Hot topic Brad Sundberg Seminars: Making Music With Michael Jackson

Re: Brad Sundberg seminar, June 29th: Making Music With Michael Jackson

Wait a minute. I think I know what sound (or 'rubba') from the song "Bad" (if it was "Bad") you're talking about. There's a sound that plays in both channels at the same time and if you were to, say, remove a headphone as you were listening to it or if one speaker was out, it kinda gives the song a different feel.

Maybe one day, Brad might can post these snippets (if not the whole song) online one day. :) According to Peace's notes, they played a 14 minute recording demo of "Bad" and a working demo of "Bad". I'd really love to hear them one day.

Yes, Peace says it was Bad and so I must have made a mistake in my notes. The last 2 panels of the 14 panels were marked rubba L and rubba R (synth). I can email Brad and try to see if he can tell us more about rubba, but I did ask him about it one-on-one during a break and he said it usually meant bass but on that screen we looked at it was synth. So I asked why rubba for the bass sound? and he said it was rubba like a rubber band--the bass strings were twanging/snapping like a rubber band?
 
Re: Brad Sundberg seminar, June 29th: Making Music With Michael Jackson

Yes, Peace says it was Bad and so I must have made a mistake in my notes. The last 2 panels of the 14 panels were marked rubba L and rubba R (synth). I can email Brad and try to see if he can tell us more about rubba, but I did ask him about it one-on-one during a break and he said it usually meant bass but on that screen we looked at it was synth. So I asked why rubba for the bass sound? and he said it was rubba like a rubber band--the bass strings were twanging/snapping like a rubber band?

That makes sense, the rubber bands comparison. Though, if he can tell you a little bit more about rubba, that'd be nice. :)
 
Re: Brad Sundberg seminar, June 29th: Making Music With Michael Jackson

Last recollections re the seminar:

Brad said there was always a fruit basket at the studio but MJ was the only one who ate the fruit, esp. the pomegranites--he talked about how MJ would devour the pomegranite--eat all the seeds--really "rip into a pomegranite." :)

Then we ate the MJ favorite foods, (see above). Brad said for snacks MJ loved popcorn and at NL they ate a ton of nachos. He also said in the studio Q. had his own chef; MJ had the 'slam dunk sisters" for Friday get-togethers. Work at the studio would stop at 5 and people would all eat together and bring their families.

David Foster played the piano on 'Smile."

Brad showed us a lot of photos of NL in the construction phase, and it really helped you to see all the time and work and expense that went into it. For example, the Carousel--the ground had to be leveled, the base (red bricks exterior) built, and so on, all the horses were hand painted in the details like the saddles and each was different. The little train was ordered from Kansas and MJ wanted it delivered all ready to go--with lights, music, decorations. Brad said NL was an enormous undertaking--"project after project." David Nordahl did the many sculptures. Everything got expanded--for example, there was going to be a treehouse and it ended up being 'The Castle." Brad said he asked the manager at NL what the power bill was: $50k per month!

Brad said MJ wanted a full-blown concert system outside to play music--the speakers were hung from trees. Music was everywhere. MJ didn't want his own music played at NL (said it would be embarrassing). So it was Disney, Mary Poppins, Debussy, and other classical music. On the Carousel Janet's music was played and also Joe Saturani (??sp??).

After the guests passed throught the plain wooden gate they came to the ornate cast iron gate with the emblems of the royal family of UK and the words Neverland, etc. MJ wanted music so when the gates were opened there would be a good impression. Brad wanted to make a medley of MJ songs, but MJ said that was 'a terrible idea." So what music did he want? "Danny Boy"--that's what he wanted. Brad thought that was a strange choice of music but he set the speakers up for the orchestral sound of Danny Boy. (I am wondering if this is a kind of nostalgia for MJ's childhood--b/c the song goes "But come ye back when summer's in the meadow, or when the valley's hushed and white with snow, it's I'll be here in sunshine or in shadow, O, Danny Boy, O Danny Boy, I love you so." I Think it's about a boy who goes to war and his family is waiting for him to come home. Kind of like a "Lost Boy." I assume the version MJ used was instrumental.)

In the photos the gardens were amazing--very beautiful and there was 'a yellow brick road' that was built. As I saw the photos I thought how the tabs, etc, want to claim that MJ built NL and the amusement park, zoo, etc. as a nefarious lure for kids, but he was Michael Jackson and there is NO way he needed to go to all the lengths he went to in creating NL to get kids to want to be with him. Come on! He did it to make sick and deprived kids happy. And also, as Brad said, "he wanted his childhood back" and NL was one way to do that, to create a garden and landscape with all the things he loved in one place.

Another tidbit--he said MJ wanted to see the footage of all the girls fainting at his concerts, which is why there is so much footage of that. :)

I learned a lot I never would have, so I am happy I went to this seminar and I hope more people who worked with MJ will share their stories with his fans!
 
Re: Brad Sundberg seminar, June 29th: Making Music With Michael Jackson

Hey Guys, Brad Sundberg here. Thank you all so much for your kind words and support in the recent seminars in New York. The two groups that were there were attentive, intelligent, friendly and curious. It's funny (and a bit intimidating) because I don't have a tight script with every date, fact and event in front of me, rather I like to let the seminar roll a bit differently each time. My attenders were very kind in that if I forgot a date or a sequence of events, they were more than helpful to share their knowledge.

I am both humbled and amused that so much of what I said and played has been noted and shared. That's OK, I allowed notes, but I really wanted people to experience what it was like to be there, and not get too bogged down writing every detail. I have read a few of the comments that were slightly askew, but nothing harmful (I hope!). There are no shortages of books and articles and websites that lay out endless facts, my goal is more geared toward presenting and sharing an experience of what it was like to be in the studio with Michael.
 
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Re: Brad Sundberg seminar, June 29th: Making Music With Michael Jackson

^Awh! Forgot about the Pomegranites.
 
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Re: Brad Sundberg seminar, June 29th: Making Music With Michael Jackson

I understand the need for people to share their feelings and impressions after such an amazing experience. But going as far as spreading accounts which go into many, many details can be quite a spoiler for people wanting to attend future seminars.

I'm pretty sure that few people would actually enhance their experience of a good movie by reading loads of pages describing the most important details and plots in the movie. As much as very few people would go to movie forums and share such accounts of the movie they just saw.

Instead they would most likely encourage people to go and see it because of how much they enjoyed it.

I'm sure that no harm is intended. But it's a spoiler. Brad has only done 3 seminars so far, at least give him a chance to do more. I believe it is worth it.
 
Re: Brad Sundberg seminar, June 29th: Making Music With Michael Jackson

I'n sure people who posted their thoughts of the seminar meant no harm and I think they were meant for people who cannot attend to Brad's seminar due to their location (MJ's world wide fanbase). I was happily reading their thoughts and never thought they might ruin someone elses experience:-(
 
Re: Brad Sundberg seminar, June 29th: Making Music With Michael Jackson

Thanks for the notes. really intresting read. nice to see you here brad. welcome x
 
Re: Brad Sundberg seminar, June 29th: Making Music With Michael Jackson

I'll never be able to attend one of these seminars :( so for me it's gold worth when those who can attend write down everything. It's my only chance to get to know. So thank you so much.
 
Re: Brad Sundberg seminar, June 29th: Making Music With Michael Jackson

I was in the middle of my previous post and hit the post button before I was finished. You can tell I am a master of these forums. : )

Essentially, I was going to make two very quick points. First, while I am flattered that copious notes were taken and posted, some of the details in those notes might take away a bit of the surprise for future attenders. That said, I do understand that not everyone in MJJC might be able to attend, so I understand. Point two, however, is that not two seminars are exactly alike, and I go to great lengths to try to create an event that includes visual (video and photos), audio (music and studio tapes), learning (stories and history behind the projects) and even taste (Family Friday Dinner). It really is an overall studio experience that I hope many fans of Michael's genius will appreciate.

Now some news! (I am announcing this in the forum BEFORE I post it on my Facebook page.) I will very likely offer the "In The Studio With MJ" seminar in Orlando, around the middle of August. The response has been so strong that I have been looking for just the right location to host it in. I have a couple surprises in store that I think you will be very interested in. Once I have the details worked out I will formally announce it both here and on Facebook, but if you are thinking of doing a couple days at WDW or Universal next month, or if you are in the southeast US, stay tuned.

Thanks again for all of the kind words, it means a lot that our efforts for the NY seminars were so warmly received, and I truly enjoyed meeting every person that was able to make it.
 
Re: Brad Sundberg seminar, June 29th: Making Music With Michael Jackson

For me, taking the notes was something I would have done whether or not I was going to share them. I didn't want to take notes during the seminar (didn't want to miss one second!) but did want to write it down after, just for myself, so I wouldn't forget anything and so I could look back on my awesome experience (and I'm sure I have a few names and details wrong but like I said, I waited until after to recount what I remembered). I figured I'd put them on MJJC for people like Virre who may never get the chance to attend, whether it's because they can't afford it or there isn't a seminar close to them. They deserve to know these awesome things just as much as I do so why not share? If you're going to a future seminar and don't want the surprise to be spoiled, then I suggest just not clicking on this thread or any notes that people may post. Just a suggestion though :) sorry if I spoiled anyone's future experience...
 
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Re: Brad Sundberg seminar, June 29th: Making Music With Michael Jackson

I don't think it spoils it it for most fans. It only makes them to want to attend all the more. Just as when fans did a full review and summary of the Tour of West Lake Studios last year. Fans want to experience being there and listening to the music and hear someone who was close to Michael relay the stories.
 
Re: Brad Sundberg seminar, June 29th: Making Music With Michael Jackson

^I mean I hope not. Had Brad told us to NOT post or say anything for risk of spoiling it for others, I would not have said anything. But I know there are so many who can't go and I want them to have the chance to hear these things. I doubt that someone considering going would read my notes and say "oh okay I've heard it all, now I don't need to go anymore". At least I'd hope not. Because you really can't get the full effect of it unless you are there. Heck, I've already been and I would gladly go again and again just to hear the music in that setting and see the videos again.
 
Re: Brad Sundberg seminar, June 29th: Making Music With Michael Jackson

I was in the middle of my previous post and hit the post button before I was finished. You can tell I am a master of these forums. : )

Essentially, I was going to make two very quick points. First, while I am flattered that copious notes were taken and posted, some of the details in those notes might take away a bit of the surprise for future attenders. That said, I do understand that not everyone in MJJC might be able to attend, so I understand. Point two, however, is that not two seminars are exactly alike, and I go to great lengths to try to create an event that includes visual (video and photos), audio (music and studio tapes), learning (stories and history behind the projects) and even taste (Family Friday Dinner). It really is an overall studio experience that I hope many fans of Michael's genius will appreciate.

Now some news! (I am announcing this in the forum BEFORE I post it on my Facebook page.) I will very likely offer the "In The Studio With MJ" seminar in Orlando, around the middle of August. The response has been so strong that I have been looking for just the right location to host it in. I have a couple surprises in store that I think you will be very interested in. Once I have the details worked out I will formally announce it both here and on Facebook, but if you are thinking of doing a couple days at WDW or Universal next month, or if you are in the southeast US, stay tuned.

Thanks again for all of the kind words, it means a lot that our efforts for the NY seminars were so warmly received, and I truly enjoyed meeting every person that was able to make it.

Brad I certainly understand you wanting to be somewhat protective of the details on your seminar but for myself the fans describing their experience and your stories only makes me want to attend your seminars all the more just to experience it for myself. I think many other feel the same. I know Sales soared for the Westlake studios Tour after fans did the same thing last year. I want you to know the threads about your seminar and your Question and Answer session you so graciously did with us, have been very popular and one of the most well received by our members. They were so happy to see you were presenting them with the opportunity to experience something so positive about Michael.

Thank you for coming to MJJC to comment our thread. We appreciate you giving us a heads up on you holding a seminar in Orlando in August and for offering to come back with official announcements. Please know You are very much appreciated here on MJJC.
 
Re: Brad Sundberg seminar, June 29th: Making Music With Michael Jackson

I was in the middle of my previous post and hit the post button before I was finished. You can tell I am a master of these forums. : )

Essentially, I was going to make two very quick points. First, while I am flattered that copious notes were taken and posted, some of the details in those notes might take away a bit of the surprise for future attenders. That said, I do understand that not everyone in MJJC might be able to attend, so I understand. Point two, however, is that not two seminars are exactly alike, and I go to great lengths to try to create an event that includes visual (video and photos), audio (music and studio tapes), learning (stories and history behind the projects) and even taste (Family Friday Dinner). It really is an overall studio experience that I hope many fans of Michael's genius will appreciate.

Now some news! (I am announcing this in the forum BEFORE I post it on my Facebook page.) I will very likely offer the "In The Studio With MJ" seminar in Orlando, around the middle of August. The response has been so strong that I have been looking for just the right location to host it in. I have a couple surprises in store that I think you will be very interested in. Once I have the details worked out I will formally announce it both here and on Facebook, but if you are thinking of doing a couple days at WDW or Universal next month, or if you are in the southeast US, stay tuned.

Thanks again for all of the kind words, it means a lot that our efforts for the NY seminars were so warmly received, and I truly enjoyed meeting every person that was able to make it.

Thanks very much Brad for your response, and I welcome you to come to Ireland to do your seminar here. I would be the first one to book the tickets :wild:
 
Re: Brad Sundberg seminar, June 29th: Making Music With Michael Jackson

Thanks very much Brad for your response, and I welcome you to come to Ireland to do your seminar here. I would be the first one to book the tickets :wild:

I'm really hoping that Brad will manage to come to the UK. Reading the notes of fans who have already attended has put this right at the top of my wish list! For me, it's not at all a 'spoiler...definitely an 'appetizer'! I'm keeping all of my fingers (and toes) crossed!
 
Re: Brad Sundberg seminar, June 29th: Making Music With Michael Jackson

Just to say reading the notes can't compare to being there and hearing the music, talking to Brad, seeing the videos and slideshows--it's an experience, a total experience. I would have liked to hear more from Amanada about her recollections of MJ. Actually, this coulkd be an all-day seminar--a morning and afternoon session, or even a 2 day seminar as there is so much material to cover. Also I would have liked to have gotten to know the other MJ participants. (Make that a 3 day seminar! LOL)

I posted my notes b/c when I told people I was going, people asked me to so I felt I had made a promise. Sorry if I spilled anything that I shouldn't have or if I got anything wrong. :)
 
Re: Brad Sundberg seminar, June 29th: Making Music With Michael Jackson

I would encourage you to try to come to Paris in October. www.bradinparis.com

Hi Brad, for people who cannot come to your seminars it has been mentioned you are writing or going to write book. However, on the topic of the never before seen and heard videos and music do you plan to release these on a DVD someday?
 
Re: Brad Sundberg seminar, June 29th: Making Music With Michael Jackson

Yes, I did the VIP--splurged! So for us after he ended with Childhood and the phone message, we had MJ's favorite meal, which they had at the studio on Fridays, which was also family day when the staff could bring their wives, kids. So the food was roast turkey, mashed potatoes, collard greens, corn, gravy, mac n cheese, fried chicken, and for desert--banana cream pie. This was made in the studio by the "slam dunk sisters"--MJ's very cute name for the 2 women who put the meal together. So we ate that with Brad--I was so hungry since I had only had a bagel all day! We looked at photos of NL and then ended with listening to an unreleased song called "Faces" (according to some peple there who had heard it before). It reminded me of MLK's "I have a dream" speech--very inspirational words from MJ about how the world is going to change for the better and after the speech, it went into a song. That's the first time I heard it (I think). I am going to post my recollections in a while.
Anymore info on this would be appreciated!
 
Re: Brad Sundberg seminar, June 29th: Making Music With Michael Jackson

I understand the need for people to share their feelings and impressions after such an amazing experience. But going as far as spreading accounts which go into many, many details can be quite a spoiler for people wanting to attend future seminars.

I'm pretty sure that few people would actually enhance their experience of a good movie by reading loads of pages describing the most important details and plots in the movie. As much as very few people would go to movie forums and share such accounts of the movie they just saw.

Instead they would most likely encourage people to go and see it because of how much they enjoyed it.

I'm sure that no harm is intended. But it's a spoiler. Brad has only done 3 seminars so far, at least give him a chance to do more. I believe it is worth it.

Maybe we could change the thread title to include the fact that there are details about this seminar posted. And then those who don't wish to know before attending can make the choice not to read it. Nobody is forcing them to do so.
 
Re: Brad Sundberg seminar, June 29th: Making Music With Michael Jackson

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Re: Brad Sundberg seminar, June 29th: Making Music With Michael Jackson

Just to say reading the notes can't compare to being there and hearing the music, talking to Brad, seeing the videos and slideshows--it's an experience, a total experience. I would have liked to hear more from Amanada about her recollections of MJ. Actually, this coulkd be an all-day seminar--a morning and afternoon session, or even a 2 day seminar as there is so much material to cover. Also I would have liked to have gotten to know the other MJ participants. (Make that a 3 day seminar! LOL)

I posted my notes b/c when I told people I was going, people asked me to so I felt I had made a promise. Sorry if I spilled anything that I shouldn't have or if I got anything wrong. :)

Or week long seminar and Brad could get quests likes Bruce S and others to participate and tell their stories:wild:
 
Brad Sundberg;3862291 said:
I would encourage you to try to come to Paris in October. www.bradinparis.com

I suppose you´re not coming to Sweden for a seminar and for me it´s not easy to go to Paris.
I read the words but I don´t see the pictures or hear the music.
It´s not the real thing.

"It tasted anyway bird said the woman and gnawed at the branch where the bird had been sitting"
 
Re: Brad Sundberg seminar, June 29th: Making Music With Michael Jackson

Enormous thanks to you guys for sharing your notes an recollections! Reading them almost made me cry and I wish so badly I could be there.
:bow:

And thank you Brad for making this a reality! I sincerely hope that all of this - the songs, the videos will be made public one day, and I'm looking forward to buying your book. It's priceless. It's things like this about Michael that should be released - instead of the trial exhibits or overproduced albums.

As for the spoilers - I fully support Qbee and assure you that reading this will only make fans want to attend future seminars more. I now regret that I didn't fly to New York, and I will do my best to make it to Orlando or Paris.
 
Re: Brad Sundberg seminar, June 29th: Making Music With Michael Jackson

So awesome!! That all I can say, for now lol...
 
Rev. Barbara Kaufman posted this on Brad's seminar on her website innermichael.

"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."

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