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IJCSLY Single with "Don't Be Messin' Round" bonus track [Discussion]

Great article from Vogel. Certainly has me excited for this release.
 
Karthik said:
Got mine today :D
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OMG! :wild:
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Well, it appears that the single is nowhere to be found in Wal-Marts in the Philadelphia area.

Needless to say I'm not very happy right now.
 
Took a cab to go to Walmart in White Plains New York to get the music and it was not there. I was so mad that I bought some lemons and came back home.
 
wouldn't it be great if they add the final version of this song on bad...we all know how different can a mj demo sound . i would love to hear the final version of this song
 
Went to a Walmart in Honesdale, PA, only to be told that every copy they had was sold out, and that more would be in tomorrow. Which is why I will be showing up at a Walmart in Honesdale, PA, at 7:30 in the morning.
 
^^ I read that you can order it online and choose the option ship it to store . ** for walmart **
 
peru94 said:
wouldn't it be great if they add the final version of this song on bad...we all know how different can a mj demo sound . i would love to hear the final version of this song
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To be honest, I'd prefer to have the the version we've heard to be included on this release. The album is supposed to mark the 25th anniversary of Bad, and this is how Michael left the song during the Bad sessions. I'd personally think it'd be wrong to incude any material that's post 1987 in this context.

But with that said, I'm certainly hoping for a more complete version on a later release! :D
 
I was importing my copy into iTunes, and "DBMR" appeared as "Baby Be Mine". Title's wrong but the song is DBMR! Strange!

My Walmart just had 6 copies yesterday. I bought two.
 
Re: IJCSLY Single with "Don't Be Messin' Around" bonus track [Count Down]

Moonwalker.Fan said:
the choice to release the demo of Dont be messin Around was/is another mega stupid and complete professional failure...

Id like to know who agreed with this...

Most of the fans (90%) really "dont like it"=hate it, they are frustrated.... that such an important project like BAD25 is... is ruined... because of inability be interactive... in the 21st century..., hallo.....
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completely the different is the fact. 90% like it, think its a "DEMO", its not finisched, thats wath a demo always is. thats why its called a demo. uncompleted.
if u have to hate something, its the shitty mixes they will put on the album.
I'm happy with the song. its nice, its a demo, something mike worked on, but not finished. something he would have finished when it was released.
so i completelly dont understand how you can posts something like this.
 
bluesky;3651888 said:
The Story Behind Michael Jackson's Infectious, Newly Released Song

<iframe id="f35ba033b4" name="f209452118" title="Like this content on Facebook." class="fb_ltr " src="http://www.facebook.com/plugins/like.php?action=recommend&api_key=100770816677686&channel_url=http%3A%2F%2Fstatic.ak.facebook.com%2Fconnect%2Fxd_arbiter.php%3Fversion%3D6%23cb%3Dfceeef72c%26origin%3Dhttp%253A%252F%252Fwww.theatlantic.com%252Ff12b8a0584%26domain%3Dwww.theatlantic.com%26relation%3Dparent.parent&extended_social_context=false&href=http%3A%2F%2Fwww.theatlantic.com%2Fentertainment%2Farchive%2F2012%2F06%2Fthe-story-behind-michael-jacksons-infectious-newly-released-song%2F258115%2F&layout=button_count&locale=en_US&node_type=link&sdk=joey&send=false&show_faces=false&width=130" style="position: absolute; overflow: hidden; height: 19px; width: 130px; border-style: none; " scrolling="no"></iframe>JUN 5 2012, 12:57 PM ETThe demo of "Don't Be Messin' 'Round" is among dozens of unreleased tracks from the Bad sessions, and provides insight into King of Pop's songwriting and recording process.
michael%20jackson%201987%20apimages%20615%20new%20song.jpg
AP Images​
It's been 25 years since Michael Jackson was in Westlake Studio in Los Angeles putting the finishing touches on his classic 1987 album, Bad. Today, a demo of a never-before-heard song from those sessions will finally get an audience when Sony's re-release of Bad's original lead single, "I Can't Just Stop Loving You," hits Wal-Mart shelves. The B-side, an infectious rhythm track called "Don't Be Messin' 'Round," provides a glimpse into Jackson's creative process&#8212;and to his incredible profligacy as a songwriter.

<iframe src="http://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F48277703&show_artwork=true" frameborder="no" height="166" scrolling="no" width="100%"></iframe>

Jackson had a habit of writing and recording dozens of potential songs for each new project. This was especially the case for the Bad era, a prolific period in his career. At one point, he considered making Bada triple-disc album given the amount of quality material. So it's fitting that later this fall, Sony Music and Jackson's estate will put out a full album of previously unreleased material from the Bad sessions. While the track list has not yet been finalized and will not be made public until closer to the September 18 release date, more than 20 new, unheard demos from the Bad sessions are currently being considered for the album. The songs being evaluated include a number of real gems and a few titles previously unknown to the most ardent Jackson aficionados.

Jackson would pull out the song again during both the 'Dangerous' and 'HIStory' sessions. Clearly, it was a song he liked. But it never found a home.​


A team of Jackson collaborators and caretakers&#8212;including estate heads, Sony VP John Doelp, producer Al Quaglieri (who oversaw the excellent 2004 box set,Michael Jackson: The Ultimate Collection) and recording engineer, Matt Forger&#8212;combed through the vaults to see what was viable for the Bad 25 release. The criteria used for identifying potential songs were simple: They had to be recorded during the Bad era (1985-1987), and they had to be developed enough to feel like a complete track.

The Michael Jackson estate and Sony Legacy are leaving Jackson's work raw and unembellished this time around, in contrast to the King of Pop's first posthumous album, 2010's controversial Michael. The tracks will thus be less polished but more authentic, organic and true to what Jackson left behind. Similar to the critically acclaimed 2009 documentary, This Is It, the goal is to provide an intimate glimpse of the artist in his element. The listener, in essence, is brought into the studio with Michael Jackson as he works out a variety of musical ideas in his follow-up to the best-selling album of all time.

"Don't Be Messin'" illustrates this concept well. In the track, we can hear Jackson giving instructions, vocally dictating instrumental parts, mapping out where to accent words or add percussion, scatting and ad-libbing many of the unfinished lyrics. "One of the main intentions is to show that these are works in progress," says Matt Forger, a sound engineer and longtime Jackson friend and collaborator. "To pull the curtain back. To actually see Michael in his natural work environment, how he directs, his sense of humor, his focus."

The finished product, then, is intentionally unfinished and spontaneous. "You can just hear him having fun," Forger says. "His spirit and emotion are totally there. He knew in demos he didn't have to be totally perfect in his execution. So he'd be loose. He'd throw in ad libs and dance or sing or pop his fingers or clap his hands. You just hear him enjoying himself."

Jackson first wrote and recorded "Don't Be Messin'" during the Thriller sessions with engineer Brent Averill. Around this time he was working on a variety of musical ideas, including demos of "P.Y.T." and "Billie Jean." "Don't Be Messin'" features Jackson himself playing piano ("He could do more than he ever really let people know," Forger says.) He also produced, arranged, and guided many of the instrumental parts, including the cinematic strings, Jonathan Maxey's piano part in the bridge, and David Williams funky guitar licks.

Ultimately, since "Don't Be Messin'" wasn't fully developed and so much other strong material was coming in for Thriller, Jackson decided to put the song on the back burner, having in mind to revisit it for his next album. "That was kind of how Michael developed ideas and songs," explains Forger. "He let the song unfold in its own time. Sometimes a song wasn't ready or didn't quite fit the character of an album or a project and it would stay in the vaults. And then at a certain point of time, he would pull it out again."

In this case, the track re-surfaced in 1986, during the early stages of the Bad sessions. Jackson worked on the song primarily with recording engineers Matt Forger and Bill Bottrell in the "laboratory," the nickname for his renovated home studio at Hayvenhurst. As was typical for Jackson rhythm tracks, the song was quite long (nearly eight minutes) in its early phases. "Michael loves a song to be long," Forger says. "He loves it to groove because he gets to dance to it&#8212;which is a big thing, because when Michael feels the music is making him dance it means the groove is in the pocket."

Jackson's grooves, however, were unusual in that they often lacked the predictable repetition of much dance music, surprising with strange beat patterns, textures and nuances. "Some of these long versions of ["Don't Be Messin'"] really sound very interesting because there's different things happening in different sections," Forger says. "It's really not like you're sitting there for eight minutes thinking it's terribly long, because things are happening within that length of time that make it feel like, 'Yeah, this is cool.' It's actually satisfying to listen to the rhythm."


Cutting the song down was often a brutal process for Jackson, especially the intros and outros. As with other songs on Thriller and Bad, though, Jackson tried to trim it down into the four-to-five minute range, which is where the new mix of "Don't Be Messin'" clocks in.

Jackson continued to work on "Don't Be Messin'" into late 1986, at both his home studio and at Westlake. However, once Quincy Jones came on board, the serious paring began and "Don't Be Messin'" was left on the cutting room floor. Jackson would pull out the song again during both theDangerous sessions and HIStory sessions, updating its sound and adding new elements. Clearly, it was a song he liked. But ultimately it never found a home.

The version Matt Forger mixed was the last version Jackson worked on during the Bad sessions in 1986. Forger feels it is the purest, most emotionally satisfying version: "It's exactly how Michael dictated it at the time. It's precisely Michael saying, 'this is how it has to be.'"

The 1986 demo isn't a groundbreaking song. The vocal is only partial-strength, the lyrics aren't finished, and the production isn't close to what it would be had it been fully realized by Jackson and Quincy Jones. However, it is a solid addition to the growing list of quality Bad-era outtakes (a list that also includes "Streetwalker," "Fly Away," and "Cheater"). "It's such a catchy underlying melodic hook," Forger says. "And it has a rhythmic feel that syncopates in such an interesting fashion." In a 2009 interview legendary recording engineer Bruce Swedien cited the track as one of his favorite unreleased Jackson songs. "It's just beautiful," he said . "Oh my God, there's nothing like it."

Like much of his work, the track doesn't fit neatly into a single genre, fusing flavors of Latin, jazz, and pop. With its breezy Bossa Nova rhythm and layers of interwoven hooks, it is a song that easily gets stuck in the head and makes you want to move&#8212;yet it also rewards multiple listens with its sophisticated syncopation and complex rhythm arrangement ("Music is like tapestry," Jackson once said. "It's different layers, it's weaving in and out, and if you look at it in layers you understand it better.")

For Forger, working on the track triggered memories of a simpler time in Jackson's turbulent career: "It just brought all the feelings back of what it was like in that era. Michael was just this exuberant, happy person. He wanted to challenge the world and make wonderful, great music."
What was Forger's goal in resurrecting the track?
"Just to make it authentic. Something Michael would enjoy and be proud of. It's got his charm and energy. If people appreciate it and enjoy it for what it is then I'll feel great. All I want it to be is enjoyed for the simple thing that it is."

http://www.theatlantic.com/entertai...cksons-infectious-newly-released-song/258115/
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I'm a bit confused. does this mean this released demo version is before or after that mike and quincy worked on it in 1986?
and generelly this is not a BAD song. its from thriller. so its for a thriller album release in the future. not for BAD.
 
mjchris said:
I'm a bit confused. does this mean this released demo version is before or after that mike and quincy worked on it in 1986?
and generelly this is not a BAD song. its from thriller. so its for a thriller album release in the future. not for BAD.
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The song was first written and worked on during Thriller Era, then later reworked on during BAD Era. The latest version which comes from the BAD Era is the one we have today.
 
My walmart had 3 copies, scored one, almost bought another but didn't want to just have something sitting on my shelf.
 
Pentum said:
The song was first written and worked on during Thriller Era, then later reworked on during BAD Era. The latest version which comes from the BAD Era is the one we have today.
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so that means its the reworked version of mike and quincy after 1986.
 
The person who startet this thread - PLEASE ADD A POLL!

Would be nice to see what people think of the song. - Just add a poll like the Pepse remix poll.

Thanks
 
Will the single be included in the BAD box (the black box with the buckles)?
Or is it only separated available?
 
What if they'd re-release a few other singles from the Bad album, each with a bonus demo as a B-side. I mean, they are apparently considering about 20 tracks for the second dics. It's pretty obvious that they won't be able to fit all of them on the CD so maybe they should (and this is just a personal opinion) put out a demo for each single (as a b-side, like DBMA) and have the remaining demos fit on CD2 of Bad25.

Realistically speaking, I don't really think they're gonna re-release all 9 singles but if they'd re-release about 5 or 5 of them, then you'd have 5-6 demos released as b-sides for each single, plus the remaining 14-15 demos on Bad25. I think they could fit those pretty easily on the album...

Then of course, if they were to re-release all the 9 single they'd have 9 demos released as b-sides and 11 demos on Bad25, which would also make room for any (pointless) remixes they'd want to put in there as well.

Just my take on the whole 'bonus material' for Bad25 discussion...
 
I think they will save at least 10 songs for the future. They want to gain something off BAD later I'm sure of.
 
Pentum said:
I think they will save at least 10 songs for the future. They want to gain something off BAD later I'm sure of.
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What better occasion to release these Bad era demos (unfinished and whatnot) than if not on a anniversary release? Seriously, how else are they gonna market some 25 year old incomplete songs? They might as well release as much of them (if not every single one of them) as part of this anniversary edition of a 25 year old album.
 
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MusicMan26 said:
Well, it appears that the single is nowhere to be found in Wal-Marts in the Philadelphia area.

Needless to say I'm not very happy right now.
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I take this back. I called around and found a store that had two copies.
 
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