Studio Sessions | Rodney “Darkchild” Jerkins reveals what led to the creation of Destiny’s Child’s hit song “Say My Name”

Rodney “Darkchild” Jerkins has officially been nominated into the 2025 class Songwriters Hall of Fame, but he’s been the musical genius behind hits for Whitney Houston, Mary J. Blige, Michael Jackson, and more for decades. From Destiny’s Child's “Say My Name” and Mary J. Blige’s “I Can Love You” to SZA’s “Shirt,” Darkchild’s biggest hits came from connecting with the artist beyond the music.

“Whitney Houston, who I consider the greatest female vocalist ever, showed me a lot. It wasn’t just in the sessions, it was also outside the sessions. It’s her calling me asking, ‘Can we pray together?’” Jerkins told REVOLT. “Those things to me matter, even more than the music. When you're building relationships with those artists, there's a trust there and a bond there that goes far beyond the music.”

In this installment of “Studio Sessions,” the legendary producer explains the personal bond he formed with Michael Jackson and Whitney Houston, how working on Brandy and Monica’s “The Boy Is Mine” led to Houston’s “It's Not Right but It's Okay,” and the real-life argument that led to Destiny’s Child’s “Say My Name.”

You have logged over 30 years in the music industry and secured a nomination into the Songwriters Hall of Fame. Can you reflect on some of the sessions behind that legacy?

I was in a lot of sessions putting in a lot of hours. Those hours I put in my mom and dad's basement prepared me to show my skills in the studio. That’s when people respect your work and what you can do. Early in my career, I didn't have time to really enjoy life outside of the studio. That's why I really enjoy life outside the studio, my kids, my wife, and my family. In my entire career, I've never had a moment to not do something even while I was away on vacation. I’m not regretful because it made me who I am. Working with Whitney Houston at such an early age benefited me in the long run. Working with Michael Jackson at the age of 21 benefited me in the long run because those are the artists I wanted to work with so badly as a teenager. I worked with Mary J. Blige and Patti LaBelle. These are legendary artists. They helped catapult my career early on and gave me jewels on how to withstand some of the tests I would go through as I progressed in my career.

What is a lesson Patti LaBelle taught you?

Patti LaBelle taught me that, as a producer, you have to be bold in your work, and you have to speak up in your gift. I remember working with her. It was early in my career and I was a little hesitant to tell her that she was flat when she was singing a certain note. How do you tell Patti LaBelle she’s off-key? My brother was like, “Yo, do what you gotta do. This is your job.” Then she told me, “Baby, you can tell me when I'm not singing on key. You can tell me when I’m flat.” That built my confidence, and I knew that was part of my job.

I had to have that confidence with many other artists. Whitney Houston, who I consider the greatest female vocalist ever, showed me a lot. It wasn’t just in the sessions, it was also outside the sessions. It’s her calling me asking, “Can we pray together?” Those things to me matter, even more than the music. When you're building relationships with those artists, there's a trust there and a bond there that goes far beyond the music.

What’s a side of Whitney Houston the public rarely got to see that you were able to because of your work with her?

Whitney used to sing at my dad's church in Pleasantville, New Jersey. When you're in the studio, a small, confined space to work, there’s a portion of that session that has to be honest. You have to open up about your feelings and your honesty because you're trying to make the best song. The only way to make the best song, in my opinion, is always to be truthful. Before she passed away, Whitney was at my studio. She wasn’t working, she was just there for prayer. The same is true for Michael Jackson. Years after we worked together, [he said] “I need to come see you. I need you and your father to pray for me.”

Whitney’s “It's Not Right but It's Okay” is one of her biggest songs ever. How did that come about?

At 17 years old, I signed my first publishing deal. The publisher who signed me, Brian Jackson from EMI Publishing, knew he had a way for me to get to Clive Davis. At 17 years old, I did this song, and we went up to meet Clive Davis. Clive heard it and shut it down. He said it was one of the worst songs he ever heard in his life (laughs). He told me to keep working. A few years later, I'm doing “The Boy Is Mine” for Brandy and Monica. Monica was on the Arista side, so she was on the Clive side. Now, Clive is hearing “The Boy Is Mine.” So, he told me, “I want you to work with Monica.” Then I did “Angel Of Mine” for Monica, and that put me in Clive’s world.

Eventually, he asked, “You have anything for Whitney?” I played him “It's Not Right but It's Okay,” and that was it. Whitney hadn't started her album yet. My song is what jumpstarted that album. When he heard that song, he called her immediately. He told her to come to his room to hear it. He played it for her. Two weeks later, I'm in the studio with her recording. I remember it took four days to get her in the studio (laughs). I remember going to Mendham, New Jersey, where she lived. She had a studio in her guest house, and I stayed there. I remember waiting the first day thinking that she was about to come record. Then she says, “My voice ain't there yet. I'm a little under the weather.” So, I’m just patiently waiting. The second day, still the same thing. On the third day, still not ready. On the fourth day, she finally came over to the studio and it was beautiful, man. I was outside playing basketball with her and her daughter, hanging out at first. Then she went into that booth. I'm looking through that glass like, “That's Whitney Houston.”

She's just effortless. It just comes out. We were kicking it. Even though we were recording, she was so cool. We had a lot of similar things in common. She's from Jersey. I'm from Jersey. Church was a big part of our conversation. We could share those similar stories. That made that session go that much smoother once she got in. Months after we were done recording, she was like, “Hey, I want to come to your church today. Give me the address.” Then, she just pulls up and she sang at my dad's church.

So, a session for one of Whitney Houston’s biggest songs led to her singing at your dad’s church. Any other session lead to you making a memorable connection outside the studio?

Yeah, my and Notorious B.I.G.’s paths crossed when I was in Orlando, Florida, working with Shaq. I was at his house, and that happened to be the day Biggie was there to do his verse on “You Can't Stop the Reign.” Shaq gave us tickets to the Orlando Magic game that night. Biggie and I hung out and kicked it the whole game. Then we became friends. I don't know if you noticed, but early in my career I produced a song “The Things That You Do” for Gina Thompson. B.I.G.’s in that video. A lot of people thought he was there because Puff was part of that song. Nah, Puff had nothing to do with that. He was shocked that B.I.G. was there (laughs). I got Biggie to be in that video. Then B.I.G. had a show in Atlantic City, and my mom cooked for the whole Junior M.A.F.I.A. I wish I could have known him longer.

With a history like that, you must have a deep vault of unreleased music. What are some songs you hope could come out one day?

I did a song called “I Can't Go On” with Beyoncé. It was good, but it wasn't better than “Deja Vu.” So, it never came out. There's a song on Brandy’s Full Moon album called “I Thought.” I got another song that we did called “Second Thought,” which was a ballad version of that song. It was supposed to be for the next after that. I had another one with Brandy called “Empty Promises.” Now that should have come out (laughs). It would be dope if we were able to put out a Darkchild project of my unreleased songs. I just don't know how the artist would feel about that.

That would work because you also said previously that you and SZA did a bunch of songs during the SOS sessions.

Those songs are really good. I feel like one of them is better than the song “Shirt” we did together.

I heard that you have a particularly funny story behind the making of Destiny’s Child’s “Say My Name.” Didn’t it come from a conversation?

Yes, it came from LaShawn Daniels. He’s not with us anymore, but when we were working in a session that day with Destiny's Child, he was on the phone arguing with his baby's mother. I remember he kept telling her, “Say my name” because it was another guy in the room with her or whatever. They weren’t together, but he was still yelling. They were going back and forth arguing. He said, “Well, say my name.” When he said that phrase I got goosebumps in that moment. I was just sitting down in the lounge chilling. I told him to hang up the phone. Then, we went into the studio and wrote “Say My Name.”

What else do you have planned for your career?

I'm really locked in the Christian space right now, such as Christian Hip Hop. I have an incredible roster of artists. I started a label called ALIENZ ALIVE. I got a great roster and I'm kinda locked into that. I'm focused on building that right now and getting that to a place where it doesn't need my attention as much as it needs right now. I'm having fun with that as far as producing. Sometimes I tell myself I'm only gonna do it for three more years, and then I'm not gonna do it anymore. I would have to see if I can keep myself away from the studio. I love developing talent.