Donell Jones Where I Wanna Be Upload
"I Wanted to Make Every Song Sound Like it Could Be a Single:" Donell Jones Reflects On His R&B Archetype 'Where I Wanna Exist' [Interview]
Source: Artist
On October 12, 1999, Donell Jones released his sophomore album Where I Wanna Be, which spawned hit singles like "U Know What's Upwards (Remix)" and the title track. We spoke to the singer about the making of his classic album 20 years later.
Donell Jones' story begins on the Southside of Chicago.
Born the son of gospel singer Roys Jones, information technology seemed he was destined to pursue a career in music. At the tender age of eight, he began singing. Past the historic period of 12, he was writing his first composition. Ii years later, he received his beginning musical instrument: an electric guitar — a Christmas gift from his parents.
While in loftier schoolhouse, his love for music continued to grow. He performed in high schoolhouse talent shows effectually the city. During one of his piece of work shifts at McDonald'south, he was discovered singing by his manager. As a result, he was encouraged to audition for a position in a local singing grouping. He was chosen — and they began performing together every bit Porché, making a name for themselves in the crowded local scene.
For the adjacent three years, they worked diligently to obtain recognition exterior of their hometown. Their journey for success led them to nourish the Black Radio Exclusive music convention in Washington, DC in 1993. Here, is where Jones' fortunes would modify.
Despite the low attendance at the convention, the group performed outside the venue and was signed by Edward "DJ Eddie F." Ferrell to his brand-new tape label, Untouchables Amusement, a joint venture with LaFace Records. Jones' grouping would disband presently after. Merely, this gave him the opportunity to work every bit a songwriter for LaFace.
In 1994, he experienced his first taste of success when he wrote Usher's starting time hit song "Retrieve of Y'all." Afterwards delivering a hit for the record label, and previewing his own material, Kenneth "Babyface" Edmonds and Antonio "L.A." Reid, allowed him to write and produce his debut album, My Heart . Under the steady mitt of Ferrell, My Heart was moderately successful.
3 years after, Jones would strike platinum with his sophomore try, Where I Wanna Be, which was released on October 12, 1999. The record would spawn four singles, including the number ane striking "U Know What's Up (Remix)" and the championship rail, which peaked at number 2 on the Hot R&B/Hip-Hop Songs charts.
Xx years after he released his apex, nosotros had an in-depth chat with Jones about how he crafted his timeless R&B classic.
Photo by JMEnternational/Redferns
What's the story behind you lot getting signed to LaFace Records?
I met Eddie Ferrell. I had a group at the fourth dimension, and we had a showcase in Washington, DC. Nobody came to information technology, and so we just went outside the hotel, and played for everybody who happened to exist at the hotel at that particular time. Eddie F. happened to be one of those people, and he signed our group. Soon after that, we had a song on his new record label entitled "Brand Yous Feel Existent Good." After that, the grouping broke up, so I started working on writing for other people. I wrote some songs for myself, and Eddie played them for LA Reid, and that'due south how I pretty much got signed.
What was information technology similar when yous get-go met Babyface and L.A. Reid?
Man, it was incredible. I met them in 1994. Information technology was i of the highlights of my life. Seeing those guys on TV, and back then, they were the hottest producers on the planet. Eddie F. and I had a meeting in Atlanta. We had to fly from New Bailiwick of jersey to Atlanta. I went into his part and played him a couple of records. He enjoyed them. He had to hear me sing live, and I had this song on my first anthology called "Yearnin.'" I sang that song for them, and he was like, "Wow. That was hot." That was pretty much information technology. It was unbelievable. Just to be in their presence was incredible for me. For L.A. to tell me that he was going to sign me was a big deal. Back then, LaFace Records was similar Motown to me. Information technology was a dream come true. I was with the all-time label, and I had the two top producers believing in me and my talent.
What were some of the other songs that you lot played for him?
"In the Hood," "Knocks Me Off My Feet," and "No Interruptions."
At that time, I know you lot worked on some songs for Conductor's debut album. What was that journey like every bit an artist from the time you began doing music until you got your record deal?
I wrote my beginning song when I was 12. It was chosen "Love Can't Win," but I was about 16 when I started singing seriously. I was working at McDonald'south and the managing director heard me singing i day. He was putting together a group, and he wanted me to try out. When I tried out, I fabricated information technology. Everything started from in that location. I was merely doing everything I could with music, and I was around other people who were doing it, as well, and so I was soaking it all up like a sponge. We did a lot of shows around Chicago. Nosotros made a name for ourselves. It took about three or iv years to really build that proper name upwardly, and that'due south pretty much where we started at. Nosotros couldn't get a deal in Chicago, so that's why we went to the Black Radio Exclusive convention that was in Washington, DC in 1993.
Did yous use to perform at talent shows in the Chicago surface area?
I used to perform in high school talent shows and stuff similar that, but information technology was just for school. The girls e'er asked me to sing for them, then I would sing songs by Bobby Brown, Michael Jackson, and other artists. They loved how I used to sound. I put together my commencement singing grouping in 1991. Our group was called Porché. Nosotros stayed together for about three or four years.
With your experiences as an artist, did you lot feel prepared when you were working on your debut album, My Heart?
Yes. Nigh people idea that Babyface was going to produce most of the anthology. I appreciated the fact that L.A., Babyface, and Eddie F. saw my talent, and allow me produce myself, because dorsum then a lot of people weren't allowed to produce themselves, then I appreciated the fact that I was around so many great people that let me produce my own records.
Photograph Credit: Paul Bergen/Redferns
What was your mindset coming off the success of My Eye? What was your approach in making Where I Wanna Be?
My approach was to make an album that had a lot of records on in that location that people would like. I didn't feel like My Hear t got the button that it needed. I mean, it did pretty good, but it sold 200,000 records, and back then, that wasn't really that skilful. It didn't go gilt or platinum. So my goal for going into Where I Wanna Exist album was: I wanted to make every song sound like it could be a single. So, whatever they put out, it wouldn't matter because it was going to be a good vocal. I think nosotros accomplished that goal.
Did you create demos for these songs on the album?
No, I didn't practice whatsoever demos. I only had ideas that were floating effectually in my head, and I put the pieces together. If there was something I couldn't do, I'd bring somebody in who could do it. I used a lot of guitar sounds on my first album, and then on my second album, instead of using guitar sounds, I wanted to bring in a guitar role player. I knew that would be one of the things to modify the music style just to take live instrumentation. I think that's what made a big deviation as well. The first vocal I wrote for the album was "Think Well-nigh It (Don't Phone call My Crib)."
Did you begin your vocal ideas at home and and so bring them to the studio or were you parked in the studio creating new cloth?
The studio was in my basement. I was pretty much working at home. I'd come downstairs, and I would link up with Sheldon [Goode], and we'd simply make music. It was easy for me to be able to come downstairs when I was feeling something and put it down. Nigh of my stuff has been done in my abode studio. Sheldon was my guitar actor. Nosotros wrote about four songs together: "This Luv," "All Her Love," Information technology's Alright," and "When I Was Down." Our relationship was great. He could play what I was hearing in my head and flip it. That is a beautiful thing when you've got those blazon of people around you. There were sure songs that weren't washed in my house similar "U Know What's Upward," "Have You Seen Her," and "Shorty (Got Her Eyes on Me)." Only the majority of them were done at my house.
Can you talk about your methodology behind creating the music for the songs in this anthology?
It comes from me having to get something out of my head but it'southward always different. Sometimes, it may be the beat first, sometimes information technology may exist some chords or chord progression. So, I can't really say that we accept a set up way of doing things. Inspiration comes from a lot of different things. It could have been we were sitting around listening to some Isley Brothers or something considering I practise a lot of that. I listen to a lot of old music before I start my project, then I mind to the previous stuff that I've done. It could have been a lot of different means, just I can't say that at that place was a specific way that we did it.
Where would you exist positioned in the studio while you were working on music?
I would be backside a calculator keyboard. At that time, we had an ADAT keyboard. Information technology had 88 keys on the keyboard dorsum then, and I think Pro Tools was one of the things nosotros used also. Some songs we recorded on a two-inch tape and other songs we recorded digitally, but the stuff we did digitally, we eventually transferred to record. It was a pretty piece of cake process. We would tape from 1 device to the side by side. We had to brand sure that all the time codes were right and made sure everything was running correctly. Nosotros used something called Sync. Nosotros had to brand certain that all the numbers were right.
What'southward the name of some of the equipment and the instruments that you lot used to create the music for this anthology?
Well, nosotros used guitars, congas, live percussion, a Korg Wavestation, a Trinity, and a JV 1080 by Roland. I recall there were a few more, merely I just can't recollect the names now. Information technology'south been almost twenty years . [laughs]
What was your typical studio routine?
For me, I enjoy making music at any time of the solar day. Sometimes, every bit soon as I wake up in the morn, I'm in the studio. Information technology really depends. Back then, I'd exist in the studio for at least xiii, xiv hours a 24-hour interval, possibly more than that. That'southward where I created best. I but enjoyed beingness in that room.
Photo Credit: James Devaney/WireImage
For your background vocals was there a special method that y'all used to record your background vocals or was information technology completely standard?
No. It was pretty much standard. If I'm doing groundwork, I similar to practice iv of the same notes. If I'yard doing iii-office harmonies over the shell, I'll take to sing it 12 times. I like to do it that style, whereas if I take 2 vocals on each side, they'll be the same.
Did you have an engineer for this project?
I did. Sheldon engineered most of it when I was singing the songs myself. For the near function, I'd record myself, and then we had engineers at the studios we were recording at.
What were some of the studios you recorded at?
In Eddie F.'s studio which was named Playground. In Atlanta, we recorded at DARP studios. I'm not sure the name of the place where we recorded at in LA. Then in New York, we recorded at The Hit Factory, Platinum, Quad, damn about all of them.
Allow'southward go in-depth about the cosmos of the songs on Where I Wanna Be. Outset with "U Know What'due south Upwards."
"U Know What's Up" was produced past Eddie F. and Darren Lighty. It was written by Cliff Lighty, Cliff Harris, [Eddie] Ferrell, Anthony Hamilton, and someone else [Editors notation: Balewa Muhammad and Delvis Damon are likewise listed as writers.] When I showtime heard the track, I was like, "Man, this is a dope ass record." But information technology wasn't "U Know What's Upwards" even so. They had a whole other vocal. Information technology was something well-nigh a car horn, and I didn't like it. Everybody loved the track, but that particular song I didn't like. They came back with the "U Know What's Up" song and I was like, "Homo, this shit is a nail." I was still a trivial scared because information technology still had that feel of that other record on it. It concluded up being my biggest hit ever.
"Where I Wanna Exist"
That's what I was going through at the time. I was in a relationship with my children's mother, and we just grew apart. This particular song was something I was going through as I wrote it. I was on the plane coming back to Chicago because my dad's mom passed away. When I was on the airplane, I was writing the song, just when I got to Chicago I forgot nigh it. Simply when I went dwelling house, everything started coming back to me. I think the reason why a lot of people fell in love with the song was because information technology was something that was true. I plant out that it just wasn't me that was going through it. One-half the world was going through the same thing. [laughs]
Information technology simply ended upwardly being a really honest tape that did slap-up for me. I had these chords for the record, and I knew how I wanted to sing it. I knew they had all those things, but I had this chord progression, and I needed somebody who I could take information technology to the next level. Eddie F. suggested that I call Kyle West. He just jumped on the keyboard and played what I played but took information technology to a whole other level. After we did that, I put the little congas on in that location. We got Sheldon in there to play the guitar. Nosotros didn't know what we were making, merely nosotros knew it sounded unlike and it was expert. The music came out like it came out, and information technology was meant to be.
"Shorty (Got Her Eyes on Me)"
"Shorty" was written past Eric Williams from Blackstreet and a guy by the proper name of Wes Hogges. We were in Atlanta and trying to come up up with some records. Dorsum then, a expert part of my album had guitar sounds on it, and then I wanted to get a alive guitar on the anthology. Sheldon was still in New Jersey, so nosotros had to hire this guy named Tommy Martin to come over and play the guitar. Tommy started playing that line, man. Information technology put seize with teeth into it. We put the bassline on information technology and nail. It was a tape.
"Have You Seen Her"
"Accept You Seen Her" was another joint written by Eric Williams and Wes Hogges. Right after we did "Shorty," I guess we were still in a vibe, and they came up with that record. Eric wrote it in 20 minutes. That was another one of those records. Those two records were made together at the same time.
"This Luv"
Sheldon came up with a dope bassline. He did the trounce so I wrote the lyrics. That was it. It was like, "I want to kick it with y'all only that'due south all I want to do." No relationship involved. At the time, I was young and that's what we were talking nearly and living.
"All Her Beloved"
Most women sing a song about being in relationships with guys and they have another woman, but no homo really sings about that. So, I wanted to flip the script and sing information technology from a male perspective almost being in love with a adult female who already has a man. I thought that would be kind of interesting, because I thought that women could mind to the song and put themselves in that position, and the guys around the globe, who would never admit that they're in that predicament, could vibe with information technology, likewise.
"Information technology'southward Alright"
It was another one of those records where I was just coming up with some ideas and that track came out. It was really well-nigh simply enjoying a good fourth dimension with your woman.
"Retrieve About It (Don't Telephone call My Crib)"
[That] was written and produced by me. As I said before, this was the first vocal I wrote for this album. I had it since I finished my start album. I was trying to come up with something that reflected the Chicago style. I was influenced by the Isley Brothers on this one. I only had to prove that I was from Chi-Boondocks. That was a Chicago type of beat and that's where the idea came from.
"He Won't Hurt You"
"He Won't Hurt Yous" was another record written and produced by me. I simply felt like I had to drop a few songs on the album that paid respect to women. When I was growing up in Chicago, I had family unit members in abusive relationships, and so I wanted to write something that spoke to what some women become through in relationships.
"Pushin'"
"Pushin'" was produced by Eddie F., Bilal, Darren Lighty, and Cliff Lighty. Eddie did a great chore of making sure that we got the up-tempos right and my thing was doing the ballads. It was an easy record to practice. I wasn't in the studio when they made this song. I just came in and sang my parts.
"I Wanna Luv U"
"I Wanna Luv U" was a song we recorded as a group. I had alive percussions on there and strings. I really stepped outside myself and put something together that I thought was actually nice because I had never done live strings, or even seen them washed before. I hired a lady to come in and practise the strings. It cost a lot to do it, too. It was one of those records that I wanted to show that expressing your dearest for your woman was a cute thing.
"When I Was Down"
[That] was probably the final record we did for the anthology. It felt similar a real smooth laid-back song. Information technology was talking about something real street, a little edgy. It had all those elements of R&B, just it was fresh, so we just felt similar ending the album with a Curtis Mayfield sample would exist awesome.
Source: Creative person
"U Know What'south Up (Remix)"
"U Know What'due south Up (Remix)" was a song that I had null to practise with. Eddie F. and the label wanted to get Lisa "Left Eye" Lopes on it. They wanted to brand me a bigger artist. I wasn't fifty-fifty in the studio when they recorded her part. When she got on the record, it just took off. I went from being a regular R&B cat to somebody that people needed to start listening to. I actually appreciated her for jumping on the track. It inverse both our careers. Information technology ended up existence a number ane record for me.
Were y'all involved during the mixing process?
I wouldn't have information technology whatever other way. This was my album. This was my babe. I wanted to be in that location every step of the fashion considering I knew I had something. I simply didn't know what was going to become of it, considering at the same fourth dimension, yous still have to put the album out, people still have to like it, and you yet have to promote it. I knew I had something, sonically, that sounded pretty practiced, and I knew they were good songs. I but wanted to be there every stride of the fashion. Hell yeah, I wanted to be at the mix. A guy by the name of Serban [Ghenea] was our mixer. He had mixed a lot of the Teddy Riley stuff, and I felt really comfortable with him mixing the tape. I recall the offset record he mixed was "Shorty (Got Her Eyes on Me)" In one case I heard the mix, I said, "Let me go out of the mode and allow him do his thing," because I appreciated what he was doing. If there was something, I would say, "Mayhap the kick may need to come up here or there." Possibly that happened a few times, but other than that, that guy was awesome. He did an incredible job.
As yous await back 20 years later on on the making of the record, how does it experience to be a function of such a archetype recording?
As a team, nosotros were just going in. We were trying to come upward with ideas to make a practiced album. It was just a fun album to record. 1 of my favorite moments was making "Where I Wanna Be." Because information technology was something that I really needed to get off my breast. I was actually going through something. It was an unorthodox song. At the time, most of the songs on the radio had drums to information technology. This song didn't have any drums, but congas and alive instrumentation, which was something new. It was ane of my fondest moments — when I put this record out and the honey it received from a lot of people. It was based on a truthful story. Making this whole album was an awesome process from beginning to the end.
Photograph Credit: Ben Rose/WireImage
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ChrisWilliams is a Virginia-based writer whose work has appeared in The Guardian, The Atlantic, The Huffington Mail service, Scarlet Bull Music Academy, EBONY, and Wax Poetics. Follow the latest and greatest from him on Twitter @iamchriswms.
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