Brad (what are you gonna do!) Buxer New Interview!

[kreen]

(One could argue that he composed the prelude to “Whatever Happens,”

I’ve never heard about this, is MJ supposed to have written that bit?

 

[SmoothGangsta]

With respect, this is just an insane response. .

Pretty common

You must be Brad or know him.

 

[zinniabooklover]

Since everyone is off-topic I might as well throw in my two cents, lol.

Richard Stites is listed as co-writer on Don't Walk Away. The 2001 US LoC catalogue record has him listed in second place for words and music. Obviously his royalty payments would be bigger if he was listed as the sole writer but he didn't lose out completely.

Here's the link to the Brice Najar interview in 2021 where he talks about DWA:

Richard Stites - BRICE NAJAR

Michael Jackson Teddy Riley Invincible Richard Stites Don't Walk Away Sony Music

www.bricenajar.com

"Can you tell us about the creative process of the song “Don’t Walk Away”?

Yes, I was involved in the entire conception, creation and production of the song “Don’t Walk Away”. I also recorded all of the initial vocals as it was supposed to be on my album on Interscope Records as I said. Michael and I bonded instantly. I remember I was in the back of the studio with all of my equipment setup. I was playing a new song I was working on that we ended up doing as well. I was bobbing my head to the track I was playing and wearing sunglasses and Michael mimicked me and started bobbing his head too and took sunglasses out of his top pocket and also put them on. I will remember that forever as it was hilarious.

Teddy Riley is credited as a composer and a producer too – what do you recall of his work?

In fact, Teddy was not involved in the production of the track whatsoever. I had a 27 piece live orchestra on there. I walked in with the final master tapes. He scheduled Michael to cut the vocals but took production credit and listed himself as the producer but that’s how it turns out on big albums like that. Yes, I produced the song but on the album it shows me in the booklet as the co-producer and Teddy Riley and Michael Jackson as the producers even though I only agreed to give them 10% of the production credit. The background vocals were already recorded before we cut Michael’s vocals. I walked into the studio with the master tapes of everything. The only things we added was Michael’s vocals with just some more effects and Teddy did an arrangement with an electric guitar for the intro. Regarding my vocal part you can hear at the end of the song, Michael wanted to keep it in. Actually, he wanted more but ended up only using the end vocals from my demo. The late great sound engineer Bruce Swedien mixed the song that night and that is what we hear.​

(…Through our conversations on Messenger of which this interview is the fruit, Richard allowed me to listen to his demo of “Don’t Walk Away”. I had not dared to ask him but my interlocutor did it spontaneously. He seemed to really appreciate my interest in the genesis of this song and thus documents our exchanges. All the more so as all this confirms his statements: the essential was already there when he put his voice. The whole thing is a little more intimate in a more acoustic atmosphere, and the final version contains only a few arrangements. Michael could have taken this artistic direction that he had already tried with “Much Too Soon” although he didn’t include it in his final track list. However, he totally respected Richard’s vision in his interpretation. The pain and sorrow can already be fully felt in this demo and I personally felt privileged to hear what had made the King of Pop want to record the song. The ending sounds familiar, and for good reason: it is indeed Richard’s vocal take that was used and can be heard on the Invincible album. I have the pleasant sensation of listening to an archive document: it is actually in this field that I try to bring my modest contribution in the musical world of Michael Jackson trying to make me useful…)


EDIT:
"Naturally, I asked him for permission to talk about the demos. He kindly accepted, saying that he has kept it all to himself for too long. He even added that since the Invincible sessions, I am the first person to listen to this demo and he appreciates my interest. This is how I keep hope that, among the collaborators of the King of Pop, many more will be happy to share the beautiful experience they had with him…)"

 

[Galactus123]

I don't think Brad is lying about Stranger in Moscow. Yeah the truth could be somewhere in the middle but I believe him. Its possible that in 2009 he wanted to stick with the old story because he didn't want to be the guy who tries to take credit from Michael. It wouldn't have been very popular thing to do just after he died.

 

[BlackAnon]

It happens a lot in music and often times, a big name singer will strong arm their way into receiving credit as a return for recording the song of a lesser known writer or producer. It's like "If I record your song, you have to give me credit even though I didn't work on it"

 

[Mister_Jay_Tee]

I don't think Brad is lying about Stranger in Moscow. Yeah the truth could be somewhere in the middle but I believe him. Its possible that in 2009 he wanted to stick with the old story because he didn't want to be the guy who tries to take credit from Michael. It wouldn't have been very popular thing to do just after he died.

I don't think it really matters so much. The importance of the song is the writing; that's still all Michael as far as I know.

As far as compositions go, MJ has plenty more to take credit for; if anything other great songs (Who Is It, Tabloid Junkie) can get more credit for the way he created them.

 

[kelley]

Since everyone is off-topic I might as well throw in my two cents, lol.

Richard Stites is listed as co-writer on Don't Walk Away. The 2001 US LoC catalogue record has him listed in second place for words and music. Obviously his royalty payments would be bigger if he was listed as the sole writer but he didn't lose out completely.

Here's the link to the Brice Najar interview in 2021 where he talks about DWA:

Richard Stites - BRICE NAJAR

Michael Jackson Teddy Riley Invincible Richard Stites Don't Walk Away Sony Music

www.bricenajar.com

"Can you tell us about the creative process of the song “Don’t Walk Away”?

Yes, I was involved in the entire conception, creation and production of the song “Don’t Walk Away”. I also recorded all of the initial vocals as it was supposed to be on my album on Interscope Records as I said. Michael and I bonded instantly. I remember I was in the back of the studio with all of my equipment setup. I was playing a new song I was working on that we ended up doing as well. I was bobbing my head to the track I was playing and wearing sunglasses and Michael mimicked me and started bobbing his head too and took sunglasses out of his top pocket and also put them on. I will remember that forever as it was hilarious.

Teddy Riley is credited as a composer and a producer too – what do you recall of his work?

In fact, Teddy was not involved in the production of the track whatsoever. I had a 27 piece live orchestra on there. I walked in with the final master tapes. He scheduled Michael to cut the vocals but took production credit and listed himself as the producer but that’s how it turns out on big albums like that. Yes, I produced the song but on the album it shows me in the booklet as the co-producer and Teddy Riley and Michael Jackson as the producers even though I only agreed to give them 10% of the production credit. The background vocals were already recorded before we cut Michael’s vocals. I walked into the studio with the master tapes of everything. The only things we added was Michael’s vocals with just some more effects and Teddy did an arrangement with an electric guitar for the intro. Regarding my vocal part you can hear at the end of the song, Michael wanted to keep it in. Actually, he wanted more but ended up only using the end vocals from my demo. The late great sound engineer Bruce Swedien mixed the song that night and that is what we hear.​

(…Through our conversations on Messenger of which this interview is the fruit, Richard allowed me to listen to his demo of “Don’t Walk Away”. I had not dared to ask him but my interlocutor did it spontaneously. He seemed to really appreciate my interest in the genesis of this song and thus documents our exchanges. All the more so as all this confirms his statements: the essential was already there when he put his voice. The whole thing is a little more intimate in a more acoustic atmosphere, and the final version contains only a few arrangements. Michael could have taken this artistic direction that he had already tried with “Much Too Soon” although he didn’t include it in his final track list. However, he totally respected Richard’s vision in his interpretation. The pain and sorrow can already be fully felt in this demo and I personally felt privileged to hear what had made the King of Pop want to record the song. The ending sounds familiar, and for good reason: it is indeed Richard’s vocal take that was used and can be heard on the Invincible album. I have the pleasant sensation of listening to an archive document: it is actually in this field that I try to bring my modest contribution in the musical world of Michael Jackson trying to make me useful…)


EDIT:
"Naturally, I asked him for permission to talk about the demos. He kindly accepted, saying that he has kept it all to himself for too long. He even added that since the Invincible sessions, I am the first person to listen to this demo and he appreciates my interest. This is how I keep hope that, among the collaborators of the King of Pop, many more will be happy to share the beautiful experience they had with him…)"

So what I'm getting is that he agreed to give Teddy and MJ production credit (10%), It wasn't stolen from him, he consented to it. So what is the problem?

The same people criticizing this are the same people who say Greg Philliagnges(sp) should be listed as a co-song writer on DSTYGE for the 20 second arrangement he made.

You can't have it both ways.

Now I actually think they shouldn't have gotten credit(just like greg didn't get credit). I prefer the old way of assigning credit where the person who wrote the melody and bulk of the song gets sole credit. But like I said times had changed by then and song credits became more of business thing rather then properly documenting who created the song.

But if this guy consented to sharing credit, it is what it is. That was his choice. No reason to attack MJ and Teddy for it. It's business.

 

[kelley]

I don't think Brad is lying about Stranger in Moscow. Yeah the truth could be somewhere in the middle but I believe him. Its possible that in 2009 he wanted to stick with the old story because he didn't want to be the guy who tries to take credit from Michael. It wouldn't have been very popular thing to do just after he died.

Which version of his story do you believe? Because he has told multiple different stories.

If he suddenly starts claiming other songs, like Morphine (which so far he has stated Michael did completely alone) will you believe that as well?

Serious question.

If people are allowed to change their story and still be deemed credible, then it's no wonder so many people believe Wade and James lies.


Please check out this post where I rebutted Brad's claims with careful research and facts and evidence.

Reflection on Stranger in Moscow

A repost from earlier. Please remain on topic; Stranger in Moscow is the topic. Part One: For this project, I am choosing the song Stranger in Moscow by Michael Jackson. The link is posted below. Part Two: There are several elements to this song that make it very compelling. It is...

www.mjjcommunity.com

 

[kelley]

I don't think it really matters so much. The importance of the song is the writing; that's still all Michael as far as I know.

As far as compositions go, MJ has plenty more to take credit for; if anything other great songs (Who Is It, Tabloid Junkie) can get more credit for the way he created them.

LOL, Actually in recent years Brad has started claiming he came up with the lyrics too!

Eventually he's just going to claim he not only wrote the whole song, but sung it too! and certain fans will just go along with it.

 

[Mister_Jay_Tee]

LOL, Actually in recent years Brad has started claiming he came up with the lyrics too!

Eventually he's just going to claim he not only wrote the whole song, but sung it too! and certain fans will just go along with it.

Welp, honestly you would get farther if you mentioned that first. Because that's very egregious. Quibbling about production credits is not remotely as important

 

[DuranDuran]

I prefer the old way of assigning credit where the person who wrote the melody and bulk of the song gets sole credit.

You mean like Elvis Presley getting writing credits but never wrote a song in his life? Or bands who give every member a credit whether they actually helped or not. A lot of Lennon/McCartney songs were written separately, usually by which one was the lead singer, they just agreed to give each other credit. In the 1970s, James Brown would give his then elementary school aged daughters the credit on some songs instead of himself, to get around the taxman.

 

[kelley]

Welp, honestly you would get farther if you mentioned that first. Because that's very egregious. Quibbling about production credits is not remotely as important

Production and writing credits. Remember his current story is that he wrote the whole song with little imput from Michael and Michael "stripped" him of credit.

 

[kelley]

You mean like Elvis Presley getting writing credits but never wrote a song in his life? Or bands who give every member a credit whether they actually helped or not. A lot of Lennon/McCartney songs were written separately, usually by which one was the lead singer, they just agreed to give each other credit. In the 1970s, James Brown would give his then elementary school aged daughters the credit on some songs instead of himself, to get around the taxman.

No I mean the way Michael credited his songs in the earlier years.

I wish he didnt get credits for some of those invincible songs, because for starters some of them suck. The one's he actually wrote alone like speechless are beautiful and much better than the ones people complain about him having credits for.

Besides people are using the invincible credit situation to try and de legitimize the credits on his earlier albums, which really isn't fair but what else is new.

 

[BlackAnon]

So what I'm getting is that he agreed to give Teddy and MJ production credit (10%), It wasn't stolen from him, he consented to it. So what is the problem?

My guess is Richard should be listed as producer and Teddy should be listed as co-producer

Don't Walk Away
Co-producer, Backing Vocals [Additional] – Richard Stites
Mixed By – Bruce Swedien
Producer, Recorded By, Edited By [Digital], Mixed By – Teddy Riley
Recorded By, Edited By [Digital], Mixed By – George Mayers
Written-By – Reed Vertelney, Richard Carlton Stites*, T. Riley*
Written-By, Producer, Lead Vocals, Backing Vocals – Michael Jackson

 

[zinniabooklover]

The same people criticizing this are the same people who say Greg Philliagnges(sp) should be listed as a co-song writer on DSTYGE for the 20 second arrangement he made.

I made no comment about Greg. If other people choose to link the Greg thing with Richard's story that's up to them.

You can't have it both ways.

Not sure who this is aimed at but it doesn't relate to anything I said.

So what I'm getting is that he agreed to give Teddy and MJ production credit (10%), It wasn't stolen from him, he consented to it. So what is the problem?

No problem. I didn't post the Richard Stites interview aiming it at you. It was more a response to something @AlwaysThere wrote. They mentioned Richard Stites getting a production credit, I merely added some info to clarify that Richard also got his writing credit - albeit not 100%. I didn't do it as a direct reply to AT bc I didn't think it was necessary. AT's statement was clear enough, all I did was add some info as FYI, that's all. It's an interesting interview, imo, and not everyone will have seen it (although maybe in this thread they have).

[...] Richard Carlton Stites produced the majority of “Don’t Walk Away,” yet only received co-production credit and lost out on royalties because MJ and Riley took writing credit. [...]

Your response to AT was this:

[...] See the above. Also there is no source for this and it sounds like you are offended on stites behalf and he himself did not complain about this. [...]

Well, there is the Brice Najar interview.

Now I actually think they shouldn't have gotten credit(just like greg didn't get credit).

If you mean Richard Stites should not have got credit for writing DWA then I disagree since it would appear that
a) the guy wrote the whole thing OR
b) he wrote most of it

Quote from Brice Najar:
"Through our conversations on Messenger of which this interview is the fruit, Richard allowed me to listen to his demo of “Don’t Walk Away”. I had not dared to ask him but my interlocutor did it spontaneously. He seemed to really appreciate my interest in the genesis of this song and thus documents our exchanges. All the more so as all this confirms his statements: the essential was already there ..."

Since none of us was present at any of Michael's songwriting or recording sessions none of us will ever know the truth 100%. But I don't get vibes from Richard's story whereas Brad's story ... let's just say I'm not convinced.

I prefer the old way of assigning credit where the person who wrote the melody and bulk of the song gets sole credit.

It never really worked like that as @DuranDuran has already explained. Not 100%, anyway. That's why there have been so many instances of band members suing each other for backdated royalties. Just to be clear, of course plenty of songwriters do get sole credit. But there has always been lots of variation. Lots of rock bands will list the whole band as writers just to save any future legal hassles if someone feels their contribution isn't properly recognised.

But like I said times had changed by then and song credits became more of business thing rather then properly documenting who created the song.

Ngl, I do sometimes think the lines between co-writing, arranging and collaborating have been blurred to the point of insanity.

But if this guy consented to sharing credit, it is what it is. That was his choice. No reason to attack MJ and Teddy for it.

We'll have to agree to disagree bc I don't think Richard Stites is attacking MJ or Teddy. He simply explained how the situation panned out, he didn't complain or bitch about it. He's stated that the music industry works in a particular way and he accepts it even if he's not ecstatic about it.

It's business.

And Richard Stites accepted that.

 

[analogue]

The same people criticizing this are the same people who say Greg Philliagnges(sp) should be listed as a co-song writer on DSTYGE for the 20 second arrangement he made.

Also solo's don't count as songwriting. If it did count then Eddie Van Halen would have gotten a writing credit on Beat It and Slash would have gotten a writing credit on Give Into Me and DS. So Greg's keyboard solo on DSTYGE doesn't count.

And didn't Greg also come up with the keyboard solo on Bad? I don't hear anyone saying he should be credited for that.

 

[Mister_Jay_Tee]

Production and writing credits. Remember his current story is that he wrote the whole song with little imput from Michael and Michael "stripped" him of credit.

Depending on the definition you use, "writing music" also means composing. So you can definitely stretch this claim further and further, you're right. It was a collaboration, not a writers demo. Michael did contribute to the song.

 

[kelley]

Depending on the definition you use, "writing music" also means composing. So you can definitely stretch this claim further and further, you're right. It was a collaboration, not a writers demo. Michael did contribute to the song.

with all due respect I think you're trying to soften what Brad has been doing the past few years.

Like I said his story has evolved from him only contributing few chords to him writing the whole song including lyrics. You don't just go from a few chords to lyrics. That's a huge jump

I stand by what I said. I believe Michael heard the few chords Brad played and Michael wrote and composed the song.

Considering that most pop songs use the same chords I don't think Brad coming up with a chords warrants a song writing or composing credit. You can not copy right chords.

 

[DuranDuran]

It never really worked like that as @DuranDuran has already explained. Not 100%, anyway. That's why there have been so many instances of band members suing each other for backdated royalties. Just to be clear, of course plenty of songwriters do get sole credit. But there has always been lots of variation. Lots of rock bands will list the whole band as writers just to save any future legal hassles if someone feels their contribution isn't properly recognised.

There was a doo wop group named The Coasters, One of the group members wrote some of the songs. Their manager would register the songs for them at the copyright office. But she would register them under her name, so she got the royalties instead. There is a lot of cases of this in the recording industry. It also happened to B.B. King earlier in his career. In B.B.'s case, his label bosses would add their names to his songs, but did register B.B. instead of taking all of the credit like The Coasters manager. There's also ghostwriters who get paid a fee for each song they write, but no royalties. The songs are registered to whoever paid the ghostwriter, who gets the royalties. With jazz, often it is the band leader who gets the credit, even if the song was partially or totally written by one of the sidemen. The reason Elvis got credits is because Colonel Parker would not let Elvis record anything if the writers would not sign over 50% of the publishing. Jerry Reed got around this one time, and Dolly Parton refused. It was more of Parker's doing than Elvis'. Just like Parker generally would not let Elvis do duets with other artists or do movie roles that he (Parker) felt wouldn't be guaranteed moneymakers. A lot of the movies he made, he didn't want to do, Elvis wanted to be seen as a serious actor.

 

[analogue]

with all due respect I think you're trying to soften what Brad has been doing the past few years.

Like I said his story has evolved from him only contributing few chords to him writing the whole song including lyrics. You don't just go from a few chords to lyrics. That's a huge jump

I stand by what I said. I believe Michael heard the few chords Brad played and Michael wrote and composed the song.

Considering that most pop songs use the same chords I don't think Brad coming up with a chords warrants a song writing or composing credit. You can not copy right chords.

If Brad had stuck to his story back in 2009 when he said ''I could have gotten a writing credit but never asked'' then I'd be more inclined to believe him but ever since then he started giving himself more and more credit to the point where I don't even believe what he said back in 2009.

 

[Mister_Jay_Tee]

with all due respect I think you're trying to soften what Brad has been doing the past few years.

Like I said his story has evolved from him only contributing few chords to him writing the whole song including lyrics. You don't just go from a few chords to lyrics. That's a huge jump

I stand by what I said. I believe Michael heard the few chords Brad played and Michael wrote and composed the song.

Considering that most pop songs use the same chords I don't think Brad coming up with a chords warrants a song writing or composing credit. You can not copy right chords.

Well I'm coming around to agreeing with you. I'm trying to say I think it's more so that Brad is using the mystery of MJs process to extend his claim beyond what it technically is. Like in a technical level.

Definitely a production credit, anything more than that is debatable for sure.

 

[kelley]

If Brad had stuck to his story back in 2009 when he said ''I could have gotten a writing credit but never asked'' then I'd be more inclined to believe him but ever since then he started giving himself more and more credit to the point where I don't even believe what he said back in 2009.

That's all I'm saying.

 

[BlackAnon]

Didn't SIM evolve from the ending music from Sonic 3? If so and in a sense, Brad should've been credited. He probably feels a way about it now because it's such a fan favorite

 

[kelley]

Didn't SIM evolve from the ending music from Sonic 3? If so and in a sense, Brad should've been credited. He probably feels a way about it now because it's such a fan favorite

But Michael worked on the music from sonic 3 as well, According to other people who worked on the project, Michael sung every note of the music in the game. The person even said they have tapes of it somewhere. Check out my post in the thread I posted above.

Brads narrative about sonic has also changed. In the past he said he and Michael worked on the music together (which lines up with other people's stories) but in recent years he now claims Michael had nothing to do with it.

Also listening to that music. It's not the same as SIM. Similar chords yes, but again chords can not copy righted. Otherwise nearly Every single pop song in the past 20 would have a big problem.

The melody from SIM is not in that sonic track. And brads original claim is that he came up with the chords, not the melody. It's the melody that really makes a song.

 

[Eventidescape1]

with all due respect I think you're trying to soften what Brad has been doing the past few years.

Like I said his story has evolved from him only contributing few chords to him writing the whole song including lyrics. You don't just go from a few chords to lyrics. That's a huge jump

I stand by what I said. I believe Michael heard the few chords Brad played and Michael wrote and composed the song.

Considering that most pop songs use the same chords I don't think Brad coming up with a chords warrants a song writing or composing credit. You can not copy right chords.

No idea where specifically Brad said he wrote the lyrics?? I have read quite a few of his interviews, but haven't come across that yet. Unless that's in the video linked here as I am yet to finish it...

If Brad did have a direct hand in writing the song, then that would be enough to consider him a writer of the song. Of course, you can't copyright chords, but chords make up the song.

Interestingly, there may be one piece to the jigsaw that support one of Brad's stories. If you look up the Hotel Metropol in Moscow, there's a Steinway upright piano in the suite Michael apparently stayed at in 93. But that's what the hotel website and some photos say, so take it however you will...

Still, Michael didn't really mention Brad being in the room when he spoke about writing the song, so still a hell of a mystery to me. Nobody else was in the room but Michael (or, supposedly, Brad). Who knows that the truth is if that keeps shifting...

 

[kelley]

No idea where specifically Brad said he wrote the lyrics?? I have read quite a few of his interviews, but haven't come across that yet. Unless that's in the video linked here as I am yet to finish it...

If Brad did have a direct hand in writing the song, then that would be enough to consider him a writer of the song. Of course, you can't copyright chords, but chords make up the song.

Interestingly, there may be one piece to the jigsaw that support one of Brad's stories. If you look up the Hotel Metropol in Moscow, there's a Steinway upright piano in the suite Michael apparently stayed at in 93. But that's what the hotel website and some photos say, so take it however you will...

Still, Michael didn't really mention Brad being in the room when he spoke about writing the song, so still a hell of a mystery to me. Nobody else was in the room but Michael (or, supposedly, Brad). Who knows that the truth is if that keeps shifting...

Oh I don't doubt brad was in the room. I definitely think he played what MJ dictated to him they way he always did.

Usually Michael mentioned when another person wrote a song with him. Watch the Mexico deposition. I think he was very generous giving credits. The only time there seems to be disputes is the invincible era. And to me Michael wasn't really himself during that era. He had a lot going on.

 

[SmoothGangsta]

I don't think Brad is lying about Stranger in Moscow. Yeah the truth could be somewhere in the middle but I believe him. Its possible that in 2009 he wanted to stick with the old story because he didn't want to be the guy who tries to take credit from Michael. It wouldn't have been very popular thing to do just after he died.

Yeah, I think he's just become more annoyed about the fact as time has went on.

 

[Eventidescape1]

Wonder if there are any Brad interviews from before 2009?

 

[analogue]

Also listening to that music. It's not the same as SIM. Similar chords yes, but again chords can not copy righted. Otherwise nearly Every single pop song in the past 20 would have a big problem.

The caveman who first banged some sticks onto a rock needs to sue EVERYBODY. lol

 

[SmoothGangsta]

So when did Brad say he wrote the lyrics?