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KARYN White’s stomach was doing somersaults.

This was her moment of truth.

And as she picked up the telephone and called Minneapolis, she understood clearly that when the call was over she would either be one happy–or humiliated–young woman.

As the phone rang, she closed her eyes and pictured what she would say when Terry Lewis came on the line. I can’t stop thinking about you? I want to be more than friends. She had no idea what was going to come out of her mouth. All she knew for certain was that, after months of long-distance conversation, she was finally going to tell Lewis how she felt about him.

“For a long time, I didn’t know where he was coming from,” says White of lewis, the Grammy-winning producer of Jimmy (Jam) Harris and Terry Lewis fame whom she had met in 1989 while recording at their Flyte Tyme Productions Studios in Minneapolis. “We would have these long, great conversations; and while I knew I really liked him, I would hang up wondering how he felt about me. It was like, What are you waiting for?’ Finally, I just had to say it. I told my girlfriend, “That’s it. I’m doing it today.’ So I called him up … and I just said, Look, I want to tell you something. I really like you.’”

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Producer RedOne, Director Paul Haggis and singer Lionel Richie

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Producer REDOne

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Mick Jagger didn’t hesitate when Michael Jackson told the Rolling Stones singer to warm up his vocal cords before recording their duet “State of Shock” in 1983.

It was a classic recording session a year after “Thriller” had cemented Jackson’s reputation as the King of Pop, according to an Ocala resident who worked alongside Jackson for two decades.

“Mick didn’t hesitate,” said Bruce Swedien, who recorded and mixed many Jackson albums, including “Off the Wall” and “Thriller” – considered among the best all time.

“By then, everyone knew how good Michael was,” he continued. “If Michael Jackson says warm up, you warm up – even if you are Mick Jagger.”

Swedien, 75, lives quietly at his Ocala horse farm and still records albums for young local talent in his elaborate studio.

Swedien, who has worked with many legends, from Paul McCartney to Duke Ellington, talked about the short life of Jackson, who at age 50.

The sound engineer even shares songwriting credit with Jackson on the song “Jam,” a No. 3 hit on the R&B charts in 1992.

Swedien said he normally records a singer about a dozen times before getting enough to mix together a perfect vocal track for an album.

With Jackson, it only took two to four takes. And one of those takes would be perfect on its own. But hours of preparation preceded recording.

They would change lyrics, tempo and pitch, working for days and hours on getting the song just right before finalizing the track. Swedien said Thriller was recorded and completed in six months.

He credits music producer Quincy Jones for creating the sound of Michael Jackson.

“‘Off the Wall’ and ‘Thriller’ showed Quincy’s kaleidoscopic approach,” said Swedien, who described Jones as a musical genius.

However, it was Jackson’s talent and drive for perfection that kept the singer practicing all night before a recording.

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DAVINCHE

NEXT UK MJ? BASED ON HIS MUSICAL ABILITY

At the age of 4 he was playing Michael Jackson songs on his Yamaha keyboard that he got for christmas!

The self-taught studio producer and engineer was named by Wire Magazine as a talent to watch.

In 2006 he provided the grime(uk hip hop) element in the BBC’s ground-breaking attempt to unite the genre with jazz and classical, Urban Classic; in the project, which was broadcast on the corporation’s 1Xtra station, DaVinche joined jazz musician Jason Yarde and the BBC Concert Orchestra under conductor Charles Hazlewood to create a 70-minute symphonic sound clash that took grime onto a different plane.

However, merging grime and classical sounds wasn’t new for DaVinChe, and he believed the collaboration would work. “I tell you the truth, I did think I could pull it off because I already had the idea in my head,” says the 21-year-old. “I had been using a lot of strings, and a lot of horns, a lot of classical percussion like timpani in what I’d been making before. I’m a very musical producer in the sense that I always try to put chord structures and melodies in the music that I make. So it’s been a good progression for me, a natural progression for me.

myspace.com/davinchemusic

youtube.com/user/DaVinCheTV

CHECK OUT HIS NEW VIDEO

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Bruce Swedien In the Studio with Michael Jackson

The inside secrets of Michael Jackson’s greatest records by the Grammy-winning engineer who captured and enhanced their sound. Multiple color photos of Jackson, producer Quincy Jones, and all the talents who collaborated to make pop history with Jackson’s albums. Plucked from a job at legendary Universal Audio in Chicago, Bruce Swedien entered into a fruitful and historic 30-year relationship with producer Quincy Jones.

That partnership culminated in the groundbreaking recordings of Michael Jackson, beginning with The Wiz, continuing with Jackson’s breakout solo debut Off the Wall, and triumphing with Thriller, which revolutionized music and video and fixed Jackson in culture as the King of Pop.

Now Swedien reveals the technical details of creating those albums (along with Bad, Dangerous, and HIStory) and offers personal remembrances and anecdotes about working with the pop icon. Swedien’s book provides an insider’s look that will thrill anyone interested in the nuts and bolts of hit making and the history of some of America’s most influential recordings. *

Large collection of photographs from Michael Jackson recording sessions * Forewords by producer Quincy Jones and writer/producer Rod Temperton

BUY - Copy

CLICK HERE: Buy the Book Moonwalk


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Jackson stated in his autobiography, Moon Walk, that the song was based on the groupies he and his brothers encountered while part of The Jackson 5.

“There never was a real Billie Jean. The girl in the song is a composite of people my brothers have been plagued with over the years. I could never understand how these girls could say they were carrying someone’s child when it wasn’t true.”

Jackson biographer J. Randy Taraborrelli promoted the theory that “Billie Jean” was derived from a real life experience the singer faced in 1981. The Magic & The Madness documents how a young woman wrote a letter to Jackson, informing the singer that he was the father of one of her twins.

Jackson, who regularly received letters of this kind, had never met the woman in question and ignored it. The woman sent more letters to Jackson, claiming that she loved him and wanted to be with him. She wrote of how happy they would be, bringing up the child together. She pondered how Jackson could ignore his own flesh and blood. The letters disturbed the singer to the extent that he suffered nightmares.

Following the letters, Jackson received a parcel containing a photograph of the fan, as well as a letter and a gun. Jackson was horrified—the letter asked that the pop star kill himself on a certain day and at a specific time. The fan would do the same once she had killed their baby. She wrote that if they could not be together in this life, then they would be in the next. Afterward, the Jacksons discovered that the female fan had been sent to a psychiatric hospital.

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