#JCsMusicology - Michael Jackson (1993 - 1997)

JOHN CAMERON'S MUSICOLOGY EPISODE X: MICHAEL JACKSON (93 � 97) by John Cameron Pre-HIStory (The Hit Factory) Brad Buxer � Stranger In Moscow Michael Jackson � They Don�t Care About Us Brad Buxer/ Geoff Grace � Much Too Soon Michael Jackson - Money Brad Buxer - Morphine Present- HIStory (The Hit Factory, Larrabee & Chicago) Jam & Lewis � Scream/ Runaway David Foster � Childhood Babyface � On The Line R. Kelly � You Are Not Alone Ghosts/ Blood On The Dance Floor Teddy Riley/ Bruce Swedien/ Rene Moore - 2 Bad Surmise David Foster � Smile Stranger In Moscow While touring the world for over a year, in August of 1993, Michael Jackson was being investigated after allegations of child molestation were made. During a stop in Russia, new collaborator and band member Brad Buxer was called into Michael's hotel room Buxer on keys. Michael on vocal. His writing reflected his life at that time. No charming naivety. No concern for a hit. Just total awareness of himself and that around him. �Stranger In Moscow� is perhaps Michael�s most intelligent song. It juxtaposes Russian history and culture with the internal turmoil he was grappling with. It�s a rare example of introspective assessment so directly articulated in his discography, as much as it allows the listener to emote with their own interpretations. It seemed to be an indication of where Jackson�s mind was at and marked the beginning of this type of introspective songwriting, which would define the project it would end up on. Around this time, Michael and his team were also working on the soundtrack for the "Sonic 3" Sega game. This would be the uncredited platform where the basic composition would make its debut. Eventually, Jackson's involvement in the project would dissipate and to this day, Sega denies his involvement in the game � despite the glaring similarities, credited musicians and confirmation from the producers themselves. In spite of what else would end up on the next Michael Jackson album, "Stranger In Moscow" marks the beginning of a new era. It set a high standard of artistry that would be maintained without struggle - at least in the studio. Pre-HIStory (The Hit Factory) In January of 1994, technical work began on what would be a Michael Jackson �Greatest Hits� album. It would be Michael return after a brief hiatus from a media onslaught, drug addiction and allegations of child sex abuse. The compilation was to feature some new songs, as was the case with the initial concept of �Decade� four years before, which would evolve into the entirely new album, �Dangerous�. The work for these new songs would begin at The Hit Factory in New York, where long-time collaborators Bruce Swedien and Rene Moore would prepare instrumental tracks, while Michael and Brad would work at Sony Studios. They Don�t Care About Us During the early �Dangerous� album sessions, Jackson began work on �They Don�t Care About Us�. How much of its completion was achieved at that point is unknown, but even for �Dangerous�, it�s aggressive political subject matter arguably would have felt out of place. For �HIStory� though, its feature was more than appropriate. With Buxer by his side, they started the song entirely from scratch, laying its vigorous rhythm as the track�s framework. The song itself, is simple if not for its individual sounds. A relentless driving kick drum, along with mechanised double-claps are the song�s primary rhythmic foundation. Adding Michael�s vocal ticks and beatboxing, processed with some other sound effects gives it a much fuller sound, that down to its individual components, makes it a Michael Jackson song. Bruce Swedien would embrace Jackson�s rhythmic interpretations early in his career, making it an essential part of almost any production � ever with other producers and engineers. Inducing feelings hopelessness and despair to accompany the song�s lyrics, the only other primary instrument throughout is the synthesized strings. That is, until the instrumental bridge, made up of roughly 300 raw individual tracks. Initially the guitars were played by Slash and Trevor Rabbin, embedded in the keyboards of Jeff Bova and Jason Miles. Towards the end of production, it became apparent that the notes they were playing were not consistent with the rest of the song. As a result, it was up to assisting engineer, Rob Hoffman. Michael�s character vents his frustrations at the social and institutional injustices that afflict the world, with himself as the victim in the protest. He�s the casualty of verbal slanders and physical brutality, describing so in words that some might consider profane and others did believe to be objectionable. The controversy over the lyrics was significant enough that in later pressings of the album, obstructive sound effects would be overdubbed to drown out the three instances and the second of which the background vocals are turned down. This is a rare case of Jackson�s provocative artistry making headlines, rather than his speculated private life. It�s perhaps reflective of an early backlash culture that holds so much power today. A reactionary response to words, ignoring their context. Michael Jackson was standing up for those in the song, who would use it against him. Being the visionary of musical short films, that Jackson was, he could employ the directorship of Spike Lee for two different music videos. The first, was shot in Salvador and Rio de Janeiro, at the dismay of local authorities, who were concerned about the perception of the areas the video would capture. At points of desperation, they accused Jackson of exploiting the poor people who accommodated the regions. A judge would eventually ban production, which was later overturned. The locals embraced it, allowing the image reality of their lives and stories to broadcast around the world. Exclusively for the video, �They Don�t Care About Us� would have its own tailored mix, featuring the percussion of Olodum, whom originate from Salvador. At points, the video can seem like a vanity project � emphasising Michael�s universal recognition. For the most part though, it�s a celebration of Brazilian culture � even where the proception might be that there is nothing to celebrate. From poverty to prison. The second video, directed by Spike Lee as was the first, would more closely match the subject matter of the song. Demographical over-represented rates of incarceration, police brutality and revolt. As straight-forward as the editing might be, especially by today's standards, the intercutting of real footage would be revised at several points throughout production, due to broadcastability and even being too confronting for Michael. Aside from the initial sensation it causes, in 2010 a video of prison inmates in the Philippines would go viral, showing them dancing to the track. Slightly ironic, given its subject matter. Then, in 2015 the song because an anthem for the Black Lives Matter protests, more appropriately articulating the generalised ideology of the movement. "They Don�t Care About Us� is Michael Jackson�s most important song. People will always dance to �Billie Jean�, sing to �The Way You Make Me Feel�, make peace with �Black or White, make love to �I Just Can�t Stop Loving You�. But when there�s a revolution, an uprising, a protest � they will play and feel represented by �They Don�t Care About Us�. Much Too Soon Despite all of these introspective and social conscious songs being worked on, one morning, Michael enters into the studio with an even more unique idea. In 1982, two songs were registered at the US Copyright Office, one titled "Learned My Lesson" and the other, "Much Too Soon". It's unknown if these are one in the same songs or even resemble this recording twelve years later, but given the content of their respective titles, it would be rational to assume so. The track itself, is unlike anything Michael has released. He sits with guitarist Jeff Mirinov in the recording booth, playing a very simple, repetitive guitar composition as Michael sings. They do this for only a handful of takes. Even the vocal comp is an interesting turn for Michael, in that it's full of imperfections, at least for one of his recordings. The track levels are all over the place, in terms it its dynamic range and a myriad of unintentional noises on the mic. The guitar and vocal tracks were then given to Brad Buxer and Geoff Grace for further work. So, they build string and a choir arrangement around it. Bruce Swedien completed a mix that Michael approved of and the song was complete. While it was never seriously considered for the impending projects or what they became, it would see a release 16 years later. In spite of the fact a version was completed and approved by Michael, it's released form saw a remix and added re-compositions. "Much Too Soon" reflects a rare and brief moment in Jackson's artistry with didn't involve over-the-top refinement or a series of reconsiderations. As a result, this gem exists. Unfortunately, most will hear it covered in the fingerprints of those who saw imperfections that weren't there. Money Michael continued venting his frustrations at what had transpired in the previous years � although most of the content he had created was brooding. It was time to project a broader �Fuck You�, in Michael�s words. Upon first listen �Money� might come across as a naive and hypocritical criticism of the richest figures in society, it�s actually about those who used Jackson for money. Spitting rhymes of treachery and avarice he expresses the varying justifications he suspects others use to rationalize their actions. The collaborations are another point of interest. Of course, Michael was at the helm of the songs that meant the most to him, this one included, but in addition to the assisting Brad Buxer, there were some more surprising decisions. First, the always funky guitar of Nile Rogers, who was working in another studio at The Hit Factory at the time. In addition to the engagement of a longtime friend, but also utilizing the Norman Cook�s sample CD, �Skip To My Loops�. Michael built the bulk of the song around track ten, "Simon�s Special 2� and overdubbing snares, claps and other percussion samples the elevated the original loop. The song would be divided by another loop, �Simon�s Special 1� that proceeded the other on the CD. Jackson was a master at his background vocals. He perfected them. He acknowledged their power and used them to their absolute sonic potential. For �Money� though, he sought after something different, as remembered by engineer Rob Hoffman. Morphine In 1993, Michael admitted himself to drug rehabilitation, following years of using pain killers. In March of 1994, Nine Inch Nails released their second album, �The Downward Spiral�. It was a musical revolution. It brought Industrial Rock to the mainstream, paving the way for artists like Marilyn Manson and Rob Zombie. And Michael Jackson loved it. Reflecting on those more turbulent, drug-induced times Michael needed a genre that represented the intensity of everything that comes with drug addiction and even worse, ceasing it. Using samples from the 1980 film, �The Elephant Man� it would seem like a self-assessment for Michael, having identified with Joseph Merrick, who the film is based on. Unfortunately, this piece of self-reflection while sending a powerful message to anyone who listens, wouldn�t be enough it�s writer. Present - HIStory (The Hit Factory, Larrabee & Chicago) Michael was on a roll. There was no stopping the quality that he was expelling. He felt it was best to continue with his current consistent output, to produce a full album. For this, the project expanded � employing more producers to realise his ultimate vision. Scream/ Runaway Michael was a big fan of his sister, Janet�s, work. So much so, he appealed her producers Jimmy Jam & Terry Lewis to collaborate on �Dangerous�. While that never eventuated, this time it was different. Throughout all of the public tribulations Michael endured, Janet was a consistent defender in media, in life and now in song. Jam & Lewis were now successfully recruited to put the brother and sister together for a duet. Initially presenting three songs to Janet, one of which she hoped Michael wouldn�t want. �Runaway� ultimately wouldn�t be selected by Michael, despite its impressionistic, tailored guide vocal. It would be recorded by Janet though, becoming a smash in several countries around the world on her greatest hits album �Design of a Decade�. The two Jacksons wanted something more aggressive. Another of the three tracks would fit their intentions for a less-than-subtle public statement. What�s unconventional about the way Michael Jackson records, are the sounds he makes. If you�re recording a vocal that�s the only thing you should be recording, according to industry connventions. During his time at Motown, people would literally hold on to Michael, to stop him dancing and moving. When Bruce Swedien first started working with him, his attitude was to embrace it. That�s how you know it�s a Michael Jackson vocal. �Scream� is a perfect example of this. Childhood Michael had granted the world a new perspective on his life in an interview with Oprah in 1993. It was the first time he had addressed the issues of a lacking normality in his upbringing and the effect it had on him. With the song writing space he was in, it was time to put that pain into a song. He began working on a track to be later titled, �Childhood�. David Foster had worked with Michael on his �Off The Wall� album 15 years earlier. For the HIStory project, he was requested his angelic string compositions to be added to �Earth Song� and �Childhood�. The result? A movie-score like string arrangement with a soft, almost operatic pop vocal. Unlike the other more personal songs on the album, �Childhood� dispenses with the metaphors. It�s a frustrated plea for understanding among the ruthless public perception. On The Line/ You Are Not Alone Looking to capture the new wave of RnB dominating the charts, Michael sought after more of the hot producers at the time. One of which included Babyface, who along with LA Reid had collaborated with Michael during the previous album�s session and were �at the time � considered Jam & Lewis� production rivals. Many of the songs he brought to the table were considered not suitable for Michael, with the exception of �On The Line�. It wouldn�t have a place on HIStory, but it would be released in the Spike Lee filmed, �Get On The Bus� and twelve years later on �The Ultimate Collection� boxset. Listening to it, it�s easy to tell why there wasn�t enough room for another competitor... Coming off the blockbuster success of Aaliyah�s �Age Ain�t Nothing but a Number� album, R Kelly was called in to contribute. The result would be the contemporary ballad of the album, �You Are Not Alone�. Initially, the song was a standard RnB slow jam, featuring a guide vocal from Kelly doing his best Michael Jackson impression. Jackson, along with long-time collaborator Steve Porcarro added their own little flourishes throughout, including a few that didn�t make it to the final version. R Kelly would later be sued for plagiarism in 2007 for a song composed in 1993, title �If We Can Start Over�. Belgian courts ruled in favor of the prosecution, Eddy and Danny Van Passel whom now own the rights to the song in their home country. �You Are Not Alone� is no longer allowed to be broadcasted in Belguim. Surmise �HIStory: Past, Present and Future, Book 1� would be released on June 16, 1995. It would give rise to six singles, most of which would reach number one and spawn as many music videos. Aside from the first of two discs being a greatest hits compilation of Jackson�s previous four albums, the second could be regarded in a similar manner, with five of the songs having had their inception before the 1994 sessions and it containing a wide diversity of genres and lyrical themes. Blood On The Dance Floor While still on tour, in 1997 �Blood On The Dance Floor: HIStory in The Mix� was released. It featured the title track and �Ghosts�, produced by Teddy Riley during the Dangerous sessions, �Superfly Sister� by Bryan Loren from around the same period, a Jam & Lewis outtake from HIStory, �Is It Scary� and �Morphine� would finally have its place. Following the five new tracks, 8 remixes from the HIStory album singles would constitute this release as a �remix album�. For fans and casual listeners though, the price of admission is thoroughly justified by the five opening songs. It could almost be regarded as a soundtrack to the 40-minute movie released the year before, co-written by Stephen King. Ghosts The track �Ghosts�, like it�s film, contains all of the elements of a Michael Jackson classic. Beginning as an instrumental in the early 90�s, produced by Teddy Riley, it was resurrected once again during the HIStory sessions for further work by Rene Moore and Bruce Swedien. The instrumental would remain mostly the same from that additional work until it�s release, but Jackson still needed to record his vocals and write the song. What�s perhaps most interesting about this early guide vocal is the amount of room bleed. Michael was touring when development of �Blood on The Dance Foor: HIStory in the Mix� began, so for many of the songs, he was recording in hotel rooms. The demo is a perfect example of how Michael develops his music. He begins by mumbling his way through the melody he�s constructed in his head, later adding his lyrics, which for this song, some were shared with �Is It Scary�. In this next demo, he seems to have most of the words figured out and is back recording in a studio. Not that it stops him from eating while still on mic. Eventually, �Ghosts� would be completed in time for the movie. Although even at that point, the mix was experimented with. In an early cut of the film, the version featured a bassline, extra guitar and a multitude of alternate sounds. Surmise � Smile In an album full of unexpected explorations and engagement for Michael, yet another would close it out. In the early sessions between Jackson and David Foster, they found themselves sitting at a piano, struggling the to write. That�s when they began discussing mutual music loves. Charlie Chaplin composed �Smile� in 1936 as an instrumental theme for his movie, �Modern Times�, inspired by the Puccini opera, �Tosca�. Eighteen years later, lyrics would be added by John Turner and Geoffrey Parsons to be sung by Nat King Cole. Michael would later alter the original words slightly, but during initial takes, would still refer to the originals. After laying six takes with the orchestra, resulting in a standing ovation once they realised Jackson was singing along with them live, he would record a further fourteen takes in the studio. Each as perfect as the last. Without his emotive song writing. Without his impeccable dancing. Without his accompanying innovative visuals. This is Michael Jackson, the perfect entertainer.