One half was like, I hope this doesn't affect it, and the other half was like, it's great that people know I did a Beyoncé record.

One half was like, I hope this doesn't affect it, and the other half was like, it's great that people know I did a Beyoncé record.

I made the record, and I sent it over to Jay Brown, who was working on Rihanna's album. He was like, "Send me that record for Rihanna."

She [Beyonce] is just an energetic performer and she loves drums. She loves edge.

I mean, just like every other prominent songwriter or producer, you have the shot. You send in records and if they make it, they make it. If they get heard, they get heard. I'm not sure if you know how that circle of songwriting and producing works, but every time a big artist is working, everybody and their mother is in the studio writing records to try to get on it.

I had to learn, because as an artist myself, an artist owns that right to protect their interest of how they want to roll their project out. It's just important to give them that opportunity to roll it out the way they want to.

The first two songs that I wrote, produced and demoed with my voice on it was that song and then Akon's "Sorry, Blame It On Me." The first two demos I ever wrote and demoed, the two biggest artists at the time took them.