Post by Nutzz on Jun 20, 2011 19:44:53 GMT 1
Very interesting interview of this guy who collaborate for the recording of the score...
www.hiphopdx.com/index/interviews/id.1716/title.producers-corner-jerry-wonda-duplessis
extract :
"DX: Don't mean to only focus on Fugees, but how would you describe a studio session with them? If I were to randomly walk into one of your sessions, what would I see?
Jerry Wonda: It would be like going to a family dinner. You see everybody hanging, chilling, eating, drinking and laughing. Nothing that crazy, just everybody chilling. We used to have everything, with the equipment. Nobody knew we were doing a classic album. I just remember I used to play the Top 40 singles and hustle, because I was buying equipment. I'd go play with Top 40 bands then come back to the studio and do what I was doing with Wyclef and Ms. Hill. At the time, that's what we had. If you walked in there, it was just chillin!
[...]
DX: A lot of people would ask about songs like “Killing Them Softly” or “Fu-Gee-La,” but what's another memorable song on that album to you because of how it was put together, or because of the circumstances surrounding it?
Jerry Wonda: I think “Ready or Not.” That was the first song we actually recorded. I remember when we recorded it, I said we would need an engineer, Ms. Hill. That was the first song, and I was really touchy. When we did those vocals, the room was so quiet. She went in the room and started singing that hook, and me and the engineer were really touchy, like, “My god!” 'Clef wasn't even in the room, but when he came back and listened to it, he was like, “My god.” The music was already done by me and Wyclef, so it was really crazy. … If there were 10,000 people in the room, it still would've been quiet, because her voice sounds like an angel's. If you listen to that song, she bodies that hook. That was a great record for me and The Score, and I'll always remember that. That's one of the reasons that I do what I do now.
DX: What is it like for you to see Lauryn perform now? Is she any different between now and back then?
Jerry Wonda: It's always different. When we were performing back then, it was us on a stage, 'Clef on guitar and me on the bass, Leanna on the [turntables], and a drummer. Sometimes, Pras would be touching the keys. To me, that was very simple. But her performances now, she did a wonderful show. I think sound-wise, the sound was great and we were backstage. But me, I like less people on the stage. The less people you have onstage, the better you can get the sonics. The sonics that are number one, they're always simple, it's never too much stuff. If you put a lot of water in a balloon, it's going to explode. If you have so much sound, it's hard to hear her vocals, and she has such a great vocal sound, like the angels. That's the difference, man. But people complain, like, “Man, she's late two hours.” If she's late two hours, you can leave, and if you stay, you stay for the voice. There are a couple artists I love, and I really don't care what's going on. I want to hear the voice. People get mad at those who stay, but they have a great time. They just get mad because sometimes, she'll come onstage late. But that's what it is, everybody's different. You have Nina Simone different. But the one thing you can never take away from them is their talent. When they sing, my god! … It doesn't matter if I wait four hours. I was mad, I've got my drink on now, let's party!
[...] "
www.hiphopdx.com/index/interviews/id.1716/title.producers-corner-jerry-wonda-duplessis
extract :
"DX: Don't mean to only focus on Fugees, but how would you describe a studio session with them? If I were to randomly walk into one of your sessions, what would I see?
Jerry Wonda: It would be like going to a family dinner. You see everybody hanging, chilling, eating, drinking and laughing. Nothing that crazy, just everybody chilling. We used to have everything, with the equipment. Nobody knew we were doing a classic album. I just remember I used to play the Top 40 singles and hustle, because I was buying equipment. I'd go play with Top 40 bands then come back to the studio and do what I was doing with Wyclef and Ms. Hill. At the time, that's what we had. If you walked in there, it was just chillin!
[...]
DX: A lot of people would ask about songs like “Killing Them Softly” or “Fu-Gee-La,” but what's another memorable song on that album to you because of how it was put together, or because of the circumstances surrounding it?
Jerry Wonda: I think “Ready or Not.” That was the first song we actually recorded. I remember when we recorded it, I said we would need an engineer, Ms. Hill. That was the first song, and I was really touchy. When we did those vocals, the room was so quiet. She went in the room and started singing that hook, and me and the engineer were really touchy, like, “My god!” 'Clef wasn't even in the room, but when he came back and listened to it, he was like, “My god.” The music was already done by me and Wyclef, so it was really crazy. … If there were 10,000 people in the room, it still would've been quiet, because her voice sounds like an angel's. If you listen to that song, she bodies that hook. That was a great record for me and The Score, and I'll always remember that. That's one of the reasons that I do what I do now.
DX: What is it like for you to see Lauryn perform now? Is she any different between now and back then?
Jerry Wonda: It's always different. When we were performing back then, it was us on a stage, 'Clef on guitar and me on the bass, Leanna on the [turntables], and a drummer. Sometimes, Pras would be touching the keys. To me, that was very simple. But her performances now, she did a wonderful show. I think sound-wise, the sound was great and we were backstage. But me, I like less people on the stage. The less people you have onstage, the better you can get the sonics. The sonics that are number one, they're always simple, it's never too much stuff. If you put a lot of water in a balloon, it's going to explode. If you have so much sound, it's hard to hear her vocals, and she has such a great vocal sound, like the angels. That's the difference, man. But people complain, like, “Man, she's late two hours.” If she's late two hours, you can leave, and if you stay, you stay for the voice. There are a couple artists I love, and I really don't care what's going on. I want to hear the voice. People get mad at those who stay, but they have a great time. They just get mad because sometimes, she'll come onstage late. But that's what it is, everybody's different. You have Nina Simone different. But the one thing you can never take away from them is their talent. When they sing, my god! … It doesn't matter if I wait four hours. I was mad, I've got my drink on now, let's party!
[...] "
