Rich Younglord

But I was still there waiting because I knew he had to come in. Sometimes, I'm sure you meet a gazillion people. So when he came in, he was like, surprised, but he allowed me to sit in the sessions. And I got to witness him produce Mary J. Blige's I'm Not Gonna Cry, Let It Flow with Toni Braxton, the song he did for Faith. I don't remember the title, but a bunch of phenomenal, great sessions.

But I was still there waiting because I knew he had to come in. Sometimes, I'm sure you meet a gazillion people. So when he came in, he was like, surprised, but he allowed me to sit in the sessions. And I got to witness him produce Mary J. Blige's I'm Not Gonna Cry, Let It Flow with Toni Braxton, the song he did for Faith. I don't remember the title, but a bunch of phenomenal, great sessions.

But I was still there waiting because I knew he had to come in. Sometimes, I'm sure you meet a gazillion people. So when he came in, he was like, surprised, but he allowed me to sit in the sessions. And I got to witness him produce Mary J. Blige's I'm Not Gonna Cry, Let It Flow with Toni Braxton, the song he did for Faith. I don't remember the title, but a bunch of phenomenal, great sessions.

And what I got to see is, and I copied this whole formula from then on, as far as like the the way he ran things, but he would do all the backgrounds. And then what he would do is he would let the singer, their interpretation about three times, the whole song. And then he would break down certain things that he wanted and do about another five takes of what he wanted.

And what I got to see is, and I copied this whole formula from then on, as far as like the the way he ran things, but he would do all the backgrounds. And then what he would do is he would let the singer, their interpretation about three times, the whole song. And then he would break down certain things that he wanted and do about another five takes of what he wanted.

And what I got to see is, and I copied this whole formula from then on, as far as like the the way he ran things, but he would do all the backgrounds. And then what he would do is he would let the singer, their interpretation about three times, the whole song. And then he would break down certain things that he wanted and do about another five takes of what he wanted.

Then he would comp the vocals to get each line the way he wanted.

Then he would comp the vocals to get each line the way he wanted.

Then he would comp the vocals to get each line the way he wanted.

and that was the first time I saw that you know I was like oh my gosh that's so cool because we at Bad Boy didn't do stuff like that and it was great so I kind of got to understand you know first you need to do all the background vocals to have it there do that on a whole separate day so when they come in and do the leads it's just fresh for them you know and then give them direction but let them express themselves and then you come back and hone in on what exactly you want and

and that was the first time I saw that you know I was like oh my gosh that's so cool because we at Bad Boy didn't do stuff like that and it was great so I kind of got to understand you know first you need to do all the background vocals to have it there do that on a whole separate day so when they come in and do the leads it's just fresh for them you know and then give them direction but let them express themselves and then you come back and hone in on what exactly you want and

and that was the first time I saw that you know I was like oh my gosh that's so cool because we at Bad Boy didn't do stuff like that and it was great so I kind of got to understand you know first you need to do all the background vocals to have it there do that on a whole separate day so when they come in and do the leads it's just fresh for them you know and then give them direction but let them express themselves and then you come back and hone in on what exactly you want and

How that helped me is when I started really doing vocals, and I've never been a master vocal producer, but I was able to camouflage that by just letting them do some really cool things and then becoming a monster comp artist as far as like, you know, tweaking it. And then thankfully technology changed with Pro Tools and all that stuff. So it made it easier to do so.

How that helped me is when I started really doing vocals, and I've never been a master vocal producer, but I was able to camouflage that by just letting them do some really cool things and then becoming a monster comp artist as far as like, you know, tweaking it. And then thankfully technology changed with Pro Tools and all that stuff. So it made it easier to do so.

How that helped me is when I started really doing vocals, and I've never been a master vocal producer, but I was able to camouflage that by just letting them do some really cool things and then becoming a monster comp artist as far as like, you know, tweaking it. And then thankfully technology changed with Pro Tools and all that stuff. So it made it easier to do so.

You know, stuff was a little late. I could move it back. I could really get it the way I hear it in my head. But that comes from faith. So I'm so thankful for that experience.

You know, stuff was a little late. I could move it back. I could really get it the way I hear it in my head. But that comes from faith. So I'm so thankful for that experience.

You know, stuff was a little late. I could move it back. I could really get it the way I hear it in my head. But that comes from faith. So I'm so thankful for that experience.

I think that one thing when I look at my production career, I think it's funny. When I first got with Bad Boy, he didn't like my music, right? He liked the fact that I made it into the office and I was so young. He said, you know what, you're just like idolizing the wrong people. Because at that time, when I got in, it was like Pete Rock and the whole East Coast thing.

I think that one thing when I look at my production career, I think it's funny. When I first got with Bad Boy, he didn't like my music, right? He liked the fact that I made it into the office and I was so young. He said, you know what, you're just like idolizing the wrong people. Because at that time, when I got in, it was like Pete Rock and the whole East Coast thing.