Rob Hoffman: In the studio with Michael Jackson
early in my career. He was an incredible artist. Talented beyond your
wildest dreams. Extremely generous, and a hard worker. I actually went
from a staff assistant at the Hit Factory in NYC to freelance engineer
under Swedien and MJ. They were due to start in Los Angeles when the
Northridge earthquake hit so they moved to New York. One room was all
Bruce, the second room was the writing room. I started assisting
Bruce’s writing partner Rene Moore. I would track stuff with Rene, and
Bruce would come in and tell me what I did wrong, sit in for a few
hours and set us straight.
After a couple months MJ arrived and the
entire tour rig was moved in along with Brad Buxer, Andrew Scheps, and
Eddie Delena. I continued to assist them until the whole crew moved to
L.A., they decided to take me with them. I would assist Bruce during
the day, and help out every where else at night – assisting,
engineering, programming, and on one song playing guitar. We had two
rooms at Record One, and two rooms at Larrabee where I met John. At one
point in NYC we had just about every room at the Hit Factory. The crew
was great, and I learned so much from all of them. I learned to
engineer from Bruce Swedien, John, and Eddie, and got to sit in with
producers like MJ, Jam And Lewis, Babyface, David Foster, Teddy Riley,
and Dallas Austin.
I was actually asked to leave the project early on because there were
too many people around and MJ didn’t know me. Luckily, I was rehired
about 10 days later. At the wrap party MJ apologized profusely, and
expressed his gratitude. Truly the most sincere man you will ever meet.
Some random memories:
One morning MJ came in with a new song he had written overnight. We
called in a guitar player, and Michael sang every note of every chord
to him. "here’s the first chord first note, second note, third note.
Here’s the second chord first note, second note, third note", etc.,
etc. We then witnessed him giving the most heartfelt and profound vocal
performance, live in the control room through an SM57.
He would sing us an entire string arrangement, every part. Steve
Porcaro once told me he witnessed MJ doing that with the string section
in the room. Had it all in his head, harmony and everything. Not just
little eight bar loop ideas. he would actually sing the entire
arrangement into a micro-cassette recorder complete with stops and
At one point Michael was angry at one of the producers on the project
because he was treating everyone terribly. Rather than create a scene
or fire the guy, Michael called him to his office/lounge and one of the
security guys threw a pie in his face. No further action was needed . .
. . .
During the recording of "Smile" on HIStory, Bruce thought it would be
great if Michael would sing live with the orchestra. But of course, we
didn’t tell the players that. We set him up in a vocal booth off to the
side. They rehearsed a bit without vocals in, then during the first
take Michael sang, just about knocked them out of their chairs.
His beatboxing was without parallel, and his time was ridiculous.
His sense of harmony was incredible. Never a bad note, no tuning, even his breathing was perfectly in time.
Once, while we were taking a break, I think we were actually watching
the OJ chase on TV, there was a news program talking about him being in
Europe with some little boy. I was sitting next to the guy while the
news is making this crap up. He just looked at me and said this is what
I have to deal with.
I spent close to 3 years working with him, and not once did I question
his morals, or ever believe any of the allegations. I wasn’t even a fan
then. I saw him interact with his brothers kids, other people’s
children, and at one point my own girlfriend’s kids. I got to spend a
day at Neverland with them. A completely incredible human being, always
looking for a way to make all children’s lives better. Every weekend at
Neverland was donated to a different children’s group – children with
AIDS, children cancer, etc., and most of the time he wasn’t there.
He was simply living the childhood he never had. In many ways he never grew up.
I was assisting Jimmy Jam and Terry Lewis while they recorded the
background vocals for "Scream" with MJ and Janet. The two of them
singing together was amazing. Super tight, no bad notes. One part after
another. When they took a break they sang the showtunes they used to
sing as kids. Again, perfect harmony. Mj refused to sing the "stop
f*ckin’ with me part" because he would NOT curse.
I was the tape op for the recording of the background vocals on
"Stranger in Moscow". Scared the hell out me. Michael was dropping in
and out on syllables, rearranging the notes and timing as he put it
down. No Pro Tools at the time, just 2" tape, and my punches.
I erased a live keyboard overdub that he played one night. He came in
the next morning, replaced it, and never uttered another word about it.
I was there when Lisa Marie was around. They acted like two kids in
love. Held hands all the time, and she hung out at the studio for quite
a while. I never questioned their love for each other.
We recorded a Christmas song during the summer of ’94 that needed a
children’s choir. Michael insisted that the entire studio be decorated
with Christmas lights, tree, fake snow and a sled for their recording. And
he bought presents for everyone.
The last weekend of recording on HIStory he came to me and Eddie
Delena, and said "I’m sorry, but I don’t think any of us are going to
sleep this weekend. There’s a lot to get done, and we have to go to
Bernie on Monday morning". He stayed at the studio the entire time,
singing, and mixing. I got to spend a couple quiet moments with him
during that time. We talked about John Lennon one night as he was
gearing up to sing the last vocal of the record – the huge ad libs at
the end of "earth song". I told him the story of John singing "twist
and shout" while being sick, and though most people think he was
screaming for effect, it was actually his voice giving out. He loved
it, and then went in to sing his heart out. . . .
Later that night, while mixing, everyone left the room so MJ could turn
it up. This was a common occurrence during the mixes, and I was left in
the room with ear plugs, and hands over my ears, in case he needed
something. This particular night, all the lights were out and we
noticed some blue flashes intermittently lighting up the room during
playback. After a few moments we could see that one of the speakers
(custom quad augspuergers) was shooting blue flames. Mj liked this and
proceeded to push all the faders up . . . .
MJ liked hot water while he was singing. I mean really hot !!!!! It got
to the point that I would melt plastic spoons to test it.
Bruce and I were talking about walking to the studio everyday in NYC,
and what routes we took. Michael looked at us and said we were so lucky
to be able to do that. He couldn’t walk down the street without being
harassed. It was a sad moment for all of us.
The studio crew got free tickets to the Janet show so we all went right
from work one night. About halfway through the show we see this dude
with a long beard, dressed in robes dancing in the aisle behind. I mean
really dancing . . . it was Mj in disguise. Kind of like the costume
Chevy Chase wears in Fletch while roller skating.
He got one of the first playstations from sony in his lounge . . . we
snuck in late at night to play the games that hadn’t been released yet.
A couple people on the session hadn’t seen Jurassic Park while it was out, so MJ arranged a private screening for us at Sony.
He was a huge fan of Nine Inch Nails Downward Spiral . . . .
I was lucky enough over the course of 3 years to have access to the
multitrack masters for tour prep, videos, and archive purposes. To be
able to pull these tracks apart was a huge lesson in production, and
songwriting. A chance to look into the minds of geniuses.
Of all the records I’ve worked on, MJJ was the only company to give platinum award records.
One day we just all sat in the studio listening to his catalog with him
for inspiration. He loved the process, he loved the work.