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Unreleased HIStory cuts?

AlwaysThere said:
I just see no evidence that the Ryan Arnold user is who he claims to be. I could come on here and claim to be one of the Dangerous engineers.
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And then again, there are also other posts by him e.g. about Michael’s creative process, which don’t correlate with what every other one of his collaborators has said in the past. This reddit user is the first person to claim Michael would go to the keyboard and try out chord progressions for hours by himself.

Then, there is this statement:

“I was around for the sessions of Scream, Money, Stranger in Moscow, D.S. and Tabloid Junkie. Stranger in Moscow made me sad, because throughout the entire time we were all working, there was a very pained look on his face each time after recording. It seemed very personal, I remember at one point after recording the chorus, he walked out instead of working on the lower harmonies. ”

Yet later on he said:

“We started recording in October 1994, at least that's when I was there.”

But Stranger In Moscow was actually the first song to be recorded for the album, and it was recorded in February 1994. By October, the song was pretty much done. So, how could he have been present for that session?

And another weird statement:

[About Little Susie]: “Michael had difficulty composing what exactly it was he wanted with the song. It sounded too much like Basszouille haha. That's why it kept getting shoved off the schedule until eventually being dropped.”

We now know that there is a demo of Little Susie from 1978 which is instrumentally and lyrically identical to the version on HIStory. How could Ryan Arnold’s have witnessed Michael having difficulty with the composition?


He was also asked about how many takes Michael would do for a song, and he said ”sometimes one, sometimes many”. I doubt Michael every did only one take for a song, unless it was a scratch vocal for a demo.

These are all of the weirder comments he has made, which make me believe he isn’t who he claims he is. Perhaps I’m wrong, who knows?
 
dethorro said:
And then again, there are also other posts by him e.g. about Michael’s creative process, which don’t correlate with what every other one of his collaborators has said in the past. This reddit user is the first person to claim Michael would go to the keyboard and try out chord progressions for hours by himself.

Then, there is this statement:

“I was around for the sessions of Scream, Money, Stranger in Moscow, D.S. and Tabloid Junkie. Stranger in Moscow made me sad, because throughout the entire time we were all working, there was a very pained look on his face each time after recording. It seemed very personal, I remember at one point after recording the chorus, he walked out instead of working on the lower harmonies. ”

Yet later on he said:

“We started recording in October 1994, at least that's when I was there.”

But Stranger In Moscow was actually the first song to be recorded for the album, and it was recorded in February 1994. By October, the song was pretty much done. So, how could he have been present for that session?

And another weird statement:

[About Little Susie]: “Michael had difficulty composing what exactly it was he wanted with the song. It sounded too much like Basszouille haha. That's why it kept getting shoved off the schedule until eventually being dropped.”

We now know that there is a demo of Little Susie from 1978 which is instrumentally and lyrically identical to the version on HIStory. How could Ryan Arnold’s have witnessed Michael having difficulty with the composition?


He was also asked about how many takes Michael would do for a song, and he said ”sometimes one, sometimes many”. I doubt Michael every did only one take for a song, unless it was a scratch vocal for a demo.

These are all of the weirder comments he has made, which make me believe he isn’t who he claims he is. Perhaps I’m wrong, who knows?
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Great observations! Yeah, these comments go against every established fact we’ve had from the HIStory sessions. I don’t buy it whatsoever.
 
dethorro said:
And then again, there are also other posts by him e.g. about Michael’s creative process, which don’t correlate with what every other one of his collaborators has said in the past. This reddit user is the first person to claim Michael would go to the keyboard and try out chord progressions for hours by himself.

Then, there is this statement:

“I was around for the sessions of Scream, Money, Stranger in Moscow, D.S. and Tabloid Junkie. Stranger in Moscow made me sad, because throughout the entire time we were all working, there was a very pained look on his face each time after recording. It seemed very personal, I remember at one point after recording the chorus, he walked out instead of working on the lower harmonies. ”

Yet later on he said:

“We started recording in October 1994, at least that's when I was there.”

But Stranger In Moscow was actually the first song to be recorded for the album, and it was recorded in February 1994. By October, the song was pretty much done. So, how could he have been present for that session?

And another weird statement:

[About Little Susie]: “Michael had difficulty composing what exactly it was he wanted with the song. It sounded too much like Basszouille haha. That's why it kept getting shoved off the schedule until eventually being dropped.”

We now know that there is a demo of Little Susie from 1978 which is instrumentally and lyrically identical to the version on HIStory. How could Ryan Arnold’s have witnessed Michael having difficulty with the composition?


He was also asked about how many takes Michael would do for a song, and he said ”sometimes one, sometimes many”. I doubt Michael every did only one take for a song, unless it was a scratch vocal for a demo.

These are all of the weirder comments he has made, which make me believe he isn’t who he claims he is. Perhaps I’m wrong, who knows?
Click to expand...

Yeah I don’t believe a word said…what’s the reason for the “haha” after mentioning Basszouille? Mentioning Michael had a “pained look on his face”? .. no one from MJ’s camp even talks like that when discussing him
 
dethorro said:
“I was around for the sessions of Scream, Money, Stranger in Moscow, D.S. and Tabloid Junkie.
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Yeah, that's actually incongruous with what he said, about mostly being there for Money in the soundbooth and primarily working with Jam and Lewis. Very inconsistent details there.
 
Dallas Austin was on Questlove Supreme recently and mentioned that from everything he worked on, there were only 2 instrumental tracks that were not released.

As well as This Time Around, he also said that he worked on TDCAU, BOTDF & 2Bad which is interesting, as I'm sure that 2Bad is credited as a Jam & Lewis track and that BOTDF was re-worked with Brad Buxer. It was quite an interesting segment about MJ and the time period around History - (from 32:30 in the video below, it is timestamped in the video description) - not sure about some of the things he said e.g. the Russian government hiding him?!

 
Omar222 said:
Dallas Austin was on Questlove Supreme recently and mentioned that from everything he worked on, there were only 2 instrumental tracks that were not released.

As well as This Time Around, he also said that he worked on TDCAU, BOTDF & 2Bad which is interesting, as I'm sure that 2Bad is credited as a Jam & Lewis track and that BOTDF was re-worked with Brad Buxer. It was quite an interesting segment about MJ and the time period around History - (from 32:30 in the video below, it is timestamped in the video description) - not sure about some of the things he said e.g. the Russian government hiding him?!

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Well given how the multitracks for 2Bad had a couple of tracks with an entirely different instrumental that can be heard when you isolate them with a good pair of headphones, it's possible that 2Bad reused elements from one of the two instrumental tracks.
 
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dethorro said:
And then again, there are also other posts by him e.g. about Michael’s creative process, which don’t correlate with what every other one of his collaborators has said in the past. This reddit user is the first person to claim Michael would go to the keyboard and try out chord progressions for hours by himself.

Then, there is this statement:

“I was around for the sessions of Scream, Money, Stranger in Moscow, D.S. and Tabloid Junkie. Stranger in Moscow made me sad, because throughout the entire time we were all working, there was a very pained look on his face each time after recording. It seemed very personal, I remember at one point after recording the chorus, he walked out instead of working on the lower harmonies. ”

Yet later on he said:

“We started recording in October 1994, at least that's when I was there.”

But Stranger In Moscow was actually the first song to be recorded for the album, and it was recorded in February 1994. By October, the song was pretty much done. So, how could he have been present for that session?

And another weird statement:

[About Little Susie]: “Michael had difficulty composing what exactly it was he wanted with the song. It sounded too much like Basszouille haha. That's why it kept getting shoved off the schedule until eventually being dropped.”

We now know that there is a demo of Little Susie from 1978 which is instrumentally and lyrically identical to the version on HIStory. How could Ryan Arnold’s have witnessed Michael having difficulty with the composition?


He was also asked about how many takes Michael would do for a song, and he said ”sometimes one, sometimes many”. I doubt Michael every did only one take for a song, unless it was a scratch vocal for a demo.

These are all of the weirder comments he has made, which make me believe he isn’t who he claims he is. Perhaps I’m wrong, who knows?
Click to expand...
His comments on Little Susie are interesting- I know the instrumental was originally recorded live with a full orchestra, but Michael didn’t like how it sounded. So it was re-recording using MIDI, which is the version that ended up on the album. Perhaps he’s referring to this? I could see this statement being accurate if he’s referring to MJ wanting to redo the instrumental using MIDI.
 
SeriousFX said:
Well given how the multitracks for 2Bad had a couple of tracks with an entirely different instrumental that can be heard when you isolate them with a good pair of headphones, it's possible that 2Bad reused elements from one of the two instrumental tracks.
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I never noticed that. Can you tell me on which tracks that is?
 
ChanceToDance said:
Pez Jax who's the writer of 'The Story of HIStory' and 'Off The Wall: From the Beginning, Brick by Brick' mentioned briefly on a podcast that he has talked to a producer who owns the song and they said that 'Revenge' is basically just a track with a very basic beat.
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Yes, an instrumental song, a rhythm. Far from being a real song it says! Has anyone read the Pex Jax books?
 
AlwaysThere said:
The bulk of HIStory's outtakes, unfortunately, have already been released. Morphine, Ghosts/Is It Scary, Much Too Soon, On the Line, In the Back, etc.


Additionally, don't listen to people if they tell you about songs like Fear or Face or Bassouille. None of them actually exist. Unless Michael recorded them at Neverland and told no one about them, they're fake.
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It's hard to believe morphine,ghost & is it scary are history outtakes. It's just something in me that feels they are 96/97 vocals🤣🤣 I know they aren't but I grew up in this era & for almost 2years I played botdf & imo those 5 songs were the soundtrack to ghost short film. Idk why I feel history & botdf are two different eras;

This was a 2014 post & we still haven't heard bassouille or fear. Actually shocked about faces
 
wonderouzmj said:
It's hard to believe morphine,ghost & is it scary are history outtakes. It's just something in me that feels they are 96/97 vocals🤣🤣 I know they aren't but I grew up in this era & for almost 2years I played botdf & imo those 5 songs were the soundtrack to ghost short film. Idk why I feel history & botdf are two different eras;

This was a 2014 post & we still haven't heard bassouille or fear. Actually shocked about faces
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don't forget The Verdict and Family Thing

Schedule for the Estate, Sony, Universal Music

Let's support the Estate and collect dates and ideas for future releases. We can do it, we can do it We can work it out The Jacksons, 1976 SCHEDULE FOR THE ESTATE, SONY, Universal Music Group 2024 Victory 40th Anniversary https://www.mjjcommunity.com/threads/victory-40th-anniversary.202865/...
www.mjjcommunity.com www.mjjcommunity.com
 
Christmas Star is a HIStory outtake. Michael recorded the song in 1994 according to Sundberg, watch the link below.
It's a cover version, composed by John Williams for Home Alone 2:
So Michael had an idea.
He wanted to record a Christmas song.
A song composed by John Williams for the soundtrack of Forgotten Me.
A song that ... had already been recorded.
That didn't stop Michael—he wanted to record it.
We quickly recorded the song (it probably took less than a day), but the highlight of the song is a children's choir. We had already assembled a children's choir in New York and I had the director's number in hand. Michael asked me to set a date when the choir could come in and sort out the details. Pretty easy.
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mymjjforum.boards.net

Brad Sundberg's Seminars | MYMJJFORUM

Has anyone else visited any of his seminars? I went to his seminar in Budapest on Oct 25-26 and it's been a fantastic event. We laughed and cried and it was such an
mymjjforum.boards.net mymjjforum.boards.net
 
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This would have been an album where I probably wouldn't skip a single track.
  1. Scream
  2. TDCAU
  3. Stranger in Moscow
  4. Earth Song
  5. In The Back
  6. Tabloid Junkie
  7. Innocent Man
  8. 2 Bad
  9. Is It Scary
  10. Changes
  11. Morphine
  12. Childhood
  13. History
  14. Little Susie
  15. Smile
 
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