The fog 1980 It is with

The fog 1980

It is with Vasquez that Walker s first two albums, This Is My Life and Flexible, were born. I asked about the sound and energy of the music. I was a big Junior fan before I moved to New York, so the thought that I got the chance to work with him was a big thrill the fog 1980 me. His music was kind of uninhibited, wild, and sometimes erratic. And I got to be a part of that. I thought I had a better chance of working with Peter Rauhofer or Danny Tenaglia than with Junior Vasquez. No one else was sounding like him. He paved the way for a lot of people, with that kind of sound. What was it like working with the legendary DJ? I feel like my music with him came in on the heels of when he was really, really big on the New York club scene. But he was still packing the really big places. The insanity that was Junior Vasquez was still, like the city was the fog 1980 abuzz with him and everything he did. After the muscular vocals and driving sound of Junior Vasquez, Jason worked with Quentin Harris. With Harris, this work seemed to have a more personal touch. Oh, yeah. I agree with you there. I have always considered myself to be a pretty well-rounded singer. I moved to NY because I wanted to do club music that was my plan when I moved here. Just because an opportunity came along to work with Junior didn t mean I didn t want to do anything else, or wasn t able to do anything else. An opportunity presented itself and I jumped on it. I jumped on it because I love that music and I thought Quentin was amazing. It was a thrill for me to do it. I guess I was a little burnt the fog 1980 with All-things-Junior, which could happen with anybody. I felt like dance music was moving in a different direction and I had come to know and admire a lot of producers I wanted to work with, and who wanted to work with me. And Quentin was one of them. He remixed Foolish Mind Games, my second record with Junior, Jason remembered. That kinda sparked a relationship between he and I, and when he was doing his first album, No Politics, he asked me to be a part of it. That is were Can t Stop happened. I remember him telling me, OK, I have two ideas, we can record them both and whichever comes out better He wanted to do a cover song with me, which I was fine with. It was either going to be You Belong To Me, which was originally by Carly Simon but Michael McDonald had done a great cover, or it would be Can t Stop, by After I always loved that song, and thought it could be a really hot contrast. So that is just the one we did first. When he heard how it came out, and saw the natural progression of the song, he said, OK, this is the one are going to go with.