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seriously this is my favorite pic but nobody reblogged it lmfao maybe ill star in it with him lmfao since im the only one who likes the movie
(via karenjackson)
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seriously this is my favorite pic but nobody reblogged it lmfao maybe ill star in it with him lmfao since im the only one who likes the movie
(via karenjackson)
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Audio
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Notes[Flash 9 is required to listen to audio.]540 plays@michaeljackson snippet “Girl, I wanna groove!’.. #cute #funny #king #MJ4ever #missumuch
(via mjcanyoufeelit)
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Notes[Flash 9 is required to listen to audio.]540 plays@michaeljackson snippet “Girl, I wanna groove!’.. #cute #funny #king #MJ4ever #missumuch
(via mjcanyoufeelit)
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112
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When the title track “Dangerous” was being recorded, Michael was injured in the studio and had to be rushed to the hospital! A temporary recording booth that we had built for him collapsed and knocked him on the head just as he started singing.
He ended up being just fine, and for a long time, we used to play an early mix of the song which started with a sample of him screaming in pain as the walls came tumbling down!
He was amazing in the studio. He has the equivalent of a photographic memory for music. He could sing something 40 different ways, and then two weeks later, remember that takes # 6 and 27 were the best ones.
We recorded so much music for Dangerous, that it was nearly impossible for MJ to pick out what was going to end up on the album. At one point, it was going to be a double album, as he had well over two hours of music chosen for the release.
When Sony decided they wanted it all to fit on a single CD, Michael kept coming back with lists of his his “final” selections, but they almost always added up to over 74 minutes—the maximum running time for the disc. I remember them going back and forth on this for weeks.(via itsjustdesire)
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112
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When the title track “Dangerous” was being recorded, Michael was injured in the studio and had to be rushed to the hospital! A temporary recording booth that we had built for him collapsed and knocked him on the head just as he started singing.
He ended up being just fine, and for a long time, we used to play an early mix of the song which started with a sample of him screaming in pain as the walls came tumbling down!
He was amazing in the studio. He has the equivalent of a photographic memory for music. He could sing something 40 different ways, and then two weeks later, remember that takes # 6 and 27 were the best ones.
We recorded so much music for Dangerous, that it was nearly impossible for MJ to pick out what was going to end up on the album. At one point, it was going to be a double album, as he had well over two hours of music chosen for the release.
When Sony decided they wanted it all to fit on a single CD, Michael kept coming back with lists of his his “final” selections, but they almost always added up to over 74 minutes—the maximum running time for the disc. I remember them going back and forth on this for weeks.(via itsjustdesire)
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Audio
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Notes[Flash 9 is required to listen to audio.]174 plays“Why you wanna trip on me” continues the social commentary of “Jam”. In this more developed lyrical sequel to “Leave me alone,” Jackson is no longer simply decrying his critics for “dogging (him) around”; he is directing their gaze to more pressing issues: poverty, world hunger, AIDS, and gang violence, among others. With “more problems than we’ ll ever need,” he sings, “there’s really no time to be trippin’on me.”
The song begins with a blistering guitar intro by Paul Jackson Jr. Before the hard rock fuses into a driving new jack funk. As in “Jam,” Jackson sings in a “clipped, breathy up tempo voice” while a funky uitar lick (played by Teddy Riley) and stacked layers of keyboards…. shift and percolate, varying textures over (an) insistent, thumping rhythm track.”
Brilliantly arranged by Riley and Michael Jackson, the track balances rhythmic intensity with exquisite vocal hamonies. “By keeping the beat straight-ahead,” observes Robert Doerschuk, “giving the snare extra pop, ang leaving the bass out.. [Riley] brings Jackson’s vocal out more than Quincy Jones did on some earlier cuts, and gives more exposure to the dotted eight-note hi-hat pattern that essentially defines new jack swing.” In the chorus, Jackson repeats the refrain, “Why you wanna trip on me?” as the question is echoed by beautifully layered falsetto vocals.
Jackson’s criticism of the mass media’s misguided focus and tendency toward sensationalism would become an increasingly prominent theme in his later work (“Screram,” “Tabloid Junkie,” etc.). With so many other pressing issues to cover, being “different,” he argues here, shouldn’t be real “news”.
(via mjcanyoufeelit)
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Audio
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Notes[Flash 9 is required to listen to audio.]174 plays“Why you wanna trip on me” continues the social commentary of “Jam”. In this more developed lyrical sequel to “Leave me alone,” Jackson is no longer simply decrying his critics for “dogging (him) around”; he is directing their gaze to more pressing issues: poverty, world hunger, AIDS, and gang violence, among others. With “more problems than we’ ll ever need,” he sings, “there’s really no time to be trippin’on me.”
The song begins with a blistering guitar intro by Paul Jackson Jr. Before the hard rock fuses into a driving new jack funk. As in “Jam,” Jackson sings in a “clipped, breathy up tempo voice” while a funky uitar lick (played by Teddy Riley) and stacked layers of keyboards…. shift and percolate, varying textures over (an) insistent, thumping rhythm track.”
Brilliantly arranged by Riley and Michael Jackson, the track balances rhythmic intensity with exquisite vocal hamonies. “By keeping the beat straight-ahead,” observes Robert Doerschuk, “giving the snare extra pop, ang leaving the bass out.. [Riley] brings Jackson’s vocal out more than Quincy Jones did on some earlier cuts, and gives more exposure to the dotted eight-note hi-hat pattern that essentially defines new jack swing.” In the chorus, Jackson repeats the refrain, “Why you wanna trip on me?” as the question is echoed by beautifully layered falsetto vocals.
Jackson’s criticism of the mass media’s misguided focus and tendency toward sensationalism would become an increasingly prominent theme in his later work (“Screram,” “Tabloid Junkie,” etc.). With so many other pressing issues to cover, being “different,” he argues here, shouldn’t be real “news”.
(via mjcanyoufeelit)
