,517 You might be in there with somebody that you've known your entire life. 208 00:13:32,587 --> 00:13:36,797 It just depends on who you're working with and work and what you're working on. 209 00:13:36,993 --> 00:13:46,448 And so you have this 50% You have to make sure it's fairly distributed between 210 00:13:46,958 --> 00:13:49,368 the people that worked on the song. 211 00:13:49,618 --> 00:13:55,438 So obviously if it's just you, then you take the entire 50 percent of the song. 212 00:13:55,848 --> 00:13:59,288 If it's you and somebody else, Depending on what you wrote and what 213 00:13:59,288 --> 00:14:05,238 the other person wrote, you may have an agreement to split the 50 up 25, 25. 214 00:14:05,238 --> 00:14:09,108 But if that person feels like they wrote more than you, they have to agree. 215 00:14:09,118 --> 00:14:12,618 You guys have to agree upon the percentages in the split. 216 00:14:13,128 --> 00:14:18,378 So if you, one thing that people don't know is that when an album 217 00:14:18,378 --> 00:14:23,778 comes out or an EP comes out or something gets released and the 218 00:14:23,778 --> 00:14:26,873 split sheets are not Um, agreed upon. 219 00:14:27,103 --> 00:14:28,553 Nobody gets paid. 220 00:14:30,953 --> 00:14:32,033 No one gets paid. 221 00:14:32,633 --> 00:14:33,963 So it doesn't matter. 222 00:14:34,323 --> 00:14:35,333 It doesn't matter. 223 00:14:35,863 --> 00:14:39,193 You know, like how many streams a song had. 224 00:14:39,213 --> 00:14:41,083 It doesn't, it doesn't matter. 225 00:14:41,103 --> 00:14:45,163 If you guys don't agree upon the splits, no one gets paid. 226 00:14:45,443 --> 00:14:47,563 The producer's going to take their 50%. 227 00:14:47,593 --> 00:14:49,083 That's, that's already gone. 228 00:14:49,403 --> 00:14:51,733 But the songwriters are the people that suffer. 229 00:15:00,411 --> 00:15:06,186 I think, The most important things are to always have an attorney, um, know 230 00:15:06,196 --> 00:15:13,526 who you're writing with, and then, um, don't, don't, songwriters at one 231 00:15:13,526 --> 00:15:18,736 point were so obsessed with publishing agreements, but You don't need a 232 00:15:18,736 --> 00:15:24,626 publishing agreement until you have a hit and you have like a catalog of hit songs. 233 00:15:25,126 --> 00:15:32,456 It's okay to, um, to, to, to not have a publishing deal, um, and 234 00:15:32,456 --> 00:15:36,846 still be successful and still eat and still be able to shop your songs 235 00:15:37,166 --> 00:15:39,656 to, um, the appropriate parties. 236 00:15:40,266 --> 00:15:46,696 Um, so I think those are the kind of like most important things as it pertains to 237 00:15:46,696 --> 00:15:50,076 protecting yourself um, as a songwriter, 238 00:15:50,964 --> 00:15:54,754 Jay Ray: Um, you know, you bring up something really important and thank 239 00:15:54,754 --> 00:16:01,274 you so much for kind of laying out the way that process often looks for folks. 240 00:16:01,754 --> 00:16:05,119 You know, I think one of the And I would love to have you speak to 241 00:16:05,119 --> 00:16:10,319 this because I think one of the things that, um, may, people may 242 00:16:10,319 --> 00:16:14,469 not be prepared for is, of course, being in that studio setting, right? 243 00:16:14,649 --> 00:16:19,929 And not being familiar with how to have these conversations or just be one of 244 00:16:19,929 --> 00:16:26,114 those people like, I'm generally nervous about having these conversations. 245 00:16:26,494 --> 00:16:30,844 Um, I would like to ask this in two ways from your perspective. 246 00:16:31,044 --> 00:16:34,234 How did you learn how to do that? 247 00:16:34,274 --> 00:16:34,854 Right. 248 00:16:35,224 --> 00:16:40,124 And two, how can other people learn how to do it? 249 00:16:40,124 --> 00:16:43,904 Because I imagine there are folks that are like, Oh, that makes me nervous. 250 00:16:43,934 --> 00:16:44,164 Right. 251 00:16:44,884 --> 00:16:48,644 I don't know, even though I wrote most of that song, I don't know how 252 00:16:48,644 --> 00:16:51,229 to say I wrote most of that song. 253 00:16:51,249 --> 00:16:51,659 Right. 254 00:16:51,889 --> 00:16:55,779 So I'm curious, how did you learn how to do it and how can 255 00:16:55,819 --> 00:16:57,719 other people practice that? 256 00:16:58,686 --> 00:17:01,666 Brian Patrick Davis: So for me, um, I learned how to do it. 257 00:17:01,756 --> 00:17:05,526 I kind of had the luxury of being able to write with people I knew, 258 00:17:06,236 --> 00:17:13,196 um, and, and writing with people I knew was important because, um, we. 259 00:17:13,826 --> 00:17:16,316 always had an agreement amongst each other. 260 00:17:16,346 --> 00:17:20,016 Like, it doesn't matter who wrote what. 261 00:17:20,366 --> 00:17:24,206 If four of us are in the room, we're going to split it. 262 00:17:24,741 --> 00:17:25,401 equally. 263 00:17:25,611 --> 00:17:28,271 If three of us are in the room, we're going to split it equally. 264 00:17:28,311 --> 00:17:30,761 And that was kind of like the luxury that I had. 265 00:17:31,421 --> 00:17:36,331 Um, nowadays, I think one of the easiest ways to have the conversation 266 00:17:36,331 --> 00:17:39,061 is to have a split sheet with you. 267 00:17:39,921 --> 00:17:46,241 Um, the studio that I record at primarily now, he, the engineer, he 268 00:17:46,241 --> 00:17:48,931 has split sheets inside the studio. 269 00:17:50,336 --> 00:17:54,366 to say, Hey, look, this is what we did. 270 00:17:54,956 --> 00:17:59,506 This is what we, so that it's so that it's not a point of contention. 271 00:17:59,506 --> 00:18:03,306 When you walk in there, when you walk in there, you know that it's business. 272 00:18:03,696 --> 00:18:07,306 Everybody can sit down and say, I know what it is that I worked 273 00:18:07,306 --> 00:18:10,406 on, and we can be honest about what we worked on on this paper. 274 00:18:11,546 --> 00:18:16,036 Um, we talked, we kind of spoke about this in the pre show, um, 275 00:18:16,206 --> 00:18:20,546 when, before we got on camera and, um, you guys were talking about how 276 00:18:20,546 --> 00:18:23,196 people use smartphones in the booth. 277 00:18:24,021 --> 00:18:24,811 DJ Sir Daniel: Yes. 278 00:18:24,876 --> 00:18:26,516 Brian Patrick Davis: I write everything down. 279 00:18:26,576 --> 00:18:28,186 I'm a very visual person. 280 00:18:28,206 --> 00:18:30,786 I like to keep pen on pad. 281 00:18:31,346 --> 00:18:34,206 And so that's also your proof. 282 00:18:34,676 --> 00:18:40,586 is to show like, hey, look, this is, this is what I contributed. 283 00:18:41,126 --> 00:18:44,656 And, you know, I have proof that this is what I contributed. 284 00:18:45,016 --> 00:18:47,156 All of us should be writing in our notebooks. 285 00:18:47,906 --> 00:18:50,216 All of us should be, you know what I'm saying? 286 00:18:50,226 --> 00:18:53,496 Like there should be revised copies of what we've written. 287 00:18:53,866 --> 00:18:58,796 And so I would say, honestly, if, if you're afraid to have those conversations, 288 00:18:59,126 --> 00:19:04,336 just carry the split sheets on you when you go to the studio and, and let 289 00:19:04,336 --> 00:19:06,836 people know like, Hey, this is business. 290 00:19:07,086 --> 00:19:11,276 So we can need to make an agreement before we, before we start, before 291 00:19:11,276 --> 00:19:17,356 the vibe starts, before the, before we get into, you know, like, you know. 292 00:19:17,701 --> 00:19:21,121 Before y'all start drinking and smoking, I don't drink or smoke, so I don't know. 293 00:19:21,911 --> 00:19:26,121 Before y'all start doing all of those things, y'all need to sit down and first 294 00:19:26,121 --> 00:19:30,131 just break the ice and say like, no, look, this is, this is, although this is 295 00:19:30,131 --> 00:19:34,501 a vibe, it's also a business, and let's make sure our business is handled before 296 00:19:34,501 --> 00:19:36,691 we move forward with anything else. 297 00:19:37,141 --> 00:19:39,931 DJ Sir Daniel: And see, you read my mind because I was going to go there. 298 00:19:39,941 --> 00:19:44,561 I was like the studio, this is a creative environment, you know, 299 00:19:44,561 --> 00:19:49,921 and, and writers and musicians are, are, are creative people. 300 00:19:49,921 --> 00:19:54,581 And we like the vibe and when, and when that beat kicks in people, Oh, I got an 301 00:19:54,611 --> 00:19:58,581 idea and then automatically everybody just starts getting into this groove. 302 00:19:59,071 --> 00:20:01,451 But it's like, how do you, that switching. 303 00:20:02,096 --> 00:20:06,086 That code switching, if you will, of going from artist to 304 00:20:06,396 --> 00:20:07,966 business person is what you're 305 00:20:07,981 --> 00:20:13,621 Brian Patrick Davis: Also, also, Sir Daniel, another thing is like sometimes, 306 00:20:14,031 --> 00:20:20,561 um, I like to like, when I'm working with people, I like for us to separate. 307 00:20:21,116 --> 00:20:26,586 Even if it's, even if it's in the corner, like I will kind of like go off in the 308 00:20:26,586 --> 00:20:32,836 corner and I'll just kind of be like, you know, and then we come together and 309 00:20:32,836 --> 00:20:38,616 see what, and see what ideas work, what ideas don't work, what can be tweaked. 310 00:20:39,246 --> 00:20:43,046 I think that because the best songwriting to me is collaborative. 311 00:20:43,106 --> 00:20:46,986 I can't say, well, I'm not going to say I can't stand, but I hate, uh, I 312 00:20:46,986 --> 00:20:49,126 wrote, I wrote recorded produced engine. 313 00:20:49,146 --> 00:20:52,116 I, I, that's like, that's not fun to me. 314 00:20:52,706 --> 00:20:56,826 I understand how I understand that it's impressive, but it's 315 00:20:56,836 --> 00:21:01,526 also like, okay, it's very, it's a very Tyler Perry way to do things. 316 00:21:01,576 --> 00:21:07,006 And I just think, I just think that it, that the best music comes out 317 00:21:07,006 --> 00:21:11,786 of when it, when it's, uh, when it literally is like you bout you're 318 00:21:11,846 --> 00:21:13,566 able to bounce off of people. 319 00:21:13,636 --> 00:21:15,106 I think that that's the best. 320 00:21:16,877 --> 00:21:19,727 DJ Sir Daniel: There is a lot to be said for that, for, for those 321 00:21:19,727 --> 00:21:21,987 different energies to get together. 322 00:21:22,517 --> 00:21:27,047 And, um, and, and well, we, it's okay. 323 00:21:27,047 --> 00:21:28,927 So some questions have come up in the chat. 324 00:21:29,487 --> 00:21:36,772 Um, Is it like, do you hear, and this is, I guess like a, uh, what's in the sausage 325 00:21:36,772 --> 00:21:42,062 question when you're in the studio and you all get together, does it start with the 326 00:21:42,072 --> 00:21:44,662 instrumental before you go off writing? 327 00:21:44,892 --> 00:21:51,522 Or is it a, um, is it a premise that somebody says, Hey, there needs to, 328 00:21:51,522 --> 00:21:53,412 we need to do a song about this. 329 00:21:54,266 --> 00:21:54,916 Brian Patrick Davis: So, 330 00:21:55,532 --> 00:21:56,222 DJ Sir Daniel: Jump off. 331 00:21:56,556 --> 00:22:00,421 Brian Patrick Davis: so I think, I think everybody is different for me. 332 00:22:00,861 --> 00:22:01,531 Um, 333 00:22:03,721 --> 00:22:06,711 like I said, I carry a notebook with me everywhere I go. 334 00:22:06,711 --> 00:22:11,161 So sometimes if a line or a subject matter or a word comes 335 00:22:11,161 --> 00:22:13,011 to my mind, I will write it down. 336 00:22:13,391 --> 00:22:15,321 But those things are never finite. 337 00:22:15,321 --> 00:22:18,111 And a lot of those ideas I never even revisit. 338 00:22:18,841 --> 00:22:25,516 Um, I think for me, um, I, um, I like to hear something first. 339 00:22:25,886 --> 00:22:29,436 And this is the same way that I am with music in general. 340 00:22:29,526 --> 00:22:34,256 If, if I'm just listening for pleasure, or if I'm writing, I 341 00:22:34,256 --> 00:22:36,526 like to hear the sound first. 342 00:22:36,856 --> 00:22:40,626 And then, if the sound makes me feel something, then I 343 00:22:40,626 --> 00:22:42,026 can move forward with it. 344 00:22:42,076 --> 00:22:44,126 And I can come up with ideas. 345 00:22:44,986 --> 00:22:49,006 If the song makes me feel like this, then that's what I'm going to write about. 346 00:22:49,476 --> 00:22:55,026 Um, and I, and again, um, thankfully, the guys that I work with 347 00:22:55,026 --> 00:22:57,286 primarily, they work like that too. 348 00:22:57,736 --> 00:23:03,066 Um, a song will make them feel a way or invoke a certain type of emotion. 349 00:23:03,366 --> 00:23:07,041 And then, um, And then the concept will come. 350 00:23:07,791 --> 00:23:13,961 Um, and a lot of times what we like to do is I could, if I showed you my 351 00:23:13,961 --> 00:23:19,181 voice notes on my phone, like when I'm in the studio, um, I'll hear 352 00:23:19,181 --> 00:23:23,271 the beat and then I'll just like ask the engineer to play the whole beat. 353 00:23:23,581 --> 00:23:30,246 And then I'll just start mumbling or like humming, um, humming melodies. 354 00:23:30,766 --> 00:23:36,346 And then we pick the melodies that we like the best or that are the most interesting. 355 00:23:36,646 --> 00:23:38,916 And then we write to those melodies. 356 00:23:39,276 --> 00:23:43,736 And then we figure out like, you know, is this, will this sound good as a hook? 357 00:23:44,166 --> 00:23:46,266 Is this, you know what I'm saying? 358 00:23:46,276 --> 00:23:51,121 It just, it's, It's like putting together the pieces of a puzzle. 359 00:23:52,442 --> 00:23:55,922 DJ Sir Daniel: Jerry, you know what this, and I love this because now we get 360 00:23:55,922 --> 00:23:58,632 to pick Brian's mind as a songwriter. 361 00:23:58,912 --> 00:24:04,562 And what bringing up for me is so Luther Vandross has been in the 362 00:24:04,562 --> 00:24:10,012 zeitgeist a lot because those first two debut albums are back, like they're. 363 00:24:10,367 --> 00:24:13,577 circulation and they're about to be reprinted and all of that. 364 00:24:13,907 --> 00:24:18,887 And, and, um, a few minutes ago, you mentioned those types of songwriters 365 00:24:18,887 --> 00:24:21,617 who can, you know, they can do it all. 366 00:24:21,977 --> 00:24:25,377 And of course, Luther is Luther is one of one, right? 367 00:24:26,097 --> 00:24:30,547 But so I'm so interested, I'm so curious to know, like, as far as 368 00:24:30,547 --> 00:24:34,227 songwriters are concerned, and it doesn't matter the genre, like who's 369 00:24:34,227 --> 00:24:36,057 Brian Patrick Davis look up to? 370 00:24:36,157 --> 00:24:38,747 Brian Patrick Davis: Um, I love Candice Nelson. 371 00:24:39,567 --> 00:24:45,687 Um, she is one of my favorite songwriters just from a, like 372 00:24:45,687 --> 00:24:47,367 a contemporary standpoint. 373 00:24:47,617 --> 00:24:49,717 She knows how to do a lot of different things. 374 00:24:49,727 --> 00:24:52,167 She has a lot, she has a lot of different bags. 375 00:24:52,447 --> 00:24:54,507 She can do like super R and B shit. 376 00:24:54,517 --> 00:24:56,427 She can do super duper pop shit. 377 00:24:56,737 --> 00:24:59,937 And for anybody that's not familiar with Candace, um, she 378 00:24:59,937 --> 00:25:01,707 had a long heyday with Timbaland. 379 00:25:01,717 --> 00:25:03,497 She was a member of the clutch. 380 00:25:03,847 --> 00:25:05,757 Um, she wrote the way I are. 381 00:25:05,937 --> 00:25:07,717 Um, for Timbaland and Carrie. 382 00:25:08,067 --> 00:25:10,877 Um, she wrote Resentment for Beyoncé. 383 00:25:11,227 --> 00:25:15,987 Um, she's, she's just one of those people that can do so many different things. 384 00:25:16,237 --> 00:25:21,487 And I've heard so many different types of like, sounds and vocal things from her. 385 00:25:21,507 --> 00:25:23,287 Like, she's one of my favorites. 386 00:25:23,817 --> 00:25:27,507 Um, Andre 3000 is one of my favorite songwriters. 387 00:25:27,547 --> 00:25:32,057 His storytelling is just, um, Is A1 to me. 388 00:25:32,577 --> 00:25:33,427 Um, 389 00:25:35,587 --> 00:25:37,837 um, I love Pharrell Williams. 390 00:25:38,337 --> 00:25:43,057 Um, like early-2000s Pharrell is like, I mean, I love a bridge. 391 00:25:43,257 --> 00:25:46,677 So anytime you get to like a chord change and a chord progression 392 00:25:46,947 --> 00:25:50,857 and you start doing some mo s**t like, that's like, I love that. 393 00:25:51,467 --> 00:25:52,157 Um, 394 00:25:52,821 --> 00:25:53,751 Jay Ray: miss that? 395 00:25:53,851 --> 00:25:54,151 Oh my. 396 00:25:54,257 --> 00:25:55,157 Brian Patrick Davis: yes. 397 00:25:55,597 --> 00:25:56,577 Yes. 398 00:25:56,987 --> 00:26:04,967 Um, as far as like current people, like people that are, that are like right now. 399 00:26:05,297 --> 00:26:08,227 Um, I love Victoria Monet's perspective. 400 00:26:08,807 --> 00:26:16,827 Um, I think that she has a very, um, unique, uh, niche sound that is kind 401 00:26:16,827 --> 00:26:22,527 of like, I don't know where it came from or why she decided to, to do that. 402 00:26:22,927 --> 00:26:28,227 But what she's doing is Super effective and I just love it so much. 403 00:26:28,707 --> 00:26:33,837 Um, I love, oh gosh, there's so many people. 404 00:26:34,077 --> 00:26:37,147 Um, Teedra Moses is one of my favorite songwriters. 405 00:26:37,587 --> 00:26:43,277 Um, she just be, she just be talking that s**t Like I, I love when a 406 00:26:43,277 --> 00:26:48,687 woman can just talk and they talk like a n***a and they be like, you 407 00:26:48,737 --> 00:26:53,597 like, that's, that's my s**t I love that s**t When I can see women just. 408 00:26:53,757 --> 00:26:57,697 Asserting themselves and being, I love that. 409 00:26:58,127 --> 00:27:00,547 Um, gosh, there's so many people I love. 410 00:27:01,347 --> 00:27:04,577 Um, there's this writer, his name is Attitude. 411 00:27:04,867 --> 00:27:08,637 Um, he used to be a rapper, but, um, he wrote a lot of like 412 00:27:08,637 --> 00:27:10,127 pop shit in the early 2000s. 413 00:27:10,747 --> 00:27:15,837 Like he was, um, instrumental on, um, Nelly Furtado's Loose album. 414 00:27:16,027 --> 00:27:18,317 He's like super dope to me. 415 00:27:18,747 --> 00:27:22,917 Um, uh, Sean Garrett, um, not Sean, not to be. 416 00:27:23,387 --> 00:27:26,887 confused with Sean Garrett, the pen, although I do respect him. 417 00:27:26,887 --> 00:27:28,337 But I'm Sean Garrett. 418 00:27:28,397 --> 00:27:29,297 Uh, static 419 00:27:29,696 --> 00:27:30,676 Jay Ray: Static major. 420 00:27:30,676 --> 00:27:32,306 Yeah. 421 00:27:32,557 --> 00:27:32,947 Brian Patrick Davis: in peace. 422 00:27:32,947 --> 00:27:33,787 Static major. 423 00:27:34,207 --> 00:27:37,677 Um, Shay Taylor. 424 00:27:37,967 --> 00:27:40,227 Um, Chanel from young money. 425 00:27:40,437 --> 00:27:43,487 I mean, there's just so many, there's so many people that I just 426 00:27:43,487 --> 00:27:48,757 love that I, that I think are, um, Candace Pele is another one. 427 00:27:49,197 --> 00:27:52,582 Um, It's so many songwriters and I love. 428 00:27:52,766 --> 00:27:55,156 Jay Ray: Um, you know what this is bringing up? 429 00:27:55,166 --> 00:27:58,066 I want to go back because you mentioned something really important. 430 00:27:58,546 --> 00:28:02,056 And Sir Daniel and I talk about this a lot as well. 431 00:28:02,636 --> 00:28:09,496 Of that, there's a magic in Just like a traditional song structure where you 432 00:28:09,496 --> 00:28:15,596 got like, like when that bridge come and that stuff switch up and you like, yes, 433 00:28:15,946 --> 00:28:19,196 ma'am, take us to where we need to go. 434 00:28:20,086 --> 00:28:22,866 What will it take, Brian? 435 00:28:23,026 --> 00:28:26,646 I get, I I'm fine with the short intros now. 436 00:28:26,676 --> 00:28:28,626 I don't need 16 bars at the top. 437 00:28:28,676 --> 00:28:29,576 I'm fine with that. 438 00:28:29,806 --> 00:28:34,156 Get me into the song immediately, but don't, erase that bridge. 439 00:28:34,196 --> 00:28:35,116 I need it. 440 00:28:35,186 --> 00:28:36,086 You know what I'm saying? 441 00:28:36,356 --> 00:28:42,426 How do we get back to that in production, especially when we think 442 00:28:42,426 --> 00:28:44,186 of like contemporary R& B music? 443 00:28:44,246 --> 00:28:45,056 What are your thoughts? 444 00:28:46,042 --> 00:28:50,582 Brian Patrick Davis: what I'm, what I've noticed is a lot of time when artists 445 00:28:50,582 --> 00:28:55,952 go to the studio, what the, what the producers are playing for them are loops. 446 00:28:56,462 --> 00:28:57,502 They're not full. 447 00:28:58,317 --> 00:29:00,117 They're not full songs. 448 00:29:00,117 --> 00:29:01,467 They're not composed. 449 00:29:01,587 --> 00:29:07,147 And I think a lot of artists especially, and I don't think that's 450 00:29:07,152 --> 00:29:09,247 necessarily the producer's fault. 451 00:29:09,307 --> 00:29:14,287 I think a lot of times artists are listening to producer's ideas and the 452 00:29:14,287 --> 00:29:16,477 pro and the artist says, I like that. 453 00:29:16,537 --> 00:29:17,167 Give me that. 454 00:29:17,212 --> 00:29:18,067 I, I want that. 455 00:29:18,792 --> 00:29:23,432 And so they end up a lot of times writing to a composition that's 456 00:29:23,432 --> 00:29:25,002 not completely built out yet. 457 00:29:25,522 --> 00:29:28,232 I think that's the first, I think that's the first problem. 458 00:29:28,542 --> 00:29:32,752 The second problem is is that listeners attention spans are so 459 00:29:32,752 --> 00:29:36,812 short now and people are people. 460 00:29:37,267 --> 00:29:38,897 are listening to songs, 461 00:29:41,827 --> 00:29:44,127 and I think this is a double edged sword too. 462 00:29:44,127 --> 00:29:49,437 I think that it's part listener, sorry for that, it's part listener, 463 00:29:49,937 --> 00:29:56,557 and it's part, um, it's part artist's fault too because artists have gotten 464 00:29:56,557 --> 00:30:00,292 into their mind that they want to get their streaming numbers up. 465 00:30:00,652 --> 00:30:07,482 And so they keep songs short so that when you hear it, you want to hear it again 466 00:30:07,902 --> 00:30:09,392 because you're not finished with it. 467 00:30:09,612 --> 00:30:12,452 And so you just play it over and over again. 468 00:30:13,003 --> 00:30:14,743 DJ Sir Daniel: And so that's okay. 469 00:30:14,763 --> 00:30:18,933 So then that's building up streaming numbers, which everybody is obsessed 470 00:30:18,933 --> 00:30:24,173 with now, because that equates to dollars and which goes back to an off 471 00:30:24,183 --> 00:30:28,283 camera conversation, another off camera conversation we were having about. 472 00:30:28,503 --> 00:30:34,683 The musicianship of it all, or the lack of musicianship with, you know, the, a 473 00:30:34,683 --> 00:30:39,993 lot of producers are beat makers where there are some that are actual musicians. 474 00:30:40,333 --> 00:30:45,743 And you mentioned something very important, Brian, about the fact that you, 475 00:30:45,803 --> 00:30:50,073 it's, yes, that's cool that you know how to program as cool that you know how to 476 00:30:50,073 --> 00:30:55,533 play, uh, you know, a chord on a keyboard and loop it, but don't you want to, at 477 00:30:55,533 --> 00:30:59,153 some point, Learn about core progressions. 478 00:30:59,193 --> 00:31:04,193 Learn about theory is the exact word that you, that we, that you 479 00:31:04,223 --> 00:31:11,303 mentioned off camera about theory and, and being able to, as a producer, 480 00:31:11,303 --> 00:31:15,703 musician, partner with an artist. 481 00:31:16,233 --> 00:31:17,783 and getting that out of them. 482 00:31:17,843 --> 00:31:21,343 And so, yeah, and, but we're not getting that anymore. 483 00:31:21,473 --> 00:31:25,863 One, because of what you just said about the, the mindset now of we've 484 00:31:25,863 --> 00:31:30,473 got to get these listeners to, to, to keep these songs on repeat. 485 00:31:30,683 --> 00:31:33,433 So we got to make them as short as possible. 486 00:31:33,882 --> 00:31:34,592 Brian Patrick Davis: Yes. 487 00:31:35,966 --> 00:31:37,256 Jay Ray: You know what that brings up? 488 00:31:37,296 --> 00:31:39,566 And this is interesting and interesting aside. 489 00:31:39,636 --> 00:31:45,676 Um, I will never forget DJ premier talking about when he 490 00:31:45,676 --> 00:31:47,306 worked with Christina Aguilera. 491 00:31:47,876 --> 00:31:50,686 So he was like, Christina was interested in working with me. 492 00:31:51,246 --> 00:31:52,166 He told the story. 493 00:31:52,166 --> 00:31:54,016 He was like, she was interested in working with me. 494 00:31:54,156 --> 00:31:55,426 So it was ain't no other man. 495 00:31:55,426 --> 00:31:59,706 She was like, so I presented the song and she's she heard the song. 496 00:31:59,706 --> 00:32:00,586 She was like, yes. 497 00:32:00,776 --> 00:32:03,986 This, but I need a chord progression. 498 00:32:04,006 --> 00:32:07,996 Like you can't, he just gave her the beat because he's a hip hop producer. 499 00:32:07,996 --> 00:32:08,316 Right. 500 00:32:08,496 --> 00:32:10,946 He gave her to be, he was like, no, I need a transition. 501 00:32:10,946 --> 00:32:14,896 I need a chord progression here so that I can move the song. 502 00:32:15,216 --> 00:32:17,296 And that was the first time, right. 503 00:32:17,296 --> 00:32:24,586 For him that he's like, Oh, I'm now learning how to do this thing that 504 00:32:24,586 --> 00:32:26,746 I never had to do in hip hop before. 505 00:32:27,016 --> 00:32:28,846 But he had an artist that said. 506 00:32:29,311 --> 00:32:30,101 Love that. 507 00:32:30,131 --> 00:32:30,761 Great. 508 00:32:30,901 --> 00:32:32,381 You got to take it further though. 509 00:32:32,441 --> 00:32:33,901 And here's what I need you to do. 510 00:32:35,061 --> 00:32:39,541 So that collaboration piece is so important. 511 00:32:40,513 --> 00:32:42,403 MPN Network Mid-Roll Ad: What's the word everybody it's your man, Mr. 512 00:32:42,413 --> 00:32:43,163 Al Peter, Mr. 513 00:32:43,163 --> 00:32:45,793 Peterson's neighborhood and the NPN network. 514 00:32:46,193 --> 00:32:49,213 And I'm here today to tell you about what the NPN network consists of. 515 00:32:49,803 --> 00:32:53,933 The NPN network is an entertainment as well as a developing media company 516 00:32:54,033 --> 00:32:55,463 based in Jacksonville, Florida. 517 00:32:56,163 --> 00:33:00,153 Our goal is to highlight various creatives that exist in spaces of music, 518 00:33:00,483 --> 00:33:02,953 visual arts, podcasting, and more. 519 00:33:03,313 --> 00:33:06,383 Within the network, we have multiple brands that were parallel with 520 00:33:06,413 --> 00:33:08,913 creatives, events, and other brands. 521 00:33:09,483 --> 00:33:13,303 The Neighborhood Podcast Network is a collective of independent podcast shows 522 00:33:13,573 --> 00:33:17,903 that has various topics ranging from the latest culture news, mental health, 523 00:33:18,133 --> 00:33:20,153 sports, and leisure conversations. 524 00:33:20,703 --> 00:33:24,133 We also have the Groove Suite brand that explores the realm of soul, 525 00:33:24,293 --> 00:33:27,962 hip hop, R& B, funk, and more. 526 00:33:28,843 --> 00:33:31,783 Our health and beauty section gives a view on how to keep yourself 527 00:33:31,783 --> 00:33:35,623 in shape, in style, and in tune with your body and your mental. 528 00:33:36,233 --> 00:33:40,143 Last we have the Fly Socks and Tees, an annual summer event that brings 529 00:33:40,143 --> 00:33:44,343 creatives together to celebrate the past years and victories that were received. 530 00:33:44,933 --> 00:33:48,153 So swing by our website npn llc. 531 00:33:48,153 --> 00:33:51,533 com and subscribe so you can stay up on what's happening with 532 00:33:51,533 --> 00:33:52,603 The Neighbors and The Groovers. 533 00:33:53,433 --> 00:33:57,453 Also follow us on our Facebook page as well as Instagram 534 00:33:57,453 --> 00:33:59,053 and Twitter NPN Management. 535 00:33:59,633 --> 00:34:01,193 Building but becoming. 536 00:34:01,703 --> 00:34:02,213 To the top. 537 00:34:03,093 --> 00:34:06,173 DJ Sir Daniel: So this conversation came up because it was sparked because 538 00:34:06,173 --> 00:34:11,832 of the video of, um, one Tiffany red, who is a, uh, a legendary songwriter in 539 00:34:11,833 --> 00:34:14,413 the industry and had brought up some. 540 00:34:15,098 --> 00:34:18,908 Some issues or some things that she has faced 541 00:34:18,956 --> 00:34:19,167 Jay Ray: hmm. 542 00:34:19,169 --> 00:34:23,109 DJ Sir Daniel: The industry lately regarding working with big names. 543 00:34:23,139 --> 00:34:25,399 And Jerry, this is not the first time I've heard this. 544 00:34:25,399 --> 00:34:29,929 Like we heard, we've seen it on the, on the liner notes. 545 00:34:30,197 --> 00:34:30,347 Jay Ray: Yeah. 546 00:34:30,969 --> 00:34:34,409 DJ Sir Daniel: And so I think that's where a lot of questions are 547 00:34:34,429 --> 00:34:38,269 coming up and I'm hoping Brian, you can help shed some light on that. 548 00:34:38,909 --> 00:34:46,084 But what is the real deal behind working with A big name artists like your 549 00:34:46,114 --> 00:34:48,314 Beyonce's because her name was brought up. 550 00:34:48,764 --> 00:34:56,164 Not his name was brought up and those artists taking writer's credits if, 551 00:34:56,194 --> 00:34:58,414 and they may or may not have like. 552 00:34:58,859 --> 00:35:03,379 You know, put in as the kids, like, like, you know, it's like we, you ain't put 553 00:35:03,379 --> 00:35:05,769 in on this, but they get credit for it. 554 00:35:06,049 --> 00:35:09,489 So shed some light on that for us, because I believe a lot of people, 555 00:35:09,519 --> 00:35:13,999 that's a conversation that has been blowing up on social media about whether 556 00:35:13,999 --> 00:35:20,825 or not these artists that are on the forefront deserve this writer's credit. 557 00:35:21,389 --> 00:35:28,234 Brian Patrick Davis: I watched Tiffany's whole video and, um, There are a 558 00:35:28,234 --> 00:35:34,794 lot of, she said a lot of important things that, that should be looked at. 559 00:35:36,014 --> 00:35:45,214 Um, I think the problem comes when people try to make it seem like, 560 00:35:46,364 --> 00:35:51,464 yes, an artist may not have written a word, or they might not have, 561 00:35:52,304 --> 00:35:54,124 let's just, let's just say writing. 562 00:35:54,814 --> 00:35:56,934 An artist may not have written a word. 563 00:35:57,799 --> 00:36:02,899 Um, but I'll use Beyonce as an example because that's, you know, 564 00:36:02,899 --> 00:36:04,369 that's who people want to talk about. 565 00:36:04,879 --> 00:36:06,149 Most people don't know. 566 00:36:06,719 --> 00:36:10,119 As I told you, Candace Nelson, she's a friend, a mentor to me. 567 00:36:10,549 --> 00:36:12,509 She wrote Resentment for Beyonce. 568 00:36:12,959 --> 00:36:14,139 A lot of people don't know. 569 00:36:14,349 --> 00:36:20,189 There are two recorded versions of Resentment that are out that you can find. 570 00:36:20,689 --> 00:36:25,494 Um, recorded by other artists, two, two other artists that are well 571 00:36:25,494 --> 00:36:30,044 known, one being Jasmine Sullivan and one being Victoria Beckham. 572 00:36:30,953 --> 00:36:31,033 Jay Ray: Mm hmm. 573 00:36:31,424 --> 00:36:35,364 Brian Patrick Davis: Um, the song appeared on Victoria Beckham's album in 574 00:36:35,364 --> 00:36:39,474 the UK and it, um, was in, in Jasmine. 575 00:36:39,484 --> 00:36:40,924 It didn't appear on a song. 576 00:36:40,954 --> 00:36:44,424 I'm assuming that it was a part of the sessions from when she 577 00:36:44,424 --> 00:36:46,134 was working on her first album. 578 00:36:46,724 --> 00:36:52,494 But if you listen to, um, the version of Resentment that Jasmine 579 00:36:52,494 --> 00:36:56,424 and Victoria Beckham recorded, they sound exactly the same. 580 00:36:56,704 --> 00:37:01,274 Not as far as vocals go, but just structurally, um, 581 00:37:01,284 --> 00:37:02,944 the lyrics are all the same. 582 00:37:03,284 --> 00:37:05,294 It ends all at the same place. 583 00:37:05,704 --> 00:37:11,244 Um, the last line of, of that song I think is, This sounds like a 50's 584 00:37:11,244 --> 00:37:13,574 record, but that's alright with me. 585 00:37:13,834 --> 00:37:14,584 Whatever it is. 586 00:37:15,634 --> 00:37:16,754 It ends that way. 587 00:37:17,864 --> 00:37:23,604 Beyoncé's version of that song is significantly longer than what the 588 00:37:23,604 --> 00:37:25,694 original version of Resentment is. 589 00:37:25,974 --> 00:37:30,434 And I've heard Candice's demo of Resentment, and it's what Victoria 590 00:37:30,444 --> 00:37:36,539 Beckham and Jasmine's Sullivan's version sounds like when I talked to Candace 591 00:37:36,579 --> 00:37:41,819 about the session of resentment that happened with Beyonce She said that she 592 00:37:41,819 --> 00:37:46,889 was not there The producer was there but when she got the song back it was 593 00:37:46,939 --> 00:37:55,744 a completely different song background The arrangements, the writing at the 594 00:37:55,764 --> 00:38:01,634 end, um, I know she was attractive, but I was here first, all of that 595 00:38:01,634 --> 00:38:04,064 stuff, Beyonce added those things. 596 00:38:04,244 --> 00:38:09,514 And so therefore she took, uh, she took some of the publishing on the song 597 00:38:10,419 --> 00:38:11,579 That's how it works. 598 00:38:12,079 --> 00:38:17,209 So if you leave space open on a record for somebody to put, to give 599 00:38:17,209 --> 00:38:21,049 their input and they do that and they send the song back to you and 600 00:38:21,049 --> 00:38:25,199 that's what it has on it and you agree to it, then they're going to get. 601 00:38:26,164 --> 00:38:26,874 get credit. 602 00:38:27,354 --> 00:38:32,374 Um, anything in the arrangement, the, um, the way that the vocals are 603 00:38:32,374 --> 00:38:37,744 arranged, the way that the, um, the, the backgrounds come in, the stacks, if you, 604 00:38:37,774 --> 00:38:41,684 if you didn't have anything to do with that, that is a part of the production. 605 00:38:41,694 --> 00:38:47,474 That's a part of whether or not they get credit on, as a part of 606 00:38:47,484 --> 00:38:49,934 the, as a part of the production. 607 00:38:50,134 --> 00:38:52,744 So those things are all a part of publishing. 608 00:38:53,194 --> 00:38:55,534 Now I'm not here to, to. 609 00:38:55,789 --> 00:39:00,889 To be the person to decide how much publishing there is such a thing 610 00:39:00,889 --> 00:39:04,719 as like throwing your weight around and taking too much publishing. 611 00:39:05,339 --> 00:39:09,809 But, you know, what you agree, what you agree upon is what you agree upon. 612 00:39:10,119 --> 00:39:13,819 And while I agree with what Tiffany was saying about, you know, like 613 00:39:14,099 --> 00:39:16,969 people feeling like they're going to miss out on opportunities 614 00:39:17,159 --> 00:39:19,049 by not agreeing to song splits. 615 00:39:19,079 --> 00:39:21,389 Those are all real true concerns. 616 00:39:21,649 --> 00:39:23,609 Those are all real true things. 617 00:39:24,189 --> 00:39:28,999 But, um, I also think that a lot of the things that Tiffany was saying, too, 618 00:39:29,389 --> 00:39:34,959 were things that were good soundbites, and they don't necessarily give a 619 00:39:34,959 --> 00:39:42,259 holistic explanation of what publishing is, why a person would get publishing, 620 00:39:42,449 --> 00:39:46,329 and why people get the percentages of publishing that they might get. 621 00:39:47,529 --> 00:39:51,849 And Jontay Austin did Who I Love as well, by the way. 622 00:39:52,799 --> 00:40:00,939 Recently, he, he made a, a, a comment, um, in regards to Tiffany's video 623 00:40:01,299 --> 00:40:08,489 basically saying, like, think about Publishing that you would get on a song 624 00:40:08,509 --> 00:40:14,089 that done by a colossal artist, even if you taking a smaller percentage of 625 00:40:14,089 --> 00:40:19,299 that publish, that publishing and the stage and the access that that song 626 00:40:19,319 --> 00:40:25,839 has and think about it in comparison to you getting a hundred hundred. 627 00:40:25,839 --> 00:40:25,939 Yeah. 628 00:40:25,939 --> 00:40:25,959 Yeah. 629 00:40:26,194 --> 00:40:31,174 80, 75 percent of a publishing from an artist that is much 630 00:40:31,174 --> 00:40:35,104 smaller that doesn't have the access as the larger brand artist. 631 00:40:35,534 --> 00:40:42,684 You still are going to probably make a little bit more residual income off of 632 00:40:42,994 --> 00:40:50,084 the person that's on the larger sound screen than you would getting a big 633 00:40:50,094 --> 00:40:55,234 percentage, a portion of the percentage of publishing of a smaller record. 634 00:40:57,133 --> 00:41:02,813 Jay Ray: Brian, thank you so much for that really important perspective because, um, 635 00:41:03,493 --> 00:41:08,103 I love, what I love about this dialogue, and I'm so glad you agreed to even be here 636 00:41:08,103 --> 00:41:13,983 with us to kind of broach the subject, is there are so many layers that go into. 637 00:41:15,203 --> 00:41:17,333 How this process works, right? 638 00:41:17,623 --> 00:41:24,143 There is, it's not, it's not so easy to, it's not just one thing, right? 639 00:41:24,453 --> 00:41:28,483 One of the things that, um, Kipper Jones did in his video as well. 640 00:41:28,483 --> 00:41:31,743 We'll make sure that we put that in the description too, is talked 641 00:41:31,743 --> 00:41:33,663 about kind of the structural issues. 642 00:41:33,713 --> 00:41:39,223 Issues in place that also make this problem or this particular 643 00:41:39,223 --> 00:41:40,853 thing show up too, right? 644 00:41:41,133 --> 00:41:44,133 So there's like structural things that show up as well. 645 00:41:44,143 --> 00:41:46,773 So there are so many layers to it. 646 00:41:46,943 --> 00:41:53,343 And thank you for, um, your bravery and talking honestly about how this works. 647 00:41:53,343 --> 00:41:54,923 So we appreciate that too. 648 00:41:55,553 --> 00:42:00,213 Um, so you just dropped gems, right? 649 00:42:01,808 --> 00:42:09,348 If you held a Songwriters 101, Brian, what would be some jewels, 650 00:42:09,428 --> 00:42:13,008 one or two jewels, that you would want to make sure you drop on those 651 00:42:13,008 --> 00:42:15,488 songwriters at your Songwriters 101? 652 00:42:17,324 --> 00:42:21,844 Brian Patrick Davis: um, 1 I would say put your phone down and write down everything. 653 00:42:24,084 --> 00:42:27,644 Not put your phone down because I understand you might need it to record 654 00:42:27,734 --> 00:42:33,624 some, a voice memo or an idea, but I would just say to write things down. 655 00:42:34,074 --> 00:42:36,494 I like to look at what the process was. 656 00:42:36,834 --> 00:42:39,084 I like to see things scratched out. 657 00:42:39,414 --> 00:42:41,764 I like to see where words were added. 658 00:42:41,784 --> 00:42:46,194 I like to see the progression of what that looked like on paper. 659 00:42:46,194 --> 00:42:48,194 I I think that's really important. 660 00:42:49,144 --> 00:42:53,374 Um, 2 find people that you trust to collaborate with. 661 00:42:57,519 --> 00:42:59,249 3 have a good face card. 662 00:43:01,019 --> 00:43:05,329 Um, I think that that's one of the most important things people don't 663 00:43:05,339 --> 00:43:10,639 realize that like people remember their first impressions of you. 664 00:43:11,349 --> 00:43:20,139 Um, and, um, you know, like credit and, you know, And all and clout and 665 00:43:20,139 --> 00:43:26,229 all of that stuff is, is one thing, but for people behind closed doors to 666 00:43:26,229 --> 00:43:29,989 say to each other, like, Oh, I really fuck with her or I really fuck with 667 00:43:29,989 --> 00:43:35,849 him is that that means so much more, especially when it's with your peers. 668 00:43:37,309 --> 00:43:43,747 Um, 4 have a good attorney 5 and just be, honestly, like, really y'all, 669 00:43:43,767 --> 00:43:47,117 like, just be open to like the process. 670 00:43:47,927 --> 00:43:52,507 I think so many people are like, um, they like to pigeonhole 671 00:43:52,507 --> 00:43:56,167 themselves because they're always like, Oh, I want to write a hit. 672 00:43:56,207 --> 00:43:57,107 I want to get a hit. 673 00:43:57,367 --> 00:43:58,507 I'm trying to get placements. 674 00:43:58,507 --> 00:43:59,737 I'm trying to get placements. 675 00:44:00,067 --> 00:44:04,187 But the thing about it is like, if you're just, if you just submit to the 676 00:44:04,197 --> 00:44:12,122 process and and lay the groundwork by just doing stuff that you love and that 677 00:44:12,122 --> 00:44:18,612 you trust something and that's honest to you, something is going to, to hit. 678 00:44:18,855 --> 00:44:18,865 Jay Ray: Hmm. 679 00:44:19,622 --> 00:44:23,262 Brian Patrick Davis: If you're not being honest with yourself, if you're not being 680 00:44:23,272 --> 00:44:28,642 true to, you know, like, because like songwriting is all about connecting. 681 00:44:29,537 --> 00:44:33,157 If, if you're, if you're not connected to it, if you're not 682 00:44:33,157 --> 00:44:36,547 connected to it, what makes you think that anybody else is going to be 683 00:44:37,265 --> 00:44:37,685 Jay Ray: Mm. 684 00:44:38,347 --> 00:44:42,487 Brian Patrick Davis: if it's being honest with like yourself or listening 685 00:44:42,487 --> 00:44:47,037 to what somebody else is going through and being able to like process that 686 00:44:47,037 --> 00:44:53,867 through yourself, how you react to it and how it connects to you, then what's 687 00:44:53,867 --> 00:44:55,417 the, what is the purpose in doing it? 688 00:44:56,637 --> 00:45:02,767 If it's not true, if it's not true to you, then why would it be true to anybody else? 689 00:45:04,587 --> 00:45:08,577 DJ Sir Daniel: And that that is the mark of a, a classic song is how 690 00:45:08,577 --> 00:45:12,867 many people can actually relate to it and actually sing it like it was. 691 00:45:14,007 --> 00:45:17,217 People want, people feel like you've written their life if 692 00:45:17,217 --> 00:45:18,687 you've written a really good song. 693 00:45:18,692 --> 00:45:21,417 So that's, that's a major, that's a major key. 694 00:45:21,857 --> 00:45:25,757 Um, Brian, and Wow, you really, thank you for that. 695 00:45:25,757 --> 00:45:27,527 That was a serious gem that you dropped. 696 00:45:27,872 --> 00:45:30,602 Brian Patrick Davis: And, and, and print out those split sheets. 697 00:45:31,031 --> 00:45:32,341 Jay Ray: Yes! 698 00:45:32,578 --> 00:45:33,818 DJ Sir Daniel: Not those switch seats. 699 00:45:33,868 --> 00:45:34,808 It's business. 700 00:45:34,848 --> 00:45:36,338 It is a business, folk. 701 00:45:36,988 --> 00:45:42,788 And I think that, you know, a lot of what is going on and being said 702 00:45:42,818 --> 00:45:49,148 is that people are tired of being manipulated by this industry. 703 00:45:49,378 --> 00:45:55,128 There are a lot of people who are super talented, but they, they are 704 00:45:55,198 --> 00:45:58,448 make, trying to make sure that they can eat, that they have a place to 705 00:45:58,448 --> 00:46:00,828 sleep, you know, roof over their head. 706 00:46:00,838 --> 00:46:02,468 And sometimes that does mean. 707 00:46:03,103 --> 00:46:07,243 Keeping a nine to five so that you can, you know, in order for you 708 00:46:07,243 --> 00:46:08,933 to make those dreams come true. 709 00:46:09,253 --> 00:46:14,023 But while you're doing that, this is also a business as Brian stated. 710 00:46:14,043 --> 00:46:18,523 And that has to be at the forefront, probably rule number one. 711 00:46:18,583 --> 00:46:23,743 And it's, it's been stated over and over again, kids like Q tip said 712 00:46:23,743 --> 00:46:28,054 it and the rules, like you've got to, to put your business first, 713 00:46:28,315 --> 00:46:30,935 Brian Patrick Davis: It's literally, it's literally called the music 714 00:46:30,935 --> 00:46:33,115 business and the music industry. 715 00:46:34,211 --> 00:46:34,421 DJ Sir Daniel: curious 716 00:46:42,436 --> 00:46:49,416 What is your hope for the industry and like a fair practice act for creatives 717 00:46:49,426 --> 00:46:51,586 when it comes to music and musicians? 718 00:46:52,735 --> 00:46:56,765 Brian Patrick Davis: I think that it is important that songwriters and producers 719 00:46:56,765 --> 00:47:04,355 too, and vocal producers, engineers, I think that there needs to be, um, a union, 720 00:47:04,559 --> 00:47:04,989 Jay Ray: Mm 721 00:47:05,405 --> 00:47:08,475 Brian Patrick Davis: um, that we need to unionize. 722 00:47:09,055 --> 00:47:14,575 And I think that we would be able to, I mean, because the thing is 723 00:47:14,575 --> 00:47:19,055 like the film industry and the music industry have so many parallels. 724 00:47:19,690 --> 00:47:24,030 Streaming is king now in the film industry, which is something that 725 00:47:24,030 --> 00:47:25,450 I never thought would happen. 726 00:47:25,870 --> 00:47:32,090 But they've managed to come to an agreement about making sure people 727 00:47:33,800 --> 00:47:42,760 get residual pay from, from, from writing scripted series, films, you 728 00:47:42,760 --> 00:47:46,250 know, like, I think that that's, I think that that's important. 729 00:47:46,250 --> 00:47:53,800 And I think that, um, I think that also too, um, as creatives, not, not 730 00:47:53,800 --> 00:47:58,670 just, I mean, on the backend, you know, like producers, songwriters, we have 731 00:47:58,670 --> 00:48:00,920 to stop undercutting each other too. 732 00:48:01,590 --> 00:48:06,645 Um, I think that that's, um, I was really being serious when I said 733 00:48:06,655 --> 00:48:10,805 that like, you know, songwriters, you gotta like know who's around you. 734 00:48:10,875 --> 00:48:15,975 You have to know, because, um, there are people that are trying to get 735 00:48:16,105 --> 00:48:19,825 to where you are, and you might not even feel like where you're at, 736 00:48:19,855 --> 00:48:21,275 where you're supposed to be yet. 737 00:48:22,055 --> 00:48:31,115 And so I think if we, um, kind of like, if we, if we can form a union, um, It 738 00:48:31,115 --> 00:48:37,465 will help with us not having such a crab in a bucket mentality as well, 739 00:48:37,815 --> 00:48:42,675 like vying for the same things and feeling we like we have to do undercut 740 00:48:43,015 --> 00:48:49,830 Like underhanded things to get the same opportunities um I would like to see that. 741 00:48:49,900 --> 00:48:55,520 And, um, sir, Daniel, I really loved what you said about like, um, you know, 742 00:48:55,520 --> 00:48:58,010 the industry kind of healing itself. 743 00:48:58,540 --> 00:49:01,460 And I think that that it's getting to that point. 744 00:49:01,510 --> 00:49:08,960 I think that, um, I think that, um, there are just a lot of things, positive things 745 00:49:08,970 --> 00:49:18,770 that I'm seeing change, at least from a face, a front facing, um, way, like, um, 746 00:49:19,270 --> 00:49:25,330 there's this resurgence of vinyl now, um, And I think there's kind of like a purist 747 00:49:25,650 --> 00:49:31,730 kind of movement happening where people are wanting music to be tangible again. 748 00:49:32,000 --> 00:49:35,990 And I think that, um, I think that that's what's going to start changing the 749 00:49:35,990 --> 00:49:42,850 quality of, um, the business practices that happen behind the scenes as well. 750 00:49:43,469 --> 00:49:45,059 Jay Ray: Mm hmm. 751 00:49:45,339 --> 00:49:46,029 Wow. 752 00:49:47,119 --> 00:49:50,299 Brian Patrick Davis. 753 00:49:50,809 --> 00:50:00,159 Oracle, songwriter, creative director, all of the above, podcaster. 754 00:50:00,649 --> 00:50:04,684 Um, thank you so much Fashion icon. 755 00:50:05,344 --> 00:50:09,814 Um, you know, we are so honored and grateful. 756 00:50:09,814 --> 00:50:14,534 You decided to spend your evening chatting with us here at Queue Points, lighten up 757 00:50:14,534 --> 00:50:20,904 the chat, um, and really sharing, um, your gift and your knowledge with our folks. 758 00:50:20,904 --> 00:50:22,654 So thank you. 759 00:50:22,824 --> 00:50:23,634 Um, thank you. 760 00:50:23,634 --> 00:50:25,044 Thank you so much. 761 00:50:25,290 --> 00:50:25,920 Brian Patrick Davis: thank you guys. 762 00:50:25,960 --> 00:50:27,690 And I apologize for my voice. 763 00:50:27,720 --> 00:50:31,630 I'm suffering from an upper respiratory infection. 764 00:50:31,920 --> 00:50:34,700 So I'm trying to get a wrangle on that. 765 00:50:34,720 --> 00:50:36,850 I've got my good drugs right here. 766 00:50:37,230 --> 00:50:39,550 Um, so I apologize. 767 00:50:39,570 --> 00:50:41,450 But thank you guys so much for having me. 768 00:50:41,450 --> 00:50:42,430 I appreciate it. 769 00:50:42,760 --> 00:50:45,520 Um, conversations like this are always so much. 770 00:50:45,600 --> 00:50:48,800 Not only are they fun, but they're just so important to have. 771 00:50:49,170 --> 00:50:52,630 Um, and I just appreciate you guys and everything that you all do. 772 00:50:53,294 --> 00:50:53,894 Jay Ray: Thank you. 773 00:50:53,894 --> 00:50:57,764 And for all of you that are watching, um, as we always say, 774 00:50:58,064 --> 00:50:59,434 stay connected to Queue Points. 775 00:50:59,454 --> 00:51:03,094 If you can hear our voices, if you can see our faces, subscribe, wherever you are. 776 00:51:03,374 --> 00:51:05,394 You can sign up for our newsletter at magazine. 777 00:51:05,394 --> 00:51:06,114 Queue Points. 778 00:51:06,454 --> 00:51:07,294 com. 779 00:51:07,854 --> 00:51:10,784 Um, and you can also shop our store, store. 780 00:51:10,784 --> 00:51:11,384 Queue Points. 781 00:51:11,494 --> 00:51:15,524 com, where we have some new merch and things out there for you. 782 00:51:16,515 --> 00:51:18,015 Brian Patrick Davis: We love merch. 783 00:51:18,646 --> 00:51:19,136 DJ Sir Daniel: absolutely. 784 00:51:19,376 --> 00:51:23,546 Well, listen, everything that needed to be said has been said tonight. 785 00:51:23,546 --> 00:51:25,456 This episode, this is one of them ones. 786 00:51:25,456 --> 00:51:25,966 Jay Ray. 787 00:51:26,146 --> 00:51:27,606 This is one of them ones. 788 00:51:27,916 --> 00:51:31,216 So, as I always say in this life, you have a choice. 789 00:51:31,216 --> 00:51:35,266 You can always, you can either pick up the needle or you can let the record play. 790 00:51:35,656 --> 00:51:37,116 I am DJ Sir Daniel, 791 00:51:37,639 --> 00:51:40,399 Jay Ray: I am J Ray and 792 00:51:40,676 --> 00:51:43,256 DJ Sir Daniel: special guest, Brian Patrick Davis. 793 00:51:43,926 --> 00:51:49,126 And this has been Queue Points, dropping the needle on black music history. 794 00:51:49,416 --> 00:51:51,536 We will see you on the next go round. 795 00:51:51,616 --> 00:51:52,406 Thank you so much.