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The Discussion of MJ's Unreleased Tracks

NetflexKing said:
The leaker said that they record the songs with their phone and convert it to mono. So he might have the full CDQ.
Also can you describe a little bit the structure of the songs you've heard? That will give us a very helpful insight on the tracks.
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Since it's been quite a while since then, I had to look for my notes on it. I'm happy to share some information - I may write something longer for our website, including a reference to the Faking Michael podcast by Damien Shields. It still doesn't seem clear to all fans how absurd it is that Michael is supposed to have recorded complete songs with the Cascio family and an unknown co-producer, while virtually all the other songs from that period are incomplete. It's also unlikely that much more will emerge from the Dangerous and History sessions that is suitable for commercial release. (that we don't already know.) At some point, fans will surely be given access to such demos—but such releases will certainly not generate much money. Hopefully, they will realize how important it is to keep fans like us happy.

I just hope that people aren't deceiving and lying to each other when they claim to have this or that. I used to read this forum with great interest because insider knowledge was shared here. Today, it seems to me that there are many users who don't want to share their knowledge, but instead want to make themselves look important by making claims without knowing what they're talking about. That's really sad.
 
ueli84 said:
Since it's been quite a while since then, I had to look for my notes on it. I'm happy to share some information - I may write something longer for our website, including a reference to the Faking Michael podcast by Damien Shields. It still doesn't seem clear to all fans how absurd it is that Michael is supposed to have recorded complete songs with the Cascio family and an unknown co-producer, while virtually all the other songs from that period are incomplete. It's also unlikely that much more will emerge from the Dangerous and History sessions that is suitable for commercial release. (that we don't already know.) At some point, fans will surely be given access to such demos—but such releases will certainly not generate much money. Hopefully, they will realize how important it is to keep fans like us happy.

I just hope that people aren't deceiving and lying to each other when they claim to have this or that. I used to read this forum with great interest because insider knowledge was shared here. Today, it seems to me that there are many users who don't want to share their knowledge, but instead want to make themselves look important by making claims without knowing what they're talking about. That's really sad.
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That's exactly how it is that the Cascios are just money-hungry scammers, everyone should know by now
 
ChanceToDance said:
Do you remember the context for them playing "Water" and "Michael's Affirmation"? I heard they played GYWOOM at the same event per the audience's request, but those 2 are random picks for sure lol.

Did they give any backstory on "Water"? Like the year it was created? I read in a YT comment by @will1753 (he went to that seminar) and he said it was made with the sole purpose of trying out Melodyne. Is that authentic?
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Yes, that's right, Michael Prince also played “Get Your Weight Off Of Me” on request. And I was really surprised that he had that song because it is a Jerkins-Production.

Unfortunately, I can't find my notes on this right now and I don't remember the details/backstorys they may shared. I don't remember whether they mentioned Neff-U as the producer or co-producer of Water. My original comment was probably a bit misleading. (As in, they played it because it was created with Buxer and Prince.) As far as Water is concerned, it may well be that only Michael Prince was involved as a sound engineer. "Michael's Affirmation" was created with Brad Buxer.

(When they were at Dierks Studio with Brad Sundberg in 2015, they played an alternative “In The Back Mix,” but stopped the version because Brad Buxer wanted to explain some of the arrangements from the released version to us. Damn, I wish we had asked to hear the other version in full length :)) I remember that, because i really LOVE "In The Back"
 
BlackAnon said:
Session calendar shows Tomboy November of 85 and Al Capone December February 86. We're not sure how long it took to contact Roger

He [Roger] worked with us on several early Bad tracks. It wasn't kept but it felt and sounded great. Tomboy and Al Capone. - John Barnes

Roger was not on smooth criminal or the way you make me feel. As far as tomboy, I didn't make it and was not fully completed. Al Capone had Roger as a guest musician. The track was mostly done when he came in. - John Barnes

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So Tomboy has full vocals but isn’t done instrumentally?
 
ueli84 said:
When they were at Dierks Studio with Brad Sundberg in 2015, they played an alternative “In The Back Mix,” but stopped the version because Brad Buxer wanted to explain some of the arrangements from the released version to us. Damn, I wish we had as
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Did it have more vocals?
 
BlackAnon said:
Rev Run seems to have had an issue with Michael during 86. Kind of glad Crack Kills didn't work out.

Michael wants us to make a record with him, and we don't really want to make a record with Michael. He wants us on his next album. He wants to make a record about crack. We have good rhymes about it because we still see it, we live in the neighborhood still. I've made a lot of money, but I still live in Hollis. It's so funny. I don't have a big mansion and beautiful clothes. I see the crack on the corner. I need to get rid of this thing. Michael probably would like me to lay some of this on his album. Michael writes lyrics, but I write what I think. I see and feel all day.

Michael wants us to record with him, but he doesn't fit in with our style - and he doesn't feel the way we do.
If he turned up wearing that surgical mask, I'd rip it off him. I don't have any germs.
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Afther they met him, they spoke highly positive about him... this interview was before!
 
BlackAnon said:
Session calendar shows Tomboy November of 85 and Al Capone December February 86. We're not sure how long it took to contact Roger

He [Roger] worked with us on several early Bad tracks. It wasn't kept but it felt and sounded great. Tomboy and Al Capone. - John Barnes

Roger was not on smooth criminal or the way you make me feel. As far as tomboy, I didn't make it and was not fully completed. Al Capone had Roger as a guest musician. The track was mostly done when he came in. - John Barnes

509431905-30998621689737074-6680376860226427599-n.jpg
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That was when Bill Bottrell worked on it - he joined in October ‘85.
Matt Forger was there on the project before Bill and he specifically remembers recording Roger Troutman. But apparently the tape was given to Roger or something along those lines - was once discussed on these forums.

Perhaps Roger Troutman was invited twice to Hayvenhurst - once in Spring ‘85 with Matt and again in November with Bill. Not unusual with MJ of course, who would have done several versions.
 
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threepea11 said:
I really wonder why the Troutman version of Al Capone wasn’t the version released on Bad 25, why wouldn’t they use it?
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SmoothGangsta said:
Seems his contributions were already taken out at the time and weren't going to be used.
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Yeah it was probably taken out during or after those sessions but would still be cool to hear what he contributed.

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Hopefully one day we get the full 1993 Stephen King version of Ghosts

"I gave it my best try, not because it was Michael Jackson and not because I thought we were going to shock the world, but because I'm always interested in trying something new, and for me, writing a minimusical would be new. The core story he described to me that day was about a mob of angry townspeople — buttoned-down suburbanites, not torch-carrying peasants — who want the ''weirdo'' who lives in the nearby castle to leave town. Because, they say, he's a bad influence on their children. I associated that with the view parents held toward rock & roll when I was growing up, and still held toward the odder artists of the breed, like Ozzy Osbourne and Marilyn Manson (who in 1995 would release an album called Smells Like Children). I didn't know that rumors about Jackson and child abuse had begun to circulate, but probably would have pressed ahead even if I had. When you're famous, everybody accuses you of everything, from petty theft to the murder of John Lennon."

"The film shot for three weeks, then shut down for three years. I may once have known why, but if so, I no longer remember. My old pal (and Stand director) Mick Garris did the initial filming. One day during preproduction, I was in on a conference call about the choreography, and Michael fell asleep. On another occasion, he called my wife, wanting the phone number for wherever I was that day. She gave it to him. Michael called back five minutes later, on the verge of tears. He hadn't had a pencil, he said, so he'd tried to write the number on the carpet with his finger, and he couldn't read it. My wife gave him the number again. Michael thanked her profusely...but never called me."

"Filming on the Michael Jackson Ghosts video recommenced as abruptly as it had stopped. Mick remembers getting a call from Michael in 1996: ''Mick, it's gonna happen! We gotta believe it's gonna happen!'' It did, but without Mick behind the camera. He was working on the miniseries version of The Shining by then, and Stan Winston took over the directing chores. The story had wandered a far distance from my original script, but that hardly matters. What does matter is that the video contains some of the best, most inspired dancing of Jackson's career. If you look at it, I think you'll see why Fred Astaire called Jackson ''a helluva mover.'' You'll also see Jackson's sadness and almost painful desire to please. Yes, I am strange, his eyes say, but I am doing the best I can, and I want to make you happy. Is that so bad?"- Stephen King
 
BlackAnon said:
Hopefully one day we get the full 1993 Stephen King version of Ghosts

"I gave it my best try, not because it was Michael Jackson and not because I thought we were going to shock the world, but because I'm always interested in trying something new, and for me, writing a minimusical would be new. The core story he described to me that day was about a mob of angry townspeople — buttoned-down suburbanites, not torch-carrying peasants — who want the ''weirdo'' who lives in the nearby castle to leave town. Because, they say, he's a bad influence on their children. I associated that with the view parents held toward rock & roll when I was growing up, and still held toward the odder artists of the breed, like Ozzy Osbourne and Marilyn Manson (who in 1995 would release an album called Smells Like Children). I didn't know that rumors about Jackson and child abuse had begun to circulate, but probably would have pressed ahead even if I had. When you're famous, everybody accuses you of everything, from petty theft to the murder of John Lennon."

"The film shot for three weeks, then shut down for three years. I may once have known why, but if so, I no longer remember. My old pal (and Stand director) Mick Garris did the initial filming. One day during preproduction, I was in on a conference call about the choreography, and Michael fell asleep. On another occasion, he called my wife, wanting the phone number for wherever I was that day. She gave it to him. Michael called back five minutes later, on the verge of tears. He hadn't had a pencil, he said, so he'd tried to write the number on the carpet with his finger, and he couldn't read it. My wife gave him the number again. Michael thanked her profusely...but never called me."

"Filming on the Michael Jackson Ghosts video recommenced as abruptly as it had stopped. Mick remembers getting a call from Michael in 1996: ''Mick, it's gonna happen! We gotta believe it's gonna happen!'' It did, but without Mick behind the camera. He was working on the miniseries version of The Shining by then, and Stan Winston took over the directing chores. The story had wandered a far distance from my original script, but that hardly matters. What does matter is that the video contains some of the best, most inspired dancing of Jackson's career. If you look at it, I think you'll see why Fred Astaire called Jackson ''a helluva mover.'' You'll also see Jackson's sadness and almost painful desire to please. Yes, I am strange, his eyes say, but I am doing the best I can, and I want to make you happy. Is that so bad?"- Stephen King
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do we have any footage of the 1993 version?
 
Clay7 said:
I find it really interesting that the ending links with The Addams Family, makes me curious how that whole collaboration really happened because (to my knowledge) this "Is It Scary" film had no relation to the only known Addams Family collab "Family Thing" and "Is It Scary" the song reuses chord progression from "Family Thing". It makes me wonder if Is It Scary was the final evolved version of Family Thing intended for the Addams Family film.
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The film itself was set in the Addams Family universe and intended to be a sort of tie-in. Family Thing probably would've made the soundtrack to the movie had the allegations not happened.

Ghosts and Is It Scary are both from 1993. Is It Scary was not finished due to allegations and MJ told the film makers he would not be able to finish the song in time for the planned November 1993 film release. Is It Scary was reworked again in 1994/95 during HIStory while Ghosts was polished up on tour in 1996/97.
 
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BlackAnon said:
The film itself was set in the Addams Family universe and intended to be a sort of tie-in. Family Thing probably would've made the soundtrack to the movie had the allegations happened.

Ghosts and Is It Scary are both from 1993. Is It Scary was not finished due to allegations and MJ told the film makers he would not be able to finish the song in time for the planned November 1993 film release. Is It Scary was reworked again in 1994/95 during HIStory while Ghosts was polished up on tour in 1996/97.
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The song "Is It Scary" was incorporated after the premiere of Ghosts.
 
DECADE.jpg


JACKSON, Michael - Family Thing [EPC 659688 2] CDM - 10/18/1993
JACKSON, Michael - Family Thing [EPC 659688 6] 12" - 10/18/1993
JACKSON, Michael - Greatest Hits [EPC 474709 2] CD - 10/26/1993
JACKSON, Michael - Greatest Hits [EPC 474709 6] LP - 10/26/1993
 
According to Shana, verse lyrics to "Family Thing":

''Squeeze the trigger til' I'm dead,
The blood is running good and red,
And the pain is quite enormous,
Also I wouldn't be human if I laid here and ignored this,
But I'm hard as nails.''
 
Fuzball said:
According to Shana, verse lyrics to "Family Thing":

''Squeeze the trigger til' I'm dead,
The blood is running good and red,
And the pain is quite enormous,
Also I wouldn't be human if I laid here and ignored this,
But I'm hard as nails.''
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I really want hear full vocal version or FT, i love this song very much
 
Fuzball said:
DECADE.jpg


JACKSON, Michael - Family Thing [EPC 659688 2] CDM - 10/18/1993
JACKSON, Michael - Family Thing [EPC 659688 6] 12" - 10/18/1993
JACKSON, Michael - Greatest Hits [EPC 474709 2] CD - 10/26/1993
JACKSON, Michael - Greatest Hits [EPC 474709 6] LP - 10/26/1993
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Ghosts [the song] was planned to be on the greatest hits album as well according to Teddy
 
Mister_Jay_Tee said:
Dates don't matter guys.

For All Time is a phenomenal song; does it matter when it was written? No of course not.

But Michael said it was an original outtake from Thriller and that certainly speaks to how special it was to him so that's what matters, how special the song was to Michael.
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This was glaring sarcasm, I hope everyone got that
 
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