Legendary music producers Jimmy Jam and Terry Lewis recently stopped by the Minnesota Spokesman-Recorder studio for an episode of Tracey’s Keepin’ It Real to promote their upcoming Homecoming Concert: A Celebration of the Minneapolis Sound at the Minnesota State Fair Grandstand on Aug. 29 at 7 p.m.
Sitting in the very building where history was printed, the iconic duo reflected on their South and North Side upbringing, the fiery Twin Cities music scene, and the core values behind the longest-running creative partnership in music history.
Returning Home
Stepping back into the MSR building brought back a rush of childhood memories for Jimmy Jam, whose mother previously worked for the newspaper. Having grown up just four blocks away on 41st and Portland, Jam recalled visiting the original printing presses after school.
“My early memories was coming home from school or whatever and then stopping by the office,” Jam said. Everybody was always so kind to me… It was wonderful to learn about the whole idea of journalism and to learn that this was a paper for us to tell our stories.”
For Terry Lewis, a proud North Sider, the paper was equally iconic. Looking back at a 1990 MSR front page featuring the pair in their signature sunglasses and black hats, both agreed that their Minnesota foundation kept them grounded through decades of superstardom.
The Birth of the Minneapolis Sound
Before Jam & Lewis became a world-renowned production powerhouse, they were friendly band rivals on opposite sides of town. Jam fronted the band Mind & Matter, while Lewis was in Flight Time.
“We used to literally battle each other all the time. And a couple of times our band got the better of his band, but then Terry would come right back and kick our band’s butt,” Jam said.
“But I loved Terry. I watched Terry and I just kind of felt like, I need to get together with that brother.”
They officially joined forces in 1973 after meeting at the University of Minnesota’s Upward Bound summer program when they were just 13 and 14 years old. Seeing Jam’s musical talent, Lewis convinced Jam to switch from drums to keyboards and brought in the late Jellybean Johnson on drums.
The Twin Cities scene was a pressure cooker of talent. Groups like Prince’s early band Grand Central, featuring Morris Day and André Cymone, were constantly pushing the envelope.
However, both Jam and Lewis agree that The Family, another local group, set the absolute bar for musicianship.
“It was always a competitive spirit within all of us, musically, that you just had to get better,” Lewis said.
“I say, you can’t get better until you get booed. You have to go out there and put it out there… that’ll let you know what you don’t know. Real quick.”
One of The Longest Partnerships in Music History
Having one of the longest and most successful creative partnerships in music history, Jam and Lewis attribute their longevity to mutual respect, zero jealousy, and a shared definition of conflict resolution.
“It’s like the love and respect I have for Jimmy is unparalleled. I want everything he wants for himself; I want it for him,” Lewis said.
“We’ve never had an argument,” Jam said. “I would never want to argue with Terry because if I won the argument, that would mean he lost an argument to me, which why would I ever want my partner to ever lose at anything.”
Getting Fired by Prince & The Miracle of “Just Be Good to Me”
In the early 1980s, while still touring as members of The Time, Jam & Lewis ventured out to Los Angeles to expand their production horizon under the mentorship of music mogul Clarence Avant.
While producing the S.O.S. Band, a severe snowstorm trapped them in Atlanta, causing them to miss a scheduled gig with The Time. Prince fired them from the group shortly after. What seemed like a devastating blow turned out to be a life-changing turning point:
“When you look at it realistically, that was God’s plan,” Lewis said. “I say he freed us to pursue our destiny like God planned.”
The same night they were fired, the duo went to Larrabee Sound and met engineer Steve Hodge for a mixing session, where the group’s first big record was made.
“He hits play and the Steve Hodge mix of “Just Be Good to Me” comes out the speakers. And we were like, wow. So literally we went from getting fired to mixing our first hit record in an hour,” Jam said.
Recognizing that Hollywood’s glitz could be a distraction, recalling Clarence Avant’s advice not to stare at the Hollywood sign while driving or you’ll crash, they immediately moved back to Minneapolis to build their empire. Operating out of Minnesota, they crafted chart-topping hits for Cherrelle “Didn’t Mean to Turn You On”, Alexander O’Neal, and Janet Jackson.
Their local studio became such a powerhouse that even Michael Jackson flew into Minneapolis in the dead of winter just to get the authentic “Minneapolis Sound”, enjoying the rare freedom of walking around the Mall of America in a ski mask undisturbed.
The Story Behind The Human League
When asked about challenging studio experiences, Jam & Lewis pointed to working with British synth-pop group The Human League on their 1986 album Crash. Coming off Janet Jackson’s Control, Jam & Lewis wanted to push lead singer Phil Oakey past his signature “robotic” style into an emotional performance.
Tension erupted over background vocals sung by guest vocalist Lisa Keith, which Oakey’s bandmates (one of whom he was dating) objected to. Jam & Lewis threatened to pull the song off the album, prompting A&M Records to step in. To resolve the conflict creatively, Lewis wrote a spoken-word bridge for Oakey.
“That, first of all, satisfied their want to be on the song. But more importantly, it finished the song in a whole different way. Because it wasn’t one person confessing to one. It was them confessing to each other that they’re both human,” Jam said.
The two say the song went straight to number one globally, proving that Minnesota production could create international hits.
Lessons for Next-Gen Creators & The Power of Black Media
Closing out the interview, Jam & Lewis offered vital advice for young artists coming up in Minneapolis and St. Paul. The two urged young artists to learn the business side of music, read contracts, and never assume ignorance is bliss.
“If you take the word waiting, substitute the word preparing. I’m preparing for my break. And then when your break happens, you don’t know what that break is,” Jam said.
Jam also revealed a lucky twist of fate documented in an old edition of the MSR: singer Sharon Bryant turned down their production offer early in their career, which directly opened the door for A&M Records to pair them with Janet Jackson instead.
As MSR celebrates its 92nd anniversary, Lewis underscored why Black media outlets like the Minnesota Spokesman-Recorder remain essential.
“You have a superpower that is irreplaceable, as does radio, terrestrial radio. Lewis said. “Because our stories will never get told in any other media.”
