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The Discussion of MJ's Unreleased Tracks

AlwaysThere said:
But there are a handful of titles that still haven’t made it out to the public, I’m sure.
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I think either Matt Forger or John Barnes said that there were around 60 songs made for the Bad album alone, I counted all the known outtakes and released titles and there were still about a dozen or more songs remaining. There's definitely some gems hidden there.
 
MJbr2 said:
And titles from the Bad sessions keep popping up still.
Jesus, just give us a complete boxset of Bad in the style of the Sign O The Times one and don't discard them even if they're incomplete.
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Didn’t Michael intend for Bad to be a triple album? If that’s the case, it’s not that surprising that so many songs from those sessions are yet unreleased.
 
Gluepix said:
Didn’t Michael intend for Bad to be a triple album? If that’s the case, it’s not that surprising that so many songs from those sessions are yet unreleased.
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He thought about it but Quincy put a stop to that before pre-production of the album
 
ChanceToDance said:
I think either Matt Forger or John Barnes said that there were around 60 songs made for the Bad album alone, I counted all the known outtakes and released titles and there were still about a dozen or more songs remaining. There's definitely some gems hidden there.
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Matt Forger indicated that there were 60 songs worked on for Bad. But barely half of the songs had vocals. Most were ideas or instrumental.
 
By Damien Shields on Twitter
"“Hot Fever” is from 1985 and what I heard was an instrumental. The same music as TWYMMF, but pre-Westlake. No lyrics/vocals. It was on the same tape as Tomboy (instrumental), What You Do To Me (demo w/vocals), Dirty Diana (demo w/vocals) and Smooth Criminal (demo w/vocals)."

Is it possible that the Vocal version of Tomboy (if exists) was in another tape? Seems that when you register a song there might be different versions that you can register (documents,music sheets,tapes,cds etc.)
 
Fuzball said:
I wonder what his criteria for depositing cassettes at USCO were - if there was any criteria at all.
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The USCO apparently requests the most recent version of whatever material you’re submitting. I’d wager MJ registered the instrumental because that’s all he had in October 1985, but at some point thereafter returned and added vocals.
 
I think my previous post wasn't precise enough.

There surely must have been a reason why some songs have never been registered (even if they were fully fleshed out demos) while others with barely or none vocals have been.

For instance, why he had chosen to register and deposit Tomboy and Dirty Diana and not any other songs, let's say Buffalo Bill and I'm so Blue?
 
Fuzball said:
I think my previous post wasn't precise enough.

There surely must have been a reason why some songs have never been registered (even if they were fully fleshed out demos) while others with barely or none vocals have been.

For instance, why he had chosen to register and deposit Tomboy and Dirty Diana and not any other songs, let's say Buffalo Bill and I'm so Blue?
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I have very little information or understanding of the process, but I'd assume part of the reason is Mike was concerned about leaks.

Why would you register a fully complete track, when you know anyone could do what Damien did and go listen to it for a fee? It makes more sense to me to register fully complete songs on the eve of their release
 
Fuzball said:
I think my previous post wasn't precise enough.

There surely must have been a reason why some songs have never been registered (even if they were fully fleshed out demos) while others with barely or none vocals have been.

For instance, why he had chosen to register and deposit Tomboy and Dirty Diana and not any other songs, let's say Buffalo Bill and I'm so Blue?
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I wonder why the estate does the same thing, we know about songs like Everybody Wants To Be A Movie Star, Saturday Woman, Too Late To Turn Back Now, You Were There, etc. but they're not registered, meanwhile there are plenty of songs they registered after MJ's death. Why is that? Why not register everything?
 
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Fuzball said:
I think my previous post wasn't precise enough.

There surely must have been a reason why some songs have never been registered (even if they were fully fleshed out demos) while others with barely or none vocals have been.

For instance, why he had chosen to register and deposit Tomboy and Dirty Diana and not any other songs, let's say Buffalo Bill and I'm so Blue?
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He was probably registering songs he felt were getting close to being added on albums....songs we have that aren't registered is probably because he didn't plan on releasing them or they were discarded early.
 
I wonder if MJ worked on Fall Again sometime during the 2000's, he was working on plenty of songs that were already released on TUC at the time so it isn't unlikely.
 
i wonder why the estate has gone in such a different direction then the Prince estate has with their albums. i think we all would love to hear even early vocal mixes of tracks similar to shake a body and the DSTYGE demos.
 
AlwaysThere said:
Damien Shields mentioned that MJ wanted the end of the song to keep getting higher and higher, similar to the end of “The Way You Love Me,” but they never made the necessary changes to the instrumental so it was never recorded.

I’d kill to hear that.
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That would be pretty neat. It is a little flat as it is now.

That reminds me, that the main reason I prefer the later Way You Love Me is the fact Neff-U did change the end pitch, and added MJs voice over it. Even though he is clearly, modulated. Or maybe not? But the effect is nice still, works great with the piano.
 
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