On Working On Ray J’s Raydiation And His Sound:
Detail: “When I was a little kid, I went to church a lot. I was in a kid’s choir and all that type of stuff. It just all came back to me. Musically, it was empowering at that moment. I was always looked at it like, ‘If there’s work, then I am happy here.’ So my first placement I was like, ‘Wow, I made it. It didn’t matter.’ I had no end objective. I could get locked up tomorrow and I’m cool because I actually made Ray J’s album. So I am fine, I can go back to the streets and whatever. They all know I did it. I made it out for one second, that’s all I look for. But, it just kept going from one thing to the next to the next to the next. I just kept hustling.
“To be honest, it’s hard to hear that it’s a Detail record. I’m so in tune with the artist. “Sexy can I? Just pardon my manners,” don’t sound like, “Get it in to the sun rise, do 90 in the 65.” You know what I am saying? Or, it doesn’t sound like what it sounds like with Sean Kingston, “Let Go.” Or, any other records that I have worked on. None of that sounds nothing like going from “How To Love” to Beyoncé.
“I kind of come in like water. By the time I’m done, it’s not me it’s them. It’s just a better them. Whatever I saw, I can bring out of them. I really knew Wayne could sing. I studied “Leather So Soft.” I just knew if we got in and really just worked on all of the stuff properly that we will be able to have another “How To Love.” Taking them to that direction and exploring those sides of artists that people don’t explore. That’s what I am about. That’s been my signature. It’s only a few people in this business. A lot of people are just beatmakers. They don’t really know what producing is. I don’t even call myself a producer for that matter. I call myself a composer. I can just put the right elements together.”