Then I repeated the pattern in a higher octave a number of times thinking we would fade it out each time while recording to tape.
Slowing the tempo of the DSX sequencer down and starting very slowly, I played the pattern without quantization and gradually sped up as I approached the top of the keyboard. In “Juicy Fruit,” I had come up with an out-of-tempo arpeggio-like ascending pattern that-now that I think of it-was thematically related to the subject matter of the original song. That got me thinking about musical devices. The “Juicy Fruit” track later became the basis of “Juicy” by the Notorious BIG. In the process, the curator of the music library at Sony/ATV/EMI publishing, said that he had been listening to “Juicy Fruit,” a song on which I had done quite a bit of synthesizer arranging and then played on. It was a B-side of a single from our 1989 album Rhythm and Romance. I had called my music publisher in search of a copy of a song Mic Murphy and I had done called “Why You Wanna Hurt Me” with our band The System. The other night, I lay in bed sleepless, thinking about the events of the day.
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