i put my thing down, flip and reverse it that music, a lot of it was space-age driven. i m bringing sexy back them other don t know how to act odd sounds that reflect his own inner ear vision. i said it s too late to apologize it s too late timbaland was a little more technologically dense and ethereal, whereas pharrell wasn t as out there. he did like dance tracks. it s getting hot in here so take off all your clothes i am getting so hot, i want to take my clothes off it was a little more gritty. it was very intricate but very rhythmically driven. uh-huh, this my all the girls got to be like this pop stars figure out you need hip-hop cred and you need a hip-hop producer.
reverse it that music, a lot was space-age driven i m bringing sexy back them other don t know how to act odd sounds that reflect his own inner ear vision. i say it s too late to apologize it s too late timbaland was a little more technologically dense and ethereal, whereas pharrell wasn t as out there. he did like dance tracks. i say it s getting hot in here so take oof all your clothes i will take my clothes off it was a little more gritty. it was very intricate but rhythmically driven. all the girls got this
them other don t know how to act sounds that reflect his own inner ear vision it s too late to apologize it s too late timbaland was a little more technologically dense and ethereal, whereas pharrell wasn t as out there. he did like dance tracks. it s gotting hot igetting ho so take off all your clothes it was a little more gritty. it was very intricate but very rhythmically driven. all the girls got to be like this pop stars figure out you need hip-hop cred and you need a hip-hop producer. i ain t no hollaback girl what s interesting about the 2000s su had a group of hip-hop producers who were crossing over and topping the pop charts.
odd sounds that wereflect hi own interear vision. if timbaland was technologically dense and theater y all whereas pharrell did like dance tracks. it was a little more gritty. it was very, very intricate, but rhythmically driven. pop stars figure out you need hip hop cred and you need a hip hop producer. the 2000s was you had a grouping of hip hop producers
there as a friend if he needed me. and he offered her just that chance. a business deal. he could place nicole and her music with an indy label about to break it big. he approached me with putting me on his label that he was doing with clive davis. the clive davis. music producer extraordinary. with his armload of grammys and his eye for spotting upcoming talent and a featured role as mentor every season at the conclusion of american idol. paul kreuger was offering nicole what just might be her breakthrough opportunity. i was interested in the whole strong, independent label because we had established a relationship on the phone. i trusted him. nicole sent him samples of her dance tracks and paul called back with good news. he had said, oh, i just got back from clive davis office in new york city. i gave him the package and he