hey Chris Liepe here with another Michael Jackson listening and Analysis session leave me alone from
Bad interestingly enough it only appeared on the CD version in the 2001 cassette version I told
one of my friends I was making this video and he goes yes love that song I remember saving up for
a CD player just so I could get the version with this song on it so I thought that was kind of cool
I get to do lessons like this on this channel because it's a singing Channel
I teach people how to sing and one of the best ways to learn how to sing is
by listening to your favorite singers and studying their approach and not trying to
sound like them necessarily but putting their approach in your own voice as you experiment
and because I teach people how to do that I get to use tracks like this under fair use but it
does mean that I need to stop and start I can't just play everything all the way through if you
want to listen to the song all the way through just go listen to it on Spotify or better yet
go buy the album and then enjoy all the little insights you get from this video as we dig in
track by track piece by piece so much fun if you want more help with your own voice specifically
click the link below and join my free voice course and I'll help you dial in the techniques you need
to start learning from singers like Michael Jackson all right let's get into this as has
become tradition let's start by listening to some of the Rhythm Section we'll build the mix
I just love how we get so much of our modern mixing and arranging from these
songs and and hearing how things are are put together and samples
are layered like just listening to like the crack and the snare together and how those
those samples perfectly complement one another I mean check this out
right you have the lower sound and shorter and then you almost have this Reverb
and sustain and break up at the top so cool [Music]
that's a summed track
what's interesting about this mix too
[Music] [Applause] [Music] [Applause] [Music] listen to how those parts push
and pull with each other right it's like this call and answer [Music] [Applause]
foreign [Music] Quincy Jones knows what he's doing great song [Music]
but cool dissonance right
that minor seventh interval in there [Music]
foreign [Music] how that comes in there [Music] more sense
and then these solos these are interesting to hear by themselves [Music]
but listen [Music] uh you you hear this sort of percussive thing happening this
High harmonic thing happening with with this track
it's on octave October effect and then you hear that Organics more organic sounding sacks [Music]
what a cool blend
hahaha it's neat to separate them a little
bit more than you hear in the in the uh eventual mix right [Music]
yeah really neat all right let's get into the vocals
love you can hear the bleed in the track
[Music]
this is something I've really been getting into inspired by Michael Jackson like not
that I'm going to do it half as well as what he does but this this idea
of just putting a rhythm in your body before you start to sing John DuPont
and make some sounds with your mouth it really really helps
with your overall vocal delivery and this is something Michael just does so
naturally but he you better believe he's trained that into his approach
[Music]
right then right
I don't care what you talking about baby I don't care what you think don't you come walking back
in bang mama I mean that Rhythm oh it's so cool how it the the the main track is you know
there's this like Tripoli triple uh the Rhythm Genius of this melody and how it
it uh dances with this with the track it's just a genius and then his little
rhythmic additions that that happen only further that inner Play It's just
I don't care if anything
now there the Rhythm chain it's
it's more straight and and playing with the track in a very specific way as opposed to earlier you
hear this girl talking about baby that very it's not totally triplet but that that sort of sound
excuses dude man ain't no mountain that I can't climb baby
all this girl went my way cause there's a time when you're right and you know you
must fight Who's laughing baby I just love the waterfall that happens with
these background vocals here I mean this is so cool right here [Music]
then are made now listen to this one with the [Music]
just on here a choice that we make endless trust you will
take it sounds like a bit of a phaser on there that's pretty cool sounding
yeah that's I I wouldn't have heard that
um now when I go back and listen I'll hear it but to the to the full mix but so cool
baby
stick Who's laughing baby his his agility was just top-notch too right he can be gritty and
work around these runs yeah nobody was like this
[Music]
now I want to point out his placement here there's a reason this sounds so amazing he has this this
tendency when he sings up there I'm going to lower it a little bit so you can you know not be
distracted by the fact that I'm not singing like him in his range but leave me alone leave me alone
oh like listen this this resonant shift on the loan makes it extra weepy and extra cry soundness
alone right it's that sort of shift leave me alone it makes
it so much more interesting it's not just leave me alone
that would be more boring there's there's more emotion seeping out through his voice because
he's moving his placement around to a large degree so just living alone girl leave me alone
leave me alone
leave me alone stop it just stop talking me around now listen specifically to here
you hear that shift
right we've got this movement that's happening and where he places his voice and it sounds totally
different because his voice is his and my voice is mine but try some of those things if you're a
singer at all try moving things around and see what you can pick up from this approach that's
why it's so interesting it's not just that wonderful rasp it's that movement of sound
resonance happening as he places these notes harmonies over that chorus [Music]
[Music] I've always wanted to hear the
hello I'm always wanting to hear those by themselves let's see [Music]
one more time [Music] so cool so pure sounding all the contrasts in Michael's voice
back to percussion Mike
there was a time I used to see girls and I can't help but like
breathe rhythmically as I'm listening to him it's it's so crazy get me around
there was a time I used to see girls I need you but to it's all right now
you really heard you used to take him to see me naku is all right now
his grit and Distortion is really One of a Kind he's got this ability to sound
Airy and not guttural even though it is technically kind of a guttural sound making
me feel so sorry it's almost like it's sped up but it's not like the voice doesn't spawn
sounds better but the Distortion sort of does I don't really know another way to describe it
they try to add grit yeah hey there's these lower sounds that come in and Michael is able
to skirt that with his approach part of that is is that he's got it really high up in his up in his
vocal tract he's engaging the very highest part of his false chord area to hold back that air
but so unique and me feel so sorry I found out right away
let's listen to those of the background vocals and you know you must fight Who's laughing baby
I just I love the way that it like stare steps down in those different chords
[Music]
don't just leave me alone
leave me alone
now listen to this right here this is so cool we listened to this part
you're around and then we hear this part
listen to how the the me in the lead track almost gets lost the
the background vocals take over in terms of the how you how you hear it balanced
but it's there it's it's still there but it's cool how they sort of trade places
that happens in a lot of other Blood on the Dance Floor has a lot of that kind of thing
too where there's this interplay between vocal Parts really neat
those wonderful size that he was able to do up there in his upper head voice
you can hear the mic proximity changing you know as he sort of digs into that
sound and digs into that feel in his voice so cool
love that you can hear that you can hear him tapping his foot you know as if you you
can see him in the studio just tapping and and clapping and all sorts of ugh
[Music] and you know you must fight Who's laughing baby I know what you know
the really neat thing about this as he gets more gritty and more passionate towards the end there's
more improv that he does he he he moves away from just following what those background vocals do
Who's laughing baby don't just leave it alone
leave me alone
the movements in those chords underneath are are priceless
sound it almost sounds synthy but it's it's just it's him
I've always liked that turn around
and then we get some awesome percussion improv here towards the end just love it
don't stop begging me don't jump Vegas don't come loving me don't Stop Megan I'm gonna play
this percussion part out just the vocals and tell me that you don't start moving
and breathing along with it you can't help it it's contagious don't stop begging me don't
jump don't come loving me don't Stop Megan I don't know I don't wanna I don't I don't I don't
right there it's like he's a it's like he's a horn player
the way he's phrasing his voice there so cool
right here I don't want it I thought I don't I don't
come begging me don't Stop Megan don't stop loving me don't dump Vegas I don't love you
I don't wanna I don't need it I don't love you
one of the finest Michael Jackson tracks I think for being lost in the groove and it's
because of that interplay between the instrumental Arrangement and what Michael does rhythmically how
he pulls that Rhythm and plays with it a little bit in the lead vocal so incredible thanks for
requesting more Michael Jackson stuff I'm going to keep doing them as long as you keep watching them
and as long as there are some more songs to do again if you would like more help with your voice
putting certain sounds and Sensations into your voice so that you can sing freely and be inspired
by your favorite singers click that link below and join my free course we'll see you for more