This is an I-Heart podcast.

Guaranteed Human.

Hold on. Every day I wake up. Wake your ass up. The breakfast club. You're all finished or y'all's done? Morning, everybody. It's DJ Envy. Just Hilarious. Sholomaine the guy. We are the breakfast club. Lauraosa is here with us as well. We got a special guest in the building. Yes, indeed. The educated brother from the bank.

Hey.

I never liked you any. Laura Rose is here with us as well. We got a special guest in the building. Yes, indeed. The educated brother from the bank.

Hey.

I never liked you anyway. Pretty much. Mr. Christopher Williams, ladies and gentlemen. Welcome. What's up? I'm so glad to have another light skin brother in here. So glad. What's up? What's up? What's up? Because the brother to the right of you, he hates on us all day every day. I don't hate, but I did cheer when Nino Brown

stabbed your hand on. to you he hates on us all day every day i don't hate but i did cheer when nino brown uh

got your hand on he told me about it reminds me about it all the time yo you know charliebain

has a difficult job he got the hottest seat in america but how you feel it bro i'm great i'm super

man how you feel everything is good man i don't think people realize how much your voice defined America. How are you feeling, man? I'm great. I'm super great, man.

How you feeling? Everything is good, man. I don't think people realize how much your voice defined an era. Thank you. You know what I'm saying? Like, how intentional was your sound in the new Jack swing movement versus just being a product of that moment? It was intentional. I mean, I think we were just trying at the time to fuse. My thing was so confusing because, you know, everybody categorized me with Albi Shoeh, El DeBorge, Chico, Shamar, every light skin dude. I was just saying how it all happened to kind of all resemble during the time. But I had the voice of perceived dark skin dude. I sound like Teddy Pendergrass a little bit. So it was kind of difficult. And I couldn't dance. I'm from the Bronx. I can't even two-step. So I, um, my rhythm is in other areas. And I just, um, we, that was the most difficult thing earlier defining that. And once we got with Stanley Brown and I was able to start honing in on exactly what that meant frequency-wise, what it sounded

like. We came up with dreaming and songs like every little thing. And that kind of like set the pace.

And then I came home because first I was signed to a rock label. I couldn't get signed in New York

because Al B. was so hot. So I had to go to L.A. because the similarity was, you know,

really close, even though we're

really different. And I got a deal on a rock label with David Giffin. It treated me like Elvis Presley, but they didn't understand what we make. So I had to come back home to Russell and Andre. Didn't have to, but Russell and Andre were caught me the whole time. And when I came back home the uptown and the changes. That's when I think

the real defining happened. Because if you

look at the timeline of my record in my whole career, a lot of it is misconstrued. Like every dude on that record from Tony Doffat to Puff, to Devonte, to Vincent Herbert, to Corey Rooney, Mark Morales. Other than Corey and Mark, everybody was basically new.

And we knew what they were gonna be.

And we made a record that we thought would compete

with records like My, My, My, or Keith Sweat's first album.

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