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The Discussion of MJ's Unreleased Tracks

Gotta say with all this new info if one day I wake up, log in here, and see a Youtube link with the title "[NEW LEAK] Michael Jackson - Can't Stop Lovin' You" or any leak along those lines it's not gonna surprise me in the slightest lol.
 
ChanceToDance said:
Gotta say with all this new info if one day I wake up, log in here, and see a Youtube link with the title "[NEW LEAK] Michael Jackson - Can't Stop Lovin' You" or any leak along those lines it's not gonna surprise me in the slightest lol.
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[NEW LEAK] Michael Jackson - Tomboy might be in the pipeline
 
SeriousFX said:
Small (unrelated) question, where did all these songs come from? I've been hearing rumors about them coming from recorded Discord calls (meaning they aren't at their full lengths) and that's what I've been going off of for a good while, but lately I haven't been so sure.
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The answer is both. Some people have the full tracks and have sold them/shown them to people who then recorded them. It’s unclear how many people actually have the full length of the tracks. As for the actual origin of how they got the original files. That’s up to speculation.
 
This whole discussion about unreleased Michael Jackson songs has really got me thinking. How do we justify listening to these leaked Michael Jackson demos after his death that he probably wouldn't want the public hearing in the first place? I mean, don't get me wrong. I understand that there has been a lot of hype surrounding some of those songs in the vault, and it's totally understandable that someone would want to hear them out of curiosity. But downloading and listening to these unfinished leaks (and judging them) like official tracks just seems a little weird and disrespectful. While I'm sure there were finished songs in the vault that he wanted the public to hear, as well as songs like Seeing Voices that he let the public hear while he was alive, most of them just seem like half-finished tracks that a perfectionist like him wouldn't want the world hearing. I feel the exact same way about the posthumous albums like Bad 25, Thriller 40, and especially that Xscape album, which is why I haven't listened to those albums in a while. I know that some of those tracks provide insight into his creative process, but seeing posthumous remixes like "Chicago" (which was supposed to be titled "She Was Loving Me") on the Spotify charts seems strange. But hey, to each his own.
 
Saka21 said:
Yeah, this is kinda making me rethink those songs ZX1 put in his polls, like Buffalo Bill and the rest… but idk, still smells a bit like trolling to me.

Think Twice, Somewhere in Time, Red Eye… what were the other tracks in the polls?
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Holiday inn
 
Guys i swear Nisha kataria wanted to talk with collector she want her vocal from world of candy i talked with her in Instagram i have proves
 
Themidwestcowboy said:
But who said that to begin with?
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In The Studio with MJ: Brad Sundberg’s seminar in Saint Petersburg — Майкл Джексон.ру https://michaeljackson.ru/brad-sundberg-saint-petersburg/

Brad (Sundberg) is trying to cheer us up a little bit, “Hey guys, I don’t want you to be sad. Michael left us loads of great music, so let’s enjoy it.” And so we moved to the Bruce Swedien room.

The atmosphere is different here. Swedien is more like a scientist, and he’s got all things in strict order. “Together, we created this,” Brad says, putting another track on (sorry Brad, I just looked at your laptop screen, so I know that it was called Time Marches On). “And then,” he goes on, “Bruce slowed it down a little bit, added all kinds of things to it, and it turned into this.” I could hardly believe it, it was Jam coming out of the speakers!
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Wow! I swear the demo was so different. The two tracks sounded so different that nobody would guess the first one was the early version of the second. That’s outstanding work. Listening to this, you understand how right Michael was in choosing his studio collaborators. He felt them. He knew why they were there, he chose them himself, and together they created masterpiece after masterpiece. They created things that would still sound fresh even in a hundred years.
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It makes sense why TiMO would sound so different, because it was meant for an entirely different project Rene Moore was working on under Motown.
 
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