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Has the demo to the 1991 "Blood on the Dance Floor" leaked
- Thread starter Spaceship
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SmoothGangsta
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No
DarylJoel_B
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not sure if this is real or not, but the closest thing i could find was this. could be a fan remix for all i know. but honestly, an insanely funky one. the fan remixes are always better than the official remixes released by the estate anyway. definitely sounds like Dangerous material!
Mister_Jay_Tee
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They literally lost the original demo ages ago.
Fuzball
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- Michael Jackson Jam Mix 10 - 5:52
- Michael Jackson In The Closet Mix 4 - 7:06
- Michael Jackson Remember The Time Mix 7 - 4:54
Un des trucs les plus étonnant que j’ai jamais écouté.
Tout commence de manière presque classique par un instru de Blood on the dance floor…
Puis surprise, à 00’40, tout change : toujours sur la musique de Blood, c’est les premières paroles de Sunset Driver que MJ chante, en direct live !!!!!
“All alone
She's in the ego zone
The word is out that you're doin' wrong
On the move
Got fire in your shoes
By word of mouth you are on the news”
Cela fini par le refrain de Blood, malheureusement trop rapidement puisque cette démo ne dure que 1’37.
En résumé, trop court, mais trop bon !
CD Number 1
- Michael Jackson Someone Put Your Hand Out Backups/Instrumental Mix 2 #44 - 6:23
CD Number 2
- Michael Jackson Jam - 8:41
- Michael Jackson In The Closet - 8:35
- Michael Jackson Someone Put your hand Out -5:39
- Michael Jackson Remember The Time - 5:33
- Michael Jackson Blood On The Dance Floor Mix 6 #24 -7:40
- Blank Tack - 1:08
michaeljackson.nl
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Hope I get to hear this one day.
Mister_Jay_Tee
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Interesting. That's not the 90s version Teddy made and finalized though?
Bad1978
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Does someone own these?
4. Michael Jackson Blood On The Dance Floor Mix 6 #24 - 1:37
- Michael Jackson Jam Mix 10 - 5:52
- Michael Jackson In The Closet Mix 4 - 7:06
- Michael Jackson Remember The Time Mix 7 - 4:54
Un des trucs les plus étonnant que j’ai jamais écouté.
Tout commence de manière presque classique par un instru de Blood on the dance floor…
Puis surprise, à 00’40, tout change : toujours sur la musique de Blood, c’est les premières paroles de Sunset Driver que MJ chante, en direct live !!!!!
“All alone
She's in the ego zone
The word is out that you're doin' wrong
On the move
Got fire in your shoes
By word of mouth you are on the news”
Cela fini par le refrain de Blood, malheureusement trop rapidement puisque cette démo ne dure que 1’37.
En résumé, trop court, mais trop bon !
CD Number 1
CD Number 2
Fuzball
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Yes
Bad1978
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How different is
These recordings to released one?
filmandmusic
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Nice extended versions of jam and in the closet!
There is so much left to discover and enjoy!
There is so much left to discover and enjoy!
Mister_Jay_Tee
Proud Member
Blood on the Dancefloor was a song I wrote for MJ during the sessions when Dangerous was written, sometime in 1988. I thought I'd be a clever salesman and I teased Michael about this great song I had called Blood on the Dancefloor. He was out of town and I was trying to tweak the song and this went on for weeks. He was really intrigued, so much so that before he ever heard what I did, he wrote his OWN Blood on the Dancefloor.
-Bill Bottrell
-Bill Bottrell
Mister_Jay_Tee
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More old info from Gearspace 2009:
The track Blood On The Dancefloor was one I remember for a couple of reasons...
I was in NYC working with Teddy Riley when he told me we were going to LA to work with Michael. I was very excited of course. For the next couple of weeks, we camped out at Soundtracs studios and Teddy came up with about twenty song ideas. Pretty full on but just tracks. No melody or hook ideas. All from his computer (an Atari Stacy running Notator then), MPC and racks and racks of keys and samplers. All of it was coming up through the SSL with compressors and eq etc. and we made a reference DAT with each idea to be able to play for Michael when we got to LA.
When we were finally sitting at Record One with Michael, he asked us to play some of the ideas. I hit play on the DAT. At ear splitting level, the first track immediately showed where Teddy was coming from. It was hard hitting, hard grooving, new jack infused funk and Michael was visibly pleased and from there all nervousness in the room (from all sides) was gone. When we finished playing the DAT, which included what became "Remember The Time" and "In The Closet", Michael asked us to play the fist one again. It became his favorite.
Now that we knew things looked good and that we were going to be staying in LA for awhile, we got to putting some of these ideas onto multitrack. I was excited to use the huge Neve that was at Record One then. It was gorgeous. So we recalled all the keys settings etc and spent a week or 2 getting everything down (I believe it all went straight to Mitsubishi 32 trk).
In the meantime, Michael had started coming up with lyric and melody ideas to the tracks and we almost immediately got into recording some vocals ( chorus vocals on "Remember The Time") and melody ideas for some others. I was simply blown away by Michael's singing and technique. He was ON.
But for some reason, after we retracked that first cut on the DAT, it just wasn't as exciting as what Michael first heard. It didn't hit as hard and tight and he asked me why. I said that I thought it mainly had to with the console. In NY we were using an SSL and it has a harder, edgier sound. Michael then asked if we could get one of those. Of course we couldn't just wheel in an SSL and back then, the only way to get that sound was to go to a studio that had one. Of course he then asked, "Well who has one?" and I responded with the only studio in LA that I'd worked in at that time - Larrabee. Next thing I knew, we were all moving 10 mins east on Ventura to the new Larrabee NORTH.
We tracked that song again at Larrabee and did our best to match the DAT but Michael still seemed to prefer the DAT. He took the DAT version and had Matt Forger bounce it to a multitrack at Havenhurst so he could put down some lyric ideas.
The next day, he came in with a good chunk of a complete song called "Blood On The Dance Floor". I remember thinking that was a very cool title.
But for whatever reasons, that song didn't get worked on much, if at all after that.
I thought it was strange since it started off as almost everybody's favorite track, but that's how it goes sometimes. You never know where a song will (or won't) go.
Fast forward to 1996 and I'm at Record Plant working with Michael again and he plays me some of the songs they've been working on and says "This one's the title track". It's called "Blood On The Dancefloor". What do you know? It's the track from that very first DAT with some more music and percussion added and of course, Michael's excellent vocals.
Sounded great.
The track Blood On The Dancefloor was one I remember for a couple of reasons...
I was in NYC working with Teddy Riley when he told me we were going to LA to work with Michael. I was very excited of course. For the next couple of weeks, we camped out at Soundtracs studios and Teddy came up with about twenty song ideas. Pretty full on but just tracks. No melody or hook ideas. All from his computer (an Atari Stacy running Notator then), MPC and racks and racks of keys and samplers. All of it was coming up through the SSL with compressors and eq etc. and we made a reference DAT with each idea to be able to play for Michael when we got to LA.
When we were finally sitting at Record One with Michael, he asked us to play some of the ideas. I hit play on the DAT. At ear splitting level, the first track immediately showed where Teddy was coming from. It was hard hitting, hard grooving, new jack infused funk and Michael was visibly pleased and from there all nervousness in the room (from all sides) was gone. When we finished playing the DAT, which included what became "Remember The Time" and "In The Closet", Michael asked us to play the fist one again. It became his favorite.
Now that we knew things looked good and that we were going to be staying in LA for awhile, we got to putting some of these ideas onto multitrack. I was excited to use the huge Neve that was at Record One then. It was gorgeous. So we recalled all the keys settings etc and spent a week or 2 getting everything down (I believe it all went straight to Mitsubishi 32 trk).
In the meantime, Michael had started coming up with lyric and melody ideas to the tracks and we almost immediately got into recording some vocals ( chorus vocals on "Remember The Time") and melody ideas for some others. I was simply blown away by Michael's singing and technique. He was ON.
But for some reason, after we retracked that first cut on the DAT, it just wasn't as exciting as what Michael first heard. It didn't hit as hard and tight and he asked me why. I said that I thought it mainly had to with the console. In NY we were using an SSL and it has a harder, edgier sound. Michael then asked if we could get one of those. Of course we couldn't just wheel in an SSL and back then, the only way to get that sound was to go to a studio that had one. Of course he then asked, "Well who has one?" and I responded with the only studio in LA that I'd worked in at that time - Larrabee. Next thing I knew, we were all moving 10 mins east on Ventura to the new Larrabee NORTH.
We tracked that song again at Larrabee and did our best to match the DAT but Michael still seemed to prefer the DAT. He took the DAT version and had Matt Forger bounce it to a multitrack at Havenhurst so he could put down some lyric ideas.
The next day, he came in with a good chunk of a complete song called "Blood On The Dance Floor". I remember thinking that was a very cool title.
But for whatever reasons, that song didn't get worked on much, if at all after that.
I thought it was strange since it started off as almost everybody's favorite track, but that's how it goes sometimes. You never know where a song will (or won't) go.
Fast forward to 1996 and I'm at Record Plant working with Michael again and he plays me some of the songs they've been working on and says "This one's the title track". It's called "Blood On The Dancefloor". What do you know? It's the track from that very first DAT with some more music and percussion added and of course, Michael's excellent vocals.
Sounded great.