Instrumental Intel - Ep 73 Navigating Labels, Legacy, and Longevity in Music with J. Poww (9-20-25)

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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.

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00:01

Hey, thank you so much for tuning in to Instrumental Intel. I'm your host, music producer, Achickwitbeatz, and I'm so glad that you're here with me. Today's episode has music industry news, instrumentals by me for your inspiration, and later I'll be joined by my special guest, J. Poww, and we're gonna talk about navigating labels, legacy, and longevity in music. And personally, as a chick who loves something's going on by UNV back in the 90s, I'm really excited to be bringing this episode to you.

00:30

So, before I go ahead and drop that first beat, I'd like to give a shout out to my home station, Grander Radio out of Grand Rapids, Michigan, and with that, let's go. oh

[BEAT BREAK]

10:49

Hey, this is music producer Achickwitbeatz, and you're listening to my podcast Instrumental Intel.

[BEAT BREAK]

13:21

Alright, I'm back with the music biz brief. First up, Spotify just rolled out its biggest free tier upgrade in 6 years. Free mobile users can now search and play specific songs,  pick tracks from playlists and albums, and instantly play songs shared by friends or artists,  all features that were previously locked behind premium. There are still limits, like daily caps on on-demand minutes and no queuing. Spotify hopes these changes will keep younger listeners engaged,  boost ad revenue,

13:49

and eventually drive more upgrades to paid plans. Premium still accounts for 90% of Spotify's revenue, but the company says the free tier remains a crucial funnel for growth and a safety net for users who drop out of subscriptions. They've also rolled out a new US-only feature called “The Drop Weekly,” blending video segments from its human editors with personalized release recommendations refreshed every Friday for both free and premium users. At the same time, the company is pushing back against Unwrapped,

14:18

a third-party project that lets users sell their listening data to buyers in exchange for CryptoLink rewards. Spotify argues the initiative violates its developer terms and potentially infringes on its Wrapped branding, raising bigger questions about who truly controls listener data in the streaming era. My two cents, it should be the artist. Moving on.  Next, Sony Music Group and Spotify have signed new multi-year global licensing deals covering both recorded music

14:46

and publishing, including a direct US agreement with Sony Music Publishing. That deal moved Spotify away from the controversial CRB bundling model,  which had reduced songwriter royalties, aligning Sony with Universal, Warner Chappell, and Kobalt, which all recently struck similar direct deals. Executives from both companies say the agreements  aimed to boost songwriter compensation and pave the way for new features.

15:12

with hints at enhanced audio and visual formats, possibly including music videos on Spotify's roadmap. Also, a new report from Midia Research warns that music discovery on social video platforms isn't translating into lasting fandom. Their global study of 10,000 consumers found that while over half of listeners streamed the song after hearing it on social media,  nearly half didn't,  often because short clips felt like enough. Among 16 to 24-year-olds,

15:42

Discovery is more likely to stall at the snippet, with fewer following through to streams, saving tracks, or exploring artists.  Midia cautions that social platforms are competing with not feeding into streaming, and that the industry only has a narrow window to turn fleeting virility into real long-term fan engagement. Word to the wise, depending on your goals, going viral might not be all it's cracked up to be. Next, major labels including Universal and Sony.

16:09

have settled their lawsuit against the Internet Archive over its Great 78 project, which digitized and streamed vintage vinyl recordings online.  The labels had accused the Archive of running an illegal record store by making thousands of copyrighted works available, while the Archive defended the effort as a cultural preservation under fair use. Terms of the settlement are confidential, but both sides told the court they expect to formally dismiss the case within 45 days.

16:36

Also, LimeWire has acquired the infamous Fyre Festival brand, promising a tongue-in-cheek revival that focuses on tech, community,  and real-world experiences.  Once notorious for file sharing and later relaunched as a digital content platform, LimeWire says it wants to own the meme of Fyre without repeating past failures. The company plans to reveal its reimagined vision in the coming months,  with the waitlist already open for fans who are curious about what the next chapter will bring. Next,

17:05

A new study from the UK's Music Managers Forum estimates that managers generate nearly $974 million in value for the UK music industry, with every £1 spent on management services creating £8 across the sector. The report highlights that artists, songwriters, and producers capture the majority of this value through higher earnings and opportunities, while the rest trickles out to labels, publishers, agents, and other professionals.

17:31

Alongside the findings, MMF announced a new tiered membership system and the launch of a certification program aimed at setting professional standards for managers backed by major industry players including Universal and Sony. Also in news, AirBuds, a music-focused social app popular with Gen Z, has raised $5 million in new funding led by Alexis Ohanian's Seven Seven Six. The app lets users share what they're listening to in real time through a widget connected to services like Spotify, Apple Music, Deezer,

18:01

and audio Mac while adding social features like reactions, chat, and customizable profiles. With over 15 million downloads and 5 million monthly active users, AirBuds is positioning itself as a music social network that streaming giants like Apple and Spotify have struggled to build.  Next,  YouTube used its Made On event to spotlight new artist tools and a major milestone.

18:24

The company says it's paid out over $100 billion to creators in the past four years and is rolling out features for musicians to better connect with superfans. Coming soon, release countdowns and presaves, exclusive thank you videos, and behind the scenes clips, plus limited merch drops for top listeners.  This puts YouTube Music in direct competition with Spotify's own superfan initiatives, reflecting the bigger push to reward loyal fans and deepen artist-fan relationships.  And finally,

18:53

Universal Music Group's Republic Records is moving deeper into gaming with a new partnership with developer Nothing Projects Interactive. Together, they're launching OnlyHands,  a real-time mobile fighting game where Republic artists appear as playable characters  and their music directly shapes the gameplay.  Set to drop late this year, the project aims to merge streaming, fan engagement,  and in-app economies to turn music into a core part of the experience rather than just background audio.

19:21

It's the latest example of how major labels are blending music with interactive platforms to create new revenue streams and cultural touchpoints.  Alright, that's it for the Music Biz Brief. I'm gonna take a quick pause for the cause and I'll be right back with my special guest J. Poww of UNV right after this. Keep it locked!

[BEAT BREAK]

33:19

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, vlogs, 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.

33:49

Hey, thank you so much for tuning in to instrumental Intel. I am your host, music producer, Achickwitbeatz, and I'm excited, thrilled and delighted to say that I have in the virtual building with me today, J. Poww.  Hey.  Hey. I know who you are and I'm so excited to be having this conversation with you. But if you could  just give everybody a little bit of background as to who you are and how you got involved with music. Well, let's see. Without dating myself,

34:19

I've been in the music business for probably around 30 years. My first number one record was with the group UNV, ah Universal Nubian Voices.  was a song that I pinned myself, a song called Something's Going On. Some of you may remember that song. ah But that was my first number one. We've gone on to have a few other big records, Straight From My Heart, So In Love With You. ah Since UNV, I have began to start my own label.

34:48

record company called Power Moves Records. And we have been in existence for about 15 years doing what we do. We released several different projects, but I myself release music probably at least an album once a year. So I keep my catalog ah pretty stock and I keep I'm up to about 17 albums over the years, probably about 456 pre-published songs in my catalog. So  that is my thing. J. Poww, of course, solo now.

35:18

Doing my thing. I still tour with the guys from time to time ah But that's who I am. That's what I've been doing. I have a new album out now uh called Bentley music the Bentley music project, which is a project of remakes of number one records uh from everybody from Glen Jones to Tony Toni Toné It Never Rains to  Alexander O'Neal who reached out for me a couple days ago. I was really glad to hear from Alexander O'Neal.

35:47

But that's who I am and I'm happy to be on the show. I've heard amazing things about the instrumental show. I probably have some instrumentals to shoot you at some point, but I'm just glad to be here for sure. Awesome. Well, yeah, I'm glad to have you and thank you for taking time out to come and speak with me and share your experience. So, you know, once we connected and you said like, oh yeah, I was a member of UNV. We had this, I'm like, yeah, I remember that song. Like I knew the words. There we go.

36:17

I think I was just, I want to say, I think I might've been heading into seventh grade or something like that.  Had me singing along, watching the videos, morning relationships I never even had.  There was so much feeling and,  uh, just heart to it. So if, if you wouldn't mind discussing a little bit about, um, you know, like kind of what was your process back then to write something that was so powerful. That was a song written directly from the heart.

36:47

ah I was dealing with that situation at that time. was 19, 19 years old  and I had finally gotten what I thought was the girl of my dreams and come to find out that ah she was more in like with a friend of mine rather than me. And so I quickly discovered after being with her for a little bit that something was going on  and uh

37:13

You know, so not really heavy into love thinking at that point, but I mean, the words came to me so easily just because I was kind of experiencing that situation 100%. So that's where it was kind of birth. Everything I write is generally a story. And that's kind of how I write. I write from a story perspective and generally from the heart, because I feel like that's the original format of making a creative ballad. Yeah.

37:39

That's a really interesting point because yeah, you did just kind of walk through all those most like you could see the progression of how things were happening. And yeah, I used to try to hit those notes. They  didn't really work so well for me.  yeah, definitely a jam. Like I said, I used to record like BET or what's that? Like Yo-MTV rap. So I still have some of my VHS is kind of stashed around. Just there we go.

38:06

Got to one of those out of the archives. Yeah. So I like, oh yeah, I remember the video and everything. For sure. For sure. I feel like the 90s were just a different era for music. I mean, the way I see it, a lot of us got to come up on the older music that was good and then to just have those incredible songwriters playing while you helping clean up the house on Saturdays, whatever the case may be. I just feel like it's such a uh

38:35

rich time. I know everybody feels like that about their era, but I think we're right about the  90s. Absolutely. The 90s was an era of music. I mean, of course you had your early Motown  type of vibes early on, but  90s was a nostalgic era of music that really, really resonated a lot with a lot of people and people to this day. I mean, just I'm still touring and doing things, uh you know, with music that I've been releasing, but even music.

39:04

They always requested to do something going on and a couple of different things from UNV and like I'm getting ready to go to Kenya in Africa in November and you know one of the first things they asked us are you going to do a couple of the classics from UNV and I was like of course you know because I've pinned most of probably 90 % of our music so it was one of those things where I just you know I want to keep that air alive and really introduce it to a new generation.

39:31

That's why we did the Bentley music project, because I want some of these classics to still be, because we kind of redid them and gave them a little twist and I kind of made them my own.  But we wanted to make sure this younger generation gets an opportunity to witness some of those classics as well. Yeah.  Since you mentioned that, that was like one of the first things that I noticed, because a lot of times when people do covers, they like completely switch it up and sometimes, you know. Right.

39:57

You'd be singing along to the notes and then they'd zig when you zag or whatever the case is. But like, really think it was tremendous.  The way that you still made it your own, but it was still familiar. It wasn't too far from what we knew. It just added like a different spice or flavor to it. Yeah. And that was by design because we wanted to make sure that was one of my elements to enhance my touring.  Because generally, you know, now  most of us  90s artists, if you're still doing music,

40:27

A lot of times what you're doing is you may have a good single, but you're doing the majority of your touring. And that's where most artists are really making their money. So, I mean, for me, it was one of those things, no brainers, a light bulb went off when I redid ah Sailing by Christopher Cross. ah I started doing some shows with him ah on cruise ships.  And I was like, wow, I see I may need to do a few more of these remakes. And then as I did a couple, I started getting calls and I went to, I ended up going.

40:54

to London, um to Paris this year. And I've been all over the country,  really even abroad, um based on his remake album. So I'm like, I think I got something here. So I did the whole album worth of nothing but  remakes and it's really working out well. Yeah, that was just incredible. Oh, okay. So you mentioned the Christopher Cross song. How did you make your selection of which ones to actually cover? You know, was really surprised to hear Intro. I was like, oh, that was my jam too.

41:23

You know, I was really cool with Kenny. I mean, all of intro, Jeff and Buddy. it was such, know, Kenny was a native Detroiter. And that's where I reside. Yeah, he was a native Detroiter. So that's where I reside. And so, you know, I always had love for Kenny and it was such a tragic loss to lose him early on. But I always loved that song. And I wanted to do something that had a really, really 90s nostalgic. And I just felt like he never really got his flowers like he should have.

41:53

So I was like, let me remake this. So I was listening to it on Sirius XM one day and I was like, you know what? I'm going to remake that because I love that song. And I just messed around and did it on TikTok singing it live and the audience, it went crazy. So I was like, you know what? I'm going to remake this. And since then, you know, we, did a little short video of it, um, like a teaser and then within three days had over 24,000 views on YouTube. So I was like, yeah, we're onto something here for sure.

42:22

Okay. Yeah. I didn't even realize he was from Detroit.  I'm in Kalamazoo, So  yeah.  Native Detroit. That's what's up. So yeah. So how about for some of the other songs, like where these just, people Alexander O'Neal, I grew up a big fan of Alexander O'Neal.  Um, you know, I, I got through some long nights in college listening to,  um, you know, that heartbreak album from Alexander O'Neal. sunshine was definitely one of my favorites.

42:50

It was hitting heavy rotation. used to find myself singing that song in talent shows and messing around. So when it was thinking about remakes, was one of the first songs that came to mind. And I was like, you know, I really want to do this song, but just give it a little twist ah to just kind of bring it up to date.  And I did it and it worked out really well, so well that ah Alexander O'Neal reached out for me on YouTube and said he loved it. Great job. And I was like so honored.

43:18

that he would reach out and even, you know, say that. Because most times when you do a remake, you better do it right. If you're doing a classic, because people will talk about you if you don't. So it worked out well. It worked out well. He was happy. Same thing with Freddie Jackson. Long time fan of Freddie Jackson. When I was young, I used to try and emulate and sing his records back in the day. And I ran into him at a casino that I was performing at about six months ago.

43:47

And he sang that song and unfortunately he's going through some health issues and I'm really praying for him. And, ah know, it was, one of those things where I felt like, man, this guy is a legend. And a lot of his younger generation doesn't know anything about Freddie Jackson.  So I thought, you know what, why not? I'm going to go ahead and remake this,  this on this album  and the same thing. He heard it  and he loved it.  Maybe about two months ago I was in uh Dallas.

44:15

And he was there performing and he called me up on stage to actually sing, uh, rock with you  tonight with him. And I thought that was a huge honor. I met him before, but that was a huge honor to be able to sing and join the stage with him doing that. So it was, it was outstanding. I had to feel incredible.  Yeah, it does.  It does. It does.  Okay. If we can, uh, maybe just back up a little bit and talk about the early days, you know, since you mentioned performing.

44:43

What was that like when you were first getting started out with UNV? Like, did you have any stage fright, nervousness, jitters, butterflies, or you just kind of been into it like from the get go? When we started this, we had been singing as a group for about six years trying to get a deal. And it just so happened that we independently, when I first wrote Something's Going On, we released it in Detroit first and the record kind of took off. I really didn't have.

45:10

I've been singing all my life,  but I really didn't have a lot of jitters. I tell people all the time,  I'm have a little butterflies in the beginning until I hear that first scream. And then it becomes like second nature and you just get right to it. But I mean, thinking about it, when we got signed, we got signed to Madonna's label, Maverick Warner Brothers. So we were assigned to Madonna's. We were her first urban act on the label at Maverick. So when we put the record out here in Detroit, it blew up independently. We sold about 14,000 units and then

45:39

Label started coming trying to get us and it so happens that Madonna's manager Freddie DeMann flew here out the blue. We didn't didn't tell us we were coming We lived in a little house in Detroit on the hood in the hood on Finkel and he came this big black limo pulls up two big bodyguards get out come on knock on knock on our door and they say is is you and V live here and we're like Yeah, he's like, um We've got Freddie DeMann who wants to

46:08

see you guys and we're like, Freddie the man, who is this guy gets out looking like the godfather. He walks up in this long black coat suit with the job hat. I mean, looking like a straight gangster  comes in and says, you know, I'm Freddie DeMann. I'm a downish manager and  we got a lot of buzz about you guys. A lot of labels are trying to get you guys. We'd like to opportunity to put the record out. If you can sing alive, pack your bags. We're going to L.A. tomorrow.

46:35

So we had this thing where we used to sing For the Love of Money acapella like the New Jack City version, um the Levert version, and we just broke into it acapella broke it down. He was like pack your bags. You guys are going to LA we want to sign you tomorrow And at the time we were we were we were we our manager's name was mason mason, uh from mason and company Who was one of on the premier stages here in the city jail WJLB  mason is now on SiriusXM.  Uh, he's on uh

47:04

soul soul town  in the morning and he also still on the radio here 105.9 kids but he kind of got us going and and from there i mean we went through we went from performing at clubs to opening for Madonna at Wembley Stadium and Wembley Stadium in front of a hundred thousand people oh my so real when i tell you surreal i mean you know dream dreams come true met Michael Jackson backstage at that concert um just just amazing opportunities came from that

47:32

Maverick was the catalyst that helped us. We went number one six months after signing with Maverick. But it was an amazing journey. Not a lot of stage fright, just a few butterflies in the beginning. But that experience kind of met everybody who's anybody in the industry,  had the opportunity to work with people like Brian McKnight, even R. Kelly, when R. Kelly was R. Kelly. ah

47:58

I mean a little bit of everybody. mean we've had some really experiences. Tour with everybody from the  90s. mean everybody from Intro, Silk, Jodeci, Boyz II Men,  II D Extreme, all the groups that were out  at that time. We had the opportunity to travel with and be on tour. So amazing experience which kind of taught me the business in that which is why I'm still in the business today because that experience, Freddie DeMann who was a huge mentor to me, just gave me a lot of wisdom.

48:28

and a lot of game to take with me long after Maverick. And he said, listen, you know, the music business is not promised. You got to be, you know, a student of the business. And if you do that, you'll have the opportunity to go a long way with your songwriting and, and everything else. mean, I actually, I produced Reggie Braxton's album, the gentleman that you interviewed a few weeks ago or a couple of weeks ago. Um, so Reggie is a long-term friend of mine and, and got an opportunity to work with him and help him produce his first album. And then we.

48:56

And then worked on this album where he really wanted to get into it the correct way. it's doing well. It's doing well. That's so awesome. Um, he said that you learned a lot of the business when working with Maverick, but I just want to kind of  add or uh ask or highlight if you will, the fact that you said that you guys have been singing together for six years and put the song out independently before the labels came. And I don't.

49:23

think a lot of independent artists actually understand how  important it is to have that tenacity and to not wait for a label to come do it for you. So can you talk a little bit about that? how did you guys know to stick with it and not get upset because you didn't have a deal until six years later? Do you know what I mean? Like, absolutely. The one thing that, the one thing that we did, we knew that at the time it was a different era in music. It was a time when if you were talented,

49:52

and you could get to the right person, you could get a deal. Nowadays, it's so very saturated with so many things and it's so, you know, we have so many different outlets. But we knew back then that the only way to really have the opportunity to make some noise was to try and, excuse me, release the record independently first. And if we could do that and create enough of a buzz, then we knew that record companies would come and see us. So we spent our own money.

50:21

Um, I'm, you know, we scraped up, we were doing every little thing we could. We all had little jobs. We worked at the little Detroit mall. I was at the toy store. My brother was at a record store. I mean, we did every little thing we could do to keep money going so that we could do our little four song demo and then try to get it on the radio. But the break came from getting the song on mainstream radio. Um, when WJLB took the opportunity to help us, they took the record, Steve Hegwood at the time, who was the program director.

50:51

took the record and said, man, this is a hit. I don't know about the rest of the world, but this is a hit and I'm going to put that I'm going to put the record on. then within four weeks, we were the number one requested record in the city of Detroit. So Detroit being a major market, we were getting the attention of the region. So Cleveland, Chicago, and people started asking questions. And then before you know it, we were off to the races doing what we had to do to make it happen. So it's so important for nowadays, especially because the industry is so different.

51:20

There are so many, you can get a deal, it's much harder, but you have so many different avenues and so many venues to get your music out through the internet and different ways to work and program the records that you don't necessarily even have to have a major  to do what you do. mean, nowadays it helps of course, because  having that major machine is always something important to push the record. Cause a lot of times you don't have the finances.

51:47

to really go after radio like they should and  just marketing and promote the video or whatever, or even make a quality video. But all those things are key essential as independence now doing it, where if you can make enough of a name, you can have majors coming for you. And if you can do make enough of a name and really make some things happen, you can stay independent if you can move some records. I mean, the one thing that I've been able to do over the last 15 years independently is sell units based on the following I've built.

52:15

not only from UNV, but my own brand as J. Poww doing what I've been doing. So, I mean, I'm comfortable right now in my skin of being independent. I do have some some major situations happening right now that I'm in the fold of, you know, just getting ready to do, but I'm maintaining my independence in doing what I'm doing.  So anything I do will be a joint venture, joint venture type deal, excuse me, ah to make sure I can maintain some of that structure and

52:42

some of that independence where I still control my masters. So that's huge. And then anybody independent young artists should definitely keep that in mind. I know it's hard because you have to financially be in a place to do that, but nowadays you can record in home studios and there's many opportunities to make it happen without always having a major. Yes, absolutely. Some great advice. Thank you for sharing that wisdom. Not a problem.

53:07

Yeah, like I said, I mean, it's just,  I don't think a lot of people actually understand the grind and the dedication that it takes to be able to do what you've done. And  I think that even today's industry is still quite similar because even when you are looking for labels, they're going to wait for you to have that following and to be able to prove it. They're not going to do it for you. So they're looking for that algorithm, those analytics to make sure that you have a following, that you have some sales that you have, that you're generating some

53:37

some real fan base on social media and things like that. So things like that, that you can do as an independent, that you can control, take advantage of those things, get out there and make it happen, you know, 100%. So much wisdom. Thank you. Um, so yeah, I definitely, again, just thank you for taking the time to come and share. no question. know, people who listen are either independent artists or producers or creatives in some kind of way. And I'm a firm believer that

54:06

with everyone's unique experience. If we all share our stories, we can kind of learn and grow from each other. So yeah, I really appreciate you doing this. And I know you did kind of mention some of the things that you have coming up, but I just kind of want to give the platform over to you so that way people know what to be looking out for from you. If you want them to, you know, follow you, whatever the case may be.  one thing I always uh like to make sure I'm accessible. So producers,

54:35

that are making quality music. uh I'm available to reach at J. Poww of UNV and that's J. Poww, J-P-O-W-W of UNV, Instagram, uh John Pow on Facebook, uh J-P-O-W-W, John Pow on Facebook, which is my government name, John.  But everybody calls me J. Poww. So uh it's J. Poww of UNV for everything. TikTok, Instagram and Facebook is just John Pow. But

55:04

I have J. Poww music. also have Powwer Custom Collections, is  my company.  It's Power with two W's always. P-O-W-W-E-R-M-O-V-E-S at Gmail is my email. So any producers who are looking to  work on any R&B and Hip Hop, because I work with a few different artists, I'm open to music,  to listening to some independent artists. I'm always open to hearing new talent because we're always looking for that next thing.

55:33

I'm open once again, J. Poww of UNV and that's JP. Oh, w w  of UNV.  Uh, one word and you can reach out to me. I'm, I'm accessible and I have, like I said, I'm touring right now, so I'm getting ready to head to Africa as I mentioned.  Um,  and I'm right now I'm just, taking dates. Uh, I have a show coming up in the mo at the motor city,  uh, casino here in Detroit.  Another show coming up with the sword Eagle,  uh, next month in October on the 25th.

56:01

Um, just, just continuously working, but my website, um, which is power custom collections.com same POWW power custom collections, all one word. know it's long, but, um, it has all my tour dates and schedules. that's power custom collections.com. also have a business, I have a clothing line and a seat company. Um, so.

56:23

I do a little bit of everything in the music business. You gotta have a couple of jobs and do what you do. Absolutely. And you're running a label on top of all that. Like you a lot going on. Got to keep it moving. Got to keep a check coming. Yes. Well, again, thank you. Let's see. You mentioned the album that you just put out. Do you have another one lined up that you can talk about just now? Well, well, the Bentley project, the Bentley music project just dropped about a week ago.

56:52

So that's out now. This shirt right here that I'm wearing ah is one of my singles. It's called It's A Vibe  and it's an uptempo kind of groove. Not up to uptempo, but mid uptempo.  Everything that you hear from me right now you can find on YouTube or I'm on every digital platform. So everything from Spotify,  iTunes, Apple Music, anything digital outlet I'm on.  YouTube, if you go to my YouTube, which is J. Poww of UNV again, or J. Poww Music, I have probably

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fifty videos of this last independent record i shot a video for every song on the album evenly my remake album so you can find those on and you too under jay pal which is jay period p o w w  uh... and my new our project is coming out on the horizon probably after the first year  uh... which is all original songs is a song called or now because soulful melodies plus bars because i'm also a quote on quote

57:48

Uh, MC most people don't know that, when they hear it, they'll be like, okay, wait a minute. This guy can really rap. so soulful melodies plus bars,  uh, which is something on the horizon, but right now we're working the Bentley music project and, uh, check it out. Find me on all your digital outlets. I guarantee it's a winner for any,  any events, any nights out hanging out with the friends.  Um, whatever, put it on. You'll know every song. Love it. All right. Yeah. I mean, incredible project, but yeah.

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As soon as I knew who you were, was like, already know this is going to be good. I couldn't wait to hit play. And the first time I listened to the album, I never do shuffle. Like I want to hear it the way that the artist intended it. And man, it was a treat from start to finish. So I appreciate that. Thank you for what you do. Thank you for still doing it. Absolutely. You know, I'm good. Yeah. Amen. But I'm hoping this is just part one and maybe I can have you back again soon. Absolutely. No question about it. Let's do it. Let's do we can do a remote sometime where I'm at where I'm

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at a venue or at a concert or doing something or whatever. Maybe when I'm in Africa or whatever the case may be, who knows? I'd love to. Just let me know. Absolutely. I think it might be like six hours ahead of us. Yeah, they are. it work. I'll it work. There we go. We'll make it work. Yeah. Well, I appreciate you. I want to let you know. Thank you for the opportunity to come on. I'm very appreciative. I don't take lightly the opportunity to join anyone on their platform.

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And so I'm very thankful for you having me on. question about it. Thank you. As a fan, I'm so thrilled that you did. Come on. So yeah, I was kind of fangirling. I was like, I'm afraid to ask, but I had to. Well, give Makeda a good report. Tell her I was a little late, but give her a good report. I definitely will. All right, well, I appreciate you. Thank you. All right. And that's a wrap for this episode of Instrumental Intel. I've been your host, music producer, Achickwitbeatz.

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Once again, I want to thank you for tuning in. I want to thank my special guest J. Poww for coming through and sharing his story and dropping all those gems.  I'd also like to thank my home station, Grander Radio out of Grand Rapids, Michigan.  Make sure you come back next week. I got more goodness lined up for you. So, till next time, you know where to find me. Tune in, tell a friend, and I'll see you then. Peace.