When we went on tour, I was playing on tour also. While we were there, we had the different guys in the band. Our drummer Reggie, he basically lived in Rochester, he was from there. He said he had a real nice studio we could work with in Rochester. It was owned by my business partner Dave Schumaker, he owned Dajhelon Studios. After tour, we all packed up and moved to Rochester, New York.
That was about Darryl Pearson: Yea, I guess we grew out of Teaneck. We were going to The Hit Factory and different places. But we were able to lock the whole studio out, it was just us, we had free run. The atmosphere was better for cultivation purposes. What happened is Playa came along. They were working, and then Dalvin met Stevie J from Buffalo when we got out there. We were all in one place in Rochester. One of the only ways to get all of us in the studio working at the same time and it being cost effective was taking us to Rochester.
Dave opened the whole studio to us. The way we had it was Tim in one room, I was in one room, DeVante was in a room, Dalvin was in a room. Everybody was just working continuously around the clock.
We had a bunch of engineers with us. We all played multiple instruments. Any time of night, we were able to work. We slept in the place! Did it hit you in the moment what you were a part of? Darryl Pearson: It was really cool. The first album was done, but me and DeVante were getting more creative.
I heard the keyboard part and it blew me away. We got up and went to this store called Rogue Music in New York. We found all of these old Wah Wah Pedals, and old guitars, and old synths. We decided to give the music an old sound like with static. We added that twist. I guess that was the beginning of our new sound that we started creating, Da Bassment, Swing Mob. He was doing all of the static and the moves and stuff.
It just turned into something really funky and different at the time. Darryl Pearson: That was a lot of fun. I believe our experience contributed to that. It was a grimey sound with the interludes. I believe the whole album was an expression of our experience in our lives there.
Basically, we were around a bunch of geniuses. DeVante is a genius. So is Timbaland and Stevie J. I do what I do as well. We all contributed and it turned into what it turned into.
He put a lot of time and energy into it. He was in there tweaking a hi-hat, or the cymbal or whatever. It was pretty deep. It was my idea to be a producer, but DeVante wanted me to be a recording artist! What he did was, we were working on Al Green songs.
DeVante told me I should do it. Sony agreed and they wanted to sign me as an artist. I actually did sign with them, but that was when things started getting a little shaky with Da Bassment. It was my intention to be a producer, but DeVante named me Day at the time.
He had a whole concept. It was causing the whole situation to deteriorate. Gradually it seemed like the whole situation dissolved.
Tim and Missy started doing their thing, and everybody just kinda separated a bit. When things started getting funky, I went back home for a second and just chilled to see what was going on. I was still tight with everybody. I never took sides with anybody.
Things did dissolve a little bit and I was hanging out with Timbaland and Missy more than everybody else. We just kept continuing to do things ourselves too.
They are Baltimore guys too. Sisqo used to work at this place at the harbor called The Fudgery, where they would sit and make fudge and sing. We were at the festival and Nokio pulled me aside.
We were actually in Rochester working when that happened. I flew them to Rochester to record the song, since they asked me to do the song for them. That was when we were at Dajhelon Studios. I told K-Ci they admire him very much. He just happens to have a feel like yours, like K-Ci has a feel like Bobby Womack. So K-Ci was cool after that. We felt that should have been a single.
I have to talk to them about my credits! We recorded that record, we were in Virginia Beach, we had gotten a beach house when we worked on that record. We got caught in a hurricane and all types of stuff. Tell us about that. Sisqo wrote the lyrics and I did the music. Timbaland got on that a little bit too, on a couple of different songs. We banged that one out in Atlanta. Darryl Pearson: I think like a strategist. How did that come together? We did a few songs.
I worked with Missy on that one. I had gotten a new machine called an ASR-X. It was a little red machine. I remember sitting in a hotel room and learning my machine. Version by Terry Dexter, Booker T. The duration of this track is and was released on July 2, As of now, this track is currently not as popular as other songs out there. I Love You doesn't provide as much energy as other songs but, this track can still be danceable to some people. Since this track has a tempo of 77, the tempo markings of this song would be Andante at a walking pace.
Overall, we believe that this song has a slow tempo. We have noticed that you have an ad blocker enabled on your browser. To experience full features of the site please disable it for www.
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