The Day After Tomorrow I was

The Day After Tomorrow

I was singing with a black group, at the time, there was some interest from some labels we wrestled with them for a few years. Then there was some interest from Motown. But they just wanted me, not the group. I was kind of looking for a way out at the time, so that was a welcome exodus, if you will. Well, that ended up being a really, really bad deal. I remember my attorney at the The Day After Tomorrow telling me if you sign this, there is no way out for you. They re wanting you to relinquish all rights to everything, but promising you next to nothing. So I ended up not signing. I was living in Pittsburgh, immersed in the dance music and the club scene. I was just 18 when all this went down. I d heard of his triumphant turn on the Harlem stage, and wondered how much winning on Showtime At The Apollo influence or change his career? That show, that night, that performance, it really changed me. They say that the Apollo is a really harsh crowd, and I feel like that puts it lightly, he recalled, laughing. And if you can sing there, you can pretty much sing anywhere. If you can win that audience over, then you re on the right path. That was definitely a life changing evening. My singing and winning is what prompted me to move to NY, because I felt it was where I had to be. And so the New York leg of the journey begins. Walker moved to the city, and was soon signed by legendary DJ/Producer/Music Impresario Junior Vasquez. It is with Vasquez that Walker s first two albums, This Is My Life and Flexible, were born. I asked about the sound and energy of the music. I was a big Junior fan before I moved to New York, so the thought that I got the chance to work with him was a big thrill for me. His music was kind of uninhibited, wild, and sometimes erratic. And I got to be a part of that. I thought I had a better chance of working with Peter Rauhofer or Danny Tenaglia than with Junior Vasquez. No one else was sounding like him. He paved the way for a lot of people, with that kind of sound. What was it like working with the legendary DJ? I feel like my music with him came in on the heels of when he was really, really big on the New York club scene. But he was still packing the really big places. The insanity that was Junior Vasquez was still, like the city was still abuzz with him and everything he did. After the muscular vocals and driving sound of Junior Vasquez, Jason worked with Quentin Harris. With Harris, this work seemed to have a more personal touch. Oh, yeah. I agree with you there. I have always considered myself to be a pretty well-rounded singer. I moved to NY because I wanted to do club music that was my plan when I moved here. Just because an opportunity came along to work with Junior didn t The Day After Tomorrow I didn t want to do anything else, or wasn t able to do anything else. An opportunity The Day After Tomorrow itself and I jumped on it. I jumped on it because I love that music and I thought Quentin was amazing.