In this exclusive interview, we sit down with the legendary Melvin Riley, lead singer of Ready For The World! We discuss the band's rise to fame, the stories behind massive hits like "Oh Sheila" and "Love You Down," and what he's up to now. If you love old school R&B and pop culture history, you don't want to miss this conversation.
#MelvinRiley #ReadyForTheWorld #OldSchoolRNB #TheDemiaAveryShow #OhSheila #LoveYouDown #80sMusic #RNBInterview
00:00:00 --> 00:00:02 Lights, camera, action. [music]
00:00:02 --> 00:00:06 Let's shine tonight. Big dreams, big
00:00:06 --> 00:00:10 names, [music] and the Vles right. We'll
00:00:10 --> 00:00:12 talk passion, [music] purpose, power,
00:00:12 --> 00:00:15 and goals.
00:00:15 --> 00:00:17 Stories you [music] ain't never been
00:00:17 --> 00:00:22 told.
00:00:22 --> 00:00:24 It's the
00:00:24 --> 00:00:28 Avery show. Hey. Hey everybody. This is
00:00:28 --> 00:00:30 Demia Avery of the Demia Avery show. And
00:00:30 --> 00:00:33 you guys, I have a special guest in the
00:00:33 --> 00:00:36 house. I'm so excited. I talked to him a
00:00:36 --> 00:00:38 little bit before we actually start
00:00:38 --> 00:00:40 recording. And I was trying not to
00:00:40 --> 00:00:42 scream, you know, cuz this is like my
00:00:42 --> 00:00:44 teenage childhood thing. You know what
00:00:44 --> 00:00:46 I'm saying? So, I'm going to go ahead.
00:00:46 --> 00:00:49 I'm going to introduce to to him to you
00:00:49 --> 00:00:52 guys. And you know, I love introductions
00:00:52 --> 00:00:54 and I love giving people their flowers.
00:00:54 --> 00:00:57 So, I'mma make sure that I say this
00:00:57 --> 00:01:01 right. All right. My guest
00:01:01 --> 00:01:03 uh uh today on the Dia Avery Show, we're
00:01:03 --> 00:01:06 talking classic R&B legacy, timeless
00:01:06 --> 00:01:08 vocals, and music that defined an era
00:01:08 --> 00:01:11 and still hits just as hard today. My
00:01:11 --> 00:01:13 guest is part of a group that helped
00:01:13 --> 00:01:15 shape the sound of the 80s and 90s,
00:01:15 --> 00:01:17 giving us songs that became soundtracks
00:01:17 --> 00:01:20 to love, heartbreak, and grown folk
00:01:20 --> 00:01:23 moments. From unforgettable slow jams to
00:01:23 --> 00:01:25 records that still light up dance
00:01:25 --> 00:01:27 floors, his voice is instantly
00:01:27 --> 00:01:30 recognizable and undeniable.
00:01:30 --> 00:01:32 And now decades later, he's still
00:01:32 --> 00:01:35 creating, still evolving. And back with
00:01:35 --> 00:01:37 a brand new single titled They Won't
00:01:37 --> 00:01:40 Leave Me Alone, proving that real R&B
00:01:40 --> 00:01:43 never went out of style. Please welcome
00:01:43 --> 00:01:45 the legendary voice of Ready for the
00:01:45 --> 00:01:47 World, Melvin Riley. Welcome.
00:01:47 --> 00:01:49 >> Hey, thank you for having me. And I
00:01:49 --> 00:01:51 that's a heck of a introduction. I thank
00:01:51 --> 00:01:52 you.
00:01:52 --> 00:01:54 >> You're so welcome. You're so welcome.
00:01:54 --> 00:01:56 [clears throat] Now, first things first,
00:01:56 --> 00:01:59 how are you feeling? Like you've been
00:01:59 --> 00:02:02 around with us for so long and you know
00:02:02 --> 00:02:04 and in in different times. How are you
00:02:04 --> 00:02:06 feeling in this season of your life and
00:02:06 --> 00:02:08 your music and stuff like that?
00:02:08 --> 00:02:11 >> Honestly, I am having a ball. You know,
00:02:11 --> 00:02:13 I am doing what I enjoy doing, which is
00:02:13 --> 00:02:16 making music and making music that the
00:02:16 --> 00:02:19 world is still listening to. Uh and and
00:02:19 --> 00:02:22 in today's climate of music to be out
00:02:22 --> 00:02:25 and still doing it at the level, hey,
00:02:25 --> 00:02:26 I'm just so blessed and thankful and I'm
00:02:26 --> 00:02:27 having a ball.
00:02:27 --> 00:02:28 >> Yeah.
00:02:28 --> 00:02:30 >> Yeah. Now, you've written songs that
00:02:30 --> 00:02:32 people made babies to, they cried to,
00:02:32 --> 00:02:34 they fell in love to. How does it feel
00:02:34 --> 00:02:36 knowing that your voice lives inside
00:02:36 --> 00:02:38 people's biggest life moments? Cuz I
00:02:38 --> 00:02:41 look my teenage years, honey, you you
00:02:41 --> 00:02:44 and your band was the ish it I'm telling
00:02:44 --> 00:02:46 you. So, how does it feel to get that
00:02:46 --> 00:02:49 that from your fans?
00:02:49 --> 00:02:51 >> That is a huge reward that you get. You
00:02:52 --> 00:02:53 know, this music thing when you're an
00:02:54 --> 00:02:55 artist and you're writing music, you're
00:02:55 --> 00:02:57 writing songs, you're writing them
00:02:57 --> 00:02:59 because it's blowing you away, but you
00:02:59 --> 00:03:00 don't know if it's going to blow
00:03:00 --> 00:03:02 everybody else away. You feel like it's
00:03:02 --> 00:03:03 going to.
00:03:03 --> 00:03:03 >> Yeah.
00:03:03 --> 00:03:05 >> Because you're blown away. And God gives
00:03:05 --> 00:03:08 you this gift of knowing, I call it. And
00:03:08 --> 00:03:09 that swag that you have, you're like,
00:03:10 --> 00:03:11 "Well, we going to do what we do because
00:03:11 --> 00:03:13 I love what I'm doing." And the world
00:03:13 --> 00:03:15 has accepted it. The world has fallen in
00:03:15 --> 00:03:19 love with that sound, that my voice, the
00:03:19 --> 00:03:23 music. I am elated and it feels really
00:03:23 --> 00:03:26 good to know that I am a part of this
00:03:26 --> 00:03:28 music culture, you know, that'll live on
00:03:28 --> 00:03:31 forever. So, I'm I'm very thankful.
00:03:31 --> 00:03:33 >> Now, I'm curious when fans come up to
00:03:33 --> 00:03:36 you now today, what song do they usually
00:03:36 --> 00:03:37 mention the most? And does it ever
00:03:37 --> 00:03:41 surprise you about some of the songs,
00:03:41 --> 00:03:42 >> you know?
00:03:42 --> 00:03:44 It's a lot of favorites, you know. You
00:03:44 --> 00:03:47 got In my room, digital display, Deep
00:03:47 --> 00:03:48 Inside Your Love, which is my daughter's
00:03:48 --> 00:03:52 favorite. Uh, Love You Down, O Sheila.
00:03:52 --> 00:03:56 So, it's like people pick songs that
00:03:56 --> 00:03:57 maybe weren't released as a single like
00:03:57 --> 00:04:00 Don't You Want It With Me, uh, Baby
00:04:00 --> 00:04:03 Slide, Love You, SL, Slide Over is a
00:04:03 --> 00:04:05 huge one that people can bring up. So,
00:04:05 --> 00:04:07 it's a plethora that you would think
00:04:08 --> 00:04:09 everybody would just be talking about
00:04:09 --> 00:04:11 Love You Down or O Sheila, but no, they
00:04:11 --> 00:04:12 talk about those, but they come in with
00:04:12 --> 00:04:15 all the songs that were even bides. And
00:04:15 --> 00:04:17 when you have people talking about your
00:04:17 --> 00:04:19 Bides, you did you did
00:04:19 --> 00:04:22 >> That's right. That is right. Now, be
00:04:22 --> 00:04:24 honest. What song of yours hits
00:04:24 --> 00:04:25 different now than it did when you first
00:04:25 --> 00:04:26 recorded it?
00:04:26 --> 00:04:28 >> Tonight.
00:04:28 --> 00:04:31 >> Really? Why?
00:04:31 --> 00:04:34 >> I at the time I wrote Tonight. Uh,
00:04:34 --> 00:04:37 >> I was just in a zone. And as an older
00:04:37 --> 00:04:39 person and I'm listening to the lyrics,
00:04:39 --> 00:04:41 it's like, woo, I see why I got banned
00:04:41 --> 00:04:44 on a few stations [laughter]
00:04:44 --> 00:04:46 and we did when we first came out with
00:04:46 --> 00:04:47 Tonight, we got banned on a few
00:04:47 --> 00:04:50 stations. But I kind of get it now being
00:04:50 --> 00:04:52 older and listening to my lyrics. I'm
00:04:52 --> 00:04:55 like, "Oh, boy. You went there."
00:04:55 --> 00:04:56 >> So that does different.
00:04:56 --> 00:04:59 >> Yeah. Now, now that you said that, I'm
00:04:59 --> 00:05:01 remembering the words and Yeah. But
00:05:02 --> 00:05:04 what's like one of the most I guess
00:05:04 --> 00:05:06 unexpected places you've ever heard one
00:05:06 --> 00:05:09 of your songs play?
00:05:09 --> 00:05:12 >> Wow. People have called me. My best
00:05:12 --> 00:05:14 friend, childhood best friend just
00:05:14 --> 00:05:16 called me the other day. He lives in
00:05:16 --> 00:05:17 Missouri.
00:05:17 --> 00:05:18 >> Uhhuh.
00:05:18 --> 00:05:22 >> And I guess he was at some real kind of
00:05:22 --> 00:05:26 uh cowboyish type establishment.
00:05:26 --> 00:05:28 And he called me and said, "Dude, I just
00:05:28 --> 00:05:31 heard Oshila in this." I think he was
00:05:31 --> 00:05:33 either in a shoe store or something. It
00:05:34 --> 00:05:36 was on a radio station and he just said,
00:05:36 --> 00:05:38 "I didn't expect to hear O Sheila in the
00:05:38 --> 00:05:40 spot that where I was, but I have I've
00:05:40 --> 00:05:43 heard it in different places. I guess I
00:05:43 --> 00:05:44 expected to hear it everywhere, you
00:05:44 --> 00:05:45 know,
00:05:45 --> 00:05:48 >> even if I'm in London, if I'm in um
00:05:48 --> 00:05:50 anywhere because the song's really hit
00:05:50 --> 00:05:51 big.
00:05:51 --> 00:05:53 >> So, I'm not that that surprised." But
00:05:53 --> 00:05:55 when he told me about the country store
00:05:55 --> 00:05:56 the other day.
00:05:56 --> 00:05:56 >> Yeah.
00:05:56 --> 00:05:58 >> Good. [laughter]
00:05:58 --> 00:05:59 >> Now, look. So, what if somebody
00:05:59 --> 00:06:01 approached you and wanted to do
00:06:01 --> 00:06:03 something court, you know, kind of
00:06:03 --> 00:06:04 collab like with the country version of
00:06:04 --> 00:06:06 that? Would you be would you be
00:06:06 --> 00:06:07 interested in doing that?
00:06:07 --> 00:06:09 >> Absolutely. I grew up listening to
00:06:09 --> 00:06:10 blues,
00:06:10 --> 00:06:13 >> so I'm familiar with country music as
00:06:13 --> 00:06:14 well, so it's never been a thing where
00:06:14 --> 00:06:16 that was so foreign to me. But no, I
00:06:16 --> 00:06:17 would definitely love to do something
00:06:17 --> 00:06:18 like that.
00:06:18 --> 00:06:22 >> That's interesting. Now, if today's army
00:06:22 --> 00:06:23 artists could borrow one thing from the
00:06:23 --> 00:06:25 Ready for the World era, what would you
00:06:25 --> 00:06:27 want that to be?
00:06:27 --> 00:06:30 >> The music. borrow the not the curls you
00:06:30 --> 00:06:34 know [laughter]
00:06:34 --> 00:06:35 >> my girl I don't know what you talking
00:06:35 --> 00:06:36 about
00:06:36 --> 00:06:37 >> right
00:06:37 --> 00:06:38 >> but you know and they have done this
00:06:38 --> 00:06:40 they've borrowed the me the sound of
00:06:40 --> 00:06:41 ready for the world of Melvin Riley the
00:06:42 --> 00:06:45 slow song uh vibe that I created back in
00:06:45 --> 00:06:46 the 80s
00:06:46 --> 00:06:49 >> and it still continues to to be moving
00:06:49 --> 00:06:51 on with different artists today the
00:06:51 --> 00:06:54 producers and writers uh they like hey I
00:06:54 --> 00:06:55 want to get that Melvin Riley you know
00:06:55 --> 00:06:57 vibe on blah blah blah and I've had
00:06:57 --> 00:06:59 producers and artists tell me that
00:06:59 --> 00:07:01 >> and that's one of the main things to
00:07:01 --> 00:07:03 make an imprint in the music industry is
00:07:03 --> 00:07:04 huge
00:07:04 --> 00:07:07 >> the music and the musicianship and also
00:07:07 --> 00:07:10 what I remember um performing because
00:07:10 --> 00:07:12 you guys were performers as well as you
00:07:12 --> 00:07:14 know with you know so that's one of the
00:07:14 --> 00:07:17 things I can clearly say that I I miss
00:07:17 --> 00:07:21 that whole band you know everybody has
00:07:21 --> 00:07:22 the whole you know what I mean the whole
00:07:22 --> 00:07:25 performance thing so I think that's cool
00:07:25 --> 00:07:27 now what does a grown man R&B mean to
00:07:27 --> 00:07:29 you in 2026 and how is it different from
00:07:29 --> 00:07:31 when you first started?
00:07:32 --> 00:07:33 >> Big time difference because you know
00:07:33 --> 00:07:36 when we first started you're singing in
00:07:36 --> 00:07:39 a way to where you're competing with the
00:07:39 --> 00:07:41 Michael Jacksons,
00:07:41 --> 00:07:44 >> the Prince, Lionel Richies, the
00:07:44 --> 00:07:46 >> you're writing back in the day was so
00:07:46 --> 00:07:48 challenging to be at the top of the
00:07:48 --> 00:07:49 chart and you had to bring the best out
00:07:49 --> 00:07:51 of what you are as a writer, singer, and
00:07:52 --> 00:07:55 producer. Mhm.
00:07:55 --> 00:07:57 >> Today, as I'm hearing, and I do love a
00:07:57 --> 00:08:00 lot of artists today in music, um I
00:08:00 --> 00:08:02 think the difference now is
00:08:02 --> 00:08:04 >> uh I don't know if they're putting as
00:08:04 --> 00:08:07 much work in as we did in the 80s,
00:08:07 --> 00:08:09 >> a lot of 80 artists
00:08:09 --> 00:08:11 >> uh in the studio and making some real
00:08:11 --> 00:08:13 hits and making some memorable classic
00:08:13 --> 00:08:14 hits.
00:08:14 --> 00:08:16 >> Um and a lot of that, you know, I don't,
00:08:16 --> 00:08:17 you know, a lot of that comes from
00:08:17 --> 00:08:18 upbringing. you know, we grew up in
00:08:18 --> 00:08:20 Mottown and we grew up with that real
00:08:20 --> 00:08:21 soul food,
00:08:21 --> 00:08:22 >> right?
00:08:22 --> 00:08:23 >> And uh you know, when you know what real
00:08:23 --> 00:08:25 soul food tastes like, then you still
00:08:25 --> 00:08:27 tasting for that taste, right?
00:08:27 --> 00:08:28 >> And I think that's one of the big
00:08:28 --> 00:08:29 differences. And maybe some of the
00:08:30 --> 00:08:32 younger guys uh which is a lot of talent
00:08:32 --> 00:08:34 out there, don't get me wrong,
00:08:34 --> 00:08:35 >> but I think that would be about the
00:08:35 --> 00:08:37 biggest difference is putting that work
00:08:37 --> 00:08:39 in and coming up with classic hits
00:08:39 --> 00:08:42 that's going to last forever.
00:08:42 --> 00:08:46 >> Yeah. Yeah. Now, why don't you know, we
00:08:46 --> 00:08:47 talked a little bit about, you know,
00:08:47 --> 00:08:49 Ready for the World back then, but I
00:08:49 --> 00:08:51 want to know about Melvin Raleigh now.
00:08:51 --> 00:08:52 What? Tell me about your single, They
00:08:52 --> 00:08:54 Won't Leave Me Alone. It feels playful,
00:08:54 --> 00:08:57 but real. Um, did you know it make
00:08:57 --> 00:08:59 people smile as soon as they heard the
00:08:59 --> 00:09:01 title? Because I was like, "Okay."
00:09:01 --> 00:09:02 [laughter]
00:09:02 --> 00:09:04 Pretty interesting. But yeah, so tell me
00:09:04 --> 00:09:06 about it.
00:09:06 --> 00:09:07 >> You know, I just wanted to flip it a
00:09:07 --> 00:09:10 little bit. You know, uh, today a lot of
00:09:10 --> 00:09:11 guys, we're begging, we're begging, we
00:09:11 --> 00:09:13 telling women this, we telling that, but
00:09:13 --> 00:09:15 nobody's telling the other side that,
00:09:15 --> 00:09:17 wait a minute, it ain't always the guys
00:09:17 --> 00:09:19 fault. You know, they call us,
00:09:19 --> 00:09:21 >> they call us we wrong or we dogs or we
00:09:21 --> 00:09:23 ain't no good. Listen, we ain't, it
00:09:23 --> 00:09:25 ain't always our fault cuz women chase,
00:09:25 --> 00:09:26 too.
00:09:26 --> 00:09:27 >> And I just wanted to I wanted to bring
00:09:28 --> 00:09:30 out that aspect in, hey, these beautiful
00:09:30 --> 00:09:32 women sometimes is hard on the guy
00:09:32 --> 00:09:34 because we're not trying to be that cold
00:09:34 --> 00:09:36 blooded, but at some point
00:09:36 --> 00:09:38 >> the song speaks for itself. like, "Hey,
00:09:38 --> 00:09:39 I'm trying to be good to you, but it's
00:09:40 --> 00:09:42 hard out here." And guys get it. You
00:09:42 --> 00:09:44 know, guys get it
00:09:44 --> 00:09:46 >> and women do, too. It's just nobody's
00:09:46 --> 00:09:50 really hitting on that point that Yes.
00:09:50 --> 00:09:51 Yes.
00:09:51 --> 00:09:53 >> And I like to hit on points where people
00:09:53 --> 00:09:54 may not have thought of.
00:09:54 --> 00:09:56 >> That's obvious with with your with your
00:09:56 --> 00:09:59 hits in the past and and you know, now
00:09:59 --> 00:10:01 you still bringing that same flavor. So,
00:10:01 --> 00:10:05 we love it. Now, has there ever been any
00:10:05 --> 00:10:07 song that you've written that you were
00:10:07 --> 00:10:10 actually scared to release because it
00:10:10 --> 00:10:14 might have been too honest?
00:10:14 --> 00:10:17 >> No, cuz I wanted, you know, I've never
00:10:17 --> 00:10:18 really felt like I didn't want it
00:10:18 --> 00:10:21 released uh tonight. Like I said, we
00:10:21 --> 00:10:23 really got some flak at the beginning,
00:10:23 --> 00:10:24 but other than that, we haven't I hadn't
00:10:24 --> 00:10:26 had any issues with wanting to release
00:10:26 --> 00:10:28 anything. But the new one after They
00:10:28 --> 00:10:30 Won't Leave Me Alone, you will know what
00:10:30 --> 00:10:33 I'm talking about. And that might be the
00:10:33 --> 00:10:34 new single I have after They Won't Leave
00:10:34 --> 00:10:37 Me Alone. I'm a little
00:10:37 --> 00:10:40 >> Yeah, it's this. [laughter]
00:10:40 --> 00:10:42 >> So, you're mentioning stuff that hadn't
00:10:42 --> 00:10:45 happened quite yet, but the news after
00:10:45 --> 00:10:47 this one is is going to be a little out
00:10:47 --> 00:10:49 there
00:10:49 --> 00:10:52 >> now. So, okay. Since Ready for the
00:10:52 --> 00:10:55 World, have I know you've you've
00:10:55 --> 00:10:57 constantly stayed out there. Has it ever
00:10:58 --> 00:11:00 been a point that you like had took a
00:11:00 --> 00:11:03 break and then came back or how did that
00:11:03 --> 00:11:04 work for you or that you just constantly
00:11:04 --> 00:11:06 just just kept going and keep grinding
00:11:06 --> 00:11:08 and doing your own thing?
00:11:08 --> 00:11:10 >> Yeah, I've always kept recording. You
00:11:10 --> 00:11:12 know, with this music industry, it takes
00:11:12 --> 00:11:14 uh promotion and marketing
00:11:14 --> 00:11:17 >> and from the major labels. and after a
00:11:17 --> 00:11:19 while that the major label in that
00:11:19 --> 00:11:22 machine is not behind you. Sometimes the
00:11:22 --> 00:11:25 artist don't hear some of your product.
00:11:25 --> 00:11:27 So you may put it out independently, but
00:11:27 --> 00:11:29 as long as you keep on writing, keep
00:11:29 --> 00:11:31 doing your thing. You keep your swag and
00:11:31 --> 00:11:33 you keep your energy going. So I
00:11:33 --> 00:11:34 wouldn't say I've ever taken really a
00:11:34 --> 00:11:36 break from the writing, but I have taken
00:11:36 --> 00:11:38 a break from the road.
00:11:38 --> 00:11:40 uh years and years of being on the road.
00:11:40 --> 00:11:43 Uh you know, you take a break from that
00:11:43 --> 00:11:46 and now the older artists, the 80s and
00:11:46 --> 00:11:48 the 90s and early 2000 artists are
00:11:48 --> 00:11:49 coming back
00:11:49 --> 00:11:52 >> and touring and putting out records. Now
00:11:52 --> 00:11:55 it kind of like I never stopped. So I'm
00:11:55 --> 00:11:57 right in line with what's going on
00:11:57 --> 00:11:59 because I've never stopped writing
00:11:59 --> 00:12:02 music. That's good though because that
00:12:02 --> 00:12:04 means you know a lot of times I know a
00:12:04 --> 00:12:06 lot of artists like you said that were
00:12:06 --> 00:12:09 were good like in the 80s 90s and they
00:12:09 --> 00:12:11 take that long break and then when they
00:12:11 --> 00:12:13 come back out it's the everything is
00:12:13 --> 00:12:15 rusty. The songwriting they're feeling
00:12:15 --> 00:12:17 rusty the performance they're still
00:12:17 --> 00:12:20 feeling rusty the whole mental process
00:12:20 --> 00:12:22 of doing the whole thing all over. Now
00:12:22 --> 00:12:24 you have you know before you just had
00:12:24 --> 00:12:26 you yourself or whatever and you out
00:12:26 --> 00:12:28 there doing your thing. Now you got kids
00:12:28 --> 00:12:31 and bills and and all these other things
00:12:31 --> 00:12:33 that you didn't have before. So things
00:12:33 --> 00:12:35 are different.
00:12:35 --> 00:12:37 >> Did you feel like any kind of,
00:12:37 --> 00:12:39 >> you know, any different kind of
00:12:39 --> 00:12:42 pressures now than you did back in in
00:12:42 --> 00:12:45 that day?
00:12:45 --> 00:12:46 >> No, actually it's the quite the
00:12:46 --> 00:12:48 opposite. There's really no pressure
00:12:48 --> 00:12:51 because, you know, I'm older. I'm uh
00:12:51 --> 00:12:54 settled uh you know and I don't have to
00:12:54 --> 00:12:57 do music to make money because God has
00:12:57 --> 00:12:59 blessed me that it flows from the
00:12:59 --> 00:13:01 production and the writing. So their
00:13:01 --> 00:13:05 pressure is just sit back and record
00:13:05 --> 00:13:07 >> and let it do what it do. You know,
00:13:07 --> 00:13:08 there's nothing to prove at this point
00:13:08 --> 00:13:10 but to make sure that you're putting out
00:13:10 --> 00:13:12 the best that you can put out there cuz
00:13:12 --> 00:13:14 people deserve to hear
00:13:14 --> 00:13:15 >> the jam. You know, you want people to
00:13:15 --> 00:13:17 be, you know, back in the day like and
00:13:17 --> 00:13:19 good music is like food. You want to
00:13:19 --> 00:13:20 taste something great. Well, the same if
00:13:20 --> 00:13:22 you're a chef, you want to sit back and
00:13:22 --> 00:13:24 let watch the people enjoy your food
00:13:24 --> 00:13:26 >> with music. You want to sit back and be
00:13:26 --> 00:13:28 like, you know what, I put some great
00:13:28 --> 00:13:30 music out there that people could
00:13:30 --> 00:13:32 exercise or ride to or drive, whatever
00:13:32 --> 00:13:34 you want to do to that music.
00:13:34 --> 00:13:36 >> That's what I do. Yeah. I want that
00:13:36 --> 00:13:38 music out there that you can enjoy it.
00:13:38 --> 00:13:40 >> I love it. Now, when you're not making
00:13:40 --> 00:13:42 music, what's something you love to do
00:13:42 --> 00:13:44 that fans would never guess? So, I I
00:13:44 --> 00:13:46 love asking this question because people
00:13:46 --> 00:13:49 don't, you know, I I get so many
00:13:49 --> 00:13:51 >> different answers that I never expected
00:13:52 --> 00:13:53 to get. So,
00:13:53 --> 00:13:57 >> tell me about Melvin, Mr. Riley, outside
00:13:57 --> 00:13:59 of this music thing.
00:13:59 --> 00:14:01 >> I like to chill.
00:14:01 --> 00:14:03 >> I am a [laughter] ch I am a homebody. I
00:14:04 --> 00:14:05 don't I really don't even leave the
00:14:05 --> 00:14:08 house unless I'm going fishing,
00:14:08 --> 00:14:11 >> golfing, bowling,
00:14:11 --> 00:14:13 >> or hanging with the fam. like we got an
00:14:13 --> 00:14:16 event, but most of the time I'm I'm a
00:14:16 --> 00:14:17 introvert big time.
00:14:17 --> 00:14:18 >> Really?
00:14:18 --> 00:14:20 >> Yeah. Yeah. I'm not I'm not I'm not
00:14:20 --> 00:14:23 always out and about because I like my
00:14:23 --> 00:14:25 little piece in my own little world and
00:14:25 --> 00:14:27 uh yeah, I'm kind of an introvert. I
00:14:27 --> 00:14:30 don't really get out a lot.
00:14:30 --> 00:14:31 >> Okay.
00:14:31 --> 00:14:33 >> I love that. And they expect lead
00:14:33 --> 00:14:34 singers and things like that to have
00:14:34 --> 00:14:36 this,
00:14:36 --> 00:14:38 >> you know, this pop life, you know what I
00:14:38 --> 00:14:39 mean?
00:14:39 --> 00:14:42 >> Yeah. No, I'm uh I'm more into the
00:14:42 --> 00:14:45 chill, sit back, have a cigar, and have
00:14:45 --> 00:14:47 some good conversation type of guy.
00:14:47 --> 00:14:50 >> I love that. I love that. Now, this is a
00:14:50 --> 00:14:53 part of the interview that I like to
00:14:53 --> 00:14:55 have a little bit of fun, and I hope you
00:14:55 --> 00:14:56 don't mind.
00:14:56 --> 00:14:58 >> It's it's it's like an old school
00:14:58 --> 00:15:01 trivia. Okay,
00:15:01 --> 00:15:04 so I'm a big fan of old school music.
00:15:04 --> 00:15:07 That's my thing. And old school could
00:15:07 --> 00:15:09 mean could mean a couple different
00:15:09 --> 00:15:12 things. But what I'mma do, I'mma sing a
00:15:12 --> 00:15:14 little bit of a lyric. And you could
00:15:14 --> 00:15:15 either say it or you can sing the rest
00:15:15 --> 00:15:17 of the lyric to the song. Now, these is
00:15:17 --> 00:15:19 going to be songs from either the 80s or
00:15:19 --> 00:15:21 the 90s. And I I know that you know
00:15:21 --> 00:15:23 them, but I'm have to take your card
00:15:23 --> 00:15:24 though, Melvin, if you don't know a
00:15:24 --> 00:15:25 couple of these.
00:15:25 --> 00:15:26 >> You know what? I'mma tell you before you
00:15:26 --> 00:15:27 get started. I might not remember the
00:15:27 --> 00:15:31 words to my own song. So, [laughter]
00:15:31 --> 00:15:33 you can try it. Uh but uh let's let's
00:15:33 --> 00:15:34 see. Let's see. Let's see.
00:15:34 --> 00:15:37 >> Okay. All right, the first one. Let me
00:15:37 --> 00:15:39 get my voice together. Now, you guys, I
00:15:39 --> 00:15:41 do have a cold. So, if I don't sound
00:15:42 --> 00:15:45 good, just blame it on the uh
00:15:45 --> 00:15:46 >> the robot.
00:15:46 --> 00:15:50 I blame on the robot. I got
00:15:50 --> 00:15:57 >> Okay. Here I lay all [singing] alone,
00:15:57 --> 00:16:01 tossing, turning, longing [singing] for
00:16:01 --> 00:16:03 some of your
00:16:03 --> 00:16:04 Okay, Melvin.
00:16:04 --> 00:16:09 >> Is it tender? [singing]
00:16:09 --> 00:16:10 >> Was I right?
00:16:10 --> 00:16:12 >> You were right.
00:16:12 --> 00:16:13 >> Trouble because them my homies right
00:16:13 --> 00:16:15 there. Okay. So, I just want to make
00:16:15 --> 00:16:17 sure I got that right.
00:16:17 --> 00:16:20 >> Okay. Now, this one is from the 80s. Um,
00:16:20 --> 00:16:26 let me try, let me get a good key. Um,
00:16:26 --> 00:16:29 of frame
00:16:29 --> 00:16:33 shadows of your smile will always
00:16:33 --> 00:16:35 remain.
00:16:35 --> 00:16:39 Heaven's love, I forgot the word. Soon
00:16:39 --> 00:16:42 fades away.
00:16:42 --> 00:16:48 We grow up. I want to know. [singing]
00:16:48 --> 00:16:51 Okay. It's It's the chorus after this.
00:16:51 --> 00:16:52 If I sing it, you going to be like, "Oh
00:16:52 --> 00:16:53 my gosh."
00:16:53 --> 00:16:56 >> I know it. Isn't that a uh
00:16:56 --> 00:16:57 >> I'll do the second verse.
00:16:57 --> 00:17:00 >> Long as I live. Long as I live.
00:17:00 --> 00:17:02 >> I'm like, "What the heck?" [laughter]
00:17:02 --> 00:17:06 >> Yeah. Got you. Got you.
00:17:06 --> 00:17:09 >> All right. We got two more.
00:17:09 --> 00:17:11 >> Okay. [laughter]
00:17:11 --> 00:17:14 Um
00:17:14 --> 00:17:16 Okay. I'mma take your card though,
00:17:16 --> 00:17:23 Melvin. Okay. All right. [laughter]
00:17:23 --> 00:17:29 [singing]
00:17:29 --> 00:17:30 >> Nuhuh. You gotta keep [laughter] doing
00:17:30 --> 00:17:33 it.
00:17:33 --> 00:17:37 [singing]
00:17:37 --> 00:17:41 >> You say you got to get away
00:17:41 --> 00:17:47 to find yourself. [singing]
00:17:47 --> 00:17:49 Yeah,
00:17:49 --> 00:17:52 I get to the chorus. [laughter]
00:17:52 --> 00:17:56 >> Yeah.
00:17:56 --> 00:18:01 >> Okay.
00:18:01 --> 00:18:07 [laughter]
00:18:08 --> 00:18:12 Yes, it has. if you're planning to leave
00:18:12 --> 00:18:15 me behind. [singing]
00:18:15 --> 00:18:18 And then it goes, "Let me put one more
00:18:18 --> 00:18:22 thing on you.
00:18:22 --> 00:18:28 If you ever need me, baby, just
00:18:28 --> 00:18:33 for me,
00:18:33 --> 00:18:35 baby, something like that." But
00:18:36 --> 00:18:37 >> let it start. Atlanta.
00:18:37 --> 00:18:39 >> Let it start. Uh oh.
00:18:39 --> 00:18:41 get drunk or something be like, "Dude,
00:18:41 --> 00:18:43 you remember my song?" Like,
00:18:43 --> 00:18:46 >> all right, here's the last one. It never
00:18:46 --> 00:18:53 really matter too much to me.
00:18:53 --> 00:18:54 [laughter]
00:18:54 --> 00:18:58 >> That you would too damn low for me.
00:18:58 --> 00:19:00 Now, I know you got to know this,
00:19:00 --> 00:19:00 Melvin.
00:19:00 --> 00:19:02 >> I do know that one. I think so.
00:19:02 --> 00:19:03 >> Okay.
00:19:03 --> 00:19:06 >> All matter, my
00:19:06 --> 00:19:10 girl. And baby, that's all that matter
00:19:10 --> 00:19:12 to me.
00:19:12 --> 00:19:19 Oh baby, let me love you.
00:19:20 --> 00:19:25 >> There we go. [laughter]
00:19:26 --> 00:19:28 >> So [laughter]
00:19:28 --> 00:19:30 you I just love that whole era. That's
00:19:30 --> 00:19:33 all me and I thank you so much for for
00:19:33 --> 00:19:37 that. And before we go, please let
00:19:37 --> 00:19:39 everybody know where they can get the
00:19:39 --> 00:19:41 music, where they can go to find out
00:19:41 --> 00:19:43 more about you, what you're doing now.
00:19:43 --> 00:19:45 Just shout it out.
00:19:45 --> 00:19:47 >> Listen everybody, first I want to thank
00:19:47 --> 00:19:50 everybody for for uh the love for over
00:19:50 --> 00:19:52 40 years, you know, and and I'm blessed
00:19:52 --> 00:19:54 to be able to give you guys music
00:19:54 --> 00:19:56 continuously, and I just want to thank
00:19:56 --> 00:19:58 you guys, you know, and the new music is
00:19:58 --> 00:20:01 going to be the new era for Melvin
00:20:01 --> 00:20:03 Riley. Uh, and I want you to come check
00:20:03 --> 00:20:05 me out at I am MelvinRileley.com. That's
00:20:05 --> 00:20:08 the website. Go to my Facebook, which is
00:20:08 --> 00:20:11 Melvin Riley. They got a lot of fake
00:20:11 --> 00:20:13 ones out there, but the one that's me, I
00:20:13 --> 00:20:16 guess I'm on stage and it says uh Melvin
00:20:16 --> 00:20:17 Riley,
00:20:17 --> 00:20:19 >> but it's it's a few pages. I don't even
00:20:19 --> 00:20:21 know who that is. But anyway, Facebook
00:20:21 --> 00:20:24 page, Melvin Riley, but my Instagram is
00:20:24 --> 00:20:26 I am Melvin Riley as well. So check me
00:20:26 --> 00:20:28 out on Instagram, Facebook. you can get
00:20:28 --> 00:20:30 the updates and hear the new music
00:20:30 --> 00:20:32 before it really comes out. Uh, but
00:20:32 --> 00:20:33 right now we got the new single called
00:20:34 --> 00:20:35 They Won't Leave Me Alone, which is
00:20:35 --> 00:20:37 blowing up. I'm so glad that everybody's
00:20:37 --> 00:20:40 feeling it. And hey, it's Melvin Ryder.
00:20:40 --> 00:20:42 They won't leave me alone and continue
00:20:42 --> 00:20:44 from here on.
00:20:44 --> 00:20:46 >> Awesome. Awesome. So, look, everybody
00:20:46 --> 00:20:48 out there, make sure you go cop that.
00:20:48 --> 00:20:50 Make sure you go to his website. Don't
00:20:50 --> 00:20:53 leave him alone. Make sure [laughter]
00:20:53 --> 00:20:57 >> Yeah. Yeah. Don't leave him disrespect.
00:20:57 --> 00:20:59 All right guys, thank you. Thank you
00:20:59 --> 00:21:01 Melvin for joining in today and we are
00:21:01 --> 00:21:04 out of here. Talk to you guys later.
00:21:04 --> 00:21:08 >> Thank you all. Peace.