MIDI Mafia only agreed to help, Waynne says, because of Bieber’s Canadian background, something the young singer and Swift had in common. He admits he didn’t hear of Bieber before getting on a call with Braun. Justin Bieber Banks 200th Total Week in Hot 100's Top 10 - The Youngest Solo Male to Reach…īruce Waynne, one half of production duo MIDI Mafia, wishes he and his musical partner Dirty Swift had a shot at the lead single, but he’s still grateful he helped orchestrate My World, bringing in his team of producers and writers, which included the pre-Odd Future Ocean. We were like, ‘Whoa,’ since his voice was so high,” Bunton laughs. It was crazy because it was pitched up like maybe two steps. “Someone hit us and they sent a snippet of the record. After a few months of tweaking, Bieber’s vocals finally landed on the instrumental.Īnd while he never shared studio space with Bieber, Bunton can’t forget the first time he heard the completed track. Reid noticed the track and thought Bieber would be a perfect fit. It was there where a representative for record executive L.A. It was way more Carribean.”īunton says when he and musical partner Corron Cole entered RedZone’s Triangle Sound Studios in Atlanta to continue the production, the “birth of ‘One Time’” finally took place. “We liked the concept, the first draft of the record was different. “When we were in Atlanta, we kind of redid the whole record,” Bunton says. Before Bieber’s vocals ever hit the track, that first draft was, as Bunton recalls, a completely different record. While it’s now synonymous with Bieber’s signature music video “hand heart,” it wasn’t always intended to be made for a teenager. The track, released in July 2009, was Bieber’s first hit and a collaboration with mega-producers Tricky Stewart and The-Dream (Beyonce’s “Single Ladies”).
89 on Billboard’s 2009 year-end Hot 100 list. Bunton was responsible for the “first draft” of “One Time”: a debut single that helped spread the initial wave of Bieber Fever and was ranked at No. Producer James Bunton of production duo The Movement remembers cooking up Bieber’s first single off the project. “When the record label called me about photographing a kid as young as Justin was at the time, and even though he was super cute and uber talented, I never would have guessed he would have blown up to be the mega star he became, mainly because statistically speaking, it just doesn’t happen often.” “I had not heard of Justin at that point and wasn’t aware of who he was,” Pamela Littky, the album cover photographer, says. Those who met Bieber commended his in-studio work ethic and poise in front of a camera for the cover shoot and those who didn’t were still impressed with his artistry. Rather, they worked as they would for any artist, some even with the intention of keeping tracks for themselves, and allowed whatever changes to be made in the final steps of production: vocal flourishes, some lyrical alterations and - of course - pitching an instrumental up to match the young singer’s developing voice.
But creatives behind the project now admit they didn’t walk into the studio 10 years ago with the intention of making music geared toward a young audience.
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