Bryce Wilson (born 1972) is a record producer/entrepreneur and actor. He was formerly half of late 1990s duo Groove Theory, and former artist on the early 1990s dance music/electro hip-hop band Mantronix.
I had to learn, because as an artist myself, an artist owns that right to protect their interest of how they want to roll their project out. It's just important to give them that opportunity to roll it out the way they want to.
One half was like, I hope this doesn't affect it, and the other half was like, it's great that people know I did a Beyoncé record.
I don't like when everything sounds the same.
Beyoncé can handle any record you put in front of her. Any record that pushes her in that direction, it would have been good to be on the project.
I mean, just like every other prominent songwriter or producer, you have the shot. You send in records and if they make it, they make it. If they get heard, they get heard. I'm not sure if you know how that circle of songwriting and producing works, but every time a big artist is working, everybody and their mother is in the studio writing records to try to get on it.
I never feel like I've done good enough. That's why I'm always so excited about working because I gotta keep pushing myself to do better work, to do great work.
You might be a legend one day if you just keep your head to the ground and never get overzealous and start thinking you've outdone yourself. That's the space I try to stay in.
I made the record, and I sent it over to Jay Brown, who was working on Rihanna's album. He was like, "Send me that record for Rihanna. "
The first two songs that I wrote, produced and demoed with my voice on it was that song and then Akon's "Sorry, Blame It On Me. " The first two demos I ever wrote and demoed, the two biggest artists at the time took them.
At that point, when songs got leaked, it was cool though too because then you started getting recognition beforehand.
Beyoncé don't get a lot of leaks. She just has a very tight control. Most of the time, that's generally not the case, but I pretty much follow her direction.
She [Beyonce] is just an energetic performer and she loves drums. She loves edge.
I'd stopped doing music all of a sudden, and because of Chill and Jay and B, I got half of my album on a solo project. Then I get a call a week later and Jay is like, "Yo, Janet [Jackson] likes one of the records. We'll take five but are you cool with giving Janet one?" I was like, dude, we can do whatever you want to do.
You know Beyoncé, man. She's very quiet about how she does things. She doesn't like to let everybody know what she's about to do.
Generally, you're always shooting in the dark with Beyonce. She's just creative and eclectic and up on always trying to be ahead of the game. That was the moment of me trying to figure out how I wanted to give her another moment.
I'm always constantly doing stuff with Beyonce in mind. Anytime I hear a beat I think she'll love, I'll put something to it and go from there and hopefully it's something that she's in the mood for doing. What exactly were you trying to accomplish with this song?
Beyonce is such a visual artist. This was just trying to figure out another side to her that could be fun and young and exciteful and a great video.
No one's selling records anymore, so there's no income you're being robbed of. I think that you should be in alignment with the world. The world is about sharing now, so as long as it's out there, it should be there. I think it's fine.