was "neither Texan nor Mexican" in its form, but a representation of international Spanish music "under the guise of a slow cumbia". Similarly, "Yo Me Voy" has the same qualities as "Yo Te Amo". Vela enjoyed Rocío Dúrcal's 1987 version of "Yo Me Voy", a Juan Gabriel song. He wanted Selena to record it and played Dúrcal's recording to A.B. who agreed that the song would suit Ven Conmigo. A.B. collaborated on the arrangement with Vela. Local songwriter, Johnny Herrera, wrote "Aunque No Salga el Sol", which was originally written for Lisa Lopez as a follow-up to her 1982 number-one single "Si Quieres Verme Llorar". Lopez had rejected the song, finding it weaker than other recordings that were provided to her. Patoski thought the song was "one of the most poetic works ever written by a Texas composer". It was given to Selena to record in 1985 for Bob Grever's record label; she later re-recorded it for Ven Conmigo. Vela used "more percussion and sequencing" than similar pop ballads. Quintanilla III worked with Pete Astudillo on a concept melody he had thought of while the band was resting following a concert in West Texas. Called "Baila Esta Cumbia" it was recorded for Ven Conmigo. Beginning with this album, Selena started experimenting with vocal arrangements during recording sessions. She added an outro to "Baila Esta Cumbia", her first attempt at adding "counter melodies " to finished projects; "she would often change vocal [notes] to suit her and what she thought [sounded] better" recalled Chris Pérez. "Baila Esta Cumbia" echoed works by Fito Olivares, and became a hit single in Mexico, "opening the doors" for the group in that country. Astudillo co-wrote the title track, "Ven Conmigo", with A.B. using the same stylistic sounds found in música norteña recordings. Vela and A.B. traveled to Poteet, Texas, and hired David Lee Garza, his brother, and father to play and record the accordion, drums, and bajo sexto, respectively for the track that gave it "a Tejano flavor". After discovering that Behar invited high-profile pop music executives to the 1990 Tejano Music Awards, Abraham argued that a hip-hop-esque song could impress them and solidify a crossover deal. A.B., Astudillo, and Vela worked on the idea through the night at a Motel 6 in Albuquerque, New Mexico, using eight keyboards, a mixing console, and monitor systems. "[B]ack then we didn't have the fancy computers with all