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Rami worked with RedOne in his early days!!?

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Offline klukan

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Rami worked with RedOne in his early days!!?
« on: August 17, 2009, 05:42:08 PM »
I'm Danish but as far as I understand this Swedish article, RedOne collaborated with Rami when RedOne was a young, upcoming producer.
I didn't know that, did you? Can any Swedish users confirm?

Now I understand why RedOne also makes killer productions and melodies: He learned it from one of the masters!  ;D

Link: http://www.aftonbladet.se/nojesbladet/article3117448.ab

Offline nshinnosuke

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Re: Rami worked with RedOne in his early days!!?
« Reply #1 on: August 18, 2009, 10:27:32 AM »
I remember they did some songs together for a girl group..

Offline Rebecca

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Re: Rami worked with RedOne in his early days!!?
« Reply #2 on: August 18, 2009, 01:15:49 PM »
wow, how exciting! what a great find Klukan
I put it in Google Translate, it says Redone and Rami worked on a girl group called Popsie. This is from Google translate:

"We just laughed at the studio"
"Candy for the ears" Michael Jackson hired new svenske sup
"Candy for the ears" Michael Jackson hired new Swedish super-producer for his forthcoming album. "He is a perfectionist," says Redon.
Photo: AP
"Redon"

Name: Nadir "Redon" Dhayat.

Age: 35. Occupation: Producer and songwriter.

Lives: Los Angeles, USA.

Family: Wife and one child on the road.

Current: As one of the world at the moment's hottest and most hired producers.
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       August 18 00:25

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Unknown Swede to save Jackson's career

When Michael Jackson recording his new album in Las Vegas, it is with a Swede levers.

World stars are queuing up to work with Redon - Sweden unknown demo producer.

- We just sat and laughed at Michael I the studio, "he said in an exclusive interview with Aftonbladet.

The month is April, the spot Palms Studio in Las Vegas, USA.

Here - under great secrecy - playing Michael Jackson songs in their forthcoming album.

To his help he has songwriter Akon - and a Swedish producer you have never heard of.

- Michael is such a perfectionist in everything he does, all the little details are perfect. It's like candy for the ears. Me and Akon put small children in the studio and just laughed when we saw him work, "says Nadir" Redon "Khayat, 35.

Almost nothing has been written on Redon in Sweden, despite his impressive CV as a producer. A selection: jšttehit Shakira "Hips do not lie", songs with Christina Aguilera, Lionel Richie, Brandy and the Robyn, upcoming projects with Enrique Iglesias, Beyonce, Ne-Yo ... and so it was that Mr Jackson in the spring .

- He is super nice and courteous. You get shocked when you chaps dinner with him, he is knowledgeable about so much, a real businessman, very intelligent, "says Redon.

What allows the new material?

- It is very melodies in what we did, very popkšnsla. But I do not know when the disc will. He works with several producers.

It has circulated photos of him in a wheelchair. How is he?

- It is not at all that has been read. And Michael cares not about all that down. If he would be as stupid as he described, he had not been able to take half the Sony catalog and the Beatles catalog.
Went home to Joey Tempest

The story of Redon begins in 1990 with - Joey Tempest.

Then Nadir Khayat an 18-year-old Moroccans from a small village outside Tangiers who worship the Swedish poodle coats in Europe.

To such a degree that he one days left family behind and went up to the colder latitudes.

- I was completely obsessed with Europe. When I heard "The final countdown" I knew I would get involved with music. So I decided to search for Joey, he says.

Not simply, may appear. But Nadir succeeded.

- I knew he lived in Upplands-Všsby, so I went there and asked me. Finally, I found Joey 's house. He was super nice, we played guitar and sang together. It was an incredible experience, remembers Redon and laughs.
Moved to Sweden

"Reached" settled down permanently in Stockholm, where he long tried to become a rock star. When the dream burst, he became friends with producer Rami and learned how to fix levers in a studio instead.

- Our first hit was with the girl group Popsie, I remember. Then I began to make their own career, "he says.

A career as pointed nail straight up - right up to a studio in Las Vegas earlier this year.

- It is amazing. I had never dreamed about this when I left Morocco, says Redon and laughs.
Jon Forsling

Redon on ...
... why Swedish producers have such a good reputation in the U.S.:

New Kids on the Block.
New Kids on the Block.
- We are the best, the only country that has the perfect vision of pop. I do not know if it is due to ABBA, but we are always good at creating strong melodies in Sweden.
... the new album by New Kids on the Block:

- It is finished. I have produced and co-wrote six songs. The large chorus and melodies remain, but with a fresher sound. They have kept in touch with each other through all
Darin.
Darin.
years, we can see that they love each other.
... to work with darin:

- He has the qualities to become one of the largest in the world. He is on the same level as Michael Jackson and Akon. I did his song "Step up" and has five songs on his next disc. My goal is that he will be super great.
Joey Tempest.
Joey Tempest.
... that might meet Joey Tempest again:

- I know he wants to work with me, but I do not think he knows that I am the same guy who greeted him so long ago. It may be a surprise!
Redon has also been working with:

   Shakira

   Iglesias

   Aguilera

   Richie

   Beyonce

   Robyn


Offline Rebecca

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Re: Rami worked with RedOne in his early days!!?
« Reply #3 on: August 18, 2009, 01:19:17 PM »
I see the credits from the Cheiron fansite:

Song: Funky    

Popsie    
Album: "Popsie" (1998)
Written by:
Rami Yacoub / RedOne / Cecilia Lind / Sandra Petterson / Angelica Sanches / Katarina Sundqvist
Produced, recorded & mixed by:
Rami Yacoub / Daniel Papalexis / RedOne

song: Joyful Life    

Single: "Joyful Life" (1998)
Popsie    
Album: "Popsie" (1998)
Written by:
Rami Yacoub / RedOne / Cecilia Lind / Sandra Petterson / Angelica Sanches / Katarina Sundqvist
Produced, recorded & mixed by:
Rami Yacoub / Daniel Papalexis / RedOne

Offline georg_e

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Re: Rami worked with RedOne in his early days!!?
« Reply #4 on: August 18, 2009, 03:55:44 PM »

                   Thanxx for the translation, Rebecca --I really wanted to read that!    :D

Offline Raul_esp

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Offline Raul_esp

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Re: Rami worked with RedOne in his early days!!?
« Reply #6 on: August 18, 2009, 08:37:05 PM »
I wonder the superhit would be a song produced by Max martin and RedOne....

Offline Rebecca

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Re: Rami worked with RedOne in his early days!!?
« Reply #7 on: August 19, 2009, 01:09:40 PM »
cool, Joyful Life is pretty good!

ooh, a song by Max and Redone! what a hit!

Offline klukan

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Re: Rami worked with RedOne in his early days!!?
« Reply #8 on: August 19, 2009, 02:33:57 PM »
I remember "Joyful Life" from when I was a little child.
I'm so overwhelmed and surpriced by this found.
I remember I loved that song when I was very young (about 9yrs old) and I've never been able to remember who made this song. Then discovering that it is actually written by Rami and RedOne for Cheiron is such a strange coincidence for me since Cheiron, Rami & RedOne are some of my biggest inspirations to writing and producing music.

I also think it's funny that Rami & RedOne (and Max as well) are actually around the same age (Rami is 34, RedOne 36) but their era of great success is staggered about 10 years to each other because Rami & Max had big success so early on in their careers..

You just had to admit: Swedish songwriters ARE the best. They've been pioneers in the pop music world for SOOOO many years and now with RedOne in the front..
And it all trace back to the Cheiron guys... wow!

Offline Rebecca

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Re: Rami worked with RedOne in his early days!!?
« Reply #9 on: August 20, 2009, 01:02:03 PM »
wow, that is such a coincidence that you loved that song as a child. so that means you were a Rami/Redone fan since 9 yrs old but didn't even know it!

Yep, Swedish songwriters are the best, their success is incredible.

Offline klukan

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Re: Rami worked with RedOne in his early days!!?
« Reply #10 on: August 23, 2009, 12:54:05 PM »
I'm reading a Rami interview from Hitquarters right now where he actually tells that the person who introduced him to Max Martin was a mutual friend...... called RedOne !!!

Offline Rebecca

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Re: Rami worked with RedOne in his early days!!?
« Reply #11 on: August 25, 2009, 01:01:09 PM »
wow, I've just finished reading the interview with Rami, I think it's the first full interview I've read with him. Great stuff.

Offline maxmartin'sfan

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Re: Rami worked with RedOne in his early days!!?
« Reply #12 on: August 25, 2009, 05:17:01 PM »
hey is it possible to have the full interview please?  ;D

Offline Rebecca

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Re: Rami worked with RedOne in his early days!!?
« Reply #13 on: August 26, 2009, 12:41:30 PM »
Hi, here's the interview, it's so wonderful to read an interview with Rami:

Rami Yacoub, producer and songwriter for Britney Spears (US & UK No.1), Backstreet Boys (US & UK No.1), Westlife (UK, Norway & Sweden No.1) - August 10, 2009
ďAs a producer, thereís nothing better than breaking a new artist. You see how Red [One] blew up with [Lady] Gaga or with me when I did Britney. Jumping on the eleventh album of Cťline Dion is not nearly as excitingĒ
picture

Following on from interviews with RedOne (Lady Gaga) and Andreas Carlsson, we continue our look at Swedish producers that have helped shape modern pop with an exclusive interview with Rami Yacoub.

Like Carlsson, Rami is another graduate of the legendary production house Cheiron, where he quickly established his worldwide pop presence by co-producing ĎÖBaby One More Timeí, Britney Spearsí (US & UK No.1) phenomenal breakthrough hit. He has since gone on to produce numerous hits for major artists like Cťline Dion (US & UK No.1), Backstreet Boys (US & UK No.1), Pink (US & UK No.1) and Westlife (UK, Sweden & Norway No.1), often in partnership with Mr Pop himself, Max Martin.

Rami talks to HitQuarters about how Cheiron has informed his philosophy of collaboration being a major force in both pop songwriting and production, and how he is on the look out for new artists to break for his new LA.-based production house.

You were in the studio last night until 6 in the morning. Are you more productive working into the early hours?

I think most producers are more creative working that way. I donít think anybody working with music wakes up at 7 [laughs].

What was it you were working on?

Right now, Iím working with the Backstreet Boys. I believe itís coming along great, but you never know until itís final.

Theyíve been going at it for a long time, so you need to try to catch that same old essence and not make it too different. Itís always easier to work with new projects than those that have been around for a long time, because they need to adjust to whatever the music is for that era. If you work on a new project then people donít have any expectations, so thatís always more fun.

As you play a lot of the music on your productions, did your own background in songwriting and production begin in a band?

I started playing bass in a band when I was 14 years old, and I wrote the songs. So I started at a very young age writing lyrics and melodies. And then I think it was a normal evolution for a guy to then buy a sampler, a little mixing board, synthesizers Ė I started doing remixes when I was 18.

Was Lutricia McNeal and hits ĎAin't That Just The Wayí and ĎStrandedí, which you created with EZ Productions, your real career break?

Europe-wide, Lutricia McNeal was my break. She was our first artist. We were four guys working on new productions, and we did remixes for one year and then we were approached us to do Lutriciaís solo album. We put her on the map.

And she helped put you on the map, because it wasnít long after that that you joined Cheiron.

Yes, I didnít have time to get the breakthrough myself because when Lutricia blew up I started working with Max [Martin] , and became part of the Cheiron team.

What was it that attracted Max Martin into wanting to form a partnership with you in 1998, and how did that come about?

By that time Denniz [PoP] was sick and couldnít and didnít want to work as much, and so Max was looking for a new guy to work with. As Stockholm is a very small town - everybody knows everybody - he knew about our production team and me, because we had Lutricia out at the time, and we also had a mutual friend, who introduced us.

And so I went there and played them some stuff. Not as an audition, but to see if there was anything I could do on the projects they didnít want to do. I knew they had so many projects.

Was that mutual friend also in the music business?

Yes, that friend is actually a very successful producer right now. Itís RedOne (read the HitQuarters interview with RedOne here).

At that time what was your impression of Cheiron Ė was it already a strong influence?

Of course - everybody knew about Cheiron. It was the little magic place, the bubble where everything happened. And particularly if you lived in Sweden or were Swedish, it was a Mecca for music. So it was a pretty big influence for us because they had such great success before I came in.

What were the relationships like between the songwriters of Cheiron Ė was it competitive?

No, no, no. Well thereís always good competitiveness, but no, it was like a big family - very much collaborative. We had two different rooms, and I worked with Max mostly, and some with Kristian [Lundin] (read the HitQuarters interview with Kristian here) and Andreas [Carlsson] (read the our interview with Andreas here). We just had fun - we didnít ever think, ďOh, you wrote that much on that song or that song.Ē

Do you keep in contact Ė follow what theyíre doing?

Yeah. I bump into them when I eat lunch - itís a small city. But I talk with almost everybody from the old Cheiron. I think we have a strong connection.

What is it about Sweden that creates such great pop music?

I donít know, maybe itís the dark nights, then the bad weather that makes people want to stay in and work. Itís nothing in the water though [laughs].

Itís the same question if you ask me, ďWhy are we so good at hockey?Ē We have a lot of great hockey players and lot of great producers. I think people sit in the studio and work a lot, just the great hockey players played a lot when they were kids.

Thereís no shortcuts to becoming a great producer. Itís always great to have talent, but you got to stay focused and be on it all of the time.

Your first collaboration with Martin, and first worldwide breakthrough was Britney Spearsí mega hit ĎÖBaby One More Timeí Ė do you remember what the production session was like?

We had a simple demo and then you need to make a production on it - thatís how we always start. I think we produced it in maybe four days. Itís so hard to go through how you produce a song because the song inspires you to do the production, itís not the other way around.

What did you bring to that collaboration?

If youíre going to work with somebody they need to fill the spots you canít fill yourself. The good thing with me and Max was that I was more of the hook guy Ė Iíd make hooks and beats and play the bass - and Max was more the keyboard guy, the harmony guy.

If I work with somebody I want to work with somebody that knows stuff that I canít do, or is better than me in a certain area. Because if you have two people working and theyíre great both at beats and nothing else, youíre not going to get shit out of it.

What is Martin like to work with?

Heís amazing - my mentor is Martin. But overall itís Denniz thatís been everybodyís mentor - he taught us everything, heís the one who weíre holding really high.

Interestingly it seems many of the songwriters/producers that came out of Cheiron had backgrounds in rock music - do you think this has had an impact on the modern pop sound in any way?

I think it has. If I look at Cheiron, Kristian was in a Euro-Techno band, but with the rest of us - my band was a rock band, Max was a singer in a rock band, Andreas used to listen to KISS all day long.

On saying that, the old rock from the 80s and early 90s, like Scorpions or White Lion or whatever, is pretty much pop. Itís not like we listened to death metal. I think rock formed our base and essence from the beginning, and thatís also why weíre able to do rock music right now.

What are your other influences?

I listened to rock, but I never stuck to one sound. I donít say I love hip-hop or R&B and thatís the only thing I listen to because as a producer you have to be an all-eater, you have to love everything. As long as it is a great song, it doesnít matter. Everything I listen to affects what I do in the studio - I just donít think about it.

Are there any aspects of productions and sounds that you have helped introduce into the mainstream?

I never thought of, ďIím gonna take this snare and this sound is gonna be big, and weíre gonna use this snare for ten other songs.Ē

When we were at Cheiron, weíd dress the songs into whatever production we felt like, and it happened to become the Cheiron sound. Itís nothing we thought about, but you end up with a formula. Little by little you have a red thread running through all of the songs, because youíre using the same samples or same sounds in certain songs.

Besides bass what other instruments do you play for your productions?

I play the piano, keyboard, bass and guitar. Although I canít actually say Iím a pianist, I can make full songs and productions. Itís the creativity in how you use your tools that counts.

How were you involved with Pinkís ĎU + Ur Handí single?

I wasnít part of the songís production, but its writing. Me, Max and Dr. Luke did parts of the song before it was even considered for Pink, and then I was automatically part of the song because I helped write the song.

Can you explain how a song is written by multiple writers Ė is it passed from one person to the next?

Basically, you have to connect with the people you write with. You sit in a room and you just start flipping ideas like, ďWhat do you think about this?Ē ďHmm, I donít like it.Ē And then, ďWell, what about this?Ē And, ďOh, thatís really good. Thatís better!Ē

You canít have an ego if youíre going to write like that. Itís teamwork. Ultimately, you want this song to be as amazing as possible because obviously then you sell.

So collaborative writing is so popular in pop music because it often creates a more well rounded, better standard of song?

Everybody is good at different things - some are good at lyrics, some at melodies, and some at hooks. So itís the combination of completing each other thatís really good.

What advice would you have for aspiring songwriters/producers to make it on a professional level?

While itís even harder now with the music industry as it is, at the same time itís also easier because now if you buy an Apple laptop, you can do songs on GarageBand. When I started to do music you had to buy equipment that was really expensive.

However, as I said, there are no shortcuts. They have to stick at it, and not let go of whatever dream they have. Youíve just got to stay out there in the studio and work hard. Talent is always good to have, but if youíre a hard worker, itíll come to you.

After Cheiron closed its doors in 2001, you, Max Martin and Tom Talomaa opened up Maratone Studios, and the hits kept on coming. Do you still work for Maratone or have you moved on again?

I split from Maratone about a year and a half ago. Iíd been there for ten years. I went total with Max, and just felt that I needed to go my own way.

Iíd hit a wall and didnít want to work, and so I took over a year off to think about what I wanted to do. I just felt that I needed a fresh start, and so Iím now starting my own camp. I spend most of my time in L.A. right now, because I have a house there. Iím going to have my base in Sweden but spend most of my time in L.A.

I think the most important thing in working in a studio is to have fun. At Cheiron you were eight kids just working and it was fun. So I want to go back to that - find six to eight people to work in the same studio, because I think music wise youíre always stronger the more you are.

Whatís your studio in Los Angeles called?

Itís called Kinglet Studios.

How do you decide on the projects you work on now, and how are you approached?

I choose them. Iím very picky, which is a luxury. When it gets to a point where youíve made enough money, you donít have to do stuff that kills your creativity.

I get approached by managers or labels or even artists themselves, especially in L.A., because in there you bump into artists at every restaurant. Itís an easier working environment for a music producer in L.A.

You mentioned earlier how you were originally connected to Max Martin via the producer RedOne - how did you first meet Red?

How the hell did I meet Red?! I canít remember the exact moment I met him but it was ten or eleven years ago and I took him in and we started working together, and became like brothers. He worked with us in the studio for a year.

At that time he was a singer in like a rock band too [laughs] - everybody is in a rock band - and he was writing songs, and we started writing together when I was producing. He wanted to learn how to produce, so I canít really say I really taught him how to produce, but I got him interested enough to want to start to producing.

After that I started working at Cheiron and they only needed one guy, a producer. So we split and he flew to New York after a while. And then we just stayed in touch. And we both live in L.A. now, so weíre really connected back again. Heís going really well Ė heís top 5 - and Iím so happy for him.

It must be very satisfying when someone you worked with early in their career becomes successful?

Itís amazing - I love it. Heís like a brother to me, so it feels like Iím having the hit songs. Thereís nothing better than friends having success.

Whatís your impression of Lady Gaga?

Sheís amazing - a true artist. Itís like when Madonna came out - sheís cocky, has real confidence, has her own style, she doesnít follow people, sheís a leader. If Gaga wasnít the personality or the trendsetter she is, it wouldnít be as big.

Whatís in store for Rami in the near future?

Iím going to finish the Backstreet Boys, which is almost done now. Iím going to jump into this new project - a girl group thatís not been signed yet. A rocky girl group, but as poppy as the Pussycat Dolls - so Pussycat Dolls meets Pink, basically.

Most of all Iím getting my camp together. Itís probably going to take a year just to going to find people, good people. And then I would like to find my own artists. Itís funny how I come across a lot of artists on MySpace or that come up to me, and theyíre really great, even better than some of the artists the label presents to me.

So Iím just thinking why wouldnít I do that and then go to the label and get a bigger cut of it. They have much more freedom that way too. As a producer, thereís nothing better than breaking a new artist. You see how Red blew up with Gaga or with me when I did Britney. Jumping on the eleventh album of Cťline Dion is not nearly as exciting - nobody really cares.



For other chapters in our series focusing on Swedenís phenomenal influence on modern pop, check out our interviews with both Andreas Carlsson, and RedOne.





Interview by Kimbel Bouwman

Offline georg_e

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Re: Rami worked with RedOne in his early days!!?
« Reply #14 on: August 26, 2009, 04:38:52 PM »
                      Thnxx very much for posting this, Rebecca.   Especially really good what he says about  the relative strengths he and Max brought to co-writing (hooks, bass playing vs. keyboard, harmony) and about writing with a group of people. They do really good interviews on Hitquarters! :D
« Last Edit: August 26, 2009, 04:41:30 PM by georg_e »