![]() I wanted to listen to the joint to hear if I was able to catch anything that would have clued me in without Phonte telling me who Tina was in advance. When I heard her come in on the intro portion, fluttering those carefully positioned notes, I was like… “Yoooooooooooo!!!!!!!!!” …We even positioned it so that it was a MUSICAL continuation of “Show Me The Way” …It felt perfect. The lyrical continuation added cohesiveness, which is always appreciated when producing a full album… On TOP of that, flautist Claudia Hayden ( “For Leslie”, “Driving”) was back on board adding light touches of absolutely BEAUTY to the song. I leaned back in my studio chair as if I had just uncovered one of life’s greatest equations…. “Show me the waaay back baby, show me the waaay back baby…” Just wait ’til we record it, you’ll get it when you hear it.” At that particular point in time, the only thing we had vocally on “Show Me The Way” was Carmen Rodgers’ hook, so imagine my reaction when I got Sy Smith’s vocal reference for “For Tina” and I heard her come in immediately with… When Phonte and I spoke about the idea he had for the lyrics, he just told me, “It’s gonna be almost a part two of “Show Me The Way”… I can’t really explain it…. This one wasn’t written to for months and musically it’s the “oldest” track on ManMade (all of the music that made the album was completed between March 2012 and January 2013). Once everything was finished, I sent it on through to Phonte… The original instrumental was about four and a half minutes long. ![]() As a result of the feel and the day of the week that it was made, I originally named the instrumental, “Wednesday Soundtrack”. The strings that appear at 1:03 were originally only brought in for the hooks of the track and because of its movements, combined with the bass notes that seemed to almost “grow” on each hit reminded me of a movie score. To thicken the chords up some, I layered them with some Rhodes keys that had a panning phase effect on them that created a “spacey” feel when I arpeggiated the chords. ![]() ![]() In typical fashion, I can remember laying the drums out first (on the original drafts, the snare has a light single echo, which I ended up not missing at all upon hearing the final mix), which then influenced a chord progression I worked out on the piano to hit right before the “2” and the “4” within each measure. ![]() I clearly remember creating this one on a Wednesday afternoon in March 2012. I’m gonna get to that in a minute.įIrst, let me break down how the music came about and then I’ll clarify who Tina is. ![]()
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