A Chat with Brad Sundberg about MJU

Willa: This week Lisha and I are very happy to be joined by Brad Sundberg, a recording engineer who worked with Michael Jackson for twenty years – is that right, Brad?

Brad: Oh yeah, right around twenty years, on and off, between various projects.

Willa: And you were the technical director for Dangerous, History, and Blood on the Dance Floor?

Brad: Well, really just Dangerous and History. I worked on some of the tracks for Blood – I was one of the engineers on several of those projects.

Willa: Ok, and then you also were a sound engineer at Neverland and worked on a lot of different projects there, right?

Brad: Yeah, I built most of the systems at the ranch and I worked on a bunch of his videos. So if it involved music or some sort of, you know, light control or something, I was probably involved.

Lisha: You also did the sound design at Neverland, correct?

Brad: I did the sound design. I stripped the wires. I pulled them through tubes. I carried speakers and ladders. I did it all – me and a small crew.

Willa: And you’ve also taken an active role in educating people about Michael Jackson as an artist. In fact you’re organizing something called MJU, or Michael Jackson University, that’s coming up in June. I was wondering if you could tell us a little bit about MJU and what it’s about.

Brad: Sure. Thank you both for having me back. It’s always great to chat with you guys.

Willa: Oh, it’s great to have you here!

Lisha: Thank you so much for joining us, Brad!

Brad: We just launched our website – or a new website, I should say – and in the process of doing that I was kind of given the task of counting all the seminars and events that we’ve hosted and where we’ve been. And we’ve done something like 75 live events to this point, in about 12 countries, and hosted somewhere around 2,400 guests. I’m pretty proud of that and I’m really pleased with our guests and the events that we’ve come up with.

So this summer we wanted to do something bigger, different … dare I say, something that no one’s ever really done before. We decided to call it MJU, and we want it to cover a pretty extensive portion of Michael’s professional life, starting at Off the Wall and going through Thriller, Bad, Dangerous, and so on all the way to This Is It.

I’m pretty fortunate in that I know so many of those guys – Ed Cherney, Matt Forger, Jerry Hey, Brian Vibberts, Brad Buxer. And so we just started making some phone calls. I started calling guys. I sent emails, smoke signals, whatever it would take to see if I can get these guys interested in all of us essentially being in one place at one time. Well, it’s too many guys for one day, so we broke it up into a four-day event that we’re going to be doing on June 20th, 21st, 22nd, and 23rd at SIR studios in Hollywood.

June 20th, the first day, which is a Monday, is going to be kind of my solo show. That’s going to be the newest version of In the Studio with MJ and we’re going to spend a good bit of time talking about Neverland, and kind of the latest incarnation of my seminar, if you will. We’ve added quite a few new songs, some new material that we tried in Europe this past January, and it went really well. So the first day is going to be In the Studio with MJ.

Day Two we’re going to dig into what I call the early years. And that’s going to be where we’re going to go all the way back to Off the Wall and I’ve got Ed Cherney coming in. Ed was basically me several years before. He was Bruce Swedien’s assistant engineer.

Willa: Oh interesting.

Brad: I find it interesting sometimes to talk to the people behind the scenes because they are a bit more, you know, they were there but they weren’t really the star of the show. So Ed was there with Michael at a really cool time. I mean that was Michael’s first project with Quincy and Bruce and that team.

Ed’s going to be opening up Day Two, and we’re going to dig straight into Off the Wall. Then from there, we’re going to bring Matt Forger in and start talking about Thriller. Matt was the assistant engineer on Thriller. Matt actually recorded the Eddie Van Halen solo on “Beat It” and pieced that whole thing together.

Willa: Oh really!

Brad: Matt’s got some great stories. Matt is the sweetest, kindest man. I love Matt, absolutely think the world of him. So then Matt went on to do Captain EO. So he did that alone with Michael. We’ve done an entire seminar just on Captain EO. Lisha, were you here for that?

Lisha: Oh my god, it was incredible. Just incredible.

Brad: You’re so kind.

Lisha: No, I’m a huge fan of Captain EO, and not nearly enough has been written about it. Just in the history of the music video in general, it has not gotten its due. Hearing Matt Forger recall how it all came together was an amazing experience. I just loved it.

Brad: You’re very kind, thank you. We need to do another one.

Willa: Now you did that at Disney World, and you all actually saw the 4D version of Captain EO a couple of times, right?

Brad: Yeah, we knew that it was going to end, and Disney would never really say when the last day was. They finally did, but I was getting nervous that they were going to pull the plug on it. So I flew Matt out, and we had a good group. Yes, we did that here at Epcot. We did the seminar at – where were we? Stark Lake Studios? Do you remember, Lisha? I think it was at Stark Lake.

Lisha: Yes, that’s right, and then we spent the next day at Disney.

Brad: I think we saw EO three or four times – something like that.

So anyway, we’ll have Matt, and somewhere I’ve got a working copy of Captain EO – kind of a production print. So we might watch part of that. Then, all on that same day, we’ll jump into the Bad album. Matt was very involved in the pre-production of the Bad album, and so he recorded a whole lot of those early versions. And then Bruce and Quincy took it from there, and did kind of the final production on that album.

Willa: Now, when you say pre-production, do you mean creating the demos so they can decide if they want to move forward with that song? Or what does pre-production involve?

Matt: Well, in Michael Jackson world, it’s much bigger than for a lot of artists. Michael had his own studio – at Hayvenhurst, I should say – you know, his home. And so Matt Forger and Bill Bottrell and Brent Averill spent a lot of time at Hayvenhurst, in essence recording a good chunk of the Bad album: “Smooth Criminal,” “Liberian Girl,” “Bad,” “The Way You Make Me Feel.” Most of those songs were done before the album even started.

There’s all kinds of forums and goofy talk about this stuff where sometimes they’re referred to as the B Team, and I just think that’s tacky and uncalled for. These are Michael’s guys, and they did a really beautiful job. But Bruce and Quincy wanted to take it up even another notch, so some of those songs were re-recorded. But the melody is in – the core, the heart of those songs was done by these guys.

So we’ll have Matt there, and of course I was very involved with the Bad album. So we’ll be talking about that. And that’s Day Two.

I don’t know what time we’re going to crawl out of there that night, but Day Three we’re going to go in a whole different direction. We’re going to start talking about Michael’s short films, and the tours. I’ve got a guy by the name of Brick Price, and Brick is an old, old dear friend. See Michael had all these – you know, Michael was complicated, and he had friends in the film industry, he had artists, and just people – like he’d hang out with the Imagineers at Disney. Brick was one of these guys. I think he came from the Star Trek world. And Brick is really good at building spaceships, and so I know Brick was involved in Captain EO. But then he was very involved in Moonwalker, and I believe Brick was also involved in Ghosts.

Willa: Oh really!

Brad: Yeah, I could be wrong, but I know he was very involved in Moonwalker. I’ve got some other friends from Ghosts and I haven’t even reached out to them yet.

But Brick has some stuff up his sleeves. I don’t know what he’s going to bring. I mean he built like the Captain EO sets and all that stuff. He’s got some crazy stuff in his collection, and it’s just in a warehouse. So he’s kind of excited to, you know, pull it out and blow the dust off it and let us see it. He’s got some photos of Michael that have just never been seen. And he’s very protective of that stuff. And he’s just a good guy. He was with us at the ranch and did a lot of the visuals up there. His kids ran around the ranch like they owned the place. He was really good friends with Michael.

So we’re going to start Wednesday with Brick. And I don’t know how I’m going to stop, but at some point I’ve got to stop that and then we’re going to shift into the tours. At that point, my plan is to have Brad Buxer and Michael Prince. And there are other people I’ve reached out to, and they may or may not surprise us. I don’t know.

But we’re going to spend a good bit of time talking about what it was like to tour with Michael Jackson. That’s something I haven’t really dug into too deep in my seminars because I didn’t tour with him. I would do all what’s called the tour pre-production, where we would get the band trained on new songs. I wasn’t involved in any of the visuals on the tours but I was involved in the music. We’d have to change the tempo of songs, change the key – things like that.

Willa: And why would you need to do that?

Brad: Well, Michael liked shows to be fast and exciting. Most artists do this, especially pop musicians. You know, if you listen to the old Jackson song, “You’ve got me working, working day and night” – listen to the album speed, and then watch one of the videos where he does it live, it’s just ridiculously fast. So he wants the audience feeling that energy. He wants the really fast tempo that’s fun to dance to. And then we would pitch it way down so he could actually sing it, because you can’t sing at that key night after night. So we’d want to get it down into a register that he was comfortable singing at.

Willa: Oh interesting. I thought you were going to say just the opposite – that you would slow it down so he could conserve energy on a long tour and not wear himself out.

Brad: Oh no! No, he wanted the tempo to be just outrageously fast for all of those songs, and then we’d pitch them way down. So we’d work with the band, and that’s where Brad Buxer really comes in, taking Michael’s ideas musically and turning them into something that’s going to be fun for the band to play and for an audience to enjoy.

Willa: So if he would sing at the pitch that it was on the album, night after night, that would strain his voice?

Brad: Yeah. If you’re going to sing live, you want to pitch it down to a lower register. It’s just easier to sing. It’s pretty hard to hit those high notes night after night – that’s going to blow your voice out.

Willa: Oh interesting. I didn’t know that.

Brad: But some of the stuff that Buxer and I have talked about before is just, you know, things that I find interesting. I don’t know, maybe I’m just a weirdo but I’ve been to so many of the shows that, yeah, it’s kind of fun what goes on on stage, but I’m always curious about backstage, and how they traveled. The European tours where they had these giant Russian jets – Brad has told me about those, and that stuff’s just crazy.

They would have three stages. Michael would be on one stage on a Tuesday. The crew would be at the previous stage that same day, breaking it down in a previous city. And there would be another crew in a third city, setting the next stage up.

Willa: Oh, so they would leap frog?

Brad: Exactly. And the logistics of that – I love that kind of stuff – just to coordinate all of that activity. They actually had a baker that traveled on the crew with them, so every day they’d have fresh bread, fresh pies. Who does that?!

I love that kind of stuff. So we’re going to dig into the tours, on stage and backstage, on that Wednesday. And then if we have any strength left at all, we’re going to come back on Thursday and dig into the later years. And more than likely that’ll be Dangerous, HIStory, Invincible. And then all the way through the Vegas years, and the Apollo Theater, and the Dubai show, and the Clinton – what was it? The Democratic National Convention whatever it was.

Willa: Oh, the inauguration?

Brad: No, I think it was a Clinton gala or something.

Lisha: Yeah, he actually did both.

Brad: Ok. And then we’ll take it all the way to, you know – it’s like I sometimes say, the story doesn’t really have a happy ending, but we’ll talk about This Is It. Brad Prince was with Michael that last night, and you know, I think it’s a good story for people to hear.

So that’s MJU. We’re kind of taking my seminar and just blowing it up over four days. And I’m bringing in the people that were there. And I could go on and on and on. There’s plenty more people I’d like to bring in in the future.

Willa: It sounds like it could go on for four months. I mean, that’s a semester’s worth of material you’re covering.

Brad: There’s actually one guy I inadvertently overlooked, and that’s Jerry Hey. Jerry’s going to be there on Day Two, the early years. Jerry is a sweet, sweet, remarkably talented man. Jerry was the lead horn player for Seawind, and he went on to build what’s called the Seawind Horns in L.A. And these guys played on all of Michael’s records – the horn section – and Quincy’s, and all over town they played.

But Jerry also was very involved in a lot of the vocal arrangements and background melodies and all that, and he’s just a funny guy. He’s another piece to the puzzle that people may not sit up and go, Oh wow, Jerry Hey’s going to be there. But you don’t want to miss Jerry. He has so much knowledge, and Michael loved Jerry so much. I haven’t really hung with Jerry in years. Jerry had a little bit of a health crisis this past summer, and thankfully he’s doing well. But I’m really, really excited to have Jerry with us on Day Two.

And then Day Four we’ve got Brian Vibberts and Rob Hoffman, who both were with us on the HIStory projects and stayed with Michael beyond that. So you know – let’s see, what more can I give? We’ve really pulled out all the stops, and I’m really excited about this.

Lisha: Wow, it sounds absolutely amazing.

Willa: It does, and I also think it’s really important. There have there been more than a few critics – and I think this is changing somewhat – but there have been quite a few people who have made it sound like Michael Jackson was a very talented singer and dancer, but that basically he was just a performer. That he didn’t have a vision. It was really Quincy Jones’ vision or Berry Gordy’s vision, and Michael Jackson was just performing. They were really the people creating the art.

Brad: Right.

Willa: And I think your seminars have really countered that and shown that Michael Jackson was very active in the studio and an artist in the fullest sense of the word.

Brad: And he was smart. I mean, to surround yourself with people that you trust. You’re in essence kind of putting your career into their hands and saying, That was great, now where are we going to go next? That takes a lot of guts. And so he would surround himself with good people – some would stick around for a while, some would kind of come and go.

You know, I think if there’s one thing you’re going to see in people that I use in my seminars, but also people that really worked with Michael for long term, they’re just good people. And they’re approachable. And they’re funny. And they might be a little bit eccentric, but they bring something to the table that Michael knew. And Michael loved that. He loved having a variety of people around him. We just didn’t have a lot of crazy egos in the studio with Michael. I think people see that in my seminars – that we just don’t have egomaniacs. Michael just didn’t work well with people like that. So they’re really cool guys, and I’m pretty proud and pleased that they’re willing to kind of go on this journey with me.

Willa: It sounds fabulous.

Brad:  So buy your tickets! Get on my website and buy a ticket. It’s the biggest facility – well, we had a big facility in Tokyo – but this is probably the biggest facility that we’ve used in the States. It’s a big room where people are going to be able to stretch out, and the sound system there is unbelievable. It’s really going to be a special event.

Willa: So how many people can that studio hold?

Brad: I’m told that we can do about 100, maybe 120 – something like that.

Willa: So it will still be really intimate?

Brad: Oh yeah. We’re not talking thousands. No, it’ll certainly be comfortable. And it’s a funky dark studio that people like. I do these all over the place, and some places are so clean and pristine that it’s a little boring. I kind of like something that’s got a little more grit to it. This is a place that just has years of history. So I hope people will consider coming.

Willa: And you’ll be bringing your tapes and pictures and stories?

Brad: We’ll be bringing all kinds of stuff. I haven’t really publicly announced this yet, but tentatively we’ve got a really heavy collector – I don’t want to mention his name – but he’s offered to come and bring some crazy, you know, one of the original gloves, several of the jackets. He just has a remarkable collection. And he’s offered to come in and set that up. People aren’t going to be able to try on jackets or anything, but you know.

And then at night, we’re kind of kicking around the idea of having a Moonwalker night, and just some fun extra things that we might put together. We’re putting our heart and soul into it, and I think it’s really going to be a cool event.

Willa: It sounds very fun!

Brad:  So June 20th through 23rd, in Hollywood, California.

Lisha: If anyone would like more information, check out Brad’s beautiful new website.  Even if you can’t go to the seminar, you’ll definitely want to spend some time looking around on this site. There’s lots of great information on Brad’s In the Studio with Michael Jackson Facebook page, too.

Thanks again, Brad, for giving us a sneak peek of MJU!

Willa: Yes, thanks so much for talking with us! And we’ll continue our conversation soon, when we talk about Neverland.

Brad: Thank you both!



About Dancing with the Elephant contributors

Joie Collins is a founding member of the Michael Jackson Fan Club (MJFC). She has written extensively for MJFC, helping to create the original website back in 1999 and overseeing both the News and History sections of the website. Over the years she conducted numerous interviews on behalf of MJFC and also directed correspondence for the club. She also had the great fortune to be a guest at Neverland. She has been a Michael Jackson fan since she was three years old. Lisha McDuff is a classically trained professional musician who for 30 years made her living as a flutist, performing in orchestras and for major theatrical touring productions. Her passion for popular musicology led her to temporarily leave the orchestra pit and in June 2013 she received a Master’s degree in Popular Music Studies from the University of Liverpool. She’s continuing her studies at McMaster University, where she is working on a major research project about Michael Jackson, with Susan Fast as her director. Willa Stillwater is the author of M Poetica: Michael Jackson's Art of Connection and Defiance and "Rereading Michael Jackson," an article that summarizes some of the central ideas of M Poetica. She has a Ph.D. in English literature, and her doctoral research focused on the ways in which cultural narratives (such as racism) are made real for us by being "written" on our bodies. She sees this concept as an important element of Michael Jackson's work, part of what he called social conditioning. She has been a Michael Jackson fan since she was nine years old.

Posted on April 21, 2016, in Michael Jackson and tagged , , , , , , , , , , . Bookmark the permalink. 4 Comments.

  1. What I wouldn’t give to be there! Thank you for sharing this amazing look into Michael’s artistry and the folks he worked with. What a gift for everyone who loved Michael, and also a gift to Michael himself. He so wanted interviewers to ask about how he created his art, and they so rarely did. I bet his spirit is thrilled you are doing this!

    • Keely you so speak my mind. It is a long way from Cape Town to attend such a workshop but how I would love to do so!!

      Thanks guys at least for this look into Michael’s work. Yes, I remember Michael saying to Oprah something to the fact that he wished he could be asked about his art rather than plastic surgery etc etc etc. Michelangelo wouldn’t have had to put up with such crap!!!

      Missed you guys and looking forward to more.

      • Keely and Caro, thanks so much for the kind notes. It is very important to collect the stories of people like Brad who worked with Michael Jackson, because those stories give us insight into his art, as you say. And as Lisha keeps reminding me, it’s also important to preserve and somehow archive this information for future scholars.

        I strongly believe that Michael Jackson’s stature as an artist will continue to grow as we gain new insights into his art – his visual art as well as his music and dance. As I’ve mentioned before, I think he was expanding the definition of art itself, and we don’t yet realize the full implications of that. But I hope future scholars will be able to gain a deeper understanding and appreciation of all that he was accomplishing, and these kinds of firsthand accounts may prove very helpful to them.

        Thank you again.

  2. Hello Willa, I have a question about MJ’s live performances of “Beat It” during the Bad and Dangerous eras. I notice that when two guys fought as part of the “Beat It” performances, MJ always let the white guy win the black guy in the fight. Out of curiosity I wanted to know why did MJ always let the white guy win the black guy during the “Beat It” the fight scene?

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