Abby O'Reilly had been Australia's best-selling singer for the past five years, also topping charts in the UK. However, the Newcastle native and her label, First Fleet Records, had tremendous difficulty breaking into the American market. First Fleet Records CEO Malcolm Fletcher was convinced that Abby could become a big hit in the States--"bigger than Taylor Swift!", he'd insist, a lofty goal that even Abby wasn't sure she could reach. As Abby prepared to record her next album, Malcolm urged her to focus on crafting material that would likely be successful in the States. "I think you have it within you to make a female 'Thriller,'" Malcolm told Abby in their last meeting. "You can do this."
Malcolm was convinced that a sexy R & B track would be the key to success in the American market, and recommended that Abby collaborate with Lawrence Hall, the New York-based singer and producer known for his "bedroom bangers," or sexually charged hit singles. "I think you guys can make a real big hit," Malcolm advised Abby the night before her flight to the States. "But a word of advice: he's known as a real ladies' man, if you get my drift. There have been stories about...well...you know..."
"I know, Mal," Abby responded. Lawrence was widely rumored to have written hit singles for some of America's top singers in exchange for sex; "blowjobs for bangers" was the term most often used in reference to Lawrence.
"OK. Well, best of luck."
When Abby visited Lawrence's offices in midtown Manhattan a few days later, she didn't know what to expect. Would Lawrence try to get her to go along with one of his rumored "deals"? Would she even get along well with him?
She paced nervously in the bathroom before going into the conference room. She looked at herself in the mirror; her vibrant blue eyes were nervous, her pale skin flushed with sweat. She had her long red hair tied in a ponytail; she usually wore it loosely around her shoulders, but feared that doing so with this supposed skirt-chaser might not be a good idea.
Lawrence was already waiting for her in the conference room. He stood up to shake her hand: his handshake was a firm as his face was handsome. Abby suddenly felt relaxed around this very tall, muscular black man. Maybe he wasn't as bad as his reputation, she thought.
"Miss O'Reilly," Lawrence said in his deep, sexy voice, "it is indeed an honor to meet you."
"Why, thank you," Abby meekly responded.
"I'm a big fan."
"Really? I thought I was kind of, you know, anonymous in America."
Lawrence smiled. "I don't think that will be the case for long."
Abby sat down, and caught a glimpse of Lawrence's eyes brightening up at the sight of her large arse, covered in her white dress, easing into the chair. Yeah, he's thinking sex, Abby thought. But he's kinda cool...and really good-looking.
Lawrence sat down. His black skin looked so gorgeous above his crisp blue shirt and tie and black jacket; Abby was quite impressed by his fashion sense.
"So, Malcolm told me that you're looking for a song for your next album."
"Yeah...something that's really sexy, something that sounds like, well, a Lawrence Hall song."
Lawrence smiled. "I guess that can be arranged."
"I want something that sounds really hot...but romantic. Something that reminds people of when they fell in love for the first time, and when they fucked that person for the first time, and how good that felt."
"Oh, yeah...that sounds really hot."
"You know what I mean? Like when you connect with somebody, and when you finally fuck them, they're so good that they just make you want to yell, 'Whooo!'"
Lawrence's eyebrows raised. "Damn, that's it!"
"That's what?"
"That should be the title. 'Whooo!' How about this for a hook...uh...let's me see...'Ain't nothin' like that moment when you're with someone new/and when they love your body right, it makes you wanna say 'Whooo!'"
"I like it!"
Abby and Lawrence spent the next few days writing and recording "Whooo!"; after hearing the final version, both the singer and the producer were convinced that they had the song that would make her a massive hit in the States. Malcolm was also impressed by the song, but he felt that it wouldn't meet its full commercial potential unless it had a strong video.
