D’wayne Wiggins
SoulTrain.com: You established an entertainment company before the band disbanded, Grass Roots Entertainment. Grass Roots Entertainment has worked with some of the best in the business. You developed Destiny’s Child and signed them back in the day. When did this happen?
D’wayne Wiggins: Grass Roots Entertainment was a company I formed in 1995. Before that, it was called Boom Town, that was formed in 1990. I produced a number of groups and production around the Bay Area. One of my favorites was Kenya Gruv, a group that had a song on the Menace to Society movie called “Top Of The World.” We call it the hit that never was. At the time I was learning a lot about labels and producing. As Grass Roots, I had the honor of working with Alicia Keys in my studio called House of Music, which was in a Victorian home located in Lower Bottoms Oakland. Alicia had this raw vibe about her and she was hella-self- driven. I like her powerful demeanor and I could tell she made her own decisions and felt like “I’m gonna change some stereotypes.” We did some dope jam sessions and she opened up another side of me in the studio, that edgy side that you could lose in the R&B thing. That’s a good woman! I developed Keyshia Cole, who lived inside the studio for a few years. It was more like family mentoring and production with Keyshia; that’s my girl. We had the craziest times. She also used to work at my café called Jahva House and I always knew this young lady had it! Like I said, I was a fan of these artists as well. I loved seeing the passion in their eyes, even to this day when I see them in the world doing their thing. I feel incredibly proud, like I always knew, and there is a God.
SoulTrain.com: Which Destiny’s Child albums did you work on?
D’wayne Wiggins: The biggest experience of my life, in terms of the business, was the signing and developing of Destiny’s Child. Not for the money of it; I had done larger money deals at the time. It was the info and game. These young ladies were some grown women in young girl bodies. I signed them when they were 13 and 14 years old. They were focused and could see the light. I moved them into a 6 bedroom house in Oakland that I furnished and set up like it was a early version of The Real World, only it truly was. I must admit, this was grooming for me and my daughter, in years to come. I’m feeling that now. I recall a time in the studio when I would arrange vocals and Beyoncé would be on the mic. I would throw her a harmony, not to do on the mic, and she would follow up with a barrage of harmonies and melodies that would blow my mind. The way they worked together, and yet be minors, was incredible. This is another case where I was the production and a fan. I loved the experience of meeting the family—Tina, Matthew and Solange—and I felt the trust and respect. I always felt like, ‘Wow, they trusted me with their children to look after and produce, as well as making sure that their education was in place.’ I say it was the most incredible experience because I had to not only do music, I had to hire a tutor and make sure I wasn’t over-working them like grown-ups. The funny thing is they were work horses in the studio and gave me a run for my money. Beyoncé would be behind the board dancing and throwing her hair like she was in a concert live. Kelly would be like I got this side of the stage. In the studio LeToya was so crazy funny and LaTavia was like the little grown up. I love those young ladies and I’m so proud of them for staying solid through it all.
The production was one thing, the business was another. I mean this! After I would leave a Tonys meeting about marketing a tour, I would meet the officials at Sony for Destiny’s Child and I would have to turn my brain up another level. It taught me how to stay focused and be a better team player. I have always been on that “who’s next” level when it comes to producing artists.
SoulTrain.com: You also did some collaborative work with Jody Watley. Talk about that a bit.
D’wayne Wiggins: When producing Jody Watley, I first had to get over my young crush, and that was easy because the first time we met in person I was late. That’s what you don’t do with a professional or a strong woman. So, she got me on point and we made beautiful music. We did a song on the Dr. Doo Little sound track to start and we also did a song for Destiny’s Child called “Sweet Sixteen.” I really enjoyed working with such a legend and beautiful lady.