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http://blogs.timesofisrael.com/no-plans-for-the-release-of-michael-jackson-songs-says-bryan-loren/
The Times of Israel
Luka Neskovic
In a new announcement on his official website, singer-songwriter Bryan Loren, who worked closely with the King of Pop during the late 80’s and early 90’s, says he was astonished how music he created with Jackson continues to be pirated and bootlegged.
“Online”, he writes, “I have seen EBay auctions of my music. I am astonished that people so willingly attempt to profit from someone else’s life endeavors. For years, these bootlegged tracks that I wrote and created—which MJ’s Estate and Sony have made clear they have no plans to release–have been distributed illegally around the world. These tracks have become the pirated, global equivalent of multi-platinum hits in their own, unauthorized right”.
Do Michael Jackson Estate has any plans to release the material, I asked.
“I talked with the Estate”, Loren says, ”at the end of 2016 or so, and they made clear to me there was no plan to deal with it, or it probably wasn’t going to happen. There was another occasion where I decided maybe it’s time here to leave that, and let it go, but it keeps coming back to me -people keep coming to me about the songs and questions about them”.
LN: In one of the interviews you also said that you never got credit or compensation for much of the material that you have created with Michael?
BL: I’m saying that on tracks on all of those records, on Dangerous, on History, on Blood on the Dance Floor, not “Superfly Sister”, and on Invincible. On all of those records there’s the music that sounds like the tracks we worked on, and the tracks we worked on happened before any of the other work; happened before any of the Teddy Riley work, or any of the Rodney Jerkins work or any of the other work.
In particular, “Can’ Let Her Get Away”, is based on one my tracks clearly. I’ve played the original track for other people and they hear it. The whole beat – It was one of my tracks, and that guy worked on it after I left. And I didn’t hear it until I heard the Dangerous album. So, on the only tracks that I have heard while I was there on the project, when Teddy (Riley) first arrived were “Remember the Time” and “Jam”, and “Jam” started out not as a Teddy Riley track, but as a Bruce Swedien, Rene – I can’t remember his last name.
LN: Moore.
BL: Rene Moore. It was Bruce Swedien, Rene Moore track – “Jam”. And then Teddy came in and kind a enhance the beat, but yeah – “Can’t Let Her Get Away” didn’t exist yet, “Why You Wanna Trip On Me” didn’t exist yet – also it has elements from one of those tracks, rhythmic elements.
LN: Can you say like which track exactly?
BL: I’m saying a track that probably you haven’t heard. It’s a track that no one has heard, nobody has copies of it. You know what – it’s not really that nobody had copies of it. It’s that it doesn’t have vocals on it. See, you didn’t hear a lot of the tracks that leaked, or you haven’t heard a handful of the tracks that leaked, because they didn’t have vocals on them, and they’re not interesting to anybody if Michael is not sing on them. They don’t recognize what it is, but it is one of the tracks that leaked. I played it at a conference I did in Paris and I have seen everybody react right away, they have recognized the basic chord of the track.
You can hear that over the rest of the albums. You can hear it on Blood on the Dance Floor, on “Morphine”, I’m not sure, I have to look to see is there anything else, but certainly “Morphine”. And then on History, “D.S” is also based on one of those; it has elements from those tracks. See, some tracks actually contains multiple other tracks (laugh). But that’s what I had to live with, all of the time. The each time the record comes out I’m like: “Ok, so that came from this, that from this, hmm okay, alright” When I’m talking about entire songs, we’re talking about ideas – we’re talking about rhythms and beats and things that create – to become tracks, basically.
LN: On how many songs you have worked with Michael, in total that are not released?
BL: I don’t know, I can’t answer that. We probably did about twenty tracks all together, all of them didn’t leaked, and like I said some of them may have leaked, but they didn’t had vocals, so they didn’t circulate. Only the tracks that had vocals on are the ones that circulated.
LN: Do you have plans to release some new music?
BL: Yes, and I hope that fans of Michael that liked the material that we did together will check out what I’m gonna release on summer, late summer probably, towards the end of July or the beginning of August.
The Times of Israel
Luka Neskovic
In a new announcement on his official website, singer-songwriter Bryan Loren, who worked closely with the King of Pop during the late 80’s and early 90’s, says he was astonished how music he created with Jackson continues to be pirated and bootlegged.
“Online”, he writes, “I have seen EBay auctions of my music. I am astonished that people so willingly attempt to profit from someone else’s life endeavors. For years, these bootlegged tracks that I wrote and created—which MJ’s Estate and Sony have made clear they have no plans to release–have been distributed illegally around the world. These tracks have become the pirated, global equivalent of multi-platinum hits in their own, unauthorized right”.
Do Michael Jackson Estate has any plans to release the material, I asked.
“I talked with the Estate”, Loren says, ”at the end of 2016 or so, and they made clear to me there was no plan to deal with it, or it probably wasn’t going to happen. There was another occasion where I decided maybe it’s time here to leave that, and let it go, but it keeps coming back to me -people keep coming to me about the songs and questions about them”.
LN: In one of the interviews you also said that you never got credit or compensation for much of the material that you have created with Michael?
BL: I’m saying that on tracks on all of those records, on Dangerous, on History, on Blood on the Dance Floor, not “Superfly Sister”, and on Invincible. On all of those records there’s the music that sounds like the tracks we worked on, and the tracks we worked on happened before any of the other work; happened before any of the Teddy Riley work, or any of the Rodney Jerkins work or any of the other work.
In particular, “Can’ Let Her Get Away”, is based on one my tracks clearly. I’ve played the original track for other people and they hear it. The whole beat – It was one of my tracks, and that guy worked on it after I left. And I didn’t hear it until I heard the Dangerous album. So, on the only tracks that I have heard while I was there on the project, when Teddy (Riley) first arrived were “Remember the Time” and “Jam”, and “Jam” started out not as a Teddy Riley track, but as a Bruce Swedien, Rene – I can’t remember his last name.
LN: Moore.
BL: Rene Moore. It was Bruce Swedien, Rene Moore track – “Jam”. And then Teddy came in and kind a enhance the beat, but yeah – “Can’t Let Her Get Away” didn’t exist yet, “Why You Wanna Trip On Me” didn’t exist yet – also it has elements from one of those tracks, rhythmic elements.
LN: Can you say like which track exactly?
BL: I’m saying a track that probably you haven’t heard. It’s a track that no one has heard, nobody has copies of it. You know what – it’s not really that nobody had copies of it. It’s that it doesn’t have vocals on it. See, you didn’t hear a lot of the tracks that leaked, or you haven’t heard a handful of the tracks that leaked, because they didn’t have vocals on them, and they’re not interesting to anybody if Michael is not sing on them. They don’t recognize what it is, but it is one of the tracks that leaked. I played it at a conference I did in Paris and I have seen everybody react right away, they have recognized the basic chord of the track.
You can hear that over the rest of the albums. You can hear it on Blood on the Dance Floor, on “Morphine”, I’m not sure, I have to look to see is there anything else, but certainly “Morphine”. And then on History, “D.S” is also based on one of those; it has elements from those tracks. See, some tracks actually contains multiple other tracks (laugh). But that’s what I had to live with, all of the time. The each time the record comes out I’m like: “Ok, so that came from this, that from this, hmm okay, alright” When I’m talking about entire songs, we’re talking about ideas – we’re talking about rhythms and beats and things that create – to become tracks, basically.
LN: On how many songs you have worked with Michael, in total that are not released?
BL: I don’t know, I can’t answer that. We probably did about twenty tracks all together, all of them didn’t leaked, and like I said some of them may have leaked, but they didn’t had vocals, so they didn’t circulate. Only the tracks that had vocals on are the ones that circulated.
LN: Do you have plans to release some new music?
BL: Yes, and I hope that fans of Michael that liked the material that we did together will check out what I’m gonna release on summer, late summer probably, towards the end of July or the beginning of August.
