R&B Legend Glenn Jones, Soul Singer Eric Nolan of The O’Jays, & Smooth Jazz Saxophonist Tony Exum Jr. Team Up to Deliver a Powerful, Organic Version of "Switch” Song, “I Wanna Be Closer!" Simply Mind Blowing!  

There's only one word to describe Glenn Jones, Eric Nolan, and Tony Exum, Jr.'s new single, “I Wanna Be Closer, Masterpiece!” 

Three skilled musicians, Eric Nolan from The O’Jays, the iconic R&B artist Glenn Jones, and saxophonist Tony Exum Jr., unite to produce a dynamic, fresh version of the timeless "Switch" track titled "I Wanna Be Closer!" Their seamless teamwork results in a flawless performance that requires no apologies! 

Eric Nolan Grant is a highly respected 3rd member of the Legendary O'Jays and has over 28 years of experience in the music industry. He has also released numerous solo projects under his own record label, Boy Wonder Records.  

Apart from his music career, Eric is also a performer, filmmaker, actor, radio personality, and entrepreneur of exceptional talent. His latest single showcases his versatility and passion for the arts. 

In addition to music, Eric is also a partner in JAE Films with James Ford. Together, they work on exciting cinematic projects, with Eric taking on captivating roles in films like "What Happens In The Dark," which is now available for streaming on Tubi. Global audiences continue to be inspired and captivated by Eric's artistic journey. 

Grammy Nominee & Legendary R&B Singer Glenn Jones, a multi-talented artist, possesses an array of skills that have made him a force to be reckoned with in the entertainment industry. Not only is he a gifted vocalist, but he is also a skilled songwriter, recording producer, and actor. In 2018, Jones took his passion for supporting and collaborating with other talented individuals to the next level by establishing Talent Room Entertainment and Publishing, Inc. (TREP). 

What truly sets Jones apart is his ability to create mesmerizing love songs that leave audiences spellbound. His unique style and captivating voice have earned him a special place in the hearts of music lovers worldwide. With chart-topping hits like "Here I Go Again" and "We've Only Just Begun," Jones has repeatedly proven that he is a master of his craft. 

Not only has Jones wowed audiences with his musical talents, but he has also had the privilege of sharing the stage with legendary artists such as Dionne Warwick and Aretha Franklin. His exceptional performances have garnered him the prestigious Stellar Award, a testament to his outstanding abilities as a performer. 

In addition to his musical endeavors, Jones has ventured into the world of acting. He has joined the casts of both "The Devil Made Me Do It" and "When a Woman's Fed Up," showcasing his versatility and expanding his repertoire. 

Glenn Jones is a true powerhouse in the entertainment industry, leaving an indelible mark with his extraordinary talents and unwavering passion for his craft. 

Tony Exum Jr., the saxophonist extraordinaire, has made a name for himself in the world of Contemporary Jazz, R&B, and Funk. His breakout single "My Name's Tony" catapulted him to international fame in 2019. From the San Diego Smooth Jazz Festival to stages across the U.S., Tony's signature style, "Rhythm N Smooth," combines silky R&B vibes with his masterful saxophone skills. I had the incredible chance to chat with these three extraordinary gentlemen and incredible performers about their phenomenal new single, "I Wanna Be Closer." Here's a glimpse into our conversation. 

Hi, Eric Nolan, Glenn Jones, and Tony Exum Jr. It is great talking to you again. Your new single, "I Wanna Be Closer," is doing exceptionally well on the charts. Congratulations!   

Gentlemen: Thank you.  

You're welcome! Gentlemen, I must say your new chart-topping single "I Wanna Be Closer," originally recorded and performed by "Switch" in 1978, is an absolute banger! I have to hand it to you - your performances are dead on, and your arrangements sound just like the original recording. I am thoroughly impressed!  

Allow me to share the story of my first encounter with your cover. My husband was playing it on Indie Soul Radio as I was on my way to the kitchen to prepare his radio show snack. I was immediately captivated by your rendition. Your talent and dedication to your craft truly shine through in your music!  

I couldn't help but notice that when I heard a high note, I initially mistook it for Bobby DeBarge's original recording. However, to my surprise, it turned out to be your latest single, and I must admit, I couldn't discern any distinction. Eric executed that note flawlessly. Exceptional job, gentlemen!  

Gentlemen: Thank you.   

Glenn Jones: After listening to what he did with the song in the studio, I had the same feeling because we had never collaborated in that manner before, especially on the record. He did his thing, and I was blown away! He was a featured guest artist on a gig with me in Chicago, and it was nice, but I had no idea that he could "sky" like that.  

Allow me to backtrack for a moment to delve into the origins of how each of you first crossed paths or became acquainted with one another.  

Eric: The backstory is interesting because we haven't had the chance to meet Tony Exum Jr. in person yet. Glenn had a residency in Chicago where he would bring up a featured artist, so I came in on a Saturday night. Glenn was going by our friendship because we've always been cool.   

I was a featured guest artist on his show; when I finished, I exited the stage, and he returned after me. When he came off stage, he complimented me, saying, 'Eric, nice set, but I think we should do a record together. This way, when we perform together, you'll mean something to the ticket, putting additional people in the seats.'  

I then said, "OK. Yeah, Glenn, cool, let's do a record." But, you know, I didn't think he would follow through. I thought he was talking to me because I was in the dressing room. (Laughs)   

I didn't think anything of it. Then Glenn said, "No, seriously, we need to do a remake (covers). And I said, "OK, Glenn."  

So, one day, as I was hosting my radio show and playing a recording by "Switch," I immediately called Glenn and told him, "Glenn, I found the perfect record!" He asked me which one, and I mentioned the song "I Wanna Be Closer" by "Switch." Glenn responded, "Oh, I love that record! It's one of the songs that inspired me to transition into secular music." In the early days of his music career, he sang gospel.  

Moving forward, I had just interviewed with Kirk Whalum after my interview with you. Both Walter Williams Sr. (of The O’Jays) and I were also present at the interview. After that, we had a show at the jazz festival in Cincinnati, where Kirk was also performing. I called Glenn and said, "Kirk, I want you to join me and Glenn in doing a remake of 'I Wanna Be Closer' by "Switch."  

Kirk enthusiastically agreed, saying, "Yes, that sounds great! I'm in!" He also mentioned, "Glenn is my man! I've been wanting to do a song with him." As a side note, it seems like everyone I talk to has a desire to work on a song with Glenn Jones. No matter who it is, they all want to collaborate with Glenn. (Laughs)  

So, I said, OK, well, I got Glenn on the phone. So, Glenn talked to him, and Kirk said, "I'll do the song. So, when we were ready to do the song, and I finally got in touch with Kirk, he said, "Well, look, have your people call my people." I was like, OK, here we go.   

We attempted to contact various individuals, Gerald Albright, Walter Beasley, and Najee, but they were unavailable. So, I remembered this kid, Tony Exum Jr., who had been sending me songs for my radio show. He previously sent me a duet that he had done, and he was killing it! After contacting him through social media, he agreed to collaborate on the song. Instead of just mentioning his name, I decided to feature him on the cover alongside Glenn and myself.  

So, when we did the recording, Glenn delivered an exceptional mock vocal, and subsequently, I laid my part down. I contacted Glenn and said, "We got a record, man! I'm about to mix and master it, and when I'm done, I'll send it to you. But he said, "No, you're not! You're going to send me that record back. (Laughs)   

Everyone: (Laughs)   

Eric: He said, "You're going to send me that record back, and I'm going to cut my part." I said, "Glenn, but it's good! I don't see what else you could do to it!" Gina, Glenn's mock vocal, is better than most people's final take. Do you know what I'm saying? (Laughs)   

Glenn: Man.   

Eric: Gina, I thought I had a record. I even told Tony. I said to Tony, "Glenn wants to do his vocals over again, but I don't see what he could do better." And Tony was like, "Well, what is he going to do?" I told Tony, "I don't know, but he told me to send that record back. "(Laughs)  

Eric said it was perfect, Glenn. What could you have done to improve your already perfect recording, and why were you holding up the process? (Laughs)  

Glenn: Ask Eric. (laughs)   

Eric, what did he do?   

Eric: Gina, when I tell you, he put "the soul" in it! You know how it was "back in the day" when they had soul music? That's what Glenn did. He put his heart and soul into this record. Tony and I were blown away because we didn't think he could top his previous work. But his new recording took it to a whole new level, and we were both amazed! Glenn said, "Yeah, man, send me that record back. I have to go in there and cut. But before that, it was already so good that I kept saying to myself, 'My goodness, it's already a record!' And that was from the first riff!  

(Laughs)  

Glenn: Tony knows what the deal is. Even when laying his tracks down, He would say, "I need to go back and fix this and that," and that's what he did. That's what you do; go back and do it, man. (Laughs)  

Eric: Tony did that as well.   

Tony, how did you feel working alongside these remarkable individuals? Can you describe the experience when you received that call expressing interest in having you on board this project?  

Tony: Eric reached out through social media, but he also called me and left a message. So, I have a visual voicemail on my phone, and I look at my visual voicemail, and it reads, "What's up? This is Eric Nolan from The O'Jays, and I said, "Wait, hold up, this is Eric Nolan from The O'Jays? Then I was like, is one of The O'Jays calling me? That's the first thing I thought.   

Then I thought, OK, this is my man from the radio, but I also think this has got to be something really good and amazing.   

For me, this was one of those situations where you got to call your parents and say, "Hey, check this out: one of The O'Jays is calling me.   

I told my dad, "Dad, one of The O'Jays is calling me!" So, he told me to go for it. (Laughs)   

Now, when Eric told me what he wanted to do, I was already familiar with the record. I was like, yeah, I know that one. I had seen a video of "Switch" performing it on YouTube not too long ago. It's a song I grew up hearing as a little kid.   

"Switch" was a big deal in my household because my mom, her sisters, and cousins were crazy about Bobby DeBarge. That song was constantly playing during my childhood. So, I was like, alright. Then he mentioned that he wanted me to put my own spin on it. He wanted me to capture the essence of the original in the beginning, but he also gave me the freedom to do my thing towards the end of the track.   

That opportunity blew me away! So, when I got into the studio, I tried to replicate the record's sound. I started off with the tenor saxophone, and it sounded good, but after listening again, I thought, Nah, it's not quite right.   

That's when I decided to switch to the soprano saxophone, which is the horn that most people associate me with in the smooth jazz world. In the smooth jazz world, if you mention Tony Exum Jr., most people immediately think of me playing the soprano saxophone.  

I had this moment where I realized I needed to be true to myself, and that's exactly what I did. After listening to a few things, I felt a mix of excitement and nerves because I knew how important this record was and the incredible opportunity I had. Especially after hearing Glenn's mock vocal version, I was blown away. Right from the first riff, he had me hooked. I thought to myself, "This is going to be something amazing!" So, I decided to do my thing. I imagined myself on stage, closed my eyes, and envisioned performing alongside Glenn and Eric in front of a massive crowd. I had to get into that mindset, and that's what you heard on the record.  

Once I did that, it was like a "final take" for me. I felt so confident in that part that I said, "Go ahead and send it." And you know what? Eric loved it. At the time, Glenn didn't even know who I was. He was like, "Who's that guy on sax?"  

Glenn: And I loved it!  

Tony: It was an incredible experience! I recall emailing Glenn once after vibing in my car and listening to my 80s playlist. "Show Me" came on, which happens to be one of my all-time favorite Glenn Jones songs. "Show Me" was my jam when I was a young boy. I love the groove, the bassline, and everything about that song! That's why it reached the #1 spot.   

Then it hit me; I thought, "Dude, you just collaborated with this man!" It was mind-blowing! So, I immediately pulled over the car and emailed him, expressing my gratitude for the opportunity. As an up-and-coming artist in a genre like smooth jazz, it is incredible to be able to work on a record like this. Five years ago, I would have never imagined such a thing. Never in my life had I imagined receiving such a call. It's been a humbling journey, and I am incredibly grateful and amazed by the record's success. I eagerly look forward to joining these talented gentlemen on stage and meeting them in person.  

Glenn: Hey man, Walter Beasley was right; that song was truly meant for you. It's not just about us redoing it but also about preserving the essence of an era when music was truly remarkable, filled with captivating melodies and sheer beauty. Many artists have veered off in different directions, but this song remains luscious and gorgeous, just like when "Switch" performed it.   

When I played guitar, I immersed myself in this song. I would study its intricate chord changes and progressions as it became my passion. Even when I ventured into gospel music, my songs had a similar vibe. I had a talented falsetto singer in my group who would flawlessly deliver those kinds of parts, and it always felt like a comfortable place for me. So, I knew exactly what I could bring to this song. I feel like God put this together, so here we are.   

That's incredible! I love it! Gentlemen, what do you appreciate and admire about each other's artistic abilities?  

Eric: I joked with Glenn about this, but when I first told people who were around me that I was doing a song with Glenn Jones, they felt like I was about to end my career. (Laughs)   

Everyone: (Laughs)  

Eric: They said, "You don't want to get on the record with Glenn Jones." Phil Perry is the only person who can get on a record with Glenn Jones. (Laughs)    

I told Will Downing that I was doing a song with Glenn Jones, and I asked him to do a song with me, but he didn't want to come behind Glenn Jones either. (Laughs)    

Everyone: (Laughs)   

Eric: Glenn is an absolute pro through and through. He's always on point, no matter what. He can chat about a hundred different topics, but Glenn is wholly focused when it comes to music. And when he sings, he pours his heart and soul into it. It's like he's got a whole other level of talent.   

Let me tell you a little story. Glenn and I were conversing once, and R. Kelly really got under his skin. R. Kelly was being arrogant, and it really got to Glenn. Now, Glenn was just planning on doing his usual thing for the crowd, but when R. Kelly pushed his buttons, Glenn took it to a whole new level. R. Kelly didn't stand a chance of getting back on that stage. (Laughs)  

Glenn: It was Gerald Levert's birthday at his club in Cleveland.  

Eric: Right.  

Glenn: yeah, and me and "G" (Gerald) had been having problems with "Robert." (Laughs) At that time, he was young, hot, and full of fire. So, we did a gig at the Front Row Theater in Cleveland.   

And on that same day, it was Gerald Levert's birthday. He invited us to his club, a nice spot in Cleveland, so we went. They called both of us up in the DJ's booth because they wanted us to sing Happy Birthday to Gerald. Because R. Kelly had just been showing his backside the entire tour, working with him was not a pleasurable experience. I can say it now because I feel free to do so. (laughs)  

Eric: Right.   

Everyone: (Laughs)  

Glenn: We reached the stage, and R. Kelly told me, "Yo look, man, you can start it off, but don't put it in a high key because I'm a little hoarse." Then, I grabbed that mic, and I hit it as high as I could get it! I'm telling you the truth! So, that was my "get back" with Robert Kelly! (Laughs)  

Everyone: (Laughs) 

Eric: I really admire Glenn for his authenticity. He is a professional, but he's one of the realest cats you could ever meet, and I vibe with him. That's why I would easily do anything for him, even if it's free. I'm dead serious about that.  

And Tony fits right in with us. He blends in perfectly with the group and is always willing to make himself available. We never have any issues with him. Regardless of the situation, he is always there. It's amazing how God has sent me two wonderful human beings.  

Glenn: We all did, man.  

That's beautiful, Eric! Let's take a brief detour before we return to the previous topic. Glenn, I'm not sure if I mentioned this during our last interview - your song, "At Last," was a favorite of mine to "step" to in the past. I adore that song, and it was also a hit with the Chicago Steppin' community!  

Glenn: Thank you. I believe that because that record was such a great record. "At Last" was on the same album as "We've Only Just Begun," and I wanted to come back with that song as a second single, but the record label would not let me.   

It would have been the perfect follow-up because it had all that 808 Stuff in it. It's in the same mode and groove, and I co-wrote it with the same guy, Timmy Allen, and that song took off in many different markets, Chicago, Houston, Atlanta, and some parts of California. It was a great song.    

Indeed, it was a remarkable song that has captured the hearts of many, including myself. Your incredible hits have left a lasting impression on many people. Now, let's redirect our attention to the previous inquiry. Tony, what aspects do you find admirable in these exceptionally gifted individuals, Eric and Glenn?  

Tony: I saw Eric with The O'Jays years ago when they came to Colorado. So, I knew how he could get down. It's got to be something to be said to be able to join a group like that with such an incredible legacy. And to be up there with smooth Walter Williams Sr. and the incredible Eddie LeVert. That's not a small task at all. And as you can see, he's still here. He's the longest-running "third" member of the group.   

When you're in a group, sometimes you don't get to see what they can really do until they step away from what they're known for. I already knew that Eric had a great voice because he's a member of The O'Jays, but when he hit those notes, I was amazed! I didn't know he could sing like that! Just like Glenn said! (laughs) When I heard the expanse of his vocal range, it blew me away!  

I remember when he sent me the record. I must have listened to it three or four times. Not only was he hitting the notes, but he was doing so with ease. He didn't just punch in; he sang the song. I didn't realize he was that incredible!   

I've always had a tremendous respect for him - not just because of his outstanding vocal abilities but also his unwavering support for indie artists as a fellow radio host. For me, it's a double-edged sword - there's Eric, an accomplished entertainer and musician, and then there's Eric, a radio host, just like myself.   

I'm fully aware of how crucial it is to bring music to the masses and promote the artists' work to the public. I must say, he did that for me. During our first conversation, we hit it off right away. It was like we had been friends for five or six years already! We talked on the phone for a few hours, which was amazing!  

Since our first conversation, I realized he was a down-to-earth and relatable person. And even in subsequent conversations, I feel that we have established a bond. It's like we've known each other forever.   

Regarding the legendary Glenn Jones, it's impossible not to mention "legendary" alongside his extraordinary talent. He truly is a legend in every sense of the word! What more is there to say?  

Glenn: These men are truly admirable. We started the song by closely resembling the original recording. However, as we progressed, we ventured into uncharted territory. Eric added his own unique touch to the end of each phrase, creating a variety of captivating melodies. It was a pleasant surprise, as it wasn't in the direction we initially anticipated, but that's what I dug about the record.  

Tony: I couldn't help but be amazed at how perfectly they fit on the same record. It was truly the ultimate combination. There was an enchanting aura surrounding this particular album.  

The harmonious blend of their talents is simply unparalleled. As I listened to the song, I felt a mix of pressure and anticipation as I couldn't help but wonder, "What is Tony Exum Jr. going to do?" (Laughs)  

Glenn: Three words describe your playing: silky, soulful, and sexy. That's what it is.  

Eric: That's right. (Laughs)  

Glenn: That horn does something to you. That soprano, it kills you, brother. (Laughs)  

Eric: Yes, it truly does. With "I Wanna Be Closser," we're radio to be drawn towards it. I recall Eddie LeVert once mentioning that radio can sometimes deem you excessive if your music doesn't follow or fit the current trends. Personally, I find a huge portion of today's music to be average, lacking any transformative elements.  

Therefore, when a song like this is released, it serves as a jolt to the system. However, Glenn has been singing in this manner for as long as I can remember. I've noticed that when people want to describe a particular vocalist as incredible, they usually say, "he's like Glenn Jones. He is the "blueprint," and I'm sorry I second-guessed him. (laughs)  

Glenn: Ya'll are going to make me cry, man. (laughs)  

Everyone: (Laughs)  

Eric: Another thing is that because Glenn is a musician, he has a keen ear. This is why you never hear him go sharp, flat, or anything like that.  

That is incredible! I am thoroughly enjoying our discussion, gentlemen. Now, here's a question specifically for Eric and Glenn regarding your exceptional professional talent. How do you both maintain and prepare your magnificent voices to perform effortlessly?  

Eric: I'm waiting for Glenn to answer this, too, because we want to know. (laughs)   

Glenn: Well, this might sound corny, but my main ingredient is going to bed at a decent time and getting proper rest. When we were young, we didn't do that because we wanted to hang out, but now, I get my sleep, and I like to drink ginger honey crystals as a hot tea drink. Also, use this vocal spray that a young lady turned me on to.  

Eric: Gina and Glenn also brought to my attention a drink called the medicine ball sold at Starbucks. It's also called the Cold Buster, a tea that combines honey, citrus, and mint. You drink it before you go on stage, and I'm telling you, it's incredible!  

Great! I'm going to try the amazing throat recommendation you gave me. Thank you so much for that. Your new single "I Wanna Be Closer" reached #1 on both the "Bigs Radio Hot Tracks" and the Amazon UK Charts. Congratulations! Can you share with me how it felt to know that your song is receiving so much love from the public?  

Eric: It's an amazing feeling. Our song is currently trending, and I anticipated that it would be successful because it has so many different elements to it. When you have a talented artist like Glenn Jones collaborating with you, people tend to wonder who else is involved. They might ask, "Why would he be with them?" especially if they're not well-known. So, when Tony and I held our own and contributed respectfully to the project, it became clear why Glenn chose us to work with him.   

You know, Glenn mentioned a while ago that this record might expand throughout the year since it could take that long to catch up. It might even go through summer, but when it eventually catches up, people will go back and research the work that Tony and I have done in the past. Ultimately, it will all come to fruition. We are patient and will continue to work on this record.  

Tony: Ever since I released this song, I have seen a noticeable increase in my Spotify numbers. I've noticed a shift because some people are asking," Who's that guy on sax?" And that's because I'm the "new cat." I've noticed a trend where people search for you on Google more frequently, and it's yielding positive outcomes. My participation in this remarkable album has undoubtedly positively impacted my music career.   

When records possess an organic quality and evoke a certain feeling, they engage listeners naturally. It's important to note that "I Wanna Be Closer" was not released as a single but rather a hidden gem on the "Switch" album.   

It was the type of track that would be played at basement parties or during gatherings, where brothers would groove to it with their significant others. Just like how it resonated with people back then, I have no doubt that this updated version will evoke the same emotions.  

There's a fantastic video of a woman singing this song in her car and having a blast. She shared it on Eric's page, and that's exactly what I wanted to see. I want people to vibe to this tune when they're in a certain mood or winding down after a night out. Let's get them grooving to "I Wanna Be Closer."  

The radio aspect is just the beginning - we have so much potential with this record, and I believe it will open doors to new possibilities. The song's authenticity resonates with women. Women want to hear the brothers say, "I love you," again with conviction. Women want to hear that.    

This record truly revitalizes the demand for this genre of music, and it comes from us. Also, it is high time we reintroduce the saxophone into R&B music, as it has been absent for far too long. Sax solos add something special to songs, serving as a distinguishing element in classic tunes. In the past, nearly all songs featured a beautiful saxophone solo.   

My saxophone heroes have all worked with accomplished artists, leading to their rise to fame through iconic sax solos in their songs. Kirk Whalum's legendary sax solo is unforgettable, while Gerald Albright has also made his mark in the industry. As a saxophonist, I want to follow in their footsteps.  

I have always wanted to be someone others could turn to for a horn-infused recording. As a result, taking on this project has been an exhilarating experience for me. I call it "musical real estate" because I anticipate us receiving many calls due to its popularity. Unlike releasing an unconventional song, we have presented a thrilling masterpiece, leaving us wondering about our next move. (Laughs)  

Glenn: Hey, we're going to do something. (Laughs)  

Eric: Yeah, we're going to do something. (Laughs)  

Music needs to evolve and move in a different direction, and this song has the potential to lead the way in bringing back real music, specifically classic soul & R & B music. There is a significant audience that craves this type of music, as opposed to the superficial content that dominates mainstream radio today. Consequently, the industry will need to adapt to meet the new demand.   

The resurgence of classic soul music indicates a shift in the music industry, particularly on social media platforms. Independent artists are utilizing social media to showcase their talents, and many young individuals are demonstrating their skills by performing music from artists like the O'Jays and Glenn Jones.  

The song you created has a timeless quality reminiscent of a classic. Gentlemen, it's important to balance authenticity and innovation when covering a song. Did you aim to stay true to the original sound or add your own unique twist while still maintaining recognition?   

Glenn: I wanted to do a song that exudes soul, sensuality, and beauty, just like the original version. Speaking of another song, I penned a track titled "Set Me Free." It features some mind-blowing saxophone melodies and revolves around the unique arrangement we gave it. Although I wrote and recorded it some time ago, it was never released. Nevertheless, it remains a fantastic song.    

So, I agree. People are missing that soulfulness and that organic R&B, and I think that's a nice lane for us. Although classic soul and R&B music is the music we naturally gravitate to, we can do some of everything. So, if we have to go there, we can do that. Occasionally, we may even put some of that in one of our shows.   

But overall, I think that the soul in music is missing. Soul music is embedded in me; it's what I feel and sing. Some people have told me in the past that I sound too much like I'm singing gospel or something, but I'm just being myself, like Aretha Franklin was.  

Eric: When I sent the record to Glenn, he asked me two questions. One of those questions was, "Do you want to keep it at the same tempo?" Then he said, "OK, do you want to keep it in the same key?" Then I said yes to that question also.   

See, the public usually will listen to a record, and they will immediately start critiquing you to see if you sound like the original record, and if you bring the key down, it's like they cheated and brought the key down because they couldn't hit that note. Right?  

Glenn: That's true.   

Everyone: (Laughs)  

Eric: If you decide to slow down a record, people automatically assume it's because you're lazy. However, Luther was the absolute best at it. Slowing down a song was effortless for Luther because his vocals didn't require him to do a lot of energetic and fast-paced stuff. But he was truly exceptional at what he did. So, my mindset was to adopt that "Luther Vandross" mindset, but I also understood that with this record, I couldn't lower the key, and I had to hit that high note, that money note.  

So, one day, when I came out of Planet Fitness, I called Glenn and told him, "We're going to be alright," I told him, "I just hit that note seven times in my car."   

I kept on hitting that note to see if it was just luck. I was trying to see if I was going to struggle or strain, and neither happened. So, I reassured him that we would be alright because I could hit the notes in my sleep.   

Glenn wanted to keep it the same beats per minute. I gave Tony 16 bars to be Tony Exam Jr., which is not on the original recording. And I put some little curly cues on the end.  

Glenn is amazing because he automatically caught them when he heard what I laid down - he knew exactly what I did. He's the type of musician and singer with that kind of ear and level of talent.   

He automatically knew what I was doing when putting those little curly cues on the end. He caught them and started harmonizing with them. Then he put some minor stuff on the back and told me to put it where I wanted it. Afterward, I would harmonize with that. So, that's how we made the song our own. When you hear the records, you can say, "OK, that's Glenn Jones, Tony Exum Jr. and Me.     

Glenn: It sounds like we recorded it together in the same studio.   

Sometimes, when it comes to recording, there is often a need for a lot of communication, like eye-to-eye. Especially when you're doing certain lines, it's good to look at the other person so they can really get where you're going. But this worked out perfectly.   

Eric: Glenn is a true professional. He pays attention to how I pronounce words and notes; then, he nails the phrasing. He's also great with harmony notes. Not everyone does that.    

I'm very meticulous about background singers. Many of them don't take their craft seriously. They struggle with breathing in the right places, and their unisons are off. They just sing the notes without really blending. The "Ridgeway Sisters" were different. Singing with Anita Baker, they were amazing background singers. Their blend was so tight you couldn't distinguish who was singing what note.  

Glenn: It was the blend.   

Eric: Yes, the blend. And that, Gina, is what makes our version a tad bit different from the original recording. We kept the meat of the record intact. We were not going to change that.   

Tony: As a musician, I listen for subtle changes in the keys, chords, voicings, and melodies. Where a guitar part or strings are placed in the mix can make a difference. This record is authentic to the original, but there's a new feeling to it. At the same time, nothing was taken away from what or how it makes you feel. So, it's sometimes the little subtle parts added in the song that make it special.   

Eric: absolutely, and that's what I tried to do on this record.   

I told the guy who was playing guitar on top of the track that when Glenn comes in, I need you to give me that "Rainy Night in Georgia" type feel. So that's why he did the little whining thing in the song. That's soul music. That's what they did. Then I put the finger snaps in there, and they put the strings on the top.   

Glenn hired some guys to play the music, and they set the foundation of what this music should be like. So that's why I was able to put stuff over the top of it: they did little subtle things in there that made it just beautiful. And again, kudos to Glenn because Glenn laid the part at the beginning of the song that says, "Girl, I'll be the man you want me to... Ooh."  

That's probably the hardest part of the song. Go, Glenn! (Laughs)   

Eric: Yeah, that's the hardest part of the song that to me. Once I heard that part, I was like, OK, we have a record. (Laughs) 

Eric, that's hard. He's hearing things in the stratosphere somewhere. (Laughs)  

Eric: That's what I'm trying to tell you. And, when he sent that, all I had to do was the top note to make it seem like I was in the background. (Laughs)   

Everyone: (Laughs)   

When looking at the younger demographic, let's consider Bruno Mars as an illustration. I struggle to understand why, despite his throwback music style being popular among the younger crowd, the music industry persists in neglecting it in favor of synthetic, auto-tuned songs. The industry's failure to recognize this is beyond my comprehension. Gentlemen, what do you think is causing this disconnect?  

Eric: Here's my take on it: Most of the guys running these companies are likely in their thirties. Then he gets a black American Express card, and once he gets it, he's determined not to mess it up. He wants to hold onto that card because, with that card, he gets the girls and the chance to cruise around in an SUV. So, since he enjoys all the benefits, he doesn't want to risk losing them. That's why he has to go along with whatever the winning bus is.  

Their mindset is, "I need another hit song. I don't even care if the first artist gets to release their next single or not. I don't care if they only have two hits. All I know is that we invested our money in getting hits, so we must keep them coming."  

They think that investing their money in a person with several hundred thousand to a million followers is worth it, even if the person can't sing. They believe that any issues with the singing can be fixed in the studio, and they will do just that.  

It's like being on an assembly line. If you want to remain on top, you can't afford to take risks and jeopardize your position. This is why you rarely hear this type of music played on mainstream radio.    

There are some great artists out there who can do this type of music, but they only have 8000 to 23,000 followers. Even if someone is immensely talented, the music industry might not be willing to take a chance on them because the head of that division wants to keep "the card." And the truth is, they can take that card away from you instantly. Just like that!  

Glenn: Yeah, and even though they were raised on that type of music, they still won't give it a shot.  

Eric: Right. I believe that some people would be willing to take a chance on our music, as it could put them ahead of the game as Bruno Mars did. However, the music industry tends to stick to safer options for economic reasons, which is why we always see new artists emerging.   

Despite this, I have faith in our record and believe it will gain traction at its own pace and ultimately be successful when the time is right, whether that's when God wills it or when people start showing interest. Unfortunately, we don't have the backing of a major label, so we independently have to rely on our efforts to promote our music through radio and other media outlets like yours.    

Thank you, Eric, for educating our audience on the inner workings of the industry. Your insights will surely benefit numerous independent artists who come across this captivating narrative about the reimagining of a popular song and the realities of promoting music to a broader audience. We appreciate your honesty and openness. Regarding the album, where can interested individuals buy it? Additionally, do you have any plans to release the song on vinyl?  

Tony: OH man, that would be crazy.  

You know the UK loves vinyl.  

Eric: Yes, they have a great love for vinyl in the UK. Glenn is well aware of this fact. The UK has the most loyal fan base on the planet, which is why a lot of US artists go over there to work because they are so loyal. When I visited the UK, I came across many record stores where they were actually playing these records by putting the needle on them. Many artists have released vinyl records specifically for the UK market.   

Regarding your question, Gina, I guess we should try some things out. It's a great idea to look into pressing "I Wanna Be Closer" on vinyl. But to answer your question, I think it would be a great idea.  

Yes, believe it or not, vinyl is making a comeback.  

Tony: That's true. My friend Nathan Mitchell and I were playing at a festival in Virginia. Nathan had just released a great album, and I witnessed him sell every last one of the 40 vinyl records he had pressed up, and vinyl isn't cheap. He told me, "Tony, think about this. People like vinyl now."  

Is your single "I Wanna Be Closer" currently available on all digital platforms?  

Glenn: Yes, it is.  

Eric: Yeah, it's on all the digital platforms, like iTunes, Amazon, Spotify, Tidal, all of them.   

Now, gentlemen, are you going on tour anytime soon or even coming to the UK?   

Eric: Glenn is always out there working in the UK, so if we're going to come out there, we will have to get in Glenn's suitcase. (Laughs)  

Everyone: (Laughs)   

Eric: We're basically piggybacking off Glenn to see how things go and hopefully arrange some dates. Once we manage to pull off a good show, I believe we'll gain momentum. Right now, everything is unfamiliar territory for us. We're just beginning to get noticed and gather a following regarding the three-man collaborative project.  

Grant it, some of us have been going through it in our own lane. Tony is doing cruises and festivals; Glenn is working like crazy in his own lane, and I'm working with the O'Jays. So, we're trying to pull all that together because of this one record.   

We will have to see how this comes together, but we are hopeful. We're giving Tony Exum Jr. the task of life. We've made him the MD, so if it messes up, Gina. (Laughs)  

Everyone: (Laughs)  

I am confident that this project will continue to trend upward. You guys are hilarious!  

Tony: Hey, I'm up for the task. When they first said it, I had to go into the prayer closet. I was like, Lord, you heard that. (Laughs)  

Glenn: It's going to work.   

Eric: Yeah, it's going to be fine.   

Thank you, gentlemen. I want to express my deep gratitude for this truly delightful interview. Each one of you possesses immense talent and beauty, both inside and out. Speaking with you all again fills me with a sense of blessedness. Discovering the process behind your collaboration and the recording of the incredible cover of "I Wanna Be Closer" has been truly enlightening.  

As I mentioned before, you all did an exceptional job with the recording, and I couldn't be prouder of every one of you. My prayer is that God continues to bless your journey, guiding it according to His will for your lives. I pray for the protection and well-being of both you and your beautiful families. May the Lord grant you good health and shower you with harmony and peace. May those who surround you have your best interests at heart.  

I pray that God brings into your lives solid individuals who believe in your talent and are willing to go above and beyond to bless you. Congratulations on every milestone you have achieved individually. I am eager to witness the wonderful things that God has in store for you in the days to come. May God bless each one of you. Thank you for your precious time and for sharing a part of your stories with me.  

Eric: Thank you, Gina.  

Glenn: Yes, thank you.  

Tony: Thank you.   

It is my pleasure. Bye.   

End of Interview

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