";s:4:"text";s:6624:" Okayyyy.â Every station and every record was Lilâ Jon. The people in New York had me bummed out at first because they didnât take my stuff seriously. In actuality, the truly extravagant team up of this flick occurs between acclaimed character actors James Remar and Richard Masur.
I found that out after I mixed it and I went to go do a remix on it and I couldnât because it was recorded improperly. Like a movie, youâre taking frames and putting all frames together. They were turning into stars. I heard a voice coming from behind the wall at Peaches that was the exact voice I was hearing in my head. Harry Stone and the people at Sunnyview Records wanted me to sign my artists to them and I told them no. I told him, âIâm good on that.â What was the first thing you bought when you made a bunch of money?I bought me a Porsche. Stubborn. I go, âI got four records.â A lightbulb went off in my head, and I go, âWait, I need more labels.â Every record I did was on a different label, so now all of them could be played on the radio at one time. I only had four keyboards the entire time [I was making these records]. We were doing ad libs and she was messing around. Tape machines had repro heads. Iâm a DJ and thatâs how I got my groove. Back then you didnât need a million dollars. I knew enough to do that. You can kill a record in the mix.Which one of these records was the most difficult to make?âFix It in the Mixâ because I did 20 versions of it. It wasnât hip hop yet at the time.
They were actually a band with guitars and drums. I was the only producer at Jam Packed and Music Specialist, but after I left, all kinds of people came in to make records, because now the studio was a free-for-all. I didnât know what I was doing. Nobody else was pressing English records, other than Henry Stone, with Sunnyview Records and KC and the Sunshine Band. Youâve got to figure the whole thing out. I hadnât heard anybody call it freestyle music prior to me coming up with the name of the group Freestyle. By the time you figure out how it really goes, if you only have one record, you havenât made any money. Thatâs how Flo Ridaâs âIn The Ayer,â Will.I.Am, the Pitbull records came about. Then after five of them they started charting, they started paying attention and having me on panels at the Stevie B was here in Miami; he came to my studio and we didnât hit it off too well. I got to say, about 75% of her notes were off. I never let anybody mix. I didnât go too crazy because everywhere you stepped was a pile of dope. That drove people crazy. Back then, there werenât any samplers. (C) 1995 SONY BG MUSIC ENTERTAINMENT"Venus Meets Pluto" by Eve's Plum from the album, "Envy" 1993.Music video by Hole performing Doll Parts. It's where your interests connect you with your people.Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Music video by Eve's Plum performing Jesus Loves You (Not As Much As I Do). I go, âDo you sing?â She goes, âNo dude.â I go, âDo you want to make a record?â She said, âI guess.â I gave her my number and my address and asked her to come to the studio that night.That night she came by, put on the headphones and went in the booth, and she said she couldnât believe how good the song sounded. âFix It in the Mixâ was still going up the charts, mind you, so was âJam the Box.â I was cutting records too fast to actually make money because I didnât understand how it went. My friends worked at the radio station and that was the first time they ever announced who produced the record, because I was friendly with them. 960.2k Followers, 281 Following, 6,791 Posts - See Instagram photos and videos from OKLM (@oklm) We didnât stop working on the record until I thought it was good. I went from there to DJing one of the biggest skating rinks here called Superstar Rollerteque.
Credit for this must go to Pretty Tony Butler, whose production work with Debbie Deb, Trinere and Freestyle made Liberty City one of freestyleâs main hubs. I was working on the music for a track called âWhen I Hear Musicâ and I knew I wanted a female voice. Every record they sent me I told them was going to be a hit, was a hit. Most of the music was coming out of New York and overseas. It was very easy to get messed up down here. I have made some real garbage records that the world never heard.Can you tell me one story about working with Trinere?What she used to do is, if she was pissed off, she pretended she couldnât hit certain notes that she hit all the time.
I kept a Mac-11 under my console.
People ask me all the time. When the bass thing went away, I had three different businesses, closed-circuit television, video surveillance, cell phones. When the music changed, I stopped. Debbie Debâs tone is what people like. That was one of the advantages my groups had. I figured if I do what I like to do and do well, thatâs what I want to do. People like the song.Back then, you had a lot of people who werenât trained singers but you had a lot of techniques to still make them sound good, and this was before Auto Tune and pitch-correct plug-ins. I went to Peaches Records to check the ticket sales and give them more tickets. From there, the first records I made I recorded standing up. I just got back into the swing of things. We did Luther Vandross, Gap Band, Midnight Star and whatnot. She gets up, comes back to the studio, and do you believe she did the same thing? I go, âGo ahead, go home.â I waited until 4:30 in the morning until she was good and sleep and then I called her and told her, âYou need to come back up here.â She was so pissed. They asked me, âDo you think you could make a record that was a hit?â I said, âYeah.â There were a couple of recording studios here but they wouldnât even let me in to look at their studio. I took my gun and threw it and cracked the window of the vocal booth â you should hear how great she sounds. I went out and I bought a pressing plant. Song It's Automatic; Artist Floor Bangas; Album Don't Stop the Rock and More! Thereâs a big difference when you make the record all yourself.