Reflection on Stranger in Moscow

[Mister_Jay_Tee]

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 consistently described as one
of Michael Jackson’s best songs, and this is due to the many elements at work throughout the song.
The song, penned and composed by Michael Jackson and produced with important contributions by
Brad Buxer, moves to draw you in. With a pregnant pause in place at the start of the composition, no
doubt to accentuate the live performance of the song, the song’s beat kicks in, heralding the start of the
song, and many performances, where he would demonstrate his robotic dance moves. The tempo of the
song fittingly compliments the gliding nature of Jackson’s moonwalking. The tempo of the track stands as
one of Jackson’s slowest; around 67 BPM. Despite that, the song maintains a fluid rhythm, in large part
due to the track’s beat, which serves as a harmonious counter-rhythm to the track’s melody.
The melody is extremely captivating. It is simple, conjunct and hypnotic. It loops, repeatedly cycling
through the sampled beatboxing characteristically used by Jackson to compose his hit songs. It keeps a
brisk pace, complimenting the BPM, while still communicating the melancholy tone the song serves to
represent. The soundscape of the track speaks to how sonically dense many of the songs engineered and
mastered by Michael Jackson and his team. One can hear the multiple samples and sounds interspersed
throughout the song, as they compliment and enhance the despondent, moody vocal flourishes and tics
from the song’s performer, as he asks how it does feel, when you are alone, and cold inside. All of this
serves to make Stranger in Moscow a standout, a tour-de-force on the album HIStory: Past Present and
Future: Book I.

Part Three:
This song serves the purpose of heralding the rain. On days when the sun is away, and the water falls
from the sky. The mood of the song perfectly complements weather conditions like this. It’s not an
isolationist song, but it’s meant for relief. The song describes Jackson’s loneliness due to many
encounters in his life. It also gives a voice to the feeling of aimless drifting that we all may feel, the
solemn nostalgic feeling that a cloudy, rainy day may bring. Many people have stated the ways Jackson’s
work explores and serves to help escape from tension, and that is exactly the purpose of the song. When
one is feeling the onset of isolation, or simply when the weather conditions are right, this song serves as
its anthem. For that reason, it remains in my song queues, set apart for these rainy days

 

[xam]

The song, penned and composed by Michael Jackson and produced with important contributions by
Brad Buxer

Brad Buxer on Stranger In Moscow.
"He [Michael] had nothing in mind for that. Nothing."
6:55 to 8:10
MJ did not compose Stranger In Moscow, though he made millions saying he did. I think it's important to give credit to the creator.

 

[Mister_Jay_Tee]

Brad Buxer on Stranger In Moscow.
"He [Michael] had nothing in mind for that. Nothing."
6:55 to 8:10
MJ did not compose Stranger In Moscow, though he made millions saying he did. I think it's important to give credit to the creator.

Everyone knows Buxer was an invaluable aid to MJ, and honestly worked harder than Quincy. MJ kept Brad on the payroll, as he should've. And that's what they enjoyed doing together. You make it sound like MJ used him. Just a typical cynicist purpose. Meanwhile.

Buxer did not push for credit. He had his chance. The writing credits have to go to someone. And the way MJ was doing at the time, I'm sure Brad was fine giving MJ this, something of a motivator. This song was the reason the HIStory album was made after all.

You can hear the "composition" for Stranger in Moscow. They're still pretty far apart, like father and son rather than young version, old version. You can pick apart any song the same way but you won't, I'm sure. And you wouldn't get far really: WBSS, DSTYGE, Billie Jean. All are one to one from demo to finished. They each resemble what came next, thanks to Quincy polishing them, just polishing them, with his talented instrumentalists variously doing the work. Even other songs MJ composed with others, no matter how altered, they bear the resemblance to what he came up with. This song sounds like classic MJ, but it also doesn't. What's important is it's so effective.

Meanwhile, who came up with the words of the songs? The thing that really takes your attention? Exactly. The vocals of course also are a big element of importance. They make up the difference.

 

[xam]

Meanwhile, who came up with the words of the songs? The thing that really takes your attention? Exactly. The vocals of course also are a big element of importance. They make up the difference.

Brad composed the song. Michael wrote the lyric and sang it. It's as simple as that. You can call it cynicism if you want. Brad had his reasons for not pushing for credit (job security, friendship, future projects, whatever). I'm sure he had his reasons. But I believe him when he said MJ came up with nothing for that song (composition-wise). He has told us when MJ did come up with ideas for the many songs he worked with him on, but this wasn't one of them, as far as the music goes.

 

[Mister_Jay_Tee]

Brad composed the song. Michael wrote the lyric and sang it. It's as simple as that. You can call it cynicism if you want. Brad had his reasons for not pushing for credit (job security, friendship, future projects, whatever). I'm sure he had his reasons. But I believe him when he said MJ came up with nothing for that song (composition-wise). He has told us when MJ did come up with ideas for the many songs he worked with him on, but this wasn't one of them, as far as the music goes.

The poem stranger in Moscow already existed. So they were looking for music to accompany that. Brad said he had nothing, he did not say he came up with nothing. They composed the song together. Just as they did multiple other songs together. MJ rarely came up with ideas, but the ones he did were usally watertight. Who Is It for instance.

So you are, half right, Brad deserves credit. Half credit, maybe even a majority credit. Not all of it. You can consider them a songwriting duo if it makes you feel better. They worked together though, at least in the 90s

Invincible is a different story. Rodney did all that.

 

[xam]

Brad said he had nothing, he did not say he came up with nothing.

Brad: "That's an example of a blank slate."

Are you seriously arguing this point? We'll just have to disagree with what we think Brad is trying to convey here. I think it's crystal-clear.

 

[@mjfanatic777]

Is it ok if I add a grammar suggestion in this thread?

 

[Mister_Jay_Tee]

"That's an example of a blank slate."

They created the song together. MJ wrote the song. Brad made the beats. They ironed out the finer details, After. 50/50, 75/25. Just pick whatever.

 

[Richard76]

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 consistently described as one
of Michael Jackson’s best songs, and this is due to the many elements at work throughout the song.
The song, penned and composed by Michael Jackson and produced with important contributions by
Brad Buxer, moves to draw you in. With a pregnant pause in place at the start of the composition, no
doubt to accentuate the live performance of the song, the song’s beat kicks in, heralding the start of the
song, and many performances, where he would demonstrate his robotic dance moves. The tempo of the
song fittingly compliments the gliding nature of Jackson’s moonwalking. The tempo of the track stands as
one of Jackson’s slowest; around 67 BPM. Despite that, the song maintains a fluid rhythm, in large part
due to the track’s beat, which serves as a harmonious counter-rhythm to the track’s melody.
The melody is extremely captivating. It is simple, conjunct and hypnotic. It loops, repeatedly cycling
through the sampled beatboxing characteristically used by Jackson to compose his hit songs. It keeps a
brisk pace, complimenting the BPM, while still communicating the melancholy tone the song serves to
represent. The soundscape of the track speaks to how sonically dense many of the songs engineered and
mastered by Michael Jackson and his team. One can hear the multiple samples and sounds interspersed
throughout the song, as they compliment and enhance the despondent, moody vocal flourishes and tics
from the song’s performer, as he asks how it does feel, when you are alone, and cold inside. All of this
serves to make Stranger in Moscow a standout, a tour-de-force on the album HIStory: Past Present and
Future: Book I.

Part Three:
This song serves the purpose of heralding the rain. On days when the sun is away, and the water falls
from the sky. The mood of the song perfectly complements weather conditions like this. It’s not an
isolationist song, but it’s meant for relief. The song describes Jackson’s loneliness due to many
encounters in his life. It also gives a voice to the feeling of aimless drifting that we all may feel, the
solemn nostalgic feeling that a cloudy, rainy day may bring. Many people have stated the ways Jackson’s
work explores and serves to help escape from tension, and that is exactly the purpose of the song. When
one is feeling the onset of isolation, or simply when the weather conditions are right, this song serves as
its anthem. For that reason, it remains in my song queues, set apart for these rainy days

You already made thread about SIM earlier... Why did you create this thread again

 

[kelley]

Brad Buxer on Stranger In Moscow.
"He [Michael] had nothing in mind for that. Nothing."

Right, the trauma that was happening to Michael at that time perfectly fits with the song, but I guess that's just a coincidence. Wonder why Brad has not written any other songs as great as SIM.

6:55 to 8:10
MJ did not compose Stranger In Moscow, though he made millions saying he did. I think it's important to give credit to the creator.

This is not the story Brad Buxer was telling back in 2009 or before Michael died.

I think it's important that fans don't just blindly believe everyone who has a story about Michael, especially when that persons story has changed dramatically after Michael had died and can't respond.

Did you even try to fact check Buxers claims before you declared Michael a thief?

He went from claiming he came up with a few chords and then Michael wrote the song from that, to claiming more and more with each telling, to now I believe he is even claiming some of the lyrics. It's funny how his memories of this song continue to evolve. Remins me of a Wade and his evolving memories that change when its convenient for him.

People like you are emboldening Buxer because he recieved no push back from the fans over his lies.

 

[kelley]

Brad composed the song. Michael wrote the lyric and sang it. It's as simple as that. You can call it cynicism if you want. Brad had his reasons for not pushing for credit (job security, friendship, future projects, whatever). I'm sure he had his reasons. But I believe him when he said MJ came up with nothing for that song (composition-wise). He has told us when MJ did come up with ideas for the many songs he worked with him on, but this wasn't one of them, as far as the music goes.

I'm sorry, how is it that simple, when Brad's story has changed multiple times?

The truth does not change. Which story is the truth?

The first story he told about him just coming up with a few chords? or the story that he composed the whole song?

 

[kelley]

The poem stranger in Moscow already existed. So they were looking for music to accompany that. Brad said he had nothing, he did not say he came up with nothing. They composed the song together. Just as they did multiple other songs together. MJ rarely came up with ideas, but the ones he did were usally watertight. Who Is It for instance.

So you are, half right, Brad deserves credit. Half credit, maybe even a majority credit. Not all of it. You can consider them a songwriting duo if it makes you feel better. They worked together though, at least in the 90s

Invincible is a different story. Rodney did all that.

The problem is even this is a revision.

Buxer said in the earliest years of Michael's death that he was playing around with some chords and Michael built the song off of that.

Now the story has evolved beyond imagination.

I also remember Buxer saying that Michael worked on the Sonic music in secret, now he is claiming Michael had nothing to do with it.

Michael Jackson behind Sonic the Hedgehog soundtrack?

King of Pop contributed music to classic videogame, says former collaborator. In other revelations: Prince reveals scrapped concept album – Shinobi III: Return of the Ninja Master

www.theguardian.com

Michael Jackson behind Sonic the Hedgehog soundtrack?​

This article is more than 13 years old
King of Pop contributed music to classic videogame, says former collaborator. In other revelations: Prince reveals scrapped concept album – Shinobi III: Return of the Ninja Master

Michael Jackson wrote music for the videogame Sonic the Hedgehog 3, a long-time collaborator has revealed. According to composer Brad Buxer, the King of Pop worked in secret on the game, requesting anonymity due to the poor sound quality of the finished product.


"Michael called me at the time for help on this project, and that's what I did," Buxer told French magazine Black & White, according to a videogame message-board. Though the two composed various themes for the 1994 Sega Mega Drive/Genesis game, Jackson was ultimately unhappy with the results. "At the time, game consoles did not allow optimal sound reproduction, and Michael found it frustrating. He did not want to be associated with a product that devalued his music ... If he is not credited for composing the music, it's because he was not happy with the result sound coming out of the console."

Buxer's comments confirm long-time speculation in the gaming community, mostly fuelled by former Sega executive Roger Hector. "Michael Jackson was a very big fan of Sonic," Hector told GamesTM magazine, "and he wanted to record a soundtrack for the game. He came to [Sega] and met with the team to discuss the design theme, story and feel of the game. He then went away and recorded an entire soundtrack that covered all of the worlds. It was fantastic ... We had it all ready and integrated into the game when the first news stories came out accusing him of child molestation, and Sega had to back away from this collaboration." According to Hector, Howard Drossin only then became Sonic 3's official composer.

However, Sega never officially confirmed this. What's more, Hector has allegedly backed away from his story, saying in March 2008 that he had "recently been asked to not comment on this subject as promises of confidentiality were made ... It was the case that Michael Jackson was a big fan of the Sonic games, and he did make a visit once to say hi to the team, but I guess the rest will remain unconfirmed rumours."

While Jackson's name is nowhere to be seen on the videogame, many of his associates, including Buxer, Geoff Grace and the producer Cirocco, are listed in the credits. "I've never played the game so I do not know which tracks Michael and I worked on have been kept," Buxer said. However, the composer confirmed at least one Jackson song got its start in the music written for Sonic. "[We] composed some chords for the game, and they were used as a base for Strangers in Moscow," Buxer revealed.

Details of the Jackson/Sonic controversy – and audio samples from both the video-game and Strangers In Moscow – are in copious supply at the website Sega 16.


Brad is a liar, sorry to say. I don't know why he lied. But I suspect he never would have made these claims about SIM if it hadn't become one of Michael's most acclaimed songs.

 

[xam]

I'm sorry, how is it that simple, when Brad's story has changed multiple times?

Can you provide a source?

 

[kelley]

Can you provide a source?

Actually I was mistaken and the lie is even worse.

1. Originally in 2009 he claimed he AND Michael came up with the original chords for SIM for the Sonic game, and then he says he contributed to the song's composition. His original story doesn't sound like he was the main composer of the song, just that he worked with Michael on it. (Keep in mind this interview still happened after Michael's death. Buxer never said anything of the sort before when Michael could have responded)

B&W: One of the surprising things in this soundtrack is that you can hear the chords from Stranger in Moscow, which is supposed to have been composed later...

Buxer: Yes, Michael and I had composed those chords for the game, and it has been used as base for Stranger in Moscow. More than any other song that I worked with Michael, Stranger In Moscow is where I made my most artistic leg. I'm not credited as co-composer on this track, but I have worked closely with Michael on the composition and structure of this song ... I also played virtually all instruments ...

The interviewer asked him about credit and this was his reply (keep this is mind because it will be relevant)

Black & White: Did that not bother you that Michael did not include it in the song credits as co-composer?

Brad Buxer: No. I did not ask to be. When you have the opportunity to work with such a musical genius, be credited or not, it does not really matter. I had a great opportunity to working with Michael all these years. I'm probably the musician with whom he worked most of his career. I was a musician and arranger from 1989 until 2006. It shows how we were on stage, him and me ...
source: http://info.sonicretro.org/Brad_Buxer_Interview_(Black_&_White,_November/December_2009)

2. Fast Forward to 2015 and he has changed it to only he came up with the chords....And now he is suggesting that Michael made a "mistake" not crediting him, when before he said he didn't even ask.....

Then Buxer goes on to talk about “Stranger in Moscow.” This song contains his biggest contribution of all the material he worked on with Michael, and Brad doesn’t hide that it means a lot to him. He reads the entire piece about the song from Joe Vogel’s book – the story of the song creation is well documented by now. Even though Buxer is not credited in the album liner notes, he actually is a co-author of the song and the one who came up with the chords. Buxer explains that he and Michael could work together in two different ways. Oftentimes, Michael already had the melody in his head, and Buxer’s job was to play that melody on the keyboard as Michael was “hearing” it and find an arrangement that fit the melody. Such was their work on “Heal the World,” “In the Back,” “Childhood,” “Beautiful Girl” and other songs. With “Stranger in Moscow” it was different: Michael asked Brad to play chords until he would hear something he liked, and Buxer came up with the now famous chord progression. Buxer says that the entire song was written in about 1.5-2 hours, and when it was finished, he couldn’t believe what had just happened. “I wanted to say something, like, ‘Wow, did we just write a song together?’” recalls Buxer. “But I didn’t.” He doesn’t hold a grudge about not being credited on the album. “Mistakes happen,” he says. “Michael was always very generous to me.” It’s clear that the experience itself is much more important to him than his name in the booklet.

source: https://web.archive.org/web/20150531222418/http://en.michaeljackson.ru/brad-x2-evening-brad-buxer/

3. "Making Michael" by Mike Smallcombe comes out in 2016 and Buxer now claims to not only be co-writer, but that he and only he created the music. AND on top of that he is now claiming that Michael would not credit him when before he said he didn't ask for credit.....

After Michael flew over from Los Angeles, ‘Stranger in Moscow’ was the first song the pair worked on. “When Michael finally came out to New York and heard my work on ‘Stranger in Moscow’, the strings, piano, drums and the beatboxing samples that make up the rhythmic backbone of the track, he literally shrieked with joy,” Buxer recalls. Although Buxer is the co-writer of ‘Stranger in Moscow’, as he created the music, Michael would not credit him. “That song, more than anything I’ve ever done with him, was a true collaboration to say the least,” Buxer revealed. “It is absolutely my most important contribution to him.” But Buxer doesn’t hold a grudge. “Of course I’m disappointed that I didn’t receive a songwriting credit on it,” he admitted. “But Michael chose not to credit me; there is nothing I can do about it.”

Source: https://www.amazon.com/Making-Michael-Inside-Career-Jackson/dp/1910782513

How can he say there's nothing he could do about it, when he didn't even ask for credit in the first place????

3. Fast forward to 2022 and Brad is now he is claiming Michael had very little to do with the Sonic Project, the story about him and Michael coming up with the chords together has been replaced with this new version that claims he worked on sonic alone and then brought the music to Michael and turned it into SIM. Now he is even claiming he created the chorus "on the spot". And according to him, Michael had nothing in mind for SIM. Despite the fact that he was going through the most devastating time of his life, he had "nothing". But somehow brad was able to compose this brilliant song that captures the emotions Michael was going through, imagine that........

4. Feb of 2023, Brad has now perfected his story, and luckily for him Michael can never speak to tell his side. Now he says Stranger in Moscow is the one song Michael "didn't do". So he has officially erased Michael from any involvement in the composition. And he says Michael "decided to keep the credit" and he "stripped all the credits from me" because the song became more and more important. Except SIM didn't become important until years later and Brad had no desire to claim it until it did became important after Michael's death. Projection much??

So now his story has changed from he didn't ask for credit to Michael "stripped all the credit from him"

It's gone from they created the original chords together and he worked with Michael to compose the song, to he created the music by himself and Michael took the credit.

It's gone from they worked on Sonic together to Michael sent him to do it alone and Michael had minimal involvement.

The change in the Sonic story is what really exposes him as liar. That's where it all falls apart.

He has dug himself into a hole. He has to deny that Michael worked on Sonic now, otherwise his claim that he wrote SIM falls apart because the music is in the Sonic game and it came first. So if people know Michael worked on Sonic, he can't claim SIM.

So his previous comments have come back to bite him in the ass.

Unfortunately for Brad, other people who worked on the Sonic project have spoken out as well, and their story does not match with Brads. Cirocco Jones says that Michael DID compose the Sonic music by singing and he still has the tapes somewhere.

Both Buxer and fellow Sonic 3 composer Cirocco Jones said Michael would sing melodies and ask them to play it back with instruments. Jones once stated in an interview he still has the tapes of Jackson singing the entire soundtrack to the game. Can you imagine what a trip it would be to hear such recordings?
Source: https://beardedgentlemenmusic.com/2018/12/17/michael-jackson-sonic-3/

Other people who worked on Sonic contradict Brad as well.

 

[zinniabooklover]

I'm sorry, how is it that simple, when Brad's story has changed multiple times?
The truth does not change. Which story is the truth?
The first story he told about him just coming up with a few chords? or the story that he composed the whole song?

The way you've laid out the story here, this is very close to how it evolved for me a few years ago. I don't track every last corner of Michael's life bc I don't really care. I just want to listen to the music. But I do love interviews and a Brad interview popped up and I enjoyed it so I started to look for more. Also bc he worked with Michael for so long. And it jumped out at me straightaway, how the SIM story changes. I didn't try to track it to see exactly how the story was evolving, I just knew I was being given significantly different versions of the story each time.

I do realise there is an issue with songwriting credits when it comes to Michael. He's got credits on Invincible even though, apparently, his involvement in a particular song might have been minimal. Also, Greg Phillinganes, that pops up now and again. But the SIM / Sonic thing is different, imo. Most especially bc Brad's story changes so dramatically. I'm not gonna say he's lying bc I can't possibly know the true story. But I do find it highly suspicious that his story has changed so much, for SIM and for Sonic. This detail about the Sonic thing is, um, remarkable. Michael accepted the job but he expected Brad to do all the work of composing? Really? Michael Jackson, famously insomniac? Famously workaholic? Never really stops working? We're supposed to believe that his standard approach was to accept a commission and then get someone else to do the work? I'm having a really hard time accepting that. Wiki says Michael 'contracted' Brad to do the work on Sonic but Wiki is hardly a reliable source so that doesn't really help. If that was true, though, it puts a completely different spin on things.

I don't really buy the idea that Brad was too inexperienced to ask for a credit on SIM; iirc, that was what he said in the MJ Cast interview about why he didn't pursue it at the time. Yes, he was young but he wasn't a complete newbie. You don't get to work with artists at Michael's level without a decent amount of experience, an impressive portfolio of work already under your belt. Plus, by the time of SIM, Brad had been working with Michael for years. More importantly, of course he would want to push for a songwriting credit bc of royalties. That's basic. So I'm not gonna say he's lying but I am unconvinced by his story, to say the least.

"When you have the opportunity to work with such a musical genius, be credited or not, it does not really matter."
Brad Buxer

Royalties. The music industry is harsh and cut-throat. No-one is going to give up potential royalties as easily as that. And it's not just money. Getting your name on that song, if you wrote it, that's your future CV. No-one would willingly sacrifice that. That's your ticket to your next job with the next superstar who wants to work with you. Like I said, I'm not calling Brad a liar. I just find this story, in its infinite variety, hard to understand let alone believe.

 

[zinniabooklover]

Is it ok if I add a grammar suggestion in this thread?

OK, but what is it? I'm intrigued.

'A reflection ...' ?

'Reflections ...' ?

 

[Hot_Street]

Brad composed the song. Michael wrote the lyric and sang it. It's as simple as that.

Michael acted the same during the Invincible sessions. He just sang the songs. Interesting.

 

[Richard76]

Michael acted the same during the Invincible sessions. He just sang the songs. Interesting.

He wrote all alone Speechless and The Lost Children. And co-wrote most of the songs from Invincible album

 

[Hot_Street]

He wrote all alone Speechless and The Lost Children. And co-wrote most of the songs from Invincible album

he co-wrote Whatever Happens, but there is hardy a difference to the writers demo

 

[Mister_Jay_Tee]

Changing a word or two is a very loose way of co-writing, but what do I know

Anyway. This is not. An Invincible. THREAD!!

 

[Richard76]

Changing a word or two is a very loose way of co-writing, but what do I know

Anyway. This is not. An Invincible. THREAD!!

Unbreakable, Heartbreaker, Invincible. He certainly co-wrote these tracks. You can clearly hear that, while listening to them

 

[Richard76]

I would even say, that he wrote them alone and Jerkins just helped him a little bit. Added good sounding. But skeleton is definitely made by Mike

 

[Agonum]

he co-wrote Whatever Happens, but there is hardy a difference to the writers demo

I can definitely see what Michael brought to that demo, making him a justified co-writer.

 

[Agonum]

Michael acted the same during the Invincible sessions. He just sang the songs. Interesting.

Speculative.

 

[Richard76]

I can definitely see what Michael brought to that demo, making him a justified co-writer.

He had enormous involvement in Invincible album! Every song somehow reflects Michael's musical vision. Of course some more some less, but still, most Invincible songs contain Michael's magic. I would even say, that Invincible reflects Michael's soul more than Thriller. Because Thriller was made under Quincy's strict stalking. Invincible was made in full creative freedom. Nobody could have pressure on him (except Sony, but that's another story)

 

[Agonum]

He had enormous involvement in Invincible album! Every song somehow reflects Michael's musical vision. Of course some more some less, but still, most Invincible songs contain Michael's magic. I would even say, that Invincible reflects Michael's soul more than Thriller. Because Thriller was made under Quincy's strict stalking. Invincible was made in full creative freedom. Nobody could have pressure on him (except Sony, but that's another story)

“Quincy’s strict stalking”

 

[Richard76]

“Quincy’s strict stalking”

Don't forget, that he almost got rid of BJ song) he didn't believe in Michael's musical abilities

 

[@mjfanatic777]

OK, but what is it? I'm intrigued.

'A reflection ...' ?

'Reflections ...' ?

No it not that at all
In part two he used the word ‘song’ a lot and it sounded quite repetitive. Maybe instead of ‘song’ he could used ‘piece’ or ‘composition’ is a really good one. It’s just a suggestion, Mister Jay Tee doesn’t have to apply it in his paragraph

 

[kelley]

Michael acted the same during the Invincible sessions. He just sang the songs. Interesting.

Please read my above post.

What did or did not happen during invincible has nothing to do with SIM and Brad changing his story.

We all know that Michael was not his normal self during the creation of invincible. He was at war with Sony, he has significant health problems and mentally I don't think he all there at that time.

And you don't even know the full story regarding invincible credits. Maybe the song writers agreed to give him credit for what ever reason, maybe they wanted too. Maybe it was contract thing.

On the flip side Michael often gave people credit when they did very little. He wrote most of We are the World, and Lionel still got half credit.

Quincy Jones took credit for producing the BAD album when he barely did anything. No one says anything about that.

Its been said that Quincy had little to do with PYT, and the co-writer did most of the work, no one says anything about that.

The Beatles stole whole parts of songs and no one says anything about

The Rollingstones stole whole songs and no one says anything about

Prince took credit for a song his protege actually rewrote and turned into the iconic version we know. Nobody ever says anything about that.

It bothers me that fans are so quick to disparage Michael for tiniest of things, when everyone in industry has done much worse at one point or the other.

Michael's enemies are constantly looking for any little thing they can find to use against him, to discredit him, to downplay his talent. Any little thing will be blown out of proportion to cause as much damage to him as possible.

The Beatles, the Rollingstones, Quincy, Prince and many others get to stay on their pedestals and keep their titles of being Geniuses and songwriters.

Meanwhile you have MJ fans who seem eager to help Michael's enemies drag his name through the mud and discredit him as a song writer and composer. I don't get it.

 

[kelley]

he co-wrote Whatever Happens, but there is hardy a difference to the writers demo

This doesn't sound like the album version to me. The music is a lot different.

It's not comparable to the Billlie Jean Demo which is clearly the exact same song as the album version, for example.