jeidee said:

ok so i would like to inquire about the track "history".

recently i created a mash-up which required a bit of in-depth listening to the j.dilla/jay dee/ummah acapella version of "history". i could not help but notice that during the chorus "every day create your history...." portion that has the muted, filtered type effect there is backing music that is very subdued that sounds to me (and to my friend that i shared this discovery) a lot like john lennon's "give peace a chance" with the strumming guitar, stomp, and clap.

relating that suspicion with the inspiring nature of the lyrics... does anyone know if "history" was inspired by "give peace a chance" or if there is some form of alternate demo containing this simple guitar stomp/clap track?

if u have the acapella, check it out! if anything the possibility almost demands another mash-up, right?

Can't say I've heard it in the mix - any chance you can give it a blast here?

Swa

ali23 said:

Just found this!

Sadly not legit. Got me excited anyway, lol.

The soundwave thing was to be the backdrop of Rock With You (I believe) and Dangerous had a backdrop of a brain scan and had a main prop of a straight jacket.

Swa

Still a lame debate and silly jokes in MJ's new album thread at mjjc , damned children

bboy87 said:

The legendary Quincy Jones talks to Johnny Davis about Lady Gaga, Naomi Campbell, his last chat with Michael Jackson – and the fun he had at his own funeral

Quincy Jones is not taking any chances. Last week, the 77-year-old, who has two titanium knees and a hearing aid that whistles when he speaks, was at Sweden's Karolinska Institute, where 14 of "the best doctors in the world" spent six days giving him his annual checkup. "Craniology, urology, everything," he says.

From bebop right through to hip-hop, there's nobody left alive who has done more for American music than Quincy Delight Jones Jr. And that can have its down sides. "I've lost 174 people in four years," he says. "Last week, it was Abbey Lincoln. Before that Herman Leonard, Hank Jones, Lena Horne, Billy Preston – half these guys were younger than me. Sammy Davis was 64 when he died."

He has stopped going to funerals. "Who needs them?" Last year, Jones famously lost Michael Jackson, whom he used to call Smelly. They made three albums together – Off the Wall in 1979, Thriller in 1982, Bad in 1987 – a collaboration that changed pop for ever. "Then Michael fired me," Jones grins. He had been pushing Jackson towards hip-hop, but the singer had doubts. "He said, 'Quincy doesn't understand the business any more. He doesn't know that rap is dead.' But it's OK. It wasn't so obvious then."

Still, they were friends until the end. "I was in London when he sold out the 10 concerts, and then sold out 40 more. He called me. He wanted to bring the kids over. But I was with Mohamed Al Fayed at his place. I said, 'I'll see you in Los Angeles.' And that was the last time I talked to him."

Did you know he was in a bad way? "No, no," he says. "There was no way to know. There's no way anybody could be blamed for what happened. Artists of that stature – they can do whatever they want. You'd have to monitor him 24-7 to know what's going on." What about the number of performances? Was it too many for him to cope with? "I don't know, man. It's personal. So, so personal. There's too many details. Unless you're totally cognisant of everything, it's hard to make a judgment."

Jones was once at death's door himself. In 1974, he suffered two brain aneurysms that have left him unable to play the trumpet. He was given a 1% chance of surviving the operation: when the doctors shaved his head they kept his hair in a plastic bag, in case they needed to paste it back on to his corpse. He woke up to find an extravagant memorial service had been planned. So he reckoned it might as well go ahead. "Frank Sinatra said to me, 'Q, live each day like it's your last. And one day you'll be right.'"

Happily, the fleet of Swedish doctors has given him the all-clear. "Except I think vodka's out of my life for ever. Though they say two glasses of red wine is better than not drinking at all!" He certainly seems in the rudest of health. When we meet, at the Paris Ritz, he's looking at the receptionist with a glint in his eye (there have been three marriages and seven children, ages 17 to 56) and on discovering I'm from London, he's keen to practice his cockney. "I learned from the best, Michael Caine," he explains, after a quick round of, "Check out the Bristols on that Richard." Then he shows me Frank Sinatra's sovereign ring, a gift from Ol' Blue Eyes's daughter.

Of all his remarkable achievements, one constant in Jones's life has been an ability to turn great men and women (particularly musicians) into close personal friends. His bestselling 2001 book Q: The Autobiography of Quincy Jones comes with 50 pages of acknowledgements and seems to contain more celebrities than anecdotes. By the time he was 30, he'd backed Billie Holiday and Ella Fitzgerald, played trumpet behind Thelonious Monk and Charlie Parker, recorded Jacques Brel and arranged Ray Charles. As well as masterminding music's biggest ever album (Thriller) and single (We Are the World), his arrangement of Fly Me to the Moon was the first music played by Buzz Aldrin when he landed there in 1969. There have been 33 movie scores and 79 Grammy nominations.

Ostensibly, he has crossed the Atlantic on an unlikely mission: to launch AKG's new line of Quincy Jones headphones ("the most organic, natural fit I could ever imagine"). But Paris is a special place for Jones. He was here in the 1950s, studying composition with Nadia Boulanger, tutor to Stravinsky, Leonard Bernstein and Aaron Copland. Soon he was off dining with Picasso and hanging out with Brigitte Bardot. "Ooh la la!" he twinkles.

When a beautiful blonde teenager practically sits down on top of him, it turns out to be one of his daughters, Kenya. "Nastassja Kinski's her mother," he says. Along with celebrities, the other constant in his life has been stunning women. "You think I'm gonna like ugly ones?" he says.

Jones came up the hard way: born in Chicago to a schizophrenic mother and raised by a grandmother who liked to fry rat on a skillet. Mum re-enters his life story like the proverbial bad penny, at one point conspiring to stop his "devil's music" by reporting Jones for non-payment of taxes. Her behaviour was enough to make him say now: "I didn't have a mother, so I had to make my own world. I started with four trumpets, four trombones, five saxes, drum, bass and piano – all doing something different."

It's this arranger approach that's kept him moving forward, always mixing and matching – people, music, ideas. He worked with everyone from Akon to Bono, Chaka Khan to Shaquille O'Neal. Today, he's got a theory that rappers "could revolutionise education". He explains: "Everywhere in the world, they have kids in the palm of their hand. I put together a curriculum so schools know who rappers are – so kids don't have to pretend to be Columbine neo-Nazis saying 'Yo homie!' on the internet." He's been angling for a position within Barack Obama's administration, too. "We're the only country with no minister of culture," he says.

Jones has an LP coming out: a tribute record to himself called Q: Soul Bossa Nostra. It will be released on 700m mobile phones in China, Jones being the last person you'll find clinging to vinyl. "I've got a jazz mind, man," he says. "The music business as we knew it is over. I'm rolling with whatever the reality is." Amy Winehouse features on the album, covering Jones's first hit as a producer, 1963's It's My Party. They met at Nelson Mandela's 90th birthday concert. "We hugged and I said, 'Why you got to mess up your life like this?' She said, 'I'm gonna be OK. My husband's getting out of jail soon.' I said, 'Wow! That's a big positive!' She's like Naomi, my other little naughty sister."

He means Naomi Campbell. Jones has just spent time with Campbell on a cruise ship in the Mediterranean. With them were Jay-Z; Sarah, Duchess of York; and, ironically, Leonardo DiCaprio, star of the movie Blood Diamond. This was just after Campbell gave evidence in Charles Taylor's trial at the Hague for war crimes. Jones was at the meal the trial focused on, but he's not talking about it. "Naomi's fine," he says. "I see the bright side of her."

Thriller rides again

His diplomacy cracks at the mention of Lady Gaga, though. Why is he rolling his eyes? "I don't listen to her," he says. Why not? "Cos I heard it a couple of times!" He falls about: twice was apparently enough. It's Jackson he'll always be linked with, though. For Thriller, Jones whittled 800 songs down to nine. "Then I took out the weakest four and replaced them with The Lady in My Life, PYT, Beat It and Human Nature. Mix that with Billie Jean and Wanna Be Startin' Something, and you have a serious album." There was a story on the website Pop***** saying Jones got so fed up with Jackson's yelps and whimpers that he took to kicking him. "Ha ha! No, but I knew how to handle Michael."

Now all those Thriller outtakes will probably be heard: Sony and Jackson's estate have done a $250m deal for 10 more albums. "I don't want to get involved," Jones says. "The poor guy's gone. He died younger than me when I produced him. He left something not many people are going to leave."

In terms of a legacy, Jones may rival Jackson. Witnessing all the talent that turned up for his 1974 memorial, which he attended with two metal plates in his skull, one thought went through his mind: "That's some lineup."

Source: The Guardian UK

I don't know, I went off Quincy in a big way after his Michael statements. Even now he's saying ambiguous shit, I don't think Michael ever formally fired him and he's rehashing the "Quincy's losing it" stuff, Q people say things, deal with it, grow up. Put that big ego aside and just grow up. Michael did more for you than you did for him, he left you sitting pretty enough and with enough clout to do what you're doing now which who knows if you would have been able to without Michael Without Michael you were a film composer, social butterfly with limited cultural relevance. And quit talking about your mom, those things should be private she couldn't help herself and she's dead and here you are saying you had no mom shows how little class you have.

mozfonky said:

bboy87 said:

The legendary Quincy Jones talks to Johnny Davis about Lady Gaga, Naomi Campbell, his last chat with Michael Jackson – and the fun he had at his own funeral

Quincy Jones is not taking any chances. Last week, the 77-year-old, who has two titanium knees and a hearing aid that whistles when he speaks, was at Sweden's Karolinska Institute, where 14 of "the best doctors in the world" spent six days giving him his annual checkup. "Craniology, urology, everything," he says.

From bebop right through to hip-hop, there's nobody left alive who has done more for American music than Quincy Delight Jones Jr. And that can have its down sides. "I've lost 174 people in four years," he says. "Last week, it was Abbey Lincoln. Before that Herman Leonard, Hank Jones, Lena Horne, Billy Preston – half these guys were younger than me. Sammy Davis was 64 when he died."

He has stopped going to funerals. "Who needs them?" Last year, Jones famously lost Michael Jackson, whom he used to call Smelly. They made three albums together – Off the Wall in 1979, Thriller in 1982, Bad in 1987 – a collaboration that changed pop for ever. "Then Michael fired me," Jones grins. He had been pushing Jackson towards hip-hop, but the singer had doubts. "He said, 'Quincy doesn't understand the business any more. He doesn't know that rap is dead.' But it's OK. It wasn't so obvious then."

Still, they were friends until the end. "I was in London when he sold out the 10 concerts, and then sold out 40 more. He called me. He wanted to bring the kids over. But I was with Mohamed Al Fayed at his place. I said, 'I'll see you in Los Angeles.' And that was the last time I talked to him."

Did you know he was in a bad way? "No, no," he says. "There was no way to know. There's no way anybody could be blamed for what happened. Artists of that stature – they can do whatever they want. You'd have to monitor him 24-7 to know what's going on." What about the number of performances? Was it too many for him to cope with? "I don't know, man. It's personal. So, so personal. There's too many details. Unless you're totally cognisant of everything, it's hard to make a judgment."

Jones was once at death's door himself. In 1974, he suffered two brain aneurysms that have left him unable to play the trumpet. He was given a 1% chance of surviving the operation: when the doctors shaved his head they kept his hair in a plastic bag, in case they needed to paste it back on to his corpse. He woke up to find an extravagant memorial service had been planned. So he reckoned it might as well go ahead. "Frank Sinatra said to me, 'Q, live each day like it's your last. And one day you'll be right.'"

Happily, the fleet of Swedish doctors has given him the all-clear. "Except I think vodka's out of my life for ever. Though they say two glasses of red wine is better than not drinking at all!" He certainly seems in the rudest of health. When we meet, at the Paris Ritz, he's looking at the receptionist with a glint in his eye (there have been three marriages and seven children, ages 17 to 56) and on discovering I'm from London, he's keen to practice his cockney. "I learned from the best, Michael Caine," he explains, after a quick round of, "Check out the Bristols on that Richard." Then he shows me Frank Sinatra's sovereign ring, a gift from Ol' Blue Eyes's daughter.

Of all his remarkable achievements, one constant in Jones's life has been an ability to turn great men and women (particularly musicians) into close personal friends. His bestselling 2001 book Q: The Autobiography of Quincy Jones comes with 50 pages of acknowledgements and seems to contain more celebrities than anecdotes. By the time he was 30, he'd backed Billie Holiday and Ella Fitzgerald, played trumpet behind Thelonious Monk and Charlie Parker, recorded Jacques Brel and arranged Ray Charles. As well as masterminding music's biggest ever album (Thriller) and single (We Are the World), his arrangement of Fly Me to the Moon was the first music played by Buzz Aldrin when he landed there in 1969. There have been 33 movie scores and 79 Grammy nominations.

Ostensibly, he has crossed the Atlantic on an unlikely mission: to launch AKG's new line of Quincy Jones headphones ("the most organic, natural fit I could ever imagine"). But Paris is a special place for Jones. He was here in the 1950s, studying composition with Nadia Boulanger, tutor to Stravinsky, Leonard Bernstein and Aaron Copland. Soon he was off dining with Picasso and hanging out with Brigitte Bardot. "Ooh la la!" he twinkles.

When a beautiful blonde teenager practically sits down on top of him, it turns out to be one of his daughters, Kenya. "Nastassja Kinski's her mother," he says. Along with celebrities, the other constant in his life has been stunning women. "You think I'm gonna like ugly ones?" he says.

Jones came up the hard way: born in Chicago to a schizophrenic mother and raised by a grandmother who liked to fry rat on a skillet. Mum re-enters his life story like the proverbial bad penny, at one point conspiring to stop his "devil's music" by reporting Jones for non-payment of taxes. Her behaviour was enough to make him say now: "I didn't have a mother, so I had to make my own world. I started with four trumpets, four trombones, five saxes, drum, bass and piano – all doing something different."

It's this arranger approach that's kept him moving forward, always mixing and matching – people, music, ideas. He worked with everyone from Akon to Bono, Chaka Khan to Shaquille O'Neal. Today, he's got a theory that rappers "could revolutionise education". He explains: "Everywhere in the world, they have kids in the palm of their hand. I put together a curriculum so schools know who rappers are – so kids don't have to pretend to be Columbine neo-Nazis saying 'Yo homie!' on the internet." He's been angling for a position within Barack Obama's administration, too. "We're the only country with no minister of culture," he says.

Jones has an LP coming out: a tribute record to himself called Q: Soul Bossa Nostra. It will be released on 700m mobile phones in China, Jones being the last person you'll find clinging to vinyl. "I've got a jazz mind, man," he says. "The music business as we knew it is over. I'm rolling with whatever the reality is." Amy Winehouse features on the album, covering Jones's first hit as a producer, 1963's It's My Party. They met at Nelson Mandela's 90th birthday concert. "We hugged and I said, 'Why you got to mess up your life like this?' She said, 'I'm gonna be OK. My husband's getting out of jail soon.' I said, 'Wow! That's a big positive!' She's like Naomi, my other little naughty sister."

He means Naomi Campbell. Jones has just spent time with Campbell on a cruise ship in the Mediterranean. With them were Jay-Z; Sarah, Duchess of York; and, ironically, Leonardo DiCaprio, star of the movie Blood Diamond. This was just after Campbell gave evidence in Charles Taylor's trial at the Hague for war crimes. Jones was at the meal the trial focused on, but he's not talking about it. "Naomi's fine," he says. "I see the bright side of her."

Thriller rides again

His diplomacy cracks at the mention of Lady Gaga, though. Why is he rolling his eyes? "I don't listen to her," he says. Why not? "Cos I heard it a couple of times!" He falls about: twice was apparently enough. It's Jackson he'll always be linked with, though. For Thriller, Jones whittled 800 songs down to nine. "Then I took out the weakest four and replaced them with The Lady in My Life, PYT, Beat It and Human Nature. Mix that with Billie Jean and Wanna Be Startin' Something, and you have a serious album." There was a story on the website Pop***** saying Jones got so fed up with Jackson's yelps and whimpers that he took to kicking him. "Ha ha! No, but I knew how to handle Michael."

Now all those Thriller outtakes will probably be heard: Sony and Jackson's estate have done a $250m deal for 10 more albums. "I don't want to get involved," Jones says. "The poor guy's gone. He died younger than me when I produced him. He left something not many people are going to leave."

In terms of a legacy, Jones may rival Jackson. Witnessing all the talent that turned up for his 1974 memorial, which he attended with two metal plates in his skull, one thought went through his mind: "That's some lineup."

Source: The Guardian UK

I don't know, I went off Quincy in a big way after his Michael statements. Even now he's saying ambiguous shit, I don't think Michael ever formally fired him and he's rehashing the "Quincy's losing it" stuff, Q people say things, deal with it, grow up. Put that big ego aside and just grow up. Michael did more for you than you did for him, he left you sitting pretty enough and with enough clout to do what you're doing now which who knows if you would have been able to without Michael Without Michael you were a film composer, social butterfly with limited cultural relevance. And quit talking about your mom, those things should be private she couldn't help herself and she's dead and here you are saying you had no mom shows how little class you have.

hell yeah , I agree

There is no doubt that wincy clones lost his mind , ungrateful backstabber....

as timmy said , he is senile

I wish I could break shit like michael in black or white or janet in why did I get married too, I have all this frustration trapped inside that's not coming out, and it's eating away at me

seeingvoices12 said:

Still a lame debate and silly jokes in MJ's new album thread at mjjc , damned children

I will have to visit there I haven't been at MJJC in a while

seeingvoices12 sa

There is no doubt that wincy clones lost his mind , ungrateful backstabber....

as timmy said , he is senile

Well, I hate to be a fair weather fan but out of all the people to say anything pro or con about mike that Q got me the most. In reality, he's done what he's done through being a bullshitter, what has he really done all on his own that was so great? It's the reason I tell people I don't want help with my music, they always have some kind of fucked up twisted selfish agenda. I just as soon just be a failure with my soul intact.

seeingvoices12 said:

Still a lame debate and silly jokes in MJ's new album thread at mjjc , damned children

I know I wasn't the same one who felt that way!

The jokes aren't even remotely funny, in fact, they'e just stupid. They have a horrible sense of humor

and you have a bunch of people who have no sense of how to promote an album angry because Sony hasn't released a album title, tracklist, release date, and album cover 3 months before the album was released

That's not how it works!

Invincible came out October 29/30 and we didn't get the first single until September! If some of them took a class in music business they'd know releasing full details on an album 3 or 4 months before it's released makes no sense. Plus the music industry is different, a single may not even come out because honestly, the new album doesn't really need one and if it does have one, I have a feeling it'll be a promo single

mozfonky said:

bboy87 said:

The legendary Quincy Jones talks to Johnny Davis about Lady Gaga, Naomi Campbell, his last chat with Michael Jackson – and the fun he had at his own funeral

Quincy Jones is not taking any chances. Last week, the 77-year-old, who has two titanium knees and a hearing aid that whistles when he speaks, was at Sweden's Karolinska Institute, where 14 of "the best doctors in the world" spent six days giving him his annual checkup. "Craniology, urology, everything," he says.

From bebop right through to hip-hop, there's nobody left alive who has done more for American music than Quincy Delight Jones Jr. And that can have its down sides. "I've lost 174 people in four years," he says. "Last week, it was Abbey Lincoln. Before that Herman Leonard, Hank Jones, Lena Horne, Billy Preston – half these guys were younger than me. Sammy Davis was 64 when he died."

He has stopped going to funerals. "Who needs them?" Last year, Jones famously lost Michael Jackson, whom he used to call Smelly. They made three albums together – Off the Wall in 1979, Thriller in 1982, Bad in 1987 – a collaboration that changed pop for ever. "Then Michael fired me," Jones grins. He had been pushing Jackson towards hip-hop, but the singer had doubts. "He said, 'Quincy doesn't understand the business any more. He doesn't know that rap is dead.' But it's OK. It wasn't so obvious then."

Still, they were friends until the end. "I was in London when he sold out the 10 concerts, and then sold out 40 more. He called me. He wanted to bring the kids over. But I was with Mohamed Al Fayed at his place. I said, 'I'll see you in Los Angeles.' And that was the last time I talked to him."

Did you know he was in a bad way? "No, no," he says. "There was no way to know. There's no way anybody could be blamed for what happened. Artists of that stature – they can do whatever they want. You'd have to monitor him 24-7 to know what's going on." What about the number of performances? Was it too many for him to cope with? "I don't know, man. It's personal. So, so personal. There's too many details. Unless you're totally cognisant of everything, it's hard to make a judgment."

Jones was once at death's door himself. In 1974, he suffered two brain aneurysms that have left him unable to play the trumpet. He was given a 1% chance of surviving the operation: when the doctors shaved his head they kept his hair in a plastic bag, in case they needed to paste it back on to his corpse. He woke up to find an extravagant memorial service had been planned. So he reckoned it might as well go ahead. "Frank Sinatra said to me, 'Q, live each day like it's your last. And one day you'll be right.'"

Happily, the fleet of Swedish doctors has given him the all-clear. "Except I think vodka's out of my life for ever. Though they say two glasses of red wine is better than not drinking at all!" He certainly seems in the rudest of health. When we meet, at the Paris Ritz, he's looking at the receptionist with a glint in his eye (there have been three marriages and seven children, ages 17 to 56) and on discovering I'm from London, he's keen to practice his cockney. "I learned from the best, Michael Caine," he explains, after a quick round of, "Check out the Bristols on that Richard." Then he shows me Frank Sinatra's sovereign ring, a gift from Ol' Blue Eyes's daughter.

Of all his remarkable achievements, one constant in Jones's life has been an ability to turn great men and women (particularly musicians) into close personal friends. His bestselling 2001 book Q: The Autobiography of Quincy Jones comes with 50 pages of acknowledgements and seems to contain more celebrities than anecdotes. By the time he was 30, he'd backed Billie Holiday and Ella Fitzgerald, played trumpet behind Thelonious Monk and Charlie Parker, recorded Jacques Brel and arranged Ray Charles. As well as masterminding music's biggest ever album (Thriller) and single (We Are the World), his arrangement of Fly Me to the Moon was the first music played by Buzz Aldrin when he landed there in 1969. There have been 33 movie scores and 79 Grammy nominations.

Ostensibly, he has crossed the Atlantic on an unlikely mission: to launch AKG's new line of Quincy Jones headphones ("the most organic, natural fit I could ever imagine"). But Paris is a special place for Jones. He was here in the 1950s, studying composition with Nadia Boulanger, tutor to Stravinsky, Leonard Bernstein and Aaron Copland. Soon he was off dining with Picasso and hanging out with Brigitte Bardot. "Ooh la la!" he twinkles.

When a beautiful blonde teenager practically sits down on top of him, it turns out to be one of his daughters, Kenya. "Nastassja Kinski's her mother," he says. Along with celebrities, the other constant in his life has been stunning women. "You think I'm gonna like ugly ones?" he says.

Jones came up the hard way: born in Chicago to a schizophrenic mother and raised by a grandmother who liked to fry rat on a skillet. Mum re-enters his life story like the proverbial bad penny, at one point conspiring to stop his "devil's music" by reporting Jones for non-payment of taxes. Her behaviour was enough to make him say now: "I didn't have a mother, so I had to make my own world. I started with four trumpets, four trombones, five saxes, drum, bass and piano – all doing something different."

It's this arranger approach that's kept him moving forward, always mixing and matching – people, music, ideas. He worked with everyone from Akon to Bono, Chaka Khan to Shaquille O'Neal. Today, he's got a theory that rappers "could revolutionise education". He explains: "Everywhere in the world, they have kids in the palm of their hand. I put together a curriculum so schools know who rappers are – so kids don't have to pretend to be Columbine neo-Nazis saying 'Yo homie!' on the internet." He's been angling for a position within Barack Obama's administration, too. "We're the only country with no minister of culture," he says.

Jones has an LP coming out: a tribute record to himself called Q: Soul Bossa Nostra. It will be released on 700m mobile phones in China, Jones being the last person you'll find clinging to vinyl. "I've got a jazz mind, man," he says. "The music business as we knew it is over. I'm rolling with whatever the reality is." Amy Winehouse features on the album, covering Jones's first hit as a producer, 1963's It's My Party. They met at Nelson Mandela's 90th birthday concert. "We hugged and I said, 'Why you got to mess up your life like this?' She said, 'I'm gonna be OK. My husband's getting out of jail soon.' I said, 'Wow! That's a big positive!' She's like Naomi, my other little naughty sister."

He means Naomi Campbell. Jones has just spent time with Campbell on a cruise ship in the Mediterranean. With them were Jay-Z; Sarah, Duchess of York; and, ironically, Leonardo DiCaprio, star of the movie Blood Diamond. This was just after Campbell gave evidence in Charles Taylor's trial at the Hague for war crimes. Jones was at the meal the trial focused on, but he's not talking about it. "Naomi's fine," he says. "I see the bright side of her."

Thriller rides again

His diplomacy cracks at the mention of Lady Gaga, though. Why is he rolling his eyes? "I don't listen to her," he says. Why not? "Cos I heard it a couple of times!" He falls about: twice was apparently enough. It's Jackson he'll always be linked with, though. For Thriller, Jones whittled 800 songs down to nine. "Then I took out the weakest four and replaced them with The Lady in My Life, PYT, Beat It and Human Nature. Mix that with Billie Jean and Wanna Be Startin' Something, and you have a serious album." There was a story on the website Pop***** saying Jones got so fed up with Jackson's yelps and whimpers that he took to kicking him. "Ha ha! No, but I knew how to handle Michael."

Now all those Thriller outtakes will probably be heard: Sony and Jackson's estate have done a $250m deal for 10 more albums. "I don't want to get involved," Jones says. "The poor guy's gone. He died younger than me when I produced him. He left something not many people are going to leave."

In terms of a legacy, Jones may rival Jackson. Witnessing all the talent that turned up for his 1974 memorial, which he attended with two metal plates in his skull, one thought went through his mind: "That's some lineup."

Source: The Guardian UK

I don't know, I went off Quincy in a big way after his Michael statements. Even now he's saying ambiguous shit, I don't think Michael ever formally fired him and he's rehashing the "Quincy's losing it" stuff, Q people say things, deal with it, grow up. Put that big ego aside and just grow up. Michael did more for you than you did for him, he left you sitting pretty enough and with enough clout to do what you're doing now which who knows if you would have been able to without Michael Without Michael you were a film composer, social butterfly with limited cultural relevance. And quit talking about your mom, those things should be private she couldn't help herself and she's dead and here you are saying you had no mom shows how little class you have.

Quincy is just on the bandwagon like others who thought Michael was only cool around Off the Wall and Thrilller era.

Its obvious he knows nothing about Michael and his life in the recent years.

Found this on another forum.It's a 32-DVD Michael Jackson set

bboy87 said:

seeingvoices12 said:

Still a lame debate and silly jokes in MJ's new album thread at mjjc , damned children

I know I wasn't the same one who felt that way!

The jokes aren't even remotely funny, in fact, they'e just stupid. They have a horrible sense of humor

and you have a bunch of people who have no sense of how to promote an album angry because Sony hasn't released a album title, tracklist, release date, and album cover 3 months before the album was released

That's not how it works!

Invincible came out October 29/30 and we didn't get the first single until September! If some of them took a class in music business they'd know releasing full details on an album 3 or 4 months before it's released makes no sense. Plus the music industry is different, a single may not even come out because honestly, the new album doesn't really need one and if it does have one, I have a feeling it'll be a promo single

The best era where marketing was on top of it's game was BAD. There was anticipation - very few leaks and then IJCSLY was released. A month later the album dropped, then the video for BAD and then every two months a new single was released.

It was enough time where as the current single was starting to drop off the charts, the next single would hit.

They used the same approach with Dangerous - a single every two months.

By the time Invincible came around the whole game had shifted, they released the song to radio a month before it was available to buy as a single and that killed the momentum.

SoulAlive said:

Found this on another forum.It's a 32-DVD Michael Jackson set

Godbless the dodgy bootleggers.

SoulAlive said:

Found this on another forum.It's a 32-DVD Michael Jackson set

Where can I buy this?? I WANT IT!!!

bboy87 said:

seeingvoices12 said:

Still a lame debate and silly jokes in MJ's new album thread at mjjc , damned children

I know I wasn't the same one who felt that way!

The jokes aren't even remotely funny, in fact, they'e just stupid. They have a horrible sense of humor

and you have a bunch of people who have no sense of how to promote an album angry because Sony hasn't released a album title, tracklist, release date, and album cover 3 months before the album was released

That's not how it works!

Invincible came out October 29/30 and we didn't get the first single until September! If some of them took a class in music business they'd know releasing full details on an album 3 or 4 months before it's released makes no sense. Plus the music industry is different, a single may not even come out because honestly, the new album doesn't really need one and if it does have one, I have a feeling it'll be a promo single

I agree with everything you said , lame unfunny jokes

They should the thread..........

Claire73 said:

SoulAlive said:

Found this on another forum.It's a 32-DVD Michael Jackson set

Where can I buy this?? I WANT IT!!!

I have no idea where you can buy it,or what's on the discs.It's obviously a bootleg Mention it on an MJ site,I bet someone would have more info about it.

mozfonky said:

bboy87 said:

The legendary Quincy Jones talks to Johnny Davis about Lady Gaga, Naomi Campbell, his last chat with Michael Jackson – and the fun he had at his own funeral

Quincy Jones is not taking any chances. Last week, the 77-year-old, who has two titanium knees and a hearing aid that whistles when he speaks, was at Sweden's Karolinska Institute, where 14 of "the best doctors in the world" spent six days giving him his annual checkup. "Craniology, urology, everything," he says.

From bebop right through to hip-hop, there's nobody left alive who has done more for American music than Quincy Delight Jones Jr. And that can have its down sides. "I've lost 174 people in four years," he says. "Last week, it was Abbey Lincoln. Before that Herman Leonard, Hank Jones, Lena Horne, Billy Preston – half these guys were younger than me. Sammy Davis was 64 when he died."

He has stopped going to funerals. "Who needs them?" Last year, Jones famously lost Michael Jackson, whom he used to call Smelly. They made three albums together – Off the Wall in 1979, Thriller in 1982, Bad in 1987 – a collaboration that changed pop for ever. "Then Michael fired me," Jones grins. He had been pushing Jackson towards hip-hop, but the singer had doubts. "He said, 'Quincy doesn't understand the business any more. He doesn't know that rap is dead.' But it's OK. It wasn't so obvious then."

Still, they were friends until the end. "I was in London when he sold out the 10 concerts, and then sold out 40 more. He called me. He wanted to bring the kids over. But I was with Mohamed Al Fayed at his place. I said, 'I'll see you in Los Angeles.' And that was the last time I talked to him."

Did you know he was in a bad way? "No, no," he says. "There was no way to know. There's no way anybody could be blamed for what happened. Artists of that stature – they can do whatever they want. You'd have to monitor him 24-7 to know what's going on." What about the number of performances? Was it too many for him to cope with? "I don't know, man. It's personal. So, so personal. There's too many details. Unless you're totally cognisant of everything, it's hard to make a judgment."

Jones was once at death's door himself. In 1974, he suffered two brain aneurysms that have left him unable to play the trumpet. He was given a 1% chance of surviving the operation: when the doctors shaved his head they kept his hair in a plastic bag, in case they needed to paste it back on to his corpse. He woke up to find an extravagant memorial service had been planned. So he reckoned it might as well go ahead. "Frank Sinatra said to me, 'Q, live each day like it's your last. And one day you'll be right.'"

Happily, the fleet of Swedish doctors has given him the all-clear. "Except I think vodka's out of my life for ever. Though they say two glasses of red wine is better than not drinking at all!" He certainly seems in the rudest of health. When we meet, at the Paris Ritz, he's looking at the receptionist with a glint in his eye (there have been three marriages and seven children, ages 17 to 56) and on discovering I'm from London, he's keen to practice his cockney. "I learned from the best, Michael Caine," he explains, after a quick round of, "Check out the Bristols on that Richard." Then he shows me Frank Sinatra's sovereign ring, a gift from Ol' Blue Eyes's daughter.

Of all his remarkable achievements, one constant in Jones's life has been an ability to turn great men and women (particularly musicians) into close personal friends. His bestselling 2001 book Q: The Autobiography of Quincy Jones comes with 50 pages of acknowledgements and seems to contain more celebrities than anecdotes. By the time he was 30, he'd backed Billie Holiday and Ella Fitzgerald, played trumpet behind Thelonious Monk and Charlie Parker, recorded Jacques Brel and arranged Ray Charles. As well as masterminding music's biggest ever album (Thriller) and single (We Are the World), his arrangement of Fly Me to the Moon was the first music played by Buzz Aldrin when he landed there in 1969. There have been 33 movie scores and 79 Grammy nominations.

Ostensibly, he has crossed the Atlantic on an unlikely mission: to launch AKG's new line of Quincy Jones headphones ("the most organic, natural fit I could ever imagine"). But Paris is a special place for Jones. He was here in the 1950s, studying composition with Nadia Boulanger, tutor to Stravinsky, Leonard Bernstein and Aaron Copland. Soon he was off dining with Picasso and hanging out with Brigitte Bardot. "Ooh la la!" he twinkles.

When a beautiful blonde teenager practically sits down on top of him, it turns out to be one of his daughters, Kenya. "Nastassja Kinski's her mother," he says. Along with celebrities, the other constant in his life has been stunning women. "You think I'm gonna like ugly ones?" he says.

Jones came up the hard way: born in Chicago to a schizophrenic mother and raised by a grandmother who liked to fry rat on a skillet. Mum re-enters his life story like the proverbial bad penny, at one point conspiring to stop his "devil's music" by reporting Jones for non-payment of taxes. Her behaviour was enough to make him say now: "I didn't have a mother, so I had to make my own world. I started with four trumpets, four trombones, five saxes, drum, bass and piano – all doing something different."

It's this arranger approach that's kept him moving forward, always mixing and matching – people, music, ideas. He worked with everyone from Akon to Bono, Chaka Khan to Shaquille O'Neal. Today, he's got a theory that rappers "could revolutionise education". He explains: "Everywhere in the world, they have kids in the palm of their hand. I put together a curriculum so schools know who rappers are – so kids don't have to pretend to be Columbine neo-Nazis saying 'Yo homie!' on the internet." He's been angling for a position within Barack Obama's administration, too. "We're the only country with no minister of culture," he says.

Jones has an LP coming out: a tribute record to himself called Q: Soul Bossa Nostra. It will be released on 700m mobile phones in China, Jones being the last person you'll find clinging to vinyl. "I've got a jazz mind, man," he says. "The music business as we knew it is over. I'm rolling with whatever the reality is." Amy Winehouse features on the album, covering Jones's first hit as a producer, 1963's It's My Party. They met at Nelson Mandela's 90th birthday concert. "We hugged and I said, 'Why you got to mess up your life like this?' She said, 'I'm gonna be OK. My husband's getting out of jail soon.' I said, 'Wow! That's a big positive!' She's like Naomi, my other little naughty sister."

He means Naomi Campbell. Jones has just spent time with Campbell on a cruise ship in the Mediterranean. With them were Jay-Z; Sarah, Duchess of York; and, ironically, Leonardo DiCaprio, star of the movie Blood Diamond. This was just after Campbell gave evidence in Charles Taylor's trial at the Hague for war crimes. Jones was at the meal the trial focused on, but he's not talking about it. "Naomi's fine," he says. "I see the bright side of her."

Thriller rides again

His diplomacy cracks at the mention of Lady Gaga, though. Why is he rolling his eyes? "I don't listen to her," he says. Why not? "Cos I heard it a couple of times!" He falls about: twice was apparently enough. It's Jackson he'll always be linked with, though. For Thriller, Jones whittled 800 songs down to nine. "Then I took out the weakest four and replaced them with The Lady in My Life, PYT, Beat It and Human Nature. Mix that with Billie Jean and Wanna Be Startin' Something, and you have a serious album." There was a story on the website Pop***** saying Jones got so fed up with Jackson's yelps and whimpers that he took to kicking him. "Ha ha! No, but I knew how to handle Michael."

Now all those Thriller outtakes will probably be heard: Sony and Jackson's estate have done a $250m deal for 10 more albums. "I don't want to get involved," Jones says. "The poor guy's gone. He died younger than me when I produced him. He left something not many people are going to leave."

In terms of a legacy, Jones may rival Jackson. Witnessing all the talent that turned up for his 1974 memorial, which he attended with two metal plates in his skull, one thought went through his mind: "That's some lineup."

Source: The Guardian UK

I don't know, I went off Quincy in a big way after his Michael statements. Even now he's saying ambiguous shit, I don't think Michael ever formally fired him and he's rehashing the "Quincy's losing it" stuff, Q people say things, deal with it, grow up. Put that big ego aside and just grow up. Michael did more for you than you did for him, he left you sitting pretty enough and with enough clout to do what you're doing now which who knows if you would have been able to without Michael Without Michael you were a film composer, social butterfly with limited cultural relevance. And quit talking about your mom, those things should be private she couldn't help herself and she's dead and here you are saying you had no mom shows how little class you have.

i think you're right. q has benefitted immensely from the anti-mj backlash. i haven't heard the demo, but other who have say that 'don't stop til you get enough' was pretty much what you hear on the final mix. that means mj brought that song to the off the wall sessions pretty much finished, which means that mj produced that song himself. to this day, that song is fresh. while i think he complemented mj's talent, to give q all the credit for mj's success is bullsh*t.

but the media, who've always hated mj - even when he was a kid, they effing *hated* him - are more than willing to give q props he doesn't always deserve if it means they get to denigrate or downplay mj's success, and q has been more than willing to buy into it.

while i'm sure he was/is a respected musician, would he be having this level of worldwide renown and recognition had he not worked with mj? i doubt it. remember, no one at epic records except mj wanted him to produce off the wall. that's how highly mj thought of q; he fought for him. too bad the only thing q can do is dump all over him.

ki

i think you're right. q has benefitted immensely from the anti-mj backlash. i haven't heard the demo, but other who have say that 'don't stop til you get enough' was pretty much what you hear on the final mix. that means mj brought that song to the off the wall sessions pretty much finished, which means that mj produced that song himself. to this day, that song is fresh. while i think he complemented mj's talent, to give q all the credit for mj's success is bullsh*t.

but the media, who've always hated mj - even when he was a kid, they effing *hated* him - are more than willing to give q props he doesn't always deserve if it means they get to denigrate or downplay mj's success, and q has been more than willing to buy into it.

while i'm sure he was/is a respected musician, would he be having this level of worldwide renown and recognition had he not worked with mj? i doubt it. remember, no one at epic records except mj wanted him to produce off the wall. that's how highly mj thought of q; he fought for him. too bad the only thing q can do is dump all over him.

Well, I have heard the demos for Billie Jean, Beat It, The Girl is Mine, and those from off the wall, they were essentially the same as what we get and in some ways even better than the final product because they were so genuine and a tiny bit raw. Mostly though, it was because you could see the compositional genius in Michael, the arrangement genius, the vocal genius and none of those things are nothing to sneeze at. Quincy should be ashamed of himself for taking so much credit, Prince did things the right way maybe, be an asshole, take all the credit and leave the losers whining about it. Mike was too kind, too gracious. And hearing Q rant about his mom is sickening, she lived here in Seattle for many years and he still has brothers here, I wonder how they feel about him airing all that shit, I'll bet you they don't like it. One of his brothers is a judge here, He sentenced serial killer Gary Ridgway, anyway....

I think Quincy's job was mainly to polish them up and put MJ's ideas that he put on the demo to good use but the songs Michael had input on as far as composition they ARE his songs only. The real geniuses on those albums were Michael, Bruce Swedien, Jerry Hey and the Seawind Horns and, in OTW and Thriller, Rod Temperton, with some additional help from Toto, Paul McCartney, Stevie Wonder, Tom Bahler, and James Ingram. But Quincy was great as a producer, no question about that. Does he deserve full credit though? No. It was a team effort. But the songs Michael composed remained strictly his even with Quincy's help.

Then again, we have to give q a little credit, it was his idea to bring van halen into the fold. Great idea in terms of marketing. It has been said that his real gift was his ability and talent as a facilitator, what also could be called a "bullshitter" someone real good with people but also someone of limited depth in my book. I'm sorry, just sick of people like him and let me tell you I've known a bunch of "I'm a good guy, I'm selfless, I care about people, i want to give back" type of guys who are in the end, chauvinistic, selfish bastards who won't lift a finger for you when you really need them. I don't make the senile excuses for him or the others I know, that's too fucking easy, nobody makes excuses for me so fuck them. The old use the young nothing new, they feed off them like fucking parasites and smile while they do it.

mozfonky said:

Then again, we have to give q a little credit, it was his idea to bring van halen into the fold. Great idea in terms of marketing. It has been said that his real gift was his ability and talent as a facilitator, what also could be called a "bullshitter" someone real good with people but also someone of limited depth in my book. I'm sorry, just sick of people like him and let me tell you I've known a bunch of "I'm a good guy, I'm selfless, I care about people, i want to give back" type of guys who are in the end, chauvinistic, selfish bastards who won't lift a finger for you when you really need them. I don't make the senile excuses for him or the others I know, that's too fucking easy, nobody makes excuses for me so fuck them. The old use the young nothing new, they feed off them like fucking parasites and smile while they do it.

Of course lol as a producer, it was his job to find the musicians so he did that. He put in a lot of input into the albums, let's not get it twisted. I think it just had to do with credits to the entire success of the albums.

Timmy84 said:

mozfonky said:

Then again, we have to give q a little credit, it was his idea to bring van halen into the fold. Great idea in terms of marketing. It has been said that his real gift was his ability and talent as a facilitator, what also could be called a "bullshitter" someone real good with people but also someone of limited depth in my book. I'm sorry, just sick of people like him and let me tell you I've known a bunch of "I'm a good guy, I'm selfless, I care about people, i want to give back" type of guys who are in the end, chauvinistic, selfish bastards who won't lift a finger for you when you really need them. I don't make the senile excuses for him or the others I know, that's too fucking easy, nobody makes excuses for me so fuck them. The old use the young nothing new, they feed off them like fucking parasites and smile while they do it.

Of course lol as a producer, it was his job to find the musicians so he did that. He put in a lot of input into the albums, let's not get it twisted. I think it just had to do with credits to the entire success of the albums.

that's why I work alone though, I repeat I'll be the lone wierdo genius (some people say) creative guy with no success but with my soul intact. I'm not letting no more assholses close to me unless they do what I want them to do. Not an easy thing when everyone thinks they know best, everyone wants to be part of a winning team while no one wants part of failure. I've hurt myself not only in music but with not being a professional fighter because of this but it beats ending up all used up, I mean, I hate to say it but you would really have to be a tyrant and hypervigilant to everything to make it work out right and not end up like a Michael, an Ali, an Elvis. It's no fun in the end.

bottom line is, we should take what we learn from their stories and try not to repeat the mistakes of our heroes because they all seem to do the same things on their paths to oblivion.

nice picture, it must be very rare from the OTW days or right after it

Q has astounding musical knowledge that he learned from Ray Charles and Nadia Boulanger. But as a producer he is a "musical community organizer."

Q got more from MJ than MJ got from Q.

alphastreet said:

nice picture, it must be very rare from the OTW days or right after it

looks like around the triumph album in 1981

carlcranshaw said:

Q has astounding musical knowledge that he learned from Ray Charles and Nadia Boulanger. But as a producer he is a "musical community organizer."

Q got more from MJ than MJ got from Q.

And there you go.

carlcranshaw said:

Q has astounding musical knowledge that he learned from Ray Charles and Nadia Boulanger. But as a producer he is a "musical community organizer."

Q got more from MJ than MJ got from Q.

Thank You , so we can move on now.