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Songs that only just missed out on inclusion on an album?

SmoothCriminal1995 said:
I still can't believe how close Someone Put Your Hand Out and Blood On The Dance Floor were to getting on Dangerous.

I love both songs, but I can't picture either of them on the album
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Blood on the Dance Floor is too defining to be a potential album track. Even though it wasn't 1 Word, though it didn't need to be. It deserved the later push.

Meanwhile, SPYHO is a great rarity and gets both more and less shine than it would otherwise.
 
Mister_Jay_Tee said:
Blood on the Dance Floor is too defining to be a potential album track. Even though it wasn't 1 Word, though it didn't need to be. It deserved the later push.

Meanwhile, SPYHO is a great rarity and gets both more and less shine than it would otherwise.
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I'm glad they waited with Blood because I love it as it is and the short film is one of the coolest.

It just shows the quality that Michael was producing during the Dangerous era
 
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SmoothGangsta said:
The original instrumental version of BOTDF is in the multritrack that leaked. As already stated it's pretty much the same as the final track, all they did was add stuff on top.
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How are we sure that’s the 1991 version, though?
 
SmoothGangsta said:
The original instrumental version of BOTDF is in the multritrack that leaked. As already stated it's pretty much the same as the final track, all they did was add stuff on top.
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Again, how are we sure that’s the 1991 version? It almost sounds like an unoffical remix of the multitracks to me.
 
Agonum said:
Again, how are we sure that’s the 1991 version? It almost sounds like an unoffical remix of the multitracks to me.
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Honestly we don't know anything for sure I guess. I'm just going by all the discussion I've seen around it over the past few years and that seems to be the consensus.
 
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SmoothGangsta said:
Honestly we don't know anything for sure I guess. I'm just going by all the discussion I've seen around it over the past few years and that seems to be the consensus.
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I figured as much. Well, it’s easy to see how a presumption can be taken as a fact. And there are many of those thrown around, from what I’ve seen. Makes you wonder if you really know anything at all, doesn’t it?
 
Agonum said:
I figured as much. Well, it’s easy to see how a presumption can be taken as a fact. And there are many of those thrown around, from what I’ve seen. Makes you wonder if you really know anything at all, doesn’t it?
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It's Behind the Mask, always. The sooner you get that through your skull, the better.
 
Agonum said:
I figured as much. Well, it’s easy to see how a presumption can be taken as a fact. And there are many of those thrown around, from what I’ve seen. Makes you wonder if you really know anything at all, doesn’t it?
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Yeah, I tend to look at info we believe to be true as easily changeable if more info comes out lol. I'd say most of the stuff we speak about is in the "to the best of our knowledge" category.
 
SmoothGangsta said:
Yeah, I tend to look at info we believe to be true as easily changeable if more info comes out lol. I'd say most of the stuff we speak about is in the "to the best of our knowledge" category.
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Don't look at Wikipedia alone, check quotes and cited sources. Obviously not YouTube alone.
 
The MJJ Library said:
www.popsike.com

popsike.com - MICHAEL JACKSON Farewell My Summer Love 1973 UNRELEASED ALBUM Promo ACETATE LP - auction details

check the value of your vinyl records by searching our archive
www.popsike.com www.popsike.com
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Thank you for sharing this. I had never seen this before. It also changes one of the recording dates I had in my list. Previously I had "I'll Come Home To You" as being recorded in early December 1973. Based on this November 1973 acetate that would invalidate that date. Based on the tape numbers listed next to each title it appears that "I'll Come Home To You" was recorded closer to when "You've Really Got a Hold On Me" which I believe was June or July 1973. Interesting.....The plot thickens. I love getting any piece of info I can from the Motown sessions and this is a big find. Thank you!
 
jaorecords said:
Thank you for sharing this. I had never seen this before. It also changes one of the recording dates I had in my list. Previously I had "I'll Come Home To You" as being recorded in early December 1973. Based on this November 1973 acetate that would invalidate that date. Based on the tape numbers listed next to each title it appears that "I'll Come Home To You" was recorded closer to when "You've Really Got a Hold On Me" which I believe was June or July 1973. Interesting.....The plot thickens. I love getting any piece of info I can from the Motown sessions and this is a big find. Thank you!
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Same here! I did a whole mini documentary on this album actually
 
jaorecords said:
Thank you for sharing this. I had never seen this before. It also changes one of the recording dates I had in my list. Previously I had "I'll Come Home To You" as being recorded in early December 1973. Based on this November 1973 acetate that would invalidate that date. Based on the tape numbers listed next to each title it appears that "I'll Come Home To You" was recorded closer to when "You've Really Got a Hold On Me" which I believe was June or July 1973. Interesting.....The plot thickens. I love getting any piece of info I can from the Motown sessions and this is a big find. Thank you!
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Melodie - 1/15/73
To Make My Father Proud - 4/11/73
Here I Am (Come And Take Me) - 6/6/73
You've Really Got A Hold On Me - 6/13/73
Touch The One You Love - 6/14/73
Don't Let It Get You Down, Girl You're So Together, Farewell My Summer Love - 8/31/73
Call On Me - 9/4/73
 
So Michael recorded FMSL at age 15, it became a hit 11 years later in 1984 when he was 26. Nobody at Motown would have thunk this could happen in 1973. Nobody of us now think the same can happen with songs we don't know yet or songs we know already but somehow will become a hit in the future.

This is the songs chart run in the Belgian top 30:
- 21-11-7-8-8-11-12-19-30
And this is its chart run in the UK top 100:
- 45-26-15-8-7-8-16-20-29-37-48-60
It also charted for 7 weeks in the German top 100 peaking at nr 51, New Zeeland for 3 weeks peaking at nr 35, Australia nr 68 and the USA nr 38.

You could say the power of thriller made this happen but this is only partly true. One Day in Your Life 3 years earlier didn't benefit from Thriller but the song became one of the biggest selling singles and a nr 1 in 1981 in the UK, Holland and Belgium.
 
filmandmusic said:
So Michael recorded FMSL at age 15, it became a hit 11 years later in 1984 when he was 26. Nobody at Motown would have thunk this could happen in 1973. Nobody of us now think the same can happen with songs we don't know yet or songs we know already but somehow will become a hit in the future.

This is the songs chart run in the Belgian top 30:
- 21-11-7-8-8-11-12-19-30
And this is its chart run in the UK top 100:
- 45-26-15-8-7-8-16-20-29-37-48-60
It also charted for 7 weeks in the German top 100 peaking at nr 51, New Zeeland for 3 weeks peaking at nr 35, Australia nr 68 and the USA nr 38.

You could say the power of thriller made this happen but this is only partly true. One Day in Your Life 3 years earlier didn't benefit from Thriller but the song became one of the biggest selling singles and a nr 1 in 1981 in the UK, Holland and Belgium.
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Michael magic.
 
filmandmusic said:
So Michael recorded FMSL at age 15, it became a hit 11 years later in 1984 when he was 26. Nobody at Motown would have thunk this could happen in 1973. Nobody of us now think the same can happen with songs we don't know yet or songs we know already but somehow will become a hit in the future.

This is the songs chart run in the Belgian top 30:
- 21-11-7-8-8-11-12-19-30
And this is its chart run in the UK top 100:
- 45-26-15-8-7-8-16-20-29-37-48-60
It also charted for 7 weeks in the German top 100 peaking at nr 51, New Zeeland for 3 weeks peaking at nr 35, Australia nr 68 and the USA nr 38.

You could say the power of thriller made this happen but this is only partly true. One Day in Your Life 3 years earlier didn't benefit from Thriller but the song became one of the biggest selling singles and a nr 1 in 1981 in the UK, Holland and Belgium.
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I definitely think THRILLER made that happen because they wouldn't have released it like they did (with modern overdubs) and using a cover that did not feature him but made it look like it was connected to the VICTORY TOUR with an audience pic. The public was hungry for anything with his name on it and it appeared to the uniformed that FAREWELL was his follow up to THRILLER. Had that album come out without the overdubs and with pics of him from the Motown years I doubt it would have hit as high as it did.

I do think that "One Day In Your Life" came out of the post OFF THE WALL hype. It was not clear to many that it was an old song especially since Motown used a painting of a modern day OFF THE WALL era pic of MJ on the cover. The song did not sound like it was as old as it was and could be confused into being seen as a new song almost since it was cut during the end of the MOTOWN era and his voice was closer to his EPIC era voice. Music in 1981 still had that same type of sound you hear in "One Day In Your Life" on current day MOR radio. It blended well and fooled many. I've heard some say they did not know it was an older song and thought it was a follow up to OFF THE WALL.

In those years MOTOWN was always piggybacking off of what MJ and the brothers were releasing and would definitely try to match their EPIC success with tracks from the vault to boost their bottom line. Look at the rushed quality of the BOOGIE album in 1979 to try to capitalize on the then recent BLAME IT ON THE BOOGIE. Why would you call an album BOOGIE by the J5 when it had nothing to do with the material on that record? You see that again in 1986 when they thought MJ was going to release BAD so they wanted to get LOOKING BACK TO YESTERDAY out before that (although I do realize that MOTOWN had released a slew of vault collections in 1986 and this fell into that group). SOULSATION followed HISTORY in 1995 as their own collection of hits and "new" material. Even in 2012 they tried to follow BAD 25 with COME AND GET IT: RARE PEARLS within a month of each other.
 
jaorecords said:
I definitely think THRILLER made that happen because they wouldn't have released it like they did (with modern overdubs) and using a cover that did not feature him but made it look like it was connected to the VICTORY TOUR with an audience pic. The public was hungry for anything with his name on it and it appeared to the uniformed that FAREWELL was his follow up to THRILLER. Had that album come out without the overdubs and with pics of him from the Motown years I doubt it would have hit as high as it did.

I do think that "One Day In Your Life" came out of the post OFF THE WALL hype. It was not clear to many that it was an old song especially since Motown used a painting of a modern day OFF THE WALL era pic of MJ on the cover. The song did not sound like it was as old as it was and could be confused into being seen as a new song almost since it was cut during the end of the MOTOWN era and his voice was closer to his EPIC era voice. Music in 1981 still had that same type of sound you hear in "One Day In Your Life" on current day MOR radio. It blended well and fooled many. I've heard some say they did not know it was an older song and thought it was a follow up to OFF THE WALL.

In those years MOTOWN was always piggybacking off of what MJ and the brothers were releasing and would definitely try to match their EPIC success with tracks from the vault to boost their bottom line. Look at the rushed quality of the BOOGIE album in 1979 to try to capitalize on the then recent BLAME IT ON THE BOOGIE. Why would you call an album BOOGIE by the J5 when it had nothing to do with the material on that record? You see that again in 1986 when they thought MJ was going to release BAD so they wanted to get LOOKING BACK TO YESTERDAY out before that (although I do realize that MOTOWN had released a slew of vault collections in 1986 and this fell into that group). SOULSATION followed HISTORY in 1995 as their own collection of hits and "new" material. Even in 2012 they tried to follow BAD 25 with COME AND GET IT: RARE PEARLS within a month of each other.
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Yea they tried doing this with the ET album and Someone in the Dark too, those guys MCA and that label. Everyone wanted some of that MJ hype. Leading to the genuine smash hit with Jermaine, not being allowed to be a single at all. Yet still getting tons of airplay. Would easily have been MJ's 14th #1

I was going to say they were expecting MJs follow up release to Thriller in 1983 but I forgot we were talking Motown and not Epic.
 
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Mister_Jay_Tee said:
Yea they tried doing this with the ET album and Someone in the Dark too, those guys and that label. Everyone wanted some of that MJ hype. Leading to the genuine smash hit with Jermaine, not being allowed to be a single at all. Yet still getting tons of airplay. Would easily have been MJ's 14th #1

I was going to say they were expecting MJs follow up release to Thriller in 1983 but I forgot we were talking Motown and not Epic.
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Someone In The Dark and the E.T. Storybook was by MCA Records, not Motown.
 
@jaorecords

I see what you mean, The thriller success is partly the reason for this release but none of these post Motown successes would have happened if the songs in itself weren’t any good.
Especially ODIYL is simply a brilliant ballad. MJ was popular after OTW but not that popular that the name in itself was enough to make a worldwide hit out of of an old song. Obviously they tried capitalizing a bit on his then recent successes but in 1981 OTW was already almost 3 years old so I think that effect was minimal.

FMSL imo would not have happened if ODIYL wasn’t a big success imo.
 
filmandmusic said:
@jaorecords

I see what you mean, The thriller success is partly the reason for this release but none of these post Motown successes would have happened if the songs in itself weren’t any good.
Especially ODIYL is simply a brilliant ballad. MJ was popular after OTW but not that popular that the name in itself was enough to make a worldwide hit out of of an old song. Obviously they tried capitalizing a bit on his then recent successes but in 1981 OTW was already almost 3 years old so I think that effect was minimal.

FMSL imo would not have happened if ODIYL wasn’t a big success imo.
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The singles from OFF THE WALL were still running into 1980 and 1981 so it was very much on the radio worldwide up through about 1981 I would say. It's possible they could have released FAREWELL still in 84 during the THRILLER wave as a regular vault release but they purposely disguised it as something else more current music overdubbed. It is all in the cover. That shows you their intent. Release it during the VICTORY tour and people will believe it is current.
 
mj_frenzy said:
The 'Dangerous' album would not have benefited from the inclusion of the 'Someone Put Your Hand Out' song.

'Someone Put Your Hand Out' is a mundane, dull and prosaic ballad, and the fact that Michael Jackson sings in falsetto makes the song even more unbearable for the listener.

Besides, 'Someone Put Your Hand Out' could not coexist with 'Will You Be There' on the same album (they resemble even to their background vocals).

That is why Teddy Riley became very angry when Michael Jackson released that song in 1997 without asking him first.

Teddy Riley would have given the 'Blood On The Dance Floor' song a more current sound (for the 1997 release), and that it would have made the song more appealing and more successful.
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Was BOTDF ready at time of Dangerous release? If so, why not on record? Was Ghosts, IsItScary created for History?
 
And I read it correctly that the song didn't change much in that period?

Wow, wow, wow, I love BOTDF. Dangerous just went up for me, that's amazing. I'm definitely gonna be making my Dangerous 'UFT' this weekend 😂, which will be 9 or 10 tracks long, all killer, no filler, inclusive of BOTDF, IYDLM.
 
Do we have confirmation of how far along BOTDF was at that point? Did it have full vocals done etc?
 
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