Mike Smallcombe's Blog, page 3

Interview with HIStory producer Jimmy Jam

By October 1994, Michael had been working on his new album, HIStory, for six months. As he continued to come up with new ideas, super producers Jimmy Jam and Terry Lewis were asked to contribute a track, as Michael wanted to record a first ever duet with his little sister, Janet.Jam and Lewis had been working with Janet since 1985, and by 1994 they had produced her last three solo albums – including Rhythm Nation 1814, which Michael loved.Jam and Lewis have more Billboard number one singles than

Michael Jackson's HIStory in the making, PART TWO

This is part two of the chapter from Making Michael dedicated to the HIStory album, which was released 21 years ago today.To read part one first, click here. HISTORY IN CALIFORNIAAfter the Christmas break, which Michael spent with Lisa Marie, recording resumed in the warmth of Los Angeles. Michael booked out two rooms at both Record One and Larrabee studios; Bruce Swedien worked in the main room at Record One, with Brad Buxer in the back room, while Larrabee became Jimmy Jam and Terry Lewis’s

Mike Smallcombe chats to The MJ Cast about Making Michael

Recently Making Michael author Mike Smallcombe spoke to The MJ Cast, a Michael Jackson podcast featuring news and discussion on Michael and the Jackson family. On episode 31 of The MJCast, host Q and guest host Jason Garcia spoke with Mike about topics including his own history, the writing and publication process, his experiences in talking with over sixty Michael Jackson collaborators and his thoughts and opinions around many aspects of Michael’s career. "Overall, this is a fantastic book on

Mike Smallcombe talks to the Brian Oxman show

Mike Smallcombe spoke to former Michael Jackson attorney, Jackson family friend and radio show host Brian Oxman about his new King of Pop biography, Making Michael.  Recently, Mike also spoke to BBC Radio about all things Making Michael.  Read more about Making Michael 

Michael Jackson's HIStory in the making, PART ONE

In mid-January 1994, Michael’s team of producers and engineers spent a week preparing the Record One studio in Los Angeles, so work on new material for his delayed greatest hits package could resume. The situation changed when the Northridge Earthquake struck in Reseda, California, on January 17. The epicentre was only nine miles away from the studio, which seemed to alarm Michael. “I was terrified – almost out of my brains, I thought the world was ending,” he said.Michael chose to move

Michael Jackson's HIStory in the making

 In mid-January 1994, Michael’s team of producers and engineers spent a week preparing the Record One studio in Los Angeles, so work on new material for his delayed greatest hits package could resume. The situation changed when the Northridge Earthquake struck in Reseda, California, on January 17. The epicentre was only nine miles away from the studio, which seemed to alarm Michael. “I was terrified – almost out of my brains, I thought the world was ending,” he said. Michael chose to move

EXTRACT: HIStory in the making

 In mid-January 1994, Michael’s team of producers and engineers spent a week preparing the Record One studio in Los Angeles, so work on new material for his delayed greatest hits package could resume. The situation changed when the Northridge Earthquake struck in Reseda, California, on January 17. The epicentre was only nine miles away from the studio, which seemed to alarm Michael. “I was terrified – almost out of my brains, I thought the world was ending,” he said. Michael chose to move

The making of Michael Jackson's Dangerous

By late 1990, Michael had been working on his new album for 18 months, but he still wasn’t satisfied with the sound of some of the material. To complement the best of what he had recorded so far, he was looking for something more contemporary and modern, something with ‘fire’ and a ‘driving snare’. As engineer Bruce Swedien put it, Michael’s desire was to “present something very street that the young people will be able to identify with.” Michael identified young producer Teddy Riley as the man

EXTRACT: The making of Michael Jackson's Dangerous

By late 1990, Michael had been working on his new album for 18 months, but he still wasn’t satisfied with the sound of some of the material. To complement the best of what he had recorded so far, he was looking for something more contemporary and modern, something with ‘fire’ and a ‘driving snare’. As engineer Bruce Swedien put it, Michael’s desire was to “present something very street that the young people will be able to identify with.” Michael identified young producer Teddy Riley as the man

EXTRACT: The making of Dangerous

By late 1990, Michael had been working on his new album for 18 months, but he still wasn’t satisfied with the sound of some of the material. To complement the best of what he had recorded so far, he was looking for something more contemporary and modern, something with ‘fire’ and a ‘driving snare’. As engineer Bruce Swedien put it, Michael’s desire was to “present something very street that the young people will be able to identify with.” Michael identified young producer Teddy Riley as the man