In The Studio With Michael Jackson: A MUST for fans of the King of Pop

In The Studio With Michael Jackson: A MUST for fans of the King of Pop

by DAMIEN SHIELDS posted on JULY 6, 2013

Last week, at Smash Studios in midtown New York, Michael Jackson’s long-time studio technician Brad Sundberg held two seminars, entitled “In The Studio With Michael Jackson”. Today I am bringing you some fascinating details from within those seminars which I hope will do the experience justice and encourage fans to attend future sessions.

For those who already intend on going to one (or more) of the future seminars – some of which are being planned for Orlando, Paris and Los Angeles – and would prefer to keep the details of the presentation a surprise; I suggest you stop reading now. For those who don’t intend on attending; keep reading. This article may very well change your mind.

Brad Sundberg was fortunate enough to have experienced musical greatness first-hand. Over the course of eighteen years, between 1985 and 2002, Sundberg worked intimately with the King of Pop; including on four albums, numerous short films, remixes and even on projects at Jackson’s Neverland Ranch.

Before the seminar officially begins Brad meets and greets the group with a smile and a handshake, while classic Michael Jackson tracks play in the background. Everyone then checks in, receiving a nice “In The Studio With Michael Jackson” travel mug, day bag/backpack, and a bottle of water. For obvious reasons, all phones, cameras and any other potential recording devices are surrendered. Once that’s been done it’s time for school; MJ school.

Brad opens with a quick informational about himself and his career. “He has a great way of talking,” commented one fan who attended, explaining that rather than using a schedule or reading from a script, he takes a more down-to-earth, off-the-cuff type of approach.

“He first and foremost says something to the effect of, ‘I’m just a regular tech guy. I was in the right place at the right time’,” recalls an attendee. “He told us, ‘I started as a “runner” getting burgers and coffee for the team’.”

He then introduces his daughter, Amanda, who operates a sound board and computer with audio and video samples at the ready. They have a cute banter between them. Brad is always asking her to cue the next fascinating clip he has in store to his audience. She’s always trying to keep her dad on course in an attempt to deliver all the information, tell all the stories, show all the video, and play all the audio within the allocated four hours – which ultimately, they couldn’t – even though the seminar went longer than it was scheduled to. Brad kept saying, “I just have to tell this 30 second story first.”

After all, he has so many!

The atmosphere in the studio was great. All in attendance had an amazing seat and view of the projector screen, which was quite large; probably six by six feet. You could pay more for a VIP pass, which allowed you priority entry and a seat in the first rows. VIP attendees also had the privilege of spending an additional hour or so with Brad where you could get more information, ask questions and even share Michael’s favourite meal.

Fans, of which there were approximately forty in total, were eager, hanging on Brad’s every word.

He brought along a fourteen-layer digital multitrack of “Bad” and spent fifteen minutes playing with it, showcasing Michael singing leads and backgrounds separately. He isolated, the horns and even David Williams on guitar.

“He created the most amazing remix right in front of your eyes. It was thrilling,” said one of the attendees.

Fans learned that the uptempo tracks recorded for the “Bad” album were originally around nine minutes in length and required some major trimming for the album. Once trimmed, the edits were sped up by 6% before being made public. The purpose of speeding the mixes up was to bring more excitement to them. As a result Michael’s voice sounded ever so slightly higher on the final album versions. Brad preferred the originals, pre-speeding them up.

Brad told the tale of recording the spoken intro to “I Just Can’t Stop Loving You”. They built a microphone into the head of a mannequin, which Brad showed the audience. To record the intro Michael hopped into a bed with the mannequin and spoke into its head. Brad wasn’t a fan of the results and radio and club DJs hated it, so they removed it from the next pressing.

MICHAEL & BRAD IN THE STUDIO

Michael, being a perfectionist, was never satisfied with the “Bad” album. In fact, after they kicked of the Bad Tour, as they worked on radio edits, singles and dance mixes, they kept amended the album. Brad said that the version of “Bad” that came out in August 1987 was not exactly the same as the version that was issued merely months later. They just kept working on it; perfecting it.

Brad played three versions of “Streetwalker”, a track which was considered for the “Bad” album but was ultimate pipped at the post by “Another Part Of Me”, back-to-back. One was the version we know, from the 2001 “Bad” Special Edition and subsequent 2012 “Bad 25″ release. The other two were different, featuring an eerie ‘Wild West’ style intro and different ad libs.

Brad personally preferred “Streetwalker” over “Another Part Of Me”, as did Michael.

The completion of the “Bad” album and world tour in 1989 saw a changing of the guard in regards to the direction Michael wanted to take with his music. For starters, Quincy Jones would not serve as head producer on his newest studio venture. Instead, Michael spread the creative duties between a combination of collaborators; some new and some old.

Sundberg was invited back, as were the old firm Bruce Swedien, Bill Bottrell and Matt Forger. New on the scene was talented musician Brad Buxer.

The early sessions in 1989 and 1990 saw Michael working with producer Brian Loren. However, as the album evolved, Loren was seemingly phased out, being replaced by ‘New Jack Swing’ producer Teddy Riley.

As work on the project heated up the collaborative sessions became quite competitive. There were three studios in action at once; one headed by Bill Bottrell, one by Bruce Swedien and one by Teddy Riley. Brad would drift between Bottrell’s studio and Swedien’s, but wasn’t required in Riley’s. Michael would frequent between all three, often arriving with comments to rev the teams up. “Oh boy they got some smelly jelly going on in there,” he would tell the rival production groups, just to make sure they were on their toes.

Every team wanted their songs on the album.

Members of the group Toto were involved in much of Michael Jackson’s musical journey, including varying contributions to “Thriller”, “Bad”, “Dangerous” and even “History”. Steve Porcaro, a member of the group who had previously written the music to the song “Human Nature” from the “Thriller” album in 1982, had contributed a track that he hoped would make the cut of Michael’s latest endeavour.

The new track, “For All Time”, for which Michael recorded a demo in May of 1990, was Porcaro’s answer to “Human Nature”, eight years later. Brad explained that Steve would say, “Brad, I gotta get this on the album,” to which Brad would respond with something to the effect of, “As if I have any pull!”

“It was as if getting a song on a Michael Jackson album made you a millionaire all over again,” opined a fan. And it probably would have.

Michael, of course, loved the songs that he had personally written. They were his babies. But, if you could get his attention, if he fell in love with a song of yours, there was every chance it would make the final track list. Michael knew what he liked and he knew what would work.

Siedah Garrett is one songwriter who had been lucky enough to land a song on a Michael Jackson album.

In 1987, Michael recorded a rendition of her track “Man In The Mirror”, which she had co-written with Glen Ballard. The song ultimately featured on the “Bad” album, and following its release as a single in early 1988, shot to the top of the charts around the world, giving them a #1 hit on the Billboard Hot 100.

For his next new project, which would eventually become the “Dangerous” album, Michael was to record a piece he had co-written with Siedah and Glen; a gospel-driven track called “Keep The Faith”.

In the seminar Brad shared an amazing story about the recording of the track:

Michael loved “Keep The Faith” and always intended to include it in the new album. Michael and the team worked very hard, long hours on preparing the track, the music, everything. However, when belting out the final vocal, something happened that threw the entire song out of whack; Michael’s voice cracked.

Brad had never heard Michael’s voice crack before. Michael was really taken aback and got upset about it. Because his voice was cracking, the pitch of the song would need to be dropped in order for Michael to deliver the vocals the way he wanted to.

Everyone was supportive, and they started over.

The final version that we all know and love from the “Dangerous” album, Brad recalled, is Michael delivering the track as if to say “I’m sorry” and “Thank you.” He said you can hear it in his voice.

Brad told that Michael always had scalding, almost-boiling Evian water in the studio; for his voice. Michael would warm up for two hours before a session with his famous vocal coach, Seth Riggs. Brad missed that stuff the most, he said – just taking for granted Michael warming up, doing scales, or moonwalking in circles while they worked on something.

He broke down and got emotional a couple times throughout. Although Brad and Michael were professional colleagues; they were also close friends. Michael loved and trusted Brad, and Brad felt the same, repaying Michael with unconditional loyalty throughout the years.

Brad loved the feeling of the studio because it was a “dark cave”, like he, Michael and the team worked in back in the day. Sometimes Brad would ask if he could turn the lights all the way down because that’s how Michael recorded; with just a single light for the music stand.

Sometimes, however, the lack of light backfired in the studio. For example; whilst recording the original demo for “Dangerous”, Michael attempted to move the wall behind him. Unfortunately the legs became unstable and the wall ended up falling straight on Michael’s head. You can actually hear the incident unfold in the beginning of the demo (see below) which was ultimately released on “The Ultimate Collection” in 2004.

Michael and the team continued to record for approximately an hour and a half after he was struck by the wall. When they wrapped the session Brad called the doctor, who advised that Michael should be professionally assessed for concussion. In the “Bad” and “Dangerous” sessions security was pretty loose. There wasn’t really anyone around, other than the technicians, and Michael. So, Brad drove Michael to the hospital himself, in his little old car.

Attendees were treated to a number of exclusive pieces of Michael Jackson magic through the course of the seminars – things that have never circulated the fan community.

One item was a two hour audio recording Brad has of the collaborative session in which “Give In To Me” was conceived.

Originally “Give In To Me” was being drafted as a dance track, with a drum beat programmed to play while Michael and his guitarist jammed, ad libbed and figured out the melody. However, over the course of the two hour recording, the song evolved into the form that it was eventually released in. Michael realised it was not meant to be a dance track. The music took a direction of its own, and the pair ended up with a rock song. Brad shared portions of the the two hours, which he had personally trimmed down to around twelve minutes. Brad feels the world needs to hear this type of thing.

“Boots Groove” was an unreleased demo that Brad shared with the group. “It really sounded similar to ‘Get On The Floor’,” commented a fan. “That Brothers Johnson bass line.” Another unreleased track that Brad let one group hear is being referred to by fans as “Faces”.

He played the “Don’t Stop Till You Get Enough” demo too, which was just Michael and the drummer doing percussion. “The bottles and drums were thrilling.”

Another great exclusive was ten minutes of personal video Brad shot of Michael and Sean Lennon experimenting with a theremin (musical instrument) during the HIStory sessions. Michael really is a big kid in the footage. He’s just having a blast, wide-eyed and giggling as if he had not a worry in the world.

But perhaps the most special moment was the full-length video of Michael in the studio singing “Childhood” live with the NY Philharmonic. “It’s truly breathtaking,” beamed a fan who was lucky enough to have witnessed it. Michael can be seen in a soundproof room of glass, standing behind a huge room with the New York Philharmonic Orchestra and their conductor, giving Michael cues and entrances.

His vocals are incredible. He sounds amazing, and does this interesting “voice clear” away from the microphone between difficult phrases – which they edited out, of course. When the sweeping orchestra comes in mid-song – “Have you seen my childhood? Dah dah dah dah dahh dahhhh” – Michael is conducting, triumphantly swinging his arms saying, “Yes! Yes!” He grabs the sky and pulls down like a child. You’ll never see Michael look happier. He looked great, grinning from ear to ear. Truly amazing stuff.

The orchestra playing through “Earth Song” is also thrilling. “It sounds like Tchaikovsky or Brahms,” said one fan. “You almost don’t recognize MJ’s art in it.”

There’s also a great gospel “vocal warm up” with the Andrae Crouch choir for “They Don’t Care About Us”. They’re in a circle, singing a capella; “They don’t care, they don’t care. They. Don’t. Care. About us. They. Don’t. Care. About us!” It’s fabulous.

Brad apologized during the seminar, saying he can’t imagine how many priceless lyric sheets, music sheets and things of Michael’s that he just swept off the music stand into the trash when they were done. But he said, in hindsight, if he had kept every thing, every item, he would have been a fan and not a co-worker. And if he were just a fan then he wouldn’t have belonged in the room with Bruce Swedien, Bill Botrell, Matt Forger, Teddy Riley, Rod Temperton, and Michael Jackson.

“One of the best things about the seminar was that it was held in an authentic recording studio,” said one attendee.

Michael always said, “Hurt me! Bring the volume up to 11,” and that’s what Brad did. Out of courtesy he did ask the group if anyone wanted the volume to be lowered, but everyone said, “No!” The audio and video examples were played loud and clear. It was amazing. The bass, horns, strings; everything was played on an array of amazing hi-fi speakers. “You really got to examine the music.”

“This was $150 and exceeded my expectations,” concluded one fan. “Four hours in the studio with no cameras, no video or recorders allowed in. It was school for four hours and he could have gone on. The fans wanted to keep going or attend another one. Brad is a true ally of Michael’s.”

So, enough from me regarding the contents of the seminar. After all, this is not intended as an event spoiler, but more of an appetiser to encourage fans to attend. Reading about the details and experiencing the magic in person are two completely incomparable things. And each seminar is different, so you’re bound to learn something new at each and every session.

For more information and updates on future seminars, visit the “In The Studio With Michael Jackson” Facebook page here:
http://www.facebook.com/inthestudiowithmichaeljackson

http://www.damienshields.com/i…-fans-of-the-king-of-pop/

...und noch eine Review aus dem InnerMichael Blog..

http://www.innermichael.com/2013/07/in-the-studio-with-mj/

In the Studio with MJ

“They don’t make music like that anymore” is not just a cliché. Especially not in this case. They literally don’t make music like that anymore.

In a dark cavern-like atmosphere high in an office building somewhere in New York City in classic tradition of the “Rock ‘n Roll studio complete with red and black curtains, a man stands in the front of the room reminding the audience: “Remember, I am a just “techie,” (a technician.)

The console, with its thousand buttons is attended by his daughter whom he fondly refers to as “Granny.” She is on the late side of twenty and is obviously a “techie” too enjoying her role as dad’s sidekick– but not really, for she is the one “manning” the console and keeping her dad on track. (pun intended)

She remembers Neverland distinctly, the animals, the candy, the carnival atmosphere. What she doesn’t remember is Michael lying on the floor playing with her when she was a babe. She was too young to remember though there are pictures to prove it. Dad, however, remembers it. Jackson’s understanding and appreciation for family is conveyed in stories Sundberg shares in his seminar “In the Studio with MJ” about the “crew” being treated to food catered in daily courtesy of their boss Michael and on Fridays, the day Michael called “family day.” Each Friday whomever was working with Jackson at the time was allowed to invite family to visit the studio, Neverland or wherever the workplace of the “crew” happened to be.

In Brad Sundberg’s case the workplace was both recording studio and Neverland. Jackson, when building his empire tribute to the child, employed Brad as a sound techie to moonlight on his Neverland estate beyond the studio. “There were no birds at Neverland” says Brad but Michael thought the sound of birds would enhance the experience on the grounds, so he wanted bird sounds piped in. To accomplish that, Brad had to wire up phony birdhouses into the trees that hid speakers playing the sounds of warblers that would overdub the sound of music that came from artificial rocks everywhere in the landscape.

Brad suggested to Michael at the ornate entrance to the ranch, the one that everyone remembers with the crest and name “Neverland” spanning the arc over the entrance, that a 4 minute medley of Jackson’s most recognizable songs be looped to greet visitors, citing that Jackson’s own music should greet them.

“That’s not what I want;” said Jackson who instead requested a quality recording of ‘Danny Boy.’
Stunned, Sundberg asked Jackson why he wouldn’t want his own melodies and lyrics to be the first music heard at the entrance to his famous home and constitute their first memory for the visitors to the fantasy oasis.

“I don’t want my music;” Jackson said.

Brad couldn’t understand it. The most famous musician in the world at the time didn’t want his own music at the gate to his first real childhood home? Incredulous, Brad asked: “Why not your own music?”

“Well, it’s just embarrassing” was Jackson’s only answer. And the matter was dismissed and never visited again.

So the music that greeted visitors was ‘Danny Boy.’ And the rest of the grounds played Disney tunes and classical music. Brad remembers people hired to attend the grounds and rides relating a story about the music at Neverland: “Doe, a deer, a female deer, Re, a golden drop of sun; Mi, a name I call myself….” according to Brad, you could only hear that just so many times before having to fight the impulse to tear out big clumps of hair.

Neverland was a magical place, not the child-luring trap that it was painted by cynical tabloid hacks. It was a sanctuary and tribute to the child or for adults, the child within; and according to Sutherland, it was the most beautiful place and indeed magical and more. “It was a class act,” he says, “just like Michael.” It was a place that was built to entertain children and a place for healing.

Healing? Oh yes, research reveals Jackson understood healing extremely well. The healing power of music, of visuals and of embracing the spirit of the child without restraint or limitation. Everything at Neverland was specially made and free. Jackson understood the healing power of music, of water, of a magical atmosphere, the fascination and joy of live animals, the medicinal value of play and rides and carnival, of carefree escape from the world– its problems left behind. Jackson knew that some moments of magic last a lifetime. For some kids, he knew one day of magic might sustain them through a difficult childhood.

There’s a clip of Michael throwing a party for someone on his crew who is destined for the hospital and surgery and gifting the man with videos and a video player. All the videos are films like The Three Stooges that elicit laughter; Jackson knew about hormones and the healing power of laughter. Or the power of being immersed in magic to sooth a tattered soul. He studied it. His gift wasn’t so much a get well gesture as it was a prescription for healing.

Providing daily food and an invitation for families on Friday illustrates not just Jackson’s thoughtfulness, but a deeper understanding of the concept of food as medicinal and fortifying, a kind of communion shared by kindred spirits gathered in a space consecrated for the act of creation and honoring the creative impulse. Inviting families is a subliminal message about community and what makes community– a breaking of bread together with a beloved family. It should come as no surprise that Michael Jackson did this in his personal and creative life as well as in his more commercial message: “We Are the World.” Apparently he lived his message and invited others around him to live it too. He silently built community. He walked the talk and coaxed everyone around him onto that same path.

Speaking of the creative process, the guests “In the Studio with Michael Jackson,” courtesy of Sundberg were witness to the raw creative process of what emerges in a jam session with those of like mind making circle. Just a simple programmed drum beat courtesy of Brad, Michael’s guitarist David Williams, and Michael himself in two hours of playing with music morphed into “Give In to Me” originally intended as a dance number that emerged a hard rock ballad. It was clear from the recording that Michael loved to ad lib and jam and that the music itself led the way to its final destination and to incarnation. Jackson’s advice to those coming up in the music business was always to let the song tell you what it wants to do. That process was obvious “In the Studio” as the creative process itself was the treasure within that two hour recording.

David Williams worked with Michael for years and saw his guitar playing as a kind of “secret spice” that when added in just the right amount, made music a magical cuisine. David preceded Michael in death by only a couple of months and Michael took his death very hard and mourned the loss of his friend and musical accomplice.

Brad talked about the magic trio of Bruce (Swedien,) Michael and Quincy and the “hangin’ chops” of the “studio rats” an unwritten and unspoken protocol that permeated the atmosphere and the vibe it established with the assembled artists. If someone came into the studio who was a thief– as in stealing the center of attention, monopolizing Michael or was disrespectful of the creative process, Michael would just disappear into his “lounge” a tiny room built into the top of the studio.

If Michael disappeared, it was a signal to the assembly that Michael felt this person, more intruder than “team,” didn’t meet the “hangin’ chops for studio rats” requirements. The individual was summarily thanked and mysteriously disappeared never to be heard from again.

Michael’s disappearing act wasn’t reserved just for silent protest, but occasionally for a trick he used to get the sound or effect that he wanted. Apparently he was known to reserve 2 or 3 studio rooms and go between them unbeknown to either set of musicians in the separate rooms. Then he would pit the teams against each other compelling their best work by telling them there was some real ”smelly jelly” going on in the other studio. It was his word for maximum funk and music-making magic going on in another room. He and Quincy would sometimes disagree on which songs to release on an album or on the execution or artistration of a particular cut and Michael would secretly work a team in an adjunct studio room sometimes proving his point. For example, Quincy hated “Streetwalker” while Michael wanted it on his “Bad” album seeing it destined for the charts if released as a single. Instead, Quincy vetoed “Streetwalker” in favor of “Another Part of Me.” Brad thinks Michael was the wiser one.

Sunberg shared some of Jackson’s raw work or work that preceded the final released versions. And in a sound studio, the tracks sound much different and much richer than the final commercial tracks. To keep the vibe “pop” and “up-tempo,” some of the original tracks were sped up before release. In some cases, the original had richer sound and a deeper grove and was much more soulful than the released version. It demonstrates Jackson’s soulfulness, vocal chops and depth as a versatile artist to hear the untouched tracks.

Brad was with Michael during Captain EO and spoke of the process and of studios and soundboards and Dolby speakers; in other words, the real thing. And no, they don’t make music like that anymore. It’s more artificial like making movies with green screens. Brad remembers a different time, a different era, different vibe. Some of those vibes rocked Smash Studios last weekend.

All the usual memorable names came up in discussion– Bottrel, Riley, Forger, Bailer, Buxer, George and John Lewis, Swedien, Jones, Barnes, Temperton, Williams, Umberto, Lubbock, Loren, Porcaro and more as well as the tricks of the trade– raising drums above the floor, using different mics to catch different sounds, the blending of tracks and sounds and Michael’s famous nickname for a sound: “Rubba.” Michael lying in bed talking to a mannequin, a hideous looking thing constructed for the spoken word intro to “I Just Can’t Stop Loving You.” Of course, that prefaced the song solely to thrill the female audience and it was revealed that Michael loved watching the films of fans fainting and being carried out of the stadiums. What man wouldn’t enjoy being adored by that many females? He knew who he was, says Brad. And he knew how to be “Michael Jackson.”

And then from the speakers comes Michael’s soft youthful voice politely requesting things be tweaked or added. In a fourteen layer multi-track, “Rubba” becomes evident as do vocals and drums as Brad amplifies each track to the exclusion of others, then playing with the control to blend them into the final musical mash. One understands that Jackson’s ear was every bit as discriminate and finely tuned as his voice. And his sixth sense about timing and rhythm and images and sound mixes is all evident in the studio samplings.

Brad remembers Michael in the corner doing music scales and vocal warm-ups with his steaming hot cups of water to prepare his throat and refine the sound. And with a wistfulness and catch in his throat he recalls the blissful ignorance and inexperience of youth that didn’t take note at the time of what he witnessed and was actually a part of– a music history that will never see replay. Only maturing and nostalgia brings it back and colors it surreal for him. And he shares personal feelings about Michael’s passing which he hadn’t fully grieved until he started putting “In the Studio” together as an answer to a request by international fans who paid him to come to Paris and hold MJ memory court with them. His experience encouraged him to continue and refine “In the Studio with MJ” which he plans for more venues in the coming year– Paris again and Los Angeles included.

Sundberg shared visuals- pictures of Neverland, Michael, studios, private rooms and spaces frequented by the superstar and people whose “hangin’ chops he adored– Shawn Lennon who brought in a Theramin and teased Michael with it while Jackson giggled and laughed like a child, finally taking his turn with the instrument and playing with the pitch and sounds like a little kid with a new toy. Brad also showed a film of the Andrae` Crouch Choir warming up and the New York Philharmonic playing background for “Childhood” conducted simultaneously by the Philharmonic’s conductor and Michael as well, in the dark at the mic in the booth, looking every bit that same excited little boy as he gestures with flourish following the score and completes the piece with a sweeping “Yes” gesture beaming with pleasure. While not on the film, it is rumored that the Philharmonic gave him a standing ovation as he exited the booth.

His “Keep the Faith” has always sounded so soulful and urgent to me, coming straight out of the speakers and clutching both sides of the Adam’s Apple, and Brad Sundberg gave the backstory that explains why. As Michael warmed up for it, something happened to his voice that sent him into a tearful tailspin and the studio had to regroup, change all the configurations and set up again for his vocals in a lower pitch. The appreciation for their going the extra mile for him is evident in the song. I always assumed it was the gospel vibe that grabbed Michael in that song. It wasn’t; it was an unexpected and completely mysterious incident where his voice cracked in the demo that produced one of the most authentic and emotionally charged and delivered songs in his repertoire. Sundberg thinks the quality of the vocal was Michael’s thank you to the crew for going the extra mile for him; I think he included a deity in that appreciation. If that wasn’t inspired by God, nothing is.

As a Michael Jackson researcher and part time biographer, after 4 years one expects almost anything such as the recent storm surrounding the AEG trial and the “coincidental” resurfacing of allegations long ago disproved and dismissed. I want to believe Brad Sundberg is as loyalist as he seems and will stay that way. I think he will based on the respect with which he treated Michael’s work. I expected to hear the stories; I expected to hear the same adjectives like “kind” and “generous” and “humble” that describe Michael Jackson by everyone who personally knew him and who trusted their children with him. But something that came out of that studio that left me shaken– a poem and piece of music as yet unreleased that speaks of Michael Jackson’s mission on this planet that I always thought he knew but that I have now heard confirmed in his own voice from his own heart. It was intense. It is the singular metaphysical evidence I have been looking for, for what seems now a very, very long time. It’s not the work of Michael Jackson; it’s the why.

...und noch eine Review aus dem InnerMichael Blog..

http://www.innermichael.com/2013/07/in-the-studio-with-mj/

In the Studio with MJ

“They don’t make music like that anymore” is not just a cliché. Especially not in this case. They literally don’t make music like that anymore.

In a dark cavern-like atmosphere high in an office building somewhere in New York City in classic tradition of the “Rock ‘n Roll studio complete with red and black curtains, a man stands in the front of the room reminding the audience: “Remember, I am a just “techie,” (a technician.)

The console, with its thousand buttons is attended by his daughter whom he fondly refers to as “Granny.” She is on the late side of twenty and is obviously a “techie” too enjoying her role as dad’s sidekick– but not really, for she is the one “manning” the console and keeping her dad on track. (pun intended)

She remembers Neverland distinctly, the animals, the candy, the carnival atmosphere. What she doesn’t remember is Michael lying on the floor playing with her when she was a babe. She was too young to remember though there are pictures to prove it. Dad, however, remembers it. Jackson’s understanding and appreciation for family is conveyed in stories Sundberg shares in his seminar “In the Studio with MJ” about the “crew” being treated to food catered in daily courtesy of their boss Michael and on Fridays, the day Michael called “family day.” Each Friday whomever was working with Jackson at the time was allowed to invite family to visit the studio, Neverland or wherever the workplace of the “crew” happened to be.

In Brad Sundberg’s case the workplace was both recording studio and Neverland. Jackson, when building his empire tribute to the child, employed Brad as a sound techie to moonlight on his Neverland estate beyond the studio. “There were no birds at Neverland” says Brad but Michael thought the sound of birds would enhance the experience on the grounds, so he wanted bird sounds piped in. To accomplish that, Brad had to wire up phony birdhouses into the trees that hid speakers playing the sounds of warblers that would overdub the sound of music that came from artificial rocks everywhere in the landscape.

Brad suggested to Michael at the ornate entrance to the ranch, the one that everyone remembers with the crest and name “Neverland” spanning the arc over the entrance, that a 4 minute medley of Jackson’s most recognizable songs be looped to greet visitors, citing that Jackson’s own music should greet them.

“That’s not what I want;” said Jackson who instead requested a quality recording of ‘Danny Boy.’
Stunned, Sundberg asked Jackson why he wouldn’t want his own melodies and lyrics to be the first music heard at the entrance to his famous home and constitute their first memory for the visitors to the fantasy oasis.

“I don’t want my music;” Jackson said.

Brad couldn’t understand it. The most famous musician in the world at the time didn’t want his own music at the gate to his first real childhood home? Incredulous, Brad asked: “Why not your own music?”

“Well, it’s just embarrassing” was Jackson’s only answer. And the matter was dismissed and never visited again.

So the music that greeted visitors was ‘Danny Boy.’ And the rest of the grounds played Disney tunes and classical music. Brad remembers people hired to attend the grounds and rides relating a story about the music at Neverland: “Doe, a deer, a female deer, Re, a golden drop of sun; Mi, a name I call myself….” according to Brad, you could only hear that just so many times before having to fight the impulse to tear out big clumps of hair.

Neverland was a magical place, not the child-luring trap that it was painted by cynical tabloid hacks. It was a sanctuary and tribute to the child or for adults, the child within; and according to Sutherland, it was the most beautiful place and indeed magical and more. “It was a class act,” he says, “just like Michael.” It was a place that was built to entertain children and a place for healing.

Healing? Oh yes, research reveals Jackson understood healing extremely well. The healing power of music, of visuals and of embracing the spirit of the child without restraint or limitation. Everything at Neverland was specially made and free. Jackson understood the healing power of music, of water, of a magical atmosphere, the fascination and joy of live animals, the medicinal value of play and rides and carnival, of carefree escape from the world– its problems left behind. Jackson knew that some moments of magic last a lifetime. For some kids, he knew one day of magic might sustain them through a difficult childhood.

There’s a clip of Michael throwing a party for someone on his crew who is destined for the hospital and surgery and gifting the man with videos and a video player. All the videos are films like The Three Stooges that elicit laughter; Jackson knew about hormones and the healing power of laughter. Or the power of being immersed in magic to sooth a tattered soul. He studied it. His gift wasn’t so much a get well gesture as it was a prescription for healing.

Providing daily food and an invitation for families on Friday illustrates not just Jackson’s thoughtfulness, but a deeper understanding of the concept of food as medicinal and fortifying, a kind of communion shared by kindred spirits gathered in a space consecrated for the act of creation and honoring the creative impulse. Inviting families is a subliminal message about community and what makes community– a breaking of bread together with a beloved family. It should come as no surprise that Michael Jackson did this in his personal and creative life as well as in his more commercial message: “We Are the World.” Apparently he lived his message and invited others around him to live it too. He silently built community. He walked the talk and coaxed everyone around him onto that same path.

Speaking of the creative process, the guests “In the Studio with Michael Jackson,” courtesy of Sundberg were witness to the raw creative process of what emerges in a jam session with those of like mind making circle. Just a simple programmed drum beat courtesy of Brad, Michael’s guitarist David Williams, and Michael himself in two hours of playing with music morphed into “Give In to Me” originally intended as a dance number that emerged a hard rock ballad. It was clear from the recording that Michael loved to ad lib and jam and that the music itself led the way to its final destination and to incarnation. Jackson’s advice to those coming up in the music business was always to let the song tell you what it wants to do. That process was obvious “In the Studio” as the creative process itself was the treasure within that two hour recording.

David Williams worked with Michael for years and saw his guitar playing as a kind of “secret spice” that when added in just the right amount, made music a magical cuisine. David preceded Michael in death by only a couple of months and Michael took his death very hard and mourned the loss of his friend and musical accomplice.

Brad talked about the magic trio of Bruce (Swedien,) Michael and Quincy and the “hangin’ chops” of the “studio rats” an unwritten and unspoken protocol that permeated the atmosphere and the vibe it established with the assembled artists. If someone came into the studio who was a thief– as in stealing the center of attention, monopolizing Michael or was disrespectful of the creative process, Michael would just disappear into his “lounge” a tiny room built into the top of the studio.

If Michael disappeared, it was a signal to the assembly that Michael felt this person, more intruder than “team,” didn’t meet the “hangin’ chops for studio rats” requirements. The individual was summarily thanked and mysteriously disappeared never to be heard from again.

Michael’s disappearing act wasn’t reserved just for silent protest, but occasionally for a trick he used to get the sound or effect that he wanted. Apparently he was known to reserve 2 or 3 studio rooms and go between them unbeknown to either set of musicians in the separate rooms. Then he would pit the teams against each other compelling their best work by telling them there was some real ”smelly jelly” going on in the other studio. It was his word for maximum funk and music-making magic going on in another room. He and Quincy would sometimes disagree on which songs to release on an album or on the execution or artistration of a particular cut and Michael would secretly work a team in an adjunct studio room sometimes proving his point. For example, Quincy hated “Streetwalker” while Michael wanted it on his “Bad” album seeing it destined for the charts if released as a single. Instead, Quincy vetoed “Streetwalker” in favor of “Another Part of Me.” Brad thinks Michael was the wiser one.

Sunberg shared some of Jackson’s raw work or work that preceded the final released versions. And in a sound studio, the tracks sound much different and much richer than the final commercial tracks. To keep the vibe “pop” and “up-tempo,” some of the original tracks were sped up before release. In some cases, the original had richer sound and a deeper grove and was much more soulful than the released version. It demonstrates Jackson’s soulfulness, vocal chops and depth as a versatile artist to hear the untouched tracks.

Brad was with Michael during Captain EO and spoke of the process and of studios and soundboards and Dolby speakers; in other words, the real thing. And no, they don’t make music like that anymore. It’s more artificial like making movies with green screens. Brad remembers a different time, a different era, different vibe. Some of those vibes rocked Smash Studios last weekend.

All the usual memorable names came up in discussion– Bottrel, Riley, Forger, Bailer, Buxer, George and John Lewis, Swedien, Jones, Barnes, Temperton, Williams, Umberto, Lubbock, Loren, Porcaro and more as well as the tricks of the trade– raising drums above the floor, using different mics to catch different sounds, the blending of tracks and sounds and Michael’s famous nickname for a sound: “Rubba.” Michael lying in bed talking to a mannequin, a hideous looking thing constructed for the spoken word intro to “I Just Can’t Stop Loving You.” Of course, that prefaced the song solely to thrill the female audience and it was revealed that Michael loved watching the films of fans fainting and being carried out of the stadiums. What man wouldn’t enjoy being adored by that many females? He knew who he was, says Brad. And he knew how to be “Michael Jackson.”

And then from the speakers comes Michael’s soft youthful voice politely requesting things be tweaked or added. In a fourteen layer multi-track, “Rubba” becomes evident as do vocals and drums as Brad amplifies each track to the exclusion of others, then playing with the control to blend them into the final musical mash. One understands that Jackson’s ear was every bit as discriminate and finely tuned as his voice. And his sixth sense about timing and rhythm and images and sound mixes is all evident in the studio samplings.

Brad remembers Michael in the corner doing music scales and vocal warm-ups with his steaming hot cups of water to prepare his throat and refine the sound. And with a wistfulness and catch in his throat he recalls the blissful ignorance and inexperience of youth that didn’t take note at the time of what he witnessed and was actually a part of– a music history that will never see replay. Only maturing and nostalgia brings it back and colors it surreal for him. And he shares personal feelings about Michael’s passing which he hadn’t fully grieved until he started putting “In the Studio” together as an answer to a request by international fans who paid him to come to Paris and hold MJ memory court with them. His experience encouraged him to continue and refine “In the Studio with MJ” which he plans for more venues in the coming year– Paris again and Los Angeles included.

Sundberg shared visuals- pictures of Neverland, Michael, studios, private rooms and spaces frequented by the superstar and people whose “hangin’ chops he adored– Shawn Lennon who brought in a Theramin and teased Michael with it while Jackson giggled and laughed like a child, finally taking his turn with the instrument and playing with the pitch and sounds like a little kid with a new toy. Brad also showed a film of the Andrae` Crouch Choir warming up and the New York Philharmonic playing background for “Childhood” conducted simultaneously by the Philharmonic’s conductor and Michael as well, in the dark at the mic in the booth, looking every bit that same excited little boy as he gestures with flourish following the score and completes the piece with a sweeping “Yes” gesture beaming with pleasure. While not on the film, it is rumored that the Philharmonic gave him a standing ovation as he exited the booth.

His “Keep the Faith” has always sounded so soulful and urgent to me, coming straight out of the speakers and clutching both sides of the Adam’s Apple, and Brad Sundberg gave the backstory that explains why. As Michael warmed up for it, something happened to his voice that sent him into a tearful tailspin and the studio had to regroup, change all the configurations and set up again for his vocals in a lower pitch. The appreciation for their going the extra mile for him is evident in the song. I always assumed it was the gospel vibe that grabbed Michael in that song. It wasn’t; it was an unexpected and completely mysterious incident where his voice cracked in the demo that produced one of the most authentic and emotionally charged and delivered songs in his repertoire. Sundberg thinks the quality of the vocal was Michael’s thank you to the crew for going the extra mile for him; I think he included a deity in that appreciation. If that wasn’t inspired by God, nothing is.

As a Michael Jackson researcher and part time biographer, after 4 years one expects almost anything such as the recent storm surrounding the AEG trial and the “coincidental” resurfacing of allegations long ago disproved and dismissed. I want to believe Brad Sundberg is as loyalist as he seems and will stay that way. I think he will based on the respect with which he treated Michael’s work. I expected to hear the stories; I expected to hear the same adjectives like “kind” and “generous” and “humble” that describe Michael Jackson by everyone who personally knew him and who trusted their children with him. But something that came out of that studio that left me shaken– a poem and piece of music as yet unreleased that speaks of Michael Jackson’s mission on this planet that I always thought he knew but that I have now heard confirmed in his own voice from his own heart. It was intense. It is the singular metaphysical evidence I have been looking for, for what seems now a very, very long time. It’s not the work of Michael Jackson; it’s the why.

..hier ist noch ein Foto von Brads Seminar... wo man Michael mit dem Kinderchor sieht fürs HIStory Album.....

The session auditions were kept secret that it was for Michael and the kids and parents were really cool, focused and professional... even with Michael in the room!

Die Seession-Auditions wurden geheim gehalten, so dass es für Michael, die Kids und die Eltern richtig cool war, konzentriert und professionell... sogar mit Michael im Raum!

Zitat von Lucky

Michael mit "Schnauzer" und Gürteltasche ("Fanny Pack") in schickem Pink
Was hat er denn da drin gehabt?????
Nein, ich bin nicht neugierig, ich will's nur wissen!

s in pink?