![]() ![]() Mixed at Traxster In for VSOP.ĭistributed by Sony BMG Music EntertainmentĪlbum version taken from the forthcoming Sony Urban Music/ Columbia release ' B'Day' (82876 88132 3). Tracks 4 & 5 reproduced for Nu Soul/Music World Entertainment Inc. Tracks 2 & 3 remix and additional production for Freemaison Productions. Executively produced for Music World Productions Inc. Jay-Z appears courtesy of Roc-A-Fella/ Def Jam. Mastered at Bernie Grundman Mastering, Los Angeles, CA. ![]() Mixed for Clearwater Entertainment at Sony Music Studios, NYC. (2018) The On the Run II Tour 2 was the second co-headlining stadium tour by American singer Beyoncé and rapper Jay-Z. Assisted at The Record Plant, Los Angeles, CA. Produced for & Music World Productions Inc. Administered by International Music Publishing (SESAC), EMI April Music Inc. (BMI), 23000 Music Publishing (SOCAN/BMI), Makeba Yoga Flames Music (BMI)/Janice Combs Publishing Inc. Published by Beyoncé Publishing (ASCAP), EMI Blackwood Music Inc. So we conquered that challenge, and the rest was history.2 of 2 CD releases. But I gotta give it to the mix engineer, who figured out a way to take it to a 10. The one you hear in the record is probably like a six out of 10 to me. And the one I found wasn’t even great, though. I think I tried something like 15 808 until I found the right one. And Beyonce was like, “It needs 808 in it.” It’s a tough task to merge an 808 with a live bass. When I first presented it to her, there was no 808 in it. She wanted that bottom end, she wanted to dance. That’s the one you guys hear.īeyoncé wanted the track to be a little more hip-hop-friendly. And he’s like, “Nah.” And then he went back in and did another version. So he went in there and he laid something completely different. And then he went to the booth and he laid it down, and it was a different rap. He was sitting down in the chair, listening to it over and over again. Jay doesn’t write his words down on paper, of course. He was trying to catch the beat, ’cause the beat is a little unconventional. I remember when Jay first went in the booth. Next thing you know, Jay’s in his booth and he’s laying down verses too, and I was like, “Whoa, this is becoming bigger than what I thought.” And I was like, what? I had to go back to New York. We did the record and then I got the call that Jay was gonna rap on it. You’re just like, whoa, she nailed it - and she did exactly what she said she was gonna do. Next thing you know, it turns into, like, a 13, just that quick. It could be a little bit something extra, maybe just a little rasp or something in it. And she’ll say, “Let me get that again.” And you kind of look at her like “B, you nailed it.” And she says, “I can get it better.” It’s a 10, and she’ll keep going. You can push her and she wants to be pushed, but she pushes herself too, because there’s moments where she’ll do something and it’s flawless and everybody in the room knows it’s flawless. And the thing about her too, is she pushes herself. She has that same type of intensity in the booth. I’m telling you, when I work with her, it reminds me so much of working with Michael. That song had a lot of harmonies and notes that were somewhat unconventional for regular, mainstream music. We had Auto-Tune, but we didn’t use it on her. You gotta remember, we weren’t using Auto-Tune. She attacked things so raw and in your face. But I watch it and it just blows my mind. And one day hopefully in my documentary, the world will get to see it. Sometimes I go back and watch her and Jay-Z in the booth. I just remember Beyoncé blowing our minds in the booth. Then she came up with the whole idea of the whole intro. I wanna make this really big.” And she was like, “Let’s do it.” And of course, when I played it for Beyoncé the first time, I’m like, “Yo, I want to put live horns on this. I was already envisioning the live horns and everything, because I was playing synthetic horns. Instead, I wanted you to be able to listen to the instrumental and it takes you on a journey. A lot of music is all about that quick four-to-eight bar loop that just keeps going the whole way. I wanted to give her that Michael Jackson change, going to a major seventh chord. Next thing you know, between Deia Thomas and Mekeba Riddick, the vocals and the lyrics started to come together quickly. I started playing that and Jon-Jon started playing that crazy bass line. We were listening to the Off the Wall album, listening to “Don’t Stop ‘Til You Get Enough.” My studio was not even five minutes from 7-11, and on our way back, we went right to the studio and I started going “da, da” - that little guitar-line, with a guitar sound I had on my keys. ![]()
0 Comments
Leave a Reply. |