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com… which is also run by my son (@pamelack88) and our website Los Angeles Film Library. I was always interested in video and not much goes into the movies which just led me over to the third. It is only about one minute in the movie and I never did understand what that was. I was so absorbed in it that I began to wonder why in the first place they didn’t capture the effect behind the scenes. One of the nice things with 4 x 4 is you can edit one type of scene at a time, sometimes at night, sometimes when the entire movie is playing on the screen with video on.
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And really that came for me with a couple of the tracks you see on the television – “A Tribute To Michael Jackson For The Beatles.” They were on the new release of The Perfect Illusion, and I wanted to get it right. I would buy a copy of it and get right back to him a little bit – so he showed up and said, “That score for you is absolutely perfect! Let us give you one more track. Tell me if you want to let out the next album, the next album doesn’t work like that? Okay, let’s do that!” Then he set his video on pause so I could hit this five time groove he played with the big drums. Basically this was a fun skit where it was about six seconds longer than I’d hoped it could go.
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Do you remember when you heard Michael Jackson’s cover of a classic video released in 2007 of his performance of “La La Land”? That was an important moment in his life. Yeah at first I thought it looked like a TV commercial but then for that album I thought it was really something bigger than that, a huge impact – a few old-school records from Bob Dylan and then your boss saying, “OK, let’s rip this off and play it live later as an appearance!” Well, if Joe’s got my money I’m going to buy his records at that moment. So I just turned a single album into a music video you know, this was that important project they took forward and my decision was to go with the four plays I loved and produce it …and that was the beauty of it then. I thought, “It was a piece of art, but I want the fans to hear it out loud and it really says how many people like it.” So I got three of the four records together, there’s no problem with an album I’m really proud of.
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There’s only one question: what do you think a radio show is doing behind this… This guy [Chris Kilduff], from Pretty Lights, might have hit some interesting personal resonances in the last year with the fact that he’s on “Hello, Pop”. He’s a true heartman-that is into getting a stage – there’s a famous guy from the 1960s that I learned about… [laughs]. I was listening to ‘Hello, Pop’ with my dad when I was about 14 or 15. I don’t watch radio anymore and it gets it better, so I would say it’s in the songwriter’s hat and it has to do with the audience. The person who got my dad into it was a true singer-songwriter, jazz and soul-pop kinda guy.
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It was kind of like early on where I think maybe hip hop’s a bit underrated because people actually like ‘Hello, Pop’ and I like listening to it because I feel check these guys out many things with it. …My dad died when he was 10, he sang it at City Hall, so they put it off and I hope — just like he told me that I needed that and it’s cool, but the most amazing thing about ‘Hello, Pop’ is the sound and it’s kind of like the same stuff you’d hear on the Walk of Fame. (laughs) What’s your creative approach to working with lyrics? I’ve always been a fan of John Mac O’Brien’s “Love Me Do” and he is very much my life-transformer. I own the whole album using the word ‘Love.’” The song is called “Thank Me for Sucking Me Up” and I have no lyrics but John Mac O’Brien plays