Rod Temperton Interview (口白)
分享时间：2026-02-07 18:31:19
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Rod Temperton Interview (口白)歌词:
[0.41] Michael Jackson - Rod Temperton Interview (口白)
[0.39] Songwriter Rod Temperton reflects
[2.62] on his first experience with writing
[4.08] for Michael.
[4.89] Well, back in 1979, I was working in
[8.88] New York on an album for Heatwave
[13.41] with Phil Ramone.
[15.42] And one night, Quincy called the studio
[18.93] and asked me if I could write sth. for
[23.07] Michael Jackson. He was gonna do
[24.93] Michaels first solo album.
[27.07] So I said, okay, I will do my best to do
[29.86] one song.
[30.39] Cuz we were working in the studio from
[32.76] 10 in the morning till its 3 or 4 the following morning.
[35.48] So in the end I wrote 3 songs in order for
[43.44] Michael and Quincy to choose one song
[47.06] to become the album.
[48.58] And they booked the studio in Los Angeles
[51.38] at the weekends when I wasnt working.
[53.79] And I flew in over the weekends to
[55.96] cut the tracks.
[57.37] At that point, I still havent met Michael, Michael wouldnt come to the studio then.
[63.1] And the following week I came back
[64.96] again, the following weekend,
[66.9] to do the vocals with Michael.
[69.21] We did all the backgrounds and all
[71.479996] three tracks on the Saturday afternoon.
[74.89] And then on the Sunday afternoon, we did all the 3 lead vocal tracks.
[78.88] And Michael was amazing because he stayed up for whole of that Saturday night
[83.57] to learn the lyrics off so that he wouldnt
[87.78] have to read them off the paper.
[89.97] Its kinda interesting I do remember the
[91.93] very first session for Off the Wall that I
[95.56] did this was on the Saturday that they
[98.009995] flew me in from New York,
[100.55] On this Saturday afternoon, and Quincy
[102.82] had said to me on the phone a couple
[104.520004] of days before, asked me what kind of musicians
[107.41] I needed to record the tracks.
[109.94] So, I said, well, two guitar players, a keyboard player, and drums, bass.
[115.04] And I arrived that afternoon, came from
[119.990005] the airport directly to the studio.
[123.14] Quincy met me at the door, basically, took me in the main studio room where all the
[129.26] musicians were getting ready to play.
[132.6] and said, here is Rod hit-it.
[136.43] And now, this was really my first session
[140.02] outside my own bound.
[142.74] Because Idnt you know been playing
[145.45999] music and been in Heatwave for 3 or 4
[149.1] years, and so, its very used to that kind of
[152.13] situation dealing with picked-up musicians
[155.20999] in the studio making those albums maybe,
[158.06] but not with the situation where I was you know just
[160.63] walking and called, meeting a whole bunch
[163.47] of people I never knew, although they are
[166.45999] very famous names in the business.
[169.38] And that, you know, I particularly remember
[171.95999] when, the first term day to that album,
[175.83] Jerry Hey came in with all the
[177.82] home players and I felt really inadequate
[181.13] you know working in with my little notes of what I wanted them to do. and..
[186.93] But it was one of those things where,
[189.95] you were in a situation where the,
[192.27] you put in the rheme there, everybody
[193.65] was looking at you and its sign that you say something or get out of that.
[200.36] Fortunately, I **my mouth and said something, so,well, you know,
[203.32] we worked out nicely and we came away with the next exciting album.
[208.70999] And I said to Quincy at the end of
[210.53] the session which song do you choose
[212.41] for, do you want for the record.
[214.62] He said he wanted all three.
[217.56] What was you the title track Off the Wall,
[220.92] a song called Burn this Disco Out ?
[223.85] I knew that I could tell from Michael that
[227.17] his, the melodies he would sing on
[230.66] atempo songs, it was very
[232.89] rhythmically driven.
[235.06] And so I tried to write melodies thats
[239.65] with short notes, and had a lot of short
[244.34] notes to give him some staccato rhythmic
[246.91] things he could do.
[248.64] I think the Off the Wall the title song gives you the best example of that ~~you know
[257.01] that kind of melody rather than
[259.45] really long note, long line melodies.
[263.39] And the other thing I knew from
[266.83] his previous records is that he loved
[268.78] harmony work.
[271.23] and you know, thats really the sight of me
[275.16] that I would have brought from Heatwave
[277.53] because Heatwave was very harmonically
[279.9] driving group and so I kinda mixed
[284.11] the harmony segments of my music
[289.3] with this new idea of the short notes
[292.26] melodies for Michael, and came out
[294.5] with the Off the Wall and
[295.77] Burn This Disco Out.
[0.39] Songwriter Rod Temperton reflects
[2.62] on his first experience with writing
[4.08] for Michael.
[4.89] Well, back in 1979, I was working in
[8.88] New York on an album for Heatwave
[13.41] with Phil Ramone.
[15.42] And one night, Quincy called the studio
[18.93] and asked me if I could write sth. for
[23.07] Michael Jackson. He was gonna do
[24.93] Michaels first solo album.
[27.07] So I said, okay, I will do my best to do
[29.86] one song.
[30.39] Cuz we were working in the studio from
[32.76] 10 in the morning till its 3 or 4 the following morning.
[35.48] So in the end I wrote 3 songs in order for
[43.44] Michael and Quincy to choose one song
[47.06] to become the album.
[48.58] And they booked the studio in Los Angeles
[51.38] at the weekends when I wasnt working.
[53.79] And I flew in over the weekends to
[55.96] cut the tracks.
[57.37] At that point, I still havent met Michael, Michael wouldnt come to the studio then.
[63.1] And the following week I came back
[64.96] again, the following weekend,
[66.9] to do the vocals with Michael.
[69.21] We did all the backgrounds and all
[71.479996] three tracks on the Saturday afternoon.
[74.89] And then on the Sunday afternoon, we did all the 3 lead vocal tracks.
[78.88] And Michael was amazing because he stayed up for whole of that Saturday night
[83.57] to learn the lyrics off so that he wouldnt
[87.78] have to read them off the paper.
[89.97] Its kinda interesting I do remember the
[91.93] very first session for Off the Wall that I
[95.56] did this was on the Saturday that they
[98.009995] flew me in from New York,
[100.55] On this Saturday afternoon, and Quincy
[102.82] had said to me on the phone a couple
[104.520004] of days before, asked me what kind of musicians
[107.41] I needed to record the tracks.
[109.94] So, I said, well, two guitar players, a keyboard player, and drums, bass.
[115.04] And I arrived that afternoon, came from
[119.990005] the airport directly to the studio.
[123.14] Quincy met me at the door, basically, took me in the main studio room where all the
[129.26] musicians were getting ready to play.
[132.6] and said, here is Rod hit-it.
[136.43] And now, this was really my first session
[140.02] outside my own bound.
[142.74] Because Idnt you know been playing
[145.45999] music and been in Heatwave for 3 or 4
[149.1] years, and so, its very used to that kind of
[152.13] situation dealing with picked-up musicians
[155.20999] in the studio making those albums maybe,
[158.06] but not with the situation where I was you know just
[160.63] walking and called, meeting a whole bunch
[163.47] of people I never knew, although they are
[166.45999] very famous names in the business.
[169.38] And that, you know, I particularly remember
[171.95999] when, the first term day to that album,
[175.83] Jerry Hey came in with all the
[177.82] home players and I felt really inadequate
[181.13] you know working in with my little notes of what I wanted them to do. and..
[186.93] But it was one of those things where,
[189.95] you were in a situation where the,
[192.27] you put in the rheme there, everybody
[193.65] was looking at you and its sign that you say something or get out of that.
[200.36] Fortunately, I **my mouth and said something, so,well, you know,
[203.32] we worked out nicely and we came away with the next exciting album.
[208.70999] And I said to Quincy at the end of
[210.53] the session which song do you choose
[212.41] for, do you want for the record.
[214.62] He said he wanted all three.
[217.56] What was you the title track Off the Wall,
[220.92] a song called Burn this Disco Out ?
[223.85] I knew that I could tell from Michael that
[227.17] his, the melodies he would sing on
[230.66] atempo songs, it was very
[232.89] rhythmically driven.
[235.06] And so I tried to write melodies thats
[239.65] with short notes, and had a lot of short
[244.34] notes to give him some staccato rhythmic
[246.91] things he could do.
[248.64] I think the Off the Wall the title song gives you the best example of that ~~you know
[257.01] that kind of melody rather than
[259.45] really long note, long line melodies.
[263.39] And the other thing I knew from
[266.83] his previous records is that he loved
[268.78] harmony work.
[271.23] and you know, thats really the sight of me
[275.16] that I would have brought from Heatwave
[277.53] because Heatwave was very harmonically
[279.9] driving group and so I kinda mixed
[284.11] the harmony segments of my music
[289.3] with this new idea of the short notes
[292.26] melodies for Michael, and came out
[294.5] with the Off the Wall and
[295.77] Burn This Disco Out.