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The Discussion of MJ's Unreleased Tracks

mjfp said:
I guess those would be the ones in terms of home media releases under Sony: This Is It (album), This Is It (movie), Michael, Vision, Immortal (album), Bad 25, Live At Wembley, Bad 25 Documentay, Xscape, Journey From Motown To Off The Wall

After we got: Scream,… MJ Musical (album), Thriller 40

yea doesnt look that great but I do understand that Leaving Neverland heavily impacted releases and I do believe that they are starting to ramp things up this year.

(all excluding non Sony releases or events like The Experience, One, Halloween etc)
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can’t forget This Is It 10!
 
michaeljackson.nl said:
Neverland Landing snippet:
https://mega.nz/file/UuV3wbbL#ArVFWAGtlH-DgPOZW-JJDDZdET0Ca5aAdE_b4hRY02c
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Crazy how this song used to be completely unleaked not too long ago but now we have close to a full minute of it. I don't think there's easily gonna be another "GYWOOM" situation where we have to wait 14 years to get the full leak of one song, there's plenty of other songs which we also got a good chunk of in a short timeframe ("Changes", "Rocker", "Adore You", "Shut Up And Dance", etc.).
 
Eventidescape1 said:
Still sounds very mid though. A right tosser... literal "garbage"
I still find it quite bold of Bryan to say "Can't Let Her Get Away" was based on this...
It sounds like a completely different song to me, but subtle similarities in the production and the beat (brass stabs, samples etc.). Both sound like any other late 80s/early 90s R&B/funk song I've ever heard.

But Teddy definitely hit another level that Bryan didn't with his material. Bryan's songs paled in comparison to what Teddy had, and Bryan would loath to admit that...
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The whole beat sounds inspired by James Brown's 'Get Up' intro and yes the stabs.

I think Bryan Loren isn't wrong if he believes his work was the foundation for CLHGA
 
Victorious said:
The whole beat sounds inspired by James Brown's 'Get Up' intro and yes the stabs.

I think Bryan Loren isn't wrong if he believes his work was the foundation for CLHGA
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Of course he's not wrong. Back then we just brushed him off as being jealous, mostly because the only Bryan tracks we really knew were things like WTB, Serious Effects, She Got It, etc.

But with more demos surfacing (mostly instrumentals), you can really hear how much of that Dangerous-era sound was already there in 1989-90. The industrial textures, all those weird samples and sound experiments that was the foundation Teddy would then take and push to a whole other level. Imho it shows that Bryan's work was crucial to shaping the initial idea, which then got elevated further with other producers.
 
ChanceToDance said:
É interessante que, bem no final da entrevista, Rodrigo mencione que a música ainda estava planejada para ser lançada um dia. Michael Prince e Eric Kirkland deviam estar pensando em entregá-la a outro artista se o MJ nunca a tivesse gravado. Imagino que esse vazamento vai prejudicar muito o
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ChanceToDance said:
É interessante que, bem no final da entrevista, Rodrigo mencione que a música ainda estava planejada para ser lançada um dia. Michael Prince e Eric Kirkland deviam estar pensando em entregá-la a outro artista se o MJ nunca a tivesse gravado. Imagino que esse vazamento vai prejudicar muito o MP, rsrs.
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ChanceToDance said:
It's interesting that right at the end of that interview Rodrigo mentions that the song was still planned to be released one day, Michael Prince and Eric Kirkland must've been meaning on handing it over to another artist if MJ never recorded the song. I can only imagine this leak especially is gonna hurt MP most lol.
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I spoke with Rodrigo Teaser yesterday on Instagram, asking him for information about Shut Up and Dance (we spoke in the local language [Portuguese]). He said he had only heard the chorus on his cell phone, and doesn't remember the vocals, as his meeting with Michael Prince was in 2014. However, I can't attach a screenshot of the conversation here.
 
ChanceToDance said:
It's interesting that right at the end of that interview Rodrigo mentions that the song was still planned to be released one day, Michael Prince and Eric Kirkland must've been meaning on handing it over to another artist if MJ never recorded the song. I can only imagine this leak especially is gonna hurt MP most lol.
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I spoke with Rodrigo Teaser yesterday on Instagram, asking him for information about Shut Up and Dance (we spoke in the local language [Portuguese]). He said he had only heard the chorus on his cell phone, and doesn't remember the vocals, as his meeting with Michael Prince was in 2014. However, I can't attach a screenshot of the conversation here.
 
Saka21 said:
Of course he's not wrong. Back then we just brushed him off as being jealous, mostly because the only Bryan tracks we really knew were things like WTB, Serious Effects, She Got It, etc.

But with more demos surfacing (mostly instrumentals), you can really hear how much of that Dangerous-era sound was already there in 1989-90. The industrial textures, all those weird samples and sound experiments that was the foundation Teddy would then take and push to a whole other level. Imho it shows that Bryan's work was crucial to shaping the initial idea, which then got elevated further with other producers.
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Yeah, agreed. I still think he’s an egomaniac who is over-exaggerating his involvement and the overall quality of his work, but at the very least it seems he introduced MJ to new jack swing and set the foundation for his industrial-based production.
 
The-King said:
I spoke with Rodrigo Teaser yesterday on Instagram, asking him for information about Shut Up and Dance (we spoke in the local language [Portuguese]). He said he had only heard the chorus on his cell phone, and doesn't remember the vocals, as his meeting with Michael Prince was in 2014. However, I can't attach a screenshot of the conversation here.
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My interest in the song might change if MJ recorded the chorus. And that's quite possible. Did he tell you who sang the chorus? If not, could you ask him?
 
Victorious said:
The whole beat sounds inspired by James Brown's 'Get Up' intro and yes the stabs.

I think Bryan Loren isn't wrong if he believes his work was the foundation for CLHGA
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He's wrong, people haven't listened to Teddy Riley's work prior to Dangerous (especially Guy's The Future album) and it shows. Teddy always had orchestral hits and hard-hitting drums (the best in the industry, IMO) on his records. The New Jack Swing movement was alive and a lot of artists tried to emulate the sound.

While I don't think Bryan Loren is a bad producer (I liked a few tracks on his 1992 album), I do believe MJ made a good call by choosing Teddy's tracks - Bryan's stuff didn't quite fall under the Futuristic New Jack Swing category that MJ seemed to have liked from Guy.

Don't get me wrong, I have respect for Loren's contributions to MJ's catalog (Money, Morphine, BoW and many more). He's a great musician but his production skills at the time couldn't compete with Riley's.
 
MJJacksonizer said:
He's wrong, people haven't listened to Teddy Riley's work prior to Dangerous (especially Guy's The Future album) and it shows. Teddy always had orchestral hits and hard-hitting drums (the best in the industry, IMO) on his records. The New Jack Swing movement was alive and a lot of artists tried to emulate the sound.

While I don't think Bryan Loren is a bad producer (I liked a few tracks on his 1992 album), I do believe MJ made a good call by choosing Teddy's tracks - Bryan's stuff didn't quite fall under the Futuristic New Jack Swing category that MJ seemed to have liked from Guy.

Don't get me wrong, I have respect for Loren's contributions to MJ's catalog (Money, Morphine, BoW and many more). He's a great musician but his production skills at the time couldn't compete with Riley's.
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I was talking about Loren's work for MJ and how it influenced the final album and more specific 'Can't Let Her Get Away' not about who is the better producer.

Edit: I think his contribution are way bigger than people think; I hear so many stuff in his demo's that got used, one way or the other, for 'Dangerous'
 
Victorious said:
I was talking about Loren's work for MJ and how it influenced the final album and more specific 'Can't Let Her Get Away' not about who is the better producer.

Edit: I think his contribution are way bigger than people think; I hear so many stuff in his demo's that got used, one way or the other, for 'Dangerous'
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Fair enough. On Dangerous, I only hear his usual sounds on the songs he's credited on (BoW being the most obvious one) and on Garbage you can hear one of his snare that he reused on Morphine - CLHGA is not one of them.

With that being said, on HIStory, I hear more of his influence especially on D.S. and They Don't Care About Us, a lot of his percussions sounds were sampled from Mind is the Magic. (Yes, I'm a nerd)
 
Listening to The Future I feel like Loren's work may have 'encouraged' Teddy to make the drums and beats louder, but Do Me Right and Teddy's Jam 2 are great examples of the musical direction he was heading in already. Also the snare drum on I Get the Job Done by Big Daddy Kane, which was produced by Teddy as well.

I think that Garbage is probably the best Loren track out there in the terms of instrumentals. It sounds pretty good in headphones and I agree that it would've been a great Sonic theme song. On the other hand Verdict is just trash; I don't think I could listen to it for a prolonged time because the 'industrial' noises feel headache-inducing to me. I wonder what made Michael take it out of the vault in 1994 - it sounded extremely dated even in 1990. Garbage would've been a better choice imo; had it been reworked by the Hit Factory team I feel it could've actually made up a good song. I guess it would've sounded dated at that point as well though.
 
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AlwaysThere said:
“She Got It” is a top five unreleased MJ song for me. It feels like a loose jam session in a way nothing else in his catalog post-OTW does. I wish that one made it onto a project of some kind.
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That one and Superfly Sister should've at least been b-sides to some Dangerous singles. They had the most potential
 
SmoothMel7 said:
My interest in the song might change if MJ recorded the chorus. And that's quite possible. Did he tell you who sang the chorus? If not, could you ask him?
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He said he doesn't remember, as it's been over 11 years since their meeting. Rodrigo said that Michael Prince let him listen to the chorus on his cell phone, and he can't say if it was MJ's vocals. Unfortunately, the doubt about whether MJ recorded any vocals or not remains.
 
what is THIS???


[Verse 1]
Rainbow skies and crystal streams
Butterflies and birds, flying free from tree to tree
Warming sun and cooling breeze
Life is fun with all these wonders
Come feel it, see it, love it, be it

[Verse 2]
Where you stand is magic ground
Neverland is great
Like a slice of paradise
Let your senses take control
Life commences once it's in your soul
Feel it (Feel it), love it (love it), see it (see it), be it

[Chorus]
Come get your own full share, not any less
Feel like a millionaire, not penniless
This is the land where joy and happiness never grow old

[Verse 3]
Gentle showers sprinkle down
Making flowers bloom, what a sight, a real delight
Nature's gift you can't ignore
Spirits lift and hearts begin to soar
Feel it (Feel it), see it (see it), love it (love it), be it

[Chorus]
Take in your own full share, not any less
Feel like a millionaire, not penniless
This is the land where joy and happiness never grow old

[Chorus]
Take in your own full share, not any less
Feel like a millionaire, not penniless
This is the land where joy and happiness
Come on and feel it (feel it), see it (see it), love it (love it), be it (be it)
Feel it (see it), see it

[Outro]
Welcome to Neverland
Wow...
 
Guys, I have to ask - what is snippet 3? Is it a 21st-century rework of Neverland Landing?
michael-jackson.fandom.com

Neverland Landing

"Neverland Landing" is an unreleased song written and produced by American singer-songwriter Michael Jackson, intended to be featured in Steven Spielberg's Peter Pan musical. On August 28, 2025, a high-quality snippet was leaked online by Legend Zx1 on Discord. On January 5, 2026, the 1986 demo...
michael-jackson.fandom.com michael-jackson.fandom.com
 
Glanni said:
what is THIS???


[Verse 1]
Rainbow skies and crystal streams
Butterflies and birds, flying free from tree to tree
Warming sun and cooling breeze
Life is fun with all these wonders
Come feel it, see it, love it, be it

[Verse 2]
Where you stand is magic ground
Neverland is great
Like a slice of paradise
Let your senses take control
Life commences once it's in your soul
Feel it (Feel it), love it (love it), see it (see it), be it

[Chorus]
Come get your own full share, not any less
Feel like a millionaire, not penniless
This is the land where joy and happiness never grow old

[Verse 3]
Gentle showers sprinkle down
Making flowers bloom, what a sight, a real delight
Nature's gift you can't ignore
Spirits lift and hearts begin to soar
Feel it (Feel it), see it (see it), love it (love it), be it

[Chorus]
Take in your own full share, not any less
Feel like a millionaire, not penniless
This is the land where joy and happiness never grow old

[Chorus]
Take in your own full share, not any less
Feel like a millionaire, not penniless
This is the land where joy and happiness
Come on and feel it (feel it), see it (see it), love it (love it), be it (be it)
Feel it (see it), see it

[Outro]
Welcome to Neverland
Wow...
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This is unironically a banger.
 
Saka21 said:
Of course he's not wrong. Back then we just brushed him off as being jealous, mostly because the only Bryan tracks we really knew were things like WTB, Serious Effects, She Got It, etc.

But with more demos surfacing (mostly instrumentals), you can really hear how much of that Dangerous-era sound was already there in 1989-90. The industrial textures, all those weird samples and sound experiments that was the foundation Teddy would then take and push to a whole other level. Imho it shows that Bryan's work was crucial to shaping the initial idea, which then got elevated further with other producers.
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Or you could say that Janet Jackson’s Rhythm Nation was what sparked it (and the way music was heading at that time). Michael loved The Knowledge and that was his benchmark.
Garbage sounds like Bryan’s reaction to that song.

Teddy’s material hit the spot in that regard. Bryan’s music was more R&B and funk-oriented - he wanted to get that Off The Wall vibe and yet a modern sound. While Teddy’s was more NJS and industrial-oriented, more forward-looking and that was what Michael was after.

He did a whole bunch of instrumental demos before joining the project, including Remember The Time, Closet and likely CLHGA. Even the original demo for BOTDF, which Michael loved so much he used that as the basis of the final song in 1997.

So Teddy sure had that sound before Dangerous, even on prior projects like Guy, Bobby Brown etc.

You can’t just credit Bryan Loren for laying the foundations. That was where music was heading at the time, and each producer did their thing according to that.
 
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