Earlier this year, Jermaine Dupri celebrated 20 years of his So So Def imprint with an anniversary concert featuring appearances and performances from JAY Z, Mariah Carey, Usher, Ludacris,Monica and Young Jeezy. It didn’t matter that none of those names mentioned were ever signed to So So Def. That’s because JD has made a career of crafting game-changing or career-altering hits for just about every artist in attendance that night. For instance, at a time when even diehard Mariah fans were beginning to count the songbird out, JD stepped in and produced gems like “We Belong Together,” “It’s Like That,” “Shake It Off” and “Don’t Forget About Us” – propelling her comeback and continuing her reign as one of Pop music’s queens. In 2004, Usher’s Confessions established him as a true megastar. Three of the four number-one records from that album were co-written and produced by Dupri. And while JAY Z was already well on his way to becoming the King of New York, it wasn’t until linking up with JD for “Money Ain’t A Thang” that Hov’s takeover of the South began. Put simply, Jermaine Dupri’s contributions to popular music have been nothing less than astonishing and with recent sessions with Mariah Carey and Usher it can only mean one of Billboard’s Top 10 producers of the last decade is preparing for his next 20 years of hits. Check out Mr. “Y’all Know What This Is” as he gives Life+Times the stories behind some of the biggest records of the last two decades.
“It was the beginning of me knowing what it feels like to write a hit. I wrote this entire song in like 30 minutes. That’s the first time the lyrics just jump out at me. That became the thing for me to know when a record was going to literally jump off. The lyrics was just in the air somewhere. As soon as I created the beat the word “jump” and the putting their name in the record came to me. Usually somebody would over-think to do a record like that trying to put all of those pieces together, but with this song it happened so organically. It was also like the first time for me to know what it feels like to create a record at that pace. I had never wrote a song at that pace, that fast. It might have been a collaboration of the kids and me feeling their whole flow. It just came out of nowhere. It was super easy to record with them, because they were like sponges. They just soaked up everything that I did. They couldn’t believe it was their song, so they did it with much more excitement than I probably did in the demo. [laughs]
“Just Kickin’ It” – Xscape
“When I wrote the song Kandi didn’t really understand the format of the record, because I wrote the song from a man’s perspective. The lyrics say “every man wants a woman.” Women don’t talk from a man’s perspective. Most women don’t say stuff like “every man wants this.” It was written from a man’s perspective and said by a woman, so at first the girls didn’t really catch it. They didn’t really get it. Then getting Kandi to sing at a lower register was her trying to mimic me, because I was doing that demo in a lower register. I kind of wanted her to sound like me in some kind of way, but at the same time sound better than me. I wanted the record to be as cool as possible. It was kind of an experiment, because it was the first record I made with Xscape where I was actually giving them something to do. At the same time, I wanted to incorporate Hip Hop and singing at the same time, so that’s where I came up with the “kick off your shoes and relax your feet” part. And adding their name in the record is something I learned from the Kriss Kross record. The best promotion is if the record is gonna be played a bunch of times put the artist’s name in the record and everybody around the world is gonna know what the group’s name is instantly. Little things like that I learned from the Kriss Kross record and I put into their record. It went on to be the first number-one record of my label.”
“It was like the first record I ever rapped on. Me and Brat was in the studio going back and forth about what she was going to do on the song. I just started saying some lyrics that I heard in my head and she would say some lyrics she heard. I don’t know if it ever got to the point where she just didn’t want to say what I was saying, but she heard it and said I should just rap on the track. At that particular point I wasn’t really trying to rap. I was stuck on just doing the producer thing. She convinced me to do the rap. That became the second number-one record on So So Def.”
“In My Bed” (Remix) – Dru Hill
“I took it upon myself to say the guys needed to come to Atlanta and re-cut the record. When I told that to the president of the company I wasn’t sure what I was going to do. I just felt like it was a ballad and I was trying to make the song uptempo. I didn’t know what sample I was going to use or nothing like that. Right when they was getting to the studio I was going through so many records and I found that “Gimme What You Got” record. People rapped over it, but nobody ever sang over it. At that particular point, if you could find a record that was rapped over a lot, but nobody sang over it then you pretty much had a good chance of people loving it. I found that loop. As soon as Sisqo and the guys walked in they started trying to figure it out. Also, this was a time when Dru Hill wasn’t as popular as they wanted to be. Even though they had a number-one record they still wasn’t cracked open. They came to the studio wanting me to rap on the record. I was still thinking about me as a rapper and I wasn’t trying to do no sappy rap about girls [laughs]. I just wasn’t on that flow at the time. The first thing I thought about was me flossing and stunting on the song. And it’s probably the only remix today where the rap part of the remix don’t got nothing to do with the song. It came out dope though. Ain’t nobody even pay attention to that. That’s an unorthodox way to make a record. All it took was one night for us to knock it out.”
flawless
Aint nothing like being a part of something real and after reading this it’s apart of me.