Achickwitbeatz presents ⁠the Instrumental Intel podcast⁠, bringing you information instrumental to your artistic career including music industry news & tips, insights & interviews, and beats for your inspiration. Listen on Saturdays at 7 pm EST on ⁠⁠⁠Grander Radio⁠⁠⁠ and ⁠⁠⁠Achickwitbeatz.com⁠⁠⁠.
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Instrumental Intel Podcast

Achickwitbeatz brings you information instrumental to your artistic career including music industry news, insights, interviews, and beats for your inspiration. Listen on Saturdays at 7 pm ET on ⁠⁠⁠Grander Radio,⁠⁠⁠ Achickwitbeatz.com⁠⁠⁠, and your favorite podcast platform.

Transcript Generated by Riverside

00:01
Hey, thank you for tuning in to Instrumental Intel. I'm your host, music producer, Achickwitbeatz. And I'm glad that you joined me today. I got another episode that's got music industry news for you. Instrumental's by me for your inspiration. And later my special guest, Rooted Sounds House Music, which includes DJ Mildy, 804 Deep, and BZ Reyes will be coming to join me. So it's gonna be a great time. I'm really excited to be bringing this episode to you. But before I go ahead and drop that first beat, let me give a shout out to my home station,

[BEAT BREAK]

12:00
Hey, I'm back with the music biz brief. First up, Utopia Distribution Services, which is a major player in the UK's physical music

12:30
chain has entered administration. Logistics company DP World has acquired its assets in a prepack deal and will now operate Utopia's warehouse. This comes after the collapse of another Utopia-owned business, reflecting significant financial struggles within the company. DP World aims to maintain continuity in distributing physical music products across the UK.

12:51
Next up, Deborah Mannis-Gardner, a leading music clearance expert, and the CEO of Tracklib have launched AYO Music Group, and that's A-Y-O, a copyright administration company. AYO focuses on fixing decades-old copyright errors, educating rights holders, and developing overlooked catalogs. The company has already worked with clients like MC Lyte and Hero the Band, managing a catalog with over 1 billion streams. Also, Nation Broadcasting is scaling back its FM services in the UK.

13:20
handing back two FM licenses in Scotland and planning to switch off FM transmitters in Wales next year. The shift reflects a growing trend of digital audio broadcasting and app-based radio listening.

13:31
Digital audio broadcasting now accounts for 43% of UK radio listening hours and FM listenership continues to decline, driven by a change in consumer habits and rising costs. While the UK government allows FM to operate until 2030, more broadcasters are expected to phase out following trends already seen in Norway and Switzerland.

13:51
Next in news, over 600 musicians have signed an open letter demanding major music companies and platforms address unfair practices that harm artists and neglect music preservation. The letter criticizes streaming payouts, monopolies and ticketing, and the exploitation of back catalogs while calling for support for nonprofit preservation efforts like the Internet Archive's

14:13
The musicians also urge venues to let artists keep 100% of merch sales and advocate for fairer revenue sharing to protect their livelihoods and preserve music history. Also this story you've probably heard buzzing around throughout the week but Virgin Music Group, the independent division of Universal Music Group, will acquire downtown music holdings for $775 million with the deal expected to close in late 2025 pending regulatory approval.

14:38
This merger combines Downtown's vast music service offerings including distribution, publishing, royalties, and more with Virgin's global infrastructure to bolster support for independent artists and entrepreneurs. Downtown was founded in 2007 and serves over 5,000 clients and 4 million creators worldwide. Both companies will operate independently until the deal is finalized, representing a major investment in the global independent music ecosystem. The deal is facing backlash from the independent music sector.

15:08
Critics argue the move threatens competition, reduces options for independent labels and artists, and consolidates too much market power into one entity. Trade groups are calling on regulators, particularly in Europe, to investigate and block the acquisition. They also warn that the deal, along with similar moves, like their purchase of [PIAS], could fundamentally shift the balance of power in the music market.

15:29
Also, a new initiative called Kuvo, that's K-U-V-O, powered by DJ Monitor, aims to ensure producers are fairly paid when their tracks are played in clubs, using advanced music recognition technology and metadata capture. Kuvo automates the process without requiring DJs to submit set lists manually. Clubs face no additional cost for participation, while benefits include insights into music usage and extended warranties for CDJ equipment.

15:55
By improving royalty tracking and payments, Kuvo is positioned as a game changer for the dance music ecosystem addressing long-standing issues with fair compensation for creators. Next up, Warner Music Japan and NBCUniversal Entertainment Japan have partnered to boost anime-related music globally. Warner will handle production and distribution for NBCUniversal's 9,000-plus catalog of works starting in 2025, while NBCUniversal gains access to Warner's indie distribution arm, ADA.

16:24
The collaboration also includes developing music tie-ins for anime productions offering opportunities for artists to contribute opening and ending theme tracks. This move taps into the growing global demand for anime music, with streams on Spotify up 395% since 2021. Alright, and finally the FTC has finalized the junk fees rule, requiring ticketing and lodging companies to disclose all fees up front and banning deceptive pricing tactics.

16:52
Critics worry the incoming FTC chair may challenge the rule. Meanwhile, the music industry is urging Congress to fix the Ticket Act, citing loopholes that enable predatory ticketing services, and calling for stricter anti-scalping enforcement to protect consumers. All right, I'm gonna take a quick pause for the cause, and then I'll be back with my special guests right after this. Rooted Sounds House Music, which includes DJ Milk D, BZ Reyes, and 804 Deep. Keep it locked.

[BEAT BREAK]

24:56
Hey, I'm Achickwitbeatz, multi-genre music producer and strategist to indie artists and labels. Visit achickwitbeatz.com for resources for artists and instrumentals in various genres available for songs, blogs, blogs, podcasts, themes, TV, film, commercials, and more. Once again, that's achickwitbeatz.com. That's A-C-H-I-C-K-W-I-T-B-E-A-T-Z.com Let's make something happen.

25:26
Thank you so much for tuning into instrumental intel. I'm your host music producer Chick La Beats and I'm excited, thrilled, and delighted to say that I have in the virtual building with me today Rooted Sounds House Music. Now if you're not familiar you definitely will be by the time we're done with this but I mean it's a collection of DJs slash producers that know how to do their thing and so yeah I'm really glad that they took the time out of their busy schedules to join me.

25:55
And yeah, so if you could just give everybody a little bit of a taste of who you are. We'll kind of work around. We'll start with DJ Milk D, then go on to the rest after this. Awesome. Take with Beats. Thank you for having us. And yes, of course I'm DJ Milk D. I am the CEO of EuropeRadio.com. I live in Richmond, Virginia.

26:24
And I'm so excited to be on your show and also to be with my two brothers, BZ Reyes and Tony Fernandez. Crazy thing is, I'm sick with beats and everyone that's listening. House music has always been my love. Never had the courage to really express that feeling until I really

26:53
came to Richmond, Virginia. And hip hop will always be my first love, but I always loved house music and freestyle music. But moving to Richmond, Virginia, meeting DJ Ojo, shout out to DJ Ojo. He connected me to Tony Fernandez. I wanna shout out Sean Boulevard, who connected me to BZ Reyes. And...

27:23
This trio of us began just at the whim. Of course, the love for house, but being a DJ, producer, mix engineer, Tony, the same thing, and here I am, a DJ learning to be a producer. They kind of have taken me under their wings a little bit.

27:51
Also want to shout out Terry Teesnig down in Florida, one of my resident DJs who lit the fire to be a producer three years ago. But I lean on BZ and Tony a lot in this producing career that I'm going down now. Being a DJ, like I've told you before on your show, is simple. But being a producer.

28:20
making the song make sense is a challenge. So again, I lean on these two brothers and I have a lot of love and respect for them. All right, that's what's up. All right, so yeah, Tony, I think you're up next. If you're willing to share a little bit about how you got into it and what you've been doing behind the scenes. Sure, sure. Yeah, I'm Tony, Tony Fernandez. I just go by.

28:49
DJ Tony T, I've been DJing a very long time. A very long time. I know, I guess before the show started, we were talking about Gen X. I guess that's where I fall in. I've literally been spinning for over 40 years. I've been doing it for a very long time. Obviously I love it. Yeah, I grew up in New York. I'm glad to say that I'm a native New Yorker and that foundation

29:19
growing up there just really gave me the bedrock and exposure to music that I was able to bring down to Virginia. And it just kept up with me. When it comes to house music, like Milk D says, it's my love. I was hearing house music and had an affinity for house music before I even knew what it really was. I grew up listening to it.

29:49
on the radio with the mixed DJs in New York, you know, back in the day. I was too young to go to clubs back then, but I knew what they were. You know, I would be that guy that would, you know, listen to the Drive at Five and all the mix show guys. And I'd be like, why aren't they playing those versions at lunchtime? You know, I just kind of just had this affinity and this ear for music.

30:19
That love of music translated to me being a DJ. Ironically, I didn't become a DJ till I came to Virginia. So had I stayed in New York, I don't even know what would have happened. But yeah, yeah. And then, you know, it's so funny being down here, almost everybody that I know that's into house music at the level that we're at, they're all transplants. They're all from...

30:43
Jersey, they're all from Chicago, they're all from Detroit, they're all from, you know, Michigan. I mean, you know, they're all from DC. I mean, it's just- Connecticut. Oh, wow. Yeah. I wouldn't have guessed that. That's what's up. Yeah. It's really funny. I mean, one of my best friends, you know, he's from Jersey and, you know, he's one of the guys who actually made it, you know. I mean, he's, you know- It's Mini D. Yeah. You know, he-

31:11
I mean, I know him as Doug, he goes by Smitty Dee, you know, he was with 95 North, you know, they did a lot of work, you know, on Strictly, Emotive, New Groove, I mean, you know, that cat made it, you know, so I was under his wing, you know, when it came to the production thing, you know, for me, it was kind of a natural progression. I kind of was under the delusion that I knew how to spin records.

31:41
It was like, hmm, I saw these beats kind of happen. Let's see if I can dip my toe in that pool. And honestly, it probably took me a solid year, year and a half to get to the point where I was like, oh, OK, this makes sense. And along the way, I really have to give a huge shout out not only to Doug, who was so patient with me. And

32:09
Every time I came up with some rudimentary Sesame Street beat, you know, he'd be like, Oh yeah, that's great. This way, you know, and then I actually got involved with a, with a production partner. Um, um, Scott, who, who actually, he, we, we unfortunately kind of, I shouldn't say broke up, we, we, we kind of split because he, he ended up moving. So we ended up going to California and Florida for a while. And we actually are still in touch. And.

32:37
Unfortunately, because of the distance, we kind of stopped doing production. But when we were in Virginia, I mean, being around him really opened me up to how music is made and how being in a studio works and being able to wrap your head around.

33:04
you know, beats and song structure and how things flow. And again, he was super patient with me. And, you know, he kind of, I guess, liked the way I was working in the studio, the sounds that I was kind of developing. He liked the way I DJ. And it was just this amalgamation of things coming together. And, you know, so it kind of grew for me.

33:32
organically so I've been doing production off and on for about 20 plus years or so you know yeah yeah and I mean I've had a few tracks signed it's it's funny before I met Darryl Milk you know I actually was on a draw spell you know I mean I would I would I would do edits

34:00
for myself, I would do edits for friends of mine. You know, I mean, you know, I never really got big, big in it. At one point earlier and way back in my career, I actually was a Billboard panelist DJ. And I only bring that up because I wish I was more prolific as a producer back then than I am now.

34:28
Because when I was on the billboard panel, oh my God, dude, the access that I had to the industry was ridiculous. I mean, it was, you know, I mean, and if anybody's been doing production over say the past five, if not 10 years, you've seen how the business has changed. I mean, it literally has gone from a record

34:56
driven industry where you got to know somebody and you got to get in that pipeline and you know, try to sell widgets to do it all on your own. You know, you know, and again, that's a good, good, good and bad thing per se, mainly good. But, but back then, I mean, so we're talking in the, in the mid nineties, late nineties, early two, I just had just insane access.

35:25
to the industry. Had I had it, like I said, had I had my chops, my production chops, you know, higher up the food chain and my skill level higher while I was on the panel, I don't know, man, you know, life has been a lot different. You know, so, but yeah, yeah. It's been really refreshing and so exhilarating, creatively.

35:54
you know, professionally, artistically to meet up with BZ and meet up with Milk because their sounds are a little different. And I actually talk to Milk more than I do to BZ, but you know, like he says, every time he sends me a track, he's like, oh dude, you know, I just put this together and whatever, whatever.

36:21
You know, being involved in the creative process, you know, it's a super special and super intimate relationship. You know, it's one thing when you're by yourself and you come up with an idea and you kind of, you know, work it out, iron out, bring it to you. You have the sounds in your head and, you know, whatever inspires you or, you know,

36:48
you know, makes you feel a certain way. So you kind of bring that idea to fruition. And when you're working, when you're collaborating with somebody, it's different. I mean, the process can be the same, but it's different because you got another brain, another set of ears, you got another set of eyes. And they're bringing their flavor to the table. And it was funny, you know, how we, my part of it, how we came together, you know, it was, it was...

37:17
Like Darryl said, we have a mutual friend, Joe, Ojo, and we would bump into each other once every six weeks, eight weeks. And I think Darryl was telling me that he was getting back into doing tracks. I'm like, you know what? I'm bored. Yeah. And it's, send me your stuff. You know, send me your stuff.

37:45
And you know, if I like it, I'll flip it and then we'll take it from there. You either like it or you don't like what I do. And we just move forward. And I vividly remember having a very candid conversation with them, basically saying, look, man, if we're going to go forward in this creative process, we just have to be bluntly honest. You know, we really got to be like, look, this track you sent me is...

38:13
Can we curse? I mean, not that I want to, I just, you know. I'm trying to. But it's like, you know, yo, this track is the sh**. This thing's awesome. You know, I'm feeling it. Let me see what I can do to it. Or yo, this track is not, is no. You know, it's just, it's not me do what I want to do with it. And to his credit, I will say he's been crazy prolific.

38:41
you know, sending me stuff, you know, like, yo, I just came up with this or yo, I had this in the back burner or this was an old track of mine. I just, you know, drug out from from the back corner of the closet. And you know, and if I got the time, I'll just, you know, do what I do to it. And so far, he's liked everything I've done. So, you know, I kind of I kind of take a really

39:11
you know, especially if it's other people's, you know, stuff. Um, if it's my stuff, I mean, it's, I hope it doesn't sound weird or, or, or, or hypocritical when, when I come up with a track and I give it to the guys, I'm like, run with it, dude. You know, just, you know, I got my idea of how I came up with it and it is what it is, and then if you take my idea and go deep left field with it, have at it.

39:41
You know, I'm not gonna sit here and say, oh no, that's whack because that wasn't my vision. Because guess what? It wasn't, it's your vision. You know, so, and I kind of developed that workflow with my old partner. You know, there were a lot of times, and as Darryl reminds me of my old partner, you know, like I said, he was so prolific.

40:09
I mean, this guy would, I mean, we would literally probably hook up back then three days out the week and each session we would work on like three, four tracks. Wow. It was ridiculous. Well, Tony, I'm, I'm gonna cut you, I'm gonna cut you off for a second because I'm gonna tell you what, BZ.

40:28
he be telling me to pump the brace, because I'm gonna tell you what, if it wasn't for me, if it wasn't for BZ, Tony, we'd have 100 tracks. My brother BZ, he's a silent assassin. Like when he talks, he'll tell you blunt, honest, like, “yo man, first and foremost,

40:52
You need to put a high hat in there.” You know, I love BZ. I love both of you guys. Love these two guys. And Tony, I didn't mean to cut you off, but BZ. But BZ, I know I want you to be able to get in with what you have to say, but Tony, if it wasn't for BZ. I can keep talking, you know I'm kind of quiet on the quiet side anyway, so. Well, I guess when Tony said what he said,

41:20
about being prolific and yes, I may be, and my foot's to the pedal, but Tony, BZ keeps me grounded. I'm already trying to get our second EP out. You know, we produced like 23 tracks this year, fellas. 23 tracks. And I'm just like over the moon everyone on how productive we've been from BZ,

41:49
mastering, mixing, implementing the vocals where they need to go to make it make sense. Tony remixing my tracks, we get in these record deals with Jump Beat and G-Mafia and at least just so many labels and I can't be more blessed to have met these two guys.

42:14
BZ has about a hundred tracks that he has put out yet. Yeah. My bagger, man. Bagger and tagger. He's got some bangers. And Tony, I'm going to tell you what, bro. Real quick though, Get Down Funk. Yeah, that's one of my favorites right now. Okay. Yeah. I kind of got that in rotation. Very first track. Yup. That's BZ. I don't know if you want me to jump in here. Yeah, I'm sorry. I'm going to cut you off. But yeah, go ahead. Where's Tony?

42:44
Oh, you still there? Oh, yeah, yeah, no, no. I'm here. Yeah, no. It's just, you know, our dynamic. I mean, and I think that's what's scary is our dynamic is what it is. And even though, you know, I know BZ lives out in Tidewater. So, you know, for us, that's about an hour and a half away. You know, I'm in Richmond. You know, Darryl's still a little bit away from me. So it's not like, you know, back in the day, like I said,

43:13
with my partner where we would actually hook up at my house because I had a project studio and we would physically have to be in the same room, you know, and try to crank stuff out, you know, it's again that the technology and the dynamic of how we work has really changed and evolved and the scary part is we're just getting started, you know. Facts.

43:39
I mean we've only been at this like you said what six eight months if that you know so So, you know, yeah, I mean, you know, I'll be honest. I need to hear some of these back bags and tag tracks from BZ

43:56
Wooooo! Okay! ‘Bout to spark something right here, I love it! You know so, but--y’all heard it here first, right here on Instrumental Intel. Yeah! Drones over his house, I can check it out. “Drones Over Jersey” I can’t believe that’s not a song out right now, like who’s been waiting? I know right? Exactly, exactly. Might have one, ay BZ I’ll send you the vocals! Speaking of that, look…

44:27
song called Music Meets Al Capone. Oooh. That's Tony to remix it. Like I created it, Tony remixed it. I put my vocals on it. Shout out to DJ Al Capone. Hold on, hold on, hold on. I put the vocals on it. Well.

44:47
Hey, well, I put my vocals out there. He put your vocals on that. OK, there you go. He said, let's get it straight. Yeah. See, I knew you weren't shy, BZ. I'll loosen up a little bit. Far from shy, let me tell you. These two guys right here, I met Tony through Darryl. Well, I'm BZ Reyes, just to formally introduce myself. I'm originally

45:16
I'm a transplant from Connecticut. I'm from Connecticut. Norwalk, Connecticut, which is 50 miles from New York City, our train ride into Manhattan. All right. That's how we were blessed. Because anything that happens in Manhattan bleeds into Stanford, Connecticut, and into Norwalk, Connecticut. Then a British border starts losing its little flavor, and then New Haven is going a different way in New Haven. It's a whole different thing in New Haven.

45:46
You know, house music's always been a love, but music in general. Being Boricua, you know, we salsa, merengue, all that stuff. My music definitely heavy on the congos and bongos. You add there. Oh yeah. Freestyle, start them freestyle, hip hop. Hip hop was always a thing. I grew up in the bricks, so hip hop was always a thing.

46:15
hit the scene, it was a rap. It was just a rap. I remember going into New York City, we were buying records, a ton of records, and then we went to one of these little side shops, off the books type of place, where they always had a DJ playing music. Soho Hop, my anthem. Woo! There were pounds on it. It was a rap, it was like, I'm in love with this stuff, my boys had equipment, we started DJing together.

46:45
there, you know, we would just do parties and that back in the days you could do block parties and stuff like that. We don't, we can't do that stuff anymore. And that's where the culture and everything from New York and people from New York were coming into Norwalk because it was only an hour ride. Yeah. So, um, I started producing, I was producing in dabbling in Fruity Loop studios back when it was just Fruity Loops. OG. Yeah. OG Fruity Loops. And then, um, I went to Croatia with.

47:14
Got out to Sean and my boy T. Defective. They went to the Defective Festival. And that really kind of ignited a spark. Back in, I bought a new controller. I got back into DJing. They was like, oh, you should try producing. So Get Down Funk. I worked on that for probably like a month.

47:38
Because I was unsure if I wanted to release it and you know, it was like And then I was like, I screw it. I'm just gonna release stuff and start releasing stuff. But now I'm still doing that I'm going and I bag it and I leave it to the side. I Literally have like 10 12 tracks. We're just sitting around. I do play them though. Okay, I play People that be listening and they try to Shazam

48:07
Like what if it was just out there for them to find? Yeah, the last time I did DJ in DC, and he was like, I was trying to just say in two of his tracks, and I couldn't. I was like, oh, I'll send them to you, bro. Those are off the books. Yeah. But meeting with these two guys and their passion for producing and Milk, he's full pedal to the metal. That, he's go, go, go, go, go. Yo, listen to this. I was working on this yesterday. I was working on this.

48:36
I'm like, wow, okay, okay, can I put my vocals on this? And then, you know, he kicks the fire lid under this group because you know what? He was already, let's go, let's go. Let's do the second EP. I'm with it. I have enough tracks. I could just go, dust this one off. Here you go. Take that one. You know, he was like, oh, well, Tony remixed it. I'm like, when did you guys do this? And what did this happen?

49:06
Four hours later, I got two tracks I'm working on. Okay, all right, all right, cool. Let's do this. So I love the energy. The energy's there, the love for house is there. We're both, we're all passionate. That's what's up. You know, and he dragged me into this kicking and screaming, nothing. No. So, okay, I got a question for each of you. Man, I hate the time is running out so quickly. We got to do this again. But if you could pinpoint,

49:35
one particular house song that kind of sparked your interest or your passion for house music, what would it be? Or even if it's not a particular song, but you know, artists, group, whatever the case is. But I can answer that real easy for me. I'll try to keep the story short. I was in Virginia and ended up at the literally the top of the hat, Doug Smith from 95 North, who I just mentioned

50:05
um we ended up being like yo there ain't nothing going on down here let's go to new york and we literally drove from richmond to manhattan picked up his boy his production partner in baltimore and we went on a tuesday night the sound factory bar in new york and walked walked in because it was tuesday night so it was louis vegas it was louis vegas night

50:34
and at Sound Factory Bar and we got we parked and we're walking in at 11 45 and we walked in and I lost my because when we walked in Louie Vega is spinning his stuff and over in the corner is some dude playing keyboards and I'm like

51:03
is this like I'm hearing like some crazy Latin tribal beat stuff going on and and I'm hearing plastic dreams on top of it and that's like people losing their minds and I'm like oh snap there's a dude in the corner playing plastic dreams. That was David Cole from C&C Music Factory. Wow.

51:32
And people were losing their sh**. And what, what? Jim's tone. And if that wasn't bad enough, the song that really made me go like, this is it, man. This is, this is it. This is how this stuff is supposed to be. Was when Louis Vega dropped House of Gypsies, Soon-Sai saying that it was a rap. It was a rap.

52:01
And then later on, actually, that night, I'm gonna forget this either, Epilogue and BZ talking about going to New York and buying records. So later on in the night, Louie's playing Voices, Voices in my mind, which was that vocal house record that has Barbara Tucker on it, Robert Owens on it. I mean, it has the three biggest vocalist guys, people at the time.

52:31
And we're losing our minds the next day I call vinyl mania and i'm like yo I need two copies of voices Give me all the copies you have Eric ain't coming out for another three months and he was right too It was safe for me

53:01
BZ I'ma go last, you go next bro. Nah, I already said my anthem. My anthem is so ho-ho-hot, it'll always be so ho-ho-hot. All right. Well BZ tell everybody what mine is. You already know what it is, you said I can't play it no more. Wait, which one, wait. Which one? No, no, no, you gotta clear it up. He got a few that he can't play no more. It's Cashmere, but which one is it?

53:24
There's two Chasmere tracks he loves to play. I don't know. Do you pick one? He said you banned either way. It's Perculator. 1992. Yes. Okay. Gosh, that's what got me really with how it's Perculator. Okay. You know, the M for Michigan. I'll fill you on that. Low key for me. I think it might've been hard drive. Hard drive, okay.

53:53
Nice. Yeah. Yeah. Yeah. That's a classic. That's an anthem. And then the whole ghetto tech era had me in the choke hold. I'm not going to lie. I was old enough to go to like the teen clubs and stuff. So, yeah, ghetto tech was my. Oh, that was my kryptonite for a minute. Hey, it would be how much time we have left. I know it's getting close. Yeah, yeah, yeah. We got about five minutes. So I want to say real.

54:21
quick because Tony don't really know you a tone, a Achickwitbeatz, straight fire producer, bro. You need to follow her on Instagram, follow her on Spotify. And she knows what you mean, BZ and Tony about me full throttle because we did a track and I've been blowing her up like, when we gonna get this track out? I know. I'm so sorry. It's so weak here. No, no, no, no, no, no, no.

54:50
No, no, no, no, no, but no rush. This track that she did is called The Work and it is fire. As soon as I heard it, I was like, I got to put vocals on it. Yeah, I have released the instrumental like a while ago on my own, but the house label that I've been working with was interested. Once I shared the version with DJ Milk D's vocals on it, he was like, yo, yeah, we need to put this out. So.

55:18
We'll definitely keep everybody posted as soon as I have more information. But yeah, I don't want to hear it because you know me, if I like it, I'll flip it. You know what? And that's another thing, like, I'm really big on that. So I don't really consider myself a singer at all. But when it comes to house music, I'll still do it anyway, because it's all about the vibe. And so a lot of times I love just like what you were saying, Tony, about, like, you know, just flip it, do whatever.

55:44
So like once I put it out, I love for other DJs to get their hands on it. I'd love to hear what people would do. And half the time they make me sound better because they actually put my vocals in key compared to my original. I'm sure it's not that bad. She's being very modest. She's being modest. I said before, I hide behind harmonies, but no, I am not a vocalist. I know that, but I'm okay with that. You know, like.

56:11
My whole thing is to inspire other artists. So as long as I can get you to hear what I was trying to accomplish, maybe you'll hit me up and be like, yo, I want to try this too. So yeah. But- That's kind of how it got started. It was trying to get my boys from the fact that we went to the fact to Sean and to get the, spark the fire under, he, Darryl sparked the fire under me, I sparked the fire under them. They're still like, you know, holding on to stuff. But every once in a while they'll throw me a track and be like, oh, listen to this. Oh, okay.

56:40
I was like, let's go, let's do something. Yeah, yeah, okay. And then I never hear from him for like a month. I won't hear another track for a month, but you know, but this is fun. It's an experience. It's, I encourage everybody to get into making music. My son actually is the one who actually bought Fruity Loops producer edition. I updated it and upgraded it. I was like, really, you're making music. His music is more,

57:11
video game jungle type music uh... but he's getting the following and he's getting into me that's like alright well you know you pops is already into music so if you need advice or something we could do something together or if i have to spin your music it should probably give me an earache but i will that's dope bb

57:37
And that field is still growing. I mean, you know, I read a lot of music industry news and yeah, the whole video game production. Yeah, that's gonna be a whole. I mean, it's already huge, but it's gonna be bigger for sure. I pray he does well in it. So I pray we do well in this coming year, 2025 for all of us. Yeah. Yes. Let's go. Let's get it. All right. So we're in the...

58:05
little stretch here at the end, but I want to make sure that everybody knows where they can follow you guys, keep up with what you got going, and then I'm already advocating for a part two just because this went by so quickly. But yeah, if you could within a minute kind of let everybody know where they can find you, follow your music, all that good stuff. Go ahead BZ, you first, and Tony did not go last. No, you go ahead and just do it for everybody because you're- There you go. You're the mouthpiece, baby. Let's go. All right. Well-

58:34
You know, we're called Rooted Sounds House Music. We have music on Spotify, Apple Music, Tidal, these are all the platforms. Um, we have tracks individually out. So I want you to follow Tony Fernandez, who is 804 Deep. That is D for dog, E E P for Paul. And then BZ Reyes. That is B for boy Z. R-

59:03
E-Y-E-S, B-Z Reyes, and then DJ Milk. D, check our music out. We have some fire music out there. Definitely. All right, well, I wanna thank the three of you for taking time out of your busy schedules to come and talk with me. I definitely appreciate it. I'm sure that the listeners do as well. And so yeah, I can't wait to have you guys back again. Thank you guys.

59:27
having us at Achickwitbeatz. Much love, much respect. Thank you. All right, and that's a wrap for this episode of Instrumental Intel. I've been your host, music producer at Achickwitbeatz. And once again, I'd like to thank you for tuning in. I'd like to thank my special guests, Rooted Sounds House Music, DJ Milk D, 804 Deep and BZ Reyes. And I'd like to thank my home station, Grander Radio out of Grand Rapids, Michigan. I'm already excited to come back next week with more goodness for you, so make sure that you come back. All right, till then, you know where to find me.

59:57
tune in, tell a friend, I'll see you then, peace.