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Let's end the confusion about MJ's unreleased tracks here

Fuzball said:
Whatever "rough mix from 1990" means. Was it (re)worked in 1990 or just quickly mixed from existing older multitracks?🤔
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JustinC2002 said:
I assume it was possibly reworked, but don't quote me on that
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I feel like it’s the same as DBMR. He worked on that from Thriller to Dangerous with little to no updates.
 
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Is there some other source for Buffalo Bill being worked on in the 90's beyond some random bloke who said it and has been inactive for almost a year? I'm not buying it otherwise. Anyone can easily lie about stuff like this like we've seen on this thread many times.
 
ChanceToDance said:
Is there some other source for Buffalo Bill being worked on in the 90's beyond some random bloke who said it and has been inactive for almost a year? I'm not buying it otherwise. Anyone can easily lie about stuff like this like we've seen on this thread many times.
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None of us actually believe it, I'm just mentioning it's been said.
 
BlackAnon said:
John Barnes on Roger Troutman
He worked with us on several early Bad tracks. It wasn't kept but it felt and sounded great. Tomboy and Al Capone.


On if he's featured on the Bad25 version of Al Capone
No he is not.
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Does that mean there is a more advanced version of Al Capone than the one released ?
 
SmoothCriminal1995 said:
I say this every few months on here, but I would love a finished version of Don't Be Messin' Round. The vibe on the demo we have is so fresh and positive, I feel elated every time I listen to it

Please let Michael have come back to this one
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He worked on it for basically every single adult solo album. There's no doubt that there is a more advanced version out there.
 
More from John Barnes -

We worked in Los Angeles and the Valley. I also worked in studios in different cities traveled to with the Victory Tour. My full time job was working in studio with Michael for many things. I developed and recorded many songs, worked with New Technology, developing New Sounds from the end of Thriller to Dangerous. Many people have worked on sessions with MJ. almost no one worked with him like I did. I've worked with him many times since then including Bahrain as well. As of this point I have not worked on anything with the estate. I will be sharing many experiences and thoughts soon. Buffalo Bill is one of the first complete songs I did for and with Michael. It is difficult listening to people speak as experts who were not as involved as they would have the public believe.

I wonder who that last sentence was in reference to. Brad Sundberg comes to mind.
 
BlackAnon said:
More from John Barnes -

We worked in Los Angeles and the Valley. I also worked in studios in different cities traveled to with the Victory Tour. My full time job was working in studio with Michael for many things. I developed and recorded many songs, worked with New Technology, developing New Sounds from the end of Thriller to Dangerous. Many people have worked on sessions with MJ. almost no one worked with him like I did. I've worked with him many times since then including Bahrain as well. As of this point I have not worked on anything with the estate. I will be sharing many experiences and thoughts soon. Buffalo Bill is one of the first complete songs I did for and with Michael. It is difficult listening to people speak as experts who were not as involved as they would have the public believe.

I wonder who that last sentence was in reference to. Brad Sundberg comes to mind.
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If true, that would seem to echo Bottrell's comment about getting a lock/locker for tapes during Dangerous.
 
BlackAnon said:
Didn't Bill say this about the Bad recording session as well? How Brad came in and took the tapes without knowledge back to Westlake?
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I believe he said it occurred slightly before his dismissal from Bad, so for Dangerous, he had a lock/locker for his tapes. I could be misremembering slightly, though, which is why I'm trying to archive Bill's tweets before they go Houdini on us.
 
FlyAway0086 said:
I believe he said it occurred slightly before his dismissal from Bad, so for Dangerous, he had a lock/locker for his tapes. I could be misremembering slightly, though, which is why I'm trying to archive Bill's tweets before they go Houdini on us.
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I do remember the locker bit......it's somewhere in this thread.

I think John was talking about Brad
 
BlackAnon said:
More from John Barnes -

We worked in Los Angeles and the Valley. I also worked in studios in different cities traveled to with the Victory Tour. My full time job was working in studio with Michael for many things. I developed and recorded many songs, worked with New Technology, developing New Sounds from the end of Thriller to Dangerous. Many people have worked on sessions with MJ. almost no one worked with him like I did. I've worked with him many times since then including Bahrain as well. As of this point I have not worked on anything with the estate. I will be sharing many experiences and thoughts soon. Buffalo Bill is one of the first complete songs I did for and with Michael. It is difficult listening to people speak as experts who were not as involved as they would have the public believe.

I wonder who that last sentence was in reference to. Brad Sundberg comes to mind.
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Was John still working with MJ while he was touring the US in 1988/89?
 
Michael was growing and wanted to experiment free of the restrictions of the Westlake scene. That's why he got me and John Barnes to work at his home studio for, like, a year and a half? On and off. We would program, twiddle, and build the tracks for much of that album, send the results on two-inch down to Westlake and they would, at their discretion, re-record, and add things like strings and brass. - Bill Bottrell
 
Fuzball said:
Was John still working with MJ while he was touring the US in 1988/89?
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Not sure about the tour, specifically, but I remember hearing on the MJ Cast that Barnes was around mainly in 1989-90, the pre-Riley sessions. I'm sure that's one reason many Bad outtakes were re-evaluated for Dangerous. Also would explain tapes like TMO having copies made in 1989.
 
With Barnes, he was present for the entirety of Victory. He worked on Bad until summer '86. Was present likely during the first half of Dangerous. Did sporadic sessions at Neverland in the early 2000s (I remember him mentioning 2004), followed by the Bahrain sessions.

Most of this I gleaned from the minutiae of interviews, podcasts, and the like.
 
ChanceToDance said:
In 1994 Jimmy Jam and Terry Lewis made 5 tracks for a MJ/Janet duet, one was picked for Scream and the other Janet had chose another for herself to work on a song of her own, which turned into Runaway. There's also a track made in 1990 for a possible duet but there's not much info on that.
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in Janets documentary, it shows 1993 when they started writing Scream together. I wonder if this was written prior to Jimmy and Terry presenting the tracks or if they were presented a year prior......or maybe Janet got the year wrong.
 
BlackAnon said:
in Janets documentary, it shows 1993 when they started writing Scream together. I wonder if this was written prior to Jimmy and Terry presenting the tracks or if they were presented a year prior......or maybe Janet got the year wrong.
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Janet definitely got the year wrong. All producer and engineer accounts pin 1994 as the year those tracks were produced and presented. It’s not outside the realm of possibility that MJ and Janet wrote lyrics in 1993 that later wound up being used in “Scream,” but that would be the first known instance of MJ doing such a thing—his creative process has always been music first, lyrics last.
 
'Runaway' would be really nice for MJ (the background vocals make me almost think he already sung those) but I cannot imagine it as a duet tbh..

'Scream' works sort of as duet (although MJ's solo version sounds better) but it always seemed like a weird choice for Janet to be on it since I thought History was MJ's protest album in relation to the allegations. That was until I figured out History is not a protest album at all and basically (apart from 'D.S'. and maybe 'Childhood') has the same structure and themes as all of his other albums
 
Victorious said:
'Runaway' would be really nice for MJ (the background vocals make me almost think he already sung those) but I cannot imagine it as a duet tbh..

'Scream' works sort of as duet (although MJ's solo version sounds better) but it always seemed like a weird choice for Janet to be on it since I thought History was MJ's protest album in relation to the allegations. That was until I figured out History is not a protest album at all and basically (apart from 'D.S'. and maybe 'Childhood') has the same structure and themes as all of his other albums
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Isn't he sampled in Runaway? It would've been a cool duet but I think it would've been a bit too soft for HIStory but probably would've worked if it were on Velvet Rope
 
ChanceToDance said:
They're both orchestral-type of songs, so they'll be more like Seeing Voices if anything. I doubt those songs will have much in common with Dream Away.
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But he said that .he used to play make a wish for his kids to sleep I mean Steven Spielberg
 
ChanceToDance said:
They're both orchestral-type of songs, so they'll be more like Seeing Voices if anything. I doubt those songs will have much in common with Dream Away.
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Maybe happy song or Peter pan .like dream away I wish there is many songs like dream away .I think even Michael makeller
 
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