WEBVTT

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You know, I was-

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Mind-blowing.

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Yeah.

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That is a vocal performance that only Michael Jackson could do.

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That's a perfect track.

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It's a perfect track.

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I'm going to put it out there.

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It wasn't until I was a teenager that I discovered this specific

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track. I said, "Is that Michael Jackson?"

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Woo!

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Hey, Adam.

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Yes.

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You know what we're doing today?

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What?

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We're going to look back at some of our favorite moments.

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Yep.

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No, over here.

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Oh.

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Yeah.

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Okay. Sorry.

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But we're looking back in time.

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Oh, okay.

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What would you say is our favorite period of Michael Jackson?

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The greatest run, if we were to isolate three albums.

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"Off the Wall," "Thriller," "Bad."

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Yeah. That's what we're looking back on.

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Every moment with these albums is amazing, but these are some that stand above the

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rest.

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So stick around. You'll see it and you'll hear it.

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"Thriller" at the time,

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when it came out, was and still remains one of my all-time favorite.

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I think "Thriller" is as close as a perfect pop record that's ever been made.

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I think we can all agree that it should be talked about in that-

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Yeah

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... in that sense. But I didn't really know "Off the Wall" because it was a little

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bit before my time.

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Yeah.

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"Thriller" was so massive, and then "Bad" was so massive.

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Oh, yeah.

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Those two specifically, and I love "Dangerous," too, by the way.

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Don't get me wrong.

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Yeah.

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But that run, "Thriller" and beyond, kind

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of just took over my early childhood. Michael Jackson was my favorite artist.

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Danced in my kitchen every night to "Thriller" when it came out.

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And it wasn't until I was a teenager, like 16, 17, that

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I discovered this specific track.

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I forget where I heard it, but I said, "Is that Michael Jackson?"

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Mm-hmm.

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I was into jazz at the time, so I was like, "This is a different sensibility than

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'Thriller.' This is less pop. This has more of the things that I'm into right now."

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And it was this.

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Woo.

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Perfect.

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Yep.

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Girl, close your eyes. Let that

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rhythm get into you.

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Don't try to fight it. There ain't

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nothing that you can do.

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Relax your mind.

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Lay back and groove with mine. You've got to

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feel that heat. And we can ride the boogie.

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Share that beat of love. I want

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to rock with you.

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The hand clap. The hand clap.

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Yeah.

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Sunshine. I want to rock with you.

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Big forehand clap.

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Yeah, it is big forehand.

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All night. We're going to rock the love away.

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I don't know-

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Second verse.

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Big-ass verse.

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A perfect disco track. Perfect pop track

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...

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forever. Girl-

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It's a classic

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... when you dance. There's a magic that must be love.

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Again, the Seawind horns here. Jerry Hey.

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Just take it slow. We got to suffer through some-

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It's like a summer breeze coming from the seawinds.

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When you feel that heat.

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Mm. Uh. Oh

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... and we gonna ride the boogie.

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Share that beat of love.

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Man.

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I want to rock with you.

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That bass drum sound.

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Perfect. Perfect.

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The sound, oh my God.

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Dance with you.

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The whole track is magic.

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Yeah.

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Sunshine. I want to rock with you.

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The harmony here.

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All night.

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The horns

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... we're going to rock the night away.

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The bridge.

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The bridge. I know. It's like…

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And when the groove is dead and

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gone.

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Oh, the bass here. Listen.

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We'll be there. And know that love survives.

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So we can rock forever.

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I love this little segue, a little instrumental.

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I remember I was like, "Damn, what is that?"

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These sparklies.

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Bong.

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Louis Johnson.

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I want to rock with you. I want to rock with you.

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Modulation. Oh, no, second time.

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Wait for it. Save it.

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Yeah.

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Boom, boom, boom. Oh.

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I want to rock with you. I want to

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rock with you.

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There we go.

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Yeah.

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Little bop off one beat. Why not?

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Yeah. Sunshine. Rock with you,

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rock with you. All night.

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Man.

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Dance with you.

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When they finished tracking that, they must have just handshakes all around,

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break out the cigars. They had to know that they just killed that.

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Yeah.

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This might be the best song on the album.

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Are we at the apex of the album?

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We might be at the apex. And this was, again, not written by

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Michael.

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And this was like the fourth or fifth single.

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I don't know if it was the biggest hit.

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It felt like at the time it was the biggest hit.

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But we're talking about "Man in the Mirror," right?

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We're talking about "Man in the Mirror."

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Yeah.

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It was written by — excuse me — Siedah Garrett.

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Yep.

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And Glen, is it Ballard?

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Yeah, Glen Ballard. And they were like a songwriting team.

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Ballard? Charlie's a Ballard?

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Ballard.
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Ballard. He's a mallard duck.

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Okay.

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Yeah. Siedah Garrett, very interesting story because there's a

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little connection with friend of the pod, friend of Open Studios, John Beasley.

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Hey.

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Who — legend… Well, really, Siedah Garrett said this, actually. First

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coined the phrase, well, he didn't coin it, but he first brought it to Siedah

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Garrett's attention years before.

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Wait, Beasley?

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Beasley. Beasley.

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Our-

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Yeah

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... open studio mentor session-

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Yeah

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... teacher, Beasley.

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My number one sub, and Diane Reeves for many years, and now music-

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Now Diane Reeves, music director.

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Great jazz pianist from LA. Yeah. He was doing some songwriting with Siedah Garrett

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several years before this, and was on the phone-

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Baby Beasley.

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Baby Beasley, right.

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The bee's knees.

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Wow.

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We got all sorts of names.

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Okay.

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And he said something about "Man in the Mirror" and that caught her attention.

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She wrote it down. Years later, when Glen Ballard came in, he's like, "I got an

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idea."

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Great.

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"Doom, ding, doom, ding, doom." With that intro.

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She immediately was like, "Hold on." And she went back and found in her notebook-

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Cool

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... and that's how the title came about, so.

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The panning of the shakers, yeah.

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"I'm gonna make a change

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for once in my life."

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And these are real claps, I think.

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"It's gonna feel real good."

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As opposed to the, which makes a difference.

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"Gonna make it right.

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As I turn up the collar on my favorite

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winter coat. This wind is blowing my

186
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mind. I see the kids in the street"-

187
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This was sharp, too

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... "with not enough to eat. Who am I to be blind"-

189
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Yeah, sharp. They pushed it

190
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... "pretending not to see their needs?"

191
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It's like the 442s, they push everything up.

192
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"A scar has disregard"-

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Ah

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... "a broken bottle top"-

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Man, the little harmonic backgrounds

196
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... "a worn out man so poor."

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What a melody, man. This here?

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That's with Siedah Garrett singing.

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"Follow each other on the wind, yeah, no"-

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Gorgeous

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... yeah.

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"Because they got nowhere"-

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And then here.

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"to go. That's why I want you to know.

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I'm starting with the"-

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Filling it in!

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Enter-

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The filling games.

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Don't worry. He's a superhero

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... this way."

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And then-

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"And no message could have been any clearer"-

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Bring the blues into it. Let's bring a little diminish

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... "if you want to make the world a better place, take a look at yourself and then

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make a change."

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Ah, walk down.

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"Na-na-na, na, na, na."

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I got to, sorry.

219
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This is a perfect track.

220
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I got to back it up.

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I forgot about this.

222
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So, we talk about the snare drum. The entrance of the snare drum after the first

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chorus-

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Yeah

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... is one of the great moments. This might be my favorite.

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"Starting with the man in the mirror.

227
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I'm asking him to change his ways."

228
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So, there's a little piccolo snare?

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Yes. "And no message could have been any clearer."

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That's playing on all four beats.

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"If you want to make the world a better place, take a look at yourself-"

232
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Right? Dot, dot, dot.

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"Then make a change." Ah.

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"Na-na-na, na, na, na."

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It's coming in hot.

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Incredible. Incredible.

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"Uh-huh. I've been a

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victim of-"

239
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Oh.

240
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"a selfish kind of love."

241
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The lyrics are killing on this, too.

242
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"It's time that I realized-"

243
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I want to talk about the lyrics.

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Yeah.

245
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Because I think it's interesting.

246
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Yeah.

247
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Ooh.

248
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Controversy.

249
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What's that?

250
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Controversy.

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That's next. Next on the list is controversy.

252
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"Oh, well, you may find-"

253
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The pre-chorus is magical

254
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... yeah. "Somebody's broken heart."

255
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This here.

256
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"And a washed out dream."

257
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Oh, back down.

258
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"They follow the pattern of the wind, yeah, no."

259
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Man, what a melody.

260
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Yeah, unbelievable.

261
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"They got no place to be. That's why I'm starting with me."

262
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Oh, filling games starting to get in there.

263
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He started to add some stuff, see if anyone noticed.

264
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He's like, "Cool, I got it."

265
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Oh.

266
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"And no message"-

267
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Every time Michael performs this live here-

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We're going to spin

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... diminish

270
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... "if you want to make the world a better place"

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The dance moves come out.

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00:09:35.852 --> 00:09:36.212
Oh, yes.

273
00:09:36.252 --> 00:09:36.672
You know what I mean?

274
00:09:37.012 --> 00:09:37.152
Oh.

275
00:09:37.612 --> 00:09:41.592
Check out filling games. Whoa,

276
00:09:41.632 --> 00:09:41.772
whoa,

277
00:09:42.972 --> 00:09:43.252
whoa. Woo.

278
00:09:43.712 --> 00:09:46.892
"I'm asking him to change his ways."

279
00:09:46.912 --> 00:09:47.292
Oh.

280
00:09:48.212 --> 00:09:51.122
"And no message could have been any clearer."

281
00:09:51.192 --> 00:09:52.392
Let's take our time. Let's take our time.

282
00:09:52.422 --> 00:09:54.652
"If you want to make the world a better place-"

283
00:09:54.912 --> 00:09:55.232
Woo.

284
00:09:55.682 --> 00:09:55.742
"Take a look at yourself-"

285
00:09:55.772 --> 00:09:57.312
He changed that up too.

286
00:09:57.342 --> 00:09:59.612
"And then make a change." Choir. Enter choir.

287
00:10:00.512 --> 00:10:00.882
I'm going to-

288
00:10:00.892 --> 00:10:01.772
We're at a lift.

289
00:10:02.512 --> 00:10:04.372
Maybe the greatest lift ever.

290
00:10:04.472 --> 00:10:07.172
Oh, it's so good. And it's an effortless lift, right?

291
00:10:07.212 --> 00:10:08.352
It's not like, it's just-

292
00:10:08.652 --> 00:10:10.892
It's on I will always love you-

293
00:10:11.071 --> 00:10:11.392
It is

294
00:10:11.432 --> 00:10:11.821
... territory.

295
00:10:11.842 --> 00:10:13.712
It might even be above. "A better place.

296
00:10:13.952 --> 00:10:15.982
Take a look at yourself and then make the change."

297
00:10:16.112 --> 00:10:16.302
Oh.

298
00:10:16.482 --> 00:10:19.252
"You gotta get it right while you got the time.

299
00:10:19.262 --> 00:10:19.482
Now you close your hands-"

300
00:10:19.482 --> 00:10:19.902
We're filling.

301
00:10:19.902 --> 00:10:21.852
"Then you close your, your mind."

302
00:10:22.282 --> 00:10:22.282
Woo.

303
00:10:22.302 --> 00:10:24.552
"That man with the plan."

304
00:10:24.592 --> 00:10:25.812
We're not even doing apex.

305
00:10:25.852 --> 00:10:28.542
He's a cha- no. "That man,

306
00:10:29.472 --> 00:10:29.482
that man."

307
00:10:29.492 --> 00:10:30.712
You know what the apexes are, right?

308
00:10:31.832 --> 00:10:33.552
Oh. "That man with the plan."

309
00:10:34.032 --> 00:10:35.432
Oh, yeah. You know what they, oh, yeah.

310
00:10:35.462 --> 00:10:36.902
"If you want to make the world a better place-"

311
00:10:37.212 --> 00:10:38.032
But this is like-

312
00:10:38.102 --> 00:10:39.082
"Take a look at yourself and then make a change"

313
00:10:39.082 --> 00:10:39.792
... it sets it up.

314
00:10:41.752 --> 00:10:42.152
Here it is.

315
00:10:43.212 --> 00:10:44.132
"Na-na-na,

316
00:10:45.312 --> 00:10:46.022
na, na, na."

317
00:10:46.022 --> 00:10:46.792
"Na-na, na-na, na-na, na."

318
00:10:48.472 --> 00:10:50.752
Oh, filling games fitting on that four. Come on.

319
00:10:50.762 --> 00:10:53.812
"Yeah, yeah. Yeah, yeah.

320
00:10:55.792 --> 00:10:56.652
Yeah, yeah."

321
00:10:56.712 --> 00:10:56.771
Four.

322
00:10:56.852 --> 00:10:57.591
"No, no."

323
00:10:57.692 --> 00:10:58.172
Oh.

324
00:11:00.612 --> 00:11:02.932
Oh, sit on it. Sit on it. Man.

325
00:11:03.412 --> 00:11:05.812
"It's gonna feel real good, shame on."

326
00:11:06.012 --> 00:11:06.992
Shame on indeed, Peter.

327
00:11:08.302 --> 00:11:10.692
"Just lift yourself, you know."

328
00:11:11.592 --> 00:11:11.812
Oh.

329
00:11:11.922 --> 00:11:14.592
"You got to start with yourself."

330
00:11:15.522 --> 00:11:15.522
Oh.

331
00:11:15.532 --> 00:11:19.292
"Make that change. I got to make that change

332
00:11:19.712 --> 00:11:20.592
today.

333
00:11:22.692 --> 00:11:24.372
You got to. You got to."

334
00:11:24.472 --> 00:11:26.432
Oh. Harmony third.

335
00:11:28.092 --> 00:11:28.952
Hear that?

336
00:11:29.832 --> 00:11:30.472
"You know

337
00:11:31.272 --> 00:11:31.382
it. Make that change."

338
00:11:32.092 --> 00:11:32.552
The melody.

339
00:11:32.562 --> 00:11:34.872
"With the man, the man."

340
00:11:35.532 --> 00:11:35.812
Man.

341
00:11:35.842 --> 00:11:36.522
"You got to."

342
00:11:36.532 --> 00:11:40.212
This is so much longer than should work, and it works.

343
00:11:40.292 --> 00:11:40.972
Every second works.

344
00:11:41.032 --> 00:11:41.312
Oh.

345
00:11:42.512 --> 00:11:44.892
"You got to stand up. Stand up. Stand up.

346
00:11:45.312 --> 00:11:46.132
Stand up."

347
00:11:47.392 --> 00:11:49.572
Man, Michael Jackson's gospel chops.

348
00:11:50.452 --> 00:11:50.772
Shit.

349
00:11:51.652 --> 00:11:52.272
"Woo."

350
00:11:59.636 --> 00:12:02.016
Man, unless — [unclear] — all this-

351
00:12:02.756 --> 00:12:03.356
Make that change. Come on.

352
00:12:04.236 --> 00:12:06.936
Make that change. You know.

353
00:12:07.176 --> 00:12:07.276
We-

354
00:12:07.376 --> 00:12:07.646
You know.

355
00:12:07.696 --> 00:12:08.396
Yeah.

356
00:12:08.736 --> 00:12:09.896
You know.

357
00:12:09.916 --> 00:12:14.336
You

358
00:12:14.956 --> 00:12:15.546
know. Make that change.

359
00:12:15.616 --> 00:12:15.956
Damn.

360
00:12:16.166 --> 00:12:16.836
Make that change.

361
00:12:18.276 --> 00:12:18.636
Man.

362
00:12:19.436 --> 00:12:20.396
That's a perfect track.

363
00:12:24.256 --> 00:12:25.836
So we close out the album with

364
00:12:26.876 --> 00:12:28.716
easily the most underrated track of the album.

365
00:12:29.096 --> 00:12:29.816
Best track of the album.

366
00:12:30.076 --> 00:12:32.456
And it is probably the best song on the album.

367
00:12:32.516 --> 00:12:34.896
Can we just move right into-

368
00:12:34.906 --> 00:12:34.976
I would like-

369
00:12:35.016 --> 00:12:36.336
... desert island tracks. We might as well.

370
00:12:36.356 --> 00:12:38.436
Well, let's, yeah. So your desert island track is?

371
00:12:38.466 --> 00:12:39.156
"The Lady of My Life."

372
00:12:39.316 --> 00:12:40.306
I would like to listen to this whole thing.

373
00:12:45.916 --> 00:12:47.596
Another Rod Temperton classic.

374
00:12:48.876 --> 00:12:49.566
A quiet storm-

375
00:12:49.656 --> 00:12:50.096
This intro-

376
00:12:50.236 --> 00:12:50.476
... classic

377
00:12:50.486 --> 00:12:51.676
... totally quiet storm.

378
00:12:54.316 --> 00:12:55.796
Almost smooth jazz-esque.

379
00:12:56.256 --> 00:12:59.886
We got some more Greg. I mean, the band here is insane.

380
00:12:59.916 --> 00:13:01.096
Jeff Porcaro's drumming on this.

381
00:13:02.236 --> 00:13:04.476
Greg Phillinganes, Paul Jackson Jr. on guitar.

382
00:13:04.515 --> 00:13:05.296
Yeah.

383
00:13:05.396 --> 00:13:08.256
Jeff Porcaro on drums. David Paich on synths.

384
00:13:09.256 --> 00:13:10.546
Steve Porcaro on synths.

385
00:13:10.546 --> 00:13:11.986
Steve Porcaro on synths. Lewis Johnson on bass.

386
00:13:12.056 --> 00:13:13.676
Yes. Unbelievable band.

387
00:13:14.116 --> 00:13:14.866
Just put your trust in my heart.

388
00:13:14.896 --> 00:13:15.696
And this is easy for them.

389
00:13:16.556 --> 00:13:17.056
This is easy.

390
00:13:18.256 --> 00:13:19.776
And meet me in

391
00:13:19.916 --> 00:13:22.916
paradise.

392
00:13:23.616 --> 00:13:26.476
Now is the time. Girl,

393
00:13:27.256 --> 00:13:30.716
you're every wonder in this world to

394
00:13:30.816 --> 00:13:31.336
me.

395
00:13:33.796 --> 00:13:34.376
Hey.

396
00:13:34.676 --> 00:13:36.956
You raise your dream within the way.

397
00:13:37.176 --> 00:13:38.576
Hey.

398
00:13:39.516 --> 00:13:40.536
Man, those lines.

399
00:13:40.556 --> 00:13:44.496
So listen to my heart. Let your body close

400
00:13:44.576 --> 00:13:45.296
to mine.

401
00:13:45.976 --> 00:13:48.496
Man, this is such a romantic. I remember when I heard this-

402
00:13:48.536 --> 00:13:48.906
Get the fuck out of here.

403
00:13:48.916 --> 00:13:52.255
... song, I was like, "I'm a romantic."

404
00:13:53.736 --> 00:13:55.136
And baby, through the years.

405
00:13:55.236 --> 00:13:57.196
I've tried to write this song at least 30 times.

406
00:13:57.256 --> 00:13:58.576
I wrote it a couple times.

407
00:13:59.156 --> 00:13:59.166
Yeah.

408
00:13:59.256 --> 00:14:00.686
So I promise you tonight.

409
00:14:00.696 --> 00:14:03.716
But the balance of the arrangement is so great.

410
00:14:03.986 --> 00:14:05.986
That you will always be the lady in my life.

411
00:14:06.006 --> 00:14:06.596
And it's kind of...

412
00:14:08.396 --> 00:14:10.396
Oh, it's that one to four. That's the smooth jazz.

413
00:14:10.475 --> 00:14:12.456
Major one to minor 11, four.

414
00:14:12.796 --> 00:14:14.636
Think back and I dare you not to cry.

415
00:14:14.726 --> 00:14:16.276
You like a bridge?

416
00:14:16.456 --> 00:14:20.056
Let's make this a night we won't forget.

417
00:14:20.236 --> 00:14:20.765
Come on.

418
00:14:20.816 --> 00:14:23.356
To the one minor? Get out.

419
00:14:23.456 --> 00:14:26.105
You are the beat inside my veins, oh.

420
00:14:26.116 --> 00:14:26.126
Oh.

421
00:14:26.136 --> 00:14:28.056
I hear your tune, do a dance with me.

422
00:14:28.196 --> 00:14:29.816
Jeff Porcaro. Oh, man, come on.

423
00:14:30.796 --> 00:14:30.866
Two hearts full of ecstasy.

424
00:14:30.876 --> 00:14:34.216
Imagine there's just this rain on the road, it's nighttime.

425
00:14:34.976 --> 00:14:35.476
You know what I mean?

426
00:14:35.596 --> 00:14:35.736
Yeah.

427
00:14:35.816 --> 00:14:36.896
You're heading down to the loop.

428
00:14:37.196 --> 00:14:37.376
Yeah.

429
00:14:37.516 --> 00:14:38.416
1984.

430
00:14:38.816 --> 00:14:39.176
Oh.

431
00:14:39.696 --> 00:14:43.636
And I will keep you warm through the shadows of the

432
00:14:43.756 --> 00:14:44.336
night.

433
00:14:45.216 --> 00:14:47.795
Let me touch you with my love.

434
00:14:48.656 --> 00:14:51.596
I can make you feel so right.

435
00:14:52.816 --> 00:14:56.386
And baby, through the years, even when we're old and gray.

436
00:14:56.416 --> 00:14:57.316
It's so epic.

437
00:14:58.316 --> 00:14:58.366
I'll remember those days.

438
00:14:58.366 --> 00:15:01.396
And we're only halfway through the track, but we're about to bam for the second

439
00:15:01.456 --> 00:15:01.716
half.

440
00:15:03.376 --> 00:15:07.216
That you will always be the lady in my life.

441
00:15:08.376 --> 00:15:09.436
Yeah, we're all good with that, though.

442
00:15:09.496 --> 00:15:09.716
Yeah.

443
00:15:10.696 --> 00:15:11.736
Like that's the end of the thing.

444
00:15:11.765 --> 00:15:14.916
It's like a George Benson track. I mean, I know Rod wrote for George Benson, too.

445
00:15:14.956 --> 00:15:15.556
Yep.

446
00:15:16.676 --> 00:15:18.876
I want you to stay with me.

447
00:15:18.916 --> 00:15:20.396
The rest, it's just jamming.

448
00:15:22.096 --> 00:15:22.356
Oh.

449
00:15:23.116 --> 00:15:23.706
A new, joyful sight.

450
00:15:23.716 --> 00:15:24.355
Paul Jackson.

451
00:15:28.256 --> 00:15:31.436
Hold up. I'm about to give you some perfect rhythm guitar. Bam.

452
00:15:31.596 --> 00:15:32.156
You got it.

453
00:15:32.236 --> 00:15:32.376
Oh.

454
00:15:33.676 --> 00:15:35.576
Louis Johnson ahead in here. Oh.

455
00:15:36.696 --> 00:15:39.716
You are the lady in my life. You are the lady in this

456
00:15:39.756 --> 00:15:41.656
winter snow.

457
00:15:41.836 --> 00:15:42.036
Oh.

458
00:15:42.876 --> 00:15:45.416
You are the baby I want to touch, oh baby.

459
00:15:47.136 --> 00:15:47.146
Come on.

460
00:15:47.146 --> 00:15:49.286
Take me back and dare to dream. You are the lady through the day.

461
00:15:49.286 --> 00:15:50.916
What? You got a little voodoo in here, maybe?

462
00:15:51.396 --> 00:15:51.736
Man.

463
00:15:53.076 --> 00:15:53.696
Yes.

464
00:15:53.956 --> 00:15:55.856
You are the lady when the night is cold.

465
00:15:55.936 --> 00:15:58.236
You're my lady and I love you, girl.

466
00:15:58.736 --> 00:16:00.716
Percolating. Woo.

467
00:16:01.616 --> 00:16:05.506
You are the lady I will always

468
00:16:06.016 --> 00:16:06.516
need.

469
00:16:06.686 --> 00:16:07.956
Man, the ultimate reward.

470
00:16:08.336 --> 00:16:11.376
I want you, I need you, I miss you, I want you, babe.

471
00:16:12.336 --> 00:16:14.266
Just the organic climaxing of it.

472
00:16:14.316 --> 00:16:15.056
Stay with me.

473
00:16:16.156 --> 00:16:17.025
Don't just go away now.

474
00:16:17.066 --> 00:16:17.976
And the breakdown.

475
00:16:18.356 --> 00:16:20.746
Shout out to Jeff Porcaro, too, on the drums. Unbelievable.

476
00:16:20.776 --> 00:16:23.676
Perfectly controlling, percolating.

477
00:16:26.476 --> 00:16:27.796
Oh, baby.

478
00:16:27.896 --> 00:16:29.836
Phillinganes. Phillinganes knows what to do.

479
00:16:33.376 --> 00:16:35.035
Don't go nowhere.

480
00:16:36.896 --> 00:16:38.296
You're my lady.

481
00:16:39.436 --> 00:16:40.215
Unbelievable.