來源：MJJCN.COM / MJJC.COM 編譯：Christina4896
2011年12月30日 - 無論是獨唱，還是與約翰尼•馬蒂斯（Johnny Mathis），喬治•班森（George Benson）和詹姆斯•英格瑞姆（James Ingram）等巨星合唱，奧斯丁（Austin）獨特的聲線都撫弄著我們的耳朵。她和邁克爾•傑克遜（Michael Jackson）認識於《綠野仙蹤（The Wiz）》，按照合約，她當時要預定345位歌手並負責所有相關的文書工作。她與傑克遜在《牆外》（Off the wall）中合唱過《墜入愛河》（It's falling in love）。
她笑著說道，“邁克爾很少說話。他只是拿著紙筆四處轉悠，記下任何聽起來很有才的事。我們再次見面是因為昆西•鐘斯（Quincy Jones）的一個項目。我們三個坐在昆西的書房裏。電話響了，昆西就出去了。我不是個會找人聊天的人，於是我們倆都安靜地坐著。突然，邁克爾開始說話，然後就沒停。在那之後，我們又在錄音室和現場表演時一起工作過一段時間。他的能量非常飽滿。那是他的復興時期，他就像個火球，幾乎是原子彈。”
（康拉德•莫里（Conrad Murray）案的審判期間，派蒂還在喬伊•比哈爾邦（Joy Behar）的脫口秀上做過節目。）
報幕介紹：下面喬伊•比哈爾邦秀”，格萊美得主派蒂•奧斯丁將回憶她與邁克爾•傑克遜30年的友誼，並談到折磨流行音樂之王的惡魔。
喬伊•比哈爾邦（主持人）：隨著康拉德•莫里案的進行，邁克爾•傑克遜逐漸以一個被深度困擾的有潛在藥物依賴性的形象出現。但是對於熟悉他的人他也是這樣麼？今天我們請到格萊美獎得主派蒂•奧斯丁來和我們聊她關於邁克爾的記憶，她和邁克爾•傑克遜相識30年；還有另一位邁克爾•傑克遜長年的朋友，弗洛•安東尼（Flo Anthony）。歡迎兩位女士來到我們的節目。
派蒂，這些年你多次和邁克爾一起工作。他讓你記憶最深的是什麼？
派蒂•奧斯丁（歌手）：他的能量，就像永備電池（Eveready），就像小兔子，像蜂鳥，永不停息的能量。他總是非常激動，始終是個完美主義者，總是極其專業。私底下時，他很傻。是的，很傻。他有一種非常傻的幼稚的幽默感。他喜歡從門後面跳出來嚇我。他喜歡我，因為我很容易被嚇到。他會——任何時候我去錄音室，他知道我要進門，他總是躲在門後面，然後跳出來叫到“哇！！！”。我總是會嚇得跳起來，他很得意。
比哈爾邦：是的，他有點像個實踐型的小丑，對吧？
奧斯丁：就是，絕對的。
…………比哈爾邦：派蒂，他和他的家人的關係怎樣？
奧斯丁：呃~我認識他那會兒，關係不是很好。他和他的姐妹關係很好，但是和家裏的男人們聊得不太好。
比哈爾邦：是嗎？
奧斯丁：那會兒我們聊天，他總覺得自己像是犧牲品，因為我認識邁克爾那會兒，他正在拍攝《綠野仙蹤》，他那會兒幾乎不說話。邁克爾經常坐在錄音室裏拿著本子和紙——我的意思是拿著筆和本子。如果他聽到有人說了什麼特別有才的話，他會記下來。他總是試圖學習和吸收任何他覺得很聰明的事。
比哈爾邦：是的。
奧斯丁：於是他非常，非常安靜，非常，非常害羞，害羞得令人恐懼。我們直到《花花公子》（The Dude）才一起工作，直到昆西•鐘斯的專輯《花花公子》。我那會兒才開始和他聊天。
我們的很多談話都是關於他和他家人的關係的。他很愛他的媽媽。他很愛他妹妹。但在那會兒，他和他哥哥及父親的關係不是很好，因為他是——他正真正努力開始單飛。他努力擺脫“傑克遜五兄弟（the Jackson 5）”，擺脫那個境地。他覺得那些使他遠離他想要成就和最終成就了的事業。他非常努力去達到那樣。
…………比哈爾邦：派蒂，你說邁克爾是個困惑的靈魂，他內化他的憂傷。為什麼這麼說？
奧斯丁：呃，你知道，邁克爾並不真的——我不認為他會真的去談論他對那麼多人感到的所有的苦痛。
他會和我談起是因為我們在一起工作。我覺得當你和某人是工作關係時，會比和你擁有性關係的人更近一些，如果說得通的話。你會有種傾向，你會變得——當你們一起製作一張專輯或一起巡演，你會有種傾向，像一家人一樣。你們會有很多時間在公車上，很多次一起在錄音棚裏等候錄音，然後做你的工作，於是你會談論很多事。
比哈爾邦：是什麼困擾著他？繼續說。是什麼困擾著他？
奧斯丁：就是他的童年，真的困擾著他。他覺得他失去了他的童年，這也是為什麼我們這些瞭解邁克爾的人總是說他得了彼得潘綜合症。你知道，他想要永遠年輕，他做了很多孩子——他表現的像孩子一樣因為他小的時候並不能這樣。
他覺得——我是說這些就是我和他討論的東西。我不知道他和其他人說了什麼。但是他告訴我很多時候他都覺得他的童年被搶走了。
比哈爾邦：是的。
奧斯丁：他很喜歡他成為了一個偉大的表演者，但他也同時，這是一個讓人又愛又恨的事。他恨在這個過程中他失去了童年。我出道時也是個孩子，所以這是我們經常談論的話題。我四歲就出道了。
[Bridge]
[Chorus]
Over You... Over You (All Night)忘了你…忘了你(整個夜晚)
她笑著說道，“邁克爾很少說話。他只是拿著紙筆四處轉悠，記下任何聽起來很有才的事。我們再次見面是因為昆西•鐘斯（Quincy Jones）的一個項目。我們三個坐在昆西的書房裏。電話響了，昆西就出去了。我不是個會找人聊天的人，於是我們倆都安靜地坐著。突然，邁克爾開始說話，然後就沒停。在那之後，我們又在錄音室和現場表演時一起工作過一段時間。他的能量非常飽滿。那是他的復興時期，他就像個火球，幾乎是原子彈。”
（康拉德•莫里（Conrad Murray）案的審判期間，派蒂還在喬伊•比哈爾邦（Joy Behar）的脫口秀上做過節目。）
報幕介紹：下面喬伊•比哈爾邦秀”，格萊美得主派蒂•奧斯丁將回憶她與邁克爾•傑克遜30年的友誼，並談到折磨流行音樂之王的惡魔。
喬伊•比哈爾邦（主持人）：隨著康拉德•莫里案的進行，邁克爾•傑克遜逐漸以一個被深度困擾的有潛在藥物依賴性的形象出現。但是對於熟悉他的人他也是這樣麼？今天我們請到格萊美獎得主派蒂•奧斯丁來和我們聊她關於邁克爾的記憶，她和邁克爾•傑克遜相識30年；還有另一位邁克爾•傑克遜長年的朋友，弗洛•安東尼（Flo Anthony）。歡迎兩位女士來到我們的節目。
派蒂，這些年你多次和邁克爾一起工作。他讓你記憶最深的是什麼？
派蒂•奧斯丁（歌手）：他的能量，就像永備電池（Eveready），就像小兔子，像蜂鳥，永不停息的能量。他總是非常激動，始終是個完美主義者，總是極其專業。私底下時，他很傻。是的，很傻。他有一種非常傻的幼稚的幽默感。他喜歡從門後面跳出來嚇我。他喜歡我，因為我很容易被嚇到。他會——任何時候我去錄音室，他知道我要進門，他總是躲在門後面，然後跳出來叫到“哇！！！”。我總是會嚇得跳起來，他很得意。
比哈爾邦：是的，他有點像個實踐型的小丑，對吧？
奧斯丁：就是，絕對的。
…………比哈爾邦：派蒂，他和他的家人的關係怎樣？
奧斯丁：呃~我認識他那會兒，關係不是很好。他和他的姐妹關係很好，但是和家裏的男人們聊得不太好。
比哈爾邦：是嗎？
奧斯丁：那會兒我們聊天，他總覺得自己像是犧牲品，因為我認識邁克爾那會兒，他正在拍攝《綠野仙蹤》，他那會兒幾乎不說話。邁克爾經常坐在錄音室裏拿著本子和紙——我的意思是拿著筆和本子。如果他聽到有人說了什麼特別有才的話，他會記下來。他總是試圖學習和吸收任何他覺得很聰明的事。
比哈爾邦：是的。
奧斯丁：於是他非常，非常安靜，非常，非常害羞，害羞得令人恐懼。我們直到《花花公子》（The Dude）才一起工作，直到昆西•鐘斯的專輯《花花公子》。我那會兒才開始和他聊天。
我們的很多談話都是關於他和他家人的關係的。他很愛他的媽媽。他很愛他妹妹。但在那會兒，他和他哥哥及父親的關係不是很好，因為他是——他正真正努力開始單飛。他努力擺脫“傑克遜五兄弟（the Jackson 5）”，擺脫那個境地。他覺得那些使他遠離他想要成就和最終成就了的事業。他非常努力去達到那樣。
…………比哈爾邦：派蒂，你說邁克爾是個困惑的靈魂，他內化他的憂傷。為什麼這麼說？
奧斯丁：呃，你知道，邁克爾並不真的——我不認為他會真的去談論他對那麼多人感到的所有的苦痛。
他會和我談起是因為我們在一起工作。我覺得當你和某人是工作關係時，會比和你擁有性關係的人更近一些，如果說得通的話。你會有種傾向，你會變得——當你們一起製作一張專輯或一起巡演，你會有種傾向，像一家人一樣。你們會有很多時間在公車上，很多次一起在錄音棚裏等候錄音，然後做你的工作，於是你會談論很多事。
比哈爾邦：是什麼困擾著他？繼續說。是什麼困擾著他？
奧斯丁：就是他的童年，真的困擾著他。他覺得他失去了他的童年，這也是為什麼我們這些瞭解邁克爾的人總是說他得了彼得潘綜合症。你知道，他想要永遠年輕，他做了很多孩子——他表現的像孩子一樣因為他小的時候並不能這樣。
他覺得——我是說這些就是我和他討論的東西。我不知道他和其他人說了什麼。但是他告訴我很多時候他都覺得他的童年被搶走了。
比哈爾邦：是的。
奧斯丁：他很喜歡他成為了一個偉大的表演者，但他也同時，這是一個讓人又愛又恨的事。他恨在這個過程中他失去了童年。我出道時也是個孩子，所以這是我們經常談論的話題。我四歲就出道了。
PATTI AUSTIN Talks About Her Friendship with Michael Jackson
ANNOUNCER: Coming up on THE JOY BEHAR SHOW, Grammy winner Patti Austin reflects on her 30-year friendship with Michael Jackson and the demons that plagued the king of pop.
___________
JOY BEHAR, HOST: As the Conrad Murray trial continues, a picture of Michael Jackson as a deeply troubled potentially drug-dependent man emerges. But was that the way he appeared to people who knew him well? Here to talk about their memories of Michael are Patti Austin, Grammy winning singer who knew Michael Jackson for 30 years; and another long time Michael Jackson friend, Flo Anthony. Welcome ladies, to the show.
Patti, you worked with Michael multiple times over the years. What do you remember best about him?
PATTI AUSTIN, SINGER: His energy, is Eveready, bunny, hummingbird, never stop energy. He was always on fire, always a perfectionist, always tremendously professional. Very silly, in private moments. Yes, very silly. Had a very silly sophomoric sense of humor. Loved to jump out from behind doors and scare me.
He loved me because I scare very easily. And he would -- whenever I would heading for the studio and he knew I was coming in the door, he`d always be behind the door a little bit further down the hall and he`d jump out literally and do, you know, like boo. And I would always jump and it just made his day.
BEHAR: Yes, he was a practical joker, kind of, right?
AUSTIN : Very much so, absolutely.
.......
BEHAR: Patti, what was his relationship with his family like?
AUSTIN : Well, when I knew Michael, the relationship was not great. He got along great with his sisters but did not speak fondly of the guys in the family.
BEHAR: Really?
AUSTIN : There was -- he always -- the conversations that we had, he always felt kind of put upon because at the time that I met Michael, it was right when he was doing "The Wiz" and he wasn`t even speaking at that time. Michael used to literally sit in the studio with a pad and paper -- I mean with a pad and pen. If he`d hear somebody say something remotely intelligent, he would write it down. He was always trying to learn and absorb anything that he thought was intelligent.
BEHAR: Yes.
AUSTIN: So he was very, very quiet; very, very shy, frighteningly shy. We didn`t really start working together until "The Dude", until Quincy Jones` album, "The Dude". That`s when I started talking to him.
And a lot of our conversations were about his relationship with his family. He adored his mother. He adored his sisters. But at that particular time, he didn`t have the greatest relationship with his brothers or with his dad because he was -- he was really trying to branch out on his own. He was trying to break away from the Jackson 5 and break away from what that was. So he kind of felt that that was holding him back from being all that he ultimately became and wanted to be. He worked very hard to become that.
......
BEHAR: Patti, you say that Michael was a troubled soul who internalized his grief. What do you mean by that?
AUSTIN : Well, you know, Michael didn`t really -- I don`t think he really talked that much about all of the pain that he felt to that many people.
He would talk to me about it because we were working. And I think when you have a working relationship with somebody it`s almost closer than if you`re having a sexual relationship with them, if that makes any sense. You have a tendency, you become -- when you`re working on an album or you`re touring together, you have a tendency to become like a family. And you spend a lot of time on buses and a lot of times waiting in a studio to get back in and actually do your work, so you talk about things.
(CROSSTALK)
BEHAR: What was troubling him. Go ahead. What was troubling him?
AUSTIN : Just his childhood really troubled him. He felt that he lost his childhood, which is why so many of us that knew Michael always said he suffered from Peter Pan Syndrome. You know, he wanted to be forever young and he did a lot of chid -- he acted out in a child-like way a lot because he didn`t get to have that when he was a kid.
He felt -- I mean these are the discussions I had with him. I don`t know what he said to anybody else. But he told me many times that he felt that he had been robbed of his childhood.
BEHAR: Yes.
AUSTIN : He loved the fact he was able to become a great entertainer, but he also at the same time, it was a love-hate thing. He hated the fact that he lost his childhood in the process. And I started in the business when I was a kid so this is a conversation we used to have a lot. I started when I was four.
___________
JOY BEHAR, HOST: As the Conrad Murray trial continues, a picture of Michael Jackson as a deeply troubled potentially drug-dependent man emerges. But was that the way he appeared to people who knew him well? Here to talk about their memories of Michael are Patti Austin, Grammy winning singer who knew Michael Jackson for 30 years; and another long time Michael Jackson friend, Flo Anthony. Welcome ladies, to the show.
Patti, you worked with Michael multiple times over the years. What do you remember best about him?
PATTI AUSTIN, SINGER: His energy, is Eveready, bunny, hummingbird, never stop energy. He was always on fire, always a perfectionist, always tremendously professional. Very silly, in private moments. Yes, very silly. Had a very silly sophomoric sense of humor. Loved to jump out from behind doors and scare me.
He loved me because I scare very easily. And he would -- whenever I would heading for the studio and he knew I was coming in the door, he`d always be behind the door a little bit further down the hall and he`d jump out literally and do, you know, like boo. And I would always jump and it just made his day.
BEHAR: Yes, he was a practical joker, kind of, right?
AUSTIN : Very much so, absolutely.
.......
BEHAR: Patti, what was his relationship with his family like?
AUSTIN : Well, when I knew Michael, the relationship was not great. He got along great with his sisters but did not speak fondly of the guys in the family.
BEHAR: Really?
AUSTIN : There was -- he always -- the conversations that we had, he always felt kind of put upon because at the time that I met Michael, it was right when he was doing "The Wiz" and he wasn`t even speaking at that time. Michael used to literally sit in the studio with a pad and paper -- I mean with a pad and pen. If he`d hear somebody say something remotely intelligent, he would write it down. He was always trying to learn and absorb anything that he thought was intelligent.
BEHAR: Yes.
AUSTIN: So he was very, very quiet; very, very shy, frighteningly shy. We didn`t really start working together until "The Dude", until Quincy Jones` album, "The Dude". That`s when I started talking to him.
And a lot of our conversations were about his relationship with his family. He adored his mother. He adored his sisters. But at that particular time, he didn`t have the greatest relationship with his brothers or with his dad because he was -- he was really trying to branch out on his own. He was trying to break away from the Jackson 5 and break away from what that was. So he kind of felt that that was holding him back from being all that he ultimately became and wanted to be. He worked very hard to become that.
......
BEHAR: Patti, you say that Michael was a troubled soul who internalized his grief. What do you mean by that?
AUSTIN : Well, you know, Michael didn`t really -- I don`t think he really talked that much about all of the pain that he felt to that many people.
He would talk to me about it because we were working. And I think when you have a working relationship with somebody it`s almost closer than if you`re having a sexual relationship with them, if that makes any sense. You have a tendency, you become -- when you`re working on an album or you`re touring together, you have a tendency to become like a family. And you spend a lot of time on buses and a lot of times waiting in a studio to get back in and actually do your work, so you talk about things.
(CROSSTALK)
BEHAR: What was troubling him. Go ahead. What was troubling him?
AUSTIN : Just his childhood really troubled him. He felt that he lost his childhood, which is why so many of us that knew Michael always said he suffered from Peter Pan Syndrome. You know, he wanted to be forever young and he did a lot of chid -- he acted out in a child-like way a lot because he didn`t get to have that when he was a kid.
He felt -- I mean these are the discussions I had with him. I don`t know what he said to anybody else. But he told me many times that he felt that he had been robbed of his childhood.
BEHAR: Yes.
AUSTIN : He loved the fact he was able to become a great entertainer, but he also at the same time, it was a love-hate thing. He hated the fact that he lost his childhood in the process. And I started in the business when I was a kid so this is a conversation we used to have a lot. I started when I was four.
It's the falling in love 這就是戀愛
來源 :
/ 音樂創作 /
Recorded December 4, 1978 – June 3, 1979
Written and composed by Carole Bayer Sager and David Foster
Produced by Quincy Jones
Lead and background vocals: Michael Jackson and Patti Austin
/ 詞曲發行 /
Written and composed by Carole Bayer Sager and David Foster
Produced by Quincy Jones
Lead and background vocals: Michael Jackson and Patti Austin
/ 詞曲發行 /
Released August 10, 1979 「Off The Wall」Album
/ 幕後故事 /
最初版本由合作作曲者Carole Baye Sager記錄在他1978年的專輯「Too」內.麥可為他的「Off The Wall」專輯錄製這首歌，於1979年8月發行並邀請嘉賓佩蒂奧斯汀演唱。
The original version was recorded by co-writer Carole Baye Sager, which featured on her 1978 album, 'Too'.Michael recorded this song for his Off The Wall album, released in August 1979 - featured guest vocals by Patti Austin.
The original version was recorded by co-writer Carole Baye Sager, which featured on her 1978 album, 'Too'.Michael recorded this song for his Off The Wall album, released in August 1979 - featured guest vocals by Patti Austin.
/ 感想後記 /
麥可在1975年與初戀女友泰坦歐尼爾Tatum O'Neal相遇，1977年兩人越走越近，在1979年「Off The Wall」專輯推出前麥可已與泰坦歐尼爾分手。麥可曾寫了一首並未收錄在該專輯內的歌曲"Sunset Driver"。而這首歌詞由Carole Baye Sager所作，麥可在當時卻挑選這首歌發行。
/ 歌詞內容 /
It's The Falling In Love 這就是戀愛
[1st Verse]
You're Not Like Anybody I Ever Knew你跟我所知道的任何人都不同
But That Don't Mean That I Don't Know Where We Are但不意味我不清楚我們的處境
And Though I Find Myself Attracted To You儘管我知道自己吸引著你
This Time I'm Trying Not To Go Too Far, Cause但這次我試圖別太超過
[Bridge]
No Matter How It Starts It Ends The Same無論事情是如何開始 它都將同樣結束
Someone's Always Doing Someone More某些人經常去做某些事
Trading In The Passion For That Taste Of Pain用情欲做交易，最後飽嚐苦果
It's Only Gonna Happen Again而它將會再次發生
[Chorus]
It's The Fallin' In Love That's Makin' Me High這就是戀愛，他讓我興奮
It's The Being In Love That Makes Me Cry Cry Cry這就是戀愛，它讓我哭泣
It's The Fallin' In Love That's Makin' Me High這就是戀愛，他讓我興奮
It's The Being In Love That Makes Me Cry Cry Cry這就是戀愛，它讓我哭泣
All Night... All Night整夜不斷…整夜不斷
[2nd Verse (Patti Austin)]
And Though I'm Trying Not To Look In Your Eyes儘管我儘量克制，不去看你的眼睛
Each Time I Do They Kind Of Burn Right Through Me儘管每一次我欲火中燒時
Don't Want To Lay Down In A Bed Full Of Lies都不想在說謊時上床
And Yet My Heart Is Saying Come And Do Me但我心裏卻想說“來吧，跟我做愛”
[Bridge (Michael)]
Now We're Just A Web Of Mystery現在我們只是單一形式
A Possibility Of More To Come更多的可能性出現了
I'd Rather Leave The Fantasy Of What Might Be我應該捨棄任何可能的幻想
But Here I Go Falling Again但我卻再一次的陷入而無法自拔
[Chorus]
It's The Fallin' In Love That's Makin' Me High這就是戀愛，它讓我興奮
It's The Being In Love That Makes Me Cry Cry Cry 這就是戀愛，它讓我哭泣
It's The Fallin' In Love That's Makin' Me High這就是戀愛，它讓我興奮
It's The Being In Love That Makes Me Cry Cry Cry 這就是戀愛，它讓我哭泣
It's The Fallin' In Love That's Makin' Me High這就是戀愛，它讓我興奮
It's The Being In Love That Makes Me Cry Cry Cry 這就是戀愛，它讓我哭泣
It's The Fallin' In Love That's Makin' Me High這就是戀愛，它讓我興奮
It's The Being In Love That Makes Me Cry Cry Cry 這就是戀愛，它讓我哭泣
Over You... Over You (All Night)忘了你…忘了你(整個夜晚)
Patti Austin
Patti Austin 年僅4歲就在阿波羅劇院登臺的節奏藍調。於1948年出生在紐約，60年代末期成為錄音室歌手並替廣告歌曲配唱。81年名製作人昆西鐘斯發表流行專輯《The Dude》，這張暢銷專輯不僅捧紅擔任男聲主唱的James Ingram，更成為Patti Austin音樂事業的轉捩點。82年James Ingram與Patti Austin合唱一曲“Baby, Come To Me”一舉拿下流行與抒情單曲榜的雙料冠軍，此時Patti真正成為橫跨節奏藍調與流行兩個音樂領域的女歌手。90年代開始，Patti Austin與流行爵士名廠GRP簽約並出版幾張專輯，曲風上雖然有著爵士的色彩，但歌聲依舊慵懶而閒適。
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