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Today we're listening to perhaps the most anticipated

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album of all time.

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The Follow Up to the Monster Hit Thriller.

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Even though this album sold 50 million copies

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and is undoubtedly an artistic masterpiece,

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many people believe that it was a massive letdown,

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which frankly, I think is criminal.

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Hmm. Fantastic arrangement, Adam.

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But is it Michael Jackson? Bad or said?

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I am Adam Maness. And I'm Peter Martin.

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And you're listening to the You'll Hear It Podcast,

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Music explored,

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Explored, brought to you today by Open Studio.

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Go to open studio jazz.com for all your jazz lessons.

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Hells Yeah. Hell's Yeah. Peter,

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I've just been wanting to say that all day.

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Well, it's a big day, so I get it. I get it. Hell's yeah.

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We're listening to Michael Jackson, 1987. I've been classic.

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Okay. Bad, bad. I love this album.

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Me too, man. I really do love it. Where

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Did you first consume this?

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What format? Because this was in a, this is 1987.

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Yeah, this was a, I remember that year.

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Well, there was a lot of formats drifting around. It was

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An in twixt time format.

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It was, it was between LPs and CDs.

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A little something we used to like to call cassette tape. Is

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That where you originally had

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It on? I, this was

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in the first batch of cassette tapes

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that I bought with probably my like birthday money.

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Wow. It was Def Leppard's, Def Leppard's hysteria.

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Def Lepard, Def Def Leopard's, hysteria. The Def Leppard.

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And Michael Jackson's Bad. Were the first ca set.

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It's like a collab between Deep Purple

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and Def Leppard. That would be awesome.

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But this is, I remember, I still remember having the

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cassette tape and we'll talk about it in a moment,

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but I think that's what makes the sort of album art on this.

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Yeah. So fetching is, this was the age of cassettes,

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and this looked awesome on a little cassette.

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Like it's, 'cause it's just such a big image of him,

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and there's a lot of literally white space behind him.

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And so it was very striking as a cassette.

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And it had a, I think it had a multifold out

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booklet inside of the cassette.

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Right. Which, you know, they're so tiny,

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the cassettes compared to like, even I know.

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I know. And, um, but I, I vividly remember listening to this

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until, you know, you could wear cassettes thin.

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Yes. Like, they would, like, records would wear out,

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cassettes would start to get real warbly after a while.

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I definitely, this was a cassette

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that got caught in my tape player several times.

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And you'd have to get the pencil in there. I was

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About to say. Yeah, you

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Have to roll it back up.

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And I'm sure I taught myself how to do that on this tape.

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Um, and I wish I still had that tape. Was it

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Dolby? Dolby B,

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Dolby C? You don't know.

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You were a little kid. I was eight years old.

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You, I was eight years old. How old were

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You? I was 16.

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Oh, you could

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Have babysat Me. I was,

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or just, no, I just turned 17. Okay.

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So I remember this distinctly.

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I bought this, I bought it on CD first. Okay.

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I was kind of an early adopter to the CD four.

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I mean, although by 87 that there was certainly around,

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I would think, I would think

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that this was selling heavily on cd.

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Although actually probably cassette

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Was 80 is early. Yeah,

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true. I remember CDs like really coming into the,

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to the mainstream in the early nineties. Is it

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That, okay. Well maybe I was

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early then. Yeah. But I,

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I'm sure people have them in the

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eighties. But like, I had a

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Little portable yellow, uh, Discman.

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Oh yeah. Sony Discman.

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You know, that was shockproof supposedly.

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It was not shock proof. Totally.

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Um, but this record was shocking, I can tell you that.

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It was kind of shocking. I mean, we'll talk about it.

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You know, this is, it was a long time

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Coming. Long

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time coming. Yeah.

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You know, he's following up the greatest

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selling album of all time.

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Yeah. Thriller. And his breakthrough hit,

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we talked about this not five months ago.

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Yeah. When we did our thriller episode,

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and we talked about how Thriller was this intentional, um,

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album designed to make Michael Jackson famous on every kind

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of radio station in the world.

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Right. And it worked. Right. Doggone it. Like they did it.

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Michael and Quincy did it.

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And they even kind of invented a new format

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and distribution point for, you know, obviously still going

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with all the traditional ones.

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Radio, um, you know, lp CD was, no, no, not cd,

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but I mean like all the different places.

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Television, soul Train, video. Yeah, yeah. But video. Yeah.

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But long form videos. Long form videos,

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which people were like, why a million

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dollars to make a video, which

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Would become a huge part of Bad was the,

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is the film Moonwalker, which was this video.

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Mm-hmm. I had the, the VHS cassette of Moonwalker

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and I, I mean, I wore that one out too. It

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Was all extended versions of all the videos. Right.

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All the videos, all the extended videos.

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There was also like kind of a through storyline, right.

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If I can remember. Right. Super weird.

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He turns into a spaceship in the end.

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It gets really weird and a little creepy.

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But man, talk about like pressure, right? Yeah.

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Coming off of, because you know, going into Thriller,

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obviously he's very famous

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from the Jackson Five from Off the Wall.

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Yeah. He's already a celebrity. But

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after Thriller, you know, we don't have these kinds

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of stars anymore that are just like so globally famous.

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Yes. He was so globally famous that Mo one

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of the most famous people in the world.

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He might have been like 19 85, 19 86.

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Even going back to like 83, 84.

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I mean, first of all, thriller was out

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for two years or longer.

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Remember that. Like it came out. That's right.

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The single came out before.

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And then it was like, I mean, it was literally

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for two years, it was the,

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it was in everybody's consciousness all over the world in a

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way, a sort of singular cultural event, as much

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as you could have around most parts of the world.

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So by the time this came along,

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and then remember they did that tour,

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and I think they did a live record with the Jackson's,

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the Victory Tour that was huge.

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Huge In between, between, which is not officially

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The Jackson's tour, the Jackson tour.

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That's right. Yeah. Um, but I mean, yeah.

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So people had been talking about this record.

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It took 'em two plus years

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to do five something like five years between this

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and Thriller, which is a long time

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Back that, I mean, I couldn't imagine the pressure

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after making something like Thriller

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that becomes this cultural and worldwide phenomenon.

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Like, how do you follow that up? Well,

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Although when you've banked that kind of bread,

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how much pressure is there actually in your life?

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Well, it's self-imposed at that point. It's

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Self-imposed pressure, you know,

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more money, more problems here.

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But you know, he, he, he came back

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with a very familiar team for this.

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So Quincy Jones is the producer Yeah.

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Who produced Off the Wall and Thriller.

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And this would be his final Quincy Jones, the final

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Quin. And honestly,

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uh, I think it seems to me,

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and we can talk about this,

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a smaller Quincy Jones footprint than the other two.

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Yes. Agreed in to my ears.

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And I could be wrong about that. Maybe

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A little bit of a marginalized footprint,

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a little bit. The

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Quincy's, like Michael might be taken over in some

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of the production and he's using some other producers.

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You know, I know Rod Templeton doesn't have a song on here.

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Apparently he helped out with some of the production.

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But, you know, rod was a huge part of the songwriting

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of the fir of the Off the Wall.

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And, and Thriller, not a songwriter on this album.

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Michael did almost all the songwriting on this album.

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Although I did read that.

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That was encouraged by Quincy very much.

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That was not like a bone of content.

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Like Quincy was like, and that was, you know,

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there was certainly, we can talk about some Prince influence

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by this time for sure.

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Where like, prince is not only

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producing, but playing every instrument.

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I think that they both always said

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that there was not a competition,

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but there was, there was a healthy competition in terms of

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How could there not be. Yeah.

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I mean, and, and like Prince's output

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was so much more Yeah.

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Than Michael's during that 82 to

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81 1 every other year.

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Yeah. And won every year until 1987. Yeah. 88.

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And a bunch of unreleased stuff.

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A bunch of live stuff. A bunch of,

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Um, so the engineer is Bruce Sweden who Yes.

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Was the engineer on Thriller

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and then assistant engineer Brad Sunburg.

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Yeah. Um, that he met on.

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So Quincy's guys, that's the brain

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trust right there. Yeah. That's

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The brain trust. And a lot of

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the same musicians are fave are very fave.

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Greg Fill gains, filling gains is all over this.

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Uh, Steve Ccao doing a lot of programming that he, you know,

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a similar role that he had on Thriller.

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Yeah. Eric Gale. Yep. You know, Ollie Brown on drums.

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Mar uh, Miko Brando on drums.

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There's a lot of people on here.

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I would say Jerry Hay is back with the Yeah.

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But they're Marginalized.

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They are little. We're gonna talk.

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I don't like the, the, the horns being pushed

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to the only, the end of the track.

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They took some of the horns off

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of the original LP version Yeah.

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On the, because they thought it was too backwards looking.

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You know, Paulino DeCosta huge, uh, force on this

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as he was on Thriller and collaborator

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with Michael Jackson in Dugo here.

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Great. Brazil, yeah. Duo's on here.

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But, but Indu actually in Dugu.

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What, what track is Indu? He's on. Um,

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Oh, I see. Before we get

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too far, we just got a note from the

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Wait, it's coming in from The control booth.

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Yes. So we have our producer and engineer. Yes. Sam Mall.

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And then we've just got a new, we new

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Producer Caleb, producer Caleb about marginalized.

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He's editing all this stuff. But, uh,

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we've got a new production assistant, uh, Charlie.

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Yeah. Who just noted that it is not Bruce Sweden. Right.

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As we've been saying for the last year and a half. No,

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I've been kicking you under the table

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every time you say it wrong. Have you?

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Well, I don't think so. My legs are short. It's

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Bruce Sine Sine.

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Of course it is. S swine.

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I I I knew that long. Just like it's

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Written, Just like it's written. Bruce

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And Brag Berg.

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Brad Sandberg. That's right. So, thank you, Sam.

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Apologies on that. Charlie.

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Thank you to the audio engineering nerds in the booth. Yeah,

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Absolutely. Um,

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okay, so where were we? Where were we with this?

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We were talking about we bad. Oh, and

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Peter. We're at bad. We

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00:09:39,895 --> 00:09:40,725
gotta we we gotta

254
00:09:40,745 --> 00:09:41,885
we gotta start listening, man.

255
00:09:41,985 --> 00:09:44,405
I'm, I'm itching. I'm itching to hear some music.

256
00:09:44,475 --> 00:09:46,885
Okay. Okay. Let's do it. But I also noticed something

257
00:09:46,885 --> 00:09:48,565
that I want to address before we get into it.

258
00:09:49,265 --> 00:09:50,925
The elephant, the Yamaha in the room.

259
00:09:50,955 --> 00:09:52,565
There's a little white keyboard on the table.

260
00:09:52,845 --> 00:09:54,685
Well, yeah, it's a little, we've had problems

261
00:09:54,685 --> 00:09:55,885
with the bigger keyboards with,

262
00:09:55,885 --> 00:09:57,245
we've been trying to figure this out.

263
00:09:57,585 --> 00:09:59,845
But is this something that might interest you, my friend?

264
00:10:00,475 --> 00:10:05,125
Hold on a second. Oh, we can even go down to here.

265
00:10:11,425 --> 00:10:12,445
Is that, is that the patch?

266
00:10:12,695 --> 00:10:15,645
Brass sine just a mixture. Mixture of Bruce,

267
00:10:15,825 --> 00:10:17,205
I'm just coming up with whatever this is just

268
00:10:17,205 --> 00:10:21,445
to give a little sun, just a few little musical

269
00:10:21,485 --> 00:10:22,525
examples we can go through.

270
00:10:23,115 --> 00:10:24,115
Okay.

271
00:10:24,545 --> 00:10:26,525
So we've got the Yamaha Reface in the house.

272
00:10:26,815 --> 00:10:29,045
We've got a little bit of a keyboard on the table. Yeah.

273
00:10:29,465 --> 00:10:31,965
So it just as a little punctuation, it's battery powered.

274
00:10:31,965 --> 00:10:35,765
Shout out to, uh, luxury and Diallo. No, not no.

275
00:10:35,765 --> 00:10:37,765
Shout out to Yaah for all this crap

276
00:10:37,765 --> 00:10:39,005
of theirs we've purchased over the years.

277
00:10:39,305 --> 00:10:41,725
No luxury. And, uh, dial's two

278
00:10:41,725 --> 00:10:43,405
of our favorite po music podcasters.

279
00:10:43,405 --> 00:10:44,565
One podcast. Podcast. One song podcast.

280
00:10:44,655 --> 00:10:47,645
Shout out they, I got jealous of Luxury's little keyboard

281
00:10:47,645 --> 00:10:48,645
where he was demonstrating some

282
00:10:48,645 --> 00:10:49,405
stuff. So we're bringing it back.

283
00:10:49,405 --> 00:10:50,885
Well, we might need to get a little reface

284
00:10:50,885 --> 00:10:52,365
with all the EP sounds.

285
00:10:53,795 --> 00:10:55,125
Keep going. I'm just playing background.

286
00:10:55,155 --> 00:10:58,445
That way we can double reface, you know what I mean?

287
00:10:58,505 --> 00:11:00,805
Oh, double re Dope. Pio Face Toia. Got it. Okay.

288
00:11:01,785 --> 00:11:05,085
So the title track, the opening track Yeah. Is

289
00:11:05,505 --> 00:11:08,615
Little thing called Bad.

290
00:11:30,955 --> 00:11:31,955
Huh?

291
00:11:32,205 --> 00:11:33,375
Clap. Damn.

292
00:11:34,805 --> 00:11:38,775
That form A smack on a smack about a snare drum.

293
00:11:38,775 --> 00:11:39,935
That's a smack two and four.

294
00:11:41,475 --> 00:11:43,855
That's like the New York City Subway SmackDown.

295
00:11:47,675 --> 00:11:50,775
Uh oh. That's, that's bad.

296
00:12:03,225 --> 00:12:04,225
So we're all

297
00:12:20,775 --> 00:12:22,045
These background vocals here?

298
00:12:29,995 --> 00:12:30,285
This

299
00:12:30,405 --> 00:12:31,405
Got a little twist.

300
00:12:36,435 --> 00:12:39,845
Okay. Can we pause here? So much Great stuff happening here.

301
00:12:39,945 --> 00:12:41,685
So many mi like this is just,

302
00:12:42,035 --> 00:12:43,925
even if Michael Jackson wasn't singing this,

303
00:12:44,145 --> 00:12:45,525
if somebody else was, you still know it

304
00:12:45,525 --> 00:12:46,605
was a Michael Jackson track.

305
00:12:46,905 --> 00:12:49,405
He, he wrote this, he wrote almost everything on this album.

306
00:12:49,745 --> 00:12:51,725
Big Change from Thriller, big Change from All World.

307
00:12:51,725 --> 00:12:52,725
He's always been a great writer,

308
00:12:53,025 --> 00:12:54,925
but this is where he really was like taking over.

309
00:12:55,065 --> 00:12:58,525
Oh, that's just drums, right? Just the drums with the claps.

310
00:12:58,545 --> 00:12:59,805
So when we talk about the claps,

311
00:13:00,105 --> 00:13:02,085
that's probably like a Lin Drum.

312
00:13:02,415 --> 00:13:05,045
Would that be a Lin Drum clap? Or, I assume so. Yeah.

313
00:13:05,065 --> 00:13:06,285
I'm not sure what they were using on that,

314
00:13:06,345 --> 00:13:11,285
but what I love about this is all the drum Oh yeah.

315
00:13:14,065 --> 00:13:16,605
The syncopation that's thrown around.

316
00:13:16,825 --> 00:13:19,965
Is anybody actually on drums on here? I don't think so.

317
00:13:20,145 --> 00:13:22,165
Oh, no. Okay. So interesting. It says, my bad.

318
00:13:22,665 --> 00:13:26,925
JR Robinson, the Legend. AKA Yeah.

319
00:13:26,955 --> 00:13:30,045
From, um, many earlier from Rock with You. Yeah.

320
00:13:30,145 --> 00:13:32,285
The legend himself is playing on here.

321
00:13:32,285 --> 00:13:34,205
So obviously there's some programming going around

322
00:13:34,635 --> 00:13:35,925
what his foundation is.

323
00:13:36,505 --> 00:13:37,605
But one thing is

324
00:13:41,595 --> 00:13:44,925
that Baseline, which is a b flat blue scale.

325
00:13:45,235 --> 00:13:46,485
This is a very Blues.

326
00:13:46,745 --> 00:13:48,045
Or like, you wouldn't think about it

327
00:13:48,045 --> 00:13:51,365
because there's a lot of, But that's what that is.

328
00:13:54,695 --> 00:13:57,285
Blues Foundation. But check out the Pit.

329
00:14:00,065 --> 00:14:02,405
You know how sharp it is? It's like a quarter tone sharp.

330
00:14:03,065 --> 00:14:05,565
That's crazy. Crazy. I never noticed that before. Yeah.

331
00:14:05,825 --> 00:14:07,885
And we check this with our piano and with the meter.

332
00:14:08,435 --> 00:14:12,485
It's always like, so we can pause it. There. We got it.

333
00:14:12,485 --> 00:14:13,525
Hold on, hold on. Okay. Sorry.

334
00:14:14,665 --> 00:14:16,605
Oh, David Williams. Oh,

335
00:14:25,125 --> 00:14:26,015
filling gains.

336
00:14:29,625 --> 00:14:33,575
Sorry. Ah,

337
00:14:36,795 --> 00:14:39,415
So that's the Moog base Filling

338
00:14:39,465 --> 00:14:40,465
Gains on Keys.

339
00:14:42,145 --> 00:14:43,775
David Williams on Guitar Man. Just that

340
00:14:43,775 --> 00:14:44,935
Groove without the drums, man.

341
00:14:46,235 --> 00:14:50,935
But then you add 'em in. Jr's killing.

342
00:14:51,035 --> 00:14:53,925
It's just, there's a lot of programming on top of that.

343
00:14:54,385 --> 00:14:56,485
Can we open, can we open up the Pandora's box

344
00:14:56,585 --> 00:14:58,565
of the question of is there too much

345
00:14:58,675 --> 00:14:59,885
drum programming on this?

346
00:14:59,885 --> 00:15:01,205
Well, is it too automated sign?

347
00:15:01,265 --> 00:15:03,285
So is, does that date this sound? Yeah.

348
00:15:03,285 --> 00:15:04,565
When we were talking about like, what,

349
00:15:04,565 --> 00:15:06,045
what's the thesis for bad, right?

350
00:15:06,045 --> 00:15:06,965
Yeah. Like what do we want to talk

351
00:15:06,965 --> 00:15:07,925
about when we talk about bad?

352
00:15:08,015 --> 00:15:11,125
Right. One of the things that I think about with Bad is

353
00:15:11,125 --> 00:15:14,165
that it's like you're on this scale from this organic sound

354
00:15:14,555 --> 00:15:16,085
that you get from all these analog

355
00:15:16,085 --> 00:15:17,245
instruments on Off the Wall.

356
00:15:17,705 --> 00:15:20,125
And there's still, when you think about Baby B Mine

357
00:15:20,225 --> 00:15:21,645
and you think about like PYT

358
00:15:21,665 --> 00:15:23,445
and you think about like all of these sort of like,

359
00:15:24,065 --> 00:15:26,525
you know, analog sounds on thriller,

360
00:15:26,525 --> 00:15:27,885
even though there's still a little more,

361
00:15:28,045 --> 00:15:29,885
there's a little more programming going on.

362
00:15:29,995 --> 00:15:31,605
Yeah. But we're not fully digital.

363
00:15:31,785 --> 00:15:33,605
And with bad, it feels like to me.

364
00:15:34,035 --> 00:15:35,205
Okay, now we're fully digital.

365
00:15:35,315 --> 00:15:37,605
Like now we're Prince Prince has arrived. Right.

366
00:15:37,825 --> 00:15:39,245
And we're post Purple Rain.

367
00:15:39,295 --> 00:15:42,245
We're post like, you know, Peter Gabriel's on the scene.

368
00:15:42,245 --> 00:15:43,965
Yeah. Making like all these huge sounds

369
00:15:44,525 --> 00:15:45,685
Y hommer y Hammerer,

370
00:15:45,935 --> 00:15:47,005
Miami Vice.

371
00:15:47,005 --> 00:15:49,605
Exactly. Exactly. Like we are, we are in this sort

372
00:15:49,605 --> 00:15:51,525
of like digital revolution musically.

373
00:15:51,525 --> 00:15:53,845
We're using a lot of computers to make music Now. Herbie

374
00:15:54,005 --> 00:15:55,005
Hancock Rocket, Herbie Hancock

375
00:15:55,005 --> 00:15:55,485
Rocket is a great example. An

376
00:15:55,485 --> 00:15:56,565
Early precursor, great Example.

377
00:15:56,595 --> 00:15:58,845
Yeah. But computers are on the scene here.

378
00:15:59,025 --> 00:16:00,765
And they're on the scene with Bad. And you can hear it.

379
00:16:00,895 --> 00:16:02,685
There are some organic things that happen though.

380
00:16:02,685 --> 00:16:04,005
Peter, I don't know if you, you

381
00:16:04,165 --> 00:16:05,165
Remember? Oh no, we're gonna, we're

382
00:16:05,165 --> 00:16:05,245
gonna

383
00:16:05,245 --> 00:16:06,245
definitely jump under into that.

384
00:16:06,245 --> 00:16:08,085
But just since you mentioned Baby B Be mine,

385
00:16:08,105 --> 00:16:10,085
do we have the drum example?

386
00:16:10,085 --> 00:16:12,445
Just so you hear a contrast? Yeah. Yeah. Here, this is Indu.

387
00:16:12,445 --> 00:16:14,165
Go on. Doo Chance with the Great,

388
00:16:18,745 --> 00:16:20,085
So this is from Thriller.

389
00:16:20,085 --> 00:16:21,845
Yeah. And it's got, it's got a little bit

390
00:16:21,845 --> 00:16:23,445
of programming on top of it too.

391
00:16:23,785 --> 00:16:26,605
But it still has the, it's a drummer playing. Right.

392
00:16:26,605 --> 00:16:27,845
Primarily. That feels amazing.

393
00:16:27,985 --> 00:16:29,845
And, and when we've gone over, it's not that bad.

394
00:16:29,845 --> 00:16:31,045
The groove doesn't feel amazing.

395
00:16:31,115 --> 00:16:33,125
It's not that we still don't feel JR in there,

396
00:16:33,665 --> 00:16:35,885
but the programming's, the computers have taken over.

397
00:16:35,935 --> 00:16:37,925
Right. They have, we, the computers have taken over

398
00:16:38,145 --> 00:16:41,125
and it's not a bad thing, but to me bad it's some,

399
00:16:41,755 --> 00:16:43,165
it's, it is a bad thing.

400
00:16:43,165 --> 00:16:45,165
That's why they, they named this, this record bad.

401
00:16:45,605 --> 00:16:47,925
I don't know what's, like, if you, if you had a preference,

402
00:16:47,925 --> 00:16:49,325
does that make us old school sue us?

403
00:16:49,845 --> 00:16:53,045
I do. No. I do think, though, does that make us

404
00:16:53,045 --> 00:16:55,085
Boomers Like we just listened to at the end

405
00:16:55,085 --> 00:16:56,045
of last season on this show,

406
00:16:56,045 --> 00:16:56,925
we listened to Sign of The Times.

407
00:16:56,925 --> 00:16:58,285
Right? Yeah. Amazing. Ooh.

408
00:16:58,585 --> 00:17:00,965
But Sign of The Times and Bad both came

409
00:17:00,985 --> 00:17:02,485
out around the same time.

410
00:17:02,555 --> 00:17:06,525
Yeah. And they both have like a, a, a sonic color palette

411
00:17:06,525 --> 00:17:11,005
that feels different than the stuff from the seventies

412
00:17:11,225 --> 00:17:12,965
and early eighties that we like so much.

413
00:17:13,035 --> 00:17:14,725
Yeah. And I wonder if it is an age thing,

414
00:17:14,725 --> 00:17:16,165
because we are of the age where it's like,

415
00:17:16,665 --> 00:17:17,805
by the time, I don't know.

416
00:17:17,805 --> 00:17:19,085
I love that stuff when it came out.

417
00:17:19,465 --> 00:17:21,565
But now, like, looking back on it, I,

418
00:17:21,805 --> 00:17:22,925
I kind of wanna hear off the wall,

419
00:17:23,025 --> 00:17:24,965
But think about like Stevie during this period too.

420
00:17:24,965 --> 00:17:26,925
He kind of fell into that as well. Everybody was.

421
00:17:26,925 --> 00:17:28,565
Everybody was. Yeah. I mean, everybody was on this,

422
00:17:28,665 --> 00:17:31,325
on the, on the on board for the technology train. But

423
00:17:31,325 --> 00:17:32,725
Maybe Thriller was that perfect mix.

424
00:17:32,925 --> 00:17:34,605
'cause it was going in there. But like we just heard it

425
00:17:34,605 --> 00:17:36,565
still had enough of that.

426
00:17:36,665 --> 00:17:38,005
And there's parts of this. I mean, look,

427
00:17:38,005 --> 00:17:40,805
we're gonna hear some ADEs move baselines that well,

428
00:17:40,805 --> 00:17:41,965
we're gonna hear, you know, an

429
00:17:42,105 --> 00:17:43,685
An organ solo as well. Oh yeah,

430
00:17:43,685 --> 00:17:44,685
That's right. We gotta get

431
00:17:44,685 --> 00:17:48,885
to talk about going back to the sixties.

432
00:17:50,345 --> 00:17:52,005
Woo. And the guitar. Ah,

433
00:17:52,535 --> 00:17:53,535
David Williams. Yeah.

434
00:17:53,535 --> 00:17:54,885
And Michael's voice.

435
00:17:54,905 --> 00:17:56,605
That's the main thing that pulls it together,

436
00:17:57,135 --> 00:17:58,135
Right?

437
00:18:00,485 --> 00:18:01,685
I mean, this shit's grooving. Come on

438
00:18:16,195 --> 00:18:16,925
with the guitar.

439
00:18:35,505 --> 00:18:36,845
Oh, this is the version. What they took

440
00:18:36,845 --> 00:18:37,885
most of the horns act too.

441
00:18:52,445 --> 00:18:53,445
I mean, they got, they got

442
00:18:53,445 --> 00:18:54,925
that organ filled down in the mix,

443
00:18:55,545 --> 00:18:56,545
But it's there. It's way down

444
00:18:56,545 --> 00:18:57,165
in the mix. It's way

445
00:18:57,165 --> 00:18:58,165
Down in the mix.

446
00:18:58,545 --> 00:18:59,725
That's filling gate. That's filling

447
00:18:59,725 --> 00:19:00,725
Gate.

448
00:19:05,105 --> 00:19:06,725
So That,

449
00:19:07,225 --> 00:19:08,925
Do we have that organ solo on its own? We have

450
00:19:08,925 --> 00:19:09,965
The organ solo on its

451
00:19:09,965 --> 00:19:14,125
own. He plays a

452
00:19:14,595 --> 00:19:15,595
Yeah.

453
00:19:16,675 --> 00:19:18,685
This is Jimmy Smith. Jimmy Smith. Jimmy.

454
00:19:18,755 --> 00:19:21,045
It's Jimmy the Master. I

455
00:19:21,585 --> 00:19:23,765
Had no clue until this week. And he's,

456
00:19:23,765 --> 00:19:25,525
And he's just doing Jimmy Smiths till

457
00:19:25,525 --> 00:19:26,525
This week. Yeah.

458
00:19:26,525 --> 00:19:28,885
I just assumed it was one of the session.

459
00:19:29,255 --> 00:19:30,405
Yeahs on here doing everything else.

460
00:19:30,515 --> 00:19:34,165
It's Jimmy Smith of this Jimmy Smith. Yeah. Jimmy Smith.

461
00:19:34,165 --> 00:19:35,165
Yeah.

462
00:19:35,515 --> 00:19:37,165
That had to have been Quincy that pulling him in. Right.

463
00:19:39,195 --> 00:19:40,685
Also, I Maybe Michael, by the way.

464
00:19:40,685 --> 00:19:41,725
Hey Quincy, get Jimmy Smith.

465
00:19:41,965 --> 00:19:43,405
I would never know that this was a B

466
00:19:43,405 --> 00:19:44,565
three until you sold it.

467
00:19:45,005 --> 00:19:48,405
I know. I assumed it was synthesizer

468
00:19:48,705 --> 00:19:49,705
Mix so much.

469
00:19:49,785 --> 00:19:51,645
But you can clearly hear it's a B three. Yeah.

470
00:19:52,865 --> 00:19:54,685
You can hear the Leslie kind of. Yeah. But

471
00:19:54,985 --> 00:19:57,485
In the mix it sounds, with all the other digital things

472
00:19:57,485 --> 00:19:59,205
happening, I I assumed it was like a

473
00:19:59,225 --> 00:20:00,285
DX seven or something. Yeah.

474
00:20:00,305 --> 00:20:01,925
It got a little bit that, that'd be a little bit

475
00:20:01,925 --> 00:20:03,045
of a quibble bit that I have.

476
00:20:03,645 --> 00:20:04,805
Although it works within there.

477
00:20:04,805 --> 00:20:06,205
And so maybe we're just like jazz guys.

478
00:20:06,205 --> 00:20:07,205
Like it's Jimmy Smith.

479
00:20:07,645 --> 00:20:08,645
Everyone else has to stop playing

480
00:20:08,645 --> 00:20:09,965
and listen and honor the master.

481
00:20:10,065 --> 00:20:12,525
But it's just, it's, it's sublimated so much in the mix.

482
00:20:12,725 --> 00:20:13,685
I think it's so funny that it's

483
00:20:13,685 --> 00:20:15,405
been Jimmy Smith this whole time. It has been.

484
00:20:15,555 --> 00:20:19,205
It's changed. Yeah. It's awesome. That's, um, yeah.

485
00:20:19,225 --> 00:20:20,365
So that, that, that's it.

486
00:20:20,365 --> 00:20:22,285
So this thing of like, you,

487
00:20:22,305 --> 00:20:25,725
you like it being sharp is really interesting to me.

488
00:20:25,845 --> 00:20:28,805
'cause it's like about a, as far as I can tell, it's close

489
00:20:28,805 --> 00:20:29,965
to a quarter tone sharp.

490
00:20:30,025 --> 00:20:31,405
And that was just a decision. I don't know if

491
00:20:31,405 --> 00:20:33,005
that was Quincy or Michael or,

492
00:20:33,265 --> 00:20:36,605
or the, the production team to kind of give it another sign.

493
00:20:36,605 --> 00:20:37,805
There's a couple, if you don't know anything about

494
00:20:37,805 --> 00:20:38,845
pitch, then it doesn't

495
00:20:38,845 --> 00:20:39,845
Matter. There's another one, isn't

496
00:20:39,845 --> 00:20:40,325
there that I

497
00:20:40,325 --> 00:20:41,285
Feel there's a bunch of things that

498
00:20:41,285 --> 00:20:42,205
are outta tune, that are outta tune.

499
00:20:42,325 --> 00:20:43,085
I shouldn't say they're outta tune.

500
00:20:43,085 --> 00:20:44,005
They're just in their own tune.

501
00:20:44,005 --> 00:20:44,965
They're pushed Up for what, for

502
00:20:45,085 --> 00:20:46,125
whatever reason. Yeah. Can

503
00:20:46,125 --> 00:20:48,005
We talk about the video for a second? Oh,

504
00:20:48,365 --> 00:20:49,365
Yeah. Wesley Snipes.

505
00:20:49,365 --> 00:20:50,885
Wesley Snipes in the early

506
00:20:50,885 --> 00:20:52,085
Wesley Snipes, but clearly in

507
00:20:52,085 --> 00:20:53,325
Wesley Young. Wesley Snipes. Yeah.

508
00:20:53,335 --> 00:20:55,925
Right. He's the, I I don't wanna say the cool,

509
00:20:56,045 --> 00:20:58,405
I remember when it came out, I was like, wow, Michael,

510
00:20:58,405 --> 00:20:59,725
you're making yourself not, you're

511
00:20:59,725 --> 00:21:01,565
so much more talented than everybody else dancing around.

512
00:21:01,785 --> 00:21:05,085
But my but, but Wesley Snipes kind of stayed cooler to me.

513
00:21:05,315 --> 00:21:06,685
Yeah. He stayed batter and

514
00:21:06,685 --> 00:21:08,725
The video directed by Martin Scorsese.

515
00:21:09,625 --> 00:21:11,125
If you can't get anyone else, just get him.

516
00:21:11,405 --> 00:21:13,285
I mean, if you need to make a video about,

517
00:21:13,625 --> 00:21:14,885
you know, some, some street

518
00:21:14,945 --> 00:21:15,945
Did you call him Scorsese?

519
00:21:16,125 --> 00:21:20,125
Scorsese. Scorsese my friend. Okay. Sc

520
00:21:20,525 --> 00:21:21,525
Scorsese.

521
00:21:22,035 --> 00:21:24,405
Like I said, Scorsese, you know,

522
00:21:24,485 --> 00:21:25,565
it's probably not the way either one

523
00:21:25,565 --> 00:21:26,845
of us is saying it, so it's all good.

524
00:21:27,545 --> 00:21:29,605
Um, okay. So thumbs up

525
00:21:29,605 --> 00:21:31,325
or thumbs down on that track in general?

526
00:21:31,735 --> 00:21:33,605
Thumb, thumbs Up. Okay. So Right. Thumbs down.

527
00:21:33,605 --> 00:21:34,725
This is one of my favorite on the album.

528
00:21:34,925 --> 00:21:36,285
I think it's a great opener. Yeah.

529
00:21:36,445 --> 00:21:39,445
I think there's a lot of, like, some of it gets,

530
00:21:39,585 --> 00:21:41,325
do we have any of the vocals on their own on this?

531
00:21:41,465 --> 00:21:43,765
Or does that, do we just have, uh, I was just saying

532
00:21:43,765 --> 00:21:44,885
with some of the background, like,

533
00:21:44,885 --> 00:21:48,885
because Michael's, um, his syncopation,

534
00:21:48,945 --> 00:21:50,965
he had such a great rhythmic concept

535
00:21:51,505 --> 00:21:53,045
and the way that it would be actualized

536
00:21:53,075 --> 00:21:54,325
even on stuff like this.

537
00:21:54,325 --> 00:21:56,605
Like you would hear it on the live stuff for sure.

538
00:21:56,605 --> 00:21:58,965
And like how, what a great improviser he was. Where

539
00:21:58,965 --> 00:22:01,845
They say the sky's the in and to me, the

540
00:22:03,915 --> 00:22:04,965
Like those little rhythmic things,

541
00:22:11,305 --> 00:22:16,245
the vocal arrangements, that's all Michael obviously.

542
00:22:17,705 --> 00:22:19,525
But like his precision with his time

543
00:22:19,705 --> 00:22:21,765
and boop, it's got a little bit of swing to it.

544
00:22:21,765 --> 00:22:26,525
Right. Boop, can we talk about like, everything he does is

545
00:22:26,525 --> 00:22:28,805
so intentional with his rhythmic concept.

546
00:22:28,905 --> 00:22:30,965
And so that enables him to be able to play

547
00:22:30,965 --> 00:22:33,565
with the syncopation in a way that really adds to,

548
00:22:33,565 --> 00:22:35,085
and when you hear it alone, like when you got all the drum

549
00:22:35,085 --> 00:22:37,365
program and stuff on top of, it's a little bit, um,

550
00:22:38,315 --> 00:22:40,245
gets a little bit lost is my only thing.

551
00:22:40,885 --> 00:22:42,525
I was talking with a friend about this song

552
00:22:42,625 --> 00:22:45,645
and you know what stands out to me too about that is like,

553
00:22:45,645 --> 00:22:47,205
so it's, it's influenced by a true story

554
00:22:47,205 --> 00:22:49,165
that Michael Jackson read about a young man who tried

555
00:22:49,165 --> 00:22:50,285
to escape poverty, but Yeah.

556
00:22:50,425 --> 00:22:52,165
Was killed upon returning home.

557
00:22:52,905 --> 00:22:54,165
He was at like a prep school. And

558
00:22:54,165 --> 00:22:55,245
It also makes sense,

559
00:22:55,625 --> 00:22:59,005
but no one, no artist, especially of Michael Jackson's fame

560
00:22:59,005 --> 00:23:02,725
and Caliber would make a sort of dramatic telling Right.

561
00:23:02,905 --> 00:23:07,165
In this way, in a sort of post NWA post

562
00:23:08,065 --> 00:23:09,525
hip hop world that we're living in.

563
00:23:09,525 --> 00:23:11,645
Yeah. Where like the sort of like,

564
00:23:11,715 --> 00:23:13,685
stories like this are told from

565
00:23:14,485 --> 00:23:15,845
a perspective that's not Michael.

566
00:23:16,445 --> 00:23:17,485
Right. You know what I mean? That's,

567
00:23:17,595 --> 00:23:20,245
that this pop star is like putting on this

568
00:23:20,245 --> 00:23:22,165
costume to tell Right.

569
00:23:22,345 --> 00:23:23,725
Is to me is like the thing

570
00:23:23,725 --> 00:23:25,405
that actually dates it the most. It was

571
00:23:25,405 --> 00:23:27,605
An, it was an innocent time was he didn't pull out newsy,

572
00:23:27,605 --> 00:23:29,165
he pulled out his dancing shoes.

573
00:23:29,945 --> 00:23:31,205
It was a dance off for

574
00:23:31,205 --> 00:23:32,205
Sure. I mean, it was like literally

575
00:23:32,205 --> 00:23:33,005
like, it was like,

576
00:23:33,005 --> 00:23:34,165
it's like more, it's closer

577
00:23:34,185 --> 00:23:36,645
to West Side story than it is very influenced by

578
00:23:36,645 --> 00:23:38,365
It than it is the dance routines. Everything very

579
00:23:38,365 --> 00:23:39,365
Influenced to Nas or something. You

580
00:23:39,365 --> 00:23:41,125
know what I mean? Like, it's, it's closer to

581
00:23:41,595 --> 00:23:42,595
It's nas. Thank

582
00:23:42,595 --> 00:23:44,285
you. No, it's uh,

583
00:23:46,025 --> 00:23:47,245
but you know what I mean, like Yeah.

584
00:23:47,475 --> 00:23:51,845
Also the very next track on the album banger.

585
00:23:52,435 --> 00:23:54,045
It's a banger, but it's like, it's a,

586
00:23:54,075 --> 00:23:55,565
it's a flirty sweet Michael.

587
00:23:55,615 --> 00:23:57,405
Right. You know what I mean? So like, he's like

588
00:23:57,915 --> 00:23:59,045
this I'm bad.

589
00:23:59,045 --> 00:24:01,205
Tough guy. Right. That didn't last long.

590
00:24:01,645 --> 00:24:03,645
But he's, but he's not a tough guy, is he?

591
00:24:03,755 --> 00:24:05,685
Like, he's not, we know he is not. Right.

592
00:24:06,425 --> 00:24:08,685
Anyway, I just, it, it always stands up. When

593
00:24:08,685 --> 00:24:09,685
I was a kid, happy vice.

594
00:24:09,765 --> 00:24:11,325
I didn't even think about it. But now it really stands out.

595
00:24:11,325 --> 00:24:15,285
Right. But remember how separated out these singles were?

596
00:24:15,585 --> 00:24:17,005
It was like months between them.

597
00:24:17,105 --> 00:24:19,445
So it almost felt like unrelated knew.

598
00:24:19,525 --> 00:24:21,405
I didn't relate it until you put the album on it. It's true.

599
00:24:23,115 --> 00:24:24,885
This is a good video. This is a killer video.

600
00:24:32,105 --> 00:24:33,445
But even like that, what he just did,

601
00:24:34,195 --> 00:24:36,245
like his rhythmic attenuation

602
00:24:37,065 --> 00:24:38,065
Genius.

603
00:24:44,395 --> 00:24:46,045
This gotta swing. It's a shuffle. Right.

604
00:24:50,755 --> 00:24:54,885
This is JR. Again, this is up there for me.

605
00:24:54,885 --> 00:24:56,285
This is one of my favorite Michael Jackson songs.

606
00:24:59,955 --> 00:25:01,045
Kind of a blues too,

607
00:25:01,695 --> 00:25:02,695
Right?

608
00:25:10,755 --> 00:25:11,805
This was outta tune too.

609
00:25:17,715 --> 00:25:19,685
Made his vocal harmony with that sus chord.

610
00:25:22,425 --> 00:25:23,965
The back of Cluster it Down. Yeah.

611
00:25:31,875 --> 00:25:32,765
There's The horns

612
00:25:36,145 --> 00:25:36,885
second verse.

613
00:25:55,575 --> 00:26:00,125
Henry. There's a lot of wonderful five moves.

614
00:26:00,125 --> 00:26:02,085
Jerry Hay, I got Henry Han in mine.

615
00:26:26,635 --> 00:26:27,525
Such A great breakdown.

616
00:27:09,195 --> 00:27:10,195
This is the,

617
00:27:30,205 --> 00:27:30,445
I love

618
00:27:42,385 --> 00:27:43,205
You got it. You got it.

619
00:27:43,225 --> 00:27:47,845
Got it. So this is one of the only tracks

620
00:27:47,845 --> 00:27:50,525
where they really let the horns loose and left the stuff.

621
00:27:50,525 --> 00:27:51,645
Yeah. The parts you were talking about.

622
00:27:51,645 --> 00:27:53,605
You like it's, and this sounds outta tune.

623
00:27:53,745 --> 00:27:58,645
I'm in, you know, he's playing around the, you know,

624
00:27:58,645 --> 00:28:01,485
he's got the sus with the major, like really sophisticated,

625
00:28:01,985 --> 00:28:04,125
fun kind of harmonic stuff that he's playing around with,

626
00:28:04,125 --> 00:28:05,845
but always with that sink of patient.

627
00:28:05,905 --> 00:28:08,045
Oh, on top of that, what's essentially a shuffle groove.

628
00:28:08,045 --> 00:28:09,045
Right.

629
00:28:09,525 --> 00:28:10,645
I know, I was thinking like, like

630
00:28:10,645 --> 00:28:11,925
A programs type of shuffle

631
00:28:11,945 --> 00:28:15,245
As a, as a, as a as human beings.

632
00:28:15,545 --> 00:28:17,245
We need to get back to the shuffle. Yeah.

633
00:28:17,245 --> 00:28:18,965
When was the last big hit That was a

634
00:28:18,965 --> 00:28:20,125
shuffle? Was this the last big

635
00:28:20,125 --> 00:28:21,125
Hit was a shuffle?

636
00:28:21,305 --> 00:28:22,685
No, there's been some kind

637
00:28:22,685 --> 00:28:24,045
of crappy stuff to tell you the truth.

638
00:28:24,425 --> 00:28:26,605
But big hits like Mariah Carey's had some hits.

639
00:28:26,905 --> 00:28:28,085
No, no Shade on Mariah Carey.

640
00:28:28,085 --> 00:28:30,085
There's a shuffle. Yeah. I like the way you say

641
00:28:30,085 --> 00:28:31,245
that. A shuffle, but like a

642
00:28:31,245 --> 00:28:32,245
Real shuffle. Yeah.

643
00:28:32,245 --> 00:28:33,565
No, I mean,

644
00:28:33,565 --> 00:28:35,805
is this even a real sh this kind of is a real shuffle. It's

645
00:28:35,805 --> 00:28:36,805
Kind of a real shuffle. Yeah. Yeah.

646
00:28:36,805 --> 00:28:38,205
That's what I'm saying. Man. It's amazing. But

647
00:28:38,205 --> 00:28:40,205
Mean, I think it's, it comes across because

648
00:28:40,205 --> 00:28:41,965
Then you hear the horns be like that that like

649
00:28:46,545 --> 00:28:47,045
all the offbeat

650
00:28:47,045 --> 00:28:48,045
Stuff stuff. All the offbeat stuff. Yeah.

651
00:28:48,045 --> 00:28:48,365
And then Michael,

652
00:28:48,385 --> 00:28:49,725
so dip, dip, dip.

653
00:28:51,755 --> 00:28:54,365
Like it's the harmonic thing and the melodic thing.

654
00:28:54,365 --> 00:28:56,325
But it's also he's always right in there with the,

655
00:28:56,545 --> 00:28:58,885
his rhythmic attenuation is is crazy.

656
00:28:59,275 --> 00:29:01,325
Next up is one of my personal favorites.

657
00:29:01,325 --> 00:29:02,365
Just because when I was a kid

658
00:29:02,365 --> 00:29:04,525
and with that Moonwalker album Yeah.

659
00:29:04,795 --> 00:29:06,325
This video was amazing.

660
00:29:06,425 --> 00:29:08,085
It was this mix of claymation

661
00:29:08,225 --> 00:29:10,285
and they would use these like costume heads.

662
00:29:10,285 --> 00:29:13,245
Yeah. And it was like this five minute long intro

663
00:29:13,625 --> 00:29:16,405
before the song starts where they're chasing Michael Jackson

664
00:29:16,705 --> 00:29:19,005
around a what? You look

665
00:29:19,005 --> 00:29:20,005
Pain. No. Are we skipping? Are

666
00:29:20,005 --> 00:29:20,325
we skipping

667
00:29:20,325 --> 00:29:21,925
to a later track? Or are we gonna listen

668
00:29:21,925 --> 00:29:23,125
To Speed Demon? Yeah.

669
00:29:23,425 --> 00:29:24,425
That's one of your favorites.

670
00:29:24,865 --> 00:29:25,885
You don't like it? No, that's

671
00:29:25,885 --> 00:29:26,885
Okay. This is where, this

672
00:29:26,885 --> 00:29:27,285
is where,

673
00:29:27,285 --> 00:29:28,605
to me, I started serious skipping.

674
00:29:28,605 --> 00:29:29,925
Are you serious? I'm not a crazy, I'm not

675
00:29:29,925 --> 00:29:31,445
crazy about this track of my favorite. There. I said

676
00:29:31,445 --> 00:29:32,365
It. This is one of my favorite tracks.

677
00:29:32,365 --> 00:29:33,325
I know, but listen to what you're talking about.

678
00:29:33,325 --> 00:29:34,085
You're talking all about the

679
00:29:34,085 --> 00:29:35,085
Video. I was a child.

680
00:29:35,085 --> 00:29:35,565
Okay.

681
00:29:35,785 --> 00:29:37,405
And It was Claymation. We're not children anymore.

682
00:29:37,405 --> 00:29:38,605
My And and they're chasing Michael Jackson

683
00:29:38,605 --> 00:29:40,125
around the Hollywood lots.

684
00:29:40,125 --> 00:29:41,300
So there's a nostalgia flavor

685
00:29:41,305 --> 00:29:42,445
for you that didn't have it for

686
00:29:42,445 --> 00:29:43,445
Me. Listen, we can

687
00:29:43,445 --> 00:29:44,605
get into this later. I

688
00:29:44,605 --> 00:29:46,485
Was a grown ass man at 17 when this record came out.

689
00:29:46,485 --> 00:29:48,165
Yeah. We can get into this later. But I feel like this

690
00:29:48,165 --> 00:29:51,605
whole album has, um, a bit of nostalgia bias for me.

691
00:29:51,625 --> 00:29:53,765
Of course, of course. Like when we did the Thriller

692
00:29:53,765 --> 00:29:55,445
episode, I said that was Yeah.

693
00:29:55,605 --> 00:29:57,205
I think this is better than Thriller. Yeah.

694
00:29:57,345 --> 00:29:58,685
And now having spent a lot of time

695
00:29:58,685 --> 00:30:00,005
with Off The Wall Thriller

696
00:30:00,005 --> 00:30:03,005
and Now Bad, I think I have to amend that.

697
00:30:03,985 --> 00:30:05,245
No, I would agree. I think you just

698
00:30:05,245 --> 00:30:06,285
said it in the proper order.

699
00:30:06,285 --> 00:30:09,365
If we had to rank them off the wall, thrilling them bad.

700
00:30:09,485 --> 00:30:11,445
I think that's right. It could be Thriller Off the Wall

701
00:30:11,505 --> 00:30:12,505
Bad. I I thought it was off

702
00:30:12,505 --> 00:30:13,405
the Wall. Bad thriller.

703
00:30:13,405 --> 00:30:15,765
But I think Yeah. But we can, we can get into that. Yeah.

704
00:30:15,785 --> 00:30:19,285
But Speedman is, is I think, really, really fun. However,

705
00:30:19,595 --> 00:30:22,925
It's, I This is a great example of the sort

706
00:30:22,925 --> 00:30:23,925
of like programmed,

707
00:30:24,235 --> 00:30:27,245
like the very super programmed digital thing

708
00:30:27,245 --> 00:30:28,565
that's happening here at this time.

709
00:30:28,595 --> 00:30:30,365
Yeah. Just in music in general. Not just with Bad.

710
00:30:30,445 --> 00:30:31,925
I mean, at least Greg Fe Means is still on it.

711
00:30:35,805 --> 00:30:39,445
I love The Chew. Never heard that

712
00:30:39,445 --> 00:30:41,005
before or since.

713
00:30:43,115 --> 00:30:44,725
This Is a weird track To me. It's all

714
00:30:47,595 --> 00:30:51,685
Chew. I'm

715
00:30:51,685 --> 00:30:53,925
Headed for the It's

716
00:30:54,065 --> 00:30:55,725
So in my mind It's

717
00:30:56,325 --> 00:30:57,325
On his mind.

718
00:30:58,005 --> 00:30:59,685
I get It. He got a ticket.

719
00:31:19,115 --> 00:31:20,115
It's Weird. It's a weird,

720
00:31:31,045 --> 00:31:35,525
I Is this you Big? Is it Chew chirp

721
00:31:36,025 --> 00:31:38,405
Or, I dunno, to me it's just,

722
00:31:38,515 --> 00:31:39,515
It's got the base.

723
00:31:45,145 --> 00:31:46,685
That's program. It's fine, obviously. Yeah.

724
00:31:50,435 --> 00:31:52,205
It's very trons, right? It is.

725
00:31:52,505 --> 00:31:54,565
Um, to me it's just like, this is one of those places.

726
00:31:54,565 --> 00:31:55,765
There's a couple places on this album.

727
00:31:55,765 --> 00:31:57,405
If I'm being, can I be entirely honest? Please be honest.

728
00:31:57,465 --> 00:31:58,405
Can I put, can I wear my heart

729
00:31:58,405 --> 00:31:59,165
on my sleeve? Please? Wear Your

730
00:31:59,165 --> 00:32:00,165
Heart on my Sleeve. Okay. Um,

731
00:32:00,165 --> 00:32:02,765
that I'm like, they went through 60 songs.

732
00:32:02,825 --> 00:32:03,805
It was supposed to be a triple album.

733
00:32:03,805 --> 00:32:04,805
We was supposed to be a triple album.

734
00:32:04,875 --> 00:32:06,045
Yeah. All this great material.

735
00:32:06,145 --> 00:32:08,285
And to me there's just more of a fall off.

736
00:32:08,735 --> 00:32:10,365
We've talked about. We don't need to revisit

737
00:32:10,365 --> 00:32:12,085
where I felt there was one place on Thriller

738
00:32:12,085 --> 00:32:15,605
that they fell off, um, on Off the Wall at the,

739
00:32:15,605 --> 00:32:16,605
there was no fall offs.

740
00:32:16,665 --> 00:32:18,965
Mm-hmm. You know, which is rare. What's going on.

741
00:32:18,965 --> 00:32:19,885
We've talked, I mean, there's records.

742
00:32:20,305 --> 00:32:21,445
I'm not saying tapestry.

743
00:32:21,445 --> 00:32:22,845
Maybe there's one fall off. Mm-hmm.

744
00:32:22,925 --> 00:32:26,485
Track to me there's like not double digits Of course.

745
00:32:26,605 --> 00:32:28,685
'cause there's not, there's four or five. Three or four.

746
00:32:29,065 --> 00:32:30,525
And this is, this is the beginning of it.

747
00:32:30,525 --> 00:32:32,245
And it's early on and it's fine.

748
00:32:32,385 --> 00:32:33,485
But I'm like, you spend three

749
00:32:33,485 --> 00:32:34,605
years, two years making a record.

750
00:32:34,605 --> 00:32:37,165
You're Michael Jackson. Of course he sounds great. Yeah.

751
00:32:37,315 --> 00:32:39,190
Even beyond the data, to me it's just not, not

752
00:32:39,190 --> 00:32:40,245
that speed demon.

753
00:32:40,795 --> 00:32:42,405
It's, it's not. I'm now, I'm gonna believe Point Oh

754
00:32:42,405 --> 00:32:43,405
Yeah. When you sing it like that.

755
00:32:43,405 --> 00:32:44,365
Next up is,

756
00:32:44,395 --> 00:32:45,285
this is an interesting

757
00:32:45,285 --> 00:32:46,405
one. This is one. I didn't really, those

758
00:32:46,405 --> 00:32:47,525
Were bouncing off pretty quick though.

759
00:32:47,715 --> 00:32:49,445
Well, this is one,

760
00:32:49,445 --> 00:32:51,045
this next track is one I definitely birth. This

761
00:32:51,045 --> 00:32:52,685
Is what I like to call Birth of Puto.

762
00:32:52,835 --> 00:32:54,085
Okay. This is Liberian girl.

763
00:32:54,805 --> 00:32:56,685
Interesting video on this one too. This is a

764
00:32:56,685 --> 00:32:57,685
Fun video. Yeah. Very

765
00:32:57,685 --> 00:32:58,125
fun video.

766
00:33:04,795 --> 00:33:06,365
This exotic Canyon Cafe,

767
00:33:07,545 --> 00:33:09,325
The mid eighties exoticism.

768
00:33:09,665 --> 00:33:11,205
Is it, it actually dated

769
00:33:11,205 --> 00:33:12,885
316 million years ago.

770
00:33:17,905 --> 00:33:19,605
And at this time there was no way to Google

771
00:33:19,635 --> 00:33:22,565
what the hell he was saying and what language it was.

772
00:33:23,835 --> 00:33:25,605
It's Swahili, isn't it? Yeah. It's Swahili.

773
00:33:27,795 --> 00:33:30,925
It's like a combo vibes marimba kind of scl vere sound.

774
00:33:39,865 --> 00:33:44,165
You came and you changed my world. Love. So,

775
00:33:47,505 --> 00:33:49,125
But this to me is a better song than speaking.

776
00:33:49,235 --> 00:33:50,235
Well, This was

777
00:33:50,955 --> 00:33:53,805
Girl, This was written earlier in the eighties.

778
00:33:54,145 --> 00:33:55,645
Oh. And made its way to bed,

779
00:33:58,355 --> 00:33:59,355
Came And

780
00:34:00,295 --> 00:34:00,645
World.

781
00:34:06,105 --> 00:34:07,045
She says, you love

782
00:34:07,045 --> 00:34:08,285
Me as more cinematic than

783
00:34:26,305 --> 00:34:26,925
that's gotta be.

784
00:34:33,425 --> 00:34:34,425
Do you love the song

785
00:34:35,245 --> 00:34:36,245
Precious?

786
00:34:39,195 --> 00:34:44,045
It's in tune. That's good. You kiss.

787
00:34:53,435 --> 00:34:55,845
It's interesting. Yeah. It's

788
00:34:55,845 --> 00:34:56,845
Okay. I put this one kind

789
00:34:56,845 --> 00:34:58,445
of on, on the cusp. It's fine. It

790
00:34:58,445 --> 00:34:59,445
Does. This album does

791
00:34:59,445 --> 00:35:01,125
admittedly has has a

792
00:35:01,125 --> 00:35:02,165
little bit of a dip here in the middle.

793
00:35:02,195 --> 00:35:04,645
Yeah. And it ends super strong though. Oh yeah.

794
00:35:04,645 --> 00:35:07,765
That, that's to me, that's part of it. Now are we gonna

795
00:35:07,765 --> 00:35:09,205
Go all the way to the We're gonna

796
00:35:09,205 --> 00:35:10,205
Go. We gonna, we're gonna go all the way

797
00:35:10,205 --> 00:35:10,565
to the end.

798
00:35:10,765 --> 00:35:11,765
'cause that's not on the, wasn't on the

799
00:35:11,885 --> 00:35:12,925
lp. We'll, we'll, we'll get into that

800
00:35:12,925 --> 00:35:13,925
Though. Liberian Girl wasn't

801
00:35:13,925 --> 00:35:14,445
No,

802
00:35:14,445 --> 00:35:15,165
No, no. The last track.

803
00:35:15,225 --> 00:35:17,045
Oh, the last the cd. Oh, leave me alone.

804
00:35:17,105 --> 00:35:20,365
See, this is, I I know, again, I love that from the VH one.

805
00:35:20,565 --> 00:35:21,965
VHS. Right. Moonwalker. I know.

806
00:35:21,965 --> 00:35:23,605
Leave me alone really well as well. But that

807
00:35:23,605 --> 00:35:26,445
Was part of the thing of like, to get people to buy CDs.

808
00:35:26,485 --> 00:35:27,525
I was only on the cd, not the

809
00:35:27,705 --> 00:35:28,765
Lp. Oh, I didn't know that. Okay.

810
00:35:29,205 --> 00:35:30,445
Remember they used to have the bonus, I

811
00:35:30,445 --> 00:35:31,525
think. 'cause it wouldn't have been spaced for

812
00:35:31,525 --> 00:35:32,525
It. Anyway. So this next

813
00:35:32,525 --> 00:35:34,125
track is I think part of the dip.

814
00:35:34,145 --> 00:35:35,965
And it actually pains me to say this.

815
00:35:36,785 --> 00:35:38,125
So it's just good friends.

816
00:35:38,395 --> 00:35:40,485
It's not a bad song at all, actually.

817
00:35:40,485 --> 00:35:41,565
It's kind of a cool song,

818
00:35:41,825 --> 00:35:43,645
but there's something going on to define cool.

819
00:35:43,795 --> 00:35:45,885
Like, I like K with like with a K. Cool.

820
00:35:45,885 --> 00:35:47,845
Well, let's listen to it. So this is featuring,

821
00:35:47,845 --> 00:35:49,365
this is a problematic track for me.

822
00:35:49,435 --> 00:35:52,005
This is featuring Stevie Wonder. Yes. Which you might think.

823
00:35:52,195 --> 00:35:54,805
Okay. Love Stevie Wonder, the Love Michael Jackson.

824
00:35:55,025 --> 00:35:56,805
The last time we saw Michael Jackson,

825
00:35:57,125 --> 00:36:00,045
Stevie Wonder together, it was with, uh, I can't Help It.

826
00:36:00,045 --> 00:36:02,325
Yeah. Right. When Stevie wrote, I Can't Help It.

827
00:36:02,325 --> 00:36:03,605
Michael recorded. Yep. He gave it to him.

828
00:36:03,985 --> 00:36:05,685
And now Stevie's featured on Bad

829
00:36:05,905 --> 00:36:07,005
and we get just good friends.

830
00:36:12,625 --> 00:36:14,845
Oh, there's some cool stuff happening on here.

831
00:36:15,865 --> 00:36:17,565
No, the harmony weirdly not happening.

832
00:36:17,565 --> 00:36:19,525
When Stevie's part of it. The harmony is amazing,

833
00:36:20,045 --> 00:36:21,045
Actually.

834
00:36:21,585 --> 00:36:24,245
And this is not Michael's song. I don't, I don't think.

835
00:36:25,875 --> 00:36:28,845
Yeah. This was written by Terry Britton and Graham Lyle.

836
00:36:28,845 --> 00:36:31,045
Yeah. It's only one of, only tutu's not written by Michael.

837
00:36:31,675 --> 00:36:34,605
This started life, uh, connected to the Captain EO film.

838
00:36:35,745 --> 00:36:40,125
Oh. I'll watch you on the

839
00:36:53,575 --> 00:36:54,365
right through you.

840
00:37:04,955 --> 00:37:08,645
Something pre

841
00:37:08,645 --> 00:37:09,645
Chorus is killing. Yeah.

842
00:37:09,645 --> 00:37:10,645
Pre chorus is killing.

843
00:37:10,995 --> 00:37:15,245
Yeah. Very modulation is cool. Yeah.

844
00:37:16,545 --> 00:37:17,765
And the chorus is killing. Yeah.

845
00:37:22,155 --> 00:37:23,205
Good. This

846
00:37:23,325 --> 00:37:24,365
Snare drum is killing me.

847
00:37:24,675 --> 00:37:27,445
Yeah. The snare drum is killing me. Oh, killing you.

848
00:37:27,635 --> 00:37:28,805
It's killing me. Yeah,

849
00:37:30,275 --> 00:37:31,275
It's Clap. It's dominating

850
00:37:31,275 --> 00:37:31,885
the whole track.

851
00:37:37,705 --> 00:37:40,125
Oh, The chorus is the weakest part of it. The preco

852
00:37:41,275 --> 00:37:42,365
Just good Friends.

853
00:37:42,435 --> 00:37:43,435
Okay.

854
00:37:44,145 --> 00:37:45,445
But this is not all,

855
00:37:45,445 --> 00:37:46,445
This is cool. Actually.

856
00:37:46,445 --> 00:37:48,045
It's fine. It's what happens. He's

857
00:37:48,155 --> 00:37:51,885
Take, let's do

858
00:37:53,815 --> 00:37:55,085
first impression.

859
00:37:56,205 --> 00:37:57,245
I tried to hide.

860
00:37:59,755 --> 00:38:01,325
He's trying to make something of it. Right?

861
00:38:01,685 --> 00:38:06,285
I mean, he is. Can I say,

862
00:38:06,345 --> 00:38:10,365
so just the verse, melody to me is for such a huge album.

863
00:38:10,435 --> 00:38:12,725
Yeah. Isn't it kind of clunky? It's very clunky.

864
00:38:12,725 --> 00:38:14,245
It's a little clunky of a melody. Yeah.

865
00:38:14,355 --> 00:38:16,565
Just, I mean, even some parts of the chorus, no Shade.

866
00:38:16,735 --> 00:38:18,005
Terry Britain and Gram Lyle,

867
00:38:18,025 --> 00:38:19,325
who I know are awesome musicians.

868
00:38:19,325 --> 00:38:22,845
But like, to me the verse is like, lyrically like lyric,

869
00:38:22,945 --> 00:38:25,005
the lyrics fit with the melody and the way the, the phrasing

870
00:38:25,065 --> 00:38:26,485
of it is, it's like you can hear

871
00:38:26,605 --> 00:38:27,725
Stevie's like trying to pull this.

872
00:38:27,925 --> 00:38:29,605
I know's it Stevie. I mean, it's great.

873
00:38:29,605 --> 00:38:31,045
Of course it's Stevie, but it's not.

874
00:38:31,045 --> 00:38:32,045
It's a, I think the pre chorus is

875
00:38:32,045 --> 00:38:33,165
maybe the best part of the song.

876
00:38:33,235 --> 00:38:35,485
Yeah. And I love the lift going into the chorus,

877
00:38:35,665 --> 00:38:37,965
but the production then starts to like,

878
00:38:38,755 --> 00:38:39,965
date it a little bit for me.

879
00:38:39,965 --> 00:38:41,525
Like the big deep on one.

880
00:38:41,525 --> 00:38:42,765
Yeah. You know what I'm talking about. Boom.

881
00:38:43,185 --> 00:38:45,885
And then back to the, and then just the super over

882
00:38:45,885 --> 00:38:48,405
dominating, super clapping two and fours. It's a

883
00:38:48,405 --> 00:38:49,405
Lot. It's a lot. It's a lot.

884
00:38:49,405 --> 00:38:50,045
Don't even,

885
00:38:53,145 --> 00:38:54,845
But it was a Lot on bad. That's the same

886
00:38:55,355 --> 00:38:56,355
Clap.

887
00:39:00,385 --> 00:39:01,765
And then Yeah. And like the horns. That's great.

888
00:39:01,765 --> 00:39:05,885
But like, before it would've been like, like they pulled out

889
00:39:05,985 --> 00:39:07,725
so much stuff because they didn't want it to sound

890
00:39:07,995 --> 00:39:09,645
what they thought was dated at the time.

891
00:39:09,825 --> 00:39:12,365
And this is document. People have talked about this on the

892
00:39:12,365 --> 00:39:14,485
production team is like, and in fact they,

893
00:39:14,485 --> 00:39:16,885
there's even horns that appear on the LP version.

894
00:39:16,885 --> 00:39:18,685
And then when they, they took them out, they took 'em out

895
00:39:18,685 --> 00:39:19,885
because they were like, that sounds dated.

896
00:39:19,885 --> 00:39:21,005
That sounds like the wall. They

897
00:39:21,005 --> 00:39:22,205
Didn't want to sound like off the wall.

898
00:39:22,205 --> 00:39:23,965
Right. But could Im, could you imagine this song

899
00:39:24,475 --> 00:39:25,605
with Off the Walls production?

900
00:39:25,605 --> 00:39:26,565
Right. It actually is. Like,

901
00:39:26,565 --> 00:39:27,925
you can kind of hear it, you know? Yeah, no,

902
00:39:27,925 --> 00:39:29,125
It's a great, it's a good song

903
00:39:30,195 --> 00:39:32,405
With that, with that minor four seven

904
00:39:32,625 --> 00:39:33,625
Change. Know there's

905
00:39:33,625 --> 00:39:35,405
interesting stuff there. The

906
00:39:35,405 --> 00:39:37,925
Road Actually,

907
00:39:37,925 --> 00:39:39,725
the Less Horns makes it sound almost more

908
00:39:39,725 --> 00:39:41,405
obtrusive when they come in.

909
00:39:50,565 --> 00:39:52,205
I mean, it's, it can't be at all.

910
00:39:52,205 --> 00:39:55,165
Like, it's not ever, it's not, just to clarify,

911
00:39:55,355 --> 00:39:57,445
this is not bad at all.

912
00:39:57,445 --> 00:39:59,245
It's, it's actually really, really good.

913
00:39:59,465 --> 00:40:01,165
No, but it's, everything on this album is,

914
00:40:01,345 --> 00:40:02,405
but it's just like, oh man.

915
00:40:02,405 --> 00:40:04,645
It has so much potential to be something. Right.

916
00:40:04,855 --> 00:40:06,405
Incredible. You know what I mean? And

917
00:40:06,405 --> 00:40:08,085
We've already heard, and we're gonna hear some more.

918
00:40:08,555 --> 00:40:13,005
Look, Michael set out to set out to make a record

919
00:40:13,005 --> 00:40:14,965
that out the gate was gonna sell a hundred million copies,

920
00:40:15,335 --> 00:40:16,405
which is a lofty goal.

921
00:40:16,435 --> 00:40:18,125
It's lofty. He didn't achieve that. But I mean,

922
00:40:18,125 --> 00:40:19,205
like, that's what he was going for.

923
00:40:19,345 --> 00:40:21,325
So it's a little bit surprising.

924
00:40:21,515 --> 00:40:23,445
Look, maybe our taste was off. Who knows? It's,

925
00:40:23,445 --> 00:40:24,445
It is, this is all, obviously

926
00:40:24,475 --> 00:40:25,525
There's many skipper

927
00:40:25,585 --> 00:40:27,245
On here, but this, this one feels,

928
00:40:27,305 --> 00:40:28,605
it just feels like a missed opportunity.

929
00:40:28,605 --> 00:40:29,725
You got Michael and Stevie together.

930
00:40:29,805 --> 00:40:33,765
I you got a really catchy chorus. You got this amazing Preco

931
00:40:33,895 --> 00:40:34,895
Verse. Is there there precedence for

932
00:40:34,895 --> 00:40:36,245
this though? Little is Paul

933
00:40:36,245 --> 00:40:38,285
McCartney and, and, and Michael on

934
00:40:38,525 --> 00:40:39,725
A lot of people have said they love

935
00:40:39,725 --> 00:40:41,405
that Paul McCartney song from three Oh, I know

936
00:40:41,405 --> 00:40:42,565
that. We kind of like threw some s**t.

937
00:40:43,475 --> 00:40:44,565
Give is mine, man.

938
00:40:45,465 --> 00:40:46,685
Warren Wolf really likes it.

939
00:40:46,915 --> 00:40:48,725
Well, you know what I mean, shout out Warren Wolf.

940
00:40:48,865 --> 00:40:51,525
But, um, so it is just a total taste thing.

941
00:40:51,525 --> 00:40:53,885
It is a total taste thing. But I, I just like, man,

942
00:40:54,105 --> 00:40:55,125
how many opportunities are you gonna

943
00:40:55,125 --> 00:40:56,205
get Michael and Stevie together?

944
00:40:56,335 --> 00:40:58,245
Right. It would've been, I don't know.

945
00:40:58,245 --> 00:40:59,205
Yeah. It's, I, it's,

946
00:40:59,205 --> 00:41:00,365
it's, I it's could've been amazing.

947
00:41:00,545 --> 00:41:03,085
But next up is, now we start

948
00:41:03,085 --> 00:41:04,245
to pick up the pace a little bit.

949
00:41:04,245 --> 00:41:06,525
Yeah. Now it starts to from here on out, actually for me,

950
00:41:06,645 --> 00:41:08,365
I dunno about you, but from here on

951
00:41:08,385 --> 00:41:09,605
out, everyone's a banger. Yeah.

952
00:41:09,605 --> 00:41:11,525
Well, we're on side side two now.

953
00:41:11,875 --> 00:41:14,285
Like, actually side two is better than

954
00:41:14,315 --> 00:41:15,485
side one as a whole.

955
00:41:15,635 --> 00:41:18,765
Yeah. Woo Truck.

956
00:41:20,945 --> 00:41:24,805
See, this is, this is dated Groovy eighties. I like this.

957
00:41:24,825 --> 00:41:27,085
You know what I'm saying? Like,

958
00:41:27,085 --> 00:41:28,725
that's the same clap two and four. But it,

959
00:41:29,715 --> 00:41:30,765
There's some prints in here.

960
00:41:31,065 --> 00:41:32,605
Oh, a lot of prints. There's a lot

961
00:41:32,605 --> 00:41:34,245
of aspirational Prince guitar riffs.

962
00:41:35,745 --> 00:41:38,725
Oh, he's coming in hot. Do what? Chris Tucker.

963
00:41:41,715 --> 00:41:45,285
Come on man. Sorry.

964
00:41:48,185 --> 00:41:50,005
But this is like Every detail, right?

965
00:41:51,105 --> 00:41:52,725
So, ah,

966
00:41:58,165 --> 00:41:59,285
I would've loved to hear Stevie.

967
00:41:59,745 --> 00:42:02,405
Oh, he was so much better. Come on Michael.

968
00:42:03,375 --> 00:42:06,805
Don't bring him in. Put on, put a chromatic

969
00:42:06,805 --> 00:42:08,285
Harmonica solo on This Jones.

970
00:42:11,625 --> 00:42:15,645
The ho. It's actually, this is very like,

971
00:42:16,905 --> 00:42:18,005
hotter than July-ish.

972
00:42:18,475 --> 00:42:19,565
Yeah. You know what I mean? It

973
00:42:19,565 --> 00:42:20,565
Is for sure.

974
00:42:22,065 --> 00:42:24,805
Oh, And that's like another gear

975
00:42:24,805 --> 00:42:26,045
for his background vocals.

976
00:42:26,755 --> 00:42:28,205
There's some other people besides him

977
00:42:28,205 --> 00:42:29,445
on this, I think background.

978
00:42:32,065 --> 00:42:32,645
Oh, maybe that.

979
00:42:49,905 --> 00:42:51,805
And this is like getting into that Michael Jackson,

980
00:42:52,165 --> 00:42:55,725
Quincy perfection production, everything in his place.

981
00:43:03,855 --> 00:43:04,855
Who's that? All Based?

982
00:43:11,585 --> 00:43:16,245
The horns. Come on Man. I forgot how good this truck.

983
00:43:16,825 --> 00:43:20,885
Ah, oh yeah.

984
00:43:25,265 --> 00:43:26,265
Oh

985
00:43:26,585 --> 00:43:27,585
Hey. So this track

986
00:43:27,585 --> 00:43:29,005
that's pure joy man,

987
00:43:29,225 --> 00:43:30,725
is the perfect combination.

988
00:43:30,875 --> 00:43:32,525
Pure joy. It's got all the,

989
00:43:32,595 --> 00:43:35,045
what should be dated eighties sounds, Lin

990
00:43:35,685 --> 00:43:37,005
whatever the program drums and stuff.

991
00:43:37,005 --> 00:43:40,605
Yeah, yeah. But man, dude, it's so I'm here for it.

992
00:43:40,955 --> 00:43:43,965
Like, that's because it's, it's a killer song.

993
00:43:44,395 --> 00:43:46,925
It's got all these vehicles for Michael to get creative

994
00:43:46,925 --> 00:43:48,005
with the background vocals.

995
00:43:48,005 --> 00:43:50,525
Like when you talk about him as a producer, I think

996
00:43:50,525 --> 00:43:52,845
that like, there's a number of different levels that,

997
00:43:52,845 --> 00:43:54,925
that his genius was manifested even

998
00:43:54,925 --> 00:43:56,565
before you get into the dancing and the video aspect,

999
00:43:56,565 --> 00:43:58,245
just in terms of audio, his singing.

1000
00:43:58,545 --> 00:44:00,925
But there's other things besides just like the lyrics

1001
00:44:00,925 --> 00:44:03,125
and the songwriting, the background vocals,

1002
00:44:03,145 --> 00:44:04,165
how they're placed in there.

1003
00:44:04,505 --> 00:44:07,365
But this kind of perfection thing that he battled with Quin,

1004
00:44:07,485 --> 00:44:08,765
I don't know about battled, but

1005
00:44:08,765 --> 00:44:09,845
they were one up up each other.

1006
00:44:09,845 --> 00:44:11,845
It's like everything in the right place. Killer song.

1007
00:44:11,845 --> 00:44:13,645
To me, it's like every song should have been like this.

1008
00:44:13,825 --> 00:44:15,885
Not stylistically, but just at this level.

1009
00:44:15,945 --> 00:44:17,805
And this is maybe not even the greatest song on here,

1010
00:44:18,025 --> 00:44:19,485
but it's like, come on, it's in there.

1011
00:44:19,635 --> 00:44:20,845
It's, it's up there for me.

1012
00:44:20,945 --> 00:44:22,485
And, and this is, you know, up to this point,

1013
00:44:22,495 --> 00:44:25,325
every song has been written by Michael except

1014
00:44:25,325 --> 00:44:27,405
for just good friends, which we, you know, we kind

1015
00:44:27,405 --> 00:44:29,605
of talked about a little bit this next track, Peter

1016
00:44:29,605 --> 00:44:30,965
after another part of me, like,

1017
00:44:31,515 --> 00:44:33,605
this might be the best song on the album. Are

1018
00:44:33,605 --> 00:44:34,605
We the apex of the album? We

1019
00:44:34,605 --> 00:44:35,605
might be at the Apex.

1020
00:44:35,945 --> 00:44:40,285
Um, and this was not, again, not written by Michael. Um,

1021
00:44:40,705 --> 00:44:41,885
And this was like the fourth

1022
00:44:41,945 --> 00:44:44,085
or fifth single, I don't know if it was the biggest hit.

1023
00:44:44,085 --> 00:44:45,885
He, I felt, I felt like at the time it was the biggest hit.

1024
00:44:46,505 --> 00:44:48,765
But, um, we're talking about Man of the Mirror, right?

1025
00:44:48,765 --> 00:44:49,885
We're talking about Man Manir. Yeah.

1026
00:44:49,885 --> 00:44:52,245
It was written by sa excuse me, Saya Garrett. Yep.

1027
00:44:52,985 --> 00:44:54,885
And Glen, is it Ballard?

1028
00:44:55,115 --> 00:44:56,805
Yeah. Glen Ballard. And they were

1029
00:44:56,805 --> 00:44:58,045
like a songwriting team. Ballard.

1030
00:44:58,195 --> 00:45:00,845
Charlie's a Ballard. Millard Millard.

1031
00:45:00,875 --> 00:45:03,605
He's a Millard Duck. Okay. Yeah. SAA Garrett.

1032
00:45:03,675 --> 00:45:04,805
Very, very interesting story

1033
00:45:04,805 --> 00:45:07,125
because she, there's a little connection with friend

1034
00:45:07,125 --> 00:45:08,845
of the pod, friend of Open Studios.

1035
00:45:09,115 --> 00:45:11,085
John Beasley. Hey, who? Legend.

1036
00:45:11,355 --> 00:45:13,965
Well, really, society Garrett said this actually first

1037
00:45:14,065 --> 00:45:15,325
coined the phrase, man.

1038
00:45:15,325 --> 00:45:17,725
Well, he didn't coin it, but he first brought it to society,

1039
00:45:17,725 --> 00:45:19,285
to Garrett's attention years before.

1040
00:45:19,285 --> 00:45:20,965
Wait, Beasley Beasley Bees

1041
00:45:21,505 --> 00:45:23,085
Are who like open studio mentor

1042
00:45:23,085 --> 00:45:24,445
session. Yeah. Teacher Beasley,

1043
00:45:24,505 --> 00:45:26,285
My number one sub and Diane Reeves

1044
00:45:26,285 --> 00:45:27,685
for many years. And now, now

1045
00:45:27,685 --> 00:45:28,725
Diane Reeves, music Director.

1046
00:45:28,775 --> 00:45:30,405
Great jazz panels from la Yeah.

1047
00:45:30,425 --> 00:45:31,565
He was doing some songwriting

1048
00:45:31,565 --> 00:45:33,485
with sighting gear several years before this

1049
00:45:33,945 --> 00:45:36,045
and was on the bees baby, baby bees.

1050
00:45:36,055 --> 00:45:38,885
Right. Um, the Be's knees. Wow.

1051
00:45:38,885 --> 00:45:40,285
We got, so we got all sorts of names. Okay.

1052
00:45:40,285 --> 00:45:41,445
And he said something about Man in the

1053
00:45:41,445 --> 00:45:42,485
Mirror and that caught her attention.

1054
00:45:42,485 --> 00:45:45,445
She wrote it down years later when Glen Ballor came in.

1055
00:45:45,445 --> 00:45:49,365
He's like, I got an idea. Great. Ding ding with that intro.

1056
00:45:49,545 --> 00:45:50,725
She immediately was like, hold on.

1057
00:45:51,145 --> 00:45:53,485
And she went back and found in her notebook. Cool.

1058
00:45:53,745 --> 00:45:56,885
Uh, that, that, and that's how the, the title came about. So

1059
00:46:05,825 --> 00:46:07,165
The panning of the shakers. Yeah.

1060
00:46:07,915 --> 00:46:12,205
Make change once in my life.

1061
00:46:13,545 --> 00:46:15,085
And these are real claps, I think

1062
00:46:15,575 --> 00:46:18,725
Going As opposed to the, which makes a difference

1063
00:46:19,215 --> 00:46:20,215
Going. Make

1064
00:46:20,215 --> 00:46:20,445
it

1065
00:46:25,385 --> 00:46:26,965
as I turned up the,

1066
00:46:30,945 --> 00:46:32,645
the blow my

1067
00:46:32,675 --> 00:46:36,205
mind, this

1068
00:46:36,205 --> 00:46:37,205
Was Shall sharp.

1069
00:46:41,795 --> 00:46:44,005
It's like the four 40 twos they put Push everything up,

1070
00:46:49,785 --> 00:46:50,005
man.

1071
00:46:50,005 --> 00:46:51,125
The little harmonic backgrounds.

1072
00:46:51,955 --> 00:46:53,285
What a melody. Man, this here,

1073
00:46:53,385 --> 00:46:54,525
That's what society Garrett's singing.

1074
00:46:58,085 --> 00:47:01,085
Gorgeous. Yeah. And then here,

1075
00:47:05,075 --> 00:47:06,075
Filling gate. Enter

1076
00:47:06,075 --> 00:47:07,845
the filling gate.

1077
00:47:10,495 --> 00:47:11,925
Don't worry. This is a superhero.

1078
00:47:13,305 --> 00:47:16,645
And then Bring

1079
00:47:16,645 --> 00:47:17,645
The blues into it. Let's

1080
00:47:17,645 --> 00:47:18,245
bring a little diminish.

1081
00:47:25,225 --> 00:47:26,225
Oh, walk down.

1082
00:47:28,445 --> 00:47:29,885
I gotta, sorry. This is a perfect track.

1083
00:47:30,045 --> 00:47:30,885
I gotta back it up. Forgot this.

1084
00:47:30,985 --> 00:47:32,045
So we talk about the snare drum.

1085
00:47:32,385 --> 00:47:33,685
The entrance of the snare drum

1086
00:47:33,775 --> 00:47:35,925
after the first chorus is one of the great moments.

1087
00:47:36,235 --> 00:47:37,125
This might be my effects.

1088
00:47:43,985 --> 00:47:45,765
So there's a little, there's a little piccolo snare.

1089
00:47:45,915 --> 00:47:50,725
Yeah. That's playing on all four

1090
00:47:50,725 --> 00:47:52,645
beats, right?

1091
00:47:56,105 --> 00:47:59,685
Ah, it's coming in hot. Incredible.

1092
00:48:00,135 --> 00:48:00,805
Incredible.

1093
00:48:06,745 --> 00:48:09,125
Ah, the lyrics are killing on this too.

1094
00:48:10,245 --> 00:48:11,285
I wanna talk about the lyrics. Yeah.

1095
00:48:11,285 --> 00:48:13,045
Because I think it's interesting. Yeah.

1096
00:48:14,225 --> 00:48:18,325
Ooh, Controversy. What's that? Controversy?

1097
00:48:19,505 --> 00:48:21,285
That's next. Next on the list is controversy.

1098
00:48:24,665 --> 00:48:26,245
The pre chorus is magical. Yeah.

1099
00:48:28,035 --> 00:48:32,485
This here. Oh, back down,

1100
00:48:36,265 --> 00:48:37,245
Man. What a melody. Yeah.

1101
00:48:37,525 --> 00:48:42,485
Unbelievable. Oh,

1102
00:48:42,585 --> 00:48:44,285
Philly Gates started to get in there.

1103
00:48:45,315 --> 00:48:47,725
He's, he's like, he started to add some stuff.

1104
00:48:47,745 --> 00:48:49,445
See if anyone notices. He's like, cool, I got it.

1105
00:48:53,855 --> 00:48:55,605
Every time Michael performs this live here,

1106
00:48:56,055 --> 00:48:58,925
we're gonna spin diminish the dance moves come out.

1107
00:48:59,025 --> 00:49:00,025
Oh, yeah. You know what I mean?

1108
00:49:00,265 --> 00:49:04,845
Oh, Check out filling gauge.

1109
00:49:14,415 --> 00:49:15,645
Let's take our time. Let's take our time.

1110
00:49:19,145 --> 00:49:22,805
We changed that up. And choir.

1111
00:49:24,005 --> 00:49:25,085
I think we're at a lift.

1112
00:49:26,125 --> 00:49:28,045
Greatest. Maybe the greatest lift ever. Oh,

1113
00:49:28,185 --> 00:49:29,185
So good. And

1114
00:49:29,185 --> 00:49:30,605
it is an effortless lift, right?

1115
00:49:30,605 --> 00:49:31,845
It's not like it's just,

1116
00:49:32,035 --> 00:49:33,165
It's it's on, it's on.

1117
00:49:33,285 --> 00:49:35,045
I will always love You. It is territory.

1118
00:49:35,065 --> 00:49:36,065
It might even be above.

1119
00:49:42,865 --> 00:49:43,085
We

1120
00:49:47,815 --> 00:49:49,125
We're Not even in the apex.

1121
00:49:49,225 --> 00:49:50,225
He the chair. No.

1122
00:49:52,745 --> 00:49:53,925
You know what the apexes are, right?

1123
00:49:53,985 --> 00:49:58,765
No. Oh yeah. You know where they're Oh yeah.

1124
00:50:00,625 --> 00:50:05,565
But this is like, it sets it up. Here it is.

1125
00:50:11,745 --> 00:50:13,925
Oh, Phil and Gates sitting on that four. Come on.

1126
00:50:21,265 --> 00:50:25,205
Oh. Oh. Sit on it. Sit on it.

1127
00:50:26,715 --> 00:50:30,125
It's going real good. Samon indeed.

1128
00:50:30,125 --> 00:50:31,965
Peter just,

1129
00:50:48,025 --> 00:50:51,885
Oh, minus That.

1130
00:50:58,945 --> 00:51:02,205
Man. This is so much longer than should work.

1131
00:51:02,705 --> 00:51:04,805
And it just works. Every second world. Oh,

1132
00:51:05,985 --> 00:51:06,205
Us

1133
00:51:10,865 --> 00:51:11,865
Man. Michael Jackson's

1134
00:51:11,865 --> 00:51:12,925
gospel. Chopped

1135
00:51:13,915 --> 00:51:14,915
S**t.

1136
00:51:24,185 --> 00:51:25,325
Lesser hands, all this

1137
00:51:38,985 --> 00:51:42,075
Damn Man.

1138
00:51:42,735 --> 00:51:44,275
That's a perfect track. It's a perfect track.

1139
00:51:44,295 --> 00:51:45,555
I'm gonna put it out there. It's a perfect track.

1140
00:51:45,655 --> 00:51:47,235
Can we break it down a little bit? Let's break it down.

1141
00:51:47,255 --> 00:51:48,675
But I just want to man a couple things

1142
00:51:48,675 --> 00:51:49,835
that I had hardly noticed.

1143
00:51:49,835 --> 00:51:52,515
Like, they're sitting on that four, so

1144
00:51:52,535 --> 00:51:57,475
of course it modulates up a

1145
00:51:57,475 --> 00:51:58,475
Little sharp nine thing. Yeah.

1146
00:51:58,475 --> 00:51:59,225

1147
00:52:02,255 --> 00:52:04,315
But once they go down and sit on that, I mean, this is

1148
00:52:04,315 --> 00:52:06,755
so important for gospel music, for American music,

1149
00:52:06,755 --> 00:52:07,755
for black American music.

1150
00:52:07,775 --> 00:52:10,715
The four chord, the four to the one Ah man. Yeah.

1151
00:52:10,855 --> 00:52:13,155
For Bach, for European, classical, all this stuff.

1152
00:52:13,375 --> 00:52:15,555
And so the fact that they sit on that for so long,

1153
00:52:16,105 --> 00:52:19,035
it's such a, like a reverential kind of feel.

1154
00:52:19,035 --> 00:52:22,915
Right. And then filling gates is just like, f**k it.

1155
00:52:23,135 --> 00:52:25,555
I'm gonna be filling gates. He's, he did something.

1156
00:52:25,555 --> 00:52:27,515
It was like de Oh no, boy.

1157
00:52:27,985 --> 00:52:29,075
Yeah. Yeah. We're gonna get into that.

1158
00:52:29,075 --> 00:52:32,995
But it was a de and it's so we, and that he's jumping up

1159
00:52:32,995 --> 00:52:34,035
and down on that Moog base.

1160
00:52:34,575 --> 00:52:38,035
So melodic soul, soulful, and so connected.

1161
00:52:38,305 --> 00:52:40,475
Like this is such a highly produced track.

1162
00:52:40,835 --> 00:52:42,995
Probably one of the most highly produced track. Andre K.

1163
00:52:43,025 --> 00:52:44,235
It's a perfect arrangement. Yeah. The wine.

1164
00:52:44,505 --> 00:52:47,195
It's a perfect, yeah. And there's so many moving parts

1165
00:52:47,575 --> 00:52:50,115
and it sits on that floor for so long in lesser hands,

1166
00:52:50,505 --> 00:52:52,555
this would be like, oh my God, this is so corny. This is,

1167
00:52:53,205 --> 00:52:54,715
We're in the perfect hands, Man.

1168
00:52:54,915 --> 00:52:57,275
Quincy and Michael. Yeah. We bow down, shout

1169
00:52:57,275 --> 00:52:58,275
Out to SAA Garrett. Glenn Ballard

1170
00:52:58,275 --> 00:52:59,595
who wrote the song,

1171
00:52:59,605 --> 00:53:00,795
Glenn Ballard SAA Garrett.

1172
00:53:00,905 --> 00:53:03,075
This might be a perfectly Penn song. It's incredible.

1173
00:53:03,315 --> 00:53:04,715
I, I, I sense you might have some

1174
00:53:04,755 --> 00:53:06,355
reservations about some of the lyrics though.

1175
00:53:06,455 --> 00:53:07,155
No, I don't have any

1176
00:53:07,155 --> 00:53:08,475
reservations about the lyrics. I love the lyric

1177
00:53:08,475 --> 00:53:09,475
Thes, the two, we are the world ish story. All

1178
00:53:09,475 --> 00:53:10,795
I, all I on upon this.

1179
00:53:10,795 --> 00:53:12,755
Listen, you know, we, we do a lot.

1180
00:53:12,875 --> 00:53:14,915
I listen to this to every album we do.

1181
00:53:14,955 --> 00:53:15,955
I listen to at least like two

1182
00:53:15,955 --> 00:53:17,835
or three times as we're leading up to it.

1183
00:53:18,095 --> 00:53:20,035
And when I realized listening to Man in the Mirror now

1184
00:53:20,035 --> 00:53:21,155
for the first time in probably a decade

1185
00:53:21,385 --> 00:53:22,555
that I've really listened to bad

1186
00:53:22,575 --> 00:53:24,515
and like really, really listened to it, is

1187
00:53:24,515 --> 00:53:26,525
that I don't think we're writing songs like this anymore.

1188
00:53:26,705 --> 00:53:29,565
No. Because we, uh, just the idea of like,

1189
00:53:29,565 --> 00:53:30,845
we're gonna make the world a better place

1190
00:53:30,905 --> 00:53:31,965
by changing ourselves.

1191
00:53:31,965 --> 00:53:33,565
Yeah. Things have become a lot more about

1192
00:53:33,595 --> 00:53:34,685
accepting who we are.

1193
00:53:34,965 --> 00:53:36,725
Right. Right. And it's like that, that is, don't

1194
00:53:36,725 --> 00:53:37,965
Change the world. Try to change yourself.

1195
00:53:38,065 --> 00:53:39,525
So Yeah. It's like I, the, the idea

1196
00:53:39,525 --> 00:53:41,965
that I'm not good enough is not something that we,

1197
00:53:42,355 --> 00:53:43,885
that is a virtue anymore.

1198
00:53:43,885 --> 00:53:46,285
Right. That I'm, I should be, I should change myself. Right.

1199
00:53:46,285 --> 00:53:47,845
The virtue now is that I should accept

1200
00:53:47,945 --> 00:53:49,285
who I am for, for how I am.

1201
00:53:49,285 --> 00:53:50,445
Right. And I just think it's a very,

1202
00:53:50,445 --> 00:53:51,485
we're flawed, we're all Yeah.

1203
00:53:51,485 --> 00:53:54,125
We're all flawed and we should embrace all the messiness

1204
00:53:54,125 --> 00:53:55,285
of being human and all that stuff.

1205
00:53:55,285 --> 00:53:56,285
So we're getting selfish here is What

1206
00:53:56,285 --> 00:53:57,205
you're saying. No, I, I don't,

1207
00:53:57,205 --> 00:53:58,685
I have no comment on on that.

1208
00:53:58,765 --> 00:54:01,205
I just think it's interesting that no one would talk like

1209
00:54:01,205 --> 00:54:02,965
this about this kind of thing anymore.

1210
00:54:03,025 --> 00:54:04,405
Is it? Yeah. Is it, for this day

1211
00:54:04,405 --> 00:54:06,685
and age, is it too wide-eyed

1212
00:54:06,685 --> 00:54:09,045
and bushy tailed too optimistic too.

1213
00:54:09,105 --> 00:54:11,285
We are the world ish, but this was the time. Yeah.

1214
00:54:11,405 --> 00:54:13,045
I mean, when this song, man, this was like,

1215
00:54:13,355 --> 00:54:14,765
this was an impact Yeah.

1216
00:54:14,825 --> 00:54:19,685
On this record. Um, you know, in a way that, I mean,

1217
00:54:19,685 --> 00:54:23,085
it's not like overt politically, you know,

1218
00:54:23,235 --> 00:54:24,685
politically active, like some

1219
00:54:24,685 --> 00:54:26,565
of Stevie stuff was from this time of before,

1220
00:54:26,905 --> 00:54:28,525
but like on a mass, like on just

1221
00:54:28,525 --> 00:54:29,605
a general good good feeling.

1222
00:54:29,605 --> 00:54:30,845
Can we love each other? Yeah.

1223
00:54:30,945 --> 00:54:32,805
You know, like this was a big deal at that time.

1224
00:54:32,985 --> 00:54:34,165
But it also, like there's,

1225
00:54:34,165 --> 00:54:36,365
there weren't wellness in influencers No.

1226
00:54:36,395 --> 00:54:37,845
Back then. You know what I mean? Michael

1227
00:54:37,845 --> 00:54:38,845
Was kind of a wellness.

1228
00:54:39,085 --> 00:54:40,165
I mean, although he had flaws,

1229
00:54:40,305 --> 00:54:44,005
We, we get, we get bombarded every second of our days now

1230
00:54:44,115 --> 00:54:46,565
with us not being enough on social media

1231
00:54:46,705 --> 00:54:48,925
and comparing ourselves to these, you know, images

1232
00:54:48,985 --> 00:54:50,685
of perfection that we see and Yeah.

1233
00:54:50,785 --> 00:54:52,165
And virtuous behavior

1234
00:54:52,235 --> 00:54:55,045
that people project in a very manicured way online.

1235
00:54:55,275 --> 00:54:57,245
Yeah. That, you know, we've had to sort

1236
00:54:57,405 --> 00:54:58,565
of like reverse course on this

1237
00:54:58,565 --> 00:55:01,765
and be like, actually it may be too much for me to try

1238
00:55:01,765 --> 00:55:03,125
to like be perfect.

1239
00:55:03,255 --> 00:55:04,565
Right, right. Or change myself.

1240
00:55:04,725 --> 00:55:06,245
I just, I I, I'm not saying good

1241
00:55:06,245 --> 00:55:07,805
or bad, I love the lyrics of this song

1242
00:55:08,065 --> 00:55:10,245
and I think it's still something that we all aspire

1243
00:55:10,305 --> 00:55:11,325
to improve ourselves.

1244
00:55:11,345 --> 00:55:13,645
But I just think like in the current climate we're in,

1245
00:55:13,645 --> 00:55:15,205
there's a lot more talk about like, man,

1246
00:55:15,205 --> 00:55:16,245
you gotta let that go.

1247
00:55:16,415 --> 00:55:18,565
Right. As opposed to like, man, you should work on yourself.

1248
00:55:19,065 --> 00:55:20,165
Do stuff in the mirror. It's

1249
00:55:20,165 --> 00:55:21,605
Like, I mean, and that said, there is just

1250
00:55:21,605 --> 00:55:23,045
so much you gotta work on yourself.

1251
00:55:23,045 --> 00:55:24,965
You should have abs and get up at 4:00 AM

1252
00:55:25,065 --> 00:55:26,485
to start your day and Right.

1253
00:55:26,545 --> 00:55:28,565
You know, pray with your wife for two hours

1254
00:55:28,585 --> 00:55:30,365
before you run eight miles.

1255
00:55:30,425 --> 00:55:31,485
You know what I mean? All that stuff. Right.

1256
00:55:31,485 --> 00:55:34,085
Like, so it's just, it's just really interesting that sort

1257
00:55:34,085 --> 00:55:35,485
of difference culturally that we're looking at.

1258
00:55:35,725 --> 00:55:38,085
Absolutely. But the tune itself, man, like I said, the apex,

1259
00:55:38,675 --> 00:55:42,565
when he comes in after the very last sharp nine situation.

1260
00:55:42,595 --> 00:55:46,725
Yeah. If you can play that sharp nine chord, right.

1261
00:55:46,825 --> 00:55:48,565
And it goes back to that last walk down

1262
00:55:49,825 --> 00:55:52,645
and he starts hitting woo.

1263
00:55:54,305 --> 00:55:57,685
He does those, those really high woos is like, to me,

1264
00:55:58,805 --> 00:56:00,325
I still, you know, it's, it's moments

1265
00:56:00,435 --> 00:56:01,605
that you know are coming

1266
00:56:01,705 --> 00:56:04,125
and you're still like getting chills.

1267
00:56:04,405 --> 00:56:05,445
I know. I'm still getting chills.

1268
00:56:05,445 --> 00:56:07,525
And I was, I've heard this when I was eight, right.

1269
00:56:07,585 --> 00:56:09,925
And now I'm 47. I still get chills, man.

1270
00:56:10,205 --> 00:56:11,245
I know. It's really incredible.

1271
00:56:11,435 --> 00:56:13,045
It's a timeless classic track,

1272
00:56:13,155 --> 00:56:14,405
Amazing piece of work. And

1273
00:56:14,405 --> 00:56:16,365
It makes the out, I mean, it makes whatever small

1274
00:56:16,365 --> 00:56:17,765
deficiencies we're saying on the other things.

1275
00:56:18,025 --> 00:56:20,365
And again, shout out to society Garrett and Glen Ballor

1276
00:56:20,365 --> 00:56:22,965
because apparently they wrote this song

1277
00:56:23,425 --> 00:56:26,005
and like, they were just, it was almost like, you know,

1278
00:56:26,125 --> 00:56:27,325
Quincy Jones out in LA

1279
00:56:27,345 --> 00:56:29,165
and New York was running his own Brill building.

1280
00:56:29,305 --> 00:56:30,965
He had all these songwriters, all the songwriter were

1281
00:56:30,965 --> 00:56:32,885
writing for Quincy Jones Productions

1282
00:56:32,885 --> 00:56:34,285
or whatever it was called at the time.

1283
00:56:34,785 --> 00:56:37,205
And, um, they didn't have access to Michael directly,

1284
00:56:37,265 --> 00:56:38,365
but everyone was trying to get on

1285
00:56:38,365 --> 00:56:39,445
this album of course, for two years.

1286
00:56:39,825 --> 00:56:40,965
And so they had this song

1287
00:56:41,065 --> 00:56:42,725
and they wrote, we're gonna sell a hundred million copies.

1288
00:56:43,165 --> 00:56:45,205
Yeah. They wrote it very quick as soon as she heard,

1289
00:56:45,285 --> 00:56:46,645
I believe in like one night or something.

1290
00:56:46,665 --> 00:56:47,765
Oh my God. And she connected

1291
00:56:47,765 --> 00:56:49,045
with the Man in the Mirror, the lyric.

1292
00:56:49,225 --> 00:56:50,445
And then she would, they were so excited.

1293
00:56:50,445 --> 00:56:53,085
They did a, a, a full on demo of it that you can go online

1294
00:56:53,105 --> 00:56:55,085
and hear very close to this version.

1295
00:56:55,435 --> 00:56:57,005
Kind of like, what was the song on Thrilly?

1296
00:56:57,005 --> 00:56:58,125
That was, that was, um,

1297
00:56:59,315 --> 00:57:01,365
that we talked about the very last track.

1298
00:57:01,995 --> 00:57:04,085
What was the last track called? No, no, no.

1299
00:57:04,085 --> 00:57:08,695
It was Anyway, don't get sidetracked. Don't get sidetracked.

1300
00:57:08,695 --> 00:57:10,335
No, no. But on this they did the, the demo

1301
00:57:10,715 --> 00:57:11,935
and they brought in Quincy's like,

1302
00:57:11,935 --> 00:57:12,975
yeah, just drop it off at the office.

1303
00:57:13,045 --> 00:57:15,375
I'll check it out on Monday. And Sa Garrett was like, no,

1304
00:57:15,375 --> 00:57:17,095
no, no, I want you to check it out now.

1305
00:57:17,095 --> 00:57:19,135
And he's like, I'm busy. She's like, no, I'm coming over.

1306
00:57:19,135 --> 00:57:20,335
Like, she insisted you gotta hear this.

1307
00:57:20,475 --> 00:57:21,535
And then he called back

1308
00:57:21,535 --> 00:57:23,055
and was like, I'm putting this in front of Michael.

1309
00:57:23,355 --> 00:57:24,735
And then when they got in the studio,

1310
00:57:24,845 --> 00:57:27,175
well this is gonna lead on to how she ended up getting on.

1311
00:57:27,345 --> 00:57:28,335
She's on the next track, the

1312
00:57:28,435 --> 00:57:29,375
tracks singing on the next track.

1313
00:57:29,445 --> 00:57:31,535
It's because he heard her on that. Oh, interesting. Yeah.

1314
00:57:31,595 --> 00:57:33,215
And, and then, so the next track is I

1315
00:57:33,215 --> 00:57:34,295
just can't stop Loving You.

1316
00:57:34,295 --> 00:57:35,895
And this has an fascinating history.

1317
00:57:35,895 --> 00:57:38,615
So like we said, this is featuring Saya Garrett who wrote,

1318
00:57:38,865 --> 00:57:40,895
who's one of the songwriters on Man In the Mirror.

1319
00:57:40,925 --> 00:57:42,855
Yeah. And she made the demo on Man In the Mirror.

1320
00:57:43,015 --> 00:57:44,255
Quincy heard it, put it in front of Michael.

1321
00:57:44,485 --> 00:57:47,215
They both agreed that they'd been having a hard time finding

1322
00:57:47,655 --> 00:57:50,175
a, a duet partner for I just Can't Stop Loving You Tried.

1323
00:57:50,175 --> 00:57:50,895
Well, they got some rejections.

1324
00:57:50,965 --> 00:57:51,975
They tried Best, which is weird.

1325
00:57:51,975 --> 00:57:53,335
Barbara Streisand. Yeah. They got rejected.

1326
00:57:53,445 --> 00:57:55,575
Yeah, they tried Whitney. Yeah, they got rejected.

1327
00:57:55,575 --> 00:57:57,775
Which is weird. Don't you wanna be on Whitney Houston? Yeah.

1328
00:57:57,805 --> 00:57:59,175
Come on. And, uh,

1329
00:57:59,175 --> 00:58:00,655
think the managers got in the way of some of that.

1330
00:58:00,655 --> 00:58:03,695
They, they might have, but then they heard SAA Garrett on

1331
00:58:03,695 --> 00:58:05,855
the demo of Man In the Mirror and thought, well she sounds,

1332
00:58:05,875 --> 00:58:07,455
and just, I don't want to, I wanna cover our ass a little

1333
00:58:07,455 --> 00:58:08,895
bit if that's okay, because De Boi

1334
00:58:08,895 --> 00:58:10,095
and De Boce is about to text us.

1335
00:58:10,165 --> 00:58:13,415
Okay. I do, I think SAA Garrett had sung background

1336
00:58:13,415 --> 00:58:14,775
with Michael before this.

1337
00:58:14,965 --> 00:58:17,095
Okay. So I don't think I, it might've been more

1338
00:58:17,095 --> 00:58:18,935
of a reminder kind of hearing her on that.

1339
00:58:19,495 --> 00:58:21,015
'cause I know there was some relationship and,

1340
00:58:21,015 --> 00:58:23,095
and she'd been working with q um,

1341
00:58:23,755 --> 00:58:25,415
and you know, as one of his songwriters.

1342
00:58:25,415 --> 00:58:27,095
So it wasn't just a total like I've heard it Well,

1343
00:58:27,115 --> 00:58:28,335
but maybe it was a reminder, whatever.

1344
00:58:28,575 --> 00:58:30,015
I mean now we're on the second half of the album

1345
00:58:30,035 --> 00:58:31,495
and now, now we're cooking.

1346
00:58:31,495 --> 00:58:33,615
Dude, I do know when she got in the studio that day,

1347
00:58:33,615 --> 00:58:34,975
she didn't know she was gonna be singing this song.

1348
00:58:34,975 --> 00:58:36,575
That's crazy. And literally sang it that day.

1349
00:58:36,605 --> 00:58:40,395
This is, this might be the best track on the album. Ooh.

1350
00:58:41,445 --> 00:58:44,795
Plant your Flag. I mean, I like it. I think that's good.

1351
00:58:44,795 --> 00:58:46,475
I think all of Side B could make a case.

1352
00:58:46,475 --> 00:58:47,675
And this is all Michael, Michael wrote this, right?

1353
00:58:47,675 --> 00:58:49,755
I think so, yeah. This is one of his best

1354
00:58:50,445 --> 00:58:51,755
songs ever actually.

1355
00:59:01,695 --> 00:59:04,475
Yep. Oh,

1356
00:59:04,495 --> 00:59:05,595
Can we have some real drums?

1357
00:59:05,595 --> 00:59:08,475
Thank you. And Dugu

1358
00:59:09,745 --> 00:59:12,835
back from Trailer Louisiana's

1359
00:59:12,835 --> 00:59:13,835
Fine. Time The wind

1360
00:59:13,835 --> 00:59:16,235
blows. I hear your voice.

1361
00:59:16,615 --> 00:59:18,835
So I call your name

1362
00:59:21,195 --> 00:59:22,365
When I think of Home,

1363
00:59:23,205 --> 00:59:24,565
I think It says Wiz.

1364
00:59:24,825 --> 00:59:26,645
That's what it is. It's home. Yeah.

1365
00:59:26,645 --> 00:59:29,365
The major to the su to the

1366
00:59:29,365 --> 00:59:29,565
Four

1367
00:59:32,725 --> 00:59:35,405
I Wrong.

1368
00:59:36,345 --> 00:59:37,805
I'm proud to say

1369
00:59:44,355 --> 00:59:45,445
Very. And I think

1370
00:59:45,445 --> 00:59:46,445
I'm home.

1371
00:59:50,275 --> 00:59:51,605
Michael wrote the s**t out of this.

1372
01:00:13,675 --> 01:00:14,805
This was the first single, wasn't it?

1373
01:00:15,275 --> 01:00:16,325
Yeah, this is the first single.

1374
01:00:16,425 --> 01:00:18,565
It came out a couple months. It came out this summer. I

1375
01:00:18,565 --> 01:00:20,125
Think it's the number one hit, wasn't it? Yeah. Number

1376
01:00:20,145 --> 01:00:21,145
One.

1377
01:00:21,345 --> 01:00:25,565
Number one, pop, r and B and ac Adult

1378
01:00:25,565 --> 01:00:26,565
Contemporary. Awesome.

1379
01:00:26,565 --> 01:00:27,085

1380
01:00:27,655 --> 01:00:31,885
Which of course, that's what made it adult.

1381
01:00:32,105 --> 01:00:33,965
That's what made it adult contemporary.

1382
01:00:42,995 --> 01:00:45,685
It's, it's like a Broadway feel to it, right?

1383
01:00:46,285 --> 01:00:49,485
I can't stop What a song, man. Yeah. That great chorus.

1384
01:00:49,525 --> 01:00:50,765
I think that might be Michael Jackson's

1385
01:00:50,775 --> 01:00:51,805
fight is just straight up

1386
01:00:51,805 --> 01:00:53,365
Song, his original composition. I, I mean,

1387
01:00:53,365 --> 01:00:54,965
It's, it's in the, it's in the conversation.

1388
01:00:55,555 --> 01:00:56,805
Babs would've been great on that actually.

1389
01:00:56,805 --> 01:00:58,685
That's, it's very like, you know,

1390
01:00:58,945 --> 01:01:00,565
Oh, Barbara Streisand would've crushed that.

1391
01:01:00,565 --> 01:01:01,245
Yeah. Are you kidding me?

1392
01:01:01,355 --> 01:01:02,565
Also, Whitney would've crushed that.

1393
01:01:02,565 --> 01:01:04,685
Yeah. Yeah. Well, IIDA crushes, she great.

1394
01:01:04,685 --> 01:01:07,245
She does so great. Um, and the hits don't stop. No.

1395
01:01:07,915 --> 01:01:09,405
This, this is a back Stacked album.

1396
01:01:10,065 --> 01:01:11,645
It is a backs stacked album. Yeah, for sure.

1397
01:01:12,765 --> 01:01:15,165
Stacks back stacks back stacks.net.

1398
01:01:16,225 --> 01:01:18,205
You sure about that? Sure.

1399
01:01:22,165 --> 01:01:23,915
Mixed Feelings about this chat. I'll put it

1400
01:01:23,915 --> 01:01:24,915
Out there.

1401
01:01:27,265 --> 01:01:29,345
I mean, it's a song about a groupie. Yeah. No, no.

1402
01:01:29,455 --> 01:01:30,705
Like a fictionalized groupie.

1403
01:01:31,045 --> 01:01:33,145
That's clear. That's it's very on the nose.

1404
01:01:34,165 --> 01:01:36,545
But I mean, the, the hook is so hooky

1405
01:01:43,085 --> 01:01:44,465
JR Robinson, this is a little more

1406
01:01:44,655 --> 01:01:45,985
authentic. Drums coming through,

1407
01:01:46,495 --> 01:01:48,425
Kind of got, you know, who's got JR.

1408
01:01:48,485 --> 01:01:49,905
Man, it's gotta Phil Collins vibe.

1409
01:01:50,285 --> 01:01:51,285
It does, doesn't It?

1410
01:01:51,925 --> 01:01:54,985
It does. With that reverb guitar.

1411
01:01:54,985 --> 01:01:59,265
Yeah. Eyes.

1412
01:02:00,365 --> 01:02:01,785
Oh, Jackson on Guitar Williams,

1413
01:02:10,405 --> 01:02:11,025
the guitar player.

1414
01:02:11,055 --> 01:02:11,785
That was, um,

1415
01:02:16,805 --> 01:02:17,865
that's Steve Stevens.

1416
01:02:18,215 --> 01:02:20,405
That was the Billy I Idol guy. Yeah, yeah, yeah, yeah.

1417
01:02:24,125 --> 01:02:26,745
Man. Dirty Diana. It's great. What a song isn't that great

1418
01:02:26,885 --> 01:02:29,265
And it's very like Michael with the 2 5 1.

1419
01:02:32,815 --> 01:02:34,745
Next up we're gonna keep the energy up. That was bad.

1420
01:02:34,845 --> 01:02:36,825
And this was my favorite video from the Moonwalker.

1421
01:02:36,825 --> 01:02:40,225
This was like the gangster thirties kind of likehey video.

1422
01:02:40,855 --> 01:02:43,305
This might be from a dancing standpoint. Yeah.

1423
01:02:43,415 --> 01:02:44,865
Well, from a choreography standpoint.

1424
01:02:45,045 --> 01:02:46,425
Da Lean. Yeah. You know how they did this.

1425
01:02:46,425 --> 01:02:48,225
Lean his finest, you know, except for Thriller.

1426
01:02:48,225 --> 01:02:49,465
Maybe there would be like a little, a

1427
01:02:49,465 --> 01:02:50,505
little hitch in the stage.

1428
01:02:50,505 --> 01:02:51,745
Right. Because I tried it over there.

1429
01:02:52,165 --> 01:02:54,185
He had like a hook on his heel or something. Hook it.

1430
01:02:54,185 --> 01:02:56,305
You tried it. Yeah. Didn't work. Smooth

1431
01:02:56,545 --> 01:02:57,545
Criminal.

1432
01:03:01,295 --> 01:03:02,945
It's very, this is, it's a little bit

1433
01:03:02,945 --> 01:03:04,065
of a drama queen kind of album.

1434
01:03:04,065 --> 01:03:06,505
There's a lot of drama. You know what I mean? Really? Coming

1435
01:03:06,505 --> 01:03:07,265
Off a thriller. Who

1436
01:03:07,265 --> 01:03:08,265
Would've thought? I'm just saying

1437
01:03:08,265 --> 01:03:09,745
they really leaned into it. Yeah.

1438
01:03:13,205 --> 01:03:16,305
Hey. Like, was that intro necessary? That's a quibble bit.

1439
01:03:16,345 --> 01:03:16,625
I have,

1440
01:03:23,125 --> 01:03:23,345
man.

1441
01:03:23,345 --> 01:03:26,345
Have you seen, um, Sugarfoot Moffitt playing Drums Day

1442
01:03:26,345 --> 01:03:28,225
touring drummer on YouTube.

1443
01:03:28,485 --> 01:03:29,465
Oh, killing it.

1444
01:03:35,045 --> 01:03:35,265
JR.

1445
01:03:53,375 --> 01:03:55,625
Jr's actually doing some killer high-hat work

1446
01:03:56,295 --> 01:03:57,705
that you could barely hear by this.

1447
01:04:04,265 --> 01:04:04,465
I mean,

1448
01:04:04,485 --> 01:04:05,505
The slap really works.

1449
01:04:05,655 --> 01:04:07,825
Yeah. There's something about the, just the,

1450
01:04:07,825 --> 01:04:10,585
just good friend slap is like too slappy or something.

1451
01:04:10,645 --> 01:04:11,785
Yes. Yeah. But these are

1452
01:04:11,885 --> 01:04:12,885
All sitting well for you. No,

1453
01:04:12,885 --> 01:04:15,425
they're all well, like, they don't, they sound

1454
01:04:15,765 --> 01:04:17,625
of this period, but they don't sound dated.

1455
01:04:17,695 --> 01:04:22,105
Yeah. Sound good. She's A, oh, this is hilarious.

1456
01:04:31,665 --> 01:04:34,625
A smooth, Incredible. Like,

1457
01:04:34,625 --> 01:04:37,905
You definitely start to understand like Michael's, uh,

1458
01:04:37,965 --> 01:04:39,345
on these songs that he wrote by himself.

1459
01:04:39,345 --> 01:04:43,505
Like all these songs, his Harmonic, you know, oh, another,

1460
01:04:43,695 --> 01:04:44,905
another Sharp Dang.

1461
01:04:49,255 --> 01:04:50,785
Like certain core progressions

1462
01:04:51,045 --> 01:04:52,865
and harmonies that he really liked, you know?

1463
01:04:53,285 --> 01:04:55,545
Um, were his signature thing. Play just the beginning.

1464
01:04:55,615 --> 01:04:58,305
Hold on. We have a hilarious note on our thing.

1465
01:04:58,305 --> 01:04:59,505
Maybe you're looking at the same thing.

1466
01:04:59,575 --> 01:05:00,825
Play the very beginning of that. Hold,

1467
01:05:00,825 --> 01:05:02,785
Hold on, hold on, hold on.

1468
01:05:02,985 --> 01:05:04,025
I gotta go back. I gotta go back. I

1469
01:05:04,025 --> 01:05:05,465
something queued up. Queued

1470
01:05:05,465 --> 01:05:06,465
Up. Sorry. Go ahead.

1471
01:05:06,465 --> 01:05:10,305
The heartbeat is

1472
01:05:10,305 --> 01:05:12,705
Michael's they brought No, they brought in a doctor.

1473
01:05:13,125 --> 01:05:14,985
Record it. I see. Oh my God. Why'd they,

1474
01:05:15,195 --> 01:05:19,925
We've got this picture I love.

1475
01:05:19,925 --> 01:05:22,045
They brought in a doctor. He just is stethoscope.

1476
01:05:22,665 --> 01:05:24,005
That's unbelievable. A doctor

1477
01:05:24,025 --> 01:05:26,485
Of audio or A hard, so I was bringing,

1478
01:05:26,785 --> 01:05:29,045
you probably don't remember this, but this was also a huge

1479
01:05:29,045 --> 01:05:31,285
hit when I was a teenager. He's got sunglasses

1480
01:05:31,385 --> 01:05:32,385
On.

1481
01:05:33,585 --> 01:05:35,805
Oh, this is Alien and Farm. Yeah.

1482
01:05:36,025 --> 01:05:37,205
Sam Mul going crazy over

1483
01:05:37,205 --> 01:05:38,085
There. All like,

1484
01:05:38,085 --> 01:05:40,125
All the millennials are going nuts in there.

1485
01:05:42,635 --> 01:05:46,845
Nice. It really lends itself to Yeah, it's

1486
01:05:50,585 --> 01:05:52,525
say I was going to the blue note that he says

1487
01:05:52,625 --> 01:05:54,245
No excuse was not, but you know,

1488
01:05:54,245 --> 01:05:55,605
this song was based on another song

1489
01:05:55,605 --> 01:05:57,005
called Al Capone. Have you ever heard this?

1490
01:05:57,505 --> 01:05:59,725
No. An early version.

1491
01:06:00,405 --> 01:06:04,085
A smooth criminal. Oh, is that the demo? Yeah.

1492
01:06:04,305 --> 01:06:06,645
Oh, man.

1493
01:06:06,645 --> 01:06:08,885
Michael put out some killer demos at his home studio.

1494
01:06:09,525 --> 01:06:11,325
I mean, everyone's got those now, but that, that was,

1495
01:06:17,545 --> 01:06:18,445
so he's, he was working

1496
01:06:18,445 --> 01:06:19,165
On it for a while. He

1497
01:06:19,165 --> 01:06:20,165
Was working on a while. He was scared to use

1498
01:06:20,165 --> 01:06:21,165
a Capone's name. He might

1499
01:06:21,235 --> 01:06:22,245
Been, he might've been.

1500
01:06:22,425 --> 01:06:23,925
So we end the album, like you said,

1501
01:06:23,925 --> 01:06:25,845
this wasn't on the original LP version, but leave me alone.

1502
01:06:25,905 --> 01:06:28,045
He won not the Grammy for best music video.

1503
01:06:28,065 --> 01:06:30,005
It was directed by Jim Bla

1504
01:06:30,005 --> 01:06:31,045
field. I don't know if you remember

1505
01:06:31,125 --> 01:06:32,125
This. Not on the

1506
01:06:32,125 --> 01:06:32,765
LP version. It didn't fit.

1507
01:06:32,875 --> 01:06:35,965
It's like it has like this stop motion vibe. This crazy

1508
01:06:36,155 --> 01:06:37,155
Yeah. Beautiful vibe

1509
01:06:37,155 --> 01:06:38,205
where it's like on the magazine covers

1510
01:06:38,225 --> 01:06:40,365
and the newspaper and the, you know what it is?

1511
01:06:40,595 --> 01:06:43,365
It's early, you know Roku City? It was Roku City.

1512
01:06:43,365 --> 01:06:45,325
That's Roku City. I love the song.

1513
01:06:45,745 --> 01:06:48,805
That's DX seven Sound Piano. Oh, I love it.

1514
01:06:53,795 --> 01:06:55,045
Have A shuffle. Shuffle, man.

1515
01:06:59,015 --> 01:07:00,015
Wacko jackle.

1516
01:07:01,515 --> 01:07:03,565
There's Bubbles in this video. Bubbles

1517
01:07:03,565 --> 01:07:04,045
Is all over. This

1518
01:07:04,245 --> 01:07:05,245
A representation.

1519
01:07:08,125 --> 01:07:08,245
I,

1520
01:07:13,355 --> 01:07:14,805
This is why we shuffles,

1521
01:07:24,145 --> 01:07:27,205
If anybody knows of a modern, like a hip song

1522
01:07:27,205 --> 01:07:29,205
that was a shuffle in the last 20 years.

1523
01:07:29,355 --> 01:07:30,405
Yeah, please leave it in the

1524
01:07:30,405 --> 01:07:31,405
Chat, man. This was

1525
01:07:31,405 --> 01:07:34,565
released as a single 1989 back two years.

1526
01:07:34,595 --> 01:07:38,005
Yeah, Yeah. Won a Grammy

1527
01:07:38,065 --> 01:07:39,885
for best music video in 1990.

1528
01:07:44,745 --> 01:07:45,325
That's killer

1529
01:08:04,465 --> 01:08:05,285
In lesser hands.

1530
01:08:05,995 --> 01:08:07,285
This could have been like a novelty

1531
01:08:07,285 --> 01:08:11,205
song, like a throwaway thing. I think

1532
01:08:11,205 --> 01:08:12,205
It's amazing, man.

1533
01:08:12,515 --> 01:08:15,205
Like I said, from as soon as another part

1534
01:08:15,205 --> 01:08:17,325
of me starts the beginning is that attitude as well.

1535
01:08:17,325 --> 01:08:18,965
Yeah. Yeah. It's crazy. As soon as this starts

1536
01:08:25,515 --> 01:08:27,645
Wearing bird theaters, Woo.

1537
01:08:27,915 --> 01:08:29,125
It's like a, it's like a new album.

1538
01:08:29,395 --> 01:08:32,405
It's like that run of another part of me Man In the mirror.

1539
01:08:32,475 --> 01:08:34,405
Yeah. I just can't stop loving you Dirty Diane.

1540
01:08:34,605 --> 01:08:36,325
A smooth criminal and leave me alone.

1541
01:08:36,645 --> 01:08:39,085
I mean, this is why I said side side two.

1542
01:08:39,165 --> 01:08:41,205
I mean, I think this can like,

1543
01:08:41,595 --> 01:08:42,925
compare to Thriller a little bit.

1544
01:08:42,925 --> 01:08:44,965
That's a, that's an incredible, if you're amid half

1545
01:08:44,965 --> 01:08:47,205
of the first side, I, that's the problem is there's a couple

1546
01:08:47,225 --> 01:08:48,645
of, there's a couple of dip, I think.

1547
01:08:48,715 --> 01:08:50,365
Yeah. The whole side too is bangers.

1548
01:08:50,665 --> 01:08:52,005
But the whole, I mean, there's really only,

1549
01:08:52,325 --> 01:08:53,365
I said fi I mean there's,

1550
01:08:53,465 --> 01:08:54,685
but you know, leave one or more Peter.

1551
01:08:55,155 --> 01:08:56,445
It's about the last thing's.

1552
01:08:56,595 --> 01:08:58,445
It's three songs that I think that, that, that,

1553
01:08:58,445 --> 01:08:59,445
that fall off a little bit.

1554
01:08:59,445 --> 01:09:01,485
Three outta 10 or three outta 11.

1555
01:09:01,485 --> 01:09:02,845
If you, let's get into some categories.

1556
01:09:02,845 --> 01:09:04,445
Peter, what's your desert Island track? Okay.

1557
01:09:04,445 --> 01:09:06,365
My Desert Island track is Man in the Mirror. Mine too. Okay.

1558
01:09:06,365 --> 01:09:08,405
That's, that's, wow. We really It is, it is.

1559
01:09:08,425 --> 01:09:11,685
We hit that fastball buddy. It was 60 miles an hour. It is.

1560
01:09:11,705 --> 01:09:13,965
We made a single. It is the best song on the album.

1561
01:09:13,965 --> 01:09:16,325
What's your Apex moment? Um, okay.

1562
01:09:16,355 --> 01:09:17,765
Filling Gains on Man of the Mirror.

1563
01:09:17,845 --> 01:09:19,925
I have a little Can can we, can we indulge? Yeah.

1564
01:09:20,105 --> 01:09:21,685
If you love Greg, filling Gains Raises

1565
01:09:21,685 --> 01:09:22,765
your hands up in the air, buddy.

1566
01:09:22,765 --> 01:09:24,205
We're an hour and a half into the Michael Jackson podcast.

1567
01:09:24,265 --> 01:09:25,265
We do whatever we want.

1568
01:09:27,995 --> 01:09:30,285
This is just filling games on base

1569
01:09:31,265 --> 01:09:33,805
And the vocals To

1570
01:09:37,545 --> 01:09:42,165
before they go up to a flat, just the ingenuity.

1571
01:09:50,305 --> 01:09:51,845
And then he just starts getting Willy getting

1572
01:09:51,855 --> 01:09:52,885
Jiggy with it as he goes.

1573
01:09:53,565 --> 01:09:54,765
A little bit like Stevie on,

1574
01:09:55,195 --> 01:09:57,165
very Stevie on, uh, Intervision.

1575
01:09:57,165 --> 01:09:58,165
Yeah.

1576
01:10:08,075 --> 01:10:10,245
Then you close your Mind. Quit

1577
01:10:11,015 --> 01:10:12,645
Never Heard Killing.

1578
01:10:13,465 --> 01:10:14,805
That's a great effect. Quote.

1579
01:10:15,115 --> 01:10:17,685
Mine is the, the high, the woo

1580
01:10:18,545 --> 01:10:20,085
woo on the end of Man of the Mirror.

1581
01:10:20,085 --> 01:10:21,765
After that last, the part we talked about already.

1582
01:10:22,085 --> 01:10:23,325
I just think it's the, that's not what you've written here,

1583
01:10:23,325 --> 01:10:25,485
but you, that that was, I that was a good audible.

1584
01:10:25,485 --> 01:10:26,765
I figured I had. It is great.

1585
01:10:27,285 --> 01:10:29,685
I mean, you know what, that's the actual Apex moment of it.

1586
01:10:29,765 --> 01:10:30,765
I think it is. It's literally,

1587
01:10:30,825 --> 01:10:33,005
but filling gains what he's playing under that is killing.

1588
01:10:33,005 --> 01:10:34,605
He is killing. It is killing. So that's a big part of it.

1589
01:10:34,605 --> 01:10:36,005
Alright. Bespoke playlist title. What do you got?

1590
01:10:36,005 --> 01:10:40,565
Okay, I've got, um, uh, you know what I was gonna say,

1591
01:10:40,705 --> 01:10:41,885
Jan Hammerer meets Prince,

1592
01:10:42,305 --> 01:10:44,645
but I'm gonna go, um, I like Yammer meets Princes B

1593
01:10:44,645 --> 01:10:46,245
three Hammond meets Princes.

1594
01:10:46,555 --> 01:10:48,245
Just to change it up a little bit, just for that one.

1595
01:10:48,245 --> 01:10:49,525
15 seconds. Okay, great.

1596
01:10:49,525 --> 01:10:53,445
Lemme, I have, uh, I have a here now. Ooh. A little shade.

1597
01:10:53,445 --> 01:10:55,925
I have a here because I'm, I'm, I am gonna change my flag.

1598
01:10:56,025 --> 01:10:57,285
I'm, I'm taking down the flag.

1599
01:10:57,285 --> 01:10:58,485
That bad is better than Thriller.

1600
01:10:58,755 --> 01:11:01,205
Look, he's, he's getting quiet and co I am.

1601
01:11:01,205 --> 01:11:02,565
But I am gonna, he's losing his confidence.

1602
01:11:02,805 --> 01:11:05,405
I am gonna put him on the same tier as Thriller as far

1603
01:11:05,405 --> 01:11:06,445
as Michael Jackson albums.

1604
01:11:06,585 --> 01:11:08,965
I'm gonna say off the wall is S Tier, which is the top tier.

1605
01:11:08,965 --> 01:11:11,925
Yeah. I'm gonna put Thriller and bad on the A tier.

1606
01:11:13,385 --> 01:11:14,925
Wow. So you say these are equal?

1607
01:11:15,485 --> 01:11:18,405
I they're close. I think I, I do give Thriller the Edge it

1608
01:11:18,405 --> 01:11:20,845
as just a little bit more complete the whole way through

1609
01:11:21,655 --> 01:11:22,655
Point. But the high,

1610
01:11:22,655 --> 01:11:23,165
the highs

1611
01:11:23,165 --> 01:11:24,725
of Bad might be a little, that's what I'm mean.

1612
01:11:24,725 --> 01:11:26,485
Here's where bad Pushes over Thriller

1613
01:11:26,485 --> 01:11:28,565
for me is I was a little young for Thriller.

1614
01:11:28,565 --> 01:11:30,605
Yeah. Until like, experience it in real time. Yeah.

1615
01:11:31,285 --> 01:11:34,085
'cause I was like three years old, four years old, bad.

1616
01:11:34,245 --> 01:11:37,085
I was like so into this album at the time. Yeah.

1617
01:11:37,085 --> 01:11:39,485
This was like, again, really, really important to me.

1618
01:11:39,505 --> 01:11:41,685
So the nostalgia for me pushes it over Thriller.

1619
01:11:41,905 --> 01:11:44,645
But upon reflection now, 30 something years later,

1620
01:11:45,405 --> 01:11:48,365
I do think, uh, I can, I can say 40 objectively

1621
01:11:48,365 --> 01:11:50,485
that thriller's probably a little bit more complete. Yeah.

1622
01:11:50,485 --> 01:11:52,165
Yeah. Okay. I Got you. I think

1623
01:11:52,645 --> 01:11:54,045
Quibble Bits what you got. I

1624
01:11:54,045 --> 01:11:55,885
Think some of the sound production things we talked about.

1625
01:11:55,885 --> 01:11:58,965
Yeah. Like, you know, the Just Good Friends is a good song.

1626
01:11:59,025 --> 01:12:00,445
It, it could have been a great song,

1627
01:12:00,505 --> 01:12:02,685
but I think it just got a little, uh, away from Yeah.

1628
01:12:02,785 --> 01:12:03,785
You know?

1629
01:12:04,515 --> 01:12:06,365
Yeah. I mean my, my quibble bits, I've,

1630
01:12:06,405 --> 01:12:07,885
I really don't need to beat to the ground.

1631
01:12:07,885 --> 01:12:09,605
There's three songs I just think fall off

1632
01:12:09,605 --> 01:12:10,605
A little bit. You know, speed Demon, like

1633
01:12:10,605 --> 01:12:11,085
you were saying,

1634
01:12:11,085 --> 01:12:12,365
like all that speed.

1635
01:12:12,365 --> 01:12:13,925
It's Demon, it's a gimmick. Yeah.

1636
01:12:13,985 --> 01:12:16,485
You know, and, and at the time it was very flashy.

1637
01:12:16,925 --> 01:12:18,845
'cause I mean, we'd heard program stuff like that

1638
01:12:18,845 --> 01:12:19,965
before, like it had been around.

1639
01:12:19,995 --> 01:12:21,645
Yeah. But it was to be on such a big

1640
01:12:21,645 --> 01:12:22,685
record, it's like, oh, okay.

1641
01:12:22,685 --> 01:12:23,765
But then, you know, with all that stuff,

1642
01:12:23,785 --> 01:12:25,045
all the computer stuff, it's like, okay,

1643
01:12:25,045 --> 01:12:26,285
well a machine can do that.

1644
01:12:26,885 --> 01:12:29,045
Actually, I would say my even bigger quibble bit is just

1645
01:12:29,045 --> 01:12:30,605
like the sublimation of the horns.

1646
01:12:30,605 --> 01:12:33,325
Like, I could hear like there's some cool hay horns, like

1647
01:12:33,345 --> 01:12:34,525
as stuff is fading out

1648
01:12:34,525 --> 01:12:36,645
and I'm like, dang, I wanted to hear that all along. But

1649
01:12:36,645 --> 01:12:37,645
You want Jerry Hay? Yeah.

1650
01:12:37,645 --> 01:12:41,085
Um, ooh. Ter, what do you got? I

1651
01:12:41,085 --> 01:12:42,085
Think we, according to my notes,

1652
01:12:42,085 --> 01:12:43,645
we're gonna agree for the first time ever.

1653
01:12:43,865 --> 01:12:45,645
No, possibly. I'm going one.

1654
01:12:45,905 --> 01:12:48,365
I'm going one. Funny. Oh my God.

1655
01:12:48,365 --> 01:12:49,685
Finally, God, we've discovered what?

1656
01:12:49,985 --> 01:12:52,085
That's incredible. And where would Aunt Linda go with

1657
01:12:52,085 --> 01:12:53,085
This? I'm, I mean,

1658
01:12:53,085 --> 01:12:54,485
she's gotta go one.

1659
01:12:54,885 --> 01:12:56,445
Would she loved this though? I

1660
01:12:57,305 --> 01:12:58,885
See this is the, thus the problem

1661
01:12:58,885 --> 01:13:00,045
with this thermometer. She is 80

1662
01:13:00,045 --> 01:13:01,245
Years old Peter, so it is tough.

1663
01:13:01,785 --> 01:13:03,765
But, uh, I'm going one.

1664
01:13:03,765 --> 01:13:06,685
What about, so usually we have is better than kind of blue,

1665
01:13:06,705 --> 01:13:08,325
but I'm gonna put, is it better than Thriller?

1666
01:13:08,865 --> 01:13:10,725
I'm saying no. I had hell no.

1667
01:13:10,725 --> 01:13:12,405
But now I'm just going a, a slight No,

1668
01:13:12,545 --> 01:13:14,285
I'm, as I discussed, I'm saying just barely no

1669
01:13:14,705 --> 01:13:15,925
Acc Maz. What do you got? Really?

1670
01:13:16,085 --> 01:13:17,125
'cause you got even written. Okay.

1671
01:13:17,265 --> 01:13:19,525
ACC MAs, I'm going eight. I think it's really, really good.

1672
01:13:19,525 --> 01:13:21,325
But it's not s here, but it's great.

1673
01:13:21,485 --> 01:13:23,245
I mean, look, this is iconic. It's not

1674
01:13:23,245 --> 01:13:24,245
Thrill at all. I think it's great. Think

1675
01:13:24,245 --> 01:13:24,645
it's, there's,

1676
01:13:24,645 --> 01:13:25,645
There's no feline. I

1677
01:13:25,645 --> 01:13:27,605
I don't think it's perfect, but I think it's a, a nine,

1678
01:13:27,605 --> 01:13:28,685
it's a album nine for me.

1679
01:13:28,755 --> 01:13:30,165
Okay. Up next. What's the next

1680
01:13:30,165 --> 01:13:31,365
album you would listen to after this?

1681
01:13:31,565 --> 01:13:32,725
I mean, this is 1987

1682
01:13:32,905 --> 01:13:34,165
and I, I don't wanna throw a little shade

1683
01:13:34,165 --> 01:13:36,045
and con, not shade, but controversy in here.

1684
01:13:36,045 --> 01:13:37,965
Controversy, but Sign of the Times.

1685
01:13:38,115 --> 01:13:39,845
Good Call Prince, which we've covered. Great call.

1686
01:13:40,185 --> 01:13:42,605
Is that a greater album than this? Maybe?

1687
01:13:42,825 --> 01:13:46,485
Ooh. Maybe. Okay. Um, I have Nirvana's in utero. Right.

1688
01:13:46,485 --> 01:13:49,445
Because, you know, coming off of Thriller,

1689
01:13:49,595 --> 01:13:52,245
this huge monster hit that puts Michael Jackson in,

1690
01:13:52,245 --> 01:13:53,605
in this position of being biggest album of

1691
01:13:53,605 --> 01:13:55,045
All time, Global Superstar.

1692
01:13:55,385 --> 01:13:56,405
He follows it up with bad,

1693
01:13:56,405 --> 01:13:58,725
which is like we discussed really, really incredible.

1694
01:13:58,855 --> 01:14:02,645
Great. Even, but can't quite reach the level. Yep.

1695
01:14:02,835 --> 01:14:05,485
Nirvana has, nevermind they break through in this way.

1696
01:14:05,485 --> 01:14:08,445
That's like changes a generation Yeah. Practically.

1697
01:14:08,865 --> 01:14:10,525
And they follow, follow up with In Utero,

1698
01:14:10,525 --> 01:14:11,845
which is excellent album.

1699
01:14:11,875 --> 01:14:13,805
Some people prefer in utero to, nevermind.

1700
01:14:13,805 --> 01:14:16,285
A lot of people do, but it's like they never quite reach

1701
01:14:16,285 --> 01:14:18,525
that height of the first big, big breakthrough.

1702
01:14:18,625 --> 01:14:20,165
Mm. Interesting. Interesting.

1703
01:14:20,635 --> 01:14:21,845
Well, should we play a little bit?

1704
01:14:23,055 --> 01:14:25,605
Let's play a little bit of a little smooth criminal. Yeah.

1705
01:14:25,605 --> 01:14:26,885
Till next time you'll hear it.